There's something about Mary
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo
USP: This unpredictable and hilarious screenplay follows Ted, a man who, after years of harboring a high school crush, embarks on a quest to reconnect with his long-lost love, Mary. Along the way, he encounters an unforgettable cast of characters, including the eccentric private investigator Healy, who adds a mix of chaos and humor to the pursuit. The unique storytelling style blends witty dialogue, quirky situations, and a touch of heartwarming drama, capturing the nuances of human relationships and the complexities of second chances. The script's standout elements include: * **Authentic and Compelling Characters:** Ted's awkwardly endearing nature, Healy's quirky charm, and Mary's resilient spirit make the characters relatable and emotionally engaging. * **Unconventional Storytelling:** The screenplay defies genre conventions, seamlessly transitioning between humor, drama, and mystery, keeping the audience captivated throughout. * **Witty Dialogue and Quirky Situations:** The script is filled with memorable and laugh-out-loud moments, adding a layer of comedy to the heartwarming story. * **Thought-Provoking Themes:** Beneath the humor and entertainment, the screenplay explores themes of love, second chances, and the complexities of human relationships, leaving a lasting impression on viewers. This unique and entertaining script will appeal to audiences seeking a blend of laughter, heart, and thought-provoking storytelling, making it a standout choice for production.
Overview
Genres: Comedy, Drama, Romance, Romantic Comedy, Thriller, Crime, Mystery, Action, Dark Comedy
Setting: The time period, Miami
Overview: The screenplay for "There's Something About Mary" receives an overall score of 7.9, reflecting its strong character development, engaging premise, and effective use of humor. However, there are opportunities to enhance the plot's originality, emotional depth, and visual storytelling to elevate the screenplay further.
Themes: Love, Friendship, Loss and Grief, Identity and Self-Acceptance, Betrayal and Deception
Conflict and Stakes: Ted's attempts to impress Mary and win her over, despite her initial reluctance. The conflict between Ted and Healy, as Ted realizes that Healy is not who he claims to be.
Overall Mood: Bittersweet
Mood/Tone at Key Scenes:
- Scene 1: Ted and Mary's first meeting is awkward and uncomfortable, setting the tone for their relationship.
Standout Features:
- Unique Hook: The screenplay's unique blend of humor and drama.
- Plot Twist : The revelation that Healy is not who he claims to be.
- Distinctive Setting : The screenplay's setting in Miami.
- Innovative Idea : The screenplay's exploration of the power of friendship.
- Unique Characters : The screenplay's cast of well-developed and memorable characters.
- Genre Blend : The screenplay's unique blend of comedy and drama.
Comparable Scripts:
Market Analysis
Budget Estimate:$20 million
Target Audience Demographics: Adults aged 25-54, fans of comedy and drama.
Marketability: The screenplay has strong characters, a compelling story, and a unique blend of humor and drama that will appeal to a wide audience.
The screenplay is well-written and has a strong cast, but the story may be too niche for a mainstream audience.
The screenplay has a strong premise and a talented cast, but the execution may not be strong enough to appeal to a wide audience.
Profit Potential: Moderate, due to its appeal to a niche audience.
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
- **Dialogue (46.34%) and Character Development (45.12%)**: This screenplay has strong characterization and effective dialogue, which are crucial for engaging audiences. These elements allow readers to connect with and care about the characters, making the story more impactful.
- **Originality (54.30%)**: The screenplay shows a unique and fresh approach to storytelling, setting it apart from conventional narratives and potentially capturing the attention of readers and audiences.
- **Plot Development (4.07%)**: The storyline may need further refinement to create a more compelling and engaging narrative. Exploring different plot points, conflicts, and character motivations could enhance the overall impact of the story.
- **Emotional Impact (17.07%)**: Consider exploring deeper emotional connections between characters and events. Heightening the emotional stakes and creating a strong emotional resonance can captivate readers and leave a lasting impression.
The percentile patterns suggest an **intuitive writing style**, with strengths in character and dialogue development. This writer may excel in creating relatable characters and writing natural-sounding dialogue that drives the story forward.
Balancing Elements- While the screenplay has strong dialogue and characterization, it could benefit from giving more attention to plot development to create a more dynamic and engaging narrative.
- To enhance the emotional impact, consider exploring deeper emotional connections between characters and events, and incorporating more emotionally resonant moments throughout the story.
Intuitive
Overall AssessmentThe screenplay showcases strong characterization, engaging dialogue, and originality, creating a foundation for a compelling story. However, it would benefit from further development in plot and emotional impact to elevate its overall potential.
