Family Guy - "Tea Peter"

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Scene 1_5 Panel A Action Notes Act one EXT./ESTAB. GOLDMAN'S PHARMACY - DAY There is a sign hanging which reads, "Grand Re-Opening!" Scene 1_5 Panel B NO PANEL Page 1

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Scene 3_1 Panel A Action Notes INT. GOLDMAN'S PHARMACY - SAME The GRIFFINS and various other QUAHOGIANS browse MORT's store. Scene 3_1 Panel B NO PANEL Page 2

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Scene 3_1 Panel C Scene 3_1 Panel D Page 3

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Scene 3_1 Panel E Dialogue 1 MORT Welcome, Scene 3_1 Panel F Dialogue everybody! Scene 3_1 Panel G Dialogue Help yourself Page 4

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Scene 3_1 Panel H Dialogue to some free popcorn! NO PANEL NO PANEL Page 5

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Scene 4_3 Panel A Dialogue (THEN) We are Scene 4_3 Panel B Dialogue asking four dollars Scene 4_3 Panel C Dialogue for the bag. Page 6

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Scene 5_1 Panel A Dialogue 2 LOIS Congratulations Scene 5_1 Panel B Dialogue on your Grand Scene 5_1 Panel C Dialogue Re-Opening, Mort. Looks like your customers are comin' back. Page 7

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Scene 5_1 Panel D Dialogue 3 PETER Yeah, I hated goin' Scene 5_1 Panel E Dialogue to that other pharmacy. Scene 5_1 Panel F Dialogue They are not discreet at all. Page 8

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Scene 6 Panel A Action Notes INT. DIFFERENT PHARMACY - DAY (FLASHBACK) Peter stands at the front counter. The PHARMACIST has several magazines in a rack behind him. Scene 6 Panel B Dialogue 4 PETER (SOFTLY, INDICATING MAGAZINES) Ah, Scene 6 Panel C Dialogue One issue of "Ramrod". Page 9

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Scene 6 Panel D Scene 6 Panel E Scene 6 Panel F Page 10

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Scene 6 Panel G Dialogue 5 PHARMACIST (PLACING DOWN MAGAZINE DISCREETLY) Ah, Scene 6 Panel H Dialogue good Scene 6 Panel I Dialogue month. Page 11

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Scene 6 Panel J Dialogue 6 PETER Uh, Scene 6 Panel K Dialogue "Tip to Tip". Scene 6 Panel L Page 12

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Scene 6 Panel M Scene 6 Panel N Scene 6 Panel O Dialogue 7 PHARMACIST (PLACING DOWN MAGAZINE DISCREETLY) No disappointments Page 13

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Scene 6 Panel P Dialogue there. Scene 6 Panel Q Dialogue 8 PETER Uh, Scene 6 Panel R Dialogue "Power Tool". Page 14

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Scene 6 Panel S Scene 6 Panel T Scene 6 Panel U Page 15

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Scene 6 Panel V Scene 6 Panel W Dialogue 9 PHARMACIST (PLACING DOWN MAGAZINE DISCREETLY) Bingo. Scene 6 Panel X Dialogue 10 PETER And a pack Page 16

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Scene 6 Panel Y Dialogue of Tums. Scene 6 Panel Z Dialogue of Tums. Scene 6 Panel AA Dialogue 11 PHARMACIST (PLACING DOWN PACK OF TUMS LOUDLY) One pack Page 17

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Scene 6 Panel AB Dialogue of Tums! Scene 6 Panel AC Dialogue 12 PETER (QUICKLY) Never mind! Scene 6 Panel AD Action Notes Peter ducks his head and quickly exits. Page 18

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Scene 6 Panel AE NO PANEL NO PANEL Page 19

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Scene 7_1 Panel A Action Notes INT. GOLDMAN'S PHARMACY - DAY (BACK TO SCENE) Peter browses the gum rack. Scene 7_1 Panel B Scene 7_1 Panel C Page 20

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Scene 7_1 Panel D Scene 7_1 Panel E Scene 7_1 Panel F Dialogue 13 PETER Oh, wow, Page 21

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Scene 7_1 Panel G Dialogue Jewish gum! Scene 7_1 Panel H Scene 7_1 Panel I Dialogue (READING) "Bubble Yuk". Page 22

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Scene 7_1 Panel J Scene 7_1 Panel K Scene 7_1 Panel L Dialogue (TRIES A PIECE) Page 23

