Baby Driver
A young getaway driver with tinnitus relies on his personal soundtrack to navigate the criminal underworld, but his desire for a clean getaway with the girl of his dreams leads him on a dangerous collision course with his ruthless employers.
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Unique Selling Point
Discover a thrilling journey of self-discovery, redemption, and the power of music in "Baby Driver" - a captivating script that showcases a unique blend of coolness, rebellion, energy, wit, and musicality. This high-octane getaway story follows Baby, a young and skilled driver who uses music to drown out his tinnitus and navigate the chaos of his criminal world. With a distinct voice that combines concise dialogue, descriptive narrative, and specific music references, this screenplay delivers an engaging, fast-paced, and emotionally resonant experience. Witness Baby's transformation from a quiet and reserved individual to a courageous hero, as he confronts his past, forms deep connections, and strives for a chance at a normal life. Immerse yourself in the authentic characters, high-speed chases, and the evocative use of music that underscores the tension and excitement in every scene. "Baby Driver" is a must-read for those who appreciate a unique and unforgettable story that combines action, music, and heart.
AI Verdict & Suggestions
Ratings are subjective. So you get different engines’ ratings to compare.
Recommend
Recommend
Story Facts
Genres: Crime, Action, Thriller, Drama, Romance
Setting: Present day, Los Angeles, California
Themes: Music as a form of escape, Redemption and second chances, Family and father figures, Crime and its consequences, Love and romance
Conflict & Stakes: Baby's internal conflict between his love for music and his involvement in criminal activities, as well as the external conflict between Baby and the police, who are chasing him after a series of heists.
Mood: Action-packed and music-driven, with a hint of danger and excitement
Standout Features:
- Unique Hook: Innovative use of music and sound design to drive the narrative and action sequences.
- Plot Twist: The unexpected betrayal of a crew member, leading to a tense and action-packed climax.
- Distinctive Setting: The vibrant and diverse city of Los Angeles, with its iconic landmarks and neighborhoods.
- Innovative Idea: The use of music as a character in the film, driving the action and emotions of the story.
- Unique Characters: A diverse cast of characters, each with their own unique backgrounds and motivations.
Comparable Scripts: Drive, The Town, Heat, The Italian Job, Gone in 60 Seconds, The Fast and the Furious, Reservoir Dogs, Pulp Fiction, Snatch, Lock, Stock and Two Smoking Barrels
Script Level Analysis
This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.
Screenplay Insights
Story Critique
Characters
Emotional Analysis
Goals and Philosophical Conflict
Logic & Inconsistencies
Scene Analysis
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
Analysis of the Scene Percentiles
- The screenplay has a strong handle on emotional impact (69.13%ile), stakes (83.11%ile), and story forward momentum (84.93%ile), indicating a compelling narrative.
- Character changes and development are also strong points, with 82.19%ile and 70.43%ile rankings, respectively, suggesting well-rounded and evolving characters.
- Dialogue could use improvement, as it ranks relatively low (36.52%ile). Focusing on refining dialogue to better serve the story and characters could enhance the overall screenplay.
- Originality and formatting could also benefit from attention, with 40.43%ile and 30.85%ile rankings, respectively. Injecting more originality into the story and improving formatting can help the screenplay stand out.
- The concept and plot rankings, while above average, have room for improvement (49.57%ile and 60.43%ile, respectively). Developing the core concept further and enhancing the plot structure can strengthen the screenplay.
The writer demonstrates a balance between character development and narrative progression, leaning slightly towards intuitive storytelling with a focus on character changes and emotional impact.
Balancing Elements- To create a more balanced screenplay, consider focusing on improving dialogue to better match the strong character development, and enhancing originality and formatting to strengthen the concept and presentation.
- Additionally, refining the plot structure and core concept can help create a more cohesive and engaging narrative.
The writer appears to be integrated, with a good balance between intuitive and conceptual elements, but could benefit from further developing the concept and plot to match the strong character development and emotional impact.
Overall AssessmentThe screenplay has a solid foundation, with compelling characters, emotional impact, and story forward momentum. With focused effort on dialogue, originality, formatting, and concept development, the screenplay can reach its full potential.
How scenes compare to the Scripts in our Library
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Percentile | Before | After |
|---|---|---|---|---|
| Scene Overall | 8.8 | 95 | Dune Part Two: 8.7 | the dark knight rises: 8.8 |
| Scene Pacing | 8.62 | 90 | Back to the future: 8.61 | Baby Driver: 8.62 |
| Scene Formatting | 8.98 | 89 | Killers of the flower moon: 8.96 | Harold and Maude: 8.98 |
| Script Structure | 8.40 | 86 | Enemy of the State: 8.38 | Baby Driver: 8.40 |
| Script Visual Impact | 8.20 | 84 | Jojo rabbit: 8.10 | the boys (TV): 8.20 |
| Scene High Stakes | 8.5 | 83 | V for Vendetta: 8.4 | Casablanca: 8.5 |
| Scene Conflict Level | 8.3 | 82 | Pirates of the Caribbean: 8.2 | Bad Boy: 8.3 |
| Scene External Goal | 7.57 | 80 | the 5th element: 7.56 | LA confidential - draft: 7.57 |
| Script Structure | 8.10 | 71 | Jojo rabbit: 8.00 | Titanic: 8.10 |
| Scene Story Forward | 8.4 | 71 | Parasite: 8.3 | a few good men: 8.4 |
| Script Characters | 8.20 | 71 | 12 years a slave: 8.10 | groundhog day: 8.20 |
| Scene Plot | 8.2 | 67 | American Fiction: 8.1 | Casablanca: 8.2 |
| Script Premise | 8.40 | 66 | Dune Part Two: 8.30 | face/off: 8.40 |
| Scene Characters | 8.4 | 54 | Silicon Valley: 8.3 | True Blood: 8.4 |
| Scene Character Changes | 7.0 | 46 | Zootopia: 6.9 | the pursuit of happyness: 7.0 |
| Scene Emotional Impact | 7.7 | 40 | Jack Reacher: 7.6 | severance (TV): 7.7 |
| Overall Script | 8.00 | 37 | Mo: 7.90 | fight Club: 8.00 |
| Script Emotional Impact | 7.60 | 35 | A real pain : 7.50 | Breaking Bad: 7.60 |
| Script Originality | 7.80 | 32 | Sing Sing: 7.70 | face/off: 7.80 |
| Script Conflict | 7.20 | 28 | Mr Robot: 7.10 | There's something about Mary: 7.20 |
| Scene Dialogue | 7.5 | 26 | The Umbrella Academy: 7.4 | Titanic: 7.5 |
| Scene Engagement | 8.86 | 23 | Nickel Boys : 8.85 | the pursuit of happyness: 8.86 |
| Script Theme | 7.80 | 21 | 2001: 7.70 | the 5th element: 7.80 |
| Scene Internal Goal | 8.00 | 20 | KILLING ZOE: 7.98 | fight Club: 8.00 |
| Scene Unpredictability | 7.12 | 15 | The King's speech: 7.11 | Baby Driver: 7.12 |
| Scene Concept | 7.8 | 14 | Swingers: 7.7 | Erin Brokovich: 7.8 |
| Scene Originality | 6.43 | 6 | Silence of the lambs: 6.39 | Baby Driver: 6.43 |
Other Analyses
This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.
