Triangle of sadness
Executive Summary
Poster
Overview
Genres: Drama, Comedy, Romance, Thriller, Adventure, Action, Dark Comedy, Survival, Horror, Political
Setting: Contemporary, A luxury yacht and a deserted island
Overview: Triangle of Sadness follows Carl, an aspiring male model, and his influencer girlfriend Yaya as they navigate the superficial world of fashion and relationships. The story begins in a casting agency, where Carl grapples with societal expectations and his own insecurities. As their relationship faces challenges over traditional gender roles and financial dynamics, they embark on a luxury yacht cruise that spirals into chaos. When a storm leaves them stranded on a deserted island, the characters confront their true selves and the nature of their relationships, leading to a struggle for survival and authenticity.
Themes: Authenticity vs. Societal Expectations, Class Conflict and Inequality, Gender Roles and Relationships, Survival and Resilience, The Superficiality of the Fashion Industry
Conflict and Stakes: The characters face survival challenges on a deserted island while navigating complex interpersonal relationships, jealousy, and power dynamics.
Overall Mood: Darkly comedic with moments of tension and absurdity.
Mood/Tone at Key Scenes:
- Scene 1: The mood is light-hearted and comedic as models navigate the absurdity of the casting process.
- Scene 4: The atmosphere is tense and chaotic during the fashion show, reflecting the high-stakes environment.
- Scene 12: The mood shifts to darkly comedic as guests struggle with seasickness during the extravagant dinner.
- Scene 30: The tone is tense and conflicted as Abigail grapples with her feelings of revenge and connection.
Standout Features:
- Unique Hook: The juxtaposition of luxury and survival creates a compelling narrative tension.
- Plot Twist: The revelation of Abigail's leadership and the power dynamics among the group.
- Distinctive Setting: The luxury yacht and deserted island provide a visually stunning backdrop for the story.
- Innovative Ideas: The screenplay blends dark comedy with survival drama, exploring social hierarchies in a crisis.
- Unique Characters: A diverse cast with distinct personalities and motivations, enhancing the narrative complexity.
Comparable Scripts:
- The Devil Wears Prada
- Crazy Rich Asians
- The Hunger Games
- Sex and the City
- The Great Gatsby
- The Bold Type
- The Proposal
- The Office (US)
- The Talented Mr. Ripley
Writing Style:
The screenplay exhibits a diverse range of writing styles, but with a noticeable leaning towards dialogue-driven narratives featuring complex characters and intense interactions. While some scenes showcase witty humor and romantic elements, others delve into morally ambiguous situations and explore philosophical themes. There's a strong emphasis on character dynamics, often set within high-stakes or unique environments. The screenplay blends elements of both realism and heightened tension, sometimes incorporating elements of suspense and mystery.
Style Similarities:
- Aaron Sorkin
- Quentin Tarantino
- Nora Ephron
Pass/Consider/Recommend
Consider
Explanation: The screenplay for 'Triangle of Sadness' presents a complex and layered exploration of social dynamics, wealth, and power structures within the context of a luxury cruise. The narrative follows a diverse ensemble of characters, including models, billionaires, and crew members, as they navigate the challenges and tensions that arise during the voyage. The screenplay showcases strong character development, a compelling storyline, and a unique thematic exploration of class divisions, materialism, and the human condition. While the pacing and structure could benefit from some refinement, the screenplay's overall strengths and the topical nature of its themes make it a worthwhile consideration for further development.
USP: What sets 'Triangle of Sadness' apart is its unique blend of dark humor and social commentary, making it a compelling narrative that resonates with contemporary audiences. The screenplay's ability to juxtapose the superficiality of the fashion world with deeper existential themes creates a rich tapestry of storytelling that is both entertaining and thought-provoking.
Market Analysis
Budget Estimate:$25-35 million
Target Audience Demographics: Young adults aged 18-35, fans of dark comedy, survival dramas, and social commentary.
Marketability: The screenplay combines elements of dark comedy and survival drama, appealing to a broad audience interested in social dynamics and humor.
The unique setting of a luxury yacht juxtaposed with survival themes offers a fresh take on the genre, attracting viewers looking for innovative storytelling.
The character-driven narrative and exploration of modern relationships resonate with contemporary audiences, though it may have niche appeal.
Profit Potential: Moderate to high, as the film could attract a diverse audience and perform well in both domestic and international markets, especially with a strong marketing campaign.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a sharp, witty, and often satirical tone, particularly noticeable in the dialogue. There's a keen observation of social dynamics and power plays, especially within the context of the luxury fashion and yachting worlds. The narrative seamlessly blends moments of high-stakes tension with lighthearted humor and absurdity, often highlighting the clash between superficial appearances and underlying complexities. Detailed character direction, particularly regarding facial expressions and body language, further enhances the writer's distinct style.
Best representation: Scene 15 - A Moment of Connection. Scene 15 best encapsulates the writer's unique voice because it perfectly exemplifies the blend of sharp, witty dialogue, contrasting character dynamics, and satirical observation of social dynamics within a high-class setting. The juxtaposition of Dimitry's arrogant pronouncements on global finance, Yaya's self-absorbed Instagram post, the struggling waitress, and the sweet old couple creates a microcosm of the screenplay's central themes: the clash between superficial wealth and genuine human connection, and the inherent absurdity of social hierarchies within the context of luxury and privilege. The scene’s humor is sharp and insightful, highlighting the absurdity of the situation without sacrificing its complexity.
Memorable Lines:
- LEWIS TAYLOR: He wanted you to enter this industry where you earn only 1/3 of the women, where you constantly have to maneuver homosexual men who want to sleep with you? (Scene 1)
- Carl: DON’T YOU DO THAT TO ME! DON’T YOU FUCKING DO THAT TO ME! (Scene 7)
- DIMITRY: Shit. I sell shit. I sell shit. Shit. (Scene 34)
- CAPTAIN: My government murdered Martin Luther King, Malcom X, Bobby Kennedy, and John F. Kennedy. My government overthrew good, honest, democratic leaders of the people in Chile, Venezuela, Argentina, Peru, El Salvador, Nicaragua, Panama, and Bolivia. (Scene 38)
- CAPTAIN: You filthy, capitalist, Russian pig. You have a good heart. You’re not just a crazy Russian...shit seller. I’m not a great. I’m a shit socialist because I have too much. I have too much abundance in my life. I’m not a worthy socialist. I’m a shit socialist. (Scene 35)
Characters
Carl:A male model struggling with insecurities and navigating complex relationships.
Yaya:A social media influencer dealing with jealousy and her relationship with Carl.
Abigail:A cleaning lady who becomes a key figure in the survival dynamics and power struggles.
Dimitry:A wealthy Russian businessman with a humorous yet chaotic presence.
Jarmo:A lonely Finnish businessman who seeks connection amidst the chaos.
Therese:A character who experiences the group's struggles and isolation.
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 - Casting Call Chaos | Humorous, Sarcastic, Cynical | 8.5 | 9 | 8 | 9 | 9 | 6 | 8 | 7.5 | 7 | 7 | 5 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
2 - Casting Chaos: Grumpy vs. Smiley | Humorous, Sarcastic, Playful | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 6 | 5 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
3 - Casting Call: A Model's Transformation | Playful, Critical, Instructive | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
4 - Fashion Show Shuffle | Tense, Playful, Upset | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
5 - The Bill Dilemma | Tense, Emotional, Humorous | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
6 - Rainy Revelations | Tense, Reflective, Confrontational | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
7 - Elevator Tensions | Tense, Emotional, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
8 - Love or Business? | Tense, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
9 - A Sweet Delivery | Tense, Exciting, Mysterious | 8.5 | 9 | 9 | 9 | 7 | 3 | 8 | 7 | 4 | 6 | 6 | 7 | 6 | 5 | 6 | 9 | 8 | 8 | 8 | |
10 - Rallying the Crew | Motivational, Humorous, Intense | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
11 - Morning Refusals | Tense, Awkward, Intimate | 7.5 | 7 | 7 | 8 | 8 | 7 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | |
12 - Jealousy on the Yacht | Tense, Accusatory, Jealous, Frustrated | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
13 - A Ring and a Report | Serious, Concerned, Friendly | 8.2 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
14 - A Captain's Dilemma | Troubled, Serious, Concerned | 7.5 | 7 | 8 | 8 | 7 | 6 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | |
15 - Lunch on the Yacht: A Clash of Lifestyles | Awkward, Informative, Light-hearted | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
16 - A Moment of Connection | Tense, Empathetic, Jealous, Angry | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
17 - Dinner Dilemma | Tense, Serious, Concerned | 7.5 | 8 | 8 | 8 | 7 | 7 | 8 | 7.5 | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
18 - A Night of Champagne and Disappointment | Playful, Jealous, Confrontational | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
19 - Playful Deceptions | Playful, Tender, Humorous | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 3 | 7 | 2 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
20 - Jacuzzi Revelations | Awkward, Playful, Conversational, Reflective | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 7 | 8 | 6 | 8 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
21 - Navigating Tensions | Tense, Humorous, Serious | 7.5 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
22 - Tension on the Fourth Deck | Tense, Professional, Concerned | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
23 - From Kitchen to Water Slide | Humorous, Tense, Authoritative | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
24 - A Splash of Change | Light-hearted, Friendly, Playful | 8.5 | 8 | 8 | 8 | 9 | 5 | 8 | 7 | 3 | 6 | 4 | 8 | 7 | 7 | 9 | 9 | 8 | 9 | 9 | |
25 - Stormy Waters | Tension, Playful, Mysterious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | |
26 - A Swaying Welcome | Light-hearted, Formal, Humorous | 8.5 | 8 | 8 | 9 | 9 | 5 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
27 - Dinner Disarray: A Yacht's Culinary Catastrophe | Humorous, Satirical, Sarcastic | 8.5 | 8 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
28 - Turbulence at Dinner | Anxiety, Humor, Disgust | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
29 - Stormy Seas and Forced Smiles | Anxiety, Humor, Chaos | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
30 - Dinner Gone Awry | Dark, Humorous, Anxious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
31 - A Rocky Welcome | Humorous, Anxious, Sympathetic | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
32 - Political Banter Amidst Chaos | Humorous, Chaotic, Sarcastic | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 6 | 7 | 7 | 6 | 8 | 6 | 7 | 9 | 8 | 8 | 7 | 7 | |
33 - High Stakes on the High Seas | Light-hearted, Humorous | 8.5 | 8 | 8 | 9 | 9 | 4 | 8 | 7 | 3 | 6 | 2 | 5 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
34 - Chaos on the High Seas | Humorous, Chaotic, Light-hearted | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
35 - Philosophy Amidst Panic | Tense, Humorous, Philosophical | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
36 - Chaos Afloat | Dark, Chaotic, Disgusting, Panic | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 9 | 6 | 9 | 8 | 8 | 8 | |
37 - Chaos in the Dark | Intense, Philosophical, Chaotic | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
38 - Whispers of Truth | Serious, Reflective, Confrontational | 8.5 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Dawn of Danger | Tense, Chaotic, Philosophical | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
40 - Tensions on the Shore | Tense, Confrontational, Confused | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
41 - Panic in the Dark | Tense, Fearful, Desperate | 8.5 | 8 | 8 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
42 - Desperate Prayers and Locked Hope | Tense, Terrified, Desperate | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
43 - Left Behind | Desperation, Tension, Anxiety | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 9 | |
44 - Beachside Dilemma | Desperation, Resourcefulness, Curiosity | 7.5 | 8 | 7 | 9 | 7 | 6 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
45 - Claiming Authority | Tense, Confrontational, Reflective, Authoritative | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
46 - A Night of Camaraderie and Mourning | Tense, Desperate, Grim | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
47 - Confrontation Over Charred Pretzels | Accusatory, Authoritative, Defensive | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
48 - Unexpected Discoveries and Nighttime Camaraderie | Tense, Anxious, Confrontational | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 9 | |
49 - Jealousy by the Fire | Tense, Emotional, Intimate | 7.5 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 5 | 6 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
50 - Tides of Jealousy | Tense, Emotional, Jealous, Anxious | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
51 - Secrets and Whistles | Humorous, Jealous, Playful | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
52 - The Hunt's Consequence | Tense, Dark, Shocking | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
53 - Tensions by the Fire | Tense, Jealous, Dramatic | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
54 - Entangled Emotions | Tense, Emotional, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
55 - Pirate Shaves and Financial Waves | Humorous, Conversational, Light-hearted | 8.5 | 8 | 7 | 8 | 9 | 4 | 8 | 7 | 4 | 6 | 2 | 5 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
56 - Into the Jungle | Tension, Jealousy, Intimacy, Conflict | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | 9 | 9 | |
57 - Navigating Uncertainty | Tension, Jealousy, Awkwardness | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 6 | 8 | 6 | 7 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
58 - Miscommunication on the Island | Tense, Desperate, Excited | 7.5 | 8 | 7 | 9 | 7 | 6 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
59 - Discovery on the Hillside | Tense, Mysterious, Anxious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
60 - Tension on the Shore | Tense, Emotional, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - Casting Call Chaos
About fifty half naked men are lined up in a room. The queue
leads towards an entrance to an adjoining room that has a
handwritten “Maybe” sign next to it. Suddenly we hear voices
and the men start to look further back along the line.
The “Fashion TV profile”, LEWIS TAYLOR, comes into the frame.
He’s 25, high-energy, intelligent and blatantly homosexual.
Accompanied by a camera operator, Lewis extends a mic in the
direction of one young man. The camera operator moves in; the
lens is uncomfortably close to the model’s face.
LEWIS
So, what are the most important
aspects of being a male model?
MODEL 1
I would say: look good.
Lewis keeps looking at the guy, expecting more. The model
gets a bit flustered.
LEWIS
Yes? And?
MODEL 1
Er, that’s it.
MODEL 2
And walk!
LEWIS
Look good and walk? But not at the
same time, right?
MODEL 1
Most of the times at the same time.
LEWIS
Really? Can you do that?
MODEL 1
Sure.
LEWIS
Please show us! Yes, yes go ahead.
The model walks out of the line. Before even reaching the end
of the room Lewis interrupts.
LEWIS (CONT'D)
Thank you. Next!
He picks his way through the crowd of shirtless men.
LEWIS
What do we have here? Hey there!
MODEL 3
What’s up, man?
LEWIS
So, I want to know, did you parents
support you in being a male model?
MODEL 3
All the way, right from the start.
LEWIS
Even your father?
The model shrugs his shoulders and nods.
MODEL 3
Even my father, yeah. Why?
LEWIS
He wanted you to enter this
industry where you earn only 1/3 of
the women, where you constantly
have to maneuver homosexual men who
want to sleep with you?
Laughter all around the room.
INT. CASTING AGENCY / CASTING ROOM - DAY
A MODEL stands solemnly in a bare room as the laughter from
the other room filters through the open door. A SMALL DOG
stands nearby.
Four panelists are sitting on the other side of a table. On
the wall behind them is a big handwritten sign with
instructions on how to walk. “Guys - Dead straight, no arms
or hips. Long neck, very tall. Think Couture. Strong face and
eye. No smile. Own the room!”
Ratings
Scene 2 - Casting Chaos: Grumpy vs. Smiley
Lewis points towards the exit and moves on. Suddenly he
catches sight of someone standing further down the line and
hurries of in his direction with the cameraman following.
It's CARL waiting for his turn. In his hand he's holding his
portfolio and a book.
LEWIS
I’m Lewis Taylor, and I’m standing
here with my very best friend...
Lewis acts like he’s uncomfortable and fakes a whisper.
LEWIS (CONT’D)
What was your name?
CARL
Carl.
LEWIS
My best friend Carl! How are you
today Carl?
CARL
Yeah, good.
LEWIS
So, is this runway casting for a
grumpy brand or a smiley brand?
CARL
Er, I don’t know, man. I don’t
know.
LEWIS
Well, smiley brands are the cheap
ones, and the more expensive the
brand gets, you start to look down
on your consumer. Like if you want
to be apart of this “von oben” one-
man in crows, you have to show us
some serious cash.
Lewis starts out with a smile, but as he turns an imaginary
dial in the air, his smile tones down and gradually
disappears, becoming a bored grumpy face.
CARL
Then it’s a “grumpy brand”.
LEWIS
Congratulations! I’m so happy for
you! And if you get the job, you
will get to wear exclusive
clothing, and look down on your
consumer. Okay, Carl. Show us some
of that grump look .
CARL
No, no...
LEWIS
Yeah, let’s go! C’mon Carl! You can
do it.
Carl scowls at the camera and walks over the room and back,
as Lewis ad libs a “voice-over”.
LEWIS (CONT’D)
“Don’t you dare talk to me! I'm an
Aryan 'Übermensch’,too obsessed
with the image of myself to be
involved with anything that doesn’t
fit my stylized image of the world.
Wait... suddenly I’m dressed in
something less expensive. It’s H&M!
Carl has dialed up to a grin. Lewis ushers the other models
of all ethnicities closer to Carl.
LEWIS (CONT’D)
Everybody, come together! “You can
too be a part of this happy,
smiling group of mixed skin colors,
for not that much money!
#friendship, #everyonesequal,
#happylife, #stopclimatechange,.”
Oh, no! Oh! I am so sorry darling.
I didn’t see that it was...
Balenzzzziaga.
Carl and the other models go back to a disdainful scowl.
LEWIS (CONT’D)
“We are strong and tough and
unapproachable!” Show me that
Balenciaga look! Oh, I’m sorry, I
think it’s back to H&M again!
The models laugh, grin, shift around. Lewis launches into a
rapid-fire test.
LEWIS (CONT’D)
“Yeah we’re just kidding, we’re so
cheap, we’re so happy!” Everybody
come closer together!
(beat)
Balenciaga is back! Ooh, fiercer
than ever! “We are stone cold. Yes!
Oh my god, get away from us!”
(beat)
H&M is here again! Balenciaga! H&M!
Balenciaga! And H&M! Oh, everybody,
give it up for these guys!
Fabulous! Fabulous, Carl!
The models clap.
Ratings
Scene 3 - Casting Call: A Model's Transformation
Carl is ushered into the room by THE ASSISTANT. He hands over
his portfolio. The Designer flips through it without much
enthusiasm until he reaches a fragrance ad that features a
close-up of Carl’s face that takes up more than half the
page. He looks up at Carl as if they can’t believe it’s the
same person.
THE DESIGNER
Oh, it’s you?
CARL
Yeah.
THE DESIGNER
You can hardly tell it’s the same
guy. How old is this perfume
campaign?
CARL
Three years ago, and then maybe a
year after that.
THE DESIGNER
You do castings again, then?
CARL
Yeah.
THE CASTING DIRECTOR
Could you do a little walk for us?
Quick, no smiling, no stopping.
CARL
Yeah.
Carl walks back across the room, turns and comes back to the
panelists.
THE CASTING DIRECTOR
One more time.
He walks again.
The Casting Director gives The Designer a look. He stands and
comes around the table to Carl’s side.
THE CASTING DIRECTOR (CONT’D)
Okay, today, fashion is not just
about surface. It’s about the
inside. Think about a tune that you
like when you walk. Look at me.
CASTING DIRECTOR hums Staying Alive by The Bee Gees while
walking the room.
THE CASTING DIRECTOR (CONT’D)
Can you do that?
CARL
Yeah, so like a rhythm?
THE CASTING DIRECTOR
Yeah. Go!
Carl walks again.
THE DESIGNER
Can you relax your Triangle of
Sadness? This, like, between your
eyebrows here.
The Designer knits his brows and points at the worry lines
that appear between the eyes. Carl automatically touches his
own triangle of sadness and smiles somewhat sheepishly.
THE CASTING DIRECTOR
A little bit more... Okay. And open
your mouth so you look a little bit
more available.
Carl opens wide.
THE CASTING DIRECTOR (CONT’D)
Okay, not that much. A little bit
less.
He closes his mouth halfway.
THE CASTING DIRECTOR (CONT’D)
Okay. Thank you very much.
CARL
Thanks.
CASTING ASSISTANT
Next, please!
Carl leaves and the next Model takes his place.
PART 1 - CARL & YAYA
Ratings
Scene 4 - Fashion Show Shuffle
The atmosphere is tense and a bit stiff, not only because
this is the opening: at fashion shows, the audience is just
as much on display as the models. Everything that is worn -
clothing, shoes, accessories - every detail down to hair and
make-up has been carefully considered and chosen to reflect
where they believe they are in the pecking order.
A HEADSET GIRL bows in front of a COUPLE sitting front row at
a packed fashion show and says something to them that
immediately upsets them.
The Couple argues briefly before the Man gives in and waves
at his Wife to get up. The Headset Girl grabs a third person
and moves them away as more headset girls come into view,
walking backwards. They are followed by Camilla Läckberg
dressed in sunglasses accompanied by an entourage of three.
When it’s time for them to be seated, they need one more
chair. In a rather pushy way, Headset Girls get everyone on
the entire row to get up and move one seat to the left. We
follow the domino effect that leads to
Carl left without a seat at the end.
CARL
Where can I sit?
HEADSET GIRL
Sorry?
CARL
I don’t have a seat now.
HEADSET GIRL
There’s a seat, I think, just right
up there. Just there.
