When a skilled safecracker is recruited by his old friend to participate in a bank heist in Paris, he becomes entangled in a complex relationship with a young artist and escort who is caught up in the dangerous plan.
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Delve into a gripping and action-packed crime thriller that transcends boundaries. "Last Tango in Paris" is a cinematic masterpiece that blends high-stakes heists, complex characters, and an immersive multicultural experience. Immerse yourself in the vibrant streets of Paris as American Zed gets entangled with the enigmatic Eric and his crew of eccentric criminals. Follow their treacherous journey as they plan and execute a daring bank robbery, navigating moral dilemmas, betrayals, and explosive confrontations. Prepare for a sensory overload as the screenplay masterfully weaves together cultural nuances, from Senegalese taxi drivers to vibrant jazz clubs, creating a backdrop that pulsates with life and authenticity. Each character is meticulously crafted, their unique perspectives and motivations driving the narrative forward like a relentless force. Experience a fresh and captivating storytelling style that defies conventions. Prepare for rapid-fire dialogue, gritty realism, and unpredictable plot twists that will keep you on the edge of your seat. This is not just a heist movie; it's a thrilling exploration of loyalty, betrayal, and the human condition. "Last Tango in Paris" is a cinematic experience that will linger in your thoughts long after the credits roll. Its unique tapestry of crime, culture, and compelling characters will leave you yearning for more. Prepare for a cinematic journey that will redefine your expectations of the genre, showcasing an unparalleled storytelling voice that captivates and resonates.
Setting: Contemporary, Paris, France
Themes: Chaos and Violence, Love and Relationships, Identity and Belonging, Power and Corruption, Art and Culture
Conflict & Stakes: Zed and Eric's conflict over Zoey's loyalties, as well as the increasing danger of their heist and the potential consequences for their lives.
Mood: Dark and suspenseful, with moments of violence and humor
Standout Features:
Comparable Scripts: Reservoir Dogs, The Killing, Heat, Le Cercle Rouge, The Town, The French Connection, The Departed, The Wire, Zero Dark Thirty, The Wire
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.
Breaks down your script along various categories.
Breaks down the emotional journey of the audience across the script.
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
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.
Your whole script read on three things — Design (is it built), Execution (does it play on the page), and Read (does it grip) — then mapped scene by scene. The rows go Script → Acts → Sequences → Scenes in story order, left to right; a unit’s width is its length in pages.
Colour depends on the mode. By default you’re on Triage — a recommendation for each part: Keep (green), Polish, Rework, or Cut / rebuild (red). Switch Colour by (top) to a lens (Design / Execution / Read) or one of the twelve axes and the colour becomes that signal’s score instead — red (needs work) through green (strong), with grey where a part isn’t owed that signal. Either way it’s a map of where to look.
To explore: click any cell for its detailed read — what’s working, what’s dragging, and your options. When a script has acts, hover an act and hit ⤢ Focus to zoom into it. Use Colour by (top) to recolour by a single craft signal, or the Findings / Axes / Patterns tabs to read it different ways.
High-level overview
Zed, an American businessman, arrives in Paris and befriends a taxi driver named Moises. He checks into his hotel room, where he meets Zoey, an escort. The two bond over art and personal truths before an altercation with Eric, who throws Zoey out of the room naked. Zed reluctantly agrees to let her stay, leading to a night of drugs and planning a bank heist with Eric's gang.
As the heist unfolds, tensions rise as violence erupts and hostages are taken. Eric reveals his HIV status, and a chaotic car race through Paris ensues. The group successfully breaks into the bank, only to encounter unexpected obstacles and betrayals. Amidst violence and chaos, Eric's greed leads to fatal consequences for the gang.
In the aftermath of the failed heist, Zed and Zoey are left injured and traumatized. As they are aided by authorities, they must come to terms with the aftermath of their actions and the impact on their lives. The screenplay explores themes of greed, betrayal, and the consequences of one's choices in the face of temptation.
Scene by Scene Summaries
Act-by-act sequence summaries
Zed arrives at Charles de Gaulle Airport, takes a taxi to Hotel Mondial where he politely declines the driver's escort offer. After being shown to his room, he unpacks and rests beside a mysterious freight package, completing his transition into Paris.
Zed bonds with escort Zoey through philosophical conversation, establishing emotional intimacy. Their connection is violently interrupted by Eric's arrival, who humiliates Zoey and throws her out naked while Zed protests helplessly.
Eric drives Zed through Paris while revealing their extremist activities. At Eric's chaotic flat, Zed meets eccentric allies (Oliver, Claude) and experiences their volatile world – encountering weapons, a spider monkey, drug use, and explosive pranks – culminating in Eric summoning him privately.