Unique Voice
Writer's Craft
Memorable Lines
World Building
Unique Voice
Writer's Craft
Memorable Lines
World Building
Engine: Gemini
Recommend
Executive Summary
Baby Driver is a highly recommended screenplay with exceptional action sequences, a compelling central relationship, and a unique use of music as a narrative device. While there are opportunities to further develop certain characters and plot points, the script's strengths far outweigh its weaknesses, making it a promising and exciting project.
- Exceptional action sequences with creative integration of music and visuals, showcasing Baby's driving skills and the film's overall style. high ( Scene 1 Scene 2 Scene 4 Scene 30 Scene 31 Scene 74 Scene 78 Scene 97 )
- The development of Baby and Debora's relationship, offering a sweet and innocent counterpoint to the film's criminal underworld. high ( Scene 21 Scene 39 Scene 44 Scene 59 Scene 88 Scene 99 Scene 100 )
- Strong and distinctive character voices, particularly Bats and Buddy, adding humor and tension to the narrative. high
- The use of music as a central narrative device, shaping the pace, mood, and character development throughout the film. high
- The exploration of Baby's internal conflict and his desire to escape the criminal life, adding depth and complexity to his character arc. medium ( Scene 10 Scene 26 Scene 52 Scene 63 Scene 68 )
- Doc's motivations and backstory could be further explored to provide a more complete understanding of his role in the criminal world and his connection to Baby. medium
- The involvement of the child, Samm, in the post office heist planning feels unnecessary and potentially exploitative. medium ( Scene 47 Scene 49 )
- The gas station robbery subplot feels like a detour from the main narrative and doesn't contribute significantly to Bats' character development. low ( Scene 53 Scene 54 Scene 55 )
- The pacing in the second act could be tightened, particularly during the planning stages of the heists, to maintain momentum. low
- A deeper exploration of the emotional and psychological impact of Baby's tinnitus and childhood trauma would enrich his character arc. medium
- The ending feels somewhat abrupt. More scenes could be added to show Baby and Debora's life after prison, exploring their challenges and triumphs as they build a new life together. medium ( Scene 86 Scene 87 Scene 103 Scene 104 Scene 105 )
- The screenplay's unique blend of action, music, and romance creates a highly entertaining and memorable cinematic experience. high
- Baby's moral compass and his reluctance to engage in violence add a layer of complexity to his character and the film's themes. medium ( Scene 18 Scene 49 Scene 60 Scene 80 )
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Baby Driver' is a stylish, character-driven crime thriller that blends high-octane action sequences with a compelling emotional arc. The protagonist, Baby, is a talented getaway driver whose rhythmic integration with music and driving sets him apart from the rest of his crew. The screenplay skillfully balances character development, suspense, and visual flair, delivering an entertaining and thematically resonant story. While there are a few areas for potential improvement, such as further developing the supporting characters and more deeply exploring the broader themes, the screenplay is a strong candidate for production consideration.
