dollhouse 2x03 script (2x02 production order)

Executive Producer: Joss Whedon PROD. 2APK02 Executive Producer: Tim Minear STORY. E03974 Executive Producer: David Solomon Consulting Producers: Michele Fazekas & Tara Butters Producer: Kelly A. Manners Producer: Eliza Dushku

DOLLHOUSE

Episode #202 “Belle Chose"

Written by Tim Minear

Directed by David Solomon

SHOOTING SCRIPT WHITE 7/30/09 BLUE Revised Pages 7/31/09 PINK Revised Pages 8/6/09 YELLOW Revised Pages 8/11/09 RESHOOT Pages 9/16/09

All rights reserved. Copyright © 2009 Twentieth Century Fox Film Corporation. No portion of this script may be performed, published, reproduced, sold, or distributed by any means or quoted or published in any medium, including on any website, without the prior written consent of Twentieth Century Fox Film Corporation. Disposal of this script copy does not alter any of the restrictions set forth above.

DOLLHOUSE Episode #202 “Belle Chose"

RESHOOT Draft

9/16/09

REVISION HISTORY

REVISION COLOR Date Pages in Revision BLUE

July 31, 2009

Cast, 5-7, 11, 18, 20, 22-23A, 24-26, 33, 35, 37-38, 40, 42, 45, 51-53

PINK

August 6, 2009

Cast, 53-53A

YELLOW

August 11, 2009

31-32A

RESHOOT PAGES

September 16, 2009

2A-2B, 30-31, 43-44, 47-50A, 52-53A

DAY / NIGHT BREAKDOWN DAY / NIGHT Scenes Included Notes DAY ONE Scene 1 – 38 NIGHT ONE Scene 39 – 66 DAY TWO Scene 67 – 68 Sc. 68 ENDS SHOW


PINK Draft

8/6/09

CAST LIST

ECHO Eliza Dushku ADELLE DEWITT Olivia Williams TOPHER Fran Kranz PAUL BALLARD Tahmoh Penikett BOYD LANGTON Harry Lennix VICTOR Enver Gjokaj IVY Liza Lapira PROFESSOR EDMOND GOSSEN Arye Gross BRADLEY KARRENS Michael Hogan * TERRY KARRENS Joe Sikora * FRANKLIN Matt Winston * BIG SIS Tara Holt * BO PEEP ACTIVE Sam Sabbah * DOCTOR Keith Pillow * FRAT GUY Andrew DiPalma * LITTLE SISTER Deanna Douglas * MALE HANDLER Ed Wordie * MOTHER Susan Ziegler *


WHITE Draft

7/30/09

SET LIST

INTERIORS Bradley’s Car Clairfield College Gossen’s Office Lecture Hall Department Store Dollhouse Adelle’s Office Doctor’s Office Imprint Room Main Area Makeover Area Topher’s Lab * Windowless Room Nightclub Van

EXTERIORS Bradley’s Car City Streets Business District Clairfield College Parking Lot Hollywood Metro Link Entrance Nightclub Street Wall

DOLLHOUSE“Belle Chose”

#202

ACT ONE

FADE IN:

INT. DEPARTMENT STORE - DAY (DAY 1)1 1

PIPED-IN MUZAK over a series of STATIC IMAGES of the CLOSED DEPARTMENT STORE. Someone is dressing and arranging *MANNEQUINS. It’s very elliptical. Bits and pieces. Arms being bent. Clothing being pulled on. Makeup being applied.

WE REVEAL: TERRY KARRENS, 30’s, fastidious, strange. A bit *on the sickly side. He’s putting together a “SUMMER FUN!” display. FOUR WOMEN of varying ages enjoying the day. An ADULT FIGURE (”Aunt Sheila”) and a “junior” TEEN FIGURE (”Little Sister”) engaged in a CROQUET GAME on the Astroturf “lawn.” A YOUNG WOMAN (”Big Sis”) and ADULT FIGURE (”Mother”) posed at an umbrella-ed garden table with drinks --

TERRY(positions women at table)

Goodness gracious, but it’s good to be out of doors! It certainly is. And aren’t Little Sister and Aunt Sheila having a time, though!

(posing Little Sister)What a healthsome and robust young lady you are, too!

He moves to Aunt Sheila. Checks her position -- down on one *knee, hand grasping a mallet, eyeing her “next shot.” *

TERRY (CONT'D)Better watch out, Aunt Sheila! Little Sister’s playing to win!

CLOSE: a BEAD of SWEAT trickles from Aunt Sheila’s hairline. The mannequin is perspiring? And now she MOANS.

TERRY (CONT'D)No use in moaning about it.

Now WE SEE that these aren’t mannequins. They’re real women being used as mannequins. Paralyzed. Horror.

WIDE: this department store is dilapidated. Long abandoned. Terry looks to Mother as if she just said something -- *

#202 "Belle Chose" WHITE Shooting Script 7/30/09 1.

(CONTINUED)

TERRY (CONT'D) *What? Me? Why I’d love to join! *All right! Don’t think I’ll be *much match for Little Sister! *

(lines up a shot) *Now watch this drive -- *

Aunt Sheila MOANS, starts to CRAWL AWAY. Very... slowly. *

TERRY (CONT'D) *Aunt Shei-la... It’s not very *sportsmanlike to just walk off *because you don’t like the way the *game is going, is it? *

The terrified woman claws over the Astroturf. Terry gets *testy. Moves to a satchel with a SYRINGE and bottle of *solution. Fills the syringe with fluid. *

TERRY (CONT'D) *Oh, sure. Right when it’s my turn *to play, everyone wants to quit. *

Terry moves on her. JABS her with the needle. She stops *moving. Terry drops the syringe and starts dragging her *back. She’s not totally out. She grabs the syringe. *

TERRY (CONT'D) *Well not this time -- *

She JABS his ankle. He HOWLS. He’s WOOZY and PISSED. *

TERRY (CONT'D)Damnit, Aunt Sheila! This is not how we play the game!

Terry brings the MALLET DOWN (out of frame). Hard. Beat. *

TERRY (CONT'D) *Guess we need a new Aunt Sheila.

EXT. CITY STREETS - BUSINESS DISTRICT - DAY2 2

Terry eyes the crowd. He spots a PROFESSIONAL WOMAN. She’s roughly the same look of “Aunt Sheila.”

WE SEE Terry has the loaded syringe at the ready, hidden at his side. He takes one step off the curb -- BASH-CRACK! He’s HIT by a CAR. Yeah, you heard me.

CREDITS.

#202 "Belle Chose" WHITE Shooting Script 7/30/09 2.CONTINUED:1 1

INT. DOLLHOUSE - MAIN AREA - DAYA3 A3 *

PAUL BALLARD carries an electronic clipboard. He moves *through the Dollhouse looking for someone. He’s still not *fully used to this place, taking in the PLACID DOLLS who mill *mindlessly here and there. *

He finally comes upon a FLOOR WORKER. *

PAUL *Echo? *

The floor worker points him in the right direction. And that *right direction turns out to be -- *

INT. DOLLHOUSE - SHOWERS - DAYB3 B3 *

Paul enters the shower area. ACTIVES in various stages of *UNDRESS around him. Okay, so this is awkward. It’s about to *get awkward-er -- especially for Paul. *

PAUL *(looking for:) *

Echo? *

ECHO appears from the shower. Stark naked. *

ECHO *I’m Echo. *

Paul sure as shit tries not to look. *

PAUL *Echo. Hi. I was, um, looking for *you. *

ECHO *I’m glad. *

She is totally and utterly unashamed. In that Doll-like way. *

PAUL *Would you, uh -- like a... *

(is going to say *“treatment,” instead) *

-- towel? *

He gives her one. *

ECHO *Yes. Thank you. I’m wet. *

#202 "Belle Chose" RESHOOT Revision 9/16/09 2A.

(CONTINUED)

He just looks at her for a beat. Uh... *

ECHO (CONT'D) *Good day. *

She starts to move away. *

PAUL *A treatment! *

She turns back to him. *

PAUL (CONT'D) *Would you like a treatment? *

ECHO *Yes, please. I enjoy my *treatments. Shall I dress? *

PAUL *Yes. Dress. Would be good. *

WE HOLD on an uncomfortable Paul for: *

ADELLE (V.O. PRE-LAP) *And Mr. Ballard has been given his *engagement? *

BOYD (V.O. PRE-LAP) *He has... *

#202 "Belle Chose" RESHOOT Revision 9/16/09 2B.CONTINUED:B3 B3

INT. DOLLHOUSE - MAIN AREA - DAY3 3

ADELLE and BOYD move through the Dollhouse toward the *doctor’s office. *

ADELLE...and any progress on locating our troubled, missing employee? *

BOYDShe’s not really missing, is she? She walked out.

