Being John Malkovich
Executive Summary
Poster

Overview
Genres: Drama, Comedy, Fantasy, Romance, Dark Comedy, Thriller, Surreal, Dystopian
Setting: Contemporary, Various locations in New York City, including a surreal gray-painted Manhattan, a theater, and a hidden green oasis.
Overview: Being John Malkovich follows Craig Schwartz, a struggling puppeteer who discovers a portal that allows him to enter the mind of actor John Malkovich. Initially, Craig uses this bizarre opportunity to escape his mundane life and explore his identity, leading to a series of surreal and comedic experiences. As he becomes increasingly obsessed with controlling Malkovich, the dynamics between Craig, his wife Lotte, and the enigmatic Maxine become strained. Lotte, drawn to the portal herself, begins to explore her own identity, leading to a complex web of manipulation, desire, and self-discovery. The story unfolds through a series of absurd and darkly humorous events, ultimately challenging the characters' perceptions of identity and control.
Themes: Identity and Self-Transformation, Escapism and the Desire for Power/Fulfillment, Illusion of Control and Manipulation, Consequences of Unchecked Ambition and Desire, The Nature of Performance and Art, Loneliness and the Search for Connection, The Absurdity of Existence, The Nature of Reality vs. Illusion
Conflict and Stakes: The central conflict revolves around Craig's obsession with controlling John Malkovich's mind, leading to emotional turmoil in his marriage with Lotte and the ethical implications of identity and autonomy.
Overall Mood: Surreal and darkly comedic, with moments of introspection and emotional depth.
Mood/Tone at Key Scenes:
- Scene 1: The dream sequence sets a surreal and unsettling tone, reflecting Craig's internal struggles.
- Scene 10: The chaotic kitchen scene captures the absurdity of domestic life, blending humor with underlying tension.
- Scene 40: The climax of Malkovich's possession creates a darkly comedic yet tense atmosphere as control shifts.
- Scene 58: The oppressive gray world evokes a sense of dystopia, contrasting with Lotte's emotional journey.
Standout Features:
- Unique Hook: The concept of a portal into the mind of a famous actor, allowing exploration of identity and consciousness.
- Major Twist: The revelation that Craig is a marionette controlled by Mantini, highlighting themes of control and manipulation.
- Distinctive Setting: The surreal gray-painted Manhattan contrasted with vibrant hidden oases, emphasizing themes of oppression and liberation.
- Innovative Ideas: The use of puppetry as a metaphor for control and identity, blending performance art with psychological exploration.
- Unique Characters: A diverse cast with complex motivations, including a puppeteer, a famous actor, and a supportive monkey.
Comparable Scripts:
- Being John Malkovich
- Adaptation
- The Metamorphosis by Franz Kafka
- The Hours
- Synecdoche, New York
- The Puppetmaster
- Eternal Sunshine of the Spotless Mind
- The Science of Sleep
- The Master
Writing Style:
The script exhibits a distinctive writing style characterized by a strong blend of surrealism, dark humor, and existential themes. It consistently explores complex human relationships, identity, and the nature of reality through unconventional narratives, often employing witty and sharp dialogue. There's a recurring focus on introspection and psychological depth, frequently set against backdrops that blur the lines between the mundane and the fantastical.
Style Similarities:
- Charlie Kaufman
- Spike Jonze
- Quentin Tarantino
Pass/Consider/Recommend
Explanation:
USP: Being John Malkovich offers a unique and captivating premise that sets it apart from other films in the genre. The script's exploration of identity, individuality, and the consequences of our desires is both intellectually stimulating and emotionally engaging. The script's blend of surreal, darkly comedic, and philosophical elements creates a distinctive and compelling viewing experience that would appeal to a wide range of audiences, from fans of quirky, high-concept stories to those interested in more complex, character-driven narratives.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 18-45, fans of surreal comedies, psychological dramas, and those interested in themes of identity and existentialism.
Marketability: The unique premise of exploring identity through a famous actor's mind, combined with dark humor and surreal elements, has strong appeal to a niche yet broad audience.
The film's exploration of complex themes and character dynamics can attract critical acclaim and festival attention, enhancing its marketability.
The blend of comedy, drama, and surrealism offers a fresh take on familiar themes, appealing to audiences looking for innovative storytelling.
