baby girl
Executive Summary
Poster
Overview
Genres: Drama, Romance, Family, Thriller, Comedy, Sci-Fi, Erotic, Business, Psychological, Psychological Thriller
Setting: Contemporary, New York City and an upstate house
Overview: In 'Baby Girl,' we follow Romy, a successful CEO in her late 40s, who navigates the complexities of her professional life while grappling with hidden desires and emotional turmoil. The story begins with Romy experiencing intimacy with her husband Jacob, but soon reveals her internal conflicts as she seeks validation through her career and personal relationships. As Romy interacts with her family and a younger intern, Samuel, she confronts her vulnerabilities and the tension between her public persona and private desires. The narrative unfolds through a series of intimate moments, professional challenges, and emotional confrontations, leading Romy to a breaking point where she must reconcile her ambitions with her personal life. Ultimately, the story explores her journey towards self-acceptance and genuine connection.
Themes: The Complexity of Female Desire and Identity, The Illusion of Perfection and the Pursuit of Control, The Dynamics of Power, Intimacy, and Consent in Relationships, The Tension Between Personal and Professional Life, The Exploration of Trauma and Healing
Conflict and Stakes: Romy's internal struggle between her professional ambitions and personal desires, leading to tensions in her marriage and her relationships with Samuel and her family.
Overall Mood: Introspective and tense, with moments of warmth and vulnerability.
Mood/Tone at Key Scenes:
- Scene 1: The mood is intimate and charged as Romy experiences ecstasy with Jacob, contrasting with her later isolation.
Standout Features:
- Unique Hook: The duality of Romy's life as a powerful CEO juxtaposed with her personal vulnerabilities and desires.
- Plot Twist: Romy's unexpected romantic involvement with Samuel, which complicates her already strained marriage.
- Innovative Ideas: Exploration of modern relationships through the lens of a working mother balancing career and family.
- Distinctive Settings: The contrast between the bustling city life of New York and the serene yet isolating upstate house.
Comparable Scripts:
- The Affair
- Mad Men
- Fifty Shades of Grey
- The Hours
- Her
- Little Fires Everywhere
- Eternal Sunshine of the Spotless Mind
- The End of the Affair
- Normal People
Writing Style:
The screenplay exhibits a diverse range of writing styles, showcasing both dialogue-driven scenes with sharp wit and complex character interactions, and more intimate, character-focused scenes exploring raw emotions and nuanced relationships. There's a blend of realism and moments of heightened drama or surrealism, depending on the specific scene.
Style Similarities:
- Aaron Sorkin
- Greta Gerwig
- Noah Baumbach
Pass/Consider/Recommend
Consider
Explanation: Babygirl is a daring and ambitious screenplay exploring themes of power, sexuality, and repressed trauma through a compelling female protagonist. While the script boasts a unique premise and strong central performance, it suffers from pacing issues, underdeveloped supporting characters, and a somewhat uneven tonal balance. Significant revisions focusing on narrative structure and character arc consistency are needed to reach its full potential.
USP: What sets 'Baby Girl' apart is its unflinching examination of a woman's internal conflict between societal expectations and personal desires. The screenplay delves into taboo subjects with sensitivity and nuance, making it a compelling piece for audiences interested in character-driven narratives that challenge traditional gender roles.
Market Analysis
Budget Estimate:$15-25 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in character-driven dramas and explorations of modern relationships.
Marketability: The screenplay features relatable themes of love, ambition, and personal struggle, appealing to a broad audience.
The complex character dynamics and emotional depth can attract viewers looking for nuanced storytelling.
While it has strong character development, the themes may not resonate with all demographics, limiting its broader appeal.
Profit Potential: Moderate to high, as it could attract a dedicated audience and perform well in festivals and awards circuits, enhancing its visibility.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a potent blend of intimacy and observation. It's a voice that simultaneously delves into the raw, emotional interiority of its characters while maintaining a keen awareness of the external world – be it the sterile environment of a technologically advanced warehouse or the messy complexities of family life. This is achieved through a sophisticated interplay of intimate, often naturalistic dialogue; vivid, sensory-rich narrative descriptions; and precise, evocative scene directions that guide the reader's experience.
Best representation: Scene 1 - Reflections of Perfection. This scene is the best representation because it most effectively showcases the writer's signature blend of intimacy and observation. The dialogue is raw and realistic, capturing the unspoken tensions and desires between Romy and Jacob. The narrative description is vividly sensory, painting a picture of the atmosphere and Romy's emotional state. The scene’s simplicity and directness, focused on the character's internal conflict, allows the writer's unique voice to shine through most clearly. It sets the stage for the broader themes of the screenplay: the exploration of desire, the complexity of relationships, and the contrast between public and private selves.
Memorable Lines:
- Romy: I’m not normal. I’m not other women! Look at me. I’m not normal. (Scene 39)
- Romy: As more and more artificial intelligence is entering into the world, more and more emotional intelligence must enter into leadership. (Scene 5)
- Esme: You will never see Samuel again. You will be a good leader and you will create more opportunities for women within the company, and be a good example and role model to us all. (Scene 50)
- Samuel: Do you really believe that automation can provide a path to sustainability or is that just something people say to make you like robots? (Scene 6)
- Romy: I just want to be normal. I want to be normal- I want to be what you like. I want to be the woman you like- (Scene 51)
Characters
Romy Mathis:A complex woman balancing her professional life as a CEO with her personal struggles and desires.
Jacob:Romy's husband, who is emotionally invested in their relationship but struggles with Romy's distance.
Samuel:A young intern who becomes romantically involved with Romy, representing both temptation and conflict.
Esme:Romy's assistant, who navigates her own ambitions and relationships while supporting Romy.
Isabel:Romy's daughter, who represents the younger generation's struggles with identity and relationships.
Nora:Romy's younger daughter, adding to the family dynamic and pressures.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Dual Desires | Intimate, Sensual, Secretive | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 6 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
2 - Reflections of Perfection | Introspective, Serious, Futuristic | 8.2 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
3 - Morning Melodies and Family Banter | Light-hearted, Playful, Domestic, Busy | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 4 | 6 | 3 | 7 | 6 | 8 | 9 | 8 | 8 | 9 | 9 | |
4 - Bravery Amidst Chaos | Anxious, Fearless, Curious, Tense | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
5 - The Ethical Launch | Serious, Innovative, Informative | 8.2 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 6 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
6 - First Impressions | Enthusiastic, Kind, Surprised, Busy | 8.5 | 8 | 9 | 8 | 9 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | |
7 - Welcome to the Internship | Informative, Light-hearted, Welcoming | 7.5 | 8 | 7 | 7 | 8 | 5 | 8 | 7 | 4 | 5 | 3 | 8 | 6 | 7 | 7 | 9 | 8 | 8 | 8 | |
8 - Professional Tensions and Flirtatious Encounters | Intense, Intriguing, Suspenseful, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
9 - Playful Intimacy | Intimate, Playful, Vulnerable | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - Embracing Vulnerability | Professional, Reflective, Instructional | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
11 - Reflections in a Festive Corner | Light-hearted, Reflective, Playful | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 6 | 7 | 5 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
12 - A Moment of Connection | Intimate, Reflective, Intriguing | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
13 - A Playful Distraction | Intimate, Playful, Philosophical | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 4 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
14 - Tangled Emotions | Intimate, Vulnerable, Sensual | 8.5 | 8 | 8 | 6 | 8 | 8 | 8 | 6 | 6 | 6 | 5 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
15 - Beauty in Pain | Introspective, Reflective, Emotional | 7.5 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 4 | 7 | 3 | 5 | 6 | 8 | 6 | 8 | 8 | 9 | 8 | |
16 - Emotional Disconnect | Introspective, Emotional, Reflective | 8.5 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
17 - Christmas Card Chaos | Embarrassment, Playful, Hurt, Friendly | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
18 - Awkward Encounters | Awkward, Intimate, Emotional | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
19 - Support and Aspirations | Warm, Light-hearted | 8.5 | 8 | 8 | 7 | 9 | 5 | 8 | 7 | 4 | 7 | 3 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | 8 | |
20 - Unexpected Connections | Tense, Intimate, Awkward, Confused | 8.5 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
21 - Whispers in the Night | Anxious, Magical, Peaceful | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
22 - Clearing the Waters | Vulnerability, Confusion, Acceptance | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
23 - Tension in the Lobby | Tense, Intimate, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
24 - Rehearsal Tensions | Tension, Admiration, Surprise, Humor | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
25 - Jealousy in the Spotlight | Jealousy, Enthusiasm, Humor | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
26 - Echoes of Despair | Tension, Vulnerability, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
27 - Between the Spotlight and Duty | Tense, Embarrassed, Curious, Sweet, Genuine | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
28 - Tension and Surrender | Intense, Sensual, Conflicted | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
29 - Unspoken Connections | Tension, Vulnerability, Confusion | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
30 - Passion Amidst Professionalism | Passionate, Intense, Tense, Vulnerable | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
31 - From Control to Celebration | Intimate, Tense, Emotional, Joyful | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
32 - Moments of Connection | Playful, Intimate, Happy | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 2 | 6 | 3 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
33 - A Tense Reunion | Tense, Awkward, Heartwarming | 8.5 | 8 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 7 | 8 | 6 | 8 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
34 - Boundaries and Confusion | Tense, Emotional, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - Tension in the Office | Tense, Nervous, Submissive | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | |
36 - Descent into Panic | Tension, Fear, Panic, Vulnerability | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
37 - Emotional Disconnect | Emotional, Intense, Tense | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
38 - A Night of Rejection | Tension, Humiliation, Rejection | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
39 - Unspoken Tensions | Emotional, Tense, Vulnerable | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
40 - Tension in the Basement | Tense, Anxious, Vulnerable, Intense, Seductive | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
41 - Intimate Vulnerability | Intimate, Vulnerable, Emotional, Sensual | 8.5 | 8 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - A Birthday Celebration with Hidden Tensions | Tense, Anxious, Worried | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7.5 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
43 - Tension in the Kitchen | Tense, Jealous, Intimidating, Uneasy | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
44 - Tensions of Friendship | Tense, Intimate, Anxious | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
45 - Balancing Act | Tense, Anxious, Vulnerable | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 6 | 9 | 8 | 8 | 8 | 9 | 8 | |
46 - Rave Awakening | Tense, Anxious, Vulnerable, Intimate, Wild, Aggressive | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
47 - Whispers in the Dark | Intimate, Tender, Vulnerable | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
48 - Late Night Concerns | Tense, Anxious, Warm | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 5 | 6 | 4 | 6 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Morning Mayhem | Tense, Anxious, Surprised | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
50 - Confrontation in the Rain | Tense, Confrontational, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
51 - Shattered Trust | Anxious, Vulnerable, Emotional, Horrified, Decisive, Controlled Aggression | 9.2 | 9 | 9 | 8 | 10 | 9 | 9 | 7 | 10 | 8 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
52 - Unexpected Encounter | Intimate, Tense, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | |
53 - Drowning in Desire | Intense, Emotional, Tense, Vulnerable | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
54 - Confrontation and Compassion | Intense, Emotional, Tense, Confrontational | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
55 - Voices of Empowerment and Isolation | Tense, Lonely, Reflective | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
56 - Contrasting Struggles | Tense, Emotional, Lonely, Empowering | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
57 - Embracing Authenticity | Tense, Intense, Emotional, Lonely | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
58 - A Call for Reconciliation | Emotional, Intense, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
59 - Confrontation in the Office | Intense, Confrontational, Defiant | 9.2 | 9 | 9 | 9 | 10 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 10 | 10 | 9 | 8 | 8 | 8 | |
60 - Moments of Intimacy and Liberation | Intense, Raw, Vulnerable, Tender, Liberated | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 7 | 7 | 6 | 6 | 8 | 7 | 10 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - Dual Desires
Close on: a woman’s face, ROMY (49). Pure ecstasy. She holds
her breath, lets go and and starts to orgasm. The camera
reveals her husband JACOB (58, warm, handsome) who is laying
underneath her and climaxes at the same time. He is in heaven
as she leans down and brings her face close to his.
JACOB
I love you.
ROMY
(warm)
Love you.
Lovingly, she kisses him. He turns over and falls asleep. A
beat. Romy’s eyes are restless. Quietly, she gets out of bed.
INT. ROMY AND JACOB’S APARTMENT- LONG HALLWAY TO BEDROOMS -
NIGHT
Quickly, Romy walks to her study.
INT. ROMY AND JACOB'S APARTMENT- STUDY NIGHT
Romy sneaks into her study, and opens her laptop. The screen
lights up the otherwise dark room. She types quickly, then
takes the laptop from the desk, and puts it down on the
floor. She lies down on her belly in front of it. She faces
the computer. She clicks on one of the video’s. Her hand
moves towards her crotch. On the screen Romy sees:
Close on a WOMAN’s face. She answers questions from a man who
is filming her.
MAN
(whispers)
How does daddy use you?
WOMAN
Anyway he pleases..
MAN
Louder.
WOMAN
Any way he pleases.
Romy sees how the couple on her screen start to have rough
sex. She covers her mouth with her hand, while she pleasures
herself until she comes. For real this time.
White Production Draft (10/31/23) 2.
Immediately after she climaxes, she closes the laptop. The
room goes dark.
Over black, the title:
BABYGIRL
Ratings
Scene 2 - Reflections of Perfection
An overhead shot of a fully automated warehouse. Robots are
driving over a system of rails and magnetic tape, picking and
placing products in thousands of boxes. It is as if we are
looking inside Romy’s head.
INT. ROMY AND JACOB'S APARTMENT BATHROOM-EARLY MORNING
Close on Romy’s face. She applies toner, hyaluronic acid, day-
cream. She uses a Dermaflash tool to smoothen her skin. She
plucks her eyebrows. She taps her face with her fingers. She
applies bright pink blush to her cheeks. A mask of make up.
As she goes through her routine, she practices a speech.
ROMY
(mumbling quietly)
Unmatched order, accuracy and
efficiency....to transform
warehouses into future ready
opportunity centers....An increase
in e-commerce and fast shipping
expectations- in the face of real
estate and labour shortages...
Ratings
Scene 3 - Morning Melodies and Family Banter
Classical music is playing. Before anyone wakes up, Romy sets
the breakfast table perfectly. She is wearing an apron.
Carefully, she prepares lunch boxes. She sits down to write
little notes for her daughters. She hides them in their
backpacks.
CUT TO:
Romy is serving pancakes. Her two daughters, ISABEL (15) and
NORA (13) sit at the table. Jacob is on the phone with an
actor joking and discussing the character of Lovborg in Hedda
Gabler. In front of him on the table, paper and a red pen.
Everyone is talking at once. We hear fragments of Jacob’s
phone conversation.
White Production Draft (10/31/23) 3.
JACOB
Because Hedda wants him to end his
life courageously, romantically-
ISABEL
So what are you going to wear?
ISABEL (CONT’D)
(laughing)
Did you give them to Ed?
ROMY
Who’s Ed?
NORA
The homeless woman downstairs-
JACOB NORA (CONT’D)
(into the phone) I don’t need them. I’m a
Exactly! Show that you’re dancer not a hiker.
showing!
ISABEL
(laughing)
We always hike, so you do need
them.
JACOB
(smiling, to his wife)
Why do you keep wearing that?
Romy looks at her apron. Jacob takes the pen and paper from
the table and walks away, laughing at a joke the actor makes
on the phone.
ROMY ISABEL
(to Jacob about the (to her sister)
apron) You can’t come if you don’t
You don’t like it? have hiking shoes. We’ll
leave you behind.
ROMY (CONT’D)
(to Nora)
The ones we bought last month? Did
you give them away?
NORA
Yes. They made me look weird.
ROMY
To a homeless person?
ISABEL
Ed.
White Production Draft (10/31/23) 4.
ROMY
Did he fit them?
NORA
She.
ROMY
She!
ISABEL
Can Mary spend the night?
ROMY
(Decisive)
No!
Nora starts to move through the kitchen to practice the
tarantella. Automatically, Romy guides her back to her chair.
ISABEL
Why?
Jacob looks at Isabel and quickly hangs up.
JACOB
Your mother is busy with her
company right now. So we need peace
and quiet- It’s a scary time.
ROMY
(laughing)
It’s not scary, it’s exciting!
ISABEL
(imitating her mother’s
smile)
It’s not scary it’s exciting!
Jacob laughs. Romy, a bit offended, touches her necklace.
Jacob hands her the piece of paper with her speech on it.
JACOB
I made some small changes.
Playfully, Jacob grabs his wife and makes her giggle.
Ratings
Scene 4 - Bravery Amidst Chaos
Romy walks down a very busy street. Suddenly, someone starts
to scream. People rush towards her. Anxious, she looks up to
see what they are running from. A barking DOG with wild eyes
runs towards her. People try to get away. Someone hides
behind a car. A man in a business suit tries to stop the dog.
White Production Draft (10/31/23) 5.
MACHO MAN
(loud)
Hey! Calm the fuck down!
His voice only makes the animal more scared and
disorientated. The dog focusses his attention on a child.
Romy jumps in front of it. For a moment it seems hypnotized
by Romy’s fearlessness, but then it suddenly jumps on top of
her, causing her to trip and fall. Before it can bite her, it
is distracted by a whistling sound. The dog walks away from
her, into the direction of A YOUNG MAN, SAMUEL (25, in a
cheap suit and coat that seem too big for him) He looks
straight into the eyes of the dog, and holds out his hand.
Abruptly, it stops barking and walks curiously toward the
hand. While Romy gets herself together, she tries to see
what’s going on through the legs of the people around her.
Ratings
Scene 5 - The Ethical Launch
Romy rushes in. Someone is hanging decorations on a large,
beautiful Christmas tree. ESME, Romy’s assistant (25), comes
running.
INT. OFFICE BUILDING HALLWAY / MEETING ROOM DAY
Romy walks down the stairs in the middle of the busy office.
Esme follows carrying Romy’s bag and laptop.
ROMY (PRE-LAP)
Humans are the most ethical beings
on the face of the earth, but also
the least ethical. The state of our
planet proves it.
INT. OFFICE BUILDING PRESS ROOM DAY
On a screen behind Romy we see large mobile robots, picking
and placing products from shelves into boxes and containers.
The logo of her company: Tensile Automation, is projected
over the images. She speaks into a small camera. A live
stream of a product launch. Romy is introducing new robot
called Harvest. Some employees, technicians, and HAZEL (46,
head of marketing) are watching. A make up station, a
clothing rack and craft services table.
White Production Draft (10/31/23) 6.
ROMY
As more and more artificial
intelligence is entering into the
world, more and more emotional
intelligence must enter into
leadership.” We are living through
an era of historic transformation,
unlocking sustainable, inclusive
growth in new sectors of the
economy. We are making the
workplace, healthier, safer and
more productive. We engineer
accountability into our products
and they are changing the way we
live, every day.
I am delighted to introduce to you,
the newest asset to our fleet:
HARVEST
She smiles into the camera. Music starts playing.
Ratings
Scene 6 - First Impressions
Esme knocks on the door and pops her head in. Romy jumps up
and tries to fix her hair.
ROMY
(smiling)
Response is great I hear.
ESME
(genuinely enthusiastic)
Yes! The quote about emotional
intelligence was very-
ROMY
Jacob’s idea.
ESME
Is this a good time for me to
introduce the... interns-
ROMY
(without thinking)
Now is good!
Through the glass we see a group of interns.
ESME
It’s their first day so-
Romy nods. Esme opens the door and lets the small group of
young men and women enter, among them Samuel.
White Production Draft (10/31/23) 7.
ROMY ESME (CONT’D)
(enthusiastically) This is our CEO, Romy Mathis!
Hello!
No one speaks. Romy takes off her reading glasses. She smiles
kindly.
ROMY (CONT’D)
Don’t be nervous...Welcome! We are
so very happy to have you with us.
Relieved they smile back.
ROMY (CONT’D)
If you have any questions, let us
know.
She looks back at her laptop as a sign that they can leave.
Suddenly Samuel, hidden behind the other interns, in the back
of the room, raises his hand.
SAMUEL
I have a question.
Romy looks up. To her surprise she recognizes him as the boy
who calmed the dog down earlier that morning.
