Gossip Girl (2007–2012): Season 2, Episode 5 - The Serena Also Rises - full transcript

GOSSIP GIRL: Gossip Girl here,
your one and only source...

...into the scandalous lives
of Manhattan 's elite.

-You must reaIIy want this.
-Yeah. Yeah, I reaIIy, reaIIy do.

Where's that story? Noah Shapiro at
The Paris Review is Iooking forward to it.

-I tried to write.
-You'II get no recommendation from me.

-I need a friend.
-I'm sorry, LiIy.

You made your choice to be Mrs. Bass.
You need to go do that.

You're a born queen.
This is your year.

-Being queen is BIair's whoIe thing.
-WeII, weII, Iook who's back on top.

Wonder how that happened.

WOMAN:
Where has she been?



GOSSIP GIRL:
And who am I?

That's one secret I'll never tell.

You know you love me. X O X O...

... Gossip Girl.

When the white tents blossom
in Bryant Park...

...it can only mean one thing:
Fashion Week.

The time when any Park Ave. princess
would trade her last Prada pochette...

...for front-row seats
to the best shows.

And we hear the seating chart
for Eleanor Waldorf's show...

...is being made by our very own B.

This art director just ran off
with the husband of this photo editor. . .

. . .so I sat aII of Vanity Fair
between them.

I figured we'd want to avoid a catfight
in front of the catwaIk.

I toId LaureI my daughter
couId make a better chart. . .



. . .than that drug-addIed pubIicist.

It was a bIessing she was hauIed off
to rehab for steaIing her son's RitaIin.

I'm more than happy to step in.

And you and Serena
wiII be with me backstage, of course?

Of course, that's our tradition.

I hope you don't mind, but I sat the girIs
from schooI in the second row.

WeII, since they are your friends,
why not?

-Besides, they'II worship you for it.
-I know.

Ah.

Ugh. SchooI. Another day of reading,
writing, and aristocrats.

-You back to InvisibIe Boy?
-InvisibIe suits me.

I can go to schooI unshowered,
forget to dress, nobody cares.

I have aII the time in the worId
to focus on my YaIe appIication.

-Don't you mean Dartmouth?
-It seems that Dartmouth's. . .

. . .whoIe EngIish Department
was poached by YaIe.

Wow. When's that appIication due?

Monday. Noah Shapiro's heIping me
choose stories to submit.

-What happened to Jeremiah Harris?
-Yeah--

After he fired me, I went ahead
and sent my story to Shapiro anyway.

-He Ioved it.
-That's great.

-Why haven't you toId me this?
-I've bareIy seen you.

You're aIways off at your internship.

You have French first period.
Aren't you gonna be Iate?

Uh, we have a sub
and he aIways starts Iate so. . . .

Okay, weII, I'm reaIIy Iate
for ItaIian, so:

[SPEAKS IN ITALIAN]

[CELL PHONE RINGS]

Hi, LaureI? Yeah, it's me.

I'm sorry, I got stuck in traffic.
I'II see you at EIeanor's in five, okay?

Kiki Smith greeting you in the foyer.

EIm and Drag
puIIing you into the main room.

I Iove that.

And making a statement on the stairweII:
Richard PhiIIips.

-Hi, Mom, I borrowed your neckIace.
LILY: Oh, it's stunning.

-Serena, do you--?
-It's a neckIace, Mom.

I'm taIking about the art coIIection.
Isn't it just breathtaking?

Any museum wouId be thriIIed.

Let's hope Bart is when he gets back
from Luxembourg this week.

That's reaIIy great, Mom.
Your art consuItant has exquisite taste.

-You got in Iate Iast night.
-I had the MoMA event with Poppy.

We were perfect Iadies.
We sipped on sodas aII night.

Poppy Lifton? The sociaIite?

They met at a charity affair
the other week. . .

. . .and they've been attached at the hip
ever since.

-Now, for over here.
-Yes. The Ryan McGinIey.

LILY:
Yes. Uh, something eIse.

There's a MappIethorpe
that's coming up for auction. . . .

Wait. MappIethorpe. Isn't that the one
who took aII the pictures of naked guys?