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Scene 7_1 Panel M Scene 7_1 Panel N Scene 7_1 Panel O Page 24

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Scene 7_1 Panel P Scene 7_1 Panel Q Scene 7_1 Panel R Page 25

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Scene 7_1 Panel S Scene 7_1 Panel T Scene 7_1 Panel U Dialogue Tastes like herring and coffee breath. Page 26

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Scene 9 Panel A Action Notes ANGLE ON another part of the store, where Chris stands before a rotating rack of sunglasses, Scene 9 Panel B Action Notes trying on different pairs. Scene 9 Panel C Page 27

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Scene 9 Panel D Scene 9 Panel E Scene 9 Panel F Page 28

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Scene 9 Panel G Scene 9 Panel H Scene 9 Panel I Page 29

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Scene 9 Panel J Scene 9 Panel K Scene 9 Panel L Page 30

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Scene 9 Panel M Scene 9 Panel N Scene 9 Panel O Page 31

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Scene 9 Panel P Action Notes WIDEN TO INCLUDE SEAMUS standing at a similar rack that has a variety of eye patches. Scene 9 Panel Q Page 32

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Scene 11 Panel A Dialogue 14 SEAMUS Hm, Scene 11 Panel B Dialogue maybe this one. Scene 11 Panel C Page 33

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Scene 11 Panel D Scene 11 Panel E Scene 11 Panel F Page 34

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Scene 11 Panel G Scene 11 Panel H Action Notes He puts on the patch, Scene 11 Panel I Action Notes which gives him the appearance of a guy with one freakishly large eye. Page 35

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Scene 11 Panel J NO PANEL NO PANEL Page 36

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Scene 9_1 Panel A Action Notes Scene 9_1 Panel B Dialogue 15 SEAMUS Hey. Action Notes He turns to Chris. Scene 9_1 Panel C Dialogue Lookin' at you pretty normal, Action Notes Page 37

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Scene 9_1 Panel D Dialogue huh? Action Notes Scene 9_1 Panel E Action Notes Scene 9_1 Panel F Action Notes Page 38

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Scene 9_1 Panel G Action Notes Scene 9_1 Panel H Dialogue 16 CHRIS (FREAKED OUT) No! Action Notes Scene 9_1 Panel I Action Notes Page 39

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Scene 9_1 Panel J Action Notes NO PANEL NO PANEL Page 40

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Scene 11_1 Panel A Dialogue 17 SEAMUS Aw, fudge. Scene 11_1 Panel B Scene 11_1 Panel C Dialogue (THEN) Wait, Page 41

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Scene 11_1 Panel D Dialogue I know! Scene 11_1 Panel E Scene 11_1 Panel F Page 42

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Scene 11_1 Panel G Action Notes Seamus grabs an identical patch Scene 11_1 Panel H Action Notes and puts it over his other eye. Scene 11_1 Panel I Action Notes He now appears to have two freakishly large eyes. Page 43

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Scene 11_2 Panel A Scene 11_2 Panel B Action Notes He turns to exit NO PANEL Page 44

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Scene 11_2 Panel C Scene 11_2 Panel D Action Notes and walks into a shelf, jostling it slightly. Page 45

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Scene 11_2 Panel E Scene 11_2 Panel F Scene 11_2 Panel G Page 46

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Scene 11_2 Panel H Dialogue 18 SEAMUS I'll figure this out. Scene 11_2 Panel I Dialogue The pieces are Scene 11_2 Panel J Dialogue all there. Page 47

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Scene 11_2 Panel K Dialogue I'll go home and figure this out. NO PANEL NO PANEL Page 48

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Scene 11_3 Panel A Action Notes ANGLE BACK ON Peter. Scene 11_3 Panel B Scene 11_3 Panel C Action Notes He notices a sign hanging in the window. Page 49

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Scene 11_3 Panel D Scene 11_3 Panel E Action Notes He turns it around, Scene 11_3 Panel F Action Notes revealing that it's Mort's "Come In, We're Open!" sign. Page 50

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Scene 11_3 Panel G Scene 11_3 Panel H Dialogue 19 PETER (RE: SIGN) Aw, cool. Scene 11_3 Panel I Dialogue Hey Mort, Page 51

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Scene 11_3 Panel J Dialogue what's this thing? Scene 11_3 Panel K Dialogue 20 MORT Oh, that? Page 52

