OPEN
POOR THINGS
Written by
Tony McNamara
FINAL CUT
December 2023
Based on the novel POOR THINGS by Alasdair Gray
"POOR THINGS" (2023)
STATS98pages142scenes17,672words51%dialogue37characters
Words
- dialogue8,92851%
- action7,72944%
- other1,0155.7%
Scenes
location
- INT 105
- EXT 34
- INT/EXT 1
- UNKNOWN 2
time
- DAY 100
- NIGHT 27
- UNKNOWN 15
EXT LONDON BRIDGE - DAY
A woman stands on a bridge on a foggy day. She dives off.
INT BAXTER’S HOUSE DRAWING ROOM - DAY
LONDON 1882 BELLA BAXTER, a young woman around 30, sits calmly erect at the piano.
She raises her hands and then smashes down on all the keys with her fists in a joyful way, screeching with laughter as she does.
Baxter 50s, in a suit and cravat, deformed face, probably a result from medical experiments, smiles watching. The kindness of his eyes is evident despite his scary face.
INT BAXTER’S HOUSE DINING ROOM - DAY
Baxter is hooked up to a machine and a tube flows into and under his waistcoat into his stomach. The glass machine pumps saliva like fluid.
He and Bella eat. Mrs Prim, the housekeeper, puts kippers down. Bella grabs one, eats it, makes a face, spits it back across the table.
Baxter makes a sound. A giant bubble spills forth from his mouth.
It floats a second, they watch as it lands and evaporates. Bella laughs, claps. Baxter smiles.
He gets up, detaches the pipe from his innards and goes behind her. Kisses her on the head.
INT BAXTER’S HOUSE HALLWAY - DAY
Baxter puts on his coat and hat. Bella runs along the hall to him. She has a half dog, half pig following her.
BAXTER
Bye.
BELLA
Ba. Ba.
He goes out. Locking the door behind him.
CUT TO
Poor Things - Final CutPoor Things - Final Cut2.2.
INT MEDICAL SCHOOL LECTURE THEATRE LONDON DAY
A pile of organs on a silver tray. A bunch of small animal cadavers lie nearby.
An audience of medical students, staring.
Baxter, his smock drenched in blood, addresses them.
A human cadaver, slit open and empty of organs, lies before him.
BAXTER
A pile of organs without the spark of self from a brain or the pump of blood from a heart. Just a butcher’s tray for a Sunday lunch. Now who would like to reconstruct the organs? And who can tell human from animal? If there is a difference. Come come! You did puzzles as children, did you not?
They all stare at him. A young guy in his late twenties, Max McCandles watches. He is eager, righteous and badly dressed.
Some posh fops sit in front of him.
FOP 1
Is it just me or is it devilishly hard to concentrate when the monster’s talking?
MAX
He is an extraordinary surgeon, his father founded this place. His research is said to be groundbreaking.
FOP 2
Have you mistaken yourself as included in this conversation Max McCandles? Your physical proximity to us does not make it so.
MAX
I-
GUY
Fuck off old pal. Get yourself a suit.
Max shrinks back. He watches as a hapless student at the front of the room tries to reassemble the organs in place.
BAXTER
You really think that is where the liver goes sir?
Poor Things - Final CutPoor Things - Final Cut3.3.
FOP 1
May I ask what is the purpose of putting them back in sir?
Baxter looks up. Considers him.
BAXTER
My amusement. Mr Max McCandles!
Everyone is startled.
BAXTER (CONT’D)
Walk with me at the end of the lesson.
EXT MEDICAL SHOOL LONDON HALLWAY DAY
Max is staring at a portrait of a very serious looking man, handsome, in a suit. “Barret Baxter. Our founder. 1842.” Baxter appears and passes right by him walking in a quick pace. Max struggles to keep up.
BAXTER
Your paper.
MAX
You liked it sir?
BAXTER
It showed signs of a conventional mind straining hard to almost touch mediocrity.
MAX
...Thank you.
BAXTER
I need someone. An assistant on a project.
MAX
I would-
BAXTER
Are you a religious man?
MAX
I believe in God.
BAXTER
Me or the deity?
MAX
Humorous I see, because you are known as...
Poor Things - Final CutPoor Things - Final Cut4.4.
BAXTER
It is a joke of my own making, I do not need it explicated for me.
EXT LONDON STREET - DAY
They enter the street. A little kid laughs at Baxter. The kid’s mother pulls at the kid, curling her face up at Baxter.
WOMAN
The very devil’s work.
MAX
Have you ever thought of growing a beard sir?
BAXTER
I look like a big dog in a cravat.
MAX
Kids like dogs. This job.
BAXTER
Yes. Come.
They arrive at Baxter’s house.
INT BAXTER’S HOUSE DINING ROOM - DAY
Bella stares at the table, laid for dinner with plates and glasses. She holds a plate examining it. Happily drops it, it smashes on the floor.
She starts dropping one after another. Tosses one at the wall gleefully.
Max and Baxter arrive, unseen at the door. Baxter nods at Max. He watches. She senses him.
BELLA
God!
She runs to him and leaps. He catches her. She is round his waist.
BELLA (CONT’D)
He... He...
BAXTER
Hello.
BELLA
Lo.
BAXTER
This is Mr McCandles.
Poor Things - Final CutPoor Things - Final Cut5.5.
MAX
Hello Bella.
He puts his hand out to shake hers. She raises a hand gently, then swats him in the nose with a palm. Laughs uncontrollably. His nose starts to bleed.
BELLA
Bood, Bood.
BAXTER
Blood. Blood.
BELLA
Blood.
BAXTER
Marvellous.
MAX
I’m fine. I’m fine.
Bella starts walking around and around in a circle. Until she’s dizzy. Max stares at her.
MAX (CONT’D)
What a very pretty retard.
Bella still spinning on the other side of the room. Baxter whispers to Max.
BAXTER
She suffered a brain injury, I repaired it. Her mental age and her body are not quite synchronised. Language is coming. She is progressing at an accelerated pace.
MAX
She is ...stunning.
BAXTER
I need to meticulously note her progression. You will do this for me.
MAX
It would be my honor.
Bella stops spinning.
BELLA
Weeeee Weee.
BAXTER
Yes it is exciting Bella.
Poor Things - Final CutPoor Things - Final Cut6.6.
BELLA
Nah. Wee.
A wet patch appears across her dress.
MAX
Wee. She’s doing a-
BAXTER
Mrs Prim!
CUT TO
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Bella lies in a beautiful bed in a beautiful room. She wakes up. Prim and Max enter. Max holds a notebook. He notes down the time.
INT BAXTER’S HOUSE DINING ROOM - DAY
Max takes notes as Bella eats eggs and kippers. Bella stops chewing. Opens her mouth drops the chewed up food out of her mouth onto the table. Goes on eating her eggs.
MAX
Do you not like kippers?
She points to him questioningly.
MAX (CONT’D)
I am partial to them actu-
She scoops it up off the table, throws the chewed up fish at him. Laughs.
INT BAXTER’S HOUSE SURGERY - DAY
Baxter, in a mask, a body on a slab. Mrs Prim is there working the anaesthetic.
Bella sits on a bench watching, fascinated by the scene, gets up, leans in close as the body is shaved so it can be cut. The knife on the skin. The scalpel slices an incision, she looks up at Baxter beaming.
BELLA
Bella cut too?
BAXTER
Just dead ones for Bella.
BELLA
Just dead.
Poor Things - Final CutPoor Things - Final Cut7.7.
She walks over to a section of the room where a couple of cadavers lay out. She runs a hand over one, pushes at it’s breast. Holds a penis up. Lets it fall. She takes a scalpel walks to the head. Starts plunging it into the eyeballs of a cadaver. Much to Max’s horror and her delight.
BELLA (CONT’D)
Squish. Squish.
CUT TO
INT BAXTER’S HOUSE HALLWAY - DAY
Bella rides along a hallway on her bike, chased by a chicken barking like a dog.
BELLA
Chog! Chog! Run Chog!
Max looks at the animal, startled.
INT BAXTER’S HOUSE GARDEN - DAY
Bella feeds a collection of animals. Pig/dogs. Duck/lambs. Max stares at them wide eyed.
He eyes the filing cabinets stuffed with medical files.
INT BAXTER’S HOUSE STUDY - DAY
Max sits opposite Baxter, who is looking through Max’s notes.
MAX
She gathers 15 words a day. Her coordination seems unstable at best. Her hair grows an inch every two days.
BAXTER
Excellent. You may go. See you tomorrow.
MAX
Where did she come from?
BAXTER
I believe your job is to collect data. When I add inane questions to it I’ll let you know.
He nods.
Poor Things - Final CutPoor Things - Final Cut8.8.
INT BELLA’S BEDROOM - NIGHT
Baxter reads to Bella from a book, she blithely lays flat on top of him on her bed.
BAXTER
And so when they returned from the wood she was reunited with her mummy and daddy. That night for dinner they ate cake until they were sick, they were so happy to be back together. The next day when she awoke..
Beat
BELLA
You me Daddy God?
BAXTER
I am... um...
BELLA
Prim say you not be? Who is?
Baxter looks down at his book for an answer. The next story. ‘Adventure in the Andes’, an illustration of a man and woman in explorer gear.
BAXTER
You are an orphan. Your parents died.
BELLA
Then you cut parents up God?
BAXTER
No. They were... my friends, they were brave explorers and were killed in a landslide in South America. They pushed the boundaries of what was known and paid a price. But there is no other way to live Bella. They sent you to me to care for you.
BELLA
Dead.
BAXTER
Afraid so my darling.
BELLA
Poor Bella. But love God.
She embraces him. He squirms a bit, awkward, pleasure. Drinks in her smell a bit.
Poor Things - Final CutPoor Things - Final Cut9.9.
BELLA (CONT’D)
Sleep here.
BAXTER
No.
He rolls her off him.
BAXTER (CONT’D)
Good night dear Bella.
CUT TO
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Max sits on the floor with Bella as she looks at a map. Point to it.
BELLA
This parents.
MAX
Peru.
He watches Bella take a nut from a bowl full and eat it. He notes it.
BELLA
Why you pen book every nut.
MAX
To note down your nutritional intake.
She picks up a huge handful shoves them in her mouth, they spill out as well.
BELLA
(mouthful)
How many?
He smiles. She drops the nuts out of her mouth.
BELLA (CONT’D)
Tell of other places.
She walks her fingers across the map.
MAX
You’re in Lisbon, Portugal. The south of France, the Alps.
She jumps with her hand. Lands.
MAX (CONT’D)
Istanbul. Cross the waters.
Poor Things - Final CutPoor Things - Final Cut10.10.
She jumps her hand, a long time in the air. Lands.
MAX (CONT’D)
Australia.
BELLA
Bella go look at world.
She walks out. He follows.
INT BAXTER’S HOUSE STAIRWELL - DAY
Bella climbs the stairs to a door in the roof. Max follows.
EXT BAXTER’S HOUSE THE ROOF - DAY
She clambers out onto the roof, calm despite the danger. Max follows her, nervously shuffling his way across on hands and knees. Sees the back of her head and the looping scar underneath her hair.
MAX
Miss Bella this is...
She leans out and looks across the suburb, parks, houses, carriages. Takes her breath away.
Bella picks up a piece of loose shingle. Drops it over the side. Max startled, looks down as it shatters on the road. Bella laughs. Seems to decide something. Strolls back across the roof.
INT BAXTER’S HOUSE SURGERY - DAY
The windows are open. Smoke is billowing out. Baxter takes notes as a cadaver’s hair burns. Mrs Prim scrambles to extinguish it as Bella runs in.
BELLA
God. Sun. Outside must go.
BAXTER
Outside? No Bella. We work. Cut fingers?
Max notices Baxter’s reticence.
BELLA
Then Candles take me. Candles!!
MAX
Of course I can if-
BAXTER
No.
Poor Things - Final CutPoor Things - Final Cut11.11.
BELLA
Out. Yes!
MAX
Has she ever been outside?
BELLA
No!
BAXTER
I have created a perfectly entertaining and safe world for-
BELLA
Now!!!! Now!!!!
She grabs a jar of tongues from the shelf throws it at Baxter. He ducks, it smashes.
BAXTER
Bella!
She grabs a rack of blood filled test tubes picks them up.
BELLA
Now!
Throws.
CUT TO
EXT LONDON STREET - DAY
A horse drawn carriage in the street. Curtains drawn.
INT CARRIAGE
Baxter, Max and Bella in the carriage. Bella glimpses quick slivers of people, action through a crack in the curtains.
BAXTER
You know so many things outside can kill you Bella.
BELLA
Kill dead?
BAXTER
Snakes. Carriages. Sharp faced birds. Earthquakes. Inhalation of toxic grass seeds.
She shrinks back from the window a bit.
Poor Things - Final CutPoor Things - Final Cut12.12.
EXT LONDON PARK - DAY
The carriage drives into a secluded area of the park. Baxter checks it’s emptiness.
He opens the door. She opens her eyes. Runs out, into a deserted area of a heavily wooded park.
