The episode follows Ted and Barney as they decide to skip their usual bar and go on a night out planned by Barney. This involves picking up women at the airport under false pretenses and getting on a plane to Philadelphia. However, they are stopped by airport security after abandoning some bags at the carousel. Meanwhile, Marshall studies at home while Lily and Robin go to the bar, where Lily tries some tricks to get more attention from men. In the end, Ted and Barney are released and return home while Marshall continues on his drive to Philadelphia.
This album cover analysis summarizes key elements of Rihanna's album artwork over multiple albums:
1) Rihanna favors a dark color scheme for her album artwork, likely to emphasize her "bad girl (sexy yet gothic)" image, except for her "Loud" album.
2) Her album covers vary between close-up shots of her face on the front and fuller body shots on the back.
3) Recently, she has neglected to put her name on album covers, instead using her "R" symbol as a brand representation.
The summary captures the main points about Rihanna's consistent image messaging and variations in her album cover designs over multiple releases. It
This document provides a summary of 3 Rihanna album covers: Unapologetic, Rated R, and Loud. It notes that:
1) The Unapologetic cover expresses Rihanna's confident personality in a controversial way by showing her technically nude.
2) This cover aims to empower women by showing the female body in an artistic way, while also seducing audiences with Rihanna's attractiveness.
3) The unconventional and controversial nature of the cover enhances its effectiveness at connecting with audiences through a real and natural image of Rihanna.
The document provides details for a music video treatment for the song "Stars and Shards" by Loyle Carner. It describes filming primarily in outdoor locations like urban streets, housing estates, and a local park to depict the story of a boy going down the wrong path, as told in the song's lyrics. Scenes will show the boy in familiar areas doing the same negative activities to represent how he remains stuck. Muted colors and red lighting will set a gritty, dangerous tone, while also filming in woodlands for visual variety. The loose narrative and relatable settings aim to give viewers a sense of identity.
The document is a music video analysis that discusses themes of wealth, materialism, and masculinity. It notes that references to "commas" and champagne indicate a lavish lifestyle and wealth. Scenes depicting jewelry, expensive cars like a Ferrari, and being surrounded by women aim to portray success and dominance. Shots on a yacht and with alcohol continue reinforcing a luxury lifestyle and "gangster element." Overall, the analysis finds the video emphasizes displaying riches through props and imagery stereotypical of the rap genre.
Sent out to all collaborators through email attachment. This is my written treatment which is to give my actors and helpers some information prior to filming.
1) The document lists 11 scenes for a music video with descriptions of the actors, timings, and who is filming.
2) The story follows two actors as one tries to rebuild their friendship while the other is distracted by a mysterious "black coat" figure symbolizing life's problems.
3) In the end, the one actor walks away with the black coat figure while the other is left alone, unable to understand what is causing the issues in their friendship.
Music video analysis when the sun goes downreecemechan
The music video uses various camera techniques to tell the story and convey meaning. It shows close-ups of the female protagonist
to depict her emotions of misery, shame, and anger at her situation. Point-of-view shots show her perspective of her abusive pimp
when he is drunk and not a nice person. The video cuts between scenes using jump cuts and flashbacks to illustrate how her life
changes for the worse when the sun goes down, as the lyrics suggest. It also applies color correction to make some scenes darker
to match the tone.
Arctic Monkeys – When the Sun Goes Down – Music Video Analysisbenpainter221
The music video for "When the Sun Goes Down" by Arctic Monkeys tells the story of a prostitute. It features scenes that directly relate to and illustrate the lyrics of the song. For example, when the lyrics refer to the "scummy man" who is her pimp, the video shows a long shot of the man in a way that depicts him as disgusting. Throughout most of the video, shots progress in a fast, shaky style resembling a struggle as the prostitute tries to escape the car of the "scummy man." At the end, there is an ironic scene where he kisses her cheek, suggesting his persona may not be as bad as depicted in the lyrics and earlier scenes. Overall,
This album cover analysis summarizes key elements of Rihanna's album artwork over multiple albums:
1) Rihanna favors a dark color scheme for her album artwork, likely to emphasize her "bad girl (sexy yet gothic)" image, except for her "Loud" album.
2) Her album covers vary between close-up shots of her face on the front and fuller body shots on the back.
3) Recently, she has neglected to put her name on album covers, instead using her "R" symbol as a brand representation.
The summary captures the main points about Rihanna's consistent image messaging and variations in her album cover designs over multiple releases. It
This document provides a summary of 3 Rihanna album covers: Unapologetic, Rated R, and Loud. It notes that:
1) The Unapologetic cover expresses Rihanna's confident personality in a controversial way by showing her technically nude.
2) This cover aims to empower women by showing the female body in an artistic way, while also seducing audiences with Rihanna's attractiveness.
3) The unconventional and controversial nature of the cover enhances its effectiveness at connecting with audiences through a real and natural image of Rihanna.
The document provides details for a music video treatment for the song "Stars and Shards" by Loyle Carner. It describes filming primarily in outdoor locations like urban streets, housing estates, and a local park to depict the story of a boy going down the wrong path, as told in the song's lyrics. Scenes will show the boy in familiar areas doing the same negative activities to represent how he remains stuck. Muted colors and red lighting will set a gritty, dangerous tone, while also filming in woodlands for visual variety. The loose narrative and relatable settings aim to give viewers a sense of identity.
The document is a music video analysis that discusses themes of wealth, materialism, and masculinity. It notes that references to "commas" and champagne indicate a lavish lifestyle and wealth. Scenes depicting jewelry, expensive cars like a Ferrari, and being surrounded by women aim to portray success and dominance. Shots on a yacht and with alcohol continue reinforcing a luxury lifestyle and "gangster element." Overall, the analysis finds the video emphasizes displaying riches through props and imagery stereotypical of the rap genre.
Sent out to all collaborators through email attachment. This is my written treatment which is to give my actors and helpers some information prior to filming.
1) The document lists 11 scenes for a music video with descriptions of the actors, timings, and who is filming.
2) The story follows two actors as one tries to rebuild their friendship while the other is distracted by a mysterious "black coat" figure symbolizing life's problems.
3) In the end, the one actor walks away with the black coat figure while the other is left alone, unable to understand what is causing the issues in their friendship.
Music video analysis when the sun goes downreecemechan
The music video uses various camera techniques to tell the story and convey meaning. It shows close-ups of the female protagonist
to depict her emotions of misery, shame, and anger at her situation. Point-of-view shots show her perspective of her abusive pimp
when he is drunk and not a nice person. The video cuts between scenes using jump cuts and flashbacks to illustrate how her life
changes for the worse when the sun goes down, as the lyrics suggest. It also applies color correction to make some scenes darker
to match the tone.
