Fleabag
Executive Summary
Poster
Overview
Genres: Drama, Comedy, Romance, Dark Comedy
Setting: Contemporary, London, primarily in urban settings such as cafes, lecture halls, and private residences
Overview: Fleabag is a darkly comedic exploration of a young woman's chaotic life in London as she navigates her relationships, career struggles, and personal insecurities. The story begins with Fleabag preparing for a romantic encounter, showcasing her wit and vulnerability. As the narrative unfolds, we witness her awkward interactions with various characters, including her sister Claire, romantic interests like Guy You Like and Bus Rodent, and her reflections on grief and loss stemming from her mother's death and her friend Boo's tragic fate. Throughout the journey, Fleabag grapples with her identity as a feminist and her feelings of inadequacy, leading to moments of introspection and humor. The story culminates in her quest for self-acceptance and genuine connection, leaving her in a state of uncertainty but with a glimmer of hope for the future.
Themes: Self-Identity, Relationships, Grief and Loss, Feminism, Humor, Loneliness
Conflict and Stakes: Fleabag's internal struggles with her identity, relationships, and grief, alongside her financial troubles with her cafe, create a narrative filled with emotional stakes and personal growth.
Overall Mood: A mix of dark humor and vulnerability, reflecting the complexities of life and relationships.
Mood/Tone at Key Scenes:
- Scene 1: Excitement and anxiety as Fleabag prepares for a romantic encounter, showcasing her vulnerability.
- Scene 4: Awkwardness and tension during a failed business meeting, highlighting societal issues and personal struggles.
- Scene 12: A blend of humor and sadness as Fleabag reflects on her past with Boo, contrasting joyful memories with her current loneliness.
- Scene 20: Dark humor and vulnerability as Fleabag shares a tragic story about her friend Boo, revealing her emotional state.
Standout Features:
- Unique Hook: The use of breaking the fourth wall, allowing Fleabag to directly engage with the audience and share her inner thoughts.
- Character Depth: Fleabag's complex emotional landscape and her relationships with family and friends provide rich character development.
- Dark Humor: The screenplay's ability to blend humor with serious themes creates a unique tone that stands out.
- Relatable Themes: Exploration of modern womanhood, grief, and self-identity resonates with a contemporary audience.
Comparable Scripts:
- Fleabag (TV Series)
- Girls (TV Series)
- Bridget Jones's Diary (Book/Movie)
- The Office (US) (TV Series)
- Sex and the City (TV Series)
- Crazy Ex-Girlfriend (TV Series)
- The Marvelous Mrs. Maisel (TV Series)
- Notting Hill (Movie)
- The Good Place (TV Series)
Writing Style:
The screenplay exhibits a distinct blend of humor and emotional depth, often exploring complex themes and character relationships with sharp wit and authenticity. The writing style leans heavily towards dark humor, character-driven storytelling, and introspective dialogue, offering a nuanced look at modern relationships and personal struggles.
Style Similarities:
- Phoebe Waller-Bridge
- Lena Dunham
Pass/Consider/Recommend
Consider
Explanation: The screenplay for "Fleabag" is a dark comedy that follows the life of a young woman struggling with personal and professional challenges in modern-day London. The story is told through a unique narrative structure that blends realistic, relatable moments with the protagonist's witty, sardonic inner monologue. While the writing is generally strong, there are areas that could benefit from further development, particularly in terms of pacing and character arcs. Overall, "Fleabag" presents a compelling, if flawed, portrait of a complex woman navigating the complexities of life.
USP: The unique selling proposition of 'Fleabag' lies in its raw and honest portrayal of a flawed woman navigating the complexities of modern life. The screenplay's innovative use of direct address to the audience creates an intimate connection, allowing viewers to experience Fleabag's vulnerabilities and humor in real-time. This distinctive narrative style, combined with sharp wit and emotional depth, sets it apart from typical comedies and resonates strongly with its target audience.
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 18-45, particularly women, fans of dark comedy and character-driven narratives.
Marketability: The screenplay's blend of humor and vulnerability, along with relatable themes of modern womanhood, appeals to a broad audience.
Strong character development and witty dialogue can attract fans of character-driven stories and dark comedies.
The unique perspective on feminism and personal struggles resonates with contemporary societal issues, making it relevant.
Profit Potential: Moderate to high, given the potential for strong audience engagement and critical acclaim, which could lead to additional revenue through streaming and merchandise.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is a unique blend of sharp wit, dark humor, and emotional vulnerability. The screenplay is characterized by candid dialogue that often breaks the fourth wall, allowing the protagonist to directly address the audience and share their internal struggles. The writing style is raw and unapologetic, creating a sense of intimacy and authenticity that draws the audience into the protagonist's world.
Best representation: Scene 20 - Unspoken Tensions. This scene encapsulates the writer's voice through its blend of humor, vulnerability, and social commentary. Fleabag's drunken confession to her father about her self-hatred and her struggles with identity is both hilarious and heartbreaking, highlighting the complexity of her character and the writer's ability to balance comedic moments with emotional depth. The scene also touches upon themes of family dynamics, self-acceptance, and the struggles of modern womanhood, making it a powerful and representative moment of the writer's unique voice.
Memorable Lines:
- FLEABAG: You know that feeling when a guy you like sends you a text at 2 o’clock on a Tuesday night and asks if he can ‘come and find you’... (Scene 1)
- Fleabag: I have a horrible feeling I am a greedy, perverted, selfish, apathetic, cynical, depraved, mannish looking woman who can’t even call herself a feminist. (Scene 20)
- Fleabag: I hate myself. (Scene 5)
- Fleabag: You shat in a sink. Nothing is ever going to be good enough. (Scene 13)
- Fleabag: Tits don’t get you anywhere these days. Trust me. (Scene 21)
Characters
Fleabag:The main character, a witty and self-deprecating woman navigating her chaotic life, relationships, and personal struggles.
Claire:Fleabag's serious and uptight sister, who contrasts with Fleabag's irreverent humor and often serves as a grounding force.
Bus Rodent:A quirky and flirtatious man Fleabag encounters, representing her romantic interests and the awkwardness of modern dating.
Boo:Fleabag's supportive and lively friend, who shares a deep bond with her and represents a happier time in Fleabag's life.
Fleabag's Dad:Fleabag's father, who tries to connect with her through humor but struggles with his own emotional distance.
Fleabag's Godmother:An eccentric figure in Fleabag's life, representing familial expectations and the complexities of womanhood.
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 - Late-Night Anticipation | Humorous, Sarcastic, Playful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 7 | 4 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
2 - Conflicted Desires | Passionate, Anxious, Intimate | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
3 - Morning Reflections | Intimate, Reflective, Humorous | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 6 | 5 | 6 | 4 | 6 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
4 - Misunderstood Intentions | Awkward, Serious, Humorous | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 8.5 | 8 | 8 | |
5 - Awkward Encounters on the Bus | Awkward, Humorous, Reflective | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
6 - Democracy and Disconnection | Tense, Emotional, Humorous | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
7 - Nostalgia Interrupted | Humorous, Awkward, Reflective | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 6 | 6 | 7 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
8 - Flirtation and Disappointment | Awkward, Flirtatious, Disappointment | 7 | 8 | 6 | 8 | 7 | 4 | 8 | 7 | 5 | 6 | 3 | 5 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
9 - Sisters in Contrast | Humorous, Reflective, Awkward | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
10 - Unspoken Struggles | Sarcastic, Humorous, Tense | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
11 - Café Conundrum | Awkward, Humorous, Reflective | 7 | 7 | 6 | 8 | 8 | 5 | 8 | 7 | 5 | 6 | 4 | 5 | 6 | 6 | 7 | 8 | 8 | 9 | 9 | |
12 - Fleabag's Financial Fiasco | Humorous, Reflective, Awkward, Emotional | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7.5 | 6 | 8 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
13 - Sandwiches and Secrets | Humorous, Sarcastic, Conversational | 8 | 7 | 6 | 9 | 9 | 5 | 8 | 7 | 4 | 6 | 3 | 5 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
14 - Changing Room Confessions | Humorous, Reflective, Tense | 8 | 7 | 6 | 8 | 9 | 5 | 8 | 7 | 4 | 7 | 3 | 4 | 6 | 7 | 8 | 9 | 8 | 9 | 9 | |
15 - Feminism and Flaws | Humorous, Reflective, Awkward, Emotional | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
16 - Awkward Connections | Humorous, Tense, Regretful | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - The Pub Encounter | Humorous, Awkward, Sarcastic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7.5 | 8 | 7 | 6 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
18 - A Night at the Bus Stop | Humorous, Awkward, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
19 - From Camaraderie to Solitude | Humorous, Reflective, Emotional | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
20 - Late Night Confessions | Desperate, Sad, Humorous | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
21 - Unspoken Tensions | Humorous, Sarcastic, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
22 - A Night in the Taxi | Dark, Humorous, Melancholic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 9 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - Late-Night Anticipation
Written by
Phoebe Waller Bridge
Shooting Script 2nd March 2015
1 INT. FLEABAG FLAT. CORRIDOR. NIGHT. 1
Shot of the inside of a front door. Fleabag’s POV.
