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Scene Map 60
# PG SLUGLINE
1 1
WHIPLASH
2 4
3 INT. MOVIE THEATER - LOBBY - NIGHT 3
3 7
6 INT. DORMITORY - HALLWAY - HOURS LATER 6
4 9
8 INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8
5 10
9 INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9
6 13
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11
7 13
12 INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 12
8 15
13 INT. MOVIE THEATER - LOBBY - AFTERNOON 13
9 16
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14
10 20
16 INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 16
11 22
17 INT. PIZZERIA - NIGHT 17
12 26
18 INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 18
13 27
21 INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 21
14 31
22 INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER 22
15 35
23 INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER 23
16 42
25 INT. DORMITORY - ANDREW’S ROOM - DUSK 25
17 43
26 INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE -26DAY
18 44
31 INT. SUBWAY - NIGHT 31
19 45
38 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 38
20 46
40 INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS 40
21 47
41 INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS 41
22 48
43 INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER 43
23 50
44 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 44
24 51
45 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 45
25 52
46 INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 46
26 53
47 INT. STUDIO BAND ROOM - GEHRING HALL - DAY 47
27 54
48 INT. ROAD TO NEW JERSEY - BUS - DAY 48
28 54
49 INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING 49
29 55
50 INT. JIM’S HOUSE - DINING ROOM - NIGHT 50
30 60
51 INT. COFFEE SHOP - DAY 51
31 61
52 INT. GEHRING HALL - STUDIO BAND ROOM - DAY 52
32 64
53 INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS 53
33 65
54A INT. DORMITORY - BASEMENT BATHROOM - DAY 54A
34 66
56 INT. SUBWAY - NIGHT 56
35 69
59 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 59
36 69
61 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 61
37 71
62 EXT. GEHRING HALL - SIDE DOOR - NIGHT 62
38 72
64 INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 64
39 73
66 EXT. DUNELLEN - BUS STOP - DAY 66
40 73
67 EXT. CAR RENTAL AGENCY - MOMENTS LATER 67
41 74
69A INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS 69A
42 75
70 INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY 70
43 77
70B EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - DAY 70B
44 78
72A INT/EXT. DUNELLEN STREET - CRASHED RENTAL CAR CONTINUOUS
45 80
74 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 74
46 82
78 INT. ANDREW’S DORMITORY - DAY 78
47 83
83 INT. ANDREW’S PRACTICE ROOM - DAY 83
48 84
77A INT. HOTEL LOBBY - BAR - LATER THAT DAY 77A
49 90
86 EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON 86
50 91
89 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 89
51 91
92 EXT. NEW YORK STREET - JAZZ CLUB - NIGHT 92
52 92
93A INT. JAZZ CLUB - NIGHT 93A
53 97
94 EXT. JAZZ CLUB - NIGHT 94
54 98
96 INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT 96
55 99
98 INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 98
56 103
103 EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - 103
57 104
105 INT. ZANKEL HALL - GREEN ROOM - NIGHT 105
58 104
105D INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER 105D
59 105
106 INT. ZANKEL HALL - STAGE - CONTINUOUS 106
60 107
107 INT. ZANKEL HALL - LOBBY - CONTINUOUS 107
Scene Map
60
# PG SLUGLINE
1 1
WHIPLASH
WHIPLASH
WHIPLASH by Damien Chazelle BLACK...
2 4
3 INT. MOVIE THEATER - LOBBY - NIGHT 3
3 INT. MOVIE THEATER - LOBBY - NIGHT 3
