Some like it hot
Two musicians witness a mob hit and disguise themselves as women to escape, joining an all-female band and finding love and chaos along the way.
See other logline suggestionsOverview

Unique Selling Point
Discover a wildly entertaining and original Prohibition-era romp in this script, where two cross-dressing musicians, Joe and Jerry, navigate the chaotic world of speakeasies, gangsters, and glamorous parties on their journey to find work and true love. With its fast-paced action, witty dialogue, and a blend of humor and tension, this story offers a fresh take on classic themes of identity, deception, and acceptance. The unique characters, including the notorious gangster Spats Colombo and the eccentric millionaire Osgood, add depth and intrigue to the narrative, while the innovative storytelling techniques keep readers on their toes. Dive into this captivating world and experience a thrilling escape filled with laughter, suspense, and unforgettable moments.
AI Verdict & Suggestions
Ratings are subjective. So you get different engines’ ratings to compare.
Highly Recommend
Recommend
Story Facts
Genres: Comedy, Musical, Romance, Crime, Drama, Action, Romantic Comedy
Setting: The story takes place in the 1920s-1930s, Chicago and Florida
Themes: Identity, Deception, Friendship, Love, Crime
Conflict & Stakes: The primary conflict is between Joe, Jerry, and the gangsters who are after them. The stakes are their lives and the potential loss of their careers as musicians. Additionally, Jerry's relationship with Osgood creates a subplot conflict as Jerry struggles with his true identity and Osgood's expectations.
Mood: Predominantly lighthearted and comedic, with moments of tension and drama.
Standout Features:
- Unique Hook: Cross-dressing musicians on the run from gangsters in the 1920s-1930s.
- Plot Twist: Jerry's relationship with Osgood and his struggle with his true identity.
- Distinctive Setting: Chicago and Florida in the 1920s-1930s.
- Innovative Idea: The exploration of gender identity and sexuality in the context of crime and comedy.
- Unique Characters: Cross-dressing musicians, gangsters, and federal agents.
Comparable Scripts: Some Like It Hot (1959), Tootsie (1982), White Chicks (2004), Mrs. Doubtfire (1993), The Crying Game (1992), Yentl (1983), Victor/Victoria (1982), La Cage aux Folles (1978), Priscilla, Queen of the Desert (1994), The Adventures of Priscilla, Queen of the Desert (1994)
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 very high dialogue rating (92.92 percentile), indicating strong potential for engaging and impactful conversations.
- The originality score is exceptionally high (98 percentile), suggesting unique and fresh ideas that can set the story apart.
- Plot development needs attention (6.2 percentile), specifically focusing on building a more engaging and unpredictable narrative.
- Character changes and emotional impact are relatively low (26.97 and 14.16 percentiles respectively), suggesting room for improvement in character development and emotional depth.
The writer's style appears to be more intuitive, with strong dialogue and character development but needing improvement in concept and plot elements.
Balancing Elements- The writer could focus on improving plot development, emotional impact, and character changes to create a more balanced screenplay.
- Consider incorporating more unpredictable elements into the plot to enhance engagement.
Intuitive
Overall AssessmentThe screenplay shows promise with its unique concepts and strong dialogue, but it requires refinement in plot, character development, and emotional depth to reach its full potential.
How scenes compare to the Scripts in our Library
|
|
Percentile | Before | After |
---|---|---|---|---|
Scene Dialogue | 8.5 | 95 | Inglorious Basterds: 8.4 | Harold and Maude: 8.5 |
Script Conflict | 8.50 | 94 | Scott pilgrim vs. the world: 8.40 | Erin Brokovich: 8.50 |
Scene Pacing | 8.67 | 92 | the dark knight rises: 8.64 | Terminator 2: 8.67 |
Scene Originality | 8.95 | 91 | The Addams Family: 8.93 | Some like it hot : 8.95 |
Script Visual Impact | 8.20 | 84 | Jojo rabbit: 8.10 | the boys (TV): 8.20 |
Script Emotional Impact | 8.20 | 83 | The Hudsucker Proxy: 8.10 | Blade Runner: 8.20 |
Script Characters | 8.30 | 75 | Legally Blonde: 8.20 | the black list (TV): 8.30 |
Scene Engagement | 8.98 | 61 | Parasite: 8.97 | Mr. Smith goes to Washington: 8.98 |
1 | 50 | - | Get Out: 1 | |
Scene Unpredictability | 7.38 | 41 | The Hudsucker Proxy: 7.36 | Some like it hot : 7.38 |
Script Premise | 7.90 | 39 | Zootopia: 7.80 | fight Club: 7.90 |
Overall Script | 8.00 | 37 | Mo: 7.90 | fight Club: 8.00 |
Scene Characters | 8.2 | 35 | September 5: 8.1 | face/off: 8.2 |
Scene External Goal | 7.10 | 31 | Sing Sing: 7.09 | Catch me if you can: 7.10 |
Scene Concept | 8.0 | 30 | Poor Things: 7.9 | a few good men: 8.0 |
Scene Story Forward | 7.7 | 26 | Moonlight: 7.6 | groundhog day: 7.7 |
Script Structure | 8.05 | 22 | Blackkklansman: 8.04 | Dr. Jekyll and Mr Hyde : 8.05 |
Scene Internal Goal | 8.00 | 20 | KILLING ZOE: 7.98 | fight Club: 8.00 |
Script Originality | 7.40 | 18 | Silicon Valley: 7.30 | Terminator 2: 7.40 |
Scene Overall | 8.1 | 14 | Swingers: 8.0 | Erin Brokovich: 8.1 |
Scene Conflict Level | 6.5 | 13 | The Greatest Showman: 6.4 | groundhog day: 6.5 |
Script Structure | 7.30 | 13 | A Complete Unknown: 7.20 | Requiem for a dream: 7.30 |
Scene High Stakes | 5.9 | 13 | Madmen: 5.8 | The good place draft: 5.9 |
Script Theme | 7.60 | 10 | El Mariachi: 7.50 | Rambo: 7.60 |
Scene Character Changes | 5.6 | 8 | Rick and Morty: 5.5 | Vice: 5.6 |
Scene Plot | 7.3 | 8 | 500 days of summer: 7.2 | Her: 7.3 |
Scene Emotional Impact | 6.4 | 6 | Fear and loathing in Las Vegas: 6.3 | Some like it hot : 6.4 |
Scene Formatting | 7.90 | 3 | Beetlejuice: 7.88 | Some like it hot : 7.90 |
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
Highly Recommend
Executive Summary
The screenplay for 'Some Like it Hot' is a comedic masterpiece, with its witty dialogue, well-crafted situations, and engaging characters. The gender-bending premise and the romantic subplot add depth and charm to the story. While the mob subplot could be more tightly integrated, the overall strength of the narrative and its iconic ending make this a highly recommendable screenplay with immense potential for success.