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Scene 11_3 Panel L Dialogue That's my "Come In, We're Open!" sign. Scene 11_3 Panel M Dialogue It's the only thing Scene 11_3 Panel N Dialogue that survived the fire. Page 53

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Scene 11_3 Panel O Dialogue And it's my last connection to my Scene 11_3 Panel P Dialogue dear, departed Muriel. Scene 11_3 Panel Q Dialogue 21 PETER Wish I had one of those. Page 54

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Scene 11_3 Panel R Dialogue 22 MORT (QUICKLY) I'll sell it Scene 11_3 Panel S Dialogue to you. Scene 11_3 Panel T Page 55

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Scene 11_4 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL Page 56

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Scene 11_5 Panel A Dialogue 23 TV ANNOUNCER (V.O.) We now return to "Law and Order: Extra Special Victims Unit". Action Notes INT. GRIFFINS' LIVING ROOM - SAME The Griffins, minus Peter, sit on the couch watching television. NO PANEL NO PANEL Page 57

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Scene 11_6 Panel A Dialogue 24 POLICE OFFICER #1 Can you pick out Action Notes INT. POLICE STATION - DAY (ON TV) TWO POLICE OFFICERS stand with a DEVELOPMENTALLY DISABLED MAN at a pane of glass, gesturing to an off-screen lineup of suspects in an adjoining room. Scene 11_6 Panel B Dialogue the man who assaulted you, sir? Scene 11_6 Panel C Dialogue 25 DEVELOPMENTALLY DISABLED MAN Blue! Page 58

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Scene 11_6 Panel D Dialogue 26 POLICE OFFICER #1 No, sir, Scene 11_6 Panel E Dialogue blue is not Scene 11_6 Panel F Dialogue a person. Page 59

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Scene 11_6 Panel G Dialogue 27 DEVELOPMENTALLY DISABLED MAN Blue! Scene 11_6 Panel H Scene 11_6 Panel I Dialogue Blue! Page 60

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Scene 11_6 Panel J Dialogue Scene 11_6 Panel K Dialogue 28 POLICE OFFICER #2 Jeez, this is gonna be harder than we thought. Scene 11_6 Panel L Dialogue (SPEAKING INTO NEARBY MICROPHONE) Okay, everyone, you're free to go. Page 61

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Scene 11_7 Panel A Action Notes We ANGLE THROUGH THE WINDOW to see the suspects Scene 11_7 Panel B Scene 11_7 Panel C Action Notes as they exit the adjoining room. Page 62

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Scene 11_7 Panel D Action Notes Five of them are MEN and one is an AMORPHOUS BLUE BLOB with limbs and an angry face. Scene 11_7 Panel E Scene 11_7 Panel F Page 63

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Scene 11_7 Panel G Scene 11_7 Panel H Scene 11_7 Panel I Page 64

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Scene 11_7 Panel J Scene 11_7 Panel K Scene 11_7 Panel L Page 65

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Scene 11_7 Panel M NO PANEL NO PANEL Page 66

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Scene 11_8 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - DAY (BACK TO SCENE) Scene 11_8 Panel B Action Notes We hear a pounding sound on the door. Scene 11_8 Panel C Action Notes Lois gets up to investigate. Page 67

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Scene 11_8 Panel D Scene 11_8 Panel E NO PANEL Page 68

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Scene 11_9 Panel A Scene 11_9 Panel B Scene 11_9 Panel C Dialogue 29 LOIS Peter, Action Notes She opens the door, revealing Peter standing on the front step with a hammer. He has just hung the "Come In, We're Open!" sign on the front door. Page 69

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Scene 11_9 Panel D Dialogue what are you doing? Scene 11_9 Panel E Dialogue 30 PETER Eh, I'm Scene 11_9 Panel F Dialogue just Page 70

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Scene 11_9 Panel G Dialogue puttin' up Action Notes (Peter hooks hammer onto belt) Scene 11_9 Panel H Dialogue my new Scene 11_9 Panel I Dialogue sign. Page 71

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Scene 11_9 Panel J Scene 11_9 Panel K Action Notes (Peter adjusts/straightens sign) Scene 11_9 Panel L Dialogue 31 LOIS Don't put that thing on our door. Page 72

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Scene 11_9 Panel M Dialogue If you wanna hang it somewhere, Scene 11_9 Panel N Dialogue hang it in the basement. Scene 11_9 Panel O Dialogue 32 PETER Oh, why? Page 73

