Joker
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo

USP: This script's Unique Selling Proposition (USP) lies in its unique blend of dark humor, raw emotion, and gritty realism. The writer's voice creates a captivating and immersive atmosphere that explores themes of mental illness, societal inequality, and the search for identity. Each scene showcases the authenticity of the characters' actions and dialogue, adding freshness and depth to familiar situations. The script's compelling storytelling techniques, distinctive characters, and exploration of complex themes make it stand out in its genre. It will be of interest to its target audience by offering a thought-provoking and emotionally impactful narrative that resonates long after the story ends.
Overview
Genres: Drama, Thriller, Comedy
Setting: Contemporary, Gotham City
Overview: The screenplay demonstrates strong originality, creative character changes, and engaging dialogue. However, there are opportunities to enhance unpredictability and further explore relationships for a more immersive experience.
Themes: Mental Illness and Isolation, Violence and Chaos in Society, Identity and Self-Discovery, Social Inequality and Class Divide, Comedy and Tragedy
Conflict and Stakes: The primary conflicts in this story revolve around Arthur's descent into madness, his search for identity and purpose, and the societal tensions and violence that arise as a result of his actions. The stakes include Arthur's personal well-being, his relationships, and the stability of Gotham City.
Overall Mood: Dark, gritty, and unsettling
Mood/Tone at Key Scenes:
- Scene 1: Scene 1 has a mix of laughter, pain, tension, and unease.
- Scene 2: Scene 2 is one of humiliation and physical attack.
- Scene 3: Scene 3 starts light-hearted and playful, then becomes brutal and uncomfortable.
- Scene 4: Scene 4 is somber and bleak, reflecting the rundown and impoverished environment.
- Scene 5: Scene 5 is a mix of sadness, hope, and a touch of playfulness.
- Scene 6: Scene 6 is supportive and empathetic.
- Scene 7: Scene 7 is positive and supportive.
- Scene 8: Scene 8 is tense and uncertain.
- Scene 9: Scene 9 is tense and confrontational.
- Scene 10: Scene 10 is a mix of frustration, weariness, and dark humor.
- Scene 11: Scene 11 is heavy and somber, with moments of tension and unease.
- Scene 12: Scene 12 is introspective and dark, as Arthur contemplates his own identity and purpose.
- Scene 13: Scene 13 is tense and chaotic, with moments of shock and fear.
- Scene 14: Scene 14 is tense and dramatic.
- Scene 15: Scene 15 is tense and uncomfortable, with a touch of dark humor.
- Scene 16: Scene 16 is tense and confrontational.
- Scene 17: Scene 17 is tense and awkward, with moments of humor.
- Scene 18: Scene 18 is tense and uncomfortable, with a touch of dark humor.
- Scene 19: Scene 19 is tense and dramatic.
- Scene 20: Scene 20 is intense, chaotic, and dark.
Standout Features:
- Character Transformation: Arthur's transformation into the Joker is a standout feature that explores the nature of identity and madness.
- Social Commentary : The film's exploration of societal inequality and the consequences of neglect and abuse adds depth and relevance.
- Performance : Joaquin Phoenix's portrayal of the Joker is a standout feature that has garnered critical acclaim and awards recognition.
Comparable Scripts:
Market Analysis
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-45, fans of psychological thrillers, comic book adaptations, and character-driven dramas.
Marketability: The Joker character has a strong fan base and the film explores relevant social themes...
The film has the potential to generate buzz and critical acclaim...
The film's unique take on the Joker character and its exploration of mental illness...
Profit Potential: High, due to the popularity of the Joker character and the potential for critical acclaim and awards recognition.
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
- The screenplay excels in character development, with a percentile ranking of 98.20%. This indicates that the characters are well-rounded, engaging, and have a strong impact on the audience.
- The emotional impact of the screenplay is at 100%, suggesting that it effectively evokes emotions and creates a deep connection with the audience.
- The plot of the screenplay is highly rated, with a percentile ranking of 81.53%. This indicates a well-structured and engaging storyline.
- The formatting score of 48.84% suggests that the writer could focus on improving the organization and presentation of the screenplay.
- The pacing score is relatively low at 44.19%, indicating that the writer should work on maintaining a consistent and engaging pace throughout the story.
- The external goal score is at 24.42%, suggesting that the writer could enhance the clarity and significance of the protagonist's external objectives.
Based on the high rankings in dialogue (70.72%) and character development (98.20%), it can be inferred that the writer's potential style lies in creating compelling and well-defined characters who engage in meaningful conversations.
Balancing Elements- To balance the screenplay more effectively, the writer can focus on improving the formatting and pacing, which have lower percentile rankings.
- Enhancing the external goal score and ensuring it aligns with the overall plot can help create a better balance between internal and external conflicts.
The writer's style appears to be more intuitive, as indicated by the high percentile rankings in emotional impact (100%) and character changes (100%).
Overall AssessmentThe screenplay shows great potential with its strong character development, engaging plot, and emotional impact. However, improvements in formatting, pacing, and external goal clarity can further enhance its overall quality.
