#and they cleaned his stall again right before i put him back int so we knew exactly how much shit was in there and where it was

[allylikethecat]

The further we get into atkh the more excited I get about the relationship before I remember something’s going to go BAD before they can be happy. I live in fear.

Well, we do have a *little bit* longer to go before ~bad things~ happen if that helps? Like we are going to have the BEST whirlwind romance for at least a few chapters! Fictional!Matty deserves good things so we should all enjoy it while he gets to experience them! Just remember, horses are HORSES and they are like both the best and worst thing to ever happen to people (re: me) I always joke that Pop is my therapist but also like.... my main source of stress and the reason I need therapy lol They are unpredictable evolutionary nightmare... just keep that in mind. So like... don't live in fear but like... enjoy the good while it lasts lol Thank you so much for reading and I'm sorry for being so cryptic and building the drama it's kinda fun lol I hope you continue to enjoy ATKH and that you had a great Friday and that you have a great weekend!

❤️Ally

#allylikethecat #ask ally #anon ask #keep it kind #fanfiction #gatty #matty fic #fanfic #all the king's horses #equestrian au #like sometimes horses try to die because the weather changes #like wtf #today pop made me nervous because he was shitting more than normal... his shit looked normal but it was more frequently than normal? #i was worried his stupid ass was going to get dehydrated because he's weird about WATER TEMP #and won't drink it if it's too 'warm' OR 'too cold' and im like sir you live in a barn #but he's fine #thankfully #i just kinda stared at him for a while #and they cleaned his stall again right before i put him back int so we knew exactly how much shit was in there and where it was #and could track it #horses are so luxurious 😑 #if i didn't have him i would be driving another audi instead of a toyota #i mean he's worth it he just stresses me the fuck out sometimes #and i know im lucky to have him #but he makes me WORRY #especially since he's getting older

[annak47hq]

what happens in vegas’ anam

who: adam levine and anna kendrick @alcvinehf

what: adam and anna go to vegas for adams annual new years eve show, after a show they go out to a casino however anna ends up getting morning sickness and adam ends up being there for her 

where: a casino in vegas 

when: december 31st, 2018 (sometime at night) 

trigger warnings: none 

Anna: It was New Years, she and Adam were in Vegas of all places. He finally got her to go, even though she was pregnant Anna still went. She wasn’t showing yet, just still starting to get used to the symptoms and mood swings and cravings. It hasn’t even been two weeks and anna was getting nervous but excited for this journey she was about to take on. While wearing a babydoll dress, Anna had her hair half up and half down. They were in the casinos and Adam was of course at a table playing some poker game while Anna was sitting there, cheering him on. A waitress walked by and the smell of shrimp and sauce hit Anna’s stomach and she felt herself go pale as a ghost. Taking a few breaths, she looked at Adam and chewed her lips “I um.., Adam I’ll be right back. I don’t.., I’m not feeling good.” Was all she can say, and took a sip of the water bottle she had in her hand, and pushed her hair out of her face.

Adam: New Years. It was the one time of year that Adam really looked forward to other than his birthday and Christmas, considering this had been a tradition of the band’s for over five years now. Since he and Anna had been dating, he had told his girlfriend stories about Vegas for New Years, and when she had agreed to go, he was excited. She was pregnant and he just wanted to make sure that she had been taken care of and if that meant staying at home, he would have been fine with it, but he was excited that she was there for him and to see the band perform like they usually would. When they were finished performing though and still had a little bit of time to go before the ball dropped to ring in the new year, they had gone to the casinos and Adam was doing well at winning his hands of poker and blackjack. As they sat at a poker table though and he looked over at Anna. He was winning, up big, and could barely hear her. “You alright?” He asks.

Anna: Knew how excited Adam was to be back in Vegas, and she was happy and proud of how his performance, turned out tonight with the band. This was a new tradition, a new one that Anna didn’t mind starting, joining in on the bands trip to Vegas. With Adam sitting their, and watching him with a hand of blackjack the brunette just smiled. It was taking her a while to get used to the fact that she was pregnant, and that she morning sickness came along with it. Thats the thing though, it should only come in the morning but not with Anna. It came at night, at random hours and right now it was about to come. Shaking her head, Anna closed her eyes and rested her headed in her arms “No. I’ll be right back.” Getting up from the chair, Anna ran quickly to the bathroom and opened a stall.

Adam: A frown settles in on Adam’s face when he looks over to Anna and realizes that she had gone completely pale, assuming that something hadn’t settled right and well with her stomach and the way that she was trying to begin to get used to being pregnant. He was conflicted as he even looked back down at his hand of cards. If he stayed where he was, he would have won the whole game and cashed out with as much money that he had in his pockets when they even walked into the casino to begin with. However, Anna wasn’t there with him now and he’d feel terrible if he chose a poker game over his now pregnant girlfriend. Letting out a heavy breath, Adam put the cards down and chuckled towards everyone around him. “I’m sorry guys. Gotta now out.” He finishes the cup of ginger ale that he had sitting next to his cards on the table, and then makes his way to the bathroom in the back of the casino to find Anna. Walking in, the frown is still settled in on his face. “Anna? Babe…”

Anna: She wasn’t used to this yet, the morning sickness. Anna wasn’t sure if she was ever going to get used to it, Adam had told her it was supposed to last up to four months and Anna wasn’t ready for that but she figured she might as well be. Not wanting to ruin Adam’s night, the brunette rested her head on the rim of the disgusting public bathroom toilet and Anna continued to through up. Trying to catch her breath, and settle down a bit the women closed here eyes but then looked at Adam when she saw him walking in “Hi. I’m sorry.”

Adam: “Baby, don’t be sorry.” His frown deepens as he looks at her, and then he shakes his head when he realizes how sick that she looks from what he could only assume was from throwing up. Letting out a sigh, he walks forward and then extends his hand for her to take. “Come on, let’s get you cleaned up and go back to the room. Nothing beats watching the ball drop in pajamas with room service.”

Anna: Shaking her head, Anna chewed her lips and then cleared her throat. “I don’t understand what the whole point of throwing up for four months is. I don’t get it, what the hell does throw up have to do with being pregnant?” She questioned, and then shook her head again but then looked at Adam while trying to get up “Baby, you’re here with the guys. You’re having fun. I’ll be fine. I just need crackers or something, we’ll watch the ball drop like you normally do while you’re here. I was looking forward to that.” Anna said, and then walked over to the sink, and turned it on. She cupped her hand and splashed water in her mouth, and cleaned herself up a little “I’m fine.”

Adam: “Our baby is violently kicking your organs around.” He tries to tease, keep the mood light before a small chuckle falls from his lips and he shakes his head. “No, hey—Listen. Don’t worry about it, okay? I walked from the table, they’ll stay here and catch back up for me.” He follows her to the sink and stands behind her for a moment, his arms gently wrapping around her from the back. “You sure you don’t wanna go back to the room?”

Anna: Letting out a moan, Anna closed her eyes and felt herself turn a bit pale again “mm, stop talking.” Was all she could say, it felt weird hearing Adam say there was a human being kicking her organs around and Anna wasn’t sure how to feel about it just yet. Sure, she was excited and happy but she was also nervous and scared. “So that’s what’s making me throw up, is the kid kicking my organs?” Anna questioned, but then shook her head and pulled her hair back into a low ponytail “Maybe.., maybe we should go back to the room” The brunette leaned back int him and closed her eyes, holding onto his arms

Adam: “Sorry, sorry. I didn’t mean to make you sick again. Please don’t throw up on me.” He kisses the side of her neck gently. “Well yeah, it’s a developing baby. It’s gonna take a little bit.” Nodding his hand, he runs his hand gently over her stomach. “We can go back, babe. I don’t have a problem with that. Whatever you want to do.”

Anna: Smiling a bit as he leans in to kiss the side of her neck, Anna laughs a little but then uses her free hand to rub his cheek “What the hell did you do to m..” She said joking, and then closed her eyes again as he runs his hand over her stomach. “That’s our baby..” Anna whispered, and took a few moments to let it sink in that she’s actually pregnant. “Can we go back, please?” She questioned him

Adam: “I finally put a baby in you, that’s what I did to you.” He teases, letting out a laugh now as he gently runs a hand through Anna’s hair and then nods his head as he kisses her forehead gently. “Mhm…that /is/ our baby. Just wait until we can finally start feeling he or she kick, and how /awesome/ that is.” He lets out a small laugh, then nods his head. “The idea of watching the ball drop while in pajamas with room service get into your head? I’m good, aren’t I?”

Anna: “mm, that you did indeed.” Anna said, chewing her lips a bit and then kissed him softly. Closing her eyes as he ran his fingers through her hair, the brunette took a breath and smiled softly, clearing her throat “Why do I have a feeling that it’s going to hurt when she starts to kick?” Anna questioned, and then looks at him “It sounds so much more relaxing, let’s do that idea instead babe, please?” She pleaded

Adam: “You have that feeling because it’s your first baby and you aren’t going to know what to do.” Adam says, letting out a small laugh as he kisses her back. After his lips left hers and he broke away a little bit, his lips then move up to her forehead, kissing her there before kissing the top of her hair too. “Mmhm, doesn’t it?” He teases, nodding his head as he takes her hand within his own, lacing their fingers together as he makes his way to the door with her following behind him. “Yeah.” He says, softly. “Let’s go.”

&FINISHED 

#/*paragraphs*/ #/*please don't ever become a stranger: adam levine*/ #/*nobody baby but you and me: adam levine*/ #/*adam levine*/ #{chatzys} #{chatzy: 19}

[virginpornstar]

My First MLK Weekend

I guess the New Year put me in a forgiving mood. New Years always wipes the slate clean, and erases my ho-ing from the previous year. I do want to focus on my mission of finding a boyfriend, and decided to give my 2018 suitors a 2nd chance even if we didn’t work out. 

First was Buckeye, and now was Morehouse. Morehouse and I met in May of last year, and had a rocky relationship until August. I didn’t realize we only had a summer romance until he’d commented he’d never seen me in pants before when he came over. 

Out of every guy I’d encountered last year since my breakup, Morehouse was the only one I did think I could be in love with. We did exchange “I love you”s, and he was the most boyfriend potential. I did want to be with him, we just couldn’t make it work. 

He came over, and we were all over each other as soon as we saw each other. We cooked jambalaya and he brought us wine. We got high, and it was just like old times. I realized how much I’d missed him, and things with Morehouse did seem like we were meant to be, and maybe he’s the one. 

We did have sex. I couldn’t take dick though. I had prepared my hole, but he’s got a really curved dick, so I couldn’t get comfortable. Also being high was wearing off, and anal without poppers can be so painful. Now that I know how good it feels getting fucked with poppers, I wonder if it’s possible to enjoy anal without them. 

It was our first time really fucking. I’d let Morehouse penetrate me before, but it didn’t last long. I want to be a good bottom this year, that’s my new Years Resolution. I’ve bottomed more int he past 2 months than I have in all of 2018. 

Morehouse slept over, and it was nice to cuddle and have him next to me. He invited my friend and I to his Sunday Funday with his friends for MLK weekend, and I definitely wanted to go. 

Morehouse had to come back later to retrieve his little purse that had all his important cards in it. Friday night I hungout with this guy I’d been talking to for months. He works in production, and we’d been talking since he first moved to Atlanta. It was really chill. We drank, watched TV, talked, snacked on fruit and his homemade guacamole. 

We didn’t kiss, touch, anything really. I did douche in advance, since I wasn’t sure what to expect. He mentioned wanting to eat my ass before, but when we were actually together he didn’t make any moves and it all just seemed very platonic. I enjoyed his company though, and had a good time. 

Saturday was the premiere of the latest production I’d been a part of. That was super fun, and it was nice reuniting with the cast and everyone else. 

I wasn’t in a club mood at all for MLK weekend. It’s basically black gay pride part 2, so everyone’s going to all these club nights, but I just wanted some out of town dick. Tons of cute guys descended upon Atlanta, and I wanted a taste. 

So we went to the sex club again. It was definitely way more crowded with way more action going on than my first time. My friend and I didn’t leave my place until like 2, so it was pretty late when we got there, but everything was in full swing. We quickly separated to do our own thing. 

I came with the first guy I hooked up with. I saw this beefy buff light skinned black guy standing by the wall. He had nice big biceps and a big chest, so I couldn’t resist. I walked over to him and we started chatting, I felt his chest. He suggested we go into one of the video booths so we did. 

Those booths are filthy. I prefer the bathhouse over the sex club. The bathhouse is so much cleaner. The sex club has used condoms and paper towels thrown everywhere. Also the bathhouse you can shower off after each encounter, and no one’s showering at the sex club. The sex club is filthy, which I guess is part of the appeal. 

I blew the guy in the booth, sucked his nipples. He ate my ass, and sucked on my tits. I sat on his lap as I jerked off and came all over myself. It was hot. He was even sweet enough to go to the bathroom to get me some paper towels to wipe up. Such a gentleman. 

The sex club has a pitch black dark room where action is always going down. It’s too scary for me. I kept going in for less than a minute but I can’t get it on with someone I can’t see. Especially in a sex club with tons of ugly and old people. I need to see who I’m getting with and chat beforehand. 

The sex club is so big, I felt like I was just wandering up and down stairs most of the time looking for hot guys, but at some points rooms are full of guys and then you walk away and come back and everyone’s gone. It’s mostly searching for someone worthy to play with. I only ran into my friend once the whole night since the place is big enough we never cross paths. 

I found this big, black, bearded guy in one of the rooms. He was jerking off with someone and the other left, but he stayed behind. I thought he was sexy and just my type. I had seen him walking around earlier, but he seemed like a big fem bottom, so I didn’t pay him much attention. Though after we started playing around, he was surprisingly very butch, with a deep voice. 

We went to one of the bathroom stalls. He had a nice thick dick. I loved sucking on it, but he didn’t want me to suck too long, since he wanted to fuck me. I douche had have my hole ready before coming out, so I was up for some anal. 

I bent over, as he stuck it in. It felt good, it just wouldn’t stay in my hole that long. It was hot. He jerked off and came all over my mouth. It got on my sweater, and now I have a big cum stain on it. We exchanged numbers, and he said he lives in Atlanta, and not that far from me. I did inquire about his relationship status, and he kept saying it’s complicated when he asked if he’s married with kids. Whatever. He was sexy, and I’m up to see him again. 

My friend and I stayed at the sex club until 6am. The sun surprisingly wasn’t up yet. It was fun. I’d also met this hot tall buff black daddy there. Ironically he and I had been messaging on Jack’d but I wasn’t thinking much about him since he didn’t look that appealing, then I see him in person and he’s stunning. 6′2, broad shouldered, big chest and biceps. He recognized me from my pics, but I wouldn’t have known it was him since he looked nothing like his picture in person. This is the first time I’d encountered an older guy where their pics online are worse than in person, since most old guys try to trick and catfish by using old pics where they’re way better looking. 

The daddy is visiting from Charlotte so I’ll call him Charlotte Daddy. He’s 45, divorced, no kids. He took me out for food and drinks. We went to this gay sports bar and watched the Rams vs Saints game. It was fun. The bar was packed. I enjoyed his company, and he’s really hot. 

We stopped by these 2 gay bars, but weren’t feeling them so we went to old faithful Bulldogs. We drank, danced, watched the Patriots vs Chiefs game. I had drama though. 

Morehouse spotted me out with Charlotte Daddy. Morehouse asked me to pay for his ride to work Saturday, and I declined because I’m not dealing with any broke bum niggas. He said he’d pay me back, and I don’t doubt he would since he always did before, but still. We only just reconnected after I paid him no mind and ignored him for months after we broke up, and he wants me to pay for him to get to work. I felt bad and wanted to help, but he’s not my boyfriend. I owe him nothing. It’s not my responsibility to take care of him or anyone else. I get super broke and wonder how I’m going to get to work sometimes, but I ask my parents for help or friend for a ride, not guys I’m seeing or just started seeing. 

Then when I told Morehouse I can’t help him, he hangs up on me and disinvites me from Sunday Funday. Morehouse told me he wasn’t going to Sunday Funday with his friends anymore, and I didn’t doubt that if he’s having money trouble. Yet here he was out at the bar with his friends, enjoying Sunday Funday, yet he’s sending me all these texts bitching at me for being out with another guy. Morehouse is mad I didn’t try to make plans with him or asked him if he was going out, blah blah blah. 

When first of all, why would I ask you your plans if you canceled our plans because of money problems. His ass lied to me, and was still acting like the immature, bitchy, petty, bottom that he always acted like before. Clearly there was no point in giving Morehouse a 2nd chance, since nothing has changed. 

I wasn’t letting Morehouse ruin my night. I was having a good time with Charlotte Daddy. Charlotte Daddy and I didn’t stay out too late. We left at 10 something, and he just dropped me off at home. We never even hooked up. He came to Atlanta alone and wanted someone to spend company with. He’s hot and i would’ve hooked up with him, and he did flirt a lot, but I guess didn’t want to make a move. 

I had a fun MLK weekend. It’s disappointing things with Morehouse ended before they were about to begin again, but everything happens for a reason. We clearly weren’t meant to be, and I have to accept that. 

I want love, companionship, trust, stability, and a boyfriend. I can’t ignore all the red flags or settle for less when I know it’s not right for me. I just want to enjoy my life. I’ll find love when it enters my life. Last time it happened when I least expected it, and maybe that’s how it will go again. 

I’m not going to stop having fun in the meantime. 

#Morehouse #Charlotte Daddy #Atlanta #ATL #MLK Weekend #Gay Atlanta #Gay ATL #dating #relationships #love #boyfriend #gay dating #gay relationships #gay love #gay boyfriend #gay men #black gay men #black gay pride #gay blog #gay writer #gay blogger

[wfmaqh]

Jeannette

INT-Scene opens with Abby on the floor of her bathroom curled around the toilet. Playing with the palm of her hand.

 ABBY (V.O.)

Jeannette... That's all you remember, Her name. You don't remember why it was so special but if tracing out the ink on the palm of your hand was any indication of the gooie tingly feelings you woke up with, then hell yes it was important. And more important that the last two digits of her phone number had smudged off. 

 Camera pans to Abby’s hand and back to her face. Suddenly, she realizes how drunk she is and shakes a grimace.

 ABBY (V.O.)

If only I could get off this floor and- 

 Abby is cut off by Max entering the bathroom with a bag of McDonald's and gatorade in his hands

 MAX

Jesus, girl. You're a hot mess. Here.

Max passes the bag and drink off like a hot potato. Abby immediately tears through the bag. Cramming fries in her mouth.

 ABBY

Sometimes I wish I could marry you. 

 Max stands akimbo sashaying his hip- Leaning on the door

 MAX

I wish the feeling was mutual. When was the last time you got me McDonald’s when I was hungover?

 ABBY

 When was the last time you were hungover like this?

 Groggy arguing back

 MAX

That's not even the point.

(waving hands)

You seemed pretty  out of it when you got home. You kept going on about this    “goddess” you met. I wish I had snapped it. Girl, it was funny. 

ABBY

Well I got her number but…( shows Max her palm. With a look of desperation )

 MAX

Okay, I have a plan but let me finish my coffee and bring a pen and paper. 

 Abby looks back confused then feels like vomiting. Max turns to leave the room.

 MAX (Cont.)

This is your problem so,you can be my assistant but it looks like you need to pull yourself together.

 Abby slowly gets ready still a bit drunk trying to get a hold of herself, leaving the bathroom she enters the kitchen. The apartment has a lofty open feeling to it there is an island that Max is sitting at sipping from a paper cup scrolling through social media faster than he can even comprehend. Abby places the paper and pen near him. He slides it closer to him. Abby sits next to him. 

 ABBY 

So what’s your plan, oh great master. 

 MAX 

If you don’t want my help then…

 Max flashes a sparkle in his eyes that is devilish and Abby acquiesces. Max starts to scribble numbers.

 ABBY

Well, we can’t call 100 different combinations. That could take all day. 

 MAX

No, that’s insane. Look the first number looks like a 5. It could be a 3,7 or 2. The second number looks like a 6, which could be an 8 or 0. So that leaves us with 12 options. I’d say that’s progress. 

  Max begins typing the numbers 

  MAX(Cont.)

 Hi, this is Maxine from the Human Rights Campaign do you have a couple of minutes to talk about gay rights?

(pause)

 No, okay would you like to be put on the do not call list?

(pause)

Can you verify your name? 

(pause)

...Have a blessed day sir. Homophobic piece of shit.

   ABBY

I mean what did you expect? No one wants give money away for free. And why are you pretending to be ‘Maxine?’

  MAX

Oh my little Abby. So sweet.

 Max continues with the calls.Finally down to the last number we both took a deep breath as the phone rang. This time Max  puts the phone on speaker.

 MAX

Hi, my name is Maxine I work with the Human Rights Campaign. How are you today?

 JEANETTE

(quizzically)

  I’m good. How are you?

  MAX 

Good. Thanks for asking. I’m calling to see if you have a moment to talk about gay rights. Is now a good time?

 JEANETTE

Not really. But I already contribute and I’m not going to increase it at this time. Thank you.

 MAX

So would you like to add to your contribution?

 JEANETTE

 I just said no.

 Both Max and Abby are perturbed by this response.

 MAX

I’m terribly sorry. Can you confirm your name for our records?

 JEANETTE

Jeanette Issing, 602 W 185th Street, New York.

 MAX

Thank you.

(hangs up)

Sounds bitchy to me.

 ABBY

(nervous)

I wouldn’t say that. You did just cold call her.

 MAX

Whatever...Now you have her number so get to texting girl. Work some lady loving magic. I’m going to read my book and take a nap.

 Max leaves. Abby sits staring at the number catatonically trying to figure out if what to do next. She punches the number in her contacts.

 Fade to black “The Next Day”

 INT-Music store that Abby works at. It’s around 4 PM Abby stares at her phone trying to figure if she should send a text. The store if virtually empty but abby cautiously looks around. Abby starts typing 

 “Hey. It’s Abby I just wanted to see what you were up to tonight?”

Then deletes the whole text.

“Hey, sorry to bother you”

Then deletes the whole text.

“Hey, This is Abby from Steamy Bunny. I had a good time ;)”

 ABBY

You don’t even remember that night.

(Types again)

“This is ABBY from the other night. I wanted to see what you were up to?”

 Her finger hovers over the send button, wincing she presses send. And lets out a breath of relief. Dots begin appearing. 5 seconds passes.Jeanette’s message.

“Hey ;)” 

 ABBY

Holy shit!

 Abby looks around the store. Blushing. dots appear again. 

 “I’m teaching until 5:30 we could meet up for happy hour. Do you know Mel’s on Broadway?”

 Abby’s hands are a bit shaky she exits pulls up google maps and types in Mel’s 

 ABBY

111th Street! That’s gonna take me and hour. 

 Her manager pops up behind her.

 MANAGER

Hey.

Abby jumps slamming the phone down. Manager follows it with his eyes.

  MANAGER(Cont.)

It’s fine if you’re on your phone. No one’s in here anyways. 

 ABBY

Sorry, thanks. 

 She doesn’t even know why she’s apologizing.

 MANAGER

So.. Anyways. I was just going to let you off early.I’ll close up See you tomorrow.

 ABBY

I can stay if you need me to? 

  MANAGER

Avoiding plans you made?

 Manager turns and leaves visibility

ABBY (Cont.)

Shit. 

 Sighs and texts back

 “Sounds great. I’ll see you around 5:45?”

Dots appear

 “Works for me.”

 Abby goes to the back of the store and grabs her backpack and bike and begins montage.

 EXT-”Greenlight” by Lorde is playing. Abby bikes from Williamsburg with headphones. She riding across the bridge leisurely while speeding hipsters pass her but she doesn’t care. As she get on Houston she is cut off by a car song stops as she yells at them. Then continues on. Jumps to her biking on the west side highway at the chorus. Jumps to Abby staring at the large mountain cliff sighs has she struggles to bike up it. Finally arriving Mel’s She rushes inside a bit sweaty. She walks into the bar

  ABBY

Can I get a water?

 BARTENDER

ID?

 She sighs and hands him her ID, He rolls his eyes and gets a very fast non icy water

 ABBY

Thanks..

 Abby looks around the bar pretty busy with college students. In slowish motion Jeanette walks in. She has this gorgeous aura and Abby instantly remembered why she woke up with tingly feelings. Jeanette walks in and doesn’t recognize Abby and heads to the bar. She orders quickly and starts to look around. And spots Abby Then waves to her. Abby eagerly walks over. 

 JEANETTE

Hey. 

 Jeannette instantly hugs Abby catching her off guard. 

 ABBY

Sorry I’m a little wet.

 JEANETTE

(laughs in a sultry tone)

Well aren’t you forward.

 ABBY

(nervous laugh)

No! No, I biked here. I’m all sweaty and gross. 

 Abby avoids eye contact. The previous bartender walks up with Jeanette’ drink, vodka tonic

 BARTENDER 

Here you go Jenny. You know, we missed you the other night. 

(winking)

 JEANETTE

Ha, you’re just saying that to tease me. Anyways, Abby, first round's on me. What do you want? 

 Bartender sneers

 ABBY

Um, what kind of whiskey do you have?

 BARTENDER

(sighs)

Jack, Jameson, Wild Turkey...

 ABBY

Mmmm...I’ll just have a beer. Stella?

 Bartender leaves. Jeanette is sort of looking Abby up and down.

 JEANETTE 

You like whiskey?

 ABBY

Yeah. Most places don’t have what I want. But there’s this great place in Brooklyn-

 JEANETTE

(cuts off Abby, sarcastically.)

There’s always a ‘great place’ in Brooklyn.

   ABBY

You know, it’s not all hipsters. It’s actually owned by this nice guy named Steve. Plays great music. The food is awesome too.

 JEANNETTE

I guess you’ll have to take me some time. 

 She takes a sip of her drink. Abby nervously gulps.Bartender returns with beer. Slamming it down a bit. There’s an awkward silence. Both women sizing each other up.

 ABBY

So if I’m being honest, I don’t really remember the other night. 

 JEANETTE

Well, I’m not surprised.

 ABBY

Wait, what happened? You make it sound bad.

 Jeanette laughs whilst Abby swoons.

 JEANETTE 

Well…

(puts drink down)

I was going to the bathroom and there you were. You were on the floor , I think waiting for a stall  but you were pretty out of it. So I sat down next to you and we chatted. You looked like you were going to throw up but you didn’t. Anyways, you asked if we could hang out sometime and I gave you my number. Now here we are. 

    ABBY

Wow, sorry about that. That bathroom floor is not clean. You didn’t have to take care of me. 

 JEANETTE 

(laughs again)

That’s what you said then too. Listen, I  don’t think you would have gone home if I hadn’t found you. But I wouldn’t call that a proper introduction. 

(holds out her hand)

I’m Jeanette, you can call me Jenny. Nice to meet you 

 ABBY

(shakes her hand)

Abby-Nice to meet you sober. 

(chuckles)

 JENNY

So, Abby who drinks whiskey and lives in Brooklyn. What do you do for fun?

 ABBY

Fun? 

 JENNY

Yes, that thing people occasionally indulge in.

 ABBY

Um...I play guitar. So I like doing that when, I’m alone.

 JENNY

You don’t like an audience?

  ABBY

(earnestly)

I have a hard time palying when there are people around. It’s distracting.

 Jenny is distracted staring across the room at another woman.

ABBY (Cont.)

Jenny?

 JENNY

(shakes her head)

Sorry about-.There’s just someone I- I’ve just seen them around recently. 

 ABBY

Oh which one?

 Jenny points to a woman far away. 

 JENNY

(wanton)

Her name is Jeanie. 

 ABBY

She kind of looks familiar. How do you know her?

 JENNY

I’ve just seen her around before. 

 Jeanie catches to Abby looking across the room and begins to walk over. Jenny begins to act nervous. Abby is rather unfazed.

 JEANIE

Oh my god Abby!

 Jenny looks at Abby with confusion.

JEANIE (Cont.)

Shit it is you. Jeanie, we went to Pace together. Max and I acted together.

 ABBY

Oh? I think I remember you and Max did ‘Stop Kiss’ or something? You looked a little different. I guess I didn’t recognize you right away. 

 JEANIE 

(look of disappointment)

Yeah, I chopped off my hair. Who’s your friend?

 JEANETTE

(interjects with her hand)

Jenny, pleasure to meet you. 

 JEANIE

The pleasure is mine. 

 There is an awkward amount of hand touching, then Jeanie turns to Abby.

JEANIE (Cont.)

Abby we should hangout sometime. Max still has my number. Anyways I won’t keep you. See ya.

 JENNY and ABBY

Bye!

 Jenny turns back to Abby.

  JENNY

Sorry, you were saying... you played guitar?

 Music plays over them talking “tip of my tongue” Civil Wars. They continue talking as fast paced people move past them. Seemingly hours past.

 ABBY (V.O.)

I don’t think I knew it then but this was the start of something truly...messy.

 INT-Abby is asleep in her bed. Sunlight is pouring into the room. The decorations are miss mashing of odd strange things that don’t particularly match.  In the room bursts Eliza high energy and jumps on the bed effectively pouncing on Abby. Abby tries to hide underneath the covers and escape.

 LIZA

Wake up sleepy head. 

 ABBY

It’s a Tuesday at 8:00 AM. Why are you here? Don’t you have work?

 LIZA

For your information I have the evening shift and Max told me you were out late with a lady love and I want to hear all about it.

 ABBY

(defensive)

She’s not my ‘lady love’

 LIZA

Whatever...Are you gonna tell me about it or not? 

 ABBY

(pulls off the covers)

Will you buy me coffee from downstairs?

  LIZA

(rolls her eyes)

Fiannneee if you insist.  Get up you lazy bum!

 INT- Coffee shop. Both are seated Abby is cradling her coffee with sunglasses on. Liza is fast away texting a mile a minute.

 ABBY

(disdainfully)

New boy toy? 

 Liza is still paying attention to her phone.

 LIZA

Maybe you’ll find out. Maybe you’ll never know. 

 ABBY

Hmmm. Well you know I have to pre-vet him before you bring him around the boys. We can’t have a repeat of Michael. Jake near ripped his head off.

 LIZA

Yeah yeah. Jake won’t do anything stupid. I hope. 

(Places phone down)

Why are you wearing fucking sunglasses inside?

 ABBY

I had a long night and I don’t give a fuck. 

 LIZA

Because you were up all night with your new lady love?

(bats eyelashes)

 ABBY

(glows with embarrassment)

It’s not even like that, number one. And we were just talking most of the night. She’s nice, her name is Jenny. 

 LIZA

That’s not how Max describes it. Gimme your phone?

