Not in this timeline

When I finally got out, the world was…It wasn’t the same. Everything was painfully dull. After you watch so many people die, it’s hard to be focused on washing dishes, or brushing your hair. The world is flat and heavy but I feel lighter. Like something otherworldly, floating through it. I have no roots any more, nothing grounding me. Everything I was before, everything I became has been erased. And the weirdest part is, I have no desire to start again. I’m spent. I’ve had enough of trying. I just exist now. Living my life on mute. So when it finally comes time to take me out, I’ll have nothing to miss.

When I meet people their mouths move but I can’t hear anything. When I’m working, I turn the keys and I stack the shelves and I walk up and down with my clipboard, but my mind is elsewhere. I just do what I’m told and live in my head.

I can’t really describe it. This french guy who fixes the vans told me about the idea of multiple timelines. I think that’s close to it. In my head, there are many timelines and I can tune into whichever one I want. There’s this one, where I’m siting in a four by four room with no furniture, smoking cigarette after cigarette until I fall asleep. And there’s another one, where I’m living in a log cabin. Or another, where I have a dog.

My favourite is the one where V and I- I suppose actually we have normal names in that timeline, names like Ben and Rebecca – but we make it. We meet for the first time somewhere normal, at work or at church maybe. We fall in love in a romantic way. Candlelit dinners and picnics and holidays and smiles. We get married, we buy a house. We have arguments, sure, but they’re about such inconsequential things, like what colour to paint the hall or where to host the wedding reception, that they’re more fun than destructive. We get pregnant. Have a child. Have four. We’ve got photos on the walls. Family videos. Tricycles are lined up next to bicycles int he garden. Little clothes hand on the washing line. When we go out we walk hand in hand, kids running ahead.

It is the best part of my day, visiting that timeline. It’s always warm in the house. It smells like pastry. There’s always chatter, always giggling and excited exclamations. As I walk into the living room, someone runs up to me. The youngest, maybe. She has my eyes, and V’s smile. When I hold her, she smells like baby powder and biscuits. She clings to me and I choke up. She’s lost her first tooth, she tells me. Asks me if I’ll stay up and make sure the tooth fairy knows where to find it. Eventually she falls asleep on my lap, and V is beside me on the couch, and we’re just watching TV. It’s getting quiet now. Calm. I carry her up to bed. Swap her tooth for a two pound coin.

Then we’re finally alone. I play those scenes out slowly. They’re part foreign, part memory. I tell I love her over and over. Sometimes she says something back, sometimes she just looks at me. It doesn’t matter. She’s here. She’s here with me. We are wrapped around each other. She’s so soft and warm and mine. Mine, mine, all these things are mine. And no one can get to them. Not even me.

I would never be sick there. I would never be high. Never think about my adopted father, or my dead brother, or all the shit and piss and pain and blood I’ve seen. I’d never wake up in the night screaming. Never hurt anyone. Never leave V.

I’d just enjoy it.

Really, finally, enjoy being alive.

The nights are the hardest

I have nightmares. Or at least, I call them nightmares. They don’t necessarily happen at night, or even when I am asleep. But they keep happening.

She’s at my dinner table. She’s washing dishes at my sink.

There was a point where I didn’t recognise her anymore. And rather than watch her drift away, I chose to leave. I believe some people are capable of holding onto something until it turns to dust in front of them. I cannot imagine ever holding her in my arms and seeing nothing in her eyes.

She’s behind the counter at the supermarket. She’s a nurse on the cancer ward.

At first, she would hold onto me so tightly that when they prized her away, she’d take my sleeve with her. My hair. One time, my skin.

She’s wiping down the table next to me. She’s giggling into a phone.

When she came back, she tore at the scar. Punishment for letting her go. Her rage was just as intense as her sadness, and though she was making my suffer, I knew that she was suffering too.

She’s pushing a child in a pram. She’s ringing the bell on her bike.

To have that go away. To disappear completely. To see that bright spark turn to a dim flicker, a shadow of itself-

She’s pouring over my hand. She’s slamming the door in my face.

I packed a bag and left. She didn’t come after me. I thought it would be easy. Easier.

But I keep having these nightmares.

I’m driving back to my house. She’s in the middle of the street. I know she’s not real so I keep driving. But she doesn’t move. Just looks at me. Looks so sad. So I stop the car. I get out. She’s covered in flowers. As I approach her, she falls back. Lies prone, flowered arms crossed over her chest. I kneel over her. I see that she’s not sad. She’s dead. Her black eyes are grey. Staring.

The flowers are wreathes around her naked, decomposing body. Her stomach is bloating, bloating- the skin splits. 

Fingers reach out. An arm. I recognise a scar that stretches from the elbow to the wrist.

I’m climbing out of her. A version of me that I do not want, cannot meet right now. 

I run back to car. It won’t start. He’s ambling towards me, damp. Naked. 

I slam my head against the window. Over and over until my surroundings fragment, fall apart. When I am back in this time, this world, blood drips from a cut on my forehead.

I wonder if she still suffers like I suffer.

