811_HandThatRocksTheCradle.pdf

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Scene 1_1 Panel A Action Notes Act three EXT./ESTAB. FAMILY RESTAURANT - NIGHT NO PANEL NO PANEL

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Scene 2 Panel A Action Notes INT. FAMILY RESTAURANT - SAME Meg, Joe and Susie, who is in a highchair, sit at a table. Scene 2 Panel B Scene 2 Panel C

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Scene 3 Panel A Scene 3 Panel B Scene 3 Panel C

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Scene 3 Panel D Scene 3 Panel E Dialogue 270 MEG This is Scene 3 Panel F Dialogue nice, Joe.

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Scene 3 Panel G Dialogue A night out, Scene 3 Panel H Dialogue a good dinner... Scene 3 Panel I Dialogue (sigh) ahhh..

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Scene 3 Panel J Dialogue thank you so much. NO PANEL NO PANEL

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Scene 4 Panel A Dialogue 271 JOE Well, I Scene 4 Panel B Dialogue wanted to do something special to show you Scene 4 Panel C Dialogue how much I appreciate all the hard work

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Scene 4 Panel D Dialogue you've been doing. Scene 4 Panel E Dialogue 272 MEG Oh, it's been Scene 4 Panel F Dialogue my pleasure.

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Scene 4 Panel G Dialogue (BEAT) Scene 4 Panel H Scene 4 Panel I Dialogue So, listen,

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Scene 4 Panel J Dialogue there's something I wanted to talk to you about. Scene 4 Panel K Dialogue 273 JOE What's that? Scene 4 Panel L Dialogue 274 MEG Do you ever think about having another baby?

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Scene 4 Panel M Dialogue 275 JOE I don't know, Scene 4 Panel N Scene 4 Panel O Dialogue I guess I'm open to it.

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Scene 4 Panel P Scene 4 Panel Q NO PANEL

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Scene 5 Panel A Dialogue 276 MEG Really? Scene 5 Panel B Dialogue Oh that's great, Scene 5 Panel C Dialogue so I'll

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Scene 5 Panel D Dialogue go off the pill. NO PANEL NO PANEL

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Scene 6 Panel A Scene 6 Panel B Dialogue 277 JOE Wha-- huh? Scene 6 Panel C Dialogue What do you mean?

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Scene 7 Panel A Dialogue 278 MEG Nothing, Scene 7 Panel B Dialogue Nothing, forget it. Scene 7 Panel C Dialogue I think I'm just a little scattered tonight.

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Scene 7 Panel D Dialogue I'm probably just Scene 7 Panel E Dialogue PMS- Scene 7 Panel F Dialogue -ing.

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Scene 8 Panel A Dialogue 279 JOE Eww, groty. Scene 8 Panel B Dialogue Hey, Scene 8 Panel C Dialogue this was supposed to be a fun night.

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Scene 8 Panel D Dialogue What's wrong with you? Scene 8 Panel E Dialogue 280 MEG Ya know, Scene 8 Panel F Dialogue I could ask the same of you.

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Scene 8 Panel G Dialogue We haven't Scene 8 Panel H Dialogue made love Scene 8 Panel I Dialogue in two weeks.

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Scene 8 Panel J Dialogue 281 JOE We haven't Scene 8 Panel K Dialogue made love Scene 8 Panel L Dialogue ever!

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Scene 8 Panel M Action Notes Susie starts to cry. Scene 8 Panel N

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Scene 8 Panel O Dialogue 282 MEG Oh Scene 8 Panel P Dialogue great, Scene 8 Panel Q Dialogue now you've upset

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Scene 8 Panel R Dialogue the baby. Scene 8 Panel S Dialogue Scene 8 Panel T Dialogue

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Scene 8 Panel U Dialogue Action Notes Meg grabs Susie from her high chair Scene 8 Panel V Dialogue Scene 8 Panel W Dialogue

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Scene 9 Panel A Scene 9 Panel B Scene 9 Panel C Action Notes and puts Susie to her breast.

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Scene 9 Panel D Action Notes Susie begins nursing. Scene 9 Panel E Action Notes and puts Susie to her breast. Scene 9 Panel F Action Notes

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Scene 10 Panel A Dialogue 283 JOE AAA! Scene 10 Panel B Scene 10 Panel C Dialogue AAA!