Arctic Monkeys – When the Sun Goes Down – Music Video Analysisbenpainter221
The music video for "When the Sun Goes Down" by Arctic Monkeys tells the story of a prostitute. It features scenes that directly relate to and illustrate the lyrics of the song. For example, when the lyrics refer to the "scummy man" who is her pimp, the video shows a long shot of the man in a way that depicts him as disgusting. Throughout most of the video, shots progress in a fast, shaky style resembling a struggle as the prostitute tries to escape the car of the "scummy man." At the end, there is an ironic scene where he kisses her cheek, suggesting his persona may not be as bad as depicted in the lyrics and earlier scenes. Overall,
The document is a movie script that tells the story of Robert and Karina, a married couple whose car breaks down on their way to a wedding. They accept a ride from Lloyd, a delivery driver who is making stops along the way to deliver goods. Karina is unhappy about the delays and worried they will be late. During the stops, tensions rise between Robert, Karina, and Lloyd as they rush to make the wedding on time.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The document analyzes Britney Spears' 2003 music video for "Toxic" through the lenses of genre, cinematography, editing, lyrics, intertextuality, narrative, performance, star image, voyeurism, and the male gaze. It notes the revealing costumes portraying an air stewardess, spy, and leather-clad character. Shots include close-ups highlighting Britney's body and lipsyncing. The lyrics imply addiction and danger. The video draws from influences like "Kiss Kiss" while establishing Britney's provocative star image through sexualized camerawork aimed at appealing to the male gaze.
This music video by The Vaccines depicts a group of teenagers engaging in carefree activities on a summer day in the 1960s. Costumes include short shorts and skirts that reveal the teenagers' legs and attract male attention, reflecting the lyrics describing an attractive 17-year-old girl. Props like roller skates, a bike, and spinning a bowling pin are used to convey a sense of youthful fun and link to sexual references in the lyrics. The up-tempo music with a fast pace and high pitch enhances the joyful and energetic mood of the teenagers and lyrics about being 17. The costumes, props, and music work together to set the scene of teenage flirtation and capture the carefree spirit of youth
This music video by The Vaccines depicts a group of teenagers engaging in carefree activities on a summer day in the 1960s. Costumes include short shorts and skirts that reveal the teenagers' legs and attract male attention, reflecting the lyrics describing a 17-year-old girl. Props like roller skates, bikes, and spinning a bowling pin are used to convey the teenagers' youthful exuberance and link to themes of flirtation and sexuality. The up-tempo music with a fast pace and pitch matches the energy and playfulness of the teenagers as they laugh and have fun.
This document discusses a student's analysis of the films Reservoir Dogs and The Wrestler after watching them without sound. For Reservoir Dogs, the student noticed how Tarantino used character placement, lighting, and camerawork to show relationships and distinguish between the criminals' world and the outside world. For The Wrestler, the student observed how Aronofsky used shots from behind Randy to portray his depressed life, and how lighting differentiated good and bad areas in his life. Watching these films without sound revealed directorial techniques the student had not previously noticed.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguments with her mother, feelings of not fitting in, and engaging in self-harm. The flashbacks depict her struggle to feel perfect and happy with herself. Interspersed are scenes of the artist Pink singing and appearing in one flashback. The overarching message is that everyone is perfect just as they are.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
The document discusses conventions used in music videos for several pop songs, including long shots, close-ups, costumes, settings, and narratives. For Lana Del Rey's "Young and Beautiful," the 1920s aesthetic of The Great Gatsby film is reflected in the singer's luxurious dress and makeup, as well as the lighting and staging. Ariana Grande's "The Way" uses projections of memories and technology to portray a lighthearted, playful relationship. Katy Perry's "I Kissed a Girl" emphasizes girly themes through settings, costumes, and props.
This document summarizes and compares three different radio dramas: Blackwater, Queenie, and The Archers. Blackwater is set in Ireland and uses dialogue in Irish accents to set the scene without explicitly stating the location. It has a wide audience but may be more appealing to those who like mysteries. Queenie is a comedy/drama set in the UK about a young woman's experiences growing up and would appeal most to females in their late teens and twenties. The Archers is a multi-strand narrative that follows different characters at a farm in England, using background noises to help listeners visualize the setting. All three radio dramas end on cliffhangers to encourage audiences to return to the story.
The document provides an analysis of 3 music videos:
1) Coldplay's "The Scientist" uses reversed footage and symbolism to tell a story of going back in time to a car crash.
2) Plan B's "She Said" uses a courtroom setting and flashbacks to depict a story through the singer's lyrics.
3) Robbie Williams' "Feel" follows the singer's journey through rural landscapes as he searches for a woman, depicted through symbols of power, freedom and their eventual meeting.
The document summarizes Act I of Shakespeare's play Romeo and Juliet. It introduces the long-standing feud between the Montague and Capulet families in Verona. Romeo, a Montague, attends a party at the Capulet house in an attempt to forget his love for Rosaline. There, he sees Juliet, a Capulet, and falls instantly in love. However, their love is forbidden since their families are enemies. When Romeo and Juliet realize they have fallen for someone from the opposing house, they realize their love will face many obstacles.
This document is a presentation about actor Aaron Tveit that includes many pictures and fangirling comments about his appearance and roles. It mentions that he was born in 1983 in New York, and has had roles on Broadway in shows like Wicked, Next to Normal, and Les Miserables. The presentation focuses more on his physical attractiveness and includes many comments and screenshots praising his looks and attractiveness.
The song is about a man who plans to propose to his girlfriend by writing "Marry me, I love you" in graffiti on the train she takes to work. However, he tragically dies while writing the message, getting hit by a train. When she sees the proposal on her train, she calls him but discovers he has died. The documentary plans to portray this story through parallel editing of two potential outcomes - a happy marriage or a tragic prevented marriage, with changes in color and a band performance throughout. Locations include train areas and a house, with actors of similar age playing the leads and bystanders. Props include a ring, instruments, and clothes to identify the female protagonist between storylines.
Kanye West's "Power" video depicts him as a god-like figure in a position of power but also under threat. Scenes show him surrounded by worshipping women but also by men with swords. The video has a painted style with slow, minimal movements and grey lighting.
Lady Gaga's "Paparazzi" video shows her living a wealthy lifestyle but then being thrown from her balcony by her lover. It has a cinematic style influenced by sex and fashion, with revealing outfits and lesbian kisses. Bright colors and fast editing portray the attention-grabbing lifestyle of fame.
Rihanna's "Russian Roulette" video depicts her in a dark, minimalist setting like
1) Romeo kills Tybalt and is banished from Verona, while Juliet learns she must marry Paris.
2) Friar Laurence devises a plan for Romeo and Juliet to reunite by having Juliet fake her death so they can flee to Mantua together.
3) However, a miscommunication results in both Romeo and Juliet dying for real, bringing the two feuding families together in grief over the tragic deaths of the star-crossed lovers.
