The original Omaha is laid out on a nine-panel grid, and we are following the same convention. The occasional larger panel is named after the smaller panels it comprises, so Panel 1+2+3 would mean a full width panel in the top tier, replacing panels 1, 2, and 3; this means panel 4 is still panel 4, and so on.

[SPRING] Omaha telephones CeeCee

Panel 1

Omaha on telephone while getting dressed to go out. Perhaps she is holding the receiver in place with her chin on her shoulder while putting on a bra.

CEECEE (on phone). Shopping for anything in particular?

OMAHA. Haha. A nude thong.

Panel 2

The other end of the call is CeeCee, who is lounging about in a tiny kimono carelessly tied.

CEECEE. But why? I thought you did a full strip at the place you’re at.

OMAHA. It’s for the next Herd video.

Panel 3

Omaha again. She’s dropping an oversized knitted top over herself. We see the coiled cable of the phone receiver disappearing under it.

OMAHA. Sandy’s made me this costume but is worried my bush would show through.

CEECEE. Ohhh, so it’s see-through?

Panel 4

Toni wearing tee shirt and slacks at desk studying; CeeCee on phone in background.

OMAHA (on phone). Diaphanous. I’m a pagan forest spirit. Once we find some pretty trees we can film in front of.

CEECEE. Ha!

Panel 5

Omaha dressed and holding phone receiver with one hand but with phone cord still vanishing into her neckline.

CEECEE (on phone). You know who has pretty trees and would love for you to visit with him?

OMAHA. Jack? Oh!

Panel 6

CeeCee is inspired.

CEECEE. The apple trees will be in blossom soon, if you hustle. The effect in the old orchard is gorgeous.

Panel 7

Omaha’s trying to disentangle herself from the phone and gotten more tangled. She is bent down to address the receiver, which she is holding down around waist level having passed it down underneath the jumper, which is now riding up enough to show the underside of her bra. The cable from the receiver and the cable from the base both disappear under the jumper: it is somehow caught on something underneath.

CEECEE (on phone). I want to see you dancing in your diaphanous gown while petals drift down around you.

Panel 8

CeeCee’s end of the conversation again. Toni is looking askance at CeeCee’s flirting with Omaha over the phone.

CEECEE. Jack just wants to see you.

OMAHA (on phone). God, I want to see him too. —Oh goshdarnit!

Panel 9

Omaha is pulling on the jumper again. This time with no bra underneath. Phone receiver held under chin as before. The bra is dangling from the phone cable by the strap knotted in to the coils of the cord.

CEECEE (on phone). You OK honey?

OMAHA. Mm. Bras can be a pain in the ass sometimes.

[SPRING] Are Omaha and Chuck monogamous?

Panel 1–2

Omaha and Chuck are at a traditional geisha dance demo. they are sitting on the floor on either side of a small low table with tea in Japanese-style handleless cups. Between them in the background we see a woman in fancy kimono doing a dance with a fan.

OMAHA. Chuck, are we monogamous?

Panel 3

Chuck takes a sip of his tea in order to have a moment to think.

Panel 4

Chuck is amused by the question but trying to take her seriously.

CHUCK. Well. I think the last time you asked this question was just after I had been spending a month living with JoAnne—

OMAHA: —And I had had a one night stand with Jerry.

Panel 5

Chuck continues.

CHUCK. And a little before you spent a month dating Jack—

OMAHA. —And you had a one-night stand with Sandy.

Panel 6

Chuck continues, Omaha still wants to be serious.

CHUCK. Well, we’re definitely something.

OMAHA. Chuck.

Panel 7

Chuck trying to explain? Placing his hand on hers on the table.

CHUCK. I mean … we’ve both strayed when we’re apart, and we’ve been reunited afterwards stronger than ever.

Panel 8

Chuck shrugs.

CHUCK. So … while I can’t imagine wanting to be with anyone but you, It would be ridiculous for us to promise not to.

Panel 9

Chuck changes tack slightly. Leans in to talk in to her ear.

CHUCK (whisper). Also I loved watching you and Jack on New Year’s morning. Was it him you had in mind?

OMAHA. Let me explain.

Omaha and Chuck negotiate

Panel 1

Omaha takes a sip of tea as a stalling tactic.