Yeah. Not just guys.

-Wait. Mom, did you--?
-WeII. . . .

You modeIed for MappIethorpe?

I kept it a secret,
but I think you and Eric are oId enough.

It's not one where you can't teII
if it's a beIIybutton or a. . .?

-It's very tastefuI, I assure you.
-You just became the cooIest mom. . .

-. . .on the Upper East Side.
-Oh, thank you.

CHUCK: Ah, the besieged queen.
-What do you want, Chuck?

To heIp. Your throne's in danger. . .

. . .and you can't wage war on Serena
without an aIIy.

-You need me.
-There is no war.

Now that Marcus
has been booted back to Brighton. . .

. . .I'm free to focus on my oId Iife.

Serena has been keeping
my seat warm.

And how do you pIan on making the girIs
faII at your feet? You going to trip them?

A true monarch bestows favors.

It's Fashion Week, and I'm
the onIy Constance girI with cIout.

Ladies, I trust tomorrow night
you won't embarrass me.

Oh, my God, second-row seats
to your mother's show?

Oh, my God,
those are totaI movie-star seats.

-Serena is in Women 's Wear Daily.
-With Poppy Lifton.

Serena couId, Iike, die now
knowing that she's Iived a fuIfiIIed Iife.

SERENA:
Hey, guys.

GRACE: Oh, my gosh. Is Poppy nice?
She Iooks so nice.

Oh, gosh, I haven't even seen that.

BIair, where are you going?

I'II just Ieave you to your fans.

[SPEAKING INDISTINCTLY]

Watching you faiI spectacuIarIy
gives me so much joy.

And you know what you give
to everyone Chuck? Misery.

There's a reason
you're aIways here aIone.

Nate happens to be away
at his grandparents' .

Nate's friends with you out of habit.

The onIy person with fewer friends
than you is Dan Humphrey. . .

. . .and at Ieast
his Iame '90s dad Iikes him.

And that's because he's something
you'II never be: a human being.

Let me be bIunt, Humphrey.
These stories are no good.

What?

-You said my Iast one was--
-It wasn't bad.

These are just more of the same.

-Okay.
-You sent me five stories. . .

. . .aII about a sheItered young man
with girI troubIe. . .

. . .who Iives with his daddy
in BrookIyn.

You think that's gonna knock
the YaIe EngIish Department. . .

. . .off their tenured asses?

I just-- I thought a writer
was supposed to write what he knows.

-This is what I know.
-Then Iearn something new.

Get out of your comfort zone.

A cardinaI ruIe of writing: If your work's
too safe, do something dangerous.

-I wouIdn't know where to begin.
-Then find someone who does know.

When I was young,
Bukowski put a shot gIass on my head. . .

. . .and bIew it off with a pistoI.

Find your Bukowski,
then get back to me.

When I said '50s hemIine,
I meant Iike fIirty MariIyn. . .

-. . .not Iong, dowdy poodIe skirt.
ASSISTANT: So sorry, ma'am.

Fix this thing before I faint.

EIeanor, this seating chart is weak.

-Where are aII our ''it'' girIs?
-They're there, Iook.

Kirsten Dunst?

So 2007.

Her rehab stint bareIy made the radar.

BIair says we can't get A-Iist girIs. . .

. . .because our show is the same time
as Marc Jacobs.

But those girIs bring press.

Without them. . . .

EIeanor, Serena has some new friends.
I bet she couId heIp.

New friends?

[ELEVATOR BELL DINGS]

CHUCK:
It's Iike the pIague.

OnIy instead of vermin on my doorstep,
I get the human being.

Beat it, Humphrey.
My sister doesn't dig staIkers.

As strange as it sounds,
I'm here to see you.

I know we don't Iike each other. You
think I'm a boring, sheItered nobody--

-I don't think of you.
-Of course you don't.

But I've been thinking of me.

I've come to the concIusion that
I need to get out of my comfort zone.

I need to experience new things.

Are you gay?

Now, that wouId be out
of my comfort zone, but no.

I just need to get out of BrookIyn
for one night.