3 INT. MOVIE THEATER - LOBBY - NIGHT 3 A quiet two-screen theater. Andrew buys concessions. The GIRL at the counter is about his age. She’s pretty, but doesn’t really know it. More to the point, she doesn’t seem to care. Her name is NICOLE.
3 7
6 INT. DORMITORY - HALLWAY - HOURS LATER 6
6 INT. DORMITORY - HALLWAY - HOURS LATER 6
6 INT. DORMITORY - HALLWAY - HOURS LATER 6 Rusty elevator doors squeak open. Andrew steps out -- into a grimy, green-walled hallway. Pink (9/10/2013) 6
4 9
8 INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8
8 INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8
8 INT. GEHRING HALL - NASSAU BAND ROOM - DAY 8 The same room we saw Andrew practicing in at night -- only now it’s full of musicians. Mostly male, mostly first- and second- years. This is NASSAU BAND, one of Shaffer’s lower-level jazz ensembles. Because it’s Shaffer, the players are still first-
5 10
9 INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9
9 INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9
9 INT. GEHRING HALL - NASSAU BAND ROOM - MOMENTS LATER 9 Rehearsal has ended. The MUSICIANS have just filed out -- except for Andrew, who’s hanging back... MR. KRAMER Are you learning from Ryan?
6 13
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11
11 INT. GEHRING HALL - BASEMENT HALLWAY - CONTINUOUS 11 Andrew walks down a hallway. A piece of paper in his hand. It’s a TRANSFER APPLICATION... He notices as two attractive female students pass him. ** STUDENT #1 **
7 13
12 INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 12
12 INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 12
12 INT. ANDREW’S PRACTICE ROOM - A FEW HOURS LATER 12 Andrew practices like mad, trying to nail a double-time swing. To his left a digital METRONOME blinks. The time set: 380. Andrew stops. Resets the metronome. 390. Resumes playing. Tries to keep up. Resets the metronome to 400. Can’t keep up
8 15
13 INT. MOVIE THEATER - LOBBY - AFTERNOON 13
13 INT. MOVIE THEATER - LOBBY - AFTERNOON 13
13 INT. MOVIE THEATER - LOBBY - AFTERNOON 13 The same movie theater as before. Andrew marches in. Has one goal and one goal only now. Walks up to Nicole at the counter. Takes a deep breath, and-- ANDREW
9 16
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14
14 INT. GEHRING HALL - LOBBY OUTSIDE DEAN'S OFFICE - DAY 14 The next morning. Andrew, still riding high, is seated in a lobby outside the DEAN’s OFFICE. In his hand -- a FILLED-OUT TRANSFER APPLICATION. ASSISTANT
10 20
16 INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 16
16 INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 16
16 INT. GEHRING HALL - NASSAU BAND ROOM - NIGHT 16 Andrew plays the drums with Nassau Band. Keeps missing hits. The song’s SECOND NASSAU BAND REHEARSAL CHART (ANDREW). MR. KRAMER Alright, that’s... That’s enough of that.
11 22
17 INT. PIZZERIA - NIGHT 17
17 INT. PIZZERIA - NIGHT 17
17 INT. PIZZERIA - NIGHT 17 NICOLE This is a nice place. We’re at a cheap pizzeria now. Nicole is seated, two half- eaten slices of pepperoni in front of her. An old jazz track
12 26
18 INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 18
18 INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 18
18 INT. DORMITORY - ANDREW’S ROOM - PRE-DAWN 18 Andrew’s in bed -- fast asleep. Seems stress-free for once -- his body totally relaxed, his mind deep in a dream. His arm hits his night stand -- WAKING him up. His eyes open. He looks at his alarm clock. It reads: 5:17.
13 27
21 INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 21
21 INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 21
21 INT. GEHRING HALL - STUDIO BAND ROOM - MORNING 21 Andrew sits on the drum throne. A clock on the wall reads: 8:57. He’s dozed off, is out cold. His hand, cut from his fall down the stairs, rests against the snare drum. Suddenly -- the DOOR opens --
14 31
22 INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER 22