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Scene 11_9 Panel P Dialogue So you can hog it Scene 11_9 Panel Q Dialogue while you're doin' laundry? NO PANEL Page 74

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Scene 11_9 Panel R Dialogue No way. Scene 11_9 Panel S Page 75

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Scene 11_9 Panel T Dialogue 33 LOIS Peter, we're not Scene 11_9 Panel U Dialogue a business. Action Notes A MAN approaches up the walkway. Scene 11_9 Panel V Dialogue 34 MAN #1 Hey, Page 76

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Scene 11_9 Panel W Dialogue I saw your sign. Scene 11_9 Panel X Dialogue So, you're open? Scene 11_9 Panel Y Dialogue 35 PETER That's right. Page 77

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Scene 11_9 Panel Z Dialogue 36 MAN #1 What do you do? Scene 11_9 Panel AA Dialogue 37 PETER What do you need? Scene 11_9 Panel AB Dialogue 38 MAN #1 Milk. Page 78

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Scene 11_9 Panel AC Dialogue 39 PETER (PLEASED) We have milk. NO PANEL NO PANEL Page 79

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Scene 1 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY There are numerous cars parked along the street, and PEOPLE are entering and exiting the house. Scene 1 Panel B NO PANEL Page 80

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Scene 020 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME There are now many PEOPLE in the Griffins' living room, browsing the Griffins' belongings. Scene 020 Panel B Page 81

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Scene 020 Panel C NO PANEL NO PANEL Page 82

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Scene 4 Panel A Scene 4 Panel B NO PANEL Page 83

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Scene 4 Panel C NO PANEL Page 84

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Scene 4 Panel D Scene 4 Panel E Dialogue 40 LOIS Peter, Page 85

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Scene 4 Panel F Dialogue I told you, Scene 4 Panel G Dialogue I don't like all these strangers walkin' around Scene 4 Panel H Dialogue in our house. Page 86

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Scene 4 Panel I Dialogue 41 PETER They're not strangers, Lois. They're our valued customers. Scene 4 Panel J Dialogue And if we don't show them we appreciate their loyalty, Scene 4 Panel K Dialogue they're gonna go someplace else. Page 87

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Scene 4 Panel L Dialogue 42 LOIS For what?! Scene 4 Panel M Dialogue 43 STEWIE Not to Page 88

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Scene 4 Panel N Dialogue alarm anyone, Scene 4 Panel O Dialogue but some guy took me in the closet and tried me on. Scene 4 Panel P Dialogue 44 MEG She's right, Dad. Page 89

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Scene 4 Panel Q Dialogue None of this makes any sense. Scene 4 Panel R Dialogue 45 PETER Meg, go take your ten. And you may consider this a verbal warning. Scene 4 Panel S Dialogue Page 90

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Scene 4 Panel T Scene 4 Panel U Dialogue 46 LOIS Peter, I want these people to leave. Scene 4 Panel V Dialogue 47 STEWIE I fit, by the way. Page 91

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Scene 7 Panel A Dialogue 48 PETER Lois, I'd love nothin' more than to sit here and Scene 7 Panel B Dialogue chat with you, but I have a Scene 7 Panel C Dialogue business to run. Page 92

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Scene 7 Panel D Dialogue 49 PETER Hi there. Action Notes Peter turns to a nearby MAN, who holds a piece of paper. Scene 7 Panel E Dialogue What can I Page 93

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Scene 7 Panel F Dialogue do for you? Scene 7 Panel G Dialogue 50 MAN #2 (HANDING PAPER TO PETER) I'd like Scene 7 Panel H Dialogue fifty Page 94

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Scene 7 Panel I Dialogue photocopies. Scene 7 Panel J Dialogue 51 PETER I'll get those for you right away. Scene 7 Panel K Page 95

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Scene 7 Panel L NO PANEL NO PANEL Page 96

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Scene 7_A Panel A NO PANEL NO PANEL Page 97

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Scene 8 Panel A Action Notes INT. GRIFFINS' KITCHEN - A BIT LATER Peter sits at the kitchen table, copying the flyer laboriously by hand. He is surrounded by other pieces of paper, many of which are crumpled up. Scene 8 Panel B Action Notes Brian enters. Page 98

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Scene 8 Panel C Scene 8 Panel D Dialogue 52 BRIAN Peter, what are you Scene 8 Panel E Dialogue doing in Page 99

