glass Onion Knives Out
Executive Summary
Poster
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Overview
Genres: Drama, Mystery, Thriller, Comedy, Sci-Fi
Setting: Contemporary, Various locations including a mansion, a private island, a gym, and a beach
Overview: The story starts with a group of friends receiving mysterious puzzle boxes from a billionaire, Miles Bron, inviting them to a murder mystery weekend on his private island. The friends include Birdie, a former model and socialite; Peg, her enigmatic assistant; Duke, a controversial YouTube star; Whiskey, his loyal girlfriend; Lionel, a brilliant scientist; and Claire, a politician. Upon arriving on the island, they find that Andi, Miles' former business partner, has been murdered. Benoit Blanc, a renowned detective, is called in to investigate.Blanc suspects foul play and begins his investigation, interrogating each guest. As he delves deeper into the mystery, Blanc uncovers layers of secrets, betrayals, and hidden agendas. Each guest becomes a suspect, and the line between friend and foe blurs. The motive for Andi's murder becomes increasingly unclear as more information is revealed. In the end, Blanc gathers all the suspects and dramatically reveals the true killer and their motive.
Themes: Selfishness, Wealth and Inequality, Power of Memory, Nature of Truth, Family
Conflict and Stakes: The primary conflict revolves around uncovering the truth behind Andi's murder, with the stakes being the exposure of dark secrets and the pursuit of justice.
Overall Mood: Tense and suspenseful
Mood/Tone at Key Scenes:
- Scene 1: Scene 1 sets a lighthearted and comedic tone with the introduction of the mysterious wooden box
Standout Features:
- Twists and Turns: Intriguing plot twists and unexpected revelations keep the audience engaged
- Complex Characters: Well-developed and multi-dimensional characters add depth to the story
- Unique Setting: The diverse and visually striking locations enhance the atmosphere and mood of the screenplay
Comparable Scripts:
- Knives Out (2019)
- Gosford Park (2001)
- And Then There Were None (1945)
- The Murder of Roger Ackroyd (1926)
- The Big Sleep (1946)
- The Usual Suspects (1995)
Writing Style:
The screenplay exhibits a diverse range of writing styles, showcasing the influence of multiple authors. However, a common thread running through the scenes is the emphasis on sharp dialogue, compelling character dynamics, and the exploration of complex themes.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Gillian Flynn
- Christopher Nolan
- Quentin Tarantino
Pass/Consider/Recommend
Recommend
Explanation: Glass Onion: A Knives Out Mystery is a witty and engaging whodunit with a strong central mystery, memorable characters, and sharp dialogue. The screenplay's strengths lie in its humor, puzzle-solving sequences, and social satire. Areas for improvement include pacing in the second act and further development of supporting characters. Overall, the screenplay is highly recommended with the potential to be a commercial and critical success.
USP: This screenplay presents a fresh and original take on the murder mystery genre. By introducing a diverse cast of complex characters, each with their own motivations and secrets, the story delves into themes of disruption, innovation, and the fragility of truth. As the narrative unfolds, layers of mystery are peeled back, challenging the characters and the audience alike to question the authenticity of their surroundings and the people they trust. The script's witty dialogue, authentic character interactions, and unexpected plot twists create a captivating and thought-provoking cinematic experience, setting it apart from other films in the genre.
Market Analysis
Budget Estimate:$30-40 million
Target Audience Demographics: Adults aged 25-54, fans of mystery, thriller, and drama genres
Marketability: Strong potential for a wide audience appeal with a compelling storyline and intriguing characters
Unique blend of genres and themes, with a diverse cast and engaging plot twists
Highly marketable due to its suspenseful narrative, strong character development, and dramatic tension
Profit Potential: High, with the potential for box office success, critical acclaim, and awards recognition
Analysis Criteria Percentiles
What this means: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.
Writer's Voice
Summary:The writer's voice is characterized by sharp dialogue, witty banter, and a blend of humor and drama. The narrative is fast-paced and engaging, with a focus on complex character dynamics and mysterious elements.
Best representation: Scene 14 - The Puzzle Box Mystery. This scene is the best representation because it encapsulates the writer's unique voice through its blend of mystery, dramatic tension, and cryptic dialogue, setting the stage for the unfolding events in the screenplay.
Memorable Lines:
- Miles: Because tonight, in this very room, a murder will be committed. My murder. (Scene 23)
- Miles: I will pay you one billion dollars to find who tried to kill me. (Scene 30)
- Helen: Recognize this? Andi's handwriting. Gotcha, you son of a bitch. (Scene 57)
- Helen: Your fuel of the future just barbecued the world's most famous painting, dumbass. Congratulations on the public launch of Klear and the end of Miles Bron. (Scene 60)
- Miles: Oh you shit heads. (Scene 61)
Characters
Helen:A determined and resourceful woman seeking justice for her sister's murder
Miles:A charismatic and manipulative individual with a dark secret
Blanc:A sharp and observant investigator uncovering the truth behind the murders
Andi:A victim of murder whose death sets off a chain of events
Duke:A suspicious and potentially dangerous character with hidden motives
Birdie:A complex and enigmatic figure with connections to the crimes
Claire:A conflicted individual caught up in the web of deceit and betrayal
Lionel:A scientist facing moral dilemmas and ethical challenges
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 | Internal Goal | External Goal | Conflict | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | ||||
| 1 - The Mysterious Box | Witty, Sarcastic, Excited | 8 | 8 | 7 | 9 | 9 | 4 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 5 | 8 | 9 | 9 | 8 | 8 | |
| 2 - The Pressure Builds | Exasperation, Intrigue, Skepticism | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 3 - The Enigmatic Wooden Box | Sarcastic, Light-hearted, Conversational | 8 | 7 | 7 | 9 | 8 | 4 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 5 | 9 | 9 | 8 | 8 | 8 | |
| 4 - Duke Cody's Livestream | Satirical, Sarcastic, Controversial | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 5 - The Enigmatic Delivery | Intriguing, Suspenseful, Mysterious, Engaging | 8 | 8 | 8 | 9 | 7 | 5 | 9 | 8 | 6 | 7 | 6 | 8 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
| 6 - The Fugue Puzzle | Intriguing, Suspenseful, Mysterious, Exciting | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7.5 | 6 | 8 | 6 | 8 | 8 | 6 | 8 | 9 | 8.5 | 8 | 8 | |
| 7 - Invitation to a Murder Mystery Weekend | Excitement, Suspense, Intrigue, Awe, Shock | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 9 | 7 | 8 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | |
| 8 - Blanc's Online Gaming Interlude | Confusion, Annoyance, Curiosity, Humor | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 9 - Arrival at the Jetty | Awkward, Exciting, Humorous | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7.5 | 6 | 8 | 6 | 8 | 9 | 6 | 8 | 9 | 8.5 | 8 | 8 | |
| 10 - Arrival and Introduction | Suspenseful, Humorous, Mysterious | 8 | 8 | 8 | 9 | 7 | 5 | 8 | 7 | 6 | 7 | 7 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 11 - A Mysterious Arrival | Suspenseful, Intriguing, Mysterious, Tense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 12 - Welcome to Peetchachite | Mysterious, Suspenseful, Intriguing, Light-hearted | 8 | 8 | 8 | 8 | 7 | 5 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 13 - The Glass Onion Estate | Mysterious, Suspenseful, Intriguing, Quirky | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Confrontation in the Glass Onion | Mysterious, Intriguing, Suspenseful, Confused, Curious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 9 | 7 | 8 | 7 | 8 | 9 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 15 - The Puzzle Box Mystery | Mysterious, Light-hearted, Suspenseful, Playful | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 16 - Poolside Pandemonium | Mysterious, Light-hearted, Tense | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 7.5 | 8 | 8 | 9 | 8 | 9 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
| 17 - Fax Machine Surprise | Mysterious, Light-hearted, Conversational | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 18 - Disruption and Common Ground | Intense, Confrontational, Revealing, Dramatic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
| 19 - Accusations and Treachery | Tense, Dramatic, Confrontational, Intense, Emotional | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 20 - In the Shadow of the Glass Onion | Foreboding, Tense, Mysterious, Sarcastic, Light-hearted | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 6 | 7 | 9 | 8.5 | 8 | 8 | |
| 21 - The Unveiling of the Mona Lisa | Intriguing, Suspenseful, Mysterious, Dramatic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 22 - KLEAR Unveiling | Suspenseful, Intense, Dramatic, Confrontational | 8 | 9 | 8 | 9 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 9 | |
| 23 - The Murder Mystery Game | Suspenseful, Mysterious, Tense, Dramatic, Intriguing | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 24 - The Crossbow Revelation | Suspenseful, Dramatic, Intriguing, Tense | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 9 | 9 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 25 - The Confrontation | Suspenseful, Intense, Confrontational, Revealing | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
| 26 - Miles' Nostalgic Lament | Tense, Confrontational, Reflective, Sarcastic | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 27 - Confrontation at the Party | Tense, Confrontational, Emotional, Defiant | 9 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 28 - Weekend Celebration | Suspenseful, Light-hearted, Dramatic, Exciting | 8 | 8 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 29 - Sudden Death on a Greek Island | Suspenseful, Shocking, Intense, Dramatic | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 30 - Accusations and Delays | Suspenseful, Tense, Dramatic, Mysterious | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 31 - Panic and Darkness | Suspenseful, Panic-stricken, Mysterious, Dark | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | 6 | 9 | 8 | 8 | 8 | |
| 32 - Chaos in the Dark | Suspenseful, Intense, Dramatic, Mysterious | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 33 - Deadly Tableau | Suspenseful, Intense, Dramatic, Shocking | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 34 - The Unmasked Twin | Suspenseful, Intense, Emotional, Intriguing | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 35 - Helen's Memories and Suspicions | Suspenseful, Intense, Emotional, Intriguing, Dramatic | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 36 - The Invitation | Suspenseful, Intense, Intriguing, Mysterious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 37 - Helen Agrees to Impersonate Andi | Suspenseful, Intense, Emotional, Serious | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 38 - Planning the Investigation | Suspenseful, Intense, Intriguing, Dramatic | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 39 - Clash of Aspirations and Ethics | Tense, Suspenseful, Emotional, Dramatic | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 40 - Miles' Lies and Perjury Revealed | Suspenseful, Intense, Dramatic, Intriguing | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 41 - Snooping on the Island | Suspenseful, Intense, Mysterious, Anxious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 42 - Whispers and Gunshots at the Estate Party | Suspenseful, Intense, Dramatic, Intriguing | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
| 43 - Secrets and Suspicions | Suspenseful, Intriguing, Tense, Mysterious | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 44 - Confrontation by the Pool | Suspenseful, Intense, Confrontational, Dramatic | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 45 - Unanswered Messages | Suspenseful, Intense, Confrontational, Mysterious | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 46 - Unraveling the Truth in the Empty Gym | Suspenseful, Intense, Serious | 9 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 47 - A Secret Revealed | Suspenseful, Intense, Dramatic, Intriguing | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 48 - Sweatshop Scandal | Suspenseful, Intense, Intriguing, Serious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 49 - Helen's Desperate Search | Suspenseful, Intense, Dramatic, Emotional | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 50 - The Ransacked Room | Tense, Suspenseful, Dramatic, Terrifying | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 51 - Gunshot and Deception | Suspenseful, Intense, Dramatic, Mysterious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 52 - Helen's Discovery | Intriguing, Suspenseful, Revealing, Intense | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 7.5 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 53 - Accusations in the Lounge | Suspenseful, Intense, Revealing, Confrontational | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 54 - Miles' Deception Revealed | Suspenseful, Intense, Dramatic, Intriguing | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 55 - Miles's Manipulation and Deception Revealed | Suspenseful, Intense, Dramatic, Revealing | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 56 - Miles Exposes Helen's Attempted Murder | Suspenseful, Dramatic, Intense, Intriguing | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 57 - Miles' Confession | Suspenseful, Intense, Dramatic, Shocking | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 58 - Confrontation in the Aftermath | Tense, Confrontational, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 59 - Destructive Rage | Intense, Emotional, Confrontational, Dramatic | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 60 - Chaos and Confrontation | Intense, Dramatic, Confrontational, Emotional | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 61 - The Accusations | Suspenseful, Intense, Dramatic, Emotional | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
Scene 1 - The Mysterious Box
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Adapted Screenplay
Written by Rian Johnson
1 A FRONT DOOR, PAINTED BLACK 1
A hand knocks. Muffled noise inside, then it opens revealing
CLAIRE DEBELLA, 30s. Nicely made up in a beige blouse but
wears sweat pants and Uggs. She's on the phone. The man who
knocked is a COURIER delivering a cardboard box about the
size of four large stacked pizza boxes.
CLAIRE
-subject to their approval hold on
(to courier)
Hey - oh shit, sorry - let me -
She realizes she isn't wearing a mask, puts her arm
awkwardly over her mouth. Widen to reveal:
2 EXT. SUBURBAN HOUSE - DAY 2
The courier's van with CONNECTICUT plates at the curb.
Claire signs for the package and takes it.
ALPHA COURIER
Sign here.
CLAIRE
Thank you.
A title card up over this:
MAY 13, 2020
3 INT. DEBELLA HOME 3
Claire awkwardly puts the large box on the kitchen island,
where her husband DEVON (30s, shaggy haired in a vintage
GREENPEACE t-shirt) wrangles three kids and sorts paperwork.
DEVON
What's this?
CLAIRE
I don't know I've got the CNN thing
in like, now.
As she rushes into the living room where a mini studio is
set up in front of a bookshelf, "DEBELLA 2020" election
signs everywhere.
She's a blaze of beige energy, sharp and incredibly wry.
(CONTINUED)
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2.
3 CONTINUED: 3
CLAIRE (cont'd)
(to Assistant)
Amy! Come on look alive, hold that
please.
Claire hands her a phone and coffee.
ASSISTANT
On in 10, she's leading you in now.
In the kitchen, Devon has removed the cardboard box,
revealing a large smooth WOODEN BOX, with a small note -
"LOVE, MILES!" Devon gets very excited.
DEVON
It's from Miles!
Claire just has time to react to this before she's on live.
CNN ANCHOR (ON SCREEN)
And with me now is Connecticut
Governor Claire Debella, whose senate
campaign is picking up steam, as
she's positioned herself as a very
different kind of candidate.
Governor, thanks for joining us,
working from home like the rest of
us, I can see
CLAIRE
Yes, welcome to our office, campaign
center and kindergarten, we are
losing our minds.
4 INT. AEROSPACE FACTORY 4
A cavernous warehouse-sized space with clean floors and
massive pieces of strange equipment. It's empty and mostly
dark. An unattended TV on the wall (in an open break area
with bean bag chairs) plays to nobody at all.
CNN ANCHOR (ON TV)
Your campaign is backed by
billionaire philanthropist Miles
Bron, founder of the ubiquitous tech
giant Alpha, which now has dozens of
companies from Alpha Cosmos to Alpha
Car, Alpha Shop, Alpha News,
(CONTINUED)
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3.
4 CONTINUED: 4
A WORKER in protective gear and face shield rolls a cart
through the space, past the tv. On the cart is a WOOD BOX,
identical to the one Claire received. A huge sign in the
background if we notice it: "ALPHA COSMOS"
5 INT. CONFERENCE ROOM 5
LIONEL TOUSSAINT (30s) sits alone at a table facing a wall
of various SCIENTISTS on zoom screens. Head in his hands.
Scene 2 - The Pressure Builds
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 9
I know. I know I know I know but what
can I do?
Every scientist says some exasperated variation of:
SCIENTISTS (ON SCREENS)
You can tell him NO.
SCIENTIST ONE
Lionel you're a scientist not a
publicist, you can't keep making
excuses for Miles Bron's every insane
whim!
LIONEL
But genius always looks like insanity
at first, though, right? Isn't that
how he became Miles Bron? I mean you
guys have no idea - the man faxes me
in the middle of the night,
constantly, he loves faxes, he sends
his ideas and I'm supposed to - you
tell me - genius or insanity -
Lionel pulls a handful of fax pages from a pile on the table
LIONEL (cont'd)
"Uber for biospheres" - no idea but
maybe right? - "AI in Dogs =
discourse" - I, all night long they
just keep - here - but then -
He holds up another that just says "CHILD = NFT?"
LIONEL (cont'd)
Remember CHILD equals NFT - We all
laughed, but then the "Krypto Kidz"
app paid for this building.
The door opens, and the worker pushes the cart in.
(CONTINUED)
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4.
5 CONTINUED: 5
WORKER
Delivery. I wiped it down.
Lionel goes over to the cart, still talking, pulls it in.
LIONEL
How can you argue with that?
SCIENTIST TWO
We know, never bet against Bron, we
know it but he's asking us to put a
volatile substance on a manned flight
LIONEL
He won't listen, he just comes back
with "make it work" - and what if it
works?
A stentorian scientist breaks through:
SCIENTIST THREE
This is science, not a religion.
Remember that Lionel. Because if your
name is on this and it fails, it will
sink you forever.
Lionel lifts the card on the wooden box. "LOVE, MILES!"
6 EXT. THE DAKOTA - MANHATTAN - DAY 6
The beautiful apartment building, on a clear Manhattan day.
7 INT. APARTMENT 7
Claire's interview on a television.
CLAIRE (ON TV)
I'm hard line on climate change, if
that scares you go stick your head
back in the sand. My constituents
trust I'm gonna fight the machine to
keep their water clean and land
green. Oh, that's good, we gotta get
t-shirts with that. Remind me.
We pull back from the television through a room filled with
a DIZZYING array of INTERESTING PEOPLE - models, musicians,
authors, designers, circus performers, all reclining on
couches or grouped on the floor, smoking and doing drum
circles and partying like it isn't 2pm on a weekday during a
pandemic.
(CONTINUED)
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5.
7 CONTINUED: 7
Finally we land on ex-model, magazine editor and fashion
designer BIRDIE JAY (40s.) A few men are, at any given
moment, always paying attention to her, and she looks both
fabulous and sick of life.
BIRDIE
I'm so bored. Peg! Where's Peg?
Peggggggg!
Scene 3 - The Enigmatic Wooden Box
- Overall: 8.0
- Concept: 7
- Plot: 7
- Characters: 8
- Dialogue: 9
the door holding a familiar CARDBOARD BOX, which she
deposits on the coffee table.
PEG
I'm here.
(spots off-screen)
Please stop fire spinning inside!
BIRDIE PEG
Pegggg I'm so bored, give me
my phone just a little just
a little phone time just a No phone.
tiny little phone time
MODEL
Why can't she have her phone?
DANCER
Because she's mean.
Birdie rolls her eyes and sarcastically does air quotes:
BIRDIE
No. It's cause she's afraaaaid I'll
tweeeeet. An ethnic slurrrr.
Agaaaaain.
PEG
You agreed, no phone for the rest of
the media cycle.
BIRDIE
I didn't even know that word referred
to Jewish people, I though it was
just a generic term for "cheap."
Peg blinks at her.
PEG
"Jewy??"
(CONTINUED)
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6.
7 CONTINUED: (2) 7
BIRDIE
Everything's so woke these days it's
out of control.
VAMPIRE IN TUXEDO
Yes.
Peg pulls away cardboard, revealing the WOOD BOX.
BIRDIE
I'm sorry I say it like I see it, no
filter, if people can't handle that
it's their problem what's this?
PEG
A guy dropped it off -
Birdie picks up the card and seeing who it's from lights up:
8 INT. DEBELLA HOME 8
Claire, back in the kitchen with Devon, answers a call on
her phone - from LIONEL. She puts him on speaker.
CLAIRE
Alright genius what is this thing?
SPLIT-SCREEN with Lionel in his conference room, inspecting
the box.
DEVON LIONEL
It's a Miles invitation It's one of Miles's
invitations
CLAIRE
Well duh but what is it? It's just
like a block of wood
DEVON
There's gotta be a way to open it
right?
LIONEL
There's no latches or even visible
seams. It's solid. The wood grain
pattern is weird though, it's
familiar...
Claire's phone buzzes with another call
CLAIRE
It's Birdie. Hold on.
(CONTINUED)
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7.
8 CONTINUED: 8
Claire adds her and we now also SPLIT-SCREEN Birdie in the
party apartment.
BIRDIE
Ok how do you open this thing?
CLAIRE
Hi Birdie, Lionel's on too. Hi Peg!
BIRDIE
Peg's putting out a fire but she'll
be back.
CLAIRE
Putting out another fire? Bird what'd
you say this time, you gotta stay off
the twitter.
BIRDIE
No nothing like that, no it's fine.
Peg runs by in the background with a fire extinguisher.
Scene 4 - Duke Cody's Livestream
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Is this a Miles thing - have you
figured it out yet? Lionel? Use your
science brain.
Lionel runs his hands over the box, perplexed.
LIONEL
Working on it. Bird should you be
having a party?
BIRDIE
They're in my pod, it's fine. Has
anyone heard from Duke?
ALL
No.
9 INT. THREE CAR GARAGE - DAY 9
A gorgeous MUSTANG parked in the background, sleek weight
lifting equipment, expensive gadgets. DUKE CODY (40s, very
fit) sits in the foreground speaking directly into the
camera. We slowly widen to reveal the frame of a YOUTUBE
video around him - we're watching him live broadcasting.
(CONTINUED)
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8.
9 CONTINUED: 9
DUKE
This has gotten some attention
obviously so I want to speak to
this - no, Jimmy Kimmel, I do not
"hate boobs." Boobs - breasts - give
us many useful things. Milk. Cheese.
Breasts nourish our young, until the
age where we can hunt for them. And
let's be honest, breasts are fun.
Nothing wrong with that. Am I right
babe?
A 22 year old girl named Whiskey steps into frame, dressed
in a sporty provocative way involving camouflage.
WHISKEY
I love my boobs, they're super fun.
Oops! Sorry feminists!
She struts off screen as Duke continues.
DUKE
When we refer to the
"breastification" of America, what we
mean is a breakdown of the natural
order, evolutionary truths that go
back billions of years.
A woman's voice shouts from three rooms away:
WOMAN'S VOICE (O.S.)
Dukey!
DUKE
If you're a young man in America
you're being asked to slow down so
women can catch up. For centuries in
the western workplace has been
dominated by men, because that's what
nature made us to do.
We pull back from a computer monitor, at which point we
REVEAL that he was in front of a greenscreen with a photo
background, and is actually broadcasting from a slightly
shittier 3 car garage, with none of the polish or decor,
with a slightly shittier version of the sports car, piles of
merch with Lion logos and "APEXOSITY" slogans everywhere.
WOMAN'S VOICE (O.S.)
Dukey!
(CONTINUED)
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9 CONTINUED: (2) 9
DUKE
but you can have the next best thing
with our Apex Supplements. Whiskey's
gonna break it down for you.
Duke weaves out of the garage and into the hallway of a
mcmansion, lots of cheap marble and clutter, shutting the
door behind him. His MOM walks through with a basket of
laundry, speaks with a jersey accent.
Whiskey takes over and starts pitching the supplements as
Duke walks out of frame.
MA
Dukey, I been calling you you gotta
answer me when I call.
DUKE
Ma! Will you shut it? I'm live, we've
gone over this, Whiskey and me when
we're live -
Ma SLAPS him hard enough to rattle his teeth.
MA
You tell your mother to shut up?
Scene 5 - The Enigmatic Delivery
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
I'm sorry it's just we're live
MA
What?
DUKE
We're -
MA
What?
Stares him down. His eyes on the floor.
DUKE
Nothing, jeez mom, I'm sorry.
She nods cooly and walks off.
MA
You got a delivery, it's in the
kitchen.
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10.
10 INT. DEBELLA HOME / CONFERENCE ROOM / APARTMENT 10
SPLIT-SCREEN all - Lionel is examining the box with a loupe.
LIONEL
Maybe it's sensitive to heat?
BIRDIE
Wait here's Duke, hold on - Duke!
Now include in the split-screening:
11 INT. DUKE'S KITCHEN - DAY 11
Duke's box is on the mcmansion kitchen table, but his is
different - the wood top is not smooth and featureless but
COVERED IN complex puzzles. He talks on speakerphone.
DUKE
What is this thing? My mom already
broke it.
His mom's voice from the hall:
MA (O.S.)
It's a stereogram!
DUKE MA (O.S.)
She did something to it and
it opened up, I dunno she
broke it - Ma! It's a stereogram, I told
you.
Lionel's eyes widen as he runs his hands over the patterned
wood grain surface.
LIONEL
A stereogram...
CLAIRE DEVON
A what-o-gram? Wait, a
stereogram, were those those The magic eye things, I
things - could never do those
DUKE
Ma! What'd I tell you about touching
my stuff!
(CONTINUED)
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11.
11 CONTINUED: 11
Lionel brings his fingers close to his eyes so they cross,
then moves it away - the pattern on the wood grain doubles
and blurs, then focuses and comes together like a Magic Eye
painting... forming a large 3D ARROW SHAPE. He presses his
finger just under the tip of the arrow.
A hidden button in the wood depresses with a CLICK and the
top of the box slides open with magical fluidity, revealing
four quadrants with intricate puzzles, three covered with
fine gold mesh.
Lionel's eyes gleam with childlike wonder.
LIONEL
Oh wow...
CUT TO: the gang works together, solving the puzzles one by
one. The first is a checkered board with three colored
marbles arranged on it.
PEG LIONEL
Do you group them by color
maybe - Or size? Weight, should I
weigh them?
CLAIRE
Eight by eight - it's a chess board!
