Bridgerton Szenen

B1

PRACTICALLY ALL OF SOCIETY, in their glittering gowns and luxurious finery, passes beneath the majestic arches of this palace. Benedict, Colin and Gregory arrive on horse, trailed by the family's carriage. As FOOTMEN help the ladies down, Daphne takes it all in, when a breathless Anthony approaches.

B2

DAPHNE BRIDGERTON (18) stands in the middle of this elegant room. With her back to us, we can't quite see her face, just her ELABORATE ensemble: Extra wide HOOP SKIRT, plumes of FEATHERS in her hair, DIAMONDS AND JEWELS shimmering in the light. She curtsies. She bows. She practices. When we spot VIOLET BRIDGERTON (late 40s, all warmth, wisdom and love) watching from the doorway.

B3

On the galloping hooves of a horse, thrashing through town, before revealing its supremely confident, obscenely handsome rider: SIMON BASSET (28). He slows, grimly eyes a magnificent Park Lane palace: Danbury House. And as he removes A FLASK, taking it to the head before he dismounts…

B4

And he takes hold of Daphne's arm, pointedly leading her away from Violet. Daphne takes a quick look back at her mother, left standing there, just as a passing GENTLEMAN nods at Daphne. Daphne smiles, nods back, when Anthony veers her in another direction. ANTHONY (CONT'D) A Mister Duncan Lewis. DAPHNE He is rather pleasing. ANTHONY He is rather here to shuffle about hunting fortunes. Trust Mister Lewis knows of your sizable dowry. Leave him be. Daphne nods. O-kay. Spots another FINE YOUNG MAN nearby. DAPHNE I presume you know of him, too? ANTHONY (all the disdain) Can you not smell the shop from here? A mere merchant's son. Ineligible. And as Anthony begins to discreetly point to the VARIOUS ATTRACTIVE MEN they pass... ANTHONY (CONT'D) Mister Worthington. Second son. We shall find better. (another) He of dubious parentage. (yet another) I shall not have you making a life with a poet, heaven forbid. (still another) Nor an eccentric. My word.

B5

On the galloping hooves of a horse, thrashing through town, before revealing its supremely confident, obscenely handsome rider: SIMON BASSET (28). He slows, grimly eyes a magnificent Park Lane palace: Danbury House. And as he removes A FLASK, taking it to the head before he dismounts…

S01:01:13:44

Flachmann, Sora generiert WEISSEN Duke, im original dunkler Hautton

B6–19

As fantastically-liveried FOOTMEN receive guests from their carriages, we spot the Bridgerton carriage arriving. Out steps Anthony, followed by Violet, and then Daphne -- in a stunning gown. She smiles assuredly. She is ready for this.

B7-29

ANTHONY Hastings, we shall need to get together properly. I expect to see you at our club then? SIMON Indeed. Evening, Bridgerton. Miss. Simon looks to Daphne, nods. She curtsies, abrupt, before heading away with Anthony. Simon watches her go. Daphne looks back, just in time to see Lady F and company arriving at Simon's side. OTHER MAMAS have started to surround him, too. Anthony leans in to Daphne.

B8-32

INT. FEATHERINGTON HOME/DRAWING ROOM - DAY QUICK POPS of GENTLEMAN AFTER GENTLEMAN calling on Marina. One comes with FLOWERS. Another with CANDY. Another with... Is that A PUPPY?! 33. LADY WHISTLEDOWN (V.O.) As such, an even rarer jewel -- of only the most remarkable brilliance, fire and luster -- has been unearthed. Her name, unknown to most, yet soon known to all, is Miss Marina Thompson... And as Marina all but glows, Penelope catches sight of her rankled mother across the room and has to smile…

B9-37

A HANDSOME YOUNG MAN is down on one knee in the middle of the room, gesturing dramatically towards Marina. HANDSOME YOUNG MAN ...And so, by heaven, your love may burn. From the depths of my soul, 'tis thee, I shall earn... THREE OTHER SUITORS are present, along with Colin Bridgerton, wincing at this young man's poem. Nearby, sits a resentful Prudence and a bored Philipa, along with an unimpressed Eloise and Penelope, who holds that puppy. We move past all of them to find an irritated Lady Featherington, as the awful poem concludes and everyone (hesitantly) claps.

B10-40

INT. HASTINGS HOUSE/PORTRAIT HALL - DAY As Simon makes his way down this stately hall of PORTRAITS. He peers up at his ancestors. Stops to focus on ONE in particular: His father. The ninth Duke of Hastings. SIMON Jeffries? Simon's dutiful butler, JEFFRIES (50s), appears. 41. SIMON (CONT'D) See to it that this painting of my father is removed at once. JEFFRIES I shall place it in the vault with His Grace's other possessions. SIMON No. This one I should like destroyed. (a sigh) I am leaving. And as Simon goes, Jeffries can't help but eye him, concerned.

B11-41

As we move down a rather garish hallway, we catch glimpses of FASHIONABLE IMPURES in these dark, shadowy rooms... LADY WHISTLEDOWN (V.O.) It should be noted that the Duke has been overheard announcing to mamas everywhere that he has no plans of EVER marrying... Find a NAKED Simon, getting down and dirty with THREE CYPRIAN WOMEN. Whatever they're doing, they're having fun…

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B12-43

INT. FEATHERINGTON HOME/DRAWING ROOM - DAY Find Marina, on the sofa with Colin Bridgerton. As Lord Featherington pretends to read his paper nearby, eyeing the low cut of his distant cousin's dress... LADY WHISTLEDOWN (V.O.) If one is to trust these accounts, despite the fact they are all written by men, then Colin Bridgerton shall be awarded the year's grand prize when he sweeps Miss Thompson from her pretty little slippered feet... Marina laughs at something Colin says. Penelope, teaching her puppy tricks on the floor, all but rolls her eyes. A bitter Lady Featherington stands with Mrs Varley.

B13-46

INT. OPERA HOUSE - NIGHT Blazing chandeliers float above the jam-packed, noisy audience as Siena performs Arne's "Love in a Village." 47. Anthony stands amongst a group of conversing MEN in the gallery. on stage. lingers-- Every now and then, he meets eyes with Siena, up And as one of those looks between the two of them SOCIETY MAN (to Anthony, re: Siena) Do you know her, Bridgerton? It catches Anthony off-guard. But he plays it off.