Shot of Fleabag a few steps away from the door, watching it
as if she’s ready to pounce. Smudged makeup, hair tousled.
Out of breath.
Shot of the inside of a front door. Fleabag’s POV.
Shot of Fleabag. She turns to the camera.
FLEABAG
(Earnest, touch of pain)
You know that feeling when a guy
you like sends you a text at 2
o’clock on a Tuesday night and asks
if he can ‘come and find you’ and
you accidentally make it out like
you’ve just got in yourself, so you
have to get out of bed, drink half
a bottle of wine, get in the
shower, shave everything, put on
some agent provocateur business,
suspender belt, and wait by the
door until the buzzer goes -
(buzzer goes)
And then you open the door to him
like you’d almost forgotten he was
coming over.
She opens the door to a handsome man.
FLEABAG (CONT’D)
(casual)
Oh hi!
GUY YOU LIKE
Hey.
FLEABAG
(to the camera)
Then you get to it immediately
They start snogging violently.
Ratings
Scene 2 - Conflicted Desires
They are going at it on the bed. She talks to us during. In a
throw of passion he flips her over onto her side so she is
facing us, with him behind her. She frowns.
FLEABAG
Then after some pretty standard
bouncing you realise that he is
edging towards your arsehole.
(MORE)
Episode 1 SHOOTING SCRIPT 02.03.15 2.
FLEABAG (CONT'D)
But you’re drunk, and he made the
effort to come all the way here so,
you let him. He’s thrilled.
He looks thrilled and faintly whispers “I’m so thrilled”
Ratings
Scene 3 - Morning Reflections
She lies in bed. He is sat over her like a mother caring for
a child. Gazing at her. He is incredibly earnest.
FLEABAG
Then the next morning you wake to
find him sitting on the bed, fully
dressed, gazing at you. He says
that-
GUY YOU LIKE
Last night was incredible.
FLEABAG
Which you think is an overstatement
- but he goes on to say / it was -
GUY YOU LIKE
It was particularly special because
I have never managed to actually...
up the bum with anyone before –
FLEABAG
To be fair, he does have a large
penis - and -
GUY YOU LIKE
Although it’s always been a fantasy
of mine, I’ve never found anyone I
could do it with.
FLEABAG
He touches your hair
(he touches her hair)
and thanks you with genuine
earnest.
GUY YOU LIKE
(intensely)
Thank you.
FLEABAG
It’s sort of moving. He kisses you
gently.
(he kisses her gently)
And then he leaves.
(beat)
(MORE)
Episode 1 SHOOTING SCRIPT 02.03.15 3.
FLEABAG (CONT'D)
And you spend the rest of the day
wondering –
CUT TO:
4 INT. CAFE. MORNING. 4
Fleabag sits with a cup of tea looking up into the distance
pensively. A moment of real consideration passes before...
FLEABAG
(to camera, with fear)
Do I have a MASSIVE arsehole?
TITLE: FLEABAG
Ratings
Scene 4 - Misunderstood Intentions
Black. Sounds of panting breath. Reveal of Fleabag, out of
breath and slightly sweaty. A man sits opposite her reading a
document.
MAN
Thanks for coming in today. We
really appreciate you considering
us for your
(reading it)
small business start-up loan.
FLEABAG
No problem.
MAN
I have read your application.
FLEABAG
Thank you.
MAN
It was funny!
FLEABAG
Oh - ok - that wasn’t my intention
but...
MAN
Great. As you are probably aware we
haven’t had the opportunity to
support many - any women led
businesses since the uh -
FLEABAG
Sexual harassment case
Episode 1 SHOOTING SCRIPT 02.03.15 4.
MAN
The sexual harassment case, yes.
Are you alright?
FLEABAG
Yes sorry I just ran from the
station. Bit hot. I’m really
excited about -
MAN
Water?
FLEABAG
No, I’m – I’ll be ok – actually,
yes please, that would be great.
He doesn’t do anything about the water.
MAN
Sure. It says here that your “cafe”
has been up and running for two
years - Traditionally we don’t
consider applications unless the
business is in its embryonic stage
but since this is a - young,
interesting... female-led business
we are willing to... double take -
He laughs. Fleabag laughs. He stops, confused as to why she
is laughing. It’s awkward.
MAN (CONT’D)
Yeah. There are one or two details
that need to be ironed out and a
couple more bits and pieces I’m
going to need to see. It says here
that you opened the cafe with a
partner in -
Fleabag pulls her top above her head. Realises she hasn’t got
a top on underneath and pulls it back down again.
MAN (CONT’D)
Ah ok. Um. (Beat) I’m sorry. That
won’t get you very far here any
more.
FLEABAG
Oh no sorry. I thought I had a top
on underneath.
MAN
Yeah ok but -
FLEABAG
No, in this case, genuine accident.
Episode 1 SHOOTING SCRIPT 02.03.15 5.
MAN
With our history I understand why
you might have thought -
FLEABAG
No, I wasn’t trying to - Jesus I
was hot!
MAN
I take this sort of thing very
seriously now.
FLEABAG
No I’m not trying to shag you, look
at yourself!
Beat.
MAN
Ok. Please leave.
FLEABAG
What? But, you don’t understand, I
need this loan -
MAN
Please just leave.
She gets up and starts to leave
FLEABAG
Perv.
MAN
Slut.
FLEABAG
Wow.
MAN
Please leave.
FLEABAG
You please leave.
MAN
It’s my office.
FLEABAG
Yeah?
MAN
Ok.
He leaves. Fleabag puts her head in her hands.
Episode 1 SHOOTING SCRIPT 02.03.15 6.
Ratings
Scene 5 - Awkward Encounters on the Bus
Fleabag is sitting. Bored. She grabs a paper and looks at it.
We see a gratuitous picture of a half-naked women in an
advert for mortgages. Next to it there is an article which
reads: Has the word “feminism” become dirty? She raises her
eyebrows.
She looks up and catches the eye of a man who is looking at
her over his paper. She looks at the camera and raises her
eyebrows slightly. He pulls his paper down and reveals that
he has a REALLY tiny mouth with very large front teeth. Close
up of the mouth.
Fleabag subtly looks at the camera and does an impression of
his tiny mouth. She quickly looks down. She tries not to
smile and we can see she is trying to let her eyes flick to
us in amusement.
He looks down. She looks down. They both look up at the same
time. A couple of people are noticing. Smiling too. It’s all
eyes flicking and subtle grinning. Fleabag grimaces slightly.
Bus Rodent smiles at her. She smiles back. He smiles at her
again. She smiles back again. Someone presses the button.
They both stand up at the same time. They do a little awkward
laugh at each other. They stand next to each other.
BUS RODENT
(really giggly)
Wow... so this doesn’t happen very
often does it?
FLEABAG
(really giggly)
Nooo no... I suppose it’s quite
rare.
(to the camera)
I hate myself.
Bus Rodent smiles at Fleabag awkwardly for a second then -
BUS RODENT
Are you going to work?
FLEABAG
Well actually I -
BUS RODENT
Ok. This might sound a little crazy
but I think I should take your
number and I think I should call it
and ask you to go out for a drink
with me.
FLEABAG
Um... I -
Episode 1 SHOOTING SCRIPT 02.03.15 7.
BUS RODENT
Fuck me, you’ve got a boyfriend.
FLEABAG
No... we actually broke up quite
recently -
BUS RODENT
Oh no I’m so sorry slash really
pleased. How the hell did he fuck
that up?
FLEABAG
Uh...
Ratings
Scene 6 - Democracy and Disconnection
Fleabag is lying in bed with her computer in her lap and a
pizza. She takes a bite. She is working on a spread sheet.
She flicks over to her CV. She flicks over to BBC news
website. She clicks on a video of Obama giving a speech. She
goes very serious. She starts touching herself.
Suddenly a young man lurches into shot.
HARRY
What are you doing!?
She flips the laptop down quickly
FLEABAG
Nothing.
Beat. Harry gets up, opens the wardrobe, takes out a bag and
starts packing some things.
FLEABAG (CONT’D)
Baby..?
HARRY
I know what you were doing.
FLEABAG
I was watching the news!
HARRY
(genuine)
Really?
FLEABAG
Yes!
HARRY
(genuine)
Really?
Episode 1 SHOOTING SCRIPT 02.03.15 8.
FLEABAG
Yes!
HARRY
(vulnerable)
What was he talking about?
Beat
FLEABAG
What?
HARRY
(vulnerable)
Please. I need to hear this. What
was he talking about?
Long pause
FLEABAG
Iraq?
