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Scene Map 41
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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CATCH ME IF YOU CAN Written by Jeff Nathanson 1 INT. - GAME SHOW SET. - DAY 1 BLACK AND WHITE FOOTAGE FROM 1978
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5 INT. - PAPIGONE PRISON - FRANK'S CELL. - NIGHT 5 WE SEE FRANK ABAGNALE JR., his face partially hidden in the dim cell, which gets its only light from a hanging bulb. Frank is lying on the cement floor, his back up against the far wall. He wears only a pair of underwear and clutches a
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7 INT. - PAPIGONE PRISON INFIRMARY. - DAY 7 A small, empty room with four empty hospital beds. Frank is lifted onto one of the beds, his legs and arms flailing out to the sides, kicking a thin curtain out from the wall. JOE SHAYE
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11 EXT. - FRANK'S HOUSE CHRISTMA4ER2MF , - DAY 11 DEAN MARTIN is singing EVERYBOD SOMEBODY on the radio, as Frank Sr. hammers his PLAQUE i the wall. in the middle of the DEN, Frank is dancing with his mother, who is holding a glass of wine as she dances.
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13 EXT. - MEN'S SHOP. - 13 THE WHITE CADILLAC is park ont of A MEN'S CLOTHING STORE -- Frank Sr. banging o tme lass door, trying to get someone's attention. pl�y( l
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18 INT. - LOAN DEPARTMENT. - CHASE MANHATTAN BANK. - DAY 18 Frank Sr. is sitting across from a LOAN OFFICER, who is looking over his file. LOAN OFFICER You've owned stationery store
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23 EXT. - MONROE HIGH SCHOO MORNING 23 O FLL\ THE IMPALA pulls up to the f the local public High School. Frank wears his BLUE WHITE PANTS as he gets out of the car and smiles r mother. Paula wears an
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26 INT. - PRINCIPAL'S OFFICE. - MONROE HIGH SCHOOL - DAY 26 PRINCIPAL EVANS AND VIARINCIPAL BROWN are standing in front of Frank Sr. an la, who sit in two small chairs facing the Principal' been coming to schq�� not?
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31 EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY 31 A large stationery store sits right in the middle of the upscale neighborhood of New Rochelle. 32 INT. - STATIONERY STO A DAY 32 Frank is working behindvt" nter of his father's store,
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33 INT. - VILLAGE INN BAR. ='rEASTCHESTER. - DAY 33 Frank follows his father int ILLAGE INN BAR, a neighborhood dive that is ful 'lway workers coming off the night shift. Frank and his are greeted with cold stares from a handful of REGULARS are drinking and
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41 INT. - NEW YORK HOTEL ROOM. - NIGHT 41 A decrepit Times Square hotel room. Frank sits up in bed staring down at his NEW RSEY DRIVER'S LICENSE -- which is a simple I.D. CARD wi picture. Frank uses a pen to change the date of birth fro lf o 1938.
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44 INT. - MAYFAIR HOTEL. - MORNING, N\ v- 44 Frank follows the Pilot into the 'air, seesthe hotel MANAGER rushing over to greet him. The entirelobby seems to be focussed on the Pilot, with BELLMEN runningover to carry 0;
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52 EXT. - ABAGNALE STATIONERS. - NEW ROCHELLE. - DAY 52 Frank Sr. gets off the bus in front of his store. He is wearing his black suit and holding a briefcase as he starts (CONTINUED) Debbie Zane - 5
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53 INT. - PLAZA HOTEL. - NEW YORK. - DAY 53 Frank walks up to the front desk of the PLAZA HOTEL. FRANK Do you rent twriters? F ESK CLERK
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62 EXT. - LA GUARDIA. - DAY 62 Frank is running out of the airport. FRANK (V.O.) Dear Dad. I have been accepted to Pan Am's flight school, and will be
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74 INT. - FRANK'S HOTEL ROOM. - MIAMI. - NIGHT 74 Frank is lying on top of Marci -- losing his virginity -- not moving -- just staring down at her with a bizarre look on his face. The lights are low, the radio is on. FRANK
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77 INT. - DALLAS HOTEL ROOM. - NIGHT 77 Frank is dancing with LUCY, who is laughing uncontrollably as he twirls her around the room. LUCY Okay, enough! I'm gonna be sick. I
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83 INT. - RENTAL CAR. - LO GELES. - DAY 83 SUPER: HOLLYWOOD, CAL FOR - JULY, 1964 FBI AGENTS AMDURSKY AND Hollywood. Fox sits in the AMDURSÏ¿½
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87 INT. TROPICANA MOTEL - HALLWAY. - DAY 87 Joe walks through a fire door with his gun leading the way. CLOSE ON ROOM 212 at the end of the second floor hallway, the DO NOT DISTURB
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93 INT. - WALDORF ASTORIA HOTEL. - ROOM 93 Frank slowly hangs up the phone. He walks over to the chair in the room, picks up his Pilot's Cap and puts it on. 94 INT. - LAS VEGAS SAVINGS AND LOAN. - DAY 94 Frank stands across from a NEW ACCOUNTS MANAGER at a LAS
