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Scene Map 60
# PG SLUGLINE
1 1
WHITE RABBITS AND AMAZONS ON THE JURASSIC COAST
2 2
INT SEAFRONT CAFE – DAY
3 7
EXT STUDLAND BEACH EVENING
4 8
EXT STUDLAND BEACH EVENING
5 13
INT KAT'S CAR CONTINUOUS
6 15
EXT SCYTHIAN RISE NIGHT
7 16
EXT THE COURTYARD OF SCYTHIAN RISE NIGHT
8 17
EXT ALICE’S HOUSE – NIGHT
9 18
INT KAT'S HOUSE CONTINUOUS
10 20
INT SMALL BEDROOM CONTINUOUS
11 21
EXT THE VITALE FAMILY HOME IN BRANKSOME WOOD DAY
12 24
INT A DARKENED HOTEL BEDROOM DAY
13 25
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM DAY
14 26
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM
15 27
INT SCYTHIAN RISE - THE KITCHEN MORNING
16 36
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT SHOOTING RANGE
17 40
INT SCYTHIAN RISE - INDOOR SHOOTING RANGE DAY
18 43
EXT SCYTHIAN RISE - THE COURT YARD DAY
19 44
INT A BAR IN BOURNEMOUTH NIGHT
20 45
INT KAT'S HOUSE - THE KITCHEN MORNING
21 49
EXT /INT. KAT'S CAR DAY
22 50
INT CAR – CONTINUOUS
23 51
EXT BATH – NIGHT
24 52
EXT BATH - HOUSE CONTINUOUS
25 54
EXT /INT. KAT'S CAR NIGHT
26 56
EXT /INT. KAT'S CAR LATER
27 57
EXT THE VITALE ESTATE IN BRANKSOME NIGHT
28 58
EXT VITALE ESTATE - WOODS BY THE WEST WALL NIGHT
29 59
INT THE VITALE ESTATE IN BRANKSOME - CONTROL ROOM
30 61
INT SCYTHIAN RISE - KITCHEN NIGHT
31 63
EXT THE VITALE ESTATE IN BRANKSOME MORNING
32 64
INT SCYTHIAN RISE - KITCHEN MORNING
33 66
EXT /INT. M3 MOTORWAY - HEADING NORTH TO LONDON DAY
34 68
EXT /INT. KAT'S CAR DAY
35 69
INT LONDON - CANARY WHARF - KAT'S APARTMENT NIGHT
36 71
INT BCP SCHOOL - COUNSELOR'S OFFICE DAY
37 73
INT KAT'S APARTMENT - THE LIVING ROOM MORNING
38 74
EXT SCYTHIAN RISE
39 75
INT KAT'S APARTMENT - ALICE'S ROOM LATER
40 76
INT KAT'S APARTMENT - THE LOUNGE CONTINUOUS
41 80
EXT SCYTHIAN RISE AFTERNOON
42 82
EXT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
43 85
EXT BOURNEMOUTH - NEAR MEYRICK PARK NIGHT
44 87
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM DAY
45 89
INT SCYTHIAN RISE - THE COTTAGE MORNING
46 91
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY DAWN
47 92
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY LATER
48 94
INT SCYTHIAN RISE - THE COTTAGE NIGHT
49 95
INT SCYTHIAN RISE - THE COURTYARD MORNING
50 100
EXT SCYTHIAN RISE - THE COURTYARD CONTINUOUS
51 101
INT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
52 102
INT THE VITALE ESTATE IN BRANKSOME - REAR GARDEN EVENING
53 103
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY DAWN
54 104
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM LATER
55 106
INT SCYTHIAN RISE - THE COTTAGE DAY
56 108
INT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
57 109
EXT THE VITALE ESTATE IN BRANKSOME NIGHT
58 110
EXT THE VITALE ESTATE IN BRANKSOME - REAR GARDEN
59 112
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM
60 113
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM NIGHT
Scene Map
60
# PG SLUGLINE
1 1
WHITE RABBITS AND AMAZONS ON THE JURASSIC COAST
WHITE RABBITS AND AMAZONS ON THE JURASSIC COAST
WHITE RABBITS AND AMAZONS ON THE JURASSIC COAST Written by Michael Sones [email protected] +4407951666384
2 2
INT SEAFRONT CAFE – DAY
INT. SEAFRONT CAFE – DAY
INT. SEAFRONT CAFE – DAY SUPER: BOURNEMOUTH, UK. ALICE (18), a beautiful girl with long blonde hair in a ponytail tucked through the back of her cap, is frantically gathering broken crockery.
