Jessica Jones - AKA The fan-made Season 2

My version of Jessica Jones Season 2. Huge Spoiler-Alert if you haven't watched it yet. Not quite sure what's going to happen yet, but it'll be exciting! Warning for canon swearing and violence.


2. Episode 1 - AKA Family Matters: Scene 1


Focus on JESSICA, hood up, face dark, crouching behind some bins. An emergency staircase extends above her. A single streetlight poorly illuminates the street beyond the alley.

(muttered, rubbing hands together)
Hurry up, bastard. It's freezing!

A door opens on the opposite side of the street. Bright light floods out and a silhouetted figure stumbles out.

Man (O.S.)
Go drink yourself to death someplace else!

JESSICA sighs, getting up from her crouch and watching the figure, who is now staggering down the street.

Time to see where you go when there
is nowhere else to go.

She follows the figure slowly, rolling her eyes as it stumbles, almost falling into the gutter.

JESSICA (Cont'd)
God damn it, Malcolm. Why did you
agree to take this case on? This is -

She rounds a corner, stopping suddenly. The figure, once out of sight, has straightened, walking normally. JESSICA ducks back round the corner as the figure glances behind him.

Well, that's slightly more
interesting. It's not like I've got
anything better I could be doing

She peers around the building. The man is some way in front. JESSICA hurries to catch up, almost silent. She follows him until he stops in front of a brown, almost hidden, door. He turns again, his face lit up by a streetlight. JESSICA stops, her face pales, her breathing shallow.


Flashback. Group of people attacking each other in the background. Sound muted. KILGRAVE, wearing a suit, dark hair slicked back, stands in front of JESSICA. He talks, but nothing can be heard. JESSICA smiles. Several images flash by. JESSICA breaks KILGRAVE'S neck, his body falls to the floor, his eyes staring. TRISH, blonde, dark clothed, kisses KILGRAVE, his eyes on JESSICA. She watches as he walks over to her. A flash. He bends down to speak in her ear.

Tell me you love me.

The image stutters, like a TV with bad signal. JESSICA, still smiling, but instead of looking past him to TRISH, she looks straight at KILGRAVE.

I love you.


JESSICA blinks slowly. Her POV as her vision darks. Camera tilts sideways as she falls. The man can be seen walking away into the distance. It is not KILGRAVE.

I love're mine now...come
here Jessica...

These are repeated over and over,along with other phrases, rising in volume, ending with the sound of bone breaking.



JESSICA lies in her bed. Sunlight lights the room through the blinds. Suddenly, she screams and jerks upright, breathing hard.

Jessica? Jessica?

MALCOLM, wearing a dressing gown over jeans and a shirt, short afro-style hair messy, rushes into the room. He holds a wooden spoon.

You're awake! Thank god. How are
you feeling?

JESSICA leans back against the headboard and groans. She flings an arm over her eyes.

Like hell.
What happened?

You went after that man whose
partner was convinced he was
smuggling drugs. When you weren't
back by one this morning, I started
getting worried. I -

(interrupts, waves a hand
at him)
Don't actually care. Tell me later.

She slumps back onto the bed and faces away from MALCOLM.

I'm sorry, Jessica, but you have to
get up. There's -

(interrupts, sits up)
Since when do you tell me what to
do? And since when do I actually
listen to you?

She stares at him.

What the devil have you got in your

A spoon. I'm making scrambled eggs.
Your friend is in the kitchen, and
I think she's rather hungry.

Wait - what?

She swings her legs out of the bed, stands up and stretches. She is wearing a tank top and jeans. Her hoodie from the night before is folded on top of a chair by the door.

What friend?

That's what I was trying to tell
you. There's a woman in the kitchen
telling me she's your friend and
that she needs to talk to you

My friend? It's not Trish, is it?

MALCOLM shakes his head.

But I don't have other...

She rubs her eyes blearily and makes her way to the door. MALCOLM bars her way and shakes his head.

Nur-ur. Have you looked in the
mirror? Sorry, Jessica, but you
look awful. You weren't drinking
last night, were you?

She glares at him. He holds his hands up in surrender.

Sorry. Had to check. You're the one
who got me clean. Can't let a
friend slip back into old habits.

You're not - Oh for... Just get
out. Tell her I'm on my way.

MALCOLM leaves. JESSICA slams the door shut behind him. She leans her back against the door and flings her head back. Her eyes close and she lets out a sigh, almost a sob.


She wipes a hand viciously over her eyes then walks over to a set of drawers next to the bed. Her hand shakes as she pulls out a dark purple top. She immediately puts it down, as if she'd been scalded.

Damn that bastard. I hope he's
burning in hell.