The music video for "Love The Way You Lie" by Eminem featuring Rihanna depicts domestic violence through imagery of a house on fire. It shows the toxic relationship between the two main characters through scenes of violence and entrapment. The video aims to empathize with the female victim of abuse through numerous close-ups of Rihanna that highlight her emotion. It introduces the characters in a way that challenges stereotypes, showing both strength and vulnerability from both the male and female perspectives. The video leaves it ambiguous as to whether the events are reality or a dream through the use of lighting and bookending the video with the characters asleep in bed.
Bart becomes the new leader of the monastery after Abbott passes away. As the new leader, Bart allows Tyrone to stay at the monastery despite breaking rules by having children with Matthias. Matthias admits he was not actually allowed to drink the fertility potion but wanted to start a family. Bart takes a more lenient approach than Abbott as the new leader.
This document provides an overview and summary of Gilbert and Sullivan's opera "The Pirates of Penzance". It discusses the plot, including Frederic turning 21 and leaving the pirates, falling in love with Mabel, and the paradox that he is still technically apprenticed to the pirates due to his February 29th birthday. It also summarizes some of the songs in the opera and characters like Ruth, the Pirate King, and Major-General Stanley.
This document provides background information on the author's Sims neighborhood. It introduces the Sanders family, including patriarch Henri Sanders and his wife Javotte Sanders, who had 10 children. The document describes various members of the Sanders family and their relationships and accomplishments. It also introduces other families that are part of the neighborhood, including the Curious and Littledragon families. The author provides context on how they play Sims and notes that the story being summarized is already in progress.
Harkon's college years are summarized in three chapters. In his sophomore year, he dates Curtis but questions if he is his perfect match. Anne interferes in Harkon's love life which backfires. In his junior year, Harkon continues communicating online with a mysterious friend who knows personal details about him. Harkon questions if this friend could be his destiny. By senior year, Harkon remains unsure if he has found his perfect match.
The document describes the conclusion of a storytelling series where the narrator summarized every Gilbert & Sullivan operetta. It expresses hope that readers enjoyed the ride and might see a production in person someday. The narrator then jokingly transitions to continuing the fictional story, mentioning dividing up husbands and whipping lackeys.
The document is a movie script that tells the story of Robert and Karina, a married couple whose car breaks down on their way to a wedding. They accept a ride from Lloyd, a delivery driver who is making stops along the way to deliver goods. Karina is unhappy about the delays and worried they will be late. During the stops, tensions rise between Robert, Karina, and Lloyd as they rush to make the wedding on time.
This document provides a detailed analysis of the music video for "The Kill (Bury Me)" by Thirty Seconds to Mars according to Nick Lacey's theory of genre elements. It summarizes the characters, narrative, iconography, settings, and technical/audio codes present in the video. The video draws heavily from the film "The Shining" by Stanley Kubrick, portraying the band members acting out scenes from the film while they stay alone in a haunted hotel. Imagery and settings from the film are replicated to tell a narrative of the band members confronting their doppelgangers and darker sides of themselves.
The document analyzes Britney Spears' 2003 music video for "Toxic" through the lenses of genre, cinematography, editing, lyrics, intertextuality, narrative, performance, star image, voyeurism, and the male gaze. It notes the revealing costumes portraying an air stewardess, spy, and leather-clad character. Shots include close-ups highlighting Britney's body and lipsyncing. The lyrics imply addiction and danger. The video draws from influences like "Kiss Kiss" while establishing Britney's provocative star image through sexualized camerawork aimed at appealing to the male gaze.
This music video by The Vaccines depicts a group of teenagers engaging in carefree activities on a summer day in the 1960s. Costumes include short shorts and skirts that reveal the teenagers' legs and attract male attention, reflecting the lyrics describing an attractive 17-year-old girl. Props like roller skates, a bike, and spinning a bowling pin are used to convey a sense of youthful fun and link to sexual references in the lyrics. The up-tempo music with a fast pace and high pitch enhances the joyful and energetic mood of the teenagers and lyrics about being 17. The costumes, props, and music work together to set the scene of teenage flirtation and capture the carefree spirit of youth
This music video by The Vaccines depicts a group of teenagers engaging in carefree activities on a summer day in the 1960s. Costumes include short shorts and skirts that reveal the teenagers' legs and attract male attention, reflecting the lyrics describing a 17-year-old girl. Props like roller skates, bikes, and spinning a bowling pin are used to convey the teenagers' youthful exuberance and link to themes of flirtation and sexuality. The up-tempo music with a fast pace and pitch matches the energy and playfulness of the teenagers as they laugh and have fun.
This document discusses a student's analysis of the films Reservoir Dogs and The Wrestler after watching them without sound. For Reservoir Dogs, the student noticed how Tarantino used character placement, lighting, and camerawork to show relationships and distinguish between the criminals' world and the outside world. For The Wrestler, the student observed how Aronofsky used shots from behind Randy to portray his depressed life, and how lighting differentiated good and bad areas in his life. Watching these films without sound revealed directorial techniques the student had not previously noticed.
The music video is a narrative-driven story that follows a young woman through flashbacks of her life. She is shown experiencing bullying as a child, arguments with her mother, feelings of not fitting in, and engaging in self-harm. The flashbacks depict her struggle to feel perfect and happy with herself. Interspersed are scenes of the artist Pink singing and appearing in one flashback. The overarching message is that everyone is perfect just as they are.
The document discusses initial treatment locations for filming a music video. It plans to film establishing shots in London to give the impression the video is set there, while actually filming most scenes locally in Henley-on-Thames. Specific locations mentioned include a high street made to look like London, a school, a park by the river trying to resemble a London garden, Henley's town center avoiding landmarks, and an alleyway for a mock drug deal scene. The goal is to make the locations look like London while benefitting from easier local filming.
The document discusses conventions used in music videos for several pop songs, including long shots, close-ups, costumes, settings, and narratives. For Lana Del Rey's "Young and Beautiful," the 1920s aesthetic of The Great Gatsby film is reflected in the singer's luxurious dress and makeup, as well as the lighting and staging. Ariana Grande's "The Way" uses projections of memories and technology to portray a lighthearted, playful relationship. Katy Perry's "I Kissed a Girl" emphasizes girly themes through settings, costumes, and props.
This document summarizes and compares three different radio dramas: Blackwater, Queenie, and The Archers. Blackwater is set in Ireland and uses dialogue in Irish accents to set the scene without explicitly stating the location. It has a wide audience but may be more appealing to those who like mysteries. Queenie is a comedy/drama set in the UK about a young woman's experiences growing up and would appeal most to females in their late teens and twenties. The Archers is a multi-strand narrative that follows different characters at a farm in England, using background noises to help listeners visualize the setting. All three radio dramas end on cliffhangers to encourage audiences to return to the story.
