Devil’s Spirit "Bloody Mary" Written By Alex Dawson
My intention for this piece is for it to be the beginning episode of a television serial drama/comedy aimed at the 18-49 demographic. ’Bloody Mary’ is essentially a pilot episode based on life working in a restaurant/bar with all following episodes similarly named after an alcoholic drink. Alcohol is the focus of the show - the reasons why people drink, how they drink and the after-effects of it. The structure of the show takes point from perodicials and medical shows who have weekly ’cases’. In the same way, each episode would feature small storylines involving the punters whose obstacles in life would reflect on the events happening in the main characters’ lives. The balance of drama to comedy is supposed to lean more towards the drama. I hope the comedy is sprinkled in enough to uplift the mood every so often so the viewers aren’t in a continuous state of depression and as a result stop watching. I intend to continue the series on in my spare time, if only to examine how the story arcs stretch across a season. Hopefully one episode will stick out and become an ideal script that I would enter into various competitions. I realise it’s massively over the word count but I think it only makes sense if it’s read in its entire context. If possible could the 4000 word count that you mark begin at page 29 to the end of the script? I appreciate you taking the time to read it all if you do.
2. DEVIL’S SPIRIT Episode 1 "Bloody Mary" TEASER FADE IN: EXT. THE BOTTLETOP BAR - NIGHT UPBEAT INDIE FOLK MUSIC leaks from the door. Dotted with benches, empty glasses and people too drunk for their own good. They are here for alcohol, company is just a bonus. AARON (20) sprawls out across a bench - empty glass in hand. A monster of a BOUNCER gazes from afar without much concern. Aaron ponders. Makes his way inside. INT. THE BOTTLETOP BAR - NIGHT Energy permeates across the room with LAUGHTER and BANTER despite the tedium of the punters’ lives. This is it for them but they don’t care. UPTEMPO MUSIC BLARES. JACK (32) - made more handsome by his shirt and leather combo - acknowledges Aaron from the bar as he enters and signs another drink. Aaron nods, moves over to NIA (20) sat at a table in the corner with empty glasses on it. She stares at her glass, her phone. Waiting. Nothing. Jack returns. Their eyes widen at his offering. MONTAGE - They clink glasses. Aaron downs his drink and buys a round of shots. Returns to the two wallowing in misery. AARON Wray and Nephews! - He smiles. Knows it’s a mistake. They GROAN - down the shots. - Nia buys a round of shots. The alcohol is doing its job but not well enough. - Jack buys a round. - Multiple exchanges of cash for alcohol. (CONTINUED)
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3.
- Empty glasses pile up on the table as misery turns to laughter to outrageous dancing. AARON (V.O.) Alcohol - the great escape. - Jack watches Nia run off to the toilet. - Aaron, alone, enjoys stacking a pyramid of empty glasses. - Nia, wrecked, and Jack dance together. They knock the table, glass shatters on the floor. AARON (V.O.) People who say they drink for fun are just in denial. Everyone has something to escape from. END OF MONTAGE FADE OUT. END OF TEASER
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4.
ACT ONE FADE IN: INT. HOSPITAL, OUTPATIENT’S WARD - MORNING DIMLY LIT - everyone is still asleep. Aaron, unphased by his surroundings, wakes up in bed, drip in his arm. NURSE Ah good morning Aaron. AARON Morning Martha. (trying to get out of bed) So we’re doing this again? NURSE This time we’ve put a drip in so He pulls the line out, grabs a tissue from the bedside to cover it. NURSE (CONT’D) Do you want me to get him for you? He ignores her. AARON (sincerely) Thanks for looking after me. (looking to a window) It looks nice outside. So can I go now? INT. GYM SHOWER - DAY Aaron checks no one is around, undresses from last night’s clothes. Realises he has no pants on. Sighs. Showers. INT. REBEKAH’S BATHROOM - DAY Door ajar. REBEKAH (18), bends over the toilet bowl. Tears streaming. REBEKAH’S BOYFRIEND (O.S.) Oh god, I can smell that in here. What did you eat last night? (gagging) Actually tell me later. (CONTINUED)
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5.
She hides SOMETHING as he shuts the door. REBEKAH (whispers) Five, four, three, two, one. She reveals a PREGNANCY TEST - it’s POSITIVE. REBEKAH Fuck. REBEKAH’S BOYFRIEND (O.S.) I’m out to get some more gear. It all went on your mates from work last night. See you later. REBEKAH Mhmm. She vomits. EXT. DEVIL’S FILL RESTAURANT - DAY Stylish and welcoming. A SIGN sits above the entrance, a PITCHFORK worked into the letters - reads DEVIL’S FILL. Aaron and Rebekah meet at the entrance, both worse for wear. Friendly judging glances and they enter. INT. STAIRCASE - DAY Aaron and Rebekah walk in silence. INT. STAFF ROOM - DAY Aaron and Rebekah change into work clothes - chequered shirt and smart trousers. Awkward glances. AARON Yes these are the clothes I wore last night...and possibly the night before that as well. (taking his trousers off) Would you mind turning around? I might have lost my pants last night. She rolls her eyes.
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6.
AARON (CONT’D) Hey don’t judge. At least I don’t smell of sick. You didn’t even come out last night so what’s your excuse? REBEKAH I’m pregnant. AARON Pregnant? Like harboring a fetus pregnant? REBEKAH (can’t believe she’s actually saying it) Fetus harboring pregnant. AARON You going to keep it? Rebekah looks blankly. AARON (CONT’D) Does he know? Beat. REBEKAH Don’t let Coora catch you with those bug eyes. AARON What? Your boyfriend gave us pills again? REBEKAH (with regret) Yep - he did. She exits. He stares at his eyes in a mirror. INT. DEVIL’S FILL BAR - DAY The bar looks onto an open plan restaurant floor - business calm before the lunchtime storm. CHILLED MUSIC plays from speakers. Rebekah and Nia are behind the bar - lined to capacity with spirits and fridges full of beverages. Nia, a fidgeting zombie, texts on her phone.
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7.