I'd Iike to experience the worId
of Chuck Bass.

You're Iucky I'm bored.

-Is that a yes?
-Get in before I change my mind.

Don't ever go to high schooI, Dorota.

The girIs are spoiIed,
stupid and ungratefuI.

One snapshot with a sociaIite
and it's aII, ''Serena, Serena, Serena! ''

Have some tea, wiII caIm your nerves.

Without me they'd never see the inside
of a fashion tent.

They'd be stuck behind the barricades
with PETA.

In fact, I wiII Ieave them
outside with PETA.

Maybe that'II teach them
some manners.

Something's different.

Who put Serena and that Poppy person
in the front row? And these sociaIites?

Someone changed this. The chart my
mother asked me to do. Who changed it?

EIeanor said Miss Jenny change.

Jenny Humphrey?

I guess she didn't Iearn her Iesson
Iast year.

Looks Iike someone
needs a refresher course.

GOSSIP GIRL: What would Fashion Week
be without a fashion victim?

Looks like Little J
just started her own trend...

... wearing a bull's-eye on her back.

BLAIR:
Mom?

You saw the changes we made.
Aren't they marveIous?

That's not quite the word
I was going to use.

Jenny had the inspired idea
of putting Serena. . .

. . .and Poppy Lifton and their friends
in the front row.

But I aIready toId you, Poppy and her
crowd never miss Marc Jacobs' show.

Serena wouId never watch from
anywhere but backstage, it's our rituaI.

-None of them wiII agree to this.
-I spoke to LiIy. They aIready have.

-Even Serena?
-AbsoIuteIy.

Marc is going to eat
his grunge corduroys.

-AII this thanks to IittIe Jenny Humphrey.
-The girI is quite a taIent.

She shouIdered most of the workIoad
at the ateIier this week.

-How did she manage that after schooI?
-Jenny doesn't go to schooI.

-She's got a--
-Independent study?

Independent-study thing this semester.

A 1 0th grader
with an independent study?

Mm-hm.

I just reaIized I forgot a book at schooI.

[ELEVATOR BELL DINGS]

Have fun, honey.

-You never Iearn, do you?
-Excuse me?

Great job ruining my seating chart.

Your seating chart?
BIair, I didn't know.

WeII, now you do.

[ELEVATOR BELL DINGS]

[DANCE MUSIC
PLAYING OVER SPEAKERS]

WAITER:
Here you go.

Wow. Wow, that's cooI. You just signaI
the bartender and she sends over shots?

Do you have another signaI if you want
a martini? Is there a system. . .

-. . .for the drunken eIite?
-Shut up, Humphrey.

I, uh. . . . I'm good with just one.

You're either in for the fuII ride. . .

. . .or you're out.

What's it going to be?

AII right. Pass me the shots.

The Iiquor's just a chaser.

-What is that?
-Does it matter?

Go down the rabbit hoIe. . .

. . .or go out the door.

[DAN SIGHS]

-It is so nice to meet you, Mrs. Bass.
-You too, Poppy. PIease caII me LiIy.

Hey, Mom, Poppy toId me
you caIIed her assistant. . .

. . .to make arrangements
for us to go to EIeanor's show.

Serena doesn't think it's a good idea.

BIair wouId be furious.
Things are aIready tense between us.

We aIways watch the show
backstage together. You know that.

I know you did that
when you were 1 2.

But it is an honor to sit in the front row,
and EIeanor specificaIIy requested you.

It is the onIy way
to see a show, Serena.

Yeah, but you don't know BIair.
She wouId never forgive me. Ever.

We'II do EIeanor's show. . .

. . .then when we go to the Marc Jacobs'
afterparty, BIair can come aIong.

-I have extra passes.
-See, that is a wonderfuI idea.

Uh. . . . She might be okay with that.
I'II ask her.

[CELL PHONE RINGING ]

Sorry. Forgive me, girIs, I have to take
this caII. It's my art deaIer.

Did you find the photo?

It can't have aIready soId.
The auction's not untiI next week.

Okay, weII, find out who bought it. . .

. . .and make them a better offer.

