Promising young woman
Executive Summary
Poster
Overview
Genres: Drama, Thriller, Romance, Comedy, Mystery, Dark Comedy, Slice of Life, Indie, Romantic Comedy, Family
Setting: Contemporary, Various locations including a bar, coffee shop, university, suburban homes, and a cabin in the woods
Overview: Promising Young Woman follows Cassandra, a woman haunted by the trauma of her best friend's sexual assault and the subsequent societal indifference. The story begins with Cassandra leading a double life, appearing as a carefree woman by night while secretly plotting her revenge against those who enable sexual violence. As she navigates various encounters, including a budding relationship with Ryan, her motivations become clearer, revealing her deep-seated anger and desire for justice. The narrative escalates as Cassandra confronts figures from her past, leading to a climactic confrontation that forces her to reckon with the consequences of her actions and the complexities of seeking retribution.
Themes: Justice and Revenge, Trauma and Healing, Identity and Self-Discovery, Societal Pressures and Expectations
Conflict and Stakes: Cassandra's struggle to confront her traumatic past and seek justice for her friend Nina, with her own safety and mental health at stake.
Overall Mood: Tense and introspective, with moments of dark humor.
Mood/Tone at Key Scenes:
- Scene 1: The mood is darkly comedic as the men objectify Cassandra, highlighting themes of misogyny.
- Scene 5: The tone shifts to tense and alarming as Cassandra confronts Jez, revealing her vulnerability.
- Scene 30: The mood is somber and reflective as Cassandra faces the consequences of her actions.
- Scene 45: The atmosphere is chaotic and tense during Al's arrest at the wedding, showcasing the fallout of past actions.
Standout Features:
- Unique Hook: The protagonist's transformation from a troubled young woman to a figure seeking justice for her friend.
- Major Twist: Cassandra's confrontation with Al Monroe reveals deep-seated issues of consent and accountability.
- Distinctive Setting: The contrast between urban settings and the isolated cabin in the woods enhances the tension.
- Innovative Ideas: The screenplay explores the impact of social media on personal relationships and trauma.
- Unique Characters: A diverse cast that includes complex female characters navigating their own struggles.
Comparable Scripts:
- Promising Young Woman
- The Nightingale
- Girls
- Fleabag
- The Virgin Suicides
- Revenge
- Sharp Objects
- The Handmaid's Tale
- Little Fires Everywhere
Writing Style:
The screenplay exhibits a versatile writing style, blending elements of character-driven drama, sharp dialogue, and exploration of complex relationships and moral ambiguities. While exhibiting a range of tones, from dark psychological thrillers to witty comedies, a consistent focus on character dynamics and authentic, nuanced dialogue remains prevalent throughout.
Style Similarities:
- Greta Gerwig
- Noah Baumbach
- Gillian Flynn
- Richard Linklater
Pass/Consider/Recommend
Highly Recommend
Explanation: Promising Young Woman is a highly compelling and original screenplay with a strong female protagonist and a unique narrative structure. Its strengths lie in its sharp social commentary, unpredictable plot twists, and nuanced character development. While minor pacing issues and a potential lack of emotional depth in certain scenes exist, these are significantly outweighed by the script's overall impact and originality. The ending, while controversial, is deliberate and serves the overarching themes effectively. This script has significant commercial potential and is ready for immediate production.
USP: What sets 'Promising Young Woman' apart is its fearless approach to addressing the themes of sexual violence and societal complicity through a darkly comedic lens. The protagonist's journey of revenge is both relatable and unsettling, making it compelling for audiences who seek narratives that challenge societal norms and provoke thought. The screenplay's unique blend of genres—thriller, drama, and dark comedy—ensures it appeals to a wide audience while delivering a powerful message.
Market Analysis
Budget Estimate:$15-25 million
Target Audience Demographics: Adults aged 18-45, particularly those interested in psychological thrillers and dramas that explore social issues.
Marketability: The screenplay tackles relevant social issues with a strong female lead, appealing to audiences looking for depth and complexity.
The blend of dark comedy and thriller elements can attract a diverse audience, enhancing its appeal.
The character-driven narrative and emotional stakes resonate with viewers, though it may face challenges in mainstream marketing.
Profit Potential: Moderate to high, as it addresses timely themes and has the potential for critical acclaim, which can drive box office success.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a blend of gritty realism and dark humor, interwoven with sharp, witty dialogue that often reveals more through subtext and subtle gestures than explicit exposition. The narrative is driven by realistic character interactions and explores complex themes of consent, toxic masculinity, and the lasting impact of trauma. The direction emphasizes naturalistic dialogue and subtle character actions, creating a compelling sense of authenticity and emotional depth.
Best representation: Scene 6 - The Morning After. This scene is the best representation because it most effectively showcases the writer's signature blend of gritty realism, dark humor, and sharp dialogue. The sudden shift from an intimate and potentially exploitative situation to a tense confrontation is both shocking and compelling. The minimalistic direction allows the dialogue and character actions to speak volumes, creating a powerful and unforgettable moment. The ambiguity of the ending leaves the audience in suspense, encouraging reflection on the themes of consent and power dynamics, while the unexpected turn of events incorporates darkly comedic elements that perfectly capture the writer's unique style. The scene effectively conveys complex themes with subtlety and impact.
Memorable Lines:
- MADISON: Oh my gooooooood! You look amazing! I almost didn’t recognize you! (Scene 25)
- MADISON: Never fucking contact me again. (Scene 47)
- CASSANDRA: I cannot begin to tell you how much I’ve thought about it. (Scene 50)
- GAIL: He farted on the first date? (Scene 20)
- CASSANDRA: What are you doing? (Scene 6)
Characters
Cassandra Thomas:A complex young woman grappling with her past, relationships, and the impact of trauma.
Ryan:Cassandra's love interest, a caring but confused individual trying to navigate his feelings for her.
Al Monroe:The groom with a troubled past, whose actions have significant consequences for Cassandra.
Madison McPhee:Cassandra's old friend who struggles with her own past mistakes and their implications.
Jordan Green:A disheveled lawyer with a troubled conscience regarding his past actions.
Joe:Al's best man, who tries to maintain a light-hearted demeanor amidst chaos.
Susan:Cassandra's concerned mother, who struggles to connect with her daughter.
Stanley:Cassandra's father, who tries to support his family while dealing with his own emotions.
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 - Objectification at Sweet Sixteen | Dark, Cynical, Sarcastic | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
2 - Lost Connection | Concerned, Woozy, Wary | 7.5 | 8 | 7 | 5 | 8 | 6 | 8 | 6 | 5 | 5 | 4 | 6 | 4 | 7 | 7 | 7 | 7 | 8 | 8 | |
3 - A Caring Gesture | Compassionate, Awkward, Judgmental | 8.5 | 9 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 5 | 6 | 8 | 6 | 9 | 8 | 9 | 8 | 8 | 8 | |
4 - Late Night Decisions | Suspenseful, Intimate, Hopeful | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
5 - Misread Signals | Intimate, Awkward, Uncomfortable | 6.5 | 7 | 6 | 8 | 7 | 6 | 7 | 6 | 6 | 7 | 6 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
6 - Awakening Confrontation | Intense, Disturbing, Unsettling | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 10 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
7 - The Morning After | Remorseless, Tense, Anxious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
8 - Stirring Discontent | Serious, Sarcastic, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8.5 | |
9 - A Bitter Brew | Uncomfortable, Empowering, Tense | 8.5 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - Awkward Encounters at Make Me Coffee | Sarcastic, Awkward, Tense | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
11 - Rebel Glam: A Lipstick Defiance | Introspective, Tense, Awkward | 7.5 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 6 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | |
12 - Uncomfortable Encounters | Intense, Uncomfortable, Dark | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | |
13 - Confrontation of Boundaries | Intense, Confrontational, Unsettling | 9.2 | 10 | 9 | 9 | 9 | 9 | 8 | 7 | 10 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | |
14 - A Birthday Unremembered | Tense, Emotional, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
15 - Unpacking Choices | Sarcastic, Defiant, Awkward | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
16 - Sneaking Out | Tense, Awkward, Hopeful | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 6 | 7 | 7 | 6 | 7 | 6 | 8 | 8 | 8 | 8 | 9 | 9 | |
17 - A Date with Disturbing Humor | Humorous, Reflective, Awkward | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
18 - Misunderstood Intentions | Awkward, Tense, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
19 - Hidden Struggles | Tense, Awkward, Hollowed | 8.5 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 6 | 9 | 8 | 7 | 8 | 8 | 8 | |
20 - Contrasting Reflections | Humorous, Awkward, Reflective | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 6 | 5 | 7 | 4 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | |
21 - A Light-Hearted Reunion | Awkward, Hopeful, Humorous | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
22 - Coffee Shop Confessions | Humorous, Awkward, Tense | 7.5 | 7 | 7 | 8 | 8 | 4 | 8 | 6 | 5 | 5 | 3 | 5 | 6 | 6 | 9 | 9 | 8 | 8 | 8 | |
23 - Coffee Shop Confessions | Humorous, Awkward, Casual | 8.5 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 5 | 6 | 4 | 6 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
24 - Confronting Inadequacy | Tension, Anxiety, Regret | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
25 - Toasting to Facades | Warm, Sympathetic, Humorous | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | |
26 - Unspoken Truths | Confrontational, Reflective, Humorous | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
27 - A Disturbing Encounter | Tense, Cold, Disturbed | 8.5 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
28 - Deceptive Encounters | Desperate, Excited, Tense, Humorous | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
29 - Confronting the Past | Intense, Confrontational, Emotional | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 7.5 | 10 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8.5 | |
30 - Shattered Calm | Intense, Emotional, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
31 - Unspoken Tensions | Tense, Emotional, Awkward | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7.5 | 7 | 8 | 6 | 7 | 7 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
32 - Fractured Connections | Tense, Emotional, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
33 - Neon Confrontation | Tense, Confrontational, Intense, Defiant | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
34 - Isolation and Despair | Bleak, Cold, Weird | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 4 | 7 | 3 | 5 | 6 | 8 | 7 | 9 | 8 | 8 | 8 | |
35 - A Distressed Encounter | Tense, Unsettling, Foreboding | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
36 - Seeking Forgiveness | Tense, Confrontational, Revealing, Intense, Emotional | 9.2 | 9 | 9 | 9 | 10 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
37 - Power Dynamics | Tense, Emotional, Desperate | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
38 - Confronting the Past | Tense, Reflective, Regretful, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Missed Connections | Tense, Awkward, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | |
40 - Moving On and Rekindling Joy | Emotional, Reflective, Awkward, Playful | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
41 - Cozy Moments | Intimate, Reflective, Tender | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 5 | 2 | 6 | 6 | 9 | 8 | 9 | 9 | 9 | 9 | |
42 - Sweet Moments | Romantic, Light-hearted, Nostalgic | 8.5 | 8 | 8 | 4 | 9 | 6 | 8 | 6 | 2 | 4 | 3 | 7 | 3 | 9 | 8 | 7 | 7 | 8 | 8 | |
43 - Breaking the Ice | Awkward, Light-hearted, Warm | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 7 | 8 | 9 | 8 | 9 | 9 | |
44 - A Recipe for Connection | Emotional, Reflective, Awkward | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 5 | 6 | 6 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | 8 | |
45 - Confessions in Bed | Emotional, Intimate, Humorous | 9.2 | 9 | 9 | 8.5 | 10 | 8 | 8 | 7.5 | 6 | 8 | 5 | 7 | 8 | 10 | 9 | 9 | 8.5 | 8 | 8 | |
46 - A Moment of Reassurance | Tense, Emotional, Apologetic | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
47 - Confronting the Past | Shame, Regret, Confusion | 9.2 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 7 | 10 | 9 | 9 | 8 | 9 | 9 | |
48 - Shattered Illusions | Shocking, Emotional, Intense | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
49 - Urgent Whispers | Tense, Emotional, Serious | 8.5 | 9 | 8 | 7 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
50 - Confrontation in the Office | Heartbroken, Serious, Horror, Tense | 9.2 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 10 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
51 - A Weekend of Transformation | Tense, Serious, Emotional | 8.5 | 8 | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
52 - A Night of Revelry | Intense, Dark, Tense, Seductive | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
53 - Confrontation in the Shadows | Intense, Dark, Confrontational, Emotional | 9.5 | 9 | 10 | 9 | 10 | 9 | 9 | 8 | 10 | 9 | 10 | 10 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
54 - A Night Gone Wrong | Tense, Desperate, Grim, Dark, Anxious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
55 - Embers of Closure | Sad, Tense, Dark | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 6 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
56 - Desperate Pleas | Anxious, Concerned, Hopeful | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
57 - Unraveling Secrets | Tense, Serious, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
58 - A Wedding of Joy and Discontent | Tense, Emotional, Suspenseful | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
59 - Whispers of Disappearance | Troubled, Distraught, Panic, Activity | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
60 - Wedding Chaos: The Arrest | Tense, Dramatic, Emotional, Suspenseful | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 |
Scene 1 - Objectification at Sweet Sixteen
A super-depressing dancefloor on a Thursday night. 2-For-1
shots and a sticky floor. The kind of last-resort place
people end up after work having accidentally nailed ten “just
one” drinks.
A bored DJ plays the DROELOE remix of “Boys” by Charlie XCX,
while the thin and kind of tragic crowd dances.
We linger on the men dancing in particular, their bodies, the
sweat running down their backs as they grind and thrust. The
slow-mo, the lascivious pan-up, the sort of erotic gaze
normally reserved for oiled-up music-video hotties. Except
we’re looking at regular dudes in chinos with absolutely no
dancing ability.
INT. SWEET SIXTEEN’S UPSTAIRS BAR - NIGHT
By the bar, is a group of guys still in their work suits,
ties loosened. They’re mostly good-looking, in their early-
thirties, bantering and eyeing up the diminishing talent
pool. Among them are JEZ, a shy, sweet guy who is clearly
dying to leave, and PAUL, a sweaty Alpha-bro whose super-
fragile masculinity is always one rejection away from
shattering to pieces.
PAUL
Fuck her, man. It’s how things are
done. It’s just a fucking round of
golf! You’d think we were taking
clients to a strip club or
something-
JIM
-which we can’t anymore-
PAUL
-Exactly we can’t even do that
anymore because of last year’s
Christmas party.
JEZ
I think it’s because the golf club
doesn’t let women play there.
The guys stare at JEZ.
PAUL
So?
2
JEZ
So...it means we’re having client
meetings without her.
3
PAUL
Look she should focus on closing her
own shit. Not whining because we’re
all doing better than her.
Something catches PAUL’S eye.
PAUL (CONT'D)
Jesus.
The guys follow his gaze. Across the club, sprawled on a damp
leather sofa is CASSANDRA, late-20s. She is hammered, her
hair plastered to her face, mascara under her glazed eyes,
the skirt of her pinstriped work suit riding up.
PAUL (CONT'D)
Look at that. God almighty. Get some
dignity, sweetheart.
The guys all laugh, except JEZ.
PAUL (CONT'D)
You know. They put themselves in
danger, girls like that. If she’s
not careful someone’s going to take
advantage and then she’ll be the one
in tears tomorrow morning.
JIM
She’s kinda hot.
PAUL
She’s a hot fucking mess.
CASSANDRA moves on the sofa, we see her underwear.
PAUL (CONT'D)
I mean look at that.
PAUL sneers. They all look. We feel that slow, animal shift
in the group, from disgust to desire, to a heady sense of
opportunity.
JEZ
(trying to divert
attention)
Hey guys, I was thinking maybe we
should talk to Brian again. I think
he might be coming round to-
The guys aren’t listening. They are all mesmerized by
CASSANDRA and the possibility she represents.
4
PAUL
I’m sorry that is asking for it.
You’d think you’d know better by her
age, wouldn’t you? Where are her
friends? Fucked off somewhere and
left her lying around for anyone to
pick up.
JIM
Sounds like a challenge, Paul.
PAUL eyes her up, thinking.
PAUL
Yeah. Maybe.
JEZ intervenes.
JEZ
I’ll go over.
The guys whoop.
PAUL
Ooooooh!
JIM
Didn’t know you had it in you!
JEZ
To see if she’s ok.
PAUL
Sure, sure. Mmmm-hmmm. Absolutely.
PAUL winks.
Ratings
Scene 2 - Lost Connection
CASSANDRA is haphazardly looking through her purse. JEZ
approaches.
JEZ
You ok? What are you looking for?
CASSANDRA looks up woozily.
CASSANDRA
Phone.
JEZ sits down next to her. CASSANDRA continues to look.
5
CASSANDRA (CONT'D)
S’not here.
She starts to look around the couch, he helps.
JEZ
Could you have left in...in the
bathroom maybe?
CASSANDRA
I...maybe...
JEZ
I’ll go look.
CASSANDRA watches him go. So do his friends, who are watching
them both with great interest. CASSANDRA looks back at them
warily.
Ratings
Scene 3 - A Caring Gesture
JEZ returns. No phone.
JEZ
No phone in there. I’m sorry. Are
you going to be ok?
CASSANDRA
Oh yeah.
She gives him a thumbs up.
JEZ
How are you going to get home?
CASSANDRA
The ryde app.
JEZ
I think you need a phone for that.
CASSANDRA
...Oh...
JEZ looks nervously over at his friends. He makes a decision.
JEZ
Look, I’m going home now anyway. I
can drop you somewhere?
CASSANDRA
No...
6
JEZ
Honestly. It’s fine.
CASSANDRA looks up at him gratefully. He gives her his hands
and hoists her up.
JEZ (CONT'D)
There we are.
She falls onto him, leaning on him as they walk out. He looks
back at his friends who are all laughing and miming jerking
off and thrusting. JEZ rolls his eyes at them.
INT. SWEET SIXTEEN’S STAIRWELL - NIGHT
JEZ helps CASSANDRA down the stairs.
Ratings
Scene 4 - Late Night Decisions
The Pickup driver, MONTY, glances at CASSANDRA in the mirror.
The window is down and the wind is in her face, she’s
desperately trying to sober up.
MONTY
(suspicious)
I just got my car cleaned.
JEZ
She’s fine.
CASSANDRA
I’m not going to throw up...I don’t
think...
JEZ
There you are, sir, she’s not going
to throw up.
CASSANDRA gives herself a little ‘Whoo!’.
JEZ laughs. She looks over and smiles hazily. Is there...a
spark here? She is really pretty. And she seems cool, from
the five words she’s said...
JEZ (CONT'D)
Hey, you know, my apartment is only
a few blocks away. You
wanna...um...maybe have a drink
before hitting the hay?
CASSANDRA
Um...
7
JEZ
I mean, it’s literally just here.
One beer?
8
CASSANDRA
Um...
JEZ
(to the driver)
Hey, could we go to 242 Raleigh
Drive instead? It’s a couple of
blocks.
MONTY looks at JEZ, then over at CASSANDRA in the mirror. She
is obviously very drunk.
MONTY
Put the address in the app.
Ratings
Scene 5 - Misread Signals
A small, messy apartment, gaming cords tangled on the floor,
dishes stacked up. JEZ comes in and turns the lights on,
picking up a few things from the floor and throwing them on a
chair. We’ve seen this move in many a bro movie: this could
be the start of any dude-skewed romance.
JEZ
Sorry...it’s a mess. Embarrassing. I
wasn’t expecting...
CASSANDRA ignores this, and slumps down on the couch.
JEZ (CONT'D)
What can I get for ya, milady?
He rummages through the cupboards.
JEZ (CONT'D)
We have beer...vodka...and...
He takes out a disgusting looking bottle of orange liqueur.
JEZ (CONT'D)
And a kumquat liqueur my parents
brought back from Greece.
CASSANDRA
Kumquat...?
This is a question. Not a request.
JEZ
Kumquat it is!
He pours it. CASSANDRA looks around his apartment.
9
CASSANDRA
D’you...live alone here?
JEZ
No. But don’t worry. My roommate’s
out of town.
CASSANDRA looks a little concerned by this- JEZ doesn’t
notice.
JEZ sits down next to her and hands her the bright orange
drink. He’s poured her significantly more than he has
himself. CASSANDRA drinks it. She chokes on it a little.
CASSANDRA
Ugh. That’s disgusting.
JEZ looks at her, he gently wipes the mascara from under her
eyes.
JEZ
You’re so beautiful.
CASSANDRA
Thanks.
CASSANDRA isn’t seeing straight. JEZ leans in to kiss her.
She does not respond, but she does not push him away. The
kiss is entirely one-sided, but JEZ doesn’t notice.
He pulls away, looks down at her lovingly. Overwhelmed by the
moment.
JEZ
Wow.
CASSANDRA looks on the verge of vomiting.
CASSANDRA
I don’t feel good. I need to lie
down.
JEZ
Oh...yeah of course!
Ratings
Scene 6 - Awakening Confrontation
JEZ’s leads her to his bed and she falls down onto it. He
looks down on her. A beat. Then he gets on the bed beside
her. Trailing his fingers up and down her stomach. She closes
her eyes.
10
JEZ
Hey, hey. Don’t go to sleep.
She opens her eyes a crack. He starts to kiss her, up and
down her neck.
JEZ (CONT'D)
God, you are so pretty.
He kisses her. She doesn’t respond. He starts unbuttoning her
dress. He kisses her body gently.
CASSANDRA
What...
JEZ
Shhh...
He continues to unbutton her, pulling down her bra. CASSANDRA
starts to get a little concerned.
CASSANDRA
Wait...
JEZ
Don’t worry, hey, it’s ok, you’re
ok. You’re safe.
He really believes that she is.
CASSANDRA
What...
JEZ
God, your body.
CASSANDRA
What are you...
JEZ begins to gently pull her underwear down her legs.
CASSANDRA (CONT'D)
(confused, super drunk)
What are you doing?
Her underwear is around her knees, JEZ is staring between her
legs.
CASSANDRA (O.S.) (CONT'D)
Hey. HEY!
JEZ looks up. CASSANDRA is sitting, looking directly at him.
