Scenes

The book broken into 125 scenes, the way a film's script supervisor does it: place, time, who is there, what changes, and the most picturable moment just before each scene's peak. This list is what book illustrations, comic pages and the animation storyboard will be cut from. Read from the text only; click ¶ to read where each scene is in the book.

Scene kinds: dream 6, flashback 15, memory 4, present 100. Places used: 41.

P1·Ch1

• P1-Ch1-S01 · Connor interrogated, Sergio eavesdrops (humans present). A roomba glides into a cafeteria-turned-office where the short Inspector Ryan, standing on his swivel chair, grills the tattooed Connor Maguire about people knocked out after winning at his casino. Connor boasts that he owns the city and fought in Iraq, then flares up in red-faced rage while Sergio listens from behind the kitchenette counter and slips toward the storage closet. Place: station-interrogation. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: roomba, ryan, connor, sergio. Key moment: Connor, red-faced on his metal stool, shouts that he owns the city while Ryan towers on his swivel chair and Sergio's head peeks over the kitchenette counter.¶ 1
• P1-Ch1-S02 · Sergio records in the closet (humans present). Sergio crouches among boxes in the storage closet and whispers to Siri to open the 'Connor Report' folder. Siri answers loudly, he turns the volume down, types up what he overheard, tucks the laptop into his jacket and dashes out, ducking behind the counter so Connor cannot see him, to his cubicle. Place: station-storage-closet. Time: Sunday (named in Ch2 dialogue); same moment as the interrogation. On screen: sergio, siri, roomba. Key moment: Sergio crouched among the boxes, his green eyes lit by the laptop glow, whispering to the screen as a swirling Siri icon appears.¶ 1
• P1-Ch1-S03 · Roomba attacks the binderclips (objects alive). The roomba follows Sergio into the back room of the kitchenette and bumps a cabinet three times. Voices cry out, and a binderclip named Reece, then Sunny, fall from a dusty cardboard box beneath it. The roomba, driven by its programming to clean up, runs over Reece until it warns them to freeze because a human is coming. Place: station-kitchenette. Time: Sunday (named in Ch2 dialogue); moments after the closet. On screen: roomba, reece, sunny. Key moment: Sunny clings to the silver cover of the roomba, golden buns bobbing, while Reece lies pressed into the brown rug beneath it.¶ 1
• P1-Ch1-S04 · Sergio boxes the frozen clips (humans present). Sergio comes out of his cubicle humming, grabs a coffee sweetener and trips over the roomba, which he sends home with a button. He then notices the two frozen binderclips on the floor, slides them into the old cardboard box they flew out of, and carries it away. Place: station-kitchenette. Time: Sunday (named in Ch2 dialogue); moments after the roomba attack. On screen: sergio, roomba, reece, sunny. Key moment: Sergio kneels on the tan rug over the frozen Sunny and Reece, the cardboard box open at his side.¶ 1
• P1-Ch1-S05 · Carried inside the dark box (objects alive, humans present). Inside the dark, stuffy box a dozen binderclips pile up while Sergio carries them. Sunny explains that a human is lifting them; Quinn is shocked that nobody has moved them in over twenty years, Percy dreads fighting The Shredder again, Sunny cheers that they can finally get a job, and Maya and Ruth fight in their cross-shaped pose. Place: new:binderclip-box. Time: Sunday (named in Ch2 dialogue); while the box is being carried. On screen: sunny, reece, quinn, percy, maya, ruth. Key moment: Sunny beams in the crowded dark box while the others stare wide-eyed and the twins lie crossed on the floor of the box.¶ 1
• P1-Ch1-S06 · Scouting vote, Reece thrown out (objects alive). When the box thuds down, Ruth and Maya fake sobs that they are in The Trash Can until Quinn calms everyone: the place does not stink. They argue over who must scout; Sunny volunteers but is called too young, and Reece is chosen despite his claimed sore foot. At Quinn's order the Dubaloms hoist him onto their shoulders and throw him out. Place: new:binderclip-box. Time: Sunday (named in Ch2 dialogue); right after the box is set down. On screen: sunny, reece, quinn, ruth, maya, percy, rodd, modd, todd. Key moment: Rodd, Modd and Todd hold Reece overhead at the open box while he flails and wails that he is too young to die.¶ 1
• P1-Ch1-S07 · Reece lost, Percy thrown (objects alive). Through the hole Reece is heard praising the windows and a cute doggy, then screaming about teeth and silence follows. Ruth and Maya claim he was eaten by The Shredder; Quinn objects that the sizes do not fit, and Ruth turns the scouting on Percy. The Dubaloms lift Percy to throw him out, Sunny clips onto him, and both fly out of the box, Sunny landing on a hard wooden surface. Place: new:binderclip-box. Time: Sunday (named in Ch2 dialogue); right after Reece is thrown out. On screen: sunny, ruth, maya, quinn, percy, rodd, modd, todd. Key moment: Sunny clips onto Percy's back as the Dubaloms heave him over the edge of the box.¶ 1

P1·Ch2

• P1-Ch2-S01 · Sunny meets Bulb and Remover (objects alive). Sunny wakes on a shelf with a sunset-and-night painting beside her and the old cardboard box behind her. A small black rectangle with metal teeth chases her, and a pearly blue lamp comes alive and traps it under her cone. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: sunny, remover, bulb. Key moment: Remover, jaws open, closes in on Sunny at the lamp's base just as the lamp's cone starts to curve down over her.¶ 1
• P1-Ch2-S02 · Bulb explains the station (objects alive). Sunny pushes at the cone while Bulb lectures her about being jobless and tells her Commander Frederick retired and Sergio Garcia is the new sergeant, obsessed with a report on Connor Maguire due Friday. Bulb explains the casino knockouts, the crime board, interrogation, and that Ed the computer has replaced paper and clips. Bulb finally frees Remover, who licks Sunny, and says the clip that fell off the shelf is on the desk below. Place: sergio-desk. Time: Sunday (stated by Sunny); report due Friday; time of day not stated. On screen: sunny, bulb, remover, sherlock-book. Key moment: Sunny leans her whole weight on the metal cone while Bulb's two eyes on its side blink back at her, fascinated.¶ 1
• P1-Ch2-S03 · The whole family arrives (objects alive). Percy bursts out of the box with a cardboard shield to save Sunny, the Dubaloms bash Bulb's cone until Rodd apologizes in German. The rest of the clips tumble out; Quinn checks on Sunny, Maya and Ruth squabble, and Sunny reports that Commander Frederick retired. Bulb asks whether the clip that fell off the shelf is Reece and points down at the desk. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: percy, rodd, modd, todd, sunny, remover, bulb, maya, ruth, quinn. Key moment: Percy bursts from the box holding a cardboard shield high, the three Dubaloms charging behind him with vacant smiles.¶ 1
• P1-Ch2-S04 · The plan: take the ropes (objects alive). Sunny asks the lamp's name and learns she is Bulb. Sunny proposes crossing to the crime board by its red strings; the twins mock the plan, Quinn tries to speak, and the group argues until Percy tells everyone to go along with Sunny so she will stop talking about it. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated, pins described as chatting after a day's work. On screen: sunny, bulb, quinn, ruth, maya, percy, rodd, modd, todd. Key moment: Sunny points across at the crime board with its red strings while the pins open their eyes.¶ 1
• P1-Ch2-S05 · Racing to the shelf edge (objects alive). Everyone gallops to the shelf edge, Percy dragged on his cardboard stretcher by the Dubaloms and Ruth boasting about her pencil legs. Quinn laments being jobless, Sunny cheers her up, and Ruth reports the board is at least nine inches away. Percy claims he could jump it, then Quinn proposes a chain of the biggest clips. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: sunny, quinn, ruth, maya, percy, rodd, modd, todd. Key moment: Ruth sprints ahead flaunting her thin legs while the Dubaloms carry Percy on his cardboard like a stretcher.¶ 1
• P1-Ch2-S06 · Dubalom chain across the gap (objects alive). Quinn directs the Dubaloms to hook handle to handle after a comic mix-up about butts, and they stretch across the gap toward the crime board. Sunny, refused a role as too young, sulks beside Bulb and Remover while the twins fake sympathy and then flee her anger. Percy translates Quinn's commands into plain language for the Dubaloms. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: quinn, rodd, modd, todd, percy, maya, ruth, sunny, bulb, remover. Key moment: Rodd, Modd and Todd stretch in a hooked chain over the gap toward the crime board while Quinn shouts at them.¶ 1