She waves to the back of the room. Carl heads to the back and
climbs through the crowd.
INT. CATWALK / RUNWAY SHOW - DAY
It’s dark except for flashing red lights and a screen behind
the runway which scrolls with messages like EVERYONE’S EQUAL
and LOVE NOW.
The music is booming as YAYA steps out as the first model on
the catwalk, dressed in two-meter-wide wings. Hundreds of
phones and cameras are immediately pointed her way.
At the back of the room, behind all the rows of seats, Carl
is watching.
Ratings
Scene 5 - The Bill Dilemma
Later that night, Carl finds himself at an intimate
restaurant with his girlfriend, Yaya. They have enjoyed a
long meal together and the night is now winding down. Only
one sensitive moment is still up for this relatively new
couple - the bill has to be cleared. On a first, second,
third or even a fourth date, Carl would not feel that he
would have any other option then to pay up. This night
though, if Carl doesn’t want to be stuck, playing the
stereotypical “man”, he has to take the bull by the horns.
When the waiter puts the bill on the table between them, Carl
realizes that Yaya is perfectly fine with the defined roles
and that she’s willing to fight… She doesn’t even look at the
bill. Instead she takes up her make-up mirror and starts to
do her lips. Carl feels terrified but steels himself, feigns
a few stretches, even yawns. Yaya lowers the make-up mirror,
flashes him a smile and hides again.
The time aspect of un-picked-up checks is far worse on a man.
A man really despises himself whenever he feels like he’s
being ungenerous, stingy. Having this button pushed makes it
ten times worse. Yaya is very aware of this, all women are.
Carl rests his arm on the tabletop, moves his hand closer to
the bill, waits a few seconds, then carefully lifts, just to
check
YAYA
Thank you, honey. That’s so sweet
of you.
“How unbelievably rude!”, “You have to stand up for yourself
now, Carl!” – That’s what’s running through Carl’s head as he
sees his male pride picking up the check and opening his
wallet. The contrast between his convictions and his actions
makes his face look like he just bit into a lemon.
YAYA (CONT’D)
What’s the matter?
CARL
No, nothing.
YAYA
I don’t know, you looked like you
were thinking.
CARL
No, I’m not. I’m not. I’m cool.
Carl shakes his head and smiles.
YAYA
I can tell there’s something wrong.
Just talk to me, what is it?
Yaya looks like a question mark.
After a brief reflection, he decides he won’t hold back.
CARL
No, it’s just. When you say “Thank
you, honey” like that, you don’t
really give me an option but to
pay.
Brief silence.
CARL (CONT’D)
Just an observation. Just something
I’ve noticed.
YAYA
We can split the bill if you’d
like. I can whip out a calculator
and...
She demonstrates poring meticulously over each item with a
finger.
CARL
Of course I don’t want that.
YAYA
I think it all evens out, you know.
CARL
Yeah, okay… Mmm.
His “Mmm” is tinged with skepticism.
CARL (CONT’D)
Don’t you remember last night? You
said you were gonna pay for food
today. At the end of the meal, you
said, “Thanks. Tomorrow I’ll get
it.”
Yaya processes this information carefully. Did she?
YAYA
Sure, but then you picked up the
bill and I thought you wanted to
pay so I said “Thank you, honey.”
Yaya glares at him and Carl becomes speechless. This is
exactly the road he did not want to go down.
CARL
But it was there for such a long
time.
YAYA
I didn’t see it.
CARL
You didn’t see it?
YAYA
Or I just didn’t notice it. We were
having a nice dinner.
CARL
You didn’t see the bill when it got
put on the table?
YAYA
No I didn’t Carl.
CARL
So that waiter came in, and put it
in the middle of the table and you
didn’t happen to see it?
For a few seconds it’s a toss-up but then Carl makes the
horrible mistake of smiling in a self-righteous way.
YAYA
Wow.
CARL
What do you mean, “Wow”?
Yaya starts picking up her belongings, she’s leaving.
CARL (CONT’D)
What are you doing? Sit down.
Please, Yaya, sit down!
We cut to see the entire restaurant. Surrounded by tables and
guests, Yaya is standing up and Carl is trying to convince
her to sit back down. We cut back to their table.
YAYA
I don’t know...I’m trying to figure
out what’s going on... Apparently,
I did something terrible when I
said “thank-you, honey”.
CARL
Calm down. Please, just sit down.
YAYA
Why are you so obsessed with money?
CARL
I’m not obsessed. Can you just sit
down please? It was just an
observation from yesterday. Can you
please sit down.
She leans in, takes the check away from him, sits down and
reaches for her handbag.
CARL (CONT’D)
No, no. What are you doing? You
can’t pay now.
She slips her credit card into the holder and holds it up in
the direction of the waiter, that has been standing
uncomfortably close throughout.
WAITER
Are we enjoying ourselves?
CARL
Yes, thanks.
She extends the bill towards the waiter at the same time that
Carl tries to stop it from reaching him.
CARL (CONT’D)
Yaya...
As the bill ends up in his hands, the waiter looks confused.
But when Yaya nods at him he walks off with her card. Carl
immediately feels terribly ashamed. It doesn’t matter if Yaya
was manipulating him or not, all he wants is to put
everything right again.
CARL (CONT’D)
Now I feel bad.
YAYA
Why? I make more money than you.
The line is delivered with a strong, negative, valuation.
They sit there in silence for a few seconds until their
waiter returns.
WAITER
Excuse me? Your card didn’t work.
Do you have another one maybe?
YAYA
Can you try it again?
WAITER
I tried it twice.
She pulls out an American Express card but the waiter shakes
his head. They don’t accept American Express.
Yaya slips it back in her wallet, picks up the check, looks
at the sum and pulls out a 50-euro note. She places it on the
table and takes another look in her wallet, but she doesn’t
seem to have any more cash. This is Carl’s chance. He hands
his card to the waiter
CARL
Just take this one.
YAYA
Carl! Just give me a second!
CARL
Let me pay.
WAITER
Yes, thank you.
Yaya leans back and pouts. The waiter puts Carl’s card in the
reader, hands it back to Carl that types in the tip and his
code. The 50-euro bill is still on the table… And the longer
it remains there, the more Carl starts counting on it as a
contribution from Yaya. 50 euros only covers one third of the
cost, but under the circumstances, Carl’s willing to accept
it as his chance to break even. But when Carl is handed the
receipt and is just about to go for the bill, Yaya picks it
up and pops it back in her wallet.
Ratings
Scene 6 - Rainy Revelations
The rain is pouring down and Yaya and Carl are quite wet when
they enter the Uber. Despite all, Carl is glad to have made
it through all that alive and he’s repressed the irritation
about the 50-euro bill.
Now he's thinking that it might be good to try a different
approach – what if they could admit what each of them brought
to the table. They might even be able to laugh it off.
CARL
I do think it’s quite crazy how
it’s such a hard thing to talk
about. Money.
No answer.
CARL (CONT’D)
It’s such a touchy subject, don’t
you think?
No answer.
YAYA
Yeah, I think it’s un-sexy to talk
about money.
Carl's intention was to make peace, now he feels completely
backstabbed. He fights to keep calm.
CARL
Okay, but then why is that?
No answer.
YAYA
It’s just not sexy.
CARL
Well, you don’t think it’s because
it’s so tied to gender roles? The
menu in the restaurant didn’t even
have prices for you.
YAYA
That’s not fair, Carl. I’m always
paying.
CARL
Let’s take you out of it and just
talk about women in general.
YAYA
I’m a generous person, Carl.
CARL
Sure you’re a generous person,
but..
Yaya just stares at him.
CARL (CONT’D)
When it comes to you and me, we’re
dealing with roles that I hate. I
don’t want to be the man, while you
the woman, I want us to be best
friends.
YAYA
I don’t want to sleep with my best
friend.
CARL
But don’t you understand? …I mean
we should treat each other as
equals, not just fall into the trap
of stereotypical gender-based
roles, like most couples seem to
do.
Yaya gets out of the car.
Ratings
Scene 7 - Elevator Tensions
The hotel elevator stops at their floor and the doors swing
open. Both of them are soaking wet. Carl is in mid-rant.
CARL
You know, I don’t mind paying! I
really like to invite you, I really
enjoy it, but there’s a
limit, a point where I feel used. I
hate that I feel that way, but
I do, I’m sorry!
YAYA
I use you!?
CARL
I’m just referring to my feelings
now, but okay, we could go through
the last few days and...
YAYA
Are you serious now!? You are
staying at my hotel! I, I, I bought
you that t-shirt, and I invited you
for dinner tonight...
CARL
You got this t-shirt for free,
and actually you didn’t invite me
for dinner.
YAYA
That’s because my card didn't work.
Carl is smiling ironically. Yaya can’t believe her eyes.
YAYA (CONT’D)
There’s a cash machine in the
lobby, I’ll pay back every last
cent right this minute!
She presses the button to the lobby.
CARL
You know what... It’s ok.
Carl presses the button that holds the doors open.
YAYA
I'm going to pay you back, Carl.
I just didn't realize that you
needed the money right now, when we
are going to bed.
She pushes the "close" button, Carl pushes the "open" button.
Yaya's last sentence really triggers him. He looks at her,
pauses for effect and delivers the following with as much
gravitas as he can muster.
CARL
Ah, so your intention was to pay
me back?
YAYA
Yes, of course.
CARL
Really?
YAYA
Yes.
CARL
Then why did you take the 50-euro
bill from the table?
The elevator doors start closing and Carl movies to block
them.
CARL (CONT’D)
When your card didn't work, you
started to look for cash in your
wallet... and you put down a 50-
euro bill on the table, right?
And when you didn't have enough
(MORE)
CARL (CONT’D)
cash, I paid with my card. ...And
then... instead of giving the 50
euros to me, you picked it up
from the table and put it back in
your purse.
Yaya shakes her head slowly. The look in her eyes is deadly.
CARL (CONT’D)
What? …I’m just relaying what
actually happened.
Yaya locates her wallet in her handbag, picks out the 50-euro
bill and crams it into Carl’s shirt pocket.
CARL (CONT’D)
What the hell are you doing!?
Carl looks shocked, steps back, leaving the elevator doorway.
CARL (CONT’D)
DON’T YOU DO THAT TO ME! DON’T
YOU FUCKING DO THAT TO ME! YOU
DON'T FUCKING DO THAT TO ME!
He grabs the 50 euros, folds the bill and pushes it through
the slot between the elevator and the building so it falls
down into the elevator shaft
YAYA
WHAT ARE YOU DOING, MY MONEY!?
CARL
HAHAHA YOUR MONEY!?
The doors start to close.
YAYA
THAT’S RIGHT, MY MONEY!
CARL
OH MY GOD! YOUR MONEY?! YOUR 50
EUROS!? I’LL GIVE YOU 100 EUROS,
1000 FUCKING EUROS IF YOU LIKE.
WHY CAN’T YOU UNDERSTAND THAT
THIS IS NOT ABOUT MONEY!
The door is shut.
CARL (CONT’D)
THIS IS NOT ABOUT…
Carl presses the button, but it won’t open. He remains
standing there for a while, the wind taken out of his sails.
CARL (CONT’D)
…money
Ratings
Scene 8 - Love or Business?
As he turns to head for their hotel room, he faces a cleaning
lady, staring right at him. Carl’s too upset to be ashamed
and strides past her in the hallway. At first with
determination – after all, it’s crystal clear that she was in
the wrong… Then comes the split-second of doubt. He tries to
shoo it away with the memory of Yaya stuffing that bill in
his shirt pocket, so totally unacceptable! He did the right
thing. The hallway is long, and doubt comes boomeranging
back. The closer he gets to their room, the more it all hits
home.
9 INT. HOTEL / CARL & YAYA’S ROOM - NIGHT 9
Finally, inside the room, he tries to text and call Yaya with
no answer. He takes off his clothes and gets in bed, presses
all six light buttons but can’t figure out how to turn the
lights off.
Gets up to unscrew the bulb itself when the door opens and
closes.
Yaya pokes her head in, she looks unhappy. They sit across
from each other.
CARL
What have you been doing?
YAYA
Trying to sleep on a chair.
CARL
How’d that go?
YAYA
Well, I’m back. What have you been
doing?
CARL
I was walking up and down the
corridor and texting you multiple
times.
YAYA
This is so silly.
YAYA (CONT’D)
I’m so good at being manipulative.
I don’t know, I do it and I don’t
even realize that I’m doing it.
CARL
I love you. No, but seriously, it’s
amazing that you can tell me that.
Now you’re a generous person.
YAYA
Okay. Ask me anything.
CARL
You sure?
CARL (CONT’D)
In the restaurant, with the bill..
YAYA
What about it?
CARL
You intentionally didn’t pick that
up, right?
YAYA
Yes.
CARL
Didn’t that embarrass you?
YAYA
No.
CARL
But you make more money than I do.
YAYA
It doesn’t really matter who makes
more money.
CARL
What is it about, then?
YAYA
What if I fall pregnant?
CARL
With me?
YAYA
What if I fall pregnant and I can’t
go on working.
(MORE)
YAYA (CONT’D)
I need to know that the person I’m
with intends to take care of me.
Otherwise I’m wasting my time.
CARL
Yeah, I guess you’re not the kind
to work in a restaurant or a
supermarket, are you? No offense.
YAYA
I’m a model, the only way for me to
get out of this life is to become
someone’s trophy wife.
CARL
So, there’s nothing else to this
for you other than increasing the
followers on our Instagram, and all
that?
YAYA
It makes sense doesn’t it?
CARL
Sure.
YAYA
I like you. You like me. It’s good
for business.
CARL
Nothing more?
Yaya shakes her head.
CARL (CONT’D)
I’d like to put a bet on that.
YAYA
Okay. Deal.
CARL
We’ll see. I’ll make you love me.
It’ll be real love as well. You’ll
forget about this trophy shit and
you’ll love me.
Carl smiles lovingly at her. Yaya purses her lips to keep
from smiling back. She looks lovingly at Carl, at his hair,
his sad blue eyes.
PART TWO - THE CRUISE SHIP.
Ratings
Scene 9 - A Sweet Delivery
The interior of a helicopter. We focus on a parcel that the
copilot has on his lap. Through the window, behind the
parcel, we see a turquoise sea flashing past. When the
helicopter slows down and begins to hover, the copilot opens
the side door, hooks up the parcel to a wire pulley and
lowers it.
18 EXT. SPEEDBOAT - DAY 18
On the rear deck of a luxurious sailing yacht we see a
Filipino crew member wearing sports goggles with reflective
lenses gazing up at the chopper, generating massive winds.
After a while, he reaches skywards and grabs the parcel,
unhooks it, says something into his walkie-talkie and the
wire that lowered the parcel is hauled back up.
19 EXT. YACHT / DECK - DAY 19
We cut to a long shot and see the wire going back up to the
helicopter hovering some 50 meters over the cruise ship. When
only a few meters are left to go, the pilot dips the nose of
the chopper and leaves.
20 INT. YACHT / HALLWAYS & KITCHEN - DAY 20
The parcel is carried down the hallways and into the
galley...
21 INT. YACHT / KITCHEN - DAY 21
...where it is handed over to one of the chefs. He places it
on a counter and starts opening it, revealing... three jars
of Nutella. We hear a V.O. while the Nutella jars are on
screen.
CHIEF STEWARDESS PAULA (O.S)
The success of a luxury cruise
depends mainly on two moments...
Number one: The first hours the
guests are on board. Number two:
The last day the guests are on
board....
Ratings
Scene 10 - Rallying the Crew
We cut to the lobby and see that the voice belongs to the
Chief Stewardess, who’s gathered the service staff for a pep-
talk. Everyone in the room is sporting the ship’s uniform: a
white polo shirt, blue slacks, blue sailing shoes. They all
have a deep tan from spending a season at sea. The Chief
Stewardess is pretty and girlish, yet still as steely as a
drill instructor.
CHIEF STEWARDESS PAULA
If we can impress them on those two
occasions then the cruise will
probably be a success. I don’t want
to hear anybody saying, “we don’t
need to cover the sundeck they all
leave after breakfast.” No. I want
full set-up every morning. No
excuses. Not even for the last
hour. It’s always “Yes, sir! Yes,
ma’am!” If there is an illegal
substance they want or a unicorn.
She opens her arms wide like a conductor.
CREW
“Yes, sir! Yes, ma’am!”
CHIEF STEWARDESS PAULA
Yes! I know, I know what it is to
work for service. I know all the
challenges you’re facing, but at
these times, I ask of you to keep
that chin up. Stay strong and try
to remind yourself that if
everything goes well at the end of
the cruise...
The people at one of the tables start doing a drum roll with
their hands on the table...
CREW
Money, money, money!
CHIEF STEWARDESS PAULA
A very generous tip...
CREW
Money! Money! Money! Money!
The staff cheers.
INT. YACHT / FILIPINO CREW CABIN - DAY 23
On the lowest deck, under the waterline, you find the
Filipino crew members. Dressed in uniform - a blue tee, blue
slacks, blue sailing shoes and shades with reflective lenses
– they are playing cards in a cabin with bunk beds. When they
hear the noise from the service staff one deck higher up,
they momentarily gaze at the ceiling. The reflective goggles
make the men look mean and insect-like. Why did the director
choose these attributes, we wonder?
Ratings
Scene 11 - Morning Refusals
Carl and Yaya are passed out in the bed, tangled up in the
sheets when ABIGAIL THE TOILET MANAGER knocks on the door.
ABIGAIL (O.S.)
Housekeeping!
No one answers. She knocks again, listens, opens the door and
walks into the little hallway, but stops immediately when she
hears someone calling.
CARL
No. No, thank you.
ABIGAIL
Do you want me to clean the room?
CARL
No, thanks.
ABIGAIL
Okay, I’ll come back in 30 minutes?
CARL
No, you can come back a bit later.
ABIGAIL
Okay, one hour?
YAYA
Could you just come back a bit
later, please?
ABIGAIL
Okay, I’ll come back later. Sorry
ma’am.
Abigail leaves.
Ratings
Scene 12 - Jealousy on the Yacht
Yaya is posing in a bikini on the rear deck, Carl is taking
the photos. After a couple of shots Yaya shows that she wants
to have a look. Carl hands over the mobile phone to her and
Yaya scrolls back and forth, commenting on the pictures.
Carl looks at the sea and then at a crew member who jumps
down to the deck, slips off his t-shirt. Carl reacts – the
crew don’t usually draw any attention to themselves. Going
bare- chested is very inappropriate and probably not allowed
on board. In addition to this, the man’s body is not a pumped-
up gym product like his own, but naturally tanned and
perfectly chiseled by repeated hard labor.
Then he realizes that Yaya is right next to him, that she can
see what he sees too, and he becomes afraid of where her gaze
may have wandered.
The crew member starts smiling and Yaya smiled back. Carl is
convinced about what’s going on... It’s utterly shameless to
flirt with someone in front of their partner. If Yaya is
allowing him to do this, it will exponentially increase the
humiliation factor. Carl gives Yaya an accusing look.
YAYA
What?
CARL
Nothing.
CREW MEMBER
Hey!
YAYA
Hey.
She’s talking to him!!!! Carl becomes furious.
CARL
What are you doing? Are you talking
to the crew?
YAYA
Yeah...
CARL
Why are you talking to the crew?
YAYA
I said hello.
CARL
Yeah, you smiled at him and you
said hello.
YAYA
So?
CARL
Seriously, Yaya, we’re sitting here
together, you don’t just do that.
YAYA
Do what?
CARL
If I started smiling at the hot
stewardess and you know...
YAYA
You think she’s hot?
CARL
No, but if she was, and I started
smiling at her, and giggling and
saying “Hey,” like you did, then
you wouldn’t like it, would you?
YAYA
Are you jealous?
CARL
No. No, I’m not. It’s just like I
mean, look at you. Then a hot guy
turns up...
YAYA
Do you think he’s hot?
CARL
He’s alright. Do you?
YAYA
Yeah!
CARL
What the fuck?
YAYA
You just said you thought he was
hot!
CARL
But, you don’t have to... You said
it very quickly. Jesus!
YAYA
Drop it, okay?
She goes back to her phone. Carl remains distracted by the
shirtless crew member.
Ratings
Scene 13 - A Ring and a Report
20 seconds later, Carl rings the bell at the reception desk.
While he’s waiting, his eyes wander to the items in the glass
case. Carl is interrupted by the arrival of the Chief
Stewardess that comes from the deck above.
CHIEF STEWARDESS PAULA
Can I help you, sir?
CARL
Sorry, just quickly. I was on the
rear deck, and one of your crew
members was bare-chested.
CHIEF STEWARDESS PAULA
Really?
CARL
Yeah, and smoking.
She frowns to show how serious this was.
CHIEF STEWARDESS PAULA
Oh, I’m so sorry. That’s so
inappropriate. I’ll take care of
that. I’m so sorry.
CARL
Maybe it’s not a big issue.
CHIEF STEWARDESS PAULA
No, but it’s not acceptable here.
CARL
I thought I’d let you know. I
didn’t want to make anything of it.
CHIEF STEWARDESS PAULA
Thank you so much. It won’t happen
again, sir. I promise you that.
CARL
Alright, thanks.