The document provides an analysis of 3 music videos:
1) Coldplay's "The Scientist" uses reversed footage and symbolism to tell a story of going back in time to a car crash.
2) Plan B's "She Said" uses a courtroom setting and flashbacks to depict a story through the singer's lyrics.
3) Robbie Williams' "Feel" follows the singer's journey through rural landscapes as he searches for a woman, depicted through symbols of power, freedom and their eventual meeting.
The document summarizes Act I of Shakespeare's play Romeo and Juliet. It introduces the long-standing feud between the Montague and Capulet families in Verona. Romeo, a Montague, attends a party at the Capulet house in an attempt to forget his love for Rosaline. There, he sees Juliet, a Capulet, and falls instantly in love. However, their love is forbidden since their families are enemies. When Romeo and Juliet realize they have fallen for someone from the opposing house, they realize their love will face many obstacles.
This document is a presentation about actor Aaron Tveit that includes many pictures and fangirling comments about his appearance and roles. It mentions that he was born in 1983 in New York, and has had roles on Broadway in shows like Wicked, Next to Normal, and Les Miserables. The presentation focuses more on his physical attractiveness and includes many comments and screenshots praising his looks and attractiveness.
The song is about a man who plans to propose to his girlfriend by writing "Marry me, I love you" in graffiti on the train she takes to work. However, he tragically dies while writing the message, getting hit by a train. When she sees the proposal on her train, she calls him but discovers he has died. The documentary plans to portray this story through parallel editing of two potential outcomes - a happy marriage or a tragic prevented marriage, with changes in color and a band performance throughout. Locations include train areas and a house, with actors of similar age playing the leads and bystanders. Props include a ring, instruments, and clothes to identify the female protagonist between storylines.
Kanye West's "Power" video depicts him as a god-like figure in a position of power but also under threat. Scenes show him surrounded by worshipping women but also by men with swords. The video has a painted style with slow, minimal movements and grey lighting.
Lady Gaga's "Paparazzi" video shows her living a wealthy lifestyle but then being thrown from her balcony by her lover. It has a cinematic style influenced by sex and fashion, with revealing outfits and lesbian kisses. Bright colors and fast editing portray the attention-grabbing lifestyle of fame.
Rihanna's "Russian Roulette" video depicts her in a dark, minimalist setting like
1) Romeo kills Tybalt and is banished from Verona, while Juliet learns she must marry Paris.
2) Friar Laurence devises a plan for Romeo and Juliet to reunite by having Juliet fake her death so they can flee to Mantua together.
3) However, a miscommunication results in both Romeo and Juliet dying for real, bringing the two feuding families together in grief over the tragic deaths of the star-crossed lovers.
The music video for "Love The Way You Lie" by Eminem featuring Rihanna depicts domestic violence through imagery of a house on fire. It shows the toxic relationship between the two main characters through scenes of violence and entrapment. The video aims to empathize with the female victim of abuse through numerous close-ups of Rihanna that highlight her emotion. It introduces the characters in a way that challenges stereotypes, showing both strength and vulnerability from both the male and female perspectives. The video leaves it ambiguous as to whether the events are reality or a dream through the use of lighting and bookending the video with the characters asleep in bed.
Bart becomes the new leader of the monastery after Abbott passes away. As the new leader, Bart allows Tyrone to stay at the monastery despite breaking rules by having children with Matthias. Matthias admits he was not actually allowed to drink the fertility potion but wanted to start a family. Bart takes a more lenient approach than Abbott as the new leader.
This document provides an overview and summary of Gilbert and Sullivan's opera "The Pirates of Penzance". It discusses the plot, including Frederic turning 21 and leaving the pirates, falling in love with Mabel, and the paradox that he is still technically apprenticed to the pirates due to his February 29th birthday. It also summarizes some of the songs in the opera and characters like Ruth, the Pirate King, and Major-General Stanley.
This document provides background information on the author's Sims neighborhood. It introduces the Sanders family, including patriarch Henri Sanders and his wife Javotte Sanders, who had 10 children. The document describes various members of the Sanders family and their relationships and accomplishments. It also introduces other families that are part of the neighborhood, including the Curious and Littledragon families. The author provides context on how they play Sims and notes that the story being summarized is already in progress.
Harkon's college years are summarized in three chapters. In his sophomore year, he dates Curtis but questions if he is his perfect match. Anne interferes in Harkon's love life which backfires. In his junior year, Harkon continues communicating online with a mysterious friend who knows personal details about him. Harkon questions if this friend could be his destiny. By senior year, Harkon remains unsure if he has found his perfect match.
The document describes the conclusion of a storytelling series where the narrator summarized every Gilbert & Sullivan operetta. It expresses hope that readers enjoyed the ride and might see a production in person someday. The narrator then jokingly transitions to continuing the fictional story, mentioning dividing up husbands and whipping lackeys.
The document introduces characters from two households who are attending university together. Dmitri Sanders and Frederic Miller disguise themselves in dresses to join Rose Shankel's all-female sorority, hoping to spend time with the women. However, their disguises do not fool everyone. Ariadene is skeptical of her brother Dmitri's motives, and Phoebe suspects that "Demetria" and "Daphne" are actually men in disguise. The characters break into song as they continue their hijinks at the sorority.
The document contains extracts from two plays:
1) An extract from Act 2 of A View from the Bridge shows Beatrice pleading with Eddie not to seek revenge against Marco. Beatrice acknowledges the truth that Eddie desires Catherine, which horrifies him. Marco then arrives calling for Eddie.
2) Two extracts are presented from A Doll's House. The first shows Nora asking Torvald for money in a lighthearted way. The second, from Act 2, depicts a serious conversation where Nora explains to Torvald that she has changed and they must face facts as their marriage has lacked true understanding.
Tim reveals to the group that he is actually Sir Riven Murgatroyd, the rightful Baronet of Ruddigore, and under a family curse to commit a crime each day. His long lost brother Sir Despard appears, having learned Tim is still alive, and insists Tim take over the title and crimes to end Despard's unlawful tenure. Tim agrees reluctantly, upending his wedding plans to Rose Maybud.
- Ryan has become a toddler who enjoys toddler activities like trying to fit shapes in holes and refusing potty training.
- Timmy's grades were falling until he got glasses and chose a Harry Potter-esque pair.
- Amy has discovered that boys are interesting, though her current crush isn't ideal due to negative chemistry and resemblance to her father.
This document provides 3 stories about characters in a fictional world: Robert Mercator goes on an awkward but enjoyable first date with a woman named Meadow Pederson after being tricked by his siblings into calling a matchmaker; Ysabel Mercator finishes her studies and art degree, then travels to visit her childhood sweetheart Lenard Labouis and his parents at their country manor; The stories are presented as lighthearted tales of romance within this fictional world.