P1·Ch3

• P1-Ch3-S01 · Climbing down the crime board (objects alive). Quinn steps across the Dubaloms onto the board's corner pin, which squeals, and cannot pull herself up. Sunny shouts for her to climb down pin by pin, and Ruth swings down first, followed by Maya riding the red string like a zip line. The pins, including the white pin Frank, complain loudly at being stepped on. Place: crime-board. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: quinn, frank-pin, ruth, maya, sunny, percy, rodd, modd, todd, new:red-pin, new:connor-label. Key moment: Quinn wobbles arms-out on a green pin's head, a foot stretched to the red string, while white pin Frank wails beneath her feet.¶ 1
• P1-Ch3-S02 · The Dubalom chain falls (objects alive). Sunny races over the Dubaloms, Percy steps on right behind her, and Todd's white knuckles finally slip. Sunny, Percy and the three Dubaloms fall in a slow dramatic arc down to the desk while the others watch from the board. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: sunny, percy, rodd, modd, todd, maya, ruth, quinn. Key moment: Todd groans as Percy steps onto him beside Sunny, his white knuckles beginning to slip off the shelf.¶ 1
• P1-Ch3-S03 · Desk landing and bickering (objects alive). Ruth and Maya reach the desk and squabble about who won the climb while Percy and the Dubaloms recover. Sunny starts searching for Reece among the mug, pencil and laptop, and the group argues about Percy's claimed victories. Quinn arrives, collapses, and the Dubaloms make her a couch. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: ruth, maya, percy, sunny, quinn, rodd, modd, todd, new:pencil, new:coffee-mug. Key moment: Ruth hops off her last push-pin onto the desk and smirks at the heap of fallen Dubaloms and Percy.¶ 1
• P1-Ch3-S04 · Meeting Ed and Siri (objects alive). Sunny nudges a laptop, which opens and shows two mismatched eyes; he introduces himself as MacBook computer model 2, called Ed. Siri's blue icon keeps appearing and irritating him until he yells at her. Quinn chats with Ed about AI and installs ThatGPT on a toy phone, and Sunny asks Ed to play the Macarena song. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: sunny, ed, siri, quinn, ruth, percy, maya, rodd, modd, todd, bulb, new:toy-phone. Key moment: The bulky laptop lid opens and his two mismatched eyes flutter as Sunny shrieks and ducks behind Percy.¶ 1
• P1-Ch3-S05 · The Macarena party (objects alive). Ed plays the Macarena and the entire cubicle erupts into dance: the Dubaloms, Sunny, Percy, Quinn, Bulb and the pencil. Maya lets her hair down and smiles for the first time in years while Ruth watches gloomily. Pins fall off the board, the sticky notes cannonball into the coffee mug and find Reece, spilling coffee and leaving him stranded. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated. On screen: ed, sunny, rodd, modd, todd, percy, quinn, maya, ruth, bulb, reece, new:pencil, new:sticky-notes, new:coffee-mug, new:the-bandit-label. Key moment: Maya, hair down and smiling, sways to the beat while Ruth fixes her blue bow and watches, her pink bow lying on the floor.¶ 1
• P1-Ch3-S06 · Human returns, everyone freezes (humans present). Someone shouts that a human is coming and everything freezes in mid-dance, Ed's screen going blank while the music plays on. Sergio, looking shaken, drops a navy backpack and stares at the mess, turns off the music, closes the computer and scoops up the clips to throw them out, but his phone buzzes loudly with his hand over The Trash Can. Place: sergio-desk. Time: Sunday (named in Ch2 dialogue); time of day not stated, later than the morning interrogation. On screen: sergio, ed, sunny, percy, quinn, maya, ruth, rodd, modd, todd, bulb. Key moment: Sergio holds the scooped-up binderclips over The Trash Can in the corner just as his phone buzzes loudly.¶ 1

P2·Ch1

• P2-Ch1-S01 · Nightmare in the alley (dream, humans present). Sergio crouches behind a trash can in a stinking dark alley, gun drawn at hissing silhouettes who ignore him; the gun will not fire. His dead-cold mother Ana appears and accuses him of failing and abandoning them, then her face twists into his father Pablo's, who shames him in Portuguese. Mr. Lukshay's cruel voice then speaks out of Pablo, chanting 'The Bandit. Find him.' as the alley walls close in and suffocate him. Place: alley-dream. Time: night (dream); humid night, moonlight and streetlight. On screen: sergio, ana, pablo. Key moment: Sergio, tearful behind the trash can, looks up at his mother Ana looming over him in the streetlight, her face cold and her eyes the wrong green.¶ 1
• P2-Ch1-S02 · Loft bed and revolver (humans present). Sergio jolts awake in his low loft bed, haunted by the Bandit, with phone on his chest and his clip-on desk buried under research and printed files on the Bandit, his parents and Connor's gambling case. He admires his new engraved revolver, recalls General Nolan handing it over a week ago, and plays at TV-reporter cop with it. The doorbell shrieks, he cracks his head on the ceiling, dives under the loft bed, throws on random clothes, tries to fix his hair and runs to the door. Place: sergio-apartment. Time: Saturday morning (the day is named later; faint sunlight through dusty blinds). On screen: sergio. Key moment: Sergio, hunched under the low ceiling of his loft bed, holds the engraved revolver up to his eye and aims at a shadow, narrating his imaginary chase like a TV reporter.¶ 1
• P2-Ch1-S03 · Arabella at the door (humans present). Sergio flings open the door and slowly takes in a woman in knee-high platform Uggs, fishnets and a tight black dress: his foster sister Arabella. She fakes sweetness, then drops the act and begs for money after a quarrel with the Lukshays, promising repayment on December 15th. Boasting about her modeling job she pulls a white ceramic mug with a green logo from her tiny clutch, and Sergio recognizes the logo from the business cards on his desk. Place: apartment-building. Time: Saturday morning. On screen: sergio, arabella. Key moment: Sergio, sprawled breathless in the open doorway, slowly raises his eyes up Arabella's platform boots, fishnets and tight black dress toward her face.¶ 1
• P2-Ch1-S04 · Mug, mints and a deal (humans present). Arabella sweeps into the apartment and mocks it while Sergio makes a peanut-butter sandwich and pretends he wants to win gambling money too, striking a deal: she gets money only after she takes him along. He finds a year-old pack of mint gum that looks new and tries a piece; Arabella wants some and he refuses. She leaves, telling him to meet back in thirty minutes, and Sergio, alone, notices he is wearing his old college clothes and decides to follow the lead. Place: sergio-apartment. Time: Saturday morning. On screen: sergio, arabella. Key moment: Sergio stands in the kitchenette opening with a year-old pack of mint gum, all 15 pieces still wrapped, while Arabella reaches for it like a child.¶ 1
• P2-Ch1-S05 · Elevator out, Mr. Frett (humans present). Sergio grabs his skateboard, helmet and backpack and waits impatiently at the elevator. His elderly neighbor Mr. Frett limps out with his walker, pulled along by his great dane Pete, and mangles Sergio's name as usual. Frett explains with a lame joke that the elevator is shut down, so Sergio dashes down six flights of concrete stairs and out through the heavy yellow door. Place: apartment-building. Time: Saturday morning. On screen: sergio, mr-frett, new:pete. Key moment: Mr. Frett limps out of his door on his walker while the great dane Pete drags him forward toward Sergio waiting at the elevator.¶ 1
• P2-Ch1-S06 · Railing grind and fall (humans present). Sergio bursts out of the yellow door under a clear blue sky and grinds down the concrete stairs' metal railing on his skateboard, cursing Arabella. The jagged edge of an unseen fracture catches the board's truck, ripping the board out from under him, and he crashes onto the landing below. He gets up with bleeding, scratched elbows, checks the wheels, and pushes off as the sky turns cloudy and gray. Place: apartment-building. Time: Saturday morning. On screen: sergio. Key moment: Sergio grinds down the cold metal railing on his skateboard with the wind in his ears, just before the jagged fracture catches the truck.¶ 1
• P2-Ch1-S07 · Taxi near-miss in the rain (humans present). Skating down the sidewalk lost in thoughts of the Bandit, the Maguire logo and Connor's case, Sergio does not notice the light turn red and a taxi slams its brakes. He scrambles to the far side and slumps against a shop's brick wall, trembling and starting to get drenched, and declares he is taking the train. Place: city-street. Time: Saturday morning, rain beginning. On screen: sergio. Key moment: Sergio rolls into the crosswalk against the red light, mind elsewhere, as a yellow taxi's brakes begin to squeal.¶ 1
• P2-Ch1-S08 · Sprint to the Green Line (humans present). Sergio sprints into the station with his board under his arm, pops a wheelie, swipes his subway card and races down the metal stairs to the platform. He hits the stuffy humid platform with graffiti-covered brick walls, ragged people slouching against the walls and drunk students stumbling off, and boards the green train as it loads. Place: subway-station. Time: Saturday morning. On screen: sergio. Key moment: Sergio tears down the metal stairs with the board under his armpit toward the waiting green train, clothes plastered to him.¶ 1
• P2-Ch1-S09 · Tipsy girls and the locket (humans present). Standing in the crowded green train with his hand on a grey loop, Sergio sees two drunk girls in balloon hats giggling at him. He studies a Connor commercial card on his phone, trying to guess which chain location hides the gambling room. The tipsy blonde, Bralin, flirts with him and taps his silver locket, asking if it is his girlfriend; he tucks it away and says it is his mom's photo. Raya pulls her friend away, Bralin trips over her shoes into a pole, and Sergio escapes at his stop. Place: subway-train. Time: Saturday morning. On screen: sergio, bralin, raya. Key moment: Tipsy Bralin in her balloon hat leans in and taps the silver locket under Sergio's collar with a painted fingernail.¶ 1
• P2-Ch1-S10 · Skating to the station (humans present). Sergio climbs out of the subway into the chilly autumn air and skates through the city, resolved to tell Inspector Ryan about his find but tempted to keep the credit for himself. He rushes past shop signs lighting up, a tall yellow-brick church with stained glass of Jesus on the cross, a Trader Joe's and a small CVS, and arrives at a three-story grey-cement building with large windows. Place: city-street. Time: Saturday morning. On screen: sergio. Key moment: Sergio skates past the towering castle-like yellow-brick church with its stained-glass Jesus, eyes unblinking in the wind.¶ 1
• P2-Ch1-S11 · Empty office floor (humans present). Sergio parks his skateboard by the coat rack in the glass entrance room, swipes his police ID on the black card reader and passes the second black door into the first office floor. It is blindingly lit, desks in clusters, completely empty, with private supervisor offices along one wall and a big street window on the other, white walls with coffee stains and a sound-absorbing popcorn ceiling. He walks the aisle in deadening silence toward the elevator alcove. Place: station-ground-floor. Time: Saturday morning. On screen: sergio. Key moment: Sergio walks down the narrow path between the empty desk clusters under blinding white lights, his steps silent in the dead air.¶ 1
• P2-Ch1-S12 · Elevator B reflection (humans present). Sergio rides Elevator B up, staring at his reflection in the polished metal in his old clothes and messy hair. He thinks about college, robotics and the friends he left, how hopeless the search for his parents has become, and above all his girlfriend Chaya, the marine-biology student he has not seen in over two years and whom he keeps in touch with by phone. The elevator dings. Place: station-elevator. Time: Saturday morning. On screen: sergio. Key moment: Sergio stares at his own messy-haired reflection in the polished metal walls as the Elevator B doors slide shut.¶ 1
• P2-Ch1-S13 · Chaos at his desk (humans present). Sergio steps out into his office floor and finds lively Mexican music playing instead of the usual radiator and coffee-machine hum. He steps over the roomba and finds his cubicle desk wrecked: day-old coffee splashed over everything with sticky notes floating in it, photos missing from his red-string corkboard, books knocked down and over half a dozen binderclips scattered in an unnatural pattern. He turns off the music and closes the laptop, scoops the clips up, pockets them when his phone rings, and Arabella's furious call pulls him back toward the elevator. Place: sergio-desk. Time: Saturday morning. On screen: sergio, roomba. Key moment: Sergio stands in his cubicle entrance staring at the coffee-flooded desk, the missing corkboard photos and the binderclips scattered in an unnatural pattern.¶ 1