ADELLEI call that missing.

BOYDI call that leaving.

ADELLEOne doesn’t just leave this place.

BOYD(not without pride)

Claire did.

ADELLE“Claire” now, is it?

BOYDDr. Saunders.

They are passing VICTOR at that moment. His ears prick up. *

VICTOR *Dr. Saunders? Where is Dr. *Saunders, please? *

BOYD *She’s not here, Victor. *

Victor points to the doctor’s office. *

VICTOR *There is a man. He is not his *best. Dr. Saunders can help him. *

ADELLE *Thank you, Victor. We’ll help him. *

(pointedly to Boyd) *But we’ll also look for Dr. *Saunders, yes? *


(CONTINUED)

BOYD *You’re the boss. *

He follows her into -- *

INT. DOLLHOUSE - DOCTOR’S OFFICE - CONTINUOUS4 4

TERRY KARRENS is here on LIFE SUPPORT MACHINES. That’s not *all: TOPHER and LAB STAFF do BRAIN MAPPING. Inputs and *outputs running from Terry’s brain to various computers. *

ADELLE *How’s the patient?

TOPHERNot complaining. Though that might have something to do with the ginormous H.R. Geiger-like tube he’s got shoved down his throat -- also the stage one coma.

ADELLEAnd have we determined yet if it’s reversible?

TOPHERI have to finish mapping his neural *landscape, but if I can find a way *to sneak up behind his reticular activating system and give it a goose, that might do it. Could *also just give him a man reaction. *

ADELLEI choose not to hear that. *

BOYD *We sure we really want to wake this *guy up? *

ADELLE *Why Mr. Langton, have you no *charity? We’re working to reunite *a desperate family with their *wayward loved one. *

BOYD *And by “wayward” do you mean *they’ve been looking for him since *he skipped his last bail hearing? *


(CONTINUED)

ADELLEA bail hearing on a minor matter which has since been resolved.

BOYDAnd by resolved, do you mean --

ADELLEYes, yes! A judge was bought off. You needn’t continue to translate me. In any event, Bradley Karrens is not only a valued client, he happens to be a major shareholder with our parent organization. If we can apply some of our resources to resolving his nephew’s slight --

(waves her hand at body)-- medical condition, we do it.

(to Topher)Report any progress.

She leaves. Boyd lingers. Topher looks at him.

TOPHERSee? We’re doing good.

BOYDUh-huh.

A BEEPING tells Topher that the brain map is complete. He glances to it, instantly sees something that makes him --

TOPHERUh-oh.

(calling)Um. Boyd?

INT. DOLLHOUSE - TOPHER’S LAB/IMPRINT ROOM - DAY5 5

ECHO is in the imprint chair. IVY is running the process. PAUL is looking at his electronic TABLET. *

PAULSo I’m just supposed to observe. But not actually watch?

IVYDidn’t they go over all this with you in Handler class?

#202 "Belle Chose" BLUE Revision 7/31/09 5.CONTINUED:4 4

(CONTINUED)

PAULBoyd covered the basics. I just... it’s our first official engagement with me as her Handler. I just want it to go well.

IVYIs that what you’re wearing? I’m kidding. I’m sure you’ll be fine.

PAULWell -- what can you tell me about this guy?

IVYWhat guy?

PAUL(brandishing file)

The suspect!

IVYYou mean the client?

PAULYes. That’s what I meant. The client. What can you tell me about the client?

IVYNot my job. I’m just uploading imprints while Topher’s down there mapping coma boy. He left me five imprint wedges and a half a tuna sandwich. I’m a lab grunt.

PAULA very smart lab grunt.

She looks at him. He’s large, he’s cute, he’s helpless. She sighs, snatches the tablet from him, glances at it. *

IVY Okay. So your client is an Edmond Gossen. Liberal arts professor over at Clairfield College. Author of a couple best-selling books... clean background check... blah blah. Echo’s being imprinted as one of his students.

She shoves the tablet back at him, moves to the imprint *chair.


(CONTINUED)

PAULWhat’s this “R” stand for?

IVYThat’s the engagement designation. “R” means “Romance.”

Paul deflates.

PAULAs in “Rated R.” Great. So she’s the sex fantasy for some egghead academic who can’t get one of his real students to sleep with him. *

The chair RISES. Echo opens her eyes. She is KIKI, sorority girl. As she rolls up out of the chair, she starts a kind of rap-lite, as though she’d been be-boppin’ the whole time --

ECHOMmm-hmm. Oh, yeah. That’s right.

(to Paul)Don’tcha just feel like dancin’?

PAULNot overly.

ECHOYou look just like my third boyfriend. He was kind of a stiff, too, if you want the truth.

(to Ivy)Which is the only reason I kept him around as long as I did!

(with the moves goin’)You know what it is?

#202 "Belle Chose" BLUE Revision 7/31/09 7.CONTINUED: (2)5 5

(MORE)

(CONTINUED)

Normally at this time I’m in yoga disco. So my body’s just sort of programmed to do this.

IVY(aside)

She’s not wrong.

ECHOOh, crap. What is it, Thursday? *Tell me I haven’t missed Gossen’s *lecture. He’s hard enough to understand even when you’re there.

IVYYou’re fine. Paul here is going to see that you get there on time.

ECHOOh, yeah? Hey, thanks, Paul.

(gives him a booty bump)I’m KiKi.

PAULKiKi...

ECHOSo should we hit it, or what?

IVY(really to Paul)

First Paul’s gonna take you on a *little spree. *

ECHO A spree? Ooh. I like a spree. Shopping or killing? Joke! You *sure we got time?

IVYIt’s just upstairs. You have time.

PAULLet’s go... KiKi.

They head off together. Echo sways/bops.

ECHOYa ya, uh huh, that’s right, uh huh, ching ching, don’t stop... *

OFF Ivy, amused at Paul’s discomfort -- *

#202 "Belle Chose" WHITE Shooting Script 7/30/09 8.CONTINUED: (3)5 5

ECHO (CONT'D)

OMITTED 6 6 *

INT. DOLLHOUSE - ADELLE’S OFFICE - DAYA7 A7 *

Topher entering with Boyd. Adelle rising to greet them. *

ADELLE *Good news on the coma front? *

TOPHER *Yeah. Good news is he’s in a coma. *

ADELLE *I beg your pardon? *

BOYD *Just show her what you showed me. *

Topher produces a large transparency of a 3-D BRAIN MODEL. *

TOPHER *This is a brain. A healthy, *frankly overly-smart brain. It’s *my brain. This -- *

He slides out a second transparency. Differently shaded. *

TOPHER (CONT'D) *-- is Terry Karrens’ brain. See *these dark areas? How they extend *all the way out to here? You know *why that looks like that? Because *Terry Karrens doesn’t use that part *of his brain. That’d be the area *where you’d find stored such things *as empathy, compassion, an aversion *to disemboweling puppies or that *thing that makes you go “eww” when *someone says, “Here, light that guy *on fire.” Basically this is what *some of your more famous serial *killers’ brains might look like. *

ADELLE *You’re quite certain of this? *

TOPHER *Certain enough that I have some *real ethical problems with trying *to wake him up. *


(CONTINUED)

BOYD *Topher has ethical problems. *Topher. *

TOPHER *Way to land it. *

ADELLE *Well, there’s one sure way to avoid *the ethical question. We inform *the Karrens family that we tried *everything and were unsuccessful. *

TOPHER *But that would be lying. *

(off her look) *I’m just kidding. We should *totally lie. For the ethics. *

BOYD *I’m not sure it’s that simple. You *can send him back to the hospital, *but chances are he’ll wake up *anyway. A stage one coma usually *lasts a couple of days. Few weeks *at the most. He’s been out for *less than twelve hours. *

ADELLE *Yet Bradley Karrens felt a pressing *need for a medical miracle... *

BOYD *Pressing enough that he risked *transporting his critically injured *nephew here on life support. *

ADELLE *(picks up her phone) *

Judith. Get me Bradley Karrens. *

INT. DOLLHOUSE - MAKEOVER AREA - DAY7 7

An ersatz beauty parlor. Stations with CHAIRS and SINKS. THREE-WAY MIRROR. CHANGING AREA. Enough salon-a-tude that an Active wouldn’t question the place. Another MALE HANDLER sits in the WAITING AREA, flipping through a magazine.

