Hunger Games
Executive Summary
Poster

Overview
Genres: Drama, Sci-Fi, Action, Adventure, Dystopian, Thriller, Fantasy, Romance, Science Fiction, Coming-of-age, Family, Survival
Setting: Dystopian future, unspecified year, Panem, primarily in District 12 and the Capitol
Overview: In a dystopian future, Katniss Everdeen, a resourceful and fiercely protective young woman from the impoverished District 12, volunteers to take her sister Prim's place in the brutal Hunger Games—a televised fight to the death among tributes from various districts. As she navigates the treacherous arena, Katniss must rely on her survival skills, forge alliances, and confront the oppressive Capitol that orchestrates the Games. Throughout her journey, she grapples with her feelings for fellow tribute Peeta Mellark, who harbors a complicated affection for her. The story unfolds as Katniss transforms from a reluctant participant into a symbol of rebellion, challenging the Capitol's authority while struggling with the moral implications of her actions. The climax reveals the depths of her resilience and the sacrifices made for love and survival, culminating in a powerful confrontation with the oppressive regime.
Themes: Survival and Resilience, Sacrifice and Love, The Oppressive Nature of Authoritarian Regimes and Systemic Cruelty, The Power of Performance and Illusion, Inequality and Social Stratification, Loss of Innocence, Hope vs. Despair
Conflict and Stakes: Katniss's struggle for survival in the Hunger Games while protecting her loved ones, particularly her sister Prim, against a brutal and oppressive regime.
Overall Mood: Tense and dramatic, with moments of hope and despair.
Mood/Tone at Key Scenes:
- Scene 8: The mood is tense and somber during the reaping ceremony, highlighting the fear and stakes involved.
- Scene 41: The mood is intense and emotional as Katniss grapples with loss and the brutality of the Games.
- Scene 42: The mood shifts to suspenseful and harrowing as Katniss and Peeta face the muttations and Cato.
- Scene 44: The mood is joyful and celebratory during the interview, contrasting with the underlying tension of their situation.
Standout Features:
- Unique Hook: The concept of a dystopian society where children are forced to fight to the death for entertainment.
- Major Twist: The revelation that Katniss and Peeta's act of defiance with the nightlock berries forces the Capitol to change the rules.
- Distinctive Setting: The stark contrast between the impoverished District 12 and the opulent Capitol, highlighting social inequality.
- Innovative Ideas: The use of media and spectacle in the Hunger Games to manipulate public perception and control the districts.
- Unique Characters: Complex characters like Katniss and Peeta, who navigate their feelings amidst the pressures of survival and public image.
Comparable Scripts:
- The Hunger Games (Film Series)
- Divergent
- The Maze Runner
- Battle Royale
- The Giver
- The 100 (TV Series)
- The Selection (Book Series)
- The Darkest Minds
- The Handmaid's Tale
Writing Style:
The screenplay exhibits a writing style deeply rooted in the dystopian young adult genre, characterized by intense emotional depth, morally complex characters navigating oppressive societies, and a strong emphasis on themes of survival, rebellion, and identity. The narrative frequently employs high stakes, internal conflicts, and often features strong female protagonists. The pacing is generally taut, with a blend of action and introspection that drives the plot forward.
Style Similarities:
- Suzanne Collins
- Veronica Roth
- Margaret Atwood
Pass/Consider/Recommend
Consider
Explanation: This screenplay is a faithful, visually-driven adaptation of a high-concept YA property with strong central stakes, a compelling protagonist, and several standout set pieces (the Reaping, Opening Ceremony, Tracker Jacker attack, and Rue sequence). It reliably conveys the emotional core — Katniss’s love for Prim and the moral cost of survival — and delivers cinematic imagery that will translate well to screen. However, the script suffers from uneven pacing, some inconsistent characterization (especially with Haymitch and the post-victory fallout), occasional on-the-nose dialogue, and formatting/technical issues that undercut professional polish. With tightening of scene transitions, deeper resolution for a few arcs, and cleanup of structural and stylistic inconsistencies, this script could move from a competent adaptation to a strong, production-ready feature.
USP: This screenplay's unique strength lies in its authentic portrayal of a reluctant heroine's journey within a meticulously crafted dystopian world, blending survival thriller elements with poignant social commentary about media manipulation, class oppression, and the performative nature of survival.
Market Analysis
Budget Estimate:$50-100 million
Target Audience Demographics: Young adults aged 12-30, fans of dystopian fiction, action, and romance.
Marketability: The established popularity of the source material, strong character arcs, and themes of rebellion resonate with a broad audience.
The film's blend of action, romance, and social commentary appeals to both young adults and older viewers.
The potential for franchise development and merchandise sales, along with a strong fanbase from the books.
Profit Potential: Very high, given the success of similar adaptations and the potential for sequels and merchandise.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a potent blend of gritty realism and profound emotional depth. This is consistently manifested through sharp, impactful dialogue that exposes characters' inner turmoil and external struggles with vivid imagery and intense emotions. The narrative descriptions are often sparse but serve to accentuate the emotional weight of scenes, focusing on subtle gestures and interactions that speak volumes. The direction emphasizes raw emotions, nuanced character dynamics, and a keen ability to create suspense and tension through understated moments.
Best representation: Scene 13 - A Night of Tension and Care. Scene 13 best showcases the author's unique voice through its sharp, defiant dialogue from Katniss, which immediately establishes her rebellious spirit against the superficiality of the Capitol's norms. The scene's narrative description is minimal, allowing the actions and dialogue to drive the tension and humor. The direction of the scene, with Katniss's bold act of defiance and Peeta's support, highlights the nuanced character interactions and the underlying power dynamics. This scene effectively balances humor with thematic depth, showcasing the author's ability to create memorable moments that underscore the characters' struggles and the broader themes of the screenplay.
Memorable Lines:
- Effie: Happy Hunger Games! And may the odds be ever in your favor! (Scene 8)
- KATNISS: Winning means fame and fortune. Losing means certain death. I guess I wouldn’t mind dying, but dying means losing the ones I love. (Scene 1)
- Cinna: Katniss, the girl on fire. (Scene 22)
- KATNISS: I blew it. I did. I definitely did. (Scene 27)
- Haymitch: You're only defense is that you're madly in love. Got it? (Scene 43)
Characters
Katniss Everdeen:A resourceful and determined young woman from District 12 who volunteers to take her sister's place in the Hunger Games.
Peeta Mellark:The male tribute from District 12, known for his charm and baking skills, who has a complicated relationship with Katniss.
Gale Hawthorne:Katniss's best friend and hunting partner, who represents her life before the Games and her connection to home.
Haymitch Abernathy:The drunken mentor for Katniss and Peeta, a former victor of the Hunger Games who provides guidance despite his flaws.
Cinna:Katniss's stylist who believes in her and helps her present a strong image in the Capitol.
Prim Everdeen:Katniss's younger sister, whose safety motivates Katniss's actions throughout the story.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - The Objectification of Katniss | Intense, Emotional, Sombre | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
2 - A Day in the Seam | Somber, Reflective, Intimate | 8.5 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
3 - A Day at the Hob | Serious, Resourceful, Grateful | 8.2 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
4 - Strawberries and Tension | Somber, Reflective, Tense | 8.2 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
5 - A Sister's Reassurance | Comforting, Reassuring, Tender | 8.2 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 3 | 7 | 4 | 6 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
6 - A Moment of Transformation | Tender, Reflective, Supportive | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 3 | 8 | 4 | 6 | 8 | 9 | 8 | 9 | 8.5 | 9 | 9 | |
7 - A Tense Departure | Anxious, Reassuring | 7.5 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 9 | 9 | |
8 - The Reaping: A Sister's Sacrifice | Tense, Dramatic, Emotional | 8.7 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
9 - Despair in the Rain | Tense, Heartbreaking, Harsh | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
10 - A Moment of Compassion and Ominous Ceremony | Tense, Emotional, Reflective | 8.5 | 8 | 9 | 8.5 | 8 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
11 - Heartfelt Farewells | Emotional, Intense, Heartfelt | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
12 - Departure to the Capitol | Tense, Emotional, Intriguing | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
13 - Dining Room Rebellion | Tense, Emotional, Serious, Awkward | 8.5 | 8 | 9 | 8.5 | 9 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 7 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
14 - A Night of Tension and Care | Tense, Defiant, Serious, Emotional | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
15 - Drowning in Indifference | Serious, Defiant, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
16 - A Childhood Memory | Nostalgic, Innocent, Youthful | 8.5 | 8 | 8 | 7.5 | 9 | 6 | 8 | 7 | 3 | 8 | 2 | 6 | 7 | 9 | 7 | 8.5 | 8 | 8 | 8 | |
17 - A Day of Contrasts | Reflective, Emotional, Nostalgic | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 2 | 7 | 3 | 6 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
18 - Dining Car Tensions | Tense, Defiant, Intense, Emotional | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
19 - Grooming for the Spotlight | Intimate, Sincere, Tense | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
20 - A New Beginning: Cinna and Katniss Meet | Emotional, Intimate, Intriguing | 8.5 | 9 | 8 | 9 | 9 | 7 | 8 | 7.5 | 6 | 8 | 6 | 7 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
21 - A Tense Meal and Costume Plans | Serious, Defiant, Reflective | 8.5 | 9 | 8 | 8.5 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
22 - The Fiery Debut | Tense, Nervous, Excited, Sarcastic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 9 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
23 - A Night of Tension and Reflection | Tense, Intense, Emotional, Revealing | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
24 - Training Tensions | Tense, Defiant, Emotional | 8.5 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
25 - Training Tensions and Camaraderie | Tense, Serious, Reflective | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
26 - A Desperate Bid for Attention | Tension, Defiance, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
27 - Isolation and Regret | Regret, Resignation, Disappointment | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 6 | 5 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
28 - Dinner Tensions and Unexpected Laughter | Tense, Reflective, Sarcastic | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
29 - Celebration of Scores | Tension, Excitement, Pride | 8.5 | 8 | 9 | 8.5 | 9 | 7 | 8 | 7.5 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
30 - Unexpected Changes | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
31 - Tension in Haymitch's Room | Tense, Sarcastic, Critical | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
32 - Forgiveness in the Chaos | Emotional, Regretful, Intimate | 9.2 | 9 | 9 | 8 | 9 | 7 | 8 | 7 | 4 | 7 | 3 | 6 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
33 - Facing the Flames | Introspective, Encouraging, Supportive | 8.7 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
34 - The Capitol Interviews: Confessions and Promises | Humorous, Emotional, Informative | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
35 - Backstage Confrontation | Tense, Emotional, Confrontational, Reflective | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
36 - Tensions Rise Before the Games | Tense, Sarcastic, Serious | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 9 | 9 | |
37 - Preparation for the Arena | Tense, Hopeful, Intense | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 7 | 8 | 9 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
38 - The Bloodbath Begins | Intense, Tense, Emotional | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
39 - Survival in Solitude | Tense, Survival, Isolation | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | |
40 - Silent Witness | Tense, Suspenseful, Dark | 8.5 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | |
41 - Alliances and Sacrifices | Tense, Urgent, Desperate, Hopeful, Emotional | 9 | 9 | 9 | 9 | 10 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
42 - Defiance at Dusk | Intense, Emotional, Tense, Tragic | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 10 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | |
43 - A Leg for a Life | Tense, Defiant, Serious | 8.5 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
44 - Victors' Embrace | Emotional, Intimate, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 8 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
45 - Tensions Unraveled | Tension, Confusion, Emotional | 8.5 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
46 - A Final Farewell | Tense, Emotional, Defiant, Confused | 8.5 | 8 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 |
Scene 1 - The Objectification of Katniss
By
C.M. Productions
DIRECTORS CUT
Monika Milani
Based on
Suzanne Collin’s hit novel, The Hunger Games.
C.M. Productions [email protected]
Disclaimer: WE DO NOT OWN THE [email protected]
MAIN STORY.
OPENING
KATNISS
(V.O.)
Winning means fame and fortune.
Losing means certain death. I guess
I wouldn’t mind dying, but dying
means losing the ones I love.
INT. Cinna’s workroom.- DAY.
The lights flicker on. KATNISS bats her eyes at the sudden
light, trying to adjust her eyes to the bright lights,
slightly startled. She is naked, except for a bra,
underwear, and a tank top. CINNA circles her, examining her
body like a piece of work.
DISTRICT 12
DAYS EARLIER
Ratings
Scene 2 - A Day in the Seam
Katniss stretches on her bed from the effects of just waking
up. She finds the other side of her bed empty. She props
herself on one elbow, finding PRIM curled up by her MOTHER
on another bed, both asleep. BUTTERCUP, the cat, sits at the
feet of Prim. Katniss gets up to get ready to hunt. Once
ready, she takes goat cheese from the table. Katniss goes to
Prim and kisses her on the forehead.
KATNISS
(whispered)
Thanks, Prim.
Katniss puts the cheese in her pocket as she steps outside.
She proceeds to walk towards the edge of Seam. She leans
towards the fence and listens. It’s silent. She slips
underneath the fence. She picks up her archery set and
equips herself. She looks at a kid trying to retrieve an
apple from a tree.
KATNISS
District Twelve. Where you can
starve to death in safety.
She climbs hills to join GALE. She sits beside him.
GALE
Hey, Catnip. Look what I shot.
(CONTINUED)
CONTINUED: 2.
He holds up a loaf of bread with an arrow stuck through it
for Katniss to see. She laughs. Katniss then takes the bread
from Gale’s hands and pulls out the arrow.
KATNISS
Still warm. What did it cost you?
GALE
Just a squirrel. Think the old man
was feeling sentimental this
morning. Even wished me luck.
KATNISS
Well, we all feel a little closer
today, don’t we? Prim left us a
cheese.
Katniss takes the cheese out from her pocket.
GALE
Thank you, Prim. We’ll have a real
feast.
He rips a piece of the bread off.
GALE
I almost forgot.
(capitol accent)
Happy Hunger Games! And may the
odds-
She finishes the phrase in a similar imitation.
KATNISS
(capitol accent)
-Be ever in your favor!
They laugh. They settle down and eat.
GALE
We could do it, you know.
KATNISS
Do what?
GALE
Leave the district. Run off. Live
in the woods. You and I, we could
make it... if we didn’t have so
many kids around to take care of.
(CONTINUED)
CONTINUED: 3.
KATNISS
I never want to have kids. Prim and
my Mother are enough. How about
you?
GALE
I might, if I didn’t live here.
KATNISS
But you do.
GALE
Forget it.
Beat.
KATNISS
What do you want to do? I was
thinking hunting, or fishing. Maybe
gathering too.
GALE
Let’s fish at the lake. We can
leave out poles and gather in the
woods. Get something nice for
tonight.
They leave.
CUT TO:
TRADING
Ratings
Scene 3 - A Day at the Hob
Gale fishes. Katniss gathers. Gale glances at her.
GALE
Having fun there, Catnip?
Katniss smiles at Gale and they go back to work. He casts
his line.
CUT TO:
They enter the Hob with seven fish, 4 salt water filled
bottles, vegetables, a dozen strawberries, and a butchered
paraffin.
EXT. The Hob, Seam- DAY.
They walk to GREASY SAE’S stall.
(CONTINUED)
CONTINUED: 4.
GALE
So, we got six fish, two salt water
bottles, 4 strawberries, and a few
chunks of paraffin to spare. Wanna
trade?
GREASY SAE
Whatever tickles your fancy. I’ll
give you twenty five for it.
GALE
Done.
They hand Greasy Sae the food. Greasy Sae gives them a stack
of money.
GREASY SAE
There you are, folks. Twenty-five
for your families.
KATNISS
Thanks, I’ll stop by for some soup
in a few days. Hey, what’s the meat
you put in there?
GREASY SAE
Variations. But once it’s in the
soup it’s always beef.
Greasy Sae winks. Katniss raises her eyebrows. Gale yanks
her away.
CUT TO:
GALE’S EQUALITY
Ratings
Scene 4 - Strawberries and Tension
They go to the mayor’s back door to sell half of the
strawberries to him. They knock on the door. After a few
moments, the mayor’s daughter, MADGE, opens the door.
GALE
Pretty dress.
MADGE
Well, if I end up going to the
Capitol, I want to look nice, don’t
I?
(CONTINUED)
CONTINUED: 5.
GALE
You won’t be going to the Capitol.
He looks at the gold mockingjay pin she has on.
GALE
(cont’d)
What can you have? Five entries? I
had six when I was just twelve
years old.
KATNISS
Hey, Gale, that’s not her fault. Be
a little nicer.
GALE
It’s just the way it is.
Madge hands money to Katniss.
MADGE
Good luck, Katniss.
Katniss gives the berries to Madge and puts the money in her
pocket.
KATNISS
You, too.
Madge steps inside and closes the door. They split the food
and money and carry their own rations home. Katniss and Gale
walk in silence.
GALE
Katniss?
KATNISS
What?
GALE
This is stupid.
KATNISS
What’s stupid?
GALE
This Hunger Games thing. Why would
they kill people like this?
KATNISS
I know. We all hate it. But we have
to face the truth that-
(CONTINUED)
CONTINUED: 6.
GALE
What truth? Nothing is positive
about this. Nothing. They’re all
idiots! Why would they do this to
us? It’s like they think they’re
the only ones that live! What ever
happened to equality?
He mutters his curses at the capitol. Katniss rolls her eyes
at the sight of Gale pouting.
KATNISS
See you in the square.
GALE
Wear something pretty.
They part in different directions.
CUT TO:
REAPING
Ratings
Scene 5 - A Sister's Reassurance
Katniss enters her house to find that Prim and her Mother
are ready to go to the reaping, tidied up and neat. Prim
runs to Katniss, hugging her. She’s breaking down.
PRIM
Katniss! Katniss, I don’t want to
go to the reaping. What if they
pick me?
KATNISS
Shhhh, Prim. It’s okay. You won’t
be picked. Trust me. The odds are
one to hundreds for you. I’m sure
you’ll be safe.
PRIM
But... what if you get picked? You
have so many entries...
KATNISS
I’m sure both of us are safe. I
mean, look at Gale. He has 42. My
entries don’t come close to his.
PRIM
But he’s a boy.
(CONTINUED)
CONTINUED: 7.
KATNISS
It’s just a comparison.
She kneels down in front of Prim until she’s eye level.
KATNISS
Now, when I come back, I want to
see a smile. Okay?
Prim nods.
KATNISS
Good.
She kisses Prim’s cheek. Katniss leaves to get ready.
CUT TO:
Ratings
Scene 6 - A Moment of Transformation
Katniss walks out of the bathroom and into the bedroom with
a towel wrapped on her head and another around her body. She
already has a tank top, bra, and underwear on underneath.
She sees her Mother’s favorite dress laid out on the bed
with matching shoes. Her mother walks into the room.
MOTHER
Go ahead and use those.
She gestures to the dress and shoes.
KATNISS
Mother... this is so unlike you.
Are you sure?
MOTHER
Of course.
Her Mother sits on the bed. Katniss puts the dress on.
MOTHER
Let’s put your hair up, too.
She pats the spot beside her. Katniss sits there and lets
her Mother towel dry and braid her hair.
KATNISS
So?
MOTHER
See for yourself.
Katniss gets up and looks into the aged body mirror. Prim
enters and stops in the doorway.
(CONTINUED)
CONTINUED: 8.
PRIM
You look beautiful.
Katniss turns away from the mirror and walks to Prim.
KATNISS
And nothing like myself.
They hug. Mother leaves. Katniss hears a sob come from Prim.
She pulls away and looks at her. Katniss wipes a tear away
from Prim’s cheek.
KATNISS
Remember what I said? Only smiles
when I came back.
PRIM
But you didn’t come back, I came
back.
Prim grins. Katniss laughs. Katniss notices Prim’s blouse
untucked in the back. Katniss smooths and tucks Prim’s
blouse for her.
KATNISS
Tuck your tail in, little duck.
PRIM
Quack.
KATNISS
Quack yourself. Come on, let’s eat.
They leave.
CUT TO:
Ratings
Scene 7 - A Tense Departure
Katniss stirs a stew on the stove and chews on bread while
Prim drinks a tall glass of milk. Prim looks at the clock.
PRIM
Katniss, it’s almost one o’clock.
Katniss looks at the clock while stirring.
KATNISS
Oh, it is, isn’t it.
Katniss sets the stirring spoon down and wipes her hand on a
towel nearby. She grabs her mother’s stuff.
(CONTINUED)
CONTINUED: 9.
KATNISS
(cont’d)
Don’t want the officials taking us
to prison, now.
PRIM
I’m scared.
KATNISS
Don’t be. You’ll be fine. I swear.
Katniss looks at the clock once more.
KATNISS
Mother! It’s time to go!
CUT TO:
Ratings
Scene 8 - The Reaping: A Sister's Sacrifice
The whole town is there. Two of three chairs onstage are
filled by the MAYOR and EFFIE. The town clock strikes two
and the Mayor steps up to the podium.
MAYOR
Welcome, citizens of Panem. Welcome
to District 12’s reaping of the
74th annual Hunger Games. As you
may know, disaster struck what used
to be North America, and what rose
from the ashes came the new land of
Panem. Panem is the land we all
stand on now. Panem was a shining
capitol ringed by thirteen
districts, each contributing to one
type of work in the majority. That
is, until the Dark Days. The
districts began rebelling against
the capitol which obviously
resulted into the unfortunate event
of a total civil war breaking out.
And yet, the capitol predictably
took the title of “winner” by
taking total destruction seriously
and erasing District 13’s
civilization forever. Now, the
Hunger Games was the result of this
happening and must go on. In the
event of the uprising, each of the
twelve districts must offer one boy
and one girl tribute to participate
in the Hunger Games, and must
strictly be the ages of 12 through
(MORE)
(CONTINUED)
CONTINUED: 10.
MAYOR (cont’d)
18. The contestants will be put
into an outdoor arena where they
must survive all types of danger
and fight to the death, or leave it
up to nature. The last tribute
standing wins. It is both a time
for repentance and a time for
thanks. In the past 73 Hunger
Games, we have had only a few
victors representing district
twelve. A living victor
representing district twelve is
here today. Welcome, Haymitch
Abernathy.
HAYMITCH stumbles onto the stage in a completely drunk
manner. He shouts in gibberish. He slurs his words.
HAYMITCH
Puthabidtha Hoonga Gaims!
He stumbles into the third chair, starling Effie. He checks
her out. Effie’s wig tilts to the right.
HAYMITCH
(cont’d)
How you doin’?
MAYOR
Oh dear... Please welcome Effie
Trinket of the Capitol!
Effie hurriedly attempts to fix her wig with no avail. Effie
goes to the podium. Haymitch shrugs and walks off, falling
off of the stage in the process. Effie Trinket, a
representative of the capitol, speaks in the standard
capitol accent.
EFFIE
Happy Hunger Games! And may the
odds be ever in your favor!
In the audience, Gale and Katniss lock eyes from afar. They
turn away as Effie crosses to the Girl’s glass ball filled
with the names and shakes it.
EFFIE
Ladies first!
Effie pulls out a name, and walks back to the podium, opens
the slip up, and reads it in her head before saying it
aloud.
(CONTINUED)
CONTINUED: 11.
EFFIE
Primrose Everdeen.
The crowd of district twelve citizens murmur unhappily.
Katniss’ eyes dart around to find Prim. Prim begins to walk
toward the stage. Katniss runs towards her.
KATNISS
Prim! Prim!
Prim is about to step onto the stage when Katniss reaches
the stage steps and pulls Prim back and stands in front of
Prim.
KATNISS
I volunteer! I volunteer as
tribute!
EFFIE
That is lovely! But I believe
there’s a small matter of
introducing the reaping winner and
then asking for volunteers, and
if one does not come forth we...
um...
MAYOR
What does it matter? What does it
matter, really? Let her come
forward.
PRIM
No, Katniss! No!
Prim wraps her arms around Katniss from behind.
PRIM
(cont’d)
You can’t go!
KATNISS
Prim, let go.
Prim does not let go.
KATNISS
Let go!
Gale takes Prim from Katniss. Prim is thrashing in his arms
and screaming for Katniss. Gale carries Prim to her Mother.
Katniss walks onto the stage.
(CONTINUED)
CONTINUED: 12.
EFFIE
Well, bravo! That’s the spirit of
the Games! What’s your name?
KATNISS
Katniss Everdeen.
EFFIE
I bet my buttons that was your
sister. Don’t want her to steal all
the glory, do we? Come on,
everybody! Let’s give a big round
of applause to our newest tribute!
No one claps. Haymitch staggers up to the stage yet again.
HAYMITCH
Look at her! Look at this one!
Haymitch walks to Katniss, burps, and puts and arm around
Katniss.
HAYMITCH
I like her! Lots of... spunk!
He staggers to the edge of the
stage and points at the audience.
HAYMITCH
(cont’d)
More than you!
Haymitch points at a camera filming the reaping.
HAYMITCH
(cont’d)
More than all of you! More than-
Haymitch falls off of the edge of the stage in mid-sentence,
becoming unconscious.
EFFIE
What an exciting day! But more
excitement to come! It’s time to
choose our boy tribute!
She takes the first slip out from the boy’s raffle while
trying to hide the fact she’s fixing her wig. She reads it
aloud hastily.
EFFIE
Peeta Mellark!
(CONTINUED)
CONTINUED: 13.
Effie immediately goes to fixing her wig, and this time it
works. PEETA walks up to the stage and stands beside
Katniss.
EFFIE
Welcome, Peeta! Now, if anyone
wishes to take is place, do speak
up! Any volunteers? No? Okay, how
about a round of applause for our
new District 12 boy tribute, Peeta
Mellark!
No one cheers but Effie.
EFFIE
Very well done, my friends. Now,...
As Katniss is looking at Peeta, she has a flash back.
CUT TO:
Ratings
Scene 9 - Despair in the Rain
It is pouring rain. YOUNG KATNISS stumbles by the bakery.