This is a chess endgame, it's - So
it's set up for mate in one, should
I -
LIONEL
Do it Kasparov!
She slides one of the marbles to checkmate. With the same
graceful fluidity, one of the gold mesh coverings slips
away, revealing the next puzzle.
BEGIN A BRIEF SOLVING MONTAGE:
A completed tic-tac-toe grid with an "F" to the left of it,
and a small telegraph key (tapping device).
BIRDIE
That's tic-tac-toe! I know this!
CLAIRE BIRDIE
But it's solved already so
it can't be - thank you It's tic-tac-toe.
Birdie, for contributing,
yes.
(CONTINUED)
Scene 6 - The Fugue Puzzle
- Overall: 8.0
- Concept: 9
- Plot: 7
- Characters: 8
- Dialogue: 8
12.
11 CONTINUED: (2) 11
PEG LIONEL
Wait - the tapper thing,
it's for morse code - the
x's and o's are dots and Dits and dahs! That's an O -
dashes and U - R, FOUR, which is,
here -
BIRDIE
It's tic-tac-toe...
He taps four dots and a dash and the next screen opens - a
sliding tile puzzle. They all dive in, slowly revealing a
large capital "N"
BIRDIE CLAIRE
Is something supposed to N... maybe stands for
happen? something, maybe in one of
the other puzzles
Without turning from the sink Duke's mom:
MA DUKE
It's a compass Ma!
LIONEL
North! The whole thing's a compass,
turn it - what's true north, where
are we - this way -
Spinning the box so it faces north, jangling it a bit and
THE FINAL mesh SLIDES OPEN, revealing the workings of a
MUSIC BOX. In addition four little BARS pop up on the four
top edges of the box.
The music box starts to play a classical tune.
CLAIRE LIONEL
It's music. Guys. It's Shhhh
music. It's music.
BIRDIE
Are you mocking me?
CLAIRE
Yes
BIRDIE
Alright ha ha I'm gonna shazam it.
Birdie loudly talks into a large white cube on the table.
(CONTINUED)
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13.
11 CONTINUED: (3) 11
BIRDIE (cont'd)
ALEXA, SHAZAM THIS SONG PLEASE.
ALEXA, SHAZAM THIS SONG PLEASE.
ALEXA, SHAZAM THIS SONG PLEASE.
Yo-Yo Ma, eating a slice of pizza, leans over to Peg.
YO-YO MA
That's Bach's "Little Fugue in G
Minor."
PEG
Are you sure?
YO-YO MA
Yeah. Listen.
BIRDIE
I'm shazaaming it.
YO-YO MA
A fugue is a beautiful musical puzzle
based on one one tune, and when you
layer this tune on top of itself it
starts to change and turns in to a
beautiful new structure.
Birdie realizes
BIRDIE
This can't shazaam, it's a lamp.
CLAIRE
I love you Birdie.
BIRDIE
I love you too!
LIONEL
Wait. Layered back over itself. Hold
on. See that center wheel? Lift it
up...
The entire top layer pops up like an album off a turntable,
on a center spoke.
It starts SPINNING, then settles... revealing FOUR NEW
PUZZLES.
LIONEL (cont'd)
A whole new tune.
(CONTINUED)
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11 CONTINUED: (4) 11
DUKE
Freakin Miles, man. Genius.
MA
That first one's the Fibonacci
sequence.
DUKE
Ma!
Scene 7 - Invitation to a Murder Mystery Weekend
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
calculated, color filters irising over illuminated suns,
gold mesh opening, three more puzzles solved by our group as
the excitement mounts. Finally:
LIONEL
Forty seven for sure?
DUKE
(looking at his phone)
That's the atomic number of silver -
that's definitely silver?
BIRDIE
That's silver. So this is it?
They all set number tumblers (beneath a mounted chunk of
silver) to "47." A simple switch below the tumblers.
LIONEL
Ok. One. Two. Three.
They all flip the final switch.
The top of the box SPLITS down the middle and parts,
revealing a CENTRAL CHAMBER covered with a wooden DOME.
This DOME then opens like a flower in time lapse,
beautifully revealing a recess with a blue index card sized
NOTE inside.
With hushed awe, Claire, Lionel, Duke and Birdie all take
their notes, and read.
CLAIRE
My dear friends, my beautiful
disruptors, my closest inner circle.
LIONEL
We could all use a moment of
normalcy. And so, you are cordially
invited
(CONTINUED)
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15.
11 CONTINUED: (5) 11
BIRDIE
for a long weekend on my private
island AAAAAAAAAAHHH!!!!!!
DUKE
where we will celebrate the bonds
that connect us. And I hope your
puzzle solving skills are whetted,
BIRDIE
AAAAAAAAAHHHHH YES YES YES YES
LIONEL
because you will also be competing to
solve the mystery...
CLAIRE
...of my murder. Travel details to
come, please forward any dietary
restrictions. Love and all my kisses,
Miles.
12 INT. DUKE'S KITCHEN 12
Duke is bubbling with excitement.
DUKE
Oh my god - Ma, where's my spear
fishing gear at? I gotta pack it!
(shouts)
Babe! Hey babe! Get packed!
As he leaves Whiskey walks in, blinks at the box.
WHISKEY
What's that?
MA
I dunno.
13 INT. CONFERENCE ROOM 13
Lionel leans back, twirling the invite. He turns off the
banks of monitors with a remote control.
14 INT. APARTMENT 14
Birdie is losing her shit, dancing around the party.
(CONTINUED)
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14 CONTINUED: 14
BIRDIE
Yessssssssssssssss!
HARD CUT TO:
15 INT. GARAGE 15
A darkened garage, with moving boxes half packed. A card
table has the familiar box on it, still smooth and solid and
unsolved. The "LOVE MILES!" card next to it.
Sitting behind the table, staring blankly at the box, is a
WOMAN in her 30s we have not met yet. Her expression is
unreadable. She stares at the box for a long while.
Then she gets up and walks out of frame. We stay with the
box. Sounds of clattering. Then a few moments later she
comes back.
With a hammer.
Without hesitation she SMASHES the box. It splinters apart -
all the intricate puzzles shattering, springs and latches
and pieces flying everywhere. She smashes it until it breaks
open entirely, revealing the invitation inside.
She drops the hammer. Takes the invite. Sits. Reads it.
Scene 8 - Blanc's Online Gaming Interlude
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
rage. Maybe sadness. Whatever it is, it stays behind her
eyes and she finishes reading and stares through the
invitation for a long, long while.
CUT TO:
On an iPad screen, little robot men traverse a space station
in a video game. "EMERGENCY MEETING!" flashes on the screen,
and then "DISCUSS!"
16 INT. BENOIT BLANC'S APARTMENT - DAY 16
BLANC
Hold on. What's happening?
Blanc sits in his bath tub smoking a cigar, annoyed and
disinterested. On a second ipad, a SKYPE call with four of
his friends.
BLANC (cont'd)
What just happened? I'm so confused.
(CONTINUED)
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16 CONTINUED: 16
ANGELA LANSBURY
Blanc, I saw you go in the engine
room. You're the imposter, we all
know it.
BLANC
I'm sorry, I don't understand this at
all, so Angie caught me and now the
game's just over?
STEPHEN SONDHEIM
You're thrown out of the airlock,
it's a no brainer.
BLANC
Yeah, sorry Steve, I know you're
saying words but they mean nothing to
me, absolute gibberish. I think maybe
this game is just not my thing.
On the screen: Blanc's robot spins out into space, resulting
in a VICTORY for the team.
KAREEM ABDULJABBAR
I gotta say, "the world's greatest
detective," I really thought you'd be
better at this.
NATASHA LYONNE
Maybe we should try Codenames? Or
Quiplash?
A KNOCKING from out in the apartment somewhere.
BLANC
No no, I look I appreciate you all
trying to do this for me.
KAREEM ABDULJABBAR
We're worried about you buddy.
Lockdown's not been easy for any of
us, we'd all kill for a vacation
right now. But Phillip told me you
haven't left the bath in a week?
BLANC
Oh that's hyperbole.
KNOCKING AGAIN.
BLANC (cont'd)
(shouts)
Answer that, would you?
(CONTINUED)
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18.
16 CONTINUED: (2) 16
PHILLIP (O.S.)
You're not in the bath again are
you??
BLANC
(to Phillip, guilty)
No!
(back to the zoom)
I just I lose it a bit between cases
anyway, but I'm really feeling
insane. My mind is a fueled up racing
car and I've nowhere to drive it.
NATASHA LYONNE
Have you tried crosswords?
BLANC
I don't need puzzles or games, and
the last thing I need is a vacation.
I need danger, the hunt, a challenge.
I need a great case.
PHILLIP (O.S.)
Blanc! There's someone here for you.
Blanc looks off in the direction of the voice, curious.
PHILLIP (O.S.) (cont'd)
With a box.
CUT TO:
Scene 9 - Arrival at the Jetty
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Opening title over glistening waves. Tilt up to reveal:
18 EXT. GRECIAN PORT TOWN - DAY 18
Hills dotted with rustic homes, a charming HOTEL on the
water. A long JETTY juts out into the crystal blue sea.
At the end of this jetty, sitting with his luggage, Benoit
Blanc checks his watch. He wears a dapper face mask.
Blanc is alone. Until an N-95 masked Lionel walks up with
his roller bag. Stops about 20 feet from Blanc. Gives him a
polite nod but doesn't engage, checks his phone.
Blanc waits a moment, not sure if he should say something.
Finally he decides "this is silly" and starts to say
something when -
(CONTINUED)
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19.
18 CONTINUED: 18
BEEP BEEP
A cab pulls up, and deposits a masked Claire and her
luggage. Lionel greets her warmly. Blanc stands, but they
both ignore him, and eventually he sits again awkwardly.
LIONEL
Governor.
CLAIRE
Hey genius.
Birdie and Peg come down the jetty in a golf cart driven by
a masked BELLHOP from the little hotel, Louis Vuitton bags
stacked in back. She wears a fashionable but totally useless
lace mask.
BIRDIE
Hellooooooo!
Claire grins tightly, leaning into Lionel.
CLAIRE LIONEL
We need to talk. I know.
Just us. I know.
Maybe when we're - Sure.
Then Birdie is upon them like a summer storm in colorful
silks and a huge hat.
BIRDIE
Oh my god. We can't hug right? Can
we?
CLAIRE / LIONEL / PEG
No.
BIRDIE
I want to hug everyone, this feels so
crazy hello hello
CLAIRE
Birdie. Hi Peg. You need a hand?
With the luggage. Lionel hops forward and helps her and the
bellhop unload.
PEG
Thanks, hi.
BIRDIE
Did you two stay at the hotel last
night? We didn't see you.
(CONTINUED)
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18 CONTINUED: (2) 18
CLAIRE
No Birdie we clearly just arrived.
Birdie points to Blanc, still watching silently.
BIRDIE
But YOU, hello, Stranger Danger!
BELLHOP
(to Blanc)
Mr. Blanc, you are Stranger Danger?
BLANC
No, no, that's fine Nikos, I don't
even know what that means.
A sleek two level boat glides up to the jetty, but Lionel
squints, looking at Blanc for the first time.
LIONEL
Wait - Benoit Blanc?
CLAIRE
Oh my god, Benoit Blanc the
detective? Did you solve the murder
of - oh whatshername, that ballet
dancer thing, that's you?
BLANC
It is. I'm obviously familiar with
you all as well - Governor, Dr.
Toussaint, Miss Birdie Jay. What an
extraordinary gathering.
Before anyone can answer a deep guttural BOOM like a gunshot
draws their attention towards the town.
19 EXT. GRECIAN PORT TOWN STREETS - DAY 19
A helmet-less mask-less Duke roars through the narrow
coastal streets on a barking motorcycle, Whiskey on back.
She fires a ridiculous pearl handled gun into the air.
20 EXT. JETTY 20
Scene 10 - Arrival and Introduction
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
gun which he holsters. Grabs his rucksack.
DUKE
Crew! We have arrived, the disruptors
have assembled.
(CONTINUED)
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20 CONTINUED: 20
BIRDIE
Duke pook!
He hugs Birdie, when he goes for Peg she steps away
PEG
Nope
LIONEL CLAIRE
Hi Duke. Duke.
He holds Whiskey's waist and beams, showing her off.
DUKE
You all remember Whiskey. My girl.
CLAIRE LIONEL
of course, Whiskey. Uh huh.
DUKE
Who's that?
He nods at Blanc aggressively.
CLAIRE
Why are you in Greece, Mr. Blanc?
BLANC
Well, I'm assuming like all of us, I
was invited. By Miles Bron.
The gang exchanges confused looks. Duke, weirdly suspicious:
DUKE
You tight with Miles?
BLANC
No, we've never met.
LIONEL
Oh I get it, the murder mystery game!
Miles, man - Benoit Blanc's gonna
solve the mystery of Miles' murder?
This will be fun.
BLANC
Well we'll see.
At that moment a BLACK SUV pulls up swiftly and an EFFICIENT
MAN in sportswear hops out, speaks efficiently.
(CONTINUED)
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22.
20 CONTINUED: (2) 20
EFFICIENT MAN
Ladies and gentlemen, welcome to
Greece. That fine craft will take you
to Mr. Bron's island, a two hour
journey. Your captain Mr. Andino will
assist with your luggage.
The burly captain Mr. ANDINO lumbers down the gangplank and
starts lugging the bags on board with a grunt. The efficient
man wields a strange looking gun-shaped device.
EFFICIENT MAN (cont'd)
But first, would you each lower your
masks and extend your tongues, this
will be momentarily uncomfortable.
He starts with Birdie, aims the gun's nozzle into her throat
and shoots a burst of compressed mist with a sharp PSSST.
She gags. He gives her a white rubber wrist band.
BIRDIE
Whew, what uh -
EFFICIENT MAN
Mr. Cody.
DUKE EFFICIENT MAN
There's no pineapple in
that? Duke don't dance with
pineapple. No pineapple. Open please.
One by one they get their mysterious sprays. Blanc and
Claire wait at the end of the line.
BLANC
Seems I'm odd man out - you're all
friends?
CLAIRE
Miles does these reunion weekends
once a year, some nutso invitation
and extravagant trip, his little
menagerie. Excuse me, I love you're
accent I just had to try it.
BLANC
I see...
Claire's turn to get her spray - she gags. Birdie slips in
next to Blanc.
(CONTINUED)
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20 CONTINUED: (3) 20
Scene 11 - A Mysterious Arrival
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
Eight years of these trips, you're
the first new person he's ever
invited. You must be very special. I
love this material, what is this?
She's touching his very normal shirt.
BLANC
Cotton, I think?
EFFICIENT MAN
Sir.
BLANC
What is that?
EFFICIENT MAN
Open please.
Blanc does, SPRAY, gag. He goes to replace his mask but
EFFICIENT MAN (cont'd)
You won't need that anymore. You're
good.
BLANC EFFICIENT MAN
I won't? - Good.
BLANC
So is it, was that a disinfectant,
some sort of -
EFFICIENT MAN
You're. Good. Have a great trip
everyone!
Blanc, unbelieving, nudges Claire. Massages his throat.
They're all filing up the gangplank when a tooting horn gets
their attention.
A Greek TAXI pulls up, and the woman who smashed the box
gets out with a small suitcase. Looks up at them all.
Blanc watches the gang, whose jaws collectively drop. Every
single one of them looks like they've just seen a ghost.
Birdie waves and smiles hollowly at the woman.
BIRDIE
Andi! Hiiiiii!
(not much quieter)
Holy. Shit.
(CONTINUED)
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24.
20 CONTINUED: (4) 20
The efficient man greets the woman that Birdie called ANDI
and gives her her spray. Blanc takes this all in.
21 INT. BOAT - AT SEA - DAY 21
The boat cuts through emerald sun spangled waters. Our whole
gang aboard.
Blanc meanders over to Lionel, who leans on a rail.
BLANC
I could not help but notice a stir at
her arrival.
Andi on the deck below them, alone.
LIONEL
Andi. Yeah, that was a stir.
BLANC
She not in your little gang?
LIONEL
She was. She is. Andi started Alpha
ten years ago, with Miles, just the
two of them.
BLANC
(dawning)
That's Cassandra Brand?
LIONEL
Andi. Yeah.
BLANC
Are they no longer partners?
LIONEL
With one legal move he cut her out
completely. Booted her without a
dime. Social Networked her.
BLANC
Lord. But he still invited her? To
this weekend?
LIONEL
The real question isn't why'd he
invite her. It's why did she show up?
Blanc looks down at Andi, framed against the glittering sea.
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22 EXT. GREEK ISLAND - DAY 22
AERIAL SHOT - the boat approaches a very small island, with
ONE SINGLE COMPOUND built on it.
23 EXT. BEACH - DAY 23
As the boat approaches the small spit of sand, a glimmering
glass-like dock with ironic political art on it MAGICALLY
rises piece by piece from the sea.
24 INT. BOAT 24
Lionel with Captain Andino, regarding the dock.
LIONEL
Wow - is that dock a Banksy?
ANDINO
Peet-cha-chite.
Scene 12 - Welcome to Peetchachite
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
Is that the island? In Greek?
ANDINO
Peet-cha-chite.
LIONEL
Peetchachite.
25 EXT. BEACH 25
As the boat nestles up to the dock, we reveal a man sitting
in a beach chair playing a guitar.
Barefoot in beach clothes, with an easy manner and charisma,
MILES BRON plucks "Blackbird" and watches his friends
arrive. Then stands to greet them with a warm smile.
BIRDIE
Miiiiiiiiles! With your island.
She runs into his arms, big swinging hug.
MILES
Baby Birdie.
BIRDIE
Serenading us! With my song!
(CONTINUED)
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26.
25 CONTINUED: 25
MILES
On the guitar Paul wrote it on. I
know legit right! But look at your
face it was worth it.
Birdie's jaw drops at this holy relic. Miles sees everyone
else coming and he tosses the guitar onto his beach chair.
MILES (cont'd)
My friends. Old friends.
CLAIRE
Can we - after the men in black
thing, can we hug now?
MILES
We can hug now. Magical words right?
We can hug now.
They do. Duke and Whiskey next.
DUKE
Hey buddy. This is a dream.
They do a percussive back-slap hug.
MILES
Not a dream. Wide awake. And it feels
so good. Whiskey.
WHISKEY
Hey.
MILES
I love that necklace.
WHISKEY
This old thing?
Miles hugs Whiskey. Just a little too long. Duke averts his
eyes and quickly:
DUKE
Benoit Blanc, huh? Man when you throw
a murder mystery party you do it
right.
Lionel and Blanc coming up the beach. Lionel gives Miles a
quick hug.
LIONEL
Hey pal.
(CONTINUED)
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27.
25 CONTINUED: (2) 25
BLANC
Mr. Bron, I cannot overstate my
gratitude for the invitation.
MILES
I am so happy to meet...
But Miles's eyes are already looking past him.
MILES (cont'd)
Andi. You're here.
She stares back coldly.
ANDI
I am.
DUKE
Alright, when's the murder start?
MILES
Patience, just a little patience.
Let's all embreathiate this moment.
Old friends. We've got quite a
weekend coming. I love you all. I
wanted to say that.
Miles takes a moment. A guy in his 30s with a very Kato
Kaelin vibe strolls nonchalantly past with a corona.
MILES (cont'd)
We've got a great weekend, just our
gang, just us.
DEROL
Hey hey.
MILES
Hey Derol.
DEROL
I'm not here!
Scene 13 - The Glass Onion Estate
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
Who's that?
MILES
That's Derol, he's just staying here,
going through some stuff, he's not
part of the experience at all.
Alright. First a proper tour of the
Glass Onion.
(CONTINUED)
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28.
25 CONTINUED: (3) 25
With a gleam in his eye he leads them into the compound.
BIRDIE
Glass Onion! Like our bar! Aww I love
that.
Blanc lingers, looking back at the boat.
BLANC
Should we - get our bags - no?
Someone will, ok.
Everyone ignores him and walks after Miles. Except Andi, who
falls in step beside him. She eyes his discomfort, then says
as a statement of fact:
ANDI
This rich people shit is weird.
Blanc's relief is palpable.
BLANC
Thank you. I have occasionally put on
the dog in my life, but this is
stretching my stride-taking
abilities.
ANDI
You're doing great. I'm Andi.
BLANC
Very genial of you. Benoit.
ANDI
You've got a flat tire there.
His shoelace. He stops to tie it.
26 EXT. VILLA - COMPOUND 26
Meanwhile up ahead, the gang walks up a gentle tiered series
of landings, climbing into the compound, a mixture of
(excuse me) Bond villain lair and Mediterranean villa.
They've just turned a corner into a broad open courtyard,
and had their first real view of the place's defining
feature - perched at the top of a grand gently sloped
staircase, the main building is a massive orb of glass. It
sits like a crown atop the entire complex.
(CONTINUED)
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29.
26 CONTINUED: 26
BIRDIE
Wow. It's like an actual huge glass
onion.
CLAIRE
(uh huh)
Yup.
MILES
Yup, it's past, present, future. What
came before me, what I am, what I
leave to the world.
Derol, walking by in the background
DEROL
Ignore me!
MILES
This is the full reclamation of
everything I've ever accomplished, up
until now.
Blanc and Andi join them, exchange a look at Miles's
oration.
LIONEL
How big a staff does it take to run
this place?
MILES
This weekend it's just us. Sent them
all home. This is a normal weekend
with old friends.
In the background, Boston Dynamics ROBOT DOGS waddle by with
everyone's LUGGAGE on their backs.
MILES (cont'd)
I don't want this to be some rich
asshole's house, it's not even a
house, it's a commune for creativity.
Andi stifles a grin. A low "DONG!" sounds over the complex.
LIONEL
What was that?
Scene 14 - Confrontation in the Glass Onion
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 8
An hourly chime, I had Phil Glass
compose it, to keep me centered in
time. Speaking of, let's start
experiencing this place together.
(MORE)
(CONTINUED)
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30.
26 CONTINUED: (2) 26
MILES (cont'd)
The rooms are named after chakras,
your biorhythm is your key, get
changed, settle and let's have an
afternoon by the pool before the real
party begins.
All their white wrist bands start glowing a different color
and chakra name, for instance, Birdie's says "sacral." The
various VILLAS around the complex emit a soft color-coded
glow into the air above them.
BIRDIE
Sacral - you know me, Miles.
Everyone takes it in stride and parts with kind words for
their rooms.
MILES
Andi. I really am glad you are here.
She gives him an unreadable look and walks off. Then:
BLANC
Wow. I'm sorry, that is crazy.
MILES
Mr. Blanc. Could I have a word?
27 INT. THE GLASS ONION - DAY 27
Miles leads Blanc into his office in the huge dome of the
glass onion.
BLANC
Amazing, just amazing all of this,
I'm so happy to be included, and if
there's some role you'd like me to
play in this murder mystery game as
"the detective" I'm happy to oblige.
Just. Very happy. To be included.
And meet you. Is... that a motor car?
Through the back of the onion, perched on a platform high on
the roof of an adjoining building, is a gorgeous light blue
Porsche.
MILES
My baby blue. Goes anywhere I go, all
around the world.
BLANC
Why is it on the roof?
(CONTINUED)
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31.
27 CONTINUED: 27
MILES
(obviously)
There's nowhere to drive it on the
island.
BLANC
Ah of course.
MILES
Mr. Blanc. I wanted to ask. What are
you doing here?
BLANC
I'm sorry?
MILES
What are you doing here?
BLANC
You invited me.
MILES
No I didn't.
BLANC
You. You sent me a box.
MILES
You received a box?
BLANC
Yes, a wooden box was delivered to my
home with some simple children's
puzzles
(Miles flinches)
and when I completed them there was
an invitation inside.
MILES
Do you have that invitation?
Blanc, shaken, digs in his pocket and produces a familiar
blue card, hands it over.
BLANC
I do - I thought maybe we had to show
it or... I didn't know... sorry I'm
very confused, is this part of the
game, or...?
Scene 15 - The Puzzle Box Mystery
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
This is just like the others but... I
didn't send you this.
(CONTINUED)
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32.
27 CONTINUED: (2) 27
Blanc has switched to another gear. His eyes grow distant.
BLANC
How many of these boxes did you
create?
MILES
Five. One for each of my guests.
BLANC
No test boxes or prototypes or -
MILES
No. My puzzle guy barely got the five
done in time and he apprenticed with
Ricky Jay.
BLANC
And once these boxes are open and the
puzzles complete, is there a way to
close them again? To reset them?
Miles squints then claps his hands.
MILES
Someone reset the box and sent it to
you as a gag.
BLANC
I'm mortified
MILES
Why? I've got the world's predefinite
detective at my murder mystery party,
that is so legit.
BLANC
Mr. Bron. I've learned through bitter
experience that an anonymous
invitation is not to be trifled with.
MILES
Ha! C'mon.
Miles stands and makes a grand sweeping gesture.
MILES (cont'd)
I invite you to my home, there, done,
you're invited. Relax, Enjoy the
weekend, hell try to solve the murder
mystery. If you can. I don't wanna
toot my own horn, but it's pretty
next level. See you by the pool.
(CONTINUED)
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27 CONTINUED: (3) 27
And Miles is gone, leaving Blanc with a deep look of
concentration on his face.
28 EXT. POOL - DAY 28
Perched high on the property, a long infinity pool meets the
sky seamlessly.
