The flat above the Dog. Craig is lying on the coach looking distracted and irritated. He grabs his phone off the coffee table but instead of a normal screen, he sees what look like video clips. The shot goes to a split-screen of what Craig is seeing and his increasingly distressed reactions. First he sees himself kissing Sarah at the dance; arguing with Sarah after he and John Paul had the fight at football practice; confronting John Paul after John Paul came out in the classroom; himself kissing John Paul before they slept together. As the screen goes to a single image again, Craig closes his eyes at the memories then tosses his phone away angrily.Il Gnosh. Spike and John Paul are having lunch together but John Paul is distracted by his phone ringing. From the caller display, we see that it is Craig trying to call him.
SPIKE: Are you all right?
JOHN PAUL: Yeah. Yeah, it’s just my phone again.
John Paul rejects the call and puts his phone to one side. Spike picks up his wine glass.
SPIKE: Well … happy anniversary.
JOHN PAUL(picking up his own glass): I’m not sure if you’re allowed to say ‘anniversary’ after two months but, uh … yeah. To us.
They clink their glasses together and drink.
SPIKE: So, um … do you want to go back to yours after?
JOHN PAUL: Oh, for dessert? Yeah, okay.
JOHN PAUL: Yeah. Yeah, it’s just my phone again.
John Paul rejects the call and puts his phone to one side. Spike picks up his wine glass.
SPIKE: Well … happy anniversary.
JOHN PAUL(picking up his own glass): I’m not sure if you’re allowed to say ‘anniversary’ after two months but, uh … yeah. To us.
They clink their glasses together and drink.
SPIKE: So, um … do you want to go back to yours after?
JOHN PAUL: Oh, for dessert? Yeah, okay.
SPIKE: Calorie-free afters.
John Paul’s phone rings again.
SPIKE: Who keeps calling you?
JOHN PAUL: It’s Craig.
SPIKE: Can you not just turn it off for today?
JOHN PAUL: He’s having a really bad time with Sarah, he’s just a bit … I’m sorry, I’ve got to take this. I’m so sorry…
He answers the call and turns away from Spike. Throughout his conversation with Craig, the scene cuts back and forth between John Paul in Il Gnosh and Craig in the flat above the Dog.
John Paul’s phone rings again.
SPIKE: Who keeps calling you?
JOHN PAUL: It’s Craig.
SPIKE: Can you not just turn it off for today?
JOHN PAUL: He’s having a really bad time with Sarah, he’s just a bit … I’m sorry, I’ve got to take this. I’m so sorry…
He answers the call and turns away from Spike. Throughout his conversation with Craig, the scene cuts back and forth between John Paul in Il Gnosh and Craig in the flat above the Dog.
JOHN PAUL: Are you all right?CRAIG: Sorry … sorry for calling. I just … I needed to talk.
JOHN PAUL: I’m a bit busy right now.
CRAIG: Please, John Paul? Hmm? I’ve messed up. I’ve really messed up.
JOHN PAUL: I’m kind of on a date?
SPIKE: ‘Kind of’?!
JOHN PAUL: I’m on a date with Spike.
CRAIG: Look, please. Please, John Paul, just… I need you. I mean … I need to see you and I would really appreciate it if you came round.
JOHN PAULOkay. I’ll be around soon.
Craig smiles and hangs up the phone. John Paul does the same, looking worried.
SPIKE: I don’t believe this.
JOHN PAUL: I’m sorry! All right, I’ve just to go and check on him.
SPIKE: Well what do you want me to do? Do you want me to go wait at yours? How long’s he going to be? A half hour?
JOHN PAUL: I think we’d better postpone it. I don’t know how long it’s going to take.
The flat above the Dog, later. Craig opens the door to John Paul, who pushes past him, evidently trying to fight down his anger.
CRAIG: Hey. Thanks for coming.
JOHN PAUL: What did you want, Craig? I was on a special date!
CRAIG: Special?