Rolls in the leaves.
CUT TO
Max and Bella walk. Baxter standing in the distance behind them, making sure that no other people approach them.
CUT TO
Max next to a tree, picks up and examines a small frog.
MAX
Bella.
She looks into his cupped hands.
BELLA
Kill it.
MAX
What?
She claps his hands together. He opens his hands. Dead frog. She laughs, runs away.
CUT TO
The three of them are sitting on a blanket on the ground.
She looks at Baxter’s hands.
BELLA
Why you funny thumbs God?
He looks at his gnarled short flat thumbs.
BAXTER
Once when I was very small my father pinned my thumbs into a small iron case to see whether he could retard the growth cycle of bones. Well the pain was so great to stop myself from weeping I would stare deeply into my other fingers and, simply by observation, begin to parse out the epidemiological elements. When he came back, to his surprise I was smiling.
Poor Things - Final CutPoor Things - Final Cut13.13.
MAX
Good god.
BAXTER
He was a man of unconventional mind.
Baxter spies people coming toward them.
BAXTER (CONT’D)
Time to go. A storm approaches.
They head for the carriage.
MAX
Why do you scare her so?
BAXTER
She is an experiment and I must control the conditions or our results will not be pure.
INT CARRIAGE - DAY
They ride. Baxter reads. Max takes Bella’s pulse. Writes a note. Bella can hear noise. Bella peeks through the blinds. Sees a man selling ice cream at the exit to the park. People eating and laughing. Bella’s eyes widen, delighted. She rips the blind back.
BELLA
Stop! God! We go!
BAXTER
No Bella.
BELLA
Bella wants walk in ice cream.
BAXTER
No.
He pushes the blind closed. She stares at him.
BELLA
Bella wants!
BAXTER
My face. People scared of God. Laugh at God.
BELLA
God lovely. Like Dog face.
Baxter winces a bit.
Poor Things - Final CutPoor Things - Final Cut14.14.
BELLA (CONT’D)
Woof! Woof!
BAXTER
Quite.
Bella tries to open the door.
BELLA
Stop! Me walking.
BAXTER
No.
BELLA
No now? No never?
He stares at her.
BAXTER
Just... No.
The carriage moves on. Bella screams in Baxter’s face. Kicks at the window.
Baxter pulls her down from the window. He sees through the gap in the blinds people looking at them. She bites his hand. He releases her. She opens the door. Max, not knowing what else to do, pulls her back inside, ripping her blouse as he does. Holds her as she spits at him.
MAX
Sorry I-
Baxter pulls out a bottle of chloroform and a cloth. They struggle. He chloroforms her.
MAX (CONT’D)
Mother of God.
She goes unconscious. He stares at her, deep sadness. Strokes her cheek.
BAXTER
I’m sorry my darling.
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Max carries Bella into her room. Her face against his cheek breathing. He stares at the flap of shirt revealing her skin. He leans over, hand hovers a second, he folds the cloth to cover her. His fingers touching her skin slightly. Her eyes flicker open. He gets flustered. Prim enters, turns down the bed. Bella is on the edge of consciousness, feeling hands on her, as she is stripped and put in a nightshirt.
They pull her blankets over her. And exit.
Poor Things - Final CutPoor Things - Final Cut15.15.
INT BAXTER’S HOUSE STUDY - DAY
Max rifles through the filing cabinets, finds Bella’s file. Stares at diagrams. Including notes about a baby.
Baxter appears in the door.
MAX
What did you do to her? And why are you hiding her? Tell me what all this means or I go to the police.
Baxter considers him.
BAXTER
I shall for it is a happy tale.
CUT TO
EXT LONDON BRIDGE - DAY
Bella stands on a bridge on a foggy day. She dives off.
EXT LONDON RIVER - DAY
BAXTER V/O It is rare to get a body albeit dead but so close to life.
On the banks of the river Bella’s washed up, dead body, lies. Face down.
A burly looking GUY comes across her. He turns her over. Her lips are blue. Picks her up and throws her roughly over his shoulder.
INT BAXTER’S HOUSE STUDY
BAXTER
Rigor had not set in, the body had hardly cooled. No pulse, but some electric current so I could have kept her alive.
MAX
But you didn’t?
INT BAXTER’S HOUSE SURGERY - DAY
The burly guy takes a few coins from Baxter and leaves. Baxter goes to a chair, sits. He stares at Bella’s pregnant body.
Poor Things - Final CutPoor Things - Final Cut16.16.
BAXTER V/O I knew nothing about the life she had abandoned, except that she hated it so much that she had chosen not to be, and forever. What would she feel on being dragged from her carefully chosen blank eternity and forced to be in one of our understaffed, poorly equipped madhouses, reformatories or jails?
Baxter gets up, dexterously picks up a scalpel, approaches Bella and in one swift motions slits open her dress from top to bottom. The dress falls open, not an ounce of blood spilt.
BAXTER V/O (CONT’D) For in this Christian nation suicide is treated as lunacy or crime. Who was I to decide her fate? But there was also on my part a recognition.
Baxter opens her corset.
INT BAXTER’S HOUSE STUDY
BAXTER
All my research had come to this moment, fate had brought me a dead body and a live infant, it was obvious.
MAX
It was?
An incredulous Max. He stares at Baxter, not getting it.
BAXTER
Take the infant’s brain out and put it in the full grown woman, reanimate her and watch.
MAX
Jesus.
CUT TO
Nighttime surgery. PRIM is there assisting. A Glass vial is rotating fiercely, then fills with blood suddenly. A bloody surgical saw is put down next to it. The top of Bella’s skull is placed down next to that.
A frenetic lightning like source bounces in a glass sealed copper bowl with a tube running out of it. Surgical thread unspooling off a spindle.
Poor Things - Final CutPoor Things - Final Cut17.17.
Bella’s bloody skull top is picked back up by his bloodied gloved hand.
We cut back to the office.
On Max’s face.
MAX (CONT’D)
She knows?
He shakes his head.
MAX (CONT’D)
Who was she?
BAXTER
No idea. But would you rather the world did not have Bella?
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Bella sleeps fitfully, starts touching her body. She reaches between her legs. Starts to feel pleasure, as she starts to masturbate.
INT BAXTER’S HOUSE DINING ROOM - DAY
Bella eats breakfast. She takes an apple, puts it between her legs, rolls it back and forth quickly. Feels more pleasure. Cums quickly. Sits, smiling.
Mrs Prim enters with some eggs, puts them on the table. Serves her some eggs, sour faced.
BELLA
Mrs Prim. Bella discover happy when she want.
PRIM
Uh huh.
BELLA
You are a sour face, but I fix you.
PRIM
I-
BELLA
Close eyes.
Bella shoves her hand between Prim’s legs.
PRIM
Oh!
Poor Things - Final CutPoor Things - Final Cut18.18.
BELLA
Just wait, it takes a moment.
Prim breaks away. Pushes Bella.
Max walks in.
PRIM
She grabbed me hairy business! She’s sick!
MAX
Bella?
BELLA
Oh I have discover something and must share, share, share. Watch.
She starts masturbating. He is stunned.
BELLA (CONT’D)
What if put cucumber in me?
She takes a cucumber from the table. He turns his back on her.
MAX
Bella! Cease working yourself immediately!
She stares at him. Stops.
BELLA
What is-
MAX
Bella in polite society that is not done.
BELLA
Oh.
MAX
I... just do not.
CUT TO
INT BAXTER’S HOUSE DINING ROOM - EVENING
The three of them sit at the table. A machine, bubbling away in the corner of the room, is making a foul smelling liquid.
Poor Things - Final CutPoor Things - Final Cut19.19.
MAX
What is that?
BAXTER
My father took out my oxyntic and pyloric glands, so I must make my own gastric juices.
MAX
Why in God’s name would he do that?
BAXTER
To discover what no one knew. Turns out we need them. Ideally.
Bella pushes her plate aside.
BAXTER (CONT’D)
You have not eaten Bella.
She pushes it further to the edge of the table. Eyes him.
BAXTER (CONT’D)
Do not.
She slaps the side of it so it flips in the air and crashes. It thrills her, she smiles triumphantly.
BELLA
Good night.
Gets up and exits.
A burbling sound rips from Baxter’s stomach. He opens his mouth a large bubble appears and is released. They watch it for a moment and it floats and lands on the table and bursts.
BAXTER
Do you know I am actually something of a romantic Max?
MAX
What? I-.
BAXTER
I believe I see love between you and Bella.
MAX
I... what? I... she is...
BAXTER
Perhaps you should marry her?
MAX
What?
Poor Things - Final CutPoor Things - Final Cut20.20.
BAXTER
I think she loves you.
INT BAXTER’S HOUSE DRAWING ROOM - DAY
Bella tossing strawberries high in the air. Max runs frantically from one side of the room to the other to catch each in his mouth.
Baxter watches them as Max falls and Bella laughs.
BAXTER V/O I have seen people look at each other with love, as an observer never a subject of course. I see it.
INT BAXTER’S HOUSE DINING ROOM
MAX
You do? I do have feelings.
BAXTER
So you would?
INT BAXTER’S HOUSE DRAWING ROOM
BELLA
Take Bella out.
MAX
Bella... I...
She licks his ear suddenly.
MAX (CONT’D)
Oh.
She laughs. Does it a again, faster, it affects him.
BELLA
Feel funny?
He nods. She leans her head to him.
BELLA (CONT’D)
Do Bella.
He reluctantly licks her ear. Slowly. She laughs.
Poor Things - Final CutPoor Things - Final Cut21.21.
INT BAXTER’S HOUSE DINING ROOM
MAX
I wondered if perhaps you were raising her to be your mistress, a dark thought unworthy of me I know. So you are not laying with her.
BAXTER
Spermatic ejaculation can only induce homeostasis in me if accompanied by prolonged stimulation of higher nerve centres whose pressure upon the ductless glands changes the chemistry of my blood not for a few spasmodic minutes but for many days.
MAX
What?
BAXTER
I am a eunuch and can’t fuck her. To get a sexual response from my body would take the same amount of electricity as runs North London. Besides my paternal feelings seem to outweigh my sexual thoughts.
EXT BAXTER’S HOUSE GARDEN - DAY
An enclosed courtyard, Bella is staring up at the sky. A Pig/dog and a duck/goats mill about.
MAX V/O I apologise for my own dark thoughts.
BAXTER V/O Not dark at all. Men’s, indeed all sexuality, is basically amoral.
MAX V/O Not all sir!
BAXTER V/O Do you wish to marry her or not?
Max approaches Bella in the garden.
MAX
I wish to marry you. Be my wife.
She smiles, he goes to kiss her, hits her teeth.
Poor Things - Final CutPoor Things - Final Cut22.22.
BELLA
Ow! Let us touch each other’s genital pieces.
MAX
No. I do not wish to take advantage of you. You are... special. When we are wed.
She nods, slightly annoyed.
INT BAXTER’S HOUSE DINING ROOM
BAXTER
One condition.
MAX
She must desire it also, I understand.
BAXTER
Two conditions then. That one you said and you must live here with me always. I will have a legal agreement drawn up.
CUT TO
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Bella looks at the windows. Notices the new locks on them. She punches the window. Growls. Hits the window.
INT BAXTER’S STUDY - DAY
Duncan is at the office. Baxter peruses the papers. Duncan sips at a glass of port.
DUNCAN
Curious contract.
BAXTER
Hmmm. There are several spelling errors.
DUNCAN
Oh... immaterial to the legal bindingness of it I assure you.
(MORE)(MORE)
Poor Things - Final CutPoor Things - Final Cut23.23.
DUNCANDUNCAN(CONT’D)(CONT’D)
Must be quite a woman to warrant such binding.
BAXTER
Hmmmm.
DUNCAN
If you’ll excuse me I need to use the facilities.
Baxter looks up at him.
BAXTER
Are you five years old that you cannot hold your water?
DUNCAN
Weak bladder, as my father before me and his before him.
BAXTER
You may have prostate cancer. Look into it.
DUNCAN
Will do.
INT BAXTER’S HOUSE HALLWAY - DAY
Duncan takes the stairs, two at a time, opening doors, snooping, enjoying himself.
One of the doors opens onto Bella’s bedroom.
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Bella is in a cupboard in her room. She blows soap bubbles. She hears the door to her room open. Peers through a crack.
Duncan spins the globe, looks at the maps on the floor. Picks up one of her hats.
He notices bubbles coming out of the cupboard. He goes over, positions himself and starts popping the bubbles.
The door opens.
DUNCAN
Miss Bella Baxter, as per your contract no doubt?
BELLA
Good afternoon visiting man. Want my hat?
Poor Things - Final CutPoor Things - Final Cut24.24.
DUNCAN
Would it suit me?
He goes and puts it on. She follows him.
BELLA
Yes! It is foolish good!
She claps.
DUNCAN
I had to meet this woman who would inspire such a contract of marriage that imprisons her.
BELLA
What you mean?
DUNCAN
You will live here, travel with Mr Max McCandles and Baxter abroad, but not go forth in the city.