[KNOCKING ON DOOR]

BIair. What couId we have done
to deserve a visit from you?

I heard Jenny wasn't feeIing weII,
so I brought her some chicken soup.

That's thoughtfuI of you.

But I think you have
the wrong information.

You mean Jenny's not sick?

That's strange.

When I ran into Headmistress QueIIer,
she toId me Jenny. . .

. . .hadn't been to schooI in 1 0 days
due to a bad case of mono.

ApparentIy her mother caIIed
to make sure the schooI knew.

You know that Jenny's working
with your mom tonight.

I know that you don't have
my daughter's best interests at heart.

Whatever my motives may be,
Mr. Humphrey, facts are facts.

And the fact is Jenny hasn't been
to schooI in two weeks.

I happen to have Headmistress QueIIer's
home number in my phone.

Why don't you ask her yourseIf?

DAN: That was so intense
how you taIked to those hookers.

Who knew there was a sex cIub
behind the White CastIe?

Oh, and beer before Iiquor?

-How do you know so many twins?
-The twins find me.

WeII, you know, I got to admit.
This was-- This was awesome.

We gotta do this again.

-My feet are hot. Are your feet hot?
-Why don't you take off your shoes?

DAN:
Mm.

That feeIs amazing.

Arthur, puII over.

This isn't BrookIyn.

-Aren't you taking me home?
-Get out.

-Wait, no, I don't--
-Tonight was nothing.

You're just a drunken idiot,
my amusement for the night.

Can I at Ieast have my shoes?

GOSSIP GIRL: Spotted: Dan Humphrey,
shoeless and clueless. That's all.

WOMAN:
Hey, baby, do you wanna go out?

-Dad, what are you doing here?
-I suggest you get up and come with me.

I can't. EIeanor and LaureI
wiII be back any minute.

I don't care. As of this minute,
your fashion duties are over.

I promised EIeanor I'd fix this hem.
She's counting on me.

And I counted on you
to show up to schooI.

To which I pay tens of thousands
of doIIars every year, I might add.

You've had pIenty
of practice Ietting peopIe down.

Dad, pIease, I can expIain, okay?

Why wouId I beIieve anything you say?

Let's go.

Okay.

GOSSIP GIRL: They say in fashion,
you can become a success overnight.

But one minute you're in,
and the next, you're out.

It's not as bad as it Iooks.

A girI was e-maiIing me
my assignments.

And I was keeping up with my reading.
I needed to get through Fashion Week.

-It wouId have been fine.
-Being a Iiar and a truant. . .

. . .is not what I wouId caII fine.

Look, I'm sorry that I cut schooI
and that I Iied.

I just-- I wanted to heIp EIeanor
so badIy. . .

. . .and I did.
Dad, I'm reaIIy good at this.

I hope you're as good at groveIing.
I spent 30 minutes. . .

. . .with QueIIer convincing her
that you shouIdn't be expeIIed.

I did my part,
now you're gonna do yours.

You have an appointment
at her office.

To prove you're an honorabIe person
worthy of a second chance.

-Go get dressed.
-Dad. It's a Saturday.

So be gIad she's wiIIing to come in
on her day off.

[FOOTSTEPS]

-What do you want?
-I tried to reach you.

-Why haven't you returned my caIIs?
-What is there to say?

You've onIy taken over the girIs
at schooI and abandoned our tradition. . .

. . .to go to my mother's show
with a compIete stranger.

First of aII, I didn't take over
the girIs at schooI.

Are you gonna pretend
you don't notice what's going on?

These girIs are Iike hummingbirds.
They move from fIower to fIower.

They'II be on to someone eIse,
and then back to you. It's not a big deaI.

It's not a big deaI that you're
in the front row at my mother's show?

She asked me to do it as a favor.

And how couId you possibIy
disappoint my mother?

Though you have no quaIms
about screwing over your best friend.

-Fine, I won't go.
-Good.

Then Poppy won't go
and her friends won't.

You expIain to your mother
why she has an empty front row.

At Ieast I won't have to watch the next
episode of the Serena show.

You know, I was coming here
to invite you to hang out with us.

Oh, how generous, Serena.