In Eric's bedroom, Zed analyzes blueprints of Banque Internationale de Paris and proposes using a secondary vault to access the main vault quickly. They finalize the Bastille Day heist strategy, committing to action.
Eric prepares heroin with his crew in the bathroom while Oliver philosophizes about Star Trek. In the living room, Jean and Claude pressure Zed to try heroin despite his initial refusal, culminating in Zed inhaling heroin smoke via 'chasing the dragon' as the scene dissolves, marking his symbolic induction into the group's substance-fueled world.
Ricardo drives the group through Paris at dangerous speeds while giving Zed a chaotic tour of landmarks. They race rival gang members and explicitly discuss robbing the Banque Internationale de Paris on Bastille Day. The sequence concludes at a Toy Jazz club where Eric performs on stage, blending criminal intent with cultural immersion as Zed processes the revelation.
During a private car ride, Eric shares his radical past in Algeria and fascist bombings, establishing trust. At Eric's apartment, Zed meets the full crew amid guns and chaos, including Claude's eccentric monkey. The sequence peaks as Eric isolates Zed to examine blueprints, where Zed proposes a tactical vault-breaching method, cementing his role in the heist.
Eric again prepares heroin in the bathroom with Oliver's surreal commentary. In the living room, the group aggressively pressures Zed to consume heroin, overriding his resistance until he inhales smoke—mirroring his first high but with heightened coercion, solidifying his chemical ties to the crew.
The crew repeats their reckless Paris car tour with a stoned Zed, racing rivals and shouting at prostitutes. Amid the chaos, Eric reveals his AIDS diagnosis. They decompress at the Toy Jazz club where Eric performs, using music and revelry to absorb the traumatic revelation while reinforcing their collective identity.
The crew locks down the bank, disables communications, and subdues guards and hostages. Tensions escalate when a hidden customer is discovered, and Eric executes uncooperative staff. Chaos erupts when a hostage kills Ricardo, triggering Jean's violent retaliation and police arrival. The sequence climaxes with Eric unmasking the crew and confronting the police siege.
Zed and Eric methodically bypass electrical systems and locks to reach the vault. After taking fire from a guard, Eric improvises with plastique to blast it open. They discover the gold, but Zed prioritizes unlocking the vault door for escape while Eric revels in their success, displaying a gold bar to hostages.
Eric kills infiltrating police and threatens the assistant manager while Zed unlocks the vault door. As Zed and Oliver move gold, Zoey attacks Eric, triggering chaos. Tear gas floods the lobby, leading to Zed/Eric confrontation and Eric slashing Zed. Jean commits suicide-by-cop, Oliver kills Claude and a hostage, and Eric abandons escape to embrace the gold as police storm the bank.
Zed and Zoey reunite in the gas-filled sub-lobby, discover escape routes blocked, and encounter Eric in the storage area. A violent struggle ensues where Eric threatens them with weapons, leading to a physical fight. Oliver stumbles in mortally wounded during the chaos. When Eric prepares to execute Zed, French police storm the room and kill Eric, ending the immediate threat.
Injured but alive, Zed and Zoey witness the devastation in the lobby as police and paramedics assist them. They observe Eric's body being removed, reject medical hospitalization, and choose to retreat to Zoey's flat instead, leaving the crime scene together.
Images and voice-over from your primary video
Final video assembled from the sections below.
Zed, a young American, arrives in Paris, seeking a new start.
Zed encounters Zoey, a French escort, and their encounter sparks a connection that challenges his expectations.
Zed meets Eric, his old friend, who leads a life of crime in Paris, and Zed reluctantly agrees to participate in a bank heist.
The crew prepares for the heist by indulging in drugs and partying, showcasing their reckless and chaotic nature.
The heist begins, and the team successfully takes over the bank, but Zed's moral compass is tested.
The heist goes awry when a security guard opens fire on the team, resulting in violence and chaos.
Eric's ruthless actions lead to a rift between him and Zed, showcasing their contrasting views on morality.
A final confrontation erupts between Eric, Zed, and Zoey, resulting in a violent and tragic end for Eric.
Zed and Zoey, wounded but alive, escape the bank, leaving behind the chaos and destruction. They begin a new chapter in their lives.
Each axis shows your script's raw score (0–10) in that category. We recently upgraded the AI models behind these categories, so percentile rankings are temporarily unavailable while we re-score our reference library.
Hover over each axis on the radar chart to see what that category measures and why it matters.
Analysis: The character development in the provided screenplay is intricate and compelling, offering an immersive and emotionally resonant experience for the audience. The screenplay excels in establishing depth, complexity, and transformation in its characters, effectively driving the narrative forward and deepening the screenplay's overall impact.