- The screenplay boasts witty and fast-paced dialogue, creating a consistently humorous and engaging tone. high
- The comedic situations arising from mistaken identities and gender-bending are well-crafted and consistently amusing. high
- The main characters, Joe and Jerry, are well-developed and relatable, with their flaws and motivations clearly established. high
- The romantic subplot between Joe and Sugar is charming and provides a satisfying emotional counterpoint to the comedic elements. medium ( Scene 23 Scene 27 Scene 29 Scene 30 )
- The period setting of the 1920s is effectively evoked through details and dialogue, adding to the overall atmosphere and appeal. medium
- The subplot involving Spats Colombo and the mob feels somewhat disconnected from the main narrative and could be more tightly integrated. medium ( Scene 31 Scene 38 )
- The escape from Spats' suite through climbing down the building feels slightly contrived and could benefit from a more organic solution. low ( Scene 36 Scene 37 )
- The ending, with Osgood accepting Jerry's true gender, is a bold and unexpected twist that adds to the screenplay's overall charm and unconventionality. high ( Scene 42 )
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Some Like It Hot' is a highly entertaining and well-crafted comedy that seamlessly blends elements of farce, romance, and crime drama. The central storyline, in which two male musicians are forced to disguise themselves as women to escape the mob, is executed with a strong comedic voice and well-developed character arcs. The screenplay features several highly entertaining set pieces and notable points, including the gender-bending transformation of the protagonists and the unique genre-blending approach. While the pacing and integration of the various subplots could be slightly tightened, the overall strength of the screenplay makes it a strong recommendation for production.
- The screenplay has a very strong and consistent comedic voice throughout, with witty and clever dialogue that drives the story forward while delivering consistent laughs. high
- The character arcs are well-developed, with the protagonists Joe and Jerry engaging in a compelling and believable transformation as they are forced to adopt female identities to escape mobsters. high
- The screenplay features several highly entertaining set pieces, such as the party in the train berth and the confrontation with the millionaire Osgood Fielding III, that showcase the screenwriters' strong comedic sensibilities. high ( Scene 17 Scene 18 Scene 19 Scene 20 )
- While the overall pacing is strong, there are a few scenes that feel slightly dragged out, such as the extended conversations between Joe and Sugar on the yacht. medium
- The subplot involving the mobsters and the Friends of Italian Opera convention, while entertaining, could be further integrated with the main narrative for a tighter, more cohesive story. medium
- The screenplay could benefit from a stronger sense of visual storytelling, with more detailed descriptions of the settings and character movements to enhance the cinematic experience. medium
- The screenplay skillfully blends elements of farce, romance, and crime drama, resulting in a unique and highly entertaining hybrid genre piece. high
- The central conceit of the two male protagonists disguising themselves as women is expertly executed, leading to a number of hilarious and thought-provoking gender-bending moments. high
Screenplay Insights:
Characters: 8.3, The screenplay demonstrates solid character development, providing depth, complexity, and transformation to engage the audience. While the characters are generally well-developed, refining certain aspects of their arcs and deepening their motivations would further enhance their impact on the narrative and emotional resonance. See More
Premise: 7.9, The screenplay's premise effectively establishes an intriguing and engaging setup with its unique blend of gangster, cross-dressing, and musical elements. The initial premise is clear and establishes a solid foundation for the narrative, but there are opportunities to enhance the originality and execution to strengthen the audience's engagement and interest throughout the screenplay. See More
Structure: 7.3, The screenplay exhibits a cohesive structure with a compelling plot that effectively builds tension and drives the narrative forward. However, there are opportunities to enhance plot clarity and refine certain elements to strengthen the screenplay's storytelling dynamics. See More
Theme: 7.6, The screenplay effectively explores themes of identity, self-acceptance, and the transformative power of music, albeit with room for refinement in certain areas. See More
Visual Impact: 8.2, This screenplay showcases compelling visual imagery that draws the reader into its world. The vivid descriptions transport the reader into each scene, creating a strong visual foundation for the story. The screenplay also incorporates innovative visual elements, particularly in the scenes where music and chaos collide, effectively enhancing the emotional impact of these moments. Overall, the screenplay's visual storytelling is a significant strength, contributing to its ability to engage and captivate the reader. See More
Emotional Impact: 8.2, The screenplay effectively elicits emotional responses through its engaging characters, humorous and heartwarming interactions, and dramatic confrontations. However, deepening the emotional depth can enhance the overall resonance of the story. See More
Conflict: 8.5, The screenplay effectively establishes a central conflict and personal stakes for the characters, driving the narrative forward with suspense and humor. To enhance tension and engagement, consider escalating the stakes, refining the resolution, and exploring deeper emotional conflicts. See More
Originality: 7.4, This screenplay demonstrates originality and creative approaches in its unique blend of genres, unconventional characters, and unexpected plot twists. With its focus on mistaken identities, cross-dressing, and gangsters, the story takes audiences on a wild and unpredictable journey. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- The scene takes place outside Mozarella's Funeral Parlor at night, where a group of mourners are entering the parlor and a hearse has just arrived with a damp coffin. Spats Colombo, the owner of the funeral parlor, is seen in a black suit, black fedora, and gray spats. Toothpick Charlie, a weasel-like man, confirms Spats' identity to Federal Agent Mulligan. Mulligan and a police captain synchronize their watches and plan to raid the funeral parlor in five minutes, taking up positions around the building. The scene is tense and suspenseful, with the police officers and plain-clothes men preparing for a confrontation. The scene ends with Mulligan crossing to the funeral parlor, unfolding a black crepe mourning band, and slipping it over his overcoat.