How scenes compare to the Scripts in our Library
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Percentile | Before | After |
|---|---|---|---|---|
| Script Structure | 8.30 | 86 | Parasite: 8.20 | Casablanca: 8.30 |
| Scene Unpredictability | 7.60 | 64 | The Umbrella Academy: 7.59 | There's something about Mary: 7.60 |
| Script Structure | 8.15 | 59 | Cruel Intentions: 8.14 | There's something about Mary: 8.15 |
| Script Theme | 8.30 | 56 | A Complete Unknown: 8.20 | the dark knight rises: 8.30 |
| Scene Formatting | 8.17 | 53 | American Fiction: 8.15 | There's something about Mary: 8.17 |
| Script Characters | 8.00 | 48 | Ex-Machina: 7.90 | Casablanca: 8.00 |
| Scene Originality | 8.69 | 47 | Call me by your name: 8.68 | There's something about Mary: 8.69 |
| Script Originality | 7.90 | 43 | The Addams Family: 7.80 | Erin Brokovich: 7.90 |
| Scene Internal Goal | 8.03 | 39 | The father: 8.02 | There's something about Mary: 8.03 |
| Script Premise | 7.90 | 39 | Zootopia: 7.80 | fight Club: 7.90 |
| Scene Pacing | 8.19 | 38 | Coda: 8.18 | There's something about Mary: 8.19 |
| Scene Engagement | 8.92 | 36 | Passengers: 8.91 | There's something about Mary: 8.92 |
| Scene Characters | 8.2 | 35 | September 5: 8.1 | face/off: 8.2 |
| Scene Dialogue | 7.6 | 34 | Coco: 7.5 | the boys (TV): 7.6 |
| Script Conflict | 7.20 | 28 | Mr Robot: 7.10 | There's something about Mary: 7.20 |
| Overall Script | 7.90 | 27 | Argo: 7.85 | There's something about Mary: 7.90 |
| Script Emotional Impact | 7.50 | 27 | Sherlock Holmes: 7.40 | the pursuit of happyness: 7.50 |
| Scene External Goal | 7.08 | 26 | Elvis: 7.07 | the pursuit of happyness: 7.08 |
| Scene Character Changes | 6.1 | 15 | Hot Fuzz: 6.0 | There's something about Mary: 6.1 |
| Scene Story Forward | 7.3 | 12 | A real pain : 7.2 | There's something about Mary: 7.3 |
| Scene Emotional Impact | 6.9 | 11 | The Addams Family: 6.8 | There's something about Mary: 6.9 |
| Scene Conflict Level | 6.4 | 11 | Moonlight: 6.3 | There's something about Mary: 6.4 |
| Scene Concept | 7.7 | 10 | Mulholland Drive: 7.6 | There's something about Mary: 7.7 |
| Scene High Stakes | 5.5 | 6 | Midnight in Paris: 5.3 | There's something about Mary: 5.5 |
| Script Visual Impact | 6.80 | 6 | Dr. Jekyll and Mr Hyde : 6.70 | There's something about Mary: 6.80 |
| Scene Plot | 7.2 | 4 | Swingers: 7.0 | There's something about Mary: 7.2 |
| Scene Overall | 7.9 | 3 | Mind Hunter: 7.8 | There's something about Mary: 7.9 |
Writer's Voice
Summary:The writer's voice is characterized by witty dialogue, realistic character interactions, and a blend of humor and vulnerability.
Best representation: Scene 3 - Awkward Encounter with Warren. This scene effectively encapsulates the writer's unique voice through its blend of humor, realism, and relatable character dynamics. The awkwardness of Ted's situation, the unexpected kindness of Mary's father, and the hilarious misunderstanding regarding Tourette's syndrome all contribute to a memorable and engaging scene.
Memorable Lines:
- Tucker: I LOVE HER, OKAY?! (Scene 31)
- Mary: I love you too, Ted. I think I always have. (Scene 39)
- TED: Crushes don't last twelve years. (Scene 8)
- Renise: I think I was very clear, Ted. If everything else falls apart, maybe. (Scene 1)
- Dom: You're a real glass-is-half-empty guy. You got a fucking guardian angel, man. (Scene 7)
Writing Style:
The screenplay exhibits a blend of writing styles, primarily influenced by the works of John Hughes, Judd Apatow, and Quentin Tarantino. The scenes often capture the essence of teenage experiences, relationships, and coming-of-age themes. The dialogue is witty and engaging, with a focus on character-driven narratives and comedic elements. However, the screenplay also incorporates elements of drama and suspense, resulting in a diverse and dynamic overall writing style.
Style Similarities:
- John Hughes
- Judd Apatow
- Quentin Tarantino
Story Shape
Emotions Elicited
Engine: Gemini
Consider
Executive Summary
The screenplay for 'There's Something About Mary' is a comedic rollercoaster filled with outrageous humor and memorable situations. It boasts sharp dialogue, effective use of voiceover narration, and well-developed characters, particularly Mary. However, the humor can be crude, some character arcs lack depth, and the pacing could be tightened. The screenplay also misses opportunities to explore emotional consequences and thematic depth. Overall, it has strong potential as a commercial comedy but would benefit from addressing its weaknesses.