3 7
EXT STUDLAND BEACH EVENING
EXT. STUDLAND BEACH - EVENING
EXT. STUDLAND BEACH - EVENING Four golden miles of sand stretch between the white chalk stacks of OLD HARRY ROCKS — named after a local 15th-century pirate — and the distant curve of Poole Harbour. The tide is low. Rock pools shimmer at the foot of the
4 8
EXT STUDLAND BEACH EVENING
EXT. STUDLAND BEACH - EVENING
EXT. STUDLAND BEACH - EVENING As they carefully scramble among the rock pools, Alice spots something orange, partially buried in the tidal sand, up against a rock. She goes over to it and, scraping the sand off, pulls it out.
5 13
INT KAT'S CAR CONTINUOUS
INT. KAT'S CAR - CONTINUOUS
INT. KAT'S CAR - CONTINUOUS Both girls climb into the back seat. Kat gets behind the wheel and takes a deep breath. She takes the clips out and tosses the guns on the seat beside her. KAT FERRERS
6 15
EXT SCYTHIAN RISE NIGHT
EXT. SCYTHIAN RISE - NIGHT
EXT. SCYTHIAN RISE - NIGHT The lane travels about a hundred yards. Dotted on its hedge- lined borders are small statues with classical motifs - often of satyrs and nymphs. They stop before a wrought-iron gate with CCTV discreetly mounted on the pillars. Kat checks her
7 16
EXT THE COURTYARD OF SCYTHIAN RISE NIGHT
EXT. THE COURTYARD OF SCYTHIAN RISE - NIGHT
EXT. THE COURTYARD OF SCYTHIAN RISE - NIGHT The clear sky is awash with the Milky Way stretching as far as the eye can see. All three stare up at it. KAT FERRERS Fantastic. The Ojibwe Indians of
8 17
EXT ALICE’S HOUSE – NIGHT
EXT. ALICE’S HOUSE – NIGHT
EXT. ALICE’S HOUSE – NIGHT Her parents, distraught, speak to uniformed officers. Her mother clutches her phone, replaying unanswered calls. BACK TO SCYTHIAN RISE
9 18
INT KAT'S HOUSE CONTINUOUS
INT. KAT'S HOUSE - CONTINUOUS
INT. KAT'S HOUSE - CONTINUOUS The light is switched on. Blinking, the girls look around. ALICE Wow!
10 20
INT SMALL BEDROOM CONTINUOUS
INT. SMALL BEDROOM - CONTINUOUS
INT. SMALL BEDROOM - CONTINUOUS It is a bare, small room with walls of Purbeck stone. A couple of tiny windows up high let in air. There is a bunkbed, a small dresser and another door. Kat points at the other door.
11 21
EXT THE VITALE FAMILY HOME IN BRANKSOME WOOD DAY
EXT. THE VITALE FAMILY HOME IN BRANKSOME WOOD - DAY
EXT. THE VITALE FAMILY HOME IN BRANKSOME WOOD - DAY The Vitale mansion is set in extensive, gated grounds in Branksome Woods, a wealthy, forested area of the Bournemouth- Poole conurbation. A crescent driveway curves gently from the road, sweeping
12 24
INT A DARKENED HOTEL BEDROOM DAY
INT. A DARKENED HOTEL BEDROOM - DAY
INT. A DARKENED HOTEL BEDROOM - DAY A phone rings several times. LENO (40), swarthy, muscular, switches on the light and picks up the phone. LENO What the fuck are you calling me in
13 25
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM DAY
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM - DAY
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM - DAY The room is grey, dank, illuminated by neon strip lights. Dean and Jay sit on two kitchen chairs. Dean's hands are behind his back, wrists immobilized by plastic restraints. Sweat pours down his face, his fear palpable. Lavinia sits in
14 26
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM -
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - CONTINUOUS The door opens Catada, and Manfred enter. They stand waiting for Lavinia to acknowledge them. With a gesture of her hand, she indicates that they sit.
