He’s dead, but that doesn’t mean he can be tucked away.Īrabella conjures a triptych that explores and explodes clichés, and in which no questions, no thoughts, no feelings are off-limits. She takes him home, pulped on the bus-“boys will be boys,” a woman says to her smilingly-and shoves him under her bed, along with everything else she’s repressing. They follow him through the city, and after he collapses on the street, Arabella holds his flaccid penis and beats him up. The women’s giddiness fades when Arabella remembers that he has taken her underwear. As he begins to undo his pants, she opens her eyes and asks “Who is the criminal, you or me?” just as Theo reaches out from the next bathroom stall and injects him with his own drugs. David takes a seemingly spiked Arabella down to the bathroom.
Arabella approaches him, hilariously pretending to sip her drink-Coel’s physical comedy never fails-while Terry distracts his co-conspirator with a dance and Theo steals his drugs. They call Theo, and the three of them watch the rapist, David, at the bar. In the initial scenario, upon recognizing her rapist, Arabella drags an uncertain Terry down to the bathroom of the Ego Death Bar and explains her plan: hook, line, sink him. Coel says she’s trying not to do that, but apparently only, first, by doing it. Alex Jung’s profile of Coel for New York magazine, he describes her writing the finale at an Airbnb in rural Michigan, where her host recommended a Margaret Atwood story about a woman encountering her attacker.
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