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
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Scene Map 60
# PG SLUGLINE
1 1
"KISS, KISS, BANG, BANG"
2 3
A PEN POINT. It begins WRITING gracefully:
3 3
EXT HOLLYWOOD
4 4
INT HOUSE- LAVISH ENTRYWAY
5 6
INT STORE 2000 MILES AWAY EVENING
6 7
INT DARKENED ROOM- SAME
7 8
EXT SIDE YARD
8 9
INT OFFICE - BACKWITH HARRY
9 10
INT OPULENTHOUSE- LOS .ANGELES- PARTY STILL RAGING
10 12
INT BEDROOM
11 13
EXT FRONTLAWN- IN THE GRASS
12 14
INT NICHOLS CANYONGUEST HOUSE- BEDROOM
13 16
INT BEDROOM
14 17
EXT LAWN NIGHT
15 18
INT SPACIOUS KITCHEN - SAME
16 20
EXT VALETAREA NIGHT
17 21
INT THE DOMINOROOM- NIGHT.
18 25
INT CORNERBOOTH- SEVERALDRINKS LATER
19 27
EXT PARKINGLOT - DOMINOROOM NIGHT
20 28
EXT . HARMONY'SGUEST HOUSE NIGHT
21 30
INT CAR NIGHT
22 32
EXT TOURIST CABIN NIGHT
23 33
EXT MOUNTAIN ROAD - LAKESHORE .- NIGHT .
24 37
EXT LAKESIDEROAD- DRIVING NIGHT
25 38
EXT GAYPERRY'S APARTMENT
26 41
INT HOTELLOBBY NIGHT
27 42
PRESENT DAY - INT. HARRY'S HOTEL SUITE NIGHT
28 49
EXT STREET - WITH GAYPERRY - DRIVING NIGHT
29 50
EXT CITY STREET NIGHT
30 51
INT HALLWAY- THIRD FLOOR
31 53
EXT PARKINGLOT - GROUNDLEVEL
32 55
INT CAR - DRIVING NIGHT
33 56
EXT HARRY'S HOTEL~ DUSK
34 59
EXT HARRY'S HOTEL - WITH HARRYAND PERRY DUSK
35 62
INT RAMON'S HOLLYWOOD
36 64
INT LAX - 8:30 P.M • .,.. TERMINALFOUR
37 66
INT CAR - DRIVING NIGHT
38 67
INT CAB~ WITHHARRY
39 68
INT PARTYPROPER..: WITH HARRY- WANDERING
40 71
INT KITCHENPANTRY- NIGHT ·
41 73
EXT BACKYARD
42 76
INT CAR - DRIVING - HOLLYWOOD
43 78
EXT STREET - SILVERLAKE~ NIGHT
44 79
EXT WOODED
45 82
INT PARK - SAMETIME
46 91
INT HARRY'S HOTELROOM
47 94
INT HOTEL HALLWAY
48 95
INT HARRY'SHOTELROOM- SAME
49 97
EXT DOWNTOWN
50 100
EXT CLINIC NIGHT
51 100
EXT PARKINGLOT
52 105
EXT HILLSIDE - MINUTESLATER
53 107
INT DEXTERCLINIC ---THERAPYROOM NIGHT
54 109
INT DEXTERCLINIC - "THERAPY
55 111
EXT MORTUARY
56 113
EXT ROAD- NEARBY
57 120
EXT UNDERTHE OVERPASS- WITH HARMONY,
58 120
INT HOSPITAL ROOM- TWILIGHT
59 123
INT HOSPITAL ROOM- TOWNMEDCENTER- SAME
60 124
INT /EXT. HOSPITAL LOBBY- TWILIGHT - WITH HARRY
Scene Map
60
# PG SLUGLINE
1 1
"KISS, KISS, BANG, BANG"
"KISS, KISS, BANG, BANG"
"KISS, KISS, BANG, BANG" (2005) You'll.Never Die·In This Town Again by Shane Black
2 3
A PEN POINT. It begins WRITING gracefully:
A PEN POINT. It begins WRITING gracefully:
A PEN POINT. It begins WRITING gracefully: NO ONE WILL UNDERSTAND WHATI'M GOINGTO DO TONIGHT. THAT'S OKAY. Pulling back. Feminine a.ANDSnow, in view.
3 3
EXT HOLLYWOOD
EXT. HOLLYWOOD
EXT. HOLLYWOOD HILLS - NIGHT The CAMERAroams the canyons west. Starts high in the night air. DIPS toward the road, free-falling ••• Whooooosh •• ! Falls into line, alongside fast-moving
4 4
INT HOUSE- LAVISH ENTRYWAY
INT. HOUSE- LAVISH ENTRYWAY
INT. HOUSE- LAVISH ENTRYWAY - NIGHT Camera descends, huge GALAin·progress. Wall to wall money. Two JUNIOR }\GENTSgo by, deep in debate: ICM TYPE
5 6
INT STORE 2000 MILES AWAY EVENING
INT. STORE 2000 MILES AWAY-- EVENING
INT. STORE 2000 MILES AWAY-- EVENING TOY STORE. The east Village, Manhattan. The interior is hushed, dark. Closed for business. An idea which seems lost on HARRYLOCKHART. He pushes a TRAM, heaped with toys he's stealing. Nearby, his pal