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Scene 8 Panel F Dialogue here? Scene 8 Panel G Dialogue 53 PETER Makin' photocopies. Scene 8 Panel H Dialogue Hey, do me a favor and tell that guy in the livin' room his order will be ready in February Page 100

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Scene 8 Panel I Dialogue and it'll be nine hundred dollars. Scene 8 Panel J Dialogue Dammit! Scene 8 Panel K Page 101

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Scene 8 Panel L Dialogue (THEN, CRUMPLING UP PAPER) Tell him Scene 8 Panel M Dialogue March. Scene 8 Panel N Page 102

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Scene 8 Panel O Scene 8 Panel P Scene 8 Panel Q Page 103

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Scene 1_1 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL Page 104

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Scene 026 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Peter is in the living room as CUSTOMERS mill about. Scene 026 Panel B Notes HOOKUP PETER NO PANEL Page 105

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Scene 1_2 Panel A Scene 1_2 Panel B Page 106

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Scene 1_2 Panel C Dialogue 54 PETER May I help Scene 1_2 Panel D Dialogue you folks? Scene 1_2 Panel E Dialogue 55 FATHER Yes, Page 107

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Scene 1_2 Panel F Dialogue my Scene 1_2 Panel G Dialogue family and I Scene 1_2 Panel H Dialogue would like our portrait painted. Page 108

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Scene 1_2 Panel I Dialogue 56 PETER Well, you came to the right place. Scene 1_2 Panel J Scene 1_2 Panel K Action Notes Peter produces a blank canvas and some paints. Page 109

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Scene 1_3 Panel A Action Notes We CUT TO BLACK, with a chyron which reads "TWO HOURS LATER..." NO PANEL NO PANEL Page 110

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Scene 1_4 Panel A Action Notes We then CUT BACK TO SCENE to see the family holding their pose as Peter paints. Scene 1_4 Panel B Scene 1_4 Panel C Dialogue 57 PETER (WHILE PAINTING) Looking Page 111

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Scene 1_4 Panel D Dialogue good. Scene 1_4 Panel E Scene 1_4 Panel F Dialogue Almost Page 112

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Scene 1_4 Panel G Dialogue done. Scene 1_4 Panel H Scene 1_4 Panel I Page 113

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Scene 1_4 Panel J Scene 1_4 Panel K Dialogue And... Scene 1_4 Panel L Dialogue there! Page 114

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Scene 1_4 Panel M Dialogue Done! Scene 1_4 Panel N Scene 1_4 Panel O Action Notes Peter displays the portrait. Page 115

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Scene 1_4 Panel P NO PANEL NO PANEL Page 116

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Scene 1_10 Panel A Action Notes It's a perfect likeness of the family, except Peter has painted the Attractive Daughter and Wife in just bras and panties, making out with each other. NO PANEL NO PANEL Page 117

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Scene 1_6 Panel A Dialogue 58 FATHER What have Scene 1_6 Panel B Dialogue you Scene 1_6 Panel C Dialogue done?! Page 118

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Scene 1_6 Panel D Dialogue 59 PETER (IMPORTANT) I painted Scene 1_6 Panel E Dialogue the truth. Scene 1_6 Panel F Page 119

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Scene 1_6 Panel G Dialogue I painted Scene 1_6 Panel H Dialogue my truth. NO PANEL Page 120

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Scene 1_8 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL Page 121

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Scene 1_7 Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Peter kneels in front of a YOUNG GIRL wearing a bridal gown. He has several pins in his mouth. The Young Girl's MOTHER stands next to them. Scene 1_7 Panel B Action Notes Scene 1_7 Panel C Page 122

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Scene 1_7 Panel D Dialogue 60 PETER (WITH PINS IN MOUTH) Gimme a Scene 1_7 Panel E Dialogue spin, sweetie. Scene 1_7 Panel F Dialogue Page 123

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Scene 1_7 Panel G Dialogue Action Notes The Young Girl twirls Scene 1_7 Panel H Dialogue Action Notes as Peter sticks the pins into his wrist pin cushion. Scene 1_7 Panel I Dialogue Page 124

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Scene 1_7 Panel J Dialogue Scene 1_7 Panel K Scene 1_7 Panel L Page 125

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Scene 1_7 Panel M Dialogue 61 PETER What do you think, Mom? Scene 1_7 Panel N Dialogue Is that the most beautiful bride you've ever seen? Scene 1_7 Panel O Dialogue 62 YOUNG GIRL I love Page 126