JOHN PAUL: Yeah! What’s the matter with you now, eh? Why do you keep calling me?
CRAIG: I … I couldn’t call Sarah.
JOHN PAUL: No, you called me and I’m here so … what is it?
CRAIG: Yeah. Yeah, you are.
Craig slaps John Paul on the shoulders a couple of times before throwing his arms around his neck and engulfing him in a hug. Baffled, John Paul raises one hand to return the hug. He gives Craig’s shoulder a small, soft stroke.
CRAIG: So what now? Am I supposed to wait ‘till I get into uni – if I get into uni – before I get any mates?
JOHN PAUL: It’s up to you what happens next, all right? It’s always been up to you.
CRAIG: How did I end up as the loser, eh? I don’t know how to convince her that I don’t mind if she makes it as a model. I mean I’m not possessive, I’m not Rhys.
JOHN PAUL: I can’t be stuck in the middle of you two any more. All right? I did all I could for you yesterday.
CRAIG(turning round so he can see John Paul): Yeah. Yeah, yeah. Yeah … you were great, mate. And it made me realise…
JOHN PAUL: What did you realise?
CRAIG: How much I mean to you. You were on a date with Spike just now but … but you came to see me.
JOHN PAUL: Me and Spike … it’s just casual. Do you know why I come round here?
CRAIG: Yeah, I know why. (getting up) John Paul … you are such a good mate. You know? That you’d do that. You’d ditch a date to come and see me.
A small smile falls across John Paul’s face at Craig’s words. Craig holds out his hand.
CRAIG: Best mates, yeah?
As John Paul looks at the proffered hand, the smile disappears and he shakes his head, disgusted, before getting up and heading towards the door.
CRAIG: What? What’s the matter?
JOHN PAUL: I’m not some kind of toy! You can’t just pick me up and drop me when you feel like it! And the worst thing is, you don’t even realise you’re doing it! And if you want to carry on pretending we never had sex, fine. All right, you go on living in denial.
CRAIG: You’re not exactly perfect yourself!
JOHN PAUL: Meaning?
CRAIG: What you did to Hannah. What you’ve been doing to Spike when … when we …
JOHN PAUL: No. You’ve had your chance with me.
CRAIG: What? So, you over me?
JOHN PAUL: I’m not playing along anymore! All right, so you just leave me out of things in future, all right?
He walks away, leaving Craig wondering where on earth he went wrong.
John Paul’s bedroom, later. John Paul is lying on his bed, playing guitar, wearing nothing but underpants. There is a knock at the door.JOHN PAUL: Come in.
The door opens and Craig enters.
CRAIG: You all right? Mercedes said it was okay to come up.
JOHN PAUL: What are you doing? I’ve already told you, you’re wasting your time.
CRAIG: It’s okay. ‘Cause I came …
John Paul puts down the guitar and gets up, approaching Craig. JOHN PAUL: Craig, I don’t want to tell you again. For the last time, will you please just leave!"
CRAIG: No. (he shuts the bedroom door) No. You were right. You were right.
Craig grabs John Paul by the shoulders and pulls him towards himself, kissing him deeply and passionately. At first John Paul stands stiffly but as the kiss goes on, his resolve weakens, until he brings his hands up to hold Craig’s head, deepening the kiss even further.
John Paul’s bedroom, later. As the sounds of Russ, Mercedes and Danni shouting downstairs are heard, we pan across the floor. John Paul and Craig’s clothes are strewn about and they are lying together on top of John Paul’s duvet, which is now on the floor. They are both lying flat on their backs, silently staring at the ceiling.
John Paul’s bedroom, later. The boys are still on the floor. John Paul is asleep but Craig lies awake. He gets up suddenly and tip-toes around the room to get his clothes. He pulls his trousers on as quietly as possible then gathers up his shoes and cardigan. He pauses at the door before turning back to John Paul. He stares at him for a moment, as though trying to make up his mind about something. Finally, he leaves, closing the door silently behind him.