She checks the bakery’s trash bin. There is nothing in it.
The BAKER’S WIFE looks out and sees Katniss peering in the
trash bin.
BAKER’S WIFE
HEY! Get a move on, scum! Lousy
brats always pawing through our
trash... Go on, walk away!
Katniss slides the lid back onto the trash bin. The Baker’s
wife walks back inside muttering profanities to herself. She
drags herself away from the bakery. Katniss crumples beside
a tree.
CUT TO:
INT. Bakery- DAY.
YOUNG PEETA brings two loaves of bread to his Mother.
BAKER’S WIFE
What is this?! I thought I said
bakery bread, not burnt bread!
She slaps Peeta.
BAKER’S WIFE
Feed it to the pig, you stupid
creature!
(CONTINUED)
CONTINUED: 14.
PEETA
But-
BAKER’S WIFE
Why not? No one decent will buy
burnt bread! Stupid kid. What did I
just say? Go throw the worthless
bread out, you worthless boy!
Peeta exits the bakery with the bread.
CUT TO:
Ratings
Scene 10 - A Moment of Compassion and Ominous Ceremony
Peeta walks out of the bakery. He throws one loaf into the
trash bin. He then walks up to Katniss and holds the bread
out to her. Katniss hesitates. Peeta gently pushes it
towards her. Katniss hesitates yet again, but this time
checks if no one is watching. Then, with the conformation
that no one is, she takes the loaves and stuffs it up her
shirt and runs off. Peeta watches as she leaves, then
returns to the bakery.
CUT TO:
The older, present Katniss returns from her flashback. The
Mayor had been reciting the Treaty of Treason while she had
been tuned out, and is about to finish. She finally looks
away from Peeta.
MAYOR
... will represent District 12.
Please shake hands with each other
if you agree to these terms.
Katniss and Peeta shake hands.
MAYOR
Now for the anthem of Panem.
The anthem of Panem plays as Katniss and Peeta turn to face
the audience. They are taken away by the PEACEKEEPERS. The
Peacekeepers surround them in a circle as they walk. They
march out of the town square.
CUT TO:
Peacekeepers push Katniss into a room.
CUT TO:
GOODBYE
Ratings
Scene 11 - Heartfelt Farewells
She examines the room slightly, and decides to sit down.
Prim and her Mother walk into the room after a few moments
of silence had passed. Katniss reaches out to Prim. Prim
climbs onto her lap. Her Mother sits beside Katniss and Prim
and joins the embrace.
KATNISS
Prim, Mother, make sure to take
care of yourselves. Prim, don’t
bother getting any tesserae. You
can get by with selling goat cheese
and milk. Gale will bring you food
and teach you how to gather. Try to
trade him something in thanks for
helping you out. Stay in school.
Just survive, okay?
Prim nods. Katniss turns to her Mother and grips her arm.
KATNISS
Listen to me. You can’t leave
again.
MOTHER
I know. I wont. I couldn’t help
what-
KATNISS
Well, you have to help it this
time. You can’t clock out and leave
Prim on her own. There’s no me now
to keep you both alive. It doesn’t
matter what happens, whatever you
see on the screen. You have to
promise me you’ll fight through it!
Mother pulls her arm away harshly.
MOTHER
I was ill. I could have treated
myself if I’d had the medicine I
have now.
KATNISS
Then take it. And take care of her!
PRIM
I’ll be alright, Katniss. But you
have to take care, too. You’re so
fast and brave. Maybe you can win.
(CONTINUED)
CONTINUED: 16.
KATNISS
Maybe. Then we’d be rich as
Haymitch.
PRIM
I don’t care if we’re rich. I just
want you to come home. You will
try, wont you? Really, really try?
KATNISS
Really, really try. I swear it.
A Peace keeper comes through the door.
PEACEKEEPER
Time is up. You two have to go now.
Prim begins to cry. She bear hugs Katniss. Mother joins.
PRIM
Katniss, I want you to come home!
KATNISS
I can’t be too sure, Prim. But I
swore, remember?
MOTHER
Oh, Katniss. I’m so sorry.
KATNISS
I love you both so, so much. Take
care of yourselves, okay?
They nod. Prim lets go. Mother embraces Katniss one more
time. She lets go.
MOTHER
You too, Katniss. Be careful. I
love you.
She kisses Katniss on the cheek and Katniss hugs her, her
eyes tearing up. The Peacekeeper clears his throat. They all
look up.
KATNISS
Goodbye, Prim. Goodbye, Mother.
Mother holds Prim’s hand.
MOTHER
Goodbye, Katniss. Come home soon.
Beat.
(CONTINUED)
CONTINUED: 17.
MOTHER
Prim?
PRIM
Bye, Katniss.
They leave. Once gone, Katniss holds a pillow to her chest
and begins to silently cry. The BAKERY MAN, Peeta’s Father,
enters silently. She quickly wipes her tears away. The Baker
seems to pay no attention as her sits down at the edge of a
plush chair awkwardly. Beat. He takes a white paper package
from his jacket and sets it next to Katniss. She looks at it
momentarily, then to the baker, and picks it up. She opens
it and finds cookies.
KATNISS
Thank you. I had some of your bread
this morning. My friend Gale gave
you a squirrel for it. Not your
best trade...
The baker shrugs. Beat. A Peacekeeper walks in.
PEACEKEEPER
Your time is up.
As the baker rises, he clears his throat.
BAKERY MAN
I’ll keep an eye on the little
girl. Make sure she’s eating.
He leaves along with the Peacekeeper. Madge enters.
MADGE
They let you wear one thing from
your district in the arena. One
thing to remind you of home. Will
you wear this?
She holds out the mockingjay pin she wore to the reaping.
KATNISS
Your pin?
MADGE
Here, I’ll put it on your dress.
Alright?
She puts the pin onto Katniss’ dress.
(CONTINUED)
CONTINUED: 18.
MADGE
Promise you’ll wear it into the
arena, Katniss? Promise?
KATNISS
Yes.
Madge leaves with a thankful smile. Gale enters. Gale walks
in with no words. He stops and opens his arms in the middle
of the room. Katniss jumps into his arms. They hug
emotionally.
GALE
Listen. Getting a knife should be
pretty easy, but you gotta get your
hands on a bow. That’s your best
chance.
KATNISS
They don’t always have bows...
A quick flashback of the time the tributes only had spiked
maces to bludgeon one another to death.
GALE
Then make one. Even a weak bow is
better than no bow at all.
KATNISS
I don’t know if there will be wood.
Flashback to the time the tributes’ arena was only made of
boulders, sand, and scruffy bushes and bitten by venomous
snakes or gone insane from thirst.
GALE
There’s almost always some wood.
Since that year half of them died
from cold. Not much entertainment
from that...
Flashback to the time when the tributes were mostly frozen
to death.
KATNISS
Yes. There’s usually some.
GALE
Katniss, it’s just hunting. You’re
the best hunter I know.
(CONTINUED)
CONTINUED: 19.
KATNISS
It’s not just hunting. They’re
armed and can think for themselves.
Easily.
GALE
So do you. And You’ve had more
practice. Real practice. You know
how to kill.
KATNISS
Not people. It’s completely
different.
GALE
How different can it really be?
The Peacekeepers burst in suddenly and latch on Gale’s arms
to pull him out of the room. Katniss latches on Gale’s arm.
Katniss furrows her eyebrows and desperately says her last
words to Gale.
KATNISS
(Panicked)
Don’t let them starve!
GALE
I won’t! You know I won’t! Katniss,
remember I-
The Peacekeepers yank Gale and Katniss apart. Gale and the
Peacekeepers exit the room. Katniss watches the door with
furrowed eyebrows, an open mouth, and wild hair, close to
tears. She plants herself on the couch. Beat.
CUT TO:
I HOPE YOU WIN
Ratings
Scene 12 - Departure to the Capitol
Many reporters with cameras swarm Katniss and Peeta. Katniss
keeps a straight face while Peeta is red eyed and
miserable-looking. Katniss and Peeta enter the train and it
begins to move to its destination: the Capitol. Peeta walks
off to another direction in the train with no words. A GUARD
walks up to Katniss. He looks around to see if anyone is
watching. He leans in, staring at a confused and wrecked
Katniss intently.
(CONTINUED)
CONTINUED: 20.
GUARD
(whispering)
I hope you win.
Effie Trinket approaches. The Guard wuickly straightens up
and tries to cover the evidence that he’s been talking to
the tribute.
EFFIE
Oh, did you need help showing
Katniss to her room?
GUARD
No. I was just showing her the way.
Come with me, Tribute. Goodbye, Ms.
Trinket.
The Guard takes Katniss to her room. Effie watches them walk
away. Beat. The door to Katniss’ room slams, heard from the
distance. The Guard’s footsteps slowly fade away.
EFFIE
Hm, Ms. Trinket. What a lovely
name... I think I may keep that for
future use.
She walks towards Katniss’ room.
CUT TO:
SUPPER
INT. Katniss’ room, Train to Capitol- DAY.
Katniss is zoned out while examining the mockingjay pin.
Effie Trinket enters the room.
EFFIE
Dear, it’s time for supper.
KATNISS
(sigh)
What? Oh, Alright.
Katniss follows Effie out the door.
CUT TO:
Katniss and Effie walk into the dining room table where
Peeta is waiting.
Ratings
Scene 13 - Dining Room Rebellion
(CONTINUED)
CONTINUED: 21.
EFFIE
Where’s Haymitch?
PEETA
Last time I saw him, he said he was
going to take a nap.
EFFIE
Well, it has been an exhausting
day.
Katniss, Peeta, and Effie begin to eat. Effie notices their
EFFIE
At least you two have decent
manners. The pair last year ate
everything with their hands like a
couple of savages. It upsetted my
digestion.
Katniss narrows her eyes at Effie. She begins to eat the
rest of her supper noisily chewing and with her hands. Effie
gives Katniss an offended look, trying to eat while acting
as if she had not noticed. Beat. Effie slams her hands down.
Haymitch enters awkwardly.
EFFIE
Are you going to eat properly
anymore?
KATNISS
Well, I was actually just leaving.
As Katniss stands up from her seat, she wipes her hands on
the tablecloth in front of Effie. They watch as she leaves.
All eyes go onto Peeta. Beat. He slowly rises and leaves.
Once the door closes behind them, beat. Haymitch giggles.
CUT TO:
HAYMITCH NEEDS BEHAVIOR TRAINING
Peeta and Katniss go into another room to watch the reapings
of other districts.
Ratings
Scene 14 - A Night of Tension and Care
Katniss and Peeta watch the program with straight,
hard-as-rock expressions, examining their competition as
closely as possible.
(CONTINUED)
CONTINUED: 22.
The television shows FOXFACE being announced as a tribute
back in district 5 by a CAPITOL REAPING ANNOUNCER that has
been assigned to that district. Foxface has an expression
similar to Katniss’.
Peeta frowns.
Effie enters the room. She picks up the remote and turns the
T.V. off.
EFFIE
(disgruntled)
Your mentor has a lot to learn
about presentation. And a lot about
televised behavior.
Peeta unexpectedly laughs, slightly surprising Effie and
Katniss.
PEETA
He was drunk. He’s drunk every
year.
KATNISS
More like every day.
Katniss and Peeta laugh in unison. As Effie begins to talk,
their laughter fades into silence.
EFFIE
(Hissing)
Yes. How odd you two find it
amusing. You know your mentor is
your lifeline to the world in these
Games. The one who advises you,
lines up your sponsors, and
dictates the presentation of any
gifts. Haymitch can well be the
difference between your life and
your death!
Katniss and Peeta look at eachother with a frown. Haymitch
enters the room staggering and clutching a liquor bottle.
HAYMITCH
(slurring)
I miss supper?
Haymitch vomits all over the carpet and falls in his own
mess.
(CONTINUED)
CONTINUED: 23.
EFFIE
So laugh away, and we’ll see who’s
laughing after you die!
Effie hops out of the room, dodging any spots with
Haymitch’s vomit on it.
Katniss and Peeta exchange a look.
KATNISS
Oh, Haymitch. Why do you do this to
yourself?
HAYMITCH
(muffled)
Do whu tu mah self?
Katniss and Peeta proceed to help Haymitch back up to his
feet. Haymitch falls down with a groan. Peeta throws him oer
his shoulder and hauls Haymitch into the bathtub and turn on
the shower. (ALT: Katniss grabs Haymitch from his legs,
Peeta grabs him from his arms and puts him in the bathtub.)
Ratings
Scene 15 - Drowning in Indifference
DAY.
Haymitch sits there with a blank, lazy face. His clothes get
wet along with his hair, but he seems to pay no attention to
anything, much less that.
KATNISS
Come on Haymitch, you don’t want
your clothes to get wet, do you?
Haymitch doesn’t respond. He smacks his lips together. Beat.
Peeta turns to Katniss.
PEETA
It’s okay. I’ll take it from here.
KATNISS
All right. I can send one of the
Capitol people to help you.
PEETA
No, I don’t want them to.
Katniss nods and heads back to her room.
CUT TO:
DANDELION SALAD
INT. Katniss’ room
Katniss takes the cookies from the baker and throws them out
the window. She sees them fall into a patch of dandelions
and her eyes go wide with realization.
A flashback begins.
Ratings
Scene 16 - A Childhood Memory
Young Peeta (About 9 yrs old, same goes to Katniss.) watches
as Young Katniss picks a dandelion from the ground. She runs
over to where YOUNG PRIM (6 years old) was, on the other
side of the courtyard. She grabs her hand and a nearby
bucket and the two run off into the meadow, where they pick
many dandelions and other flowers. Peeta watches Katniss and
Prim have fun for a few moments. The school bell rings. Kids
begin to run to class. Katniss and Prim don’t. Peeta’s
friends, JOSHUA, ELLIOT, and RYAN run up to him. His friends
had to pester him to go.
JOSHUA
C’mon, Peeta bread! Don’t wanna be
late.
ELLIOT
Dude, hurry up!
Peeta gets pulled away.
CUT TO:
Ratings
Scene 17 - A Day of Contrasts
Katniss and Prim are eating a salad from a bucket made of
the dandelions, flowers, lemon juice, and whatever else they
found.
PRIM
What else? What other food can we
find?
KATNISS
All kinds of things. I just have to
remember them.
PRIM
I feel a little... bad. You know,
for skipping class.
(CONTINUED)
CONTINUED: 25.
KATNISS
Yeah. We should go. After school do
you want to read the book I got?
PRIM
"Plants?"
KATNISS
Yeah! That one.
PRIM
Okay, we should get going, Katniss.
Katniss nods in agreement. They leave.
CUT TO:
WE HAVE A PAIR OF FIGHTERS THIS YEAR
INT. Katniss’ room, Train to Capitol- DAY.
Present time, where Katniss is still looking out the train
window. She collapses on the bed, letting her hair tumble
out of her braid, sobbing.
FADE OUT:
INT. Katniss’ room, Train to Capitol- DAY.
EFFIE
Up, up, up! It’s going to be a big,
big day!
Katniss sits up from her bed with a groan.
CUT TO:
Ratings
Scene 18 - Dining Car Tensions
Katniss enters the dining car. Haymitch notices her at the
door way and waves her over.
HAYMITCH
Come, sit down.
She hesitantly joins them. The moment Katniss settles down
in her chair, chefs and workers burst into the room with
tons of food, shocking the tributes. Effie claps, he face
enlightened with delight. Haymitch chuckles. The chefs and
workers serve tons of "fancy" dining food to everyone.
Haymitch is poured red wine in a wine cup and a small bottle
of either vodka or saki. Katniss and Peeta are given mugs of
(CONTINUED)
CONTINUED: 26.
hot chocolate. Many plates of food are set in the middle of
the table. Effie begins to eat in upper class manners while
Haymitch is more focused on the glass of red liquid he keeps
combining with a bottle filled with clear liquid. Katniss
stares at the cup of the liquid she has never seen before-
hot chocolate.
PEETA
They call it hot chocolate. It’s
good.
Katniss drinks it and looks very satisfied. The two begin to
go through the enormous mound of food. After a bit, Katniss
leans back and begins to speak.
KATNISS
(to Haymitch)
So, you’re supposed to give us
advice.
Haymitch drunkenly looks at her.
HAYMITCH
Here’s some advice. Stay alive.
He burps. Haymitch bursts out laughing. Haymitch recovers
and swirls his cup of wine in his hand. Peeta gets up.
PEETA
That’s very funny.
Peeta knocks the glass of wine out of Haymitch’s hand.
PEETA
Just not to us.
Pause as Haymitch takes this all in. Haymitch stands up,
walks towards Peeta slowly until they’re face to face, then
proceeds to punch Peeta in the jaw, knocking him to the
floor. Effie flees the room. Haymitch tries to reach back
for the bottle of clear alcohol, but Katniss takes a knife
and stabs it in the table between Haymitch’s hand and the
bottle with a glare at Haymitch. Haymitch smirks.
HAYMITCH
Well, well! What is this? Did I
actually get a pair of fighters
this year?
Peeta rises and tries to get a handful of ice, but Haymitch
stops him.
(CONTINUED)
CONTINUED: 27.
HAYMITCH
No, no. Let the bruise show. The
audience will think that you’ve
mixed it up with another tribute
before we’ve even started.
PEETA
That’s against the rules.
HAYMITCH
Only if you get caught. That bruise
will say you fought, you weren’t
caught, even better.
Haymitch turns to Katniss. Effie peeks into the room. She
sees the knife lodged into the table. She rushes to it.
EFFIE
What is this?! That table was first
class! That is mahogany!
HAYMITCH
Can you hit anything with that
knife besides a table?
EFFIE
Oh, you just don’t understand.
Effie stomps out of the room.
HAYMITCH
So, can you?
Katniss yanks out the knife and throws it into the wall
across the room, lodging into the seam of two panels.
HAYMITCH
Stand over here. Both of you.
Katniss and Peeta walk to the middle of the room and
Haymitch checks them out.
HAYMITCH
Well, you’re not entirely hopeless.
You both seem fit. And once the
stylists get hold of you, you’ll be
attractive enough.
KATNISS
I don’t think I can trust you to
help me win, Haymitch. You’re
always drunk.
Beat.
(CONTINUED)
CONTINUED: 28.
HAYMITCH
Alright, I’ll make a deal with you.
You don’t interfere with my
drinking, and I’ll stay sober
enough to help you. But you’ll have
to do exactly what I say.
Beat.
PEETA
Alright. Fine.
KATNISS
So help us. When we get to the
arena, what’s the best strategy at
the Cornucopia for someone-
Haymitch wags his index finger at Katniss.
HAYMITCH
No, no, no, no, no. One thing at a
time. You’ll be put in the hands of
your stylists. You’re not going to
like what they do to you, but no
matter what it is, don’t resist.
KATNISS
But-
HAYMITCH
No buts. Don’t resist.
Haymitch takes the bottle of clear liquid and leaves the
room. Katniss and Peeta exchange glances. The train is
halting with a screeching sound. They both run to the
window. Many people dressed oddly are waving excitedly at
Katniss and Peeta. They’ve arrived at the capitol. Katniss
steps back but Peeta waves and smiles nicely at them until
the train station block their view. Peeta turns and sees
Katniss behind him.
KATNISS
What’re you trying to do?
PEETA
Get sponsors. Duh.
Katniss looks at him as if he’s crazy.
PEETA
Who knows? One of them might be
rich.
CUT TO:
GROOM ME
Ratings
Scene 19 - Grooming for the Spotlight
VENIA, Katniss’ assistant groomer from the capitol, is
waxing Katniss’ legs. Katniss is naked, except for
underwear, a bra, and a tank top. Just as Effie, she speaks
in the standard capitol accent.
VENIA
One, two, three.
Venia rips the fabric from Katniss’ legs. Katniss grunts in
pain.
VENIA
Sorry! You’re just so hairy.
Katniss rolls her eyes.
VENIA
Good news, though. This is the last
one. Ready?
Katniss nods, bracing herself. Venia puts the wax on
Katniss’ leg one last time.
VENIA
One, two, three!
Katniss grunts as Venia the fabric off. Venia goes to her
table to prep more things. FLAVIUS and OCTAVIA enters.
FLAVIUS
You’re doing very good. If there’s
one thing we hate, it’s whiners.
Octavia, grease her down.
Octavia take a liquidy lotion and rubs it onto Katniss.
Katniss scrunches her face in pain, then relaxes. Venia
turns to them with three tweezers in hand and gives one to
each of them.
VENIA
If you find any stray hairs, pluck
them.
They examine Katniss together and pluck a few stray hairs.
FLAVIUS
Perfect! Oh my god, what a peice of
art.
(CONTINUED)
CONTINUED: 30.
OCTAVIA
What a doll.
Katniss forces a smile.
KATNISS
Thanks.
VENIA
I guess this is goodbye for now,
Katniss. We’ll call Cinna for you.
He’s our lead prepper and designer.
OCTAVIA
Here’s your robe.
Octavia hands Katniss a colorful silk robe. They walk into
Cinna’s office. Flavius peeks his head out a few moments
later.
FLAVIUS
He’s ready to see you.
The trio leave the office, into the room thay Katniss
occupies. They line up beside the door as Katniss enters the
office.
VENIA
Good luck, little charmer!
Katniss closes the door behind her. Katniss turns to see
CINNA standing with a warm smile.
Ratings
Scene 20 - A New Beginning: Cinna and Katniss Meet
Cinna is a young man from the far side of the capitol. He
wears "normal" clothing- a black shirt, black pants. The
only "capitol" trace of him is the light metallic gold
eyeliner and the slight accent.
CINNA
Hello, Katniss. I’m your stylist,
Cinna. Is everything alright?
KATNISS
Well, yeah, but you look so-
CINNA
Different? Yeah, I get that alot.
That’s why I’m a designer. I know
all the styles and how to work with
them. Plus, I don’t see what’s so
great about capitol fashion. It’s a
little... what’s the word?...
(CONTINUED)
CONTINUED: 31.
KATNISS
Overdone?
CINNA
Oh, yes. Overdone. Can you take off
that robe?
KATNISS
Oh, yeah, sure.
Katniss takes off the robe and Cinna takes it from her hands
and sets it aside. Cinna circles her, examining the work
that the prep eam had done on her nearly-naked body.
CINNA
Who did your hair?
KATNISS
My Mother.
Cinna takes a closer look at the braid, touching it here and
there.
CINNA
It’s beautiful. Classic, really.
And a nearly perfect balance with
your profile. She has very clever
fingers.
Cinna cotinues circling her to examine.
KATNISS
Um... Thank you. You’re new, aren’t
you? I don’t think I’ve seen you
before.
CINNA
Yes, this is my first year in the
Games.
KATNISS
So you were assigned District 12?
He stops in front of her, and hands her the robe.
CINNA
No, I asked for District 12. Why
don’t you put on your robe and
we’ll have a chat.
Katniss puts on the robe and follows Cinna to another room.
CUT TO"\:
DESPICABLE
Ratings
Scene 21 - A Tense Meal and Costume Plans
The room is simple and to the point. It is small and encases
a dining room table with a huge red button on the bottom
corner and a few chairs surrounding the table. Cinna pulls a
chair out for Katniss to sit on. Katniss takes a seat and
Cinna takes his across from her side of the table. He
presses thered button. A loud buzzer sound escapes from
somewhere and a ton of people burst in and set up the food,
putting a plate of food in front of both people and
utensils, then rush out in a extremely small amount of time.
Cinna acts as if nothing happened and begins to eat. Katniss
hesitantly begins to eat. Cinna stops eating. Beat. Katniss
looks up to see Cinna staring at her.
CINNA
How despicable we must seem to you.
No matter.
Cinna takes a bite of his food.
CINNA
So, Katniss, about your costume for
the opening ceremonies. My partner,
Portia, is the stylist for your
fellow tribute, Peeta. And out
current thought is to dress you in
complementary costumes. As you may
know, it’s customary to reflect the
flavor of the district you come
from.
KATNISS
So I’ll be in a coal miner outfit?
CINNA
Not exactly. You see, Portia and I
think that coal miner thing is very
over done. No one will remember you
in that. And we both see it as our
job to take the District Twelve
Tributes unforgettable. So rather
than focus on the coal mining
itself, we’re going to focus on the
coal. And what do you do with coal?
We burn it. You’re not afraid of
fire, are you, Katniss?
CUT TO:
SHOW OFF YOUR CHARIOT
Ratings
Scene 22 - The Fiery Debut
Katniss wears a plain black unitard with a fire-resembling
cape and headband/tiara to match. They are to be in flames
later. Many designers bustle about, adjusting the tributes’
makeup or congatulating eachother. Peeta wears a matching
outfit. Peeta walks up to Katniss.
PEETA
Cinna told us to load into the
chariot.
KATNISS
Where’s the chariot?
Peeta points to a door. They leave through it and walk to
their chariot, in the far back of the line of chariots.
Behind the door is a huge docking room, where all the
tributes’ chariots are aligned in order. Each chariot is
custom designed to resemble the district it’s for. In front
of the docking room is a street in which the chariots will
ride through for the people to see. In the streets, you can
hear the people cheering for the tributes The show is
staring soon. District 12’s chariot is plain black with
black horses. Other tributes begin to mount their chariots
as well. They sit on their chariot. Beat.
KATNISS
So what do you think of this get
up? Cinna says he’s going to light
it right before we go on stage.
PEETA
I’ll rip yours off if you rip mine.
KATNISS
Deal. Hey, where’s Haymitch? Isn’t
he supposed to be here?
PEETA
With all the alcohol in him, I
don’t think he was allowed near
open flames.
They laugh. Music starts. The chariots are all ready to go.
Claudius, the annuncer, speaks from outside, the
street/stage.
CLAUDIUS
(V.O.)
(MORE)
(CONTINUED)
CONTINUED: 34.
CLAUDIUS (cont’d)
And now, for our 74th annual Hunger
Games opening ceremonies, we give
you... the tributes!
Cheers from the audience.
CLAUDIUS
(V.O.)