She picks out a dark blue top and puts it on. She pauses in front of a small mirror hanging on the wall near the door and drags her hand through her knotty hair. After a few attempts she gives up and sighs. She opens the door and walks through into the kitchen. MALCOLM is standing by the stove, stirring a pan of burnt scrambled eggs, talking to a smartly-dressed, middle-aged woman sat at the messy table.

 - Alias Investigations is doing
pretty well, actually.

I'm glad to hear it. It's been such
a long time since I - Jessica!

JESSICA has stopped in the doorway. She looks from MALCOLM to the WOMAN with confusion.

Do I know you?

She walks around the table to the kettle, grabbing a mug and
making some coffee.`

(smiles at MALCOLM)
I told you she wouldn't recognise
(turns to JESSICA)
After all, who remembers their
first social worker?

At this, JESSICA stops stirring her coffee and turns around.


The WOMAN (SARAH) nods, smiling. JESSICA huffs, turning back the counter. SARAH'S smile droops.

I didn't expect a warm welcome, but
aren't you going to say something,

There is a pause. MALCOLM attempts to make his burnt eggs look appetising on a couple of plates. He tries to make it look like he is not listening to their conversation, but obviously is. Finally, JESSICA turns back to the table, leaning her hands on the counter behind her.

What do you want me to say? 'Hi!
Nice to see you after all these
years. Where did you get that top?'

She snorts derisively.

(slightly upset and taken
Don't you at least want to know why
I'm here?

You're going to tell me whether I
want to know or not.

MALCOLM struggles to find space on the cluttered table to put the eggs. JESSICA seems startled to find he's still there.

I don't care whether you're just
being nice, Malcolm. Get out.

MALCOLM shrugs, used to her attitude. He makes his way to the door.

(calling after him)
Thanks for the food.

As MALCOLM opens the door, the ALIAS INVESTIGATIONS sign on the other side of the door can be seen. Focus on JESSICA'S hand stirring the coffee vigoursly. The sound of the spoon clanking in the mug is loud in the silence.

Well...It is nice to see you, Jess.

Don't call me that. You're not my
social worker anymore.

Come on, Jess - Jessica. I've come
a long way to talk to you. The
least you could do is be civil.

JESSICA gestures at her cell phone lying on the side.

You could have called.

I like to do things face-to-face.
You know that. Will you please sit

JESSICA stays standing. She takes a sip from the mug and sighs appreciatively. SARAH sighs again.

Ok. If that's what you want to do.
You're not a child anymore. I can't
force you.

Damn right I'm not a child. I'm so
not up for any of your shit at the
minute, Sarah. Spit it out.

There is a pause. SARAH seems to be thinking. She picks up a fork and twirls it between her fingers.

It's about your family.

My family is dead.

That's what we thought. However,
through recent events, records have
been discovered at Moore House
detailing a distant uncle, your
father's brother, living in the UK.

JESSICA had been staring into her mug, but now she looks up, curiosity and anger battling in her features. SARAH takes out a piece of official-looking paper from her handbag. She reads from it.

'Mr Andrew Fitz'

So what?

We've been in touch with him. He
wants to meet you.

JESSICA is visibly taken aback. She spills some coffee as she sets the mug down.


After a swiping at the spillage with a dirty cloth, she leaves it and reluctantly sits down opposite SARAH. SARAH moves a pile of papers so she can see JESSICA.

You came to see me in person just
to tell me that I have a lost uncle
who wants to see me? What a waste
of time.

I was hoping you would be a bit
more receptive to the idea. Don't
you want to meet him? He may be the
only family you've got left.

JESSICA shrugs.

I've made my own life here. I don't
need anyone else.

Aren't you at all interested?

No. I'm busy. Leave. Please.

SARAH looks around the messy kitchen then at JESSICA.

I can see you are very busy.
Alright. I can see there's nothing
I can say to change your mind.

She gets up from the table. Focus on a brown envelope just visible in her handbag. The letters I.G.H are visible. Extend back out to see SARAH pick up her bag and pass JESSICA on her way to the door.

If you do change your mind, I'll be
in New York for the next week or
so. I'm here for you, Jessica.
It really is good to see you. Look
after yourself, Jessie.

JESSICA glares at her, but doesn't correct her. SARAH lets herself out of the door, looking back to see JESSICA standing watching her. As soon as the door closes, JESSICA turns back to the table. She groans.

Damn woman. Always interfering.
Treating me like a kid.

She grumbles to herself but stops as she notices something on the table. Focus on a business card lying on the table next to the uneaten plate of eggs. It reads: SARAH MILLICAN - Executive for Child Welfare, L.A and has a phone number on it.

Well, she's gone up in the world.

Glares at the card, then picks it up. She goes to put it in the bin but stops and puts it in a drawer instead. Focus on the drawer slamming shut.

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