Profit Potential: Moderate to high, as the film's unique concept and potential for critical acclaim could lead to strong box office performance and home media sales.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is a distinctive blend of the surreal, the absurd, and the profoundly human. It's characterized by sharp, witty, and often deadpan dialogue that masks underlying emotional depth and existential musings. There's a consistent use of juxtaposition, placing mundane settings and actions alongside fantastical or bizarre elements. Repetitive imagery, subtle symbolism, and a dreamlike atmosphere are employed to explore themes of identity, societal expectations, loneliness, and the search for meaning. The narrative often moves with a quirky, unpredictable rhythm, utilizing pauses and subtle interactions to convey significant emotional weight. There's a playful yet philosophical engagement with the absurdity of life, creating a tone that is both humorous and thought-provoking.
Best representation: Scene 5 - The Interview and Orientation. Scene 5 best showcases the author's unique voice due to its perfect encapsulation of witty dialogue, absurd situations, and the pervasive sense of humorous miscommunication that defines the writer's style. The constant misunderstandings with the receptionist, Floris, create a comedic yet frustratingly relatable scenario that highlights the writer's ability to find humor in the mundane and the absurd. The presence of other quiet, short applicants further enhances the surreal and observational quality of the scene, demonstrating the writer's knack for creating memorable and offbeat moments that are rich in character and thematic undertones of isolation and the struggle for recognition.
Memorable Lines:
- LOTTE: I was John fucking Malkovich! (Scene 21)
- MAXINE: The real story of 7 1/2 is so evil that it could never be revealed to Americans raised on sitcoms and happy news anchors. (Scene 7)
- MAXINE: You're not someone I could get interested in. Craig. You play with dolls. (Scene 15)
- Malkovich: This portal is mine and must be sealed up forever. For the love of God. (Scene 40)
- Maxine: The way I see it, the world is divided into those who go after what they want and those who don't. The passionate ones... remain vital, in touch with themselves, and have few regrets. (Scene 26)
Characters
Craig Schwartz:A puppeteer struggling with his identity and obsession with fame, who becomes increasingly manipulative and desperate.
Lotte Schwartz:Craig's wife, who undergoes a journey of self-discovery and ultimately seeks liberation from her oppressive circumstances.
John Malkovich:The famous actor whose mind becomes a portal for others, representing themes of identity and control.
Maxine:A confident and ambitious woman who becomes the object of both Craig's and Lotte's affections, navigating her own desires.
Dr. Lester:A mysterious figure with a hidden agenda, representing the manipulative forces at play in the story.
Mr. Flemmer:A cunning character who seeks to control the narrative and the portal, embodying themes of power and ambition.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - The Weight of Performance | Melancholic, Bitter, Surreal | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 2 - Craig's Transformation | Surreal, Bitter, Triumphant, Satirical | 8.5 | 8 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 3 - The Puppeteer's Struggle | Dramatic, Humorous, Reflective | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 4 - Craig's Quirky Quest for Puppeteering | Quirky, Surreal, Absurd | 8.2 | 8 | 8 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 5 - Miscommunication at LesterCorp | Quirky, Surreal, Absurd | 8.2 | 8 | 8 | 9 | 9 | 8 | 8 | 6.5 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 6 - The Interview and Orientation | Quirky, Surreal, Satirical, Melancholic | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 7 - The Legend of Low Ceilings | Whimsical, Surreal, Satirical | 8.5 | 9 | 8 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 4 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 8 - Chaos in the Kitchen | Humorous, Domestic, Chaotic | 8.2 | 8 | 7 | 9 | 9 | 6 | 8 | 7.5 | 6 | 8 | 5 | 7 | 9 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
| 9 - Silent Tensions | Light-hearted, Reflective, Whimsical | 8.2 | 8 | 8 | 7 | 9 | 6 | 8 | 6 | 5 | 6 | 4 | 7 | 6 | 7 | 8 | 7 | 7 | 8 | 8 | |
| 10 - Whispers of Desire | Quirky, Melancholic, Surreal | 8.7 | 9 | 8 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