REBEKAH You look like shit. Aaron enters from upstairs. NIA Hey Aaron. You’re on the bar with Bex. AARON You look like shit. NIA I feel worse than shit. I feel like the world just spat me out its asshole. REBEKAH Please can we not talk about assholes. AARON I’m impressed you managed to get in on time to open up today. NIA If you call two hours sleep and several bruises managing. I would’ve gone for a nap in the stock room but I was opening with Coora. She twitches. REBEKAH How many double espressos you had? NIA Four. My heart hurts a little. REBEKAH Isn’t there a girl on a trial shift today? AARON I hate new people. They’re all underdeveloped and fetusy. Rebekah gives Aaron a look. AARON (CONT’D) You know what I mean.
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8.
COORA (27) bounces over with almost child-like enthusiasm. She smiles like the Chesire Cat. REBEKAH Put your phone away, Spring Chicken’s here. Nia, caught mid-text, throws her phone out of sight. COORA Hello team. Everyone sleep well? Beat. They evidently haven’t. Aaron opens his mouth to reply. COORA (CONT’D) Fantastic. As I’m sure you’re aware we have a girl on a trial shift today so please look out for her. NIA What time’s she starting? COORA Any time now. Nia, shouldn’t you be on the floor? NIA I was just leaving. COORA And no more phones. She looks to Rebekah to find the phone. She passes it to her who hands it back to Nia. COORA Next time I see one I’m taking it away. Okay? FLICK (19), wide-eyed like a deer caught in headlights, approaches the pair of outside doors. COORA Ah, and here she is. Flick walks into a locked door. She tries to pull the door next to it but it’s a push. She enters, embarrassed. They know it and she knows they know it. AARON (under his breath) As I said - fetus.
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9.
COORA Hey, you must be Flick. I’m Coora the manager. You spoke to me on the phone. FLICK Hi. COORA Let me show you round. Flick nods, they head upstairs. Nia moves to the floor. AARON (mimicking Coora) Okay? (back to normal) Really? How does someone get so peppy? She must have been born with it. (he doesn’t have to look to know the stare Rebekah’s giving him) Er, sorry Bex. I’m just saying she’s been here a little over a week and it’s never faded. Adults scientifically should not be that peppy. The world is not that happy a place. REBEKAH (holding back some vomit) Shut up Aaron. INT. OFFICE - DAY Flick and Coora enter a meticulously organized room of files and folders. Jack is busy at a computer, a pained look on his face. COORA Oh hey Jack. JACK (attention unmoving from the screen) Hey Coora. COORA This is Flick, the girl I spoke to you about.
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10. JACK Nice to meet you Flick. If you don’t mind I’m kind of busy with something at the moment Coora but I’ll come down in a bit. COORA No problemo.
Flick & Coora exit. He checks they’re gone. Reads an email out loud. JACK (confused by its meaning) Apologies but on considering your application you have been unsuccessful? INT. STAIRCASE - CONTINUOUS Flick stumbles whilst trying to keep up with Coora’s energetic pace. COORA That was the admin office and Jack is the junior manager. If you have any problems just come to one of us. FLICK Okay. COORA (clapping her hands together) Okay then. Flick jumps in shock at the clap. INT. DEVIL’S FILL BAR - CONTINUOUS Coora and Flick watch from afar as Aaron and Rebekah make drinks. COORA This is the bar. You’ll take their drinks over to the tables. AARON (to Rebekah) Are you sure you want to work today? Say you’re sick.
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11.
REBEKAH Nah I’m fine. I don’t want them to know yet in case - well in case. THOMAS, a rugged middle-aged man, peers in from outside and catches Rebekah’s eye. Seen, he walks off. Aaron looks over at Coora and Flick. COORA (CONT’D) That’s Aaron and Rebekah She opens her mouth to speak. Flick expects words, instead Coora flies off. Flick flusters behind. INT. KITCHEN - CONTINUOUS The kitchen is alive with activity, JOKING, LAUGHING - no cooking. DIFFERENT LANGUAGES - ITALIAN, POLISH, FRENCH - can be heard. STEVE (39) a beast of a man, LAUGHS. Coora and Flick enter. He turns around slowly, SILENCE. STEVE Coora. COORA Steve. This is Flick, she’s on a trial shift. Just showing her around. STEVE (extending an arm) Pleasure to meet you. Flick unwillingly places her hand in his. She winces as he shakes tightly. Flick and Coora turn their backs to leave, SOUND erupts once more. COORA Sometimes you’ll run food from the kitchen to the tables. INT. RESTAURANT FLOOR - CONTINUOUS Several tables enjoy brunch. Nia places an order at the waiter’s station as Coora and Flick return. COORA And finally this is the floor. Thirty tables in total. You take the orders, put them in the (MORE) (CONTINUED)
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12.
COORA (cont’d) waiter’s station where Nia is and the bar receives them from the ticket dock. Then a couple minutes later you collect them. Easy. FLICK Easy. Coora waves Nia over. Nia groans to herself. COORA Flick will be shadowing you a little bit today just until she gets the hang of things. Nia acknowledges. COORA (CONT’D) Remember, any problems just come to me. Or Jack. Coora exits. Nia wanders to a side room, Flick in tow. INT. STOCKROOM - CONTINUOUS Nia pulls out her phone to text. Paces around, Flick follows. Looks around at stock. Stays close. FLICK Is she always like that? NIA You mean Spring Chicken? FLICK Is that what you call her? NIA New people get nicknames. Beat, then realisation flashes across Flick’s face. FLICK Do I have a nickname? NIA You’re new aren’t you? Flick gives her time to answer but nothing.
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13.
FLICK Well, what’s my nickname? Nia finishes texting. NIA (leaving) Fetus. You know you don’t have to follow me all the time? FADE OUT. END OF ACT ONE
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14. ACT TWO
FADE IN: INT. OFFICE - DAY Blinds have been pulled down and the lights are off. Nia enters, confused at the DARKNESS. Jack hunches over the computer screen. He sees her, goes back to the screen. JACK You should knock first. It could be our thing. He KNOCKS a rhythm on the desk. NIA What? Why? (sighs deeply) She’s been here like two minutes and she’s already annoying me. JACK Who? NIA Flick - the new girl. Coora has her shadowing me. I don’t need another shadow, one’s enough. JACK Yeah. NIA Can’t you get her to shadow Aaron? Pulls himself from the computer. JACK Say that again? NIA Whatever. You know you’re sitting in the dark? JACK I’m thinking. NIA (bemused) Uh-huh. She exits.