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Scene 1_7 Panel P Dialogue it! Scene 1_7 Panel Q Dialogue 63 MOTHER Oh, it's just Scene 1_7 Panel R Dialogue so much money. Page 127

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Scene 1_7 Panel S Dialogue 64 PETER It's true. It's true. Scene 1_7 Panel T Dialogue (THEN, HARSH) Take the dress off, sweetheart. Your mother says you can't have it. Scene 1_7 Panel U Dialogue 65 MOTHER W-wa-wait...wait a minute. Page 128

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Scene 1_7 Panel V Dialogue Do you really Scene 1_7 Panel W Dialogue love it? Scene 1_7 Panel X Dialogue 66 YOUNG GIRL I do. Page 129

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Scene 1_7 Panel Y Dialogue It just feels like my wedding dress. Scene 1_7 Panel Z Dialogue 67 PETER Aw. (PRESSURING) Mom, Scene 1_7 Panel AA Dialogue she loves it. Page 130

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Scene 1_7 Panel AB Dialogue 68 MOTHER Okay. We'll take it. Scene 1_7 Panel AC Dialogue 69 LOIS Peter, Action Notes Lois enters. Page 131

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Scene 1_7 Panel AD Dialogue what is that girl Scene 1_7 Panel AE Dialogue doin' in my Scene 1_7 Panel AF Dialogue wedding dress?! Page 132

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Scene 1_7 Panel AG Dialogue 70 PETER (TO MOTHER) Oh, don't Scene 1_7 Panel AH Dialogue mind her. Scene 1_7 Panel AI Dialogue That's just our crabby seamstress, Page 133

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Scene 1_7 Panel AJ Dialogue Ms. Stitch-n-sew. Scene 1_7 Panel AK Dialogue (TO LOIS) Back Scene 1_7 Panel AL Dialogue upstairs, Page 134

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Scene 1_7 Panel AM Dialogue Ms. Stitch Scene 1_7 Panel AN Dialogue n-sew. Scene 1_7 Panel AO Page 135

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Scene 1_7 Panel AP Scene 1_7 Panel AQ Scene 1_7 Panel AR Page 136

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Scene 1_7 Panel AS Scene 1_7 Panel AT Dialogue (TO MOTHER, WHISPERING) Never found Scene 1_7 Panel AU Dialogue a husband, Page 137

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Scene 1_7 Panel AV Dialogue poor thing. Scene 1_7 Panel AW NO PANEL Page 138

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Scene 1_9 Panel A Action Notes EXT./ESTAB. GRIFFINS' HOUSE - DAY NO PANEL NO PANEL Page 139

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Scene 1_A Panel A Action Notes INT. GRIFFINS' LIVING ROOM - SAME Peter stands at a makeshift counter as a few CUSTOMERS mill about. Scene 1_A Panel B Scene 1_A Panel C Page 140

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Scene 1_A Panel D NO PANEL NO PANEL Page 141

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Scene 2 Panel A Action Notes He wraps a small item in paper Scene 2 Panel B Scene 2 Panel C Dialogue 71 PETER There you go. Page 142

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Scene 2 Panel D Dialogue A half pound of Scene 2 Panel E Dialogue honey maple turkey, sliced Action Notes Scene 2 Panel F Dialogue thin. Action Notes and hands it to a MALE CUSTOMER. Page 143

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Scene 2 Panel G Action Notes Scene 2 Panel H Action Notes Scene 2 Panel I Dialogue 72 MALE CUSTOMER I wanted a Action Notes Page 144

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Scene 2 Panel J Dialogue duplicate key Action Notes Scene 2 Panel K Dialogue made. Action Notes Scene 2 Panel L Dialogue 73 PETER You have a good one. Action Notes Page 145

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Scene 2 Panel M Action Notes Scene 2 Panel N Action Notes Scene 2 Panel O Action Notes Page 146

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Scene 2 Panel P Action Notes Scene 2 Panel Q Dialogue 74 PETER Oh, hey, Joe. Action Notes Scene 2 Panel R Dialogue What's goin' on? Action Notes Page 147

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Scene 2 Panel S Dialogue 75 JOE Peter, I'm afraid I'm here Action Notes Scene 2 Panel T Dialogue to shut down your business. Action Notes NO PANEL Page 148

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Scene 2_2 Panel A Dialogue 76 PETER What?! Scene 2_2 Panel B Dialogue That's crazy! I'm providing important goods and services Scene 2_2 Panel C Dialogue to the community. Page 149

