After being attacked in his home by a cat mummy, British comedian Ricky Gervais invites Mystery Inc. to his apartment, where he retells his accounts via a puppet show. However, as he speaks, the cat mummy ambushes them. The mummy is warded off by Gervais' cat, Ollie. It is revealed that the mummy is after an ancient Egyptian cat statuette depicting the cat goddess, Bast. Fred Jones declared a new mystery to solve.

Outside, the mummy blows an unidentified powder into Gervais' apartment, irritating Ollie and causing it to run out of the apartment. Following Ollie to the antique store where the statuette was purchased, Mystery Inc. encountered an old lady who purchased a suspicious powder from the store (supposedly magic catnip), and the antique dealer, who claimed the statuette was cursed, but suspected his assistant for the crime. He leads the investigators to a secret passageway he discovered, leading to the British Museum.

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While investigating the museum, the dealer falls into a hole in the ground, where he encounters the mummy. The mummy then appears and chases Mystery Inc. throughout the museum, though they eventually escape its pursuit. They find the old lady bound and gagged inside a sarcophagus, where Velma notes the acid-free packing tape used to restrain her. Having gathered sufficient evidence, Mystery Inc. set a trap to capture the monster.

Against Fred Jones' wishes, the group uses a trap designed by Gervais to capture the mummy, luring it with the statuette. Though the initial plan fails, the mummy is restrained after Daphne pours the catnip on the mummy, luring all cats in the area. The mummy is then unravelled and sealed into a sarcophagus.

The mummy is revealed to be the "antiques dealer," who was really a jewel thief who used his antique store to gain access to the museum. Having stolen a priceless ruby from the museum, he hid it in a cat statuette and intended to sell it to a buyer overseas, but his assistant unknowingly sold it to Gervais. The antiques dealer used the mummy disguise in an attempt to get the statue back. The thief is handed over to authorities.

Shaggy: Yeah, like dude. Was that supposed to be funny? I don't think it was funny!

Ricky Gervais: Cheers Shaggy. Yeah, but... Um. It wasn't meant to be funny, OK? It's a cry for help.

Velma: Most comedy is, Mr. Gervais.

Ricky Gervais: All you have your own little catchphrases, don't you? Like Daphne's got "Jeepers", Velma has "Jinkies", Shaggy, "Zoinks", right. Even Fred says, "Hold the phone".

Scooby: And?

Ricky Gervais: I mean, well my point is, you just say your name. You just go "Scooby-Dooby-Doo."

No matter what someone wants to change because its holding them back or causing them a problem, I can pretty much guarantee that the issue they are struggling with is actually trying to serve a positive purpose for them.

A young lass aged 10 was bought to me because she was suffering from acute IBS. Now IBS can be associated with medical issues which had been checked out and given the all clear, and of course it is made worse by stress.

Parents and teachers had also made this connection and were doing all they could to find out what the issue with school was that was causing her to be anxious. Nothing specific surfaced. All sorts of things were put in place to make being at school a good an experience as possible for her but the IBS did not decrease.

An interesting thing happened, my little 10 year old began to tell me that Scared was being a baby because he was scared that while she was at school mummy would be having fun and doing things with her little sister and that mummy would love her little sister more.

We got mum to make a special effort to do things with my 10 year old separate from her little sister so that she still had that special time with mum. And guess what? Her Scared super power was not scared anymore and the IBS stopped.

All behaviour serves a purpose. But making the behaviour about a part of the child (a super power) we make it manageable and we can make it visible so we can work with the child to make it feel ok again.

By bringing the power of computer science to fields such as journalism, education, robotics, and art, Northwestern University computer scientists are exponentially accelerating research and innovation. Watch our video above or learn more at the link below.

Prof. Oliver (Ollie) S. Cossairt, Lisa Wissner-Slivka and Benjamin Slivka Junior Professor of Computer Science and Prof. Aggelos K. Katsaggelos, AT&T Professor are members of an interdisciplinary team (lead by Dr. Marc Walton) that have used non-destructive and non-invasive techniques to extract information about the underlying surface shapes and color of mummy portraits. The new details, when coupled together, provide the researchers with very strong evidence as to how many of the 15 mummy portraits and panel paintings were made.

"Ollie Ollie In-Come Free!"Season 1, Episode 5Episode InformationGuest starRicky GervaisVillainCat MummyCulpritAntiques DealerSuspectOld Woman

AssistantPremiere dateJuly 25, 2019Written byMichael RyanDirected byMike MiloEpisode ChronologyPrevious EpisodeNext Episode"Elementary, My Dear Shaggy!""The Scooby of a Thousand Faces!"Related PagesGALLERYTRANSCRIPT

When our mystery solving gang agrees to help Ricky Gervais with a haunted antique Egyptian statue of a cat, they find themselves embroiled in a confrontation with the ancient goddess Bast in mummy form!