15 27
INT SCYTHIAN RISE - THE KITCHEN MORNING
INT. SCYTHIAN RISE - THE KITCHEN - MORNING
INT. SCYTHIAN RISE - THE KITCHEN - MORNING A modern kitchen with large picture windows looking out over the Purbecks and onto Poole Harbour in the distance. Kat sits at the kitchen table. Laptop and peacock chessboard open. She drinks coffee and taps on the keys. Alice and Ruth
16 36
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT SHOOTING RANGE
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT SHOOTING RANGE
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT SHOOTING RANGE - MORNING In the basement, a single shooting lane stretches twenty feet. Concrete walls, a crude wooden bench, a paper silhouette dangling from wires. Fluorescent lights buzz
17 40
INT SCYTHIAN RISE - INDOOR SHOOTING RANGE DAY
INT. SCYTHIAN RISE - INDOOR SHOOTING RANGE - DAY
INT. SCYTHIAN RISE - INDOOR SHOOTING RANGE - DAY A soundproofed range in the barn. It's clean, professional, and smells of solvent and cordite. Kat stands behind a bench laden with several handguns. She hands Alice and Ruth a set of protective glasses and ear
18 43
EXT SCYTHIAN RISE - THE COURT YARD DAY
EXT. SCYTHIAN RISE - THE COURT YARD - DAY
EXT. SCYTHIAN RISE - THE COURT YARD - DAY Alice and Ruth are practicing Wing Chun. Kat watches with an approving eye. ALICE What's with this Siu Lim Tao over
19 44
INT A BAR IN BOURNEMOUTH NIGHT
INT. A BAR IN BOURNEMOUTH - NIGHT
INT. A BAR IN BOURNEMOUTH - NIGHT A PLAINCLOTHES POLICEMAN sits in a booth having a drink. Grimaldi enters the bar and sits opposite. PLAINCLOTHES POLICEMAN Tell Lavinia, I’ve got nothing for
20 45
INT KAT'S HOUSE - THE KITCHEN MORNING
INT. KAT'S HOUSE - THE KITCHEN - MORNING
INT. KAT'S HOUSE - THE KITCHEN - MORNING SUPER: THREE WEEKS LATER A modern kitchen with large picture windows looking out over the Purbecks and onto Poole Harbour in the distance. The three are sitting around a farmhouse kitchen table. Kat’s
21 49
EXT /INT. KAT'S CAR DAY
EXT./INT. KAT'S CAR - DAY
EXT./INT. KAT'S CAR - DAY FULL SCREEN - ROAD MAP A route traces from Scythian Rise to Bath. ALICE (V.O.) It was a fabulous, glorious ride
22 50
INT CAR – CONTINUOUS
INT. CAR – CONTINUOUS
INT. CAR – CONTINUOUS Alice leans forward, staring. Ruth is quiet beside her. Kat drives, unreadable. RUTH What are we doing here?
23 51
EXT BATH – NIGHT
EXT. BATH – NIGHT
EXT. BATH – NIGHT Deserted streets. A quiet Georgian terrace. Uniform facades. Nothing to draw the eye. KAT FERRERS (softly)
24 52
EXT BATH - HOUSE CONTINUOUS
EXT. BATH - HOUSE - CONTINUOUS
EXT. BATH - HOUSE - CONTINUOUS A CCTV is placed above the door. Alice knocks on the door. It opens marginally. VOICE (O.S.) Yea?
25 54
EXT /INT. KAT'S CAR NIGHT
EXT./INT. KAT'S CAR - NIGHT
EXT./INT. KAT'S CAR - NIGHT KAT FERRERS I’m not sure, but I think Jane Austen would’ve been impressed. You comported yourselves like young
26 56
EXT /INT. KAT'S CAR LATER
EXT./INT. KAT'S CAR - LATER
EXT./INT. KAT'S CAR - LATER RUTH You really going to do this? KAT FERRERS She adores those peacocks. This
27 57
EXT THE VITALE ESTATE IN BRANKSOME NIGHT
EXT. THE VITALE ESTATE IN BRANKSOME - NIGHT
EXT. THE VITALE ESTATE IN BRANKSOME - NIGHT Kat parks in the shadows and starts to exit the car. Alice and Ruth also get out. KAT FERRERS No, this lane. You hold position
28 58
EXT VITALE ESTATE - WOODS BY THE WEST WALL NIGHT
EXT. VITALE ESTATE - WOODS BY THE WEST WALL - NIGHT
EXT. VITALE ESTATE - WOODS BY THE WEST WALL - NIGHT FERRERS This is the edge of the Vitale estate. There may be guards. Hold here. Quietly.