- Mulligan, a federal agent, arrives at Mozarella's funeral parlor for his mother's funeral, which is actually a speakeasy. Amidst the lively music, dancing, and drinking, Mulligan orders a 'Scotch coffee' and waits for the right moment to make his move. The main conflict lies between Mulligan and Spats Colombo, a gangster, who is at the 'immediate family' table. The tone is upbeat and festive, with witty and sharp dialogue adding to the entertainment. The scene ends with Mulligan waiting for the right moment to take action.
- In a chaotic and tense scene outside a funeral parlor and speakeasy, policemen round up customers while Joe and Jerry, two musicians, sneak out and steal a hearse to escape. The musicians discuss their financial troubles and consider selling their overcoats to a bookie. A drunk man resists arrest, adding to the chaos. The scene ends with Joe and Jerry hiding in the shadows, discussing their plan.
- Joe and Jerry, two musicians in tuxedos, scour Chicago agencies for work on a snowy day. Amidst other job-seeking musicians and secretaries, they face rejection, until Nellie, an attractive brunette at Sig Poliaff agency, recognizes Joe. The scene ends with them entering the agency after Nellie's call.
- Joe and Jerry visit Poliakoff's office to inquire about work opportunities and are asked to wait. Nellie, Poliakoff's secretary, is initially upset with Joe for not showing up to a previous engagement, but forgives him when he explains his absence due to a dental emergency. Nellie then mentions that Poliakoff is looking for a bass and sax player for a gig in Florida, sparking excitement in Joe and Jerry. The scene takes place in Poliakoff's outer office during the day and ends with Nellie warning Joe and Jerry to wait before meeting Poliakoff.
- Sig Poliakoff, a talent agent, urgently tries to find replacement musicians for Sweet Sue and Her Society Syncopators, who are missing a saxophonist and a bassist. While his assistant Bienstock searches through a card file, two men, Joe and Jerry, enter the office and offer to take the job, but are dismissed by Poliakoff. The scene takes place in Poliakoff's cluttered inner office in Chicago during the day, and ends with Poliakoff continuing his search for musicians. The tone is urgent and frantic, with a sense of frustration and disappointment.
- Joe and Jerry, two musicians, borrow Nellie's car for a gig and head to Charlie's Garage. They encounter Toothpick Charlie and his gang, who pull guns on them, but are saved when Spats Colombo and his henchmen arrive, killing Toothpick Charlie and his gang. Joe and Jerry hide and then escape as Spats and his gang give chase, but leave when they hear a police siren. The scene is tense and dangerous, with the threat of violence always present.
- Joe and Jerry, fleeing from gangsters, abandon their stolen double bass in a Chicago alley and conceal themselves in a cigar store. Joe, in a call to their contact Mr. Poliakoff, feigns being a female musician seeking employment to facilitate their escape. Initially bewildered, Jerry comprehends their plan to disguise as women and depart from the city.
- In this comedic scene, cross-dressing men Jerry and Joe attempt to board a train to Florida with a girls' orchestra, facing challenges due to their high heels and unfamiliarity with women's clothing. Jerry has a moment of doubt, but after seeing an attractive band member named Sugar and reading about a crime in the newspaper, he decides to proceed with the plan. The tone is lighthearted, with some moments of tension and physical comedy, as Jerry stumbles on the steps of the Pullman car. The scene ends with Jerry and Joe successfully boarding the train and beginning their journey.
- Joe and Jerry, dressed as Josephine and Daphne, enter the Pullman car and join the girl musicians. Jerry's decision to pose as a woman takes Joe by surprise, and the musicians warn them about the tough time ahead. Joe stops Jerry from pulling the emergency brake and guides him to the women's restroom.
- In the women's lounge of a train, Sugar, a customer, is about to drink from a flask when Jerry and Joe enter. After hiding the flask, Sugar introduces herself as a musician on the run and offers them a drink, which they decline. Sugar checks her seams and leaves, and Jerry's bosom slips again, leading Joe to fix it and remind Jerry of the potential consequences of their disguise. The scene is light-hearted and humorous, with a hint of tension and danger due to the potential consequences of Jerry and Joe's disguise.
- In this scene, Sweet Sue and her Society Syncopators, including Joe and Jerry disguised as women, are having a special rehearsal on a locomotive at night. While playing 'Running Wild', Sugar's flask falls out, causing Sue to stop the music and reprimand Sugar for drinking. Tension arises when Sue notices the bullet holes in Jerry's bass fiddle, nearly revealing Joe and Jerry's true identities. Despite the conflicts, the scene ends with the band starting to play again, and Sugar looking gratefully at Jerry for taking the blame for the flask.