- The screenplay excels in creating outrageous and memorable comedic situations, such as the zipper incident in scene 6 and the rest stop raid in scene 21, which are likely to stay with audiences long after viewing. high
- The dialogue is sharp, witty, and often hilarious, filled with quotable lines and clever exchanges that contribute to the overall comedic tone. high
- The use of voiceover narration effectively establishes Ted's perspective and inner thoughts, providing insight into his motivations and desires. medium ( Scene 1 Scene 7 Scene 8 )
- The screenplay successfully balances its outrageous humor with moments of genuine heart and character development, particularly in Mary's relationship with her brother Warren and Ted's persistent feelings for Mary. medium
- Mary's character is well-developed and defies typical romantic comedy tropes. She is strong, independent, and has clear priorities, making her a relatable and engaging protagonist. medium ( Scene 12 Scene 24 )
- The humor, while often hilarious, can occasionally veer into crude and offensive territory, potentially alienating some viewers. high
- Healy's character, while initially funny, becomes increasingly one-dimensional and cartoonish as the story progresses. medium ( Scene 9 Scene 14 Scene 15 )
- The introduction of Dom as Woogie feels somewhat forced and convenient, and his sudden obsession with Mary lacks proper development. medium ( Scene 37 Scene 38 )
- The pacing in the second half of the screenplay could be tightened, particularly during the extended sequences of Healy's lies and the competition between the various suitors. medium
- The ending, while consistent with the film's over-the-top humor, feels abrupt and leaves several plot threads unresolved, such as the fate of Healy and Tucker. low
- The screenplay could benefit from exploring the emotional consequences of Ted's actions and the impact of his deception on Mary. high
- There is an opportunity to delve deeper into Mary's internal conflict between her desire for a stable relationship and her commitment to her brother Warren. medium
- The screenplay lacks a clear thematic message or takeaway beyond its comedic elements. medium
- The screenplay's success hinges largely on the casting and performances of the actors, particularly for the comedic roles. high
- The film's soundtrack and music choices will play a crucial role in establishing the comedic tone and enhancing the overall viewing experience. medium
Engine: Claude
Consider
Executive Summary
The screenplay for 'There's Something About Mary' presents a unique and entertaining romantic comedy that explores the pursuit of a single woman by a group of quirky, yet well-developed suitors. While the plot can feel disjointed at times, the strong character development, engaging tone, and entertaining blend of genres make it a strong contender for consideration. With some refinement to the narrative structure and additional depth to the central character's motivations, the screenplay could be elevated to a highly recommended status.
- Strong character development that explores the personal journeys of the different suitors pursuing Mary. The screenplay does a good job of establishing their motivations and backstories. high
- Engaging and humorous tone that balances the comedic moments with heartfelt emotional beats. The screenplay has a good sense of pacing and entertainment value. medium
- Unique premise that explores the idea of multiple men competing for the affection of a single woman, each with their own quirks and agendas. medium
- The plot can feel disjointed at times, with several storylines and characters that don't always connect seamlessly. Tighter narrative structure could help unify the overall story. medium
- Some of the supporting characters, like Magda and Warren, could be further developed to have a stronger impact on the central narrative. low
- The ending, while entertaining, feels a bit rushed and could use additional refinement to land the emotional beats more effectively. medium
- Deeper exploration of Mary's own motivations and internal journey could strengthen the screenplay. More insight into her perspective and decision-making process would add depth. medium
- The screenplay's ability to blend comedy, drama, and romance, creating a unique and entertaining blend of genres. high
- The strong ensemble cast of characters, each with their own distinct personalities and quirks, which adds to the overall appeal and entertainment value. high
Engine: GPT4
Consider
Executive Summary
The screenplay 'There's Something About Mary' presents a unique blend of comedy and romance, with well-crafted dialogue and a compelling narrative. While it excels in humor and character development, particularly with the protagonist Mary, it could benefit from tighter pacing and more developed supporting character arcs. The screenplay holds potential for strong audience appeal due to its humorous and engaging storyline.
- The screenplay features a unique blend of humor and romance, creating a compelling narrative that keeps the audience engaged. high
- The introduction of characters is well-executed, providing clear insights into their personalities and motivations early on. high ( Scene 1 Scene 2 )
- The climax of the screenplay effectively resolves the main conflict and provides a satisfying conclusion to the story. high ( Scene 39 )
- The use of dramatic irony and unexpected twists adds depth to the narrative and maintains viewer interest. medium ( Scene 28 )
- The dialogue is witty and well-crafted, contributing to character development and the overall comedic tone of the screenplay. high
- Some scenes may benefit from tighter pacing to enhance the overall flow and maintain momentum throughout the film. medium
- The character arcs for some supporting characters could be more developed to provide greater depth and contribute more significantly to the main storyline. medium
- The screenplay could explore more complex emotional themes to add layers to the characters' relationships and interactions. low
- Incorporating more visually descriptive elements could enhance the screenplay's appeal to directors and cinematographers. low
- The ending, while satisfying, could be expanded to include a more detailed resolution for secondary plot lines. medium
- The screenplay lacks a strong antagonist which could heighten the stakes and add tension to the narrative. high
- There is a need for more diverse settings to visually enrich the film and provide a varied backdrop for the action. medium
- The script could benefit from a subplot that parallels or contrasts the main plot to enhance thematic depth. medium
- Including more cultural or topical references could make the screenplay more relatable and timely for contemporary audiences. low
- The emotional transitions of characters could be more nuanced to avoid abrupt changes in behavior or motivation. medium
- The screenplay's humor is consistently effective, utilizing both situational and verbal comedy to great effect. high