29 59
INT THE VITALE ESTATE IN BRANKSOME - CONTROL ROOM
INT. THE VITALE ESTATE IN BRANKSOME - CONTROL ROOM -
INT. THE VITALE ESTATE IN BRANKSOME - CONTROL ROOM - CONTINUOUS The guard is alerted. GUARD (into microphone)
30 61
INT SCYTHIAN RISE - KITCHEN NIGHT
INT. SCYTHIAN RISE - KITCHEN - NIGHT
INT. SCYTHIAN RISE - KITCHEN - NIGHT Ruth is sitting in a chair, pressing a blood-soaked handkerchief to her head. Kat has a large first aid kit open on the table. KAT FERRERS
31 63
EXT THE VITALE ESTATE IN BRANKSOME MORNING
EXT. THE VITALE ESTATE IN BRANKSOME - MORNING
EXT. THE VITALE ESTATE IN BRANKSOME - MORNING Lavinia walks through the gardens near her house. Several men walk with her, weapons raised. Two peacocks lie dead on the lawn. The men fan out. Two white rabbits can be seen scampering about.
32 64
INT SCYTHIAN RISE - KITCHEN MORNING
INT. SCYTHIAN RISE - KITCHEN - MORNING
INT. SCYTHIAN RISE - KITCHEN - MORNING Kat is at the table with her laptop open to the peacock chessboard page. She stares at it and taps on some keys. ALICE Why is there no news about the
33 66
EXT /INT. M3 MOTORWAY - HEADING NORTH TO LONDON DAY
EXT./INT. M3 MOTORWAY - HEADING NORTH TO LONDON - DAY
EXT./INT. M3 MOTORWAY - HEADING NORTH TO LONDON - DAY Kat turns off the M3 at the junction for Basingstoke. ALICE I thought we were going to London. Basingstoke is ugly.
34 68
EXT /INT. KAT'S CAR DAY
EXT./INT. KAT'S CAR - DAY
EXT./INT. KAT'S CAR - DAY Back onto the M3 heading north in the direction of London. ALICE Kat. Your business is really successful and clearly makes a lot
35 69
INT LONDON - CANARY WHARF - KAT'S APARTMENT NIGHT
INT. LONDON - CANARY WHARF - KAT'S APARTMENT - NIGHT
INT. LONDON - CANARY WHARF - KAT'S APARTMENT - NIGHT SUPER: LONDON - CANARY WHARF Kat's penthouse apartment sits atop a tall, cylindrical apartment tower, offering 360-degree views of London and the Thames.
36 71
INT BCP SCHOOL - COUNSELOR'S OFFICE DAY
INT. BCP SCHOOL - COUNSELOR'S OFFICE - DAY
INT. BCP SCHOOL - COUNSELOR'S OFFICE - DAY SUPER: 15 YEARS EARLIER Sunlight streams through Venetian blinds. A teenage KAT FERRERS (16) sits curled in an armchair, all defiance and vulnerability. She has no tattoos yet, but her knuckles are
37 73
INT KAT'S APARTMENT - THE LIVING ROOM MORNING
INT. KAT'S APARTMENT - THE LIVING ROOM - MORNING
INT. KAT'S APARTMENT - THE LIVING ROOM - MORNING Kat pauses in the doorway. Ruth and Alice are dancing, facing each other across the width of the living room — and with awkward, old-fashioned movements, they advance towards each other and then retreat.
38 74
EXT SCYTHIAN RISE
EXT. SCYTHIAN RISE -
EXT. SCYTHIAN RISE - Remote control night vision cameras capture three black-clad figures in balaclavas, carrying firearms. One carries a battering ram. They hit the door and it flies inward. Kat speeds the footage forward. Smoke and flames are shooting up
39 75
INT KAT'S APARTMENT - ALICE'S ROOM LATER
INT. KAT'S APARTMENT - ALICE'S ROOM - LATER
INT. KAT'S APARTMENT - ALICE'S ROOM - LATER Ruth and Alice stand looking out the plate-glass windows at the spectacular views. Ruth glances at the opening mechanism on the window and sees that Alice was right, the windows only open a few inches.