FRANKLIN, the not-too-over-the-top supervisor, greets Paul and Echo as they enter. Gives Paul an appraising look.

#202 "Belle Chose" WHITE Shooting Script 7/30/09 10.CONTINUED:A7 A7

(CONTINUED)

FRANKLINHello. You’re new.

(big smile for Echo)And of course -- you’re always new.

(conspiratorially to Paul)And who are we today?

PAULShe’s KiKi.

FRANKLINOf course she is.

(re: tablet) *Work order Echoooo... Right. So not exactly a rocket scientist.

(to Paul)Normally that would be irony. But here, one never knows! Well, this should be fun.

(to SALON ASSISTANT)Stacey, why don’t you take Miss KiKi here on back and stick her in the works.

ECHOWho’s gonna pay for this?

FRANKLINIsn’t that cute? On la casa.

ECHOFree?

FRANKLINOui oui.

ECHODid I win a prize?

FRANKLINYou are a prize!

And Echo disappears with the salon assistant.

PAULHow long is this going to take?

FRANKLINChanging their insides is nothing. Zip zap! The outsides? That’s art. Art takes time. Magazine?


(CONTINUED)

Paul wanders to the waiting area. Sits. The other Handler *looks over his magazine. Absently flips a page. Nods. *

INT. DOLLHOUSE - ADELLE’S OFFICE - DAY8 8

Waiting in here is BRADLEY KARRENS. He wears middle-age the *way the very wealthy sometimes do -- extremely well. A *youthful 55. He turns as Adelle appears. *

BRADLEY *Adelle. Tell me there’s been a *breakthrough. *

ADELLE *Of a kind. *

BRADLEY *Can your people bring him back? *

ADELLE *Convince me why they should. *

BRADLEY *What? *

ADELLE *Bradley. When you came to me with *your request, you assured me *conventional medical science would *fail to revive your nephew, that *news of his condition would be a *crushing blow to your brother, *Terry’s father -- *

BRADLEY *All true. *

ADELLE *And yet, somehow incomplete. Yes? *

Bradley has no ready response, busted. *

ADELLE (CONT'D) *I encourage candor. I have a team *standing by to return him to Mercy. *

BRADLEY *A return to mercy. That has a *poetry. *

(she reaches for her *phone) *


(MORE)

(CONTINUED)

All right -- when I told you the *doctors said he couldn’t be revived -- *that was true. Revived in time, is *what I neglected to add. *

ADELLE *In time for what? *

BRADLEY *You no doubt know of Terry’s past. *His troubles with the law. *

ADELLE *Minor offenses. *

BRADLEY *What you know is only what the *family hasn’t been able to scrub. *There have been other... *indiscretions. Women. Survivors, *I should call them. When you have *a survivor, you have someone who *might be persuaded, monetarily and *by other means, to stay quiet. *When all you have are bodies... *

ADELLE *I see. *

BRADLEY *We can’t be certain, of course. *But recent reports of abductions... *missing persons... might suggest... *

ADELLE *Survivors... *

BRADLEY *Terry and I have always been close. *I just know if I can talk to him... *

ADELLE *If he is to be questioned, if I can *arrange it, we do it on my terms. *

BRADLEY *I just feel that if I... *

ADELLE *(so very pleasantly) *

My terms. That’s all. *


BRADLEY (CONT'D)

INT. DOLLHOUSE - MAKEOVER AREA - DAY9 9

Paul still sits and waits. The other Male Handler absently flips another page in his magazine.

MALE HANDLERI won’t even do this for my wife.

PAULI was trained at Quantico.

FRANKLIN (O.S.)Somebody’s lost their sheep!

Franklin emerges with a MUSCLE-BOUND MALE ACTIVE. Dressed as BO PEEP. Clearly distressed because of the losing of the sheep thing. Male Handler rises, non-nonplussed.

MALE HANDLER(world weary, as they go)

Better go find ‘em.

Franklin watches them go. Ah, l’amore.

FRANKLINThe human heart is a mysterious little muscle, don’t you find?

Franklin gathers up some paperwork, moves off. Paul notices something in the back. He rises... moving forward... drawn to the vision of:

ECHO in the THREE-WAY MIRROR. Her hair and makeup are done, and she’s being helped into hottie sorority girl wear. She’s having a ball. Sexy fun. She catches Paul watching her in the reflection. Meets his eye without a hint of self-consciousness. Could this vision be over-cranked? It could.

Paul’s reverie is rudely interrupted by: *

BOYD (O.S.) *I’ll take her. *

Paul turns, blinks. Boyd is standing there, not really *noticing Paul’s sudden feeling of being caught out. *

PAUL *What? *

BOYD *I’ll cover your engagement. You’re *staying here. *


(CONTINUED)

PAUL *Why? *

BOYD *Turns out we have a sudden need for an *FBI profiler. I suggested you. *

PAUL *For what? *

BOYD *To interrogate a possible serial *killer. *

PAUL *Serial killer? *

Paul glances back to sexy Echo. Smoking hot. *

PAUL (CONT'D) *(quick relief) *

Okay. *

OMITTED10-11 10-11 *

INT. DOLLHOUSE - IMPRINT ROOM - MINUTES LATER12 12

The imprint chair rising INTO FRAME. Coming INTO FOCUS is a FACE... VICTOR’s FACE. His eyes SNAP OPEN! SCREAMING!

VICTORCAR!!

FLINCH! Oh. No car. He’s TERRY KARRENS. He sees what’s before him: Adelle, Paul and TWO SECURITY GUYS.

VICTOR (CONT’D)Goodness gracious!

ADELLEHello, Terry.

The SECURITY GUYS descend, fast -- one of them pulling a HOOD down over Victor/Terry’s head. WHOOSH! Everything goes to --

BLACKOUT.

END OF ACT ONE


ACT TWO

FADE IN:


Victor can be seen on the VIDEO SCREEN. He’s alone in a *small room with a table. Cuffed to a chair. He calls out, *but the sound is OFF. Adelle, Paul, Topher and Bradley *watch. *

PAUL *How much does he know? About who he is, where he is?

TOPHERStraight brain dump. He is Terry Karrens. Right up to the moment he got hit by that car.

BRADLEY *I don’t understand why you won’t *just let me speak to him. *

ADELLE *Mr. Ballard received his training *from the FBI. He has experience in *these matters. We defer to him. *

Paul picks up a fat FILE. Looks at Bradley. *

PAUL *These missing persons reports -- why do you think he’s connected?

BRADLEY Just a hunch.

PAULNo. That’s not a hunch. *

(laying them out) *A forty-two-year-old woman from Covina. A sixteen-year-old girl *from El Monte. A twenty-year-old from Whittier. A thirty-eight-year- old from Alhambra. I don’t see a pattern here. For some reason you *do. Explain it.

OFF Bradley, on the spot -- *


INT. DOLLHOUSE - WINDOWLESS ROOM - DAY14 14

Victor/Terry alone and agitated. Calling out --

VICTORHello? HELLO?! These plastic cuffs are cutting into my wrists! I HAVE NO CIRCULATION! HEL --

Paul walks in calmly, reading the file. Pays no attention. *

VICTOR (CONT’D)About time.

PAUL(reading)

Terry Marion Karrens.(snort)

Any part of that a boy’s name?

VICTOR(bristles)

What? *

PAULSo, I gotta ask, Terry. And I *think you know I gotta ask -- have *you been practicing dentistry on *large cats? Leopards? Pumas? *

VICTOR *What? *

PAUL *I’m just wondering why it is you *have traces of a veterinary grade *paralytic in your system? *

VICTOR *I demand my phone call! I want my *attorney present!

PAUL No attorneys, no phone calls.

VICTORI know my rights! *

PAULAnd no rights.


(CONTINUED)

VICTORYou are in big trouble. When my family finds out what you’re doing, *you and this entire department --

PAULThis isn’t a department.

VICTORWhat?

PAULAnd I’m not a cop.

VICTORWhat do you mean? Then who are you? What is this place?

PAULThis is the room you’re not in. I’m the guy you’re not talking to. And these --

(starts laying out VICTIM *PHOTOS on table)

-- are the women you’re going to tell me how to find.

INT. DOLLHOUSE - ADELLE’S OFFICE - SAME TIMEA15 A15

Adelle, Bradley and Topher, watching the LIVE FEED.

BRADLEYNo, no, no. This is exactly the wrong approach with Terry. He needs to know you’re on his side.

ADELLEBut we’re not on his side.

BRADLEYAdelle, I know my nephew.

ADELLEYou should visit your nephew.