6 7
INT DARKENED ROOM- SAME
INT. DARKENED ROOM- SAME
INT. DARKENED ROOM- SAME LAUNDRY Harry kicks the door, SPLINTERS it. They race inside. Pull up short, sucking air. Harry shuts the door. HARRY
7 8
EXT SIDE YARD
EXT. SIDE YARD
EXT. SIDE YARD . I ,Comes out, an explosion of glass. Hits, rolls. -- Comes up rurming as the NEXT SHOT·blows splinters from a tree. A POLICE CAR
8 9
INT OFFICE - BACKWITH HARRY
INT. OFFICE - BACKWITH HARRY
INT. OFFICE - BACKWITH HARRY The seated trio watches, expectantly -- Harry's got.paper in his hand. Gunshot wound, hidden. Blinks. Swallows. Incredibly, begins to do an ACTING SCENE with the woman. ELDERLYWOMAN
9 10
INT OPULENTHOUSE- LOS .ANGELES- PARTY STILL RAGING
INT. OPULENTHOUSE- LOS .ANGELES- PARTY STILL RAGING
INT. OPULENTHOUSE- LOS .ANGELES- PARTY STILL RAGING HARRY, looking thoroughly out of place. Reaching for a fork, his tie in the tomato sauce, we HEAR: · HARRY (V.O.) Now they're screen-testing me, is that
10 12
INT BEDROOM
INT. BEDROOM
INT. BEDROOM - NIGUT Harmony reads to sick MOM,. who lies in bed, beautific •.• HARRY (V.O.) Papa felt her slipping away ••. he blamed
11 13
EXT FRONTLAWN- IN THE GRASS
EXT. FRONTLAWN- IN THE GRASS
EXT. FRONTLAWN- IN THE GRASS Papa turns on an .upstairs LAMP, light STABS DOWNWARD Illuminates the SILLY PUTTY••• Jenny's rugged face. N9w hideously distorted, twisted. Looking up ••• Helpless to interfere.
12 14
INT NICHOLS CANYONGUEST HOUSE- BEDROOM
INT. NICHOLS CANYONGUEST HOUSE- BEDROOM
INT. NICHOLS CANYONGUEST HOUSE- BEDROOM - NIGHT HARMONY,age 34; splayed across the bed. Reading. •In the background, the blue flicker of late-nite TV. ANNOUNCER { ON TV)
13 16
INT BEDROOM
INT. BEDROOM
INT. BEDROOM - SAME FLOP. Harmony hits the bed. Two days, no sleiep. She drowses off ••• book slipping from slack fingers. Lies, skirt hiked, hip laid bare. Party noise,
14 17
EXT LAWN NIGHT
EXT. LAWN- NIGHT
EXT. LAWN- NIGHT Harry gets the shit beat out of him • The ICM guy has him on the ground. Harry curled up in a defensive ball ••• The guy WAILING ON HIM. over and over. The guy spits on Harry. Walks back inside the house.
15 18
INT SPACIOUS KITCHEN - SAME
INT. SPACIOUS KITCHEN - SAME
INT. SPACIOUS KITCHEN - SAME Harry winces as Perry applies peroxide to the cut lip. GAYPERRY Dabney wants you to take detective lessons.
16 20
EXT VALETAREA NIGHT
EXT. VALETAREA - NIGHT
EXT. VALETAREA - NIGHT The valets are. busy chasing some DEER out of the road as HARRY& GAY PERRYwait for their cars. HARRY ••• That girl tonight, man, I'm tellin'
17 21
INT THE DOMINOROOM- NIGHT.
INT. THE DOMINOROOM- NIGHT.
INT. THE DOMINOROOM- NIGHT. HARRYenters the bar. Orients himself. Eyes, roving ••. AnABUNDANTLY-BREASTEDGIRL comes up to him: GIRL Hey, there. I'm Flicka.
18 25
INT CORNERBOOTH- SEVERALDRINKS LATER
INT. CORNERBOOTH- SEVERALDRINKS LATER
INT. CORNERBOOTH- SEVERALDRINKS LATER Harmony's FRIEND, dazed. out of it. Head tilted back. HARMONY strips the label from a beer bottle, frowning ••. HARMONY Leaving my sister. . . Leaving her alone
19 27
EXT PARKINGLOT - DOMINOROOM NIGHT
EXT. PARKINGLOT - DOMINOROOM- NIGHT