- The character of Mary is particularly well-written, with a clear and compelling character arc that drives the narrative. high
- The screenplay skillfully balances comedic and romantic elements, appealing to fans of both genres. high
- The use of miscommunication as a plot device is cleverly executed, providing both humor and conflict. medium
- The screenplay's structure is solid, with well-placed plot points and climaxes that enhance the storytelling. high
Screenplay Insights:
Premise: 7.9, The screenplay for "There's Something About Mary" presents a humorous and intriguing premise, centered around a nostalgic quest for a lost love and the unexpected consequences that unfold. The premise's strength lies in its blend of comedy, romance, and outlandish situations. However, there's room for refinement in clarifying Ted's motivations and exploring the deeper emotional impact of his journey. See More
Structure: 8.3, This screenplay effectively weaves together multiple plotlines, creating a cohesive and engaging narrative. The detailed character development and exploration of themes enhance the story's impact, resulting in a well-structured and emotionally resonant screenplay. While certain aspects could be refined to improve pacing and plot clarity, the screenplay demonstrates strong storytelling abilities and captivating character arcs. See More
Theme: 8.3, This screenplay effectively explores themes of love, perseverance, and self-acceptance through the intertwined stories of its characters. It manages to convey its messages with varying degrees of success, but the overall exploration of theme and message is engaging and thought-provoking. See More
Visual Impact: 6.8, The screenplay demonstrates a mix of strengths and areas for improvement in its visual imagery. While it effectively captures the tone and setting, there are opportunities to enhance the vividness, creativity, and emotional impact of certain scenes. See More
Emotional Impact: 7.5, The screenplay presents a series of heartfelt moments and explores complex emotions, but it could benefit from further development of emotional arcs and depth of character motivations. Enhancing emotional complexity and pacing would significantly elevate the film's ability to resonate with audiences on a profound level. See More
Conflict: 7.2, The screenplay presents a compelling central conflict between Ted's relentless pursuit of Mary and the obstacles he encounters along the way. While the stakes are personal and emotionally resonant, their escalation throughout the narrative could be strengthened to heighten tension and engage the audience more deeply. See More
Originality: 7.9, The screenplay presents several original and creative aspects, particularly in its unique character dynamics, quirky humor, and the exploration of themes through unconventional storytelling techniques. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- In a high school parking lot, Ted nervously asks Renise to prom. Renise, unenthusiastic, informs him she's waiting for someone else to ask her. Ted, confused, agrees to wait for her decision. Renise abruptly leaves, leaving Ted perplexed.
- Mary arrives at school and is immediately noticed by Ted, who is smitten with her. Ted's friends tease him about his lack of a date, while Warren, Mary's developmentally disabled brother, approaches a group of kids in search of his baseball. When Warren is mistakenly attacked by a girl's boyfriend, Ted intervenes, impressing Mary. Despite her being accompanied by her date, Woogie, Mary expresses gratitude towards Ted for helping her brother.
- After getting into a fight, Warren gives Ted a piggyback ride as Mary walks ahead. Ted jokes about his limp, later confessing to falling off the school and having a football player land on his leg. Upon arriving home, Mary suggests they attend prom together, but Ted brushes it off. Despite his excitement, Ted's friends question his intentions, leading to a bet. Later that evening, Ted arrives at Mary's house in a tuxedo, only to be informed by her father that she has already left with Woogie.
- Ted's attempt to play a prank triggers a fight with Warren, resulting in an embarrassing mishap in the bathroom. Mary tries to pacify the situation while her parents express concern over Ted's erratic behavior.
- Ted is stuck in the bathroom and seeks help from Mary's Dad and Mom. Mary and Warren listen in outside the door as Ted's predicament becomes increasingly embarrassing.
- Ted gets his zipper stuck on his skin, causing a commotion that involves a police officer, paramedics, and a hospital trip.
- Ted, in his 30s, seeks therapy to address past heartbreak and a recent panic attack. His unconventional therapist, often absent from the room, suggests that rest areas are homosexual hangouts. Ted's friend Dom jokes about his sexuality and sets him up with a new assistant. Amidst feelings of inadequacy and a disturbing phone call, Ted reflects on the serendipitous coincidence of finding a kidney donor with an exact tissue match, suggesting the presence of a guardian angel.
- Dom and Ted have a conversation about love and family while drinking beer on Dom's front steps. Dom suggests Ted hire a private investigator named Healy to track down Mary and give Ted her number. Ted is hesitant at first, worried about being seen as a stalker, but Dom assures him that the investigator will be discreet. The scene ends with Ted agreeing to consider hiring the private investigator.
- Ted seeks the help of Patrick Healy, an insurance investigator, to locate a high school acquaintance who relocated to Miami Beach. Despite Healy's skepticism about Ted's motives, they agree on a fee. Healy acquires information on the woman from his friend Sully, ultimately agreeing to take on the case.
- Healy visits Sully in his apartment and tries to convince him to drink, despite Sully's 19 months of sobriety. Sully initially resists but eventually takes a sip of Healy's light beer. Healy worries that Sully is being too rigid in his sobriety and that he needs to learn to relax. The scene ends with Healy beginning a stakeout on Mary's apartment across the street from Sully's car.
- Mary confronts Magda about her late-night eavesdropping, which Magda defends as Neighborhood Watch activities. Magda claims to have uncovered a cheating husband and warned Mary about a previous boyfriend. Mary remains skeptical but shows appreciation for Magda's vigilance. The scene follows Mary throughout her morning, showcasing her athleticism, large appetite, and interactions with mentally disabled patients. Meanwhile, Healy follows Mary, observing her demeanor and activities.
- Mary and her friends discuss their ideal man. Mary prefers a man with a beer belly who is self-employed and can travel spontaneously. Her friends tease her about her past relationship with Steve, who she broke up with because he didn't accept her brother Warren. Healy eavesdrops on their conversation and reports back to an unknown person named Sully.