Carl leaves the reception and The Chief Stewardess turns to
ALICIA THE STEWARDESS.
CHIEF STEWARDESS PAULA
Alicia? There’s a crew member up on
the deck with no shirt on.
ALICIA
No shirt on?
CHIEF STEWARDESS PAULA
Yes.
Suddenly Carl appears in front of the reception desk again.
The Chief Stewardess shoots a quizzical glance at him from
the doorway. Their previous encounter is still fresh in the
memory.
CARL
Sorry...
CHIEF STEWARDESS PAULA
Yes?
Carl summons up courage.
CARL
Is it possible to look at
engagement rings?
CHIEF STEWARDESS PAULA
Yes, of course!
She flashes him a friendly smile, gets up and places the tray
with the rings on the counter.
CHIEF STEWARDESS PAULA (CONT’D)
This is a beautiful ring. This is
24-carat gold. We have a point nine
diamond in the middle, and we have
four brilliants on every side. Of
the band. It’s a very beautiful
ring.
CARL
Yes. It’s really nice.
CHIEF STEWARDESS PAULA
Do you want me to try it on so you
can see it on a hand.
CARL
Oh, okay yeah.
Paula places the ring on her finger to show off to Carl.
CHIEF STEWARDESS PAULA
It’s a very nice diamond, a
flawless diamond.
CARL
What was the price of that one?
CHIEF STEWARDESS PAULA
This one is 28,000 euros.
Carl nods.
Ratings
Scene 14 - A Captain's Dilemma
The Chief Stewardess is now hurrying along the fourth deck.
At the end of the corridor the Chief Stewardess stops, knocks
on a cabin door and listens.
CHIEF STEWARDESS PAULA
Captain?
Not a sound. She knocks again.
CAPTAIN (O.S.)
(through the door)
Yes?
CHIEF STEWARDESS PAULA
I just wanted to tell you that it’s
time for the safety drill.
CAPTAIN (O.S.)
I’m just not feeling well.
A troubled look momentarily passes over the Chief
Stewardess’s face.
CHIEF STEWARDESS PAULA
Should I get the doctor?
CAPTAIN (O.S.)
No, I’ll be fine. Just have the
First take care of it and then I’ll
see you later.
CHIEF STEWARDESS PAULA
Okay!
Ratings
Scene 15 - Lunch on the Yacht: A Clash of Lifestyles
We enter the dining room where it’s lunchtime. A waiter walks
up and places a Nutella jar at the table of DIMITRY, a
Russian billionaire.
The patriarch sits with two women -- VERA, older, and
LUDMILLA, younger. It’s not easy to understand what kind of
relationship they have to each other. Are they sisters? Are
they wife and mistress?
At the other side of the same table sit Carl and Yaya. Carl
is taking photos of Yaya raising a fork of pasta towards her
mouth. But she never lets the pasta reach her lips and when
she's satisfied with the picture she pushes the plate away
from her. Dimitry stares at her and makes a confused face.
DIMITRY
Aren’t you going to eat the pasta?
Yaya looks up at Dimitry from her screen.
YAYA
Sorry?
DIMITRY
Aren’t you going to eat the pasta?
YAYA
Oh. No I’m gluten intolerant.
Carl tries to cover the awkward silence.
CARL
It’s just for pictures. She’s an
influencer.
ZLATKO
Okay. You make money from that?
CARL
It depends. You mostly get free
stuff, to be honest. We got this
cruise for free.
DIMITRY
Good! Her looks paid for the
tickets. Not bad, huh?
CARL
I guess so, yeah. It did. So what
do you do?
DIMITRY
I sell shit.
CARL
What, sorry?
DIMITRY
I sell shit! Fertilizer for
agriculture.
CARL
Oh, fertilizer. Interesting
DIMITRY
In every business, it’s the right
place in the right moment. My right
place: east Europe. Right moment:
end of the 80s, beginning of the
90s.
LUDMILLA
Baby? Can I have this one?
The younger of the two women, shows something on her phone to
Dimitry.
DIMITRY
Yeah.
LUDMILLA
Thank you. Love you.
Dimitry gets back to telling his story.
ZLATKO
So in the beginning of the 80s, I
was only CEO in one agriculture
“Kombinat”, we called it. A hundred
thousand pigs, two million
chickens, and we’re getting some
kind of monopoly. You can call me
the King of the Shit! When you have
money, you know, you don’t leave
money to sleep, you understand.
Money must not sleep. So you put
this money, from this business,
because factories are shutting
down.
We leave the table as we catch up on a waiter that is
carrying a bottle of champagne. We stop at the table of a old
cute British couple, WINSTON and CLEMENTINE. On the other
side THERESE, who is impaired by a stroke and sitting in a
wheelchair.
WINSTON
You have the panna cotta, I’ll have
the tiramisu.
CLEMENTINE
Fine.
Clementine leans over and smiles towards Therese.
CLEMENTINE (CONT’D)
I’m Clementine and this is my
husband, Winston. We’re from Great
Britain.
Therese smiles at Clementine but instead of answering she
starts to look around.
CLEMENTINE (CONT’D)
My name is Clementine. And this is
my husband Winston. We’re from
Great Britain.
After a couple of seconds Therese’s husband Uli arrives to
the table.
ULI
Hello. This is my wife, Therese.
She understands you perfectly, but
my wife had a stroke. Since then,
she’s suffering from a disability
of speaking.
THERESE
In den Wolken...
CLEMENTINE
In den Wolken... What does it mean?
ULI
Up in the clouds.
CLEMENTINE
Oh! How beautiful.
Ratings
Scene 16 - A Moment of Connection
The shirtless crew member is ushered off the yacht onto a
waiting speed boat. He says his goodbyes to fellow crew
members.
Carl watches from above.
EXT. YACHT / BAR / DECK - NIGHT
Music plays and lights spin on the deck as people mingle.
Dimitry is having a drink at a table next to Carl. A couple
of meters away from them is Finnish businessman in his 50s,
JARMO, sitting alone.
Jarmo is holding on to a tall glass of beer for dear life
while he stares at Yaya and Ludmilla. Is it curiosity that
captivates him, or desire? We have no idea, but his gazing is
doomed with prejudice. Suddenly Dimitry leans towards Carl.
DIMITRY
Look at that. Sad, huh? He’s
hunting. Big dilemma. Should he
take the risk, or go to his room?
Look, look! Maybe he has a chance!
With his eyes on the horizon, Jarmo sighs deeply before
turning his gaze back on to the young females.
JARMO
Sorry if I’m interrupting. Could
you do me a favor? I have this girl
who should be here with me, but
couldn’t come and I would like to
take a picture please. Can you take
my picture?
YAYA
Of course.
Jarmo gives Yaya his phone and places himself in the bar with
one of the beers slightly raised towards the lens. Yaya takes
some pictures and hand back the phone.
JARMO
Thank you very much.
YAYA
A pleasure.
JARMO
Have a nice evening.
YAYA
You too.
They smile at each other and Jarmo returns to his beers. It’s
a sad image. Touching. A lonely man in a bar, scrolling
through images of himself - alone in a bar. Suddenly Yaya is
struck by empathy.
YAYA (CONT’D)
Excuse me? Mister? Could you please
come back? You can leave your beer.
If you come in the middle. Then we
can take a picture together.
Yaya extends her hand towards Jarmo’s phone. Jarmo takes a
step closer and gives it to her. Then the girls places Jarmo
in between them, puts their arms around his neck, and start
posing away. 20 duckface - boob pushing - cheek kissing -
later, Jarmo returns to his spot in the bar with a big smile
on his face.
JARMO
Okay, nice! Yeah! Now we’re
talking! Thank you very much!
You’re very generous!
He’s pointing towards Yaya.
Suddenly the smiles on Carl and Dimitry’s faces have
vanished. Instead they look angry.
JARMO (CONT’D)
I would like to do something
generous for you. They have Rolex
watches in the reception. We can go
down there now and I will buy you
Rolex watches!
YAYA
No, its okay, thank you!
JARMO
It may sound strange, but I’m...
What you just did there, it meant
so much to me. So I can... I’m very
rich. Yes let’s not beat around the
bush. I’m very rich.
YAYA
How rich are you?
JARMO
I’m so fucking rich! I just sold my
company.
Ratings
Scene 17 - Dinner Dilemma
The Chief Stewardess comes walking along the corridor on the
fourth deck again. She stops outside the Captain’s cabin,
knocks on the door, listens. Not a sound. She knocks again.
CAPTAIN (O.S.)
Yeah, I’m not drunk! I told you I’m
not feeling well.
A couple exits their room. The Chief Stewardess greets them
politely.
CHIEF STEWARDESS PAULA
Good evening, sir. Good evening,
madam.
CAPTAIN (O.S.)
Are you still there, Paula?
CHIEF STEWARDESS PAULA
Thomas? I just want to ask you when
you’re able to hold the Captain’s
Dinner?
CAPTAIN (O.S.)
I can’t do the Captain’ Dinner now!
CHIEF STEWARDESS PAULA
No, I’m asking you a question,
Thomas. When are you able to put on
your uniform and be there for the
guests?
CAPTAIN (O.S.)
Okay. Well, what’s the forecast.
CHIEF STEWARDESS PAULA
The weather’s fine, Thomas. It’s
about when you can do it. Any day
but Thursday.
CAPTAIN (O.S.)
Thursday’s good.
CHIEF STEWARDESS PAULA
No. Thomas. Thursday’s bad. We have
a low-pressure zone moving in. Any
day but Thursday.
CAPTAIN (O.S)
Yes, Thursday! Okay!
CHIEF STEWARDESS PAULA
Okay, listen. I’ll come and talk to
you about this later.
CHIEF STEWARDESS PAULA (CONT’D)
Paula! Every day, they eat dinner
and they’re going to eat dinner
Thursday as well. Right?
Ratings
Scene 18 - A Night of Champagne and Disappointment
Jarmo gestures to the bartender.
JARMO
Your most expensive champagne, and
three glasses. Are these your
boyfriends?
YAYA
Yeah.
JARMO
Guys, you take care of these girls
now! They’re really nice girls!
Generous. Caring. You treat them
right! You think they want
champagne? Okay, five glasses.
Dimitry leaves, calling for Ludmilla to come with him.
EXT. YACHT / C DECK / TOP DECK - NIGHT
A sleepy version of Des’ree’s “Life (Oh life)” played by the
lounge pianist, is heard in the background while a guard is
patrolling the deck with his machine gun.
EXT. YACHT / BAR / DECK - NIGHT
Yaya dances by Jarmo’s chair. Trying to tug him onto the
dance floor. He resists.
JARMO
I’m terrible at dancing.
YAYA
What if I go? Come on, dance with
me! Just a little bit. Don’t be
shy!
She realizes he’s not going to get up. Gives up and goes back
to her seat.
Ratings
Scene 19 - Playful Deceptions
By the time Yaya reaches the cabin, the lights are out and
Carl’s in bed with his back to the door. Yaya knows that Carl
will be in a bad mood and tries to make her voice soft and
tender.
YAYA
Carl?
She immediately realizes that her voice was too cautious.
This will only annoy the receiver. She clears her throat and
tries to sound more rational.
YAYA (CONT’D)
Carl? Are you jealous?
Still no answer. Yaya goes over and sits down on the bed. She
reaches out to touch Carl, but he’s not there. The blanket
has been stuffed with pillows.
CARL
Who’s Carl?
The voice is coming from behind the bathroom door. The light
turns on and he steps out.
YAYA
What? You’re not Carl?
CARL
No. I’m the pool guy. Sorry about
coming into the mansion, I just
needed to get some tools. Over
here.
Yaya laughs, relieved that Carl is choosing an unexpected
strategy to handle his lost masculinity.
Yaya smiles and plays along, pointing him to the imaginary
tools. Trying not to laugh.
YAYA
It’s very inappropriate. What if my
husband comes home?
CARL
Where is your husband? He really
shouldn’t be leaving such a
beautiful girl on her own because
it’s very dangerous around here.
YAYA
You should take that off.
He strips off his shirt for her.
CARL
You see, the thing is, your husband
pays me a lot of money. So I do
have to make sure I’m doing my job
properly. Okay?
YAYA
You check the pipes?
They try not to laugh.
YAYA (CONT’D)
You’re sure you’re the right guy
for the job?
CARL
I am. I’m very qualified.
They kiss.
Ratings
Scene 20 - Jacuzzi Revelations
Awkwardly Yaya “uses” boat props without having the slightest
idea of how to handle them. After a couple of shots Yaya
shows that she wants to have a look. Carl hands over the
mobile phone to her and Yaya scrolls back and forth,
commenting on the pictures. Carl’s opinion seems to not be of
interest. “Boyfriends of Instagram”. That’s exactly what Carl
feels like right now. Like these boyfriends that are reduced
to just take pictures of their narcissistic Instagram
girlfriends. He’s not even a male model anymore.
Elsewhere on the deck, Vera, the older of Dimitry’s two
women, sits in the jacuzzi while Alicia the Stewardess sits
at the edge and waits on her.
VERA
Do you know what people regret on
their deathbed?
ALICIA
No.
VERA
That they were working too much,
seven out of ten people regret
throwing away their lives on stupid
and pointless jobs.
Alicia smiles gently.
ALICIA
Can I get you anything to drink?
Vera extends her glass towards the stewardess who takes the
champagne bottle from the ice bucket and fills it up.
VERA
More champagne, please. I don’t
know, I was just born into this
life. It was not my fault and when
this happened. I just felt like
“why?” Life is so unfair.
ALICIA
Yeah.
VERA
We are all equal.
ALICIA
That is so true.
VERA
Everyone’s equal. Is there anything
you wish for?
Vera gets excited, she really feels that there is a
connection between them.
ALICIA
Sorry?
VERA
Is there anything you wish for?
ALICIA
Well, I don’t know.
VERA
But if today was your last day
alive, what would you wish for?
ALICIA
I have no idea.
VERA
Have you been for a swim today?
ALICIA
No, not today.
VERA
Why don’t you go for a swim right
now? Because this is exactly what
I’m talking about.
ALICIA
That’s so kind of you, madam, but
unfortunately we’re not allowed to
go for a swim during working hours.
VERA
I want all the staff to go for a
swim! I want you all to go for a
swim!
ALICIA
Well, today might ab a little bit
problematic because today we have
the Captain’s Dinner.
VERA
Who cares about the Captain’s
Dinner? This will only take half an
hour. You work too hard, come on.
ALICIA
Let me see what I can do.
VERA
Merci!
The stewardess moves backwards, trying to escape but Vera
stops her.
VERA (CONT’D)
No, no come back! Come back please!
I have a better idea. Sit down.
Alicia kneels beside her again.
ALICIA
Okay.
VERA
Let’s reverse roles.
ALICIA
Sorry?
VERA
Just change roles. You relax in the
jacuzzi and I’ll get the captain.
Come on! Just be in the moment,
like I was. Please!
ALICIA
Yea, but...
VERA
Come, come, I know you want to.
ALICIA
Yes, I do but there might be a
problem for me if I...
VERA
Now I have to be the authority.
ALICIA
I have my clothes on...
VERA
Shut up, shut up! Now! I command
you, enjoy the moment!
ALICIA
Now?
VERA
Please.
ALICIA
No.
VERA
No?
ALICIA
No.
VERA
You say “no” to me?
ALICIA
No. No!
VERA
So it’s “yes”.
ALICIA
Yes... No.
VERA
Yes or no?
ALICIA
Sorry, I’m saying. I’m saying. Yes.
VERA
Yes! Don’t worry Dimitry will buy
the yacht. Come on! Sit down.
ALICIA
Okay, I’m going in.
In order to not lose all dignity the stewardess now starts
playing along. She slips into the jacuzzi waist-high with an
uncomfortable smile. Passing stewardesses give her strange
looks.
VERA
Dimitry! A glass of champagne for
this wonderful... Miss...
She waits. She doesn’t even know her name.
ALICIA
Alicia.
Ratings
Scene 21 - Navigating Tensions
The Chief Stewardess hurries up to the crew deck.
Before the Chief Stewardess enters the bridge, we have time
to notice a portrait of Marx and one of Lenin and that the
Captain’s chair at the helm is symbolically vacant.
Instead, the FIRST OFFICER smokes on the deck.
CHIEF STEWARDESS PAULA
Darius? I need your help. I need
you to tell one of the guests that
the crew can’t go for a swim.
Darius, the First Officer, doesn’t seem to be surprised.
DARIUS
Why?
CHIEF STEWARDESS PAULA
Well, I told them it’s not possible
because of the dinner, but they
want to hear it from the captain in
person. So I went to Thomas’s
cabin, I knocked on it, he’s not
there. He’s not responding. I can’t
get a hold of him so could you just
please go and tell them it’s not
possible. That would be a big help.
DARIUS
Can’t you just go for a swim?
CHIEF STEWARDESS PAULA
No. I mean, that would be easiest,
but they want us to go down the
water slide and.. It’s not funny.
A nearby CREW MEMBER laughs to himself.
CHIEF STEWARDESS PAULA (CONT’D)
Why are you laughing, Erik? Why are
you even here?
ERIK
I’m on my break.
CHIEF STEWARDESS PAULA
Well, your break is over. Go back
to work.
(to Darius)
The chef has started the dinner, I
need the prep-time. So please go
and tell them it’s not possible.
DARIUS
I’m not going to go and talk to
some crazy Russians.
CHIEF STEWARDESS PAULA
It’s not crazy Russians, it’s very
rich Russians.
DARIUS
Same thing. We’re done. Go and take
a swim.
They notice that a GUEST is hanging near the bridge door.
CHIEF STEWARDESS PAULA
Hello Sir. Do you want to see the
bridge?
GUEST
If possible.
CHIEF STEWARDESS PAULA
Of course. I can get the First
Officer. He’s not doing anything
right now. Can you show the guest
the bridge, please?
DARIUS
Yes, of course. Welcome to the
bridge.
Paula hurries away.
Ratings
Scene 22 - Tension on the Fourth Deck
We follow her feet as the Chief Stewardess pops down to the
fourth deck and the Captain’s cabin. The camera tilts up to
show her face. The Chief Stewardess knocks and waits, but no
one opens the door
CHIEF STEWARDESS PAULA
Thomas? Thomas? Hello?
Not a sound. She knocks again. Still nothing. She knocks a
third time and jiggles the door handle. An elderly couple
come down the hallway and the Chief Stewardess immediately
flashes them a smile.
LADY 1
Good Afternoon.
CHIEF STEWARDESS PAULA
Good afternoon.
The LADY nods and is about to pass by but decides to stop.
LADY 1
Actually, I have a question.
CHIEF STEWARDESS PAULA
Yes, of course.
LADY 1
Yesterday, I was up on the sundeck
and the sun was shining, everything
was perfect. But then I looked at
the sails.
CHIEF STEWARDESS PAULA
The sails?
LADY 1
Yes. And they were a bit dirty.
The Chief Stewardess nods and smiles. It’s impressive to see
how she never loses her temper. In the presence of
passengers, there’s always a smile on her face, and when they
are out of sight, she looks neutral. Never gets emotional, no
matter what happens.
However, this is the tail end of the cruise season and three
months of spoiled guests at sea have gotten under the skin of
the staff anyone who has ever worked in the service sector
knows what this means; you start to hate not only the
customers, but mankind in general.
We follow the Chief Stewardess as she disappears down the
hallway, and for a second, out of the movie set.
Ratings
Scene 23 - From Kitchen to Water Slide
In the kitchen, the Chef and four of his assistants are
preparing the Captain’s Dinner. When the in-house phone
rings, the Chef clamps the handset to his ear with his
shoulder to keep on working.
CHEF
Hello? Yeah, but do you realize the
food down here is going to be bad.
Okay, bye.
He hangs up the phone.
CHEF (CONT’D)
Okay guys, listen up. You are going
to swim. So bring your swimming
pants and go to the main deck as
quick as possible okay? You’re
going to the water slide. Have fun!
The kitchen staff hurry out.
INT. CREW QUARTERS -
A CREWMAN knocks on every door in the hall, calling for them
to come out. He scolds two SITTING MAIDS; they get up.
Ratings
Scene 24 - A Splash of Change
The First Officer stops at the Captain’s cabin and is just
about to knock when the PA system signals.
*DING-DONG*
CHIEF STEWARDESS (O.S.)
I hope everyone’s had a great day
so far, and that you’re looking
forward to the Captain’s Dinner
tonight.
The door swings open. THE CAPTAIN is standing there, his hair
is wet, and he's wearing a bathrobe. He looks puzzled to see
the First Officer, but they have to remain silent because the
message blares out of the PA system.
CHIEF STEWARDESS (O.S.) (CONT’D)
I’d just like to inform you that
we have a slight change to the
schedule. The Captain’s Dinner
will start at eight thirty, and
not at eight as it says on the
daily program. I repeat: The
Captain’s Dinner will start at
eight thirty and not at eight.
Thank you
THE CAPTAIN
Why the push?
DARIUS
The crew’s going for a swim. It’s a
request from one of the Russians.
From the water slide.
A smile spreads across the Captain’s face. Any concerns that
he would be angry are now dismissed - he and the First
Officer appear to be good friends.
THE CAPTAIN
Oh my god, I’ve gotta see.