District one!
The district one chariot rides out. More cheers. The rest of
the chariots move up in the line.
CLAUDIUS
(V.O.)
District two!
More cheers. District two rides out. They move up in line.
PEETA
I’m scared...
KATNISS
No kidding.
CLAUDIUS
(V.O.)
District three!
More cheers. District three rides out. They move up in line.
Cinna comes out from the prep building and jogs over to the
chariot.
CLAUDIUS
(V.O.)
District four!
More cheers. District four rides out. They move up in line.
Cinna reaches them. He must scream over the music.
CLAUDIUS
(V.O.)
District five!
CINNA
I’m gonna light you two up now!
PEETA
What?
(CONTINUED)
CONTINUED: 35.
CLAUDIUS
(V.O.)
District six!
A capitol woman runs up and hands him a torch of fake fire.
KATNISS
Oh god, please help me.
CINNA
This wont hurt.
Cinna climbs the chariot to reach their height.
CLAUDIUS
(V.O.)
District seven!
PEETA
Are you sure about that?
CLAUDIUS
(V.O.)
District eight!
Cinna takes Katniss’ cape and lights it up. He does the same
with her headdress. Peeta’s cape and headress are lighten up
as well.
CLAUDIUS
(V.O.)
District nine!
CINNA
Splendid. It works. Now, remember,
smile! You look perfect. They’ll
love you. They will not forget you
two. Katniss, the girl on fire.
He climbs off of the chariot.
CLAUDIUS
(V.O.)
District ten!
KATNISS
Ohhhh, I’m shaking...
Peeta takes her hand.
CLAUDIUS
(V.O.)
District eleven!
(CONTINUED)
CONTINUED: 36.
CINNA
That’s a good one, Peeta! Keep it
up! Remember, smile!
CLAUDIUS
(V.O.)
And last, but not least, district
twelve!
Cinna gives them a thumbs up. Their chariot ride off into
the street. It’s loud, with blaring music- not to mention
everyone’s extreme cheering that’d be loudenough with just
one of them. It’s exravagant and very capitol-fashioned out
there. Katniss and Peeta remain holding hands. Katniss looks
around nervously. She looks at Peeta, noticing the fire.
Katniss looks up at the big screen that has their faces on
it. She smiles. She blows kisses out to the audience,
waving, smiling, and totally selling it. The audience is
loving it. They cheer out her name, with a "Peeta" here and
there. A red rose is thrown to her. She catches it, and
blows another kiss in the general direction of where it came
from. They’ve almost reached the end of the road. Katniss
giggles on last time, then looks down at Peet’s hand. She
pulls her hand away. Peeta grabs it almost instantaneously.
PEETA
No, don’t. Please. Don’t let go of
me. I might fall out of this thing.
She nods, holding his hand yet again. Their chariot joins
everyone else at the boarding dock yet again. The viewing
has ended. Other tributes shoot dirty glances her way as
they leave. Portia hurries to the tributes as they get out
of the chariot. She extinguished the flames with some kind
of spray from a can. Cinna walks by.
CINNA
Great job, you two. I’m sure you’ll
get many sponsors.
He walks away. PORTIA follows. They’re still holding hands.
PEETA
Um, Katniss... my hand is kinda...
suffocating.
She lets go.
KATNISS
Sorry.
(CONTINUED)
CONTINUED: 37.
PEETA
No, I thank you. I would’ve been
shaken to death by my own
nervousness without you there.
KATNISS
It didn’t show. I’m sure no one
noticed.
PEETA
I’m sure they didn’t notice
anything but you. You should wear
flames more often. They suit you.
Katniss raises her eyebrows and rolls her eyes. She looks
away.
KATNISS
(muttered)
Two can play at that game.
She looks back to him and grins widely. She speaks in an
overly grateful and sarcastic tone.
KATNISS
Oh, it’s nothing. Thank you sooooo
much, Peeta.
She kisses his cheek.
CUT TO:
THE NERVES ARE GETTING TO ME
Ratings
Scene 23 - A Night of Tension and Reflection
Katniss walks into the dining room with a yawn.
EFFIE
Oh good! We were just about to wake
you. Time for dinner, dear.
Haymitch burps.
HAYMITCH
Where the hell were you? I’m wasted
as hell and I’m not even asleep!
He laughs and hiccups. He faints on his food. Effie sighs.
(CONTINUED)
CONTINUED: 38.
EFFIE
Nevermind him. Would you like to
eat?
KATNISS
I’ll take a roll.
Katniss takes a bread roll and begins to eat it.
EFFIE
That’s all?
KATNISS
For now.
EFFIE
Come, sit down.
Katniss sits at the table.
KATNISS
Where’s Peeta?
EFFIE
Oh, he’s just nervous. He’s
sleeping. Tomorrow’s training
tomorrow, you know. It’s where you
train to show the Gamemakers all
you’ve got. It’s the best way to
get sponsors. Your score determines
a big lot of your luck in these
games.
KATNISS
Sounds like a big deal.
EFFIE
Oh, it is. Trust me.
Beat.
KATNISS
How many sponsors do you think I’ll
get?
EFFIE
Well, by my bet, a lot.
Unfortunately, I’m not the one that
seals your sponsor deals. Haymitch
is the only one that can.
(CONTINUED)
CONTINUED: 39.
KATNISS
So much for sponsors.
EFFIE
Oh, don’t be like that. Haymitch
isn’t all that bad, really. He was
just like you before he won the
Hunger Games. But don’t worry, I’ll
hold him at gunpoint if I have to.
I will make him seal every last
deal.
Katniss smiles. Katniss continues eating her roll.
EFFIE
Where is my food? I ordered it two minutes ago!
An Avox girl walks in with her head hanging down. She holds
a plate of food.
EFFIE
Ah, there it is!
The Avox girl hand Effie the food without making eye
contact. Effie preps her food on the table.
KATNISS
That looks delicious! What is it-
Oh, I know you!
The Avox girl looks at Katniss in horror. She shakes her
head, and scurries away. Katniss frowns. Effie stops eating.
She turns to Katniss.
EFFIE
Don’t be ridiculous, Katniss. You
knowing an Avox? The very thought
of it.
KATNISS
What’s an Avox?
EFFIE
Someone who commited a crime. They
cut their tounges so they can’t
speak. She’s probably a traitor of
some sort. Not likely that you know
her. And even if you did, it’s
forbidden to talk to them unless
it’s to give an order. Of course,
you don’t really know her.
(CONTINUED)
CONTINUED: 40.
KATNISS
Well.. I guess not...
Effie nods with a smile and continues eating.
CUT TO:
SUICIDE-PROOF
Katniss sits in her bed, looking up.
KATNISS
This is ridiculous.
Peeta knocks the door. She sits up.
KATNISS
Come in!
Peeta walks in. He smiles at her. She smiles back.
KATNISS
Hey, Peeta.
PEETA
Hey. Do you wanna join me on the
roof?
She nods. She gets up and follows him out the door.
FADE TO:
They walk onto the roof.
KATNISS
How’d you find this place?
PEETA
Cinna showed me. It’s pretty,
right?
KATNISS
Yeah. The wind’s a bit loud,
though.
PEETA
So I asked Cinna why he showed me
this. I was wondering if any
tributes could escape or commit
suicide or be smart enough to
escape.
(CONTINUED)
CONTINUED: 41.
KATNISS
What did he say?
PEETA
You can’t.
He extends his arm to hang off the roof. There’s an
electical zap and he jerks his hand back.
PEETA
An electrical field.
KATNISS
(annoyed sigh)
Safe and sound.
PEETA
You know what? This is ridiculous.
President Snow just doesn’t get it.
He doesn’t get it at all. We’re not
just pawns for their silly
televised fight to the death.
KATNISS
I’m suprised anyone finds this
entertaining. You sound alot like
my friend back home.
PEETA
Well then, your friend is smart. I
just wish I could think of a way to
show the Capitol that we’re not
puppets. That they don’t own me.
That I’m more than just a piece of
their game.
Beat.
KATNISS
Do you think they’re watching us
now?
PEETA
Maybe.
CUT TO:
TRAINING
Ratings
Scene 24 - Training Tensions
Katniss, Haymitch, and Peeta all ride in an elevator,
waiting for their floor.
HAYMITCH
Today, we’ll negotiate what we need
to keep clear. After, I’ll send you
to train with the other tributes.
The elevator opens. They step into a room with a banner that
reads: District 12.
HAYMITCH
And otherwise, I’ll be coaching you
both seperately.
KATNISS
What? Why?
HAYMITCH
Say you had a secret skill that
you’d like to keep secret.
PEETA
But I have no secret skill. Plus, I
already know Katniss’. I’ve eaten
enough traded squirrels, right?
KATNISS
You can coach us together.
HAYMITCH
Alright. So give me an idea of what
you can do.
PEETA
I can’t do anything special, unless
you count baking bread.
HAYMITCH
Sorry, I don’t. Katniss. I already
know you’re handy with a knife.
KATNISS
Not really. But I can hunt. With a
bow and arrows.
HAYMITCH
And you’re good?
(CONTINUED)
CONTINUED: 43.
PEETA
She’s excellent. My fatehr buys her
squirrels all the time. She always
hits them in the exact same spot:
the eye. It’s the same with the
rabbits she sells the butcher. She
can even bring down a deer. Easy.
KATNISS
(whispered)
What are you doing?
PEETA
(whispered)
What are you doing? If he’s going
to help you, he has to know what
you’re capable of. Don’t underrate
yourself.
KATNISS
(whispered)
Well, what about you? I’ve seen you
in the market. You can lift flour
bags three times your weight. Tell
him that. That’s not nothing.
PEETA
(whispered)
Yes, because there’ll be flour for
me to chuck at people in the arena.
KATNISS
He can wrestle. He came in second
last year in our school
competition. His brother took first
place.
PEETA
What use is that? How many times
have you seen someone wrestle
someone to death?
KATNISS
There’s always hand-to-hand combat.
All you need is to come up with a
knife, and you’ll at least stand a
chance. If I get jumped, I’m dead!
PEETA
But you won’t! You’ll be living up
in some tree eating raw squirrels
and picking off people with arrows.
You know what my mother said to me?
(MORE)
(CONTINUED)
CONTINUED: 44.
PEETA (cont’d)
She says maybe District Twelve will
finally have a winner. Then I
realized, she didn’t mean me, she
meant you!
KATNISS
She meant you.
PEETA
She said, "She’s a survivor, that
one." She is. She.
KATNISS
But only because someone helped
me...
PEETA
They’ll be tripping over each other
to sponsor you
KATNISS
No more than you.
PEETA
She has no idea of the effect she
can have.
Beat.
HAYMITCH
Well, well, well. Katniss, there’s
guarantee there’ll be bows and
arrows in the arena, but during
your private session with the
Gamemakers, show them what you can
do. Until then, steer clear of
archery. Are you any good at
trapping?
KATNISS
I know a few basic snares.
HAYMITCH
That may be significant in the
terms of food. And, Peeta, she’s
right. Never underestimate strength
in the arena. Very often, physical
strength tilts the advantage to a
player. In the main room of
training center, they will have
weights, but don’t reveal how much
you can lift in front of the
(MORE)
(CONTINUED)
CONTINUED: 45.
HAYMITCH (cont’d)
tributes. The plan’s the same for
the both of you. You go to group
training. Spend time learning
something you don’t know. Swing a
mace. Throw a spear. Tie a decent
knot. Save showing off for the
private session with the
Gamemakers. Are we clear?
Katniss and Peeta nod.
HAYMITCH
One last thing. You are to be at
eachother’s side at all times.
Katniss and Peeta AD LIB: "But, I don’t-"
Haymitch slams his hand on a table.
HAYMITCH
It is not open for discussion! You
promised you would do whatever I
said. You two are to stay at each
other’s side and remain amiable to
each other. Now get out and get to
training. It’s the thirteenth
level. It’s the one above us.
You’re already late, so you’d
better get going.
Beat.
HAYMITCH
What are you waiting for? Go!
They walk into the elevator. Haymitch stays behind in the
room.
HAYMITCH
(muttered)
Idiots.
Ratings
Scene 25 - Training Tensions and Camaraderie
Katniss and Peeta walk out the elevator. The other tributes
are gathered around two trainers.
TRAINER 1
... and we expect you to be on your
best behavior. This is when you can
all train to save your lives. Maybe
you could all take advantage of
(MORE)
(CONTINUED)
CONTINUED: 46.
TRAINER 1 (cont’d)
that. Now, there are different
stations. You must train at
whatever station you and your
partner pick. Each station has a
specific skill to train for. You
can’t stay there all day, though.
The limit is 30 minutes per
station.
TRAINER 2
And, after that incredibly long
speech, this is where we let you
train.
ANDREW
Finally!
TRAINER 2
Except for District twelve. We need
to see you. Andrew, you’re next.
Some of the other tributes snicker. They all unorderly walk
off to their stations of choice. Trainer 1 and 2 motion to
the district twelve tributes. Katniss and Peeta walk to
them.
PEETA
Did we do something wrong?
TRAINER 1
Kinda.
TRAINER 2
No, it’s not a "kinda". It’s a yes.
Why were you two so late? We
started an hour ago.
KATNISS
Well, Haymitch-
TRAINER 1
No, no, stop there. That’s a good
enough explanation.
TRAINER 2
The speech started an hour ago, so
we need to know all you heard since
you walked in.
PEETA
We heard all about the stations.
(CONTINUED)
CONTINUED: 47.
KATNISS
And best behavior. We walked in on
best behavior.
TRAINER 2
Good. That’s all you basically need
to know. You’re free to go.
They nod, and begin to walk off. Peeta walks back to them.
PEETA
Hey, do you have any idea if there
is there a camouflage station?
Trainer 2 points at the camouflage station.
PEETA
Thanks.
TRAINER 2
No problem, kiddo.
He joins Katniss, who was waiting for him. They begin to
walk towards the camouflage station.
KATNISS
What was that? Why’d you pick
camouflage?
PEETA
It never hurts to learn new things.
Plus, this is the only thing
related to baking. Icing is mud.
It’s just the Hunger Games version
of baking.
KATNISS
Uh... okay.
They reach the station. Peeta sits down and tries it out.
Katniss attempts to keep focus on it, but can’t help looking
back. Rue is watching them sneakily.
PEETA
I think her name is Rue.
Katniss bites her lip.
KATNISS
What can we do about it? I don’t
want her here, in the Games. Not
because of competition, but because
she’s just so young. She shouldn’t
be exposed to things like this.
(CONTINUED)
CONTINUED: 48.
PEETA
What can we do? At this rate,
nothing. We can only train. Or help
her train.
Katniss takes one last look at her.
FADE TO:
Katniss and Peeta are at the mini range. Thresh and Rue join
them. Katniss and Rue smile at eachother.
FADE TO:
Katniss, Peeta, Thresh, and Rue are at the plant
identification class.
TRAINER 3
... So, class, what is this plant?
Tell me the effects as well.
The trainer points at an image of nightlock on the board.
RUE
Nightlock. The effects are deadly.
You can die instantly just by
swallowing a drop of it.
TRAINER 3
Very good, Rue. That’s your 15th
correct answer. You are the first
I’ve seen like that in ages!
RUE
Thank you...
CUT TO:
ATTENTION SPAN
Ratings
Scene 26 - A Desperate Bid for Attention
Katniss is pacing back and forth. She is alone. Peeta walks
out of the Gamemaker judging room.
KATNISS
What happened?
PEETA
They payed no attention to me. At
all. Anyways, you’re next, so good
luck.
(CONTINUED)
CONTINUED: 49.
Peeta leaves the waiting room. She watches him walk off.
KATNISS
You can do this.
Katniss walks into the room that Peeta came out of- the
Gamemakers judging room. Most of the gamemakers are paying
no attention. The stations are set up the same exact way as
in the training. The only thing different is the gamemakers
watching and a food table to the side, which the majority of
the gamemakers are occupied with. Katniss goes to the
archery station. She picks up a bow and quiver full of
arrows. She shoots an arrow at the target, but misses. She
tries again. She hits the bullseye and without missing a
beat, rolls to the side and shoots an arrow, hitting the
bullseye again. She looks at the gamemakers. Only 3
gamemakers are smiling and nodding at her performance. The
others are occupied with the extra food. She gets up from
her stance, knocks an arrow, and shoots it straight through
an apple on the table, pinning it to the wall. Every
gamemaker becomes quiet and looks straight at her. Attention
is all on her. She throws her bow, quiver, arm guard, and
arrows to the side.
KATNISS
Thank you for your consideration.
She walks out.
CUT TO:
I FAILED
Katniss burts into her room crying.
Ratings
Scene 27 - Isolation and Regret
She jumps under her covers, hugging a pillow.
KATNISS
I blew it. I did. I definitely did.
A few moments of sobbing. Effie taps on the door. Her
muffled voice is heard from behind the door.
EFFIE
Katniss? Is that you?
KATNISS
Go away.
(CONTINUED)
CONTINUED: 50.
EFFIE
Okay, well, it’s time to eat. Come
down if you’re hungry. I’m sure you
know where.
Effie walks off.
CUT TO:
LET’S CUT TO THE CHASE
Ratings
Scene 28 - Dinner Tensions and Unexpected Laughter
Katniss walks into the dining room while Effie, Peeta,
Haymitch, Cinna, and Portia are gathered around the table,
eating and drinking, chatting with eachother. She is puffy
and red eyed. She sits down silently.
EFFIE
Oh, welcome, dear. I’m glad you
joined us.
They continue their previous coversation. Peeta and Katniss
lock eyes. Peeta raises his eyebrow. She replies with a nod.
PORTIA
So what was it?
HAYMITCH
A chimpanzee. In the headquarters.
Portia, Haymitch, Cinna, and Effie laugh.
EFFIE
So, how about you two? What did you
think of the story?
PEETA
It was fine, I guess...
HAYMITCH
Let’s just cut to the chase. How
bad were you today?
PEETA
Well, I don’t think that it
mattered. By the time I showed up,
no one even bothered to look at me.
They were singing some kind of
drinking song. I threw some weights
around, but I still wasn’t that
good.
(CONTINUED)
CONTINUED: 51.
HAYMITCH
(To Katniss)
And you?
KATNISS
I shot an arrow at the Gamemakers.
EFFIE
You what?
KATNISS
I shot an arrow at them. Not
exactly them. Just in their
direction. It’s like Peeta said, I
was shooting and they were ignoring
me and I just... I just lost my
head. So, I shot an arrow through
their stupid apple.
CINNA
And what did they say?
KATNISS
Nothing. Or... I don’t know. I
walked out after that.
EFFIE
Without being dismissed?
KATNISS
I dismissed myself.
HAYMITCH
Well, that’s that.
KATNISS
Do you think they’ll arrest me?
HAYMITCH
Doubt it. It’ll be a pain to
replace you at this stage.
KATNISS
What about my family? Will they
punish them?
HAYMITCH
Don’t think so. Wouldn’t make much
sense. They’d have to reveal what
happened in the Training Center for
it to have any worthwhile effect on
the population. People wouldn’t
need to know what you did. But they
(MORE)
(CONTINUED)
CONTINUED: 52.
HAYMITCH (cont’d)
can’t, since it’s secret, so it’d
be a waste of effort. They’d just
make your life in the arena a
living hell.
PEETA
They’ve already promised to do that
to us, anyway.
HAYMITCH
Very true.
Haymitch grabs a roll of bread and chuckles.
HAYMITCH
What were their faces like?
KATNISS
Shocked. Terrified. Uh, ridiculous,
some of them. One of them even
tripped backwards.
Everyone but Effie laughs together.
EFFIE
Well, it serves them right. It’s
their job to pay attention to you.
Both of you. And just because you
come from District twelve is no
excuse to ignore you. I’m sorry,
but that’s what I think.
KATNISS
Thanks, Effie, but I don’t think it
matters now. I’ll get a bad score,
anyways.
PORTIA
Scores only matter if they’re good.
No one pays attention to the bad or
mediocre ones. For all they know,
you could be hiding your talents to
get a low score on purpouse. People
have used that strategy in the
past.
PEETA
I hope that’s how people will
interpret the four I’m getting. I
mean, what’s more impressive than
throwing a pilates ball around?
Everything. And I’m not even good
(MORE)
(CONTINUED)
CONTINUED: 53.
PEETA (cont’d)
at that, either. I almost stubbed
my toe. I’m sure we’ll be alright,
in the end.
Katniss smiles at him. Effie looks at the clock. She jumps
up.
EFFIE
Oh! We’re missing the score
showing!
Everyone gets up. Effie runs out of the dining room. They
follow.
CUT TO:
WHAT’S MY SCORE?
Ratings
Scene 29 - Celebration of Scores
They file in. Katniss picks the remote and turns on the T.V.
They settle down.
EFFIE
Oh, Good. We haven’t missed out on
your scores.
The T.V. shows the words: "District 11." Music plays in the
background. Then, Rue’s picture and her score- seven. Then
Thresh- 10. "District 12"
HAYMITCH
Here we go.
Peeta- 8. Katniss- 11.
Effie squeals. They cheer. Katniss is stares at the screen,
slowly smiling. They congratulater her with claps on the
back and greetings. The cheering settles down.
CINNA
Katniss, the girl who was on fire.
Oh, wait until you see your
interview dress.
KATNISS
More flames?
CINNA
Of a sort.
(CONTINUED)
CONTINUED: 54.
EFFIE
Oh, I’m so proud of you.
PORTIA
Excellent work, you two!
CUT TO:
CHANGE OF PLANS
Ratings
Scene 30 - Unexpected Changes
Katniss is asleep. Effie knocks on the door.
EFFIE
Up, up, up! It’s going to be a big
day!
Katniss groans.
CUT TO:
INT. Hallway- DAY.
Katniss walks out of her room. Peeta, Haymitch, and Effie
are talking in hushed, urgent voices in a corner a few doors
down. Katniss walks there.
KATNISS
What’s going on? I thought we were
supposed to meet at the Training
Center. You know, for the interview
training?
They immediately stop talking and turn to her.
HAYMITCH
Well, there’s been a change of
plans.
KATNISS
Like what? New location?
HAYMITCH
About our current approach.
KATNISS
What’s that?
HAYMITCH
Peeta has asked to be coached
seperately.
(CONTINUED)
CONTINUED: 55.
Beat.
KATNISS
What did you say?
HAYMITCH
You will be coached seperately.
Peeta has asked of it.
Katniss glares at Peeta, ignoring him thereon.
KATNISS
Well, good then. What’s the
schedule?
HAYMITCH
Well, there’s been another change
of plans as well.
KATNISS
Great. What now?
HAYMITCH
Well, it wasn’t going to be a
private session in the first place,
and Peeta has something he wishes
to keep secret for the interviews,
and that’s the only reason why were
to coach you both. Strategy.
Secrets. But as it seems, you have
no real strategy planned like we
asked you to, we’ve decided that
with the tight schedule, we’ll keep
the private session for Peeta.
Peeta, you know where to meet me. 4
o’clock, sharp.
Peeta nods and walks away.
HAYMITCH
As for you, Katniss, you seem
readyenough, so we’ll coach you
now. Effie will coach you first.
Effie smiles and walks off. Katniss follows.
CUT TO:
HAYMITCH’S TRAINING
Ratings
Scene 31 - Tension in Haymitch's Room
Effie trots in with Katniss following behind. Haymitch is
sipping on a drink.
EFFIE
After two hours of training, I’ve
gotten her to get perfect posture,
a winning smile, and more. You
should be grateful.
Effie walks out with a smile.
HAYMITCH
Did she teach you that too?
Katniss nods.
HAYMITCH
Good. So, I’ve gotten Peeta’s
themes- easy. All that’s hard to do
is find your theme.
KATNISS
And why is that?
HAYMITCH
Peeta has a natural subtle and
likeable humor. You... Well, it’s
not so easy to work with positivity
and you.
KATNISS
That’s not very nice.
HAYMITCH
Don’t get me wrong, you’re pretty
incredible. I mean, you saved your
sister’s life, got the highest
score possible, and Cinna made you
unforgettable. No one knows who you
are, but they are intrigued. This
is where you will show them
yourslf. Where you get the most
sponsors. All we need to work on is
the hostitily.
KATNISS
No, we do not.
(CONTINUED)
CONTINUED: 57.
HAYMITCH
Everytime you open your lips, ice
escapes.
KATNISS
Does not!
HAYMITCH
Uh huh. Sure.
KATNISS
I can be positive.
HAYMITCH
Please. Whoever that was in that
chariot, she hasn’t shown up ever
since. I’ve neer seen her before
that, either. I have no clue how
you pulled that off.
KATNISS
(sarcastic tone)
Yes, because you’ve given me so
many reasons to be cheery.
HAYMITCH
You don’t have to please me, you
have to please the audience. The
sponsors. From everything I’ve done
with you and from what Effie has
reported to me, I’ve gathered a few
things. Not only are you hostile,
but I don’t know anything about
you. We’ve been around you for
about two weeks, asked you about
two hundred questions, and we still
have no clue about who you really
are. They want to know about you,
Katniss.
KATNISS
I don’t want them to! They’re
already taking my future, why
should I let them take my past?!
HAYMITCH
Then lie! Make something up!
KATNISS
I’m not good at lying.
(CONTINUED)
CONTINUED: 58.
HAYMITCH
Well, you better learn fast. You’ve
got about as much charm as a dead
slug. You know what? Just do
whatever you want. I give up. I’ve
pondered over everything, and none
of them suit you enough. Improvise.
Katniss walks out of the room. Haymitch picks up his drink
and sips it.
CUT TO:
I SHOULD’VE SAVED YOU
Ratings
Scene 32 - Forgiveness in the Chaos
Katniss sits on her bed. She is close to tears.
KATNISS
(muttered)
I hate this.
(extremely shouted)
I hate this!
She starts trashing the room, yelling, crying, and ad
libbing about how much she hates the capitol. The avox girl
from the dining room walks in. Katniss pays no attention to
her. The avox girl tries to clean up the mess, but is
interrupted by Katniss before she could even pick something
up.