| 11 - Flirtation and Frustration in the File Room | Dark, Humorous, Melancholic | 8.5 | 8 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 12 - The Name Game | Light-hearted, Flirtatious, Playful | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 6 | 7 | 5 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 13 - Juice Bar Fantasies and Awkward Flirtations | Awkward, Flirtatious, Humorous, Intense | 8.5 | 8 | 8 | 9 | 9 | 7 | 7 | 6 | 7 | 7 | 6 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 14 - Tensions and Escapes | Tense, Intimate, Reflective | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 6 | 7 | 7 | 6 | 7 | 6 | 9 | 9 | 8 | 8 | 9 | 9 | |
| 15 - Unrequited Confessions and Hidden Secrets | Awkward, Yearning, Fantastical | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 16 - The Mysterious Door and the Juicer | Humorous, Reflective, Inquisitive | 7.5 | 8 | 8 | 8 | 7 | 7 | 8 | 6 | 7 | 6 | 6 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | |
| 17 - The Curious Door | Humorous, Whimsical, Quirky | 8.5 | 8 | 8 | 8 | 9 | 6 | 8 | 6 | 6 | 6 | 5 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 18 - Inside Malkovich's Mind | Whimsical, Surreal, Emotional | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 19 - Malkovich in the Taxi | Humorous, Confused, Surreal | 8.5 | 9 | 8 | 8.5 | 8 | 5 | 8 | 7.5 | 6 | 8 | 5 | 8 | 9 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 20 - The Portal Proposal | Whimsical, Philosophical, Sarcastic | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 21 - Portal to Self-Discovery | Whimsical, Philosophical, Surreal, Intense | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 22 - Obsession and Resignation | Whimsical, Surreal, Melancholic | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 23 - Identity Crisis and Obsession | Humorous, Reflective, Absurd | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 24 - Intrusions of Desire | Confusion, Excitement, Seduction, Dismissal | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 25 - A Chance Encounter at Bernardo's | Romantic, Intriguing, Charming | 9.2 | 9 | 9 | 8 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 26 - Dinner of Discontent | Awkward, Reflective, Emotional | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 8 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 27 - A Transformative Encounter | Whimsical, Sarcastic, Absurd | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 6 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 28 - The Confrontation at the 7 1/2 Floor | Tense, Sarcastic, Intense | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 29 - The Dark Initiation | Cult-like, Mysterious, Intense | 8.5 | 9 | 9 | 9 | 8 | 7 | 8 | 7.5 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 30 - Unraveling Ties | Tender, Reflective, Humorous | 8.5 | 8 | 8 | 8.5 | 9 | 8 | 8 | 7.5 | 4 | 7 | 3 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 31 - Through the Portal: A Night of Deception | Sensual, Awkward, Intimate | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 7 | 8 | 9 | 9 | 8 | 9 | 8.5 | 8.5 | 8 | |
| 32 - Heartbreak and Confusion | Emotional, Reflective, Tense | 8.7 | 9 | 8 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 33 - Morning Tensions | Depressing, Reflective, Humorous | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 34 - Coercion and Desire | Tense, Intense, Dark | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 35 - Control and Confusion | Tense, Commanding, Awkward, Sarcastic | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 36 - Control and Chaos | Tense, Darkly Humorous, Intense | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 37 - Malkovich's Misadventure on the 7 1/2 Floor | Satirical, Intense, Absurd | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 38 - The Portal Experience | Mysterious, Intense, Intriguing | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 39 - Malkovich's Surreal Descent | Confusion, Humor, Surreal | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7.5 | 6 | 8 | 7 | 8 | 9 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
| 40 - The Portal Dispute | Tense, Menacing, Surreal, Confrontational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 41 - Tensions Unleashed | Tense, Emotional, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 42 - Possession and Power Play | Tense, Awkward, Lewd, Humorous | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 7 | 8 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
| 43 - Indoctrination and Confession | Dark, Humorous, Sinister | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 8.5 | |
| 44 - Puppet Mastery in the Bedroom | Dark, Surreal, Intense, Humorous | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 45 - Desperate Confrontation at the Portal | Dark, Surreal, Satirical, Intense | 8.7 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | |
| 46 - The Absurd Proposal | Humorous, Tense, Sarcastic | 8.5 | 9 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 8.5 | 8 | 8 | |
| 47 - The Portal's Illusion | Dark, Surreal, Satirical | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 48 - Revelations and Resignations | Whimsical, Surreal, Satirical, Mysterious | 8.7 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 49 - Liberation and Escape | Melancholic, Reflective, Hopeful | 8.5 | 8 | 8 | 9 | 8 | 8 | 9 | 7 | 3 | 7 | 4 | 6 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 50 - The Magical Performance of John Malkovich | Sarcastic, Satirical, Emotional | 8.7 | 9 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
| 51 - Despair and Strategy | Dark, Intense, Reflective | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 52 - Nightmares and Rivalries | Tense, Sarcastic, Maternal, Derisive | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8.5 | 8 | |
| 53 - Plant Care and Puppet Plans | Tense, Humorous, Conversational | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
| 54 - Tensions and Discontent | Melancholic, Sarcastic, Reflective | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 55 - Frozen Moments and Upstaged Performances | Tense, Emotional, Surreal, Dark | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 56 - The Battle for the Spotlight | Dramatic, Surreal, Satirical, Intense | 8.7 | 9 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8.5 | 8 | |
| 57 - The Possession of Malkovich | Surreal, Absurd, Dark | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 7.5 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
| 58 - The Tyranny of Gray | Surreal, Authoritative, Dark | 8.5 | 9 | 8 | 9 | 8 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 9 | 8 | 6 | 9 | 8.5 | 8 | 8 | |
| 59 - A Bittersweet Farewell | Surreal, Melancholic, Determined | 8.5 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 7 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 60 - Strings of Deception | Surreal, Emotional, Reflective, Hopeful | 8.7 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
Scene 1 - The Weight of Performance
The room is bare, dusty. A ceiling fan turns. The wall clock
ticks. Craig, 30 years old and small, sits at a collapsible
card table. The only item on the table is a book. Craig picks
it up, looks at the jacket. It's entitled "Sit." Craig opens
the book. It reads: "sit sit sit sit sit..." over and over,
page after page. Craig closes the book. He begins to stand,
but thinks better of it, sighs. He looks at the book again.
It is now entitled "Die." He opens it up. "die die die die
die..." A rooster crows.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - MORNING
Craig jolts awake. A rooster stands on Craig's chest, crowing.
Lotte, also 30, in the middle of dressing for work, hurries
in and pulls the bird from Craig's chest.
LOTTE
Sorry, hon. I didn't know Orrin Hatch
was out of his pen. Good morning.
Lotte leans down and kisses Craig on the forehead.
CRAIG
Morning.
LOTTE
Gotta run. Shipment of grub worms
coming in first thing.
CRAIG
Enjoy.
LOTTE
Craig, listen, honey, I've been
thinking... maybe you'd feel better
if you got, you know, a job or
something.
CRAIG
We've been over this. Nobody's looking
for a puppeteer in today's wintry
economic climate.
LOTTE
Well, you know, maybe something else
until this whole puppet thing turns
around.
CRAIG
(bitterly)
The Great Mantini doesn't need a day
job.
LOTTE
(sighs)
Craig, everyone can't be Derek
Mantini.
(beat)
Well, grub worms are waiting. Do me
a favor?
CRAIG
What?
LOTTE
Would you check in on Elijah? He
seems to be a little under the weather
this morning.
CRAIG
Which one is Elijah again?
LOTTE
The monkey.
CRAIG
Yeah. Okay.
CUT TO:
INT. CRAIG AND LOTTE'S GARAGE - MORNING
The place is a mess. Vivaldi blasts through cheap speakers.
A small marionette stage stands in the back of the garage.
The stage is lit and on it is a finely sculpted puppet version
of Craig. The "Craig" puppet paces back and forth, wringing
its hands with incredible subtlety. We see Craig, above and
behind the stage. He is manipulating the puppet. His fingers
move fast and furious. The puppet breaks into a dance, a
beautiful and intricate balletic piece. Soon the puppet is
leaping and tumbling through space, moves that one would
think impossible for a marionette. Sweat appears on the real
Craig’s brow. His fingers move like lightning. The puppet
moves faster and faster. Sweat appears on the puppet's brow.
We see that the sweat is being piped from a special device
that the real Craig controls. The Craig puppet collapses on
the floor of the stage. It puts its hands up to its face and
weeps. Craig hangs the puppet, and comes down around the
front of the stage. He is heaving. He switches off the music,
picks up a beer and takes a swig.