SAMUEL (CONT’D)
(without taking his eyes
off of her)
Do you really believe that
automation can provide a path to
sustainability or is that just
something people say to make you
like robots?
He smiles. Before Romy can answer, Esme quickly interrupts.
ESME
Ok! Lets go, Mrs. Mathis is very
busy today.
She guides the interns to the door. Romy stares at Samuel.
INTERN ROSE
(In Samuel’s ear)
It’s her company.
Samuel nods and smiles. Quickly, Esme escorts the group out.
Before Esme pushes him through the door, Samuel looks back at
Romy. Romy’s phone starts to ring. Before she leaves Esme
says:
White Production Draft (10/31/23) 8.
ESME
I am so sorry about that, do you
want me to- (get rid of him?)
Romy isn’t listening. She answers her phone.
ROMY
(into the phone)
Yes?(...) Oh! Of course (...) we
should dissect that a little though-
It was an excellent day... a very
successful beginning-
Through the glass walls of her office, we see the interns
walk away. Samuel keeps his eyes on Romy.
Ratings
Scene 7 - Welcome to the Internship
The group of interns are getting a tour of the building.
Everyone is talking over each other. Tom and Esme explain how
the internship works and point out different area’s of the
office. Esme hands out bags with welcome packages. Samuel
takes it all in.
INTERN ANNA
So who can apply for it?
ESME
For what?
Everyone quiets down and listens.
TOM
Everyone. It’s a company wide
program. You’ll receive a list of
names by email at the end of the
day.
ESME
I highly recommend it. A mentor
makes a huge difference in how you
get to experience the company.
TOM
And you’re all invited to the
holiday party this Friday.
ESME
There will be a DJ, make sure you
bring your dancing shoes!
Everyone laughs and talks over each other.
White Production Draft (10/31/23) 9.
Ratings
Scene 8 - Professional Tensions and Flirtatious Encounters
The next morning, Romy walks into the elevator. A group of
men in suits look at her.
ARI
Good Morning Mrs. Mathis.
ROMY
Good morning Ari.
INT. OFFICE BUILDING MEETING ROOM- LATE MORNING
Romy holds court for a group of business men.
ROMY (PRE-LAP)
He’s a problem... and we don’t need
him...
INT. OFFICE BUILDING DESKS/ 6TH FLOOR STAIRS/ CANTEEN COFFEE
MACHINE- DAY
Romy, with her coat on, walks through the office, she is on
the phone looking for someone.
ROMY
Exactly...that’s what I told him...
Investors appetite is huge...
As she passes people’s desks they look up from their screens.
She turns a corner and sees Samuel drinking water at the
coffee machine. Rose (Intern) is saying goodbye to him. As
Rose leaves:
ROMY (CONT’D)
(to Samuel)
Hey- Could you make me a coffee?
Quickly, Samuel nods and takes a cup from a shelf.
ROMY (CONT’D)
(into the phone)
Right- safe navigation,
flexibility...real time
monitoring...
(while looking at Samuel)
Technology alone wont solve that
though- Yes, okay- Talk later.
She hangs up as he hands her the coffee. She looks straight
into his eyes.
White Production Draft (10/31/23) 10.
ROMY (CONT’D)
How did you get that dog to calm
down?
He observes her for a beat.
SAMUEL
(without blinking)
I gave it a cookie.
She raises her eyebrows.
ROMY
You always have cookies on you?
He smiles and nods.
SAMUEL
Yeah.
(he looks at her with a
twinkle in his eyes)
Why?
He sticks his hand in his pocket.
SAMUEL (CONT’D)
(cheeky)
Do you want one?
She shakes her head.
ROMY
(serious)
No.
For a brief moment he sees an unexpected vulnerability in her
eyes. He tilts his head, like an animal.
SAMUEL
(fatherly)
You shouldn’t drink coffee after
lunch. How many do you drink a day?
ROMY
None of your business.
(pause)
Seven.
They stand there silently for several seconds until her phone
rings, breaking the tension.
White Production Draft (10/31/23) 11.
ROMY (CONT’D)
(into the phone but still
looking at Samuel)
Yes?
She walks away.
Ratings
Scene 9 - Playful Intimacy
In the dark, in bed, Romy watches business news on her phone.
Jacob turns towards her and gently touches her shoulder.
JACOB
I want to see you.
He switches the light on. Romy looks away.
JACOB (CONT’D)
(whispers)
Look at me. Hey, hey look at me...
Romy playfully disappears under the sheets. She sits there
fully covered by the sheet like a ghost. Her childish
behavior makes him laugh. She speaks from under the sheets.
ROMY
(whispers, shy)
I want you to watch porn while you
have sex with me.
He thinks he didn't hear her correctly.
JACOB
What?
ROMY
I want to-
Embarrassed, she stops herself.
JACOB
Ok-
Romy giggles. Jacob starts to kiss her through the sheet.
ROMY
-feels weird.
Smiling, she takes the sheet away and lays on her back. She
grabs a pillow and puts it over her face. He stares at the
pillow. He shakes his head. Romy speaks from under the
pillow.
White Production Draft (10/31/23) 12.
ROMY (CONT’D)
(softly, with a baby
voice)
You touch me.
He starts to caress her body.
ROMY (CONT’D)
No. Like this. You touch me.
She puts the pillow back over her head. He tries to caress
her again. He kisses her breasts. She moans.
ROMY (CONT’D)
Yes. Do it.
He moves away.
ROMY (CONT’D)
(from under the pillow)
Come on- Do it-
JACOB
(smiles)
You know I can’t- Like this.
She doesn't take the pillow away. He sighs.
JACOB (CONT’D)
It makes me feel like ...a villain.
ROMY
Okay...okay.
She takes the pillow away and kisses him. She tries to
surrender to him. Very gently they start to make love. Jacob
looks at her, she tries to keep her eyes focused on his.
Ratings
Scene 10 - Embracing Vulnerability
Close on Romy, she looks straight into the camera.
ROMY
Being a CEO is- being a
collaborator- a nurturer. I see
myself as a strategy expert but
also- a human expert.
They are rehearsing for a press day. Esme is typing on her
phone. HAZEL is drilling Romy.
White Production Draft (10/31/23) 13.
ROMY (CONT’D)
At the same time, one day shipping
dramatically upped the stakes. The
demand for what we do is huge.
People are waiting for us to buckle
under that pressure. The best thing
to do is, smile and look up. Never
show your weakness-
HAZEL
(interrupts her)
Don’t use “weakness” to describe
yourself. It’s a positive to be
vulnerable, not a negative–
Romy nods her head.
ROMY
Got it.
She smiles.
Ratings
Scene 11 - Reflections in a Festive Corner
The office Christmas party. Music is playing. Everyone is
having a good time. Romy and Esme welcome Jacob and the
children. Isabel feels awkward in her girly dress. Nora is
comfortably wearing a princess dress. Immediately, they are
surrounded by people who want to greet Romy’s family. Female
employees try to get close to Jacob.
INT. OFFICE BUILDING 6TH FLOOR NIGHT
Later-Esme and Romy sit in a quiet corner. Esme is tipsy.
ROMY
Did you hear about those murders
uptown?
Esme nods.
ROMY (CONT’D)
Do you think a woman would be
capable of killing so many young
men?
ESME
It’s really good to like think
about death more.
ROMY
What?
White Production Draft (10/31/23) 14.
ESME
I mean, to like bring awareness to
death more? Like that Buddhist
quote. “We don’t give enough
attention to the avalanche that
will cover us all, in a very short
time.”
ROMY
Well, you’re still an embryo, so
you shouldn't think about death at
all! Leave that to us dinosaurs.
ESME
Can I ask you- Where does your
first name come from? Is it Polish?
Romy observes her for a beat.
ROMY
(bluntly)
I was named by a guru.
ESME
What?? Seriously? How? When?
ROMY
I was raised in cults and communes.
Romy studies Esme’s face to check her reaction.
ESME
(smiling, a bit tipsy)
You were? I would have NEVER
guessed. I thought you were raised
by soldiers or something. Or
robots!
Romy looks at her.
ESME (CONT’D)
(afraid she overstepped)
I mean- I’m joking, of course.
Samuel walks by, he makes eye contact with Romy.
ROMY
Did you know him before?
Esme shakes her head and takes another sip from her wine.
ESME
Do you think I’m too young for
fillers?
White Production Draft (10/31/23) 15.
ROMY
Why?
ESME
Barbara said I have a gummy smile.
ROMY
Who? That’s insane, I hope you
realize that.
Realizing how ridiculous it is, Esme smiles. Romy laughs.
Ratings
Scene 12 - A Moment of Connection
In her coat, Romy is alone smoking a cigarette. Suddenly
Samuel appears.
SAMUEL
Do you have a lighter?
She hands him one. He lights his cigarette. They smoke and
look at the city below them, flickering with Christmas
lights.
SAMUEL (CONT’D)
(kind)
I don’t like Christmas. Do you?
She thinks about the question. After a beat, they start
talking at the same time.
ROMY SAMUEL (CONT’D)
I have no- issues with it. You know what I read-
SAMUEL (CONT’D)
Sorry, you go first.
ROMY
(smiles)
No. You... Go.
They are quiet. He stares into her eyes. She doesn’t look
away.
SAMUEL
(as if he just remembered)
Oh! I chose you as my mentor.
ROMY
What?
SAMUEL
I chose you as my mentor.
White Production Draft (10/31/23) 16.
She shakes her head while blowing out smoke.
ROMY
I’m not a part of that program.
SAMUEL
You are.
ROMY
No I’m not.
SAMUEL
(without taking his eyes
off of her)
You are. You’re on the list. I got
an email and I clicked on your
name.
(he smiles, a beat)
So- You’re on the list.
Samuel stubs out his cigarette.
SAMUEL (CONT’D)
Thank you for the light.
He walks away. Puzzled, Romy stays behind.
INT. OFFICE BUILDING 6TH FLOOR NIGHT
Later- people are dancing. Jacob is dancing with Nora and
Isabel. Nora tries to get her mother to join but she shakes
her head. MR. MISSEL (73, board of directors, fatherly) and
Romy’s eyes meet. He smiles at her refusal to dance with her
family. In a corner of the room, the interns talk to each
other. Samuel dances with an older woman. Romy watches him.
He takes off his jacket and tie. As he dances, his tie falls
to the ground.
Ratings
Scene 13 - A Playful Distraction
Later that night- At home Jacob eats from a tub of Greek
vanilla yoghurt. The Hedda Gabler script in front of him.
Romy is typing on her phone.
JACOB
Scarlett doesn't understand Hedda
Gabler at all - She thinks it’s
about desire. It’s not about
desire, It’s about suicide.
White Production Draft (10/31/23) 17.
ROMY
(distracted)
OK.
Romy looks at her phone.
JACOB
(changing the subject back
to Hedda)
Hedda’s life is over before the
play begins-
ROMY
(eyes fixated on her
screen, very distracted)
Right- Yes. Before it begins. It’s-
over. That makes- a lot of sense-
to me.
JACOB
What are you mumbling about? You’re
not saying any words- are you
having a seizure?
She laughs. She loves him when he teases her.
ROMY
(laughing)
You’re so rude-
JACOB
(flirty)
Who are you texting the whole time?
ROMY
(smiles)
When I’m on my phone it’s for work.
Especially now -you know that.
JACOB
(laughs)
As if that’s a good excuse! That’s
the whole problem!
He laughs.
JACOB (CONT’D)
Hey, come here.
He takes her in his arms. He looks into her eyes.
White Production Draft (10/31/23) 18.
JACOB (CONT’D)
(half smiling, half
vulnerable)
Am I-- relevant to you as a
director?
ROMY
Everyone is irrelevant. We don’t
give enough attention to the
avalanche that will cover us all,
in a very short time.
JACOB
What?
They both laugh. He kisses her. They hug.
Ratings
Scene 14 - Tangled Emotions
The next morning- it’s Saturday. Romy, with her coat on,
looks around. A caterer wheels out a cart of glassware. A
deflated balloon on the floor. The office is empty. A cleaner
is vacuuming. Romy takes a water from the fridge when out of
the corner of her eye, she spots Samuel’s tie on the floor
next to where everyone was dancing. She picks it up and puts
it in her bag.
INT. OFFICE BUILDING ROMY'S OFFICE DAY
Later- Romy is working on her laptop with her coat still on.
Business news plays loudly. She tries to focus but keeps
looking at her bag on the edge of the sofa. Hesitant, she
gets up. She lowers the blinds, to make sure no one can see
her. She sits down on the sofa. Unsure of herself, she takes
the tie out of her bag. She looks around before she smells
it. Slowly, she brings the tie to her mouth. Her hand moves
towards her skirt. She pushes the tie deeper into her mouth
while she starts to touch herself.
Ratings
Scene 15 - Beauty in Pain
Close up of Romy’s face. A needle is penetrating her upper
lip. Romy gets Botox and fillers. It hurts but she doesn't
mind.
DOCTOR
You sure you don’t want some
numbing cream?
She shakes her head.
White Production Draft (10/31/23) 19.
INT. REMEDY PLACE- DAY
Romy lies in a hyperbaric oxygen chamber and works on her I-
Pad.
Romy submerges her body in a ice cold plunge tank.
Romy does cryotherapy wearing ear protectors , a black
bathing suit and large gloves. Her breath is visible in the
cold.
Ratings
Scene 16 - Emotional Disconnect
Close on Romy’s face with headphones on. We hear the sound of
Audio Bilateral stimulation moving from our left ear to our
right. Up close we see her eyes move from left to right,
following a light-bar. Her wrists are stimulated every few
seconds by vibrating black wristbands, which she wears like
handcuffs.
THERAPIST
5,4,3,2,1...
Romy closes her eyes. Flashback to: Romy’s childhood. A group
of children dance wildly.
THERAPIST (CONT’D)
What do you feel?
Close on her eyes moving rapidly. We see a flash of Samuel’s
hands, feeding a treat to the dog on the street.
ROMY
Nothing.
A flash of the dog standing over Romy as she lays on the
street on her back.
THERAPIST
No feelings in your body?
Ratings
Scene 17 - Christmas Card Chaos
Through the lens of the photographer we see the family posing
for their yearly Christmas card picture next to their
tastefully decorated Christmas tree. A perfect American
nuclear family except for the fact that Nora is wearing her
traditional Tarantella dance dress, and Isabel is in an
oversized hoody with a scary print . The photographer is
taking the shot, when suddenly Romy isn’t able to restrain
herself any longer, and jumps up.
White Production Draft (10/31/23) 20.
She pushes the photographer out of the way, stands behind the
camera and looks through the lens.
ROMY
Well- ok. We’ve got that-
(kindly)
Would you go change now Isabel,
please?
JACOB
Romy, come on. Jesus-
ROMY JACOB (CONT’D)
You look beautiful, and we Let them wear what they want!
have this shot, but it’s not
the style we are going for.
It’s not what we agreed upon.
ROMY (CONT’D)
(with a smile)
Go change please.
Suddenly, Isabel starts laughing.
ISABEL
Your face looks really weird!
Romy touches her lips. Her heart sinks. Nora looks at her mom
and bursts out laughing too.
ISABEL (CONT’D)
(laughing)
You look like a dead fish!
Hurt and embarrassed, Romy looks away.
JACOB
Isabel!
ISABEL
Sorry dad, but she looks awful!
(to her mom)
Why do you do that to yourself?!
Isabel storms off.
ROMY
(friendly, to Nora)
Baby, will you go get changed now
please?
Nora nods and leaves. Jacob gives his wife a look. Romy
smiles.
White Production Draft (10/31/23) 21.
ROMY (CONT’D)
(to the photographer)
Ok! Why don’t you take one of the
two of us while we’re waiting for
them to change?
She smiles. Romy and Jacob pose together.
Ratings
Scene 18 - Awkward Encounters
Monday morning; Romy walks into the elevator trying to hide a
small bruise caused by the fillers. The bruise is covered by
concealer, which makes it look worse. Self-conscious she
touches it.
SAMUEL O. S
Wait – hold the door-
Samuel walks in. Romy stands with her back against the wall.
Samuel stands next to her, at a respectful distance. She
looks at their reflection in the closing doors, she tries to
hide her face behind her hair. He looks at her.
SAMUEL
I’m looking forward to Tuesday.
ROMY
(confused)
Sorry?
SAMUEL
I got an email saying they
scheduled the first session.
ROMY
The what?
SAMUEL
The ten minute introduction
meeting?
She looks at him as if he has lost his mind.
ROMY
(trying to be polite)
I have no idea who sent you that
email but they’ll have to find
someone else. I don’t have time.
SAMUEL
It’s just ten minutes-
(he tilts his head and
stares at the bruise)
White Production Draft (10/31/23) 22.
He points at her cheek.
SAMUEL (CONT’D)
What’s that?
ROMY
(pretending not to know)
What’s what?
He points at his own face.
SAMUEL
There’s no need for the-
Embarrassed she looks away.
SAMUEL (CONT’D)
Looks good on you.
With a loud ding the elevator stops. Blushing, she walks out.
Tom is waiting for her in the hallway. He stares at Samuel
through the elevator doors. Samuel stares back as the doors
close in front of him.
EXT/INT OFFICE TERRACE/ MEETING ROOM -DUSK
Esme sits alone on a bench. Samuel walks up to her and sits
down next to her. They talk and laugh.
From a window high above, Romy watches them.
Ratings
Scene 19 - Support and Aspirations
Esme is applying more concealer to Romy’s bruise.
ROMY
Who decided that I’m part of that
mentor program by the way?
ESME
Hazel thought it would be good for
you to take part in some extra
activities internally... They say
there’s a talent war-so I guess
it’s important to make new talent
feel involved. Show you’re an
approachable leader-
ROMY
Yes- The talent war-
White Production Draft (10/31/23) 23.
They both laugh.
ESME
You think we can talk about my
promotion soon?
ROMY
(warm)
Of course-
Romy checks herself in a hand mirror.
Ratings
Scene 20 - Unexpected Connections
From high above, the sun rises over the skyline.
INT. OFFICE BASEMENT HALLWAY- DAY
Romy walks along the empty hallway, towards basement meeting
room.
INT. OFFICE BUILDING WINDOWLESS BASEMENT ROOM- DAY
Nervous and excited, Samuel sits at a table, with a yellow
pad and a pen, waiting. A long beat before Romy comes in.
ROMY
You have seven minutes.
SAMUEL
Ten.
He gets up to shake her hand, but she ignores him.
SAMUEL (CONT’D)
Thank you so much for making the
time.
ROMY
(mumbles)
I was forced.
SAMUEL
Excuse me?
She gives him a look.
SAMUEL (CONT’D)
Why did you want to meet here?
White Production Draft (10/31/23) 24.
ROMY
You don’t like this room?
SAMUEL
No. I do. It’s perfect.
He feels the wall.
SAMUEL (CONT’D)
It’s soundproof.
She stares at him, not knowing what to think.
ROMY
I would hurry up if I were you.
SAMUEL
Of course. So--- how- did- it-
start?
ROMY
What?
SAMUEL
The warehouse automation dream?
It’s an interesting choice
considering the climate crisis.
ROMY
That’s your question? Google it.
SAMUEL
I want to hear it from you.
ROMY
Why?
SAMUEL
Cause the internet is unreliable.
Briefly she looks into his eyes. Then she starts to speak at
a very fast pace.
ROMY
I graduated from Yale cum laude and
was recruited by an investment
firm. The selection process was
gruesome. There were six rooms, and
in every room, I had to answer
certain questions and solve math
formulas. One of the questions was
how many ping pong balls would fit
in that specific room.
White Production Draft (10/31/23) 25.
SAMUEL
How many ping pong balls fit in
this room?
She ignores him.
ROMY
At the end they gave me a
hypothetical case of a company that
was in deep trouble, and I had to
figure out how to make them
profitable again. For a week I
tried to solve it, but I couldn’t,
so I went in and told them they
could go fuck themselves-
SAMUEL
What did they say?
ROMY
They hired me.
SAMUEL
Because you were bold?
ROMY
I guess they were looking for
certain personalities.
SAMUEL
What kind?
ROMY
(ignoring him)
I started my own company five years
later with the goal to change the
global supply chain forever. I
wanted to automate repetitive
tasks, to give people their time
back so they can spend it in a
fulfilling way–
SAMUEL
(interrupting her)
Power hungry personalities?
