Script File

ALONE TIME

ALONE TIME: A divorcee at 30 navigates her first messy year alone after spending most of her 20s married.

Scarlett Weber is really living the dream in Los Angeles. Her new
studio apartment is Eastern-Bloc-meets-bear-turned-over-a-dumpster. She’s trapped in a career that she knows pumps garbage into the world, her hatred of it amplified by the fact that it’s the only thing she has left. And is that a neoprene scuba diving top? You bet it is. Not because Scarlett doesn’t have other clothes, but because she can’t be bothered to put on anything not within arm’s reach of her air mattress.

Why? Because she’s alone at thirty—the product of a failed marriage that already lasted nearly a decade.

ALONE TIME is what real divorce looks like. It’s DIVORCE without the money. BETTER THINGS without the kids. And CASUAL without the safety net.

And Scarlett blames everyone but herself for her current position. She left a handsome, self-made spouse with an English accent, ANDREW, because he was sick. So she’s the asshole. And now the friends Scarlett has left all look at her like she had a miscarriage. But what else was Scarlett supposed to do? She felt like his depression was the third person in their marriage.

Everyone’s telling Scarlett that she could use the “alone time.” It will be “good” for her. But the problem is, Scarlett doesn’t know how to be alone. And she doesn’t want to learn. Because it’s #scaryAF.

ALONE TIME is about woman who desperately needs some time on her own to face the reality of who she is, what’s she done and where she’s at as a result. But like most of us, that’s the last thing she wants to do.

It’s about the new existential crisis at thirty that no one’s talking about, and how it’s made so much worse by starting over at an age when you should be coming into your own. Scarlett feels like she’s just old enough that it’s too late (for kids, a new career), but too young to justify giving up and letting yourself go. Goddammit.
Scarlett has to be alone, so of course she spends all of her time making sure she isn’t. And the harder she holds on to the few people she has left—like MATT (her business partner) and his wife, JENNIE, the only couple she got in the divorce—the further away her desperation drives everyone.

So week-to-week, we watch Scarlett attempt to reinsert herself into a life that doesn’t want her anymore. She goes to brunches, baby showers and meetings where she’s the pariah in denial. And like a drowning woman, Scarlett drags Matt down with her (until Jennie sides with Scarlett’s ex). Scarlett’s also faced with the fact that she has to make new friends, something she thinks she’s too old for, in a youth culture that’s alien and irritating at best to her. Like NIC, the hipster Millennial “Obi-Wan” who manages her complex, and who thinks there’s a difference between who you are and what you do. Pfffttt—kids. Worse, it’s looking like eventually Scarlett will have to date, in this newly sex positive culture, using Tinder, a fuck-fest which wasn’t even around when Scarlett got married. Because frankly, she can’t keep fucking her ex like this.

Season One ends with Scarlett alienating the people around her to the point that she is utterly alone. And so desperate not to be, that she actually welcomes in her alcoholic Darth Vader of an English mother-in-law,

ELLEN, on a surprise visit. Who, it turns out, her ex hasn’t told about their split. Season Two finds Scarlett dealing with the fallout of keeping that secret from everyone, including Ellen. And trying to figure out what it means that Andrew hasn’t told everyone about their divorce. As the series develops, Scarlett finally figures out that being alone isn’t so bad. In fact, it might just be necessary to her survival.

ALONE TIME is a series about experiencing real loss—not money, lifestyle or career, but identity. And how you’re forced to rebuild, when you already feel behind everyone else. It’s about how weird you get when you’re really alone. Like-microwaving-frozen-waffles-for-dinner-and-Porky-pigging-it-to-Peaky-Blinders-weird. Because devolving is inevitable.

And it’s about what it’s like to untangle your life from someone. To be one again, when you were two.

  • Jacqueline Vleck
    Writer
    BAD TEACHER (CBS) Writer's Assistant, TRUE COLORS feature (Lifetime), GREAT MINDS Digital Series (ABC Digital), Dreamworks Animation Shorts, ALMOST NOT BEAUTIFUL Short (Palm Springs Short Fest 2015), TO THE FRONT Pilot (Rabbit/Bandini/Bad Robot/Point Grey)
  • Project Type:
    Television Script
  • Number of Pages:
    32
  • Country of Origin:
    United States
  • Language:
    English
  • First-time Screenwriter:
    No
  • Student Project:
    No
Writer Biography - Jacqueline Vleck

Jackie Vleck is a writer and producer who has worked with Bad Robot, Point Grey, Sony, CBS, Dreamworks TV, ESPN, SyFy Digital and many more. She received her MFA in Screenwriting from UCLA’s School of Theater, Film and Television, and earned her writers room stripes as a writer’s assistant on Hilary Winston’s BAD TEACHER (CBS).

TO THE FRONT, her most recent pilot with collaborator Sarah Jean Kruchowski, is about a disenfranchised band nerd who finds her voice in the 90s Riot Grrrl movement. They wrote and developed this pilot with Bad Robot, Point Grey, showrunner Erin Ehrlich (AWKWARD, CRAZY EX-GIRLFRIEND) and James Franco’s RabbitBandini Films. This project made them finalists in the 2016 Sundance Episodic Story Lab.

Jackie recently sold the comedy TRUE COLORS as a pitch to Lifetime’s microbudget movie division, as well as digital comedy, GREAT MINDS, to WatchABC with director Nick Weiss (DRUNK WEDDING). She’s also writing the comedy feature GOING DUTCH, for producer Jetty Stelling and actress Carice Van Houten.

Last year, Jackie pitched major networks with TEASE, a drama for Pilgrim Studios and director Rob Cohen, and TRIPPING, a half hour comedy for Shaftesbury Entertainment and Smokebomb Digital. Jackie has also written for DreamWorks Animation Web and Awesomeness TV, creating shorts for their most popular characters: Puss in Boots, Shrek, and Kung Fu Panda.

Jackie runs the production company ULTRALOOM with Sarah Jean, which is dedicated to socially conscious filmmaking with a female voice. One of Ultraloom’s most recent shorts, ALMOST NOT BEAUTIFUL, premiered at the 2015 Palm Springs International Shortfest and starred Kate Mara and Amber Tamblyn. Jackie and Sarah Jean also co-host the biweekly podcast GARBAGETOWN.

Jackie completed her bachelor’s degree at Syracuse University and is a member of the Writers Guild of Canada.

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