Poor Things
Executive Summary
Poster
Overview
Genres: Drama, Romance, Mystery, Adventure, Social Commentary, Erotic, Comedy, Tragedy, Psychological Thriller, Dark Comedy
Setting: Various time periods including modern day and historical settings, Primarily in Paris, London, and a brothel
Overview: Poor Things follows Bella's journey of self-discovery and redemption as she navigates the harsh realities of poverty, prostitution, and manipulation. From witnessing suffering in Alexandria to confronting her past in a Paris brothel, Bella grapples with identity, forgiveness, and the complexities of human relationships.
Themes: Identity and Self-Discovery, Power Struggles and Control, Emotional Manipulation, Social Injustice and Poverty, Forgiveness and Redemption
Conflict and Stakes: The primary conflicts revolve around Bella's struggle with her past, identity, and relationships, as well as the emotional manipulation she faces. The stakes include her autonomy, emotional well-being, and future decisions.
Overall Mood: Tense, emotional, reflective
Mood/Tone at Key Scenes:
- Scene 4: Dark humor, surrealism, and melancholy as Bella navigates her encounters in the brothel
Standout Features:
- Complex Characters: Bella's evolution and struggles provide depth and emotional resonance to the story.
- Emotional Manipulation: The portrayal of manipulation and its impact on Bella adds tension and complexity to the narrative.
- Historical and Modern Blend: The mix of historical and modern settings offers a unique backdrop for the characters' journeys.
- Exploration of Identity: The theme of identity and self-discovery adds layers to the characters and their interactions.
- Twists and Turns: The screenplay includes unexpected plot developments that keep the audience engaged and guessing.
- Social Commentary: The exploration of societal norms and issues adds relevance and depth to the story.
- Character Relationships: The dynamics between characters, especially Bella and Alfie, provide emotional depth and conflict.
- Visual Contrast: The contrast between luxurious settings and poverty adds visual interest and thematic depth to the screenplay.
Comparable Scripts:
- Les Misérables
- Moulin Rouge!
- The Handmaid's Tale
- The Shape of Water
- Cabaret
- The Night Porter
- Pretty Baby
- The Piano Teacher
Writing Style:
The screenplay exhibits a diverse array of writing styles, blending elements of drama, dark humor, and philosophical exploration. Complex character dynamics, unexpected twists, and emotionally resonant storytelling are prevalent throughout.
Style Similarities:
- Charlie Kaufman
- Quentin Tarantino
- David Mamet
Pass/Consider/Recommend
Recommend
Explanation: The screenplay for 'Poor Things' is a compelling and complex narrative that explores themes of identity, morality, and the human condition. The script demonstrates a strong understanding of character development, particularly in the portrayal of Bella's transformation from a naive, sheltered woman to a more worldly and self-assured individual. The introduction of the menacing character of Alfie adds a layer of suspense and tension to the story, while the unique premise of Bella's creation and her relationship with Baxter adds depth and complexity to the narrative. The screenplay could benefit from more consistent and grounded portrayals of Bella's experiences in the brothel, as well as more development and exploration of Alfie's backstory and motivations. Additionally, the screenplay could use more closure and coherence in the resolution of Duncan's storyline and the relationship between Bella, Prim, and Felicity. Overall, the screenplay for 'Poor Things' is a well-crafted and thought-provoking work that is recommended for consideration.
USP: This script stands out as a gripping and thought-provoking exploration of moral complexities, societal inequalities, and the boundaries of human relationships. It fearlessly delves into the harsh realities of poverty, prostitution, and the struggle for identity, offering a raw and unflinching perspective through its unique blend of compelling characters, evocative settings, and a distinct narrative voice characterized by raw emotions, incisive wit, and philosophical depth. The script's exploration of psychological conflicts and ethical dilemmas provides a rich source of material for actors, inviting them to dive deep into the complexities of the human condition.
Market Analysis
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 18-45, fans of drama, romance, and historical settings
Marketability: The screenplay offers a mix of drama, romance, and historical elements that can attract a diverse audience.
The unique blend of genres, complex characters, and emotional depth make it appealing to a wide range of viewers.
The exploration of societal issues, emotional conflicts, and character development adds depth and relatability to the story.
Profit Potential: Moderate to high, depending on marketing and critical reception. The screenplay's unique elements and emotional depth can attract audiences and potentially lead to awards recognition.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by raw and emotional dialogue, vivid descriptions of contrasting settings, a focus on moral dilemmas, dark humor, and a blend of cynicism and idealism.
Best representation: Scene 4 - Dramatic Revelations and Independence. This scene is the best representation because it encapsulates the writer's unique voice through its intense and uncomfortable themes, raw and gritty dialogue, and vivid portrayal of the characters' interactions in a brothel setting.
Memorable Lines:
- Duncan: YOU ARE A MONSTER. A WHORE AND A MONSTER! You are a demon sent from hell to rip my spirit to shreds to punish my tiny sins with a tsunami of destruction. (Scene 2)
- Bella: I'd rather you shot me in the fucking heart. (Scene 10)
- Bella: A terrible thing has happened Swiney. I feel almost nothing, and my empathy is creeping towards something I would describe as contemptuous rage. (Scene 6)
- Bella: I arrived home and I smelt the formaldehyde and I knew what is next. I will be a doctor. (Scene 7)
- Bella: As God my father says, it is only the way it is until we discover the new way it is and then that is the way it is until we discover the new way it is and so it goes until the world is no longer flat, electricity lights the night and shoes no longer are tied with ribbons. You see. (Scene 3)
Characters
Bella:A complex character who transitions from a compassionate woman to a prostitute, struggles with her identity and past
Alfie:Bella's husband who has a cruel streak and manipulates her, leading to conflicts and confrontations
Max:A character who operates on Alfie and plays a significant role in Bella's life and decisions
Swiney:The madam of the brothel who manipulates Bella emotionally and plays a pivotal role in her journey
Duncan:A character who accuses Bella of theft and later forgives her, adding to the emotional conflicts in the story
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 - Generosity and Financial Struggles | Shocking, Desperate, Hopeful, Cynical | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
2 - Bella's Uncomfortable Encounter | Intense, Emotional, Confrontational | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
3 - Manipulation in the Paris Brothel | Dark, Cynical, Satirical | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
4 - Bella's Adventures in a Paris Brothel | Dark, Sensual, Cynical | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
5 - Dramatic Revelations and Independence | Dark, Sarcastic, Satirical | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 8 | 5 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
6 - Emotional Turmoil and Hidden Truths | Dark, Intense, Mysterious, Emotional | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
7 - The Confrontation | Melancholic, Reflective, Intimate | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
8 - A Wedding Interrupted | Intense, Emotional, Dramatic, Reflective | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 7.5 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
9 - Awkward Reunion and Unsettling Revelations | Awkward, Confused, Dark, Humorous | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
10 - Confrontation and Threat | Intense, Dark, Disturbing, Confrontational | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
11 - Confrontation and Aftermath | Dark, Intense, Emotional, Surreal | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 |
Scene 1 - Generosity and Financial Struggles
The ship is approaching Alexandria.
94 INT SHIP HALLWAY - DAY 94
Bella and Harry, walk past the casino. Can see Duncan
playing.
95 EXT ALEXANDRIA LIGHTHOUSE TO HOTEL - DAY 95
Bella and Harry travelling in a cable car.
96 CHAPTER HEADING: 96
ABSTRACT IMAGE OF BELLA ARRIVING IN ALEXANDRIA - BUBBLE
97 INT ALEXANDRIA HOTEL - DAY 97
Harry and Bella take breakfast on the balcony of the hotel
above the garden. Bella hears distant wailing.
HARRY
Can you hear that?
BELLA
What is it?
He motions she follow him, they follow the sound. She walks
to the end of the balcony, steps up onto step of the balcony
so she can peer over the walls of the hotel.
Below lies a slum, outside the hotel walls. She looks down in
horror at a sprawling mess of impoverished, desperate people,
mangy dogs, impoverished goats. Squalor, flies and mud.
HARRY
Lot of dead babies. Guess it’s hot.
Bella stares, shocked.
BELLA
We must go help them!
HARRY
And how will we do that?
Poor Things - Final Cut 54.
BELLA
I...
HARRY
We go down there, they’ll quite
rightfully rope us, rob us and rape
us. And if they were here and we
were there we would do the same to
them.
Bella runs.
98 INT ALEXANDRIA HOTEL STAIRS - DAY 98
She runs down the stairs screaming, tripping and falling.
Harry catches up to her, puts his hand over her mouth. She
clamps her teeth on his hand.
99 EXT SHIP HALLWAY - DAY 99
Bella walks shellshocked along the hallway.
100 INT CABIN - NIGHT 100
Bella wakes to find dinner suited Duncan, asleep, an empty
bottle of whisky on his chest, some of the content poured all
over his shit when he passed out. He is covered in money. A
couple of stacks on the bedside table as well. Bella stares
at it.
She gets up, gathers up the money into a bag. And heads out.
101 EXT SHIP - NIGHT 101
Bella walks to the walkway off the boat. Two stewards are
preparing to cast off.
STEWARD
We are casting off ma’am.
BELLA
But I must go back? I must give
this money to the poor near the
hotel, in something called a slum.
STEWARD 2
We are staying ashore Ma’am. We can
take care of that for you.
BELLA
You can?
STEWARD
Of course, it is generous of you.
Poor Things - Final Cut 55.
BELLA
They need money.
STEWARD
Everyone does.
BELLA
Thank you.
She heads off back up the plank. The two stewards smile at
each other, check the money.
102 INT CABIN HALLWAY - NIGHT 102
Bella walks down the hall. A steward stands in the doorway of
the cabin.