Analysis: The screenplay's premise, centered around a bank heist on Bastille Day, establishes a clear foundation for an action-packed narrative with a diverse cast of characters. However, the premise lacks significant originality and could benefit from further exploration of the cultural and historical significance of the setting, as well as a deeper dive into the motivations and backstories of the characters.
Analysis: This well-written screenplay effectively uses a traditional narrative structure to craft a compelling heist thriller. The plot is engaging, building tension through escalating conflicts, and features a mix of emotional depth and action sequences. While the pacing is generally strong, there are a few areas where it could be tightened to enhance audience engagement. Overall, this is a well-executed screenplay with the potential to translate into a thrilling and entertaining film.
Analysis: The screenplay effectively explores themes of isolation, connection, and the search for personal truth. It does so through the compelling narrative and well-developed characters. While the message about the transformative power of human connection is clear, the exploration of isolation could be deepened to enhance the screenplay's thematic depth.
Analysis: This screenplay effectively employs visual imagery to enhance its storytelling, immersing readers in the world it creates. Its realistic yet creative descriptions offer a vivid and engaging experience. It showcases a strong integration between visual elements and the narrative, with visual metaphors further enriching the film's impact. While the overall visual style remains consistent, the screenplay could benefit from more variation and dynamism in the visuals.
Analysis: The screenplay for "The Biggest Job in French History" has the potential to evoke strong emotions from the audience due to its fast-paced action, suspenseful plot, and well-developed characters. However, there are opportunities to deepen the emotional impact by exploring the characters' inner conflicts, motivations, and relationships in more depth.
Analysis: The screenplay effectively employs conflict and stakes to drive the narrative and engage the audience. However, it could benefit from further refinement in escalating stakes and solidifying the clarity of central conflicts. Nonetheless, the film's dynamic character relationships and exploration of timely themes add depth and emotional resonance.
Analysis: The screenplay demonstrates a blend of originality and creativity in its subversion of the heist genre, unconventional character dynamics, and introspective exploration of themes.
Expand to see detailed analysis
View Complete AnalysisAntagonist
| Theme | Theme Details | Theme Explanation | ||||||||||||
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Chaos and Violence
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The film is filled with violence, including shootings, explosions, and beatings. The characters are often in danger, and the world around them is often chaotic. The film explores the effects of violence on individuals and society.
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The film suggests that violence is a destructive force that can lead to death, injury, and trauma. It also suggests that violence is often a symptom of underlying social problems, such as poverty, inequality, and injustice. | ||||||||||||
Strengthening Chaos and Violence
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Love and Relationships
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The film explores a variety of relationships, including romantic relationships, friendships, and family relationships. The characters are often struggling to find love and connection in a world that is often chaotic and violent.
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The film suggests that love is a powerful force that can help people to overcome adversity. It also suggests that love is often difficult to find and maintain, but it is worth fighting for. | ||||||||||||
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Identity and Belonging
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The film explores the theme of identity and belonging. The characters are often struggling to find their place in the world. They are often outsiders, and they are often trying to find a sense of belonging.
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The film suggests that identity is a complex and fluid concept. It also suggests that belonging is important for people's well-being. | ||||||||||||
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Power and Corruption
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The film explores the theme of power and corruption. The characters are often struggling to gain or maintain power. They are often willing to do whatever it takes to achieve their goals, even if it means hurting others.
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The film suggests that power can corrupt people. It also suggests that corruption can lead to violence and destruction. | ||||||||||||
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Art and Culture
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The film explores the theme of art and culture. The characters are often involved in the arts, and they often use art to express themselves. The film also explores the role of art in society.
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The film suggests that art is a powerful force that can help people to understand themselves and the world around them. It also suggests that art can be a source of beauty and inspiration. | ||||||||||||
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals revolve around his desire for connection, loyalty to friends, and resistance to destructive habits. |
| External Goals | The protagonist's external goals include successfully executing a heist, navigating complex social dynamics, and surviving dangerous situations. |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around morality, criminal activities, and the value of human life in high-stakes situations. |
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
Everything above was written for you before you arrived. These are the things you can set running yourself, on the whole script or on one scene at a time.
Read is broken — a load-bearing lens isn’t doing its job yet.
The beats can be called before they land Unpredictability
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Read is broken — a load-bearing lens isn’t doing its job yet.
It isn’t clearly about one thing yet Contract
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
The result doesn’t oblige what comes next Consequence
HoldingThe reader can follow what matters.
Design and Read are broken — this reads as a rebuild before polish.
It isn’t clearly about one thing yet Contract
HoldingEvery beat and line earns its place.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingA real force keeps it pushing forward.
