Catherine admits violent fantasies to Joyce
Plot Beats
The narrative micro-steps within this event
Catherine confesses her regret at not killing Tommy Lee Royce, explaining that she refrained only because he desired it, revealing her struggle with violent impulses and self-control; Joyce expresses relief that Catherine didn't kill Royce to avoid further trouble.
Catherine counters Joyce's claim that she is 'better than that', asserting that she believes she could have gotten away with killing Royce, further highlighting her dark thoughts and moral ambiguity.
Who Was There
Characters present in this moment
Conflict between defiance and guilt, with a surface layer of dark humor masking deep shame and unresolved rage. Her emotional state is volatile, oscillating between self-loathing and a twisted pride in her restraint (or lack thereof).
Catherine is physically present at the table, her body language tense and coiled, fingers gripping her cutlery or glass as she speaks. Her voice oscillates between a mocking, high-pitched imitation of Royce’s taunts and her own gruff, defiant tone. She avoids direct eye contact with Joyce during the most vulnerable parts of her confession, staring instead at the table or her hands. Her admission about nearly killing Royce is laced with dark humor and self-deprecation, but her emotional state is raw and exposed, particularly when she says, 'I’m not,' in response to Joyce’s assertion that she’s 'better than that.'
- • To unburden herself of the guilt and rage she feels toward Tommy Lee Royce, even if it means revealing her moral ambiguity to Joyce.
- • To test Joyce’s loyalty and see if she will judge her for her violent impulses, thereby either reinforcing their bond or fracturing it.
- • That she is capable of violence and that her restraint in not killing Royce was a failure of character, not a moral triumph.
- • That Joyce, as her closest confidante, will either understand her darkness or be repelled by it—she needs to know which.
A mix of concern for Catherine’s well-being and relief that she is finally opening up, but also a underlying tension as she grapples with the darkness of Catherine’s confession. Her emotional state is one of careful balance—she wants to support Catherine but also to pull her back from the brink of self-destruction.
Joyce is seated across from Catherine, fully engaged in the conversation. Her body language is attentive but not intrusive; she listens intently, reacting with subtle nods, murmurs, and the occasional sharp interjection (e.g., 'Bitch'). Her dialogue is a mix of support ('You’re better than that') and gentle challenge, particularly when she calls out Catherine’s self-loathing. She also engages with the waitress, briefly shifting the tone to something more mundane, which serves as a contrast to the heaviness of Catherine’s confession. Her role is that of the grounded, empathetic friend who both validates Catherine’s feelings and refuses to let her wallow in them.
- • To provide Catherine with a safe space to unburden herself while also ensuring she doesn’t spiral into self-destructive guilt.
- • To subtly challenge Catherine’s self-perception, reinforcing that she is not defined by her violent impulses.
- • That Catherine’s violence toward Royce would have been a mistake, not just morally but practically, as it would have destroyed her life and career.
- • That Catherine is stronger than she gives herself credit for, and that her restraint—however painful—is a sign of her resilience.
Not directly observable, but inferred as a source of Catherine’s rage and guilt. His presence in the conversation is one of a specter haunting her, amplifying her conflicted emotions.
Tommy Lee Royce is not physically present but is the central subject of Catherine’s confession. His influence looms over the scene, both as a catalyst for Catherine’s trauma and as the object of her violent fantasies. His past actions—provoking Catherine, surviving her assault, and his role in Becky’s suicide—are implicitly referenced, shaping the emotional weight of the moment. His absence is palpable, as Catherine’s monologue is a direct response to his continued psychological hold over her.
- • To continue exerting control over Catherine, even from prison, by being the subject of her unchecked violent impulses.
- • To serve as a mirror for Catherine’s moral fragility, forcing her to confront the darkness he represents.
- • That Catherine’s violence toward him would have been justified, given his crimes, and that her restraint is a sign of weakness.
- • That his survival and continued influence over her life are proof of his enduring power.
Neutral and professional, with a hint of awkwardness as she realizes the women are not as engaged in her pitch as she had hoped. Her emotional state is one of mild embarrassment, but she presses on with her scripted spiel.
The waitress approaches the table to clear plates, interrupting the emotionally charged conversation between Catherine and Joyce. Her dialogue is performative and slightly awkward, as she struggles to sell the upcoming Michael Jackson impersonator while clearly not believing in his quality. Her presence serves as a jarring contrast to the intensity of the moment, grounding the scene in the mundane reality of the restaurant. She is oblivious to the weight of the conversation she has interrupted, which heightens the tonal dissonance.
- • To clear the plates efficiently and move on to the next task.
- • To promote the restaurant’s entertainment in the hopes of encouraging Catherine and Joyce to stay for the show.
- • That the Michael Jackson impersonator is not particularly good, but she is obligated to sell the act to the customers.
- • That the women at the table are potential customers who might be convinced to stay for the performance.
Objects Involved
Significant items in this scene
The plates at Catherine and Joyce’s table serve as a symbolic and functional interruption to their emotionally charged conversation. Physically, they are the waitress’s reason for approaching the table, providing a mundane task that cuts into the intensity of Catherine’s confession. Narratively, the plates represent the collision between Catherine’s internal turmoil and the external, performative world of the restaurant. Their presence—half-eaten food, remnants of a shared meal—contrasts sharply with the darkness of Catherine’s admission, highlighting the dissonance between her private rage and the public facade of normalcy. The clinking of the plates as the waitress gathers them underscores the jarring shift in tone, pulling Catherine and Joyce back into the reality of their surroundings.
Location Details
Places and their significance in this event
Angeliki’s Restaurant serves as a liminal space where Catherine’s internal conflict collides with the external, performative world. The restaurant is crowded and lively, with a sign outside advertising Michael Jackson’s impending performance, creating a sense of anticipation and entertainment that contrasts sharply with the heaviness of Catherine and Joyce’s conversation. Inside, the close tables and bustling atmosphere force intimacy between the two women, even as the waitress’s interruption and the restaurant’s entertainment pitch intrude on their private moment. The location’s role is twofold: it is a neutral ground where Catherine can unburden herself, yet it is also a space of performative cheerfulness that underscores the dissonance between her private rage and public expectations.
Narrative Connections
How this event relates to others in the story
"Catherine confessing her regret at not killing Tommy Lee Royce creates Joyce to joke about the Goran Dragovic murder."
"Catherine confessing her regret at not killing Tommy Lee Royce creates Joyce to joke about the Goran Dragovic murder."
"Catherine confessing her regret at not killing Tommy Lee Royce creates Joyce to joke about the Goran Dragovic murder."
Key Dialogue
"CATHERINE: Course I regret it! The only reason I didn’t kick the shit out of him at the time is because he wanted me to."
"CATHERINE: ((daft girly voice)) 'Kill me, kill me', ((then her own heroic voice)) 'Piss off you little turd, I’m not doing owt you want'. I neglected to mention that after I’d doused him in foam I did then indeed endeavour to kick the living day lights out of him. But sadly that - whoever she was - police woman went and waded in and pulled me off him."
"CATHERINE: I’m not. You weren’t there. He was nearly dead anyway. He was in a bloody bad way."