 ABBY

What for?

 LIZA 

Cause. Now hand it over. 

 Abby passes the phone over reluctantly. Liza types in the passcode

LIZA (Cont.)

I don’t even know why you bother with a passcode, when I know all of them. 

 scrolls through Abby’s texts.

“Hey winky face?”

LIZA (Cont.)

I wouldn’t call that nothing. 

 Abby snatches back her phone.

 ABBY

Stop looking through my texts. It’s nothing, Okay?

 LIZA

(puts her hands up defensively)

Okay! Jeez. Look I’m happy if your happy. If y’all are just friends I’m cool with it. Just don’t bring her around until you’re sure.

 ABBY

What’s that supposed to mean?

 LIZA

Remember Angie? Max harassed her all night. 

 ABBY

I remember. I’m still mad at him for that. She was nice. 

 LIZA

She was weird and you know it. 

 ABBY

Maybe not a healthy relationship but it worked at the time. 

 LIZA

Anyways, if you like this person, Jenny, then get to know her first. Okay? I don’t want you writing some love sick song about her and presenting it to her. 

 ABBY  

That only happened once. And you know  I’m sensitive about that. Listen, I will be careful. I’m fully aware of the fully beating heart on my sleeve. Mom!

 LIZA

I’m just looking at for you Tabs. Now, I’ve got to go make myself  look presentable for Juan.  I look like a damn bird lady. 

 ABBY

(shakes her head)

No you don’t. You look fine. 

 LIZA 

Thanks for the complement. Real confidence booster. 

 ABBY

You know what I mean. 

 LIZA

I know. I’m just teasing. 

 ABBY 

(stands up and hugs Liza)

Love you Liza. I’ll see you later

 LIZA

Love ya Tabs. Don’t do anything I wouldn’t do. 

 ABBY 

Like that means anything. 

 Liza shrugs

 INT-Scene opens on Max playing video games in their living room. Abby enters through the front room discarding her sunglasses and hoodie. She vaults over the back of the couch and sits next to Max leaning back and sighing. 

 MAX

So how was Liza? 

 ABBY

(indifferently)

Good. Why didn’t you come?

 MAX 

Coffee isn’t my thing 

  ABBY

I literally saw you drink coffee yesterday. 

 Max pauses the game and passes Abby the remote and they both begin to play “rayman”.

 MAX

You know,Liza and I haven’t exactly been on the same page since the whole thing with Jake. 

 ABBY

(very focused on the game)

You have got to let that go. I know Jake is your brother but that was forever ago and we All need  to move on. 

 MAX

It’s not that simple. Jake says he’s fine but he’s not. I haven’t invited him over in sooooo long. I just don’t want him to cause a scene. But I can’t cut him out of my life. He’s the only family I have. Besides I still think I can keep them separated for at least another 2 months. 

 ABBY

Oooo go back. secret level

 Tapping controllers.

 ABBY and MAX

Yes!

 ABBY

You know I love all of you guys but this has got to stop. This isn’t healthy for anyone. And I can’t be a buffer anymore. 

(pause) 

Why don’t we all get together for my birthday? We can invite John. 

 MAX

Ugh John. 

 ABBY

You know you love him. 

 MAX 

Not since he started dating what’serface. I see them all over facebook all gross and shit. When is the last time he hung out with us. Just us. 

 ABBY

Exactly my point. We should all get together. It will be hella fun. Pleease it’s my birthday!

 MAX

Fine, fine fine. But there better be lots of booze or I am not entertaining. This is my house too. 

 Abby’s phone buzzes in her pocket she pulls it out to inspect it. Text from Jenny 

“I get out of class in at 12 would you want to grab lunch? I had a great time last night. :)” 

Max shuffles in his seat realizing that Abby is still just staring at her phone. Abby doesn’t move for about 3 seconds just looking over the words.

 MAX

Ah Mah Gawd just say yes. Jesus! Let’s get on with our live’s

 Abby protectively pulls away her phone and feigned a shocked look.

ABBY

Ah! What have I said about over the shoulder text reading?

 MAX

(mockingly)

It’s an invasion of person space and boundaries and isn’t fair.

 ABBY

Yeah! The fact that you know how I feel about it should say something. 

 MAX

I’m just a curious cat. Now, are you going to text her so we can beat this level? I want a perfect 100 and no less.

 Abby types away fast then throws the phone to the other side of the couch.

 ABBY

(slightly demonic voice)

Let’s do this! 

 INT- Barnard College. Students are filing out of the lecture hall. Jenny is putting her books in her bag. She’s sporting fake reading glasses. Abby slowly tip toes into the lecture hall trepidatiously. Checking the students as she walks past. Abby walks up to Jenny.

  ABBY

Hey.

(looking down at a syllabus)

When you said you were a teacher I wasn’t expecting this. “Women’s studies a look through an intersectional lense.”

 JENNY

It’s just an Intro class they won’t let me teach anything above a 100 level until I’ve been here for a couple more years. But I like it. 

 Jenny smiles sweetly, a student walks up and stand patiently with her book to her chest, Jenny notices and looks towards the girl and the girl blushes.

 STUDENT 

Professor Issing, I was wondering if you might have some time to chat about the mid-term paper. I wanted to run an idea past you. 

 JENNY 

(cocks her hip and stares at her knowingly)

I am more than willing to discuss it at office hours. They should be listed on the syllabus. Or you can talk to My TA Gerardo 

 STUDENT 

(looks down)

Oh okay. I’ll stop by this week. See you then.

She smiles and looks up as she leaving then frowns at Abby.

 ABBY

(flustered)

So… should we get a sandwich?

 Jenny pulls her bag over her shoulder. And they begin to walk out.

 JENNY 

Don’t worry about her. I’m the youngest professor at Barnard. So they all think I’m available.

 ABBY

(nervous)

But you aren’t seeing anybody though?

 JENNY

Of course not! I mean I’m not available to them. I’m so not doing a student/teacher thing. I’m trying to get a promotion.  And I’m not going to fuck that up. Anyways, there’s great cart I like to go to. We can sit on the library steps since it’s such a nice day. 

 ABBY 

Sounds great to me. 

 EXT- at the cart. Abby and Jenny are grabbing their boxes of food 

 JENNY

Thanks Sammy. I’ll see you around. 

 SAMMY

Okay habibi. Stay safe, these people crazy out there. 

 JENNY 

Always.

 Jenny and Abby stroll along Broadway quietly before entering the campus. Abby looks around amazed. Enjoys her bewilderment. They climb to the top of the steps and sit opening their food.

 ABBY

Pace never had a campus like this or really even one at all. 

 Abby opens her box and pokes food.

JENNY

Well that’s what you get with a $9 billion endowment. 

(takes a bite)

But that doesn’t make it any better. Education is what you make it. You put in the effort then you’ll make out pretty well. Some of the people who go here don’t even have a  clue. 

 Abby looks down at her food. Sad.

JENNY(Cont.)

I’m sorry did I upset you?

 ABBY

No I just think sometimes I’m not on the right path to what I want to do. I have this expensive degree and I’m working at a music store for just over minimum wage. It’s just silly. 

 JENNY

Are you happy? Like on a day to day basis.

 Abby thinks for a moment.

ABBY

I’m happy with what I’m doing. I just don’t know about everything else. You know?

 JENNY

(puzzled)

I think that was the most vague nondescript answer I’ve ever heard. 

 ABBY

(laughs)

Sorry. You don’t want to hear about my melodrama. It’s not even about me. 

 JENNY

(sits facing Abby)

See this is the problem today. Women think ‘oh my problems aren't valid because they don’t speak to some higher purpose’. We can’t elevate the world around us without elevating each other first. So, tell me. 

 ABBY

(takes a deep breath)

I guess I want to play music, which is what I’m doing. I don’t want to be famous or anything I just like playing. Being at the store does give me some time to mess around. I used to be inspired but I was bad at writing things down. By the time I figured that out a system the lyrics kind of left me. But I also feel like I let my parents down because I’m not running some successful business. Which I don’t want to be doing. On top of that I’m trying to hold the balance between my best friends. They’re my family, I love them but they constantly make mountains out of mole hills and in some ways it’s valid but like they just can’t seem to move on. 

 JENNY

(nods head and hums)

So you’re friends can’t get over small bullshit?

 ABBY

Not exactly.Long story short my roommate's brother dated this girl in our friend group. It wasn’t exactly healthy, but we didn’t mind. The problem was Jake, the boyfriend, would get drunk and try to cause fights or get angry and leave, yell at his girlfriend for no reason. Of course Jake's brother is my roommate, Max, so, like I can’t avoid him. And honestly Liza, the girlfriend, did nothing wrong. She just broke up with him and it wasn’t mutual. So Jake is upset, still, this was a year ago. And Max blames Liza for breaking up with him. URGH! It just drives me crazy.

 JENNY

Wow, that sounds messy. So you’re stuck in the middle? Trying to be friends with all of  them. 

 ABBY

YES! And the worst part about it, is no matter what I say it’s like ‘yeah you’re right but that doesn’t change anything. And I’m just like ‘Damn can you just step back and look at your actions’. Like everyone is physically stressed out by this situation. 

 JENNY

I mean people can’t exactly change their feelings that’s what makes things like this messy. It’s illogical but it doesn’t matter because it just is. You can’t fix everyone’s problems, Abby. 

(reaches for Abby’s hand)

 Sometimes you have to take care of yourself.

 ABBY

(nervously swallows hard and stills)

You’re ...Right. I just want...things to go back to normal. If I had a time machine. 

 JENNY

(smiles)

Again you can’t fix everything. Even if you want to-

(looks at her watch) 

Shit I’ve got to get to class. But if you ever need to talk I’m here for you. 

 Jenny Embraces Abby in a deep hug.

 ABBY

Thanks. 

 They hug for a  long moment and Abby nuzzles into the crook of Jenny’s neck. Jenny pulls away and looks at Abby then kisses her cheek.

 JENNY

Maybe we can hang out in Brooklyn tomorrow I don’t have class then. 

 ABBY

That would be nice. 

 Camera pans out and up into the sky and fades into Abby’s notebook, she is writing words to song lyrics at the counter of the music store. While humming. The manager walks up to her peeking over her shoulder.

 MANAGER

Are you going to show me what you got there?

 Abby pulls away some not totally recoiling.

 ABBY

Maybe. It’s a work in progress. I’ll show you when it’s done. 

 MANAGER 

You know I can always lend an ear. 

 He laughs a little at his own pun.

 ABBY

Cute Ed.

(Pause) 

Fine but, I’m not singing I’ll just show you the guitar parts. 

 They walk over to the stands, Abby pick up a cream colored Telecastor.And plugs it into the amp(fender deville) she plays a soft finger plucked song humming softly. Ed picks up a guitar. He lets her play a bit before for joining in. He plays the harmony that she is singing. Abby smiles and stops humming. They play one round and Abby starts to sing some of the lyrics. After a verse Ed stops from the ding of the door.

 ED

Hey, feel free to take a look around. 

 Ed looks down at Abby and whispers.

ED (Cont.) 

She looks cute.

  Abby turns around in her stool. revealing Jeanie. Abby places the guitar down and turns off the amp.

  ABBY 

I got this Ed. 

(Pause)

 Hey Jeanie. Are you looking for something in particular that I can help you with?

 Jeanie pulls out a small Ukulele

 JEANIE

I broke a string on this. 

 Abby steps closer to inspect the ukelele.

 ABBY

Got it. You want me to replace it for you? There’s no extra charge.

 JEANIE

That’d be great. I don’t really know how anyways. 

 ABBY

Sure.

 Abby walks over to the wall of stings and grabs a pack and places the uke on the countertop. Then starts replacing the string.

  ABBY (Cont.)

I didn’t know you played the Ukulele.

 JEANIE

Not really. I know a couple of songs. I actually need to for a prop. 

 ABBY

(playfully)

Oh another play. You starring on Broadway or something?

 JEANIE

I wish. I’m doing this black box thing not too far from here. I mean not many people go to Brooklyn to see a play

 ABBY

(sarcastically)

There is culture and things here. And not just in Williamsburg.

   JEANIE

(does not pick up on the sarcasm) 

I love Bedford ave. They have such cute stores. And there’s this little gem. 

 Abby finish stringing the Ukelele and plays a little diddy.

 ABBY

All done. The strings will slip out of tune for a little bit so you may have to tune it a couple of times

 Jeanie looks puzzled.

 JEANIE

I don’t have a tuner actually. I don’t think I’ve ever actually tuned it. 

 Abby scratches her head.

 ABBY

Um..well.Someone told me you can just remember this. 

(sings while plucking each string)

‘My dog has fleas’. I’m those aren’t the notes but it’s the tones. It’s easy enough to remember. 

 JEANIE

I think I can remember that. 

(smiles and places her hand over ABBY’s on the neck of the uke)

You know I don’t remember you being this cute in college. 

 ABBY

(eyes dart down in embarrassment)

I guess I just grew into myself more. Here

 Abby holds out the uke and Jeanie takes it.

 JEANIE

Listen you should come to the show it’s suggested donation. 

 Jeanie holds out card. Abby takes it.

 JEANIE (Cont.)

Show starts at 8. 

 ABBY 

I might stop by later if I have time. 

 JEANIE 

Well we’re playing all week so you should stop by st some point. 

 ABBY

I will.

 JEANIE

Great I’ll see you around. 

 Jeanie exists through the front door. Abby takes a deep breath.

 ED

She’s a piece of work, ain’t she. 

 ABBY

Ed! 

 ED

What? Oh please fix my Ukulele. Did you even charge her?

   ABBY

You know if that was a regular you wouldn’t have charged her.  

 ED

But she’s not a regular. And she caught you off guard with that little hand thing. 

 ABBY

I am so not in the mood for this conversation 

 ED

Whatever. I’m just pointing out the obvious.

 ABBY

Which is?

 ED

This is why you don’t have a girlfriend. She was flirting with you. She came into this specific store to fix one string. And she wants you to go to that show. So go!

 ABBY

Even if she was flirting I’m sure she’s into someone else. 

 ED

So! Seize the moment. You just have to go for it. Rip the band aid off. Jump in the deep end. Swim with the sharks

 ABBY

OK! I get it. Lay off with the analogies. I’ll think about it. 

    ED

Well don’t miss an opportunity because you’re holding out for something better. If you get a call about a gig you take it then worry about the set list. 

 ABBY

Yeah yeah. Sage advice from my guru

 ED

(points finger) 

You know I’m right which is why you’re deflecting.

 ABBY

I think you should have been a psychiatrist because you love this shit. 

 ED

What can I say. I’m a good read of people.

 8. EXT- Abby is standing outside smoking a cigarette checking her phone before placing it in her pocket.There are other groups of people standing around talking. Jeanie walks up behind Abby and taps her shoulder. 

 JEANIE

Hey. I’m glad you could make it. 

 ABBY

Yeah, well you said to. Couldn’t pass it up. 

 Jeanie check behind her. ABBY shakes her head mouthing ‘what the fuck’ to herself, Jeanie turns back to face her

 JEANIE

You think I could bum one of those. 

 Abby is taken aback reaching in her pocket and pulls out a pack.

ABBY

Sure.

 Pulling out a cigarette and Jeanie places it in her mouth and leans forward for Abby to light it. Jeanie cups her hand around Abby’s looking up at her with hooded eyelids. Then pulls back.

 JEANIE

What did you think of the play?

 ABBY

Um I thought it was interesting and uh….

 JEANIE

You didn’t like it huh?

 ABBY

(laughs)

No. It was hard to follow for me. The whole nonlinear thing didn’t make sense at times. 

 JEANIE

Well that’s the point. To make you question what’s really going on when. 

 ABBY

I’m not a theater person I guess. 

 JEANIE

(places her hand on ABBY’s bicep) 

That’s okay at least you showed up. That’s more than I can say for some of my friends.

 ABBY

I’m glad I could help be supportive. 

 JEANIE

You’re are always so sweet Abby. I think that’s what I remembered the most about you. Max always said such nice things about you. 

 ABBY

Well I’m glad he did because he could say worse. 

 JEANIE

I highly doubt that 

 ABBY

I probably should be getting home.

 Abby starts unlocking her bike next to the pole]. 

 ABBY(Cont.)

Where do you live? 

 JEANIE

I live on the upper west side where you saw me the other night.  I’m just going to the train. 

 ABBY

Let me walk you to the stop. It’s on my way. 

 JEANIE

Thanks I appreciate that. Maybe I won’t be verbally harassed today. 

 ABBY

One can only hope. 

 They continue to walk down the street.

   JEANIE

Speaking of the other night, who was that woman you were with? Jenny?

 ABBY

Yeah what about her?

JEANIE 

Just curious. You know what her deal is?

 ABBY

She’s a friend. She works at Barnard. She’s a professor

 JEANIE

Ah. So you two aren’t together?

 ABBY

No, no, no 

(quietly)

  But... 

 Jeanie cuts her off without hearing the but

 JEANIE

Is she single?

ABBY

Um yeah I think so. 

 JEANIE

Do you think...if it’s not too much to ask, maybe get her number off of you?

 ABBY

Um what?

 JEANIE

If that’s not too weird. Or anything. 

 ABBY

(take a second to think about it.)

 I mean sure why not. Here 

 Abbyr pulls out the phone from her pocket pulling up the contact.

 JEANIE

Wow! Thanks a lot I really appreciate it. I’ll text it to myself so you can have my number too. Maybe you could teach me some of your music skills.

 Jeanie passes the phone back.

 ABBY

Yeah sure no problem. 

 They arrive at the train stop.

 ABBY (Cont.)

  I’ll see you around sometime.

 Jeanie pulls Abby in for a side hug.

 JEANIE

Yeah I’ll see you around. Thanks for the walk. 

 ABBY

No problem.

 Jeanie leaves down the stairs while Abby turns around doubling back the way she came.

 9.EXT. Roof of the loft apartment. Max and Abby are smoking a joint on the roof listening to music and drinking a few beers. Ratatat’s song Nostrand is playing in the background.

 ABBY 

I feel played man. 

 MAX

What did you expect It’s Jeanie fucking Thompson. She’s manipulative. She was like notorious for that shit. 

 ABBY

I had totally forgotten about all that drama. I just thought like she was being nice. She said I was ‘cuter than she remembered’. Like I’ve always been cute. Look at this face.

 MAX 

Tabby, I don’t want to burst your bubble but... you used to wear cargo shorts. 

 ABBY

That didn’t mean I wasn’t cute

 MAX

They had holes in the butt.

 ABBY

Maybe I didn’t have a fashion sense but that is conceded to say that I wasn't cute. 

 Max raises his hands, in defense.

 MAX

Alright. You were cute. But this is coming from the man not attracted to women. 

 ABBY

True. I just can’t believe it. If you were there you would have seen it. 

 MAX

I’ve seen you around girls, Abs. She probably wasn’t actually  hitting on you. 

 ABBY

She totally was! I swear it was just so she could get that number out of me. Fucking cunt. 

 MAX 

So you’re telling me you actually gave her the number. I spent a good time on figuring that out. I’m gonna give her a piece of my-

 ABBY

Maaax.

 MAX

Ok fine I’ll leaver her alone. But if she comes over here I’m doing something. 

 ABBY

What are you gonna do?

 MAX 

I don’t know lick the top of her chapstick. Fart in her bag.

(shruggs)

 ABBY 

You are straight childish. But I support it. 

 Both laugh

 MAX

Alright. So like what’s the deal with this Jenny? Are you going to take her on a real date because this weird grab a drink/ lunch is not sexy.

 ABBY

(sighs) 

I haven’t figure that out yet. She’s smart for god sake. Where am I going to take her? I can’t take her to the ale house.

 MAX

NO! It needs to be romantic. 

 ABBY

I could take her to a performance something at the Met.

 MAX

You have gone to Manhattan too many times. Let her come to you. 

 ABBY

Fine I’ll take her to BAM 

 Abby pulls out phone typing away.

 MAX

Ew Ew you should take her to 5th Ave they have some little places right by there. Have a drink in a quiet secluded bar, dark mysterious like our little Tabs.

 ABBY

Okay- The Principles of Uncertainty. I’m getting them. Done 

 MAX 

Impulsive much?

    ABBY

It was almost sold out and it’s like the premiering night. And it’s next weekend so timing is everything. 

 MAX

Whatever. I do have to meet her at some point. Approve her potential status. 

 ABBY

For all the mothering I do for your guys. This is the thanks I get. 

 MAX

(places hand on Abby’s shoulder)

Love blinds. And you are very weak. 

 ABBY

Like I said the thanks I get 

 MAX

It comes from a good place. 

 10. EXT- Abby is waiting outside the Barclay’s center waiting for Jenny. Jenny is slowly coming up the escalator. 

 ABBY

I’m glad you found your way. I know it’s a bit of a trek

 Abby rubs the back of her head.

 JENNY

It was fine although without the helpful tip about the back of the train I might have gotten lost in the station 

   ABBY

I have literally been lost in there for like 30 minutes, before. So tips from a pro. Shall we go. 

 JENNY

Where will  we be  going to first?

 ABBY

There’s a little strip of bars on 5th. All of them are pretty good so, which ever one sticks out to you. 

 JENNY

You don’t have a special place picked out ?

 ABBY

Maybe ?

 They walk down the street when Abby begins to slow down in front of the place she wants to go. Jenny smiles and takes the hint.

 JENNY

Very subtle. 

 ABBY

I have no idea what you’re talking about 

 JENNY

So you want to go to this one

(points with finger)

 ABBY

You said it not me. 

 Jenny shakes her head and opens the door. It’s a small dark bar with a few older couples drinking wine quietly. They both walk up to the bar and sit.

 BARTENDER 

(places napkins on the bar)

What are you ladies having to drink to night?

 JENNY

Vodka tonic.

  Abby stands on the edge of the chair looking behind the bar. For 3 seconds. Jenny looks confused.

 ABBY

Ooo yeah Blanton’s

 BARTENDER

How do you want that?

 ABBY

Neat.

 Bartender leaves.

 JENNY

So Blanton’s is your kind of whiskey? Neat, how very sophisticated of you. 

 ABBY

It’s good. And I don’t want it watered down by ice. It’s pretty expensive. 

 JENNY

If you work at a music store then how do you afford a $20 drink? 

 ABBY

I have other business ventures.

  JENNY

And what would those be?

 Drinks are placed down. Abby passes her card to the bartender. Then passes a business card to Jenny.

 JENNY

(laughs)

You teach music? That’s so cute! Are they like little 10 year olds learning chopsticks?

 ABBY

That’s piano and more like 40 year old single men. Some younger hipster guys who walk into the shop but, once they realize they aren’t as good as me , a girl, they get pissed and don’t come back. 

 JENNY

Sounds shitty. Do they come to your apartment?

 ABBY

Worse, I go to theirs. I’ve seen things that can’t be shared with regular people. 

 JENNY

(Jokingly)

I’m just regular.

 ABBY

Of course not! 

 In a realization of what she just said her eyes dart down. Jenny searches Abby’s face. They both take drink separately to avoid further conversation.

  JENNY

(calmly) 

Do I ever get to hear you play?

 ABBY

Maybe. I haven’t done an open mic thing in a while. 

 JENNY

You should. I bet you’re great. 

ABBY

Thanks. Encouragement is appreciated.

 JENNY

And tips.

 ABBY

That’s actually what it says on my jar 

 JENNY

Really?

 ABBY

No. They don’t let you put jars out at open mics

 JENNY

Oh I’ve never been before. I’ve been to some poetry slams but those are very different. 

 ABBY

Some people do poetry

 JENNY

Really? 

   ABBY

Some people dance. I’ve seen comedy before.

(with disgust)

 There’s this one guy with puppets it’s not great. 

 JENNY

(playfully)

 What’s wrong with puppets?

 ABBY

The bit is about creepy old men with audience participation.

 JENNY

Ah. Well I’d like to hear some of your works. 

 ABBY

Right now?

JENNY

Is that possible?

(leans in closer)

 ABBY

I- um...It’s well

 JENNY

That’s a  yes. Show me. Please 

(claps hands together)

 Abby sighs and finishes her drink, reaching for her phone slowly. Mumbles in a low voice.

ABBY

Don’t judge me okay.

 JENNY

(earnestly)

I won’t. 

 Abby passes the phone the Jenny looking down at the hands clasped in between her legs. Jenny has the phone cupped to her ear. We can’t hear the music. Jenny bobs her head dictating a slow rhythm. Jenny’s face turns loose and limp. Sadness takes over. The song ends and she passes the phone quietly to Abby.

 ABBY

(concerned by the silence)

Did you like it?

 JENNY

I did. But who is it about?

 ABBY

It’s about my grandpa. He died when I was in highschool. It wasn’t exactly sudden but, my parents weren’t very forward the fact that he was on his deathbed. I just didn’t get to say what I wanted to say to him. 

 JENNY

I’m so sorry .

 ABBY

(straightens up)

This was years ago, there’s not too much to be sorry for now. But I needed that song, then. It just poured out of me. I wrote it in about 15 minutes. Which is crazy. Everything I’ve written that is actually  good it is just in these spurts. And I don’t even see it coming. I just pick up my guitar and there it is. I’m lucky if I can grab a pen in time.

 JENNY

Wow. So why aren’t you out there writing songs?

 ABBY

If only that were so easy. I have only about 5 of those moments in 13 years. And I remember them, distinctly. But there are so many songs that just get lost or unfinished. Sometimes I can’t find the thing that the song is about. So they just lay there in my 2 minute recordings.... I’m sorry I’m babbling 

JENNY

No, No! I want to hear this. I never thought-

(stops herself)

 ABBY

Thought what?

 JENNY

That - 

(pauses to choose a particular word)

You were so deep?

 ABBY

(angry)

What did you think?

 JENNY

I don’t know. You worked in a music shop and you’re funny and cute. I don’t know what I thought. 

 ABBY

Listen don’t get me wrong here but there’s more to me then how I act. I don’t open up to people, easily. I’m more often hurt than helped and...I just want to honest about who I am. That’s all I’ve ever been. 

  JENNY

(confused)

There’s not anything else you want to be honest with. 

  Abby stares off looks up a clock-sudden shock. Turns towards the bartender.

ABBY

Oh my god is that the real time?

 BARTENDER

Why else do I hang a clock on the wall?

 ABBY

Shit we got to go.

 “Queen Bitch by David Bowie starts playing. Grabs Jenny’s hand and runs out of the bar. Running through the streets on green lights skillfully running around people with Jenny trotting behind.

 JENNY

You left your card!

 ABBY

Forget it. I’ll come back tomorrow. The show starts in 5 minutes. I got too caught up there. 

 Stops at a busy intersection. ABBY looking left and right bouncing a bit.

 JENNY

It’s okay if we’re late. I’m sure they’ll seat us. 

 Break in traffic Abby starts to run again.

 ABBY

It’s opening night we can’t be late. Also BAM is hella strict on closed door policy.

 They run up the stairs outside bam. Pulling out the tickets quickly. Getting them scanned and sitting at the house lights close  as they take their seat

 11.INT- Abby and Jenny are walking side by side talking about the show. Abby sees a restroom and excuses herself. Camera follows Jenny outside she walks up to a bike rack and leans against it. Camera pans out showing her playing on her phone. A group of men walk past. One of them pats the other and walk towards Jenny.

 GUY

What’s a pretty girl like you doing all alone?

 JENNY

(looks up from her phone)

I’m just waiting for a friend so…

 GUY

If I was him I wouldn’t leave you out here in the cold. 

 JENNY

Well that’s not gonna happen, okay? I have a boyfriend.

 GUY

Then where’s he at?

 JENNY

(Snarky)

On his way so scram!

  GUY

(turns back to his friends)

I like em feisty. What’s your name beautiful

 JENNY

Nonya….Nonya bussiness

 GUY

How very 90’s of you. Listen if your boyfriend don’t come out here in 5 minutes. You have to give me your number

 JENNY

In your dreams. 

 Jenny begins to walk away. Abby is coming down the stairs. Man is following her. His friends are about 10’ away.

 GUY

Come on! Give me a chance 

 Abby walks faster to Jenny once she sees the bastard. Jenny walks a bit faster catching up. Abby cuts off the guy and stumbles bumping into him.

 ABBY

OH I’m soo sorry. Are you hurt?

 Guy tries to get around her.

 ABBY (Cont.)

No seriously I didn’t mean to 

 GUY

Dude get outta my way! 

 ABBY 

But really though? I don’t want you to sue me. 

 GUY

Jesus lady I’m fine. Now will you move. 

 ABBY

(Feigns shock)

You are so rude. 

 FRIENDS

Let it go man she’s gone. Come’on let’s go. You’re being annoying. She’s a bitch anyways

 GUY

Yeah yeah, Whatever. 

 They all turn and walk away. Abby looks to see where Jenny went. She checks her phone. ‘Around the corner’. Abby walks on a quiet secluded street and is standing waiting impatiently.

 ABBY

You okay?

 JENNY

I hate that I can’t go out one fucking night without some fucking comment. Did you tell him off?

 ABBY

No. I don’t want to piss off the angry/ horny bear. 

 JENNY

(broods)

Sorry, I didn’t mean that. I’m just angry.

(looks at Abby)

 Thank you, you didn’t have to do all that falling business.

 ABBY

Well better then running away.

 Jenny looks down with her arms crossed.

  ABBY (Cont.)

I mean that’s why I’m here. I’m sorry the night ended on a bad note. I had a good time, though. 

 Jenny still looking at the ground quietly.

 ABBY(Cont.)

You alright?

 JENNY

I just hate that this shit gets to me.I teach feminism at an all women's college, for god sake. Now I’m all pissed and shit. And it’s an hour train ride. Probably longer because the trains are all fucked up.  And I am not sitting in a cab with a strange man after that. 

 ABBY

I totally understand . Listen, I live about 30 minutes from here. If you don’t want to go home. I have a nice couch you can sleep on?

 JENNY

Really? What train to do live off of?

 ABBY

Well um, the M or L but we would take the bus it’s faster. 

 JENNY

I don’t think I’ve ever taken the bus before.

 ABBY

It’s not glamorous but it is direct and you get cell service. But I guess you’re used to that in your fancy Wifi manhattan stations.

 JENNY

I didn’t say I was opposed to the bus just hadn’t taken one before. 

 ABBY 

Then let’s be on our way. 

 They are waiting at the bus stop as it pulls up. Abby let’s Jenny enter first. Jenny tries to sit in the front. Abby pulls her to the back. And sit down in the back.

 ABBY

You always take the back seats first. Bus etiquette.

 JENNY

Oh sorry. Why ?