Birdie makes her entrance, in a fabulous swimsuit streaming
a silk robe behind her. She sits by Lionel and Claire, who
sports an aggressively plain beige one-piece.
BIRDIE
Guys. Lionel you are too hot to be a
scientist and Claire, you look so
cute.
Claire flips her off.
CLAIRE
Aw thanks Bird.
BIRDIE
You really try, that's what I like.
You make an effort.
CLAIRE
Well I figured. Greece.
Their banter has an underlying affection to it.
BIRDIE
God and no masks I can breathe again,
look at this pool, maybe I'll go for
a swim
At that moment Whiskey breaks the surface of the glittering
water in all her young instagram model splendor.
BIRDIE (cont'd)
maybe I'll lay out for a bit.
Blanc enters the pool area, in long shorts and a short
sleeve button up shirt. He joins Miles, Birdie and Peg in a
lounge area, where Miles holds court, sipping a beer and
strumming his guitar.
MILES
Blanc! Have a dip. Grab one of these,
Jared Leto sent 'em over. Hard
kombucha. Pretty good.
(CONTINUED)
Scene 16 - Poolside Pandemonium
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 7
34.
28 CONTINUED: 28
BLANC
Well. I am on vacation.
DUKE
(from the pool)
Hey, booch me!
Miles tosses him one. Above the bar cart, a flashy painting
of the BLUE PORSCHE.
BLANC
Baby blue!
DUKE MILES
Iconic. Remember you almost
pancaked me with it on the
road that night at Anderson Cooper's birthday,
Coop's parties are
memorable.
IN THE POOL - Lionel and Claire wade out into the deep end.
Duke pulls himself out of the pool and does some stretches.
He wears a speedo, his gun belt and pistol, dripping wet.
LIONEL
Really, Duke?
Duke, defiant, draws and FIRES his gun into the air.
Everyone jumps, annoyed.
DUKE
Really.
LIONEL
Asshole.
MILES
NOW it's a party!
Blanc wades into the pool with a beer, still with his shirt
on. Duke sits on the pool edge, leans back in the sun.
BLANC
That is quite a piece.
DUKE
Never without it.
BLANC
So I see.
(CONTINUED)
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28 CONTINUED: (2) 28
DUKE
You never know when shit's going to
go down.
Blanc eyes Lionel and Claire talking animatedly in the deep
end of the pool, but can't make out their conversation.
LATER - Birdie digs sunglasses out of her bag and lays out
in the sun, keeping an eye on Miles, who plays guitar for
Whiskey. Peg plops down next to Birdie, and low with fervent
urgency:
PEG BIRDIE
Birdie. You need to talk to I will.
him. Before dinner. You need I will.
to. You need to beg him. Oh god.
PEG
When he goes to his room, just follow
him and do it. Ok?
BIRDIE
I'll take care of him. Don't worry.
Birdie stares across the pool at Miles flirting with
Whiskey, sad rage in her eyes.
BIRDIE (cont'd)
There was a time you know, back when.
I was the one who'd been on
magazines, he was nobody, he couldn't
believe he was talking to me. He said
that. "You're Birdie Jay, from
billboards. I can't believe I'm
talking to you." He was this little
thing in my hand.
(beat)
I preferred that.
Birdie lies back, and notices Andi lying in the chair next
to her.
BIRDIE (cont'd)
Andi! Hi. Wow. Wow how long as it
been?
ANDI
Since the trial, so a few months.
(CONTINUED)
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36.
28 CONTINUED: (3) 28
BIRDIE
The trial right, yeesh that was not
fun, for any of us, but, for all of
us. Peg, right? I'm uncomfortable I'm
going to swim.
She unceremoniously leaves. Andi and Peg smile tightly at
each other.
Scene 17 - Fax Machine Surprise
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
magazine. He hears a clank and clatter - on a nearby table,
a FAX MACHINE spits a sheet into a large bucket, Miles
retrieves it and reads it.
BLANC
I can handle the Matisse in the
bathroom, but is that a... FAX
machine?
BIRDIE
(can you believe)
Miles doesn't have a phone.
MILES
It's really convenient, I have one
number goes to all my fax machines,
anywhere in the world. There is
something about analog -
The magazine Blanc holds is a vintage late 90s copy of
British fashion mag THE FACE. A teenage Birdie is on the
cover, with a large diamond set on her forehead.
BIRDIE
Oh, blast from my past, look
everybody, Miles you are so funny,
keeping this around.
He closes the magazine and sets it aside as Birdie joins the
small group of Blanc, Miles and Whiskey in the shade.
BLANC
Can I ask, what first drew you all
together? Such an eclectic bunch.
MILES
I think disruptors recognize each
other.
BIRDIE
Yes.
(CONTINUED)
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37.
28 CONTINUED: (4) 28
BLANC
You've used that word before, what
does that mean?
MILES
Well.
(motions to Birdie)
Some people think Birdie is
disruptive every time she opens her
mouth, just because she is saying
what everyone is thinking but no one
has the nerve to say.
BIRDIE
I say it like I see it. It's true.
MILES
Seriously, you know about Sweetie
Pants, right.
BLANC
I'm going to embarrass myself - I
adore Sweetie Pants. I live in mine.
MILES
You are sitting next to Birdie Jay,
she was a fashion magnet! And
then the youngest editor of She-She
magazine, right, establishment BS, on
top of the world! But then -
BIRDIE
Well, then there was the whole thing
with the Halloween costume, it was a
tribute to Beyonce, but people did
not take it that way. Anyway I had a
lot of time at home, I just spent all
my time in...
BLANC
Sweat pants.
MILES
She comes out with designer sweat
pants. High quality, fashionable
sweat pants, hitting the market just
as the pandemic hit. She disrupted
her own disruption. She made a
killing.
Duke comes in, toweling himself off. Miles's hand, which was
resting on Whiskey's knee, subtly withdraws.
(CONTINUED)
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28 CONTINUED: (5) 28
Scene 18 - Disruption and Common Ground
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 9
Or Duke, look at Duke, do you think
people looked at him and saw anything
other than the beef, you think they
saw the first gamer with a million
followers on Twitch. Invented the
word "influencer."
Claire and Lionel have joined the group.
MILES (cont'd)
Or Claire blowing up conventional
politics, or Lionel pushing science
past its comfort point, it's what I
did with Alpha, it's disruption.
That's what I did with Al...
Andi appears, standing behind them. Miles changes tact.
MILES (cont'd)
...That's what we did with Alpha.
Tell you a little secret. Your world
is about to change. Once you hear it
you can't unhear it. Is your phone
turned off?
BLANC
Oh I left it in my room.
MILES
Okay, If you wanna shake things up,
start by breaking something small, a
norm, an idea, a convention, some
little business model. You go with
things that people are kind of tired
of anyway. Everybody gets excited
because you are busting things up
that everyone wanted broken anyway.
And that's... this is the infraction
point. Because this is where you have
to find it in yourself to keep going,
will you break more things and bigger
things, and break the thing that
nobody wants you to break. At that
point, people will stop being on your
side. There going to say you are
crazy, they will say you are a bully,
they'll tell you to stop, even your
partner will say that you need to
stop. Because nobody wants you to
break the system itself. But that is
true disruption. That is what unites
this group.
(MORE)
(CONTINUED)
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28 CONTINUED: (6) 28
MILES (cont'd)
Every single one of us has hit that
point, and proved that they're
willing to cross it. Disruptors. All
of us.
A single pair of hands clap from outside the circle. Andi, a
wry smile on her face.
ANDI
Bravo. That was - wow. Real red pill
stuff Miles.
Miles seems genuinely hurt.
MILES
The Andi I built Alpha with, she
believed it.
ANDI
Oh I believe it. Mr. Blanc you're a
detective, can you spot the other
thing, the real thing that this group
has in common?
LIONEL
Andi c'mon -
But Andi continues with an almost unhinged intensity.
ANDI
Oh Lionel, Everybody knows who Lionel
works for, that's no secret, and we
know who bankrolled Claire's
campaign. But when nobody would touch
Birdie with a ten foot pole because
she went on Oprah and compared
herself to Harriet Tubman -
BIRDIE
In SPIRIT, not - oh god
Scene 19 - Accusations and Treachery
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 8
- can you guess who stepped up as an
angel investor in Sweetie Pants? Or
when Duke got banned from Twitch for
hawking rhino horn boner pills to
teenage boys
DUKE
There was ZERO rhino in those pills
(CONTINUED)
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28 CONTINUED: (7) 28
ANDI
Who do you think set him up on
YouTube and used his media empire to
promote his stream? That's the real
common thread here. Every single one
of you is holding on for dear life to
Miles Bron's golden titties. And
every one of you will stab a friend
in the back to hold on. That is what
I believe.
She storms off. Claire goes after her.
CLAIRE
Hey. Andi - wait -
After they're gone, a moment of tense silence. Miles leans
back, as if he's just watched a great fireworks display.
MILES
Wow. That was real. Anyway, dinner at
eight, see y'all there.
Miles ambles off.
Duke storms off, followed by Whiskey. Lionel looks deeply
troubled. A beat. Then:
BIRDIE
Like Miles said, I'm a truth teller,
some people can't handle it.
BLANC
(like honey)
It's a dangerous thing isn't it, to
mistake speaking without thought for
speaking the truth.
She grins flirtatiously at him.
BIRDIE
Are you calling me dangerous?
BLANC
Well we'll see. If you'll excuse me.
With a charming grin he steps away. She watches him go with
a wicked grin, which then dissolves away to something else.
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41.
29 EXT. GROUNDS - CONTINUOUS 29
Lionel trots into a garden where he finds Claire. She's
watching Andi, far off now, vanishes into the greenery.
CLAIRE
Something's off. I don't like this.
LIONEL
What do you mean?
CLAIRE
She's changed.
Claire seems afraid.
CLAIRE (cont'd)
What's she playing at?
30 EXT. ZEN GARDEN - DAY 30
Miles ambles towards his villa. Peg runs up and stops him.
PEG
Mr. Bron.
MILES
Hello.
PEG
Don't do this. Please. Bird showed me
the statement you want her to make,
to the press, about Bangladesh. And
if you make her go through with it,
her name is destroyed. But you see my
resume is just Birdie Jay, Birdie
Jay, a short stint in retail and then
Birdie Jay. So you see if her name is
destroyed then my name is...
MILES
I'm sorry....
PEG
....Peg.
MILES
I'm begging you - you gotta make her
make the statement. It's her only way
out.
(CONTINUED)
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30 CONTINUED: 30
Scene 20 - In the Shadow of the Glass Onion
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
with anger.
REVEAL: Blanc, lingering behind a statue, eavesdropping.
Peg narrows her eyes, then walks off.
We stick with Blanc, who also processes all this. He walks
the strange beautiful grounds, past gardens and art
installations, deep in thought. As beautiful as it all is, a
sense of foreboding hangs in the gloaming.
On the crest of a hill he catches a glimpse of Duke jogging.
Blanc removes a slender cigar from his shirt pocket and
lights it. No sooner has he exhaled one puff when LIGHTS
start blinking in the trees around him, and a sharp ALARM
sounds.
SOOTHING ROBOT VOICE
This is a smokeless garden. This is a
smokeless garden. This...
Blanc tries to waft the smoke away but it all continues. He
panics and tosses the cigar in a nearby pond.
The POND then LIGHTS UP RED and another ALARM sounds
2ND SOOTHING ROBOT VOICE
Please keep our water clean. Please
keep our water clean. Please...
Blanc assesses the situation and FLEES.
31 EXT. GROUNDS - CONTINUOUS 31
Duke runs, then spots something, slows, stops. Hunches and
creeps without making a noise. He slips behind bushes close
to a picture window into a villa bedroom, with half drawn
blinds. Two people are kissing and talking on a bed.
Miles and Whiskey.
A twig SNAPS behind Duke. He looks back - nothing there.
Turns back to the window.
About 20 yards behind him, hidden as well, Blanc's head
rises up.
He wrinkles his nose at the spectacle. Then looks at Duke.
Watching the pair, who still kiss and speak.
(CONTINUED)
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43.
31 CONTINUED: 31
Rage on his face. Twisting branches in his clenched fist.
Next to his holstered gun.
Not liking this at all, Blanc silently withdraws.
32 EXT. THE GLASS ONION - EVENING 32
The central glass structure looms soft white, bathing the
grounds in a welcoming aura as the sunset's final glow
dissipates. The hourly chime DONGS.
33 INT. ATRIUM - EVENING 33
The main floor of the glass onion structure, a wide open
space with a central entryway, a very 70s feeling lounge
area with inset couches, and a dining table with a
spectacular view.
The guests filter in, and Miles greets them, drink in hand
and unlit pipe in his mouth.
MILES
Welcome gang. Some pre-murder drinks,
I've mixed everyone's favorites. And
we've got tamales.
A stacked bar cart with fixed drinks on top, each glass has
the guest's name elaborately etched on it. Lionel takes his
wryly and sips.
MILES (cont'd)
My chemist.
LIONEL
Lagavulin. Sixteen.
MILES
He likes it heavy on the fever.
LIONEL
Serve it up neat.
Blanc goes for the snack tray with mini tamales and hot
sauce, loading one up.
Birdie takes her tall yellow fruity drink.
BIRDIE
Is this my Cuban Breeze?
(CONTINUED)
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33 CONTINUED: 33
MILES
It's the drink that got us on the no-
fly list at St. Barts. What else?
BIRDIE
Hashtag worth it.
MILES
Claire Bear - room temp white.
BLANC
(the hot sauce)
Halle Berry - that has a kick.
MILES
Jeremy Renner's small batch hot
sauce. I let him invest, he sends me
like a pallet every year.
Miles tosses Blanc a few bottles of the hot sauce, which
Blanc awkwardly holds for awhile then, not knowing what to
do with them, puts them in his jacket pocket.
Scene 21 - The Unveiling of the Mona Lisa
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 8
- Dialogue: 7
And I apologize I don't know your
drink, but I have everything here,
pick your poison.
(then)
Hey Andi! I am hoping it's still
Whiskey soda.
Andi's slipped in, a chill goes through the room, and Lionel
and Claire turn their attention anywhere else they can.
Front and center in the main entryway is a small framed and
very familiar painting, behind glass.
CLAIRE
Ok. I know your whole thing with it,
but... but this place is like the
Tate Modern, why would you hang a
framed print of the Mona Lisa front
and center? It's like a Che poster in
a dorm room.
Miles grins in silence for a long beat.
MILES
Or?
Lionel laughs.
(CONTINUED)
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33 CONTINUED: (2) 33
LIONEL
C'mon.
Miles just keeps grinning.
Lionel, Blanc, Peg, Claire and even Andi's jaws drop and
they step towards the painting in a trance.
LIONEL (cont'd)
That's impossible Miles -
Miles hits a red BUTTON on a pedestal and with a distinct
SHHHTINK the glass case slides away, leaving the Mona Lisa
open and exposed in all her glory.
Everyone is awestruck.
BLANC
Forgive my incredulity, but it's
property of the state, there's no way
they would -
MILES
Blame it on the pando Blanc. Louvre
is closed, France needs money and so
I bought myself a little short term
loan. You know it turns out the
security and transport cost more than
anything. Check this out.
He takes a silver lighter from his pocket and clicks it - an
eight inch long blue flame spears out above his pipe.
And though he's a good distance back, the protective glass
INTANTLY SHHHTINKs back into place. Miles laughs. With his
flame still lit he hits the red button, and the glass re-
opens.
MILES (cont'd)
Don't tell the insurance guys, but I
had an over-ride button put in. Where
do you think it is?
Miles pushes down on a figurine of a little jester boy.
It's so freakin sensitive, a phone
dings and it closes up. But I had to
be able to look in her eyes, nothing
between us. My mom took me to Paris
when I was six years old. When I
looked in this lady's eyes, it
changed my life.
(MORE)
(CONTINUED)
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46.
33 CONTINUED: (3) 33
MILES (cont'd)
You know Da Vinci invented a
technique for brushstrokes that
leaves no lines? That's how her
expression changes when you look
straight at her, try it. Her smile
disappears. Is she happy? Sad?
Something else? This simple thing you
thought you were looking at takes on
layers and depth so complex they give
you vertigo.
Andi stares deeply into her eyes. Caught up in spite of
herself.
ANDI
It really is something.
In the background Derol walks by in a bathrobe eating
cereal. Nods to the painting.
DEROL
Classic. Hey. I'm not here.
Claire has realized something.
Scene 22 - KLEAR Unveiling
- Overall: 8.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 9
You know every time we've gotten to
the point I am going to strangle you,
you pull something like this and it's
magic. Thank you.
MILES
Look it all started with her. What'd
I say to you guys, that first night
we all hung out at the Glass Onion?
What did I say? I want to be
responsible for something that gets
mentioned in the same breath as the
Mona Lisa, forever.
BLANC
And what does that mean?
BIRDIE
It means immortality, he wants to
create something that will -
CLAIRE
Wait a minute Miles. Why do you have
the Mona Lisa in your living room?
Then raises a closed fist, and looks at Andi.
(CONTINUED)
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47.
33 CONTINUED: (4) 33
MILES
In one week I have invited a dozen
world leaders and members of the
press to this island. And right here
I will unveil the future.
Miles opens his fist. In his palm: a milk white crystal
about the size of a quarter.
MILES (cont'd)
Do you know what this is?
LIONEL
You know damn well we do. What's
going on?
BLANC
I don't.
Miles tosses the crystal to Blanc.
MILES
That's a new solid hydrofuel,
radically efficient, zero carbon
emissions, derived from abundant sea
water. I call it KLEAR, with a "K."
And at this event we will announce
KLEAR America, our affordable home
power solution, KLEAR is going to be
powering people's dreams all over
this country by the end of this year.
Lionel sets his drink down sharply. At its "CLACK" the glass
SHHHHTICKs down in front of the Mona Lisa.
LIONEL
No. No. Because I was clear with you.
I told you, I need two years minimum
to test the stuff and even see if
this stuff is safe or even viable,
Claire and I are NOT going to be
responsible for putting something out
in the world before it is tested...oh
no...
Lionel has clocked Miles's steady grin. Miles gestures
grandly all around him.
MILES
Oh yeah.
LIONEL
No.
(CONTINUED)
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48.
33 CONTINUED: (5) 33
BLANC
You're running this entire place off
this?
MILES
All of it, all this awesome lighting,
the heating and the cooling, right
down to my fax machine, the whole
glass onion, it's all powered by
Klear.
Lionel and Claire suddenly look like they're standing on
very thin ice.
CLAIRE
Oh my god Miles...
MILES
Guys we did it.
LIONEL
I'm out. Done. This is reckless, and
you are going to get somebody killed.
Scene 23 - The Murder Mystery Game
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
You're not getting out, it's already
happening. Love you. Let's eat.
He ambles off towards the dining room area. Duke enters with
Whiskey trailing behind him. Aggressive energy, looks
ruefully at Miles walking off.
34 INT. DINING AREA - MINUTES LATER 34
Our gang seated at their plates, which are elaborately
embossed with their names. Claire and Lionel look sick.
Birdie and Peg look sullen. Duke looks furious, especially
because the place settings have Whiskey seated next to
Miles.
Blanc and Andi have been added in at the end, next to each
other.
MILES
Okay gang. It's been a memorable
weekend, already. And now the real
fun starts. We've got three days we
will be basking in the sun, the pool,
swim in the Ionian Sea, great food
and wine and each other's company.
(MORE)
(CONTINUED)
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49.
34 CONTINUED: 34
MILES (cont'd)
But alongside and underneath the
party, you've been charged with a
serious task. Because tonight, in
this very room, a murder will be
committed. My murder. You will have
to observe the crime carefully, use
your knowledge of each other, and
keep your eyes sharp - I've planted
clues throughout the grounds. Some
may be helpful. Some may misdirect.
It's up to you to decide. If by the
end of the weekend somebody is able
to name the murderer, tell how they
accomplished it and what their motive
was, you will win the game! Any
questions?
Blanc with child-like excitement:
BLANC
What do we win?
Everyone looks at him. Miles is caught of guard.
MILES
I - what do you mean what do you -
what do you want?
BLANC
Oh no. Nothing. I thought maybe there
was a prize or something. I don't
know. An iPad, or.
MILES
Fine, winner gets an iPad, ok.
DUKE
Once you're dead will we still be
able to talk to you?
MILES
Oh yeah, I'm not playing dead the
whole weekend, ask me anything you
want but don't expect help from me.
BLANC
I don't actually need an iPad, I
just, when you said "win" it made me
think
BIRDIE
Can we work together?
(CONTINUED)
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50.
34 CONTINUED: (2) 34
MILES
Only one person can solve the crime.
So if you have a theory keep it close
to your chest. It is designed to be
hard, it will take the whole weekend.
BLANC
Truly delightful. Have we started
already?
MILES
Well the murder hasn't happened yet
but yeah -
BLANC
Ok. Ok ok.
Miles raises his glass.
MILES
Why not as Watson said to Holmes -
Scene 24 - The Crossbow Revelation
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
It was Birdie, who planted a remote
device on the crossbow in revenge for
you stealing her signature wren
diamond.
Blanc grins broadly with a "did I get it?" gesture. A beat
of silence. The smile on Miles's face calcifies and dies.
BLANC (cont'd)
See the seating arrangement, it
triangulates Birdie perfectly to that
thing -
A crystal suit of armor holding a working crossbow, leveled
at the dining table.
BLANC (cont'd)
- which is loaded with a dummy bolt
and aimed straight at Mr. Bron. I
believe close inspection will reveal
some sort of remote triggering
device, but more damning, that's a
vintage Jayhawk brand crossbow...
Jayhawk, Birdie Jay!
(MORE)
(CONTINUED)
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51.
34 CONTINUED: (3) 34
BLANC (cont'd)
Of course there are other superfluous
and rather clumsy clues - the
hedgerows in the south garden spell
the letter B, her room is the sacral
chakra which is the one blocked by
guilt, blah blah blah, but the motive
yes, now the motive. On the cleverly
planted 1998 issue of The Face with
Birdie on the cover she famously wore
what became known as the "wren
diamond" - a family heirloom I
believe?
BIRDIE
And so to be clear, back then I
didn't even know what a "blood
diamond" was - so
But Blanc is on a mighty roll:
BLANC
Mr. Bron! The large pendulous locket
which has not left your neck, it's a
bit out of keeping with your breezy
island style... would you kindly open
it for us?
Staring daggers, Miles opens the silver locket, and a large
cut DIAMOND falls out into his palm. The table GASPS.
BIRDIE
My wren diamond!
BLANC
A dramatic, passionate and colorful
crime for a fashionista, Ms. Birdie.
But unfortunately this crime
clashed... with the presence of
Benoit Blanc.
With "nailed it" joy he turns to Miles and grins broadly.
Miles stares at him dead-eyed.
A little "whirr" from the crossbow prop, and a theatrical
crossbow bolt FLIPS UP from a slit in Miles's shirt with an
anticlimactic SNAP. Fake blood dribbles out.
The glass on the Mona Lisa SHHHTICKs shut.
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52.
35 INT. THE GLASS ONION - EVENING 35
Miles's office in the center of the elevated glass
enclosure, with spectacular views in all directions.
Miles storms in, Blanc following him, still giddy.
BLANC
My god that felt so good, that just
felt solid. So satisfying. Just -
like a mini crossword, the Times
has - or - I have a chef friend, and
she speaks of trying to create the
perfect bite - that felt like the
perfect satisfying - bite sized...
Miles just stares, the crossbow bolt still protruding from
his chest. He picks up a loose iPad from his desk and tosses
it over to Blanc.
BLANC (cont'd)
You're angry.
Scene 25 - The Confrontation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 9
(angry)
No I'm not angry Blanc, but you know.
What the hell? This was not a simple
thing to do, to set up.
(getting angrier)
I hired Gillian Flynn to help come up
with the whole thing
BLANC
She's quite good
MILES
She's goddamn expensive, is what she
is! What are we going to do now, play
Yahtzee all weekend?
Blanc looks at Miles, and his demeanor changes, as if he's
now dropping an act.
BLANC
Mr. Bron, the truth is, I ruined your
game on purpose, and for a very good
reason.
Miles looks at him, curious. What is this?
(CONTINUED)
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53.
35 CONTINUED: 35
BLANC (cont'd)
I like the glass onion as a metaphor,
an object that seems densely layered,
but in reality the center is in plain
sight. Your relationships with these
people may seem complex but look at
the center, look at what you've done
this weekend, it's crystal clear:
you have taken seven people, each of
whom has a real life reason to wish
you harm, gathered them together on a
remote island, and placed the idea of
your murder in their heads. It's like
putting a loaded gun on the table and
turning off the lights.
MILES
Oh. Come. On.
BLANC
So you played hardball with Lionel.
Threatened to destroy his reputation
if he does not play along and power a
manned rocket with klear?
Miles looks at him solidly.
BLANC (cont'd)
And with Claire too? Perhaps you
threatened to support her opponent in
the upcoming election if she doesn't
approve your power plant?
MILES
You've done some homework.
BLANC
Birdie. Bangladesh. Sweetie Pants are
manufactured there, in a sweat shop.
You're making Birdie take the fall,
to cover your ass as the main
investor.
(beat)
And Duke. Well. We all know why Duke
wants to kill you.
MILES
He doesn't know about that.
BLANC
Yeeeeesss, he does.
(MORE)
(CONTINUED)
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54.
35 CONTINUED: (2) 35
BLANC (cont'd)
(beat)
Take my presence as a sign -
something is happening here beneath
the surface. For at least one person
on this island, this is not a game.