(before he can protest)Topher, escort Mr. Karrens downstairs. He should see for himself the care being provided.

(to Bradley)I think you’ll appreciate it.


(CONTINUED)

Bradley looks at her. Clearly, not an offer so much as an *order. Bradley goes obediently, if unhappily, with Topher. *

TOPHER *(walking him to elevator) *

He has his own private room. And *we’ve kept him... very... clean. *

Adelle rolls her eyes at him. Topher shrugs. Adelle looks *back to the monitor -- *

PAUL *(on monitor) *

Take another look, Terry. Squint *if you have to -- *

INT. DOLLHOUSE - WINDOWLESS ROOM - SAME TIMEB15 B15 *

VICTOR *I told you -- I’ve never seen these *women before. I don’t know them. *

PAUL *Let me help you out -- *

Paul slides the photos around on the table, putting them in *order -- *

PAUL (CONT'D) *Mother... Big Sis... Little *Sister... and Aunt Sheila. At *least, that’s how you know them. *

(beat) *Wanna know who they were before? *

WE HOLD on Victor, absolutely fucking cornered -- *

PROFESSOR GOSSEN (V.O. PRE-LAP) *They were, in a real sense, nobody. *

INT. CLAIRFIELD COLLEGE - LECTURE HALL - DAY15 15

PROFESSOR GOSSEN, 50’s, repressed, milquetoast, is at the lectern speaking to a sea of bored YOUNG FACES.

PROFESSOR GOSSENThe authors of some of the most *important medieval literature had *no concept of self-identity as we *might understand it... *

#202 "Belle Chose" WHITE Shooting Script 7/30/09 19.CONTINUED:A15 A15

(CONTINUED)

As he speaks, his eyes find... ECHO, up in the seats. Sort of paying attention, sort of not, still head bobbin’ and enjoying the music in her head. She is Gossen’s real focus.

PROFESSOR GOSSEN (CONT'D)We think of them as anonymous, they didn’t think of themselves at all.

(noting bored faces)And I can see many of you would rather not be thinking of them either.

That gets a LAUGH. TA’s are passing out marked papers.

PROFESSOR GOSSEN (CONT'D)All right. Your essays on the economics of love in Chaucer’s “The Wife of Bath” are being returned to you. If you have questions or quibbles, my office is open.

A TA puts down an ESSAY in front of Echo. A big fat red “F” adorns it. She reacts to that.

Gossen, packing up at his lectern, surreptitiously takes in her reaction as STUDENTS file out past him. *

Echo angrily gathers up her stuff. And here she comes.

ECHOProfessor. This cannot be right.

PROFESSOR GOSSENMs. Turner.

ECHOKiKi. Okay, so I probably never shoulda taken this course to begin with. But I figured, it’s mid-evil lit. Not advanced evil. How hard could it be? So I skipped intro-to-evil or whatever. But how is it I get an “F” when this guy we’re reading, Chauncy, can’t even spell?

PROFESSOR GOSSENIt’s Chaucer. It’s Middle English.


(CONTINUED)

ECHORight, like Hobbits or something.

PROFESSOR GOSSENAs I said -- my office is open if you’d care to discuss it.

ECHO Yeah, I’d care to discuss it. I’m like the Scarlet Lady with the “F” on her chest.

PROFESSOR GOSSEN“A.”

ECHOIf only.

PROFESSOR GOSSENIncredible...

ECHOAnd totally unfair.

PROFESSOR GOSSEN(off Echo, to himself)

The detail is exquisite... the vulgarity entirely unaffected.

ECHOHuh?

PROFESSOR GOSSENChaucer’s detail. Alisoun is his most fully-realized character.

ECHOWell, then he sucks. Because I don’t get her.

PROFESSOR GOSSENReally? Because I think I can detect a little Alisoun in you.

Echo’s flattered, though not at all sure why.

ECHOYeah? *

INT. DOLLHOUSE - WINDOWLESS ROOM - DAY16 16

Victor/Terry looks a bit browbeaten. *


(CONTINUED)

PAULYou know, Terry, when I was first told this is what you did? Abducted women who looked like the women you grew up with?

VICTORWho told you that?

PAUL-- I figured, hell, the sick little twist musta murdered his family. It’s a whole Norman Bates thing. But no. Your real mother and sisters -- and your aunt -- are all still living in the family home. You know what that makes you? Very weird.

VICTORI’m not weird.

PAULNo, no you’re weird, Terry. But what you are not -- is special. Doesn’t take a criminal profiler to figure you out. Maybe just a pimp.

INT. DOLLHOUSE - ADELLE’S OFFICE - INTERCUT17 17

Adelle almost more interested in Paul than Victor/Terry.

PAULIt’s ordinary. You’re ordinary. Maybe you were bottle-fed. Maybe you got dumped. Doesn’t matter. At some point you decided real people weren’t worth it. You pushed them away. Alienated everyone in your life. So you could surround yourself with the fakes. The copies. Made you feel like you had some control. You’re not in control. Does this look like a guy who’s in control?

Paul displays an electronic TABLET -- *

On it, a SECURITY CAMERA view of the doctor’s office. *TERRY’s BODY on life support. Bradley sitting at the bedside, looking on with grief.


(CONTINUED)

Victor GASPS.

VICTOR(under his breath)

Goodness gracious... (then notices) *

Uncle Brad..? What... what is this?

PAUL You remember that car, don’t you?

CLOSE: VICTOR has a FLASH MEMORY of the jarring CAR HIT.

PAUL (CONT'D)(scoffs)

You think you walked away from that without a scratch? Is that what you think?

Victor is entranced by the sight of “himself” on the tablet. *

VICTOR *It’s a trick... *

PAUL *Is it? *

Victor’s breathing coming more rapidly now -- *

The CAR HIT FLASHING in his head.

Paul continues to watch his reaction closely.

PAUL (CONT'D)You need too tell me where those women are, Terry. They’re the reason you’re in that bed. They’re the reason your uncle Brad looks so worried. And they’re your only hope of ever getting up again. *

VICTORThey did this to me... *

PAULYou did it to yourself.

VICTORThey’re doing it to me now... It’s *her! It’s that one! *

He’s looking at the PHOTO of “Aunt Sheila.” *


(CONTINUED)

VICTOR (CONT'D) *It’s all her fault! *

Paul wasn’t expecting this. Tries to grab the thread.

PAULWhat about her?

(no response)Terry?

#202 "Belle Chose" BLUE Revision 7/31/09 23A.CONTINUED: (2)17 17

(CONTINUED)

VICTORShe made me. I didn’t want to. I didn’t mean to -- she meant for this to happen! Bitch! BITCH! *

PAULWhat did she make you do, Terry?

VICTORYou just want to have a nice time. *You just want to have a nice day. But *they won’t let you. Because they’re not nice. They’re never nice. They care more about their dates and their boyfriends. They won’t pay attention to Terry. They never let Terry play. No time for Terry! They’re whores. *That’s what they are. Whores. All of *them. Whores -- *

OMITTED18-20 18-20

INT. CLAIRFIELD COLLEGE - GOSSEN’S OFFICE - DAY21 21

Gossen sits with Echo, going over the text.

PROFESSOR GOSSENNo, she is not a “whore.”

ECHOYou’re saying she uses sex to get what she wants.

PROFESSOR GOSSENI’m saying... she’s a lusty, bawdy, self-aware woman. She doesn’t allow men to define her. She knows she’s the one with the real power.

ECHOWhat power?

PROFESSOR GOSSENThe same power all women have.

INT. DOLLHOUSE - WINDOWLESS ROOM - SAME TIME22 22

VICTORYou make a nice day. You make shade.


(MORE)

(CONTINUED)

You put the little umbrellas in the drinks. It doesn’t matter. It never matters.

OMITTED23 23


ECHOBut I thought women back then had to do whatever a man said?

PROFESSOR GOSSENAlisoun knows better. Alisoun knows it’s all up to her. She can have what she wants. She knows how to get it... “Myself have been the whippe.” She is the whip. She’s the one in control.


VICTORThey never do what Terry wants. *Always what they want. It’s not my *fault. She made me. She made me! *


Echo moves a little closer to Gossen --

ECHOSo... if she were here. And you were Chauncy...

PROFESSOR GOSSENChaucer. And he’s the author. Doesn’t matter.

ECHOShe’d know how to get the “F” on her chest turned into an “A.”

PROFESSOR GOSSENYou’re learning. Not literature. Still.


VICTOR (CONT'D)


VICTORBut I can fix this. I can make *this right. They’ll let me play.