EXT. PARKINGLOT - DOMINOROOM- NIGHT HARRYANDHARMONY. Laughing, silly... They walk, hips brushing. The female FRIEND waits sullen in a nearby car. HARRY •.. You're shitting me. Which one?
20 28
EXT . HARMONY'SGUEST HOUSE NIGHT
EXT.. HARMONY'SGUEST HOUSE- NIGHT
EXT.. HARMONY'SGUEST HOUSE- NIGHT KNOCK, KNOCK, KNOCK. Pause... The door opens. HARMONY is there. Terry cloth robe. Hair in disarray. Pissed: HARMONY Do you know what time it is?
21 30
INT CAR NIGHT
INT. CAR - NIGHT
INT. CAR - NIGHT SLEET rushes out 'of the dark •. Pelts the windshield. GAYPERRY drives, Harry beside him. Car, a mellow coccoon. A sign reads Big Bear Lake, 5 Miles. HARRY
22 32
EXT TOURIST CABIN NIGHT
EXT. TOURIST CABIN - NIGHT
EXT. TOURIST CABIN - NIGHT HARRYand GAYPERRY come loping into view, hunched low ••• Squat behind a woodpile, out of sight. Perry removes his gloves. Takes out a mini-cam, grins: GAY PERRY
23 33
EXT MOUNTAIN ROAD - LAKESHORE .- NIGHT .
EXT. MOUNTAIN ROAD - LAKESHORE .- NIGHT .
EXT. MOUNTAIN ROAD - LAKESHORE .- NIGHT . PERRY'S Jaguar drifts to the shoulder, lights extinguished. Both men emerge, silent. HARRY There. Up ahead.
24 37
EXT LAKESIDEROAD- DRIVING NIGHT
EXT. LAKESIDEROAD- DRIVING - NIGHT
EXT. LAKESIDEROAD- DRIVING - NIGHT PERRY.drives. He's donned a dry pair of sweats. Beside him Harry"s still soaked, shivering. Perry's mood: foul. GAY PERRY Bitch. Lies to me, drags me up here to
25 38
EXT GAYPERRY'S APARTMENT
EXT. GAYPERRY'S APARTMENT
EXT. GAYPERRY'S APARTMENT BUILDING- NIGHT RAIN, constant. Perry pulls up beside Harry's rental. HARRY Sorry about the gun.
26 41
INT HOTELLOBBY NIGHT
INT. HOTELLOBBY - NIGHT
INT. HOTELLOBBY - NIGHT HARRYenters, looking like someone turned a hose on him. HARRY. (V .O.) I was tired, I was pissed, I was wetter than Drew Barrymore at a grunge club. I
27 42
PRESENT DAY - INT. HARRY'S HOTEL SUITE NIGHT
PRESENT DAY - INT. HARRY'S HOTEL SUITE - NIGHT
PRESENT DAY - INT. HARRY'S HOTEL SUITE - NIGHT HARMONY paces· jerkily to and fro. Soaked, shivering. High on something or other. HARRYcan'. t stop staring ••• HARRY Your sister's been living out HERE?
28 49
EXT STREET - WITH GAYPERRY - DRIVING NIGHT
EXT. STREET - WITH GAYPERRY - DRIVING - NIGHT
EXT. STREET - WITH GAYPERRY - DRIVING - NIGHT Perry, phone to his ear, incredulous: GAYPERRY Say it again, they gave her BACK?? INTERCUT- HARRY- IN THE BATHROOM
29 50
EXT CITY STREET NIGHT
EXT. CITY STREET - NIGHT
EXT. CITY STREET - NIGHT _J Perry's Jaguar throws a SMOKING180, leaves most of its tires on the road behind it. He blows by camera, CUT TO:
30 51
INT HALLWAY- THIRD FLOOR
INT. HALLWAY- THIRD FLOOR
INT. HALLWAY- THIRD FLOOR Ding •• ! The elevator doors open and out comes Perry. Bolts down the hallway toward HARRY'S ROOM- SAME'TIME Bang-Bang-Bang. Fist puimnels the door --
31 53
EXT PARKINGLOT - GROUNDLEVEL
EXT. PARKINGLOT - GROUNDLEVEL
EXT. PARKINGLOT - GROUNDLEVEL A FLYING CORPSE hurtles into frame. SLAMSdown with a sick crunch. Camera pans up ••• Here come HARRY & PE,RRY, scrambling down the stairs. PARKINGLOT - SAME
32 55
INT CAR - DRIVING NIGHT
INT. CAR - DRIVING - NIGHT
CUT TO: EXT. SANTAMONICABLVD, - NIGHT PERRY'S Jaguar zips along as we HEAR: HARRY (V .o.) I sent her home, believing a) we'd meet tomorrow to go over her case; and b) I