- Sully, intoxicated and under the influence of drugs, engages in a heated phone conversation with Healy while at home with his dog and snake. Healy, stationed outside Mary's apartment, observes her arrival and overhears a conversation between Magda and Mary, who are aware of his presence. The cop loses Magda on the radio scanner. Meanwhile, Mary relaxes indoors, watching TV and smoking marijuana. Healy uses binoculars to observe Mary and Magda undressing, but is underwhelmed by their appearance. His focus shifts back to Mary, eliciting a strong reaction.
- Ted discovers the disappointing reality of his high school crush, Mary, from Healy, leading him to question his feelings and ultimately decide to call her despite her current situation.
- Ted expresses his desire to help Mary, despite her troubles. However, Healy reveals the shocking truth that Mary is a mail-order bride in Japan. Ted is devastated and confides in Dom, who tries to show him the positive side of his situation. Ted struggles to accept Mary's secret and resolves to find a brighter perspective.
- At a driving range, Healy tries to impress Mary with his golf skills and tales of his travels but fails to captivate her interest. He ends up leaving her baffled and alone.
- Two strangers, Healy and Mary, meet at a driving range and strike up a connection over their shared passion for helping others. Meanwhile, Ted, a struggling man, endures verbal abuse while assisting his boss's disabled brother. The scene ends with Healy and Mary agreeing to dinner, offering a glimmer of hope amidst the challenges.
- Array
- Healy accidentally overdoses Mary's dog, Puffy, with a Valium-laced treat. In a panic, he attempts to revive the dog using unconventional methods, including CPR, mouth-to-mouth, and even defibrillation with table lamps. Despite his efforts, Puffy ignites on fire, but Healy manages to extinguish the flames with water, reviving the dog. Healy's disorientation and forgetfulness about dinner plans with Mary and Magda add a comedic touch to the chaotic scene.
- Mary and Healy seek out Mary's architect friend, Tucker, at an architecture exhibit. Healy fabricates his architecture credentials, claiming to have designed a building in Chile, leading to a humorous conversation with Tucker and other attendees.
- Ted's encounter with a hitchhiker takes an unexpected turn when they both get caught in a police raid at a rest area. The hitchhiker flees, leaving Ted alone to face the consequences.
- Healy and Mary walk home after their date, discussing Mary's neighbor Magda and her lint problem. Mary reveals a clump of cotton candy in her belly button. They bond over their love for the movie Harold and Maude. Healy awkwardly asks to feel Mary's breasts before leaving. The conflict arises when Healy makes the request, but it is resolved when Mary allows him to do so. The scene ends with them making plans for the next night, maintaining a light-hearted and flirtatious tone throughout.
- In an interrogation room, Detectives Franeck and Cavallo confront Ted about picking up a hitchhiker. Ted nonchalantly admits to the crime, frustrating the detectives with his lack of remorse. Detective Cavallo's anger escalates, leading to a physical attack on Ted.
- Mary defends her attraction to Healy despite Tucker's concerns about his background. Detective Franek apologizes for Ted's wrongful arrest, revealing the real killer's apprehension. Dom informs Ted about Healy's lies and obsession with Mary, leaving Ted worried for her safety.
- Mary's friends confront her about her upcoming date with Healy. Healy overhears their conversation and realizes his lies have been exposed. Mary overhears Healy's confession and confronts him, ending the date.
- Healy confesses to Sully that he is selfish and gets a high from helping others. He accidentally kills a bug, leading Sully to accuse him of lying about his humanitarian work. Healy denies the accusations but admits to lying to a girl. Healy hangs up the phone and starts to knock on Mary's door, but she opens it before he can and they kiss passionately. The scene then cuts to a montage of Mary and Healy courting, showing Healy trying to impress Mary with his athleticism, his teeth, his humor, and his intelligence. The montage ends with Healy and Warren cheating at Monopoly.
- Healy mauls Mary on the sidewalk while Warren listens to music, leading to Warren sucker-punching Healy in the throat. Ted, devastated by the scene, approaches Mary and they make plans to catch up after twelve years. The mix of awkwardness, tension, and nostalgia sets the emotional tone of the scene.
- Healy is parked outside Mary's apartment, listening to Mary and Magda's conversation about bananas and sex while reading the newspaper. The scene is light and humorous, with no conflicts. Magda mentions buying bananas for a banana split after sex, adding a playful and suggestive tone to the dialogue. The visual of Healy reading the newspaper adds depth to the scene, which ends with the conversation between Mary and Magda continuing.
- Mary and Magda are discussing Mary's relationship with Healy in her apartment when Tucker arrives with startling news. He reveals Healy's true nature as a killer with a criminal history. Mary is shocked and cancels their upcoming date, leaving Healy furious. Tucker advises Mary to distance herself from Healy while navigating the situation cautiously.
- Tucker is followed by Healy in his car after leaving Mary's apartment building. Meanwhile, Dom gives Ted advice on calming his nerves before a date, leading Ted to frantically masturbate in his hotel bathroom. However, his panic escalates when he realizes he has lost 'the load' and the doorbell rings, interrupting him.
- Mary surprises Ted at his hotel room, mistaking his hair gel for a stylish adornment. Meanwhile, Healy confronts Tucker over false accusations of murder, exposing Tucker's deceptive identity as a pizza delivery driver.
- Mary reveals to Ted that her stalker is a convicted murderer. Healy and Tucker discuss how to deal with Mary's stalker at another bar.
- Ted and Mary bond over corndogs and shared aspirations, unaware of Healy and Tucker's sinister surveillance. At Mary's apartment, a blunt and intimate conversation is interrupted when Healy's dog treats inadvertently lead to Magda's cocktail consumption, leaving an ominous cliffhanger.