This document summarizes Ruth Shankel's participation in Officially Wacky Boolprop Challenges over multiple years of college. It describes her roles in Gilbert & Sullivan operettas such as The Pirates of Penzance, The Gondoliers, HMS Pinafore, and The Mikado. It also details her developing relationship with Ryan Miller, from him initially finding her weird to realizing he likes her. By graduation, Ruth has a bronze robotics badge while Ryan has a silver badge, and they plan to marry now that they are both graduating from college.
A script which accumulates the ideas from previous scripts for the short film Dating 101 and rounds it off according to the style of romantic comedy with the classic happy end.
Trevor and five others venture into the woods to investigate a local legend known as the King's Corpse. They split up to search the area. Tracy finds Alice dead in their tent and flees, filming as she goes. She discovers Ali's body and a video on his phone showing his murder. While wandering lost in the woods, she finds Ray and Trevor, but the murderer appears and kills Tracy. Trevor is then chased by the murderer but manages to escape the woods.
WHO KILLED ALASKA? #9: "BOO MEETS DENVER PART 1" TRANSCRIPT.pdfOptimistic18
Good news: Detective Denver is back! Bad news: so is Boo! Now that Glory is just a soulless husk, the great detective finds Boo in a depressive spiral. And the great Boo Curtis, with his newfound destructive tendencies, is ready to make himself a problem by any means necessary. What is our sweet, pacifistic detective going to do when Boo plans to sabotage this investigation beyond repair?
This document provides an overview of events in the life of Ruth Shankel and her husband Ryan. It summarizes that Ruth graduated college where she met and got engaged to Ryan. After college, Ruth and Ryan moved back home where they got married. At the wedding, some guests did not make it and there were other minor issues. After getting married, Ruth became pregnant and later gave birth to a daughter named Buttercup. The document is written in a playful, conversational tone and provides additional details about the characters and their families in footnote format.
Will Edgington arrives in Louisville, Ohio to meet with Dano Lawler on behalf of his company. When he goes to Dano's house, Jess Cutefield answers and is suspicious of Will. However, Will convinces her he knows Dano by revealing details about his and Dano's past. Dano then comes out and is initially aggressive, but recognizes Will when Will says he is the son of Paige Edgington, someone Dano seems to know from the past.
1. HOW I MET YOUR MOTHER SAISON 1 EPISODE 3Scène 1<br />(The Year 2030)<br />Narrator: So there was this one night, before I met your mother when I really wanted to go to the bar.<br />Son: The bar? Big surprise!<br />Daughter: You sure spend a lot of time in bars…<br />Narrator: Well that’s just what we did back then.<br />[Shows picture of Ted]<br />Narrator: Me.<br />[Shows picture of Marshall and Lily sitting at a booth at the bar]<br />Narrator: Marshall and Lily.<br />[Shows picture of Barney using a payphone]<br />Narrator: Barney<br />[Shows picture of Lily and Robin, Pans in on Robin]<br />Narrator: We all used to hang out at this one bar called “McClarin’s”.<br />[Shows picture of the whole gang in front of a camera]<br />Narrator: But then one night.<br />[Cut to streets, Ted and Lily on the phone walking with Marshall]<br />Ted: (On Phone) Why don’t we go to McClarin’s<br />Lily: (On Phone) Let’s go to McClarin’s.<br />Marshall: You guys talking to each other? Nobody’s listening<br />Ted: What’s wrong with McClarin’s<br />[Cut to Barney in Taxi]<br />Barney: (On Phone) McClarin’s is bore, snore. Ted, tonight we’re going to go out. We’re going to meet some ladies. It’s going to be legendary. Phone-five! (High-fives the phone)<br />(Scene Freezes)<br />Narrator: I had no idea why I hung out with Barney.<br />(Scene unfreezes)<br />Barney: You didn’t phone-five did you? I know when you don’t phone-five, Ted. Come on, we always go to McClarin’s.<br />[Cut to Ted]<br />Ted: Yeah, cause McClarin’s is fun…<br />Barney: McClarin’s is this much fun. What I’m offering is the chance to have this much fun.<br />Ted: See, you say that. You say it’s going to be this much fun. But most of the time it ends up being this much fun. This much fun is good! It’s safe. It’s guaranteed!<br />Barney: This hand gesture thing doesn’t really work on the phone, does it?<br />Ted: No it doesn’t.<br />(Cab pulls up right beside Ted. Barney’s head pops out of the window.)<br />Barney: Get in the cab. Marshall you too.<br />Marshall: Oh, I wish I could—I think Lily and I are just goi—<br />Barney: I understand. (To Ted) Get in the cab.<br />Ted: Why can Marshall say no<br />Barney: Uhh—because he’s getting laid.<br />Marshall: consistently.<br />Barney: (Doing “I see you” hand motion) Ted, Ted, Ted. Right here. You keep going to the same bar, you’re in a rut and I am a rut buster. I’m going to bust your rut (Smiles)<br />Ted: It’s not a rut, okay. It’s a routine and I like it!<br />Barney: Ted, what’s the first syllable in rutting (trying to make it sound like “routine”. Ted gives in and jumps in the cab) Peace out, suckers. (Cab speeds off.)<br />[Cut to Cab]<br />Ted: Alright, so what’s this legendary plan<br />Barney: First we got to pick someone up at the airport.<br />Ted: Okay, I’m outta here.<br />Barney: (To cabdriver) Estaban, doors! (Cab doors lock)<br />[Cut to Airport. Ted walks alongside Barney who is carrying two suitcases, one in each hand.]<br />Barney: Just this one little thing and the rest of the night is ours.<br />Ted: Why do you have those suitcases, and who are we picking up<br />Barney: I don’t know. Maybe her? Or her.<br />Ted: Wait so when you said you were going to “pick someone up at the airport”. You meant you were going to “pick someone up at the airport”<br />Barney: (winks) Scenario. Couple of girls fly into town, looking for a fun weekend in NYC when they meet two handsome international business men just back from a lucrative trip to Japan. Sample dialogue, ‘you have a wheelie bag? Wh—I have a wheelie bag!’<br />Ted: You’ve gotta be kidding me.<br />Barney: False. Sidebar, tuck in your shirt. You look sketchy.<br />Ted: I’m sketchy?<br />Barney: Trust me, it’s going to be legendary.<br />Ted: Don’t say “legendary”, okay? You’re too liberal with the word legendary.