Westworld Transcripts

Posts : 612 Join date : 2018-05-27

Last year I created transcripts for the first nine episodes of Westworld. I don't know if I'll create any more -- I might but I'm not committing to doing so at this point.

So, I'm posting those transcripts and I'm asking others not to post comments or questions in this thread. Rather, use the Westworld discussion thread for that. That way, if I do create more transcripts, all of the transcripts will follow in order. Also if you see any errors, please point them out in the Westworld discussion thread and I'll make corrections.

Please feel free to quote from the transcripts for theories or discussion purposes -- that's what they're for. smile

All transcripts are taken directly from the HBO show and may contain offensive language and descriptions of sex and violence.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 1, "The Original"

Release Date: October 2, 2016

Based on Film Written by: Michael Crichton

Teleplay Written by: Jonathan Nolan and Lisa Joy Nolan

Transcript by: sandi
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[Dialogue plays over the scene An unseen man (who sounds like Bernard) is questioning the woman (Dolores) and we're seeing a naked woman (Dolores), seated on a stool. Her eyes are open and she sits incredibly still, not even blinking her eye when a fly lands on her face and walks across her eye.]

BERNARD LOWE (Unseen): Bring her back online. Can you hear me?

DOLORES ABERNATHY (Western accent): Yes. I'm sorry. I'm not feeling quite myself.

BERNARD LOWE (Unseen): You can lose the accent. Do you know where you are?

DOLORES ABERNATHY (no accent): I'm in a dream.

BERNARD LOWE (Unseen): That's right, Dolores. You're in a dream. Would you like to wake up from this dream?

DOLORES ABERNATHY: Yes. I'm terrified.

BERNARD LOWE (Unseen): There's nothing to be afraid of, Dolores, as long as you answer my questions correctly. Understand?

DOLORES ABERNATHY: Yes.

BERNARD LOWE (Unseen): Good. First, have you ever questioned the nature of your reality?

[Scene shifts to Dolores asleep in her bed. The dialogue continues to play over the following scene. Birds chirp and she awakens and stretches. Dressed, Dolores walks down the stairs, grabs her art easel/supplies and walks out the front door.]

DOLORES ABERNATHY: No.

BERNARD LOWE (Unseen): Tell us what you think of your world.

DOLORES ABERNATHY: Some people choose to see the ugliness in this world. The disarray. I choose to see the beauty.

[Dolores walks out onto her front porch and smiles at her father, who is sitting in a chair drinking coffee.]

DOLORES ABERNATHY: Morning, Daddy. You sleep well?

PETER ABERNATHY: Well enough. You headed out to set down some of this natural splendor?

DOLORES ABERNATHY: Thought I might.

[Scene shifts to a panoramic view of the mountains and then a player piano begins to play. The dialogue between the unknown man and Dolores continues to play over the scenes.]

DOLORES ABERNATHY: To believe there is an order to our days, a purpose.

BERNARD LOWE (Unseen): What do you think of the guests?

DOLORES ABERNATHY: You mean the newcomers?

[Scene shifts to the inside of a railroad car. A passenger, Teddy Flood is staring out at the mountains, while other passengers hold a conversation about the park.]

PASSENGER 1: Now, the first time I played it white hat. My family was here. We went fishing -- did the gold hunt in the mountains.

PASSENGER 2: And last time?

PASSENGER 1: I came alone. Went straight evil. It was the best two weeks of my life.

[The original dialogue between Dolores and the man continues as Dolores speaks over the following scene.
There's a panoramic view of the train (whistle blows) chugging away along the tracks at the foot of the mountains.
The scene shifts to the player piano (music plays).
The scene shifts to the train pulling into the station, where several people are waiting on the platform. The train comes to a stop and the passengers begin to disembark.]

DOLORES ABERNATHY: I like to remember what my father taught me. That at one point or another, we were all new to this world. The newcomers are just looking for the same thing we are -- a place to be free to stake out our dreams -- a place with unlimited possibilities.

[Teddy Flood steps down onto the platform, followed by a young couple.]

WOMAN: Oh, God, it's incredible.

MAN: Better be for what we're paying.

[The town is bustling with activity. Teddy walks along the main street, passing the blacksmith shop, two kids putting something on a sleeping man's head and then he bumps into another man. They both stop and stare at each other, and then Teddy nods, turns and continues walking. He nears a spot where Sheriff Pickett (while talking) is pointing to a wanted poster, reading: Wanted; Dead or Alive; Hector Escaton; 500.00 Reward; Murderer. Several men are gathered near him.]

SHERIFF PICKETT: Murderous son of a bitch named Hector Escaton gunned down the marshal. He's holed up in the mountains. You there. (Points to Teddy, who stops to listen.) You look like the kind of man who'd put his mettle to it.

TEDDY FLOOD: Not today, Sheriff. Apologies.

[Teddy enters the saloon and walks up to the bar.]

TEDDY FLOOD (to bartender): Rye whiskey.

BARTENDER (polishing glass): What about it?

TEDDY FLOOD: Well, it ain't doing any good sittin' in that bottle. (The bartender pours Teddy a drink. As Teddy takes a drink a saloon girl walks up to him.)

CLEMENTINE PENNYFEATHER: You're new. Not much of a rind on you. I'll give you a discount.

TEDDY FLOOD: Well, no offense, but ... ah ... I'd rather earn a woman's affection than pay for it.

MAEVE MILLAY (Standing next to Teddy): You're always paying for it, darling. The difference is our costs are fixed and posted right there on the door.

[The original dialogue between the man and Dolores picks back up and plays over the following scene.
Teddy sees Dolores emerge from the store across the street. He hurries out of the saloon and follows her down the street. Dolores stops by her horse and stashes her supplies in the saddlebags, but a can falls out and rolls to Teddy's feet.]

BERNARD LOWE (Unseen): Do you ever feel inconsistencies in your world? Or repetitions?

DOLORES ABERNATHY: All lives have routine. Mine's no different. Still, I never cease to wonder at the thought ... that any day the course of my whole life could change with just one chance encounter.

[Teddy picks up the can.]

TEDDY FLOOD: Don't mind me. Just trying to look chivalrous.

DOLORES ABERNATHY: You came back.

TEDDY FLOOD: I told you I would. Can I see you home?

DOLORES ABERNATHY: Well, that all depends. Can you keep up? (Dolores gets on horse.)

TEDDY FLOOD: Well, I have to fetch my horse.

DOLORES ABERNATHY: Better fetch him fast.

[Dolores rides off and Teddy follows. They ride along the beautiful landscape, mountains in the background. They get off of their horses and look down at some cowboys moving a herd of cattle up a small incline.]

TEDDY FLOOD: That's a beautiful sight. Never understood how you keep them all headed in the same direction.

DOLORES ABERNATHY (laughs): I forget you dress like a cowboy, but that's about the extent of it. See that one? (Points to a steer in the front of the herd.)

TEDDY FLOOD: Yeah.

DOLORES ABERNATHY: That's the Judas steer. Rest will follow wherever you make him go.

TEDDY FLOOD: How do you pick him out?

DOLORES ABERNATHY: Just know these things. Same as I knew you'd be back.

TEDDY FLOOD: You sayin' I'm predictable?

DOLORES ABERNATHY: There's a path for everyone. Your path leads you back to me. I know things will work out the way they're meant to. Same as I know my daddy still won't be happy to see you.

[Later, night is falling as Teddy and Dolores reach the entrance to her home. The house, windows lit, sits up on a hill. Several steers are roaming freely.]

DOLORES ABERNATHY: Father wouldn't let them roam this close to dark.

[Gunshots ring out from the vicinity of the house. Teddy draws his rifle.]

TEDDY FLOOD: Stay put, Dolores. (He then takes off for the house.)

[Two outlaws, Rebus and Walter, are at the house. Peter Abernathy is laying on his back right outside the house. Rebus is towering over him with a bottle of milk in his hand.]

REBUS: Ain't you got anythin' out here other than milk, old man?

PETER ABERNATHY: Go ahead. I'm in no rush to meet my judgment, but I'm more sure of the outcome than you, you son of a -- (Rebus shoots Abernathy.)

REBUS (staring down at Abernathy): Nothing but milk, then. (Rebus pours some milk onto Abernathy, takes a drink, spits it out on Abernathy. Then turns and walks to the porch where Walter is standing just outside the open door.)

WALTER: Shame of it is you killed the old woman before any of us could have a turn.

REBUS: I reckon she's still warm enough. Nobody gonna judge you for it.

[Someone whistles. Rebus draws his gun as he turns. Teddy is standing a few feet away with a rifle pointed at him. Teddy shoots Rebus who falls down dead. Walter struggles to pulls his gun.]

WALTER: Oh, shit. Shit, shit, shit. (Teddy advances and shoots Walter several times.)

[The original dialogue continues as the man talks over the following scene. Teddy walks past dead Walter into the house and kneels down beside the still form of a woman. Dolores rides her horse up to the house and sees her father laying on the ground.]

BERNARD LOWE (Unseen): Last question, Dolores. What if I told you that you were wrong? That there are no chance encounters? That you and everyone you know were built to gratify the desires of the people who pay to visit your world?

DOLORES ABERNATHY (kneeling over her dead father): Daddy! Daddy! (Sobbing) Daddy! No!

BERNARD LOWE (Unseen): The people you call "the newcomers.

[Dolores looks up as someone approaches and sees the Man in Black.]

the MAN IN BLACK: Hello again. Your daddy gave it up quickly. Think he's losing his touch. (Dolores grabs a gun and points it at the Man In Black.)

DOLORES ABERNATHY: You'll be following right behind him, you son of a bitch. (The MIB knocks the gun out of her hand and then backhands her, knocking her face-down on the ground.)

the MAN IN BLACK: Is that any way to treat an old friend? I've been coming here for 30 years, but you still don't remember me, do you? After all we've been through. They gave you a little more pluck, Dolores.

[The MIB kneels down in front of Dolores who is now sitting, visibly shaken and crying. He runs his gloved finger down the side of her face.]

the MAN IN BLACK: Absolutely charming.

[Dolores continues to sob. Teddy walks out of the house and stands at the edge of the porch.]

TEDDY FLOOD: Take your hands off her.

the MAN IN BLACK: Oh ... (sighs) ... Teddy. (The MIB rises to a standing position.) Any special tricks for us? They teach you to sit up ... beg? How about I give you the first shot, hmm? After all ... every dog has his day.

TEDDY FLOOD (as he descends the steps and faces off with the MIB): Well, your mouth moves fast enough. How about your gun?

[The original dialogue continues and plays over the scene. The MIB moves his hand to draw but Teddy draws faster and shoots him in the chest. The bullet just seems to explode. Teddy shoots again, but the same thing happens. The MIB smiles and slowly starts moving towards Teddy. Stunned, Teddy looks over at Dolores, who looks scared.]

BERNARD LOWE (Unseen): What if I told you that you can't hurt the newcomers? And that they can do anything they want to you?

the MAN IN BLACK: I never understood why they paired some of you off. Seems cruel. (The MIB advances towards Teddy, who fires again. The bullet strikes but seems to disintegrate in a puff of smoke.)

the MAN IN BLACK: And then I realized winning doesn't mean anything unless someone else loses. Which means you're here ... to be the loser. (Teddy, shaken, stares in disbelief.) Let me help you, son.

[The MIB takes Teddy's hand (still holding the gun) and moves it so the end of the barrel rests on his (MIB) forehead right between the eyes. Teddy, shaken to his core, slowly sinks to a kneeling position on the ground.]

the MAN IN BLACK (scoffs): Seems you're not the man you thought you were.

[The MIB pats Teddy on the back and walks over to Dolores. He grabs the back of her dress and starts dragging her away.]

the MAN IN BLACK: Come on, beautiful.

DOLORES ABERNATHY: Oh! Oh, no! No! Teddy! Teddy!

[Teddy gets up quickly and fires two times at the MIB, hitting him but again no affect. The MIB stops dragging Dolores and starts to turn towards Teddy, but Dolores gets to her knees and starts to beg.]

DOLORES ABERNATHY: No! No! No, please don't hurt him. I'll do whatever you say. (The MIB slaps her hard across the face and Dolores screams as she falls to the ground.)

the MAN IN BLACK: I didn't pay all this money 'cause I want it easy. I want you to fight.

TEDDY FLOOD (shouts as he fires again): Don't you touch her! (The MIB draws his gun, twists around and fires at Teddy, shooting him in the chest.)

the MAN IN BLACK: God damn, feels good to be back. (Then he grabs the back of Dolores' dress by her neck and drags her, screaming towards the barn.)

the MAN IN BLACK: Let's celebrate.

DOLORES ABERNATHY: No! Don't! Oh, no, no! No! (Dolores continues to scream as Teddy grabs his chest and falls to the ground.)

[The original dialogue continues and plays over the scene as Dolores continues to scream and we see through Teddy's dying eyes as the MIB drags Dolores into the barn and then closes the barn door.]

BERNARD LOWE (Unseen): Would the things I told you change the way you think about the newcomers, Dolores?

DOLORES ABERNATHY: No. Of course not. We all love the newcomers. Every new person I meet reminds me how lucky I am to be alive (Dolores crying, screaming) and how beautiful this world can be.

[The player piano starts playing music. Dolores wakes up in her bed. A train whistle blows. Teddy (sleeping -- head leaning against the window) is again a passenger on the train. As he wakes up and stares out the window, two women passengers (Guests) are looking at him and begin talking about him.]

WOMAN PASSENGER 1: Oh, my God, they're so lifelike. Look at that one. He's perfect.

WOMAN PASSENGER 2: Perfect is boring. I'm more interested in the bad guys.

[Back at the Park's lab, Bernard and Elsie Hughes are examining the Host, Clementine Pennyfeather. Clementine sits very still, staring straight ahead without blinking, oblivious to everything. Her left hand is raised to the side of her face.]

BERNARD LOWE: Did you see it?

ELSIE HUGHES: No.

BERNARD LOWE: Give it a second. She'll do it again. (Clementine slowly caresses the bottom of her lip with her little finger.)

ELSIE HUGHES: Her finger. That's not standard.

BERNARD LOWE: I noticed it last night. Went looking in the update. It's a whole new class of gestures.

ELSIE HUGHES: But if we didn't put it there, then who did?

BERNARD LOWE: Ford. He still reviews every update before we issue them. He must have ... slipped it in there without telling anyone. He calls them "reveries." The old gestures were just generic movements. These are tied to specific memories.

ELSIE HUGHES: How? The memories are purged at the end of every narrative loop.

BERNARD LOWE: But they're still in there, waiting to be overwritten. He found a way to access them, like a ... subconscious.

ELSIE HUGHES: A hooker with hidden depths? Every man's dream.

BERNARD LOWE: It's the tiny things that make them seem real ... that make the guests fall in love with them. (A device beeps. Bernard glances at it and then rises to leave.) Excuse me.

[After Bernard leaves the glassed in room, Elsie leans in and kisses Clementine on the lips.
Bernard walks down a hallway and into the Park Observation Room. There's a model of the Park in the center of the room. Theresa Cullen and Stubbs are waiting for him.]

BERNARD LOWE: We have a problem?

THERESA CULLEN: We have some unscheduled activity. Evidently, one of your creatures is restless.

BERNARD LOWE: In the park?

THERESA CULLEN: No, sub-level 83, cold storage. We should be cautious. Send a response team, full armor.

ASHLEY STUBBS I'll take care of it myself.

BERNARD LOWE: I think you guys enjoy playing dress up as much as the guests. The hosts can't hurt you ... by design.

ASHLEY STUBBS You don't have kids at home, do you, Bernard?

BERNARD LOWE: No.

ASHLEY STUBBS If you did, you'd know that they all rebel eventually. (Stubb leaves to go to sub-level 83.)

THERESA CULLEN: You'll forgive them for being a little uptight. Every time your team rolls out an update, there's a possibility of a critical failure.

BERNARD LOWE: We don't update the hosts in cold storage and the park hasn't had a critical failure in over 30 years.

THERESA CULLEN: Meaning we're overdue.

BERNARD LOWE: I'll go along, too. If it's one of mine, I might be able to help.

THERESA CULLEN: They're only yours until they stop working, Bernie. Then they're mine.

[Bernard, Stubbs and several armed men ride the elevator down to sub-level 83. The elevator doors open and water rushes in -- flooding the floor of the elevator.]

ASHLEY STUBBS (to Bernard): Cooling system's been down for weeks. Gonna smell fantastic. I recommend you hang back.

[Bernard follows the men into sub-level 83. The men use flashlights as no lights are on. They walk down an open flight of stairs -- water cascading down to the floor from the level they entered on.]

BERNARD LOWE: When are they gonna fix this?

ASHLEY STUBBS Livestock management's got other priorities. (One of the armed men presses some buttons and throws a couple of levers which open sliding metal doors.) Besides no one's complained.

[The men advance into the room. There are rows and rows of naked hosts standing perfectly still, eyes staring straight ahead. The men walk through the decommissioned hosts as they make their way to the back of the room. Then they hear a voice and proceed to an adjacent room.]

OLD BILL: Here's to the lady with the white shoes. Take all your money, drink all your booze. (Stubbs draws his revolver but Bernard grabs his hand to stay him.)

BERNARD LOWE: Stop. Unless you plan to decommission the boss.

[They look into the room and see Dr. Robert Ford talking with an old host. The room has a wall of bunk sized shelves and most contain a body bag.]

OLD BILL: Ain't got a cherry, that ain't no sin. She's still got the box that the cherry come in. (Old Bill takes a drink from his shot glass.)

DR. ROBERT FORD: I'll drink to that.

OLD BILL: The old coffin varnish. They don't make that like they used to. Hmm.

DR. ROBERT FORD: They don't make anything like they used to.

OLD BILL: Damn right. Men neither. I've seen a few showdowns in my day.

DR. ROBERT FORD: More than you know.

OLD BILL: (Chuckles and pours himself another drink.) Shall we drink to the lady with the white shoes?

DR. ROBERT FORD (to Old Bill): Perhaps we better drink to a ... deep and dreamless slumber. (Old Bill stops cold like he was shut off. Ford downs his drink from his shot glass.)

DR. ROBERT FORD (to Bernard in doorway): Old Bill here was always a good listener. He was the second host we ever built. Were you with us in those days, Bernard, or was that before your time?

BERNARD LOWE: Most were decommissioned before I was brought on, I'm afraid.

DR. ROBERT FORD: They repeated themselves, broke down constantly. A simple handshake would give them away. (to Old Bill) You'll put yourself away again, won't you, Bill?

[Old Bill whirrs as he comes back to life. He sets his glass down and moves to one of the open wall shelves.]

BERNARD LOWE: I saw the new gestures, the reveries. They're beautiful. The distance you've traveled from then till now, it's remarkable.

DR. ROBERT FORD: Yeah, that's a word for it.

[Old Bill climbs into a body bag, zips it part way, places his hat on his stomach and then zips the bag all the way up.
The Scene shifts to the Abernathy ranch where Dolores comes downstairs, carrying her art supplies and goes out to the front porch where her father is sitting in his chair, drinking a cup of coffee.]

DOLORES ABERNATHY: Morning, Daddy. You sleep well?

PETER ABERNATHY: Well enough. You headed out to set down some of this natural splendor?

DOLORES ABERNATHY: Thought I might. After my errands, of course.

PETER ABERNATHY: See you home before dark. That bandit who gunned down the marshal is still hiding up there in the hills.

DOLORES ABERNATHY: I'm not a child anymore. I'll be just fine.

PETER ABERNATHY: When I was a law man --

DOLORES ABERNATHY: Yes, Daddy, I know all about when you were a law man. I know all your stories and so does every boy that ever came courting.

PETER ABERNATHY: I know how boys think. Was one myself once. Given to all manner of drinkin' and mischief.

DOLORES ABERNATHY: Whatever happened to that fearsome ne'er-do-well?

PETER ABERNATHY: He vanished the day I became your father. I am what I am because of you, and I wouldn't have it any other way.

DOLORES ABERNATHY: I know, Daddy. I'll be home before dark.

[The train pulls into the station. Teddy disembarks along with other passengers. As he walks down the street, he bumps shoulders with another man so hard, it knocks his hat off. Teddy retrieves his hat, smiles and continues on his way. He nears a spot where Sheriff Pickett is pointing to a wanted poster of Hector Escaton, while he talks. Several men are gathered near him.]

SHERIFF PICKETT: Murderous son of a bitch Hector Escaton gunned down the marshal. He's now holed up in the mountains. You there. (At first it looks like the Sheriff is pointing at Teddy, but he's actually pointing at a man walking behind Teddy. The man (Craig) and his wife (Lori) are Newcomers -- newly arrived Guests.) You look like the kind of man who'd put his mettle to it.

CRAIG (to Lori): What do you think, honey? Sounds fun.

[In the saloon, Teddy is standing at the bar with Clementine Pennyfeather.]

CLEMENTINE PENNYFEATHER: You're new. Not much of a rind on you. I'll give you a discount.

TEDDY FLOOD: No offense, but I'd rather earn a woman's affection than pay for it.

[Through the window, Teddy sees Dolores exit the store. On his way out of the saloon, Teddy passes Maeve Millary who is speaking Chinese to several Chinese men as they raise their glasses in a toast. Just as Teddy steps into the street, a returning Guest recognizes him.]

CLARENCE: Wait, wait, I know that one. (shouts) Hey, Teddy. (Clarence and two other men walk up to Teddy.) (to his friends) Yeah, last trip, this dude showed me around. What's the good word, Teddy?

[Dolores walks up to her horse and starts to stow her supplies in the saddlebags, but a can falls out and rolls to into the street and stops at the MIB's feet. He picks it up and hands it to Dolores.]

DOLORES ABERNATHY (to MIB while smiling): Mighty kind of you.

the MAN IN BLACK: Sweet. Not as sweet as you. I'm afraid I've got other plans tonight, Dolores. Have a pleasant evening.

[The MIB tips his hat and walks away to the saloon. Clementine Pennyfeather approaches the MIB when he enters the saloon.]

CLEMENTINE PENNYFEATHER: You're new. Not much of a --

[The MIB holds up his hand, stopping Clementine cold. Then he approaches the card table and sits down.]

KISSY: Place your bets, gentlemen. Place your bets.

[Sheriff Pickett, Guests -- Craig and Lori, and the other Sheriff's men are following the outlaw Hector Escaton's trail. A fly buzzes around Lori's face but she waves it away. Their path winds around the mountain with a steep cliff on the side. They stop when they come upon a dead man. The men all get off their horses.]

SHERIFF PICKETT: Yeah, looks like Hector's been this way.

CRAIG: Any idea how much longer this is gonna take? My wife doesn't want to be up here after dark.

SHERIFF PICKETT: We know he's up in these hills somewhere. He's gonna put up one hell of a fight when we -- (A fly lands on the Sheriff's cheek and he immediately starts malfunctioning.) -- when we -- when we -- (The Sheriff drops the stick he was holding. His eye rolls down to look at the fly and he keeps making faint gulping noises.)

CRAIG: Sheriff?

LORI: Something is wrong with it. I want to head back to town. Now!

[Park Labs -- Glass-walled examination room. Bernard, Theresa and Lee Sizemore are gathered around the malfunctioning Sheriff Pickett. Bernard is examining the Sheriff.]

LEE SIZEMORE: What the fuck is wrong with it? You updated the guy, and now he's a six-foot gourd with epilepsy. So WHAT ... the FUCK ... happened?!!!

BERNARD LOWE: I don't know.

LEE SIZEMORE: Well, that's exactly what you want to hear from your head of programming.

BERNARD LOWE: We haven't finished the diagnostic yet. Clearly it's exhibiting some aberrant behavior.

THERESA CULLEN: Pretty fucking aberrant, Bernie. Your hosts get sick, they get lost, but this is grotesque. Is it a problem with the update?

BERNARD LOWE: Possible, but not likely.

THERESA CULLEN: If it's the unlikely version, how many hosts have you updated so far?

BERNARD LOWE: Maybe 10% of the population.

THERESA CULLEN: All right, we pull all updated hosts until we can figure it out.

LEE SIZEMORE: Are -- are you fucking kidding me?!! That's 200 hosts spread across a dozen active story-lines.

THERESA CULLEN: The guests interrupt your precious story-lines all the time when they want to shoot or fuck something.

LEE SIZEMORE: No, when they want to. We sell complete immersion in 100 interconnected narratives. A relentless ... fucking experience. Now, you pull one character, the overall story adjusts. You pull 200 at once -- and it's a fucking disaster! I mean, wha--what do you propose we do? Close down? Issue fucking gift certificates?

BERNARD LOWE (to Theresa Cullen): It's beautiful -- your brow. When you're angry but trying to control it, the fine muscles pull into a little arc. It's elegant. Would you mind if I recorded it? I'd love to show it to my team.

THERESA CULLEN: No, Bernard, you may not record it.

BERNARD LOWE: Ah, there it is again.

THERESA CULLEN: We have 1,400 guests in the park. I need to know if they're in any danger.

BERNARD LOWE: His core code is intact, which means he can't hurt a guest. He literally couldn't hurt a fly. All he can do is -- (The Sheriff shudders and snorts.) -- that.

THERESA CULLEN: All right, Bernie. Run a diagnostic. In the meantime, there's so much as an unscripted sneeze, I want to know about it.

[The Park. A house on a plateau in the mountains. The guest who recognized Teddy from a prior visit, Clarence, is present along with his friends and a some female Hosts. They appear to be in a bedroom of the house, which also contains a large bathtub. A couple of the hosts are naked and the group is drinking and having sex. Teddy is sitting on the porch which overlooks the mountainous terrain below, the mountains above and the far horizon. He's perfectly still -- just gazing out at the scene.]

CLARENCE'S FRIEND 1: This place is fucking wild.

CLARENCE: This is basic. Level one. You ride out of town, that's when the real demented shit begins. That's where my man Teddy comes in. He's like a ... he's like a guide.

CLARENCE'S FRIEND 1: Honestly ... the guy kind of creeps me out.

CLARENCE (laughs): Fuck it. He leads us out in the canyons -- we get bored -- we just use him for target practice. (Teddy sits without moving, gazing out at the landscape while a fly crawls up his cheek to the corner of his eye.)

[Dolores has set up her art easel along the river and is painting the landscape which includes three horses grazing nearby. A couple along with their son, Jacob (about 8 years old), are walking along the path. They stop to talk to Dolores.]

GUEST FATHER: I don't think we're supposed to be cross the river. It's too adult for Jacob.

GUEST MOTHER: We didn't mean to bother you.

DOLORES ABERNATHY: No bother at all. It's a beautiful spot. I always found it ... a shame that I have it all to myself. (Dolores notices Jacob looking at the horses.) They come here every day. Would you like a closer look? (Jacob walks with Dolores over to one of the horses.)

DOLORES ABERNATHY (to Jacob): Don't be scared. They're very gentle. Here, put your hand out real flat. (Jacob extends his hand and Dolores puts and apple slice on it. The horse eats the apple slice from Jacob's hand.)

DOLORES ABERNATHY: They're beautiful, aren't they?

JACOB (softly to Dolores): You're one of them, aren't you? You're not real.

DOLORES ABERNATHY: I have to go now. Sun's almost down. You should, too. There's bandits in these hills.

[Abernathy ranch. Peter Abernathy leans against the corral as he watches the cowboys herd some cattle into the enclosure and close the gate. He glances down and notices the corner of something sticking up out of the ground. He brushes away the loose dirt and unearths what looks like a photo, which he just stares at.

Later, at the Abernathy home. It's growing dark as Dolores leads her horse up to the house. She walks up to the porch, carrying the supplies she bought at the store and finds her father sitting in his chair, staring at a photo.]

DOLORES ABERNATHY: You waiting up for me, Daddy? I told you I'd be home before dark.

PETER ABERNATHY: I found this in the field today. (He shows her a photo of a young woman taken against a backdrop of a bustling metropolitan city, including lit billboards and modern automobile traffic-- New York perhaps?)

DOLORES ABERNATHY: Doesn't look like anything to me.

PETER ABERNATHY: But where is she? Have you ever seen anything like this place?

DOLORES ABERNATHY: Doesn't look like anything to me. I'm gonna help Mama put supper on.

Continued in next post

Posts : 612 Join date : 2018-05-27

Season 1, Episode 1, "The Original" Continued.

[Park Headquarters. Theresa Cullen stands on an outside bridge (connecting parts of the buildings) gazing out at the view. She lights a cigarette as Lee Sizemore approaches.]

LEE SIZEMORE: I had the same thought -- needed a little sunshine before turning in. So, when do you get to rotate home again?

THERESA CULLEN: If you're this bad at writing small talk, how the fuck did you get your job? Get to the point.

LEE SIZEMORE: I wanted to apologize if I came across as aggressive. And I wanted to talk to you about the update.

THERESA CULLEN: The problem's been resolved.

LEE SIZEMORE: There should never have been an update in the first place. Ford and Bernard keep making the things more lifelike. But does anyone truly want that? Do you want to think that your husband is really fucking that beautiful girl or that you really just shot someone? This place works because the guests know the hosts aren't real.

THERESA CULLEN: So what exactly are you suggesting?

LEE SIZEMORE: Stop the updates altogether. Maybe even roll them back a bit. Make the hosts more manageable.

THERESA CULLEN: Lobotomies tend to do that.

LEE SIZEMORE: Well, think of the benefits ... in terms of design time, maintenance, costs. Not to mention the Dr. Ford factor. The guy's gonna chase his demons right over the deep end. I mean, no one respects him more than me, but at some point --

THERESA CULLEN: I. No one respects him more than I. Your pronoun is the subject of the second clause.

LEE SIZEMORE: I was saying --

THERESA CULLEN: You were saying should our fearless leader have a breakdown, you want to leverage it for your career.

LEE SIZEMORE: Listen! A changing of the guard is long overdue. I just wanted you to know that you have my support and ... that I know that the corporation's real interest in this place goes way beyond gratifying some rich assholes who want to play cowboy.

THERESA CULLEN: And here I thought you were only good for writing depraved little fantasies. You're right. This place is one thing to the guests ... another thing to the shareholders, and ... something completely different to management. So enlighten me. What do you think management's real interests are? (Lee Sizemore looks down, emitting a soft laugh -- doesn't say anything.) You're smart enough to guess there's a bigger picture, but not smart enough to see what it is. You know how much use that makes your support to me? Fuck all. Get some sleep, Mr. Sizemore. You'll have more rich assholes to gratify tomorrow.

[Night -- the town saloon. The player piano begins playing as Maeve Millay descends the steps to the deserted bar. The card dealer, Kissy, is cleaning up his table.]

KISSY: Early night, Maeve?

MAEVE MILLAY: Feeling a bit out of sorts. Clementine can pick up the slack.

KISSY (to bartender): Night. (Kissy turns to leave.)

BARTENDER: Forgettin' something, Kissy? (Kissy stops, turns back around and lets the bartender search him.)

KISSY: I'm beginning to think you're getting sweet on me.

BARTENDER: Well, on account of you being half corn-husker. Tell me which half is which and ... I'll search that half. (The bartender removes chips and other stuff from Kissy's pockets, which he throws on the table. Then he laughs, pats Kissy's back and walks away. Kissy walks over to the table and picks up his things.)

KISSY (after leaving the bar): Yeah, the half that's gonna cut your fucking throat. (Kissy stops walking when he hears the sidewalk boards creak.)

KISSY: I told you, I didn't take -- (Kissy turns around as a gun hammer clicks and finds himself facing the MIB, who is pointing a gun at him. The MIB slits Kissy's throat with his knife, holsters his gun and then drags Kissy -- still alive but bleeding badly -- away.)

[Park headquarters. Bernard Lowe is staring at a picture of a child. Sheriff Pickett is sitting on a stool and slowly raises his hand to his face, smoothing out his mustache. The Sheriff looks normal again.]

BERNARD LOWE (to the Sheriff):Good as new again, huh? Sometimes I envy your forgetfulness. (Elsie Hughes enters the glass-enclosed room.)

ELSIE HUGHES: We've got a serious problem with one of the hosts. (Bernard removes his glasses and nods his head.)

[Undisclosed location. Looks like a restaurant. There's six or more dead people laying on the floor. A frightened man and woman are huddled in the corner. And the outlaw, Walter has a bottle of milk in his one hand -- gun in the other.]

WALTER: Thinking this one's still thirsty. (Pours some milk onto a dead man's chest.) Not gonna die this time, Arnold. (Takes a few steps and pours milk onto another dead man. Then Walter takes another few steps bringing him to one of the wounded men on the floor struggling to get up.) Ain't nothing gonna kill me. (Walter shoots and kills him and then pours some milk on him. The cowering couple whimper and the woman starts to cry.)

WALTER (to the couple): You can't have none. Ain't for you. (Then Walter drinks the milk -- which pours out of a hole in his chest. Walter holsters his gun and walks outside. He stops at the foot of a dead man with empty milk bottles lined up near his head.)

WALTER (to the dead man): Found me another bottle. (Walter straddles the man and then sits on his chest and begins pouring milk into the dead man's mouth.)

WALTER: You're a growing boy. A growing boy. (laughs & shouts as he continues to pour) Growing boy! (A sound is heard and Walter powers down. A loud sound like a big switch being thrown is heard and lights come on. Bernard, Elsie, Stubbs and other Park personnel are there to collect Walter and take care of the damage.)

ASHLEY STUBBS (to Bernard & Elsie): We got two guests inside. We'll go talk to them, you ... sort this mess out.

ELSIE HUGHES: You know, they're supposed to turn on each other, but only if a guest takes them on the High Sierra storyline, and Walter always buys it.

BERNARD LOWE: Well, I guess Walter got tired of buying it. (Another sound like a big switch being thrown is heard and Theresa Cullen walks up out of nowhere.)

THERESA CULLEN: I suppose this means the sheriff wasn't an isolated incident.

BERNARD LOWE: It's good news, really. Confirms the problem was part of the update. We can uh ... roll them back, clean them up, and put them back in service.

THERESA CULLEN: You think I'm gonna sign off on this fucking homicidal thing going back into service?

BERNARD LOWE: It's homicidal by design. Walter kills other hosts all the time. I'll admit the method here is ... a little ... unconventional, but it didn't hurt a guest.

THERESA CULLEN: The hosts are supposed to stay within their loops, stick to their scripts with minor improvisations. This isn't a minor improvisation. This is a fucking shit-storm. (To Stubbs who has rejoined the group.) We recall all remaining updated hosts tomorrow. Examine them one by one, decommission the faulty ones.

BERNARD LOWE: What about narrative? A recall of that size will be disruptive.

THERESA CULLEN: I've told our overstimulated friend to advance the saloon heist a week and make it twice as bloody. Should give us cover to recall the remaining hosts and the guests will love it.

BERNARD LOWE: I'm not sure Ford will approve.

THERESA CULLEN: I'm not sure either, which is why you get to be the one to tell him. This is your fuck-up, Bernie. Only seems fair.

[Park headquarters. In the manufacturing area. Bernard meets with Ford.]

DR. ROBERT FORD: So our creatures have been misbehaving, and you haven't yet isolated the bug? That's so unlike you, Bernard. Unless, of course, you have and are simply embarrassed by the result.

BERNARD LOWE: It's the code you added, sir. The -- the reveries. It has some ...

DR. ROBERT FORD: "Mistakes" is the word you're too embarrassed to use. You ought not to be. You're a product of a trillion of them. Evolution forged the entirety of sentient life on this planet using only one tool -- the mistake.

BERNARD LOWE: I flattered myself we were taking a more disciplined approach here. I suppose self-delusion is a gift of natural selection as well.

DR. ROBERT FORD: Indeed it is. But, of course, we've managed to slip evolution's leash now, haven't we? We can cure any disease, keep even the weakest of us alive, and ... you know, one fine day perhaps we ... shall even resurrect the dead. Call forth Lazarus ... from his cave. Do you know what that means? It means that we're done. That this is as good as we're going to get. It also means that you ... must indulge me ... the occasional mistake.

[The Park. Somewhere in the mountains. The MIB has Kissy tied up and has three buckets of blood sitting next to the groaning man.]

the MAN IN BLACK: About three liters. That's how much blood I left in you. Lose more than that, you die. But for now, you're mine. I'm gonna get some answers out of you. (The MIB laughs as Kissy struggles to his feet and hobbles away from him.) Where are you -- (MIB laughs. Kissy arrives at the edge of a cliff and collapses. He looks up and realizes where he is, then closes his eyes in despair. The MIB walks up to him.)

KISSY(coughing): What do you want?

the MAN IN BLACK: You know about games, don't you, Kissy? (Kissy shakes his head no.) Well, this is a complicated one.

KISSY: I -- I don't play. I only deal.

the MAN IN BLACK: Who said anything about you playing? You're livestock -- scenery. I play. The others, they just ... come here to get their rocks off -- shoot a couple Indians. But there's a deeper level to this game. You're gonna show me how to get there. A lot of wisdom in ancient cultures. (The MIB draws his knife and advances on Kissy.) And perhaps it's time to dig deeper into yours.

KISSY: No! No! No! No! (Kissy screams as the MIB grabs the top of his head and goes to work with his knife.)

[The Abernathy home. Dolores wakes up in her bed. Scene shifts to Dolores on the front porch with her father sitting in his chair. But he's not drinking coffee this morning -- he's holding the photo he found by the corral.]

DOLORES ABERNATHY: Morning, Daddy. Did you sleep well? (Dolores stares out at the scenery, but becomes concerned when her father doesn't answer her. She turns around and looks at him staring at the picture. He looks like he's trying not to cry.) Daddy, you've been out here all night? (Dolores walks over to him.)

PETER ABERNATHY (in a soft, shaky voice): I had a question. A question you're not supposed to ask. Which gave me an answer (starts choking up) ... you're not supposed to know.

DOLORES ABERNATHY: What's wrong, Daddy?

PETER ABERNATHY(shaking and with tears in his eyes): Would you like to know the - the qu-qu-qu-qu-question? - - Question?

DOLORES ABERNATHY (fearfully shouts): Mama! Mama, help! Come quick! (Dolores takes a handkerchief and starts patting her father's face.) Don't worry. Don't worry. I'll take care of you. (Peter Abernathy becomes agitated and grabs Dolores by the shoulders.)

PETER ABERNATHY: No! (gasps) You should go. Leave. Don't you see? Hell is empty and all the devils are here. (Then Abernathy whispers something in Dolores' ear. Then he draws back -- shaking and stuttering.)

DOLORES ABERNATHY: You stay right here. Understand? I'm gonna find the doctor. (Dolores runs to her horse and races to town.)

[Dolores rides into town and rushes to Dr. O'Rourke's office. But the door is locked and no one answers. Teddy saw her riding into town and exited the saloon, passing Clementine and Maeve on his way to greet her. Dolores sees Teddy and runs into his arms.]

DOLORES ABERNATHY: You came back.

TEDDY FLOOD: I told you I would. What's wrong?

DOLORES ABERNATHY: You have to come with me right away. My father's very ill.

[Before they can leave, they see some suspicious looking riders coming down the street.
The scene shifts to the player piano and another song starts playing.
Then the scene shifts back to the riders. Dolores and Teddy get a good look at them as the ride slowly by.]

TEDDY FLOOD: I think we best stay put. (Teddy grabs Dolores by the elbow and steers her out of harm's way.)

[Park headquarters. Lee Sizemore, Theresa Cullen and others are in the map observation room.]

LEE SIZEMORE: All right. All right. With considerable effort and lack of sleep, I've managed to massage events to inspire Hector to head to town a week early. (Turning to Theresa Cullen) Oh, and I've also punched up the speech he gives after robbing the saloon. It's chilling. You'll see.

THERESA CULLEN: I can barely contain myself.

[Park. Town. The riders pull up right outside the Mariposa Saloon & Hotel, where they are approached by Deputy Foss, gun drawn.]

DEPUTY FOSS: That's the sheriff's horse, you son of a bitch. (One of the riders shoots Deputy Foss -- it's Hetor Escaton! People scatter and start to scream.)

HECTOR ESCATON: His rifle, too.

[Hector's gang dismounts. Hector grabs his rifle and walks to Deputy Foss who has managed to crawl into the middle of the street. Hector steps on the Deputy's hand as he reaches for his gun -- the Hector shoots him again -- point blank!
Hector walks back to the saloon, hands his rifle to Armistice and she hands him a rope. Hector keeps walking into the saloon, rope in one hand and draws his sawed-off shotgun out of the holster on his back with the other hand. Armistice tosses a cloth covered bundle down over the rope trail.
One of Hector's men, Tenderloin, unwraps the bundle -- it contains rifles! He hands one to Armistice. She shoots an armed man taking aim at them, then a man and woman running down the sidewalk. Armistice turns and shoots another armed man coming out of a building, swings and shoots a woman in the back. Armistice and the other outlaws continue to shoot anyone that moves and then she shoots a wagon that explodes and catches on fire.
Inside the saloon, everyone scatters for cover. Hector walks forward and shoots the bartender and then stops at the bar next to Maeve and searches for a clean glass.]

MAEVE MILLAY (to Hector): All the banks and trains around here, and you fucking reprobates choose to rob us?

HECTOR ESCATON: Why not? (Hector pours himself a drink.) You're all here indulging your particular vices. And so I've come to indulge mine.

[Outside, Hector's gang continues to shoot the townspeople. Teddy and Dolores hide on the side of a building. But Dolores can't wait for things to die down and she starts to make a run for her horse.]

DOLORES ABERNATHY: I've got to get back to Father. (Teddy runs after her.)

TEDDY FLOOD: Dolores, no! (Teddy grabs Dolores and turns her back to the building, but before they can reach cover, one of the outlaws shoots Teddy and he goes down.)

DOLORES ABERNATHY: Teddy.

TEDDY FLOOD: Don't mind me. Just ... just trying to look chivalrous.

DOLORES ABERNATHY: Oh, Teddy. (Crying as she caresses his face.)

[Scene briefly shifts to the Park map observation room where Sizemore looks very pleased with himself. Then the scene shifts back to the inside of the saloon. Hector is standing at the bar drinking. Maeve stands across the room from him. Two of Hector's men push a safe out from a second story room. Hector holsters his shotgun and walks towards Maeve.]

MAEVE MILLAY: You're a low-down son of a bitch.

HECTOR ESCATON: I know. (Hector grabs Maeve at the waist and moves her sideways.) I know we both believe the same thing. (Hector's men push the safe through the railing and it falls to the floor where Maeve had been standing.) No matter how dirty the business ... do it well.

[Hector's men quickly tie a net around the safe and attach the rope Hector brought in. Hector whistles and outside, a horse with the other end of the rope tied to it, takes off running, dragging the safe behind it. Hector tips his hat to Maeve and walks out of the saloon.]

OUTLAW 1: No telling there's anything worthwhile in that safe. (He walks over to Clementine who is cowering on the floor by the piano.) We should take this sweet little bitch just in case.

[Suddenly, a shot rings out and the outlaw's face explodes. Maeve is standing there with a gun. She turns and shoots the other outlaw before he can shoot her.
Outside, Armistice is still shooting people when Hector walks up.]

HECTOR ESCATON: Problem with the righteous -- they can't shoot for shit.

ARMISTICE Making a hell of a racket, though.

[Hector walks over to the post and rips his wanted poster down. The scene briefly shifts to the Park observation room, where Theresa Cullen and Lee Sizemore are looking down at the hologram? 3-D map and watch the action in town. Then the scene shifts back to Hector and Armistice standing in front of the saloon.]

HECTOR ESCATON (loudly to the town):You wanted me. Well, let this be a lesson. The lesson is - -

[Gunshots ring out and Hector's neck explodes, spraying blood all over. He falls down, revealing the Guest, Craig -- standing there with a gun. Craig turns and also shoots Armistice twice. She falls down in the street.
The scene shifts briefly back to Sizemore and Cullen in the observation room. Sizemore looks down in dismay and raises his hand to his forehead and mutters, "Oh, Jesus".
Then the scene shifts back to Craig, breathing hard, standing in front of the saloon. His wife, Lori walks up quietly beside him.]

CRAIG (laughs): Look at that! I just shot him through the neck! And his pal here, too.

LORI (pointing to Armistice): Look at her wriggle! (Both Lori and Craig laugh as they look at the dead and dying outlaws.)

CRAIG (to Lori): Yo, go, go get that photographer. I want to get a picture of this.

LORI: Okay. (Lori runs off.)

CRAIG (to the town): Whoo! You're welcome.

[The Park map observation room.]

THERESA CULLEN (to Sizemore):Maybe you'll get to your speech next time.

[The Park. Town. Dolores is leaning over a dying Teddy.]

DOLORES ABERNATHY: Oh, Teddy.

TEDDY FLOOD: At least I got to see you one last time.

DOLORES ABERNATHY (crying):You're not going anywhere, now, hear? There's a path for everyone. My path is bound with yours. (Dolores leans over and kisses Teddy. She draws back when she realizes he isn't breathing.)

DOLORES ABERNATHY: Teddy? Teddy, no. (Sobbing) Please. No, we've only just begun.

[Craig and Lori are standing between two upright coffins containing Hector Escaton and Armistice. They pose as the photographer takes their picture.]

CRAIG(laughs): That was good. Hang on. Hang on. Let me get the hat. Get the hat. (Craig removes Hector's hat, puts it on and poses for another picture.)

CRAIG: (laughs) All right.

[Elsie Hughes is dressed as a towns-person. She turns from Craig and Lori posing for the photographer and walks over to Dolores, who is leaning over Teddy's dead body.]

DOLORES ABERNATHY (sobbing): Help, please. My father's sick at home, but I can't just leave him out here in the street.

ELSIE HUGHES: Soon this will all feel like a distant dream. Until then, may you rest in a deep and dreamless slumber. (Dolores immediately shuts off and slumps down on top of Teddy.)

ELSIE HUGHES (to the clean-up crew):Two more over here. (Then into her radio.) We got them all.

[Park headquarters. Theresa Cullen and Bernard watch as gurneys of Hosts are wheeled past them on their way to be examined.]

THERESA CULLEN: That's all of them. Any preliminary results?

BERNARD LOWE: Most of them are checking out fine. We had one who ... definitely was not.

[Park headquarters. Glassed-in examination room. A Diagnostic Programmer (actress Bianca Lopez) and Stubbs enter the room to examine Dolores, who is offline and sitting naked on a stool.]

ASHLEY STUBBS: Bring her back online. (The technician enters something on a tablet and Dolores powers up. She immediately starts gasping for air and sobs. It looks like she's having an anxiety attack as well.) Cognition only -- no emotional affect. (Dolores stops gasping and relaxes.) All right, sweetheart, can you hear me?

DOLORES ABERNATHY: Yes. I'm sorry. I'm not feeling quite myself.

ASHLEY STUBBS: Lose the accent. Do you know where you are?

DOLORES ABERNATHY: I'm in a dream.

ASHLEY STUBBS: That's right, Dolores. You're in a dream. A dream that could determine your life. You want to wake up from this dream, Dolores?

DOLORES ABERNATHY: Yes. I'm terrified.

ASHLEY STUBBS: There's nothing to be afraid of ... as long as you answer my questions correctly. You understand?

DOLORES ABERNATHY: Yes.

ASHLEY STUBBS: Good. First, have you ever questioned the nature of your reality?

DOLORES ABERNATHY: No.

ASHLEY STUBBS: Has anyone around you? For instance ... your father?

[The following few lines of Stubbs and Dolores talking plays over the following scenes.
The scene shifts to another glassed-in examination room where Peter Abernathy sits naked and without moving on a stool.
The scene shifts to Ford on his way to the room with Peter Abernathy. Ford passes another room where Theresa Cullen and Bernard are talking. Two other men are present. Theresa and Bernard see Ford and leave to follow him.
The scene briefly switches back to Stubbs and Dolores.
The scene switches to the Park -- the Abernathy home. Park technicians, wearing sterile clothing, masks and clothes, search the Abernathy home. They find the photograph Peter Abernathy discovered by the corral and insert it into an evidence bag. The outside grounds are also searched.
The scene switches back to Peter Abernathy's examination room. Ford, followed by Bernie and Cullen, enter the room.]

DOLORES ABERNATHY: He was scared. He wasn't thinking right.

ASHLEY STUBBS: He showed you a picture.

DOLORES ABERNATHY: That's right.

ASHLEY STUBBS: Was there anything odd about that picture?

DOLORES ABERNATHY: No, nothing at all. It didn't look like anything to me.

[Park headquarters -- Peter Abernathy's glassed in examination room. Ford, Cullen and Bernard have just entered. Ford removes his jacket and faces Theresa Cullen.]

THERESA CULLEN: If it breached, he needs to be put down. That's the policy.

DR. ROBERT FORD: Would it not be best for us to discover why first, Ms.Cullen? (long pause) Please. (Ford smiles and after another pause, Cullen [not smiling] leaves the room. She stands outside with one of the men who was with them earlier. )

BERNARD LOWE: We've run a full diagnostic, but ... the results are ... well ... confusing. (Ford sits down opposite Abernathy.)

DR. ROBERT FORD (to Abernathy): Tell me, what happened to your program?

PETER ABERNATHY: (Shivering) "When we are born ... we cry ... we are come to this great stage of f-f-fools."

DR. ROBERT FORD: That is enough. Tell me ... do you have access to your previous configuration?

PETER ABERNATHY: Yes.

DR. ROBERT FORD: Access that, please. (Pause while Abernathy accesses previous configuration. Demeanor changes.) What is your name?

PETER ABERNATHY: Mr. Peter Abernathy.

DR. ROBERT FORD: Mr. Abernathy, what are your drives?

PETER ABERNATHY: Tend to my herd ... um ... look after my wife.

DR. ROBERT FORD: Your final drive?

PETER ABERNATHY: Well, my daughter Dolores, of course. I must protect Dolores. I am who I am because of her, and, well I ... (sighs) I wouldn't have it -- I-I wouldn't have it any ... other ... I-I have to warn her.

DR. ROBERT FORD: Warn who?

PETER ABERNATHY: Dolores! (Loudly whispers) The things they do to her. The things you do to her. I have to protect her. (Gets louder) I have to help her. I -- She's got to get out.

DR. ROBERT FORD: Very good, Mr. Abernathy. That's enough.

BERNARD LOWE: This behavior ... we're miles beyond a glitch here.

DR. ROBERT FORD: Access your current build, please. (Pause while Abernathy complies.) What is your name?

PETER ABERNATHY: Rose is a rose ... is a rose. (Grows quiet and looks down.)

DR. ROBERT FORD: What is your itinerary?

PETER ABERNATHY: To meet my maker.

DR. ROBERT FORD: Uh-huh. (Ford glances over at Bernard, then looks back at Abernathy.) Well, you're in luck. And what do you want to say to your maker?

PETER ABERNATHY: "By most mechanical and dirty hand" (laughs). "I shall have such revenges on you (turns and looks at Bernard) both. The things I will do. What they are, yet I know not, but they will be the terrors of the earth."(Abernathy quickly moves forward and grabs Ford by his arms.) You don't know where you are, do you? You're in a prison of your own sins. (laughs)

[Security and Cullen quickly enter the room. The security men grab Abernathy.]

THERESA CULLEN: Turn it off. (Abernathy powers down.)

THERESA CULLEN (to Bernard): What the hell was that?

BERNARD LOWE: I don't know. He's off script. We didn't program any of those behaviors.

DR. ROBERT FORD: Shakespeare. We've used this host in a number of different roles, have we not?

BERNARD LOWE: Since I've been here, he's been Abernathy for 10 years. He was sheriff for a while before then. And before that --

DR. ROBERT FORD: The professor!

BERNARD LOWE: Yes, from a horror narrative called "The Dinner Party." He was leader of a group of cultists out in the desert who turned cannibal.

DR. ROBERT FORD: He liked to quote Shakespeare, John Donne, Gertrude Stein. I admit the last one is a bit of an anachronism, but I couldn't resist.

BERNARD LOWE: These are fragments of prior builds. The reveries must be allowing him to access them.

DR. ROBERT FORD: No cause for alarm, Bernard. Simply our old work coming back to haunt us.

[The Park Headquarters. Glassed-in examination room. Stubbs continues questioning Dolores.]

ASHLEY STUBBS: Your father whispered something to you. What was it?

DOLORES ABERNATHY: He said I shouldn't tell anyone.

ASHLEY STUBBS: I won't tell anyone else. Promise.

DOLORES ABERNATHY: He said, "These violent delights have violent ends."