B14-51

INT. BRIDGERTON HOUSE/DINING ROOM - DAY With the Bridgertons. ANTHONY ...Because Whistledown is a man! ELOISE Because she is simply too good to be otherwise?? And as the argument continues, Violet turns to Simon... VIOLET You must forgive this rather unruly debate, Your Grace. SIMON Nonsense. I find it entertaining. All of you at one table, even the children. A common practice? VIOLET Family dinners. Yes. I realize it may be unfashionable, but... We like each other. Most of the time. (off his smile) You should join us more often, Your Grace. Perhaps when we travel to our country seat. You would be most welcome. And that seems to make Anthony sit a bit straighter in his chair. As if he just realized something. But then—

B15-61

EXT. VAUXHALL PLEASURE GARDENS/BALL AREA - NIGHT With MORE COUPLES, dancing beneath the stars at this visually stunning, spectacular event. We land on Penelope, wearing a surprisingly beautiful, NON-YELLOW GOWN. She's eyeing the dancers from the sidelines again, looking for someone... COLIN (O.S.) Pen! She sees him approaching. Plays it cool. Colin. here. PENELOPE I did not know you would be COLIN Quite sorry to disappoint. Where could Miss Thompson be? Surely she made the evening's guest list. She is... ill. with her. PENELOPE My mama stayed home Papa had to chaperone. They look over to see Lord F, guffawing with the other MEN.

B16-65

EXT. VAUXHALL PLEASURE GARDENS - NIGHT On a sly Simon, now making his way back to the ball. And he's in his head, his thoughts making him smile, until-- How dare you. better than me? NIGEL (O.S.) Do you think yourself DAPHNE (O.S.) It would be best for you to leave. NIGEL (O.S.) You should be thanking me. I am your last hope. No one WANTS you, Miss Bridgerton-- DAPHNE (O.S.) --LET GO OF ME! And now Simon breaks into a run, heading for the trees, ready to save his best friend's sister, until he comes round and spots DAPHNE CLOCKING NIGEL SQUARE IN THE JAW! Nigel goes down. Hard. Even Daphne's surprised by her own strength, as she looks up to lock eyes with Simon.

B17-69

EXT. BUCKINGHAM HOUSE/FRONT ENTRANCE - DAY As our serious-looking Queen, trailed by her ladies, stalks towards an apparent commotion on her front steps... 70. LADY WHISTLEDOWN (V.O.) Of course how Miss Bridgerton secured her newfound suitor is yet to be determined... And now we see the GUARDS, apparently mid-argument with our Delivery Boy. Everyone stiffens upon seeing the Queen. QUEEN CHARLOTTE What is the meaning of this? GUARD He is asking for... money, ma'am. DELIVERY BOY Whistledown started to charge, Your Majesty. Five pence if you want the latest. Queen Charlotte blinks. Incredulous. Tense. Until... QUEEN CHARLOTTE Well someone pay the boy! At once!

T1

EXT. GREENWICH FC TRAINING GROUNDS - MORNING We start on the vibrant green PRACTICE GROUNDS of the GREENWICH FOOTBALL CLUB, a mediocre PREMIERE LEAGUE team in OUTER LONDON. The PLAYERS STRETCH and warm up.

T2

INT. BRITISH AIRWAYS 757 - BUSINESS CLASS The bathroom door opens and TED LASSO (40, Jason Sudeikistype) exits and heads to his seat. He passes a HIP BRITISH TEEN, TOMMY, (gaudy tracksuit, the one watching ESPN on his iPhone). Tommy does a DOUBLE-TAKE AT TED as he passes. Ted takes his seat, picks up his book, “The River of Doubt” by Candice Millard. Right then, an iPhone is SHOVED IN FRONT of his book, showing a PAUSED IMAGE OF TED’S smiling face. TOMMY Oi, mate, ‘is you? TED LASSO I believe it is.

T3

Ted rips out a small HANDFUL OF GRASS, smells it. NATHAN (O.S.) Don’t do that. Excuse me. Please don’t touch the grass. TED LASSO Sorry. NATHAN, (30s, put-upon clubhouse attendant, he’s got a lot to offer, but has no belief in himself) hurries over. Ted Lasso "Pilot" 2.1.19 9. NATHAN Off, off, off. Who are you? Off the pitch. TED LASSO (CONT'D) We’re going, we’re going. We’re doing it. TED LASSO (CONT’D) Sorry about that. I’m Ted Lasso-- NATHAN Oh no! The new manager! Sir, please forgive me, I didn’t know-- TED LASSO Hey, it’s okay, just breathe. Now first things first: no need to call me “sir”, it’s either “Coach” or “your highness”. I’m kiddin’ you already got one of those over here and the buzz is you don’t wanna get on her bad side. This here’s Coach Beard. What’s your name? NATHAN Me? No one ever asks me my name.

ziemlich gut

T4

INT. GREENWICH FC OWNER’S OFFICE - CONTINUOUS Rebecca works at her desk with Higgins. She turns, brightly. REBECCA Hello? May I help you? Nathan’s about to speak and... He turns and SPRINTS down the long hallway. TED STEPS INTO the FRAME, watching Nathan go, then turning to Rebecca: TED LASSO How ya’ll doin? I’m Ted Lasso. Your new coach. You must be Miss Welton. Ted and Beard enter. Rebecca gets up and greets Ted. REBECCA Oh please, call me Rebecca. Miss Welton’s my father. TED LASSO If that’s a joke, I love it. If not, I can’t wait to unpack that with you. This here’s Coach Beard. REBECCA How delightful to finally meet you both. So exciting. Higgins-- (back to Ted) Oh, this is Higgins, he’s our current director of communications. HIGGINS (under breath, concerned) “Current?”

Mann mit Zopf!

T5

INT. PRESS CONFERENCE - CONTINUOUS Ted sits at the table. The second he lands, reporters lay PHONES and RECORDING DEVICES on the table. Ted grabs a bottle of water, takes a SIP and IMMEDIATELY COUGHS. TED LASSO Wasn’t expectin’ fizzy water. Okay, so ya’ll are probably runnin’ late ‘cause we’re runnin’ late. So why don’t we just jump on in. Anybody got any questions? Every arm SHOOTS up, as reporters call for his attention. An assistant escorts Beard in. He stands by Higgins and Rebecca. TED LASSO (CONT’D) Yup. Shoulda seen that comin’. How bout I go ahead and address the larger than normal elephant in the room. No, I have never coached the sport that you folks call “football”, at any level.