KATNISS
Leave it! Just leave it!
Katniss sobs, collapsing to the ground. The avox girl kneels
beside her. Katniss sobs for a few moments before
recollecting herself. She struggles to hold in the tears.
KATNISS
(whispered)
I should have saved you.
The avox girl shakes her head.
KATNISS
No. It was wrong.
The avox girl replies with tapping her lips, then to
Katniss’ heart.
(CONTINUED)
CONTINUED: 59.
KATNISS
If it is what you meant by that, I
wouldn’t care if I became an avox.
I wouldn’t care if I died. I
should’ve kept you and that boy
safe. It’s all my fault.
The avox girl shakes her head.
KATNISS
It doesn’t matter what you imply. I
know it was my fault.
The avox girl looks around her. She finds a napkin and a pen
on the floor. She writes: "I forgive you." She shows it to
Katniss. Then she adds: "If that matters at all." They smile
at eachother. Katniss laughs.
KATNISS
Let’s get this mess cleaned up.
With a smile, and a laugh, they begin cleaning the room.
CUT TO:
IT’S BEAUTIFUL
Ratings
Scene 33 - Facing the Flames
Katniss stands in front of a body mirror, her eyes shut
tightly. Cinna stands behind her.
KATNISS
Can I open my eyes yet?
CINNA
Yes. Open them.
She opens her eyes to see herself in a stunning attire that
makes her look like she’s glowing as if she’s a fire. Her
dress represents fire itself. She gapes at the sight.
KATNISS
Oh, Cinna. Thank you.
CINNA
Twirl for me.
She spins, stopping in front of the prep team to face them.
The prep team glows with admiration and cheers. Cinna
motions to the rest of the prep team for dismissal. They
leave.
(CONTINUED)
CONTINUED: 60.
CINNA
So, all ready for the interview,
then?
KATNISS
I’m awful. Haymitch called me a
dead slug. No matter what we tried,
I couldn’t do it. I just can’t be
one of those people he wants me to
be.
CINNA
Why don’t you just be yourself?
KATNISS
Myself? That’s no good either.
Haymitch called me sullen and
hostile. He dismissed me with a "Do
whatever you want. I give up."
CINNA
Well, then, do whatever you want.
Just like he said. Plus, I don’t
find you the way he does. The prep
team adores you as well. You’ve
even won over the Gamemakers. As
for the citizens of the Capitol,
they just can’t stop talking about
you. No one can help but admire
your spirit. Suppose that when
you’re answering the questions,
imagine you’re adressing your
closest friend back home. Who’s
your best friend?
KATNISS
Gale. But it just makes no sense,
Cinna. He wouldn’t be asking. I
would’ve already told him.
CINNA
What about me? Could you think of
me as a friend?
KATNISS
I think so, but-
CINNA
I’ll be sitting on the main
platform. You’ll be able to look at
me and answer the questions as
honestly as possible. Be completely
honest.
(CONTINUED)
CONTINUED: 61.
KATNISS
Even if what I think is comepletely
horrible?
CINNA
Especially if you think it’s
horrible. You’ll at least try?
Katniss nods. Peeta, Haymitch, and Poria
CINNA
It’s time, then. I think your turn
is after District 11, which is
almost finished.
HAYMITCH
Remember, you and Peeta are stil a
happy pair. So act like it.
The buzzer from onstage goes off.
CINNA
And that’s your cue. You have 3
minutes of question time, starting
the second you walk on stage.
Cinna reaches for the doorknob. Katniss stops him from
opening it.
KATNISS
Cinna...
CINNA
Remember, they already love you.
Just be honest. Be yourself.
Katniss hesitantly nods. Cinna opens the door. She takes one
last reassuring glance from Cinna, and walks onstage.
INTERVIEWS
Ratings
Scene 34 - The Capitol Interviews: Confessions and Promises
The moment she walks on, there’s an eruption of cheers from
the AUDIENCE. CAESAR, the interviewer, stands onstage,
waiting for her. In front of the stage is an appropriate
amount of audience. Katniss stares out at the audience,
scanning them.
CAESAR
Ah, there she is. Everyone,
please welcome Katniss Everdeen of
district twelve one more time!
(CONTINUED)
CONTINUED: 62.
Cheers from the audience. She gos center stage beside
Caesar. He outstretches his hand. She shakes it. They go
back to the interview.
CAESAR
So, Katniss, it’s nice to finally
meet you. The capitol must be quite
a change from district twelve. What
has impressed you the most since
you came here?
KATNISS
The lamb stew.
Audience laughter.
CAESAR
The one with the dried plums? Oh, I
eat it by the bucketful. It doesn’t
show, does it?
Shouts of reasurance from the audience.
CAESAR
Now, Katniss, when you came out in
the opening ceremonies, my heart
actually stopped. What did you
think of that costume?
KATNISS
You mean after I got over the
initial fear of being burned alive?
Laughter from audience as well as Caesar.
CAESAR
Yes.
KATNISS
I thought Cinna was brilliant. I
couldn’t believe I was wearing it.
I can’t believe I’m wearing this
one either. I mean, look at it!
She twirls. The audience and Caesar stare in amazement.
CAESAR
Well, look at that. That is
stunning.
Cheers from the audience. Clapping fades out as he talks.
(CONTINUED)
CONTINUED: 63.
CAESAR
So, about that training score.
E-le-ven. Give us a hint about what
happened in there.
KATNISS
Um... all I can say is, I think it
was a first.
CAESAR
Oh, come on. You’re killing us
here. Details, details!
KATNISS
(out to the audience)
I’m not supposed to say anything,
right?
A gamemaker from the audience replies with a shout.
GAMEMAKER
She’s not!
KATNISS
Then that’s that. My lips are
sealed.
CAESAR
Let’s go back then, to the moment
your sister’s name was called at
the reaping and you volunteered.
Can you tell us about her?
KATNISS
Her name’s Prim and she’s just
twelve. I love her more than
anything.
CAESAR
What did she say to you after the
reaping?
KATNISS
She asked me to try really hard to
win.
CAESAR
And what did you say?
KATNISS
I swore I would.
(CONTINUED)
CONTINUED: 64.
CAESAR
I’m sorry.
The buzzer goes off. Dissapointment calls from the crowd.
CAESAR
And we’re out of time. Best of luck
to you, Katniss Everdeen. Now if
you’d stand by that corner of the
stage while your fellow district
tribute gets his interview done,
that’d be lovely.
Cheers from the audience. Katniss follows the instructions.
Peeta walks onstage and greets Peeta with a handshake.
Cheers from the audience.
CAESAR
It’s nice to see you, Peeta. You
seem like a fine young gentleman.
What’s your hometown like?
PEETA
I work in my family bakery. I’m
obviously from district twelve.
There’s nothing much except for
that.
CAESAR
Oh, come on. There must be a girl
back home. Right?
Cheers from the audience. Peeta shakes his head hesitantly.
CAESAR
You’ve got to be kidding.
PEETA
Well, there is one girl. I’ve had a
crush on her ever since I can
remember. I’m pretty sure she
didn’t know I existed until the
reaping.
Sympathy from the audience.
CAESAR
Does she have a fellow?
PEETA
I don’t know, but a lot of boys
like her.
(CONTINUED)
CONTINUED: 65.
CAESAR
Here’s what you do. You win, you go
home. She can’t turn you down then,
eh?
PEETA
I don’t think that’s gonna work.
Winning won’t help in my case.
CAESAR
Why not?
PEETA
Because... she came here with me.
Awkward silence fills the room.
CAESAR
Oh. That’s is a big piece of bad
luck.
PEETA
It’s not good.
CAESAR
I don’t think any of us can blame
you. It’d be hard not to fall for
that young lady. She didn’t know?
PEETA
Not until now.
CAESAR
Wouldn’t you love to pull her back
up here and ask for a response?
Shouts of agreement from the audience.
CAESAR
Sadly, rules are rules, and Katniss
Everdeen’s time has been spent.
Well, best of luck to you, Peeta
Mellark. I think I speak for all of
Panem when I say our hearts go with
yours.
Deafening roars of comfort from the audience.
CUT TO:
THANKS FOR THE HEADS UP
Ratings
Scene 35 - Backstage Confrontation
Katniss follow Peeta into backstage. She grabs Peeta and
pushes him down.
PEETA
What was that for?
KATNISS
You had no right! No right to say
those things! Was this your stupid
plan? Is this why we didn’t train
together?!
Effie, Haymitch, Cinna, and Portia rush walk in. Effie
rushes to Peeta’s side.
EFFIE
What happened? Did you fall?
Effie and Cinna help him up.
PEETA
After she shoved me.
HAYMITCH
Shoved him?
KATNISS
This was your idea, wasn’t it?
Turning me into some kind of fool
in front of the entire country?
PEETA
It was my idea. Haymitch just
helped me with it.
KATNISS
Yes. Haymitch is very helpful. To
you!
HAYMITCH
You are a fool. Do you think he hrt
you? That boy just gave you
something you could never achieve
on your own.
KATNISS
He made me look weak!
(CONTINUED)
CONTINUED: 67.
HAYMITCH
He made you look desirable! And
let’s face it, you can use all the
help you can get in that
department. You were about as
romantic as dirt until he said he
wanted you. Now they all do. You’re
all they’re talking about. The star
crossed lovers from district
twelve. Can’t you see it? Can’t you
see anything, slug?
KATNISS
Enough with the slugs! You’re not
so pretty either, you piece of
crap! Why can’t you be nice?
HAYMITCH
Who cares? It’s all a big show. And
I’m not the one that needs help,
it’s you. If you want to live, I
suggest you get your act together
and stop talking like that towards
me. If anything, that boy gave you
his own sponsors.
KATNISS
You should’ve at least told me so
we could’ve sold it. I looked
completely stupid.
PORTIA
No, you didn’t. Your reaction was
perfect. If you’d known, it
wouldn’t have been read as anymore
real than it seemed.
PEETA
She’s just worried about her
boyfriend.
KATNISS
I don’t have a boyfriend.
PEETA
Whatever. Besides, you didn’t say
you loved me. So, what does it
matter anyway?
KATNISS
After he said he loved me, di it
seem like I did too?
(CONTINUED)
CONTINUED: 68.
PORTIA
To me, it did. The way you avoided
the cameras, the blushing.
CINNA
I agree. You sold it without even
knowing it.
HAYMITCH
See? You’d be forgettable without
that stunt we pulled. WHat are you
now? Unforgettable. You’re golden,
sweetheart. You’ll have sponsors
lined up by the block.
KATNISS
(to Peeta)
I’m sorry I shoved you.
PEETA
Doesn’t matter, even though it’s
technically illegal.
KATNISS
Are you okay?
PEETA
I’ll be fine. It’s not a big deal.
Beat.
HAYMITCH
Come on, let’s eat.
They walk off.
CUT TO:
ADVICE
Ratings
Scene 36 - Tensions Rise Before the Games
Cinna, Portia, Effie, and Haymitch are eating. Katniss and
Peeta don’t bother.
EFFIE
You aren’t hungry, dear?
KATNISS
No.
(CONTINUED)
CONTINUED: 69.
CINNA
What’s the matter?
KATNISS
I’m sure you know.
HAYMITCH
Stop glowering over this. Out of
all the days, you pick today to cry
over it?
KATNISS
Shut up, Haymitch. Like you’ve ever
heard me cry.
HAYMITCH
Oh really? Is that a challenge?
PEETA
Save it. The games are tommorow
morning.
HAYMITCH
You think I don’t know that?
EFFIE
Haymitch, can you please be a bit
kinder? It’s giving me premature
wrinkles.
HAYMITCH
(sarcastic)
We don’t want that to happen.
KATNISS
We might die tommorow, Haymitch. At
least act like you like us. Do any
of you have advice?
HAYMITCH
Don’t die.
Haymitch sips on his drink.
PEETA
That’s all?
HAYMITCH
Fine. I’ll go into detail.
He puts down the drink.
(CONTINUED)
CONTINUED: 70.
HAYMITCH
Once the timer hits zero, get the
hell out of there. Do not, I
repeat, do not risk it by jumping
in the mess like morons. Just get
out, put as much distance as you
can between you and the others, and
find a source of water. Got it?
KATNISS
And after that?
HAYMITCH
Stay alive.
He sips on his drink.
CUT TO:
LET THE GAMES BEGIN
Ratings
Scene 37 - Preparation for the Arena
Katniss and Cinna sit underneath the arena, getting ready.
CINNA
Katniss, I believe in you.
Cinna takes out the mockingjay pin.
KATNISS
Where did you get that?
Cinna pins the mockingjay pin on her jacket. He begins to
adjusting her outfit, specially made for survival. He braids
her hair.
CINNA
Off the outfit you wore on the
train. It’s your district token,
right? It barely passed the review
board. People thought it could be
used at an unfair advantage as a
weapon. They eliminated a ring from
that district one girl, though. If
you twisted the gemstone on it,
spikes popped up. A poison one too.
She claimed she didn’t have any
idea about it. Still got taken away
anyways.
He steps back.
(CONTINUED)
CONTINUED: 71.
CINNA
There. You’re all set. Move around.
Make sure everything feels
comfortable.
She walks a few steps, jogs in place, and swings her arms.
KATNISS
Yes, it’s fine. Fits perfectly.
CINNA
Then there’s nothing to do but wait
for the call.
A few moments pass. Claudius Templesmith, the announcer, is
heard.
CLAUDIUS
(V.O.)
Prepare for launch.
CINNA
Remember what Haymitch said. Run,
find water. The rest will follow.
Remember this, Katniss. If I were
allowed to bet, my money would be
on you.
KATNISS
Truly?
CINNA
Truly.
Cinna walks Katniss onto the platform that will raise up to
the arena soon.
CLAUDIUS
(V.O.)
Platforms will raise in 3 seconds.
CINNA
Good luck, girl on fire.
The platform begins to rise. Cinna waves her off. She rises
up and stops en she reaches ground level of the arena. All
24 tributes are in a circle, each on their platforms. In
the middle of the large circle holds survival kits, weapons,
and more.
Ratings
Scene 38 - The Bloodbath Begins
(CONTINUED)
CONTINUED: 72.
CLAUDIUS
(V.O.)
Ladies and gentlemen, let the
seventy-fourth annual Hunger Games
begin!
A loud sound indicates the start of the games. The tributes
launch out. Katniss is a late start by a few seconds. It’s a
bloodbath in there, many people fighting to the death then
and there. Katniss sprints, scooping up bread and a sheet of
plastic. She sprints towards a bright orange backpack with
unknown cotents. Brendan follows. Katniss accidentally drops
her bread. They pull at each side, trying to retrieve the
backpack. Clove lodges a knife into the boy’s back. He lets
go, falling over and dying. Katniss is exposed. Clove tries
to throw a knife at her, but Katniss blocks with the
backpack, the knife getting stuck into it. She escapes into
the woods.
CUT TO:
Ratings
Scene 39 - Survival in Solitude
It’s late afternoon. Katniss slows her jog into a walk. She
puts the plastic into her sleeve and pulls out the knife.
She attatches it to her clothing. Eleven cannons go off. She
slumps down next to a tree. She opens her backpack and
checks its contents. A thin sleeping bag with plastic-like
material, a pack of crackers, a pack of beef jerky, a bottle
of iodine, a box of wooden matches, a small coil of wire,
night glasses that look like sunglasses, and a bottle for
liquids. She checks the bottle. Empty. She closes up the
backpack and it’s contents, then heads out. She sets up a
snare. She then climbs up the tree beside her, sets up and
climbs into the sleeping bag, and takes her belt and wraps
it around the tree branch and her waist. She falls asleep.
CUT TO:
THE MOB
Ratings
Scene 40 - Silent Witness
Katniss awaken to the sound of a campfire. A few moments
pass. Katniss stays completely still. Karma, from district
eight, has dozed off beside the campfire. She is slightly
snoring. The sounds of a mob’s footsteps are heard. They get
closer and closer to them. They’re right at the campfire.
The mob consists of District one and two’s tributes, Lacey
(the district four tribute), and Peeta. They torture the
girl until she’s silent.
(CONTINUED)
CONTINUED: 73.
MARVEL
Twelve down and eleven to go!
Shouts of agreement from the mob.
CATO
We’d better clear out before the
body starts to rot.
The mob unknowingly walks towards the tree that Katniss is
in. They walk a few yards pass, then stop.
CLOVE
Shouldn’t we have heard a cannon by
now?
CATO
I’d say yes. There’s nothing to
prevent them from blowing the
cannon immediately.
LACEY
Unless she isn’t dead.
GLIMMER
She’s dead. I stuck her myself.
CLOVE
Then where’s the cannon?
CATO
Someone should go back. Make sure
the job is done.
MARVEL
Yeah, we don’t want to have track
her down twice.
GLIMMER
I said she’s dead!
They break out into a loud argument. Peeta interrupts them.
PEETA
We’re wasting time! I’ll go finish
her and let’s move on!
Katniss gasps, then slaps her hand over her mouth. The mob
doesn’t notice.
CATO
Go on then, lover boy. See for
yourself.
(CONTINUED)
CONTINUED: 74.
Peeta walks to the campfire and examines the body of Karma.
The careers talk among each other in hushed, quick voices.
GLIMMER
Why don’t we just kill him now and
get it over with?
CATO
Let him tag along. What’s the harm?
He’s handy with that knife.
Besides, he’s our best chance of us
finding her.
GLIMMER
Why? Do you really think she bought
into that sappy romance stuff?
CATO
She might have. She seemed pretty
simple minded.
MARVEL
Every time I think about her
spinning around in that dress, I
want to puke.
LACEY
Wish we knew how she got that
eleven.
CATO
Bet you lover boy knows.
Peeta returns to them.
CATO
Was she dead?
PEETA
No. But she is now.
The cannon fires.
PEETA
Ready to move on?
The mob runs off into the woods. Off in the distace, Cato is
heard.
LACEY
Hey you guys, look! Someone set up
a snare and caught a rabbit. Lucky
day, right?
CUT TO:
WATER
Ratings
Scene 41 - Alliances and Sacrifices
Katniss puts all of her sleeping wear in the backpack and
unbuckles the belt. She throws the backpack down on the
floor below her. She jumps out of the tree. She puts the
backpack on. She spots a berry bush. She strips it down of
its berries until her hand is full. She hesitates. She then
opens a berry up to see the insides. She puts them away. She
begins walking in a different direction.
FADE TO:
She walks across the fields.
FADE TO:
It is night. Katniss slows her walk to a stop. She leans
against a tree.
KATNISS
Water.
She stands up straight against the tree. She talks louder.
KATNISS
Water.
She slips down the side of the tree. She slumps. She then
lays down. She notices she has laid in mud. Her eyes widen.
She gets up frantically. She follows the mud path. She comes
to a clearing- there’s a pond there. She rushes over to it.
She scoops the water from her hand frantically, gulping down
as much as possible. She quickly takes the bottle from her
backpack. She fills it with the water from the pond, then
sits back. She sighs, smiling to herself. She notices the
tree nearby. She climbs onto it, puts her backpack away,
buckles herself to the tree, and goes to sleep.
CUT TO:
KATNISS, THE GIRL WHO WAS ON FIRE
It’s nighttime. Katniss awakens to the crackle of fire and
the smell of smoke. She looks underneath her. A fire is
starting all around her, particularly underneath her. She
fumbles, trying to unbuckle the belt around her and retrieve
the backpack and sleeping bag. She falls to the ground with
(CONTINUED)
CONTINUED: 76.
a grunt and recovers with a jump up and run through the
smoke. She runs through the smoke, coughing d gagging, she
falls down and pukes. She gets up slowly, and recovers yet
again with a run in the same direction. She reaches the
point where she fumbles out of the smoke and fire. That’s
when a fireball is hurdled at her. She dodges it. Another is
hurdles. She dodges it again. Another fireball is hurdled,
yet this time, she gets skimmed on the right calf. She
screams out in pain. She limps to the side to take cover.
She collapses to the ground, putting out the fire on her
pants leg. She rips off the fabric and quickly examines the
damage. She has a extreme second degree burn. Her hands have
minor burns. She winces, tears filling her eyes and pooling
over. She suppresses her sobs. She looks beside her and sees
a cooling agent, mud and water. She crawls over to it and
gingerly sets her leg into it. She follows that with her
hands. Footsteps of the mob are heard. She gets up, limping
to a tree, and climbs up it. She sits there as the mob
confronts from under the tree.
KATNISS
How’s everything with you?
CATO
Well enough. How about yourself?
KATNISS
It’s a bit warm for my taste. The
air’s better up here. Why don’t you
climb up and join me?
CATO
I think I will.
GLIMMER
Here, take this, Cato.
Glimmer offers him an archery set. Cato pushes it away. He
motions to his sword on his belt.
CATO
No, I’ll do better with my sword.
Cato begins to climb it. He fails.
CATO
What the hell?
He attempts it again. He falls off. Glimmer pushes him aside
and attempts.
(CONTINUED)
CONTINUED: 77.
GLIMMER
Move over, idiot.
She climbs a few steps, but falls off. She tries to launch
an arrow at Katniss’ head, but it gets lodged in the tree.
Katniss takes it out of the tree and mockingly waves it. The
mob mutters curses and argue quietly
PEETA
Oh, just let her stay up there.
It’s not like she’s going anywhere.
We’ll deal with her in the morning.
The mob mutter agreements. They go to sleep underneath the
tree. Katniss keeps her backpack on and everything else
away, except for belting herself onto the tree for security.
She goes to sleep.
CUT TO:
TRACKER JACKERS
Katniss flutters her eyes open. It is very early
morning. She looks at the tree next to her. Rue stares at
her. Rue points to a branch. Katniss looks there, and right
nearby her, she sees a tracker jacker nest. It emits a low
hum of a sound, the tracker jackers buzzing around. She
looks at Rue with wide eyes as she realizes what it is. Rue
makes sawing motions with her hands. Katniss hesitates. She
takes out the knife and begins sawing the branch. As she
does, three tracker jackers sting her. She squeaks and
winces, but keeps going. She pushes it off of the tree as
hard as she can. The tracker jackers swarm the mob in their
sleep. The mob members awaken. They jump up and run towards
the lake. They shout cries of various types from "Tracker
jackers!" to "The lake! To the lake!". Glimmer falls to the
ground, covered in sting. She dies. Lacey does as well, but
farther away than Glimmer is. Katniss pulls the stingers out
of the stings she got. She then climbs down. Once she hits
the floor, a tiny parachute carryng extreme relief burn
ointment drops in front of her. She picks it up, opens it,
and skims the top with her fingers.
KATNISS
(whispered)
Haymitch. Thank you.
She takes more, covering her hands and leg with it. She
sighs with relief. Her burns are healing rapidly. She looks
at Glimmer’s corpse. She notices the archery set. She runs
over to it. She kneels beside it, and tries to lift her off
of the archery st underneath her. She sucessfully does and
(CONTINUED)
CONTINUED: 78.
retrieves the archery set. She looks at the nest of the
tracker jackers. Completely empty. Peeta appears. She
fumbles with the bow and arrow, but it falls out of her
hands. Peeta runs up to her. He helps her up, pushing her
the other direction.
PEETA
What’re you still doing here? Are
you mad? Get up! Get up! Run!
Cato and the remaining careers run back towards them. Peeta
gives her one last push.
PEETA
Go!
She takes off with run. She looks back. Peeta is trying to
run from Cato as well, but he is slashed on the leg by Cato.
He escapes anyways. Cato throws down his sword in
frustration. Katniss runs off. Once out of sight, Katniss
stumbles to the ground from the run.
KATNISS
What’s happening to me...?
She blacks out on the dirt floor.
CUT TO:
RUE
Katniss wakes up from a nightmare. It’s nearly sunset. She
takes the water bottle from her backpack and drinks out of
it. She stands up and stretches, putting away the water
bottle. She puts the quiver of arrows on her back and picks
up the bow. A rustle is heard. Rue hides. Katniss raises her
bow with an arrow, ready to fire. She spots Rue. She puts
her guard down.
KATNISS
You know, they’re not the only ones
that can form alliances.
Rue peeks out from behind.
RUE
You want me for an ally?
KATNISS
Why not? You saved me from those
tracker jackers. You’re smart
enough to stay alive. And I can’t
(MORE)
(CONTINUED)
CONTINUED: 79.
KATNISS (cont’d)
seem to shake you anyway. You
hungry? I can spare some food. You
know, if you’re an ally.
Rue steps out in the open.
RUE
I can fix your stings.
KATNISS
Can you? How?
Rue pulls out a handful of leaves. She walks up to Katniss.
KATNISS
Where did you find those?
RUE
Just around. We all carry them when
we work in the orchards. They left
alot of nests there. There are alot
here, too.
KATNISS
Oh yeah, you live in district
eleven. Agriculture. Orchards, huh?
That must be how you can fly around
the trees like you got wings.
Rue smiles.
KATNISS
Well, come on, then. Are you gonna
fix me up?
RUE
Where are your stings?
KATNISS
There’s one on my leg that’s really
bothering me.
Katniss rolls up her pants leg to show her sting. Rue chews
the leaves. She then spits it on the sting. Katniss sighs.
Rue laughs at her reply to the treatment.
RUE
Lucky you had the sense to pull the
stingers out or you’d be alot
worse.
(CONTINUED)
CONTINUED: 80.
KATNISS
Do that to my other stings!
Rue treats the other stings. They smile at eachother.
Katniss looks at the burn on Rue’s arm.
KATNISS
I’ve got something for that.
She takes out the burn ointment. She spreads it on Rue’s
arm, then spreads some on her own burns.
RUE
You have good sponsors.
KATNISS
Have you gotten anything yet?
Rue shakes her head.
KATNISS
You will, though. Watch. The closer
we get to the end, the more people
will realize how clever you are.
RUE
You weren’t joking about wanting me
for an ally?
KATNISS
No, I mean it.