- The opening sequence establishes the world, characters, and tone of the film through visually engaging and rhythmically-driven storytelling. The music integration and kinetic camerawork create a dynamic, stylized introduction. high ( Scene 1 (1-3) )
- The detailed heist planning scene showcases Baby's keen observational skills and strategic thinking, highlighting his value to the crew despite his quiet demeanor. medium ( Scene 10 (26) )
- The high-octane car chase sequence is an exhilarating display of Baby's driving prowess, skillfully woven into the narrative and scored with a pulsing soundtrack that heightens the tension and momentum. high ( Scene 31 (74-79) )
- The tense confrontation in the parking garage between Baby and the vengeful Farmers showcases the screenplay's ability to build suspense and deliver impactful, character-driven action. medium ( Scene 38 (93-97) )
- The final act's bittersweet conclusion, with Baby surrendering to the police but finding solace in Debora's company, provides a poignant and emotionally resonant resolution to the character's journey. high ( Scene 41 (101-102) )
- The crew meeting scene feels a bit exposition-heavy, with the characters' backstories and motivations not fully integrated into the narrative flow. medium ( Scene 11 (27) )
- The interlude with Bats, Buddy, and Darling in the car feels a bit disconnected from the main plot, and could be streamlined to maintain the overall pacing. low ( Scene 22 (53-54) )
- The sequence where the crew questions Baby's loyalty feels a bit repetitive, and could be tightened to avoid losing momentum. medium ( Scene 28 (63-68) )
- While the screenplay effectively explores Baby's character arc, there could be opportunities to further develop the supporting characters, such as Buddy and Darling, to provide a more well-rounded ensemble. medium
- The screenplay could benefit from more explicit exploration of the broader themes of redemption, morality, and the cyclical nature of violence, to elevate the narrative beyond a straightforward action-driven plot. medium
- The integration of music and sound design is a standout element, with the soundtrack seamlessly woven into the visual storytelling and character development. high ( Scene 1 (1-3) )
- The phone call between Baby and Doc provides an intriguing glimpse into the world of the criminal underworld and the characters' complex relationships, setting up the final act's high-stakes conflict. medium ( Scene 35 (90-91) )
- The bittersweet, open-ended conclusion leaves the audience with a sense of hope and possibility for Baby's future, despite the heavy toll of his past actions. high ( Scene 41 (101-102) )
Screenplay Insights:
Characters: 8.2, The screenplay demonstrates strong character development, presenting a range of diverse and well-rounded characters. The protagonist, Baby, undergoes a compelling journey of transformation, and the supporting characters play crucial roles in shaping his arc. However, there are opportunities to enhance the depth and relatability of certain characters and refine their dialogue to further engage the audience. See More
Premise: 8.4, The screenplay presents a high-concept premise that effectively sets up a thrilling and character-driven narrative. However, some key elements could be refined to enhance its overall intrigue and long-term audience engagement. See More
Structure: 8.1, The screenplay exhibits a well-structured and engaging plot, effectively building tension and character arcs. However, some pacing issues and underdevelopment of certain plot points could be refined to enhance the overall narrative clarity and impact. See More
Theme: 7.8, The screenplay effectively conveys its themes and messages, immersing the audience in the protagonist's journey of self-discovery and redemption. The exploration of music as a coping mechanism, the pursuit of adrenaline, and the consequences of criminal actions are seamlessly woven into the narrative. While the themes are clear and impactful, there's an opportunity to deepen their resonance and enhance the overall thematic coherence. See More
Visual Impact: 8.2, The screenplay showcases innovative and engaging visual imagery, crafting a captivating and immersive experience for the reader. It effectively utilizes vivid descriptions, dynamic set pieces, and symbolic elements to enhance the emotional impact and narrative depth of the story. See More
Emotional Impact: 7.6, The screenplay demonstrates a strong foundation for emotional storytelling, effectively capturing the protagonist's inner struggles and creating intense moments. To further enhance its emotional depth, focus on expanding the characters' emotional complexities and adding depth to their interpersonal relationships. See More
Conflict: 7.2, The screenplay effectively presents engaging conflicts and compelling stakes, but there is room for improvement. By refining the clarity of the central conflict, further developing the personal impact of the stakes, and intensifying the conflict's integration within the narrative, the screenplay can elevate its tension and audience engagement. See More
Originality: 7.8, The screenplay exhibits originality and creativity in its exploration of a unique character-driven story, which sets it apart from conventional heist films. The innovative use of sound, particularly Baby's tinnitus and his reliance on music, adds a fresh and immersive dimension to the narrative. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- A young driver named Baby waits in a red Honda Civic while his colleagues Griff, Buddy, and Darling rob a bank in a strip mall parking lot. As Baby listens to music and becomes animated, he accidentally turns on the wipers and waves at a passing mother and her baby. He notices a police car driving by and becomes serious, watching his colleagues through the frosted windows as they brandish weapons and order the staff to the floor. When the alarm sounds, Baby's colleagues come out of the bank with bags of money, and Baby quickly reverses the car, narrowly maneuvering through the parking lot and driving away.
- Baby, the driver, leads a high-speed chase through the streets of LA with his gang after a heist, skillfully maneuvering through traffic and narrowly avoiding the police. They eventually switch cars in a parking lot, leaving the police behind. The scene is tense and action-packed, with Baby repeating 'I’m gonna daaaaance' and 'I’m gonna break, I’m gonna break!' as they make their escape.
- Baby, the skilled getaway driver, enters the loft with coffee and does a little dance. The group counts their money, but the atmosphere turns tense when Griff questions Doc about Baby's mental abilities, wondering if he's 'retarded'. Doc defends Baby, but Griff continues to harass him, taking off Baby's headphones and mocking his music. Griff then pulls out his gun, attempting to provoke Baby, who remains calm and unresponsive. The scene ends with Baby putting his headphones back on and retreating to the back of the room, while Griff reluctantly puts the money back in the holdall.
- In a packed freight elevator, Baby has his first encounter with Griff, Darling, Buddy, and Doc, as they all descend from the first to the second floor. Griff attempts to intimidate Baby, but Doc intervenes, leading to Griff's exit. Buddy and Darling's affectionate behavior and discussion of 'Love In An Elevator' lightens the mood, while Baby speaks his first words to the gang before the scene ends.
- Baby and Doc have a financial transaction in a parking lot, where Doc gives Baby a stack of bills and leaves. Baby returns home, takes his medication, and communicates with an elderly man in a wheelchair through sign language, making him a sandwich. The scene highlights Baby's sense of responsibility towards the elderly man, with minor conflicts and a subdued tone in Baby's apartment.
- In this scene, Baby, the main character, is left alone in the apartment watching TV and listening to an old cassette tape of a car chase. His restlessness and focus on the cassette tape's dialogue about the car's speed suggest a longing for connection. The scene takes on a melancholic and nostalgic tone, with a hint of danger and tension in the flashback of a younger Baby with bruises, sitting in a car with a shouting man and crying woman. The conflict of Baby's loneliness and longing for connection is not resolved, as he falls asleep without any resolution. The key pieces of dialogue come from the TV shows and cassette tape that Baby listens to, emphasizing themes of beauty, growing up, friendship, and speed.
- Baby, the main character, prepares to leave his apartment and drives to a diner. Inside, he meets Jonathan, a waitress who used to sing 'B-A-B-Y, Baby'. Baby is captivated by her beauty and singing, and the two exchange pleasantries. The scene is light and positive, with Baby telling Jonathan she's beautiful before she walks away, leaving him to admire her from afar.