40 76
INT KAT'S APARTMENT - THE LOUNGE CONTINUOUS
INT. KAT'S APARTMENT - THE LOUNGE - CONTINUOUS
INT. KAT'S APARTMENT - THE LOUNGE - CONTINUOUS When the girls enter the lounge, Kat is sitting in front of her laptop. ON SCREEN Lavinia is sitting at her conference table, stroking the
41 80
EXT SCYTHIAN RISE AFTERNOON
EXT. SCYTHIAN RISE - AFTERNOON
EXT. SCYTHIAN RISE - AFTERNOON The car pulls off the road onto the lane to Scythian Rise. Kat drives in about fifteen yards, so she is hidden from the main road. They exit the car.
42 82
EXT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
EXT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS
EXT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS The stone cottage with a slate roof remains untouched, except for the door, which has been knocked in. Police tape is everywhere. INT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS
43 85
EXT BOURNEMOUTH - NEAR MEYRICK PARK NIGHT
EXT. BOURNEMOUTH - NEAR MEYRICK PARK - NIGHT
EXT. BOURNEMOUTH - NEAR MEYRICK PARK - NIGHT They drive down leafy, affluent, and slightly secluded inner suburban streets. Scattered among the large family homes are houses that have been converted into care homes, Bed and Breakfasts, or student accommodation.
44 87
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM DAY
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - DAY
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - DAY Lavinia sits in the conference room, looking out onto a garden where an ornamental peacock stands. A speaker occasionally emits a plaintive, repetitive cry. Grimaldi enters and glances up at the speaker.
45 89
INT SCYTHIAN RISE - THE COTTAGE MORNING
INT. SCYTHIAN RISE - THE COTTAGE - MORNING
INT. SCYTHIAN RISE - THE COTTAGE - MORNING Alice, Ruth and Kat are drinking coffee. Kat puts her coffee down, picks her Glock from the table, quickly disassembles it and starts cleaning it. Alice, frowning while she watches Kat, runs her finger along the rim
46 91
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY DAWN
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - DAWN
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - DAWN Lying camouflaged by scrub, beneath some trees, Kat, Ruth and Alice train binoculars on Kimmeridge Bay. There are a few cars and motorhomes parked in the car park. Otherwise, nothing moves.
47 92
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY LATER
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - LATER
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - LATER The men return with their kayaks, look anxiously around, and in the direction of the hidden gangsters. One touches an earpiece. They walk up with the kayaks, put them on a car and drive off. Soon, there is the sound of a quad bike, and the
48 94
INT SCYTHIAN RISE - THE COTTAGE NIGHT
INT. SCYTHIAN RISE - THE COTTAGE - NIGHT
INT. SCYTHIAN RISE - THE COTTAGE - NIGHT Kat comes to the table with plates of steak, chips, and broccoli. KAT FERRERS We need to keep our strength up.
49 95
INT SCYTHIAN RISE - THE COURTYARD MORNING
INT. SCYTHIAN RISE - THE COURTYARD - MORNING
INT. SCYTHIAN RISE - THE COURTYARD - MORNING Alice meanders through the courtyard in the morning sun, listening to the squawking of hens and geese. A gander turns his attentions on a goose which turns and pecks at him. The gander retreats.
50 100
EXT SCYTHIAN RISE - THE COURTYARD CONTINUOUS
EXT. SCYTHIAN RISE - THE COURTYARD - CONTINUOUS
EXT. SCYTHIAN RISE - THE COURTYARD - CONTINUOUS Kat carries the peacock into the middle of the courtyard about fifty yards away. Immediately, chickens and geese cluck around it. KAT FERRERS
51 101
INT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
INT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS
INT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS Alice and Ruth sit on a sofa, cups of coffee in hand, facing Kat. ALICE Trojan Peacocks. How long you been
52 102
INT THE VITALE ESTATE IN BRANKSOME - REAR GARDEN EVENING
INT. THE VITALE ESTATE IN BRANKSOME - REAR GARDEN - EVENING
INT. THE VITALE ESTATE IN BRANKSOME - REAR GARDEN - EVENING Lavinia wanders through her garden, accompanied by Leno. She holds several long peacock feathers in her hand and occasionally strokes her face with them. She stops by one of her ornamental peacocks.