Bella hears Duncan’s voice as she approaches.
DUNCAN
(to the steward)
You get me the Captain! Now, we’ll
find this fucken thief!
He sees Bella. She sees he is upending the room.
DUNCAN (CONT’D)
Bella! We’ve been robbed. I won! I
won everything, like never before!
But now it’s gone!
BELLA
You haven’t been robbed. I took it.
DUNCAN
What?
BELLA
I took it.
She wanders in and flops down on the bed.
BELLA (CONT’D)
I am so tired. Or maybe just my
spirit is. My soul has been
buckled, crumpled, flattened,
Duncan Wedderburn by the sights I
have seen.
He stares at her nonplussed.
STEWARD
So, no need for the Captain then
sir?
Poor Things - Final Cut 56.
DUNCAN
Fuck off before I break all your
teeth!
STEWARD
Indeed sir.
DUNCAN
Where is it?
She cries.
DUNCAN (CONT’D)
You hid it for safety. I was drunk
and foolishly left it everywhere.
What a relief.
BELLA
I did not hide it. I gave it all
away to these poor people, out
there. Money is its own form of
sickness or at least the scarcity
of it. And who am I lying on a
featherbed as dead babies lie in
a...Oh Duncan.
DUNCAN
You what?
BELLA
I am expecting a hug of solace.
DUNCAN
You...
BELLA
I need to offer something to the
world and yet I have nothing.
Except some money. It is a bad day
for Bella Baxter.
He grabs her hard.
DUNCAN
Where is my fucking money?!
BELLA
I just told you I gave it away to
the poor.
The steward returns, knocks on the still open door. An
officer with him.
DUNCAN
I thought I told you to fuck off?!
Poor Things - Final Cut 57.
OFFICER
The steward informs me you may not
have sufficient funds to make good
your account sir.
BELLA
That is probably true, I gave it
all away to some nice men to pass
onto the slum poor.
The steward smiles.
OFFICER
You will be offloaded at the next
port and confined to staff rations
until then. Good evening.
DUNCAN
How dare you?!
The steward steps forward and punches Duncan in the stomach,
winding him. He pushes him over and pulls the door shut.
103 INT BAXTER’S DINING ROOM - DAY 103
A letter from Bella, paper with ‘aaaa ded blnd bibys
nooooooooooo bit hrry’ scrawled across pages is laid out on
the table in lots of sheets, Baxter sits reading it.
BAXTER
(reading)
Dead blind babies, bit harry, my
mouth was full of blood. Poor
Bella, she is a ruin.
104 EXT SHIP DECK - DAY 104
Bella and Harry, Harry’s hand bandaged walk up the plank.
BELLA
How is your hand?
HARRY
Fine. I’m sorry.
BELLA
You were trying to help me
understand.
HARRY
No. I actually wanted to hurt you.
I couldn’t bear to see such dumb
beautiful happiness in someone. It
was cruel of me.
Poor Things - Final Cut 58.
BELLA
I am not sorry. If I know the world
I can improve it.
HARRY
You can’t Bella. That is the real
point. Don’t accept the lie, of
religion, socialism, capitalism, we
are a fucked species. Know it. Hope
is smashable. Realism is not.
Protect yourself with the truth.
Bella looks at him.
BELLA
I realize what you are now Harry,
just a broken little boy who cannot
bear the pain of the world.
HARRY
I suppose so.
She kisses him on the cheek.
BELLA
Goodbye Harry. We get thrown off in
Marseille.
HARRY
Why do you stay with him.
BELLA
I always think it will be better.
HARRY
Of course you do.
She walks off.
CUT TO
105 CHAPTER HEADING: 105
ABSTRACT IMAGE OF BELLA ARRIVING IN PARIS
- FLOATING.
106 EXT A SQUARE IN PARIS - DAY 106
A wide view of Paris. Bella and Duncan huddle under an
umbrella on a park bench. A small dog sniffs at them.
BELLA
I have heard great things of the
beauty of Paris.
The dog’s owner comes by.
Poor Things - Final Cut 59.
DUNCAN
I will kick your dog to death.
Fucken Paris with no money. What do
you suggest we do Bella?
BELLA
I will get us a hotel. Do not
worry.
DUNCAN
Uh huh. With what?! We have no
money!
BELLA
Is it not an interesting
experiment? We have nothing, how
will we live now?
DUNCAN
I don’t know!
BELLA
Exactly. That is the experiment. We
are now the poor. Also many
adventurers have faced these odds.
Robinson Crusoe for instance.
Duncan starts weeping into his hands.
DUNCAN
Selfish, thoughtless, careless
bitch.
BELLA
I’m not thoughtless Duncan. And
while it is true my ability to
think things through to the logical
conclusions is not strong, I did
help those suffering people.
I have ruined us as you point out,
but I still believe my actions came
from a good-
DUNCAN
SHUT. THE. FUCK. UP.
BELLA
I will get us a hotel.
107 EXT SQUARE PARIS - DAY 107
She sees a hotel across the square. A woman in her 40s smiles
at her.
BELLA
Good afternoon Madam.
Poor Things - Final Cut 60.
SWINEY
Good day my fresh, darling, English
rose.
BELLA
Is this a hotel?
SWINEY
We have rooms. Are you looking for
work?
BELLA
How much is a room?
SWINEY
I charge you 10 francs an hour. You
charge them thirty, everyone’s
happy.
BELLA
Hmmm. I see.
SWINEY
Monsieur Chapelle. Fresh from
London. Qu’en dites vous?
He looks Bella up and down.
CHAPELLE
Enchanté. Hello. Elle fera
l’affaire.
SWINEY
Take room 16.
He heads up.
CHAPELLE
Merci.
SWINEY
So. Off you go?
BELLA
At this point I am confused.
SWINEY
You are not here to work? C’mon,
lay with him, let him cock you a
bit and make some nice francs.
BELLA
I see. He would pay me for this?
SWINEY
Yes. If you need money, it is the
shortest route to it.
Poor Things - Final Cut 61.
BELLA
I have never been ‘cocked’ by
another man, and yet have wondered
on that. And am in need of funds.
It is I believe, a confluence of
circumstances I regard as almost
fate-like. Let us do this.
Ratings
Scene 2 - Bella's Uncomfortable Encounter
SWINEY
Room 16.
Bella makes her way upstairs.
109 INT HOTEL ROOM PARIS - DAY 109
Bella enters the room. The man sits naked on a chair smoking
a pipe.
CHAPELLE
Allonge toi.
BELLA
Your name?
He shakes his head no.
BELLA (CONT’D)
Mysterious.
She lays down. He pushes her dress up. Lays down on her.
Starts to position himself.
BELLA (CONT’D)
Should we warm me up a bit fir-
He thrusts himself into her.
BELLA (CONT’D)
Ow.
He thrusts himself into her three times.
CHAPELLE
Aaaaaaaagh!
She holds in a laugh. He gets up. Nods politely.
CHAPELLE (CONT’D)
Merci.
110 INT PARK PARIS - DAY 110
Bella walks back along the park, carrying a chocolate eclair.
Poor Things - Final Cut 62.
BELLA
Good day sir. Eclair au chocolat. I
have come into some money, and some
enlightenment.
DUNCAN
You stole it?!
BELLA
You have always said you are the
best bedman in the world, and I
have never known another so knew
not whether this was true. But now
I do! And he was terrible and made
an ungodly noise as he thrust
himself into me, and a mere three
thrusts Duncan Wedderburn was all
he could manage! Well I stifled a
laugh out of polites of course,
took his money, thanked him,
laughed all the way to buy us this
eclair, and thought so fondly as I
remembered all the fierce sweaty
nights of ours.
DUNCAN
You... fucked for money?
BELLA
And as an experiment. Which I think
will aid us in our relationship as
it gladdens my heart for you, and
my heart has been a little bit dim
on your weepy sweary person lately.
He throws the eclair at her.
DUNCAN
YOU ARE A MONSTER. A WHORE AND A
MONSTER! You are a demon sent from
hell to rip my spirit to shreds to
punish my tiny sins with a tsunami
of destruction. To take my heart
and pull it like taffy, to ruin me.
I look at you and see nothing but
ugliness.
BELLA
That last bit was uncalled for and
makes no sense as your odes to my
beauty have been boring but
constant and now a simple act of
letting old wrinkled man ride on me
seems to erase this.
DUNCAN
Fuuuck! You whored yourself.
Poor Things - Final Cut 63.
BELLA
Which now you are going to explain
to me is bad. Can I never win with
you?!
DUNCAN
It is the worst thing a woman can
do.
BELLA
We should definitely not ever
marry. I am a flawed experimenting
person so I will need a husband
with a more forgiving disposition.
DUNCAN
Cunnnnt.
BELLA
My instinct now tells me you are
not that. Our adventure is clearly
over.
She rips open stitching in her dress, pulls God’s bills
forth.
BELLA (CONT’D)
I shall buy you a passage back to
London.
Duncan stares at her.
DUNCAN
You had money?! The whole time!
BELLA
It is God’s money for emergencies.
DUNCAN
It has been a fucking emergency for
weeks!
BELLA
I believed in you the whole time.
That you would rise to the
occasion. Now however I see that
was misplaced and there is
something broken in you.
DUNCAN
You broke that something in me!
BELLA
I feel this conversation has become
circular.
DUNCAN
Cuuuunt!
Poor Things - Final Cut 64.
Duncan grabs all the cash out of her hand, and runs.
111 INT PARIS BROTHEL FOYER - DAY 111
Bella stands before Swiney.
BELLA
Madam Swiney, I have examined my
situation. I need sex and money. I
could take a lover, another
Wedderburn who would keep me, but
may require an awful lot of
attention or it’s twenty minutes at
a time and the rest of my day is
free to study on the world and the
improving of it. Hence I seek
employment, in your musty smelling
establishment of good time
fornication.