DARIUS
I think you need to change if you
want to go up. Let’s go inside and
talk. We have four and a half hours
left until the Captain’s Dinner.
You chill in your room, have a
little nap. I’ll be back in a
couple of hours and we’ll go
together.
THE CAPTAIN
Darius... Look at you! What are you
all worked up about? I’m fine!
The Captain laughs, even winks.
Ratings
Scene 25 - Stormy Waters
One engineer shouts to another over the roar of the engine to
come upstairs.
EXT. YACHT / REAR DECK - DAY
So, there they are, the entire crew. All lined up on the rear
deck, in swim gear. One by one, they enter the waterslide,
slide down into the water, swim out in a semicircle and
return to the swimming platform attached to the yacht.
Vera smiles and cheers the crew on.
INT. YACHT (VARIOUS ROOMS) - EVENING
The sky has gone dark blue and thunderclaps are increasing in
frequency. The yacht is starting to rock and we see a collage
of inanimate objects: curtains and a chandelier, a door left
open, a champagne glass rolling back and forth and getting
close to the edge of the table... It’s slightly spooky.
Ratings
Scene 26 - A Swaying Welcome
Paula and Darius escort the Captain into position.
CHIEF STEWARDESS PAULA
If you stand here, and they will be
coming to you. Let me see you. Just
one night, that’s all.
THE CAPTAIN
Okay.
CHIEF STEWARDESS PAULA
Okay, you’re ready?
THE CAPTAIN
Yes.
CHIEF STEWARDESS PAULA
Okay, lets get ready to open the
doors. And...go.
When the doors to the dining room open 30 minutes behind
schedule, the crowd bobs in time with the waves, making them
look like they’re drunk. High heels and pencil skirts aren’t
exactly conducive to balance! After marking their chosen
seats as taken, they all line up to shake hands with the
Captain and First Officer Darius.
CHIEF STEWARDESS PAULA (CONT’D)
Would you like a glass of
champagne?
THE CAPTAIN
Good evening. Enjoying your cruise?
DARIUS
Welcome. Enjoy your dinner. Hope
the weather’s not too rough on you.
Next it’s Lady 1’s turn in line.
LADY 1
I have a question. I’m sorry.
Yesterday I was up on the deck. And
it was so beautiful. Everything was
fantastic. But then I saw the
sails.
THE CAPTAIN
The sails?
LADY 1
The sails, yes. They were dirt-
gray. Do you think it’s possible to
wash them?
The lady smiles warmly and doesn’t appear to have a clue at
her words might be perceived as criticism.
THE CAPTAIN
Well, I don’t think that’s
possible, ma’am, because this is a
motorized vessel. So we don’t have
any sails.
DARIUS
Maybe it was the sundeck roof?
LADY 1
Are you sure?
THE CAPTAIN
I’m sure.
She calls to her husband and confers with him.
LADY 1
Yes. He says yes. It was sails.
THE CAPTAIN
Well, in that case we will clean
the sails.
CHIEF STEWARDESS PAULA
I’m sure we can find a solution for
you. Can I escort you to a table?
Jarmo steps up next.
JARMO
Jarmo Björkman. I’m sitting at your
table.
CAPTAIN
Oh! Good, good.
DARIUS
Hello, Jarmo.
A wave hits the boat, making a baby start to cry. The Captain
takes a deep breath.
Ratings
Scene 27 - Dinner Disarray: A Yacht's Culinary Catastrophe
As the guests read the seven-course menu, most of them regret
not just staying in their cabins. Tonight’s gastronomical
theme is a fusion between Cantonese and Swedish delicacies
from the sea. A biased summary of the Cantonese cuisine is
that you eat anything that doesn’t make you sick. Sick, not
seasick. The Swedish seafood tradition is less familiar to
them... so far.
Jarmo babbles at the Captain.
JARMO
It’s not so much apps as code. I
create code for apps. So, I sell my
codes and my skills to different
tech companies. And then, the game
makers are pitching ideas to me.
As each dish is served, the service staff wait until everyone
is in place. The plates are set down at the same time in
perfect choreography.
Ta-da!
Pointing with their pinkies, they explain that the first dish
is oysters with black Russian caviar.
Though it may be physically possible to leave the table, it’s
hardly socially acceptable. The dinner guests are prisoners
of etiquette. Still, there are some guests, that are trying
to keep up a good spirit. At the table of the cute British
couple, Clementine and her husband, Winston are seated with
Carl and Yaya.
CARL
So what business do you have
together?
WINSTON
Oh, it’s a family business.
Producing products in precision
engineering.
CARL
What do you manufacture?
WINSTON
Well, our products have been
employed in upholding democracy all
over the world.
Winston smiles, and so does Carl, only he doesn’t quite get
it.
CARL
What product is that?
WINSTON
Basically, our best selling product
is the hand grenade.
Yaya has now finished answering the text and puts her phone
away.
YAYA
Sorry, what?
CLEMENTINE
The hand grenade, dear.
On the far side of the room, a guest vomits on their way out
of the room. The people at the table look away.
WINSTON
For a long time it was the personal
exploding device. But then came
those UN regulations and messed
everything up.
Clementine realizes that the table guests might need some
help with the technical language.
CLEMENTINE
“Personal exploding device” is a
very complicated word for a
landmine.
WINSTON
Those regulations trimmed 25% off
our profit. It resulted in hard
times for us, we had to restructure
the whole company.
CLEMENTINE
Yes...
Clementine smiles sadly at the thought of these hard times.
Winston takes her hand.
WINSTON
But we made it together.
CLEMENTINE
Yes, we did and we still love each
other. A toast!
WINSTON
To love!
A table guest, who now looks a bit pale, gets up and quickly
leaves the table without looking back. The others regard him
with envy before going back to staring at their plates. About
twenty seconds later, a stream of vomit splatters the outside
of a window vent near their table. The Chief Stewardess
excuses herself and goes to talk to one of the dining room
staff. Twenty Two seconds later, a squeegee appears and
scrapes off the mess on the window vent
Ratings
Scene 28 - Turbulence at Dinner
A subtle sense of anxiety now charges the air, which is
evident in the subdued conversations. Fear of seasickness
will slowly break down all the mental resistance to its
existence. When the third dish is served...
Ta-da!
Dimitry’s wife Vera is confronted with a huge mound of red
caviar-like fish roe. Each time the yacht surges on the
waves, the roe jiggles.
WAITER
Sir, Madam. This is “kalix löjrom”,
a fish roe, under a bed of
deconstructed seaweed. Enjoy!
VERA
Thank you.
There is a word in Hungarian, “gailt”, that means the
sensation where your food seems to grow in your mouth, and
everyone in the room will soon know that feeling. Vera
gingerly tastes the roe. At first, she looks unaffected, but
soon we realize that she is unable to bring herself to
swallow it.
When an off-screen person vomits in the dining room, her
faces changes color.
GUEST 1 (O.S.)
Uahhh...
Vera’s head begins to turn a few degrees towards the sound
but doesn’t get there.
Instead, her body surprises her by regurgitating some scallop
to mix with the roe in her mouth. She manages to keep it from
escaping with a refill of the champagne.
Vera nods and forces herself to swallow the mess. The waiter
fills her glass and she rinses her palate with a gulp.
Utensils shake and champagne sloshes more roughly as the
storm outside worsens.
Ratings
Scene 29 - Stormy Seas and Forced Smiles
A maid cart rolls down the hall at top speed and collides
with the wall.
INT. YACHT / DINING ROOM - EVENING
One thing you need to know about seasickness is that it is
even worse on an empty stomach. This is something the staff
and Paula feel obligated to share with the guests:
PAULA
If you are feeling seasick, try
to eat something. Try to swallow
ma’am, you will feel much better
soon.
As usual the staff, and in particular the Chief Stewardess,
never stop smiling. Not even when the waves get so high that
the china and silverware start sliding off the tables. Not
even when attacks of vomiting will soon start spreading like
an epidemic.
Ratings
Scene 30 - Dinner Gone Awry
The Captain’s plate is set down: a burger and some fries. For
the guests, a severed octopus tentacle on a plate of flowers.
WAITER
So, now we are serving some
hamburger with french fries for the
captain.
(MORE)
WAITER (CONT’D)
And for you we have something
really special. We have grilled and
smoked octopus along with some
caramelized lemons, and on top,
beautiful garden flowers. Please
enjoy.
CAPTAIN
I’m not a fan of fine dining.
A Waiter offers Vera a bottle.
WAITER
Madam, Dagueneau, French, Sauvignon
blanc?
VERA
Champagne. Quick!
Vera tries to laugh it off, but with tears in her eyes.
Alternating smiles and gagging.
Two guests excuse themselves and leave the Captain’s table.
Following some gagging in unison, a substantial number of the
guests start vomiting. They throw up into their napkins, on
their plates, into their champagne glasses, in the wine
buckets, and under the table.
Vera flings herself from her chair and projectile vomits
across the table.
Ludmilla, the younger of Dimitry’s women, hurries to help
her. She mumbles for champagne.
Someone pours her a glass. She chugs it down and immediately
vomits it out again. The room now full of shrieking and
crying.
Yaya fans herself with the menu. Carl reaches over to touch
her.
CARL
Are you okay?
She nods.
The Captain gestures across the room.
CAPTAIN
He doesn’t look well.
Crew hurry to a man clutching his chest.
CREW MEMBER
Are you having chest pains?
This marks the start of a collective retreat. Nearly every
last one of the guests get up and leave. Halfway through the
dining room, they are greeted by the staff, armed with huge
bowls of ginger candy and plastic bags (with Tax Free
Shopping logos!?) to throw up in.
DARIUS (O.S.)
Everybody let’s try to stay calm
and remain in your seats.
CHIEF STEWARDESS PAULA
Ginger candy? It’d good if you’re
seasick. Stay calm everybody,
everything is fine!
One person grabs a handful and shoves it into his coat
pocket. The British lady politely thanks them and carefully
selects two pieces. Carl, Yaya and most of the others are
unable to face the staff and simply stream past them like
zombies with ghastly white faces.
Paula joins Crew Member carrying out the man with the heart
problem. The man sits, then passes out on the floor.
PAULA
Is it a stroke? Everybody stay
calm!
Therese is wheeled past screaming.
INT. YACHT / DINING ROOM - EVENING
The Captain is alone at the table. He has finished his wine --
he takes someone’s abandoned glass and drinks it, too.
Ratings
Scene 31 - A Rocky Welcome
The Chief Stewardess helps Clementine and Winston to their
room. Clementine vomits in the hallway. Winston offers her
his hat, where she deposits the next wave of vomit.
CHIEF STEWARDESS PAULA
That’s okay, madam.
WINSTON
I’m glad that hat came in useful.
CLEMENTINE
I’m so sorry darling.
WINSTON
No, no. It’s nothing at all.
Once the door closes behind the guests’ backs, Paula finally
gets to regroup.
Ratings
Scene 32 - Political Banter Amidst Chaos
The last of the ravaged guests have vacated the dining room.
Apart from the wait staff, busy clearing the tables, only the
Captain remains with his burger. And Dimitry, who sits down
across from him.
DIMITRY (O.S.)
Hey!
THE CAPTAIN
Oh, hello.
DIMITRY
You didn’t go swimming?
THE CAPTAIN
Nope... Aren’t you seasick?
DIMITRY
You want to talk politics?
THE CAPTAIN
No, I definitely don’t want to
talk politics.
Dimitry takes a seat on the opposite side of the table.
DIMITRY
I have a joke. Do you know how to
tell a Communist? It’s someone who
reads Marx and Lenin. And do you
know how to tell an anti-Communist?
It’s someone who understands Marx
and Lenin! It’s Ronald Reagan.
Funny guy!
CAPTAIN
“Never argue with an idiot, they’ll
only bring you down to their level
and beat you with experience.” Mark
Twain.
DIMITRY
Ronald Reagan, he said also,
“Socialism works only in heaven
where they don’t need it, and in
hell where they already have it.”
CAPTAIN
That’s pretty good. I’ve got one
here. “Growth for the sake of
growth is the ideology of a cancer
cell.” That’s Edward Abbey.
DIMITRY
Listen: “The problem with socialism
is that you eventually run out of
other people’s money.” Margaret
Thatcher.
CARL
You’re going to like this
one...”The last capitalist we hand
will be the one who sold us the
rope” Karl Marx.
They laugh together while things fall off the table and roll
away. Reading quotes they have stored on their phones.
DIMITRY
Oh! Shit! Okay... Classic. “The
most powerful single force in the
world today is the man’s eternal
desire to be free and independent.”
Kennedy.
CAPTAIN
Okay. “Freedom in capitalist
society always remains about the
same as it was in Ancient Greece.
Freedom...for slave owners.”
Dimitry smiles widely, pours them both some more wine.
DIMITRY
I know. Vladimir Lenin. School. A
Russian capitalist and an American
communist.
CAPTAIN
On a $250-million luxury yacht.
INT. YACHT (VARIOUS ROOMS) - EVENING
The guests stagger off through the hallway towards their
cabins. They vomit in the tax-free plastic bags, on the wall-
to-wall carpeting and on the stairs. Someone slips in a
puddle of vomit. Someone else sprays their cabin door with
vomit when the key card doesn’t work.
Ratings
Scene 33 - High Stakes on the High Seas
The Captain and Dimitry are more than halfway through the
bottle at the table.
They play a drinking game with playing cards.
CAPTAIN
Red or black?
DIMITRY
Black.
CAPTAIN
Drink! Red or black?
DIMITRY
Red.
CAPTAIN
Drink my friend. You haven’t gotten
one.
Ratings
Scene 34 - Chaos on the High Seas
Dimitry has locked himself in the bridge and plays with the
Tannoy loudspeaker.
DIMITRY
Shit. I sell shit. I sell shit.
Shit.
INT. YACHT (VARIOUS ROOMS) - NIGHT
Passengers panic all over the ship.
DIMITRY (V.O.)
The ship is going under. Mayday.
Mayday! The ship is going under.
This is an emergency call. The ship
is going under. This ship is not
going under. The is the new owner
of the ship speaking!
(MORE)
DIMITRY (V.O.) (CONT'D)
And as the communist captain we are
now setting course for Cuba. We
want to discuss politics with you.
The Captain wanders the hall with an armful of bottles. He
hears the loudspeaker and hurries to his office.
INT. YACHT / CAPTAIN’S CABIN - NIGHT
The Captain points at Dimitry in a “don’t you do that again”
manner. Dimitry wrestles the mic out of the Captains hand
again.
CAPTAIN
Stop! I am not a communist. I’m a
marxist.
DIMITRY
Or actually you don’t have a
choice. Just like in a communist
dictatorship, you have to listen.
You can’t even turn off the volume.
But I can.
Ratings
Scene 35 - Philosophy Amidst Panic
All over the ship, people panic.
The passengers are soiling their linen outfits and the
Italian silk sheets. They fill the toilets and shower with
crap.
Guests are lined up sitting against the walls in the hallway
wearing life jackets.
DIMITRY (V.O.)
Karl Marx wrote “The Communist
Manifesto” So you are a communist.
CAPTAIN (V.O.)
No! No! There’s a difference.
DIMITRY (V.O.)
In materialism you believe in
theory. You are an idealist.
CAPTAIN (V.O.)
This thing is on. Sorry. But while
I have you let me just say that, we
are not on our way to tax paradise,
that’s for sure.
(MORE)
CAPTAIN (V.O.) (CONT'D)
We all know about your tax planing,
your tax avoidance, you don’t pay
your fair share.
DIMITRY (V.O.)
Stop bullshit and pay taxes!
CAPTAIN
Yes, that is from your resident
Russian capitalist pig.
Vera clings to the toilet in her underwear. As the ship
rocks, Vera slides across the floor that is wet with her own
vomit.
The Captain takes a sip of rum.
CAPTAIN (V.O.)
I’m not angry with you, it’s just
like Karl Marx said: “Anything
human is not alien to me.” And I
understand that your greedy
behavior is just the result of your
position in a financial hierarchy.
That you’re rich but you can’t be
rich and expect the rest of the
world to be poor.
And while you’re swimming in
abundance, the rest of the world is
drowning in misery. That’s not the
way it’s meant to be. And I know
you have a good heart in there,
somewhere. You filthy, capitalist,
Russian pig. You have a good heart.
You’re not just a crazy
Russian...shit seller. I’m not a
great. I’m a shit socialist because
I have too much. I have too much
abundance in my life. I’m not a
worthy socialist. I’m a shit
socialist.
Soon someone’s banging on the door to the bridge; it’s the
Chief Stewardess Paula and Darius. The door is locked.
The Russian then turns to the Captain and motions for him to
go on. The Captain starts leafing through the book...
CHIEF STEWARDESS PAULA
Open the door. Is it locked?
Thomas?
DARIUS
Open the door. Open the door,
Thomas.
CAPTAIN
I’m so sorry, that was
irresponsible.
CHIEF STEWARDESS PAULA (V.O.)
Open the door. Let us talk, open
the door.
The men inside ignore the shouting on the other side of the
door.
Ratings
Scene 36 - Chaos Afloat
While the Captain is busy “preaching”, a crew of six Filipino
cleaning ladies, wearing lab masks, march into the dining
room. They clean the mess methodically. One of them has
headphones on. We move in on her ear and one of the earbuds.
She’s listening to Rage Against The Machine, “Killing In The
Name”. As she’s wiping up vomit under a table the music
becomes more and more distinct.
“Now you do what they told ya... Now you do what they told
ya... And now you do what they told ya”
Somewhere at this point the audience should – depending on
their capacity for empathy – feel that the passengers have
had enough. We don’t want to see any more vomit. We want
mercy for them. At that very moment, trough Vera, we realize
that they are not only seasick, they are suffering from food
poisoning as well and now they desperately need to take a
shit.
VERA
Mama! Uaaahhhhh... Help!
We see panic in their eyes as they dash back into the filthy
toilets right when “Killing In The Name” swells to its first
climax.
The plumbing goes on the fritz and starts backing up into the
hallway.
Shit and vomit start welling up from the toilets, drains and
sinks. Slime is oozing along the walls and out to the
carpeted areas.
The passengers panic and try to get away from the stench and
incredible filth.
They don’t stand a chance against nature and their bodily
impulses. They spew at both ends uncontrollably and
everywhere.
Carl and Yaya hold hands in their life jackets.
Ratings
Scene 37 - Chaos in the Dark
Dimitry and Chief Stewardess Paula argue through the door.
The Captain turns back on the microphone.
CAPTAIN (V.O.)
How people perceive themselves is
nothing that interests me. There
are few that are gonna look in the
mirror and say: “The person I see
is a savage monster.” Instead, they
make up some construction that
justifies what they do. An there it
is. You’re rich, so you’re a
philanthropist, so you can cure
your conscience of not paying
enough in tax. Not contributing
enough to society.
The shit river flows through the halls.
INT. YACHT / HALL - NIGHT
Paula and Darius gather at the breaker box. Suddenly the
lights go out!
Ratings
Scene 38 - Whispers of Truth
The Captain and Dimitry gather with the light from a cell
phone.
CAPTAIN
I want to read you something that I
wrote. Come over here. Bring the
light.
DIMITRY
Okay.
CAPTAIN
And I recall, I was seven years old
walking into the kitchen to find my
mother crying inconsolably. Martin
Luther King has been shot.
(MORE)
CAPTAIN (CONT’D)
Two months later, she was crying
again. Bobby Kennedy was killed. I
couldn’t know then what I know now,
that the invisible thread
connecting Martin Luther King, the
Kennedy brothers, and Malcolm X,
was that in each case, my
government had their finger on the
trigger.
DIMITRY
Wait. Wait!
Dimitry turns on the Tannoy loudspeaker. Outside, the sun is
rising.
DIMITRY (CONT’D)
Say it again.
CAPTAIN
My government murdered Martin
Luther King, Malcom X, Bobby
Kennedy, and John F. Kennedy. My
government overthrew good, honest,
democratic leaders of the people in
Chile, Venezuela, Argentina, Peru,
El Salvador, Nicaragua, Panama, and
Bolivia. Along with Britain, we
carved up the Middle East, creating
artificial geographical boundaries
and installing puppet dictators.
War itself became our most
lucrative industry. Every bomb
dropped, somebody makes a million
dollars. You don’t have to know
where those bombs are exploding.
You don’t have to see the grieving
mothers and the mangled bodies of
their children.
Ratings
Scene 39 - Dawn of Danger
A second boat floats nearby carrying men with machine guns
aboard.
The Captain’s announcement echoes over the sea.
THE CAPTAIN (O.S.)
Eugene Debs gave their speech in
Canton, Ohio in 1918: “Throughout
history wars have been waged for
conquest and plunder. The master
class has always declared the wars.
(MORE)
THE CAPTAIN (O.S.) (CONT'D)
The subject class has always
fought...”
PIRATE
Hand grenade.
They pass a grenade.
EXT. YACHT / DECK / PORTSIDE - EARLY MORNING
The hand grenade comes rolling across the deck. It reaches
all the way up to Clementine, who doesn’t notice it until it
touches her foot. She looks surprised and picks it up.
CLEMENTINE
Oh! Winston... Look. Isn’t this one
of ours.