 ABBY

It’s hard to move around. Plus a bunch of older people take the bus and they sit in the front for easy access. 

 JENNY. 

I see. 

 Abby pulls out her phone and headphones and passes a free earbud. Quietly takes it. Better Times by Beach house or  dramamine by modest mouse comes on Jenny stares out of the bus window as they pass through narrow streets. Some people are walking about Abby is looking forward not wanting to look at Jenny. Jenny’s hand twitches towards Abby’s leg just as she’s about to touch it. Abby get’s up and presses the button.

 ABBY

This is our stop. 

 Jenny gets up quietly and follows Abby out the doors. Abby holds the doors open for a little old  lady and her cart

 ABBY (Cont.)

Want a hand?

 LADY

Oh yes.Please 

 Abby grabs the bottom of a cart and carries it down the stairs 

LADY (Cont.)

Thank you sir.

 ABBY

No problem. Stay safe

 LADY

You too.

 Abby and Jenny walk past.

 JENNY

(jokingly)

Such a chivalrous young man. 

 ABBY

I’m not gonna shove my white privilege in people’s faces and I was misgendered for 2 seconds, I don’t mind. 

 Jenny finds the gesture endearing and sweet. Abby is focus on the street ahead. They walking into a building and stop up the stairs. Only hear the jingle of her keys. Jenny leans against the wall while Abby unlocks the front door.

 ABBY

Well here it is. In all it’s glory

 Jenny looks around curious

     JENNY

It’s cute. 

 Abby goes to the kitchen and fixes two glasses of water and passes one to Jenny. Jenny looks down at drink.

 JENNY

I’m sorry that I was being a little crazy back there. Normally that stuff doesn’t bother me. 

 ABBY

It’s totally okay. You should be upset. That guy was an ass hat. I’m just sorry that you have to sleep on my couch. Which by the way-

 Abby walks over to find a Jake (Max’s brother) sleeping on the couch fully dressed. Abby turns back to Jenny.

    ABBY

Looks like we have a problem.

 Jenny peaks over the edge of the couch.

    JENNY

Oh.[pause] Well I can just sleep in your bed. 

 Abby blinks a few times.

    ABBY

I-could sleep on the floor

     JENNY

I meant we could both sleep in the bed. You don’t need to sleep on the floor.

 Jake begins to stir. Abby leads Jenny to her bedroom. Abby starts sifting through her drawers trying to find spare pajamas for Jenny. Meanwhile Jenny is undressing to her underwear and T-shirt. Abby turns around as Jenny is bent over. Abby blushes and turns around and puts the clothes on top of the dresser. Jenny has already climbed into bed. 

  JENNY

Sorry I’m just so tired

(yawns)

 Abby slow follow’s Jenny’s lead and strips to her underwear and shirt. Quickly dart under the covers. They’re backs are facing. Abby is still rustling a bit to get comfortable. 

  JENNY

Abby?

    ABBY

Yeah?

 JENNY

Can we cuddle?

 Abby stills, breathless. Jenny stirs but doesn’t roll over. Abby reluctantly turns over and scoots closer. They are close but not touching. Jenny reaches for Abby’s and pulls it around her.

 JENNY

Is this okay?

    ABBY

  (barely audible)

Yeah.

 JENNY

Good.

 “Run All Night” by Rachael Cantu plays. Jenny pulls Abby tighter. Abby lays awake. Somewhere between terrified and excited. But petrified. 

 INT-Abby’s Bedroom. The sun is barely up but Abby didn’t sleep at all that night. She quietly gets up not to wake Jenny and goes into the kitchen and starts to make coffee. She rubs her head in frustration. She slams the coffee cup down hard. It wakes Jake. 

    JAKE

(Incoherent mumbles)

Abby?

 Abby takes another cup of coffee and walks it over the the couch. Passes it to Jake who sits up. They both sit on the couch.

  ABBY

So what happened?

  JAKE

Why do you assume something happened?

  ABBY

Your knuckles have cuts on them.

 Jake tries to hide his hands. 

  ABBY (CONT.)

I don’t care what happened. Just let me know if I shouldn’t open the door.

    JAKE

I wouldn’t. But for the record it was self-defense.

  ABBY

Didn’t say it wasn’t. Listen I have a someone over so if you could-

 Jenny is holding her coat over her arm and is quietly leaving the room. Her path is aimed towards the door.

  JENNY

Thanks for letting me stay over. I have to get going I have a class in a few hours. I’ll text you?

  ABBY

Yeah no problem. 

Abby stands up

  ABBY (CONT.)

I can walk you down?

  JENNY

No it’s okay. I’ll be fine. I’ll text you. Bye.

 Jenny leaves and the door slams a bit. Jake lifts his brows in surprise.

  JAKE

That was rude.

  ABBY

She had to leave.

  JAKE

She didn’t even hi to me. Bitch

  ABBY

Can you not?

  JAKE

Sorry. Just saying man. 

  ABBY

Yeah, well it’s not cool. Anyways. You coming to my party next weekend?

  JAKE

I wouldn't miss it for the world Tabs!

 Scruffs Abby’s Hair. Abby pulls away and adjusts it.

  ABBY

Just be chill okay?

  JAKE

I’m always chill

 Abby looks down at Jake’s hands.

  JAKE (CONT.)

Okay. I’ll be chill. Just don’t be lame and   puss out. We gettin you fucked up!!!!

  ABBY

I won’t puss out. You just worry about yourself.

 Both sip coffee at the same time. 

  INT-The Apartment. Party night with the gang. Abby is prepping the house with drugs, booze and tunes. Max idly helping out but also playing different music than Abby wants. Door knocks Abby goes to get it group of Jake, Eliza, John and John’s girlfriend. Liza enter first and pinches Abby’s cheeks

 LIZA

Oh Tabby!

 Jake does a sort of dab hand shake

JAKE

Hey man what’s going on.

  John does the same hand shake

  JOHN

Hey Abb’s this is my girlfriend. I hope it’s cool I brought her. 

    ABBY

Of course. Nice to meet you nameless girlfriend.

(Abby smiles)

   DENISE 

Oh, uh my name is Denise. Nice to meet you. 

 Chaos ensues. All the pre-party planning destroyed in one fell swoop.Jake is poking through the drawers looking for something. No one knows. Max and Liza are cackling and making weird cooing noises at Abby’s efforts to maintain calm while John and Denise are make themselves a drink being disgustingly cute. Abby hangs her head.

    ABBY

Jake, stop looking for drugs. They’re all laid out on the table for you. 

 Jake puts on Abby’s sunglasses

  JAKE

I’m not looking for drugs. But these sunglasses are awesome. Can I have them?

   ABBY

No!

 Jake ignores Abby and sits on the couch next to his brother, sunglasses on. Abby walks behind Liza fiddling with the music.

    ABBY

You know I did make a playlist. Guys.

   LIZA

Oh Mama Abby. 

(pats Abby’s hand)

You know I got to play my boy Bob before    John plays his weird ass dubstep

 John walks over to the couch, Denise follows 

   JOHN 

You guys don’t like my music?

   ABBY

No one said that. Liza just wants to be the DJ for once. alright?

   LIZA

Yeah! Fuck you male privilege!

(fist to the air)

   JOHN

Let’s play Medusa!

   ABBY

Do we have to jump right in? Can’t we enjoy each other’s company for 5 minutes. 

   LIZA & MAX

(Talking over each other)

Come on Tabby Abby get in the game! It’s gonna be a long night. You don’t even have to work tomorrow. Or drive or get home. Pleeaaasee.

    ABBY

Fine.

    MAX.

(Mimics Abby)

Fine 

(then smiles)

    JOHN

(to Denise)

Okay so, the game works by everyone putting their heads on the table. When I say go we all look up. Whoever is looking at someone and they are looking back at you they have to drink. Kay?

   DENISE

Um, I’ll sit this round out and watch until I figure it out. 

 John gives her a reassuring side hug

    MAX

I mean it’s pretty simple game. 

    JAKE

Yeah, even Abby is doing it. 

    ABBY

Wow. Didn’t know I was setting the standard.

     LIZA

Abby Tabby (shake head)

      JOHN

ANYWAYS! Get your drinks so we can get started. 

 Jake and Max run to the refrigerator as if they were racing. Abby and Liza follow behind and return with their drinks.

    JOHN

Head’s down

 Everyone but Denise puts their heads down.

JOHN (CONT.)

1,2,3 GO!

 Max and Abby make eye contact

 ABBY & MAX

Damnit!

 ABBY

We must be in sync. Fuck.(both drink)

 MAX

I don’t have a vagina so. Don’t know how that’s possible.

 Montage of lots of drinking  few rounds, everyone has had a turn except Denise. Door knocks( music stops). Abby gets up.

 MAX

Who’s that?

 ABBY

I invited Jenny.

 Liza puts her finger in his open mouth and gags, Max laughs both Denise and John are clueless. Abby opens the door to reveal Jenny in a fancy trench coat holding a bottle of wine.Very much dressed for a dinner party.

ABBY(CONT.)

Hey, come in. 

 Abby opens the door further and lets in Jenny. Once the door is closed Jenny pulls Abby in for a firm, long sensual hug.

 JENNY

Hey

 Everyone else is watching this for the entire length of the hug.Shocked and taken aback at how Abby and Jenny do not seem to realize they are still in the room. Jenny pulls back and turns to the room noticing the drinking is already taking place.

  JENNY (CONT.)

(Awkward)

I brought wine but I don’t think anyone wants it. So I’ll just put it in the kitchen. 

 Liza springs up from couch and runs towards the kitchen.

  LIZA

Oh I’ll have some. White wine spritzer!

 Abby stares coldly as Liza takes the bottle from Jenny. 

  JENNY

Sure, go for it. 

 She passes the bottle at an arm's length distance.Liza opens the bottle and pours nearly to the brim of the glass before returning to the group. 

  ABBY

I do have vodka if you want that?

  JENNY

Sure. You know what I like by now. 

  ABBY

I suppose. Go and sit down make yourself comfortable. I’ll fix it for you.

 Jenny approaches slowly, careful to not feel too comfortable. She sits awkwardly in a single chair. 

  JENNY

So what game are you guys playing?

 Liza is sprawled lazily drinking her wine regally.

  LIZA

I’m done playing. I have a headache. But I’m interested in hearing about you Jenny. Abby hasn’t told us too much about you. 

  JENNY

There’s not much to tell really. I’m a professor at Barnard. I teach women's studies but mostly intro classes. I only started working there last year. 

 LIZA

And what were you doing before that?

  JENNY

I was getting my master’s at Barnard. 

  MAX

So you like all women’s schools?

 Abby returns from the kitchen and hands Jenny her drink.

  ABBY

No interrogations before midnight.

 Abby winks at Jenny. Jenny ignores it, still focused on Liza.

LIZA

Well we just wanted to get to know Jenny your...friend here.

  ABBY

Well like she said she teaches women’s studies and you all know how we met. So what more is there to know?

  LIZA

But how does she feel about Bob Dylan?

 Everyone in  the friend group eye rolls and sighs. Denise and Jenny are lost. Jenny searches Abby for any indication of the right answer.Abby won’t answer.

  JENNY

I guess he’s alright?

 Liza passes her glass to Max and leans forward.

  LIZA

He is possibly the great musician that has ever existed. He is more than alright. 

 Stands up abruptly and walks to the speakers.

  LIZA (Cont.)

If you are not converted after this song. Then I don’t know what. 

 Abby knits her eyebrows and rubs her head. 

  ABBY

Really? Do you have to do this?

LIZA

Tabby, don’t be such a downer. You know you like him too.

 Liza puts on “going going gone” by Bob Dylan. While the friend group rolls their eyes again as they have hear this song for the umteenth time. Denise being on the outside looks at Jenny and they share an awkward exchange as if to say “is she for real right now?”

 Abby sits at the table and rolls a joint, some how in a way to bridge a divide. Once finished rolling she lights it and passes it to Jenny

  ABBY

(while holding in the smoke)

Guests first. 

 Jenny Semi-reluctantly takes the joint and takes a baby puff and passes to Max.

  MAX

(Earnest)

 We do puff-puff pass. If you want.

 Max passes it on to Liza who is still very much into the song. Once finished, she  passes it to Jake. They share a devilish look. Jake stands up before passing it to John. 

  JAKE

I’ll be right back. 

 Abby and Max exchange a knowing look and follow their eyes to Jake going to the bathroom. John and Denise are whispering over how Denise hasn’t really smoked before and John is assisting with the joint. Max leans over to Liza to have a side conversation. Abby turns to Jenny

  ABBY

(in a whisper) I’m sorry about Liza she can be...forward. 

JENNY

It’s okay. 

 Jenny wants to say more but John leans in a passes the joint to Abby.

  JOHN

I’m John by the way. This is my girlfriend Denise. 

  DENISE

Nice to meet you. Abby, thanks for having us over. I’m glad to finally meet you. John talks about you alot

  ABBY

No problem. I just want to be around people I love on my birthday. I hope John hasn’t told you any horror stories.

JOHN

Tabby I would never. 

  JENNY

Why do you guys keep call her Tabby?

 Max and Liza overhear this and jump over to where Abby is sitting and pinch her cheeks and rub her hair. 

  MAX and LIZA

Because she’s cute Tabby cat

   MAX

She’s soft and cuddly

 LIZA

Gets all angry and flustered when you don’t do things her way.

  JOHN 

She’s just Tabby. Don’t know how to explain it any other way. 

  ABBY

(disheartened)

I’ve learned to accept it. 

  LIZA

You know you love it. 

 Abby grunts. Meanwhile (in the background) Denise has left to use the bathroom. The bathroom door swings open. Jake appears to be doing something secretive and closes it. Denise asks to use the bathroom.

  DENISE (from across the room)

Can I just get in there for a minute?

  JAKE (from across the room)

Give me a second. 

  DENISE

I got to go (Opens the door knocking into Jake.)

  JAKE

What the fuck, Bitch! I said wait. 

  DENISE

You did not just call me a bitch!

 All the friends have been alerted by this time. Abby and Max share a frantic look. John turns into ultra protective mode and stands up. Jake emerges.

  JAKE 

John, you need to keep your bitch in line!

 Denise pushes Jake’s back

DENISE

You are not gonna let him talk to me like this? You call this guy your friend?

  JAKE 

John Seriously, no manners. 

 John is now chest to chest with Jake 

  JOHN 

Dude, you need to calm down. 

  JAKE

Me? she’s the one acting all crazy and shit!

  JOHN 

I’m serious man. You need to chill

 Jake pushes John. John lunges into Jake and grapple each other. Max and Abby spring from their seats. Abby pulls Denise away, who is in shock. Max prys the two of them apart grabbing Jake by the shoulders and leading him to the front door. John still angry tries step forward Abby steps in front of him. 

  ABBY

He didn’t mean it. You know that. 

 John looks at Abby and steps back and walks to Denise and asks if she’s alright. 

  MAX

You need to leave now. 

 Max is livid but calm. He’s done this many times. Jake steps back and sniffles his nose and pinches it. 

  JAKE 

Com’on I’m family. You’re not gonna kick me out, are you? Look I’m cool man, I’m cool. I swear. 

  MAX 

You need to leave, go home calm down. Ride it out. 

  ABBY

Jake, just go and cool down.

 Jake looks around the room expecting someone to defend him. Just silence. 

  JAKE

Fuck you! I’m outta here.

 Jake leaves and slams the door. Abby nods to Max who follows Jake out into the hall. Abby turns back to John and Denise.

  ABBY

I am so sorry Denise. Jake can lose his temper,sometimes. I suggest you guys wait a bit, if you want to leave. If you need some space,you can use my bedroom. 

Denise looks at John.

  DENISE

Thanks.

 John and Denise walk off into Abby’s bedroom. Abby looks at the front door, murmurs of yelling are going on in the hallway. Abby goes to sit down next to Liza and downs her drink 

  LIZA

God, I hate it when he does this.

 Abby is too afraid to acknowledge Jenny’s presence she is embarrassed and remorseful, that all of this is happening.

  ABBY

Yeah. I think he’s had a rough couple of days. 

 Jenny looks at both of them curious

  JENNY

You’re not seriously defending him? He just did blow in the bathroom and yelled at that girl for no reason!

  ABBY

I’m not defending his actions. But he’s still my friend. 

  JENNY

Friends don’t have angry bursts of rage at someone else’s house on their birthday. 

 Abby wants to rebuttal but Liza cuts in 

LIZA

Listen. It’s complicated I wouldn’t try to understand it. Don’t think you can just come in here and get.It. 

   ABBY

Liza, please. Jenny, I don’t expect anything sort of understanding but Jake is our friend no matter what. I don’t like what he did anymore than you do. Neither does Liza. But we have to support him. 

  JENNY

Why? He doesn’t seem to support you?

 Door opens and enters Max. 

  ABBY 

Hey, did he leave?

  MAX 

Yeah. Do you have a cig I can bum?

  ABBY

Yeah I’ll come down with you.

(turns to Jenny.) 

Do you want to come?

  JENNY

I think I should leave. 

 Liza and Max exchange a look, as though they realized they messed this up. Abby is disappointed but knows she can’t fix it. 

  ABBY

Yeah sure. Whatever you want. 

 Max, Abby, and Jenny grab their coats down stairs. Outside it’s cold Abby lights a cigarette and passes the pack to Max They are standing next to each other and Jenny is across from them. Jenny doesn’t know how to talk to Abby while Max is present. 

  JENNY

I wish I could stay but I think you guys should enjoy your night without me. 

  MAX

I’m sorry about my brother. But, honestly it doesn’t have to ruin the rest of the night. 

 Max elbows Abby’s side. 

  ABBY

We can just listen to music. 

  JENNY

Another time. I’ll text you?

  ABBY

Yeah sure. Get home safe. 

 Abby and Max take a long drag and exhale, standing in silence. Shortly John exits with Denise behind. 

  DENISE

I’m sorry things got messed up on your birthday.

 Denise nudges John.

  JOHN

I’m sorry I got physical in there. I’m a little tipsy. 

ABBY

It is by no means your fault. Jake lost it and you responded like anyone else would have.I’m just sorry it happened. 

    JOHN

Anyways, we’re gonna get home. I’ll see you guys around. 

  MAX & ABBY

See ya.

 Shot from across the street. “Let it go” by James Bay starts to play. Max finishes his cigarette and leaves Abby outside. Abby leans against the wall alone, cars and people pass. She’s reflecting on everything. Why Jenny left, why Jake has to ruin everything, why is she still alone. It feels futile. She checks her phone and starts to type then stops. She looks at her phone then stops and puts her it in her pocket and goes back inside and enters the apartment. Max and Liza are sitting on the couch. Abby sits and places her head in her hands. Max and Liza wrap their arms around her. 

  ABBY

I like her. And I fucked it all up. 

 Max and Liza look at each other over Abby’s back and rub gently. 

EXT-roof of Abby’s apartment Abby and Max are sitting in lawn chairs wrapped in blankets. Max is fast asleep. Abby is watching the sunrise. She’s moves to stand near the edge of the building with the blanket wrapped around her. She pulls out her phone and calls Jenny. Jenny’s hand slams the phone, she pulls it under the covers. 

  JENNY

Hello?

  ABBY

Hey. Sorry to wake you.

  JENNY

Are you okay?

  ABBY

I’m fine. I’m just...watching the sunrise.

(pause)

It’s beautiful. 

 Jenny shuffles to get out of bed. We can see a lump but it’s unclear if it’s a person or just covers.Jenny walks over to her window and manages to get to the fire escape and see the sun rise.

  JENNY

It is. You didn’t call me at 6:00 AM to tell me the sunrise was beautiful did you?

  ABBY

I did. 

Both laugh 

ABBY (Cont.)

I guess I was sitting here thinking about being another year older. Realizing that things can change in an instant. Given what happened last night. And I just feel sorry-

 Jenny cuts her off.

  JENNY

You don’t need to be sorry about anything. Last night wasn’t your fault in any way. 

  ABBY

I should have just talked to Jake-

  JENNY

I bet you apologized to everyone at that party?

(pause)

You shouldn’t go around apologizing for a man’s action. That is so classic just make everything about fixing the situation without it even being caused by you. 

  ABBY

Jenny, don’t get all theory on me. I just wish things had gone differently but there’s something-

  JENNY

This isn’t theory. Sexism isn't a theory it’s a reality we live in everyday. And you aren’t helping Jake be a better person. 

  ABBY

That’s not what I meant. I don’t even want to talk about this I just wanted to tell you-

  JENNY

That’s the problem you don’t want to talk about it. Jake has clearly had this problem before but you and your so called “friends”. Who‘ by the way’ seem to take advantage of you and demean you with that little nickname. 

  ABBY

Hey! You’re totally out of line. You met them for ,not even, an hour and you’re already judging them. You know what, I’ll talk to you later.

 Jenny tries to speak but Abby hangs up. She throws off the blanket and carries it back to where Max is sitting and sits next to him. 

  MAX

Why are you yelling so early? 

  ABBY

Just cause. How you holding up?

  MAX

I’m fine.

  ABBY

I know when you're lying

  MAX

Well I don’t want to talk about it. 

 Abby looks off in the distance. 

  ABBY

I think I’m gonna take a break for a bit. Take a minute. Just not worry about anyone else... besides you

  MAX

Aw thanks Tabs. You know I love you... I just hope Jake didn’t ruin whatever you have going on with Jenny.

  ABBY

I think it’s beyond repairable.

  MAX

Well I’ll give him a piece of my mind

  ABBY

I just hope Jake can get off coke soon. He’s already in trouble. After last night I don’t know what’s gonna happen to him. 

  MAX

He’s grown. He can make his own choices. Unfortunately, the ripple effect is wide. I am going to talk to him later today. He was being a dick and you didn’t deserve that. 

  ABBY

Or Denise.

  MAX

Yeah, yeah.

 Abby stands up and stretches. 

  MAX

And where do you think you’re going?

  ABBY

I am going to bike a bit . Clear my head, get some exercise, be productive. 

  MAX

Gag! Exercise. 

  ABBY

I wasn’t asking you to come with me. I already know the answer. 

 EXT-Abby is biking across the Williamsburg bridge with headphones on.”Land of a Thousand words” by the scissor sisters. Very slow and dragging. It early morning the city is waking. Abby isn’t really sad but enjoys the moment. She Bikes up the east river and parks her bike against the railing near southstreet seaport and watches ships. She returns back to the apartment and picks up her guitar and starts writing a song furiously. The song is written over several days back and forth between the apartment the shop and over again. Tolling over the details. 

 INT- Abby is in the apartment watching TV with Max. Jake enters 

  JAKE

Hey. What are we watching?

  MAX

Downton Abbey

  ABBY

Because it’s relatable

  JAKE

How’s that?

 Max and Abby both giggle

  ABBY

Because it’s my name

  JAKE

Wow...Been partaking in a little wake and bake?

  MAX

Loosen up a bit. It’s good. I just love Mary and Matthew they are too perfect. I love them. 

 Abby tears up

ABBY

So beautiful. 

 Jake looks down at Max and Abby who are enthralled in this british melodrama. 

  JAKE

So…. Anyways, I have a surprise for you Tabby.

 Abby turns around, confused and holds out her hands. 

    JAKE (Cont.)

Not like that. I signed you up for the open mic night at the Underground.

  ABBY

Wait… What?

  JAKE

I got you in. I heard you playing your guitar again. And I thought you should show everybody your new song.

 Abby fully turns around on the couch. 

  ABBY

How do you know about that?

  JAKE

Because I have ears. You’ve been playing it like every day. 

 Abby turns back around in a flop.

  ABBY

Well you shouldn’t have.

  JAKE

Come on Abby! You got to get out there. You are so good people need to hear you. 

  MAX

You’ll be be fine. Just picture everyone in their underwear.

 ABBY

You know that stresses me out.

 JAKE

Well you can’t puss out. It wasn’t cheap. 

MAX & ABBY

You paid?

 JAKE

Not like that. Listen don’t worry about the details.

(pause)

Listen, let me borrow your phone for a second. I think I misplaced mine. 

 ABBY

Here.

 (hands phone)

I’m mad at you, by the way. 

 Jake takes the phone and waves Max over. 

 JAKE

Max help me out I think it’s on vibrate. 

 Jake gives Max his phone. They pantomime there conversation 

 Max: What are you doing?

Jake: go with it. 

 Jake pulls up Abby’s contact for Jenny and sends her a text. “Underground tonight at 8PM. No questions.”

Jake and Max give each other a thumbs up. 

  MAX

Oh here it is in my pocket. 

 Jake mouths ’what?’

  MAX (Cont.)

Anyways, let’s pick out your outfit tonight. 

  ABBY

I don’t want to. 

MAX

I want to dress you up. Can I put makeup on you ?

   ABBY

NO!

  MAX

I’m just going to go through your closet.

  ABBY

No! I don’t know what you’ll find

  MAX

A big pink DILDO. Oh my!

 Max runs to her bedroom and slams the door shut. Abby follows but it’s locked. 

  ABBY

Open up Max!

  MAX

Oh it is big. 

  ABBY

I know you’re lying 

 Max opens the door with one of Abby’s sports bras over his shirt. 

  MAX

Such a party pooper. 

  ABBY

That doesn’t even fit you.

 Abby and Max are bickering. Jake still has Abby’s phone. Text appears from Jenny “I’ll be there ;)”

 INT- Open Mic night. Abby is nervous holding her guitar as Jake and max stand tall behind her. She nervously walks up to the stage and places the guitar down then returns to stand next to the boys. Jake passes her a drink.

  JAKE

To ease your nerves.

 Max starts messing with Abby’s hair. Abby swats at his hand. 

  ABBY

Thanks dads! Jeez there’s a lot of people here. I don’t know if I can go up there. 

  MAX

Trust and believe. You are gonna do just fine. 

 JAKE

Yeah. You’re not playing until the middle so it doesn’t even have to be great.  

 Max slaps Jake’s arm

JAKE (cont.)

I mean, no pressure. 

 A few people get up to play. They're all fairly good. Abby is less tense but still nervous. Jeanette walks in and slips in the back she can’t see Abby over the boys. Finally it’s Abby’s turn. She get’s on stage and keeps her head down and focuses on setting up her guitar. She pulls out a small metronome and places it on a still next to her. 

    ABBY

This is a new song I wrote. It doesn’t have a name.

 Abby starts the metronome and starts to sing “stranger things have happened” by the foo fighters or new song

“It's like the river and the rocks always fighting back 

It's like the sky and clouds always moving past

 It's like daydream that’s always out of grasp.

 Will the moon and sun ever meet?

Or spin round looking down at their feet 

 It’s Lonely feeling being so meek. Staring straight into the sun

 You make me angry and worthless. 

 I make you feel nothing or less

 And I'm laid bare for you

And means nothing at all”

 Abby never looks up from her guitar but Max and Jake look on proud. Jenny stares impassive, not really understanding the song is about her until the end. Abby finishes the song and looks up and sees Jenny. It’s upsetting, frustrating and whemling. Abby walks off stage and returns to Jake and Max. Who suddenly realize Abby is pissed. 

  ABBY

I can’t believe you invited her. 

  JAKE 

I wanted to help.

 Jenny is walking over.

  ABBY

Well don’t.

 Abby begins to storm towards the front door. Trying to get past Jenny. Jenny grabs Abby’s arm. 

  JENNY

Hey? Where are you going?

 Abby pulls away. 

  ABBY

Leaving.

  JENNY

Well you invited me. I was hoping we could talk. 

  ABBY

Well that wasn’t me. And I don’t really feel like talking. 

 Abby pushes past and walks out onto the sidewalk. Jenny looks at Max and Jake then follows Abby.

 JENNY

Abby wait!

 Abby turns around. Jenny pauses.

 ABBY

Well?

 Jenny doesn’t know what she was going to say. 

 JENNY

I just wanted to catch up. 

  ABBY

Catch up? Really?

 Jenny steps closer and and grabs Abby’s hand. 

 JENNY

I miss you.

 Abby looks down. 

 ABBY

I know but...

 JENNY

What?

 Abby looks up. 

 ABBY

Nevermind.

 Awkward silence.  

 JENNY

Just come with me to Steemy Bunny on Friday. Please?

 Abby just nods and Jenny hugs her a little non-consensually. Abby isn’t exactly a fan. 

 EXT- Max and Abby are waiting to enter “Steamy Bunny”. Abby is anxious and Max doesn't want to be there. 

  MAX

I hate lines. Especially with a bunch of horny lesbians. I can smell the pheromones from 4 blocks away.

   ABBY

Well you only have to bear it for a little bit. You can leave after Jenny gets here. 

  MAX

Why didn’t you just come with her?

  ABBY

She lives super far away. I don’t want to be waiting by myself like a fool. 

  MAX

Well you better be buying my drinks. 

 The line starts to move forward. 

  ABBY

2 drink limit. 

 Max crosses his fingers emphatically. 

 INT- “Loophole” by Etta Bond  - Slow motion dancing. Abby and Max are dancing with each other and actually having a good time. Others are dancing around them ignoring their bad dancing. Time passes.The slow motions stops as a slow jam song comes on. “Don’t go” by Reece. Max looks at his phone. 

  MAX

It has been an hour. Where your girl at?

 Abby pulls out her phone. No notifications. 

  ABBY

Don’t know. But maybe she’s here already. Go grab us some drinks.I’m gonna look around. 

 Max disperses into the crowd. Abby stares at the women dancing slow with each other with melancholy. She weaves through the crowd to get a better look from upstairs something catches her eye so she turns. Her face turns white. Shot moves to Jenny dancing with Jeanie very closely. Abby is frozen in place. Jenny moves into kiss Jeanie, it’s slow and sensual. Abby watches in horror. Once, their kiss breaks Abby shakes her head and storms upstairs. Max at the bar sees a flash of Abby rushing out the front door. He’s confused but stays. Abby is outside smoking a cigarette.Just as she puts it out, Jenny comes outside stumbling. 

  JENNY

(to herself) 

Shit, I’m drunk.

Abby! What, um ,how long have you been here?

  ABBY

Long enough.

 Jenny ignores the comment. 

JENNY

Oh my god. I just kissed Jeanie. I don’t know what’s wrong with me. I don’t even like her.

 ABBY

(beyond frustrated)

I saw.

 JENNY

I need to get out of here.  

 Looks like she’s going to hurl.

  ABBY

Do you need me to get you a cab? You don’t look good. 

 Jenny is a bit shaky. Abby looks around and sighs. She walks to the corner and waves a cab down. She pulls Jenny over and tosses her in a cab. Abby goes to leave but Jenny pulls her in. 

  JENNY

Take me home. 