Swiney smiles at her.
SWINEY
A woman plotting her course to
freedom. How delightful. Come.
A group of women sit on chairs in the small foyer, waiting
for clients. Swiney enters with Bella.
CUT TO
The small bell on the door rings. The girls look up. A large
butcher enters.
SWINEY (CONT’D)
Ah monsieur Saveur.
He gives her a packet of freshly cut meat.
SAVEUR
Filet mignon.
SWINEY
A prime cut. Et pour vous?
She points to the women, he eyes them. Nods at Bella.
SWINEY (CONT’D)
Bella.
She follows the butcher up the stairs. Passes Toinette, one
of the girls, in her twenties.
Ratings
Scene 3 - Manipulation in the Paris Brothel
Say ‘formidable’ at the end. House
rules.
Poor Things - Final Cut 65.
112 INT PARIS BROTHEL BEDROOM - DAY 112
He pushes in a door. Bella follows him in. She looks at him.
He gets undressed. Bella reels a bit.
BELLA
Is that smell you?
He walks toward her, pushes her against the wall. Starts
fucking her.
He groans. Orgasms.
BELLA (CONT’D)
.... Formidable?
SAVEUR
Merci.
Bella nods. As he exits, Toinette comes in. She has a cup of
tea and a handkerchief.
TOINETTE
C’est un mouchoir à la lavende.
Pour l’odeur. For the smell.
Bella takes it smells it.
TOINETTE (CONT’D)
And.. tea just... because tea is
nice. Un petit peu English.
BELLA
Merci. It was brutal, in a
strangely not unpleasant way.
Toinette looks at Bella. She laughs.
TOINETTE
Pamphlet. Read. Je suis socialiste.
BELLA
What is that?
TOINETTE
Une personne qui veut
changer..change the world pour le
meilleur! Make it better. A better
world.
BELLA
Then I am that too.
The bell rings.
Poor Things - Final Cut 66.
113 INT PARIS BROTHEL FOYER - NIGHT 113
A few whores sit in a line. A businessman is looking over
them. Bella sees Mrs Swiney.
BELLA
Ah Mrs Swiney, this line up system.
You really expect me to go upstairs
with a man even if I find him
distasteful and so am slightly sad
when I let him furious jump me?
SWINEY
That is the way it is my darling.
Gosh you look pretty. How it agrees
with you to be ravaged.
BELLA
I suppose. But..
The man interrupts. Points at Bella, but speaks to Swiney.
MERSAULT
Nouvelle fille?
SWINEY
Oui Monsieur Mersault. Bella.
He looks at her. Bella addresses the man.
BELLA
Sir would you not prefer it if the
women chose? As it would be a sign
of enthusiasm for you rather than
the vague sense that they are in a
state of horror as you jump them.
MERSAULT
Horreur? Elles ne sont pas-
SWINEY
Elles vous aiment Monsieur. Bella
is new and may have a mental
illness. Elle ne comprend pas
encore comment cela fonctionne.
BELLA
As God my father says, it is only
the way it is until we discover the
new way it is and then that is the
way it is until we discover the new
way it is and so it goes until the
world is no longer flat,
electricity lights the night and
shoes no longer are tied with
ribbons. You see.
Poor Things - Final Cut 67.
TOINETTE
Je suis d’accord. As a socialist I
agree entirely. Formidable.
SWINEY
Toinette, you have such a clever
mouth, Monsieur Mersault will enjoy
it for free. Go now.
SWINEY (CONT’D)
Bella. A moment in my office.
114 INT SWINEY’S OFFICE - NIGHT 114
SWINEY
You have the most delicious looking
lobes.
BELLA
Thank you, you are most..
SWINEY
I must-
She bites on Bella’s ear.
BELLA
Aha ah.
SWINEY
I am sorry, I drew blood. Here
here.
Swiney gives her a handkerchief. A disconcerted Bella dabs
her ear.
SWINEY (CONT’D)
I sometimes give into myself when I
see beauty, young beauty. For one
day my dear you will be a wrinkled
old husk, and no one will want you,
either to pay you for it or have it
for free.
BELLA
I still believe everyone would be
happier if we could choose.
SWINEY
An idealist, like me. How
delightful you are. But we must
give into the demands of the world
sometimes. Grapple with it, try to
defeat it but-
BELLA
So you believe as me?
Poor Things - Final Cut 68.
SWINEY
Of course. But some men enjoy that
you do not like it.
BELLA
What? That is--
SWINEY
Sick! But good business. Come with
me.
She opens a curtain at the side of her office. A baby sits in
a basket.
SWINEY (CONT’D)
My grandchild. Sick and poorly and
requiring much doctoring. My choice
of giving you choice will
jeopardise the business, her
health, her life. Do you want that
Bella?
BELLA
Of course not-
SWINEY
You don’t? You are so lovely.
Bella covers her ears. Swiney barks out a laugh. Bella
smiles.
BELLA
I thought you were going for my
lobes.
Ratings
Scene 4 - Bella's Adventures in a Paris Brothel
We must work. We must make money.
But more than that Bella, we must
experience everything. Not just the
good, but degradation, horror,
sadness. This makes us whole Bella,
makes us people of substance. Not
flighty, untouched children. Then
we can know the world. And when we
know the world, the world is ours.
BELLA
I want that.
The bell rings.
SWINEY
Now go and fuck someone and bring
me ten francs.
Poor Things - Final Cut 69.
115 INT PARIS BROTHEL BEDROOM - DAY 115
Bella walks into her room, followed by a plain looking guy in
a suit. He start taking his pants off.
BELLA
First I suggest a short quiz.
GUY
A...quiz?
BELLA
Tell me a childhood memory...un
souvenir d’enfant, then I will tell
you a joke, Toc toc, and then a
quick sniff and if necessary a
quick douse in lavender oil. It
will all enhance our experience
making it formidable. Toc toc!
GUY
Um... Toc toc?
BELLA
Non. I am doing the joke. You the
memory. Le souvenir?
GUY
Um... je me souviens être tombé de
mon..velo..
BELLA
You fell from your bicycle..et...
GUY
je l’ai regardé, attendant de voir
s’il..
GUY (CONT’D)
Oui. Jai commencé à marcher,
and...it..commencé à saigner.
Blood. down my leg. J'ai ressenti
une joie intense.
BELLA
Joie. Joy! You watched the blood
with joy.
GUY
Oui!
She smiles, he smiles back.
BELLA
Knock knock.
GUY
Oui c’est?
Poor Things - Final Cut 70.
BELLA
Fromage.
GUY
Fromage?
BELLA
Cheese to meet you!
He laughs.
BELLA (CONT’D)
Exactly! You know it!
They come together. She sniffs him.
BELLA (CONT’D)
You smell okay. Let us fuck.
CUT TO
Bella having sex against the wall.
CUT TO
Bella is crouched semi naked, facing a wall. There is a
scuttling noise. She looks back. A naked man scuttles crab
like across the floor, sideways but slowly toward her. He
gets there, pulls hair from her head with his pincers and
eats it. Bella turns to watch him, fascinated. He scuttles
away from her.
CUT TO
Bella is being fucked by a handsome guy in his forties.
She starts to orgasm as does he. They finish. Bella, spent
and happy. He puts on his priest clothes.
BELLLE
God gave you a gift my friend.
PRIEST
C’est une malediction.
116 INT PARIS BROTHEL FOYER 116
Bella in a line up. She stares blankly ahead. A guy with
hooks for hands points at her.
117 INT PARIS MEDICAL SCHOOL - DAY 117
Bella and Toinette duck into the back of a lecture hall. A
surgeon cuts up a body as he lectures the class.
Poor Things - Final Cut 71.
118 INT PARIS MEDICAL SCHOOL - DAY 118
The empty hall. The body cut and hollowed out. Toinette and
Bella eat croissants as they walk around it. Bella examines
the incisions.
BELLA
Very inelegant work.
TOINETTE
This is what you do when you’re
homesick?
Bella nods.
119 INT PARIS BROTHEL BEDROOM - NIGHT 119
Bella, bored, with a bit in her mouth suspends from the
ceiling. A man humps her leg.
120 INT PARIS BROTHEL ROOM - DAY 120
Two boys of sixteen sit on chairs. A man, a well spoken
Frenchman, in his forties stands, Bella sits on the bed.
BELLA
You wish what?
MAN
My boys are of an age for
education. Sexual. I will
demonstrate.
BELLA
I see.
MAN
Vous pouvez jouer avec les seins de
la femme. Cela engorge le penis et
ça l’excite.
BELLA
At times.
MAN
Si votre penis ne s’engorge pas
vous pouvez faire appelle à son
assistance manuelle.
He nods at Bella. She massages his cock through his pants.
MAN (CONT’D)
Cela augmente le flux sangain. Une
fois la dureté atteinte...
Poor Things - Final Cut 72.
Ratings
Scene 5 - Dramatic Revelations and Independence
Shall I lay, bend, astride?
MAN
Let’s starts simple, please.
Bella lays on the bed. She sees one of the boys staring at
her, she winks, he looks down. The other is studiously taking
notes.
The guy gets between her legs, enters her.
MAN (CONT’D)
...commence doucement le va et
vient. J’aime bien commencer par un
quatre, quatre, puis un trois
trois, ensuite un deux deux qui
généralement ammène au climax.
BOY
Et si ça ne vient pas père?
BELLA
Ah, to aid things along a finger in
the arse or a slight choking may do
it.
MAN
C’est Vrai!!
CUT TO
Bella hears a wailing sound from the alley below. She goes to
the window, looks down.