CUT TO:
Ratings
Scene 2 - Craig's Transformation
The room is filled with penned and unpenned animals of all
kinds: snakes, lizards, birds, a dog, cats, etc. Craig sits
on the couch and looks at the want ads, the TV is on in the
background. Elijah, the monkey, sits next to Craig holding
his stomach and moaning weakly. On the TV, Derek Mantini is
working a 60 foot high marionette from the top of a water
tower. The assembled crowd is enthralled.
TV ANNOUNCER
The crowd is enthralled as Derek
Mantini, arguably the greatest
puppeteer in the history of the world,
performs "The Belle of Amherst" with
his 60 foot Emily Dickinson puppet,
directed by the inimitable Charles
Nelson Reilly.
Charles Nelson Reilly floats by in a hot air balloon.
CHARLES NELSON REILLY
Beautiful, beautiful! Nyong-nyong.
CRAIG
Gimmicky bastard.
Craig switches off the TV. He comes across an ad for a female
puppeteer to teach at a girls school. Craig rubs his chin in
thought, then stands with great determination.
MUSIC IN: TRIUMPHANT
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - DAY
Craig searches through Lotte's closet, looking for the right
dress.
CUT TO:
INT. CRAIG AND LOTTE'S BATHROOM - DAY
Craig waxes his body, shaves his face.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - DAY
Craig paints his nails while he chats on the phone. Craig
pulls stockings and underwear from Lotte's drawer. Craig
picks a wig from a mannequin head on Lotte's dressing table.
CUT TO:
INT. CRAIG AND LOTTE'S LIVING ROOM - DAY
Craig, at the sewing machine, is sewing padding to go onto
his chest and around his hips.
CUT TO:
INT. CRAIG AND LOTTE'S BATHROOM - DAY
Craig applies make up in the bathroom mirror.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - DAY
Craig, now looking very much like a woman, admires himself
in the full length mirror.
CUT TO:
EXT. STREET - DAY
Craig hails a taxi in his get-up. Men on the street turn and
leer at him.
CUT TO:
Ratings
Scene 3 - The Puppeteer's Struggle
Craig and the headmistress chat over tea. Craig is quite
animated and charming. The admiring headmistress smiles and
nods her head in approval.
CUT TO:
INT. CLASSROOM - DAY
Craig instructs a class of uniformed girls. He draws complex
diagrams of puppets on the blackboard. The students are
transfixed, except for one troubled girl who eyes Craig
sullenly from the back of the room as she plays with a
switchblade.
CUT TO:
INT. THEATER - DAY
Craig guides the hands of the troubled teenage girl, who is
trying to manipulate a marionette. The girl looks up at Craig.
Her tough facade crumbles and she smiles. Craig smiles back.
CUT TO:
EXT. SCHOOL GROUNDS - DAY
The girls carry Craig on their shoulders. Everyone is joyous.
CUT TO:
EXT. COUNTRY ROAD - DAY
Craig leads the girls in a bike race. Everyone is laughing
and screaming. One of the girls notices that Craig is riding
a man's bike.
MUSIC OUT.
CUT TO:
INT. JAIL CELL - NIGHT
Craig sits in a holding cell with several other men. He is
still in the dress, but the wig is in his lap and the make-
up is smeared off. Lotte appears with a cop outside Craig's
cell. The door is opened, and Craig, Lotte, and the cop head
down the hall.
CUT TO:
INT. CAR - NIGHT
Lotte drives. Craig looks out the window. Both are silent.
LOTTE
(finally)
Is the trial date set?
CRAIG
May 11th.
More silence.
LOTTE
Why'd you do it, Craig?
CRAIG
I'm a puppeteer.
They drive in silence.
CUT TO:
INT. CRAIG AND LOTTE'S LIVING ROOM - MORNING
Craig sits on the couch in his bathrobe and studies the want
ads. He sees an ad for a company called "WOMYN-TEERS", looking
for "an African-American, Lesbian Separatist Puppeteer for
Community Outreach."
Craig rubs his chin in thought, stands with determination.
MUSIC IN: SAME AS BEFORE.
CUT TO:
INT. CRAIG AND LOTTE'S BATHROOM - MORNING
Craig applies a dark pancake make-up to his face.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - MORNING
Craig pulls an afro-style wig off a mannequin head on Lotte's
dressing table.
CUT TO:
EXT. STREET - MORNING
Craig, now made up to look like a black, lesbian separatist,
hails a cab. Women look at him longingly.