(looks up, smiles)We just need a new Aunt Sheila.

INT. DOLLHOUSE - ADELLE’S OFFICE - SHORT TIME LATER28 28

Adelle looking at Victor/Terry alone on the MONITOR. Paul enters from the double doors.

PAULWe know he’s killed at least one.

ADELLEThe unfortunate, eponymous Aunt Sheila.

PAULI wasn’t expecting that. I didn’t think he’d crossed that line. But it makes sense. She probably *fought back. That’s why he was *wandering around with traces of that paralytic in his system. He’d *lost a piece and was out looking to replace it when the accident happened.

ADELLEYou gleaned quite a bit in there, all things considered.

PAULBut not enough.

(then)By the way, smart move sending the uncle down there.

ADELLEWell. I knew what you had planned, I thought it might add a touch of pathos.

PAULIt did. He was really getting on your nerves, huh?

ADELLECouldn’t take another moment.

#202 "Belle Chose" BLUE Revision 7/31/09 26.

(CONTINUED)

Adelle’s phone RINGS. Adelle picks up --

ADELLE (CONT'D)Yes?

Medical ALARMS PRE-LAP us to --

INT. DOLLHOUSE - DOCTOR’S OFFICE - MOMENTS LATER29 29

Adelle and Paul hurry in. The MEDICAL TEAM is surrounding Terry Karrens. Topher sees them enter, moves to them --

ADELLEWhat happened?

TOPHERI don’t know. His uncle was visiting him and he went into cardiac arrest or something --

ADELLEWhere is Bradley?

TOPHERHe was right here --

The alarms STOP. A DOCTOR moves away from the bed.

DOCTORFalse alarm. It was nothing.

ADELLEHow was that cacophony nothing?

DOCTORSomebody tampered with the monitors.

INT. DOLLHOUSE - ADELLE’S OFFICE - MOMENTS LATER30 30

Paul and Adelle come out of her elevator. Paul makes a beeline for the double doors. Adelle goes to the video MONITOR --

The windowless room is still on live feed. And it’s empty. Victor/Terry is gone. Paul APPEARS on the feed. Looks back to the CAMERA and Adelle. OFF Paul’s look back --

END OF ACT TWO


ACT THREE

FADE IN:


Paul and Adelle. Adelle on her SPEAKERPHONE --

ADELLEBradley. This is entirely unacceptable. My terms, remember?

INT./EXT. BRADLEY’S CAR - DAY32 32

Bradley’s driving, Victor/Terry is in the passenger seat. Bradley’s on the speakerphone.

BRADLEYWe tried it your way, Addy. It didn’t work. Terry’s going to have a little chat with his Unck, and *everything will be just fine.

Bradley winks at Victor/Terry. Cuts Adelle off.

BRADLEY (CONT'D)Ter --

BASH! Victor/Terry has grabbed Bradley by the back of the head and SMASHED his face into the dash. Bradley is out.

The car starts to drift. Victor/Terry does nothing to abate this. Just observes with dispassionate interest.

EXT. BRADLEY’S CAR/WALL - CONTINUOUS33 33

The car crunches up against the wall. Bradley’s head slumped on the steering wheel makes the HORN BLARE. Victor/Terry gets out of the car and walks away.


Adelle doesn’t look nearly as annoyed as we might have expected.

ADELLEWell. I would say this is a very positive turn of events.


(CONTINUED)

PAULYou think?

ADELLEI do. Assuming your profile is correct. You still believe Terry Karrens will return to his victims? *

PAULI think he’s in the market for a *new Aunt Sheila. But yeah. *

ADELLEAll our Actives are tagged with a GPS strip. We can find them anywhere at any time.

(moving to elevator)If there are survivors, Victor will lead us to them.

INT. DOLLHOUSE - TOPHER’S LAB - SHORT TIME LATER35 35 *

Adelle doesn’t look nearly as happy as she just did. Topher clicks through a computer screen. Paul stands by.

ADELLEWhat do you mean he isn’t tagged? Why not?

TOPHERThey took his GPS strip out before they started all that complicated facial reconstruction. The scar removal.

ADELLE That surgery is complete...

TOPHERRight. But Dr. Saunders is the one who signed off on having it taken out. And she kinda left before telling anybody to put it back.

ADELLELovely. So you’re saying we’ve imprinted an Active as a serial killer and blindly set him loose on the streets?

TOPHERI wasn’t saying that.


(CONTINUED)

PAULVictor might not have a working GPS in his body... but maybe Bradley Karrens has one in his car?

TOPHEROoh. Funny how my mind would never think to go there.

INT. DEPARTMENT STORE - STORAGE BASEMENT - DAY36 36 *

CLOSE ON the woman we will continue to call “MOTHER.” Her *eyes open. She’s groggy. Coming around. She sees the other *two women lying in a heap near her. They’re all locked *inside what can only be described as a CHAIN LINK CELL. *

Mother takes in the surroundings. Through the chain link of *her prison is... more prison, really -- a dank storage *basement cluttered with junk. *

Now “BIG SIS” starts to come around. Killer headache. *Terror as she comes more fully into consciousness. *

BIG SISWh-what’s happening?

MOTHER(helps her up) *

That stuff is wearing off.

BIG SISWhere is he?

MOTHER *I don’t know.

They both look over to see “LITTLE SISTER” sitting up now, *just rocking back and forth, glassy-eyed.

LITTLE SISTEROh, no... oh, no... He killed *her... he killed her... *

They see what she’s looking at -- out in the storage room *Terry has deposited the lifeless BODY of “Aunt Sheila.” *

MOTHERI know.

LITTLE SISTERHe’s going to kill us too.

#202 "Belle Chose" RESHOOT Revision 9/16/09 30.CONTINUED:35 35

(CONTINUED)

MOTHERNo he isn’t. We won’t let him. *What’s your name? *

LITTLE SISTER *Megan. *

MOTHER *Megan. I’m Robin. *

BIG SIS *Lisa. *

MOTHER *Good. We have names. Remember *that. We’re people. Not his toys. *We’re getting out of here. Find a *weakness -- *

And as they start working at prying at the chain link -- *

EXT. BRADLEY’S CAR/STREET - DAY37 37

Bradley can be seen in the b.g., EMT’s tending to the bump on his head. Paul is walking away from this on his cell phone.

PAUL(into phone)

He’s on foot --

INT. DOLLHOUSE - TOPHER’S LAB - INTERCUT38 38

Adelle on the other end, walking to and into Topher’s Lab.

ADELLE(into speakerphone)

Damn.

Paul pauses as he sees a METRO LINK station.

PAULOr maybe not on foot --

ADELLEWhat do you see?


(CONTINUED)

PAULMetro link station. If he got on it, he could be anywhere from the Valley, Downtown, Hollywood...

(then, realizing)The accident. The hit and run. Where did it happen?

ADELLE *Just outside of Beverly Hills. *

PAULThat has to be close to where he’s keeping the women.

ADELLE *You think he’s headed back there -- *

PAUL (V.O.) *Probably with a stop along the way *to pick up a new Aunt Sheila. *

ADELLE *The Hollywood line would put him *toward Beverly Hills. *

PAUL *I’m going to try and pick up his trail. *

ADELLE *Good luck. *

Adelle clicks off. We stay with Adelle and Topher. *

TOPHER(re: what he just heard) *

Your one-man manhunt is using *public transportation now? He’s *going to need more than luck. *

ADELLEWhich is why you’re going to *provide assurance. *

TOPHERBeg pardon?

ADELLEWe cannot allow Victor to be used as Terry Karrens’ vehicle for abduction and murder.

#202 "Belle Chose" YELLOW Revision 8/11/09 32.CONTINUED:38 38

(CONTINUED)

TOPHERI’m personally against it.

ADELLEYou need to free Victor of him.

#202 "Belle Chose" YELLOW Revision 8/11/09 32A.CONTINUED: (2)38 38

(CONTINUED)

TOPHERLove to, he’s not here.

ADELLEI do know this.

TOPHER(getting it)

A remote wipe? It can’t be done.

ADELLEIt has been done. Alpha did it with Echo.

TOPHERWell, yeah. But he used a tonal interface... Serial-killer-Victor would need to have a phone... I’d need to have a tone... I’d have to get him to answer the phone... do you have his number?

ADELLEObviously not.

TOPHERWell.

ADELLEThink of another way. Think of it fast.