- The scene takes place on a train at night, where the girls are getting ready for bed in their berths. Jerry, who is pretending to be a girl, is infatuated with Sugar and calls out to her. Joe, who is in on Jerry's secret, sets up a barrier to prevent Jerry from leaving his berth. Sue, who is in a lower berth across the aisle, suspects that something is off about Jerry and Daphne. As the scene ends, Joe closes the curtains of Jerry's berth and Jerry settles down to sleep, muttering to himself. The main conflict in this scene is Sue's suspicion of Jerry and Daphne, but it is not resolved in the scene. The tone of this scene is lighthearted and playful, with a hint of tension and suspicion.
- Sugar Kane thanks Jerry for covering for her, and they share a drink in his berth. More girls from the Pullman car join the party, until there are 14 girls in Jerry's berth. Joe is initially confused and then annoyed by the unexpected party but fails to break it up. The scene ends with Joe following Sugar into the women's lounge, still holding the cake of ice she gave him.
- In the women's lounge on a train at night, Sugar and Josephine have a lighthearted conversation about Sugar's past relationships with saxophone players and her plans to avoid them in the future. Sugar expresses her desire to marry a rich man with a yacht, private railroad car, and his own toothpaste. Olga interrupts their conversation, but Sugar's plans and determination remain unchanged.
- During a lively party in a Pullman car, Olga supplies fresh ice, and Dolores finishes a joke, causing uproarious laughter. Jerry, the center of attention, hiccups uncontrollably, leading the girls to attempt to fish ice from his nightgown. His bosoms tear loose once more, causing further embarrassment, but the girls' playful tickling brings laughter. The scene ends with Jerry, in desperation, pulling the emergency cord, potentially introducing a new conflict.
- In this chaotic and humorous scene, the train suddenly stops due to Jerry pulling the emergency brake in his sleep during a nightmare. This causes confusion and panic among the passengers, and the Conductor arrives to investigate. Jerry admits to his actions, citing a nightmare and an upset stomach as his reasons. The Conductor expresses frustration about musicians causing trouble on the train in the past, and the scene ends with the Conductor restarting the train and Jerry expressing remorse for his actions.
- The train wheels start turning again, and Joe leads Sugar to his berth to escape Bienstock's snoring. Jerry, who is in the upper berth, listens in on their conversation and then reveals his true identity to Joe when he thinks Joe is asleep. The scene is playful and light-hearted at first, but Jerry's deception and unwanted advances towards Joe create tension and discomfort. The visual elements include the turning locomotive wheels, the aisle of the Pullman car, and the curtained berths. The scene ends with Joe becoming angry and threatening to hit Jerry when he reveals his true identity.
- The Society Syncopators, a group of female musicians, arrive at the Seminole-Ritz Hotel in Florida. As Jerry, a band member, struggles up the steps with several instruments, he is helped by Osgood Fielding III, one of the wealthy elderly men watching from the veranda. The two exchange playful dialogue and enter the hotel lobby together, with Osgood struggling to carry all of Jerry's instruments. The scene is light and humorous, with no major conflicts.
- Jerry, a young musician, meets Osgood, an older wealthy man, in the lobby of the Seminole-Ritz. Osgood reveals his history of multiple marriages and current avoidance of his disapproving mother. Mistaking Jerry's intentions, he follows her into an elevator and continues to flirt despite her protests. The elevator malfunctions, leading to Jerry slapping Osgood and storming off, resolving the conflict.
- The scene takes place on the fourth floor corridor during the day, where the girls are billeted. Bienstock assigns rooms to the girls, including Sugar and Joe, who express their desire to share a room but are given separate ones. Sugar shares a story about a previous saxophone player who treated her poorly, and Joe reassures her that she will meet a kind millionaire soon. The scene ends with Joe entering his room, while Sugar enters hers.
- Joe and a bellhop bring in the suitcases, including Bienstock's, which Joe hides under the bed. Jerry, having been pinched in the elevator, expresses his desire to leave, but they are broke. Bienstock enters looking for his suitcase and Sugar comes in for her ukulele, inviting Jerry to go swimming. The scene ends with Jerry and Sugar leaving to go swimming and Joe staying behind.
- The band girls, including Jerry dressed as Daphne, spend a day at the beach. Jerry plays in the water with the girls, while Joe, disguised and reading the Wall Street Journal, trips Sugar. They strike up a conversation, and Jerry recognizes Joe from his Vanity Fair picture. Initially upset, Jerry's feelings are soothed when Sugar introduces them. The scene is light-hearted and playful, with Joe and Sugar sharing a friendly conversation. The beach setting, girls playing in the water, and Joe's newspaper create a relaxed atmosphere. The scene concludes with Jerry and Sugar leaving to inform Josephine about meeting Joe.
- Jerry and Sugar enter Room 413 looking for Josephine, who is actually taking a bubble bath in the bathroom. Dolores interrupts the conversation, and Sugar leaves with her, while Jerry and Josephine are left alone, with Jerry suspicious of Josephine's whereabouts and Josephine relaxed in her bath.
- Joe relays Osgood's invitation for Daphne (Jerry) to have supper on his yacht, which Jerry initially declines but later accepts to spend time with Sugar. A bellhop delivers a basket of flowers to Jerry from Osgood. Meanwhile, Sugar receives a similar invitation from a Shell Oil representative and is thrilled. The scene takes place on the fantail of the yacht Caledonia and in room 413 of a hotel, showcasing a lighthearted and humorous tone with some moments of excitement and anticipation. The main conflict of Jerry's reluctance is resolved, while Sugar's disappointment about her Prince Charming remains unresolved.