33 56
EXT HARRY'S HOTEL~ DUSK
EXT. HARRY'S HOTEL~ DUSK
EXT. HARRY'S HOTEL~ DUSK Through the window we see HARRYasleep. The NEONLIGHTS outside his window sputter ••• Come to LIFE. CLOSE·ON HAARY-- his eyes pop open. CUT TO: INT. HOTELLOBBY- SAME
34 59
EXT HARRY'S HOTEL - WITH HARRYAND PERRY DUSK
EXT. HARRY'S HOTEL - WITH HARRYAND PERRY - DUSK
EXT. HARRY'S HOTEL - WITH HARRYAND PERRY - DUSK Brisk, windy. They walk side by side. Harry takes out gum, offers a piece to Perry . HARRY Ronnie Dexter? Are they, like, triple-
35 62
INT RAMON'S HOLLYWOOD
INT. RAMON'S HOLLYWOOD
INT. RAMON'S HOLLYWOOD LIQUOR - NIGHT Harry appears at the door, trailed by a homeless man -- HOMELESSMAN Buddy, got a cigarette •. ?
36 64
INT LAX - 8:30 P.M • .,.. TERMINALFOUR
INT. LAX - 8:30 P.M • .,.. TERMINALFOUR
INT. LAX - 8:30 P.M • .,.. TERMINALFOUR The main concourse. An amplified VOICE intones: VOICE (O.S.) At this time, we'd like to begin pre- boarding for flight 12, service from Los
37 66
INT CAR - DRIVING NIGHT
INT. CAR - DRIVING - NIGHT
INT. CAR - DRIVING - NIGHT HARRY is gunning it,. fifty-plus. Phone to his ear: GAYPERRY. ( O. S.) You have reached the offices of Sentron, Inc. Please leave a message •
38 67
INT CAB~ WITHHARRY
INT. CAB~ WITHHARRY
INT. CAB~ WITHHARRY Harry·slouches, hand .bandaged. Phone to his ear. HARMONY (O.S.) What's Jenna's part in this -- I mean, how'd she .~now where Ronnie Dexter would
39 68
INT PARTYPROPER..: WITH HARRY- WANDERING
INT. PARTYPROPER..: WITH HARRY- WANDERING
INT. PARTYPROPER..: WITH HARRY- WANDERING . . . . . . . ·Along the wall, at intervals, WINDOW DISPLAYS. Tastefully naked men, women. Painted. IGNORINGthe
40 71
INT KITCHENPANTRY- NIGHT ·
INT. KITCHENPANTRY- NIGHT ·
INT. KITCHENPANTRY- NIGHT · Harmony waves all of them inside, shuts the door. Moving quickly now. Turns on one of ·those combo TV/VCR units that run $150. Hands Harry a sheet of paper-~ HARMONY
41 73
EXT BACKYARD
EXT. BACKYARD
EXT. BACKYARD HARRY wanders, zc;med-out. Tired. Party,· surging nearby. tt:e's on the outskirts. Sips a stiff drink, it's been a looooong day ••• Bumps someone, starts to apologize -- No need. The guy KEEPS bumping him. Crowding him, as
42 76
INT CAR - DRIVING - HOLLYWOOD
INT. CAR - DRIVING - HOLLYWOOD
INT. CAR - DRIVING - HOLLYWOOD - NIGHT HARMONY, zipping along in her SUV. HARRYin the backseat. Lying prone, cradling his hand. HARMONY
43 78
EXT STREET - SILVERLAKE~ NIGHT
EXT. STREET - SILVERLAKE~ NIGHT
EXT. STREET - SILVERLAKE~ NIGHT Harmony cruises the boulevard, ·eyes roving. Up ahead, tne entrance to a wooded PARK. HARMONY Ha! Bingo.
44 79
EXT WOODED
EXT. WOODED
EXT. WOODED PARK - WITH HARMONY HARMONY,crouched low •• 38 held loosely at her side. Low MIST, inches off the ground. The lamps have HALOS. She moves forward at a dead run~ In and out through the
45 82
INT PARK - SAMETIME
INT. PARK - SAMETIME
INT. PARK - SAMETIME PERRY shoves HARMONY over the brick wall. Follows a s~cond behind, into the PARK. GAY PERRY The girl with the pink hair. She ran
46 91
INT HARRY'S HOTELROOM
INT. HARRY'S HOTELROOM