She is stone, cold sober.
11
CASSANDRA (CONT'D)
I said: what are you doing?
JEZ looks back at her, his hands still holding her underwear,
terrified.
CUT TO BLACK. “Lovesick” by Lindstrom and Christabelle brings
up the titles.
PROMISING YOUNG WOMAN.
Ratings
Scene 7 - The Morning After
The music continues on bare feet walking down a disgusting
sidewalk- unidentified puddles and cigarette butts. A spatter
of what looks like blood hits the paving stones. As we pull
out we reveal CASSANDRA, in last night’s clothes, high heels
in one hand, “blood” running down one elbow. It is only when
we see her fully we see she is eating a breakfast hotdog.
She looks completely remorseless, calm and, honestly, pretty
cool. Whatever the hell she’s done, it’s made her feel great.
She walks past the CONSTRUCTION WORKERS who are working the
street. Someone calls out “WALK OF SHAME”.
CASSANDRA stops. She stares over at the sniggering
construction guys. They’re suddenly a little embarrassed.
She just keeps staring silently for a long while. Until, a
little spooked, they move on.
She carries on walking. Satisfied.
INT. CASSANDRA’S HOUSE - KITCHEN - MORNING
Later that morning. Silence. An ordinary, middle-class
kitchen. Too-runny eggs and the hostile sound of squeaking
cutlery on the plates. CASSANDRA has cleaned up and is poking
food around her plate. It’s like last night never happened.
Her father, STANLEY, kind and rumpled, sits opposite her,
reading the paper. Her mother, SUSAN, a woman whose
exhaustion and anxiety is horribly palpable, brings over some
coffee.
STANLEY
Didn’t hear you come in last night.
CASSANDRA continues to eat her eggs.
12
STANLEY (CONT'D)
Everything alright?
13
CASSANDRA
I had to work late.
Neither of her parents are buying this, but neither can bring
themselves to call it out.
STANLEY
The coffee shop closes at nine.
Beat.
CASSANDRA
We had to do inventory.
SUSAN comes to sit down. There’s more tense silence as they
all eat.
SUSAN
You have to do a lot of inventory at
that place. You should speak to the
manager.
CASSANDRA
I will.
Ratings
Scene 8 - Stirring Discontent
CASSANDRA sits behind the cashier’s desk of a multi-colored,
hipster coffee shop. She stares at the wall.
Her boss, GAIL, 40s, wonderful, is cleaning the coffee
machine.
GAIL
You look tired, Cassie.
CASSANDRA
Aw. Thank you, Gail!
GAIL
Want a coffee? Head office sent over
this new blend from Zanzibar to try.
It’s disgusting but really strong.
CASSANDRA
Sold.
GAIL starts to make it for her.
GAIL
You know, I was actually talking to
Graham earlier. He says there’s a
position opening up over there.
(MORE)
14
GAIL (CONT'D)
And- don’t freak out- I want you to
know I recommended you for it.
A pretty hipster girl, RUBY, comes into the shop. She waits
patiently at the register, CASSANDRA makes no attempt to
serve her.
CASSANDRA
(to GAIL)
Why did you do that?
GAIL
Because you’ve worked here for three
years, this is a summer job for a
stoned teenager, it’s not a career
move. I’m pushing you out of the
nest, honey. You’re stinking up the
place with your sad little face.
RUBY tries to interject but fails.
CASSANDRA
But I like it here!
GAIL
No you don’t.
CASSANDRA
Well, no, I don’t. But I like you.
And I like...
She gestures to RUBY.
CASSANDRA (CONT'D)
Working in a customer-facing role.
RUBY
Great, could I have an oat milk,
single-shot latte-
CASSANDRA
No.
RUBY storms out.
CASSANDRA (CONT'D)
See?
GAIL
Cassie.
CASSANDRA
Don’t ‘Cassie’ me.
I’m fine, Gail. Really.
15
GAIL looks at her, concerned.
16
GAIL
Johnny said he saw you at Fallout
last week. Said you were completely
hammered. On your own. He was
worried. Look, it’s none of my
business but-
CASSANDRA
He must have seen someone else. I’ve
never been there.
GAIL doesn’t buy this for a second. She studies CASSIE. But
she lets it go.
GAIL
Ok.
CASSIE ignores her.
Ratings
Scene 9 - A Bitter Brew
Bored, CASSIE is cleaning a table at the back of the coffee
shop. Two OLDER GUYS are sitting at a table, talking,
colleagues having a coffee after work, nicely dressed- clean
shaven. Respectable.
A young teenage girl, GABBY, maybe 13 or 14, walks in and
starts looking at the pastries on the shelf. The OLDER GUYS
immediately notice, start looking over at her- she’s wearing
jean shorts. One of them, JEFF, seems particularly distracted
by her.
GABBY notices the GUYS looking at her, you can feel her
immediately shift from confidence to self-consciousness. She
tugs down her shorts, the GUYS surreptitiously watching her.
She tries to ignore them. They’re not obviously perving, but
their interest in (and awareness of) GABBY is uncomfortable.
CASSANDRA goes behind the register.
CASSANDRA
What can I get you?
GABBY
Um. A hot chocolate please.
CASSANDRA starts making it. The men are now openly staring at
GABBY, whispering.
JEFF
I’d never let my daughter go out
looking like that. Nothing to the
imagination.
17
But the way he’s looking at her is not that of a concerned
parent.
CASSANDRA glares at him. She leans forward and whispers to
GABBY.
CASSANDRA
Do you want me to freak those
fuckers out?
GABBY glances over at them.
18
GABBY
(low)
No, no! Please don’t! Please don’t
say anything. Please.
She is bright red with embarrassment. Almost in tears.
CASSANDRA
It’s alright. Don’t worry. Don’t
worry about those creeps. Fuck ‘em.
She passes GABBY her drink.
CASSANDRA (CONT'D)
On the house.
GABBY
(small)
Thanks.
GABBY makes her way to the door trying to keep as far from
the table as she can while the men watch, sniggering.
CASSANDRA comes over to wipe their table and- oops!- she
knocks a hot coffee into JEFF’s lap.
He leaps up.
JEFF
JESUS!
CASSANDRA
Would you look at that! Right in the
crotch!
GABBY turns and stifles a smile at CASSANDRA as she leaves.
CASSANDRA winks at her.
CASSANDRA (CONT'D)
Let me get you a fresh one, sir.
Hope I didn’t burn you.
He watches her go, furiously.
CUT TO:
INT. CASSANDRA'S HOUSE - BEDROOM - NIGHT
Later, in the middle of the night. We are under CASSANDRA’s
bed. The door opens, and she creeps in, we see just her bare
feet and bruised legs. She’s dressed not unlike the girl from
the cafe, rosy cheeks and hair clips.
19
She throws her shoes on the floor. She kneels down, reaches
under her bed and takes out a little book, with a pen tucked
into it, held together with a hair tie. She opens it up at
the back.
She has been counting something. There are rows and rows of
little tally marks. The odd line in a different colored ink:
whatever this is has been going on for a while. On the
opposite side: a row of men’s names.
She adds another line. And puts in the name: “JERRY”.
Ratings
Scene 10 - Awkward Encounters at Make Me Coffee
CASSANDRA is looking after the coffee shop, reading an old
copy of ‘Careful How You Go’ by Lily Ann Frith. She yawns.
The bell jingles and a customer comes in- she ignores it.
MAN (O.S.)
Can I get a cappuccino please?
CASSANDRA
Mmm hmm.
She looks up at her customer. He’s her age, sweet, nice-
looking. This is RYAN. She starts making his drink.
CASSANDRA (CONT'D)
You want chocolate?
RYAN is staring at her.
CASSANDRA (CONT'D)
What?
RYAN
Cassandra?
CASSANDRA stops what she’s doing.
CASSANDRA
(warily)
Yes?
RYAN
It’s Ryan Cooper. We were in the
same class together at Forrest!
Doctor Hadid’s class.
Beat.
CASSANDRA
Oh. Yeah. Ryan. Hi.
20
RYAN
(surprised)
God. What are you doing working
here?
CASSANDRA raises her eyebrows.
RYAN (CONT'D)
Wait. No. I’m so sorry. That was so
rude. I didn’t mean-
CASSANDRA
You didn’t mean what’s a promising
young woman like me doing working at
a shitty coffee shop?
RYAN
No, I didn’t mean...I just
thought...Oh man. There’s no way out
of this, is there?
CASSANDRA
Nu-uh.
RYAN
Can I go out and come back in again?
I can do better next time.
CASSANDRA
Did you want chocolate?
RYAN
What?
CASSANDRA
On your cappuccino?
RYAN
No.
(beat)
But you can spit in it if you want
to. I’d completely understand.
CASSANDRA looks him dead in the eyes and spits in it. She
hands it over. RYAN doesn’t know what to say except-
RYAN (CONT'D)
Do you want to go out sometime?
Beat.
CASSANDRA
What?
21
RYAN
On a date?
CASSANDRA
Seriously? I just spat in your
coffee.
RYAN looks her right back, and drinks it.
Ratings
Scene 11 - Rebel Glam: A Lipstick Defiance
CASSANDRA is putting on make-up in the mirror. She’s wearing
a tight slogan t-shirt, plaid shirt and tight jeans. Fake
lip-ring. The deadpan hipster dream girl. Her laptop is open,
and she is following a babbling make-up tutorial on youtube.
MAKE UP VLOGGER
OK so you just line your lips like
so. You always want your liner to be
darker than your gloss.
CASSANDRA lines her lips in porno pink.
MAKE UP VLOGGER (CONT'D)
Wonderful. Now add the gloss. I like
to use the cheaper glosses and save
the money for my highlighter and
base...
CASSANDRA puts on a pastel gloss.
MAKE UP VLOGGER (CONT'D)
And voila! The perfect Blow Job
Lips!
CASSANDRA looks at her reflection. She looks hot in a
highlighted, feather-eyed, Instagram way.
She takes her thumb to her lips and smudges the meticulously-
applied lipstick all round her mouth.
CUT TO:
OMITTED
Ratings
Scene 12 - Uncomfortable Encounters
CASSANDRA sits precariously on the couch of a small, hipster
apartment. The decorating style is Lit-Student-chic: a poster
of a french movie, paperbacks stacked everywhere.
22
A record by the record player: “Jeau Dangereux” by Clarice
Bisset. A guitar. A dream catcher.
A breathy girl is singing Enrique Iglesias’ “Hero” in Spanish
on LP. NEIL, a pretentious 30-something who absolutely
describes himself as a “renaissance man”, racks up lines on a
glass table. CASSANDRA watches him.
NEIL
Seriously, you need to read it.
‘Consider The Lobster’ is one of the
fucking greats, man. Cracked my head
open...like...like a lobster claw.
He is momentarily awed by his own perceptiveness.
He takes a snort of coke.
NEIL (CONT'D)
You know I’m writing a novel. Well,
uh, kinda. I’m a perfectionist, you
know, it’s just taking forever. I
keep going over and over and over
it. Picking at it like a scab. It’s
about, I guess, what it is to be a
guy right now? Like, how to be a guy
in this world? Kinda a fucked-up,
dirty, low-life, love story. It’s
all set in New York over the course
of one night and it’s all, like,
interwoven first person strands
which...
CASSANDRA stares at him, glassy eyed.
NEIL (CONT'D)
You know what. I shouldn’t talk
about it. Don’t want to jinx it!
(beat)
You do coke, right?
CASSANDRA
Not really...
NEIL
Oh come on!
CASSANDRA
I got work in the morning...
NEIL
Eh. So do I.
23
He scrapes the coke onto a record and brings it over to her,
he gently sicks the note in her nostril. She looks at him,
unsure. Then after a moment, snorts a line messily.
NEIL (CONT'D)
Hey! You missed most of it, silly!
He licks his finger, getting the bits she missed and rubs it
in her gums. CASSANDRA stares at him as he does this. We have
the feeling she might bite his finger off. NEIL doesn’t
notice.
NEIL (CONT'D)
Yum. There you are.
He moves her hair from her face and looks at her.
NEIL (CONT'D)
You’re so, so pretty. Why are you
wearing all that make up? Do you
mind me asking that?
(not waiting for a
response)
I never understood why girls wear so
much make up. You all look way more
beautiful without it, you know? I
just feel like women feel so much
pressure to look a certain way now.
All the extensions and fake
eyelashes and porno nails. It’s
like, guys don’t even like it, you
know? It’s just a soul-sucking
system designed to oppress women.
(another line of coke)
I wanna see you. The real you. All
your freckles and imperfections.
He kisses her nose. She doesn’t respond. But we can see she
is a whisper from tearing his face off. Finally-
CASSANDRA
I don’t feel good. Could you get me
a glass of water?
He looks at her for a sec.
NEIL
(frustrated)
Sure.
24
Ratings
Scene 13 - Confrontation of Boundaries
A few minutes later and NEIL is bringing back a glass of
water. CASSANDRA is passed out face down on the couch.
He looks at her, sleeping. He’s kind of annoyed. Then-
He nudges her.
NEIL
(gentle)
Hey.
She stirs.
NEIL (CONT'D)
(louder)
Hey!
She wakes.
NEIL (CONT'D)
(quiet again, sappy)
There you are! Hi. You fell asleep.
He gives her the water, she drinks it.
NEIL (CONT'D)
Good girl.
He takes the glass from her hand. Strokes her back.
NEIL (CONT'D)
Feel better?
CASSANDRA
No.
NEIL
You know, I nearly didn’t come out
tonight. I’m so glad I did. I feel
such a connection to you.
CASSANDRA
Could you call me a cab?
NEIL
You just got here!
CASSANDRA
I should go.
25
NEIL
Don’t go...come on...we’re having
fun, aren’t we?
He kisses her gently.
CASSANDRA
I...
NEIL
We can play hooky tomorrow, stay in
bed all day. I’ll make you
breakfast... Eggs Benedict. I make
my own...
(French pronunciation)
...hollandaise.
He kisses her neck. She is rigid. He ignores it.
NEIL (CONT'D)
You are so amazing.
His hand moves up her leg.
CASSANDRA
I need to go...
NEIL
(kissing)
You don’t wanna go home. C’mon.
His hand is up her skirt.
She drops the act.
CASSANDRA
Hey. Neil.
He ignores her. She grabs his face and stares into his eyes.
CASSANDRA (CONT'D)
I said: I need to go home.
NEIL stares at her for a second and then jumps away from her.
NEIL
Holy shit!
He’s practically on the other side of the room.
CASSANDRA
What?
26
NEIL
Woah. What...what is this? Are you
some kind of psycho or something?
CASSANDRA
Why d’you say that?
NEIL
I thought you were...
CASSANDRA
Drunk?
NEIL
Yeah!
CASSANDRA
Really drunk?
He falters a little here.
NEIL
I guess...yeah.
CASSANDRA
Well, I’m not. But that’s good,
isn’t it?
NEIL is starting to panic.
NEIL
You should leave.
CASSANDRA
Oh now you want me to leave?
NEIL
No I...Look I’m really high. Like.
Really high. I don’t know what I’m
doing. You should go.
She walks towards him. He backs away from her.
CASSANDRA
I mean, a second ago you were
determined for me to stay. Pretty
insistent actually.
NEIL
(begging)
I’m a nice guy-
CASSANDRA
Are you?
27
BEAT.
28
NEIL
I thought we had a connection, I
guess.
CASSANDRA
A connection? OK. What do I do for a
living?
No response.
CASSANDRA (CONT'D)
Sorry. Maybe that one’s too hard.
How old am I? How long have I lived
in the city? What are my hobbies?
(beat)
What’s my name?
NEIL cannot answer.
CASSANDRA (CONT'D)
You’re right! This connection is
electric!
(beat)
Of course, I know all about you.
Your mom, your sister, your job at a
digital marketing agency which it
sounds like you completely suck at,
by the way, and, oh yeah...
(she stifles a smile)
Your novel. Good luck with that,
sounds like a winner. About a guy.
And set in New York? Woah.
NEIL
ALRIGHT. Alright. Fuck. I take your
point. What do you want from me? To
say I’m an asshole? Fine, I’m an
asshole.
CASSANDRA
Why are you so freaked out, Neil?
Wow. You really need to calm down.
She keeps coming closer. He’s scared.
CASSANDRA (CONT'D)
At least you didn’t try to have sex
with me while I was passed out. You
do get points for that. I want you
to be proud of yourself. A few
guys...eh they don’t mind so much.
But you, you woke me up before
putting your fingers inside me. That
was sweet.
29
NEIL
What are you saying, that I’m some
kind of...predator?
CASSANDRA
I don’t know. Are you?
BEAT.
NEIL
(small)
I’m a nice guy.
CASSANDRA
(kind)
You keep saying that. And there are
plenty of nice guys just like you.
You’re not as rare as you’d think.
You know how I know?
NEIL
No.
CASSANDRA
Because every week I go to a club.
And every week I act like I’m too
drunk to stand. And Every. Fucking.
Week. A nice guy just like you comes
over to see if I’m ok.
NEIL is silent.
CASSANDRA (CONT'D)
You wanna fuck me still?
NEIL
(lip wobbling)
No thank you.
CASSANDRA
Huh. No one ever does.
She opens his front door. Then-
CASSANDRA (CONT'D)
This music is terrible. Only a drunk
person would have sex to this music.
She leaves. NEIL leans against the wall, shaking. His Spanish
LP playing softly in the background.
30
Ratings
Scene 14 - A Birthday Unremembered
CASSANDRA adds a little line to her book. Writes the name
“Neil”. She sighs. All those names. She looks over at a
picture on her bedside table. Two young girls hugging each
other. She smiles.
CASSANDRA
Night, Nina.
She turns out the light.
INT. CASSANDRA'S HOUSE - KITCHEN - MORNING
CASSANDRA arrives at breakfast. STANLEY is reading the paper
silently, SUSAN is eating neatly. There’s a large, neatly
wrapped present in CASSANDRA’S place. She looks at her
father: nothing.
CASSANDRA
What’s this?
Silence.
CASSANDRA (CONT'D)
Mom, what’s this?
SUSAN
What do you mean?
CASSANDRA
This gift!
Beat.
SUSAN
It’s your birthday, Cassie.
CASSANDRA had completely forgotten.
CASSANDRA
Oh... yeah.
There is a tense silence. SUSAN is suddenly on the verge of
tears.
STANLEY
(gentle, to SUSAN)
Hey...
SUSAN
What kind of person forgets their
30th birthday?
31
STANLEY
Sweetheart-
32
SUSAN
Don’t, Stanley.
CASSANDRA
It was a mistake, Mom. You know I’m
terrible with dates. It’s not a big
deal.
SUSAN
Not a big deal? Not a big deal. You
just forgot your birthday! Not a big
deal. Ok! You don’t want to have a
party? Don’t want to see your
friends?
CASSANDRA
(dry)
You know I don’t have any friends,
Mom.
SUSAN
Don’t joke about it! You know how
strange that is? You still living at
home, working in that stupid coffee
shop? Out all hours of the night
doing god only knows what. No
boyfriend. No friends.
CASSANDRA
Mom! You should have saved all this
for my birthday card!
STANLEY
Let the kid celebrate how she wants
to-
SUSAN
Celebrate! Is this a celebration?
(beat)
My friends all ask about you and I
don’t know what to tell them. All
their children are getting married,
having kids. I don’t know what
happened...
A tense silence. They all know what happened.
STANLEY
Why don’t you open your gift, honey?
CASSANDRA calmly opens her present. It is a large, beautiful
suitcase.
33
Ratings
Scene 15 - Unpacking Choices
CASSANDRA and GAIL are unpacking boxes.
GAIL
Woah.
CASSANDRA
Yeah.
GAIL
That’s direct.
CASSANDRA
A reeeal kick in the cunt.
GAIL
Is it a nice suitcase, at least?
CASSANDRA
Oh yeah it’s definitely the fanciest
“get the fuck out of our house”
metaphor I’ve received so far.
Beat.
GAIL
Then why don’t you?
CASSANDRA
What?
GAIL
Get out of their house? Just...I
don’t know...go on Zillow, or Single
White Female some girl, or get a
basement room in a weird guy’s
house. Anything!
CASSANDRA
I can’t afford it, Gail. Not on what
you pay me. Not even a weird guy’s
basement.
GAIL
So take this other job then. Take
any job.
CASSANDRA
Are you firing me?
GAIL
Maybe I should.
34
Beat.
35
CASSANDRA
Look. You’re making the assumption
that I want any of it. If I wanted a
boyfriend and a yoga class and a
house and kids and a job my mom
could brag about I’d have done it.
You don’t think I could walk into
any bar in this city wearing an
adorable floral dress and get all
that for myself? It would take me
ten minutes. I don’t want it.
GAIL
But you must want something?
Beat.
Suddenly, the door opens. RYAN walks into the coffee shop.
CASSANDRA
Oh. You. Hi.
RYAN
Hey. Cappuccino please. Hold the
spit.
GAIL watches, intrigued.
RYAN (CONT'D)
So I just wanted to come in because
I think you gave me a fake number
the other day.
Beat.
CASSANDRA
That doesn’t sound like me.
RYAN
Which meant that I spent hours
composing a witty, romantic text and
sent it to a oil rig worker called
Red.
CASSANDRA
Was he into it?
RYAN
Surprisingly into it. But we
couldn’t make it work because of,
y’know, the oil rig so...I thought
I’d try you again.
36
GAIL
Oh! Did I just hear the phone ring
in the back?
CASSANDRA
No.
GAIL
Yup. I’m sure I did.
GAIL goes out back.
CASSANDRA
She has to take a few imaginary
calls a day.
RYAN
Look, I don’t want to bother you so
if you’re not into this then I
totally get it.
CASSANDRA
I’m not really looking to date
anyone at the moment.
RYAN
Ok. Fair enough.
(then-)
Can I tempt you into a friendship
with a man who is secretly pining
after you?
CASSANDRA laughs.