Hurt and furious Harry manically starts packing again.
FLEABAG (CONT’D)
Baby-
HARRY
Don’t say anything.
She doesn’t.
HARRY (CONT’D)
Please don’t stop me leaving.
She doesn’t move.
HARRY (CONT’D)
Please don’t.
FLEABAG
Ok.
HARRY
DON’T.
He pauses. Then picks up his stuff. He goes into the drawer
and empties all the condoms and her vibrator into his bag.
FLEABAG
Wow.
HARRY
I’ve really tried to be there for
you through this. You can’t say I
haven’t tried.
She nods.
Episode 1 SHOOTING SCRIPT 02.03.15 9.
HARRY (CONT’D)
Don’t say anything. And please
don’t contact me. Or turn up drunk
at my house in your underwear. It
won’t work this time.
FLEABAG
(to camera)
It will.
HARRY
(sadly)
I’m um... I’m taking the posh
shampoo.
(beat, angry)
He was talking about democracy.
Ratings
Scene 7 - Nostalgia Interrupted
FLEABAG
Oh he was just - he was really
supportive with my work, he’d cook
all the time, run baths, hoover,
laugh at my jokes, he was great
with my family and my friends loved
him.
(beat)
Plus he was really fucking
affectionate.
He laughs like she’s told a brilliant joke. Bus stops.
BUS RODENT
Sounds like a dickhead!
They both get off.
Ratings
Scene 8 - Flirtation and Disappointment
BUS RODENT
So um... is that a... ‘Yes, you can
have my number?’
FLEABAG
Um yes! I guess, yes. That’s a yes.
BUS RODENT
Oh my god. Great!
(gives her his phone, she
types her number in)
I’ll be sure to treat you like a
nasty little bitch.
He winks at her. She looks at us with raised eyebrows. She
hands the phone back
Episode 1 SHOOTING SCRIPT 02.03.15 10.
BUS RODENT (CONT’D)
That was a joke, by the way.
FLEABAG
Oh, I know!
She looks at us. Visibly disappointed. She looks back at him.
BUS RODENT
Wow! Ok. Cool. I’ll buzz you then.
(he jogs off, grinning)
Can’t stop smiling!
Ratings
Scene 9 - Sisters in Contrast
Fleabag runs up the stairs. There is a sign that reads:
“TODAY’S LECTURE: “WOMEN SPEAK”.
9A INT. CORRIDOR. CONT. 9A
Fleabag enters the sparsely full corridor and walks towards a
serious, well dressed woman standing, reading a kindle.
FLEABAG
(to camera)
My sister. She’s uptight and
beautiful and probably anorexic,
but clothes look awesome on her
so...
She reaches Claire who puts her kindle away
CLAIRE
You’re almost late.
FLEABAG
I had to do a flash poo in pret.
CLAIRE
Ugh christ, did you wash your
hands?
FLEABAG
(wiping her hand on
Claire’s face)
Course not.
CLAIRE
Oh my GOD. You are DISGUSTING.
Fucking hell.
She takes a antibacterial gel out of her bag. They walk.
FLEABAG
(to the camera)
Mum died two years ago.
(MORE)
Episode 1 SHOOTING SCRIPT 02.03.15 11.
FLEABAG (CONT'D)
She had a double mastectomy, and
never really recovered. It was
particularly hard because she had
amazing boobs. My sister’s got
whoppers. I mean - just look at
them - But she got all of Mum’s
good bits.
Ratings
Scene 10 - Unspoken Struggles
Claire and Fleabag enter and look for seats amongst the
gradually filling lecture theatre.
CLAIRE
Heard from Dad?
FLEABAG
No.
(to camera)
Dad’s way of coping with two
motherless daughters was to buy us
tickets to feminist lectures, start
fucking our Godmother and
eventually stop calling.
(to Claire)
You look tired.
CLAIRE
Thanks. I’ve been sleeping really
well recently.
They sit. Fleabag is taking her coat off. Claire eyes her
top.
FLEABAG
Shit.
(pulls the coat back on)
I’m wearing the top that she “lost”
years ago. Shit.
CLAIRE
Do you wanna take your coat off?
FLEABAG
Nope.
CLAIRE
Ok.
Beat. Someone squeezes through the row. They’re all really
polite. They sit back down.
CLAIRE (CONT’D)
So any luck with -
FLEABAG
Oh GOD, can we just relax / for
Episode 1 SHOOTING SCRIPT 02.03.15 12.
CLAIRE
I WAS GOING TO ASK HOW IT WAS GOING
WITH THE CAFE?!
FLEABAG
I KNOW I JUST DON’T WANT TO TALK
ABOUT IT YET.
CLAIRE
FINE. WE WONT TALK THEN.
FLEABAG
FINE.
Beat.
FLEABAG (CONT’D)
Hair looks nice.
CLAIRE
Fuck off.
Beat. Claire reads her kindle. Fleabag stares at her.
FLEABAG
(to camera)
The only thing harder than telling
your super-high-powered-rich-
anorexic-super-sister you have run
out of money is having to ask her
to bail you out.
(beat she looks at Claire)
I’m just going to ask her.
(beat)
I’m just going to ask her.
(beat)
I’m just gonna as-
CLAIRE
Do you need to borrow money?
FLEABAG
(petulant)
NO.
(to camera)
Can’t do it. Can’t do it.
CLAIRE
So business is good then?
FLEABAG
(petulant)
Yes. Really good. Really really
good. It’s really good.
CLAIRE
Sounds like it’s really good.
Episode 1 SHOOTING SCRIPT 02.03.15 13.
FLEABAG
It is.
Ratings
Scene 11 - Café Conundrum
Fleabag is at the counter. A man walks in.
FLEABAG
Hey.
YOUNG MAN
Hey.
He goes to sit down.
FLEABAG
Can I get you anything?
YOUNG MAN
No thanks. I’m good.
He sits down. Beat. He then plugs in his computer. Fleabag
frowns. He then plugs in his phone. He then thinks, unplugs
his phone. Plugs in a multi-plug, plugs in his phone again.
He then plugs in his kindle.
FLEABAG
Um - you sure I can’t get you
anything.
YOUNG MAN
Oh sorry. Course. I’ll have a...
tap water please.
Fleabag begrudgingly gets a guineapig shaped cup out of the
cupboard. YOUNG MAN looks at all the pictures.
YOUNG MAN (CONT’D)
What’s with all the guinepigs?
Ratings
Scene 12 - Fleabag's Financial Fiasco
Claire is reading.
Episode 1 SHOOTING SCRIPT 02.03.15 14.
FLEABAG
(to camera)
I run a guineapig themed cafe, but
it’s out of cash and it’s going to
close unless a cheque falls out of
the sky or a banker comes on my
arse, but neither are going to
happen and I don’t want to justify
the banker man with a proper
mention so I’m not going to talk
about him or how I do sometimes
wish I could admit to not having
morals and let him come on my arse
for ten thousand pounds but
apparently we’re not supposed to do
that. So I won’t. Even though I
could.
11B INT. CAFE. FLASHBACK. CONT. 11B
Fleabag turns to the YOUNG MAN
FLEABAG
It’s a long story... my- it’s -
(she hesitiates)
It’s just a theme. A quirky,
pretentious theme. Y’know. Gets the
punters in.
Shot of the cafe. Painfully empty. Man smiles gently.
Ratings
Scene 13 - Sandwiches and Secrets
Fleabag is eating a sandwich. Claire is not.
CLAIRE
Is Harry helping?
FLEABAG
We broke up.
CLAIRE
What?! Again?
FLEABAG
If you see him, I’m a wreck ok.
CLAIRE
God. Just don’t get drunk and
scream through his letter box
again.
FLEABAG
Thanks for the vote of confidence.
Don’t get drunk and shit in your
sink again.
Episode 1 SHOOTING SCRIPT 02.03.15 15.
CLAIRE
(flipping out)
When are you going to stop bringing
that up?
FLEABAG
When you do something better.
CLAIRE
I have two degrees, a husband and
burberry coat.
FLEABAG
You shat in a sink. Nothing is ever
going to be good enough.
Someone squeezes past. They’re really polite again. They sit.
FLEABAG (CONT’D)
I swear there are pants that give
you thrush.
CLAIRE
Where are they from?
FLEABAG
(checks, then is thrown)
Dunno.
CLAIRE
(sees them)
There you go. You shouldn’t wear
such cheap materials. They don’t
let your fanny breathe.
FLEABAG
I know.
Ratings
Scene 14 - Changing Room Confessions
Boo and Fleabag are in adjacent changing rooms. Boo is
manically trying things on. Fleabag is dressed and exiting
her cubicle. There is a deep affection between the girls.
FLEABAG
I need new sexy pants.
BOO
(in her cubicle)
I hate my body I hate my body I
hate my body. Have you found
anything? Fucking last minute
bastard trendy parties. Why do we
do it to ourselves?! I look
PREGNANT.