22 INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER 22
22 INT. GEHRING HALL - BASEMENT HALLWAY - MOMENTS LATER 22 Andrew sits in the corner of the hall, the “WHIPLASH” sheet music in his hand. Tries desperately to count the beats... ANDREW Five-six-seven... Six-two-two-five...
15 35
23 INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER 23
23 INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER 23
23 INT. STUDIO BAND ROOM - GEHRING HALL - MOMENTS LATER 23 The players are taking their seats. Slowly, Andrew walks in. Eyes the DRUMS. Takes a deep breath. He can do this... Carl is seated in the alternate’s seat. The drum throne is empty. Just waiting for Andrew...
16 42
25 INT. DORMITORY - ANDREW’S ROOM - DUSK 25
25 INT. DORMITORY - ANDREW’S ROOM - DUSK 25
25 INT. DORMITORY - ANDREW’S ROOM - DUSK 25 Andrew is curled in the corner, crying. We linger here. Then, his PHONE rings. He looks at it. Hesitates... ANDREW ...Hello...?
17 43
26 INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE -26DAY
26 INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE -26DAY
26 INT. GEHRING HALL - STUDIO BAND ROOM - FLETCHER’S OFFICE -26DAY Andrew steps into Fletcher’s office. Before Fletcher can say a word-- ANDREW I’m sorry to interrupt you. I just want to
18 44
31 INT. SUBWAY - NIGHT 31
31 INT. SUBWAY - NIGHT 31
31 INT. SUBWAY - NIGHT 31 Fletcher is seated, squished in between commuters, towered over by other travelers. Looks diminutive in this setting... 32 EXT. NEW YORK SIDE STREET - NIGHT 32 Andrew marches down a side-street, wolfing down a McDonald’s
19 45
38 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 38
38 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 38
38 INT. FLETCHER’S APARTMENT - DINING ROOM - NIGHT 38 Silence. Fletcher finishes his meal. Puts the dishes away. Sits down on a couch. Still alone. The apartment, like his office, is small but elegant. Pictures of icons on the walls. Monk. Holiday. Coltrane...
20 46
40 INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS 40
40 INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS 40
40 INT. DUNELLEN AUDITORIUM - GREEN ROOM - HALLWAY - MOMENTS 40 LATER The RIVAL PLAYERS quickly shuffle into the green room, past Andrew, who watches, awed. A VOICE-- TECHNICIAN (O.S.)
21 47
41 INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS 41
41 INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS 41
41 INT. DUNELLEN AUDITORIUM - STAGE - CONTINUOUS 41 Studio Band goes on-stage. Carl hurries to the DRUMS, tunes them. CARL Stick bag. Andrew hands Carl the stick bag. Raises the music stand, props
22 48
43 INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER 43
43 INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER 43
43 INT. DUNELLEN AUDITORIUM - HALLWAY - MOMENTS LATER 43 Andrew plugs in for a can of Coke at a vending machine. Sets his MUSIC FOLDER down on a chair. Keeps his eyes on it. Pink (9/10/2013) 43
23 50
44 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 44
44 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 44
44 INT. DUNELLEN AUDITORIUM - GREEN ROOM - MOMENTS LATER 44 Carl, terrified, Andrew behind him, addresses Fletcher-- CARL We have an issue. FLETCHER
24 51
45 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 45
45 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 45
45 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 45 The PLAYERS in their places. And there, on the set, overwhelmed, trying to make this one shot count -- is Andrew. ANNOUNCEMENT With their second selection, the Shaffer
25 52
46 INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 46
46 INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 46
46 INT. DUNELLEN AUDITORIUM - STAGE - HOURS LATER 46 Applause. Fletcher summons his PLAYERS to the stage. The JUDGE hands him the microphone. Fletcher takes it, hesitantly. His band behind him -- including Andrew... FLETCHER