Chloe Jean Emily Godding was born on 30th May 2012 at 08:39AM weighing 8lb. She was born in Winchester Royal County Hospital, England and went home later that evening with her mummy Lucy, daddy Nick and her big brother Ollie.

Chloe was always such a happy baby with a contagious smile, and ever since she was a newborn, right up until her very last day people would always stop and comment on what a gorgeous & smiley little girl she was.

As our daughter, Chloe has enriched our lives and given us more joy than she will ever know. We miss her every single day. Her beautiful smile, her warming cuddles, her cheeky giggle, her brilliant sense of humour, and her wonderful, kind and loving personality will live forever in our hearts.

DON'T be mean to Love Story, Maybe it's true what they argue around Nini's, maybe there is a Harvard just for lovers. You know there won't be a dry eye left in Hilles when the angels finally come to stifle Ali McGraw's death rattle amid strains of Mozart and Musak. Once those tears well up in Ryan. O'Neal's eyes, maybe the Law School will triple its scholarship program. Then alumni may make chaste suggestions for a Barrett obelisk or a Cavilleri mummy. Why, if he has not done so already, John Dunlop could turn over the Yard to Hollywood Rents and really cash in on the Love Story bonanza-Harvards' biggest impact on the public imagination since the glass flowers.

 Love Story is the simple story of an amazing commercial enterprise, showing scores of Hollywood hacks how to package a mawkish screenplay into a "promo" for the movie even before it is released. If the literary residue has all the integrity of Newspeak, it reads so quickly that you finish before you really begin. By eliminating antique appendages like adjectives and adverbs, Segal created the Evelyn Wood Primer without the Evelyn Wood course. His novel naturally made the critics apoplectic. What more serious writers hoped to develop-the cinematic novel-Segal achieved rather grossly in a pulp classic that has more blackouts than Laugh-In or Meander. The GWTW Margaret Mitchell shouldn't be living at this hour to see how Hollywood has bastardized the best-seller. Segal's screenplay has so little substance that the movie had to be padded just to make it feature length.

Of course, some of the reviewers have made too much of this. Segal's fairy tale has more staggering implications for the GNP than it does for literature. College bookstores are peddling the paperback by the carton, no longer pretending even to unpack the crates.

But the more phenomenal craving has come from the middle-aged reading public, which senses here the moral armageddon of the '70s-New Freedom Meets the Old Schmaltz. Love Story is Forest Lawn's attempt to bridge the generation gap. The dialogue of the two "now" lovers will easily set back the counter-culture three centuries. Their mighty efforts to keep it cool result in funky gems like, "Oh, we're a little negative on the God bit." All this comes with the most maddening smirk, which Ali-Jenny indulges whenever she calls her lover "preppie"-a dangerous line from a Rad-lib Wellesley heroine with fewer Italian gestures than Oliver Barrett III.

What is this thing called, love? Ali and Ollie devote the film to capping each other down like two high school sophomores. Their got-you-last verbal-sparring persists right into the deathbed scene. If the romance seems to mature a little by then, it still leaves you wondering how they have stood each other for so long. Segal's one great profundity, crashing down out of nowhere, hardly resolves the confusion. "Love," say Ali and Ollie, "means never having to say you're sorry." That sounds more like brinkmanship than love.

But Arthur Hiller's film falters only if you worry about Segal's driveling screenplay. The two principals are warm and likeable even if their characters are not, and by tenderly framing their creamy faces and soulful gazes, Hiller saves a pretty stale marriage. The director of Airport knew what he was about even if Segal didn't: a shrewd remake of a Claudette Colbert-Bette Davis tear-jerker, a wet and sloppy romantic interlude which ends in no good for one more tough American broad. Although the death watch exploits Ryan O'Neal as the rebellious scion with a lump in his throat, the real focus of this 1940 star-posturing is Ali McGraw. (Had she worn the midi, it would have been a little too ludicrous.)

The plot of Love Story seems almost incomprehensible to a modern audience. Ollie's capacity for social outrage consists of marrying a girl who looks more at home in a country club than he does. Three years after Guess Who's Coming to Dinner? , Segal's hero is scarcely able to kiss a Cliffie who merely claims to be a former Italian Catholic. With poker face, Jenny attributes the crazy affair to the liberal atmosphere at Harvard-or Mother Leveller, as she is known to friends. Jenny always mentions her family's poverty with vague discomfort, as would any girl with so formidable a wardrobe. For proof positive to WASP America or her priest-ridden childhood, she wears a crucifix in bed. No wonder Ollie's parents tried to stop the marriage. 152ee80cbc

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