Episode 1 SHOOTING SCRIPT 02.03.15 16.
She steps out of her cubicle in a badly fitted dress to find
Fleabag holding her coat.
BOO (CONT’D)
Oh god definitely not. That does
nothing for you. I hate that.
Fleabag just looks at her.
BOO (CONT’D)
What?
FLEABAG
These are my clothes, Boo. I’ve
been wearing these all day.
BOO
Oh my god. Were you wearing your
coat?
FLEABAG
Yes. But - nothing here looked good
so I thought I’d just wear what I
was wearing today.
BOO
Are you joking?
FLEABAG
Are you joking?
BOO
(unsure)
Yes...?
Beat. They chuck clothes at each other.
FLEABAG
OH MY GOD. I’VE GOT TO GET A WHOLE
NEW OUTFIT NOW WHY DIDN’T YOU TELL
ME BEFORE I’VE BEEN SO MANY PLACES
TODAY.
BOO
YOU HAD YOUR COAT ON!! IT’S NOT
THAT BAD IT’S JUST NOT - OH GOD I’M
SORRY I LOVE YOU I’LL BUY YOU PANTS
I’LL BUY YOU SEXY PANTS!
Ratings
Scene 15 - Feminism and Flaws
Claire now eats a sandwich. Fleabag watches her.
FLEABAG
(whispers to camera)
Maybe she’s not anorexic. Maybe
clothes just - bitch.
Episode 1 SHOOTING SCRIPT 02.03.15 17.
Everyone claps. Sound of a mic as the lecturer settles on
stage. She is a middle aged, confident, middle class woman.
We intercut with their reactions.
LECTURER
Gosh look at you all! Thank you so
much for coming to “Women’s Speak -
opening women’s mouths since 1998”.
I am overwhelmed by how many faces
I see before me! What an honour.
Now, before I begin, I want to ask
you a question. The same question
that inspired me to give this
lecture. The same question that was
posed to women all around this
country with, well frankly,
shocking results. Now, I don’t know
about you, but I need some
reassurance.
(little laugh)
So, I pose the same question to the
women in this room today: Please
raise your hands if you would trade
five years of your life for the so-
called “perfect body”?
Fleabag and Claire raise their hands instinctively. Everyone
stares at them. They put their hands down guiltily.
FLEABAG
(whispering to Claire)
We are bad feminists.
CLAIRE
(slight smile)
I want my top back.
FLEABAG
Ok.
Ratings
Scene 16 - Awkward Connections
Fleabag hands Claire her top and ties her coat up tightly.
CLAIRE
Won’t you get cold?
FLEABAG
No, I have really hairy nipples.
Pause. Claire looks sadly at her.
FLEABAG (CONT’D)
What?
Claire suddenly tries to hug Fleabag. Fleabag flinches and
ends up whacking her head.
Episode 1 SHOOTING SCRIPT 02.03.15 18.
CLAIRE
OW FUCK.
FLEABAG
What was that!
CLAIRE
What!? It was a - fucking hug.
FLEABAG
Well it was terrifying! Never do it
again. Fuck.
CLAIRE
(hurt)
I’m just trying to - I’m trying -
(this is not easy)
Do you want to go for a drink or -
FLEABAG
I have plans.
CLAIRE
(frosty again)
Ok. Fine. Sure. See you next time
Women Speak, then.
FLEABAG
Yeah.
She leaves. Fleabag watches her go. A tinge of regret for
turning her down. A woman from the lecture passes.
FLEABAG (CONT’D)
Do you want to go for a drink?
WOMAN
(confused)
No.
Some time goes past. She gets a text. It reads: “BUS RODENT:
Still smiling. :)” She grimaces. And then texts back: “Oh my
god me too!.. You free tonight?”
Ratings
Scene 17 - The Pub Encounter
Bus Rodent now sits with Fleabag. He is talking animatedly
through his tiny mouth. They both have drinks. She pushes
some crisp towards him. He eats one like a hamster. Fleabag
raises her eyes to the camera.
FLEABAG
He’s telling me that-
BUS RODENT
Yah, my sister is deaf.
Episode 1 SHOOTING SCRIPT 02.03.15 19.
FLEABAG
Which is his way of letting me know
that he is interesting and
sensitive. Which is fine.
(to Bus Rodent)
So you use sign language with her?
BUS RODENT
(genuine)
God no. I didn’t have time to learn
sign.
FLEABAG
(to camera)
Didn’t have time.
BUS RODENT
Yah, but you see we grew up
together so she can lip read me
like, really well.
FLEABAG
Really!? Wow. Lip reading is very
dependent on -
BUS RODENT
Yah also she’s like really into
really deep base because she can
feel the vibrations y’know -
The sound of his voice fades out as Fleabag imagines she is
deaf, lipreading him. All she can see is OOoooOOOOooo which
is written on the screen next to his mouth. She looks at
another punter. He is clearly saying “When was the last time
you fucked a teenager?”, which is written on the screen. She
looks at a woman with a scarf round her head clearly saying
“and I woke up and he had just shaved my whole body.. My
eyebrows and everything. See (she points), pencilled”. She
looks back at Bus Rodent who is still talking. No sound.
OOOOOooooo written on the screen.
FLEABAG
(to camera)
Poor deaf bitch.
BUS RODENT
So, I’m just going to go for a
wazz.
He goes. Fleabag nicks a twenty pound note out of his wallet.
He reappears and picks up his wallet from the table.
BUS RODENT (CONT’D)
Same again while I’m up? Or a
little cockytail? Or a shot!?
FLEABAG
Or we could just go back to mine?
Episode 1 SHOOTING SCRIPT 02.03.15 20.
BUS RODENT
Oh! Wow thanks, but I’ve got work
tomorrow.. another drink though?
FLEABAG
I could just come back to yours?
BUS RODENT
It’s a pretty early start though so-
FLEABAG
I’ll could get you a cab in the
morning.
BUS RODENT
(laughing)
That’s ridiculous!
FLEABAG
What’s your problem?
BUS RODENT
Oh. Nothing. I just... I like you.
FLEABAG
(grabbing her bag)
Ok. You’re a dick.
BUS RODENT
What’s going on? I-
FLEABAG
You’re pathetic.
She gives a smug look to the camera as she gets up and walks
to the door. Bus Rodent follows.
FLEABAG (CONT’D)
Don’t follow me. It’s too late.
BUS RODENT
I’m not- you just- dropped this.
He hands her the twenty pounds she stole from him. She takes
it and struts off towards the door.
Ratings
Scene 18 - A Night at the Bus Stop
There is an incredibly drunk girl sitting on the curb.
Fleabag watches her. Drunk Girl suddenly slips off and
crashes to the floor. Her bag empties over the floor, her
boob falls out of her top. Fleabag helps her back up and puts
her boob back in. They both settle. Then the whole thing
happens again. Fleabag helps her up and then sits next to her
so the girl rests her head on Fleabag’s shoulder. After a
while she looks up.
Episode 1 SHOOTING SCRIPT 02.03.15 21.
FLEABAG
You ok?
Drunk girl nods.
DRUNK GIRL
Are you ok?
(touches Fleabag’s face)
Sad face.
FLEABAG
I’m fine.
Long pause. Then the girl looks at her intensely before
DRUNK GIRL
Aw.
(beat)
You’re such a lovely man.
Fleabag looks at the camera. A cab passes. Fleabag hails it.
FLEABAG
Do you want to - spend the night
with me?
DRUNK GIRL
WHAT?! NO WAY! Naughty boy...!
Fleabag picks the girl up and walks her to the cab.
DRUNK GIRL (CONT’D)
Hey! Bad man! I said NO!
She puts Drunk Girl into the cab, puts the stolen twenty quid
note into her hand and closes the door. She sits at the bus
stop again. A drunk man sits too close beside her on the
curb. He looks a little leery.
GOOD MAN
Alright?
They sit in silence for a while before -
FLEABAG
I’m not wearing a top under here.
GOOD MAN
(so lovely)
Oh no! You need me to get you
something to wear?
FLEABAG
No I - Do you want to come home
with me?
Episode 1 SHOOTING SCRIPT 02.03.15 22.
GOOD MAN
Aw, no thanks honey. I got my girl
already. Good luck with that
though. He’d be a lucky fella.
FLEABAG
(to camera)
Arsehole.
GOOD MAN
Isn’t London beautiful?
(smiles at her)
‘Specially when it’s shutting up
shop.
Fleabag looks at him suddenly, thrown by the words...
Ratings
Scene 19 - From Camaraderie to Solitude
Boo closing the door. The girls are drunk on wine.
BOO
Shutting up shop!
FLEABAG
Shorry, what are you doing?
BOO
(locking the door)
I’m SSHHUTTING UP SSHHOOP.