26 53
47 INT. STUDIO BAND ROOM - GEHRING HALL - DAY 47
47 INT. STUDIO BAND ROOM - GEHRING HALL - DAY 47
47 INT. STUDIO BAND ROOM - GEHRING HALL - DAY 47 A new day of rehearsal. Andrew enters the room, passes the piano-- PIANIST Don’t you go taking my folder... Andrew looks at him. Wary, he makes his way to the drums...and
27 54
48 INT. ROAD TO NEW JERSEY - BUS - DAY 48
48 INT. ROAD TO NEW JERSEY - BUS - DAY 48
48 INT. ROAD TO NEW JERSEY - BUS - DAY 48 Andrew watches a VIDEO on his iPhone... It’s 70’s footage and audio of a grey-haired DRUMMER, a face we’ve seen before... BUDDY RICH. Andrew smiles. Relaxed. Proud. A bubble pops up: “1 NEW VOICEMAIL, 1 NEW TEXT MESSAGE”.
28 54
49 INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING 49
49 INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING 49
49 INT. NEW JERSEY - JIM’S HOUSE - KITCHEN - EVENING 49 Jim grabs a platter from the stove, Andrew by his side. JIM How’s it going in Studio Band?
29 55
50 INT. JIM’S HOUSE - DINING ROOM - NIGHT 50
50 INT. JIM’S HOUSE - DINING ROOM - NIGHT 50
50 INT. JIM’S HOUSE - DINING ROOM - NIGHT 50 Seven people seated at the table: Jim and Andrew, Andrew’s uncle FRANK, aunt EMMA, and 18-year-old cousin DUSTIN. To Jim-- UNCLE FRANK Jimbo -- overcooked!
30 60
51 INT. COFFEE SHOP - DAY 51
51 INT. COFFEE SHOP - DAY 51
51 INT. COFFEE SHOP - DAY 51 ANDREW Ok, I’m going to just lay it out. This is why I don’t think we should be together. We’re back in the city, at a coffee shop. Andrew is seated
31 61
52 INT. GEHRING HALL - STUDIO BAND ROOM - DAY 52
52 INT. GEHRING HALL - STUDIO BAND ROOM - DAY 52
52 INT. GEHRING HALL - STUDIO BAND ROOM - DAY 52 A BLAST of music. Horns squealing, cymbals swelling. It’s another Studio Band rehearsal. Andrew’s at the drums, playing well. Fletcher cues a fermata, and the band finishes STUDIO BAND REHEARSAL AFTER-BREAKUP CHART.
32 64
53 INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS 53
53 INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS 53
53 INT. GEHRING HALL - FLETCHER’S OFFICE - CONTINUOUS 53 --BURSTS in. Fletcher’s just finished his call. FLETCHER ANDREW What are--? I need to talk to you. FLETCHER ANDREW
33 65
54A INT. DORMITORY - BASEMENT BATHROOM - DAY 54A
54A INT. DORMITORY - BASEMENT BATHROOM - DAY 54A
54A INT. DORMITORY - BASEMENT BATHROOM - DAY 54A Andrew pours ice into a sink. Turns on the faucet. Dips a big glass jug in and collects ice water. 55 INT. ANDREW’S PRACTICE ROOM - DAY 55 Andrew practices the part... He’s pushing, giving it his all...
34 66
56 INT. SUBWAY - NIGHT 56
56 INT. SUBWAY - NIGHT 56
56 INT. SUBWAY - NIGHT 56 A crowded subway car. Andrew is seated, poring over his sheet music, running through the beats in his head... 57 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 57 The PLAYERS sit silently. Ryan on the drum throne, Carl and
35 69
59 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 59
59 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 59
59 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 59 FLETCHER --that the fastest you can go?? It is no fucking wonder Mommy ran out on you, you worthless acne-scarred fetal-position
36 69
61 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 61
61 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 61
61 INT. GEHRING HALL - STUDIO BAND ROOM - NIGHT 61 Some players have now returned to their seats. Pink (9/10/2013) 64 FLETCHER
37 71
62 EXT. GEHRING HALL - SIDE DOOR - NIGHT 62
62 EXT. GEHRING HALL - SIDE DOOR - NIGHT 62
62 EXT. GEHRING HALL - SIDE DOOR - NIGHT 62 It’s 3:30am. The PLAYERS stagger out of the building. Zombies. Andrew appears, red-eyed, past exhaustion. Fletcher emerges last. Pink (9/10/2013) 66
38 72
64 INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 64