<br />[Flashback. Ted answering the door to Barney]<br />Barney: We’re building an igloo in Central Park. It’s gonna be legendary. Snow suit up!<br />[Flashback ends]<br />Barney: Ted, Ted, Ted. Right here! This is happening. Now you can either put your bags on the carousel now, or you can listen to me give you a really long speech convincing you to put the bags on the carousel. Your move. (Silence) Ted, since the dawn of time mankind has struggled. (Ted puts bags on carousel)<br />[Cut to Marshall studying in Apartment]<br />Narrator: That night, Marshall had a ton of studying to do. So Lily went out with Robin who was new to New York and looking for a friend.<br />[Cut to Bar]<br />Lily: I’m so glad we finally get to hang out just the two of us!<br />Robin: Yeah<br />Lily: You sure you’re okay giving up your Friday night to hang with an old almost-married lady?<br />Robin: Oh please, I’m so sick of the “meet-market” scene. Guys are like a subway. You miss one, another one comes along in five minutes.<br />Lily: Unless it’s the end of the night, then you get on anything.<br />Robin: Heyow!<br />(Carl, Bartender, gives them two drinks]<br />Carl: Compliments of that guy.<br />Lily: Really? Sweet.<br />Carl: Oh, for you it’s six dollars.<br />Lily: I guess that’s one drawback to being engaged. I’m sure that’s why he didn’t—<br />(Man interjects)<br />Guy#1: Hey.<br />Lily: (peeking over his shoulder) Oh. Oh, hello!<br />[Cut to Airport]<br />Ted: (To waiting woman) So—uh, did you just get in from Detroit? (Points to self) Japan. (Woman leaves)<br />Barney: Okay, carousel four is tapped out. Ready? Because I’m about to drop some knowledge. Cute girls are not from Buffalo. Time-out. Ten o’clock. You ready to rock this, Tedder?<br />Ted: Alright, um, I think we need to refine our back-story first. How did we—<br />Barney: Ted, you klutzy, great guy, you! (Barney shoves Ted into two lady’s cart and Ted trips backwards. To Women) Hey, Barney. (Adjusts tie)<br />Laura: Oh, my god. (To Ted) Are you okay?<br />Ted: I—I’m so sorry.<br />Laura: It’s fine—oh, you were a little shaky on your landing. I’d give you a 9.2. (Laughs)<br />Ted: So, hi—I’m Ted.<br />Laura: Laura. (Shaking hand) Look I’m really sorry that we have to hit and run but we’ve got a plane to catch (Looks to friend, Tatiana)<br />Ted: Oh, where’re you headed?<br />Laura: Philadelphia<br />Barney: Philly? That’s where we’re headed!<br />Laura: You are? Well—uh—guess we’ll see you on the plane.<br />Barney: Yes, you will. (Girls leave. To Ted) Follow them, tickets on me.<br />Ted: No, Barney. Don’t you get on that escalator! And don’t you dare get on that subsequent escalator!<br />[Cut to Apartment Marshall studying]<br />Marshall: (singing) Studyin’ law. Making a responsible choice for my future… on a Friday Night. Bein’ a lawyer had better be awesome.<br />(Phone Rings)<br />Marshall: (on Phone. Singing) What’s up, Ted?<br />Ted: (on Phone) Are you alright?<br />Marshall: (on Phone) Yeah.<br />Ted: (on Phone) Hey, guess where I am? I’m on a—ready?—plane to—ready?—Philadelphia.<br />Marshall: (on Phone) That is awesome.<br />Barney: Hey, is that Marshall? (Takes Phone) Marshall, stop whatever you’re doing, get in that hoopty-ass Vierro of yours and come meet us in Philly. It’s going to be legendary.<br />Marshall: (on Phone) Man, I wish I could, guys, but—<br />Barney: Yeah, yeah, yeah—I sent you some pictures on my phone, check it. (Pictures show Barney doing “I see you” hang gesture) Philly! (Hangs up. To Ted) Admit it, you’re having fun. This much fun. Thirty-five thousand feet of fun!<br />Ted: Well I didn’t think we’d be on a flying to Philadelphia when I woke up this morning, I’ll give you that.<br />Barney: Let’s go talk to those girls.<br />Ted: Whoa, whoa, whoa, the seatbelt light is on.<br />Barney: Ted, you’ve been living your whole life in a seatbelt. It’s time to unclick. (Unclicks)<br />Fight Attendant: (Walks by) Sir, seatbelt light’s on.<br />Barney: (sits back down) Yeah, sorry, sorry.<br />[Cut to the Bar]<br />Lily: So I grew up in Park Slope.<br />Robin: Oh, I love Park Slope. When did you move to Manhattan? <br />Guy#2: (Interrupts. To Robin) You’re from Park Slope<br />Robin: (Smiling) Uh, no she is. (Points to Lily)<br />Guy#2: (Ignoring Lily) So where’re you from? Heaven<br />Robin: Yeah, I’m a ghost! Died fifteen years ago, like that pickup line.<br />Lily: (Laughs) Heyow.<br />(Guy#2 leaves)<br />Robin: God, I’m so sorry.<br />Lily: Oh, believe me I’ve been there. I have this line that I use when guys come (Guy#3 walks by) Check it out.<br />Guy#3: (To Robin) Hey.<br />Lily: You take this one, I’ll save it for the next one.<br />[Cut to Airplane. Ted and Barney are chatting with Laura and Tatiana]<br />Ted: So what brings you guys to Philly<br />Laura: We’re visiting our boyfriends.<br />Tatiana: I think Chris is going to propose this weekend!<br />Laura: (laughs) Isn’t that great<br />Ted: (To Barney) So great.<br />(Fade out)<br />-----------------<br />Scene 2<br />(The Plane)<br />Narrator: So there we were, stuck on a plane to Philadelphia with two very unsingle girls. All thanks to your Uncle Barney.<br />Laura: (Shows them pictures) Aren’t they cute? They’re both linebackers for the Eagles.<br />Ted: Both? (To Barney) Both of their boyfriends are linebackers.<br />[Cut to Bar. Lily on cell phone with Marshall)<br />Lily: (On Phone) You’re going to Philly? Why<br />Marshall: (On Phone) I—I didn’t ask.<br />Lily: (On Phone) Well it sounds like you’re having a lot more fun than I am. I’m just talking to guys’ backs while they hit on Robin.<br />Marshall: (On Phone) Ouff, yeah—I bet she gets that a lot.<br />Lily: (On Phone) Don’t you bet I get that a lot?<br />Marshall: (On Phone) Not with a ring on your finger. I mean, you know, guys see the ring and it’s like Cha-Chung!—Marshall parking only.<br />Lily: (On Phone) Oh, of course, that’s it the ring! I guess I’m not used to it yet.<br />Marshall: (On Phone) Oh, it’s totally the ring. If you took that ring off your finger, you’d have a ton o’ guys crowding around your junk.<br />Lily: (On Phone) I’m not going to take off my ring! Wouldn’t you be jealous of guys swarming all over my beeswax?