Blanc spots a frame on the wall - mounted inside are two
objects on red backing:
A faded NAPKIN with a simple diagram drawn on it in pen
And a POLAROID PICTURE of Miles and Andi, ten years younger,
holding the napkin (though it's blown out by the flash) in a
bar. Flanking them is a young Duke, Lionel, Claire and
Birdie. Above them all a neon sign: "THE GLASS ONION"
BLANC (cont'd)
This is the famous napkin? I've heard
this story.
Scene 26 - Miles' Nostalgic Lament
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 9
- Dialogue: 9
I scribbled down the original idea
for Alpha on that napkin. That night
with Andi, at the Glass Onion. That
was our local bar, that's where it
all began. They tore it down the year
after that.
Andi's smiling face in the photo. Blanc, with weight:
MILES (cont'd)
Oh Andi.
BLANC
Yes. Andi.
MILES
Andi used to tell me the truth.
Nobody does that now. Nobody does.
It's all fake smiles and agendas,
people wanting what they think
they're owed. Hating you for not
giving it to them, cause that's what
you're there for. I know. Hard to
have sympathy for the poor tortured
billionaire.
The gang in the photo, smiling, flash-lit, one moment.
MILES (cont'd)
God. I miss that bar.
Blanc can see Miles going to a sad, dark place.
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55.
36 INT. LOUNGE AREA - NIGHT 36
Miles's empty whiskey tumbler on the table. Claire stares at
it. Everyone is drinking heavily, their plates of finished
dinner casually on the coffee table. Music plays.
Duke's phone (on the coffee table) DINGS with an alert, and
the Mona Lisa SHHHTICKs shut.
LIONEL
You could just power down.
DUKE
It's my goog alerts, I've got one for
all you guys, Whiskey, sports I like.
General interests.
DING! SHHHHTICK. Lionel looks at Duke's phone.
LIONEL
You have a google alert for the word
"movie?"
Birdie sashays back from the bar cart with a fresh Cuban
Breeze.
BIRDIE
Well god bless Benoit Blanc, we don't
have to spend the weekend spelling
hedges.
DUKE
I'm leaving. In the morning.
WHISKEY
We just got here
DUKE
You can stay. Have fun.
WHISKEY
Fine. You're murdering my vibe.
DING. SHHHTICK.
LIONEL
I hate saying this in any context but
I'm with Duke.
Claire's phone rings - DEVON (her husband.) She ignores it.
(CONTINUED)
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56.
36 CONTINUED: 36
BIRDIE
Or we can all get drunk and enjoy
paradise for a weekend.
PEG
Maybe we should go too -
BIRDIE
No. Miserable in paradise. We've all
earned this.
ANDI
Yes you have.
This chills the air. But Claire stares back hard at her,
angry-drunk.
CLAIRE
Are we even going to talk about the
elephant in the room? Are we just
gonna toss a tablecloth over it and
make it through the weekend?
Uncomfortable silence.
ANDI
Am I the elephant?
CLAIRE
Yes you're the elephant.
BIRDIE
(aside)
You're not that bad.
Scene 27 - Confrontation at the Party
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 9
What did you come here for Andi?
Given the circumstances I think
that's a fair question.
ANDI
Fair.
CLAIRE
Oh god yes no fine, nothing is fair
about any of this, congratulations,
now you know. And we all stuck with
Miles, what do you want, you want to
know why we did it? Why? Really? Do
the math! It's easy math. And you,
here in your Gucci flats
(CONTINUED)
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57.
36 CONTINUED: (2) 36
BIRDIE
Valentino
CLAIRE
Telling us we owe you. You made money
off Alpha all those years, you did
fine, you got yours!
ANDI
I got - no he get his! From me! My
life was taken from me by someone, by
everyone here - my life! Do you even
know what that means?
BIRDIE
What Claire's saying is we're all
sorry and feel bad for you but...
what do you want?
ANDI
Are you really asking me that?
CLAIRE
Yes! What do you want? You want a
check? Performative pity, are there
some right words for us to say so we
can all get on with our lives? You
want revenge, slit Miles's throat,
take us all down, what? Drop your
bombshell! Say it!
ANDI
I want the truth.
DING. SHHHTICK.
ANDI (cont'd)
I want the truth.
DUKE
I can give you that. I'll be the
asshole. The truth is we're all
holding onto that golden tit, we're
all playing the same game here honey.
And you lost. Go on, get up on your
cross, you had some unspeakable crime
committed against you that none of us
could ever imagine, go on. I'm done
pretending you're the victim in this
game. No, you just couldn't hack it.
You're the loser. There. The truth.
(CONTINUED)
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58.
36 CONTINUED: (3) 36
He stares Andi down. She looks around at the others. They
all avoid her gaze.
She lowers her eyes. And walks out.
DUKE (cont'd)
There's the Andi I know!
DING. SHHHTICK.
He picks up his phone and buries himself in it angrily.
Miles and Blanc breeze in.
MILES
Oh jeez detective, your next
assignment is who killed this party?
I'm gone for ten minutes, what
happened? C'mon guys!
He puts on some music and starts dancing. Claire goes to the
bar cart.
CLAIRE
Excuse me.
MILES
Blanc ruined my game, it's okay. Hey
Alpha DJ give us something upbeat.
LIONEL
Miles, I'm going to leave in the
morning.
CLAIRE
Me too.
Scene 28 - Weekend Celebration
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 9
No, no you are not. You're going to
have a champagne brunch on the beach
and try hydro-foil surfing. Claire
you're going to put some aloe on
that, work on that tan so your
constituents aren't saying what was
she doing in lock down. C'mon guys!
Dance with me pretty lady.
Birdie reluctantly joins him. Blanc watches all this,
strangely alert.
BLANC
Where's Andi?
(CONTINUED)
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59.
36 CONTINUED: (4) 36
MILES
Yeah where is Andi? And Duke - look
at that face, Duke, what'd you get
some good news?
Duke is indeed grinning levelly at Miles. He motions to his
phone.
DUKE
I wondered why my googs were blowing
up. Reviews on my channel are off the
charts. You've gotta see this.
Miles sashays over and Duke shows him his phone.
DUKE (cont'd)
This is all over the internet. Look
at those numbers. Pure fire.
SHHHHTICK!
DUKE (cont'd)
This changes things right?
MILES
It sure does.
BIRDIE
Dukie that's amazing! Lemme see!
She goes to him but he's on his feet, eyes locked on Miles.
DUKE
Numbers like this, maybe we can talk
Alpha News?
Miles goes to the bar cart and fixes a drink, hips swinging
MILES
I think we can. You see? Everything
works out in the end you've just got
to keep the faith
He dances and spreads his arms for Lionel and Claire.
MILES (cont'd)
Guys, have I ever let you down? Not
pulled through, not pulled it off.
You are staying, yes? You're staying
okay.
LIONEL
Alright Miles. You win.
(CONTINUED)
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60.
36 CONTINUED: (5) 36
CLAIRE
Yeah.
Miles sits next to Duke.
MILES
Well alright this is our time! What
did we used to say, fake it until you
make it, we are all changing the
world all of us. Making dents in our
own ways. Five minutes ago Blanc here
was telling me this weekend was a
dumb idea, that you all hated my guts
so badly that - one of you would
actually wanna - it doesn't even
matter it is so silly. Look at that!
Birdie do that again, look at that
dress spin!
When Birdie does a spin, the dress shimmers and seems to
change color.
BIRDIE
Everybody Miles says look at meeee!
MILES
I wanna toast. Let's drink to the
disruptors! The OGs.
Duke stands, drink in hand.
DUKE
To the disruptors! Breakin it and
making it!
Everyone raises their glasses and drinks.
BIRDIE
Turn up the music, we're all ending
up in the pool tonight!
Scene 29 - Sudden Death on a Greek Island
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
That's what I'm talking about!
Lionel's smile has vanished
LIONEL
Miles...
MILES
On your feet genius!
Claire stands in horror
(CONTINUED)
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61.
36 CONTINUED: (6) 36
CLAIRE
Miles - Duke!
They all turn - Duke grasps at his throat, staggering, his
face purple. For a horrible moment nobody moves.
Duke drops his crystal tumbler and falls to his knees.
Whiskey SCREAMS.
Pandemonium erupts. Everyone scrambling, trying to help -
Lionel lays the convulsing Duke on his back, Blanc reaches
into his mouth to clear his airway.
CLAIRE BIRDIE
Is he choking?! Get him water! Give him air!
BLANC MILES
No he's not choking Duke buddy!
Duke's eyes bulge beet red, his chest heaves up in a final
horrible convulsion and then, very suddenly, stops. Frozen,
eyes open.
Lionel tries chest compressions and mouth to mouth, but
everyone backs away, somehow aware that it's over.
Whiskey throws herself on Duke as Lionel backs off, in
shock. Blanc checks Duke's pulse. Nothing.
BLANC
I'm afraid, Mr. Cody is dead.
PEG
What the hell just happened?!
BIRDIE
Oh my god oh my god
CLAIRE
What happened? Did he choke on
something, what happened?
BLANC
There was no obstruction in his
airway. We won't know the exact cause
of death without an autopsy but...
Mr. Bron will you call your boat and
have them come immediately? Mr. Bron?
Miles has sunk into a chair and looks catatonic, just
staring at Duke, in shock.
(CONTINUED)
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62.
36 CONTINUED: (7) 36
LIONEL
I'll do it - how do I do it?
MILES
(murmurs)
There's a...a...Radio room, through
there
BLANC
Tell them we need medical personnel
and police.
Lionel dashes off. Blanc pulls Whiskey gently away from
Duke's body. She breaks down in sobs and slips out.
BLANC (cont'd)
I must insist that nobody touch the
body or disturb anything around it.
MILES
Wait - police?
MILES (cont'd)
Are you - are you treating this as a
crime scene?
CLAIRE
Oh my god I can't be here, this is
bad - I can see the headlines
PEG
The police always come, it's standard
CLAIRE
Jetting off to Greece during a
pandemic with a men's rights you-
tuber who dies oh GOD I'm gonna puke
MILES
No no no Blanc - are you saying you
think this was intentional?
BLANC
I don't know.
(beat)
But Mr Cody's death was so acute and
violent, my guess would be something
was put in his drink. Intentionally.
A beat while this sinks in.
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63.
Scene 30 - Accusations and Delays
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
Lionel on a sleek communications computer tied to the
mainland, he speaks to the boat captain, Mr. Andino.
LIONEL
Whadayamean morning, that's - how is
that possible??
ANDINO (ON RADIO)
Pee-cha-chite! Dock pee-cha-chite!
LIONEL
(dawning)
Peesh - of - shite. Oh.
38 INT. LOUNGE AREA 38
Lionel runs in.
LIONEL
The boat can't come till low tide.
In the morning. Six am at the
earliest.
CLAIRE BLANC
What?! Did you explain the
situation?
LIONEL
There's no other landing point and
Miles's dumb-ass Banksy dock was set
to low tide height and it isn't
buoyant. It's a piece of shit.
BLANC
Alright. I suggest we all retire to
our rooms and keep the doors locked
until five thirty, when we will
convene here and walk together to the
dock. I will stay up all night with
the body to make sure it isn't
tampered with in any way, I'd
recommend everyone get some sleep.
As Blanc is saying this, Miles looks at Claire placing a
blanket over Duke's contorted face.
Then he sees something else.
The sound in the room goes fuzzy. His peripheral vision
blurs. Everything focuses on one object and what it means.
(CONTINUED)
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64.
38 CONTINUED: 38
The crystal tumbler that Duke drank from and dropped. On the
floor by his hand.
The name beautifully etched in its side:
"MILES"
MILES
Ohhhhhhh that is...
Miles points in horror, and everyone looks.
BIRDIE
That's... your glass. Miles.
Blanc kneels, looks at the tumbler. Then looks back at
Miles, who barely breathes:
MILES
He... he must have... he picked it up
by mistake...
FLASHBACK - As Miles cheers on Birdie spinning in her dress,
Duke reaches without looking for his glass and grabs Miles's
instead.
BACK TO SCENE - Miles looks at the faces around the room,
like a frightened child.
Instinctively he moves behind Blanc, as if for protection.
BLANC
Mr. Bron...
LIONEL
Miles, come on now...
CLAIRE
Miles it's us.
BIRDIE
Miles baby, for real?
A beat, looking them all over, and then to Blanc:
MILES
I will pay you one billion dollars to
find who tried to kill me.
EVERYONE
(come ON)
Miles!
(CONTINUED)
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38 CONTINUED: (2) 38
DING! SHHHHTICK. Blanc sighs, weary.
BLANC
I'm just going to silence his phone.
When he steps away from Miles, Miles moves behind the sofa.
MILES
We're staying right here in this
room, I'm keeping you all in plain
sight until that boat comes.
LIONEL
For godssakes Miles -
Scene 31 - Panic and Darkness
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 6
Wait where's Whiskey?
(oh NO)
Where's Andi!?
He spins as if afraid someone's behind him, jumpy and
petrified.
BLANC
Where's Duke's phone?
PEG
It just dinged, we heard it
BLANC
But it... it isn't in his pockets...
PEG
Maybe he dropped it somewhere, if it
dings again we'll find it.
Lionel steps forward gravely, points.
LIONEL
Forget his phone, look.
Blanc lifts Duke's jacket. His hip holster... empty.
BIRDIE
Where's his stupid gun?
BLANC
Oh fiddle sticks.
(suddenly very afraid)
When did his gun disappears?
LIONEL
He always has his gun.
(CONTINUED)
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38 CONTINUED: (3) 38
BLANC
He always has it, which means we
stopped seeing it, but at some point
this evening it was gone. We need to
find Andi.
Miles goes into full panic mode, scampering around the room
trying to take cover in a wide open space.
A distant DONG. SHHHHTICK. Miles jumps a foot.
BLANC (cont'd)
Mr Bron, It's alright - it's just the
Phillip Glass thing.
If it's possible, Miles grows three shades more ashen.
MILES
Oh no.
Checks his watch - 10pm.
MILES (cont'd)
Oh no oh no oh SHIT oh no NO NO!
CLAIRE
Miles calm down!
BLANC
Mr. Bron! What's the matter?
Miles grabs Blanc's lapel, full panic, babbling -
MILES
It was part of the game, it was the
game, the murder game, we were going
to be having drinks and I thought it
would be fun to say something
dramatic just at ten o'clock and then
have twenty minutes where oh god
Blanc help help help help
Blanc SLAPS him firmly.
BLANC
What happens at ten o'clock?
With a hollow SNAP, every light in the entire complex SHUTS
OFF, plunging the atrium into total darkness.
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39 EXT. THE GLASS ONION - NIGHT 39
The entire complex goes dark. A moment later, the island's
lighthouse SWEEPS its hard white light across the grounds.
40 INT. ATRIUM - NIGHT 40
Pitch black, just splinters of shapes from the moonlit
windows.
The white light of the lighthouse SWEEPS the room, and like
a strobe light catching a single frame of a tableau, we see
Miles on his knees, arms wrapped around Blanc's legs,
everyone else scattered around the room...
MILES
Ohhhhhhhhhhhhhhhhhhh
Then all is black again. We hear voices in the dark -
CLAIRE
Lionel!
LIONEL
I'm here!
DING! SHHHHTICK
BIRDIE
Ah! Peg is that you?
PEG
No I'm here, where's my phone it has
a flashlight -
Above it all Miles whimpering in a panicked whine
MILES
I gotta - I can't be -
Scene 32 - Chaos in the Dark
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Everybody calm down! Stand still! Do
not panic!
With the next FLASH of light Whiskey stumbles in, holding
(for some reason) a SPEAR FISHING GUN.
WHISKEY
IT WAS ANDI! SHE KILLED DUKE AND TORE
OUR ROOM APART! I SAW HER!
(CONTINUED)
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40 CONTINUED: 40
LIONEL
WHAT?
Miles shrieks:
MILES
NOT TODAY!
And RUNS.
BLANC
Mr. Bron! Oh for hells bells -
Everybody STAY HERE!
Blanc dashes after him.
41 INT. HALLWAYS - NIGHT 41
Miles runs, stops, listening - eyes darting everywhere.
As the light SWEEPS the blackened hall, we see Miles in the
distance turn a corner. In the foreground: ANDI, spotting
him.
Somewhere far away:
BLANC (O.S.)
Andi!
She looks back at Blanc's voice as the light catches her.
42 INT. ATRIUM - NIGHT 42
In the darkness, Peg's phone flashlight comes on. Its weak
light doesn't pierce the vast space, but she waves it
around.
PEG
Bird I got it - Birdie? Lionel?
No one answers. The light sweeps the vast room - Peg is
alone.
PEG (cont'd)
Guys?
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43 INT. HALLWAYS - NIGHT 43
With Miles. Moving slowly in the darkness. Barely breathing.
LIGHT SWEEPS. Shadows in the hallway - hard to tell what
they are. He slows his breath, listening.
The darkness looms around him.
44 INT. KITCHEN - NIGHT 44
Blanc enters just as a dark shape exits.
BLANC
Who's that!?
No answer, footsteps pad away. Using his phone flashlight to
peer around, he spots the butcher's block on the kitchen
island. One knife obviously missing.
BLANC (cont'd)
Lord helps us.
The light sweeps, revealing a shadow of a running figure on
the wall. He turns - someone just ran past the window
outside.
45 EXT. GROUNDS - NIGHT 45
Blanc runs outside, turns - and is almost RUN OVER by the
running figure. Andi. In the jostle we think we hear:
BLANC
Hello!
Andi runs in to Blanc.
BLANC (cont'd)
Did you take Duke's gun?
ANDI
Why would I take Duke's gun? And why
are the lights -
BLANC
Duke is dead.
ANDI
What?!
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46 INT. HALL - NIGHT 46
Dark. Through the floor to ceiling windows we see but don't
hear Blanc and Andi, right outside, talking fast and low.
The light SWEEPS.
Revealing, held in the foreground by a gloved hand - DUKE'S
GUN.
In the darkness that follows, a shape moves. A silhouette,
silent against the moonlit window.
The figure raises an arm.
The shape of Duke's gun held out, steady.
The figure takes very careful aim at the two outside.
47 EXT. GROUNDS - CONTINUOUS 47
Blanc and Andi oblivious, the window pitch black behind
them.
ANDI
I don't understand -
BLANC
Please trust me, it's all in plain
sight, I only need one last piece of
information, and only you can -
BANG.
Several things happen at once.
The window behind them cracks like safety glass, splintering
out like a spider web from a central bullet hole.
Scene 33 - Deadly Tableau
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
48 INT. THE GLASS ONION 48
In empty halls, rooms, the gunshot echoes and reverberates.
49 INT. ATRIUM 49
SHHHHTICK. The glass slides down over the Mona Lisa just as
the light sweeps over her. Linger on her enigmatic face.
Maybe smiling, maybe not, it's hard to tell.
(CONTINUED)
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49 CONTINUED: 49
We stay on it as we hear footsteps throughout the distant
halls, and echoey voices.
CLAIRE (O.S.)
Lionel!
BIRDIE (O.S.) LIONEL (O.S.)
Guys! Where are you? Did you I heard it, I'm here -
hear that?
PEG (O.S.) LIONEL (O.S.)
That sounded like Oh god Miles - who's seen
Miles, is he ok?
The sweeping light FLASH takes us to:
50 EXT. GROUNDS 50
The light sweeps over Andi's crumpled form on the steps.
Blanc backs off, breathing hard, a moment suspended. Deep
regret and anger turning to resolution in his eyes.
With a deep clank, the LIGHTS come back on in the entire
complex.
In the windows behind him, one by one, everyone appears,
looking down on the tableau: Blanc standing above Andi's
awkwardly twisted body, her chest exploded in red.
And high above them all, in the front facing window of the
glass onion, Miles Bron looks down.
MOMENTS LATER
Everyone runs out, each stopping in horror at Andi's body.
CLAIRE
Oh god
She reels, Lionel steadies her. Birdie shrieks and steps
behind Peg, who is in shock. Whiskey sits on the steps,
numb. Inside the hallway, Miles stops at the gun on the
floor. Walks out to Blanc.
Gathering himself he turns, forceful and hard:
BLANC
Everyone, inside. Right now.
Claire motions to the body
(CONTINUED)
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50 CONTINUED: 50
CLAIRE
Shouldn't we -
A cold fury has taken Blanc. He storms inside.
BLANC
She's not going anywhere. Inside.
It's time to finish this.
51 INT. ATRIUM - NIGHT 51
Blanc sweeps in, everyone struggling to keep up.
BLANC
Peg, radio the mainland. Tell them to
send the boats NOW, Banksy be damned,
beach them if they have to.
She nods and goes to do it.
MILES
Andi...
WHISKEY
She killed Duke, why would -
BLANC
No.
MILES
This makes no sense.
BLANC
You're wrong, it all makes perfect
sense. Duke. Andi. This weekend, this
ridiculous game that started well
before we set foot on this island.
LIONEL
Will you please then explain it all
to us? Detective?
BLANC
No. I can peel back the layers, I can
take it to a point. But what lies at
the center... only one person can
tell us who killed Cassandra Brand.
HARD CUT TO:
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52 A FRONT DOOR, PAINTED WHITE 52
A hand knocks. A long moment. Knocks again, insistent. A
voice we maybe recognize from inside:
BLANC (O.S.)
Get that would you?
Scene 34 - The Unmasked Twin
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
You're not in the bath again are
you??
BLANC
(to Phillip, guilty)
No!
A beat, then the door swings open, revealing a handsome
middle aged man named PHILLIP. He blinks at the woman
standing in the hall, grabs a mask and pulls it over his
face.
We recognize her as Andi, wearing an N95 mask, and with
longer hair. Her speaking voice is a little softer, with a
distinct southern lilt, her posture a bit more slouched.
She awkwardly holds a familiar large cardboard BOX.
PHILLIP
Yep, Can I help you?
ANDI
Is this Benoit Blanc's residence?
PHILLIP
Uh, what is this regarding?
ANDI
I'm sorry, it's just his office is
closed and... I really need to speak
to him. It's urgent. Please.
(beat)
And this is not unheavy.
PHILLIP
Blanc! There is someone here for you.
With a box.
53 EXT. TERRACE - DAY 53
Blanc's apartment has a terrace with an outdoor dining table
and a few chairs. The cardboard box sits on the table in
front of Blanc. Andi stands at the far end of the table,
still masked.
(CONTINUED)
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53 CONTINUED: 53
Blanc pulls the top of the box off, revealing the shattered,
splintered remains of the puzzle box.
BLANC
Why don't we start at the beginning.
Her mask. Blanc nods and they both unmask.
ANDI
My name is Helen Brand.
Oh.
HELEN
I came all the way here from Alabama.
A pause. She is obviously nervous. Blanc gently:
BLANC
What do you do in Alabama?
HELEN
I teach, third grade. So, a lotta
zooming. Been getting into tie-dying,
with the pandemic. That doesn't
matter. Mr. Blanc, two days ago I
received a call.
54 INT. MORGUE - FLASHBACK 54
Helen has been brought in to identify the body on a
stretcher. A kind CORONER lifts the sheet.
HELEN (O.C.)
My sister committed suicide. In her
garage, in her car, with the engine
running.
Helen nods, mouths "yes" and steps away quickly. Reveal the
body on the stretcher: It's Andi, Helen's identical twin,
with the shorter hair we're used to seeing her with.
55 EXT. TERRACE 55
HELEN
My sister was Cassandra Brand. Do you
know who she was?
(CONTINUED)
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55 CONTINUED: 55
BLANC
Yes of course. I thought you...
sorry, I thought you looked familiar.
An impressive woman, your sister.
Scene 35 - Helen's Memories and Suspicions
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
You know, she kept a diary every day
of her life since she was six, know
what she called it? Notes for future
biographers. Biographers plural.
Girl was six years old. Day after
high school she shot off to New York,
never looked back. You know. When we
were kids we'd goof together, we'd do
a character, "rich bitch."
(in Andi's accent)
"Heavens, the dog ate the caviar
again." Then one day I hear her doing
a talk and that's just how she talks
now! Rich bitch! I was like who are
you fooling girl? Everyone but me.
But she had the brains and guts for
both of us, I was happy just watching
her use them.
BLANC
(gently steering)
So, you get the call.
Helen looking at the box on the table.
HELEN
Yeah I get it. I fly here, this is
yesterday, I'm cleaning out Andi's
house. It's a mess. All her books
everywhere. And I'm thinking about my
sister and what got taken from her
and how I wasn't there for her and
I'm getting angrier and angrier and
then there's a knock at the door.
It's a courier, he hands me this
thing. From Miles Bron. There's
probably some clever way to open it,
I dunno, I open it. It's an
invitation to his private island in
Greece, next weekend, one of these
trips she'd go on with him and this
little group of shitheads that she
thought were her friends. Called
themselves the "disruptors." I knew
what they were, I told her. Shit.
Heads.
(CONTINUED)
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55 CONTINUED: (2) 55
Helen's anger is simmering.
Blanc nods, not impatiently, but ready for the point.
BLANC
Miss Brand, what can I do for you?
Helen nods. And takes the plunge.
HELEN
Andi didn't commit suicide.
Blanc leans back, engaged.
HELEN (cont'd)
She didn't leave any kind of note, so
I was going through her computer,
looking through the "SENT" box to see
if she wrote anyone anything.
Helen pulls her phone, opens an email, hands it to Blanc.