 There’s a moment of indecision. But it’s too late the door is closed and Jenny has given the driver the address. Abby acquiesces as Jenny leans on Abby’s shoulder. The driver steady’s on. Abby shoots a text to Max that she’s left. The ride is quite. Abby stare catatonics out the window until Jenny’s hand wraps around her. Abby looks down and places her hand over it. 

 EXT-On the corner outside Jenny’s apartment. Jenny stumbles out of the cab. Abby follows suit. Jenny fumbles with her keys, as she’s opening the door and turns to Abby and places a kiss on her cheek. 

  JENNY

Thanks for taking me home. You always take such good care of me. 

 Abby blushes averting her eyes. 

  ABBY

It’s no problem. It’s kind of late do you think..

 Abby looks up to see Jenny closing the door behind her. 

  ABBY

Jenny? 

(realizing that she’s left her)

Jenny!

 Abby turns to see if the cab is still there it’s not. The street is dark and quiet. Abby looks at her phone it’s 12 something. Throwing her head back she starts to walk. “Pendulum’ by FKA twigs plays as Abby takes the train. Taking the C train downtown. Waiting for her transfer on the platform next to sleeping people on benches and couples holding hands. Finally she is walking down her block and opening her front door slowly trudging up the steps. She opens the door to her dark apartment. She plugs in her phone it’s now 2 something.There’s a text from Jenny. Abby ignores it and flops on the bed. 

 INT-Eliza’s dirty messy apartment clothes all over the floor. Fluffy cat perched on the kitchen table. Abby is sitting on the couch while Liza flings her clothes about. 

 ELIZA

(from a closet) 

Well, if you want my opinion…

ABBY

Not really

  ELIZA

She’s a bitch! Like what the fuck?! If that were me I would just venmo request her for that cab ride there and back. Why didn’t you take a cab again?

  ABBY

I have no money and I wasn’t exactly in the mood to be in a car with a stranger for an hour back home. She practically lives in washington heights. 

 Eliza comes out of the closet in a thrift store dress with a few holes in it. 

  ELIZA

You can’t see my nips in this?

   ABBY

No but your ass is hanging out. 

 Eliza looks in the mirror, shrugs and pulls off her dress with no bra on. Abby’s hands fly up. 

  ABBY

Give a girl a warning. 

  ELIZA

It’s nothing you haven’t seen before. 

 Eliza returns to her closet. 

  ABBY

I’m just looking forward to this concert.And I’m looking for your support. Okay? I haven’t talked to Jenny in like two weeks so it would be great if we could just drop the subject. 

 Eliza comes out of the closet in a sequin dress looking in the mirror.

  ELIZA 

I don’t know. I look like whale in this. 

  ABBY

Oh my god! If I have to tell you one more time that you look great I’m literally going to tackle you. 

  ELIZA

Tabbs I know you’re just saying that. But thanks. 

  ABBY

(sighs)

 Girl you look fine as fuck. Now can we go we need to pick up Max?

  ELIZA 

Why didn’t he just come here?

  ABBY

Because he has no patience for this 

(pointing to Eliza) 

like I do. 

  ELIZA

(rolls her eyes) 

I didn’t know I was such a burden. 

  ABBY

Can we just go? 

(melts into the couch)

  ELIZA 

Fine. Fine. Let me say bye to snugglepuss

 Picks up cat.

  ELIZA (CONT.)

I love you boo boo kitty. 

(kiss)

 Abby walks over cat to try and pet it. Hisses. 

  ABBY

I love you even if you don’t love me. 

 INT-Abby and Eliza are knocking on the apartment door. 

  ABBY

Max! Hurry yo ass up. 

 No response. Abby looks a Eliza. Abby pulls out her keys and opens the door. Max is talking to Jeanie on the couch. Abby clears her throat. 

  ABBY

I didn’t know you were having a party without me. 

 Max mouths sorry. Abby is a little perplexed until she walks in further to find Jenny is there too. 

  JENNY

That’s not a pleasant greeting to a friend.

 Jenny gets up to hug Abby. Jeanie has a smirk that isn’t pleasant. 

  ABBY

Sorry, I wasn’t really expecting you. 

  JENNY

I’m just messing with you. 

 Eliza walks in with a stank face. 

 ELIZA So what are you doing here? We’re on our way to the concert in Prospect Park. So…

 Abby’s eyes widen she looks at Eliza

  ELIZA (CONT.)

Sorry. Just curious. Max are you ready?

  MAX

Actually no, come help me pick out a shirt. 

 Max nods his head nonchalantly to his room. Eliza and Max leave turning to check on Abby who could quite possibly petrified. 

  ABBY

So?...

 Jeanie stands up from the couch. 

  JEANIE 

We just happened to be in the neighborhood. I hadn’t seen Max in a long time so we thought we would stop by. 

  ABBY

Cool. Well, Liza was actually right. We were literally here just to pick up Max. 

  JENNY

Well we were just talking to him and it sounds like a fun concert. Would it be cool if we came with you guys?

 Abby looks as Jeanie. Jenny looks at Jeanie. It’s Awkward. 

  ABBY

I mean, its free so… It’s up to you. It’s kind of far from your house. 

 Jeanie steps forward and wraps her arm around Jenny’s waist. 

  JEANIE

You can always stay at my place. 

 Jenny nods then looks at Abby, who is fidgeting. 

JENNY

So is that what you’re wearing?

 Abby looks at her clothes.

  ABBY

What’s wrong with this?

  JEANIE

There is definerlty going to be some queermosexuals there. 

  JENNY

Yeah, we want you to get some ladies.You got to gay it up. 

   ABBY

I mean, I’m fine like this. Just really want to be comfortable. 

 Jenny starts towards Abby’s bedroom. Jeanie follows.

  ABBY (CONT.)

Um, where are you going?

  JENNY

Going to pick out an outfit for you. Duh?

 Abby rushes to stop them but it’s too late they are going through her clothes. 

  JEANIE

Ooo...Yes these pants! This is going to make your butt looks so good. I don’t think I’ve ever seen you in skinny jeans. 

 Abby shuts the drawer. 

ABBY

Really it’s fine. And I don’t really wear those pants too much. There’s no pockets!

  JENNY

Oh! This hat is so cute. 

 Jenny comes out of the closet, standing close to Abby while putting on the hat. Jeanie hangs the pants in front of Abby.

  JEANIE

See won’t these look so good.

 Jenny steps back.

JENNY

Oh yeah. Put them on. 

 Abby looks confused.

  ABBY

Right now?

  JENNY

Yes? 

 Abby takes the pants and is holding them waiting. Jeanie and Jenny wait in anticipation. Abby twirls her finger for them to turn around. They do. Abby checks to make sure no one is looking and slips off her pants. The door opens as her pants are at har ankles. 

  MAX

Damn girl! I leave you for one minute and you on some voyeur shit.

 Abby falls to the floor. Jenny and Jeanie see her exposed.

  ABBY

EVERYONE OUT!

 They all scurry as the door shuts. Back to Abby on the floor face covered. 

  ABBY (CONT.)

Can someone come shoot me now?

 Leaving the apartment. Abby, Max and Eliza stay to lock the door. Jeanie and Jenny are ahead.

  ABBY

Not a word.I don’t want to hear it. 

 Max and Abby raise their hands and walk away. 

 INT- at the music store. Abby had her hand placed on her hand place on her chin and is staring out the window. 

  MANAGER

Now I know you’re not sitting here because the new loop pedal doesn’t interest you. 

 Abby turns to face him. 

  ABBY

Sorry, just lost in thought. 

  MANAGER 

I can tell. Listen,I’m not gonna pry into your personal life but, if it’s something serious I hoped you know I can be a person to talk to. 

  ABBY

Ed, I know I can talk to you. I just don’t want to talk about it. It’s all my friends want to talk about. It’s all I focus on. Like a vicious cycle. 

   MANAGER

Hung up on a girl. 

ABBY

I never said that. 

  MANAGER

Okay. Fine. Just know your are worthy of time and respect. If you’re not getting that then they’re not worth your time. 

  ABBY

Mmmm…

 INT-Abby is pulling out her keys to go into her apartment after work. She is visibly tired. Before the key enters the lock the door cracks open, stretches his neck out. 

 MAX

Um… What are you doing here?

 ABBY

I live here?

 MAX

Didn’t you get my text?

 Abby pulls her phone from her pocket showing Max’s text.

 ABBY

I’m sorry. I didn’t see it. Can I just be in my room? 

 Loud talking erupts from the living room. Max leaves into the hall closing the door behind him. 

 MAX

Look you can’t be here right now. 

 ABBY

Max, I live here. You can’t just tell me to leave whenever. Who do you have over, anyways? 

  MAX

(Sighs)

It’s my parents. They… (in a whisper) they want to put Jake in rehab.

  ABBY

Oh my god what?! Your parents are here? What the fuck Max?

  MAX

Look I’m just trying to get this all figured out and I don’t want you involved. Okay?

  ABBY

Max..

  MAX

Please just let me work this out. I’ll text you.

 Max backs up into the apartment. Abby lingers. Shouts are muffled through the walls. She turns and walks down the hall. 

 EXT- Abby is out on the sidewalk at night. She’s aimlessly walking. She finds a coffee shop and goes inside. There is one lone barista. Not very tall, friendly face charismatic in energy. ”Medley:Kendrick Lamar” by Jessica Domingo is playing softly in the background, to an empty store. Abby walks up to the counter. 

  BARISTA 

What can I get you?

  ABBY

Can I have a latte, for here?

 Barista looks at the clock

BARISTA

Actually, we’re shutting down here soon. I can get you a drip?

  ABBY

Then why didn’t you just say that?

  BARISTA

Sorry habit. So a coffee or no?

  ABBY

 Sorry, that sounded rude. Yeah a coffee is fine. 

 Abby pulls out her wallet shaking her head to herself. Feeling ridiculous.

  BARISTA

Here you go. Did you you want any milk or sugar?

  ABBY

Yeah, both. I can get it-

  BARISTA 

I just put it away. I’ll grab it. 

 Abby looks around anxiously.The barista returns and starts to pour. 

  BARISTA

How do you like it?

  ABBY

(cooly)

Light and sweet.

  BARISTA 

Like your women?

 Abby blushes while the barista laughs at her own joke. 

  ABBY

Oh no, no…

  BARISTA

Which part?

  ABBY

Huh?

BARISTA

The color or women?

  ABBY

(stammers) 

I uh, you know, like not like..

  BARISTA

So both. 

  ABBY

I didn’t say that. 

BARISTA

She speaks!And in sentences. 

  ABBY

I don’t appreciate the taunting. 

 Abby picks up her coffee and sips it and passes money.

 BARISTA

It’s okay. It was the bottom of the thing so. No worries. 

 ABBY

Well, thanks. That makes up for the comment. 

 BARISTA

Uh huh. Sure. Anyways, we are closing so…  

  ABBY

Oh. Shit. Sorry I uh, just need to not be at home of a bit and-

  BARISTA

Nothing else is open.

  ABBY

Yeah…

  BARISTA

Well I mean technically, you could just be here while I clean up?

  ABBY

You’d be cool with that?

  BARISTA

I am here alone and clearly you have a silverfish infestation that’s out of control. 

  ABBY

I wish it were only that. Thanks, I’ll just sit over on the couch. If you don’t mind. 

  BARISTA

I don’t. 

 Abby walks over sheepishly to a couch and sits. The barista follows her with her eyes, then proceeds to start closing up shop. She finishes behind the bar and begins to start wiping the tables down making her way back to Abby who is sipping and playing with her phone. The barista is within ear shot. 

  ABBY

Is this a cover of Kendrick Lamar?

  BARISTA

Ah someone was paying attention. 

  ABBY

I like it. I’m always down for an acoustic guitar mash up. 

  BARISTA 

Especially a woman with a guitar.Mmmm 

 Abby blushes furiously and has no idea what to do with her body. 

  ABBY

So do you want me to give you a hand? I know I’m not supposed to or what ever but I feel bad just sitting here doing nothing. 

 The barista stands for a moment thinking then tosses the rag to Abby and walks away. 

  BARISTA 

Start  wiping the tables. I’ll flip the chairs.

 They both work together cleaning and closing up the shop occasionally getting near each other but focused on the task at hand. 

  BARISTA

Thanks for helping out. You didn’t have to. 

 ABBY

Thank you for letting me stay. I just hope I can actually go back now. 

 BARISTA 

I hope so too. It’s too late to be not at home in bed. 

 Abby shrugs. 

 ABBY

True. It was nice to meet you…

 BARISTA

Shawna. It was nice to have a helping hand. 

  ABBY

Well with an awesome playlist like that, wasn’t a trouble at all. 

 SHAWNA

I’m glad you liked it. 

[pauses]

Wait a sec.

 Shawna reaches over to a cup and pulls out a pen and starts writing on it. Then passing it to Abby.

  SHAWA (CONT.)

Just in case you have another invasion of roaches. 

 Abby reveals the number on the cup and nods. 

   ABBY

Will do. 

 They both get ready to walk out the door awkwardly weaving until both outside. Shawa locks the door while Abby waits. 

  ABBY

I guess I’ll see you around. 

  SHAWNA 

I guess you will. 

 They both go to leave but end up walking the same direction, continuing to walk. 

  SHAWNA 

You’re going this way?

  ABBY

Well this is awkward. 

SHAWNA

Nah, nah. I’m not going that far. Just to the bus stop.

ABBY

Yeah, I just live a couple of blocks away.

 SHAWNA 

It’s weird I’ve never seen you around. 

 ABBY

I suppose. I don’t really buy my-

 Abby freezes.

 SHAWNA

What? What it is?

 Abby darts over to a wall looking down the street. Jake is walking out with his parents and getting in a car while Max stands by the door. Abby looks back at Shawna. 

  ABBY

It’s nothing. You can go ahead. I’ll just wait here a minute. 

 Abby looks on silently while Shawna watches it all unfold. Max is standing by the outside door, eyes fixed on the sidewalk. 

  SHAWNA

You know him?

 Abby is still silently focused on Max.

  ABBY

Huh? What, oh yeah… um it’s a long story. Seriously you don’t have to wait for me. 

 Shawna looks back and forth. Disappointed. 

SHAWNA

Okay...I’ll see you around. 

 Abby still focuses let’s Shawna leave. Pivoting back around the corner she stews in frustration, for a moment then walks up to Max. 

  ABBY

So what the fuck happened?

  MAX

I-I tried to convince them but…

 Max looks down.

  ABBY

Max… I 

  MAX

Can we just go inside? It’s been a long day. 

  ABBY

Sure whatever you want. I got you. 

 Fade to black. Text across the screen. “Three months later”

 INT- The gang in playing settlers of catan together. Jake is back and healthy. Liza is getting along and is excited to play together. 

  LIZA

Ha-ha! Give me longest road bitch!

 Liza celebrates

JAKE

You know the game isn’t over. Right?

  LIZA

I don’t care. I win fair and square. 

  MAX

We haven’t even moved the thief. Liza that’s not how the game works. 

  ABBY

Unfortunately, they’re right. 

  LIZA 

Whatever.

 Sits with a plop. There’s a knock on the door. 

  GROUP (coos together)

MAX

Must be Shwana….

 Abby rolls her eyes to get the door as she shushes them. He opens the door. 

  ABBY

Hey.

  SHAWNA

Hey, yourself. You ready. 

  ABBY

Yeah. Let me grab my stuff. Come on in. 

 Shawna enters quietly and looks at the coffee table. 

  SHAWNA

Oooo. Catan. Who’s winning?

  LIZA

Well that depends on who you ask. 

  MAX

I didn’t say you weren’t actively winning just that you hadn’t won. 

  SHAWNA

Well, someone has the longest road. I would say that’s winning. 

  LIZA

I knew I’d like you. 

 Abby returns to the living room. 

  ABBY

Ready?

 Shawna nods. Abby turns to the group. 

  ABBY (Cont.)

I see you guys later then. Don’t burn down the house. 

  IN UNISON

Yes… Mama Abby

 EXT- Abby and Shawna are walking hand in hand. 

  SHAWNA

Jake looks good. How’s Max holding up?

  ABBY

He is. He’s been back a week or so. We’ve been trying to keep him close. Max is doing a lot better. I think her felt like everything was falling apart. But now he’s sort of realized he can’t control Jake and Jake wants the best for his brother. We had a little talk about it. 

  SHAWNA

That’s good. He probably needed to hear that from you more than anyone else. 

 Abby smiles 

ABBY

It’s just good to have things a little calmer. For while I thought it was all going to fall apart, there for a minute. 

  SHAWNA

Mhmm. When you’re trying to stop smoking and your best friend goes to rehab, being stressed out is pretty normal. Speaking of which. 

 Shawna holds out her hand. 

  ABBY

What?

Shawna lifts her eyes brow.

  ABBY (Cont.)

I have to ween myself off.I can’t just quit cold turkey. 

 Shawan waves her hand. Abby pulls out a pack of cigarettes. 

SHAWNA

See that wasn’t hard. 

 She takes them and throws them in the nearest trash can. 

ABBY

You’re cruel sometimes.

  SHAWNA 

You’ll thank me when you don’t have lung cancer. 

(Pauses)

I’m going to go ahead and get our tickets from will call. Wait here. 

 Shawan kisses Abby on the cheek. Abby waits and pulls out her phone. There’s a text. She’s opens it to see that it’s Jenny. “Hey.” Abby looks up a Shawna getting their tickets and looks back at the phone. She pulls up the keyboard, fingers hovered over. Then stops. She taps the contact button thumb hovering over the delete contact. Shawna walks over. 

  SHAWNA

Who’s that. 

 Abby looks up. 

ABBY

Oh. It’s nobody important. 

 She presses delete and puts the phone in her back pocket. She wraps her arm around Shawna’s waist and walks into the venue. “Somebody that I used to know” plays the outro. 

 THE END BITCHES.

#oc #screenwriting #queer #lesbeans #mine

[little-miss-carol-stott]

Doctor Who/Phillip K. Dick Adaptation Part 1: Make The Moon My Home

So a few months ago I decided to start adapting Philip K. Dick’s Ubik, but as a Doctor Who episode, and then expanding from there. I hope to make about ten parts altogether, but I’ll see how it goes. I am about a quarter of the way through part 2, so that should be up in a few weeks to a few months, depending on school and work, etc. Enjoy.

NOTE: Desk with an upper-case 'D' is the device, and     desk with a lower-case 'd' is the usual meaning of the     word.

EXT. - RIVER SONG'S HOUSE; GARDEN

River and the Doctor are sitting outside in a small suburban garden on a sunny day. It is covered with a variety of plants, along with a small table and chairs. Both the Doctor and River are smoking cigarettes. The Doctor is also drinking a cup of coffee, River a glass of red wine. There is also a small bowl of potato chips and a plate with a sliced cake on it on the table.

                     RIVER          Thin air?

                     DOCTOR          Yup.

                     RIVER          A corpse? Just like that? Gone?

                     DOCTOR          Yup.

                     RIVER          Fuck off!

                     DOCTOR          If it's of any consolation, I am          just as confused as you are.

                     RIVER          So tell me the story. What          happened?

                     DOCTOR          I already told you.

                     RIVER          From the very beginning. Context          and all.

INT. - TARDIS

                     DOCTOR                (VO)          Well, I was in my TARDIS, and I got          a strange reading.

Something starts bleeping on the console. The Doctor goes over to the source of the noise and looks at it, confused.

                     DOCTOR                (VO)          And so I followed it.

EXT. - RIVER SONG'S HOUSE; GARDEN

                     RIVER          Very you. No surprises there.          Curiosity killed the cat, as they          say. Anyway, continue.

EXT. - SCUNTHORPE; TERRACES

The TARDIS materializes and the Doctor steps out. She looks rather bemused, but wanders off.

                     DOCTOR                (VO)          Anyway, I tracked it to this county          fair in Scunthorpe in the early          twenty-first century.          Twenty-thirty, I'd say.

EXT. - SCUNTHORPE; COUNTY FAIR

A field with a number of stalls, with people buying various items from it. The Doctor goes up to one selling various cakes and the like, and has a realisation.

                     DOCTOR                (VO)(Cont'd)          And I saw this stall with cakes and          brownies and shit, and went up to          it. Noticed a microwave. And I've          just gotten a new console, so I          just put it up to that.

We see the Doctor buying a few brownies and a slice of cake, and chatting to the saleswoman.

                     DOCTOR                (VO)(Cont'd)          Plus, microwaves fuck with my          sonic.

EXT. - RIVER SONG'S HOUSE; GARDEN

                     RIVER          So what has this got to do with the          dead body?

                     DOCTOR          Well, the level of the alert in the          TARDIS did seem a bit high for just          a microwave.

EXT. - SCUNTHORPE; HIGH STREET

We see the Doctor walking around the middle of Scunthorpe, scanning the odd building.

                     DOCTOR                (VO)(Cont'd)          So I decided to have a little nosey          around, but found nothing too          special.

EXT. - SCUNTHORPE; GARAGES

A small back street, with closed garages either side. We see the Doctor gleefully walking down the street, eating a slice of cake.

                     DOCTOR                (VO)(Cont'd)          But then, as I was walking through          some garages back to my TARDIS, I          smelled something off.

She wrinkles her forehead in confusion, looks up, and sniffs.

                     DOCTOR                (VO)(Cont'd)          Like rotting meat.

She walks further down the street, eventually covering her mouth from the smell.

                     DOCTOR                (VO)(Cont'd)          And I got to this one that smelled          so bad I just had to open it.

She sonics a garage door and lifts it.

EXT. - RIVER SONG'S HOUSE; GARDEN

                     RIVER          And you found this vanishing dead          body? Are you sure it was a body? A          human body?

                     DOCTOR          All I got was where it teleported          off to. Whatever it was--

INT. - SCUNTHORPE; GARAGE

We see the Doctor slowly walking towards the body, with her hand over her mouth.

                     DOCTOR                (VO)(Cont'd)          It was certainly off.

The body is shrouded in smoke, and then disappears in a flash of light.

Opening credits.

INT. - LONDON; LECTURE HALL

Commodore Travers (Harvey Keitel?) is standing on a clear podium in a futuristic lecture hall, facing a large, seated audience.

                     TRAVERS          Friends, this is clean-up time and          we're discounting all out silent,          electric Ubiks by this much money.

Travers points to a screen, and a slide comes up, with several facts and figures.

                     TRAVERS                (Cont'd)          Yes, we're throwing away the          bluebook. And remember; every Ubik          on our lot has been used only as          directed.

We turn to see The Master in a large tank, with a metal cap on her head, floating. Applause.

INT. - MOONBASE; TRAVER'S OFFICES.

A small beige office with no windows, and nothing too exciting, apart from a plant in the corner of the room, and a cheap metal desk with an old PC on top, and Travers sitting behind it. Joseph (Peter Wight?), the chief security guard knocks on the ajar door.

                     JOSEPH          Commodore? Sorry to bother you.

                     TRAVERS          What? I have rather enough work to          do as it is. All those fire alarms          are usually just glitches. You do          realise that you don't have to          report them to me every time, don't          you?

                     JOSEPH          No, it's not that. Let me show you.

Joseph turns on the video screen on the other side of the room.

                     JOSEPH                (Cont'd)          We have this news from one of our          inertials.

                     TRAVERS          Let me look.

Travers turns and faces a large screen behind him, while Joseph fiddles with the remote.

                     JOSEPH          Our Ms Dorn reported it; as you may          recall, she had followed him to          Green River, Utah, where -

                     TRAVERS                (sleepy)          Who? I can't keep in mind at all          times which inertials are following          what telepath or precognicient.

He smooths down his grey hair.

                     TRAVERS                (Cont'd)          Skip the rest and tell me which of          Hollis' people is missing now.

                     JOSEPH          S. Dole Melipone.

                     TRAVERS          What? Melipone's gone? You're          shitting me!

                     JOSEPH          I shit you not. Edie Dorn and two          other inertials followed him to a          motel named the Bonds of Erotic          Polymorphic Experience.

                     TRAVERS                (Scoffs)          I'm sorry, come again?

Joseph laughs nervously, and takes a sharp intake of breath.

                     JOSEPH          It's a subsurface structure          catering to businessmen and their          hookers who don't want to be          entertained. Edie and her          colleagues didn't think he was          active, but just to be on the safe          side we had one of our own          surveillance agents, Mrs. G. G.          Anderson go in and track him.          Anderson found a found a scramble          pattern surrounding all of          Melipone's activity, so she          couldn't do anything; he therefore          went back to Topeka, Kansas, where          she's currently scouting out a new          possibility.

Travers lights a cigarette, and is clearly now more awake and attentive.

                     TRAVERS          You're sure it was Melipone? By          what I've heard, nobody seems to          know what he looks like; he must          use a different physiognomic          template every month. What about          his field?

                     JOSEPH          We asked Sandra Archer to go in          there and run tests on the          magnitude and minitude of the field          being generated there at the Bonds          of Erotic Polymorphic Experience          Motel. Archer says it registered,          at its height, 68.2 units of          telepathic aura, which only          Melipone, among all the known          telepaths, can produce. So that's          where we stuck Melipone's          ident-flag on the map. And now he -          it - is gone.

                     TRAVERS          Did you look on the floor? Behind          the map?

                     JOSEPH          It's gone electronically. The man          it represents is no longer on Earth          or, as far as we can make out, on a          colony world either.

                     TRAVERS          I'll consult my wife.

                     JOSEPH          It's the middle of the night. The          moratoriums are closed now.

                     TRAVERS                (With a grimacing smile)          Not in Switzerland. Goodnight.

INT. - MORATORIUM LOUNGE

A late middle-aged man (David Sedaris?) in nearly opaque round glasses, a tabby-fur blazer, and pointed yellow shoes; Herbert Schoenheit von Vogelsang; sits down behind a clerical desk at the beginning of his shift. A young woman (Zoë Sugg?) walks up to the desk with a small piece of paper in his hand.

                     HERB          Yes, ma'am, I'll take your stub          personally.

                     ZOË          It's an elderly lady, about eighty,          very small and wizened. My          grandmother.

                     HERB          Your code is 3054039-B. I will only          be a moment.

Herb walks off into one of the corridors.

INT. - RIVER SONG'S HOUSE - LIVING ROOM

River is playing with the front camera of her smartphone with the Doctor.

                     RIVER          So if you just press that...

She presses a button...

                     RIVER                (Cont'd)          And you open your mouth...

The Doctor opens her mouth. We now see things from the camera's perspective - River has turned on the rainbow-mouth filter, and a cartoon rainbow is coming out of the Doctor's mouth. The Doctor lets out a quick scream, cups her mouth with her hands, and along with River, starts to laugh hysterically.

                     RIVER                (Cont'd)          And look at this one!

River changes the filter.

                     DOCTOR          Awwh. Hon, before I forget, that          dead body story.

                     RIVER          Oh, must we?

                     DOCTOR          The whole reason I told you that is          because I need you to do me a          favor.

The Doctor starts writing on a piece of paper.

                     DOCTOR                (Cont'd)          I need you to go over to the Time          Lords.

                     RIVER          You're asking me to go all the way          to Gallifrey?

                     DOCTOR          No. A bunch of time lords set up          camp in an office in Shoreditch. I          need you to go over there and ask          them to keep an eye on me. I traced          that body to a prudence          organization, which is an          unbelievably high risk. If anything          goes wrong, which it probably will,          I need them to step in.

                     RIVER          Are you sure you want to do this?

                     DOCTOR          I need to.

The Doctor hands River the piece of paper.

                     DOCTOR                (Cont'd)          This is the address. As far as I          know, a few of my mates are there,          so they'll know who I am.

                     RIVER          All Time Lords know who YOU are,          Doctor.

The Doctor turns to leave.

                     RIVER                (Cont'd)          Doctor?

                     DOCTOR          Yes?

                     RIVER          Stay safe. You know how risky this          is.

                     DOCTOR          I'll try.

The Doctor runs up to River and hugs her.

INT. - MORATORIUM CORRIDOR

Herb finds a tank with a withered elderly lady (Helen Mirren?) - it's her. He opens a panel to the right of the tank. The small screen says '15 days'.

                     HERB          Shit.

Herb turns on his portable radio.

                     HERB                (Cont'd)          Dave, patient 3054039-B. She only          has 15 days left of her half-life,          should I give permission for          visitors?

                     DAVE                (OC)          Yeah, sure. Go ahead. She hasn't          had any yet, no?

                     HERB          No, this one's the first. Her ��        grandchild.

                     DAVE                (OC)          Took their time. Have you checked          her cephalic?

                     HERB          About to do that now. See you          around, okay?

                     DAVE                (OC)          Yeah, see ya.

Herb takes out his smartphone and puts it up against the glass of the tank. He then taps a certain point of the screen several times and in quick succession. From the speaker of the smartphone, a faint voice;

                     GRANDMOTHER          ...and then Tillie sprained her          ankle and we never thought it'd          heal; she was so foolish about it,          wanting to start walking          immediately...

The smartphone lights up green. Herb takes his it off of the tank, closes the app, and puts it back in his pocket.

                     HERB          Good, good.

INT. - MORATORIUM LOUNGE

Herb enters, and walks over to Zoë.

                     HERB                (Cont'd)          She's ready

INT. - MORATORIUM CORRIDOR

Herb and Zoe walk up to the Grandmother's tank.

                     ZOË          You checked her out, did you?

                     HERB          Personally. Functioning perfectly.

Herb flicks a series of switches, then steps back.                    

                     HERB                (Cont'd)          Happy Resurrection Day, Sir. Do you          know how to work the tank?

                     ZOË          Yes, thank you.

Herbert walks off. Zoe seats herself in front of the tank.

                     ZOË                (Cont'd)          Flora, dear, can you hear me? I          think I can hear you already.          Flora?

INT. - MORATORIUM CORRIDOR 2

The TARDIS lands in the corridor. The Doctor exits the TARDIS, and looks around. She then walks down the corridor, and sees the tanks, full of a water-like jelly, all with different bodies inside them. We get to the end of the corridor, and see Missy, unconscious, floating.

                     DOCTOR          Oh, I am so sorry.

The Doctor puts her hand on the tank, as if to comfort her. She tears up.

INT. - MORATORIUM LOUNGE

The Doctor covertly enters the moratorium, and takes a seat in the waiting area. She then notices Herbert behind the desk, and strides up to him.

                     DOCTOR          Hi I - what does this place do,          exactly?

Herbert looks at her, confused.

                     DOCTOR                (Cont'd)          Stupid question, I know. Just want          to be absolutely clear.

                     HERB          No question is a stupid question,          madam. We revive the... dearly          departed, to the point where you          can talk to them, in a state of          half-life. A way for friends and          relatives to say goodbye, if they          haven't already had the chance.