- In this scene, Joe quickly changes into Bienstock's clothes and forgets to remove his earrings. He then climbs down from the balcony, steals a bicycle, and rides off toward the pier. Meanwhile, Sugar is also making her way to the pier, filled with excitement. On the other hand, Osgood and Jerry are discussing their plans for the night, which include going to a roadhouse. However, Jerry catches himself from revealing too much about Joe's escape. The scene is filled with anticipation and excitement, particularly for Joe and Sugar, who are both heading to the pier for significant moments. The setting is at night, outside the hotel, with characters moving toward the pier and a roadhouse. There are no major conflicts in this scene, but the tone is one of excitement and tension.
- In this light-hearted and romantic scene, Sugar and Joe meet at a pier on a night decorated with a dozen motorboats. Initially, Sugar is disheartened by Joe's tardiness, but her spirits are lifted when he arrives, cycling down the pier. Joe's clumsiness with the motorboat, including forgetting his glasses and struggling to shift gears, creates some minor conflicts, but he remains endearing and apologetic. The key dialogue highlights Joe's charm and Sugar's support, while the visual elements include Sugar's emotions, Joe's bicycle, and the hidden earrings. The scene concludes with the motorboat setting off, albeit in reverse, towards the open water where the yachts are anchored.
- Joe and Sugar arrive at the luxurious Caledonia yacht, where Sugar expresses her awe at its size and Joe mentions his family's ownership of similar yachts. They explore the yacht, opening various doors to reveal stairs and storage before locating the salon. Along the way, Sugar asks questions about navigating the yacht, and Joe offers her champagne. The scene is set against a calm, moonlit sea and ends with Joe and Sugar entering the salon, ready to enjoy their drinks together.
- Joe and Sugar board a luxurious yacht and engage in a somber conversation over cold pheasant and champagne. Joe reveals his emotional inability to love women, sharing a heartbreaking tale of his past love, Nellie, who died in a tragic accident. As the night progresses, Sugar attempts to help Joe overcome his emotional numbness, and the scene concludes with the two sharing a passionate kiss in the dimly lit salon.
- In this scene, Jerry and Osgood share a playful tango at a roadhouse, while Joe and Sugar passionately kiss, exploring their newfound feelings for each other. Jerry and Osgood's dance is lighthearted and flirtatious, with a brief disagreement about who is leading. Meanwhile, Joe is unsure about his feelings for Sugar, but they continue to kiss. The scene takes place at night, inside a roadhouse and a salon on a yacht. The tone is romantic and playful, with key pieces of dialogue including Osgood's comment about leading the dance, Joe's expression of new love, and Jerry's joke about kisses for the Milk Fund. The scene ends with Joe and Sugar leaving the yacht in a motorboat, while Osgood gets into the same boat to head back to the yacht.
- Spats Colombo and his henchmen attend the 10th Annual Convention of Friends of Italian Opera, where they are frisked for weapons upon registration. A Federal agent, Mulligan, confronts Spats about the St. Valentine's Day shooting, but Spats denies any involvement. Joe and Jerry, cross-dressed as Daphne, recognize Spats from their encounter at the DeLuxe French Cleaners and hurry back to the elevator to avoid him and his henchmen. The scene is tense and confrontational, with moments of humor, and all characters are dressed appropriately for the setting.
- Joe and Jerry share an elevator with gangster Spats and his henchmen, leading to a tense exchange. After the henchmen exit on the third floor, Joe and Jerry hurriedly pack in their hotel room, discussing their fears of being caught and planning their escape. They decide to sell the bracelet, take a boat to South America, and hide out in a banana republic if they make it out of the hotel alive. The scene is filled with fear, tension, and moments of humor between the two friends.
- In adjoining hotel rooms, Dolores facilitates a phone call between Sugar and Joe, who is on a yacht. Joe reveals he must leave immediately for Venezuela due to business. Though disappointed, Sugar understands and even sees a potential investment opportunity in Venezuelan oil. The scene is lighthearted and playful, but tinged with sadness due to Joe's departure. Sugar's resilience is on display as she accepts the news with grace.
- In this light-hearted scene, Joe calls Sugar from his greenhouse room (413) to express his gratitude and say goodbye. He mentions sending her orchids and a bracelet as a going away present. Surprised and grateful, Sugar, who is in room 414, receives the orchids and bracelet from a hotel staff member, Dolores. The scene reaches its comedic peak when Joe kicks the corsage box containing the bracelet across the hallway to Sugar's room. The scene concludes with Sugar finding the bracelet and expressing her appreciation for Joe's generosity.
- In Room 413 of the Seminole-Ritz Hotel, Jerry packs his belongings and discovers his bracelet is missing. Joe reveals they gave it to Sugar, who is unaware of the danger they are in. Jerry is frustrated with Joe for putting them in danger, and they argue about how to leave the hotel safely. They decide to exit through the window to avoid Spats and his gang. The scene ends with Joe and Jerry stepping through the open French window onto the balcony.
- In Spats' suite, Spats and his henchmen are playing cards when they recognize Joe and Jerry, disguised as musicians, outside on the balcony. Spats realizes they are the men from the garage and leads his henchmen out to finish them off, leaving the room empty. This creates a tense and suspenseful atmosphere, but also a touch of humor. Joe and Jerry are then able to enter the room and plan their next move.