53 103
EXT THE PURBECK HILLS ABOVE KIMMERIDGE BAY DAWN
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - DAWN
EXT. THE PURBECK HILLS ABOVE KIMMERIDGE BAY - DAWN As before, Kat, Ruth and Alice lie camouflaged by scrub. Kat scours the surrounding area with her binoculars. She identifies the two hidden guards and then the other guards.
54 104
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM LATER
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM - LATER
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM - LATER Ruth is sitting on a chair, hands in front of her in wrist ties. Leno looks her up and down lasciviously, with a leer which makes Ruth's flesh crawl. Ruth is now just wearing her White Rabbit t-shirt, the sweatshirt on the floor beside her.
55 106
INT SCYTHIAN RISE - THE COTTAGE DAY
INT. SCYTHIAN RISE - THE COTTAGE - DAY
INT. SCYTHIAN RISE - THE COTTAGE - DAY Alice is pacing back and forth. Kat sits, focusing on her peacock chessboard game. ALICE
56 108
INT SCYTHIAN RISE - THE COTTAGE CONTINUOUS
INT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS
INT. SCYTHIAN RISE - THE COTTAGE - CONTINUOUS The men can be seen looking at a small bronze peacock with flashing eyes in the tail. It explodes, sending glass and bronze shrapnel across the room.
57 109
EXT THE VITALE ESTATE IN BRANKSOME NIGHT
EXT. THE VITALE ESTATE IN BRANKSOME - NIGHT
EXT. THE VITALE ESTATE IN BRANKSOME - NIGHT Several armed guards patrol the estate through the dark. INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - CONTINUOUS
58 110
EXT THE VITALE ESTATE IN BRANKSOME - REAR GARDEN
EXT. THE VITALE ESTATE IN BRANKSOME - REAR GARDEN -
EXT. THE VITALE ESTATE IN BRANKSOME - REAR GARDEN - CONTINUOUS After the explosion of one of the statues, Kat and Alice move silently through the garden. They come across the wounded man gasping for breath. Kat doesn't pause but shoots him as they
59 112
INT THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM -
INT. THE VITALE ESTATE IN BRANKSOME - BASEMENT ROOM - CONTINUOUS Alice enters the room, gun raised. She freezes. Leno stands with a knife at Ruth's throat, a cruel smile on his face. He yanks Ruth back against his body, using her as a human
60 113
INT THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM NIGHT
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - NIGHT
INT. THE VITALE ESTATE IN BRANKSOME - CONFERENCE ROOM - NIGHT Grimaldi lies lifeless by the door, blood pooling on the floor beside him. Lavinia sits in her chair at the conference table, chessboard beside her. She makes a move and then types into her

White Rabbits and Amazons on the Jurassic Coast

When two grammar-school friends find a fentanyl-stuffed lifejacket on a Dorset beach, their lives spiral into a criminal underworld; kidnapped by a contract killer who becomes their mentor, they must learn to fight back or see their families destroyed.

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Overview

Poster
Unique Selling Point

The screenplay's unique selling proposition is its fresh reimagining of Alice in Wonderland as a gritty crime thriller featuring neurodiverse female protagonists. It blends classical mythology with modern criminal underworld dynamics, creating a distinctive fusion of literary adaptation and contemporary thriller that explores themes of transformation, survival, and moral ambiguity through the lens of characters who process the world differently.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Grok
 Recommend
Claude
 Consider
Gemini
 Recommend
DeepSeek
 Consider
Average Score: 7.7
Key Takeaways
For the Writer:
You have a vivid, high‑concept thriller with a clear emotional throughline: Alice’s transformation and Kat’s morally ambiguous mentorship. To lift this draft toward production readiness, focus on two creative fixes: 1) stop telling and show — trim info‑dump dialogue and let action/visual beats carry strategy and motive; 2) shore up realism and emotional consequence — plant procedural threads (corrupt cop, false leads, smuggling logistics) earlier and give the post‑climax emotional fallout more screen time so the girls’ transformation has believable cost. Also simplify/merge underused henchmen, vary the training montage, and tighten tonal shifts so dark comedy and graphic violence feel intentionally married rather than jarring.