EXT. HOLLYWOOD - METRO LINK ENTRANCE - NIGHT (NIGHT 1)39 39

Victor/Terry emerges from the underground metro link station. He takes in the NIGHTLIFE around him. On the prowl. He spots a WOMAN. She’s very “Aunt Sheila”-esque. She meets up with some FRIENDS. Victor watches them cross to a --

EXT. HOLLYWOOD - NIGHTCLUB - CONTINUOUS40 40

Lots of choice FEMALE FLESH coming and going. The THROBBING *TECHNO BEAT becomes a soundtrack for Victor/Terry’s head. He looks like a puma that’s just found the gazelles’ watering hole.

INT. CLAIRFIELD COLLEGE - GOSSEN’S OFFICE - NIGHT41 41

Gossen sits, entranced, as Echo holds an old volume of “The Wife of Bath.” She’s reading freely from it now --


(CONTINUED)

ECHO“Upon an ambler easily she sat,Well wimpled, aye, and over all a hat.”

(as KiKi)Dude, she was rocking a chapeau. I’m gettin’ it.

(reading)“As broad as is a buckler or a targe...”

She looks to him.

PROFESSOR GOSSENA “targe” is a shield.

ECHOYeah, still not following.

(reading)“A rug was tucked around her buttocks large.”

(as Kiki)I guess a fat ass was a good thing in the 1300’s?

(reading)“And on her feet a pair of spurs quite sharp.”

(as KiKi)Ooh, nast-aye.

(reading)“The remedies of love she knew, perchance. For of that art she’d learned the old, old dance.”

(nodding)Likin’ that. Where’s your tune-age?

She finds his SOUND SYSTEM. A crazy sexy STANDARD PLAYS. She reaches down, takes his hand, brings him to his feet.

ECHO (CONT'D)Don’t you just feel like dancing?

PROFESSOR GOSSENYes --

And so they do. She seems to actually be enjoying herself.

ECHOAre you feeling my Bath-y girl power? ‘Cause I’m pretty sure I’m feeling your boy power.


(CONTINUED)

Gulp.

ECHO (CONT'D)Now let’s talk about this “F.”

INT. VAN - NIGHT42 42

Boyd reads a book. Notes Echo’s VITALS rising.

BOYDMust be love. Or something.

(his cell RINGS; into phone)

This is Boyd.

INT. DOLLHOUSE - TOPHER’S LAB - INTERCUT43 43

A bit chaotic in here. Topher on his headset. All hands on deck. Adelle is here. Ivy is on another phone. The ENTIRE BANK of BIOLINKS for all Actives in the field is up.

TOPHER(into headset)

Hey Boyd. It’s Topher. Listen, *we’re trying something here, and so we’re calling all the Handlers in the field to let them know I’m going to be taking the biolink grid offline for a few seconds. So when your screen goes dead, it’s nothing to worry about.

BOYDOkay. What are you trying?

TOPHERA remote wipe.

BOYDWhy?

TOPHEROh, well, Victor’s loose, he doesn’t have GPS and apparently he’s a serial killer.

BOYDAh.

As Topher explains to Boyd, WE SEE the corresponding visuals in Topher’s Lab as he continues to work.


(CONTINUED)

TOPHER So... what I’m going to attempt to do is go into his biolink feed. Which doesn’t tell me where he is, but does give me a way into his head. I’m going to reverse the signal, send a purgation tone and blow his mind. Literally.

BOYDAnd what, leave him out there in a Doll-state? Totally wiped?

TOPHER(sigh)

He’s going to be an empty-headed robot wandering around Hollywood. He’ll be fine. We’ll find him.

BOYDHe’ll be helpless.

TOPHERIt’s a milk carton or a wanted poster, Boyd. Pick your poison.

Ivy gives Topher a nod -- ready to try this.

EXT. HOLLYWOOD - NIGHTCLUB - NIGHT44 44

Victor/Terry moving into the CROWD outside the NIGHTCLUB. We’re in his head. Seeing the curves of arms, breasts, lips laughing.

EXT. HOLLYWOOD - METRO LINK ENTRANCE - CONTINUOUS45 45

Paul emerges from the same METRO LINK station. He moves into the Hollywood nightlife, to --

EXT. HOLLYWOOD - NIGHTCLUB - CONTINUOUS46 46

Paul passes Victor/Terry, just misses seeing him, while --

INT. DOLLHOUSE - TOPHER’S LAB - SAME TIME47 47

All the BIOLINKS are up. Adelle standing by.


(CONTINUED)

ADELLEHow will we know if we’re successful?

He indicates VITALS for “VICTOR.” They’re extreme.

TOPHERSee this? Right now his vitals are doing the mamba. He’s excited about something. If the wipe takes, they should flatten out.

ADELLEGo --

Topher types some keys. Something gives a STEADY TONE. He hits “ENTER.” All the BIOLINKS get BENDY, then BLINK OFF --

INT. NIGHTCLUB - NIGHT48 48 *

Victor/Terry stalks his prey. Suddenly, a PIERCING TONE. His fists fly up to his ears. A searing PAIN --

INT. DOLLHOUSE - TOPHER’S LAB - SAME TIME49 49

Everything starts to KEY BACK UP... suddenly, all the POWER GOES OUT. Except for EMERGENCY LIGHTS.

TOPHERHuh.


Gossen and Echo dancing.

PROFESSOR GOSSEN You do have power over me. Utter power. God. You own me. You are an incredible woman --

His eyes GO WIDE. His LETTER OPENER is sticking out of his THROAT. Echo’s grasping it, as TERRY --

ECHOWhat did you call me?!

He GURGLES and GASPS. She glances past him. Sees herself in the mirror. Her eyes go wide. Gossen DROPS to the floor. Still GASPING. Echo (now TERRY) is drawn to the image of herself in the mirror. She stands there. Takes it in.


(CONTINUED)

ECHO (CONT'D)I am an incredible woman. *

(then)Goodness gracious. *

OFF that --

END OF ACT THREE


ACT FOUR

FADE IN:

INT. VAN - NIGHT51 51

The biolink SCREENS are all dark. Boyd unconcerned. Feet up. Reading his book. His cell phone RINGS.

BOYD(into phone)

This is Boyd.

INT. DOLLHOUSE - MAIN AREA - INTERCUT52 52

The POWER is still out here. Emergency lights. Topher and crew work to restore it. Many FLASHLIGHTS.

Adelle on the floor as around her STAFF remove DOLLS from the darkened area, corralling them.

ADELLE(into phone)

Mr. Langton, and how is your evening out?

BOYDA lot like my evenings in.

ADELLEI’m afraid we have a bit of a situation here.

BOYDYeah. I spoke to Topher. Did the remote wipe take?

ADELLEIt remains to be seen. The attempt seems to have knocked the entire system offline. We’ll know all once Topher has it rebuilt. Until then, we’re blind. We need to do a full recall. Bring in all our field Actives. Get them in pocket until this situation is resolved.

BOYDI agree.


(CONTINUED)

ADELLEYou’ll take point on this?

BOYDI will do. I’ll start sending the word, then grab Echo and come home.

ADELLEVery good.

He clicks off. Pulls his feet down.

BOYD So much for the night out.


Echo/Terry crouches near Gossen on the floor. He’s MOANING, GURGLING, and trying to claw his way up the side of his desk. *Echo pulls him back down, starts going through his pockets. *

ECHO *I thought I would make a nice day. But they just won’t let me. You *know what? Now they don’t even get *a new Aunt Sheila. *

He stares at her with wide eyes. She doesn’t register that he’s anything but the thing she needs to rifle to find --

-- CAR KEYS. Found them. She notices blood on her hands, wipes it on Gossen and lets him drop.


EXT. CLAIRFIELD COLLEGE - PARKING LOT - NIGHT54 54

Boyd slides open the door, gets out of the van. Starts moving through the parking lot, talking on his cell.

BOYD(into phone)

-- Yeah, full recall. Everybody’s coming home... Hang on, that’s my other line.

Boyd clicks the line over. Doesn’t much notice as HEADLIGHTS BLOOM to life on a CAR in the parking lot.

BOYD (CONT'D)-- This is Boyd... Cooper. You end the engagement?... What?... Well what was he imprinted to be? Could just be part of his parameter. Just get him in the van and --

The car TEARS out of there, nearly mowing down Boyd. Something about that sets off Boyd’s inner alarm.

BOYD (CONT'D)(into phone, ending it)

-- get back to the House.

He clicks off, and now he’s moving fast toward the college.


Hard in on Boyd’s entrance. He’s got his GUN out. It’s a quick but professionally cautious entrance.

He sees Gossen there on the floor, bleeding out. One hand over his neck wound, blood bubbling through his fingers. His other hand raised toward Boyd in distress.