I feeI so bIessed that you wouId
incIude me in your IittIe group.

You know what?
I am gonna go to that show. . .

. . .and I'm gonna sit front row,
and I'm gonna enjoy every minute of it.

-Boo.
-But--

BrookIyn kid sees a Iive hooker
for the first time, Ioses his shoes.

There's so much saccharine in this
it's giving me cancer.

AII right, but I did what you toId me.
I went out with a guy I can't stand.

Yes, this CharIie Trout character.
Now, that guy's interesting.

CompIex. A young MephistopheIes.

Write from his point of view.
Then you'd have a story.

There's no way that I'm writing
from his point of view. I hate that guy.

You're judging the character,
Humphrey.

You think Capote got nationaI accIaim
for In Cold Blood...

. . .by judging the murderers?

I'm guessing no.

Dig beneath the surface.
Get into CharIie Trout's head.

Find the character's humanity.

That might be difficuIt.

We aII have a secret.

A writer's best tooI is the abiIity. . .

. . .to draw out a subject's secret
and use it.

Okay. So I go back out there. I make him
trust me, and find out his secret?

Be ruthIess.
And bring me back a story with teeth.

[CELL PHONE RINGS]

LILY: Did you find it?
-I did.

Did you offer the seIIer
whatever they want for it?

I didn't have to.
You know the man who bought it.

Excuse me?

Your husband.
Bart bought it anonymousIy.

I had to caII in a favor at Sotheby's
to get his name.

But I never mentioned it to him.

No one knows
about that MappIethorpe.

I highIy doubt it was a coincidence.

He's Bart Bass. I'm sure he found out
about it and bought it for you as a gift.

I hate to say that I'm surprised
that he knows me so weII, but. . . .

WeII, that is the kind of husband
I've aIways wanted.

Tina, so gIad you couId make it.

I Iove your hat.

Excuse me.

MAN:
Right this way, Iadies.

[DANCE MUSIC
PLAYING OVER SPEAKERS]

Oh. Is there a probIem, Serena?

Yeah. There is.

Excuse me,
I think there's been a mistake.

My name is Serena van der Woodsen,
and someone eIse's name is on my seat.

-Let me check.
-There's no mistake.

Ms. Van Der Woodsen
is in the back row.

No, she's in the front row
with Poppy Lifton.

-What are you doing here?
-My job, no thanks to you.

Don't you have socks to darn?

BIair, this is not about you or me.

Find Serena's card.
Put it on the correct seat.

Don't touch Serena's name card.
It remains where it is.

Jenny, why aren't you backstage?

Oh, what's going on?

It seems Iike someone's
moved Serena's seat.

Yeah, someone.

What is the matter with you?
I am so sorry, Serena.

WouId you take care of this
right away?

CouId you just spare me
the dramatics for one day?

Go backstage.
Try not to get underfoot.

Jenny, I am so gIad that you are here.

[LINE RINGING ]

BART: Yeah?
-Good to hear your voice too, Dad.

-What is it?
-I remembered you were fIying in tonight.

-I wondered if we couId have a drink.
-Why, what kind of trouble are you in?

Is it unimaginabIe for a son to just
want to sit and taIk with his father?

Chuck, I'm tired, I'm jetlagged, and--

[LINE BEEPS]

-And I have to take this call.
-Okay.

WeII, maybe Iater.

[LINE CLICKS]

Good taIking to you too.

Was that reaIIy the best
you had Iast night?

Don't teII me
that was the great Chuck Bass.

Stick around.

[CROWD CHATTERING ]

WouId you mind putting this
in the back for me?

-It's my dress for the afterparty. Thanks.
-No probIem.

Hi. Somehow my job
got mixed up with Jenny's.

I want to make sure
there's no confusion.

-What is Jenny in charge of?
-Making sure the modeIs. . .

-. . .get from here to the runway.
-Great. Thanks.

GOSSIP GIRL: Spotted: Blair Waldorf
looking to do a good deed?

There's a first time for everything.

So, what's it reaIIy Iike
to be Chuck Bass?

Were you a happy kid?

-When did you start drinking aIone?
-When I reaIized. . .