<br />Mashall: (On Phone) Oh yeah, you know me, I’m the jealous type. Any groom so much as look at you, I’m a sack him in the kisser, no seriously, you girls have a good time tonight (hangs up)<br />Lily: (On Phone) Bye. (Lily takes ring off and places it in her pocket) Robin! Robin (Waves her left hand ridiculously to show that she has no ring. Robin walks over) Hey, I’m over here.<br />[Cut to Marshall in the car. Split scene of Barney and Ted vs. Marshall]<br />Marshall: (On Phone) G-g-g-going to Philly!<br />Ted: (On Phone) Marshall, don’t come to Philly.<br />Marshall: (On Phone) But we’re on an adventure!<br />Ted: (On Phone) We’re on a Tarmac in Philadelphia, crazy adventure.<br />Marshall: (On Phone) Fine! (Hangs up)<br />Barney: (To Ted) No! No! The night is just started. Look, airport bar. Flight attendants! They’ll get your tray table at its full upright position. Say what? (Goes for a high five)<br />Officer McNeil: Passengers Mosby and Stinson? Please come with us, gentlemen. Keep your hands where I can see them.<br />Ted: Barney, I am going to kill you.<br />Barney: Don’t say you’re going to kill someone in front of airport security, not cool (to security) not cool.<br />[Cut to Officer McNeil’s Office]<br />Barney: This is an outrage. We are international businessmen on an international business trip. I demand you release us immediately.<br />Ted: You demand!? No, no, no, no, no—he does not demand. We—we-we have no demands! <br />Officer McNeil: Sir, I’m going to have to ask you to remain calm.<br />Ted: (Whispering) Okay, yeah. I’m calm—I’m totally calm.<br />Officer McNeil: We got footage of you placing two bags on JFK carousel three, and abandoning them to purchase a last minute flight with cash.<br />Barney: (To Ted) Those bags were your responsibility. <br />Ted: They were your bags.<br />Officer McNeil: Sir, please. We’re assessing the bag situation.<br />[Cut to JFK Airport, Carousel three. Bomb squad are hovering equipment over their bags]<br />[Cut to Officer McNeil’s Office]<br />Ted: Look, this is all just—it’s a misunderstanding.<br />Barney: (Stopping him) Please. (Silence) We are international businessmen. My colleague accidentally left the bags there now please let us go before we miss our international business meeting.<br />Officer McNeil: Can’t remember the last time I saw an international business man with an untucked shirt. In addition, we received this footage taken over the last few months.<br />(Footage shows Barney placing two bags onto a carousel and JFK airport. And then a footage of a bag unzipping itself, and Barney jumps out of it to flirt with a woman)<br />Barney: Believe it or not, that duff bag thing worked.<br />Ted: Truth is, my friend—he does this thing where he goes to airports with fake luggage to pick up girls and we followed some here to Philadelphia. That’s it! That’s all this is!<br />Officer McNeil: Nobody’s that lame.<br />Ted: Yes, he’s that lame. Tell them you’re that lame!<br />(Silence)<br />Barney: We are international businessmen—<br />Ted: OH COME ON!<br />Officer McNeil: Sir! Lower your voice or we’ll restrain you.<br />Barney: Dude, seriously, relax.<br />Ted: We at least get to call our lawyer.<br />Barney: Exactly! (To Ted) We have a lawyer?<br />[Cut to Marshall in car on cell phone]<br />Marshall: (On Phone) Listen to me, you’re both American citizens. Don’t let them pull any patriot-act voodoo. You both retain the right to refuse to answer any questions without an attorney present so don’t say anything until I get there, alright? Okay, goodbye (hangs up. Sings) to Philly! The adventure continues! Destroy!<br />(Fades out)<br />---------------<br />Scène 3<br />(The Bar)<br />Robin: It’s ridiculous in here, why don’t we go somewhere else<br />Lily: (Unbuttoning sweater) No, this place is great (positions mouth in an inviting kiss position)<br />Robin: What are you doing?<br />Lily: What<br />Robin: With your lips and everything<br />Lily: My lips are always like this (drinks martini and drops it all over her blouse)<br />[Cut to Officer McNeil’s office. Ted and Barney have their heads on the table and their hands tied behind their backs]<br />Ted: You had to play the race card.<br />Barney: Relax, Ted. We didn’t do anything wrong. And, B.T.W, we’d be out of here by now if you’d have tucked in your shirt. (Ted turns his head to face away from Barney)<br />Officer McNeil: Go ahead, JFK—what is the baggage status?<br />[Cut to JFK Airport, Carousel three with the Bomb Squad]<br />Bomb Squad Guy: They’re clean. It’s just a whole bunch of condoms… and a power bar.<br />[Cut back to Officer McNeil’s Office]<br />Officer McNeil: You’re free to go.<br />[Cut to Marshall’s car]<br />Ted: (On Phone) Don’t come to Philly.<br />Marshall: (On Phone) Man, I’m almost half way there!<br />Ted: (On Phone) Yeah, we just got released and we’re heading back on the next flight. Meet us at McClarin’s maybe we can still make last call.<br />Marshall: (On Phone) Can’t we just—just…<br />Ted: (On Phone) No, we can’t just… we’re going home!<br />Barney: (To Ted) We’re going to Sascha’s<br /> <br />Ted: Who the hell is Sascha<br />Barney: Sascha (Points to Security Woman) She’s having friends over for drinks at her house. It’s goanna be legen—wait for it…and I hope you’re not lactose intolerant ‘cuz the second half of that word is--dairy.<br />Ted: No.<br />Barney: legendary!<br />Marshall: (On Phone) Legendary, that sounds awesome!<br />Ted: (On Phone) No, Marshall, we’re going back.<br />Marshall: (On Phone. Sighs) Fine (Beep) Hold on I have another call. (Presses button) Hello<br />Barney: (On Phone) Marshall, we’re going to Sascha’s!<br />Ted: No, we’re not.<br />Barney: (On Phone) Ted, Ted, Ted (Does I’m watching you hand gesture) Yes, we are.<br />Marshall: (On Phone With Ted) Sorry, Buddy, two against one (hangs up)<br />[Cut to Bar]<br />Robin: Ooh, look a booth opened up.<br />Lily: Really<br />Robin: Yeah, I thought we could finally go talk, and you’re not listening to me, so I’m going to walk away (notices Lily is busy staring at a stranger)<br />Lily: Yeah, yeah—booth (throws purse to Robin, spots a man. Robin leaves to booth. Man walks up to Robin.)<br />Derrick: Hey.<br />Lily: (Smiling) Hey. (Silence) I’m engaged, sorry (Puts ring on) I took my ring off! It’s very, very sweet of you to come over and talk to me, but I—just—<br />Derrick: Yeah, I’m gay. Just came over to let you know that you sat on a grape. (Lily peels squished grape off her dress)<br />Lily: Oh, damn it! (Takes ring off and places it in her pocket, upset)<br />[Cut to Scenes of Philly]<br />Narrator: So, Barney and I hit the town. Philadelphia, PA. Our first and only stop—Sascha’s party.