                     DOCTOR          Oh, I see. Thank you. I believe an          old friend of mine is here. She's          lived a while, so might be a little          frail. I wonder if you could take a          moment to check her over. I'd          really appreciate it. Maybe even          allowing me to talk to her.

                     HERB          Certainly. What's her name?

                     DOCTOR          Missy. Or the Master. Could be down          as either.

                     HERB          I'll be with you in a moment. Take          a seat.

                     DOCTOR          May I come with you, if it isn't          too much trouble?

                     HERB          Of course.

                     DOCTOR          I'll try not to get in the way.

INT. - MORATORIUM CORRIDOR 2

Herbert and The Doctor walk to the end of the corridor. He checks the half-life - 50 days.

                     HERB          Came just in time. Less than two          months of her half-life to go.

He gets out the smartphone, and repeats the earlier action. We start to hear Missy's voice.

                     MASTER          ...you know as well as I do that          this man does not fear death. I          want him to suffer a much worse          punishment. Look, my skill and          cunning has brought about this war          which will make you the masters of          the galaxy. Leave him with me, and          let him see the result of that war.          Let him see the galaxy in ruins.          Let him see the planet Earth, that          he loves so much, in ruins, then          exterminate him...

As with last time, the smartphone lights up green. The Doctor chuckles, while Herbert has gone sheet white. She puts her hands on his shoulders to comfort him.

                     DOCTOR          Draconia. Years ago, that.          Surprised she remembers it at all.          I can only barely. That's all in          the past now, I guess. She has a          good heart, really. May not seem          like it, I know. Where did you find          her?

                     HERB          She was found on the doomed Mondas          colony ship. Brought in by someone          only known to us as Nardole.

                     DOCTOR          Well of course it was.

                     HERB          Nice chap. Said that he would have          sent her to Testimony, but here at          the Beloved Brethren Moratorium          seemed more - fitting.

                     DOCTOR          May I have a few minutes?

                     HERB          Of course. Take a seat. Just put          these headphones on -

He points to a pair of large headphones hanging from a small metal rod. The Doctor sits.

                     HERB                (Cont'd)          And speak into this microphone, so          she can hear you.

He then points to a small microphone sticking out from under the window of the tank, reaching to the mouth of the now seated Doctor.

                     DOCTOR          Thank you.

                     SALLY                (OC)          Mr. Von Vogelsang; sorry to break          in to your meditation, but a          customer wishes you to assist him          in revving up his relative.

                     HERB          I'm almost done dealing with one          right now, Sally. Who is it?

                     SALLY                (OC)          The customer is Commodore Travers,          all the way here from the North          American Confederation.

                     HERB          Thank you Sally. I'll  be with you          soon.                (To Doctor)          I'll leave you two alone. Happy          Resurrection Day, Ma'am.

                     DOCTOR          Thank you. Happy Resurrection Day          to you too.                (Aside to herself,                 unheard to Herb)          Whatever that means.

She puts the headphones on, and prepares to speak.

                     DOCTOR                (Cont'd)          Missy, it's me. The Doctor.                (A lump in her throat)

Missy's voice slowly fades in.

                     MASTER          ...once the great empires destroy          each other, I ask... Doctor?

A teary-eyed smile comes across the Doctor's face.

INT. - MORATORIUM LOUNGE

Herb enters to Travers standing, waiting in the lounge.

                     TRAVERS          How is Ella? Ready to be cranked up          for a talk? She's only twenty; she          ought to be in better shape than          you or me.

Travers chuckles, and then places his hand on Herb's back, and guides him to the corridor.

INT. - MORATORIUM CORRIDOR

                     HERB          You have not been here for a while,          Commodore.

                     TRAVERS          This is a moment of importance, Mr.          von Vogelsang. We, my associates          and myself, are in a line of          business that surpasses all          rational understanding. I'm not at          liberty to make disclosures at this          time, but we consider matters at          present to be ominous but not          however hopeless. Despair is not          indicated - not by any means.          Where's Ella?

Travers halts, and glances rapidly about.

                     HERB          I'll bring her from the corridors          to the consultation lounge for you.          Do you have your numbered          claim-check, Commodore Travers?

                     TRAVERS          God, no, I lost it months ago. But          you know who my wife is; you can          find her. Ella Runciter, about          twenty. Brown hair and eyes.

He looks around him, impatiently.

                     TRAVERS                (Cont'd)          Where did you put the lounge? It          used to be located where I could          find it.

Herb gets on his radio.

                     HERB          Sally, show the Commodore to the          consultation lounge. We're in          Corridor 20, near tank 398.

                     SALLY                (OC)          I'm 'round the corner. I'll be          there in a sec.

A short while later, a young American girl (Selena Gomez?), in square glasses, a sweater and slacks, with a brunette bob, comes round the corner.

                     SALLY                (Cont'd)          Commodore, how very nice to meet          you. With me.

                     TRAVERS          Thank you.

                     SALLY          Just over here, sir.

Travers looks into the lounge.

                     TRAVERS          It's gotten full. I can't talk to          Ella in there.

Travers walks up to Herbert, and again puts his hand on his shoulder.

                     TRAVERS          Isn't there a more private sanctum          for confidential communications?          What I have to discuss with Ella my          wife is not a matter which we at          Runciter Associates are ready at          this time to reveal to the world

                     HERB          We could do it in these corridors,          and if that isn't confidential          enough, we can possibly bring her          to our offices. Sally?

                     SALLY          With me, sir.

She looks wearily at Herb as she leads Travers away.

                     HERB                (Mutters)          Don't!

Sally puts her hands up while she scoffs.

INT. - MORATORIUM CORRIDOR 2

The Doctor is still sitting in front of the Master's tank.

                     DOCTOR          So where exactly are we?

                     MASTER          Switzerland. Near a sweet little          village about two hours outside of          Geneva. Gruyères, I think it's          called.

                     DOCTOR          Oh, yes, I remember reading about          this place. It looks more          innovative than I first thought.          Although, there is one thing that I          haven't quite worked out about this          place. Yes, moratorium, converting          brain waves into speech, humans          kept in a state of half-life, all          expected from this time period. My          question is this - how did they          manage to keep a Time Lord in          half-life? Especially with this          technology, by the looks of it,          it's only capable of supporting          human life.

                     MASTER          It keeps me going. They give me a          nice little shock in one of my          hearts every so often.

                     DOCTOR          But what about the other heart?          Must be uncomfortable, and that's          understatement.

                     MASTER          Yes, it is rather claustrophobic.          But the  Wi-Fi's good. Keeps my          mind off of it all. I'm actually          binge watching Call The Midwife at          the moment. You'd like it, Ms          Optimist.

                     DOCTOR          Watched every season. Loved it.          Hold on - if I just...

                     MASTER          You've worked it out, haven't you?

                     DOCTOR                (together with the                 Master)          Reverse the polarity of the neutron          flow.

                     DOCTOR                (Cont'd)          Exactly.

She sonics a panel on the side of the tank, and then one of the edges. The front of the tank opens like a door. The Master exits the tank via a clear forcefield. The Master stumbles a little, and they gently take hold of each other by the shoulders.

                     DOCTOR                (Cont'd)          Easy, now. There we go. Good as          new.

                     MASTER          Alarms?

                     DOCTOR          Bitch - you really think I am that          stupid?

                     MASTER          Yes. Anyway, what now?

                     DOCTOR          I want to have a look around this          place...

INT. - TRAVERS' OFFICES; ZÜRICH

A dark, wooden room with an old desk opposite to a pair of large double door. Light seeps in through some dusty windows. In the corner of the room sits a vintage TV, which Travers passively watches from his desk.

                     TELEVISION                (OC)          The best way to ask for beer is to          sing out Ubik. Made from select          hops, choice water, slow-aged for          perfect flavour, Ubik is the          nation's number-one choice in beer.          Made only in Cleveland.

Armed security guards dressed fully in dark armour open the doors, and hold them open while Herbert wheels in a tank, similar to the ones seen in the corridor earlier. Ella Runciter is in this one, a thin twenty-year-old woman with long black hair, and black mascara and lipstick, and dark clothing. Travers grumbles as he fiddles around with the earphones.

                     TRAVERS          Isn't there are a more comfortable          or more natural version of this?

                     HERB          No, that is the only model we have.

Travers glares at Herbert.

                     HERB                (Cont'd)          It seems everything is set up. Are          you familiar with the system,          Commodore?

                     TRAVERS          Yes, of course I am. Now, I'd          rather you'd leave. All of what me          and Ella are about to discuss is          confidential.

                     HERB          Of course, sir.

Herbert leaves the room. Travers now speaks into the microphone.

                     TRAVERS          Hi, Ella.

                     ELLA                (OC)          Oh, hello, Glen. What - how much          time has passed?

                     TRAVERS          Couple years.

                     ELLA                (OC)          Tell me what's going on.

                     TRAVERS          Aw, Christ, everything's going to          pieces, the whole organization.          That's why I'm here; you wanted to          be brought into major          policy-planning decisions, and God          knows we need that now, a new          policy, or anyhow a revamping of          our scout structure.

                     ELLA                (OC)          I was dreaming, I saw a smoky red          light, a horrible light. And yet I          kept moving toward it. I couldn't          stop.

                     TRAVERS          Yeah, the Bardo Thödol, the Tibetan          Book of the Dead, tells about that.          You remember reading that; the          doctors made you read it when you          were - well - dying.

                     ELLA                (OC)          The red light is bad, isn't it?

                     TRAVERS          Yeah, you want to avoid it.

Travers clears his throat.

                     TRAVERS                (Cont'd)          Listen, Ella, we've got problems.          You feel up to hearing about it? I          mean, I don't want to overtax you          or anything; just say if you're too          tired or if there's something else          you want to discuss.

                     ELLA                (OC)          It's so weird. I think I've been          dreaming all this time, since you          last talked to me. Is it really two          years? Do you know, Glen, what I          think? I think that other people          who are around me - we seem to be          progressively growing together. A          lot of my dreams aren't about me at          all. Sometimes I'm a man and          sometimes I'm a little boy;          sometimes I'm an old fat woman with          varicose veins...and I'm in places          I've never seen, doing things that          make no sense.

                     TRAVERS          Well, like they say, you're heading          for a new womb to be born out of.          And that smoky red light - that's a          bad womb; you don't want to go that          way. That's a humiliating, low sort          of womb. You're probably          anticipating your next life, or          whatever it is.

He puts his head in his hands and groans.

                     TRAVERS                (Cont'd)          Oh, I feel foolish talking like          that. You should know - normally I          have no theological conventions,          but this whole system has made          theologians out of all of us. Hey,          let me tell you what's happened,          what made me come here and bother          you. S. Dole Melipone has dropped          out of sight.

                     ELLA                (OC)          Who or what is an S. Dole Melipone?          There can't be any such thing.

Ella laughs warmly. Travers' spine trembles. He hasn't heard that laugh in over ten years.

                     TRAVERS          Maybe you've forgotten.

                     ELLA                (OC)          I haven't forgotten; I wouldn't          forget an S. Dole Melipone. Is it          like a hobbit?

                     TRAVERS          It's Raymond Hollis' top telepath.          We've has at least one inertial          sticking close to him ever since G.          G. Ashwood first scouted him, a          year and a half ago. We never lose          Melipone; we can't afford to.          Melipone can, when necessary,          generate twice the psychic field of          any other Hollis employee. And          Melipone is only one of a whole          string of Hollis people who've          disappeared - anyhow, disappeared          as far as we're concerned. As far          as all prudence organizations in          the Society can make out. So I          thought, Hell, I'll go ask Ella          what's up and what we should do.          Like you specified in your will -          remember?

                     ELLA                (OC)          I remember. Step up your ads on TV.          Warn people. Tell them...

                     TRAVERS          This bores you.

                     ELLA                (OC)          No. I - are they all telepaths?

                     TRAVERS          Telepaths and precognicients          mostly. They're nowhere on Earth; I          know that. We've got a dozen          inactive inertials with nothing to          do because the Psychics they've          been nullifying aren't around, and          what worries me even more, a lot          more, is that requests for          anti-psychics have dropped - which          you would expect, given that so          many Psychics are missing. But I          know they're on one single project;          I mean, I believe. Anyhow, I'm sure          of it; somebody's hired the bunch          of them, but only Hollis knows who          it is or where it is. Or that's          what it's all about.

Silence. Travers leans back in his chair and runs his fingers through his hair.

                     ELLA                (OC)          Tell me what this Melipone person          is like.

                     TRAVERS          A screwball.

                     ELLA                (OC)          Working for money? Or out of          conviction? I always feel wary          about that, when they have that          psychic mystique, that sense of          purpose and cosmic identity. Like          that awful Sarapis had; remember          him?

                     TRAVERS          Sarapis isn't around anymore.          Hollis allegedly bumped him off          because he connived to set up his          own outfit in competition with          Hollis. One of his precogs tipped          Hollis off. Melipone is much          tougher on us than Sarapis was.          When he's hot it takes three          inertials to balance his field, and          there's no profit in that; we          collect - or did collect - the same          fee we get with one inertial.          Because the Society has a rate          schedule now which we're bound by.          As near as we can tell, Melipone is          a money-Psychic. Does that make you          feel better? Is that less bad?          Ella?

Silence

                     TRAVERS                (Cont'd)          Hey, hello there, Ella, can you          hear me? Is something wrong?

A young boy's voice (Cameron Boyce?) comes on the line.

                     JORY                (OC)          My name is Jory.

Travers starts to panic.

                     TRAVERS          Get off the line, I was talking to          my wife Ella; where'd you come          from?

                     JORY                (OC)          I am Jory, and no one talks to me.          I'd like to visit with you for a          while, mister, if that's okay with          you. What's your name?

                     TRAVERS          I want my wife, Mrs Ella Runciter;          I paid to talk to her, and that's          who I want to talk to, not you.

                     JORY                (OC)          I know Mrs Runciter, she talks to          me, but it isn't the same as          somebody like you talking to me,          somebody in the world. Mrs Runciter          is here where we are; it doesn't          count because she doesn't know any          more than we do. What year is it,          mister? Did they send that big ship          to Proxima? I'm very interested in          that; maybe you can tell me. And if          you want, I can tell Mrs Rincoter          later on. Okay?

Travers removes the pair of headphones, and runs out of his office.

INT. - CORRIDOR

Travers eventually finds Herbert, stops running, and starts to pant.

                     HERB          Is something the matter, Commodore?          Can I assist you?

                     TRAVERS          I've got something coming in over          the wire, instead of Ella. Damn you          guys and your shoddy business          practices; this shouldn't happen,          and what does it mean?

Herbert starts to walk toward Travers' offices, and Travers follows.

                     TRAVERS                (Cont'd)          If I ran my business this way...

INT. - TRAVERS' OFFICES; ZÜRICH

                     HERB          Did the individual identify          himself?

                     TRAVERS          Yeah, he called himself Jory

Herbert frowns.

                     HERB          That would be Jory Miller. I          believe he's located next to your          wife. In the bin.

                     TRAVERS          But I can see it's Ella!

                     HERB          After prolonged proximity, there is          occasionally a mutual osmosis, a          suffusion between the mentalities          of half-lifers. Jory Miller's          cephalic activity is particularly          good; your wife's is not. That          makes for an unfortunately one-way          passage of passage of protophasons.

                     TRAVERS          Can you correct it? Get that thing          out of my wife's mind and get her          back - that's your job!

                     HERB          If this condition persists your          money will be returned to you.

                     TRAVERS          Who cares about the money? Fuck the          money! If you don't get this Jory          person off the line, I'll sue you!

Herbert places his smartphone against the glass of the tank and put the pair of headphones on.

                     HERB                (To Jory)          Phase out Jory, that's a good boy.                (To Travers)          Jory passed at fifteen; that's why          he has so much vitality. Actually          this has happened before; Jory has          shown up several times where he          shouldn't be.                (To Jory)          This is very unfair of you, Jory;          Mr Runciter has come a long way to          talk to his wife. Don't dim her          signal, Jory; that's not nice                (Pause)           I know her signal is weak.

                     TRAVERS          What'd he say? Will he get out of          there and let me talk to Ella?

                     HERB          There is nothing Jory can do. Think          of two AM radio transmitters, one          close by but limited to only          five-hundred watts of operating          power. Then another far off, but on          the same or nearly the same          frequency, and utilizing          five-thousand watts. When night          comes -

                     TRAVERS          And night has come. At least for          Ella.

                     HERB          When we return her to the bin, we          won't install her near Jory again.          In fact, if you're agreeable as to          paying the somewhat larger monthly          fee, we can place her in a          high-grade isolated chamber with          walls coated and reinforced with          Teflon-26 so as to inhibit any          hetero-psychic infusion - from Jory          or anyone else.

                     TRAVERS          Isn't it too late?

                     HERB          She may return. Once Jory phases          out. Plus anyone else who may have          gotten into her because of her          weakened state. She's accessible to          almost anyone. She may not like          being isolated, Commodore. We keep          the containers - the caskets, as          they're called by the lay public -          close together for a reason.          Wandering through one another's          mind those in half-life the only -

                     TRAVERS          Put her in solitary right now.          Better she be isolated than not          exist at all.

                     HERB          She exists, she merely can't          contact you. There's a difference.

                     TRAVERS          A metaphysical difference which          means nothing to me.

                     HERB          I will put her in isolation, but I          think you're right; it's too late.          Jory has permeated her permanently,          to some extent at least. I'm sorry.

                     TRAVERS          So am I.

INT. - MORATORIUM CORRIDOR 2

                     MASTER          I also want to see how in hell they          could support a Time Lord.

An alarm starts to sound.

                     MASTER                (Cont'd)          I thought you disabled the alarm.

                     DOCTOR          So did I!

Two armed guards run in and point guns at the Doctor and Master.

                     GUARD 1          Oi! You! Hands in the air!

                     GUARD 2          Which one of you is the half-life?

The first guard is holding a small round device in his free hand.

                     DOCTOR          What the fuck are you two on about?

                     GUARD 2          Language!

                     GUARD 1          It's the ugly bitch in the          victorian dress.

                     MASTER          How dare you!

                     GUARD 1          Should I?

                     GUARD 2          Best thing to do.

The first guard shoots the Master point-blank. He then speaks into his radio.

                     GUARD 1          All right, call off the alarm.          All's been dealt with.

The second guard point his gun at the Doctor.

                     GUARD 2          Did you let the halfer out?

The Doctor is speechless.

                     GUARD 1          Nah, she's too pretty to do          something like that!

The guards walk away, joking and laughing. The Doctor cries out in pain.

                     DOCTOR          Shit, shit, shit.                (Shouting)          Someone call an ambulance! Please!

                     MASTER          Here we go again.

                     DOCTOR          Regenerate, come on, how hard can          it be?

The Master attempts to get up again, but is clearly struggling to even sit up straight.

                     MASTER          It isn't a matter of refusal. No,          not this time.

She coughs and splutters.

                     DOCTOR          Focus on yourself. Try and stay          calm.

The Master laughs.

                     MASTER          Like you.

                     DOCTOR          You're gonna be alright.

Both the Doctor and the Master start to cry.

                     DOCTOR                (Cont'd)          I know, I know.

Sandra (Reese Blutstein?) walks by and stops.

                     SANDRA          Oh, god...

                     DOCTOR          Call an ambulance, please.

Sandra takes out her phone and dials.

                     SANDRA          I have someone here. I think a          half-life. Must have gotten out of          her tank.

The Master looks at the Doctor, and smiles, while Sandra is still on the phone.

                     MASTER          Hey, you.

She starts to sob.

                     DOCTOR          Hey.

                     MASTER          Sorry for everything I must've put          you through.

She starts to hyperventilate.

                     MASTER                (Cont'd)          Don't blame you. For hating me. If          Susan or Jenny had brought someone          like me home I'd be well          disappointed.

                     DOCTOR          That's ridiculous. You're my best          friend and I couldn't be more glad.          And you care, you care and that's          all that matters.

                     MASTER          I do care.

                     DOCTOR          Love you. You're going to be fine.

                     SANDRA          You will. Hang in there.

                     MASTER          You know what this reminds me of?

                     DOCTOR          What?

                     MASTER          San Francisco.

                     DOCTOR          Wait - I thought that was New York!

                     MASTER          No, no, that was when the Monk put          that bull on the top floor of the          Chrysler building. What a fun day.

                     DOCTOR          You can talk. I was hungover for a          week. But yes, it was fun. When          were you thinking of?

                     MASTER          1999. New Years Eve. You got shot          by that gang.

                     DOCTOR          Got to know the bloke they meant to          kill. Nice guy. Made a killer          burger.

                     MASTER          I used the body of some financial          executive. Poor human. Might try          that again. See what I can do

                     DOCTOR          I don't think that'll work a third          time, sweetie.

                     MASTER          Used up my nine lives. In all          honesty, if I was to lose one of          us, I'm glad it was me.

                     DOCTOR          Don't say that. You're not gonna          leave me. Not now.

                     MASTER          Not now, not ever. I've never seen          you cry like this since our rabbit          died. You can put me in the garden.

                     DOCTOR          You're good. How can you joke?

                     MASTER          Yeah, you're right. I am good.

She gasps for air, then sighs. We then see her eyes roll back into her head, foams at the mouth, skin goes pale, and her eyelids flutter and close. Glowing regeneration energy slowly seeps out of her open mouth.

                     SANDRA                (To operator)          I think she's gone.

                     DOCTOR          No. No. No, no, no, no, no!

INT. - SANDRA'S APARTMENT - KITCHEN

Late at night. A small and pathetic kitchen, only with the essentials -fridge, countertop, and stove, with a small table in the middle of it all, with a few old chairs surrounding it. Sandra wearily walks into her kitchen in a pinstripe pyjama top and underwear, and sits at her kitchen table. She is clearly hungover. Sandra then opens up a holographic screen on her desk - known as a 'Desk', and brings up a video.

                     FIONA BRUCE          What could Stanton Mick, the          reclusive, interplanetary known          speculator and financer, be up to?          This is what the business community          asked itself as rumour leaked out          of Whitehall that the dashing but          peculiar industrial magnate, who          once offered to build free of          charge a fleet by which Israel          could colonize and make fertile          otherwise desert areas of Mars, had          asked for and may possibly receive          a staggering and unprecedented loan          of -

Sandra leans forward and starts to fiddle with her Desk.

                     SANDRA          Stupid Desk. This isn't gossip.          Today I want to hear about which TV          star is sleeping with whose          drug-addicted wife.

While Sandra was talking, another young woman (Chloë Grace Moretz?) walks in. She is around the same age as Sandra, and in similar clothing. Except she is taller, and has long, flowing, blonde hair. She is clearly lethargic, but still has the energy to warmly wrap her arms around Sandra.

                     ALICE          Sandy, hon, what are you doing up?          It's three in the fucking morning.

                     SANDRA          Had a bit too much to drink with          the boys. Can't get a wink.

                     ALICE          Why can't you take a soporific?

                     SANDRA          I'm out.

Alice sits down next to her.

                     ALICE          Didn't you just get a new pack?

                     SANDRA          They're out due to 'my own oral          greed', as Dr. Daniels puts it.

                     ALICE          But out nevertheless. And by law          you can't get more until Tuesday.

                     SANDRA          Tuesday. Two more long days.

                     DESK                (OC)          Setting filter for - 'Low gossip'

                     LORRAINE                (OC)          Accosted by a cutpurse in a fancy          New New York after-hours mole the          other night -

Sandra lies down and puts her head on Alice's lap.

                     LORRAINE                (OC)(Cont'd)          Lola Herzberg-Wright bounced a          swift right jab off the chops of          the do-badder which sent him          reeling on to the table where King          Egon Groat of Sweden and an          unidentified woman with          astonishingly large -

The Desk lights up green, with a message saying 'DOOR ALERT'. Underneath, three options - 'Accept', 'Talk', and 'Decline'. Sandra groans and presses 'Talk'. The screen goes from green to a glowing white dot, the size of a tennis ball.

                     SANDRA          Who is it?

                     ANDERSON                (OC)(Middle-aged, female)          I know it's early, Sandra, but I          just hit town. Major Anderson here;          I've got a firm prospect that I          snared in Topeka - I read this one          as magnificent and I want your          confirmation before I lay the pitch          in Travers' lap. Anyhow, he's in          Switzerland.

                     SANDRA          I don't have my test equipment in          the apartment.

                     ANDERSON                (OC)         ��I'll shoot over to the shop and          pick it up for you.

                     ALICE          It's not at the shop. It's in my          car. I didn't get around to          unloading it last night.

Sandra shoots Alice a dirty look

                     ALICE                (Cont'd)          Can't it wait until after nine?

                     ANDERSON                (OC)          Dearie, this is a sweet number, a          walking symposium of miracles          that'll curl the needles of your          gauges and, in addition, give new          life to the firm, which it badly          needs. And furthermore -

                     SANDRA          It's an anti what? Telepath?

                     ANDERSON                (OC)          I'll lay it on you right out in          front, I don't know. Listen,          Sandra. This is confidential, this          particular one. I can't stand down          here at the gate gum-flapping away          out loud; somebody might overhear.          In fact I'm already picking up the          thoughts of some nosey shit in a          ground level apartment; he -

                     SANDRA          Okay. Once started, your relentless          monologues can't be aborted anyhow;          I might as well listen. Give me          five minutes to get dressed and          find out if I've got any coffee in          the apartment anywhere.                (to Alice)          Let her in while I'm making myself          up.

                     ALICE          If I must.

                     SANDRA                (Sarcastically)          Yes. You must.                (Laughing)          Love you.

Sandra kisses Alice on the cheek and walks off. Alice fiddles around with the screen, and Anderson walks in soon afterwards. Anderson (Pam St. Clement?) is an average-height woman, in her late sixties or early seventies, with white hair, a pink velvet shirt-dress, large earrings, and heavy mascara and eyeshadow. She sits down at the kitchen table, and turns to Alice.

                     ANDERSON          You'll like her. Although, as it          happens, she's the daughter of a -

                     ALICE          Her? Our apartment's unfit to be          seen; we're behind in our payments          to the clean-up robots - they          haven't been inside here in two          weeks -

                     ANDERSON          I'll ask her if she cares.

                     ALICE          Don't ask her. I - we care. I'll          ask Sandy to test her out down at          the shop, on Traver's time.

                     ANDERSON          I checked her thought processes.          She doesn't care.

Sandra walks into the kitchen in a black and white jumpsuit.

                     SANDRA          I've heard what you two were          talking about from the next room.          How old is this woman? She's likely          to be only a child, knowing you          lot.

                     ALICE          I heard a lot of new inertials are          children. Makes sense.

                     ANDERSON          How old are you dear? You're          nineteen, Sandra. And you, Alice          you're - twenty.

                     ALICE          Well, that shot that.

                     SANDRA          Give me until nine.

                     ANDERSON          Too late.

                     SANDRA          Okay, eight.                (Pause and a sigh.)          If I work fast, and if I miss both          coffee and breakfast, I could          probably effect a tidy apartment by          then.

                     ALICE          At least it seems worth trying.

                     SANDRA          Do we have a vacuum cleaner?

Alice gets up and checks the cupboard.

                     ALICE          Uh - no.

                     SANDRA          A broom?

                     ALICE          No, again.

Anderson smirks.

                     ANDERSON          Oh, dear. I'll give you some          privacy.

She then stands up and leaves the apartment.

                     ALICE          Well, that's me off to bed, if          that's okay with you.

                     SANDRA          Sure, go ahead. See you tomorrow.

Alice goes back into the bedroom. Sandra opens her desk again, and pulls up a keypad. She dials in the number 214, and a scruffy looking man (Woody Harrelson?) soon appears.

                     SANDRA          Listen, I'm now in a position to          divert some of my funds in the          direction of settling my bill          vis-à-vis your clean-up robots. I'd          like them up here right now to go          over my apartment. I'll pay the          full and entire bill when they're          finished.

                     MAINTENANCE DEP.          Ma'am, you'll pay your full and          entire bill before they start.

                     SANDRA          I'll charge my overdue bill against          my Triangular Magic Key. That will          transfer the obligation out of your          jurisdiction; on your books it'll          show as total restitution.

                     MAINTENANCE DEP.          Plus fines, plus penalties.

                     SANDRA          I'll charge those against my          Heart-Shaped -

                     MAINTENANCE DEP.          Ms Archer, the Ferris and Brockman          Retail Credit Auditing and Analysis          Agency has published a special          flyer on you. Our receptor slot          received it yesterday and it          remains fresh in our minds. Since          July you've dropped from a triple G          status creditwise to quadruple G.          Our department - in fact this          entire conapt building - is now          programmed against an extension of          services and/or credit to such          pathetic anomalies such as          yourself, ma'am. Regarding you,          everything must be handled on a          basic-cash subfloor. In fact,          you'll be on a basic-cash subfloor          for the rest of your life. In fact          -

Sandra hangs up. We then cut to her running around her apartment, putting away unnecessary items such as dirty dishes and old magazines. We then cut to her sitting on a windowsill with a cup of coffee, as the sun is rising. Out of the window is the skyline of a city; skyscrapers, office buildings, and the like. Alice comes into the room in a green dress.

                     ALICE          Hey, you.

                     SANDRA          Hey.                (Pause)          I might get a second job;          part-time. Just for a while. I need          to catch up on some bills.

                     ALICE          Honey, no. I barely get to see you          with you at that job with Travers,          with an extra job -

                     SANDRA          Alice, it's only for a couple of          weeks. Just to raise my credit          score.

                     ALICE          That maintenance shit is a cheat.

                     SANDRA          Tell me something new.

There's a pause. Alice puts her arms around Sandra, and rests her chin on Sandra's shoulder.

                     ALICE          Look, honey, I need to get to work.          It's the day of the kids' assembly          at the school, so I can't take the          day off. You going to work?

Sandra shakes her head.

                     SANDRA          Travers gave me the day off to deal          with Anderson's inertial. I'll do          some job searching after if I have          time.

                     ALICE          Okay. I'll see you this evening,          then?

                     SANDRA          Yeah. See you. Bye.

                     ALICE          Bye.

Alice kisses Sandra on the cheek, and leaves. Anderson and the girl (Ariana Grande?) enters soon afterwards.

                     ANDERSON          This is Pat. Never mind her last          name. Pat, this is the company's          highly skilled, first-line          electrical type tester.

                     PATRICIA          Is it you that's electrical? Or          your tests?

                     SANDRA          We trade off. Sit down, have a cup          of actual coffee.

Patricia sits down at the kitchen table.

                     PATRICIA          Such luxury. How can you afford          real coffee, Ms Archer?