- In this light-hearted and humorous scene, Baby goes to a discount record store and buys a Carla Thomas CD, listening to 'B-A-B-Y' until interrupted by a phone call from Doc. Following Doc's instructions, Baby purchases a new suit and waits outside a fancy restaurant where Doc is having a meeting. Doc reveals they have a new job, which Baby accepts, ending the scene on a note of anticipation.
- Baby and Doc enter a warehouse and meet Eddie, J.D., and Bats, three skeptical criminals. The crew is curious and suspicious of Baby's constant music listening, due to his tinnitus. The tone is tense and confrontational, with Doc vouching for Baby as the scene ends with Doc clicking his fingers, asking for Baby's confirmation of his commitment.
- Doc explains the details of a daring armored truck heist to the team, but is interrupted by Bats who expresses concern about Baby's lack of attention. Despite this tension, Doc calls on Baby to summarize the plan, and Baby rises to the occasion, earning him a new nickname and a renewed sense of trust from the team.
- Baby, a car thief, follows an unsuspecting Avalanche owner into a Metrolink station, imitating his actions and eventually stealing his car using keys he had previously obtained. The scene is lighthearted and playful, but there is an underlying tension due to the illegal nature of Baby's actions. The scene ends with Baby driving away in the stolen Avalanche.
- In the parking lot of Banco Popular, Baby parks the Avalanche as Bats points out their target: an armored truck. Wearing Halloween masks, the gang attacks the Hopper unloading bags from the truck, while Baby focuses on driving. A Marine near a red Toyota pickup blocks their exit and opens fire, leading Baby to escape over a landscaped island. The scene is tense and action-packed, filled with visual elements such as the Avalanche, the armored truck, and the gang's masks. The main conflict arises between Baby and the Marine, ending with Baby's daring escape.
- In this intense and suspenseful scene, Baby showcases his exceptional driving skills while being pursued by a red Ford pickup truck on Valley Blvd and I-10. He manages to escape by turning the car around and driving between surrounding rigs. Following a red light at a construction site, Bats and Eddie carjack a blue Accord from a young mother, who has a child in the car. Baby quickly transfers his iPod to the new car and they drive off, leaving the young mother and her child behind.
- Baby and his gang successfully evade the police and switch to a third car, but Baby becomes increasingly anxious when he realizes that J.D. is missing. Doc divides up the take from their heist, and Baby is tasked with losing this ride. In a junkyard, Baby watches as his former ride and colleague are destroyed. Meanwhile, Baby shares a moment of connection with a waitress named Debora, who becomes smitten with him. The scene takes place in various locations, including an underground parking lot, a diner, and a junkyard. The main conflict in this scene is Baby's growing anxiety about their heists and his missing colleague, which are not resolved. The tone of this scene is tense and anxious, with moments of levity and connection between Baby and Debora.
- Baby, the protagonist, listens to 'Debora' by T-Rex and sings along, watching the real Debora leave work from a distance. He edits a conversation with Debora on his tape recorder and plays it on loop, lip syncing to the song and avoiding the ringing phone. The elderly man tries to answer the phone but is stopped by Baby. The scene ends with Baby watching the phone flash and 'Debora' echoing in the room, highlighting his continued longing for connection.
- Baby, the skilled getaway driver, meets Debora, a diner waitress, and they bond over their shared love for music. However, their conversation is cut short when Baby spots Doc, his father figure and criminal mentor, waiting outside. Torn between his loyalty to Doc and his growing feelings for Debora, Baby becomes visibly uncomfortable, and the scene ends with him pausing his music, allowing the faint unsettling hum to return. The main conflict of the scene revolves around Baby's internal struggle, as he tries to reconcile his two worlds without causing harm to those he cares about.
- Baby meets with Doc in a diner parking lot and learns he's paid in full for their previous job, with another opportunity on the table. Baby is unsure about leaving his life of driving behind, despite Doc's assurance. Debora, a waitress, catches Baby's eye, but they ultimately drive off, leaving her behind. The scene is filled with contemplation, uncertainty, and a glimmer of optimism as Baby faces a crossroads in his life.
- Doc and Baby, accompanied by a helpful eight-year-old kid, case a post office in Watts as a potential site for a heist. Baby, who feels uneasy about the plan, interacts with a kind teller and learns her schedule for the next day. The scene ends with Baby, Doc, and the kid leaving the post office, implying that they may return for the heist.
- In Doc's Merc, Baby gives a detailed report of the bank robbery to Doc and Samm. Doc offers Baby a position in his organization, and Baby accepts, reassuring Doc of their friendship and importance as a team. The scene ends with Doc and Baby getting into a freight elevator, with Baby meeting the rest of his team on their floor.
- In Doc's warehouse, Baby meets the rest of the team, including Buddy, Bats, and Darling. Baby and Buddy bond over their shared habit of listening to music, while Bats mocks them for it and shares a disturbing story about his uncle. The team prepares for a job in Watts, and Doc keeps them focused on the task at hand. The scene is tense and confrontational, but also includes moments of connection and bonding.
- Doc explains the plan to rob a post office, which involves the group staying together in the loft to avoid heat and mix up their routines. Baby has difficulty understanding and repeating the plan, causing tension and frustration among the group. Buddy and Darling have specific roles in the heist, and Bats has a contact for obtaining weapons. The scene ends with Doc assigning them all to stay together in the loft for the night.
- In this tense and uneasy scene, Baby drives the group to a gas station while Martha and the Vandellas' 'Nowhere to Run' plays. Buddy and Darling stay in the car, talking and smooching, and reveal their plans to take the money from the bank heist. Meanwhile, Bats goes missing inside the gas station, causing Baby to become increasingly worried. As the tension builds, Baby ultimately decides to drive off without him, leaving Bats behind. Throughout the scene, Buddy and Darling share affectionate moments, while Baby looks worried in the driver's seat. Bats is seen grinning as he returns to the car with armfuls of gum, but it's too late, as Baby has already driven away.