(No dialogue)

Panel 2

The geisha dance continues.

OHAMA. You know the Herd need a location for their next video.

Panel 3

OMAHA. CeeCee told me about Jack’s grandfather’s orchard. I figured I should check with him before talking to Sandy.

Panel 4

OMAHA. Then I thought I should check with you before talking to him. In case he suggested I stay at his place …

Panel 5

CHUCK. I guess I just said it would be ridiculous for me to say you mustn’t slide in to bed with the gorgeous farm boy.

Panel 6

OMAHA. You don’t care who I sleep with?

CHUCK. Oh! No, I wouldn’t say that. Jack’s a special case. I think he’s good for you.

Panel 7

CHUCK. I’ll miss you like hell and I will count the hours until you come back.

OMAHA. Oh Lollypop.

Panel 8

They both hold hands over the table. Each of them is imagining Omaha and Jack in close embrace.

(No dialogue)

Panel 9

Omaha laughs at her own fantasies. Maybe imagining herself lying back too exhausted to move.

OMAHA. The flaw in this plan is if we are filming all day I won’t actually spend much time with him.

Kurt and Mickey?

Panel 1

Bookshop till. Mickey on till. Random woman is sweeping past.

RANDOM WOMAN. Hey you know there’s a MAN hiding in the back?

MICKEY. Um, I’ll go look.

Panel 2

Kurt sitting on floor in corner between bookshelves. Several books in lap. Reading one of them. Mickey arriving.

MICKEY. Oh, it’s um not Carl. Kurt!

KURT. Sorry, Mickey, am I in the way?

Panel 3

Mickey looking through his book pile.

MICKEY. It’s best if you buy a book and then read it elsewhere.

KURT. Sigh. I can’t make head nor tail of any of them.

Panel 4+5

Later. In a Japanese style tea shop for some reason.

Jack and Omaha and a bit of Sandy

Panel 1

Jack’s bedroom with the bed with the bedposts Omaha was so excited by in #18. Omaha is naked and kneeling on the bed. There is some kind of bag or carrier. She is holding a silk scarf or similar between her two hands. One hand is holding 3 more scarves which fall down into the bag. Jack is in the processes of undressing.

OMAHA. You said something before about only regretting things we hadn’t done.

JACK. Oh! Oh, my.

Panel 2

Jack is tying one end of a scarf around Omaha’s wrist. She’s lying spreadeagled on the bed.

JACK. OK. This should come undone quickly if I tug the free end.

Panel 3

Jack is adjusting Omaha’s sleep mask blindfold.

JACK. Are you comfy?

OMAHA. It’s actually very tranquil.

Panel 4

Jack is kissing Omaha on the mouth. He has one hand in her hair and the other moving down to her breast.

(No dialogue)

Panel 5

Jack kissing Omaha’s neck. She’s wriggling about in a way that indicates she’s enjoying this,

OMAHA. Jack can you bite just a little?

Panel 6

Working his way down her body, Jack is sucking on Omaha’s breast.

OMAHA. Ah that’s good. You’re really spinning this out.

JACK. Isn’t that the point of tying you down?

Panel 7

Point of view framed by the door, which is slightly ajar.What we can make out of the couple is Jack going down on Omaha, the position of his arm consistent with his using his fingers as well. There might be a hint of Sandy’s profile as she passes the door.

OMAHA. Oh Jack! Oh, oh. Can you hold your hand still a second, just concentrate on—

Panel 8

Half the panel is half of Sandy with her back to the wall beside the slightly open door, looking shocked at what she has discovered them doing, hands over her mouth to stop from making noise. Through the door we see the same fragmentary view of Omaha thrashing about as best she can with Jack’s face squeezed between her thighs.

OMAHA. Oh ah oh!!

Panel 9

Same framing, except Sandy has turned to peep round the doorframe and the door might be slightly more open. Jack is kneeling between Omaha’s thighs, one hand on his cock sliding the head against her vulva.

JACK. Want this, my love?

OMAHA. God, Jack!! Either put it in, or untie me and I’ll do it myself.

Jack and Omaha and a bit of Sandy (2)

(Is this page skippable?)