ROMY
You think that’s what I am?
SAMUEL
No, the opposite.
ROMY
You think I don't like power?
White Production Draft (10/31/23) 26.
SAMUEL
(soft)
No. I think you like to be told
what to do.
The air the leaves the room. Samuel blushes, shocked at his
own words. Romy freezes.
SAMUEL (CONT’D)
Sorry. I didn’t mean to- that’s
inappropriate – that’s incredibly
inappropriate–
He smiles. Embarrassed, he looks at his yellow pad. He starts
to write. She stares at his hand moving extremely fast over
the paper, writing down all kinds of numbers. Suddenly she
grabs the pen out of hid hand. Surprised, he looks up. He
smiles as if he recognizes something. She writes down her
phone number on his yellow pad, before she hands the pen back
to him.
ROMY
(explaining herself,
trying to sound
indifferent)
Seven minutes are up, but we can do
another session- if that’s what you
were hoping for...
With kind eyes he looks at her phone number, and then at her.
SAMUEL
(about the phone number)
I already have it.
Confused she starts to walk to the door.
SAMUEL (CONT’D)
(about the ping pong
balls))
818007, is the answer.
Without looking back at him, she opens the door to leave.
Suddenly, he stands behind her. He slowly closes the door.
She lets him. She turns around to face him. Her lips are
almost touching his. Their mouths gradually near each other.
ROMY
I have to go.
When her lips almost touch his, he pulls back. Her breathing
sounds loud. They stand like that for a while, until she
can’t control herself any longer. Suddenly, she kisses him.
White Production Draft (10/31/23) 27.
Surprised by her warm lips, her hungry, open mouth, Samuel
freezes, then heat spreads through his body, and he thaws. He
kisses her back. Long. Until she stops. They are both
confused by what just happened.
ROMY (CONT’D)
(embarrassed)
I’m so sorry, I shouldn’t have done
that.
SAMUEL
(kind)
It’s ok. It’s fine.
ROMY
It’s not ok. I am so sorry.
SAMUEL
It’s ok-
He smiles. Slowly realizing what she has done, she stares at
him, petrified. She forces a smile on her face and changes
her tone.
ROMY
Great! Ok! Thank you!
He looks at her with warm eyes.
SAMUEL
Thank you.
She leaves.
Pre-lap: A LOUD SCREAM.
NORA
Moooooooooooommmm! Mom!
Ratings
Scene 21 - Whispers in the Night
From high in the sky, the camera slowly moves in on the
perfect family (Romy, Jacob, Isabel and Nora). They walk
towards their perfect family home. The lights are on inside,
lit up like a doll’s house.
INT. UPSTATE HOUSE BEDROOM- NIGHT
Romy and Jacob are sleeping. Her phone buzzes. Romy wakes up.
She doesn't recognize the number. She hears a sound. She
looks at Jacob, who is still sleeping. Anxious, she gets out
of bed. She walks up to the window.
White Production Draft (10/31/23) 28.
To her surprise, she sees Isabel in the pool with A GIRL
(OPHELIA, 17). Steam comes off of the heated water. It’s a
magical image. They kiss. Romy wants to go downstairs but
instead she just watches, entranced. She looks back at her
phone.
IN. UPSTATE HOUSE BEDROOM- EARLY MORNING
The family sleeps together in a huge bed. Nora cuddles a
teddy bear. Peaceful. Isabel, at the foot of the bed, in her
bathing suit and pajama pants.
Ratings
Scene 22 - Clearing the Waters
With a net Romy tries to fish a small dead skunk out of the
pool. Isabel comes to help her, trying to connect to Romy.
They manage to hoist the dead animal onto the edge.
ROMY
Do you like the girl from next
door? How old is she, 17?
Surprised Isabel looks up.
ISABEL
(blushing)
What do you mean?
ROMY
I thought you were in love with-
Mary?
Isabel studies her face. She notices her mother’s
vulnerability.
ISABEL
(patiently explaining)
I am in love with Mary -I’m just
having fun with Ophelia.
Romy looks at her daughter, a bit confused.
Ratings
Scene 23 - Tension in the Lobby
Full screen: a video on proper conduct in the workplace.
Samuel and some other interns make notes. Through the glass
wall, he sees Romy speaking to her team next to a big monitor
that plays a video of the warehouses. Esme stands next to
her. Romy seems angry. He studies her dominant body language
and facial expressions. He watches her as she puts on her
coat and leaves. Samuel gets up.
White Production Draft (10/31/23) 29.
INT./ EXT. OFFICE BUILDING LOBBY TO PLAZA- DAY
Romy walks out of the office, Samuel comes running after her.
SAMUEL
(polite)
Hey! Wait! Sorry- Can I ask you
something?
Romy keeps walking.
SAMUEL (CONT’D)
Why didn’t you respond?
ROMY
To what?
She increases her speed but he keeps walking next to her.
Christmas lights everywhere.
SAMUEL
They said we are supposed to meet
weekly, but you didn't answer the
email. They sent an email.
ROMY
I have to go- I have an
appointment.
He stands in front of her. Nervous, she looks around to see
if anyone is watching them.
SAMUEL
(patiently explaining)
It’s very easy. The email has a
link. You just click on a date and
a time for the second appointment-
It will pop up in your calendar-
ROMY
I have to go.
But she doesn’t move. He tilts his head, he takes a step
towards her. He shifts his tone.
SAMUEL
Listen, if you don’t want to be my
mentor, I totally understand.
(he smiles)
I’ll ask someone else, but I do
want one. They say it makes a huge
difference. There’s lots of other
people I can ask, so-
White Production Draft (10/31/23) 30.
ROMY
Are you done?
SAMUEL
With?
She brings her face close to his.
ROMY
(whispers)
Do you understand that your
behavior is totally out of line?
SAMUEL
Is it?
Their bodies are close, she looks at him. They take each
other in. She can smell him. The tension is building, their
faces are just inches apart. She wants to leave but she can’t
bring herself to walk away from him.
SAMUEL (CONT’D)
We are supposed to meet once a
week, that’s how it works. I didn’t
make the rules.
People are walking past them. With big eyes she looks at him.
She smiles.
ROMY
Ok. Yes. I’ll think about it.
She turns around and walks away. Her cheeks are red. The
streets of New York are busy. The loud sounds of the city
overwhelm her. Her head is spinning. She looks up.
PRE-LAB:
BANG! BANG!
Ratings
Scene 24 - Rehearsal Tensions
BANG! Loud shots are fired straight at the camera.
HEDDA (SCARLETT)
(loud, with joy)
This is what comes of sneaking in
by the back-way!
HEDDA (SCARLETT, 32) holds a pistol and fires again.
BRACK (STEPHEN)
Are you out of your senses?
White Production Draft (10/31/23) 31.
From behind the audience seats, judge BRACK is making his way
to the stage. Romy walks in, trying to be invisible. For a
moment Scarlett (Hedda) looks at Romy. Behind Scarlett we see
on a huge video wall, Scarlett's face.
HEDDA
(laughing)
Dear me, did I happen to hit you?
Brack climbs onto the stage, and aggressively takes the
pistol from her hand. Before she can speak, he points it at
her forehead. Scarlett leans into the gun. Romy stands in the
back. She holds her breath. She sees herself in Hedda.
BRACK
I wish you would leave these pranks
alone.
Quietly, Romy takes a seat behind her husband who is
rehearsing. Next to him two assistants and their laptops.
Surprised, and a bit taken aback, Jacob turns around.
JACOB
(whispers)
What are you doing here?
BRACK
You’re not really happy. That’s the
bottom of it.
On stage, the actors stop.
SCARLETT
(To Stephen. Not realizing
her mic is still on)
What’s going on?
The mics are muted.
ROMY
(whispers to Jacob)
Watching you in your natural
habitat.
JACOB
The last time you did that was in
1997 when you thought I was having
an affair with a light technician.
Romy laughs. He looks at her red cheeks.
JACOB (CONT’D)
You don’t have to be at work?
White Production Draft (10/31/23) 32.
She smiles. Jacob gets up to give directions. Romy briefly
grabs his hand. She looks at him full of admiration, before
he runs towards the stage. Fascinated, Romy watches Jacob.
Seeing him work reminds her how much she loves him.
Ratings
Scene 25 - Jealousy in the Spotlight
A bar filled with loud business men in suits. Romy walks in
with Hazel, Tom and Robert. They pass a group of interns and
young employees. Samuel looks at Romy as she walks by. Romy
ignores him. Surprised to see Romy entering the bar, Esme
jumps up. The young people around Esme start to whisper in
each others ears when they notice Romy. Romy and her team
take a seat at a table in the back. Esme comes over.
ESME
(A bit tipsy)
You finally came! We’ve been
begging her to get a drink with us
for over a year!
Everyone laughs. Esme sits down next to Hazel.
ESME (CONT’D)
You know what we should focus on
way more? Recruiting women.
Especially young female engineers-
HAZEL
Oh, trust me, we are.
Samuel watches Romy from the bar.
ESME
I know, but wouldn't it be cool to
offer, like, a special support
program within the company for
young female employees? So they can
find their way to the top easier?
ROMY
(to Hazel)
Listen to her!
HAZEL
We would love to sit down and
discuss that with you.
ESME
You would?
Proud, Esme looks at Romy. Charmed by Esme’s drunken
enthusiasm, Romy smiles at her.
White Production Draft (10/31/23) 33.
ROMY
(to Esme)
See?
Robert walks over with a tray full of drinks. Esme gets up.
From a distance Romy watches Samuel, he is telling a joke,
dancing strangely. When Esme rejoins them, she stands close
to him and touches his arm. Briefly Samuel’s hand rests on
Esme’s back. A wave of jealousy rushes through Romy’s body.
Suddenly, the waiter puts a glass of milk down in front of
Romy, snapping her out of her haze. The men and women at her
table laugh and look around, to see who ordered it, but it’s
unclear.
ROMY (CONT’D)
Did you order this?
TOM
No...
Romy makes eye contact with Samuel, who watches her from the
bar. She reaches for the glass.
HAZEL
(whispers)
Are you gonna drink that? Don’t
drink that-
Slowly, Romy drinks the entire glass of milk while making eye
contact with Samuel. Some business men behind her start
laughing.
Ratings
Scene 26 - Echoes of Despair
LATER- The bar is totally empty. Romy pays the bill. The
group of interns, including Esme, have left. Suddenly Samuel
walks out of the men’s room. He doesn’t look at Romy but when
he walks past her he whispers in her ear.
SAMUEL
Good girl.
Romy freezes. He keeps on walking to the exit.
INT. OFFICE BUILDING ROMY'S OFFICE- NIGHT
Romy is running late. Laying on the floor, she tries to get
into a huge, beautiful blue dress. She squirms like a snake
shedding its skin. We hear the final scene of Jacob’s Hedda
Gabler.
White Production Draft (10/31/23) 34.
HEDDA O.S.
(scared)
And what will I do in the evenings?
TESMAN O.S.
Oh I’m sure judge Brack will be
more than happy to keep you
company.
BRACK O.S.
Absolutely dear Hedda! We will have
a ball!
HEDDA O.S.
(emotional)
Oh yes you would love that,
wouldn't you judge Brack?
(screams)
To be the only cock in my run?
A loud shot is fired. Hedda kills herself. A scream.
BRACK O.S.
Who does such a thing?
Applause.
CUT TO:
Ratings
Scene 27 - Between the Spotlight and Duty
The curtains are closed. The last few people walk out. An
usher picks up playbills. Romy sits alone in her dress,
staring at the empty stage. She looks around, unsure where
to go.
INT. THEATRE BACKSTAGE STAIRCASE/HALLWAY- NIGHT
Romy walks down a staircase, looking for the dressing room.
An actor with a wig in her hand runs by her, laughing.
INT. THEATRE SCARLETT’S DRESSING ROOM- NIGHT
People are crammed in the small dressing room. Romy walks in.
Everyone is drinking, sweating and raving about the show.
Adrenaline is high. Her phone buzzes. An older actor, Stephen
(the actor who plays BRACK) is imitating a robot. “Bleep,
bleep!” Romy observes Jacob.
White Production Draft (10/31/23) 35.
His almost childlike, happy face makes her smile. Stephen
embraces Romy. Her phone keeps buzzing.
ROMY
(to Stephen)
You were wonderful!
Distracted, Romy looks at her phone.
STEPHEN
Do you have phone addiction? It’s a
serious issue-
She looks straight into his eyes.
ROMY
No, Stephen, I have a job.
She takes his glass of champagne and finishes it.
STEPHEN
I thought you didn’t drink-
She walks over to Jacob who is talking to Scarlett.
ROMY
(genuine)
It was wonderful, just wonderful!
(to Scarlett)
You were amazing- you made me cry.
(whispers in his ear)
I have to go. Work emergency.
He grabs her.
JACOB ROMY (CONT’D)
No. Sorry.
JACOB (CONT’D)
(whispers in her ear)
It’s the one night I need you by my
side.
ROMY JACOB (CONT’D)
I know. I’m so sorry. It’s Come on. You can’t go.
just there is so much
pressure now-
Curious, Scarlett looks at Romy.
SCARLETT
How are you?
White Production Draft (10/31/23) 36.
ROMY
I’m sorry. I have to go-
Other people start to notice the tension between the couple.
Romy starts to leave, Jacob follows her into the tiny
hallway. He grabs her arm.
JACOB
Romy!
ROMY
(sweet)
I really have to go. So sorry. Have
fun. It was wonderful!
She manages to escape.
INT. OFFICE EXECUTIVE FLOOR HALLWAYS -NIGHT
Cautiously, Romy walks down the hallway in her dress, not
sure what to expect.
INT. OFFICE BUILDING ROMY'S OFFICE -NIGHT
Embarrassed, Romy falls into her chair. On her desk she finds
a note. It has a date, time, and address written on it.
EXT. OFFICE BUILDING - NIGHT
From the street, Samuel looks up at Romy’s office windows.
Watching her. He smokes a cigarette.
EXT. 27TH STREET- DUSK
Tense, Romy walks down the street in a designer coat. It’s
cold.
Ratings
Scene 28 - Tension and Surrender
Romy enters the worn out room. She looks around. The walls
are painted red. She notices a stain on the carpet.
ROMY
Hello?
She takes her coat off. In a beautiful, expensive outfit, she
sits down on the edge of the bed. She isn’t used to waiting
for anything. She finds a long, dark hair on the bed. She
picks it up and studies it.
White Production Draft (10/31/23) 37.
She takes a cheap piece of strawberry candy wrapped in red
paper out of a bowl. Samuel enters with a small plastic bag
from a bodega.
SAMUEL
(indifferent)
Oh. You’re here.
He is wearing a hoody and jeans, the hood over his head. He
doesn’t look at her. Slowly, he takes some items out of the
bag. Nervous, she watches him. Tension builds between them.
ROMY
Sit down.
He immediately does.
ROMY (CONT’D)
Your behavior is unacceptable.
SAMUEL
(he smiles)
What behavior?
ROMY
(convincing herself)
That’s all I have to say and that’s
the only reason I’m here-
SAMUEL
What are you talking about?
He laughs. Amused by her anger.
ROMY
-to stop this and your wild
behavior.
SAMUEL
What does that mean?
ROMY
Leaving me notes? Calling me?
Sending me milk?
SAMUEL
(smiles)
Well- you drank it all...
ROMY
Texting me? Inviting me to this
ridiculous hotel? Keeping me
waiting- Are you fucking insane?
White Production Draft (10/31/23) 38.
He gets up. While she keeps talking he slowly walks towards
her.
ROMY (CONT’D)
We need to have a very serious
conversation, you and I, we need to
talk this through. Get to the
bottom of it. You need to realize
that what you’re doing is wrong-
He puts his hand on her mouth.
SAMUEL
(soft)
I don’t think I want to talk.
He grabs the back of her head and pushes her face into the
dirty carpet. For a brief moment, he holds her down like a
kitten. Quickly, he lets her go. He scares himself,
struggling to control his impulses. Both of them are lost for
a moment.
SAMUEL (CONT’D)
Sorry but- I’m confused -
You don’t know me. I’m a total-
stranger, but you show up here,
dressed like this- and you want me
to just look at you- and- not do
anything?
Romy is quiet.
SAMUEL (CONT’D)
I’m not some thing you can just
pick up and play with.
ROMY
(annoyed)
Oh, shut the fuck up.
SAMUEL
Get on your knees.
ROMY
(chuckles)
What? No!
He laughs, embarrassed.
SAMUEL
(smiling)
I just feel...Is That what you
want? I don’t know how to- If
that’s what you want - Be honest.
(MORE)
White Production Draft (10/31/23) 39.
SAMUEL (CONT’D)
(seriously asking)
Is it?
ROMY
(honest)
I don’t know.
She looks at him. She shifts her tone.
ROMY (CONT’D)
(quietly, genuine)
You’re very young- I don’t want to
hurt you.
SAMUEL
Hurt me? I think I have power over
you, not the other way around. I
mean, one call and you lose
everything. Right?
With an inquiring look he stares at her, curious what she
will say or do.
SAMUEL (CONT’D)
(whispers)
Does that turn you on, when I say
that?
It does but she is too embarrassed to admit it. She sort of
rolls her eyes and shakes her head. He studies her like a
biologist.
SAMUEL (CONT’D)
(whispers, sweetly)
Get on your knees.
For a moment she tries to bend her knees. Then quickly:
ROMY
(decisive)
Ok. I have to go.
She walks to the door, he takes a step towards her. She feels
him behind her. Quickly, she turns around and grabs his face
and kisses him passionately. Gently, he pushes her away.
SAMUEL
(genuine)
No. Not like that. I don’t like it
like that. I don’t want it like
that-
Rejected she attacks him, trying to trigger his aggression.
They land on the floor. They struggle, they wrestle.
White Production Draft (10/31/23) 40.
She jumps up. He pulls her down and turns her on her belly.
While she crawls away from him he takes her leg. He kisses
her leg, sniffs it, bites it, and slides her body back to
him. She turns towards him, grabs his arm. When she wants to
look at him, he covers her eyes.
SAMUEL (CONT’D)
Don’t.
The more he tells her not to, the harder she keeps trying to
find his gaze. With her fingers she opens his eyes and forces
him to look at her. He laughs.
SAMUEL (CONT’D)
Stop! Stop!
She does. Careful, he takes her hand and pulls her up. They
walk around the small room hand in hand, as if they are two
young lovers, sightseeing on a city trip. He guides her to a
corner of the room, he leaves her there, facing the wall. He
goes to sit on the bed to catch his breath, to think. A long
beat. Calmly, she stands in the corner, waiting.
SAMUEL (CONT’D)
Please take your clothes off-
ROMY
No.
SAMUEL
(soft)
Why not?
ROMY
(scared to show her body
to such a young man)
I don’t know. I don’t want to.
SAMUEL
(kind)
Ok. That’s ok.
With his hand he gestures for her to come sit next to him on
the bed. She does. For a short moment she lays her head on
his shoulder.
SAMUEL (CONT’D)
Would you mind getting on your
hands and knees for me?
ROMY
Why?
White Production Draft (10/31/23) 41.
He breathes in, trying to calm himself, understand himself,
and to slow down. He takes a piece of candy out of the bowl.
SAMUEL
(smiling)
Could you maybe try? For the sake
of what we’re trying to...do here?
She shakes her head. He waits. He observes her, trying to
measure her response. Slowly she gets up and bends her knees.
First, she kneels in front of him. She looks at him with
questioning eyes. She places both her hands in front of her,
on the carpet. When she is on all fours, he holds out his
hand. He makes soft, sweet sounds with his mouth as if
calling a puppy. Hesitant, she crawls towards him. Ashamed,
she eats the candy from his hand. While she chews, he strokes
her head. He goes to sit next to her on the floor. He lays
her flat on her belly. Gently, he caresses her. His hand
slides under her skirt. He starts to pleasure her. She lets
it happen. After a while she feels like it’s taking too long
and tries to get up.
SAMUEL (CONT’D)
(kind)
No- no. It’s ok-
He gently holds her down. She closes her eyes. She tries to
surrender. He takes his time. She starts to shake a little
bit.