WINSTON
Oh no!
EXT. SEA - EARLY MORNING
Long shot of the entire yacht. We see the grenade explode.
PART THREE - THE ISLAND
Ratings
Scene 40 - Tensions on the Shore
Jarmo sits with someone that is passed out on the sand. It’s
a beautiful woman. It’s Yaya. The dress she wore to the
Captain’s Dinner is soaked through, one shoe is missing and
she's using her life vest as a pillow. Jarmo takes another
look at his surroundings. When he can’t see anyone else
around, he reaches out and gently caresses her cheek.
THERESE (O.S.)
In den Wolken, Uli!
He freezes and listens, did he hear something?
THERESE (CONT’D)
Uli, In den Wolken!
Jarmo gets up halfway and looks towards the beach behind his
back and sees Dimitry, Carl and Chief Stewardess Paula
fighting the waves, dragging a life raft behind them. Therese
and NELSON are in it.
THERESE (CONT’D)
In den Wolken, Uli!?
They all pitch in to try to lift the raft onto the beach. Its
not easy, the waves are powerful and they are all exhausted.
Therese is frightened and confused, she looks around as if
she was missing someone. Paula tries to comfort her.
Dimitry focuses on the Unknown Man.
DIMITRY
Who are you? Hey, hey you? Hey I’m
talking to you.
NELSON
Me?
DIMITRY
Yeah. Who are you?
NELSON
I work on the boat.
DIMITRY
You work on the boat?
NELSON
Yeah.
DIMITRY
In a t-shirt and shorts?
NELSON
No, not it’s because I was off
duty. I was sleeping and then.
Dimitry moves closer, the Pirate knows that he has to push it
now.
DIMITRY
You were off duty.
CHIEF STEWARDESS PAULA
Is there a problem?
DIMITRY
Strange. I’ve never seen you
before.
CHIEF STEWARDESS PAULA
Stay calm.
NELSON
I work in the engine room.
DIMITRY
In the engine room? He works in the
engine room?
CHIEF STEWARDESS PAULA
It doesn’t matter where he works.
Settle down now. Stay calm.
Carl and Yaya find each other on the beach. He guides her
toward the group.
NELSON
I’m calm. I’m calm. What’s the
problem with you man? You think I’m
a pirate? Just because I’m black,
you think I’m a pirate. That’s it!
CHIEF STEWARDESS PAULA
Don’t go there!
DIMITRY
You can cry on my shoulder.
NELSON
He comes to me with his big watch
and says I’m a pirate just because
I’m black! What’s the problem with
you man?
CHIEF STEWARDESS PAULA
He hasn’t said anything about you
being black. You’re calling him
racist.
NELSON
In the eyes. I can see it in his
eyes.
DIMITRY
Who are you? Who are you?
NELSON
I work in the engine room, man!
CHIEF STEWARDESS PAULA
Sir!
DIMITRY
What?
CHIEF STEWARDESS PAULA
I think you should just calm down
now. It’s not a good time to step
up the situation. Just stay calm
and stay positive.
DIMITRY
He works in the engine room?
The pirate is acting so well that even the audience should
start doubting. But there is one person that must know,
everybody turns to Paula. She hesitates for a second.
CHIEF STEWARDESS PAULA
There’s a lot of people on the
boat. We can’t see each other all
the time.
Ratings
Scene 41 - Panic in the Dark
The group is now huddled together on the inflatable life raft
in a small clearing, surrounded by trees. In between the
flashes from the lights attached to the life raft and life
vests, you can detect the ocean between the tree trunks, but
other than that, it’s pitch black. Everyone is lying quietly
with their eyes closed, but hunger and thirst make it hard to
fall asleep. And soon, their survival instincts will make it
even more difficult. Through Yaya we will see that it all
begins with a sound so low that it is barely detectable,
possibly even just a figment of her imagination. But when she
hears it again, chills run up and down her spine.
The nature of the sound is animal and human, threatening and
wailing at the same time. At first, it is repeated so
infrequently that they hope it will go away. But it doesn’t,
it becomes more and more frequent and louder.
JARMO
Oh! Ah!
CARL
Easy, easy.
Jarmo’s outburst triggers the worst boutbox of howling so
far. High on fear and adrenaline, they all howl in
desperation, out into the black night. When they stop, all
they can hear is their own panting.
YAYA
Be quiet.
They fall apart, screaming and running towards the beach.
Left behind in the raft is the paralyzed Therese.
THERESE
IN DEN WOLKEN!
Ratings
Scene 42 - Desperate Prayers and Locked Hope
When the others reach the beach, they fall down on their
knees and start to pray. Someone lights the emergency flare -
it shoots up into the sky.
CHIEF STEWARDESS PAULA
No, don’t use the flares! It’s our
last flare! Don’t use the flare!
Out of breath and terrified, they pray in a variety of
languages and employing various mantras, a murmuring chorus
of soul-searching that lasts for over a minute.
EXT. ISLAND / BEACH - DAY
Carl wakes up all rattled, as if he’d been woken in the
middle of a nightmare. He looks over at the sleeping Yaya.
Her face is covered with sand flea bites. Carl sits up to
inspect his own body – he doesn’t seem to have gotten a
single bite. When he turns to look in the other direction,
along the beach, he sees Jarmo yelling.
JARMO
Hey!
CARL
What?
JARMO
Look!
CARL
Oh shit... Yaya, wake up, wake up.
As the others wakes up, Carl heads off. Once they see what
he’s running towards, they hurry up and follow him.
JARMO
Look!
From afar, we see how the group stumbles towards the cliffs
at the end of the beach. When they made it to about three
quarters of the distance a camera movement reveals where they
are heading. One of the covered orange lifeboats from the
yacht has washed ashore. The hull is intact, but the rudder
and the propeller are missing. Carl reaches it first, climbs
up on the tiny deck, grabs the handle on the hatch and tries
to open it. It is locked. He shades his eyes to see if he can
make anything out through the fogged- up plastic window. The
others gather round the boat as Carl begins to knock on the
window.
CHIEF STEWARDESS PAULA
There’s water in there. Is it
closed?
JARMO
It’s closed.
DIMITRY
Paula, we need water!
CHIEF STEWARDESS PAULA
Be patient.
Ratings
Scene 43 - Left Behind
DIMITRY (O.S.)
Open up! Open up!
ALL
Open up! Open up! Open up!
It’s Abigail - the Filipino cleaning lady who stood in the
hall of Carl and Yaya’s room. She peeks at the hatch.
CHIEF STEWARDESS PAULA
It’s Abigail. Abigail! Come out!
ABIGAIL
Ma’am Paula?
CHIEF STEWARDESS PAULA
Are you okay?
ABIGAIL
What?
CHIEF STEWARDESS PAULA
Open the hatch!
Abigail opens the hatch of the boat to speak to Paula.
CHIEF STEWARDESS PAULA (CONT’D)
What do you have? We need all of
these boxes out. Okay? So,
everybody, just calm down. We’ll
get water now. There are some chips
in there as well. So, everybody
will get some.
Abigail surveys the cases of water, contemplating her
options.
CHIEF STEWARDESS PAULA (CONT’D)
What are you doing? What’s taking
so long? Come on.
Abigail then begins to lift the heavy case of water and hands
it to Paula. The other islanders try and grab it.
CHIEF STEWARDESS PAULA (CONT’D)
Just wait a minute, just back up.
Back up a bit. And the chips,
Abigail, everything out.
DIMITRY
Paula, ask for food, yeah?
CHIEF STEWARDESS PAULA
And the Evian.
ABIGAIL
Yes, ma’am Paula.
CHIEF STEWARDESS PAULA
And how many are you? You’re five.
Just be patient. Everyone will
get... Please save it.
CARL
What’s this?
CHIEF STEWARDESS PAULA
It’s facial spray. But you can
drink it, it’s just water in a can.
Keep is close to your mouth, so you
won’t waste it.
Most people chug their water. Paula hands out chips.
THERESE
IN DEN WOLKEN!
Did they hear what they think they heard?
THERESE (CONT’D)
IN DEN WOLKEN!
The group freezes: Therese! Ashamed glances are exchanged as
they realize that they have left her behind.
Ratings
Scene 44 - Beachside Dilemma
Therese is dragged over in her life raft.
The group is sitting on the beach spraying their mouths with
the water spray and eating what’s left of the potato chips.
They are all watching as Abigail catches an octopus.
DIMITRY
Bravo! Bravo!
CARL
Did she catch that with her hands?
CHIEF STEWARDESS PAULA
Good job, Abigail. Good job! What
is that? An octopus?
ABIGAIL
An octopus.
CHIEF STEWARDESS PAULA
Good! What do you think we should
do now?
CARL
Fucking impressive.
ABIGAIL
We need to make a fire.
CHIEF STEWARDESS PAULA
Of course we need to make a fire.
Do any of you know how to make a
fire?
The group stares at her.
DIMITRY
What?
CHIEF STEWARDESS PAULA
Do any of you know how to make a
fire?
Everyone answers no.
CHIEF STEWARDESS PAULA (CONT’D)
Then you’ll make the fire after
you’re done fishing, and then we
should...
ABIGAIL
We need to clean the octopus.
CHIEF STEWARDESS PAULA
Of course we do. Do any of you know
how to clean an octopus?
More staring.
Ratings
Scene 45 - Claiming Authority
It’s dusk and the group is gathered around a campfire.
Therese is sitting in her life raft. Carefully they study
Abigail as she prepares and cooks the fish. Despite their
hunger, there are no conflicts, but when the fish are to be
portioned out, frustration starts building. Abigail begins
portioning out the octopus.
ABIGAIL
One for you, One for me. One for
you. One for me. One for you. One
for me. One for you. One for me.
One for you. One for me. One for
you. One for me. One for you. For
me. For you. For me. For you. For
me.
Paula starts to pass out the octopus to everyone and then
goes to retrieve more when Abigail stops her.
ABIGAIL (CONT’D)
Uh-huh!
CHIEF STEWARDESS PAULA
What? What’s that?
ABIGAIL
That’s mine.
CHIEF STEWARDESS PAULA
All of it?
ABIGAIL
Yes.
CHIEF STEWARDESS PAULA
No. No, no... why do you get so
much food?
ABIGAIL
I caught the fish.
CHIEF STEWARDESS PAULA
Yes?
ABIGAIL
I made the fire.
CHIEF STEWARDESS PAULA
And?
ABIGAIL
I cooked. I did all the work and
everybody got something.
CHIEF STEWARDESS PAULA
No, we all worked.
ABIGAIL
What did you do?
CHIEF STEWARDESS PAULA
We gathered all the wood for the
fire.
NELSON
I moved the log.
CHIEF STEWARDESS PAULA
Yeah this big log was over there,
and we moved it over here.
ABIGAIL
Not enough.
CHIEF STEWARDESS PAULA
No, maybe not enough, but we need
to work together. They don’t know
how to do that.
ABIGAIL
Exactly. And maybe that’s why you
should not be so lazy and dependent
on me.
Abigail collects her food in her shirt and holds it close.
CHIEF STEWARDESS PAULA
Abigail...I think you’re forgetting
that you and I are employed of a
big ship company. Remember? In the
end, I’m responsible for the safety
of the guests. You have to do what
I say. We work on a yacht. You are
a toilet manager.
ABIGAIL
What yacht? Where’s the yacht?
DIMITRY
You know this, Abigail, I am a very
rich man. When we get back, I can
do good things for you. I can make
your life easy and nice.
ABIGAIL
When we get back?
DIMITRY
Yeah. When we get back. People are
looking for us. What you think
we’ll stay here forever?
ABIGAIL
You’re funny.
CHIEF STEWARDESS PAULA
This is not how you were trained
Abigail. Please give...
Abigail picks up a big stick and threatens Paula with it.
CHIEF STEWARDESS PAULA (CONT’D)
Come on, this is ridiculous. You’re
scaring people. Put the stick down.
Paula pours water on Abigail as if she is an animal.
Abigail stands.
ABIGAIL
Who am I?
CHIEF STEWARDESS PAULA
Who are you?
ABIGAIL
Who am I?
CHIEF STEWARDESS PAULA
You’re the toiler manager.
ABIGAIL
No. On the yacht, toilet manager.
Here...captain. Who am I?
NELSON
You’re the captain.
ABIGAIL
Yes.
Abigail throws Nelson a piece of octopus.
ABIGAIL (CONT’D)
Who am I?
YAYA
Captain.
ABIGAIL
Very good. Cutie pie?
Abigail throws Yaya a piece of octopus.
CARL
Captain.
Abigail throws Carl a piece of octopus.
ABIGAIL
Who am I?
DIMITRY
Captain.
Abigail throws Dimitry a piece of octopus.
ABIGAIL
Who am I?
JARMO
The captain.
Abigail throws Jarmo a piece of octopus.
ABIGAIL
Who am I? Who am I?
She offers Paula a piece of octopus. Paula takes it and nods
her head, finally agreeing with Abigail.
ABIGAIL (CONT’D)
In the yacht, cleaning lady. Here,
captain. Okay?
Abigail and Paula both sit. Abigail offers Paula another
piece.
ABIGAIL (CONT’D)
Have one more.
CHIEF STEWARDESS PAULA
Thank you.
DIMITRY
I would say I agree. I mean, we
have to work together and create a
good group. A good society. Do you
know the saying, “from each
according to his ability, to each
according to his needs.” You don’t
know this?
ABIGAIL
Ma’am Paula...With respect to your
expertise in this situation I would
like to make a suggestion, if
that’s okay?
CHIEF STEWARDESS PAULA
Sure.
ABIGAIL
My suggestion is that the boys stay
her and watch the fire and take
care of madame.
ABIGAIL (CONT’D)
While you, ma’am Paula, and you
sleep with me in the lifeboat.
She points at Yaya and Paula, and glares slightly at the men.
They are diminished as they sit there on the ground. Abigail
takes a step closer.
Dimitry, Jarmo, Carl, and Nelson watch the women head for the
boat.
That blood-curdling animal-humanoid cry rings out again in
the distance.
Ratings
Scene 46 - A Night of Camaraderie and Mourning
Yaya, Paula and Abigail are gathering towels for the others
when someone knocks on the hatch. It’s Dimitry and Jarmo,
pleading, dangling their exclusive watches in front of the
window.
EXT. ISLAND - NIGHT
Carl, Nelson, and Therese are all sitting around the camp
site scared to fall asleep. Abigail’s backpack comes into
view – it has been close by, only no one had discovered it
before the campfire revealed it. Carl looks at it for a while
before he opens the zipper and finds a bag of pretzels
inside. He puts the bag back and turns his face away as if he
was trying to erase the memory of its existence. But after
sitting down for a while, he seeks eye contact with Nelson
and Therese.
CARL
Nelson, she left the bag.
NELSON
Huh?
CARL
She left the bag.
NELSON
What’s in it?
CARL
Pretzel sticks.
Nelson goes over to the backpack to open it.
CARL (CONT’D)
No we can’t have it.
NELSON
I’m just going to have a look.
Alright?
CARL
We can’t. No.
NELSON
Wait.
He goes back to the backpack, unzips it and takes a look.
CARL
What are you doing?
Carl looks very skeptical.
NELSON
Maybe. If we just make a little
hole here. Take two out. One each.
They’ll never notice it.
CARL
Okay, let me try.
They carefully poke a small hole at the top corner of the box
and slowly take out two tiny pretzel sticks for each of them.
Giggling.
Therese motions to them and they give her one.
They eat them quickly. Then sit in silence.
CARL (CONT’D)
Shall we just have one more?
They grab the pretzel bag again.
EXT. ISLAND / BEACH - MORNING
Dimitry struggles against the waves to drag something in from
the water. He sits on the beach, holds it, weeps over it.
It is Vera’s corpse.
He strokes her neck...notices her diamond necklace.
He pushes her up so he can unclasp the necklace and pockets
it.
Ratings
Scene 47 - Confrontation Over Charred Pretzels
The fire has gone out and the sun has risen a fair amount
above the horizon. With a commanding presence, Abigail is
standing in front of Carl and Nelson. Yaya and Paula teaming
up behind her.
ABIGAIL
So what happened here?
CARL
We made a mistake with...
ABIGAIL
Why?
CARL
We just fell asleep.
ABIGAIL
Now I won’t have enough time to go
fishing because I have to make
another fire. It takes a lot of
work to make a fire, you know.
CARL
Yeah, yeah. We know.
ABIGAIL
Okay. Let’s get this day started.
Come on, everybody. Let’s go!
ABIGAIL (CONT’D)
Wait, wait, wait. There’s one more
thing.
She leaves the group, places a hand on the pirate’s shoulder
as she passes behind his back, walks over to the log and
picks up her backpack.
ABIGAIL (CONT’D)
Last night, we left our backpack
here, and well, we’re not sure, but
we think we’re missing a pack of
pretzel sticks. You didn’t take it,
did you?
CARL
No.
ABIGAIL
Are you sure?
NELSON
Yeah, we’re sure. Come on. Why are
you accusing us.
ABIGAIL
No, I’m not accusing you. I’m just
making sure because...
Abigail walks over to the burnt-out fire and picks up the
partially charred empty box of pretzels.
ABIGAIL (CONT’D)
What’s this?
CARL
Well we didn’t.
ABIGAIL
You didn’t?
NELSON
No, we didn’t.
ABIGAIL
And you’re sure you didn’t?
Abigail’s stern look pushes the pirate into the painful
corner of shame. It makes him look like the dog from the
YouTube clip “Denver - the official guilty dog”.
NELSON
We are sure we didn’t.
ABIGAIL
Very sure.
CARL
Yes.
CHIEF STEWARDESS PAULA
I think they need to be punished.
ABIGAIL
Yes, Ma’am Paula. This is really
bad. This is really, really bad. I
mean, you didn’t watch the fire and
then you steal a pack of pretzel
sticks?
YAYA
Yeah, and lie about it.
ABIGAIL
And not just to me, but to
everybody here. How can we trust
you, after what you did.
CARL
I need to say something now,
because this is becoming
ridiculous.
Carl becomes animated and starts talking angrily with his
hands. Yaya, Paula, and Abigail look at Carl with stern eyes.
CARL (CONT’D)
What?
YAYA
Don’t point at her. Put your hands
down.
CARL
Okay, alright. Just let me say
though...
ABIGAIL
Put your hands down!
CARL
What?
YAYA
Your body language is so
aggressive, Carl!
CARL
What?
ABIGAIL
I’m not getting any food for you.
You find your own food.
CARL
What Come on, man...No Abigail
that’s so unfair.
ABIGAIL
Put your hands down.
YAYA
You seriously don’t get it. Put
your hands down!
CARL
I’m trying to defend myself!
YAYA
Don’t defend yourself! You are
inflicting pain on her by defending
yourself.
Ratings
Scene 48 - Unexpected Discoveries and Nighttime Camaraderie
Carl is anxiously looking for food in a pile of trash and
belongings from the ship wreck. He finds something that
catches his eye.
CARL
Shut the fuck up! No...
Carl finds the same cologne that he modeled for in the
campaign years ago.
EXT. ISLAND / MAIN BEACH - NIGHT
Paula, Yaya, and Abigail are walking down the beach holding
what appears to be multiple fish that Abigail has caught.
Dimitry runs to catch up with them.
DIMITRY
What a nice fish, huh?
ABIGAIL
Yes. We have a lot.
DIMITRY
So it’s dinner, huh? Great.
Where did you get it.
ABIGAIL
There, at the back of the rock.
DIMITRY
You’re good at that.
ABIGAIL
Thank you.
Abigail walks ahead of the group.
DIMITRY
You need help?
YAYA
Yeah, sure, get some Nutella.
Dimitry catches up with Abigail and shines a flashlight for
her.
ABIGAIL
Oh, thank you!
Ratings
Scene 49 - Jealousy by the Fire
Darkness has once again enveloped the island. Our group of
hungry castaways is sitting around the campfire eating. Carl
and the pirate, now known as Nelson are being punished and
will not be receiving anything to eat, but their empty
bellies have them hoping. They watch as the others eat.
Carl and the pirate, now known as Nelson are being punished
and will not be receiving anything to eat, but their empty
bellies have them hoping. They watch the others eat, but not
everyone is fully occupied by food. Yaya feels guilty, she
has a hard time looking at Carl. But suddenly she notices
something unexpected. Carl’s gaze is fixed on someone else
there at the campfire. She leans forward to see who it might
be. Is he looking at the cleaning lady? He is looking at her.
She studies Carl’s expression. It’s not hostile or anything
like that, it’s more like he wants to get her attention. With
the image of Carl’s expression branded on her consciousness,
Yaya looks down at her food a second before looking sideways
to study him in secret. He’s still looking at the cleaning
lady and now he does a slow blink with both eyes. The woman
responds with a smile. Yaya stops eating. A queasy sort of
feeling is overpowering the hunger in her gut. Is Carl
flirting with the cleaning lady? How long has this been going
on? The cleaning lady looks up at Carl a third time and by
now his gaze is stirring up a reaction in her. Does he really
mean her? Carl starts using body language, puckering his lips
just a little and smiling. The cleaning lady smiles back, a
bit self- consciously. She averts her eyes momentarily and
then looks up again with more confidence. Now she holds his
gaze for two seconds before she blinks softly with both eyes.