P2·Ch2

• P2-Ch2-S01 · Back up the stairs (humans present). After a blur of a train ride home, Sergio skates down his street, glares at the railing, climbs the steps and enters the lobby past the overflowing table of packages. The elevator behind the cement columns has a handwritten 'out of order' note, so he dashes through the yellow stairwell door and up to the sixth floor, where Arabella waits impatiently by his door. Place: apartment-building. Time: Saturday, later in the day. On screen: sergio, arabella. Key moment: Sergio bursts through the sixth-floor door and sprints down the hallway toward Arabella tapping at her phone by his door.¶ 1
• P2-Ch2-S02 · Hidden uniform, train argument (humans present). In his kitchenette Sergio hastily shoves his police uniform into a cabinet before Arabella can see it, then knocks his elbow into a peanut-butter jar he swears was not open before. They argue about how to get to the gambling room: Arabella insists on a taxi, but Sergio will not pay and she gags her way to agreeing to the train. She belts her plaid mackinaw painfully tight and sashays out. Place: sergio-apartment. Time: Saturday, later in the day. On screen: sergio, arabella. Key moment: Sergio shoves the folded police uniform into a kitchen cabinet while Arabella is still behind him in the doorway.¶ 1
• P2-Ch2-S03 · Walking through the city (humans present). Arabella and Sergio go down the stairs in tense silence, out the yellow door and down the outside stairs where Sergio fell. Sergio asks about her boyfriend Leondro in California; she lowers her gaze, saying he is riding around with his Hollywood-star girlfriend, and Sergio regrets asking. They move on through a busy city of sun-bleached posters, shop windows, moss in cracks and the smell of fresh bread, with Arabella peeking into every coffee shop. Place: city-street. Time: Saturday afternoon (not stated precisely). On screen: sergio, arabella. Key moment: Arabella sashays down the outside concrete stairs in her platforms, lowering her gaze and blinking fast after Sergio's question about Leondro.¶ 1
• P2-Ch2-S04 · Gum-plastered subway station (humans present). Arabella wrinkles her nose at the stinking station, plastered with chewing gum, and loudly points out a group of homeless men rattling a cup. Sergio apologizes for his 'sister', gives them a few coins, and hisses at her to be quiet. He swipes into the turnstile, slides down the gum-streaked railing, and Arabella looks up the Riverside shop on her phone so they can board a train at the fifth stop. Place: subway-station. Time: Saturday afternoon (not stated precisely). On screen: sergio, arabella. Key moment: Arabella points loudly at a huddled group of homeless men rattling a cup while Sergio grits his teeth and fishes out coins.¶ 1
• P2-Ch2-S05 · Standing room only (humans present). Arabella pushes into the crowded car and clings to a yellow pole with her lip stuck out, complaining her legs will give out in her platforms. Sergio leans against the vibrating wall, tells her to think of it as a workout and enjoys watching her fume. She mutters that she almost forgot why she was glad he left, and his mind slips back to California. Place: subway-train. Time: Saturday afternoon (not stated precisely). On screen: sergio, arabella. Key moment: Arabella clings to a yellow pole in the packed car with her lip poking out while Sergio leans on the vibrating wall with a mock-sweet grin.¶ 1
• P2-Ch2-S06 · Six years old in the attic (memory, humans present). Sergio remembers being six, wide-eyed in the Lukshays' mansion in California after the plane ride from Mexico. Arabella screams over her cereal because he sits in 'her' spot; every broken glass or missing dollar is blamed on him. He recalls the silence of the attic, the dread of his foster parents' footsteps and punishments of no food or confiscated books. Place: lukshay-house. Time: years ago, when Sergio was six (just after arriving from Mexico). On screen: sergio, arabella. Key moment: Six-year-old Sergio sits wide-eyed at the Lukshay breakfast table while Arabella screams over her cereal that he is in her spot.¶ 1
• P2-Ch2-S07 · Riverside stop (humans present). Snapped out of the memory, Sergio hears Arabella claim to have seen a rat in a tuxedo and stands his ground. He broods about the apprenticeship with Superintendent Wyatt Smith, his probation and the only path to his parents, until the board reads 'Next stop; Riverside'. Arabella applies blood-red lipstick in the window, and Sergio, hardened, swings pole to pole as the train slows: 'It's our stop.' Place: subway-train. Time: Saturday afternoon (not stated precisely). On screen: sergio, arabella. Key moment: Arabella puts on terrifyingly blood-red lipstick in the grimy window reflection while Sergio, hand on a yellow post, prepares to swing.¶ 1
• P2-Ch2-S08 · Too-clean Riverside (humans present). Up the cracked station stairs, Sergio puts himself between Arabella and the cars and takes in uncannily neat Riverside: white concrete, white-brick Lego-like houses, identical black SUVs, streetlamps glowing in daylight. He notes the huge decayed Valerien house with its weedy lawn and blue-butterfly stained-glass basement window, and the laundromat in front of it covered in copper conduits and cooling fans. A sunglassed man in a black tuxedo smokes by a pumpkin-decorated porch watching the laundromat; Sergio, hand on his revolver, follows Arabella past him. Place: riverside-street. Time: Saturday afternoon, blinding daylight. On screen: sergio, arabella, edmund. Key moment: Sergio, hand curled round his revolver in his sweatshirt pocket, watches the sunglassed man in the polo neck and tuxedo light a cigarette in front of a pumpkin-covered porch, with the humming laundromat ahead.¶ 1
• P2-Ch2-S09 · Laundromat of noise (humans present). The roar of the laundromat's machines and transformer nearly knocks Sergio down. Arabella opens the glass door, snaps her fingers and the lights come on, revealing a hot, detergent-reeking classroom-sized room with washers on one wall and industrial dryers on the other, all spotless and empty, like a movie set with no cameras. Sergio inspects the machines for signs of a front, finds none, and calls out to Arabella to wait. Place: laundromat. Time: Saturday afternoon. On screen: sergio, arabella. Key moment: Arabella snaps her manicured fingers in the dark doorway and the harsh fluorescent downlights flood the empty laundromat.¶ 1
• P2-Ch2-S10 · Faraday closet (humans present). Arabella opens a small storage closet whose cork-looking walls turn out to be wire mesh, a Faraday cage that kills Sergio's phone signal. She points at an out-of-order dryer as the entrance, tells him to find his own way out, and leaves for her 'gig'. Sergio hides his phone in a nook of the dryer and, against his instincts, climbs into the machine. Place: laundromat-closet. Time: Saturday afternoon. On screen: sergio, arabella. Key moment: Arabella points toward the 'out of order' dryer with an offhand gesture as Sergio stares at her in disbelief.¶ 1
• P2-Ch2-S11 · Down the dryer stairwell (humans present). Sergio squeezes through the cramped dryer, the door locks behind him, and he crawls to a sudden drop where he jumps onto a cement platform. A spiral staircase winds down for meters and meters; he descends, fiddling with the drawstrings of his mother's hoodie, remembering the morning, until a thin pool of light and the sound of chatter lead him to a grey metal door. He turns the creaky knob and spills into the underground gambling room. Place: dryer-stairwell. Time: Saturday afternoon. On screen: sergio. Key moment: Sergio, gripping a drawstring of his mother's hoodie with one hand, turns the creaky knob of the grey metal door with the other.¶ 1