ROMY
(whispers, embarrassed)
I’m gonna...I don’t wanna pee-
70 70
He keeps going. Torn between guilt and joy, she breathes in,.
He feels her very slowly reaching her climax. Her whole body
starts to shake. She orgasms for real. An unfamiliar sound
escapes her. More growling than moaning. This has never
happened to her before. Overwhelmed by her reaction to his
touch, he holds her. A wave of emotion washes over her.
Embarrassed, she tries to hold back her tears. Calmly, he
looks at her vulnerable eyes. Protective, he holds her in his
arms. She lets go and cries.
INXS, Never Tear Us Apart, starts play to quietly.
Later- They sit next to each other on the edge of the bed.
Samuel is shirtless, Romy wears Samuel’s hoodie. He reaches
over, and zips up the sweater, then puts the hood over her
head.
White Production Draft (10/31/23) 42.
Ratings
Scene 29 - Unspoken Connections
Never Tear Us Apart continues to play while we see Samuel and
Romy’s connection deepen in the office and outside of it.
- INT. OFFICE LOBBY: Romy walks past the lit up Christmas
tree.
- INT. OFFICE ELEVATOR: Romy is in the elevator, Samuel
enters. She blushes. They share a moment before Esme and a
group of interns rush in. Suddenly, Romy is surrounded by
young people, laughing and talking loudly. Romy watches as
Samuel and Esme laugh together, Samuel touches Esme’s arm.
- INT. ROMY’S PRIVATE OFFICE
Samuel enters Romy’s private office.
SAMUEL
You wanted to see me?
ROMY
Yes, sit down.
She motions for him to sit opposite her.
Ratings
Scene 30 - Passion Amidst Professionalism
passionately. He pushes her up against the wall, his hand
around her neck.
-INT. OFFICE CONFERENCE ROOM: Romy holds court in a meeting,
surrounded by men in suits. She looks up as Samuel walks by.
- INT. OFFICE PRESS ROOM: Romy delivers a speech. She makes
eye contact with Samuel through the glass walls.
- INT. ROMY’S PRIVATE OFFICE BATHROOM: Romy enters her
bathroom, Samuel is already there peeing in her toilet. She
embraces him from behind. He finishes peeing. They kiss
passionately. He puts his thumb in her mouth.
- INT. UPSTATE HOUSE BEDROOM: Romy and her whole family sleep
together in a big, cozy bed.
- INT. ROMY’S PRIVATE OFFICE BATHROOM: Romy lays face down on
the floor, she pulls her dress up over het waist. Samuel gets
down on the ground behind her.
- EXT. ALLEYWAY: Samuel kisses Romy against a wall in a dirty
alleyway.
- INT. OFFICE KITCHEN: It’s late. Romy looks out at the city
lights through the window.
White Production Draft (10/31/23) 43.
- EXT. ALLEYWAY: Samuel turns Romy around, presses her face
up against the wall. He covers her eyes and starts to have
sex with her from behind.
Ratings
Scene 31 - From Control to Celebration
reflection of the window. He comes up behind her, and takes a
coffee cup form the shelf. To her surprise, he lets it slide
out of his hands. The cup breaks into pieces on the floor. He
looks at the shards and at her.
SAMUEL
(calm)
Why don’t you clean that up?
Slowly, Romy gets down on her hands and knees. Carefully she
gathers the pieces in her hand. She focusses on the task,
trying to execute it precisely. With his foot he kicks some
of the shards towards her. She lays her head on his shoe.
- EXT. ALLEYWAY: Romy and Samuel kiss, post-coital. Romy
caresses Samuel’s face. She looks at him with soft, loving
eyes. Grateful. We see the lights of the city.
INT. UPSTATE HOUSE- KITCHEN- NIGHT
Full of new found energy Romy prepares a meal. A fire
crackles, a beautifully decorated Christmas tree, classical
music is playing. Perfect happiness. The family is gathered
for a cozy dinner. Isabel’s girlfriend, Mary, is at the table
too. Romy is on top of the world. She is dancing. Jacob
enjoys his wife’s mood.
ISABEL
(laughing)
Mom! Stop.
Nora joins her mother and starts to make wild dance moves.
Romy goes out of her way to show Mary a good time. Jacob
quietly observes his cheerful wife and daughter interacting.
Ratings
Scene 32 - Moments of Connection
In the bedroom Romy and Jacob, sit under the bed sheet like
two children. They speak in hushed voices about their
daughter and her girlfriend. The tone is playful and happy.
ROMY
Did you notice how Isabel set the
table, and helped with everything?
She never does that.
White Production Draft (10/31/23) 44.
JACOB
They seem so happy together, it’s
wonderful. And Mary...I think she’s
a great girl.
Romy laughs, Jacob studies her face.
INT. UPSTATE HOUSE KITCHEN- NIGHT
Isabel sits on the kitchen counter by the oven, smoking a
cigarette. She blows smoke into the range hood. Quietly, Romy
walks up to her and sits next to her. Without chastising
her, she takes the cigarette and puts it in her own mouth.
Surprised, Isabel smiles. Romy is able to be more intimate
with her daughter now that something has been unlocked inside
of her. She puts her arm around her.
Ratings
Scene 33 - A Tense Reunion
We follow Romy as she enters the house carrying a fancy
shopping bag. While walking, she takes off her coat in front
of the mirror. She is wearing a revealing new dress, a stark
contrast to her usual work suits. Suddenly she hears Samuel’s
voice. Shocked, she hides behind the open door and listens.
SAMUEL O. S
(about his father)
-he was like working for VIP’s and
political leaders and stuff.
Protecting them. He was a fighter.
Incredibly strong. Incredibly
smart. Later he became a
philosophy teacher. He wrote these
beautiful poems-
When Romy enters the dining room she sees Samuel at the
dining table talking with her family. Tea cups, coffee and
cookies on the table. Jacob is taking in every word Samuel
says. He is inspired by his story. The girls are very charmed
by him. Samuel stops talking when he sees Romy. He holds up
her laptop.
SAMUEL
(enthusiastic)
Hey! You forgot your laptop at the
office! Esme told me to bring it to
you!
Romy hides her panic.
White Production Draft (10/31/23) 45.
SAMUEL (CONT’D)
She said you couldn’t survive a
minute without it.
ROMY
She couldn’t send a messenger?
SAMUEL
(smiling)
I thought- better in person- in
case... Sensitive information... I
took the train.
JACOB
Is that a new dress? You look hot!
ISABEL
Dad! Eeeww-
JACOB
What?
NORA
(to Samuel)
Do you work with the robots?
SAMUEL
No, not directly! I’m only an
intern, so I have to work very hard
to prove myself first!
ISABEL
Do they pay you?
SAMUEL
Yes. Of course. And I work at a
bar.
ISABEL
What bar?
SAMUEL
The Nines.
NORA
I am named after a play.
SAMUEL
What? A play? Which one?
NORA
I’m a dancer. You want to see me
dance the Tarantella?
White Production Draft (10/31/23) 46.
SAMUEL
Yes!
Nora starts to dance.
ROMY
(cold)
We have to go soon.
Quickly, Samuel gets up.
SAMUEL
(blushing)
Oh! I’m so sorry. Yes. Of course!
Embarrassed, he smiles. Jacob puts his hand on his arm.
JACOB
Do you want some more coffee?
Unsure of himself, Samuel looks at Romy. Is he allowed to
stay?
SAMUEL
(to Nora)
You’re a great dancer.
ISABEL
You want to come to come on a hike
with us?
Samuel looks at Romy, who tries to hide her panic.
EXT. UPSTATE FOREST BEHIND THEIR HOUSE-DAY
The family are on a hike. Samuel watches as the children run
up behind Jacob and jump on his back, yelling and laughing.
They play wrestle – Samuel reaches out his hand to join in.
From in the distance Romy, looks down at them all having a
good time.
Ratings
Scene 34 - Boundaries and Confusion
AFTERNOON
The car is parked. Romy and Samuel sit in silence.
SAMUEL
They’re so nice- You’re family-
That’s what I want, for myself.
Later.
White Production Draft (10/31/23) 47.
Romy turns towards him. Her eyes are dark.
ROMY
Don’t ever show up like that again.
SAMUEL
What? I was just- doing my job.
ROMY
(calm but threatening)
My family is everything to me.
Don’t you ever do that again.
SAMUEL
What are you talking about?
Hurt, he wants to get out of the car but the door is locked.
He tries again. She doesn't open it.
SAMUEL (CONT’D)
Let me out!
ROMY SAMUEL (CONT’D)
Listen. Jesus Christ. Open the door.
ROMY (CONT’D)
Wait.
Realizing she has to manage the situation, she tries to calm
him down. She touches his arm. Even though he is angry and
hurt, her touch relaxes him.
ROMY (CONT’D)
I’m sorry. Lets calm down and talk
for a moment. I was just- I didn't
expect you to show up at my house!
She puts his hand on his leg. She looks at him with soft
eyes.
ROMY (CONT’D)
I don’t think- We can see each
other outside of work anymore-
SAMUEL
(with controlled anger)
Take your hand of my leg.
Quickly she takes it away.
ROMY
Sorry.
A beat. They both think about it. He turns towards her.
White Production Draft (10/31/23) 48.
SAMUEL
Romy, I don't want a girlfriend, if
that’s what you’re afraid off. You
look like a... mother. I’m not-
I’m not interested in that.
She looks at him. He tries to explain how he sees it:
SAMUEL (CONT’D)
I thought what we were doing- It’s
like- In my mind- We’re like--two
children. Playing. It’s natural.
ROMY
(quickly)
You’re not a child.
SAMUEL
Whatever.
He tries to open the door.
SAMUEL (CONT’D)
(calm)
Unlock the car. Unlock the car! Or
do you want to keep me here?
She doesn’t open the door. He raises his voice.
SAMUEL (CONT’D)
(aggressive)
Unlock the fucking car!!
(emotional)
Why are you making me like this? I
don’t want to feel like this!
Worried, she grabs his arm.
ROMY
Hey!! Listen! This stops here,
whatever this is. I’m sorry if it
is confusing for you. It’s
confusing for me too- for the both
of us.
She looks at his face, his skin.
ROMY (CONT’D)
You’re very... young.
SAMUEL
No- I’m not-
White Production Draft (10/31/23) 49.
ROMY
You are-
(she pauses)
I’m not going to...fire you but we
have to keep it- professional.
SAMUEL
What the fuck does that mean?
ROMY
I’m just trying to take care of you
here.
SAMUEL
You’re taking care of me?
(he shakes his head)
No.
They lock eyes. They know they are in dangerous territory.
She unlocks the car. He gets out. She looks at him walking
away. She drives off.
Ratings
Scene 35 - Tension in the Office
Overhead shot of a fully automated warehouse. Robots are
moving faster and faster, picking and placing products in
endless amounts of boxes and containers while business radio
is playing louder and louder.
INT. ROMY AND JACOB'S APARTMENT- BATHROOM DAY
Business news continues to play. Close on Romy’s face as she
looks at herself in the mirror. She closes her eyes.
INT. OFFICE BUILDING HALLWAY/ ROMY’S OFFICE- DAY
Romy walks towards her office. Through the glass walls, she
sees Samuel talking to Mr. Missel in her office. Nervous, she
watches them.
INT. OFFICE BUILDING ROMY’S OFFICE-DAY
Romy walks in, Samuel smiles politely at her.
SAMUEL
(to Mr. Missel)
Thank you so much!
White Production Draft (10/31/23) 50.
Samuel leaves. Frightened that Samuel spoke to Mr. Missel
about her, she smiles.
ROMY
You were looking for me?
MR. MISSEL
Look at this!
Amused, he shows her the coffee Samuel brought him.
MR. MISSEL (CONT’D)
I didn’t even ask for it! Very
bright kid!
Romy sits down. He looks at her, she forces a smile on her
face.
MR. MISSEL (CONT’D)
I wanted to talk to you about the
tapes Hazel sent over- it’s ok to
relax a little. You don’t need to
be scared of their questions.
ROMY
(submissive)
Yes, yes, I was a little tense I
get that-
Romy gets a text. “ROOF”.
MR MISSEL
(fatherly, warm)
No need, no need, you’ve done it a
million times before-
ROMY
(looking at her phone)
Excuse me- Sebastian-I’m going to
have to take this.
Quickly, she gets up.
Ratings
Scene 36 - Descent into Panic
High up, on top of the building, Romy finds Samuel. Smoking a
cigaret, he looks out over the city. It’s snowing. Cautious,
she walks towards him.
ROMY
What’s going on? Are you ok?
Samuel is quiet for a moment. He inhales.
White Production Draft (10/31/23) 51.
SAMUEL
Yeah I’m fine- I just eh- I don’t
feel comfortable working for you
anymore.
Worried, Romy stares at him.
SAMUEL (CONT’D)
I’m going to talk to someone and
ask to be transferred to a
different department.
ROMY
(hiding her panic)
You can’t do that- They will ask
questions. They will investigate.
You can’t- You can’t do that- They
could- fire me.
SAMUEL
I thought this was your company.
ROMY
That doesn’t matter.
He takes a step towards her. He tries to suppress his
emotions, his fear, tries to ignore her vulnerable eyes. He
swallows.
SAMUEL
It’s for the best. For both of us.
He walks away. Romy panics.
ROMY
(terrified)
Wait! Samuel! Wait! Wait!
He is gone. For a brief moment Romy looks at the edge of the
roof as if it invites her to come closer.
Ratings
Scene 37 - Emotional Disconnect
In bed, Romy is glued her phone, waiting for Samuel to call
or text. Sensing her distance, Jacob tries to initiate sex.
He wants to comfort and kiss her, to make love to her.
JACOB
You want to play a little bit?
ROMY
(lying)
Yeah-
White Production Draft (10/31/23) 52.
She tries to open up to him, smile, kiss him back, but she
can’t. His touch, his scent, his breath, make her angry.
Aggressively, she rejects him. When he doesn't back off, she
pushes him away. Hard. Hurt, he looks at her.
JACOB
(startled)
Why did you do that?
She studies his face, a flood of mixed emotions. Frustration
builds up inside her.
ROMY
(quietly, emotional)
I’ve never had an orgasm with you-
JACOB
What?
He reaches for her arm.
ROMY
(hisses)
Don’t fucking touch me-
She turns her back to him, tears in her eyes.
ROMY (CONT’D)
I can’t- I can’t come with you.
JACOB
Are you alright? Hey-
ROMY
No-
She gets out of bed, grabs her phone, and walks out.
Ratings
Scene 38 - A Night of Rejection
In the middle of the night she walks through the dark streets
of the city. She is wearing Ugg boots. A coat over her
nightgown.
INT. THE NINES BAR- NIGHT.
Cautiously, Romy walks in. Samuel is working behind the quiet
bar. He looks like a prince in his tuxedo. Enthusiastically,
he is telling two beautiful older women a story. Surprised to
see Romy he looks up. When she tries to greet him, he ignores
her. He whispers something in his COLLEAGUE’S(JOSH, 24) ear.
Josh walks up to her.
White Production Draft (10/31/23) 53.
JOSH
(whispers)
I think it’s time to leave-
ROMY
(whispers back)
Leave? Why? I need to talk to him.
JOSH
I’m sorry- but he says you need to
leave-
ROMY
(humiliated)
He said that?
JOSH
Yes... Right now.
She looks at Samuel who looks away. Elegantly, Josh helps her
up. He escorts Romy to the door. Before she exits, Samuel
looks at her.
Ratings
Scene 39 - Unspoken Tensions
In the early morning, Romy and Jacob stand in the kitchen. A
tense silence between them. Jacob is on his way out but
lingers.
JACOB
Did you order the headphones for
Isabel’s birthday?
She nods. She stares at the gifts. He is waiting for her to
start talking. She doesn’t.
JACOB (CONT’D)
(with controlled
frustration)
Did you- Did you mean what you
said? About never-
ROMY
(emotional)
I was just taking it out on you- Of
course I didn't mean it. That would
be- Nineteen years of- I mean; no,
I was angry. I was stressed. Of
course I didn't mean it- I am
sorry.
White Production Draft (10/31/23) 54.
JACOB
(vulnerable)
I- I’ve never- Normally, you know-
Women- you know, they-
ROMY
I’m not normal. I’m not other
women! Look at me. I’m not normal.
She wants him to comfort her. He stares at her.
JACOB
(to hurt her)
No. You’re not.
He walks out.
Ratings
Scene 40 - Tension in the Basement
Romy sits at the small table. Her hair is messy. Her palms
are sweaty. Anxious, she stares at the door. Her heart is
beating too fast. She lays her hand on her chest to calm
herself down. After a while, Samuel enters. Quickly, she gets
up.
ROMY
Hi-
SAMUEL
I have 7 minutes.
ROMY
Thank you for coming.
He leans against a wall. He remains silent. Her mind is
racing.
ROMY (CONT’D)
(worried)
Did you talk to them already?
He doesn’t respond. She tries to sound calm. In charge.
ROMY (CONT’D)
Ok. So. What can we do to- solve
this? To make you feel better?
SAMUEL
You’re sweating.
Embarrassed, she touches her forehead.
White Production Draft (10/31/23) 55.
ROMY
Sorry.
A long beat. He thinks.
SAMUEL
(genuine)
Do you want to lose everything?
ROMY
What?
SAMUEL
You give that impression.
ROMY
What do you mean?
SAMUEL
The way you look at me.
As if you’re expecting me to- do
that. To take it all away.
She shakes her head.
ROMY
No.
SAMUEL
Until you have nothing? Until you
are nothing?
SAMUEL (CONT’D)
Are you using me to do that?
ROMY
(convincing herself)
No, of course not.
SAMUEL
That scares the shit out of me.
ROMY
(firm)
No- I’m not doing that. I promise.
I’m not.
(speaking slowly to
convince him)
I just think cause you’re young and
I’m older than you-
(searching for the right
words)
I want to be protective. I don’t
want to hurt you-
White Production Draft (10/31/23) 56.
SAMUEL
You keep saying that- but- I’m
fine. I’m totally fine. I think
you’re the one who’s hurting.
A beat. His words touch her. She feels seen. He shifts his
tone. Her vulnerability softens his heart. He goes to sit
down.
SAMUEL (CONT’D)
(reassuring)
Listen- You don’t have to worry
about it. What we do is- If we
continue to do this-
(fatherly, explaining)
It’s totally normal. I mean... - as
long as it’s... you know-
consensual-
ROMY
(cold)
What does that mean?
SAMUEL
It’s about giving and taking power,
no?
ROMY
(sarcastic)
Come on- What did you do? Go to the
library, looked it up?
SAMUEL
No! I’m just saying- It has nothing
to do with your- family or the
company- It’s between us.
ROMY
I’m sorry. I didn’t mean to- I’m
just nervous.
SAMUEL
You’re nervous? Yeah you look
nervous. You’re all.. You’re acting
all...
He imitates her nervous gestures.
SAMUEL (CONT’D)
(genuine)
Why are you nervous? Why are you so
nervous?
She shrugs, a faint smile in her eyes.
White Production Draft (10/31/23) 57.
SAMUEL (CONT’D)
Just to be safe- If we continue to
do this- We need to set some rules-
that you and I both agree on. Like;
I don’t know....
(as if he is making it up
as he goes)
...starting with: I tell you what
to do and- you do it.
He smiles, aware of how that sounds.
ROMY
Oh, come on... Jesus Christ!
Samuel gets up to leave.
SAMUEL
(rejected)
See! This is what I mean- this is
what I’m talking about-
He walks to the door. Worried, Romy tries to stop him from
leaving.
ROMY
I’m sorry, I’m so sorry, No, no,
no, wait come on- Sit down. I’m
sorry- Sit down.
He hesitates.
ROMY (CONT’D)
Please?
He sits back down again. They look at each other. Silence.
Tension builds. He is waiting for her to speak.
SAMUEL
You have to be the one to say it.
That’s how this works.
ROMY
How what works? I don’t-
SAMUEL
This! The dynamic. It’s about
trust!
ROMY
(half smiling)
I thought you said it had to be
consensual.
White Production Draft (10/31/23) 58.
He can’t help but laugh.
SAMUEL
Yes, that’s what consent is Romy!
That’s what it is. You have to
agree to it. Both parties have to
agree to it.
ROMY
And if I don’t?