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Scene 10 Panel D Dialogue Scene 10 Panel E Dialogue AAA! Scene 10 Panel F Dialogue Oh

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Scene 10 Panel G Dialogue god! Scene 10 Panel H Scene 10 Panel I Dialogue AAA!

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Scene 10 Panel J Dialogue 284 JOE (V.O.) She's goin' totally nuts! Now I know how Michael Douglas felt in that movie. NO PANEL NO PANEL

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Scene 11 Panel A Action Notes INT. APARTMENT - NIGHT (CUTAWAY) MICHAEL DOUGLAS stands with GLENN CLOSE. Scene 11 Panel B Dialogue 285 GLENN CLOSE (INTENSELY) I won't be Scene 11 Panel C Dialogue ignored, Dan.

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Scene 11 Panel D Dialogue 286 MICHAEL DOUGLAS (GOOD-NATURED) Well, Scene 11 Panel E Dialogue serves me right for sleeping Scene 11 Panel F Dialogue with a sixty-year-old

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Scene 11 Panel G Dialogue chicken man. NO PANEL NO PANEL

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Scene 12 Panel A Action Notes EXT. QUAHOG STREETS - DAY Scene 12 Panel B Action Notes Scene 12 Panel C Action Notes

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Scene 12 Panel D Action Notes Scene 12 Panel E Action Notes Scene 12 Panel F Action Notes We see Brian's car zooming along.

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Scene 12 Panel G Action Notes Scene 12 Panel H Action Notes Scene 12 Panel I Action Notes

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Scene 13 Panel A Action Notes INT. BRIAN'S CAR - SAME Brian drives as Stewie sits in the passenger seat, typing on a laptop. Scene 13 Panel B Scene 13 Panel C

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Scene 13 Panel D Scene 13 Panel E Dialogue 287 BRIAN (LOOKING AROUND) This is Scene 13 Panel F Dialogue ridiculous.

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Scene 13 Panel G Dialogue Evil Stewie could be anywhere. Scene 13 Panel H Dialogue How much Scene 13 Panel I Dialogue ground have we covered?

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Scene 13 Panel J Dialogue 288 STEWIE (OFF COMPUTER SCREEN) Most of Scene 13 Panel K Dialogue North Quahog already. Scene 13 Panel L Dialogue (THEN) Oh no!

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Scene 13 Panel M Dialogue Evil Stewie's totally outta control! Scene 13 Panel N Dialogue Look at this, he gave me Scene 13 Panel O Dialogue negative feedback

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Scene 13 Panel P Dialogue on eBay! Scene 13 Panel Q Action Notes Brian pulls the car over NO PANEL

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Scene 13 Panel R Scene 13 Panel S

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Scene 13 Panel T Action Notes and looks at the screen. Scene 13 Panel U Dialogue 289 BRIAN Two stars. Scene 13 Panel V Dialogue 290 STEWIE I know.

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Scene 13 Panel W Dialogue In a way, that's worse than Scene 13 Panel X Dialogue one star. Scene 13 Panel Y Dialogue 'Cause if it's one star,

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Scene 13 Panel Z Dialogue then you know the guy's just pissed, Scene 13 Panel AA Dialogue but if it's Scene 13 Panel AB Dialogue two stars,

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Scene 13 Panel AC Dialogue you think, Scene 13 Panel AD Dialogue "Oh, he must have had a legitimate grievance. Scene 13 Panel AE Dialogue He's a reasonable person,

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Scene 13 Panel AF Dialogue but he was given poor service." Scene 13 Panel AG Scene 13 Panel AH

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Scene 13 Panel AI Dialogue 291 BRIAN (SCROLLING ON LAPTOP) And look what else Evil Stewie did. Scene 13 Panel AJ Dialogue He took all your bookmarks and home pages and set 'em Scene 13 Panel AK Dialogue to gay sites

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Scene 13 Panel AL Scene 13 Panel AM Dialogue 292 STEWIE (BEAT, COVERING) Oh no, Scene 13 Panel AN Dialogue oh damn,

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Scene 13 Panel AO Dialogue what a son of a bitch, oh. Scene 13 Panel AP Dialogue 293 BRIAN I'll go ahead and erase those for you. Scene 13 Panel AQ Dialogue 294 STEWIE No, no,

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Scene 13 Panel AR Dialogue we should keep them, Scene 13 Panel AS Dialogue like, as evidence. Scene 13 Panel AT Dialogue 295 BRIAN We gotta find him, Stewie.