Fleabag laughs picks up a ukulele and starts playing
FLEABAG
Shing a shong Boo Boo!!
BOO
(singing)
Another lunch break another
abortion! Another piece of cake
another two fuck it twenty
cigarettes.
(with Fleabag)
And we’re happy, so happy, to be
modern women.
They high five. Boo pulls Fleabag’s face close to hers
BOO (CONT’D)
Let’s never ask anyone for
anything. They don’t get it.
FLEABAG
Deal.
They shake on it.
Episode 1 SHOOTING SCRIPT 02.03.15 23.
19 EXT. STREET. NIGHT. 19
Fleabag is swaying down a quiet street. Drunk. We stay on her
for a while. She checks her phone. Nothing. A girl calls out.
GIRL (O.C.)
HARRY! HARRY! HARRY WAIT! HARRY!
Fleabag rolls her eyes. She looks at her phone.
FLEABAG
Fuck it.
Ratings
Scene 20 - Late Night Confessions
Fleabag is drunk. She is ringing relentlessly on the bell.
She hammers at the door. She yells through the letter box.
FLEABAG
HHEEELLLOOOEEELLOOOELLLOOEELLOOOO!?
(to camera)
This is totally fine.
A light goes on. Eventually the door opens. It’s an exhausted
man in his fifties.
FLEABAG (CONT’D)
Alright Dad!
DAD
What’s going on?
FLEABAG
Oh I’m absolutely fine!
DAD
Ok.
FLEABAG
It’s just -
DAD
Yeah.
FLEABAG
Uh - nothing.
DAD
It’s almost two o’clock in the
morning.
FLEABAG
Ok.
(beat)
No I - Oh Jesus - I ok ok ok - I
just - whoa - um -
Episode 1 SHOOTING SCRIPT 02.03.15 24.
He sighs.
FLEABAG (CONT’D)
Ok fuck it. I have a horrible
feeling I am a greedy, perverted,
selfish, apathetic, cynical,
depraved, mannish looking woman who
can’t even call herself a feminist.
Long beat. She looks desperately at him. She needs him now.
DAD
Well...
(pathetic, trying to make
a joke)
You get all that from your mother!
She laughs a sad laugh. He tries to laugh too.
FLEABAG
Good one!
DAD
I’m - I’m going to call you a cab,
darling.
He turns to go inside. Stops, looks back at her.
DAD (CONT’D)
Don’t go upstairs.
Ratings
Scene 21 - Unspoken Tensions
Fleabag climbs the stairs silently. Fleabag walks into a room
where her Godmother is stood, in bizarre overralls, painting
thick black paint onto a canvas. Fleabag watches her.
FLEABAG
(to camera)
To be fair. She’s not an evil
stepmother.
(beat)
She’s just a cunt.
ALTERNATIVE LINE:
She’s just a cock.
(to godmother)
Hi!
GODMOTHER/STEPMOTHER
(Really lovely)
Darling! I thought that must have
been you. Everything alright?
Episode 1 SHOOTING SCRIPT 02.03.15 25.
FLEABAG
(really nice)
Yeah! Just thought I’d swing by.
GODMOTHER/STEPMOTHER
How lovely. Lucky us.
FLEABAG
Don’t worry. Dad has already
ordered me a taxi. What you doing?
GODMOTHER/STEPMOTHER
I’m painting. I find the night time
very... peaceful.
(she laughs)
Usually!
Fleabag laughs too.
FLEABAG
(to camera)
Oop. She’s warming up.
GODMOTHER/STEPMOTHER
Look. I know it’s not really my
place. But - are you ok? Everyone’s
been worried abou-
Fleabag sees a small tin sculpture of a female legs and torso
with large breasts but no arms. She strokes it.
FLEABAG
Poor fucker.
GODMOTHER/STEPMOTHER
Yes. She’s actually an expression
of how women are subtle warriors...
strong at heart. How we don’t have
to use brute, muscular force to get
what we want. We just need to use
our -
FLEABAG
Tits.
GODMOTHER/STEPMOTHER
Innate femininity.
FLEABAG
Yeah. Tits don’t get you anywhere
these days. Trust me.
She touches the sculpture again. God Mother tries to smile
GODMOTHER/STEPMOTHER
Yes. That’s very valuable actually.
Episode 1 SHOOTING SCRIPT 02.03.15 26.
FLEABAG
How much?
GODMOTHER/STEPMOTHER
Thousands.
FLEABAG
Can I have it?
GODMOTHER/STEPMOTHER
(laughs)
No.
Fleabag points to the canvas covered in black paint.
FLEABAG
Ok. What’s that?
GODMOTHER/STEPMOTHER
That’s my self-portrait.
FLEABAG
Oh!
GODMOTHER/STEPMOTHER
Oo.
(wanting her to leave)
Is your father - ?
Dad’s voice weakly from the bottom of the stairs.
DAD (O.C.)
Um... It’s uh... It’s here.
Beat
FLEABAG
(a bit too loud)
THANKS.
GODMOTHER/STEPMOTHER
Ah. Nice of him.
She ushers Fleabag out. They kiss on each cheek.
GODMOTHER/STEPMOTHER (CONT’D)
Take care of yourself.
(she holds Fleabag’s arm)
You really do look ghastly darling.
Ratings
Scene 22 - A Night in the Taxi
Fleabag is in a taxi riding smoothly through London.
DRIVER
A cafe eh?
Episode 1 SHOOTING SCRIPT 02.03.15 27.
FLEABAG
Yup.
DRIVER
On your own?
FLEABAG
Kind of.
DRIVER
Kind of? Go on then!
FLEABAG
It’s kind of funny actually.
DRIVER
Good! It’ll keep me going! Shoot.
FLEABAG
I opened the cafe with my friend
Boo.
DRIVER
Cute name.
FLEABAG
Yeah. She’s dead now. She
accidentally killed herself. It
wasn’t her intention but it wasn’t
a total accident. She didn’t think
she’d actually die, she just found
out her boyfriend fucked someone
else and wanted to punish him by
ending up in hospital and not
letting him visit her for a bit.
She decided to walk into a busy
cycle lane, wanting to get tangled
in a bike, break a finger maybe.
But as it turns out bikes go fast
and flip you into the road. Three
people died.
(beat, she laughs)
She was such a dick.
He doesn’t know what to say. She laughs.
FLEABAG (CONT’D)
So yeah.. Kinda on my own.
He looks at her in the rear view mirror. She drunkenly, and
sadly smiles. He drives in on silence. Her coat falls open.
She only has her bra on underneath. She pulls out the little
tin sculpture of the woman with no arms. It sits on her lap.