SAMUEL
Then I will have to go talk to
someone-
ROMY
No, don’t do that. Please?
They look at each other.
SAMUEL
(genuine)
Come on. Just admit that this is
what you want. Be honest.
She exhales, nervous. He studies her.
SAMUEL (CONT’D)
You don’t look comfortable. You
don’t look comfortable at all-
(he pauses)
Why don’t you sit over there?
He points to the table.
SAMUEL (CONT’D)
Sit on the edge, right there-
She stares at him. Slowly, she gets up and walks over to the
edge of the table. She sits down and looks at him unsure of
what he expects her to do. He gets up and pretends to move to
the door.
SAMUEL (CONT’D)
Ok, you need to say it out loud,
otherwise I’m gonna have to go talk
to someone and ask to be
transferred-
ROMY SAMUEL (CONT’D)
No, wait wait- I’ll go talk to them-
White Production Draft (10/31/23) 59.
ROMY (CONT’D)
(as if asking for a line)
What are the words?
SAMUEL
(smiling at her childlike
behavior)
You know the words.
ROMY
I don’t- I- don’t.
SAMUEL
(a little exasperated)
You do. Just say it.
ROMY
Ok, ok--I’ll say it.
He steps towards her, places his hand on her thigh. She
inhales deeply. He whispers into her ear:
SAMUEL
I need to hear you say...
He slides his hand under her skirt. She can’t help but moan.
SAMUEL (CONT’D)
You can do it.
ROMY
(whispering)
What do you want me to say?
SAMUEL
(slowly)
I... will... do...
ROMY
I will do-
She feels his fingers between her legs.
SAMUEL
Whatever you tell me to do.
ROMY
Whatever you tell me to do.
His scent makes her brain melt. She starts to breath heavily.
ROMY (CONT’D)
I will do whatever you tell me to
do.
White Production Draft (10/31/23) 60.
SAMUEL
Say it again.
She looks up at him like a child.
ROMY
I will do whatever you tell me to
do.
SAMUEL
Good.
Quickly, he pulls his hand out from her skirt, and walks out
the room. Leaving her on edge. Her eyes go dark. She is
panting.
Ratings
Scene 41 - Intimate Vulnerability
The presidential suite. A long hallway with doors leading to
the many different beautiful, luxurious rooms. Romy stands in
front of a golden mirror and checks her reflection. A knock
on the door. She starts walking towards it.
INT. LUXURIOUS HOTEL- SUITE- DAY
1. Nervous, Romy opens the door. They both smile. He walks
past her.
SAMUEL
(childlike)
Hey! There’s a whole living room in
here!
2. Cut to: Silence. Totally different atmosphere. Romy sits
on a sofa in the living room. He sits opposite her. She wants
to get up and kiss him.
SAMUEL (CONT’D)
Stay.
She sits down. He stares at her.
ROMY
Don’t stare at me.
SAMUEL
Why?
White Production Draft (10/31/23) 61.
ROMY
I don’t like to be looked at.
SAMUEL
Ok.
(he looks away)
I understand that.
(a beat)
Go make yourself a drink.
ROMY
I don’t- (drink).
She stops herself. Gets up, and takes one of the small
bottles of liquor. She sits down again. She takes a small
sip.
SAMUEL
All of it.
ROMY
No.
SAMUEL
(smiling)
Don’t say no.
She drinks.
SAMUEL (CONT’D)
Take your panties off.
She looks at her hands.
ROMY
You take them off.
SAMUEL
(calmly smiling)
Don’t tell me what to do.
She takes them off.
SAMUEL (CONT’D)
Open your legs.
She does. A tiny bit. He looks at her.
SAMUEL (CONT’D)
How does that make you feel?
ROMY
Scared.
White Production Draft (10/31/23) 62.
SAMUEL
Ok.
(he pauses)
You want to take your dress off for
me now? So I can see you?
She shakes her head.
SAMUEL (CONT’D)
But you’re going to do it anyway?
She pauses, thinks about it for a moment and nods.
SAMUEL (CONT’D)
-can’t hear you-
ROMY
Yes.
SAMUEL
Yes what?
ROMY
Yes, I will take my dress off.
SAMUEL
Ok.
She gets up. She turns around and starts to unzip the dress.
When it falls to the floor, she takes her bra off, still with
her back to him. Slowly, unsure of herself, she turns towards
him. With her hands she tries to cover herself. He studies
her body, taking his time to admire it. She blushes.
SAMUEL (CONT’D)
You’re beautiful.
Embarrassed, she looks away. Standing in front of him like
this makes her feel small. She can’t help but get emotional.
ROMY
(soft)
No...
SAMUEL
(gentle)
You are.
She shakes her head. Tears in her eyes. All she feels is self
hate. He gets up and gently kisses her, still fully clothed.
She is completely naked, vulnerable. He takes her in his
strong arms. She relaxes.
White Production Draft (10/31/23) 63.
SAMUEL (CONT’D)
You’re so beautiful.
She breathes out.
SAMUEL (CONT’D)
(whispering, almost
inaudible in her ear)
You’re my babygirl.
Slowly, he guides her down to her knees. She looks up.
SAMUEL (CONT’D)
Go ahead.
She unbuckles his belt. Father Figure by George Michael
starts to play.
CUT TO:
3. While we continue to hear Father Figure over the rest of
the scene, Samuel, a whiskey in his hand, dances shirtless.
Across the room, Romy sits in an arm chair watching him, legs
crossed in front of her, dressed in a white robe. He dances
for her.
4. Cut to: Close on Romy’s lips. He sticks his fingers in her
mouth. She sucks on them. He moves them in and out of her
mouth. They kiss.
5. He dances, she touches his chest. He takes her hand and
pulls her close. They slow dance together.
6. Cut to: They sit in the window, very close.
SAMUEL (CONT’D)
What’s the safe word?
ROMY
What?
SAMUEL
Don’t we need a safe word?
She nods.
ROMY
(shy)
Eh- Jacob?
SAMUEL
(smiling)
You’re husbands name?
White Production Draft (10/31/23) 64.
She nods.
SAMUEL (CONT’D)
(kind)
Ok.
Cut to:
7. They sit on chairs next to each other. A tray filled with
cakes and tea between them. He takes a jug of milk and pours
some of it into a saucer. He puts it on the floor, between
his legs. Patiently, he waits for her to understand what she
is supposed to do. She gets down on her hands and knees and
crawls to the saucer. When she starts to drink from the milk
like a kitten, he gently pulls her hair back. When the saucer
is empty, she looks at him, milk dripping off her chin. He
kisses her cheeks, her lips. Licks the milk off of her face
and lips. They kiss.
8. He carries her in his arms like a baby and moves to the
music (still Father Figure).
9. Samuel’s hand around Romy’s throat. He dances with her
from behind. As he squeezes her neck, she leans back into his
body.
10. In the bedroom they have sex. Romy straddles Samuel as
they make love. Father Figure ends.
11. They lay under the white sheets, in bed, happily
exhausted. Their faces very close together, they look into
each others eyes and whisper.
SAMUEL (CONT’D)
Can you do your therapy on me?
ROMY
(laughing)
No.
SAMUEL
Cause you’re afraid of what might
come out of me?
ROMY
No, because I’m not a therapist.
SAMUEL
(genuine question)
Do you think I’m a - bad...person?
White Production Draft (10/31/23) 65.
ROMY
No. You’re a lovely person. You
sense things- You know things- what
people want- what they need-
SAMUEL
I scare myself. Sometimes.
She moves closer to him.
ROMY
You don’t scare me.
She thinks for a moment.
ROMY (CONT’D)
What star sign are you?
He laughs.
SAMUEL
I don’t believe in that shit.
(a beat, he looks into her
eyes, and then
vulnerable:)
Can you hold me?
She does.
Ratings
Scene 42 - A Birthday Celebration with Hidden Tensions
Overhead shot of Nora spinning in her red dress. Loud music
is playing. She is dancing the tarantella. Nora dances
wildly. Beautiful. Animalistic. Out of control. Romy sits on
the sofa and stares at her daughter.
INT. EMDR CLINIC/ UNDEFINED SPACE
Romy with headphones and wrist bands on. Her eyes move from
left to right, following the light bar. The therapist counts
out loud. Flashback to Romy’s childhood: kids covered in
paint are dancing, screaming-
CUT TO:
INT. ROMY AND JACOB'S APARTMENT- LIVING ROOM- DAY
Teenagers dancing just as wild as Romy did when she was a
child. Isabel is turning 16.
White Production Draft (10/31/23) 66.
Isabel’s friends are having fun, among them, Mary. Romy
watches them. When the doorbell rings, Romy rushes to the
door. She opens the door and is shocked to see Samuel and
Esme smiling at her. Esme has a big present in her hands.
ESME
Hi!
SAMUEL
Hi!
ROMY
(smiling)
Come in!
Hiding her panic, Romy guides them to the living room.
ESME
(quiet in her ear, re
Samuel)
You don’t mind, do you?
ROMY
(smiling)
No, of course not.
Esme and Samuel greet Isabel.
INT. ROMY AND JACOBS APARTMENT LIVING ROOM-DAY
Worried, Romy observes Samuel who is talking to Jacob. Esme
is dancing with Isabel and Mary. She takes out her phone and
types. She watches Samuel take out his phone.
Ratings
Scene 43 - Tension in the Kitchen
Romy is doing the dishes. Samuel enters.
ROMY
(whispers)
What are you doing?
SAMUEL
What do you mean?
ROMY
Why are you here?
(she tries to understand)
With her?
SAMUEL
We see each other.
White Production Draft (10/31/23) 67.
ROMY
What does that mean?
SAMUEL
What did you want me to say to her?
‘No I can’t come with you because-’
ROMY
Are you dating her?
SAMUEL
Isn’t that man in the living room
your husband?
Romy takes a step towards him. With her forehead she touches
his, as if she’s going to head-butt him. It’s intimidating.
He pushes back.
ROMY
(whispers)
I don’t want you to see other
women. You’re mine-
Fueled by jealousy she can’t control herself. Suddenly, they
hear someone coming. When Esme appears in the doorway, Romy
drops a glass. Samuel immediately kneels and starts to pick
up the shards. Uneasy, Esme stares at them.
ESME
Everything ok?
SAMUEL
I was just asking if I could help
with anything...
ROMY
(to Samuel)
Yes!
(gesturing to the broken
glass)
Please, can you clean that up?
Esme isn’t sure what is going on. She forces a smile on her
face.
ESME
It’s a lovely party.
Ratings
Scene 44 - Tensions of Friendship
Romy stands at the window, she looks down on the city. Esme
knocks on the door.
White Production Draft (10/31/23) 68.
ROMY
Come in.
ESME
You wanted to see me?
ROMY
Yes! Hi! Sit down.
Romy’s eyes are soft, her tone friendly.
ROMY (CONT’D)
How are you?
ESME
Well. Thank you. You?
ROMY
How is Samuel?
ESME
(shy)
What? I thought we were going to
talk about-
ROMY
(friendly)
I just wanted to make sure
everything is ok, since we’re
supposed to discuss your future
soon-
ESME
Yes. I know. I mean, that’s what I-
Romy lowers her voice.
ROMY
You have to be careful, Esme, he’s
an intern.
Romy stops herself. With big eyes, Esme looks at her.
ROMY (CONT’D)
I don’t want to sound dramatic, but
you’re in a position of power over
him.
Esme stares at Romy, with a mixture of suspicion and worry.
White Production Draft (10/31/23) 69.
ESME
(trying to find the right
words)
Oh- Ehh- we’ve just been hanging
out-
(fast)
As friends. We’re not-
ROMY
You can tell me anything. You know
that, right?
ESME
I didn’t think it would be a big
deal to bring him- but you’re
right. I am so sorry-
ROMY
I just want to protect you.
Romy’s phone buzzes. Close on the screen: It’s Samuel. Like a
junky she grabs the phone.
ROMY (CONT’D)
Sorry, one moment-
Quickly, Romy walks out.
SAMUEL
(on the phone)
I want to see you tonight
Loud House music starts playing.
Ratings
Scene 45 - Balancing Act
Romy looks out of the window while the car drives out of the
city. She watches the Christmas decorations transition into
the highway. As the car drives through a deserted area, Romy
speaks to Jacob on the phone. The house music continues to
play. The lyrics of the song seem to be in dialogue with
Romy’s voice.
ROMY
I have to stay late tonight...don’t
Wait up...
Yeah I know- Sorry- Don’t wait
for me... Oh and don’t forget
Isabel has soccer tomorrow early
morning- And Nora has dance- Yeah,
I’ll wake her up... OK... I’ll just
sneak in... Love you.
White Production Draft (10/31/23) 70.
Ratings
Scene 46 - Rave Awakening
The Uber drops Romy in the abandoned parking lot. Hesitant
she gets out of the car.The music is loud and fast. Young
people are smoking cigarettes outside. A boy stares at her.
For a moment, Romy wants to turn around but the car is gone.
She decides to go inside.
INT. WAREHOUSE RAVE - NIGHT
Romy walks through an L shaped tunnel. She passes some young
people laughing. She enters a very narrow dark stone
corridor. A young man on drugs sticks his tongue out. Trying
to find her way to the dance floor. She looks around. Some
people are trying to dance with her. The average age is 23.
She feels completely out of place in every way. Most of the
ravers are shirtless. They move aggressively and violently to
the music. Romy is forced to move with them. The sensation of
warm, sticky bodies against hers and the dancing reminds her
of her childhood. Frightened to fall down and get stepped on,
she tries to hold on to sweaty arms and slippery shoulders.
People try to dance with her but she pushes them away. All
she wants is to find Samuel.
When she finally sees him, he is wildly dancing. His hand on
the skull of the boy he is dancing with and the boy’s hand on
his, a beautiful young girl is dancing close by. When he
notices Romy, he smiles enthusiastically and waves. Romy
tries to get closer to him, but she isn’t able to move, she
is wedged between bodies. Samuel is very close to the
beautiful girl now. Gasping for air, Romy suppresses a panic
attack. Samuel is shouting things at her, but she can’t hear
him, she is drowning in young flesh. Suddenly, two hands grab
her and hold her head up, like a rescue swimmer. The hands
belong to a tall muscular woman, she presses Romy’s body
against hers. Leaning into her, Romy dares to relax a little.
The woman kisses her, Romy kisses her back for a brief
moment. Someone lets her drink from a bottle of water. Slowly
they start to dance. Others join. Faster and faster they
move. Samuel makes his way to the group and joins them.
Samuel’s wet, naked upper body is pushed against Romy’s.
Happy, Romy wraps her arms around him. The weird, staccato
movements of the Gabber dance, make Romy laugh. Someone tries
to take Romy’s jacket off, she lets it happen. Samuel is
close to her. Surprised by her risky behavior in public, he
observes her. The bodies that seemed to want to crush her
moments before, now give her comfort and a sense of
belonging. As long as she is with him, glued to him, she can
breath. She dances as if her life depends on it. Only for
him, she is wild and free. Suddenly he grabs her hand and
starts to make his way out of the crowd.
White Production Draft (10/31/23) 71.
Ratings
Scene 47 - Whispers in the Dark
Samuel drags Romy through a labyrinth of hallways. He has her
hand firmly in his, she almost trips. Both their pupils are
big.
INT. WAREHOUSE SMALL ABANDONED ROOM - NIGHT
He leads her into a small worn out space. He sits on the
floor and pulls her down too. We hear the house music in the
distance. He lights a joint.
SAMUEL
You know that a cuckoo bird lays
eggs in the nest of other birds?
ROMY
(laughing)
What?
SAMUEL
The cuckoo chicks basically grow up
in the wrong nest and create chaos-
ROMY
You’re not a bird.
SAMUEL
(laughing)
I am.
He looks at her. She brings her face close to his. She
whispers in his ear.
ROMY
(shy, about Esme)
Do you do with her- what you do
with me?
SAMUEL
(genuine, sweet)
She’s not like that Romy. That’s
why I like her in a different way.
That’s why I like myself in a
different way, with her.
Her heart hurts. Her eyes tear up. He touches her forehead
with his. He kisses her softly, tenderly. She smiles.
White Production Draft (10/31/23) 72.
Ratings
Scene 48 - Late Night Concerns
As quiet as she can, Romy walks into the dark living room,
her hair a mess. Startled, Romy stares at Isabel, who sits on
the sofa. Romy looks like a creature from the wild.
ROMY
Oh! You’re still up.
Romy goes and sits down next to Isabel.
ISABEL
(warm)
I’m worried about you-
ROMY
I- am fine. I was very busy- the
past months. It’s done. We
accomplished a lot.
ISABEL
Are you ok?
ROMY
Yes. Are you okay? How is Mary?
ISABEL
(shyly)
She’s good.
Isabel tears up.
ROMY
Bedtime?
Isabel nods.
Ratings
Scene 49 - Morning Mayhem
Trying to hide her anxiety, Romy is making pancakes for
breakfast. Classical music playing. Everyone is rushing to
get out of the door on time. Nora in a raincoat and her dance
costume, Isabel, wearing a soccer outfit, keeps a close eye
on her mother, who is trying to keep it together. A knock at
the door, everyone looks up. Romy rushes to answer, but Jacob
is already there.
JACOB
Yes?
ROMY
Who is it?
White Production Draft (10/31/23) 73.
JACOB
Esme.
Esme enters, soaking wet from the rain. She stares at the
perfect family, who stares back at her. Jacob starts to push
the kids toward the door, while putting on his rain coat.
Ratings
Scene 50 - Confrontation in the Rain
Alone, Esme hugs Romy. Long. In her wet coat, Esme sits on
the white, expensive sofa. She looks at the photos on the
wall of Romy and Jacob with famous actors and political
figures. Nervous, Romy stares at her.
ESME
I genuinely thought women with
power would behave differently than
men with power.
ROMY
What makes you say that?
ESME
I tried to speak to you so many
times about my future at the
company.
ROMY
I know. I’m sorry. We can discuss
it now. We all went through- a hard
time, but it paid off. You were
part of that, Esme. Part of the
team who made it happen.
ESME
I don’t want you to make any
promises because you’re afraid of
me.
Confused Romy tries to understand what Esme is trying to say.
ROMY
(genuine)
I’m not afraid of you.
ESME
I know what’s going on between you
and Samuel.
Romy freezes.
White Production Draft (10/31/23) 74.
ESME (CONT’D)
I only want what I deserve, not
what is given to me, to silence me.
That’s how it might have worked
when you were young, but luckily,
those days are behind us now.
ROMY
I don’t know what you’re talking
about.
ESME
You will never see Samuel again.
You will be a good leader and you
will create more opportunities for
women within the company, and be a
good example and role model to us
all.
The two woman look at each other. Romy realizes that Esme
might ruin her life and for a brief moment, that thought
seems strangely liberating.
ROMY
You’re confusing ambition with
morality, those are very different
things.
ESME
I have no interest in taking you
down. You are one of the few women
who made it to the top, my interest
is to keep you there. But not like
you are now... As a version of you
that I can look up to and respect.
Tears in Romy’s eyes. Ashamed, she nods her head. Esme
leaves.
Ratings
Scene 51 - Shattered Trust
Later- Romy sits on the sofa in the living room, waiting.
Jacob walks in. She doesn’t dare to look at him. She takes a
sip of water.
JACOB
What’s going on? Are you ok?
Anxious, with his coat still on, he sits down.
ROMY
I need to -
White Production Draft (10/31/23) 75.
JACOB
Ok.
A long beat. Her confession comes from very deep within.
ROMY
I- Since I was very little, since I
can remember even, I’ve always had
these specific thoughts-
JACOB
What thoughts?
ROMY
Dark, dark thoughts-
She tries to find the right way to say it.
ROMY (CONT’D)
Thoughts of -- violence. Revolting
thoughts. Embarrassing.
(she has a hard time
saying the words out
loud)
Of being -forced and hurt, and
humiliated-
Worried where she is going, Jacob looks at her.
ROMY (CONT’D)
I was so ashamed- I still am. I
have no idea where they come from,
who planted them in my brain. I
would give anything to erase them,
to delete them-
She forces herself to look at Jacob.
ROMY (CONT’D)
I see myself as a strong, smart
woman, who is...in control of
things, who knows what she’s doing-
Who is loving and caring and
responsible, and who wants to work
on herself. Not some kind of
embarrassing-- masochist, or
ignorant... weak anti feminist who-
JACOB
What are you trying to say? I don’t
understand.