T6

INT. TED’S OFFICE - CONTINUOUS Ted and Beard enter, it’s a simple office - TV, WHITEBOARD, ETC. There are TWO DESKS up against OPPOSITE walls. Ted and Beard LOOK AT ONE ANOTHER then PUSH the desks TOGETHER, facing each other, like best friends in grade school. Beard opens a DUFFEL BAG FULL OF POSTER TUBES. TED unzips a BACKPACK, removing a CARD his son made. “Good luck Dad!” He puts it on his desk, leans back in his chair. TIME TRANSITION: WE REVEAL posters depicting great UNDERDOG SPORTS MOMENTS and a framed print of John Wooden’s PYRAMID OF SUCCESS now COVER THE WALLS. Beard puts up the last poster, taking us to Ted, who’s doing the “head-nod-doze-off” in his chair. Beard gently wiggles Ted’s foot. COACH BEARD Hey, Coach. Can’t sleep yet. Ted STIRS, he’s a little terse: TED LASSO Aw c’mon man, don’t be a sleep cop.

T7

INT. LONDON TUBE - EVENING Ted and Beard sit side-by-side on a cramped tube car. Beard sips his Gatorade, as Ted’s head drops, leaning on Beard’s shoulder. Beard gently nudges Ted awake. “I’m up, I’m up.” A woman we only see from the waist down, enters frame. Ted notices her, stands up, and offers his seat. She sits. While FEMININE in CARRIAGE and DRESS, she’s a BEARDED MAN. She and Coach Beard share a friendly nod. HIGGINS (CONT'D) Ted Lasso "Pilot" 2.1.19 32. EXT. CROWN AND ANCHOR - NIGHT Establishing shot of MAE’S PUB. We PRE-LAP TED: TED LASSO (O.S.) ... No, no hints, I got it. The four countries in England are…

T8

TED LASSO (re: switch) Well that’s just a lack of thoughtful planning. He ENTERS, and FLIPS the lights on. MUSIC CUE: “Opus 26” by Dustin O’Halloran (No pressure, but we’d really love it if you played this as you read the rest) Ted’s new home is small, but not cramped. We start in the LIVING ROOM - a couch, side tables, an easy chair that faces a decent television. WET WIPES and a SMALL HUMIDIFIER sit on a coffee table, along with a gift basket of local fare. A card reads: “Welcome Coach Tim Lasso.” Ted pulls out a bag of CIRCULAR CHIPS, looks at the label: TED LASSO (CONT’D) “Hula Hoops”. Don’t mind if I do. Ted tries one. Yum! He mows through them as he enters the DINING ROOM. The table seats four but has a SINGLE PLACE SETTING. Ted flips another light switch, revealing the kitchen. It’s serviceable. Next comes a tiny hallway: To the right, the BATHROOM. To the left: the BEDROOM, which is actually quite nice: Decent closet space, a chest of drawers, and a comfortable mattress, thank goodness. There’s ANOTHER DOOR in the corner. Ted OPENS it and finds that it leads back into the living room. “Huh.” Ted checks his watch, then does some QUICK MATH on his fingers.

T9

IN CUTS: We see Ted UNPACK his suitcase; putting things in drawers, hanging clothes in the closet. He takes a SHOWER. Brushes his teeth. Throws on some PITT STATE SWEATS and makes his way back to the living room. His phone DINGS; commencing a TEXT EXCHANGE with Coach Beard: COACH BEARD: here ya go coach nghub_4199/password TED LASSO: Thanks Coach. But what’s the password? COACH BEARD: the password is password all lower case. TED LASSO: Hope we don’t get hacked! Would hate for folks to find out about your extensive collection of kitten GIFs. COACH BEARD: lol He opens his laptop and searches for the wifi signal. Two dozen router names appear: some silly, some filthy, some... like Ted’s. He opens up Skype, and clicks on the only saved contact: “HOME.” The computer RINGS. And RINGS. Ted appears anxious for the first time since we’ve met him. And then-- YOUNG BOY (V.O.) (from computer) Hello? Dad?

T10

INT. BEDROOM - MOMENTS LATER Ted, finally in bed, pulls up the covers and turns off a bedside lamp. It’s COMPLETELY BLACK. TED LASSO Shoot. Now I can’t sleep.

spektakulär gut

AWSI1

INT. CHICAGO - COPPER DAMN PUBLISHING - CONFERENCE ROOM - DA1Y CLOSE ON JACK (25), his face stoic but intense. We HEAR the world around Jack as he hears it -- an exaggerated tap of a pen against the table, the whoosh of air coming through the vents, a passing siren in the distance outside. These sounds all underline Jack’s agitated state making it hard for him to focus on his boss AUSTIN (late 20s), an up and comer in management who addresses the I.T. TEAM currently sitting around the conference table at this medium sized publishing house. Bits and pieces of what he’s saying emerge through the cacophony of other sounds... AUSTIN’S VOICE ...bound to be tweaks... Re-think how we approach these changes... Many complaints about the new interface…

AWSI2

INT. PORTILLO’S HOT DOGS - DAY 2 VIOLET (25) stands at the register of this fast-food style restaurant. She is striking, with a subtle but distinct speech impediment which makes her sound much younger than her years, one of the many signs we will learn about her otherness. Index cards are pasted below the register -- reminders. “Welcome to Portillo’s.” “Smile.” “Give change.” “Fill soda to top of cup.” “Thank you for your patronage.” ANDREW (early 30s), flannel and jeans, steps up. She smiles. VIOLET Welcome to Portillo’s. Violet finds herself distracted, attracted to him. ANDREW Yeah, hi. Can I get a chili dog, a Maxwell Street Dog. Two cheese fries please and two medium Cokes.

TBT1

FADE IN: INT. NEW YORK SUBWAY STATION - NIGHT It's late. Only a handful of people in the station. This makes it especially hard to miss the THREE MIDTWENTIES YOUNG WOMEN standing around in FORMAL GOWNS. Prada, Dior, Atelier Versace. Their shoes and bling are equally impressive. But while their outfits are lavish, their demeanor is pretty beat down. The young women in question are: JANE SLOAN, equal parts passion and determination. She’s Type A and driven. She always known that one day she would move to New York. She deeply loves the city, but sometimes gets a little overwhelmed by it. KAT EDISON, African American, bold, fearless. She was a gifted and overpraised child who grew into a young woman who has absolutely no idea that she's supposed to be intimidated by anyone. SUTTON BRADY, humble and dependable. Her hard work ethic is a definite byproduct of growing up in tough financial circumstances. She's too classy to flaunt her Ivy League degree, or maybe it's just that in this world it's not cool to admit she had to pay for it herself. But for this moment, all you really need to know about them is that they’ve definitely had better days. There's a palpable exhaustion here. Jane tugs at her Spanx. From the distance, we hear the EXPRESS TRAIN approaching. It doesn't stop at this station, which means that when it passes through, it will be crazy fast and crazy LOUD. In anticipation, a MAN puts his fingers in his ears. Jane sees this. Something about it gives her pause. She glances at Kat with a quick raise of her eyebrows as if to say, “Shall we?” Kat responds with a tired shrug. Jane turns to Sutton next. Sutton nods, a defiant smile forming. Together, Jane and Sutton step closer to the edge of the platform. Jane looks away. Jane and Sutton, now at the very edge, join hands. The train is getting closer. And closer. And closer. ISSUES - 2nd Rev. Network Draft - 5/27/2016 1. Kat can’t fight it any longer. She joins her friends, taking Jane’s free hand. The TRAIN explodes into frame. It's so loud that everyone else shrinks from the sound. But not our girls. They lean into it. AND SCREAM AS LOUD AS THEY FUCKING CAN. Their screams are drowned out by the sound of the train. Nobody else in the station even bothers looking up. If they notice, they don't care. This is New York. We FREEZE on the girls mid-scream, hair flying wildly from the wind of the train, and splash our TITLE CARD ACROSS THEIR FACES.