She takes this in.
BELLA
I see. They love me tight.
His hand presses between her legs softly, as he leans to her ear.
DUNCAN
I understand why. I need to pinch you, to see if you are real.
BELLA
You will not pi-
He pinches her hand slowly, softly, as he presses closer. She closes her eyes. He is close to her.
BELLA (CONT’D)
Oh. Who is you?
DUNCAN
Mr Duncan Wedderburn.
He walks out, tossing her hat to her as he goes.
CUT TO
INT BAXTER’S HOUSE BELLA’S BEDROOM - NIGHT
Bella lies on her bed. Masturbating.
She hears a knock on her balcony door. Wedderburn waves.
Poor Things - Final CutPoor Things - Final Cut25.25.
She goes and opens it.
BELLA
How you get up here?
DUNCAN
I climbed.
He holds out a limp wrist. She looks at it. It snaps taut suddenly, startling her. She laughs.
EXT BAXTER’S HOUSE ROOFTOP - NIGHT
BELLA
You were watch me long?
DUNCAN
Not long.
BELLA
You did not see me working myself to get happiness did you? It is not polites I know.
DUNCAN
I do not care for polite society. It’s fucking boring and destroys one’s soul.
BELLA
God not believe in soul.
DUNCAN
I think God’s the actual author of the soul idea.
BELLA
Godwin Baxter.
DUNCAN
The burnt dog. What is that story? You are a prisoner and I aim to free you.
She claps her hands.
DUNCAN (CONT’D)
There is something in you, some hungry being, hungry for experience, freedom, touch. To see the unknown and then...
He touches her face.
Poor Things - Final CutPoor Things - Final Cut26.26.
DUNCAN (CONT’D)
Know it. So why am I here you ask? I am going to Lisbon on Friday. I would like you to come.
BELLA
Lisbon, of Portugal.
DUNCAN
That is the Lisbon I speak of.
BELLA
God never allow it.
DUNCAN
That’s why I’m not asking him. I’m asking you.
She considers him.
Beat.
BELLA
Bella not safe with you I think.
DUNCAN
You are absolutely not.
INT BAXTER’S HOUSE SURGERY - DAY
Baxter has a line of brains on a tray. He slices one quickly like sushi chef and has it sectioned in no time. He examines it. Bella enters.
BELLA
May I have a moment of value time dear God?
BAXTER
Of course Bella.
BELLA
I wanted to tell you big news. Bella is dizzy with excite.
BAXTER
What is it?
BELLA
Tonight at midnight I secretly run away with one Duncan Wedderburn.
BAXTER
What!?
BELLA
You will wish to stop me.
Poor Things - Final CutPoor Things - Final Cut27.27.
BAXTER
I shall stop you!
BELLA
You hold Bella too tight. I must set forth into waters.
BAXTER
We can travel. You, me, and Max. Whom, I will remind you, you are betrothed to.
BELLA
I will marry Max as he seems right for that, but first I will adventure on Duncan Wedderburn, whom I think cares little of damage to me, but will be interesting as well.
BAXTER
I can’t let you go.
BELLA
Kiss me and set me forth. If you do not, Bella’s insides turn rotten with hate.
BAXTER
Hate?
BELLA
Hate.
He stares at her.
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Miss Prim and Bella pack her suitcases. Max comes in at a raging clip.
MAX
Unpack those bags Prim.
Prim walks out past him. Rolls her eyes.
MAX (CONT’D)
Godwin has explained your plan. I do not blame you Bella, that man is a cad and a rake. He has insidious ways to get under a naive woman’s skin.
Poor Things - Final CutPoor Things - Final Cut28.28.
BELLA
Mostly his eyes on mine as his hand softly between Bella’s legs and whisper words I can’t hear that make Bella’s body heat.
Beat. Max stares at her.
MAX
Jesus! We are engaged Bella. I love you.
BELLA
And when I am back we marriage and be happy as two doves on a branch. You think I need travel hat?
MAX
This will not do. It cannot.
He starts taking off his coat.
MAX (CONT’D)
I will see to this man myself, beat him until his handsome face is a porridge of blood and bones.
BELLA
Max you are flushed and I am too at sight of different Max.
MAX
I apologise but I will not let someone I know who has nothing but ill intent in his mind and nothing for you in his heart, trick you. I will smash his fucking head in.
She crushes her lips on his. Pulls away and brings a cloth with chloroform to his mouth. An unconscious Max drops to the floor.
BELLA
Good bye later dove. I will see you after grand adventure.
Baxter comes in clutching a stack of folded notes.
Baxter grabs a dress from her case, rips open the lining, and swiftly sews the money into the dress with the skill of a surgeon. She watches him. He stares at her as he does it.
He comes to her, embraces her, then stalks from the room.
CUT TO
Poor Things - Final CutPoor Things - Final Cut29.29.
INT BAXTER’S HOUSE BELLA’S BEDROOM - DAY
Max wakes up. He has a half chicken half pig pecking at his chest.
He gets up, runs downstairs.
INT BAXTER’S HOUSE DRAWING ROOM - DAY
The drawing room is empty. Almost.
BAXTER
I am having port for breakfast. It is strangely delicious.
He turns and sees Baxter lying on the floor, an almost empty flagon beside him.
MAX
She’s gone. Why did you not stop her?
BAXTER
Because I... she is a being of free will.
MAX
She is now out there. Alone.
BAXTER
She will be fine.
MAX
I am a fool. I should’ve stopped her.
BAXTER
Sssh, we are men of science, this emotionality is unseemly.
Max lies down next to him. Takes a glass. Baxter pours for him. They lie there.
MAX
I just hope she’s alright.
INT LISBON HOTEL ROOM - DAY
On Bella’s flushed face.
BELLA
Oh Oh Oh.
Poor Things - Final CutPoor Things - Final Cut30.30.
A darkened hotel room. Bella is on top of Duncan.
Bella has a noisy orgasm.
BELLA (CONT’D)
OOOOOOOH!
INT LISBON OYSTER RESTAURANT - DAY
A long line of paper covered tables with trays of oysters. Businessmen hunch over, shucking down oysters.
DUNCAN
You are the most beautiful woman I have ever seen. I will not lie to you, I have been with many.
BELLA
Miss Prim said you were wolf with the scent of hundred women on you.
DUNCAN
She undersells it.
Oysters arrive.
DUNCAN (CONT’D)
Okay, oysters. Have you had them before?
BELLA
Have not.
He pulls a knife.
DUNCAN
Shuck. Chuck and bubble. Rollicking.
He shucks two oysters expertly, slides one down his mouth, closes his eyes, glugs champagne.
She does the same.
BELLA
Rollicking.
CUT TO
EXT LISBON STREET CAFE - DAY
Silver dishes of Portuguese tarts. They stand at the bar, espresso at the ready. Tart in hand.
Poor Things - Final CutPoor Things - Final Cut31.31.
DUNCAN
Nuns and monks would starch their clothes with egg whites and with the yolks make these tarts. Now how to eat it.
BELLA
I will guess through mouth.
DUNCAN
It must not be eaten dainty flake by dainty flake but inhaled with gusto, like life itself.
He mashes one into his mouth. She follows suit. She chews, eyes wide.
BELLA
It incredible. What is... Who made this?... We need more.
DUNCAN
No more. One is enough, any more it is too much. It’s siesta time.
BELLA
What is siesta?
INT LISBON HOTEL ROOM - DAY
Bella leans against the wall as they fuck from behind.
CUT TO
Bella flushed and ecstatic astride Duncan.
CUT TOLegs over his shoulders they fuck loudly. A bird flies into the room and flies around, they ignore it. It flies out.
CUT TO
They lie next to each other.
BELLA
Why do people not just do this all the time?
DUNCAN
Well at the risk of being immodest you have just been thrice fucked by the very best. It’s probable no other man will ever bring you to the raptures I will. I feel bad for you.
Poor Things - Final CutPoor Things - Final Cut32.32.
BELLA
Well it will just be you I do furious jumping with.
DUNCAN
Furious jumping! I love that.
BELLA
I am rested, let us go again.
DUNCAN
Again? Unfortunately, even I have my limits. Men cannot keep coming back for more.
BELLA
It is a physiological problem. A weakness in men.
DUNCAN
Well... perhaps so.
Bella opens the shutters. The busy Lisbon streets below her. She smiles.
DUNCAN (CONT’D)
You will be advised, if it’s not too late, not to fall in love with me. I have very little to offer in the way of constancy, just adventure.
BELLA
I see.
DUNCAN
Let us sleep.
CUT TO -
Duncan snores in bed. Bella, dressed, sits by the door. Exits.
EXT LISBON STREET - DAY
She stands at the door of the hotel. Anxious.
DOORMAN
Taxi madam?
She shakes her head no.
She peers out onto the street. Sees the bakery they were at in the distance. Slowly walks towards it. Excited by being alone.
Poor Things - Final CutPoor Things - Final Cut33.33.
EXT LISBON STREET CAFE - DAY
A plate of five Portuguese tarts in front of her. Starts gorging on them, whole. Fancy society people look at her. She smiles, her face full of custard.
EXT LISBON STREET - DAY
She hears music. She follows it. Looks up to a balcony. A woman plays a fado on her guitar and sings.
Bella is mesmerised. A tear runs out her eye. A woman yells.
A couple come out, arguing spiritedly. The woman slaps the guy, turns and sees Bella watching. Screams at Bella in Portuguese.
Startled, Bella runs into a warren of streets.
Realizes she is completely lost. We see her small in a wide view of the city which now looks like a maze.
Two fisherman are having a fist fight. She stops and watches.
She starts to feel ill, throws up her tarts.
They stop and stare at her. She backs away, walks on.
Then hears it, a tram. She follows the sound as it grows louder. She turns into the main square and sees their hotel.
INT LISBON HOTEL ROOM - EVENING
Duncan waits in the room, dressed and smoking, a little agitated. Bella enters.
BELLA
Good evening Duncan Wedderburn.
DUNCAN
Bella where have you been? You disappeared.
BELLA
I did not. No one can just disappear. Can they?
DUNCAN
What?
BELLA
Can they disappear?
DUNCAN
No. Of course... what the fuck are you...where were you?
Poor Things - Final CutPoor Things - Final Cut34.34.
BELLA
I wanted a tart, but then an adventure befell me. I did not know how to return and then I heard it. The tram, I will walk to the noise. And I found it! Amazement to Bella. Explorer bloods in me.
DUNCAN
Bella, it is dangerous to go out without me.
BELLA
I have adventured it and found nothing but sugar and violence. It is most charming. I am fine.
She lies down on the bed.
BELLA (CONT’D)
I must lie down and you must lie down on top of me and do some more furious jumping.
He nods.
INT LISBON HOTEL RESTAURANT - NIGHT
Duncan and Bella dine in a restaurant busy with families and couples. The sit together with a fancy couple, Kitty and Gerald.
DUNCAN
Kitty did you see the new show in London by Wilde, marvellously witty.
KITTY
Oh I loved it. A handbag!
They laugh. Bella eating a mouthful of food, makes a coughing noise as she lets it fall from her mouth back out onto her plate.
DUNCAN
Bella?
BELLA
What? Why would I keep it in my mouth if it is revolting?
KITTY
I have said that before to Gerald if you catch my drift.
DUNCAN
You are wicked.
Poor Things - Final CutPoor Things - Final Cut35.35.
BELLA
Oh! Because you mean his penis!
They stare at her. A baby nearby is crying.
BELLA (CONT’D)
Duncans can be salty.
DUNCAN
Bella! Good God.
BELLA
I’m sorry, but I must go punch that baby.
She gets up and heads toward the baby, balling her fist.
Duncan is up and drags her away.
INT LISBON RESTAURANT HALLWAY - NIGHT
He stops and pushes her against the wall.
DUNCAN
You’re behavior is unconscionable. Will you behave?
BELLA
The food was cacking my throat, the baby annoying, and the woman boring with words.
He pushes her hard into the wall, grabs her arm twists her wrist. She winces. Surprised.
DUNCAN
You will rejoin the table and will confine yourself to the following three phrases. ‘How marvellous’. ‘Delighted’. ‘And how do they get the pastry so crisp?’ Yes?
BELLA
You are hurting Bella.
DUNCAN
I’m sorry. Reason does not penetrate!
He lets her go.
DUNCAN (CONT’D)
Let us go.
He turns, she punches him in the side of the head.
Poor Things - Final CutPoor Things - Final Cut36.36.
DUNCAN (CONT’D)
Ow!
They look at each other, she pushes him against the wall. Kisses him. She breaks. Heads back into the restaurant. He follows.
INT LISBON RESTAURANT - NIGHT
They sit with his friends.
KITTY
Are you enjoying Lisbon Bella?
BELLA
Delighted.
DUNCAN
And how is your dear father Kitty?
KITTY
Very unwell, I fear he will not see the year out.
BELLA
How wonderful. How do they get this pastry so crisp?