White Production Draft (10/31/23) 76.
ROMY
I thought it was all connected to
my childhood- So I tried to work
through that. Every form of therapy-
You know that. But it didn’t help.
It doesn’t help. I was born with
it.
JACOB
What do you mean?
ROMY
And I asked , my first -real
boyfriend, Justin, if he could-
you know- treat me that way, do
something to me- but it disgusted
him- he said. He thought it was
cliche- Which it is!
(she pauses, looks at him)
And with us-
She stops herself. They stare at each other for a beat.
ROMY (CONT’D)
(vulnerable)
I sometimes- tried to- But you
never seem to be... into it.
JACOB
Into what exactly?
She can’t explain.
ROMY
(from deep within)
I just want to be normal. I want to
be normal- I want to be what you
like. I want to be the woman you
like-
JACOB
(kind)
I’m sorry, Romy, I don’t know what
you mean- could you...be a little
more specific-
ROMY
What I’m saying is: I’ve never
experienced any of them. Any of the-
fantasies. In real life, until-
She holds her breath. He holds his.
White Production Draft (10/31/23) 77.
ROMY (CONT’D)
I met-
She summons her courage.
JACOB
Until you met- ?
She stops talking, she freezes. His eyes go dark.
JACOB (CONT’D)
(slow and controlled)
Who? Who did you meet?
She can’t say it.
ROMY
(whispers)
Ehh- I-
JACOB
Jesus. What happened?
She opens her mouth. Nothing comes out. She can’t bring
herself to say his name. He speaks quietly.
JACOB (CONT’D)
What? Say something! Jesus Christ!
Do I know him?
(he feels sick)
Is it- is it Sebastian?
ROMY
What? No. No!
JACOB ROMY (CONT’D)
Who? No-
JACOB (CONT’D)
What did you do? What?
ROMY
No- it- It was a man- A stranger-
JACOB
A stranger?
Romy flushes red.
ROMY
Somehow- he knew. He sensed-
JACOB
What?
White Production Draft (10/31/23) 78.
ROMY
He knew.
JACOB
What? He knew fucking what?
ROMY
How to be- fearless- around me- or-
I mean-
(trying to find words that
wont hurt)
And I couldn’t resist that.
He tries to stay calm.
JACOB
How many times?
ROMY
Once. Only once.
JACOB
Who is this guy? Are you in love
with him?
ROMY
It was as if some sort of animal
woke up inside me.
He stares at her.
ROMY (CONT’D)
(trying to explain
honestly)
For me it’s not about a safe space
and a safe word and consent and
“the kink”- I hate that word.
JACOB
(horrified but calm)
Tell me what happened. Just tell
me.
She thinks. She wants to confess her deepest secrets.
ROMY
(genuine)
It has to be- There has to be a
form of actual danger- Something
needs to be at stake. For real.
(she looks at him)
I know, it’s gross, it’s obscene-
It’s a monster- that will destroy-
anything to get-
White Production Draft (10/31/23) 79.
JACOB ROMY (CONT’D)
(trying to understand) (firm)
So? What did you do? What did It’s over now. It was like an
he do to you? exorcism, and it’s done. It’s
out of my system. It happened
once.
ROMY (CONT’D)
(decisive)
I don’t need it anymore. It’s done.
A beat. He looks out of the window, trying to process what is
happening. Anxious, she continues:
ROMY (CONT’D)
My childhood didn't help. The
radical beliefs of my parents. The
communes- the lack of boundaries-
JACOB
(controlled aggression)
Oh! You see yourself as a victim?
Your blaming this on your
childhood?
ROMY
No. Of course not. It’s not that-,
It’s not an excuse. I was born with
it.
He is breathing loudly.
ROMY (CONT’D)
(slowly and decisive)
I will never see him again. It
happened once. I don’t even know
his name.
JACOB ROMY (CONT’D)
(calm) It has nothing to do with us.
I want you to leave. Now. With the -real- me. With our
family. I love you! Please-
I’m over it. It’s out of me,
out of my system.
JACOB (CONT’D) ROMY (CONT’D)
What are you saying? I love you. Only you. Please.
JACOB (CONT’D)
(emotional)
It has everything to do with you!
There is no excuse for this! Not
your mom, not your childhood! You
fucking lied to me! To us!
(MORE)
White Production Draft (10/31/23) 80.
JACOB (CONT’D)
Something needs to be at stake?? I
don’t give a shit about your
pathetic, banal sexual fantasies.
It’s not about that! You
jeopardized the most important
thing... your children! You make me
sick. Get the fuck out of my house!
Now.
Jacob storms out. Ashamed, Romy stays behind.
Ratings
Scene 52 - Unexpected Encounter
From above we see Romy’s car make it’s way to their upstate
house.
EXT. UPSTATE HOUSE- NIGHT
A slow push in on the exterior of the house. Lights behind
the windows.
INT. UPSTATE HOUSE LIVING ROOM NIGHT
In the living room, Romy sits in the dark with her coat on,
next to the Christmas tree. She is smokes cigarette.
INT. UPSTATE HOUSE BEDROOM- NIGHT
Later: Romy sleeps in bed. She wears a nightgown over her
underwear. A sound wakes her up. Frightened, she gets up and
walks to the window. To her surprise she sees Samuel swimming
in the pool. Steam is rising off of the heated water.
Ratings
Scene 53 - Drowning in Desire
She walks up to the pool. Samuel keeps swimming.
ROMY
You have to leave. You have to go!
He reaches out his hand, as if he wants her to help him out
of the pool, but he pulls her towards him and drags her into
the water. For a moment it almost seems as if he wants to
drown her. Then he folds his body around hers. Gently he
kisses her.
SAMUEL
I could drown you, right here. No
one would know it was me.
White Production Draft (10/31/23) 81.
ROMY
You should.
They kiss.
Ratings
Scene 54 - Confrontation and Compassion
At the fireplace Samuel and Romy sit wrapped in thick
blankets, opposite each other. With her finger she moves back
and forward in front of his face (her version of EMDR). He
follows her finger with his eyes. He smiles.
ROMY
5,4,3,2,1...
He closes his eyes.
ROMY (CONT’D)
How does it feel? What do you see?
He doesn’t answer. His cheeks turn red. His eyes twitch.
ROMY (CONT’D)
What does it smell like?
He starts to breathe heavy. A tear rolls down his face. He
looks like he is in pain. Romy takes his face in her hands.
ROMY (CONT’D)
(soft)
Hey, come back to me. Hey-
Slowly, he opens his eyes.
ROMY (CONT’D)
Are you ok?
She looks into his eyes.
ROMY (CONT’D)
What did you see?
He wipes his face. He avoids her gaze.
SAMUEL
You. I saw you.
After a moment of silence, Romy changes the subject:
ROMY
Did I mess with your head?
He thinks about it.
White Production Draft (10/31/23) 82.
SMANUEL
Yes, you did. But so did I- with
yours.
She shakes her head.
SAMUEL
We’re equally responsible.
ROMY
(decisive)
No. That doesn’t make it okay.
They hear a sound. They look up and to their shock, they see
Jacob. Seemingly calm he looks back at them. No one speaks.
Slowly Samuel and Romy get up. A long beat.
JACOB
(Calm, to his wife)
Please, give us a minute- Just
leave us alone.
She doesn’t move.
JACOB (CONT’D)
Come on, Romy. Come on- Just give
me some time with him.
ROMY
No. Jacob- Lets stay calm.
Jacob takes her arm and tries to lead her out of the room but
Romy physically resists. When Jacob starts to push her out,
Samuel lays his hand on Jacob’s shoulder, which triggers
Jacob to immediately attack him.
ROMY (CONT’D)
Jacob! No!
The men start to fight. Samuel tries to deescalate, but to no
avail. Romy grabs her husband’s arms to make him stop. He
swiftly turns to her and pushes her out of the way.
JACOB
(to Romy)
Stay back!
Seeing him push Romy, Samuel attacks Jacob. Romy tries to
pull Samuel away from her husband. They destroy a chair; they
drag each other over the expensive carpet. They move from the
study into the hallway, all the way to the living room. Their
bodies so close it’s almost intimate.
White Production Draft (10/31/23) 83.
ROMY
Stop! Jesus Christ.
Romy manages to separate them. Both exhausted, the two men
catch their breath. Romy stands in between them.
JACOB
(under his breath)
You sat at my fucking table. You
talked to my girls.
Samuel looks at him.
JACOB (CONT’D)
How long? How fucking long?
(to Romy)
You lied to me- you fucking lied to
me!
Romy tries to keep Samuel calm, who’s eyes are dark with
aggression.
JACOB (CONT’D)
I felt sorry for you!
Jacob pushes Romy away. Samuel can’t help but be provoked to
engage again. He pushes Jacob onto the sofa. Jacob tries to
fight back. Samuel attacks him. He throws a punch.
CUT TO:
Time lapse- they are exhausted. The spotless living room is
now a war-zone. Panting, like tired animals, Samuel and
Jacobd sit in two different corners of the room. Quietly,
Romy comes in and hands each of them a bag of frozen peas.
Samuel holds it against his cheek. He starts to get up.
JACOB (CONT’D)
Sit down.
He does. They ice their bruises. Jacob studies Samuel’s face.
JACOB (CONT’D)
(strangely calm)
She used you. You know that right?
She abused you-
Samuel looks at him without blinking. A beat.
JACOB (CONT’D)
(quietly)
You think that’s intimacy?
White Production Draft (10/31/23) 84.
SAMUEL
What?
JACOB
Humiliation- domination,
submission...whatever they call it-
It’s neurotic-
SAMUEL
(calm)
You’re wrong. You don’t understand.
JACOB
Female masochism is a male fantasy,
a male construct, don’t you fucking
get that?
SAMUEL
That’s a dated idea of sexuality.
He falls silent when he sees the desperation in Jacob’s eyes.
JACOB
A dated idea?
Samuel just looks at Jacob. He sees pain and panic. Jacob
can’t help himself. His body starts trembling until it
violently shakes. Jacob has a full on panic attack. He grabs
his chest, gasps for air. Worried, Romy tries to come closer,
grabs his arm.
JACOB (CONT’D)
(to Romy)
No, not you.
Quickly, Samuel takes a glass of water. He cautiously goes to
sit next to him and lets Jacob drink. Slowly Samuel lays his
hand on Jacob’s back, which seems to calm him down. Then
Jacob starts bringing his forehead to Samuel’s forehead.
Samuel isn’t sure if Jacob is going to head-butt him or wants
to be comforted by him. Head to head they breathe together.
They lock eyes. He sees how Jacob’s eyes s fill up with
tears. Jacob starts to cry. Samuel looks at him for a long
beat and whispers:
SAMUEL
I’m sorry. I’m so sorry.
Careful, Samuel gets up. He stands tall and looks at Romy and
Jacob, both sitting on the floor like two children. Calm, he
walks to the front door, opens it. Romy and Jacob stare at
the door as he walks away, leaving the door open behind him.
Light from the morning sun shines through.
White Production Draft (10/31/23) 85.
PRE-LAB:
ESME
It is such a huge honor to have
been guided by a woman named Romy
Mathis.
Ratings
Scene 55 - Voices of Empowerment and Isolation
Close on Esme’s face in front of a green screen with the
Tensile logo behind her. She looks straight at us as she is
giving a speech for the company. At the bottom of the screen
we read: Esme Smith, Junior leadership coordinator.
ESME
...she understands the importance
of being a voice for your peers,
and an advocate for women around
the world who might not have the
opportunities that us, sitting
here, have.
CUT TO:
EXT. UPSTATE HOUSE- DAY
Romy stands behind the window, trapped and lonely in her
doll’s house. We hear Esme’s speech continue over the images
of Romy alone in the house. Time goes by.
ESME O.S.
So to be lifted up by a hero like
her makes this experience so much
more exceptional.
INT. OFFICE BUILDING PRESS ROOM-DAY
Esme looks into the camera and seems to address us directly.
ESME
Who are we, as women?
CUT TO:
Ratings
Scene 56 - Contrasting Struggles
With her clothes on, Romy lays awake on the big bed. She
holds Nora’s teddy bear. Dirty dishes scattered around her. A
burning cigarette in her hand. Romy’s laptop next to her.
White Production Draft (10/31/23) 86.
ESME O.S.
Modern leaders aren't afraid to
take chances, embrace change and
usher a team into the unknown.
CUT TO:
INT. UPSTATE HOUSE HALLWAY- NIGHT
Romy sits on the staircase, her hair a mess, with her phone
in her hand, waiting for Jacob to text her.
ESME O.S.
Sincerity, vulnerability and
radical self honesty create a work
environment of shared learning,
compassion and true connection.
INT OFFICE BUILDING PRESS ROOM DAY
Esme looks into the camera.
ESME
Now how do we do that? By making
changes from top to bottom to
support women at every level across
the company.
CUT TO:
Ratings
Scene 57 - Embracing Authenticity
Wrapped in a blanket, Romy stands at the edge of the pool.
She stares into the water. She smokes.
ESME O.S.
If we dare to let go of expectation
and move towards what scares us, we
can often find unexpected strength.
Romy throws the cigarette into the pool.
ESME O.S. (CONT’D)
Today we celebrate genuine
authenticity, and true uniqueness
in very individual that works at
Tensile.
CUT TO:
White Production Draft (10/31/23) 87.
Ratings
Scene 58 - A Call for Reconciliation
Time has passed. The house is a total mess. Romy is sleeping
on the sofa. Dirty plates with cigarette butts and half empty
glasses everywhere. The door opens.
ESME O.S.
We invite each other to show the
world who we really are, regardless
of peoples assumptions and without
fear.
Slowly, Isabel walks in. She looks around. Quickly, she
covers her nose with her hand. She kneels down next to her
mother and gently touches her face. When Romy opens her eyes,
she is surprised to see her daughter.
ISABEL
(soft, worried)
Hey- Are you ok? You look like
grandma.
ROMY
How did you get here?
ISABEL
I took a car.
ROMY
That’s expensive.
Romy smiles.
ISABEL
Mom, you need to come home. Dad
needs you. He refuses to leave the
theatre, he doesn't eat, he is
reading the bible.
Puzzled, Romy looks at her.
ISABEL (CONT’D)
He’ll forgive you.
Concerned, Romy looks up.
ROMY
What did he tell you?
ISABEL
Nothing.
White Production Draft (10/31/23) 88.
She takes her mother’s hand. Ashamed, Romy tries to hide her
face.
ISABEL (CONT’D)
Mary forgave me.
The sweet comparison touches Romy’s heart deeply.
ISABEL (CONT’D)
(tears in her eyes)
It’s ok, mom. He’ll forgive you.
She hugs her mother.
ISABEL (CONT’D)
Come on, lets go home.
INT. THEATER-DAY
Jacob sits alone in the dark and watches the empty stage. The
video wall is lowered half way, revealing the back walls of
the theatre. Romy enters quietly. She cautiously sits down
next to him. He looks frail. He doesn’t look at her.
ROMY
It’s my fault. I told you I was
someone else, and then I started to
get angry that you didn’t
understand who I really was. That’s
my- problem, not yours. I’m sorry.
I’m so sorry.
He looks at her.
Ratings
Scene 59 - Confrontation in the Office
Weeks later. A worker takes down some Christmas decorations.
INT. OFFICE BUILDING ROMY'S OFFICE-DAY
Romy is working on her laptop. Without knocking, Mr. Missel
walks into Romy’s office.
MR. MISSEL
This is a wonderful way to start
the new year! Huh? How are you
doing?
She smiles. He sits down. A long beat.
White Production Draft (10/31/23) 89.
MR. MISSEL (CONT’D)
Mmm-
(matter of factly)
Whatever happened to that intern?
The one that bought me the coffee?
Romy looks up.
MR. MISSEL (CONT’D)
I heard he was recruited by
Kawasaki, In Tokyo.
ROMY
Wow. Good for him.
MR. MISSEL
Good for you too.
He studies her face.
MR. MISSEL (CONT’D)
You didn't have anything to do with
that, did you?
She ignores his question.
MR. MISSEL (CONT’D)
Why don’t you come over next week
for drinks and we can talk about it-
She looks at his mouth, his skin. Her tone shifts.
ROMY
(calm)
Why don’t you fuck off, Sebastian?
MR. MISSEL
Careful Romy.
ROMY
I am not afraid of you, of whatever
the fuck you are capable of, of
what you know, of what you don't
know, I don't give a shit. Just
don't ever talk to me like that
again. If I want to be humiliated,
I will pay someone to do it. Now
get the fuck out of my office.
Romy takes a sip of coffee.
White Production Draft (10/31/23) 90.
Ratings
Scene 60 - Moments of Intimacy and Liberation
A series of images: Buildings in the mist. Slowly the skies
clear. An overhead shot of trees in Central Park. It’s
Spring. An insect crawling out of the dirt. Birds. Rats.
Squirrels.
INT. ROMY AND JACOB’S APARTMENT BEDROOM/ CHEAP HOTEL ROOM DAY
Close on Jacob’s face. He looks at Romy full of love. Romy
sits opposite him on the bed. She doesn't look away. They
stay focused on each other. Both of them are completely
vulnerable in this moment. Gently, Romy lays her hand on his
heart. A long beat as they keep looking into each others
eyes. Jacob smiles, Romy closes her eyes. Slowly, Jacob
guides her to lie down on her belly. In his own authentic
way, he dominates her. When he lovingly covers her eyes with
his hand, allowing her to surrender to herself, we cut to:
In the Cheap Hotel Room with the red walls, Samuel sits on
the bed. The dog we saw at the beginning of the film, is in
between his legs. Gently, he strokes her head.
Tenderly, Jacob’s hands move over Romy’s body.
Samuel stands in the middle of the room. The dog circles
around Samuel. Elegantly, he lifts his hand as a sign that
the dog should sit down. She obeys immediately. She follows
Samuel’s every move. In his hand he holds a cookie. The dog
takes it with her mouth
Jacob uses his fingers to pleasure her. Romy feels safe and
seen and is no longer ashamed of the thoughts and images in
her head.
Samuel sits on the bed and lovingly holds the dog in his
arms. When he slowly gets up, the dog jumps of the bed,
following him wherever he goes.
Back to the close up of Romy’s face. She starts to orgasm.
For real. It’s intense and raw. Even though she needed to
create a red room in her head, she is closer to Jacob than
ever before.
The dog stands next to Samuel. Together, they walk out of the
room.
