[S1E4] Check Your Head
Download >> https://geags.com/2tlFK1
At the Mariposa saloon, the piano starts up, playing a new tune...Maeve standing in the bar, that same look on her face as she had when remembering Teddy dead in the Livestock Pen. \"Penny for your thoughts,\" Clementine interrupts her. Maeve asks her if she's ever had something on the tip of your tongue, and the more you try to remember, the more it slips away Most things that touch the tip of her tongue, Clementine says, she's all too happy to forget, making Maeve laugh. Bar, Clem adds, except for that cow poke from Abilene. with what he was packing and how he used it, she should have been paying him she notes, making Maeve laugh again. As she knocks back her sherry though, the sights and sounds around her seem to slur and slow, Clementine suggesting they better cool off a group of men, before they turn their minds to something more destructive and costly to repair. As she looks back at Maeve she sees the disorientated vague look on her face, Maeve leaning in to peer at her closer, seeing a bloody tear form at the corner of Clementine's eye, \"There's something in your eye,\" she whispers, before blood starts to trickle down Clem's forehead, the aspect turning sideways to reveal Clementine lying on the saloon floor a bullet wound in her temple, dead. Maeve lying alongside her, also shot, barely breathing staring at her, while one of the men Clem was worried about is shooting up the place. walking over to finish Maeve off.
Leaving the Saloon, heading past the Apothecary, she barely avoids getting run over by a horse and cart in her rush to get back to her rooms. There, undressed, she checks her stomach, even more confused by not finding even the hint of a scar. Staring at herself in her mirror she is bewildered, until noticing something on her white shift...a spot of blood. The sight of it bringing back a near painful flash of the Tech's masked face. Hurriedly pulling ot a paper and pencil she sketches out a picture of the astronaut looking Tech. Hearing footsteps coming, she hurriedly tries to hide the drawing, pulling up a loose floorboard to a secret hiding place, only to stop dead, a freshly stunned look on her face as she looks down to already find a pile of pages down there, turning them over to reveal a half dozen more pictures, all of the same Tech suit. Scared and panicked she drops them back in and shoves the floorboard back in place.
At the Blood Arroyo, the Man in Black kills a rattle snake, cutting off its head to check it's innards. Complaining that they are at the right spot and there are plenty of snakes, just none of the 'egg laying' variety, tossing away the robotic reptile's body. Lawrence gazes at him, still in disbelief that he killed his wife and 'pruned' his family tree all in pursuit of some goddamned maze In the hopes of finding what \"This whole world is a story,\" the MiB answers, and he's read every page except the last one. He wants to know how it all ends, what it all means. That, Lawrence says, is why he never learned to read. Lawrence tries to convince the Man in Black to give up his snake search and to head to Pariah instead, his friends could help him. The Man in Black disregards this, saying his friends have nothing he wants this trip, slowing his walk as spots, through the reeds, Armistice washing in the river with her top off, and realizing that the snake tattoo that winds around her body could be the \"snake\" in the clue he was given by Lawrence's daughter.
On a ridge, the MiB, Lawrence and the rest of Armistice's men wait on horseback, Lawrence informing the MiB that Armistice has to check out whether the information about what she's looking for is good, and that she'd signal if it was. As they watch on from above, she rides up to two men waiting below them, and they talk briefly. Whereupon Armistice slashes the throat of one man and shoots the other. \"Guess that's the signal,\" the MiB muses, cocking his head, vaguely amused.
Bill and Holden get ready to interview Monte Rissell, who has been newly sentenced. He raped and murdered five women. They relinquish their badges and guns and then set up the recording equipment. Monte is brought in and left alone with them after the guard tells him to behave himself. Bill introduces them and says they're doing research, interviewing men like him, murderers with multiple victims, so they can understand why they do what they do. Monte says he'd also like to understand that. Monte asks if they think it might help find a cure. Bill's not sure. Monte asks if he can have some Big Red. He used to have it as a kid. They say it'll depend on his insights. He asks if they want to know why he raped those girls in Florida. Bill says they'll start there and asks how he chose his victims. Monte doesn't like calling them victims. He wonders how many other men like him they're talking to. They say it's early days. He isn't sure he wants to talk to them, so Bill says they can just leave, having a nice lunch, and drive back to Quantico. He asks what Monte's day looks like. He says they're talking to men like him to find how why men like him would fuck up their lives so completely when they're barely old enough to vote. He says he first got into trouble when he was 14, so he was sent to a juvenile facility in Florida, where he was watched by doctors all the time. He raped four girls there, but didn't kill them. When he came back to Virginia, he got a job and a girlfriend, but the girlfriend went off to college. He was still subject to check-ins and mandated therapy. Then his girlfriend sent him a letter to break up with him. He drove to the college to see the guy she wanted for himself. So he got some beer and some weed and he drove back to his apartment. He didn't remember driving there. A girl on her own drove into the parking lot. The idea pops into your head just like a sneeze, he says. So he got out of the car, pulled out a gun, and dragged her to the woods, where he raped her, but she wouldn't stop screaming. She ran and he caught up to her and choke her. Her head smashed against a rock in a ravine, then he held her head underwater and there was no more drama. He didn't use the gun because he wanted to cool her off. Holden asks if he thinks things would have gone differently if she weren't a prostitute. He says it might have. He then describes the second time. She wouldn't stop asking questions, so he stabbed her to shut her up. By the third time, he'd perfected the routine. He stabbed her as well. He says he let one woman go. They were in the car and she started crying and said her dad was dying of cancer. His brother had cancer, too, so he let her go. He says showing mercy is a weird feeling. Bill doesn't buy it. Monte says he's had enough science for one day and his throat is a little dry.
Michael Simeone: Yeah, and even any kind of, you know, projected epidemiological curves that we see in some of these charts and graphs, it's also tough to get your head around the fact that the projection will change. And so it is possible for one of these models to say, Hey, here's where our case rate is predicted to be in a week, and then have that be revised once we learn something new. So the fact that all of this that both the kind of reported past and the predicted future are under revision based on new information that we get, again, that's just not something we deal with every time we open up our iPhone.
Michael Simeone: Yeah. And I mean, that's why I value that publications like New York Times and Washington Post have kept the same graphic up since the very beginning of the pandemic, because it at least means that when you come back to it, and you understand it, there's value in repeating the same thing, or just updating the same chart over and over again, this is back to we start getting a dividend for a dashboard, right The whole reason we put up the same charts and the same configuration in the same way and show it over and over and over again, is not just so we can support a decision and you know, make these comparisons. But also we keep some kind of consistency so that we don't have to bootstrap every single time we want to look at a chart. And so it feels like that homework is gonna pay a dividend. So it's not like every time you check your web browser for this kinds of information, you're going to have to do a ton of work. But it does feel like you know, we should be thinking about the dashboard having some kind of payoff where you have to invest a little bit more time in, I think I've been using these dashboards all wrong, I think is what I've come into a realization on. 59ce067264