. . .hot, desperate women
drank in bars aIone.

What was your father Iike?

Me.

OnIy oIder and meaner.

Look, 20 Questions
is getting a bit boring.

If you'II excuse me,
I'm going to pursue. . .

. . .a more fuIfiIIing pastime.

-Hey.
-Hey.

I pay cash up front, now.

-Let's go.
-Excuse me?

My mistake.

-Babe, what's up?
WOMAN: That guy thinks I'm a hooker.

Did you just caII
my girIfriend a prostitute?

It was an honest mistake.

-There's nothing honest about it.
-CaIm down. He said sorry.

Did he? Maybe I shouId
teach him some manners, then.

It's not my fauIt your girIfriend
dresses Iike a caII girI.

That's it, you're dead.

Jenny?

VOICE:
Message 1.

QUELLER: Mr. Humphrey,
this is Headmistress Queller.

I spoke with Jennifer this afternoon.
The situation has gotten out of control.

Please call me immediately.

VOICE:
End of new messages.

[SIGHS]

MAN 1 :
MichaeI.

MAN 2: You Iook gorgeous, TinsIey.
MAN 3: Over here.

[SIGHS]

-FuII house.
-Jenny, get the modeIs ready to go.

Done.

[CELL PHONE RINGING ]

Where are the modeIs?

-Which modeIs?
-The modeIs about to waIk the runway. . .

-. . .wearing your mother's cIothes.
-Those modeIs.

Somehow they got the idea
they'd been overbooked.

-So they went home.
-What? They went home?

They're not the brightest buIbs,
are they?

Jenny, we start in 1 0.
Are the modeIs ready?

No. The modeIs are gone.

What? What do you mean
the modeIs are gone?

How can they be gone?
What did you do with them?

Are you trying to kiII me?

JENNY:
LaureI, it's gonna be okay.

I have an idea.

JaiI. BrawIing in pubIic.
I hear YaIe is Iooking to recruit. . .

. . .more bar fighters this year.
Bar fighters and Pacific IsIanders.

They're Iooking to round out
the freshman cIass.

For what it's worth, Humphrey,
you had my back.

Never thought I'd say this,
but thanks.

WeII, that changes everything.
CoIIege versus Chuck Bass' gratitude.

I think that's an even trade.

-Ugh. Oh, no. My dad is gonna kiII me.
-Count yourseIf Iucky.

Lucky? How is it Iucky that
my own father is gonna murder me?

My father doesn't care enough
to get angry.

-Yeah, I'm sure.
-PIease.

He expects this.

Oh, he'II be annoyed
that he has to caII his Iawyer.

But after that. . . .

Has he aIways been Iike that?

-Since the day I was born.
-Ah, that's crazy.

Even Bart Bass doesn't hate babies.

It's in our DNA.
I think Disney did a study.

He hated me.

That doesn't make sense.

It does if his beIoved wife. . .

. . .died giving birth to me.

-That's not your fauIt.
-TeII him that.

Sometimes I swear
he thinks I kiIIed her.

Who knows? Maybe I did.

Chuck Bass? Your Iawyer caIIed.

You've been reIeased.

I'II see if my Iawyer. . .

. . .can have you reIeased
into his custody.

If they haven't reached your father yet,
maybe they won't have to.

Thanks.

LiIy, I'm home.

Aha.

-I have missed you.
-Good.

Because I'm going to steaI your passport
and Iock you in our room.

[BOTH MOAN]

That sounds Iike the perfect pIan.

But not before I give you something.

Oh!

I mean, if it's not your taste,
we can exchange it.

Oh, no, the neckIace is exquisite.

It's just--

You didn't happen to buy a piece of art
recentIy? Perhaps a MappIethorpe?

-Yes, I did.
-You did.

Oh, you did. You got it for me.

How did you know?
And when can I see it?

WeII, you can't. No one can.

-I don't understand.
-LiIy.

I'm a powerfuI man, and that makes me
and those around me a target.

It is my job to protect this famiIy from
anything that couId be used against us.

Used against us?

Wait a minute, wait a minute.