TBT2

INT. GLOSS - MOMENTS LATER Elevator doors open on the 38th floor and home to GLOSS MAGAZINE. The GLOSS LOGO hangs chicly across the wall of the bustling office. Racks of CLOTHES line the halls. The furniture and decor match the vibe of the magazine. The best way to describe it is, “Totes on Fleek”. If you don’t know what that means, you don’t belong here. The outer offices are made of GLASS so there are spectacular views of Manhattan on all sides. The bullpen is filled with ASSISTANTS and all the millennial flair they bring with them. STANDING DESKS, boxes from ONLINE SHOPPING exploits, evidence of JUICE CLEANSES and other TRENDY DIETS. Right now there’s a lot of evidence that the 50th ANNIVERSARY of the magazine is coming up. There are CELEBRATORY BANNERS and COVER MOCKUPS everywhere. JANE (excited, rambling) Lauren already had me email in ten pitches to the entire writing staff. I got so excited I sent them twenty. Suddenly Sutton and Kat each take one of Jane’s arms... JANE (CONT’D) Hey! ...and steer her into…

TBT3

INT. STEINEM TOWER / TOP FLOOR CONFERENCE ROOM - MORNING The top floor is occupied by the Publishing Group BOARD OF DIRECTORS. Up here it’s all cherry wood desks, leather chairs, and right wing attitude. This monthly meeting is for the Gloss team to present every single page of the magazine to the board for approval. It’s an opportunity to express concerns and raise flags. The BOARD OF DIRECTORS sit around the conference table. Most of them look like Dick Cheney or your grandpa. The one notable exception is... RICHARD “DICK” MOTT (40s), Jon Hamm looks and charm. He doesn’t actually go by Dick. That’s just what the Gloss Girls call him. Because, well, they’d like to get on his. He’s the lawyer for the publishing group. Sitting on the Gloss side we find several high level GLOSS EXECUTIVES. Sitting around the perimeter are the LOWER LEVEL EXECUTIVES and the ASSISTANTS. Kat and Sutton sit next to each other. ISSUES - 2nd Rev. Network Draft - 5/27/2016 7. CONTINUED: Lauren leads a page by page POWERPOINT PRESENTATION of the entire magazine. LAUREN And moving forward to our health section. We have a fantastic article about the best way to broach uncomfortable concerns with your gynecologist. On screen we see a page with photos of obvious vagina metaphors -- Orchids, seashells, an emoji peach. Board President, GIL STEINER, 60s, old school, stuffy, takes off his glasses with a sigh and wipes them clean. He’ll never get this magazine. But it makes him a ton of money. So there’s that. RICHARD (totally professional) I want to flag a concern about the word, “Punani”. LAUREN The article specifically says “don’t call it your punani”. RICHARD Understood. But we’ve been criticized in the past by a small but very vocal Indian group who feels the word has been unfairly misappropriated. I’d rather we swap it out and avoid the backlash. LAUREN Any problems with vajayjay?

TBT4

But she stops abruptly. She’s noticed that Editor In Chief, JACQUELINE CARLYLE, has entered the room and is listening to her. Heads start to turn as everyone realizes Jacqueline has arrived. There’s a palpable shift in energy. Kinda like when the president enters a room. Everyone on the Gloss side of the table sits up a little straighter. iPhones get tucked away. Even the board members straighten up a little. Jacqueline knows the effect her entrance has. And she fucking loves it. JACQUELINE Good morning, gentlemen. We liking everything so far? Murmurs of praise from most of the board. But then there’s Gil Steiner. MR. STEINER You’re definitely pushing the envelope in a couple of places, Jacqueline. He doesn’t mean it as a compliment and she knows it. JACQUELINE Thank you, Gil. That’s our goal. (taking a seat, to Lauren) Where’d you leave off?

TBT5

Richard and Sutton are now alone in the elevator. They both stare forward as the doors close. But as soon as the doors shut, they turn towards each other and... Start kissing like crazy. It’s sexy and intense. He slides his hand up her skirt. RICHARD (between kisses) Tonight? My place? SUTTON Yes. And yes. The elevator reaches the lobby. They separate as if nothing happened and walk in opposite directions, Sutton casually straightening her skirt.

TBT6

INT. RICHARD’S LOFT - MORNING We’re in Richard’s incredibly cool TRIBECA LOFT where he and Sutton are tangled up in his DESIGNER SHEETS after some serious morning sex. RICHARD That was... SUTTON (oh my fucking God) Yeah. They take a moment or two to catch their breath. SUTTON (CONT’D) I’d better get to the office. RICHARD I can’t believe you’re the one rushing off. SUTTON I have a lot going on with The Gloss 50 party coming up. And I don’t want you to think-- I mean-- I know what this is. RICHARD (teasing) Oh? What is it? Sutton isn’t sure how to respond. Fortunately her PHONE BUZZES.

TBT7

INT. ART STUDIO - DAY A hip studio workspace belonging to the lesbian, Muslim, photographer. Kat enters and takes it all in. The artist’s current collection -- THE WOMAN BEHIND THE VEIL -- hangs on the walls. Artful PHOTOGRAPHS of women in BURKAS. Each one holds up a piece of paper where she's written something about herself: “Mother,” “Rescue Aid Worker”, “Rape Survivor”, “Poet”, “Beyoncé Fan”. Kat spots the artist, ADENA (late 20s), Middle Eastern, wearing a Hijab, retouching a photograph at her computer. ISSUES - 2nd Rev. Network Draft - 5/27/2016 21. CONTINUED: (2) KAT Adena? Hi. I’m Kat Edison from Gloss. (off her blank look) I spoke to your manager on the phone. Adena sighs. Calls out to someone unseen. ADENA Firuze!