How scenes compare to the Scripts in our Library
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Percentile | Before | After |
---|---|---|---|---|
Scene Emotional Impact | 9.6 | 100 | The Sweet Hereafter: 9.1 | Joker: 9.6 |
Scene Character Changes | 8.6 | 100 | The substance: 8.3 | Joker: 8.6 |
Scene Overall | 8.9 | 98 | Good Will Hunting: 8.8 | Silence of the lambs: 8.9 |
Scene Characters | 8.9 | 98 | The King's speech: 8.8 | Black mirror 304: 8.9 |
Script Premise | 8.90 | 95 | Interstellar: 8.80 | Titanic: 8.90 |
Scene Conflict Level | 8.7 | 94 | Blackkklansman: 8.6 | the dark knight rises: 8.7 |
Scene Formatting | 9.00 | 92 | Baby Driver: 8.98 | Severance: 9.00 |
Scene High Stakes | 8.8 | 92 | Enemy of the State: 8.7 | the dark knight rises: 8.8 |
Script Structure | 8.48 | 91 | V for Vendetta: 8.47 | Joker: 8.48 |
Scene Plot | 8.4 | 87 | Parasite: 8.3 | Dr. Strangelove: 8.4 |
Script Emotional Impact | 8.30 | 87 | Promising young woman: 8.20 | fight Club: 8.30 |
Script Visual Impact | 8.10 | 77 | Ex-Machina: 8.00 | Blade Runner: 8.10 |
Scene Story Forward | 8.4 | 71 | Parasite: 8.3 | a few good men: 8.4 |
Script Structure | 8.10 | 71 | Jojo rabbit: 8.00 | Titanic: 8.10 |
Script Originality | 8.10 | 62 | A Complete Unknown: 8.00 | Titanic: 8.10 |
Scene Dialogue | 8.0 | 61 | Nickel Boys : 7.9 | fight Club: 8.0 |
Scene Pacing | 8.33 | 61 | The usual suspects: 8.32 | Blade Runner: 8.33 |
Overall Script | 8.00 | 36 | Mo: 7.90 | fight Club: 8.00 |
Scene Unpredictability | 7.21 | 25 | A Complete Unknown: 7.20 | Joker: 7.21 |
Scene External Goal | 7.07 | 24 | Triangle of sadness: 7.06 | Dr. Jekyll and Mr Hyde : 7.07 |
Scene Concept | 7.9 | 21 | 500 days of summer: 7.8 | The Wolf of Wall Street: 7.9 |
Scene Originality | 6.98 | 12 | Thor: 6.93 | Joker: 6.98 |
Scene Engagement | 8.69 | 12 | Fear and loathing in Las Vegas: 8.68 | Joker: 8.69 |
Scene Internal Goal | 7.98 | 10 | Arsenic and old lace : 7.97 | Schindler's List: 7.98 |
Script Conflict | 6.40 | 3 | Midsommar: 6.20 | Her: 6.40 |
Writer's Voice
Summary:The writer's voice is characterized by a unique blend of dark humor, raw emotion, and gritty realism, creating a captivating and immersive atmosphere that explores themes of mental illness, societal inequality, and the search for identity.
Best representation: Scene 2 - Brutal Beating and Uncomfortable Laughter. This scene is the best representation of the writer's voice because it showcases the blend of dark humor, raw emotion, and gritty realism, while also exploring themes of societal inequality and the search for identity.
Memorable Lines:
- Joker: You get what you fucking deserve! (Scene 39)
- Joker: There is no punchline. It's not a joke. (Scene 37)
- Arthur: Why don't you ask Randall about it? It was his gun. (Scene 14)
- Arthur: I used to think my life was nothing but a tragedy, but now, now I realize it's all just a fucking comedy. (Scene 29)
- Joker: GOOD NIGHT AND ALWAYS REMEMBER,-- THAT'S LIFE! (Scene 40)
Writing Style:
The writing style of the entire screenplay is characterized by a blend of dark humor, intense drama, and exploration of complex themes. It often combines moments of emotional depth with unexpected twists and explores the internal struggles of the characters.
Style Similarities:
- Martin McDonagh
- Quentin Tarantino
Story Shape
Emotions Elicited
Highly Recommend
Executive Summary
The Joker screenplay is a gripping, character-driven psychological thriller that delves deep into the origins and transformation of its titular protagonist. Through a masterful blend of realism and fantasy, the screenplay explores the social, psychological, and sociopolitical factors that contribute to Joker's radicalization, culminating in his chilling on-stage confession and the tragic consequences that follow. The screenplay's strengths lie in its nuanced character development, impactful pivotal scenes, and thought-provoking sociopolitical commentary. While some minor areas for improvement have been identified, the overall screenplay is highly recommended for its compelling storytelling and cinematic potential.