15. INT. DEVIL’S FILL BAR - DAY Atmosphere is building on the floor. A couple, KATE and HARRIS, in their early thirties stride over holding hands and take a seat. KATE I’ll have your finest bottle of champagne please. REBEKAH Sure thing. AARON Celebrating? KATE (almost jumping up and down) It’s our one year anniversary. I can’t believe I’m even saying it. A whole year. You realise that’s three hundred and sixty five whole days Harris? He looks at her wryly. HARRIS Yep. Funny enough I did. REBEKAH Congratulations. AARON If you want to take a seat, we’ll bring it over to you. I just need to grab a cooler. INT. RESTAURANT FLOOR - DAY A customer tries to grab Flick’s attention. She sees, signals him to hold one second and stresses over the waiter’s station. FLICK Where the hell is the wine button? Jack approaches. JACK It’s just there below the cocktails. Don’t worry it took me a good few shifts to figure that thing out. (CONTINUED)
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16.
FLICK Thanks. His eyes dart across the floor. JACK Have you seen Nia? FLICK Yeh she was just getting some drinks for a table, thirteen I think. INT. DEVIL’S FILL BAR - DAY Nia leans across, slumps. Rebekah and Aaron make a tray full of drinks. NIA You got those drinks yet for table thirteen? REBEKAH Just doing those now. How’s the new girl? NIA She ain’t doing so well. She’s a bit of a wreck. Rebekah and Aaron look at her up and down. REBEKAH So how was last night? Sorry I couldn’t make it. NIA Yeah, that’s not like you? AARON (sarcastically) Well I was there so obviously it was a barrel of laughs. I remember going to The Bottletop. REBEKAH I didn’t even come out and I know you went there. We don’t go anywhere else.
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17. NIA Did you even go home? AARON (with pride) Course not - hospital. Got my own personal alarm clock and everything there. I remember you fell on Jack. NIA I fell on him? AARON I think you were meant to be dancing but you just kind of draped over him.
She nudges him hard. NIA Oh because you were so much better. You hugged both of the bouncers. INT. THE BOTTLETOP BAR - EVENING, FLASHBACK Aaron, out of his mind, hugs the Bouncer. He’s evidently uncomfortable but unsure what to do. Nia laughs. Aaron places the Bouncer side by side with a SECOND BOUNCER, judging them. AARON Yeah. Emil. You’ve got good arms. Good arms. But Michael’s coat is so soft. (to Nia) Feel this. He strokes the coat with his hand. Then his cheek. END FLASHBACK. INT. DEVIL’S FILL BAR - DAY He smiles smugly. AARON I hug when I’m drunk. REBEKAH You hug when you’re high. Something on Nia catches her attention. (CONTINUED)
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18.
REBEKAH (CONT’D) Er Nia, is that a hickey on your neck? Nia freaks out. NIA Where? Did my boyfriend meet us last night then? Flick enters. Beat - conversation grinds to a halt. She’s aware of this. FLICK Table thirteen want to know how long their drinks are going to be. AARON (finishing the order) Here you go. Three strawberry daiquiris, three double vodkas, two with lemonade one with coke and two large white wines. Flick hesitates at the tray. NIA Go on then. They watch as Flick takes the tray over to a table of ladies. She spills the drinks all over the floor. Panic, limbs everywhere. AARON I’ll go help her clean up. Can you make them again? Aaron leaves. REBEKAH Who gave you that hickey? NIA I’m hoping it was my boyfriend. Is it bad I’m hoping? THOMAS appears at the window. He and Rebekah catch glances. She gestures at Nia who has her back turned. He ignores and leaves.
19.
INT. STOCKROOM - DAY Nia texts with her phone. NIA Reply god damn it. Jack enters. Nia hides her phone in her apron pocket. JACK (prodding the pocket) You never were the best at hiding things were you? NIA Oh so now you’re talking to me. JACK I see it’s just you in here. Flick’s not following you anymore? NIA Thank god. He leans in close. She backs off. NIA What are you doing? They both look confused. JACK What do you mean? NIA You’re a bit close. Beat. He brushes it off. JACK So. Coora’s quite the character. What do you make of her? NIA Aside from her boundless energy? JACK Okay so it’s not just me then that finds it absolutely ridiculous. NIA She’s not even a good manager.
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20.
JACK Right, right. I should of been general manager. Don’t you think? NIA Yeh, guess so. What, you applied for the job? He nods. NIA (CONT’D) Burn. Beat. Words are on the tip of his tongue. She goes to leave. JACK Last night NIA Hey can we talk later? I need to get some drinks. She exits. INT. DEVIL’S FILL BAR - DAY Aaron plays with the ticket machine. Rebekah hovers with nausea at the corner of the bar. Thomas looks to enter the building. Aaron notices him, ignores. Thomas waits outside. Nia approaches. NIA Anyone think Jack’s acting a little weird today? He’s been hiding all morning in the office with the lights off and now he’s come down he’s forgotten what personal space is. AARON Can’t say I’ve noticed anything. He flicks his vision to Thomas. REBEKAH Hey Nia, you remember who gave you that hickey yet? NIA Not really. Why?
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21.
REBEKAH I’m thinking your mystery man might have blond hair, average height, maybe fortyish but very attractive - ring any bells? NIA I don’t hear any bells. Hold it, wait...nope, no bells. Why? REBEKAH He’s outside. He’s been there a while watching. It’s kinda creepy but he’s really hot so... A moment of clarity for Nia NIA Hold on, Aaron isn’t that AARON No don’t think so. Aaron flits off. REBEKAH Who is it? NIA (lying) Oh shit. Yeh that is him from last night. Nia leaves. REBEKAH Well who is he? Rebekah struggles against morning sickness. REBEKAH (CONT’D) No. Keep it together. Oh god. Flick approaches. REBEKAH (CONT’D) (running off) Stay here. I’m gonna be sick. FLICK Okay? She stares at the bar - simultaneous awe and fear.
22.