CUT TO:
INT. CAR - NIGHT
Craig, dressed as the black lesbian and beaten to a pulp.
sits in the passenger seat. Lotte drives.
LOTTE
(finally)
Why, Craig. why?
CRAIG
(through fat lip)
I... puppeteer.
CUT TO:
Ratings
Scene 4 - Craig's Quirky Quest for Puppeteering
Craig reads the paper. He comes across an ad: "Female
puppeteer wanted for nudist colony marionette staging of
'Oh, Calcutta!'" Craig rubs his chin.
CUT TO:
INT. CAR - NIGHT
Craig sits in the passenger seat. He is made up as a woman
and wears a full-body rubber "naked woman" suit. Lotte
drives.
LOTTE
(finally)
You know, maybe you should speak to
someone about this.
CUT TO:
INT. CRAIG AND LOTTE' S LIVING ROOM - DAY
Craig sees a personal ad: "Male puppeteer looking for
attractive female puppeteer for friendship, travel, and much
much more." Craig rubs his chin, then thinks better of it
and sighs. He finds a want ad calling for a “short-statured
file clerk with unusually nimble and dexterous fingers needed
for speed filing." Craig writes down the address.
CUT TO:
INT. OFFICE BUILDING LOBBY - DAY
Craig. in sport coat and tie, studies the business listings
board. He finds LesterCorp, and sees that it is located on
floor 7 1/2. Craig presses the elevator button and waits.
Another man comes and waits next to him. The doors open, and
Craig and the other man get in.
CUT TO:
INT. ELEVATOR - CONTINUOUS
The other man presses "9." Craig studies the buttons. There
is no "7 1/2."
MAN #1
Seven and a half, right?
CRAIG
Uh. yeah.
MAN #1
I'll take you through it.
The man picks up a crowbar leaning in the corner. He watches
the floor numbers light up in succession. After "7" and before
"8", the man hits the emergency stop button. The elevator
slams to a halt. The man pries open the doors with the
crowbar. Revealed is a standard office building hallway,
except that from floor to ceiling it is only about four feet
high. Everything is scaled down accordingly. The number on
the wall across from the elevator is 7 1/2.
MAN #1
Seven and a half.
CRAIG
Thank you.
Craig climbs out onto the 7 1/2 floor.
CUT TO:
INT. SEVEN AND A HALF FLOOR - CONTINUOUS
Craig, hunched-over, makes his way down the hallway looking
for LesterCorp. He passes a hunched-over man walking in the
other direction. They nod to each other. Craig finds a door
marked "LesterCorp - Meeting America's Filing Needs Since
1922." He enters.
CUT TO:
Ratings
Scene 5 - Miscommunication at LesterCorp
All furniture is scaled down to fit into this low-ceilinged
space. A few other short men sit reading tiny magazines.
Craig approaches Floris, the receptionist.
FLORIS
Welcome to LesterCorp. May we meet
your filing needs?
CRAIG
No, uh, my name is Craig Schwartz.
I have an interview with Mr. Lester.
FLORIS
Please have a seat, Mr. Juarez...
CRAIG
Schwartz.
FLORIS
Pardon?
CRAIG
Schwartz.
FLORIS
I'm sorry, I'm afraid I have no idea
what you're saying right now.
CRAIG
My name is Schwartz.
FLORIS
Money, Miss Warts?
CRAIG
Forget it.
Craig takes a seat next to the other applicants.
FLORIS
(calling across the
room)
Fork ah did?
The intercom buzzes. Floris picks it up.
FLORIS
(to Craig)
Mr. Juarez?
CRAIG
Yes?
FLORIS
Yex?
CRAIG
I said "yes."
FLORIS
You suggest what? I have no time for
piddling suggestions from mumbling
job applicants, my good man. Besides,
Dr. Lester will see you now. I think
that's what he said.
Craig stands, opens Lester's door, and enters.
CUT TO:
Ratings
Scene 6 - The Interview and Orientation
Craig enters. Lester, a giant of an old man, sits hunched
behind his tiny desk.
LESTER
Come in, Mr. Juarez. I'd stand, but,
well, you know.
CRAIG
(extending his hand)
Actually, my name is Craig Schwartz,
Dr. Lester.
Lester flips an intercom switch.
LESTER
Security.
CRAIG
No, it's okay, sir. Just a mixup
with your secretary.