INT BAXTER’S HOUSE DINING ROOM - DAY
A listless Max and Baxter at the table. Breakfast laid before them. Baxter suddenly releases a bubble into the air. They watch it float and die.
Prim comes in with mail. Baxter eyes it, bored. He sees something.
BAXTER
Good God.
MAX
What is it?
BAXTER
From her.
They look at the naive but stunning drawings on the card. Sexual drawings, espresso cups. A tram coming out of her mouth. Scrawled babyish writing over it. They try and decipher.
MAX
Me Good. Lisbon. Sugar tart lick me all day. I hope that is all one sentence anyway.
Poor Things - Final CutPoor Things - Final Cut37.37.
BAXTER
Good god. Are they...
MAX
Fucking. Yes. I believe so. Also fellating a tram.
INT LISBON BAR - DAY
She goes in. Points to the shots everyone is having. They set up a glass for her. She tosses a shot back. Then another.
CUT TO
INT LISBON BAR - NIGHT
Bella wakes up, slouched in a corner. Empty glasses in front of her.
INT LISBON HOTEL LOBBY - NIGHT
A distressed Duncan walks through the lobby, half dressed. He sits, head in his hands. Bella plops beside him.
BELLA
Does your head ache also Duncan Wedderburn? I am also starving for dinner.
He looks at her.
DUNCAN
Where the fuck were you?
An old woman with a large feathered hat approaches.
DUCHESS
Victoria Blessington I do declare. I have not seen you for years.
BELLA
And you still have not as I am Bella Baxter, strange feathered lady.
The woman bridles a bit.
Poor Things - Final CutPoor Things - Final Cut38.38.
DUCHESS
I apologize. I could’ve sworn you were she.
She heads off.
DUNCAN
Right. Shall we?
INT LISBON RESTAURANT - NIGHT
Duncan sits with Bella. He is sullen. The waiter stands as Bella orders..
BELLA
Yes the steak, then the fish, then caramel things in pots that old spotted people over there have.
She points to an old couple dining nearby. Looks at Duncan.
DUNCAN
Maybe I don’t want caramel in pots!
BELLA
Of course, that was all for Bella. Order at your whim. You are cross at Bella’s outings and adventures, and yet, we must discover by whim, as spoken by Duncan Wedderburn to Bella Baxter day one of Lisbon love affair.
DUNCAN
Touché.
BELLA
Understand me have never lived outside God’s house.
DUNCAN
What?
BELLA
So Bella so much to discover, and your sad face makes me discover angry feelings for you.
DUNCAN
Right. I have become the thing I hated, the grasping succubus of a lover. I have pried many of them off me and now I am it. Fuck!
She gets up, walks onto the dance floor, does a dance of her own making, alone.
Poor Things - Final CutPoor Things - Final Cut39.39.
People are weirded out. He watches her. Crazy with love. Goes and joins her. Takes her in his arms tries to dance normally with her but she has no idea how and they stumble there way across the floor. And to their seats.
DUNCAN (CONT’D)
You, like me, are a creature of freedom and the moment!
She winks. He looks at her.
DUNCAN (CONT’D)
What are you doing that for?
BELLA
A man over there repeated blinks at me. I blink back, for polites I think.
Duncan turns and looks at the guy, who looks away. Duncan crosses the room and attacks the guy. He smashes the guy in the eye with a glass. They wrestle.
Bella watches for a moment. A man and woman come up to her.
DANCING WOMAN
We are going to dance in town, please join us.
BELLA
Oh. I have never danced in town.
She leaves Duncan fighting.
Bella walks across the room with the woman and man. He sees them, extricates himself. Attacks them. The guy and Duncan exchange punches.
Bella attacks the guy as well. Duncan looks at her.
DUNCAN
You are quite mad.
BELLA
Stop talking as your sounds make Bella angry.
DUNCAN
I will not stop talking if I have something to...
Bella picks up someones drink off a table and throws it in his face, glass and drink.
DUNCAN (CONT’D)
...ouch. Ow.
Poor Things - Final CutPoor Things - Final Cut40.40.
INT LISBON HOTEL ROOM - NIGHT
They stare at each other. Bella jumps, her legs around him. She pushes him down. He slides down, smiles at her lasciviously. Lifts her dress up, then stops.
DUNCAN
What’s this?
She has the word ‘soft’ written on one inner thigh, ‘softer’ on the other one.
BELLA
A man was teaching me chess when he said he thought I probably would have the softest skin he had ever touched. I said if I did it would be the inner thighs to test, for that is where the epidermis is at its most fine.
He looks at her.
BELLA (CONT’D)
So we tested, and it was the softest ever! And I noted perhaps they were not equal in softitude. Indeed they were not. So I made sure to note it, remembering which was which.
He stares at her.
He gets up. Walks out of the room.
BELLA (CONT’D)
What of the tongue play you were about to perform? Is that not happening?
INT LISBON HOTEL BAR - NIGHT
Wedderburn walks to the bar, motions for liquor. Smacks his head hard into the counter of the bar. Makes a guttural yell.
Blood runs from his head as he drinks the shot. Bella joins him.
BELLA
You are troubled?
DUNCAN
Did he... lie with you?
BELLA
No, we were against a wall.
Poor Things - Final CutPoor Things - Final Cut41.41.
DUNCAN
Did you... furious jump him?!
BELLA
No, he just fastlicked at my clitoris. I had the heat that needed release. So at my requesting it was.
He hits his head on the bar again.
BELLA (CONT’D)
You too may tongue play me, so am not understanding this complicated feeling you have... Are you now crying?
He is. She goes and embraces him from behind.
BELLA (CONT’D)
What a confusing person you are Duncan Wedderburn.
CUT TO
INT LONDON MEDICAL SCHOOL - DAY
A cadaver lies on the table. Students wait, including McCandles. Baxter walks in. To Max he seems slightly unsteady on his feet. Takes a scalpel.
BAXTER
The liver. A small incision is all that is needed.
Baxter slices, and the knife slides down through the leg as he passes out and flops to the floor.
INT LONDON MEDICAL SCHOOL - DAY
BAXTER
I was chloroforming goats all morning, I may have ingested too much.
MAX
I am going to venture to suggest you are upset by Bella’s absence. The litres of port, the sobbing I hear at night.
A group of students titter to one another as they walk by. Baxter roars and takes a swing at them as they pass.
Poor Things - Final CutPoor Things - Final Cut42.42.
BAXTER
Good God man, you prattle like an imbecile. She is gone! I am a man of science. I just need to engage in and continue the project. That is all. I must go onto the next thing. Our feelings must be set aside. Do you think my father could have branded me with hot irons on the genitals the way he did, if he could not put science and progress first?
MAX
Branded you?!
BAXTER
Let us find a body.
He walks away.
MAX
A... what?
CUT TO
INT LISBON HOTEL ROOM - DAY
Bella wakes up, sees Duncan smoking in a chair, looking at her.
BELLA
Hello good morning.
DUNCAN
Good morning darling. I have not been as supportive of your adventurous spirit. So I have a surprise for you.
He points to a large chest.
DUNCAN (CONT’D)
Get in.
She looks at him.
EXT LISBON PATH - DAY
Bella knocks on the trunk.
BELLA
I need to wee.
Poor Things - Final CutPoor Things - Final Cut43.43.
INT CABIN - DAY
Bella asleep. The trunk stops.
The trunk opens. She comes to and looks up at a beaming Duncan Wedderburn.
She steps out of the trunk and looks around. A new hotel suite.
BELLA
(nonplussed) We changed hotels?
DUNCAN
Look out the window Bella.
She looks. The sea. Lisbon in the distance.
BELLA
We are on boat.
DUNCAN
Indeed.
They look at each other.
BELLA
You aim to trap Bella at sea.
DUNCAN
I aim to give you a new adventure. I suppose it is true you will be easier to find.
He flops back on the bed, smiles at her.
DUNCAN (CONT’D)
Come disrobe me, ride me and we will then drink cocktails on the foredeck.
She stares at him a beat. Goes into the bathroom slams the door.
INT SHIP BATHROOM - DAY
Bella in the tiny bathroom. She looks out the porthole.
BELLA
Blue. Blue. Blue.
He bangs on the door. She ignores him.
Poor Things - Final CutPoor Things - Final Cut44.44.
INT CABIN - NIGHT
Bella opens the door into the room. Duncan is asleep on the bed. Bella comes out, eyes him. Goes to the door.
EXT SHIP - NIGHT
Bella walks through empty ballrooms, empty bars, empty decks. Seemingly almost alone on the ship.
She steps through some doors. Out onto the deck. Sees a steward. He holds a seabird by the legs, it flaps it’s wings. He smashes it against the railing.
STEWARD
Shit on me, you fucker!
She stands there, he turns to her, the bleeding dead bird in his hand.
STEWARD (CONT’D)
Madam.
BELLA
When do we stop?
STEWARD
Athens. Three days.
She nods. She stares at the bird. He flings it over the railing. Smiles at her.
CUT TO
INT DINING ROOM - DAY
A flambé crepe suzette, a women’s hair on fire. Duncan stares at Bella who ignores it, she is drawing a postcard to Baxter. Her floating at sea, a bird sitting on her chest pushing her under.
DUNCAN
There is a woman on fire. Look.
She continues drawing.
DUNCAN (CONT’D)
I know you are mad, forgive me my kidnapping you, but it was for love. A romantic jape. Don’t be such a cunt about it.
She looks at him.
BELLA
I want a drink.
Poor Things - Final CutPoor Things - Final Cut45.45.
DUNCAN
Of course darling. The ship is fun, a world to explore. I love you. Do you love me?
BELLA
Describe the elements I should be looking for within myself to be sure.
DUNCAN
You just feel it or not!
BELLA
So it is no evidence base as God would say. And so how judge it empirically?
DUNCAN
What the fuck are you talking about? Who are you? You don’t know what bananas are, you’ve never heard of chess, and yet you know what empirically means!
BELLA
Bella needs a drink. Said twice now.
DUNCAN
I have never felt anything like this. Is this true for you?
BELLA
...I suppose empirically it is. Oh I am out of ink.
DUNCAN
Then you shall have ink my love.
He gets up and heads across the room.
She looks around the room. Sees a striking woman and a slightly eccentric style for the era who watches the room, MARTHA VON KURTZROC. She sits with HARRY ASTLEY, thirties, American, well dressed reading a newspaper. Bella is intrigued gets up and walks to her.
BELLA
Hello interesting older lady, I must touch your hair.
MARTHA
I noticed your hair as well. Like silk on a translucent glowing egg.
Poor Things - Final CutPoor Things - Final Cut46.46.
BELLA
That is fancy words that excite me somehow.
MARTHA
You are with handsome over there, all white teeth and hard cock.
BELLA
Duncan Wedderburn. His teeth are also hard, his penis is also white.
Harry laughs wryly. Stares at her, suddenly interested.
MARTHA
A good lay I hope.
BELLA
He is my only but I find him able to elicit exceptional sensations through my whole body and leave me yelping happily. I also wish to dash his body, form, cadaver into the sea. Is this man jumping on your body?
MARTHA
He is not. I have not been bedded in twenty years.
BELLA
What? That is terrible.
MARTHA
It does not concern me greatly. As the years pass what is between my ears is my main concern, that between my legs less so.
HARRY
A desperate rationalization Martha.
Bella looks at him.
MARTHA
This is Mr. Harry Astley. Try not to take what he says to heart. He is a cynic.
ASTLEY
Madam.
BELLA
I am Bella Baxter. And don’t know this cynic is?
Duncan approaches carrying an ink well.
Poor Things - Final CutPoor Things - Final Cut47.47.
DUNCAN
Bella? Ink.
BELLA
Duncan Wedderburn, I have made friends, colleagues, comrades.
ASTLEY
Harry Astley.
BELLA
This is Martha. She is my new friend who has not been fucked in twenty years! Is that not astonishment?!
(To Martha)
I hope you use your hand between your legs to keep yourself happy?
DUNCAN
Jesus God Bella! You cannot speak like this.
BELLA
Polites of society. I forgot.
HARRY
Polite society will destroy you.
BELLA
It will?
DUNCAN
There is some truth to that.
MARTHA
We are all agreed on that. And in answer to your enquiry on my hand. Occasionally. Yes.
BELLA
That is much reassuring news. We shall all dine together.
DUNCAN
We actually-
BELLA
Are all on a ship and cannot escape, but there is a world to discover, enjoy, traverse, circumnavigate.
HARRY
Or can she not have friends Mr Wedderburn?
He eyes Harry, smiles.
Poor Things - Final CutPoor Things - Final Cut48.48.
DUNCAN
Delighted.
INT SHIP HALLWAY - DAY
Bella and Duncan walk down the hall, him simmering. He stops suddenly, pushes her against the wall.
DUNCAN
Marry me.
BELLA
What?
DUNCAN
I meant to throw you aside. A few months and then send you packing, but I cannot. Say you will marry me. No one has ever captured my heart. You have.
BELLA
It is tricky as I am engaged to Mr Max McCandles.
DUNCAN
What?!