For Executives:
This is a commercially attractive, female‑led thriller with a clear visual USP (Alice in Wonderland motifs, peacock/ornament devices, Jurassic Coast locations) and a marketable protagonist arc — good festival and mid‑market theatrical potential. Biggest production risks: credibility gaps around police/forensics and a rushed emotional resolution that critics will flag as sloppy. Those are fixable with modest rewrites (procedural consultant, two extra emotional scenes) and won’t require large budget changes; the primary cost drivers remain practical (exploding props, estate/sea sequences). Package with a strong lead for Kat and a script doctor to plug realism and aftermath and you have a saleable, distinct genre title.
Story Facts
Genres:
Action 30% Crime 35% Drama 40% Comedy 15% Romance 10% Thriller 25%

Setting: Present day, Jurassic Coast, Bournemouth, and the Vitale Estate in Branksome, England

Themes: Transformation and Resilience, Neurodiversity and Identity, The Corrupting Influence of Power and the Nature of Justice, Found Family and Unrequited Love, The Search for Identity and Purpose, The Blurred Lines Between Good and Evil

Conflict & Stakes: The main conflict revolves around Alice and Ruth's struggle for survival against Lavinia's criminal organization, with their lives and freedom at stake.

Mood: Tense and introspective with dark humor.

Standout Features:

  • Unique Hook: The combination of a coming-of-age story with dark criminal undertones and a focus on neurodiversity.
  • Major Twist: The transformation of Alice and Ruth from victims to empowered individuals taking control of their fate.
  • Distinctive Setting: The juxtaposition of the beautiful Jurassic Coast with the dark underbelly of crime.
  • Innovative Ideas: The use of chess metaphors to illustrate strategic thinking and moral dilemmas.

Comparable Scripts: The Perks of Being a Wallflower, Atonement, The Breakfast Club, Fight Club, Killing Eve, The Girl with the Dragon Tattoo, The Fault in Our Stars, Stranger Things, The Secret History, The Lovely Bones

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.61
Key Suggestions:
Prioritise a focused rewrite of the dialogue so it feels natural, economical and character-specific. Use spoken lines to reveal motivation and subtext (show don’t tell): shorten expository passages, give each character distinct rhythms and recurring verbal tics, and let key revelations about Lavinia (and other antagonists) emerge through grounded exchanges or small scenes rather than long monologues. Run table reads, cut lines that only explain plot, and use silence and action beats to carry emotional weight — this will tighten pacing, deepen emotional resonance, and automatically clarify stakes and antagonist motivation without adding scenes.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
The script has a strong central spine — an emotionally grounded coming-of-age thrust into a criminal underworld — but it needs clearer cause-and-effect and tighter tonal control. Prioritise deepening Kat’s personal stakes and motivation (show, don’t tell) so her leadership and extreme choices feel earned; streamline expository dialogue (especially in training and strategy scenes) and compress or sharpen sequences that drag to keep momentum. Finally, lean harder into the moral consequences of violence for Alice and Ruth so their arcs resolve with emotional clarity rather than plot convenience.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
To enhance the script, focus on deepening the emotional complexity of characters, particularly Alice and Ruth. Their internal struggles and relationships should be more vividly portrayed to create a stronger emotional resonance with the audience. Additionally, consider refining Lavinia's character to add layers of vulnerability that can make her more relatable, thereby enriching the narrative's moral ambiguity.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script has a compelling high-stakes spine and a strong, sympathetic lead in Alice, but the emotional experience is front‑loaded with sustained, high-intensity tension that risks numbing the audience. To tighten craft, introduce deliberate emotional valleys after major peaks (especially after Alice’s first kill), spread small, authentic moments of warmth and triumph through training sequences, and seed Kat’s backstory and Ruth’s agency earlier and incrementally. These changes will deepen empathy, make plot beats land harder, and create real catharsis in the finale.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The analysis makes clear that the screenplay's emotional core is Alice’s internal journey from overwhelmed, neurodivergent teenager to a decisive protector. To strengthen the script, tighten the throughline that links her neurodiversity, her incremental acts of agency, and the final violent choices so the climax feels earned rather than plot-driven. Add small, specific moments earlier where Alice chooses (and fails/learns) so her courage at Leno’s basement reads as the culmination of an arc. Also clarify Kat and Lavinia’s motives and moral logic so the philosophical conflict (Loyalty vs. Betrayal / Self-preservation vs. Altruism) resonates rather than simply justifies action sequences. Finally, handle neurodiversity with nuance — avoid using it as only a device for plot or punchlines; let it shape stakes and strategies in believable ways.