Twin Bed

We can put some pillows down the middle. 

We can put some pillows in the middle and maybe top and tail?

We can top and tail and wear all our clothes. 

Or, let’s not sleep at all. 

I have some spreadsheets to check, you must have spreadsheets to check. 

We can work all night. 

All night. 

Then we won’t miss the plane. 

We might be groggy but we won’t have-

I’m not saying we would without all that, but I don’t want you to feel-

I’m not trying to say you have no self control, I just-

Am I over thinking this?

I’m being patronising, am I?

You think I think I’m god’s gift?

I’m just trying to help you! You’re the one either the reputation. You’re the one everyone gossips about chasing married men!

I’m sorry. 

I shouldn’t have- I don’t think that of you. 

I really am just trying to help you. 

Here, take my card. Get a second room. 

Or I’ll go, how about that?

I don’t want to cause any trouble and I don’t-

If I’m being honest, it would be me. 

It would be me. 

I’m not- I sympathise with-

No, I didn’t say you were pathetic. I just mean that I get lonely too!

I get lonely too. 

I understand why escaping from that for one night would seem worth…

I’m sorry. 

Forget I said anything. 

I’m going to the bar. Maybe we can just sleep in shifts. 

Carbury & Grant

Joel points at his screen.

J: What do you think?

C: It’s a picture of you surrounded by bubbles. Wait, no-

Courtney squints.

C: On further inspection, it’s a picture of you surrounded by-

J: It’s me surrounded by butts.

C: Yup. Why?

J: What?

C: Like, why do it?

J: For nights out.

C: What are you talking about?

J: Calling cards.

C: Calling cards are for when you visit people in the 1920s. What’s that got to do with a night out?

J: If I meet girl.

C: If you meet a girl what? First of all, you would have already met her, so you don’t have to leave a calling card. Also it’s not 1920. Also-

J: Something to remember me by.

C: Stop it.

J: What?

C: Stop.

J: It’s original.

C: That’s the only thing you’ve said that makes sense. You’re right. It’s original. It’s also bad.

J: How?

C: You want to be remembered with a hundred butts that aren’t yours?

J: It’s original-

C: I heard. You realise you haven’t put any other details on this design right?

J: What do you mean?

C: How are they supposed to find you again? You haven’t even written your name.

Joel looks at the picture again.

J: Oh.

C: Exactly.

J: I’ve printed…

C: What?

J: I’ve printed 500.

C: How much?

J: 5…500. But I’ve only opened 200, so we can send the rest back.

C: Why would you-

Courtney rubs her eyes.

B: I just wish I could see inside your head. I really honestly believe someone performed a lobotomy without you knowing. Or maybe you know and you just can’t articulate because you’re so fucking stupid.

Society

Int. Newsroom – Day

NARRATOR: The exec team are in the third hour of their pre production meeting. Josh has finally decided to join them and now the rest of the team have to rehash everything they’ve already discussed.

ART: We’re thinking scaled down, Uni colours, quick to build, that sort of thing-

JOSH: I feel like it should be really big and really bright. Like, you know, out there. So people know that we’re out there.

LEO: We don’t have the budget for ‘really big’ and ‘really bright’. Pick one.

JOSH: But it won’t cost that much, will it? Just like tables, chairs, green screen, lights autocues-

KEZIA: Green screens?

HARLEY: Autocues sound heavy-

LEO: We really don’t have the budget for autocues.

JOSH: Teleprompters, then.

LEO: They’re the same thing.

JOSH: So who’s going to feed us our lines?

LEO: You’re going to have to learn them-

ART: We haven’t really discussed how we’re going to do it. We might get earpieces.

LEO: No. We won’t. Because we don’t have earpiece money.

JOSH: Mate. Is it just me, or is this guy  being super defeatist? We should start calling you Negative Nigel!

LEO: Except my name isn’t Nigel.

JOSH: Le-No, then.

ART: Good one.

LEO: Look, I’m just being realistic. We have to borrow the majority of our equipment from the TV Network, otherwise we have to go without. I feel like my email was very clear about how little money we have.

JOSH: I didn’t get that email.

LEO: Well, that’s weird. It said seen at the bottom.

JOSH: Oh. I mean, I got it but I couldn’t read it on my phone. Facebook app, am I right?

He reaches over to high five Art. 

LEO: No.  No. Art, don’t do it.

ART: It’s bants-

LEO: No, Art, it’s blatant disregard for my hardwork.

Art reaches for the high five.

LEO: Art. ART. If you high five him, I’m leaving. I mean it.

Art hovers.

JOSH: Who’s the boss round here, Art? You or Leo?

HARLEY: Guys, I really need to take my insulin shot.

NARRATOR: This is crunch time for Art. If he high fives Josh, he’s going to piss off a high ranking officer in his team and possible encourage insurgence. If he doesn’t, he’s going to look like a huge loser who listens to penny pinching neurotic asshole instead of the deputy captain of the Lacrosse team.

Art high fives Josh.

Narrator: Arthur has decided to start World War Three: University News Show edition.