64 INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 64
64 INT. ROAD TO DUNELLEN - GREYHOUND BUS - DAY 64 We’re on a Greyhound, packed. Another VOICE in the back... ANDREW Bop-ba-d-d-da-bop... Bada-bop-bop-bop...
39 73
66 EXT. DUNELLEN - BUS STOP - DAY 66
66 EXT. DUNELLEN - BUS STOP - DAY 66
66 EXT. DUNELLEN - BUS STOP - DAY 66 A nondescript Jersey town. A NEW BUS comes to a stop, setting down passengers on Dunellen’s Main Street. Andrew bolts off, carrying his stick bag and music folder. Looks around. Perplexed. Grabs a PASSERBY--
40 73
67 EXT. CAR RENTAL AGENCY - MOMENTS LATER 67
67 EXT. CAR RENTAL AGENCY - MOMENTS LATER 67
67 EXT. CAR RENTAL AGENCY - MOMENTS LATER 67 Five blocks later -- Andrew dashes across a patch of grass, reaches a door, grabs the handle. The door won’t open. He goes white. Sees the HOURS sign. Eyes scroll down. Starts POUNDING--
41 74
69A INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS 69A
69A INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS 69A
69A INT. DUNELLEN STREET - RENTAL CAR - CONTINUOUS 69A Andrew drives fast. His cell rings-- ANDREW Hello?? PIANIST (O.S.)
42 75
70 INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY 70
70 INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY 70
70 INT. DUNELLEN AUDITORIUM - GREEN ROOM - DAY 70 Andrew arrives, panting. Fletcher glares, the band behind him-- FLETCHER Glad you could work us into your schedule, darling.
43 77
70B EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - DAY 70B
70B EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - DAY 70B
70B EXT/INT. CAR RENTAL AGENCY - RENTAL CAR - DAY 70B Andrew pulls up at the rental agency. The clock changes from 5:27 to 5:28. 71 INT. CAR RENTAL AGENCY - MOMENTS LATER 71 Andrew races into the rental agency. They’re still open... Grabs
44 78
72A INT/EXT. DUNELLEN STREET - CRASHED RENTAL CAR CONTINUOUS
72A INT/EXT. DUNELLEN STREET - CRASHED RENTAL CAR - CONTINUOUS
72A INT/EXT. DUNELLEN STREET - CRASHED RENTAL CAR - CONTINUOUS 72A --until the car comes to a stop, upside down. Glass and blood. Silence. Andrew takes a moment to understand what has just happened.
45 80
74 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 74
74 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 74
74 INT. DUNELLEN AUDITORIUM - STAGE - MOMENTS LATER 74 Dashes in from backstage. The PLAYERS have taken their places, finished tuning, are about to perform. Andrew sees Fletcher. Fletcher sees him. Hiding his arm behind his stick bag-- ANDREW
46 82
78 INT. ANDREW’S DORMITORY - DAY 78
78 INT. ANDREW’S DORMITORY - DAY 78
78 INT. ANDREW’S DORMITORY - DAY 78 Andrew stands alone in his dorm. Staring into space. A bandage on his hand. Time has passed... Lets his eyes take in one item at a time: A drum pad on the floor. A metronome. A DISMISSAL LETTER... He’s been expelled
47 83
83 INT. ANDREW’S PRACTICE ROOM - DAY 83
83 INT. ANDREW’S PRACTICE ROOM - DAY 83
83 INT. ANDREW’S PRACTICE ROOM - DAY 83 Andrew busts in, starts breaking his drums down. First the cymbals come off, then the pedals, then the toms... A look of resolution on his face -- and, bubbling up, anger... He tears at the drums as though attacking them,
48 84
77A INT. HOTEL LOBBY - BAR - LATER THAT DAY 77A
77A INT. HOTEL LOBBY - BAR - LATER THAT DAY 77A
77A INT. HOTEL LOBBY - BAR - LATER THAT DAY 77A RACHEL BORNHOLDT -- lawyer, elegantly dressed -- sits across from Andrew, Jim to the side. There’s a glass of white wine for Jim, a club soda for Rachel, and an untouched water for Andrew. A moment of silence. Finally--
49 90
86 EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON 86
86 EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON 86