Boyd holsters his gun and is instantly at the man’s side.

BOYD(dialing his phone)

It’s gonna be fine. Everything’s going to be fine --

(into phone)Yes. I need an ambulance --

As he speaks on the phone WE SEE he’s LOOKING up at the mirror Echo was looking at herself in. Boyd is reflected there now and the word “WHORE” is scrawled in BLOOD.


INT. DOLLHOUSE - TOPHER’S LAB - NIGHT56 56

Still working on bringing the system back. Still emergency power only. Topher works while Adelle looms. Agitated. *

ADELLEDo we know how this happened? Do *we even know what happened?

TOPHERMy best guess? I had to access the biolink grid for the remote wipe. I thought I’d isolated Victor, but everything must’ve gotten scrambled.

ADELLEThen we’re to assume the Terry Karrens imprint was somehow transferred to Echo?

TOPHER Either that, or my attempt to make her hot for teacher really didn’t come off. He is gonna live, right? *

ADELLE *Apparently. However I don’t expect *he’ll be a repeat customer. *

(then) *All right. What about Echo’s GPS? *

TOPHERIn and fully functioning.

ADELLEAnd completely useless to us.

TOPHERAt the moment.

ADELLEBecause you still have to rebuild the system.

TOPHERCheck.


(CONTINUED)

ADELLE And Victor?

TOPHERVictor...

INT. NIGHTCLUB - NIGHT57 57

Victor as KIKI is just freakin’ TEARING IT UP on the dance floor.

VICTORWhoo whoo!

(to other dancers)Don’tcha just feel like dancing?!

He dances up next to a hot FRAT GUY. Victor/KiKi totally thinks he/she’s a girl.

VICTOR (CONT’D)Hi. I’m KiKi. And I have no idea how I got here! And I sort of don’t care! I love this song! Am I drunk?

And he spins off.

VICTOR (CONT’D)Whoo whoo!

Frat Guy not that amused. To put it mildly.

INT. DEPARTMENT STORE - STORAGE BASEMENT - NIGHT58 58 *

The trapped women have been trying to rip open their cage for *some time. Their hands are torn up. The cage, not so much. *Little Sister is losing hope. Stops trying. *

LITTLE SISTER *It’s no use. We’re locked in. *

MOTHER *Hey. Megan. Who do you live with? *

LITTLE SISTER *What? *

MOTHER *Who do you live with? *


(CONTINUED)

LITTLE SISTER *My parents. *

MOTHER *You think they’ve given up on you? *

LITTLE SISTER *No. *

MOTHER *Good. Think about them. Keep *trying. *

(starts working the chain *link again) *

Jack’s my husband. Donny is my *son. My little freckle-faced *angel. I’m going to see them *again. *

Suddenly Big Sis has some success -- a break in the link. *

BIG SIS *I got it! I got it! *

Now they’re all three working at it. It comes loose. They *push through into the room. They’re heading for the few *steps that lead up to the door. Just as -- *

-- it BURSTS open. The women react, startled. *

ECHO stands there. *

BIG SIS (CONT'D) *Oh. Thank God. We thought you *were him -- *

She takes a step toward Echo and WHAM! Echo brings the *croquet mallet up from behind her back, swinging. Big Sis *gets knocked violently backward. *

ECHO *I am him. *

(then) *Hello, ladies. Ready to finish our *game? *

END OF ACT FOUR


ACT FIVE

FADE IN:

EXT. HOLLYWOOD - NIGHTCLUB - NIGHT59 59

Paul is moving through the nightlife. He’s got a PHOTO of Victor, is showing it around. Getting nothing but shrugs and head shakes.

The THROBBING TECHNO BEAT from the club draws his focus. *Paul goes over to the BOUNCER. Shows him the photo. His reaction says, “Maybe?”

Paul nods toward the club. The Bouncer gives him the nod that he can go in.

INT. NIGHTCLUB - CONTINUOUS60 60

Paul enters the crowded club. He strains to see. Lots of looks from women holding their drinks aloft and having to squeeze by the very hot movie star-looking man. Paul’s almost forgetting why he’s here. He doesn’t yet see BEHIND HIM on the dance floor --

-- a very girlish Victor owning the parquet. Victor is the most energetic, committed, girlish dancer in the whole joint. And he’s drawing not a little attention.

Paul is running his gaze over the faces in the place. Is about to turn and see this vision, when he reacts to his PHONE VIBRATING.

ANGLE: PAUL’s PHONE. “DeWitt.” He tries to answer it --

PAUL(into phone)

Hello?! Hello?! (too noisy)

HANG ON JUST A MINUTE!

-- and he pushes his way back toward the exit, never having turned.

WE HOLD on VICTOR/KIKI, who assumes those square-jawed FRAT GUYS on the edge of the dance floor are watching him because -- hot.


(CONTINUED)

Victor/Kiki comes twirling off the dance floor and bumping/rubbing up against hot Frat Guy.

VICTORHey there. I noticed you watching me. And I think we both know why. “As help me God, I laughe whan I thynke. How pitously a-nyght I made hem swynke!” Know what that means? I don’t, but it’s wicked filthy. How about buying a girl a drink before you swynke?

FRAT GUY(as in “you asked for it”)

Okay.

Frat Guy PULLS BACK to knock Victor/KiKi’s lights out --

ANGLE: PAUL over in a quieter corner, finger in one ear *trying to hear what’s being said to him on the phone. *

PAUL(into phone)

You think he might be what?!

A LOUD “OOOOH!” from the other side of the club. Paul moves *to see -- *

-- the DANCE FLOOR. The dancing has stopped. Frat Guy is *laid out. Victor/KiKi is recoiled, horrified at what he/she has done.

VICTORWhat kind of man are you? Trying *to hit a girl! *

He looks up, sees Paul, registers recognition.

VICTOR (CONT’D)Paul!

Victor/KiKi runs over and buries his head in Paul’s chest.

VICTOR (CONT’D)Oh, Paul! Thank God! Why did you ever leave me? Make me over again! Make me over!

Paul is very uncomfortable. Until he sees Frat Guys giving him the stink eye. Fuck them. He pats Victor/KiKi soothingly. Eyes on Frat Guys --


(CONTINUED)

PAULYou got a problem?

OMITTED61-62 61-62


The women are cowering on the floor. Big Sis is barely *hanging on after the blow. Mother and Little Sister cradle *her. Echo looms over them with the mallet. *

MOTHER *She’s really hurt -- *

ECHO *She’s really hurt? How do you *think I feel? You tried to kill me *with a car! *

MOTHER *What? *

ECHO *(mockingly) *

“What?” *(then) *

Don’t play stupid. You think I *don’t know what’s going on here? *What you’ve been up to? *

MOTHER *We have to get her to a hospital -- *

ECHO *Oh, please, Mother. Always *protecting your little princess. *

MOTHER *I am not your mother. *

ECHO *Yeah. And I guess I’m not your *son. You always said “be a man.” *You do make it a little difficult! *

Echo WINCES. Sharp stabbing head pain. She tries to fight *it, but something’s coming... *

ECHO (CONT'D) *You think... you think you can make *me dirty like you? *

#202 "Belle Chose" RESHOOT Revision 9/16/09 47.CONTINUED: (2)60 60

(CONTINUED)

She starts to GLITCH. It’s her own consciousness trying to *force its way past Terry’s control -- *

ECHO (CONT'D) *(fighting it) *

I am not... *

FLASH TO VICTOR as Terry: “They’re whores.” *

ECHO (CONT'D) *...a whore! And you can’t make me *one! *

Echo staggers back, fighting the images flashing in her head. *She catches some debris with the mallet. A BIG CLATTER. *

The women watch this -- not sure what to do. Echo comes out *of it, regains her balance. Fixes the frightened women with *a glare. *

ECHO (CONT'D) *You did this to me. *

LITTLE SISTER *Please. We just want to leave. *

ECHO *Oh, I’ll just bet you do. *Everybody wants to leave Terry. *

(pokes dead body) *How about you, Aunt Sheila? Still *feel like leaving? Aunt Sheila? *

(to the others) *Aunt Sheila doesn’t want to leave. *I think we can all take a lesson *from her. You’re staying. *

A sudden burst of violence. Much SCREAMING as Echo grabs *Little Sister by the hair, starts dragging her forward. *

Mother -- who is holding the girl -- tries to stop this, but *Echo knocks her back. Echo roughly shoves Little Sister to *the floor. Looms over her. Echo brings the mallet up -- *