INT. HARRY'S HOTELROOM They stumble in, tipsy. He sets his drink down. In the dark, watches Harmony shed her top. Step out of her skirt. HARMONY,her toned, contoured form •.•
47 94
INT HOTEL HALLWAY
INT. HOTEL HALLWAY
INT. HOTEL HALLWAY - SAME Harmony's PURSE comes flying out. Strikes her in the chest as she stands outside the room, in tears. HARRY·
48 95
INT HARRY'SHOTELROOM- SAME
INT. HARRY'SHOTELROOM- SAME
INT. HARRY'SHOTELROOM- SAME The phone RINGS, startling him. He snatches it, rasps: HARRY ••• Yeah ••• · HARMONY,
49 97
EXT DOWNTOWN
EXT. DOWNTOWN
EXT. DOWNTOWN STREET - NIGHT Camera CRANESDOWNpast trees, past a sign: DEXTER CLINIC: Rehabilitation Center. In through a WINDOW... A FAT WOMAN sits fashioning a clay.Santa. She is insane.
50 100
EXT CLINIC NIGHT
EXT. CLINIC - NIGHT
EXT. CLINIC - NIGHT They exit by the back door, furtive. Come waltzing up the loading ramp. Crossing the parking lot. Toward the surrounding TREES VOICE (O.S.)
51 100
EXT PARKINGLOT
EXT. PARKINGLOT
EXT. PARKINGLOT The guard marches. them back toward the building. The barrel of the pistol jammed in Perry's back. GAYPERRY (jovial)
52 105
EXT HILLSIDE - MINUTESLATER
EXT. HILLSIDE - MINUTESLATER
EXT. HILLSIDE - MINUTESLATER Just below the lip of the hill, Harry drops the corpse. Calls up to Perry: HARRY
53 107
INT DEXTERCLINIC ---THERAPYROOM NIGHT
INT. DEXTERCLINIC ---THERAPYROOM- NIGHT
INT. DEXTERCLINIC ---THERAPYROOM- NIGHT AURELIO hums a holiday tune ••• Applies gel to ELECTRODES. Plops them on Harry's testicles. DEXTERlooks on • HARRY (playing tough)
54 109
INT DEXTERCLINIC - "THERAPY
INT. DEXTERCLINIC - "THERAPY
INT. DEXTERCLINIC - "THERAPY ROOM"- SAME Aurelio speaks calmly to Harry, GUN never leaving Perry: AURELIO Who. Else. Knows •• ? Who did you tell?
55 111
EXT MORTUARY
EXT. MORTUARY
EXT. MORTUARY Dexter's SUITS, huddled just inside the building. Suits Harmony just fine. She approaches the VAN DOOR, undetected. Lifts the handle -- INT. VAN - CARGOAREA
56 113
EXT ROAD- NEARBY
EXT. ROAD- NEARBY
EXT. ROAD- NEARBY On foot, HARRY& PERRY watch, helpless, as THE VANGOES OVER SIDEWAYS. Smashes down. Slides, 40 miles an hour, out of control -- IMPACT.
57 120
EXT UNDERTHE OVERPASS- WITH HARMONY,
EXT. UNDERTHE OVERPASS- WITH HARMONY,
EXT. UNDERTHE OVERPASS- WITH HARMONY, WATCHING: Draws a sharp breath as LIGHTNINGflashes and JONNY GOSSAMER appears -- the book cover, the exact same image. She blinks -- and then, of course, it's HARRY, it always
58 120
INT HOSPITAL ROOM- TWILIGHT
INT. HOSPITAL ROOM- TWILIGHT
INT. HOSPITAL ROOM- TWILIGHT CLOSE ON HARRY: His eyes OPEN Rack focus to NEON outside the window, flickering. He blinks, sees Harmony: HARMONY Hi. Welcome back~
59 123
INT HOSPITAL ROOM- TOWNMEDCENTER- SAME
INT. HOSPITAL ROOM- TOWNMEDCENTER- SAME
INT. HOSPITAL ROOM- TOWNMEDCENTER- SAME A bed contains a withered OLD MAN. HARRYsteps in. Looks down at him, says quietly: HARRY She never had a chance, did she, Pops •• ?
60 124
INT /EXT. HOSPITAL LOBBY- TWILIGHT - WITH HARRY
INT./EXT. HOSPITAL LOBBY- TWILIGHT - WITH HARRY
INT./EXT. HOSPITAL LOBBY- TWILIGHT - WITH HARRY crossing the lobby, he glimpses a TV in one corner. HIS POV: A BIG BROWNBEAR tosses a beer and says: BEAR Me, I prefer Genaro's •.• but hey, what do