RUE
Okay. It’s a deal.
They shake hands. Katniss takes out half of her crackers and
beef jerky and gives it to Rue.
RUE
I haven’t had this much to eat
before.
KATNISS
Really? I’d think that since you
live in the agriculture and farming
district you’d get tons of food to
eat.
RUE
Oh, no. We’re not allowed to eat
any of the crops. The mayor’s very
strict about that. But, sometimes,
we get a small ration.
(CONTINUED)
CONTINUED: 81.
KATNISS
Like tessera?
Rue nods.
KATNISS
What happens if you eat the crops
you grow?
RUE
They whip you and make the whole
town watch.
KATNISS
Well, then, this is your lucky day.
Take whatever you want. Now that I
have my bow and arrows, I can hunt
for virtually anything. Plus, I
know how to set up snares. And I
can gather. And fish. So, I think
we’re okay. I’m sure you’re way
better than me at gathering and
harvesting. Maybe even growing
plants, too. We’re definitely good
to go.
RUE
I hope you win, Katniss.
KATNISS
Why do you say that?
RUE
Well, just look at me. I’m lucky
I’m still alive.
KATNISS
You know what I see?I see a
survivor. I hope you win, Rue.
Rue smiles gratefully at Katniss. Katniss smiles back.
Katniss shuffles through her backpack. Rue stops her when
she sees the glasses.
RUE
Where did you get those?
KATNISS
They came with the pack. Why?
RUE
They let you see in complete
darkness.
(CONTINUED)
CONTINUED: 82.
Katniss takes it out of her backpack and examines it. She
tries them on.
KATNISS
You’re right. I wonder who else got
a pair of these.
RUE
The Careers have two pairs. They’ve
got everything down by the lake.
They’re so strong.
KATNISS
We’re strong, too. Just in a
different way.
RUE
You are. You can shoot. What can I
do?
KATNISS
You can feed yourself. Can they?
RUE
They don’t need to. They have all
those supplies.
KATNISS
Say they didn’t. Say the supplies
were gone. How long would they
last? I mean, it’s the Hunger
Games, right?
RUE
But, Katniss, they’re not hungry.
KATNISS
No, they’re not. That’s the
problem. I think we’re going to
have to fix that, Rue.
CUT TO:
THIRD TIME’S THE CHARM
Katniss and Rue are asleep. It is morning. The cannon goes
off.
KATNISS
Who do you think that was?
(CONTINUED)
CONTINUED: 83.
RUE
I don’t know. It could have been
anyone. I guess we’ll find out
tonight.
KATNISS
Who’s left again?
RUE
The boy from district one, both
from two, the boy from three,
Thresh, me, Peeta, and you. That
makes eight. Wait, nine. There’s
the boy from district ten, too.
KATNISS
Isn’t there someone else?
RUE
I forgot who. Don’t you wonder how
the last one died?
KATNISS
There’s no telling. But, it could
be good for us. A death should hold
the crowd for a bit. It’ll be a
while until the Gamemakers decide
that there’s not enough action. So,
are you ready?
RUE
For what?
KATNISS
Today, we’re taking out the
career’s food.
RUE
Really? How?
KATNISS
I have no idea. We’ll figure out a
plan.
They pack up and begin walking towards the careers.
RUE
I’ve spied on them.
KATNISS
Really?
(CONTINUED)
CONTINUED: 84.
RUE
Yes. The boy from district three is
working with them. The food’s out
in the open as well.
KATNISS
Something’s not quite right about
that setup.
RUE
I know. But I couldn’t tell what
exactly. Katniss, even if you could
get to the food, how would you get
rid of it?
KATNISS
Burn it. Dump it in the lake. Soak
it in fuel. Or, eat it. Don’t
worry, I’ll think of something.
Destroying things is much easier
than making them.
RUE
We need a plan soon, Katniss. I
have a few ideas. We could use the
mockingjays to signal that we’re
okay. I’ll whistle this tune-
Rue whistles her four note tune.
RUE
(cont’d)
-and that’ll be carried on by the
mockingjays and onto you. Then,
you’d reply with another tune and
it’d be carried to me. I’ll make
distractions and you’ll get the job
done.
Katniss nods.
KATNISS
I’ll whistle this as a reply.
She whistles her own four note tune.
RUE
Okay.
KATNISS
So, we’re set then. We’ll meet here
once the job is done, okay?
(CONTINUED)
CONTINUED: 85.
Katniss begins walking in the direction of the careers’ food
stash.
RUE
Katniss?
Katniss turns around.
KATNISS
Yes?
RUE
Be careful.
KATNISS
You, too. Stay safe.
They go their separate ways.
CUT TO:
Katniss hides behind a cluster of bushes. She glares at the
mob, consisting of only Cato, Marvel, Clove, and Andrew.
Cato points at something in the sky. The mob runs to it.
Katniss notices that they all jump in specific spots, as if
to avoid something under their feet. On top of the stack of
food, she sees an opened bag of apples. She knocks an arrow
on her bow, aims carefully, and tries to shoot it at the
apples. She barely misses. She tries again. So close, yet so
far. One more try. The arrow knocks the apples over, all of
them falling down and rolling in differnt places. A HUGE
explosion. The food is blasted to nothing. Katniss is blown
far back. Katniss gets up, wobbly and disoriented. She trips
and falls many times. Her left ear is bleeding. She trips
over one last time and blacks out.
CUT TO:
GOODBYE
Katniss awakens. She is disoriented. The blood on her ear
has crusted up. She gets up. She leans against a tree. The
mockingjays mimic Rue’s four note tune. Rue is heard from
afar.
RUE
Katniss!
Katniss doesn’t register her voice. She knocks an arrow on
her bow, looking around for the source of sound.
(CONTINUED)
CONTINUED: 86.
RUE
Katniss!
KATNISS
Rue? Rue!
Katniss runs towards the source of sound.
RUE
Katniss! Help!
KATNISS
Rue! I’m coming!
Katniss reaches the area. Rue is in a rope net, lying on the
floor. Rue reaches for Katniss. Rue is impaled with a spear
thrown into her stomach by Marvel. Katniss screams. She
shoots an arrow at his neck. He falls over to his death.
KATNISS
Are there more? Rue, are there
more?
RUE
No...
Katniss rushes to Rue’s side. She throws the bow to her side
and drops to her knees beside Rue. She takes out her knife
and cuts the rope out of the way so she can examine the
wounds. The spear is dug deep into her stomach to the point
of no return. Katniss’ eyes well up with tears. Rue
frequently winces in pain from the wounds and sobbing a
lot.
RUE
Did you blow up the food?
KATNISS
Every last bit.
RUE
You have to win.
KATNISS
I’m going to. I will win for the
both of us.
The cannon goes off. Katniss looks up. Rue takes her hand.
RUE
Don’t go!
(CONTINUED)
CONTINUED: 87.
KATNISS
I’m staying right here.
RUE
Sing.
Katniss hesitates. She begins her song.
KATNISS
Deep in the meadow, under the
willow. A bit of grass, a soft
green pillow. Lay down your head
and close your sleepy eyes. And
when again they open, the sun will
rise.
Here it’s safe, here it’s warm.
Here the daisies guard you from
every harm. Here your dreams are
sweet and tommorow brings them
true. Here’s the place where I love
you.
Rue becomes unconcious, her sobs dying down.
Deep in the meadow, hidden far
away. A cloak of leaves, a moonbeam
ray. Forget your woes and let your
troubles lay, and when again it’s
morining they’ll wash away.
Here it’s safe, here it’s warm.
here the daisies guard you from
every harm. Here your dreams are
sweet, and tommorow brings them
true. Here’s the place where I love
you.
Katniss gently lays Rue’s head back on the ground as she
gets up. Katniss gathers wildflowers and brings them back to
Rue’s body. She keels beside her and dresses Rue’s body with
flowers. She covers her wounds, covers her hair in flowers,
and surrounds her body with flowers. She puts the last
flower down. She kisses her hand in the Panem salute sign, 3
fingers outstretched and her 2 outside fingers folded down,
and outstretches it to Rue’s corpse.
KATNISS
Goodbye, Rue.
She gets up, picks up her bow, and leaves.
BLACK OUT
The cannon fires.
(CONTINUED)
CONTINUED: 88.
FADE TO:
A SEARCH FOR LIFE
Katniss sits in a tree, hugging her knees.
KATNISS
Rue...
A few moments pass. She sobs. She buries her head into her
knees. Just then, Claudius’ voice booms from overhead.
CLAUDIUS
(V.O.)
Congratulations to our last 6
contenders! There has been a change
in rules. Both tributes from the
same district may be declared
victors if they are the last two
alive. Good luck to all!
Katniss’ eyes widen.
KATNISS
Peeta!
She jumps out of the tree with her things in hand. She runs.
KATNISS
Peeta!
CUT TO:
Katniss is looking around. She is walking along the creek.
KATNISS
(whispering)
Peeta? Where are you?
PEETA
You here to finish me off,
sweetheart?
She shoots her glance to the left.
KATNISS
Is that you?
PEETA
Well, don’t step on me.
She jumps back, gasps, and looks down. Peeta is completely
camouflaged. He smiles at her.
(CONTINUED)
CONTINUED: 89.
KATNISS
Close your eyes again.
He does so. Katniss kneels beside him again. Peeta opens his
eyes.
KATNISS
I guess all those hours decorating
cakes paid off.
PEETA
Yes. Frosting, the final defense of
dying.
KATNISS
You’re not going to die.
PEETA
Says who?
KATNISS
Says me. We’re on the same team
now, you know.
PEETA
So I heard. Nice of you to find
what’s left of me.
KATNISS
Did Cato cut you?
PEETA
Left leg. Up high.
KATNISS
Let’s get you washed off so I can
see what I’m dealing with.
PEETA
Let me tell you something first.
He leans close to her ear.
PEETA
(hushed)
Remember, we’re madly in love, so
you can kiss me whenever you feel
like.
KATNISS
(laugh)
Thanks, I’ll keep that in mind.
Let’s get you cleaned up.
(CONTINUED)
CONTINUED: 90.
Katniss attemps to move Peeta into the stream. Peeta cries
out in pain.
KATNISS
I’m going to roll you into the
stream. It’s really shallow there,
so don’t worry, okay? On the count
of three. One, two, three!
She rolls him up to the edge of the bank. He screams out in
pain.
KATNISS
Okay, change of plans.
PEETA
No more rolling?
KATNISS
That’s all done. Keep an eye on the
woods for me, okay?
She takes her water bottles out, fills it with water, and
begins dowsing him down, washing off everything on his upper
body. She treats his burns, minor cuts, bruises, and stings.
KATNISS
You must be hungry.
PEETA
Not really. It’s funny, actually. I
haven’t been hungry for days.
KATNISS
Peeta, we need to get some food in
you. You’re already in really bad
condition, there’s no need to make
it worse.
PEETA
It’ll just come right back up. Can
I sleep now?
KATNISS
Soon. After you eat, and after I
check your leg.
She looks at the leg wound. She pours water over it, and
sees the damage.
KATNISS
Eugh...
(CONTINUED)
CONTINUED: 91.
PEETA
Pretty awful, huh?
KATNISS
I’m not sure. My mother and Prim
can withstand worse than this with
flying colors. Watching them, I
really don’t know what to think
about this. Here, eat this while
I... um...
PEETA
Dress the wound?
KATNISS
Yeah. Dress the wound...
Katniss hands him some food. She begins dressing the wound
with ointments and bandages it up.
PEETA
So, how about that kiss?
Katniss laughs.
PEETA
Something wrong?
KATNISS
Sorry. I’m just no good at this.
I’m not my mother. I have no idea
what I’m doing and I hate pus.
PEETA
How about your hunting?
KATNISS
Trust me, killing thigns is a lot
easier than this. For all I know, I
may be killing you.
PEETA
Can you speed it up a little?
KATNISS
Shut up and eat your pears.
PEETA
You know, you’re kind of squeamish
for being such a lethal person. I
wish I’d let you bathe Haymicth
after all. Did you get anything
from him?
(CONTINUED)
CONTINUED: 92.
KATNISS
Burn medicine and bread. You?
PEETA
Nothing. I always knew he was your
favorite.
KATNISS
Please, he can’t stand being in the
same room as me.
PEETA
(muttered)
Because you’re so alike.
Katniss rolls her eyes.
KATNISS
We have to go now.
PEETA
Where?
KATNISS
Away from here. Downstream, maybe.
Somewhere we can hide you until
you’re stronger.
She props him up and has him lean on her. She begins to move
forward, but he’s not able to.
KATNISS
Come on, you can do this.
Peeta limps with Katniss as she guides him.
CUT TO:
IF ALL GOES WRONG
Katniss and Peeta arrive at a cave. She helps him sit down
on the floor. She takes out her sleeping bag and helps him
in it. She feeds him.
PEETA
Katniss. Thank you for finding me.
KATNISS
You would have found me if you
could.
(CONTINUED)
CONTINUED: 93.
PEETA
Look, if I don’t make it back-
KATNISS
Don’t talk like that. I didn’t
bring you here for nothing.
PEETA
I know. But just in case I don’t-
KATNISS
No, Peeta. I don’t even want to
discuss it.
PEETA
But I-
Katniss interupts him with a kiss.
KATNISS
You’re not going to die. I forbid
it. Alright?
PEETA
(whispered)
All right.
Peeta falls asleep. A mini parachute falls in front of her.
It holds a pot of broth and a tiny spoon.
HAYMITCH
(V.O. surreal)
One kiss equals one pot of broth.
You’re supposed to be in love,
sweetheart. The boy is dying. Give
me something to work with.
Katniss shakes Peeta awake.
KATNISS
Peeta! Look at what Haymitch sent
you!
FADE TO:
DRASTIC MEASURES
Katniss walks towards the cave. Peeta sits up as she joins
him.
(CONTINUED)
CONTINUED: 94.
PEETA
I woke up and you were gone. I was
worried about you.
KATNISS
You were worried about me? Have you
looked at yourself lately?
Peeta laughs.
PEETA
Thanks for the broth. It made me
feel a lot better.
KATNISS
Thank Haymitch.
PEETA
You know, I thought Cato and Clove
might have found you. They like to
hunt at night.
KATNISS
Clove? Which one is that?
PEETA
The girl from distrct two. She’s
alive, right?
KATNISS
There’s just them and us and hresh
and Foxface. That’s what I
nicknamed the girl from district
five. Well, we should work on your
leg.
PEETA
Aren’t you tired?
KATNISS
Not too much.
PEETA
Go to sleep. I’ll take watch.
KATNISS
No. I insist. We need to get
working anyways. Then I can sleep.
She undresses the wound. She grimaces at the sight.
(CONTINUED)
CONTINUED: 95.
KATNISS
Well, there’s more swelling, but
the pus is gone...
PEETA
I know what blood poisoning is,
Katniss. Even if my mother isn’t a
healer.
KATNISS
You’re just going to have to
outlast the others, Peeta. They’ll
cure it back at the capitol when we
win.
Trumpets blare. Katniss jumps. It’s an announcement from
Claudius.
CLAUDIUS
Hello, my goodhearted tributes! In
celebration of coming this far,
we’ve organized a feast! Now, hold
on. Some of you may be declining my
invitation already, but this is no
ordinary feast. Each of you needs
something desperately. Each of you
will find that something in a
backpack marked with your district
number at the cornuopia at dawn.
Think hard about whether or not
you’ll show up. For some of you,
this will be your last chance.
Katniss begins to get up. Peeta stops her.
PEETA
You’re not risking your life for
me.
KATNISS
Who said I was?
PEETA
So, you’re not going?
KATNISS
Of course I’m not going. Give me
some credit. Do you really think
I’m running straight into some
free-for-all against Cato and Clove
and Thresh? Don’t be stupid.
(CONTINUED)
CONTINUED: 96.
PEETA
You’re such a bad liar. Never
gamble at cards. You’ll lose your
last coin.
KATNISS
Alright, I’m going, and you
can’stop me!
PEETA
I can follow you.
KATNISS
Please. You won’t get a hundred
yards on that leg.
PEETA
Then I’ll drag myself. You go and I
go too.
KATNISS
What am I supposed to do? Sit here
and watch you do?
PEETA
I won’t die. I promise. Only if you
promise not to go.
KATNISS
I’m sorry, Peeta, but I may have to
gamble. I don’t want to lose you. I
may die, but this is a better bet
than leaving you like this.
Katniss gets up and leaves the cave. A tiny parachute lands
in front of her. It holds sleep medicine. She takes berries
out of her pocket, douses them with the medicine, and heads
back to the cave.
PEETA
Changed your mind?
KATNISS
I wasn’t sure. I’m sorry, Peeta.
PEETA
It’s alright. What do you have
there?
KATNISS
I got these for you, but forgot to
give them to you until now. Here.
Eat it.
(CONTINUED)
CONTINUED: 97.
She hands him the berries. He eats it.
PEETA
They’re very sweet.
KATNISS
They’re sugar berries. My mother
makes jam with it. Haven’t you had
them before?
PEETA
No, but they taste familiar. Sugar
berries?
KATNISS
Well, you can’t get them much on
the market. They grow wild.
PEETA
They’re sweet as syrup. Syrup...?
His eyes widen. He falls asleep. Katniss gets up.
KATNISS
Who can’t lie, Peeta?
She puts on the night glasses, takes her bow and arrows, and
walks out of the cave.
CUT TO:
Katniss scopes the arena from behing a bush. The table in
the middle of the cornucopia holds two large backpacks, one
marked with an 11 and the other labeled 2. There’s a medium
sized backpack with a 5 on it. The last one is a miniature
backpack, small enough to fit in someone’s hand, labeled 12.
Foxface darts to the table, takes the one labeled 5, and
leaves. Katniss grunts. She runs towards the table. Clove
throws a knife at Katniss. She blocks it. Katniss shoots an
arrow into Clove’s upper left arm. Clove rips out the arrow
with a grunt. Clove charges at Katniss, knocking her down.
Clove pins her down.
CLOVE
Where’s your boyfriend, district
twelve? Still hanging on?
KATNISS
He’s out there right now. Hunting
Cato. Peeta!
Clove clamps her hand over Katniss’ mouth. Clove looks
around her.
(CONTINUED)
CONTINUED: 98.
CLOVE
Liar. He’s nearly dead. Cato knows
where he cut him. You’ve probably
got him strapped up in some tree
while you try to keep his heartbeat
going. What’s in the pretty little
backpack? Medicine for lover boy?
Too bad he’ll never get it.
(she takes out a knife)
I promised Cato that if he let me
have you, I’d give everyone a show.
(Katniss struggles)
Forget it, district twelve. We’re
going to kill you. Just like we did
your patheric, useless little ally.
What’s her name? Rue? Well, first
Rue, then you, and I think we’ll
let nature take care of little
lover boy of yours. Sounds good?
Good. Now, where to start? I think
you won’t have any use or your lips
anymore. Want to blow one last kiss
to lover boy?
(Katniss spits in Clove’s
face. Clove wipes it off.)
All right then. Let’s get started.
Clove is thrown back by Thresh. Katniss sits up to see
what’s going on. Thresh pins Clove to the ground.
THRESH
What did you do to that little
girl? You killed her?
CLOVE
No! No, it wasn’t me!
THRESH
You said her name. I heard you. You
killed her! You cut her up like you
were gonna do this girl?
CLOVE
No! No, I- I- Cato! Cato!
Thresh slams the rock into the side of Clove’s head. Cato
begins running towards Clove.
CATO
(from afar)
Clove!
Thresh gets up. He faces Katniss.
(CONTINUED)
CONTINUED: 99.
THRESH
What did she mean about Rue being
your ally?
KATNISS
We teamed up. Blew up the supplies.
I tried to save her, I really did.
But then, district one came along.
CATO
(closer, still far)
Clove!
THRESH
And you killed him?
KATNISS
Yes. I killed him. I buried her in
flowers and sang her to sleep.
THRESH
To sleep?
KATNISS
To death. I sang until she died.
Your district... they sent me
bread. You know what? Just- just do
it fast, okay, Thresh?
THRESH
This one time. Just this one time,
I’ll let you go.
CATO
(closer)
Clove!
THRESH
You better go, fire girl.
Katniss takes the backpack from Clove’s corpse and runs off.
The cannon fires. She hesitates, looks back, and sees Cato
kneeled over Clove’s body, begging her to stay alive. Cato
gets up and runs towards Thresh full speed. She turns away
and runs towards the cave. The cannon fires.
CUT TO:
It is night. Katniss jogs into the cave. She collapses
beside Peeta, who is sleeping. Her eyebrow is bleeding very
badly. Katniss rips open the backpack. She finds a syringe
with medicine in it. She plunges the needle into Peeta and
inserts the medicine. She takes it out, puts it to the side,
and falls asleep.
(CONTINUED)
CONTINUED: 100.
BLACK OUT.
FADE TO:
THAT’S WHAT I’M LOOKING FOR, SWEETHEART.
It is morning. It’s raining. Peeta shakes Katniss awake.
PEETA
Katniss? Katniss, can you hear me?
She opens her eyes.
PEETA
Hey. Good to see your eyes again.
Katniss sits up.
KATNISS
How long have I been out?
PEETA
Not sure. I woke up yesterday
evening and you were lying in a
pool of blood. I think the bleeding
finally stopped, but I wouldn’t sit
up if I were you.
KATNISS
Did you bandage my head?
PEETA
Of course.
KATNISS
You seem better.
PEETA
Much better. Whatever you gave me
did the trick. By this morning,
almost all the swelling went down.
KATNISS
Did you eat?
PEETA
I’m sorry to say I gobbled down
three pieces of groosling before I
realized it might have to last a
while. Don’t worry, I’m back on a
strict diet.
(CONTINUED)
CONTINUED: 101.
KATNISS
No, that’s good. You need to eat.
I’ll go hunting soon.
PEETA
Not to soon, all right? You just
let me take care of you for a
while.
Thunder clap.
PEETA
I wonder what’s going on with the
weather. I mean, who’s the target?
KATNISS
Cato and Thresh. Foxface would be
hiding, and Clove...
PEETA
I know Clove is dead. I saw it in
the sky last night. Did you kill
her?
KATNISS
Thresh bashed her skull in with a
rock.
PEETA
Lucky he didn’t catch you, too.
KATNISS
He did, but he let me go.
PEETA
He let you go?
KATNISS
Yes. I don’t expect you to
understand it. If you lived in the
Seam, I might have considered it.
PEETA
Obviously, I’m too dim to get it.
KATNISS
Too bad. See, it’s like the bread.
I can never get over owing you for
that.
PEETA
The bread? What, from when when we
were kids? I think we can let that
(MORE)
(CONTINUED)
CONTINUED: 102.
PEETA (cont’d)
go. I mean, you did just resurrect
me from the dead.
KATNISS
But you didn’t know me. We’d never
even spoken back then. Besides,
it’s the first gift that’s always
the hardest to pay back. I wouldn’t
have even been alive if you hadn’t
helped me then. Why did you,
anyways?
PEETA
Why? You know why.
KATNISS
I don’t.
PEETA
Haymitch said you would take a lot
of convincing.
KATNISS
Haymitch? What’s he got to do with
it?
PEETA
Nothing. So, Cato and Thresh, huh?
I guess I’d be spouting too much
hope if I believed that they’d
simultaneously destroy eachother.
KATNISS
I think you’d like Thresh. He’d
probably be a good friend if he
lived in district twelve.
PEETA
Let’s hope Cato kills him so we
don’t have to. What is it? Are you
in pain?
KATNISS
I want to go home.
PEETA
You will. I promise.
He kisses her forehead.
(CONTINUED)
CONTINUED: 103.
KATNISS
I hope Thresh is still alive.
PEETA
Hey, Katniss? I’m sorry I didn’t
tell you, but Thresh died.
KATNISS
... What?
PEETA
His face was shown after Clove’s.
I’m sorry.
KATNISS
No, it’s alright. I’m just glad he
doesn’t have to go through this
nonsense anymore. In a way, I wish
it were me. But I’m not going to
give up. Not at this rate.
PEETA
I guess I agree. I’m glad we can
stay together if we stick this
through.
KATNISS
Hey, Peeta? In the interviews you
said you had a crush on me forever.
When did forever start?
PEETA
Oh, let’s see... I guess the first
day of school. We were five. You
had two braids and a red plaid
dress. My father pointed you out
while we were waiting in line.
KATNISS
Me? Why?
PEETA
He said, ’See that little girl? I
wanted to marry her mother but she
ran off with a coal miner.’
KATNISS
What? You’re making that up!
PEETA
No, true story. I said, ’A coal
miner? Why did she want a coal
miner if she could’ve had you?’ He
(MORE)
(CONTINUED)
CONTINUED: 104.
PEETA (cont’d)
said, ’Because when he sings, even
the birds stop to listen.’
KATNISS
That’s true. They do. I mean, they
did.
PEETA
So that day, in the music assembly,
the teacher asked who knew the
valley song. Your hand shot up in
the air. She stood you up on a
stool and had you sing it for us. I
swear, every bird outside the
windows fell silent.
KATNISS
Oh, please.
PEETA
No, it happened. And when your song
ended, I knew -just like your
mother- I was a goner. Then for teh
next elevn years, I tried to work
up the nerve to talk to you.
KATNISS
Without success.
PEETA
Without success. So, in a way, my
name being drawn in the reaping was
a real piece of luck.
KATNISS
You have a remarkable memory.
PEETA
I remember everything about you.
You’re the one who wasn’t paying
attention.
KATNISS
I am now.
PEETA
Well, I don’t have much competition
for you here.
KATNISS
You don’t have competition
anywhere.
(CONTINUED)
CONTINUED: 105.
They are about to kiss when a metallic plunk sound comes
from outside. Peeta gets up to check it up. He yells out in
delight. Katniss gets up to see what was. Another miniature
parachute has dropped down, holding a big meal for the both
of them. Katniss drops down and examines it. Peeta follows.
