Amanda Wadsworth

Exasperated but composed; her emotional energy is directed toward managing the children’s behavior, leaving her unaware of John’s internal collapse.

A mix of bewilderment and creeping dread—her questions aren’t just about John’s location, but about the unspoken rift between them. There’s a quiet fury beneath her concern, the kind that comes from loving someone who won’t let you in.

Energetic and carefree, reflecting the typical emotional state of an older teenager focused on his own activities.

Neutral and disengaged, focused on their own tasks without concern for the needs of guests.

Concerned for John’s health, but her emotions are secondary to the larger crisis—she is a catalyst, not a participant.

Indirectly framed as a source of conflict: Vicky portrays her as the villain ('This is what she does to you!'), while John’s defense of her ('I do not hate the children') suggests she represents loyalty and duty—qualities he’s betrayed but still clings to. Her emotional state is projected: Vicky sees her as oppressive; John sees her as a victim of his lies.

A quiet, simmering resentment beneath a veneer of resignation, with moments of unspoken awareness that cut deeper than any confrontation.

Unclear but implied to be a mix of hurt, resignation, and potential anger; her absence and John’s evasiveness suggest she may be biding her time or preparing to act.

Not directly observable, but inferred as a source of tension and anxiety for John, and a tool for Vicky’s control.

N/A (Referenced only; no direct emotional state). Her stunned reaction in the flashback (Shit.) conveys shock and guilt, but her broader role is as a silent antagonist in John’s personal crisis, her affair framing his desperation for connection.

Shocked and guilty—her affair is exposed in a moment that mirrors John’s own unraveling, reinforcing the theme of interconnected betrayals.

Shocked → guilty (surface: defensive; internal: remorseful, fearful of John’s reaction)

Shocked and defensive (in flashback), with implied guilt and defiance in her absence.

Angry, resentful, and emotionally exhausted, but determined to force John into accountability

Angry and determined, channeling resentment into a calculated attack; her calm delivery of insults belies the fury beneath.

Coldly satisfied, but not triumphant. There’s no glee in her actions—this is the weary finality of a woman who has exhausted all other options. Her emotional state is one of grim determination, the kind that comes from knowing this is the only way to protect herself and her children from further pain. The upstairs window is her throne, and John’s rage below is the confirmation she needed that her decision was the right one.

A tense mix of protectiveness and frustration, with underlying anger and sadness. She is determined to shield her children but is also grappling with the pain of John’s unraveling and the collapse of their family dynamic.

Anger and determination mask her deeper fear and exhaustion. She is resolute in her decision to keep John out, but her emotional state is complex—she is both the victim of his instability and the architect of his exclusion, which she justifies as necessary for her children’s safety.

Firmly resolute and angry, driven by a desire to protect her children and assert her boundaries. Her emotional state is one of defiance, with no hint of compromise, as she refuses to back down in the face of John’s aggression. There is also an undercurrent of exhaustion, as if she has reached the end of her patience with his behavior.

A steely determination to protect her children, mixed with exhaustion and anger at John’s inability to control himself. She is not backing down, but there’s an undercurrent of sadness—this is not how she wanted her marriage to end.

Oblivious (implied by her lack of awareness of Jack’s vigil or John’s arrival), with an underlying tension that will soon surface.

Panicked and humiliated, with a growing sense of helplessness as John weaponizes her affair. Her emotional state oscillates between defiance and despair, driven by the fear of losing her children and the exposure of her infidelity to Graham’s wife. Beneath the surface, there is a deep sense of shame and the realization that her actions have irreparably damaged her family.

Quietly tense, masking deeper anxiety beneath a facade of composure. Her avoidance of eye contact and focus on the dishwasher suggest she is bracing for the fallout of John’s outburst, her own guilt and instability simmering beneath the surface.

Feigned calm masking deep anxiety and guilt, with a underlying sense of dread as the past collides with the present.

Not directly observable, but inferred as anxious or guilty—her affair and its exposure are the linchpin of the scene’s tension.

Projected guilt and fear—though not physically present, Amanda’s emotional state is implied through Graham’s account: her tearful confession to him, her years of suspicion, and her role as the object of John’s violent fixation. Her absence in the scene underscores her vulnerability and the ripple effects of her choices.