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Scene 13 Panel AU Dialogue He could be committing another murder right now. NO PANEL NO PANEL

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Scene 14 Panel A Action Notes INT. NONDESCRIPT ROOM - DAY Evil Stewie, holding a baseball bat, stands next to a big empty wall. Scene 14 Panel B Dialogue 296 EVIL STEWIE Oh no! Scene 14 Panel C Dialogue (AS SOMEONE ELSE) Oh no!

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Scene 14 Panel D Dialogue (AS SOMEONE ELSE) Oh no! Scene 14 Panel E NO PANEL

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Scene 14 Panel F Scene 14 Panel G

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Scene 14 Panel H Scene 14 Panel I Dialogue 297 KOOL-AID GUY Oh Scene 14 Panel J

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Scene 14 Panel K Scene 14 Panel L Dialogue yeah! Action Notes The Kool-Aid GUY bursts through the wall next to Evil Stewie. Scene 14 Panel M

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Scene 14 Panel N Scene 14 Panel O Scene 14 Panel P

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Scene 14 Panel Q Action Notes Evil Stewie swings his bat twice, Scene 14 Panel R Scene 14 Panel S

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Scene 14 Panel T Scene 14 Panel U Scene 14 Panel V

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Scene 14 Panel W Action Notes breaking the Kool-Aid Guy's legs. Scene 14 Panel X Scene 14 Panel Y Action Notes The Kool-Aid Guy collapses to the floor in agony.

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Scene 14 Panel Z Scene 14 Panel AA Scene 14 Panel AB

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Scene 14 Panel AC Action Notes Evil Stewie swings his bat one last time, breaking open a hole in the side of the Kool-Aid Guy. Scene 14 Panel AD Scene 14 Panel AE Action Notes Kool-Aid begins to spill from the hole.

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Scene 14 Panel AF Scene 14 Panel AG Scene 14 Panel AH

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Scene 14 Panel AI Scene 14 Panel AJ Action Notes Evil Stewie gets on his knees and begins to lap up the Kool-Aid. Scene 14 Panel AK

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Scene 14 Panel AL Scene 14 Panel AM NO PANEL

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Scene 15 Panel A Scene 15 Panel B Scene 15 Panel C

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Scene 15 Panel D Scene 15 Panel E Scene 15 Panel F

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Scene 15 Panel G Scene 15 Panel H Scene 15 Panel I

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Scene 15 Panel J Scene 15 Panel K Scene 15 Panel L

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Scene 15 Panel M Scene 15 Panel N Scene 15 Panel O

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Scene 16 Panel A Action Notes EXT./ESTAB. GRIFFIN'S HOME - DAY NO PANEL NO PANEL

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Scene 17 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Lois, Peter and Joe are there. Scene 17 Panel B Dialogue 298 JOE Listen, guys, Scene 17 Panel C Dialogue I got somethin' to tell you,

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Scene 17 Panel D Dialogue and I don't really know how to Scene 17 Panel E Dialogue break it to you Scene 17 Panel F Dialogue so I'll just come

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Scene 17 Panel G Dialogue right out Scene 17 Panel H Dialogue and Scene 17 Panel I Dialogue say it.

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Scene 17 Panel J Scene 17 Panel K Dialogue Meg Scene 17 Panel L Dialogue has a crush on me.

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Scene 17 Panel M Action Notes There's a long beat, Scene 17 Panel N Dialogue 298a LOIS (laughs) 298b PETER (laughs) Action Notes then Peter and Lois explode in laughter. Scene 17 Panel O

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Scene 17 Panel P Dialogue Scene 17 Panel Q Scene 17 Panel R Dialogue

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Scene 17 Panel S Scene 17 Panel T Dialogue 299 PETER Oh my Scene 17 Panel U Dialogue god!