PEETA
I guess Haymitch got tired of
watching us starve.
KATNISS
I guess so.
CUT TO:
FOXFACE’S DEATH
It is day. Katniss walks through the forest.
KATNISS
(V.O.)
20 down, two to go. That was my
motivation. Stick it through, with
Peeta. I’d been hunting for
practically a day. I didn’t realize
that Peeta didn’t whistle back.
The cannon goes off. Katniss’ eyes widen. She runs around
the forest, her bow drawn back. She stops in an area with
berries in a pile nex to the orange backpack, frantically
looking around.
KATNISS
(V.O.)
This is where we were supposed to
meet.
KATNISS
Peeta! Peeta! Where are you?!
PEETA
Oh, hey Katniss! I found some
berries!
Peeta walks out from behind a bush.
KATNISS
What are you doing? You were
supposed to meet me over here, not
running around the woods!
(CONTINUED)
CONTINUED: 106.
PEETA
I found some berries down by the
stream.
KATNISS
Why didn’t you whistle? I said to
whistle every 5 minutes! You didn’t
whistle for an hour! I thought Cato
killed you!
PEETA
No, I’m fine. Are you okay?
KATNISS
When two people agree on a signal,
they stay in range. If one of them
doesn’t answer, it means they’re in
trouble, all right?!
PEETA
All right!
KATNISS
Don’t ever do that to me again!
That’s what happened to Rue! I was
careless! We were careless! I
watched her die! And you probably
ate without me, too! Where’s the
food?
PEETA
It was right there where I left it.
KATNISS
Oh, and I suppose the apples ate
the cheese, then the apples ate
themselves.
PEETA
I don’t know what ate the food, but
it wasn’t me. I’ve been down by the
stream collecting berries. Would
you care for some?
Peeta holds out nightlock. She takes it, suspiciously
examining it.
FADE TO:
Foxface runs by the stash of Peeta and Katniss’ food. She
stops, puts berries in her pocket, then takes their meal
from the sponsors, and runs. She puts a handful of the
nightlock in her mouth and chews it while running. She
slows, collapses to the ground, and dies.
(CONTINUED)
CONTINUED: 107.
FADE TO:
KATNISS
Peeta. Did you hear that cannon
fire before? I think... I think
that may have been Foxface.
PEETA
Wait... what? Quick, climb up the
tree. We’ll stand a better chance
against him above ground.
KATNISS
No, Peeta. She’s you kill, not
Cato’s.
PEETA
What? I haven’t even seen her since
the first day. How could I have
killed her?
KATNISS
Think about it. She’s clever. She
took something we were preparing to
eat for ourselves. You picked the
berries, so you killed her. She
took the berries and our meals.
PEETA
I don’t get it. They’re just
berries.
KATNISS
They’re nightlock. They kill you
instantly.
PEETA
It feel like I cheated. If she
didn’t eat them first, I probably
would’ve died. I was going to eat
some myself until you arrived. I’m
sorry, Katniss. I really thought
they were the same ones you’d
gathered.
KATNISS
Don’t apologize. It just means
we’re one step closer to home,
right?
PEETA
I’ll get rid of the rest.
(CONTINUED)
CONTINUED: 108.
KATNISS
Wait! If they fooled Foxface, maybe
they can fool Cato as well. If he’s
chasing us or something, we can act
like we accidently drop a pouch of
it, and if he eats them-
PEETA
Hello, district twelve.
KATNISS
Well, there’s no hiding now. Let’s
face him. To the lake?
PEETA
To the lake.
Katniss and Peeta gather their things and leave.
CUT TO:
MUTATIONS
Ratings
Scene 42 - Defiance at Dusk
Katniss and Peeta sit beside the lake. The mockingjays
chirp. Katniss whistles Rue’s four note tune. The
mockingjays stop to listen. She whistles it again. The
mockingjays repeat. She closes her eyes, listening. She
smiles.
PEETA
Just like your father.
KATNISS
That’s Rue’s signal whistle. I
think they’ll remember it.
Cato runs full speed out from behind them. Katniss and Peeta
ready tehir weapons. Cato runs right past them. Katniss and
Peeta stand their, dumb founded. Huge wolves, each
resembling a different tribute that has died -muttations-
jump out from the woods. Katniss grabs Peeta and runs in the
same direction as Cato. They run towards the cornucopia.
Cato seems to be attemting to climb a tree. Katniss climbs
up a tree. Katniss helps Peeta up. The wolves break into the
clearing. Cato climbs up the tree beside them as well. The
wolves begin to run towards the remaining tributs.
KATNISS
It’s them. The others. Rue and
Foxface and... all of them.
(CONTINUED)
CONTINUED: 109.
Peeta yells out. A muttation had slashed Peeta. Katniss
draws back her bow and drives an arrow through the
muttation. She looks back to see that Cato has snatched
Peeta away, holding him hostage. She draws back her bow and
aims it at his head.
CATO
I go down, he goes down.
Peeta raises his arm and draws an X on Cato’s arm. Katniss
shoots her second to last arrow where Peeta drew the X. Cato
lets go of Peeta and falls into the huge crowd of
muttations. Peeta catches himself on the tree. Katniss jumps
to the other tree where Peeta is. Cries of pain from Cato.
Katniss turns her attention to Peeta’s leg. It’s badly cut.
Blood is spouting out of his leg. Katniss takes her belt and
tightly ties it around his leg, cutting off circulation. The
muttations walk away, leaving Cato’s shredded, gruesome body
in shreds.
KATNISS
Don’t go to sleep.
PEETA
Katniss, can you shoot him?
Katniss nods, drawing back her bow.
PEETA
Make it count.
Katniss aims at Cato’s skull.
CATO
(squeaked)
Please.
Katniss looks away and shoots.
KATNISS
(whispered)
I’m sorry.
PEETA
Did you get him?
The cannon fires.
PEETA
We won, Katniss.
(CONTINUED)
CONTINUED: 110.
KATNISS
(dull)
Hurray for us.
They wait. Nothing happens.
KATNISS
(shouted)
Hey! What’s going on?
PEETA
Maybe it’s the body. We should
distance ourselves from it. Was
that in the other Games?
KATNISS
Not sure. Do you think you could
make it far enough?
PEETA
I think I’d better try.
Katniss helps him out of the tree.
CUT TO:
WE HAVE OUR VICTORS
Katniss and Peeta arrive at a clearing. They wait.
PEETA
What are they waiting for?
CLAUDIUS
(V.O.)
Greetings to the final contestants
of the seventy-fourth Hunger Games.
The earlier revision has been
revoked. Closer examination of the
rule book has disclosed that only
one winner may be allowed. Good
luck and may the odds be ever in
your favor.
Peeta hands Katniss the knife. He backs up.
PEETA
Do it.
KATNISS
I can’t.
(CONTINUED)
CONTINUED: 111.
PEETA
Just do it. I don’t want to die
like Cato.
Katniss throws the knife to the ground beside Peeta’s feet.
KATNISS
Then you kill me! You try to live
with it!
PEETA
You know I can’t.
He picks up the knife and throws it far away.
KATNISS
Stop being a coward. We both know
this is it.
PEETA
Fine. I’ll die first anyways.
He untightens the belt that it cutting his circulation off.
Katniss stops him. She tightens it once again.
KATNISS
No. You can’t kill yourself. If you
kill yourself, I will too.
PEETA
Katniss, this is what I want.
KATNISS
Well, it’s not what I want. You’re
staying with me.
PEETA
Please. Do it for me. They need one
victor. I want it to be you.
KATNISS
You’re right. They do need one
victor.
Katniss retrieves the nightlock.
PEETA
What’re you doing?
KATNISS
Like I said: you die, I do too.
Katniss hands him half of the berries.
(CONTINUED)
CONTINUED: 112.
KATNISS
On the count of three?
He nods. He kisses her one last time.
KATNISS
One,
PEETA
Two,
KATNISS
Three.
They throw the berries into their mouths in unison.
CLAUDIUS
(V.O.)
Stop! Stop! Ladies and Gentlemen, I
present the victors of the
seventy-fourth Hunger Games,
Katniss Everdeen and Peeta Mellark,
tributes of disrict twelve!
Katniss and Peeta spit out the berries.
CUT TO:
I DIDN’T BREAK MY PROMISE
Ratings
Scene 43 - A Leg for a Life
Katniss paces back and forth. She is cleaned to pefection,
wearing her hair down and a simple outfit. An avox girl
comes out from the room.
KATNISS
Did he make it?
The avox nods, then scurries away. Haymitch walks up to
Katniss.
HAYMITCH
You know, Peeta isn’t in there.
He’s getting ready for the
interviews.
KATNISS
Oh.
(CONTINUED)
CONTINUED: 113.
HAYMITCH
Are you ready?
Katniss nods.
HAYMITCH
Hug for good luck?
Katniss shrugs and is pulled into a hug by Haymitch.
HAYMITCH
(whispered)
Listen up. You’re in troble. Word
is the capitol’s furious about you
shwoing them up in the arena. The
one thing they can’t stand is being
laughed at and now they’re the joke
of Panem.
Katniss laughs. They pull away.
KATNISS
So what? I didn’t break my promise
to Prim. It’s all that matters to
me. Screw the capitol.
HAYMITCH
That was very out of character for
you, Katniss. You really shouldn’t
have said that out loud.
(leans in, whispering)
You’re only defense is that you’re
madly in love. Got it?
KATNISS
Got it.
CUT TO:
A LEG FOR A LIFE
Ratings
Scene 44 - Victors' Embrace
Caesar sits onstage.
CAESAR
Ladies and Gentlemen, I present to
you our victors!
Peeta and Katniss enter on opposite sides of the stages.
KAtniss runs to him and flings herself in hsi arms. They
kiss. Caesar taps Peeta on the shoulder. Peeta shoos him
away. The crowd goes wild.
(CONTINUED)
CONTINUED: 114.
CAESAR
Please, if we could go on with the
show, my friends.
They take their seats.
CAESAR
Congratulations, Katniss. Peeta.
How are you two feeling?
PEETA
Great.
KATNISS
I agree. Nothing could be better
than this.
She kisses his cheek. Crowd goes wild.
CAESAR
All right, all right, settle down.
So, Peeta, we know from your five
or so days in the cave that it was
love at first sight. You were in
love since you were five?
PEETA
From the moment I laid eyes on her.
CAESAR
But, Katniss, what a ride for you.
I think the real excitement for teh
audience was watching you fall for
him. When did you realize you were
in love with him?
KATNISS
Oh, well, that’s a hard one...
CAESAR
I think I know when it hit me. That
night when you shouted out his name
from the tree.
KATNISS
Yes, I guess that was it. I mean,
until that point, I didn’t think
about my feelings because it made
it confusing and all the worse. But
up in that tree, everything
changed.
(CONTINUED)
CONTINUED: 115.
CAESAR
Why is that?
KATNISS
Because for the first time... for
the first time, there was a chance
I could keep him.
Sighs from the audience.
PEETA
So now that you’ve got me, what’ll
you do?
KATNISS
Put you somewhere safe.
CAESAR
You two are a true match made in
heaven. So, Peeta, things got
really rough with you and your leg.
How’s your new leg working?
KATNISS
New leg?
Katniss knocks on Peeta’s left leg, giving off a metallic
sound.
CAESAR
No one told you?
PEETA
I haven’t had the chance.
KATNISS
It’s my fault.
PEETA
Yes, it’s your fault I’m alive.
CAESAR
He’s right. He would’ve bled to
death without you. So, Katniss, I
want to know what went on in your
mind when you took those berries
out. I’m sure all of Panem does,
too. Care to tell?
KATNISS
Well, I don’t know. I just...
couldn’t bear the thought of being
without him.
(CONTINUED)
CONTINUED: 116.
CAESAR
Peeta? Anything to add?
PEETA
No. I think that’s about it.
CAESAR
Well, then, that’s that.
Congratulations to both of you. I
wish you both the best. Citizens of
Panem, I am your host, Caesar
Flickerman, and I’ll see you next
year at the third quarter quell.
Goodbye.
CUT TO:
HOME SWEET HOME
Ratings
Scene 45 - Tensions Unraveled
Peeta and Katniss walk hand in hand through the hall
together. Haymitch walks past.
HAYMITCH
Great job, guys. Just keep it up
until the camera’s are gone. We
should be okay.
They stop walking.
PEETA
What’s he mean?
KATNISS
It’s the capitol. They didn’t like
our stunt with the berries.
PEETA
What? What are you talking about?
KATNISS
It seemed too rebellious. So,
Haymitch has been coaching me
through the last few days so I
wouldn’t make it worse.
PEETA
Coaching you, but not me?
(CONTINUED)
CONTINUED: 117.
KATNISS
He knew you were smart enough to
get it right.
PEETA
I didn’t know there was anything to
get right. So, what you’re saying
is that those last few days in the
arena... that was just a strategy
you two worked out?
KATNISS
No. I couldn’t even talk to him in
the aena, could I?
PEETA
But you knew what he wanted you to
do, huh, Katniss?
He drops her hand out of his.
PEETA
(cont’d)
It was all for the Games. The way
you acted.
KATNISS
Not all of it.
PEETA
Then how much? No, forget that. The
real question is, what love will be
left when we get back home?
KATNISS
I don’t know. The closer we get to
district twelve, the more confused
I get.
PEETA
Well, let me know when you figure
it out.
He walks off, leaving Katniss dumbfounded.
CUT TO:
Ratings
Scene 46 - A Final Farewell
Haymitch walks in.
(CONTINUED)
CONTINUED: 118.
HAYMITCH
It’s time.
Katniss follows him out.
CUT TO:
Peeta and Katniss face the door of the train. Peeta extends
his hand out to Katniss.
PEETA
One last time for the audience?
Katniss nods, taking his hand and grasping it tightly. The
doors open. They walk out, cheers erupting from outside.
CUT TO:
Credits. Music plays.
CM PRODUCTIONS
in collaboration with
BUCHSER MIDDLE SCHOOL
and so on.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
katniss | Katniss's character arc begins with her as a protective older sister, driven by a sense of duty to her family and a desire to survive in the oppressive environment of District 12. As she is thrust into the Hunger Games, she evolves from a resourceful but conflicted young woman into a determined and defiant tribute who challenges authority and societal norms. Throughout the Games, she grapples with her identity, the expectations of the Capitol, and her feelings for Peeta, leading to moments of vulnerability and emotional turmoil. By the end of the feature, Katniss emerges as a symbol of rebellion, having learned to balance her survival instincts with her moral compass, ultimately becoming a leader who inspires others to challenge the oppressive system. Her journey reflects growth from a self-protective individual to a courageous figure willing to fight for justice and the well-being of her loved ones. | While Katniss's character arc is compelling, it can feel somewhat reactive rather than proactive at times. Her motivations often stem from external pressures rather than internal desires, which can make her character feel less agency-driven. Additionally, her emotional conflicts, particularly regarding her feelings for Peeta and the Capitol, could be explored more deeply to enhance her complexity and relatability. The balance between her protective instincts and her personal growth could be more pronounced, allowing for a clearer transformation throughout the narrative. | To improve Katniss's character arc, consider giving her more agency in her decisions and actions. Allow her to actively pursue her goals rather than primarily reacting to external circumstances. Deepen her emotional conflicts by providing more internal dialogue that explores her feelings for Peeta and her struggles with the Capitol's expectations. Incorporate moments where she makes choices that reflect her growth, such as standing up for her beliefs or taking risks that challenge her protective instincts. Additionally, highlight her relationships with other characters to showcase her development and the impact of her choices on those around her, ultimately reinforcing her role as a leader and symbol of rebellion. |
cinna | Cinna's character arc begins with him as a confident and innovative stylist who initially appears to be a mere supporter of Katniss. As the story progresses, he becomes a crucial mentor, guiding her towards self-acceptance and authenticity. His subtle rebellious nature is revealed as he challenges the Capitol's expectations through his designs, ultimately risking his own safety for Katniss's success. In the climax, Cinna's unwavering support and belief in Katniss empower her to embrace her identity as the Mockingjay. However, his arc takes a tragic turn as he faces the consequences of his defiance against the Capitol, highlighting the personal sacrifices made for the greater good. His journey reflects themes of loyalty, rebellion, and the impact of mentorship, culminating in a poignant moment that underscores the cost of standing up against oppression. | Cinna's character arc is compelling, but it could benefit from deeper exploration of his backstory and motivations. While he serves as a mentor to Katniss, the screenplay could delve into his personal stakes in the rebellion against the Capitol. This would add layers to his character and enhance the emotional weight of his sacrifices. Additionally, the arc could be strengthened by showcasing more of his internal conflicts and the risks he faces, making his eventual fate more impactful. As it stands, Cinna's role is somewhat one-dimensional, primarily serving as a supportive figure without a fully fleshed-out personal journey. | To improve Cinna's character arc, consider incorporating flashbacks or dialogue that reveal his past experiences with the Capitol and his motivations for rebelling through fashion. This could include personal losses or moments of injustice that shaped his worldview. Additionally, adding scenes that depict his internal struggles and the risks he takes for Katniss would create a more nuanced portrayal. Showcasing his emotional responses to the Capitol's actions and the consequences of his rebellion would heighten the stakes and make his ultimate sacrifice resonate more deeply with the audience. Finally, allowing Cinna to have a moment of agency in the climax, where he actively chooses to defy the Capitol for Katniss, would solidify his role as a true ally and mentor. |
katniss everdeen | Katniss Everdeen's character arc begins with her role as a protective older sister, driven by a strong sense of responsibility towards her family. Initially, she is focused on survival and protecting Prim, showcasing her bravery when she volunteers for the Hunger Games in place of her sister. As the story progresses, Katniss evolves from a survival-oriented individual to a symbol of rebellion against the oppressive regime of the Capitol. She learns to navigate the complexities of leadership and sacrifice, ultimately embracing her role as the Mockingjay. By the end of the feature, Katniss transforms from a girl who fights for her family's survival to a leader who fights for the freedom of her people, grappling with the moral implications of her actions and the cost of war. | While Katniss's character arc is compelling, it can feel somewhat linear and predictable. Her transformation from a protective sister to a revolutionary leader is powerful, but it may lack depth in exploring her emotional journey. The screenplay could benefit from more nuanced moments that showcase her internal conflicts and the toll that her choices take on her psyche. Additionally, her relationships with other characters, such as Peeta and Gale, could be further developed to enhance her emotional stakes and provide a richer context for her decisions. | To improve Katniss's character arc, consider incorporating more scenes that delve into her internal struggles and the emotional weight of her decisions. This could include flashbacks to her life before the Hunger Games, moments of doubt and fear during the Games, and reflections on the consequences of her actions as a leader. Additionally, enhancing her relationships with Peeta and Gale could provide more complexity to her character, allowing her to grapple with conflicting loyalties and feelings. Introducing moments of vulnerability where she questions her motivations and the morality of her actions could create a more layered and relatable character, ultimately enriching her journey throughout the feature. |
prim | Throughout the feature, Prim's character arc evolves from a fearful and dependent young girl into a more resilient and self-aware individual. Initially, she relies heavily on Katniss for emotional support, expressing her worries and anxieties about their dangerous world. As the story progresses, Prim begins to confront her fears, demonstrating growth in her character. She learns to take on more responsibility, showing her strength and capability, especially in moments of crisis. By the end of the feature, Prim emerges as a symbol of hope and courage, embodying the spirit of survival and resilience, ultimately becoming a source of inspiration for Katniss and others around her. | While Prim's character arc is compelling, it may benefit from deeper exploration of her internal struggles and motivations. The transition from vulnerability to resilience could be more pronounced, with specific moments that showcase her growth. Additionally, her relationship with Katniss could be further developed to highlight the impact of their bond on her transformation. As it stands, Prim's evolution feels somewhat abrupt, and more gradual development would enhance the emotional weight of her journey. | To improve Prim's character arc, consider incorporating key scenes that illustrate her gradual empowerment. For instance, show her taking initiative in small ways, such as helping others in their community or standing up for herself in challenging situations. Additionally, create pivotal moments where she must make difficult choices that test her courage, allowing her to confront her fears directly. Strengthening her relationship with Katniss through shared experiences and challenges can also deepen the emotional resonance of her growth. Finally, including moments of reflection where Prim contemplates her fears and aspirations can provide insight into her character development. |
peeta mellark | Peeta's character arc begins with him as a mistreated boy who feels the weight of his family's expectations and societal prejudices. As the story progresses, he evolves from a passive figure into an active participant in the fight for survival, showcasing his adaptability and resilience. Initially, he is defined by his kindness and willingness to support Katniss, but as the Hunger Games unfold, he faces moral dilemmas that challenge his values. Peeta's journey culminates in a moment of self-sacrifice, where he must confront his own fears and insecurities to protect Katniss and assert his identity. By the end of the feature, Peeta emerges as a symbol of hope and strength, having transformed from a boy burdened by his circumstances into a courageous young man who stands firm in his beliefs and loyalty. | While Peeta's character arc is compelling, it could benefit from deeper exploration of his internal conflicts and motivations. The screenplay tends to focus on his supportive role, which, while important, may overshadow his personal struggles and growth. Additionally, the stakes of his sacrifices could be heightened to create a more impactful emotional resonance with the audience. There are moments where his character could be given more agency, allowing him to make choices that reflect his growth rather than simply reacting to external events. | To improve Peeta's character arc, consider incorporating more scenes that delve into his internal struggles and the impact of his family's expectations on his self-identity. Showcasing moments where he must make difficult choices that challenge his moral compass can add depth to his character. Additionally, creating scenarios where Peeta takes initiative or leads in critical moments can enhance his agency and highlight his growth. Finally, emphasizing the emotional stakes of his sacrifices, perhaps through flashbacks or deeper interactions with Katniss, can strengthen the audience's connection to his journey. |
peeta | Peeta's character arc begins with him as a vulnerable and emotional tribute, showcasing his empathy and desire to connect with others. As the story progresses, he becomes more introspective and strategic, grappling with the Capitol's manipulation and his own feelings for Katniss. He evolves into a compassionate leader who values cooperation and kindness, willing to take risks to protect others. By the climax, Peeta's internal struggles culminate in a realization of the complexities of their situation, leading him to embrace a more calculated approach to survival while still holding onto his core values of love and sacrifice. Ultimately, Peeta emerges as a resilient character who balances his emotional depth with strategic thinking, solidifying his bond with Katniss and his role in the fight against the Capitol. | While Peeta's character arc is compelling, it could benefit from deeper exploration of his internal conflicts and motivations. At times, his character feels secondary to Katniss's journey, which may dilute his impact as a protagonist. Additionally, the balance between his vulnerability and strategic mindset could be more nuanced, as there are moments where his emotional depth is overshadowed by plot-driven actions. The screenplay could also explore the consequences of his decisions more thoroughly, allowing for a richer development of his character. | To improve Peeta's character arc, consider giving him more agency in key moments, allowing him to make decisions that significantly impact the plot. This could involve showcasing his strategic thinking in a way that highlights his emotional struggles, perhaps through flashbacks or internal monologues that reveal his thought process. Additionally, incorporating more scenes that emphasize his relationships with other tributes could enhance his role as a compassionate leader. Finally, ensure that his evolution is mirrored in the climax and resolution, where his growth is evident in how he navigates the final challenges, reinforcing his journey from vulnerability to resilience. |
effie | Effie's character arc begins with her as a naive and somewhat oblivious representative of the Capitol, focused on maintaining decorum and the appearance of success for the tributes. As the story progresses, she begins to witness the brutal realities of the Hunger Games and the emotional toll it takes on the tributes, particularly Katniss. This exposure leads her to question her previous beliefs and the values of the Capitol. By the end of the feature, Effie evolves from a superficial figure into a more empathetic character who understands the gravity of the situation, ultimately supporting the tributes in a more meaningful way, even if it means challenging the Capitol's norms. | While Effie's character arc provides a compelling transformation from naivety to empathy, it risks being overshadowed by the more intense and dramatic arcs of the main characters. Her initial portrayal as overly proper and dismissive may alienate some viewers, making it difficult for them to connect with her journey. Additionally, her comedic elements, while providing relief, may detract from the seriousness of the narrative if not balanced carefully. | To improve Effie's character arc, consider deepening her backstory to provide context for her behavior and beliefs, allowing the audience to empathize with her initial naivety. Incorporating pivotal moments where she witnesses the tributes' struggles firsthand could enhance her transformation and make her eventual change more impactful. Additionally, balancing her comedic traits with moments of genuine reflection and growth will help solidify her role as a more rounded character, ensuring that her journey resonates with the audience while still serving the overall narrative. |
haymitch | Throughout the screenplay, Haymitch's character arc follows a trajectory of growth and redemption. Initially, he is portrayed as a cynical and apathetic mentor, consumed by his addiction and haunted by his past failures. As he guides Katniss and Peeta, he begins to confront his own demons, slowly revealing his vulnerabilities and the reasons behind his behavior. Key moments of connection with the tributes allow him to rediscover a sense of purpose and responsibility. By the climax of the story, Haymitch transforms from a self-destructive mentor into a more supportive and engaged figure, ultimately sacrificing his own safety for the sake of the tributes. His journey culminates in a moment of clarity where he embraces his role as a protector, showcasing his growth from cynicism to a more hopeful outlook on life. | While Haymitch's character arc is compelling, it risks becoming predictable if not executed with nuance. His transformation from a flawed mentor to a protective figure may feel rushed if not properly developed through key interactions and moments of self-reflection. Additionally, the reliance on his cynicism and sarcasm could overshadow the emotional depth of his character, making it difficult for the audience to fully connect with his struggles. The screenplay should ensure that his growth feels earned and gradual, rather than abrupt. | To improve Haymitch's character arc, consider incorporating more flashbacks or moments that reveal his past, allowing the audience to understand the roots of his cynicism and addiction. Introduce pivotal scenes where he faces moral dilemmas that challenge his worldview, prompting deeper introspection. Additionally, create opportunities for meaningful interactions with Katniss and Peeta that highlight his protective instincts and allow for moments of vulnerability. This will help to balance his tough exterior with emotional depth, making his eventual transformation more impactful and relatable. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Stakes Drive Engagement | Scenes with 'High stakes' rated 9 or 10 consistently receive very high 'Overall Grade' scores (8-9). This suggests that when the author focuses on raising the stakes, the audience is more engaged, leading to stronger scene evaluations. This is particularly evident in scenes like 1, 8, 11, 14, 28, 30, 35, 38, 39, 40, 41, 42, 43, and 46. |