- In the third-floor corridor and lobby of a hotel, Joe and Jerry notice the absence of Spats and his henchmen. They decide to impersonate the old man and his bellhop by stealing their identities. Jerry wheels Joe, disguised in the old man's suit, out of the hotel while being pursued by Spats and his henchmen. They manage to escape by tricking the henchmen with the empty wheelchair and disappearing into a corridor. The scene is tense and thrilling, with a hint of humor as Joe and Jerry successfully outsmart Spats and his henchmen.
- Joe and Jerry, on the run from Spats Colombo's henchmen, enter a pantry where a cake is being decorated for Colombo's birthday. They see convention officials, Johnny Paradise, and Colombo's henchmen, and quickly leave. In the banquet room, they hide under a table as Colombo and his henchmen enter and sit down. Little Bonaparte, the president of the organization, makes a speech about their achievements and asks for a moment of silence for seven members who were 'rubbed out'. The scene is tense and anxious, with conflicts between Joe and Jerry and Colombo's henchmen, and between Colombo and his henchmen. The visual elements include a decorated cake, a banquet room with a U-shaped table, and Joe and Jerry hiding under the table.
- In the pantry, Johnny Paradise hides in a cake and ambushes Spats and his henchmen in the banquet room. Little Bonaparte, who can't stand loud noises, winces and turns down his hearing aid during the chaos. Joe and Jerry escape, and Mulligan arrives to investigate. The scene ends with Mulligan demanding answers and Little Bonaparte trying to downplay the situation.
- Joe and Jerry, disguised as women, exit the rear corridor and enter the hotel lobby to avoid officials. They head to a row of telephone booths, and Joe convinces Jerry to call Osgood for help. Meanwhile, Sugar's voice singing 'I'm Through with Love' draws Joe to the ballroom. The officials continue their pursuit, but Joe and Jerry manage to evade them for now. The scene ends with Joe hearing Sugar's voice and being drawn to the ballroom, while Jerry makes the call to Osgood.
- In a nighttime ballroom event, Joe reveals his true identity to Sugar, leading to a romantic kiss. As officials confront them, Jerry helps Joe and Sugar escape, hiding under a stretcher and making their way to the pier. Osgood waits, and Sugar joins them on a motorboat, beginning their new journey together. This emotional and intense scene resolves the conflict of Joe's revealed identity, ending with relief and a sense of a fresh start.
- On a motorboat at night, Joe confesses to Sugar that he is a saxophone player and a liar, while Jerry reveals to Osgood that he is a man. Joe and Sugar share a passionate kiss, despite Joe's attempts to push her away. Meanwhile, Jerry's revelation leads to a humorous exchange with Osgood, who takes it in stride with the famous line, 'Well -- nobody's perfect.'
-
Character Jerry
Description Jerry initially expresses extreme discomfort and fear about disguising himself as a woman, but later seems to relish the attention and opportunities it brings, particularly with Osgood. His sudden shift from anxiety to enjoyment could be explored further for consistency.
( Scene 2 Scene 16 ) -
Character Joe
Description Joe initially appears disgusted by the idea of pretending to be a woman but later embraces the deception when it allows him to pursue Sugar. His motivations and feelings towards the charade could be clarified for better character consistency.
( Scene 24 Scene 32 )
-
Description Sugar's confusion about herrings and how they fit into jars seems out of place for someone who claims to come from a wealthy and sophisticated background.
( Scene 23 ) -
Description Joe's explanation of the yacht's features as a 'hurricane cellar' and 'closet space' feels like forced humor that doesn't align with the Junior persona he is trying to portray.
( Scene 29 )
-
Element Jerry's discomfort with being a woman
( Scene 9 Scene 13 Scene 14 )
Suggestion Jerry's repeated complaints about his disguise and longing to be a man again could be streamlined to maintain the humor without becoming repetitive. Perhaps focusing on specific aspects of his discomfort in different situations would add variety.
Joe - Score: 83/100
Aliases
Josephine
Role
Protagonist
Character Analysis Overview
Jerry - Score: 80/100
Role
Protagonist
Character Analysis Overview
Sugar - Score: 80/100
Role
Protagonist
Character Analysis Overview
Spats - Score: 76/100
Character Analysis Overview
Theme | Theme Details | Theme Explanation | ||
---|---|---|---|---|
Identity (High%) | The screenplay explores the theme of identity through characters like Joe and Jerry who constantly change their identities to escape danger and pursue their goals. | The theme of identity is central to the screenplay as characters navigate through various personas to achieve their objectives, leading to comedic situations and personal growth. | ||
Strengthening Identity:
| ||||
Deception (High%) | Deception is a prevalent theme in the screenplay as characters engage in lies, disguises, and manipulations to achieve their desires and avoid danger. | Deception drives the plot forward as characters deceive others and themselves, leading to misunderstandings, comedic moments, and ultimately, self-discovery. | ||
Friendship (Medium%) | Friendship is depicted through the bond between Joe and Jerry, who support each other through their adventures and challenges. | The theme of friendship is evident in the loyalty and camaraderie between Joe and Jerry, showcasing the importance of companionship in navigating difficult situations. | ||
Love (Medium%) | Love is explored through the romantic relationships between characters like Joe and Sugar, as well as the comedic love story between Jerry and Osgood. | The theme of love adds depth to the screenplay as characters grapple with romantic feelings, misunderstandings, and unexpected connections, leading to moments of vulnerability and growth. | ||
Crime (Low%) | Crime is a backdrop in the screenplay, with characters like Spats Colombo and his henchmen involved in illegal activities that drive the plot forward. | The theme of crime provides a sense of danger and urgency in the screenplay, setting the stage for conflicts and confrontations that shape the characters' actions and decisions. |
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 goal is to maintain their cover and successfully infiltrate the criminal underworld, while also grappling with their own identity and moral beliefs. |
External Goals | The protagonist's external goal is to evade capture, gather evidence, and ultimately escape the dangerous situation they find themselves in. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay lies in the clash between societal norms and personal desires, particularly regarding identity, deception, and societal expectations. |
Character Development Contribution: The goals and philosophical conflict contribute to the protagonist's development by challenging their beliefs, values, and identity, leading to growth and self-discovery.
