1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
Scene Map 42
# PG SLUGLINE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
Scene Map
42
# PG SLUGLINE
1
2 INT. PLAZA HOTEL WINDOW NYC - DAY 2 IRVING ROSENFELD, not a small man, gets dressed and meticulously constructs his combover. Camera WRAPS AROUND, see his hands with rings adjust his dark velvet suit, up to his face, serious, concentrated, intense, he is composing
2
5 INT. PLAZA HOTEL SUITE FOYER - DAY 5 SLOW MOTION -- DOUBLE DOORS PUSH OPEN AND Edith ENTERS THE SUITE -- THEY WALK INTO -- 5. 6 INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS 6
3
INT. PLAZA HOTEL SUITE FOYER - DAY Irving paces back and forth as he waits for the elevator. INT. PLAZA HOTEL LIVING ROOM - CONTINUOUS We push in on the concerned face of Sydney as Richie rambles on to her.
4
7G INT. IRV’S DINGY OFFICE - DAY 7G Irving paces around his office smoking a cigar and talking on the phone. What looks to be stolen art sits on the floor all around him. IRVING ROSENFELD (V.O.)
5
EXT. NY STREET -- DAY Sydney looks at scrap of paper with info in her hand -- looks up at office building address -- enters. IRVING ROSENFELD (V.O.) She came to New York. She
6
39 INT. Irv’s dingy office - DAY 39 Irv leads Sydney into a small, dingy Manhattan office on an upper floor. SYDNEY PROSSER What is this place? Do you sell art
7
INT. IRV’S DINGY OFFICE - DAY IRVING PACES AROUND THE OFFICE UPSET AT HIMSELF. SLOWLY SITS DOWN IN THE DESK CHAIR IN DEFEAT, TAKES OFF HIS GLASSES AND SITS BACK. IRVING ROSENFELD (TO HIMSELF)
8
INT. IRV’S DINGY OFFICE - ANOTHER DAY Sydney and Irving laugh and celebrate. IRVING ROSENFELD (V.O.) I was doing so much more business with her. I mean it doubled, then
9
59 INT. MASTER BEDROOM - NIGHT 59 Irv’s wife Rosalyn sits up on the bed in a muumuu, half her face is burned. ROSALYN ROSENFELD I put out the fire. The fire is
10
INT. DANNY’S ROOM - NIGHT DANNY SITS PLAYING ON THE BED WITH HIS TOYS. IRVING ROSENFELD (V.O.) I did not want to leave the kid behind. He was my son. She had me.
11
64 INT. FBI HOLDING OFFICES - DAY. 64 SYDNEY IS LED INTO A HOLDING CELL BY AN FBI AGENT. 32. IRVING ROSENFELD (V.O.) He wouldn’t let me see her for
12
67 INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY 67 Irv stands alone on the other side of the glass staring at Sydney. Richard Dimaso walks in. RICHIE DIMASO
13
68 INT. SYDNEY’S APARTMENT BEDROOM - NIGHT 68 A NICE UPPER EAST SIDE apartment. Sydney has finally changed her clothing from when she wore the same dress at the holding cell. It is quiet in the apartment - faint street noise from 3rd Avenue below.
14
70 INT. ART MUSEUM - DAY 70 Richie, in sharp lapeled suit, chain on his neck, walks with Irv and Edith and joined by a man who looks like an ARAB SHEIK who they trail. IRVING ROSENFELD
15
INT. ART MUSEUM - NEXT ROOM - CONTINUOUS Irving, Edith, Richie, and the fake Sheik admire a REMBRANDT painting on the wall. IRVING ROSENFELD I want to show you something. This
16
75 INT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY 75 PUSH IN: STODDARD THORSEN, Richie’s FBI supervisor. STODDARD THORSEN (shakes his finger ‘no’) Carmine Polito? Carmine Polito, no.
17
INT. STODDARD’S OFFICE -- 89 PUSH IN ON STODDARD -- confused, dismayed. 89 STODDARD THORSEN Thank you, sir, wait, the sheik -- INT. STODDARD’S OFFICE - DAY
18
92 INT. PLAZA HOTEL SUITE - DAY 92 Where the film started -- See RICHIE TALK TO CAMERA IN A CORNER OF THE PLAZA SUITE-- CLOSE ON MONEY COUNTED INTO BRIEFCASE -- SMASH TO:
19
94 INT. SYDNEY’S APARTMENT - DAY 94 IRVING ROSENFELD I’m going out to dinner with Carmine and the wives in Camden. RICHIE DIMASO
20
INT. SYDNEY’S APARTMENT - NIGHT Sydney sits alone in her apartment, hair in curlers and sparks a joint. 96 INT. RICHIE DIMASO’S APARTMENT - NIGHT 96 Richie sits in his bathroom, his hair in tight curlers, as he
21
99 INT. TABLE AT BARON’S ITALIAN RESTAURANT - CAMDEN - NIGHT 99 Ella continues. Mixture of LOCALS: ITALIANS, POLISH, BLACKS AND PUERTO RICANS -- wave to the mayor from the bar, and tables, as Irv and Rosalyn follow. 100 THEY SIT AT BOOTH -- 100
22
102 EXT. WEST 54TH STREET - NIGHT 102 Todd Rundgren’s “I Saw the Light” plays somewhere. Edith dressed in tight Halston dress, hair flows huge all round her; walks with Richie, who is waiting in a white gray suit with a white disco collar outside the lapel, chains around