HELEN (cont'd)
She sent this at four pm the day she
was murdered. Four days ago.
Blanc looks at the email, reads it aloud.
BLANC
"I finally found it, it's right here,
and I'm going to use it to burn his
whole empire down. I'm giving you all
one last chance to make things right.
You know where to find me. -A."
The email has a picture attached of Andi in her home office,
holding a sealed file-sized RED MANILA ENVELOPE up to her
computer's camera.
BLANC (cont'd)
And these four addresses she sent it
to, I would assume, are...
HELEN
Birdie Jay, Duke Cody, Claire Debella
and Lionel Toussaint.
BLANC
The shit heads?
Scene 36 - The Invitation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
She sends that email. Nothing back
from any of them.
(MORE)
(CONTINUED)
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55 CONTINUED: (3) 55
HELEN (cont'd)
And the next day she's dead in her
garage. Heavy dose of sleeping pills
in her system. I have emptied every
inch of every room of her house and
guess what isn't there?
Blanc looks at the picture of Andi with the red envelope.
BLANC
The red envelope.
(beat)
Compelling.
Helen's face tightens.
HELEN
Google said you were the world's
greatest detective. I came to you.
Not the police. Someone like me takes
something like this to a group of
rich folk with an army of lawyers...
A pause.
BLANC
But if you got them all together,
isolated for a weekend with, in your
words, "the world's greatest
detective..."
His eyes gleam. Helen's face breaks in relief.
BLANC (cont'd)
You want to hire me to go to that
island?
HELEN
It's a stupid idea right?
BLANC
I want to be clear - I am not Batman.
She blinks.
BLANC (cont'd)
I can find the truth, I can deduce,
gather evidence, present it to the
police and the courts - but that's
where my jurisdiction ends.
HELEN
Yeah but you doing it instead of me.
I'll take those odds.
(CONTINUED)
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55 CONTINUED: (4) 55
Blanc draws a long thin cigar from his pocket and clips the
end, now seeing it, deep in thought.
BLANC
I have not seen your sister's death
in the news, did you release a
statement?
HELEN
No - shit was I supposed to? I don't
know how this works
BLANC
And you have no other family member
who was informed of the death. If I
pulled some strings I could keep it
from leaking to the press for another
week... maybe... yes... a fascinating
challenge... and it could work...
but... oh yes. Oh oh. that's
outrageous Well now. Yes. Wow,
but... yes.
(Helen stares at him)
Ms. Brand any feelings of reverence
or respect you had for me when you
crossed my threshold, buttress those
feelings now, buttress them. I'm
proposing you come with me to that
island. As your sister. As Cassandra
Brand.
HELEN
What? I'm hiring you to go. I'm not.
Whoa. What?? Are you insane?
Scene 37 - Helen Agrees to Impersonate Andi
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Buttress now, yes? A famous detective
shows up and out of the blue pokes
the subject of your sister, they'll
shut up like a clam. Your presence on
that island is the essential
catalyst.
HELEN
Oh come on
BLANC
Buttress.
HELEN
I'm trying real hard to buttress but
this sounds nuts.
(CONTINUED)
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55 CONTINUED: (5) 55
BLANC
Indeed. But it's the only way this
works.
HELEN
This is something Andi would do.
She's the smart one, she's the actor.
This isn't me. look at me, they'll
know I'm not her.
BLANC
You cut your hair, wear her clothes
HELEN
You think I'll fit in that shit? And
what about my hair?
BLANC
I know a guy. Listen: Why would
anyone suspect you're showing up
playing your sister, when they don't
know your sister is dead?
Helen starts to get it.
HELEN
Right. They don't know Andi's dead...
they won't suspect. And you'd do the
inspecting?
BLANC
Yes I will, you just have to be
there.
HELEN
Mr Blanc. So this is gonna be safe.
BLANC
(suddenly realizes,
grave)
No. No - one person will know the
truth about you. From the moment you
arrive on that island the killer will
know who you are and what you're
doing. They will certainly not
hesitate to kill again, if it covers
their tracks. And I'm a detective
Helen, not a bodyguard. It's too
dangerous. I'm sorry Helen, I can't
help you.
A long beat. We think Helen might leave. But then:
(CONTINUED)
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55 CONTINUED: (6) 55
HELEN
One of those shit heads killed my
sister.
She looks down at the broken puzzle box, angry.
HELEN (cont'd)
Do you really think we could get the
son of a bitch?
Blanc's grave eyes gleam. He ignites his cigar.
CUT TO:
56 SHIMMERING WATER 56
But this time at night, sparkling like inky glass. Tilt up
to reveal
57 EXT. GRECIAN PORT TOWN - NIGHT 57
Push in on the adorable dock-side hotel, lit up warm and
glowing.
58 EXT. HOTEL TERRACE - NIGHT 58
Tables set up on a front terrace. Helen, disguised as Andi,
steps out the front door. She spots Blanc at a table,
flipping through an iPad. She goes and sits with him.
BLANC
Well, my goodness
HELEN
(beat)
I shouldn't be here, this is nuts.
But I'm here so let's do this.
A server sweeps in.
Scene 38 - Planning the Investigation
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Drink?
HELEN
I don't drink - just coffee.
The server seems confused, then suddenly seems to understand
and rushes off, very excited.
(CONTINUED)
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58 CONTINUED: 58
HELEN (cont'd)
Andi's journals.
BLANC
Good, keep studying them. Ok.
Tomorrow, I'll go out early, and you
should arrive late, so I can watch
everyone's reaction when you show up.
On the boat be cold, don't engage in
conversation.
HELEN
I'm not great on boats.
BLANC
You'll be fine. Remember, rich bitch
voice, Andi posture.
Helen corrects her usual slouch, does her "rich bitch"
accent for most of the rest of the conversation. She shows a
small, old school iPod Nano.
HELEN
Yes. I put her TED Talks on this
thing, listening to them, the dog ate
the caviar. You said you were going
to research these people for
motives - did you find anything?
BLANC
Yes I did... but motives for each of
them to want Miles Bron dead. Why
would they kill her to protect him?
Just don't get it.
HELEN
What about Miles? What if Miles just
did it?
BLANC
We can't rule it out but - Miles Bron
is not an idiot. To risk committing
murder, after a very public court
case, with the possibility that
Andi's email could come to light...
it would be an exceedingly stupid
thing to do. Especially if someone
was willing to do it for him. Now,
walk me through these journals -
(CONTINUED)
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58 CONTINUED: (2) 58
HELEN
Kay. Ten years ago, before any of
them hit it big, they all hung out
together in this bar.
59 INT. THE GLASS ONION BAR - FLASHBACK - NIGHT 59
The "Glass Onion" neon sign glows in a dive bar. Andi,
Birdie, Duke, Claire and Lionel all hang out drinking in a
booth, all young and broke and buzzed. Andi is the warm
center of the group.
BLANC (O.C.)
And Miles was the leader of the pack?
HELEN (O.C.)
No, Andi was. They all were friends
with Andi. Birdie was a washed up
model, Duke was a nerd doing video
game tournaments. Claire just lost a
race for city council, Lionel was a
substitute teacher. All of them run
aground in their thirties, but Andi
saw their potential. She found them
all. Then she found Miles.
Introduced him to the group.
Andi sees Miles enter, waves him over to the booth.
ANDI
Guys. This is Miles.
Time cut: later in the conversation, Miles holds court.
HELEN (O.S.)
At first nobody liked him. He would
say stuff like:
Scene 39 - Clash of Aspirations and Ethics
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
I want to be responsible for
something that gets talked about
within the same breath as the Mona
Lisa forever.
60 EXT. HOTEL - NIGHT 60
BLANC
What does that even mean?
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61 INT. THE GLASS ONION BAR - FLASHBACK - NIGHT 61
The group huddling while Miles is over at the bar.
ANDI
It means immortality, he wants to
create something that has a lasting -
Andi fumbles to a stop.
LIONEL
His last venture was "Moviefone for
foot massages."
BIRDIE
Did it work?
LIONEL
(obviously)
No!
ANDI
Let's just roll with it, humor him.
Just a little. Let's see what
happens.
HELEN (O.C.)
And things started happening.
Time cuts: the gang in the bar over a series of nights,
laughing at Miles's jokes, getting happier and happier.
HELEN (O.C.) (cont'd)
He got Birdie a show for her designs,
it did well. Got Lionel published.
Duke set up on Twitch. Claire elected
locally. Small stuff but it happened.
And then the big thing happened.
The gang plays pool. Andi, with a hardcover copy of "The
Innovator's Dilemma" on her knee, scribbles something.
On a napkin. Miles points to it, everyone looks up.
MILES
What's that you are working on?
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62 EXT. HOTEL - NIGHT 62
HELEN
So based on this napkin idea Andi and
Miles create Alpha, it blows up, they
bring everyone along for the ride.
And Miles's aspirations keep getting
bigger and bigger. Cut to: two years
ago. Miles meets some sketchy
Norwegian chemist at an ayahuasca
ceremony in Peru, who pitches him
this new hydrogen fuel. He becomes
obsessed. He's ready to put the
entire company's resources towards
launching this stuff.
63 INT. BOARD ROOM - FLASHBACK - DAY 63
ANDI
No.
We are in an ALPHA board room, with a spectacular NYC view.
Andi sits and Miles stands watching her, weirdly like a
puppy who has brought its master a bone.
MILES
Andi. C'mon. This is it!
On a dish in front of her: the marble-sized Klear crystal,
an unsigned contract, and a pen.
ANDI
No. This is not a start-up. This
could blow up the world
MILES
Yes!
ANDI
NO! No, I mean literally it could
blow up the world! The reality
distortion field has to end here. I
can't let you do this.
MILES
What do you mean you can't "Let me"?
ANDI
I'll walk. And take half the company.
To stop you from using it for this.
(CONTINUED)
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63 CONTINUED: 63
Miles looks genuinely anguished. Weirdly vulnerable.
Scene 40 - Miles' Lies and Perjury Revealed
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
HELEN
And she did it. God I love that she
did it. Then she found out his
lawyers had worked the contracts so
she was cut out of the company
completely.
BLANC
So she sued over that -
HELEN
Her whole case was built on
(Andi accent)
"intellectual ownership of the
company's founding idea."
BLANC
Her idea. On the napkin.
HELEN
Which she didn't keep.
65 INT. COURTROOM - DAY 65
Miles and Andy look silently at each other from their
respective tables.
On the stand - Claire. She avoids Andi's gaze.
CLAIRE
Miles got really excited, he had an
idea. And he grabbed a napkin and
scribbled it down to show us.
Andi STANDS, furious.
ANDI
That's a LIE! Claire look at me!
Look me in the eye Claire and say it!
JUDGE
Order, counsel please get your client
under control.
TIME CUT: Duke on the stand.
(CONTINUED)
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65 CONTINUED: 65
LAWYER
And do you recall Mr Cody, who wrote
this napkin?
DUKE
Yeah, Miles.
Then Birdie:
BIRDIE
It was Miles.
And finally Lionel:
LIONEL
Miles.
Andi sits in shocked fury. Truly gutted. Miles smiles
sympathetically at her, somehow genuinely sorry, like a
golden retriever who's just eaten your shoes. She glares
back at him.
HELEN (O.C.)
This was March.
66 INT. ANDI'S LIVING ROOM - FLASHBACK - DAY 66
On an iPad, a Forbes.com story about Miles and his idea
napkin. Andi stares at it, dead eyed. A bottle of wine
nearly dead beside her.
HELEN (O.S.)
Right after the verdict Miles
"suddenly found" the napkin, written
in his handwriting, and did all those
interviews about it.
She THROWS the iPad across the room. Goes on a tear, flips
her coffee table, shoves books off her shelves, goes full
Charles Foster Kane.
67 EXT. HOTEL - NIGHT 67
BLANC
A bald faced fabrication.
HELEN
A damn lie. And it worked.
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68 INT. ANDI'S LIVING ROOM - FLASHBACK - DAY 68
Andi stops mid-destruction.
Sees in a pile on the ground: her old hardcover copy of "The
Innovator's Dilemma."
Her eyes focus on it. Holy shit.
She leans down. Picks it up.
And out of the dust sleeve falls THE REAL NAPKIN.
69 EXT. HOTEL - NIGHT 69
BLANC
So. Every one of the disruptors
perjured themselves to destroy Andi
and shield Miles Bron. We need to
find out why. Motive. Whose was
strong enough to go one more step,
and commit murder. And then - and
this will be tricky - everyone's
whereabouts on the night of her
death. Who could have been to her
house that night. Opportunity.
Scene 41 - Snooping on the Island
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
journals and draws something.
HELEN
Our suspects. Motive. Opportunity.
She shows it to him - she's made a grid with four names on
the left and two columns for "M" and "O" on top. She grins.
HELEN (cont'd)
Kinda like a - it's like a -
BLANC
(deeply annoyed)
Yes, yes
HELEN BLANC
A "Clue" notepad Yeah.
HELEN
You must be great at Clue
(CONTINUED)
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69 CONTINUED: 69
BLANC HELEN
I'm very bad at dumb things,
it's my Achilles heel.
Ticking boxes, "Run around!
Search all the rooms!"
terrible game. Well. My students love it.
A beat. Distant, the glowing light of the island.
HELEN (cont'd)
I'm scared Blanc.
BLANC
I understand. This is your last
chance to back out.
Helen looks at her sister's journal in her hand. Then back
out at the island. Determined.
70 EXT. SEA - MORNING 70
The ferry cuts a path towards Bron's island, all the
suspects on board.
On the back deck Helen stands, hand grasping the rail
tightly. SICK AS A DOG.
HELEN
(to herself)
Ooooph god boats.
Helen looks down at Duke on the deck below her.
DUKE
Ballsy move.
Birdie on the deck, watching her. Birdie looks freaked out.
Duke grins with sinister amusement.
BIRDIE
You shouldn't be here.
Helen returns their stare.
71 EXT. BEACH - DAY 71
A shoe with an UNTIED SHOELACE scuffs to a stop. Blanc bends
to tie it, Helen hanging back with him as the rest of the
group ambles ahead with Miles.
They talk quietly and quickly.
(CONTINUED)
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71 CONTINUED: 71
HELEN
Duke and Birdie, I think they're on
to me. Or they were just being
assholes.
BLANC
Not mutually exclusive. I suspect
when we're all settling in Bron will
pull me aside to explain my presence.
That's your chance to snoop.
HELEN
Snoop?
BLANC
Snoop.
72 INT. ANDI'S ROOM - DAY 72
Helen puts her bag down on the bed. Ok. Snooping time.
ANDI
Snooping. Snoop. Okay, here I go.
73 EXT. GROUNDS 73
In a bathing suit and beach wrap she wanders, not exactly
sure what she's looking for.
Whiskey emerges from the greenery, in a bikini and skirt.
WHISKEY
Hey Andi.
HELEN
Hey yeah. Yes. Hi.
WHISKEY
I'm Whiskey. We didn't really meet.
Are you looking for the pool?
HELEN
Sure.
WHISKEY
You want this? Not into it. Smells
like that guy Derol.
A bottle of the hard Kombucha. Helen takes it, tries it,
winces. But keeps drinking it. They walk together. Nothing
to say. Helen reaches:
(CONTINUED)
Scene 42 - Whispers and Gunshots at the Estate Party
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
90.
73 CONTINUED: 73
HELEN
That's a beautiful necklace. Taurus.
Whiskey's necklace is a jeweled bull.
WHISKEY
Miles gave it to me. Surprised me for
my birthday, filled his whole
penthouse on the park with roses.
(at Helen's look)
He's a good guy. He's complicated.
But...
Whiskey looks at her curiously.
WHISKEY (cont'd)
I think it's really shitty. What
Miles did to you, and how they all
treated you. I read all your court
transcripts, you got shanked.
HELEN
Thanks. Whiskey.
74 EXT. GROUNDS - CONTINUOUS 74
WHISKEY
This is my second one of these
things, we did a yacht thing last
year.
HELEN
Fun.
WHISKEY
Pfft. When they're all together it's
the worst. Duke treats me like arm
candy in front of them, they all
ignore me.
HELEN
Why do you put up with it?
WHISKEY
With Duke? Building my brand, he's
putting me on his channel more.
Though he's veering harder right with
this man-dom stuff, if I'm going to
get into politics eventually I don't
know if I want to go down that road.
It's expeditious but kind of a shit
show. Here's the pool.
(CONTINUED)
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74 CONTINUED: 74
And there it is.
HELEN
I'm going to walk around a little
more. I'll see you down there. It was
nice talking to you.
WHISKEY
You too.
Whiskey heads down to the pool. Helen watches her go,
thoughtful, then slips into the brush to continue snooping.
75 EXT. HERB GARDEN 75
Helen emerges, lost and frustrated. Takes another pull from
the Kombucha, winces.
BANG!
She spit takes and looks in the direction of the shot.
76 EXT. POOL - CONTINUOUS 76
Duke has just fired his pistol.
DUKE
Really.
LIONEL
Asshole.
MILES (O.S.)
NOW it's a party!
We stick with Lionel and Claire as they swim out to the deep
end of the infinity pool, with a spectacular view, and
privacy to talk.
CLAIRE
I did it. Two weeks ago I did it.
LIONEL
You signed off on the power plant?
CLAIRE
Yeah. God help me. When this breaks,
poof, my base is gone, all my grass
roots, lefties. Gone.
(CONTINUED)
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76 CONTINUED: 76
LIONEL
I did it too.
CLAIRE
Did what?
Over the edge of the infinity pool, reveal: Helen, lurking
in the garden below, listening.
Scene 43 - Secrets and Suspicions
- Overall: 8.0
- Concept: 8
- Plot: 8
- Characters: 7
- Dialogue: 7
I signed off on putting Klear in the
manned mission. My staff doesn't know
yet.
CLAIRE
Goddammit. Let's hope Andi was wrong
about this Klear stuff
LIONEL
No she was right.
(beat)
You put its gas form into household
pipes you get massive leakage into
the air, the hydrogen particles are
too small.
CLAIRE
Hydrogen gas - You're telling me it's
gonna literally turn everyone's house
into the Hindenburg
He spots Blanc wading (in his shirt) and eyeing them.
Blanc smiles as they swim past him.
Helen emerges into the pool area, and walks past.
Helen sits next to Birdie and Peg, without them noticing. A
fresh kombucha in her hand.
BIRDIE
I'll take care of him. Don't worry.
There was a time you know, back when.
Helen throws her voice recorder in to Birdies pool bag.
BIRDIE (cont'd)
I was the one who'd been on
magazines, he was nobody, he couldn't
believe he was talking to me. He was
this little thing in my hand.
(beat)
I preferred that.
(CONTINUED)
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76 CONTINUED: (2) 76
Birdie lies back, and notices Andi lying in the chair next
to her.
BIRDIE (cont'd)
Andi! Hi.
77 INT. BATHROOM - LATER 77
Blanc and Helen huddle in the small single bathroom. A huge
painting by Matisse on the wall. Helen is drinking another
kombucha and seems weirdly loose.
BLANC
Wow. You're really good at this.
Interesting stuff with Whiskey too,
and motives for both Lionel and
Claire, well done.
HELEN
Are those motives? I was kinda
confused
BLANC
Yes, both of them - they've bet the
farm and will both be ruined along
with Miles if he fails. They need to
protect him at all costs.
Helen ticks off the "M" boxes for Lionel and Claire.
HELEN
But I can't picture them killing
her...I just can't.
BLANC
Think of the crime, the nature of it.
78 EXT. ANDI'S HOUSE - HYPOTHETICAL - EVENING 78
Duke knocking on Andi's front door, his motorcycle nearby.
She answers. He is contrite.
BLANC (O.C.)
They've come to apologize, to make
amends.
79 INT. ANDI'S KITCHEN - HYPOTHETICAL - NIGHT 79
Lionel in the cozy kitchen now with Andi, as we see
different scenarios seamlessly blend together.
(CONTINUED)
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79 CONTINUED: 79
BLANC (O.C.)
And the murder itself is non violent,
gentle.
Lionel slips some powder in Andi's tea when her back is
turned.
BLANC (O.C.) (cont'd)
They don't even see her die.
Andi fades from consciousness, her head sinks gently to the
table. Claire now sits watching her silently and coldly.
BLANC (O.C.) (cont'd)
she just goes to sleep.
80 INT. ANDI'S GARAGE - HYPOTHETICAL - EVENING 80
Scene 44 - Confrontation by the Pool
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 9
engine and lowers the windows.
BLANC (O.C.)
No, they're all more than capable.
81 INT. BATHROOM 81
Helen shudders. Terrible to think about. Meanwhile Blanc
pours his hard kombucha into the sink and fills the bottle
with water, as Helen takes another pull at hers.
BLANC
Go easy there - I thought you didn't
drink?
HELEN
This isn't drink. It's some funky
health stuff.
BLANC
You give me that. That's hard
kombucha, Jared Leto's hard kombucha
it's my god nine percent alcohol -
how many of these have you had?
She holds up three fingers
HELEN
Two maybe I dunno I'm fine, we need
the O's, the opportunity. We've gotta
open them up, push it.
(CONTINUED)
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81 CONTINUED: 81
BLANC
Don't push anything right now,
HELEN
Listen I feel good
BLANC
I think you should maybe lie down
HELEN
We're running out of time!
BLANC
Helen! Please remember the danger
here. Step back, let me handle it.
Push nothing.
82 EXT. POOL 82
With Helen. Listening as Miles gives his discourse on
disruption. As he speaks we stay on her face, moving with
her as she approaches the group.
MILES (O.S.)
They'll tell you to stop, that you
need to stop. Because as it turns
out, nobody wants you to break the
system itself. That is true
disruption. That is what unites this
group. Every single one of us has hit
that point, and proved that they're
willing to cross it.
Helen takes a last long pull from the hard kombucha,
straightens her posture, then claps.
Blanc and the rest of the group turns to look at her.
Blanc's face: Uh oh.
CUT TO:
83 EXT. GROUNDS - AFTERNOON 83
Helen bursts onto a path, away from the pool, hyped up. She
steadies herself, the trees spinning.
HELEN
Uh oh
Behind her Claire runs to catch up.
(CONTINUED)
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83 CONTINUED: 83
CLAIRE
Wait!
Helen takes one breath - here we go - then spins on her:
HELEN
Wait YOU wait. That day in court you
couldn't even look me in the eye.
Claire just looks at her hard, up and down, appraising her.
Helen holds her gaze. Fear grips her, like someone who's
made a bad bluff.
CLAIRE
What are you doing?
This is steely. It freezes Helen. The moment is broken when
Duke emerges from the pool area, joining them. Standing by
silently. Claire looks at him. Back to Helen.
CLAIRE (cont'd)
Can we talk about the email.
HELEN
Oh now you want to talk about it?
You didn't even write back.
Claire looks back at Duke, they both look at her strangely.
Scene 45 - Unanswered Messages
- Overall: 8.0
- Concept: 8
- Plot: 7
- Characters: 9
- Dialogue: 8
I'm a politician, I never email
anything I wouldn't want on the front
page of the Times. That's why I
called.
Helen is frozen... uh oh. Did she just majorly fuck up?
CLAIRE (cont'd)
All of us did, right when we got it,
over and over, your phone was off.
The whole next week - up until
yesterday I've been trying and it's
still off.
HELEN
I got a new number.
DUKE
And when we couldn't reach you, I
went to your house.
Helen freezes again. Oh shit. But:
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84 EXT. ANDI'S HOUSE - FLASHBACK - EVENING 84
We see what Claire describes, her Prius pulls up just as
Lionel gets there in his Tesla. They join Duke who is
knocking at the door and yelling, his motorcycle parked
nearby.
CLAIRE (O.C.)
Lionel and I got there at the same
time, Duke was already there.
DUKE (O.C.)
The lights were out, I was pounding,
I almost broke it down.
CLAIRE (O.C.)
We knocked and waited and called for
you, we thought you were just not
coming out.
During this Duke has spotted a SPIDER crawling on the wall.
In anger he SMASHES it.
85 EXT. GROUNDS 85
CLAIRE
After an hour we left. Birdie went by
later to check and it was the same.
Where the hell were you?
HELEN
What time did you get there?
CLAIRE
I don't know, it was dark
HELEN
And Duke you were there already?
CLAIRE
He drove his motorcycle so fast he
almost got in an accident,
DUKE
I almost got pancaked -
Helen squints, trying to keep it all straight in her
kombucha daze
HELEN
Can you say all that one more time?
(CONTINUED)
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85 CONTINUED: 85
CLAIRE
Look. I don't know what you're
planning on pulling being here but we
need to talk about this.
Then Helen has a moment of clarity, she knows what she wants
to ask:
HELEN
If I had answered the door that
night, what would you have told me?
(to Claire)
That you were wrong? That you'll back
me up with Miles? Or were you all
showing up to talk me out of using
that envelope?
Claire doesn't reply, and Helen has her answer, and takes
the opportunity to storm off.
Claire watches her go. Duke scowls and leaves.
Lionel emerges behind Claire, sees Helen vanishing into the
gardens.
CLAIRE
Something's off. What is she playing
at?
86 EXT. GARDEN 86
The adrenaline carries Helen about eight steps before she
swoons and stumbles. From nearby:
SOOTHING ROBOT VOICE (O.S.)
This is a smokeless garden...
Red lights flash through the trees, she takes a defensive
posture, so confused.
SOOTHING ROBOT VOICE (O.S.) (cont'd)
Please keep our water clean...