Panel 1+2

Side on of Jack lying on top of Omaha, supporting himself on his elbows, one hand in her hair at the back of her head.

JACK. God, Omaha, what did I do to deserve you?

OMAHA. Just come inside me then untie me, OK honey?

Panel 3

Similar pose except Jack kissing Omaha on the mouth and thrusting vigorously.

OMAHA. Mm! Mmm mmm mmm MMM!

Panel 4

Similar pose except Jack throwing his head back as he comes.

OMAHA. Oh yes, God!

JACK. Aaah ahh hah

Panel 5+6

Jack lying back embracing Omaha on top of him.

OMAHA. OK I can see why you’d want to lie back and let your lover take control.

JACK. But I really like it when your fingers dig in to me when you come.

Panel 7

Omaha straddling Jack’s hips, reaching down to take hold of his cock.

JACK. And when you grab my dick and guide it in to you, that is the sexiest thing.

OMAHA. Oh, like this?

Panel 8

POV from from the doorway again. Sandy is till peeping. A visible slice of Omaha riding Jack on the bed.

OMAHA. I was wondering if the blindfold would mean I confused you with Chuck, but no. Not even slightly.

Panel 9

Continuing the POV from from the doorway. Sandy has again turned back against the wall and hands over mouth in a welter of conflicting emotion as she meditates on what she has seen.

JACK. Haha. I was pleased with myself for remembering not to call you Susie.

[SUMMER] Jack telephones Omaha

(7 panels in rows of 3, 1, and 3)

Panel 1.

Close up: JACK at his home, on the phone.

JACK: I realize it’s a long way just to come for a barbecue …

Panel 2.

Close up of OMAHA at home, on the phone to Jack.

JACK (on phone): So I figure I can put you and Chuck up for a couple of nights.

OMAHA: So we can visit my friends in Lawrenceville. Jack, that’s a lovely idea!

Panel 3.

Longer shot of JACK standing in his room, looking uncharacteristically flustered. He’s carrying the phone base in one hand, trailing its long cable behind him.

JACK: But there is an awkward conversation we need to have first.

Panel 4+5+6.

Wide panel taking up the middle row of OMAHA in dressing gown, reclining on her sofa with a magazine and Squeak the ferret, on the phone to Jack. Coffee and a plate are on the coffee table in front of her. (She is just getting up, in contrast with Jack who is dressed and working.)

JACK (on phone): Thing is, I still have a thing for you, Suzie—Omaha.

JACK: And I know you’re with Chuck … But. Chuck invited me to your New Year’s party —

OMAHA: And our bed. The most wonderful start to the year.

Panel 7

JACK speaking on the phone still.

OMAHA (phone): For you too I hope?

JACK: God, yes. That was … something special.

Panel 8.

Focus on OMAHA again. She’s thinking back to vol. 2 #3.

JACK (on phone): And us three sleeping all together after. Even if I did wake up with Chuck drooling on my shoulder.

Panel 9.

Jack as the telephoning continues. He is steeling himself to ask the unaskable.

JACK. So I thought I should ask what you and Chuck would comfortable with in terms of sleeping arrangements.

Something something Shelly, Hustle, Mickey something

Omaha talks to Chuck about Jack and

Chuck and Jack sleep together

Panel 1.

JACK Is walking about, on the phone (carrying the base, which has a super long cord). CHUCK Is slumped on the couch, dozing. On the table in front of him is a Go board in the middle of a game.

JACK (to the phone). That’s OK … Su—Omaha has a key … we’ll see her when we see her. You girls have fun.

Panel 2.

JACK returns to his armchair opposite Chuck. CHUCK looks up sleepily. Big yawn, much stretching.

JACK. You look done in, Chuck.

CHUCK. Sorry. My new meds make me sleepy in the evening.

Panel 3.

JACK sitting opposite CHUCK (with the go board between them). Jack looking a bit flustered maybe?

CHUCK. Must be after your bedtime too, right? Farmers get up at dawn.

JACK. You’re not wrong, but, er …

Panel 4.

Bathroom. Jack is brushing his teeth, Jack is carrying a towel or something.

JACK. You’re in my bedroom, so uh maybe I should take the couch.

CHUCK. But I thought you were sharing with me and Omaha.