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Scene 17 Panel V Dialogue Get over Scene 17 Panel W Dialogue yourself! NO PANEL

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Scene 18 Panel A Dialogue 300 JOE Well, look, Scene 18 Panel B Dialogue all I'm sayin' is Scene 18 Panel C Dialogue I remember when Brian had

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Scene 18 Panel D Dialogue a similar difficulty with Meg. Scene 18 Panel E Dialogue Maybe she's prone to Scene 18 Panel F Dialogue quick and severe

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Scene 18 Panel G Dialogue infatuations-- NO PANEL NO PANEL

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Scene 19 Panel A Dialogue 301 LOIS Joe, Scene 19 Panel B Dialogue if you're gonna be delusional, Scene 19 Panel C Dialogue aim higher than Meg

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Scene 19 Panel D Dialogue for god's sake. Scene 19 Panel E Dialogue 302 PETER Joe, Joe... Scene 19 Panel F Dialogue you're in a wheelchair.

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Scene 20 Panel A Dialogue 303 JOE Hey, easy there. Scene 20 Panel B Dialogue There are lots of attractive people Scene 20 Panel C Dialogue who are handicapped.

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Scene 17_1 Panel A Scene 17_1 Panel B Dialogue 303a LOIS Yeah, but, 303b PETER Well, yeah, in- I mean Scene 17_1 Panel C Dialogue 303a LOIS I mean, 303b PETER I suppose

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Scene 17_1 Panel D Dialogue 303a LOIS come on, 303b PETER but is Scene 17_1 Panel E Dialogue 303a LOIS do you really-- 303b PETER wha-- Scene 17_1 Panel F Dialogue 303a LOIS I mean, you, you think

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Scene 17_1 Panel G Dialogue 303a LOIS you're one of them? 303b PETER I was Scene 17_1 Panel H Dialogue 303b PETER just gonna say, Scene 17_1 Panel I Dialogue 303a LOIS I mean... do you? Joe? 303b PETER do you think, do you think

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Scene 17_1 Panel J Dialogue 303a LOIS Really? 303b PETER you're one of them? Scene 17_1 Panel K Dialogue 303b PETER You do? Do you? Scene 17_1 Panel L Dialogue 303a LOIS That, ah-

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Scene 17_1 Panel M Dialogue 303b PETER Huh? Is that what you think? Scene 17_1 Panel N Dialogue 303a LOIS Oh? Scene 17_1 Panel O Dialogue 303b PETER You think you're--

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Scene 17_1 Panel P Dialogue 303a LOIS Okay. 303b PETER ...you think Scene 17_1 Panel Q Dialogue 303b PETER you're attractive? Scene 17_1 Panel R Dialogue 303b PETER Hmm?

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Scene 17_1 Panel S Scene 17_1 Panel T Dialogue 304 JOE (LONG BEAT) I think we've gotten off topic a little bit. NO PANEL

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Scene 19_1 Panel A Scene 19_1 Panel B Dialogue 305 PETER On the contrary. Scene 19_1 Panel C Dialogue Your attractiveness

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Scene 19_1 Panel D Dialogue is at the very Scene 19_1 Panel E Dialogue heart of the matter! Scene 19_1 Panel F

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Scene 18_3 Panel A Dialogue 306 JOE So, you don't think Scene 18_3 Panel B Dialogue Meg would go for me. NO PANEL

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Scene 17_2 Panel A Dialogue 307 LOIS I don't know, Scene 17_2 Panel B Dialogue what do you think, Mrs. Garrett? Action Notes WIDEN TO INCLUDE MRS. GARRETT.

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Scene 17_2 Panel C Dialogue 308 MRS. GARRETT Noooo!! Scene 17_2 Panel D Dialogue 309 PETER She is a handy broad to have around. NO PANEL

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Scene 18_1 Panel A Dialogue 310 JOE Well, I guess I misread a few of Meg's signals. Scene 18_1 Panel B Dialogue I'm sorry I bothered you. Scene 18_1 Panel C

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Scene 18_1 Panel D Scene 18_1 Panel E NO PANEL

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Scene 26 Panel A Scene 26 Panel B Scene 26 Panel C Action Notes Joe exits.

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Scene 26 Panel D Dialogue 311 PETER That guy is just off kilter. Scene 26 Panel E Dialogue Like a time-restricted special on a Jewish cruise.