Design and Read are broken — this reads as a rebuild before polish.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Design and Read are broken — this reads as a rebuild before polish.
It isn’t clearly about one thing yet Contract
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingEvery beat and line earns its place.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
The feeling is stated more than felt Charge
HoldingThe reader can follow what matters.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
There’s avoidable waste on the page Economy
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
Design and Read are broken — this reads as a rebuild before polish.
It leans on mood instead of something actually pushing it Pressure
HoldingEvery beat and line earns its place.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Design, Execution and Read are broken — this reads as a rebuild before polish.
It plays close to the version we’ve seen before Freshness
Design and Read are broken — this reads as a rebuild before polish.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Read is soft — this reads as a polish pass.
The feeling is stated more than felt Charge
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Design and Read are broken — this reads as a rebuild before polish.
It settles at the exit rather than pulling on Grip
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
Read is broken — a load-bearing lens isn’t doing its job yet.
It ends about where it started Movement
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
Design and Read are broken — this reads as a rebuild before polish.
It leans on mood instead of something actually pushing it Pressure
HoldingEvery beat and line earns its place.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
No lens is broken, but Read is soft — this reads as a polish pass.
It plays close to the version we’ve seen before Freshness
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
It plays close to the version we’ve seen before Freshness
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
Read is broken — a load-bearing lens isn’t doing its job yet.
The feeling is stated more than felt Charge
HoldingEvery beat and line earns its place.
A transition carries us between beats. It owes less structurally than a scene built to turn.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingWhat happens here obliges what comes next.
No lens is broken, but Read is soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingWhat happens here obliges what comes next.
An aftermath beat lands the cost of what just happened rather than driving new action.
Read is broken — a load-bearing lens isn’t doing its job yet.
The beats can be called before they land Unpredictability
HoldingEvery beat and line earns its place.
Read is broken — a load-bearing lens isn’t doing its job yet.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingWhat happens here obliges what comes next.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
Read is broken — a load-bearing lens isn’t doing its job yet.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
Execution and Read are broken — this reads as a rebuild before polish.
It isn’t clearly about one thing yet Contract
HoldingWhat happens here obliges what comes next.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
Read is broken — a load-bearing lens isn’t doing its job yet.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An aftermath beat lands the cost of what just happened rather than driving new action.
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
“Functional” (5–6) is a solid, professional scene — that's where most scenes sit. The scale rides low on purpose, so it has room to point down (where to fix) and up (what's working).
