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Scene Map 27
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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FADE IN: INT. TV STUDIO - DAY A Susskind-type MODERATOR is speaking into camera: MODERATOR Tonight we'll discuss a subject
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INT. HOTEL ROOM - DAY Joe laughs as he locks his suitcase. JOE Know what you can do with those dishes? And if you ain't man enough
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INT. BUS - DAY Joe sits at the front, opposite the driver, cracking his gum as he watches the huge billboards streaking by, promising him power, happiness and beautiful women if he chooses the right breakfast food, hair oil or automobile. Joe listens to the
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INT. REMEMBERED BEDROOM - ANOTHER TIME Little Joe's head is lost in a beat-up cowboy hat, similar to the one worn by the old Cowhand. Sally Buck smiles on WOODSY NILES -- a long-legged cowboy with a shock of black hair -- who stands at her dressing table, admiring himself in a new
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INT. BUS - DAY Joe crowded as the veterans prepare to leave the bus, lifting down banners and flags. EXT. LINCOLN TUNNEEL - DAY The bus suddenly surrounded by converging traffic, horns
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EXT. PARK AVENUE - DAY Joe's heels drag as he walks a deserted block of luxury apartment houses. O.S. The torchy woman's voice sings Joe's love theme in counterpoint to the blasting horns, a siren, a fire bell, a screech of brakes. Joe's spirits rise as he
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INT. CASS'S BEDROOM - DAY The poodle bounces onto the bed -- remaining long enough to establish a TV REMOTE CONTROL TUNER lying on the satin coverlet -- then leaps down in panic as he hears Joe and Cass explode into the bedroom, laughing lustily...
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INT. EVERETT'S BAR - DAY Joe sits at the bar, staring morosely at his image in the mirror, already quite drunk, oblivious to the assorted types hiding from daylight in the barn-like saloon, waiting for night to fall.
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EXT. SIDEWALK CAFE - COCKTAIL HOUR At,the corner of Central Park South, Ratso points toward a young man with diamond cuff-links, sitting with a blue-haired matron who puffs on a small cigar. Ratso waves jauntily at the young man, raising his thumb and forefinger in a circle,
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INT. WEST SIDE HOTEL CORRIDOR - DUSK Joe finds 901 at a dark end of the corridor, knocks confidently, hearing a few bars of his love theme as he stuffs a fresh stick of gum in his mouth. Then the door is thrown open by O'DANIEL -- for an instant appearing to wear a
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INT. EVERETT'S BAR - NIGHT The empty beer bottle stands where it was. Joe has disappeared. On the TV screen over the bar, sound drowned out by the jukebox, we see a blowup of the tabloid photograph, revealing a young man very similar to, but clearly not Joe.
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INT. PUBLIC MEN'S ROOM - DAY Two matching Ivy Leaguers exchange a glance as they see Joe washing his feet in the basin. Joe stares back with a belligerent grin. JOE
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INT. ALL NIGHT MOVIE - NIGHT Joe sprawls, trying to sleep, his feet on the balcony rail, the radio at his ear. On screen, once again, the Martian maiden moves through the spaceman, crying, but we hear the voice of a desperate woman on two-way radio. As she speaks, a
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INT. X FLAT - DAY Light from the X window shines on a Florida tourist poster as Ratso leads Joe into an abandoned tub-in-kitchen flat, barely furnished with a table and chair, a rumple of blankets on a burnt-out mattress.
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INT. X FLAT - NIGHT Ratso points to the boots on the floor by the mattress. JOB How'd they get off me? RATSO
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INT. X FLAT - DAY Joe lies on his cot, watching Ratso struggle to penetrate the fibrous husk of a coconut, experimenting with a variety of rusty tools in an old cigar box. RATSO
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INT. SUBWAY ARCADE - NIGHT The rhythmic duet of boots and loafers follows Joe and Ratso - checking coin boxes and telephone booths -- till they reach a shoeshine stand, locked for the night. They loiter till a young couple has disappeared, then Joe kicks loose 'the
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EXT. FLORIDA BEACH FRONT - FANTASY ... Ratso, like a model in a travel poster, in gaudy sport shirt, talking on the phone against a background of hotels... ... Ratso like James Bond, surrounded by bikinis, dictating while girls serve coconut milk and massage his game leg...
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EXT. CATHOLIC CEMETERY - DAY ... an endless section of plain stone markers. Joe touches his hat to two nuns, guiltily hurrying to overtake Ratso at ibis father's grave, indistinguishable from the other graves except for the name on the headstone. Ratso places the floral
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INT. LOFT BUILDING - NIGHT ... a drab entrance hall, dimly lit -- signs identifying various commercial tenants -- a pink-on-black placard reading MACALBERTSON, TWO FLIGHTS UP. Joe has started up before he notices Ratso, leaning on the bannister at the foot of the
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INT. MACALBERTSONS' LOFT - NIGHT Joe realizes he is back at the party, Ratso whispering hoarsely. RATSO ... I'd say she was good for ten
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EXT. VILLAGE STREET - NIGHT Joe leans out of the taxi window, waving his Stetson, bellowing at the snow. JOE Whoopee ti yi yo...!
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INT. SHIRLEY'S BEDROOM - MORNING Shirley has difficulty reverting to her nine-to-five role as a Madison Avenue career girl. Half-dressed for work, she is talking on the telephone, her eyes on the open door to the bathroom, through which Joe's voice continues singing.
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INT. PHONE BOOTH - DAY Joe strikes a match with his thumbnail and watches it curl away while he waits, hearing a phone ring. Then the phone is answered by a woman's voice. JOE
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INT. TOWNY'S BATHROOM - NIGHT Joe is rehearsing the speech in the bathroom mirror. JOE Well, he is, he's sicker'n shee-it. And I've gotta get him South quick
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INT. GREYHOUND BUS - DAY Joe and Ratso sit near the rear of the bus. Ratso's teeth chatter, wrapped in the blanket. RATSO Thirty-one hours.
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INT. GREYHOUND BUS - DAY Ratso's eyes squint in a dazed half-sleep. Joe leans across to pull down the shade. He hesitates a moment, watching... ... past his reflection, a group of young men on their way to work, carrying lunch pails, dressed exactly as Joe is now

Midnight cowboy

A struggling Texan gigolo and a small-time con man navigate the gritty streets of New York City in search of the American Dream.

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Overview

Poster
Unique Selling Point

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Gemini
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Story Facts

Genres: The, extracted, list, of, genres, for, the, movie, would, be:, drama, comedy, western, romance, thriller, and, tragedy, Note, that, each, genre, appears, only, once, in, final

Setting: N/A, N/A

Themes: Masculinity and Sexual Demands, Poverty and Desperation, Friendship and Loneliness

Conflict & Stakes: N/A

Mood: N/A

Comparable Scripts: Midnight Cowboy, Taxi Driver, Leaving Las Vegas, Requiem for a Dream, The Wrestler

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: 7.75
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.