RYAN (CONT'D)
Dating is horrible. Everyone is
horrible. I went to dinner with a
woman last month who wanted to
euthanize the homeless.
CASSANDRA
You went on a date with my mom?
RYAN
I like you. I can’t stop thinking
about you spitting in my coffee.
Have lunch with me this weekend.
Please. If you hate it we can have a
safe word and you can leave, no
questions asked.
CASSANDRA considers it.
37
Ratings
Scene 16 - Sneaking Out
CASSANDRA is wearing a pretty, slightly-too-short floral
dress. She creeps across the hallway, trying to avoid her
parents who are watching tv in the tv room.
SUSAN (O.S.)
You’re dressed up.
Busted.
SUSAN (CONT'D)
Where are you going?
CASSANDRA
I’m going out for lunch.
Her parents look at her, surprised.
SUSAN
With who?
CASSANDRA
A friend.
STANLEY
You look very pretty.
CASSANDRA is a little shy suddenly.
CASSANDRA
Thanks, dad.
She leaves. Her parents look at one another. They can barely
dare to hope.
Ratings
Scene 17 - A Date with Disturbing Humor
CASSANDRA and RYAN are mid-date and it’s going well.
CASSANDRA
How did she get a skeleton’s hand up
there?
RYAN
She stole it from a teaching model.
And here’s the worst part, she
looked at me right in the eyes, took
it out ...and waved it at me.
CASSANDRA pushes her food away.
38
CASSANDRA
And I am done.
RYAN
And I am wondering why I started
telling that story...
39
CASSANDRA
Hey, there is nothing more romantic
than a disturbed woman pulling a
skeleton’s hand out of her vagina.
RYAN
That’s true.
CASSANDRA
People never pull anything out of
anywhere where I work.
RYAN
So, yeah, you didn’t want to...
CASSANDRA
What?
RYAN
Carry on with med school?
CASSANDRA goes back to her food.
CASSANDRA
Nah.
RYAN
Why not?
CASSANDRA
I wanted to do something else.
RYAN
Really? What?
CASSANDRA
I don’t know.
RYAN
You were so good though. You knew
everything.
CASSANDRA
I didn’t know everything.
RYAN
You did! You were brilliant! I was
terrible. Remember when I
accidentally removed the wrong
kidney from my cadaver?
40
CASSANDRA
(proud)
And look at you now. Operating on
children.
RYAN laughs.
RYAN
Yeah. I got better. But you, you
were always way ahead of everybody.
You’d have been a fantastic doctor.
CASSANDRA
Just. Didn’t want it anymore, I
guess.
CASSANDRA shrugs. RYAN senses he’s crossed a line.
RYAN
Hey, you want coffee? Movie starts
in half an hour. I can tell you
about the guy who got his dick
trapped in a tambourine.
Ratings
Scene 18 - Misunderstood Intentions
RYAN and CASSANDRA are walking down the street. There’s a
somewhat awkward, expectant silence.
RYAN
You think we look like father and
daughter from behind?
CASSANDRA laughs.
RYAN (CONT'D)
I always worry about that.
Bystanders screaming when I lean in
to kiss someone. “Get your hands of
that child...oh...sorry sir.”
CASSANDRA
I mean, don’t be so tall would be my
argument. It’s kind of...flashy.
RYAN
Yeah?
CASSANDRA
Showing off.
He laughs.
41
RYAN
Oh. This is a weird coincidence.
CASSANDRA
What?
RYAN
I think this is...yep! Huh. This is
my apartment.
CASSANDRA immediately cools. The wall goes right up.
CASSANDRA
That is weird. What a weird, weird
coincidence.
RYAN
I mean...since we’re already here.
You wanna come up for a drink? I
could clumsily try to seduce you?
CASSANDRA
(coldly)
Sure. Why not.
42
RYAN
Oh. It’s too soon, I’m sorry. I
shouldn’t have-
CASSANDRA
Nope. Let’s go upstairs.
RYAN
I don’t want you to come up unless
you want to. I’m not... look, I
misread what was happening, I’m
sorry. Let me drive you home.
They start walking in silence, CASSANDRA is kicking herself.
She stops.
CASSANDRA
You know what. You’re at your place.
I can get a cab.
RYAN
Are you sure? But-
CASSANDRA
I’m sure.
RYAN
I feel like I fucked this up. I’m
sorry. What can I-
CASSANDRA
You didn’t. It’s not you.
CASSANDRA walks off. RYAN watches, confused. He lets himself
in.
Further down the street, CASSANDRA is almost in tears of
frustration, she kicks over a garbage can, tipping its
contents over the street.
Ratings
Scene 19 - Hidden Struggles
Breakfast. Everyone in their spot. CASSANDRA looks hollowed
out.
STANLEY
Did you and your friend have a nice
time?
Beat.
CASSANDRA
Mmm hmm.
43
STANLEY
You came in pretty late!
CASSANDRA
Yep.
SUSAN
You two go dancing?
BEAT.
CASSANDRA
Yep.
SUSAN and STANLEY exchange excited glances. CASSANDRA pulls
her sweater sleeve over a nightclub stamp on her hand, and on
her wrist, a significant bruise.
Ratings
Scene 20 - Contrasting Reflections
CASSANDRA is staring into space, worrying she’s made a
mistake with RYAN. A gorgeous COUPLE sit in the corner. They
are laughing hysterically.
GAIL
Ew. Look at them. Take your
happiness elsewhere please.
CASSANDRA looks over at them.
CASSANDRA
You and Richard must have been like
that at some point.
GAIL thinks.
GAIL
He did make me laugh. Lucky for him
I find farting hilarious otherwise
we’d have been over after the first
date.
CASSANDRA
He farted on the first date?
GAIL
I made him laugh so hard he farted.
CASSANDRA
Fuck.
(beat)
That is so romantic.
44
Ratings
Scene 21 - A Light-Hearted Reunion
A red balloon floats in the corner of a ceiling.
We reveal CASSANDRA looking up at it. She’s sitting in a
hospital waiting room with a few patients.
RYAN (O.S.)
Cassie!
She looks up, RYAN is walking over to her.
RYAN (CONT'D)
What are you doing here?
She stands.
CASSANDRA
I just came to pick up my herpes
medication.
RYAN
You have herpes too. That saves us
an awkward conversation later.
The MOTHER of a tragic-looking CHILD PATIENT looks over
disapprovingly.
CASSANDRA
So. I came here to see you.
Obviously.
(deep breath)
I’m not good at this stuff. I’m
trying.
RYAN
If you’re not interested-
CASSANDRA
No it’s not that.
RYAN
You sure?
She nods.
CASSANDRA
(huge effort)
So, I’d like to see you again...if
that’s cool. But we’ll need to take
it slow. I understand if-
RYAN
Of course that’s cool.
45
CASSANDRA
Thank you.
RYAN
What are you doing now? You wanna go
somewhere? Get dinner?
46
CASSANDRA
Aren’t you working?
RYAN
Eh, it’s only a kid with leukemia.
He can wait.
(beat)
I’m kidding. My shift has finished.
Let me just get my stuff.
CASSANDRA is watching him, she can barely stop smiling.
Ratings
Scene 22 - Coffee Shop Confessions
GAIL and CASSANDRA are cleaning the shop listening to the
radio. CASSANDRA starts humming along. GAIL stares at her.
GAIL
Oh my god.
CASSANDRA
What?
GAIL
Are you seeing that guy?
CASSANDRA
No!
Beat.
GAIL
Good for you.
CASSANDRA feigns outrage, but is delighted.
Ratings
Scene 23 - Coffee Shop Confessions
RYAN is waiting at a table a little awkwardly as GAIL
scrutinizes him.
CASSANDRA locks up.
GAIL
You ever kill someone?
RYAN
What?
GAIL
You know, operating on them.
47
RYAN
No!
GAIL
Really?
RYAN
I mean...patients have died during
surgery, of course-
GAIL
So that’s a yes.
CASSANDRA
Gail! Stop asking Ryan if he’s
killed anyone!
GAIL nonchalantly removes the remaining coffee cups from the
table as Cassie comes over to sit with Ryan.
GAIL
I’ll stop asking him when he stops
killing people.
RYAN
That does seem fair.
GAIL
Ok. I’m leaving you lovebirds to it.
Can you lock up, honey?
CASSANDRA
Course.
GAIL puts the cups on the counter.
GAIL
If you have sex on the counter, the
bleach is in the back room. I don’t
want to find ass prints in the
coffee grinds tomorrow morning.
(bright)
Night!
She leaves the coffee shop. RYAN and CASSIE sit awkwardly.
RYAN
She seems nice!
CASSIE laughs.
CASSANDRA
She is. She’s a good friend.
48
RYAN
Are you friends with anyone from
Forrest still?
Beat.
CASSANDRA
No.
RYAN
Really? No one?
CASSANDRA
Really. No one.
RYAN
I can’t seem to shake them off.
CASSANDRA
(ew)
You still hang out with those guys?
RYAN
They’re not that bad! You know
Madison McPhee just had twins?
Beat.
CASSANDRA
I don’t remember Madison.
RYAN
I thought you were close?
CASSANDRA
Nope.
RYAN
Huh. Oh yeah, oh my god, Al Monroe
is marrying some kind of model. She
was in a some MTV rich girl show.
Small part- but still! Classic Al.
Landing on his feet.
CASSANDRA tries to keep calm.
CASSANDRA
Al Monroe?
RYAN
You must remember him-
CASSANDRA
I thought he moved to London.
49
RYAN
He moved back here a couple of
months ago.
Beat.
CASSANDRA
Do you see him a lot?
RYAN
We’re not close anymore but... he’s
in the group. And we cross paths
because of work. He’s an
anesthesiologist now.
CASSANDRA
(deadpan)
Good for him. And he’s getting
married?
RYAN
I know. God help her!
RYAN laughs. CASSANDRA tries to cover her shock.
Ratings
Scene 24 - Confronting Inadequacy
CASSANDRA is in her bedroom trying to avoid looking at the
laptop on her desk. She’s trying to stay calm, but we can
feel the tension building.
To stop herself, she reaches for the book under the bed, and
looks at the tally marks. She counts them like a mantra under
her breath.
CASSANDRA
One two three four five six seven
eight nine...
It’s not working. She finally goes to the computer and opens
it. Dreading what she’ll see.
Shaking, she types in Al Monroe’s name into the search bar. A
few options come up, she scrolls through them until- there he
is.
She clicks.
Beautiful home, beautiful fiancee, beautiful car, beautiful
holidays: a beautiful life.
50
She scrolls through his photos compulsively, and finds one of
him and his gorgeous fiancee, her showing off her engagement
ring. CASSANDRA reads the blurb Al has written underneath it:
“SO HUMBLED TO BE MARRYING MY BEST FRIEND, AND THE LOVE OF MY
LIFE. DOESN’T HURT THAT SHE’S A BIKINI MODEL EITHER
LOLOLOL!!!!”
She scrolls down to the comments beneath the photo. “WAY TO
GO BRO!!!”, “OMG YOU GUYS!!”.
She stops at one comment:
“I cannot believe my two favorite people in the worrrrld are
getting hitched!!!”
CASSANDRA clicks on the girl who wrote it, MADISON MCPHEE.
She’s CASSANDRA’s age. Very pretty, married with two adorable
twins. Like AL, she is living a middle class dream life.
She shouldn’t have looked.
INT. CASSANDRA'S HOUSE - BEDROOM - NIGHT
Later CASSANDRA lies in bed, wide awake. She sits up. Gets
her notebook out.
She opens her computer, goes back to AL’s page.
She turns to a fresh page in her book, and starts to write.
An idea is forming.
She combs Facebook, looking at photos, writing things down,
taking notes. And then she clicks on an event-
“AL MONROE’S LAST WEEKEND AS A FREE MAN”
It’s AL’s bachelor party.
“LOCATION TBC BITCHEEEEES”
Thinking. She writes something down.
Then she goes back to MADISON MCPHEE’s page.
And clicks the “Send Private Message” button. She smiles.
Ratings
Scene 25 - Toasting to Facades
CASSANDRA sits in a upmarket hotel restaurant. She is dressed
for success, her hair has been blown out.
51
A waiter, ALFRED, brings over a champagne bottle and a ginger
ale.
ALFRED
Welcome to the Hotel St Joan, miss.
CASSANDRA
Thank you.
ALFRED
One ginger ale, and one bottle of
champagne.
He begins to pour the champagne.
CASSANDRA
Don’t worry. I can do that.
ALFRED
But-
CASSANDRA
Thank you.
ALFRED leaves. CASSANDRA pours champagne into the glass
opposite hers, and fills her own champagne glass with the
ginger ale: it looks exactly like champagne. She puts the
ginger ale bottle discreetly under her chair.
MADISON (O.S.)
Cassie?
CASSANDRA looks up. There is MADISON. She’s gorgeous- wearing
tasteful but obviously very expensive clothes. On the surface
MADISON is all warmth and sunshine, but is one of those
people who has a way of making every compliment sound like a
burn.
CASSANDRA
Madison. Hi.
MADISON
Oh my gooooooood! You look amazing!
I almost didn’t recognize you!
They hug, and sit back down.
CASSANDRA
Thank you.
(beat)
You look exactly the same.
52
MADISON
You’re sweet! I look so OLD. That’s
what having twins will do to you.
Tragic. Do you have kids?
CASSANDRA
No.
MADISON gives a sympathetic pout.
MADISON
You’ll get there!
She sees the champagne.
MADISON (CONT'D)
Champagne? What are we drinking to?
CASSANDRA
To old friends.
They clink.
Ratings
Scene 26 - Unspoken Truths
The room is thinning out. ALFRED supervises as BUSBOY clears
the table after what has obviously been a long lunch. MADISON
is pretty drunk and gabbling.
MADISON
I thought I’d be literally bored out
of my skull looking after the kids.
But it’s great actually!
CASSIE pours the last dregs of a bottle of red into MADISON’S
glass. CASSIE’s own glass is still full- MADISON hasn’t
noticed.
MADISON (CONT'D)
Oh! Out already?
(to ALFRED)
Can we get another one?
A flicker of disapproval from ALFRED as he takes away the
empty bottle.
MADISON (CONT'D)
I haven’t been day drunk in forever!
So fun!
CASSANDRA
So fun!
53
MADISON continues.
MADISON
TBH, I know guys always say they
want their wives to work, but it’s
not true.
CASSANDRA
Really?
MADISON
They all want a feminist in college
because it’s cool to have a
girlfriend who cares about
something. And feminists are
statistically more likely do anal-
that’s a literal fact by the way-
but when it comes down to it, all
guys want the same thing.
54
CASSANDRA
And what’s that?
MADISON
A good girl.
CASSANDRA
I don’t seem to remember you were
that much of a good girl at college!
A new bottle is set down in front of them. MADISON fills up
her glass as she talks.
MADISON
Fred didn’t know me at college. He
met me when I was working at
L'Oréal.
CASSANDRA
Poor Fred!
MADISON
What he doesn’t know won’t kill him,
right? But d’you know the really
gross part?
She leans in.
MADISON (CONT'D)
I love it. I thought I’d miss my job
but...I really don’t. I love being a
housewife. It’s a turn-on actually.
MADISON looks at her glass. She is getting super drunk.
MADISON (CONT'D)
Jeez. How much have I had of this?
Such a lightweight.
CASSANDRA
I’m glad everything’s worked out so
well for you, Madison.
MADISON
Thanks. It really has.
CASSANDRA
Yeah.
BEAT.
55
CASSANDRA (CONT'D)
You know. I actually wanted to meet
today, to talk about something in
particular.
56
MADISON
I did wonder. No one has heard from
you in, like, forever.
CASSANDRA
I wanted to talk to you about why I
dropped out.
MADISON takes nervous a swallow of her drink.
MADISON
Ok. Sure.
CASSANDRA
You remember what happened, right?
MADISON
It was such a long time ago now...
CASSANDRA
I know. But you remember?
MADISON is uncomfortable.
MADISON
I mean...vaguely.
CASSANDRA
Do you ever think about it?
Beat.
MADISON
Why would I?
CASSANDRA
Right. Why would you.
MADISON is already starting to shift in her chair, she’s
slightly too drunk to handle what’s about to happen.
CASSANDRA (CONT'D)
If a friend came to you now,
tomorrow, let’s say, if they turned
up at your house tomorrow morning,
and told you that they thought
something had happened to them the
night before, something bad-
MADISON
Cassie-
CASSANDRA
-something bad. What would you say?
57
MADISON
It was years ago...
CASSANDRA
What would you say?
MADISON
It’s complicated...Ugh. I feel a
little...weird. I’m sorry.
MADISON is getting drunker and drunker by the minute.
CASSANDRA
Would you roll your eyes behind her
back and dismiss the whole thing as
drama?
MADISON
I don’t know why you’re mad at me!
It wasn’t just me who didn’t believe
it! When you have a reputation for
sleeping around then maybe people
won’t believe you when you say
something’s happened! I mean...it’s
crying wolf.
CASSANDRA
You thought it was crying wolf?
MADISON
I don’t make the rules, ok? If you
get that drunk things happen! Don’t
get blackout hammered every night
and then expect people to be on your
side when you have sex with someone
you didn’t want to!
She shouts this a little louder than she meant to, a few
diners turn to look. She’s sloppy drunk. CASSANDRA studies
her for a while, then-
CASSANDRA
That’s a shame. I was hoping you’d
feel differently.
MADISON shrugs.
MADISON
Sorry.
CASSANDRA
For your sake. I really was hoping
you’d feel differently by now.
58
MADISON
You’re mad. I... Why don’t I get the
check? My treat.
MADISON tries to get her purse, she’s so drunk, she’s having
trouble.
CASSANDRA
You ok, Madison?
MADISON
Yeah...no. I’ve drunk too much. How
did I...my head is spinning.
MADISON knocks over her glass.
MADISON (CONT'D)
Oh my god. Shit.
CASSANDRA gets up, throws some cash down on the table.
CASSANDRA
Nice seeing you again.
She looks down at MADISON, who is struggling to see straight.
CASSANDRA (CONT'D)
You really haven’t changed at all.
She leaves.
Ratings
Scene 27 - A Disturbing Encounter
CASSANDRA walks up to TONY, a well-dressed, handsome young
man who has been sitting at the bar. She gets an envelope out
of her purse, and a room key.
TONY
So...?
CASSANDRA
She’s over there.
She points to MADISON, and hands him the envelope and key.
CASSANDRA (CONT'D)
Room 25.
TONY
You sure about this?
59
CASSANDRA
(ice cold)
I’m sure.
60
She leaves the hotel. TONY, disturbed, watches her go.
Ratings
Scene 28 - Deceptive Encounters
On CASSIE’S phone vibrating. It’s MADISON. It rings off, and
reveals: 13 MISSED CALLS. CASSANDRA looks down at the phone
impassively. A few seconds as she thinks what to do. Then-
She picks up her phone, and dials. Voicemail.
MADISON (O.S.)
Cassie...hi...wonderful to see you
for lunch yesterday...blast from the
past! Uh...hey I was pretty drunk, I
can’t...really
....look did you see me talking to a
guy? Like...our age...Just trying to
piece some things together...
CASSANDRA skips to the next message.
MADISON (O.S.) (CONT'D)
Cassie, sorry, please call me
back...I freaking out a
little...just...will you call me..?
I woke up in one of the hotel rooms
...I think something might have
happened...
CASSANDRA hangs up, emotionless. She gets her book from out
of her bag.
CASSANDRA opens it: she crosses out a name: MADISON. On rest
of the page we glimpse a few notes: “Hotel St Joan” a phone
number, another name “Tony”, another number.
She looks at the next name on the list: WALKER.
I/E. CAR - SANTA LUCIA HIGH SCHOOL - DAY
CASSIE sits inside her car, listening to sugary pop music.
It’s a mess- full of papers and a huge, professional-looking
make-up bag. Her book is there too, among the debris. She
looks different, hair in a pony tail, pink cardigan: pretty,
young and un-threatening.
She’s parked outside a high school, watching teenaged girls
as they leave at the end of the day, giggling and talking.
61
A girl walks out with her Queen Bee friends. She’s super-
beautiful, long shiny hair, she looks older than her fifteen
years. This is AMBER. Her phone beeps and she stops to look
at it- her friends leave.
AMBER
See you tomorrow, bitches.
She’s alone. CASSANDRA leans over and gets her attention.
62
CASSANDRA
Excuse me? Hi! Sorry! Excuse me!
AMBER looks over.
AMBER
Me?
CASSANDRA
Yeah!
AMBER
What’s up?
CASSANDRA
I’m so sorry to bother you- my phone
has died and I’m really late for
work. Do you live round here? You
know the area?
AMBER
(impatient)
I guess.
CASSANDRA
Can you tell me how to get to the
Castle Diner?
AMBER
Sorry. I’m late, so...
AMBER begins to walk off.
CASSANDRA
Wait! Please, I’m supposed to be
shooting this music video and I’ve
got to get-
AMBER
Music video?
CASSANDRA
Yeah. I’m a make-up artist and it’s
my first time working with these
guys and if I’m late I may as well-
AMBER looks into the car. She sees CASSANDRA’s papers, they
are covered in headshots and info on “WetDreams”, a One
Direction-style boyband.
AMBER
Oh my god.
CASSANDRA hastily covers the papers.
63
AMBER (CONT'D)
OH MY GOD. Are you working for
WetDreams?? OH MY GOD!!!!
CASSANDRA
You didn’t see that.
AMBER
I know where the Castle Diner is!
CASSANDRA
Don’t worry about it! I’ll ask
someone else!
AMBER
No way! NO WAY! Are they there? Oh
my god. ARE THEY THERE?
CASSANDRA
Look, keep your voice down, please.
AMBER
I can direct you! Please, please,
please!
CASSANDRA
Sorry, no-
AMBER
(smug)
If I don’t come and direct you then
how will you find it?
CASSANDRA thinks, she’s desperate.
CASSANDRA
I can’t. If you tell anyone or post
this online I’ll never work again.