Scenes now use the full 0–10 scale, so your numbers will look lower and more spread out than before. That's the new, smarter model being honest — not a verdict on your script.
The table below uses the same colors: warm = worth a look · neutral = fine · green = working. The point is awareness, not maxing every number — a scene can be light on plot or conflict for good reasons.
| Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Triage | Design | Overall | Clarity | Scene Impact | 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 - Arrival in Paris | ReworkOrientationRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8 | 5 / 5 | 7 | 5 | 6 | 7 | 1 | 6 | 7 | 3 | 2 | 1 | 3 | 6 | 4 | 8 | 7 | 7.5 | 8 | 6.5 | |
| 2 - Zed Checks into His Hotel Room | ReworkOrientationRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 5.5 | 9 / 8 | 5 / 5.5 | 6 | 5 | 6 | 5 | 1 | 5 | 7 | 2 | 2 | 2 | 3 | 4 | 4 | 6 | 5 | 5 | 8 | 5 | |
| 3 - A Moment of Understanding | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8 | 5 / 5.5 | 8 | 5 | 7 | 7 | 5 | 6 | 5 | 4 | 3 | 3 | 3.5 | 7 | 7 | 7 | 6.5 | 6 | 8.5 | 6.5 | |
| 4 - Unexpected Visitor | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 9 / 8 | 7 / 7 | 7 | 7 | 6 | 7 | 3 | 6 | 5 | 5 | 5 | 4 | 7 | 6 | 6 | 7 | 7 | 7 | 8 | 7 | |
| 5 - Disrespectful Encounter | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8 / 7.5 | 7 / 6.5 | 7 | 6 | 6.5 | 7 | 3 | 6 | 5 | 8 | 7 | 6 | 5 | 8 | 7 | 7 | 7.5 | 6 | 7 | 6.5 | |
| 6 - Midnight Drive Through Paris | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 9 / 7.5 | 7 / 6.5 | 7 | 6 | 5.5 | 6 | 2 | 5 | 6 | 4 | 2 | 5 | 6 | 7 | 5 | 7 | 6 | 6 | 7 | 5.5 | |
| 7 - Eric's Flat | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.2 | 8.5 / 8 | 6.8 / 7.2 | 7 | 5 | 6.5 | 6 | 1 | 6 | 7 | 4 | 4 | 3.5 | 5.5 | 6 | 5 | 6 | 6.5 | 6.5 | 7 | 6 | |
| 8 - Shenanigans at Eric's Flat | PolishOrientationNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.2 | 8.5 / 6 | 5 / 6 | 7 | 4 | 6 | 6 | 1 | 4 | 3 | 2 | 1 | 1 | 3 | 6 | 4 | 5 | 5.5 | 5 | 7 | 3.5 | |
| 9 - The Heist Plan | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 9 | 8 / 7.5 | 7 | 7 | 7 | 6 | 3 | 5 | 8 | 4 | 2 | 6 | 8 | 7 | 5 | 7 | 6.5 | 7 | 8 | 7 | |
| 10 - Heroin Preparation | PolishRitualNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 7.5 | 3.5 / 5.5 | 8 | 5 | 7 | 6 | 1 | 5 | 7 | 2 | 1 | 3.5 | 3 | 5 | 4 | 6 | 5.5 | 5 | 6.5 | 4 | |
| 11 - Temptation in Eric's Flat | Low on its ownRitualDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 8.5 / 8 | 7 / 7.5 | 7 | 5 | 7 | 7 | 6 | 6 | 5 | 5 | 5 | 5 | 4 | 6 | 6 | 6 | 6.5 | 6 | 8 | 6 | |
| 12 - Midnight Race Through Paris | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 7 / 7 | 7 / 6.5 | 6 | 5 | 6 | 4 | 1 | 3 | 2 | 2 | 1 | 3 | 4 | 5 | 5 | 5 | 5.5 | 6 | 7 | 5 | |
| 13 - Midnight Race | Low on its ownPursuitDesign, Execution and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 4.5 / 4 | 5.5 / 6.5 | 7 | 5 | 6 | 5 | 2 | 4 | 5 | 6 | 4 | 6 | 5.5 | 7 | 5 | 6 | 6 | 5 | 5.5 | 4 | |
| 14 - Eric Performs at the Toy Jazz Club | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.2 | 8.5 / 6 | 4 / 6.5 | 7 | 5 | 7 | 8 | 2 | 5 | 4 | 3 | 2 | 1 | 3 | 7 | 4 | 7 | 6 | 6 | 8 | 5 | |
| 15 - Midnight Conversations in Paris | PolishRelationship shiftNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 5.8 | 9 / 7.5 | 5.5 / 6 | 7 | 5 | 6.5 | 6 | 1 | 4 | 5 | 3 | 1 | 3 | 5 | 7 | 4 | 7 | 6 | 5.5 | 8 | 5.5 | |
| 16 - Eric's Flat | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.2 | 8.5 / 7 | 5.5 / 6.5 | 7 | 5 | 6 | 5 | 1 | 4 | 6 | 2 | 0 | 2 | 4 | 7 | 4 | 5 | 6 | 7 | 7 | 5.5 | |
| 17 - The Uncle Sam Spider Monkey | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 8.5 / 6 | 5 / 6 | 7 | 4 | 6 | 6 | 1 | 4 | 3 | 2 | 1 | 1 | 2 | 8 | 4 | 5 | 6 | 6.5 | 8 | 3 | |
| 18 - Planning the Banque Internationale de Paris Heist | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 7 / 7 | 7 | 7 | 6 | 6 | 3 | 4 | 8 | 4 | 3 | 7 | 8 | 6 | 4 | 6 | 6.5 | 7 | 8 | 7 | |