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99 INT. - MOVIE THEATER. - NIGHT 99 Frank is sitting in a movie theater watching GOLDFINGER, his eyes glued to the screen. He's eating a box of popcorn, a big smile on his face as he stares up at SEAN CONNERY. 100 INT_ - CLOTHING STORE. - DAY 100
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104 INT. - DALLAS BANK - DALLAS. - DAY 104 LUCY, one of the BANK TELLERS we met earlier, sits in her office. Joe Shaye and the other agents open up the BUCKLEY SCHOOL HIGH SCHOOL YEARBOOK. On a page marked, SOPHOMORES, Joe points to tiny black and white picture of Frank wearing
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112 INT. - FRANK'S APARTMENT. - RIVER BEND. - NIGHT 112 Twenty people are partying in the living room. 113 INT. - FRANK'S BEDROOM. 113 Frank is lying on his bed making a phony MEDICAL SCHOOL DIPLOMA. He's using a HARVARD BROCHURE to guide him as he
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118 EXT. - FRANK'S OFFICE. - HOSPITAL. - NIGHT. 118 The name on the office door reads FRANK CONNORS, M.D.. Frank sits at his desk in front of a brand new IBM ELECTRIC TYPEWRITER. He is making COUNTERFEIT CHECKS for himself as Brenda walks in holding a clipboard.
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124 INT. - HOSPITAL CAFETERIA. - NIGHT 124 Frank is sitting across from Brenda in the cafeteria. BRENDA I bought you a present. Brenda hands him wrapped present.
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134 INT. - BRENDA'S PARENTS' HOUSE. - LIBRARY. - NIGHT 134 Frank stands next to Robert in the library, the two men sipping brandy as they stare at some paintings on the walls. (CONTINUED) Debbie Zane - 5
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139 INT. - NEW ORLEANS COURTROOM. - DAY 139 Frank stands in a small, empty courtroom, presenting a case before a JUDGE AT A PRE-TRIAL HEARING. FRANK I have four letters in my hand that
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145 INT. - PRINTING SUPPLY P. - NEW JERSEY. - DAY 145 Frank wears a black s a PAN AM pin on the lapel. He stands with the OWNER o e?RINT SHOP. FRAN As I stated on the Pan Am has
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149 INT. - VILLAGE INN BAR. - AFTERNOON 149 Frank walks into the bar wearing a black suit. He sees his father sitting in the corner wearing a POSTAL UNIFORM and drinking a beer. The place is filled with the afternoon regulars, all watching TV. Frank walks up to his Dad and
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Frank pulls Brenda into the COAT ROOM. They are surrounded by fur coats, expensive black overcoats, a row of black hats. Brenda kisses him. BRENDA
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159 INT. - NEW ORLEANS AIRPORT. 159 Frank is walking through an airpo /He rushes over to a TWA TICKET COUNTER that is closing down for the night. FRANK Are there any more flights tonight?
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169 INT. - INTERVIEW ROOM. - UNIVERSITY OF MIAMI. - DAY 169 Frank sits behind a desk holding a notebook as he INTERVIEWS a young FEMALE STUDENT. FRANK Judy, what does the word "abroad"
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177 EXT. - MIAMI AIRPORT - WHITE CADILLAC. - DAY 177 FORTY FBI AGENTS and MIAMI POLICE OFFICERS slowly approach the white Cadillac. Joe Shaye has his gun drawn. JOE SHAYE Frank, get out of the car! Put your
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185 EXT. - LAVALIER HOUSE. - DAY 185 Frank is working in the garden, surrounded by roses. Monique walks out of the house. MONIQUE I have to pick Pappa up, his car is
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192 INT. - JOE SHAYE'S OFFICE. - NIGHT 192 Joe paces in his office, holding the phone and talking much too loud, his voice echoing through the hallways. JOE SHAYE English. Do you speak English? I'm
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204 INT. - FRENCH COURTROOM. - DAY 204 A packed courtroom. Frank's hands and legs are shackled. He stands before a JUDGE who is reading his sentence. (CONTINUED) Debbie Zane -
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207 INT. - AIR FRANCE PLANE BATHROOM. - MOMENTS LATER. 207' Frank is on his knees, tears running down his face as he uses the METAL TIP OF A FORK to unscrew a hard plastic plate above the toilet. The screws come free, and Frank is able to pull the entire TOILET UNIT away from the wall. He makes
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218 INT. - PRISON VISITINc/RSM. - DAY 218 Frank is wearing his pr1s f psuit as he's led into the visitor's room and place n a chair that faces bulletproof glass. Joe Shaye is sittin Qrdl4,s from him. They both pick up their phones.
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221 INT. - INTERROGATION ROOM. - NIGHT 221 Frank is sitting across from Joe and Director Marsh, a glass of milk in front of him. TWO GUARDS stand behind him with rifles. Frank is 23-years-old, but still has the boyish face of a teenager.
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225 INT. - APARTMENT. - DALLAS H DAY. 225 O Frank walks through the door ny, run down apartment. Joe Shaye stands at the door. FRANK
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231 INT. - FBI OFFICE CONFERENCE ROOM. - DAY 231 Joe Shaye is using the slide projector and standing in front of TEN AGENTS, including Special Agent Wilkes. JOE SHAYE Good morning. I've called this