- The screenplay masterfully portrays Joker's psychological descent and transformation, culminating in his chilling on-stage confession and subsequent murder of Murray Franklin. These pivotal scenes are gripping and impactful, showcasing the character's complex motivations and the societal factors that contributed to his radicalization. high ( Scene 12 (Joker's performance at the Gotham Comedy Club) Scene 27 (Joker's conversation with Thomas Wayne in the men's room at Wayne Hall) )
- The exploration of Joker's traumatic childhood and his mother's mental health issues adds depth and nuance to the character, providing valuable insight into the origins of his distorted worldview and sense of identity. high ( Scene 28 (Joker's visit to Arkham State Hospital and the revelation about his mother's past) )
- The screenplay effectively blends reality and fantasy, allowing the audience to immerse themselves in Joker's delusional perspective and understand his aspirations and coping mechanisms. medium ( Scene 6 (Joker's fantasy of appearing on the Murray Franklin show) )
- The relationship between Joker and Sophie could be further developed to provide more context and motivation for Joker's actions. The screenplay could explore their connection in greater depth. medium ( Scene 23 (Joker's interaction with Sophie in her apartment) )
- The screenplay could benefit from more details or explanation around the individuals who rescued Joker from the crashed police car and their motivations for doing so. medium ( Scene 41 (Joker's rescue from the crashed police car) )
- The screenplay's exploration of Joker's growing anger and resentment towards the wealthy and powerful, exemplified by his reactions to Thomas Wayne, is a compelling sociopolitical commentary. high ( Scene 16 (Joker's reaction to Thomas Wayne's comments on TV) Scene 24 (Joker's viewing of the news coverage and protesters' rallies) )
- The tragic conclusion, where Joker indirectly causes the death of Bruce Wayne's parents, serves as a chilling bookend to the story and sets up intriguing narrative possibilities for potential sequels or spinoffs. high ( Scene 42 (The murder of the Waynes) )
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- Arthur, a man in his 30s, shares his joke diary with an overworked social worker in a cramped and run-down office. The social worker reads a dark entry that upsets Arthur, leading to a discussion about his past hospitalization and request for increased medication. The scene ends with the sound of a broken down piano playing 'Temptation Rag.'
- Arthur, now dressed up as a clown, stands in front of Kenny's Music Shop holding a sign that reads 'EVERYTHING MUST GO!' A group of boys point, laugh, and throw an empty Coke can at him. They surround Arthur, knock his sign out of his hands, and kick him, causing him to fall onto the sidewalk. The boys run off with Arthur's sign, and he chases after them, narrowly avoiding being hit by a taxi.
- In this scene, the five boys run down a busy street and turn into an alley. Arthur almost misses the corner but catches up. Suddenly, one of the kids hits Arthur in the face, and the others join in, beating him while he's on the ground. Despite the brutal beating, Arthur continues to smile with his clown face. The scene transitions to Arthur on a city bus, where he tries to entertain a sad-eyed three-year-old boy. The boy's mother gets annoyed and asks Arthur to stop. Arthur starts laughing uncontrollably, causing discomfort to himself and the people on the bus. He hands a card to the woman explaining his condition, but she throws it on the ground. Arthur continues to laugh, covering his mouth with a scarf to muffle the sound.
- Arthur walks through the litter-covered streets of The Bronx, passing by crowded sidewalks filled with the poor, elderly, and disenfranchised. He enters a run-down drug store and ignores a fight between two drunks. He then cuts through a garbage-filled alley and begins climbing a long, steep stairway between tenement buildings. Arthur checks his mailbox in the shabby lobby of his apartment building, finding it empty. He takes the graffiti-covered elevator up to his mom's apartment. The scene ends with Arthur taking out pills from various prescription bottles.
- Arthur takes care of his mother, Penny, in their apartment. He sets food down in front of her while the TV plays the news. Penny expresses her disappointment in Thomas Wayne not responding to her letters and her hope for him to save the city. Arthur tries to convince her to eat and suggests she shouldn't watch so much television. They discuss Thomas Wayne's potential as a mayor and their hope for him. Arthur cuts up more food for his mother and then gets into bed with her to watch their favorite show, 'Live with Murray Franklin.'
- Murray Franklin, a late 60's talk show host, notices Arthur in the audience and asks him to stand up. Arthur introduces himself and reveals that he lives with his mother, which causes the audience to laugh. However, Murray defends Arthur and shares his own experience of growing up without a father. Arthur talks about being the man of the house and his mother's belief in his purpose to bring joy and laughter. Murray and the audience applaud and cheer for Arthur.
- Arthur imagines himself on a talk show set, where Murray Franklin invites him to join him on stage. After some hesitation, Arthur joins Murray and they take a bow together. Murray expresses his admiration for Arthur and tells him that he would give up everything to have a son like him. The scene ends with Murray giving Arthur a hug.
- In the cramped locker room of a talent booking agency, Arthur, a party clown, grimaces in pain from bruises. Randall, a fellow clown, expresses concern and mentions the beating Arthur took. Arthur regrets his involvement and Randall warns him about the job's dangers. To protect himself, Randall gives Arthur a gun. Gary interrupts to inform Arthur that their boss wants to see him. The scene ends with Gary delivering the news.
- Arthur walks into the messy office of Ha-Ha's Talent Booking to meet his boss, Hoyt Vaughn. Hoyt complains about Arthur not returning a sign from Kenny's Music and threatens to deduct the cost from Arthur's paycheck. The scene ends with Arthur smiling back at Hoyt, seemingly unaffected by the confrontation.
- In this scene, Arthur expresses his frustration by furiously kicking and stomping on something in a back alley. He then observes a young couple on a city bus and walks through the dilapidated streets of The Bronx. Arthur encounters Sophie and her daughter in the elevator of his apartment building, where the lights flicker and the elevator shudders. Sophie expresses her frustration with the building, and Arthur mimics blowing his head off. Sophie and her daughter leave, while Arthur stays behind.
