For instance, in one of the drafts of the sex scene, the Wachowskis had written that Violet would take off Corky’s shirt and admire her breasts. “I said, ‘Oh no, not with these two,’” Bright recalled. “Corky is very butch and kind of shy, and she’s not going to have her shirt ripped off and her nipples hanging out. She would rather die. Violet is more knowing than that, so she needs to sneak up on her and disarm her. A femme would never make a frontal assault on your tits.” With Bright’s advice, that choreography was gone, and was replaced instead by moments like when Violet traces her fingers on Corky and takes her hand and puts it on her breast. Bright also suggested we see Violet’s hand moving in between Corky’s thighs, and Corky’s belly trembling at the moment of orgasm, so we understand what’s happening without seeing it explicitly. “You should think of the woman’s hands as her genitals,“ Bright said. “You need really erotic close-ups of the hands. And not just in the sex scene. For instance, when Corky fixes the plumbling, and there’s water pouring all over her hands, it’s obviously a symbol for the sex that they’re soon to have. The whole movie was wet with with water and blood, all sorts of juicy, squishy associations. And luckily Gina Gershon had such good hands, you could imagine what was going to happen next.” As a consequence, “there wasn’t a single pinky move that wasn’t in the script,” Bright said. All the white spaces of the couple’s embrace were filled in and choreographed. “I didn’t write it word for word the way they did it in the end,” she said, “but I gave them the elements, and the Wachowskis did all the storyboards from there.”