Kiss Kiss Bang Bang

A sarcastic first-person narrator, a dead body in a bathtub, and a string of increasingly dangerous coincidences force a small-time thief to play detective, uncover the truth behind a family's lies, and finally confront what 'being a hero' actually costs.

See other logline suggestions

Overview

Poster
Unique Selling Point

The script's unique selling proposition is its meta-narrative approach to the detective genre, combining self-aware humor with genuine noir elements. The unreliable narrator who frequently breaks the fourth wall creates a fresh, engaging experience that both celebrates and critiques Hollywood tropes. This postmodern sensibility, combined with Shane Black's signature witty dialogue and intricate plotting, makes it stand out in the crowded crime-comedy landscape.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Gemini
 Highly Recommend
Grok
 Highly Recommend
Claude
 Consider
DeepSeek
 Recommend
Average Score: 8.8
Key Takeaways
For the Writer:
To elevate 'Kiss Kiss Bang Bang' from strong to outstanding, focus on refining plot logic by reducing reliance on coincidences and clarifying antagonist motivations through more organic reveals rather than exposition dumps. Tighten pacing in mid-act sections by integrating backstory and emotional beats more seamlessly into action, ensuring that the meta-narrative enhances rather than overshadows character development. Emphasize showing over telling in key moments to deepen emotional resonance and maintain audience immersion, leveraging the script's witty dialogue and thematic depth for a more cohesive and impactful story.
For Executives:
The script has significant commercial value with its genre-blending appeal, sharp humor, and marketable set pieces that could attract A-list talent and audiences seeking intelligent thrillers, potentially rivaling hits like 'Pulp Fiction.' However, risks include audience confusion from overused coincidences and convoluted plotting, which could lead to mixed reviews and reduced box office performance if not addressed, as these elements might alienate viewers expecting tighter logic in mainstream releases. With targeted revisions, it could achieve broad appeal and cult status, but as is, it faces challenges in competing with more polished contemporaries.
Story Facts
Genres:
Crime 40% Thriller 30% Comedy 25% Drama 25% Action 20% Romance 15%

Setting: Contemporary (early 2000s), Los Angeles, California, with various settings including urban environments, a hospital, a rehabilitation clinic, and a party scene.