AMBER
I swear I won’t. I swear. Take my
phone!! Seriously.
She holds out her phone. CASSANDRA relents.
CASSANDRA
Oh god. OK get in. But you have to
be cool about this.
AMBER
OF COURSE I WILL!!!
AMBER gets in. She hands over her phone to CASSIE- it’s got a
sparkly “WetDreams” phone case.
64
CASSANDRA
Woah. You really are a fan.
AMBER
I’m ob-sessed. I have a whole Insta
dedicated to George’s dog.
CASSANDRA
What a crazy coincidence.
AMBER
You know what. This is fate.
CASSANDRA
Sure seems like it, doesn’t it?
CASSANDRA pockets AMBER’S phone and starts the engine. AMBER
looks out of her window, almost dying of excitement: she only
has a second to register the car doors locking.
Ratings
Scene 29 - Confronting the Past
CASSANDRA strides past a “Forrest University” sign, marching
through GRAD STUDENTS toward the building’s doors.
INT. FORREST UNIVERSITY WAITING ROOM - DAY
CASSANDRA disdainfully reads the cheesy university’s
prospectus. Slogan: “Forrest University: Where All Your
Beginnings Begin!”. The secretary, JEAN, calls over to
CASSANDRA.
JEAN
Dean Walker is ready if you’d like
to go on through.
CASSANDRA gets up.
INT. FORREST UNIVERSITY - DEAN’S OFFICE - MOMENTS LATER
A gorgeous, wood-paneled office. Behind the desk is DEAN
WALKER, a well-dressed and polished woman in her late-
fifties. She has the patient warmth of a psychiatrist: a
woman used to smoothing over her students problems. A kind,
clever and reasonable person.
DEAN WALKER
Daisy?
CASSANDRA
That’s me.
65
DEAN WALKER
Come in. Welcome.
66
CASSANDRA sits down. DEAN WALKER consults her notes.
DEAN WALKER (CONT'D)
My assistant tells me you’re
thinking of resuming med school.
CASSANDRA
That’s right.
DEAN WALKER
So what prompted this desire to
finish your studies now, if you
don’t mind my asking?
CASSANDRA
Not at all. I guess... I couldn’t
stop thinking about my time here.
DEAN WALKER
It’s an extraordinary place. Of
course, we’d love to accommodate you
if we can. But, you have to
understand, this is a little
unusual.
CASSANDRA
Yes. But I left in unusual
circumstances.
DEAN WALKER looks at her blankly.
CASSANDRA (CONT'D)
I left because of what happened to
Nina.
Nothing.
CASSANDRA (CONT'D)
Nina Fisher.
DEAN WALKER
I’m so sorry, I’m not following you.
CASSANDRA
You don’t remember her?
DEAN WALKER
We have so many students. I wish I
could remember them all by name.
But-
CASSANDRA
Then maybe you remember Alexander
Monroe, Al Monroe?
67
DEAN WALKER
Oh yes! Of course I remember
Alexander! He came and did a talk
for our students not long ago. Nice
guy. Very smart. Is he a friend of
yours?
CASSANDRA
No. So, you don’t remember the
accusations made against Al Monroe?
DEAN WALKER frowns- she genuinely can’t remember.
CASSANDRA (CONT'D)
He took a girl- Nina Fisher, the
girl you don’t remember- back to his
dorm where he had sex with her,
repeatedly and in front of his
friends, while she was too drunk to
have any idea what was going on.
DEAN WALKER
I don’t-
CASSANDRA
She was covered in bruises the next
day. Handprints, I guess you could
say.
DEAN WALKER takes this very seriously.
DEAN WALKER
I’m so sorry. That is terrible. Was
it reported?
CASSANDRA
Yes.
DEAN WALKER
Who did Nina go to?
DEAN WALKER opens her book to note it down.
CASSANDRA
You.
DEAN WALKER is silent. She puts her pen down.
DEAN WALKER
Oh.
CASSANDRA
But you can’t remember so...
68
DEAN WALKER looks at CASSANDRA sympathetically.
69
CASSANDRA (CONT'D)
You felt there wasn’t sufficient
evidence. It was too much of a ‘he
said/she said’ situation. You
thought that his version of events
seemed, what word did you
use...”credible”.
DEAN WALKER is genuinely saddened.
DEAN WALKER
(gentle)
We get so many of these accusations.
There’s usually one or two a week-
one every morning early in semester
when everyone’s partying. I have to
take each claim on its own merits.
I’m so sorry that I don’t remember
this individual case, but I can
assure you that I would have looked
into it thoroughly at the time.
CASSANDRA
His friends were all watching,
laughing. Some of them maybe even
joined in.
DEAN WALKER
I understand it must be very hard.
But if Nina was drinking, if she
couldn’t remember fully, it’s
terribly complicated.
CASSANDRA
So she shouldn’t have been drunk?
DEAN WALKER
I don’t mean that. I just mean that
it isn’t always a good idea to go
back to a dorm room full of boys
after a party. It gives them the
wrong idea...We do advise against
it. We try to warn girls to be more
careful. To teach them about self-
respect.
CASSANDRA
So it was her fault? For not
respecting herself?
(beat)
Sorry! I don’t mean to sound
critical, Dean Walker. I just want
to be clear.
70
DEAN WALKER
(kind)
None of us wants to admit when we’ve
made ourselves vulnerable. And
sometimes these kind of mistakes are
very damaging. It’s much more common
than you’d know.
CASSANDRA
I know how common it is.
DEAN WALKER
Of course, it’s...regrettable.
CASSANDRA
Regrettable?
DEAN WALKER
(patient, kind)
What would you have me do? Ruin a
young man’s life every time an
accusation is made? Have them
expelled? That wouldn’t be fair.
Accusations like this, they ruin
lives.
CASSANDRA
So you’re happy to take the boy’s
word for it?
DEAN WALKER
I have to give them the benefit of
the doubt, yes.
CASSANDRA
Of course you do.
DEAN WALKER
Innocent until proven guilty. It has
to be.
CASSANDRA
No arguing with that.
DEAN WALKER
I’m afraid not.
CASSANDRA gets up.
CASSANDRA
Thank you for your time.
71
DEAN WALKER
I wish I could do more. Is your
friend ok?
CASSANDRA
No. She’s not. But Al Monroe is,
you’ll be glad to know he’s doing
really well. He’s getting married.
DEAN WALKER doesn’t respond.
CASSANDRA (CONT'D)
So you did the right thing, I guess.
We have to give these boys the
benefit of the doubt.
Beat.
CASSANDRA (CONT'D)
That’s why I know that you won’t
mind that-
She glances at her watch.
CASSANDRA (CONT'D)
-three hours ago I picked your
daughter Amber up from school and
introduced her to the boys who live
in that dorm now.
BEAT.
DEAN WALKER
What did you say?
CASSANDRA
She is really pretty, huh? And she
looks a lot older than she is.
DEAN WALKER
I don’t believe you.
DEAN WALKER is trying not to panic.
CASSANDRA
I noticed that they had a few
bottles of vodka in their room too.
But I’m sure they’ll take good care
of your daughter. She seemed excited
to meet them actually!
DEAN WALKER
Is this a joke? What is wrong with
you? You’re sick!
72
DEAN WALKER, shaking, picks up her phone, tries her
daughter’s cell.
CASSANDRA’s pocket rings.
The DEAN looks at her, horrified.
CASSANDRA
Oh right! Here it is. She’ll be
wanting that later.
She gets the phone out of her pocket and places it down on
DEAN WALKER’S desk. DEAN WALKER stares at it dumbly as what
this means sinks in.
DEAN WALKER
Oh my god. Are you crazy?
CASSANDRA
No.
DEAN WALKER
Which room is she in?? Tell me right
now! What kind of monster are you?
TELL ME?
CASSANDRA
I told you. The same room Nina was
in.
DEAN WALKER is totally freaking out.
DEAN WALKER
I don’t remember it! I already
said...
CASSANDRA
That’s a shame. Then I sure hope
you’re right to trust those boys!
DEAN WALKER
I’m calling the police.
She picks up the phone.
CASSANDRA
It’ll take them a while to get
here... you think there’s time?
The Dean is in tears.
73
DEAN WALKER
Please... she’s just a little girl.
CASSANDRA
I wonder if she looks so little to
those guys...
DEAN WALKER
JUST FUCKING TELL ME!!
CASSANDRA raises her eyebrows. DEAN WALKER has shocked
herself. She switches tack, starts begging.
DEAN WALKER (CONT'D)
Look, you’re right, OK? Is that what
you want to hear? You’re right.
She means it.
DEAN WALKER (CONT'D)
You’re right!
Beat.
CASSANDRA
See. Look how easy it was! You just
needed to think about it properly,
didn’t you? I guess it feels
different when it’s someone you
love.
DEAN WALKER
Please tell me which room she’s in.
CASSANDRA waits. Watches her panic. Lets her freak out for a
moment more. Then-
CASSANDRA
Hey! Relax! Honestly, Dean Walker!
Did you really think I’d do
something like that? Luckily I don’t
have as much faith in college boys
as you do!
(beat)
Amber is sitting in a diner waiting
for her favorite boyband to turn up
for a music video. It’s the Castle
Diner if you want to call and check.
You should probably call actually,
otherwise she’ll never figure out
they’re not coming.
(beat)
She’s kind of an idiot, huh?
(MORE)
74
CASSANDRA (CONT'D)
Gorgeous though. Who needs brains?
They never did a girl any good.
DEAN WALKER is shivering with shock. Mute. CASSANDRA opens
the door.
CASSANDRA (CONT'D)
There’s a girl outside in the
waiting room. I hope you’ll listen
to her if she’s coming to talk to
you about something serious.
(beat)
Good to see you again, Dean Walker.
CASSANDRA leaves. DEAN WALKER watches her go.
Ratings
Scene 30 - Shattered Calm
Close on CASSANDRA. Wagner’s “Liebestod” play on the radio.
She’s sitting with her face against the steering wheel. She’s
almost in a fugue state. What the hell did she just do?
Through the music, she becomes aware of a loud honking. It’s
been going on for a while. She comes out of her daze, as-
A guy in a pick-up truck, GEORGE, screeches up beside her. He
honks and yells at her through his window.
GEORGE
Hey! HEY! What are you doing?
She ignores him.
GEORGE (CONT'D)
You’re sitting in the middle of the
road. Are you retarded or something?
She ignores him.
GEORGE (CONT'D)
Hey! I’m talking to you, look at me
when I’m talking to you!
CASSANDRA grabs a wheel lock from the passenger seat and
calmly gets out of her car.
GEORGE (CONT'D)
What are you...?
She goes over to his car and matter-of-factly smashes one of
his break lights. He can’t believe what’s happening.
75
GEORGE (CONT'D)
What the hell are you doing?
She smashes in the other break light. She comes around to the
front.
GEORGE (CONT'D)
Hey! HEY! STOP! STOP!
She smashes his windscreen.
GEORGE (CONT'D)
You crazy fucking bitch!
CASSANDRA goes around to his window, holding the wheel lock
threateningly.
CASSANDRA
(calm)
What did you call me?
He looks at her. He actually looks scared.
GEORGE
Fuck you!
He speeds away. Leaving her standing in the middle of the
road, surrounded by glass, completely shocked by what just
happened.
Ratings
Scene 31 - Unspoken Tensions
CASSANDRA gets out of her car to find RYAN waiting outside
her house. She’s still on the edge, in no state of mind to
see him.
CASSANDRA
Ryan! What are you...?
RYAN
You weren’t picking up your phone
so...
She realizes.
CASSANDRA
Shit. The movie. I’m so sorry. I had
to work late.
RYAN
Yeah. I went past the coffee shop,
Gail said you took the afternoon
off.
76
CASSANDRA doesn’t know what to say.
RYAN (CONT'D)
Everything alright?
She’s desperate to get away.
77
CASSANDRA
It’s fine. Yeah. Sorry. I’m just in
the middle of something...
RYAN
Ok. We can still make it if we skip
dinner-
CASSANDRA
(terse)
I’m really tired. Can I just call
you tomorrow?
RYAN’s a little hurt but covers it.
RYAN
Sure.
(beat)
You sure you’re ok? You seem kind
of...
CASSANDRA
What?
RYAN
Wired.
CASSANDRA
I’m fine. Too much coffee. Don’t
work in a coffee shop.
RYAN
Right.
(beat)
Goodnight then, I guess.
CASSANDRA
Night.
RYAN gets into his car. A little annoyed.
OMITTED
Ratings
Scene 32 - Fractured Connections
SUSAN is sitting at the table, reading a magazine. CASSANDRA
tries to creep past without stopping. No chance.
78
SUSAN
Hey! Did you catch that boy outside?
CASSANDRA reluctantly enters.
CASSANDRA
Yeah.
SUSAN
He seems nice.
CASSANDRA
He is.
CASSANDRA turns to go.
SUSAN
Come on. You just got in. Sit down.
CASSANDRA sits. SUSAN is steeling herself for something.
SUSAN (CONT'D)
Are you going to be ok now?
CASSANDRA
What do you mean?
SUSAN
Is this boy...is he making you feel
better? I’m sorry to pry. It’s
just...we’ve tried everything. Me
and your dad.
CASSANDRA
Please, Mom. Please can we not talk
about this now. Please.
A silence.
SUSAN
We have to talk about it someday.
(beat)
We think about her all the time too,
you know. She practically lived here
when you two were girls. If you
think that it didn’t affect us...
Beat.
CASSANDRA
Then why didn’t you ever talk about
it?
79
SUSAN
Because you were so angry, Cassie.
We couldn’t come near you. You have
no idea what it’s like, your anger.
CASSANDRA
Of course I’m angry!
SUSAN
But...it’s taken over everything.
(beat)
And whatever you do at night... You
don’t need to tell me what it is...
but...it seemed to work for a while.
And then...
SUSAN spreads out her hands.
SUSAN (CONT'D)
So if this boy is making you feel
good then, oh god, Cassie...
SUSAN starts to cry.
SUSAN (CONT'D)
I just want you to be happy. I want
you to feel better.
CASSANDRA reaches for her mother’s hand kindly.
CASSANDRA
Momma.
(cold)
Nothing makes me feel better.
She leaves.
INT. BLUE STAR BAR - NIGHT
Close in on CASSANDRA, on edge, dressed like a cut-price
Kardashian. Pretending to be drunk again, but it’s scary this
time. She’s vibrating with anger- it’s coming off her in
waves. Finally, someone approaches her, she looks up- does
she recognize him? We stay on her face.
PAUL (V.O.)
You want a drink?
She looks up at him: gotcha.
CASSANDRA
Why not?
80
Ratings
Scene 33 - Neon Confrontation
PAUL, wearing a fedora, is walking CASSANDRA out, her head is
lolling. PAUL looks at his phone.
PAUL
Fucking surge prices.
He looks at CASSANDRA, barely upright.
PAUL (CONT'D)
It’s not that far, can you walk?
CASSANDRA
Um. I don’t know...
PAUL
Good girl.
They start to walk, PAUL’s practically holding her up. Then-
RYAN (O.S.)
Cassie?
CASSANDRA turns around. RYAN is on his way into the bar. He
looks at her, shocked. CASSANDRA immediately sobers up. Well.
She’s not completely sober this time.
CASSANDRA
What are you doing here?
RYAN
I’m meeting some friends.
(beat)
Since my diary opened up last
minute.
CASSANDRA
Let me explain.
RYAN
No need. Seriously.
PAUL looks between them: awkward!
PAUL
Sorry, dude, I didn’t know she was
taken. She’s all yours.
RYAN looks at PAUL, disgusted.
RYAN
All mine? Do you even know her name?
81
PAUL steps back nervously, racking his brains.
82
PAUL
Um...Claire...?
CASSANDRA tries to diffuse this.
CASSANDRA
Eh. Pretty close...
RYAN looks at her, shocked. Shakes his head.
RYAN
Ok. Have a good night.
CASSANDRA
Don’t go. I’m sorry. Wait.
RYAN
Could have just told me you weren’t
interested, Cassie.
RYAN leaves. PAUL is giggling.
PAUL
ICE COLD!!!! That was humiliating!
CASSIE turns on him.
CASSANDRA
Why don’t you just fuck off now ok?
Paul looks at her.
PAUL
Wait. Are you sober?
(realizing)
Oh my god. You’re the psycho who
went home with Jez.
Beat.
CASSANDRA
I don’t know what you’re talking
about.
PAUL
Shit. Take your crazy elsewhere,
sweetheart. Not interested. You’re
not even that hot.
CASSANDRA is deadly calm.
CASSANDRA
You’re hardly dropping panties
yourself, Paul.
(MORE)
83
CASSANDRA (CONT'D)
When was the last time you scored
with someone in daylight?
84
Beat.
PAUL
Careful.
She takes a step towards him.
CASSANDRA
No. You be careful. I’m not the only
one who does this, you know? And
some of the other girls...they
really are crazy.
He backs away a little, nervously.
PAUL
I don’t believe you.
CASSANDRA
There’s a woman in this city who
carries a pair of scissors.
(she glances down at his
crotch)
Personally, I think she’s taking it
a little far but...
PAUL
(scared)
You’re lying.
CASSIE shrugs.
CASSANDRA
Then try it out next time you go
out. See what happens.
PAUL looks at her, he’s a little upset.
PAUL
Why do you all have to ruin
everything??
He runs off. She watches him go. Her eyes gleaming in the
neon of the club lights.
Ratings
Scene 34 - Isolation and Despair
The following morning, and things are looking bleak in the
cold light of day. CASSIE looks down at her book. She’s
starting to look and feel a little scary.
85
A new name: JORDAN GREEN. She dials the number next to it.
RECEPTIONIST (O.S.)
Halder Mackenzie Green.
CASSANDRA
Hi. I’d like to book an appointment
with Jordan Green, please.
RECEPTIONIST (O.S.)
I’m sorry, ma’am. Mr Green is on
sabbatical.
CASSANDRA
Oh. For how long?
Beat.
RECEPTIONIST (V.O.)
Indefinitely.
The receptionist hangs up. Weird.
Ratings
Scene 35 - A Distressed Encounter
CASSANDRA steps up to the front door of a nice, suburban
house. She doesn’t look so good, everything is starting to
take a toll. She rings the doorbell.
A good looking, middle-aged man opens the door. Unshaven, a
little red around the eyes. This is JORDAN.
JORDAN
Can I help you?
CASSANDRA
I really hope so.
JORDAN
I’m sorry. I’m no longer practicing
the law, if you’ve come for-
CASSANDRA
It’s not about that.
JORDAN senses something in her. Maybe even has a feeling of
what’s coming.
JORDAN
I’ve been waiting.
(beat)
Come in.
86
CASSANDRA looks a little unnerved, but she steps into the
house.
Ratings
Scene 36 - Seeking Forgiveness
JORDAN leads CASSIE into his modern, expensive living room,
which has seen better days. Curtains drawn, dead flowers,
overflowing ashtrays. He notices her glance at a stack of
dirty plates and coffee cups.
JORDAN
My wife left a while back.
CASSANDRA
And you don’t know how to work a
dishwasher?
JORDAN laughs. Fair point.
JORDAN
I guess not.
He lights a cigarette. His hands are shaking. He’s clearly
scared.
JORDAN (CONT'D)
(off the cigarette)
You mind?
CASSANDRA shakes her head. There’s a silence. He’s nervous.
CASSANDRA is still, calm. Malevolent.
CASSANDRA
Your office told me you’re on
sabbatical. It was very easy to get
your address. They just gave it to
me actually.
JORDAN
I told them to give it to anyone who
asked.
CASSANDRA
That doesn’t seem safe.
JORDAN
No use hiding from the piper. He has
to be paid.
CASSANDRA
I guess so.
87
JORDAN
So...
88
CASSANDRA
I came here to talk to you about
something that happened eight years
ago.
JORDAN braces himself.
JORDAN
Alright.
CASSANDRA
Do you remember a client of yours
named Alexander Monroe?
JORDAN
I do. Yes. Al’s father is an old
friend.
CASSANDRA
Of course he is. You probably won’t
remember why Al Monroe and his dad
employed your services back then.
And you almost certainly won’t
remember the girl who you threatened
and bullied until she dropped her
case.
JORDAN
I remember her.
CASSANDRA is shocked. He thinks for a while.
JORDAN (CONT'D)
Nina? Was that it? I’m sorry, I
don’t remember her full name. It was
Nina though, wasn’t it?
CASSANDRA tries to hold it together.
CASSANDRA
(whisper)
Yes.
JORDAN
I remember.
(beat)
Have you come here to hurt me?
CASSANDRA
Do you want me to hurt you?
JORDAN
I think so.
89
CASSANDRA doesn’t know what to do. She’s frozen.
Finally-
JORDAN (CONT'D)
I had a...well...I think of it as an
epiphany. The doctors called it a
psychotic episode. It was at work.
So... I’m on ”sabbatical”.
(beat)
You know I got a bonus for every
settlement out of court. And a bonus
for every charge dropped. All of us
did.
Silence.
JORDAN (CONT'D)
We had a guy who combed through
their social media accounts for
compromising information. Contacted
friends and past sexual partners. It
is amazing how much easier the
internet has made digging up dirt.
In the old days we’d have to go
through girls’ trash. But now it’s
just one drunk photo at a party and
you wouldn’t believe how hostile
that makes a jury.
CASSANDRA can barely breathe. Jordan comes over to her,
kneels in front of her.
JORDAN (CONT'D)
You’ve got to help me. I can’t
sleep. I can’t sleep. I haven’t
slept in...
He clutches at her hands. She recoils.
JORDAN (CONT'D)
You are real, aren’t you? I haven’t
totally lost it?
CASSANDRA
I’m real.
He nods.
JORDAN
I’ll never forgive myself. I hope
you know that. I’ll never forgive
myself for any of it.
90
CASSANDRA looks down at him. A mixture of pity and scorn, but
also, somewhere, deep relief. This is it.
Then finally, quietly-
CASSANDRA
I forgive you.