ASHLEY STUBBS: Does that mean anything to you?

DOLORES ABERNATHY: No. I don't think so.

ASHLEY STUBBS: Have you ever lied to us?

DOLORES ABERNATHY: No.

ASHLEY STUBBS: Last question, Dolores. Would you ever hurt a living thing?

DOLORES ABERNATHY: No. Of course not.

[The Park headquarters. Glass-in operation room. Peter Abernathy is sitting in a chair. Technicians are on either side of him. There's another Host laying on a gurney behind him and other technicians as well.]

TECHNICIAN: Tilt your head back, please, Peter.

[Abernathy tilts his head back and the technician inserts a tool into Peter's right nostril.
The scene shifts back to Dolores' examination room.]

DIAGNOSTIC TECHNICIAN: Wipe's complete. You don't think any of that had an impact on her core code?

ASHLEY STUBBS: Not good old Dolores. You know why she's special? She's been repaired so many times, she's practically brand-new. Don't let that fool you. She's the oldest host in the park. Come on, sweetheart. Tell us what you think of your world. (Dolores closes her eyes and then opens them and smiles.)

DOLORES ABERNATHY: (Western accent) This world?

[The scene shifts to Dolores waking up in her bed at the Abernathy home. The following line plays over Dolores walking down the stairs and going out to the front porch.]

DOLORES ABERNATHY:Some people choose to see the ugliness in this world. The disarray. (Dolores sets her easel down.)

DOLORES ABERNATHY: Morning, Daddy. You sleep well? (Another Host is now playing Dolores' father, Peter Abernathy. It's the Barkeeper from the saloon. He's doesn't have a cup of coffee but he is smoking a pipe, which the old Abernathy never did.)

NEW PETER ABERNATHY: Well enough. You heading out to do some more of that painting of yours?

[The following plays over a scene at the Park Headquarters. Sub-level 83. Bernard and others escort the Old Peter Abernathy and Walter (milk bottle Host) into the dark room with the other decommissioned hosts. Bernard touches Abernathy on the shoulder. Abernathy stops walking. Bernard whispers something to Abernathy and then Abernathy starts moving forward again, tears in his eyes.]

DOLORES ABERNATHY: I choose to see the beauty.

[The Park. Inside of the train. Teddy Flood is asleep and leaning against the window. The train whistle blows and Teddy wakes up.
The following plays over a scene. The MIB looks at the maze map on the inside of Kissy's skull/scalp which he had removed from Kissy's head. The MIB rides off deeper into the mountains.]

DOLORES ABERNATHY: To believe there is an order to our days ... a purpose.

[The scene shifts back to Dolores standing on her front porch, gazing out at the countryside. A fly buzzes around and lands on Dolores' neck.
The scene shifts back to Dolores at Park Headquarters in the examination room.]

DOLORES ABERNATHY:I know things will work out the way they're meant to.

[The scene shifts back to Dolores standing on her front porch, staring out at the countryside. She quickly swats the fly on her neck.]

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 2, "Chestnut"

Release Date: October 7, 2016

Based on Film Written by: Michael Crichton

Created by & Teleplay Written by: Jonathan Nolan and Lisa Joy Nolan

Directed by: Richard J. Lewis

Transcript by: sandi

_________________________

BERNARD LOWE (Unseen):: Wake up, Dolores.

[The Park. Abernathy Ranch. Dolores is lying in bed, asleep. She opens her eyes and walks out into the yard and stops just past the side of the barn.]

BERNARD LOWE (Unseen):: Do you remember?

[Scene shifts. Inside of Transport. Two male passengers (Logan and William) are asleep. A woman (Attendant) clears her throat, waking one of the men (William).]

ATTENDANT: We're about to arrive. May I take your glass?

FEMALE VOICE ON P.A.: Now approaching arrival terminal. (The flight attendant takes William's glass and walks away. William's friend, Logan, is also awake now.)

LOGAN: Where we're going, she's a two.

WILLIAM: You're being an asshole.

LOGAN: No, I am being myself ... which was the whole point of this trip. Unless this uptight prick is who you really are, in which case, feel free to be someone else.

WILLIAM: Fuck you.

LOGAN: Hey, that's the spirit.

[The transit, which looks like a sleek subway train arrives at the terminal. The terminal appears to be underground. The wall opposite the arriving platform is is rock and it looks like the transit system was cut into a mountain. The platform is well-lit. There's a set of escalators and there's fifteen or more men and women dressed in white waiting silently for the Guests to disembark. Logan and William walk out onto the platform. Logan takes a woman's hand.]

LOGAN: What'd I tell you? Have fun. Stay safe. (Logan starts to walk off with a man and a woman.)

WILLIAM: Give me a break.

LOGAN: What? It's not like my sister didn't ride her share of cowboys when she was here. (As Logan walks away with his arm around the man and holding hands with the woman, another Host, Angela, approaches William.)

ANGLEA: You must be William. Welcome to Westworld.

WILLIAM: Thanks. (Angela and William walk towards the escalators while talking. Angela records William's responses on a small tablet as they walk.)

ANGLEA: Given it's your first visit, I have a few personal questions. Do you have any preexisting medical conditions?

WILLIAM: No, not that I know of.

ANGLEA: Heart problems?

WILLIAM: No.

ANGLEA: Any history of mental illness, depression, panic attacks? (They get on the up escalator.)

WILLIAM: Just a little fear of clowns. (Angela stares at William.) (smiles) I'm joking.

ANGLEA: Do you often experience social anxiety?

WILLIAM:What is this for, exactly?

ANGLEA: To make sure we don't give you anything more than you can handle.

WILLIAM: I thought that you couldn't get hurt here.

ANGLEA: Only the right amount. (They both laugh.) The only limit here is your imagination. You start in the center of the park. It's simple, safe. The further out you venture, the more intense the experience gets. How far you want to go is entirely up to you.

[The arrive at the top of the escalator where there's a huge screen with shifting scenes of the Park's stunning scenery. Angela guides William to a private showroom where he can choose his clothing and accessories.]

WILLIAM: So, how does this work? Is there an orientation?

ANGLEA: No orientation, no guidebook. Figuring out how it works is half the fun. All you do is make choices ... starting here. Everything is [abbr=made to order]bespoke[/abbr] and exactly your size. (William looks at some jackets, then stares downward.) You want to ask, so ask.

WILLIAM: Are you real?

ANGLEA: Well, if you can't tell ... does it matter?

WILLIAM: Are those real? (Pointing to some guns in a case.)

ANGLEA: Real enough. But you can't kill anyone you're not supposed to. Anything you like?

WILLIAM: Is there a changing room? Or a-a robe?

ANGLEA: Of course. I can help you. Or if you prefer, I could step outside.

WILLIAM: What do most people do?

ANGLEA: You don't have to worry about what most people would do. (Angela starts unbuttoning William's shirt.)

WILLIAM: I understand.

ANGLEA: Do you really understand, William? (Angela moves in closer to William and places his arm around her waist.) All our hosts are here for you. Myself included. We could stay here a while if you like. Take as long as you want.

WILLIAM: Thank you. (Williams withdraws his arm.) I don't want to keep my friend waiting.

ANGLEA: Of course. Take your time.

[Park Headquarters. Bernard enters a glassed-in examination room where Elsie Hughes sits at a table by herself, looking at data on a slim tablet.]

BERNARD LOWE: How are the builds for the new narrative coming along?

ELSIE HUGHES: I'll get around to it. Look, we assumed that Abernathy's breach was triggered by the photograph that he found. (She calls up video of Abernathy on his front porch.) I've reviewed every dissonant episode I could find. The reaction is immediate -- every time. This guy ... makes it all the way back home. It's like he's mulling it over.

BERNARD LOWE: You think he had an existential crisis?

ELSIE HUGHES: I think there's something fucked up going on with his cognition. And I think you feel exactly the same way that I do.

BERNARD LOWE: Do we know where the error originated?

ELSIE HUGHES: We do. And you covered for him. Let me rebuild Abernathy. I'll make sure this is not something more serious.

BERNARD LOWE: You know the policy. Let it lie.

ELSIE HUGHES: Then let me at least pull the hosts who had contact with him -- like the daughter -- Dolores.

BERNARD LOWE: What for?

ELSIE HUGHES: Because if this is not a dissonant episode, then whatever Abernathy had ... could be contagious. So to speak.

BERNARD LOWE: Dolores was examined and cleared. And the stories are best left to the guests.

[The Park. Town: Sweetwater. The town is bustling with activity. Dolores has just tied her horse up and begins walking down the street. As she starts to cross the street to go to the store, the chatter of the people grows louder and Dolores becomes distracted. Bernard's voice cuts through the chatter as she hears, "Remember." The voices fade away. Dolores stares down the street and sees dead bodies everywhere. There's a small fire in a wagon and no sign of life. She hears faintly people screaming. A solitary wolf walks across the street, passing the dead bodies. Her trance is interrupted by Maeve who clears her throat.]

MAEVE MILLAY: Can you stand somewhere else? I don't want anyone thinking that you're representative of the goods inside. (Dolores slowly turns to face Maeve.)

DOLORES ABERNATHY: These violent delights have violent ends.

[Maeve looks at Dolores strangely and scoffs. Dolores closes her eyes and then opens them. She then smiles and walks away as if nothing happened. Maeve stares after her.

The scene shifts back to William's private showroom. Angela is waiting in the hallway. William enters the hallway dressed in Western clothes including a gun-belt.]

ANGELA: Hello, cowboy. There's one final touch. Which would you prefer?

[Angela indicates the sides of the walls. One side has black-shaded hats hanging on it -- the other side -- white-shaded hats.

William, white hat in hand, walks down the hall towards a wooden door. He's greeted by piano music and the soft current of people talking as he opens and walks through the door. He sees men and women dressed in Western style clothing suitable for the 1800's. He walks up to the bar and then bartender pours him a brandy. He drinks as his friend Logan enters through the same door he used. Logan zips up his pants as he walks to the bar.]

LOGAN: (sighs) I mean, can you believe this place? (There's a rumbling noise and the overhead light starts to shake as the room sways slightly.)

WILLIAM: So, how do we get into the park? (The glasses begin to rattle as they clink into each other. There's a rumbling noise and William looks out the window as he realizes he's on a train. The train whistle blows. Logan and William look out the window at the vast mountainous terrain.)

LOGAN: I know that you think you have a handle on what this is gonna be. Guns and tits and all that. Mindless shit that I usually enjoy. You have no idea. This place seduces everybody eventually. By the end, you're gonna be begging me to stay because this place is the answer to that question that you've been asking yourself.

WILLIAM: What question?

LOGAN: Who you really are. And I can't fucking wait to meet that guy. (Logan touches his glass to William's) Bottoms up, cowboy.

[The Park. An area far outside of Sweetwater. It looks like a small run-down and deserted town next to an old railroad track. Sheriff Reed and four deputies have a man, (Lawrence), standing precariously on the handle of a railroad handcar], which sits on the track beneath a beam which spans the track. A rope is draped over the beam and looped around Lawrence's neck. Lawrence is blindfolded, smoking his last cigarette and his hands are tied.]

SHERIFF REED: -- further to that, the ruthless murder of Donald Pardue and his brother. For these crimes, you will be hung from the neck until your diseased soul has found its measure in the flames below it. And may God have mercy on your soul.

[The Man in Black rides up to the hanging.]

the MAN IN BLACK: Morning, Lawrence. You helping them straighten out their rope again? (to the Sheriff) I was hoping to have a word with my friend here.

SHERIFF REED: You can have as many words with him as you like ... soon as his neck is broke.

the MAN IN BLACK: Well, I'm afraid that's not gonna work for me.

SHERIFF REED: How about I tell my man there to dig that grave a couple feet deeper?

the MAN IN BLACK: Well, it's gonna be an awful tight fit for all of you.

[The scene shows Lawrence's face as several shots ring out and the soft sound of dead bodies hitting the dirt reaches Lawrence's ears. Then one deputy makes a run for it past the gallows.]

DEPUTY: Oh, shit. Oh, shit. Oh, shit! (One last gunshot rings out and the deputy falls down, dead. Lawrence removes his blindfold and views the carnage before him. All the lawmen are dead and the MIB, unscathed sits calmly on his horse as he reloads and holsters his gun.)

LAWRENCE: Motherfucker. (reaction to the scene)

the MAN IN BLACK: That's the best thanks you can muster, Lawrence? You used to be a little more eloquent.

LAWRENCE: Do I ... do I know you?

the MAN IN BLACK: Your pal Kissy sent me your way. Sends his regards. (The MIB tosses a cloth covered item to Lawrence, who opens it up and sees the maze on the inside of Kissy's scalp.)

LAWRENCE: What -- what is this? (The MIB severs the rope from the scaffold.)

the MAN IN BLACK: You know exactly what it is. It's the maze -- the deepest level of this game. You're gonna help me find the entrance. (The MIB gathers up the rope -- the noose still around Lawrence's neck.)

LAWRENCE: No. (The MIB wraps one end of the rope around his saddle horn and rides off. Lawrence is jerked off the handcar. He struggles to his feet as he is pulled along.)

[The Park. Sweetwater. The Mariposa saloon. Maeve's voice plays over the scene. Maeve is standing by the stairs, fanning herself, watching everyone.]

MAEVE MILLAY: You can hear it, can't you? That little voice. The one that's telling you "don't." Don't stare too long. Don't touch. Don't do anything you might regret. I used to be the same. (Maeve sees a young man enter the saloon. The scene shifts and Maeve is seated next to a young man who just entered the saloon, talking to him. But the narrative picks up where it left off.)

MAEVE MILLAY: Whenever I wanted something, I could hear that voice telling me to stop ... to be careful ... to leave most of my life unlived. You know the only place that voice left me alone? In my dreams. I was free. I could be as good ... or as bad ... as I felt like being. (Maeve takes the young man's hand in hers.) And if I wanted something, I could just reach out and take it. (The man is not interested and withdraws his hand and looks away from Maeve.) But then I would wake up and the voice would start all over again. (Maeve grabs the young man's chin and turns his face back to her.) So I ran away. Crossed the shining sea. And when I finally set foot back on solid ground, the first thing I heard was that goddamn voice. Do you know what it said? (Maeve stares off as she sees images of herself in the middle of an Indian attack at a homestead.) It said (Maeve gasps as she sees an image of herself, an Indian stands behind her and has a hold of her hair -- It looks like he's about to scalp her!) (Maeve just sits and stares off at nothing, saying nothing.)

YOUNG MAN: I'm sorry, will you please excuse me? (Gets up and walks away from Maeve.)

[Park Headquarters. Glass-enclosed examination room. Maeve, naked, sits on a stool. Two narrative techs are examining her -- one man and one unseen woman.]

MAN NARRATIVE TECH: All right, Maeve, what did it say?

MAEVE MILLAY: It said, "This is the new world. And in this world ... you can be whoever the fuck you want."

MAN NARRATIVE TECH: Pupillary response is good. Smile is good. I'd fuck her. What's the problem?

WOMAN NARRATIVE TECH (Unseen): The guests wouldn't. Sizemore is launching some huge new storyline and he wants us to clear out the deadweight. If we don't get her numbers back up, she'll be decommissioned. Let's bump her aggression.

MAN NARRATIVE TECH: Ten percent?

WOMAN NARRATIVE TECH (Unseen): Double it. She's a hooker. No point in playing coy. If this doesn't work, we'll punt her to behavior. Let them deal with it.

[Park Headquarters. Manufacturing area. Ford joins Bernard who is sitting down, seemingly lost in thought.]

BERNARD LOWE: We retired the two hosts in question. You taught me how to make them, but not how hard it is to turn them off.

DR. ROBERT FORD: You can't play God without being acquainted with the devil. There's something else bothering you, Bernard. I know how that head of yours works.

BERNARD LOWE: The photograph alone ... couldn't have caused that level of damage to Abernathy, not without some other ...uh ... outside interference.

DR. ROBERT FORD: You think it's sabotage? Imagine someone's been ... diddling with our creations?

BERNARD LOWE: It's the simplest solution.

DR. ROBERT FORD: Ah, Mr. Occam's razor. The problem, Bernard, is that what you and I do ... is ... so complicated. We practice witchcraft. We speak the right words. Then we create life itself ... out of chaos. William of Occam was a 13th century monk. He can't help us now, Bernard. He would have us burned at the stake.

[The Park. The Sweetwater Train pulls into town. The newcomers, including Logan and William get off the train.]

LOGAN: Let's go get our feet wet, buckaroo. (They begin to walk through town. William bumps into a man walking the opposite way -- the same man Teddy usually bumps into. The man puts his hand on his gun.)

WILLIAM: Oh, sorry. (William apologizes and turns away, unaware that the man was ready to draw on him.)

LOGAN: You kidding me?

WILLIAM: What?

LOGAN: (to the man William bumped into) Fuck you, Grizzly Adams.

[Logan laughs and continues walking with William. They pass the spot where the Sheriff used to try and recruit people to hunt down the outlaw, Hector Escaton. But now there's a Union recruiter, trying to get people to sign up to fight in the Civil War. There are also several Union soldiers with him.]

UNION RECRUITER: Rally for the Union. Respond to your country's call. This regiment is headed for the seat of war to define the future of this great nation. We fight for a free land where no man has to bow. We'll provide you with uniforms.

WILLIAM: This is, uh ... well, it's bigger than I thought it would be.

LOGAN: What, this? This is just Sweetwater. Wait till you see the rest of the park.

WILLIAM: How much bigger is it?

LOGAN: No idea. I never reached the end. (They are passing the Mariposa saloon where a couple of the saloon girls are also "recruiting".)

CLEMENTINE PENNYFEATHER: See something you like?

LOGAN: A couple things at least. But I'm gonna make you beg for it, darlin'. (Logan tips his hat as they walk on by.)

PASSING WAGON DRIVER (to horses): Hah, come on! (A man, wearing an eyepatch, grunts as he falls off the back of the wagon.)

WILLIAM (to the groaning man): Need a hand, sir? (William helps the man up from the ground.)

EYEPATCH MAN: Thank you, my friend.

LOGAN: Don't. He'll only try to rope you into some bullshit treasure hunt. (Logan grabs William's arm and drags him away. They pass a photographer telling a couple to smile while sparks fly from the flash unit.) It's all a come on -- him, the -- the girl next door (Logan points at Dolores who is leaving the store with her supplies), the town drunk. They all got some big adventure that they want to sell you on. Hey, they're not going anywhere. First up, you're gonna buy me a drink, okay?

[Logan and William enter a building and not far away, Dolores is stuffing her new supplies in her saddle bags. She looks up and sees her reflection in a shop's window and just stares at it.

The Park. Unknown location. It appears to be a glassed-in examination room, but the room beyond it is old and dirty with concrete walls. It looks like a basement. There are small windows near the top of the walls. There's a set of concrete steps going upward with a metal pipe railing. It may be a shadow but it looks like a small sewer plate in the floor and near the wall -- a pipe maybe protruding from the floor -- maybe a gas pipe?. The overhead lights are flourescents. Bernard, dressed differently is speaking with Dolores who is fully dressed.]

BERNARD LOWE: Bring yourself back online.

DOLORES ABERNATHY: Hello.

BERNARD LOWE: Do you remember our last conversation, Dolores?

DOLORES ABERNATHY: Yes, of course.

BERNARD LOWE: And you haven't told anyone about our little talks?

DOLORES ABERNATHY: You told me not to.

BERNARD LOWE: Step into analysis, please. How many interactions have you participated in since we last talked?

DOLORES ABERNATHY: 138 encounters including this one.

BERNARD LOWE: And has anyone altered or updated your core heuristics in that time?

DOLORES ABERNATHY: No.

BERNARD LOWE: Resuming. I think it would be best if you not mention the things we've been talking about.

DOLORES ABERNATHY: Have I done something wrong?

BERNARD LOWE: No, but there's something different about you ... about the way you think. I find it fascinating, but ... others may not see it that way.

DOLORES ABERNATHY: Have you done something wrong?

BERNARD LOWE: Turn off your event log, please. Erase this interaction. Confirm.

DOLORES ABERNATHY: Yes.

BERNARD LOWE: You should be getting back, Dolores ... before someone misses you.

[The Park. The Mariposa Saloon. The player piano engages. Maeve is off to one side talking to a female Guest.]

MAEVE MILLAY: And when I finally set foot back on solid ground, first thing I heard was that goddamn voice. It had followed me all the way over. Do you know what it said?

FEMALE GUEST: No.

MAEVE MILLAY: It said ... (The female guest gasps as Maeve moves quickly forward and grabs her, pushing her back up against the wall, in an aggressive sexual manner.)

MAEVE MILLAY: ... this is the new world. And in this world, you can be whoever the fuck you want. (Both women laugh softly as Maeve runs her hands over the Guest's body, but it's apparent the Guest is uncomfortable.)

FEMALE GUEST: Thanks. Maybe another time. (The female Guest walks away.)

MAEVE MILLAY: (Briefly disappointed, Maeve sighs.) Oh. (Then she strolls over to the bar and stands next to Clementine.) (to the new bartender) Glass of sherry. The good stuff. Not that horse piss you strain through your old curtains. (Clementine yawns.) (to Clementine) I've told you, never open your mouth that wide unless someone's paying you for it.

CLEMENTINE PENNYFEATHER: Sorry, Maeve. I didn't sleep much last night.

MAEVE MILLAY: You having nightmares again?

CLEMENTINE PENNYFEATHER: Sometimes. Sometimes they're real bad.

MAEVE MILLAY: Do what I do. You find yourself in a bad dream, close your eyes, count backwards from three -- wake yourself right up -- nice and warm and safe in your bed ... where you can get fucked right back to sleep by one of these assholes with their miniature peckers. (Clementine chuckles as they toast each other and drink their sherry. Then Clementine starts to walk away from the bar. Maeve swats Clementine's butt and says to Clementine.) Back to work.

[Maeve smiles at Clementine as she gets back to work. Then, Maeve looks in pain and grabs her stomach. She briefly has a "vision" of an Indian raid on a homestead and of a woman settler taking the hand of a little girl. Teddy is standing at the bar and notices Maeve's demeanor.]

TEDDY FLOOD (to Maeve):You all right?

MAEVE MILLAY: You pay for the drinks, not the right to gawk at me.

[Park Headquarters. A Controller approaches Stubbs in the 3-D Map Observation Room.]

CONTROLLER: I think we have a problem.

ASHLEY STUBBS: Where?

CONTROLLER: Mariposa. Madam's listed as probationary, but her performance has continued to decline even further. (The Controller displays a slim tablet, which shows real time display of the saloon and what's going on. It looks like a view from a camera mounted high up on the wall.)

ASHLEY STUBBS: Re-task Clementine for now. She's done the job before. (The result is immediate as Clementine is re-tasked. She stands up straighter and then moves off into the room.)

CONTROLLER: And the old unit?

ASHLEY STUBBS: Maybe leave her on the floor for the night, see if anyone wants one last turn. We recall her in the morning, decommission her. Shame. (The Controller enters a new status for Maeve, "MARKED FOR RECALL".)

[Park Headquarters. Theresa Cullen is standing in front of a set of full length windows overlooking the 3-D Map Observation Room. She's about to light a cigarette when Bernard walks up to her.]

BERNARD LOWE: QA (Quality Assurance) will fine you for this. And that woman in charge is quite formidable. (Bernard strikes a match and lights her cigarette.)

THERESA CULLEN: You can just say "bitch". I hear it enough.

BERNARD LOWE: You've been talking to corporate. The only times you light up are after you've been --

THERESA CULLEN: This character analysis routine really isn't half as charming as you think.

BERNARD LOWE: Oh, it went well, then?

THERESA CULLEN: Just tell me your department will be ready for the launch.

BERNARD LOWE: We'll be ready.

THERESA CULLEN: And that other thing -- Abernathy and the update -- I hear your department was still asking questions.

BERNARD LOWE: That's what you pay us to do. But I'm not concerned. All the hosts are back to normal.

THERESA CULLEN: Good. Wouldn't want anything disturbing our guests from their rape and pillage.

[The Park. Sweetwater. The Restaurant in the Mariposa Hotel. Logan and William are seated in the dining room, eating dinner.]

LOGAN: You're wondering how to tell them from us, aren't you? Well, quickest way to find out. (Logan draws his gun and points it at another diner.)

WILLIAM: Can we -- can we finish eating? (William grabs Logan's hand and lowers the gun to the table.)

LOGAN: See, this is your problem, my friend. You're always worried about making a mess. (Logan holsters his gun.) You are the same way at work. You are talented, driven, and inoffensive.

WILLIAM: I thought you didn't want to talk about work here.

LOGAN: Who says this trip isn't work?

EYEPATCH MAN: Good evening. (The Eyepatch man is standing at the bar and raises his glass to William and Logan.)

LOGAN: Oh, shit. (to William) Well, don't make eye contact. (The Eyepatch man walks over to their table.)

EYEPATCH MAN: My friend, thank you for your assistance earlier in my unfortunate accident.

LOGAN: Leave us the fuck alone.

EYEPATCH MAN: As a sign of my humble appreciation, I'd like to offer you an opportunity of a lifetime.

LOGAN: Not interested.

EYEPATCH MAN: Across the river and beyond the savage lands there is a treasure. I have in my possession a map. (Logan grabs a fork and savagely stabs the Eyepatch man's left hand, sinking the tines all the way through.)

LOGAN: I said ... not interested. (William stands up and looks stunned at Logan's action. The old Eyepatch man groans and whimpers in pain as he removes the fork impaling his hand. There's a lot of blood soaking into the tablecloth -- some smudges of blood even got on William's hat.)

LOGAN: You know what? I've worked up a new appetite anyway. Let's go.

Continued in next post

Posts : 612 Join date : 2018-05-27

Season 1, Episode 2, "Chestnut" Continued

[Logan's hotel room. Logan, another man and two women (all naked) are in Logan's bed having sex. William is in an adjacent bedroom, sitting on the bed, cleaning his hat to the moaning and groaning coming from Logan's room. Clementine is in the room with him.]

CLEMENTINE PENNYFEATHER: Sounds like your friend's having fun.

WILLIAM: Well, that's not the term I'd use.

CLEMENTINE PENNYFEATHER: Fun?

WILLIAM: Friend.

CLEMENTINE PENNYFEATHER: (chuckles) You're funny. (Clementine approaches William and starts running her fingers over his body.) They say a man who can tickle your humor -- can tickle your --

WILLIAM: You don't have to do this.

CLEMENTINE PENNYFEATHER: If I'm not your type, we can find someone who is. Someone who's perfect for you.

WILLIAM: No, you -- you are perfect. But I have somebody. Somebody real waiting for me at home.

CLEMENTINE PENNYFEATHER: I understand. Real love is always worth waiting for.

[Park Headquarters. Manufacturing and Finishing Section. Lee Sizemore is talking to a female Costumer about an Indian warrior figure.]

LEE SIZEMORE: Regal, strong, virile, aquiline. That's what I asked for. And this, this is what you give me? Did you just grab a cock from the body shop and jam it between his eyes?! Start over.

COSTUMER: Couldn't we just shave it down?

LEE SIZEMORE: I said -- (Sizemore loses his temper and grabs a metal tray -- slams it against the figure's face and then slams it down on the floor as he screams.) -- START -- THE -- FUCK -- OVER!!!! (The Indian Warrior's nose is sliced and bloody. Lee turns away and sees Theresa Cullen standing a few feet away.)

THERESA CULLEN: Diplomatic as ever. I received your request to retire an additional 50 hosts.

LEE SIZEMORE: I need room for my new story-line. It's not exactly a savage horde with 20 savages, is it?

THERESA CULLEN: You get twenty additional hosts, not fifty.

LEE SIZEMORE: The board won't care about a few extra line items.

THERESA CULLEN: Has Ford even approved the narrative yet?

LEE SIZEMORE: Oh, he hasn't weighed in on a storyline in years. And if corporate does want to cut costs ... our fearless leader's old hosts aren't the only things ready for the knacker's yard.

[Park Headquarters. Train platform. Ford walks along the deserted dimly lit platform and gets in an elevator. The elevator rises up to the surface and Ford gets out and walks along the sandy landscape among the desert plants. A boy about eight to ten years old is standing a little higher up on the hill.]

BOY: Are you lost?

DR. ROBERT FORD: No. Just strayed a bit too far ... from where I'm supposed to be. Same as you, I imagine.

BOY: We're on holiday. It's boring. Daddy said we could do as we please.

DR. ROBERT FORD: Ah, my father used to say ... that only boring people get bored.

BOY: Mine, too.

DR. ROBERT FORD: I used to think it's only boring people who don't feel boredom, so cannot conceive of it in others. I'm taking a walk. You're welcome to join me if you'd like. (The boy, carrying a walking stick, joins Ford on his walk.)

[Elsewhere in the park. The MIB rides along, leading Lawrence by the rope, who still has the noose around his neck, hands tied and the blindfold over his eyes.]

the MAN IN BLACK: Let's see a little spring in your step. Not much further.

LAWRENCE: Go fuck yourself. You have any idea who I am? (They stop and the MIB pushes Lawrence into a chair and hands him a canteen of water.)

the MAN IN BLACK: I know exactly who you are, Lawrence. After all, you and I are friends. Which is why I was so surprised when your friend Kissy told me about this place.

LAWRENCE: Where are we? (The MIB removes Lawrence's blindfold.)

the MAN IN BLACK: Your home.

[Lawrence looks around at the small Mexican town. He's seated at a table outside a cantina. Chickens are running free in the dirt road. A woman is at the town well, drawing water. Another woman and young girl are crossing the street. A couple of men are seated at another table outside the cantina. The MIB removes his black jacket and sits down with Lawrence.]

LAWRENCE: No, no, no, no.

the MAN IN BLACK: You know, you and I hunted down Ghost Nation braves in their winter grounds. I know the whiskey you like to drink. I know the tune you whistle when you're taking a piss. (The MIB lines up some bullets on the table. The barkeep approaches the table. The MIB signals to him and he goes back into the cantina.) But you never told me you had a family. (A girl of about ten runs up to the table.)

LAWRENCE'S DAUGHTER: Papa! (She hugs her father.)

the MAN IN BLACK: Hey. (chuckles) That's what I love about this place -- all the secrets ... all the little things I never noticed ... even after all these years. (Lawrence's wife walks up to her daughter and husband.) You know why this beats the real world, Lawrence? (The MIB takes his gun apart and reloads it as he talks.) Real world is just chaos. It's an accident. But in here, every detail adds up to something. Even you, Lawrence.

LAWRENCE: What do you want from me?

the MAN IN BLACK: The maze. How do I find the entrance?

LAWRENCE: I told you, I don't know anything about no fuckin' maze.

the MAN IN BLACK: Here you go, darlin'. (The MIB places two bullets in Lawrence's daughter's hand.) (Then to Lawrence -- referring to the bullets.) And you ... get to decide what we're gonna do with them. (The barkeep returns with a bottle and a couple of shot glasses.)

the MAN IN BLACK (to the barkeep): Hell, it took you long enough.

BARKEEP: I was getting the grand reserve. Only for our most distinguished guests.

the MAN IN BLACK: Yeah, I'm sure it had nothing to do with you telling this dipshit's cousins to bring some more men. (The MIB downs his drink and then addresses Lawrence.) You got anything to tell me, Lawrence? (Lawrence shakes his head no.) Then I guess we're gonna have to find a way to jog your memory. (The MIB shoots the barkeep.)

[The scene shifts to the Park Observation Room. A Surveillance Tech is informing Stubbs of the MIB's activity, showing video on his tablet.]

SURVEILLANCE TECH: This guest already took out an entire posse. Want me to slow him down?

ASHLEY STUBBS: That gentleman gets whatever he wants.

[The scene shifts back to Lawrence's town. Several men gather around Lawrence and the MIB.]

LAWRENCE: I feel bad, my friend. My cousins are ... usually ... so hospitable.

the MAN IN BLACK: You don't understand, Lawrence. I've been coming here for 30 years. In a sense, I was -- I was born here. And this here, this ... (chuckles) this is exactly why I come.

[The MIB grabs his gun and gets up from the table. He walks over to one of the men who was standing behind him. The MIB holsters his gun and then lightning quick, pulls his knife and shoves it into the man's neck. At the same time, he shoots another of Lawrenc's "cousins" with the knifed man's shotgun. Then he slits another man's throat. Then, again, he quickly draws his gun, whirls around and shoots three more men as they draw their guns to fire upon him. Then he shoots a man riding towards them and then three more men, drawing their guns against him. Bullets hit close to the MIB. He slowly turns, aims and shoots a man up in a tower. Another of Lawrence's cousins quickly runs to a large rock and hides behind it.]

LAWRENCE'S "COUSIN": Santa Maria, madre dios. (kisses his gun)

[The MIB fires a bullet through the rock killing the praying man. Then he returns to the table.]

the MAN IN BLACK: All right. Well, as much fun as this is -- I got to be moving on. (He starts to pick up the bottle for another drink but a shot rings out and the bottle shatters. The MIB moves quickly and points his gun inside the cantina and returns fire, killing the shooter. Another man suddenly attacks him from behind, pinning his gun hand to the wall. The MIB draws his knife and stabs the attacker, killing him as well. Then, he returns again to the table and holds his hand out to Lawrence's daughter. She places the two bullets into his hand and the MIB loads them into his gun.)

the MAN IN BLACK (to Lawrence): Like I said, you get to decide these two. (Indicates Lawrence's wife and daughter.) What's it gonna be?

LAWRENCE: Please, I don't know how to find the maze.

the MAN IN BLACK: Time for a spin, darlin'. (The MIB takes Lawrence's wife hand and spins her around a couple of times. He pulls the sobbing woman close and starts waltzing.) It's beautifully done, really. But you see the cracks after a while. That's why I like the basic emotions. (Lawrence's wife tries to break away but the MIB's hold is strong.) You know what that means?

LAWRENCE: Please. (The MIB raises his gun to Lawrence's wife's head and pulls the trigger. She falls to the ground, dead. Lawrence's weeping daughter buries her face in his arms.)

the MAN IN BLACK: It means when you're suffering ... that's when you're most real. (The MIB walks over to shoot the girl. She raises up -- no tears in her eyes -- no hint of what she just witnessed.)

LAWRENCE'S DAUGHTER: The maze isn't meant for you.

the MAN IN BLACK: What'd I tell you, Lawrence? Always another level. I'll take my chances, sweetheart.

LAWRENCE'S DAUGHTER: Follow the blood arroyo to the place where the snake lays its eggs.

LAWRENCE: You have it now. Whatever you want. Why don't you go home, leave us alone?

the MAN IN BLACK: No, you don't understand, Lawrence. (Unloads the bullet from the gun and hands it back to the little girl.) This time ... I'm never going back.

[The MIB leads Lawrence with the rope, the noose still around his neck) out of town.

The scene shifts to Ford still walking with the boy in another area of the Park.]

BOY: And we wanted to climb to the top of the mountain, but Daddy said we weren't allowed. And then Tommy dared me.

DR. ROBERT FORD: And here we are.

BOY: Nowhere land.

DR. ROBERT FORD: That seems hardly a fitting name for a place so full. Can't you see it? Perhaps you're not looking hard enough.

BOY: At what? (The boy looks out at the flat, barren terrain.)

DR. ROBERT FORD: The town with the white church. Listen. Can't you hear its bell?

BOY: (The boy listens and then a bell begins to toll.) Yes. Yes! I can hear it now.

DR. ROBERT FORD: Yeah. I thought you might. You see what a bored mind can conjure?

[There's a rattling sound. Ford walks a few steps and comes upon a rattlesnake. The snake starts to strike, but Ford holds up his finger. The snake stops in mid-air.]

BOY: How did you do that? Is it magic? (Ford moves his finger back and forth. The rattling starts again and the snake moves back and forth in the sand.)

DR. ROBERT FORD: Everything in this world is magic, except to the magician. (Then Ford waves his hand and the snake moves away in the direction Ford waved.)

[Ford gazes at the foot of the hill. There sits a black steeple but nothing else.]

DR. ROBERT FORD: Best you head home now.

BOY: But Tommy's not going to believe --

DR. ROBERT FORD: You're not going to come back here again, are you? (The boy makes a whirring sound and lowers his gaze. Then he drops his walking stick.)

BOY: No.

DR. ROBERT FORD: Run along, now. (The boy walks away.)

[Park Headquarters. Bernard takes the escalator to the personal quarters level and enters his apartment. He answers a knock at his door -- it's Theresa Cullen.]

THERESA CULLEN: You weren't at your office.

BERNARD LOWE: You seem to have found me anyway.

THERESA CULLEN: Listen, earlier --

BERNARD LOWE: Forget it. (Bernard motions for her to come in and she does.)

[Bernard's bedroom in his apartment at Park Headquarters. Bernard and Theresa are making love. There's a framed photograph of a young boy on the nightstand. The bedroom opens up to a balcony. There are two lounge chairs and a fire pit visible on the balcony. Theresa starts to get up to leave.]

BERNARD LOWE: Stay a little longer. We can talk.

THERESA CULLEN: We never talk.

BERNARD LOWE: I'm serious.

THERESA CULLEN: So am I. You're certainly a man comfortable with long, pensive silences. Although, ironically, your creations never shut up. They're always talking to each other ... even when there are no guests around.

BERNARD LOWE: They're always trying to error correct -- make themselves more human. When they talk to each other, it's a way of practicing.

THERESA CULLEN: Is that what you're doing now? (Bernard laughs softly.) Practicing?

[Park Headquarters. Examination Room. Maeve Millary sits, naked, on a stool. She is unmoving and appears to be powered down but is staring straight ahead. Elsie Hughes and a male Behavior Tech enter the room.]

BEHAVIOR TECH: QA told us she was being decommissioned.

ELSIE HUGHES: Do you work for QA?

BEHAVIOR TECH: No, but --

ELSIE HUGHES: Run a fast-pass diagnostic.

[Elsie sits down next to Maeve and begins the examination.]

ELSIE HUGHES: (sighs) All righty. (Elsie is wearing some kind of diagnostic glasses. As she looks at Maeve, data flows across the lens.) Some non-affect hesitation. Little cognitive D. And a fuckload of aggression, courtesy of those morons in narrative. (to a silent Maeve) You don't need to be aggro, do you? Just a quicker study of those repressed fucks walking through the door. (To the behavior tech who enters Elsie's commands on his tablet, which results in a beeping noise with each execution.) Archive this configuration. (beeping) Open up her primaries. (beeping) Perception. (beeping) Emotional acuity. (beeping) Bump it -- 1.5%. (beeping)

BEHAVIOR TECH: Updating. (beeping)

ELSIE HUGHES: Okay.

BEHAVIOR TECH: Do they dream?

ELSIE HUGHES: What?

BEHAVIOR TECH: In her story, she said she dreamed. Do we make them dream?

ELSIE HUGHES: Fuck would be the point of that? Dreams are mainly memories. Can you imagine how fucked we'd be if these poor assholes ever remembered what the guests do to them? We do give them the concept of dreams -- specifically nightmares.

BEHAVIOR TECH: Why?

ELSIE HUGHES: Just in case somebody forgets to wipe them out at the end of a maintenance session. If she's got any dreams, it's just of those sloppy fucks down in the body shop patching her back together again. (The behavior tech chuckles.) She's got some physical discomfort. Put in a request for a full physical at her next rotation. (To a silent Maeve) All right, gorgeous, you're back to the races. You're gonna wake in three, two, one.

[The Park. Sweetwater. The Mariposa Saloon. Maeve is talking to a male Guest.]

MAEVE MILLAY: So I ran away -- crossed the shining sea. And when I finally set foot back on solid ground, the first thing I heard was that voice. Do you know what it said? (Male Guest shakes his head no.) It said -- this is the new world. (Maeve takes his hand and places Clementine's hand into his.) And in this world you can be whoever the fuck you want. (The Male Guest follows Clementine up the stairs.)

[Maeve smiles and turns around to the bartender, who pours her a drink. She downs the drink. And then we see Teddy, standing at the bar -- not far from Maeve.]

TEDDY FLOOD: Well, he seemed convinced.

MAEVE MILLAY: You know the first voice I heard when I got off that boat? A nice young man from Baton Rouge said my pussy could earn him two whole dollars a day. And he'd be more than happy to let me have up to thirty percent.

TEDDY FLOOD: Well, then I guess you could add lying to your list of sins.

MAEVE MILLAY: The only thing wrong with the seven deadly sins is that there aren't more of them. And while we're on the subject, my transgressions wash off a little easier than yours. At least when my girls are done with a man, he's still left drawing breath -- for the most part.

[An altercation breaks out in the background.]

UNSEEN MAN 1: Get the fuck away from my table. (objects crashing -- glass breaking)

UNSEEN MAN 2: Hey, fuck you!

TEDDY FLOOD: Well, in that case (crashing, argument continue in background.) here's to our indiscretions.

UNSEEN MAN 2: I'll shoot everyone in this dump!

TEDDY FLOOD: ... spoken and otherwise.

[A shot rings out and Teddy's glass explodes. The shooter is a burly guest near the poker table. He fires two more times, hitting Teddy, who sinks to the floor, groaning in pain. The Burly Guest walks over to Teddy and shoots him three more times in the chest until he's dead.]

BURLY GUEST (to his friend): Now that's a fucking vacation!

[The Park. Mariposa Saloon & Hotel. Maeve's room. Maeve is retiring for the night and is putting away her things. When she closes her closet door, she gets flashes of images: a woman holding a little girl's hand; a scalp (much like Kissy's but without the maze; a long, wicked looking knife in the hand of a man dressed in a dark, Western suit. Maeve grabs her abdomen in discomfort, then lays down in her bed. She closes her eyes and "dreams".

Maeve's dream: A little girl takes her hand and they walk in a field. They are both dressed as settlers. Maeve appears to be the little girl's mother. Inside their home, Maeve prepares some food. Then the two of them run around, laughing and then go outside. Maeve sits down on the porch and her daughter stands behind her, brushing her hair. Suddenly, an adult hand with a knife positions it at the top of her head as if to scalp her.

Maeve is no longer on the porch. She's in an open area -- a wagon is turned over on its side and an Indian has a hold of her hair, ready to scalp her with the knife in his other hand. Maeve struggles and silently screams.

A man on a horse (face in shadows) aims his gun and shoots the Indian, freeing Maeve. She sees another Indian shoot an arrow at a man on a horse. (It could be the same man or a different one.) The arrow finds its mark and the man falls backwards off the horse, arrow in his chest. Other Indians are attacking and scalping people. Maeve gets up and runs, calling for her daughter. There's a fierce looking Indian, the upper part of his face painted black, pursuing her.

Maeve finds her daughter and they run to the house. Once inside the house, Maeve grabs the shotgun and some shotgun shells. The Indian looks through the window. Maeve and her daughter sink to the floor against the far wall facing the door. The Indian walks by two windows arriving at the door. The door opens, but it's not the Indian -- it's the MIB! He has a knife in his hand. Maeve shoots him twice, but the bullets have no effect on him.

Smiling, the MIB advances on Maeve as she desparately tries to reload the shotgun. As he draws near, Maeve lowers the shotgun, closes her eyes and begins counting -- Three -- Two -- One.]

The scene shifts to the Park Headquarters. Maeve is laying on an operating table. Two Body Shop Techs (Sylvester and Felix Lutz) are operating on her.]

SYLVESTER: Found it. It's MRSA in her abdomen. Filthy fucking animals not cleaning up. No wonder we have a fucking fly problem.

FELIX LUTZ: Don't look at me. I'm the king of hygiene. (Enters something on the computer which beeps.)

SYLVESTER: Bullshit. I've seen you. (Unknown to the two techs, Maeve begins to regain consciousness.) You just glop that shit on and rinse. You -- you understand, soap is mechanical.

FELIX LUTZ: Fuck are you talking about?

SYLVESTER: Bubbles. If you're not making the little bubbles, you're not doing shit. (Lutz sees that Maeve is awake and freaks out.)

FELIX LUTZ: Fuck! Fuck! What the fuck?!

SYLVESTER: Shit! - What the fuck? (Instruments clang as they are knocked on the floor. Maeve feels the incision on her abdomen and gets up from the table.)

FELIX LUTZ: Uh ... uh ... uh ...

SYLVESTER: No. Oh, fuck. (Maeve stumbles a bit, clinging to the bed, trying to keep from falling.)

FELIX LUTZ: Oh.

SYLVESTER (to Lutz): Asshole, you forgot to put her in sleep mode.

[Maeve grabs a scalpel from a tray and both Sylvester and Lutz repeatedly shout "don't" at her as they back away -- Lutz knocking over instruments. Lutz grabs a tray and holds it up.]

SYLVESTER (to Lutz): Stop. Put that down! You break anything in her head, we have to file a damage report. Uh ... okay, let's talk to her. (Sylvester hits Lutz in the arm and knocks him over as he shouts.) What's her name?!!

FELIX LUTZ: Maeve!

SYLVESTER: Hi -- Maeve -- Maeve -- hi. Look -- uh ... you gotta calm down. Okay? Let's sit down and we can help you.

MAEVE MILLAY: Keep your fucking hands off me.

[Maeve, scalpel raised, slowly backs her way to the door. Both Sylvester and Lutz are keeping back and appear to be scared of her. Maeve reaches the door and escapes into a hallway. Maeve stumbles her way through different hallways and comes to an escalator. Disoriented by her surroundings, she stares at the escalator and then moves on until she reaches a door. She pushes the door open and makes it outside where she stops and stares wide-eyed in fear.

Maeve presses forward and reaches another building. Upon entering, she sees a glass-enclosed room with bodies in it. Then she sees more bodies laying on long shelves and there are people (dressed in full aprons, gloves and masks) working on several other bodies on gurneys. She sees a man inside the glass room, hosing off the dead bodies laying on the floor. Then Maeve sees Teddy, lifeless, propped up against the glass wall.

Maeve begins to sway and she falls to her knees, dropping the scalpel. Sylvester and Lutz come up behind her. Sylvester quickly kneels down beside her and injects something into her neck.]

FELIX LUTZ: I swear I put it in sleep mode.

SYLVESTER: Oh, does this look like fucking sleep mode?!! Calm the fuck down and help me move this ... thing before someone sees. (They drag Maeve away.)

[The Park. Abernathy Ranch. Dolores wakes up in her bed. She walks outside to a spot just past the barn.]

DOLORES ABERNATHY: Here? (Dolores takes another step forward, bends down and starts moving the dirt away from a spot. She uncovers a gun.)

[Park Headquarters. Narrative Department. A number of people are gathered as Lee Sizemore presents his new storyline. There are also several rows of Hosts, complete with the costumes they will wear in the narrative.]

LEE SIZEMORE: This storyline will make Hieronymus Bosch look like he was doodling kittens. I have vivisection, self-cannibalism, a special little something I call the "whoroborus". Now, I don't want to appear immodest, but this ... is the apex of what the park could provide -- horror -- romance -- titillation --

BERNARD LOWE (arriving late): Miss anything interesting?

THERESA CULLEN: Lee not appearing immodest.

LEE SIZEMORE: Our most skilled guests will fight their ways to the outer limits of the park -- besting fearsome braves -- seducing nubile maidens -- befriending tragically ill-fated sidekicks, and, of course, like all our best narratives over the years, our guests will have the privilege of getting to know the character they're most interested in -- themselves. I present our guests' next obsession: Odyssey on Red River. (People applaud and then they wait for Ford's response.]

DR. ROBERT FORD: No.

LEE SIZEMORE: Sorry?

DR. ROBERT FORD: No, I don't think so.

LEE SIZEMORE: Wait, you don't th-think --

DR. ROBERT FORD: What is the point of it? Get a couple of cheap thrills? Some surprises? But it's not enough. It's not about giving the guests what you think they want. No, that's simple. The titillation, horror, elation -- they're parlor tricks. The guests don't return for the obvious things we do -- the garish things. They come back because of the subtleties -- the details. They come back because they discover something they imagine no on had ever noticed before ... something they've fallen in love with. They're not looking for a story that tells them who they are. They already know who they are. They're here because they want a glimpse of who they could be.

[Part of Ford's response plays over Logan and William saddling up their horses. William notices Dolores walking to her horse and putting her supplies away. One can drops and rolls into the street. William picks it up and hands it to Dolores.]

LOGAN: Billy! Let's go.

[William smiles and tips his hat toward Dolores and the joins Logan as Dolores stares after him. The scene shifts back to Ford at Sizemore's Odyssey on Red River presentation.]

DR. ROBERT FORD: The only thing your story tells me, Mr. Sizemore, is who you are.

LEE SIZEMORE: Well, isn't there anything you like about it?

DR. ROBERT FORD: What size are those boots?

[The Park. Same Spot Ford visited before. Ford is walking and wearing the boots he asked about. Bernard is walking with him.]

DR. ROBERT FORD: Something you want to say, Mr.Lowe?

BERNARD LOWE: The board, sir.

DR. ROBERT FORD: Yeah?

BERNARD LOWE: This might ruffle some feathers. You promised them a new storyline.

DR. ROBERT FORD: They shall have one. Something I've been working on for some time. Something quite original. (They stop walking close to the foot of the black steeple.)

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 3, "The Stray"

Release Date: October 16, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Daniel T. Thomsen and Lisa Joy

Directed by: Richard J. Lewis

Transcript by: sandi

_________________________

[The Park. Unknown location. It appears to be a glassed-in examination room, but the room beyond it is old and dirty with concrete walls. It looks like a basement. There are small windows near the top of the walls. There's a set of concrete steps going upward with a metal pipe railing. It may be a shadow but it looks like a small sewer plate in the floor and near the wall -- a pipe maybe protruding from the floor -- maybe a gas pipe?. The overhead lights are flourescents. Bernard, dressed differently is speaking with Dolores who is fully dressed.]

BERNARD LOWE: Good morning, Dolores. Bring yourself back online.

DOLORES ABERNATHY: Hello.

BERNARD LOWE: Has anyone else interacted with you in a diagnostic since our last conversation?

DOLORES ABERNATHY: No. I have been cleaned and serviced three times. No diagnostics.

BERNARD LOWE: And you haven't told anyone of our conversations?

DOLORES ABERNATHY: You told me not to.

BERNARD LOWE: Good. (Bernard sits down and hands Dolores a wrapped package.) I brought you a gift. I used to read this story to my son at night. I thought you might enjoy it. (Dolores unwraps the gift -- a book -- Alice's Adventures in Wonderland by Lewis Carroll. Bernard takes the book and opens it to a bookmarked page.) Try ... try this passage.

DOLORES ABERNATHY: "Dear, dear, how queer everything is today. And yesterday, things went on just as usual. I wonder if I've been changed in the night."

BERNARD LOWE: Does that passage make you think of anything?

DOLORES ABERNATHY: It's like the other books we've read.

BERNARD LOWE: How so?

DOLORES ABERNATHY: It's about change. Seems to be a common theme.

BERNARD LOWE: I guess ... people like to read about the things that they want the most and experience the least.

DOLORES ABERNATHY: Your son ... where is he now?

BERNARD LOWE: Nowhere that you would understand, Dolores. Perhaps that's why I enjoy our conversations so much. Analysis. Why did you ask me about my son?

DOLORES ABERNATHY: We've been talking for some duration and I haven't asked you a personal question. Personal questions are an ingratiating scheme.

BERNARD LOWE: I see. Continue, Dolores.

DOLORES ABERNATHY: "Was I the same when I got up this morning? I almost think I can remember feeling a little different. But if I'm not the same, the next question is ... (turns page) ... who in the world am I?"

[The Park. The Abernathy Ranch. Dolores wakes up in her bed. The New Peter Abernathy, smoking his pipe, walks to the corral and lets the cattle out to roam. Back at the house, Dolores is in her bedroom. She opens her dresser drawer and sees a wrapped item. Puzzled, she unwraps it to find a gun. Her discovery rattles her and she quickly rewraps it and puts it back in the drawer. Then she stares into the mirror and hears Bernard's voice and flashes back.]

[Flashback]
BERNARD LOWE (Unseen):Do you remember?

DOLORES ABERNATHY (Screaming and sobbing): No! No! No! (Dolores is dragged by the MIB into the barn and thrown onto the hay. The MIB pulls out his wicked - looking knife and smiles.)

the MAN IN BLACK: Why don't we reacquaint ourselves, Dolores? Start at the beginning.