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Scene 27 Panel A Dialogue 312 CRUISE DIRECTOR (V.O., OVER P.A. SYSTEM) Attention, passengers, for the next twenty minutes, the Captain would like to offer an open bar at the front of the ship... Action Notes EXT. OCEAN - DAY (CUTAWAY) We see a WIDE SHOT of a cruise ship, floating on the water. Scene 27 Panel B Action Notes We hear a great deal of clatter as the passengers stampede toward the front of the ship. The ship tilts sharply forward so that the stern is sticking up in the air. Scene 27 Panel C Dialogue 313 CRUISE DIRECTOR (V.O., OVER P.A. SYSTEM) ...All we ask is a small gratuity for the bar staff. Action Notes We hear the same clatter as the ship rights itself.

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Scene 28 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL

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Scene 29 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Lois is watching TV. Scene 29 Panel B Scene 29 Panel C Action Notes Meg enters from upstairs.

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Scene 30 Panel A Scene 30 Panel B Scene 30 Panel C

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Scene 30 Panel D Scene 30 Panel E Dialogue 314 MEG (TAKES A DEEP BREATH) Scene 30 Panel F Dialogue Oh my god! Joe was here!

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Scene 31 Panel A Scene 31 Panel B Dialogue 315 LOIS Yeah, he stopped over earlier. NO PANEL

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Scene 30_1 Panel A Dialogue 316 MEG I know. Scene 30_1 Panel B Dialogue I can feel him. Scene 30_1 Panel C Dialogue I can

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Scene 30_1 Panel D Dialogue smell him. Scene 30_1 Panel E Dialogue Mmmm-- Scene 30_1 Panel F Dialogue mmmmm--

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Scene 30_1 Panel G Dialogue Scene 30_1 Panel H Dialogue I can taste him. NO PANEL

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Scene 33 Panel A Dialogue 317 LOIS Okay, Scene 33 Panel B Dialogue I get the smell part, Scene 33 Panel C Dialogue but, Meg,

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Scene 33 Panel D Dialogue I think we Scene 33 Panel E Dialogue have to Scene 33 Panel F Dialogue have

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Scene 33 Panel G Dialogue a Scene 33 Panel H Dialogue talk. NO PANEL

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Scene 33 Panel I Scene 33 Panel J

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Scene 33 Panel K NO PANEL NO PANEL

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Scene 34 Panel A Dialogue Sweetheart, you don't-- Scene 34 Panel B Scene 34 Panel C Dialogue you don't have a crush on Joe,

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Scene 34 Panel D Dialogue do you? NO PANEL NO PANEL

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Scene 35 Panel A Dialogue 318 MEG (EVASIVE) I Scene 35 Panel B Dialogue don't Scene 35 Panel C Dialogue know.

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Scene 35 Panel D Dialogue Scene 35 Panel E Dialogue Maybe. NO PANEL

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Scene 36 Panel A Scene 36 Panel B Scene 36 Panel C Dialogue 319 LOIS (REALIZING) Oh my

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Scene 36 Panel D Dialogue god. Scene 36 Panel E Dialogue You do have a crush on him. NO PANEL

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Scene 37 Panel A Dialogue 320 MEG What, Mom? Scene 37 Panel B Dialogue Why shouldn't I like him? Scene 37 Panel C Dialogue Joe is a loving, caring man.

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Scene 38 Panel A Dialogue 321 LOIS Yes, Scene 38 Panel B Dialogue he is, Scene 38 Panel C Dialogue but he's more than

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Scene 38 Panel D Dialogue twice your age. Scene 38 Panel E Dialogue And besides that, Scene 38 Panel F Dialogue he's married and has

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Scene 38 Panel G Dialogue a family. Scene 38 Panel H Dialogue 322 MEG So what? Scene 38 Panel I Dialogue When I'm with him

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Scene 38 Panel J Dialogue he makes Scene 38 Panel K Dialogue me Scene 38 Panel L Dialogue happy!

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Scene 38 Panel M Dialogue And he Scene 38 Panel N Dialogue needs me! NO PANEL

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Scene 36_1 Panel A Dialogue 323 LOIS Meg, Scene 36_1 Panel B Dialogue you're foolin' yourself. Scene 36_1 Panel C Dialogue It's classic Florence Nightingale Syndrome.