BELLA
My hand has taken by another. It is a saying I heard and did not understand, you do not take just the hand but all, do you not?
DUNCAN
You ran away with me! From him!
BELLA
A recounting of events the point of which is elusive to me.
DUNCAN
You chose me! Over him!
BELLA
For now. For fun.
DUNCAN
I will fucking throw you overboard!
BELLA
So you wish to marry me, or kill me? Is that the proposal?
DUNCAN
No. No. I... I am going to the casino.
Poor Things - Final CutPoor Things - Final Cut49.49.
He stalks off.
EXT LONDON PARK - DAY
Felicity, a young woman, childlike in manner, is hit in the head by a ball thrown by Max.
BAXTER
That’s fine.
MAX
She is coming along.
BAXTER
Let’s try again. Gross motor skills develop slowly but you will progress fast.
MAX
Felicity.
Max throws the ball. Felicity does not reach to catch it and it hits her in the head.
BAXTER
Not that fast.
Felicity starts sobbing uncontrollably.
EXT SHIP DECK - DAY
Bella sits in the sun reading with Martha and Astley. A small stack of books beside her.
BELLA
I am reading Emerson. He speaks of self improvement of men. I don’t know why he does not give advice to women, perhaps he does not know any.
MARTHA
You should also try Goethe.
HARRY
Philosophy is a waste of time Bella.
BELLA
Really? Say more.
MARTHA
No, no, Harry you wretch, it is integral. People and society can be improved.
Poor Things - Final CutPoor Things - Final Cut50.50.
BELLA
It is the goal of all to improve, advance, progress and grow. I know this in me and am sure I am indicative of all.
HARRY
Trust me you are definitely unique Bella in all ways. But this improvement through philosophy is people trying to run away from the fact we are cruel beasts. Born that way, die that way.
BELLA
It is a dark view of things Harry.
Duncan approaches.
DUNCAN
Bella, let us take the air, ‘in our cabin’?
He winks at her.
BELLA
These two are fighting and ideas are banging around Bella’s head and heart like lights in a storm.
DUNCAN
You are always reading now Bella. You are losing some of your adorable way of speaking.
BELLA
I am a changingable feast, as are all of we. Apparently according to Emerson, disagreed with by Harry.
DUNCAN
Come. Come. Just come.
BELLA
You are in my sun.
DUNCAN
What?
She continues reading. He grabs the book out of her hands, tosses it over the side. Martha hands her one. She starts reading that. Duncan grabs it and throws it over the side.
He stalks off.
Poor Things - Final CutPoor Things - Final Cut51.51.
INT SHIP CARDS TABLE ROOM - NIGHT
Duncan playing cards, he is not winning, slightly distracted. She comes to him, puts her hand on his shoulder.
BELLA
Come.
He looks at her.
DUNCAN
I am busy losing. Heavily. And busy drinking. Heavily.
He turns back to his cards, Bella turns and walks out.
INT CABIN - NIGHT
Bella is lying on the bed reading. Duncan starts kissing her feet. She pushes him away.
BELLA
I must meet Martha.
DUNCAN
Martha! She is the problem! I will throw that fucking perfumed bag of flesh overboard.
Bella looks at him.
BELLA
I dare you.
He stares at her. He heads out suddenly.
EXT SHIP DECK - DAY
Martha sits in a deckchair reading. Duncan arrives at speed, Harry is at the railing, sees him coming. Advances toward him.
HARRY
Where you going?
DUNCAN
She’s going over the side.
MARTHA
Marvellous. I never imagined I’d be murdered. How dramatic.
HARRY
She seems happy to die. Sorry for getting in your way.
Poor Things - Final CutPoor Things - Final Cut52.52.
He pushes past Harry straight at Martha.
Duncan struggles to drag Martha in her deck chair to the railings. Two stewards attempt to restrain him. Martha hits Duncan in the throat with her cane.
Bella stands nearby roaring with laughter. The two stewards drag Duncan away.
DUNCAN
(croaks)
I’ll be in the bar.
INT CABIN - NIGHT
Duncan sleeps, battered and bruised. Bella beside him. She can’t sleep.
INT/EXT HARRY’S CABIN - NIGHT
Bella walks the cabin hallway. Knocks on Astley’s door. He answers blearily.
BELLA
You have made me think, cogitate and perambulate through ideas that are wrong, erroneous and nonsensically annoying that lead me not to sleep.
HARRY
So...
BELLA
You say all are cruel and I disagree, disavow and say no not, but when with Duncan the cruel just bubbles up in me.
HARRY
That shows good judgement. He is a pretty moron.
BELLA
No. I wish not to be cruel, I must improve this aspect of myself.
HARRY
You don’t know the world. And you fear it.
BELLA
I don’t fear it.
Poor Things - Final CutPoor Things - Final Cut53.53.
HARRY
Do you want to see what the world is really like? I’ll show you.
BELLA
Yes. Of course!
EXT. SEA - DAY
The ship is approaching Alexandria.
INT SHIP HALLWAY - DAY
Bella and Harry, walk past the casino. Can see Duncan playing.
EXT ALEXANDRIA LIGHTHOUSE TO HOTEL - DAY
Bella and Harry travelling in a cable car.
96 CHAPTER HEADING: 96 ABSTRACT IMAGE OF BELLA ARRIVING IN ALEXANDRIA - BUBBLE
INT ALEXANDRIA HOTEL - DAY
Harry and Bella take breakfast on the balcony of the hotel above the garden. Bella hears distant wailing.
HARRY
Can you hear that?
BELLA
What is it?
He motions she follow him, they follow the sound. She walks to the end of the balcony, steps up onto step of the balcony so she can peer over the walls of the hotel.
Below lies a slum, outside the hotel walls. She looks down in horror at a sprawling mess of impoverished, desperate people, mangy dogs, impoverished goats. Squalor, flies and mud.
HARRY
Lot of dead babies. Guess it’s hot.
Bella stares, shocked.
BELLA
We must go help them!
HARRY
And how will we do that?
Poor Things - Final CutPoor Things - Final Cut54.54.
BELLA
I...
HARRY
We go down there, they’ll quite rightfully rope us, rob us and rape us. And if they were here and we were there we would do the same to them.
Bella runs.
INT ALEXANDRIA HOTEL STAIRS - DAY
She runs down the stairs screaming, tripping and falling. Harry catches up to her, puts his hand over her mouth. She clamps her teeth on his hand.
EXT SHIP HALLWAY - DAY
Bella walks shellshocked along the hallway.
INT CABIN - NIGHT
Bella wakes to find dinner suited Duncan, asleep, an empty bottle of whisky on his chest, some of the content poured all over his shit when he passed out. He is covered in money. A couple of stacks on the bedside table as well. Bella stares at it.
She gets up, gathers up the money into a bag. And heads out.
EXT SHIP - NIGHT
Bella walks to the walkway off the boat. Two stewards are preparing to cast off.
STEWARD
We are casting off ma’am.
BELLA
But I must go back? I must give this money to the poor near the hotel, in something called a slum.
STEWARD 2
We are staying ashore Ma’am. We can take care of that for you.
BELLA
You can?
STEWARD
Of course, it is generous of you.
Poor Things - Final CutPoor Things - Final Cut55.55.
BELLA
They need money.
STEWARD
Everyone does.
BELLA
Thank you.
She heads off back up the plank. The two stewards smile at each other, check the money.
INT CABIN HALLWAY - NIGHT
Bella walks down the hall. A steward stands in the doorway of the cabin.
Bella hears Duncan’s voice as she approaches.
DUNCAN
(to the steward)
You get me the Captain! Now, we’ll find this fucken thief!
He sees Bella. She sees he is upending the room.
DUNCAN (CONT’D)
Bella! We’ve been robbed. I won! I won everything, like never before! But now it’s gone!
BELLA
You haven’t been robbed. I took it.
DUNCAN
What?
BELLA
I took it.
She wanders in and flops down on the bed.
BELLA (CONT’D)
I am so tired. Or maybe just my spirit is. My soul has been buckled, crumpled, flattened, Duncan Wedderburn by the sights I have seen.
He stares at her nonplussed.
STEWARD
So, no need for the Captain then sir?
Poor Things - Final CutPoor Things - Final Cut56.56.
DUNCAN
Fuck off before I break all your teeth!
STEWARD
Indeed sir.
DUNCAN
Where is it?
She cries.
DUNCAN (CONT’D)
You hid it for safety. I was drunk and foolishly left it everywhere. What a relief.
BELLA
I did not hide it. I gave it all away to these poor people, out there. Money is its own form of sickness or at least the scarcity of it. And who am I lying on a featherbed as dead babies lie in a...Oh Duncan.
DUNCAN
You what?
BELLA
I am expecting a hug of solace.
DUNCAN
You...
BELLA
I need to offer something to the world and yet I have nothing. Except some money. It is a bad day for Bella Baxter.
He grabs her hard.
DUNCAN
Where is my fucking money?!
BELLA
I just told you I gave it away to the poor.
The steward returns, knocks on the still open door. An officer with him.
DUNCAN
I thought I told you to fuck off?!
Poor Things - Final CutPoor Things - Final Cut57.57.
OFFICER
The steward informs me you may not have sufficient funds to make good your account sir.
BELLA
That is probably true, I gave it all away to some nice men to pass onto the slum poor.
The steward smiles.
OFFICER
You will be offloaded at the next port and confined to staff rations until then. Good evening.
DUNCAN
How dare you?!
The steward steps forward and punches Duncan in the stomach, winding him. He pushes him over and pulls the door shut.
INT BAXTER’S DINING ROOM - DAY
A letter from Bella, paper with ‘aaaa ded blnd bibys nooooooooooo bit hrry’ scrawled across pages is laid out on the table in lots of sheets, Baxter sits reading it.
BAXTER
(reading)
Dead blind babies, bit harry, my mouth was full of blood. Poor Bella, she is a ruin.
EXT SHIP DECK - DAY
Bella and Harry, Harry’s hand bandaged walk up the plank.
BELLA
How is your hand?
HARRY
Fine. I’m sorry.
BELLA
You were trying to help me understand.
HARRY
No. I actually wanted to hurt you. I couldn’t bear to see such dumb beautiful happiness in someone. It was cruel of me.
Poor Things - Final CutPoor Things - Final Cut58.58.
BELLA
I am not sorry. If I know the world I can improve it.
HARRY
You can’t Bella. That is the real point. Don’t accept the lie, of religion, socialism, capitalism, we are a fucked species. Know it. Hope is smashable. Realism is not. Protect yourself with the truth.
Bella looks at him.
BELLA
I realize what you are now Harry, just a broken little boy who cannot bear the pain of the world.
HARRY
I suppose so.
She kisses him on the cheek.
BELLA
Goodbye Harry. We get thrown off in Marseille.
HARRY
Why do you stay with him.
BELLA
I always think it will be better.
HARRY
Of course you do.
She walks off.
CUT TO
105 CHAPTER HEADING: 105 ABSTRACT IMAGE OF BELLA ARRIVING IN PARIS - FLOATING.
EXT A SQUARE IN PARIS - DAY
A wide view of Paris. Bella and Duncan huddle under an umbrella on a park bench. A small dog sniffs at them.
BELLA
I have heard great things of the beauty of Paris.
The dog’s owner comes by.
Poor Things - Final CutPoor Things - Final Cut59.59.
DUNCAN
I will kick your dog to death. Fucken Paris with no money. What do you suggest we do Bella?
BELLA
I will get us a hotel. Do not worry.
DUNCAN
Uh huh. With what?! We have no money!
BELLA
Is it not an interesting experiment? We have nothing, how will we live now?
DUNCAN
I don’t know!
BELLA
Exactly. That is the experiment. We are now the poor. Also many adventurers have faced these odds. Robinson Crusoe for instance.
Duncan starts weeping into his hands.
DUNCAN
Selfish, thoughtless, careless bitch.
BELLA
I’m not thoughtless Duncan. And while it is true my ability to think things through to the logical conclusions is not strong, I did help those suffering people. I have ruined us as you point out, but I still believe my actions came from a good-
DUNCAN
SHUT. THE. FUCK. UP.
BELLA
I will get us a hotel.
EXT SQUARE PARIS - DAY
She sees a hotel across the square. A woman in her 40s smiles at her.
BELLA
Good afternoon Madam.
Poor Things - Final CutPoor Things - Final Cut60.60.
SWINEY
Good day my fresh, darling, English rose.
BELLA
Is this a hotel?
SWINEY
We have rooms. Are you looking for work?
BELLA
How much is a room?
SWINEY
I charge you 10 francs an hour. You charge them thirty, everyone’s happy.
BELLA
Hmmm. I see.
SWINEY
Monsieur Chapelle. Fresh from London. Qu’en dites vous?
He looks Bella up and down.
CHAPELLE
Enchanté. Hello. Elle fera l’affaire.
SWINEY
Take room 16.
He heads up.
CHAPELLE
Merci.
SWINEY
So. Off you go?
BELLA
At this point I am confused.