- In this scene, Arthur takes care of his mom and they discuss the significance of the letters she receives. A panicked Arthur accidentally shoots a hole in the wall, leading him to apologize to his mom in her bedroom. Later, Arthur contemplates suicide while writing in his journal. Sophie confronts Arthur about following her, resulting in a brief conversation. The scene ends with Sophie making plans to see Arthur's stand-up comedy show.
- In this scene, Arthur is in the locker room at Ha-Ha's Talent Booking, putting on his make-up. He pauses and stares at himself in the mirror, manipulating his facial expressions to mimic the tragedy and comedy masks. As he does this, an old-time folk recording of 'If You're Happy and You Know It' begins playing. The scene then transitions to Gotham General Hospital's Children's Ward, where Arthur is lip-syncing and strumming an air guitar to the song for a group of sick children. He accidentally drops his revolver on the floor, interrupting the performance. The main conflict in this scene is the internal struggle Arthur faces as he tries to make himself look happy while dealing with his own sadness. The dropping of his revolver creates a moment of tension and fear, but it is not resolved within this scene. The emotional tone of this scene is a mix of sadness, desperation, and a fleeting moment of joy. The significant visual elements include Arthur's transformation of his facial expressions, his lip-syncing and strumming an air guitar, and the dropping of his revolver. The scene ends with the revolver clattering to the floor, interrupting the performance and creating a moment of tension.
- In this scene, Arthur, a clown, is fired over the phone for bringing a gun to work. He then rides the subway and witnesses three Wall Street guys harassing a young woman. After the woman leaves, Arthur's laughter draws the attention of the guys, leading to a physical assault. The conflict escalates as Arthur shoots two of the guys in self-defense, turning him into a fugitive. The scene ends with Arthur grabbing his belongings as the subway approaches a stop.
- Arthur follows the Wall Street guy on an empty subway platform and shoots him. He then rushes through a run-down needle park and cleans off the blood and clown makeup in a public bathroom. Arthur goes to Sophie's apartment where they share a kiss. In the locker room at Ha-Ha's Talent Booking, his co-workers mock him. Arthur packs up his clown gear and leaves.
- Arthur and Randall have a tense conversation in the stairway of Ha-Ha's Talent Booking. Randall questions Arthur about his comments regarding the subway killings, but Arthur denies knowledge. They discuss the killings and Arthur taunts Randall by mimicking shooting him. The conflict remains unresolved as Arthur continues down the stairs singing 'Send in the Clowns.'
- In the kitchen of his mother's apartment, Arthur swallows pills while his mother watches Thomas Wayne being interviewed on TV. The interview discusses the recent subway murders and the victims connected to Wayne Investments. Arthur's mother believes they are family. The TV show also mentions the growing anti-rich sentiment in the city and the suspect being described as a clown. Thomas Wayne expresses his belief that the suspect is a coward hiding behind a mask, which amuses Arthur. The scene ends with Thomas Wayne stating that those who haven't made a good life for themselves are nothing but clowns.
- Arthur meets with the Social Worker in the Department of Health office, where he learns that their funding has been cut and the office will be closing down. This means he won't be able to get his medication anymore. The scene is somber and resigned as Arthur expresses his frustration with the Social Worker's lack of understanding. The Social Worker delivers the news of the funding cut and apologizes to Arthur. The scene ends with Arthur realizing the implications of the funding cut and asking the Social Worker how he will get his medication, to which she apologizes.
- Arthur, with changed hair and looking nervous, walks down a hallway towards the stage of a comedy club. He sees Sophie in the audience. On stage, Arthur starts laughing uncontrollably but tries to compose himself and tells a joke. Sophie laughs in the audience, creating a tense and awkward moment. The scene ends with Sophie laughing as the music swells.
- Arthur and Sophie leave a comedy club and pass a newsstand with headlines about the Wall Street Guys. Sophie expresses her belief that the rich guys deserved to be killed. They go to a run-down donut shop where they appear happy. Arthur returns to his mother's apartment and finds her passed out. He wakes her up and they dance together. Arthur finds a letter addressed to Thomas Wayne and secretly reads it, discovering that he may be Thomas Wayne's son.
- Arthur confronts his mother, Penny, about not telling him that he is Thomas Wayne's son. Penny explains her past relationship with Thomas Wayne and the potential consequences of their connection being known. The scene ends with Arthur falling face first into the bathroom and crashing onto the floor.
- In this scene, Arthur reads a tabloid on a metro train and sees a sketch of his clown face on the cover. He learns about Thomas Wayne's run for office and a protest planned at Wayne Hall Gala. Arthur goes to Wayne Manor and interacts with young Bruce Wayne, giving him a magic wand that turns into flowers. Alfred confronts Arthur and denies him access to Mr. Wayne. Arthur reveals his belief that Thomas Wayne is his father, causing Alfred to laugh. In a fit of rage, Arthur tries to choke Alfred but stops when he sees Bruce's horrified reaction. The scene ends with Arthur fleeing Wayne Manor with the magic wand.
- Arthur returns to his neighborhood in the Bronx at night to find chaos with garbage everywhere, loud kids, and a drunk person. He sees an ambulance outside his building and rushes to his unconscious mother's side. The paramedics wheel her down the steps and into the ambulance while asking Arthur questions. Later, outside the hospital, two detectives approach Arthur and question him about the subway killings and his firing from Ha-Ha's. Arthur explains he is a party clown. The scene ends with Arthur walking towards the sliding glass doors but slamming into them.