86 EXT. NEW YORK STREET - BILLBOARD STREET - LATE AFTERNOON 86 Summer in New York. Tube tops, street performers, sunshine. Andrew, hand healed, carries laundry. Looks up and sees a huge sign: “BACK IN NYC! JVC JAZZ FESTIVAL June 21-29”. We’re in the Lower East Side -- far, far away from Shaffer...
50 91
89 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 89
89 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 89
89 INT. ANDREW’S APARTMENT - LIVING ROOM - EVENING 89 Father and son stand by the doorway, Jim about to exit-- JIM “Dr. No” next week. Or whatever’s playing on 86th...?
51 91
92 EXT. NEW YORK STREET - JAZZ CLUB - NIGHT 92
92 EXT. NEW YORK STREET - JAZZ CLUB - NIGHT 92
92 EXT. NEW YORK STREET - JAZZ CLUB - NIGHT 92 Andrew walks alone, eating a slice of pizza. Crosses by a STREET PERFORMER -- a man drumming away on a row of buckets. Doesn’t watch, just keeps walking.
52 92
93A INT. JAZZ CLUB - NIGHT 93A
93A INT. JAZZ CLUB - NIGHT 93A
93A INT. JAZZ CLUB - NIGHT 93A A table in the corner. Fletcher and Andrew seated. They seem to have been sitting here in silence for some time. Two drinks stand between them. Untouched. The other band members on-stage play JAZZ CLUB BLUES, a new PIANIST on the keys and a
53 97
94 EXT. JAZZ CLUB - NIGHT 94
94 EXT. JAZZ CLUB - NIGHT 94
94 EXT. JAZZ CLUB - NIGHT 94 Andrew and Fletcher exit. They stand for a second. Look at one another. An awkward silence. ANDREW Nice seeing you...
54 98
96 INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT 96
96 INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT 96
96 INT. JUDY AND ARTHUR ZANKEL HALL - NIGHT 96 An empty theater. It’s one of Carnegie Hall’s theaters -- bigger and far sleeker than any of the theaters Studio Band played. Ceiling decked with lights, capacity 1200. On the stage, rehearsing, is a JAZZ ORCHESTRA.
55 99
98 INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 98
98 INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 98
98 INT. ANDREW’S APARTMENT - LIVING ROOM - HOURS LATER 98 Andrew enters. Eyes his drums. Then -- he has a thought. Pink (9/10/2013) 91A He pulls out his phone. Hesitates. Nervous -- but excited now.
56 103
103 EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - 103
103 EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - 103
103 EXT. NEW YORK STREET - FLETCHER’S SUBWAY ENTRANCE - 103 EVENING Fletcher ignoring several passing CABS, enters a SUBWAY STATION... 104 EXT. NEW YORK STREET - CARNEGIE HALL - DUSK 104
57 104
105 INT. ZANKEL HALL - GREEN ROOM - NIGHT 105
105 INT. ZANKEL HALL - GREEN ROOM - NIGHT 105
105 INT. ZANKEL HALL - GREEN ROOM - NIGHT 105 The scene is more or less what we saw before Studio Band competitions -- only taken to eleven. A rush of MUSICIANS, STAGE HANDS and TECHNICIANS backstage, a swell of TUNING as TRUMPETERS, TROMBONISTS and SAXOPHONISTS join in. Andrew
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105D INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER 105D
105D INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER 105D
105D INT. ZANKEL HALL - GREEN ROOM - MOMENTS LATER 105D Andrew and the Studio Band listen to Fletcher’s speech. FLETCHER Alright, gang, listen up! 15 seconds to get into places. For those of you who are
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106 INT. ZANKEL HALL - STAGE - CONTINUOUS 106
106 INT. ZANKEL HALL - STAGE - CONTINUOUS 106
106 INT. ZANKEL HALL - STAGE - CONTINUOUS 106 The stage is decked in blue lights. The instruments gleam. Beyond it, a yawning expanse of black. The audience... And a hush, an undercurrent of murmurs and whispers gathering steam, as each PLAYER takes to the stage, one by one...
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107 INT. ZANKEL HALL - LOBBY - CONTINUOUS 107
107 INT. ZANKEL HALL - LOBBY - CONTINUOUS 107
107 INT. ZANKEL HALL - LOBBY - CONTINUOUS 107 Jim running... Down the hall... Toward the entrance to backstage... Pink (9/10/2013) 99