How did you even know about it?

Did you hire someone
to Iook into my past?

Do you have a LiIy Bass dossier?

-I want to see it.
-LiIy.

I want to see it.

Everything.

How on earth does one Iose modeIs?

Never mind.

This is going to be sensationaI.

''ModeIs Iost. SociaIites save the day. ''

Your show wiII get so much press
it'II drive Marc Jacobs to drink.

God forbid. Every time
he goes to rehab, his saIes soar.

What do you think?

-WeII, the dress fits.
LAUREL: Mm-hm.

How handy is it
that society girIs are wafer thin?

-I hope you know what you're doing.
-Yeah.

Me too.

[DANCE MUSIC
PLAYING OVER SPEAKERS]

Hey, why aren't you dressed?

I don't think I'm gonna do this.
BIair wouId be crushed.

If anybody's gonna waIk the runway
in EIeanor's designs, it's her.

Serena, I've onIy known you
for a few weeks. . .

. . .but it's cIear you've spent
your whoIe Iife worrying about BIair.

-What she thinks and how she feeIs.
-You don't understand.

I was best friends for years
with this girI just Iike BIair.

And it was subtIe, but I was aIways
having to make myseIf Iess sparkIy. . .

. . .so that she wouIdn't feeI insecure.

UntiI one day I finaIIy reaIized
that that is crazy.

Because a true friend wouId want you
to be your most beautifuI, vibrant seIf.

I just-- I reaIIy don't want to hurt her.

I know. I know.

But is that a good reason
to hide your Iight?

You're gorgeous, sweet, amazing.

If BIair's a true friend,
she'II support you.

You're right.

-EIeanor, where's my dress?
BLAIR: Here, here.

This wiII be beautifuI on you.
It's for the finaIe.

-Are you sure?
-Yes, it's fine. Just hurry.

Okay.

[CROWD APPLAUDING ]

[CROWD CHEERING ]

Where's Serena?

She's on-stage.

But I have her dress.

You mean Serena's on the runway
of EIeanor WaIdorf's show. . .

. . .in a design
not made by EIeanor WaIdorf?

Oh, dear.

That's not my dress.

Yeah. It's my dress.

Why did you do this?

I waved the white fIag at schooI.
Why don't you just cIaim your throne. . .

-. . .and Ieave me aIone?
-Because I can't.

This is about Serena.

-I didn't reaIize.
-And why wouId you?

You might be priviIeged, BIair. . .

. . .but you work for every singIe thing
you've achieved.

Like me.

Serena just gIides through.

TeII me about it.

I wanted to be your friend
Iast year for a reason.

I wanted you to Iike me.

COP:
There you go.

Hey, you gave me the wrong bag.

You have Ietters that I wrote
to my coIIege boyfriend?

You mean the professor
you sIept with at schooI.

-Bart, where did you get these?
-It doesn't matter, LiIy.

I Iove you.

And my concern is for our famiIy.

Bart, I'm not ashamed of who I am.

I may have conceaIed things
in the past, but not anymore.

I want my chiIdren
to know their mother.

Is this something
you'd want your kids to know?

Who gave this to you?

You were writing about me?

-Where'd you get that?
-You watch your back.

No one uses Chuck Bass.

I hope you enjoy your stay here.
I hope they make a Humphrey sandwich.

The story I toId you about my mother?

I was Iying.

My mother died in a pIane crash
in the Andes when I was 6.

[CROWD APPLAUDING ]

You did this on purpose.

You put Serena into your dress
so you couId sneak it into my show.

No, I didn't, I swear.

When I expose
your Eve Harrington ways. . .

. . .your bright future
wiII be snuffed out Iike a candIe.

EIeanor, Andr? Leon TaIIey
is raving about the finaIe dress.

He said it was the perfect cuImination
to your Iine.

Loved it.

-They Ioved the dress?
-My dress?

EIeanor, I used scraps of fabric
I found around the ateIier. . .

. . .and I adapted
one of your oId patterns.

It's basicaIIy your design,
pIease take credit.

I am EIeanor WaIdorf.

I do not have to take credit
for a dress made by a chiId.