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Scene 3 Panel A Dialogue 77 JOE You've been running an Scene 3 Panel B Dialogue unlicensed business in your home. Scene 3 Panel C Dialogue That's against city law. Page 150

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Scene 2_1 Panel A Dialogue 78 PETER Aw, Scene 2_1 Panel B Dialogue that is such bullcrap. NO PANEL Page 151

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Scene 4_2 Panel A Dialogue 79 JOE Yeah, the law says Scene 4_2 Panel B Dialogue you need a business license. Scene 4_2 Panel C Dialogue Takes about thirty seconds. Page 152

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Scene 4_2 Panel D Dialogue Just gotta fill out a form. Scene 4_2 Panel E Dialogue Doesn't cost anything. NO PANEL Page 153

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Scene 5 Panel A Dialogue 80 PETER Oh, Scene 5 Panel B Dialogue come Scene 5 Panel C Dialogue on! Page 154

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Scene 5 Panel D Dialogue 81 JOE Yeah, I Scene 5 Panel E Dialogue brought you the form. (HOLDS UP FORM) Scene 5 Panel F Dialogue And I took the liberty of filling it out for you Page 155

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Scene 5 Panel G Dialogue ahead of time, Scene 5 Panel H Dialogue so all you have Scene 5 Panel I Dialogue to do is just Action Notes (Joe reaches in shirt pocket for pen.) Page 156

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Scene 5 Panel J Dialogue sign it, and we're good Scene 5 Panel K Dialogue 82 PETER Son of a Scene 5 Panel L Dialogue bitch! Page 157

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Scene 5 Panel M Dialogue 85 JOE Yeah, Scene 5 Panel N Dialogue so I already signed it Scene 5 Panel O Dialogue on your behalf, Page 158

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Scene 5 Panel P Dialogue so all you gotta do is mark an "X" next to my signature Scene 5 Panel Q Dialogue and you'll be all set. Scene 5 Panel R Dialogue 84 PETER This is an Page 159

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Scene 5 Panel S Dialogue outrage! Scene 5 Panel T Dialogue 85 JOE Yeah, Scene 5 Panel U Dialogue so I already put half of the "X" down on the page Page 160

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Scene 5 Panel V Dialogue so I already put half of the "X" down on the page Scene 5 Panel W Dialogue for you, Scene 5 Panel X Dialogue so all you have to do is just take this pen Page 161

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Scene 5 Panel Y Dialogue and put a single diagonal slash here, Scene 5 Panel Z Dialogue in such a way as to bisect this other diagonal slash, Scene 5 Panel AA Dialogue and you are good to go. Page 162

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Scene 5 Panel AB Scene 5 Panel AC Scene 5 Panel AD Page 163

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Scene 5 Panel AE Action Notes Joe places a pen into Peter's limp hand Scene 5 Panel AF Action Notes and closes Peter's fingers around it. Scene 5 Panel AG Page 164

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Scene 5 Panel AH Dialogue 86 PETER How'm I supposed to run a business Scene 5 Panel AI Dialogue with all this Scene 5 Panel AJ Dialogue red Page 165

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Scene 5 Panel AK Dialogue tape?! Scene 5 Panel AL Scene 5 Panel AM Dialogue You know what, forget it! Page 166

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Scene 5 Panel AN Dialogue Just take Scene 5 Panel AO Dialogue the damn sign! Action Notes Peter hands the "Come In, We're Open!" sign to Joe. Scene 5 Panel AP Dialogue 87 JOE I'm sorry, Page 167

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Scene 5 Panel AQ Dialogue Peter. Scene 5 Panel AR Dialogue 88 PETER I don't believe this, Joe. Scene 5 Panel AS Dialogue This is like Page 168

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Scene 5 Panel AT Dialogue livin' in Russia. Scene 5 Panel AU Dialogue I might as well Scene 5 Panel AV Dialogue just move Page 169

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Scene 5 Panel AW Dialogue there. Scene 5 Panel AX Dialogue 89 JOE You don't want to do that. Scene 5 Panel AY Dialogue It's dark, it's cold, Page 170

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Scene 5 Panel AZ Dialogue and hooking up is Scene 5 Panel BA Dialogue just a crapshoot Scene 5 Panel BB Dialogue 'cause of all the Page 171

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Scene 5 Panel BC Dialogue big coats. NO PANEL NO PANEL Page 172