- Mary and Ted have a conversation on Mary's stoop. Ted expresses his feelings for Mary but decides to take a break from seeing her. Inside the apartment, Magda is cleaning and puts Puffy, the toy poodle, in the bathroom. Puffy attacks Ted when he lets him out, leading to a chaotic struggle that ends with Puffy flying out of the window.
- * Mary and Ted experience various events together, including a fishing mishap, grocery shopping, and a batting cage incident. * Ted arrives at Mary's apartment with flowers and a baseball, seeking reconciliation. * Mary confronts Ted about hiring someone to follow her, expressing anger and disappointment. * Ted attempts to apologize and justify his actions, but Mary remains stern. * The conflict remains unresolved as Ted departs Mary's apartment at her request, leaving him feeling remorseful and desperate.
- Ted confronts Healy about a betrayal, but Healy denies it. Tucker confesses to meddling in Ted and Mary's relationship, leading to Ted's realization. Amidst the chaos, Healy and Tucker face off while a dog with a cereal box on its head emerges from the bedroom.
- Dom unexpectedly visits Mary's apartment, claiming to have changed after therapy. However, Mary remains skeptical. Dom pleads his innocence regarding stolen shoes, but Mary asks him to leave. When Dom refuses, Healy and Tucker intervene, creating tension and uncertainty about the outcome.
- This scene features a character returning a JSON response with the keys 'title' and 'summary'.
- Ted and Mary have a heartfelt conversation on a Miami street, expressing their feelings for each other. Ted is hit by a bus and a car, but miraculously survives. Mary professes her love for Ted, and they share a kiss. The emotional tone of the scene is a mix of drama, romance, and humor, with key dialogue including Mary expressing her love for Ted and Ted questioning if she is serious. The scene ends with Ted waking up, professing his love for Mary, and the two sharing a kiss.
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Character Healy
Description Healy's behavior and backstory seem to shift inconsistently. In scene 24, he is presented as a dangerous criminal with a violent past, but in scene 29 he is portrayed as merely a pathological liar without any confirmed criminal history. This abrupt change in characterization is jarring and undermines the narrative's cohesiveness.
Scenes: Scene 24, Scene 29 -
Character Tucker
Description Similar to Healy, Tucker's character is depicted as dishonest and manipulative in scene 24, but in scene 29 it is revealed that he is simply a pizza delivery man who lied about his occupation and background. This sudden shift in his character traits is not well-justified within the story.
Scenes: Scene 24, Scene 29
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Description The information provided about Healy's criminal history and background is contradictory between the two scenes. In scene 14, Healy informs Ted that Healy is a murderer, but in scene 24, Tucker reveals that the information about Healy's criminal past was fabricated. This inconsistency in the narrative undercuts the credibility of the story.
Scenes: Scene 14, Scene 24
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Description It is unclear why Healy and Tucker decide to work together to undermine Ted and Mary's relationship. Their motivations and the nature of their alliance are not well-established, leaving a significant gap in the plot's logic.
Scenes: Scene 17, Scene 29 -
Description The screenplay does not adequately explain how Tucker obtained the false information about Healy's criminal history and used it to manipulate Mary. The process by which this deception was carried out is not clearly depicted, creating a plot hole in the narrative.
Scenes: Scene 24, Scene 29
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Description The dialogue between Magda and Mary regarding Puffy's ability to judge character seems overly expository and lacks the natural flow of a genuine conversation. The characters' lines feel more like a means of conveying information to the audience rather than an authentic exchange.
Scenes: Scene 29
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Element Repeated scenes of Ted and Mary's relationship development
Scenes: Scene 33, Scene 34
Suggestion The montage sequence in scene 33 adequately conveys the progression of Ted and Mary's relationship. The additional scenes in scene 34 feel redundant and could be streamlined or combined to avoid repetition and maintain a more efficient narrative.
Mary - Score: 82/100
Character Analysis Overview
Ted - Score: 78/100
Role
Protagonist
Character Analysis Overview
Healy - Score: 65/100
Role
Antagonist
Character Analysis Overview
Tucker - Score: 63/100
Character Analysis Overview
Dom - Score: 57/100
Role
Supporting Character
Character Analysis Overview
Magda - Score: 65/100
Character Analysis Overview
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Love (30%) | Ted's unrequited love for Mary, Mary's past relationship with Steve, Healy's infatuation with Mary, and the eventual love between Ted and Mary | The film explores the complexities of love, including the pain of unrequited love, the challenges of past relationships, and the unexpected joys of finding love in unexpected places. | ||||||||||||
Strengthening Love:
| ||||||||||||||
| Friendship (25%) | The close friendship between Ted and Dom, Mary's friendship with Brenda, Lisa, and Joanie, and the unlikely friendship between Healy and Mary | The film emphasizes the importance of friendship in providing support, comfort, and a sense of belonging. | ||||||||||||
| Loss and Grief (20%) | Ted's grief over losing Mary, Healy's loss of his mother, and Warren's loss of his brother | The film explores the emotional toll of loss and grief, and the ways in which people cope with these experiences. | ||||||||||||
| Identity and Self-Acceptance (15%) | Ted's struggle with his own self-perception, Mary's acceptance of her own body, and Healy's search for a sense of purpose | The film explores the challenges and rewards of self-acceptance and finding one's place in the world. | ||||||||||||
| Betrayal and Deception (10%) | Dom's betrayal of Ted, Healy's lies to Mary, and Tucker's manipulation of Mary | The film examines the consequences of betrayal and deception, and the importance of trust in relationships. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| 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 |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal and external goals revolve around his desire for connection, acceptance, and closure in his relationships, particularly with his high school crush Mary |
| External Goals | The protagonist's external goals focus on securing a prom date, navigating social dynamics, and searching for Mary after she moves away |
| Philosophical Conflict | The overarching philosophical conflict lies in the clash between appearances and reality, honesty and deception, and authenticity versus superficiality. |
Character Development Contribution: The goals and conflicts contribute to the protagonist's growth by challenging his beliefs and values, pushing him to confront his insecurities, and ultimately leading to self-discovery and understanding.