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The screenplay’s strongest asset is its provocative central idea—ordinary girls transformed into hardened agents of justice—which is enriched by neurodiversity, mythic motifs and a complex found‑family dynamic. To sharpen the emotional payoff, double down on Alice’s internal arc: make her neurodivergence not only a character trait but the engine of her decision‑making and moral logic, and ensure each violent choice traces clearly back to a believable psychological beat. Tighten the middle (where training, exposition and chess metaphors accumulate) so pacing supports escalating stakes and keeps audience empathy intact. Clarify Kat’s long game and Lavinia’s threat with a few lean, pointed scenes so motives feel earned rather than schematic. Balance the tonal swings — brutal action vs. intimate vulnerability — by always rooting spectacle in character rather than plot mechanics.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
Clarify and earn the story's emotional throughline. Right now Alice toggles between vulnerable teenager and shockingly capable killer without enough connective tissue; similarly the tone jumps from coming‑of‑age intimacy to hard crime thriller abruptly. Pick a clear arc for Alice (e.g., reluctant to empowered through hard-won, incremental lessons) and add or rework scenes that show that transition step-by-step—more micro‑moments of training, moral hesitation, and private decision points. Also tighten plausibility around the inciting criminal beats (the lifejacket/drug find, the lack of police follow‑up) by either adding believable barriers (corrupt cop, destroyed evidence, remote jurisdiction) or adjusting the plot so the escalation feels earned. Consolidate repeated backstory (Alice’s neurodiversity, family ties) into one strong scene or economical moments of reveal to preserve momentum and empathy.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
Your voice — sharp, witty, and darkly funny — is a major asset: it creates vivid characters and a compelling atmosphere. To strengthen the script, tighten voice consistency and reduce expository crutches (especially voice-over). Let scenes and actions carry more of Alice’s internal arc so the emotional transformation feels earned rather than told. Trim or rework any passages where the tone flips abruptly (lyricism → dark comedy → procedural threat) so transitions feel motivated by character rather than plot necessity.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
Your screenplay has a compelling high-concept spine, vivid characters and strong tonal balance between dark humour and thriller beats. The biggest craft gains will come from tightening and sharpening dialogue so each line reveals character and subtext rather than explaining plot; deepening character motivations so choices land emotionally; and using scene-level rewrites to fix pacing (prune exposition, ramp stakes, and vary tempo). Practical next steps: run table-reads to hear voice differentiation, rewrite the key emotional scenes (opening, Bath raid, rescue basement) focusing on subtext, and use the recommended exercises/books to train on dialogue and character profiles.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
You have a vivid, metaphoric world — Jurassic Coast meets literary mythology meets modern crime — with a strong female cast and a clear escalation from innocence to violence. The priority now is to tighten the marriage between world and character: make the landscape, mythic references and surveillance tech consistently inform characters’ decisions and emotional beats (especially Alice’s neurodiversity). Reduce moments that feel like exposition-lists and instead ‘show’ how place, culture and gadgets shape choices. Trim scenes that slow momentum or repeat the same moral questions and use quieter, character-forward beats to deepen stakes before escalating into action sequences.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
Your screenplay’s sustained high-tension voice is a major strength — it keeps the narrative propulsive and commercially clickable — but it’s also flattening emotional texture and making character growth feel predictable late in the story. Introduce deliberate tonal contrast: a few quieter, lower-stakes scenes (with sharper, vulnerability-driven dialogue) will make climactic moments land harder and restore perceived character change. Prioritize small, surgical rewrites — vary rhythm, let humour and tenderness sit without immediately undercutting stakes, and tighten emotionally pivotal lines so the audience sees internal shifts rather than just external action.
Loglines
Presents logline variations based on theme, genre, and hook.