The relief and gratitude from JORDAN is palpable. He puts his
head on her knees. In the stark, white room it is the image
of forgiveness. The Pietà.
JORDAN
Thank you.
Beat.
CASSANDRA
Go to sleep.
Ratings
Scene 37 - Power Dynamics
CASSANDRA walks to her car. We reveal a timid, middle-aged
man, SIMON, leaning against her car. He sees her.
MAN
Do I go in now?
Beat.
CASSANDRA
No.
She opens her car door.
MAN
Oh. I’m still getting paid though,
right?
CASSANDRA
Yeah.
She gets into her car. He gets into the passenger seat.
Ratings
Scene 38 - Confronting the Past
CASSANDRA is standing across the street from Nina’s house.
It’s similar to her own, just another anonymous suburban
street. She’s trying not to cry.
91
Her phone rings. It’s MADISON. She cancels guiltily. This
whole thing is starting to feel horrible. Pointless.
When she looks up, MRS. FISHER, Nina’s mother, is on the
porch, peering over at her.
MRS FISHER
Cassie?
EXT. NINA’S HOUSE - DAY
CASSIE and MRS FISHER sit on the steps of the house. CASSIE
is sipping from a juice box MRS FISHER has given her.
MRS FISHER
I’d ask you in but...you know it
upsets George to see you.
CASSANDRA
I know. I’m sorry.
(beat)
You remember Nina’s sixteenth
birthday party?
MRS FISHER chuckles.
MRS FISHER
Yeah. That was a mess.
CASSANDRA
Nina threw up on the swing.
MRS FISHER
Not her finest.
CASSANDRA
And that boy stole your vase and
Nina made him bring it back the next
day and apologize to you.
MRS FISHER
He was so scared of her. She was
practically holding onto his ear.
“SAY YOU’RE SORRY TO MY MOM,
ASSHOLE”.
Cassie laughs.
CASSANDRA
What was his name? Was it...Simon
something...or Steve-
92
MRS FISHER tries to be kind, but she is tired.
MRS FISHER
Why are you here?
CASSANDRA
I just wanted to see you.
MRS FISHER
You need to stop this.
CASSANDRA is a little shocked.
MRS FISHER (CONT'D)
It isn’t good for any of us. It’s no
good for Nina, it isn’t good for
you.
Beat.
CASSANDRA
I’m just trying to... fix it...
MRS FISHER
(savage)
You can’t. Don’t be a child, Cassie.
You know what it’s like for us?
Having to bear this? And you, still
standing outside our house like a
ghost. Still wearing that stupid
necklace you girls gave each other
in middle school. Yanking us back
into it every time we see you.
MRS FISHER is distress, fighting back tears.
CASSANDRA
I’m so sorry. I didn’t think.
MRS FISHER
No. Well. I’m sorry too. Move on,
Cassie. For all of us.
MRS FISHER leaves. CASSIE sits on step. She knows she’s
right: this is over.
Ratings
Scene 39 - Missed Connections
CASSANDRA waits nervously in the hallway of RYAN’s apartment.
He answers the door. Not pleased to see her.
RYAN
Oh great. You.
93
CASSANDRA
Can I come in?
The desperation on her face makes him relent.
INT. RYAN’S APARTMENT - LIVING ROOM - MOMENTS LATER
RYAN leads her into his apartment. It’s cozy, but clean,
books everywhere.
CASSIE hovers nervously, unsure where to stand.
RYAN
You want anything? Coffee? Another
guy to go home with?
CASSANDRA can’t help but laugh.
CASSANDRA
Yeah actually do you have any
douchebags lying around?
RYAN
There’s a racist neighbor on the
third floor.
CASSANDRA
Perfect!
The smile awkwardly.
RYAN
What do you want, Cassie?
CASSANDRA
I came to apologize. About... I’ve
been trying to think about how to
explain.
RYAN
How’s that going for you?
She laughs.
CASSANDRA
Not great. Yeah.
RYAN
It’s fine, really.
CASSANDRA
It’s not that I’m not interested. I
really am. I really, really am.
94
RYAN
Ok. I mean, forgive me if I’m
confused but, you won’t kiss me,
you’ll barely touch me, but I find
you going home with some random
creep in a fedora.
Beat.
CASSANDRA
I admit....the fedora was
unforgivable.
RYAN can’t help but smile. He sighs.
RYAN
Why are you here?
CASSANDRA
The other night... it won’t happen
again. I promise. It’ll never happen
again. It’s hard to explain.
(beat)
Can we try again? Can I try, I mean.
RYAN looks at her, thinks.
RYAN
I don’t know.
(beat)
Are you ok?
She shrugs: I don’t know.
RYAN nods. Silence. Finally-
CASSANDRA
I guess I’ll see you around then.
She leaves. She’s blown it.
Ratings
Scene 40 - Moving On and Rekindling Joy
CASSANDRA stares at AL MONROE’S BACHELOR PARTY PAGE. She
spots RYAN on his time line. “Sorry I can’t make it, bro!
Have a great time.”
She looks at AL’s stupid face, all his douchey friends. She
closes her computer.
She consults her book. One name left: AL MONROE. She tears
out the page, screws it up and throws it away. Enough.
95
INT. MAKE ME COFFEE SHOP - EVENING
CASSANDRA is alone. The bell rings, she doesn’t look up.
CASSANDRA
We’re closed for the night.
RYAN (O.S.)
Good.
CASSANDRA looks up. RYAN is standing in front of her.
CASSANDRA
Hi.
RYAN
You wanna go to dinner you miserable
asshole?
CASSANDRA smiles.
CASSANDRA
Yeah.
He kisses her. It’s wonderful.
INT. PHARMACY - DAY
That weekend. CASSIE and RYAN are choosing snacks at the
pharmacy when Paris Hilton’s “Stars Are Blind” comes on the
speaker.
RYAN starts to nod his head slightly to the music, CASSIE
notices: Paris Hilton, huh? Then suddenly RYAN bursts into a
vamping lip synch, using the snacks as props. CASSIE ties not
to be impressed but it’s hard, she’s giggling, people are
looking. Then finally, she joins in.
CUT TO:
Ratings
Scene 41 - Cozy Moments
MONTAGE: CASSIE and RYAN watching movies in bed eating the
pharmacy snacks, as Paris Hilton serenades us.
INT. RYAN’S APARTMENT - BEDROOM - DAY
MONTAGE:
Pt. 1: CASSIE and RYAN kissing in bed.
96
Pt. 2: CASSIE reading in RYAN’S chair as he tries not to
stare at her.
Pt. 3: RYAN and CASSIE eating cereal, talking.
97
Ratings
Scene 42 - Sweet Moments
MONTAGE: CASSIE and RYAN kissing as CASSIE sits on the
counter.
INT. MAKE ME COFFEE SHOP - DAY
MONTAGE: CASSIE, RYAN, and GAIL are eating cupcakes. GAIL
immensely relieved to see CASSIE so happy.
BACK TO:
INT. PHARMACY - MOMENTS LATER
“Stars are Blind” is winding down. CASSIE and RYAN go to pay
for their stuff.
RYAN
God, I love that song.
CASSANDRA
Of course. It’s a masterpiece.
Ratings
Scene 43 - Breaking the Ice
SUSAN brings a big bowl of salad from the kitchen and sets it
down on the dining room table. Where CASSANDRA, RYAN and
STANLEY are waiting somewhat nervously, bowls full of
spaghetti in front of them. It’s a little awkward.
SUSAN
Eat! Eat! It’ll get cold.
RYAN
This looks delicious. Thank you!
STANLEY
I made the sauce!
Cassie winces. She forgotten what it’s like to introduce
people to your parents.
STANLEY (CONT'D)
Wow. That is...really great sauce.
Stanley beams.
SUSAN
So you’re a doctor, Ryan? You’re
parents must be very proud!
98
RYAN
Oh no. They wanted me to be a DJ.
Beat. Then STANLEY and SUSAN laugh. Tension broken. The
relief.
STANLEY
He’s funny! You didn’t say he was
funny, Cassie.
CASSANDRA
Daaaaad.
RYAN
You didn’t?
CASSANDRA
No. I said you were boring but rich.
99
RYAN
You know, I’m not even that rich.
STANLEY
Well. Nice knowing you, son.
They all laugh. STANLEY and SUSAN catch each other’s eye, and
smile.
Ratings
Scene 44 - A Recipe for Connection
SUSAN and STANLEY are doing the dishes. We hear the front
door close, and CASSANDRA reappears.
CASSANDRA
He says he wants the sauce recipe,
Dad.
STANLEY beams.
STANLEY
Kiss ass.
SUSAN
What a lovely evening.
STANLEY
He seems very nice, Cassie. Very
nice.
CASSANDRA
Eh. He’s ok.
SUSAN
You’re allowed to like someone,
honey.
CASSANDRA
I know.
She kisses CASSIE goodnight, squeezes her.
CASSANDRA (CONT'D)
Alright, alright. Move it along.
SUSAN stops the hug.
SUSAN
Night night.
She leaves for bed. STANLEY lingers for a second.
100
STANLEY
Thank you for introducing us to
Ryan. I know it must have been hard.
Your mom is so... we are both so
glad.
101
Suddenly STANLEY is on the verge of tears. CASSANDRA is
embarrassed, she doesn’t know what to do.
CASSANDRA
Oh my god. Dad! He’s not that nice!
He laughs, and pulls himself together hastily.
STANLEY
Sorry. I must be tired.
He goes to leave. Then-
STANLEY (CONT'D)
We miss her, Cassie. But god, we’ve
missed you too.
He leaves her in the kitchen, taking this in. What these
years must have been like for her parents.
Ratings
Scene 45 - Confessions in Bed
CASSIE and RYAN are in bed.
RYAN
Your mom’s pretty hot.
CASSANDRA
You want her number? I could hook
you up?
RYAN
(hopeful)
Really?
CASSANDRA
Yeah. I think she likes you more
than I do.
He laughs.
RYAN
I hope that’s not true.
Beat.
RYAN (CONT'D)
Can I tell you something?
CASSANDRA
Sure.
RYAN sits up on his elbow and looks at her. He’s nervous.
102
RYAN
I think you’re amazing-
She realizes what’s happening.
CASSANDRA
Oh no, Ryan-don’t. Please. No.
RYAN
Let me finish, you stupid bitch. I
think you’re amazing. And think,
yup, I’m pretty sure I’m falling in
love with you.
CASSANDRA is silent.
CASSANDRA
Get out. Get out. Now.
RYAN looks horrified.
RYAN
What?
CASSANDRA smiles.
CASSANDRA
I’m kidding.
(beat)
I think I love you too.
RYAN is about to celebrate-
CASSANDRA (CONT'D)
DON’T make a thing of it. Just be
cool.
RYAN calms down.
RYAN
Okay. I’m cool. I’m cool.
He’s not though. He kisses her. And she kisses back.
Ratings
Scene 46 - A Moment of Reassurance
CASSANDRA, in an incredibly good mood, is walking to her
house with groceries, when a woman gets out of her car and
walks across the street to her. It is MADISON MCPHEE.
CASSIE had completely forgotten.
103
CASSANDRA
(under her breath)
Shit.
MADISON
Hey!
CASSANDRA
Madison! What are you doing here?
MADISON looks terrible, she hasn’t slept for weeks.
MADISON
I’m sorry, I just...I tried calling.
I left messages. I don’t know if
your number worked. Maybe I had an
old one.
MADISON is on the verge of tears.
MADISON (CONT'D)
I know this is crazy waiting for you
in my car like some kind of stalker
or something...
CASSANDRA
No, Madison, I’m sorry. I’m so
sorry. I should have called you
back. Nothing happened with that
guy.
MADISON
Are you sure...it seemed like...
CASSANDRA
I know what it seemed like. But it
wasn’t. He didn’t touch you.
MADISON is almost sick with relief.
MADISON
Oh thank god. I’ve been...so worried
that I...that we...
CASSANDRA
He just put you in bed, that’s all.
Made sure you were in the recovery
position. Nothing happened, Madison.
I promise.
MADISON believes her. The relief. She wipes away a tear.
Takes a deep breath.
104
CASSANDRA (CONT'D)
I’m really sorry I didn’t call
sooner. I didn’t mean to scare you
this much.
MADISON
Yeah. Well.
(beat)
Look there’s... I need to show you
something.
CASSANDRA
Ok...
MADISON
Can we go inside?
Ratings
Scene 47 - Confronting the Past
MADISON follows CASSIE into the living room nervously. She’s
dreading this.
CASSANDRA
You need some water or something?
MADISON
No. Thank you.
This is a struggle.
MADISON (CONT'D)
After...after we had lunch and
I...got so drunk. And I woke up in a
hotel room with that guy... I
thought about it, about what you
said about Nina. About how we
all...you know. Just. Acted like...
And I remembered something.
CASSANDRA
What?
MADISON can’t say it.
CASSANDRA (CONT'D)
What?
MADISON
There was a tape.
CASSANDRA might have been hit by a truck.
105
CASSANDRA
What?
MADISON
A stupid video. It got sent round. I
got sent it. We all did. It was
just...at the time it was just,
gossip, you know?
CASSANDRA
Gossip.
MADISON
So much...stuff happened back then,
like, all the time. You know what it
was like just...one blackout after
another. I hoped maybe I imagined
it. But.
She gets out an old blackberry. She’s shaking.
MADISON (CONT'D)
I kept all my old phones for photos
and whatever. So...here.
(she passes it)
I don’t know how we could ever have
watched it and...
CASSANDRA
What?
MADISON
Thought it was funny.
MADISON is numb with shame.
MADISON (CONT'D)
Look. You can have the phone, ok?
You don’t have to watch it...I
really wouldn’t watch it but...I
don’t know. Do whatever you want
with it. Just leave me out of it.
MADISON gets up to leave.
MADISON (CONT'D)
And please, will you do me a favor?
CASSANDRA
Yeah.
MADISON
Never fucking contact me again.
106
MADISON leaves. CASSIE is numb, everything falling down
around her.
Ratings
Scene 48 - Shattered Illusions
CASSANDRA looks at the blackberry in her hands. She has to
watch it. She knows she has to.
She starts to play the video. We can hear it but not see it:
we stay on her face. It is terrible, horrifying.
CASSANDRA
(whispers)
Oh, Nina.
We hear a group of guys are cheering AL on.
JOE (O.S.)
Holy shit!! Look at this.
(beat)
Ryan! Ryan!
And then, CASSIE’s expression changes. We hear RYAN’s voice,
slurred with drink.
RYAN (O.S.)
Don’t film me, man! Come on. Stop
filming this!
He laughs. On CASSIE: complete, earth-shattering shock.
Ratings
Scene 49 - Urgent Whispers
A small smear of blood on an industrial floor.
We reveal CASSIE, in the waiting room, staring down at it.
She’s waiting for RYAN. He appears.
RYAN
Cassie, are you ok? What’s happened?
CASSANDRA
Can we go somewhere to talk,
privately?
RYAN
I’m working.
107
CASSANDRA
(calmly)
We need to talk. Right now.
RYAN can see that she’s not kidding.
Ratings
Scene 50 - Confrontation in the Office
RYAN takes CASSANDRA into his office.
RYAN
What’s going on?
CASSANDRA looks at him, heartbroken.
CASSANDRA
I’ve been such an asshole.
RYAN
What do you mean?
CASSANDRA
I really thought for a second it was
all going to be ok.
RYAN
Cassie-
CASSANDRA
Look at this.
She passes over MADISON’s phone. RYAN watches.
RYAN
What are you showing me? Is
that...Al Monroe? Is that his
dorm...what...
Suddenly he remembers. He passes the phone back, upset.
RYAN (CONT'D)
I don’t want to watch this.
CASSANDRA
You were happy to watch back then.
RYAN
I don’t know what you’re talking
about, I wasn’t-
Then he hears his own voice on the video. It’s undeniable.
108
RYAN is horrified.
RYAN (CONT'D)
I don’t...I don’t remember...
He watches for a second, the sadness as it comes back to him.
CASSANDRA
Didn’t make an impact, huh?
RYAN doesn’t know what to say.
RYAN
We were kids...
But her look silences him.
CASSANDRA
I need you to do something for me.
And I want you to think about it
very carefully. I have this video,
ready to send to everyone in your
address book. Your parents. Your
colleagues. All your old college
buddies and their wives.
RYAN
Cassie, please. Come on.
CASSANDRA
So, I can send it out right now. Or
you can tell me where Al Monroe’s
bachelor party is.
RYAN is stunned.
RYAN
Why?
Beat.
CASSANDRA
You don’t need to know why.
RYAN
What are you going to do?
CASSANDRA
It depends.
RYAN
On what?
109
Beat.
CASSANDRA
Do you think they’ll fire you here?
You work with kids so... they have
to be careful. Things have changed
so much since we were at school,
haven’t they?
RYAN
Think about this. Please. Please.
Please.
CASSANDRA
I cannot begin to tell you how much
I’ve thought about it.
She stares him down. Finally, he writes down the address on a
piece of paper, hands it over.
RYAN
There. They’re all going up there
this weekend.
CASSANDRA folds up the paper and puts it in her pocket.
RYAN (CONT'D)
(tearful)
You don’t...you don’t think I’m a
bad person now, do you? I love you,
Cassie. You’ll forgive me won’t you?
Tell me you’ll forgive me.
CASSANDRA
No.
Beat. Then a new horror dawns on RYAN.
RYAN
Are you going to tell everyone?
CASSANDRA
I don’t know.
RYAN
I just don’t...I don’t know if I can
live with the threat of this hanging
over me.
CASSIE laughs.
CASSANDRA
Right.
110
She goes to leave then-
111
CASSANDRA (CONT'D)
And don’t think about telling any of
them that I’m coming. I’ll send the
video around just the same if you
do.
CASSANDRA smiles.
CASSANDRA (CONT'D)
Bye, Ryan!
She leaves him alone, reeling from what just happened.
Ratings
Scene 51 - A Weekend of Transformation
CASSANDRA puts her head around the door. SUSAN is gluing
shells onto a box.
CASSANDRA
Hey, Mom. I’m going away for the
weekend, ok?
SUSAN
Oh! With Ryan?
CASSANDRA
No actually. There’s this...coffee
symposium thing...it’s lame...but
Gail thought it might be good for
work.
SUSAN
Alright. Do you need me to pack you
something for the trip?
CASSANDRA
I’m not going to summer camp, Mom.
SUSAN bristles a little.
SUSAN
I know!
CASSANDRA softens.
CASSANDRA
Thanks though.
(beat)
I love you.
SUSAN is a little taken aback. She’s about to respond, but
CASSIE is gone.
112
I/E. CAR - DIRT ROAD - EVENING
CASSANDRA is pulled up on an old road in the middle of
nowhere. No cars in sight. No houses. Just the woods. She’s
doing her make up in the mirror- it’s super heightened. Big
red lips, big eyes. She’s barely recognizable.
113
She grabs a powder blue wig from the passenger seat, her old
book is underneath it, the torn out page stuffed back into
it. She puts on the wig.
She gets out of the car. She’s wearing a PVC nurse’s uniform,
she takes off her plates and tosses them into the bushes.
Then goes into the trunk to grab a matching nurse’s bag and a
huge bottle of vodka. She slams the trunk shut, and starts
the journey down the deserted road.
Ratings
Scene 52 - A Night of Revelry
We follow CASSANDRA as she walks up to a isolated house in
the middle of the woods. Her high heels are in her hands.
EXT. CABIN HOUSE - EVENING/NIGHT
CASSANDRA finishes putting on her shoes on and rings the
bell. A super hammered guy, JOE, answers.
JOE
YESSSSSSSSSSS! THE DOCTOR IS IN THE
HOUSE!!!!
We hear cheering from inside. A wall of choking testosterone.
INT. CABIN HOUSE - LOUNGE - MOMENTS LATER
JOE leads CASSANDRA into the run-down lounge. It looks like a
fart-filled frat house basement. It is full of drunk dudes
playing poker, beer pong and listening to terrible EDM.
Among them is AL MONROE, preppy and very embarrassed.
CASSANDRA is momentarily floored seeing him again. She covers
it.
JOE
This is what I’m talking about, man!
It’s stripper time, baby!!
CHIP
Nurse, I’m feeling sick, can you
take my temperature?
AL MONROE
I thought I said no strippers, you
guys! Anastasia will lose her shit.
His friends all boo him.
114
AL MONROE (CONT'D)
Who ordered her?
115
The dudes all look innocent.
JOE
Don’t look at me, man!
CHIP
Not me!
AL MONROE
No one owning up, huh? Well when
Anastasia finds out it’s your
funeral.
CASSANDRA
I take it you’re the groom?
AL MONROE
Yeah.
CASSANDRA
Then sit the fuck down.
She grabs a chair and slams AL down on it roughly. The boys
all “oooooooooooh!”
AL MONROE
Hey!
JOE
Uh oh! You’re in trouble, bro.
JOE giggles. The guys are giddy with excitement. CASSANDRA
gets out the vodka.
CASSANDRA
Now I’m going to need you all to
kneel in front of me like the
naughty boys you are. Is everybody
here? Don’t want anyone to miss out.
The guys kneel down eagerly, giggling.
JOE
We’re all present, nurse!
CASSANDRA
Good. Then I think it’s time for
your medicine.
CASSANDRA pours vodka down into their open mouths one by one.
AL MONROE
Don’t I get any?
116
CASSANDRA
No. You get something way better.
117
She turns on the music. “SPRORGNSM” by Superorganism.
Glitchy, swoony, and somewhat weird. She beings to unzip her
nurse’s dress.
But we cut away, and travel along the cheering and jeering
bros. Super-slo mo. Super detailed. We can see the bloodshot
eyes and the sweat. And the hard-ons underneath the chinos.
It’s frightening, animal: violence and desire are in the air.
Brief flashes of CASSIE, her hair, her lips, small details,
but never what the audience wants to see: the hot girl taking
her clothes off.
Finally, we speed back up to normal as CASSIE straddles AL.