                     ANDERSON          Sandra gets paid a hell of a lot.          The firm couldn't operate without          her.

Anderson takes a cigarette out of Sandra's dispenser.

                     SANDRA          Put it back. I'm almost out and I          used up my last green ration stamp          on the coffee.

                     ANDERSON          I paid for the door.

Anderson offers one to Patricia. She refuses.

                     ANDERSON                (Cont'd)          Sandra puts on an act, pay no          attention. Like look how she keeps          her place. Shows she's creative,          all geniuses live like this.          Where's your test equipment,          Sandra? We're wasting time.

                     SANDRA          You're dressed oddly.

                     PATRICIA          I maintain the subsurface vidphones          lines at the Topeka Kibbutz. Only          women can hold jobs involving          manual labor at that particular          kibbutz.

                     SANDRA          That inscription on your arm, that          tattoo; is that Hebrew?

                     PATRICIA          Latin.

Patricia gets up and looks around the apartment.

                     PATRICIA                (Cont'd)          I've never seen an apartment so          cluttered with rubbish. Don't you          have a mistress?

                     ANDERSON          These electrical-expert types have          no time for tarra-tiddle. Listen,          Archer, this girl's parents work          for Ray Hollis. Is they knew she          was here they'd give her a frontal          lobotomy.

                     SANDRA                (To Patricia)          They don't know you have a          counter-talent?

Patricia shakes her head.

                     PATRICIA          No. I didn't really understand it          either until your scout sat me down          in the kibbutz cafeteria and told          me. Maybe it's true.

She shrugs.

                     PATRICIA                (Cont'd)          Maybe not. She said you could show          me objective proof of it, with your          testing battery.

                     SANDRA          How would you feel if the tests          show that you have it?

                     PATRICIA          It seems so - negative. I don't do          anything; I don't move objects or          turn stones into bread or give          birth without impregnation or          reverse the illness process in sick          people. Or read minds. Or look into          the future - not even common          talents like that. I just negate          someone else's ability. It seems -          stultifying.

                     SANDRA          As a survival factor for the human          race, it's as useful as the psychic          factors. Especially for us norms.

With a sharpie, Sandra draws the following on the wooden table.

                     SANDRA                (Cont'd)          The anti-psychic factor is a          natural restoration of ecological          balance. An insect learns to fly,          so another builds a web to trap          him. Is that the same as no flight?          Clams developed hard hard shells to          protect them; therefore, birds          learn to fly the clam up high in          the air and drop him on a rock. In          a sense, you're a life form preying          on the psychics, and the psychics          are life forms that prey on the          norms. That makes you a friend of          the so-called 'Norm class'.          Balance, the full circle, predator          and prey. It appears to be an          eternal system; and, frankly, I          can't see how it could be improved.

                     PATRICIA          I might be considered a traitor.

                     SANDRA          Does it bother you?

                     PATRICIA          It bothers me that people will feel          hostile toward me. But I guess you          can't live very long without          arousing hostility; you can't          please everybody, because people          want different things. Please one          and you displease another.

                     SANDRA          What is your anti-talent?

                     PATRICIA          It's hard to explain.

                     ANDERSON          Like I say, it's unique; I've never          heard of it before.

                     SANDRA          Which psychic talent does it          contract?

                     PATRICIA          Precognicient, I guess.

Patricia looks to Anderson, who still has a smirk of enthusiasm.

                     PATRICIA                (Cont'd)          Your scout Ms Anderson explained it          to me. I knew I did something          funny; I've always had these          strange periods in my life,          starting in my sixth year. I never          told my parents, because I sensed          that it would displease them.

                     SANDRA          Are they precogs?

                     PATRICIA          Yes.

                     SANDRA          Yes, it would have displeased them.          But if you used it around them even          once - they would have known.          Didn't they suspect? Didn't you          interfere with their ability?

                     PATRICIA          I - I think I did interfere but          they didn't know it.

                     SANDRA          Let me explain how the anti-precog          generally functions.

She gets her sharpie out again.

                     SANDRA                (Cont'd)          Functions, in fact, in every case          we know of. The precog sees a          variety of futures, laid out side          by side like cells in a beehive.

                     ANDERSON          For him one has greater luminosity,          and this he picks. Once he has          picked it the anti-precog can do          nothing.

                     SANDRA          The anti-precog has to be present          when the precog is in the process          of deciding, not after. The          anti-precog makes all futures seem          equally real to the precog; he          aborts all his talent to choose at          all. A precog is instantly aware          when an anti-precog is nearby          because his entire relationship to          the future is altered. In the case          of telepaths a similar impairment -

Anderson sits down.

                     ANDERSON          She goes back in time.

Sandra glares at Anderson, while Anderson savours the moment.

                     ANDERSON                (Cont'd)          Back in time, the precog affected          by her still sees one predominant          future; like I said, the one          luminous possibility. And he          chooses it, and he's right. But why          is it right? Why is it luminous?          Because this girl -

She shrugs in Patricia's direction.

                     ANDERSON                (Cont'd)          Pat controls the future; that one          luminous possibility is luminous          because she's gone into the past          and changed the precog; he's          affected without knowing it and his          talent seems to work, whereas it          really doesn't. So that's one          advantage of her anti-talent over          other anti-precog talents. The          other - and greater - is that she          can cancel out the precog's          decision after he's made it. She          can enter the situation later on,          and this problem has always hung us          up, as you know; if we didn't get          in there from the start we couldn't          do anything. In a way, we never          could truly abort the precog          ability as we've done with the          others; right? Hasn't that been a          weak link in our services?

                     SANDRA          Interesting.

                     ANDERSON          Hell - 'interesting'? This is the          greatest anti-talent to emerge thus          far!

                     PATRICIA                (In a low voice,                 apologetically)          I don't go back in time. I do          something, but Ms Anderson has          built it all up out of proportion          to reality.

                     ANDERSON          I can read your mind. I know you          can change the past; you've done          it.

                     PATRICIA          I can change the past but I don't          go into the past; I don't          time-travel, as you want your          tester to think.

                     SANDRA          How do you change the past?

                     PATRICIA          I think about it. One specific          aspect of it, such as one incident,          or something somebody said. Or a          little thing that happened that I          wish hadn't happened. The first          time I did it, as a child -

Anderson sighs

                     ANDERSON          When she was six years old, living          in Detroit, with her parents of          course, she broke a ceramic antique          statue that her father treasured.

                     SANDRA          Didn't your father foresee it, with          his precog ability?

                     PATRICIA          He foresaw it, and he punished me a          week before I broke the statue. But          he said it was inevitable; you know          the precog talent. They can foresee          but they can't change anything.          Then after the statue did break -          after I broke it, I should say - I          brooded about it, and I thought          about that week before it broke          when I didn't get any dessert at          dinner and had to go to bed before          five p.m. I thought, Christ - or          whatever a kid says - isn't there          some way these unfortunate events          can be averted?

                     ANDERSON          Your father's precog ability didn't          seem very spectacular to you, did          it?

                     PATRICIA          Not really, since he couldn't alter          events; I still feel that way, a          sort of contempt. I spent a month          trying to will the damn statue back          into one piece; in my mind I kept          going back to before it broke,          imagining what it had looked like          ... which was awful. And then one          morning when I got up - I even          dreamed about it at night - there          it stood. At it used to be.

Patricia leans towards Sandra.

                     PATRICIA                (Cont'd)          But neither of my parents noticed          anything. It seemed perfectly          normal to them that the statue was          in one piece; they thought it had          always been in one piece. I was the          only one who remembered.

Sandra offers a cigarette to Patricia, who accepts it, and lights up.

                     SANDRA          I'll go get my test equipment from          the car.

Anderson tries to open the door.

                     HOUSE                (OC)          Five cents, please.

                     SANDRA                (To Anderson)          Pay the door.

                     ANDERSON          What? But I found her, the bounty          is mine. I spent almost ten days          tracing the field to her; I -

                     SANDRA          I can't test her with your field          present, as you well know. Talent          and anti-talent fields deform each          other; if they didn't we wouldn't          be in this line of business.

She leans out her hand waiting for change as Anderson gets to her feet.

                     SANDRA                (Cont'd)          And you can leave me a couple of          nickles, too. So she and I can get          out of here.

                     PATRICIA          I have change in my purse.

                     SANDRA          This is different.

She hands a nickel to Sandra, and the door opens.

                     ANDERSON          I don't have any more nickles, I          can't get out.

Sandra and Patricia turn around and look at Anderson. She sighs and storms out.

                     ANDERSON                (Cont'd)          You sure shot me down. Both of you.          I discovered her. This is a          cutthroat business when -

The door slams shut behind her.

                     PATRICIA          When her enthusiasm goes, there          isn't much left of her.

                     SANDRA          She's okay. Anyhow, she did her          part. Now -

                     PATRICIA          Now it's your turn, so to speak.          May I take off my boots?

                     SANDRA          Sure.

                     PATRICIA          A shower?

                     SANDRA          A quarter.                (Pause)          It costs a quarter.

                     PATRICIA          At the kibbutz everything is free.

Sandra is shocked.

                     SANDRA          Free? That's not economically          feasible. How can it operate on          that basis? For more than a month?

                     PATRICIA          Our salaries are paid in and we're          credited with having done our job.          The aggregate of our earnings          underwrites the kibbutz as a whole.          Actually, the Topeka Kibbutz has          shown a profit for several years;          we, as a group, are putting in more          than we're taking out.

Her shirt is suddenly off, however we do not see her taking it off.

                     SANDRA          Are you sure you want to do that?          Take off your clothes, I mean?

                     PATRICIA          You don't remember?

                     SANDRA          Remember what?

                     PATRICIA          My not taking off my clothes. In          another present, you didn't like          that very much, and so I eradicated          that; hence this.

Patricia stands up.

                     SANDRA          What did I do when you didn't take          off your clothes? Refuse to test          you?

                     PATRICIA          You mumbled something about Ms          Anderson having overrated my          anti-talent.

                     SANDRA          I don't work that way; I don't do          that.

Patricia bends down and rummages through her blouse and hands Sandra a folded piece of paper.

                     PATRICIA          Here. From the previous present;          the one I abolished.

                     SANDRA          Anti-psychic field generated -          inadequate. Below standard          throughout. No value against precog          ratings now in existence.

We now see the sheet of paper - a stamp mark underneath the analysis saying 'DO NOT HIRE'. She refolds it and returns it to Patricia, who returns it to her blouse.

                     PATRICIA          Do you need to test me? After          seeing that?

                     SANDRA          I have a regular procedure, six          indices which -

                     PATRICIA          You're a little, debt-stricken,          ineffective bureaucrat who can't          even scrape together enough coins          to pay her door to let her out of          her apartment.

                     SANDRA          This is a bad spot right now. I'll          be back on my feet financially any          day now. I can get a loan. From the          firm, if necessary.

She walks over to the coffee machine.

                     SANDRA                (Cont'd)          Cream? Sugar?

                     PATRICIA          Cream.

Sandra tries to open the fridge.

                     HOUSE          Ten cents, please. Five cents for          opening my door; five cents for the          cream.

                     SANDRA          It isn't cream; it's plain milk.          Just this one time, I swear to God          I'll pay you back. Tonight.

                     PATRICIA          Here.

She slides a dime across the table toward Sandra.

                     PATRICIA                (Cont'd)          At least you have your partner. You          really have failed, haven't you? I          knew it when Ms Anderson -

                     SANDRA          It isn't always like this.

                     PATRICIA          Do you want me to bail you out of          your problems?

She puts her hands in the pockets of her jeans.

                     PATRICIA                (Cont'd)          You know I can. Sit down and write          out your evaluation report on me.          Forget the tests. My talent is          unique anyway; you can't measure          the field I produce - it's in the          past and you're testing me in the          present, which simply takes place          as an automatic consequence. Do you          agree?

                     SANDRA          Let me see that evaluation sheet          you have in your blouse. I want to          look at it one more time. Before I          decide.

Patricia brings Sandra the piece of paper, and Sandra sits down.

                     SANDRA                (Cont'd)          My writing, yes, it's true.

She returns the piece of paper, then takes a fresh piece of similar paper. Sandra then writes 'Has unbelievable power. Anti-psychic field unique in scope. Can probably negate any assembly of precogs imaginable'. She then writes two crosses underneath, and underlines both of them. Patricia is standing behind Sandra.

                     PATRICIA          What do the two underlined crosses          mean?

                     SANDRA          Hire her. At whatever cost          required.

                     PATRICIA          Thank you.

Patricia picks up a bag, takes out a stuffed envelope, and hands it to Sandra.

                     PATRICIA                (Cont'd)          This will help you with expenses. I          couldn't give it to you earlier,          before you made your official          evaluation of me. You would have          cancelled very nearly everything          and you would have gone to your          grave thinking I had bribed you.          Ultimately you would have even          decided I had no counter-talent.

Patricia carries on undressing, while Sandra, without noticing Patricia, signs the paper. Patricia then makes her way to the bathroom.

                     PATRICIA                (Cont'd)          When can I move my things in here?          I consider it mine as of now, since          I've already paid you what must be          virtually the entire month's rent.

                     SANDRA          Anytime.

Patricia enters the bathroom. Sandra then quickly writes in the bottom right-hand corner of the page 'PTO', flips over the piece of paper, and writes in small writing 'Watch this person. She is a hazard to the firm. She is dangerous'. She then folds it up, puts the piece of paper in an envelope, and puts it in Patricia's bag.

                     HOUSE                (OC)          Fifty cents, please. Before turning          on the water.

Patricia runs back into the kitchen and reaches fifty cents out of her purse, and then runs back to the bathroom. Afterwards, Sandra opens up her Desk, opens her contact list, selects Alice, and turns the volume down to 25%.

INT. - LIMOUSINE, NEW YORK CITY

Travers is sitting in a limousine, driving through a rainy New York City, with a small television playing in the background.

                     TELEVISION          Wild new Ubik salad dressing, not          Italian, not French, but an          entirely new and different taste          treat that's waking up the world.          Wake up to Ubik and be wild! Safe          when taken as directed.

Travers looks out of the rain splattered window.

INT. - TRAVERS' OFFICES; NEW YORK

The next day.

An office very similar to Travers' office in Zurich. In this office, however, there is a large flat screen television in the left hand corner of the room. A call comes in on the television, the call ID reading 'Public Relations'. Tamish (Turk Pipkin?)

                     TRAVERS          Tamish - I've only just got back          from Zürich. I conferred with Ella          there.

                     TAMISH          Very good, Commodore Travers. Look          we -

A knock at the door.

                     TRAVERS          Hold on. Come in.

A man (Rory Cochrane?) with stubble and black, stringy hair knocks on the door, and cautiosly enters - Charles Freck.

                     FRECK          Commodore.

                     TRAVERS          What do you want, Freck?

Freck itches his arms and what little beard he has.

                     FRECK          Apologies, sir. I had no other          choice but to bother you.

                     TRAVERS          Okay, Freck, what is it?

                     FRECK          A new client, Commodore. I think          you should see her.

Travers gestures toward the television.

                     TRAVERS          As soon as I'm off the phone.

He turns to the television.

                     TRAVERS                (Cont'd)(to Tamish)          How often do our ads run on          prime-time TV planetwide? Still          once every third hour?

                     TAMISH          Not quite that, Commodore. Over the          course of a full day, prudence ads          apppear on an average of once every          third hour per UHF channel, but the          cost of prime time -

                     TRAVERS          I want them to appear every hour.          Ella thinks that would be better.                (To Freck)          Freck, sit down.

Freck does so.

                     TRAVERS                (Cont'd) (To Freck)          You know that recent Supreme Court          ruling where one spouse can legally          murder the other if they can prove          that the other wouldn't under any          circumstances give the first a          divorce?

                     FRECK          Yes, the so called -

                     TRAVERS          I don't care what it's called.                (To Tamish)          What matters is that we have a TV          ad made up on that already.                (To Freck)          How does that go? I'm trying to          remember it.

                     FRECK          There's this man, an ex-husband,          being tried. First comes a shot of          the jury, then the judge,  then a          pan-up on the prosecuting attorney          cross-examining the ex-husband. He          says 'It would seem, sir, that your          wife -'

                     TRAVERS          That's right.

                     TAMISH          Is it not the assumption, however,          that the missing Psychics are at          work, as a group, for one of the          large investment houses? Seeing as          how this is probably so, perhaps we          should stress one of our          business-establishment comercials.          Do you perhaps recall this one,          Commodore? It shows a husband home          from his job at the end of the day;          he still is suited up. He seats          himself wearily on the living room          couch, next to his wife, starts to          take off one of his gauntlets, then          hunches over, frowns and says          'Gosh, Jill, I wish I knew what's          been wrong with me lately.          Sometimes, with greater frequency          almost every day, the least little          remark at the office makes me think          that, well, somebody's reading my          mind!'. Then she says, 'If you're          worried about that, why don't we          contact our nearest prudence          organisation? They'll lease us an          intertial at prices easy on our          budget, and then you'll feel like          your old self again!'. Then this          great smile appears on his face and          he says 'Why, this nagging feeling          is already -'

                     FRECK          Please, Commodore Travers.

                     TRAVERS                (To Tamish)          I'll talk to you later, Tamish.          Anyhow, get hold of the networks          and start our material on the          hourbasis I outlined.

He hangs up the phone, and turns to Freck.

                     TRAVERS                (Cont'd)          I went all the way to Switzerland,          and had Ella roused, to get that          information, that advice.

Freck walks to the door, and pops his head outside.

                     FRECK                (To Wright)          Commodore Travers is free, Ms          Wright.

Freck leaves, while a tall, blonde woman (Robin Wright?) in her mid-late forties enters.

                     TRAVERS          Ah, Ms Wright. I can't give you too          much time; maybe you should just          get to the point. What's the          problem?

                     WRIGHT          We're having a little trouble with          telepaths. We think so but we're          not sure. We maintain a telepath of          our own - one we know about and          who's supposed to circulate among          our employees. If he comes across          any Psychics, telepaths or precogs          of any kind, he's supposed to          report to my principal. Late last          week he made such a report. We have          an evaluation, done by a private          firm, on the capacities of the          various prudence agencies. Yours is          rated foremost.

                     TRAVERS          I know that.

We see a folder labelled 'Evaluation' on Travers' desk.

                     TRAVERS                (Cont'd)          How many telepaths did your man          pick up? More than one?

                     WRIGHT          Two at least.

                     TRAVERS          Possibly more?

                     WRIGHT          Possibly.

                     TRAVERS          Here is how we operate. First we          measure the psychic field          objectively, so we can tell what          we're dealing with. That generally          takes from one week to ten days,          depending on -

                     WRIGHT          My employer wants you to move in          your intertials right away, without          the time-consuming and expensive          formality of making tests.

                     TRAVERS          We wouldn't know how many inertials          to bring in. Or what kind. Or where          to station them. Defusing a psychic          operation has to be done on a          systematic basis; we can't wave a          magic wand or spray toxic fumes          into corners. We have to balance          Hollis' people individual by          individual, an anti-talent for          every talent. If Hollis has gotten          into your operation he's done it          the same way; psychic by psychic.          One gets into the personnel          department, hires another; that          person sets up a department or          takes charge of a department and          requisitions a couple          more...sometimes it takes them          months. We can't undo in          twenty-four hours what they've          constructed over a long period of          time. Big-time psychic activity is          like a mosaic; they can't afford to          be impatient, and neither can we.

                     WRIGHT          My employer is impatient.

                     TRAVERS          I'll talk to him. Who is he and          what's his his number?

                     WRIGHT          You'll deal through me.

                     TRAVERS          Maybe I won't deal at all. Why          won't you tell me who you          represent?

He presses a covert button on the bottom of his desk, and Nina (Jen Brister?) comes in through a rear door, nods to Travers, and then goes back in to the back room.

                     WRIGHT          You're hidebound; all we are asking          for is speed. And we're only asking          for that because we have to have          it. I can tell you this much; our          operation which they've infested          isn't on Earth. From the standpoint          of potential yield, as well as from          an investment standpoint, it's our          primary project. My principal has          put all his negotiable assets in to          it. Nobody is supposed to know          about it. The greatest shock to us,          in finding telepaths on this site -

                     TRAVERS          Excuse me.

Travers gets up, and walks to the office door.

                     TRAVERS                (Cont'd)          I'll find out how many people we          have about the place who are          available for use in this          connection.

Travers exits, shutting the office door behind him.

INT. - NINA'S OFFICE

A modern office; modern pastel-coloured fabrics chairs, sofas and beanbags dotted around, with wooden coffee tables next to them, and with Apple Macs on top of the coffee tables. Nina is alone, sitting on one of the beanbags, working on one of the Macs. Travers enters, and wearily sits down on one of the chairs, with a heavy sigh.

                     TRAVERS          Find out who she represents, and          then find out how high they'll go.

                     NINA          Sure thing. Anything else?

                     TRAVERS          Reserve a place for us at a café or          restaurant once you're done. A nice          one.

                     NINA          I recently went to a nice place on          Lafayette Street.

                     TRAVERS          Is it cheap?

                     NINA          Compared to everything else in          Manhattan, I'd say so.

                     TRAVERS          Screaming babies?

                     NINA          Not when I was there.

                     TRAVERS          Great, give them a call.

He turns to a desk sticking out of the wall, with a coffee machine, mini milk cartons, sugar and sweetener sachets, a pot of ready-made coffee, teabags, porcelain mugs, and a kettle. He lazily points to it, and turns to Nina.

                     TRAVERS                (Cont'd)          Do you mind?

                     NINA          Sure, help yourself. You are my          boss, mind.

                     TRAVERS          That's true.

He boils the kettle, makes himself a coffee with milk and sugar. Travers then carries the cup over to a window, and sits on the windowsill. He looks out of the window at the New York skyline, and lets out a sigh.

EXT. - MONTAGUE STREET

Golden regeneration energy comes down from the sky, and gathers in to a translucent cobra on the outer wall of one of the apartments, and slips through one of the windows.

INT. - BEDROOM

A regular teenagers/young person's bedroom. A young woman (Lily Collins?) is lying on a bed, fast asleep. The translucent cobra slides across the wall, nearer and nearer to the girl. The girl's mouth is forced open, and the cobra goes through. As this happens, she starts seizing. After a few seconds, she calms down, and eventually sits up - her eyes are black. She looks to the side a little bit, and smirks. She is now the new Master.

EXT. - FRANKLIN STREET, EARLY EVENING

Travers and Wright are walking down Franklin Street. Travers is in a trenchcoat and fedora, and Wright is in a jumpsuit. Wright is also wearing a removable cast around his wrist.

                     TRAVERS          Does it still hurt?

Wright nods.

                     WRIGHT          It can't be that bad, though, as it          hurt right away. If it is really          bad, it doesn't hurt. The          adrenaline, and all.

                     TRAVERS          You should see my wife's cooking.          That hurts right away.

                     WRIGHT          I'll be sure to avoid it like the          plague.

                     TRAVERS          You do surprise me, Miss Wright.

                     WRIGHT          Robin, please.

                     TRAVERS          Robin, sorry. Usually you are too          cautious. The Catholics know of          only one way to settle their          differences.

                     WRIGHT          Times are difficult enough for them          here, without you provoking further          quarrels.

We see the Master, in her new body, looking at Travers and Wright, eventually following them. She is wearing a classic victorian night gown.

                     TRAVERS          I? Oh, come, be fair. Paris hates          our kind. It would do anything it          can to provoke us.

                     WRIGHT          You must control your temper,          Travers. As Locke says, it is          imperative that we keep the peace          at this time.

                     TRAVERS          Back to business, if telepaths have          gotten in to our operation, then          you have to face up to and accept          the realization that the operation          per se is no longer secret.          Independent of any specific          technical info they've picked up.          So why not tell me what the project          is?

Wright hesitates.

                     WRIGHT          I don't know what the project is.

                     TRAVERS          Or where it is?

                     WRIGHT                (Shake of the head)          No.

                     TRAVERS          Do you know who your employer is?

                     WRIGHT          I work for a subsidiary firm which          he financially controls; I know who          my imediate employer is - that's a          Mr Shepard Howard - but I've never          been told whom Mr Howard          represents.

EXT. - LAFAYETTE STREET, EARLY EVENING

They turn on to Lafayette Street. Travers glances behind him, and the Master dashes in to the Canal Street (6) subway station. He brushes it off.

                     TRAVERS          If we supply you with the inertials          you need, will we know where they          are being sent?

                     WRIGHT          Probably not.

                     TRAVERS          Suppose we never get them back.

                     WRIGHT          Why wouldn't you get them back?          After they've decontaminated our          operation -

                     TRAVERS          Hollis' men have been known to kill          inertials sent out to negate them.          It's my responsibility to see that          my people are protected; I can't do          that if I don't know where they          are.

EXT. - BALTHAZAR RESTAURANT

Travers and Wright start to enter the restaurant. Wright enters, but Travers pauses outside, as Nina's voice comes over the earpiece.

                     NINA                (OC)          Travers? It's Nina.

                     TRAVERS          Took your time. Sit rep?

                     NINA                (OC)          Miss Wright represents Stanton          Mick. She is his confidential          assisstant.

INT. - NINA'S OFFICE

Nina is sitting on one of the beanbags, sitting in front of a coffee table and a laptop, with a headset on her heat.

                     NINA                (Cont'd)          There is no one named Shepard          Howard. The project under          discussion exists primarily on          Luna; it has to do with Techprise,          Mick's research facilities, the          controlling stock of which Miss          Wright keeps her name.

EXT. - BALTHAZAR RESTAURANT

                     NINA                (Cont'd)(OC)          She does not know any technical          details; no scientific evaluations          or memos or progress reports are          ever available to her by Mr Mick,          and she resents this enormously.          From Mick's staff, however, she has          picked up a general idea of the          nature of the project.

INT. - NINA'S OFFICE

                     NINA                (Cont'd)          Assuming that her second-hand          knowledge is accurate, the Lunar          project involves a radical, new,          low-cost interstellar drive system,          approaching the velocity of light,          which could be leased to every          moderately affluent political or          ethnological group. Mick's idea          seems to be that the drive system          will make colonization feasible on          a mass basic understructure.

EXT. - BALTHAZAR RESTAURANT

                     NINA                (Cont'd)(OC)          And hence no longer a monopoly of          specific governments.

Nina clicks off. Travers enters the restaurant.

INT. - BALTHAZAR RESTAURANT

Travers enters and sits down across from Wright, who has already sat down. He pauses, in thought.

                     WRIGHT          What are you thinking?

                     TRAVERS          I'm wondering if you can afford our          services. Since I have no test data          to go on, I can only estimate how          many inertials you'll need... but          it may run as high as forty.

                     WRIGHT          Forty? That's quite a few...

                     TRAVERS          The more we make use of, the sooner          we can get the job done. Since          you're in a hurry, we'll move them          all in at one time. If you are          authorized to sign a work contract          in the name of your employer, and          you can come up with a retainer          now, we could probably accomplish          this within seventy-two hours.

INT. - NINA'S OFFICE

                     NINA                (Speaking in to                 microphone)          As owner of Techprise she is fully          bonded. She can legally obligate          her firm up to and including its          total worth. Right now she is          calculating how much this would be,          if converted on today's market...                (Pause)          Several billion postcreds, she has          decided. But she doesn't want to do          this; she doesn't like the ides of          committing herself to both a          contract and a retainer.

INT. - BALTHAZAR RESTAURANT

                     NINA                (Cont'd)(OC)          She would prefer Mick's attorneys          do that, even if it means several          day's delay.

Pause. Travers looks uncomfortable.

                     NINA                (Cont'd)(OC)          She has an intuition that you know          - or have guessed - whom she          represents. And she's afraid you'll          up your fee accordingly.

INT. - NINA'S OFFICE

                     NINA                (Cont'd)          Mick knows his reputation. He          considers himself the world's          greatest mark. So he negotiates in          this manner: through someone and          some firm as a front. On the other          hand, they want as many inertials          as they can get. And they're          resigned to that being enormously          expensive.

INT. - BALTHAZAR RESTAURANT

Travers takes out a pad of paper and a sharpie, and starts writing.

                     TRAVERS          Forty inertials. Let's see. Six          times fifty times three. Times          forty. I wonder who paid to put his          employees in the middle of your          project.

                     WRIGHT          It really doesn't really matter,          does it? What matters is that          they're there.

                     TRAVERS          Sometimes one never finds out. But          as you say - it's the same as when          ants find their way in to your          kitchen. You don't ask why they're          there; you just begin the job of          getting them back out.

He finishes his calculations and breathes a sigh of despair. Wright also takes a look, and looks up in shock. She stands, up, ready to leave.

                     WRIGHT          I'll - have to think it over. Do          you know if there is a payphone          near here? Where I can possibly          call Mr Howard?

                     TRAVERS          It's rare for any prudence          organization to have that many          inertials available at one time. If          you wait, the situation will          change. So if you want them you          better act.

                     WRIGHT          And you really think that it would          take that many inertials?

                     TRAVERS          Take a look at this.

He takes out an iPad, and Wright sits back down. Travers fiddles around with the iPad, and then hands it over to Wright.

                     TRAVERS                (Cont'd)          This shows the location of our          inertials plus the inertials from          other prudence organizations. In          addition to that it shows - or          tries to show - the location of all          of Hollis' psychics. I know now          where they are. I'll send this to          you over the nets. You can stay          here and meditate. There is a          vidphone over there -

He points to a corner of the restaurant, and stands up.

                     TRAVERS                (Cont'd)          Hopefully, no one will bother you.          I'll be back in my office.

Travers makes his way out of the restaurant, and Wright makes her way to the vidphone.

INT. - TRAVERS' OFFICES; NEW YORK - OUTER OFFICE

Back in Traver's offices, Freck is sitting behind a curved mahogany desk. Across from the desk, there are a series of magazines on top of wooden coffee tables, next to leather chairs, and sitting in two of them is Patricia and a hungover Sandra. Patricia is dressed in a long black dress, and Sandra is in a loose-fitting tee shirt and dungarees, while holding a large cup of coffee. Travers enters, having just come back from his dinner with Wright.

                     TRAVERS          Freck, type up a work contract          specifying forty -

He notices Patricia and Sandra.

                     TRAVERS                (Cont'd)          I gather Anderson is back from          Topeka.

                     SANDRA          This is Patricia. Dunno her last          name.

Travers sits next to Patricia.

                     TRAVERS          Anti-what?

                     PATRICIA          Anti-Ketogenesis.

                     TRAVERS          What's that mean?

                     PATRICIA          The prevention of ketosis as by the          the administration of glucose.