INT. RESTAURANT FLOOR - DAY Jack approaches as Coora watches over the floor like a bird of prey - majority of the tables are full. JACK So Coora, we haven’t had much time to speak since you started. How you finding it here? COORA Great, I’m loving the vibe. He rolls his eyes. JACK Good, good. Glad to hear it. Say, how about a friendly competition? COORA What do you have in mind? Their eyes meet with equal fervour. JACK Next big drink order that comes in, first one to make their half wins. COORA I relish the challenge. JACK (under his breath) Of course you do. COORA Sorry? JACK What? Don’t think I said anything. INT. STOCKROOM - DAY Aaron sits down on the floor. Nia enters. NIA Are you alright? That was your dad outside wasn’t it? AARON I don’t want to talk about it. I would love to know who gave you (MORE) (CONTINUED)
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23.
AARON (cont’d) that hickey though coz I’m pretty sure it wasn’t your boyfriend. She sits down beside him. NIA It wasn’t. We broke up. AARON Again? Isn’t this like the fourth time? I’ve lost count. NIA You’re hilarious. I think it’s for real this time. AARON Drink after work? NIA Do you even need to ask? INT. DEVIL’S FILL BAR - DAY Rebekah returns to the bar. FLICK You okay? REBEKAH I’m fine. Stomach bug. FLICK You sure? REBEKAH Uh-huh. FLICK No orders came through thank god. The ticket machine prints numerous tickets. Flick looks in horror. Rebekah turns her back for a bottle. REBEKAH Thanks for looking after the bar. She turns. Flick is gone.
24. INT. RESTAURANT FLOOR - DAY Atmosphere is electric. Aaron and Nia watch in excitement as Jack and Coora make drinks at the bar. A party of men CHEER from a table. Rebekah approaches with a large crate of stock. AARON Where’ve you been? REBEKAH Getting some stock. Aaron looks at her stomach area, then her face - concern. She stares him down. REBEKAH (CONT’D) What are they doing? AARON They’re having a bet, who can make their half of the drinks for table twenty two the fastest. My money’s on Spring Chicken. REBEKAH Who’s winning? NIA It’s pretty even at the moment. They still have three each left to go. Flick gazes at the bar in fear from afar. NIA (CONT’D) Ha, look at her. She looks so petrified about carrying that order. She’ll probably drop this lot too. Jack glances over at Nia, he knocks over a glass. The party REELS. Nia JEERS at Jack. REBEKAH She doesn’t seem that bad. You could help her a little bit Nia. NIA The Fetus? Aaron looks at Flick, for a moment worried. The moment shoots away.
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25.
AARON I’ll help her take the drinks over. I’m not making all those again. Coora finishes her last drink and slams her hand on the bar. The Cheshire grin returns and the party CHEER. AARON (CONT’D) (to Nia) You owe me a drink later. NIA Bottletop? AARON Bottletop.
REBEKAH Bottletop.
Nia moves away. Aaron stares at Rebekah again - almost parental concern. REBEKAH What? I’ll just say I’m not drinking tonight. AARON We never not drink. It’s our thing. She’ll know. REBEKAH Not if you don’t tell her. INT. DEVIL’S FILL BAR - DAY Jack makes his last drink. COORA Maybe next time? JACK Best two out of three? Aaron and Flick take the drinks away. COORA I’m listening. JACK Most tips made this shift.
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26.
COORA Alright. Starting from now of course. JACK Of course. The table APPLAUD as their drinks arrive. Rebekah gets behind the bar as Coora and Jack eagerly leave. Kate returns - tipsy. KATE I’ll have another two glasses of champagne please. REBEKAH You can order from the table if you like. You don’t need to get up each time. KATE It’s alright. (pointing to Flick) That waitress seems like she might have a heart attack if I ask her anything. She new? REBEKAH She’s on a trial shift. KATE Thought as much. I’ll let her be. And anyway I’m happy to get up. REBEKAH You do seem very happy. Aaron returns. AARON (mutters) Spring Chicken kinda happy. KATE Sorry? AARON Spring Chicken. It’s er, what we call our manager. She’s always sunshine and rainbows too.
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27.
KATE Hey, I wasn’t always this happy. Rebekah pours the champagne. KATE (CONT’D) I’ll admit it’s a bit much but we’ve worked hard to get to this. When we first met I was a young girl and he was in a band - says it all really. A year later and he proposed to me - actually down on one knee, on stage, in front of all his fans. He asked me to marry him. (deep in thought) That kind of commitment is for life. REBEKAH And you weren’t ready for that? KATE I was. He wasn’t. Being in a band is not for life. You can’t live in the real world and be in a band it just doesn’t work like that. Unless you’re The Beatles. And they were not The Beatles. She laughs. AARON He doesn’t look like he’s in a band. KATE He’s not anymore. He found a job as a sound engineer that he loves. Well I found it. AARON And now you’re happy and celebrating your first anniversary. Rebekah’s mind seems changed, hands her the glasses. She takes a gulp. KATE And now I’m a...? AARON Spring Chicken.
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28. KATE Spring Chicken. Who doesn’t like chicken?
Kate returns to her table. REBEKAH (CONT’D) I should give him a chance. Change can be a good thing, right? AARON I guess so. INT. KITCHEN - DAY Intense. Orders are being BARKED. A well-oiled but complex machine. Flick enters - a lost puppy. Doesn’t quite know where to stand. FLICK Hi, erm Coora told me to fill in for the food runner whilst he’s on a break. The kitchen carries on as normal. A chef plates up some food on the pass. STEVE These two are for table eleven. FLICK What are they? STEVE Creole jambalaya and citrus cayenne poached halibut. Here try some. She looks worried. FLICK I’m okay thanks. STEVE If and when customers ask, staff need to know the menu inside out. FLICK Sorry I don’t like spicy food. STEVE It’s a good thing you’re trying out for a job at a place called Devil’s Fill then. (CONTINUED)
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29. FLICK Really, I’m fine. STEVE I insist.
He hands her a spoon. She tastes, tries to hide the heat. STEVE Table eleven. Flick picks up the hot plates. As she leaves the spice is too much, she drops one on the floor. An amalgamation of jumping and flaying. INT. RESTAURANT BATHROOM - DAY Aaron pees at a urinal. Thomas enters. Aaron, oblivious, WHISTLES. THOMAS Aaron? AARON (avoiding eye contact) What the fuck are you doing in here? I’m at work. And I’m peeing. THOMAS I just want a chance. AARON Ha, I gave you a chance and you spat it right back at me. THOMAS I’m sorry but AARON Ha, sorry? Sorry doesn’t just make it right. Sorry means you were wrong and you want me to forgive you. And I don’t want to forgive you. (small beat) I want change, so get out. Thomas holds ground. AARON (CONT’D) Get the fuck out. He turns around but Thomas has left. (CONTINUED)
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30.