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Scene 36_1 Panel D Dialogue You're taking care of him and you're feeling a closeness that you're Scene 36_1 Panel E Dialogue misinterpreting as a romantic connection. Scene 36_1 Panel F Dialogue But think about it, Meg.

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Scene 36_1 Panel G Dialogue You two have Scene 36_1 Panel H Dialogue nothing in common. NO PANEL

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Scene 37_1 Panel A Scene 37_1 Panel B Scene 37_1 Panel C Dialogue 324 MEG (OMINOUSLY) You know,

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Scene 37_1 Panel D Dialogue you're right, Mom. Scene 37_1 Panel E Dialogue I hear you loud and clear. Scene 37_1 Panel F

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Scene 41 Panel A Action Notes EXT./ESTAB. SWANSONS' HOUSE - DAY NO PANEL NO PANEL

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Scene 42 Panel A Action Notes Meg stands on the sidewalk, waiting for something. Scene 42 Panel B Scene 42 Panel C

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Scene 43 Panel A Action Notes After a few moments, Scene 43 Panel B Action Notes Joe rounds the corner in his cop car, Scene 43 Panel C Action Notes heading for his house.

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Scene 43 Panel D Scene 43 Panel E NO PANEL

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Scene 45 Panel A Scene 45 Panel B

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Scene 46 Panel A Scene 46 Panel B Scene 46 Panel C

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Scene 47 Panel A Scene 47 Panel B Dialogue 324a. MEG (DEEP BREATH) Action Notes Meg takes a deep breath NO PANEL

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Scene 49 Panel A Scene 49 Panel B Scene 49 Panel C

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Scene 49 Panel D Scene 49 Panel E Action Notes and throws herself into the path of the car. NO PANEL

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Scene 50 Panel A Scene 50 Panel B Scene 50 Panel C Dialogue (THUD SFX)

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Scene 50 Panel D Scene 50 Panel E NO PANEL

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Scene 51 Panel A Scene 51 Panel B Dialogue 324b. JOE (SCREAMS) Action Notes Joe screams as he smashes into her, running her over. Scene 51 Panel C Action Notes (BUMP)

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Scene 51 Panel D Scene 51 Panel E Action Notes (BUMP) Scene 51 Panel F

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Scene 52 Panel A Scene 52 Panel B Scene 52 Panel C

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Scene 53 Panel A Scene 53 Panel B Scene 53 Panel C

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Scene 53 Panel D Scene 53 Panel E Scene 53 Panel F Action Notes Joe throws his wheelchair out of the car

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Scene 53 Panel G Scene 53 Panel H Action Notes and leaps into it, Scene 53 Panel I

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Scene 53 Panel J Action Notes then quickly wheels over to Meg, finding her trapped beneath the car. Scene 53 Panel K Action Notes (slide MEG LEVEL in frame as camera adjusts)

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Scene 53 Panel L Action Notes (slide MEG LEVEL in frame as camera adjusts) NO PANEL NO PANEL

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Scene 54 Panel A Dialogue 325 JOE Meg, Scene 54 Panel B Dialogue what the Scene 54 Panel C Dialogue hell did

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Scene 54 Panel D Dialogue you do?! NO PANEL NO PANEL

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Scene 55 Panel A Scene 55 Panel B Scene 55 Panel C Dialogue 326 MEG I made us the same, Joe.

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Scene 55 Panel D Dialogue We're exactly alike, you and I. Scene 55 Panel E Dialogue Now we can be together. Scene 55 Panel F Dialogue

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Scene 55 Panel G NO PANEL NO PANEL

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Scene 54_1 Panel A Dialogue 327 JOE My god, we have to get you Scene 54_1 Panel B Dialogue to the hospital. Scene 54_1 Panel C

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Scene 57 Panel A Scene 57 Panel B Scene 57 Panel C

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Scene 57 Panel D Scene 57 Panel E Action Notes He pulls Meg out from underneath the car, Scene 57 Panel F

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Scene 57 Panel G Scene 57 Panel H

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Scene 57 Panel I Scene 57 Panel J Scene 57 Panel K Action Notes and puts her in the backseat.