                     TRAVERS                (To Sandra)          Explain.

                     SANDRA          Give Travers your test sheet.

Patricia hands over the yellow A4 sheet to Travers, who duly reads it.

                     TRAVERS          Amazing score. Is she really this          good?

He glances at the back, and then up to Sandra.

                     SANDRA          She's the best so far.

                     TRAVERS          Come in to my office.

INT. - TRAVERS' OFFICES; NEW YORK

Travers enters his office, where the vidphone is ringing.

                     TRAVERS                (To Sandra and Patricia)          Sit down. Gimme a minute while I          answer this.

He takes a seat behind his desk, and Sandra and Patricia sit across from him. Travers then presses a button on his desk, and Wright's face appears on the TV screen.

                     WRIGHT          I phoned Mr Howard. He has now          given me my instructions. Mr Howard          would like the formal arrangments          made right away.

INT. - TRAVERS' OFFICES; NEW YORK - OUTER OFFICE

Back in the waiting room, muffles voices bleeds from Travers' offices. We see the Master has already sat down on one of the leather seats, reading one of the magazines. The Doctor enters, and leans her elbows on Freck's desk.

                     DOCTOR                (To Freck)          Hi, can I make an appointemt with          the manager here?

                     FRECK          Travers?

                     DOCTOR          Yes, thank you.

                     FRECK          He'll be free in about an hour or          so. Take a seat.

The Doctor sits down next to the Master, and starts reading a magazine. The Master turns to the Doctor, eyes still jet black. The Doctor looks up, and notices the Masters eyes. The Master puts her fingers up to the Doctor's temples. A small stream of regeneration energy flows from the Master's eyes to the Doctor's. The Master then presses her lips up against the Doctor.

INT. - TRAVERS' OFFICES; NEW YORK

                     WRIGHT          So may we go ahead now? I've          already acquainted you with the          urgency, the time factor.                (To Sandra and Patricia)          Do you two mind waiting? My          business with Travers is of a          priority nature.

                     TRAVERS          You'll have to wait, Wright.

                     WRIGHT          I can tell you exactly, Commodore          Travers, how many inertials we          intend to take. Mr Howard feels he          can make an adequate determination          of our needs, of our problems.

                     TRAVERS          How many?

                     WRIGHT          Eleven.

                     TRAVERS          I'll sign the contract in a little          while. As soon as I'm free.

Travers hangs up.

                     TRAVERS                (Cont'd)(To Sandra and                 Patricia)          They'll never make it. With eleven.          Or fifteen. Or twenty. Especially          with S. Dole Melipone on the other          side. This is, as I assumed, the          potential trainee that Anderson          scouted in Topeka? And you believe          we should hire her? Both you and          Anderson agree? Then we'll hire          her, naturally. Nobody has managed          to tell me yet, which of the          psychic talents she counters.

                     SANDRA          Freck says you flew to Zürich. What          did Ella suggest?

                     TRAVERS          More ads on TV. Every hour.                (He speaks into a                 dictaphone)          Draw up an agreement of employment          between ourselves and a Jane Doe;          specify the starting salary that we          and the union agreed on last          December; specify -

                     PATRICIA          What is the starting salary?

                     TRAVERS          I don't even know what you can do.

                     SANDRA          It's precognicient. But in a          different way.

                     TRAVERS                (To Sandra)          Is she ready to go to work? Or is          this one we have to train and work          with and wait for? We've got almost          forty idle inertials and  and we're          hiring another; forty less, I          suppose, eleven. Thirty idle          employees, all drawing ful scale          while they sit around with their          thumbs in their thumbs in their          noses. I don't know, Sandy; I          really don't. Maybe we ought to          fire our scouts. Anyway, I think          I've found the rest if Hollis'          psychics. I'll tell you about it          later.                (Into dictaphone)          Specify that we can discharge this          Jane Doe without notice, without          severance pay or compensation of          any kind; nor is she elegible, for          the first ninety days, for pension,          health, or sick-pay benifits.                (To Pat)          Starting salary, in all cases,          begins at four hundred credits per          month, figuring on twenty hours a          week. And you'll have to join a          union. The Mine, Mill, and          Smelter-workers Union; they're the          one that signed up all the          prudence-organization employees          three years ago. I have no control          over that.

                     PATRICIA          I get more maintaining vidphone          relays at the Topeka Kibbutz. Your          scout Major Anderson said -

                     TRAVERS          Our scouts lie, and, in addition,          we're mot legally bound by anything          they say. No prudence organization          is.

Freck walks in with the typed out agreement.

                     FRECK          Here you go, sir.

                     TRAVERS          Thank you, Freck.                (To Sandra and Patricia)          I have a twenty-year old wife in          cold-pac. A beautiful woman who          when she talks to me gets pushed          out of the way by some kid named          Jory, and then I'm talking to him,          not her. Ella frozen in half-life          and dimming out - and that battered          crone for my secretary that I have          to look at all day long.

                     PATRICIA          I'll sign.

INT. - ASHILDR'S HOUSE - BEDROOM

A bedroom on the large side, red-maroon walls, littered with retro furniture. Ashildr is lying in her bed, with a metal skull cap on her head. Wires are coming out of the metal cap, leading in to the wall. A small, old, television is leaking muffled voices from the corner of the room.

                     TELEVISION                (OC)          Can't make the frug contest          because||your stomach is upset? Fix          yourself some Ubik! Ubik drops you          back in the thick of things fast.          Taken as directed, Ubik speeds          relief to head and stomach.          Remember; Ubik is only seconds          away. Avoid prolonged use. The          voices from the television starts          to glitch as we fade in to the next          scene.

DREAM STATE

Ashildr is walking across a white, desolate plane in a black suit, with a red shirt under her jacket. A man, Matt, in an three-piece suit is standing a few yards in front of her, at a slight angle, so we can just see a hateful expression on his face. He speaks with a distorted female child's voice.

                     MATT          I can't be myself while you're          around.

                     ASHILDR          Perhaps your definition of your          self-system lacks authentic          boundaries. You've erected a          precarious structure of personality          on unconscious factors over which          you have no control. That's why you          feel threatened by me. This clearly          makes the man nervous.

                     MATT          Aren't you an employee of a          prudence organization?

                     ASHILDR          And you work for Hollis. If you're          the stupendous talent you claim to          be, you can tell that by reading my          mind.

                     MATT          I can't read anybody's mind, my          talent is gone. I'll let you talk          to my brother, Bill. Here, Bill;          talk to this lady. Do you like this          lady?

A man with puffy grey hair, in a olive t-shirt and khaki shorts materialises. He also speaks with a distorted child's voice.

                     BILL          I like her fine because I'm a          precognicient and she doesn't          postscript me. 'I, that am          curtailed of this fair proportion,          cheated of feature by dissembling          nature' - how does it go, Matt?

                     MATT          'Deformed, unfinished, sent before          my time into this breathing world,          scarce half made up'

                     BILL          Oh, yes. I remember. 'And that so          lamely and unfashionable that dogs          bark at me as I halt by them.' From          Richard the Third.

                     ASHILDR          What does all of this mean?

Both the brothers give wide grins, and now speak in even more distorted voices.

                     MATT          It means that we are going to kill          you.

INT. - ASHILDR'S HOUSE - BEDROOM

A distant ringing of Ashildr's desk wakes her up. She gets up, lethargic, and slowly walks from her bedroom in to her living room.

INT. - ASHILDR'S HOUSE - LIVING ROOM

The hologram-screen says 'Travers' in clear text, with green and red phone logos underneath. She presses the green.

                     ASHILDR          Travers. Has a job turned up for          me?

                     TRAVERS                (OC)          Ash, I'm glad I caught you. A group          is forming under Sandra Archer's          and my direction; eleven in all, a          major work assignment for those we          choose. We've been examining          everyone's history. Sandra thinks          yours looks good, and I tend to          agree. How long will it take you to          get down here?

                     ASHILDR          For this one will I be living -

                     TRAVERS          Yes, you'll have to pack. We're          supposed to be packed and ready to          go at all times; that's a rule I          don't ever want broken, especially          in a case like this where there's a          time factor.

                     ASHILDR          I am packed. I'll be at the New          York office in fifteen minutes. All          I have to do is leave a note for my          husband, who's at work.

                     TRAVERS          Well, okay. I'll see you soon.

Ashildr hangs up, and sits down on her bed. We see flashbacks of the dream she had.

                     ASHILDR          But I've never read Richard the          Third. How would I know poetry I've          never read?

Uneasy, she hurriedly gets dressed.

INT. - TRAVERS OFFICES; NEW YORK

Travers is still sitting behind his desk. He presses a button on his intercom.

                     TRAVERS          Make a bounty check, Freck. Payable          to Major Anderson, for one-hundred          postcreds.

                     FRECK                (OC)          Yes, Mr. Travers.

Anderson enters, and starts pacing around the office.

                     TRAVERS          Sandra Archer can't seem to tell me          what the Jane Doe does.

                     ANDERSON          Sandra can be a real cunt.

                     TRAVERS          How come she, this Pat, can travel          back in time, and no one else can?          I'll bet this talent isn't new; you          scouts probably just missed          noticing it up until now. Anyhow,          it's not logical for a prudence          organization to hire her; it's a          talent, not an anti-talent. We deal          in -

                     ANDERSON          As I explained, and as Sandra          indicated on the test report, it          aborts the precogs out of business.

                     TRAVERS          But that's only a side-effect.          Sandra thinks she's dangerous. I          don't know why.

                     ANDERSON          Did you ask her why?

                     TRAVERS          She mumbles, the way she always          does. Sandra never has reasons,          just hunches. On the other hand,          she wants to include her in the          Mick operation. Ask Sandra to come          in here so we can see if we've got          our group of eleven set up.

He rearranges paperwork on his desk, and checks his watch.

                     TRAVERS                (Cont'd)          They should be arriving about now.          I'm going to tell Sandra to her          face she's crazy to include this          Pat Conley girl if she's so          dangerous. Wouldn't you say,          Anderson?

                     ANDERSON          She's got a thing going with Pat.

                     TRAVERS          What sort of thing?

                     ANDERSON          A sexual understanding.

                     TRAVERS          Sandra has no sexual understanding.          Nina read her mind the other day          and she's too poor even to -

Travers breaks off, as Freck walks in with a folder marked 'Bounty Check'.

                     TRAVERS                (Cont'd)          I know why Sandra wants her along          on the Mick operation. So she can          keep an eye on her. She's going          too; Sandra's going to measure the          psychic field despite what the          client stipulated. We have to know          what we're up against. Thank you,          Freck.

He waves Freck away, and holds a check out to Anderson, who accepts it.

                     TRAVERS                (Cont'd)          Supose we don't measure the psychic          field and it turns out to be too          intense for our inertials? Who gets          blamed?

                     ANDERSON          We do.

                     TRAVERS          I told them eleven wasn't enough.          We're supplying our best; we're          doing the best we can. After all,          getting Stanton Mick's patronage is          a matter of great importantce to          us. Amazing, that someone as          wealthy and powerful as Mick could          be so shortsighted, so goddamned          miserly. Freck, is Sandra out          there? Sandra Archer?

                     FRECK          Ms Archer is in the outer office          with a number of other people.

                     TRAVERS          How many other people, Freck? Ten          or eleven?

                     FRECK          I'd say about that many, sir. Give          or take one or two.

                     TRAVERS          That's the group. I want to see          them, all of them, before they          leave for Luna. Send them in.

Freck leaves.

                     TRAVERS                (Cont'd)          We know that as individuals they          perform well. It's all down here on          paper. But how about together? How          great a polyencephalic          counter-field will they generate          together? Ask yourself that,          Anderson. That is the question to          ask.

                     ANDERSON          I guess time will tell.

                     TRAVERS          I've been in this business a long          time. This is my contribution to          conteporary civilization.

                     ANDERSON          That puts it well. You're a          policeman guarding human privacy.

                     TRAVERS          You know what Ray Hollis says about          us? He says that we are trying to          turn the clock back.

The inertials start to fill up the office. Travers spots Ashildr, as she walks in.

                     TRAVERS                (Cont'd)          You made good time, Ash. You had          less time than anybody else, as I          notified you last. Some of you, I          know. You, Ms Dorn; Ms Archer and I          chose you because of your top-notch          activity vis-à-vis S. Dole          Melipone, whom you eventually lost          through no fault of your own.

                     DORN          Thank you, Travers. It is good to          be part of this new undertaking.

                     TRAVERS          Which one of you is Al Hammond?

A tall, black man in a leather jacket raises his hand.

                     TRAVERS                (Cont'd)          I've never met you before. You rate          the highest among our anti-precogs.          I should, of course, have gotten          around to meeting you sooner. How          many of the rest of you are          anti-precog?

Three other hands go up.

                     TRAVERS                (Cont'd)          The four of you will undoubtedly          get a great bloop out of meeting          and working with Major Anderson's          most recent discovery, who aborts          precogs on a new basis. Perhaps          Miss Conley herself will describe          it to us.

EXT. - FIFTH AVENUE

Travers is standing outside a rare-coin store, looking through a window. He then suddenly shakes his head, as if he is waking up from a trance.

                     TRAVERS                (Cont'd)          What the fuck?

He then comes to a realization, and clenches his eyes shut.

                     TRAVERS                (Cont'd)          Oh, shit. It's gone. Everything I          built up.

INT. - TRAVERS' OFFICES; NEW YORK

Travers opens his eyes again. He is sitting across from Sandra and Pat, and Anderson is sitting  Other than those four, the office is empty. Travers looks around, dazed and confused.

                     SANDRA          Travers, I'd like you to meet          Patricia Conley.

                     PATRICIA          How nice to be introduced to you at          last, Commodore.

Sandra pauses, and looks down at the floor for a moment.

                     SANDRA          I can't put my finger on it but          things are different.

                     PATRICIA          Nothing is different.

                     SANDRA          Everything is different. You must          have gone back in time and put us          on a different track; of course I          can't prove it and I can't really          specify the changes - at least not          yet--

                     TRAVERS          Please, no domestic quarreling on          my time.

                     SANDRA          'Domestic Quarreling'?

                     TRAVERS          Anyhow, to continue, we must each          ask ourselves why Stanton Mick took          his business to a prudence          organization other than ours.          Logically, we should have gotten          the contract; we're the finest in          the business and we're located in          New York, where Mick generally          prefers to deal. Do you have any          theory, Mrs Conley?

                     PATRICIA          Do you really want to know, Mr          Runciter?

                     TRAVERS          Ye, I'd very much like to know.

                     PATRICIA          I did it.

                     TRAVERS          How?

                     PATRICIA          With my talent.

                     TRAVERS          What talent? You don't have a          talent; you're Sandra Archer's          wife.

                     ANDERSON          Pat, you only came in to here to          meet Sandra, Travers, and me for          lunch.

                     TRAVERS          Have you measured it? I mean,          that's your job. You sound as if          you have; you sound sure of          yourself.

                     SANDRA          I'm not sure of myself. Something's          wrong. I'll get my test gear.

                     TRAVERS          Oh, come on Sandy. If your wife has          a talent or an anti-talent you          would have measured it by now.

He presses a button on his desk.

                     TRAVERS                (Cont'd)          Nina, do we have a file on Mrs          Patricia Archer?

                     PATRICIA          Conley. Patricia Conley.

                     SANDRA          What is wrong with you?

Pat turns to Sandra, and smirks.

                     SANDRA                (Cont'd)          Oh, no. Fuck you.

                     NINA                (OC)          On a Miss Patricia Conley we have          two items; an initial report by          Major Anderson, and then test          findings by Ms Archer.

Travers Desk pops up with the two mentioned documents shown.

                     TRAVERS          Sandra, you better look at this;          come here.

                     PATRICIA          I know what it reads, "Unbelievable          power Anti-psi field unique in          scope." Can probably -

                     TRAVERS          We did get the Mick contract. I had          a group if eleven inertials in          here, and then I suggested to her -

                     SANDRA          That she show the group what she          could do. So she did. She did          exactly that. And my evaluation was          right.

Sandra smirks, and laughs.

                     SANDRA                (Cont'd)          My own wife.

                     PATRICIA          Yeah, I'm not your wife. Changed          that, too. Do you want it back the          way it was? With no changes, not          even in details? That won't show          your inertials much. On the other          hand, they're unaware...unless some          of them have retaines a vestigial          memory has Sandra has. By now,          though, it should have phased out.

                     TRAVERS          I'd like the Mick contract back;          that much, at least.

Anderson puffs on a cigarette.

                     ANDERSON          When I scout them, I scout them.

                     TRAVERS          Yes, you really bring in the          talent.

                     FRECK                (OC)          A group of your inertials are          waiting to see you, Commodore; they          say you sent for them in connection          with a new joint work project. Are          you free to see them?

                     TRAVERS          Send them in.

Patricia holds the back of her hand up to Sandra.

                     PATRICIA          I'll keep the ring.

                     SANDRA          I think you're forgetting.

                     PATRICIA          What, that you're taken by that          bitch, Alice? Give me a break.

                     SANDRA          How dare you!

                     PATRICIA          I'll have you know that on a          different time track you had me          pick this very ring out.

Sandra, speechless, turns to Travers, who is gathering paperwork.

                     SANDRA          Couldn't you just slap her          sometimes?

                     TRAVERS          I barely know her.

INT. - TARDIS

The Doctor wakes up on the floor of her TARDIS. She suddenly sits up with a sharp intake of breath.

                     DOCTOR          What the fuck? What the fuck? What          the fuck?

We have a flashback of the Master's recent quazi-regeneration. Another sharp intake of breath.

                     DOCTOR                (Cont'd)          Oh no you don't. No way.

She stands up and starts running around her console, pressing buttons, pushing levers.

                     DOCTOR                (Cont'd)          Don't you dare, mate. Don't you          fucking dare. Not under my watch.

INT. - TRAVERS' OFFICES; NEW YORK

The inertials have again filled up Travers' office, and are all talking, making a racket. Travers is looking at a clipboard and ticking off people's names with one of those yellow pencils.

                     TRAVERS          Edie Dorn; yes you're here.          Hammond? Okay, Hammond. Ashildr?

                     ASHILDR          I made it as quickly as I could.          You didn't give me much time,          Travers.

                     TRAVERS          Hmm. John Ild? Yes, good.          Francesca?

                     FRANCESCA          During the last few minutes,          Travers, while we waited in your          outer office, mysterious voices          appeared to me and told me things.

                     TRAVERS          You're Francesca?

                     FRANCESCA          I am; I have always been; I will          always be. May I tell you what the          voices revealed to me?

                     TRAVERS          Possibly later.

Traver goes on to the next document on his clipboard with a large sigh.

                     FRANCESCA          It must be said!

                     TRAVERS          All right, we'll take a break for a          couple of minutes.

Everyone, with the exception of Travers, Sandra, and Francesca spills in to the outer office. Travers opens a draw and swallows a pill with a glass of water. He then turns to Sandra and shrugs.

                     TRAVERS                (Cont'd)          Let's hear what the voices revealed          to you, Francesca.

                     FRANCESCA          Someone, just now, moved us, all of          us, in to another world. We          inhabited it, lived in it, as          citizens of it, and then a vast,          all-encompassing spiritual angecy          restored us to this, our rightful          universe.

                     SANDRA          That would be Pat. Pat Conley. She          just joined the firm today.

Travers rolles his eyes and walks out in to the outer ofice.

INT. - TRAVERS' OFFICES; NEW YORK - OUTER OFFICE

All the intertials are in the outer offices, chatting. The Dotor enters, soon by the Master. The Doctor turns to the Master, shakes her head, mouthing the word 'No'. The Master promptly smirks. The Doctor walks up to the Master.

                     DOCTOR          Whatever you're thinking --

                     MASTER          Don't worry! I'll be such a good          girl.

                     DOCTOR          That sounded sarcastic.

                     MASTER          Whether or not that was sarcasm is          for me to know and for you to find          out.

                     DOCTOR          You still going with Missy?

                     MASTER          No. Too camp. This body is not          really the campy type.

Travers peeks his head through the door.

                     TRAVERS          Tito Apostos? You're here?

A bald man in gold lamé trousers and a handlebar moustache (Jamie Hyneman?) nods his head. Travers walks out further with a clipboard.

                     TITO          I'm an anti-animator.

                     TRAVERS                (to Sandra)          The only one we use. I wonder if          we'll need him; maybe we should          subsitute another anti-telepath -          the more of those the better.

                     SANDRA          We have to cover everything, since          we don't know what we're getting          ourselves into.

                     TRAVERS          I guess so. Okay, Wendy Wright? Goh          yes, good. Sammy Mundo?

A brief pause. The Doctor then runs up to Travers and flashes her psychic paper at Travers.

                     DOCTOR          That's me. Sammy Mundo. Short for          Samantha.

                     TRAVERS          Okay; that leaves Fred Zafsky.

                     MASTER          Right you are. How about that?

The Master takes out an object from her bra that looks similar to the Doctor's psychic paper, and shows it to Travers.

                     TRAVERS          Christ. Well, we have to include at          least one anti-parakineticist, to          be safe. And you're it, by the          looks of it.

The Doctor takes the Master to the side.

                     DOCTOR          What was that?

                     MASTER          What?

                     DOCTOR          The psychic paper! Where the fuck          did you get that from?

                     MASTER          I have my ways, sweetie. Come on,          let's watch the show.

                     DOCTOR          Don't you ever fucking call me          sweetie.

On the other side of the room...

                     TRAVERS          That's the group, plus you and me.          Any last minute changes you want to          make?

                     SANDRA          I'm satisfied.

                     TRAVERS          You suppose this bunch of inertials          is the best combination we can come          up with?

                     SANDRA          Yes

                     TRAVERS          And it's good enought to take on          Hollis' Psychics?

                     SANDRA          Yes.

Tito walks up to Travers and Sandra.

                     ASHILDR          Ms Archer, may I have a second of          your time?

                     TRAVERS          I'll leave you two alone.

Travers walks in to his main office.

                     SANDRA          May I help you, Tito?

                     ASHILDR          Could I discuss an experience I had          late last night?

                     SANDRA          If this is of a sexual nature, I          really can't help. My expertise is          better in the -- female department.          Sorry.

                     ASHILDR          No, it's not that. In a hypnagogic          state I seem to have contacted one,          or possibly two, of Mr Hollis'          people - a telepath evidently          operating in conjunction with one          of their precognicients. Do you          think I should tell Travers? Do you          think it is of impotance?

Sandra pauses, looks out in to the crowd, and sighs.

                     SANDRA          No. I'd let it go if I were you.

Travers enters the outer office again with a piece of paper. He puts his hand up in the air, and waves it.

                     TRAVERS                (With a raised voice)          Excuse me, everyone. Everyone?

The room quietens down.

                     TRAVERS                (Normal tone)(Cont'd)          Ladies and gentlemen, we're taking          for Luna, you eleven inertials,          Sandra Archer and myself, and our          client's representative, Miss Robin          Wright; fourteen of us in all.          We'll use our own ship.

Travers glances at his piece of paper. And then his watch.

                     TRAVERS                (Cont'd)          It's three-thirty now. Pratfall II          will take off from the main roof          field at four.

He snaps his watch shut, folds up the piece of paper, and returns it to his pocket. He then leads Sandra in to his office, and shuts the door behind him.

INT. - TRAVERS' OFFICES; NEW YORK

                     SANDRA          Well, Travers, we are in this for          better or worse. I wish we had a          resident precognicient who could          take a look ahead for us.

INT. - TRAVERS' OFFICES; NEW YORK - OUTER OFFICE

The Master looks out at the small crowd preparing, smirking; like she knows something more.

#doctor who #thirteenth doctor #fanfic #doctor who fanfic #jodie whittaker #the master #philip k dick #ubik

[junker-town]

The USF vs. UCF live blog: Knights outlast archrivals in the best game of 2017 so far

The War on I-4 delivered.

Fourth quarter

UCF 49, USF 42, :39. While the Bulls were driving, Mitchell Wilcox caught a pass and turned to run, but Richie Grant punched it loose, and Shaquem Griffin pounced on it. That’ll be your final score. Knights win the AAC East and will host Memphis next weekend, with a spot in a New Year’s Six bowl on the line. USF piled up 653 yards to UCF’s 543, with Quinton Flowers a school-record 605 total yards, but the Knights took better advantage of their opportunities overall. This was the best game of the year so far, and I’ll add a full highlight video as soon as one’s available.

UCF 49, USF 42, 1:28. Lmao UCF’s Mike Hughes just ran back the kickoff.

UCF 42, USF 42, 1:41. An 83-yard TD from Quinton Flowers to a WIDE-OPEN Darnell Salomon put the Bulls in position to tie, and Flowers found an equally wide-open D’Ernest Johnson for the two-pointer. So yeah! UCF running in that TD on the previous drive was a bad idea!

UCF 42, USF 34, 2:21. A screen to Otis Anderson turned into a winding, 23-yard touchdown, and this is still just a one-score game. UCF probably should’ve kneeled after the first down line and killed more clock, but points are fun to score!

UCF 35, USF 34, 4:03. Nine-play USF drive ends with a punt. Knights can just about ice the division.

UCF 35, USF 34, 7:13. And just like that, McKenzie Milton completes two big passes, one a streaking 45-yarder to Dredrick Snelson to retake the lead.

USF 34, UCF 28, 7:50. A game that was once totally frantic has stalled out for a while. Prepare for a silly finish.

USF 34, UCF 28, 14:02. Couple punts! We’re taking another break from offense for a little bit.

Third quarter

USF 34, UCF 28, 3:41. One UCF play, one INT by USF. Guess which Bull ran in the TD via juke right after that? Quinton Flowers is now up to 459 total yards and four total TDs.

UCF 28, USF 27, 4:42. The Quinton Flowers and Darius Tice show on that 11-play drive. Flowers is up to 429 total yards, and ...

Defensive linemen have to despise Quinton Flowers, this is so much running by fat dudes to just catch one guy

— BUM CHILLUPS (@edsbs) November 24, 2017

UCF 28, USF 20, 8:30. The Knights are back in business. McKenzie Milton found Tre'Quan Smith to capitalize on great field position, all set up by Shaquem Griffin bottling up Quinton Flowers on a pass rush.

Shaquem Griffin is one of college football's most amazing players everhttps://t.co/IlzHOXJ3YI

— SB Nation CFB (@SBNationCFB) November 24, 2017

UCF 21, USF 20, 11:33. That’s five straight stops by the Bulls. A fourth-and-1 throw from USF’s 28 hits the ground.

Second quarter

UCF 21, USF 20, halftime. Quinton Flowers had the Bulls moving toward a last-second field goal, but an INT by Mike Hughes made it four failed scoring chances for the Bulls. Red zone troubles and a missed XP have cost the Bulls a lot. They’re outgaining UCF, 396 to 247.

UCF 21, USF 20, :55. FOUR STRAIGHT PUNTS BY UCF. They’ve had four or fewer punts in seven full games so far.

UCF 21, USF 20, 2:09. Quinton Flowers ran or threw on six of seven plays in this TD drive, including the 21-yard toss to Mitchell Wilcox. Flowers is up to 365 total yards in the first half lol.

UCF 21, USF 13, 5:08. Look at these defenses! UCF three-and-out!

UCF 21, USF 13, 7:04. These offenses are still pulling off alley oops all over the place, but the defenses have finally caught up. Punt into the end zone by USF after a couple silly gains by Quinton Flowers.

Tyre McCants breaks the USF single-game receiving record... IN THE FIRST HALF!! He's at 201 yards receiving with 8 minutes remaining in the first half.

— Collin Sherwin (@USFCollin) November 24, 2017

UCF 21, USF 13, 10:13.

The Bulls snuff out the screen and C. will punt again. Back-to-back stops for the defense is huge.

— The Daily Stampede (@StampedeSBN) November 24, 2017

UCF 21, USF 13, 11:46. The Bulls stay alive with a 20-yard Quinton Flowers lob to a leaping Temi Alaka. USF missed the extra point, a USF specialty, and two different USF touchdowns on this drive were brought back by penalties, also a USF specialty.

UCF 21, USF 7, 13:49. USF got a stop! Now starting inside their own 10.

First quarter

UCF 21, USF 7, :48. USF punt. Bulls in major trouble. Knights looking ridiculous.

UCF 21, USF 7, 2:23. OK, McKenzie Milton is balling out. The Knights QB ran a really slick option, faking the pitch and keeping before dropping off the delayed pitch to Adrian Killins Jr. for the score.

I love a perfectly timed pitch. So pretty. Bonus being 5 yards past the line of scrimmage http://pic.twitter.com/IEg2IZZzR4

— Big Cat (@BarstoolBigCat) November 24, 2017

UCF 14, USF 7, 4:30. A USF field goal sails wide right, and that’s two scoring chances missed. That ain’t gonna cut it against UCF.

UCF 14, USF 7, 5:41. A scrambling McKenzie Milton made a nice throw over the top to Dredrick Snelson in the back of the end zone, completing a 10-play drive.

USF 7, UCF 7, 8:41. A stop! The Bulls came up short on fourth-and-1 in the red zone. Still probably the right call to go for it, since it’s hard to picture three-pointers winning this game.

USF 7, UCF 7, 11:16. The Knight strike right back with an eight-play drive, ending with QB McKenzie Milton keeping on a bootleg. Why yes, these are two of the country’s best offenses, why do you ask?

USF 7, UCF 0, 13:52. USF fans wanted some screen passes. They got ‘em, and a 47-yard Tyre McCants TD on the first drive of the game.

Wheeeeeeeee! http://pic.twitter.com/H2UJXaVWrE

— SB Nation (@SBNation) November 24, 2017

Pregame

UCF’s looking clean, with each player getting a custom helmet decal of himself:

Awesome idea by @UCF_Football https://t.co/lUo8cAQthl

— SB Nation CFB (@SBNationCFB) November 24, 2017

Preview

Miami may have the best college football team in Florida — though it’s up for debate. The battle for the No. 2 slot wages Friday, and it doesn’t feature the Gators or Seminoles. The No. 15 UCF Knights will welcome the South Florida Bulls to Orlando for an AAC showdown that could determine the Group of 5’s New Year’s bowl invitee. The two teams meet at 3:30 p.m. ET Friday; the game will be broadcast live on ABC (live stream).

The 10-0 Knights have torn through their competition this fall, but the 9-1 Bulls represent the toughest matchup on their schedule — and possibly their last chance to make an impression on the College Football Playoff selection committee. This final-week showdown isn’t just a resume-booster; it will also determine who wins the AAC East. South Florida is the only team left that can knock UCF from its perch atop the division. A title game showdown with Memphis awaits the winner.