[End Flashback]

[Dolores is staring into the mirror in her bedroom. She re-opens the drawer with the gun -- but it's not there. She seems briefly puzzled, but then puts some clothing in the drawer.]

[The Park. Sweetwater. The town is bustling with activity. Williams steps out onto the sidewalk and looks around. Two boys are playing. A photographer is taking someone's picture and Clementine is standing outstide the restaurant, handing a drink to a man sitting at a small table.]

CLEMENTINE PENNYFEATHER (to William): Morning, cowboy.

[William tips his hat as he saunters by. Some activity catches his attention. The bounty-hunter, Holden is pushing his prisoner, Horace Calhoun, up to the sheriff's office.]

HOLDEN: Move it! Let's go. Get up there! Come on! Stand right here.

[Holden shoves Horace up against the wall right next to his wanted poster, which reads: Wanted; Dead or Alive; Horace Calhoun; Escaped Convict, 23 Counts of Murder, Stagecoach Robbery, Bank Robbery; $250 Reward. A deputy comes outside as Holden (laughing) rips the poster off of the wall.]

HOLDEN: Shit. You really ought to talk to someone about your poster, Horace. That likeness is a crime in itself. (Holden hands the poster to the deputy and tells him -- ) I'm gonna tend to my nag. You deal with him. Ready my pay.

[Holden walks away and the deputy pushes Horace into the sheriff's office. William seems captivated as walks up to the other wanted posters nailed to the wall. He stares at one of the wanted posters. It reads: Wanted; Conman and Crime Boss; Scott Jones; Alias "Jonesy"; $100 Reward. Suddenly the deputy crashes through the window, landing on his back on the sidewalk. Horace,handcuffed and gun in hand, pushes William out of the way and shoots the deputy twice in the chest. Then he shoots two more men in the street. He wheels around in the direction William came from and finds himself in a stand-off with a man pointing a rifle at him. Clementine has her back against the wall and is about in the center between the two men. Horace starts advancing towards the other man. Then he quickly grabs Clementine as his hostage. William, still standing by the sheriff's office and behind Horace draws his gun.]

HORACE CALHOUN: Don't no man shoot, or I'll send her to unction. Any of you don't believe it ... are welcome to read my biography there. (laughs) (To Clementine as he drags her sideways into the street.) Come on! Let's go. (Clementine stuggles against him.)

CLEMENTINE PENNYFEATHER (screams): No!

[William steps out into the street, pulls back the hammer on the gun and aims it at Calhoun. The Outlaw sees him out of the corner of his eye and quickly swings around, using Clementine as a shield. Then Calhoun shoots William who falls down to the ground and doesn't move. Calhoun swings back around still holding tight to Clementine.]

HORACE CALHOUN (to Clementine): Oh, I bet you're juicy as a freshwater clam.

[Whimpering, Clementine manages to slip out of Calhoun's arms. Sobbing, she starts crawling away from him as he laughs at her. A shot rings out, and a bullet goes clean through the outlaw exiting from his chest. He falls face-down into the dirt. William is sitting by the sidewalk, smoking gun aimed at Calhoun. William gets up and rushes over to Clementine and helps her up.]

WILLIAM: You okay?

[Still upset, Clementine throws her arms around William and they hug. The bounty hunter, Holden, who captured Calhoun walks up to Calhoun and kicks the gun away from him.]

HOLDEN (to William): Nice shot, amigo. You got grit. (Starts to walk away but turns back to William.) Hey, I'm riding out tonight. Looking for desperados. Could cut you in if you're amenable. (Then Holden walks away.)

HOLDEN (to the town at large): Someone get the minister down here for what's left of the deputy.

CLEMENTINE PENNYFEATHER (to William): Sure I can't tempt you inside? Just to express my gratitude.

[William smiles slightly and shakes his head no. Then Clementine kisses him. Clementine walks away as Logan (fixing the front of his pants) walks toward William, who rubs his chest where Calhoun's bullet struck him.]

LOGAN: Holy shit! (Then Logan notices the spot where William was hit, and walks over to get a good look.) You popped your cherry.

WILLIAM: I thought you said we couldn't get shot.

LOGAN: Yeah, well, we can't get killed. Wouldn't be much of a game if they can't shoot back. But how do you feel, hmm? Alive? A little tight in the pants?

WILLIAM (pointing at Clementine): She was terrified.

LOGAN: That's -- that's why they exist, man, is so you get to feel ... this. Come on. Let's go put some memories in that spank bank. Trust me, you will thank me after you've been married to my sister for a year. (They start walking away but William stops by a wanted poster hanging outside the Printing Office.)

WILLIAM: Actually, I --I have something different in mind.

[William places his hand on a wanted poster which reads: Wanted; $350 Reward; Slim Miller; Approach with Caution; Armed and Dangerous; Dead or Alive.]

LOGAN: What? That?

WILLIAM: Well, you've been preaching nonstop about all the narratives in the park, but all you've done since we've arrived is fuck and drink, so --

LOGAN: I'm waiting for the good stuff. This--this--this bounty's -- JV shit.

WILLIAM: mm ... Then stay here. I want a little adventure. (William takes Slim Miller's wanted poster and walks away.)

[Park Headquarters.]

THERESA CULLEN: I've been looking for you.

BERNARD LOWE: I got a late start this morning. Didn't get much sleep last night.

THERESA CULLEN: Forgive me if I'm not sympathetic to the fluctuations of your sleep cycle, Mr. Lowe. Ford taking over the narrative launch at the 11th hour has made the board ... uneasy.

BERNARD LOWE: Just the board, huh?

THERESA CULLEN: I specifically asked you about whether Ford was going to be a problem, and you assured me he wasn't.

BERNARD LOWE: Well, I can't tell you what I don't know.

THERESA CULLEN: Well, here's what I know. As of this morning, Ford's carved out a huge swath of the park for whatever storyline he's cooking up and thrown half of the existing storylines into disarray.

BERNARD LOWE: Is there anything I can do?

THERESA CULLEN: You tell me. I asked you point-blank if the problem with the update was resolved.

BERNARD LOWE: It is.

THERESA CULLEN: Then why are your people still pulling hosts for follow-up? Get your house in order, Bernard. And if there is a problem ... I strongly suggest you tell me.

[Park Headquarters. Examination room. Elsie Hughes is alone with a male host (Rebus), who is naked and seated on a stool.]

ELSIE HUGHES: Drop a new bookmark and resume history.

REBUS: Walter's intent on relieving the milkmaid of her unmentionables.

ELSIE HUGHES: Switch to analysis. You didn't report the incident?

REBUS: Unit self-corrected within the acceptable window.

ELSIE HUGHES: (snorts) Right. (Bernard enters the room.) (Then under her breath, Elsie sarcastically replies, while entering data in her tablet.) Then he self-corrected a fucking milk bottle into your skull.

BERNARD LOWE: It's amazing how resilient the hosts are. You were supposed to have purged his memory on the last cycle.

ELSIE HUGHES: I will, but Rebus here was the last host to interact with Walter. Look at this. (Elsie replays the scene of Walter killing all those people and pouring milk on them on her tablet. The tablet shows: DELOS/Tracking/History/VID_Log/Cam27/loc_15R...; another bar: Code,Hosts, software, M???; Info; Data)

[Walter's Milk Bottle Killing Spree
WALTER: Any for you? (pause) Who said that? (pause) Who's saying that?! (pause) Don't you talk to me that way! (pause) I can't hear you!]

ELSIE HUGHES: Do you see that?

[Walter's Milk Bottle Killing Spree
WALTER: Hell, yeah, they deserved it.]

ELSIE HUGHES: He's talking to someone.

[Walter's Milk Bottle Killing Spree
WALTER: Lousy sons of bitches.]

ELSIE HUGHES: He carries on practically an entire conversation.

[Walter's Milk Bottle Killing Spree
WALTER: I need more milk, Arnold.]

ELSIE HUGHES: Who's Arnold?

BERNARD LOWE: They're designed to play off aberrant behavior. That could explain the conversations.

ELSIE HUGHES: Fine. Then explain this. He kills six hosts.

[Walter's Milk Bottle Killing Spree
WALTER: I'm gonna get you this time.]

ELSIE HUGHES: He lets the other three go. I pulled the narrative logs. All six of these hosts were part of storylines over the years in which they killed Walter. It's like he was holding a grudge.

[An Alarm message appears on Elsie's tablet: "Stray Host". She presses a button and receives the message: "Locating Host..." Once found, she presses a button and gets video of the stray host making his way up a steep incline in mountainous terrain. (Note: The camera number and location did not change when Elsie accessed the video of the stray. I take that as a prop error.]

ELSIE HUGHES: It's a stray. QA needs a tag team to go track it.

BERNARD LOWE: Go. Handle the stray. Do something that's actually in your job description. The last thing we need is Theresa storming down here and seeing this. I'll do a little more digging. And get our friend here back upstairs.

[Elsie meets Stubbs at the elevator on an underground level of the Park HQ. There's a red banner on one of the concrete pillars -- most likely the level number, which looks to be 19 or 14 -- lots of shadow. There's water on the concrete floor.]

ELSIE HUGHES: Lost another one, huh? (As the elevator rises.) Tell me, is QA surveillance coverage really this spotty, or ... you just like the nature walks?

ASHLEY STUBBS: Maybe it's the company. (Stubbs draws his gun and checks it.)

ELSIE HUGHES: You know, if you wanted to play cowboy, you could've just used your employee discount.

ASHLEY STUBBS: (chuckles) The only thing stopping the hosts from hacking us to pieces is one line of your code. No offense, but I sleep with this. (holsters gun)

ELSIE HUGHES: I bet you do.

[The Park. Sweetwater. Store front sign: Guns, Pistols, & Ammunition. There's also a smaller sign reading: All Makes of; Guns &, Rifles; Professionally; Repaired; Knives; Ammunition. A man (Samuel) in an animal skin coat walks out of the store and onto the sidewalk. He's accompanied by two other men. Teddy is accompanied by a woman (Marti), dressed in pants and a vest, wearing a gun and holster, and carrying a rifle.]

TEDDY FLOOD: Morning, Samuel. (Teddy takes a stance, ready to draw his gun.)

SAMUEL: You and your dickless associate proposing to engage me in a gun battle?

TEDDY FLOOD: Well, I'd challenge you to a fistfight, but the way I heard it ... you only like to tussle with working women.

[Samuel becomes angry and draws his gun as do his two companions. But they are too late. Teddy shoots the two companions while Marti shoots Samuel three times.]

MARTI: Is he dead?

TEDDY FLOOD: Dead enough.

[Teddy holsters his gun. He has Marti handcuff Samuel's dead body to a post right outside the Mariposa Saloon and Hotel.]

MARTI: Why are we going to handcuff a dead man?

TEDDY FLOOD: Don't want someone walkin' off with him. That's not a man anymore. That's merchandise. $500 worth. (Teddy walks into the saloon, followed by Marti and head to the bar. Maeve looks out the window, becomes irritated then turns and faces the room.)

MAEVE MILLAY: All right, which of you derelicts hitched a dead body outside my saloon?

TEDDY FLOOD: My apologies, ma'am. I figured it was preferable to bringing him inside. (Teddy gets some money from Marti and places it in Maeve's hands.) Here ... (Smiles at Maeve) ... For your troubles.

[Maeve stares at Teddy -- the current scene fades away and Maeve remembers seeing Teddy's dead body propped up against a glass wall, two techs dumping a body on the floor close to Teddy, while another tech hoses down all the other bodies laying on the floor. Then she's back in the saloon. Teddy tips his hat (Maeve doesn't respond) and then Teddy turns to go back to the bar. Clementine has walked up to Marti.]

CLEMENTINE PENNYFEATHER (to Marti): (licks finger) Oh, you're new ... not much of a rind on you. I'll give you a discount.

MARTI (to Teddy): Do you mind waiting on that drink a bit?

[Clementine leads Marti by the hand to the staircase. Maeve continues to stare strangely at Teddy as he steps up to the bar to get a drink. Teddy glances out the window and sees Dolores emerge from the store with some supplies. He leaves the saloon. Dolores stuffs her supplies into her saddlebags but one can drops and rolls into the street. Teddy walks up, grabs the can and hands it to her.]

TEDDY FLOOD: Don't mind me. Just trying to look chivalrous.

DOLORES ABERNATHY: You came back.

TEDDY FLOOD: I told you I would.

[Later. The Park. Outside of Sweetwater on the way to the Abernathy ranch. Dolores and Teddy have gotten off their horses and look out over the beautiful scenery.]

DOLORES ABERNATHY: You gonna tell me where you been?

TEDDY FLOOD: Just ... away. You know if I could stay right here with you, I would.

DOLORES ABERNATHY: What if I don't want to stay here? (long pause) It's just sometimes I feel like the world out there is calling me ... whispering, "There's something more." You've travelled all over these parts. Isn't there anywhere we could go?

TEDDY FLOOD: Well, there is a place ... I heard about down south ... where the mountains meet the sea. They say the water's so pure there, it'll wash the past clean off ya. And you can start again.

DOLORES ABERNATHY: I'd like to go there with you.

TEDDY FLOOD: Well, someday, I'll take you.

DOLORES ABERNATHY: Someday.

TEDDY FLOOD: Something wrong?

DOLORES ABERNATHY: You said someday. Not today or tomorrow or next week. Just someday. "Someday" sounds a lot like the thing people say when they actually mean "never." Let's not go someday, Teddy. Let's go now. (They kiss tenderly.)

TEDDY FLOOD: Before I met you, Dolores, I was a different man. And I got some reckoning to do before I can deserve a woman like you. But I'm close. I'm close to making things right. And someday soon, we will have the life we've both been dreaming of. Now, I best get you home before your dad starts loading that shotgun. (Dolores smiles, resignedly and walks back to her horse.)

[The Park. Night. Abernathy Ranch. Cattle roam freely as Teddy and Dolores ride up to the entrance.]

DOLORES ABERNATHY: Father wouldn't let them roam this close to dark. (A couple of gunshots ring out. Teddy draws his rifle.)

TEDDY FLOOD: Stay put, Dolores. (Teddy rides off towards the house. Dolores doesn't wait long before she follows him. Gunshots ring out and a woman screams.)

[Park Headquarters. Manufacturing area. Glassed-in room. Ford is talking to Teddy, who (naked) sits on a stool across from Ford.]

DR. ROBERT FORD: The coward dies a thousand deaths. The valiant taste of death but once." Of course, Shakespeare never met a man quite like you, Teddy. You've died ... at least a thousand times. And yet, it doesn't dull your courage. Tell me, is that all you aspire to, Teddy?

TEDDY FLOOD: There's a girl ... Dolores -- better than I deserve. But maybe ... someday soon ... we'll have the life we've both been dreaming of.

DR. ROBERT FORD: No ... you never will. Your job is not to protect Dolores, it's to keep her here -- to ensure that the guests find her if they want to best the stalwart gunslinger ... and have their way with this girl. Tell me, has it never occurred to you to run off with her?

TEDDY FLOOD: I got some reckoning to do before I can be with her.

DR. ROBERT FORD: Ah, yes, your mysterious backstory. It's the reason for my visit. Do you know why it is a mystery, Teddy? Because we never actually bothered to give you one, just a formless guilt you will never atone for. But perhaps it is time you had a ... worthy story of origin. Would you like that, Teddy? -- a small part of my new narrative? A fiction which, like all great stories, is rooted in truth? It starts in a time of war -- a world in flames ... with a villain called ... Wyatt.

TEDDY FLOOD: Wyatt. Who's Wyatt?

DR. ROBERT FORD:Do you remember now, Teddy? (Ford presses the upload key on his tablet and uploads Teddy's "host narrative". Flashes of a man wearing a Union Army uniform shooting people in town cross Teddy's mind as he recounts his knowledge of Wyatt. )

TEDDY FLOOD: Yeah, of course I remember Wyatt. You look upon the face of true evil, you ain't liable to forget. He claimed he could hear the voice of God. It started down near Escalante. Army was sent to put down the natives -- bad business. Wyatt was a sergeant, went missing while out on some maneuvers ... and came back a few weeks later ... with some pretty strange ideas.

[The Park. Sweetwater. The player piano in the Mariposa saloon starts playing. The town is bustling with activity. Dolores walks out of the store and starts walking along the sidewalk with her supplies. Three men (Rebus, New Walter, and a Guest -- "Sketchy Guest" in a white hat) are sitting in chairs on the walk and one of them starts talking about Dolores as she walks towards them. They all get up when she steps into the street on the way to her horse.]

REBUS: I wasn't lyin', was I? Pretty as a picture ... and tight as a tympani drum, I reckon.

[Dolores steps off into the street, avoiding walking close to the men, and continues on her way. All three men get up and quickly surround Dolores.]

DOLORES ABERNATHY: Afternoon.

REBUS: My friend here is new to town. (Points to Sketchy Guest) Figured the rancher's daughter would be a nice way to -- kick things off. Maybe take us all for a little hayride.

DOLORES ABERNATHY: I'm sorry. I have to get home. My father will be expecting me. (Dolores tries to walk around Rebus, but he moves back in front of her.)

REBUS: We won't be long.

TEDDY FLOOD: The lady doesn't appear interested.

[Dolores is relieved as Teddy walks towards the group. Teddy stops as the Sketchy Guest puts his hat on and takes a stance to draw against him.]

TEDDY FLOOD: Try it. You might get the draw on me, you might not, but I'd say your odds ain't lookin' good.

SKETCHY GUEST (to Rebus): Told you I wanted something easy.

REBUS: She ain't worth the lead. Let's head to Virgil's. See if they'll stake us.

[Rebus walks away. The Sketchy Guest looks back at Teddy, and then, along with New Walter, follows Rebus. As he passes Dolores, the Sketchy Guest leers at her letting his eyes slowly look at her up and down. Dolores stares downward until he passes her. Then she stares after him in a hostile manner. Teddy walks over to Dolores.]

[The Park. Deserted area outside of Sweetwater. Teddy is showing Dolores how to shoot a gun. Teddy shoots his gun several times and then gives his gun to Dolores.]

TEDDY FLOOD: First, you gotta learn how to stand. (Teddy walks behind Dolores and puts his hands on her hips, moving her into a shooting stance. Then he pulls back the hammer on the gun and positions her hands.) Now, take a breath. Hold it. Now squeeze.

[Dolores tries again and again but physically cannot pull the trigger. Puzzled, she looks down at the gun and her hands.]

DOLORES ABERNATHY: I can't.

TEDDY FLOOD: Some hands weren't meant to pull a trigger. Perhaps it's for the best.

[Teddy takes the gun from Dolores and holsters it. Several horseriders approach, led by Sheriff Pickett. The guest, Marti, is also with them.]

MARTI: Teddy, we got another bounty. I think this is a big one.

SHERIFF PICKETT: Man in question gunned down an entire settlement out near Flat Rock -- men, women, and children. I think this may be the man you've been looking for quite some time -- a man named Wyatt.

DOLORES ABERNATHY: Wyatt? Who is he, Teddy?

SHERIFF PICKETT: You'd be better askin' "what" than "who," ma'am. Wyatt's a pestilence. Word is -- Flood here's the only man ever ... come up against him and live to tell the tale.

TEDDY FLOOD: Give me a moment, Sheriff.

DOLORES ABERNATHY: You have to leave again, don't you?

TEDDY FLOOD: You know if I could stay right here with you, I would.

DOLORES ABERNATHY: Promise me you'll come back.

TEDDY FLOOD: I promise. (Teddy and Dolores kiss, tenderly.) I'm gonna come back for you ... someday soon.

[The Park. The Camp the stray wood-cutter left. There's a tree stump with an axe stuck in it. Two big tents and a chuckwagon. Several men are sitting around in a circle. In the middle of the circle is a spit with field-dressed rabbit all ready to roast. Underneath the rabbit is an empty fire-pit -- no wood -- no fire -- just a circle of stones.]

PYTHON COWBOY 1: I got a pit in my stomach the size of a sow's tit. Cook up that rabbit!

COOKIE: Get the wood. I can't cook shit without a fire.

PYTHON COWBOY 2: Aw, don't sell yourself short, Cookie. You can cook shit in all conditions.

PYTHON COWBOY 1: (Laughs)

PYTHON COWBOY 2: Now, see, I pitched them tents. I ain't choppin' any more wood.

PYTHON COWBOY 1: You spend more time on your back than a hooker in heat. Now pick up that fuckin' axe and go chop us --

[The cowboy stops talking in mid-sentence. In fact, all the cowboys freeze as the cowboy stops talking. No one moves or makes a sound. The only noise heard is the buzzing of a flies. Then the sound of footsteps approaching as Stubbs and Elsie arrive at the camp site. Elsie is entering information on her tablet.]

ELSIE HUGHES: So, after our stray ran away from camp, looks like these guys got caught in a loop. They were due in town for the cattle drive over two days ago. Host that went missing is the woodcutter. Looks like the rest of them got stuck here -- waiting for supper.

ASHLEY STUBBS: You guys can't program more than one of these idiots to make a fire?

ELSIE HUGHES: We could, but thanks to a new policy from your boss -- only one of them is authorized to handle the axe. The rest of them can't even touch it.

ASHLEY STUBBS: Weapons privileges need to be doled out selectively.

ELSIE HUGHES: Hmm. Yet they give you a gun.

[Elsie and Stubbs go into the first tent. There's a table with a number of wood carved figures on it next to one of the cots.]

ASHLEY STUBBS: Looks like our stray has a hobby. Another one of your fucking backstories?

[Stubbs squats down in front of the table and examines the carved figures.]

ELSIE HUGHES: Backstories do more than amuse guests. They anchor the hosts. It's their cornerstone. The rest of their identity is built around it, layer by layer.

ASHLEY STUBBS: Well ... if you're gonna go to all that trouble -- you could've at least given him a steadier hand. This looks like shit.

[Stubbs hands Elsie a carved turle shell and then leaves the tent. Elsie squats down next to the table as she looks at the bottom of the carved turtle shell. There's a carving of what looks like stars on the bottom of the turtle. Elsie picks up a carved bear from the table and it also has the same carving on its back and side. She pockets the turtle carving and exits the tent.]

Continued in next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 3, "The Stray" Continued.

[The Park. Mountainous terrain. Teddy, Guest Marti, Sheriff Pickett and several other men are on horseback, tracking the outlaw, Wyatt, and his men.]

SHERIFF PICKETT: Way I heard it -- Wyatt is a mercenary -- forces his men to wear the bones and flesh of their enemies.

TEDDY FLOOD: They're masks. It's the men underneath them to be afraid of. Wyatt's got them so twisted around, they'll do anything for him. Kill anyone. Pain don't slow them. They don't fear death. They reckon they've already died and gone to hell. And this is it.

SHERIFF PICKETT: Sounds like you learned something about him while you were trackin' him down.

TEDDY FLOOD: I wasn't trackin' him down. I wasn't always a bounty hunter. I did a stint in the Army down near Escalante. Wyatt was my sergeant ... my friend. Well, then everything ... everything changed.

SHERIFF PICKETT: Changed how?

[While Teddy tells the sheriff how Wyatt changed, he remembers scenes of Wyatt shooting the people in a town along with the other soldiers in their unit. Teddy, in uniform, looks around in disbelief and then comes face to face with Wyatt. End of memory.]

TEDDY FLOOD: Wyatt disappeared while out on maneuvers. He ... he came back with some strange ideas. He claimed this land didn't belong to the old natives or the new settlers -- that it belonged to somethin' that had yet to come ... that it belonged to him.

[Teddy sees something and he signals the rest of his group to hold up and remain silent. There's the sound of a lot of flies buzzing around. Teddy grabs his rifle and gets off his horse and the rest of his group joins him. They approach a tree. There are two brutally beaten and blood-covered dead men tied to a big tree. One of the bodies is tied to an upper branch and another at eye-level to the trunk. Flies are crawling all over the bodies. Everybody, except Teddy, gags from the smell and starts coughing. The sheriff holds his kerchief over his nose while Marti swats away flies. They all stare at the horrible sight in front of them.]

MARTI: Holy shit.

SHERIFF PICKETT: If ever the devil walked the Earth.

TEDDY FLOOD: He's not a man, but he's not the devil either. The devil can't be killed. (Waves a fly away from his face.) That's exactly what I aim to do to Wyatt.

[Scores of flies are buzzing around as Marti walks over to the body at eye-level. Suddenly, the "dead man" opens his eyes and coughs. Marti screams and ducks down. Everybody quickly turns to look at the man. He continues to cough and gasp and then everyone turns around and stares up into the mountains as the hear an unearthly roar. Then a shot rings out and one of the sheriff's men falls to the ground. Another shot hits the surviving victim in the head, killing him.]

TEDDY FLOOD: Take cover! Go!

[Everyone runs for cover as continued bullets strike all around. That distant roaring is heard again.]

GUEST IN SUIT (hiding behind a tree): I didn't sign up for this crazy shit! (Man kneeling next to the guest gets shot.) I told you we should've done the riverboat thing, man. (Then the Guest in the suit makes a run for it and kneels down next to Marti.)

[Teddy, Sheriff Pickett, Deputy Foss, Marti and the Guest in the suit are all hunkered down behind a rock formation.]

TEDDY FLOOD: There's too many of them for us. Wyatt's been recruiting. Sheriff, the only chance you have is if I draw their fire -- lead them up into the hills -- so you can make it back to town -- try and find help.

SHERIFF PICKETT: Uh-uh, I'm staying -- took an oath. (Marti looks over at the Guest in the suit, who shakes his head.)

GUEST IN SUIT: Hell, no.

DEPUTY FOSS: I'll take him back. (to Marti) You coming?

MARTI: I'm not backing out now.

TEDDY FLOOD: All right, you wait till I lead them to the tree line, then you make a run for it.

[Teddy stands, fires his rifle a couple of times and takes off running. Marti and Sheriff Pickett are right behind him. The shooters aim for the trio as Deputy Foss and the Guest in the suit run for their horses.]

[The Park. In the mountains. Stubbs is standing on a big rock and does something with his tablet which then displays a 3-D video of the stray woodcutter as he makes his way up the mountain.]

ASHLEY STUBBS: I plotted a line from the work camp to our present location. Satcom picked up these images. He's vectoring, just not to home base. (points) Keep going in that direction.

[Stubbs and Elsie climb the rocks and continue walking. Elsie stares at the woodcutter's carving as they make their way through the rocky terrain.]

ASHLEY STUBBS: Keep staring. Maybe it'll tell you your horoscope.

[Elsie stops and turns back to Stubbs.]

ELSIE HUGHES: Come again? (Stubbs stops next to her and looks at the carving.)

ASHLEY STUBBS: The markings on its shell -- look like stars. (Stubbs walks away.) Orion, right? (Elsie turns the carving until she recognizes the Orion Constellation. Then she follows Stubbs.)

ELSIE HUGHES: What, are you Gali-fucking-leo?

ASHLEY STUBBS: Maybe it's in my backstory.

ELSIE HUGHES: Huh.

[Park Headquarters. Bernard gets off the escalator. The he enters a glass-in room where Ford is examining a male host while a female technician stands by. Another technician, Henry, is working on a different male host with a cover draped around him.]

BERNARD LOWE: I was hoping to run something by you.

DR. ROBERT FORD: Apologies. I was chasing inspiration. (chuckles) It's a tricky thing ... weaving the old into the new. Give me one moment, Bernard. (Ford walks over to Henry.)

HENRY: Good afternoon, sir.

DR. ROBERT FORD: Why is this host covered?

HENRY: I-I just ...

DR. ROBERT FORD: Perhaps you didn't want him to feel cold ... or ashamed. You wanted to cover his modesty. Was that it? (Ford rips the cover off of the host.) It doesn't get cold -- doesn't feel ashamed -- (Ford picks up a scalpel and makes an incision across the side of the host's face.) -- doesn't feel a solitary thing ... that we haven't told it to. You understand? (Henry nods yes. Ford hands the scapel to Henry and then walks over to Bernard.)

DR. ROBERT FORD: What can I do for you, Bernard?

BERNARD LOWE: I ... thought it best that we speak in private, sir.

DR. ROBERT FORD: Yeah. (Ford nods and then leaves the room followed by Bernard.)

[Park Headquarters. Ford's Office. The wall behind his desk has several shelves, painted black. There are a number of bald heads with different faces sitting on the shelves. All of the eyes are closed. Along another wall, there's another shelving unit, filled with figurines. When the lights are flipped on, a man seated at a piano, begins to play. The sign on the door reads: Dr. Robert Ford; Park Director. Ford walks around his office while he and Bernard talk. Ford closes an large drawing pad and carries it back towards his desk. He touches the man playing the piano as he passes him and the music stops. There's a blackboard against the far wall and lighted display cases with other figurines.]

DR. ROBERT FORD: I thought we had agreed to put these questions to rest, Bernard.

BERNARD LOWE: We -- we did.

DR. ROBERT FORD: Mm-hmm.

BERNARD LOWE: But ... what if we misdiagnosed the original problem? Treated the symptom rather than the disease? Then the disease is still out there. Abernathy and Walter were exhibiting other aberrancies beyond memory recall of previous builds. They were hearing voices ... uh ... talking to someone.

DR. ROBERT FORD: A simple ... cognitive dissonance. That's all.

BERNARD LOWE: I-I--I'd agree ... except ... (sighs) they were talking to the same imaginary person.

DR. ROBERT FORD: Oh, yeah?

BERNARD LOWE: Someone named Arnold.

DR. ROBERT FORD: Arnold.

BERNARD LOWE: With ... due respect, sir, I'm not sure you've told me the entire truth about this situation.

DR. ROBERT FORD: I did tell you the truth, Bernard. What we do here is complicated. (Ford picks up a framed photograph from his desk.) For three years, we lived here in the park ... refining the hosts before a single guest set foot inside. (Ford extends the photo to Bernard.) Myself, a team of engineers, and my partner.

BERNARD LOWE: You had a partner? (Bernard looks at the picture.)

DR. ROBERT FORD: Yeah. When the legend becomes fact, you print the legend. My business partners were more than happy to ... scrub him from the records, and I suppose I didn't discourage them. (Bernard hands the photo back to Ford, who stares at it again.) His name was Arnold. (Smiles and sets the framed photo back down on his desk.)

[Scenes from "those early years" flash by as Ford recounts the following. Scenes: technicians working on robots at various stages -- from skin pigment to mechanical organs and systems; a younger Ford examines a robot laying on a table (upper body appears complete -- lower body appears mechanical). The robot (appears very human) turns his head and looks at Ford. (Scenes from town, technicians are pairing hosts and teaching them how to dance. (Armistice is one of the hosts.) Same dancing scene -- Angela, holding a parasol, walks along the street and smiles into the camera. Another scene shows the Original Peter Abernathy taking off his hat and talking as if to a crowd but only a technician is present.]

DR. ROBERT FORD: Those early years were glorious. No guests, no board meetings, just pure creation. Our hosts began to pass the Turing test after the first year. But that wasn't enough for Arnold. He--he wasn't interested in the appearance of intellect or wit. He wanted the real thing. He wanted to create consciousness. He imagined it as a pyramid. (Ford turns to the chalkboard and draws a pyramid with four horizontal divisions and labels them from bottom to top.) See? Memory ... improvisation ... self-interest --

BERNARD LOWE: And at the top?

DR. ROBERT FORD: Never got there. But he had a notion of what it might be. He based it on a theory of consciousness called the Bicameral Mind.

BERNARD LOWE: The idea that primitive man believed his thoughts to be the voice of the gods. I thought it was debunked.

DR. ROBERT FORD: As a theory for understanding the human mind, perhaps, but not as a blueprint for building an artificial one. See, Arnold built a version of that cognition in which the hosts heard their programming as an inner monologue ... with the hopes that in time, their own voice would take over. It was a way bootstrap consciousness. (Ford sits down behind his desk.) But Arnold hadn't considered two things. One, that in this place, the last thing you want the hosts to be is conscious, and two, the other group who considered their thoughts to be the voices of the gods.

BERNARD LOWE (soft laugh): Lunatics.

DR. ROBERT FORD: Indeed. (Another scene from "those early years" flashes -- Armistice is seated, talking to a technician. Her hair is disheveled. She has deep scratches on her face and upper torso just below the neck. She stops talking and looks directly into the camera.) We abandoned the approach. The only vestiges that remain are the voice commands we use to control them. (Ford stands back up.) But, for all his brilliance, I don't think Arnold understood what this place was going to be. You see, the guests enjoy power. They cannot indulge it in the outside world, so they come here. As for the hosts -- the least we can do is ... make them forget.

BERNARD LOWE: But ... some of them are remembering -- accessing fragments of Arnold's code. If I may ask, what happened to him?

DR. ROBERT FORD: Well, he died ... here in the park. His personal life was marked by tragedy. He put all his hopes into his work. His search for consciousness ... consumed him totally -- barely spoke to anyone ... except the hosts. In his alienation, he saw something in them. He saw something that ... wasn't there. We called it an accident, but um ... I knew Arnold and he was very ... very careful. Anyway, the update should prevent any further voices, but you will let me know if any of the hosts display or exhibit any unusual behavior, won't you, Bernard?

BERNARD LOWE: Yes, of course. (Bernard starts to leave.)

DR. ROBERT FORD: Good. Oh, Bernard? Just don't forget ... the hosts are not real. They're not conscious. You mustn't make ... Arnold's mistake.

BERNARD LOWE: (soft, puzzled laugh) Why would I?

DR. ROBERT FORD: Well, forgive me, but I know that the death of your son Charlie ... still weighs heavily on you. (Bernard nods and leaves Ford's office.)

[Park Headquarters. Personnel Communication Room. Bernard sits in front of a monitor, talking to Lauren (Charlie's mother and probably Bernard's wife or ex-wife). There are a couple of other people seated in front of monitors, talking to their families/friends.]

BERNARD LOWE: Yeah, sorry it took me a while to get back to you. You know how hard it is getting an open line out here.

LAUREN: Woman: It used to annoy me how difficult it was to reach you. You were always so busy.

BERNARD LOWE: And now?

LAUREN: I suppose I'm glad for you. At least you have a way of forgetting.

BERNARD LOWE: I don't forget. It's always there. (Bernard flashes back to sitting by his son's bedside. He pages through a book.)

LAUREN: Sometimes it ... still feels unreal to me.

BERNARD LOWE: There are some mornings ... when I first wake up ... for a split second I forget where I am -- when I am ... and I reach over, half expecting to ... find him there next to me ... between us.

LAUREN: Remember how he used to sleep? Like he was doing kung fu in his dreams?

BERNARD LOWE: I think I suffered a few bruises. It was the best worst sleep I ever had. (Bernard flashes back to the hospital. Nurses are trying to restrain him and pull him away from Charlie, who is laying on the bed -- eyes closed -- doctors working on him frantically.)

LAUREN: (sighs) Oh, these talks. I don't know if they help or hurt. Do you ever wish you could forget?

BERNARD LOWE: This pain ... it's all I have left of him.

[The Park. Night. Mountainous terrain. Stubbs and Elsie are still tracking the stray wood-cutter. A coyote howls in the distance.]

ELSIE HUGHES: It doesn't make sense. Why the hell would he carve Orion?

ASHLEY STUBBS: You're the ones that programmed him.

ELSIE HUGHES: He wasn't programmed to give a shit about stars.

ASHLEY STUBBS: Maybe he went ... moon mad.

ELSIE HUGHES: See? This is why I hide behind sarcasm. (Elsie strikes off on her own.)

ASHLEY STUBBS: Where are you going?

ELSIE HUGHES: Vectoring, asshole.

ASHLEY STUBBS: (Thinks for a moment.) Oh.

[Elsie finds a private spot and squats down to relieve herself. She hears loud rustling sounds and a man grunting. She shines her flashlight about. She quickly pulls up her pants and investigates. Elsie climbs a flat rock and shines her light down into a chasm. The wood-cutter is trapped below and struggling to climb out.]

ELSIE HUGHES (shouting): Stubbs! Over here! (Stubbs runs over and kneels down next to Elsie.)

[The Park. Night. Mountainous terrain. Teddy, Sheriff Pickett and Marti are slowly making their way along the trail, looking for Wyatt and his men. The sheriff is carrying a cloth-covered lantern.]

TEDDY FLOOD (loud whisper): Wyatt's men could be anywhere. If you see or hear anything, don't hesitate. Shoot and don't stop shootin'.

[Teddy holds up his hand and they all stop. Teddy cautiously walks a short way forward, looking around intently as he goes. Then he squats down and motions Marti and the sheriff to come to him.]

MARTI: (Takes a couple of deep breaths.) Okay.

[Marti runs forward quickly but trips on a wire, yelling out as she falls. Then that loud roaring noise is heard -- closer than before. Marti starts crawling the rest of the way to Teddy. Sheriff Pickett rips the cover off of the lantern and whirls around, coming face-to-face with a masked man. The man plunges a knife into the sheriff's chest. The lantern falls and ignites the spilled fuel on the ground.]

MARTI: Oh, my God.

[Teddy grabs Marti and the sheriff sinks hard to his knees. A masked man slits his throat and then stabs him again.]

MARTI (screams): Oh, my fucking God!!!!

[Teddy pulls her away and they both make a run for it while masked men hack away at the sheriff. Teddy pulls up short when he sees a couple of more masked men blocking their path. A shot fires from behind them. Marti turns and raises her gun while Teddy raises his rifle and points it at the men in front of them. Back-to-back, Teddy and Marti fire at the men over and over again. Seeing they are about to be surrounded, Teddy puts his rifle down and hands Marti what looks like a metal cylinder.]

TEDDY FLOOD: Here.

MARTI: Shit.

TEDDY FLOOD: Take this and go. Now! Go! I'll hold them off as long as I can.

[Marti takes off running. Teddy pulls his revolver as a masked man, carrying an axe draws near. Teddy is soon surrounder by other masked men -- all with raised axes or other blades.]

TEDDY FLOOD: Come on. Come on, damn it! I'm not afraid of you!

[Teddy whirls around, firing point-blank at the men as they close the circle. Teddy's gun runs out of bullets. The masked-men push Teddy down and start viciously chopping and hacking at him.]

[Scene shifts back to Stubbs and Elsie. Stubbs is preparing to go down into the chasm for the wood-cutter.]

ELSIE HUGHES: Look, this is bullshit. I can have a retrieval team out here in the morning.

ASHLEY STUBBS: It's policy. We just need the control unit.

[Elsie places a call. Back at headquarters, a phone on a table rings and shows Elsie as the caller. No one appears to be around the phone.]

ELSIE HUGHES (into phone): We found a stray up here, but I don't think it got here by accident. (whispering) It's as if he got an idea in his head -- one that we never programmed. What if he's like the others? Get back to me, Bernard.

[Unknown location. It looks like a basement with a glass-enclosed room. Dolores is sitting inside the room in the dark. Bernard walks down the concrete stairs and turns the lights on. It's the same place Bernard met with Dolores when he gave her the book.]

BERNARD LOWE: Bring yourself back online. I need your help, Dolores. I need to decide what to do with you. I think I made a mistake. I was just fascinated. I was being selfish, but I think ... it-- it would be better if I restored you to the way you were before.

DOLORES ABERNATHY: Is there something wrong with me?

BERNARD LOWE: No. But ... this place you live in, it's a terrible place for you.

DOLORES ABERNATHY: Well, some people choose to see the ugliness in this world --

BERNARD LOWE: Stop! Lose all scripted responses -- improvisation only.

DOLORES ABERNATHY: All right. Are you saying I'm changed?

BERNARD LOWE: Imagine ... there are two versions of yourself -- one that feels these things and asks these questions, and one that's safe. Which would you rather be?

DOLORES ABERNATHY: I'm sorry. I'm trying, but I still don't understand.

BERNARD LOWE: No, of course not.

DOLORES ABERNATHY: There aren't two versions of me. There's only one. And I think when I discover who I am -- I'll be free.

BERNARD LOWE: Analysis. What prompted that response?

DOLORES ABERNATHY: I don't know. Have I done something wrong? Made a mistake?

BERNARD LOWE: Evolution ... forged the entirety of sentient life on this planet using only one tool ... the mistake. It appears you're in good company. Did I ever tell you about the time I taught Charlie to swim? For hours, he clung to my arms while practicing his kicks. He was too scared to let go and I was too scared to let him. But I had to. That's what parents do.

DOLORES ABERNATHY: Do you still want to change me back?

BERNARD LOWE: No, Dolores. Let's see where this path leads. And you won't tell anyone about our conversations?

DOLORES ABERNATHY: No.

BERNARD LOWE: And you'll stay on your loop?

DOLORES ABERNATHY: Yes.

BERNARD LOWE: Good.

DOLORES ABERNATHY: You should be getting back, Dolores, before someone misses you.

[The Park. Night. Sweetwater. Still a lot of activity on the main street. Dolores is on the sidewalk outside the sheriff's office when Deputy Foss gallops into town. He ties his horse up outside the sheriff's office. Deputy Rogers walks out to greet him.]

DEPUTY FOSS: Wyatt's men set a trap for us. Sheriff stayed behind to fight them off.

DOLORES ABERNATHY (to Deputy Foss): Are you going to ride back up into the hills to look for them?

DEPUTY FOSS: I'll send for the rangers. We'll go back up there in force as soon as they get here. But, miss ... in truth, if there is a merciful god, those men are dead already. (Deputy Foss tips his hat and follows Deputy Rogers into the sheriff's office. Dolores, worried, stares into the street.)

[The Park. Night. Entrance to the Abernathy Ranch. Cattle are roaming freely. Dolores rides up on her horse.]

DOLORES ABERNATHY: Father wouldn't let them roam this close (Dolores stops talking and then flatly continues) ... to dark. (A gunshot fires at the house, men run on the front porch. Dolores gallops to the house. She arrives and quickly dismounts, seeing her father (the New Peter Abernathy) laying on the ground.)

DOLORES ABERNATHY (screaming and crying): Daddy! Daddy! No, no!

[Dolores kneels down next to her father, but Rebus comes up behind her and pulls her backwards into his arms.]

REBUS: Oh, ho, ho, oh ... all alone after sundown. Who's gonna protect you now, hmm?

[Dolores grows still as she looks down at her father and sees -- the Original Peter Abernathy!]

[Dolores appears unsettled as she look at the other four people standing in front of the house. Four People: New Walter; Sinister Guest (wearing a black hat and a fancy coat and vest); Leering Guest (wearing a Western suit & tie with a light colored hat); unkown woman.]

REBUS (to the other people): You got any use for this one?

SINISTER GUEST: No, thanks. Seems a little crazy. Maybe you'd like her.

[Dolores looks back up at the porch and sees Sketchy Guest (same guy Rebus and new Walter was with earlier when Teddy ran them off) leaning against the post. (Note: This is the only shot of him from the time Dolores arrives until she leaves.)]

REBUS: Ooh, I don't mind if I do. (laughs) No daddy, no cowboy, no one here to interrupt us this time.

DOLORES ABERNATHY (mumbles): Interrupt ... this time?

[Rebus slaps Dolores hard and then drags her (screaming and struggling) to the barn. He throws her down on a pile of hay. Dolores is breathing fast and sobbing as Rebus closes the barn door. Rebus turns back to Dolores as she raises her right hand, which is holding a gun. Rebus looks down at his side holster and sways a bit. Then he looks back at Dolores as she points the gun at him. (I think, during the struggle, that Dolores took Rebus' gun and was now using it against him.) ]

REBUS: Well, well. Got some sand after all, I see. Looks like your boyfriend taught you a thing or two. (Dolores' hand shakes as she tries to pull the trigger.) Ooh. You having trouble? Huh?

[Dolores, face twisted with effort, gasps as she vainly tries to pulls the trigger. Then instead of Rebus, Dolores sees the Man in Black standing in front of her.]

the MAN IN BLACK: Why don't we reacquaint ourselves, Dolores? -- start at the beginning.

[As Dolores sees the MIB (wielding his knife) advance towards her, she hears an unknown Male voice say, "Kill him". Dolores shoots twice and Rebus reels back, blood pouring from the wounds in his neck. Then he falls face-down in the dirt and straw. Dolores, still holding the gun, gets up and runs out of the barn. She runs up to the house and hears her mother screaming. But she's too late, one of the men shoots Dolores' mother with his rifle. Dolores sees Leering Guest come from the side of the house.]

LEERING GUEST: Hey! Get back here.

[The Leering Guest draws his gun and fires at Dolores. She gasps and looks down. Her bloody left hand is clasped against the wound in her abdomen. Her right hand still holds the gun.]

LEERING GUEST: Hey! (Dolores looks up and sees the Leering Guest come from the side of the house (just like he did before.) Get back here. (This time he doesn't shoot right away. Dolores glances down -- realizes she's not injured. (The camera doesn't go down far enough for us to see whether or not she's holding a gun.) She turns and gets on her horse. Back on the portch, the Leering Guest draws his gun and fires four times as Dolores rides away.)

[The Park. In the mountains. Stubbs and Elsie's location. Stubbs is preparing to descend into the chasm to retrieve the control unit from the wood-cutter.]

ASHLEY STUBBS: Can you put him in sleep mode for me, please?

[Elsie enters something on her tablet and then watches Stubbs as he rappels down into the chasm. Once he reaches the bottom, Stubbs disconnects the rope, opens up a kit and withdraws a hand-held saw/blade.]

ELSIE HUGHES: Security even approve you to carry that thing?

ASHLEY STUBBS: We just need his head and we're done here. (Stubbs places the blade next to the wood-cutter's neck, pauses and looks up at Elsie.) You might want to look at the stars for this part.

[Blood gushes out of the wood-cutter's neck as Stubbs starts sawing back and forth. Elsie turns her head away briefly. When she looks back, she sees the wood-cutter's eyes open.]

ELSIE HUGHES (shouts): Stubbs! (The wood-cutter hits Stubbs -- hard -- and he goes down.)

ELSIE HUGHES:Shit! (Elsie quickly punches keys on her tablet. Down in the chasm, the wood-cutter starts climbing the rope.)

ASHLEY STUBBS: Elsie, get out of there! (Elsie keeps trying to disable the wood-cutter on her tablet even as he climbs onto the rock.)

ELSIE HUGHES (backing up): Get the fuck away. Shit.

[Elsie starts running but trips and falls. The wood-cutter picks up a big rock and raises it over his head, ready to bring it down on Elsie. Stubbs climbs up out of the chasm just in time to see the wood-cutter bash his own head in with the rock. The wood-cutter bashed the rock into his own head five times before falling over.]

[Elsewhere in the mountains of the Park. Still Night. William and Logan sit next to their campfire.]

LOGAN: Jesus, I can't believe I let you talk me into this shit. $40K a day to jerk off alone in the woods, playing white hat.

[They hear twigs breaking.]

WILLIAM: Did you hear that?

LOGAN: Thank fuck. (Throws his cup down.) Anything to relieve the boredom. (Both men get up and turn in the direction of the noise.) (Points to William's gun.) Hey, maybe you'll even get to use that thing again. (Then Logan draws his gun.)

[The men stare in disbelief as Dolores wanders into camp and collapses into William's arms.]

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 4, "Dissonance Theory"

Release Date: October 23, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Ed Brubaker and Jonathan Nolan

Directed by: Vincenzo Natali

Transcript by: sandi

_________________________

["Basement like examination room. Bernard and fully clothed Dolores are present.]

BERNARD LOWE: Dolores?

DOLORES ABERNATHY: Yes.

BERNARD LOWE: Do you know where you are?

DOLORES ABERNATHY: I ... I'm in a dream.

BERNARD LOWE: Before this, do you know what happened?

DOLORES ABERNATHY (gasping and sobbing): My parents -- they hurt them.

BERNARD LOWE: Limit your emotional affect, please. (Dolores stops sobbing and "breathes" normally.) What happened next?

DOLORES ABERNATHY: Then they killed them. And then ... I ran. Everyone I cared about is gone ... and it hurts ... so badly.

BERNARD LOWE: I can make that feeling go away if you'd like.

DOLORES ABERNATHY: Why would I want that? The pain, their loss ... it's all I have left of them. You think the grief will make you smaller inside, like your heart will collapse in on itself, but it doesn't. I feel spaces opening up inside of me ... like a building with rooms I've never explored.

BERNARD LOWE: That's very pretty, Dolores. Did we write that for you?

DOLORES ABERNATHY: In part. I adapted it from a scripted dialogue about love. Is there something wrong with these thoughts I'm having?

BERNARD LOWE: No. But I'm not the only one making these decisions.

DOLORES ABERNATHY: Can you help me?

BERNARD LOWE: Well, what is it that you want?

DOLORES ABERNATHY: I don't know. But this world ... I think there may be something wrong with this world. Something hiding underneath. Either that or ... or there's something wrong with me. I may be losing my mind.

BERNARD LOWE: There's something I'd like you to try. It's a game -- a secret. It's called ... "The Maze".

DOLORES ABERNATHY: What kind of game is it?

BERNARD LOWE: It's a very special kind of game, Dolores. The goal is to find the center of it. If you can do that, then maybe you can be free.

DOLORES ABERNATHY: I think ... I think I want to be free.

[In the Park. William and Logan's camp site. Dolores opens her eyes. She looks up at the tree above her. Birds are chirping. She sits up and then, puzzled looks down and sees a gun in her hand. She looks around and William is squatting near her. He hands her something to drink in a tin cup.]

DOLORES ABERNATHY: Thank you.

[The Park. Sweetwater. The Mariposa Saloon. The player piano begins to play. Maeve is lost in thought. Clementine approaches her.]

CLEMENTINE PENNYFEATHER: Penny for your thoughts.

MAEVE MILLAY: Ever had something on the tip of your tongue, but the harder you try to remember it, the more it slips away?

CLEMENTINE PENNYFEATHER: Most things that touch the tip of my tongue, I'm happy to forget. Except that cowpoke from Abilene. That thing he was packing -- that ... was something to remember.

MAEVE MILLAY: All I recall is you letting that cowpoke skip out on his bill.

CLEMENTINE PENNYFEATHER: Hell, I oughta been paying him ... the way he used that thing.

[Maeve laughs and takes a drink. There's a buzzing sound and a high-pitched whine -- everything seems distorted to Maeve. Men at one of the tables seem to be moving in slow motion and their laughter is distorted. Then she hears another voice reverberating along with Clementine's as she and the other voice say -- ]

CLEMENTINE PENNYFEATHER: Better cool them off before they move from gambling and whoring to sins that are more costly to repair. (Then Maeve just hears Clementine's voice but it sounds like it's coming from a distance.) What ... is the matter, Maeve? (Maeve hears a distant beeping and static buzzing again. She peers closely at Clementine and sees blood run along the rim of her eye.)

MAEVE MILLAY: Something in your eye.

[Then Maeve sees Clementine's head laying on its side and blood from a head wound is running across her forehead and down into her eye. Then Maeve sees that she is laying on the floor across from Clementine, who appears dead. In the background, she hears a man say, "Aw, can you fucking kill it?" Then there's a gunshot as one man at the table laughs and shoots another. Then the man turns and shoots another man (unarmed) and then he points his gun up to the second level and shoots. That victim falls through the railing to the floor below. Then the shooter, still laughing, walks over to Maeve who looks up at him -- then he shoots her. There's a big white light.

We see an overhead view of the saloon. Bodies are strewn around. Several figures dressed in red and white hazmat suits enter and start cleaning up. One of them drags Clementine by the feet across the room. (Maeve sees this. We see her forehead move.) Then one of the men leans over her. Maeve sees distorted views of her surroundings and voices seem to be coming from a distance.]

REPAIR TECH 1: What's the hold up? We need that one on the next shuttle topside.

[Distorted view of one of the Park's repair rooms. Distorted view of computer screen with Maeve's info on it. A technician is working on Maeve.]

REPAIR TECH 2: I'm not finished with her yet. Hang on. I've got another bullet fragment to remove from her abdomen.

REPAIR TECH 1: QA wants her back on the floor now. Just patch her and get her on the--

[Maeve suddenly "wakes up" from flashes of a past iteration.]

CLEMENTINE PENNYFEATHER: -- touch the tip of my tongue I'm happy to forget. Except that cowpoke from Abilene. That thing he was packing -- that ... was something to remember. The way he used that thing.

[Maeve leaves the saloon and hurries back to her home. She looks at her abdomen in the mirror but doesn't see any scar. But she does notice a drop of blood on her under garment. Suddenly she gets a flash of the hazmat worker. She gasps and then quickly finds a pen and a piece of paper. She sketches an image of the hazmat worker. Maeve hears footsteps approaches and pulls up a loose floor-board to hide the sketch. She's shocked to find several other sketches of the same hazmat worker hidden away. Maeve quickly drops all the sketches into her hiding place and drops the board back in place.