Emotional Impact Fuels Story Progression | Scenes with high 'Emotional Impact' scores (9-10) often correlate with scenes that 'Move story forward' with high scores (8-9). This indicates that emotional resonance is a key driver in propelling the narrative. The author is effectively using emotional scenes to advance the plot, as seen in scenes like 1, 8, 11, 14, 23, 24, 28, 30, 35, 38, 41, 42, and 46. |
Tense and Emotional Scenes are Peak Performers | A recurring tonal combination of 'Tense' and 'Emotional' consistently yields the highest 'Overall Grade' scores. When these two elements are present, the scenes tend to score 9 or higher across most metrics, including 'Concept', 'Plot', 'Characters', 'Dialogue', 'Emotional Impact', 'Conflict', and 'High stakes'. This is a powerful combination for the author, exemplified in scenes like 1, 8, 11, 12, 13, 14, 18, 23, 24, 25, 26, 28, 30, 31, 35, 36, 38, 39, 40, 41, 42, 43, 45, and 46. |
Character Changes Aren't Always Tied to High Scores | While 'Character Changes' are rated well (often 7-9), they don't consistently correlate with the absolute highest 'Overall Grade' scores. Scenes with significant character shifts, like 2, 3, 6, 7, and 16, sometimes have lower scores in 'Emotional Impact' or 'Conflict'. This suggests that while character development is present, it might be more subtle or less impactful when not directly tied to intense emotional or high-stakes situations. Scenes with strong character changes are 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46. |
Dialogue Strength Peaks with Emotional Intensity | The 'Dialogue' score is particularly high (9-10) in scenes that are also rated highly for 'Emotional Impact' and 'Overall Grade'. This indicates the author excels at writing impactful and resonant dialogue when the emotional stakes are elevated. Scenes like 2, 11, 14, 20, 21, 28, 31, 34, 35, 36, 41, 42, 44, and 46 demonstrate this correlation. |
Nostalgic Tones Lead to Lower Stakes and Impact | Scenes tagged with 'Nostalgic' tones (16, 17) exhibit significantly lower scores in 'Conflict', 'High stakes', and 'Emotional Impact'. While these scenes still score well in other areas like 'Overall Grade' (9), they represent a dip in the intensity and narrative drive compared to the more 'Tense' and 'Emotional' scenes. This suggests a deliberate pacing choice or a less central role for these moments in terms of immediate plot momentum. |
Comforting/Tender Tones Affect Conflict and Stakes | Scenes with 'Comforting', 'Reassuring', or 'Tender' tones (5, 6) show a marked decrease in 'Conflict' and 'High stakes' scores, dropping to 3 and 4 respectively. While 'Overall Grade' remains decent (8), these scenes seem to be designed for respite or character connection rather than driving the main conflict, which is a valuable function in pacing. |
The Power of the 'Heartbreaking' and 'Harsh' Tones | The tonal descriptor 'Heartbreaking' (Scene 9) is paired with a high 'Overall Grade' (9) and strong 'Emotional Impact' (9), but a slightly lower 'Character Changes' score (8). Similarly, 'Harsh' (Scene 9) contributes to the intensity. This suggests that moments of deep emotional pain, while highly effective, might not always be the primary driver for explicit character transformation within that single scene. |
Defiance as a Catalyst for High Scores | The presence of 'Defiant' in the tone often correlates with high 'Overall Grade' (9), 'Plot' (9), 'High stakes' (9), and 'Move story forward' (9) scores. This suggests that moments of defiance from characters are a powerful engine for raising the stakes and advancing the narrative, as seen in scenes 14, 15, 18, 21, 24, 26, 43, and 46. |
A Consistent Baseline of Quality | Across all scenes, the 'Overall Grade', 'Concept', 'Plot', and 'Characters' scores consistently hover between 8 and 9. This indicates a very strong and consistent foundation in the core elements of the screenplay. The author maintains a high level of quality in these fundamental aspects throughout the entire narrative, suggesting a solid grasp of story structure and character development. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong ability to establish compelling characters, create tension, and explore thematic depth, particularly within a dystopian or challenging setting. The writing is often concise, with sharp dialogue and a focus on emotional resonance. The writer effectively balances action with introspection and has a knack for creating immersive atmospheres. There's a consistent strength in setting up conflicts and character dynamics across the scenes.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Read 'Save the Cat! Writes a Novel' by Jessica Brody. | This book consistently appears in the scene analyses and offers valuable insights into structuring compelling narratives, developing engaging characters, and crafting impactful emotional beats. Its principles are directly applicable to enhancing the overall screenplay. |
Screenplay Study | Study screenplays with strong character dynamics, thematic depth, and nuanced dialogue. Examples include: 'Winter's Bone' by Debra Granik, 'Eternal Sunshine of the Spotless Mind' by Charlie Kaufman, 'The Social Network' by Aaron Sorkin, and 'No Country for Old Men' by Joel and Ethan Coen. | Analyzing these diverse examples will provide the writer with a deeper understanding of how to effectively portray complex character relationships, weave in thematic elements, and craft dialogue that resonates with subtext and emotional layers, addressing key improvement areas. |
Video Analysis | Watch analysis videos on pacing, structure, and subtext in screenwriting. | Visual and auditory learning can offer concrete examples and expert breakdowns of how to effectively implement pacing, structure, and subtext, directly aiding in the refinement of these areas identified as needing improvement. |
Exercise | Practice writing dialogue-only scenes, focusing on character voice, subtext, and revealing motivations without exposition.Practice In SceneProv | This exercise directly targets the need to enhance dialogue nuance and subtext. By isolating dialogue, the writer can focus solely on conveying character and conflict through their spoken words, sharpening their ability to imply rather than state. |
Exercise | Write scenes exploring characters with conflicting philosophical viewpoints or hidden agendas.Practice In SceneProv | This exercise will help deepen character dynamics and thematic exploration by forcing the writer to consider contrasting internal and external motivations. It directly addresses the recurring need for more complex character interactions and layered conflicts. |
Exercise | For each scene, identify the core emotional beat and then rewrite a section focusing solely on conveying that emotion through action and reaction, minimizing overt dialogue.Practice In SceneProv | This exercise aims to strengthen the writer's ability to convey emotional depth through visual storytelling and character actions, complementing their strong dialogue skills and providing alternative ways to express internal states, which is a key element for enhancing character depth. |
Stories Similar to this one
Story | Explanation |
---|---|
The Hunger Games (Film Series) | The screenplay is a direct adaptation of the first book in the Hunger Games series, sharing the same characters, themes, and plot structure. It explores the dystopian world of Panem, the brutal Hunger Games, and the personal struggles of Katniss Everdeen. |
Divergent | Similar to The Hunger Games, Divergent features a dystopian society where individuals are categorized into factions based on their traits. The protagonist, Tris, must navigate a dangerous world while discovering her identity and fighting against an oppressive regime, paralleling Katniss's journey. |
The Maze Runner | This story involves a group of teenagers trapped in a deadly maze, forced to survive and uncover the truth behind their situation. Like Katniss, the characters must rely on their instincts and teamwork to escape a controlled environment, highlighting themes of survival and rebellion. |
Battle Royale | In this Japanese film, a group of high school students is forced to fight to the death on an isolated island. The themes of survival, government control, and the moral dilemmas faced by the characters resonate with the struggles depicted in The Hunger Games. |
The Giver | This story features a dystopian society where emotions and memories are suppressed. The protagonist, Jonas, discovers the dark truths of his community, similar to Katniss's awakening to the harsh realities of the Capitol and the Hunger Games. |
The 100 (TV Series) | Set in a post-apocalyptic world, The 100 follows a group of young people sent back to Earth to determine if it is habitable. The series explores themes of survival, leadership, and moral choices in a harsh environment, akin to Katniss's experiences in the arena. |
The Selection (Book Series) | This series features a competition to win the heart of a prince, set in a dystopian society. The protagonist, America, faces societal pressures and personal dilemmas similar to Katniss's struggles with her role in the Hunger Games and her feelings for Peeta. |
The Darkest Minds | In a world where children with special abilities are hunted by the government, the protagonist, Ruby, must navigate her powers and the dangers of her society. The themes of rebellion against oppressive systems and the fight for survival parallel Katniss's journey. |
The Handmaid's Tale | This story depicts a dystopian society where women are subjugated and controlled. The protagonist, Offred, fights for her freedom and the safety of her loved ones, mirroring Katniss's motivations and the emotional stakes involved in her fight against the Capitol. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Chosen One | Katniss volunteers to take her sister Prim's place in the Hunger Games, marking her as a pivotal figure in the rebellion against the Capitol. | This trope involves a character who is selected or destined to fulfill a significant role, often in a battle against evil. An example is Neo in 'The Matrix', who is prophesied to be 'The One' who will save humanity. |
Love Triangle | Katniss finds herself in a complicated relationship with Peeta and Gale, creating tension and emotional conflict. | A love triangle involves three characters where two are vying for the affection of the third, often leading to drama and tension. A classic example is the triangle between Katniss, Peeta, and Gale in 'The Hunger Games'. |
Sacrificial Lamb | Prim is initially chosen as a tribute, highlighting the theme of sacrifice and the lengths one will go to protect loved ones. | This trope refers to a character who is sacrificed for the greater good or to save others. An example is Harry Potter, who is willing to sacrifice himself to defeat Voldemort. |
Mentor | Haymitch serves as a mentor to Katniss and Peeta, guiding them through the complexities of the Hunger Games. | The mentor trope involves a wise character who provides guidance and support to the protagonist. An example is Mr. Miyagi in 'The Karate Kid', who teaches Daniel the skills he needs to succeed. |
Dystopian Society | The world of Panem is a dystopian society where the Capitol exerts oppressive control over the districts. | This trope features a society characterized by suffering, oppression, and often a totalitarian government. An example is '1984' by George Orwell, where the government surveils and controls every aspect of life. |
The Power of Friendship | Katniss's relationships with her friends and family, particularly with Gale and Prim, emphasize the importance of loyalty and support. | This trope highlights the strength and importance of friendships in overcoming challenges. An example is 'The Lord of the Rings', where the fellowship supports each other through their quest. |
Survival of the Fittest | The Hunger Games themselves are a brutal competition where only the strongest and most cunning survive. | This trope involves characters facing extreme challenges where only the strongest or smartest can survive. An example is 'The Hunger Games' itself, where tributes must outwit and outlast each other. |
The Hero's Journey | Katniss embarks on a journey from a simple life in District 12 to becoming a symbol of rebellion. | This trope follows a hero who goes on an adventure, faces challenges, and ultimately returns transformed. An example is Luke Skywalker in 'Star Wars', who evolves from a farm boy to a Jedi Knight. |
The Underdog | Katniss, coming from the impoverished District 12, represents the underdog against the powerful Capitol. | This trope features a character who is at a disadvantage but fights against the odds to succeed. An example is Rocky Balboa in 'Rocky', who rises from obscurity to challenge a champion. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Survival and Resilience | Katniss's constant need to hunt for food, her ability to endure harsh conditions, her strategic thinking in the arena, and her determination to live despite overwhelming odds. | This theme is central to Katniss's character and the narrative. From her daily struggle to feed her family in District 12 to her calculated moves in the Hunger Games, survival is the driving force. Her ability to adapt, endure physical and emotional hardship, and her refusal to succumb to despair showcase profound resilience. | ||||||||||||
Strengthening Survival and Resilience:
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Sacrifice and Love | Katniss volunteering for Prim, her care for her family, the budding romance between Katniss and Peeta (both genuine and performed), and the loyalty shown by characters like Gale and Madge. | The narrative is propelled by acts of sacrifice driven by love. Katniss's initial act of volunteering for Prim is the catalyst for the entire story. Her love for her family and later for Peeta (and the complexities of that love) motivates many of her choices. The film also explores platonic love and loyalty within the harsh context of District 12. | ||||||||||||
The Oppressive Nature of Authoritarian Regimes and Systemic Cruelty | The Hunger Games themselves, the rigid social structure of Panem, the Capitol's control over the districts, the Peacekeepers, the 'Dark Days' history, and the overall atmosphere of fear and subjugation. | This theme is the bedrock of the narrative. The Hunger Games are the ultimate expression of the Capitol's cruelty, designed to control and terrorize the districts. The stark contrast between the opulent Capitol and the impoverished districts highlights the deep-seated inequality and the systemic nature of the oppression. | ||||||||||||
The Power of Performance and Illusion | The elaborate costumes and presentations by stylists, the media manipulation of the Games, the 'star-crossed lovers' narrative cultivated for Katniss and Peeta, and the need to 'perform' for sponsors and the Capitol audience. | The Capitol uses performance and illusion as tools of control and entertainment. The tributes are packaged and presented to the audience, and their lives are reduced to a spectacle. Katniss and Peeta must also learn to perform, both for survival and to manipulate the system. | ||||||||||||
Inequality and Social Stratification | The vast differences between the Capitol and the districts, the poverty of District 12, the privileges of Madge and other Capitol-aligned individuals, and the unfairness of the reaping system. | The screenplay vividly portrays a society built on stark inequality. The Capitol lives in excess while the districts, particularly District 12, suffer deprivation. This disparity fuels resentment and is a fundamental aspect of the Capitol's control. | ||||||||||||
Loss of Innocence | Katniss's early life of hardship, the forced participation of children in the deadly Games, Rue's death, and the transformation of young people into hardened survivors or victims. | The Hunger Games are a brutal stripping away of innocence. Children are forced to kill or be killed, and even those who survive are irrevocably changed. The narrative shows how such a system corrupts and devastates the younger generation. | ||||||||||||
Hope vs. Despair | Katniss's internal struggles between the will to live and the temptation to give up, the glimmer of hope provided by acts of kindness (like from Cinna, Madge, Peeta's father), and the constant threat of despair. | This theme explores the psychological impact of living under constant threat. While despair is a constant companion, moments of hope—whether from genuine connection or strategic performance—keep characters moving forward. |
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 |
Voice Analysis | |
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Summary: | The writer's voice is characterized by a potent blend of gritty realism and profound emotional depth. This is consistently manifested through sharp, impactful dialogue that exposes characters' inner turmoil and external struggles with vivid imagery and intense emotions. The narrative descriptions are often sparse but serve to accentuate the emotional weight of scenes, focusing on subtle gestures and interactions that speak volumes. The direction emphasizes raw emotions, nuanced character dynamics, and a keen ability to create suspense and tension through understated moments. |
Voice Contribution | The writer's voice contributes significantly to the overall mood of desperation, survival, and emotional resonance in the screenplay. It amplifies the high stakes and the emotional turmoil faced by the characters, fostering a sense of authenticity and depth. This distinct style emphasizes themes of survival, sacrifice, human connection, injustice, and defiance, making the characters' struggles and bonds palpable to the audience. The voice effectively balances stark realities with heartfelt moments, creating a compelling and immersive experience. |
Best Representation Scene | 13 - Dining Room Rebellion |
Best Scene Explanation | Scene 13 best showcases the author's unique voice through its sharp, defiant dialogue from Katniss, which immediately establishes her rebellious spirit against the superficiality of the Capitol's norms. The scene's narrative description is minimal, allowing the actions and dialogue to drive the tension and humor. The direction of the scene, with Katniss's bold act of defiance and Peeta's support, highlights the nuanced character interactions and the underlying power dynamics. This scene effectively balances humor with thematic depth, showcasing the author's ability to create memorable moments that underscore the characters' struggles and the broader themes of the screenplay. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a fresh and nuanced take on the dystopian genre, particularly through its exploration of complex character dynamics, emotional depth, and moral dilemmas. The authenticity of the characters' actions and dialogue, along with the unique incorporation of themes such as sacrifice, identity, and rebellion, contribute to its originality. The screenplay effectively blends familiar tropes with innovative storytelling techniques, such as the use of flashbacks and intimate character moments, which enhance the narrative's originality.
- Most unique situations: The most unique situations in the screenplay are the emotional complexity surrounding the relationships between Katniss, Peeta, and Rue, particularly in moments of vulnerability and sacrifice. Additionally, the portrayal of the Hunger Games as a brutal spectacle juxtaposed with the characters' internal struggles and moral choices adds a distinctive layer to the narrative. The use of the mockingjay pin as a symbol of rebellion and hope, along with the innovative strategies employed by Katniss and Peeta to navigate the Games, further exemplifies the screenplay's originality.
- Overall unpredictability score: 7.5
- Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its character-driven plot and the constant threat of violence and betrayal inherent in the Hunger Games. While certain elements, such as the love story between Katniss and Peeta, follow familiar patterns, the screenplay subverts expectations with unexpected character decisions, such as Katniss's defiance against the Capitol and her complex relationship with Peeta. The introduction of unique twists, such as the rule changes and the emotional stakes involved in the characters' survival, keeps the audience engaged and guessing throughout the narrative.
Goals and Philosophical Conflict | |
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internal Goals | Throughout the screenplay, Katniss's internal goals evolve from a need for survival and security for her family to grappling with her identity and the expectations placed upon her by the Capitol and her circumstances. Ultimately, her internal journey culminates in a struggle to balance her growing feelings for Peeta with the harsh realities of the Hunger Games. |
External Goals | Katniss's external goals transition from basic survival and providing for her family to winning the Hunger Games to secure a future for her loved ones and ultimately rebelling against the Capitol's oppressive system. |
Philosophical Conflict | The overarching philosophical conflict revolves around individual survival versus the greater good. Katniss must navigate her instincts for survival while also contending with the moral implications of her actions and how they affect her loved ones and rebellion against the Capitol. |
Character Development Contribution: The evolution of Katniss's internal and external goals highlights her transformation from a self-protective individual focused on family survival to a determined, strategic player in a rebellion, deepening her complexities as a character.
Narrative Structure Contribution: These goals and conflicts drive the plot forward, creating tension and stakes that engage the audience, while also charting a clear trajectory for Katniss's arc in the larger narrative of resistance against the Capitol.
Thematic Depth Contribution: The interplay between Katniss's internal conflicts and societal expectations adds layers of thematic depth regarding identity, sacrifice, and the cost of survival in an oppressive regime, ultimately reflecting broader social critiques.
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? |
- Physical environment: The world is depicted as a bleak, desolate, and resource-scarce dystopia, characterized by poverty and hardship, particularly in the Outer Districts like District 12. This is contrasted with the opulent and technologically advanced Capitol. Key physical features include the impoverished District 12 with its Seam, Hob marketplace, lakes, and forests, which are vital for survival, and the controlled environments of the Capitol such as prep houses, training centers, and the arena itself. The post-apocalyptic nature is evident in the scarcity and the remnants of a former world.
- Culture: The dominant culture is one of survival and oppression, heavily influenced by the brutal Hunger Games. This involves a stark class divide, with the Capitol culture being focused on spectacle, extravagance, and superficial beauty standards, while the Districts are driven by necessity and resilience. Key cultural elements include the annual Hunger Games as a ritualistic sacrifice and form of entertainment, the barter system in the Districts, the emphasis on public performance and manipulation of perception for survival, and the quiet but growing undercurrent of rebellion. The 'Treaty of Treason' and the history of the 'Dark Days' also form a foundational cultural narrative of control and subjugation.
- Society: The society is rigidly hierarchical, with the Capitol at the apex of power and control, and the twelve districts serving as oppressed subjects. The Capitol uses the Hunger Games as a primary tool of control, maintaining order through fear and a constant reminder of their dominance. Social class is sharply defined, with extreme wealth and privilege in the Capitol contrasting with widespread poverty and hardship in the Districts. The societal structure dictates lives, forcing children into deadly competitions and demonstrating a profound lack of empathy from the ruling elite. There are also hints of a futuristic societal structure where televised events and competitions are integral to cultural norms and social dynamics.
- Technology: Technology is advanced and unevenly distributed. The Capitol possesses sophisticated technology, including advanced surveillance, media manipulation (televised events, interviews), elaborate training equipment, specialized grooming tools, transportation (trains), and even genetically engineered creatures (muttations). In contrast, the Districts, especially District 12, have minimal technology, focusing on basic necessities and survival tools like archery sets and knives. The contrast in technology underscores the vast disparity in power and living conditions between the Capitol and the Districts.
- Characters influence: The unique physical environment of District 12 forces characters like Katniss and Gale to be resourceful hunters and foragers, shaping their survival skills and their reliance on each other. The societal oppression and the constant threat of the Hunger Games instill fear, desperation, and a deep sense of responsibility for loved ones, driving Katniss to volunteer for her sister. The cultural emphasis on appearance and performance in the Capitol, particularly for the Games, compels characters to adopt personas and engage in strategic manipulation, such as Katniss and Peeta's 'star-crossed lovers' narrative. The technological divide influences their abilities and opportunities, with Capitol technology enabling control and spectacle, while its absence in the Districts highlights their vulnerability.
- Narrative contribution: The world-building serves as the bedrock for the narrative. The dystopian setting and the deadly Hunger Games create the central conflict and stakes of the story. The stark contrast between the Capitol and the Districts fuels the narrative of rebellion and survival. The rigid societal structure and the oppressive regime drive the plot forward, pushing characters to their limits. The cultural elements, like the reaping and the Games themselves, provide key plot points and rituals. Technological advancements, or lack thereof, also play a role in the characters' actions and the unfolding events, from surveillance to the tools of survival and combat.
- Thematic depth contribution: The world-building profoundly contributes to the thematic depth. The stark inequalities highlight themes of social injustice, class struggle, and the corrupting nature of power. The Hunger Games explore themes of sacrifice, survival, the dehumanizing effects of violence and entertainment, and the resilience of the human spirit. The contrast between genuine emotion and manufactured personas delves into themes of authenticity versus performance, and the cost of survival. The narrative of rebellion against an oppressive regime also touches upon themes of freedom, hope, and the power of individual agency against overwhelming odds.
central conflict
The central conflict revolves around Katniss Everdeen's struggle for survival in the Hunger Games while navigating the complexities of her relationships, particularly with Peeta and her family, against the oppressive regime of the Capitol.
primary motivations
- Katniss's desire to protect her sister Prim and ensure her safety.
- The need to survive the Hunger Games and return home.
- Peeta's motivation to win Katniss's affection and survive alongside her.
catalysts
- The reaping ceremony that selects Katniss and Peeta as tributes.
- Katniss volunteering to take Prim's place, which sets the story in motion.
- The revelation of the rule change allowing two winners from the same district.
barriers
- The physical dangers of the Hunger Games and the other tributes.
- The emotional turmoil stemming from Katniss's conflicting feelings for Peeta.
- The Capitol's oppressive control and the expectations placed on tributes.
themes
- Survival and sacrifice.
- The effects of war and oppression.
- The complexity of love and relationships under duress.
stakes
The stakes include the lives of Katniss and Peeta, the safety of their families, and the potential for rebellion against the Capitol's tyranny.
uniqueness factor
The story uniquely combines elements of dystopian fiction with a survival narrative, emphasizing the psychological and emotional struggles of its characters in a brutal competition.
audience hook
The intense emotional stakes and the romantic tension between Katniss and Peeta, alongside the thrilling action of the Hunger Games, keep the audience engaged.
paradoxical engine or bisociation
The paradoxical engine lies in Katniss's dual role as both a pawn in the Capitol's games and a symbol of rebellion, creating tension between her survival instincts and her emerging role as a leader.
paradoxical engine or bisociation 2
Another aspect of bisociation is the contrast between the glamorous, superficial world of the Capitol and the harsh realities of District 12, highlighting the disparity and injustice within their society.