SWINEY
You are not here to work? C’mon, lay with him, let him cock you a bit and make some nice francs.
BELLA
I see. He would pay me for this?
SWINEY
Yes. If you need money, it is the shortest route to it.
Poor Things - Final CutPoor Things - Final Cut61.61.
BELLA
I have never been ‘cocked’ by another man, and yet have wondered on that. And am in need of funds. It is I believe, a confluence of circumstances I regard as almost fate-like. Let us do this.
INT. PARIS BROTHEL FOYER - DAY
SWINEY
Room 16.
Bella makes her way upstairs.
INT HOTEL ROOM PARIS - DAY
Bella enters the room. The man sits naked on a chair smoking a pipe.
CHAPELLE
Allonge toi.
BELLA
Your name?
He shakes his head no.
BELLA (CONT’D)
Mysterious.
She lays down. He pushes her dress up. Lays down on her. Starts to position himself.
BELLA (CONT’D)
Should we warm me up a bit fir-
He thrusts himself into her.
BELLA (CONT’D)
Ow.
He thrusts himself into her three times.
CHAPELLE
Aaaaaaaagh!
She holds in a laugh. He gets up. Nods politely.
CHAPELLE (CONT’D)
Merci.
INT PARK PARIS - DAY
Bella walks back along the park, carrying a chocolate eclair.
Poor Things - Final CutPoor Things - Final Cut62.62.
BELLA
Good day sir. Eclair au chocolat. I have come into some money, and some enlightenment.
DUNCAN
You stole it?!
BELLA
You have always said you are the best bedman in the world, and I have never known another so knew not whether this was true. But now I do! And he was terrible and made an ungodly noise as he thrust himself into me, and a mere three thrusts Duncan Wedderburn was all he could manage! Well I stifled a laugh out of polites of course, took his money, thanked him, laughed all the way to buy us this eclair, and thought so fondly as I remembered all the fierce sweaty nights of ours.
DUNCAN
You... fucked for money?
BELLA
And as an experiment. Which I think will aid us in our relationship as it gladdens my heart for you, and my heart has been a little bit dim on your weepy sweary person lately.
He throws the eclair at her.
DUNCAN
YOU ARE A MONSTER. A WHORE AND A MONSTER! You are a demon sent from hell to rip my spirit to shreds to punish my tiny sins with a tsunami of destruction. To take my heart and pull it like taffy, to ruin me. I look at you and see nothing but ugliness.
BELLA
That last bit was uncalled for and makes no sense as your odes to my beauty have been boring but constant and now a simple act of letting old wrinkled man ride on me seems to erase this.
DUNCAN
Fuuuck! You whored yourself.
Poor Things - Final CutPoor Things - Final Cut63.63.
BELLA
Which now you are going to explain to me is bad. Can I never win with you?!
DUNCAN
It is the worst thing a woman can do.
BELLA
We should definitely not ever marry. I am a flawed experimenting person so I will need a husband with a more forgiving disposition.
DUNCAN
Cunnnnt.
BELLA
My instinct now tells me you are not that. Our adventure is clearly over.
She rips open stitching in her dress, pulls God’s bills forth.
BELLA (CONT’D)
I shall buy you a passage back to London.
Duncan stares at her.
DUNCAN
You had money?! The whole time!
BELLA
It is God’s money for emergencies.
DUNCAN
It has been a fucking emergency for weeks!
BELLA
I believed in you the whole time. That you would rise to the occasion. Now however I see that was misplaced and there is something broken in you.
DUNCAN
You broke that something in me!
BELLA
I feel this conversation has become circular.
DUNCAN
Cuuuunt!
Poor Things - Final CutPoor Things - Final Cut64.64.
Duncan grabs all the cash out of her hand, and runs.
INT PARIS BROTHEL FOYER - DAY
Bella stands before Swiney.
BELLA
Madam Swiney, I have examined my situation. I need sex and money. I could take a lover, another Wedderburn who would keep me, but may require an awful lot of attention or it’s twenty minutes at a time and the rest of my day is free to study on the world and the improving of it. Hence I seek employment, in your musty smelling establishment of good time fornication.
Swiney smiles at her.
SWINEY
A woman plotting her course to freedom. How delightful. Come.
A group of women sit on chairs in the small foyer, waiting for clients. Swiney enters with Bella.
CUT TO
The small bell on the door rings. The girls look up. A large butcher enters.
SWINEY (CONT’D)
Ah monsieur Saveur.
He gives her a packet of freshly cut meat.
SAVEUR
Filet mignon.
SWINEY
A prime cut. Et pour vous?
She points to the women, he eyes them. Nods at Bella.
SWINEY (CONT’D)
Bella.
She follows the butcher up the stairs. Passes Toinette, one of the girls, in her twenties.
TOINETTE
Say ‘formidable’ at the end. House rules.
Poor Things - Final CutPoor Things - Final Cut65.65.
INT PARIS BROTHEL BEDROOM - DAY
He pushes in a door. Bella follows him in. She looks at him. He gets undressed. Bella reels a bit.
BELLA
Is that smell you?
He walks toward her, pushes her against the wall. Starts fucking her.
He groans. Orgasms.
BELLA (CONT’D)
.... Formidable?
SAVEUR
Merci.
Bella nods. As he exits, Toinette comes in. She has a cup of tea and a handkerchief.
TOINETTE
C’est un mouchoir à la lavende. Pour l’odeur. For the smell.
Bella takes it smells it.
TOINETTE (CONT’D)
And.. tea just... because tea is nice. Un petit peu English.
BELLA
Merci. It was brutal, in a strangely not unpleasant way.
Toinette looks at Bella. She laughs.
TOINETTE
Pamphlet. Read. Je suis socialiste.
BELLA
What is that?
TOINETTE
Une personne qui veut changer..change the world pour le meilleur! Make it better. A better world.
BELLA
Then I am that too.
The bell rings.
Poor Things - Final CutPoor Things - Final Cut66.66.
INT PARIS BROTHEL FOYER - NIGHT
A few whores sit in a line. A businessman is looking over them. Bella sees Mrs Swiney.
BELLA
Ah Mrs Swiney, this line up system. You really expect me to go upstairs with a man even if I find him distasteful and so am slightly sad when I let him furious jump me?
SWINEY
That is the way it is my darling. Gosh you look pretty. How it agrees with you to be ravaged.
BELLA
I suppose. But..
The man interrupts. Points at Bella, but speaks to Swiney.
MERSAULT
Nouvelle fille?
SWINEY
Oui Monsieur Mersault. Bella.
He looks at her. Bella addresses the man.
BELLA
Sir would you not prefer it if the women chose? As it would be a sign of enthusiasm for you rather than the vague sense that they are in a state of horror as you jump them.
MERSAULT
Horreur? Elles ne sont pas-
SWINEY
Elles vous aiment Monsieur. Bella is new and may have a mental illness. Elle ne comprend pas encore comment cela fonctionne.
BELLA
As God my father says, it is only the way it is until we discover the new way it is and then that is the way it is until we discover the new way it is and so it goes until the world is no longer flat, electricity lights the night and shoes no longer are tied with ribbons. You see.
Poor Things - Final CutPoor Things - Final Cut67.67.
TOINETTE
Je suis d’accord. As a socialist I agree entirely. Formidable.
SWINEY
Toinette, you have such a clever mouth, Monsieur Mersault will enjoy it for free. Go now.
SWINEY (CONT’D)
Bella. A moment in my office.
INT SWINEY’S OFFICE - NIGHT
SWINEY
You have the most delicious looking lobes.
BELLA
Thank you, you are most..
SWINEY
I must-
She bites on Bella’s ear.
BELLA
Aha ah.
SWINEY
I am sorry, I drew blood. Here here.
Swiney gives her a handkerchief. A disconcerted Bella dabs her ear.
SWINEY (CONT’D)
I sometimes give into myself when I see beauty, young beauty. For one day my dear you will be a wrinkled old husk, and no one will want you, either to pay you for it or have it for free.
BELLA
I still believe everyone would be happier if we could choose.
SWINEY
An idealist, like me. How delightful you are. But we must give into the demands of the world sometimes. Grapple with it, try to defeat it but-
BELLA
So you believe as me?
Poor Things - Final CutPoor Things - Final Cut68.68.
SWINEY
Of course. But some men enjoy that you do not like it.
BELLA
What? That is--
SWINEY
Sick! But good business. Come with me.
She opens a curtain at the side of her office. A baby sits in a basket.
SWINEY (CONT’D)
My grandchild. Sick and poorly and requiring much doctoring. My choice of giving you choice will jeopardise the business, her health, her life. Do you want that Bella?
BELLA
Of course not-
SWINEY
You don’t? You are so lovely.
Bella covers her ears. Swiney barks out a laugh. Bella smiles.
BELLA
I thought you were going for my lobes.
SWINEY
We must work. We must make money. But more than that Bella, we must experience everything. Not just the good, but degradation, horror, sadness. This makes us whole Bella, makes us people of substance. Not flighty, untouched children. Then we can know the world. And when we know the world, the world is ours.
BELLA
I want that.
The bell rings.
SWINEY
Now go and fuck someone and bring me ten francs.
Poor Things - Final CutPoor Things - Final Cut69.69.
INT PARIS BROTHEL BEDROOM - DAY
Bella walks into her room, followed by a plain looking guy in a suit. He start taking his pants off.
BELLA
First I suggest a short quiz.
GUY
A...quiz?
BELLA
Tell me a childhood memory...un souvenir d’enfant, then I will tell you a joke, Toc toc, and then a quick sniff and if necessary a quick douse in lavender oil. It will all enhance our experience making it formidable. Toc toc!
GUY
Um... Toc toc?
BELLA
Non. I am doing the joke. You the memory. Le souvenir?
GUY
Um... je me souviens être tombé de mon..velo..
BELLA
You fell from your bicycle..et...
GUY
je l’ai regardé, attendant de voir s’il..
GUY (CONT’D)
Oui. Jai commencé à marcher, and...it..commencé à saigner. Blood. down my leg. J'ai ressenti une joie intense.
BELLA
Joie. Joy! You watched the blood with joy.
GUY
Oui!
She smiles, he smiles back.
BELLA
Knock knock.
GUY
Oui c’est?
Poor Things - Final CutPoor Things - Final Cut70.70.
BELLA
Fromage.
GUY
Fromage?
BELLA
Cheese to meet you!
He laughs.
BELLA (CONT’D)
Exactly! You know it!
They come together. She sniffs him.
BELLA (CONT’D)
You smell okay. Let us fuck.
CUT TO
Bella having sex against the wall.
CUT TO
Bella is crouched semi naked, facing a wall. There is a scuttling noise. She looks back. A naked man scuttles crab like across the floor, sideways but slowly toward her. He gets there, pulls hair from her head with his pincers and eats it. Bella turns to watch him, fascinated. He scuttles away from her.
CUT TO
Bella is being fucked by a handsome guy in his forties.
She starts to orgasm as does he. They finish. Bella, spent and happy. He puts on his priest clothes.
BELLLE
God gave you a gift my friend.
PRIEST
C’est une malediction.
INT PARIS BROTHEL FOYER
Bella in a line up. She stares blankly ahead. A guy with hooks for hands points at her.
INT PARIS MEDICAL SCHOOL - DAY
Bella and Toinette duck into the back of a lecture hall. A surgeon cuts up a body as he lectures the class.
Poor Things - Final CutPoor Things - Final Cut71.71.
INT PARIS MEDICAL SCHOOL - DAY
The empty hall. The body cut and hollowed out. Toinette and Bella eat croissants as they walk around it. Bella examines the incisions.
BELLA
Very inelegant work.
TOINETTE
This is what you do when you’re homesick?
Bella nods.
INT PARIS BROTHEL BEDROOM - NIGHT
Bella, bored, with a bit in her mouth suspends from the ceiling. A man humps her leg.
INT PARIS BROTHEL ROOM - DAY
Two boys of sixteen sit on chairs. A man, a well spoken Frenchman, in his forties stands, Bella sits on the bed.
BELLA
You wish what?
MAN
My boys are of an age for education. Sexual. I will demonstrate.
BELLA
I see.
MAN
Vous pouvez jouer avec les seins de la femme. Cela engorge le penis et ça l’excite.
BELLA
At times.
MAN
Si votre penis ne s’engorge pas vous pouvez faire appelle à son assistance manuelle.
He nods at Bella. She massages his cock through his pants.
MAN (CONT’D)
Cela augmente le flux sangain. Une fois la dureté atteinte...
Poor Things - Final CutPoor Things - Final Cut72.72.
BELLA
Shall I lay, bend, astride?
MAN
Let’s starts simple, please.
Bella lays on the bed. She sees one of the boys staring at her, she winks, he looks down. The other is studiously taking notes.
The guy gets between her legs, enters her.
MAN (CONT’D)
...commence doucement le va et vient. J’aime bien commencer par un quatre, quatre, puis un trois trois, ensuite un deux deux qui généralement ammène au climax.
BOY
Et si ça ne vient pas père?