Themes: The Blurred Lines Between Reality and Fiction, Identity and Self-Discovery, Trauma and Its Lasting Impact, Chaos and Cynicism in Los Angeles, Destiny vs. Choice, The Nature of Truth and Deception, The Superficiality of Hollywood and Fame

Conflict & Stakes: Harry's struggle to uncover the truth behind a series of murders and his complicated relationship with Harmony, with their lives and futures at stake.

Mood: Darkly comedic and suspenseful, with moments of introspection and emotional depth.

Standout Features:

  • Unique Hook: The film's blend of dark humor and crime thriller elements, creating a fresh take on the detective genre.
  • Plot Twist: The revelation of the twin switch involving Ronnie Dexter and the implications for Harmony's sister.
  • Distinctive Setting: The vibrant and chaotic backdrop of Los Angeles, showcasing both its glamorous and gritty sides.
  • Innovative Ideas: The use of meta-narrative and self-aware humor that critiques typical Hollywood tropes.
  • Unique Characters: A diverse cast with complex backgrounds, each contributing to the film's thematic depth.

Comparable Scripts: Kiss Kiss Bang Bang (2005), The Nice Guys (2016), Chinatown (1974), L.A. Confidential (1997), The Big Lebowski (1998), Inherent Vice (2014), The Maltese Falcon (1941), Veronica Mars (2004-2007), Gone Girl (2014), The Departed (2006)

Data Says…
Feature in Alpha - Could have inaccuracies

Our stats model looked at how your scores work together and ranked the changes most likely to move your overall rating next draft. Ordered by the most reliable gains first.

1. Conflict (Script Level)
Big Impact Script Level
Your current Conflict (Script Level) score: 7.4
Typical rewrite gain: +0.6 in Conflict (Script Level)
Gets you ~8% closer to an "all Highly Recommends" score
Confidence: High (based on ~4,676 similar revisions)
  • This is currently your highest-impact lever. Improving Conflict (Script Level) is most likely to move the overall rating next.
  • What writers at your level usually do: Writers at a similar level usually raise Conflict (Script Level) by about +0.6 in one rewrite.
  • Why it matters: At your level, improving this one area alone can cover a meaningful slice of the climb toward an "all Highly Recommends" script.
2. Theme (Script Level)
Big Impact Script Level
Your current Theme (Script Level) score: 8.0
Typical rewrite gain: +0.45 in Theme (Script Level)
Gets you ~7% closer to an "all Highly Recommends" score
Confidence: High (based on ~3,490 similar revisions)
  • This is another meaningful lever. After you work on the higher-impact areas, this can still create a noticeable lift.
  • What writers at your level usually do: Writers at a similar level usually raise Theme (Script Level) by about +0.45 in one rewrite.
  • Why it matters: After you address the top item, gains here are still one of the levers that move you toward that "all Highly Recommends" zone.
3. Character Development (Script Level)
Moderate Impact Script Level
Your current Character Development (Script Level) score: 7.7
Typical rewrite gain: +0.3 in Character Development (Script Level)
Gets you ~6% closer to an "all Highly Recommends" score
Confidence: High (based on ~3,668 similar revisions)
  • This is another meaningful lever. After you work on the higher-impact areas, this can still create a noticeable lift.
  • What writers at your level usually do: Writers at a similar level usually raise Character Development (Script Level) by about +0.3 in one rewrite.
  • Why it matters: After you address the top item, gains here are still one of the levers that move you toward that "all Highly Recommends" zone.