Whiplash

A driven music student battles humiliation, injury, and a manipulative mentor in a cutthroat conservatory—until he flips the script and seizes his own destiny on the world’s stage.

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Overview

Poster
Unique Selling Point

Whiplash's unique selling proposition is its uncompromising exploration of the toxic relationship between artistic genius and abusive mentorship, presented through the specific lens of jazz drumming. Unlike traditional teacher-student narratives that follow redemption arcs, this screenplay dares to question whether abuse can be justified in the pursuit of greatness, creating a morally complex and psychologically intense experience that transcends its musical setting to speak to universal themes of ambition, sacrifice, and the cost of excellence.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Highly Recommend
Gemini
 Highly Recommend
Claude
 Recommend
Grok
 Highly Recommend
DeepSeek
 Highly Recommend
Average Score: 9.4
Key Takeaways
For the Writer:
You have a ferocious, high-concept core: a propulsive mentor/mentee duel staged as visceral set pieces. To make the script emotionally and thematically airtight, deepen the secondary perspectives and clarify the moral frame. Give Nicole and at least one peer (Carl or Ryan) a concrete beat or two that grants them interior life and agency, and add one focused scene or line of specificity about Fletcher’s past that complicates (but does not excuse) his methods. Finally, trim or vary repetitive middle humiliation sequences so each escalation reveals new psychological information rather than repeating the same torment.
For Executives:
Whiplash is a compact, actor-forward drama with festival/awards and low-to-moderate budget commercial potential — its USP (music as combat, blistering mentor/mentee escalation) is marketable and memorable. Risks: the film's sympathetic framing of abusive pedagogical methods and intentionally unresolved institutional fallout could alienate some mainstream viewers and critics; underwritten supporting players limit broader audience empathy. Mitigation: attach a confident director and lead, consider tightening ethical framing (or adding a brief coda) and strengthen a few supporting beats to broaden emotional access without diluting the core conflict.
Story Facts
Genres:
Drama 70% Thriller 25% Romance 5%

Setting: Modern day, New York City, primarily at Shaffer Conservatory and various music venues

Themes: The Pursuit of Greatness and Artistic Mastery, Abusive Mentorship and the Price of Pushing Boundaries, The Nature of Talent vs. Hard Work, Sacrifice and Obsession, Family and Societal Expectations, The Cost of Perfectionism, Redemption and Moving Forward, The Double-Edged Sword of Ambition

Conflict & Stakes: Andrew's struggle against Fletcher's abusive teaching methods and his own obsessive drive for perfection, with his musical career and mental health at stake.

Mood: Intense and dramatic

Standout Features:

  • Unique Hook: The intense and abusive relationship between a student and his mentor, exploring the dark side of ambition.
  • Major Twist: The revelation of Fletcher's manipulative tactics and the psychological toll they take on Andrew.
  • Innovative Ideas: The film's use of music as a central narrative device, blending performance with psychological drama.
  • Distinctive Setting: The competitive world of music conservatories, highlighting the pressures faced by aspiring musicians.

Comparable Scripts: Whiplash, Black Swan, The Social Network, Amadeus, The Pursuit of Happyness, Birdman, La La Land, The Devil Wears Prada, A Star is Born

Script Level Analysis

Writer Exec

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

Breaks down your script along various categories.