CASSANDRA (CONT'D)
Time to go upstairs.
AL MONROE
I don’t think...
CASSANDRA
(whisper)
Look, I won’t do anything if you
don’t want to, but I only get paid
if I go upstairs with you.
AL MONROE
OK.
CASSANDRA zips her dress back up, takes him by the hand and
triumphantly leads him up the stairs, the guys go crazy.
JOE
I wanna see her crawling out of here
in the morning, Al!! She’d better
not be able to walk!!
CHIP
Leave some for us, man!!!
Ratings
Scene 53 - Confrontation in the Shadows
A peeling bedroom. Plaid, old mouldering boar heads, and a
needlepoint sign which reads “Yeeeh Haw!” above the bed. We
can hear the music thumping from downstairs.
AL MONROE
So. What do I...
CASSANDRA
Get on the bed.
118
AL MONROE
Ok.
(jokey)
I’m a little scared of you.
CASSANDRA
You don’t need to be scared. Get on
the bed.
AL does. She gets some pink, fluffy handcuffs out of her
nurse’s bag.
AL MONROE
Wait. Sorry. I’m not sure about
this.
CASSANDRA
It’s for my safety.
AL MONROE
What do you mean?
CASSANDRA
When I give private dances...guys
can get a little handsy so...
AL MONROE
Oh. Right. Of course.
He lets her put on the handcuffs.
AL MONROE (CONT'D)
You know...you don’t have to...I’m a
gentleman.
CASSANDRA
Are you?
AL MONROE
Yeah.
CASSANDRA
You might be surprised to hear that
gentlemen are sometimes the worst.
She finishes cuffing him.
AL MONROE
Ow. Can you loosen them a little?
CASSANDRA
You’ll get used to it.
119
AL MONROE
Look. I don’t want to sound like a
pussy but...you’re not going to...do
anything, are you? It’s just, I love
my fiancee. We’re getting married
so...I don’t want any...um...
CASSANDRA
(kind)
Hey. Do I look like someone who
would make you do something you
don’t want to do?
AL MONROE
No.
CASSANDRA
Exactly.
AL MONROE
What’s your name?
CASSANDRA
Candy.
AL MONROE
I mean. Your real name.
Beat.
CASSANDRA
Nina. Nina Fisher.
AL looks like a ghost just walked into the room. She’s
standing at the foot of his bed, staring coldly down at him.
AL MONROE
What did you say?
CASSANDRA
I said my name is Nina Fisher.
AL starts to struggle against the cuffs.
AL MONROE
Can you let me out of these, please?
CASSANDRA
I’m sorry I can’t.
120
AL MONROE
Did one of the guys put you up to
this? Was it Joe? Jesus Christ this
is dark, even for him.
CASSANDRA
I don’t follow.
AL MONROE
You are not Nina Fisher.
CASSANDRA
Why not?
AL MONROE
Because...she’s dead.
Beat.
CASSANDRA
Must be another Nina Fisher. A
coincidence.
AL MONROE
I don’t think so. Please let me go.
This isn’t funny.
CASSANDRA
Why would I give you a dead girl’s
name?
AL MONROE is panicking.
AL MONROE
This is fucked up, ok? Stop it.
CASSANDRA
But, I’m not doing anything.
AL MONROE
(shouting)
GUYS! JOE! BRANDON! CHIP! GUYS! CAN
YOU GET UP HERE!
The music is throbbing.
CASSANDRA
I don’t think they can hear you. And
even if you could shout out loud...
AL MONROE
What?
121
CASSANDRA
They’re all passed out by now.
AL MONROE is really scared now.
CASSANDRA (CONT'D)
Because if there is one thing that I
learned at Forrest College, it is
how easy it is to slip something
into a drink. You’d think they’d
remember that. Especially Joe!
AL MONROE
Do I know you?
CASSANDRA
I’m not sure you’d remember me, Al.
You were so popular.
It dawns on him.
AL MONROE
You’re Nina’s friend. Oh fuck.
You’re Nina’s friend.
CASSANDRA
So you DID notice me after all. I’m
surprised. I wasn’t super-fuckable
at college so, I thought I kind of
slipped your attention.
AL MONROE
What do you want? Money? Are you
blackmailing me? You can have
anything.
CASSANDRA
No, I don’t need money. I just want
a conversation.
AL MONROE
Anything you want, ok?
CASSANDRA
I want you to tell me what you did.
AL MONROE
Are you talking about...?
CASSANDRA
What do you think I’m talking about?
AL MONROE
I didn’t do anything! We were kids!
122
CASSANDRA
If I hear that ONE MORE TIME.
CASSANDRA is really, really angry. It’s all coming apart now.
123
AL MONROE
Look maybe she regretted it after
but-
CASSANDRA
Oh yeah she regretted it.
AL MONROE
I didn’t do anything!
CASSANDRA
WRONG!
AL MONROE
What do you think the fucking story
is?
CASSANDRA
Different to you I imagine.
AL MONROE
I don’t know what you want me to
say. We did not...
She let’s him flounder.
CASSANDRA
What?
AL MONROE
You know...
(whisper)
Rape her.
CASSANDRA
No? She could barely hold her head
up, she had no idea what was going
on.
AL MONROE
It was a party! I mean...yeah we
were all drunk, of course. But...she
was into it!
CASSANDRA
Didn’t look like she was into it on
the video.
Beat.
AL MONROE
What video?
124
CASSANDRA
Oh you don’t remember? Your friend
Joe taped it. Let me tell you, that
party does not look so good in the
cold light of day.
Joe remembers with terrible clarity. He’s starting to panic,
to get tearful.
AL MONROE
I’ll give you anything. I’ll do
anything. Anything.
CASSANDRA
Aw don’t cry.
(harsh)
Really. Don’t fucking cry. Tell me
what you did.
AL MONROE
I didn’t do anything wrong though!!
CASSANDRA
She dropped out. Top of her class,
and she dropped out. I did too to
take care of her. The two of us,
gone. You graduated Magna Cum Laude
though. Did you ever feel guilty? Or
did you just feel relieved that
she’d gone?
125
AL MONROE
I was affected too, you know? It’s
every guy’s worst nightmare, getting
accused like that.
CASSANDRA
Can you guess what every girl’s
worst nightmare is?
AL’s lip wobbles.
CASSANDRA (CONT'D)
The thing is, you thought you’d
gotten away with it because everyone
had forgotten. But I haven’t.
She opens her PVC nurse’s bag. In it are all of her surgical
instruments from college. He’s really panicking now.
AL MONROE
You’re out of your fucking mind!
CASSANDRA
I was so sad to leave, you know. I’d
wanted to be a doctor my whole life.
(beat)
But lately, I’ve been feeling like I
might want to get back into it.
She picks up a scalpel.
AL MONROE
Stop! Please!
She sits on the bed.
CASSANDRA
You know. Nina was extraordinary. So
smart. Weirdly smart.
He struggles.
AL MONROE
Help! Help me! Fuck!
126
CASSANDRA
Shhh. I want you to know what she
was like, ok? But she’s so difficult
to explain because she was just so
completely herself. Even when she
was four years old. She was fully
formed from day one. Same face. Same
walk. And funny like a grown up was
funny. Kind of, shrewd. Perceptive.
So smart.
CASSIE is absent-mindedly holding onto her BFF half-heart
necklace, with “Nina” written on it.
CASSANDRA (CONT'D)
I was just in awe of her. I couldn’t
believe she wanted to be my friend!
She didn’t give a fuck what anyone
else thought, except for me. Because
she was just...Nina.
(beat)
And then she wasn’t. Suddenly, she
was something else, she was yours.
It wasn’t her name she heard when
she was walking around, it was
yours. Your name all over her. All
around her. All the time. And it
just...squeezed her out.
(beat)
So when I heard your name again.
Your filthy fucking name. I wondered
when was the last time someone had
said hers. Or thought it even. Apart
from me.
(beat)
And it made me so sad. Because, Al,
you should be the one with her name
all over you.
AL MONROE
No.
CASSANDRA
Don’t worry. I’ve sterilized
everything. I really would have been
a great doctor.
AL MONROE
You’re insane.
CASSANDRA
You know what? I honestly don’t
think I am.
127
CASSANDRA unbuttons his shirt slowly.
CASSANDRA (CONT'D)
I’ll do this as quick as I can, ok?
She’s about to cut him, when-
BAM!- He breaks a hand free from a handcuff and grabs her by
the throat. CASSANDRA is caught off-guard.
He turns her onto the bed, to get both hands around her
throat. She struggles. He’s choking her.
AL MONROE
You asked for this. You fucking
asked for this. This is
your...fault.
CASSANDRA is looking at him. She can’t breathe.
She somehow slips out of his grasp. There’s a struggle, with
AL’s hand tied to the bed they’re evenly matched, she manages
to get her hand free again and she raises the scalpel.
It looks like she might win when, at the last second, AL
catches her arm and twists it. The scalpel falls to the
ground.
He wrestles her back down onto the bed. One arm on her neck,
pushing down. He starts to cry.
AL MONROE (CONT'D)
This is your fault...
He can’t look at her. He grabs a pillow puts it over her
face.
He climbs onto her head, kneeling on the pillow, smothering
her with his knees. The one hand still handcuffed to the bed.
It’s clumsy. It is going on for much too long. It feels like
forever as she struggles underneath him. Every second we’re
waiting for her to turn things around.
She tries to fight back, her hands scrabbling over him. She
scratches his neck, but she’s running out of air. Her face
hidden. AL is really sobbing now, kneeling on top of her.
Finally, after a long time, her body goes limp. Her arm
falls, lifeless, to the ground.
AL stays on top of her. Crying.
He climbs off tentatively.
128
We wait for the Fatal Attraction moment when she springs back
to life. It never comes.
Ratings
Scene 54 - A Night Gone Wrong
We are in the exact same place at the night before. A shaft
of light on the bed from above. AL is still on the bed, one
hand still handcuffed to a post. He’s been up all night,
unable to get out of it: his wrist is bleeding. A scratch
mark has come up on his neck.
CASSANDRA’s face is still under the pillow, her body in the
same position. AL is shivering, crying. We hear footsteps in
the hallway.
A bluebottle bats against the window.
We are on CASSIE’S hand, her perfect manicure, hanging off
the bed, the scalpel a few inches away on the floor. When JOE
barges in.
JOE
Oh man, what a night!!
He stops. Takes in the “sleeping” body and the handcuffs.
Starts giggling.
JOE (CONT'D)
Oh my god!! Is that the fucking
nurse? Are you kidding me? Nooooice!
AL MONROE
Joe-
JOE
Don’t freak out! Come on. Anastasia
will never know. Okay? What happens
on tour, stays on tour.
Beat.
AL MONROE
She’s dead, Joe.
JOE looks at him, then laughs.
JOE
Come on.
AL MONROE
I’m not kidding.
Beat.
129
JOE
Ohhh. Fuuuck. You’re being ironic.
130
AL MONROE
(desperate)
What?
JOE
Killing a stripper at your bachelor
party? What is this the 90s?
Classic.
(beat)
You want me to get her outta here so
you can sleep? Her money’s
downstairs, although I’m not sure we
gave her a big enough tip now I see
what’s been going on here!
He walks over, and shakes her shoulder.
JOE (CONT'D)
Time to go, babe.
No response. JOE pulls the pillow up. AL looks away,
squeamish. CASSANDRA’s face is still hidden. It takes JOE a
few seconds. He replaces the pillow.
JOE (CONT'D)
SHIT!
AL MONROE
I told you!
JOE
SHIT! Oh my god. Oh my god. The
fucking stripper is dead! YOU KILLED
THE STRIPPER! How did this happen?
AL starts to cry again. Blubbering like a child.
AL MONROE
I don’t know!
JOE goes around to comfort him. This is the beginning of
every bro comedy where a guy accidentally kills/hits/hurts a
sex worker. We’ve seen this trope before. Guys hurting women.
Guys covering for their friends. We are familiar with this
scene.
JOE
Hey man. This is not your fault ok?
AL MONROE
(sniffing)
I don’t know...it kinda seems like
it is...
131
JOE
No, it’s not!
AL MONROE
(crying)
Am I...am I going to jail? What
about the wedding? What about my
job? Anastasia is going to be so
upset. No one will understand...
JOE
It was an accident though, right?
AL MONROE
I mean-
JOE
(firm)
It was an accident, Al.
AL MONROE
Yeah. Of course. I mean, of course
it was!
JOE thinks.
JOE
Listen to me. No one is going to
jail ok? Because no one is going to
know about this. If anyone asks, we
all saw her leave last night. She
stripped and she left.
AL MONROE
(faint)
She left...
JOE
Exactly. We’ll take care of it. We
just need to hide the body til the
others go.
AL nods gratefully.
JOE (CONT'D)
Al, hey, look at me.
AL looks at JOE.
JOE (CONT'D)
This is not your fault.
132
AL MONROE
(whisper)
Thank you.
Ratings
Scene 55 - Embers of Closure
“Something Wonderful” from The King And I plays over the next
few scenes.
A thick plume of black smoke rises above the trees.
EXT. WOODS - DAY
Everyone else has gone home. In the twilight of the woods,
JOE holds onto a crying AL.
They are standing in front of a bonfire. JOE throws on the
blue wig. AL can’t look. He’s too sad. JOE comforts him. JOE
nudges CASSANDRA’s hand back onto the fire with his foot.
EXT. WOODS - DAY
The fire is dying out. JOE throws CASSANDRA’s car keys into
the embers. He gently leads AL away. Poor AL is feeling very
sorry for himself.
BLACK.
Ratings
Scene 56 - Desperate Pleas
Two cops, LINCOLN, a kindly, seasoned detective and TODD, his
smart, young partner, are interviewing a terrified SUSAN and
STANLEY.
SUSAN
Can’t you track her phone or
something?
LINCOLN
I’m sorry, ma’am. It was turned off
before she left. Seems like she
really didn’t want anyone to know
where she was.
SUSAN
It’s not like her to
just...disappear like this.
133
STANLEY
Well, honey, that’s not entirely-
SUSAN
(stern)
Stanley.
SUSAN starts to cry.
SUSAN (CONT'D)
She was getting better. She was
getting better, wasn’t she?
STANLEY comforts her.
STANLEY
Of course she was. She’ll come back.
You know what she’s like. She always
comes back.
The cops look at STANLEY. They can see from his face he
doesn’t believe this.
TODD
Was she seeing anyone? Did she have
a boyfriend?
Ratings
Scene 57 - Unraveling Secrets
RYAN is working when he hears a knock on the door. It’s
LINCOLN.
LINCOLN
Are you Dr. Cooper?
RYAN
Yeah.
LINCOLN flashes his badge.
LINCOLN
Detective Walker.
RYAN tries to stay calm. Has CASSIE sent the video?
RYAN
Sure, come in.
We can feel that LINCOLN is impressed by Ryan.
LINCOLN
Pediatric surgeon, huh?
134
RYAN
Yeah.
LINCOLN
That’s very commendable. Thank you
for all that you do for the
community.
RYAN is a little wrong-footed.
RYAN
Sure.
LINCOLN
Sorry to bother you at work, doctor.
Do you know a Cassandra Thomas?
Beat.
RYAN
(wary)
Yeah. Yes. Why?
LINCOLN
How do you know her?
135
RYAN
We were seeing each other.
LINCOLN
‘Were’ seeing each other?
RYAN
Yeah. We...we broke up a few days
ago.
LINCOLN
Define a few days.
RYAN
Um. Last Thursday.
LINCOLN
Have you had any contact since?
RYAN
No. I’m sorry, what is this
regarding?
LINCOLN
Cassandra’s parents have filed a
missing persons report.
This is a surprise.
RYAN
What? Why?
Beat.
LINCOLN
Because she’s missing.
RYAN is reeling. This doesn’t make sense.
RYAN
Since when?
LINCOLN
Since Friday.
RYAN
Jesus. Why didn’t anyone tell me?
LINCOLN
You said you were no longer her
boyfriend.
136
RYAN
I’m not but...
LINCOLN
She told her parents something about
a work trip, but her colleague
didn’t know anything about it. Do
you have any idea where she might
have been going to this weekend?
RYAN
I-
He stops. If he’s honest he could be hugely compromised. They
could find the video.
What he’s about to say is terrible.
RYAN (CONT'D)
Yeah she...said she was going on a
work trip.
LINCOLN
Any idea where?
Beat.
RYAN
No. I’m sorry.
LINCOLN
It’s alright, doc. Between you and
me, it sounded like she wasn’t
feeling so good. Mentally, I mean.
Her father seemed to think she
was... a little unstable.
Beat.
RYAN
Yeah. She was...not in a good place.
LINCOLN
You think she might have...
LINCOLN (CONT'D)
Wanted to hurt herself?
This is the get out RYAN needs. He’s happy to believe it too.
It’ll absolve him. He can be the good guy again.
137
RYAN
(relief)
Yeah. Yeah, I guess. She could have.
LINCOLN
I thought that might be the case.
Thank you for your honesty.
(beat)
Well. I don’t want to bother you
anymore, but if you wouldn’t mind
coming to the station tomorrow, you
know, for an official statement.
RYAN
(earnest)
Of course. Anything I can do to
help.
TODD
Thank you for your time, doctor.
Appreciate it.
LINCOLN leaves. RYAN watches him go. He’s gotten away with
it, but it doesn’t feel good.
Ratings
Scene 58 - A Wedding of Joy and Discontent
A beautiful day. A beautiful “artisan” woodland wedding. AL
gazes at his beautiful wife. We can just see a band aid on
his neck above his collar.
He and ANASTASIA exchange vows to a ukulele version of
“You’re Still The One” by Shania Twain. As AL takes the ring
from his best man, JOE, JOE winks at him. AL tries not to
flinch.
We weave in and out as AL kisses his bride. As they run down
the aisle to cheering. Have their photos taken. As the
gorgeous guests mill around drinking champagne and laughing.
Among it, but apart from it, is RYAN. Trying to look like
he’s enjoying himself. JOE approaches him.
JOE
Do you see that bridesmaid?
He nods over.
JOE (CONT'D)
She trained with the Circe Du
Soleil. You can come on her face and
her back at the same time.
138
RYAN
That’s nice.
JOE grins and runs over to the bridesmaid. RYAN sighs. Then-
His phone goes. It’s a message, he looks at the screen.
CASSIE.
Holy shit. He looks around, furtively reads the text.
“Scheduled Message from CASSANDRA THOMAS pending”.
What?
“No Regrets” by The Walker Brothers begins to play.
CUT TO:
MONTAGE:
Ratings
Scene 59 - Whispers of Disappearance
MONTAGE: Jordan opens a package. Inside is MADISON’s
blackberry.
He reads the letter that accompanies it. We catch a couple of
sentences. “In the event of my disappearance...Friday May
22nd...Alexander Monroe’s bachelor party...cabin....Cassie”.
He frowns as he reads, becoming increasingly troubled. He
picks up his phone, and dials.
INT. COFFEE SHOP - DAY
MONTAGE: GAIL finds another letter in the cash register,
addressed to her. It’s the other half of the BFF necklace,
this one says “CASSIE”. She looks in the envelope. No letter.
EXT. WOODS - DAY
MONTAGE: Police, with dogs, search the woods, they come
across the pile of ashes from the bonfire. Shouting,
activity. There’s nothing left. Except for the other half of
the necklace, burnt out but still readable in the ashes:
“Nina”.
BACK TO:
139
Ratings
Scene 60 - Wedding Chaos: The Arrest
“No Regrets” still playing, RYAN opens the scheduled text.
“Lucky I got insurance!”
He looks up, sirens are coming into the drive. A line of
police cars. The beautiful guests all turn to look, confused.
Series of shots:
AL MONROE looks over at JOE, both of them in a huge panic.
They didn’t get away with it.
ANASTASIA looks at her husband: what’s going on?
AL’S FATHER arguing with the police as they walk into the
wedding.
AL being put into handcuffs. He’s already crying.
His bride sobbing into her father’s shoulder.
JOE discreetly slips away.
All the guests looking on horrified.
RYAN’s phone beeps again amidst all the chaos. He looks down
at it, dazed.