P2·Ch3

• P2-Ch3-S01 · The underground casino (humans present). Sergio chokes on the heat of a gymnasium-sized casino lit by yellow fluorescents, crowded with poker tables, slot machines and crates of cans, cigarettes, copper wire and boxed monitors. He grudgingly respects Connor's planning, grips his gun and recalls Inspector Ryan's warning that Connor is a pressure cooker and that winners are being beaten and robbed. At a nearby table a young woman with puffy black hair wins against a sallow middle-aged man. Place: casino. Time: Saturday afternoon (the text later says barely 6pm). On screen: sergio. Key moment: Sergio picks his way between the lamp-lit poker tables, gun hilt in his fist, taking in the gymnasium-sized room.¶ 1
• P2-Ch3-S02 · Polo Neck at the door (humans present). Looking back at the entrance, Sergio sees the man with the polo neck from the street walking in and panics. He bolts through the crowd to the slot machines, bumps a woman mid-spin, and while he gasps against the wall, her machine hits the jackpot and she squeals as coins pour out. Place: casino. Time: Saturday afternoon. On screen: sergio, edmund. Key moment: Sergio hunched with hands on his knees beside the slot machines as the woman he bumped watches her reels settle on a jackpot.¶ 1
• P2-Ch3-S03 · Kwame at the slots (humans present). A card-shuffling man in a rumpled beige trench coat, Irish kepi and Ray-Bans steps out of the roulette shadows and introduces himself as Kwame; Sergio gives the fake name Seph and says he is waiting for his sister. Kwame invites him to spin the slots; Sergio plays while watching Polo Neck in the glass reflection patrol closer. Kwame takes off his sunglasses, revealing startling blue eyes, and jokes that Sergio looks like he has seen a ghost. Place: casino. Time: Saturday afternoon. On screen: sergio, kwame, edmund. Key moment: Kwame, Ray-Bans in hand, grips Sergio's shoulder and stares into his face with startling blue eyes while Polo Neck stands ten feet away in the slot-machine reflection.¶ 1
• P2-Ch3-S04 · Connor steps out (humans present). The reinforced metal doors at the far end clack open and the crowd hushes as Connor Maguire, a shaved-headed, tattooed mountain of a man in a dark t-shirt, Celtic hat and dirt-encrusted boots, steps out. Through the closing doors Sergio glimpses another gambling room of masked people playing for daggers instead of cash. Kwame whispers that the King is out of his hole; Polo Neck hurries to the boss, and the pair cross the room and climb a half-hidden staircase. Place: casino. Time: Saturday afternoon. On screen: sergio, kwame, connor, edmund. Key moment: The reinforced metal doors swing open and Connor Maguire, shaved head gleaming under the yellow lights, steps into the hushed casino.¶ 1
• P2-Ch3-S05 · Slipping to the stairs (humans present). Sergio decides he must follow Connor and Polo Neck and edges along the roulette wheel and poker tables while Kwame is distracted. Behind a pile of crates by the metal door, he waits for the players and the jackpot crowd to look away, then darts past a red-patterned crocheted banister onto the stairs. Place: casino. Time: Saturday afternoon. On screen: sergio, kwame. Key moment: Sergio crouches behind the stacked crates against the metal door, waiting for the gamblers to look away before slipping to the stairs.¶ 1
• P2-Ch3-S06 · Oak stairs and the stained glass (humans present). On the old oak staircase the air turns damp and dark; moth-eaten tapestries show gory battles, and Sergio hugs the far-left stringer to avoid the creaking center. At the turn he sees the stained glass blue butterfly on chrysanthemums, the same window he saw outside the Valerien house, then steps on a loose board. Connor asks what that was, Polo Neck dismisses it as the old house creaking, and Sergio, shaking, curses himself and hurries after them. Place: mansion-stairs. Time: barely 6pm (text), though dark on the stairs. On screen: sergio. Key moment: Halfway up the dark oak stairs, Sergio presses against the wall under the stained-glass blue butterfly lit by a shard of light, just before his weight shifts onto the loose board.¶ 1
• P2-Ch3-S07 · The decayed hallway and bookshelf (humans present). At the top, Sergio hunches through a decayed grand hallway of blotched yellow walls, peeling blue-and-gold-bird wallpaper and a giant cobwebbed Baroque chandelier, listening at silent doors for Connor. In a nook he finds a tall oak bookshelf, with dozens of dusty footprints leading to it and none back. He pulls every book looking for a lever, drops a heavy silver book on his leg, slams his palm on the shelf in frustration, and the bookshelf swings open onto a hidden hallway. Place: mansion-hallway. Time: Saturday evening (barely 6pm per the text). On screen: sergio. Key moment: Sergio, hunched in the dusty nook, tugs a thick silver-covered book from the tall oak shelf just before it falls on his leg.¶ 1
• P2-Ch3-S08 · Listening at Connor's door (humans present). Beyond the bookshelf, a clean modern corridor, soundproofed floor to ceiling with grey carpet and white fluorescents, leads to a thin metal door. Sergio overhears Connor rage at Edmund about yet another victim, claim he is being blackmailed into continuing, and agree with Ruby that the market is secured for December 15th in the den, which he links to Arabella's repayment date. A beep makes them whisper; a floorboard creaks behind him, and something hard crashes over his head and everything goes black. Place: connor-office-corridor. Time: Saturday evening. On screen: sergio. Key moment: Sergio leans in with his shoulder grazing the cold metal door as Ruby's question about the market is cut off by a quiet beep.¶ 2

P3·Ch1

• P3-Ch1-S01 · Restless in the pocket (objects alive, humans present). Hours into riding in Sergio's pocket, the binderclips are cramped, irritable and bickering while Sergio climbs stairs with fast, shaky steps. Quinn orders the Dubaloms to stack themselves into a tower to reach the pocket's edge, but the cloth at the bottom acts like quicksand and the tower keeps collapsing. Place: sergio-pocket. Time: Not stated; over three hours after the binderclips went into the pocket, light outside had dimmed, Arabella had left within the last half hour. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Todd stands on Modd who stands on Rodd in a wobbling tower, reaching for the edge of the pocket while Rodd sinks into the cloth below.¶ 1
• P3-Ch1-S02 · Casino noise and gum (objects alive, humans present). A door opens and dings, victorious jingles and hushed chatter pour into the pocket, with dim green splotches and bright white squares visible through the cloth. Quinn consults a Quinn-sized book on lampshades while the Dubaloms open the gum carton and she tries to use gum to get Todd to the pocket's top; the clips bicker until Sergio breaks into a run through a crowd and slams into something hard and plastic. Place: sergio-pocket. Time: Not stated; same evening, a short time after the stairs. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Todd stumbles across the domed, quicksand-like cloth toward Quinn, who stands beside the opened gum carton and holds out a stick of gum.¶ 1
• P3-Ch1-S03 · Kwame at the slot machine (objects alive, humans present). Sergio stops at a machine that rings out coins. A deep British voice calls him lad, introduces himself as Kwame and asks his name; Sergio gives the false name 'Seph'. While the binderclips argue wild theories (drug dealer, sauna, counting change), Kwame invites him to play and spin; Sergio presses the glowing button and loses. A rumbling sound and a new person entering make Sergio freeze, and Kwame warns that the King of the Castle is out of his hole. Place: sergio-pocket. Time: Not stated; same evening. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: All the binderclips press their faces to the translucent cloth, staring at the big white glowing rectangle just before Sergio slams the button.¶ 2
• P3-Ch1-S04 · Flight and the earthquake (objects alive, humans present). Sergio excuses himself and bolts. Quinn loses her mini-phone and glasses; Todd heroically catches the glasses with Modd's help. Sunny warns Sergio might die, Percy brushes her off, and then Sergio falls or ducks and an earthquake throws everything around the pocket before he runs again, bouncing the clips like a reversed trampoline park. Place: sergio-pocket. Time: Not stated; same evening, moments after the King of the Castle appears. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Rodd yells in German as Modd hoists Todd onto his slick black shoulders, Todd reaching up to catch Quinn's falling glasses.¶ 1
• P3-Ch1-S05 · Creaking up the stairs (objects alive, humans present). Sergio makes his way along a staircase floor after floor with a jolt every few seconds, his breath stopped and legs trembling, while the binderclips fear he is dead until Maya notes his heart is still hammering. Two voices pass without noticing him and a floorboard nearly creaks. Quinn starts typing into ThatGPT. Place: mansion-stairs. Time: Not stated; same evening. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Maya, talking to Percy like a toddler in a grocery store, gestures upward to where Sergio's hammering heart must be.¶ 1
• P3-Ch1-S06 · The bookshelf that opens (objects alive, humans present). Sergio finishes the stairs and enters a dim hallway with a window. Sunny reports shapes: he pulls out many squares (books), gives up, and pounds on the bookshelf, which opens like a door onto a pitch-black passage. Quinn starts to recount the binderclips' guesses, and Sergio hesitates before stepping through. Place: mansion-hallway. Time: Not stated; dim light, same evening. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: The bookshelf swings open in front of Sergio while every binderclip has its face pressed into the cloth.¶ 1
• P3-Ch1-S07 · Overhearing Connor (objects alive, humans present). Beyond the bookshelf, the room turns cold and Sergio's steps speed up as three voices carry through. Connor Maguire rages that another man (Henry Baltman) was knocked out, says a blackmailer is knocking people out, and sends Edmund to deal with him. Then he calms and tells Ruby that the date for the market is December 15th in the den. Sunny realises whose casino this is while Quinn searches Oogle for the market in vain. Place: connor-office-corridor. Time: Not stated; same evening. Connor says December 15th is 'like a month' away. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Every binderclip has its face pressed to the fabric as Connor's furious voice roars 'EDMUND, I DON'T CARE WHO IT IS' from the dark.¶ 1
• P3-Ch1-S08 · The beep and the blow (objects alive, humans present). A steady beep sounds. Sergio freezes with his heart thumping out of his chest, and the binderclips push their faces into the fabric to see what is wrong. Before Quinn can finish her sentence, Sergio is hit over the head with a crash and slams unconscious to the floor. Place: connor-office-corridor. Time: Not stated; same evening, right after the conversation. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Quinn squints out through the cloth saying 'I don't see anyth-' while Sergio stands frozen in the dark.¶ 1