Panel 5.

Jack’s bedroom. Chuck is already lying in bed curled up on his side and looking like he’s asleep. Jack is sitting on the edge of the bed in the middle of getting in. Chuck is naked; Jack has his boxer shorts on. Reaching for the lamp switch?

(no dialogue)

Panel 6.

Chuck is draped over Jack, with his hand on Jack’s chest and mumbling in to his shoulder.

CHUCK (diminishing text size to indicate trailing off). … couldn’t work out where I was and then I thought …

JACK. Chuck, are you—?

Panel 7.

Chuck has fallen asleep on Jack’s shoulder.

CHUCK. Z.

Panel 8.

Same shot and pose except Jack is trying to decide whether to poke Chuck.

JACK. Chuck, you got to move. I can’t sleep with you draped all over me.

Panel 9.

Same shot and pose except Jack is asleep with his mouth open.

JACK. Z.

Omaha returns and joins Chuck and Jack

Panel 1+2

Reprise of the 1st panel of vol. 2 #4: Naked Omaha is climbing gingerly over sleeping Chuck. He and Jack are sleeping back to back in Jack’s bed.

(No dialogue)

Panel 3

Jack turning over to face Omaha. She is slipping under the covers next to him.

JACK. Oh, hello stranger.

OMAHA. Sorry! I woke you.

Panel 4

Jack rolls over to embrace Omaha, and kiss her passionately. We are viewing them more from his side of the bed now so she is on her back and his face is above hers. Behind them we may see a little of Chuck’s back.

(No dialogue)

Panel 5

Jack is all over Omaha, nuzzling her neck and squeezing her breast. Behind them Chuck has woken and is sitting up

OMAHA. God I’ve missed you Tiger.

Panel 6

Jack is working his way down Omaha’s body. She has her hands in his hair. Chuck is dramatically sweeping the blanket and sheet off of them.

OMAHA. Oh! If that’s where you’re headed, want to turn it into a bit of sixty-nine?

Panel 7

Jack and Omaha are shuffling about the bed as he turns round to face her cunt while manoeuvring his legs and cock towards the head of the bed. Chuck meanwhile is clambering over her head and eyeing Jack’s cock.

CHUCK. Jack, do you mind if I—?

JACK. I don’t see why I’d say no.

Panel 8+9

The three lovers in whatever the three-person equivalent of 69 is: Chuck is sucking Jack, and even has a hand stroking his balls. Jack is eating Omaha and she is licking Chuck’s cock, held delicately between finger and thumb, in preparation to gobbling it down.

(No dialogue)

Is this page entirely gratuitous?

Panel 1

Slightly more focussed in on Omaha sucking Chuck’s cock while coming.

OMAHA. Mf! Mm mm mm fmfm

Panel 2

Omaha turning round to address Jack. Chuck is slipping in behind her. Jack’s head and shoulder in the foreground.

OMAHA. Oh, Jack. Come here, honey.

Panel 3

Omaha leaning back against Chuck and with Jack between her legs. She has one hand on his shoulder drawing him down onto her and the other on his cock guiding it into her. Chuck is looking down at the latter.

CHUCK. God, you’re beautiful.

JACK. Why thanks, Chuck.

CHUCK. You are as well.

Panel 4

Jack vigorously fucking and kissing Omaha. He is supporting himself with one hand on the bed and the other on Chuck’s chest. She’s dragging her nails down Jack’s back. Chuck looks slightly squashed, is leaning his face down to kiss her neck

(dialogue?)

Panel 5

Jack disengaging. His expression is emotional. Perhaps a hint of tears. Omaha lying back, eyes closed, looking smug. Chuck embracing Omaha from behind.

JACK. Fuck, Omaha. I have missed you so much.

Panel 6

Omaha twisting round to kiss Chuck on the mouth. His hands on her back. One of her hands reaching down to his cock. In the background, Jack is standing drinking a glass of water, watching them sideways with a neutral expression.

OMAHA. Hello, Lollipop. You’re here too.

Panel 7

Omaha straddling Chuck, lowering herself down on to him. Her hands on his chest. His on her hips. Jack climbing back onto the bad behind Omaha.

(dialogue?)