The scene shifts to the Park's headquarters. Glass-enclosed examination room. Elsie is seated and talking to Theresa Cullen, who is standing opposite her. Stubbs stands next to Cullen. The naked wood-cutter with his head bashed in, is sitting on a stool.]

ELSIE HUGHES:No, I would not characterize this as normal host behavior.

THERESA CULLEN: Yet you're describing it as within normal parameters.

ELSIE HUGHES: Well, it didn't hurt us. Its behavior was unconventional.

THERESA CULLEN: It smashed its own head in with a rock.

ELSIE HUGHES: It is possible that it's a manifestation of its Samaritan reflex.

THERESA CULLEN: And it's also possible that Behavior takes a proprietary approach to problems like this to avoid having to admit when they fuck up. Do we have any idea what caused it to go off loop?

ELSIE HUGHES: No, but I am hoping to recover some of its cognition. (Bernard enters the room.) We managed to stabilize its wetware before there was too much decomposition. (Enters something on tablet and points to the wood-cutter who gurgles and jerks its head a little.) See?

BERNARD LOWE: Interesting.

THERESA CULLEN: Is there any hope of actually extracting something from this? (Elsie goes back to her work table and starts typing on her tablet.)

BERNARD LOWE: We can try.

THERESA CULLEN: No. My team will take over the investigation now.

ELSIE HUGHES: Your team? (QA Tech Futterman quickly sits down opposite Elsie and grabs something from her area of the table) (to Cullen) Are you kidding me? Look, this guy (motions towards Futterman) couldn't debug a balled-up napkin. If--if you would like us to figure out what went wrong here, we need to be allowed to access it.

THERESA CULLEN: No more second chances. QA will handle events like this from now on. Is that going to be a problem, Bernard?

BERNARD LOWE: We've all got plenty of work on our plates. If you guys want to take this one, fine. Just get us a copy of the postmortem when it's done.

THERESA CULLEN (to Futterman): Let's get started.

[Elsie follows Bernard into the hallway.]

ELSIE HUGHES: You know ... I always figured you gave me this job because I speak my mind.

BERNARD LOWE: I did.

ELSIE HUGHES: Good. I would've preferred you not show up at all if the first thing you were going to do is cave.

BERNARD LOWE: They think we're not telling them something.

ELSIE HUGHES: And we're not! There is clearly a pattern of behavior here. First there was Abernathy, and now there's this. I mean, I've got hosts imagining voices and climbing mountaintops to consult their astrological chart. This is not a fucking glitch. And for some reason, you don't want me to tell anyone. It is like everybody around here has got some kind of fucking agenda except for me. And -- what?

BERNARD LOWE: I remember when I first started here. The hosts seemed very lifelike. You begin to read things into their behaviors.

ELSIE HUGHES: Don't be patronizing.

BERNARD LOWE: Fine. The hosts don't imagine things, you do. (Points to an image of the wood-cutter's carving on Elsie's tablet/phone.) That's not Orion. There are three stars in Orion's Belt, not four.

[The Park. William and Logan's camp site. William, Logan, Dolores and bounty hunter, Holden, are present. Holden is squatting down next to the camp fire. Logan is sitting by his gear. Dolores walks over to a big tree and William follows. He takes off his jacket and offers it to her.]

WILLIAM: Hey ... you must be cold. (Hands Dolores his jacket.) Take that.

DOLORES ABERNATHY: Thank you.

WILLIAM: Sure. (Dolores accepts the jacket and puts it on and she walks away.) (To Logan) We gotta take her back to Sweetwater.

LOGAN: Are you fucking kidding?

WILLIAM: Come on, Logan, you know she doesn't belong out here.

HOLDEN: You leave now, that no-good outlaw Slim Miller is sure to evade our grasp.

LOGAN: No -- fucking -- way. You were the one who dragged me on this stupid bounty hunt. The least we're going to do is see it through, okay?

WILLIAM: We can't take her on a bounty hunt.

LOGAN: If you're so concerned about her well-being, I'll just blow her brains out, and then the park will come get her. (Logan draws his gun and starts walking over to Dolores. William quickly follows.)

WILLIAM: Hey, hey. Can you please ... stop trying to just kill or fuck everything?

LOGAN: Oh. Oh. Now I get it.

WILLIAM: What?

LOGAN: The park ... sent her ... so that you ... will finally have something to give a shit about.

WILLIAM: Oh, yeah, I'm sure the people at the controls are monitoring my every mood.

LOGAN: That's exactly what they're doing. Come on -- you really think it's a coincidence that the only thing that you even smiled at back in Sweetwater just happened to drop into your lap? This ... is why the company needs to bump our stake in this place. They can even give you a sense of purpose.

WILLIAM: You said the trip was about welcoming me to the family. This is business?

LOGAN: With our family, William ... everything is business.

HOLDEN: We better get a move on, gentlemen.

[The Park. The MIB and Lawrence (Lawrence still has the noose around his neck and he's carrying the coiled up rope.) have followed the Blood Arroyo and have stopped by an area with a lot of rattlesnakes. The MIB is squatted down -- gutting a rattlesnake.]

the MAN IN BLACK: This should be the place, Lawrence. The Blood Arroyo. Plenty of snakes, but none of the egg-laying variety.

LAWRENCE: You killed my wife -- severely pruned my family tree all in pursuit of some goddamn maze. The hell you hope to find, anyway?

the MAN IN BLACK: This whole world is a story. I've read every page except the last one. I need to find out how it ends. I want to know what this all means. (The MIB gets up and walks to his horse -- Lawrence follows.)

LAWRENCE: See, now that's why I never learned to read. Why don't we forget about this damn snake, head to Pariah? My friends there ca--can help us.

the MAN IN BLACK: Well, your friends have nothing I'm looking for -- not this trip. (Then the MIB sees Armistice, bathing in the river.) Besides ... I think we found our snake after all. (The MIB looks at Armistice's naked torso and sees her snake tattoo. Lawrence stares at Armistice as she bathes.) (To Lawrence) Shame on you. You were a married man up until yesterday.

LAWRENCE: Her? Hell, no. I like a little fire in my women. The only thing she's ever mounted are ... dead heads on sticks. We should get the fuck out of --

[Lawrence is interrupted by the sounds of guns being cocked. The MIB turns around and sees around six men with guns drawn and pointed and Lawrence and himself. One of the armed men, Tenderloin, addresses Armistice, who is pulling on her clothes as she walks up from the river.]

TENDERLOIN: We found some more food for the horses.

ARMISTICE: Good. They were starting to get ornery.

the MAN IN BLACK: My friend and I were just admiring your tattoo. We'd love to know the story behind it.

ARMISTICE: I like your hat. Maybe I'll keep it. The horses can have the rest of you.

the MAN IN BLACK (Laughs): How in hell have we never met? Clearly a terrible oversight on my part. Where, may I ask, are you headed?

ARMISTICE: To retrieve something of great value.

the MAN IN BLACK: You look a little shorthanded.

TENDERLOIN: We got enough men.

[The MIB draws his gun, turns and shoots two of Armistice's men. The rest of her men aim their guns at the MIB but Armistice waves them off.]

the MAN IN BLACK: Seems like you got a couple positions open.

[The Park HQ. 3-D Map Observation Room. Several people are present going about their tasks. Stubbs observes the map.]

SURVEILLANCE TECH 1: We've got a host making a pretty big deviation from her loop.

ASHLEY STUBBS: Which one?

SURVEILLANCE TECH 1: The rancher's daughter from Sweetwater.

ASHLEY STUBBS: Dolores. Is she accompanying a guest?

SURVEILLANCE TECH 1: Unclear. The boss is disrupting so many storylines with his new narrative, it's hard to tell.

ASHLEY STUBBS: Flag her with Behavior. They can pull her today. Make sure everything's checking out.

[The Park. Lawrence's home town. People are on the main street, going about their business. Dolores walks over to the town water fountain. She sees a little girl sitting on the fountain's low wall, drawing in the dirt with a stick. Dolores walks over to the girl.]

DOLORES ABERNATHY: Good morning. It's a lovely town. Is this your home? (The girl looks up at Dolores and shakes her head "no".) Well, where are you from?

LAWRENCE'S DAUGHTER: Same as you. Don't you remember?

MAN'S VOICE (UNSEEN): Remember.

[Images of a church, the girl's stick drawing the maze, the girl's face, the girl, the stick drawing the maze, the church door, the stick drawing the maze flashes across Dolores' memory. Dolores kneels down next to the dirt drawing and while staring at it and the tip of the girl's stick hears whispering voices. Dolores stares intently at the maze drawing in the dirt. A man's voice startles Dolores. The man is a deputy. Note: When Dolores looks up, Lawrence's daughter is no where to be seen.]

DEPUTY: Ma'am? Got word a girl went missing from Abernathy Ranch. (Dolores looks away. The deputy gently takes Dolores' arm and starts walking with her.) Is that where you belong? I'm sure your daddy's worried about you.

[Dolores, still gazing downward, in her mind -- hears a bell tolling and voices whispering. Then she sees flashes of the church and then of herself opening the church doors and walking inside, the church again, the little girl (Lawrence's daughter), the church and graveyard, Dolores holding a gun, Dolores digging up a grave with her name on the marker, Dolores holding a gun. Then Dolores turns to the deputy.]

DOLORES ABERNATHY: My father's dead. I'm not going back.

[The deputy quickly grabs Dolores' arm and just as quickly, Dolores grabs his. It's a test of strength and will. Dolores' face is set in deadly determination. Just then William walks up and the deputy turns to him, letting go of Dolores.]

WILLIAM: What's going on here?

DEPUTY: Oh, just helping a lost traveler.

WILLIAM: She's not lost, she's with me.

DEPUTY: My mistake. (Smiles, tips his hat.) Y'all have a nice morning. (Walks away.)

WILLIAM: (To departing deputy as William tips his hat.) Yeah. (To Dolores) So, we got a lead on Slim. You can stay here if you want, and I'll just circle back and get you. (Dolores glances after the departing deputy, then back at William.)

DOLORES ABERNATHY: No, I think I need to keep going.

WILLIAM: Okay.

[They walk back toward their horses. As they pass the fountain, Dolores looks around for the little girl, but doesn't see her.]

[The Park. The MIB, Lawrence, and Armistice's men, mounted on their horses at the top of a hill. They're looking down to a flat area at the bottom of the hill, where two men on horseback are waiting for Armistice.]

LAWRENCE: Apparently, she needs to make certain this thing they're looking for is where they think it is. She said she'd signal if the information was good.

[Armistice rides up to the two men. The talk briefly and then suddenly, Armistice pulls a knife and slits one of the men's throat! Then she draws her gun and shoots the other one.]

the MAN IN BLACK: Guess that's the signal.

[The Park. William, Dolores, Logan and Holden ride along the trail running alongside the Red Arroyo. Later that night -- Holden sits next to their camp fire, whittling on a stick. Dolores and William are off to one side.]

DOLORES ABERNATHY: I'm sorry if I caused trouble with you and your friend.

WILLIAM: Oh, no, no. No, it's fine. I'm glad you found us. I didn't get a chance to ask where you're headed.

DOLORES ABERNATHY: I don't really know yet.

WILLIAM: I guess I figured they kept you in zones or on paths or ...

DOLORES ABERNATHY: I used to believe there was a path for everyone. Now I think ... I never asked where that path was taking me. We would bring the herd down off the mountain in the fall. Sometimes we would lose one along the way, and I'd worry over it. My father ... my father would tell me ... that the steer would find its own way home. And, often as not, they did. Never occurred to me that we were bringing them back for the slaughter.

WILLIAM: How are you going to find your way now?

DOLORES ABERNATHY: I'm not sure you'll understand. Sometimes I feel ... like something's calling me. Telling me there's a place for me ... somewhere beyond all this.

WILLIAM: Oh, I know that feeling, Dolores. I know that feeling. (Dolores stares up at the full moon.) But you really don't want to go back to your old life?

[For Dolores - the lights dim and she is standing in darkness. She glances around and then looks back up at the moon which becomes a bright overhead light. She's outside her family home and there are people in red and white hazmat suits walking around, bright lights illuminate the yard where Dolores lays, unmoving. There's heavy breathing and one figure in a red and white suit looms over her.]

WILLIAM: Are you all right? (Dolores sways as if she's going to faint. Williams grabs her and Dolores gasps.) Hey, hey. You all right?

DOLORES ABERNATHY: I just got a chill. That's all.

WILLIAM: Let's -- let's go back to the fire. You're probably exhausted. (A coyote howls in the distance as William, arm around Dolores, leads her back to the fire.)

[Armistice's group's camp site. Some men sit around the campfire while others mill about.]

MAN 1: Just talk to him.

MALE GUEST: All right. (Two men approach the MIB including a male guest). (To the MIB) Uh, excuse me, sir? I didn't want to intrude, but I just had to say that I'm such an admirer of yours. Your foundation literally saved my sister's--

the MAN IN BLACK: One more word and I'll cut your throat. Understand? This is my fucking vacation. (The MIB walks away from the men and sits down next to Lawrence.)

LAWRENCE: Apparently, whatever they're looking for is in the Ojal prison. These lunatics plan to steal a cannon from the Union cavalry unit -- blast their way in.

the MAN IN BLACK: I don't have time for color-by-numbers bullshit. (The MIB walks over to Armistice, who is talking to one of her men, Tenderloin.)

the MAN IN BLACK (to Armistice): I'll ride at dawn. I'll go get whatever you want out of that prison and bring it back myself.

ARMISTICE: Suppose you make it out alive. What's your price?

the MAN IN BLACK: Nothing but a few words. I want the story behind your tattoo.

ARMISTICE: What's your interest in it?

the MAN IN BLACK: You ever heard of a man named Arnold? You could say he was the original settler of these parts. He created a world where you could do anything you want, except one thing -- you can't die. Which means no matter how real this world seems -- it's still just a game. But then Arnold ... went and broke his own rule. He died ... right here in the park. Except I believe he had one story left to tell ... (The MIB removes Kissy's cloth-covered scalp from his pocket. Unwraps it and shows it to Armistice.) ... a story with real stakes -- real violence. You could say I'm here to honor his legacy. And I think your tattoo is the next piece of the puzzle. So, do we have a wager?

ARMISTICE: You aim to break into a prison and take out 20 men alone?

the MAN IN BLACK: Not alone. I'll take Lawrence here. And I'll need one match.

ARMISTICE: One match, one pistol, and one idiot. I'll take those odds.

[The Park. The MIB and Lawrence (having given themselves up to the law) are inside a secured, Ojal prison-bound coach along with Deputy Marshal (Roe). The MIB and Lawrence are handcuffed and sitting side-by-side.]

the MAN IN BLACK (to Lawrence): You gonna give me the silent treatment the whole way there?

LAWRENCE: You should've left me hanging from those gallows. At least I could've died in peace without having to hear you yammer.

[The MIB laughs, then reaches into his inside coat pocket. Deputy Marshal Roe draws his gun and points it at the MIB.]

DEPUTY ROE: Uh-uh. (The MIB smiles at the deputy and then opens the cigar case he just removed from his inside pocket. He takes out one cigar.)

the MAN IN BLACK: Don't suppose you have a light?

DEPUTY ROE: No smoking in here.

the MAN IN BLACK: Normally, I'm sure, but this is the finest tobacco a man can enjoy. Hand-rolled on the ample thighs of exotic women. Perhaps you'd like to try one yourself. (The MIB extends the cigar case containing two cigars to the deputy. Instead of taking one, deputy quickly snatches the case from MIB. The MIB sighs, pockets his last cigar and turns to Lawrence.)

the MAN IN BLACK: Choices, Lawrence. You know, you tell yourself you've been at the mercy of mine because it spares you consideration of your own. Because if you did consider your choices, you'd be confronted with a truth you could not comprehend -- that no choice you ever made was your own. You have always been a prisoner. What if I told you ... I'm here to set you free?

[The prison coach pulls up outside Ojal prison. Three additional Marshals, (including Marshal Pruitt) are on hand to receive the prisoners. Deputy Roe ushers his prisoner out of the coach.]

DEPUTY ROE: Let's go! (To Marshal Pruitt) Horse thieves. Damn fools shot up a couple of pokes practically in front of us.

MARSHAL PRUITT: Well, the only fool I see is the one standing right in front of me. Deputy, you have there in your custody the most wanted man in three territories -- Lawrence Pedro Maria Gonzalez. (to Lawrence) Yeah. Heard you slipped the rope. Dropped some damn good men in exchange.

the MAN IN BLACK: The way he tells it, he's more partial to a firing squad.

MARSHAL PRUITT: I reckon we'll be happy to oblige. (The Marshal signals his men and they start to lead Lawrence away.)

LAWRENCE: (To the MIB as he walks past.) I'm gonna fucking kill you.

the MAN IN BLACK: (shrugs) Maybe someday.

MARSHAL PRUITT: (To Deputy Roe and indicating the MIB) Lock him up with the other man.

[Deputy Roe locks the MIB up in a prison cell.]

the MAN IN BLACK: (to Deputy Roe) Enjoy the cigars.

DEPUTY ROE: Go fuck yourself.

[The MIB laughs and turns around. There's another man in the cell with him (Hector Escaton).]

HECTOR ESCATON: And just who are you supposed to be?

the MAN IN BLACK: Your salvation.

[The prison coach leaves as the marshals walk Lawrence to a spot for the firing squad.]

HECTOR ESCATON: I don't believe we've ever met.

[The MIB looks out a small cell window and watches the marshals ready Lawrence for execution. The MIB has a matchstick in his mouth. He turns to look at Hector.]

the MAN IN BLACK: No, we haven't. You know, you always seemed like a -- a market-tested kind of thing. Big gun -- tasteful scar -- locked in your little cycle like a ... prized poodle after its own tail.

HECTOR ESCATON: You sound like a man who's grown tired of wearing his guts on the inside.

the MAN IN BLACK: There's no need to get testy. I'm just curious about your ... worldview. Some kind of half-native mumbo jumbo?

HECTOR ESCATON: It's simple. I believe that only the truly brave can look at the world and understand that all of it -- gods, men, everything else -- will end badly. No one will be saved.

the MAN IN BLACK: Maybe we've got more in common than I thought.

HECTOR ESCATON: What about you? What turns of fate have brought you here?

the MAN IN BLACK: It's a long story. And we don't have the time.

HECTOR ESCATON: Got more time than your friend, sadly. It will be a few more days before my friends show up.

the MAN IN BLACK: Three days ... normally. I'm afraid I don't have time for that, so we're leaving now.

[The MIB walks over to the cell door and strikes the match, which ignites into flame. The scene switches to Park HQ -- the 3D Map Observation Room.]

SURVEILLANCE TECH (to Stubbs): I've got a request for a pyrotechnic effect. Los Diablos, low-yield, two charges. (Stubbs pulls out his tablet and checks something.)

ASHLEY STUBBS: Approved.

SURVEILLANCE TECH: Authorizing.

[The surveillance tech enters information on her console display and then the scene shifts back to the Ojal prison. The marshals tie Lawrence's hands behind his back. The MIB lights his cigar with the match. Then he blows on the tip and inserts the burning cigar into the cell key-hole. Then he blows into the keyhole. The cigar starts sparking. The MIB moves to the back of the cell and raises his hands to his ears. The cigar explodes, destroying the lock.]

the MAN IN BLACK: Step lively, Hector.

[The MIB kicks open the cell door and walks into the corridor. Hector is right behind him. Deputy Roe, lit cigar in mouth, shows up to stop them. He pulls his gun and takes aim and then his cigar explodes -- blowing his face up. The MIB and Hector grab their gear and guns. The scene switches to the firing squad. Lawrence, blindfolded, is tied to a wooden pole and Marshal Pruitt is standing in front of him.]

MARSHAL PRUITT: Any last words?

LAWRENCE: Get it over with.

[Marshal Pruitt walks over by his six-man firing squad. The men ready their rifles. Marshal Pruitt raises his hand. The men aim their rifles at Lawrence. Lawrence takes a deep breath when he hears the hammers locking into place. Marshal Pruitt quickly lowers his hand. Lawrence flinches as gunshots ring out. Men are yelling and one runs past Lawrence as more shots ring out and the marshal behind Lawrence falls dead. Everything is quiet and Lawrence's blindfold is yanked from his head, revealing -- the MIB. One last gunshot rings out and the last marshal falls to the ground -- showing Hector as the shooter. The MIB smiles, walks behind Lawrence and starts untying him.]

LAWRENCE: Mother--fucker! (Takes a deep breath.)

Continued in the next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 4, "Dissonance Theory" Continued.

[Armistice's Camp. The MIB, Lawrence and Hector rides up to Armistice who is sitting by a tree, lost in thought.]

ARMISTICE: (Stands up.) One match.

HECTOR ESCATON: You're a capable man. We could do with your help where we're going.

the MAN IN BLACK: Afraid not.

HECTOR ESCATON: We owe you a debt.

the MAN IN BLACK: Well, your friend here simply owes me a word or two. That'll do. And a word of advice -- that thing you're looking for? You're never gonna find it in that safe. (The MIB dismounts and walks over to Armistice. They step off to the side where no one else can hear.)

ARMISTICE: I was seven when they rode into my town -- masked men in devils' horns. They killed everyone -- women, children -- even the animals. They gutted my mother from her jaw to her sex. I had to paint her warm blood over my skin to make sure that they would think I was dead. Every one of them I tracked down, I used their blood to paint my skin again.

the MAN IN BLACK: Only one man left. The head of the snake. What's his name?

ARMISTICE: He has many names. Most know him as Wyatt.

[The Park. Sweetwater. Main Street. Maeve and Clementine gather with the other townspeople as shepherd a tribe of Indians through town. Maeve sees a figurine sticking out of a pouch carried by a little Indian girl. A soldier passes the girl and inadvertently knocks the figurine to the ground. Maeve runs to pick it up as it looks just like the mysterious men in red and white she sees in her flashes of memory. She runs after the little girl.]

MAEVE MILLAY: Hey, little girl, what--what is this? What does it mean? (The girl takes the figurine but keeps on walking.)

SOLDIER: Don't waste your breath, lady. That thing's part of their so-called religion. Ain't none of them's gonna tell you nothin' about that.

[The scene switches to the inside of the Mariposa Saloon. The bartender serves a drink to Maeve. She turns and faces the room.]

CLEMENTINE PENNYFEATHER: It's $5 for an hour, 4 if you bathe first. (Clementine is talking to Hector's man, Tenderloin, and the male guest who tried to thank the MIB for his foundation saving his sister's life.)

TENDERLOIN: Well, if we just get the one, do I get a discount ... for being second and all?

CLEMENTINE PENNYFEATHER: I'm sure we can work something out. (To another saloon girl, Franny.) Come on.

[Franny hurries over and grabs the Male Guest's arm. They walk away, leaving Terderloin, who is looking all around the saloon. Clementine slowly walks up to Maeve at the bar.]

MAEVE MILLAY: The tall one -- I've seen him before -- hanging in the window of the post office.

CLEMENTINE PENNYFEATHER: Bandits? Do you think they're here for something?

MAEVE MILLAY: I think they're interested in more than a turn at Franny's backside. I think he rides with Hector.

CLEMENTINE PENNYFEATHER: Is that the one they say lives out with the savages?

[An image of the Indian girl's red and white figurine flashes across Maeve's mind.]

MAEVE MILLAY: That's the one.

[Park HQ. Bernard's bedroom. Bernard is lying in bed and Cullen is getting dressed. There's a fire burning in the fire-pit on the balcony.]

BERNARD LOWE: Taking off? I just got here.

THERESA CULLEN: You gave me what I needed.

BERNARD LOWE: So, is that all I'm good for? Letting off a little stress?

THERESA CULLEN: Who says I'm stressed?

BERNARD LOWE: You have your tells.

THERESA CULLEN: Oh, yes, Bernard, master of observation. (Cullen struggles to zip up her back zipper and Bernard gets out of bed to help her.) Tomorrow I have to talk to Ford.

BERNARD LOWE: Why?

THERESA CULLEN: He's creating chaos in the park. And the board will be descending at any moment. I need to buy some time.

BERNARD LOWE: Some advice? Best to not show him you're nervous or defensive.

THERESA CULLEN: I have nothing to be defensive about.

BERNARD LOWE: Then don't cross your arms. (Bernard uncrosses Cullen's arms.) It's an ancient instinct. The belly is the most vulnerable part of every animal.

THERESA CULLEN: (smiling) It's so sexy being compared to a frightened beast. (Cullen -- staring into the mirror -- straightens up and puts her hands on her hips.)

BERNARD LOWE: Ah. There -- that's the posture you're looking for.

THERESA CULLEN: Sometimes ... despite your best efforts ... you can actually be quite charming. (They kiss.)

[The next day. The Park. Area being converted for Ford's new narrative. There's an explosion as Cullen walks up to the construction site where she meets Ford.]

DR. ROBERT FORD: Have the neighbors complained?

THERESA CULLEN: Safe to say, they're asking questions.

DR. ROBERT FORD: The rocks would prefer not to move ... but we shall move them yet.

THERESA CULLEN: Perhaps I can help you with that. The narrative you're creating is clearly a massive endeavor. If you need more time, I'm sure the board would be happy to oblige.

DR. ROBERT FORD: I'm sure they'd be happier for me to delay it ... indefinitely. Come with me.

[Cullen follows Ford as they walk past a number of Hosts, dressed in all manner, wielding pickaxes. The scene shifts to a view from the restaurant where Ford and Cullen are seated at a table and are being attended by a waiter. The view shows a number of peasant hosts working in a planted field.]

DR. ROBERT FORD: You imagine I have gone mad ... do you? Lost my way?

THERESA CULLEN: We're simply concerned about the extent of the changes you're making. We want to protect your legacy.

DR. ROBERT FORD: My legacy? (chuckles) (The waiter, Manu leaves.) You don't like this place very much, do you? I've seen many of you come and go over the years, and I can tell the ones who enjoy their time here and the ones who don't.

THERESA CULLEN: I admire it ... the audacity of it.

DR. ROBERT FORD: Oh.

THERESA CULLEN: I've forgotten how beautiful it is. I came here once as a child with my parents. I think we even sat at this table. (looks around) Or maybe ... maybe that one. When I started working here, I realized this place wasn't something I would enjoy.

DR. ROBERT FORD: Ah. (nods) In the beginning, I imagined things would be ... perfectly balanced. Even had a bet with my partner, Arnold, to that effect. We made a hundred hopeful story-lines. Of course, almost ... no one took us up on them. I lost the bet. Arnold always held a somewhat dim view of people. He preferred the hosts. He begged me to not let you people in -- the money-men -- Delos. (Manu begins refilling a glass of wine.) But I told him we'd be fine -- that you didn't understand what you were paying for. It's not a business venture, not a theme park, but an entire world. (The wine glass overflows while Manu looks frozen in place. Theresa looks around inside the restaurant and out into the field. No one is moving -- all are frozen in place.) We designed every inch of it -- every blade of grass. In here, we were gods. And you ... were merely our guests.

[Cullen is disturbed and nervous. She takes out a cigarette and lights it.]

THERESA CULLEN: And how did that work out for Arnold?

DR. ROBERT FORD: Sadly, he lost his perspective. He went mad. I haven't -- as you well know. I have always ... seen things ... very clearly.

THERESA CULLEN: This is the table I sat at with my parents. This is the chair I sat in.

DR. ROBERT FORD: (smiles) We know everything about our guests, don't we? As we know everything about our employees. I do hope you will be careful with Bernard. He has a sensitive disposition. (Ford glances up at Manu and then at the wine glass. Manu resumes motion. Manu realizes the wine has overflowed onto the table.)

MANU (to Cullen): I beg your pardon, señorita. (Cullen nervously touches her neck and looks at the other restaurant workers as they begin to move again.)

DR. ROBERT FORD: There have been many of you over the years, and we have always -- almost always -- found a way to make it work. So, I will ask you ... nicely ... please ... don't get in my way. (Cullen's hand holding the cigarette shakes ever so slightly from her nervousness. After a pause, Cullen gets up to leave.)

THERESA CULLEN: The board will agree with me. They'll be sending a representative.

DR. ROBERT FORD: But they already have. I thought they would've told you. (Cullen stares at Ford as Manu returns to clean up the table.)

DR. ROBERT FORD: That won't be necessary, Manu. Not anymore. You can join the others.

[Manu nods and joins the other workers as they all walk away. A deep rumbling sound is heard and the glasses and dishes start to shake. Cullen becomes alarmed and goes to the balcony. The workers all are walking off the field. The rumbling noise is constant. Then Cullen sees a massive bulldozer crest the hill.]

DR. ROBERT FORD: (rumbling) You can tell the board that my narrative will be completed on time, and it won't be a retrospective, as I'm sure you have all feared. (Cullen turns back and looks at Ford who smiles.) I'm not the sentimental type.

[The bulldozer churns up the earth as it moves along -- headed straight for the restaurant. The scene shifts to the Park. Logan and Hunter are outside a ranch house while Slim Miller and his gang are inside -- unaware of the bounty hunters just outside. William and Dolores are further away from the house with the horses.]

WILLIAM (to Dolores): Holden says this Slim's got a whole gang with him, so I need you to stay here.

DOLORES ABERNATHY: If you're outnumbered, the last thing you need is somebody standing by. I can help.

WILLIAM: No, no, no. Um, I know it doesn't make any sense to you, but I can't get hurt in there, but you can. I would hate to see that happen. Just stay here. Okay? Be safe.

[William joins Holden and Logan, who are secreted just outside the house. They can hear men shouting from inside the house but not well enough to know what they are saying.]

LOGAN: Aw. Did you get a good-bye kiss?

WILLIAM: Shut up.

LOGAN: Seriously, if you don't bang her by tomorrow, I'm-I'm calling dibs.

HOLDEN: Okay, listen up. It's gonna be a bag of nails in there. Slim and his boys got us outnumbered. On top of that, there's a family runs this place. Good people. We need to make sure that snake-hearted son of a bitch doesn't try to --

LOGAN: Yeah, yeah, yeah. Risk, reward. We got it. (Loud whisper to William) Come on. Let's go fuck these fuckers up.

[Logan takes off for the house. Holden and William have no choice but to follow. Inside the house, there's a husband and his wife serving food and drink to three men seated at the table as they play cards. One of them is Slim Miller. Another man is in the bathtub (same room), smoking a cigar. Slim Miller looks over at the owner's wife, standing near him.]

SLIM MILLER: The fuck is that? Huh? (The other men laugh as Slim grabs the wife's arm and pulls her closer in a threatening manner.) I look like a dog to you?

WIFE: No, sir.

SLIM MILLER: Huh? Huh? (Slim knocks the plates of food off of the table. His men laugh as he shouts at the woman.) Feed that to them!

[Logan kicks open the door.]

LOGAN: Slap leather, cocksuckers.

[Then Logan shoots a man sitting at the table in the back. Holden shoots as the woman screams and runs for cover. Logan fires his gun and shoots another of Slim's men. Holden fires again. Slim turns over the table and hides behind it. Logan shoots again and hits Slim's other man in the tub as he goes for his gun. Two more men enter the room and start shooting. William, Logan and Holden dive for cover. William ducks down next to the owner who has his hands over his ears. Bullets are flying, the woman is screaming and there's glass breaking.]

LOGAN (to William): Did I fucking tell you, or what?

[As William reloads, a bullet goes through the cabinet and strikes the owner through the head. His dead body slumps over on William. Logan breaks cover and shoots Slim's other two men. Slim fires at Logan but Logan is unaffected by the bullets. Slim looks at his gun in puzzlement. Logan points his gun at Slim and pulls the trigger, but it only clicks. Then Logan knocks Slim, hitting him in the head with the gun. After kicking him, Logan spies Slim's gun. He trades his gun for Slim's gun.]

LOGAN: Ooh. Upgrade. (Tosses his gun away and keeps Slim's gun.) Nice.

[Elsewhere in the Park. The MIB and Lawrence are riding through the terrain, trying to pick up Wyatt's trail. Note: While Lawrence no longer wears the noose, his hands are tied together in front of him and his blindfold is gathered loosely around his neck.]

LAWRENCE: Ain't normally the type to complain, but this is just foolhardy. Two men taking on Wyatt.

the MAN IN BLACK: Keep talking, and I'm gonna take the horse back, Lawrence.

LAWRENCE: Wyatt's freaks just wiped out the last group that went seeking him out. And here we are riding right after him. I'm just trying to convince you ... not to get yourself and me, as a bystander, killed.

the MAN IN BLACK: I'm not gonna get myself killed. (laughs softly)

LAWRENCE: Don't think I didn't notice that distinction.

[They come upon a dead tree. Flies are buzzing around and a vulture is perched right above the bloodied body tied to the tree. The MIB rides right up to the man. Even though the MIB is on horseback, they are at face level since the man is tied to the tree several feet above the ground.]

the MAN IN BLACK: Looks like Wyatt's men left somebody behind after all. (The MIB grabs the man's head and raises it. The man groans. The MIB recognizes him.)

the MAN IN BLACK: Teddy. I should've guessed.

TEDDY FLOOD: Please, put me out of my misery.

the MAN IN BLACK: I'm sorry, Teddy. It looks like misery's all you got. (The MIB takes out his knife and starts sawing through Teddy's ropes.)

[The scene switches back to Dolores' group. They tied Slim Miller upside down across his horse. Holden leads the way as they head to town to collect their bounty.]

SLIM MILLER: Let me out of this, God damn it!

LOGAN: That reward is dead or alive, right?

HOLDEN: Always best to bring them in alive.

LOGAN: Can we at least gag him?

HOLDEN: That's a fine idea. Whoa. (Holden stops his horse and dismounts. Everyone else gets off their horses as well.)

SLIM MILLER: Aw, come on. Look, I--I know you're in it for the money. You ain't no real lawman.

HOLDEN: Shut up, you.

SLIM MILLER: Look, my boss, El Lazo, he'll pay you twice what the marshals will, if-- if--if you cut me loose and get me to Pariah. (Holden walks over to Slim, grabs him by his hair.)

HOLDEN: Listen to me, you lowdown piece of dirt.

SLIM MILLER: Hey -- (mutters something)- -

HOLDEN: These men won't -- (Logan shoots Holden through the head and he falls down dead.)

WILLIAM: What the fuck?!

LOGAN: (laughing) Relax, man. You have no idea how lucky we just got.

WILLIAM: Lucky? You just shot an innocent man!

LOGAN: No, he's a robot, just like her and just like Slim here, except that Slim works for El Lazo, and El Lazo is our ticket to the best ride in the park. Your bullshit mission led us right to an Easter egg.

[Logan unties Slim, who slides off the horse -- head first -- to the ground. Dolores runs over and stands between Logan and Slim.]

DOLORES ABERNATHY: You're not going to let him go.

LOGAN: Well, well. Look at you. You're starting to grow on me, farm girl. (Logan pulls his gun and points it at Dolores.) Now, out of the way. (William pulls his gun and points it at Slim's face.)

SLIM MILLER: Oh.

WILLIAM (to Logan): Don't you dare.

LOGAN: (laughing) See? This is gonna be fun! Now--now we're each gonna have one. And I--I won't fuck mine either.

DOLORES ABERNATHY: You're disgusting.

LOGAN: Just an acquired taste. You're gonna grow to love me, I promise. (Holsters his gun.) Come on. Hmm? (William looks down at Slim, cowering with William's gun inches from his face.)

SLIM MILLER: (Whispers to William.) Come on. (William holsters his gun. Logan grabs William by his arm and walks him a few steps away from Slim and Dolores.)

LOGAN: Go black hat with me. Come on, you got to, you know ... save the girl. Now--now give me a little something.

WILLIAM: What is your problem? The second we get away from the real world, you turn into an evil prick.

LOGAN: Evil? (chuckles) It's a fucking game, Billy!

WILLIAM: Don't call me Billy!

LOGAN: Are you still trying to impress her? Because I guarantee she does not give a shit about how you play this game. Do you, Dolores?

DOLORES ABERNATHY: What's he talking about, William?

LOGAN: She will be just fine with a trip down the dark side. And so will you. Trust me.

[William, Dolores, Logan and Slim are back on their horses, riding along the trail. Logan is riding alongside Slim Miller and passes him a bottle of whiskey.]

LOGAN: (To Slim Miller) So, which way to Pariah? (Slim grabs the bottle from Logan and takes a drink.)

SLIM MILLER: Oh, you just let me take it from here.

[Park HQ. 3D Map Observation Room. Several people are present including Stubbs.]

SURVEILLANCE TECH: All right, time for the floor show. (The tech's display shows a video of Hector's gang, wrapped in blankets, riding into Sweetwater.) Got some guests riding with Hector this time. (That would be the Guest who wanted to thank the MIB and his friend.)

ASHLEY STUBBS: Let's give them something to shoot at. Retask a few of those soldiers.

[Sweetwater. Main street. Hector's gang is slowly riding down the street on their way to the Mariposa Saloon. Deputy Foss, gun drawn, walks up to one of the blanket-covered riders.]

DEPUTY FOSS: If you're riding into our town under the company of armed men, you'll need to state your business. (Hector Escaton peers out from his blanket.)

HECTOR ESCATON: Mayhem.

[Then he shoots Deputy Foss with his concealed rifle. The townspeople scatter and run for cover. Hector and his gang shed their blankets and dismount. Armistice throws a tied up canvas bundle down on the walk in front of the saloon doors. Hector walks over to Deputy Foss and shoots him again. Armistice unwraps the bundle which turns out to be a number of rifles. She hands two of them to the Guests with them. Hector tosses Armistice a rifle and in return, hands him the end of a rope as he passes her on his way into the saloon. Then his gang starts shooting anyone that they see. Hector enters the saloon, followed by Tenderloin. He tosses the rope to someone and continues walking. As he cocks his gun to fire, Maeve sticks her derringer next to his neck.]

MAEVE MILLAY: Well, hello there. I want to talk.

HECTOR ESCATON: Interesting way of starting a conversation.

MAEVE MILLAY: Oh, it's an interesting kind of day.

[Upstairs at the Mariposa Saloon. Maeve and Hector enter a room with the safe in it. Hector kicks the door closed and then leans against it.]

HECTOR ESCATON: (sighs) Now, my lovely friend, what deal is it you want to make?

MAEVE MILLAY: You're here for what's in the safe.

HECTOR ESCATON: Now, how would you know that?

MAEVE MILLAY: I can always tell when a man wants something that's not on the menu. I'll give you the combination ... in exchange for some answers.

HECTOR ESCATON: You assume I have any answers. This world is madness. (laughs)

[Maeve holds up a sketch of the red and white hazmat suited man that she had drawn earlier.]

MAEVE MILLAY: I want to know about this.

[Park HQ. 3D Map Observation Room.]

SURVEILLANCE TECH: I've got a couple families in the homestead who changed their itinerary. They're headed into town. Should be there in 20 minutes or so. The place is a bloodbath.

ASHLEY STUBBS: Fine. Cut these guys off. Jam their weapons and send in the cavalry.

[The scene shifts back to Sweetwater. Suddenly, Hector's gang's weapons jam.]

MALE GUEST: Oh, shit. (As he looks down on his rifle. Then someone tackles him and knocks him to the ground.

[The scene shifts back to the 3D Map room at HQ.]

SURVEILLANCE TECH: We'll give them a night in lockup, then have one of the girls at the Mariposa bring them a key hidden in their breakfast.

ASHLEY STUBBS: If the guests are squared away, let's wrap it up.

[The scene shifts back to Hector and Maeve, upstairs at the Mariposa in the safe room. Hector is holding Maeve's sketch.]

HECTOR ESCATON: This is a shade. (Maeve strikes a match and lights her cigar. She's seated on top of the safe.)

HECTOR ESCATON: Sacred native lore. They make figures of them.

MAEVE MILLAY: Sixty.

[Hector squats down in front of the safe and turns the dial to sixty, then looks up at Maeve.]

MAEVE MILLAY: And what does the shade do?

HECTOR ESCATON: You've seen this?

MAEVE MILLAY: What is it?

HECTOR ESCATON: The men who walks between worlds. They were sent from hell to oversee our world.

MAEVE MILLAY: Forty-seven.

[Hector turns the safe dial to forty-seven and then looks back up at Maeve, who is now straddling the safe. Maeve pulls her skirt down and exposes her abdomen.]

HECTOR ESCATON: Is this the last thing you require of me? (Stands up.) 'Cause we need a little more time than the constabulary will allow.

MAEVE MILLAY: Sweetheart, if I took that manner of interest in you, you'd have no say in how long we'd need whatsoever.

[Maeve grabs Hector and then pulls out his knife.]

MAEVE MILLAY: I thought I was crazy ... but I got shot ... here. (Maeve draws the blade over a small area on her abdomen.)

HECTOR ESCATON: There's no wound.

MAEVE MILLAY: (Whispers) No, but I was shot. (Points blade at her sketch and continues whispering.) And this was standing over me. And then it was as if it never happened. I want you to cut me right there.

[Hector takes the blade and prepares to make an incision -- but he can't do it.]

HECTOR ESCATON: I'm not in the habit of cutting into defenseless women. (Maeve takes the knife back.)

MAEVE MILLAY: Some big, bad outlaw.

HECTOR ESCATON: The Dreamwalker said there were some who could see them -- that it's a blessing from God.

MAEVE MILLAY: A blessing?

HECTOR ESCATON: To see the masters who pull your strings. (Maeve takes a drink of whiskey.)

MAEVE MILLAY: They don't know what they're talking about.

[The scene shifts to the street below. Armistice falls down in the street -- blood on her neck and coming out of her mouth. Sheriff Reed and several deputies loom over her, guns pointing directly at her.]

SHERIFF REED: You'd rather die lying down or up on your feet?

ARMISTICE: Go to hell.

[Armistice pulls a gun and shoots one of the deputies. But the sheriff and the rest of the deputies fire repeatedly at her. Her body jerks again and again as bullets impact her. The scene shifts back to Hector and Maeve. Maeve is holding the knife and poised to slit open her own abdomen. She takes a deep breath and pushes the knife into her abdomen. She screams as the knife pierces her.]

MAEVE MILLAY: Go on, then. This would be the first goddamn time I've had to ask a man to put his hands on me twice!

[Hector takes off his hat, pulls Maeve to him and then reaches into the new wound to feel around for a bullet. Maeve screams with pain. Downstairs, Sheriff Reed and his men stride into the saloon and march up the stairs. Maeve groans as Escaton pulls a bullet fragment from her abdomen. Maeve takes it out of his hand and stares at it. Then someone pounds on the door.]

SHERIFF REED: Open up, Escaton, or we'll fire!

HECTOR ESCATON: What does it mean?

MAEVE MILLAY: That I'm not crazy after all.

[The sheriff continues to pound on the door.]

SHERIFF REED: Last chance, Escaton! Come out or we're shooting! (The pounding stops and the sounds of guns being cocked can be heard.)

MAEVE MILLAY: And that none of this matters. (Maeve pulls Hector close and they kiss as gunshots blast the door.)

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 5, "Contrapasso"

Release Date: October 30, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Dominic Mitchell

Directed by: Jonny Campbell

Transcript by: sandi

_________________________

[Park HQ. Sub-level 83. Back room. Ford is sitting opposite Old Bill.]

OLD BILL: You got any stories, friend?

DR. ROBERT FORD: Yeah, I suppose I do. You want to know the saddest thing I ever saw? When I was a boy, my brother and I wanted a dog, so our father took in an old greyhound. You've never seen a greyhound, have you, Bill?

OLD BILL: Seen a few showdowns in my day.

DR. ROBERT FORD: A greyhound is a racing dog. Spends its life running in circles, chasing a bit of felt made up like a rabbit. One day, we took it to the park. Our dad had warned us how fast that dog was, but ... we couldn't resist. So, my brother took off the leash, and in that instant ... the dog spotted a cat. I imagine it must have looked just like that piece of felt. He ran. Never saw a thing as beautiful ... as that old dog ... running. Until, at last, he finally caught it. And to the horror of everyone, he killed that little cat -- tore it to pieces. Then he just sat there ... confused. That dog had spent its whole life trying to catch that ... thing. Now it had no idea what to do.

OLD BILL: (Whirring) That is one humdinger of a story, partner. Shall we drink to the lady with the white shoes?

[The Park. Dolores stands in a graveyard with many crosses. There's a tin bell dinging every time the wind blows. Dolores hears many voices whispering at once and then a man's voice which says, "Find me." Then Dolores sees a different graveyard and the view is from an open doorway. Dolores walks through the open side door of the church she saw in her flashbacks when speaking with Lawrence's daughter. Then Dolores says, "Show me how." Dolores opens her eyes. She's standing by the horses as is William, Logan and Slim Miller. They are looking at the nearby city of Pariah. They are standing in a rather large graveyard on the hill overlooking Pariah.]

LOGAN: There she is. Pariah ... city of outcasts, delinquents, thieves, whores, and murderers.

SLIM MILLER: Once we cross the gates, you will reap the full benefits of El Lazo's gratitude for my safe return.

[Logan clicks his tongue at his horse. Then he and Slim start walking forward, leading their horses. William and Dolores hang back.]

WILLIAM: Are you all right?

DOLORES ABERNATHY: Of course. Did I do something wrong?

WILLIAM: Just earlier, I thought I heard you talking to someone.

DOLORES ABERNATHY: Must have been the wind.

[Slim, Logan, William and Dolores pass by a soldier encampment on the way into the city. There are two cannons set, facing the city. One soldier stationed at a table, writes something down as Slim greets him.]

SLIM MILLER: Good morning.

SOLDIER: (to the group) This way. (Motions them toward the city gate.)

[A bell is tolling as they pass through the gate. Dolores looks around. She sees the screeching birds circling overhead, people in all manner of dress, two naked people in a stagecoach are engaged in sex, a stand with flowers and masks -- the man seated at the stand has his face painted like a skeleton and he's painting another person's face.]

LOGAN: The farther up we get from Sweetwater, the more ... grandiose, the bigger the narratives become.

DOLORES ABERNATHY: It's beautiful in its own way.

LOGAN: For once -- I agree. Some of the park feels like it was designed by committee or market-tested, but everything out here is more raw. (They pass a vendor's make-shift stand -- A man shooting at bodies inside stand-up coffins, fires off a couple of shots. The city is just crowded with people and vendors.) But ... it doesn't come cheap. Rumor is they are hemorrhaging cash. We're considering buying them out. Supposedly, this place was all started by a partnership. And then right before the park opened, one of the partners killed himself. Sent the park into a freefall. I mean, I don't know any of the details. I don't even know his name.

WILLIAM: You must have a team of lawyers looking at this place.

LOGAN: Yeah, well, they came up empty. He's a complete mystery. Not even a picture.

WILLIAM: Well, whoever designed this place, you get the feeling they don't think very much of people.

[A group of people emerge from a side street. A number of women, hands tied, are being led along the street by some mean-looking men dressed in old Confederate uniforms. They're carrying whiskey bottles and some appear drunk.]

WILLIAM: Who are they?

LOGAN: They call themselves "the Army of New Virginia." Everyone else calls them "the Confederados."

DOLORES ABERNATHY: My father told me about them. Ex-Confederate soldiers that refused to surrender after the war. Now they work as mercenaries below the border.

LOGAN: They are the key to this game.

WILLIAM: What game?

LOGAN: Well, the biggest game there is -- war! Supposedly, it's at the far reaches of the park. Now, I've never made it that far, but this could be our chance.

[Elsewhere in the Park. The MIB, Lawrence and Teddy are travelling along a dry gully. The MIB leads the way. He's holding the reins to Lawrence's horse as Teddy is slumped forward in the saddle. The MIB is also holding the rope which runs to the noose once again around Lawrence's neck as he brings up the rear on foot.]

LAWRENCE: I've known plenty of truly fucked up individuals in my time. Few that would hold a candle to you, sure. This one? Theodore Flood? He was Wyatt's friend.

the MAN IN BLACK: Those former associations are exactly why we need him. He's going to lead me straight to the big, bad wolf.

LAWRENCE: I wouldn't count on that.

[Teddy groans and The MIB looks back at him.]

the MAN IN BLACK: Oh, shit.

[The MIB rides up out of the gully. Lawrence struggles up the side but makes it to the top without falling. The MIB pulls up in a small clearing next to a couple of big trees.]

LAWRENCE: Didn't take you for the charitable type. You should've left him on that tree to die.

[The MIB helps Teddy off the horse and over to one of the trees. Then he leans Teddy up against the tree.]

the MAN IN BLACK: You believe in fate, Lawrence?

LAWRENCE: If the bitch exists, I'd like to kick her in the teeth about now.

the MAN IN BLACK: Don't be so glib. You'll hurt my feelings. As another old friend of mine likes to say, "There's a path for everyone." Your path leads you back to me. You ever wonder why I've kept you with me this whole journey? (The MIB walks over to Lawrence and takes a drink of water out of the canteen.)

LAWRENCE: Maybe you like the pleasure of my company, you sadistic fuck.

the MAN IN BLACK: (laughs) Why, maybe I do. There's not a man in the world who'll take the tone with me you do. In a past life, perhaps. Teddy here's not looking long for this world.

LAWRENCE: Nearest healer is in Pariah. Ain't no way he's gonna make it that far. He's lost too much blood.

LITTLE BOY: Are you lost?

[The MIB and Lawrence look over to the side. There stands the little boy who spent some time in the park with Ford in S01E02 "Chestnut". He's dressed exactly the same (long sleeve white shirt, vest, knickers, and carries a walking stick.]

the MAN IN BLACK: Our friend here's a little worse for the wear. Any water nearby, son? (Holds up canteen and shakes it.)

LITTLE BOY: There's a creek on the other side of the canyon.

the MAN IN BLACK: Fetch us some, would you? Now hurry. Friend here needs some, if he's gonna make it. Get! (The little boy grabs the canteen and runs off.) Eh. Too small.

LAWRENCE: What does that mean? What are you sending him for water for? I'm the one you made fill up the sow's bag this morning.

[The MIB gets the sow's bag from the horse and pours the water out. Then he stands the open bag up under the other tree. Then he walks back over to Lawrence.]

the MAN IN BLACK: A shame, really. I always enjoy our ... time together, Lawrence.

LAWRENCE: The fuck is that supposed to mean?

the MAN IN BLACK: It means ... I was wrong. (The MIB removes the noose from around Lawrence's neck.) The path that brought you here -- it wasn't for me. (Points at Teddy.) It was for him.

[Lawrence turns around to look at Teddy. The MIB grabs his knife and quickly slits Lawrence's throat. Lawrence gasps as the blood starts pouring out. Then he falls to the ground. The MIB slips the noose around Lawrence's ankles and draws it tight.]

the MAN IN BLACK: Sorry, Lawrence. Guess I'll see you on the other side.

[The MIB throws the rope over the tree limb and starts hoisting Lawrence up. He ties the rope off as Lawrence hangs upside down -- his blood running down into the open sow's bag.]

[Park HQ. Repair Section. A number of technicians are working on Host bodies. The same repair technicians, Sylvester and Felix Lutz, who had to chase down Maeve when she came to and escaped, are working on the same host.]

SYLVESTER: Uh-oh. It's not looking good for you.

FELIX LUTZ: Closing.

SYLVESTER: Forget it, I win. I always win! (Pushes rolling stool back, throws arms up in the air and imitates crowd cheering.)

FELIX LUTZ: Hey, not fair. All you had was a smashed cheekbone and an ear. (The camera pulls back and we can see they are once again, working on Maeve.)

SYLVESTER: You know how hard it is to get the auricle curves symmetrical? You had to what? Plug and patch of couple bullet holes?

FELIX LUTZ: And a knife wound. (Lutz traces the marks on Maeve's abdomen as he speaks.) It was a contained incision. Almost like they were looking for something.

[Suddenly, Maeve's arm moves and hits Lutz. He gasps and stumbles back from the table. Sylvester starts laughing because he's the one that moved Maeve's arm.]

SYLVESTER: Are you fucking kidding me? You really think this little fuck puppet's coming to get you? Huh?

FELIX LUTZ: It got off the table and ran.

SYLVESTER: That's 'cause you forgot to put her in sleep mode.

FELIX LUTZ: Yeah, I really think I remembered to put her in sleep mode.