FADE OUT. END OF ACT TWO
(CONTINUED)
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31.
ACT THREE FADE IN: INT. RESTAURANT FLOOR - DAY Coora and Jack charm the tables. JACK You ladies seem to have run out of wine. Can I get you anymore? Coora passes Kate’s table, who edges closer towards drunkenness. KATE Excuse me, Spring Chicken? COORA Sorry? KATE I just wanted to let you know that your staff are doing a wonderful job of keeping me merry. COORA Oh thank you very much. That’s good to hear. You’re celebrating your anniversary? Kate nods albeit a little confused. COORA (CONT’D) My colleagues told me. (looking around) Your husband - ? KATE Gone to the toilet. I still don’t think he can wrap his mind around it. It doesn’t hit you ’til it hits you, you know? Beat. Coora’s smile cracks. COORA (a little broken) I’ll get the staff to give you a complimentary glass each. If you’ll just excuse me.
32.
INT. DEVIL’S FILL BAR - DAY Nia approaches, pissed off. Aaron and Rebekah make drinks. NIA Coora’s asked for complimentary champagne for the happy couple. AARON Did you hear Flick’s already pissed off Papa Bear? NIA (happy) Oh you do not want to mess with Steve on your first day. What happened? REBEKAH Dropped the first plate she lifted off the pass. NIA Like a pro. AARON Like a fetus. Rebekah looks at him in distaste. REBEKAH Do you want them now? NIA Might as well, they’re downing it like water. AARON (looks at Kate) She’s so happy. Like limitlessly happy. Surely that goes away at some point? NIA It goes. I’ll come back in a minute, just popping to the toilet. She exits.
33.
INT. RESTAURANT BATHROOM - DAY Nia looks at the hickey with confusion in a mirror. She hides in a cubicle and sends a text. NIA I’m sorry just please reply. She puts the phone on the tank behind the toilet so she can use it. As she’s doing her business the phone vibrates into the toilet. NIA (CONT’D) No, no, no, no. Oh god. She pulls it out - it’s broken, as is she. She moves to the mirror and hears CRYING in the cubicle along. NIA (CONT’D) Hello? Beat - Coora exits the cubicle. Not expecting Nia and caught off guard she tries to hide that she’s upset. She sees Nia’s phone. Nia hands it over. Customers enter and they mask their misery. They both exit. A third cubicle along Flick wipes her eyes. INT. DEVIL’S FILL BAR - DAY Aaron and Rebekah laze around. AARON You thought anymore about the f-? REBEKAH Baby. AARON Oh, so it’s a baby now. Well? REBEKAH Change is good. He can stop dealing and when the baby comes it’ll be like starting again. Fresh. Beat. AARON (arms out for a hug) I guess in that case congrats. (CONTINUED)
CONTINUED:
34.
They hug. REBEKAH Thanks Aaron. You still high? AARON Probably. Nia approaches, maddened. NIA Stupid cow. AARON Flick? NIA Spring fucking Chicken. REBEKAH What’s she done? NIA Taken my phone. My bloody pee-soaked phone. I need you to help me get it back. AARON Isn’t she busy trying to outdo Jack in tips? NIA Yeh but I need her busier than that. Beat to think. LATER Nia and Rebekah hide behind the bar. Flick walks passed. AARON Hey Flick. Can you take this? (presents her with a tray full of drinks) I can’t find the others and I have loads more orders to make. You know how it can be. She looks at him with knowledge of foresight. He doesn’t budge. She hesitatingly takes the tray.
(CONTINUED)
CONTINUED:
35.
As she walks away Nia and Rebekah peer from behind the bar. Flick walks over to a table Coora is schmoozing with. She stumbles. Naturally, she spills the tray all over Coora. Flick falls to the floor to pick up the glasses. Sees a PIGEON under another table. FLICK Er. Coora? COORA (agitated but professional) It’s okay don’t worry. Only a little red wine. AARON (smugly under his breath) I am good. Rebekah rolls her eyes, partly in admission. AARON (CONT’D) Quick go to the office. Nia hustles away. INT. OFFICE - DAY Nia enters, fumbles around for her phone. COORA (O.S.) Oh for god’s sake. Nia looks for somewhere to hide. Picks under the desk. Coora enters. Nia notices the side of the cabinet - a much better hiding spot. COORA You realise I can see you. Are you that desperate for your phone? Nia pulls herself out, avoids eye contact. COORA Get back to work. She leaves. Coora sighs deeply - keeps herself together. Jack enters. JACK Hey you okay? I saw Flick got you with those drinks.
(CONTINUED)
CONTINUED:
36.
COORA She’s a bit off that one. JACK She’s new, give her a chance. He realises the irony as he looks at Coora. COORA No, Nia. You know she was just hiding under your desk? JACK Oh her. She is a bit off. Actually more than a bit off, but you should give her a chance too. She’s good at what she does. She pauses to consider. COORA You’re all good friends here aren’t you? JACK (smiling) Yeah I guess we are. COORA You should be careful they don’t take advantage of that. Remember you’re their boss. His smile fades as hers returns. She pats herself down. INT. RESTAURANT FLOOR - DAY Flick fidgets nervously by the waiter’s station. Nia enters from upstairs. Long beat. FLICK You alright? NIA I’m fine. Beat. FLICK I’m gonna get fired.
(CONTINUED)
CONTINUED:
37.
NIA You can’t if you never had a job in the first place. Well is there anything you want? FLICK Kind of. A moment that she just can’t grasp. NIA Well is there or isn’t there? FLICK There’s a pigeon - under table twelve. An actual pigeon. I would go to the managers but I can’t find them. I don’t think it wants to move. NIA A pigeon? FLICK I don’t think any customers have noticed it yet. INT. DEVIL’S FILL BAR - DAY Aaron, Nia and Rebekah look over with curiosity at the empty table with a PIGEON underneath it. Flick crouches to the floor next to it, slightly afraid. REBEKAH There is a pigeon. How did it get there? NIA No idea. AARON People have sat at table twelve. How could you not have noticed a pigeon all day? INT. RESTAURANT FLOOR - DAY, FLASHBACK Aaron, Rebekah and Nia watch Jack and Coora make drinks at the bar. The table of men CHEER.