Duncan sits in the alley, he is pulling clumps of hair out.
Looks up, sees her, smiles, waves, a clump of hair in his
hands.
BELLA
Go home!
121 EXT PARIS MULTIPLE VIEWS SQUARE - DAY 121
Toinette and Bella walk.
BELLA
Swiney was right. I am discovering
parts of myself hitherto unknown.
TOINETTE
It is a way to look at it.
BELLA
The variety of desires being made
manifest is fascinating.
(MORE)
Poor Things - Final Cut 73.
BELLA (CONT’D)
Did you have the man who puts a
wedge of pineapple in your mouth
and covers you in dust?
TOINETTE
Oui, Jacques. Il est gentil.
Duncan appears beside her, dusty and rips in his clothes.
DUNCAN
Bella. I have decided to forgive
you. I have booked our berths home.
I have told mother to prepare our
wedding bed. Did you fuck the guy
with hooks for hands? You did. I
know. I beat the tar out of that
guy.
BELLA
Duncan I thought you went.
DUNCAN
I went to the boat, but started to
ache and vomit, so am here to save
you.
TOINETTE
Le Duncan! Quel gâchis!
He holds his hand out to her.
DUNCAN
Charmé.
BELLA
Go home Duncan. Our time has ended.
I look at you and feel nothing but
the lingering question of how did I
ever want you?
TOINETTE
Oooo. And we must go to the meeting
of socialists.
DUNCAN
You’re whores!
BELLA
We are our own means of production.
Get out of the way.
Duncan stops. They walk on and head through.
122 INT BAXTER’S STAIRWAY - DAY 122
Felicity is finger painting on the walls of the sitting room.
Max sits nearby taking notes.
Poor Things - Final Cut 74.
FELICITY
Foot. Paint foot.
MAX
Very good.
Baxter enters.
MAX (CONT’D)
Her language is slow but improving.
FELICITY
Gmmmf. Paint. Foot.
Baxter nods to her.
BAXTER
Genius.
MAX
Can you not be so cruel to her?
BAXTER
I made a mistake with Bella. I
allowed feelings to develop. But
there are none for her, she is no
different to the chicken dog. It is
better this way perhaps, and gives
some insight to my father’s
coolness to me. It was a necessity
of science.
MAX
Good God man!
BAXTER
I do not expect you to understand
village doctor. By the way I need
you to operate on me.
MAX
Shall I put a beating heart in your
monstrous form?
BAXTER
If you have time while taking this
out.
He pulls up his shirt to reveal a large growth protruding
from his stomach.
CUT TO
Poor Things - Final Cut 75.
123 INT BAXTER’S HOUSE SURGERY - DAY 123
Baxter lies on the operating table.. He looks to where he has
a mirror set up so he can watch. Max slices his belly and
opens him up. Prim assists.
He slices around the perimeter of the tumour.
MAX
I will take some cells from around
the tumour.
BAXTER
No need. You may close me up. It
has spread. I can see tiny polyps.
MAX
Oh.
He peers in. Looks at Baxter.
BAXTER
I am dying. How to break it to the
patient hey?
Laughs.
MAX
Baxter.
BAXTER
Do not cry into the wound. You will
kill me faster with sepsis. Quiet
now and close me up.
Max nods. Baxter closes his eyes.
BAXTER (CONT’D)
Find her.
124 INT PARIS BROTHEL BEDROOM - NIGHT 124
Bella lies on the bed. A closed book next to her.
BELLA
I am closed!
Swiney enters.
SWINEY
Hot chocolate my dear. And pain au
chocolat. You are my favourite.
Ratings
Scene 6 - Emotional Turmoil and Hidden Truths
I have heard you say that to
others. We are a machine you feed
with compliments and chocolate.
Poor Things - Final Cut 76.
SWINEY
You are my children I feed with
love.
BELLA
A terrible thing has happened
Swiney. I feel almost nothing, and
my empathy is creeping towards
something I would describe as
contemptuous rage.
SWINEY
This is fabulous.
BELLA
It is?
SWINEY
You are in the dark period before
light and wisdom come to you. You
must forge through it, and once on
the other side you will be grateful
to this moment. But you must keep
going.
Bella takes it in, nods.
BELLA
I see.
Swiney looks at her. Bella covers her ears.
Swiney bites her arm.
BELLA (CONT’D)
Ah.....ah.
125 INT PARIS BROTHEL BEDROOM - DAY 125
Bella’s flushed ecstatic face.
From under the sheets appears Toinette.
CUT TO
Toinette sings to Bella.
TOINETTE
Où est ton bébé?
BELLA
Quel bébé?
She points to the scar on Bella’s stomach.
TOINETTE
You’ve got a baby scar. Moi aussi.
Poor Things - Final Cut 77.
She sits up to show her own.
TOINETTE (CONT’D)
Mine is with ma maman. Le tien?
BELLA
I don’t have one... It is an
accident scar. But you are not the
first to make the mistake.
TOINETTE
Why lie?!
BELLA
I am not lying! My God told me
himself.
TOINETTE
Un homme?
BELLA
Oui.
She shrugs as if that answers that.
TOINETTE
Voilà.
Bella takes this in. Looks down at her stomach. The scar.
CUT TO
126 INT BAXTER’S HOUSE HALLWAY / STUDY - DAY 126
A thick letter arrives, mad writing on the envelope. Max
finds it, picks it up.
Reads it, walks to the study where Godwin is unconscious
laying in the day bed hooked up to a machine, pumping blood
for him.
MAX
Wedderburn.
127 INT ASYLUM - DAY 127
Duncan is in a cell, lying facing the wall.
MAX
Good day sir.
He gets no response.
MAX (CONT’D)
You wrote to Mr Godwin Baxter.
Poor Things - Final Cut 78.
DUNCAN
He has set a demon at large in the
world, the devil has wrapped her in
an alluring body that cannot be
satiated and a mind that picks
people apart stitch by stitch like
a bloodied and burned rag doll that
has been shat out an elephant’s
arse!
MAX
Bella. Where is she?
He looks up at him as if noticing for the first time.
DUNCAN
Who are you?
MAX
I am her fiancé sir.
Duncan takes a beat then laughs. Scratches at his leg. Max
notices the bloody scratches all over his ankle..
MAX (CONT’D)
Obviously things did not end well
between you?
DUNCAN
Did not?....she destroyed me!
MAX
We are all masters of our own ship
so there’s that.
DUNCAN
I do not like you and your words!
That Godwin Baxter! He knew, and he
set her onto me, trapped me.
MAX
Where is she?!
DUNCAN
I would not wish her on my worst
enemy, I will save you sir from-
Max kicks him in the stomach.
MAX
Forgive my frustration, just tell
me.
DUNCAN
It does not hurt, I have no
insides, she has hollowed me out,
my soul, my bank account.
(MORE)
Poor Things - Final Cut 79.
DUNCAN (CONT’D)
I am a shell, a bug. Shall we sing?
Oh we are sailors on a ship of
fools.
Max picks him up and slams him against a wall, surprising
himself.
MAX
I do not wish to be like this, you
force my hand.
DUNCAN
We are all masters of our own ship
you cunting cuntfaced deadshit.
MAX
Please I ask you as politely as I
can. Where is she?
128 INT PARIS BROTHEL BEDROOM - DAY 128
Bella lies on her bed. Fingers the scar on her stomach.
Toinette comes in.
TOINETTE
Tu as une lettre.
Walks out. Bella, looks at the postcard. London postmark. A
formally drawn sketch of Baxter on his bed, surrounded by
medical devices. ‘R.I.P soon. Come.’ written next to it.
129 OMITTED 129
130 CHAPTER HEADING: 130
ABSTRACT IMAGE OF BELLA ARRIVING IN LONDON - BRIDGE
Ratings
Scene 7 - The Confrontation
Bella stares at the house as she stands at the door. She
smiles. Knocks.
The door swings back. Prim looks at her.
PRIM
The whore’s back!
Prim walks away. Bella steps inside.
132 INT BAXTER’S HOUSE DRAWING ROOM - DAY 132
Baxter pulls himself up, leans on the day bed. He is hooked
up to an oxygen machine, and a glass bulb sluices blood via a
tube in and out of his body.
Poor Things - Final Cut 80.
Bella comes in. She rushes to God. Hugs him. He grimaces. But
is slightly overcome by her touch.
BELLA
God! Max wrote me, you are ill?
BAXTER
I am not. I am dying. A subtle
difference, but one I take
seriously as a physician.
You are a sight. And a good one.
BELLA
You cannot die.
BAXTER
Empirical data says different. I
missed you. I now have to lie down.
She helps him down.
BELLA
It is not all sunshine I bring, I
also bring beady eyes and hard
questions for you. Did I have a
baby in me? And if so where is it?
BAXTER
I see. Well, technically you are
your baby. And also I suppose you
are your mother. But also neither.
No memory survives. No experiences
survive.
BELLA
What do you mean I am mother and
daughter?
133 INT BAXTER’S HOUSE OPERATING THEATER - DAY 133
Bella goes through Baxter’s papers.
Finds notes on her operation. She starts reading. Max enters,
stands at the door.
BELLA
You knew? And did not tell?
MAX
I...did not see good reason too..
BELLA
And were too cowardly to.
Poor Things - Final Cut 81.
MAX
A bit of that as well. I just
wanted to be with you and was not
sure you would even understand and
Baxter kind of makes one a prisoner
to him, and....sorry.
CUT TO
Bella exmaines the looping scar on her neck in a mirror.
134 134
INT BAXTER’S HOUSE DINING ROOM (MEAL PREPARATION AREA) - DAY
She walk into the kitchen, Felicity at the table, she is
singing a song, which is really just the same word over and
over as she smashes steak with a meat hammer on the table.