Scene 46 - Unraveling the Truth in the Empty Gym
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
calls to him.
HELEN
Blanc!
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87 INT. GYM - DAY 87
Blanc and Helen speak quickly in an empty gorgeous GYM. She
pounds Gatorade.
Behind them a fitness training video screen has a still of
Serena Williams, with "WORK OUT WITH SERENA" beneath her.
HELEN
That's everything she said, I think.
BLANC
Wow. I think maybe you should... take
up drinking? You are just killing it.
HELEN
Claire and Lionel were never there
alone - but Duke came early and
Birdie came late.
On her note pad she ticks off the "O" for Birdie and Duke.
BLANC
But they could have gotten there
early, killed your sister then
circled away and waited for the other
to arrive.
HELEN
Shit.
She ticks off Claire and Lionel's "O" boxes.
BLANC
Something... something is teasing the
edge of my brain. This case confounds
me.
HELEN
Well we don't have motives for Duke
or Birdie so -
Behind them we realize the picture of Serena Williams is not
a picture at all but live video. He looks up from his book.
SERENA WILLIAMS (ON SCREEN)
Hey, do either of you two want to do
a session?
They look up, startled.
SERENA WILLIAMS (ON SCREEN) (cont'd)
I mean I'm on the clock.
(CONTINUED)
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87 CONTINUED: 87
A CLACK and whirrrr from off-screen draws Blanc's attention.
BLANC
Oh... not, right now.
Serena Williams goes back to his book with a shrug.
SERENA WILLIAMS (ON SCREEN)
Alright. It's your money.
Blanc goes to the source of the noise - a FAX MACHINE in the
corner, spitting a sheet out into a huge bin. Helen goes
with him, still bracing herself.
BLANC
One number... all his machines...
Blanc gets very excited and digs through the bin, flipping
through the pages fast, then stopping and drawing one out.
He shows it to Helen.
HELEN
Holy shit...
It's a FAX of the email from Andi. With "FYI" written at the
top.
BLANC
From that afternoon, just minutes
after she sent the email.
They look at the top line - SENDER: LIONEL TOUSSAINT
HELEN
Lionel! It was Lionel!
BLANC
Now hold on - this doesn't mean he
killed your sister, necessarily -
look out
He spots Duke outside, on the phone, coming into the gym.
Blanc and Helen both HIDE as he enters, grabs a gym towel
and wipes down post-run.
DUKE
(into phone)
Now. Right now, you go to him, do
what you have to do, but push that
son of a bitch. Get an answer from
him. Babe. We need this. Do this one
last time. Ok. Love you -
(CONTINUED)
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87 CONTINUED: (2) 87
But whoever it is has hung up on him. He stands for a
minute, thinking, then leaves with purpose.
Blanc looks over to Helen with urgency.
Scene 47 - A Secret Revealed
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 9
- Dialogue: 8
sharply
HELEN
What who now?
88 EXT. GROUNDS 88
Duke creeps through the foliage, then kneels, watching
through a picture window as MILES and WHISKEY make out
inside.
About 20 yards back, Helen and Blanc creep up, seeing him.
They exchange "whoa shit" looks. Then Helen makes a move to
get closer, Blanc tries to stop her but she's already gone,
and the movement SNAPS a twig.
Duke looks back. Nothing. He looks back at the window, and
this time we can hear the scene inside, as Whiskey and Miles
fall onto the bed together.
WHISKEY
Are you going to do it for me?
Miles motions to grab her...Whiskey stops him and pins him
down.
WHISKEY (cont'd)
Not that. It's all he wants. The
youtube channel is dying, he needs
the exposure, just put him on Alpha
News baby. Just a late night spot,
you promised him you were grooming
him for it, and he's earned it with
what he did, you know that.
MILES
I wish I could.
WHISKEY
What?
MILES
I'm building the future of news, I
can't have rhino horn boner Pill
Karma in the mix.
(MORE)
(CONTINUED)
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88 CONTINUED: 88
MILES (cont'd)
He's a loyal friend, but I can't put
him on Alpha News. Okay?
He kisses her.
Duke, hearing all this, crushes the branches in his fist.
Helen, hidden nearby and also hearing all this, grimaces,
and slips away.
89 EXT. BIRDIE'S VILLA - AFTERNOON 89
Peg storms out of Birdie's back patio, Birdie chasing her
BIRDIE
Peg wait -
PEG
Don't talk to me.
Birdie runs after her. When she's gone Helen dashes up and
grabs her colorful over-sized bag from a chair right inside
the patio door. Helen digs in the bag and retrieves her
PHONE. Checks it - still recording.
90 INT. ANDI'S VILLA - MINUTES LATER 90
Blanc and Helen sit with the phone between them as Helen
scans back through it, finding...
PEG (ON RECORDING)
What did he mean, "it's her only
chance?"
BIRDIE (ON RECORDING)
What does ANYTHING mean?
PEG (ON RECORDING)
Bird! I swear to god! Tell me!
91 INT. BIRDIE'S VILLA - FLASHBACK - AFTERNOON 91
We see the convo we're hearing, Birdie in tears, Peg fuming.
BIRDIE
I'm going to sign the statement. I'm
going to take total responsibility
(CONTINUED)
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91 CONTINUED: 91
PEG BIRDIE
This will crush us! There's
no coming back from this! The story is going to break
No, Bird, don't sign it, there's no stopping it -
PEG
We'll do what we always do, deny,
half apologize, go silent awhile, I
can handle this -
Birdie pulls a phone from the folds of her dress, hands it
to Peg.
PEG (cont'd)
What is this?!
BIRDIE
My secret phone.
Peg glares at her. Then looks at the email on the screen.
Scene 48 - Sweatshop Scandal
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 9
What's this?
BIRDIE
An email. With the Sweety Pants
contractor. Two years ago.
PEG
(reading)
"Ms. Jay, wanted to alert you that
the proposed Bangladesh factory is
notoriously one of the world's
biggest sweat shops. Please advise."
And then you replied... "Sounds
perfect, thanks!" With your me-moji.
Dabbing.
Peg is gutted. Then, after a long beat, it dawns on her.
Very, very slowly:
PEG (cont'd)
Birdie. Please tell me you didn't
think "sweat shops"... were where
they make sweat pants.
Birdie stares back at her. A second too long.
PEG (cont'd)
Oh my god.
(CONTINUED)
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91 CONTINUED: (2) 91
BIRDIE
Miles is going to pay me off. He said
if I take full responsibility for the
sweat shops he'll pay me the value of
my shares, thirty million. I'll do
what I have to do to save myself.
He's my only lifeline.
92 INT. ANDI'S VILLA 92
BIRDIE (ON RECORDING)
Can I have my secret phone back?
PEG (ON RECORDING)
NO.
Helen stops the recording. Helen glumly ticks off Birdie and
Duke's "M"s. A full card.
HELEN
This never happens in Clue.
BLANC
That's because it's a terrible game.
HELEN
They all had a motive to protect
Miles, and all of them were there
that night. Now what, detective?
Blanc paces, deep in thought. Then:
BLANC
The envelope. Whoever killed your
sister took that envelope to protect
Miles. They wouldn't just destroy it.
They would want him to see what they
did for him.
HELEN
They brought it here. It's here.
So how do we find it?
BLANC
Unless someone brings an attache case
to dinner, they won't have an
envelope that size on their person.
They'll have to hide it in their
room. So. At dinner tonight.
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105.
93 INT. ATRIUM - NIGHT 93
MILES
Andi! I'm hoping it's still whiskey
soda.
Everyone gathered for drinks. Helen picks up the whiskey
soda, but Blanc wide-eyed shakes his head at her, and she
stashes it behind a statue.
BLANC (O.C.)
Keep your head clear. Stay sharp.
Mona Lisa's eyes watching the gathering below.
BLANC (O.C.) (cont'd)
Because you have to find a way...
ANDI (O.S.)
I just want the truth.
DING. SHHHTICK. The glass slides down in front of the Mona
Lisa's eyes.
Cut to: we're later in the night. Helen takes Duke's rant.
DUKE (O.S.)
I can give you that.
We stick on Helen's face as Duke gets in her face, giving
his spiel, but we hear Blanc:
Scene 49 - Helen's Desperate Search
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 7
A way that is so painfully
uncomfortable, nobody will question
it or follow you. Pick a fight and
lose. We have to find that envelope.
Every ounce of Helen's being wants to punch Duke out.
DUKE
You're the loser. That's the truth.
Helen's staring hard back at Duke. Then drops her eyes.
Convincingly broken. She folds. And slinks out of the room
in tears.
DUKE (cont'd)
There's the Andi I know!
DING. SHHHTICK. On her way out she passes Whiskey, smoking
just outside the main door.
(CONTINUED)
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106.
93 CONTINUED: 93
HELEN
He's a son of a bitch Whiskey. Leave
his ass.
And walks off into the night. Whiskey watches her go.
94 EXT. GROUNDS - NIGHT 94
As soon as she's out of sight Helen SPRINTS through the
grounds. First into:
95 INT. CLAIRE'S VILLA - NIGHT 95
She bursts in and starts tearing the place apart.
BLANC (O.C.)
Search their rooms, ransack them,
fast and thorough - don't worry about
being neat.
Some Claire-like clothes, a stash of pot (which she pockets)
iPads and laptops, a magic wand vibrator, Helen rips through
it all and when she's done the room looks like a tornado hit
it. But no envelope.
96 EXT. GROUNDS - NIGHT 96
Helen sprints, the glowing glass onion structure looming
above her. PUSH in on it, time ticking away...
97 INT. ATRIUM - NIGHT 97
Miles cheering Birdie as she SPINS in her rainbow dress...
98 INT. BIRDIE'S VILLA - NIGHT 98
Gorgeous dresses and beach wraps and LOTS of prescription
pills, and a dog eared copy of Ayn Rand's "The
Fountainhead." Huh. Helen feels her phone buzz in her
pocket.
99 INT. ATRIUM - NIGHT 99
Duke, having just downed his drink, GRASPS HIS THROAT.
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107.
100 INT. LIONEL'S VILLA 100
Stylish Lionel clothes and computer equipment and condoms
and LSD micro-doses. Another BUZZ of Helen's phone but she
doesn't check it.
101 INT. ATRIUM - NIGHT 101
In the aftermath of Duke's death, Whiskey staggers away from
the group, sobbing, and runs off into the night...
102 INT. DEROL'S VILLA - NIGHT 102
A cluttered comfortable mess. Helen bursts in. Derol sits in
an incongruous E-Z BOY chair watching tv.
DEROL
Hey.
HELEN
Oh. Hi. Sorry.
She runs right out.
DEROL
Wanna hang out?
103 INT. DUKE'S VILLA - NIGHT 103
Helen runs in, panting, exhausted. Her phone BUZZES again.
She finally checks it. 37 NEW MESSAGES.
HELEN
What the hell?
She opens her message app and reacts in horror. Dozens of
new messages from friends, all with variants of "Helen you
ok?" "Just saw - call when you can" "OMG Helen I'm so sorry"
"Just heard the news"
Her stomach sinks. She opens her browser and searches
"CASSANDRA BRAND" and instantly fresh news stories pop up -
"CASSANDRA BRAND DEAD OF APPARENT SUICIDE, POLICE CONFIRM."
HELEN (cont'd)
Oh shit.
(CONTINUED)
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108.
103 CONTINUED: 103
One quick second of fear. Then she pockets her phone and
LAUNCHES back to the task at hand - searching the final
villa, Duke's - gun magazines, spear fishing gear, weights,
athletic wear... she runs into the bathroom, finds LOTS of
viagra but no envelope.
Exhausted and defeated, her phone still buzzing in her
pocket, she trudges back into the bedroom.
A WOMAN SCREAMS.
Scene 50 - The Ransacked Room
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Whiskey has just walked in, her makeup streaked with tears.
But she screamed in reaction to the ransacked room. A
distant DONG.
WHISKEY
Andi?
HELEN
I... can explain this
Then realizes, terrified
HELEN (cont'd)
Whiskey is the party over?
Overwhelmed and stammering with tears
WHISKEY
What? No! I left - Duke - I left -
because I couldn't - he didn't
deserve this
Helen thinks Whiskey is talking about walking out on Duke.
Forcefully in a "fuck that guy" way:
HELEN
Yes he did. He's a bastard, I'm not
sorry for him, he deserved it.
You're better off without him.
Whiskey stares at Helen. Something dawning in her eyes.
She GRABS the spear fishing gun and AIMS it at Helen
HELEN (cont'd)
WHAT THE FUCK?
SNAP! The lights go out. Pitch black. Whiskey FREAKS OUT,
SCREAMING
(CONTINUED)
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109.
103 CONTINUED: (2) 103
WHISKEY HELEN
AH! AH! AH! DON'T! DON'T AH! WHAT! AH! I'M NOT GOING
KILL ME! TO KILL YOU YOU CRAZY BITCH
The light sweeps the room and Helen DIVES past Whiskey, who
thinks she's charging her, spins and FIRES the spear gun.
Helen SCRAMBLES off Duke's balcony and into the darkness as
the spear STICKS into a sculpture.
104 EXT. GROUNDS - NIGHT 104
Pitch black. Helen RUNS towards the glass onion, at the end
of her rope
HELEN
Aaaaaaauuuugghhhh
105 INT. HALLWAYS - NIGHT 105
Helen bursts in, weaves and twists blindly through dark
halls. Stops - up ahead she sees MILES turn a corner. The
light sweeps over her.
BLANC (O.S.)
Andi!
She turns in the direction of his voice.
HELEN
Blanc...
She darts off towards it. When she's gone LIONEL emerges
into the hall, looks around.
106 EXT. THE GLASS ONION - NIGHT 106
Helen runs along the outside
HELEN
Blanc where are you -
He steps out and she RUNS into him. In the jostle we hear:
BLANC
Helen!
HELEN
Blanc!
(CONTINUED)
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110.
106 CONTINUED: 106
BLANC
Listen - there's great danger, we
have no time - did you take Duke's
gun?
HELEN
Why would I take Duke's gun? And why
are the lights -
BLANC
Duke is dead.
HELEN
What?!
During all this the pitch black window looms ominously
behind them.
BLANC
No time - did you find the envelope?
HELEN
No. All the rooms, it isn't there.
BLANC
I've been a fool - there is one more
room to search.
HELEN
(realizes)
They already gave it to Miles. It's
in the Glass Onion.
BLANC
If I can distract everyone and you
can get up there and find it -
Scene 51 - Gunshot and Deception
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
But that won't tell us who gave it to
him! I don't understand -
BLANC
Please trust me, it's all in plain
sight, we only need one last piece of
information, and only you can -
BANG!
The glass shatters. Helen flies back on to the steps. Blanc
spins - footsteps run away. Blanc turns back to Helen
splayed out on the stairs. Breath caught in his throat.
(CONTINUED)
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111.
106 CONTINUED: (2) 106
Helen groans. Then sits up, the bullet hole in her chest
smoking. She and Blanc look at each other, confused.
And pulls Andi's journal from her jacket pocket... the slug
embedded in its front.
HELEN
Son of a bitch ah - Blanc what are
you doing, go! Go chase them, get
them - Blanc?
Blanc's face is frozen as his mind races. He looks from
Helen to the broken window to the Glass Onion above them.
BLANC
The killer thinks you're dead. This
is our cover.
As if in a trance he reaches into his jacket pocket...
And pulls out the bottle of JEREMY RENNER'S HOT SAUCE.
Helen sees him do this. Then with laser focus:
BLANC (cont'd)
I can buy you maybe five minutes
alone in the Glass Onion, and you
have to
HELEN
I will
BLANC
You HAVE to find that envelope
HELEN
I will, gimme -
She grabs the bottle from him, he backs off as she twists
off the top, splashes it all over her chest, and lies back,
playing dead. She realizes she still has the hot sauce in
her hand, goes to toss it -
BLANC
Wait! No, give me that - this'll be
good.
He takes it from her, rubs a dab under each eye, pockets it.
His eyes redden and tear up - perfect - but in another few
seconds he's clutching his face in pain.
BLANC (cont'd)
Oh SHITBALLS!
(CONTINUED)
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112.
106 CONTINUED: (3) 106
HELEN
Blanc!
BLANC
Yes
He pulls it together. Breathes through the pain.
SNAP. The lights come on. Everyone appears in the windows.
CLOSE UP: Helen's face. Hot sauce runs into her nose and she
tries desperately to keep still as in the background the
scene plays out.
CLAIRE
Oh god
BLANC
Everyone, inside. Right now.
CLAIRE
Shouldn't we -
BLANC
She's not going anywhere. Inside.
It's time to finish this.
The instant they're gone Helen GETS UP and DASHES inside.
107 INT. HALLWAYS - NIGHT 107
Helen silently dodges through the hallways and up a set of
stairs. Down the hall we hear distant:
MILES
It makes no sense.
BLANC (O.S.)
It makes perfect sense. Duke, Andi,
this weekend this ridiculous game
that started well before we got to
this island.
108 INT. LOUNGE AREA - CONTINUOUS 108
The suspects gathered, Blanc doing his thing.
LIONEL
Will you explain it to us then
Detective?
(CONTINUED)
Scene 52 - Helen's Discovery
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 7
- Dialogue: 8
113.
108 CONTINUED: 108
BLANC
No, I can peel back the layers, I can
take it to a point, but what lies at
the center, only one person can tell
us who killed Cassandra Brand.
CLAIRE
WHO?
BLANC
(beat)
I keep returning in my mind to the
"glass onion."
109 INT. THE GLASS ONION - NIGHT 109
Helen bursts into the large office space. Nearly everything
is made of lucite or glass, there are nearly no containers
or places to stash a large red envelope.
We hear the continuation of Blanc's denouement clearly, as
if it's voice over:
BLANC (O.C.)
Something that seems densely layered,
mysterious and inscrutable, but in
fact the center is in plain sight.
Helen darts around the room, but it's all infuriatingly
clean and open.
HELEN
Where where where where...
110 INT. LOUNGE AREA 110
BLANC
And that is why this case has
confounded me like no other, why
every complex layer peeled back has
revealed another layer and another
layer and come to naught. And that
was the problem!
111 INT. THE GLASS ONION 111
Helen looks up and sees something, freezes. The framed
NAPKIN and PHOTO of her sister and Miles.
(CONTINUED)
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114.
111 CONTINUED: 111
BLANC (O.C.)
You see, I expected complexity! I
expected intelligence! I expected a
puzzle, a game, but that is not what
any of this is!
She steps towards it as if in a trance.
The photo and napkin. Framed. Against a red background.
BLANC (O.S.)
It hides not behind complexity but
behind mind numbing obvious clarity!
Truth is, it does not hide at all! I
was staring right at it!
She pulls it off the wall and the red envelope FALLS onto
the table beneath it. The frame itself is clear, just like
everything else in the room.
She holds them both, the framed napkin/picture in one hand,
the red envelope in the other.
112 INT. LOUNGE AREA 112
BLANC
The killer nearly struck my Achilles
heel. But thank high heaven, at the
last moment, I realized what has
teased my brain through this entire
case!
He spins on his heel, to Miles:
BLANC (cont'd)
"Embreathiate" is not a word!
LIONEL
What?
113 EXT. BEACH - FLASHBACK - DAY 113
When they all first arrived, Miles:
MILES
Let's all embreathiate this moment.
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115.
114 INT. LOUNGE AREA 114
BLANC
Not a real word. Kinda sounds like
one. But just entirely made up.
"Reclamation" IS a word - but it is
the wrong word!
115 EXT. THE GLASS ONION - FLASHBACK - DAY 115
When Miles is first showing them around:
MILES
This place is the reclamation of
everything I've ever accomplished
Scene 53 - Accusations in the Lounge
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
BLANC
This entire day -
117 INT. DISPLAY GARAGE - FLASHBACK - DAY 117
Miles first confronting Blanc about the invitation:
MILES
...the predefinite detective...
118 INT. LOUNGE AREA 118
BLANC
- a veritable minefield of
malapropisms
119 EXT. POOL - FLASHBACK - DAY 119
All lounging, Miles telling the Sweety Pants story:
MILES
...the infraction point...
120 INT. LOUNGE AREA 120
BLANC
and factual errors!
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116.
121 INT. DINING AREA - FLASHBACK - EVENING 121
MILES
bask in the sun, swim in the Ionian
Sea
122 INT. LOUNGE AREA 122
Blanc points out the window.
BLANC
That's the Aegean sea.
CLAIRE
Oh wait, yeah it is...
BLANC
His dock doesn't float, his wonder
fuel is a disaster, his grasp of
disruption theory is remedial at
best, he didn't design the puzzle
boxes, he didn't write the mystery -
and voila, it all adds up, the key to
this entire case, and it was staring
me right in the face. Like everyone
in the world I assumed that Miles
Bron was a complicated genius. But
why? Look into the clear center of
this glass onion:
(beat)
Miles Bron is an idiot!
Everyone shifts uncomfortably. Miles rolls his eyes.
MILES
Oh please. Just tell us, who tried to
kill me?
BLANC
Nobody tried to kill you, you
vainglorious buffoon.
MILES
But Duke. Duke took my glass.
BLANC
That's what you told us he did. "he
must have picked it up by mistake..."
you told us, right after it happened.
(CONTINUED)
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117.
122 CONTINUED: 122
FLASHBACK - As Miles cheers on Birdie spinning in her dress,
Duke reaches without looking for his glass and grabs Miles's
instead.
Back to scene.
BLANC (cont'd)
After you said those words that's
what we all remember seeing. But
think, ignore his lies everyone and
think clearly now - what did we all
actually see?
FLASHBACK - This is the actual piece of footage that
originally happened, the same angle, the same take,
everything - As Birdie spins in her dress in the foreground,
in the background Miles openly and clearly HANDS HIS GLASS
TO DUKE.
Back to scene.
BLANC (cont'd)
You handed Duke your own glass.
Clear as crystal. Right in front of
our eyes. All of us. Then told a bald
faced fabrication. And it worked!
LIONEL
Blanc. Are you saying Miles murdered
Duke?
BLANC
Yes!
LIONEL
Why?
Scene 54 - Miles' Deception Revealed
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Because the night Andi sent you all
the email, when Duke got to Andi's
house early on his motorcycle -
123 EXT. ANDI'S HOUSE - FLASHBACK - EVENING 123
Duke zipping down the road, he is almost PLOWED OVER by
Miles in his distinctive blue Porsche.
BLANC (O.C.)
He saw Miles leaving. Was almost
struck by him.
(CONTINUED)
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118.
123 CONTINUED: 123
Miles doesn't stop but keeps zooming off. Duke watches him
go, shaking his head, then continues to Andi's house.
BLANC (O.S.)
In fact he told all of us, right out
in the open clear as day he told us -
124 EXT. POOL - FLASHBACK - DAY 124
The painting of the Porsche on the wall. The mix is a TINY
bit different this time and we clearly hear Duke complete
his sentence over Miles cutting him off:
DUKE MILES
Iconic. Remember you almost
pancaked me with it on the
road that night at Andi's Anderson Cooper's birthday,
in Spain, my god.
125 INT. LOUNGE AREA - NIGHT 125
BLANC
That night. At Andi's.
CLAIRE
And that night he told us, he almost
had an accident... pancaked...
LIONEL
But that was - Miles has been in
Greece for the past six months.
BLANC
No. Whiskey. Miles saw you on your
birthday in New York. Gave you that
necklace. For your birthday.
Blanc motions to her necklace.
BLANC (cont'd)
And you're a Taurus.
WHISKEY
I am. Two weeks ago. May ninth.
BLANC
Forget the hydrofuels and sweat shops
and consentual cuckolding for cable
news assignments
(CONTINUED)
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119.
125 CONTINUED: 125
PEG
Sorry what?
BLANC
Focus... on the envelope!
He dramatically points and they all turn. Helen, still
covered in hot sauce, stands on the stairs.
Birdie SCREAMS.
CLAIRE PEG
Holy shit! Oh my god
LIONEL
Andi!
BIRDIE
WHAT IS REALITY??
Miles stands, looking at Helen, pale. But Helen calmly paces
into the room, holding the frame and the red envelope.
BLANC
Who did the envelope threaten? Miles
Bron.
126 INT. AEROSPACE FACTORY - FLASHBACK - AFTERNOON 126
Lionel looks around guiltily, feeding a printout of Andi's
email into a FAX machine.
BLANC (O.C.)
That night. Lionel faxed Andi's email
to Miles.
127 INT. NEW YORK PENTHOUSE - FLASHBACK - AFTERNOON 127
Miles in a robe receives it, reading it, troubled.
BLANC (O.C.)
Who received it, in New York.
(beat)
The one thing that can destroy his
empire of lies: the truth. In the
hands of the only person unafraid to
tell it.
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120.
Scene 55 - Miles's Manipulation and Deception Revealed
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Miles flies down the country road in his Porsche.
BLANC (O.C.)
So. Miles drives his baby blue
Porsche,
129 INT. ATRIUM 129
Blanc stares "you idiot" daggers at Miles
BLANC
his one of a kind, signature baby
blue Porsche, to the scene of the
crime.
130 EXT. ANDI'S HOUSE - FLASHBACK - LATE AFTERNOON 130
Miles's car parked out front.
BLANC (O.C.)
And she let him in.
131 INT. ANDI'S KITCHEN - FLASHBACK - LATE AFTERNOON 131
Miles at Andi's kitchen table, both drinking tea. He talks
gently, beseeching. She watches him coldly.