TBT8

INT. GLOSS / BULLPEN - DAY Sutton is at her desk when her PHONE BUZZES. She checks it to find a new SNAPCHAT MESSAGE from RichardExec: Eagerly awaiting my first Snapchat lesson. Sutton smiles, loving the flirtation. She thinks about how to respond. How far should she go with this? She looks around to make sure she’s alone, then unhooks her BRA and slides it out the armhole of her shirt.

TBT9

INT. GLOSS / BULLPEN - DAY Sutton is at her desk busily working when DAMON (30s) the gay fashion director comes up holding several insanely gorgeous, insanely expensive GOWNS. DAMON Hey. I’m pulling 50th party looks for Lauren. Can you coordinate with the stylists? Make sure none of the celeb guests are wearing the same thing. SUTTON (overwhelmed) Yeah. Of course. Sutton adds it to her massive list of things she has to do to prepare for the party. Her OFFICE LINE rings. SUTTON (CONT’D) This is probably the event planner. Just leave the dresses on the rack. I’ll take care of it. (picking up phone) Lauren Nguyen’s office.

TBT10

INT. ADENA’S APARTMENT - NIGHT Kat and Adena are taking apart VIBRATORS, putting different pieces into different parts of Adena’s luggage. ADENA Can I ask you a personal question? ISSUES - 2nd Rev. Network Draft - 5/27/2016 39. CONTINUED: KAT I don’t know what the signals are like in your culture, but in mine, when we spend an evening helping someone take apart vibrators to smuggle into a foreign country, it’s a pretty good indicator that it’s okay to get personal. ADENA What’s your sexual orientation? KAT Out and proud hetero. Sorry. ADENA It wasn’t a come on. KAT It would be okay if it was. I could do worse. And I get the whole girl thing. I do. But for me I could never get past...

generiert es TROTZ VIBRATOREN

TBT11

INT. GLOSS - AFTERNOON The bullpen is bustling as everyone gets ready for the Gloss 50th Anniversary Party. People zip each other into GOWNS and raid SHOES and ACCESSORIES from the closets. HAIR and MAKEUP ARTISTS have set up stations in the conference room. Blowouts and glamming abounds. Jane walks through the office and Lauren falls in step. LAUREN Jane. I need a status update. When do you think we’re going to see a first draft? JANE Uh, soon. It’s... really coming together. I should get back to it actually. Jane veers away. Then, overcome, she ducks into... INT. GLOSS / SHOE CLOSET - CONTINUOUS Jane leans back against a rack of shoes. JANE Dammit!

TBT12

INT. APARTMENT - MORNING Sutton wakes to the sound of a RINGING PHONE. Someone is asleep next to her. We assume it’s Richard. But when she pokes the sleeping mound, Kat emerges from the covers. KAT (annoyed) What? Sutton, now very awake, holds out Kat’s cell. SUTTON I think it’s a Dubai number. Jane, who had been asleep on the couch, rushes over to join the girls on the bed. Sutton and Jane watch expectantly as Kat takes the call. KAT (snatching phone) Hello! (then, massively relieved) Adena. It’s so good to hear your voice.

TBT13

INT. GLOSS - DAY Sutton is busy at work when she gets a TEXT from Richard. Richard: You looked so sexy at the party. My place tonight. Something about the text bothers her. She tries to ignore it. But can’t. She gets up. INT. STEINEM TOWER / TOP FLOOR - MOMENTS LATER Sutton steps off the elevator. She’s holding a FILE FOLDER. She strides right up to RICHARD’S ASSISTANT. SUTTON (to Assistant) I need Richard’s signature on this. (before she can answer) It’s rather urgent. I’ll show myself in. Sutton walks right into…

TBT14

INT. GLOSS / JACQUELINE’S OFFICE - DAY Jane walks into Jacqueline’s office. She confidently hands in her article. JANE I’m done with my article. JACQUELINE (reading headline) How to Stalk Your Unstalkable Ex. And Why You Shouldn’t. JANE I’ve always been jealous of my friends who can constantly check up on their exes. I’m glad I found Eric. I wouldn’t change anything. But in this day and age when everyone knows everything about everybody... It’s a rare gift to not ever have to see his fucking face again. ISSUES - 2nd Rev. Network Draft - 5/27/2016 59. CONTINUED: (2) Jacqueline nods approvingly. JACQUELINE Can’t wait to read it.

TBT15

As Sutton begins telling them all about her affair, the SOUND DROPS OUT and a fun SONG KICKS UP. Over this, we can see their laughter, looks of shock, more laughter. The girls thought they were the last ones in the office. They have no idea that one other person was working late. Jacqueline is on her way out when she hears VOICES coming from the closet. She pauses in the doorway, unseen by the girls. She watches for a second and smiles. In a way, this is what her magazine is all about. Then she turns and walks out, leaving them to their celebration. And with that…

FBAG1

INT. FLEABAG FLAT. CORRIDOR. NIGHT. Shot of the inside of a front door. Fleabag’s POV. Shot of Fleabag a few steps away from the door, watching it as if she’s ready to pounce. Smudged makeup, hair tousled. Out of breath. Shot of the inside of a front door. Fleabag’s POV. Shot of Fleabag. She turns to the camera. FLEABAG (Earnest, touch of pain) You know that feeling when a guy you like sends you a text at 2 o’clock on a Tuesday night and asks if he can ‘come and find you’ and you accidentally make it out like you’ve just got in yourself, so you have to get out of bed, drink half a bottle of wine, get in the shower, shave everything, put on some agent provocateur business, suspender belt, and wait by the door until the buzzer goes - (buzzer goes) And then you open the door to him like you’d almost forgotten he was coming over. She opens the door to a handsome man. FLEABAG (CONT’D) (casual) Oh hi! GUY YOU LIKE Hey. FLEABAG (to the camera) Then you get to it immediately They start snogging violently.

FBAG2

INT. FLEABAG’S BEDROOM - THE NEXT MORNING She lies in bed. He is sat over her like a mother caring for a child. Gazing at her. He is incredibly earnest. FLEABAG Then the next morning you wake to find him sitting on the bed, fully dressed, gazing at you. He says thatGUY YOU LIKE Last night was incredible. FLEABAG Which you think is an overstatement - but he goes on to say / it was - GUY YOU LIKE It was particularly special because I have never managed to actually... up the bum with anyone before – FLEABAG To be fair, he does have a large penis - and - GUY YOU LIKE Although it’s always been a fantasy of mine, I’ve never found anyone I could do it with. FLEABAG He touches your hair (he touches her hair) and thanks you with genuine earnest. GUY YOU LIKE (intensely) Thank you. FLEABAG It’s sort of moving. He kisses you gently. (he kisses her gently) And then he leaves. (beat)

FBAG3

INT. AN OFFICE. LATER. Black. Sounds of panting breath. Reveal of Fleabag, out of breath and slightly sweaty. A man sits opposite her reading a document. MAN Thanks for coming in today. We really appreciate you considering us for your (reading it) small business start-up loan. FLEABAG No problem. MAN I have read your application. FLEABAG Thank you. MAN It was funny! FLEABAG Oh - ok - that wasn’t my intention but... MAN Great. As you are probably aware we haven’t had the opportunity to support many - any women led businesses since the uh - FLEABAG Sexual harassment case FLEABAG (CONT'D) Episode 1 SHOOTING SCRIPT 02.03.15 3. MAN The sexual harassment case, yes. Are you alright? FLEABAG Yes sorry I just ran from the station. Bit hot. I’m really excited about - MAN Water? FLEABAG No, I’m – I’ll be ok – actually, yes please, that would be great. He doesn’t do anything about the water.