P3·Ch2

• P3-Ch2-S01 · Trapped under his hip (objects alive, humans present). Sergio lands on the right side of the pocket, trapping Ruth, Rodd, Modd and Quinn under his sharp hip while Maya, Todd, Percy and Sunny are thrown clear. Maya tries to pull Ruth out; Todd pulls himself together and leads Sunny away. Sergio is hoisted up and dragged roughly away, a door closes, and Ruth shouts that they should be thinking about themselves. Place: sergio-pocket. Time: Same evening, just after the blow. On screen: maya, ruth, sunny, percy, quinn, rodd, modd, todd. Key moment: Maya yanks at Ruth's arms while Ruth screams from beneath Sergio's hip.¶ 1
• P3-Ch2-S02 · Grecs searches the pocket (objects alive, humans present). The attacker searches Sergio's pockets ('No ID, no phone') and pulls out Todd with the chain of binderclips holding on to him; they play dead and he tosses them onto the floor. He pours a vial into Sergio's mouth and drops him, and a thin golden object flies from Sergio's neck onto the floor. Through his sunglasses he reports to Connor's voice, is asked whether he gave Sergio the concentrated whisky, grunts yes, and leaves, locking the door. Place: mansion-locked-room. Time: Sunset, same evening (sunset visible through the window). On screen: grecs, sergio, todd, sunny, percy, maya. Key moment: A giant pale zombie-grey hand reaches into the dark pocket toward Todd and the chain of clinging binderclips.¶ 1
• P3-Ch2-S03 · Maya refuses to leave (objects alive). With Grecs gone, the binderclips climb Sergio's jeans to the pocket slit. Maya screams for Ruth, tries to leap into the pocket, and Todd holds her back, while Quinn from inside demands a rope. Percy, Sunny and Todd argue about what to do, and Percy decides they will have to drag Maya away by force before Grecs returns. Place: mansion-locked-room. Time: Sunset into dusk, same evening. On screen: sergio, maya, sunny, percy, todd, ruth, quinn, rodd, modd. Key moment: Maya thrashes in Todd's firm grip at the pocket opening, reaching toward the sinkhole where Ruth is trapped.¶ 1
• P3-Ch2-S04 · Hauling Maya away (objects alive). Quinn urges them to hurry, Percy snaps at her and calls her a nerd, and Sunny scolds him. Percy then nods to Todd; they grab Maya and Percy hoists her over Todd's shoulder, and Todd carries her flailing down to the floor. Maya sips water while ranting at Todd. Place: mansion-locked-room. Time: Sunset, same evening. On screen: maya, sunny, percy, todd, quinn, ruth. Key moment: Percy nods to Todd, grabs Maya's arms and hoists her up and over Todd's shoulder as she screeches.¶ 1
• P3-Ch2-S05 · Sunny snaps at Percy (objects alive). On the floor Percy brags that he is the leader of the pack and belittles Sunny. Sunny finally explodes, shouting that she has held the box together while no one appreciates her, in a voice that does not sound like hers. Percy admits that all his hero stories are lies and that he is scared, and they reconcile on the rug while the sun sets red behind a barred window. Place: mansion-locked-room. Time: Sunset, same evening (red sunset behind the window). On screen: sunny, percy, maya, todd. Key moment: Sunny hauls Percy around by the sleeve, eyes wet, shouting up at him that she is more than 'Sunny'.¶ 1
• P3-Ch2-S06 · A thread and an idea (objects alive). Maya wails that they cannot find anything to rescue Ruth. Todd pulls out a thread from the rug and has Sunny weave herself into it as a test, but the fringe unweaves and she cannot be lifted. Percy says they need something stronger like a rope, and Sunny, remembering the gold chain that flew from Sergio's neck, asks if something on a chain would work. Place: mansion-locked-room. Time: Dusk, same evening; sunset fading. On screen: maya, todd, sunny, percy. Key moment: Sunny hangs from a rug thread woven into her wire grips as Todd tries to lift her and the fringe starts to come undone.¶ 1

P3·Ch3

• P3-Ch3-S01 · Heaving the heavy locket (objects alive). The binderclips try one method after another to move the thick metal locket, but it is too heavy. Percy takes Maya aside and gently asks why she is always bitter; she tearfully tells him about Ruth copying her since kindergarten. Percy offers tissues and his own confession, and with all four of them pulling and pushing they slowly drag the locket across the floor to Sergio. Place: mansion-locked-room. Time: Evening turning to night; by the end it is dark outside with stars out. On screen: percy, maya, sunny, todd. Key moment: Percy sits Maya against a tall oak shelf and listens as she wipes tears, a tissue box between them.¶ 1
• P3-Ch3-S02 · Pulling Ruth up (objects alive). At 10:53 pm by Quinn's phone, the binderclips lower the locket into the pocket on its chain. Rodd and Modd climb on and are pulled out, then Quinn, who clings to the chain and collapses; Ruth shouts to hurry. As they haul Ruth up, the floorboards creak and Sergio stirs, so everyone drops the chain and Ruth falls back in. Place: mansion-locked-room. Time: Night, 10:53 pm by Quinn's phone; Sergio has been out over two hours. On screen: percy, maya, sunny, todd, rodd, modd, quinn, ruth. Key moment: Sunny kicks the locket over the edge of the pocket while Percy, Todd and Maya brace on the chain.¶ 1
• P3-Ch3-S03 · Sergio wakes, and the deal (objects alive, humans present). Sergio sits up, sees the living binderclips, and thinks he has gone crazy; he talks to the ceiling and worries about finding his parents. The clips freeze, then vaporize their features; Sergio spots them and kicks Percy. Maya, Percy and Sergio strike a deal: they free him from the handcuffs, he gives them a real job at the police station and lets Ruth go. Place: mansion-locked-room. Time: Night, after 10:53 pm. On screen: sergio, percy, sunny, maya, quinn, todd, modd, rodd, ruth. Key moment: Sergio, jaw dropped, stares at the frozen clips with the locket chain slack and Ruth falling back into the pocket.¶ 1
• P3-Ch3-S04 · Sunny in the keyhole (objects alive, humans present). Todd, then Rodd, boost Sunny up to Sergio's handcuffs, and Todd shoves her into the keyhole where she endures a painful twist from Todd and the lock clicks open. The cuffs retract into small slabs; Sergio opens his ankle cuffs with a screwdriver, praises the binderclips' torque, then draws Ruth from his pocket and tucks all of them into the hood of his ratty black sweatshirt. Place: mansion-locked-room. Time: Night, after 10:53 pm. On screen: sergio, sunny, todd, rodd, maya, percy, ruth. Key moment: Todd, balanced on Rodd's shoulders, pushes Sunny into the dark keyhole of the cuff.¶ 1

P4·Ch1

• P4-Ch1-S01 · Down the stone staircase (objects alive, humans present). Dazed from the blow to his head, Sergio climbs down an ancient stone staircase that smells of rain, with the live binderclips arguing in his hood. They debate knocking him out or making a business deal with him; Pink Bow and Percy argue for the deal, and the others fall silent when they realise he is listening. He descends for about ten minutes in the dark toward a dim lantern and dripping water. Place: mansion-stone-stairs. Time: Night, shortly after he was knocked out (exact hour not stated). On screen: sergio, percy, ruth, maya, quinn, sunny, modd, todd, rodd. Key moment: Sergio stands frozen on the dark stone steps, one hand on the wooden railing, while whispers argue about him from inside his hood.¶ 1
• P4-Ch1-S02 · Overheard in the hallway (objects alive, humans present). At the bottom Sergio finds a door into a hallway of white doors and soggy floors. He creeps past rooms, overhearing men who want to find him and then Arabella being questioned by Otto, who accuses her of bringing one of Igor's men and slaps her. From another room someone shouts about turning the guy into a kebab. Place: mansion-hallway. Time: Same night, minutes after leaving the stairs. On screen: sergio, arabella, otto, percy, maya, quinn, ruth. Key moment: Sergio freezes outside a door in the hallway with one foot raised, listening to Arabella defend him.¶ 1
• P4-Ch1-S03 · Chair on Otto (humans present). Sergio bursts into a small white-wallpapered room, punches Otto, and Arabella smashes a chair over him. Sergio gags Otto with Arabella's bandana and shoves him into a closet, then pulls Arabella out, telling her to turn on survival mode. In the hall the other men are waiting, and Sergio yells for them to run. Place: mansion-rooms. Time: Same night. On screen: sergio, arabella, otto. Key moment: Arabella lifts the chair over Otto, who is staggering from Sergio's punch.¶ 1
• P4-Ch1-S04 · Fight and chase downstairs (humans present). Sergio and Arabella run down a stairwell with the henchmen behind them. At the bottom Sergio punches a big bearded red-faced man, fights off several others, then runs along a hallway lined with tapestries and down flight after flight of stairs. In fear he remembers childhood chases and his parents' faces, then kicks a hand off his ankle and keeps running. Place: mansion-hallway. Time: Same night. On screen: sergio, arabella, new:henchmen. Key moment: Sergio skids around the corner of the tapestry-lined hallway with hands grabbing at his shoulders.¶ 1
• P4-Ch1-S05 · Through the den of thieves (humans present). Running past a stained-glass window and under a long banister, Sergio bursts into the gambling room where Kwame calls him 'Seth'. He flings open a scratched black door and finds the masked thieves of the den, freezes, then runs when the men burst in. He ducks through the grabbing crowd and rounds the roulette table, but sees Polo Neck on the well stairs and climbs the opposite stairs. Place: the-den. Time: Same night. On screen: sergio, kwame, grecs, new:den-crowd, new:henchmen. Key moment: Sergio stands paralysed in the doorway of the den as masked faces turn toward him.¶ 1
• P4-Ch1-S06 · Crowd fight and capture (humans present). Sergio climbs endless cement stairs with fifteen or more people behind him until he is caught in a hallway crowd. He punches and kicks his way down to five attackers, then hears Arabella shriek as two men drag her into a room. A bald man brings his hand down on Sergio's head, cuffs him on his stomach, and Sergio sees brown loafers and bright red socks under a white door while a low voice mentions Anne-Marie Kellington on Maple Street. Place: mansion-hallway. Time: Same night. On screen: sergio, arabella, red-socks-man, new:henchmen. Key moment: Sergio pinned face-down, head turned, looking under a white door at brown loafers and bright red socks.¶ 1
• P4-Ch1-S07 · Tied to a chair (objects alive, humans present). Sergio wakes tied to a metal-backed chair in Connor's headquarters, alone except for the binderclips on the floor. Quinn says he was out for 30 minutes 21 seconds. Through the thin wall he hears Andrew, with Bill and Avery, slap and interrogate Arabella about who he is,. Place: mansion-rooms. Time: Night, about 30 minutes after capture. On screen: sergio, quinn, percy, sunny, maya, ruth, modd, todd, rodd, arabella, andrew, bill, avery. Key moment: Sergio, tied to the metal chair, looks down at the binderclips standing on the floor and in his lap.¶ 1
• P4-Ch1-S08 · Clips cut the ropes (objects alive, humans present). Percy and the Dubaloms carry the scissors up Sergio's chair; Sergio lifts Modd and the scissors and the rope is cut. He finds himself still held by a thin metal mesh, so he asks the clips to tie a rope in front of the door while he cuts the mesh with his old industrial scissors. Derek and Andrew's voices come closer. Place: mansion-rooms. Time: Night, shortly after waking. On screen: sergio, percy, modd, todd, rodd, maya, ruth, sunny, quinn, andrew, bill, derek. Key moment: The clips form a chain up the chair leg while Modd hauls the scissors toward Sergio's ropes.¶ 1
• P4-Ch1-S09 · Trip the guard (objects alive, humans present). Sergio pretends to be unconscious. The Dubaloms pull the rope tight and the guard Derek trips; Sergio tackles and punches him and shoves him into the supply closet. He bursts into the next room and brings a chair down on Andrew's head while Arabella warns him too late, then they run together. Place: mansion-rooms. Time: Night. On screen: sergio, derek, andrew, arabella, modd, todd, rodd, percy, maya, ruth, sunny, quinn. Key moment: Sergio raises the dark-haired guard's chair high behind Andrew, who is facing away from the door.¶ 1
• P4-Ch1-S10 · Escape through the vents (humans present). Remembered in a haze: Sergio and Arabella dash through identical hallways, climb out a window and up a ladder into a vent. Through a vent they see the den in chaos, with Connor swinging a baseball bat at anyone he thinks is Sergio. They climb down a thin ladder to a single door and step out into cool night air. Place: mansion-vents. Time: Late night. On screen: sergio, arabella, connor. Key moment: Sergio and Arabella crawl along the cold metal vent, with the chaotic den visible through the grate below.¶ 1