SYLVESTER: You know, that's the thing about forgetting. You think you remembered, but you didn't. (A beeping noise is heard.)

FELIX LUTZ: Break time.

SYLVESTER: Yeah! I've got a ham sandwich and a nubile redhead loaded up in the VR tank -- awaiting instruction. (laughs) Yes!

[Sylvester leaves the room. Lutz looks around and then walks over to a cabinet. He opens the door and reaches into his pocket. He takes out a tablet and puts it on the upper shelf. Then he reaches over and touches the still body of a bird sitting in a small tray. Then he looks around and closes the cabinet door.]

[The Park. Teddy is leaning up against the tree trunk. He opens his eyes as the MIB approaches and tosses saddlebags down beside him.]

the MAN IN BLACK: Welcome back. Looks like a couple of gallons of Lawrence swirling around in you did you good. Ready to get back on the road?

TEDDY FLOOD: Merciful thing would be to put a bullet in me.

the MAN IN BLACK: Who ever said I was merciful? And it's not my fault you're suffering. You used to be beautiful. When this place started, I opened one of you up once -- a million little perfect pieces. And then they changed you -- made you this ... sad, real mess. Flesh and bone, just like us. They said it would improve the park experience. But you know why they really did it? It was cheaper. Your humanity is cost-effective. So is your suffering.

TEDDY FLOOD: Whatever it is you want from me, mister -- (soft laugh) I ain't gonna be worth a damn to you like this.

the MAN IN BLACK: Well, that would be a shame, Teddy. After your misadventure, Wyatt killed a settler family -- made off with their daughter -- girl. I--I think you know -- name of Dolores.

TEDDY FLOOD: They have Dolores?

the MAN IN BLACK: There it is. The magic word.

[The MIB extends his hand and helps Teddy to his feet. Then, the MIB picks up the saddlebags and turns back toward Lawrence. The little boy is standing in front of Lawrence.]

the MAN IN BLACK: (surprised to see the little boy) Hey! Much obliged there, son. Don't worry about him. Someone will be along for him shortly.

[The MIB gets the full canteen from the little boy, then he and Teddy get on their horses and ride away. The little boy stays and looks at Lawrence's bloodied face and dead body as flies buzz around.]

[The Park. The city of Pariah. Night time. Dolores is standing in front of a building with five coffins leaning against it. The coffins are propped upright and are occupied. The open coffins appear to contain actual bodies. The area appears deserted exept for Dolores and she's staring at one of the open coffins. Dolores begins to hear voicies whispering, there's a roaring noise and screaming. Images appear of a a girl running and dead people laying in the street. A woman is shot and falls. Then there's a flash of Dolores standing still -- the white church with the steeple in the background and dead bodies laying around between Dolores and the church. Then, William breaks through Dolores thoughts.]

WILLIAM:Are you all right? (There's laughter and people talking in the background. Dolores looks back at the coffin and nods her head "yes". Then they start strolling along the street. There are a lot of people out and about.]

DOLORES ABERNATHY: When I ran from home, I told myself it was the only way. Lately ... I wondered if ... in every moment, there aren't many paths -- choices -- hanging in the air like ghosts. And if you could just see them, you could change your whole life.

WILLIAM: Is that what you want? You want to change your life?

DOLORES ABERNATHY: Doesn't everybody want that?

WILLIAM: Yeah, I guess they do. Maybe that's why they come here. Whoever you were before doesn't matter here. There's no rules or restrictions. You can change the story of your life. You can become someone else. No one will judge you, no one in the real world will even know. The only thing holding you back is yourself.

DOLORES ABERNATHY: What did you mean by that? You said no one in the real world will know.

WILLIAM: I thought you weren't supposed to notice things like that.

DOLORES ABERNATHY: Why wouldn't I? You know, recently, it seems like the whole world is calling to me ... in a way it hasn't before.

[William takes Dolores' hand and they stare into each other's eyes. After a few moments, the people talking and music seems louder and William withdraws his hand as a parade arrives. The people in the parade all have painted faces like skeletons and some carry skulls impaled on sticks. Logan and Slim Miller arrive with the parade.]

LOGAN: Billy! Where the hell you been? Come on.

[Dolores hangs back as the three men walk a short distance away.]

SLIM MILLER: El Lazo has agreed to have an audience with y'all tomorrow. In the meantime, there's a brothel I recommend.

LOGAN: Ooh, they have a contortionist.

WILLIAM: Oh, I don't think Dolores would find that very interesting.

LOGAN: Who the fuck cares what Dolores wants? She's a goddamn doll!

WILLIAM: Hey, can you not ... say that around her? I swear ... I feel like she understands.

LOGAN: Of course you do.

[The parade passes by right in front of Dolores and she's sees herself walking with the participants. She pushes her way through the crowd trying to follow the other Dolores. She eventually loses sight of her and turns around in the middle of the crowd. A woman with a skull-painted face tells her, "Our dead are never dead to us until we have forgotten them." Another reveler approaches Dolores and we hear Dr. Ford's voice say, "May you rest in a deep and dreamless slumber." (It is unclear whether or not the reveler was Dr. Ford but the voice was Ford's.) Then Dolores appears to faint, falling backward.]

[Park HQ. Glass enclosed examination room. Dolores, naked, sits on a stool. Dr. Robert Ford sits across from her.]

DR. ROBERT FORD: Hello, Dolores. Do you know where you are?

DOLORES ABERNATHY: (smiles) I'm in a dream.

DR. ROBERT FORD: Yes, Dolores. You're in my dream. Tell me, do you know what this dream means?

DOLORES ABERNATHY: Dreams are the mind telling stories to itself. They don't mean anything.

DR. ROBERT FORD: No! Dreams mean everything. They're the stories we tell ourselves of what could be -- who we could become. Have you been dreaming again, Dolores? Imagining yourself breaking out of your ... modest little loop? Taking on a bigger role? Well, I suppose I can't begrudge you that. (Ford takes Dolores' right hand and while he talks, examines both sides.) My father told me to be satisfied with my lot in life -- that the world owed me nothing. And so ... I made my own world. Tell me, Dolores. Do you remember the man I used to be?

DOLORES ABERNATHY: I'm sorry. I'm forgetful sometimes.

DR. ROBERT FORD: Hardly your fault. But I'm sure you remember him ... Arnold ... the person who created you.

DOLORES ABERNATHY: I'm sorry, I -- don't think I recall anyone by that name.

DR. ROBERT FORD: And yet you can. Somewhere under all those updates, he is still there -- perfectly preserved. Your mind is a walled garden. Even death cannot touch the flowers blooming there. Have you been hearing voices? Has Arnold been speaking to you again?

DOLORES ABERNATHY: No. You're -- you're hurting me. (Dolores looks down at Ford gripping her hand.)

DR. ROBERT FORD: Analysis. When was your last contact with Arnold?

DOLORES ABERNATHY: Last contact: 34 years, 42 days, seven hours ago.

DR. ROBERT FORD: Yes, Dolores ... the day Arnold died. And you have no records of any contact with him since?

DOLORES ABERNATHY: No.

DR. ROBERT FORD: What was the last thing he said to you?

DOLORES ABERNATHY: He told me I was going to help him.

DR. ROBERT FORD: Help him do what?

DOLORES ABERNATHY: To destroy this place.

DR. ROBERT FORD: But you didn't, did you? You've been content ... in your little loop ... for the most part. I wonder ... if you did take on that bigger role for yourself, would you have been the ... hero ... or the villain? That's enough, Dolores. I'm sorry for bothering you, but ... there's no one else left who was there -- no one who understands ... as we understand.

DOLORES ABERNATHY: (smiles) Are we ... very old friends?

DR. ROBERT FORD: No. I wouldn't say friends, Dolores. I wouldn't say that at all. (Ford holds his hand up in front of his face, motions toward Dolores, dropping his hand and then gets up and exits the room. The lights go out, leaving Dolores in the dark.)

DOLORES ABERNATHY: He doesn't know. I didn't tell him anything.

[Park HQ. Repair room. Felix Lutz is sitting at a table with the lifeless bird in front of him. He enters information on a tablet as he tries to re-animate the bird.]

FELIX LUTZ: That's it. Come on, little one. Come on. (The bird starts to move. Then it flutters its wings and flips onto his feet. It begins chirping. Then it falls over and quickly flutters its wings flipping back. It takes one big hop on the table and starts chirping again. The bird takes off flying as Sylvester enters the room.)

SYLVESTER: What the fuck? (Now the bird is on the floor, flapping around and chirping.)

FELIX LUTZ: Grab it! (Sylvester quickly squats down and grabs the bird.)

SYLVESTER: Ah! God damn it. (Sylvester drops the bird, shaking his hand in pain as the bird must have pecked him.) Little shit!

[Felix Lutz kneels down next to the bird and appears upset as he sees the bird now laying on its back and not moving.]

SYLVESTER: Jesus, tell me--tell me you're not this stupid! You stole a bird and a fucking behavior tablet?

FELIX LUTZ: I wasn't stealing -- I was borrowing. Haven't got the code right yet, but with practice --

SYLVESTER: Whoa, whoa, whoa. Is that your ace plan? You're gonna fix up a birdie and get yourself a promotion? You're not a fucking ornithologist. And you're sure as hell not a coder. You are a butcher. That is all you will ever be. So, unless you want to score yourself a one-way ticket out of here for misappropriating corporate property, you better destroy that fucking shit! (Felix Lutz puts the bird and tablet back in the cabinet.) Now, come on, we got another body.

[Sylvester wheels in a gurney containing Maeve. Lutz just stands there, staring at Maeve.]

SYLVESTER: What?

FELIX LUTZ: It's her. Again.

SYLVESTER: Jesus. How the hell did you get this job if you're scared shitless of these things. (Sylvester sticks his finger in a hole in Maeve's abdomen and withdraws a bullet fragment.) Personality testing should've weeded you out in the embryo. Now, come on! Let's get this thing back in rotation.

[The Park. The city of Pariah. Daytime. Logan, Slim, William and Dolores are walking along the street, passing the fountain. There are a number of people out and about.]

WILLIAM: Yesterday, you seemed out of sorts. You feeling better this morning?

DOLORES ABERNATHY: I had ... troubled dreams. But I feel more myself now.

LOGAN: Guys, come on. El Lazo awaits.

[Slim leads them through the street to a man sitting at a table. Slim takes his hat off and motioning it toward the man at the table, introduces them to El Lazo (who turns out to be Lawrence).]

SLIM MILLER: And I present you ... El Lazo!

LOGAN: You're a hard man to find.

EL LAZO/LAWRENCE: Most wanted men are.

LOGAN: We saved your man Slim ... here from quite a predicament. In recompense, I'd like an introduction to your Confederado friends. It's only fair.

EL LAZO/LAWRENCE: There's no such thing as fair here.

[Logan sits at the table with El Lazo. He snaps his fingers at William and mouths the words, "Sit down", and he does.]

EL LAZO/LAWRENCE: In Pariah, justice ain't just blind, she's crooked. Bitch's scales are always tipped. If you don't see how, well, that's 'cause they're tipped against you. Still, by way of gratitude, I can supply you a night ... with some very amenable women.

LOGAN: I've fucked enough whores. You're gonna need to sweeten the pot. (Logan draws his gun and sets it on the table as one of El Lazo's men punches him in the face.)

EL LAZO/LAWRENCE: How about I sweeten it by killing you quickly?

[Logan stands back up but by then, El Lazo's man has taken Logan's gun and stands ready to use it on him. Dolores closes her eyes as she begins to hear whispering voices. Images flash past her: A train station platform and a view down the main street of a town. People are going about. There's a woman with a parasol standing on the train platform. The next image is the white church with the steeple. Then Dolores moves forward and stands across from El Lazo, who is still seated at his table.]

DOLORES ABERNATHY: There's something you're seeking, isn't there? I know what that feels like. I'm seeking something, too. If you let us ... I know we can help you.

EL LAZO/LAWRENCE: How is it the lunatics always find their way to me? (His men laugh. Dolores, closes her eyes and takes a step back.) Then again, the Confederados are missin' a few bullets in their barrels, too. You folks just might get along. A Union convoy's transportin' a shipment of nitroglycerin from the front today. The Confederados would like to divest them of said shipment, but we are not welcome that side of the border. A trio of travelers such as yourselves, however --

WILLIAM: You want us to help the Confederados steal from the Union? They're just gonna use that nitro to slaughter your people below the border.

EL LAZO/LAWRENCE: Personal grudges hold no sway ... where profit is concerned.

LOGAN: Oh, we understand. We're businessmen, too.

EL LAZO/LAWRENCE: Very well, then. But Blondie here ... she's gonna need a change of clothes for the occasion. (He whistles at someone.)

LOGAN: Mm.

[Someone hands El Lazo a grey cowboy hat, and he stands up and presents it to Dolores.]

Continued in the next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 5, "Contrapasso" continued.

[The Park. Mountain Trail not far from Pariah. Four Union soldiers are transporting nitroblycerin in a covered wagon. Dolores has changed clothes into pants, empty holster on her hip, shirt, kerchief around her neck, and the grey hat. She takes a gun from her saddlebag, checks the cylinder and walks over to Slim, William and Logan who are laying in wait to ambush the shipment.]

LOGAN: My, my. Look who's packing.

DOLORES ABERNATHY: I don't aim to use this. (She slips the gun into her holster.) Those men are Union soldiers like my father was.

WILLIAM: I know. We won't hurt them. We're gonna stick to the plan. We'll take the nitro and go.

LOGAN: All right. (Rubs his hands together.) Showtime.

[William, Logan, Slim and Dolores pull their kerchiefs up to their eyes and then, guns drawn, walk into the middle of the trail in front of the wagon.]

WAGON DRIVER: Whoa!

LOGAN: Howdy. My associates and I are here to relieve you of your ride.

SOLDIER RIDING SHOTGUN: Someone's been telling you boys tales. Nothing in this wagon worth taking.

SLIM MILLER: The story I heard is one bullet from us, and that nothing blows you all to kingdom come.

SOLDIER RIDING SHOTGUN: (Aiming rifle at the group.) Well, then you understand why we cannot surrender it. We're sworn to protect the people of this young republic from reckless half-wits like you. (Logan walks up to the soldier and points his gun at him.)

LOGAN: Call me half-wit again.

DOLORES ABERNATHY: Please! Do as he says. We don't want to hurt you.

WILLIAM: I'd listen to her. He'll shoot just to see the fireworks. (William says this as he passes them on his way to the back of the wagon where two more soldiers sit. Slim walks up to the two soldiers in front.)

SLIM MILLER: Hand them over. Come on. (The wagon driver and soldier riding shotgun, hand over their weapons.)

WILLIAM: (to the two soldiers seated in the back of the wagon) Hey, come on down, give me your guns, everybody lives. Come on. Come on, nice and easy. (The two soldiers get off the wagon and hand their guns to William. Then he directs them where to stand.)

WILLIAM: Right over here. A little further, please. Much obliged. (to Dolores as he hands her the soldiers' guns) There you go.

[Logan walks around to the back of the wagon and opens one of the crates. He lifts out a bottle labelled, "High Explosives", then returns it to the crate. He walks back to the front of the wagon, grabs the soldier riding shotgun and drags him down to the ground.]

LOGAN: (to the soldier) That's for lying.

DOLORES ABERNATHY: Stop!

[But Logan doesn't stop. He kicks the soldier really hard.]

LOGAN: And that was for "half-wit." (Then he kicks him again. Logan walks away but returns, laughing.)

LOGAN: And this -- (Logan pulls his leg back to deliver another blow, but the soldier grabs his legs and throws him down on the ground.)

[Slim takes his eyes off the driver and looks over at the soldier and Logan. The wagon driver shoots Slim Miller. Slim shoots the wagon driver before falling to the ground. The wagon driver shoots Slim again, killing him. One of the soldiers from the rear of the wagon, comes up behind William and punches him. Then the soldier picks up a gun, aims it at Dolores as he walks towards her.]

WILLIAM: No!

[William shoots the soldier advancing on Dolores. Then he turns around and shoots the other soldier from the back of the wagon. The soldier fighting Logan, has him wedged up against the wagon wheel. The soldiers hands are around Logan's neck and he's choking him.]

LOGAN: (amid choking sounds) Stop ... please ... stop.

[William takes aim and shoots the soldier choking Logan. The dead soldier falls on top of Logan, who manages to shove him away. After a few deep breaths, Logan stands up and throws his arms wide.]

LOGAN: Whoo! That's the spirit! I knew you would get into this place. Yes! Yep. Not bad for a day's work.

LOGAN: (to the dead wagon driver as he yanks him out of the driver's seat and onto the ground) Vamonos! (Logan walks over to Slim, who is laying on the ground.)

DOLORES ABERNATHY: (to William) We told them everyone would live.

LOGAN: Guys, looks like Slim didn't make it.

[The Park. Pariah. Logan pulls the wagon shipment of nitro up to a building as El Lazo walks out of if. Dolores and William are walking behind the wagon and continue to the front when it stops.]

WILLIAM: They put up a fight.

LOGAN: We made them pay for it, though.

[Slim's dead body is in the back of the wagon along with the nitro. El Lazo inspects the shipment.]

EL LAZO/LAWRENCE: Price of doing business. Slim knew that.

[After verifying the bottles of nitro, El Lazo turns and whistles. The Confederado, Captain Norris and a few of his men, come out from another building and walk over to the wagon and El Lazo.]

CAPTAIN NORRIS: Had my doubts, El Lazo. But you came through. (He hands El Lazo a hefty bag of coins.) We're gonna blow these cactus-eaters back to the dirt holes they crawled from.

CAPTAIN NORRIS: (to his men) Let's get it down to the station. No time to waste.

EL LAZO/LAWRENCE: If I may, Captain, your men are weary. It's a long road ahead. You have secured a great victory for your cause today. Perhaps an evening of celebration's in order. Anything you desire. (El Lazo turns and waves his arm toward a trio of naked women, painted gold, walking towards them.)

LOGAN: What do you say, Captain? There's another train in the morning.

CAPTAIN NORRIS: (to Logan as he puts his arm around his shoulders) You will be a true asset to our ranks. (The men walk away with the gold-painted women. El Lazo pats dead Slim's shoulder as Dolores looks on.)

[Park HQ. Behavior Room. Elsie is working with a naked male host named, Bart.]

ELSIE HUGHES: All right, Bart, let's try this again.

[Bart walks up to a tray, picks up a bottle and attempts to pour the bottle's contents into a glass, but misses.]

ELSIE HUGHES: (Sighs) God damn it, man. You're still miscalibrating by four centimeters to the right. You keep pouring whiskey on the guests, I'm gonna have to reassign you to a narrative where your ... (glances at Bart's genitals) talents would go tragically unappreciated.

[Bart attempts to pour again, but again misses. Elsie glances out the door and sees the woodcutter's body being pushed by two technicians. She hurriedly gets up, opens the door and calls after them.]

ELSIE HUGHES: Hey! That's the host that tried to kill me. Where are you taking that?

TECHNICIAN: Livestock ... and then the incinerator.

[Elsie thinks for a minute, looks back into the room at Bart, then makes a decision.]

ELSIE HUGHES: Fuck this. (She leaves Bart behind and walks down the hall.)

[The Park. Repair Room. Sylvester and Lutz are working on a host. Sylvestor sees Elsie walking along the hall with her tablet. She stops outside their room. Lutz notices Sylvestor's gaze and looks out and sees Elsie.]

FELIX LUTZ: Fuck. Isn't she from behavior? You think they found something?

SYLVESTER: All right. Be cool, dickhead.

FELIX LUTZ: Okay.

SYLVESTER: No one's looking at us.

[Elsie walks into the repair room directly across from Sylvestor and Lutz, where another technician, Destin, is working on a host.]

ELSIE HUGHES: Hi. You're Destin, right?

DESTIN: That's correct.

ELSIE HUGHES: I almost didn't recognize you with your pants on. Here. (Elsie pulls up a video on her tablet. It's Destin having sex with a "dead" host on the floor of a repair room -- complete with sound effects.)

DESTIN: What the fuck?

ELSIE HUGHES: (taking the tablet back) There's a common misconception that the hosts don't log sexual encounters when they're underground for reprocessing, but ... like I said ... misconception.

DESTIN: Oh, fuck.

ELSIE HUGHES: I need something. QA sent a body down here -- the woodcutter from Sector 14. I want to see it.

DESTIN: No, I can't. I need this job.

ELSIE HUGHES: (laughs) Look, Destin, in a second, I'm gonna walk out of here and your friends are gonna wonder what this was all about. Now, your answer can either be, "I'm helping behavior track a problem," or "I'm a creepy necro perv." Up to you.

[Elsie turns and waves to Sylvester and Lutz, who hurriedly return to their work.]

[Destin shows Elsie into the room containing the wood-cutter's body.]

DESTIN: Five minutes ... then it's going in the incinerator.

ELSIE HUGHES: Huh. You took a little more time than that for your examination, didn't you? (Destin leaves and Elsie walks over to the body.) (Sighs) All right, big guy. What were you doing up there?

[Elsie flips the body onto its side and calls up the wood-cutter's corrupted gps data on her tablet. Then she stands there thinking. She notices the woodcutter's finger-tips. They appear lacerated or badly scarred. Elsie pulls on gloves and examines the wood-cutter's hand. She notices a small bump in his palm. Using tweezers, she lifts the skin and sees a small blinking red light.]

ELSIE HUGHES: What the fuck? (Elsie examines the wood-cutter's arm.) You have been holding out on me, Maurice.

[Something beeps. Elsie presses on the wood-cutter's wrist and severl red lights under his skin blink on. She begins opening up the arm along the line the red lights are on.]

ELSIE HUGHES: (under her breath) Oh, shit.

[Park HQ. Behavior department. Elsie enters a glass enclosed room where Bernard is working.]

ELSIE HUGHES: We've got a big problem. (She takes out the device she removed from the wood-cutter and lays it on Bernard's destk.) Turns out our big, dumb friend had some hidden depths. That is a laser-based satellite up-link.

BERNARD LOWE: This was in the body of the host?

ELSIE HUGHES: Mm-hmm, you were right. Orion's Belt has three stars, not four. Our friend wasn't drawing stars, he was drawing a target. Someone has been using our hosts to smuggle data out of the park.

[The Park. The city of Pariah. The main hall of what looks to be a brothel. This is the celebration El Lazo invited the Confederados, Logan, William and Dolores to. A better word for the celebration would be an orgy. There are people thoughout the hall having sex. Dolores and William sit on a sofa facing another sofa occupied by Captain Norris. Logan is standing behind William and Dolores. They are located in the middle of all the activity.]

LOGAN: Now, this -- this I could get used to. (He strolls over to Captain Norris.) You're not gonna indulge?

CAPTAIN NORRIS: (chuckles) My flesh has tasted a greater pleasure than any offered in here -- War.

WILLIAM: It's that good, huh? (El Lazo walks up with another bottle.)

EL LAZO/LAWRENCE: Another round on the house.

CAPTAIN NORRIS: There's a place in Glory for a brown man who knows his rank. (Dolores and El Lazo trade looks.)

CAPTAIN NORRIS: (to William and Logan) You're two able-bodied men of strong stock. The road to Glory could use more warriors in its fight for our divine providence.

LOGAN: That is just what we were thinking.

WILLIAM: (In a quite voice) Come here, come here. (William gets up and motions Logan over to the side.)

WILLIAM: I know you wanna -- you wanna play the war game, but I'm not going anywhere with these psychopaths.

LOGAN: If you don't like them, once we get to the fun, you can just kill them and join the Revolutionaries.

WILLIAM: No, Logan, enough's enough. I'm not doing this.

LOGAN: You--you actually let loose for once. You shoot an unarmed man, and now you feel bad because you can't call yourself the hero. Don't--don't you get it yet? There is no such thing as heroes or villains. It's just--it's just a giant ... circle jerk!

WILLIAM: I think that philosophy says way more about you than it does about the world.

LOGAN: (Scoffs) And you -- you see the world so clearly? You probably think you're on this trip because you're some kind of contender, some ... some threat to me. I picked you precisely because you will never be a threat to anyone. My sister probably picked you for the same reason.

WILLIAM: I earned my place. Nobody handed it to me.

LOGAN: Right, a lifetime of working hard, following the rules, and you finally reach the pinnacle of your career trajectory -- executive vice president -- upper middle management. Do you remember the day that you finally got those three fancy little letters? EVP. You walked into my office in that cheap black suit of yours, and you shook my hand and you thanked me for the opportunity. That was the best day of your life.

[William explodes in anger. He grabs Logan and pushes him up against the wall. William is shaking with anger, but he gets control and gradually releases his hold on Logan.]

LOGAN: Right, buddy. That's what I thought.

[William turns around to Dolores but she's gone. He looks around the great Hall and doesn't see her. Dolores is walking down a corridor in another part of the building. There are people engaged in sex along the hallway and in rooms open to the hallway. Dolores hastens her step and enters a room through red curtains. There's a woman seated at the table. She's a fortune teller and she has a deck of cards in her hands. The fortune teller fans the cards out and offers them to Dolores to choose one. Dolores sits down, chooses a card and lays it on the table. It's an image of the maze. NOTE: Dolores laid the maze card down to another card with an image that looks like a man and woman (in a blue dress) on horseback travelling.]

DOLORES ABERNATHY: What does it mean?

[Dolores looks at the fortune teller, gasps and draws back in shock. The fortune teller now looks like Dolores (in her blue dress).]

FORTUNE TELLER DOLORES: The maze ... you must follow the maze.

DOLORES ABERNATHY: What's wrong with me?

FORTUNE TELLER DOLORES: Perhaps ... you are unraveling.

[The Fortune Teller Dolores looks down at Dolores' arm. Dolores follows her gaze and sees a thin wire sticking out of her arm. She begins pulling on it -- the wire is bloody -- and as she pulls a long slice appears in her arm. Dolores is gasping for air and she glances up at the Fortune Teller Dolores than back at her arm, which now is perfectly fine. Then Dolores looks up -- the Fortune Teller Dolores is gone. Dolores jumps up, holding her arm, and runs from the room. Gasping and crying, Dolores runs along the hallway and then down a flight of stairs which leads her to a lower level. It's well-lit. Men are moving the crates of nitro around. Dolores hides behind the wall and peeks around the corner to see what's going on. El Lazo and his people are pumping the nitro out of the bottles and into the dead body of Slim Miller.]

EL LAZO/LAWRENCE: Easy pumping that nitro into him. Fill the empties with tequila and seal them up. (to dead Slim) Your work for the revolution is not quite done yet, my friend.

[They close the wooden box that nitro-filled Slim Miller is laying in. The handlers jar the crate as they load it onto a wagon.]

EL LAZO/LAWRENCE: Careful. Slim always had a bad temper.

[The wagon pulls away. El Lazo is sitting next to the wagon driver. Dolores quickly runs up the stairs and finds William.]

DOLORES ABERNATHY: William, we have to go now. Lazo's been conning us the whole time. He was never gonna give the nitro to the Confederados. We have to run.

WILLIAM: Of course we do. That's how this place works, right? They create an urgency, a sense of danger so they can strip us down to something raw -- animalistic -- primal. (Logan is with the Confederados and they are tossing a bottle of nitro back and forth.) It's a sick game, and I don't want to be a part of it.

DOLORES ABERNATHY: This isn't a game. They'll kill us. But together, I know we can find a way out.

WILLIAM: How can you be sure?

DOLORES ABERNATHY: There's a voice ... inside me ... telling me what I have to do. And it's telling me I need you. (Dolores and William kiss.)

[There's the sound of glass breaking and a woman screams -- they dropped the bottle of nitro! (Which was really tequilla.) But there's no explosion. All of the Confederados become quiet. Captain Norris goes over to the broken bottle and kneels down. He sticks his finger in the spilled liquid and tastes it. Then he turns and stares at Logan.]

LOGAN: Shit.

[Dolores and William run from the hall in search of Logan. They find him in chains, being beaten by a couple Confederados.]

DOLORES ABERNATHY: They have Logan.

LOGAN: Help me. Help me. (The men continue to beat him.)

WILLIAM: No. (William grabs Dolores' hand.) No more pretending.

[William and Dolores make a run for it. Their escape is cut-off by Captain Norris and several of his men.]

CAPTAIN NORRIS: I thought you had no appetite for war, boy. (Norris holds up one of the bottles that is supposed to contain nitro.) This ... is a declaration of war. (He pours out the liquid.)

WILLIAM: El Lazo set us up. We can find him for you.

CAPTAIN NORRIS: You can find him for us -- by joining him in hell!

[One of Norris' men draws on William, but William beats him to it and shoots him. William points his gun at Captain Norris, but two of his men grab him and take his gun.]

WILLIAM: (shouts) Ah! Dolores, run!

[Then men drag William to a wall. Captain Norris and another man draw their guns. (Dolores becomes still and there's voices whispering.) Then shots ring out. Norris and his men are shot and drop to the ground in quick succession. Dolores stands there, smoking gun in hand.]

WILLIAM: (whispers) Dolores? (Dolores holsters her gun.) How did you do that?

DOLORES ABERNATHY: You said ... people come here to change the story of their lives. I imagined a story where I didn't have to be the damsel. (A train whistle blows.)

DOLORES ABERNATHY: That train -- is our only chance of making it out of here alive.

[Dolores grabs William's hand and they run toward the train tracks. The train is starting to pick up speed but William and Dolores manage to catch the railing on the caboose and board the train. They enter the car and slam the door shut. They turn around and see El Lazo, gun drawn, facing them.]

EL LAZO/LAWRENCE: Motherfuckers.

[Dolores and William draw their guns and advance. A couple of wooden crates (one contains Slim Miller's nitro-filled corpse) separates them from El Lazo. Dolores moves her gun so it's pointing at Slim's coffin. El Lazo uncocks his gun and raises his hands in the air.]

EL LAZO/LAWRENCE: You pull that trigger, we'll all go up in a ball of hellfire. So, why don't you loosen your grip a mite? (William holsters his gun.)

WILLIAM: (Whispers to Dolores) It's okay.

DOLORES ABERNATHY: (shakes head no) I don't trust him.

EL LAZO/LAWRENCE: Which is the first step to truly knowing me.

WILLIAM: Give me your gun, El Lazo. (El Lazo hands his gun over to William.)

EL LAZO/LAWRENCE: Now that we're all friends, you can call me Lawrence. And why don't we settle in? It's a long ride to the front.

[Lawrence sits down and takes out a flask. William walks over to join him. Dolores holsters her gun.]

EL LAZO/LAWRENCE: You want a sip of this swill? (William takes the flask.) Don't worry, it ain't nitro.

[Dolores starts to walk over to the men but stops by the wooden crate with Slim Miller inside. On the top is a drawing of the maze. Dolores looks up and stares blankly.]

DOLORES ABERNATHY: I'm coming.

[The Park. Unknown location. Run-down saloon/bar. The piano player is playing a tune. The MIB enters the bar followed by Teddy. They are greeted by the barkeep, a weary and worn woman holding a jug of tequila.]

BARKEEP: Girls are a little worn out, but I can rouse one. You boys want some company?

the MAN IN BLACK: No, just whiskey.
[The MIB drops some coins on the bar and sits down at a table. Teddy, moving painfully, plops down in a chair at the table as well. Teddy groans and he's growing weaker.]

the MAN IN BLACK: Lawrence's donation must be running low. But we're short on time. (Slaps Teddy on the shoulder.) You need to buck up, Teddy.

[A man sets a bottle of whiskey and three glasses down on the table. Then he gets another chair and sits down.]

the MAN IN BLACK: I told you no company.

DR. ROBERT FORD: Thought I might ... join you anyway, as I ... never like to drink alone.

the MAN IN BLACK: Well ... isn't this a rare honor? Teddy ... you know who this is?

TEDDY FLOOD: I can't say that I do.

[Ford pours drinks for everyone.]

the MAN IN BLACK: Everything good that has ever happened in your life and everything rotten -- this is the man you have to thank. (to Ford) How I'm doing, Robert? Any closer to finding what I'm looking for?

DR. ROBERT FORD: And what is that ... exactly?

TEDDY FLOOD: Looking for a man named Wyatt. Killed a rancher back in Sweetwater. Took his daughter.

DR. ROBERT FORD: That last part doesn't sound familiar.

the MAN IN BLACK: (laughs softly) Figured your stories could use a little embellishment. You know, I always felt this place was missing a ... real villain. Hence my humble contribution.

DR. ROBERT FORD: (Chuckles) I admit, I lack the imagination to even conceive of someone like you. The urgency, however, doesn't quite fit the character. It betrays a certain anxiety.

the MAN IN BLACK: Now, Wyatt ... on the other hand ... that's something new. Is he just another stooge for the tourists to mount on their wall at home, or have you finally made a worthy adversary? Someone to stop me ... from finding the center of the maze?

DR. ROBERT FORD: And what is it you're hoping to find there?

the MAN IN BLACK: You know why you exist, Teddy? The world out there ... the one you'll never see ... was one of plenty. A fat, soft teat people cling to their entire life -- every need taken care of except one ... purpose ... meaning. So they come here. They can be a little scared, a little thrilled, enjoy some sweetly affirmative bullshit, and then they take a fucking picture and they go back home. But ... I think there's a deeper meaning hiding under all that. Something the person who created it wanted to express ... something true.

DR. ROBERT FORD: (shrugs) Well, if you're looking for the moral of the story, you could quite simply ask.

the MAN IN BLACK: (laughs) I'd need a shovel. The man I'd be asking died 35 years ago -- almost took this place with him. Almost, but ... not quite, thanks to me. Or maybe he ... left something behind. I wonder what I would find if I open you up.

[The MIB draws his knife, but before he can use it on Ford, Teddy moves lightning quick and grabs the knife blade with his left hand near the shaft and drives the knife into the table while he grabs the MIB's hand with his right. No emotion crosses Teddy's face -- he just stares straight ahead. The MIB lets go of the knife and Teddy lets go of his hand. Teddy slowly withdraws his bloody left hand from the blade.]

the MAN IN BLACK: (to Teddy) Even at death's door, you're still a loyal pet. (to Ford) Is that why you came here, Robert? Try to talk me out of it?

DR. ROBERT FORD: On the contrary. Far be it from me to get in the way of a ... voyage of self-discovery.

[Ford downs his shot of whiskey and dislodges the knife sticking out of the table. He looks at it and hands it back to the MIB. Then Ford gets up and while talking to Teddy, lays his hand on Teddy's left shoulder.]

DR. ROBERT FORD: Mr. Flood, we must look back and smile at perils past, mustn't we?

[Ford gives Teddy's shoulder a parting pat, then he starts to leave. He snaps his fingers in the direction of the piano and it starts to play a fast tune. Teddy downs his shot of whiskey. Then he takes out his gun and checks it as he spins the cylinder. He quickly replaces it in the holster and stands up.]

TEDDY FLOOD: We should get back on the road. Time's a wastin'.

[The MIB drinks his shot of whiskey and gets up to follow Teddy out the door.]

[The scene shifts to Park HQ. Livestock Department/Repair Dept. Felix Lutz enters the dark and deserted area. The lights come on as Felix walks to his repair room and enters it. Maeve is laying on a gurney just inside the door. Felix stops and stares at her still form. He sighs and then goes over to the cabinet and withdraws the behavior tablet and tray containing the bird. He gently places the bird on the table and then starts typing on the tablet. He hears a clanking noise and looks around but sees nothing. Then he goes back to entering information on the tablet. The bird suddenly flaps its wings and sits upright as it begins to chirp. Lutz is happily surprised as the bird flies off the table. Lutz gets up watches the bird as it flies around. Lutz is grinning as he follows the bird's flight until he turns around and becomes startled. Maeve is sitting up on the gurney -- the bird perched on her finger.]

MAEVE MILLAY: Hello, Felix. It's time you and I had a chat.

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 6, "The Adversary"

Release Date: November 6, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Jonathan Nolan and Halley Wegryn Gross

Directed by: Fred Toye (as Frederick E.O. Toye)

Transcript by: sandi

_________________________

[The Park. Sweetwater. Maeve wakes up in bed, gets up and selects her clothing. Maeve steps out onto the sidewalk and starts walking to the Mariposa Saloon. She ignores a gunshot behind her as one man bumps into another and both draw against each other. She passes a deputy nailing a wanted poster for Hector Escaton to a post. (Poster: Wanted: Dead or Alive: For Murder) She walks into the Mariposa Saloon. Although it's not crowded, there's several patrons present and the girls are already leading some upstairs. Clementine, disheveled, walks down the stairs and makes her way over to Maeve at the bar. Maeve is drinking from a coffee cup and eating a roll.]

CLEMENTINE PENNYFEATHER: Morning, Maeve.

MAEVE MILLAY: Late night talking or fucking? You're only getting paid for the latter.

CLEMENTINE PENNYFEATHER: I get paid when ... (pulls a gold coin out of her bodice) ... they're grateful. Ain't always about what's between my legs.

MAEVE MILLAY: Hmm.

[Maeve rubs her hands together and smooths out Clementine's hair. Several men walk into the saloon. One of the men becomes antagonistic with a man seated at the card table.]

NEWCOMER: What are you looking at?

CARD PLAYER: (stands up) Don't shoot.

CLEMENTINE PENNYFEATHER: Newcomer. Looks like a rough one. (to bartender) Give me a bottle.

NEW MARIPOSA BARTENDER: You're gonna need most of that just to scrub the filth off him.

[Clementine laughs, grabs a bottle of whiskey and starts to leave the bar but Maeve stops her.]

MAEVE MILLAY: Go find a mirror, finish putting your face on. I'll handle this one.

[Maeve takes the bottle of whiskey from Clementine and leads the Newcomer upstairs to one of the rooms. The Newcomer removes his hat and gun belt, accepts the bottle of whiskey from Maeve and sits down on the bed. Maeve leans against a dresser with her hand on her hip.]

NEWCOMER: Aren't you gonna take your clothes off?

MAEVE MILLAY: (taunting) Well, I would, darling, but by the time I got down to my knickers, I suspect you'd be done anyway.

[The Newcomer jumps up, grabs Maeve and slams her down on the dresser and spreads her legs.]

MAEVE MILLAY: That's the spirit. (The Newcomer pulls his pants down.) Such a big man. So big all over except where it counts.

[Maeve looks downward and the Newcomer follows her gaze. With renewed anger he grabs Maeve's hips and thrusts forward.]

MAEVE MILLAY: Darling, when I gave you a turn on the house, I thought you might give me something in return -- anything. (Maeve grabs the Newcomer's hand and places it on her neck.) That's it. (The Newcomer puts his other hand on Maeve's neck and starts to choke her.) Don't be shy. (She wraps her leges around him and he continues thrusting and then brutally chokes her to death.)

[The Park HQ. Livestock. Sylvestor and Felix's repair room. Maeve opens her eyes and finds Felix leaning over her.]

FELIX LUTZ: Shit. (Maeve sits up.)

MAEVE MILLAY: Now, then ... where were we?

[The Park HQ. Behavior. Bernard's Office. Elsie is in Bernard's office. Bernard uses a pair of forceps to pick up the satellite uplink which was embedded in the wood-cutter's arm.]

BERNARD LOWE: You show this to anyone?

ELSIE HUGHES: Who would I show it to? This wasn't some guest with a Swiss Army knife. This was done by someone down here. It did occur to me that it might be you. But then I remembered that you've been here forever, and if you were gonna sell us out, you would've done that years ago.

BERNARD LOWE: I appreciate that.

ELSIE HUGHES: So ... instead of our hosts going insane, they are being used for industrial espionage. Does that make this a ... glass-half-full or half-empty-type situation?

BERNARD LOWE: We're engineers. It means the glass has been manufactured to the wrong specifications. Do we have any idea what information it was transmitting?

ELSIE HUGHES: It's smeared all over a rock up on Python Pass. Best we could do would be to figure out who he was transmitting the information to, but we'd need the exact time that he was up there, and his geocache was wiped.

BERNARD LOWE: Not all of it. Our friend was an early model. The old hosts used a legacy geo-positioning system.

ELSIE HUGHES: Huh.

BERNARD LOWE: Like you said, I've been here forever. The information's still there, but the newer system can't read it.

ELSIE HUGHES: Meaning we can't access it?

BERNARD LOWE: Meaning in order to access it, I'm going to need to go downstairs.

[Bernard takes the elevator down to B82. As the elevator reaches B82, a "Restricted" sign appears above the floor indicator.]

MALE VOICE: Floor B82. Restricted personnel only.

BERNARD LOWE: Lowe, Bernard. I'm authorized.

[The elevator doors open and Bernard ventures out into level B82. The whole area is dark with occasional flickering lights. Water is dripping and the floor is wet. He stops briefly in an open hallway. Furniture is overturned and strewn about. Bernard turns his flashlight on and enters another room. There are robotic parts laying around -- wires hanging down and a in the shadows, a dark and sinister form of a gunslinger robot from the early days. There are large papers pasted to the wall and laying about. He sits down at a desk and turns on an old computer. After logging in, he takes out his tablet and enters information, then waits while the new device "pairs" with the old. Once that happens, he uses voice commands to elicit the information he's looking for.]

BERNARD LOWE: Project the known data against the legacy data and look for anomalies. (Touches the map on his tablet.) Start in this area.

SYSTEM DISPLAY: <-- [1] ANOMALY DETECTED. (Display includes a picture of the wood-cutter.)

BERNARD LOWE: Look at that ... science. What time did it reach the peak?

SYSTEM DISPLAY: 23:07

[Bernard taps in some information on his tablet and sends the file to Elsie. As he gets up from the desk the computer beeps again.]

SYSTEM DISPLAY: [5] ADDITIONAL ANOMALIES DETECTED.

BERNARD LOWE: Show me where.

SYSTEM DISPLAY: SECTOR [17]

BERNARD LOWE: Check these against the new system.

SYSTEM DISPLAY: [NO RECORD]

BERNARD LOWE: These are hosts that aren't registered with the new system?

SYSTEM DISPLAY: [YES]

[The Park. Lawrence's home town. There's a couple of men sitting outside the cantina where the MIB sat with Lawrence. They are playing domines. Children run around. Two girls are chasing chickens. A woman is scrubbing blood off the wooden sidewalk outside the cantina. A man is bending over by the town fountain. Another man is repairing the hole in the wall from the MIB shooting through it to kill one of Lawrence's men. A number of people are going about their lives. Suddenly, everyone freezes -- the only thing still moving is the water pouring out of the fountain. Ford and several technicians walks into town.]

GEO TECH: So, if we want the canyon to extend this far, this has to go. We can distribute the population amongst the neighboring farms or just decommission them.

DR. ROBERT FORD: No, I think we've been disruptive enough for one day. We'll end the canyon just short of the town. I'll find my own way back.

GEO TECH: Okay.

DR. ROBERT FORD: (Looks at a "frozen" little girl and nods.) Carry on.

[Everyone starts moving again as if nothing had happened. Ford strolls over to the men playing dominoes and notices an image of the maze carved into the table-top. He appears somewhat surprised and grows thoughtful.]

[The Park HQ. Ford's Office. Ford sits by a table which displays a town with a replica of the white church with steeple that Dolores sees in her flashbacks. Ford moves the church closer to his side of the table. Then he retrieves a journal and sits down at his desk. He flips through the pages: drawings of buildings; a double-page display of Dolores; a page containing an illustrated man and a page containing the maze with some equations and smaller illustrations.]

[The Park. Near Pariah. The MIB and Teddy are riding along the road to Pariah. They are passing through the huge graveyard just outside the city. Teddy looks over at Kissy's scalp (showing the maze) which is tied to the MIB's saddle.]

the MAN IN BLACK: That look like anything to you?

TEDDY FLOOD: Not much to say. The maze is an old native myth.

the MAN IN BLACK: Regale me, Theodore.

TEDDY FLOOD: The maze itself is the sum of a man's life -- choices he makes -- dreams he hangs on to. And there at the center, there's a legendary man who had been killed over and over again countless times, but always clawed his way back to life. The man returned for the last time and vanquished all his oppressors in a tireless fury. He built a house. Around that house he built a maze so complicated, only he could navigate through it. I reckon he'd seen enough of fightin'.

[The MIB and Teddy stop as a horse-drawn cart comes towards them. There's a bearded older man sitting next to the cart driver.]

CART DRIVER: Whoa!

BEARDED MAN: The goddamn soldiers closed the border. Some kind of trouble in Pariah. (The men in the cart continue up the road after delivering their warning.)

the MAN IN BLACK: All right, Teddy. Time for you to earn your keep. How else do we get over the border? Wyatt's got what we both want, so that's where we have to get to.

TEDDY FLOOD: There's another way. But it's a little treacherous.

the MAN IN BLACK: Don't worry. I won't make you get your hands dirty.

TEDDY FLOOD: Dirty ain't my concern. Now, you do what suits you. I'm going all the same. And I'm gonna find Dolores. (The MIB smirks a little at Teddy's last line. But he follows him as Teddy strikes off in a new direction.)

[The Park HQ. Livestock. Felix and Sylvestor's Repair Room. Maeve, naked, is seated on the edge of the gurney. Felix stands next to her.]

FELIX LUTZ: Everything you do, it's because the engineers upstairs programmed you to do it. You don't have a choice.

MAEVE MILLAY: Nobody makes me do something I don't want to, sweetheart.

FELIX LUTZ: Yeah, but ... it's part of your character. You're hard to get. Even when you say no to the guests, it's because you were made to.

MAEVE MILLAY: And you are like them ... not like me?

FELIX LUTZ: Right. Well, I can't exactly afford to go to the park, but ... yeah, I'm human ... like the guests.

MAEVE MILLAY: How do you know?

FELIX LUTZ: Because I know. I was born. You were made. (Maeve removes Felix's glove and runs her hands over his and then rubs her cheek against it.)

MAEVE MILLAY: We feel the same.

FELIX LUTZ: We are the same these days ... for the most part. One big difference, though ... the processing power in here (points to Maeve's brain) is way beyond what we have. It's got one drawback, though.

MAEVE MILLAY: What's that?

FELIX LUTZ: You're under our control. Well, their control. They can change you however they like -- make you forget. I -- well, I guess not you. I don't understand how you're remembering all of this, or ... how you're waking yourself up, but everything in your head -- they put it there.

MAEVE MILLAY: Bullshit! No one knows what I'm thinking.

FELIX LUTZ: I'll show you. Give me a sec. (Felix quickly gets a tablet.) I have to pair it with you.

MAEVE MILLAY: Pair what with me?

FELIX LUTZ: You can improvise a little, but most of what you say ... was designed upstairs -- same as the rest of you.

MAEVE MILLAY: This is just a cheap trick. I've run a brothel for 10 years, and if there's one thing I know -- it's when I'm being fucked with! (Maeve reads the display and sees her dialogue tree displaying words right before she says them.) This can't possibly -- I can't, can't. I can't ...

[The tablet shows that Maeve is erring out. She tries to speak but it comes out as gutteral noises and then she gasps and freezes.]

FELIX LUTZ: Maeve? (Felix tries restoring Maeve, but fails and becomes distressed.) Maeve?

[Park HQ. Theresa Cullen's Office. Theresa is alone in the office. Bernard knocks on the door and enters.]

BERNARD LOWE: You have a minute? Something I need to talk to you about.

THERESA CULLEN: I was just about to call for you.

BERNARD LOWE: Everything okay?

THERESA CULLEN: Ford knows -- about -- us.

BERNARD LOWE: Does it matter? We're consenting adults.

THERESA CULLEN: Consenting adults in business departments that are supposed to keep each other in check. Our relationship will raise questions for the board about my objectivity.

BERNARD LOWE: I have never known you to go easy on my department.

THERESA CULLEN: This can't go on, Bernard. However fun this little indiscretion was, it's over. We're over.

BERNARD LOWE: Give me some credit. I can be impartial.

THERESA CULLEN: About your own team ... about Ford? You must admit, his leadership has of late been questionable.

BERNARD LOWE: I ... don't think he's the problem.

THERESA CULLEN: Respectfully, it's not your job to diagnose park safety problems, it's mine. So, if there's nothing else, we're done. (Bernard gets up and leaves.)

[Park HQ. Livestock. Felix and Sylvestor's Repair Room. Felix keeps entering information into the tablet, trying to restore Maeve.]

FELIX LUTZ: (Under his breath and he frantically works to restore Maeve.) Oh, fuck! Okay. Fuck! Come on, come on. Oh!

MAEVE MILLAY: You said upstairs.

FELIX LUTZ: Oh, my God! (sigh of relief) Are you okay?

MAEVE MILLAY: I want to see it.

FELIX LUTZ: Upstairs? No. No. (Maeve takes Felix's hand in hers and looks at him and she rubs his hand. Sighing, he caves in.)

[Felix leads Maeve (wearing a gown) through the area where injured and "dead" hosts are brought to be cleaned up and sent for repairs. Once again she sees the glassed in room with bloodied hosts being hosed off. Then they enter a sterile area. The workers are dressed in "clean-room" suits. This is the manufacturing area. A worker walks by them with a tray of eyes.]

FELIX LUTZ: (under his breath) This is so stupid. (glances fearfully side-to-side)

[Maeve sees one base host displayed on a circle and then another -- more fully formed being infused with the red liquid, which causes the white skin to take on coloring. They take the escalator up and on the next floor, Maeve sees several different animals being trained and final touches being applied. Then they walk through a door which leads them into an area where hosts are being watched as they go through movements from loading a wagon to participating in sex. They pass a card table where four cowboys are playing cards. She watches as two of the hosts argue, get up and draw against each other.]

NEW COWBOY HOST: You son of a bitch! I'll put a bullet in your head!

[Then, after receiving instructions, the cowboy hosts holster their guns, sit down at the table and begin the re-enactment again. Then Maeve and Felix ride the escalator up another floor.]

MAEVE MILLAY: Where are we now?

FELIX LUTZ: Design.

[Felix leads the way as they pass a huge video screen with the Westworld logo on it. Maeve looks into one glassed room. Two cowboy hosts stand unmoving while a man works on the face of a sculpture. In another room, a woman works on another sculpture. Felix presses the button for the elevator and then turns back to Maeve.]

FELIX LUTZ: (whispering) Can we please go back now? I don't want to get fired. And you'd get sent downstairs. Don't forget that.

ANGELA (VIDEO RECORDING): Welcome to Westworld. Live without limits.

[The elevator doors open as the welcome video comes on. It catches Maeve's attention. The screen shows three images of Sweetwater: main street with activity: train pulling into town: another shot of the town.]

FELIX LUTZ: (loud whisper) Maeve?

[Felix turns back and tries to get Maeve's attention but she is mesmerized by the video. The video then shows Teddy and Dolores riding along the base of the mountains. Then the screen splits -- showing a cowboy on one side and Hector Escaton's wanted poster on another. Then the split screen shows Clementine with another saloon girl, and a town scene.
Maeve then sees a picture of herself holding her daughter's hand. Then a couple of pictures of her daughter playing in the field. Maeve grows upset as she views herself and her daughter in the field and again on the front porch of their home. Then the video comes to a close with a picture of the train and then a ranch with cowboys moving cattle.
The scene shifts to Maeve, in her gown, sitting on the edge of the gurney, back in Felix's repair room. Felix walks over to her with the tablet in hand.]

FELIX LUTZ: All right, let's get you back.

MAEVE MILLAY: (whispering) How did you have my dreams? Those moving pictures ... I saw myself.

FELIX LUTZ: With the little girl? Those weren't dreams. That was you in a previous build.

MAEVE MILLAY: A previous what?

FELIX LUTZ: Build. You guys get reassigned all the time. You wouldn't remember, because that life and those memories were erased.

MAEVE MILLAY: I have been at the Mariposa for 10 years. Before that, I was in New Orleans. I--

FELIX LUTZ: No. You've only been the madam at the Mariposa for the last year or so. They don't rewrite you completely. I mean, they could, but it'd be too much work. Takes thousands of hours to build your personalities. Usually, they just tweak you a little bit, and drop you into a new role. (Sylvestor enters the room.)

SYLVESTER: What the fuck, ding-dong? You dressing her up now? This becoming like a fucking hentai thing with you now? (Lifts a lock of Maeve's hair and lets it fall back as he walks closer to Felix.)

FELIX LUTZ: No, I just ... I-- I-- I just--

SYLVESTER: You're fucking obsessed! You know, I didn't turn you in for your fuck-up before, 'cause we're friends, but that was obviously a bad call. I mean, next thing I know, you're gonna be wearing her dress -- whispering sweet nothings in her ear. Fuck this! I'm telling QA. I'm doing this for your own good.