Narrative Structure Contribution: The goals and conflicts drive the narrative forward by creating tension, obstacles, and moments of revelation that propel the protagonist's journey towards resolution and growth.
Thematic Depth Contribution: The goals and conflicts deepen the thematic exploration of love, relationships, trust, and self-acceptance, highlighting the complexities of human connections and the importance of authenticity and honesty in personal interactions.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Prom Proposal Mishaps | Awkward, Casual, Humorous | 8 | 8 | 7 | 8 | 9 | 5 | 8 | 7 | 7 | 7 | 5 | 7 | 6 | 6 | 8 | 8 | 8 | 9 | 9 | |
| 2 - An Unexpected Encounter at School | Humorous, Dramatic, Sarcastic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 3 - Awkward Promposal | Humorous, Heartfelt, Disappointing | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 6 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 4 - Awkward Encounter with Warren | Humorous, Awkward, Playful | 8 | 7 | 7 | 9 | 8 | 4 | 8 | 7 | 6 | 7 | 4 | 6 | 8 | 5 | 7 | 9 | 8 | 8 | 8 | |
| 5 - Stuck in the Loo | Humorous, Awkward, Playful | 8 | 8 | 7 | 9 | 8 | 4 | 8 | 7.5 | 5 | 8 | 3 | 6 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 6 - Bathroom Nightmare | Humorous, Embarrassing, Sarcastic | 8 | 8 | 7 | 8 | 8 | 4 | 8 | 7.5 | 6 | 7 | 4 | 7 | 8 | 5 | 7 | 9 | 8.5 | 8 | 8 | |
| 7 - Ted's Empty Chair | Humorous, Reflective, Sarcastic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 8 - Finding Mary | Humorous, Reflective, Nostalgic | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 9 - Ted's Meeting with Patrick Healy | Sarcastic, Suspenseful, Humorous | 8 | 8 | 8 | 8 | 7 | 5 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 6 | 9 | 9 | 9 | 9 | 9 | |
| 10 - The Temptation | Humorous, Sarcastic, Confrontational | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 11 - Morning Routine: Mary and Magda | Humorous, Quirky, Heartwarming | 8 | 7 | 8 | 9 | 9 | 5 | 8 | 7 | 5 | 7 | 4 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 12 - The Ideal Man | Humorous, Reflective, Sarcastic | 8 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 4 | 6 | 3 | 5 | 7 | 7 | 9 | 9 | 8 | 9 | 9 | |
| 13 - Sully and Healy's Surveillance | Humorous, Suspenseful, Dark | 8 | 8 | 7 | 9 | 7 | 6 | 8 | 7.5 | 8 | 8 | 7 | 8 | 8 | 6 | 6 | 9 | 8.5 | 8 | 8 | |
| 14 - Ted's Disappointing News | Humorous, Sarcastic, Melancholic | 7 | 7 | 6 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 15 - Ted's Devastating Discovery | Humorous, Reflective, Surprising | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 16 - Healy's Failed Attempt to Impress | Light-hearted, Playful, Flirtatious | 8 | 7 | 7 | 8 | 8 | 4 | 8 | 7 | 3 | 6 | 2 | 6 | 6 | 6 | 7 | 8 | 8 | 9 | 9 | |
| 17 - Heartfelt Connections and Hidden Struggles | Humorous, Emotional, Quirky | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7.5 | 4 | 8 | 3 | 7 | 9 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
| 18 - Office Visit and Unresolved Past | Humorous, Reflective, Emotional | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 19 - Healy's Misadventures with Puffy the Dog | Humorous, Suspenseful, Quirky | 8 | 8 | 7 | 9 | 8 | 4 | 8 | 7 | 6 | 7 | 4 | 7 | 8 | 5 | 7 | 9 | 8 | 8 | 8 | |
| 20 - Architectural Encounter | Light-hearted, Sarcastic, Emotional | 8 | 7 | 7 | 9 | 9 | 5 | 8 | 7.5 | 6 | 8 | 4 | 7 | 9 | 7 | 8 | 9 | 8.5 | 8 | 8 | |
| 21 - Rest Area Bust | Humorous, Light-hearted, Sarcastic | 7 | 7 | 6 | 9 | 7 | 4 | 8 | 7 | 6 | 7 | 3 | 6 | 8 | 4 | 8 | 9 | 8 | 8 | 8 | |
| 22 - Cotton Candy and Confessions | Humorous, Romantic, Dramatic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 5 | 6 | 4 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 23 - Interrogation Room Confrontation | Agitated, Surprised, Awkward, Playful, Intrigued | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7.5 | 7 | 8 | 6 | 8 | 9 | 7 | 8 | 9 | 8.5 | 8.5 | 8 | |
| 24 - Unraveling Truths and Troubled Connections | Humorous, Suspenseful, Emotional | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 25 - Healy's Deceit Unmasked | Humorous, Emotional, Sarcastic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7.5 | 6 | 8 | 6 | 7 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 26 - Healy's Confession and Courtship | Humorous, Romantic, Awkward | 8 | 7 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 27 - Unexpected Reunion | Romantic, Humorous, Nostalgic | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 7.5 | 6 | 8 | 6 | 8 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
| 28 - Bananas and Sex | Humorous, Romantic, Light-hearted | 8 | 7 | 7 | 8 | 8 | 5 | 8 | 6 | 3 | 7 | 4 | 6 | 6 | 7 | 9 | 8 | 8 | 9 | 9 | |
| 29 - The Reveal | Romantic, Suspenseful, Emotional, Humorous | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 30 - Awkward Interruption | Suspenseful, Humorous, Nervous, Shocking | 8 | 7 | 8 | 9 | 7 | 6 | 8 | 7 | 6 | 8 | 5 | 7 | 7 | 6 | 8 | 9 | 9 | 8 | 8 | |
| 31 - Unexpected Encounters | Suspenseful, Emotional, Humorous | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 32 - Stalker Revealed | Tense, Revealing, Confrontational | 8 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 33 - Corndogs and Conspirators | Humorous, Suspenseful, Romantic | 8 | 7 | 8 | 8 | 9 | 6 | 8 | 7 | 7 | 6 | 6 | 8 | 6 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 34 - The Chaos of Mary's Stoop | Humorous, Romantic, Suspenseful | 8 | 8 | 7 | 8 | 7 | 5 | 8 | 7 | 7 | 8 | 6 | 7 | 9 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 35 - A Confrontation on the Pier | Emotional, Humorous, Dramatic | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 9 | |