Two women. One real. One not. Both with their innate
femininity out. End.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
fleabag | Fleabag's character arc follows her journey from a place of emotional turmoil and self-sabotage to a path of self-acceptance and healing. Initially, she uses humor to mask her vulnerabilities and cope with her complicated relationships, particularly with her sister and the memory of her mother. As the story progresses, Fleabag confronts her past mistakes and the impact of her actions on those around her. Through a series of pivotal moments, including reconciling with her sister and facing her grief over Boo, she begins to understand the importance of vulnerability and genuine connection. By the end of the feature, Fleabag emerges as a more self-aware individual, learning to embrace her flaws and seek healthier relationships, ultimately finding a sense of peace and acceptance within herself. | While Fleabag's character arc is compelling and rich with emotional depth, it could benefit from a clearer progression of her internal conflicts and resolutions. The screenplay may risk portraying her humor as a mere facade without adequately exploring the underlying pain that drives her behavior. Additionally, the resolution of her relationships, particularly with her sister and the memory of Boo, could be more nuanced to reflect the complexities of real-life reconciliation and healing. | To improve Fleabag's character arc, consider incorporating more moments of vulnerability that allow her to confront her emotions directly rather than relying solely on humor. This could involve deeper interactions with supporting characters that challenge her defenses and encourage her to open up. Additionally, introducing a mentor or a pivotal figure who embodies the qualities Fleabag aspires to could provide a contrasting perspective that catalyzes her growth. Finally, ensure that the resolution of her relationships feels earned and realistic, perhaps by showing the gradual process of rebuilding trust and connection rather than a sudden shift in dynamics. |
guy you like | Guy You Like begins as a charming and confident figure who captivates Fleabag with his mystery and allure. As their relationship develops, he reveals his vulnerabilities, showcasing a desire for deeper connection and intimacy. This journey leads him to confront his own fears of rejection and emotional intimacy, ultimately evolving into a more self-aware individual who understands the complexities of love and relationships. By the end of the feature, he emerges as a more grounded character, capable of balancing his desires with the realities of Fleabag's chaotic life, leading to a more meaningful connection between them. | While Guy You Like is portrayed as a charming and intriguing character, his arc could benefit from more depth and complexity. Currently, he serves primarily as a romantic interest without a fully fleshed-out backstory or personal stakes that resonate beyond his relationship with Fleabag. This can make him feel somewhat one-dimensional, as his motivations and growth are closely tied to her journey rather than being independent. | To improve Guy You Like's character arc, consider giving him a more defined backstory that informs his desires and vulnerabilities. This could involve exploring his past relationships, personal struggles, or ambitions that shape his character. Additionally, incorporating moments where he faces challenges or conflicts outside of his relationship with Fleabag would add depth and allow for a more nuanced evolution. By giving him his own narrative thread, the audience can connect with him on a deeper level, making his eventual growth and connection with Fleabag more impactful. |
bus rodent | Throughout the screenplay, Bus Rodent begins as a socially awkward character who struggles to connect with Fleabag. Initially, his attempts at flirtation are met with discomfort, highlighting his cluelessness. As the story progresses, he experiences moments of vulnerability that allow him to grow. By the climax, he learns to embrace his quirks and becomes more self-assured, leading to a more genuine connection with Fleabag. In the resolution, he finds a balance between his awkwardness and charm, ultimately gaining a sense of acceptance and understanding of himself and his interactions with others. | While Bus Rodent's character provides comic relief and adds a unique dynamic to the story, his arc could benefit from more depth and development. Currently, his growth feels somewhat linear and predictable, lacking significant turning points that challenge his character. Additionally, his interactions with Fleabag could be more varied to avoid repetitiveness and to explore different facets of their relationship. | To improve Bus Rodent's character arc, consider introducing a pivotal moment that forces him to confront his insecurities more directly, perhaps through a conflict with another character or a personal setback. This could lead to a more profound transformation and allow for a richer exploration of his vulnerabilities. Additionally, incorporating moments where he successfully connects with Fleabag or other characters could provide contrast to his awkwardness, showcasing his growth and making his eventual acceptance of himself more impactful. |
claire | Throughout the feature, Claire undergoes a significant transformation. Initially, she is portrayed as a high-powered, emotionally distant figure who struggles to connect with Fleabag. As the story progresses, Claire is forced to confront her own insecurities and the emotional barriers she has built. Key events challenge her to open up and express her feelings more freely, leading to moments of vulnerability that deepen her relationship with Fleabag. By the end of the feature, Claire evolves into a more emotionally available sister, learning to balance her practicality with empathy, ultimately strengthening their bond and allowing her to embrace her own imperfections. | While Claire's character arc is compelling, it may benefit from more gradual development. The initial portrayal of her as overly uptight and dismissive could risk alienating the audience from her character. Additionally, her transformation may feel rushed if not adequately supported by key moments that illustrate her internal struggle. The emotional stakes could be heightened by incorporating more backstory or flashbacks that reveal the roots of her insecurities and her relationship with Fleabag. | To improve Claire's character arc, consider introducing pivotal scenes that showcase her vulnerabilities earlier in the screenplay. This could include moments where she grapples with her own failures or insecurities, allowing the audience to empathize with her. Additionally, incorporating a subplot that highlights her professional life and the pressures she faces could provide depth to her character. Gradually revealing her emotional struggles through interactions with Fleabag and other characters can create a more nuanced portrayal, making her eventual transformation feel earned and relatable. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Humorous Scenes & High Stakes | Scenes with a 'Humorous' tone tend to have higher 'High Stakes' scores. This suggests that humor might be used to elevate the tension and importance of events in the story. |
Emotional Scenes & Dialogue | Scenes marked with 'Emotional' tones often have strong 'Dialogue' scores. This indicates that dialogue is a key driver for expressing emotions and developing characters. |
Character Changes in Dialogue-Heavy Scenes | Scenes with high 'Dialogue' scores tend to have higher 'Character Changes' scores, suggesting that conversations are key catalysts for character development and transformation. |
Awkwardness and Lower Emotional Impact | Scenes labeled with 'Awkward' tones often score lower in 'Emotional Impact'. This might be because awkwardness can create a buffer or barrier to emotional expression, leading to more subdued reactions. |
Reflective Scenes and Concept Scores | Scenes with a 'Reflective' tone generally have high 'Concept' scores. This points to reflective moments being crucial for exploring deeper themes and ideas within the screenplay. |
Plot and Character Changes | The screenplay shows a strong correlation between scenes with high 'Plot' scores and significant 'Character Changes'. This suggests that events that propel the plot forward also contribute to character growth and evolution. |
Dialogue as a Tool for Moving the Story Forward | Scenes with high 'Dialogue' scores also have high 'Move Story Forward' scores. This highlights the importance of dialogue in driving the plot forward and advancing the narrative. |
Writer's Craft Overall Analysis
The screenplay showcases a strong understanding of character-driven storytelling, with a focus on exploring complex relationships and internal struggles. The writer demonstrates a unique voice, adeptly blending humor and emotional depth to create engaging and relatable characters. There is a clear talent for crafting witty dialogue and intimate character interactions. However, there is room for growth in specific areas to further elevate the quality of the screenplay.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat' by Blake Snyder | This book offers valuable insights into crafting compelling narratives, understanding screenplay structure, and developing engaging characters, which can significantly enhance the writer's storytelling skills. |
Screenplay | Read screenplays written by Phoebe Waller-Bridge, such as 'Fleabag' and 'Killing Eve'. | Studying the work of a master screenwriter like Phoebe Waller-Bridge can provide valuable insights into her unique style, blending humor and emotional depth, creating dynamic dialogue, and crafting memorable characters. This exposure can inspire and guide the writer's own creative process. |
Exercise | Practice writing dialogue-heavy scenes with conflicting perspectives.Practice In SceneProv | This exercise will help the writer hone their skills in creating tension, subtext, and authentic dialogue that drives the narrative forward. |
Exercise | Write a scene exploring a different character's internal conflict.Practice In SceneProv | This exercise will help the writer develop their skills in creating complex, relatable characters and exploring emotional depth. It will also encourage the writer to explore multiple perspectives and create a well-rounded cast. |
Exercise | Write a scene with a clear beginning, middle, and end, using 'Save the Cat' beats as a guide.Practice In SceneProv | This exercise will help the writer understand and apply the principles of screenplay structure, creating more compelling and impactful scenes that contribute to the overall narrative arc. |
Stories Similar to this one
Story | Explanation |
---|---|
Fleabag (TV Series) | The screenplay is a direct excerpt from the series 'Fleabag,' which features the same protagonist and similar themes of romantic entanglements, self-deprecation, and dark humor. The show's unique narrative style, including breaking the fourth wall, mirrors the screenplay's tone and structure. |
Girls (TV Series) | Like 'Fleabag,' 'Girls' explores the complexities of young adulthood, relationships, and personal identity through a comedic lens. Both series feature flawed, relatable characters navigating their romantic and professional lives, often with a mix of humor and vulnerability. |
Bridget Jones's Diary (Book/Movie) | This story shares a similar tone and structure, focusing on a single woman's romantic misadventures and insecurities. Both Bridget and Fleabag exhibit self-awareness and humor in their struggles with love and self-image, often leading to awkward and relatable situations. |
The Office (US) (TV Series) | The use of mockumentary style and direct address to the audience in 'The Office' creates a similar comedic effect as seen in the screenplay. Both feature characters navigating personal and professional relationships with a blend of humor and awkwardness. |
Sex and the City (TV Series) | Both 'Fleabag' and 'Sex and the City' delve into the lives of women exploring love, friendship, and self-identity in urban settings. The characters' candid discussions about relationships and their emotional complexities resonate across both narratives. |
Crazy Ex-Girlfriend (TV Series) | This series features a protagonist who grapples with her romantic choices and mental health, often using humor and musical numbers to explore serious themes. The blend of comedy and emotional depth parallels the tone of the screenplay. |
The Marvelous Mrs. Maisel (TV Series) | Both series feature strong female leads who navigate societal expectations and personal struggles with humor and wit. The exploration of relationships and self-discovery in a comedic context aligns with the themes presented in the screenplay. |