Narrative Structure Contribution: The goals and conflict drive the narrative forward, creating tension, suspense, and dynamic character interactions that propel the story towards its resolution.
Thematic Depth Contribution: The goals and conflict deepen the thematic exploration of identity, deception, trust, and morality, adding layers of complexity and nuance to the overall storytelling.
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 - Preparations for a Raid on Mozarella's Funeral Parlor | Dark, Humorous, Suspenseful | 8 | 8 | 8 | 9 | 9 | 5 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
2 - Mulligan's Undercover Mission at His Mother's Funeral-Turned-Speakeasy | Humorous, Suspenseful, Sarcastic | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 6 | 9 | 9 | 9 | 8 | 8 | |
3 - Escape from the Speakeasy | Humorous, Suspenseful, Cynical | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
4 - Musicians' Futile Job Hunt in Chicago | Humorous, Frustrated, Light-hearted | 8 | 7 | 7 | 9 | 8 | 5 | 8 | 7 | 5 | 8 | 4 | 7 | 7 | 6 | 8 | 9 | 8 | 7 | 8 | |
5 - Job Prospects and Dental Emergencies | Light-hearted, Humorous, Playful | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 9 | 6 | 7 | 5 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
6 - Desperate Search for Replacement Musicians | Humorous, Frantic, Sarcastic | 8 | 7 | 7 | 9 | 9 | 4 | 8 | 7 | 6 | 7 | 5 | 8 | 8 | 5 | 9 | 9 | 9 | 7 | 8 | |
7 - Violent Takeover at Charlie's Garage | Suspenseful, Dark, Humorous | 9 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
8 - Musicians' Hasty Disguise Plan | Humorous, Suspenseful, Fast-paced | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 6 | 9 | 9 | 9 | 7 | 8 | |
9 - Jerry and Joe's Train Adventure in Drag | Humorous, Light-hearted, Whimsical | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
10 - Joe and Jerry Join the Girl Musicians on the Pullman Car | Humorous, Light-hearted, Playful | 8 | 9 | 7 | 9 | 8 | 4 | 8 | 7 | 6 | 7 | 4 | 7 | 7 | 5 | 9 | 9 | 9 | 8 | 8 | |
11 - Disguised Musicians and a Hidden Flask | Light-hearted, Humorous, Whimsical | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
12 - Sweet Sue's Society Syncopators' Rehearsal on a Locomotive: A Hint of Tension and Conflict | Light-hearted, Playful, Spirited | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 8 | 5 | 8 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
13 - Jerry's Infatuation and Suspicion on the Train | Humorous, Light-hearted, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
14 - An Unexpected Party in Joe's Berth | Humorous, Light-hearted, Playful | 8 | 8 | 7 | 9 | 8 | 4 | 8 | 7 | 5 | 8 | 3 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
15 - Sugar's Plans for the Future: Avoiding Saxophone Players and Marrying a Rich Man | Humorous, Light-hearted, Reflective | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 7 | 6 | 8 | 7 | 8 | 9 | 9 | 8 | 7 | 8 | |
16 - Jerry's Hilarious Hiccups and Torn Bosoms | Humorous, Light-hearted, Playful | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 4 | 7 | 7 | 5 | 7 | 9 | 9 | 8 | 8 | |
17 - Chaos on the Train: Jerry's Nightmare Emergency | Light-hearted, Whimsical, Suspenseful | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 6 | 7 | 9 | 9 | 8 | 8 | |
18 - Deception Aboard the Train | Humorous, Light-hearted, Playful | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 8 | 5 | 8 | 9 | 6 | 9 | 9 | 9 | 8 | 8 | |
19 - Jerry Meets Osgood: A Helping Hand at the Seminole-Ritz | Light-hearted, Whimsical, Flirtatious | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
20 - Jerry's Elevator Escape from Osgood's Advances | Light-hearted, Playful, Flirtatious | 8 | 7 | 7 | 9 | 9 | 4 | 8 | 7 | 4 | 7 | 3 | 5 | 7 | 5 | 9 | 9 | 8 | 8 | 8 | |
21 - Bienstock's Room Assignments and Sugar's Search for a Kind Millionaire | Light-hearted, Whimsical, Romantic | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 4 | 6 | 3 | 7 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
22 - Financial Constraints and a Missing Suitcase | Humorous, Light-hearted, Whimsical | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
23 - Girls' Day Out on the Beach: A Chance Encounter with Joe | Light-hearted, Playful, Flirtatious | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
24 - The Case of the Missing Josephine and the Excited Sugar | Humorous, Light-hearted, Sarcastic | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 7 | 8 | 5 | 8 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
25 - Reluctant Acceptance and Anticipated Rendezvous | Light-hearted, Whimsical, Romantic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
26 - Joe and Sugar's Excited Pursuits and Jerry's Hidden Concerns | Humorous, Light-hearted, Romantic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | |
27 - A Clumsy Start but a Promising Journey: Joe and Sugar's Motorboat Date | Light-hearted, Playful, Romantic | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 4 | 6 | 3 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
28 - An Evening on the Caledonia Yacht: Joe and Sugar Explore and Bond | Light-hearted, Whimsical, Romantic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
29 - A Melancholic Feast Aboard the Yacht: Joe's Emotional Numbness and Sugar's Attempted Intervention | Romantic, Light-hearted, Playful | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
30 - Playful Dances and Newfound Love | Humorous, Romantic, Light-hearted | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
31 - Confrontation at the Seminole-Ritz Hotel | Humorous, Suspenseful, Confrontational | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 6 | 9 | 9 | 9 | 8 | 8 | |
32 - Tense Elevator Ride and Frantic Packing: Joe and Jerry's Plans to Escape | Humorous, Suspenseful, Playful | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 6 | 9 | 9 | 9 | 7 | 8 | |
33 - Joe's Unexpected Departure and Sugar's Resilience | Playful, Romantic, Light-hearted | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
34 - Joe's Generous Going Away Gift | Romantic, Light-hearted, Playful | 8 | 7 | 7 | 8 | 8 | 6 | 8 | 7 | 3 | 6 | 4 | 6 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | |
35 - The Missing Bracelet and a Hasty Escape | Humorous, Suspenseful, Melancholic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 9 | 9 | 7 | 8 | |