Overall Score: 8.71
Key Suggestions:
The script’s core is powerful: Andrew’s arc and Fletcher’s complex antagonism drive a visceral, high-stakes drama. To sharpen it, deepen the emotional lives of secondary characters (especially Nicole and Jim) so their reactions meaningfully raise the stakes for Andrew, and trim/variate the repetitive mid‑act rehearsal sequences so tension doesn’t plateau. Small, specific scenes that show (not tell) Nicole’s agency and Jim’s backstory, plus more varied rehearsal beats and visual motifs, will make the climax feel earned and broaden audience empathy.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
You have an intense, tightly-wound drama that soars on performance, pace, and moral ambiguity. To deepen emotional payoff and avoid the film feeling solely like an endurance test, add a few calibrated beats of interiority: a moment or two where Fletcher’s own doubt or private cost peeks through, and a brief, sincere hesitation from Andrew about whether the greatness he chases is truly his. Also seed slightly stronger threads for Nicole or family in the final act — not to soften the climax, but to make Andrew’s choice feel more consequential and to amplify the thematic stakes about sacrifice versus selfhood.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The script has a powerful central conflict and a thrilling final payoff, but the emotional core needs tightening. Prioritize deepening Andrew's inner life so his obsessive choices feel earned and empathetic: show a few compact, specific scenes or beats that reveal childhood wounds, private rituals, and a clear midpoint choice that cements his commitment. At the same time, add small moments of nuance to Fletcher (private regret, strategic intent) and give Jim a sliver of agency so the supporting relationships have more texture and consequences. Tighten or expand a couple of weaker scenes (e.g., the coffee-shop breakup, Fletcher's club vulnerability) so they either reveal motivation or are cut/rewritten to maintain pace and emotional clarity.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script delivers powerful highs (notably the final solo) but leans too heavily on prolonged, unrelieved abuse and anxiety, which risks numbing the audience. To strengthen emotional impact, redistribute intensity: shorten repetitive abusive stretches, insert brief but genuine moments of musical joy, camaraderie, or quiet processing after major blows, and deepen Andrew's active choices (show him choosing sacrifice, not just enduring it). Also add small scenes that humanize Fletcher and expand Nicole/Jim/Carl so moments of triumph and rupture feel earned and emotionally complex.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The analysis shows the screenplay’s emotional engine is Andrew’s evolving internal goal — from desperate external validation to a fraught, self-directed obsession — and the central philosophical clash: Artistic Integrity vs. Abusive Mentorship. To strengthen the script, tighten the causal link between Fletcher’s abuse and Andrew’s final choice so the climax feels earned (not merely triumphant). Seed Andrew’s internal turning points earlier and show clearer, smaller decisions that accumulate into his final act. Make the cost of his pursuit (relationships, health, selfhood) more viscerally present throughout so the payoff has both dramatic and moral weight.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script powerfully dramatizes obsession and the cost of artistic mastery, but it needs a clearer moral and emotional throughline. Decide what you want the audience to feel about the methods that produce greatness: condemn, complicate, or endorse? Tighten character arcs (especially Andrew and Fletcher) so the climax delivers a clear payoff — emotionally and thematically — and ensure supporting characters (Nicole, Jim, Carl) amplify rather than muddy Andrew’s choices. Trim or focus repetitive brutality scenes to maintain tension without numbing the viewer, and add moments that deepen empathy for both mentor and student so the final achievement feels earned, not accidental or merely shock-driven.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The single biggest weakness is tonal and motivational ambiguity around Fletcher. Right now he reads alternately as monster, mentor and manipulator without enough connective tissue to make those swings feel earned. Tighten his through-line: either make him a consistent, morally compromised coach who deliberately uses abuse as a tool (and show the strategy and consequences), or make him a complex, well‑intentioned (if brutal) mentor whose few humane moments are credible and earned. Small added scenes or beats that reveal motive, method and internal stakes (private moments, plans, or reactions to failures/successes) will make the emotional climax believable and preserve the audience’s investment in Andrew’s arc.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
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Other Analyses

Writer Exec

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

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
Your voice—raw, precise, and relentlessly intense—is the script's greatest asset. Lean into that strength, but sharpen emotional clarity: make Andrew's inner stakes and choices more explicit so the audience can root for him even as he self-destructs. Preserve the sparse, sensory prose and brutal beats, while using small scenes of nuance (brief, quiet moments, clearer motivations, and consequential reactions) to prevent the relentlessness from feeling gratuitous. Also consider tightening or trimming repetitive training sequences so each escalation clearly advances character or theme.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
Your script already delivers relentless, high-stakes scenes and a strong dramatic arc, but it needs deeper interior life for the key players—especially Andrew and Fletcher. Focus on adding layered motivations, quieter moments of subtext, and more varied pacing so the intense set-pieces land emotionally rather than just viscerally. Small, specific beats (a revealing line, a private action, or a short monologue) that show why characters make brutal choices will turn spectacle into resonance.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The world is a pressure cooker—claustrophobic institutional spaces versus a sprawling, indifferent city—and that contrast is your story’s engine. Tighten how the environment actively shapes Andrew: show more cause-and-effect between place, culture and his choices, and make Fletcher’s methods and their consequences emotionally explicit. Calibrate the depiction of abuse so the audience understands why Andrew stays and what he gains or loses; create clear emotional beats that trace his transformation so the high-stakes competition scenes land as earned rather than shocking for shock’s sake.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
You have a powerful engine: intense, emotionally raw set pieces that consistently drive plot and character change. But several quieter, introspective scenes—though well written—underperform in emotional payoff and story movement. Focus on making vulnerability scenes do double duty: retain your strong dialogue while raising stakes or tethering them to tangible consequences for Andrew (so moments of tenderness or reflection also change his trajectory). Also consider trimming or strengthening early scenes to accelerate the escalation that pays off later.
Loglines
Presents logline variations based on theme, genre, and hook.