- Bats, the leader of a heist gang, waits outside a train yard for a gun deal with intimidating figures known as the 'Farmers'. Despite Baby's hesitation and moral objections, Bats opens fire, leading to a chaotic shootout and the death of multiple gunsmiths. The gang, including Buddy and Darling, escapes with the guns, leaving Baby increasingly uncomfortable with their violent actions. The scene takes place in a foggy train yard, with a tense and action-packed tone, setting up further conflicts within the group.
- Baby and his gang, including Bats, Buddy, and Darling, stop at a diner where Baby's love interest, Debora, works. Bats is fixated on going inside, revealing his suspicion that Buddy used to be a stockbroker. The scene becomes tense as Bats pulls out his gun, but Baby prevents him from using it, and they all leave the diner. This scene is characterized by its tense and confrontational atmosphere, with significant visual elements including Baby's intense gaze at Debora and Bats' aggressive behavior.
- Doc enters a loft at night and discovers tension among Buddy, Darling, and Bats regarding Baby's emotional state. Baby is awake and listening through a partition. Doc defends Baby and tells a story about how he found him, resolving the tension and reassuring the group. The scene ends with Baby closing his eyes and a flashback of Young Baby in the backseat of a car, watching his Dad hold up a gas station clerk at gunpoint.
- Baby sneaks out of the loft, leading to a confrontation with Buddy in the parking garage. Bats reveals he has been recording their conversations, causing tension as Baby denies he's leaving. The scene ends with Bats holding up the cassette recorder, leaving Baby's intentions uncertain.
- In an undecorated loft, Baby is forced to listen to a recording of a previous conversation, revealing his habit of recording conversations. Bats becomes suspicious and interrogates Baby, who explains his fascination with recording and making music. Despite Buddy's doubts, Bats decides to call Doc for further investigation. Baby offers to play one of his music tapes, which Buddy agrees to retrieve from his home. The scene is tense and suspenseful, with Bats' suspicion towards Baby as the main conflict.
- Baby, Buddy, Bats, and Darling drive to Baby's foster dad's apartment to retrieve some D30 tapes. While there, they listen to a montage of earlier conversations, which Bats finds confusing and unimpressive, but Darling finds amusing. Bats throws one of the tapes out of the window, and he takes Baby for a drive to test his driving skills. The scene is tense and high-stakes, with a conflict surrounding Bats' uncertainty about Baby's ability to drive the getaway car. The scene ends with Bats taking Baby for a ride home, leaving the remaining members of the group in the loft.
- In this tense scene, the gang consisting of Buddy, Darling, Bats, and Baby, prepares for a robbery. They get stuck in traffic in their blue Mitsubishi Galant, with Baby as the driver, while Bats becomes increasingly restless. The tension escalates when they notice a cop car next to them, but they manage to avoid getting caught after Bats pretends that Baby is crazy, and the cops leave following a call. The scene takes place in an underground parking garage, a busy street, and in the car, with the tone being tense and anxious, despite moments of humor and absurdity.
- Baby, Bats, Buddy, and Darling attempt to rob a post office in Watts during the day. The scene is action-packed and tense, with the main conflict between Bats and Baby. Bats threatens Baby to drive and eventually hits him when he doesn't comply. The robbery results in the security guard being shot and Bats' death when Baby crashes the car, impaling him. The scene ends with Baby's ear bud falling out and Buddy looking at Baby with rage.
- In this intense and thrilling scene, Baby, Buddy, and Darling run from the police through the streets of Watts and eventually lose them in a run-down shopping mall. Baby skillfully evades the cops by blending in with shoppers, trying on new clothes, and hiding in an electronics store. Entranced by a scene from 'Top Hat' on a bank of televisions, Baby snaps out of it when the cops return and runs to the staff room, successfully avoiding capture.
- Baby, injured and on the run, hot-wires a car and leads police on a dangerous chase through a run-down mall parking lot. After crashing into Buddy's truck, a shootout ensues, resulting in the tragic death of Darling. Baby manages to escape and hide while Buddy continues to shoot, destroying Baby's iPod and causing chaos in the parking lot.
- In the Watts neighborhood, a blood-covered Baby frantically runs from the police, zigzagging between parked cars in back alleys. He intimidates an older lady into abandoning her purple Pontiac Grand Am, jumps in, and settles on 'Radar Love' by Golden Earring, driving away as the lady hides in fear. The scene is tense and frantic, punctuated by Baby's command to 'Get the fuck out of the car lady!'
- In a tense and urgent scene, Baby arrives at the Elderly Man's apartment to find him asleep in front of the TV news. They must leave quickly due to the danger posed by Buddy. Amidst the chaos, Baby grabs a vinyl record and dictaphone, stuffing money into the Elderly Man's gown. Buddy attempts to stop them, but the police interrupt, and he is forced to flee. The scene ends with Baby grabbing a single iPod and jumping out onto the fire escape.
- In this tense and action-packed scene, Baby escapes from the police by jumping to the next roof and stealing a car. He drops off his uncle at a retirement home and records a message for him, leaving him behind. Baby has a standoff with Buddy at a diner, but manages to escape while the police surround the building. The scene takes place on various rooftops, in the streets, at a retirement home, and in a diner, and ends with Baby successfully evading Buddy and the police.
- Baby, in a panic, calls Doc from a phone booth near his old apartment, which is swarming with cops. Despite his initial refusal, Doc eventually agrees to help Baby in exchange for some of the money back. However, their conversation is interrupted by Buddy, who appears behind Doc and demands to know where Baby is. The scene is tense and urgent, with Baby showing clear signs of fear and Doc appearing stressed and reluctant.