The flirt is on. Yaya watching all of this.
YAYA
What?
Yaya gets up. She gives Carl a brief glance before she leaves
the campfire and heads for the shore. The others look up from
their meal. What’s up? Did anything in particular happen or
is she simply answering nature’s call?
CARL
Yaya? Wait, wait.
YAYA
Dickhead! Piss off!
Abigail takes a size-able chunk of grilled fish that hasn’t
been assigned yet. She folds it up in a palm leaf, gets up
and yawns.
ABIGAIL
Okay, I’m going to the lifeboat
now. Ma’am Paula, can you stay here
and watch the fire?
CHIEF STEWARDESS PAULA
Sure.
ABIGAIL
And since Carl didn’t eat anything
today, he can sleep with me in the
lifeboat.
CARL
Okay, yeah.
NELSON
Can I come?
CARL
Abigail, can we both come or...
ABIGAIL
No, just you.
Carl looks slightly embarrassed, then gets up and joins her.
The rest of the group is confused – what’s going on here?
Ratings
Scene 50 - Tides of Jealousy
Yaya has left the others, sitting on a rock at the left end
of the beach. She’s frustrated and upset, soon she will be
feeling even worse. From a distance you can see Carl running
towards her with a bag of pretzels.
YAYA
Fine, I’ll take the pretzels!
Carl winces when he sees how flea-bitten Yaya’s face is.
CARL
You’re making this into an issue.
Are you going to take them? Yes,
take them. Good. Why are you making
this into an issue. I’m coming! One
second!
YAYA
What are you going to do on the
boat?
CARL
I don’t know.
YAYA
Don’t act naive, seriously!
CARL
I don’t know why she asked me, but
I’m gonna do it, of course...
YAYA
Really?
CARL
Yes.
YAYA
What do you think she wants with
you? You’re a young, hot guy. What
do you think she’s going to do with
you?
Abigail blows a whistle from the lifeboat. Carl and Yaya
fight over the pretzels.
CARL
Okay, then give them back.
YAYA
No. No!
CARL
Let me take them back.
YAYA
No. And they’re mine, okay?
CARL
Take a few, and I’ll take them
back, because I don’t want to do
this. It’s not a good idea.
YAYA
I want these!
CARL
You need to tell me what to do! You
need to tell me how to navigate
this. Yaya?
YAYA
You just have to stroke her ego.
Just laugh are her jokes and smile.
CARL
Okay.
YAYA
Make sure to set up boundaries.
CARL
Yeah.
YAYA
And nothing sexual, okay?
CARL
No, I won’t do anything sexual.
YAYA
And don’t do anything you wouldn’t
want me to do.
CARL
No, I won’t do anything you’re not
comfortable with.
YAYA
No kissing. Nothing like that!
Brief silence.
CARL
Yaya, I think she’s probably
expecting something.
YAYA
Like what?
CARL
A massage, or...
YAYA
A massage?
CARL
I don’t know. She might want
something.
YAYA
Definitely not a massage.
CARL
She just gave me a whole fucking
packet of pretzels for you...I
don’t know what to say...I can’t do
anything?
YAYA
No!
CARL
Okay, but...
YAYA
Massage her neck. Okay?
CARL
I can massage her neck?
YAYA
Her neck, that’s it!
CARL
Okay, okay, okay! I love you so
much.
YAYA
Well, I hate you.
CARL
I understand. Fuck...
Carl hears the whistle blowing from the lifeboat again.
CARL (CONT’D)
Coming!
Yaya cries alone in the dark.
Ratings
Scene 51 - Secrets and Whistles
Carl climbs out of the lifeboat.
CARL (CONT’D)
See you in a bit.
Yaya passes by.
YAYA
Morning.
CARL
Oh, morning.
YAYA
Asshole.
CARL
Yaya! Yaya, wait. Wait.
EXT. ISLAND / BEACH - MONTAGE
Here follows a collage of Carl, repeatedly exiting the
lifeboat, after spending the nights with Abigail. Sometimes
it’s sunny, sometimes it’s cloudy, once it’s raining. From
the beginning, Carl is carefully making sure that no one
catches him with the pretzel sticks. As the days pass he
becomes more relaxed.
EXT. ISLAND / BEACH - DAY (PART OF MONTAGE)
The collage will be intercut with a discussions between Jarmo
and Therese sitting on the beach. During the discussion they
relate to Carl and Abigail that is in the life boat somewhere
in front of them and Jarmo and Dimitry who are poking fun of
Carl in the background.
JARMO
Pretty boy. We can see you!
NELSON
Have you ever used your...
Nelson points to her body, asking Therese if she has ever
used sex to gain something.
NELSON (CONT’D)
When you were young?
Theres shyly nods yes.
NELSON (CONT’D)
Oh, you slept with somebody to get
a job. No, you didn’t? Really?
Theres holds up one finger.
NELSON (CONT’D)
Once? Therese...Wow!
Cut to Dimitry and Jarmo who are taunting Carl by blowing the
whistle Abigail uses to call him to the lifeboat. Carl is
pushing them around to try and get the whistle back.
CARL
Where is it? Give it to me! Give me
the whistle now. So childish.
All the men laugh.
Ratings
Scene 52 - The Hunt's Consequence
Nelson pushes some branches aside and slowly leans in to
check the bushes in front of him.
Dimitry and Jarmo are watching him a couple of meters from
behind. All of a sudden, there’s a rustling sound, followed
by the animal-humanoid cry. Nelson gasps and hurries back to
the others.
NELSON
Hey.
DIMITRY
Pirate? What was it?
NELSON
Did you see it?
DIMITRY
What was it?
NELSON
I don’t know what it is.
With mixed feelings, they turn away from the animal. At that
very moment, Yaya is coming up to the men from behind.
YAYA
What’s going on?
CHIEF STEWARDESS PAULA
They’re hunting something.
NELSON
No. We don’t go there. What? Come
on, guys!
JARMO
Nelson, give me that.
The others look at him in surprise. Suddenly Jarmo has puffed
himself up.
NELSON
Are you sure?
Nelson hands him the sharpened stick. Jarmo weighs the stick
in his hands only to throw it aside and pick up a large rock
instead. With a serious expression on his face, he proceeds
to stalk his prey.
JARMO
It’s a female.
DIMITRY
Kill it.
Using all of his might, Jarmo smashes it over the head with
the rock. Jarmo thinks he killed the animal. Dimitry, Jarmo,
and Nelson celebrate, when Paula notices something.
CHIEF STEWARDESS PAULA
It’s moving. It’s moving. It’s not
dead..
Jarmo takes two careful steps back towards the animal.
NELSON
What’s he doing?
CHIEF STEWARDESS PAULA
No, no, no
Jarmo begins smashing the animal with the rock repeatedly.
The animal, now revealed to be a donkey, finally dies. Jarmo
is left shaken up and covered in blood. Dimitry and Nelson go
over to comfort him.
DIMITRY
Hey, you did it.
Ratings
Scene 53 - Tensions by the Fire
Everybody has now gathered in a half circle around a fire,
facing a smooth rock wall.
DIMITRY
Hunter Jarmo! Big hunter! Give him
applause!
Everybody cheers.
YAYA
The donkey fairytale...
Jarmo is standing in front of the others, prepared to give a
dramatic speech, illuminated by the flames from the fire.
JARMO
Thank you very much. Okay, to kill
a donkey it may be a great
achievement but there’s one thing
that’s so much greater.
YAYA
To paint!
JARMO
To paint, yes! To paint a donkey.
Let’s take a look at the
expression. Who did this one?
Jarmo steps back, exposing the rock wall. With pieces of
charcoal from the fire, there is a drawing of a donkey on the
wall.
YAYA
Me.
JARMO
Okay, the feet are close together.
This donkey wants to be in control
but it looks almost scared. You
want to tell this donkey to not be
so scared. To lose control and
bound away across the fields,
wildly waiving its tail! Sure it
will make mistakes...
It is an expression of displeasure, very clearly directed at
Abigail and Carl, who now feel cornered. Carl wants to
acknowledge Abigail, but is unwilling to do it in front of
Yaya. A hand on Carl’s thigh, a kiss on his cheek… Every
physical gesture creates a painful dilemma for Carl. This
wordless drama plays out at the same time as Jarmo is
commenting the different drawings on the rock wall.
YAYA
Carl, what are you doing?
CARL
Huh?
YAYA
Carl?
CARL
Yeah.
YAYA
What are you doing with your hand?
CARL
Which one?
YAYA
Seriously?
CARL
I’m just resting it on the chair.
YAYA
Why is your hand under her jacket
on a chair?
CARL
What? It was just.. I don’t know,
it was there, resting on the side
of the chair.
Ratings
Scene 54 - Entangled Emotions
Carl and Abigail are tangled up under the mosquito net.
ABIGAIL
I’m coming! I’m coming!
CARL
I can’t concentrate...
Abigail turns around and covers herself with some towels.
ABIGAIL
Okay, you know if you can’t handle
it, just tell me. Nobody’s forcing
you to do anything.
CARL
It’s just all this fucking sneaking
around and hiding things from
everyone. It’s too much! It’s
becoming unbearable! I mean,
they’re obviously not happy with
what we’re doing in here.
ABIGAIL
Okay, so. Let’s just tell them the
truth. You give me something, and I
give you something in return.
CARL
You realize what position that puts
me in?
ABIGAIL
No.
CARL
Well, just because it’s more open
that you’re a flesh peddler, it
doesn’t mean they’re going to
accept the fact that you’re buying
sex with common food.
ABIGAIL
Wow...
CARL
Oh, come on, I didn’t...
ABIGAIL
Do you know the amount of work I
put into this island. I go fishing
every day. I make fire...
CARL
I know, I know.
ABIGAIL
I’m responsible for everybody here!
CARL
I know, I’m sorry, I know.
ABIGAIL
Shouldn’t that give me an
advantage?
CARL
Yeah, yeah, of course. You deserve
to do what you want, I know. The
absurd thing that, if we were a
couple, they wouldn’t care what we
did in here. Maybe we should just
do that, maybe we should just get
on with it. Kiss a little bit in
public and hold hands. Surely that
would be easier?
ABIGAIL
What about Yaya?
CARL
I would have a conversation with
Yaya. I would have to be an adult
about it and figure it out. I think
it would be easier for her,
probably. I mean, she’s have to
deal with all this gossip as well.
ABIGAIL
Carl, I don’t know.
CARL
Do you want me to break up with
Yaya?
ABIGAIL
No.
CARL
No?
ABIGAIL
That’s your decision, not mine.
CARL
I’m not asking you to do it. I’m
just seeing what you think about
it.
ABIGAIL
I know, but that doesn’t mean that
you can put me in-between the two
of you.
CARL
It’s kind of a perfect scenario for
you I mean... You get what you
want, you have no obligations, no
responsibilities, you know.
ABIGAIL
What do you have to make everything
so complication?
CARL
Because I feel like I need to know
where this is going, Abigail.
ABIGAIL
Let’s just have fun.
CARL
No, but I need to try and deal with
this situation. I don’t want to
piss off anyone anymore.
ABIGAIL
Do you remember what you said the
first night you were here? What did
you say?
CARL
“I love you, you give me fish.”
ABIGAIL
Exactly. And so you know why that
is so beautiful? Like you?
CARL
No. Why?
ABIGAIL
Because, it’s the truth.
Ratings
Scene 55 - Pirate Shaves and Financial Waves
Nelson shaves Dimitry’s face with a straight razor on the
beach.
DIMITRY
So Nelson, you’re a pirate, huh?
NELSON
Come on, stop it. Okay. If I was a
pirate, what would you ask me?
DIMITRY
How much money do you make?
NELSON
Yeah, of course. I don’t know,
like, 3000 euros.
DIMITRY
On one attack?
NELSON
Yeah, one attack. If we succeed.
DIMITRY
So you work on commission, huh?
NELSON
Yeah!
DIMITRY
Shit! The client is making all the
money?
NELSON
Yeah, but you can make more if you
have your own boat.
DIMITRY
3000 euros.. Come on, you’re crazy.
NELSON
My girlfriend is expensive.
DIMITRY
What? You invest in your
girlfriend?
NELSON
Yeah.
DIMITRY
You should do it the other way
around. Invest in business, buy a
boat, and the girls will come to
you.
NELSON
Yeah?
DIMITRY
Sure, I know!
They laugh together.
Ratings
Scene 56 - Into the Jungle
A hard knock on the hatch of the lifeboat wakes up Abigail
and Carl, laying naked and tight together under the mosquito
net. As Carl get up from the bunk and wipes away the steam on
the inside of the shutter, he sees Yaya's face waiting
outside.
YAYA
Hey. I was just wondering if I
could borrow the backpack?
Carl looks briefly at Abigail.
CARL
Abigail?
ABIGAIL
Yeah, I know. What are you going to
do, Yaya?
YAYA
Go for a hike over the mountain.
See if I can find something.
Abigail gets up from the bunk.
ABIGAIL
I’ll go with you.
YAYA
It’s okay, I can go by myself.
ABIGAIL
No Yaya, it’s not safe for you to
go alone. I’ll go with you.
YAYA
Okay.
Carl looks at Abigail.
CARL
Do you want me to come?
ABIGAIL
No. You stay here. I need some time
alone with her.
CARL
Yeah?
ABIGAIL
Yeah.
They kiss and Abigail climbs out of the boat. Through the
glass window Carl sees how Yaya and Abigail disappear into
the jungle vegetation.
Ratings
Scene 57 - Navigating Uncertainty
Carefully, Yaya makes her way through the thick vegetation
with the machete. Abigail is a few steps behind her. Now and
then, she looks at Yaya as if she would like to say
something.
ABIGAIL
I’m glad we’re doing this together,
Yaya.
YAYA
Me too. I just want to tell you
that I’m really impressed with
everything you’re doing here. I
mean, you managed to run a fucking
matriarchy, Abigail. You
domesticated all the old alpha
males. No, it’s really impressive.
Abigail seems unsure of how to take Yaya’s words and tries to
downplay them.
ABIGAIL
We should stick together, huh?
Ratings
Scene 58 - Miscommunication on the Island
Yaya & Abigail reach a steep mountain peak. Abigail is
growing weary.
YAYA
I think it should be a little
easier from here.
When it comes to climbing, Yaya is the faster one and as she
rounds a corner she disappears out of sight.
EXT. ISLAND / CAMP (& BEACH) - DAY
Therese is all alone in the lifeboat beached in the clearing
in the trees. She gazes towards the sea as if she were
looking for the others. Suddenly, through the foliage, she
notices something moving further down the beach.
THERESE
Il den Wolken.
As it approaches the opening in the thicket, we see patterns
and flashes of color. It looks like someone carrying bags,
swatches of cloth, sunglasses, Panama hats…
THERESE (CONT’D)
Il den Wolken!
On the beach, about 50 meters from Therese, a beach vendor
comes walking with his entire assortment. Therese can hardly
believe her eyes; she gets excited and starts to shout louder
and louder. The vendor looks up and heads over to Therese…
THERESE (CONT’D)
Il den volken!
Therese is out of breath but tries to smile towards him and
gesture that he should come closer with her movable left
hand. The beach vendor sits down and lines up his wares in
front of her.
NATIVE MAN
Louis Vuitton, Chanel?
THERESE
In den Wolken. Nien, nien!
Therese is desperate, The beach vendor looks questioningly at
her. She grabs at his arm and he backs away. Collects his
things and leaves muttering while Therese screams after him.
Ratings
Scene 59 - Discovery on the Hillside
Yaya and Abigail is now moving slowly forward on a brushy,
steep hillside, close to the ocean. You can tell by their
steps that they are growing weary.
The waves rumble into the cliffs 40 meters below them, if
they trip it would be all over.
YAYA
Abigail! I see something!
Yaya’s voice was shrill. That makes the pause before her
response.
ABIGAIL
What? I can’t hear you!
YAYA
Abigail! Hurry up!
ABIGAIL
I’m coming!
YAYA
Abigail!
ABIGAIL
Yaya!
YAYA
Abigail! Abigail, there’s an
elevator! It’s a resort, Abigail!
An elevator? Did she hear right? Abigail stops and listens,
then she starts to hurry to catch up on Yaya.
ABIGAIL
A what?
Ratings
Scene 60 - Tension on the Shore
It takes a little while for her to climb down the rock. When
she reaches Yaya, she has sunk down in the sand. At the
bottom of the cliff, twenty meters away, an elevator entrance
in blasted steel is built into the rock wall. On the small
beach, a dozen sun chairs.
Yaya laughs wildly.
YAYA
It’s a resort! Come, look! It’s a
luxury resort! It’s been there the
whole time! It’s been there the
whole fucking time, Abigail! Come,
come Abigail.
Abigail isn’t anywhere near as thrilled as Yaya but she
realizes she needs to play along. She sits down, patting the
space next to her.
ABIGAIL
Let’s enjoy this moment.
Yaya smiles back and sits down beside Abigail, takes a deep
breath and exhales.
YAYA
It’s surreal, huh?
ABIGAIL
Yeah.
YAYA
You must be excited to see your
kids huh?
Yaya smiles tenderly and Abigail shivers at the thought of
how fast things can change – that smile, it was like a
multitude of smiles she’d encountered on the cruise yachts:
It was a smile of compassionate superiority. No hierarchies
would be changed by what essentially is pity. Maybe it’s the
smile that makes her mind up.
ABIGAIL
I don’t have kids.
YAYA
Sorry. Let’s go.
ABIGAIL
I need to wee-wee and then we will
go.
Abigail starts walking towards a small cluster of trees at
the back of the beach. While walking, she turns around two
times to make sure that Yaya is not watching her. When she
stops, she picks up a large rock.
She hefts it a few times and watches Yaya. Then Abigail goes
back out on the beach. Very slowly, she closes in on Yaya.
The girl’s hair, her tanned back, the sun slowly setting in
the sea – just like an Instagram post. By the time Abigail is
only a few meters away, something primitive comes over her
features… She raises the rock over her head but doesn’t
follow through when Yaya starts talking.
YAYA
Abigail? Abigail, I can try and
help you. I don’t know how but...
She says it without turning around. Abigail lowers the rock
back to waist level again and stands there, her chest
heaving. We hear her heart beating. We see the fierce
expression in her eyes, how her nostrils flare.
YAYA (CONT’D)
Abigail, maybe you can come work
for me. You could be my assistant.
