Catherine exposes Tommy’s predatory manipulation
Plot Beats
The narrative micro-steps within this event
Catherine tries to get Frances to acknowledge the disparity in age and that Tommy is using her to get close to Ryan.
Catherine, after Frances accuses her of being angry and negative, suggests Frances is deluded simply because Tommy is pretty, prompting Frances to realize Catherine is jealous.
Who Was There
Characters present in this moment
Defensive infatuation bordering on delusional certainty. She is emotionally invested in her narrative of Tommy’s redemption, using religious language (‘condemn the sin, not the sinner’) to justify her beliefs. Her frustration with Catherine’s persistence is palpable, but her core emotional state is one of fragile devotion—she cannot afford to doubt Tommy, as it would collapse her self-image as his savior.
Frances stands defensively in her own home, her body language closed-off—arms crossed, engagement ring fingered nervously—as she listens to Catherine. She interrupts frequently, her voice sharp with accusation, but her arguments are repetitive and increasingly desperate. She touches her engagement ring like a talisman, grounding herself in her belief in Tommy’s goodness. Her denial is absolute: she rejects forensic evidence, frames Tommy’s violence as self-defense, and accuses Catherine of jealousy. By the end, she clings to the idea that ‘no-one is born evil,’ her voice trembling with conviction, even as Catherine’s warnings hang in the air.
- • To defend Tommy’s character and insist he is capable of redemption through kindness.
- • To justify her relationship with Tommy, framing it as altruistic and necessary for Ryan’s sake.
- • To dismiss Catherine’s warnings as motivated by jealousy or bias, preserving her delusion.
- • Tommy Lee Royce is a victim of his childhood and society, not inherently evil.
- • Kindness and love can redeem even the most violent individuals.
- • Catherine’s opposition stems from personal bias (jealousy, grief) rather than objective truth.
Not directly observable, but inferred through Frances’ devotion and Catherine’s fury. Tommy’s emotional state is likely one of smug satisfaction—his grooming of Frances has succeeded in creating a loyal disciple who defends him unconditionally, even in his absence. His absence amplifies his power in the scene, as both women are reacting to his influence rather than his physical presence.
Tommy Lee Royce is physically absent from the scene but is the central subject of the confrontation. His influence is omnipresent—Frances’ engagement ring, her missing photos of him and Ryan, and her repetitive defenses of his actions all serve as proxies for his manipulative control. Catherine’s recounting of his crimes (rape, murder, attempted murder) frames him as a predatory psychopath, while Frances’ insistence on his redemption paints him as a tragic figure. The room’s religious symbols (crucifix, picture of Jesus) contrast with the missing photos, underscoring the tension between Frances’ spiritual justifications and the brutal reality of Tommy’s actions.
- • To maintain his grip on Frances, ensuring she continues to act as his proxy (e.g., facilitating access to Ryan).
- • To undermine Catherine’s authority by exploiting Frances’ infatuation and denial.
- • To preserve his narrative of victimhood, even from prison.
- • He is entitled to a relationship with Ryan, regardless of his crimes.
- • His violence is justified (self-defense, trauma responses).
- • Frances’ devotion is a tool to be exploited for his own ends.
Ryan Cawood is referenced throughout the confrontation as the focal point of the conflict between Catherine and Frances. Frances argues …
Brett McKendrick is referenced by Frances as another victim of Tommy’s ‘self-defense,’ his name used to bolster her claim that …
Lewis Whippey is mentioned by Frances as a victim of Tommy’s ‘self-defense,’ his name invoked to support her narrative of …
Kirsten McAskill is invoked by Catherine as one of Tommy’s murder victims, her name used to highlight the brutality of …
Objects Involved
Significant items in this scene
The cuddly toy in Frances’ sitting room serves as a poignant symbol of her delusional nurturing instincts. Its soft, childlike form contrasts sharply with the room’s sparse, almost ascetic decor—including the crucifix and missing photos of Tommy and Ryan—highlighting the disconnect between Frances’ self-image as a caring figure and the reality of her involvement with a dangerous criminal. Catherine does not directly interact with the toy, but its presence underscores the unspoken tension: Frances’ desire to mother Ryan is misplaced, rooted in her infatuation with Tommy rather than genuine concern for the boy’s well-being. The toy’s isolation in the room mirrors Frances’ emotional isolation—she is surrounded by symbols of control (the crucifix, her engagement ring) but lacks the warmth and stability she claims to offer.
Location Details
Places and their significance in this event
Frances’ sitting room is a battleground of moral and emotional conflict, its sparse decor and religious symbols creating an atmosphere of tension and unease. The crucifix and picture of Jesus suggest a search for spiritual justification, but the missing photos of Tommy and Ryan undermine this, exposing the room as a stage for Frances’ delusions. The cuddly toy, engagement ring, and empty spaces on the wall serve as silent witnesses to the confrontation, each object reinforcing the theme of manipulation and denial. The room’s dim lighting and closed-off feel mirror Frances’ emotional state—defensive, isolated, and resistant to change. For Catherine, the room is a space of controlled urgency; she must navigate its moral and psychological minefield to reach Frances, but the environment itself resists her, reflecting Frances’ refusal to engage with the truth.
Narrative Connections
How this event relates to others in the story
"Catherine arrives at Frances' house aiming to stop the harm to Ryan, and tries build trust by suggesting she she isn't a bad person. Paralleling their efforts."
Key Dialogue
"FRANCES: We’re getting married."
"CATHERINE: Tommy Lee Royce is a psychopath. He’s a murderer and he’s a sex offender. And you must know—you must realise—that I think you’ve allowed yourself to be deluded by this dangerous man because you’re infatuated with him."
"FRANCES: You’re jealous."
"CATHERINE: On the inside... he looks exactly like them. And one day... the scales will fall away from your eyes. Because they always do. And you’ll realise how foolish he’s made you look."