BLANC (O.C.)
Of course she did. Miles's machine of
lawyers and power could burn her
through sheer dumb force but Miles
himself? She was clever enough to not
fear Miles.
Andi's head droops. She looks up at Miles as her
consciousness slips from her grasp, and she realizes what is
happening.
BLANC
No. She did not see the real threat,
the obvious threat, until it was too
late.
But Miles has become distracted. By a spider on the table.
He gently scoops it up and lets it out an open window.
(CONTINUED)
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121.
131 CONTINUED: 131
BLANC (cont'd)
And one final time, she was pulled
in. And succumbed.
One glint of horrible realization in her eyes. And she slips
away, her head hitting the table.
132 INT. LOUNGE AREA - NIGHT 132
Miles looks from Helen, tears of rage in her eyes, to Blanc
with a blankness that is terrifying.
BLANC
Duke alone knew you were there that
night. But he didn't know Andi was
dead. He didn't know that... until
this evening. Right here. When he got
a google alert on his phone, which
has now fallen strangely silent. And
which he showed to you.
(beat)
Because you don't own a phone.
On Miles's thin jacket, a very faint rectangular outline has
been visible since the lights came back on. Blanc touches
it, revealing a phone in Miles's jacket pocket.
Blanc takes it as Miles just stares. A lion sticker on the
back of the phone.
WHISKEY
Duke...
FLASHBACK - As everyone gathers around Duke, Miles
surreptitiously scoops up his fallen phone.
BACK TO SCENE -
HELEN
Did Miles think he could stop them
all from finding out about Andi's
death? They all have phones.
All the suspects, who have been caught up in the moment,
suddenly realize this and all pull out their phones at once,
checking the news. All but Birdie, who reaches for hers but
still doesn't have it.
BIRDIE
(to Peg)
Peggy? Phone?
(CONTINUED)
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122.
132 CONTINUED: 132
PEG
(reading her phone)
No.
BLANC
He didn't need to hide the death. He
only had to hide that Duke had shown
him the death moments before he was
killed.
133 INT. LOUNGE AREA - FLASHBACK - EARLIER THAT NIGHT 133
Duke shows the phone to Miles, but this time we see the news
story is about Andi's death.
Scene 56 - Miles Exposes Helen's Attempted Murder
- Overall: 9.0
- Concept: 9
- Plot: 8
- Characters: 8
- Dialogue: 7
Right in the open, Duke showed him.
DUKE
This changes everything doesn't it?
MILES
It sure does.
BLANC (O.C.)
He showed him, and told him what he
wanted in return for his silence.
DUKE
Numbers like this, maybe we can talk
Alpha News?
Miles goes to the bar cart and fixes a drink, hips swinging
MILES
you bet your ass, come here.
Miles at the bar cart, putting ice and whiskey in his glass.
BLANC (O.C.)
And so what does Miles do?
134 INT. LOUNGE AREA - NIGHT 134
HELEN
Does he keep a vial of poison in his
tooth or something, is that a rich
person thing?
(CONTINUED)
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123.
134 CONTINUED: 134
BLANC
No! No it's so much stupider than
that! Birdie, what is in your Cuban
Breeze?
BIRDIE
Vodka, amaretto...
WHISKEY
Oh god...
135 INT. LOUNGE AREA - FLASHBACK - NIGHT 135
The bar cart. Miles quietly reaches for the can of
BIRDIE (O.S.)
...and pineapple juice.
He puts a tiny bit in the whiskey. Looks up at Duke.
BLANC (O.S.)
Yes! Pineapple juice!
136 INT. LOUNGE AREA - NIGHT 136
BLANC
Duke does not dance with pineapple!
An allergy?
WHISKEY
He can't even have a drop.
BLANC
Pineapple juice! He just put
pineapple juice in his whiskey! My
god! It's so DUMB!
BIRDIE
So dumb it's brilliant
BLANC
No! It's just DUMB!
Lionel, Claire and Peg all finish reading the news, looking
from their phones to Helen.
LIONEL
"Survived by her sister Helen."
CLAIRE
"Helen."
(CONTINUED)
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124.
136 CONTINUED: 136
BIRDIE
Who? Oh, you told me about Helen
once, your twin sister OH WAIT!
Birdie points to Helen, hand in front of her mouth, finally
getting it.
BLANC
Helen Brand ladies and gentlemen.
(beat)
And now we come to Helen's attempted
murder. Which I have to give you
credit for, though it was spur of the
moment, it did have a sound
foundation of thought. The lights go
out.
137 INT. LOUNGE AREA - NIGHT - FLASHBACK 137
The light go out. Miles in the dark. But as he howls in
panic, his eyes are calculating, looking around.
BLANC
And you realize the opportunity laid
out in front of you. You have a house
on a remote island, full of desperate
people all of whom have reason to
wish this woman harm.
Scene 57 - Miles' Confession
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 8
- Dialogue: 8
Having said these words, Blanc squints. Hm. But he plows on:
BLANC
Furthermore,
139 INT. LOUNGE AREA - FLASHBACK - NIGHT 139
BLANC (O.C.)
you had a loaded gun conveniently
within reach,
In the dark confusion Miles grabs Duke's gun.
140 INT. LOUNGE AREA - NIGHT 140
Again Blanc narrows his eyes, as if the words coming out of
his mouth are strange. Slowly:
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125.
141 INT. HALLWAYS - FLASHBACK - NIGHT 141
Miles in the dark halls, pocketing Duke's phone, gun in
hand.
BLANC (O.C.)
and the lights had even been turned
off
142 INT. LOUNGE AREA - NIGHT 142
BLANC
OH MY GOD.
He's realized why all this sounded familiar.
143 INT. THE GLASS ONION - FLASHBACK - EVENING 143
The scene after Blanc ruined Miles's game. Blanc patiently
explains to Miles:
BLANC
You have taken seven people, each of
whom has a real life reason to wish
you harm, gathered them together on a
remote island, and placed the idea of
your murder in their heads. It's like
putting a loaded gun on the table and
turning off the lights.
144 INT. LOUNGE AREA 144
He turns to Miles, unbelieving.
BLANC
Oh you brainless jackass! Your one
murder with any panache at all and
you stole the whole idea from me!
145 INT. HALLWAYS - FLASHBACK - NIGHT 145
Blanc and Helen outside the window. Miles in the foreground
raises Duke's gun and takes careful aim at Helen.
FIRES.
The glass SPLINTERS out from a central hole.
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126.
146 INT. LOUNGE AREA - NIGHT 146
Everyone in the room looking at Miles.
LIONEL
And after all that... you KEPT the
envelope? Why didn't you burn it or
something?
Miles looks blankly at him, like a confused dog. Blanc
gesticulates to Miles - "I rest my case."
Helen approaches Miles. Pulls the real, original NAPKIN from
the red envelope. Older and yellowed. The same diagram on it
as the framed one, but in a different hand.
HELEN
Recognize this? Andi's handwriting.
Gotcha, you son of a bitch.
MILES
Ok, let's slow down there sister -
First - How could you prove this is
the original? She could have copied
mine -
HELEN
No, because the bar closed nine years
ago. And hers has one thing yours
doesn't.
Helen moves her thumb revealing, embossed in fading letters
on the corner, the name of the bar. "THE GLASS ONION."
Miles nods coolly.
MILES
But second -
He ignites the LIGHTER in his hand. An eight inch long thin
blue jet of flame leaps out.
It spears the napkin. Which IGNITES like flash paper and in
a fraction of a second is turned into a crisp of ash, which
floats away.
SHHHHTICK! Down comes the Mona Lisa glass.
Helen can't even move, shocked. Horrified.
Miles turns, points and smiles to Lionel, like "thanks for
that great idea!"
(CONTINUED)
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127.
146 CONTINUED: 146
Blanc dashes up to Helen.
BLANC
What did he do?
Scene 58 - Confrontation in the Aftermath
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
He burned it.
MILES
Burned what? That was so weird.
HELEN
He just burned it.
MILES
I don't see anything?
BLANC
This will not stand -
MILES
Blanc, did you see this proof? No?
Did anybody?
Everyone looks at each other, then back to him. They aren't
going to contradict him.
MILES (cont'd)
Then WOW - we've got some wild
accusations of murder and deceit,
with nothing but circumspective
evidence
Blanc flinches but bites his tongue
MILES (cont'd)
and dodgy memories of what we all
saw. Now if we were playing my murder
mystery game, which by the way is
what we should have just been doing
all weekend, then Blanc wins an iPad
Pro this time. But this is the real
world. And in the real world you need
more than a neat little detective
story, you need evidence. And you've
got nothing. Do you?
Helen looks at Blanc, panicked.
BLANC
He's right. The contents of that
envelope and his possession of it
were our only physical evidence.
(CONTINUED)
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128.
146 CONTINUED: (2) 146
Helen can't believe it. She looks at Miles.
MILES
You wanna take this to the cops? The
courts? Pick your poison. Anywhere
you go. It's your version of the
truth against mine. Let's see how
that goes.
(to Helen)
Probably about how it went for Andi.
I do want to say that your sister was
a complicated woman and she meant the
world to me. I'm sorry for your loss.
Silence. Everyone in the room hates him right now, but
everyone stays silent.
HELEN
Nobody's stepping up? Raise your
hand - "I saw him at Andi's that
night" - "I saw him grab Duke's
gun" - "I saw the napkin before he
burned it"
CLAIRE
We didn't -
HELEN
You would lie for a lie, you won't
lie for the truth? Still on his
titties. You shit heads.
(in tears)
Blanc? I need you to do something.
Blanc approaches Helen. He pauses only to pick up her
whiskey soda, which still sits on a statue.
BLANC
I'm very sorry Helen. But this is
where my jurisdiction ends. I have to
answer to the police, to the courts.
The system. There is nothing I can
do. But maybe offer you courage.
He hands her the drink.
BLANC (cont'd)
And a reminder of why your sister
walked away in the first place.
With strange delicate formality, Blanc shakes her hand, then
walks out into the night.
(CONTINUED)
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129.
146 CONTINUED: (3) 146
Helen watches him go. Then stares at Miles, the same stare
she gave the invite in her sister's garage.
A long beat.
Scene 59 - Destructive Rage
- Overall: 9.0
- Concept: 9
- Plot: 9
- Characters: 9
- Dialogue: 8
photo out at arms length. And lets it fall.
It shatters on the ground.
Miles doesn't react.
She takes a few steps towards him. Weighs the crystal
tumbler in her hand.
And SMASHES IT on the ground.
Miles smirks.
Helen picks up a slightly larger trinket and SMASHES it.
Then a small vase. Then a slightly larger piece of glass
sculpture.
Miles laughs, genuinely amused - what is she doing?
Everyone else exchanges looks, wondering the same thing.
She smashes another thing, then another, eyes locked on
Miles.
It's Whiskey who breaks the weird tension with:
WHISKEY
You go girl!
SMASH! A slight smile breaks on Lionel's face. This feel
good to watch.
LIONEL
Yeah. Why the hell not.
CLAIRE
Go Helen!
SMASH! The bar cart, smashing bottles everywhere.
A MASSIVE SMASH from offscreen draws everyone's attention:
BIRDIE has just smashed a large glass vase. She gives a
PRIMAL SCREAM that stuns everyone.
BIRDIE
Screw you Miles! Goddamn that felt
good.
(CONTINUED)
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130.
146 CONTINUED: (4) 146
Whiskey pushes something over, gives Miles the finger.
Lionel picks up something and with a grin at Miles BREAKS
it. Claire too. Peg DIVES IN with vigor.
In all this Miles leans back, a tight grin on his face, his
arms raised in a gesture of "fine, have fun"
MILES
That's right guys, get it out.
After a round of this, with smashed art and pottery and
bottles everywhere, there's a natural lull. Everyone laughs
like kids who just played in the mud.
Miles claps, grins.
MILES (cont'd)
Ok. Alright.
But Helen does not stop or slow down. She takes an ornate
war hammer and SMASHES the crystal suit of armor.
LIONEL
Whoa - ok
Still laughing but a little uncomfortable. Then she swings
it into a glass piano.
LIONEL CLAIRE
Ok, Helen - ha - Helen, Helen! Whoa -
alright
BIRDIE
I think that belonged to Liberace
A HUGE container of crystal marbles, SMASH and they go
everywhere. The mood in the room is turning as Helen shows
no sign of stopping but goes bigger and bigger.
BIRDIE LIONEL
Helen ok - ok, Helen Stop, ok. That's plenty,
that's good
CLAIRE WHISKEY
Whoa! Whoa whoa whoa Holy shit
MILES
What do you want?
Then Helen grabs Miles's lighter from the table. And IGNITES
the pile of alcohol-soaked rubble that was the bar cart. It
goes up like a small pyre in the center of the room.
(CONTINUED)
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131.
146 CONTINUED: (5) 146
EVERYONE
WHOA!
They all panic as Helen starts grabbing anything flammable -
cushions, pillows, rugs, throwing them on the growing fire.
Everyone SLIPS and SLIDES on the crystal marbles, trying to
catch her, like a scene from a Buster Keaton movie.
The SPRINKLERS come on but barely beat back the mini
bonfire.
MILES
Ok STOP! Stop! Enough.
She stops. Walks over to him at the table, water from the
sprinklers running down her face, the fire behind her.
MILES (cont'd)
Helen. Walk away.
She nods.
HELEN
Yeah. With a reminder of why my
sister walked away in the first
place.
FLASHBACK - Blanc shaking her hand. Handing her something.
Giving her the subtlest of nods.
Something she now straightens her posture and places on the
table in front of Miles.
Scene 60 - Chaos and Confrontation
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 8
- Dialogue: 8
Miles looks from it to the growing fire, his eyes go wide.
Flashing to: The fireplace. The lights. The heating ducts.
The appliances in the kitchen. The coffee machine.
Everything.
As do Lionel's.
LIONEL
Oh sh-
The bonfire suddenly plumes upwards as if the air itself is
catching fire, up into the ceiling, into the vents, into the
walls, like the house itself is sucking the fire into its
lungs.
One moment of horrible silence.
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132.
147 EXT. THE GLASS ONION - NIGHT 147
And the glass onion structure EXPLODES like a balloon with a
BURST of glass and fire.
Then, like the end of Caddyshack, every Villa goes up,
billows of fire, debris, all of it popping off like firework
champagne corks in the night. Somewhere:
SOOTHING ROBOT VOICE
This is a smokeless garden. This is a
smokeless garden. This...
Pull back to reveal: Blanc, in a lawn chair. He lights up
his CIGAR with great satisfaction. Then passes the lighter
to Derol, in a chair next to him, awed at the destruction.
BLANC
Disruption.
DEROL
Fuckin A.
148 INT. ATRIUM - NIGHT 148
There isn't much structural damage but streams of fire jet
from ruptured walls, the floor, everywhere. Everyone raises
their heads, dazed.
Miles looks around at his ruined kingdom. After a perfect
comic beat, the BABY BLUE PORSCHE falls from above and
SMASHES in a flaming heap in the middle of the atrium.
Miles chokes back a sob. Then locks eyes with Helen. And he
realizes:
She isn't done yet.
She turns and runs, and as she passes everyone they realize
in horror where he is going.
They ALL run after her, grabbing her, all of them, slipping
and yelling in slow motion trying to hold her back but she's
too strong, she struggles forward, reaching her hand out...
To the over-ride button
For the Mona Lisa.
Which is comfortable behind its fire-proof glass, the flames
licking off its ambiguous gaze.
(CONTINUED)
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133.
148 CONTINUED: 148
Miles tries to hold her back, screaming.
Helen looks back at him, reaches the button and without
hesitation PRESSES it.
SHHHTICK.
As the glass rises, the painting is almost instantly
consumed in the inferno of fire.
The entire group watches in slack jawed disbelief.
Miles drops to his knees, dumbstruck. Looks in the
painting's eyes one last time before they burn away to ash.
149 EXT. THE GLASS ONION - MOMENTS LATER 149
Everyone stumbles out onto the steps, choking and gasping.
Miles looks around him, tears in his eyes, then turns on
Helen.
MILES
Oh FANTASTIC! You are so PUNK ROCK!
You think you are an alligator?! You
think you popped me like a gangster?!
No. You baby. You child. You feel
better now? I hope your little bitch
tantrum gave you closure. Cause that
accomplished NOTHING!
HELEN
Your fuel of the future just
barbecued the world's most famous
painting, dumbass. Congratulations on
the public launch of Klear and the
end of Miles Bron.
This starts to sink in. Miles's face hollows out. The glass
onion still burning behind him.
HELEN (cont'd)
You're ruined. But you did get your
wish. You will forever be remembered
in the same breath as the Mona Lisa.
Helen wipes her hands on her pants and walks off, past the
disruptors spread out on the steps, past the flaming remains
of the entire compound.
When she's gone, the disruptors all look at him hatefully.
Birdie raises her hand.
(CONTINUED)
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134.
149 CONTINUED: 149
Scene 61 - The Accusations
- Overall: 9.0
- Concept: 8
- Plot: 9
- Characters: 9
- Dialogue: 8
I saw the napkin he burned.
Claire raises her hand.
CLAIRE
God, now you mention it, I clearly
saw him grab Duke's gun.
Then Lionel.
LIONEL
I saw him driving away from Andi's
house the night she was killed.
They all look at him. He stares back, unbelieving.
MILES
Oh you shit heads.
150 EXT. BEACH - NIGHT 150
And onto the beach. Where Blanc sits, staring out to sea at
the distant FERRY and several POLICE boats with flashing
sirens.
BLANC
Did you get the son of a bitch?
HELEN
Yup.
BLANC
Ready to go home?
Helen sits with straightened posture, looking out at the
approaching boat. Gazing out at it a long while. Maybe
smiling, maybe not, it's hard to tell.
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Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| lionel | Lionel starts as a loyal scientist grappling with ethical dilemmas while working for Miles Bron. As the story progresses, he becomes more confident in his leadership abilities and analytical skills, taking charge in crisis situations. However, he is ultimately faced with a moral dilemma that challenges his loyalty and values, leading to a decision that will define his character. | The character arc for Lionel is well-developed, showcasing his growth and internal conflict throughout the story. However, there could be more emphasis on his emotional journey and the impact of his decisions on his relationships with other characters. Additionally, exploring his motivations and vulnerabilities could add depth to his character development. | To improve the character arc, consider incorporating more emotional moments that reveal Lionel's internal struggles and conflicts. Show how his loyalty to Miles Bron and commitment to scientific integrity clash, leading to moments of tension and self-reflection. Additionally, delve deeper into his relationships with other characters to highlight the complexities of his personality and the consequences of his actions. |
| birdie | Birdie starts off as a bold and outspoken character who adds humor and levity to the group. As the story progresses, her troubled past and hidden vulnerabilities come to light, leading to a journey of self-discovery and growth. Birdie learns to confront her past mistakes, embrace her vulnerabilities, and find strength in her resilience. She evolves into a more introspective and authentic version of herself, ultimately finding peace and acceptance. | The character arc for Birdie is well-developed and allows for significant growth and development. However, there could be more clarity in showcasing the specific events or interactions that trigger her self-discovery and growth. Additionally, the transition from her bold and outspoken nature to a more introspective and authentic version could be further emphasized to create a more impactful character transformation. | To improve the character arc for Birdie, consider incorporating key moments or conflicts that challenge her beliefs and force her to confront her past. Showcasing her vulnerabilities and struggles more prominently can add depth to her character development. Additionally, focus on the gradual shift in her personality from being bold and outspoken to introspective and authentic, highlighting the internal conflicts and emotional journey she undergoes. |
| peg | Throughout the screenplay, Peg starts off as a no-nonsense assistant who is solely focused on her tasks and keeping Birdie in check. As the story progresses, she becomes more emotionally invested in protecting Birdie and standing up for her against Miles' manipulations. This leads to a transformation in Peg's character, where she becomes more loyal, desperate, and protective, showcasing her dedication to those she cares about. | The character arc for Peg is well-developed and shows a clear progression in her character from being solely focused on her tasks to becoming emotionally invested in protecting Birdie. However, it would be beneficial to further explore Peg's backstory or motivations for her loyalty and dedication to Birdie. This would add depth to her character and provide more insight into her actions and decisions throughout the screenplay. | To improve the character arc for Peg, consider incorporating flashbacks or dialogue that reveal more about her past experiences with Birdie or the reasons behind her loyalty and dedication. This will help to create a more well-rounded and complex character, adding depth to Peg's motivations and actions. Additionally, exploring the internal conflict Peg may face between her loyalty to Birdie and her practical nature could add further complexity to her character arc. |
| duke cody | Duke Cody starts off as a confident and outspoken YouTube influencer who thrives on controversy and challenges societal norms. However, as he delves deeper into solving puzzles and uncovering mysteries, he begins to realize the importance of using his platform for positive change. Through a series of events, Duke learns to balance his bold and provocative persona with a more thoughtful and responsible approach, ultimately becoming a more well-rounded and impactful influencer. | The character arc for Duke Cody is well-developed and allows for growth and change throughout the screenplay. However, it could benefit from more specific challenges and obstacles that force Duke to confront his beliefs and motivations. Additionally, the transition from his controversial persona to a more responsible influencer could be further explored to add depth to his character development. | To improve the character arc, consider introducing a rival influencer who challenges Duke's beliefs and forces him to reevaluate his approach. This could create more conflict and tension, leading to a more impactful transformation for Duke. Additionally, delve deeper into Duke's personal relationships, such as his bond with his mother, to add emotional depth and complexity to his character development. |
| claire | Claire starts off as a determined and focused individual, showcasing her leadership qualities and intelligence in solving puzzles. As the story progresses, she becomes more assertive and pragmatic, willing to take drastic measures to protect her investments and maintain control. However, her character arc takes a turn when she is deeply affected by Duke's death, showing a compassionate and empathetic side. This leads to a conflict within her as she struggles between her cold, calculating nature and her newfound sense of empathy. | The character arc for Claire is well-developed, showcasing her complexity and internal conflict. However, there could be more clarity in her transition from a manipulative and secretive individual to a compassionate and empathetic one. The shift in her character could be more gradual and explored in greater depth to make it more believable and impactful. | To improve the character arc for Claire, consider adding more scenes that highlight her internal struggle and the events that trigger her change in behavior. Show moments of vulnerability and conflict that challenge her beliefs and force her to reevaluate her actions. Additionally, provide more insight into her backstory and motivations to give the audience a better understanding of why she behaves the way she does. |
| blanc | Throughout the screenplay, Benoit Blanc starts off as a disinterested and frustrated detective longing for a new challenge. As the story progresses, he becomes more curious, observant, and determined to unravel the mysteries presented to him. Blanc's character arc culminates in him becoming a charismatic and enigmatic figure, serving as the narrator and guide through the complex web of secrets and lies on the island. | The character arc for Benoit Blanc is well-developed and engaging, showcasing his evolution from a jaded detective to a charismatic and enigmatic figure. However, there could be more emphasis on his personal growth and internal struggles throughout the screenplay to add depth to his character. | To improve the character arc for Benoit Blanc, consider incorporating more moments of vulnerability and introspection to showcase his internal struggles and personal growth. Additionally, explore his backstory and motivations further to provide a deeper understanding of his character and enhance the emotional impact of his journey. |
| benoit blanc | Benoit Blanc starts off as a seasoned detective who is invited to a private island gathering where he is faced with a complex mystery to solve. Throughout the screenplay, Blanc's confidence is tested as he navigates through the intricate web of lies and deceit among the guests. As he delves deeper into the case, Blanc's initial awkwardness in the luxurious setting transforms into a sense of belonging and understanding of the dynamics at play. By the end of the story, Blanc emerges as a master detective who not only solves the mystery but also gains a deeper insight into human nature and relationships. | The character arc for Benoit Blanc is well-developed, showcasing his growth and transformation throughout the screenplay. However, there could be more emphasis on his personal struggles or vulnerabilities to make his journey more relatable and engaging for the audience. | To improve the character arc, consider adding moments of self-doubt or internal conflict for Benoit Blanc to overcome. This could provide a more nuanced portrayal of his character and make his eventual triumphs more satisfying for the audience. Additionally, exploring his backstory or motivations further could add depth to his character and enhance the emotional impact of his arc. |
| duke | Duke starts off as a charismatic and confident leader, but as the story progresses, his reckless behavior and volatile temper lead to conflicts within the group. As his dark side is revealed and his manipulative tendencies come to light, Duke's relationships with the other characters become strained. Ultimately, Duke must confront his inner demons and make a choice between continuing down a destructive path or seeking redemption and reconciliation with his companions. | The character arc for Duke is well-developed, showcasing his complexity and inner turmoil. However, the transition from his charismatic leader persona to his manipulative and antagonistic side could be more gradual and nuanced. Additionally, more emphasis could be placed on Duke's vulnerabilities and insecurities earlier in the story to provide a deeper understanding of his motivations. | To improve the character arc, consider incorporating flashbacks or subtle hints throughout the screenplay that foreshadow Duke's darker tendencies. Show moments of vulnerability and insecurity earlier on to humanize Duke and make his eventual downfall more impactful. Additionally, explore the relationships between Duke and the other characters to highlight the emotional stakes and consequences of his actions. |
| whiskey | Whiskey starts off as Duke's confident and self-assured partner, but as the story progresses, she becomes increasingly conflicted and vulnerable, struggling to balance her loyalty to Duke with her own ambitions. This inner turmoil leads her to make questionable decisions and ultimately confront her own fears and desires, culminating in a moment of intense confrontation and self-discovery. | The character arc for Whiskey is well-developed and provides a compelling journey for the character. However, there could be more clarity in showcasing the specific events or conflicts that lead to her transformation from a confident partner to a conflicted and vulnerable individual. Additionally, more emphasis could be placed on her internal struggles and moral dilemmas to further deepen her character development. | To improve the character arc for Whiskey, consider incorporating specific scenes or interactions that highlight the internal conflicts she faces, such as moments where she is forced to choose between loyalty and ambition. Showcasing her emotional journey more explicitly through dialogue or actions can help the audience better understand her transformation. Additionally, providing more insight into her backstory or motivations can add depth to her character and make her arc even more impactful. |
| andi | Andi starts off as a mysterious and confrontational figure with unresolved conflicts and hidden motives. As the story progresses, her true intentions and vulnerabilities are revealed, leading to a moment of reckoning where she must confront her past and make a difficult choice that will define her future. Ultimately, Andi undergoes a transformation, finding redemption and closure as she comes to terms with her past and embraces a new path forward. | The character arc for Andi is compelling and well-developed, showcasing her complexity and growth throughout the story. However, there could be more emphasis on her internal struggles and emotional journey to make her transformation more impactful. Additionally, providing more context and backstory to explain Andi's motivations and actions could enhance the audience's understanding and connection to her character. | To improve the character arc for Andi, consider incorporating flashback scenes or dialogue that delve deeper into her past traumas and experiences. This will help to humanize her character and provide a clearer understanding of her motivations. Additionally, focus on building more emotional moments and conflicts that challenge Andi's beliefs and values, leading to a more profound and satisfying resolution to her arc. |
| miles bron | Miles Bron starts off as a charismatic and eccentric host, known for his elaborate puzzles and murder mystery challenges. As the story progresses, his hidden motives and secrets are revealed, causing him to become panicked and desperate, leading to dramatic confrontations with the other characters. Ultimately, Miles must confront his past and face the consequences of his actions, leading to a resolution where he either redeems himself or faces the consequences of his deception. | The character arc for Miles Bron is well-developed, showcasing his charismatic and enigmatic nature while also delving into his darker motives and secrets. However, the transition from his confident and creative persona to his panicked and desperate state could be more gradual and nuanced to make it feel more organic and believable. Additionally, more exploration of Miles' past connections and how they influence his present actions could add depth to his character. | To improve the character arc for Miles Bron, consider adding subtle hints and foreshadowing of his hidden motives and secrets throughout the screenplay to build suspense and intrigue. Develop his relationships with the other characters to show how his past connections impact his present actions. Focus on the gradual unraveling of Miles' facade, leading to a climactic moment where his true nature is revealed, creating a more impactful and satisfying resolution for his character. |
| miles | Miles starts off as a charming and charismatic host, but as the story progresses, his manipulative and deceptive nature is gradually revealed. He faces a series of confrontations that challenge his control and ultimately lead to his downfall. In the end, Miles is defeated and forced to confront the consequences of his actions, showing vulnerability and desperation. | The character arc for Miles is well-developed, showcasing a gradual reveal of his true nature and a satisfying resolution to his story. However, there could be more depth added to his motivations and internal struggles to make his transformation more impactful. Additionally, exploring his relationships with other characters in more depth could provide a richer context for his actions and decisions. | To improve the character arc for Miles, consider delving deeper into his backstory and motivations. Show more internal conflict and moral ambiguity to make his transformation more nuanced and compelling. Additionally, explore his relationships with other characters to add layers to his interactions and decisions. This will create a more dynamic and engaging arc for Miles throughout the screenplay. |
| helen | Helen's character arc follows her transformation from a grieving and hesitant woman seeking closure to a brave and determined investigator willing to take risks to uncover the truth about her sister's murder. Throughout the screenplay, she evolves from a vulnerable and emotional state to a confident and assertive individual who confronts challenges head-on and seeks justice for her sister. | The character arc for Helen is well-developed and showcases her growth and resilience throughout the story. However, there could be more emphasis on her internal struggles and emotional journey as she navigates the complexities of the investigation. Additionally, providing more insight into her relationship with her sister Andi and how it influences her actions could add depth to her character arc. | To improve the character arc for Helen, consider incorporating more internal monologues or reflective moments that delve into her emotional turmoil and inner conflicts. Showcasing her vulnerabilities and fears alongside her determination and courage can create a more nuanced and relatable character. Additionally, exploring her past experiences with Andi through flashbacks or memories can provide a deeper understanding of her motivations and drive for seeking justice. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Tense and Intense Scenes Also Have High Emotional Impact | |
| Suspenseful Scenes Drive the Story Forward and Move the Plot | |
| Character Changes Often Occur in Tense and Dramatic Scenes | |
| The Use of Humor Often Coincides with Light-hearted Tones | |
| Scenes with High Conflict Often Move the Story Forward | |
| Dialogue Heavily Influences Emotional Impact | |
| High Stakes Scenes Often Have Intense and Dramatic Tones | |
| Mysteries and Intrigue Often Drive Suspenseful Scenes | |
| High-Scoring Scenes Often Have a Strong Overall Grade | |
| Dramatic Scenes Often Feature Intense Confrontations | |
| Shocking and Exciting Scenes Often Have High Emotional Impact |
Writer's Craft Overall Analysis
The analyzed scenes showcase the writer's skill in crafting engaging and compelling narratives, effectively building tension, developing complex characters, and creating unique storytelling styles. The writer exhibits a strong command of dialogue, pacing, and structure, successfully immersing the reader in the story and leaving a lasting impression. However, there are areas where further improvement and refinement can enhance the overall effectiveness and impact of the screenplay: pacing and dialogue.
