| Scene | Title |
|---|---|
| 1 | NYE |
| 2 | ANOTHER CASTLE |
| 3 | SEX SCENE №1 |
| 4 | THE MARINE LAYER SETTLES |
| 5 | “NORTH OF MONTANA? YOU MEAN, LIKE, CANADA?” |
| 6 | IN MEDIA WE REST (HONEYTRAP SYNTAX) |
| 7 | PETRICHOR AND AFTERGLOWS |
| 8 | “YOU EVER HAD A JUNGLE BIRD DARLING?” (CRUSHED ICE) |
| 9 | TENERIFE |
| 10 | PONY X |
| 11 | PARADISE RIDGE |
| 12 | ONE - OH - ONE (POINT SEVEN) |
| 13 | M.F.A. P.O.S. G.F.D.I. |
| 14 | BURIAL PLOTS |
| 15 | OH BOY, OMERTA |
| 16 | TRASH DAY |
| 17 | WALK AFLAME |
| 18 | THE VINEYARD OF THE MAN (VOID OF UNDERSTANDING) |
| 19 | FASHION DISTRICT WAREHOUSE (INDISTINCT) |
| 20 | LIVE OAK |
| 21 | POTENT |
| 22 | PUSH-PILL RELATIONSHIP |
| 23 | IKKYŪ BOOK CONSPICUOUSLY PLACED ON A LOW TABLE |
| 24 | A LEADING MAN AND A LEAKING LADY |
| 25 | RATIONAL GAZE |
| 26 | LOVE BEHIND THE ORANGE CURTAIN |
| 27 | PURTY WOMAN |
| 28 | IT’S NOT, LIKE, A FETISH OR ANYTHING |
| 29 | L.A. HELL GANG |
| 30 | THE GIFT HORSE |
| 31 | HI, IS IT YOU? IT’S ME, SARAH JANE |
| 32 | FUSSY |
| 33 | GNAW |
| 34 | ALL THE STREETS HAVE SCOTTISH NAMES UP HERE |
| 35 | MISSING MUCH |
| 36 | ”I’LL KILL ANY MAN THAT LOOKS AT HER THAT WAY,” |
| 37 | NO KILL |
| 38 | THAT OLD SIT-COM CLASSIC |
| 39 | DISAPPARENT |
| 40 | CROESUS |
| 41 | THE CLOSER |
| 42 | PAST DUE |
| 43 | LONG DISTANCE |
| 44 | THE DREAM-LIFE OF THE TELEVISUAL MAN |
| 45 | “YOU COULD GO ON THE APPS” |
| 46 | SO WHO WAS THAT GUY? |
| 47 | PICK UP THE RECEIVER |
| 48 | FINITO |
| 49 | WITHOUT ME, YOU CAN DO ANYTHING |
| 50 | WHEN IT’S OVER |
| 51 | LUNAR ELAPSE |
Artifacts inside the scenes
Scene 49, “WITHOUT ME, YOU CAN DO ANYTHING,” contains MAGGIE’S MISERY, a handwritten cocktail recipe inherited with the house. It is both an object inside the fiction and a fully executable recipe, characteristic of the corpus’s tendency to make fictional evidence usable outside the story.
See also RETIRE HER / Ensemble.