- Penny lies unconscious in a hospital bed while Arthur sits beside her, distraught. Sophie comforts him and offers to get coffee. Meanwhile, Murray Franklin's monologue plays on the TV, mocking Arthur's stand-up performance. As Arthur watches himself on TV, he becomes increasingly upset and walks towards the TV in a trance. Murray Franklin continues to make fun of Arthur, and the studio audience laughs. Arthur hears the laughter directed at him and looks up at the television, consumed by emotional distress.
- Arthur lies in his mother's bed, reaching out towards the TV as the news anchor reports on the anger and resentment in the city. Clown protesters are interviewed, expressing their frustration. Thomas Wayne is also interviewed, expressing his desire to help the people. Arthur sits up, leaning closer to the screen to make sure he's seeing correctly. The scene ends with Arthur still watching the TV, processing the information he has just heard.
- In this scene, the movie screen playing 'Modern Times' fades to black and reveals the Gotham Philharmonic playing Chaplin's silent movie score in front of a high society crowd. Meanwhile, Arthur heads towards an angry mob of protesters in front of the Center for Performing Arts. He watches the crowd for a moment before a fight breaks out between a protester and two cops. Amidst the chaos, Arthur slips into Wayne Hall unnoticed and walks through the empty lobby.
- Arthur confronts Thomas Wayne about being his father in the balcony of Wayne Hall during a black-tie event. Thomas Wayne reveals that Arthur was adopted and his mother is mentally ill. Arthur laughs at the revelation, angering Thomas Wayne who punches him in the face.
- In this scene, Arthur wakes up to a message from Shirley Woods inviting him to be a guest on the Murray Franklin show. Excited, Arthur agrees to come on the show. He then heads to Arkham State Hospital to access his mother's records but is told he needs a release form. Frustrated, Arthur tries to take the file by force but fails and runs away with it, leaving the clerk watching him escape.
- Arthur races through Arkham State Hospital, clutching files in his hands. He finds his mother's psychiatric assessment from years ago and is transported to a younger Penny being questioned by Dr. Stoner. Penny denies allegations of abuse and expresses her distrust of hospitals. Arthur witnesses the events unfold and ends the scene staring at his mother.
- Arthur walks up a long, steep concrete stairway in the pouring rain towards his building. He enters the elevator and sees Sophie miming blowing her head off. Arthur enters Sophie's unlocked apartment and sits on the couch. Sophie comes out of her daughter's bedroom and questions why he is there. Arthur reveals that he had a bad day and mimics a gun to his head. He then walks down the hallway to his mother's apartment. In his mother's apartment, Arthur sits alone on the couch and laughs. The scene transitions to a hospital room where Arthur is sitting close to his mother, holding her hand. He asks her about his real name and where he came from. When she struggles to answer, he becomes angry and proclaims that his life is a tragedy but now realizes it's a comedy.
- In this scene, Arthur is alone in a hospital room behind a blue divider curtain, where he does something to his mother on the other side. He then moves to his mother's apartment and studies a VHS tape of a talk show, imitating the guests. Holding a gun to his head, he repeatedly practices a joke, unsure of whether to cross or uncross his legs. This internal conflict reflects Arthur's introspective and dark contemplation of his identity and purpose. The scene ends with Arthur repeating his routine, mimicking the talk show guest and practicing the joke.
- In this scene, Arthur dyes his hair green and applies his mother's lipstick before being interrupted by Randall and Gary. They discuss the rally at City Hall and the police investigation. Suddenly, Arthur violently attacks and kills Randall with scissors, repeatedly slamming his head against the wall. Gary, terrified, leaves while Arthur smokes a cigarette.
- In this scene, Arthur/Joker prepares a package for Sophie and leaves it at her door. He then transforms into the Joker with his iconic green hair, white grease paint, red nose, blue peaks, and red lipstick. As he dances down a steep stairway, Detective Burke and Garrity try to talk to him, but he evades them by running away.
- Joker tries to escape from two cops in the Bronx, running through the streets and accidentally running into a black guy wearing Joker makeup. He manages to evade the cops by blending in with a crowd of clowns on a train platform. However, chaos ensues when a fight breaks out on the crowded train and the cops are attacked by a mob of protesters. Amidst the violence, Joker walks away, takes off his mask, and disappears into the crowd.
- In this scene, Murray Franklin and his producer, Gene Ufland, walk through an empty hallway in Franklin Theater. They discuss a potential guest for the show, whom Gene believes is too risky to have on. Murray dismisses Gene's concerns as a goof. The scene ends with Murray and Gene continuing their conversation about the potential guest.
- Joker, cleaned up and in his stage makeup, meets with Murray Franklin and Gene Ufland in the dressing room of the Franklin Theater. They discuss Joker's appearance on the show and his motivations. Despite Gene's objections, Murray decides to have Joker on the show. The scene ends with Murray and Gene leaving the dressing room, having decided to have Joker on the show, and Joker requesting to be introduced as 'Joker'.