P4·Ch2

• P4-Ch2-S01 · Train ride and Ms. Aurelio (humans present). Sergio dashes into a deserted subway station, boards a crowded train, and sits near the sliding doors with the clips silent in his hood. He realises he left his phone on the dryer in the laundromat. A woman bumps into him: Valerie Aurelio, who was fired from the police station, and their stiff exchange ends when she gets off. Place: subway-train. Time: Sunday, very early morning (before dawn, per later text). On screen: sergio, valerie, percy, sunny, maya, ruth, quinn. Key moment: Valerie turns to apologise after bumping Sergio, her cat-framed glasses catching the light.¶ 1
• P4-Ch2-S02 · Remembering Val (memory, humans present). Sergio recalls working next to Valerie in the station, where he made files and she sorted them, and he was allowed to call her Val. She used to throw back her head and laugh at his jokes about breaking the windows during boring shifts. Place: station-cubicle-floor. Time: Some time earlier, time of day not stated. On screen: sergio, valerie. Key moment: Val throws her head back laughing at Sergio's joke about escaping through the window.¶ 1
• P4-Ch2-S03 · Run to the station (objects alive, humans present). At Washington Square Sergio runs out of the train station and through the empty streets, passing the church with the glass figure of Jesus and praying briefly. Past a Trader Joe's and under a CVS awning he hears the clips murmur from his hood, and Maya or Ruth snaps at Sunny that of course they are going to the station. Place: city-street. Time: Sunday, before dawn. On screen: sergio, sunny, maya, ruth, percy. Key moment: Sergio sprints under the CVS awning with the clips peeking from his hood.¶ 1
• P4-Ch2-S04 · Blood in the elevator (humans present). Sergio flashes his badge and crosses the full ground floor, slowing to a walk. In the elevator he chews gum, sees his reflection and finds blood trickling from his scalp. He wipes it on his mother's sweatshirt sleeve and fears Ryan will not believe him, then steps out onto the beige carpet of his floor where the cubicle workers go quiet. Place: station-elevator. Time: Sunday, early (station open at 4:30). On screen: sergio. Key moment: Sergio leans toward the silver elevator wall as a thread of blood runs down his forehead.¶ 1
• P4-Ch2-S05 · Ryan fires Sergio (humans present). Through the red door's window Sergio sees Connor, bruised, on the metal stool facing Ryan. He bursts in claiming Connor is not guilty, but Ryan accuses him of being drunk; Sergio pulls the silent binderclips out of his hood and begs them to talk. Ryan fires him and two Generals drag him out. Place: station-interrogation. Time: Sunday, early morning. On screen: sergio, ryan, connor, percy, sunny. Key moment: Sergio holds the lifeless binderclips out in his palm while Ryan's face reddens and Connor stares.¶ 1
• P4-Ch2-S06 · Trek home at sunrise (humans present). Sergio trudges back to the train and home, his mind looping on sorting out his priorities and on where home really is. The sun rises behind a coffee shop that no longer looks pretty. He stumbles up the outdoor concrete stairs past an Amazon parcel, drops onto his couch and falls asleep before taking the clips out of his hood. Place: apartment-building. Time: Sunday, dawn. On screen: sergio. Key moment: Sergio climbs the outdoor concrete stairs, head hung, stepping over the Amazon parcel.¶ 1
• P4-Ch2-S07 · Fired and sulking (objects alive, humans present). Sergio wakes on the brown leather couch under a plaid throw, answers Sunny's 'What?' with a groan about being fired, and changes into plaid pajama shorts. He crawls onto his loft bed, worries about the Bandit and Valerie, and spends the morning in dark thoughts until hunger drives him to microwave leftover farfalle at noon. Place: sergio-apartment. Time: Sunday morning to noon. On screen: sergio, sunny, maya, ruth. Key moment: Sergio lies face-down on his loft bed in plaid pajama shorts while two binderclips stare at him.¶ 1
• P4-Ch2-S08 · Chaya ends it (humans present). On Sunday call day Sergio answers Chaya on his computer. After a joke she asks to break up because she hates long distance, offering to be friends. He cannot speak, she hangs up, and he crawls to the couch to cry. Place: sergio-apartment. Time: Sunday afternoon. On screen: sergio, chaya. Key moment: Sergio stares at Chaya's freckled face on the computer screen as she hesitates before speaking.¶ 1
• P4-Ch2-S09 · Shark nightmare (dream, humans present). Sleeping on the couch with a sleep mask, Sergio has nightmares. In one, Connor and Chaya team up against him, Connor throws him off a cliff into an ocean of sharks with the faces of the Lukshays, and Chaya laughs shamelessly. Place: sergio-apartment. Time: Sunday afternoon. On screen: sergio, connor, chaya. Key moment: Connor holds Sergio at the edge of a cliff above the shark-filled ocean as Chaya laughs.¶ 1
• P4-Ch2-S10 · Ice cream and a rom-com (objects alive, humans present). At dinner time Sergio eats sad eggs from the pan, scolds himself not to wimp out, and settles on the couch with expired chocolate ice cream and Spider-Man: Into the Spider-Verse. The clips watch him for hours, he switches to a sappy romance, and Ruth and Maya groan at the 1990s lines until he falls asleep. Place: sergio-apartment. Time: Sunday evening. On screen: sergio, ruth, maya, percy, sunny, quinn, modd, todd, rodd. Key moment: Sergio eats ice cream on the couch while the clips watch the romance on the screen.¶ 1
• P4-Ch2-S11 · Red house replay (dream, humans present). Asleep, Sergio is back in the Victorian house, fighting, but everything is tinted red. He knees the magenta-haired woman as before and turns at a scream, but the woman dragged down the hall is not Arabella: it is his mother Ana Garcia, black hair messy, tears on her face. A flash cuts to the next scene. Place: mansion-hallway. Time: Sunday night (dream). On screen: sergio, ana, new:henchmen. Key moment: Sergio turns toward the scream and sees his mother being dragged down the hall instead of Arabella.¶ 1
• P4-Ch2-S12 · The alley kidnapping (dream, humans present). Sergio watches himself at five years old, buried in his mother's sweater, in a dark alley. Black figures drop from the walls, hold a knife to the child's neck and demand that Pablo and Ana hand themselves over on the Bandit's orders. They are dragged into a dark van, and little Sergio is dropped on the floor screaming. Place: alley-kidnapping. Time: Not stated (sixteen years earlier). On screen: sergio, ana, pablo, new:croaky-man, new:henchmen. Key moment: Hooded figures drop from the alley walls while the five-year-old Sergio clutches his mother's sweater.¶ 1
• P4-Ch2-S13 · Telling Sunny everything (objects alive, humans present). Sergio wakes tearful in the dark with Sunny beside him and tells her about his parents' kidnapping, the Lukshays, Oxford, Chaya, Smith and the Bandit. Sunny reassures him and tells him to focus on small things, suggesting he catalogue everything he remembers in a mental database. Place: sergio-apartment. Time: Sunday night. On screen: sergio, sunny. Key moment: Sunny stands on the folded blanket, head tilted, asking what his dream was about.¶ 1
• P4-Ch2-S14 · Quinn's database idea (objects alive, humans present). Quinn creeps up and explains that the police station has a database of all reports, now on Inspector Ryan's desktop. The other clips gather, Maya and Ruth standing apart and clearly feuding, and Ruth sarcastically lays out a plan to walk into the station at 4 am and hack Ryan's computer. Silence follows, then Sergio raises his eyebrows at her. Place: sergio-apartment. Time: Sunday night. On screen: sergio, sunny, quinn, percy, maya, ruth, modd, todd, rodd. Key moment: Ruth drawls out her sarcastic plan while the clips exchange looks and Sergio raises an eyebrow.¶ 1