EXT. ISLAND / JUNGLE PATH - DAY
Carl runs as fast as he can through the woods.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
carl | Carl's character arc follows a trajectory of self-discovery and emotional growth. He begins as a hesitant and insecure individual, primarily focused on making an impression in the modeling world. As he faces the challenges of the fashion industry and his complicated relationships with Yaya and Abigail, he confronts his internal conflicts regarding pride, jealousy, and societal expectations. Throughout the screenplay, Carl learns to embrace vulnerability and authenticity, ultimately striving for genuine connections rather than superficial validation. By the end, he emerges as a more confident and self-aware individual, capable of navigating his emotions and relationships with greater clarity and purpose. | While Carl's character arc is rich and layered, it may benefit from a clearer progression and resolution. His internal conflicts are compelling, but the screenplay could enhance the emotional stakes by providing more concrete moments of transformation. Additionally, the balance between his flirtatious nature and deeper struggles could be better integrated to create a more cohesive character. Some scenes may feel disjointed, and the transitions between his various emotional states could be smoother to maintain audience engagement. | To improve Carl's character arc, consider incorporating pivotal moments that force him to confront his insecurities and challenge his beliefs about love and relationships. These moments could include significant confrontations with Yaya and Abigail that lead to self-reflection and growth. Additionally, providing a clearer resolution to his internal conflicts—such as a decisive choice between Yaya and Abigail—could enhance the emotional impact of his journey. Finally, ensuring that his humorous and flirtatious traits serve to deepen his character rather than distract from his struggles will create a more well-rounded portrayal. |
yaya | Yaya's character arc follows her journey from a confident and assertive influencer who challenges traditional norms to a more vulnerable and introspective individual who learns to balance her independence with the need for emotional connection. Initially, Yaya navigates her relationships with a pragmatic and detached approach, often masking her insecurities with humor and charm. As the story progresses, she faces intense emotional challenges that force her to confront her jealousy and fears, particularly regarding her relationship with Carl and her interactions with Abigail. Through these conflicts, Yaya evolves to embrace her vulnerabilities, ultimately finding strength in her emotional honesty and the ability to trust others. By the end of the feature, Yaya emerges as a more grounded individual who values both her independence and the importance of meaningful connections. | Yaya's character arc is compelling, showcasing a rich emotional landscape and a strong personality. However, the arc could benefit from clearer milestones that highlight her growth. While her journey from confidence to vulnerability is engaging, the transitions between these states may feel abrupt without sufficient buildup or resolution. Additionally, the portrayal of her jealousy and insecurity could be further nuanced to avoid falling into stereotypes of the 'jealous girlfriend' trope. Instead, emphasizing her internal struggles and the reasons behind her feelings could add depth to her character. | To improve Yaya's character arc, consider incorporating specific turning points that illustrate her growth. For instance, moments of self-reflection or pivotal conversations with Carl or Abigail could serve as catalysts for her transformation. Additionally, exploring her backstory could provide context for her insecurities and relationship dynamics, making her struggles more relatable. Introducing a mentor or a supportive friend who helps Yaya navigate her emotional challenges could also enhance her journey. Finally, ensure that her resolution feels earned by allowing her to actively confront her fears and insecurities rather than simply having them resolved by external circumstances. |
chief stewardess paula | Throughout the screenplay, Chief Stewardess Paula undergoes a significant character arc. Initially, she is portrayed as a strict and authoritative figure, focused solely on maintaining order and high standards. However, as the story progresses and challenges arise, Paula learns to adapt her leadership style. She begins to embrace a more collaborative approach, recognizing the value of her crew's input and the importance of emotional support in crisis situations. This evolution allows her to balance her authoritative nature with empathy, ultimately transforming her into a more well-rounded leader who prioritizes both safety and the emotional well-being of her team and guests. By the end of the feature, Paula emerges as a resilient and adaptable leader, having successfully navigated the complexities of her role while fostering a sense of unity among the crew. | While Paula's character arc is compelling, it may benefit from deeper exploration of her internal conflicts and motivations. The transition from a strictly authoritative figure to a more empathetic leader could be more pronounced, allowing the audience to witness her struggles and growth in real-time. Additionally, the initial challenge posed by Abigail could be developed further to create a more dynamic conflict that forces Paula to confront her leadership style more directly. This would enhance the emotional stakes and provide a clearer catalyst for her transformation. | To improve Paula's character arc, consider incorporating specific moments that highlight her internal struggles and doubts about her leadership approach. For example, scenes where she faces criticism from her crew or experiences a personal setback could serve as pivotal points for her growth. Additionally, introducing a mentor or ally who challenges her perspective could provide valuable insights and facilitate her transformation. Finally, ensure that her final moments reflect not only her newfound empathy but also a clear understanding of how her leadership style has evolved, reinforcing the theme of adaptability in the face of adversity. |
captain | The Captain's character arc follows a journey from a position of authority and control to one of introspection and moral questioning. Initially, he is a charismatic leader, navigating the chaos of the Captain's Dinner with professionalism. However, as he interacts with Dimitry and confronts the political realities around him, he becomes increasingly reflective and critical of his own beliefs. This culminates in intense confrontations where he challenges authority and reveals his passion for truth. By the end of the feature, the Captain emerges as a more nuanced individual, having reconciled his vulnerabilities with his convictions, ultimately embracing a more profound understanding of morality and self-awareness. | While the Captain's character arc is compelling, it risks becoming overly complex without sufficient focus. The transitions between his various traits—vulnerability, authority, humor, and philosophical depth—may confuse the audience if not clearly delineated. Additionally, the character's evolution could benefit from more concrete moments of change that illustrate his growth, rather than relying solely on dialogue and introspection. | To improve the character arc, consider incorporating specific pivotal moments that force the Captain to confront his beliefs and values directly. These could be external conflicts or personal crises that challenge his authority and compel him to act in ways that reveal his growth. Additionally, streamline his traits to ensure that each scene contributes to a clear narrative progression. Highlighting key relationships, particularly with Dimitry, can also serve to anchor his development, providing a clearer emotional throughline for the audience. |
dimitry | Dimitry's character arc begins with him as a proud and successful businessman, using humor and eccentricity to engage with others. As the story progresses, he becomes increasingly disruptive and confrontational, challenging the Captain and the group's dynamics. This conflict forces him to confront his own beliefs and motivations, leading to a moment of self-reflection where he grapples with his opportunistic behavior versus his moral obligations. By the climax, Dimitry's character evolves into a more determined and responsible figure, taking charge in critical situations and ultimately choosing to support the group over his self-serving instincts. His journey culminates in a resolution where he finds a balance between his chaotic nature and a newfound sense of camaraderie, contributing positively to the group's survival. | Dimitry's character arc is compelling, showcasing a range of emotions and behaviors that make him a dynamic presence in the screenplay. However, the transition from his humorous and eccentric traits to a more confrontational and aggressive demeanor may feel abrupt to the audience. Additionally, while his conflict with the Captain serves as a driving force in the narrative, it could benefit from deeper exploration of his internal struggles and motivations. The balance between his chaotic nature and moments of support for the group could be more nuanced to enhance his character development. | To improve Dimitry's character arc, consider incorporating more scenes that highlight his internal conflict and moral dilemmas, allowing the audience to empathize with his struggles. Gradually build his confrontational traits by introducing smaller conflicts that escalate over time, rather than a sudden shift in behavior. Additionally, emphasize his moments of camaraderie and support for the group, showcasing how these interactions influence his character growth. This will create a more cohesive arc that resonates with the audience and adds depth to his relationships with other characters. |
jarmo | Jarmo begins as a lonely and desperate figure, seeking validation through extravagant gestures and social interactions. As he faces accusations and misunderstandings, he becomes more conflicted, leading to impulsive decisions that heighten the tension in his life. Throughout the screenplay, Jarmo's journey involves confronting his fears and vulnerabilities, ultimately leading him to a moment of self-realization. By the end, he learns to balance his need for connection with a deeper understanding of himself and others, transforming from a desperate seeker of validation into a more self-aware and grounded individual. | While Jarmo's character arc presents a compelling journey from loneliness to self-awareness, it risks becoming predictable if not handled with nuance. His impulsive nature and emotional outbursts can sometimes overshadow his growth, making it difficult for the audience to fully engage with his transformation. Additionally, the motivations behind his actions could be explored more deeply to enhance the complexity of his character. | To improve Jarmo's character arc, consider incorporating moments of introspection that allow him to reflect on his actions and their consequences. This could involve interactions with other characters that challenge his worldview and force him to confront his biases. Additionally, introducing a mentor or a contrasting character who embodies the qualities Jarmo lacks could provide a catalyst for his growth. Finally, ensure that his emotional outbursts serve as turning points in his journey, leading to meaningful change rather than merely heightening tension. |
abigail | Abigail begins as a diligent and loyal member of the group, showcasing resilience in the face of adversity. As the situation escalates, she takes on the role of captain, challenging existing leadership and asserting her authority. Throughout the screenplay, Abigail's assertiveness creates tension within the group, particularly with Yaya, highlighting her confrontational nature. However, as the story progresses, Abigail's character evolves; she learns to embrace vulnerability and empathy, recognizing the importance of collaboration and open communication. By the end of the feature, Abigail emerges as a more balanced leader, having reconciled her desires with her responsibilities, ultimately fostering a sense of unity within the group. | While Abigail's character arc is compelling, it risks becoming one-dimensional if her vulnerabilities are not explored in depth. The tension she creates with other characters, particularly Yaya, could benefit from more nuanced interactions that reveal her internal struggles. Additionally, her growth should be more gradual, allowing the audience to witness her transformation in a more organic manner. The screenplay should ensure that her assertiveness does not overshadow her emotional journey, as this could lead to a lack of relatability for the audience. | To improve Abigail's character arc, consider incorporating more moments of introspection where she reflects on her leadership style and its impact on the group. Introduce scenes that allow her to connect with other characters on a deeper level, showcasing her vulnerabilities and the reasons behind her assertiveness. Additionally, create challenges that force Abigail to rely on others, emphasizing the importance of teamwork and collaboration. This will not only enhance her growth but also make her a more relatable and multidimensional character. Finally, ensure that her journey towards self-discovery is punctuated by key turning points that highlight her evolving understanding of leadership and personal desires. |
nelson | Nelson's character arc follows a journey from impulsive curiosity to a more grounded and cooperative role within the group. Initially, he is driven by a desire for adventure, often acting on whims that create tension and excitement. As the plot unfolds, he faces challenges that force him to confront his own tendencies towards passivity and compliance. Through key confrontations, particularly with Abigail, Nelson learns the importance of standing up for himself and his beliefs, ultimately transforming into a more assertive and confident individual. By the end of the feature, he balances his adventurous spirit with a newfound sense of responsibility and leadership, contributing positively to the group's dynamics. | While Nelson's character arc presents an interesting evolution, it may lack sufficient depth in terms of internal conflict and motivation. His transition from a curious risk-taker to a compliant follower could benefit from clearer catalysts that drive this change. Additionally, the humor and laid-back nature of his character, while charming, may overshadow the more serious aspects of his development, making it difficult for audiences to fully engage with his journey. | To enhance Nelson's character arc, consider introducing specific events or challenges that force him to confront his compliance and passivity more directly. This could involve a pivotal moment where his loyalty is tested, prompting him to choose between following others or asserting his own voice. Additionally, integrating more moments of introspection could help audiences connect with his internal struggles. Balancing his humor with moments of vulnerability will create a richer character experience, allowing viewers to appreciate both his lightheartedness and his growth throughout the feature. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Overall Grade Correlation with Concept and Plot | Scenes with high overall grades (8 or 9) consistently receive high marks in 'Concept' and 'Plot,' suggesting a strong foundation in the narrative structure. This indicates the core ideas and plot progression are strong drivers of overall scene quality. |
Dialogue Quality and Emotional Impact Inverse Relationship in Certain Tones | In scenes with predominantly 'Humorous,' 'Playful,' or 'Light-hearted' tones, there's a noticeable inverse relationship between 'Dialogue' and 'Emotional Impact' scores. While humor is present, the emotional depth sometimes suffers. Consider exploring ways to deepen the emotional impact within comedic scenes. |
Tense Scenes and High Conflict/Emotional Impact | Scenes categorized as 'Tense' frequently show high scores in 'Conflict' and 'Emotional Impact.' This confirms the effectiveness of tense moments in driving the emotional narrative forward. However, the exceptions (some tense scenes with lower emotional impact scores) indicate an area for potential improvement – enhancing the emotional resonance of these scenes. |
Character Changes and Scene Progression | Scenes with lower scores in 'Character Changes' (below 7) often correspond with lower scores in 'Move Story Forward.' This suggests that pivotal character development actively propels the narrative. Explore opportunities to enrich character arcs in scenes where movement feels stagnant. |
Underutilized Dialogue in High-Stakes Scenes | While several high-stakes scenes score well in other aspects, their 'Dialogue' scores are sometimes unexpectedly lower. This implies that the dialogue might not be fully leveraging the inherent tension or impact of these critical scenes. Revisit dialogue in these moments to enhance their impact and contribute to their overall high stakes rating. |
Tone Clusters and Score Consistency | Certain tone combinations (e.g., 'Tense,' 'Emotional,' 'Confrontational') exhibit a degree of score consistency across multiple metrics, suggesting a well-established style in these scenes. Conversely, scenes mixing various tones (e.g., 'Humorous,' 'Tense,' 'Serious') sometimes show score variability, indicating a need for greater tonal balance and narrative consistency. |
Scenes 9 and 26: A potential anomaly | Scenes 9 and 26 have relatively low scores for 'Dialogue' and 'Emotional Impact' despite high overall scores, particularly in 'Concept' and 'Plot'. This might indicate these scenes are plot-driven but could benefit from strengthening their dialogue and emotional resonance to fully realize their potential. |
Late-Story Dip in Certain Metrics | There's a slight dip in average scores (especially 'Dialogue' and 'Emotional Impact') around scenes 55-58. This suggests a potential narrative lull toward the end, which might be addressed by increasing the emotional stakes and strengthening dialogue during this segment. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong foundation in crafting engaging scenes with dynamic dialogue and compelling character interactions. The writer shows a talent for blending humor, tension, and thematic depth, creating memorable moments and exploring complex relationships and social issues. However, there's room for improvement in consistent scene structure, character arc development, and nuanced subtext within dialogue.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat!' by Blake Snyder | This book directly addresses scene structure, character arcs, and overall narrative pacing—key areas identified for improvement in multiple scene analyses. |
Book | 'The Anatomy of Story' by John Truby | This book offers a deeper dive into character motivations, plot structure, and thematic depth, aligning with the need for enhanced character arcs and more meaningful thematic exploration within the scenes. |
Screenplay | Read and analyze a variety of screenplays, including 'The Devil Wears Prada,' 'The Social Network,' 'Eternal Sunshine of the Spotless Mind,' 'Lost in Translation,' 'In Bruges,' 'Glengarry Glen Ross,' 'No Country for Old Men,' 'The Departed', and 'Jurassic Park'. | Studying these diverse screenplays will expose the writer to various styles, techniques in handling dialogue, character development, and crafting suspenseful and impactful scenes, addressing multiple areas for improvement. |
Video | Watch analysis videos on creating suspense and tension, and masterclasses on screenwriting from reputable sources. | Visual learning can complement reading and provide practical examples of successful implementation of techniques for improving pacing, suspense, and overall scene effectiveness. |
Course | Consider a screenwriting course focusing on character development and scene construction. | Structured learning can help the writer gain insights and feedback on their writing, potentially identifying and addressing blind spots in their technique more efficiently. |
Stories Similar to this one
Story | Explanation |
---|---|
The Devil Wears Prada | Both stories explore the fashion industry, focusing on the dynamics between aspiring models and established fashion personalities. The humorous tone and the challenges faced by the characters in navigating the superficial world of fashion are central themes. |
Crazy Rich Asians | This film delves into the complexities of relationships within a wealthy social circle, highlighting themes of class disparity and cultural expectations. The tension between characters regarding money and social status mirrors the financial dynamics present in the screenplay. |
The Hunger Games | Both narratives feature characters navigating a competitive environment where appearances and performance are crucial. The struggle for acceptance and the pressure to conform to societal expectations resonate throughout both stories. |
Sex and the City | This series explores relationships, gender roles, and the complexities of modern dating, similar to the interactions between Carl and Yaya. The humorous yet poignant examination of love and financial dynamics aligns with the screenplay's themes. |
The Great Gatsby | Both stories critique the superficiality of wealth and the pursuit of status. The characters' struggles with identity and societal expectations in a glamorous yet hollow world reflect the themes present in the screenplay. |
The Bold Type | This series follows young women in the fashion and media industries, exploring their personal and professional challenges. The focus on friendship, ambition, and the complexities of modern relationships parallels the dynamics in the screenplay. |
The Proposal | This romantic comedy features a couple navigating misunderstandings and societal expectations, similar to Carl and Yaya's relationship. The comedic elements and exploration of gender roles resonate with the screenplay's tone. |
The Office (US) | The mockumentary style and comedic exploration of workplace dynamics in this series share similarities with the humorous interactions in the casting agency. The characters' quirks and the absurdity of their situations reflect the screenplay's tone. |
The Talented Mr. Ripley | This film explores themes of identity, ambition, and the lengths one will go to achieve a desired lifestyle. The tension between characters and the exploration of superficial relationships resonate with the screenplay's narrative. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Flamboyant Mentor | Lewis Taylor, a fashion TV personality, guides and humorously critiques the models during auditions. | This trope features a character who is flamboyant and serves as a mentor or guide, often providing comic relief and wisdom. An example is RuPaul in 'RuPaul's Drag Race', where he mentors contestants with humor and flair. |
The Awkward Date | Carl and Yaya experience tension over who will pay the bill during their dinner. | This trope involves a date that goes awkwardly, often highlighting social norms and expectations. A classic example is the dinner scene in 'When Harry Met Sally' where the characters navigate their feelings and expectations. |
The Love Triangle | Carl finds himself torn between Yaya and Abigail, leading to jealousy and tension. | This trope involves three characters in a romantic entanglement, creating conflict and drama. A well-known example is the love triangle between Katniss, Peeta, and Gale in 'The Hunger Games'. |
The Misunderstanding | Carl and Yaya argue over money and expectations, leading to miscommunication. | This trope involves characters misunderstanding each other's intentions, often leading to conflict. An example is the miscommunication between Elizabeth and Mr. Darcy in 'Pride and Prejudice'. |
The Comedic Sidekick | Lewis serves as Carl's comedic sidekick, providing humor and support. | This trope features a character who supports the protagonist while providing comic relief. An example is Donkey in 'Shrek', who adds humor and friendship to Shrek's journey. |
The Fashion Show | The scene shifts to a tense fashion show where models are on display. | This trope involves a glamorous fashion show setting, often highlighting the pressures of the fashion industry. An example is the fashion show in 'The Devil Wears Prada'. |
The Jealous Lover | Carl feels jealous when Yaya interacts with other men, leading to confrontations. | This trope features a character who becomes jealous of their partner's interactions with others, often leading to conflict. An example is Ross in 'Friends' when he becomes jealous of Rachel's coworkers. |
The Class Divide | The interactions between wealthy guests and the yacht crew highlight social class differences. | This trope explores the divide between different social classes, often leading to conflict and commentary on society. An example is 'Parasite', which examines the stark contrast between the wealthy and the poor. |
The Survival Scenario | The characters find themselves stranded on an island, leading to conflicts and survival challenges. | This trope involves characters facing survival challenges in a remote setting, often leading to character development and conflict. An example is 'Lost', where characters must survive on a deserted island. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Authenticity vs. Societal Expectations | Carl's initial struggle to conform to the demands of the fashion industry (the 'smiley' vs. 'grumpy' brand personas), his discomfort with Yaya's influencer lifestyle, and his ultimate rejection of superficial relationships on the island. | This theme explores the tension between presenting a manufactured image to the world and embracing one's true self. The screenplay contrasts the performative nature of the fashion world with the raw honesty of survival. | ||||||||||||
Strengthening Authenticity vs. Societal Expectations:
| ||||||||||||||
Class Conflict and Inequality | The stark contrast between the wealthy yacht guests and the Filipino crew, the financial tensions in Carl and Yaya's relationship, and the power dynamics that emerge on the deserted island. | The screenplay exposes the vast disparities in wealth and the resulting power imbalances. This is evident in the yacht setting, and later, plays out in subtle and overt ways on the island. | ||||||||||||
Gender Roles and Relationships | The awkwardness surrounding who pays for dinner, Yaya's indifference to traditional gender expectations, Carl's internal conflict about masculinity, and the evolving dynamics between Carl and Yaya, as well as Carl and Abigail. | The screenplay examines traditional gender roles and their impact on relationships. It challenges conventional expectations and explores the complexities of modern relationships. | ||||||||||||
Survival and Resilience | The island survival narrative, the characters' struggles to find food and shelter, and their adaptation to the harsh environment. | This theme provides a setting for the characters' growth and transformation. The physical and emotional challenges of survival force them to confront their vulnerabilities and develop resilience. | ||||||||||||
The Superficiality of the Fashion Industry | The opening scenes in the casting agency satirize the shallow nature of the modeling world and highlight its emphasis on appearance over substance. | This theme serves as an introduction to the broader theme of authenticity. The fashion world's focus on superficiality sets the stage for the characters' later struggles with self-image and genuine connection. |
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 sharp, witty, and often satirical tone, particularly noticeable in the dialogue. There's a keen observation of social dynamics and power plays, especially within the context of the luxury fashion and yachting worlds. The narrative seamlessly blends moments of high-stakes tension with lighthearted humor and absurdity, often highlighting the clash between superficial appearances and underlying complexities. Detailed character direction, particularly regarding facial expressions and body language, further enhances the writer's distinct style. |
Voice Contribution | The writer's voice contributes to the script by creating a compelling and multifaceted atmosphere. The witty dialogue keeps the narrative engaging, while the satirical lens adds depth and critique to the portrayal of wealth, class, and social interactions. The blend of humor and tension keeps the audience invested, while the exploration of complex themes related to gender, class, and morality adds layers of meaning and emotional resonance. The detailed scene descriptions and character direction immerse the reader in the luxurious yet often chaotic settings. |
Best Representation Scene | 15 - Lunch on the Yacht: A Clash of Lifestyles |
Best Scene Explanation | Scene 15 best encapsulates the writer's unique voice because it perfectly exemplifies the blend of sharp, witty dialogue, contrasting character dynamics, and satirical observation of social dynamics within a high-class setting. The juxtaposition of Dimitry's arrogant pronouncements on global finance, Yaya's self-absorbed Instagram post, the struggling waitress, and the sweet old couple creates a microcosm of the screenplay's central themes: the clash between superficial wealth and genuine human connection, and the inherent absurdity of social hierarchies within the context of luxury and privilege. The scene’s humor is sharp and insightful, highlighting the absurdity of the situation without sacrificing its complexity. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and humorous take on various themes, particularly within the context of the fashion industry, relationships, and survival scenarios. The characters' authentic interactions, unique settings, and the blend of comedy with serious undertones contribute to its originality. The exploration of societal expectations, gender roles, and the dynamics of wealth and power in a luxury setting further enhance its distinctiveness.
- Most unique situations: The most unique situations in the screenplay are the humorous yet insightful portrayal of male models navigating the fashion industry, the chaotic dining experiences on the yacht that blend dark humor with social commentary, and the exploration of survival dynamics on a deserted island, particularly the moral dilemmas faced by the characters.