(CONTINUED)
CONTINUED:
38.
Jack glances over at Nia, knocks over a glass. The party REELS. Nia BOOS. The PIGEON appears in the doorway. It sees some FOOD under the table. REBEKAH You could help her out a little bit Nia. NIA The Fetus? The PIGEON walks to the table and pecks at the food. Sits down. END FLASHBACK. INT. DEVIL’S FILL BAR - DAY Aaron laughs. REBEKAH Maybe it got hurt so it hid in here. It does look like it has a gammy leg. AARON They all have gammy legs. NIA (mostly to herself) Or maybe it was crap at being a pigeon so the others were horrible to it. AARON You think it’s on a trial shift too? NIA (again to herself) And it tried to apologize for being a crap pigeon but her boyfriend wouldn’t listen. Beat. Nia realises she’s talking aloud. Quickly moves towards the pigeon.
39.
INT. RESTAURANT FLOOR - DAY Flick sits by the pigeon. FLICK I think we’re both a bit out of our comfort zone here. Don’t you? Nia approaches. Sits on the floor. NIA You talking to it? FLICK Maybe. NIA I think Rebekah has some drinks, could you get them? Flick leaves for the bar. Nia pauses - unsure how to proceed. NIA (CONT’D) Come here...pigeon. Come here. INT. DEVIL’S FILL BAR - DAY Jack walks up as Aaron makes drinks. JACK You got that order for fifteen? (Nia catches his eye) What is she doing on the floor? AARON Well it looks like she might be talking to the pigeon. Hey how’s the competition going with Coora? JACK The pigeon? REBEKAH Yeh we think it walked in. JACK And you haven’t got rid of it because?
(CONTINUED)
CONTINUED:
40.
AARON Er, not sure really. Nia looked like she was taking care of it. The competition? JACK Honestly? She’s kicking my Not that I’ll let her know that. Rebekah can you take order. I’m gonna deal with pigeon.
arse. I know this the
Jack leaves. Rebekah leaves with a tray of drinks. A drunk Harris appears at the bar. HARRIS Hey you know your friend is sat on the floor over there? AARON Yeh. We’re sorting that out now. HARRIS Double vodka on the rocks please. AARON Coming up. INT. RESTAURANT FLOOR - DAY Nia remains on the floor with the pigeon in silence. Jack arrives, a mix of confusion and concern. JACK How long you been sat down here? NIA It won’t move yet. He tries to pull her up but she won’t let him. JACK Nia, customers are starting to notice. NIA Please, it’s not ready to go yet. JACK You can’t stay down here.
(CONTINUED)
CONTINUED:
41.
NIA I’ve tried to move it. You can’t force it, it won’t budge. Beat. Realisation hits Jack. JACK Nee, I’m sure you two can work things out. NIA Stop. You’re not my - hold on. How do you know about me breaking up with my boyfriend? JACK Shit, you don’t remember. NIA Remember what? INT. THE BOTTLETOP BAR, TOILET - NIGHT, FLASHBACK FOLK MUSIC beats. Nia enters, messy drunk. Stares at her phone. Cries on the toilet. A KNOCK at the door. The same rhythm as earlier in the office. JACK (O.S.) You okay? She hides her crying. JACK (CONT’D) I know you’re in there. She opens it a little. A moment in each other’s company. She sits back on the toilet. He’s torn whether to leave. She grabs his hand, another moment. They kiss. It’s sexual on his part but more of a comfort for her. END FLASHBACK INT. RESTAURANT FLOOR - DAY A look of devastation on her face. NIA Don’t talk to me. Beat. Considers the position.
(CONTINUED)
CONTINUED:
42.
JACK No. Right now I’m your manager. (reaching for the bird) And we need to get rid of the pigeon. NIA Please, I’m not ready yet! The energy on the floor whittles. Customers notice. Coora strides over. COORA What is going on? Jack grabs the pigeon and gets up. Coora flees to the office in fear. The staff and customers all watch in confusion at the uproar. Jack places the pigeon outside, Nia following. NIA Why are you moving it? I told you not to. You had no right. JACK And you have no right to talk to me like that. EXT. DEVIL’S FILL RESTAURANT - CONTINUOUS The pigeon walks into the road and is run over by a vehicle. INT. RESTAURANT FLOOR - CONTINUOUS JACK Get out. He looks at the floor which has come to a standstill. JACK (CONT’D) Your shift is over. He pauses with regret. Nia storms off. He smiles across the floor to the customers in apology. FADE OUT. END OF ACT THREE
(CONTINUED)
CONTINUED:
43.
ACT FOUR FADE IN: INT. STAFF ROOM - DAY Nia grabs her things and breaks down. INT. HALLWAY - DAY Jack goes to knock on the staff room. Nia can be heard CRYING inside. He pulls away at the last moment. INT. DEVIL’S FILL BAR - DAY Aaron makes another drink for Harris, sat at the bar. Harris, drunk, props his face up with his hand but slips off. REBEKAH Can you stay behind the bar? I’m just going to see if Nia’s alright. Rebekah leaves the bar. AARON Ah, sorry about that. So another vodka - no more champagne for the happy couple? HARRIS You think we’re happy? AARON I’ve never met a happier woman. I’ll be honest, she’s a bit too happy for my taste. HARRIS She’s being happy for the both of us. AARON You not happy? HARRIS How can I be? Aaron looks perplexed.
(CONTINUED)
CONTINUED:
44.
HARRIS (CONT’D) She changed me, for her. When you love someone you don’t change them like that. I was a musician, I loved my life. And she turned me into a sound engineer. Did she tell you she found me that job? Course she did, she tells everyone. She thinks she made me better. She didn’t do that - she turned me into the guy who watches other people become musicians. (Beat) Thanks for the vodka. Harris leaves the bar. The ticket printer STIRS. INT. HALLWAY - DAY Jack paces outside the staff room door. Rebekah approaches and half-dodges him. JACK I shouldn’t have REBEKAH Do you mind if I go in? He nods. She KNOCKS on the door. INTERCUT - INT. STAFF ROOM / INT. HALLWAY - CONTINUOUS Nia is on the floor in tears. Jack listens from outside. REBEKAH (O.S) Hey, it’s me. Can I come in? She enters and sits beside her. REBEKAH (CONT’D) Nee, it was just a pigeon. NIA (giving in to last night’s fatigue) It wasn’t about the stupid pigeon. REBEKAH Then what?