Notting Hill (Movie) | This romantic comedy features a protagonist who experiences the highs and lows of love, similar to Fleabag's romantic escapades. The blend of humor, vulnerability, and the exploration of personal identity resonates with the screenplay's themes. |
The Good Place (TV Series) | Both series tackle themes of morality, self-discovery, and personal growth through humor. The characters' journeys toward understanding themselves and their relationships echo the internal conflicts faced by Fleabag. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Breaking the Fourth Wall | Fleabag frequently addresses the camera, sharing her inner thoughts and feelings directly with the audience. | This trope allows characters to share their true feelings and thoughts, creating a more intimate connection with the audience. An example is in 'Ferris Bueller's Day Off,' where Ferris speaks directly to the camera, providing commentary on his life and actions. |
Awkward Romantic Encounters | Fleabag experiences several awkward moments during her romantic interactions, such as miscommunications and misunderstandings. | This trope highlights the humor and discomfort often found in romantic situations. A classic example is in 'When Harry Met Sally,' where the characters navigate their feelings for each other amidst awkward situations. |
The Loveable Loser | Fleabag often finds herself in unfortunate situations, struggling with her personal and professional life. | This trope features a protagonist who is relatable due to their flaws and failures. An example is in 'The Office,' where characters like Michael Scott often find themselves in embarrassing situations but remain endearing. |
The Misunderstood Feminist | Fleabag grapples with her identity as a feminist while navigating societal expectations and personal relationships. | This trope explores the complexities of feminism and how characters often feel misunderstood. An example is in 'The Good Place,' where characters discuss moral philosophy and societal norms. |
The Quirky Sidekick | Characters like Boo and Bus Rodent provide comic relief and support to Fleabag's journey. | This trope features a character who adds humor and personality to the main character's story. An example is in 'Friends,' where characters like Chandler provide comic relief to the group. |
The Unconventional Love Interest | Fleabag's romantic interests, like Bus Rodent, are often quirky and unconventional. | This trope involves love interests who defy traditional expectations, adding depth to the romantic storyline. An example is in '500 Days of Summer,' where the love interest is portrayed as complex and flawed. |
The Awkward Family Dynamics | Fleabag's interactions with her father and sister reveal tension and unresolved issues within their family. | This trope explores the complexities of family relationships, often highlighting humor and conflict. An example is in 'This Is Us,' where family dynamics are central to the narrative. |
The Dark Humor | Fleabag often uses dark humor to cope with her struggles and the absurdities of life. | This trope involves humor that addresses serious or taboo subjects, providing a coping mechanism for characters. An example is in 'Deadpool,' where the protagonist uses humor to deal with his tragic circumstances. |
The Flashback | Fleabag's story is interspersed with flashbacks that reveal her past relationships and experiences. | This trope provides context and depth to a character's current situation by revealing their history. An example is in 'Lost,' where flashbacks are used to explore characters' backstories. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Self-Identity | Fleabag constantly struggles with her self-image and questions her identity as a woman, particularly as a feminist. She expresses feelings of inadequacy and frustration about her body, relationships, and career choices. | This theme explores the complex process of self-discovery and the challenges of navigating societal expectations and personal desires. | ||||||||||||
Strengthening Self-Identity:
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Relationships | Fleabag experiences a range of relationships, including romantic encounters, family dynamics, and friendships. These relationships are often characterized by humor, awkwardness, and conflicting perspectives. | This theme delves into the complexities of human connection and the challenges of building meaningful relationships in a modern world. | ||||||||||||
Grief and Loss | Fleabag grapples with the death of her mother and her friend Boo. These losses create emotional turmoil and shape her interactions with others. | This theme explores the process of mourning and the impact of loss on personal growth and resilience. | ||||||||||||
Feminism | Fleabag questions her role as a feminist, highlighting the complexities of modern womanhood. She faces internal conflicts about societal expectations and challenges traditional notions of femininity. | This theme examines the evolving discourse around feminism and the personal struggles women face in a society still grappling with gender equality. | ||||||||||||
Humor | Fleabag uses humor as a coping mechanism, often breaking the fourth wall to share her sarcastic and witty observations. The screenplay utilizes dark humor and satire to address serious themes. | This theme explores the power of humor to navigate difficult emotions and provide a lens for examining social issues. | ||||||||||||
Loneliness | Fleabag experiences moments of isolation and longing for connection. She struggles with feeling misunderstood and alone in her struggles. | This theme examines the universal experience of loneliness and its impact on personal well-being. |
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 | |
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Summary: | The writer's voice is a unique blend of sharp wit, dark humor, and emotional vulnerability. The screenplay is characterized by candid dialogue that often breaks the fourth wall, allowing the protagonist to directly address the audience and share their internal struggles. The writing style is raw and unapologetic, creating a sense of intimacy and authenticity that draws the audience into the protagonist's world. |
Voice Contribution | The writer's voice contributes to the script by creating a distinct tone that is both humorous and emotionally resonant. The blend of wit and vulnerability allows the screenplay to explore complex themes such as grief, self-worth, and the complexities of human relationships in a way that is both relatable and insightful. The use of humor, particularly dark humor, helps to lighten the mood and create a sense of distance from the characters' emotional struggles, while also offering a unique perspective on the darker aspects of life. |
Best Representation Scene | 20 - Late Night Confessions |
Best Scene Explanation | This scene encapsulates the writer's voice through its blend of humor, vulnerability, and social commentary. Fleabag's drunken confession to her father about her self-hatred and her struggles with identity is both hilarious and heartbreaking, highlighting the complexity of her character and the writer's ability to balance comedic moments with emotional depth. The scene also touches upon themes of family dynamics, self-acceptance, and the struggles of modern womanhood, making it a powerful and representative moment of the writer's unique voice. |
- Overall originality score: 9
- Overall originality explanation: The screenplay showcases a high level of originality through its fresh and honest portrayal of modern relationships, personal insecurities, and societal issues. Each scene presents unique character dynamics and authentic dialogue that resonate with contemporary audiences. The use of humor intertwined with serious themes, such as grief, body image, and gender dynamics, adds depth and complexity to the narrative, making it feel both relatable and innovative.
- Most unique situations: The most unique situations in the screenplay are the unconventional setting of a guinea pig-themed cafe, the candid exploration of sexual encounters and consent, and the humorous yet poignant reflections on feminism and body image during a women's empowerment lecture. Additionally, the character interactions, such as Fleabag's fourth-wall-breaking commentary and her humorous yet vulnerable exchanges with various characters, contribute to the screenplay's originality.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a strong sense of unpredictability through its unconventional narrative structure and the unexpected turns in character interactions. Fleabag's internal conflicts and her candid, often humorous reflections on her life keep the audience engaged and guessing about her next moves. The blend of light-hearted moments with darker themes, such as grief and self-identity, further enhances the unpredictability, as viewers are often surprised by the emotional depth that emerges from seemingly mundane situations.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the screenplay, the protagonist, Fleabag, navigates her internal landscape of vulnerability, insecurity, and a deep desire for validation and connection. These goals evolve from maintaining a facade of confidence in her love life to grappling with her self-worth after intense personal encounters, and ultimately confronting her emotional struggles surrounding relationships, family dynamics, and her identity as a woman. |
External Goals | Fleabag's external goals shift throughout the script, from seeking romantic validation and sexual encounters to striving for professional independence with her cafe. These external pursuits, while initially superficial, expose deep-seated insecurities and need for connection beyond mere interactions. |
Philosophical Conflict | The overarching philosophical conflict revolves around Fleabag's struggle between authenticity and the performative aspects of modern womanhood. This conflict intertwines with her journey as she seeks genuine connection while grappling with societal expectations and her own values regarding relationships, feminism, and self-worth. |
Character Development Contribution: The goals and conflicts contribute to Fleabag's character development by forcing her to confront her insecurities and vulnerabilities. As she navigates her relationships and personal failures, she transitions from a superficial understanding of success to a more profound awareness of her emotions and needs.
Narrative Structure Contribution: These elements propel the narrative structure by establishing a trajectory of chaos and order throughout the screenplay. The shifts between her internal doubts and external pursuits create a compelling balance and drive the plot toward a culminating self-acceptance moment.
Thematic Depth Contribution: By interweaving her goals and philosophical conflicts, the screenplay develops themes of womanhood, the complexities of modern relationships, and the quest for authenticity. Fleabag's journey reflects broader societal issues concerning identity, acceptance, and the humor found in tragedy.
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 is set in a modern, urban environment, primarily in London. We see Fleabag's chaotic flat, trendy cafes, a bustling bus, a pub, a lecture hall, a changing room, and her father's suburban home. The physical environment is often used to reflect Fleabag's inner turmoil and the contrasting lifestyles of the characters.
- Culture: The screenplay explores contemporary London culture, including dating trends, feminist discussions, and the challenges of modern relationships. The emphasis on casual sex, open communication about sexuality, and the exploration of female identity through a feminist lens are prominent themes. The screenplay also incorporates British humor and wit, adding a layer of lightheartedness to the serious themes explored.
- Society: The screenplay portrays a complex social structure, with a focus on gender dynamics, family relationships, and the challenges of navigating social interactions. The world depicts a society grappling with the realities of female empowerment, the pressures of modern life, and the complexities of human relationships.
- Technology: Technology plays a subtle yet significant role in the screenplay, highlighting modern communication through smartphones, laptops, and social media. The use of technology also reflects the characters' dependence on it for social interaction and information, while simultaneously highlighting the potential for isolation and disconnect.
- Characters influence: The world elements shape the characters' experiences and actions by creating a backdrop of both opportunity and limitation. The characters navigate the complexities of modern relationships, career aspirations, and personal struggles within the context of a dynamic and often challenging urban environment. The cultural and societal norms influence their choices, interactions, and overall experiences.