Romy breathes out. She looks into the camera. Liberated.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
romy |
|
Romy's character arc is compelling, showcasing her complexity and depth. However, the transitions between her various emotional states can feel abrupt at times, which may confuse the audience. While her internal struggles are well-defined, the external conflicts she faces could be more clearly tied to her character development. Additionally, her relationships with other characters, particularly Samuel and Jacob, could benefit from deeper exploration to enhance the emotional stakes of her journey. | To improve Romy's character arc, consider incorporating more gradual transitions between her emotional states to create a smoother narrative flow. Strengthening her relationships with supporting characters can add layers to her journey, allowing for more impactful moments of connection and conflict. Additionally, introducing specific external challenges that directly relate to her internal struggles can help to create a more cohesive arc, emphasizing the stakes of her choices and the growth she experiences throughout the screenplay. |
jacob | Jacob's character arc begins with him as a supportive and loving husband, unaware of Romy's hidden desires and emotional struggles. As the story progresses, he becomes increasingly aware of the tensions in their relationship, leading to moments of frustration and confusion. Following a heated argument, Jacob confronts his own insecurities and the challenges of communicating effectively with Romy. This culminates in a pivotal moment where he reacts with controlled aggression to Romy's revelation, forcing him to reevaluate his perceptions of their relationship. By the end of the feature, Jacob emerges as a more emotionally aware and vulnerable partner, guiding Romy towards acceptance and deeper emotional intimacy, ultimately strengthening their bond. | Jacob's character arc is compelling, showcasing a range of emotions and complexities that make him relatable. However, the transition from a supportive husband to a confrontational figure could benefit from more gradual development. At times, his reactions may feel abrupt, which could detract from the emotional impact of his journey. Additionally, while Jacob's warmth is evident, there could be more exploration of his personal ambitions and how they intersect with Romy's desires, adding depth to his character. | To improve Jacob's character arc, consider incorporating more scenes that highlight his personal struggles and ambitions outside of his role as a husband and father. This could create a more balanced dynamic between him and Romy, allowing for richer conflict and resolution. Additionally, introducing moments of introspection where Jacob reflects on his feelings and insecurities could enhance the audience's understanding of his emotional journey. Gradually building up to his confrontational moments with Romy can also help maintain the emotional continuity of his character, making his eventual vulnerability and acceptance feel more earned and impactful. |
isabel |
|
Isabel's character arc is compelling, showcasing her growth from a playful teenager to a more mature individual. However, the transition between her rebellious phase and her eventual emotional maturity could be more gradual. The screenplay may benefit from additional scenes that illustrate her internal struggles and the factors that influence her transformation. This would provide a deeper understanding of her motivations and enhance the emotional impact of her journey. | To improve Isabel's character arc, consider incorporating more moments of introspection where she reflects on her actions and their consequences. Adding scenes that highlight her relationships with other characters, such as friends or mentors, could also provide additional layers to her development. Furthermore, showcasing specific events that challenge her rebellious nature and force her to confront her vulnerabilities would create a more nuanced portrayal of her growth. |
samuel |
|
Samuel's character arc is compelling, showcasing a rich blend of charm, vulnerability, and complexity. However, the oscillation between his charming persona and manipulative tendencies can sometimes feel inconsistent, potentially confusing the audience about his true motivations. Additionally, while his relationship with Romy is central to his development, there could be more exploration of his backstory to provide context for his behavior and emotional struggles. | To improve Samuel's character arc, consider incorporating flashbacks or dialogue that reveal key moments from his past that shaped his personality and motivations. This would add depth to his character and help the audience understand his internal conflicts better. Additionally, ensure that his moments of vulnerability are balanced with his charm, allowing for a more cohesive portrayal. Finally, explore the consequences of his actions more thoroughly, emphasizing the impact of his choices on both himself and Romy, which could lead to a more satisfying resolution. |
esme | Esme's character arc begins with her as a young, eager assistant who is primarily focused on supporting Romy and ensuring the interns' smooth transition into the office. As she gains confidence and experiences the complexities of workplace dynamics, she becomes more assertive and begins to question the status quo. This shift is marked by her growing ambition and desire for recognition, leading her to confront Romy about leadership and morality in their workplace. Ultimately, Esme transforms into a strong advocate for women's empowerment, delivering a motivational speech that challenges others to embrace authenticity and vulnerability. Her journey reflects a balance between ambition and support, culminating in her role as a leader who inspires change. | While Esme's character arc is compelling, it could benefit from a more gradual transition between her various personality traits. The shift from a shy and naive assistant to a confident advocate may feel abrupt without sufficient development. Additionally, her motivations could be explored in greater depth, particularly regarding her relationships with Romy and Samuel. The screenplay should provide clearer moments that illustrate her internal struggles and the catalysts for her transformation, ensuring that the audience can fully understand and empathize with her journey. | To improve Esme's character arc, consider incorporating key scenes that highlight her internal conflicts and the challenges she faces in balancing her ambition with her supportive nature. For instance, moments of doubt or failure could serve as turning points that lead to her eventual empowerment. Additionally, exploring her relationships with Romy and Samuel in more depth could provide context for her motivations and decisions. Including a mentor figure or a pivotal event that inspires her to embrace her voice and challenge authority could also enhance her development. Finally, ensuring that her transformation feels organic and earned will create a more satisfying and relatable character journey. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Tone and Emotional Impact Correlation | Scenes with 'Intimate,' 'Sensual,' 'Vulnerable,' and 'Emotional' tones tend to have lower Emotional Impact scores (6-7) than scenes with other tones, even when other aspects like Dialogue and Concept score high. This suggests a potential disconnect between intended intimacy/vulnerability and the actual emotional delivery in these scenes. Consider exploring ways to heighten the emotional impact in these intimate moments, perhaps by focusing on subtler emotional cues, internal monologues, or strong visual storytelling. |
High Stakes and Tone | Scenes with high 'High Stakes' scores (7+) often involve 'Tense', 'Intense', 'Anxious', 'Confrontational' or 'Emotional' tones. This is expected, but the consistently high 'Tense' tone might signal an over-reliance on tension to create high-stakes moments. Consider diversifying the methods of building suspense and escalating conflict, exploring subtler forms of tension or introducing unpredictable elements to avoid monotonous high-tension scenes. |
Dialogue and Emotional Impact Discrepancy | Several scenes with high Dialogue scores have surprisingly low Emotional Impact scores. For example, scenes 3, 7, 13, 15, etc. This indicates that while the dialogue itself might be well-written, it may not effectively translate into emotionally resonant scenes. The author might consider focusing on the subtext of dialogues, utilizing visual cues, or crafting stronger character reactions to enhance the emotional impact. |
Character Changes and Plot Progression | Scenes with high character change scores (7+) don't always correlate with high scores in 'Move Story Forward'. This might suggest that while character arcs are being developed, their impact on the overall plot progression is less pronounced. Re-evaluate how character development contributes to the advancement of the plot. Perhaps some character arcs could be streamlined or integrated more directly into the plotline for a stronger narrative drive. |
Climax and Resolution | The final scenes (59-60) show a significant increase in scores across most categories, particularly Concept, Plot, and Dialogue. This indicates a strong and well-executed climax and resolution. However, the 'Emotional Impact' score in these scenes is not as high as expected, suggesting that the emotional resonance could be heightened to leave a more impactful final impression on the audience. |
Light-Hearted Scenes and Emotional Impact | Scenes tagged with 'Light-hearted' or 'Playful' tones (3, 7, 11, 13, 17, 19, 32) consistently score lower in 'Emotional Impact' than those with more serious tones. While this is expected to a degree, it's worth noting if these light scenes are intended purely for comic relief and not intended to serve the overarching emotional narrative arc. Perhaps infusing subtle emotional depth into these lighter scenes could strengthen the overall narrative. |
Intimacy and Conflict | Scenes with 'Intimate' tones show varied results in Conflict scores. Some are very high, while others are low. Explore why some intimate scenes generate significant conflict while others do not. This may reveal opportunities to develop conflict within intimate relationships more consistently and dramatically. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in creating emotionally resonant scenes with authentic character interactions. The writer showcases talent in conveying complex emotions, internal conflicts, and nuanced relationships. However, there's a recurring need for strengthening plot structure, character development beyond emotional depth, and refining dialogue techniques to enhance pacing and clarity. The writer frequently utilizes strong imagery and sensory details, which is a great strength. The reliance on dialogue to carry emotional weight, while effective at times, occasionally overshadows other storytelling elements that could provide a more layered and complete narrative.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | "Save the Cat!" by Blake Snyder | This book is repeatedly recommended and directly addresses the need for improved plot structure, pacing, and character arcs, all key areas identified for improvement. |
Book | "Save the Cat! Writes a Novel" by Jessica Brody | This provides a broader approach to narrative structure and character development, complementing Snyder's focus on screenwriting specifically. |
Book | "The Anatomy of Story" by John Truby | This book offers a deeper dive into character development, focusing on building characters with more complex motivations and compelling emotional arcs. |
Screenplay Collection | Screenplays by Aaron Sorkin, Phoebe Waller-Bridge, Sofia Coppola, and Charlie Kaufman. | Studying the work of these masters of dialogue, emotional depth, and character-driven storytelling will directly address the need for improvements in those areas. |
Exercise | Outline the entire screenplay before writing any scenes. Create a detailed beat sheet to map out the major plot points, character arcs, and turning points of your story.Practice In SceneProv | This will establish a strong structural framework before delving into emotionally driven scenes, preventing pacing issues and ensuring a coherent overall narrative. |
Exercise | Develop detailed character profiles for your main characters, going beyond emotional descriptions. Include their backstories, motivations, goals (both internal and external), weaknesses, and relationships with other characters. Develop their 'want' and their 'need'.Practice In SceneProv | This exercise will help build more three-dimensional characters with motivations that extend beyond their immediate emotional responses, leading to more compelling and believable character arcs. |
Exercise | Rewrite a scene focusing solely on subtext and visual storytelling, minimizing or eliminating dialogue. Convey the emotion and conflict through actions, expressions, setting, and visual details.Practice In SceneProv | This exercise encourages a move away from over-reliance on dialogue to convey emotion and develops skills in visual storytelling, enriching the overall narrative. |
Stories Similar to this one
Story | Explanation |
---|---|
The Affair | This TV series explores the emotional and psychological complexities of infidelity, focusing on the perspectives of both the married individuals and their lovers. The themes of desire, intimacy, and the impact of relationships on family dynamics resonate with Romy's experiences. |
Mad Men | Set in the 1960s advertising world, this series delves into the personal and professional lives of its characters, particularly the struggles of women in a male-dominated environment. The exploration of identity, ambition, and the tension between personal desires and societal expectations parallels Romy's journey. |
Fifty Shades of Grey | This book series and its film adaptations focus on a complex relationship involving power dynamics, intimacy, and emotional vulnerability. Romy's interactions with Samuel reflect similar themes of submission, desire, and the exploration of boundaries in relationships. |
The Hours | This novel and its film adaptation interweave the lives of three women across different time periods, exploring themes of mental health, societal pressures, and the search for personal fulfillment. Romy's struggles with her identity and emotional turmoil echo the characters' experiences in 'The Hours.' |
Her | This film examines the relationship between a man and an artificial intelligence, exploring themes of loneliness, connection, and the complexities of modern relationships. Romy's emotional detachment and her search for intimacy in a technologically driven world resonate with the film's exploration of love and connection. |
Little Fires Everywhere | This novel and its TV adaptation explore the lives of two families in a suburban community, addressing themes of motherhood, identity, and the impact of secrets. The tension between Romy's professional life and her family dynamics mirrors the conflicts faced by the characters in this story. |
Eternal Sunshine of the Spotless Mind | This film delves into the complexities of love, memory, and the desire to escape painful experiences. Romy's emotional struggles and her attempts to navigate her relationships reflect similar themes of longing and the impact of past choices on present connections. |
The End of the Affair | This novel and its film adaptation explore the intricacies of love, faith, and betrayal during and after World War II. The emotional depth and moral dilemmas faced by the characters resonate with Romy's journey of self-discovery and the consequences of her choices. |
Normal People | This novel and its TV adaptation follow the complex relationship between two individuals over several years, exploring themes of intimacy, vulnerability, and the impact of social class. Romy's evolving relationships and emotional struggles parallel the experiences of the protagonists in 'Normal People.' |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Love Triangle | Romy is caught between her husband Jacob and her intern Samuel, leading to emotional tension and conflict. | A love triangle involves three characters where one character is romantically involved with two others, creating tension and drama. An example is the classic film 'The Notebook,' where Noah is torn between his love for Allie and her engagement to another man. |
The Perfect Family | Romy's family appears idyllic on the surface, but underlying tensions and issues are revealed. | |
The Mentor | Romy is seen as a mentor figure to her interns, particularly Samuel, who seeks her guidance. | The mentor trope involves a character who guides and supports a less experienced character. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel both martial arts and life lessons. |
The Strong Female Character | Romy is portrayed as a powerful CEO navigating her career while dealing with personal challenges. | This trope features a female character who is strong, independent, and capable, often in a male-dominated environment. An example is Katniss Everdeen from 'The Hunger Games,' who fights for her survival and the well-being of her loved ones. |
The Emotional Affair | Romy's connection with Samuel develops into an emotional affair, complicating her marriage. | An emotional affair involves a deep emotional connection with someone outside of a committed relationship, often leading to betrayal. An example is the series 'The Affair,' which explores the complexities of infidelity. |
The Workaholic | Romy is depicted as a dedicated CEO, often prioritizing work over her personal life. | This trope features a character who is overly focused on their career, often at the expense of personal relationships. An example is Miranda Priestly in 'The Devil Wears Prada,' who is consumed by her job. |
The Unconventional Family | Romy's family dynamics include her daughters' relationships and her own struggles, showcasing a modern family. | This trope highlights families that do not conform to traditional structures, often embracing diversity and complexity. An example is 'Modern Family,' which features various family types and dynamics. |
The Crisis of Identity | Romy struggles with her identity as a mother, wife, and CEO, leading to moments of self-doubt. | This trope involves a character questioning their identity and purpose, often leading to personal growth. An example is 'Eat Pray Love,' where the protagonist embarks on a journey of self-discovery. |
The Forbidden Romance | Romy's relationship with Samuel is complicated by their professional roles and the implications of their connection. | This trope features a romance that is frowned upon or prohibited due to circumstances, often leading to tension. An example is 'Romeo and Juliet,' where the lovers are from feuding families. |
The Emotional Climax | Romy experiences a significant emotional climax as she confronts her feelings for both Jacob and Samuel. | This trope involves a pivotal moment where characters confront their emotions, leading to a resolution or transformation. An example is 'The Fault in Our Stars,' where the characters face their feelings about love and mortality. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
The Complexity of Female Desire and Identity | Romy's exploration of her sexuality through both her marriage and her secret viewing of pornography, her pursuit of external validation through beauty treatments and professional success, and her complex relationships with both men and women. | The screenplay delves into the multifaceted nature of female desire, challenging societal expectations and exploring the internal conflicts women face in navigating their sexuality and self-perception. Romy's actions reveal a woman struggling to reconcile her public persona with her private desires and vulnerabilities. | ||||||||||||
Strengthening The Complexity of Female Desire and Identity:
| ||||||||||||||
The Illusion of Perfection and the Pursuit of Control | Romy's meticulous beauty routine, her high-powered career, and her pursuit of an outwardly perfect family life all mask underlying anxieties and insecurities. Her actions – the cosmetic procedures, her demanding career, even her controlling behavior with her family – are all attempts to control aspects of her life she fears. | This theme explores the societal pressures women face to achieve unattainable standards of perfection and how this pursuit can lead to a sense of emptiness and anxiety. Romy's relentless striving for control reflects a deeper fear of losing control of her life and her identity. | ||||||||||||
The Dynamics of Power, Intimacy, and Consent in Relationships | The complex relationships between Romy and Jacob, Romy and Samuel, and Romy and her daughters highlight different power dynamics and blurred lines of consent. The screenplay explores the complexities of these relationships, including moments of both intimacy and manipulation. | This theme questions traditional notions of power and consent in relationships, raising questions about agency, vulnerability, and manipulation in both personal and professional contexts. The relationships portrayed challenge the viewer to examine their own understanding of healthy relationships. | ||||||||||||
The Tension Between Personal and Professional Life | The screenplay constantly juxtaposes Romy's demanding career in the tech industry with her personal life, showing the challenges of balancing work and family. The struggle is manifest in her neglect of her family, her strained relationship with Jacob, and her conflicted feelings regarding her own ambition. | This theme highlights the struggle many women face in navigating the demands of career success while maintaining fulfilling personal relationships. Romy's experiences serve as a cautionary tale about the potential consequences of neglecting one's personal life in pursuit of professional achievement. | ||||||||||||
The Exploration of Trauma and Healing | Romy's participation in EMDR therapy and flashbacks to her childhood suggest unresolved trauma. The dog attack, the cult-like upbringing, and the hints of past violence suggest a history that continues to shape her actions. | While not explicitly central, the screenplay hints at the lasting effects of past trauma on Romy's behavior and relationships, suggesting the importance of addressing and processing such experiences in order to achieve healing and personal growth. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a potent blend of intimacy and observation. It's a voice that simultaneously delves into the raw, emotional interiority of its characters while maintaining a keen awareness of the external world – be it the sterile environment of a technologically advanced warehouse or the messy complexities of family life. This is achieved through a sophisticated interplay of intimate, often naturalistic dialogue; vivid, sensory-rich narrative descriptions; and precise, evocative scene directions that guide the reader's experience. |
Voice Contribution | The writer's voice contributes to the script by creating a compelling sense of realism and emotional depth. The intimate portrayal of characters' inner lives, coupled with the detailed depiction of their surroundings, generates a rich and immersive world. This multifaceted approach enhances the themes of self-discovery, ambition, the complexities of relationships (romantic, familial, professional), and the tension between personal desires and societal expectations. The blend of intimacy and observation also creates a unique mood that shifts subtly but effectively throughout the screenplay, moving from passionate intimacy to tense workplace politics to quiet moments of introspection. |
Best Representation Scene | 1 - Dual Desires |
Best Scene Explanation | This scene is the best representation because it most effectively showcases the writer's signature blend of intimacy and observation. The dialogue is raw and realistic, capturing the unspoken tensions and desires between Romy and Jacob. The narrative description is vividly sensory, painting a picture of the atmosphere and Romy's emotional state. The scene’s simplicity and directness, focused on the character's internal conflict, allows the writer's unique voice to shine through most clearly. It sets the stage for the broader themes of the screenplay: the exploration of desire, the complexity of relationships, and the contrast between public and private selves. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay demonstrates a high level of originality through its exploration of complex themes such as intimacy, vulnerability, and the impact of technology on personal relationships. The characters are well-developed, and their interactions often challenge traditional narratives, particularly in the context of modern relationships and workplace dynamics. The juxtaposition of personal struggles with broader societal issues adds depth and freshness to the narrative.
- Most unique situations: The most unique situations in the screenplay are the intimate moments between Romy and Jacob that explore sexual dissatisfaction and emotional vulnerability, as well as the complex power dynamics between Romy and Samuel that oscillate between tenderness and danger. Additionally, the use of unconventional settings, such as a rave and a cheap hotel room, to explore themes of connection and liberation further enhances the screenplay's originality.
- Overall unpredictability score: 7.5
- Overall unpredictability explanation: The screenplay maintains a moderate level of unpredictability, with several unexpected twists in character relationships and emotional revelations. The dynamics between Romy, Jacob, and Samuel often shift in surprising ways, keeping the audience engaged. However, certain plot points, such as Romy's internal struggles and her eventual confrontations, follow recognizable patterns in relationship dramas, which slightly reduce the overall unpredictability.
Goals and Philosophical Conflict | |
---|---|
internal Goals | Romy's internal goals evolve from seeking personal fulfillment and intimacy to exploring her identity and agency in both her professional and personal life. Throughout the script, she grapples with vulnerability and emotional connection while striving for stability in her relationships and sense of self. |
External Goals | Romy's external goals transition from professional achievements and success as a CEO to managing complex relationships with her family and colleagues, culminating in her desire to maintain authenticity and lead by example. |
Philosophical Conflict | The overarching philosophical conflict centers around the tension between personal fulfillment and societal expectations, particularly in gender roles and professional identities, as Romy struggles to balance her ambitions with the demands of her family life. |
Character Development Contribution: Romy's evolving goals and the conflicts she faces contribute significantly to her development, illustrating her journey from confusion and insecurity to self-acceptance and empowerment as she learns to prioritize her needs without sacrificing her responsibilities.
Narrative Structure Contribution: The internal and external conflicts shape the narrative's progression, driving Romy's interactions and decisions while creating tension. The structure alternates between her professional challenges and personal breakdowns, accentuating the dualities in her life.
Thematic Depth Contribution: The interplay of goals and conflicts deepens the screenplay's themes by exploring the multifaceted nature of womanhood, the complexities of leadership, and the negotiation of personal and professional roles in a modern context.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a world of contrasts: luxurious high-end apartments and spas juxtaposed with gritty, cheap hotel rooms; bustling, modern office buildings with advanced technology and automated warehouses alongside quiet, secluded upstate houses; busy New York City streets and a serene, picturesque upstate landscape. Specific locations include a modern apartment, a high-tech office building, a family home upstate, a theatre, bars, a therapy clinic, and even a warehouse rave.
- Culture: The cultural landscape is modern and progressive, emphasizing themes of female empowerment, gender fluidity, and the exploration of sexuality and intimacy. However, traditional societal expectations regarding family, relationships, and gender roles are also present, creating internal conflict for the characters. The importance of career advancement, especially for women in leadership roles, is highlighted. There's also an exploration of the ethical considerations surrounding technological advancements in automation and artificial intelligence.
- Society: The societal structure is largely hierarchical, particularly in the corporate world, where power dynamics and competition for advancement are prevalent. This hierarchy extends to the family unit, showcasing complex relationships and generational gaps in understanding. There are also hints of a societal pressure to conform to certain expectations related to appearance, professional success, and family life, which many characters struggle against.