| 19 - Heroin Preparation in Eric's Bathroom | ReworkRitualRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 5.5 | 9 / 7 | 3 / 6 | 6 | 3 | 5.5 | 5 | 0.5 | 5 | 7 | 1 | 1 | 2 | 1 | 4 | 4 | 5 | 5 | 4.5 | 8 | 4 | |
| 20 - Temptation in the Living Room | PolishRitualNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.2 | 8.5 / 7 | 5.5 / 6 | 7 | 5 | 6.5 | 7 | 4 | 5 | 5 | 4 | 4 | 4 | 3 | 5 | 5 | 6 | 6 | 5.5 | 8 | 5 | |
| 21 - Whirlwind Tour of Paris | Low on its ownOrientationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.2 | 8 / 7 | 6 / 6.5 | 7 | 6 | 6.5 | 5 | 1 | 4 | 5 | 3 | 2 | 3 | 5 | 5 | 5 | 5 | 6.5 | 7 | 8 | 5 | |
| 22 - Parisian Car Chase | Low on its ownPursuitDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 6 / 6.5 | 7 / 6.5 | 7 | 5 | 6 | 6 | 2 | 4 | 3 | 6 | 4 | 5 | 5 | 8 | 4 | 5 | 6 | 5.5 | 7 | 4 | |
| 23 - Jazz Night Out | PolishOrientationNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 7 | 5 / 6 | 7 | 5 | 7 | 7 | 1.5 | 5 | 3 | 2 | 1 | 2 | 2 | 7 | 5 | 6 | 6 | 6.5 | 8 | 5.5 | |
| 24 - Bank Heist Takes Control | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 7.5 / 8 | 7.5 / 7 | 7 | 7 | 6 | 6 | 1 | 4 | 8 | 7 | 5 | 8 | 8 | 7 | 6 | 5 | 7 | 7.5 | 7 | 7 | |
| 25 - Vault Standoff | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 7 | 4 | 6 | 7 | 9 | 7 | 9 | 8 | 7 | 7 | 6 | 7.5 | 8 | 8 | 6.5 | |
| 26 - Bank Robbery Setup | ReworkTransitionRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.2 | 8 / 7 | 7 / 7.5 | 7 | 6 | 7 | 7 | 6 | 7 | 6 | 6 | 6 | 7 | 5 | 6 | 6 | 6 | 6 | 5 | 7 | 5 | |
| 27 - Hostage Massacre | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 5.5 | 7 / 6.5 | 8 / 7 | 6 | 5 | 5.5 | 5 | 2 | 5 | 7 | 8 | 6 | 8 | 6 | 7 | 6 | 4 | 6 | 5 | 7 | 5.5 | |
| 28 - Bank Heist Chaos | PolishAftermathNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 6.5 | 8 / 7.5 | 8 / 7.5 | 7 | 7 | 6 | 6 | 4 | 6 | 7 | 9 | 8 | 9 | 8.5 | 7 | 7 | 7 | 7.5 | 7 | 7 | 6.5 | |
| 29 - Vault Access | ReworkPayload momentRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8.5 | 7.5 / 7 | 7 | 6 | 6 | 6 | 1 | 6 | 8 | 3 | 3 | 6 | 7 | 5 | 5 | 5 | 6.5 | 6.5 | 9 | 7 | |
| 30 - Preparations for the Heist | ReworkPursuitRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 9 | 7 / 7 | 7 | 7 | 6 | 5 | 1 | 4 | 9 | 2 | 2 | 5 | 8 | 3 | 5 | 5 | 6.5 | 7.5 | 9 | 7 | |
| 31 - Assault on the Poseidon Vault | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8 / 8 | 8 / 7.5 | 7 | 7 | 7 | 6 | 2 | 6 | 8 | 8 | 6 | 7 | 7 | 7 | 6 | 7 | 7 | 7 | 7 | 6.5 | |
| 32 - The Vault Breached | Low on its ownDeliveryDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 8 / 8 | 7 / 7 | 6 | 6 | 4.5 | 6 | 2 | 6 | 8 | 6 | 5 | 7.5 | 7 | 5 | 6 | 6 | 6.5 | 5.5 | 7 | 6.5 | |
| 33 - The Gold Discovery | ReworkDeliveryRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 8 / 8 | 7 / 7.5 | 7 | 6 | 6.5 | 7 | 2 | 7 | 6 | 7 | 5 | 7 | 6 | 6 | 5 | 6 | 7 | 6.5 | 8 | 6 | |
| 34 - Bank Robbery Chaos | Low on its ownContestExecution and Read are broken — this reads as a rebuild before polish. | SoftThe structure works but is leaking power in places. | 6.5 | 7.5 / 8 | 8 / 7 | 7 | 6 | 7 | 7 | 2 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 7 | 7 | 6.5 | |
| 35 - Vault Breakthrough and Lobby Rampage | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 5.5 | 7 / 7 | 7.5 / 6.5 | 6 | 5 | 4.5 | 5 | 2 | 4 | 7 | 8 | 6 | 7 | 6 | 5 | 5 | 4 | 6.5 | 5.5 | 6 | 5.5 | |
| 36 - Gold Theft and Hostage Crisis Escalate | Low on its ownPursuitDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 6 / 7 | 8 / 7.5 | 7 | 7 | 7 | 6 | 6 | 6 | 7 | 9 | 8 | 9 | 7.5 | 8 | 7 | 5 | 7.5 | 7 | 7 | 6.5 | |
| 37 - Elevator Shootout | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 6 / 6 | 8 / 7.5 | 7 | 6 | 6 | 7 | 6 | 6 | 7 | 9 | 7 | 9 | 8 | 7 | 7 | 6 | 7 | 6 | 7 | 6 | |