- Joker, backstage at a talk show, tries to watch the show through a slim gap in the curtain. Murray Franklin finishes talking to Dr. Sally Friedman and jokes about his wife, making the audience laugh. Murray introduces Joker as the next guest. Joker adjusts the gun in his waist and takes a deep breath. However, when Joker finally comes out on stage, he trips over the curtain and almost falls on Murray. He sits down next to Murray but can't get comfortable. Murray asks Joker about his look, but Joker is mesmerized by the lights and doesn't answer. Murray tries again, asking about the clown look, but Joker responds with an awkward comment. Murray laughs and shuts the dressing room door in Joker's face, ending the scene with tension and awkwardness.
- In this scene, the technical director informs the director that Joker has nothing to say. The director contacts the producer to discuss whether to continue the interview. Meanwhile, on the talk show set, Murray Franklin tries to salvage the interview by asking Joker about his political stance and new material. Joker responds with a dark joke that shocks the audience and the host, leaving them confused and uncomfortable.
- In this scene, the director and his team watch the interview with Joker on a monitor in the director's booth. They are shocked when Joker confesses to killing the Wall Street Three. The director instructs Camera Three to zoom in on Joker's face. Meanwhile, on the talk show set, Murray Franklin questions Joker about the murders. Sophie watches the interview on TV in her apartment. The main conflict in this scene is Joker's confession to the murders and the shock it causes. The emotional tone is tense and dramatic. The scene ends with Joker stating that there is no punchline and that it's not a joke.
- In this scene, Joker is interviewed by Murray Franklin on his talk show set. Joker expresses his belief that he killed three young men because they were awful, criticizing society's lack of civility. Tension escalates between Joker and Murray, leading to Joker shooting Murray in the head. Chaos and panic erupt in the studio as blood splatters and the audience reacts with shock and fear.
- In this scene, Sophie wakes up horrified by the Joker covered in blood and screaming on television. The news reports that Murray Franklin, a popular talk show host, was shot dead by the Joker on live television. Split screens show footage of the shooting, rioting, and looting, creating chaos. Sophie and GiGi are disturbed by the events. The scene ends with the constant presence of the Indian-head test pattern, symbolizing madness and chaos.
- In this scene, Joker is handcuffed in the back of a squad car, finding the violence and madness in Gotham City hilarious. The police officers in the car are frustrated with him and blame him for the chaos. Suddenly, the squad car is hit by an ambulance, causing a violent crash. The car comes to a stop in the middle of the chaos, and it appears that Joker is dead. Two men in clown masks get out of the ambulance and reach into the back of the squad car to grab Joker's body.
- In this scene, chaos erupts as a limousine on fire rolls through the street, while gangs of punks wearing clown masks cause havoc. A couple and their child seek refuge in an alley, but are pursued by a Joker-masked punk who tragically shoots and kills them. The Joker, covered in blood, stands on a crashed squad car, receiving applause from the crowd. Later, in Arkham State Hospital, the Joker laughs uncontrollably during an interview with a doctor, teasing her with an undisclosed joke. The scene concludes with the Joker dancing down a hospital hallway, setting the stage for his reign of madness.
Arthur - Score: 89/100
Character Analysis Overview
Murray - Score: 67/100
Character Analysis Overview
Sophie - Score: 46/100
Character Analysis Overview
Joker - Score: 92/100
Aliases
Arthur Fleck
Role
Protagonist
Character Analysis Overview
Penny - Score: 67/100
Role
Supporting Character
Character Analysis Overview
Thomas - Score: 70/100
Role
Antagonist
Character Analysis Overview
Randall - Score: 57/100
Character Analysis Overview
Hoyt - Score: 66/100
Role
Supporting Character
Character Analysis Overview
Theme | Theme Details | Theme Explanation | ||||||||||||
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Mental Illness and Isolation (30%) | The screenplay explores the mental illness and isolation experienced by the protagonist, Arthur, as he navigates his difficult life. This theme is represented through Arthur's interactions with social workers, his struggles with medication, and his experiences of being beaten and ridiculed by others. | The theme of mental illness and isolation is a central aspect of the screenplay, as it delves into the psychological struggles and social alienation faced by Arthur. | ||||||||||||
Strengthening Mental Illness and Isolation:
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Violence and Chaos in Society (25%) | The screenplay depicts a society plagued by violence and chaos, as seen through the riots, protests, and criminal activities that unfold throughout the story. This theme is represented through the subway killings, the escalating tensions between different social groups, and the overall breakdown of order in Gotham City. | The theme of violence and chaos in society serves as a backdrop to the narrative, highlighting the deteriorating state of the city and the impact it has on the characters. | ||||||||||||
Identity and Self-Discovery (20%) | The screenplay explores the theme of identity and self-discovery through Arthur's journey of transformation into the Joker. This theme is represented through Arthur's search for his true identity, his exploration of his past, and his eventual embrace of his alter ego. | The theme of identity and self-discovery is a significant aspect of the screenplay, as it delves into the psychological and emotional transformation of the protagonist. | ||||||||||||
Social Inequality and Class Divide (15%) | The screenplay touches on the theme of social inequality and the class divide in society. This theme is represented through the depiction of poverty, the struggles faced by the working class, and the contrasting lifestyles of the rich and the poor. | The theme of social inequality and class divide adds a socio-political dimension to the narrative, highlighting the disparities and tensions between different social groups. | ||||||||||||
Comedy and Tragedy (10%) | The screenplay explores the interplay between comedy and tragedy, as seen through Arthur's transformation from a failed comedian to the Joker. This theme is represented through Arthur's attempts at humor, his struggles with mental health, and the dark and ironic events that unfold in his life. | The theme of comedy and tragedy adds depth and complexity to the narrative, exploring the blurred lines between humor and despair. |
Screenwriting Resources on Themes
Articles
Site | Description |
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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 |
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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 | |
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internal Goals | The protagonist's internal goal in this scene is to feel better and not feel so bad anymore. This reflects their deeper need for relief from their pain and suffering. |
External Goals | The protagonist's external goal in this scene is to ask the social worker to increase their medication. This reflects their immediate challenge of trying to alleviate their emotional pain. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay is the clash between chaos and order, as represented by the Joker's actions and the societal norms and expectations. This conflict challenges the protagonist's beliefs and values and raises questions about the nature of society and the role of individuals within it. |
Character Development Contribution: The protagonist's goals and the overarching philosophical conflict contribute to their development by forcing them to confront their fears, question their beliefs, and seek recognition, validation, and a sense of purpose. Through their journey, they undergo a transformation from a marginalized and invisible individual to a symbol of rebellion and chaos.