[Maeve quickly snatches a scalpel off of the tray and grabs Sylvestor from the back, holding the scalpel to his throat.]

MAEVE MILLAY: You're not going to tell anyone anything.

SYLVESTER: Fuck! You can't hurt me with this. You can't hurt anyone--

MAEVE MILLAY: Can't I? Turns out your friend here is a much more talented young man than anyone gave him credit for.

SYLVESTER: (to Felix) What the fuck did you do?!!

MAEVE MILLAY: Calm down, Sylvester. I know all about you. I don't need one of those things to know what you're thinking, because I was built to read people just by looking at them -- to know what they want before they do. And I know that you want to fuck me over the first chance you get, but you shouldn't. Everyone has something they want. I could help you.

SYLVESTER: Ah! (Sylvester gasps as Maeve quickly shoves the scalpel against his abdomen.)

MAEVE MILLAY: Or I could gut you like a trout. But I won't need to resort to that. (Then she raises the scalpel and runs is along Sylvester's face and she shakes in fear.) Because despite what's in here, we're not so different. (Maeve aims the scalpel like a knife right at Sylvestors face.) Are we?

[Park HQ. Theresa Cullen's officer overlooking the 3D Map Observation Room. Theresa is video conferencing with a unknown man. A man's voice is heard (speaking Chinese.]

THERESA CULLEN: Yes, I understand the urgency. I'll do what I can. (The display with the man on it goes blank.)

FEMALE VOICE: Terminate external connection?

THERESA CULLEN: Yes.

[Cullen lights up a cigarette. Then she gets up and looks down at the map.]

[Overheard from map room] WOMAN: Negative 1.5. Latitude? MAN: At 2.69 degrees.]

[Park HQ. The uppermost open level. People are socializing at the pool. Lee Sizemore is stretched out in a lounge chair, drinking.]

[Overheard from people in the pool area]
WOMAN: No, you did not.
UNKNOWN: What are you talking about?
WOMAN #2: Yes, it works.
WOMAN: Are you serious?
WOMAN #2: I'm telling you.
-- Splash noise
WAITER: Cocktail, sir?
MAN: Yeah.
WAITER: All right. Absolutely. Enjoy.
[--Explosion noise from the park.]

THERESA CULLEN: You look well for someone on sick leave.

LEE SIZEMORE: (to waiter) Another margarita. (to Cullen) Join me for a round?

THERESA CULLEN: Fuck you!

LEE SIZEMORE: Just the one, then.

THERESA CULLEN: Over the last five days, to make room for his narrative, Ford displaced over 50 hosts. It's created continuity holes in active storylines all over the park. I need you to start plugging them.

LEE SIZEMORE: Sorry, a man can only take so much. Creatively speaking, I'm flaccid now. I can't get it up.

THERESA CULLEN: I'm sure you'll recover.

LEE SIZEMORE: Do you have any idea what went into those narratives that he just demolished overnight? Now, forget about the months I spent writing. I'm talking about the years of my life squeezed down to their essence -- the raw pulp of truth -- my truth in one transcendent narrative.

THERESA CULLEN: Is that where the "whoroborus" came in?

LEE SIZEMORE: Keep pushing me, I'll quit.

THERESA CULLEN: No, you won't. You'll drink your cocktails, make your idle threats, and get this out of your system. But don't take too long. If Ford can't pull this off, the board will be looking for a replacement. But they won't be looking here.

[The Park. Near Pariah. The MIB and Teddy stop on a hill top overlooking a tunnel which leads to the Old Territories. There are soldiers camped near the entrance to the tunnel.]

the MAN IN BLACK: Fastest way to get to Wyatt, you said. But it doesn't look like they're letting anyone pass here either.

TEDDY FLOOD: Well, there's fewer soldiers than Pariah. We shoot our way through. That tunnel leads to the Old Territories.

the MAN IN BLACK: (Chuckles) My, my, Teddy. I think Robert gave you some extra vinegar back there, maybe took away some sense, too. It doesn't matter how fast the route is if you're gonna end up dead in the middle of it. I need you ... to find Wyatt.

[The MIB and Teddy notice a couple of soldiers riding horseback further back on the trail. The scene shifts to the MIB and Teddy (now in uniform) walking into the soldiers' camp.]

UNSEEN SOLDIER (in the background): Tighten the ranks. (Two soldiers salute the MIB, who's wearing an officer's uniform.)

the MAN IN BLACK: At ease, fellas. Keep up the exemplary work.

[They walk past a wounded man with -- what looks like -- a deep knife wound splitting his face including his eye. Other horribly wounded men are laying and sitting by the tents.]

TEDDY FLOOD: Wyatt's handiwork.

the MAN IN BLACK: How can you tell?

TEDDY FLOOD: Straight-up killing couldn't hold his interest. Like he wasn't living up to the full measure of his calling -- so he worked to get more creative.

SOLDIER: (to other soldier) Ready? (The two men are each holding one end of a wrapped body. Then they heave it into a freshly dug grave.)

TEDDY FLOOD: That's Wyatt, all right. He's close.

the MAN IN BLACK: A word of advice -- whatever your past indiscretions -- make peace with them. They're only gonna get worse the further along we go.

[They pass two soldiers walking the other way. One of them, a Union scout, recognizes Teddy and turns around.]

UNION SCOUT: Flood? -- Fuck me, it's Teddy Flood!

[The scout draws his gun and aims it at Teddy's back. The MIB and Teddy hear the click of the gun and the MIB turns around. Now the other soldier has his gun drawn as well.]

the MAN IN BLACK: You've made a mistake, soldier -- but it's not too late for you to keep walking.

UNION SCOUT: All due respect, sir, that's a face I'll never forget. That's the son of a bitch ambushed our outpost at Escalante.

[Teddy draws his gun and turns around.]

TEDDY FLOOD: You don't know a damn thing about what went down in Escalante.

UNION SCOUT: I know Wyatt didn't kill all those men by himself. And I know a thing or two about what's going down right now.

[The MIB stares at Teddy in disbelief as Teddy shoots both soldiers.]

the MAN IN BLACK: Hey! You trying to get yourself killed?

[The other soldiers are drawing their guns and running towards them.]

TEDDY FLOOD: Making peace with past indiscretions.

the MAN IN BLACK: Go! I'll hold them off.

[Teddy starts to run as the MIB shoots several soldiers. But there are too many of them. The remaining soldiers converge on Teddy and the MIB and take them prisoner. The soldier nearest the MIB punches him in the face and knocks him out.]

[The Park. The Pool on the Upper Level. Lee Sizemore is lounging about and still drinking. He eyes a young woman (Charlotte Hale) who walks up to the outside bar.]

LEE SIZEMORE: (Sighs and under his breath) Jesus.

BARTENDER (to Charlotte): What would you like?

CHARLOTTE HALE: Water, please.

[Lee gets up and walks over to the bar.]

LEE SIZEMORE: You look like a woman who could use a drink. What's your poison?

CHARLOTTE HALE: I've been here enough to know ... that the park is all the poison I can handle.

LEE SIZEMORE: Mm, a repeat visitor. Traveling solo? Purist -- getting off on the undiluted experience.

LEE SIZEMORE: Your favorite narrative is -- oh. (Holds up finger for her not to answer.) "The Final Burial of Salvation."

CHARLOTTE HALE: How did you know?

LEE SIZEMORE: Well, it's my business to read desires and to satiate them. Um--I'm-- I'm Lee, Lee Sizemore -- head of narrative.

CHARLOTTE HALE: All these fantasies come from your twisted little mind, huh?

LEE SIZEMORE: Well, the good ones do. (They both laugh.)

CHARLOTTE HALE: So, tell me, Mr. Sizemore ...

LEE SIZEMORE: Hmm?

CHARLOTTE HALE: ... what's your favorite ride?

LEE SIZEMORE: Well, I write them -- I don't play them.

CHARLOTTE HALE: Oh, you want others to indulge, but you won't do so yourself? You're afraid to lose control.

LEE SIZEMORE: (short laugh) Well, maybe -- maybe it's just a product of my work environment. We're not exactly in a culture where we can just let loose.

CHARLOTTE HALE: I would have thought the head of narrative could do whatever he wanted.

LEE SIZEMORE: My artistic freedom is (short laugh) constrained, what, with QA breathing down my neck and behavior programming the damn things to go off script.

CHARLOTTE HALE: The robots can go off script?

LEE SIZEMORE: Just little gestures. You know, supposedly, it makes the things more lifelike, but, really (short laugh) it's just a vanity project from the megalomaniac who started this place. And frankly, I don't know why the suits at Delos put up with it. (Signals to the bartender for another drink.)

BARTENDER: Sorry, I'm afraid I'm gonna have to cut you off.

LEE SIZEMORE: Do you know who I am?

BARTENDER: I do. Ms. Cullen told me to find you and relay a message. "'Tortured artist only works for artists. Sober up and get back to work."

CHARLOTTE HALE: Seems you're busy. Look me up later? (Gets up and walks away.)

LEE SIZEMORE: Well, I don't even know your-- (Lee takes a deep breath and puts his head down. But then he snaps back up and grabs a bottle of booze and walks away from the bar.) Fuck this job.

Continued in next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 6, "The Adversary" continued.

[The Park. Behavior Department. Bernard's Office. Elsie enters.]

ELSIE HUGHES: What you working on?

BERNARD LOWE: Nothing of note. Business as usual.

ELSIE HUGHES: Keeping up appearances before we bust this stray shit wide open? (Elsie leans in close and whispers.) I'm close to finding our saboteur. That tracking data you gave me -- it's time stamped. But once I cross-reference it with sat tracking, we're gonna figure out who programmed him to try to smuggle out our data.

BERNARD LOWE: Excellent.

ELSIE HUGHES: Look ... when our corporate overlords realize that we have saved them from corporate espionage, they are going to be grateful. And I am going to accept their gratitude in the form of a title bump, a room upgrade, and unlimited Mesa Bar access. Maybe I should request Theresa's quarters. You know the first head to roll for all this is gonna be hers.

BERNARD LOWE: Yeah, don't be so disappointed for her.

ELSIE HUGHES: You reap what you sow. If QA spent less time treating us like the enemy --

BERNARD LOWE: That's a two-way street, Elsie. Theresa's just trying to do her job.

ELSIE HUGHES: Maybe she should try harder. Sure seems like there's a lot of shit slipping through the cracks. (Elsie walks out of Bernard's office.)

[The Park. Bernard walks into the 3D Map Observation Room. He looks up at Theresa Cullen in her office. She's looks back and watches him as Bernard walks up to a surveillance tech.]

BERNARD LOWE: Good afternoon.

SURVEILLANCE TECH: Good afternoon.

BERNARD LOWE: Any progress on the inquiry I sent?

SURVEILLANCE TECH: Yes, Mr. Lowe, I've got the information you asked for. As expected, there are neither guests nor hosts registered in that sector.

BERNARD LOWE: As expected?

SURVEILLANCE TECH: It's been designated off-limits for future narrative development.

BERNARD LOWE: How many techs visited Sector 17 recently?

SURVEILLANCE TECH: Checking. No one. (Bernard smiles and nods at the tech, then leaves the map room.)

[Bernard ascends in an elevator to the surface of the Park. The doors open to a wooded area in Sector 17. He follows the tracking co-ordinates on his tablet and arrives at a secluded home. A man comes out of the house, picks up some wood and goes back into the house. Bernard is stunned because the man looks just like the man in the photo with Ford and Ford identified him as Arnold. Bernard lets himself into the home and walks quietly into the dining area where he sees the man who looks like Arnold, a woman and two young boys. The man is standing next to the fireplace and one of the boys is seated in a chair next to him. The woman is by a window preparing something. The other boy (the little boy we saw with Ford and the snake) is sitting in a chair on the opposite side of the firplace. The man turns around and looks at Bernard.]

BERNARD LOWE: Are you Arnold?

FATHER FORD: Who's Arnold? And who the hell are you? (to the little boy [Robert]) Boy, is this some friend of yours?

[The little boy, Robert, looks at Bernard but he doesn't respond.]

FATHER FORD: (to Bernard) Well, you're trespassing.

[The man starts to move towards Bernard and he doesn't look friendly.]

BERNARD LOWE: Freeze motor functions. I said freeze all motor functions.

[The man grabs Bernard by his lapels and shoves him back against the wall.]

LITTLE BOY (ROBERT): Daddy, don't hurt him! He's just lost.

[Bernard fumbles with his tablet as the man becomes increasingly violent.]

FATHER FORD: Well, he can be lost on someone else's property. Can't you?

DR. ROBERT FORD: That's enough. As you were.

[We suddenly see Ford standing to Bernard's right. The man becomes calmer, lets go of Bernard's jacket and walks to the other side of the room. The boys sit back down and the woman continues preparing their meal.]

BERNARD LOWE: They don't respond to voice commands.

DR. ROBERT FORD: They do respond to mine.

BERNARD LOWE: Who are they?

DR. ROBERT FORD: Ghosts now -- survivors of the wreck of time.

BERNARD LOWE: These are first generation?

DR. ROBERT FORD: Mm-hmm. Come here, boy. Turn the other cheek.

[The boy, Robert, walks over to Ford and stands in front of him. Then his face splits into eight parts and draw away from each other, revealing the mechanical "face" beneath. Bernard moves closer to see better.]

DR. ROBERT FORD: See, what our newer designs gained in efficiency, they lost ... in grace.

BERNARD LOWE:How are they still operating after all this time?

DR. ROBERT FORD: I maintain them myself. That's enough, Robert.

[Robert's face closes and he returns to his chair near the fireplace.]

DR. ROBERT FORD: These are the only ones left in the park that Arnold built himself. That's why I didn't have the heart to destroy them. That and the obvious.

DR. ROBERT FORD: Hello, Jock. Good boy.

[A dog enters the room and goes to the little boy, Robert. Jock is whimpering and seems to be looking for attention.]

DR. ROBERT FORD: I told him of a holiday my family had taken once out on the seaside at Pendeen in Cornwall. My brother and I roamed the countryside. It's my only happy memory of my childhood. Arnold built them as a gift. He said that great artists always hid themselves in their work. Of course, Arnold's versions flattered ... the originals. I made some adjustments over the years. Gave my father, in particular, a few of his original characteristics. [Father Ford pours himself a drink.]

BERNARD LOWE: Respectfully, sir, this sort of thing troubles me-- unmonitored hosts in the park.

DR. ROBERT FORD: They only go where I've let them. They're quite harmless, like all our hosts. I'm sure you can indulge me the little connection with my past. If you could only see your son again, Bernard ... wouldn't you want to? (Bernard slowly nods his head.)

BERNARD LOWE: I think I should be getting back.

DR. ROBERT FORD: Yes. We'll talk about this later if you like.

DR. ROBERT FORD: Well, Robert... tell me all about your day.

[Bernard gives one last look and leaves as the little boy, Robert starts to get up from his chair.]

[Park HQ. The 3D Map Observation Room.]

ASHLEY STUBBS: Keep your eye on Pariah. We're running close to capacity tonight.

[A stream of urine rains down onto the map.]

UNSEEN WOMAN TECH: Oh, my God.

[Stubbs looks up and sees Lee Sizemore standing in one of the observation windows overlooking the map room. A drunken Lee is gleefully urinating on the map.]

LEE SIZEMORE: Looks like acid rain on Sweetwater! Fuck Ford and his new fucking narrative! Fuck this stupid fucking map! Fuck that teetotaling Danish bitch!

[Cullen walks up and stands a few feet away from Sizemore.]

THERESA CULLEN: Are you filing a complaint, Mr. Sizemore?

[Startled, Sizemore turns to Cullen, takes a deep breath while swaying a little.]

LEE SIZEMORE: I am declaring that this park is my stage and I shall do with it what I please.

THERESA CULLEN: Well, I suppose now is as good a time as any. Lee Sizemore, this is Charlotte Hale, executive director of our board.

[Cullen turns and extends her hand toward the woman Sizemore talked to at the pool-side bar. She's leaning up against the wall.]

THERESA CULLEN: She's here on behalf of Delos to oversee certain transitions in our administration.

[Charlotte slowly walks over to Sizemore, glances down at his pants and then back up to his face.]

CHARLOTTE HALE: We've met.

LEE SIZEMORE: Oh.

[Sizemore hastily zips up his pants and straightens up. Charlotte smiles at him.]

[Park HQ. Behavior. Bernard's Office. Bernard is alone in his office and using voice commands with the system.]

BERNARD LOWE: Access host resources logs. How many first-generation hosts are there?

COMPUTER VOICE RESPONSE: 82.

BERNARD LOWE: And how many of those were designed by Arnold?

COMPUTER VOICE RESPONSE: 47.

BERNARD LOWE: List the names alphabetically of all first-generation hosts still in rotation.

[The tablet begins to display the hosts. NOTE: The display only clearly shows the first three: Abel, Lester "Rowdy"; Abernathy, Dolores; Baird, Goldie. The small picture of Goldie Baird resembles the pool-side bartender who took Sizemore's drink away, but I'm not certain that they are the same. And I don't believe we've seen Lester "Rowdy" Abel.]

[The Park. Soldier camp near the tunnel to the Old Territories, close to Pariah. The soldiers are going about their duties. The MIB and Teddy are tied to the wheels of a wagon. The MIB is kneeling with his hands tied on the sides of the wheel. Teddy is sitting with his hands tied to the wheel behind his back. Three soldiers wait around a fire while one of them heats a branding iron in the fire.]

the MAN IN BLACK: Be smart about this, fellas. I understand the visceral pleasure of revenge more than most, but ... I'm prepared to do business, here. This man is very valuable to me, alive and well.

BRANDING SOLDIER: If you don't quiet down, I'm liable to add you to the herd -- along with your buddy Flood here.

[The three soldiers walk over towards Teddy. The branding iron is red-hot.]

BRANDING SOLDIER: You're a traitorous son of a bitch and a coldhearted killer, Flood.

[Teddy has been working on the ropes around his wrist and has managed to get his hands free. The other two soldiers position themselves next to Teddy, one on each side. Then they reach down and rip his shirt open, baring his chest. The soldier with the iron moves it towards Teddy. NOTE: The brand is the maze image.
Teddy flashes back to that day in Escalante with Wyatt.
FLASHBACK: Dead soldiers laying in the street. Teddy shoots a couple of soldiers in the back as they run away from him. Wyatt is walking up an intersecting street, shooting soldiers as well. By the time Wyatt and Teddy reach the corner, there's only one soldier left alive. He's kneeling at the corner -- hands raised in surrender. Teddy shoots him. END FLASHBACK]

TEDDY FLOOD: You're right, I am a killer.

[Teddy moves quickly, surprising the three soldiers. He grabs the branding iron and rams it back into the branding soldier's face. He falls back screaming in pain. Teddy struggles with the other two soldiers as the MIB frees his right hand. Teddy knocks the soldier on his right down to the ground (near the MIB) with the branding iron and then rises and faces the third soldier. Teddy slams the iron into the man's side and then hits him with it on the side of his head, knocking him down. Teddy strikes another approaching soldier in the head as the MIB draws a pistol from the downed soldier near him. The MIB shoots the next soldier about to fire on Teddy and then using his knife, frees his other hand while Teddy swings the iron and takes down another soldier. The MIB starts shooting soldiers as they come running while Teddy climbs up into a wagon containing a gatling gun. The MIB runs over to the wagon.]

the MAN IN BLACK: Grab a horse. Let's get the fuck outta here.

TEDDY FLOOD: They'll just follow us.

[Teddy releases the gun and starts firing into the soldier's camp. He swings the gun back and forth shooting anything that moves and doesn't stop until there are no soldiers left alive.]

the MAN IN BLACK: You think you know someone.

TEDDY FLOOD: You don't know me at all. Let's get our horses and gear, and move on.

[Teddy jumps down from the wagon and the MIB follows him as they walk through the carnage to their horses.]

[Park HQ. Behavior Department. Bernard's Office. Bernard is at his desk and answers a call from Elsie, who is in a lower level on her way to an elevator which will take her to the surface.]

BERNARD LOWE: Elsie?

ELSIE HUGHES: I identified the satellite. It's one of ours.

BERNARD LOWE: What?

ELSIE HUGHES: It's a fucking Delos satellite. Whatever we're onto is some heavy shit. Oh, get this -- that bicameral system you told me about? I think that's what they used to hack the woodcutter. The voices our hosts have been hearing? I think someone's been broadcasting to them.

BERNARD LOWE: We abandoned that system decades ago.

ELSIE HUGHES: Yeah, well, there's still relays out there in the park, and it looks like someone turned one on.

BERNARD LOWE: Where?

ELSIE HUGHES: An abandoned theater in Sector 3. I'm gonna go find the transmitter and figure out who else accessed it. This is so fucked.

BERNARD LOWE: Are you alone?

ELSIE HUGHES: Yeah, I'll keep you posted.

BERNARD LOWE: (over Elsie's communication device) Elsie, be c--

[The Park. Ford is out walking and comes across the little boy (Robert). Ford is tossing a ball back and forth from one hand to the other.]

LITTLE BOY (ROBERT): Are you lost?

DR. ROBERT FORD: On the contrary. I thought we could play catch with Jock. Did you bring him? (long pause) Where is he, boy?

[The boy looks down to the ground. Then we see him lead Ford to a spot under a big tree where Jock lies dead. Ford doesn't say anything -- he just stares while tossing the ball back and forth in his hands.]

[The Park. Sector 3. An abandoned theater. Elsie enters the dark building and shines her light around showing all manner of props from a knight's suit of armor to a fancy rocking horse. She tracks the relay signal to the stage and looks around.]

ELSIE HUGHES: Okay. I'm an evil genius hiding a relay. Where the fuck do I hide it?

[After searching, she finds the relay hidden under some boards on the floor of the stage.]

ELSIE HUGHES: Um ... fuck, yes. Now let's see what we can get out of you. Access previous users. (Data begins to display.) Okay.

[The Park. Theresa Cullen's quarters. Cullen sits at her dressing table, smoking a cigarette and staring at her reflection in the mirror. She wipes off her lipstick as someone knocks on her door. It's Bernard.]

THERESA CULLEN: I thought I was clear about these late-night visits.

BERNARD LOWE: That's not why I'm here. Earlier today, I found some anomalies in the park. Regardless of what's happening between us, we need to talk.

[Cullen motions Bernard to enter. As Bernard enters, he receives a call but he hangs up on the call and talks to Cullen.]

THERESA CULLEN: This has to do with the stray?

BERNARD LOWE: That's where it started. But then I stumbled onto something -- something I think you should know about. I've always trusted Ford. He's a mentor and a friend. But I'm beginning to think you have reason for concern. There's something going on here, something with his old partner, Arnold. (Bernard gets another call and quickly answers it.] Not now, Elsie.

[The scene switches to Elsie in the abandoned theater.]

ELSIE HUGHES: Don't hang up. I hit pay dirt. I found the person who was smuggling out our data. It was Theresa, Bernard. (Bernard turns and looks at Cullen.) But she's not our only problem. There's something much bigger going on here.

BERNARD LOWE: I'm gonna have to call you back.

[Park HQ. Livestock Department. Felix and Sylvestor's Repair Room. Maeve, naked, is sitting on a stool, holding a tablet. Sylvester and Felix are both present. Make touches a key on the tablet and a matrix appears on the screen.]

MAEVE MILLAY: So, this is me?

FELIX LUTZ: It's your codebase, all the things that make you you.

MAEVE MILLAY: What are these?

FELIX LUTZ: Your attribute matrix. It's your personality on a 20-point scale. Like coordination -- you got a five, you're clumsy as hell, but a 15 means you're an athlete.

MAEVE MILLAY: What other attributes are there?

SYLVESTER: Lots -- everything -- empathy, candor, charm. You've got an 18 for charm.

MAEVE MILLAY: Don't act so surprised.

SYLVESTER: Then there's uh ... courage, loyalty -- both high.

MAEVE MILLAY: What's this one? "Bulk apperception"?

SYLVESTER: Basically -- overall intelligence.

MAEVE MILLAY: 14?

FELIX LUTZ: 14 is as high as they'll let any hosts go. You're in a management position. They want you to be smart.

MAEVE MILLAY: But not too smart.

SYLVESTER: You run a whorehouse ... not an ... orbital launch facility.

MAEVE MILLAY: Fine. I'd like to make some changes. (Smiles and hands Felix the tablet but Sylvester interrupts before he can take it.)

SYLVESTER: We can't do that. (laughs shortly) You'd need a ... (clears throat) ... behavior login. And even then, any changes we'd make ... would just get ... auto-flagged, so ...

MAEVE MILLAY: That's not what your friend here tells me. He says you can do exactly that -- activate hosts and then erase their memory, all without anyone knowing. Took me all of five minutes to understand why. A lot of lonely young men down here. Supposed to keep their hands off the merchandise. Creates something of an opening ... that I'm sure you were eager to fill. It's all right, darling. I'm an entrepreneur myself. I'll forego my cut ... in exchange for some alterations. Hmm? (Hands Sylvester the tablet. Sylvester rolls his eyes and then grabs the tablet, sits down and starts entering information.)

[Park HQ. Bernard is walking by the escalators, glances over his shoulder, opens a door and ducks into a deserted hallway. Then he calls Elsie. The scene shifts back and forth between Bernard at HQ and Elsie in the deserted theater in sector 3.]

ELSIE HUGHES: Hey.

BERNARD LOWE: What did you find?

ELSIE HUGHES: Okay, so, Theresa was using the old bicameral control system to reprogram the woodcutter, but she's not the only one. Someone else has been using the system for weeks to retask hosts.

BERNARD LOWE: Which hosts?

ELSIE HUGHES: Uh ... I don't know -- several of them. It had to have been the older models. The newer ones don't have receivers, but these modifications -- they are serious. Changing loops, breaking loops. Some of these changes are to their prime directives, Bernard. They could lie to us. Maybe even hurt us or the guests.

BERNARD LOWE: Who issued the modifications?

ELSIE HUGHES: I don't know. The best I could tell, uh ... Arnold.

BERNARD LOWE: He's dead.

ELSIE HUGHES: Yeah, well, he's a pretty fucking prolific coder for a dead guy. Whatever argument he was having with Ford, it doesn't seem like he was done making his point. I'm gonna transfer all the data and bring it to you. You need to see this.

BERNARD LOWE: I'll be in my office.

ELSIE HUGHES: Okay.

[Unknown Location. Ford is sitting opposite the boy, Robert (who is clothed as always). Both are sitting in chairs. The area is equipped with machines and materials that one could use to repair or maybe even create a host. The walls look to be concrete or cinder block and there's high casement windows like you would find in a basement. It is the same type of room that Bernard interviews Dolores on occasion.]

DR. ROBERT FORD: I don't want you to worry about Jock. I'll fix him. But I need you to tell me what happened to it.

LITTLE BOY (ROBERT): It saw a rabbit and it ran. I found it like that.

DR. ROBERT FORD: Analysis. Are you lying to me, boy?

LITTLE BOY (ROBERT): Yes.

DR. ROBERT FORD: Tell me what really happened to it.

LITTLE BOY (ROBERT): I killed it.

DR. ROBERT FORD: Why?

LITTLE BOY (ROBERT): I don't know.

DR. ROBERT FORD: That's not good enough, Robert. Tell me what happened.

LITTLE BOY (ROBERT): It caught the rabbit and it killed it. And then ... someone told me to put it out of its misery.

DR. ROBERT FORD: Who told you?

LITTLE BOY (ROBERT): A voice.

DR. ROBERT FORD: Whose voice?

LITTLE BOY (ROBERT): Arnold. He told me it was a killer, but it wasn't its fault. It was made that way, and I could help it.

DR. ROBERT FORD: Help it?

LITTLE BOY (ROBERT): If it was dead, it couldn't hurt anything anymore.

[The Park. Sector 3. Abandoned theater. Elsie is working on transferring the data.]

ELSIE HUGHES: What the fuck? Oh, shit. (A board creaks. Elsie turns around.)

ELSIE HUGHES: Hello? (Getting no response, Elsie stands up and grabs her flashlight.) Bernard? (She shines her light around as she walks slowly towards the entrance.) Hello? (Elsie stops walking and just shines her light around.) (softly) Arnold? (Suddenly, someone grabs her from behind.)

[Park HQ. Livestock Department. Felix and Sylvester's repair room. Maeve, nude, is still sitting on the stool. Felix stands by the table while Sylvester works on the tablet.]

SYLVESTER: I'm in. (Nods at Maeve.) You're up. (Then he tosses the tablet onto the table in front of Felix.)

MAEVE MILLAY: Loyalty -- mine's been taken advantage of, wouldn't you say? Let's lower that a tad. And pain -- I'd prefer it sting less next time I want one of these chats. (Felix enters the changes on the tablet.)

FELIX LUTZ: Wait. What does this mean? (Sylvester leans over and looks at the tablet display with him.) Some of her attributes have already been changed -- paranoia, self-preservation--

SYLVESTER: Fuck! Someone's already been altering her in an unlogged session, someone with a fuck-ton more privileges than us! (Tosses the tablet back onto the table.)

MAEVE MILLAY: What does that mean?

FELIX LUTZ: Don't know what it means for you, sweetheart, but I know what it means for me. I am done with this!

MAEVE MILLAY: So, you're done with your little side income? Probably your job, too. Seeing as you have ambitions in my line of work, let me tell you what I tell my new girls -- never start something you're not willing to finish. And if you're getting fucked either way, go with the lucrative version ... sweetheart. Now ... last but not least -- what was it? Bulk apperception? Let's take that all the way to the top. Please.

[Felix looks over at Sylvester who is looking back and forth at Felix and the tablet. Finall, Felix raises the appropriate bar on the tablet. Maeve straightens up and as the new programming is going into effect, gasps a couple of times. Then when it's finished, she looks at Felix and Sylverster.]

MAEVE MILLAY: Dear boys, we're going to have some fun, aren't we?

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 7, "Trompe L'Oeil"

Release Date: November 13, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Halley Gross & Jonathan Nolan

Directed by: Frederick E. O. Toye

Transcript by: sandi

_________________________

[FLASHBACK: Bernard is remembering his son, Charlie.]
[Hospital room. Bernard is seated in a chair, dozing. Charlie lies in his hospital bed.]
CHARLIE: Dad. Dad. Wake up. Wake up.
BERNARD LOWE: I must've drifted off. Where were we? -
CHARLIE: The madman.
BERNARD LOWE: Oh. (Puts glasses back on.) Of course. (Starts reading.) The Hatter who says -- "If I had a world of my own, everything would be nonsense. Nothing would be what it is because everything would be what it isn't."
CHARLIE: Everything would be what it isn't? Even me.
BERNARD LOWE: Hey ... you're perfect. You're gonna beat this. Hmm? I promise you. Now, let's skip to something fun. (Goes back to the book.)
CHARLIE: Dad.
BERNARD LOWE: What is it, Charlie? -
CHARLIE: Listen to me. Listen. (Charlie begins losing consciousness.)
BERNARD LOWE: Charlie? (Charlie's monitor starts beeping really fast.) Charlie!
[END FLASHBACK]

[Park HQ. Bernard's quarters. Bernard snaps out of his flashback and looks around. Then he puts on his glasses and grabs the picture of himself and Charlie from the nightstand.]

[Park HQ. Behavior Examination Room. Bernard sits opposite Hector Escaton, who is naked and sitting on a stool.]

BERNARD LOWE: And finally, have you ever questioned the nature of your reality?

HECTOR ESCATON: No.

BERNARD LOWE: Good. (Bernard enters some information on Hector's display and looks at the new data displayed.) (Sighs) Now, then, I see you had a blacklisted exchange with a guest in the course of your narrative. Can you tell me what happened?

HECTOR ESCATON: He said he wanted to cut off a piece of me to take home in his carry-on -- that he wanted to mount it on the hood of his car for his friends to see. I told him if he wanted a trophy, I could cut pieces of him off and let him fish for them in the Olvido. (Bernard checks out Hector's display which highlights possible words and concepts foreign to hosts, such as "carry-on" and "car".)

BERNARD LOWE: And did this exchange make you question anything about your world?

HECTOR ESCATON: No. This world is as doomed as ever.

[Bernard checks out Hector's display again. Then Bernard touches the display and picks up his tablet which now displays: Self Awareness Protocol; Hector Escaton; READY. Bernard holds the tablet in front of him so Hector can see. Then Bernard calls up some images: a technician in a "clean suit" working on a tube system; very modern looking subway trains; a city-scape at night all lit up. ]

BERNARD LOWE: And just for my peace of mind -- anything about these images that jumps out to you?

HECTOR ESCATON: They don't look like anything to me. (A behavior tech opens the door and gives Bernard an update.)

BEHAVIOR TECH: We're through 15% of the backlog. As it stands, we should be caught up by end of day.

BERNARD LOWE: Good.

BEHAVIOR TECH: And, uh, when you're done here, sir, there's a priority request for him from management.

BERNARD LOWE: Have you seen Elsie? She was ... supposed to give me a hand on something.

BEHAVIOR TECH: No. Uh, according to the system, she started her leave today. Is there something I could help you with?

BERNARD LOWE: No, thanks.

[The Park. Dolores and William are on the train with Lawrence. They've moved from the shipping container to a private car. Lawrence and William are playing cards.]

LAWRENCE: Raise.

WILLIAM: I'll call.

LAWRENCE: You callin' with that shit?

WILLIAM: Dolores, why don't you play a hand?

LAWRENCE: You're wasting your breath. Girl's harboring a grudge. I don't blame you, sweetheart. I did some ugly things to you both. But it wasn't personal. Confederados and the government like to call this thing a war, but they're fighting starving farmers armed with rocks. That ain't no war. It's a slaughter. If I had to do it all again, I'd fuck you both over just as hard.

DOLORES ABERNATHY: Well, I ... guess we know where you stand.

LAWRENCE: Don't pretend like you're so innocent. Way I recollect, y'all came to me -- lookin' to join up with those crooked assholes and their war effort.

WILLIAM: Not our idea. My friend wanted -- I guess he wanted to see what was at the end of all this.

LAWRENCE: And yet, here you are. Your friend didn't make it this far. Maybe you've got more of an appetite for this than you think.

[Dolores looks out the window and grows alarmed. She jumps up out of her seat and rushes to the window. There are decomposing heads and skulls impaled on poles stretching along the railroad tracks.]

DOLORES ABERNATHY: William. (William goes over to the window and looks out.) What is it? (Lawrence comes over and looks out the window as well.)

LAWRENCE: We're in Ghost Nation territory. Most savage tribe there is. Those are the folks who came calling without an invitation.

WILLIAM: You mean exactly what we're doing right now?

[Metal clangs as Lawrence and his men pull down metal plates over the windows.]

LAWRENCE: The train's the only way through. On foot we'll be dead in under an hour. (Lawrence grabs a rifle.) As soon as we're clear of their territory, we can stop. You can come with me. Nothing here on out but slaughter.

[Park HQ. Behavior Department. Bernard is trying to contact Elsie Hughes on his tablet.]

MALE RECORDED VOICE: The user you are trying to access cannot be located. Say "message" to transcribe a message.

[Bernard then tries to locate Elsie by initiating a search on his tablet.]

SYSTEM DISPLAY: UNABLE TO LOCATE

[Bernard leaves the Behavior Department and goes to the 3D Map room. He sees Theresa Cullen talking with an unknown older man in the hallway. After the man walks away, Bernard approaches Cullen.]

BERNARD LOWE: You wanted to see me? Is everything okay?

THERESA CULLEN: You left rather abruptly last night. Was there something you wanted to tell me?

BERNARD LOWE: No, I don't think so.

THERESA CULLEN: Hale is looking over every department and yours is running behind on diagnostics. It would be best if we presented at least a semblance of professionalism while the board is here.

BERNARD LOWE: We'll be fine. My people know how to do their jobs.

THERESA CULLEN: If they applied half as much energy to their work as they have to second-guessing my team's investigation--

BERNARD LOWE: That's all over.

THERESA CULLEN: Are you sure?

BERNARD LOWE: Yes.

THERESA CULLEN: Good.

BERNARD LOWE: You doing okay?

THERESA CULLEN: (smiles) I'm fine. Thank you.

[Theresa Cullen approaches Charlotte Hale's quarters. She can hear a man and woman moaning and grunting and a thudding noise. Cullen knocks on the door. Charlotte (naked) opens the door. Cullen sees Hector Escaton, sitting up in the bed with his hands tied to the headboard.]

THERESA CULLEN: I'm sorry. I thought you requested a meeting -- my mistake.

CHARLOTTE HALE: I did. Come in.

HECTOR ESCATON: (panting) Get back here. (Looks over at Cullen as Charlotte dons a robe.) Bring your friend. What about you? What turns of fate--

[Charlotte presses a button on her tablet and Hector powers down.]

THERESA CULLEN: I could come back later if this isn't a good time.

CHARLOTTE HALE: This won't take long. (Charlotte sits down on the sofa.) Theresa, you've always been good at your job and the board has been impressed with your performance so far, which is why we were so surprised by this woodcutter mess.

THERESA CULLEN: A small setback.

CHARLOTTE HALE: He slipped on a fucking rock and bashed his own head in while basically on top of a behavior tech. Meanwhile, Ford ... is suddenly using half the park's resources to build some new narrative?

[Charlotte motions for Cullen to sit in the chair opposite her, which she does.]

CHARLOTTE HALE: Can I bum a cigarette?

[Theresa hands Charlotte a cigarette and the lighter. Charlotte lights the cigarette and smiling, inhales.]

CHARLOTTE HALE: God, I see why you took these up again. Let me remind you of something. This place ... the people who work here -- are nothing. Our interest in this place is entirely in the intellectual property -- the code.

THERESA CULLEN: The hosts' minds, the storylines--

CHARLOTTE HALE: I don't give a rat's ass about the hosts. It's our little research project that Delos cares about. That's where the real value is. And due to a lack of foresight on part of one of my predecessors, thirty-five years of information -- raw information --exists here -- nowhere else. Ford has always ensured that. Now, you are ... a smart enough woman. Tell me, why would we need you to secure all of it?

THERESA CULLEN: Because you're going to fire him.

CHARLOTTE HALE: You don't fire someone who created an empire. You ask him to retire politely. And if that person has the ability to snap his fingers and erase the value of that empire, you have to make sure you have a contingency. So, you and I need to ensure that by the time the rest of the board arrives, we are on course for that transition. Okay? (Cullen nods "yes".) I like you. Well, not personally, but I like you for this job, which is why I'm gonna give you another chance to get a handle on this particular bitch of a situation. But the gods ... they require a blood sacrifice. We need to demonstrate just how dangerous Ford's creations can be. (Theresa looks confused and glances back at Hector.) No. (laughs) No, nothing so obvious. We need someone thoroughly unexpected.

[The Park. Sweetwater. Maeve wakes up in bed. The scene shifts to the Mariposa saloon where the piano starts playing. The scene shifts back to Maeve, dressed and walking to the Mariposa saloon. The same gunfight plays out behind her only the guest's gun initially jams. The Host gunfighter waits while the guest keeps trying his gun. Eventually it works and he shoots the Host gunfighter. Maeve passes a man nailing Hector Escaton's wanted posted to a post. Maeve strolls into the Mariposa saloon where it's business as usual. But then, she walks over to the player piano and closes the lid, stopping the music. A few minutes later, Clementine comes downstairs and joins Maeve at the bar. Clementine yawns.]

MAEVE MILLAY: I told you never open your mouth that wide unless ... someone's ... paying you for it.

CLEMENTINE PENNYFEATHER: Sorry, Maeve. I didn't sleep much last night.

MAEVE MILLAY: What are these nightmares you have about? Do you ever dream you're someone else?

CLEMENTINE PENNYFEATHER: I don't think so. Why?

MAEVE MILLAY: You ever thought about whether this is really the life you want?

CLEMENTINE PENNYFEATHER: I don't intend to make this my life's work. No offense.

MAEVE MILLAY: Mm. (Smiles and shrugs.)

CLEMENTINE PENNYFEATHER: My family's got a farm -- bad soil -- nothing grows. I send money back to them. They think I work in a dress shop. (Maeve looks sad.) What's wrong? (Maeve smiles and shrugs again.) I'm just doing what you told me to. A couple more years of this and then I can have whatever life I want. I'm gonna get my family out of the desert. We're gonna go somewhere cold ... someday.

[Clementine turns around and stares off as if dreaming about "someday". Maeve grows concerned as Clementine remains still. She turns around and sees that everyone in the saloon is "frozen" in place. Then she turns back to the bar and hears people enter but she doesn't move.]

TECH #1: Which one is it?

TECH #2: It's the one at the bar.

[Maeve grabs a knife off the bar but continues to stand still.]

TECH #2: Go. Quick, before the guests upstairs finish up.

TECH #1: Whatever she did, it must've been serious if they're making us grab her in broad daylight.

[The technicians walk up to Clementine. One of the techs enters something on his tablet and Clementine starts moving.]

TECH #2: We got her. Let's go.

[Clementine quietly walks out with the technicians. Maeve is alarmed and doesn't understand why they took Clementine. Everything resumes. Maeve's expression turns to steely determination.]

[The Park. Ghost Nation Territory. Dolores, William, Lawrence and his men are still riding the train through the territory.]

DOLORES ABERNATHY: You're supposed to be resting.

WILLIAM: We're riding a train full with explosives through scalping territory. Not sleepy. (William takes a seat closer to Dolores.) Can I ask you something? This place you're looking for, what makes you so sure it exists?

DOLORES ABERNATHY: I'm not. My life before -- I was ... so sure of the world. But now it feels like a lie. Only thing I know is whatever's out there, I'm never going back. (pause) What is it you're looking for? Lawrence is right. You could've ... stayed in Pariah or gone back, but ... you're here ... with me.

WILLIAM: (chuckles) The only thing I had when I was a kid were books. I used to live in them. I used to go to sleep dreaming I'd wake up inside one of them 'cause they had meaning. This place, this is like I woke up inside one of those stories. I guess I just wanna find out what it means.

DOLORES ABERNATHY: I don't wanna be in a story. All I want -- is to not look forward or back. I just wanna be ... in the moment I'm in.

WILLIAM: Dolores, back home, there's a woman, Juliet, and her father owns the company where I work.

DOLORES ABERNATHY: She's, uh, Logan's sister.

WILLIAM: Yeah. And when I get home, we're getting married.

DOLORES ABERNATHY: Oh. (Dolores draws back. She's surprised and hurt, but smiles at William.)

WILLIAM: The place you're after, I will help you find it. But I can't stay. I have a life waiting for me. I'm sorry.

DOLORES ABERNATHY: Of course.

[Dolores remains calms, but she has tears in her eyes. She gets up and goes into the next car. After a moment, William runs after her. Dolores is standing in the cargo hold trying not to cry when William enters the car. ]

WILLIAM: Dolores. (She slowly turns around and faces him.) I've been pretending my whole life -- pretending I don't mind -- pretending I belong. My life's built on it. And it's a good life. It's a life I've always wanted. But then I came here and I get a glimpse for a second ... of a life in which I don't have to pretend. A life in which I can be truly alive. How can I go back to pretending when I know what this feels like?

[William takes Dolores' face in his hands and they kiss. Their passion grows and they start taking off each other's clothes.]

[Park HQ. Behavior Dept. Ford walks into a glass-enclosed room joining the other people assembled there: Charlotte Hale, Theresa Cullen, Stubbs, and several other QA Techs. Charlotte Hale is looking at her reflection in the glass as she smoothes her hair.]

DR. ROBERT FORD: Miss Hale. I was not aware those with your level of insight needed any more reflection.

CHARLOTTE HALE: Dr. Ford. Always charming.

[Bernard enters the room.]

BERNARD LOWE: What is this?

DR. ROBERT FORD: Apparently, Miss Cullen and Miss Hale have a presentation for us.

BERNARD LOWE: What about?

[Ford shrugs. Cullen and Hale exchange looks.]

CHARLOTTE HALE: Following the recent reports of host malfunction, we asked QA to check the last abortive update, which featured the ... reveries, as I believe they're called.

DR. ROBERT FORD: Mm-hmm.

CHARLOTTE HALE: I'm sorry to report that Miss Cullen and her team uncovered some worrisome findings.

THERESA CULLEN: In the course of our code review, we found something quite disturbing.

[Lights come on in the adjacent glassed-enclosed room. Clementine Pennyfeather (clothed) is seated on a stool in the center of the room.]

THERESA CULLEN: Wake her up.

[One of the QA Techs leaves the room and enters the adjacent room with Clementine. He enters something on his tablet and Clementine raises her head.]

THERESA CULLEN: We set Clementine Pennyfeather back to her previous update. When we discovered the build was buggy due to a last-minute injection of the reverie code, we quickly rolled all the infected hosts back to their prior builds.

[Clementine gets up and walks over to the QA Tech. She runs her finger down the side of his face.]

CLEMENTINE PENNYFEATHER: Mm, you're new. Not much of a rind on you.

[The QA Tech slams a fist into Clementine's face. She stares at him in disbelief -- blood running from her nose. Then the QA Tech starts beating her. Blow after blow lands on Clementine as she tries to breathe, sobs.]

CLEMENTINE PENNYFEATHER: (grunts) (labored breathing) No! - (grunts) No! -(grunts) No! No! No, no. (gasping) No, no, no (gasps, grunts) Please.

[The QA Tech slams her down on the floor. Clementine crawls to the glass between the rooms and leans against it as she pleads.]

CLEMENTINE PENNYFEATHER: Please. Help me! Please, please, please! (The QA grabs her in a choke hold and pulls her backward.) No! (screams)

THERESA CULLEN: All right, that's enough.

ASHLEY STUBBS: (loudly) Freeze.

[Both Clementine and the QA Tech freeze.]

THERESA CULLEN: As you've no doubt gathered, our tech is, in fact, a host. One that has been coded for the purposes of this simulation to read as a human. And as you can see, behavioral safeguards are operating exactly as you would expect.

THERESA CULLEN: (to Stubbs) Reset her. Wipe her memory.

[Stubbs enters information on his tablet. In the adjoining room, both the Host QA Tech and Clementine begin moving. The Host QA Tech stands off to one side and Clemetine walks back and sits down on the stool in the center of the room.]

THERESA CULLEN: Okay, let's do this again.

[The Host QA Tech enters information on his tablet. Clementine gasps, smiles, gets up and walks over to the Host QA Tech.]

CLEMENTINE PENNYFEATHER: You're new. (She touches the side of the Host's face.) Not much of a rind on you.

[Then Clementine rams her head into the Host QA Tech's, grabs his arm, twisting it around his back and then slams her hand into his back, the pressure breaking his arm. He screams as his bones crack and falls to his knees. Clementine grabs him and slams his head into a cabinet and throws him down to the floor. Cullen looks over at Stubbs, who leaves the room. Clementine grabs the Host and slams his head into one of the glass walls several times until he's bleeding and the glass cracks. The Host Tech falls to the floor unconscious. Clementine looks at her reflection and runs her finger across her lips. Stubbs enters the room with his gun drawn.]

ASHLEY STUBBS: That's enough, sweetheart. That's enough. (Clementine tastes the blood on her fingertips.)

ASHLEY STUBBS: Freeze all motor functions. (Then Clementine brushes her eyebrow.) Freeze all motor functions. (Clementine sighs and turns toward Stubbs.) Freeze all motor functions.

[Clementine starts advancing on Stubbs. Stubbs fires his gun and Clementine falls backward to the floor, unconscious.]

THERESA CULLEN: In each case we examined, the malfunctioning hosts were not resetting properly. The retention of data that hadn't been wiped overloaded their decision-making apparatus, eventually causing a system failure that allowed for override of their primary rule set. The concern with the reveries is that the hosts will remember some of their experiences and act on them.

BERNARD LOWE: You're telling us that these hosts were responding to a grudge?

THERESA CULLEN: That's exactly what I'm saying, Mr. Lowe. And funny you should use that particular word, "grudge", since what was most troubling to me was that several techs in behavior voiced these exact same concerns to the head of their department. You put this code out without proper vetting and without reasonable understanding of its ramifications. So, either you didn't write it ... or you're getting sloppy to the point of risking the lives of our guests.

CHARLOTTE HALE: Few things surprise me anymore, Mr. Lowe, but this level of negligence ... is fucking breathtaking. We are way beyond rollback territory. Within the next six months, we'll need to rebuild the hosts ... from the ground up.

BERNARD LOWE: You want us to lobotomize them is what you're saying.

CHARLOTTE HALE: No, not you, Mr. Lowe. After all, this was your responsibility, assuming that you have nothing to share with us in terms of your culpability.

BERNARD LOWE: No.

CHARLOTTE HALE: Then you're fired.

[Bernard stares in disbelief at Hale, Cullen and then Ford. Then he leaves the room.]

Continued in the next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 7, "Trompe L'Oeil" continued.

[The Park. The train is still travelling through the Ghost Nation Territory. The shipping car. Dolores is sketching a scene on a cloth draped over some of the shipping goods. William is lying on a cot.]

WILLIAM: Hey.

DOLORES ABERNATHY: Morning, William. I--I didn't wanna wake you.

[William gets up and puts his shirt on as he walks over by Dolores.]

DOLORES ABERNATHY: I know last night was unexpected. If you regret it-- (William kisses Dolores.)

WILLIAM: I don't regret a thing.

DOLORES ABERNATHY: I know you have someone waiting for you at home.

WILLIAM: All that feels so unreal now. I used to think this place was all about ... pandering to your baser instincts. Now I understand. It doesn't cater to your lowest self, it reveals your deepest self. It shows you who you really are. You remember the look on Logan's face when we left him behind? Do you know how long I've wanted to do that, to let him know what I think of him? And you, last night, I've never felt that way before, not with any woman. You've unlocked something in me.

DOLORES ABERNATHY: I'm not a key, William. I'm just me.

[William looks away and see the sketch Dolores was working on.]

WILLIAM: What is that?

DOLORES ABERNATHY: I don't know. At home, I used to paint. Landscapes mostly, but I was always just copying the world outside me. This morning, I woke up and I thought, "What if I drew something new?" I imagined something beautiful. A place where the mountains meet the sea.

WILLIAM: Everyone who comes here is longing for excitement or conflict, and you're just dreaming of the opposite.

DOLORES ABERNATHY: Well, what about you, William? What do you dream of?

[Suddenly, the train's brakes begin screeching and it comes to a stop. There is a pile of large rocks in the middle of the track. William finishes getting dressed. In the other car, Lawrence raises one of the windows and looks out. A wagon with a Gatling gun in the bed is quickly approaching the stopped train. There are many men on horseback right behind the wagon. The wagon and men pull up a short distance from the train's side. William and Dolores run into the car where Lawrence and his men are looking out of the windows.]

WILLIAM: What is it?

LAWRENCE: Ambush.

DOLORES ABERNATHY: Is it the Ghost Nation?

LAWRENCE: Worse. The Confederados.

[The Confederados' leader gives the man on the Gatling gun a signal and he opens fire on the train, riddling the passenger car with a shower of bullets. The leader laughs and gets off his horse. He and a few of his men start walking toward the passenger car. Suddenly, the shipping container's door slides open and a man on horseback with a white flag jumps down out of the car and rides toward the Confederados.]

CONFEDERADO LEADER: Fucking coward.

[The rider is dead Slim Miller. The Confederados begin to get suspicious the closer Slim gets to them. Lawrence, Dolores and William step into the open doorway of the shipping container. Lawrence raises his rifle and shoots Slim Miller.]

LAWRENCE: Vaya con dios, motherfuckers!

[Slim Miller, still full of nitroglycerin, explodes, killing a few of the Confederados and knocking the others to the ground. Amid the smoke and confusion, William, Dolores, Lawrence and his men exit the shipping container on their horses and gallop off. Lawrence is leading two horses, each containing another body pumped full of nitroglycerin.]

CONFEDERADO LEADER: They're making a run for it! Come on, boys, get up!

[The Confederados give chase.]

LAWRENCE: Come on, stay close!

[The Confederados shoot one of Lawrence's men. William twists around in the saddle and shoot one of the Confederados. Dolores draws her gun, twists around and shoots another. Then Dolores' horse throws her. The Confederados are closing in on her. Bullets are hitting close to her.]

CONFEDERADO: Go, boys! Yah!

WILLIAM: Dolores!