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Scene 57 Panel L Scene 57 Panel M Scene 57 Panel N

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Scene 57 Panel O Action Notes Joe gets in the front. Scene 57 Panel P Scene 57 Panel Q

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Scene 57 Panel R Scene 57 Panel S Scene 57 Panel T

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Scene 58 Panel A Scene 58 Panel B Scene 58 Panel C

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Scene 58 Panel D Scene 58 Panel E Action Notes He blows into the tube that's attached to the dashboard. Scene 58 Panel F Action Notes Nothing happens.

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Scene 58 Panel G Scene 58 Panel H Scene 58 Panel I

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Scene 58 Panel J Dialogue 328 JOE Oh no. That crash must have severed my blow line. Scene 58 Panel K Dialogue Looks like this is gonna have to be a hand job. Scene 58 Panel L

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Scene 58 Panel M Scene 58 Panel N

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Scene 58 Panel O Scene 58 Panel P Scene 58 Panel Q

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Scene 58 Panel R Scene 58 Panel S Scene 58 Panel T

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Scene 58 Panel U Action Notes Joe gets on his stomach. He bites the bottom of the steering wheel with his teeth, ties his legs around his neck NO PANEL NO PANEL

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Scene 59 Panel A Scene 59 Panel B NO PANEL

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Scene 60 Panel A Scene 60 Panel B Scene 60 Panel C

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Scene 60 Panel D Scene 60 Panel E Action Notes and uses his hands to operate the floor pedals. NO PANEL

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Scene 61 Panel A Scene 61 Panel B Scene 61 Panel C Action Notes The car peels out and recklessly veers up and down streets, knocking over the occasional trash can and mailbox.

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Scene 61 Panel D Scene 61 Panel E Scene 61 Panel F

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Scene 61 Panel G NO PANEL NO PANEL

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Scene 62 Panel A Scene 62 Panel B Scene 62 Panel C

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Scene 62 Panel D

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Scene 62 Panel E

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Scene 62 Panel F

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Scene 62 Panel G NO PANEL NO PANEL

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Scene 63 Panel A Dialogue 329 HERBERT But I mean, after soccer practice, Action Notes EXT. HERBERT'S HOUSE - CONTINUOUS Herbert stands with a TEENAGE boy. Scene 63 Panel B Dialogue you got anything planned for then?

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Scene 63 Panel C Action Notes ANGLE ON Joe's cop car, which speeds towards them, sirens blaring. Scene 63 Panel D Scene 63 Panel E Dialogue 330 HERBERT I mean,

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Scene 63 Panel F Dialogue nothin', nothin'. Scene 63 Panel G Dialogue Keep Scene 63 Panel H Dialogue walkin'.

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Scene 63 Panel I Dialogue You don't know me. Action Notes Herbert exits as quickly as he can with his walker. Scene 63 Panel J Scene 63 Panel K

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Scene 63 Panel L Scene 63 Panel M NO PANEL

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Scene 64 Panel A Action Notes EXT./ESTAB. HOSPITAL - DAY NO PANEL NO PANEL

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Scene 65 Panel A Action Notes INT. HOSPITAL ROOM - SAME Meg lies in the hospital bed. Joe sits by her side. Scene 65 Panel B Dialogue 331 JOE The doctor says Scene 65 Panel C Dialogue you're gonna be fine,

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Scene 65 Panel D Dialogue and your family's on the way. Scene 65 Panel E Dialogue But that was a crazy thing you did, Meg. NO PANEL

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Scene 66 Panel A Dialogue 332 MEG I know. Scene 66 Panel B Dialogue I'm-- Scene 66 Panel C Dialogue I'm so sorry.

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Scene 66 Panel D Dialogue I just wanted us Scene 66 Panel E Dialogue to be closer. NO PANEL

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Scene 67 Panel A Dialogue 333 JOE Meg, I know you Scene 67 Panel B Dialogue 333 JOE Meg, Scene 67 Panel C Dialogue I know you

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Scene 67 Panel D Dialogue took my gun from the drawer. Scene 67 Panel E Dialogue I know you planted it in Bonnie's luggage. Scene 67 Panel F Dialogue And I know that you breastfed Susie.