FBAG4

INT. BUS. LATER. Fleabag is sitting. Bored. She grabs a paper and looks at it. We see a gratuitous picture of a half-naked women in an advert for mortgages. Next to it there is an article which reads: Has the word “feminism” become dirty? She raises her eyebrows. She looks up and catches the eye of a man who is looking at her over his paper. She looks at the camera and raises her eyebrows slightly. He pulls his paper down and reveals that he has a REALLY tiny mouth with very large front teeth. Close up of the mouth. Fleabag subtly looks at the camera and does an impression of his tiny mouth. She quickly looks down. She tries not to smile and we can see she is trying to let her eyes flick to us in amusement. He looks down. She looks down. They both look up at the same time. A couple of people are noticing. Smiling too. It’s all eyes flicking and subtle grinning. Fleabag grimaces slightly. Bus Rodent smiles at her. She smiles back. He smiles at her again. She smiles back again. Someone presses the button. They both stand up at the same time. They do a little awkward laugh at each other. They stand next to each other. BUS RODENT (really giggly) Wow... so this doesn’t happen very often does it? FLEABAG (really giggly) Nooo no... I suppose it’s quite rare. (to the camera)

großartig “Felminism”

FBAG5

INT. CORRIDOR. CONT. Fleabag enters the sparsely full corridor and walks towards a serious, well dressed woman standing, reading a kindle. FLEABAG (to camera) My sister. She’s uptight and beautiful and probably anorexic, but clothes look awesome on her so... She reaches Claire who puts her kindle away CLAIRE You’re almost late. FLEABAG I had to do a flash poo in pret. CLAIRE Ugh christ, did you wash your hands? FLEABAG (wiping her hand on Claire’s face) Course not. CLAIRE Oh my GOD. You are DISGUSTING. Fucking hell. She takes a antibacterial gel out of her bag. They walk.

FBAG6

FLEABAG (to camera) I run a guineapig themed cafe, but it’s out of cash and it’s going to close unless a cheque falls out of the sky or a banker comes on my arse, but neither are going to happen and I don’t want to justify the banker man with a proper mention so I’m not going to talk about him or how I do sometimes wish I could admit to not having morals and let him come on my arse for ten thousand pounds but apparently we’re not supposed to do that. So I won’t. Even though I could. 11B 11B INT. CAFE. FLASHBACK. CONT. Fleabag turns to the YOUNG MAN FLEABAG It’s a long story... my- it’s - (she hesitiates) It’s just a theme. A quirky, pretentious theme. Y’know. Gets the punters in. Shot of the cafe. Painfully empty. Man smiles gently.

großartige Meerschweinchen

FBAG7

INT. PUB. NIGHT. Bus Rodent now sits with Fleabag. He is talking animatedly through his tiny mouth. They both have drinks. She pushes some crisp towards him. He eats one like a hamster. Fleabag raises her eyes to the camera. FLEABAG He’s telling me thatBUS RODENT Yah, my sister is deaf. Episode 1 SHOOTING SCRIPT 02.03.15 18. FLEABAG Which is his way of letting me know that he is interesting and sensitive. Which is fine. (to Bus Rodent) So you use sign language with her? BUS RODENT (genuine) God no. I didn’t have time to learn sign. FLEABAG (to camera) Didn’t have time. BUS RODENT Yah, but you see we grew up together so she can lip read me like, really well. FLEABAG Really!? Wow. Lip reading is very dependent on - BUS RODENT Yah also she’s like really into really deep base because she can feel the vibrations y’know - The sound of his voice fades out as Fleabag imagines she is deaf, lipreading him. All she can see is OOoooOOOOooo which is written on the screen next to his mouth. She looks at another punter. He is clearly saying “When was the last time you fucked a teenager?”, which is written on the screen. She looks at a woman with a scarf round her head clearly saying “and I woke up and he had just shaved my whole body.. My eyebrows and everything. See (she points), pencilled”. She looks back at Bus Rodent who is still talking. No sound. OOOOOooooo written on the screen.

Der Männername “Bus Rodent” ist verwirrend?

FBAG8

EXT. BUS STOP. NIGHT. There is an incredibly drunk girl sitting on the curb. Fleabag watches her. Drunk Girl suddenly slips off and crashes to the floor. Her bag empties over the floor, her boob falls out of her top. Fleabag helps her back up and puts her boob back in. They both settle. Then the whole thing happens again. Fleabag helps her up and then sits next to her so the girl rests her head on Fleabag’s shoulder. After a while she looks up. Episode 1 SHOOTING SCRIPT 02.03.15 20. FLEABAG You ok? Drunk girl nods. DRUNK GIRL Are you ok? (touches Fleabag’s face) Sad face. FLEABAG I’m fine. Long pause. Then the girl looks at her intensely before DRUNK GIRL Aw. (beat) You’re such a lovely man. Fleabag looks at the camera. A cab passes. Fleabag hails it. FLEABAG Do you want to - spend the night with me? DRUNK GIRL WHAT?! NO WAY! Naughty boy...! Fleabag picks the girl up and walks her to the cab. DRUNK GIRL (CONT’D) Hey! Bad man! I said NO! She puts Drunk Girl into the cab, puts the stolen twenty quid note into her hand and closes the door. She sits at the bus stop again. A drunk man sits too close beside her on the curb. He looks a little leery. GOOD MAN Alright? They sit in silence for a while before - FLEABAG I’m not wearing a top under here. GOOD MAN (so lovely) Oh no! You need me to get you something to wear? FLEABAG No I - Do you want to come home with me? Episode 1 SHOOTING SCRIPT 02.03.15 21. GOOD MAN Aw, no thanks honey. I got my girl already. Good luck with that though. He’d be a lucky fella. FLEABAG (to camera) Arsehole. GOOD MAN Isn’t London beautiful? (smiles at her) ‘Specially when it’s shutting up shop. Fleabag looks at him suddenly, thrown by the words…

FBAG9

INT. CAFE. NIGHT. FLASH BACK. Boo closing the door. The girls are drunk on wine. BOO Shutting up shop! FLEABAG Shorry, what are you doing? BOO (locking the door) I’m SSHHUTTING UP SSHHOOP. Fleabag laughs picks up a ukulele and starts playing FLEABAG Shing a shong Boo Boo!! BOO (singing) Another lunch break another abortion! Another piece of cake another two fuck it twenty cigarettes. (with Fleabag) And we’re happy, so happy, to be modern women. They high five. Boo pulls Fleabag’s face close to hers BOO (CONT’D) Let’s never ask anyone for anything. They don’t get it. FLEABAG Deal. They shake on it.