23
105 INT. BARON’S BACK ROOM - CAMDEN SOCIAL CLUB - NIGHT 105 Irv and Carmine JOYOUSLY SING Tom Jones’ "Delilah" WITH a RAUNCHOUSLY HAPPY GROUP OF locals. SMASH TO: INT. BARON’S BACK ROOM- CAMDEN SOCIAL CLUB - NIGHT - LATER
24
111 INT. ROSALYN’S KITCHEN - DAY 111 Ros talks to herself carrying tin foil covered tray of lasagna. ROSALYN ROSENFELD (to herself)
25
112 EXT. TEETERBORO AIRPORT TARMAC, NEW JERSEY - DAY 112 JET ROAR LANDING. A small airport. Irv stands alone, staring at Edith and Richie kissing. Richie, in long full length fleece lined suede coat, walks over towards where Carmine stands.
26
115 EXT. TETERBORO AIRPORT TARMAC - DAY 115 ELO’s “10538 Overture” kicks on. Irv and Richie exit the plane walking slightly behind the “sheik” and his “bodyguards” - the sheik in the front. The Sheik hands the ceremonial knife to Carmine and bows his
27
119 INT. IRV’S CADILLAC - DUSK 119 Elton John’s “Goodbye Yellow Brick Road” plays on the soundtrack as Irv drives: tinted glasses, large comb over, blue crushed velvet suit, dark tie -- PAN TO: VISOR MIRROR -- WHERE Rosalyn APPLIES MASCARA --
28
125 INT. CASINO BACK ROOM -- NIGHT 125 SLOW PUSH IN ON POWERFUL LOOKING: BALD MAN IN SUNGLASSES, LIGHT GRAY SUIT, DARK TIE -- STANDING BY HIMSELF. CARMINE, RICHIE, SHEIK, IRVING ENTER A HALF FINISHED BACK ROOM. PUSH IN ON IRVING.
29
INT. WOMEN’S POWDER ROOM HALLWAY - CASINO ROSALYN STORMS DOWN THE HALL TOWARDS THE BATHROOM AS “WHITE RABBIT” BUILDS TO ITS CLIMAX. 126 INT. WOMEN’S POWDER ROOM - CASINO 126 Rosalyn looks in mirror: sadness, anger, fear. Edith rushes
30
132 INT. IRVING’S DRY CLEANERS - EARLY MORNING 132 Irving walks in with his keys, same clothes from night before, as ocean sounds continue, TAKES A GUN FROM THE SAFE, and he stands looking lost and lonely, he turns on the electric dry cleaning rack, where he and SYDNEY STOOD
31
140 INT. SYDNEY’S APARTMENT - DAY 140 IRVING ROSENFELD You were right. We should have gone away. Irving sits in the corner of the room a disheveled mess.
32
139 INT. STODDARD’S FIELD OFFICE - FLASHBACK 139 Stoddard paces while on the phone, holds up a finger to Richie to wait, Richie picks up Stoddard’s phone -- rips the cord out and smashes Stoddard across the face with the base. Doesn’t stop til Stoddard falls to the ground, knocks over
33
143 INT. CORRIDOR - OLD FEDERAL COURT BUILDING - CONTINUOUS 143 Richie and Stoddard walk down large, echoey Federal building corridor. Stoddard walking ten feet ahead turns and points at Richie. STODDARD THORSEN
34
INT. PLAZA HOTEL - GENERAL SHERMAN SUITE - DAY Richie directs where cameras should be concealed. AGENTS SCHMIDT AND STOCK FOLLOW MAKING NOTES IN PADS. RICHIE DIMASO You can put a camera here. And we
35
159 INT. HALLWAY OF SHERMAN SUITE, PLAZA -- CONTINUOUS 159 --into another room where Sydney on elegant gold couch, sits alone. Surveillance equipment and room service trays are on the coffee table. 160 INT. ANOTHER ROOM OF SHERMAN SUITE - CONTINUOUS 160
36
166 EXT. PLAZA HOTEL -- DAY 166 Irv and Carmine down sidewalk leaving from The Plaza Hotel -- Pete Musane stands next to an open passenger side door, -- Irv and Carmine do not move, they stare at the open door. 125.
37
INT. PETE MUSANE’S CADILLAC - FLASHBACK CARMINE POLITO Take it off! Take the bag off his head! Dick pulls the bag off Irving’s head, his comb over is all
38
EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY The spare rhythmic intro of Jeff Lynne’s “Long Black Road” plays as Richie looks back over his shoulder and walks towards the building with intensity. IRVING ROSENFELD (V.O.)
39
INT. BRENDA’S FBI WIRE OFFICE - CONTINUOUS AMADO, STODDARD, BRENDA. ANTHONY AMADO This is the Sheik. RICHIE DIMASO
40
184 EXT. CARMINE’S HOUSE - DAY 184 Irving staggers out of the house in an emotional daze, one hand to his heart, falls to sidewalk with bloody nose and broken glasses -- SYDNEY ACROSS THE STREET BURST OUT OF THE CAR.
41
INT. AMADO’S OFFICE - DAY - BACK TO PRESENT SYDNEY PROSSER You lost two million dollars of taxpayer money because you were confused about the location and the
42
EXT. FBI OFFICE, FEDERAL OFFICE BUILDING, NY - DAY Camera tilts down from the Federal Building to find Richie coming down the stairs, emotional. Richie walks wiping his eyes, his innocence and Edith, lost. CUT TO:

American Hustle

Two con artists are forced to work with an ambitious FBI agent in a sting operation against corrupt politicians, leading them into a dangerous world of deception and betrayal.

See other logline suggestions

Overview

Poster
Unique Selling Point

Discover a world of cunning con artists, high-stakes schemes, and complex relationships in this captivating script that blends sharp dialogue, witty banter, and a focus on character dynamics. With a unique voice that delves into the intricate motivations of its characters, this story offers a fresh take on the crime genre, exploring themes of deception, manipulation, and loyalty against the backdrop of a meticulously crafted narrative. From the tense confrontations and chaotic interactions to the emotional turmoil and power struggles, this script keeps you on the edge of your seat with its unpredictable twists and turns. Witness the transformation of characters as they navigate their way through a labyrinth of white-collar crime, political corruption, and personal relationships, all while striving for success and survival in a world where trust is a rare commodity.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Gemini
 Consider
Claude
 Recommend
Story Facts

Genres: Drama, Crime, Thriller, Comedy, Romance

Setting: 1970s, New York and New Jersey

Themes: Deception and Manipulation, Power and Corruption, Identity and Self-Discovery, Relationships and Betrayal

Conflict & Stakes: The primary conflict in this story is between Irving and Richie, as Irving tries to protect his family and business while Richie tries to build a case against corrupt politicians and businessmen. The stakes are high for all characters involved, as they risk losing their freedom, reputation, and relationships.

Mood: Stylish, tense, and unpredictable.

Standout Features:

  • Unique Hook: Unique blend of genres, including crime drama, comedy, and romance.
  • Plot Twist: Multiple plot twists and surprises that keep the audience engaged.
  • Distinctive Setting: 1970s New York and New Jersey, with stylish visuals and period details.
  • Innovative Ideas: Exploration of themes such as deception, corruption, and loyalty in a fresh and engaging way.
  • Unique Characters: Compelling and memorable characters, including a heavyset con artist, a femme fatale, and an ambitious FBI agent.

Comparable Scripts: American Hustle, The Wolf of Wall Street, Catch Me If You Can, Goodfellas, The Sting, Ocean's Eleven, The Departed, Boiler Room, The Big Short

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: 8.50
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

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

Emotional Analysis

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

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

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

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

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.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
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.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.