- In this tense yet hopeful scene, Baby finds himself lost without music and hears 'Theme From Shaft' in his head. A red Mustang with gangbangers arrives, playing 'Know How'. Inspired by the music, Baby approaches them, pulls out a gun, and forces them to sell the car, resolving his internal conflict and finding motivation. The scene ends with Baby driving away in the Mustang, listening to 'Know How'.
- Baby, the protagonist, discovers his partner Doc dead and is confronted by three armed farmers in their hideout. After a brief conversation, a fight ensues resulting in the death of two farmers. The remaining farmer, Buddy, takes Armie hostage and charges at Baby in a Dodge Charger. Baby outsmarts Buddy, causing him to crash and get pinned between the car and a wall. The scene ends with Baby starting a car chase set to Queen’s ‘Sheer Heart Attack’.
- In the underground parking P2, Baby returns to find the wreckage of Buddy's Charger on his crushed Mustang. As Buddy, dying, appears and shoots Baby in the ears, Baby manages to start his car and drive off amidst police cars chase. Despite his deafness and injuries, Baby disappears into the night with blown-out tires and intense whine in his ears.
- Baby, a deaf man with a cut and bruised face and a bandaged hand, limps into a diner where Debora works. Debora is shocked by his appearance and writes 'Help?' on her order pad before deciding to leave with him, despite her concerns about his criminal activities.
- Baby takes Debora for a peaceful drive in his car, playing her a song and enjoying the moment. However, their peaceful drive is disrupted when they see police cars in their rearview mirror and a roadblock ahead. Baby willingly surrenders to the police, and Debora is scared and conflicted about the situation. She jumps out of the car and screams as the cops proceed to beat and arrest Baby, leaving the scene with Baby in prison.
- Baby, an imprisoned character, receives a perfume-scented envelope containing a letter and a postcard from Debora. His elderly cellmate reads the letter aloud, mentioning a Dave Edmunds song about a woman named Debora. Filled with anticipation and excitement, Baby leaves the prison to meet Debora, who awaits him in a 1954 Cadillac Eldorado. They drive off together, marking the end of the scene and the beginning of their journey ahead.
-
Character Baby
Description Baby's sudden assertiveness in the elevator with Doc feels out of place considering his previously established timid and reserved nature.
( Scene 11 (11) ) -
Character Bats
Description Bats' impulsive and erratic behavior, particularly the gas station theft and the unprovoked shooting of the gun dealers, seems excessive even for a hardened criminal, raising questions about his motivations and mental stability.
( Scene 22 (53) Scene 23 (54) )
-
Description The presence of an eight-year-old child, Samm, accompanying the crew on a scouting mission to the post office feels illogical and raises questions about the crew's judgment and the child's safety.
( Scene 19 (49) )
-
Description The sudden disappearance of Griff after Sequence 4 is never explained, leaving his fate and the reason for his absence unresolved.
( Scene 9 (26) ) -
Description The survival of the three Farmers, who were seemingly killed in the shootout at the train yard, is unexplained and stretches the boundaries of believability.
( Scene 32 (78) )
-
Description Bats' constant use of pop culture references, while adding humor, occasionally feels forced and out of place for a character of his background.
( Scene 24 (58) )
-
Element Baby's coffee runs
( Scene 1 (7) Scene 8 (22) Scene 14 (35) )
Suggestion While the coffee runs establish Baby's routine and character, the repetition could be streamlined by focusing on the most significant instances or finding alternative ways to convey the same information. -
Element Doc explaining the heist plans
( Scene 9 (26) Scene 10 (27) Scene 21 (52) )
Suggestion The repeated scenes of Doc explaining heist plans, while necessary for exposition, could be condensed or presented in a more engaging way to avoid redundancy.
Baby - Score: 87/100
Aliases
none
Role
Protagonist
Character Analysis Overview
Buddy - Score: 78/100
Aliases
none
Role
Antagonist
Character Analysis Overview
Darling - Score: 68/100
Role
Supporting character
Character Analysis Overview
Bats - Score: 74/100
Role
Antagonist
Character Analysis Overview
Doc - Score: 79/100
Character Analysis Overview
Griff - Score: 74/100
Role
Antagonist
Character Analysis Overview
Debora - Score: 81/100
Character Analysis Overview
| Theme | Theme Details | Theme Explanation | ||
|---|---|---|---|---|
| Music as a form of escape (100%) | Throughout the screenplay, Baby uses music as a way to escape from his surroundings and drown out the noise. He listens to music on his iPod, plays cassette tapes, and even mimics playing the phone like a theremin. Music is his way of coping with his tinnitus and the chaotic world around him. | The theme of music as a form of escape is the most prominent in the screenplay. It is consistently portrayed through Baby's character and his reliance on music to find solace and block out the chaos of his criminal life. | ||
Strengthening Music as a form of escape:
| ||||
| Redemption and second chances (80%) | Throughout the screenplay, Baby is presented with opportunities for redemption and second chances. He forms a romantic relationship with Debora, a waitress, and contemplates leaving his life of crime behind. He also shows compassion towards the elderly man in his apartment building and takes care of him. These moments highlight Baby's desire for a better life and a chance to start over. | The theme of redemption and second chances is a significant aspect of Baby's character arc. It explores his longing for a different path and his search for a way to leave his criminal life behind. | ||
| Family and father figures (70%) | Throughout the screenplay, Baby's relationships with Doc, his foster father figure, and the elderly man in his apartment building, highlight the theme of family and father figures. Doc takes care of Baby and provides him with opportunities, while the elderly man becomes a surrogate father figure for Baby. These relationships show the importance of family and the impact of positive role models in Baby's life. | The theme of family and father figures explores the influence of parental figures on Baby's development and his search for a sense of belonging and guidance. | ||
| Crime and its consequences (60%) | The screenplay revolves around a group of criminals involved in heists and robberies. The consequences of their actions are depicted through high-speed chases, shootouts, and encounters with the police. The theme of crime and its consequences is explored through the characters' choices and the impact it has on their lives. | The theme of crime and its consequences delves into the moral implications of the characters' actions and the repercussions they face as a result of their criminal activities. | ||