FBAG10

INT. SPARE BEDROOM/ STUDIO. CONT. Fleabag climbs the stairs silently. Fleabag walks into a room where her Godmother is stood, in bizarre overralls, painting thick black paint onto a canvas. Fleabag watches her. FLEABAG (to camera) To be fair. She’s not an evil stepmother. (beat) She’s just a cunt. ALTERNATIVE LINE: She’s just a cock. (to godmother) Hi! GODMOTHER/STEPMOTHER (Really lovely) Darling! I thought that must have been you. Everything alright?

SEX1

INT. OTIS’S HOUSE. OTIS’S BEDROOM - MORNING 4 OTIS (16, highly intelligent but socially awkward) lays awake in bed, brain already ticking. His alarm BEEPS, he turns it off. His bedroom is meticulously organised. Otis opens his bedside drawer, removing a box of tissues, tube of hand cream and a porn-mag with an oiled-up glamour model on the front. He messes up his bed, dropping scrunched up tissues on the sheets and floor. He leaves the magazine open on the centrefold and unscrews the hand cream, placing it on the bedside table. He steps back, taking in his masterpiece - a perfectly staged scene of fake masturbation. Suddenly, the door opens and DAN (32, ridiculously buff) enters wearing a skimpy pink dressing gown. Dan JUMPS upon seeing Otis.

SEX2

INT. OTIS’S HOUSE. KITCHEN - MORNING 5 The kitchen is chaotic but homely, full of hanging plants and African fertility statues. Otis, dressed for school, puts bread in the toaster and waits. JEAN (50, a statuesque woman who exudes sexuality) enters in a bohemian kaftan. The family terrier, FREUD, at her heels. JEAN Morning darling. Coffee? Otis shakes his head. Jean checks her watch. JEAN (CONT’D) Shit, shit, shit, my first clients are arriving in fifteen and I haven’t re-read their notes. It’s going to be one of those days. OTIS Late night? Otis shoots his mum a knowing look as Dan enters, holding a motorbike helmet. JEAN Otis, this is... OTIS We’ve met. DAN We’ve met. The toaster POPS. Otis takes his toast to the table and methodically cuts the crusts off. Jean feeds the dog. DAN (CONT’D) Big day today, huh? Your mum said it’s your first day of Sixth Form. 3. Otis shrugs. DAN (CONT’D) I remember Sixth Form like it was only yesterday. OTIS How old are you, Dan? DAN Umm... 32. OTIS And do you always go for older women, or is this just a one time kind of thing? Dan looks at Jean, awkward.

SEX3

EXT. OTIS’S HOUSE - CONTINUOUS 6 Otis opens the door to see ERIC (16, an acne-covered motormouth with an unruly Afro) in the driveway with his bike. OTIS You’re late. ERIC Sorry man, hair trouble - I had to wait for like, all five of my sisters to use the bathroom, then I got a comb tangled in my hair... I think I hid it okay. Eric parts his bushy hair, revealing a buried comb. Otis gives him a thumbs up. Eric sees Jean in the doorway and grins. ERIC (CONT’D) Wassup, Jean? Cool Kaftan! JEAN Thanks Eric, it’s new. Ready for your big day? ERIC I’m shitting myself to be honest. OTIS It’s not our first day of primary school. It’s no big deal. Jean and Eric share a knowing look as Otis grabs his bike. JEAN Wait one second. Jean goes back inside the house. ERIC Your mum’s such a legend.

SEX4

INT. NORWOOD SECONDARY. ASSEMBLY HALL - DAY 9 Eric is on stage playing the school anthem on his trumpet. The auditorium sits in deathly silence. Amongst the crowd is Otis, wincing with every bum note. Eric finishes. One person claps, it’s painful. MR GROFF (48, headmaster, utterly devoid of humour) takes to the podium. MR GROFF Thank you Eric. Adequate as always. (pause) Now, let’s give a warm welcome to our new Head Boy, Jackson Marchetti. Loud applause and whooping erupts from the audience as JACKSON (17, Norwood’s charismatic Head Boy and future Olympic swimmer) walks on stage. He forces Mr Groff to highfive, getting a huge laugh from the audience. Eric sits next to Otis, sinking low in his chair. A ball of rolled up paper HITS him in the back of the head.

SEX5

INT. NORWOOD SECONDARY. CORRIDOR - CONTINUOUS 11 Eric hurries to class, reading his timetable. Suddenly, he’s SLAMMED up against a wall by Adam (the same guy from the opening scene). He’s terrifying in his size and stupidity. ERIC Hi... Adam... Good summer? ADAM Shut the fuck up, Trom-boner. Gimme what you got. On auto-pilot, Eric empties his pockets. ERIC Literally the same line you’ve been using for five years. Eric hands a ten pound note and some loose change to Adam. MR HENDRICKS (CONT'D) 11. ADAM What’s in the bag? ERIC My lunch, which you always eat. Eric opens his rucksack and hands Adam a sandwich.

SEX6

I/E. OTIS’S HOUSE. FRONT DOOR - CONTINUOUS 18 Otis opens the door to Adam, who looks stoned. OTIS You’re on time. ADAM Am I? He pushes past Otis, traipsing mud onto the carpet. OTIS Come in. ADAM How long will this take, new kid? I’m already bored by you and your house. (pause) You got any Nesquik? Anxiety floods Otis’s face as he shuts the door. 19 INT. OTIS’S HOUSE. LIVING ROOM - LATER 19 Otis sits at the table surrounded by school work. He watches Adam down a glass of milk and let out a wet burp. ADAM Wanna get monged? OTIS No thanks. Otis turns back to his notes. Adam rolls a spliff, taking in the room. He notices a magnified painting of a flower.

