IT TAKES TWO
Two Strangers Cheat On Their Spouses And Have Risky Sex With Each Other

SCENE OPENS on Scott and his wife Sofia (Cindy Starfall) exiting a home office, closing the door behind them, and walking into a waiting area. As Scott gushes to Sofia about her commitment to their marriage and talks about the counseling session they have just finished, Sofia is intrigued by another man – Andrew (Dillon Cox) – in the waiting area.

Her gaze strays down to Andrew’s hand and she notices a wedding band on his finger. A glint flashes through her eyes as she sees this. Andrew looks back, a hint of a mischievous smile on his lips. Sofia seems to get an idea and breaks eye contact with Andrew, turning her full attention back to her husband. Sofia then manipulates Scott to go get their car for them, leaving Sofia and Andrew alone together.

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With Scott gone, Sofia and Andrew chat. It is revealed that Andrew is the marriage counselor’s husband. As they continue to talk, flirting back and forth, it quickly becomes clear that both Andrew and Sofia have no issues with cheating on their spouses. Licking their lips hungrily, they each slip their wedding bands off, anxious to get at each other.

It takes two to make a marriage work…but it also takes two to break its bonds…

‘Safety is not a gadget but a state of mind.’
-Eleanor Everet

ANNA AND ALEX

SCENE OPENS on Anna (Lola Fae). She is exercising while listening to a podcast. It looks routine and she’s low-energy.

Meanwhile, Alex (Lucky Fae) is on his laptop doing remote work. He looks bored. In the background, there is a digital picture frame automatically scrolling through pictures of Alex and Anna on lots of adventures. It’s clear they’re a couple, that they once enjoyed the great outdoors, and are in love.

As Anna continues to listen to the podcast, she hears an announcement that the self-isolation restrictions have been lifted for her county. People can now see each other again, although they must still be responsible. Anna is in a state of shock for a few moments but then becomes very excited.

When Alex hears the news he is shocked, then hurriedly messages a coworker that he’s going on lunch break.

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Outside Anna’s house a short while later, Alex hurries to the front door, wearing head-to-toe protective gear, including a full-body suit. He anxiously knocks on the door. Anna answers, also in full protective gear. They both exclaim that they are so happy to finally be together after all this time. They go in to hug each other but hesitate. Even though they are fully protected, they are so used to their old habits. They don’t hug and instead awkwardly laugh it off before Anna invites him inside.

Anna directs Alex to her self-assessment station, which contains a disposable thermometer and paperwork to fill out. Alex automatically takes his temperature and does the self-assessment as if it’s an everyday thing. He’s a little more clumsy than usual, though, given how excited he is to see Anna. He is cleared and they are relieved.

Anna and Alex once again talk about how excited they are to finally see each other in person. They especially can’t wait to touch each other. As they say so, they become uncomfortable and uncertain. They suggest that they should still keep everything on, to be extra safe…

They move to the couch, both sitting on opposite ends. They notice and awkwardly laugh. They try to move closer together but it clearly makes them uncomfortable. Once they finally get close enough, they begin touching each other through the clothing, although it’s still awkward to begin with. But they both obviously want attention and affection.

The world may finally be getting back to normal, but can Anna and Alex?

GOD HELP ME

Molly (Crystal Taylor) is a devout woman who just wants to do good in her life. However, her teen daughter, Juliet (Eliza Eves), is leading a sinful life that has Molly praying for her poor soul. Molly is so desperate to get through to her rebellious daughter that she finally invites her priest, Father Davis (Tommy Pistol), over to try and talk to her.

Of course, once Juliet is alone with Father Davis, her resentment towards her mother for always meddling in her life boils over. She’s tired of Molly acting holier than thou. Juliet’s a young woman — what’s wrong with going out there and enjoying life? Figuring herself out? There’s nothing WRONG with that!

Although Father Davis tries to be empathetic, it’s clear that he’s a do-gooder like Molly, which means Juliet has no time for him… but as Father Davis tries to calm Juliet and set her on the right path, Juliet gets an idea as she hungrily looks him over. Juliet’s going to get her mom to stop bothering her once and for all… and sweet Father Davis is going to help her.

‘We don’t create a fantasy world to escape reality, we create it to be able to stay.’
-Lynda Barry

KATE AND THE FREE MAN

SCENE OPENS on Kate (Cherie DeVille) in bed. She lays under freshly-bleached white sheets pulled up to her shoulders, wearing earplugs, shop glasses, and an oxygen mask. She takes a panicked breath, sitting up suddenly.

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Kate looks at her to-do list on the kitchen counter, a list of all of the rituals she has developed as coping mechanisms for her agoraphobia. Kate reviews the list. But, looking at all of the individual items on the list, Kate quickly becomes overwhelmed. Finally, she slams her marker down on the counter. Suppressing her panic with controlled breathing, she disinfects her hands, puts on a pair of latex gloves, and walks briskly away.

Determined, Kate goes down the list, meticulously cleaning and safe-guarding every corner of her home. Suddenly, her landline rings. She glances at the phone and decides to let the answering machine pick it up. On the answering machine, Kate’s sibling leaves what sounds like a frustrated, repeated message, reminding her to take care of some plants that she got Kate. The message hangs up, with a beep.