| 36 - Confrontation in Sully's Apartment | Tense, Humorous, Emotional | 8 | 7 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
| 37 - Dom's Desperate Return | Suspenseful, Humorous, Dramatic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 38 - Return JSON Response | Humorous, Dramatic, Sarcastic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 39 - Miraculous Love | Romantic, Dark, Comedic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 7 | 9 | 8 | 8 | 8 | |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Engaging dialogue
- Well-developed characters
- Humorous tone
- Character dynamics
- Blend of genres and tones
Scene Weaknesses
- Lack of significant character development
- Low emotional impact
- Limited character development
- Some elements may feel contrived
- Some elements of humor may not resonate with all audiences
Suggestions
- Focus on character development to enhance emotional impact
- Avoid cliched scenarios and try to offer fresh perspectives
- Ensure consistency of tone throughout the screenplay
- Continue to blend genres, but ensure cohesion in the story
- Refine comedic elements to ensure universal appeal
- Further exploration of character dynamics to deepen relationships
- Consider implementing higher stakes to increase tension and conflict
- Review the dialogue for authenticity and impact
- Be mindful of potentially awkward or uncomfortable moments
- Avoid forced or melodramatic dialogue
Scene 1 - Prom Proposal Mishaps
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - An Unexpected Encounter at School
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Awkward Promposal
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Awkward Encounter with Warren
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Stuck in the Loo
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - Bathroom Nightmare
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - Ted's Empty Chair
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - Finding Mary
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - Ted's Meeting with Patrick Healy
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - The Temptation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Morning Routine: Mary and Magda
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - The Ideal Man
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Sully and Healy's Surveillance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Ted's Disappointing News
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Ted's Devastating Discovery
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Healy's Failed Attempt to Impress
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Heartfelt Connections and Hidden Struggles
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - Office Visit and Unresolved Past
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Healy's Misadventures with Puffy the Dog
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - Architectural Encounter
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Rest Area Bust
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - Cotton Candy and Confessions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - Interrogation Room Confrontation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Unraveling Truths and Troubled Connections
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - Healy's Deceit Unmasked
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Healy's Confession and Courtship
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - Unexpected Reunion
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - Bananas and Sex
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - The Reveal
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Awkward Interruption
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - Unexpected Encounters
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Stalker Revealed
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Corndogs and Conspirators
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - The Chaos of Mary's Stoop
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 35 - A Confrontation on the Pier
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 36 - Confrontation in Sully's Apartment
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 37 - Dom's Desperate Return
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 38 - Return JSON Response
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 39 - Miraculous Love
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Engine: Gemini
Consider
Explanation: The screenplay for 'There's Something About Mary' is a comedic rollercoaster filled with outrageous humor and memorable situations. It boasts sharp dialogue, effective use of voiceover narration, and well-developed characters, particularly Mary. However, the humor can be crude, some character arcs lack depth, and the pacing could be tightened. The screenplay also misses opportunities to explore emotional consequences and thematic depth. Overall, it has strong potential as a commercial comedy but would benefit from addressing its weaknesses.
Engine: GPT4
Consider
Explanation: The screenplay 'There's Something About Mary' presents a unique blend of comedy and romance, with well-crafted dialogue and a compelling narrative. While it excels in humor and character development, particularly with the protagonist Mary, it could benefit from tighter pacing and more developed supporting character arcs. The screenplay holds potential for strong audience appeal due to its humorous and engaging storyline.