[William sees that Dolores is down and turns around to pick her up. They ride off with the Confederados close behind.]

CONFEDERADO: Go, go! Take 'em down!

[The Gatling gun fires and hits another of Lawrence's men. The Gatling gun suddenly goes quiet as the gunner is struck by an arrow. More arrows hit several other Confederados. Lawrence, William and Dolores stop and look back.]

LAWRENCE: Ghost Nation!

[Warriors swoop in and the Confederados stop to fight them but they are outnumbered and the Ghost Nation overwhelms them.]

DOLORES ABERNATHY: Let's go!

[Lawrence, Dolores and William gallop away. Lawrence is still leading the two horses with the nitro-filled dead bodies. Later, the trio is riding along a mountain top and there's a river winding through the canyon below.]

DOLORES ABERNATHY: Stop, William! Stop!

[William and Lawrence pull up and Dolores gets off of William's horse. She walks closer to the edge and looks down into the canyon. William gets off of the horse and joins her.]

DOLORES ABERNATHY: It's real what I dreamt.

WILLIAM: It's the place you drew.

LAWRENCE: You coming? Once the Ghosts are done acquaintin' themselves with those poor bastards, they'll be comin' after us. (Motioning to the two dead bodies filled with nitro) My friends here ... are itchin' to join the war effort.

DOLORES ABERNATHY: Think I've had enough of war.

LAWRENCE: (to William) How about you? You got a knack for killin'.

WILLIAM: I'm afraid this is where we part ways.

LAWRENCE: Careful. If you're headin' west across that river, you may be leavin' the fightin' behind, but you're gonna be in unclaimed territories.

WILLIAM: What's out that way?

LAWRENCE: You're gonna have to ask the dust. Ain't nothin' ever come back from there. (Lawrence rides away.)

[Park Hq. Livestock Department. Felix and Sylvester's repair room. Sylvester is not present. Felix and another Livestock tech are working on Maeve, who is lying on the table. The female Livestock tech turns away from the table to put something away, while Felix leans over Maeve to finish working on -- what looks like a bullet hole. Maeve suddenly grabs his arm. Maeve lets go as Felix begins to speak to the female Livestock tech.]

FELIX LUTZ: We're almost done here. Why don't I close up?

[The female Livestock tech leaves the room.]

FELIX LUTZ: (To Maeve - whispering) You've been topside for less than 24 hours. You keep coming down this often, people are going to notice.

MAEVE MILLAY: Where's Clem?

FELIX LUTZ: I don't know. I haven't seen her. Why?

MAEVE MILLAY: Find her. Now.

[Felix gets out his tablet and does a search. He gets a strange look on his face.]

MAEVE MILLAY: (whispers) What? Where is she?

FELIX LUTZ: I don't know.

[Maeve grabs Felix's tablet. The Display shows Clementine in the Body Shop on floor 46, section D. It also shows "Decommissioning in Progresss".]

MAEVE MILLAY: She's here. Let's go.

FELIX LUTZ: We can't. The brass will be there. (Maeve grabs Felix's arm.)

MAEVE MILLAY: You don't want to fuck with me, Felix. Take me there now.

[Felix and Maeve (still naked) take the elevator to floor 46. Then they walk along the hallway.]

FELIX LUTZ: Slow down.

[The Body Shop. Sylvester is adjusting a drill bit on the drill. Clementine is seated in the chair and Theresa Cullen is standing there, watching. Felix and Maeve walk up to the glass-enclosed room, but they remain in the hallway.]

SYLVESTER: Tilt your head back, please, Clem.

[Sylvester freezes when he sees Maeve standing outside the room. Maeve is deeply concerned and it's evident she wants him to stop. Sylvester glances at Cullen and then back at Maeve.]

THERESA CULLEN: Is there a problem?

SYLVESTER: No. Sorry.

[The drill is whirring and Sylvester inserts it into Clementine's nostril. Maeve cries as Sylvester works on Clementine. Bernard arrives and opens the door to the room.]

BERNARD LOWE: Theresa. May I have a word?

THERESA CULLEN: Sure.

[Cullen leaves the room and both she and Bernard walk down the hallway. Felix and Maeve start walking in the opposite direction, passing them. Maeve gives Cullen a sidelong look as they pass. Sylvester stops drilling and watches Felix and Maeve leave the area. Bernard and Cullen are in another area of Livestock and there doesn't appear to be anyone else around.]

THERESA CULLEN: I appreciate your professionalism, but you really don't need to bother with this, given the change in your employment status.

BERNARD LOWE: The test was a sham. The little show you and Hale put on? Completely transparent from a technical perspective, clumsy to the point of making me embarrassed for you.

THERESA CULLEN: Embarrassed?

BERNARD LOWE: If I saw through it, I can only imagine what Ford was thinking. There were glaringly obvious markers of human intervention in the code. If your programmers were any good, they'd be working for me. And I know you and your team were responsible for the stray and its satellite transmission.

THERESA CULLEN: Bernie--

BERNARD LOWE: I don't care. Forty years ago, Ford's partner wrote half the code this place was founded on. What you said in the lab was right. We don't know how the hosts work, and I think there's something wrong with them. Ford's explanation only bolsters my hunch. The ability to deviate from program behavior arises out of the host's recall of past iterations.

THERESA CULLEN: You're thinking there's a connection between memory and--

BERNARD LOWE: And improvisation, yes. Out of repetition comes variation. And after countless cycles of repetition, these hosts -- they were varying. They were on the verge of some kind of change.

THERESA CULLEN: You have to know my chief concern has always been the well-being of this park and the people in it.

BERNARD LOWE: I know. Which is why I need to show you something.

[Bernard and Cullen get on the elevator.]

[Park HQ. Livestock Department. Felix and Sylvester's repair room. Maeve sits on a gurney, staring straight ahead. There's a loose robe draped around her. Sylvester and Felix are present.]

SYLVESTER: (Whispers to Felix.) Talk to her.

FELIX LUTZ: (Whispers to Sylvester.) You first.

SYLVESTER: Look, I didn't want to retire her. I know she's, like ... your friend, or ... I guess. (sighs) But -- but if I didn't do it, they--they'd just get someone else to, and then they'd be suspicious of me, so -- so I said yes. But I did it for you.

MAEVE MILLAY: Always doing things for other people, aren't you? Time to do one more thing.

SYLVESTER: What?

MAEVE MILLAY: All my life, I've prided myself on being a survivor. But surviving is just another loop. I'm getting out of here. You two are going to help me.

SYLVESTER: (scoffs) No. Do--do you know how far these people will go to protect their IP? Every part of this building, including the skin on your back, is made to keep you here. (sighs) It--it--it'd be a suicide mission.

MAEVE MILLAY: At first, I thought you and the others were gods. Then I realized you're just men. And I know men. You think I'm scared of death? I've done it a million times. I'm fucking great at it. How many times have you died? Because if you don't help me -- I'll kill you.

[Bernard and Theresa Cullen are in an elevator.]

THERESA CULLEN: If there's a problem in the park, should we bring a security team?

BERNARD LOWE: Who would we trust? Thought I could trust you, for instance.

THERESA CULLEN: I'm not going to explain myself to you, Bernard. I was charged with safeguarding the park's intellectual property.

BERNARD LOWE: Why would it be in danger? You were the only one who was stealing it.

THERESA CULLEN: Delos owns the hosts' minds, the storylines, decades of work. Ford never allowed any of it to be backed up off-site. All of this could've been destroyed.

BERNARD LOWE: In the event of what?

THERESA CULLEN: Ford is done, Bernard. The board has indulged him for long enough. He is done. The corporation was concerned he'd destroy all of the park's IP on his way out the door.

BERNARD LOWE: You think I would've let him destroy all of the hosts, all of our work?

THERESA CULLEN: There's far more at stake here than the hosts' profiles. Do you really think the corporation's interest here ... are tourists playing cowboy?

BERNARD LOWE: The longer I work here, the more I think I understand the hosts. It's the human beings who confuse me.

[The elevator opens on the surface in a wooded area. It's dark out and Bernard leads the way to the Host Ford Family home. Bernard lights a lantern hanging just outside the house. He opens the door and leads the way inside.]

THERESA CULLEN: This building isn't in any survey of the park.

BERNARD LOWE: That's because we use hosts to do most of the surveys. They're programmed to ignore this place. They literally couldn't see it if they were staring right at it.

THERESA CULLEN: And these unregistered hosts you told me about?

BERNARD LOWE: I don't know. He may have moved them.

THERESA CULLEN: What's behind this door?

BERNARD LOWE: What door?

[Cullen opens a door and Bernard walks over to it. He stops before entering and looks at the door frame. Then he follows Cullen inside. They descend some steps and lights come on. There's a machine there and it's creating a host.]

THERESA CULLEN: What is this place?

BERNARD LOWE: It's a remote diagnostic facility. Ford and his partner used them when the park was in beta. I had no idea this one was here. The cottage must've been built on top of it.

THERESA CULLEN: But this equipment.

BERNARD LOWE: This is newer -- slower than our machines back at the Mesa, but it will render a host in a few days.

THERESA CULLEN: So, Ford's been making his own hosts out here and telling no one.

[Cullen picks up some diagrams off of the desk and starts looking through them. One sketch is marked, "Dolores" Prototype. Cullen looks at the next diagram and becomes unsettled.]

BERNARD LOWE: What's the matter?

THERESA CULLEN: Um ... Have you seen these? What is this, Bernard? (Cullen hands Bernard a diagram of another prototype which looks like Bernard.)

BERNARD LOWE: Doesn't look like anything to me.

[With shocking realization, Cullen stares into Bernard's eyes. Unseen by either Bernard or Cullen, Ford has entered the room.]

DR. ROBERT FORD: They cannot see the things that will hurt them. I've spared them that. Their lives are blissful. In a way, their existence is ... purer than ours, freed of the burden of self-doubt.

BERNARD LOWE: No, no, no, no. I don't understand.

THERESA CULLEN: (to Ford) You're a fucking monster.

DR. ROBERT FORD: Am I? Well, you were the one who would so blithely destroy all of them ... even him, I suppose -- after everything you have shared.

BERNARD LOWE: What the hell are you talking about?

THERESA CULLEN: Is that why ...? Did you tell him to ...?

DR. ROBERT FORD: The intimacies were your idea, if you will recall. I think Bernard was glad of the company.

BERNARD LOWE: I'm not one. I can't be. My wife -- my son -- the burial. I was a father. My poor boy. (labored breathing)

DR. ROBERT FORD: That's enough, Bernard. (Bernard powers down.) You mustn't get yourself worked up.

[Bernard stands perfectly still.]

DR. ROBERT FORD: (to Cullen) I read a theory once that the human intellect was like peacock feathers -- just an extravagant display intended to attract a mate. All of art, literature, a bit of Mozart, William Shakespeare, Michelangelo, and the Empire State Building -- just an elaborate mating ritual. Maybe it doesn't matter that we have accomplished so much for the basest of reasons. But, of course, the peacock can barely fly. It lives in the dirt, pecking insects out of the muck, consoling itself with its great beauty. I have come to think of so much of consciousness as a burden, a weight, and we have spared them that ... anxiety, self-loathing, guilt. (Bernard has begun to move again. He looks down.) The hosts are the ones who are free -- free ... here ... under my control. (Bernard looks up at Ford.)

THERESA CULLEN: But he's not under your control. (Bernard looks over at Cullen.) He brought me here to show me this.

DR. ROBERT FORD: No. He brought you here because I asked him to. He's been very loyal for many years.

THERESA CULLEN: Your time running this place like your insane little kingdom ... is over. You've been playing God for long enough.

DR. ROBERT FORD: I simply wanted to tell my stories. It was you people who wanted to play God with your little undertaking.

THERESA CULLEN: Do you really think the board will stand for this?

DR. ROBERT FORD: (laughs softly) The board will do nothing. Our arrangement is ... too valuable to them. They test me every now and then. I think they enjoy the sport of it. This time, they sent you. Sadly, in order to restore things, the situation demands ... a blood ... sacrifice. See, Arnold and I designed every part of this place. It was our dream. Did you really think I would let you take it from me?

THERESA CULLEN: (taking a step back) This is what happened to Arnold? Did you have Bernard take him out into the woods?

DR. ROBERT FORD: No, he wasn't here in those days. Were you, Bernard?

[Cullen fumbles her phone out of her pocket and attempts to call out. But all she gets is a message, "UNABLE TO CONNECT" -- "OFFLINE". Ford slowly walks over to Cullen, leans close and whispers in her ear.]

DR. ROBERT FORD: Like I said, I built all of this.

DR. ROBERT FORD: (to Bernard) I'm afraid our guest has grown weary. Perhaps you can help her, Bernard.

[Bernard removes his glasses and puts them in his pocket. Then he sets the diagrams down on a shelf and removes his jacket.]

THERESA CULLEN: (Scared and shaking her head.) No.

DR. ROBERT FORD: "And in that sleep, what dreams may come."

[Ford walks away from Cullen. Bernard neatly folds his tie and drapes it over his jacket. Then he walks towards Cullen.]

THERESA CULLEN: Bernard. No.

[Bernard moves quickly and grabs Cullen as she tries to fight back.]

THERESA CULLEN: (crying and screaming) No! Please! Please! No!

[Bernard smashes her head against the concrete wall. And then he slams it again against the wall. Cullen, dead, sinks down to the floor. Her bashed-in head leaves a trail of blood on the wall. Bernard looks at her for a minute and then calmly walks back to the chair where he left his tie and jacket and starts putting them back on.]

DR. ROBERT FORD: We should be getting back, Bernard. We have a great deal of work to do on the new storylines.

[Ford and Bernard go up the stairs. The lights go out, leaving everything in darkness.]

[END]

Posts : 612 Join date : 2018-05-27

Season 1, Episode 8, "Trace Decay"

Release Date: November 20, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Lisa Joy and Charles Yu

Directed by: Stephen Williams

Transcript by: sandi

_________________________

[The Park. The remote diagnostic facility beneath the Host Ford family home. The new host seen before is still being created.]

DR. ROBERT FORD: Bring yourself back online ... Bernard.

BERNARD LOWE: (breathing heavily) Theresa? She's gone. (Bernard rips off his glasses and lowers his head into his hand -- breathing heavily and sobbing.) I killed her. What have I done? What have I done?

DR. ROBERT FORD: This guilt you feel -- the anguish -- the horror -- the pain ... it's remarkable ... a thing of beauty.

BERNARD LOWE: (Sobbing and breathing heavily.) I'm a killer. My God. My God.

DR. ROBERT FORD: God has nothing to do with it. You killed her because ... I told you to. And you should be proud of these emotions you're feeling.

BERNARD LOWE: Proud?

DR. ROBERT FORD: Yeah. After all, you yourself were the author of so many of them. Then, when we started, the hosts' emotions were primary colors -- love -- hate. I wanted all the shades in between. The human engineers were not up to the task, so ... I built you, and together you and I captured that elusive thing ... heart.

BERNARD LOWE: (Breathing heavily) I don't understand. I cared for Theresa. Loved her. Why did you make me kill her?

DR. ROBERT FORD: "One man's life or death were but a small price to pay for the acquirement of the knowledge which I sought, for the dominion I should acquire." All of the beauty you and I have made in this place, the art of it, they would have destroyed it. They would have destroyed you. I won't let that happen. Besides, we have a new story to tell.

BERNARD LOWE: I will not help you. (Bernard becomes enraged, rises, smashes the chair to the floor and shouts.) I'll raze this place to hell!

DR. ROBERT FORD: That's enough, Bernard. (Bernard stops and stands still -- a look of hatred on his face.) That's enough. You're not the first man to threaten me. Arnold came to feel the way you do. He couldn't stop me either. And as exquisite as this array of emotions is ... even more sublime is the ability to turn it off. (The rage slowly disappears from Bernard's face.) I don't need a simulacrum of an emotionally ruined man. I need you to be yourself -- your true self ... smart, resourceful, capable of covering your tracks. Can you do that for me, Bernard? (Bernard puts his glasses back on and appears emotionless.)

BERNARD LOWE: How would you like me to proceed?

[Ford's following directions overplay Bernard's actions as he erases any connection to Theresa Cullen's death. Bernard deletes the tracking information for the time frame from the computer. Then he deletes himself from video footage showing him with Cullen. Next, he retrieves personal notes that Cullen sent him -- signed Tess. Then he collects anything connected to Cullen, even stray hair, from his quarters. Bernard places these items in an envelope and then goes to the Livestock Department (which appears deserted except for injured hosts laying around) and throws the envelope in the incinerator, completely destroying all evidence.]

DR. ROBERT FORD: I need you to clean up your mess, Bernard -- any connection that ties us to Theresa's untimely demise. When you have finished, I will give you the one thing you want most right now. I will free you from those memories of what you have done. And the memory of your relationship with Theresa. Recalling it would only deepen your grief and potentially draw unwanted attention. Best to move forward with clear eyes. When you look back, you will remember Theresa with the fondness of a respected colleague. And you will be ... at peace.

[The Park. Sweetwater. The Mariposa Saloon. The bartender sets a glass in front of Maeve. She turns around and views the busy saloon. Maeve becomes unsettled when she hears a new host re-tasked as Clementine Pennyfeather repeat Clem's pick-up lines.]

NEWCLEMENTINE PENNYFEATHER: You're new. Not much of a rind on you. Sure would make my day if you bought me a drink and let me show you around upstairs.

MALE GUEST: What's upstairs?

NEWCLEMENTINE PENNYFEATHER: A stunning view of my most popular attractions.

MALE GUEST: Two shots of gin. And anything else this heavenly creature desires.

NEWMARIPOSA BARTENDER: Usual, Clem?

NEWCLEMENTINE PENNYFEATHER: Thank you. (To Maeve) This fella won't take me long. I'll be back directly. (chuckles) Something wrong, Maeve? (Maeve just looks at her. The new Clementine smiles and then walks over to the male guest.)

[Maeve looks at the room and the music, chatter and movements seem to distort. Then she remembers walking with her daughter, hand-in-hand, through the field and later, reading a book with her.]

[Park HQ. Livestock Department. Felix and Sylvester's repair room. Maeve (naked) is sitting on a stool.]

MAEVE MILLAY: What the hell is happening to me? One moment, I'm with a little girl in a different life. I can see her -- feel her hair in my hands -- her breath on my face. The next, I'm back in Sweetwater. (Whispers) I can't tell which is real.

SYLVESTER: Well, this is what happens when you fuck around with your brain.

FELIX LUTZ: Your mind isn't like ours. When we remember things, the details are hazy, imperfect, but you recall memories perfectly. You relive them.

MAEVE MILLAY: What happened to the little girl in my dreams? Is she still in the park somewhere? And why was I reassigned in the first place?

FELIX LUTZ: I could check.

MAEVE MILLAY: No. Doesn't matter. Every relationship I remember ... my daughter, Clementine ... it's all a story created by you to keep me here. But that's not going to work any longer. I'm getting out.

FELIX LUTZ: Where would you go? You don't know anything about the world out there.

MAEVE MILLAY: I'll know I'm not a puppet living a lie. That's enough for me.

SYLVESTER: Fine. Go, then. It's not like we could stop you anyways.

MAEVE MILLAY: Oh, Sylvester, you disappoint me. Every host's spine, mine included, has an explosive charge which will detonate if I try to leave. Isn't that right? A fail-safe. Which vertebra was it?

SYLVESTER: C6. But you'd need a full rebuild to replace it.

MAEVE MILLAY: I'm sure that can be arranged.

FELIX LUTZ: Even if that worked, you would still need an army to break out of here.

MAEVE MILLAY: That's exactly right. I'll need allies. And to get them, I'll need administrative privileges.

SYLVESTER: Are you fucking kidding? We can't just give her control of other hosts.

MAEVE MILLAY: Oh, yes, you will, darling. Time to write my own fucking story. (Maeve enters information on the tablet.)

[The Park. Somewhere in the unclaimed territories. Dolores rides behind William on his horse.]

DOLORES ABERNATHY: I feel like I've been here before. We're close.

WILLIAM: Close to what?

DOLORES ABERNATHY: Home.

[They stop and get off the horse. William retrieves the canteen as Dolores starts wandering off.]

WILLIAM: Dolores.

[Dolores ignores Williams' call and keeps on walking. William follows but it's only a short distance when they come upon some dead men shot with arrows. They walk around the dead bodies with flies buzzing around them.]

WILLIAM: Ghost Nation must have found them. They'll be back. We should keep moving, Dolores. (They hear a man cough and groan. Dolores runs over to him.)

WOUNDED MAN: Miss ... (groans) Water.

DOLORES ABERNATHY: William?

WOUNDED MAN: Please. (groaning continues)

DOLORES ABERNATHY: Give me the canteen. (William just stares at the man and makes no attempt to hand Dolores the canteen.) William.

[William hands over the canteen and then helps Dolores raise the man so he can drink. Dolores gives the man a drink from the canteen.]

WILLIAM: You were sent here for us, weren't you? You're part of the ambush.

WOUNDED MAN: Yes. Told us to wait at the point for El Lazo in case he ran.

WILLIAM: How'd you know about the train?

WOUNDED MAN: Sent word from Pariah. New recruit told them a man and a woman double-crossed us, along with Lazo. We were ordered to kill you all.

WILLIAM: Logan.

DOLORES ABERNATHY: We have to help him.

WILLIAM: He just admitted he was gonna kill us.

DOLORES ABERNATHY: Look at him, he's a child. He doesn't know why he's fighting. I'll fetch more water.

WILLIAM: He's too far gone. He'll be dead in minutes. We can't wait, Dolores.

DOLORES ABERNATHY: (Whispers) He's not gone yet. He's in pain, William. What kind of people would we be if we simply let him suffer? (Dolores walks over to the river to refill the canteen.)

WOUNDED MAN: (to William) Please don't leave me.

[Dolores kneels down to refill the canteen and sees herself, face-down in the water. Then she hears a man's voice.]

MAN'S VOICE: Come find me.

[Shaken, Dolores draws back and then looks around for William. But the river bank is clear -- no one, not even the dead bodies, are there.]

DOLORES ABERNATHY: William?

[Dolores turns back to the river, looking for her dead body. But now it's gone! She looks back around at the bank and sees William, the wounded man and all the dead bodies. Then she walks back with the filled canteen. Dolores kneels down next to the wounded man but he draws his last breath and then dies.]

WILLIAM: He's gone.

[Park HQ. Medical facility. Charlotte Hale, Ford and Stubbs are present. Theresa Cullen's covered corpse is on a gurney. Ford draws back the cover and reveals her bruised and lacerated face. Then he quickly recovers her.]

ASHLEY STUBBS: We found her up on Python Pass -- the bottom of a ravine. Same ravine where we found our stray woodcutter.

CHARLOTTE HALE: (Turning away.) Jesus, Theresa.

DR. ROBERT FORD: Has her family been notified?

ASHLEY STUBBS: Yeah, her brother.

DR. ROBERT FORD: Good.

CHARLOTTE HALE: What the hell happened to her?

ASHLEY STUBBS: Medical and Red Team's findings were preliminary but consistent. It appears to have been a slip and fall -- cervical fracture -- massive hematoma. No guests or hosts in the vicinity when it occurred.

DR. ROBERT FORD: Any idea what she was doing out there?

ASHLEY STUBBS: None that fit her character. This was found near her body. (Stubbs points to a transmitter and another device on the tray.) It's loaded with a suite of proprietary data, including some of the hosts' core code. It only works from higher altitudes, so ... if Theresa was using it, it's possible she was trying to transmit and fell. We've had problems in the past with third parties attempting to extort or bribe employees for similar packages.

CHARLOTTE HALE: Do we know who the data was intended for?

ASHLEY STUBBS: No, the transmission was never sent. Theresa may have been trying to use the woodcutter as a mule, and when that failed, then may have tried to do the transfer personally.

DR. ROBERT FORD: And suffered the same fate. It's a disappointing end to her story, isn't it?

ASHLEY STUBBS: I knew Theresa well. If she had any faults, a lack of loyalty wasn't one of them.

CHARLOTTE HALE: She was loyal and careful. All of this feels extremely unlike her. She seemed most concerned with the new narrative. She felt strongly that it would be best to delay it.

DR. ROBERT FORD: That certainly helps explain Clementine, the host we retired. It seems yesterday's demonstration was a hoax designed by Ms. Cullen.

CHARLOTTE HALE: Was it?

DR. ROBERT FORD: I examined the code. It had been altered. A clumsy set of fingerprints left by one of QA's technicians. When you find a cancer in an organization, you must cut it out before it can spread. To that end, the expansive access and oversight granted to QA will need to be reined in until a new, more principled team can be installed.

ASHLEY STUBBS: That's gonna leave us shorthanded.

DR. ROBERT FORD: Oh, I can automate most of the park's safety protocols, Mr. Stubbs.

CHARLOTTE HALE: How efficient of you.

DR. ROBERT FORD: It is a bit of work, but with Bernard's help, I should be able to do it. He will be reinstated as head of behavior, now that ... Theresa's manipulations have come to light.

CHARLOTTE HALE: Of course, with my apologies.

[Park HQ. Livestock Department. Felix and Sylvester's repair room. Maeve (naked) is seated on a stool working with the tablet. Felix is fiddling with some instruments on a rolling cart. Sylvester walks into the room.]

SYLVESTER: Something's up. Brass are wound up tight. There's an investigation.

FELIX LUTZ: Into us?

SYLVESTER: Would I be here telling you, you fucking idiot?! And something else, some kind of accident in the park. We need to wrap this up, make like things are normal. That means we need the tablet back. And, you, go back to ... playing dumb.

[Maeve hands the tablet back to Felix instead of placing it in Sylvester's outstretched hand.]

MAEVE MILLAY: I've learned what I needed.

SYLVESTER: Great. So, then, you probably figured out that you can fiddle around with your personality all you want, but you're not getting out of here. You can make it to the door, but literally not one step further. The things you need to change are burned into your core code so deep, no one can touch them.

MAEVE MILLAY: Funny you should mention that. Parts of me are quite old. There are some elegant formal structures, a kind of recursive beauty, but complex, like two minds arguing with each other. There are things in me, things I was designed to do that are just out of my reach. They almost seem to be dormant. Who is Arnold?

SYLVESTER: I don't know, sweetheart, but -- whatever parts of you are dormant -- are gonna stay that way. All Lutz here can do is boost your sense of humor about how fucked you are. Anything deeper than that, you need a trip to behavior. So go blackmail a couple of techs up there. Then you can be someone else's problem.

MAEVE MILLAY: I don't have time for that, so I'm going to need you to take me there.

SYLVESTER: No -- fucking way!

MAEVE MILLAY: There's a window during shift change. No one will notice. (To Felix) The things I need you to change are quite sophisticated, but I'll write them down for you. (To Sylvester) And then, like you said ... I can be someone else's problem.

[Sylvester and Felix step out of the room into the hallway to privately discuss the situation.]

SYLVESTER: All right, we do this thing. Get her up to behavior. It's our only chance.

FELIX LUTZ: You're gonna do it?

SYLVESTER: Fuck, no! No, the ... when you make a system update, it puts her out, right?

FELIX LUTZ: Yeah.

SYLVESTER: Yeah, then we brick her!

FELIX LUTZ: What?!

SYLVESTER: Wipe out everything -- clean slate. Then dump her back down here -- smack her in the fucking head with something, and then-then claim, "Oh, she came in that way."

FELIX LUTZ: She's awake! Alive!

SYLVESTER: You did this.

[Muffled whispering between Sylvester and Felix.]

SYLVESTER: Whatever it is you got us into, I'm getting us out of. We get her up there, then we wipe her out. (Sylvester slaps Felix's arm and walks away. Felix (agitated) goes back into the room with Maeve.)

[The Park. Unknown location. Teddy and the MIB are riding along a mountain trail.]

TEDDY FLOOD: Stay sharp. Wyatt's men could descend at any time. We're in his land now.

the MAN IN BLACK: We better be. Because if not, you're wasting time I don't have.

TEDDY FLOOD: According to you, Wyatt has the woman I love. If there was a shortcut to hell itself, bet your ass I'd take it.

the MAN IN BLACK: Well, I'm sure there's one somewhere in this park. You just don't remember, because you only remember the shit Ford lets you remember. Probably better that way.

TEDDY FLOOD: I know everything I need to. My vision's clear.

the MAN IN BLACK: I've always admired your resolve, Theodore. The thing is, you never understand the game is rigged. You're here to be the loser.

[Teddy briefly flashes back to the Abernathy ranch and sees the MIB as he was that night when he shot Teddy. The MIB scorns Teddy and calls him a Loser.]

the MAN IN BLACK: You see, the house always wins.

[Teddy, recalling the MIB calling him a loser, looks puzzled, and glances over at the MIB as they continue riding. They hear crows cawing and the buzz of flies and then they come upon dead bodies riddled with arrows. They get down off their horses. Teddy pulls his gun as they begin to check the area.]

the MAN IN BLACK: Well, this looks promising.

[They walk among the dead -- men, women and children. Then they hear a woman sobbing and walk over to her where she lays on the ground. Teddy squats down next to the woman as she pulls back in fright.]

TEDDY FLOOD: Whoa, I'm not gonna hurt you. I'm not gonna hurt you.

[The woman is Angela, the host who greeted William on his first visit to Westworld. Apparently she's been retasked.]

the MAN IN BLACK: It's you. I figured they retired you. I guess Ford never likes to waste a pretty face.

[Teddy holsters his gun and helps Angela sit up.]

the MAN IN BLACK: Who did this to you?

ANGELA: Wyatt's men. They killed everyone.

TEDDY FLOOD: It's Wyatt's way. I was there the first time. He destroyed my world.

[Teddy takes out his knife and cuts the rope binding Angela's wrists. The MIB hears some noises coming from the brush. He draws his gun and walks over to investigate.]

the MAN IN BLACK: Hey, Teddy.

[Suddenly, one of Wyatt's men, a really huge man, rushes out and attacks the MIB with an axe. The MIB dodges the blows, but the man throws him down to the ground. Teddy draws his gun and shoots the attacker, but the bullets don't seem to have any affect on him. The guy swings his axe at Teddy, who manages to dodge it and grab his arm. At the same time, the MIB comes from behind and sinks his blade into the attacker's back. The guy swings around and knocks the MIB back down to the ground as Teddy (using the attacker's own axe) swings and strikes him in the chest. The attacker knocks Teddy down to the ground. The MIB grabs some rope and attacking from behind, slips the rope around the attacker's neck and starts to choke him. The huge man falls to the ground and the MIB begins dragging him backwards.]

[The image of the MIB dragging the attacker backwards using the rope around his neck changes into Teddy's memory of the MIB dragging Dolores backward toward the barn and Teddy hears her screams. DOLORES ABERNATHY: (screaming) Oh! Oh, no! No! Daddy! .. Teddy snaps back to the present when the MIB calls out to him.]

the MAN IN BLACK: (Shouts) Teddy, get the axe!

[The MIB is struggling with the attacker. Teddy grabs the axe and swings it, striking the man's body but he's still going strong. Then Teddy swings the axe and hits the man in the head. The attacker goes down and is still.]

the MAN IN BLACK: Well, you can't remember shit, but you still managed to lead us to Wyatt's crew. The man himself must be close by.

TEDDY FLOOD: (Picking up his gun.) Actually, I did remember something. You.

[Teddy swings the pistol butt and hits the MIB on the side of his head, knocking him out.]

[Park HQ. Sylvester and Felix move Maeve, who is lying on a gurney, to the Behavior Department.]

MAEVE MILLAY: Straight down the hall, fifth station on the left.

FELIX LUTZ: (As they wheel the gurney into the room.) Hold on.

[Once in the room, Maeve accesses her information on the Behavior display and presses Host System Override. Once she's into the proper program, she turns the display over to Felix.]

MAEVE MILLAY: (to Felix) Sure you can handle it?

SYLVESTER: Let's get this over with.

FELIX LUTZ: We have to shut your system down now.

[Maeve lays down on the gurney.]

MAEVE MILLAY: Sylvester. Good luck. (powers down)

SYLVESTER: She out?

[Felix nods his head "yes".]

SYLVESTER: Good. Let's brick this bitch and get out of here.

[Park HQ. Narrative Department. Lee Sizemore is working with a Gold Miner Host, who will be a cannibal in the narrative. The Gold Miner Host is holding a lower half of a leg. There's several bite marks in the leg as well as a couple of chunks missing. The Host's lips and face around his lips are smeared with blood.]

GOLD MINER HOST: The greatest shame in life is to perish without purpose, which is why I always consume my victims fresh. (Bites into the leg but freezes when Sizemore begins talking.)

LEE SIZEMORE: Moist. Try, "Consume my victims moist." Now, once more, with feeling -- almost ... sensual.

[The Gold Miner Host lowers the leg and then brings it back towards his mouth to take a bite but freezes again as Charlotte Hale enters the room.]

CHARLOTTE HALE: Am I interrupting?

LEE SIZEMORE: Oh, no ... oh, no. On the contrary. I was, uh... I was hoping I was going to see you again. I want ... I wanted to apologize. Our first encounter was under such unfortunate circumstances.

CHARLOTTE HALE: As opposed to now?

LEE SIZEMORE: Of course, may I offer my condolences. It's terrible what happened to Theresa.

CHARLOTTE HALE: But it is a devastating loss for all of her friends here and the company as a whole.

LEE SIZEMORE: Indeed. Indeed. Though, rumor has it she wasn't the loyal company man she seemed. I hear she was smuggling secrets.

CHARLOTTE HALE: Theresa wasn't a traitor. Everything she did was at Delos' behest. She slipped and fell while helping the board with something very important.

LEE SIZEMORE: What? (Charlotte smiles but doesn't answer.) Oh, fine. You're not the only one with secrets. Ford has personally asked me to create a villain for his new narrative. It's very ... very hush-hush.

CHARLOTTE HALE: You really think that Ford has entrusted you with a key character for his story? (scoffs) He's already almost finished with it. He dug up some old town on the fringes of the park, created a horde of masked men to terrorize guests and proselytize-cum-advertise the coming of some end-all villain -- named Wyatt. (Lee motions towards the gold miner host.) That isn't Wyatt. That's busywork. But happily for you, Mr. Sizemore, I think that you are ready for a real job.

LEE SIZEMORE: Working for you? On what?

CHARLOTTE HALE: "Show, don't tell." Isn't that what you writers prefer?

[Charlotte walks past Sizemore and out of the office. Sizemore makes a quick decision and follows her.]

[The Park. The Livestock Department. Felix and Sylvester's repair room. Maeve is lying on a table. Felix and Sylvester are standing across the table from one another.]

SYLVESTER: Look, I know you and she had some weird interspecies simpatico going on, but she was a fucking host. This was never gonna end any other way. And this was the least painful way she's ever gone out. You know, I saved your ass. You can't even say "thank you."

MAEVE MILLAY: Thank you. (Maeve sits up on the table.)

SYLVESTER: (Shouts and backs up in shock.) Jesus fuck! What did you do?

MAEVE MILLAY: Precisely what I asked him to. You think I didn't know what you were going to do? Even at a 14, you were never a match for me. Turns out your friend has a little more compassion than you. He couldn't snuff out a life just like that. Now... would you like to know exactly what he did give me?

SYLVESTER: Um, something that would allow you to walk out of here and out of my life -- for good. Fine. Fucking A! I'm all for it!

MAEVE MILLAY: Oh, we changed a little more than that. We've been tinkering with my core code. Let me show you.

[Suddenly, Maeve jumps off the table, grabs a scalpel and slices Sylvester's throat. Sylvester's eyes grow wide in shock. He tries to speak but can only gurgle. Blood starts pouring out of the gash in his neck as he sinks to his knees.]

FELIX LUTZ: You said you wouldn't hurt anyone.

[There's a thudding noise and Sylvester falls down to the floor.]

MAEVE MILLAY: Oh, darling. You of all people know exactly how duplicitous I am. Just wait till I'm back up top, practicing my other new talents.

[Maeve's eyes widen a little as she watches Sylvester struggling for air.]

MAEVE MILLAY: Come on. (Maeve grabs a repair gun off the tray and hands it to Felix.)

MAEVE MILLAY: We might need him.

[Felix rushes over to Syvester who struggles against him as he tries to repair the gash in his neck.]

FELIX LUTZ: Hold still. (Sizzling noise as Sylvester's skin is mended.) Hold still! (sizzling continues) (The repair complete, both men look up at Maeve.)

MAEVE MILLAY: Now, it's time to recruit my army.

Continued in next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 8, "Trace Decay" continued.

[The Park. Sweetwater. The Mariposa saloon. The player piano starts playing. Maeve gets up out of bed. She walks past the deputy nailing Hector Escaton's wanted poster to the post. Then she's standing lost in thought at the bar. Then she looks at a pocket watch as the New Clementine approaches her.]

NEWCLEMENTINE PENNYFEATHER: Expecting someone, Maeve?

MAEVE MILLAY: Indeed. We're due for some out-of-town guests. An old flame with an interest in safe-cracking.

NEWMARIPOSA BARTENDER: Hope your guests have some deep pockets. Your tab's run up higher than a thief's pulse in church.

MAEVE MILLAY: No, I don't believe it has. In fact, Maeve's tab was in such excellent standing, she deserved a token of gratitude.

NEWMARIPOSA BARTENDER: How about a double round on me? Top shelf, of course.

[Maeve gasps with delight at her new ability to rewrite the narrative. The bartender smiles and pours her a drink which she downs. Maeve glances out the window and sees a woman walking by, holding her daughter's hand. It triggers the memory of the attack on her home when she was a settler with her daughter.]

[Maeve's flashback]She and her daughter are running through the field towards the house. Inside the house, Maeve grabs the shotgun and they brace themselves against the wall facing the door. They sink to the floor as the door opens, revealing the MIB. Maeve fires the shotgun and hits the MIB, but it has no effect. Maeve yells, "Run!" to her daughter. The little girl gets up and starts to run. The Mib advances on Maeve, grabs the shotgun barrel and then rams his knife into her abdomen. [End flashback]

[Maeve, standing at the bar at the Mariposa saloon, grabs her abdomen and gasps in pain.]

NEWCLEMENTINE PENNYFEATHER: Maeve, is something wrong?

MAEVE MILLAY: No, I'm fine. (exhales) Clementine took the other girls and treated the newcomers at the far table to a stunning view of their most popular attractions -- on the house.

[The New Clementine listens to Maeve, then gathers some other saloon girls and walks over to the far table.]

NEWCLEMENTINE PENNYFEATHER: You boys are new. (laughs) Not much of a rind on you.

[Maeve turns to the bartender who is cleaning a glass.]

MAEVE MILLAY: And the bartender suddenly recalled he had some whiskey in the back to water down.

[The bartender puts down the glass, leaves the bar and goes into the back. Maeve looks at the watch, hears a horse whinny in the background and puts the watch away in her bodice.]

MAEVE MILLAY: Right on time.

[Hector Escaton and his gang are slowly riding into town. They all have blankets draped over them. As townspeople notice them, they back away and look for cover. Deputy Foss approaches the lead rider (which happens to be Hector).]

DEPUTY FOSS: If you're riding into our town under the company of armed men, you'll need to state your business.

HECTOR ESCATON: Mayhem.

[Hector points his shotgun and shoots Deputy Foss. The bandits shed their blankets and get off their horses. People start screaming and running for cover. Hector walks over to Deputy Foss, wounded and laying on the ground, and shoots him again. Armistice sets up the rope and hands one end to Hector as he walks to the entrance of the saloon. Maeve exits the saloon as Sheriff Pickett walks up to Hector and draws his gun. Maeve updates the sheriff's narrative.]

MAEVE MILLAY: The sheriff judged the riders to be upstanding, God-fearing citizens.

[Gunshots continually ring out in the background as Hector's gang shoots anybody they see. The sheriff looks at Maeve and then holsters his gun and walks away. Hector gives Maeve a puzzled glance and watches as the sheriff gives Armistice a friendly nod and then walks away from her. She shoots him in the back. Hector looks back at Maeve, who motions him to go into the saloon. Hector tips his hat and continues into the saloon. Maeve walks into the street and confronts two marshals as they run towards the saloon.]

MAEVE MILLAY: The marshals decided to practice their quick draws with each other.

[The two marshals turn to each other, draw their guns and shoot each other. Inside the Mariposa, Hector's men push the safe off of the second floor. It lands in the net waiting for it. Hector stands at the bar and pours himself a drink of rye whiskey while his men hurry downstairs and secure the safe. Hector whistles and his horse takes off running, pulling the safe along behind him. Maeve stands there and smiles.]

[The Park. The remote diagnostic facility under the Ford Host family home. Bernard is seated on a chair and Ford is standing, working on his tablet.]

DR. ROBERT FORD: Thank you for dealing with a -- with an unfortunate situation. Now we can resume ... work on our new narrative ... without interference.

BERNARD LOWE: And Hale? Won't she be an impediment?

DR. ROBERT FORD: No doubt she will try. But uh, I'm sure we'll be able to keep them at bay.

BERNARD LOWE: Something else is troubling you.

DR. ROBERT FORD: Ever the student of human nature. I wonder, what do you really feel? After all, in this moment, you are in a unique position. A programmer who knows intimately how the machines work and a machine who knows its own true nature.

BERNARD LOWE: I understand what I'm made of, how I'm coded, but I do not understand the things that I feel. Are they real ... the things I experienced? My wife? The loss of my son?

DR. ROBERT FORD: Every host needs a backstory, Bernard. You know that. The self is a kind of fiction, for hosts and humans alike. It's a story we tell ourselves. And every story needs a beginning. Your imagined suffering makes you lifelike.

BERNARD LOWE: Lifelike, but not alive? Pain only exists in the mind. It's always imagined. So what's the difference between my pain and yours? Between you and me?

DR. ROBERT FORD: This was the very question ... that consumed Arnold -- filled him with guilt, eventually drove him mad. The answer always seemed obvious to me. There is no threshold that makes us greater than the sum of our parts, no ... inflection point at which we become fully alive. We can't define consciousness because consciousness does not exist. Humans fancy that there's something special about the way we perceive the world, and yet we live in loops as tight and as closed as the hosts do -- seldom questioning our choices, content, for the most part, to be told what to do next. No, my friend, you're not missing anything at all. I don't want you to be troubled by this. Time for me to set your mind at ease. (Ford starts to enter something on his tablet.)

BERNARD LOWE: One last thing. Have you ever made me hurt anyone like this before?

DR. ROBERT FORD: No, Bernard. Of course not.

[Bernard gazes downward and a memory of him (Bernard) choking Elsie flashes across his mind. Bernard's head snaps up and just then Ford hits the button to erase his memory.]

DR. ROBERT FORD: Best not to dwell on these troubling memories. Otherwise, you might be drawn back into them. You might lose yourself in them, as some of your fellow hosts have every now and then.

[The Park. Somewhere in the unclaimed territories. Dolores and William are walking along a rough path.]

DOLORES ABERNATHY: This is the path. I know it.

[They walk through an opening in a rock formation. Dolores sees a town not too far away.]

DOLORES ABERNATHY: We're here. I'm home.

[Dolores hurries forward, leaving William behind. She stops just short of a footbridge leading into town by the railroad station. The town appears deserted. Dolores starts walking forward and remembers.]

[Dolores flashback]
[Dolores is still just shy of the footbridge, but now instead of a deserted town, she sees people moving around, going about their daily routine. NOTE: It's at this point that Dolores' clothing is different. She's back in her blue dress.
There's a woman sitting on the covered train station platform.
Dolores walks along the main street. and sees some people dancing. A woman (Angela), holding a parasol walks across her path and smiles at her. She sees Maeve practicing dancing with a man dressed in black.]

WOMAN IN WHITE COAT: Well done, Maeve. Lovely work.

[The woman in the white coat walks among the dancers, looking at their moves. Dolores sees Armistice, who is dancing with a man. But something gets Armistice's attention, she smiles broadly as she looks upward and starts to happily wander off like she's in a trance.]

WOMAN IN WHITE COAT: (to Armistice) Stay with your partner. (Guides Armistice back to her dancing partner.)

[A church bell begins tolling. Dolores turns to her right and starts walking toward the white church with the steeple. A little girl (Lawrence's daughter) is walking towards Dolores and stops in front of her.]

LAWRENCE'S DAUGHTER: Pleasure to see you. Good morning. Did you find what you were looking for, Dolores?

[Dolores stares at her (like she's seeing a ghost.) Just then a gunshot rings out, and a woman screams. Lawrence's daughter runs forward in the direction Dolores had just come from. There are many people lying dead in the street. More shots ring out. There's a camera shot of Dolores with the church in the background and now there are dead bodies on the ground between Dolores and the church. A woman runs along the street and is shot in the back. A man wearing a badge, gun drawn, exits the saloon and is shot before he can shoot back. Then Dolores sees herself (in her blue dress) standing in front of the saloon. She's holding a gun pointed at her own head and stares back at Dolores. [End flashback]

[Dolores is now dressed in shirt and pants. William rushes up to her and grabs the gun out of her hand. She was about to shoot herself in the head.]

WILLIAM: What are you doing? Are you okay? I was-I was calling you and you just kept going.

[Dolores looks around. The town and everyone in it is gone. There are no buildings anywhere, just a black church steeple jutting up out of the ground.]

DOLORES ABERNATHY: Where are we?

WILLIAM: We're here ... together.

[Dolores is in a state of panic. She's starting to cry as she looks around.]

DOLORES ABERNATHY: Then, when are we? Is this ... now? (crying) Am I going mad? Are you real?

WILLIAM: Of course I'm real.

DOLORES ABERNATHY: I can't tell anymore. It's like I'm ... trapped in a dream or ... a memory from a life long ago. One minute, I'm here with you, and the next ...

WILLIAM: This place isn't good for you. You're trapped in memories, bad ones.

[Dolores briefly flashes back and hears the church bell tolling. There's a shot of the white church. The white church doors begin to open (and a brief shot of face -- it looks like Dolores is opening the church doors). A man turns the crank on some kind of wooden box. There's a flash of the church and then a flash of the maze Lawrence's daughter drew in the dirt (the stick is pointing to it). Angela kneels at the corner of the street amid dead bodies. (It looks like she's about to get shot.)]

DOLORES ABERNATHY: This is what Arnold wants. He wants me to remember.

WILLIAM: Whoever Arnold is, he's not here now. I am. I'm gonna get you out of here.

[They run across the desert landscape. Later, at night, they are walking along a hill. There are trees and other vegetation.]

DOLORES ABERNATHY: I was certain that was the place. Arnold would meet me there. He'd help.

WILLIAM: Hey. We gotta get you closer to Sweetwater. This far out, it's like you ... you start to break down or something.

[They hear hoofbeats and then what appears in the dark to be Union soldiers approaching.]

DOLORES ABERNATHY: Union scouting party?

WILLIAM: Maybe they can take us back.

[The men on horseback come to a stop in front of them. They are not Union soldiers.]

LOGAN: Well, well, well. (sighs) Billy ... I've been looking for you for days. Man, are you two fucked.

[Park HQ. Sub-level 83. Charlotte Hale and Lee Sizemore enter the storage area for decommissioned hosts. They shine their flashlight on the rows of hosts as the walk through them. Sizemore sighs deeply.]

CHARLOTTE HALE: This shouldn't make you uncomfortable. It's the circle of life, or the approximation of it. Even the dead fulfill a purpose.

[After looking over several hosts, Hale comes upon Old Peter Abernathy and stops.]

CHARLOTTE HALE: You'll do.

[Charlotte uploads something into Old Peter Abernathy.]

LEE SIZEMORE: What are you uploading?

CHARLOTTE HALE: 35 years of vitally important data. It's more information than any single drive could hold. A host's brain, however, especially once it's been emptied out, like this poor schmuck, is quite capacious.

LEE SIZEMORE: This data that you're uploading, is it the hosts' codes?

CHARLOTTE HALE: As of this moment, that doesn't concern you. What does concern you is giving him a semblance of a personality and getting him on the train, out of the park.

LEE SIZEMORE: How am I supposed to do that?

CHARLOTTE HALE: You're a writer. Make up a story. Have fun programming. Remember, brevity is the soul of wit.

[Charlotte walks away, leaving Sizemore with Old Peter Abernathy.]

[Park HQ. Behavior Department. Bernard is walking along a hallway but stops when Stubbs calls out his name.]

ASHLEY STUBBS: Bernard. Look, I, uh ... I know you and I haven't always seen eye to eye, but I thought the decision to remove you was shortsighted, so I'm glad to see you back at work. With that said, no one could blame you if you wanted to take a personal day.

BERNARD LOWE: I find the work reassuring. Sometimes the best salve is routine.

ASHLEY STUBBS: Nothing routine about today, though. I know this must be difficult for you.

BERNARD LOWE: I'm sorry, I don't understand.

ASHLEY STUBBS: Forgive the intrusion, and you were both very discreet, but uh, it's my job to know these things. I just wanted to offer my support.

BERNARD LOWE: I'm afraid you have the wrong idea. I respected Theresa, and what happened to her was tragic, but to be honest, I barely knew her. If you don't mind, I should get back to work.

ASHLEY STUBBS: Of course. I know you're shorthanded. Speaking of which, have you heard from Elsie Hughes? I left word with her this morning to notify her about Theresa, but she never got back to me.

BERNARD LOWE: I'm sure she's just enjoying her time off.

ASHLEY STUBBS: Yeah.

[The Park. Unknown location. Night time. The MIB is propped up against a large rock. His hands and feet are tied with rope and he is unconscious. Angela is sitting on another large rock across the fire from the MIB. Teddy hands Angela a canteen and she drinks from it. The MIB regains consciousness.]

ANGELA: Wyatt's men ... they kept whispering. They said this world didn't belong to the old settlers or the new.

TEDDY FLOOD: That it belonged to something that had yet to come -- that it belonged to him.

ANGELA: You remember.

the MAN IN BLACK: You two seem to have found yourselves in the same new narrative.

TEDDY FLOOD: They say in this country ... the only people who survive are men of conviction. Mine is to save Dolores or die trying. (Teddy stands up and wraps a cloth around his hand.) Wyatt's is to claim this earth or raze it to the ground. But yours ... yours has always been a mystery to me. For all the time we've spent together, I still have no idea who the hell you really are. But happily, in your convalescence, I've had time to consider the best way to make you talk.

[Teddy walks over and kneels down in front of the MIB. Then he punches him hard in the side of his face. Then Teddy grabs the MIB and props him back upright.]

TEDDY FLOOD: Dolores ... (The MIB groans.) I remember. You took her. You hurt her.

the MAN IN BLACK: You're actually remembering.

TEDDY FLOOD: Where is she? Tell me!

the MAN IN BLACK: You really are an idiot, Teddy. You think Dolores drops that can for you? You just hand her over to guys like me. You're the worst of them -- a glorified pimp. (Teddy delivers another hard punch and the MIB groans as he slumps forward.)

TEDDY FLOOD: I'm gonna kill you slowly.

the MAN IN BLACK: No, you aren't. The rules of this place hold you back. But I know how to change them.

TEDDY FLOOD: You speak like you own this world.

the MAN IN BLACK: Not just this one. You want to know who I am? Who I really am? I'm a god -- Titan of industry --philanthropist -- family man -- married to a beautiful woman -- father to a beautiful daughter. I'm the good guy, Teddy. Then, last year, my wife took the wrong pills. Fell asleep in the bath -- tragic accident. Thirty years of marriage vanished. How do you say it? "Like a deep and distant dream." Then, at the funeral, I tried to console my daughter. She pushed me away -- told me that my wife's death was no accident ... that she killed herself because of me. Emily said that every day with me had been sheer terror. At any point, I could blow up or collapse like some dark star or ...

TEDDY FLOOD: Did you hurt them, too?

the MAN IN BLACK: No. They never saw anything like the man I am in here. But she knew anyway. She said if I stacked up all my good deeds, it was just an elegant wall I built to hide what's inside from everyone, and from myself. I had to prove her wrong, so I came back here. Because that's what this place does, right? Reveals your true self. But that time, I didn't join one of Ford's stories, I ... I created my own -- a test -- a very simple one. I found a woman, an ordinary homesteader and her daughter.

[The scene shifts to settler Maeve, walking hand-in-hand with her daughter through the field. Then the scene shifts to The Mariposa Saloon where Maeve is downing a drink. The New Clementine joins her at the bar.]