Little Sister looking up with terror at Echo over her -- *

LITTLE SISTER *No! *

FLASH TO MATCH CUT TO TERRY from the TEASER in the same pose, *bringing the mallet down. When we FLASH back OUT of this we *are -- *


(CONTINUED)

CLOSE ON LITTLE SISTER, looking up. Still waiting for the *death blow that hasn’t come. *

ON ECHO, frozen in the striking position over the girl. She *hasn’t brought down the mallet. In fact she’s looking down *at the girl a little confused. *

ECHO *(as Doll Echo) *

Did I fall asleep? *

Echo notices the mallet in her hand. Lowers it. Backs away, *confused as she takes in this place. The other women dare *not move, watching this... Echo takes in the body. The *injured women. The cage. *

ECHO (CONT'D) *He was here. *

She trembles. FLASH TO IMAGES of Terry. She forces them *back down. *

ECHO (CONT'D) *He’s still here. *

LITTLE SISTER *What’s happening? *

MOTHER *I don’t know... *

Echo takes in the women. *

ECHO *He wants to kill you. *

She looks at the mallet in her hand. Tosses it away, to the *floor between the women. *

ECHO (CONT'D) *You have to kill him first. *

OFF that -- *

OMITTEDA64-B64 A64-B64 *

END OF ACT FIVE

#202 "Belle Chose" RESHOOT Revision 9/16/09 49.CONTINUED: (2)63 63

ACT SIX

FADE IN:


Where we were. The mallet on the floor. Echo between the *women and the steps to the door. Unsure. Echo shuts her *eyes. Pain. *

ECHO *He’s coming back. He’s coming back. *

LITTLE SISTER *(to Mother) *

She’s crazy. We have to run. *

Mother is cradling the MOANING Big Sis. *

MOTHER *We can’t leave her -- *

LITTLE SISTER *I’m sorry. I don’t want to die. *

Little Sister sees her chance. Echo is in her own head. *Bent forward a little. Little Sister springs up, makes a *break for it -- *

-- Echo is right in her path. No pain. Clear-eyed. Terry. *

ECHO *Where ya going, Little Sister? *

CRACK! Echo gives her the back of her hand. Little Sister *goes down. But Echo seems just as smacked, reacting as *though she were hit herself. *

FLASH CUTS of various PEOPLE saying the name “Echo.” The *word itself becoming an ECHO until -- *

FLASH TO Paul in the shower area: “Echo?” Flash of naked *Echo saying, “I’m Echo.” *

BACK TO SCENE: Echo is back in Doll-State. Little Sister sees *the mallet on the floor. Goes for it. Stands wielding it. *

LITTLE SISTER *Get away from the door! *

ECHO *He won’t let me. *

#202 "Belle Chose" RESHOOT Revision 9/16/09 50.

(CONTINUED)

LITTLE SISTER *(screams) *

What are you talking about?! GET *AWAY FROM THE DOOR! *

ECHO *You have to kill him. *

LITTLE SISTER *(crying) *

What do you mean?! *

Mother stares at Echo, starting to understand -- *

MOTHER *I think she means... we have to *kill her... *

Echo looks placidly if a little sadly at Mother. *

ECHO *Yes. *

BASH! The blow comes without warning. Little Sister raises *the mallet to strike again -- *

LITTLE SISTER *No problem. *

AS she brings it down again -- *

INT. DOLLHOUSE - TOPHER’S LAB - NIGHT65 65

System down again. Workers bees buzzing. Adelle annoyed.

TOPHER(to Ivy)

No, no, no! Don’t engage until we know the worm is dead. You have to kill it in the g-line! The wave is hiding!

IVYWhy is it moving?

TOPHERBecause, it’s designed to go where it’s not supposed to! That’s the whole point.

All that pretty much background noise as Adelle mini-paces. Paul appears with Victor/KiKi. He/she still clings to him.

#202 "Belle Chose" RESHOOT Revision 9/16/09 50A.CONTINUED:64 64

(CONTINUED)

PAULSystem still down?

ADELLEEvidently. *

(off Victor/KiKi)I see you’ve made a friend.

VICTOR(to Adelle)

I’m KiKi.

The Male Handler we saw in the makeover area appears with his Active, BO PEEP.

BO PEEP ACTIVESemper fi!

Yeah. His imprint got swapped.

ADELLEOh, God.

A GREAT HUM and the LIGHTS COME UP. The SYSTEMS all come back on line. Topher waits for the cheer --

TOPHEROkay. We’re good this time.

And a CHEER goes up.

ADELLE Where is she?

Topher is already bringing up Echo’s system information.

TOPHERBeverly Hills.

(leans closer)Maybe they’re both KiKi... I think she’s gone shopping...



BANG! Echo is knocked back into a wall. She’s being *pummeled by Little Sister, who has kind of lost it. *

Echo draws her body up, instinctively protecting herself from *the pounding, but not fighting back. *

Mother appears, tries to stop Little Sister’s attack -- *

MOTHER *Stop! Stop! *

LITTLE SISTER *We have to kill her! We have to *kill her! *

Mother pulls her off Echo. *

MOTHER *No! *

Mother takes the mallet. Echo looks up at them. *

ECHO *Yes. He’ll find you. He won’t *stop. He’ll never stop. He can’t. *

Mother looks at Echo. They hold the gaze. *

ECHO (CONT'D) *He’s inside me. He’s part of me *now. And he’ll never go away. *

MOTHER *What you’re saying doesn’t make *sense. *

ECHO *It doesn’t have to make sense. It *just is. He took you from a *shopping mall. He followed you *from your house. He’d been *watching you for days. Your little *house. The yellow house. He *watched you from the street. Sat *in his car. And watched you. He *could see your kitchen from the *street. He saw the boy. The *redheaded boy. He liked the way *the boy looked at you. That’s why *he took you. *

#202 "Belle Chose" RESHOOT Revision 9/16/09 52.

(CONTINUED)

Mother’s hands twist tightly around the grip of the mallet as *she listens to this with growing emotion and horror -- *

ECHO (CONT’D) *He’ll do it again. *

(then) *You need to stop him. For that *little boy. You won’t get another *chance -- *

Mother is raising the mallet now. Echo takes a breath. *Closes her eyes, readying herself for the killing blow -- *

BANG! The door behind them is blown open with a FLASH. *BLACK OPS DESCEND. Paul is there. He grabs the mallet *before it can fall. *

The Black Ops start tending to the women. *

Paul kneels down before Echo. She opens her eyes. Looks at *him without emotion. *

PAUL *Echo. Are you okay? *

ECHO *(matter of fact) *

I don’t think so. *

PAUL *Would you like a treatment? *

She can only nod. He helps her up. *

PAUL (CONT’D) *(quietly, not quite apologetically)

Don’t think I was quite ready for this.

Very simply:

ECHOYeah. That’ll happen.

That said without judgment, but with a direct wisdom. Holding in it the significance of their alliance struck in Ep. #201, “Vows.” No major missteps there yet, but a tacit understanding of the vigilance which must be maintained.

DISSOLVE TO:


INT. DOLLHOUSE - DOCTOR’S OFFICE - DAY (DAY 2)67 67

Terry Karrens, still on life support. The machines making his chest rise and fall rhythmically. Almost peacefully.

Paul stands next to the bed. Just looking at him. Adelle appears at the doorway.

#202 "Belle Chose" RESHOOT Revision 9/16/09 53A.

(CONTINUED)

ADELLEI rather like him this way.

PAULYou know you asked me to get into his head. I never really could. It took Echo to do that -- once he got into hers.

ADELLEWell. He’s out of there now.

PAULYes.

ADELLEAnd soon he’ll be out of here altogether. His uncle is having him transported back to hospital this afternoon.

PAULThink he’ll ever wake up?

ADELLEWouldn’t it be nice if he didn’t?

He looks at her. She holds the look a touch too long. She moves away. The machines do their work.

INT. DOLLHOUSE - MAIN AREA - DAY68 68

Echo moves through the Dollhouse. She passes Victor.

VICTORGood day.

ECHOGood day.

Echo comes around a corner to see Paul emerging from the doctor’s office. He stops just outside the door as he sees her. She smiles at him, looks past him to Terry in the hospital bed. She cocks her head. Faint recognition.

ECHO (CONT'D)I think he dreams.

The rising and falling of his chest has slowed --


(CONTINUED)

PAUL(as he goes)

Not anymore.

The body in the room almost seems to be SIGHING as it exhales one.. last... time.

Echo takes this in for a moment.

ECHOGoodness gracious.

BLACKOUT.

END OF SHOW


dollhouse 2x03 script (2x02 production order)

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