BELLA
Ah, to aid things along a finger in the arse or a slight choking may do it.
MAN
C’est Vrai!!
CUT TO
Bella hears a wailing sound from the alley below. She goes to the window, looks down.
Duncan sits in the alley, he is pulling clumps of hair out. Looks up, sees her, smiles, waves, a clump of hair in his hands.
BELLA
Go home!
EXT PARIS MULTIPLE VIEWS SQUARE - DAY
Toinette and Bella walk.
BELLA
Swiney was right. I am discovering parts of myself hitherto unknown.
TOINETTE
It is a way to look at it.
BELLA
The variety of desires being made manifest is fascinating.
(MORE)(MORE)
Poor Things - Final CutPoor Things - Final Cut73.73.
BELLABELLA(CONT’D)(CONT’D)
Did you have the man who puts a wedge of pineapple in your mouth and covers you in dust?
TOINETTE
Oui, Jacques. Il est gentil.
Duncan appears beside her, dusty and rips in his clothes.
DUNCAN
Bella. I have decided to forgive you. I have booked our berths home. I have told mother to prepare our wedding bed. Did you fuck the guy with hooks for hands? You did. I know. I beat the tar out of that guy.
BELLA
Duncan I thought you went.
DUNCAN
I went to the boat, but started to ache and vomit, so am here to save you.
TOINETTE
Le Duncan! Quel gâchis!
He holds his hand out to her.
DUNCAN
Charmé.
BELLA
Go home Duncan. Our time has ended. I look at you and feel nothing but the lingering question of how did I ever want you?
TOINETTE
Oooo. And we must go to the meeting of socialists.
DUNCAN
You’re whores!
BELLA
We are our own means of production. Get out of the way.
Duncan stops. They walk on and head through.
INT BAXTER’S STAIRWAY - DAY
Felicity is finger painting on the walls of the sitting room. Max sits nearby taking notes.
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FELICITY
Foot. Paint foot.
MAX
Very good.
Baxter enters.
MAX (CONT’D)
Her language is slow but improving.
FELICITY
Gmmmf. Paint. Foot.
Baxter nods to her.
BAXTER
Genius.
MAX
Can you not be so cruel to her?
BAXTER
I made a mistake with Bella. I allowed feelings to develop. But there are none for her, she is no different to the chicken dog. It is better this way perhaps, and gives some insight to my father’s coolness to me. It was a necessity of science.
MAX
Good God man!
BAXTER
I do not expect you to understand village doctor. By the way I need you to operate on me.
MAX
Shall I put a beating heart in your monstrous form?
BAXTER
If you have time while taking this out.
He pulls up his shirt to reveal a large growth protruding from his stomach.
CUT TO
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INT BAXTER’S HOUSE SURGERY - DAY
Baxter lies on the operating table.. He looks to where he has a mirror set up so he can watch. Max slices his belly and opens him up. Prim assists.
He slices around the perimeter of the tumour.
MAX
I will take some cells from around the tumour.
BAXTER
No need. You may close me up. It has spread. I can see tiny polyps.
MAX
Oh.
He peers in. Looks at Baxter.
BAXTER
I am dying. How to break it to the patient hey?
Laughs.
MAX
Baxter.
BAXTER
Do not cry into the wound. You will kill me faster with sepsis. Quiet now and close me up.
Max nods. Baxter closes his eyes.
BAXTER (CONT’D)
Find her.
INT PARIS BROTHEL BEDROOM - NIGHT
Bella lies on the bed. A closed book next to her.
BELLA
I am closed!
Swiney enters.
SWINEY
Hot chocolate my dear. And pain au chocolat. You are my favourite.
BELLA
I have heard you say that to others. We are a machine you feed with compliments and chocolate.
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SWINEY
You are my children I feed with love.
BELLA
A terrible thing has happened Swiney. I feel almost nothing, and my empathy is creeping towards something I would describe as contemptuous rage.
SWINEY
This is fabulous.
BELLA
It is?
SWINEY
You are in the dark period before light and wisdom come to you. You must forge through it, and once on the other side you will be grateful to this moment. But you must keep going.
Bella takes it in, nods.
BELLA
I see.
Swiney looks at her. Bella covers her ears.
Swiney bites her arm.
BELLA (CONT’D)
Ah.....ah.
INT PARIS BROTHEL BEDROOM - DAY
Bella’s flushed ecstatic face.
From under the sheets appears Toinette.
CUT TO
Toinette sings to Bella.
TOINETTE
Où est ton bébé?
BELLA
Quel bébé?
She points to the scar on Bella’s stomach.
TOINETTE
You’ve got a baby scar. Moi aussi.
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She sits up to show her own.
TOINETTE (CONT’D)
Mine is with ma maman. Le tien?
BELLA
I don’t have one... It is an accident scar. But you are not the first to make the mistake.
TOINETTE
Why lie?!
BELLA
I am not lying! My God told me himself.
TOINETTE
Un homme?
BELLA
Oui.
She shrugs as if that answers that.
TOINETTE
Voilà.
Bella takes this in. Looks down at her stomach. The scar.
CUT TO
INT BAXTER’S HOUSE HALLWAY / STUDY - DAY
A thick letter arrives, mad writing on the envelope. Max finds it, picks it up.
Reads it, walks to the study where Godwin is unconscious laying in the day bed hooked up to a machine, pumping blood for him.
MAX
Wedderburn.
INT ASYLUM - DAY
Duncan is in a cell, lying facing the wall.
MAX
Good day sir.
He gets no response.
MAX (CONT’D)
You wrote to Mr Godwin Baxter.
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DUNCAN
He has set a demon at large in the world, the devil has wrapped her in an alluring body that cannot be satiated and a mind that picks people apart stitch by stitch like a bloodied and burned rag doll that has been shat out an elephant’s arse!
MAX
Bella. Where is she?
He looks up at him as if noticing for the first time.
DUNCAN
Who are you?
MAX
I am her fiancé sir.
Duncan takes a beat then laughs. Scratches at his leg. Max notices the bloody scratches all over his ankle..
MAX (CONT’D)
Obviously things did not end well between you?
DUNCAN
Did not?....she destroyed me!
MAX
We are all masters of our own ship so there’s that.
DUNCAN
I do not like you and your words! That Godwin Baxter! He knew, and he set her onto me, trapped me.
MAX
Where is she?!
DUNCAN
I would not wish her on my worst enemy, I will save you sir from-
Max kicks him in the stomach.
MAX
Forgive my frustration, just tell me.
DUNCAN
It does not hurt, I have no insides, she has hollowed me out, my soul, my bank account.
(MORE)(MORE)
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DUNCANDUNCAN(CONT’D)(CONT’D)
I am a shell, a bug. Shall we sing? Oh we are sailors on a ship of fools.
Max picks him up and slams him against a wall, surprising himself.
MAX
I do not wish to be like this, you force my hand.
DUNCAN
We are all masters of our own ship you cunting cuntfaced deadshit.
MAX
Please I ask you as politely as I can. Where is she?
INT PARIS BROTHEL BEDROOM - DAY
Bella lies on her bed. Fingers the scar on her stomach. Toinette comes in.
TOINETTE
Tu as une lettre.
Walks out. Bella, looks at the postcard. London postmark. A formally drawn sketch of Baxter on his bed, surrounded by medical devices. ‘R.I.P soon. Come.’ written next to it.
130 CHAPTER HEADING: 130 ABSTRACT IMAGE OF BELLA ARRIVING IN LONDON - BRIDGE
EXT/INT BAXTER’S HOUSE - DAY
Bella stares at the house as she stands at the door. She smiles. Knocks.
The door swings back. Prim looks at her.
PRIM
The whore’s back!
Prim walks away. Bella steps inside.
INT BAXTER’S HOUSE DRAWING ROOM - DAY
Baxter pulls himself up, leans on the day bed. He is hooked up to an oxygen machine, and a glass bulb sluices blood via a tube in and out of his body.
Poor Things - Final CutPoor Things - Final Cut80.80.
Bella comes in. She rushes to God. Hugs him. He grimaces. But is slightly overcome by her touch.
BELLA
God! Max wrote me, you are ill?
BAXTER
I am not. I am dying. A subtle difference, but one I take seriously as a physician. You are a sight. And a good one.
BELLA
You cannot die.
BAXTER
Empirical data says different. I missed you. I now have to lie down.
She helps him down.
BELLA
It is not all sunshine I bring, I also bring beady eyes and hard questions for you. Did I have a baby in me? And if so where is it?
BAXTER
I see. Well, technically you are your baby. And also I suppose you are your mother. But also neither. No memory survives. No experiences survive.
BELLA
What do you mean I am mother and daughter?
INT BAXTER’S HOUSE OPERATING THEATER - DAY
Bella goes through Baxter’s papers.
Finds notes on her operation. She starts reading. Max enters, stands at the door.
BELLA
You knew? And did not tell?
MAX
I...did not see good reason too..
BELLA
And were too cowardly to.
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MAX
A bit of that as well. I just wanted to be with you and was not sure you would even understand and Baxter kind of makes one a prisoner to him, and....sorry.
CUT TO
Bella exmaines the looping scar on her neck in a mirror.
INT BAXTER’S HOUSE DINING ROOM (MEAL PREPARATION AREA) - DAY134
She walk into the kitchen, Felicity at the table, she is singing a song, which is really just the same word over and over as she smashes steak with a meat hammer on the table. Prim supervises.
FELICITY
Bam. Bam. Bam. Bam.
BELLA
Who’s this?
Felicity keeps banging as she looks at Bella.
FELICITY
Bell whore, bell whore, Bell whore.
BELLA
You have introduced me already then Prim?
PRIM
I like this one though.
Prim reaches for the meat.
PRIM (CONT’D)
That’s enough Feli-
Felicity brings the hammer down on Prim’s hand with the hammer.
PRIM (CONT’D)
Fucker!
Felicity laughs, goes on hitting the table. Bella looks at Max.
BELLA
She is another?
MAX
Well...we missed you.
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BELLA
Monsters.
Bella walks out.
EXT LONDON STREET - DAY
Bella walks the street.
EXT LONDON BRIDGE - DAY
Bella walks onto the bridge. Looks over and sees some dead fish lying on the bank.
INT BAXTER’S HOUSE DRAWING ROOM - NIGHT
Baxter lies on the day bed. Machines whirring around him. Bella enters. She goes to him. He opens his eyes looks at her.
BELLA
It is hard to be in a position where one wants to hit someone who is already in obvious pain.
BAXTER
It is a conundrum for sure. Would you rather be a grey slab of flesh with a fish hook in your nose?
She drops her arm.
BELLA
I will feel good for a second, and bad for longer so... I really had a fish hook in my nose?
BAXTER
You did.
BELLA
So I am your creation. As is the other one.
BAXTER
Neither of you are that. She wanders the halls with a hammer and a song, that is not my doing, and I have read your cards and letters home and watched you fearlessly create Bella Baxter with wonder.
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BELLA
I am finding being alive fascinating so I will forgive you the act, but always hate the lies and trapping that followed.
BAXTER
Understood. Good to see you.
BELLA
You too. Anger, confusion and brain dissonance aside. I missed you.
She puts her hand on his.
BELLA (CONT’D)
I arrived home and I smelt the fomeldahyde and I knew what is next. I will be a doctor.
He closes his eyes, smiles.
BAXTER
My surgery is yours. My father once said to me, always carve with compassion. He was a fucking idiot, but it’s not bad advice.
EXT LONDON PARK - DAY
Bella and Max walk in the forest.
MAX
He does not have long.
BELLA
I know.
They walk a bit.
BELLA (CONT’D)
You have not mentioned our betrothal.
MAX
You were much younger, there is no...bind. I was mesmerised by you and Baxter took advantage of it.
BELLA
So you are mesmerised no more?
MAX
I am still... mesmerised.
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BELLA
I have been a whore you understand. Cocks for money inside me. Are you okay with that? Or is the whore thing a challenge to the desire for ownership men have. Wedderburn became much sweary and weepy when he discovered my whoring.
MAX
I find myself merely jealous of the men’s time with you, rather than a moral aspersion against you. It is your body Bella Baxter. Yours to give freely.
BELLA
I generally charged thirty francs.
MAX
Seems low.
BELLA
Do you believe people improvable Max?
MAX
I do, as a human body can be cured of illness, so can men and women be cured of aspects.
BELLA
Will you marry me Max McCandles?
MAX
I will.
She grabs him and kisses him. He kisses her back.
BELLA
We will need less of your tongue in the future but overall most agreeable.
MAX
I will take a note. And have you been checked for um... disease?
BELLA
I have not, but I shall. I am enjoying this practical love we have.
MAX
Mine is also passionate! I assure you.
Bella laughs.
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BELLA
You are adorable. You always were.
CUT TO
INT LONDON CHURCH - DAY
Max stands at the altar, a priest before them. A few tourists looking around the church, or praying in pews. No guests. Bella walks down the aisle. Baxter appears beside her, aided by Prim.
BELLA
God! You are walking?