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Scene 67 Panel G Dialogue I know I was there when Scene 67 Panel H Dialogue you did that. Scene 67 Panel I Dialogue And I know that

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Scene 67 Panel J Dialogue you know that Scene 67 Panel K Dialogue I was there. Scene 67 Panel L Dialogue But I just wanted to bring it up again because

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Scene 67 Panel M Dialogue it was really weird. NO PANEL NO PANEL

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Scene 65_3 Panel A Dialogue 334 MEG I'm sorry, Mr. Swanson. Scene 65_3 Panel B Dialogue I guess I just thought that if Mrs. Swanson was out of the way, Scene 65_3 Panel C Dialogue we could be together.

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Scene 65_3 Panel D Dialogue 335 JOE Look, Meg, Scene 65_3 Panel E Dialogue I do care for you. Scene 65_3 Panel F Dialogue But I care for you

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Scene 65_3 Panel G Dialogue like I would Scene 65_3 Panel H Dialogue a niece Scene 65_3 Panel I Dialogue Or a good friend's daughter.

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Scene 65_3 Panel J Dialogue 336 MEG (SIGH) Scene 65_3 Panel K Dialogue I feel like such an idiot. NO PANEL

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Scene 67_1 Panel A Dialogue 337 JOE Don't. Scene 67_1 Panel B Dialogue I'm lucky to have you Scene 67_1 Panel C Dialogue And even luckier to have you

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Scene 67_1 Panel D Dialogue as a friend. NO PANEL NO PANEL

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Scene 70 Panel A Dialogue 338 MEG Thanks. Scene 70 Panel B Dialogue I'm lucky to have you as a friend, too. Scene 70 Panel C Dialogue

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Scene 67_2 Panel A Action Notes They share a smile. Scene 67_2 Panel B NO PANEL

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Scene 65_1 Panel A Dialogue 339 MEG (SIGH) Scene 65_1 Panel B Dialogue When is Bonnie coming home? Scene 65_1 Panel C Dialogue I have to apologize to her.

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Scene 65_1 Panel D Dialogue 340 JOE She called and said she'll be home tomorrow. Scene 65_1 Panel E Dialogue I'm a little worried, though. Scene 65_1 Panel F Dialogue They sent her to Monopoly jail.

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Scene 72 Panel A Action Notes EXT. GIANT MONOPOLY BOARD - DAY (CUTAWAY) Bonnie stands in the jail section of a giant monopoly board. Also there are a THIMBLE, a SCOTTIE DOG, a BATTLESHIP, a TOP HAT, a RACE CAR, and a SHOE. Scene 72 Panel B Dialogue 341 BONNIE So what's the common thread with you guys? Scene 72 Panel C Dialogue 342 THIMBLE We're the things that were most important in people's lives in the thirties.

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Scene 72 Panel D Dialogue 343 SHOE If you weren't wearing a top hat in a race car, you and your dog were sewing on a battleship. Scene 72 Panel E Dialogue 344 BONNIE (TO SHOE) What about you? Scene 72 Panel F Dialogue 345 SHOE III'm just a shoe.

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Scene 72_1 Panel A NO PANEL NO PANEL

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Scene 115 Panel A Action Notes Tag EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL

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Scene 116 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Peter sits on the couch, watching TV. Scene 116 Panel B Scene 116 Panel C Action Notes After a beat, Lois enters.

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Scene 116 Panel D Scene 116 Panel E Dialogue 361 LOIS Peter. Scene 116 Panel F Dialogue It's time.

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Scene 116 Panel G Dialogue 362 PETER Huh? NO PANEL NO PANEL

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Scene 117 Panel A Dialogue 363 LOIS From before. Scene 117 Panel B Dialogue 364 PETER Oh. Scene 117 Panel C Dialogue Well,

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Scene 117 Panel D Dialogue I think we all learned somethin' Scene 117 Panel E Dialogue this week. Scene 117 Panel F Dialogue

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Scene 117 Panel G Dialogue (THEN) Is that good? Scene 117 Panel H Dialogue 365 LOIS Yep. NO PANEL

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Scene 117 Panel I Scene 117 Panel J Dialogue 366 PETER Well, nine-thirty.

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Scene 117 Panel K Scene 117 Panel L Dialogue Good night. Scene 117 Panel M Action Notes He shuts off the television and exits.