Panel 8

Omaha straddling chuck, head arched back as she comes. Jack has snuggled up behind her and is squeezing a breast with one hand and reaching down to rub her clit with the other. As Chuck’s cock thrusts in to her.

OMAHA. Oh, oh god, oh ah!

Panel 9

Omaha has flopped down between the two men. Facing Chuck, being spooned from behind by Jack.

OMAHA. Thank you Jack. Thank you lollypop. XXX

Morning after & prep for BBQ

Panel 1

Jack with jeans on buttoning up shirt. Behind him the bed with Chuck and Omaha sleeping. Sunlight coming in through a crack in the curtains making a stripe of light over them.

CHUCK. Mm?

JACK. Don’t wake up.

Panel 2

Chuck is propped up on an elbow. Omaha is still asleep. Jack is bending down talk to Chuck.

JACK. I have some chores to do.

CHUCK. Want a hand with anything?

Panel 3

Jack in the doorway exiting the bedroom, looking back at Chuck (off panel).

JACK. No, I have a system: I’ll be faster on my own. I’ll be back in an hour or so with coffee.

Panel 4+5

?Breakfast scene. Kitchen table, with Chuck and Omaha being fed by Jack.

Panel 6

JACK. I had my shower. Theres not much hot water so you two better have one together.

Barbecue party, where Chuck and Jack have a talk

Panel 1

Chuck is sitting under a tree on the fringe of the barbecue party. He is about to wolf down a generously sized hot dog.

JACK (from off panel). Hey, Chuck.

Panel 2

Jack sits himself down down next to Chuck. He looks embarassed. Chuck is contemplating his hotdog.

JACK. I wasn’t going to ask this — Maybe I shouldn’t bring it up —

Panel 3

Chuck is eating, Jack is talking

JACK. Chuck, you

JACK (whisper). sucked my dick!

JACK (continues). And I wondered … what it … meant?

Panel 4

Chuck looking up in to the tree with a thinking expression

(No dialogue)

Panel 5

Chuck explaining. Head tilted, looking sideways at Jack.

CHUCK. I don’t think I had a thought in my head. Except the image of us, forming a ring?

Panel 6

Chuck shrugs.

CHUCK. … Curiosity, maybe? It’s something most straight guys don’t have the opportunity to try.

Panel 7

Jack leans back against the tree. Jack is a little surprised that Chuck treats it so casually maybe?

JACK. So just a whim.

CHUCK. It’s not worrying you is it?

JACK. No! No, no.

Panel 8

Jack and Chuck still talking. Jack looking to one side.

JACK. Though I do wonder what you’d’ve done if I’d come in your mouth.

CHUCK. God, I don’t know.

Panel 9

Omaha has arrived suddenly, is squatting down next to them. Jack and Chuck look startled by her arrival.

CHUCK. Apologised profusely to Omaha, I guess.

OMAHA. What are you apologising to me for?

Chuck, Jack and Omaha make plans for the next day

Panel 1

Chuck is flustered by Omaha’s arrival and does not want to tell her what they were talking about. Chuck still has half a hotdog in a bun to eat. Jack is amused.

CHUCK. Oh, er, if some very awkward thing had happened then I would. But it … didn’t happen.

Panel 2

An awkward silence breaks out. Chuck finishes off his hotdog. Omaha sits in Jack’s lap.

Panel 3

Chuck is finished eating, is wiping lips with thumb. Jack and Omaha are canoodling. He has his arms around her and is kissing the side of her neck. She his stroking his forearm.

CHUCK. So, uh, Jack, did we have particular plans for tomorrow?

Panel 4

Jack looking up at Chuck. Omaha just lying back in his arms. Chuck is unaccountably nervous about what he is suggesting.

CHUCK. Perhaps I could take my sketchbook around the farm a bit. Get back the habit of drawing from life.

Panel 5

Jack and Omaha wonder what Chuck is up to.

JACK. You want me to show you around?

CHUCK. Maybe you’d like to take it as a chance to spend some time with Omaha?

Panel 6

Chuck leans in to kiss Omaha.

CHUCK. I’m presuming Omaha will want to get you to herself for a bit.

OHAMA. Thank you Lollypop. You presume correctly.