36 - Spats and Henchmen Leave to Pursue Joe and Jerry | Humorous, Suspenseful, Light-hearted | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 6 | 9 | 9 | 9 | 8 | 8 | |
37 - The Daring Escape: Joe and Jerry Impersonate the Old Man and His Bellhop | Humorous, Tense, Suspenseful | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 9 | 8 | 8 | 9 | 8 | 8 | 6 | 7 | 9 | 9 | 8 | 8 | |
38 - Joe and Jerry's Hideaway Amidst Spats Colombo's Birthday Celebration | Tense, Amiable, Serious | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
39 - Johnny Paradise's Surprise Attack | Humorous, Suspenseful, Satirical | 9 | 9 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 6 | 8 | 9 | 8 | 8 | 8 | |
40 - Escape and Evasion in the Hotel Lobby | Light-hearted, Suspenseful, Romantic | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 7 | 7 | 9 | 9 | 8 | 8 | |
41 - Escaping to a New Beginning: Joe and Sugar's Emotional Escape | Light-hearted, Whimsical, Romantic, Confusion | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | |
42 - Confessions and Revelations on a Moonlit Night | Romantic, Humorous, Light-hearted | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 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 blend of genres
- Emotional impact
- Witty dialogue
- Strong character interactions
- Surprising twists
Scene Weaknesses
- Limited character development
- Limited emotional depth
- Relatively low stakes
- Some cliched elements
- Slightly predictable plot twists
Suggestions
- Focus on developing characters more deeply to increase emotional engagement and minimize cliched elements
- Increase external conflict and stakes to heighten tension and emotional impact
- Experiment with more unexpected plot twists to keep audience engaged and guessing
- Consider exploring more nuanced portrayals of gender roles and avoiding stereotypes
- Work on pacing and clarity in character motivations to avoid confusion and keep audience invested
Scene 1 - Preparations for a Raid on Mozarella's Funeral Parlor
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 - Mulligan's Undercover Mission at His Mother's Funeral-Turned-Speakeasy
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 - Escape from the Speakeasy
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 - Musicians' Futile Job Hunt in Chicago
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 - Job Prospects and Dental Emergencies
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 - Desperate Search for Replacement Musicians
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 - Violent Takeover at Charlie's Garage
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 - Musicians' Hasty Disguise Plan
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 - Jerry and Joe's Train Adventure in Drag
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 - Joe and Jerry Join the Girl Musicians on the Pullman Car
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 - Disguised Musicians and a Hidden Flask
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 - Sweet Sue's Society Syncopators' Rehearsal on a Locomotive: A Hint of Tension and Conflict
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 - Jerry's Infatuation and Suspicion on the Train
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 - An Unexpected Party in Joe's Berth
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 - Sugar's Plans for the Future: Avoiding Saxophone Players and Marrying a Rich 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 16 - Jerry's Hilarious Hiccups and Torn Bosoms
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 - Chaos on the Train: Jerry's Nightmare Emergency
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 - Deception Aboard the Train
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 - Jerry Meets Osgood: A Helping Hand at the Seminole-Ritz
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 - Jerry's Elevator Escape from Osgood's Advances
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 - Bienstock's Room Assignments and Sugar's Search for a Kind Millionaire
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 - Financial Constraints and a Missing Suitcase
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 - Girls' Day Out on the Beach: A Chance Encounter with Joe
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 - The Case of the Missing Josephine and the Excited Sugar
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 - Reluctant Acceptance and Anticipated Rendezvous
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 - Joe and Sugar's Excited Pursuits and Jerry's Hidden Concerns
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 - A Clumsy Start but a Promising Journey: Joe and Sugar's Motorboat Date
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 - An Evening on the Caledonia Yacht: Joe and Sugar Explore and Bond
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 - A Melancholic Feast Aboard the Yacht: Joe's Emotional Numbness and Sugar's Attempted Intervention
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 - Playful Dances and Newfound Love
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 - Confrontation at the Seminole-Ritz Hotel
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 - Tense Elevator Ride and Frantic Packing: Joe and Jerry's Plans to 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 33 - Joe's Unexpected Departure and Sugar's Resilience
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 - Joe's Generous Going Away Gift
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 - The Missing Bracelet and a Hasty 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 36 - Spats and Henchmen Leave to Pursue Joe and Jerry
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 - The Daring Escape: Joe and Jerry Impersonate the Old Man and His Bellhop
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 - Joe and Jerry's Hideaway Amidst Spats Colombo's Birthday Celebration
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 - Johnny Paradise's Surprise Attack
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 - Escape and Evasion in the Hotel Lobby
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 - Escaping to a New Beginning: Joe and Sugar's Emotional 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 42 - Confessions and Revelations on a Moonlit Night
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