On the front steps of Kate’s small house, the front door opens a crack. Using a grabber stick, Kate sticks her gloved hand out the door to try and grab the plants. But she can’t reach, and after several painful attempts to drag the plants inside, she gives up and slams the door.

Kate immediately goes to the shower and scrubs her body to disinfect herself. As she scrubs, her eyes close and she begins to let her mind wander. She thinks about crowded streets, people smiling, talking, coughing, shaking hands, wind blowing through the trees. The tension on her face is clear as she keeps scrubbing. Her thoughts race through a series of blurred faces, all wearing masks. She sees a pair of boots slamming down on some dirt. Kate licks her lips and allows her hands to slide down her body. She is beginning to feel aroused. She visualizes a mask slowly falling to the ground, before being stomped on by the boots. She then sees the face of the man (Dick Chibbles) who wears the boots. This sends Kate over the edge and she begins to pleasure herself feverishly.

Who IS this mysterious, maskless man that has invaded Kate’s mind?

YOU’LL ALWAYS HAVE A HOME WITH US

Joanne (Lauren Phillips) and her husband, Nick (Dick Chibbles), are just settling in for the night when there’s a knock on the door. When Lauren answers it, her goddaughter, Avery (Paisley Porter), practically jumps into her arms, sobbing. Lauren is startled as she turns to the police detective accompanying her for help. Seconds later, their worlds come crashing down as they learn that Avery’s parents, their dearest friends, have been killed in a terrible car accident. Even though Avery isn’t related to them, as her godparents, Joanne and Nick will do everything they can to take care of her.

But as time passes, Nick starts to become more and more uncomfortable sharing the house with Avery. It seems like Avery’s selfishly inserting herself in every aspect of their lives, not giving them any privacy. Even worse, it doesn’t even seem like she’s grieving, which thoroughly freaks Nick out. One day he tries talking to Joanne, convinced that something’s WRONG with Avery, but Joanne insists that this is how she’s processing trauma, so they have to be there for her — no matter what.

Although Nick reluctantly accepts this, he admits that a lot of his frustrations stem from the fact that they can’t get any ALONE time together these days. Now that Avery’s stepped out for a minute, maybe they can have a moment that’s only about THEM.

But as things heat up, are they REALLY alone?

‘Life without love, is no life at all.’
-Leonardo da Vinci

ANTHONY’S DATE

SCENE OPENS on Anthony (Michael Vegas) walking down a desolate street, returning home from a shopping trip. He is wearing a mask and gloves and carrying a couple of paper bags as he enters his home.

Anthony approaches a homemade disinfecting station by his doorway. He opens the bags and begins efficiently disinfecting the products and bags. He then enters his main living area. He does it all without concern, as if it’s a normal routine.

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Later that day, Anthony sits at his computer having a video conversation with his mom. Anthony tells her that he’s missed her but time got away from him. All the days feel the same and he’s been having trouble remembering dates. She says she’s missed him, too, and that she is worried about him being all alone for so long. She wishes he’d use a dating service to find a nice girl to be with in lockdown. She can suggest one. He puts on a brave smile, lying and assuring her that he’s fine. But his hands are tightly clenched against his knees.

After the call, Anthony goes about his everyday routine. He cooks alone, exercises alone, does everything alone. Finally, he can’t take it anymore and signs up for a dating service that promises to find his perfect AI match.

A female AI, Aurora (Ana Foxxx) greets him. She is instantly warm and friendly, asking him personal questions about what he’s looking for in a partner. He gives some answers, but when Aurora asks questions about his sexual preferences, he’s taken aback. He asks Aurora if they could just get to know each other a bit first.

As they get to know each other, Anthony becomes more and more comfortable with Aurora’s company. When he’s cooking, he wonders what he can use as a substitution and Aurora helpfully answers. When he exercises, she encourages him to keep going when he gets tired. When he goes to bed, Aurora wishes him goodnight.

Anthony is finally coming out of his shell as he falls for Aurora…but is his newfound happiness too good to be true?

UNGRATEFUL

Carla (Maya Woulfe) is in need of some work done in her house. Fortunately, a friend of hers has a contractor husband, Tony (Stirling Cooper), who can do the work at a reduced rate as a favor. Carla is delighted with her stroke of good luck and accepts the arrangement. Then Tony sets to work.

At first, everything seems to be going well, but as the weeks go by, it seems like Tony’s making little progress. He always has an excuse for his tardiness and the work keeps getting delayed… It puts her in an awkward position since Tony is doing the work for her on the cheap as a favor, so does she even have the right to complain?

But finally, Carla can’t idly sit back and watch as her house falls further into disrepair. She tries to talk things out with Tony, though he brushes her off. There’s even an unsettling moment when his eyes wander to her chest. That seems to be the last straw as she vents her frustrations, confronting him about his poor behavior. Of course, this only makes Tony threaten to walk out.

Realizing she’s going to be in even worse shape than before if Tony abandons the work, Carla has to think fast. Even though it disgusts her, Tony DID look at her earlier, so maybe there’s one thing she can do to entice him to stay and finish what he started…