BAXTER
I have taken 5 milligrams of heroin through the toes for the pain, amphetamines for energy, and cocaine because I am partial to cocaine. I will walk you down the aisle.
They walk to Max.
PRIEST
And so by the powers vested in me by the church I will solemnize this union. Do you Bella Baxter take this man as your husband?
She is about to answer.
ALFIE
Did we miss the part about anyone objecting to this? Or has that been removed in some kind faux modernization of the catechism.
They turn. Alfred Blessington, a sombre looking but magnetic man, has stormed into the church.
ALFIE (CONT’D)
Hello Victoria, you look well.
BELLA
Do you refer to me sir?
ALFIE
Man doesn’t normally introduce himself to his wife. But if I must-
Baxter coughs violently. Blood sprays.
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DUNCAN
He is the God of it. I do not know if he is in her power or she in his. It is a devil’s hand at work as you see. He coughs not air as a normal man but blood.
MAX
He has cancer you fucking idiot!
BELLA
Duncan?
DUNCAN
Do not lay your eyes on me you demon.
ALFIE
As I was saying. General Alfred Blessington. Alfie to you. You really do not know me? When Mr. Wedderburn put your photo in the paper.
DUNCAN
I remembered that old bird at the hotel called you Victoria Blessington. And pieced this diabolical fuckfest of a puzzle together.
Bella looks at Alfie.
BELLA
You are-
ALFIE
Your dear Alfie. You left in a state of some mental addlement and hysteria over your pregnancy. On the discovery of your absence I felt disembowelled. I have disembowelled men on the field of battle and I always imagined a dull hollow throbbing. And that is what it was like. There is also a stench, but that does not apply as a metaphor here. Here you are my darling. Here you are.
He comes toward her arms outstretched.
BAXTER
Oh God.
BELLA
I have no recollection of you. I am Bella Baxter.
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ALFIE
Hurtful but perhaps you hit your head. And these men have clearly taken advantage of you.
BAXTER
Please go sir!
Bella looks at Baxter and Max. Back at Alfie.
BELLA
You were my husband?
ALFIE
Your dear Alfie.
BAXTER
Bella. I am sorry.
BELLA
Actually I would like to go.
MAX
What?!
BAXTER
Bella!
BELLA
Do you have a carriage sir?
ALFIE
..Yes!
BELLA
Let us go then.
BAXTER
Bella!
He grabs her arm. She looks at him.
BELLA
Let me go God.
He does.
BELLA (CONT’D)
Will you stop me Max?
He shakes his head.
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INT CARRIAGE - DAY
Bella sits with Alfie in the carriage. There are flowers on the seat. It’s a bit awkward. He smiles at her. Pats her hand.
ALFIE
It is good to have you back Victoria.
EXT ALFIE’S HOUSE GATES - DAY
Some gates open.
The carriage pulls into a circular driveway.
High walls. Long driveway.
The gates shut behind her and are bolted.
She looks up at the mansion in front of her.
EXT ALFIE’S HOUSE DRIVEWAY - DAY
Alfie helps her from the carriage.
As they head up the steps. Alfie pulls a pistol from his pocket. She looks at it.
ALFIE
The servants and I have not been getting along. I fear an uprising.
The door opens, a dishevelled butler, a cigarette hanging from his lip, opens it. Sees Bella. His eyes widen. He steps back.
ALFIE (CONT’D)
You remember David darling.
David steps back, nods to her.
As they enter, a maid with her arm in a sling, sees Bella.
ALFIE (CONT’D)
Allison look who’s back.
She nods slowly.
INT ALFIE’S HOUSE HALLWAY - DAY
Allison and Bella walk together along the dusty dishevelled hallway.
Poor Things - Final CutPoor Things - Final Cut89.89.
BELLA
You know me?
She nods.
BELLA (CONT’D)
Tell me about myself.
They girl stares at her. Looks away. Keeps walking.
BELLA (CONT’D)
Was I nice?
The girl barks a laugh. They enter a room.
INT ALFIE’S HOUSE BELLA’S BEDROOM - DAY
Bella takes in the room, she goes to the dressing table. Sees a writing desk. On the pad is the outline of the word fuck written forty times.
INT ALFIE’S HOUSE DINING ROOM - NIGHT
Alfie and Bella sit at the dining table. An array of dishes on the table. Alfie eats with gusto. She watches him.
ALFIE
Eat. All your favourites. Kippers. Goose. Tongue. Champagne. I missed you.
BELLA
What do you think was the root of the unhappiness, what drove her to the bridge to leap off?
He stares at her. Smiles.
ALFIE
You hated the baby, and called it ‘the monster’.
BELLA
I see. I have noticed a lack of maternal instinct.
ALFIE
And yet I am happy to have you home.
He raises a glass.
BELLA
How did we meet?
Poor Things - Final CutPoor Things - Final Cut90.90.
ALFIE
At a ball.
BELLA
Why did we like each other?
ALFIE
We shared a love of good times. Watch. Allison! Soup!
He clicks his finger. The doberman in the corner stands to attention. Walks over to the door. As the door opens.
ALFIE (CONT’D)
Rex.
The doberman leaps up on its hind legs and barks like crazy, just as Allison enters with a tureen of soup.
Startled, Allison staggers back, falls, the tureen of soup going all over her. Alfie roars laughing. Bella can’t help but laugh too.
ALLISON
Fuck.
She gets up, makes to come at him. He takes his revolver and waves it in her direction.
ALFIE
We’ll have some cheese when you can.
BELLA
A love of cruelty. I was not a kind person it seems.
ALFIE
Kind? You would never be so dull Victoria. An appalling idea. Wedderburn says you were a whore. I suspect it was part of his madn-
BELLA
I was. In Paris. I tired of it but it was fascinating.
Alfie stares at her as she tries kippers.
ALFIE
Right.
BELLA
These kippers are strangely delicious. Vinegary or something.
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ALFIE
Marriage is a constant challenge some we bend to some we bend to us. I will try to forgive you for the whoring, your sexual hysteria was often out of hand, and also for the killing of our unborn child. In fact when I list how you’ve wronged me Jesus Christ himself would probably beat your head in with a bat. You are blessed with a forgiving husband.
BELLA
I have not wronged you. For I do not know you Alfie.
ALFIE
You’re in luck as I’ve had a lot of experience in the field with amnesia, either men who wished to forget where they were, or a mortar exploded nearby ringing their cranium like a church bell. I suggest we stick close to the house for several months or a year until you have made a full recovery.
BELLA
I will leave at my leisure but I am flattered by your desire to trap me. You are not the first.
ALFIE
I will have to shoot you in the fucking head if you try to leave darling.
BELLA
The front or the back of the head?
ALFIE
The back as to be sure you were leaving and I was not being rash. I have missed you.
BELLA
So I am a prisoner?
ALFIE
This conversation has gone down an unfortunate route. I am sure you will be as happy as you were before.
BELLA
As I was before? When I threw myself from a bridge?
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ALFIE
I suspect you fell while looking for fish.
BELLA
Why would you want to keep me here if I did not wish to stay?
ALFIE
If one is to drown let it be in a river of love.
David clears his plate. Alfie cocks his weapon.
ALFIE (CONT’D)
Does that pheasant look stripped to the bone?
DAVID
It was a misjudgement sir. I apologize.
ALFIE
Desert darling?
EXT ALFIE’S HOUSE GATES - DAY
Morning. Bella exits into the garden. She goes to the gate. It is impossible to open. Looks at how high the walls are. Realizes she’s trapped.
INT ALFIE’S HOUSE DINNING ROOM - DAY
She passes through the house, hears talking, follows the sound.
Stands at the door, sees Alfie talking to a doctor.
ALFIE
It comes off easy?
DOCTOR
Like a button on a suit. I saw them do it in Africa with sharpened rocks but had my own more precise device made.
Poor Things - Final CutPoor Things - Final Cut93.93.
He holds a metal device, a small round circle of metal with a razor that slides across it.
DOCTOR (CONT’D)
Do you want just clitoral hood, or glans as well?
ALFIE
The whole infernal packet.
DOCTOR
It will calm her no end.
Bella stands watching, breathing heavily shocked.
ALFIE
This time we will get it done. I shall get her sedated and bring her to your surgery this evening.
INT ALFIE’S HOUSE BELLA’S BEDROOM - DAY
Bella sits in her room, looks at the pad with the word fuck written over and over.
ALFIE O.S
Victoria darling, where are you?!
CUT TO
INT ALFIE’S DINING ROOM - DAY
Alfie mixes martinis. Lifts one up. For her.
ALFIE
Ah, perfect timing. Martini.
BELLA
Rather not. I would however like to leave. I found our time together interesting, but having now ascertained why I threw myself from a bridge. I wish to now go see my near dead God.
ALFIE
Adorable idea. Unfortunately my darling my life is dedicated to the taking of territory. You are mine and that is the long and short of it.
BELLA
I am not territory.
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ALFIE
The root of the problem is between your legs and I will have it off and it will not distract and divert you anymore. A man spends his life wrangling his sexual compulsions, it’s a curse, and yet in some ways his life’s work. A woman’s life’s work is children, I intend to rid you of that infernal packet between your legs and plant a seed straight after.
BELLA
Let me explain what has happened. Victoria, your wife, threw herself from a bridge and died. Baxter found her, took her to his surgery, he then removed the baby, removed the brain from the baby, transplanted it into my head and reanimated me.
ALFIE
Uh huh.
BELLA
I’ll bring you the file. It’s actually quite fascinating. However, I will keep my new life and my lovely old clitoris thank you. So if you’d call for a carriage for me-
Alfie draws a gun.
ALFIE
They talk and talk, and at some point there is nothing left but to pull a gun. It is the way with women.
Bella walks to him calmly. He studies her.
ALFIE (CONT’D)
Are you giving in?
BELLA
I’d rather you shot me in the fucking heart.
ALFIE
I will oblige if I have to. Drink the drink my darling. Chloroform and gin, delicious.
She picks it up.
Poor Things - Final CutPoor Things - Final Cut95.95.
BELLA
In some ways it would be a relief to be rid of my questing self.
ALFIE
Sip deeply and that freedom is yours.
She tosses it suddenly in his face. Grabs at the gun, they struggle. It goes off. They stop. There is a hole in Alfie’s foot. Blood pools out.Bella sees the blood pouring onto the floor. As does he. Bella still has the gun.
ALFIE (CONT’D)
Fuck.
He reaches for her suddenly, but then topples over. She looks down at him.
CUT TO
INT BAXTER’S FOYER - DAY
Alfie lies on the ground in the foyer, bleeding. Prim stands staring at him. Bella and Max enter.
BELLA
We must get him up to the surgery. He will die if we cannot stop it.
PRIM
He’s bleeding a lot.
Alfie is falling in and out of consciousness.
ALFIE
You’re....fucking...de..ad..
He passes out.
MAX
Bella, if he lives...I sense he is not a man who will stop.
BELLA
I will not watch him bleed to death Max, but I agree, he could do with improvement.
Bella and Prim drag Alfie down the hall.
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INT BAXTER’S HOUSE SURGERY - DAY
Alfie lies on the surgical table, unconscious. Max is operating in his gown. He digs into the bloody flesh, tries to get the bullet.
MAX
I have controlled the bleeding.
He looks up as Bella leads the goat in.
BELLA
I have the notes.
He looks at her. She smiles.
BELLA (CONT’D)
I am never happier than when I am in here.
She picks up a scalpel.
CUT TO
INT BAXTER’S HOUSE DRAWING ROOM - NIGHT
Baxter is set up on the sofa, machines pumping around him. Bella lays down next to him.
BAXTER
Bella.
She takes his hand.
BAXTER (CONT’D)
You’re back.
She nods.
BELLA
It was just a story of someone else, not Bella Baxter.
Max lies down the other side of Baxter.
BAXTER
All my life people’s eyes looked at me, horror, pity...
He smiles as she stares at him with love.
BAXTER (CONT’D)
But you.
He kisses her head.
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BAXTER (CONT’D)
It is very interesting... what is happening...
He presses her hand. She kisses his forehead. She looks at his hand, limp in hers. He’s dead. His eyes open.
Bella stares at him. With her fingers closes his eye lids. Lays her head on his chest.
EXT BAXTER’S HOUSE GARDEN - DAY
In a courtyard garden. Max is making drinks. Prim throws a ball at Felicity. She has mastered catching the ball. She’s very happy. Toinette lounging on a chair and next to Bella reading.
BELLA
Anatomy exam is making me nervous.
MAX
I have tested you many times, you know it.
TOINETTE
No one knows anatomy better than you. Crois-moi.
BELLA
Certainement- effectivement. Ladies? Gin?
PRIM
Please.
FELICITY
Gin.
BELLA
And we should get water for the general.
We cut to Alfie. He is on the lawn on all fours, eating grass. He bleats.
PRIM
Felicity. Water.
Alfie eats grass. Bella and Toinette clink glasses, happy. Max, Prim, happy. Felicity makes her way slowly to get water.
Bella smiles as she reads her book.
THE END