Being Bullied Feature Script.
- simonmorrell
- Jun 16
- 3 min read
Being Bullied Feature Script. What Works Well: The screenplay establishes a compelling emotional throughline rooted in Simon's dual oppression—a violent bully in Joseph and an emotionally abusive father in Peter. This dual-antagonist structure creates layered conflict that feels authentic and avoids the simplistic "one bad guy" formula. The audience has two distinct sources of tension to track, and Simon's growth must address both, which raises the dramatic stakes considerably.
The park scenes with Julie function as an effective emotional anchor point. Returning to the same location—the swings, the slide, the kid with the chocolate—creates a sense of ritual and intimacy that grounds the love story. Julie operates as more than a romantic interest; she is the catalyst for Simon's transformation, connecting him to Eddie and the fight academy. Her own history as Joseph's abuse victim gives her personal stakes in Simon's journey, making their bond feel earned rather than convenient. The reveal that Joseph is essentially an unwitting pawn—that Gary, Patrick, and the Irish connection orchestrated the drug access through Peter's debt rather than through Simon's cowardice—is a strong structural twist. It deflates Joseph's self-image as a mastermind and recontextualises the bullying as misdirected rage, adding dimension to what could have been a one-note villain.
The pub scene where Joseph learns the truth is one of the screenplay's most dramatically satisfying moments. Peter's characterisation is nuanced in unexpected ways. The social club scene where he reveals his resentment about abandoned singing ambitions and the prison of marriage provides genuine pathos without excusing his cruelty. His line "Do you want them?" about his family is devastating in its casualness. The screenplay wisely avoids making him purely monstrous—he is a failed dreamer who punishes his son for his own inadequacy.
The climactic office confrontation pays off Simon's training in a way that feels proportionate and satisfying. Simon doesn't become a superhero; he uses precise, efficient technique—a choke, a stomp, a wrist trap—that reflects disciplined martial arts rather than movie-style brawling. His verbal command of the room, dictating terms to the Irishman while simultaneously exposing his father's buried cash, demonstrates intellectual growth alongside physical capability. Terry functions as an effective surrogate father figure who operates within morally grey territory.
His decision to protect Simon from the blackmail scheme while still serving Peter creates a believable internal conflict. His line about worshipping his own kids and recognising Peter's failure as a father delivers thematic weight without sentimentality. The agoraphobia subplot adds psychological realism that elevates the material beyond a standard bullying narrative. Simon's inability to cross his own threshold, the cars appearing to move at exaggerated speed, the physical symptoms of panic—these details ground the story in recognisable mental health experience and raise the cost of every brave action Simon takes. Joan's quiet desperation—talking to her dead father, pouring whisky into her tea, then abandoning pretence for a crystal glass—economically communicates a woman trapped in parallel to her son.
Her awareness of the situation combined with her inability to act mirrors Simon's own paralysis and suggests the cycle he must break. The scene where Joseph pulls the young teen from the gang fight is the screenplay's most complex character moment. It reveals Joseph's self-awareness about his own destructive path and his inability to escape it, creating genuine tragedy within the antagonist. His line, "Because I am a fool. A nobody, because I don't know any better" humanises him without absolving him.
If you are a film producer and would like to see a copy of the script or pitch deck, please contact us at info@simonmorrell.com
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