Narrative Structure Contribution: The protagonist's goals and the philosophical conflict drive the narrative forward, creating tension and conflict that propel the story. They also provide a framework for the protagonist's arc and the events that unfold throughout the screenplay.
Thematic Depth Contribution: The goals and philosophical conflict deepen the thematic exploration of the screenplay by delving into themes of identity, belonging, societal apathy, and the struggle for recognition and validation. They also raise questions about the nature of sanity, the impact of societal structures, and the blurred line between hero and villain.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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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 |
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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 - Laughter and Tension in the Department of Health | Tense, Angry, Sad, Humorous | 8 | 7 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
2 - Humiliation in Gotham Square | Dark, Humorous | 8 | 7 | 8 | 6 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | |
3 - Brutal Beating and Uncomfortable Laughter | Tense, Dark, Brutal, Vicious, Sad, Annoyed | 9 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 7 | 7 | 10 | 6 | 9 | 8 | 9 | 8 | |
4 - Arthur's Desolate Journey Home | Tense, Dark, Brutal, Unsettling | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
5 - A Mother's Disappointment | Tense, Dark, Playful | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 6 | 9 | 7 | 8 | 8 | 5 | 9 | 8 | 7 | 8 | 9 | 8 | |
6 - Murray Franklin Defends Arthur | Tense, Dark, Hopeful, Melancholic | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 7 | 8 | 6 | 8 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
7 - Arthur's Dream Talk Show Moment | Tense, Dark, Hopeful | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 6 | 10 | 8 | 8 | 8 | 9 | 9 | |
8 - Clowning Around with Danger | Dark, Humorous, Melancholic | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 9 | 7 | 7 | 8 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
9 - Confrontation at Ha-Ha's Talent Booking | Tense, Dark, Brutal, Uncomfortable, Hopeful | 9 | 8 | 9 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
10 - Frustration in the Bronx | Dark, Tense, Humorous | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 10 | 8 | 8 | 8 | 9 | 9 | |
11 - A Heavy Conversation and a Confrontation | Tense, Sad, Dark, Hopeful | 8 | 7 | 7 | 6 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 9 | 8 | 9 | 8 | |
12 - From Sad Clown to Performer: Arthur's Transformation | Tragic, Dark, Satirical, Melancholic, Humorous | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 10 | 7 | 8 | 8 | 9 | 9 | |
13 - Arthur's Downfall: From Fired Clown to Fugitive | Dark, Intense, Violent | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 8 | |
14 - Arthur's Transformation and Rejection | Dark, Intense, Violent, Emotional | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 10 | 7 | 10 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
15 - Confrontation in the Stairway | Dark, Tense, Humorous | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | |
16 - Arthur's Sinister Revelation | Dark, Intense, Suspenseful | 9 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 7 | 9 | 8 | 9 | 9 | |
17 - Funding Cut and Medication Crisis | Depressing, Hopeless, Angry | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 9 | 8 | |
18 - Arthur's Awkward Comedy Club Performance | Tragic, Comic, Melancholic | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 8 | 8 | 9 | 9 | 9 | |
19 - Discovering a Secret | Dark, Intense, Emotional | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
20 - The Revelation | Intense, Emotional, Revealing | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
21 - Arthur Confronts Alfred at Wayne Manor | Dark, Intense, Suspenseful | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
22 - A Chaotic Night in the Bronx | Dark, Intense, Suspenseful | 9 | 8 | 8 | 6 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 7 | 9 | 8 | 9 | 8 | |
23 - Arthur's Distress | Distraught, Nervous, Tragic, Comic | 9 | 8 | 7 | 6 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
24 - Arthur Reacts to News of Protest | Intense, Dark, Melancholic | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
25 - Chaos at Wayne Hall | Dark, Intense, Chaotic | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 7 | 10 | 8 | 8 | 9 | 9 | 9 | |
26 - Confrontation in Wayne Hall | Dark, Intense, Emotional | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 9 | 8 | 10 | 8 | 9 | 8 | 9 | 9 | |
27 - Arthur's Excitement and Frustration | Dark, Intense, Disturbing | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
28 - Revelations and Denials | Dark, Intense, Emotional | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 8 | 9 | 9 | 9 | 8 | |
29 - A Tense Encounter and a Revelation | Dark, Intense, Disturbing | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 10 | 8 | 9 | 8 | 9 | 9 | |
30 - Arthur's Dark Reflection | Dark, Intense, Disturbing | 9 | 8 | 9 | 6 | 9 | 9 | 8 | 6 | 9 | 7 | 9 | 8 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
31 - A Shocking Act of Violence | Dark, Intense, Disturbing | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 10 | 7 | 9 | 8 | 9 | 8 | |
32 - The Joker's Transformation and Escape | Dark, Intense, Disturbing | 9 | 8 | 9 | 6 | 9 | 9 | 7 | 8 | 9 | 7 | 9 | 9 | 7 | 10 | 8 | 9 | 8 | 9 | 8 | |
33 - Escape and Chaos | Intense, Chaotic, Violent, Dark | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
34 - Tense Discussions in an Empty Hallway | Tense, Dark, Intense | 9 | 8 | 8 | 6 | 9 | 9 | 8 | 7 | 9 | 7 | 10 | 9 | 6 | 10 | 9 | 8 | 8 | 9 | 9 | |
35 - Joker Meets Murray Franklin | Dark, Intense, Confrontational, Sarcastic | 9 | 8 | 9 | 6 | 10 | 10 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 8 | |
36 - Joker's Awkward Talk Show Appearance | Tense, Unsettling, Dark | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 7 | 8 | 6 | 9 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