(CONTINUED)
CONTINUED:
45.
NIA I broke up with my boyfriend and then I kissed Jack. REBEKAH Last night? I thought you kissed that other guy? NIA I lied. I couldn’t remember but now - I kissed Jack in the toilets. Classy right? He walks away. NIA (CONT’D) I’ve tried to fix it but he wouldn’t reply back. And then he does and I go and drop my phone in the toilet. REBEKAH Like a pro. NIA Like a bloody fetus. Rebekah opens her mouth to speak but she stops herself. INT. DEVIL’S FILL BAR - DAY Aaron flaps about the bar. Flick approaches. AARON I know you’re waiting on an order but the printer’s stopped working. FLICK Er, there’s five now. AARON What? Give me a few minutes. I can’t do them as quickly on my own. I don’t even know what they are. FLICK Three sauvignon blancs for table two, a diet coke on fourteen, two house reds for four, one hot chocolate with Baileys and one Irish coffee for seventeen and a sparkling water with lemon and one (MORE) (CONTINUED)
CONTINUED:
46.
FLICK (cont’d) cube of ice for the rah lady on twenty nine. I can write them down for you? AARON The rah lady? FLICK The one wearing sunglasses and silk gloves inside. INT. RESTAURANT FLOOR - DAY Kate, borderline drunk, leaps to her table with some more champagne. Unlike her, the atmosphere on the floor is timid. HARRIS No more champagne. KATE Okay. I swear this is the last for now. HARRIS No Kate. KATE Oh come on Harris, we’re only three quarters of the day through. We still have another whole, other quarter to go. HARRIS I’m done. KATE Oh I didn’t think you were that drunk. HARRIS (getting up) No I’m done with this. The celebrating and the champagne and the happy. Oh my god the happy. Can’t you see I’m not happy. Me. Remember me? KATE Harris. Please not here.
(CONTINUED)
CONTINUED:
47.
HARRIS Why not here? Oh do me a favour you can flaunt your happy all over the place and I can’t be just a little bit upset? KATE Upset about what? Long beat. HARRIS (leaving) I want a divorce. The floor is SILENT. He walks towards the bar. INT. DEVIL’S FILL BAR - CONTINUOUS Harris slaps a wad of cash down in front of Aaron who is finishing the pile up of orders. Customers whisper. HARRIS Keep the change. Harris exits. Rebekah returns. REBEKAH Wow, it’s quiet in here. AARON Er, yeh people are still a bit confused at what went on with Nia. How is she? REBEKAH A mess. She broke up with her boyfriend AARON Again? Kate passes, completely devastated. KATE (exiting) Thank you for today. REBEKAH No worries. Have a great anniversary! (to Aaron) (MORE) (CONTINUED)
CONTINUED:
48.
REBEKAH (cont’d) Where’s her husband? AARON Oh he’s gone to get the car I think. REBEKAH Such a happy couple. AARON (taking the tray) Yeh they were - hey, can you settle their tab? The money’s just there. I need to do something. INT. STOCKROOM - DAY Flick grabs some candles. Aaron enters. FLICK Oh hey, I saw these earlier and figured they go out as it starts to get dark. AARON Yeh they do. Words attempt to leave his mouth. She mistakes his pause for disinterest. FLICK Okay. I know I’m the trial girl and you guys are clearly already friends. I’m new, not stupid. And I know you call me Fetus. But stop, seriously just stop. I’m new. You must have been new once. You must have made mistakes. And...and I helped you earlier! You can’t expect me to know everything before you’ve even given me a chance. Just give me a god damn chance. Long beat. He’s impressed with her backbone. AARON I was actually going to apologize for earlier, for us, and ask if you wanted to come out after work. Start fresh.
(CONTINUED)
CONTINUED:
49.
FLICK Oh that would be nice. Thanks. AARON No worries. Hey, before when you gave me those orders, I saw you didn’t have them written down. (leaving) You’ve got a good memory. She smiles to herself. INT. DEVIL’S FILL BAR - EVENING Atmosphere on the floor is tranquil. Lights DIMMED, CANDLES line the bar and tables. Nia waits by the door. Jack is behind the bar. Rebekah at a stool. Aaron, Flick and Coora enter from upstairs - everyone except Jack in their own clothes. Coora and Nia exchange acknowledging smiles. Silence all around then REBEKAH So how did the competition go? COORA One a piece. JACK (with a grin) I may have slightly outdone her in tips. AARON Actually if you count the pigeon, that’s two one to Jack. COORA The pigeon doesn’t count. JACK The pigeon counts. The pigeon definitely counts. COORA (hesitantly) Fine, I’ll do your next three doubles. You get to keep this one though.
(CONTINUED)
CONTINUED:
50.
JACK I can live with that. COORA You sure you don’t need me to stay? JACK Nah it’s fine. Seems it’s gonna be pretty quiet tonight and we have a couple more waiters coming in a bit. (small beat) I’m more than capable. Nia lingers inside. Jack is torn whether to look or not. Long beat amongst the group. NIA (to Rebekah) You coming? FLICK I don’t think that’s a good idea with your stomach bAARON Yeah maybe it’s best you sit this one out considering your stomach bug. COORA You had a bad stomach and you didn’t say anything all day? REBEKAH Oh it was nothing. I’m fine. Rebekah’s boyfriend stands by the door. REBEKAH (CONT’D) (a little confused at his appearance) But I guess I should go home. Have a few things to sort out anyway. (under her breath to Aaron as she passes) You called him? AARON Have a good night Bex. Rebekah and her boyfriend leave.
(CONTINUED)
CONTINUED:
51. AARON See you later Jack. JACK Thanks for today. Hopefully your first shift wasn’t too chaotic Flick. It’s not always like this. AARON It pretty much is. JACK Can you do tomorrow at nine? FLICK What? I mean yeah. (to Aaron) Can we go out another time? AARON I start at eight. Therefore you can come. I’ll look after you.
