
| Script   | No. scenes   | No. words   |
|----------|--------------|-------------|
| CSI-101  | 50           | 1679        |
| CSI-102  | 37           | 1343        |
| CSI-103  | 38           | 1413        |
| CSI-321  | 39           | 1584        |
| CSI-322  | 40           | 1579        |
| CSI-323  | 49           | 1445        |

the 443; to 239; grissom 195; you 176; and 166; gil 114; catherine 105; of 89; he 85; nick 80; in 79; on 79; it 78; at 76; ted 66; sara 65; warrick 65; ...

In order to equalize the Zipf distribution of words, and to homogenize the scenes and words by considering *profiles* (as opposed to raw data), as before we embedded the set of scenes in a Euclidean factor space in all cases, using Correspondence Analysis. We then clustered the full dimensionality factor space, using the hierarchical agglomerative algorithm that took into account the sequence of scenes, viz. the sequence-constrained complete link agglomerative method. To capture the "drift" of direction of the story, again like before, we used correlations rather than projections.

Figures 5, 6 and 7 show the results obtained.

To focus discussion of internal structure which can be appreciated in these figures, let us look at where commercial breaks are flagged. While other considerations are important, like elapsed time from the start, it is clear that continuity of content is also highly relevant. Television episodes are written to create minor cliffhangers at the commercial breaks and therefore if the breaks can be identified by our datamining approach there is prima facie evidence for the finding of deep structures within screenplays. Four commercial breaks are flagged in the script of CSI-101, and three in the scripts of CSI-102 and CSI-103.

For CSI-101, Figure 5, these commercial breaks, as given in the script, were between scenes 4 and 5; 14 and 15 (substantial change noticeable in Figure 5);
and 32 and 33. The change in direction in the climax scene, scene 50, is clear. The early scenes, 1 up to 6, are distinguishable from the scenes that follow.

For CSI-102, Figure 6, the commercial breaks were between scenes 4 and 5; 12 and 13; and 22 and 23. The climax here appears to be a collection of scenes, from 33 to 37.

Finally, for CSI-103, Figure 7, the commercial breaks were between scenes 1 and 2 (clear change); 9 and 10; and 29 and 30 (clear change).

We summarize these findings as follows. There is occasionally a very strong link between commercial breaks and change in thematic content as evidenced by the hierarchy. In other cases we find continuity of content bridging the gap of the commercial breaks.