Prim supervises.
FELICITY
Bam. Bam. Bam. Bam.
BELLA
Who’s this?
Felicity keeps banging as she looks at Bella.
FELICITY
Bell whore, bell whore, Bell whore.
BELLA
You have introduced me already
then Prim?
PRIM
I like this one though.
Prim reaches for the meat.
PRIM (CONT’D)
That’s enough Feli-
Felicity brings the hammer down on Prim’s hand with the
hammer.
PRIM (CONT’D)
Fucker!
Felicity laughs, goes on hitting the table. Bella looks at
Max.
BELLA
She is another?
MAX
Well...we missed you.
Poor Things - Final Cut 82.
BELLA
Monsters.
Bella walks out.
135 EXT LONDON STREET - DAY 135
Bella walks the street.
136 EXT LONDON BRIDGE - DAY 136
Bella walks onto the bridge. Looks over and sees some dead
fish lying on the bank.
137 INT BAXTER’S HOUSE DRAWING ROOM - NIGHT 137
Baxter lies on the day bed. Machines whirring around him.
Bella enters. She goes to him. He opens his eyes looks at
her.
BELLA
It is hard to be in a position
where one wants to hit someone who
is already in obvious pain.
BAXTER
It is a conundrum for sure. Would
you rather be a grey slab of flesh
with a fish hook in your nose?
She drops her arm.
BELLA
I will feel good for a second, and
bad for longer so...
I really had a fish hook in my
nose?
BAXTER
You did.
BELLA
So I am your creation. As is the
other one.
BAXTER
Neither of you are that. She
wanders the halls with a hammer and
a song, that is not my doing, and I
have read your cards and letters
home and watched you fearlessly
create Bella Baxter with wonder.
Poor Things - Final Cut 83.
BELLA
I am finding being alive
fascinating so I will forgive you
the act, but always hate the lies
and trapping that followed.
BAXTER
Understood. Good to see you.
BELLA
You too. Anger, confusion and brain
dissonance aside. I missed you.
She puts her hand on his.
BELLA (CONT’D)
I arrived home and I smelt the
fomeldahyde and I knew what is
next. I will be a doctor.
He closes his eyes, smiles.
Ratings
Scene 8 - A Wedding Interrupted
My surgery is yours. My father once
said to me, always carve with
compassion. He was a fucking idiot,
but it’s not bad advice.
138 EXT LONDON PARK - DAY 138
Bella and Max walk in the forest.
MAX
He does not have long.
BELLA
I know.
They walk a bit.
BELLA (CONT’D)
You have not mentioned our
betrothal.
MAX
You were much younger, there is
no...bind. I was mesmerised by you
and Baxter took advantage of it.
BELLA
So you are mesmerised no more?
MAX
I am still... mesmerised.
Poor Things - Final Cut 84.
BELLA
I have been a whore you understand.
Cocks for money inside me. Are you
okay with that? Or is the whore
thing a challenge to the desire for
ownership men have. Wedderburn
became much sweary and weepy when
he discovered my whoring.
MAX
I find myself merely jealous of the
men’s time with you, rather than a
moral aspersion against you. It is
your body Bella Baxter. Yours to
give freely.
BELLA
I generally charged thirty francs.
MAX
Seems low.
BELLA
Do you believe people improvable
Max?
MAX
I do, as a human body can be cured
of illness, so can men and women be
cured of aspects.
BELLA
Will you marry me Max McCandles?
MAX
I will.
She grabs him and kisses him. He kisses her back.
BELLA
We will need less of your tongue in
the future but overall most
agreeable.
MAX
I will take a note. And have you
been checked for um... disease?
BELLA
I have not, but I shall. I am
enjoying this practical love we
have.
MAX
Mine is also passionate! I assure
you.
Bella laughs.
Poor Things - Final Cut 85.
BELLA
You are adorable. You always were.
CUT TO
139 INT LONDON CHURCH - DAY 139
Max stands at the altar, a priest before them. A few tourists
looking around the church, or praying in pews. No guests.
Bella walks down the aisle. Baxter appears beside her, aided
by Prim.
BELLA
God! You are walking?
BAXTER
I have taken 5 milligrams of heroin
through the toes for the pain,
amphetamines for energy, and
cocaine because I am partial to
cocaine. I will walk you down the
aisle.
They walk to Max.
PRIEST
And so by the powers vested in me
by the church I will solemnize this
union. Do you Bella Baxter take
this man as your husband?
She is about to answer.
ALFIE
Did we miss the part about anyone
objecting to this? Or has that been
removed in some kind faux
modernization of the catechism.
They turn. Alfred Blessington, a sombre looking but magnetic
man, has stormed into the church.
ALFIE (CONT’D)
Hello Victoria, you look well.
BELLA
Do you refer to me sir?
ALFIE
Man doesn’t normally introduce
himself to his wife. But if I must-
Baxter coughs violently. Blood sprays.
Poor Things - Final Cut 86.
DUNCAN
He is the God of it. I do not know
if he is in her power or she in
his. It is a devil’s hand at work
as you see. He coughs not air as a
normal man but blood.
MAX
He has cancer you fucking idiot!
BELLA
Duncan?
DUNCAN
Do not lay your eyes on me you
demon.
ALFIE
As I was saying. General Alfred
Blessington. Alfie to you. You
really do not know me? When Mr.
Wedderburn put your photo in the
paper.
DUNCAN
I remembered that old bird at the
hotel called you Victoria
Blessington. And pieced this
diabolical fuckfest of a puzzle
together.
Bella looks at Alfie.
BELLA
You are-
ALFIE
Your dear Alfie. You left in a
state of some mental addlement and
hysteria over your pregnancy. On
the discovery of your absence I
felt disembowelled. I have
disembowelled men on the field of
battle and I always imagined a dull
hollow throbbing. And that is what
it was like. There is also a
stench, but that does not apply as
a metaphor here. Here you are my
darling. Here you are.
He comes toward her arms outstretched.
BAXTER
Oh God.
BELLA
I have no recollection of you. I am
Bella Baxter.
Poor Things - Final Cut 87.
Ratings
Scene 9 - Awkward Reunion and Unsettling Revelations
Hurtful but perhaps you hit your
head. And these men have clearly
taken advantage of you.
BAXTER
Please go sir!
Bella looks at Baxter and Max. Back at Alfie.
BELLA
You were my husband?
ALFIE
Your dear Alfie.
BAXTER
Bella. I am sorry.
BELLA
Actually I would like to go.
MAX
What?!
BAXTER
Bella!
BELLA
Do you have a carriage sir?
ALFIE
..Yes!
BELLA
Let us go then.
BAXTER
Bella!
He grabs her arm. She looks at him.
BELLA
Let me go God.
He does.
BELLA (CONT’D)
Will you stop me Max?
He shakes his head.
140 OMITTED 140
Poor Things - Final Cut 88.
141 INT CARRIAGE - DAY 141
Bella sits with Alfie in the carriage. There are flowers on
the seat. It’s a bit awkward. He smiles at her. Pats her
hand.
ALFIE
It is good to have you back
Victoria.
142 EXT ALFIE’S HOUSE GATES - DAY 142
Some gates open.
The carriage pulls into a circular driveway.
High walls. Long driveway.
The gates shut behind her and are bolted.
She looks up at the mansion in front of her.
143 EXT ALFIE’S HOUSE DRIVEWAY - DAY 143
Alfie helps her from the carriage.
As they head up the steps. Alfie pulls a pistol from his
pocket. She looks at it.
ALFIE
The servants and I have not been
getting along. I fear an uprising.
The door opens, a dishevelled butler, a cigarette hanging
from his lip, opens it. Sees Bella. His eyes widen. He steps
back.
ALFIE (CONT’D)
You remember David darling.
David steps back, nods to her.
As they enter, a maid with her arm in a sling, sees Bella.
ALFIE (CONT’D)
Allison look who’s back.
She nods slowly.
144 INT ALFIE’S HOUSE HALLWAY - DAY 144
Allison and Bella walk together along the dusty dishevelled
hallway.
Poor Things - Final Cut 89.
BELLA
You know me?
She nods.
BELLA (CONT’D)
Tell me about myself.
They girl stares at her. Looks away. Keeps walking.
BELLA (CONT’D)
Was I nice?
The girl barks a laugh. They enter a room.
145 INT ALFIE’S HOUSE BELLA’S BEDROOM - DAY 145
Bella takes in the room, she goes to the dressing table. Sees
a writing desk. On the pad is the outline of the word fuck
written forty times.
146 INT ALFIE’S HOUSE DINING ROOM - NIGHT 146
Alfie and Bella sit at the dining table. An array of dishes
on the table. Alfie eats with gusto. She watches him.
ALFIE
Eat. All your favourites. Kippers.
Goose. Tongue. Champagne.
I missed you.
BELLA
What do you think was the root of
the unhappiness, what drove her to
the bridge to leap off?
He stares at her. Smiles.
ALFIE
You hated the baby, and called it
‘the monster’.
BELLA
I see. I have noticed a lack of
maternal instinct.
ALFIE
And yet I am happy to have you
home.
He raises a glass.
BELLA
How did we meet?
Poor Things - Final Cut 90.
ALFIE
At a ball.
BELLA
Why did we like each other?
ALFIE
We shared a love of good times.
Watch. Allison! Soup!
He clicks his finger. The doberman in the corner stands to
attention. Walks over to the door. As the door opens.
ALFIE (CONT’D)
Rex.
The doberman leaps up on its hind legs and barks like crazy,
just as Allison enters with a tureen of soup.
Startled, Allison staggers back, falls, the tureen of soup
going all over her. Alfie roars laughing. Bella can’t help
but laugh too.