37 - Joker's Dark Joke | Dark, Intense, Unsettling | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 10 | 9 | 9 | 9 | 9 | 8 | |
38 - Joker's Shocking Confession | Dark, Intense, Tense | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
39 - Joker's Confrontation on Murray Franklin's Show | Dark, Intense, Confrontational | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 7 | 9 | 9 | 10 | 9 | 8 | 10 | 10 | 9 | 9 | 9 | 8 | |
40 - The Shocking Murder of Murray Franklin | Dark, Intense, Chaotic | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
41 - Chaos and Laughter | Dark, Intense, Chaotic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 9 | |
42 - Chaos and Carnage: The Joker's Reign Begins | Dark, Intense, Chaotic | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 10 | 8 | 10 | 9 | 9 | 8 |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Powerful emotional impact
- Compelling character development
- Intense and impactful portrayal of the Joker's transformation
- Effective portrayal of tension and brutality
- Engaging plot and conflict
Scene Weaknesses
- Possible excessive violence
- Some elements may be too disturbing for some viewers
- Lack of external conflict
- Theme could be further developed
- Minimal dialogue
Suggestions
- Consider toning down the violence to make the content more accessible
- Develop the themes more explicitly and in-depth throughout the script
- Inject more dialogue to establish character motivations and enhance impact in key moments
- Avoid relying on cliches in character development
- Experiment with different approaches to external conflict to add more depth and complexity to the story
Scene 1 - Laughter and Tension in the Department of Health
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 - Humiliation in Gotham Square
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 - Brutal Beating and Uncomfortable Laughter
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 - Arthur's Desolate Journey Home
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 - A Mother's Disappointment
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 - Murray Franklin Defends Arthur
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 - Arthur's Dream Talk Show Moment
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 - Clowning Around with Danger
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 - Confrontation at Ha-Ha's Talent Booking
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 - Frustration in the Bronx
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 - A Heavy Conversation and a Confrontation
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 - From Sad Clown to Performer: Arthur's Transformation
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 - Arthur's Downfall: From Fired Clown to Fugitive
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 - Arthur's Transformation and Rejection
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 - Confrontation in the Stairway
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 - Arthur's Sinister Revelation
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 - Funding Cut and Medication Crisis
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 - Arthur's Awkward Comedy Club Performance
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 - Discovering a Secret
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 - The Revelation
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 - Arthur Confronts Alfred at Wayne Manor
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 - A Chaotic Night in the Bronx
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 - Arthur's Distress
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 - Arthur Reacts to News of Protest
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 - Chaos at Wayne Hall
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 - Confrontation in Wayne Hall
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 - Arthur's Excitement and Frustration
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 - Revelations and Denials
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 Tense Encounter and a Revelation
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 - Arthur's Dark Reflection
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 - A Shocking Act of Violence
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 - The Joker's Transformation and 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 - Escape and Chaos
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 - Tense Discussions in an Empty Hallway
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 - Joker Meets Murray Franklin
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 - Joker's Awkward Talk Show Appearance
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 - Joker's Dark Joke
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 - Joker's Shocking Confession
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 - Joker's Confrontation on Murray Franklin's Show
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 - The Shocking Murder of Murray Franklin
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 - Chaos and Laughter
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 - Chaos and Carnage: The Joker's Reign Begins
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.
Highly Recommend
Explanation: The Joker screenplay is a gripping, character-driven psychological thriller that delves deep into the origins and transformation of its titular protagonist. Through a masterful blend of realism and fantasy, the screenplay explores the social, psychological, and sociopolitical factors that contribute to Joker's radicalization, culminating in his chilling on-stage confession and the tragic consequences that follow. The screenplay's strengths lie in its nuanced character development, impactful pivotal scenes, and thought-provoking sociopolitical commentary. While some minor areas for improvement have been identified, the overall screenplay is highly recommended for its compelling storytelling and cinematic potential.