Pass / Consider / Recommend Analysis
Grok
Executive Summary
- Katniss' character arc is well-developed, showing her evolution from a reluctant tribute to a defiant survivor, which adds emotional depth and drives the narrative. high ( Scene 5 (Reaping) Scene 11 (Goodbye) Scene 37 (Let the Games Begin) )
- High-tension action scenes are effectively written, building suspense and maintaining viewer engagement through vivid conflicts and stakes. high ( Scene 40 (Mutations) )
- The use of voice-over and internal monologue provides insight into Katniss' thoughts, enhancing thematic elements of survival and sacrifice without over-relying on dialogue. medium ( Scene 1 (Opening) )
- Emotional moments, such as Rue's death, are handled with sensitivity, creating powerful, memorable scenes that resonate with themes of loss and humanity. high ( Scene 42 (A Search for Life) )
- The screenplay maintains a consistent theme of rebellion against oppression, which is woven throughout the narrative and ties into the overall conflict resolution. medium
- Abrupt transitions between scenes disrupt the flow, making some parts feel rushed and less immersive. high ( Scene 2 (INT. Everdeen household- DAY) Scene 3 (EXT. Lake, Forest at border of Seam- DAY) )
- Secondary characters like Gale lack depth and development, appearing more as plot devices than fully realized individuals. medium ( Scene 2 (INT. Everdeen household- DAY) )
- Some dialogue is overly expository, such as the Mayor's speech, which could be shown more dynamically through action or subtler means. medium ( Scene 8 (EXT. The square- DAY) )
- The screenplay could benefit from more detailed visual descriptions to enhance world-building and immersion in the dystopian setting. high
- The ending feels rushed, with little resolution for the romantic subplot or aftermath, leaving some emotional threads unresolved. medium ( Scene 46 (Home Sweet Home) )
- Deeper exploration of the Capitol's society and antagonists, such as President Snow, is absent, reducing the sense of a larger oppressive system. high
- More backstory for Katniss and Peeta's relationship could strengthen their dynamic and make the romance more believable. medium ( Scene 9 (EXT. Town bakery, District twelve streets- DAY) )
- Subplots involving other districts or tributes are underdeveloped, missing opportunities to build a richer ensemble cast. medium
- Lighter moments or humor to balance the dark themes are lacking, which could make the story more engaging and less unrelenting. low
- An epilogue or reflection on the characters' futures is missing, leaving the story feeling incomplete after the climax. medium ( Scene 46 (Home Sweet Home) )
- Flashbacks are used effectively to provide backstory and emotional context, adding layers to character development. medium ( Scene 9 (EXT. Town bakery, District twelve streets- DAY) Scene 16 (EXT. School Courtyard, 8 years ago- DAY) )
- The alliance with Rue highlights themes of compassion and solidarity, creating a poignant contrast to the Games' brutality. high ( Scene 42 (A Search for Life) )
- The screenplay's pacing is generally strong for a feature film, keeping the story moving without unnecessary filler. medium
- Opening voice-over sets a clear tone and hooks the audience immediately with high stakes and personal stakes. high ( Scene 1 (Opening) )
- The interview scenes effectively use media manipulation as a theme, mirroring real-world commentary on spectacle and control. medium ( Scene 44 (A Leg for a Life) )
- Emotional nuance in relationships The writer overlooks subtle emotional transitions, such as Katniss' shift from strategic to genuine feelings for Peeta, which feels abrupt in scenes like sequence 44, reducing authenticity and depth in character interactions. medium
- World-building details There is a lack of descriptive elements for settings, like the Capitol or arena, making it hard to visualize beyond key actions; for instance, sequence 1 and 8 mention locations but don't vividly describe them, potentially alienating readers who aren't familiar with the source material. high
- Formatting inconsistencies The screenplay has irregular scene headings and transitions, such as in sequence 2-3, where cuts feel unpolished, indicating a lack of professional formatting that could confuse readers or producers. medium
- Over-expository dialogue Characters often explain backstory directly, like the Mayor's lengthy speech in sequence 8, which feels unnatural and tells rather than shows, a common trait in amateur writing that disrupts immersion. high
Claude
Executive Summary
- The screenplay excels in its character development, particularly with Katniss Everdeen. The reaping sequence and her goodbye with Prim and her mother are emotionally powerful, effectively establishing Katniss' motivations and the high stakes she faces. high ( Scene 8 (The square) Scene 11 (Katniss' 'Goodbye' room, Justice Building of Seam) )
- The screenplay features several visually striking and memorable sequences, such as the opening ceremonies and the interviews. These scenes effectively showcase the spectacle and grandeur of the Hunger Games, while also providing opportunities for character development and narrative progression. high ( Scene 22 (Opening Ceremony buildings) Scene 34 (Stage) )
- The action sequences in the arena are well-crafted, with a strong sense of tension and high-stakes conflict. The screenplay effectively balances the visceral action with character-driven moments, creating a compelling and immersive experience for the audience. high ( Scene 38 (Cornucopia, Arena) Scene 40 (Woods, Arena) )
- The screenplay's exploration of the relationship between Katniss and her stylist, Cinna, is a strength. Their interactions provide insight into Katniss' character and the larger world of the Hunger Games, while also serving as a source of emotional support and guidance for the protagonist. medium ( Scene 1 (Cinna's workroom) Scene 20 (Cinna's workroom, Capitol Prep House) )
- The training sequences effectively showcase the diverse skills and strategies of the tributes, while also highlighting the camaraderie and alliances that form between them. These scenes add depth and complexity to the narrative. medium ( Scene 24 (Thirteenth floor, Training center) Scene 25 (Waiting room, Training Center) )
- The pacing of the screenplay can be uneven at times, with certain sections feeling rushed or dragging. The interactions between Katniss, Peeta, and Haymitch could be further developed to provide more nuanced character motivations and a stronger sense of the power dynamics at play. medium ( Scene 23 (District Twelve tribute home, Capitol) Scene 31 (Haymitch's room) )
- The relationship between Katniss and Peeta could be explored in greater depth, particularly in the later stages of the screenplay. The shifts in their dynamic and the ambiguity surrounding their feelings could be more fully developed to create a more nuanced and compelling romantic arc. medium ( Scene 30 (Katniss' bedroom) Scene 45 (Train) )
- The screenplay could benefit from more consistent use of flashbacks and non-linear storytelling techniques to provide deeper insights into the characters' backstories and the world of Panem. The brief glimpses into Katniss and Peeta's pasts feel somewhat disconnected and could be better integrated into the overall narrative. low ( Scene 9 (Town bakery, District twelve streets) Scene 16 (School Courtyard, 8 years ago) )
- The screenplay could benefit from more consistent world-building and exposition, particularly in the early stages. While the overall setting and rules of the Hunger Games are established, there are moments where additional context or clarification could enhance the audience's understanding and investment in the story. low ( Scene 21 (Dining room, Prep House) Scene 26 (Waiting room, Training Center) )
- The screenplay could explore the broader political and social implications of the Hunger Games in more depth, beyond the immediate conflict within the arena. The relationship between the Capitol, the districts, and the larger system of oppression could be further developed to add depth and complexity to the narrative. medium ( Scene 36 (Dining room) Scene 44 (Stage) )
- The screenplay could benefit from more consistent world-building and exploration of the daily lives and struggles of the people in the districts, beyond the immediate context of the Hunger Games. Providing more insight into the social and economic realities of Panem could add depth and nuance to the narrative. medium ( Scene 17 (Park of Seam) Scene 19 (Prep house) )
- The screenplay could delve deeper into the psychological and emotional impact of the Hunger Games on the characters, particularly Katniss and Peeta. Exploring their trauma, PTSD, and the long-term consequences of their experiences could add complexity and resonance to the narrative. medium ( Scene 32 (Katniss' room) Scene 45 (Train) )
- The screenplay could benefit from more exploration of the broader sociopolitical context and power structures within the Capitol, beyond the immediate conflict of the Hunger Games. Providing more insight into the motivations and machinations of the Capitol's leadership could add depth and complexity to the narrative. medium ( Scene 1 (Cinna's workroom) Scene 20 (Cinna's workroom, Capitol Prep House) )
- The screenplay could delve deeper into the diverse array of tributes and their individual stories, beyond the main characters of Katniss and Peeta. Providing more insight into the motivations, backgrounds, and fates of the other tributes could add richness and complexity to the narrative. low ( Scene 24 (Thirteenth floor, Training center) Scene 25 (Waiting room, Training Center) )
- The screenplay could explore the technological and scientific aspects of the Hunger Games arena in more depth, providing a deeper understanding of the Gamemakers' capabilities and the challenges faced by the tributes. This could add an additional layer of complexity and intrigue to the narrative. low ( Scene 37 (Underground) Scene 42 (Lake) )
- The screenplay effectively captures the spectacle and pageantry of the Hunger Games, with the opening ceremonies and interviews serving as powerful showcases for the characters and the larger-than-life world of the Capitol. These sequences are visually striking and emotionally resonant, drawing the audience into the high-stakes conflict. high ( Scene 8 (The square) Scene 34 (Stage) )
- The action sequences in the arena are well-crafted, with a strong sense of tension and high-stakes conflict. The screenplay effectively balances the visceral action with character-driven moments, creating a compelling and immersive experience for the audience. high ( Scene 38 (Cornucopia, Arena) Scene 40 (Woods, Arena) )
- The screenplay's exploration of Katniss' emotional journey and her relationships with Prim, her mother, and the Avox girl are particularly strong, providing depth and nuance to the protagonist's character arc. medium ( Scene 11 (Katniss' 'Goodbye' room, Justice Building of Seam) Scene 32 (Katniss' room) )
- The training sequences effectively showcase the diverse skills and strategies of the tributes, while also highlighting the camaraderie and alliances that form between them. These scenes add depth and complexity to the narrative. medium ( Scene 24 (Thirteenth floor, Training center) Scene 25 (Waiting room, Training Center) )
- The screenplay's exploration of the technological and scientific aspects of the Hunger Games arena, such as the muttations and the arena's defenses, adds an intriguing layer of complexity to the narrative and the challenges faced by the tributes. low ( Scene 41 (Woods, Arena) Scene 42 (Lake) )
- Character Motivations While the screenplay does a strong job of establishing the core motivations of the main characters, such as Katniss' desire to protect her sister and Peeta's genuine feelings for Katniss, there are moments where the characters' actions and decisions could be more clearly grounded in their underlying motivations. For example, the shifts in Katniss and Peeta's relationship towards the end of the screenplay could be more nuanced and believable if their individual goals and emotional arcs were more fully developed. medium
- Worldbuilding The screenplay provides a solid foundation for the world of Panem and the Hunger Games, but there are opportunities to delve deeper into the social, political, and economic realities of the districts and the Capitol. Providing more detailed insights into the daily lives of the characters, the power structures within the Capitol, and the broader implications of the Hunger Games could add depth and complexity to the narrative. medium
GPT5
Executive Summary
- The Reaping sequence delivers instant emotional investment by establishing Katniss’s sacrifice, Prim’s vulnerability, and the world’s cruelty — a strong inciting incident that hooks the audience. high ( Scene Sequence 5 (REAPING) )
- High-visual, cinematic description (the ‘girl on fire’ moment) gives the screenplay a memorable, marketable image and solidifies Katniss as an iconic figure; great for marketing and production design. high ( Scene Sequence 22 (SHOW OFF YOUR CHARIOT / Opening Ceremony) )
- Character-defining beats are well placed: Katniss’s arrow-through-the-apple stunt showing defiance and Rue’s death provide powerful emotional and moral turning points that elevate the central themes of sacrifice and protest. high ( Scene Sequence 26 (ATTENTION SPAN (Gamemaker private session)) Scene Sequence 32 (I SHOULD’VE SAVED YOU (Rue/Avox interaction)) )
- Arena set pieces are tense and kinetic; action sequences are clear and have strong stakes, giving the screenplay a propulsive center and numerous cinematic moments. high ( Scene Sequence 38 (Cornucopia / Launch into Arena) Scene Sequence 42 (MUTATIONS / Lake sequence) )
- The emotional core — Katniss’s love for her family and her promise to Prim — is consistently articulated and gives the audience a moral anchor throughout the spectacle. high ( Scene Sequence 11 (GOODBYE (Farewells in 'Goodbye' room)) )
- Haymitch’s characterization is inconsistent: he vacillates between comic relief, drunk caricature, and competent mentor without a clear arc. His sometimes flippant lines undercut the emotional stakes and the scaffold he provides should be cleaner and more purposeful. high ( Scene Sequence 14 (HAYMITCH NEEDS BEHAVIOR TRAINING / TV room) Scene Sequence 31 (HAYMITCH’S TRAINING) )
- Pacing issues around the training/press arc: some scenes drag with exposition and others feel rushed (e.g., transition from training score to strategy). Trim or combine redundant beats and tighten the middle act to maintain momentum. high ( Scene Sequence 29 (WHAT’S MY SCORE? / TV reveal) Scene Sequence 36 (ADVICE / Dining room prior to Games) )
- Post-victory resolution is underdeveloped: the Capitol’s reaction, political consequences (President Snow hint), and Katniss/Peeta relationship ambiguity are not fully explored, leaving dangling emotional and thematic threads. high ( Scene Sequence 43 (I DIDN’T BREAK MY PROMISE / Hospital) Scene Sequence 45 (HOME SWEET HOME / Train home) )
- Some dialogue is on-the-nose and occasionally clunky; this is most noticeable in expository speeches (Mayor’s and Haymitch’s) that could be made subtler and more show-not-tell. medium ( Scene Sequence 20 (CINNA’S workroom and Despicable conversation) )
- Technical and formatting inconsistencies (scene headings, punctuation, typos) make the script read less professionally and distract from story. A professional polish pass is required. high
- A clearer, satisfying exploration of the Capitol’s political backlash after Katniss’s defiance is missing. The script hints at consequences (Haymitch’s warnings, Snow allusions) but never dramatizes the larger political stakes. high ( Scene Sequence 43 (I DIDN’T BREAK MY PROMISE) )
- Prim and Katniss’s emotional aftermath is not re-examined post-Games. A return-to-home act that shows change (family dynamics, Prim’s arc, societal reaction in District 12) is thin. medium ( Scene Sequence 11 (GOODBYE) )
- More connective tissue is needed to show the shift in Katniss’s interior state from skeptical, defensive loner to someone capable of using performance strategically — her internal beat-by-beat development is sometimes implied but not consistently dramatized. medium ( Scene Sequence 24 (TRAINING (elevator / Haymitch coaching)) )
- Peeta’s inner life and skill set (beyond the bakery motif) could be more clearly dramatized earlier so his choices (e.g., revealing love, tactical thinking with berries) feel earned rather than convenient. medium ( Scene Sequence 19 (GROOM ME) )
- A clearer act-break structure and more explicit stakes for each act (what Katniss must achieve by the mid-point vs. the end) would improve dramatic clarity. high
- Cinna’s quieter, humanized styling is a strong counterpoint to Capitol excess; his restraint is a recurring asset that grounds Katniss and offers a loyal ally — the script uses him well and should lean further into that moral support role. high ( Scene Sequence 21 (DESPICABLE (Cinna conversation)) )
- The apple-through-the-wall moment is a sharply written spectacle beat that communicates defiance and theatricality; it’s a key dramaturgical pivot that the script handles effectively. high ( Scene Sequence 26 (ATTENTION SPAN (Gamemaker scene with apple shot)) )
- The muttation wolves are presented vividly and cinematically; these original visual threats heighten the strange, manufactured horror of the arena and are strong production elements. medium ( Scene Sequence 42 (MUTATIONS / Lake sequence) )
- The ‘fake romance’ arc is a smart dramatic device: it advances character, provides sponsor motivation, and complicates Katniss’s internal life. The script uses it to create tension between performance and truth. high ( Scene Sequence 35 (THANKS FOR THE HEADS UP (backstage aftermath with Peeta and Katniss)) )
- Costume and visual metaphor (fire) run as a throughline and function thematically — the ‘girl on fire’ motif is used consistently and effectively to mark Katniss’s transformation into a symbol. high ( Scene Sequence 33 (IT’S BEAUTIFUL (dressing room - interview costume)) )
- Over-reliance on spectacle over interior The writer frequently trusts large set-piece images and crowd reaction beats to carry emotional weight (opening ceremonies, arena hazards) but sometimes under-depicts internal shifts — Katniss’s psychological processing, Haymitch’s growth, and post-Victory political consequences are implied rather than dramatized. Example: the script alludes to Capitol fury (Sequence 43, 45) but doesn’t dramatize the escalation or its immediate impact on District 12. high
- Incomplete secondary arcs Secondary characters (Haymitch, Madge, Prim beyond the initial beat) are present but under-explored. Haymitch converts from drunk mentor to vital sponsor negotiator in moments without a clear arc; Madge’s gifting of the mockingjay pin is meaningful but her later role is negligible. This reduces the emotional payoff for supporting relationships. medium
- Formatting and technical errors Scene headers and sequence labels are inconsistent (mix of 'INT./EXT.' usage and scene title blocks); there are typos and misspellings (e.g., 'wuickly'), punctuation issues, and uneven parenthetical use. These distract from reading and are typical signs of a draft that needs a professional script-edit pass. high
- On-the-nose exposition Large blocks of expository dialogue (Mayor’s long backstory in Sequence 8, Haymitch’s blunt 'don’t die' advice) tell rather than dramatize, weakening scene subtext. Some scenes read like plot-summary rather than lived moments. medium
- Pacing inconsistencies Middle-act lulls and jumpy transitions (training -> interviews -> victory) give the impression of uneven scene triage. Important emotional beats sometimes follow each other too closely or lack connective scenes that show inner change. medium
Gemini
Executive Summary
- The screenplay effectively captures Katniss's fierce protectiveness of Prim, a core motivator for her character. Her volunteering in Sequence 8 and her emotional breakdown in Sequence 32 demonstrate this well. high ( Scene 8 Scene 32 )
- The screenplay successfully establishes the oppressive and manipulative nature of the Capitol and the Hunger Games through dialogue and events, such as the Mayor's explanation (Sequence 8), Effie's demeanor (Sequence 10), and the staged 'romance' (Sequence 22). high ( Scene 8 Scene 10 Scene 22 )
- The early sequences effectively build Katniss and Gale's bond and their shared desire for freedom from District 12. Their banter and discussions about leaving establish their relationship and the bleak reality of their lives. medium ( Scene 2 Scene 3 Scene 4 )
- The flashback sequence establishing the bread-giving incident between young Katniss and Peeta is handled effectively, providing crucial backstory and laying the groundwork for their future interactions. high ( Scene 9 Scene 10 )
- Cinna's role as a supportive and inspiring figure, particularly his creation of the 'girl on fire' costume (Sequence 22) and his belief in Katniss (Sequence 37), adds a valuable element of hope and artistry. medium ( Scene 37 Scene 42 )
- Haymitch's character, while functional, lacks the depth and complexity of his novel counterpart. His alcoholism is portrayed as a constant state rather than a tool or a symptom, and his advice, while present, sometimes feels perfunctory. high ( Scene 23 Scene 24 Scene 31 )
- The developing romance between Katniss and Peeta feels somewhat forced and relies heavily on dramatic pronouncements and plot convenience rather than organic growth. The 'star-crossed lovers' narrative feels less earned and more dictated by the plot. high ( Scene 13 Scene 18 Scene 30 )
- The screenplay relies on external pronouncements and character exposition to convey the romantic dynamic, rather than allowing it to unfold naturally through their interactions. The forced nature of their 'love' for strategic reasons is clear but lacks emotional weight. medium ( Scene 35 Scene 45 )
- The thematic exploration of the Capitol's control and the dehumanization of the tributes could be deeper. While the screenplay shows these elements, it doesn't always delve into the psychological and societal implications as effectively as it could. medium ( Scene 21 Scene 28 )
- Katniss's internal struggles and motivations, particularly her emotional repression and the internal conflict of her feelings for Peeta versus Gale, could be more explicitly explored. While her actions are shown, her internal monologue or more subtle character beats could enhance this. medium ( Scene 29 Scene 31 )
- A more nuanced exploration of the political commentary beyond the surface-level oppression. The screenplay could delve deeper into the economic disparities, the propaganda mechanisms of the Capitol, and the psychological impact of the Games on the districts as a whole. high
- Further development of supporting characters like Gale, whose motivations and feelings towards Katniss could be explored with more depth. His eventual role and his perspective on Katniss's actions could be more impactful. medium
- The stakes of the 'real' world outside the arena could be more palpable. While the threat of the Capitol is present, a clearer sense of what Katniss is fighting for beyond survival and family could be established earlier. medium
- More visual storytelling to convey the horror and psychological toll of the Games, beyond the explicit dialogue and action. The screenplay could leverage more descriptive language or scene breakdowns to enhance the visceral impact. low
- A more thorough exploration of the nuances of Katniss's relationship with Peeta, particularly the blurring lines between genuine affection and strategic manipulation. The screenplay currently leans towards the latter being the primary driver, which could be more subtly woven. medium
- The introduction of Haymitch in Sequence 8, while chaotic, effectively sets up his character and the tone of the Capitol's influence. medium ( Scene 8 )
- The dandelion salad scene (Sequence 17) is a poignant visual metaphor for survival and resourcefulness, linking back to young Katniss's past. high ( Scene 16 Scene 17 )
- Cinna's 'girl on fire' costume is a strong visual and thematic choice, immediately establishing Katniss as a symbol and making her unforgettable. high ( Scene 22 )
- The use of nightlock berries as a plot device for Foxface's death (Sequence 41) is a clever and tense moment that highlights the dangers of the arena and the strategic implications of food choices. medium ( Scene 41 )
- The introduction of the muttations in Sequence 42 is a visually striking and terrifying element, escalating the danger and the psychological impact of the Games. high ( Scene 42 )
- Emotional Resonance The screenplay often states emotions rather than showing them, particularly in the romantic subplot between Katniss and Peeta. For instance, the 'star-crossed lovers' narrative is frequently declared by characters (Sequence 35, 45), but the organic growth of their feelings, beyond strategic necessity, isn't always convincingly portrayed. The screenplay relies on the audience's knowledge of the book rather than building that emotional connection solely through the script. high
- Nuance in Antagonists While the Capitol and the Games are clearly depicted as antagonists, the individual motivations and complexities of characters like President Snow (who is absent), or even the primary Capitol representatives like Effie and Caesar Flickerman, are somewhat superficial. They often serve as functional plot devices rather than fully realized characters with internal conflicts. medium
- Thematic Depth The script touches upon themes of survival, oppression, rebellion, and the media's manipulation of reality. However, these themes are often presented explicitly through dialogue rather than explored through more subtle character interactions, symbolic imagery, or layered subtext. For example, the social commentary on wealth inequality and Capitol decadence could be visually more impactful or subtly woven into scenes beyond direct exposition. medium
- Over-reliance on Expositional Dialogue Several scenes rely heavily on characters explaining plot points or motivations directly to each other, rather than showing these through action or subtext. For example, Haymitch's explanations of strategy (Sequence 24) or the dialogue about the star-crossed lovers narrative (Sequence 35, 45) could be more integrated into the action or character interactions. The Mayor's explanation of the Hunger Games in Sequence 8, while necessary, is a lengthy exposition dump that could be broken up or presented more dynamically. high
- Repetitive Dialogue Patterns Certain phrases or dialogue structures are repeated frequently, sometimes feeling a bit too on-the-nose or less naturalistic. For example, the repeated use of 'may the odds be ever in your favor!' (Sequence 2, 8) is iconic but can feel overused if not handled with care. Katniss's internal monologues, while common in adaptations, are sometimes rendered as spoken dialogue in a way that can feel like telling rather than showing. medium
- Action Descriptions While generally clear, some action descriptions are a bit sparse or could benefit from more evocative language to paint a clearer picture. For example, descriptions of the arena's environment or the emotional impact of certain events could be more detailed. The reliance on 'CUT TO:' for transitions, while standard, can sometimes feel abrupt and less cinematic than more integrated scene transitions. low
DeepSeek
Executive Summary
- Strong opening that immediately establishes stakes and character motivation, with Katniss's volunteer moment creating powerful emotional impact high ( Scene Sequence number 1 (Opening) Scene Sequence number 8 (Reaping) )
- Excellent handling of the performative romance theme, showcasing the manipulation of media and public perception for survival high ( Scene Sequence number 34 (Interviews) Scene Sequence number 44 (A Leg for a Life) )
- Effective arena sequences that maintain tension and showcase Katniss's survival skills and strategic thinking medium ( Scene Sequence number 40 (The Mob) Scene Sequence number 41 (Water) )
- Strong character development for supporting characters like Cinna, who adds depth to the Capitol's complexity medium ( Scene Sequence number 20 (Cinna's workroom) Scene Sequence number 33 (It's Beautiful) )
- Emotionally powerful scenes with Rue that highlight the human cost of the Games and Katniss's capacity for compassion high ( Scene Sequence number 41 (Rue) )
- Pacing drags during the train and early Capitol sequences, with excessive exposition that could be tightened medium ( Scene Sequence number 13-18 (Train sequences) )
- Some dialogue feels overly expository or inconsistent with character voices, particularly in early scenes medium ( Scene Sequence number 2 (Everdeen household) Scene Sequence number 4 (Gale's Equality) )
- Action descriptions could be more cinematic and visually dynamic for better translation to screen low ( Scene Sequence number 39-42 (Arena sequences) )
- The ending feels slightly rushed, with insufficient exploration of the political consequences of Katniss's rebellion medium ( Scene Sequence number 45-46 (Final scenes) )
- Scene transitions could be smoother, with better flow between locations and time jumps low ( Scene Multiple sequences (General) )
- Limited exploration of District 12's daily life and oppression beyond surface level, missing opportunities to deepen world-building medium ( Scene Sequence number 1-4 (Early District 12 scenes) )
- Insufficient development of the political machinery behind the Games and President Snow's direct involvement medium ( Scene Sequence number 23 (The Nerves Are Getting to Me) )
- Lacks deeper exploration of the psychological trauma experienced by the victors post-Games low ( Scene Sequence number 45 (Home Sweet Home) )
- Missing strategic discussions between Katniss and Haymitch that would show their mentorship developing low ( Scene Sequence number 14-15 (Training sequences) )
- Peeta's confession of love is brilliantly executed, creating immediate stakes and complicating Katniss's strategy high ( Scene Sequence number 34 (Interviews) )
- The flower burial and singing scene creates one of the most emotionally resonant moments in the screenplay high ( Scene Sequence number 41 (Rue's death) )
- The muttations designed as fallen tributes adds psychological horror and thematic depth to the climax medium ( Scene Sequence number 42 (Mutations) )
- Katniss's interaction with the Avox provides subtle world-building and character depth medium ( Scene Sequence number 32 (I Should've Saved You) )
- Effective use of flashbacks to establish character history and motivation without heavy exposition medium ( Scene Sequence number 16-17 (Dandelion Salad flashbacks) )
- Political subtext underdevelopment The screenplay occasionally misses opportunities to deepen the political commentary and systemic oppression themes, focusing more on individual survival than the broader revolutionary implications medium
- Supporting character utilization Characters like Gale and Katniss's mother receive limited development despite their importance to Katniss's motivation and backstory medium
- Dialogue exposition Some early dialogue feels overly explanatory, with characters stating themes and backstory rather than showing through action and subtext low
- Scene transition clarity Frequent use of 'CUT TO:' transitions and some awkward time jumps disrupt narrative flow in places low
Memorable lines in the script:
Scene Number | Line |
---|---|
8 | Effie: Happy Hunger Games! And may the odds be ever in your favor! |
1 | KATNISS: Winning means fame and fortune. Losing means certain death. I guess I wouldn’t mind dying, but dying means losing the ones I love. |
22 | Cinna: Katniss, the girl on fire. |
27 | KATNISS: I blew it. I did. I definitely did. |
43 | Haymitch: You're only defense is that you're madly in love. Got it? |