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.94
Key Suggestions:
To elevate the script's creative depth, focus on enhancing the character arcs of supporting characters like Harmony and Gay Perry by delving deeper into their backstories and motivations, as this will add emotional layers and improve relatability. Additionally, refine pacing and plot clarity in key scenes to ensure smoother narrative flow and heightened tension, drawing from the script's strong foundation in Harry's transformation and witty dialogue to create a more cohesive and impactful story.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
To improve 'Kiss Kiss Bang Bang' from a creative standpoint, focus on tightening the narrative by reducing convoluted subplots and characters to enhance clarity and emotional depth. Balancing the sharp humor with more poignant moments will strengthen character arcs, particularly Harry's and Harmony's relationship, while refining pacing and transitions will create a smoother, more engaging story that better serves the mystery and thematic elements without overwhelming the audience.
Characters

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

Key Suggestions:
The character analysis highlights that while the protagonists are engaging and well-scored, enhancing their emotional depth through deeper exploration of backstories and internal conflicts can significantly improve the script's resonance. Focus on strengthening character arcs, particularly for Gay Perry, who shows less transformation, and addressing weak scenes like confrontations to ensure authentic emotional beats, ultimately making the narrative more compelling and thematically cohesive from a craft perspective.
Emotional Analysis

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

Key Suggestions:
The script's emotional landscape is rich but imbalanced, with excessive tension in the latter half risking audience fatigue. To improve, focus on introducing emotional relief, deepening character arcs with more nuanced empathy and motivations, and ensuring key scenes have better build-up and payoff for greater impact. By modulating intensity and adding layers of sub-emotions, the writer can create a more engaging, varied emotional experience that enhances the noir tone without overwhelming viewers.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The goals_pc analysis highlights Harry's strong character arc and thematic depth, but to improve the script's craft, focus on refining the integration of internal and external goals to avoid abrupt tonal shifts between comedy and drama. Enhancing the philosophical conflict resolution could provide a more cohesive narrative, ensuring that themes like guilt versus redemption are clearly tied to character actions for greater emotional resonance and pacing.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script's strength lies in its meta-commentary and blurring of reality and fiction, which could be enhanced by tightening the unreliable narration to better serve character development and plot progression, ensuring it doesn't overshadow emotional beats. Focus on deepening the interplay between themes like trauma and identity to add layers to characters like Harmony, making her journey more resonant and less reliant on coincidences, while refining the chaotic LA setting to heighten tension without diluting the core theme. This would make the story more cohesive and impactful, elevating it from clever satire to a profound exploration of self-deception.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script's inconsistencies in character arcs, timeline, and plot logic undermine its narrative strength, particularly in a genre-blending story like this. To improve, focus on gradual character development, such as showing Harry's detective skills evolving through incremental learning experiences, and ensure plot elements like Jenna's impersonation are logically supported with earlier hints or backstory. Streamlining redundant expositions will tighten the pacing, making the story more engaging and believable for audiences who appreciate Shane Black's style of witty, cynical thrillers.

Scene Analysis

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

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

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
To elevate the script creatively, focus on refining the balance between the sharp, cynical dialogue and emotional depth in voiceovers, ensuring that meta-commentary enhances rather than overwhelms the narrative. By studying scenes like the highlighted best scene, the writer can amplify vivid imagery and dynamic pacing to create more immersive, emotionally resonant moments, while avoiding over-reliance on absurdity to keep the story grounded and impactful.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay's blend of humor and tension is a strong asset, but to enhance its creative impact, focus on deepening character motivations and internal conflicts for greater emotional resonance, refining pacing to maintain consistent engagement, and adding subtext to dialogue to make interactions more nuanced and impactful, ultimately elevating the story's thematic depth and audience connection.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The script's world building masterfully crafts a neo-noir atmosphere that enhances themes of cynicism and redemption, but to improve it creatively, focus on refining the integration of physical environments and cultural elements to avoid overused tropes, such as clichéd rainy chases or Hollywood satire. This would make the world feel more original and immersive, allowing character arcs—like Harry's impulsive decisions and Harmony's quest for closure—to emerge more naturally from the setting, ultimately strengthening the narrative's emotional depth and pacing for a more compelling story.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script's strong emotional depth and witty dialogue are assets, but to elevate it, incorporate more tonal variety to avoid predictability and fatigue from overused tense and sarcastic elements. Focus on weaving emotional impact into lighter scenes for consistent character growth, and bolster early scenes with stronger hooks to match the escalating drama, ensuring a more engaging narrative arc that keeps audiences invested throughout.
Loglines
Presents logline variations based on theme, genre, and hook.