- Technology: Technology is integrated into daily life, impacting various aspects of the characters' experiences. This includes advanced technology in the workplace (automation, AI, video conferencing), modern communication devices (smartphones, laptops), cosmetic procedures (Botox, cryotherapy), and therapeutic tools (EMDR). The contrast between advanced technology and the more traditional elements of life adds to the complexity of the world.
- Characters influence: The world's physical environments significantly impact the characters' moods and actions. The luxurious settings reflect their success but also highlight a sense of isolation and emptiness. The tension between the sterile, technological environments of the office and the intimacy of their homes or the upstate house intensifies the emotional conflicts of the characters. The cultural values of female empowerment and sexual exploration shape Romy's choices and actions, but she also grapples with societal expectations of a successful CEO and wife/mother. The hierarchical societal structures influence power dynamics within relationships, shaping the characters' interactions and decision-making processes.
- Narrative contribution: The contrasting physical environments and cultural elements drive the narrative forward. The shifts between locations heighten the emotional impact of the story, reflecting Romy's internal struggles and the complexity of her relationships. The juxtaposition of the idyllic upstate house with the chaotic city life underscores the conflict between Romy's personal and professional lives. The technological advancements serve as both a backdrop and a driving force in the narrative, shaping the professional challenges Romy faces and contributing to the overall theme of modern life.
- Thematic depth contribution: The screenplay's world-building adds significant thematic depth. The contrast between high-tech advancements and the intimate, human elements explores the tension between progress and personal fulfillment. The exploration of sexuality and intimacy, combined with the challenges of female leadership and societal expectations, adds layers of complexity to the themes of identity, ambition, and the search for authenticity. The complex power dynamics within relationships and workplaces amplify the exploration of control, vulnerability, and the complexities of human connection.
central conflict
Romy struggles with her dual life as a devoted mother and wife while navigating her desires and ambitions in a male-dominated corporate world, leading to emotional turmoil and infidelity.
primary motivations
- Romy seeks personal fulfillment and sexual satisfaction.
- Jacob desires a deeper emotional connection with Romy.
- Samuel is motivated by his feelings for Romy and his ambition within the company.
- Esme aims to challenge the status quo and advocate for women in the workplace.
catalysts
- Romy's encounter with Samuel ignites her feelings of desire and rebellion.
- The pressures of her corporate role and the expectations of motherhood push Romy to seek escape.
- Esme's confrontational attitude forces Romy to confront her own shortcomings as a leader.
barriers
- Romy's commitment to her family and the fear of losing them.
- Societal expectations of women in both personal and professional spheres.
- Jacob's emotional distance and inability to understand Romy's struggles.
themes
- The complexity of female identity and the struggle for autonomy.
- The impact of societal expectations on personal relationships.
- The intersection of ambition, desire, and morality.
stakes
The stakes involve Romy's family stability, her professional reputation, and her emotional well-being, as her choices could lead to devastating consequences for herself and those she loves.
uniqueness factor
The story uniquely blends elements of corporate drama with intimate personal struggles, exploring the duality of a woman's life in a contemporary setting.
audience hook
The tension between Romy's desires and her responsibilities, along with the exploration of infidelity and self-discovery, keeps viewers engaged.
paradoxical engine or bisociation
The juxtaposition of Romy's professional success against her personal failures creates a paradox that drives her character development and the narrative forward.
paradoxical engine or bisociation 2
The contrast between Romy's public persona as a powerful CEO and her private struggles with intimacy and vulnerability highlights the complexities of modern womanhood.
Engine: Gemini
Consider
Executive Summary
Babygirl is a daring and ambitious screenplay exploring themes of power, sexuality, and repressed trauma through a compelling female protagonist. While the script boasts a unique premise and strong central performance, it suffers from pacing issues, underdeveloped supporting characters, and a somewhat uneven tonal balance. Significant revisions focusing on narrative structure and character arc consistency are needed to reach its full potential.
- The final scene powerfully resolves Romy's internal conflict. The juxtaposition of Romy's climax with Samuel's gentle interaction with his dog provides a poignant and ambiguous conclusion that leaves a lasting impact on the viewer. high ( Scene 60 )
- The screenplay uses effective visual motifs and symbolism (such as the automated warehouse reflecting Romy's mind or the contrasting settings of Romy's luxurious office and the cheap hotel room) to enhance the thematic depth and create a visually engaging narrative. high ( Scene 20 Scene 28 Scene 30 )
- The intimate scenes are handled with a degree of sensitivity and nuance, exploring the complex dynamics of Romy's relationships and her struggle with intimacy. medium ( Scene 1 Scene 9 Scene 37 Scene 51 )
- The character arc of Romy is compelling and multi-layered. The film effectively portrays her journey from a seemingly successful CEO hiding deep-seated trauma to a woman confronting her past and attempting to reconcile her inner conflicts. high ( Scene 50 Scene 51 Scene 59 )
- The inclusion of the Hedda Gabler play provides a clever framing device and thematic resonance, underscoring Romy's own struggle with power, control, and self-destruction. medium ( Scene 24 )
- The pacing in the montage section (Sequence 29) is uneven and could be tightened. The rapid-fire succession of scenes risks diminishing the impact of individual moments. high ( Scene 29 )
- Supporting characters like Esme and Samuel are not fully developed. Their motivations and arcs could be strengthened to create richer relationships with Romy. high ( Scene 7 Scene 23 )
- Certain scenes, such as the warehouse rave (Sequence 46), feel somewhat gratuitous and could benefit from a clearer connection to the overall narrative. medium ( Scene 46 )
- The tonal shifts between intense drama and explicit sexual scenes are abrupt and need to be carefully managed to maintain narrative cohesion. A more consistent tone is needed for emotional resonance. high ( Scene 1 Scene 9 Scene 37 Scene 53 )
- Some of the sexual encounters, particularly those depicted in the montage, are explicit without enough emotional context and may appear exploitative or gratuitous, requiring more subtle approach. medium ( Scene 30 )
- More detailed flashbacks to Romy's childhood could deepen our understanding of her trauma and its impact on her adult life. The screenplay hints at a troubled past, but fuller exploration is necessary. high
- The motivations of several supporting characters are underdeveloped. Expanding their backstories and providing clearer goals would create a more engaging ensemble dynamic. medium
- A more satisfying resolution of the conflict between Romy and Jacob is needed. While their reconciliation is implied, a more concrete and emotional scene would provide a stronger sense of closure. medium
- The scene with the dog is a strong opening hook, establishing Romy's quick-thinking nature and setting the tone for her complex personality. medium ( Scene 4 )
- The screenplay's exploration of female sexuality, power, and vulnerability is refreshing and thought-provoking, offering a unique perspective within the genre. high
- The use of music and sound design throughout the film appears to be intentional and complements the overall tone and emotional arc, and should be retained and further developed. medium
- Understanding of Male Psychology The screenplay's portrayal of male characters, particularly Jacob and Samuel, feels somewhat underdeveloped and stereotypical at times. Jacob is presented as largely reactive to Romy's actions, and Samuel's motivations remain unclear for much of the film. A more nuanced understanding of male psychology would lead to more realistic and compelling character portrayals. medium
- Scene Transitions Several scene transitions are abrupt and lack clear visual cues, which may create confusion for the reader. The screenplay could benefit from a more deliberate and smooth flow between scenes, using transitions like dissolves or wipes to enhance the visual storytelling. medium
- Dialogue Certain sections of dialogue feel unnatural or overly expositional. The script could be enhanced by rewriting these lines to create more natural-sounding conversations. Characters' speech needs to sound more organic. medium
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Baby Girl' explores the complex and often taboo subject matter of a middle-aged woman's unconventional sexual desires and the impact on her personal and professional life. Through a non-linear narrative structure, the story delves into Romy's psychological struggles, her fraught relationship with her family, and her dangerous yet intoxicating affair with a much younger intern. While the subject matter is provocative, the screenplay is elevated by its nuanced character development, thematic depth, and visual style. The story offers a layered exploration of power dynamics, gender roles, and the societal pressures faced by successful women. Overall, 'Baby Girl' presents a compelling and thought-provoking examination of the darker corners of the human psyche.
- The screenplay opens with a strong, visually compelling sequence that immediately establishes the intimate, sensual nature of Romy's desires, setting the tone for the rest of the story. The scene in the living room where Romy and Jacob discuss her sexual fantasies is a powerful and emotionally raw moment that delves deep into her psyche. The hotel room sequence is a masterfully crafted exploration of power dynamics and consent, showcasing the screenplay's nuanced handling of complex subject matter. high ( Scene 1 (INT. ROMY AND JACOB'S APARTMENT- BEDROOM NIGHT) Scene 9 (INT. ROMY AND JACOB'S APARTMENT- LIVING ROOM- NIGHT) Scene 28 (INT. CHEAP HOTEL ROOM- NIGHT) )
- The screenplay uses a variety of creative visual techniques, such as the live-streamed product launch, the EMDR therapy sessions, and the innovative use of light and shadow in the upstate house sequence, to provide a visually engaging and psychologically immersive experience for the audience. high ( Scene 10 (INT. OFFICE BUILDING PRESS ROOM- DAY) Scene 16 (INT. EMDR THERAPY CLINIC/ UNDEFINED SPACES - DAY) Scene 54 (INT. UPSTATE HOUSE STUDY/ HALLWAY/ LIVING ROOM -NIGHT) )
- The screenplay skillfully navigates the complex web of relationships, power dynamics, and emotional turmoil, seamlessly weaving together Romy's personal and professional lives. The scenes involving Romy's family, her assistant Esme, and her affair with the intern Samuel are particularly well-executed, adding depth and nuance to the story. high ( Scene 11 (INT. OFFICE BUILDING 6TH FLOOR - END OF DAY) Scene 19 (INT. OFFICE BUILDING ROMY'S OFFICE- NIGHT) Scene 42 (INT. ROMY AND JACOB'S APARTMENT LIVING ROOM-DAY) )
- The screenplay's handling of the intimate, often taboo subject matter of Romy's sexual desires is remarkably well-executed, striking a delicate balance between exploration and sensitivity. The scenes in the windowless basement room and the hotel room are particularly powerful, showcasing the screenplay's ability to navigate these themes with nuance and complexity. high ( Scene 20 (INT. OFFICE BUILDING WINDOWLESS BASEMENT ROOM- DAY) Scene 28 (INT. CHEAP HOTEL ROOM- NIGHT) Scene 40 (INT. OFFICE BUILDING WINDOWLESS BASEMENT ROOM- DAY) )
- The screenplay's exploration of the complex and evolving relationship between Romy, Jacob, and Samuel is a standout strength, as it delves into the emotional turmoil, betrayal, and ultimately, the potential for healing and redemption. These scenes are both powerful and poignant, elevating the narrative beyond a simple erotic thriller. high ( Scene 51 (INT. ROMY AND JACOB'S APARTMENT- LIVING ROOM- DAY) Scene 54 (INT. UPSTATE HOUSE STUDY/ HALLWAY/ LIVING ROOM -NIGHT) Scene 58 (INT. UPSTATE HOUSE- LIVING ROOM- EARLY MORNING) )
- While the screenplay is strong overall, there are a few instances where the pacing could be tightened and the transitions between scenes could be smoother. The sequence involving the dog attack on the street, for example, could be streamlined to maintain a stronger narrative drive. Similarly, some of the office-based scenes, while important for character and thematic development, could benefit from more efficient editing to keep the story moving forward at a compelling pace. medium ( Scene 4 (EXT. BUSY STREET IN MIDTOWN NEW YORK DAY) Scene 6 (INT. OFFICE BUILDING ROMY'S OFFICE DAY) Scene 8 (INT. OFFICE BUILDING MEETING ROOM- LATE MORNING) )
- While the screenplay's exploration of Romy's personal life is a significant strength, there are a few instances where the pacing and transitions between these sequences could be refined. For example, the scenes set in the upstate house, while visually striking, could potentially be streamlined to maintain the narrative momentum and avoid any lulls in the storytelling. medium ( Scene 22 (EXT. UPSTATE HOUSE SWIMMING POOL- DAY) Scene 33 (EXT./ INT. UPSTATE HOUSE HALLWAYS/ DINING ROOM-DAY) Scene 34 (INT. /EXT. UPSTATE CAR/ PARKING LOT TRAIN STATION- LATE AFTERNOON) )
- The screenplay does an excellent job of fully exploring its central themes and character arcs, leaving little room for significant missing elements. However, one area that could be expanded upon is the exploration of Romy's past and the specific traumas or experiences that contributed to the development of her unconventional desires. While the screenplay touches on her childhood and upbringing, delving deeper into these formative experiences could further enrich the character's psychological depth and provide additional context for her current struggles. medium ( Scene N/A (N/A) )
- The screenplay's handling of the power dynamics and the shifting alliances within the corporate setting are noteworthy, as they add depth and complexity to the narrative. The scenes in the office, the holiday party, and the confrontation with Esme are particularly well-executed, highlighting the screenplay's nuanced understanding of the professional and personal challenges faced by successful women. high ( Scene 11 (INT. OFFICE BUILDING 6TH FLOOR - END OF DAY) Scene 25 (INT. LUXURIOUS BAR MIDTOWN- NIGHT) Scene 50 (INT. ROMY AND JACOB'S APARTMENT-KITCHEN- DAY) )
- The screenplay's innovative use of montage sequences and the seamless integration of intimate, sensual moments throughout the story are notable strengths. These creative techniques not only enhance the visual style of the narrative but also deepen the audience's understanding of the complex power dynamics and psychological underpinnings of Romy's desires. high ( Scene 29 (INT/EXT. MONTAGE - VARIOUS) Scene 30 (– INT. ROMY'S PRIVATE OFFICE BATHROOM: Samuel and Romy kiss passionately. He pushes her up against the wall, his hand around her neck.) Scene 41 (INT. LUXURIOUS HOTEL ROOM DAY) )
- The screenplay's handling of the resolution and the aftermath of the central conflict is a notable strength, as it avoids easy answers and instead explores the nuances of forgiveness, redemption, and the complex emotional aftermath of Romy's choices. The scenes in the apartment, the upstate house, and Romy's eventual confrontation with Mr. Missel are particularly well-crafted, showcasing the screenplay's depth and maturity. high ( Scene 51 (INT. ROMY AND JACOB'S APARTMENT- LIVING ROOM- DAY) Scene 54 (INT. UPSTATE HOUSE STUDY/ HALLWAY/ LIVING ROOM -NIGHT) Scene 59 (INT. OFFICE BUILDING ROMY'S OFFICE-DAY) )
- Lack of diverse character perspectives While the screenplay does an excellent job of exploring the complexities of Romy's character, it could potentially benefit from the inclusion of more diverse perspectives, particularly from the supporting characters. The narrative is primarily focused on Romy's point of view, which, while compelling, could be enriched by the addition of more nuanced portrayals of the other characters, such as Esme, Jacob, and Samuel, to provide a more well-rounded exploration of the story's themes. medium
- Uneven pacing and transitions As noted in the areas of improvement, there are a few instances where the pacing and transitions between scenes could be refined to maintain a stronger narrative momentum. While the overall quality of the screenplay is high, these minor inconsistencies in the pacing and flow of the story could be interpreted as amateur-ish by more discerning readers or viewers. low
Engine: GPT4
Consider
Executive Summary
The screenplay 'Baby Girl' presents a complex exploration of female desire, power dynamics, and the struggle for identity within the confines of societal expectations. The character of Romy is compelling, navigating her dual roles as a mother and a CEO while grappling with her sexual identity and desires. The narrative is rich with emotional depth, but it occasionally suffers from pacing issues and lacks clarity in certain character motivations. Overall, it offers a unique perspective on contemporary femininity and the challenges faced by women in leadership roles.
- The screenplay effectively captures the complexity of Romy's character through her sexual exploration and professional ambitions, creating a multi-dimensional protagonist. high ( Scene 1 (Romy's initial sexual exploration) Scene 10 (Romy's press day speech) )
- The dialogue is sharp and engaging, revealing character motivations and relationships effectively while maintaining a natural flow. high ( Scene 11 (Office Christmas party) Scene 12 (Romy and Samuel's terrace conversation) )
- The emotional stakes are high, particularly in scenes involving Romy and Jacob, which heighten the tension and drive the narrative forward. high ( Scene 24 (Theater scene with Jacob) Scene 37 (Romy's confrontation with Jacob) )
- The thematic exploration of female empowerment and the complexities of leadership resonates throughout the screenplay, providing depth to the narrative. medium ( Scene 55 (Esme's speech) )
- The screenplay effectively portrays Romy's internal struggles, making her journey relatable and poignant. high ( Scene 42 (Romy's emotional breakdown) )
- Some scenes, like the dog encounter, feel disconnected from the main narrative and could benefit from clearer thematic ties. medium ( Scene 4 (Romy's encounter with the dog) )
- The pacing in certain sections feels rushed, particularly in the development of Romy and Samuel's relationship, which could be expanded for greater emotional impact. high ( Scene 18 (Romy's interaction with Samuel in the elevator) )
- Some character motivations, particularly Jacob's reactions, could be more clearly defined to enhance audience understanding. medium ( Scene 39 (Romy and Jacob's kitchen confrontation) )
- The transition between Romy's various emotional states can be jarring; smoother transitions would enhance the overall flow. medium ( Scene 46 (Romy at the warehouse rave) )
- The resolution feels somewhat abrupt; a more gradual build-up to the climax would provide a more satisfying narrative arc. high ( Scene 56 (Romy's state at the upstate house) )
- There is a lack of exploration into Romy's relationships with her colleagues, which could add depth to her character and the workplace dynamics. medium ( Scene 5 (Romy's office interactions) )
- The screenplay could benefit from more exploration of the consequences of Romy's actions on her family and career, providing a fuller picture of her struggles. high ( Scene 30 (Romy and Samuel's intimate moments) )
- The impact of Romy's actions on her assistant Esme is not fully explored, which could provide additional layers to the narrative. medium ( Scene 50 (Romy and Esme's conversation) )
- The emotional fallout from Romy's relationship with Samuel could be more thoroughly addressed, particularly in relation to her family. high ( Scene 53 (Romy's confrontation with Samuel) )
- A deeper exploration of Romy's mental health and its impact on her relationships would enhance the narrative's emotional depth. medium ( Scene 58 (Romy's state of mind) )
- The opening scene sets a bold tone for the screenplay, immediately establishing themes of desire and self-exploration. high ( Scene 1 (Romy's initial sexual exploration) )
- Romy's speech encapsulates her character's ambition and the pressures of leadership, serving as a pivotal moment in the narrative. high ( Scene 10 (Romy's press day speech) )
- The confrontation between Romy and Jacob is a powerful moment that highlights the emotional stakes of their relationship. high ( Scene 37 (Romy's confrontation with Jacob) )
- Esme's speech serves as a thematic culmination of the screenplay, emphasizing the importance of female empowerment and leadership. medium ( Scene 55 (Esme's speech) )
- The closing scene provides a sense of resolution and liberation for Romy, tying together the screenplay's themes of identity and self-acceptance. high ( Scene 60 (Romy's final moment of liberation) )
- Character Development The screenplay occasionally lacks depth in secondary characters, particularly in their motivations and arcs, which could enhance the overall narrative. For example, Esme's character could be more fleshed out to provide a clearer contrast to Romy's journey. medium
- Pacing Issues Certain scenes feel rushed or underdeveloped, particularly in the transition between Romy's emotional states. For instance, the shift from her professional life to her personal struggles could be smoother to maintain narrative flow. high
Memorable lines in the script:
Scene Number | Line |
---|---|
39 | Romy: I’m not normal. I’m not other women! Look at me. I’m not normal. |
5 | Romy: As more and more artificial intelligence is entering into the world, more and more emotional intelligence must enter into leadership. |
50 | Esme: You will never see Samuel again. You will be a good leader and you will create more opportunities for women within the company, and be a good example and role model to us all. |
6 | Samuel: Do you really believe that automation can provide a path to sustainability or is that just something people say to make you like robots? |
51 | Romy: I just want to be normal. I want to be normal- I want to be what you like. I want to be the woman you like- |