From CASSIE:
“Enjoy the wedding! ;)”
THE END
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
jez | Jez's character arc follows a trajectory of moral struggle and transformation. He begins as a well-meaning but timid individual, trying to navigate the complexities of friendship and romantic interest while remaining true to his values. As he becomes increasingly influenced by his peers, he experiences a moral decline, leading him to act in ways that betray his initial compassion. This descent into manipulation serves as a critical turning point, forcing him to confront the consequences of his actions. Ultimately, Jez must choose between continuing down a dark path or reclaiming his integrity and empathy, leading to a redemptive moment where he seeks to make amends with Cassandra and assert his true self against the toxic influences around him. | Jez's character arc presents an intriguing exploration of moral conflict, but it risks becoming inconsistent due to the abrupt shift from empathy to manipulation. This transformation may feel jarring to the audience if not adequately developed. The transition from a caring individual to a predatory figure lacks sufficient buildup, which could undermine the emotional impact of his eventual redemption. Additionally, the portrayal of his impulsiveness could benefit from deeper exploration, as it currently feels somewhat superficial and may not resonate with viewers who seek a more nuanced understanding of his motivations. | To improve Jez's character arc, consider providing more gradual development of his moral decline. This could involve showcasing moments where he struggles with peer pressure and the temptation to conform, allowing the audience to empathize with his internal conflict. Incorporating flashbacks or reflections on his past values could also enhance the depth of his character. Furthermore, establishing clearer stakes for his relationship with Cassandra would make his eventual redemption more impactful. By illustrating the consequences of his actions on both himself and those around him, the audience can better appreciate his journey from manipulation back to empathy. |
cassandra |
|
Cassandra's character arc is compelling, showcasing her journey from vulnerability to empowerment. However, the transitions between her various states can feel abrupt, and her motivations may not always be clear. While her wit and sarcasm add depth, they can sometimes overshadow her emotional struggles, making it difficult for the audience to fully connect with her vulnerabilities. | To improve Cassandra's character arc, consider providing more gradual transitions between her emotional states, allowing the audience to witness her internal struggles more clearly. Incorporating flashbacks or moments of reflection could deepen her backstory and motivations, making her journey more relatable. Additionally, balancing her humor with more poignant moments of vulnerability can create a richer emotional experience for the audience, allowing them to connect with her on a deeper level. |
stanley | Throughout the screenplay, Stanley undergoes a significant character arc. Initially, he is portrayed as a passive observer, caught between his wife's worries and his daughter's desire for independence. As the story progresses, he becomes more aware of the emotional struggles within his family, leading him to confront his own fears and insecurities. By the climax, Stanley transforms from a somewhat oblivious father into a more engaged and proactive figure, taking steps to address the underlying issues affecting his family. In the resolution, he emerges as a reconciled and emotionally open father, fostering a deeper connection with Cassandra and promoting healing within the family. | While Stanley's character arc is compelling, it risks becoming predictable due to his gradual transformation from passive to proactive. The initial portrayal of him as oblivious may undermine the emotional weight of his eventual growth. Additionally, the balance between humor and seriousness could be better calibrated to ensure that his character does not come off as merely comic relief, but rather as a fully realized individual with depth and complexity. | To improve Stanley's character arc, consider introducing more pivotal moments that challenge his obliviousness earlier in the screenplay. This could involve direct confrontations with Cassandra or moments of realization that force him to reflect on his role as a father. Additionally, incorporating flashbacks or memories that highlight his past struggles or successes as a parent could add depth to his character. Finally, ensure that his humor serves to enhance his emotional journey rather than detract from it, allowing for moments of levity that still resonate with the overall themes of family and healing. |
susan | Susan's character arc follows her journey from a reserved and anxious mother to a more assertive and emotionally open individual. Initially, she struggles to communicate her concerns effectively, caught between conflicting loyalties. As the narrative unfolds, Susan confronts her own fears and insecurities, leading her to become more direct in her communication with Cassandra. This shift allows her to express her emotions more freely, ultimately fostering a deeper connection with her daughter. By the end of the feature, Susan emerges as a more empowered figure, having learned to balance her protective instincts with the need for open dialogue, paving the way for healing and reconciliation within the family. | While Susan's character arc is compelling, it could benefit from more distinct moments of transformation that highlight her growth. The progression from anxiety to empowerment feels somewhat gradual and could be punctuated by key events that catalyze her change. Additionally, her relationship with Stanley could be explored further to add depth to her internal conflict, as his suspicions contribute to her anxiety. The emotional stakes could be raised by incorporating more direct confrontations or pivotal scenes that challenge her to step out of her comfort zone. | To improve Susan's character arc, consider introducing a pivotal moment where she must choose between siding with Stanley or supporting Cassandra, forcing her to confront her fears and assert her own voice. This could be a climactic scene that serves as a turning point in her character development. Additionally, incorporating flashbacks or moments of reflection could provide insight into Susan's past experiences as a mother, enriching her motivations and making her struggles more relatable. Finally, allowing her to have a moment of vulnerability with Stanley could deepen their relationship and highlight the complexities of her role as a mother and partner. |
gail | Throughout the screenplay, Gail evolves from a frustrated boss to a more understanding mentor. Initially, she is exasperated by Cassandra's defiance and lack of ambition, but as the story progresses, she begins to recognize the deeper issues that Cassandra faces. This realization leads Gail to adopt a more supportive role, guiding Cassandra through her challenges while also confronting her own vulnerabilities revealed by the mysterious letter. By the end of the feature, Gail not only helps Cassandra find her path but also discovers her own strength and resilience, ultimately transforming her relationship with her employee into one of mutual respect and understanding. | While Gail's character is well-defined and serves multiple purposes in the narrative, her arc could benefit from deeper exploration of her backstory and motivations. The transition from frustration to understanding feels somewhat abrupt and could be more gradual to enhance emotional resonance. Additionally, the mysterious letter introduces an intriguing plot point, but its impact on Gail's character development is not fully realized, leaving a gap in her arc. | To improve Gail's character arc, consider incorporating flashbacks or dialogue that reveal her past experiences and the reasons behind her no-nonsense attitude. This would provide context for her frustrations with Cassandra and make her eventual transformation more believable. Additionally, the mysterious letter could serve as a catalyst for Gail's personal growth, prompting her to confront her own fears and insecurities. By intertwining her journey with Cassandra's, the screenplay can create a more cohesive narrative that highlights the importance of mentorship and personal growth. |
ryan | Ryan's character arc begins with him as a sweet, slightly awkward young man who is eager to connect with Cassandra. Initially, he is portrayed as a potential romantic interest, using humor and sincerity to win her over. As the story unfolds, Ryan's charm is tested by misunderstandings and emotional challenges, leading him to confront his past actions and their impact on his relationship with Cassandra. He experiences moments of shock and regret, ultimately revealing a more vulnerable side as he seeks forgiveness and understanding. By the end of the screenplay, Ryan evolves from a light-hearted suitor to a more complex character who grapples with moral dilemmas and the consequences of his choices, ultimately striving for redemption and a deeper connection with Cassandra. | While Ryan's character arc presents a compelling journey from charm to complexity, it risks becoming overly reliant on the 'nice guy' trope, which may limit his depth. His initial portrayal as awkward and humorous is engaging, but as the story progresses, the shift to moral ambiguity and internal conflict could benefit from more nuanced development. The transition from light-heartedness to emotional weight may feel abrupt if not handled carefully, potentially alienating the audience from his character. Additionally, Ryan's motivations and internal struggles could be more clearly defined to enhance his relatability and depth. | To improve Ryan's character arc, consider incorporating more moments of self-reflection that reveal his internal conflicts earlier in the screenplay. This could involve flashbacks or conversations that hint at his past actions and their consequences, allowing the audience to understand his motivations better. Additionally, introducing secondary characters who challenge Ryan's perspective could add depth to his moral dilemmas and create opportunities for growth. Balancing his charm with moments of vulnerability and self-doubt will make his journey more relatable. Finally, ensure that his resolution feels earned by allowing him to actively confront his past rather than simply reacting to it, leading to a more satisfying and transformative conclusion. |
al monroe | Al Monroe's character arc begins with him as a seemingly successful and confident individual, embodying the ideal life that Cassandra envies. However, as the story progresses, he is forced to confront the repercussions of his past actions, leading to a significant emotional decline. Initially dismissive and arrogant, Al's character experiences a transformation as he grapples with guilt and fear after a tragic event. His interactions with Cassandra reveal his vulnerability, and he becomes increasingly panicked as the situation escalates. By the end of the feature, Al is left in a state of despair, handcuffed and facing the consequences of his choices, marking a stark contrast to his earlier self-assured demeanor. This arc illustrates his journey from privilege to a sobering reality, emphasizing themes of accountability and the impact of one's actions. | While Al Monroe's character arc effectively showcases his transformation from confidence to despair, it may benefit from deeper exploration of his motivations and backstory. The initial portrayal of Al as arrogant could be nuanced to provide a clearer understanding of why he behaves this way. Additionally, the emotional weight of his guilt and fear could be further developed to create a more compelling connection with the audience. As it stands, his character may come across as somewhat one-dimensional, primarily serving as a foil to Cassandra rather than as a fully realized individual with his own struggles and growth. | To improve Al Monroe's character arc, consider incorporating flashbacks or dialogue that reveals his past experiences and the pressures he faced, which could explain his initial arrogance and subsequent vulnerability. Adding moments of introspection where Al reflects on his choices and their impact on others could deepen his emotional journey. Furthermore, introducing a subplot that highlights his relationships with other characters could provide additional layers to his character, showcasing how his actions affect those around him. This would not only enhance his complexity but also create a more engaging narrative that resonates with the audience. |
madison | Madison's character arc follows her transformation from a confident, superficial individual who uses humor to mask her insecurities, to a deeply vulnerable person who confronts her past and the consequences of her actions. Initially, she deflects serious topics with wit and charm, but as the narrative unfolds, she is forced to face her emotional turmoil and the impact of her decisions on herself and others. By the climax, Madison reveals her dark secret, leading to a moment of catharsis where she acknowledges her shame and regret. In the resolution, she begins to embrace her vulnerability, seeking redemption and a path toward healing, ultimately emerging as a more authentic version of herself. | While Madison's character arc is compelling, it risks becoming predictable as it follows a common trajectory of self-discovery and redemption. The initial portrayal of her as confident and condescending may alienate some audience members, making it challenging for them to empathize with her later struggles. Additionally, the transition from her jovial facade to emotional vulnerability could benefit from more nuanced development to avoid feeling abrupt or forced. | To improve Madison's character arc, consider incorporating more moments of genuine connection with other characters early in the screenplay, allowing the audience to see her complexity beyond her superficial charm. This could create a stronger foundation for her emotional struggles later on. Additionally, introducing a mentor or a pivotal relationship that challenges her worldview could provide depth to her journey. Gradually revealing her insecurities through small, relatable moments rather than relying solely on dramatic revelations could enhance audience empathy. Finally, ensure that her redemption feels earned by showcasing her efforts to make amends and grow, rather than simply resolving her issues in a single climactic moment. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Emotional Impact and Character Changes | Scenes with high emotional impact (scores of 9 or 10) often coincide with significant character changes. For instance, scenes 6, 13, and 53, which have the highest emotional impact scores, also show notable character development, suggesting that the author effectively uses emotional stakes to drive character evolution. |
Tone Consistency and Overall Grade | Scenes that maintain a consistent tone tend to receive higher overall grades. For example, scenes 1, 3, and 6 exhibit a strong tonal coherence and achieve overall grades of 9 or higher, indicating that the author’s ability to sustain a tone contributes positively to the screenplay's quality. |
Conflict and Story Progression | Scenes that effectively move the story forward also tend to have higher conflict scores. For example, scenes 6, 13, and 36, which are pivotal in advancing the plot, also score high in conflict, suggesting that the author successfully intertwines conflict with narrative progression. |
Dialogue Quality and Emotional Tone | Scenes with higher dialogue scores often correlate with emotional tones. For instance, scenes 3, 9, and 45, which have strong dialogue scores, also feature emotional tones that enhance the impact of the dialogue, indicating that the author’s writing style effectively leverages dialogue to evoke emotions. |
Tense Scenes and High Stakes | Scenes characterized by a tense tone frequently align with high stakes. For example, scenes 7, 29, and 54, which are marked by tension, also score high in high stakes, suggesting that the author effectively uses tension to elevate the stakes within the narrative. |
Awkwardness and Humor | Scenes that are described as awkward often incorporate humor, as seen in scenes 17, 21, and 23. This suggests that the author has a knack for blending awkward situations with humor, which can create a unique and engaging viewing experience. |
Emotional and Reflective Scenes | Scenes that are both emotional and reflective tend to score well overall. For instance, scenes 32, 38, and 44, which balance emotional depth with reflective moments, achieve higher overall grades, indicating that the author’s exploration of emotional themes resonates well with audiences. |
Dark Themes and High Emotional Impact | Scenes that explore darker themes often achieve high emotional impact scores. For example, scenes 12, 52, and 55, which delve into darker subject matter, also score high in emotional impact, suggesting that the author effectively engages the audience through challenging themes. |
Writer's Craft Overall Analysis
The screenplay demonstrates a consistent ability to create engaging scenes with realistic dialogue and relatable characters. The writer shows a strong grasp of character-driven storytelling and effectively conveys emotions and conflicts. However, there's room for improvement in crafting more complex plots, exploring deeper character motivations, and enhancing the overall narrative structure. The writer's strength lies in creating authentic and emotionally resonant moments, particularly in intimate or family settings. Several scenes indicate a talent for balancing humor and dramatic tension, though the consistency of this skill needs further development.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'The Anatomy of Story' by John Truby | This book is repeatedly recommended and addresses key improvement areas such as character development, conflict, and narrative structure. It provides a comprehensive framework for crafting compelling narratives. |
Book | 'Save the Cat!' by Blake Snyder | Frequently suggested, this book offers practical advice on plot structure, character arcs, and creating engaging storylines, which directly addresses the need for improved narrative structure and plot complexity. |
Screenplay | Screenplays by Aaron Sorkin (e.g., 'The Social Network'), Charlie Kaufman (e.g., 'Eternal Sunshine of the Spotless Mind'), and David Mamet (e.g., 'Glengarry Glen Ross') | These writers represent diverse styles, from sharp, fast-paced dialogue (Sorkin) to emotionally complex narratives (Kaufman) and intense, morally ambiguous characters (Mamet). Studying their work will expose the writer to different techniques for dialogue, character development, and creating compelling scenes. |
Book | 'Gone Girl' by Gillian Flynn | This novel, frequently recommended, excels in exploring dark themes, complex characters, and psychological tension—elements many analyses suggest the writer can further develop. |
Video | Interviews with screenwriters who excel in blending humor and social commentary (e.g., Nora Ephron, Quentin Tarantino) | This will provide valuable insights into the writing process and techniques used to create successful screenplays that combine humor, drama, and social commentary. |
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Story | Explanation |
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Promising Young Woman | Both stories center around a female protagonist who grapples with trauma related to sexual assault and seeks to confront the men who perpetuate such behavior. The tone is darkly comedic yet serious, exploring themes of consent, accountability, and the societal treatment of women. |
The Nightingale | This story features a female lead who seeks revenge against those who have wronged her and her family. It shares themes of trauma, survival, and the lengths one will go to for justice, paralleling Cassandra's journey of confronting her past and the men involved. |
Girls | The TV show follows a group of young women navigating their twenties, dealing with relationships, personal struggles, and societal expectations. The tone and character dynamics reflect similar themes of self-discovery and the complexities of modern womanhood as seen in Cassandra's life. |
Fleabag | Both narratives feature flawed female protagonists who use dark humor to cope with their emotional turmoil. The exploration of relationships, family dynamics, and the impact of past traumas resonates strongly with Cassandra's experiences. |
The Virgin Suicides | This film delves into the lives of young women facing societal pressures and personal struggles, leading to tragic outcomes. The themes of isolation, family dynamics, and the impact of societal expectations parallel Cassandra's journey and her interactions with her family. |
Revenge | This film follows a woman seeking vengeance after being wronged by a group of men. The themes of empowerment, revenge, and the consequences of male predation are central to both stories, highlighting the protagonist's transformation and moral complexities. |
Sharp Objects | This story features a female protagonist returning to her hometown to confront her past and the trauma associated with it. The exploration of family dynamics, mental health, and the impact of unresolved issues resonates with Cassandra's narrative. |
The Handmaid's Tale | Both stories explore themes of female agency, trauma, and societal oppression. The protagonist's struggle against a patriarchal society and her quest for autonomy reflect Cassandra's journey of confronting her past and reclaiming her narrative. |
Little Fires Everywhere | This story examines the complexities of motherhood, societal expectations, and personal choices. The character-driven narrative and exploration of family dynamics parallel Cassandra's relationships with her parents and her own choices. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Walk of Shame | Cassandra is seen walking down the street in last night's clothes, holding high heels, with what appears to be blood on her elbow, embodying the classic 'walk of shame' trope. | This trope often depicts a character returning home after a night of questionable decisions, typically involving a one-night stand. An example can be found in the movie 'Bridesmaids' where the character Annie experiences a similar situation. |
The Nice Guy | Jez initially appears to be a caring figure, but his actions reveal a predatory nature as he pursues Cassandra despite her inebriation. | This trope involves a male character who presents himself as kind and respectful but ultimately has ulterior motives. A well-known example is the character of David in '500 Days of Summer'. |
The Vulnerable Woman | Cassandra is portrayed as vulnerable and disoriented, especially when Jez approaches her while she is intoxicated. | This trope often depicts women in a state of weakness, making them targets for male characters. An example can be seen in 'The Girl with the Dragon Tattoo' where Lisbeth is often put in vulnerable situations. |
The Misunderstood Bad Boy | Ryan initially appears to be a good guy but has moments of insensitivity and misunderstanding towards Cassandra. | This trope involves a character who is perceived as bad or troubled but has a deeper, more sensitive side. An example is the character of Noah in 'The Notebook'. |
The Unreliable Narrator | Cassandra's perspective is often skewed by her emotional state, leading to misunderstandings and misinterpretations of events. | This trope involves a narrator whose credibility is compromised, leading the audience to question the truth of the story. An example is 'Fight Club', where the protagonist's perception of reality is distorted. |
The Love Triangle | Cassandra finds herself torn between her feelings for Ryan and her complicated past with Al. | This trope involves three characters in a romantic entanglement, often leading to conflict and drama. A classic example is 'Twilight' with Bella, Edward, and Jacob. |
The Party Gone Wrong | Cassandra's night out leads to a series of unfortunate events, culminating in a dangerous confrontation. | This trope involves a social gathering that spirals out of control, often resulting in chaos or conflict. An example is 'Project X', where a party leads to disastrous consequences. |
The Strong Female Character | Cassandra ultimately confronts her past and seeks justice for her friend, showcasing her strength. | This trope involves a female character who is portrayed as strong and capable, often breaking traditional gender roles. An example is Furiosa from 'Mad Max: Fury Road'. |
The Redemption Arc | Cassandra seeks to confront her past and find closure, indicating a journey towards redemption. | This trope involves a character who seeks to atone for their past mistakes and grow as a person. An example is Tony Stark in 'Iron Man', who evolves from a self-centered playboy to a hero. |
Theme | Theme Details | Themee Explanation | ||||||||||||
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Justice and Revenge | Cassandra's actions throughout the film are driven by a desire for justice, not only for herself but also for other victims of sexual assault. Her methods are often extreme and unlawful, highlighting the frustration and desperation felt when official channels fail. | This theme explores the complexities of seeking retribution, questioning whether justice can be achieved outside the confines of the legal system and the ethical implications of vigilante actions. It examines the cycle of violence and the potential for revenge to become its own form of trauma. | ||||||||||||
Strengthening Justice and Revenge:
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Trauma and Healing | Cassandra's past experiences with sexual assault and her subsequent struggles with emotional and psychological healing are central to the story. The film explores the lasting effects of trauma, the complexities of recovery, and the different ways people cope with their pain. | The theme investigates the ripple effect of trauma, demonstrating how past experiences can influence present relationships and decisions. It explores the challenges of seeking help and the importance of processing trauma. | ||||||||||||
Identity and Self-Discovery | Cassandra grapples with questions of identity throughout the film, struggling to reconcile her past traumas with her present self. Her relationships with men, her career choices, and her interactions with her family all contribute to her evolving sense of self. | The theme examines the process of self-discovery, particularly in the context of overcoming trauma. Cassandra's journey reveals how the past can shape our present but doesn't have to define our future. | ||||||||||||
Societal Pressures and Expectations | Cassandra confronts societal pressures related to beauty standards, career expectations, and gender roles. The film highlights how these pressures can impact women's experiences and contribute to their feelings of inadequacy and frustration. | This theme examines the ways societal expectations can exacerbate the challenges faced by trauma survivors and the difficulties of navigating a world that often overlooks or minimizes their experiences. |
Screenwriting Resources on Themes
Articles
Site | Description |
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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 characterized by a blend of gritty realism and dark humor, interwoven with sharp, witty dialogue that often reveals more through subtext and subtle gestures than explicit exposition. The narrative is driven by realistic character interactions and explores complex themes of consent, toxic masculinity, and the lasting impact of trauma. The direction emphasizes naturalistic dialogue and subtle character actions, creating a compelling sense of authenticity and emotional depth. |
Voice Contribution | The writer's voice contributes to the script by creating a nuanced and engaging portrayal of flawed characters grappling with difficult situations. The dark humor undercuts the seriousness of the themes, preventing the script from becoming overly bleak, while the realistic dialogue and character interactions make the characters relatable and their struggles deeply affecting. The exploration of subtext and unspoken tensions adds layers of complexity and depth, inviting audience interpretation and engagement. |
Best Representation Scene | 6 - Awakening Confrontation |
Best Scene Explanation | This scene is the best representation because it most effectively showcases the writer's signature blend of gritty realism, dark humor, and sharp dialogue. The sudden shift from an intimate and potentially exploitative situation to a tense confrontation is both shocking and compelling. The minimalistic direction allows the dialogue and character actions to speak volumes, creating a powerful and unforgettable moment. The ambiguity of the ending leaves the audience in suspense, encouraging reflection on the themes of consent and power dynamics, while the unexpected turn of events incorporates darkly comedic elements that perfectly capture the writer's unique style. The scene effectively conveys complex themes with subtlety and impact. |
- Overall originality score: 7.5
- Overall originality explanation: The screenplay presents a mix of familiar themes and unique situations, particularly in its exploration of consent, power dynamics, and the consequences of past actions. While some scenes depict common scenarios, such as romantic encounters and family dynamics, they are infused with fresh perspectives and emotional depth that elevate their originality. The incorporation of dark humor and social commentary on contemporary issues adds to the screenplay's uniqueness.
- Most unique situations: The most unique situations in the screenplay are Cassandra's transformation into a nurse to confront Al Monroe, the intense confrontation that leads to her death, and the subsequent emotional fallout experienced by the characters involved. Additionally, the exploration of the impact of social media and the consequences of past actions through the lens of a missing person's investigation adds a layer of originality.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability, particularly in its character arcs and the unfolding of dramatic events. The twists surrounding Cassandra's identity, the violent confrontation with Al, and the subsequent fallout create a narrative that keeps the audience guessing. The interplay between humor and dark themes further enhances the unpredictability, as characters navigate complex emotional landscapes that lead to unexpected outcomes.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the script, the protagonist, Cassandra, evolves from seeking acceptance and validation to asserting her independence and confronting her past traumas. Initially, she desires connection and care while navigating toxic environments, but ultimately strives for agency and closure regarding her friend’s trauma. |
External Goals | Cassandra's external goals transition from managing her social relationships and navigating uncomfortable situations to actively seeking justice for her friend Nina by confronting those responsible for her situation. She starts with mundane concerns like finding her phone and evolves to orchestrating a confrontation. |
Philosophical Conflict | The overarching philosophical conflict revolves around the treatment of women and the balance between empathy and objectification, highlighting the contrasts between respect and disregard for agency. This conflict is present throughout Cassandra's interactions with men and her struggle for self-assertion. |
Character Development Contribution: The goals and conflicts contribute to Cassandra's development from a passive character seeking validation to an assertive person who takes control of her narrative, showcasing her journey towards empowerment and self-acceptance.