Jack looks at him with concern. AARON (CONT’D) What? When have I pulled a sicky? I’ll look after her. (to Flick) You can come. Jack nods with consent. FLICK Nine o clock. JACK Nine o clock. Aaron and Flick wait outside. COORA I’m going to head off too then. Have a good evening. JACK Yeh you too. Doing anything nice? COORA Yeah, I’m going out with them. Nia invited me. Beat. He’s totally confused.
(CONTINUED)
CONTINUED:
52.
COORA (CONT’D) I want to size her up. You did say to give her a chance? Plus I need to drink after today. Might as well drink with people I know. She joins the others outside. Nia enters. COORA (CONT’D) (to Nia) You coming? NIA Yeah, in a minute. I’ll catch up. Hesitantly, Coora, Aaron and Flick walk off. JACK You don’t even like her. You’re inviting her just to spite me. NIA Pretty much. JACK You kissed me remember? How am I the bad guy in this? NIA (leaving) I was drunk. That’s how you’re the bad guy. Have a great evening Jack. JACK Hey, so was I. Don’t walk away from me. I’m still your manager. NIA You going to fire me? Beat. He’s without words. NIA (CONT’D) Thought not. She exits. FADE OUT. END OF ACT FOUR
(CONTINUED)
CONTINUED:
53.
ACT FIVE FADE IN: EXT. THE BOTTLETOP BAR - EVENING Establishing. INT. THE BOTTLETOP BAR - EVENING Packed with punters drinking to the survival of another day at life. Nia and Aaron drink at the bar. Harris sits further along. Deep in thought. NIA Are we gonna talk about your dad yet? AARON What do you want me to say? NIA How about ’hey Nia, the asshole’s come home’? AARON Coz then I would be lying. NIA Well he is back isn’t he? AARON He never left. NIA What he still works at the hospital? She’s left puzzled. He walks away. NIA (CONT’D) Aaron. (noticing Harris wallowing at the bar) Finished celebrating? HARRIS Could say that. Shame what happened to the pigeon.
(CONTINUED)
CONTINUED:
54. NIA Where’s your wife? HARRIS Not sure really. Not sure I care either right now. NIA I’m sure you’ll make up soon enough. HARRIS Maybe, maybe not. Sometimes it just doesn’t work. NIA Well what if you want it to work? HARRIS Then you try your damndest to make it work. God knows I did.
A barman brings Harris a shot of vodka. He passes it to Nia. HARRIS (CONT’D) Can I have another one please. NIA Thanks. (downs the shot) Good luck anyway. HARRIS You too. I hope you make it work. THE CORNER OF THE ROOM Nia moves to Aaron, Flick & Coora chatting on a couch. Coora is far more drunk than the others. AARON So I’ve dropped three plates of food on the stairs and I go up to Steve with an onion ring on a plate and write in brown sauce ’Will you marry me?’ Coora laughs inappropriately loud. AARON (CONT’D) The look on his face. Remember that Nia?
(CONTINUED)
CONTINUED:
55. NIA (half-heartedly) Yeh that was pretty hilarious. COORA Hey Nia, want to help me get the next round in? NIA Sure.
THE BAR Coora, wine still in hand, and Nia go to the bar. AARON (V.O.) We all make mistakes, nobody’s perfect. Instinctively we want to escape our mistakes, at the very least hide them. COORA About before NIA Yeh I am really sorry about that. It wasn’t my best day. COORA Definitely wasn’t as bad as mine. NIA My boyfriend dumped me. Again. Coora passes her the wine. She takes a sip and passes it back. COORA I caused a car crash this time last year. Beat. She downs the rest of the glass. They both sigh, a release of today’s tension. NIA You going to fire me? COORA Not today, no. Oh, here’s your phone, you forgot it earlier. Nia gives a nod of thanks.
(CONTINUED)
CONTINUED:
56.
COORA (CONT’D) Yo bartender, can we get some drinks over here? NIA I heard Jack kicked your arse with the tips. COORA I heard Jack kicked your arse. NIA He did. At least I didn’t freak out at the pigeon. COORA Fear of birds. Spring Chicken has a fear of birds. NIA You knew we called you that? COORA Course I did. AARON (V.O.) Other times that beginning comes from pretending it never even happened. COORA (to barman) Four shots of sambuca please - two white, two black. INT. REBEKAH’S BEDROOM - EVENING Rebekah and her boyfriend sit on the bed. Beat. REBEKAH I have something I need to tell you. INT. THE BOTTLETOP BAR - EVENING Flick and Aaron play pool. FLICK I can’t believe I got the job.
(CONTINUED)
CONTINUED:
57.
AARON Me and Rebekah might have put in a good word. She smiles appreciatively. Aaron drunkenly misses the white ball - ignores it happened. FLICK So this is the place you go to to get drunk and forget about the drunk people you’ve just served? AARON Not at all. This is the place we go to to get drunk and forget the mistakes we made when we got drunk the night before. FLICK So where did you drink last night? A BARMAN approaches. Hands Aaron a pair of pants. BARMAN Hey Aaron, you left these here yesterday. AARON Thanks. The Barman leaves. Aaron waves them proudly. AARON (CONT’D) Listen, we shouldn’t have called you Fetus but I’m afraid it’s already stuck. And it’s not the worst nickname out there, it just means you need time to grow. FLICK And you’ve grown? AARON Hell no. (pings the pants) You saw me flapping about before. I’m just an older fetus than you. AARON (V.O.) Sometimes we believe that new beginning comes from simply apologizing.
58.
INT. DEVIL’S FILL BAR - EVENING Jack locks up alone. Flicks the lights off. EXT. HOSPITAL - NIGHT Aaron slumps outside the entrance doors on the verge of passing out. AARON (V.O.) But there is no reset button. AARON Hey dad, I’m home! INT. REBEKAH’S BEDROOM - NIGHT Rebekah lies battered on the floor, bloody and unconscious. AARON (V.O.) No amount of apologies or alcohol can wipe the slate clean. We can trick ourselves all we want into thinking we can start again, that we can have a new life. Until the trick becomes just that and the realisation hits you hard. FADE OUT. THE END