| 38 - Bank Heist: Deadly Confrontation | Low on its ownPursuitDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 4.5 / 5 | 7 / 6.5 | 6 | 5 | 4 | 5 | 2 | 4 | 5 | 9 | 7 | 8 | 7 | 7 | 5 | 4 | 6 | 6 | 6 | 4.5 | |
| 39 - Reunion in the Sub-Lobby | Low on its ownRelationship shiftDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 6.5 / 7 | 7.5 / 7 | 6 | 6 | 6 | 7 | 5 | 6 | 7 | 7 | 6 | 8 | 7 | 6 | 7 | 6 | 6.5 | 6 | 7 | 5.5 | |
| 40 - Violent Confrontation in the Bank | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 6.5 / 7 | 8 / 7 | 7 | 6 | 5.5 | 7 | 5.5 | 6 | 7 | 8 | 7 | 7.5 | 7 | 7 | 7 | 6 | 7 | 6 | 6.5 | 6 | |
| 41 - Violent Confrontation in the Bank Vault | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 7.5 / 8 | 8 / 7.5 | 7 | 6 | 5 | 6 | 4 | 5 | 7 | 10 | 9 | 10 | 9 | 8 | 7 | 6 | 8 | 8 | 8 | 7 | |
| 42 - Aftermath of the Bank Robbery | ReworkAftermathRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 8 / 8 | 5 / 6 | 7 | 7 | 7.5 | 7 | 7 | 7 | 7 | 3 | 2 | 4 | 6 | 5 | 6 | 6 | 7 | 6.5 | 8 | 7 | |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice in this screenplay is characterized by its unique blend of languages, cultural references, and subtle humor in dialogue. This voice is further enhanced by the writer's ability to create vivid descriptions of setting and atmosphere, as well as their use of fast-paced action and suspenseful plotlines. |
| Voice Contribution | The writer's voice contributes to the script by adding depth and complexity to the characters, creating a sense of immersion in the story world, and keeping the reader engaged throughout the screenplay. |
| Best Representation Scene | 3 - A Moment of Understanding |
| Best Scene Explanation | This scene best represents the writer's voice because it showcases their ability to create complex and introspective dialogue, as well as their skill in developing nuanced and believable characters. The scene also highlights the writer's use of subtle humor and cultural references, which are key elements of their unique voice. |
The screenplay exhibits a distinctive blend of gritty realism, sharp dialogue, and complex character interactions, creating a captivating and intense cinematic experience. The writing style effectively conveys the characters' inner conflicts and moral dilemmas through authentic and nuanced conversations, while the fast-paced action sequences and unpredictable plot twists maintain a high level of suspense and engagement.
Style Similarities:
| Writer | Explanation |
|---|---|
| Quentin Tarantino | Tarantino's influence is evident in the screenplay's gritty dialogue, morally ambiguous characters, and intense action sequences. His signature style of blending humor with violence and exploring the complexities of human nature shines through in multiple scenes. |
| Christopher Nolan | Nolan's storytelling techniques, particularly his intricate heist plots, complex character dynamics, and high-stakes scenarios, are apparent in several scenes. The screenplay incorporates elements of suspense, tension, and moral dilemmas that align with Nolan's approach to filmmaking. |
Other Similarities: The screenplay also draws inspiration from other notable screenwriters, such as Darren Aronofsky, Martin McDonagh, and Guy Ritchie, resulting in a diverse range of influences that contribute to the overall cinematic experience.
| Pattern | Explanation |
|---|---|
| Emotional Intensity and High Stakes | |
| Character Changes and Emotional Impact | |
| High Stakes and Moving the Story Forward | |
| Action and Emotional Impact | |
| Tone and Dialogue | |
| Comedy and Emotional Impact | |
| Plot and Stakes |
Overall, the provided scenes demonstrate the writer's skill in creating engaging and immersive narratives, showcasing a natural ability for crafting compelling dialogue, building tension, and developing complex characters. However, refining certain writing techniques can further elevate the writer's storytelling abilities.