ALLISON
Fuck.
She gets up, makes to come at him. He takes his revolver and
waves it in her direction.
ALFIE
We’ll have some cheese when you
can.
BELLA
A love of cruelty. I was not a kind
person it seems.
ALFIE
Kind? You would never be so dull
Victoria. An appalling idea.
Wedderburn says you were a whore. I
suspect it was part of his madn-
BELLA
I was. In Paris. I tired of it but
it was fascinating.
Alfie stares at her as she tries kippers.
ALFIE
Right.
BELLA
These kippers are strangely
delicious. Vinegary or something.
Poor Things - Final Cut 91.
Ratings
Scene 10 - Confrontation and Threat
Marriage is a constant challenge
some we bend to some we bend to us.
I will try to forgive you for the
whoring, your sexual hysteria was
often out of hand, and also for the
killing of our unborn child. In
fact when I list how you’ve wronged
me Jesus Christ himself would
probably beat your head in with a
bat. You are blessed with a
forgiving husband.
BELLA
I have not wronged you. For I do
not know you Alfie.
ALFIE
You’re in luck as I’ve had a lot of
experience in the field with
amnesia, either men who wished to
forget where they were, or a mortar
exploded nearby ringing their
cranium like a church bell. I
suggest we stick close to the house
for several months or a year until
you have made a full recovery.
BELLA
I will leave at my leisure but I am
flattered by your desire to trap
me. You are not the first.
ALFIE
I will have to shoot you in the
fucking head if you try to leave
darling.
BELLA
The front or the back of the head?
ALFIE
The back as to be sure you were
leaving and I was not being rash.
I have missed you.
BELLA
So I am a prisoner?
ALFIE
This conversation has gone down an
unfortunate route. I am sure you
will be as happy as you were
before.
BELLA
As I was before? When I threw
myself from a bridge?
Poor Things - Final Cut 92.
ALFIE
I suspect you fell while looking
for fish.
BELLA
Why would you want to keep me here
if I did not wish to stay?
ALFIE
If one is to drown let it be in a
river of love.
David clears his plate. Alfie cocks his weapon.
ALFIE (CONT’D)
Does that pheasant look stripped to
the bone?
DAVID
It was a misjudgement sir. I
apologize.
ALFIE
Desert darling?
147 OMITTED 147
148 OMITTED 148
149 OMITTED 149
150 EXT ALFIE’S HOUSE GATES - DAY 150
Morning. Bella exits into the garden. She goes to the gate.
It is impossible to open. Looks at how high the walls are.
Realizes she’s trapped.
151 INT ALFIE’S HOUSE DINNING ROOM - DAY 151
She passes through the house, hears talking, follows the
sound.
Stands at the door, sees Alfie talking to a doctor.
ALFIE
It comes off easy?
DOCTOR
Like a button on a suit.
I saw them do it in Africa with
sharpened rocks but had my own more
precise device made.
Poor Things - Final Cut 93.
He holds a metal device, a small round circle of metal with a
razor that slides across it.
DOCTOR (CONT’D)
Do you want just clitoral hood, or
glans as well?
ALFIE
The whole infernal packet.
DOCTOR
It will calm her no end.
Bella stands watching, breathing heavily shocked.
ALFIE
This time we will get it done. I
shall get her sedated and bring her
to your surgery this evening.
152 INT ALFIE’S HOUSE BELLA’S BEDROOM - DAY 152
Bella sits in her room, looks at the pad with the word fuck
written over and over.
ALFIE O.S
Victoria darling, where are you?!
CUT TO
153 INT ALFIE’S DINING ROOM - DAY 153
Alfie mixes martinis. Lifts one up. For her.
ALFIE
Ah, perfect timing. Martini.
BELLA
Rather not. I would however like to
leave. I found our time together
interesting, but having now
ascertained why I threw myself from
a bridge. I wish to now go see my
near dead God.
ALFIE
Adorable idea. Unfortunately my
darling my life is dedicated to the
taking of territory. You are mine
and that is the long and short of
it.
BELLA
I am not territory.
Poor Things - Final Cut 94.
ALFIE
The root of the problem is between
your legs and I will have it off
and it will not distract and divert
you anymore. A man spends his life
wrangling his sexual compulsions,
it’s a curse, and yet in some ways
his life’s work. A woman’s life’s
work is children, I intend to rid
you of that infernal packet between
your legs and plant a seed straight
after.
BELLA
Let me explain what has happened.
Victoria, your wife, threw herself
from a bridge and died. Baxter
found her, took her to his surgery,
he then removed the baby, removed
the brain from the baby,
transplanted it into my head and
reanimated me.
ALFIE
Uh huh.
BELLA
I’ll bring you the file. It’s
actually quite fascinating.
However, I will keep my new life
and my lovely old clitoris thank
you. So if you’d call for a
carriage for me-
Alfie draws a gun.
ALFIE
They talk and talk, and at some
point there is nothing left but to
pull a gun. It is the way with
women.
Bella walks to him calmly. He studies her.
ALFIE (CONT’D)
Are you giving in?
BELLA
I’d rather you shot me in the
fucking heart.
Ratings
Scene 11 - Confrontation and Aftermath
I will oblige if I have to. Drink
the drink my darling. Chloroform
and gin, delicious.
She picks it up.
Poor Things - Final Cut 95.
BELLA
In some ways it would be a relief
to be rid of my questing self.
ALFIE
Sip deeply and that freedom is
yours.
She tosses it suddenly in his face. Grabs at the gun, they
struggle. It goes off. They stop. There is a hole in Alfie’s
foot. Blood pools out.Bella sees the blood pouring onto the
floor. As does he. Bella still has the gun.
ALFIE (CONT’D)
Fuck.
He reaches for her suddenly, but then topples over. She looks
down at him.
CUT TO
154 OMITTED 154
155 INT BAXTER’S FOYER - DAY 155
Alfie lies on the ground in the foyer, bleeding. Prim stands
staring at him. Bella and Max enter.
BELLA
We must get him up to the surgery.
He will die if we cannot stop it.
PRIM
He’s bleeding a lot.
Alfie is falling in and out of consciousness.
ALFIE
You’re....fucking...de..ad..
He passes out.
MAX
Bella, if he lives...I sense he is
not a man who will stop.
BELLA
I will not watch him bleed to death
Max, but I agree, he could do with
improvement.
Bella and Prim drag Alfie down the hall.
Poor Things - Final Cut 96.
156 INT BAXTER’S HOUSE SURGERY - DAY 156
Alfie lies on the surgical table, unconscious. Max is
operating in his gown. He digs into the bloody flesh, tries
to get the bullet.
MAX
I have controlled the bleeding.
He looks up as Bella leads the goat in.
BELLA
I have the notes.
He looks at her. She smiles.
BELLA (CONT’D)
I am never happier than when I am
in here.
She picks up a scalpel.
CUT TO
157 INT BAXTER’S HOUSE DRAWING ROOM - NIGHT 157
Baxter is set up on the sofa, machines pumping around him.
Bella lays down next to him.
BAXTER
Bella.
She takes his hand.
BAXTER (CONT’D)
You’re back.
She nods.
BELLA
It was just a story of someone
else, not Bella Baxter.
Max lies down the other side of Baxter.
BAXTER
All my life people’s eyes looked at
me, horror, pity...
He smiles as she stares at him with love.
BAXTER (CONT’D)
But you.
He kisses her head.
Poor Things - Final Cut 97.
BAXTER (CONT’D)
It is very interesting... what is
happening...
He presses her hand. She kisses his forehead. She looks at
his hand, limp in hers. He’s dead. His eyes open.
Bella stares at him. With her fingers closes his eye lids.
Lays her head on his chest.
158 EXT BAXTER’S HOUSE GARDEN - DAY 158
In a courtyard garden. Max is making drinks. Prim throws a
ball at Felicity. She has mastered catching the ball. She’s
very happy. Toinette lounging on a chair and next to Bella
reading.
BELLA
Anatomy exam is making me nervous.
MAX
I have tested you many times, you
know it.
TOINETTE
No one knows anatomy better than
you. Crois-moi.
BELLA
Certainement- effectivement.
Ladies? Gin?
PRIM
Please.
FELICITY
Gin.
BELLA
And we should get water for the
general.
We cut to Alfie. He is on the lawn on all fours, eating
grass. He bleats.
PRIM
Felicity. Water.
Alfie eats grass. Bella and Toinette clink glasses, happy.
Max, Prim, happy. Felicity makes her way slowly to get water.
Bella smiles as she reads her book.