- Narrative contribution: The world elements contribute to the narrative by creating a relatable and engaging setting for the story. The screenplay's exploration of contemporary London culture, social structures, and technological advancements provides a framework for Fleabag's journey of self-discovery and growth. The unique physical environments and cultural elements enhance the characters' interactions, creating moments of humor, tension, and emotional depth.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by highlighting the contradictions and complexities of modern life. The portrayal of feminist discourse, the exploration of relationships, and the challenges of finding oneself in a fast-paced urban environment add layers of meaning to the narrative. The screenplay explores themes of self-discovery, vulnerability, and the search for connection in a world that often feels overwhelming and isolating.
central conflict
Fleabag's internal struggle with her identity, relationships, and self-worth, compounded by her chaotic interactions with others.
primary motivations
- Seeking connection and validation from others.
- Desiring to navigate her grief and loneliness.
- Struggling to maintain her independence while facing financial and emotional challenges.
catalysts
- Unexpected romantic encounters that challenge her self-perception.
- Confrontations with family members that reveal deeper emotional issues.
- Humorous yet poignant interactions that highlight her vulnerabilities.
barriers
- Fleabag's self-destructive tendencies and fear of intimacy.
- Miscommunication and misunderstandings with others.
- Societal expectations and personal insecurities regarding femininity and success.
themes
- The complexities of modern womanhood.
- The impact of grief and loss on personal identity.
- The struggle for authenticity in relationships.
stakes
Fleabag's emotional well-being and the viability of her cafe business, alongside her quest for meaningful connections.
uniqueness factor
The blend of dark humor and raw vulnerability, along with the breaking of the fourth wall, creates a distinctive narrative style.
audience hook
Fleabag's relatable struggles with love, loss, and self-acceptance resonate with viewers, drawing them into her chaotic world.
paradoxical engine or bisociation
The juxtaposition of humor and tragedy in Fleabag's life creates a unique narrative tension, where comedic moments often arise from deeply painful experiences.
paradoxical engine or bisociation 2
The contrast between Fleabag's outward confidence and her internal insecurities highlights the duality of human experience, engaging the audience in her journey of self-discovery.
Engine: Claude
Consider
Executive Summary
The screenplay for "Fleabag" is a dark comedy that follows the life of a young woman struggling with personal and professional challenges in modern-day London. The story is told through a unique narrative structure that blends realistic, relatable moments with the protagonist's witty, sardonic inner monologue. While the writing is generally strong, there are areas that could benefit from further development, particularly in terms of pacing and character arcs. Overall, "Fleabag" presents a compelling, if flawed, portrait of a complex woman navigating the complexities of life.
- The opening sequence establishes the protagonist's voice and perspective in a clear, engaging way, immediately drawing the audience into her world and thought process. high ( Scene 1 (1) Scene 2 (2) Scene 3 (3) )
- The scenes depicting the protagonist's interactions with various men showcase her sharp wit and social commentary, highlighting her complexity as a character. medium ( Scene 5 (6) Scene 6 (7) Scene 7 (8) )
- The scenes involving the protagonist's sister, Claire, and their relationship provide a compelling family dynamic and insight into the protagonist's personal life. medium ( Scene 9 (9A) Scene 10 (10) )
- The pacing in certain sections, particularly around the protagonist's cafe business, feels a bit uneven and could benefit from tighter editing or restructuring. medium ( Scene 11 (11B) Scene 12 (12) )
- While the characters are generally well-developed, there are moments where their motivations or emotional arcs could be explored in greater depth. medium ( Scene 6 (7) Scene 9 (9A) Scene 10 (10) )
- The screenplay could benefit from a more clear and consistent throughline for the protagonist's professional and financial struggles, as these elements feel a bit underdeveloped or underexplored at times. medium ( Scene 11 (11B) Scene 22 (22) )
- The protagonist's interactions with her Godmother/Stepmother provide an intriguing and complex subplot that adds depth to the story. high ( Scene 21 (21) )
- The closing sequence, with the protagonist's candid conversation with the taxi driver, serves as a poignant and powerful conclusion to the story. high ( Scene 22 (22) )
- Lack of diversity The screenplay primarily focuses on the experiences of a white, cisgender woman and her immediate family and friends. There is a lack of representation of diverse characters and perspectives, which could limit the screenplay's ability to fully explore the complexities of modern urban life. medium
- Underdeveloped subplots While the central narrative is generally well-crafted, there are instances where certain subplots or secondary storylines feel underdeveloped or not fully integrated into the overall plot. This could be addressed through further refinement and revision. medium
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'Fleabag' is a masterclass in character-driven storytelling, blending humor and pathos to explore themes of grief, feminism, and self-identity. The protagonist, Fleabag, is a complex character whose journey is both relatable and deeply engaging. The narrative is tightly woven, with sharp dialogue and a unique breaking of the fourth wall that invites the audience into Fleabag's inner thoughts. While the screenplay excels in character development and thematic consistency, there are minor areas for improvement regarding pacing and the resolution of certain plot threads.
- The screenplay effectively establishes Fleabag's character through her candid and humorous internal monologues, immediately drawing the audience into her world. high ( Scene 1 (1) Scene 1 (3) )
- The exploration of familial relationships, particularly between Fleabag and her sister Claire, adds depth to the narrative and highlights the theme of grief. high ( Scene 1 (9) Scene 1 (10) )
- The screenplay's humor is consistently sharp and relatable, making the audience laugh while also addressing serious themes. high ( Scene 1 (12) Scene 1 (22) )
- The use of direct address to the camera creates a unique narrative style that enhances audience engagement and emotional connection. high ( Scene 1 (4) Scene 1 (18) )
- The resolution of Fleabag's internal conflicts is poignant and satisfying, providing a sense of closure while leaving room for character growth. high ( Scene 1 (20) Scene 1 (21) )
- Some scenes, particularly the loan interview, feel slightly rushed and could benefit from additional development to enhance tension and character interaction. medium ( Scene 1 (5) )
- The pacing in the latter half of the screenplay occasionally slows down, which may detract from the overall momentum of the narrative. medium ( Scene 1 (17) )
- The backstory of Fleabag's cafe and her partnership with Boo could be more fleshed out to provide clearer stakes for the audience. medium ( Scene 1 (11) )
- Some character arcs, particularly those of secondary characters, could be more developed to enhance the overall narrative richness. medium ( Scene 1 (19) )
- The transition between comedic and dramatic moments could be smoother to maintain narrative flow. medium ( Scene 1 (6) )
- There is a lack of exploration regarding Fleabag's relationship with her father, which could add another layer to her character development. medium ( Scene 1 (8) )
- The theme of feminism is introduced but not fully explored, leaving potential discussions underdeveloped. medium ( Scene 1 (14) )
- The impact of Boo's death on Fleabag's psyche could be more deeply examined to enhance emotional resonance. medium ( Scene 1 (15) )
- The screenplay could benefit from a clearer resolution regarding Fleabag's financial struggles and the future of her cafe. medium ( Scene 1 (12) )
- The ending, while impactful, leaves some questions about Fleabag's future that could be addressed for a more satisfying conclusion. medium ( Scene 1 (22) )
- The boldness of the opening scenes sets the tone for the entire screenplay, establishing Fleabag's character as unapologetically honest and flawed. high ( Scene 1 (2) )
- The use of humor in uncomfortable situations showcases the screenplay's ability to balance comedy with serious themes. high ( Scene 1 (16) )
- The dynamic between Fleabag and Claire highlights the complexities of sisterhood, adding depth to their relationship. high ( Scene 1 (10) )
- The portrayal of Fleabag's godmother as a complex character adds nuance to the narrative, challenging the typical 'evil stepmother' trope. high ( Scene 1 (21) )
- The final scene encapsulates the themes of loneliness and connection, leaving a lasting impression on the audience. high ( Scene 1 (22) )
- Character Development While Fleabag's character is well-developed, some secondary characters lack depth and backstory, which could enhance the overall narrative. For example, the motivations of her father and godmother are not fully explored, leaving their roles feeling somewhat superficial. medium
- Pacing Issues Certain scenes, particularly those involving exposition, feel rushed or overly drawn out, which can disrupt the flow of the narrative. For instance, the loan interview scene could benefit from more tension and character interaction to heighten stakes. medium
Memorable lines in the script:
Scene Number | Line |
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1 | FLEABAG: You know that feeling when a guy you like sends you a text at 2 o’clock on a Tuesday night and asks if he can ‘come and find you’... |
20 | Fleabag: I have a horrible feeling I am a greedy, perverted, selfish, apathetic, cynical, depraved, mannish looking woman who can’t even call herself a feminist. |
5 | Fleabag: I hate myself. |
13 | Fleabag: You shat in a sink. Nothing is ever going to be good enough. |
21 | Fleabag: Tits don’t get you anywhere these days. Trust me. |