| Type | Suggestion | Rationale |
|---|---|---|
| Book | Read 'Screenplay: The Foundations of Screenwriting' by Syd Field | This classic guide provides a comprehensive foundation in screenwriting principles, including structure, character development, and scene writing. |
| Screenplay | Study screenplays by acclaimed writers such as Quentin Tarantino, Aaron Sorkin, and Paddy Chayefsky | Analyzing the work of masters can provide valuable insights into effective storytelling, characterization, and dialogue. |
| Video | Watch analysis videos on film and television scenes to study pacing, editing, and cinematography | Visual examples can enhance understanding of scene construction and the impact of technical elements on storytelling. |
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Heroic Bloodshed | The violence and gore is depicted in a glorified and stylized manner, making it appear heroic and thrilling. | This trope is often used in action movies to make the violence seem more exciting and less disturbing. A common example of this trope is when a character kills an enemy with a single, clean shot, and the blood splatters in slow motion. |
| Damsel in Distress | Zoey is presented as a damsel in distress, being rescued by Zed from her attacker and then being protected by him throughout the movie. | This trope is often used in movies and TV shows to create a situation where the male character can be the hero and save the female character. A common example of this trope is when a woman is kidnapped and the man has to rescue her. |
| Action Hero | Zed is portrayed as an action hero, with his fighting skills, bravery, and willingness to put himself in danger to save others. | This trope is often used in action movies and TV shows to create a character who is strong, brave, and always ready to fight for what's right. A common example of this trope is James Bond. |
| Revenge | Eric seeks revenge on those who wronged him, including Zed, whom he believes betrayed him. | This trope is often used in movies and TV shows to create a character who is motivated by a desire for revenge. A common example of this trope is The Count of Monte Cristo. |
| Heist Movie | The movie follows the planning and execution of a bank robbery by a group of criminals. | This trope is often used in movies and TV shows to create a thrilling and suspenseful story about a group of criminals who plan and execute a heist. A common example of this trope is Ocean's Eleven. |
| Drug Use and Addiction | Drugs are used by multiple characters in the movie as a means of coping with stress, escaping reality, or enhancing their performance. | This trope is often used in movies and TV shows to create a sense of realism or to explore the darker side of human nature. A common example of this trope is Requiem for a Dream. |
| Strong Female Character | Zoey is portrayed as a strong and independent woman, who is able to take care of herself and fight for what she believes in. | This trope is often used in movies and TV shows to create a character who is not defined by her relationship to a male character and who is able to stand on her own two feet. A common example of this trope is Ripley from the Alien franchise. |
| Dark and Gritty | The movie is set in a dark and gritty world, where violence, crime, and corruption are commonplace. | This trope is often used in movies and TV shows to create a sense of realism and to explore the darker side of human nature. A common example of this trope is The Dark Knight. |
| Violence and Gore | The movie contains graphic violence and gore, including scenes of characters being killed, dismembered, and tortured. | This trope is often used in movies and TV shows to create a sense of shock and awe, or to explore the darker side of human nature. A common example of this trope is Saw. |
| Redemption | Zed is given a chance to redeem himself for his past actions by helping to stop Eric and his gang. | This trope is often used in movies and TV shows to create a character who has made mistakes in the past but is given a chance to make things right. A common example of this trope is The Shawshank Redemption. |
| Scene Number | Line |
|---|---|
| 24 | Oliver: Freeze motherfucker! |
| 25 | Eric: You think we're fucking amateurs? You think we're stupid? I've got news for you...we planned ahead my friend! |
| 34 | Eric: You want to fuck with me!? I'll show you what happens to people who fuck with me! |
| 35 | Eric: The fucking police won't budge. I kill a man and they don't care. They say they don't make deals with terrorists. It really fucks up my plan. |
| 26 | Eric: Oh fuck it doesn't matter! Here you get the death penalty just for robbing a federal bank. |
| When a skilled safecracker is recruited by his old friend to participate in a bank heist in Paris, he becomes entangled in a complex relationship with a young artist and escort who is caught up in the dangerous plan. |
| A bank heist in Paris goes horribly wrong when a skilled safecracker's loyalty is tested by his old friend, the leader of the crew, and a young woman caught in the crossfire. |
| A crime thriller that explores the moral dilemmas and shifting loyalties of a group of friends pulled into a high-stakes bank heist, with a young artist and escort at the center of the conflict. |
| In the midst of a daring bank heist in Paris, a skilled safecracker must confront his past, his loyalty to his friend, and his growing feelings for a young woman caught up in the dangerous plan. |
| A skilled safecracker's reunion with his old friend leads to a disastrous bank heist in Paris, where he must navigate the complex web of relationships and betrayals that unfold. |
| An American safecracker in Paris gets caught up in a violent bank heist orchestrated by his reckless childhood friend, leading to a deadly confrontation. |
| A chance encounter with a mysterious French woman forces an American safecracker to question his loyalties and confront the dark side of his past. |
| Amidst the chaos of a botched bank robbery in Paris, an American safecracker and a French escort form an unlikely bond as they fight to survive. |
| As a violent bank heist spirals out of control, an American safecracker must choose between his loyalty to his childhood friend and his newfound connection with a French woman. |
| A descent into the criminal underworld of Paris forces an American safecracker to confront his own morality and the consequences of his actions. |
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