THE END
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
bella | Bella starts as a compassionate and idealistic young woman driven by a desire to help others but struggling with the harsh realities of the world. As she confronts the Paris brothel industry, she becomes bold, unapologetic, and determined to assert her independence. Throughout her journey, she grapples with inner turmoil, past traumas, mortality, regret, and forgiveness, ultimately seeking self-discovery and redemption. Bella's arc culminates in a moment of defiance and empowerment as she confronts Alfie and stands up for herself, showcasing her growth and resilience. | The character arc for Bella is well-developed and showcases a deep exploration of her inner struggles and growth. However, there could be more clarity in connecting her past traumas and inner turmoil to her ultimate moment of empowerment. Additionally, the transition between her different speaking styles could be smoother to provide a more cohesive portrayal of her character. | To improve the character arc, consider incorporating specific events or interactions that trigger Bella's journey of self-discovery and redemption more explicitly. Show how her past traumas and inner turmoil shape her decisions and actions throughout the screenplay, leading up to her moment of empowerment. Additionally, work on seamlessly integrating her various speaking styles to create a more consistent and nuanced portrayal of her character. |
duncan | Duncan starts off as a character consumed by anger, entitlement, and bitterness towards Bella. As the story progresses, he begins to confront his insecurities and feelings for Bella, leading to a realization of his manipulative and vindictive behavior. Through a series of confrontations and self-reflection, Duncan learns to let go of his resentment and bitterness, ultimately finding a sense of redemption and inner peace. | The character arc for Duncan is well-developed, but it could benefit from more nuanced exploration of his inner turmoil and insecurities. The transition from anger and entitlement to redemption and inner peace could be more gradual and believable. Additionally, Duncan's manipulative behavior could be further explored to provide a deeper understanding of his motivations and actions. | To improve the character arc for Duncan, consider adding more scenes that delve into his past experiences and relationships that have shaped his behavior. This will provide a more comprehensive understanding of his character and motivations. Additionally, focus on developing his relationships with other characters, particularly Bella, to showcase his growth and transformation throughout the story. |
alfie | Alfie starts off as a charming yet manipulative character who uses intimidation and coercion to control Bella. As the story progresses, his vulnerability and inner conflict are revealed, leading to a moment of redemption where he confronts his troubled past and seeks to make amends for his actions. Ultimately, Alfie learns to let go of his need for power and control, finding peace and redemption in the process. | The character arc for Alfie is well-developed, showcasing his complexity and inner turmoil. However, the redemption arc could be further strengthened by providing more depth to his backstory and motivations. Additionally, exploring his relationships with other characters could add layers to his development. | To improve the character arc, consider delving deeper into Alfie's past traumas and how they have shaped his manipulative behavior. Show more interactions between Alfie and other characters to highlight his vulnerabilities and inner struggles. Allow Alfie to have moments of genuine connection and growth, showcasing his journey towards redemption in a more nuanced and impactful way. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
Dialogue Drives Emotional Impact | Scenes with higher dialogue scores also tend to have higher emotional impact scores, indicating that the quality of the dialogue significantly influences the audience's emotional connection to the story. |
Balanced Elements Enhance Scene Quality | Scenes with a balanced distribution of high scores across various elements (Concept, Plot, Characters, etc.) generally receive higher overall grades, suggesting that a holistic approach to scene writing leads to more impactful and engaging moments. |
Shocking Moments Elevate Scene Scores | Scenes incorporating 'Shocking' elements consistently score higher in overall grade and emotional impact, highlighting the effectiveness of unexpected or surprising moments in capturing the audience's attention and evoking strong reactions. |
Dark and Intense Tones Dominate | A majority of the scenes are characterized by 'Dark' and 'Intense' tones, suggesting that the screenplay explores themes of conflict, mystery, and emotional turmoil. This consistent tone may create a cohesive and immersive experience for the audience, but it could also benefit from incorporating a wider range of tones to provide contrast and emotional variety. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of creating tension, emotional depth, and complex character dynamics in their scenes. The dialogue is sharp and impactful, driving the narrative forward and effectively conveying internal and external conflicts. There is a consistent exploration of dark themes, power dynamics, and nuanced relationships throughout the scenes.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'Save the Cat' by Blake Snyder to enhance understanding of screenplay structure and character development. | This book offers practical tips and insights on crafting compelling screenplays, with a focus on character arcs, plot progression, and engaging storytelling. It can help the writer refine their character development and narrative structure. |
Screenplay | Study 'Gone Girl' or 'No Country for Old Men' for strong character conflicts and power dynamics. | These screenplays showcase intense confrontations, power struggles, and suspenseful dialogue that can inspire the writer to further develop their skills in creating tension and conflict. |
Exercise | Practice writing dialogue-heavy scenes with conflicting emotions and power struggles.Practice In SceneProv | This exercise can help the writer sharpen their skills in creating tension and depth in character interactions, enhancing the emotional impact of the scenes. |
Exercise | Write scenes with morally ambiguous characters and challenging situations.Practice In SceneProv | This exercise will push the writer to explore complex themes, deepen character motivations, and create thought-provoking narratives that engage audiences on a deeper level. |
Exercise | Craft scenes with high stakes and emotional depth to develop tension and conflict.Practice In SceneProv | By practicing scenes with heightened emotional stakes, the writer can further hone their craft in creating compelling storytelling that keeps the audience invested in the characters' journeys. |
Stories Similar to this one
Story | Explanation |
---|---|
Les Misérables | Similarities include themes of poverty, suffering, and the struggle for survival. Both stories feature characters facing financial difficulties and making difficult choices to survive in harsh circumstances. |
Moulin Rouge! | Both stories involve characters navigating the world of brothels and prostitution. They explore themes of love, sacrifice, and the darker side of society. |
The Handmaid's Tale | Both stories depict the manipulation and control of women's bodies and choices. They explore themes of power dynamics, autonomy, and resistance against oppressive systems. |
The Shape of Water | Both stories feature characters who are marginalized and face challenges in society. They explore themes of acceptance, love, and finding connection in unexpected places. |
Cabaret | Both stories take place in a decadent and turbulent time period, exploring themes of sexuality, identity, and societal norms. They both feature characters struggling to find their place in a changing world. |
The Night Porter | Both stories involve characters in morally ambiguous situations, exploring themes of power dynamics, manipulation, and the complexities of human relationships. They both delve into dark and unsettling aspects of human behavior. |
Pretty Baby | Both stories center around characters involved in the world of prostitution and exploitation. They explore themes of innocence lost, survival, and the impact of societal norms on individuals. |
The Piano Teacher | Both stories delve into the darker aspects of human desire and relationships. They explore themes of control, manipulation, and the complexities of power dynamics in intimate relationships. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Damsel in Distress | Bella is portrayed as a vulnerable young woman who requires protection from men. | A young, innocent woman placed in danger in order to be rescued by a hero. In TV shows, this can be used repeatedly to create tension or prolong a storyline. |
Heart of Gold | Bella gives away Duncan's money to the poor, despite her own financial need. | A character who is good at heart, even if their actions are sometimes misguided. |
Love Triangle | Bella is torn between her love for Duncan and her attraction to Harry. | A situation in which one character is romantically interested in two or more other characters. |
Prostitute with a Heart of Gold | Bella is a prostitute who is kind and compassionate, despite her circumstances. | A prostitute who is depicted as having a good heart, despite her profession. |
Stockholm Syndrome | Bella begins to develop feelings for Duncan after he kidnaps her. | A psychological phenomenon in which a hostage or captive develops a psychological bond with their captor. |
Tragic Hero | Duncan is a tragic hero who is ultimately destroyed by his own flaws. | A character who is destined for greatness but is ultimately destroyed by their own flaws. |
Villain with a Heart of Gold | Baxter is a villain who creates Bella and Felicity, but ultimately comes to care for them. | A villain who is not entirely evil, and who may even have some redeeming qualities. |
Whodunit | The identity of Bella's attacker is not revealed until the end of the screenplay. | A mystery in which the identity of the perpetrator is not revealed until the end. |
The Mad Scientist | Baxter is a mad scientist who creates Bella and Felicity. | A scientist who is willing to go to any lengths to achieve their goals, often with disastrous consequences. |
The Unreliable Narrator | Bella is an unreliable narrator who is not always truthful about her experiences. | A narrator who is not entirely trustworthy, and whose account of events may be unreliable. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Identity and Self-Discovery | Bella discovers her true identity and struggles with her past as a prostitute, her relationship with her husband Alfie, and her creation by Baxter. | The theme of identity and self-discovery is prevalent throughout the screenplay as Bella navigates her past, relationships, and the revelations about her true self. | ||
Strengthening Identity and Self-Discovery:
| ||||
Power Struggles and Control | Alfie tries to control Bella, Bella asserts her autonomy, and conflicts arise from power struggles between characters. | The theme of power struggles and control is evident in the screenplay through the manipulation, threats, and conflicts between characters vying for dominance and authority. | ||
Emotional Manipulation | Swiney manipulates Bella emotionally, creating tension and conflict in their interactions. | The theme of emotional manipulation is present in the screenplay as characters use emotional tactics to control, influence, or deceive others, leading to tense and manipulative situations. | ||
Social Injustice and Poverty | Bella witnesses poverty and suffering in Alexandria, leading her to give away money to the poor. | The theme of social injustice and poverty is depicted in the screenplay through Bella's encounter with poverty in Alexandria and her act of generosity towards the less fortunate. | ||
Forgiveness and Redemption | Bella forgives Baxter for creating her but not for the lies and trapping that followed. | The theme of forgiveness and redemption is explored in the screenplay as characters grapple with forgiving past wrongs and seeking redemption for their actions. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by raw and emotional dialogue, vivid descriptions of contrasting settings, a focus on moral dilemmas, dark humor, and a blend of cynicism and idealism. |
Voice Contribution | The writer's voice enhances the emotional depth, moral complexity, and thematic exploration of the screenplay, adding layers of complexity, nuance, and tension to the characters' interactions and conflicts. |
Best Representation Scene | 4 - Bella's Adventures in a Paris Brothel |
Best Scene Explanation | This scene is the best representation because it encapsulates the writer's unique voice through its intense and uncomfortable themes, raw and gritty dialogue, and vivid portrayal of the characters' interactions in a brothel setting. |
- Overall originality score: 9
- Overall originality explanation: The screenplay demonstrates a high level of originality through its fresh perspectives on social inequality, power dynamics, and self-discovery. The scenes explore complex themes with authentic character actions and dialogue, adding depth to the narrative.
- Most unique situations: The most unique situations in the screenplay include Bella's confrontation with her past in a Paris brothel, her discovery of her true identity and creation by Baxter, and her decision to become a doctor despite her tumultuous past.