Key Improvement Areas
Dialogue
Effective dialogue not only advances the plot but also reveals character motivations, relationships, and conflicts. Some scenes would benefit from more natural, authentic, and engaging dialogue that captures the nuances and depth of the characters.
Pacing
Pacing is crucial in maintaining the reader's engagement and creating a smooth flow of events. The screenplay would benefit from a more balanced distribution of action, exposition, and dialogue to avoid pacing issues and ensure a cohesive narrative.
Character Development
Well-developed characters drive the story and make it relatable to the audience. The writer has created a solid foundation for the characters, but further exploration of their motivations, backstories, and emotional journeys would add depth and complexity to their personas.
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Dialogue: The Art of Verbal Action for Page, Stage, and Screen' by Robert McKee | McKee's book delves deep into the art of writing effective dialogue, providing valuable insights and techniques for creating authentic and engaging conversations that drive the story forward. |
| Video | Watch interviews and behind-the-scenes footage of screenwriters discussing their writing process | Listening to experienced screenwriters talk about their craft can offer valuable insights into their thought processes, techniques, and approaches to storytelling. |
| Exercise | Practice writing dialogue-heavy scenes with a focus on revealing character relationships and conflictsPractice In SceneProv | Regularly practicing writing dialogue in different contexts and scenarios can help writers develop their skills in crafting natural and authentic conversations that add depth to the characters. |
| Screenplay | Read screenplays known for their strong character development, such as 'Schindler's List' by Steven Zaillian | Studying screenplays with well-developed and memorable characters can provide valuable lessons on creating relatable and emotionally resonant characters that drive the narrative. |
| Exercise | Write character profiles and backstories that explore the motivations, fears, and desires of the charactersPractice In SceneProv | Creating detailed character profiles and backstories helps writers gain a deeper understanding of their characters' inner workings, which can lead to more authentic and nuanced character development. |
Additional Notes: The writer has a solid foundation in storytelling and a clear voice. With continued practice, exploration, and attention to the identified areas of improvement, they have the potential to create even more captivating and memorable screenplays.
Stories Similar to this one
| Story | Explanation |
|---|---|
| Knives Out (2019) | Both movies feature a group of wealthy characters who are invited to a mysterious gathering, only to become embroiled in a murder mystery. Both stories also feature a charismatic and eccentric detective who arrives to solve the crime. |
| Gosford Park (2001) | Both movies feature a large cast of characters who are gathered together in one place, and a murder mystery ensues. Both movies also explore the themes of class and privilege. |
| And Then There Were None (1945) | Both movies feature a group of characters who are mysteriously invited to a remote location, and are then killed off one by one. Both stories also explore the theme of guilt. |
| The Murder of Roger Ackroyd (1926) | Both movies feature a detective who must solve a murder mystery, and both stories involve a twist ending that reveals the killer to be someone unexpected. |
| The Big Sleep (1946) | Both movies feature a private detective who is hired to investigate a missing person, and both stories involve a complex and convoluted plot. |
| The Usual Suspects (1995) | Both movies feature a group of criminals who are brought together to commit a crime, and both stories involve a twist ending that reveals the true nature of the crime. |
| Both feature a group of individuals who are interviewed after a murder takes place, and the truth is gradually revealed through flashbacks. | |
| Both follow a group of true-crime enthusiasts who investigate a murder in their apartment building, uncovering secrets among their neighbors. | |
| Similar to the film, it features a group of people stranded on an island during a wedding weekend, with a murder occurring and secrets being exposed. | |
| Both involve a murder investigation set on a luxury cruise ship, with multiple suspects and a cast of wealthy and enigmatic characters. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Mysterious Invitation | The characters receive mysterious invitations that lead them to a secluded location where a murder mystery unfolds. | The mysterious invitation trope is a common plot device used to bring characters together in a story. An example of this trope can be seen in the movie 'Knives Out' where the characters are invited to a mansion for a family gathering, only to discover a murder has taken place. |
| Puzzle Box | The characters receive a series of puzzle boxes that they must solve to uncover clues and advance in the story. | |
| Murder Mystery | A murder occurs, and the characters must work together to solve the mystery and identify the killer. | The murder mystery trope is a classic plot device used in many stories to create suspense and intrigue. An example of this trope can be seen in the TV show 'Sherlock' where the main characters solve complex murder cases. |
| Isolated Location | The story takes place in a secluded or isolated location where the characters are cut off from the outside world. | The isolated location trope is often used to create a sense of claustrophobia and tension in a story. An example of this trope can be seen in the movie 'The Shining' where the characters are trapped in a remote hotel during a snowstorm. |
| Red Herring | False clues or distractions are introduced to mislead the characters and audience in solving the mystery. | The red herring trope is used to add complexity to a mystery by leading characters and viewers down the wrong path. An example of this trope can be seen in the TV show 'Broadchurch' where multiple red herrings are introduced to keep the true killer's identity a mystery. |
| Whodunit | The story revolves around the central question of 'who committed the murder?' with multiple suspects and motives. | The whodunit trope is a classic mystery storytelling device where the focus is on solving the identity of the killer. An example of this trope can be seen in the movie 'Murder on the Orient Express' where a detective must unravel the mystery of a murder on a train. |
| Unreliable Narrator | A character or characters provide information to the audience that is later revealed to be false or misleading. | The unreliable narrator trope is used to create suspense and uncertainty in a story by casting doubt on the credibility of the narrator. An example of this trope can be seen in the TV show 'Mr. Robot' where the main character's narration is revealed to be unreliable due to his mental health issues. |
| Hidden Agenda | Characters have secret motives or agendas that are gradually revealed throughout the story. | |
| Twist Ending | The story concludes with a surprising plot twist that changes the audience's understanding of the events. | The twist ending trope is used to subvert audience expectations and provide a shocking conclusion to the story. An example of this trope can be seen in the movie 'The Sixth Sense' where a major twist changes the audience's perception of the entire film. |
| Character Betrayal | One or more characters betray the trust of others by revealing secrets, switching allegiances, or committing acts of deception. | The character betrayal trope is used to create conflict and tension between characters by introducing elements of mistrust and betrayal. An example of this trope can be seen in the TV show 'Game of Thrones' where characters frequently betray each other for personal gain. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Selfishness | - Miles's relentless pursuit of wealth and success, regardless of the cost to others - The guests' willingness to betray each other for their own gain - Andi's ambition and self-absorption, which led to her downfall | Selfishness is a recurring theme throughout the screenplay. The characters are motivated by their own desires and ambitions, and they are willing to hurt others to get what they want. | ||||||||||||
Strengthening Selfishness:
| ||||||||||||||
| Wealth and Inequality | - Miles Bron's immense wealth and power, which he uses to control and manipulate others - The stark contrast between the lavish lifestyles of the guests and the poverty of the island's inhabitants - The way that money can corrupt and destroy relationships | The screenplay also explores the theme of wealth and inequality. The characters' wealth and privilege give them a sense of entitlement and superiority, and it allows them to get away with crimes that would land ordinary people in jail. | ||||||||||||
| Power of Memory | - Blanc's ability to piece together the events of the night of Andi's murder based on his memories - Helen's reliance on her sister's journals to understand her past - The way that memories can be distorted and manipulated | The screenplay also explores the theme of the power of memory. The characters' memories are unreliable and incomplete, and they can be used to deceive and manipulate others. | ||||||||||||
| Nature of Truth | - Blanc's insistence on finding the truth, even if it is inconvenient or dangerous - The way that the truth can be hidden or distorted - The importance of speaking truth to power | The screenplay also explores the nature of truth. The characters are constantly trying to hide or distort the truth, but Blanc is determined to find it. | ||||||||||||
| Family | - Helen's love for her sister and her desire to avenge her death - Miles's strained relationship with his family - The way that family relationships can be both a source of strength and a source of pain | The screenplay also explores the theme of family. The characters' relationships with their families are complex and often troubled. | ||||||||||||
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 sharp dialogue, witty banter, and a blend of humor and drama. The narrative is fast-paced and engaging, with a focus on complex character dynamics and mysterious elements. |
| Voice Contribution | The writer's voice adds depth and complexity to the screenplay, highlighting the intricate relationships between the characters and the unfolding mystery. The sharp dialogue and witty banter create a sense of intrigue and suspense, keeping the audience engaged throughout the story. |
| Best Representation Scene | 14 - Confrontation in the Glass Onion |
| Best Scene Explanation | This scene is the best representation because it encapsulates the writer's unique voice through its blend of mystery, dramatic tension, and cryptic dialogue, setting the stage for the unfolding events in the screenplay. |
Originality
- Overall originality score: 8.5
- Overall originality explanation: The screenplay is highly original in its premise, characters, and plot. The whodunit mystery is cleverly constructed, with multiple red herrings and unexpected twists and turns. The characters are well-developed and complex, with motivations that are not always clear-cut. The screenplay also features a number of unique and memorable set pieces, such as the murder mystery party and the glass onion house itself.
- Most unique situations: Some of the most unique situations in the screenplay include: * The murder mystery party, where the guests are invited to solve a fictional murder mystery, but then a real murder occurs. * The glass onion house, which is a giant, spherical structure made of glass. It is a unique and visually striking setting for the murder mystery. * The climax of the film, where the guests are trapped in the glass onion house and must solve the murder mystery in order to escape.
- Overall unpredictability score: 9
- Overall unpredictability explanation: The screenplay is highly unpredictable, with multiple twists and turns that keep the audience guessing until the very end. The identity of the killer is not revealed until the very end, and there are several red herrings along the way. The screenplay also features a number of unexpected plot developments, such as the death of Duke and the destruction of the glass onion house.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to uncover the truth behind the mysterious events and navigate complex social dynamics. |
| External Goals | The protagonist's external goal is to maintain composure and control while dealing with unexpected situations. |
| Philosophical Conflict | The overarching philosophical conflict revolves around truth and deception, as characters are forced to confront their beliefs about honesty and the consequences of their actions. |
Character Development Contribution: The protagonist's goals and conflict challenge their beliefs and values, leading to personal growth and self-discovery.
Narrative Structure Contribution: The goals and conflict drive the narrative forward, creating tension and intrigue as the protagonist navigates through a web of lies and deceit.
Thematic Depth Contribution: The exploration of truth and deception adds layers of complexity to the screenplay, highlighting the consequences of hiding the truth and the importance of honesty in relationships.
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? |
World Building
- Physical environment: The world depicted in the screenplay is a mix of modern suburban settings, luxurious estates, and a private island. The environments are often high-tech, with elements such as AI dogs, NFTs, and advanced security systems. The physical environment contributes to the atmosphere of intrigue and mystery by creating a sense of isolation and exclusivity. It also highlights the contrast between the characters' wealth and privilege and the secrets and danger that lie beneath the surface.
- Culture: The culture depicted in the screenplay is one of disruption and innovation, with characters who are willing to break rules and challenge societal norms. There is a strong emphasis on technology and its potential to both create and destroy. The cultural elements contribute to the narrative by creating a sense of tension and suspense, as the characters navigate a world where anything is possible.
- Society: The society depicted in the screenplay is one of wealth and privilege, where characters have access to the latest technology and luxuries. However, there is also a sense of unease and suspicion, as the characters are aware of the dangers that lurk beneath the surface. The societal elements contribute to the narrative by creating a sense of claustrophobia and paranoia, as the characters struggle to trust each other and find out who is truly responsible for the murder.
- Technology: The technology depicted in the screenplay is both advanced and mysterious. Characters use AI dogs, NFTs, and advanced security systems to protect themselves and their secrets. However, technology can also be used for evil, as the characters discover when they are trapped on an island with a killer. The technological elements contribute to the narrative by creating a sense of suspense and uncertainty, as the characters are never quite sure what is going to happen next.
- Characters influence: The world elements shape the characters' experiences and actions in a number of ways. The physical environment isolates the characters and creates a sense of claustrophobia, which contributes to the tension and suspense of the story. The culture of disruption and innovation encourages the characters to take risks and challenge the status quo, which leads to conflict and danger. The society of wealth and privilege gives the characters access to the latest technology and luxuries, but it also creates a sense of unease and suspicion, as the characters are aware of the dangers that lurk beneath the surface.
- Narrative contribution: The world elements contribute to the narrative of the screenplay in a number of ways. The physical environment provides a backdrop for the mystery and intrigue, and the culture of disruption and innovation creates a sense of tension and suspense. The society of wealth and privilege provides a context for the characters' conflicts, and the technology adds an element of mystery and danger. Overall, the world elements work together to create a rich and immersive story that keeps the reader guessing until the very end.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay in a number of ways. The physical environment reflects the characters' inner turmoil and isolation, and the culture of disruption and innovation highlights the dangers of unchecked ambition. The society of wealth and privilege explores the themes of greed and corruption, and the technology raises questions about the role of technology in our lives. Overall, the world elements work together to create a thought-provoking and insightful story that resonates long after the credits have rolled.
Story Engine Analysis
central conflict
A group of people are gathered on a private island to investigate the murder of a former friend, but they soon realize that the killer is still among them and may be targeting them one by one.
primary motivations
- The characters' desire to clear their names and find the killer.
- The killer's desire to protect their identity and the secret of why they killed Andi.
- The group's desire to survive and escape the island.
catalysts
- The murder of Andi.
- The arrival of Helen, who is Andi's twin sister.
- The discovery of the red envelope.
barriers
- The group's lack of trust for each other.
- The killer's cunning and ability to evade capture.
- The island's isolated location, which makes it difficult to escape.
themes
- The importance of truth and justice.
- The dangers of greed and ambition.
- The power of knowledge and the importance of using it wisely.
stakes
The characters' lives are at stake, as well as their reputations and the future of their careers.
uniqueness factor
The story combines elements of mystery, suspense, and comedy, and features a diverse cast of characters with their own unique motivations and secrets.
audience hook
The murder of Andi and the subsequent investigation will keep viewers engaged and guessing until the very end.
paradoxical engine or bisociation
The story's engine is driven by the paradoxical nature of the characters' relationships.
paradoxical engine or bisociation 2
Another paradoxical engine in the story is the contrast between the idyllic setting of the island and the dark secrets hidden beneath the surface.
Engine: Gemini
Screenplay Rating:
Recommend
Executive Summary
Glass Onion: A Knives Out Mystery is a witty and engaging whodunit with a strong central mystery, memorable characters, and sharp dialogue. The screenplay's strengths lie in its humor, puzzle-solving sequences, and social satire. Areas for improvement include pacing in the second act and further development of supporting characters. Overall, the screenplay is highly recommended with the potential to be a commercial and critical success.
Strengths
- The screenplay excels in its witty and sharp dialogue, particularly showcased through Claire's character. high
- The puzzle-solving sequence is engaging and cleverly constructed, effectively building suspense and excitement. high ( Scene 11 )
- Benoit Blanc's character is well-developed and intriguing, with his intelligence and eccentric personality shining through. high ( Scene 27 Scene 35 )
- The twist reveal of Helen's true identity as Andi's twin sister adds a layer of surprise and complexity to the narrative. medium ( Scene 55 )
- The screenplay effectively satirizes the world of the ultra-wealthy and their eccentric lifestyles. medium
Areas of Improvement
- The pacing in the second act could be tightened, as some scenes feel slightly drawn out. medium
- Some supporting characters, such as Whiskey and Peg, could benefit from further development and exploration of their motivations. medium
- The resolution of the murder mystery relies heavily on coincidence and convenient timing, which may feel slightly contrived to some viewers. low ( Scene 34 Scene 36 )
MissingElements
- The screenplay could explore the emotional impact of Andi's death and Helen's grief in more depth. medium
NotablePoints
- The inclusion of the Mona Lisa as a central plot device is a bold and memorable choice that adds to the film's intrigue. high ( Scene 33 )
- The screenplay's use of flashbacks effectively reveals backstory and character motivations. medium
Engine: Claude
Screenplay Rating:
Recommend
Executive Summary
The screenplay for 'Glass Onion: Knives Out' is a highly engaging and multilayered murder mystery that subverts expectations and delivers a compelling character-driven narrative. The intricate plot, sharp dialogue, and well-developed character arcs create a rich, immersive cinematic experience that explores the themes of disruption, ambition, and the corrupting influence of unchecked power. While the pacing and character motivations could be further refined in some areas, the screenplay's overall strengths, notably its narrative complexity, visual flair, and thematic depth, make it a strong candidate for consideration.
Strengths
- Intricate and engaging character arcs that evolve throughout the story, providing depth and nuance to the central figures. high
- A compelling and layered mystery narrative that subverts expectations and builds towards a surprising, yet satisfying conclusion. high
- Crisp, clever dialogue that reveals character motivations and advances the plot in a natural, believable way. medium
- A strong thematic throughline exploring the nature of disruption, ambition, and the consequences of unchecked greed. high
- Visually striking and imaginative production elements, such as the Glass Onion compound and the unique puzzle box device, that enhance the overall storytelling. medium
Areas of Improvement
- While the pacing is generally strong, there are a few instances where the narrative could be tightened or streamlined to maintain a more consistent momentum. medium
- Certain character motivations, while generally well-developed, could be further explored or clarified to deepen the audience's understanding and investment. medium
MissingElements
- The screenplay could potentially benefit from additional world-building or backstory details to fully immerse the audience in the rich, complex environment. low
NotablePoints
- The screenplay's ability to blend elements of mystery, thriller, and dark comedy effectively, creating a unique and engaging cinematic experience. high
- The clever and subversive use of classic murder mystery tropes and conventions to deconstruct and ultimately subvert audience expectations. high
- The strong thematic resonance and social commentary on themes of wealth, power, and the consequences of unchecked ambition. high
Engine: GPT4
Screenplay Rating:
Consider
Executive Summary
The screenplay presents a complex and engaging mystery with a fresh take on the whodunit genre, featuring strong character development and a dynamic setting. While it excels in plot twists and humor, it could benefit from clearer stakes and more integrated exposition. The unique setting and subversion of genre tropes make it a compelling read.
Strengths
- The screenplay features a complex and engaging plot with multiple twists that maintain audience interest throughout. high
- Strong character development, especially the transformation and empowerment of Helen, which provides a satisfying narrative arc. high ( Scene 150 )
- Effective use of humor and irony, particularly in the dialogue and character interactions, which adds a layer of entertainment beyond the central mystery. medium
- Creative and dynamic use of settings, such as the explosive finale at the Glass Onion, which visually and thematically complements the story's climax. medium ( Scene 144 Scene 145 )
- The screenplay successfully subverts typical mystery genre tropes, offering a fresh take on the whodunit format. medium
Areas of Improvement
- Some plot points and character actions may come across as overly convoluted or implausible, which could potentially confuse the audience. medium
- The pacing in the middle sections might feel slow as the screenplay spends considerable time on character backstories and motives. medium
- Needs clearer establishment of stakes and character motivations early in the screenplay to ensure audience engagement from the beginning. medium
- The final resolution relies heavily on dialogue exposition, which could be better integrated through action or visual storytelling. low
- Enhance the emotional depth of some secondary characters to ensure they are not just functional to the plot but also resonate with the audience on a personal level. low
MissingElements
- Lacks a strong emotional or thematic through-line that ties all the subplots and character arcs together, which could elevate the screenplay's overall impact. medium
NotablePoints
- The screenplay's setting on a remote island adds a layer of isolation and tension that enhances the mystery. medium
- Innovative use of technology and modern elements (e.g., the use of faxes, modern art) to create a unique aesthetic and thematic texture. low
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 23 | Miles: Because tonight, in this very room, a murder will be committed. My murder. |
| 30 | Miles: I will pay you one billion dollars to find who tried to kill me. |
| 57 | Helen: Recognize this? Andi's handwriting. Gotcha, you son of a bitch. |
| 60 | Helen: Your fuel of the future just barbecued the world's most famous painting, dumbass. Congratulations on the public launch of Klear and the end of Miles Bron. |
| 61 | Miles: Oh you shit heads. |