P4·Ch3

• P4-Ch3-S01 · Pre-dawn jog and debate (objects alive, humans present). After a night of scheming and a handful of Advil, Sergio jogs to the police station in the early hours while Ruth asks from his uniform pocket whether he is really doing this. His optimistic and reasonable inner voices argue about whether to prove Connor innocent or protect his sanity. He bangs his hand on a lit streetlight by the station door and gets out his ID. Place: city-street. Time: Early morning, a few hours before opening (Monday implied). On screen: sergio, ruth, maya. Key moment: Sergio shakes out his numb hand beside the lit streetlight, ID half-pulled from his wallet.¶ 1
• P4-Ch3-S02 · Sanity or parents (objects alive, humans present). Sergio swipes his ID, crosses the empty ground floor where the coffee stain still glares from the wall, and rides the elevator, studying his wild-haired reflection and asking the clips whether he is a criminal. The mantra 'Sanity or parents?' loops in his head until the bell rings and he steps out. Place: station-elevator. Time: Early morning. On screen: sergio, ruth, maya. Key moment: Sergio studies his reflection in the closing elevator doors, wild-haired, with a glint like a starving tiger.¶ 1
• P4-Ch3-S03 · Ryan's empty office (objects alive, humans present). Sergio walks the empty floor and the Inspector Corridor to the door labelled E. B. Ryan and goes in. He notes the monitor, a leftover glass of water in the sunrise, and a shredder that makes the Dubaloms tremble. He finds the sticky note with the passcode in the lowest drawer and logs in. Place: ryan-office. Time: Early morning, sun just rising. On screen: sergio, sunny, modd, todd, rodd. Key moment: Sergio slides into Ryan's black spinny chair while the clips shrink back from the shredder at the foot of the desk.¶ 1
• P4-Ch3-S04 · Searching for Igor (objects alive, humans present). Hands shaking, Sergio opens the internal site, searches California case profiles for Igor and gets nothing useful, then switches to news/media. A sixteen-year-old California Observer clipping, 'Mayhem in the Pyrenees', appears about a robbery in which half of everything in pairs was stolen, tied to the alias Igor Gondalaz. A name, Chief Inspector Vance, catches his eye. Place: ryan-office. Time: Early morning. On screen: sergio, sunny, percy, ruth, maya, quinn. Key moment: Sergio reads the newspaper clipping on Ryan's monitor, hope fighting disbelief.¶ 1
• P4-Ch3-S05 · Inspector Vance and the boy (memory, humans present). Seeing Vance's photo triggers a third-person memory: five-year-old Sergio sits shaking on a worn metal-framed bed, face grimy with tears. A thirtyish Inspector Vance kneels, holds his hand and, through a Latino translator, offers condolences and asks what he remembers. Little Sergio answers in Spanish, then Vance leaves and the door closes. Place: orphanage. Time: Sixteen years earlier, right after the kidnapping (time of day not stated). On screen: sergio, vance, new:translator. Key moment: Vance kneels by the rusty iron bed, holding little Sergio's palm between his two hands.¶ 1
• P4-Ch3-S06 · The Missing Governor (objects alive, humans present). Sunny's shout snaps Sergio back, and he searches for a report on his parents, finally finding the article 'Missing Governor' on Governor Pablo Garcia and his wife Ana. The clips celebrate and Sergio concludes that Igor worked with the Bandit. They debate whether Connor was involved, and Quinn deduces from his tattoo and service stripes that Connor was still in the army sixteen years ago. Place: ryan-office. Time: Early morning. On screen: sergio, sunny, ruth, maya, percy, quinn, modd, todd, rodd. Key moment: Sunny clambers from the back of the chair onto the desk beside the screen showing the missing-governor article.¶ 1
• P4-Ch3-S07 · The twins' quarrel (objects alive, humans present). While Sergio frets about getting caught, Ruth grips Maya's arm and demands why she has been acting weird. Maya shouts that she is just not her shadow anymore, yanks free, and her arm clangs against Ryan's glass of water. Footsteps echo in the hall. Place: ryan-office. Time: Early morning, sunrise. On screen: sergio, maya, ruth, sunny, percy, quinn, modd, todd, rodd. Key moment: Maya's swung arm is about to hit Ryan's glass of water as Ruth drops her wrist.¶ 1
• P4-Ch3-S08 · Caught, then the shredder (humans present). Sergio stuffs the clips in his hood and closes the file just before Ryan bursts in, gun raised. Sergio's lie falls apart; Ryan rages about Connor and the court, tells him to go back to college and give up, and fires him again. Sergio refuses to give up, grabs the stack of papers from Ryan's desk and drops them into the shredder as thunder breaks. Place: ryan-office. Time: Early morning, storm rolling in. On screen: sergio, ryan, percy, sunny, ruth, maya, quinn. Key moment: Sergio lifts the stack of papers from Ryan's desk above the open shredder while Ryan stands in the doorway.¶ 1

CV·In Prison

• CV-InPrison-S01 · Sergio shoved into the cell (humans present). The cell door creaks open and a boy is nudged in, led by the same tiny Inspector who jailed Connor. Connor recognizes him as the boy from the casino and fears this is about Igor. Sergio sits at the stone desk, introduces himself, asks 'What do you know about Igor?', gets refused, and climbs to the top bunk. Place: prison-cell. Time: Present day; morning (before the breakfast call). On screen: connor, sergio, new:little-inspector. Key moment: The cell door slides open and the boy is nudged inside, Connor's eyebrows shooting up as he recognizes him from the casino.¶ 1
• CV-InPrison-S02 · Breakfast refused (humans present). After thirty silent minutes a guard opens the metal slit in the door and calls breakfast. Connor and Sergio both ignore it. Connor buries his head in his hands, mourning the years of honor he lost in a week, and resolves that he will not stay in the cell for long. Place: prison-cell. Time: Present day; about thirty minutes later, breakfast time. On screen: connor, sergio, new:guard. Key moment: The guard's slit slides open on the cell door while Connor, turned away, rolls his eyes and Sergio fiddles with the hem of his jumpsuit.¶ 1
• CV-InPrison-S03 · Questions about Arabella (humans present). Hungry after skipping breakfast and lunch, Connor probes how Sergio found the gambling room. Sergio says it was his own idea; Connor realizes Arabella walked him there, and Sergio calls her his foster-sister. Sergio presses about Igor, saying Connor is being blackmailed by him; Connor is stunned and finds he unwillingly trusts the boy. Place: prison-cell. Time: Present day; afternoon (after the lunch the guard offered was skipped). On screen: connor, sergio. Key moment: Connor says 'Arabella' flatly, his eyebrow jerking up as he realizes she led Sergio to the gambling room.¶ 1
• CV-InPrison-S04 · Don't think about it (memory, humans present). Triggered by Sergio's age, Connor buried in his hands sees three fragments of the night of the ambush: Teri's face as he realized what was happening, James's startled last cry, and young Laker's limp body, only 18. Place: iraq-tent. Time: Night of the ambush, 2004 (intrusive memory during the present-day afternoon). On screen: teri, james, laker. Key moment: Connor, head in his hands in the cell, sees Teri's face at the instant he realizes what is happening.¶ 1
• CV-InPrison-S05 · Connor snaps, Sergio paces (humans present). Connor barks 'STOP THINKING ABOUT IT!' and covers by saying he was talking to himself; Sergio peeks off his bunk. Connor frets about the December 15th market and the gambling room, then sees his own fire in Sergio as the boy paces. Connor offers a trade, Sergio first answers about the train and Arabella's commercial, and Connor calls it a lie. Place: prison-cell. Time: Present day; afternoon, continuing. On screen: connor, sergio. Key moment: Connor, head in his hands, barks 'STOP THINKING ABOUT IT!' while Sergio rolls over on the top bunk to peek down at him.¶ 1
• CV-InPrison-S06 · Why aren't you angry (humans present). After a gap in the text, a speaker asks why Sergio is not angry despite Igor taking his parents, the Lukshays hurting him and Arabella tormenting him. Sergio answers that he is angry but lashing out will not change anything. Connor asks how Sergio ended up in the prison when he thought he had been sent off with a warning, and Sergio grins shyly and begins to explain his elaborate plan. Place: prison-cell. Time: Present day; later in the afternoon (not stated). On screen: connor, sergio. Key moment: Sergio gives a shy grin and begins to explain his elaborate plan while Connor waits across the stone desk.¶ 1
• CV-InPrison-S07 · Connor laughs until he cries (humans present). Hearing Sergio's plan, Connor pictures Sergio dropping files into the shredder and Ryan's shocked face, and bursts into helpless laughter, ending on the floor with aching ribs. Sergio stares as if Connor were having a stroke. Sergio reminds him he has one question left; Connor says Igor needs the whole story first and starts to tell his past. Place: prison-cell. Time: Present day; late afternoon (not stated). On screen: connor, sergio. Key moment: Connor throws back his head in laughter while Sergio watches, baffled, as though Connor were having a stroke.¶ 1