Narrative Structure Contribution: The evolution of internal and external goals propels the narrative structure by driving Cassandra's actions and decisions, shaping the plot through her confrontations and interactions with pivotal characters.
Thematic Depth Contribution: The exploration of these goals and conflicts adds thematic depth to the screenplay by addressing issues of gender dynamics, personal accountability, and the complexities of trauma, ultimately leading to a commentary on societal norms and the journey towards healing.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay depicts a diverse range of physical environments, from gritty urban sidewalks and messy apartments to upscale hotel restaurants and a cozy suburban home. There's a contrast between the mundane (coffee shops, bars, residential areas) and the more unusual (a secluded cabin in the woods, a hospital waiting room with a red balloon). The settings are often used to highlight the emotional state of the characters, with bleakness reflecting internal turmoil and lavishness contrasting with underlying anxieties.
- Culture: The cultural elements are primarily contemporary and urban, referencing social media trends, dating app culture, the entertainment industry, hipster aesthetics, and the pressures of modern life. There's also a subtext of toxic masculinity, particularly evident in the bachelor party scene and some interactions between male characters. The celebration of birthdays and weddings provides a backdrop against which darker themes are played out. The cultural attitudes towards consent and sexual assault are central to the narrative.
- Society: The societal structure is complex, revealing class disparities (upscale restaurants versus dingy bars), power imbalances (boss-employee relationships, university authority figures), and the pressures of conforming to social expectations (social media influence, career choices). The screenplay subtly critiques societal norms surrounding victim-blaming, sexual assault, and the handling of such accusations within institutions like universities.
- Technology: Technology is integrated into the narrative subtly but effectively. Smartphones, ride-sharing apps, social media, and online videos play key roles in the plot, revealing information, driving conflict, and reflecting the characters' interconnectedness in the digital age. The presence of technology is often used to show a contrast between the digital world and the characters' real lives.
- Characters influence: The physical environment often reflects the characters' emotional states; for instance, Cassandra's messy apartment mirrors her internal chaos. Cultural pressures shape their behavior, influencing their dating choices, career aspirations, and responses to social situations. Societal structures create limitations and opportunities; the power dynamics in the workplace influence Cassandra's job choices, while social media impacts her self-perception. Technology acts as a tool for communication, surveillance, and manipulation; it facilitates both connection and isolation for different characters.
- Narrative contribution: The world-building elements propel the narrative forward. The settings establish the context for interactions and plot points, while the cultural and societal elements introduce conflicts and obstacles that the characters must overcome. The use of technology creates opportunities for dramatic revelations and plot twists. The contrasting environments heighten the tension and add layers of suspense to the story.
- Thematic depth contribution: The varied settings, cultural references, and societal structures contribute significantly to the thematic depth. The film explores themes of consent, power dynamics, societal expectations, the impact of social media, the complexities of interpersonal relationships, and the consequences of past actions. By juxtaposing different environments and cultural contexts, the screenplay creates a rich and nuanced exploration of these themes, showcasing the consequences of choices and the enduring effects of trauma.
central conflict
Cassandra's struggle against a patriarchal society that dismisses women's experiences and the trauma of her past, culminating in her quest for justice against those who wronged her.
primary motivations
- Cassandra's desire for revenge against Al Monroe for his past actions towards her friend Nina.
- The need for Cassandra to confront her own trauma and reclaim her agency.
- Ryan's conflicting feelings for Cassandra as he navigates his own moral dilemmas.
catalysts
- Cassandra's discovery of the video implicating Ryan and Al in Nina's assault.
- The emotional confrontation with her past and the realization of the systemic issues surrounding consent.
- Cassandra's decision to infiltrate Al's bachelor party as a means of confronting him.
barriers
- Cassandra's internal struggles with her own trauma and the fear of not being believed.
- The societal norms that protect male perpetrators and dismiss female victims.
- Ryan's initial inability to understand Cassandra's motivations and his own complicity in the system.
themes
- The complexities of consent and the consequences of inaction.
- The impact of trauma on personal identity and relationships.
- The critique of societal norms surrounding masculinity and femininity.
stakes
Cassandra's quest for justice not only risks her own life but also exposes the dark truths of her community, potentially leading to a broader reckoning with issues of consent and accountability.
uniqueness factor
The story uniquely blends dark comedy with a thriller narrative, exploring serious themes of trauma and justice through a female lens, subverting traditional genre expectations.
audience hook
The tension between Cassandra's quest for revenge and her emotional journey keeps viewers engaged, as they root for her to confront her past while fearing for her safety.
paradoxical engine or bisociation
The juxtaposition of Cassandra's outwardly carefree persona against her inner turmoil creates a paradox that drives the narrative, highlighting the dissonance between societal expectations and personal reality.
paradoxical engine or bisociation 2
The contrast between the comedic elements of Cassandra's interactions and the dark themes of her quest for justice serves as a bisociation, engaging the audience in a complex emotional experience.
Engine: Gemini
Highly Recommend
Executive Summary
Promising Young Woman is a highly compelling and original screenplay with a strong female protagonist and a unique narrative structure. Its strengths lie in its sharp social commentary, unpredictable plot twists, and nuanced character development. While minor pacing issues and a potential lack of emotional depth in certain scenes exist, these are significantly outweighed by the script's overall impact and originality. The ending, while controversial, is deliberate and serves the overarching themes effectively. This script has significant commercial potential and is ready for immediate production.
- The screenplay's masterful use of tone, shifting seamlessly between darkly comedic observations of everyday misogyny and intense moments of suspense and drama. This keeps the audience engaged while subtly building tension and conveying the film's central themes. high ( Scene 1 Scene 9 Scene 26 Scene 53 )
- The screenplay cleverly uses unexpected plot twists and reveals to subvert audience expectations and deliver a morally ambiguous but satisfying conclusion. The use of suspense and foreshadowing builds anticipation without resorting to cheap thrills. high ( Scene 29 Scene 50 Scene 58 )
- The protagonist, Cassie, undergoes a believable and nuanced character arc. Her motivations are clear, her actions are driven by her trauma, and her eventual growth (though bittersweet) feels earned. high ( Scene 7 Scene 14 Scene 32 Scene 43 Scene 45 )
- The dialogue is sharp, witty, and often darkly humorous, adding layers of complexity to the characters and their interactions. It reflects the nuanced social commentary of the film while propelling the plot forward. medium ( Scene 19 Scene 25 Scene 36 )
- The ending is shocking, unexpected, and deeply satisfying. It leaves a lasting impression and successfully ties together the themes of the film while offering a powerful message about justice and accountability. high ( Scene 58 Scene 59 Scene 60 )
- In some scenes involving Cassie's interactions with men, the pacing could be slightly tightened. The confrontations, while effective, could benefit from more concise dialogue and quicker shifts in tension. medium ( Scene 11 Scene 12 Scene 13 )
- While the emotional core of the film is strong, some scenes could benefit from deeper exploration of Cassie's emotional state and her relationships with supporting characters like Nina's mother. This would add another layer of emotional impact. low ( Scene 38 Scene 46 )
- The shift in Cassie's demeanor from calculating avenger to vulnerable, loving person could use a bit more gradual transition, making the change feel more organically developed. low ( Scene 44 )
- The screenplay could benefit from adding a brief flashback or dream sequence to show Cassie's actual experience with Nina's assault. This would further contextualize her actions and create a stronger emotional connection for the audience. However, the current ambiguity is also effective in forcing the viewer to consider the unspoken trauma. low
- The screenplay's use of music is outstanding. The carefully selected tracks enhance the tone and create a unique atmosphere, contributing significantly to the film's overall impact. high ( Scene 1 Scene 29 Scene 53 )
- The use of visual storytelling through camera angles and framing is very effective. It underscores the themes of the film without being heavy-handed. medium ( Scene 19 Scene 43 Scene 47 )
- The use of scheduled texts adds an unexpected layer of complexity and suspense to the plot, enhancing the impact of the ending. medium ( Scene 60 )
- Underestimation of the long-term psychological impact of trauma While the script effectively portrays Cassie's anger and desire for revenge, it could benefit from a more in-depth exploration of the complex psychological effects of her trauma, beyond anger and the immediate desire for retribution. For example, there is limited exploration of PTSD, depression or other common symptoms associated with such experiences. The reliance on revenge as the primary coping mechanism overshadows other potential aspects of long-term trauma. medium
- Inconsistent Characterization In a few instances, Cassie's characterization seems inconsistent. There are moments where her ruthless determination gives way to more vulnerable emotions, which, while intended to show depth, may appear jarring to the audience without sufficient transition and explanation. low
Engine: Claude
Recommend
Executive Summary
The screenplay for "Promising Young Woman" is a stylish, subversive thriller that subverts audience expectations and challenges the status quo. It follows the journey of Cassandra, a brilliant medical school dropout who is haunted by a traumatic event from her past. Seeking revenge, she enacts an elaborate plan to confront the men who wronged her friend Nina, exposing the toxic attitudes and enablement that allowed them to escape consequences. The screenplay's deft exploration of themes like gender dynamics, rape culture, and the corrosive impact of trauma makes it a compelling, thought-provoking narrative.
- The screenplay opens with a compelling, atmospheric sequence that immediately establishes the dark, predatory tone. The scene in Jez's apartment, where Cassandra is nearly assaulted, is a powerful, tense sequence that effectively sets up the central conflict and Cassandra's motivations. high ( Scene 1 (INT. SWEET SIXTEEN'S UPSTAIRS BAR - NIGHT) Scene 6 (INT. JEZ'S APARTMENT - BEDROOM - MOMENTS LATER) )
- The scene in which Cassandra confronts Dean Walker about the university's mishandling of Nina's assault is a standout. The dialogue is sharp and emotionally charged, and the scene effectively highlights the institutional failings that enable sexual predators to escape consequences. high ( Scene 29 (INT. FORREST UNIVERSITY - DEAN'S OFFICE - MOMENTS LATER) )
- The sequences set in the cabin, where Cassandra confronts Al Monroe, are tense, well-paced, and deliver a powerful emotional payoff. The way the story builds to this climactic moment, and the nuanced exploration of the characters' motivations, makes for gripping, thought-provoking viewing. high ( Scene 52 (INT. CABIN HOUSE - LOUNGE - MOMENTS LATER) Scene 53 (INT. CABIN HOUSE - BEDROOM - NIGHT) )
- The scenes depicting Cassandra's relationship with Ryan are a strength, providing a welcome emotional counterpoint to the darker, more revenge-driven elements of the story. The dialogue and character interactions feel authentic, and Ryan's arc is compelling. medium ( Scene 41 (INT. RYAN'S APARTMENT - BEDROOM - DAY) Scene 45 (INT. RYAN'S APARTMENT - BEDROOM - DAY) )
- The screenplay's non-linear structure, which interweaves flashbacks and glimpses into Cassandra's personal life and obsession, is an effective storytelling device that keeps the audience engaged and intrigued. medium ( Scene 11 (INT. CASSANDRA'S HOUSE - BEDROOM - NIGHT) Scene 24 (INT. CASSANDRA'S HOUSE - BEDROOM - LATER) )
- While the scenes involving Madison are important for advancing the plot and exploring Cassandra's motivations, they could be tightened and streamlined to maintain the narrative's momentum. There are moments where the dialogue feels slightly repetitive or drawn out. medium ( Scene 28 (INT. HOTEL ST. JOAN RESTAURANT - MOMENTS LATER) Scene 26 (INT. HOTEL ST. JOAN RESTAURANT - LATER) )
- The screenplay could benefit from more consistent pacing. While the slower, more introspective scenes are effective, there are moments where the narrative lags, and the story could move forward at a brisker pace. medium ( Scene 8 (INT. MAKE ME COFFEE SHOP - LATER) Scene 9 (INT. MAKE ME COFFEE SHOP - AFTERNOON) )
- The scenes involving Cassandra's parents, while adding emotional depth, could be more integrated into the overall narrative. There's a sense that these sequences act as brief interludes rather than being fully woven into the story. medium ( Scene 51 (INT. CASSANDRA'S HOUSE - LIVING ROOM - DAY) Scene 56 (INT. CASSANDRA'S HOUSE - KITCHEN - DAY) )
- The scenes with Jordan could be further developed to provide more insight into his character and the larger systemic issues explored in the screenplay. As written, these sequences feel a bit abrupt and underdeveloped. medium ( Scene 35 (INT. JORDAN'S HOUSE - LIVING ROOM - MOMENTS LATER) Scene 36 (INT. JORDAN'S HOUSE - LIVING ROOM - MOMENTS LATER) )
- The scene with Ryan and the detective could be expanded upon to further explore Ryan's arc and the emotional aftermath of Cassandra's disappearance. As is, it feels a bit rushed and underdeveloped. medium ( Scene 57 (INT. BATHORY HOSPITAL - RYAN'S OFFICE - DAY) )
- The screenplay could benefit from a more explicit exploration of the emotional and psychological impact of the video footage on Cassandra. While the revelation is impactful, the script could delve deeper into how this new information affects Cassandra and her decision-making going forward. medium ( Scene 48 (INT. CASSANDRA'S HOUSE - KITCHEN - LATER) )
- The screenplay could benefit from more insight into the aftermath of Cassandra's confrontation with Al Monroe, particularly the events leading up to and following her death. While the script effectively depicts the immediate aftermath, a deeper exploration of the emotional and psychological ramifications could elevate the storytelling. medium ( Scene 54 (INT. CABIN - BEDROOM - MORNING) Scene 55 (EXT. WOODS - DAY) )
- The script could delve deeper into the broader implications of the misogynistic attitudes and behaviors exhibited by the male characters in the opening sequences. While these scenes effectively establish the film's themes, a more explicit exploration of how these attitudes permeate society could strengthen the narrative's impact. medium ( Scene 1 (INT. SWEET SIXTEEN'S UPSTAIRS BAR - NIGHT) Scene 6 (INT. JEZ'S APARTMENT - BEDROOM - MOMENTS LATER) )
- The confrontation between Cassandra and Dean Walker is a standout moment that effectively highlights the institutional failings in addressing sexual assault. The dialogue is sharp, and the scene powerfully conveys the emotional toll of Cassandra's trauma and the university's complicity. high ( Scene 29 (INT. FORREST UNIVERSITY - DEAN'S OFFICE - MOMENTS LATER) )
- The sequences set in the cabin, where Cassandra confronts Al Monroe, are a notable highlight of the screenplay. The way the story builds to this climactic moment, the nuanced exploration of the characters' motivations, and the tense, gripping nature of the scenes make for a powerful and thought-provoking narrative. high ( Scene 52 (INT. CABIN HOUSE - LOUNGE - MOMENTS LATER) Scene 53 (INT. CABIN HOUSE - BEDROOM - NIGHT) )
- The scenes depicting Cassandra's relationship with Ryan are a notable strength, providing a welcome emotional counterpoint to the darker, more revenge-driven elements of the story. The dialogue and character interactions feel authentic, and Ryan's arc is compelling. medium ( Scene 39 (INT. RYAN'S APARTMENT - LIVING ROOM - MOMENTS LATER) Scene 45 (INT. RYAN'S APARTMENT - BEDROOM - DAY) )
- The screenplay's non-linear structure, which interweaves flashbacks and glimpses into Cassandra's personal life and obsession, is an effective storytelling device that keeps the audience engaged and intrigued. medium ( Scene 11 (INT. CASSANDRA'S HOUSE - BEDROOM - NIGHT) Scene 24 (INT. CASSANDRA'S HOUSE - BEDROOM - LATER) )
- The final sequences, depicting the aftermath of Cassandra's confrontation with Al Monroe, are a notable highlight. The script effectively conveys the emotional weight and moral ambiguity of the situation, leaving the audience with a sense of unease and contemplation. high ( Scene 54 (INT. CABIN - BEDROOM - MORNING) Scene 55 (EXT. WOODS - DAY) )
- Representation of diverse perspectives The screenplay could benefit from a more diverse representation of characters and perspectives. While the central narrative focuses on Cassandra's experience, the supporting characters are predominantly white and male. Incorporating a broader range of identities and lived experiences could further enrich the storytelling and provide a more nuanced exploration of the film's themes. medium
- Pacing and structure While the screenplay's non-linear structure is an effective storytelling device, there are moments where the pacing feels uneven, with some scenes dragging or feeling slightly repetitive. Tightening the pacing and maintaining a more consistent narrative momentum could help elevate the overall polish and professionalism of the script. medium
- Character development The screenplay could benefit from more consistent character development, particularly in the supporting roles. While the central characters of Cassandra, Ryan, and Al Monroe are well-drawn, some of the secondary characters feel a bit one-dimensional or underdeveloped. Providing more depth and nuance to these supporting players could strengthen the overall storytelling. medium
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'Promising Young Woman' is a bold and provocative exploration of trauma, revenge, and societal complicity in sexual violence. It effectively combines dark humor with a gripping narrative that keeps the audience engaged while addressing serious themes. The character of Cassandra is well-developed, showcasing a complex emotional journey that resonates deeply. The screenplay's unique structure and pacing create a compelling viewing experience, making it a standout piece in contemporary cinema.
- The screenplay effectively establishes a strong tone and atmosphere from the very beginning, drawing the audience into Cassandra's world and her motivations. high ( Scene Sequence number 1 (INT. SWEET SIXTEEN’S DANCEFLOOR - NIGHT) Scene Sequence number 56 (INT. CABIN - BEDROOM - MORNING) )
- Cassandra's character arc is compelling and well-developed, showcasing her transformation from a traumatized individual to a woman seeking justice. high ( Scene Sequence number 14 (INT. CASSANDRA’S HOUSE - BEDROOM - NIGHT) )
- The screenplay's pacing is well-executed, maintaining tension and engagement throughout, particularly in the lead-up to the climax. high ( Scene Sequence number 40 (INT. CASSANDRA'S HOUSE - LIVING ROOM - DAY) )
- The dialogue is sharp and impactful, effectively conveying the characters' emotions and motivations while also providing moments of dark humor. high ( Scene Sequence number 50 (INT. BATHORY HOSPITAL - RYAN’S OFFICE - LATER) )
- The screenplay's conclusion is powerful and thought-provoking, leaving the audience with lingering questions about justice and accountability. high ( Scene Sequence number 58 (EXT. LAWN - DAY) )
- Some supporting characters could be more fleshed out to enhance the narrative depth and provide additional perspectives on the central themes. medium ( Scene Sequence number 8 (INT. MAKE ME COFFEE SHOP - LATER) )
- There are moments where the pacing feels slightly rushed, particularly in the transition between key emotional beats. medium ( Scene Sequence number 22 (INT. MAKE ME COFFEE SHOP - DAY) )
- The motivations of some male characters could be explored further to provide a more nuanced view of their actions and complicity. medium ( Scene Sequence number 19 (INT. CASSANDRA'S HOUSE - KITCHEN - MORNING) )
- The screenplay could benefit from a clearer resolution for some subplots, particularly those involving secondary characters. medium ( Scene Sequence number 35 (EXT. JORDAN’S HOUSE - DAY) )
- Some scenes could be trimmed or condensed to maintain a tighter narrative flow and enhance overall impact. medium ( Scene Sequence number 12 (INT. NEIL’S APARTMENT - LATER) )
- There is a lack of exploration into the emotional aftermath of Cassandra's actions on her relationships, particularly with Ryan. high ( Scene Sequence number 3 (INT. SWEET SIXTEEN’S UPSTAIRS BAR - LATER) )
- The screenplay could include more scenes that depict the societal reactions to Cassandra's actions, enhancing the thematic depth. medium ( Scene Sequence number 21 (INT. BATHORY HOSPITAL - WAITING ROOM - EVENING) )
- There is a missed opportunity to delve deeper into the psychological impact of the events on Cassandra's family. medium ( Scene Sequence number 47 (INT. CASSANDRA'S HOUSE - LIVING ROOM - MOMENTS LATER) )
- The motivations behind some of the male characters' actions could be more thoroughly examined to avoid one-dimensional portrayals. medium ( Scene Sequence number 30 (EXT. CABIN HOUSE - EVENING) )
- The screenplay could benefit from additional context regarding the societal issues surrounding sexual violence and accountability. medium ( Scene Sequence number 5 (INT. JEZ’S APARTMENT - LATER) )
- The opening scene effectively sets the tone for the film, juxtaposing humor with a serious subject matter. high ( Scene Sequence number 7 (EXT. STREET - DAWN) )
- The interactions between Cassandra and her parents provide a poignant insight into the familial impact of trauma. high ( Scene Sequence number 44 (INT. CASSANDRA’S HOUSE - DINING ROOM - NIGHT) )
- The climax is both shocking and impactful, effectively delivering the film's central message about accountability. high ( Scene Sequence number 56 (INT. CABIN - BEDROOM - MORNING) )
- The use of montage in the final act effectively ties together the various narrative threads and themes. high ( Scene Sequence number 59 (INT. JORDAN’S HOUSE - LIVING ROOM - DAY) )
- The screenplay's ability to blend humor with dark themes is a notable strength, making it both entertaining and thought-provoking. high ( Scene Sequence number 58 (EXT. LAWN - DAY) )
- Character Depth The screenplay occasionally lacks depth in its supporting characters, making them feel one-dimensional. For example, male characters often fall into stereotypical roles without sufficient backstory or motivation. medium
- Pacing Issues Some scenes feel rushed or overly drawn out, particularly in transitions between emotional beats. This can disrupt the overall flow of the narrative. medium