| Love and romance (50%) | The romantic relationship between Baby and Debora is a central element of the screenplay. Their connection and shared love for music drive their interactions and provide moments of tenderness amidst the chaos. The theme of love and romance is explored through their blossoming relationship and their desire for a better life together. | The theme of love and romance adds an emotional layer to the screenplay, highlighting the power of love to transcend difficult circumstances and inspire change. | ||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals in the screenplay evolve throughout the script as they seek freedom, connection, redemption and a sense of self |
| External Goals | The protagonist's external goals in the screenplay revolve around successful execution of heists, escaping danger, and maintaining a sense of control |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay is the protagonist's struggle to reconcile their criminal lifestyle with their desire for freedom, connection, and redemption |
Character Development Contribution: The protagonist's goals and conflict contribute to their development by challenging their values, beliefs, and self-perception, leading to personal growth and transformation
Narrative Structure Contribution: The goals and conflict drive the narrative structure, creating tension, obstacles, and resolution as the protagonist navigates through their criminal activities and personal relationships
Thematic Depth Contribution: The goals and conflict add thematic depth to the screenplay by exploring themes of identity, morality, redemption, and the pursuit of freedom and love in a morally ambiguous and dangerous world
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Baby's Getaway Drive | Intense, Exciting, Playful | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | |
| 2 - High-Speed Escape Through LA | Intense, Fast-paced, Exciting | 9 | 8 | 8 | 7 | 7 | 6 | 8 | 9 | 9 | 9 | 10 | 8 | 8 | 7 | 6 | 10 | 9 | 9 | 9 | |
| 3 - Griff's Harassment and Baby's Calm Resistance | Cool, Intense, Playful | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | |
| 4 - Baby's First Encounter with the Gang and Griff's Departure | Tense, Humorous | 9 | 8 | 9 | 6 | 8 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | |
| 5 - Baby's Financial Transaction and Caring for the Elderly Man | Tense, Intimate, Playful | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 8 | 6 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 9 | 8 | |
| 6 - Baby's Restless Evening: Loneliness and Longing | Tense, Reflective, Nostalgic | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 6 | 8 | 5 | 8 | 7 | 6 | 9 | 7 | 7 | 8 | 9 | 9 | |
| 7 - Baby's Captivating Encounter with Jonathan at the Diner | Cool, Mysterious, Romantic | 9 | 8 | 7 | 6 | 9 | 6 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 7 | 8 | 8 | 9 | 9 | 8 | |
| 8 - Baby's Evening of Preparation and a New Job Offer | Serious, Intriguing, Playful | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 6 | 8 | 9 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | |
| 9 - Baby Meets the Crew: Tensions Run High in the Warehouse | Intense, Curious, Malicious, Jazzy | 8 | 7 | 7 | 6 | 9 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 8 | 9 | 9 | 9 | 8 | |
| 10 - Planning the Heist: A Team in Tension | Intense, Suspenseful, Serious | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 9 | 9 | 9 | 8 | |
| 11 - Baby's Playful Car Heist | Intense, Suspenseful, Playful | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | |
| 12 - Baby's High-Stakes Escape in the Avalanche | Intense, Suspenseful, Menacing | 9 | 8 | 9 | 7 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 7 | 10 | 9 | 9 | 9 | |
| 13 - Baby's Intense Escape and the Carjacking of a Blue Accord | Intense, Fast-paced, Tense, Dramatic | 9 | 8 | 8 | 7 | 7 | 6 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 6 | 10 | 9 | 9 | 9 | |
| 14 - Baby's Anxiety Grows as He Loses Another Ride | Tense, Mysterious, Romantic | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | |
| 15 - Baby's Infatuation: Longing for Debora | Intense, Playful, Reflective | 9 | 8 | 7 | 7 | 9 | 7 | 8 | 6 | 5 | 5 | 4 | 6 | 6 | 9 | 7 | 9 | 8 | 8 | 9 | |
| 16 - Baby's Diner Dilemma | Upbeat, Unease | 8 | 7 | 7 | 7 | 8 | 5 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 6 | 7 | 8 | 8 | 9 | 9 | |
| 17 - Baby's New Job Opportunity and Uncertain Future | Tense, Mysterious, Intense | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 7 | 9 | 9 | 9 | 9 | 8 | |
| 18 - Baby's Uneasy Reconnaissance at the Post Office | Tense, Suspenseful, Uneasy | 8 | 7 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 6 | 7 | 8 | 7 | 6 | 6 | 9 | 8 | 9 | 8 | |
| 19 - Baby Accepts Doc's Offer and Meets the Team | Tense, Suspenseful, Serious | 8 | 7 | 8 | 6 | 9 | 7 | 8 | 7 | 8 | 6 | 9 | 9 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | |
| 20 - Baby Meets the Team and Bonds with Buddy, Amidst Tension | Intense, Humorous, Nostalgic | 9 | 8 | 8 | 5 | 9 | 7 | 8 | 6 | 8 | 6 | 9 | 8 | 4 | 7 | 9 | 7 | 7 | 9 | 8 | |
| 21 - The Heist Plan and Baby's Struggle | Intense, Suspenseful, Serious | 8 | 7 | 8 | 9 | 8 | 6 | 8 | 9 | 8 | 8 | 9 | 9 | 7 | 6 | 7 | 9 | 9 | 9 | 8 | |
| 22 - Baby Leaves Bats Behind at the Gas Station | Tense, Anxious, Playful | 8 | 7 | 7 | 5 | 8 | 6 | 8 | 6 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 9 | 9 | 7 | |
| 23 - Bats' Reckless Gun Deal: A Train Yard Heist | Intense, Tense, Dramatic | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | |
| 24 - Baby and Gang's Tense Diner Visit | Tense, Intense, Confrontational, Emotional | 9 | 8 | 8 | 5 | 9 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
| 25 - Tensions Rise Over Baby's Emotional State | Tense, Suspenseful, Dramatic | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 26 - Baby's Loyalty Questioned as Bats Reveals Recording | Tense, Suspenseful, Intense | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
| 27 - Bats' Suspicion of Baby's Recording Habit | Tense, Serious, Suspenseful | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 9 | 8 | |
| 28 - Baby's Driving Test | Uneasy, Menacing, Surprised, Simple, Funny | 8 | 8 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | |
| 29 - Narrow Escape: The Tense Standoff | Tense, Suspenseful, Menacing, Surreal | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | |
| 30 - Post Office Heist Gone Wrong | Tense, Menacing, Shocking | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | |
| 31 - Baby's Daring Escape from the Police in a Watts Mall | Intense, Fast-paced, Chaotic | 9 | 8 | 7 | 6 | 7 | 6 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 7 | 6 | 9 | 9 | 9 | 8 | |