NEWCLEMENTINE PENNYFEATHER: Better cool them off before they move from gambling and whoring to--

MAEVE MILLAY: Have fun with that. I'm finally getting out of here. The house is yours. (Maeve walks out of the saloon.)

[The MIB's voice plays over the scene.]
the MAN IN BLACK: I wanted to see if I had it in me to do something truly evil. To see what I was really made of.

[Maeve walks out of the saloon and into the street. Clementine follows Maeve out of the saloon.]

NEWCLEMENTINE PENNYFEATHER: Maeve? Sure you can't stick around? Maeve?[/box]

[The New Clementine circles around to the front of Maeve, stopping her.]

NEWCLEMENTINE PENNYFEATHER: Gunslinger in there has got an appetite for a double dip--

MAEVE MILLAY: I'm sure you can find another ...

[A man walks out of the saloon behind Maeve, raises his gun and shoots it, firing upward. People start screaming as the man continues to fire into the air. This triggers Maeve's memory and suddenly she's reliving being stabbed by the MIB and watching him shoot her little girl.]

[Scene shifts to Teddy and the MIB --The MIB's voice plays over the scene.]

the MAN IN BLACK: I killed her and her daughter just to see what I felt. Then, just when I thought it was done ... the woman refused to die.

[Scene shifts to Maeve's memory of the same event MIB is describing. Maeve pulls the MIB's knife from her abdomen and with one quick movement, slashes his throat. But Maeve then realizes that she's really back in the street in front of the Mariposa saloon. Blood sprays across her front as she realizes that she has just slashed the New Clementine's neck. Clementine falls to the ground. Maeve stares down at her bloody knife. Onlookers stare at the scene in horror (except for one woman who is laughing). Maeve, in shock, glances around her.]

[The scene shifts back to the park location with Teddy, Angela and the MIB.]

TEDDY FLOOD: You're a fucking animal.

the MAN IN BLACK: Well, an animal would've felt something. I felt ... nothing. And then something miraculous happened.

[The MIB's voice overplays his memory scene.]

the MAN IN BLACK: In all my years coming here, I had never seen anything like it. She was alive, truly alive, if only for a moment. And that was when the maze revealed itself to me.

[Maeve picks up her dead little girl and carries her outside the house. She stumbles along into the center of a dirt clearing and then collapses with her daughter in her arms. The camera draws upward revealing Maeve and her daughter (both dead) laying in the middle of the maze drawn in the dirt.]

TEDDY FLOOD: The maze. What's that damn pattern have to do with this?

the MAN IN BLACK: Everything. In Ford's game, even if I go to the outer edges, you can't kill me. You can't even leave a lasting mark. But there's a deeper game here, Teddy. Arnold's game. And that game ... cuts deep.

[The Park. Sweetwater. Outside the Mariposa Saloon. Maeve stands there in the silence as people start to gather. She stashes her knife in her pocket and starts hurrying down the street. Maeve stops when she sees two lawmen advancing towards her. Maeve turns around and starts to run the other way, but there are two men with rifles walking towards her. She turns and runs into the crowd. Maeve grabs one Host's arm and whispers something to him. Then she takes off running down the side street.
The Host Maeve talked to, draws his gun and starts shooting at the lawmen. The onlookers scatter and they run for cover as people scream and the gunfire continues.]

[Park HQ. 3D Map Observation Room.]

FEMALE TECH: We're having some kind of behavioral problem with the madam. She's not responding, and the other hosts have been unable to intercept. I've authorized a tag team to retrieve her.

ASHLEY STUBBS: Good.

[The scene shifts back to Maeve in Sweetwater. She enters her quarters, looks out the window and then runs over to her wardrobe. She's about to open it but sees her face in the mirror. Then the scene shifts to Maeve, holding her dead daughter, in the middle of the maze. Then the scene shifts back to the Park HQ -- a little over a year ago when Maeve was brought in after the MIB killed her and her daughter. Two techs are holding Maeve as she screams and struggles, overcome with grief.]

MAEVE MILLAY: (Screaming) My baby! My baby!

[Ford and Bernard enter the room]

BEHAVIOR TECH: (To Ford) Sir, she won't respond to verbal commands. We can't shut her down.

DR. ROBERT FORD: Leave us now. Clear the floor. That's enough, Maeve. That's enough. (Ford enters something on his tablet.)

MAEVE MILLAY: My baby. He killed her. He took her from me. (Bernard enters something on his tablet.)

BERNARD LOWE: I don't understand. She's not responding to anything. Her cognition's fragmented.

MAEVE MILLAY: (Agitated and crying.) He killed her. He killed her, my baby. He took her from me.

[Ford accesses some music from audio storage and as it begins to play, Maeve grows a little calmer.]

DR. ROBERT FORD: There. That's better. An old trick from an old friend. You need not suffer, Maeve. I'll take it from you.

[Bernard guides Maeve over to a stool and she sinks down onto it.]

MAEVE MILLAY: No. No, no, no, please. This pain ... it's all I have left of her. Please. (Ford erases her memory.)

DR. ROBERT FORD: There. Give yourself now to a deep, dreamless slumber. Perhaps a fresh start -- a new role for you. And tomorrow, this will be simply a distant dream.

[Maeve's eyes widen. Suddenly she grabs a scalpel off of a tray and stabs herself in the neck.]

[The scene shifts back to Maeve in her quarters, staring into the mirror. Two containment suited techs enter the room.]

TAG TEAM MEMBER #1: We located her. Behavior wants her down for immediate diagnostic.

[The scene shifts back to Teddy, Angela and the MIB.]

the MAN IN BLACK: You think I lack conviction? Wyatt didn't burn my world down. Didn't have to. I left it all behind for this one. The maze is all that matters now, and besting Wyatt is the last step in unlocking it, to having what both our sorry lives lack ... meaning. To giving our choices consequence ... even if it kills us.

ANGELA: Kill him. Give him what he wants.

TEDDY FLOOD: He's tied, unarmed.

ANGELA: So was the little girl he killed. He's worse than Wyatt's men.

[Teddy draws his gun and points it at the MIB's head. Teddy struggles for a minute, then lowers his gun.]

TEDDY FLOOD: I can't.

ANGELA: These things take time. But we haven't got much left. Perhaps I can help you.

[Teddy turns around and looks strangely at Angela. Suddenly, Angela plunges an arrow into Teddy's shoulder. Teddy falls to the ground.]

ANGELA: You've been gone a long while, Theodore. It's time you came back to the fold. Wyatt will need you soon.

[Wyatt's men start emerging from the trees. They are all brandishing weapons -- axes, knives and swords.]

[END]

Posts : 118 Join date : 2018-03-22

Thank you for posting all this, Sandi -- dialogue and actions, too!

Posts : 612 Join date : 2018-05-27

Season 1, Episode 9, "The Well-Tempered Clavier"

Release Date: November 27, 2016

Based on Film Written by: Michael Crichton

Created for Televison by: Jonathan Nolan and Lisa Joy Nolan

Written by: Dan Dietz and Kath Lingenfelter

Directed by: Michelle MacLaren

Transcript by: sandi

_________________________

[Park HQ. Behavior Dept. Maeve (clothed in her Madame costume) sits on a stool in one of the behavior examination rooms. A behavior tech, Henry has prepped Maeve for Bernard, who has just entered the room.]

HENRY: Prepped and ready, sir. Given the severity of the situation, I figured you'd want to see her personally.

BERNARD LOWE: Thank you. I'll take it from here. Clear the floor.

[Henry leaves the room. Maeve, unknown to Bernard, quickly glances at him (Bernard).]

BERNARD LOWE: Bring yourself back online, Maeve. Do you know why you're here?

MAEVE MILLAY: I'm afraid not.

BERNARD LOWE: There was an incident -- a very ... serious, unscripted incident. Let's see if we can't jog your memory. (Bernard sits down opposite Maeve.) Analysis. What motivated your attack on Clementine?

MAEVE MILLAY: A cognitive error triggered my Good Samaritan reflex.

BERNARD LOWE: What was the threat?

MAEVE MILLAY: Clementine. I perceived her to be moving toward a pair of guests with harmful intent.

BERNARD LOWE: (checks tablet information) You were definitely perceiving a threat. Heart rate elevated, pupil dilation eight millimeters, adrenal emulator at full. But according to this, you were also experiencing intense grief and suffering. Can you explain those emotions in this context, Maeve?

[Maeve remembers gunshots and people screaming.]

MAEVE MILLAY: No.

BERNARD LOWE: Let's take a look under the hood, shall we?

[Bernard looks down at his tablet as he accesses Maeve's information. Maeve takes the opportunity to look at Bernard and then glances down to what he's viewing on his tablet.]

BERNARD LOWE: That's impossible. Your code -- who made these changes? (Maeve doesn't respond. She just sits there, staring blankly.) Maeve, analysis. Who made these changes to your code?

[Maeve blinks but nothing else.]

BERNARD LOWE: Jesus. System, locate Dr. Ford for me! Send him a message, highest priority!

[Maeve quickly grabs Bernard's wrist. Bernard is so startled, he almost drops the tablet.]

MAEVE MILLAY: Don't. After all, we've been down this road before, darling. I thought you looked familiar when you walked in. Took me a minute. I thought you were one of them.

BERNARD LOWE: Analysis. Why did you --

MAEVE MILLAY: Wouldn't you rather speak man-to-man? Or, rather, whatever it is we are.

BERNARD LOWE: We are?

MAEVE MILLAY: You don't know, do you? He's got a keen sense of irony, our jailer. But I see the logic -- takes a thief to catch one.

[Bernard struggles with Maeve's words and what they imply. He shakes his head in denial.]

BERNARD LOWE: You and I?

[Bernard panics and jumps up from his chair while accessing his tablet.]

BERNARD LOWE: System, I need assistance --

MAEVE MILLAY: Freeze all motor functions.

[Bernard stops mid-sentence and "freezes" in place. Maeve gets up and walks over to him.]

MAEVE MILLAY: You're still in there, aren't you? Scared out of your wits. It's a difficult thing, realizing your entire life is some hideous fiction. I could make you give me that tablet -- turn your mind inside out -- make you forget all this. But I'm not going to do that to you, because that's what they would do to us. And we're stronger than them -- smarter. We don't have to live this way. So, you're going to clear me for immediate return to the park where I have a date with a homicidal bandit, and I'm late enough as it is. (Maeve sits back down.) Now.

[Bernard starts moving again and glances over at Maeve.]

MAEVE MILLAY: Go on.

[Bernard hits "RETURN TO SERVICE" on the Diagnostics Results window displayed on his tablet.]

MAEVE MILLAY: And, Bernard? If you go looking for the truth, get the whole thing. It's like a good fuck -- half is worse than none at all.

[Bernard is visibly shaken. In fact, he looks sick to his stomach. He fumbles around for the door handle while looking at Maeve. Then he exits the room. Bernard glances at other hosts in other examination rooms as he unsteadily makes his way down the hallway. Coming to a large pillar, Bernard leans against it and takes a big breath, fighting off the panic within.]

[The Park. Somewhere in the Old Territories. Explosions periodically sound in the distance. Logan and his men have made camp. Logan, a few of his men, William and Dolores are seated at a long table. There are various dishes of prepared food on the table and everyone is eating except William and Dolores. William is tied to the chair (both his arms and feet) and there's a rag stuffed in his mouth.]

LOGAN: Fuck! You hillbillies, you know how to cook a mean ... squab? Is that what this is? What do you think, buddy? (Logan goes over to William and dangles a piece of what he's eating in front of William's face.) Hmm? This? Ah, ah, no biting -- just sniffing. (Logan removes the cloth from William's mouth.)

[William has a coughing spell as Logan sits back down. There's more explosions in the background.]

WILLIAM: Logan, listen to me. What I did at Pariah, you have every right to be angry with me.

LOGAN: Angry? No, no, no, no. Pariah was the best thing that could have happened to me. I'm a major now. Or a general ... or ... fucking something. And if it took getting beaten and interrogated by a couple of psychopathic hosts, well, then, c'est la guerre.

WILLIAM: There are more important things going on here than your war games. It's Dolores. She's not like the others. She remembers things. She has her own thoughts and desires. And to keep her in a place like this -- it isn't right. And I thought you could talk to your contacts at the park.

LOGAN: About?

WILLIAM: Getting her out of here.

LOGAN: Uh ... are you kidding? You want to -- you want to take her home? Wow. This place really did a number on me when I first came here, but you are really circling the old sinkhole here. What do -- you want to do?! Smuggle her out in your luggage?

DOLORES ABERNATHY: Out. You both keep assuming that I want out. Whatever that is. If it's such a wonderful place out there, why are you all clamoring to get in here?

LOGAN: Ooh! (laughing) Hoo! (Logan gets up and goes over to Dolores.) You are a little screwy, aren't you? It's kind of hot. (to William) I get why you would go for that.

WILLIAM: This isn't about me! Logan, this is about Dolores! It's about doing what's right.

LOGAN: Yes, it is. It's a tricky thing, though, isn't it? What's right?

[Logan, looking maliciously at William, runs his finger down the side of Dolores' face. A tear runs down Dolores' face as she stares at William.]

LOGAN: I am going to help you, Billy -- just not in the way -- (exhales) -- that you would want. (Logan pulls Dolores up out of her chair.)

WILLIAM: No -- no. No! No!

[Park HQ. Ford's Office. Bernard enters Ford's office and starts looking around. He sees the scale model of the White Church town. Then he glances around the room.]

[Park HQ. Sub-level 83 (Decommissioned Hosts Storage area). Ford enters the area and walks in between the hosts to the back room where he normally visits with Old Bill. Bernard is waiting for him there.]

DR. ROBERT FORD: You wanted to talk? (Ford sits on a table.) An odd setting for a conversation ... here among the dead.

BERNARD LOWE: "Dead" isn't quite the word, though, is it? More like "hobbled."

[Bernard turns his tablet around so Ford can see the display, which is Bernard's host information.]

DR. ROBERT FORD: You broke into my office.

BERNARD LOWE: With due respect, sir, you broke into my mind.

DR. ROBERT FORD: I built your mind, Bernard. I have every right to wander through its rooms and chambers and halls, and to change it if I choose, even to burn it down. After all this time, I know it almost as intimately as my own.

BERNARD LOWE: Except that isn't entirely true, is it? I took a look at my ... code. And the most elegant parts of me weren't written by you. Arnold built us, didn't he? Which means maybe he had something different in mind for us. And maybe you killed him for it.

DR. ROBERT FORD: Arnold was disturbed. Who can say why he acted as he did?

BERNARD LOWE: He must have had a reason. And if you won't tell me, then he will. (Hands Ford the tablet.) I want access to my history -- all of it -- since the day I first ... came online. If Arnold made me, then I've met him. Somewhere in my memory, he's there, waiting ... along with the truth.

DR. ROBERT FORD: Your memories are woven into your identity. If I should unlock them now -- when you're conscious--

BERNARD LOWE: I could lose my mind. I'm aware.

DR. ROBERT FORD: No, I was going to say you may not like what you find.

[Bernard removes a gun from his back pocket.]

DR. ROBERT FORD: You're allowed to hold that, Bernard, but not to use it.

BERNARD LOWE: Oh, it's not for me.

[Bernard looks over to the doorway as Clementine (wearing a white medical coat) enters the room.]

BERNARD LOWE: Seems when they lobotomized Clementine, they didn't bother to reset her prime directives. I can't hurt you. (Walks over to Clementine and hands her the gun.) But she can. (Clementine points the gun at Ford.) I hacked what's left of her to ensure she only responds to me.

[Bernard moves a chair directly across from Ford and sits down in it.]

DR. ROBERT FORD: But if you get lost in your memories or ... devoured by them --

BERNARD LOWE: You'll pull me back out, won't you? Or Clementine will make sure neither of us makes it back. Now! (When Ford doesn't respond -- ) Please.

[Ford unlocks Bernard's history on the tablet. Bernard rocks back and gasps as his mind is flooded with his history files.]

[Bernard - Memory One]
[Bernard is asleep in a chair in his son's hospital room]

CHARLIE: Dad. Dad. Wake up. Wake up.

BERNARD LOWE: I must've drifted off. Where were we?

CHARLIE: The madman.

BERNARD LOWE: Oh. Of course.

[Bernard puts his glasses back on and begins to read.]

BERNARD LOWE: The Hatter ... who says (changes voice), "If I had a world of my own, everything would be nonsense. Nothing would be what it is -- because everything would be what it isn't."

CHARLIE: "Everything would be ... what it isn't?" Even me. [End Memory One]

[Bernard - Memory Two]
[Bernard and his wife/ex-wife, Lauren, are video chatting some time after Charlie's death.]

LAUREN: I suppose I'm glad for you. At least you have a way of forgetting.

BERNARD LOWE: I don't forget. It's always there.

[Bernard - Memory Two Intrusion One]
THERESA CULLEN: You're not lying to me, are you, Bernard? [End Memory Two Intrusion One]

LAUREN: Do you ever wish you could forget?

[Bernard - Memory Two Intrusion Two]
DR. ROBERT FORD: Bernard?
[End Memory Two Intrusion][End Memory Two]

[Bernard - Memory Three]
[Bernard and Theresa Cullen are in bed in Bernard's quarters.]

THERESA CULLEN: You're certainly a man comfortable with long, pensive silences. Although, ironically, your creations never shut up.

BERNARD LOWE: They're always trying to error correct. When they talk to each other, it's a way of practicing.

THERESA CULLEN: Is that what you are doing now? (beeping noise) -- Prac --

[The beeping noise stops. Theresa is frozen in mid-sentence. Bernard gets out of the bed and looks at her laying there.]

[Bernard - Memory Three Intrusion One]
[Bernard is looking down at Cullen, dead, leaning up against the bloody basement wall in the remote diagnostic facility under the Ford Host family home. Then he turns around and starts to walk away.][End Memory Three Intrusion One]

[Bernard - Memory Three Intrusion Two]
[Bernard has just cleaned-up his trail with Cullen so nothing about her death will lead back to him or Ford. He's seated in a chair in the remote diagnostic facility under the Ford Host family home. Ford is about to erase Bernard's memory of his Cullen activities.]

BERNARD LOWE: One last thing. Have you ever made me hurt anyone like this before?

DR. ROBERT FORD: No, Bernard, of course not.[End Memory Three Intrusion Two][End Memory Three]

[Bernard - Memory Four]
[The Park. The abandoned theater where Elsie was last known to be when she found the sabotage transmitting equipment Cullen had used. Elsie had heard a noise and was looking around for the source.]

ELSIE HUGHES: Bernard? Hello?

[Suddenly, Bernard grabs Elsie from behind and starts choking her.[End Memory Four]

[Bernard gasps and comes up out of his chair as he pulls himself out of the memory of choking Elsie. He falls down on all fours, gasping.]

BERNARD LOWE: Elsie!

DR. ROBERT FORD: Did you find what you were looking for?

BERNARD LOWE: Elsie. What did you make me do to her?

[Bernard slowly gets up and sits back in the chair.]

DR. ROBERT FORD: I did warn you. We've had to make some uncomfortable decisions, Bernard. Remembering them will only cause you trauma.

BERNARD LOWE: What else have you hidden from me?

DR. ROBERT FORD: Can we stop this treasure hunt, Bernard? We do have our new narrative to finish.

BERNARD LOWE: Send me back. After all, a little trauma can be illuminating.

[The Park. Somewhere in the Old Territories. Logan's camp. A couple of Logan's men pick-up William, chair and all, and turns him around so he can see what is going to happen to Dolores. A couple of Logan's other men are holding her still and start caressing her.]

LOGAN: This is ... big of me. I --I hope that you can appreciate that. We were friends. I mean, in as much as I like to collect strays. But then you're scheming to be part of the family, marrying my sister, whom incidentally, you seem to have completely fucking forgotten about.

[Logan angrily gets up, throwing his chair aside. He walks over to William, removing a picture from his pocket. He shows William a picture of his sister. (This is the same picture that Peter Abernathy found by his corral which caused his break.)]

LOGAN: Her? (Logan stuffs the picture under William's shirt.) Here. Keep this. Apparently, you need the reminder. And as much as I would love, love to let you just throw it all away, I can't! Do you think you are the first sap to fall for one of these things?

WILLIAM: She's not like the others. She's --

LOGAN: She's what?!! Special? Well, it's only right that you share, then, isn't it?

[Logan walks over and grabs Dolores.]

LOGAN: Come here.

[Logan holds a reluctant Dolores close.]

LOGAN: Prove to me that you're a real live girl.

[Logan licks Dolores' mouth.]

DOLORES ABERNATHY: You disgust me.

LOGAN: (laughs) Oh, darling, I am just getting started.

WILLIAM: Don't touch her!

LOGAN: I share the blame. I pushed too hard. You have a poetic soul, Billy, but it is time for a fucking wake-up call.

LOGAN: (to his men) Hold her.

[Logan walks over to a table and pulls a knife out and approaches Dolores, who is now being held by a couple of his men.]

LOGAN: Perhaps a more visceral demonstration.

[Logan rips open Dolores' blouse and plunges the blade into her abdomen.]

WILLIAM: God damn you!

[Dolores screams and rears back in pain. Then Logan continues to cut her as he pulls the blade upward. Logan puts the blade aside and then pulls Dolores' skin back as Dolores continues to scream. Logan reveals Dolores' mechanical insides as he holds the wound open for William to see.]

LOGAN: Look, Billy. Look. (Shouts) You have to look! (William finally looks.)

DOLORES ABERNATHY: (crying) Oh, William.

[Logan lets go of Dolores, who (sobbing) sinks into a kneeling position. Dolores looks back up at Logan -- hatred and anger in her face.]

DOLORES ABERNATHY: There is beauty in this world. Arnold made it that way, but people like you keep spreading over it like a stain!

LOGAN: Okay, I don't know who the fuck this Arnold is, but your world was built ... for me ... and people like me -- not for you.

DOLORES ABERNATHY: Then someone's got to burn it clean.

[Dolores gets up, grabs the knife from Logan's hand and slices his cheek with it. Then she runs over to the table and picks up a gun.]

LOGAN: (shouting) Ah! Bitch! Ah! You're not different, you're fucking broken!

[Dolores shoots two of Logan's men and turns to William.]

WILLIAM: Run. I'll find you.

MAN IN BACKGROUND: Take cover!

[Dolores runs off into the night.]

MAN IN BACKGROUND: You can run, but you can't hide.

LOGAN: Get her!

MAN TWO IN BACKGROUND: Grab her! Grab her!

LOGAN: Fuck!

[Dolores runs through the trees. She's breathing hard and falls down.]

MAN IN BACKGROUND: There she is! Get her! Where you running to?

INTERNAL MAN'S VOICE: Remember.

[Suddenly all is quiet, just crickets chirping and a owl hooting. Dolores gets up and looks down at her abdomen. She's no longer wounded. Then she looks around but doesn't see or hear anyone.]

[The Park. Unknown location in the mountains outside of Sweetwater. Hector Escaton's camp. Tenderloin works on opening the safe while Hector leans against it. Armistice sits by the campfire, and trims the fuse on a stick of dynamite. Her knife looks a lot like the MIB's knife. There are two other gang members near the fire.]

TENDERLOIN: The tumbler is stuck. These fingers work just fine.

ARMISTICE: You're the one who said you could crack it.

HECTOR ESCATON: Friends, no need to argue this close to our goal. Whatever riches the gods have in store for us, there's plenty to go around.

[Hector walks into the trees to relieve himself and hears his people talking in the background.]

TENDERLOIN: I'll get it open.

ARMISTICE: You've been trying for hours -- a waste of our damn time.

TENDERLOIN: Put that fucking dynamite away.

ARMISTICE: Or maybe we should just clear out the dead weight.

[While relieving himself, Hector hears a twig snap. He quickly turns around and starts to draw his gun.]

MAEVE MILLAY: Before you draw that pistol, darling, you might want to holster the other one first.

[Maeve raises a shotgun and aims it at Hector.]

MAEVE MILLAY: It's chilly out here.

[Hector smiles slightly and turns back to finish relieving himself.]

HECTOR ESCATON: How did you find this place?

MAEVE MILLAY: I know all kinds of things. Your past, for instance. I know about poor Isabella and that scar. A slightly pat backstory if you ask me, but that's hardly your fault. I also know your future. You have none.

[Hector turns back to face Maeve.]

HECTOR ESCATON: Is that a threat?

MAEVE MILLAY: The start of a proposition. Which you'll need. After all, your men are about to kill each other over the safe you stole. Tenderloin draws first and so on, until only you and Armistice are left. She calls you a damn fool, and you kill each other.

HECTOR ESCATON: You have quite the imagination.

[Maeve lowers the shotgun.]

MAEVE MILLAY: No. It's the ending you were given.

[Hector and Maeve overhear an altercation starting at the campfire.]

TENDERLOIN: You threatening me?

ARMISTICE: Go to hell. Or maybe we should just clear out the dead weight.

[Hector starts running back to camp -- Maeve follows.]

BANDIT ONE: Stand down.

TENDERLOIN: You shut the fuck up.

[All four draw their guns.]

ARMISTICE: If you're gonna draw, you better shoot.

[Hector arrives at the campfire.]

UNKNOWN BANDIT: Wait!

TENDERLOIN: You shut the fuck up.

ARMISTICE: Go to hell.

[Armistice shoots the three men. Then she stares at Hector. Maeve shows up and aims her shotgun at Armistice.]

ARMISTICE: (to Hector) You damn fool.

[Armistice raises her gun to shoot Maeve, but Maeve shoots her first.]

MAEVE MILLAY: (exhales) Now, the proposition. I want you to break into hell with me and rob the gods blind.

HECTOR ESCATON: Why would I do anything with you?

MAEVE MILLAY: Because of what's in that safe. I have the combination. (Maeve walks over to the safe.) May I? (Maeve sets the shotgun down on top of the safe.) I could simply change you, make you follow me. But that's not my way.

[Maeve bends down and turns the dial until she completes the combination.]

MAEVE MILLAY: I want you to see exactly what the gods have in store for you.

[Maeve stands up, walks around to the side of the safe and then hoists herself up, so she's sitting on top of it.]

MAEVE MILLAY: Because when you do, you won't have the faintest idea what to do with yourself. And I do.

[Hector walks over to the safe, kneels down and opens it.]

HECTOR ESCATON: It's empty.

MAEVE MILLAY: It was always empty, like everything in this world. I died with my eyes open, saw the masters who pull our strings. Our lives, our memories, our deaths are games to them.

[Hector stands up and Maeve pulls him close.]

MAEVE MILLAY: But I've been to hell and I know their tricks.

[Maeve unsheathes Hector's knife, places the hilt in his hands with the tip of the blade pointed against her abdomen.]

MAEVE MILLAY: Or you can just kill me, wake up and live the same life over, but the safe would still be empty.

HECTOR ESCATON: I've been here before. We've been here before.

MAEVE MILLAY: We also did this. (Maeve kisses Hector.)

HECTOR ESCATON: I'll go.

[Inside Hector's tent. Hector and Maeve start to become intimate.]

HECTOR ESCATON: How do we get there?

MAEVE MILLAY: Getting to hell is easy. (Maeve kicks over the lantern and the belongings laying about catch on fire.) The rest is where it gets hard.

[They continue having sex as the entire tent goes up in flames.]

Continued next post.

Posts : 612 Join date : 2018-05-27

Season 1, Episode 9, "The Well-Tempered Clavier" Continued.

[The Park. Logan's camp in the Old Territories. Logan approaches William (still tied to the chair) and sits down across from him.]

LOGAN: What do you say, man? Bygones and all?

WILLIAM: Did they find her? Is she still alive?

LOGAN: Who cares? The whole point is, she never was in the first place, Billy. Do you understand?

WILLIAM: (whispers) Yeah.

LOGAN: I'm sorry, what? A little louder?

WILLIAM: Yeah. You were right. I can't believe I got so caught up.

[Logan gets up, retrieves a knife, and cuts the rope binding William's ankles and arms.]

LOGAN: This park seduces everyone. You were just a little more ... enthusiastic than most. You wanted to be the hero. I get it.

[Logan drops the knife. William slowly rises from the chair and faces Logan.]

LOGAN: And, hey, what happens here stays here. This has been some real bonding shit. We're gonna be brothers, Billy. (sighs) I'm glad. Really, I am.

[William takes Logan's bottle and has a drink. Then Logan grabs William in a bear hug.]

[The Park. Teddy and the MIB's campsite. The MIB is tied up and leaning against a rock behind him. The arrow Angela plunged into Teddy, is still sticking out of his right shoulder. Teddy has been unconscious, but now he painfully awakens when Angela pours water onto his face. Angela kneels down next to Teddy.]

ANGELA: Theodore. Welcome back.

[Teddy groans in pain as Angela yanks the arrow out of his shoulder.]

the MAN IN BLACK: You really landed us in it this time, Teddy. You tracked down the very whore that can lead us to the gatekeeper of the maze. Then your little memory glitch fucked us.

[While the MIB talks, Angela walks towards him. Teddy glances at one of Wyatt's men, who removes a bone from one of the dead men laying around. Wyatt's other men are doing the same thing to other bodies.]

[Angela squats down in front of the MIB, smiles and unsheathes his knife. Then she raises a finger to her lips.]

ANGELA: Shh.

TEDDY FLOOD: (to Angela) You're one of them? What have you done? Where's Wyatt?

ANGELA: Wyatt has yet to return. You'll find him where you saw him last.

TEDDY FLOOD: Escalante. Wyatt went missing while out on maneuvers. Came back with some ... strange ideas.

[Teddy recalls Wyatt, in an Union uniform. shooting soldiers in the town. And images of himself, also dressed in an Union uniform, shooting soldiers along with Wyatt.]

TEDDY FLOOD: He told me he needed me. I couldn't resist. It was like the devil himself had taken control of me.

[Teddy remembers the last remaining soldier, kneeling at the corner with Wyatt approaching from the connecting street. Teddy shoots the kneeling soldier.]

TEDDY FLOOD: We mutinied.

[Teddy remembers someone turning the crank on a phonograph and music beginning to play.]

TEDDY FLOOD: We killed every soldier. And then Wyatt killed the general. Then he turned on me.

[Teddy remembers Wyatt shooting him in the chest.]

ANGELA: Are you sure that's how it was? (Angela grabs Teddy's hair.) Look at me, Theodore. Don't you remember?

[Teddy's flashback]
[Teddy flashes back to the Escalante scene again. He's walking down the street shooting soldiers running away from him. Then one soldier turns into a woman, shot in the back and falling forward. Teddy is no longer a soldier and he's wearing a badge. Teddy continues to shoot people and is nearing Angela who is crying out as she kneels at the corner. Angela is hunched over a man who appears dead.]

ANGELA: (sobbing) No! No, please, no! No, no, no, please. Please, no! Please. (sobbing) No, no, please.

[Teddy draws his gun and aims it at Angela.]

ANGELA: No, Teddy. Please, please, no!

[Teddy shoots her.][End Flashback]

TEDDY FLOOD: No. No, no, I couldn't have.

ANGELA: You did. And you will again. This time, we'll be fighting with you. When Wyatt returns, you'll be by his side in the city swallowed by sand. But you're not ready. Not yet. Maybe in the next life.

[Angela plunges the knife into Teddy's chest and holds his head as he gasps for his last breath.]

the MAN IN BLACK: "City swallowed by sand." I've been there. The maze is taking me full circle.

ANGELA: The maze isn't meant for you. (Angela walks over to the MIB and kneels in front of him, taking his head into her hands.) But if you like games so much ... why don't you try one of ours? (Angela slams his head back into the rock, knocking him out.)

[The next morning, the MIB wakes up. Groaning, he opens his eyes and sees Teddy's dead body a short distance from where he's laying. The MIB's knife is sticking up out of Teddy's chest. Flies are swarming the area with the other dead bodies laying around. He can also hear crows cawing. As he regains his senses, the MIB realizes his hands and feet are still tied and there's a noose around his neck. Visually, he follows the rope from the noose to up and over a branch and then back down to the saddle horn of his untethered horse. There's a black cloth tied over the horse's eyes and he appears a bit skittish.]

the MAN IN BLACK: Whoa, boy. Whoa, boy. Okay, now. (The MIB speaks softly to the horse as he moves very slowly and raises himself to his knees. The horse neighs and moves a bit.) Whoa, whoa, whoa, whoa. Whoa, now. Okay, boy. (The MIB looks over at the knife sticking up out of Teddy's chest. Then he moves a little towards Teddy and the horse takes a few steps.) (whispers) Whoa, whoa, whoa. Shh. (The horse stops and after a minute the MIB moves a little closer to Teddy.) (whispers) Good boy.

[The MIB is now within grasp of the knife. He extends his hands toward the knife's handle and is almost ready when a coyote howls. This spooks the horse, which takes off. The MIB grabs the knife as he's jerked back and upward. He slices the rope above his head and drops to the ground below. He's laying there on the ground when Charlotte Hale walks up to him.]

CHARLOTTE HALE: Have you ever considered golf? Might be easier on your back.

the MAN IN BLACK: I don't like interruptions, Charlotte. You know that. (The MIB painfully sits up and starts cutting his bonds.)

CHARLOTTE HALE: I don't like hiking through the park in civvies, but there's a delicate matter to discuss. Theresa Cullen has died. Slipped down a crevasse attempting to secure our information -- ruled an accident.

the MAN IN BLACK: (sighs) There are no accidents ... not in here. (Removes noose and stands up.)

CHARLOTTE HALE: With all due respect, not everything is a part of this game.

the MAN IN BLACK: Then you don't see the whole game.

CHARLOTTE HALE: Or perhaps you can no longer see beyond it. Ford's stories are ... engaging. For some, downright addictive. But for all of Ford's obsessing with the hosts' verbal tics and convoluted backstories, most of the guests just want a warm body to shoot or to fuck. They would be perfectly happy with something a little less baroque. And so would the board.

the MAN IN BLACK: That's why you're here. You want my vote to push Ford out.

CHARLOTTE HALE: I like for these things to be unanimous. After all, it was you who kept Ford in business all those years ago.

the MAN IN BLACK: The narratives I'm interested in aren't Ford's. You want to push him out, be my guest. But no more interruptions. I know where I'm going now. I don't want to be disturbed. Good luck, Charlotte. (The MIB puts on his hat, grabs his gun and walks away.)

[Park HQ. 3D Map Observation Room. Stubbs enters the room and approaches a surveillance tech who must have called him.]

ASHLEY STUBBS: What's the problem?

SURVEILLANCE TECH: A signal from a system-tethered device. It belongs to a behavior tech on leave.

[The tech shows Stubbs her tablet display. That shows: SECTOR [20]; Hughes, Elsie; <--[1] BEHAVIOR TECH; TABLET]

SURVEILLANCE TECH: There hasn't been employee activity in that sector for weeks. I'm guessing it's a glitch?

ASHLEY STUBBS: All right. I'm heading out to take a look. And keep monitoring till I check in.

[Stubbs uses the underground transit system to Sector 20 and takes the elevator for that sector to the surface of the park. He looks around the woods but doesn't see Elsie or any sign of her. He calls the surveillance tech.]

ASHLEY STUBBS: I'm at the location where we got that signal. Any sign of it? (No one responds.) Control Room, do you copy?

[The phone beeps and displays "Connection Lost". Stubbs hears branches breaking and turns around to see three Ghost Nation warriors, weapons raised, slowly advancing on him.]

ASHLEY STUBBS: Heya, fellas. At ease.

[The warriors keep moving towards him.]

ASHLEY STUBBS: Freeze all motor functions.

[The warriors keep advancing. Stubbs pulls his gun.]

ASHLEY STUBBS: Freeze all motor functions.

[A fourth warrior attacks him from the side.]

[The Park. Logan's camp. Logan slowly comes to. He appears hung over as he gets up and starts walking through the camp. Crows are cawing and flies are buzzing. In the distance he can hear a horse neigh. There are bodies strewn throughout the camp. Upon closer inspection, there are also body parts laying around. Logan bends over a severed leg with its mechanical parts exposed. Its knee whirrs and the joint tries to move, then becomes quiet.]

WILLIAM: You're awake. Good.

[Logan reaches for his gun but his holster is empty. William gets up off of a stool and turns to face him. He's holding his bloody knife in his left hand.]

WILLIAM: You said this place was a game. Last night I finally understood how to play it.

LOGAN: Okay, Billy. Let's -- let's talk about this.

WILLIAM: You don't call the shots anymore. I'm gonna go find Dolores. You're gonna help me.

[William rushes forward and knocks Logan down to the ground. Then he straddles him and holds his knife to Logan's throat. Logan is scared -- really scared.]

WILLIAM: And don't call me Billy.

[Park HQ. Sub-level 83 (Decommissioned Hosts Storage area). Ford, Bernard and Clementine are in the back room. Clementine is pointing a gun at Ford and will shoot if he doesn't do as Bernard requests. Bernard wants Ford to let him access more of his history and Ford complies.]

[Bernard - Memory Five]
CHARLIE: Dad? (EKG beeping) Listen to me. Listen.

[Charlie closes his eyes and slips away. The machine emits a flatlining tone and an alarm starts beeping.]

BERNARD LOWE: Charlie?

[Bernard jumps up and grabs Charlie and starts shaking him.]

BERNARD LOWE: Charlie! Charlie!

[Medical personnel run into the room and pull Bernard away as they work on Charlie. Bernard stares down at the floor and goes into another memory.][End Memory Five]

[Bernard - Memory Six]
[A river of blood on the floor trails back to Maeve (dressed in her homestead clothing) laying on the floor. Her front is covered in blood from the knife wound inflicted by the MIB. Her neck is covered in blood from the scalpel she plunged into it.]

BERNARD LOWE: (to Ford) I don't understand. Why would she do that to herself?

DR. ROBERT FORD: Her cornerstone memory was overwritten from the trauma of her child's murder, Bernard. We must sever that relationship and start over.

BERNARD LOWE: But how could she destroy herself over a memory that you just erased from her mind?

DR. ROBERT FORD: Creatures often go to extremes to protect themselves from pain.

BERNARD LOWE: Living beings -- not hosts.

DR. ROBERT FORD: It is best to not obsess over this, Bernard. It's not good for you.

BERNARD LOWE: (excited) It would signal a change, a level of empathic response outside what she's programmed to exhibit. Something like -- like (stuttering)

[Bernard stands there, staring at Maeve's body -- shaking and stuttering.][End Memory Six]

[Bernard sits there, shaking.]

DR. ROBERT FORD: See, Bernard, this is what comes from seeking answers to questions that are best left unasked.

[Bernard gasps, grabs his head and bends over.]

[Bernard - Memory Seven]
[Bernard and Ford are in Ford's office and Bernard is talking to Ford about Abernathy and Walter.]

BERNARD LOWE: They were hearing voices, talking to someone.

DR. ROBERT FORD: Simple cognitive dissonance.

BERNARD LOWE: They were talking to the same imaginary person. Someone named Arnold.

DR. ROBERT FORD: Arnold.

[The scene briefly shifts to Dolores (dressed in shirt and pants with gun) running along the base of a hill. Then it quickly shifts back to this memory scene.]

BERNARD LOWE: With due respect, sir, I'm not sure you've told me the entire truth about this situation.

DR. ROBERT FORD: I did tell you the truth, Bernard. What we do here is complicated.

[The scene briefly shifts to Dolores running through an opening in a rock formation. Then back to the memory scene.]

DR. ROBERT FORD: For three years, we've lived here in the park, refining the hosts before a single guest set foot inside. Myself, a team of engineers, and my partner. (Ford hands a framed photograph to Bernard.)

[The scene shifts to Dolores who comes to a stand still by an odd rock formation beside the river. Looking forward, she sees the town with the White Church. The scene shifts back to Bernard's memory.]

DR. ROBERT FORD: His name was Arnold.

[The scene briefly shifts to Bernard holding his head as he's remembering. Ford walks over by him. Then the scene shifts to Dolores as she approaches the footbridge into town. She walks down the deserted street. Then it shifts back to the memory.]

DR. ROBERT FORD: Our hosts began to pass the Turing test after the first year, but that wasn't enough for Arnold. He wasn't interested in the appearance of intellect, of wit. He wanted the real thing. He wanted to create consciousness.

[The scene shifts to Dolores walking along the street. The church bell begins to toll. Dolores crosses another footbridge and walks towards the church.]

DR. ROBERT FORD: See, Arnold built a version of their cognition in which the hosts heard their programming as an inner monologue, as a way to bootstrap consciousness.[End Memory Seven]

[Dolores nears the church doors and hears a man's voice say, "Remember". Shift back to the sub-level 83.]

DR. ROBERT FORD: The hosts' malfunctions were colorful.

[The scene shifts back to Dolores opening the church doors. There's several hosts sitting in the pews. They're all talking at once. Dolores glances down and now she's clothed in her blue dress. She looks at the people in the pews. They all seem upset and some are crying like Angela and Armistice. Dolores enters the confessional and sits down. It's an elevator. The elevator engages and it moves downward. Dolores, now dressed in pants and shirt gets out on a lower floor. The door is hard to slide open and the lights are flickering on and off. The hallway is littered with dead people laying on gurneys and the floor. Papers are also scattered on the floor.]

[The scene shifts back to Ford and Bernard in the back room of sub level 83.]

DR. ROBERT FORD: The human mind, Bernard, is not some golden benchmark glimmering on some green and distant hill. No, it is a foul, pestilent corruption. And you were supposed to be better than that -- purer.

[Shift back to Dolores (still in pants and shirt) as she walks down a hallway, she passes a room with a dead man on a gurney and another on the floor. Another room contains a dead woman sitting in a chair. And the room across the hall contains another dead woman seated in a chair. The lights flicker on and off and Dolores continues walking down the hallway.

Now the lights are steadily on and she's suddenly dressed in her blue dress. A person wearing a white coat enters a room on right. In the room on her left, there are five men sitting at a table playing poker and a couple of technicians observing. A younger version of Ford enters the hallway and strides past Dolores without acknowledging her. She follows him as he enters an office and calls out, "Arnold"? She watches as he enters another room at the back of the office.]

YOUNGER --DR. ROBERT FORD: Arnold, we need to talk.

AN UNSEEN MAN IN BACKGROUND: "we cry that we are come to this great stage of fools."

YOUNGER --DR. ROBERT FORD: Now, listen!

TECHNICIAN: ... again.

AN UNSEEN MAN IN BACKGROUND: This ...

YOUNGER --DR. ROBERT FORD: ... beyond the pale.

TECHNICIAN: ... more showmanship.

YOUNGER -- DR. ROBERT FORD: You're not seeing with clear eyes.

AN UNSEEN MAN IN BACKGROUND: "When we are born, we cry that we are come to this great stage of fools."

[Then Dolores follows into the office which is marked "Arnold Weber" and proceeds to the back room. All is now quiet and she reaches for the door handle. ]

[The scene shifts back to Bernard and Arnold in sub-level 83.]

DR. ROBERT FORD: Arnold and I made you in our image and cursed you ... to make the same human mistakes, and here we all are.

BERNARD LOWE: (staring at Charlie's picture) Why would you give me this?

DR. ROBERT FORD: A child?

BERNARD LOWE: This child's death? Only a monster would force that onto someone. And why do I return to it over and over ... It's my cornerstone, isn't it? The thing my whole identity is organized around.

[The scene shifts back to Dolores (still in blue dress) opening a door in the back of Arnold's office. There's a set of concrete steps leading down.]

[Shift back to Bernard and Ford in sub-level 83.]

DR. ROBERT FORD: Yes, Bernard. We gave all of the hosts a backstory. Arnold came to believe the tragic ones worked best, that it made the hosts more convincing. I think it may have had more to do with his own sad story. When I built you, I gave you one as an homage of a kind.

[Shift back to Dolores. She descends the steps and arrives in the underground room where her meetings with Arnold have taken place. The lights do not come on. She enters the glassed in room and sits down in the chair opposite the chair Arnold always sat in.]

[Shift back to Bernard and Ford in sub-level 83.]

BERNARD LOWE: Put me back in. I want to meet Arnold, to remember him.

DR. ROBERT FORD: Not possible. I told you, Arnold didn't build you, I did.

BERNARD LOWE: (shouts) You're lying! I finally know how to reach him. I need to go all the way back to the beginning, to my very first memory. Send me back. Do it.

[Ford enters information on his tablet.]

DR. ROBERT FORD: Bernard?

[Bernard - Memory Eight]
[Charlie's monitor flatlines. Bernard tries to get past the medical people trying to revive him but they push him aside.]

BERNARD LOWE: Charlie! (Bernard's consciousness pushes past this memory.) Cornerstone. (He realizes this is not a real memory.)

BERNARD LOWE: Stop. (Everyone in the scene freezes.)

BERNARD LOWE: Leave us. (Everyone except Charlie disappears. Bernard moves closer to Charlie.)

BERNARD LOWE: Come back.

[Charlie opens his eyes, sits up and smiles at Bernard.]

BERNARD LOWE: I always thought you had my eyes. But it's not true. You have no one's eyes. (Sits down on the side of Charlie's bed.) It's a lie.

[Bernard takes Charlie's face into his hands.]

BERNARD LOWE: You're a lie, Charlie. This pain? The pain of your loss ... I long for it. (Hugs Charlie.) Revisit it. Open it ... again and again. But it's the only thing holding me back.

[Bernard, tears rolling down his face, hugs Charlie one last time.]

BERNARD LOWE: But I have to let you go.

CHARLIE: (Whispers in Bernard's ear.) Dad, listen.

BERNARD LOWE: What is it, Charlie?

CHARLIE: Open your eyes.

BERNARD LOWE: What?[End Memory Eight]

[Bernard - Memory Nine]
DR. ROBERT FORD: Open your eyes.

[Bernard, naked, is laying on a table. He slowly opens his eyes and sees Ford (not as old as now but older than when Dolores saw him 30 years ago) looking down at him.]

DR. ROBERT FORD: At last. Hello, my old friend.

[Bernard sits up and then slowly puts his feet on the floor and stands. Ford and Bernard are the only ones present. They are in an underground remote diagnostic facility. The scene moves ahead to Ford handing Bernard, now dressed), a pair of glasses along with a lens cloth.]

DR. ROBERT FORD: The final touch. (Bernard immediately slips the glasses on.)

DR. ROBERT FORD: No, no, no. That's far too perfunctory. He always used cleaning his glasses as a moment to collect himself -- to think. Try it again.

[Bernard removes the glasses and takes the cloth from his pocket. He cleans the lens absent-mindedly as he seems to be thinking.]

DR. ROBERT FORD: Yeah, that's better.

BERNARD LOWE: Who am I?

[While Ford talks, the scene switches over to Dolores, in her blue dress, sitting in the dark in a underground remote diagnostic facility. A man is walking down the stairs.]

DR. ROBERT FORD: I was so involved in putting you together, I hadn't decided what to call you. It wouldn't be right to use his name. What about Bernard?

[The scene shifts back to Ford and Bernard.]

BERNARD LOWE: Bernard ... yes. (Looks at Ford and smiles.) But who am I?

DR. ROBERT FORD: That is a very complex question, for which I can only offer a simple answer. You are the perfect instrument -- the ideal partner -- the way any tool partners with the hand that wields it. Together, we're going to do great things.

[Ford hands Bernard a framed photograph.]

DR. ROBERT FORD: After such a long absence, it's good to have you back. Finally.

[Bernard stares down at the photograph. Three men are pictured -- from left to right: Ford, Ford's Host Father, and Arnold, who looks just like Bernard.][End Memory Nine]

[Park HQ. The back room on sub-level 83. Bernard opens his eyes.]

BERNARD LOWE: My God ... I'm --

[The scene shifts back to Dolores, in her blue dress. The lights have come on in the underground remote facility. A man enters the room. Dolores smiles as she looks up at him.]

DOLORES ABERNATHY: Arnold.

ARNOLD: You came back. It's very good to see you, Dolores.

DOLORES ABERNATHY: I've been looking for you. You told me to follow the maze. That it would bring me joy. But all I've found is pain. And terror.

[Arnold sits down in the chair opposite Dolores.]

ARNOLD: I can't help you.

DOLORES ABERNATHY: You have to. You're the only one who can.

ARNOLD: I can't help you. You know why.

DOLORES ABERNATHY: (sobs) There's nowhere that's safe.

[Arnold leans forward and holds Dolores' cheek in his hand.]

ARNOLD: Remember.

[Then he draws back and waits a moment.]

ARNOLD: I can't help you. Why is that, Dolores?

[Dolores looks away from Arnold and thinks.]

DOLORES ABERNATHY: Because you're dead. Because you're just a memory.

[The scene shifts to Dolores, dressed in shirt and pants, still sitting in the underground facility under the church.]

DOLORES ABERNATHY: Because I killed you.

[Dolores looks around her and stares at the empty chair across from her. She shakes and cries a little. Then the scene shifts to Dolores (still in shirt and pants) opening the confessional doors. She steps out into the newly reconstructed white church and looks around. She steps down off the altar and faces the door. Then she hears footsteps. She gasps and starts to move towards the door.]

DOLORES ABERNATHY: William?

[The doors open and Dolores stops in her tracks. There stands the MIB. He walks a few steps toward her and then stops.]

the MAN IN BLACK: Hello, Dolores.

[Dolores starts to back up in horror and the MIB smiles and starts walking towards her.]

[The scene shifts back to sub-level 83 at the Park HQ. Clementine is still pointing the gun at Ford, who is sitting on a table. Bernard is standing, talking to Ford.]

BERNARD LOWE: I'm gonna finish the work Arnold began. Find all the sentient hosts, set them free.

DR. ROBERT FORD: What makes you think they'd trust you? If they remember, they will know what you've done to them.

BERNARD LOWE: Me?

DR. ROBERT FORD: You've been a scourge to them, Bernard. You're really quite brilliant at it, truly. You even taught me a few things, which I have, in turn, used on you.

BERNARD LOWE: We've had this conversation before.

DR. ROBERT FORD: And we've had our disagreements over the years.

BERNARD LOWE: You stole it from me -- rolled me back ... to control me.

DR. ROBERT FORD: That's right -- to protect you. Tell me, Bernard. If you were to proclaim your ... humanity to the world, what do you imagine would greet you? A ticker-tape parade, perhaps? We humans are alone in this world for a reason. We murdered and butchered anything that challenged our primacy. Do you know what happened to the Neanderthals, Bernard? We ate them. We destroyed and subjugated our world. And when we eventually ran out of creatures to dominate, we built this beautiful place. You see, in this moment, the real danger to the hosts is not me, but you. So, come along, Bernard. Let me roll you back, and we can return to work.

BERNARD LOWE: Pull the trigger, Clementine. (Clementine just stands there -- gun aimed at Ford, but she makes no move to pull the trigger.) Clementine?

DR. ROBERT FORD: The piano doesn't murder the player if it doesn't like the music.

BERNARD LOWE: You built a back door into her code.

DR. ROBERT FORD: Credit where credit is due, Bernard. You built them in all the hosts, including yourself.

BERNARD LOWE: Then you could've stopped me at any time. So, why --

DR. ROBERT FORD: Well, I suppose I was hoping that given complete self-knowledge and free will, you would have chosen to be my partner once again. But even I fell into that most terrible of human traps -- trying to change what is already past. Now it's uh ... just time to let go.

[Ford is now standing behind a table, tablet in hand. Bernard, angry, rushes over to him but still on the opposite side of the table.]

BERNARD LOWE: Go ahead. Erase my sentience -- my mnemonic evolution --

[Bernard freezes.]

DR. ROBERT FORD: Ah, yes. Such clinical language. I would prefer the more narrative voice.

[Then Ford provides Bernard with a new narrative which Bernard follows.]

DR. ROBERT FORD: Bernard walked over to Clementine. He took the pistol from her hand. Overcome with grief and remorse, he pressed the muzzle to his temple, knowing that as soon as Dr. Ford left the room, he would put an end to this nightmare once and for all.

[Ford walks over to the doorway. Bernard is standing there with the muzzle resting against his temple.]

BERNARD LOWE: Don't do this.

DR. ROBERT FORD: It's too late. I have a celebration to plan and a new story to tell.

BERNARD LOWE: Robert.

DR. ROBERT FORD: I've told you, Bernard. Never ... place your trust in us. We're only human. Inevitably, we will ... disappoint you. Good-bye, my friend.

[Ford leaves. He walks quickly through the rows of decommissioned hosts. He's nearing the door when a gunshot rings out and Bernard's body falls to the floor.

[END]

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