- Overall unpredictability score: 8
- Overall unpredictability explanation: The screenplay maintains a high level of unpredictability through its unexpected plot twists, character revelations, and unconventional storytelling. The audience is kept engaged and surprised by the unfolding events and character developments.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goal is to navigate her past experiences and seek understanding and closure. |
External Goals | The protagonist's external goal is to navigate her surroundings and relationships, seeking freedom and justice. |
Philosophical Conflict | The overarching philosophical conflict revolves around power dynamics, identity, and moral choices. |
Character Development Contribution: The goals and conflicts push the protagonist to confront her past, assert her agency, and seek justice, leading to profound personal growth and self-discovery.
Narrative Structure Contribution: The goals and conflicts drive the narrative forward by creating tension, challenges, and obstacles for the protagonist to overcome, shaping the plot and character arcs.
Thematic Depth Contribution: The goals and conflicts deepen the thematic exploration of identity, agency, power dynamics, morality, and the search for meaning and justice, adding layers of complexity and resonance to the story.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The world depicted in the screenplay is a mix of luxurious settings like a hotel balcony in Alexandria and dark, seedy environments like a Paris brothel. There are stark contrasts between the rich and the poor, as well as elements of desperation and exploitation.
- Culture: The cultural elements in the screenplay include prostitution, power dynamics, and societal structures that objectify and exploit women. There are also references to faith, family dynamics, and historical societal norms.
- Society: The societal structure in the screenplay is hierarchical and oppressive, with characters exerting control over others through manipulation, exploitation, and violence. There are elements of patriarchy, exploitation, and dehumanization present.
- Technology: The technological aspect in the screenplay is minimal, with basic items like medical equipment, carriages, and surgical tools. The focus is more on interpersonal dynamics and power struggles rather than advanced technology.
- Characters influence: The unique physical environment, culture, society, and technology shape the characters' experiences and actions by creating tension, desperation, and power dynamics. Characters are influenced by their surroundings, societal norms, and the oppressive atmosphere of the world depicted.
- Narrative contribution: The world elements contribute to the narrative by setting the tone, establishing conflicts, and creating a sense of urgency and drama. The physical environment, culture, society, and technology shape the characters' interactions and drive the plot forward.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of power, control, exploitation, and identity. The contrast between the rich and the poor, the objectification of women, and the oppressive societal structures add layers of complexity and depth to the themes explored in the screenplay.
central conflict
The central conflict revolves around Bella's journey of self-discovery and independence while navigating the dark world of prostitution and manipulation.
primary motivations
- Bella's desire to help the poor and make a difference
- Bella's quest for independence and self-identity
- Bella's struggle against manipulation and control
catalysts
Key catalysts include Bella's encounters with various characters, her experiences in the brothel, and the revelations about her past and true identity.
barriers
Major barriers include Bella's emotional numbness, her conflicting desires, and the manipulative tactics used by characters like Swiney and Alfie.
themes
Themes of self-discovery, independence, manipulation, and the dark side of human nature are central to the story's engine.
stakes
The stakes involve Bella's emotional well-being, her quest for independence, and the impact of her choices on her relationships and future.
uniqueness factor
The unique factor lies in the blend of dark themes, complex character dynamics, and the exploration of identity and empowerment in a gritty setting.
audience hook
The main audience hook is the suspenseful and emotional journey of Bella as she navigates through challenging circumstances to find her true self.
paradoxical engine or bisociation
The paradoxical engine in this story is the juxtaposition of Bella's vulnerability and strength, her innocence and experience, and the light and dark aspects of her journey.
paradoxical engine or bisociation 2
Another bisociation engine could be the contrast between Bella's compassion for the poor and her involvement in the dark world of prostitution, highlighting the complexity of human nature and societal norms.
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Poor Things' is a compelling and complex narrative that explores themes of identity, morality, and the human condition. The script demonstrates a strong understanding of character development, particularly in the portrayal of Bella's transformation from a naive, sheltered woman to a more worldly and self-assured individual. The introduction of the menacing character of Alfie adds a layer of suspense and tension to the story, while the unique premise of Bella's creation and her relationship with Baxter adds depth and complexity to the narrative. The screenplay could benefit from more consistent and grounded portrayals of Bella's experiences in the brothel, as well as more development and exploration of Alfie's backstory and motivations. Additionally, the screenplay could use more closure and coherence in the resolution of Duncan's storyline and the relationship between Bella, Prim, and Felicity. Overall, the screenplay for 'Poor Things' is a well-crafted and thought-provoking work that is recommended for consideration.
- The screenplay demonstrates a strong understanding of character development, particularly in the portrayal of Bella's transformation from a naive, sheltered woman to a more worldly and self-assured individual through her experiences in the Parisian brothel. high ( Scene 4 (111) )
- The screenplay effectively builds tension and suspense through the introduction of the menacing character of Alfie, who represents a significant threat to Bella's newfound independence and freedom. high ( Scene 9 (143) Scene 10 (151) )
- The script explores complex themes of identity, family, and morality through the unique premise of Bella's creation and her relationship with Baxter, which adds depth and complexity to the narrative. medium ( Scene 7 (133) Scene 8 (137) )
- The screenplay could benefit from a more consistent and grounded portrayal of Bella's experiences in the brothel, as some scenes feel a bit over-the-top or stylized in a way that detracts from the realism and emotional weight of her journey. medium ( Scene 4 (116) Scene 5 (120) )
- The screenplay could use more development and exploration of Alfie's backstory and motivations, as his sudden and extreme antagonism towards Bella feels a bit underbaked at times. medium ( Scene 9 (149) )
- The screenplay could benefit from more consistent and coherent resolution of Duncan's storyline, as his erratic behavior and sudden disappearance leave the audience wanting more closure. medium ( Scene 2 (110) )
- The screenplay could use more development and exploration of the relationship between Bella, Prim, and Felicity, as their dynamic feels underdeveloped and lacks the same depth as Bella's other relationships. medium ( Scene 7 (134) )
- The screenplay's opening sequence, in which Bella witnesses the stark contrast between the luxury of her hotel and the abject poverty of the surrounding slum, is a powerful and impactful moment that sets the tone for the story and Bella's emotional journey. high ( Scene 1 (97) )
- The screenplay's climactic sequence, in which Bella stays by Baxter's side as he passes away, is a poignant and emotionally resonant moment that ties together the various thematic threads of the story. high ( Scene 8 (157) )
Engine: GPT4
Consider
Executive Summary
The screenplay 'Poor Things' offers a rich narrative filled with complex characters, particularly Bella, whose journey from naivety to empowerment forms the crux of the story. The script effectively uses humor, emotional depth, and a touch of surrealism to explore themes of identity, autonomy, and transformation. While the screenplay is bold and innovative, it could benefit from tighter pacing, deeper character development, and a more nuanced exploration of its themes.
- The screenplay effectively portrays Bella's shock and empathy towards the impoverished, which drives her character development. high ( Scene 1 (97) )
- The introduction of Toinette and her socialist ideals adds depth to the narrative and influences Bella's worldview. medium ( Scene 3 (112) )
- The screenplay uses humor effectively to lighten the mood and enhance character interactions, particularly in the brothel scenes. medium ( Scene 5 (120) )
- The complex relationship between Bella and Baxter is well-explored, providing emotional depth and conflict. high ( Scene 7 (132) )
- The screenplay's climax with Alfie's confrontation provides a dramatic resolution to Bella's struggle for autonomy. high ( Scene 10 (141) )
- Some scenes, particularly in the brothel, might benefit from a more nuanced portrayal to avoid sensationalism. medium ( Scene 4 (115) )
- The pacing in the middle sections could be tightened to maintain narrative momentum. medium ( Scene 6 (125) )
- Character motivations, especially Alfie's, need clearer exposition to enhance believability and depth. high ( Scene 9 (141) )
- The screenplay could benefit from more diverse settings to broaden the scope and add visual interest. low
- Dialogue in some scenes comes across as overly expository; more show, less tell would enhance realism. medium
- There is a lack of strong supporting characters who could provide additional layers to the main narrative. medium
- The screenplay could explore more deeply the psychological impacts of Bella's transformations and experiences. medium
- Background information on secondary characters like Toinette and Swiney could enrich the story. low
- More scenes depicting Bella's internal conflicts would enhance audience connection with her character. medium
- The screenplay could benefit from a clearer thematic statement to unify the various plot elements. high
- The innovative use of medical and scientific themes as metaphors for personal transformation is a standout element. high ( Scene 11 (155) )
- The screenplay's bold approach to discussing themes of sexuality and power dynamics is noteworthy. high ( Scene 2 (108) )
- The dynamic and evolving relationship between Bella and Max offers a compelling subplot that enriches the main story. medium ( Scene 8 (138) )
- The portrayal of Baxter's complex character and his ambiguous morality adds depth and intrigue. high ( Scene 7 (137) )
- The screenplay's climax and resolution provide a satisfying conclusion to Bella's journey, emphasizing themes of freedom and self-determination. high ( Scene 10 (150) )
Memorable lines in the script:
Scene Number | Line |
---|---|
2 | Duncan: YOU ARE A MONSTER. A WHORE AND A MONSTER! You are a demon sent from hell to rip my spirit to shreds to punish my tiny sins with a tsunami of destruction. |
10 | Bella: I'd rather you shot me in the fucking heart. |
6 | Bella: A terrible thing has happened Swiney. I feel almost nothing, and my empathy is creeping towards something I would describe as contemptuous rage. |
7 | Bella: I arrived home and I smelt the formaldehyde and I knew what is next. I will be a doctor. |
3 | Bella: As God my father says, it is only the way it is until we discover the new way it is and then that is the way it is until we discover the new way it is and so it goes until the world is no longer flat, electricity lights the night and shoes no longer are tied with ribbons. You see. |