| 32 - Baby's High-Speed Escape and Shootout with Buddy | Intense, Chaotic, Violent | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 9 | 9 | 10 | 9 | 8 | 8 | 6 | 9 | 9 | 9 | 8 | |
| 33 - Baby's Desperate Escape | Intense, Fast-paced, Suspenseful, Chaotic | 9 | 8 | 9 | 6 | 9 | 7 | 8 | 9 | 10 | 8 | 10 | 9 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | |
| 34 - Escape from Danger: Baby and the Elderly Man's Hasty Departure | Intense, Suspenseful, Chaotic | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 9 | 9 | 8 | 10 | 9 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | |
| 35 - Baby's Daring Escape and Heartfelt Goodbye | Intense, Suspenseful, Emotional | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 9 | 9 | 9 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
| 36 - Baby's Desperate Plea for Help | Tense, Suspenseful, Intense | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 10 | 9 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
| 37 - Baby Finds Motivation and Acquires a Red Mustang | Tense, Intense, Suspenseful | 9 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | |
| 38 - Baby's Escape and Car Chase | Intense, Suspenseful, Chaotic | 9 | 8 | 7 | 7 | 7 | 6 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 8 | 6 | 10 | 9 | 9 | 9 | |
| 39 - Baby's Escape and Deafening Betrayal | Intense, Tense, Dramatic | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 9 | 10 | 9 | 10 | 9 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | |
| 40 - Baby's Shocking Appearance at Debora's Diner | Intense, Suspenseful, Desperate, Romantic | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 9 | 10 | 8 | 10 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
| 41 - Baby's Surrender Leads to Arrest and Debora's Fear | Upbeat, Surreal, Surrender | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 9 | 8 | |
| 42 - Baby's Prison Release and Reunion with Debora | Intense, Thrilling, Romantic, Sentimental | 9 | 8 | 9 | 6 | 8 | 8 | 8 | 7 | 9 | 6 | 10 | 9 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Engaging action sequences
- Effective use of music
- Strong character development
- Building tension and suspense
- Intense and fast-paced action
Scene Weaknesses
- Limited dialogue
- Minimal emotional impact
- Limited character development
- Lack of significant conflict and emotional impact
- Limited exploration of theme
Suggestions
- Consider adding more dialogue to increase character development and emotional impact
- Explore the theme more deeply in order to add more emotional depth
- Develop supporting characters more fully in order to add more texture and complexity to the story
- Increase the external conflict and stakes in order to add more tension and emotional impact
- Pay attention to pacing and nuance in order to create more impactful dialogue
Scene 1 - Baby's Getaway Drive
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - High-Speed Escape Through LA
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Griff's Harassment and Baby's Calm Resistance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Baby's First Encounter with the Gang and Griff's Departure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Baby's Financial Transaction and Caring for the Elderly Man
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - Baby's Restless Evening: Loneliness and Longing
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - Baby's Captivating Encounter with Jonathan at the Diner
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - Baby's Evening of Preparation and a New Job Offer
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - Baby Meets the Crew: Tensions Run High in the Warehouse
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Planning the Heist: A Team in Tension
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Baby's Playful Car Heist
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - Baby's High-Stakes Escape in the Avalanche
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Baby's Intense Escape and the Carjacking of a Blue Accord
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Baby's Anxiety Grows as He Loses Another Ride
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Baby's Infatuation: Longing for Debora
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Baby's Diner Dilemma
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Baby's New Job Opportunity and Uncertain Future
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - Baby's Uneasy Reconnaissance at the Post Office
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Baby Accepts Doc's Offer and Meets the Team
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - Baby Meets the Team and Bonds with Buddy, Amidst Tension
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - The Heist Plan and Baby's Struggle
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - Baby Leaves Bats Behind at the Gas Station
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - Bats' Reckless Gun Deal: A Train Yard Heist
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Baby and Gang's Tense Diner Visit
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - Tensions Rise Over Baby's Emotional State
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Baby's Loyalty Questioned as Bats Reveals Recording
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - Bats' Suspicion of Baby's Recording Habit
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - Baby's Driving Test
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - Narrow Escape: The Tense Standoff
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Post Office Heist Gone Wrong
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - Baby's Daring Escape from the Police in a Watts Mall
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Baby's High-Speed Escape and Shootout with Buddy
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Baby's Desperate Escape
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - Escape from Danger: Baby and the Elderly Man's Hasty Departure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 35 - Baby's Daring Escape and Heartfelt Goodbye
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 36 - Baby's Desperate Plea for Help
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 37 - Baby Finds Motivation and Acquires a Red Mustang
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 38 - Baby's Escape and Car Chase
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 39 - Baby's Escape and Deafening Betrayal
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 40 - Baby's Shocking Appearance at Debora's Diner
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 41 - Baby's Surrender Leads to Arrest and Debora's Fear
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 42 - Baby's Prison Release and Reunion with Debora
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene by Scene Emotions