- Overall unpredictability score: 7
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its unexpected character interactions and the evolving dynamics among the castaways. The tension between characters, particularly in romantic and survival contexts, leads to surprising developments. However, certain tropes, such as jealousy and competition, are somewhat predictable, which slightly lowers the overall unpredictability score.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goals evolve from seeking validation and acceptance in a competitive environment, navigating complexities in personal relationships, asserting independence, and ultimately confronting deeper insecurities and fears of isolation. |
External Goals | The protagonist's external goals transition from securing a position within the fashion industry to grappling with relationship dynamics and ultimately seeking survival and autonomy in a crisis situation. |
Philosophical Conflict | The overarching philosophical conflict lies in the tension between superficial success and authentic personal connections, reflecting the protagonist's struggle to align industry expectations with their own moral and emotional realities. |
Character Development Contribution: The evolving goals and conflicts contribute significantly to the character's development, revealing layers of insecurity, the desire for genuine connection, and the complexity of navigating personal identity in a high-pressure environment.
Narrative Structure Contribution: These elements enhance the narrative structure by weaving individual character arcs into a larger commentary on societal values, allowing for a cohesive exploration of themes related to authenticity and connection amidst chaos.
Thematic Depth Contribution: The interplay of internal and external goals, combined with philosophical conflicts, provides thematic depth by challenging norms and exploring the human condition, highlighting the importance of genuine relationships in a world driven by appearances.
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's physical environment is predominantly luxurious, shifting between the opulent setting of a luxury yacht and the stark, primal landscape of a deserted island. The yacht is meticulously detailed, featuring various cabins, a dining room, a kitchen, a deck with a jacuzzi and waterslide, a bridge, and engine room. The island is depicted as lush and tropical, with beaches, dense jungle, a steep mountain, and cliffs. The contrast between these settings visually underscores the dramatic shift in the characters' circumstances and experiences.
- Culture: The cultural elements are multifaceted. The screenplay portrays the superficiality and competitiveness of the high-fashion industry, the clash between traditional and modern gender roles and expectations, the power dynamics inherent in a wealth-based society, and the cultural differences between various nationalities (Filipino crew, Russian billionaires, British couple). The presence of political ideology, particularly Marxist and capitalist perspectives, further adds to the complex cultural landscape. The Filipino crew's distinct presence on the yacht, their actions and reactions to the wealthier passengers, and even their music choice (Rage Against the Machine) creates unique and meaningful counterpoint to the world of the wealthy passengers.
- Society: The societal structure is profoundly hierarchical, primarily revolving around wealth and power. The yacht functions as a microcosm of this structure, with a clear division between the wealthy guests and the working staff. The power dynamics between the Captain and the Chief Stewardess, the guests and the service staff, and even within the group of survivors on the island shape interactions and conflicts. The island setting, stripped of societal norms, forces the characters to forge a new social order based on survival, highlighting both cooperation and competition for scarce resources. Gender dynamics are explored through the interactions between Carl and Yaya, questioning traditional expectations around money and relationships.
- Technology: Technology is a significant but subtly used element. The screenplay contrasts the advanced technology of the luxury yacht (helicopter delivery, intercom systems, modern amenities) with the absence of technology on the deserted island, emphasizing the characters' vulnerability and reliance on basic survival skills. The juxtaposition underscores the fragility of the opulent world and the resilience of the human spirit in the face of adversity. The use of smartphones for taking pictures and posting on social media also highlights the modern influencer culture prevalent in the screenplay.
- Characters influence: The world elements directly shape the characters' actions and experiences. The competitive fashion industry influences Carl's anxieties about his appearance and career. The hierarchical structure of the yacht and the societal expectations regarding gender roles impact Carl and Yaya's relationship, leading to conflict and misunderstanding. The transition to the deserted island forces all characters to confront their survival instincts, challenging their prior identities and relationships. The characters adapt and react to these shifting environments, revealing their strengths, vulnerabilities, and moral complexities.
- Narrative contribution: The contrasting environments drive the narrative forward. The yacht serves as the backdrop for the initial conflicts and character introductions, setting the stage for the dramatic shift to the island. The island's isolation forces characters to confront their vulnerabilities and create a new social structure, leading to unexpected alliances and conflicts. The shift between luxury and survival contributes to the suspense and creates a sense of escalating danger and transformation.
- Thematic depth contribution: The screenplay explores several intertwined themes: the superficiality of wealth and status, the complexities of human relationships, the struggle for equality and self-discovery, the fragility of civilization, and the resilience of the human spirit. The contrast between the opulent world of the yacht and the harsh realities of survival on the island enhances these themes, forcing characters to confront their values, beliefs, and assumptions. The exploration of political ideologies (Marxism, Capitalism) through the characters' dialogues further adds thematic layers, questioning power structures and social inequalities.
central conflict
The central conflict revolves around the characters' struggles with identity, societal expectations, and the complexities of relationships in the fashion and luxury lifestyle context.
primary motivations
- Carl's desire for genuine love and acceptance.
- Yaya's pursuit of independence and success as an influencer.
- Abigail's need for recognition and authority within the group.
- Dimitry's quest for power and control over the situation.
catalysts
- The casting agency auditions that set the tone for the characters' aspirations.
- The yacht's chaotic dinner that exposes the fragility of social status.
- The arrival of the storm that forces characters to confront their survival instincts.
barriers
- Social hierarchies and expectations that complicate relationships.
- Personal insecurities and jealousy that hinder communication.
- The physical challenges of survival on the deserted island.
themes
- The superficiality of beauty and status in the fashion industry.
- The dynamics of power and gender roles in relationships.
- Survival and the human condition in extreme circumstances.
stakes
The stakes include the characters' emotional well-being, their relationships, and their very survival in a hostile environment.
uniqueness factor
The story uniquely blends dark comedy with social commentary on the fashion industry and class disparities, using a survival narrative to explore deeper human connections.
audience hook
The interplay of humor and tension, along with the exploration of complex relationships, keeps viewers engaged.
paradoxical engine or bisociation
The juxtaposition of high fashion and survival instincts creates a paradox where characters must navigate their superficial desires against the primal need for survival.
paradoxical engine or bisociation 2
The contrast between the glamorous lifestyle and the harsh realities of life on a deserted island highlights the absurdity of social constructs, prompting audiences to reflect on the nature of value and worth.
Engine: Claude
Consider
Executive Summary
The screenplay for 'Triangle of Sadness' presents a complex and layered exploration of social dynamics, wealth, and power structures within the context of a luxury cruise. The narrative follows a diverse ensemble of characters, including models, billionaires, and crew members, as they navigate the challenges and tensions that arise during the voyage. The screenplay showcases strong character development, a compelling storyline, and a unique thematic exploration of class divisions, materialism, and the human condition. While the pacing and structure could benefit from some refinement, the screenplay's overall strengths and the topical nature of its themes make it a worthwhile consideration for further development.
- The screenplay features several strong ensemble scenes that showcase the diverse cast of characters and their interactions, particularly in the dining room sequences. These scenes effectively capture the tensions, power dynamics, and social commentary underlying the narrative. high ( Scene 15 (INT. YACHT / DINING ROOM - EVENING) Scene 27 (INT. YACHT / DINING ROOM (AT TABLE #1) - EVENING) Scene 30 (INT. YACHT / DINING ROOM (AT TABLE #3) - EVENING) )
- The confrontation between Abigail and the other castaways, where Abigail asserts her authority and dominance, is a powerful and well-executed sequence that highlights the complex power dynamics and character arcs within the story. high ( Scene 45 (EXT. ISLAND / CAMP - NIGHT) )
- The Captain's monologue and the subsequent sequence involving the hand grenade provide a compelling and thought-provoking exploration of the film's thematic elements, specifically the critique of capitalism, imperialism, and the exploitation of the working class. high ( Scene 38 (INT. YACHT / CAPTAIN'S CABIN - NIGHT) Scene 39 (INT/EXT. PIRATE SPEEDBOAT - DAWN) )
- The opening sequences, while establishing the characters and setting, could benefit from tighter pacing and more efficient exposition to draw the audience in more quickly. medium ( Scene 1 (INT. CASTING AGENCY / WAITING ROOM - DAY) Scene 2 (INT. CASTING AGENCY / WAITING ROOM - DAY) Scene 3 (INT. CASTING AGENCY / CASTING ROOM - DAY) )
- The transition between the different settings and storylines could be smoother, with more coherent connections between the various narrative threads. medium ( Scene 4 (INT. CATWALK / RUNWAY SHOW - DAY) Scene 5 (INT. RESTAURANT - EVENING) Scene 6 (INT/EXT. UBER CAR - NIGHT) )
- While the screenplay's pacing is generally effective, there are a few instances where certain sequences or scenes could be tightened or streamlined to maintain a consistent narrative drive. medium ( Scene Overall )
- The screenplay could benefit from a more clearly defined character arc for the protagonist(s), as the ensemble nature of the narrative sometimes dilutes the focus on the central character(s). medium ( Scene Overall )
- While the screenplay explores various thematic elements effectively, it could delve deeper into the motivations and backstories of some of the secondary characters to further enhance the narrative's emotional resonance. medium ( Scene Overall )
- The screenplay's exploration of the Captain's political views and his critique of capitalism and imperialism is a standout element, providing a thought-provoking counterpoint to the materialistic and superficial world depicted in the narrative. high ( Scene 38 (INT. YACHT / CAPTAIN'S CABIN - NIGHT) Scene 39 (INT/EXT. PIRATE SPEEDBOAT - DAWN) )
- The confrontation between Abigail and the other castaways, where she asserts her authority and dominance, is a powerful and well-executed sequence that highlights the complex power dynamics and character arcs within the story. high ( Scene 45 (EXT. ISLAND / CAMP - NIGHT) )
- The screenplay's unique setting, a luxury cruise ship that eventually leads to the castaways being stranded on an island, provides a compelling backdrop for the exploration of the film's thematic elements. high ( Scene Overall )
- Character Development While the screenplay excels in its exploration of social dynamics and power structures, there are instances where the character development could be strengthened. Some of the secondary characters, particularly the crew members, could benefit from more nuanced and well-rounded portrayals to fully explore their motivations and personal journeys. Additionally, the protagonist(s) could have a more clearly defined character arc to anchor the narrative and provide a stronger emotional core. medium
- Pacing and Structure The screenplay's pacing and structural cohesion could be tightened in certain areas. While the overall narrative flow is generally effective, there are moments where the transitions between scenes or storylines feel slightly disjointed, and some sequences could be streamlined to maintain a more consistent narrative drive. Addressing these aspects could enhance the screenplay's overall impact and engagement. medium
- Exposition In the opening sequences, particularly in the casting agency scenes, the exposition could be streamlined to avoid feeling overly expository. While the information provided is crucial for establishing the characters and setting, there are moments where the dialogue feels a bit on-the-nose or heavy-handed in its delivery. Refining the exposition to feel more organic and integrated into the character interactions and narrative flow could improve the overall storytelling. medium
- Dialogue While the screenplay's dialogue is generally well-written, there are occasional instances where the characters' speech patterns or word choices feel slightly inauthentic or forced. Ensuring a more natural and authentic voice for each character, particularly in more casual or conversational scenes, could further enhance the screenplay's believability and immersive quality. low
Engine: Gemini
Recommend
Executive Summary
Triangle of Sadness is a darkly comedic and satirical screenplay with a strong narrative structure and memorable characters. While its unique style and sharp social commentary are significant strengths, some pacing issues and a few underdeveloped plot threads could be addressed to elevate its impact. Overall, the script's originality and potential for cinematic success make it a compelling recommendation.
- The opening scenes brilliantly establish the film's satirical tone and introduce the themes of class and the superficiality of the fashion industry through sharp dialogue and absurd situations. The casting sequence immediately hooks the viewer. high ( Scene 1 Scene 2 )
- The extended sequence exploring Carl and Yaya's relationship dynamics demonstrates skillful character development and reveals the complexities of their interactions. The witty dialogue and escalating tension maintain audience engagement. high ( Scene 5 Scene 6 Scene 7 )
- The contrast between the wealthy passengers and the hardworking Filipino crew effectively highlights the class disparity and power dynamics at play. The use of uniforms and reflective sunglasses emphasizes the dehumanizing aspects of the service industry. high ( Scene 20 Scene 22 Scene 23 )
- The Captain's Dinner sequence is a masterclass in escalating chaos and dark humor. The scene effectively utilizes physical comedy, visceral reactions, and social awkwardness to amplify the absurdity of the situation. high ( Scene 26 Scene 27 Scene 28 Scene 29 Scene 30 )
- The island survival sequence provides a compelling setting for exploring the characters' power dynamics and revealing their true natures. While some plot points feel rushed, the shift in power dynamics, particularly Abigail's rise, is very effective. medium ( Scene 40 Scene 41 Scene 42 Scene 43 Scene 44 Scene 45 Scene 46 Scene 47 Scene 48 Scene 49 Scene 50 Scene 51 Scene 52 Scene 53 Scene 54 Scene 55 Scene 56 Scene 57 Scene 58 Scene 59 Scene 60 )
- The pacing in the island survival sequence feels uneven at times, with some plot developments rushed or unclear. More time could be spent on building suspense and exploring the psychological impact of the situation on the characters. medium ( Scene 40 )
- The ending feels somewhat abrupt. While the final twist is unexpected, it could benefit from further development to fully explore its implications and provide a more satisfying conclusion. medium ( Scene 60 )
- Some supporting characters could use more fleshing out. For instance, while the relationships within Dimitry’s group are interesting, more detail on their connections would enhance audience engagement and understanding. low ( Scene 15 )
- The sequence involving the mysterious creature could benefit from clearer visual descriptions and a more explicit explanation of its nature and symbolic significance. low ( Scene 40 Scene 41 Scene 42 )
- While the screenplay focuses on the characters' journeys and their interactions, a more detailed exposition of the historical and socio-political context of the satire could enhance its impact and resonate deeper with the audience. low
- The use of the Chief Stewardess's pep talk effectively establishes the contrast between the surface perfection of the luxury cruise and the harsh realities of the crew's working conditions. This sets the tone for the social commentary in the rest of the screenplay. high ( Scene 20 )
- The screenplay expertly utilizes dark humor and irony to satirize class divisions and social dynamics. The unexpected twists and turns keep the audience engaged and constantly questioning the characters' motivations. high
- The character arc of Abigail, initially a seemingly meek cleaning lady, is a particularly powerful element of the screenplay. Her transformation into a powerful figure on the island offers a compelling commentary on societal roles and the potential for social upheaval. high
- Underdeveloped supporting characters While the main characters are well-developed, some supporting characters lack sufficient depth. Their motivations and backstories could be expanded to enrich the overall narrative. low
- Pacing inconsistencies The pacing of the screenplay, particularly in the island survival sequence, is uneven. Some events are rushed, while others drag, leading to a less cohesive narrative flow. medium
Engine: GPT4
Recommend
Executive Summary
The screenplay of 'Triangle of Sadness' presents a sharp critique of societal norms and class structures through the lens of a satirical narrative. It effectively explores themes of gender roles, power dynamics, and the absurdities of the fashion and luxury industries. The character arcs are compelling, particularly the evolution of Carl and Yaya, as they navigate their relationship amidst the chaos of their surroundings. However, the pacing occasionally falters, and some character motivations could be more clearly defined. Overall, it is a thought-provoking piece that engages the audience while delivering a powerful message.
- The screenplay excels in its sharp, witty dialogue that captures the absurdity of the fashion industry and societal expectations. high ( Scene 1 (INT. CASTING AGENCY / WAITING ROOM - DAY) Scene 5 (INT. RESTAURANT - EVENING) )
- The character development, particularly of Carl and Yaya, is well-executed, showcasing their struggles with identity and societal roles. high ( Scene 3 (INT. CASTING AGENCY / CASTING ROOM - DAY) Scene 4 (INT. CATWALK / RUNWAY SHOW - DAY) )
- The screenplay effectively builds tension and humor through its situational comedy, particularly in the interactions between characters. medium ( Scene 10 (INT. YACHT / LOBBY - DAY) Scene 26 (INT. YACHT / DINING ROOM - EVENING) )
- The thematic depth regarding class disparity and human behavior in crisis situations is compelling and resonates throughout the narrative. high ( Scene 39 (INT. YACHT / CAPTAIN’S CABIN - NIGHT) Scene 60 (EXT. ISLAND / UNEXPLORED BEACH - DAY) )
- The visual storytelling is strong, with vivid imagery that enhances the narrative and engages the audience's imagination. medium ( Scene 12 (EXT. YACHT / A DECK / FORWARD - DAY) Scene 41 (EXT. ISLAND / CAMP - NIGHT) )
- Some scenes feel rushed, particularly in the transitions between character arcs, which could benefit from more development. medium ( Scene 6 (INT/EXT. UBER CAR - NIGHT) Scene 19 (INT. YACHT / CARL AND YAYA’S CABIN - NIGHT) )
- Certain character motivations are not fully fleshed out, leading to moments of confusion regarding their actions and decisions. high ( Scene 8 (INT. HOTEL / CORRIDOR - NIGHT) Scene 50 (EXT. ISLAND / BEACH - NIGHT) )
- The pacing in the second act could be tightened to maintain engagement and avoid dragging in certain sections. medium ( Scene 14 (INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY) Scene 36 (INT. YACHT / DINING ROOM - NIGHT) )
- Some subplots feel underdeveloped and could be expanded to enhance the overall narrative cohesion. medium ( Scene 22 (INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY) Scene 44 (EXT. ISLAND / BEACH - DAY) )
- The resolution of certain conflicts could be more satisfying, providing clearer conclusions to character arcs. medium ( Scene 28 (INT. YACHT / DINING ROOM (AT TABLE #2) - EVENING) Scene 49 (EXT. ISLAND / CAMP - NIGHT) )
- There is a lack of diverse perspectives among the supporting characters, which could enrich the narrative. medium ( Scene 7 (INT. HOTEL / ELEVATOR - NIGHT) Scene 15 (INT. YACHT / DINING ROOM - DAY) )
- The screenplay could benefit from deeper exploration of the emotional stakes for the characters, particularly in crisis moments. high ( Scene 18 (EXT. YACHT / BAR / DECK - NIGHT) Scene 41 (EXT. ISLAND / CAMP - NIGHT) )
- More background on the characters' pasts could enhance audience connection and understanding of their motivations. medium ( Scene 23 (INT. YACHT / KITCHEN - DAY) Scene 37 (INT. YACHT / CAPTAIN'S CABIN - NIGHT) )
- The screenplay lacks a clear thematic resolution, leaving some audience members wanting more closure. high ( Scene 30 (INT. YACHT / DINING ROOM (AT TABLE #3) - EVENING) Scene 46 (EXT. ISLAND / BEACH - NIGHT) )
- There is a missed opportunity to explore the consequences of the characters' actions more thoroughly. medium ( Scene 39 (INT. YACHT / CAPTAIN’S CABIN - NIGHT) Scene 60 (EXT. ISLAND / UNEXPLORED BEACH - DAY) )
- The use of humor to address serious themes is a notable strength, providing levity while still delivering impactful messages. high ( Scene 2 (INT. CASTING AGENCY / WAITING ROOM - DAY) Scene 12 (EXT. YACHT / A DECK / FORWARD - DAY) )
- The screenplay's ability to shift tones—from comedic to dramatic—demonstrates a strong command of storytelling. high ( Scene 11 (INT. YACHT / CARL AND YAYA’S CABIN - MORNING) Scene 53 (EXT. ISLAND / FLAT CLIFF WALL - NIGHT) )
- The exploration of power dynamics, particularly in the context of gender and class, is a significant and timely theme. high ( Scene 24 (INT. YACHT / OUTSIDE CAPTAIN’S CABIN - DAY) Scene 38 (INT. YACHT / CAPTAIN’S CABIN - NIGHT) )
- The screenplay's commentary on privilege and survival is both relevant and thought-provoking, adding depth to the narrative. high ( Scene 35 (INT. YACHT / HALL - NIGHT) Scene 57 (EXT. ISLAND / JUNGLE PATH - DAY) )
- The juxtaposition of luxury and survival creates a compelling contrast that enhances the overall narrative impact. high ( Scene 42 (EXT. ISLAND / BEACH - NIGHT) Scene 60 (EXT. ISLAND / UNEXPLORED BEACH - DAY) )
- Character Development The screenplay occasionally overlooks the depth of supporting characters, leading to a lack of emotional investment in their arcs. For example, characters like Dimitry and Jarmo could benefit from more backstory to enhance their motivations and relationships with the main characters. medium
- Pacing Issues Certain scenes feel rushed or overly drawn out, which can disrupt the flow of the narrative. For instance, the transition between the yacht scenes and the island scenes could be smoother to maintain audience engagement. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
1 | LEWIS TAYLOR: He wanted you to enter this industry where you earn only 1/3 of the women, where you constantly have to maneuver homosexual men who want to sleep with you? |
7 | Carl: DON’T YOU DO THAT TO ME! DON’T YOU FUCKING DO THAT TO ME! |
34 | DIMITRY: Shit. I sell shit. I sell shit. Shit. |
38 | CAPTAIN: My government murdered Martin Luther King, Malcom X, Bobby Kennedy, and John F. Kennedy. My government overthrew good, honest, democratic leaders of the people in Chile, Venezuela, Argentina, Peru, El Salvador, Nicaragua, Panama, and Bolivia. |
35 | CAPTAIN: You filthy, capitalist, Russian pig. You have a good heart. You’re not just a crazy Russian...shit seller. I’m not a great. I’m a shit socialist because I have too much. I have too much abundance in my life. I’m not a worthy socialist. I’m a shit socialist. |