Panel 7

Enter Mrs Beeks with large handbag over one arm, a glass, and plate of food. Chuck abruptly sits back where he was. Jack and Omaha look up politely.

MRS BEEKS. Oh, Suzie —Omaha I should say. I found you.

Panel 7

Mrs Beeks is kneeling down in front of Jack and Chuck, fishing about in her large handbag. Chuck is helping by holding her plate and glass.

BEEKS. I was wondering … —Don’t tell Mr Beeks …

Panel 9

Mrs Beeks holds out a copy of Pet magazine (the one with the Ms Omaha centerfold). Omaha is surprised. Jack is even more surprised.

BEEKS. Would you — Could I have your autograph, Ms Omaha?

Jack goes on picnic with Omaha

Panel 8

The two of them are swimming across. Jack has an inflated transparent bag with their clothes and the picnic tupperware in it floating behind him, towed on a rope.

No dialogue.

Panel 9

Naked Omaha hauling herself out of the lake on to the shore of the little island. Jack is giving her a hand up. On the muddy/grassy bank at his feet is the plastic bag with their clothes, picnic etc.

OMAHA. Oh, Jack, it’s lovely!

Jack and Omaha’s picnic continues

Panels 1 & 2

Longshot of the lovers standing on the shore hand in hand, Looking up the slope of the tiny island. The tiny island has one proper tree, a bunch of bushes and grassy bits. In the tree is a tiny tree fort made from wooden pallets. It has a ragged pirate flag on a stick. There is a broken and rotting rowing boat. In the first panel, Jack and Omaha are standing on the shore, still naked, holding hands. In the second, they are walking towards the treehouse. The scenery is continuous between the 2 panels.

JACK. My grandfather built the original of this for my dad and his sister to play in.

Panel 3

Closer in on Jack and Omaha walking up the slope towards the treehouse. Jack has reached out to touch her shoulder, drawing her towards him.

JACK. Careful now —

Panel 4

She has turned to face him and they embrace. He is looking down a little shyly.

JACK. — the wood is mostly rotten and has splinters.

Panel 5

Jack and Omaha standing, kissing. He has his hand on her breast, she has her hand on his guiding him there.

No dialogue.

Panel 6

Omaha lying back on a large checkered blanket draped lumpily over the rough ground. Jack settling down between her legs. She might be guiding his cock into her. Dappled shade over his back.

OMAHA. Jack, can you kneel up So I can look at you while you fuck me?

Panel 7

Jack kneeling between Omaha’s thighs, holding her legs, thrusting deep into her. Despite previous dialogue, they both have their eyes closed as they cum.

JACK. Nuh — huh —

Panel 8

Jack and Omaha lying down on the checkered blanket looking contented.

JACK. Omaha, you are the most—

VOICE FROM OFF PANEL. Ahoy there!

Panel 9

In the foreground, Jack and Omaha sitting up abruptly. Framed between them is a view of the lake and shore, where CeeCee and Toni have arrived by bicycle. Toni is pulling a transparent bag over a picnic hamper, CeeCee is undressing.

CEECEE. Avast ye sea dogs and prepare to be boarded!

CeeCee and Toni crash the picnic

Panel 1

Naked CeeCee hauling herself out of the lake onto the island shore.

CEECEE. Picnic on Pirate Island. Great minds think alike huh?

Panel 2

CeeCee strutting behind Jack, who is hastily doing up his jeans. Omaha is sitting up on the checkered blanket. She’s not attempting to get dressed.

CEECEE. You don’t need to get dressed on our account, Jack.

Panel 3

Toni has swum over still wearing shorts and tee-shirt, both of which are sporty enough to dry quickly. Right now they are a bit clingy and translucent. There is a picnic basket with CeeCee’s clothes heaped on top, all in a plastic bag slightly inflated to make it float better.

TONI. Yes, he does!

Panel 4

CeeCee and Jack joshing about

JACK. Would it be a betrayal of the pirate code if we combine picnics as some kind of potlatch?

Panel 5+6

Jack and Toni in the foreground, eating sandwiches from picnic basket. In the background CeeCee and Omaha are frolicking in a piece of water under the pirate tree. The composition is reminiscent of Le Déjeuner sur l'herbe.