Time, TV channel, and streaming info:

Time: 3:30 p.m. ET

Location: Spectrum Stadium, Orlando

TV: ABC

Streaming: Watch ESPN

Odds: UCF is favored by 10 points.

USF vs. UCF news:

UCF celebrated a field goal last week by shotgunning imaginary beers and, oh God, just put them in the Playoff already.

South Florida may have gotten caught looking ahead to today’s game in a too-close-for-comfort win over 2-9 Tulsa last week.

“It was a tale of two halves,” head coach Charlie Strong said. “First half, we moved the ball up and down the field, they couldn’t stop us. We come back in the second half and we couldn’t move the ball at all.”

The secret to Scott Frost’s success? Opening up the UCF playbook.

Despite ranking No. 6 in total yardage, no individual Knight is averaging more than 73 yards either rushing or receiving.

Sixteen players have caught passes, more than Washington State or any of the country’s other eight most passing-friendly offenses. And 13 Knights have carries, a longer list than even Georgia Tech’s.

In 692 plays over eight games, Syracuse has used 17 different ball-carriers. In 406 plays, the Knights have used 23.

Despite a lackluster resume, pollsters can’t ignore a one-loss USF team.

The Bulls inched up a spot to #19 in the latest Amway Coaches Poll and did the same in moving up to #22 in the latest Associated Press Poll.

They were once again joined in both set of rankings by conference foes UCF and Memphis. The Knights checked in at #12 and #13 in the Coaches and AP, respectively, while the Tigers were slotted at #16 and #17.

Will Friday’s game be the departure point for either team’s head coach?

Frost’s turnaround at UCF has been remarkable. In fewer than two years, he’s turned an 0-12 program into an undefeated juggernaut. That’s made him a popular candidate for some high-profile coaching vacancies, and he’s been linked to schools like Florida and Nebraska before his regular season could even end. Strong doesn’t quite have the same buzz at USF, but a big finish to 2017 — and a one-loss season — could make him a candidate to rejoin the Power 5.

USF vs. UCF prediction:

The Bulls may be 9-1, but their 2017 schedule lined up more cupcakes than a bakery. USF’s best win this fall is over either Temple or Tulane — and UCF is a major step up from those two programs. Expect the Knights to finish out their perfect regular season.

[letsjamesbrigdenthings-blog]

Session 3

Session 3.

This was postponed initial due to Jason’s other work commitments. During the interviewing I discovered two major things one was peoples did not yet trust me and so their disclosures where samey and often dull. Two some of the interviews where too contravortial. Both these led to huge moral panic and questioning. Then I had the idea of The Procrastinarium a series of small interactive sideshows which open up an audiences creativity. I talked the idea through with Bella who had expressed a desire to work with me but not on Queen’s in Search of a Country.

Initially we thought big. After our Month travelling to Croatia, Norwich, Newcastle and Hull we met several artists and took part in various workshops. Two experiences that changed the way I understood my ideas where:

The Baltic exhibition of the artist Roddy Graham. http://www.balticmill.com/whats-on/rodney-graham I believe this interest came in the curation rather than the content. The Spaces in which his work occupied moved between invasive picture spaces to chilled out record listening areas. This and the breathed of his work excited me. There was also something in the way he showcased the everyday in big fascinating cinematic ways.

The other experience that changed things up was the workshop led by Stephen Mottram on The Logic of Movement.

I have been a fan of Mottram's work since he attended the Beveley Puppet Festival in 2008 with The Seed Carriers. His latest show The Parachute is my least favourite  of his work but its simplicity and beauty appealed to me greatly when we witnessed it at The Moving Parts Festival. https://www.youtube.com/watch?v=f-i8ReV5EU8 

The shift of audience perspective is what we need to procrastinate effectively.

The initial ideas which needed scaling down and working on were:

The Procrastinarium!

Picture blowing up!

Using phones, trace image. Place traced image under tracing projector. Re-trace enlarged image.

Shadow puppetry!

Using paper cut techniques, using floaty materials, using gels.

Mask!

Trans mask and Full mask using the work of Steve Gerrard, Mark Pitman and Le Coq. Masks have simple expressions. Play against the mask. Game of guess the mask by endowments.

Bunraku puppets!

Simple rag puppets/torch puppets. explore the techniques used by Stephen Mottram in Logic of Movement. Weight, tempo, breath, transference.

Black out poetry!

Use junk mail letters creatively. Use old text creatively.

Marionettes!

Weight/tempo.

Primitive portraits!

By Bella to entice.

Scrap instruments.

A sound sculpture using pipes tuned to complimentary keys. Using gamelan techniques.

We told Jason and Ellie about this project they where very excited. Then we told the module leader and we were told it was not possible. Perhaps the ideas where too big. Perhaps the ideas where not heard fully. Regardless we where told by the module leader to work in a black box space. So we decided to do a play. Again it focussed on our over arching theme of home. Dislocation and home.

Here is the script:

Anne to camera.

It was cold. I was lost. I was cheery. My mother put me in a bluey green dress.

It was plain not patterned It brought light into my eyes. She said I must wait. I didn’t know what for.

Perhaps until it was good again.

She said I was beautiful and that I danced across her dreams every night. She said it was wrong. She said she should keep me safe in sleep not the other way round.

I was scared of the dark but it crept in. She tried to keep me away from it the best she could. Her feet where tangled. She stopped being. She was not near. I stopped being before the music started.

George: There’s a load of crap in these bags. Where do... What even is this? Ann: It’s a hat pin George. George: A hat pin? Ann: Yes. A pin for a hat.

George: Well do we sell Hat pins?

Ann: Yes. George: It’s pretty I suppose. Ann: Put it with the earrings. George: How much shall I put it out for? Fifty p? Ann: No. It’s beautiful. You can’t put it out for fifty p. Do it for one fifty. George: One forty nine. It is a charity shop after all. Not a vintage boutique. Ann: You’re funny.

George: What do you mean? Ann: When it comes to pricing. You always knock a penny off. George: Its psychology. You’re more likely to buy... I dunno its some bollocks I read once. Ann: Lalalalaala George: What? Ann: LaALALALA

George: Cut it out. Ann: I won’t listen if you keep swearing. George: Bollocks int swearing Ann: Lalalalala George: Fuck on the other hand. Ann: Laalalalalalaal George: Alright I won’t. Why don’t you like swearing anyway? Ann: Elsie Never swore. Told me it was bad. George: Oh. Yeah my Gran was the same. Still I bet she swore when you weren’t listening. Ann: No. Never. I was always there you see. George: Always? Ann: Yes. George: Even on the loo?

Ann: No... Not often. George: I bet she spoke like an Irishman’s .... when you weren’t there. Ann: No. George: I bet she did. Ann: She wouldn’t. Her dad was a sailor. George: There you go. Or was he whiter than white too? Ann: No. She didn’t like her dad.

George: Same. Look at all this tat. Hey there’s some records here. The Picture of Dorian Gray read by Hurd Hatfield. Bobby and Betty go to the Moon. Olivia Newton John Physical workout shred........ David Whitfield...

Ann: Caramia. George: Yeah. Hell you’ve got good eyesight. Read that right through me. Ann: It was Elsie’s favourite. Put it on. George: No.

Ann: Put it on.

George: We’ve not got a record player.

Ann: On your phone then.

George: I’ve not got any data.

Ann: Use the Cafe s wifi next door. That’s what you use when you go to look at those dirty videos in the loo.

George: I don’t. Ann: You do.

George: I don’t... I am signed in though because I had to send an email to...You’ve not told Mrs Foziard about that have you?

Ann: Don’t be daft. To her I’m a puppet. Remember. She’d have a triple bypass if I started telling her what you get up to in the loos.

George: How do you know?

Ann: Because you always have a wet patch on your shirt where you’ve been trying to clean your... excrement off. Don’t worry its perfectly natural.

George: Well I can’t do it at the hostel. Ann: You’re avoiding the subject George. George: I’m just surprised at your sleuth. Ann: Put Caramia on by David Whitfield. George: Alright. How do you spell Caramia? Is it with a c or a k? Ann: It’s on the record. C.

George: Oh yeah. Here it is.

Caramia Ann: That’s it. I’m back there. George: Where? Ann: With Elsie. I was so happy. George: It’s not th... Ann: Shush. I’m listening. That’s the Manitoni orchestra.

George: I thought that was a soup. Ann: Manitoni. Not Minestrone. George: It was a joke. Ann: Shush. I love that choir. George: Sounds like Disney.

Ann: That’s the point. I was Elsie’s fairytale. Hey what’s happened? Why’s it stopped? George: Buffering. And. And.And we’re back. Eh cheer up. It’s back on. Ann: I miss her so much. George I never wanted her to go. I wanted to go with her. George: Did she make you?

Ann: Yes.

George: Did she make any other puppets? Ann: No. I don’t like that word. Elsie made me because she had to. She... got pregnant.

unmarried to a polish man. He was left over from the war. Her father went mad. Her mother understood. She met him whilst working at the YMCA. She never told me his name. Wouldn’t speak it. He left. Went back to Poland the day after she told him she was having his child. He didn’t believe her accused her of all... he wasn’t very nice. Perhaps he was scared. It didn’t matter Elsie was alone. Her mother persuaded her father to let her stay in the house as long as she gave up the child when it was born.

George: What did she do? Ann: Exactly that. She called the child Clive. George: Why aren’t you a boy?

Ann: She wanted to make me like him but it was too painful. When she was pregnant she thought she was having a girl. She thought if she had a girl then her father would find it harder to send it away.

George: Did she find him? Ann: No. Never looked. I was all she needed. She always said... George: So he’s still out there?

Ann: I don’t know. He never got in touch. She gave him away after a week. I think that was what hurt the most. Her mother was doing her best trying to persuade her dad to let her

keep him but he wasn’t having any of it. She stalled him for a week but that week was a limbo. Like waiting to be sold.

George: Don’t be daft you’ll be bought by a nice kid. You’ll go to a good home.

Ann: I’ll get discarded after a year or two. Elsie never treated me like a toy. I was her child. So a week after his birth a couple from Shropshire, friends of Elsie’s dad came and got him. Never spoke of again until after the father died. When Elsie gave Clive up her and her mum and dad moved up here. Practically straight away.

George: hmmm Ann: Get away from... Anyway about a month after Elsie made me. George: Did She have any other Boyfriends? Ann: No. George: What never? She wasn’t a lesbian was she? Ann: No. just didn’t want the trouble. George: She must have had urges. Ann: No.

George: How do you know?

Ann: She was with me all the time. She would have told me. She lived with her parents her dad died. Her mum carried on for a while after then it was just me and her. until about a year ago when her cousin Karen heard she was ill and then she started hovering round. She never liked Elsie much. I tried to tell her but she wouldn’t have any of it.

George: After her money?

Ann: Why else would she bother appearing. Still her sons moved Elsie’s bed downstairs for her. But Karen kept putting me back upstairs when Elsie wasn’t looking. My house was upstairs but Elsie wanted me to be with her.

George: What happened at the end?

Ann: Nothing really just age. She was ninety two. George: Crikey. Ann: Things just went down hill for her. She was fiercely independent. She was a teacher. George: I hate teachers. Self righteous little....

Ann: Not Elsie. You would have loved Elsie. She taught in a special needs school. She was always their favourite. She used to take me in with her but I was too shy to talk. But in her last year she stopped driving when her car failed it’s MOT and she stopped going out. She

had a couple of falls. It was all very civilised. There was no grand deathbed scene. The doctors told her not to go up stairs anymore and the house wasn’t suitable for a stairlift but she’d sneak up to talk to me every night. Then of course the neighbours who knew of Elise’s problems saw the lights on upstairs and called Karen to come over. Elsie of course denied going up the stairs but.... She could be tricky like that when she wanted to be.

George: I’ve got to....

Ann: Get off?

George: No. I would never wank after you told me that stuff. I mean I will eventually but not straight away. I’ll leave it an hour at least. I might try one in the bus station toilets or on the back seat..... Oh god I see what you mean. Yes I’ve got to get off home now. Well not home but the hostel yes I...

Ann: Can you kiss me? George: What?

Ann: Will you kiss me? George:......................... Where? Ann: Here. George: bue...eee.....errrr. I it might be a bit.... Ann: Fine. George:(Kisses on forehead and bolts out the door) Must... Ann: Get off now? George: Miss me bus....

Ann to camera.

Train rides to the seaside where always fun. Me and Mum in Kiss me Quick hats. Dipping our toes in the freezing cold Irish Sea. The donkey rides.

Sleeping on the way home. Ice cream dripping on me.

Ann: So your mum’s been married four times? Is that right?

George: Yeah. Every one of them a total... Ann: Have any of them died?

George: Not that I know of. They didn’t when they were with her. I thought the stress might have got Barry. He was hubby number two. He was with her when I was six. Right little terror I was. He was sweet really... Posh car. He had a big house an all. On Vicky Dock. He used to drive us round all over. Peugeot something... I’ve never been one for cars me. He had a good job too. Worked for council. Something big in housing. He sorted us a nice flat. We jumped the waiting list. He had a dog too.

Ann: What kind? George: Chow. Ann: Auf Wiedersen. George: No a Chow. Ann: I know, I’m only messing. George: How do you know about dog breeds? Ann: I live in a charity shop. There’s always books on looking after dogs. Never ones on

looking after people but always ones on dogs.

George: Dogs come first see. That’s part of the reason why my mum gave him the elbow. That and... well he wasn’t very bothered about the other.

Ann: What other? George: You know S.E.X.. Ann: Oh.

George: He lived with his mother til he was thirty five. I hope I don’t end up like that. No I’d have killed her by then. I’d make it look like it was an accident. She tripped on a butty and slipped out of the window. When his mother died he thought a dog would make him feel better then he got me mother and lumbered with me. My mother is a very loud and

very active shagger. Barry was well a bit limp and a bit of a lump. A limp lump. She was wasted on him he wanted a domestic godess and he got a nymphomaniac who just wanted a bigger council flat. She couldn’t even make toast on a grill.

Ann: What about your dad?

George: Dunno. I’ve never met him. I’ve heard so many things about him... He was in a band. He shot an old lady for a fiver to get a bag of chips. He was in the circus as a freak act and escaped met my mum in Taveners married her the next day and got captured back into the circus. He worked on pylons. He’s from Cleethorpes.

Ann: Don’t you want to find him?

George: Not if any of that stuff is true. Husband number three was called Cliff! He was a kid really. Started seeing my mum when he was 16. His mam was my mum’s, cousin’s best friend’s sister so it was sort of incest. He used to have his hair spiked up like... he hated me. I was only about seven years younger than him. He used to sit outside the flat for hours in his car. It was bright yellow. He played Agadoo on repeat really loud. I think he must have been on something. Perhaps he was remembering happier times... I felt sorry for him but he was a weirdo.

Ann: What happened to him? George: Well he was up a ladder on a church roof. And he fell. Ann: ouch.

George: He knackered his back. Tried to get compensation but the church accused him of trying to nick their lead. Apparently he didn’t have permission to be up there. He said he was putting it back after he found it dumped by the roadside.

Ann: Did your mum believe him? George: No. None of us did.

Ann: Good. Stealing is bad. I’m glad your mum left him over dishonesty.

George: Oh no she wasn’t bothered about that. His back meant he couldn’t give her the other...

Ann: S.E.X.?

George: Exactly. For four months so she started getting it off Derek. He’s her latest squeeze. He is the most boring bastard I have ever met. He’s an ugly...

Ann: George! Be mice and don’t swear.

George: He’s an ugly git as well. He wears the same vest everyday and sits around in his boxers picking out... I don’t know what, from in between his toes, whiskers and bum crack. He puts a little pile of dead skin and fluff on the arm of his chair.

Ann: Disgusting. George: I know. Apparently he’s magic at the other. Ann: S.E.X.?

George: Yes. I could hear them every night. He gets disability for his sciatica. If the DWP could hear what he does to my mother with his problem I bet they’d deem him fit for work. He kicked me out.

Ann: Why?

George: He says he’s spiritual. Supposed to be a shaman or something, calls himself Four Ferrets. He retrieves people’s souls. He’s got my mum well hooked into it. He believes I’m full of bad spirits. Possessed...

Ann: By what?

George: An owl. Apparently an owl’s energy is not compatible with a ferret’s. So I was kicked out.

Ann: Didn’t your mum stop him? George: No. Men come first. Ann: That’s awful. George: No it’s not. I went to live with my Gran. She was sick. Ann: Oh.

George: Sick cool. Not sick dying. I mean she ended up sick dying. But when I first moved in she was just sick cool.

Ann: Is that why you’re in the hostel?

George: Yeah. She died and all the family wanted to get through all her stuff and sell it and... I mean it was a rented place too so they had to do it quick like. I got a box of it. But she was sweet. Used to smoke in bed. It was like a jungle her bedroom. She thought by having plants all around her bed it would swap the air for oxygen so the smoking wouldn’t be bad for her. It didn’t work.

Ann: I’m sorry.

George: Me too. She was lovely. She always gave me toffees in golden wrappers as a child and I’d suck on them for hours. And she used to put sugar in my lemonade to make it fizz up over the surface. She was the best friend I ever had. I wish I’d moved in sooner. It was awful at the end. She was in a hospice. The relatives had already started sorting out her stuff so I was the only one with her when it happened. Within seconds she was cold and stiff and I was crying. They’re used to it in the hospice. They were very kind. They took me away and gave me a chocolate hob knob or was it a ginger nut? I can’t remember funny what stays

and what doesn’t. I thought I’d remember that biscuit forever. I do remember it had fluff on it though. Come out of the jar. The jar was sticky.

George: Ann? Ann: Yes George. George: I’ve got you something. Ann: Really?

George: A present. Ann: You hid it from me all day? George: Yeah. I couldn’t give you it in front of the customers. Or Mrs Foziard. Ann: You haven't stolen it have you? George: No. It was in a box of my Gran’s things. Do you want it? Ann: Yeah. George: I wrapped it up and everything. The wrapping paper I nicked though. Ann: George.

George: Just kidding. It’s recycled. It was this kids birthday in the hostel and he had some presents. Anyway I got the paper out of the bin. There’s a bit of a stain on it. I think it’s pizza grease. At first I thought it was that stuff they put on condoms... Spermicide. But I’m pretty sure they don’t make tomato flavoured johnnies yet.

Ann: Thanks. I can’t open it...Felt hands you see. George: Oh yeah... Didn’t think of that...crap...er what shall we do then?

Ann: You could open it? George: Oh yeah. Good idea..... See... Ann: It’s beautiful. George: Its a mandolin. An Ann sized mandolin. Ann: An Anndolin. George: It’s a music box too. Listen. I just wind it up. Like I wind you up and.... See. Ann: Its amazing George... You’re sure it’s not stolen? George: Yes. What do you...

Ann: I know. It’s just you...

George: I know. But I’ve changed. It was my gran’s. She used to have it on her sideboard. On a doily. Brought it back from Spain or somewhere. Her first holiday after my Grandad died. She met a waiter called Og. He had jet black hair and a carpet on his chest. I think he gave it to her on their last night. HA I still don’t know how she got the mandolin. Get it? Eh?

Ann: It’s not funny. George: Okay. Anyway I used to dance around for hours with it. I used to love the tune.

Hmm Hmmm hmmm hmm mmmm. Ann: Do you play any instruments? George: Not reall... Well guitar... a bit. Ann: There’s one over there. Play it. George: No.

Ann: Go on. George: I don’t. Ann: You just said you did. George: Well I did. But I don’t play in front of people. Ann: Do puppets count? George:..... I thought you didn’t like that term? Ann: When it suits. Just play it George. George: I just used to play at my gran’s when no one was in. She was practically deaf

anyway. Oh go on then. WHOLE WIDE WORLD Ann: Did you write it yourself? George: I wish... It’s simple enough. Ann: It’s beautifully simple. George: Ha... It’s Wreckless Eric. Ann: Who?

George: Just this singer from the... Seventies? It’s my mum’s favourite. She had it at all four of her weddings. First dance and everything. I thought If I played it to her she’d stop going off with wankers.

Ann: George George: Fooking piss. Ann: George! George: What?

Ann: Don’t swear.... Mustn’t... Shouldn’t swear theres no need. George: Sorry. It’s just... I like it. Ann: Like what? George: Swearing. Course.

Ann: It’s stupid.

George: It makes me feel... Try it.

Ann: No. I don’....

George: Go on. Just F. just once.

Ann: No.

George: You'll like it.

Ann: Well I don’t like it. If you swear again I won’t speak to you. In fact I’ll die... And stay dead.

George: You’re not alive anyway. You're just a puppet...

Ann: George. George: Or a doll. I forget wh.... Ann: George, I am.... I have never been so insulted in.... George: You want to get out more. Ann: Take it back George. You're really horrid when you want to be.

George: Look Ann I can just walk away. Anytime I like. Just cash up and walk out of this dump and never see you again. You couldn’t follow me.

Ann: I could.

George: How?

Ann: I wouldn’t want to after what you said to me. But I could if I wanted.

George: How? How could you follow me? You’ve got no legs. You're a flipping puppet.

Ann: George!... If I wanted to follow you I would persuade your mum to buy me and then I’d come home with you and you’d be stuck with me.

George: Persuade my mum to buy you? She wouldn’t buy you in a million Sundays. What

would she want with a grubby old doll? Ann: Fuck off... Go on... Fuck off. George: Ann! Ann: There we are you pushed me... I swore... Twice I swore. Fuck you George. George: Thrice. Feel good?

Ann: What? George: Feel good to swear? Ann: George I’m not talking to you. You hurtful bastard. George: Haha so that’s a yes then? Ann: I thought you weren't interested in a grubby old doll. George: No. I said my mum wouldn’t be. Not at thirty quid. Ann: Just... Go and... Go and... George: Go on do it.

Ann: Go and.... George: You really want to... Ann: Just go and shit on your mum’s face you twat, fuck, arse, willy. George: Twat, fuck, arse willy! That’s ace. Ann: What? George: I was just winding you up. Trying to get you to swear.

Ann: It worked you poo brain. George: Shithead. You enjoyed it though... Ann: Bastard. George: I love you Ann Ann: I love you too George. George: I wish...

Ann: What?

George: I wish I could buy you... I don’t ha

Ann: I know.

George: Mrs Foziard says that you'll have to be sold soon or they'll throw out your house and put you on the shelf with the bears. You'll be reduced to £7.99.

Ann: But why?

George: Don’t have the space. Capitalist tw...

Ann: George!

George: Twits.

Ann: But its a charity shop.

George: I know. I hoped you'd never get sold. Then we could carry on like this. Until, I could get enough money to buy you.

Ann: I want that too. I think Elise would want me to... Even if you do swear. George: I know. I’m saving up. Being proactive.

Ann: Are you?

George: Yeah. There’s a wishing fountain in town. And I know its unethical but I’ve been taking coins out. Problem is I got caught by this old bloke. He made me put it all back. At the moment I’ve got on pound ninety eight and a soggy sleeve.

Ann: Oh George. George: I could steal you. Ann: From a charity? George: I suppose... It wouldn’t be easy anyway. Stealing oranges is easy. But I’d look

funny charging down New Court Road with your house on my shoulders. Anyway there would be no space in the hostel.

Ann: You’ll be back with your mum soon.

George: Yeah. I don’t think Desmond would approve. Their flats on the sixteenth floor. The lift is broke. It’s always broke but this time its because kids have been shitting in it and its seeped through the gaps and got the cogs clogged up or something.

Ann: It wasn’t you was it? George: No. No I reckon it was Rasher.

Ann: Rasher?

George: Yeah. He was a proper disgusting kid at my school. We used to nick vodka together. Go Swig it by the river. His real name is Kieran Bailey... But everyone calls him rasher. Once when we were thirteen we’d gone to the river... my gran had run out of vodka cause we’d drank it the week before, his mam had drank all their booze so I’d nicked my gran’s Pernod. Trust me its fowl. Anyway when we where pleasantly sloshed Kieran who was as sexually frustrated as the next thirteen year old got an erection and decided to relieve it in the mud. It was low tide. So he’s like this. He’s going like this. Within about fifteen seconds he’s completely submerged. There’s all sorts in that mud. Leeches, prams, bodies...

Ann: Bodies?

George: Yeah Kristine Denby was trying to lose her virginity on the stoney bit near the edge when she saw this bone poking out the water and it turned out to be celtic or something and there was a chariot and stuff next to it. It was in all the papers. Anyway Kieran Bailey was covered and we couldn’t find anywhere to hose him down. We got worried he might catch something...

Ann: A fish?

George: No like hepaticas or syphilis. It was probably the Pernod talking. So we broke into this cemetery and using them things you put flowers in and the tap I got him cleaned. He

was caked in it though. I’m glad no one saw us they’d have thought there was an apocalypse.

Ann: But why was he called Rasher?

George: Oh yeah. Well when I got all the river gunk off him he had this rash that was in the shape of a baby dolphin. the next day at school it was all pussy and green. Like the algae had clung to his face.

Ann: Poor Rasher. George: Yeah. He’s tee-total now. I’d better...

Ann: Don’t go. Cup of tea? George: Ann. Firstly you know I don..

Ann: Drink tea or coffee or anything hot. I know. Just stay a little while longer. It’s cold and dark when you’re gone.

George: It’s nearly six o clock. If I don... Ann: I know you get locked out. ...Why don’t you stay? George: Here?

Ann: Yeah. I do. Every night. What’s wrong with it?

George: But... It’s a shop. I can’t just bed down behind the counter.

Ann: We could stay up and talk all night.

George: Aren’t you fed up of talking to me?

Ann: No... Not at all.

George: Ugeh I don’t know. It would be weird.

Ann: Why?

George: Look I have to stay at the hostel or they’ll get rid of my stuff give my room to someone else.

Ann: So. There’s stuff here. You hate that place.

George: Yeah but I can’t just live in a shop. It won’t always be like this. We will have somewhere of...

Ann: Our own one day. Yeah I know. But I’m so lonely here. I spent my whole life with Elsie everyday every night. We stayed up for hours and hours. These last eight weeks I’ve

had to... I don’t know how to be on my own.

George: That’s the problem. Ann: What? George: Being on my own is all I know how to do. Ann: But you’re lonely. George: Yes. I’m lonely. It could be worse. I’ve learnt how to be lonely. Ann: It couldn’t be worse. I can’t stand it. I’m going mad.

George: Why? Everyone says being lonely is bad but what is so bad about it? Is it the thought of loneliness? What is it?

Ann: Yes it’s the thought. Its more than that It’s a fear that I won’t see you or be able to talk again. You said you loved me.

George: I do. Ann: Well people who love each other shouldn’t be lonely. George: Maybe. But they often are.

Ann: Wh...

George: Circumstance. Look if I don’t go now...

Ann: Fine... I can’t lock you in.

George: Promise I’ll be back first thing.

Ann: Don’t you dare break that promise. George? Promise me things won’t always be like this. Promise it. Promise that we can...

George: I promise I will take you away from here. Ann: When? George: Soon. Ann: What date though?

George: I dunno. Soon. Ann: If you promise a date then you can’t break it. George: Fine... I’ll take you tomorrow.

Ann: How? you’ll never get the money for tomorrow. George: Then I’ll speak to Mrs Foziard. I’ll pay in instalments. Ann: Take me now. George: I thought I wasn’t to steal from charities. Ann: I know but I can’t bare it. Take me. George: I’d never get the house through the door. Plus there’s CCTV. Ann: They never check it.

George: No but they would if you disappeared. Look I promise I’ll speak to Mrs Foziard tomorrow. I love you good night Ann.

Ann: Good Night George.

Ann to Camera Falling is a funny feeling. A feeling that is unavoidable. I avoided falling for so long. Perhaps I’m due a fall again.

George: Ann! Annie? I’ve got it Ann. I sorted the money. I... Ann? Sarah: Hullo. George: Who are you? Sarah: Sarah. I’m new here. Isn’t it terrible?

George: What? Why’s that shelf all messed up I sorted it yesterday?

Sarah: We got robbed. Broken in.

George: Your kidding?

Sarah: They didn’t take much. Amateurs really couldn’t get the till open. Not that cash is kept on these premises. Just took a couple of books and toys. They smashed....

George: Did they take Ann?

Sarah: Ann? Who’s Ann? Do you mean Mrs Foziard? No she wasn't in. She's gone out the back having a flush, before the police arrive. What a day for my induction. I’m only doing it for my Duke of Edinburgh award. Is that why you work here?

George: Ann? Annie? She’s not here.

Sarah: Who?

George: Ann. She’s a frie.... a puppet.

Sarah: You where going to say friend. Weren't you? Ha. I never thought I’d meet someone who was friends with a puppet. That’s hilarious.

George: Look have you seen her? She lived in this house. Sarah: I can see working here will be a hoot.

George: Have you seen her? We where going away together today. Sarah: You're cracked. George: Ann. Sarah: Oh that?

George: Not that. Ann. it’s alright I’m here Where’s your mandolin? Ann speak to me. Sarah: She was squashed under the till. Mrs Foziard had to move her to open it. Mrs

Foziard said not to touch anything. Not until the police got here. You're tampering with evidence.

George: Ann whisper in my ear. Please let me know you're okay.

Sarah: No one locked the door last night. There was no glass. They left the keys in the door. They just opened it up. Where you the last in?

George: Oh god. I had to run for my bus. I must have forgot and now they’ve caved Annes head in I will never forgive myself.

Sarah: It’s just a puppet.

George: You will never understand... Anne I’ve.. I got the money. I learnt a song last night. Please, please speak to me. I’ll never swear again I promise. I’ll always love you. Listen. (Picks up guitar plays Cara mia)

Sarah: You're tampering with more evidence.You’ve lost it. If getting my Duke of Edinburgh wasn't vastly going to improve my life choices no way would I work with you. I’m going to get Mrs Foziard.

This was written after reading The Secret Life of Plays by Steve Waters and was heavily influenced by conversations Mariette and I had and chance meetings with people in ordinary places.  The twee elements are developed out of the frustration of not having a location. The endless frustration I felt living in rented accommodation.

We read the play with Jason.

It seemed to be an enormous task.

With Jason’s help we worked out what we wanted to achieve.

Art work about Home. Home is such an important construct.

Both Bella and I have a shared and not shared home history.

Creating our Home was an extremely important task.

It took planning and mistakes.

We are still not satisfied.      

Many people have less than us.

We are in a relatively lucky position.

During this meeting I came up with the idea of getting an audience to answer questions on home. I decided that wings attached to the booth would be the best way of executing this. I bashed out its form and structure. I decided chalk and black board would be the best way of creating this. I set Bella the task of making this come to life whilst I came up with questions.