<br />[Cut to Sascha’s house. It’s messy and Ted is extremely bored. He’s sitting on a couch beside Barney and they are both sitting between to men on a yellow couch staring at space]<br />Barney: So, uh… you’re Sascha’s friends, huh?<br />Dana: You know it.<br />Sascha: (Comes down the stairs with drinks) You guys, keep the volume down. You’re goanna wake my grandpa. Who wants hard lemonade? (They all take some)<br />Barney: Philly!<br />Sascha: Shh!<br />Barney: (Whispers) Philly!<br />(Fade out)<br />----------<br />Scène 4<br />(The Bar)<br />Narrator: Back at the bar, the girls night out wasn’t going as Robin had hoped. (Cell Phone rings)<br />Robin: (On Phone) Lily’s phone.<br />Marshall: (On Phone) Robin! Uh—Where’s Lily<br />Robin: (On Phone) She’s uh—<br />Marshall: (On Phone) Is she talking to some hot guy? Oh, you can tell me. It’s totally cool. It was my idea! Hell, I told her she could take the ring off.<br />Robin: (On Phone) Really? Well I thought it was kinda weird, but if you’re cool with it. Yeah. It’s off and she’s talking to some guy. Do you want me to go over and—<br />Marshall: (On Phone) No! Don’t interrupt it’s awesome. So the rings really off, huh? (Realizing what he’s done) It’s awesome… Well just tell her I called and… tell her that… she’s awesome. (Hangs up. Sings dryly) Really, really awesome. Our relationship is built on mutual trust. (Dryly) I can’t breathe!<br />[Cut to Sascha’s house]<br />Barney: (Laughs) Did you hear that, Ted? Dana works security at the Liberty Bell.<br />Dana: (Smiling) I do okay.<br />Barney: Wow it must be really well cornered off over there. You ever go behind the rope and touch it?<br />Dana: Only all the time.<br />Barney: Ever, like, stick your head inside it<br />Dana: Yeah.<br />Barney: D’you ever lick it<br />Dana: Nope, I have never licked it.<br />Barney: Hmm… I bet nobody in history has ever licked the Liberty Bell! If someone were to pull that off I dare say it would be—what’s the word?<br />Ted: (Decides he’s going to leave) Well, this is my stop.<br />Barney: Legendary, Ted, LEGENDARY!<br />Ted: Barney, I’m going to the airport. Sascha, thank you—and uh—tell your grandpa I’m sorry I walked in on him in the bathroom. (Leaves)<br />[Cut to the Bar]<br />Derrick: I’ll get some Club Soda for that stain. (Leaves)<br />Robin: (enters) Lily, I thought tonight was about us hanging out, what are you doing?<br />Lily: Just fending up the advances of that totally hot guy.<br />Robin: Dude, I think that guy is gay.<br />Lily: (Gives in) Oh, I know that guy is gay. Just Marshall and I have been together for nine years. I haven’t been single since high school.<br />Robin: You wanna be single? (Laughs) You wanna fight off loser guys all night, does that seem like fun to you?<br />Lily: I guess I wanted to throw this net back into the ocean and see how many fish I could catch. So far, one. One gay dolphin (Smiles)<br />Robin: and Marshall. Lily, all these girls here tonight are looking to catch what you’ve already got.<br />Lily: You’re right I know. Hey do you wanna get some coffee and have an actual conversation?<br />Robin: If, by “Coffee” you mean “Cheesecake”, then yes.<br />Derrick: (enters) Hey, I got that Club Soda. Let’s see that booty. (Lily bends over for him to clean the stain, Marshall walks in)<br />Lily: Oh, thank you so much.<br />Marshall (infuriated) You wanna mess pal? That’s my fiancé’s hot backside that you’re dabbing.<br />Lily: Marshall, no.<br />Marshall: Baby, please don’t ever take that ring off again. No matter how awesome I say that it is.<br />Derrick: It’s okay, man—<br />Marshall: BACK OFF HOMBRE. I’m not that afraid to fight you. You wanna test this guy? Be my guest!<br />Lily: Marshall, he’s gay!<br />Marshall: Oh, thank god—I’ve never been in a fight before (hugs him)<br />Derrick: You don’t say!<br />(Scene Freezes)<br />Narrator: So it turns out Uncle Marshall really was the jealous type. Unfortunately, that guys boyfriend—also the jealous type.<br />(Scene Unfreezes)<br />(Boyfriend pulls Marshall off Derrick and drops him on the floor)<br />Lily: Hey!<br />[Cut to Taxi ride to Airport. Ted is exhausted and crabby.]<br />Barney: Could have licked the Liberty Bell.<br />Ted: We’re going to the airport.<br />Barney: Bong, bong…<br />Ted: Why do I hang out with you? Why? All I wanted was to have a regular beer, in a regular bar with my regular friends, in my regular city!<br />Barney: Ted, Ted… you’re not even looking.<br />Ted: No, I’m not.<br />Barney: Look, our forefathers died for the pursuit of happiness, okay. Not for the sit around and wait of happiness. Now if you want, you can go to the same bar, drink the same beer talk to the same people everyday—or you can lick the Liberty Bell! You can grab life by the crack and lick the crap out of it!<br />Cabdriver#2: That was beautiful, man!<br />Barney: Thanks, Leonard. Ted, you’re missing out on a valuable life lesson!<br />Ted: Look, I don’t need you to teach me how to live, okay. I know how to live. If you want to go lick the Liberty Bell just go lick it yourself.<br />Barney: No, it has to be the two of us.<br />Ted: Why? Why do you need me?<br />Barney: Because, you’re my best friend, alright? You don’t have to tell me I’m yours. But the way I see it, we’re a team. Without you, I’m just the dynamic uno. You know what, fine. If you wanna go home… then we’ll go home.<br />Ted: Fine…we’ll go lick the Liberty Bell<br />Barney: Good, (smiles) ‘cuz we’re here! (Hops out)<br />Ted: (voice) I had no idea how Barney redirected the cab without me knowing, but we got out, Dana let us in and by god we licked the Liberty Bell. And you know what it tastes like?<br />[Cut to Bar, Ted talking to a woman]<br />Cute Girl: What?<br />Ted: Freedom… No actually it tasted like pennies.<br />Cute Girl: (laughs) My, god. Did you guys really do that?<br />Narrator: We really did and that was when I realized why I hung out with Barney. I never got where I thought I wanted to go, but I always got a great story.<br />[Cut to Year 2030]<br />Daughter: So, that girl you were talking to—that was mom?<br />Narrator: Kids, every story in a man’s life is like a dot in an impressionist’s painting. And when you—<br />Son: So that’s a no?<br />Narrator: Yeah, that’s a no. (Kids are fed up) What? Come on! <br />END OF EPISODE<br />