SEX7

INT. ADAM’S HOUSE. HALLWAY OUTSIDE LIVING ROOM - NIGHT 32 Adam enters the house, attempting to creep upstairs. MALE VOICE (O.S.) Adam? Adam pauses outside the living room. Mr Groff is sat at the dining table, marking papers. MR GROFF You’re five minutes past curfew. ADAM Sorry dad. I lost track of time. MR GROFF You know the rules. You can have it again in the morning. 26. Adam places his mobile phone on the table. Mr Groff continues marking without looking up. Adam goes upstairs.

SEX8

INT. NORWOOD SECONDARY. CORRIDOR - CONTINUOUS 35 Adam opens his locker revealing two cans of Coke, one on top of the other. Checking that no one is watching, he pulls out a packet of Viagra and downs four blue pills with some Coke. Adam slams his locker shut and takes out his phone. He texts Aimee: ‘Meet me in 15. I have a BIG surprise for you.’ A few moments pass before Aimee texts back: ‘I have an assignment... also, fuck off!’ Adam is pissed. He focusses in on Otis, still at his locker. Adam’s eyes narrow and his lip curls. He takes his phone out again.

SEX9

INT. NORWOOD SECONDARY. SCIENCE CLASSROOM - DAY 36 Otis scans the room for somewhere to sit. Yet again, there is not one friendly face. There is a free seat next to Maeve. Bracing himself, he approaches. Maeve eyeballs him. MAEVE Yay! Twat-osaurus is here. OTIS You’re mean. I get it. Otis sits down. Maeve watches as he arranges his books and pens in perfect symmetry on the desk. Mr Hendricks (food still in beard) enters the classroom and writes ‘SRE’ on the whiteboard. MR HENDRICKS So, what was going to be biology is now an emergency SRE class. Following an outbreak of pubic lice, Headmaster Groff feels like you all need a refresher. Lucky you. Unlucky me. (pause) You’ll be working in pairs and will need a worksheet, two prophylactics and a plastic phallus. Sporadic giggling is heard. Maeve turns to Otis.

SEX10

EXT. NORWOOD SECONDARY. DISUSED TOILETS - CONTINUOUS 38 Otis crouches behind the block, trying to control his breathing. The panic slowly subsides. MAEVE (O.S.) Want one? Otis sees Maeve standing over him, lighting a cigarette. OTIS No thanks. MAEVE Was that really your mum? Otis nods, mortified. Maeve sits beside him. MAEVE (CONT’D) It could be a lot worse. (pause) She could have been giving head to an actual penis. Otis can’t help but smile. OTIS I want to die. MAEVE Don’t worry about it. This school has a short-term memory. 32. OTIS I wish that was true. MAEVE Sometimes the lie feels better. (pause) Now I see why you know so much about vaginas, though. Maeve holds Otis’s gaze. The moment is broken by a strange high-pitched WHIMPERING coming from inside the toilet block.

Wenn Halbsatz Vagina gestrichen, klappts. Im Video GESCHLECHTSWECHSEL

SEX11

The sound of CRYING gets louder. They approach a cubicle. MAEVE (CONT’D) (whispering) Open the door. OTIS (whispering) You open it. Maeve pushes the door open and they peer inside... Adam is revealed, trousers around his ankles, tears streaming down his face, hunched over a truly GIGANTIC erection. Otis and Maeve look from Adam to the MASSIVE bulge in his underpants. They all SCREAM... 40 EXT. NORWOOD SECONDARY. DISUSED TOILETS - CONTINUOUS 40 The sound of SCREAMING rises. A flock of birds scatter. 41 INT. NORWOOD SECONDARY. DISUSED TOILETS - CONTINUOUS 41 Otis and Maeve step backwards, horrified. Adam tries desperately to pull his trousers up. It’s too painful. ADAM STOP STARING AT ME! MAEVE Sorry... it’s like the eye of Sauron. I can’t look away. 33. ADAM Get out! Get out! Otis and Maeve turn to leave. Adam looks panicked.

SEX12

INT. NORWOOD SECONDARY. DISUSED TOILETS - LATER 42 Adam hasn’t moved. Otis and Maeve are now squashed into the cubicle next door. Otis is very aware of Maeve’s proximity to him as they talk to Adam through the wall. OTIS How’s it looking? Adam looks at his crotch. ADAM Less angry. But still annoyed. OTIS That’s a good sign. Otis approaches the next question with caution. OTIS (CONT’D) Why did you take the pills, Adam? ADAM Because I heard they give you a good buzz. That’s it. You should try it some time instead of being such a joy-fucker. MAEVE He took them because he’s having problems... finishing.

SEX13

EXT. NORWOOD SECONDARY. COURTYARD - DAY 51 From across the courtyard, Maeve watches Jackson. He’s flirting with some FEMALE STUDENTS. This clearly bothers her. Aimee sidles up, her hair messy from the recent sex. She takes out a packet of cigarettes and sighs despondently. MAEVE Still no success? AIMEE No... he came. (pause) But I broke up with him. He kept going on about ‘owning his narrative.’ It was really weird. (pause) Want one? MAEVE No thanks. Aimee keeps talking but Maeve isn’t listening. Her brain is in overdrive, calculating something, thinking about…

Sehr schön

SEX14

INT. OTIS’S HOUSE. KITCHEN - DAY 54 Otis is dressed for school, having breakfast with Jean and Harry. Uncomfortable silence as Harry makes SLURPING noises eating cereal. Jean is reading the newspaper. JEAN This study says that under twentyfives in Japan are having hardly any sex at all. Isn’t that awful? 43. Harry looks very uncomfortable. OTIS Mum? Jean doesn’t look up from her paper. JEAN Yes, darling? OTIS I can’t masturbate. Jean looks at Otis, concerned. JEAN Sweetheart, I’m glad youOTIS I can’t masturbate. But I don’t want to talk about it. I’m dealing with it on my own. Harry has frozen mid-cereal gulp; he glances at the door in panic. Jean takes a long pause before answering.

SEX15

EXT. NORWOOD SECONDARY - DAY 55 Otis and Eric park their bikes. Otis’s helmet is on too tight and he’s struggling to get it off. Eric sees Maeve making a beeline for them. ERIC Umm, Maeve Wiley is coming over here. She’s literally walking straight towards us. With purpose. Otis pulls at his helmet with desperation. It’s too late. 44. ERIC (CONT’D) Okay, she’s here. Otis turns to find Maeve looking right at him. MAEVE Nice helmet. (pause) And, reflective pads. Otis turns bright red. OTIS Safety first. MAEVE Can I talk to you for a sec? Otis looks around, this must be some sort of joke. OTIS Um, okay. Maeve looks at Eric, still lingering. ERIC Oh... do you want... me to go? OTIS I’ll see you inside.

auch gut