CV·At War

• CV-AtWar-S01 · Cards in the rainy tent (flashback, humans present). Connor, twenty-two, plays Rank with Lenny and Marcus at a wooden table in the tent while rain falls and smuggled Stella is passed around, Marcus winning. James fiddles with a faulty radio, and Laker throws a pillow at his bunk. News arrives that Garrison's platoon has won a battle, and the whole tent erupts in cheers until the bottles are empty. Place: iraq-tent. Time: Summer 2004, evening (rainy). On screen: connor, lenny, marcus, james, laker, farny, geremiah, charles. Key moment: James hops down from his bunk shouting that Garrison's platoon won a battle while the card players drop their hands to cheer.¶ 1
• CV-AtWar-S02 · Teri returns; Farny leaves (flashback, humans present). Near midnight Teri's patrol tramps in, soaked and muddy, and tells Charles's crew they are up. Geremiah whines, and Farny hands Connor his deck of cards, adjusts his Celtic cap and limps out. The group trades jokes about Marrow and says good night, and Connor climbs to his top bunk near the door without changing. Place: iraq-tent. Time: Summer 2004, almost midnight. On screen: connor, lenny, marcus, james, laker, teri, farny, geremiah, charles. Key moment: Farny, limping toward the tent flap in his Celtic cap, hands Connor his deck of cards.¶ 1
• CV-AtWar-S03 · Dream of home and Marrow (dream, humans present). Connor dreams of victory and of his young sisters celebrating after Sophie won a soccer tournament, with Amelia dancing sloppily, Mum snorting with laughter and Dad lifting the German Shepherd Max onto his shoulder. Lieutenant Marrow bursts in doing the chicken dance, trips over the table and screams 'ABORT! ABORT! RUN!', which slides into reality. Place: new:connor-family-living-room. Time: Night, asleep, Summer 2004. On screen: connor, marrow, new:sophie, new:amelia, new:mum, new:dad, new:max. Key moment: Lieutenant Marrow bursts into the family living room doing the chicken dance while Mum throws back her head laughing.¶ 1
• CV-AtWar-S04 · Ambush in the tent (flashback, humans present). Connor wakes, wet-eyed, to Marrow yelling 'ABORT!' and the alarms blaring. A gunshot erupts by the door; Connor flings himself off the top bunk as a bullet goes through the tent wall where his leg was, hitting Charlie instead. In the chaos James is struck, Laker lies on the floor, Lenny twists out of Connor's grip and mouths 'RUN', and Connor grabs someone else's unlaced boots and ducks out the rear flap. Place: iraq-tent. Time: Summer 2004, the same night, hours after midnight (about three hours after he fell asleep). On screen: connor, marrow, teri, james, laker, lenny, charles, new:enemy-soldiers. Key moment: Connor flings himself off the top bunk in the instant a bullet tears through the tent wall where his leg had been.¶ 1
• CV-AtWar-S05 · Hiding behind the rock (flashback, humans present). Connor crawls through the dark to a palm grove, bangs his hand on an exposed root and slides behind a huge rock. He shakes with teeth chattering in too-large boots and sobs for Charlie, Laker and the others, remembering the card game and the cheers hours ago. He remembers 'Red…' and cries again, hearing Lenny's voice absolve him, until exhaustion knocks him out. Place: new:iraq-palm-grove. Time: Summer 2004, the rest of the night after the ambush. On screen: connor. Key moment: Connor huddles behind a huge rock in the shadows between the palm trunks, shaking so hard his teeth chatter.¶ 1
• CV-AtWar-S06 · Among the fallen (flashback, humans present). At dawn Connor wakes hungover and sore, then returns to the wrecked tent. He smears blood from his knuckles on the olive-green fabric, lifts the flap and finds all his comrades dead. He lifts James's head, takes his radio into his coat pocket and sets him back on the bed, then shouts at the dead Lenny. Place: iraq-tent. Time: Summer 2004, the morning after the ambush. On screen: connor, lenny, marcus, james, laker, charles, teri, geremiah, marrow. Key moment: Connor stands at the doorstep with his bloodied hand and forces himself to lift the tent flap.¶ 1
• CV-AtWar-S07 · Farny's last gift (flashback, humans present). At the edge of the grove a hand grabs Connor's arm and covers his mouth; it is Old Man Farny, bloody and muddy and barely upright. Farny gives him his muddy Celtic baseball cap, tells him the army is anything but safe, and dies saying 'Never stop fightin''. Connor sobs, clutching the cap. Place: new:iraq-palm-grove. Time: Summer 2004, the morning after the ambush, shortly after leaving the tent. On screen: connor, farny. Key moment: Farny, barely standing, holds out the muddy bundle that is his Celtic cap to Connor.¶ 1
• CV-AtWar-S08 · Carrying Farny down the road (flashback, humans present). Connor laces his loose boots, puts on Farny's cap, and hoists Farny's body over his shoulders rather than leave it for the enemy. He trudges along the washed-out supply road through the morning heat, hungover, thirsty and bleeding, with blisters and torn knees, driven by fear and Farny's last words. Place: iraq-road. Time: Summer 2004, the morning after the ambush, morning into midday. On screen: connor, farny. Key moment: Connor stumbles along the shimmering dirt ruts, Farny's body draped across his shoulders under the climbing sun.¶ 1
• CV-AtWar-S09 · Collapse at the checkpoint (flashback, humans present). A barricade of sandbags and concertina wire with an armored Humvee blocks the road; soldiers shout 'HALT!' and aim rifles at Connor. He cannot drop Farny, croaks that A Platoon was ambushed, and collapses to his knees. Medics pry at him; he clutches Farny's sleeve until a kind voice promises his friend will be safe, and he blacks out. Place: iraq-road. Time: Summer 2004, around midday after hours of walking. On screen: connor, farny, new:checkpoint-soldiers. Key moment: Two clean-uniformed soldiers jump down from the Humvee and aim their rifles at the staggering Connor carrying Farny.¶ 1

CV·Betrayal

• CV-Betrayal-S01 · Waking in the infirmary (flashback, humans present). Connor wakes in a soft bed with pale blue covers in a small wooden cabin infirmary, legs bandaged, elbow patched, knuckles in white cream. Farny's body lies beside him and his cap is on the table. A tall uniformed woman brings scrambled eggs and overnight oats, which Connor wolfs down before panic about the gunshots returns and he hides under the covers. Place: infirmary. Time: 2004, the morning after he arrived (breakfast time). On screen: connor, farny, nurse. Key moment: Connor looks at Farny lying still beside him, a glimmer of hope that he might snatch his cap and shout 'FOOLED YA'.¶ 1
• CV-Betrayal-S02 · Nightmare of gunshots (dream, humans present). Overwhelmed, Connor buries himself under the covers and dreams that gunshots tear through the infirmary walls. He grabs Farny and runs, hands over his ears, until pain strikes his knee. He wakes still screaming in bed. Place: infirmary. Time: 2004, shortly after breakfast. On screen: connor, farny. Key moment: In the nightmare Connor leaps from the bed with Farny in his arms as the wooden walls splinter with gunfire.¶ 1
• CV-Betrayal-S03 · The nurse with the water (flashback, humans present). Connor wakes screaming. The young uniformed girl stands by him, eyes wide, hand on his clenched fist, and gives him a glass of water. He answers honestly that he is not okay; she says people rarely answer truthfully and that she cannot believe a whole platoon is gone. Place: infirmary. Time: 2004, shortly after breakfast. On screen: connor, nurse, farny. Key moment: The young nurse, hand on Connor's clenched fist, passes him a glass of water.¶ 1
• CV-Betrayal-S04 · The Notice of Loss (flashback, humans present). A man in a navy suit enters, wrinkling his nose, and thrusts a binder at Connor: an A PLATOON NOTICE OF LOSS saying the bodies will not be recovered. Connor refuses to sign, calls it unjust and fights with the man, who calls him selfish and demands the signature by tomorrow. Connor tries to get up to retrieve the bodies himself; the nurse shoves him back into bed. Place: infirmary. Time: 2004, the morning (his first full day awake). On screen: connor, suit-man, nurse, farny. Key moment: The suit man thrusts the overflowing binder at Connor as the nurse reads over his shoulder.¶ 1
• CV-Betrayal-S05 · Remembering his comrades (flashback, humans present). Pinned to the bed, Connor stares at the ceiling and remembers each comrade's habits. Looking at Farny, his anger fades into resentment and sorrow, and he whispers 'I'm sorry, I've failed' without holding back his tears. Place: infirmary. Time: 2004, later the same day (not stated). On screen: connor, farny. Key moment: Connor, tears welling, looks over at Old Man Farny's body and whispers that he failed.¶ 1

CV·Forsaken

• CV-Forsaken-S01 · Closing up the grocery (flashback, humans present). Almost half a year after Iraq, Connor, still plagued by nightmares, is asked by the store manager to close up. She tosses him the keys as he rearranges carrots in the frozen section. He rolls a crate of green beans into the storage room and locks up. Place: grocery-store. Time: 2005, evening, almost half a year after Iraq. On screen: connor, new:store-manager. Key moment: The manager tosses Connor the keys as he stands by the frozen section.¶ 1
• CV-Forsaken-S02 · Walking home in the rain (flashback, humans present). Connor locks the store and walks to Gran's in pouring, nasty cold rain without an umbrella. He stops often and screws up his face to push away the memories of that night, which his temper and flashbacks worsen in rain. Place: city-street. Time: 2005, same evening, pouring rain. On screen: connor. Key moment: Connor stops mid-walk in the downpour, face screwed up against the flashback.¶ 1
• CV-Forsaken-S03 · Gran, Cici and the puddle (flashback, humans present). Connor unlocks Gran's door, tucks his boots into the cabinet named 'Zed' and keeps his Celtics hat on. Gran's ginger cat Cici runs into his legs, and he lifts her and she paws his dripping hood. Gran strides down the staircase, asks why he did not take 'Frida' the umbrella, pats his soaked shoulders and bolts upstairs for paper towels called 'Franks'. The text breaks off as Connor stumbles through her marble living room. Place: gran-house. Time: 2005, same evening, night. On screen: connor, felarie, cici. Key moment: Connor stands holding the ginger cat Cici, who paws his dripping hood, as Gran strides down the staircase.¶ 1