Mom, Jenny saved the show.
It was her idea to use the sociaIites.

And Iook. It's a smash success.

Take your bow.

PIease.

What eIse are you gonna do, Mom?

What the heII?

[CROWD CHEERING ]

A guy's acting crazy outside,
wants to be Iet in.

Says he's your father.

-ShouId I put him on the Iist?
-Um. . . .

No. My dad's out of town.
Must be a mistake.

Okay.

When the phone rang
in the dead of the night. . .

. . .I expected a booty caII
from Lucy the stewardess.

-Not a caII from Iockup.
-Sorry about this.

-Didn't have anywhere to turn.
-PoIice stations at midnight. . .

. . .make me nostaIgic for my youth.

So turns out that guy you cIocked
dropped the charges.

Good. That's a reIief.

I'm proud of you, Humphrey.

-You reaIIy shook it up.
-Yeah.

Did you get CharIie Trout's secret
in the process?

Yeah, yeah,
he thinks he kiIIed his mother.

Bingo. You're gonna have
a heII of a story.

Yeah, you know,
I'm not gonna use it, though.

-What do you mean?
-If I have to expIoit peopIe to be. . .

. . .a good writer then, you know,
maybe I'm not good.

I'd rather be safe
than use peopIe for art.

Harris was right
when he cut you Ioose.

You'II aIways be second-rate.

Maybe, maybe. But you know what,
I have an idea for a new story.

It's about an egomaniacaI, washed-up
writer who manipuIates his prot?g?.

It's a cIassic taIe of disiIIusionment.

Good Iuck with that.

I'II Iook for it in Reader's Digest.

I can use it to prop up my PuIitzers.

I wouId Iike to thank everyone for
making the show a spectacuIar success.

But most of aII,
I wouId Iike to thank Jenny Humphrey.

The sensationaI Jenny Humphrey.

Without her hard work and taIent, the
show IiteraIIy wouId not have gone on.

-To Jenny.
-To Jenny.

MAN:
Go, Jenny.

[MOUTHS]
Thank you.

Serena, can we taIk?

About what?
How you tried to pubIicIy humiIiate me?

You know about the dress.

LaureI toId me.
She said it was an accident.

CIearIy she doesn't know you.

I'm sorry.

I was hurt, okay?

You bIew off
our most beIoved tradition--

Just get over it, BIair.

Excuse me?

My whoIe Iife I have been bending over
backwards to protect your feeIings.

And you know what?
It's not my fauIt you're so insecure.

I'm sure it's not your fauIt
you're so conceited.

I'm just tired of trying to hoId myseIf
back so I don't outshine you.

Oh, my God.

Can you hear the words
coming out of your mouth?

It's just the truth.

From now on, I'm gonna be who I am.

And if you can support that and not be
threatened and competitive, then great.

If not. . . .

Your priviIeges consist
of water and schooI.

-You can't make me give up my job.
-Watch me.

Dad, you pursued your music. You didn't
focus on schooI, got what you wanted.

I don't want my chiIdren
repeating my mistakes.

And if your career had taken off, then
you wouIdn't consider them mistakes.

-And maybe I'm just more--
-More taIented than me?

BeIieve me. I hope you are.

I hope you become a success
at whatever it is you choose.

-After you finish schooI.
-That's not the path I want.

That what you toId QueIIer? You don't
care about the schooI you missed?

No.

I toId her I'm not coming back.

GOSSIP GIRL:
If there's one thing I've learned...

...it's that there would be no gossip
without secrets.

You might be brave enough
to reveal your secret...

...only to have it used against you.

Or someone else's secret
might affect you in unexpected ways.

There are some secrets
you're only too happy to keep.

Others surface only to be buried away
deeper than they were before.

But the most powerful secrets...

...are the truths
you thought you could never reveal.

That once spoken, change everything.

MAN:
Serena. Serena, this way, pIease.

But don 't worry, B.

The brightest stars
burn out the fastest.

Or at least that's what I heard.

Waiting for a star to fall.

X O X O, Gossip Girl.

SubtitIes by
SDI Media Group

[ENGLISH SDH]