Catch me if you can

A desperate Frank Abagnale Jr. pleads for help from FBI agent Joe Shaye as his health deteriorates in prison.

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Overview

Poster
Unique Selling Point

This captivating script offers a unique blend of genres, delving into the intricate world of imposture, crime, and redemption. With its unforgettable central character, Frank Abagnale Jr., the script weaves a spellbinding tale of deception and transformation. Through a series of thrilling encounters and intense confrontations, the story explores the complexities of loyalty, family, and the human desire to escape one's past. The script's distinctive storytelling techniques and original scenarios, combined with its authentic character interactions and emotionally resonant dialogue, make it a standout in the genre. It promises to keep audiences on the edge of their seats while captivating them with its thought-provoking themes and unforgettable characters.

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

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Gemini
 Recommend
Story Facts

Genres: Drama, Crime, Thriller, Romance, Comedy, Family, Biography

Setting: 1960s - 1970s, United States and France

Themes: Consequences of Deception, Importance of Redemption, Power of Persistence, Importance of Family, Search for Identity

Conflict & Stakes: Frank Abagnale's struggle to maintain his secret identity and evade capture by the FBI, while Joe Shaye races against time to apprehend him before he can cause more harm. The stakes are high for both Frank and Joe, as Frank faces the threat of imprisonment and Joe risks losing his job and reputation if he fails to catch him.

Mood: A mix of suspense, excitement, and intrigue, with moments of humor and pathos.

Standout Features:

  • Unique Hook: The story of a real-life con man who impersonated various professionals and evaded capture for years.
  • Plot Twist: The revelation that Frank Abagnale's father was also a con man.
  • Distinctive Setting: Scenes involving airports, airplanes, and hotels evoke a sense of excitement and danger.
  • Innovative Idea: The use of a former con man as an FBI consultant.
  • Unique Character: Frank Abagnale Jr. is a charming and charismatic protagonist who is both likeable and detestable.
  • Genre Blend: The film seamlessly blends crime thriller, drama, and comedy elements.

Comparable Scripts: Catch Me If You Can, The Talented Mr. Ripley, Ocean's Eleven, The Great Impostor, The Sting

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.

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Overall Score: 8.20
Story Critique
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Characters

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

Emotional Analysis

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

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

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Writer Exec

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

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
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World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
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Loglines
Presents logline variations based on theme, genre, and hook.