LESTER
She's not my secretary. She's what
they call an executive liaison, and
I'm not banging her, if that's what
you’re implying.
CRAIG
Not at all, Dr. Lester. I simply
misspoke.
LESTER
Tell me, Dr. Schwartz, what do you
feel you can bring to LesterCorp?
CRAIG
Well, sir, I'm an excellent filer.
LESTER
(crafty)
You think so, eh? Which comes first,
L or... Glooph?
CRAIG
Glooph is not a letter, sir.
LESTER
Damn, you are good. I tried to trick
you. Okay, put these in order.
Lester hands Craig a bunch of index cards. Craig orders them
with amazing speed and dexterity. Lester watches, eyes wide.
LESTER
(flips intercom switch)
Floris, get Guinness on the phone.
FLORIS (O.S.)
Gehginnis ondah foam?
LESTER
Forget it.
FLORIS
Fork ah did?
LESTER
(flips off switch)
Fine woman, Floris. I don't know how
she puts up with this damn speech
impediment of mine.
CRAIG
You don't have a speech impediment,
Dr. Lester.
LESTER
Flattery will get you everywhere, my
boy. But I'm afraid I have to trust
Floris on this one. You see, she has
her doctorate in speech
impedimentology from Case Western.
Perhaps you've read her memoirs, "I
can't understand a word any of you
are saying."
CRAIG
No.
LESTER
Pity, it tells it like it is. That's
why the eastern, read Jewish,
publishing establishment won't touch
it. That's a quote from the book
jacket. George Will, I think.
(beat)
I apologize if you can't understan a
word I'm saying, Dr. Schwartz.
CRAIG
No. I understand perfectly.
LESTER
(choking up)
Thank you for being kind enough to
lie. You see, I've been very lonely
in my isolated tower of indecipherable
speech. You're hired. Any questions?
CRAIG
Just one. Why is this floor so short?
LESTER
Low overhead, m'boy. We pass the
savings on to you.
(laughs heartily)
But seriously, that's all covered in
orientation.
CUT TO:
INT. ORIENTATION ROOM - DAY
It's a small screening room with red velvet seats. There are
a few people scattered about the squat theater. Craig is
among them. He looks around the room and his eyes rest
momentarily on Maxine. She is in her late 20's with close
cropped black hair. Her eyes are opaque, her face
expressionless, her countenance trance-like.
She glances over at Craig, then turns back to the screen.
The lights dim. A projector whirs and the screen is
illuminated.
CUT TO:
EXT. OFFICE BUILDING - DAY
We tilt up the building.
MUSIC: Perky Industrial Film Music.
TITLE: THE 7 1/2 FLOOR
NARRATOR (O.S.)
Welcome to the 7 1/2 floor of the
Mertin-Flemmer building. As you will
now be spending your work day here,
it is important that you learn a bit
about the history of this famous
floor.
DISSOLVE TO:
Ratings
Scene 7 - The Legend of Low Ceilings
Don and Wendy, two office workers, crouch in the hall and
chat. Both hold cups of coffee.
WENDY
Hello, Don.
DON
Hello. Wendy.
WENDY
Don, I was wondering, do you know
why our workplace has such low
ceilings?
DON
It's an interesting story, Wendy.
Many years ago in the late 1800's,
James Mertin, an Irish ship captain
looking to invest in the future of
our great country, came to this town
and decided to erect an office
building.
CUT TO:
OLD FOOTAGE OF CONSTRUCTION CREW WORKING.
DON
He would call this building the Mertin-
Flemmer Building, after himself and
someone else, who, local legend has
it, was named Flemmer.
CUT TO:
INT. 19TH CENTURY OFFICE - DAY
An actor playing Mertin sits at a desk and writes with aquill.
He appears very stern and has mutton chop sideburns.
DON
One day. Captain Mertin received an
unexpected visitor.
There is a knock at the door.
MERTIN
Enter ye, if ye dare enter.
A tiny woman enters.
TINY WOMAN
Captain Mertin?
MERTIN
What want ye, girl child?
TINY WOMAN
I am not a child, Captain Mertin,
but rather an adult lady of miniature
proportions.
MERTIN
(taken aback)
I see. Well, it is not my fault that
thou art tiny. So if it is charity
yer after, then be gone with ye, ye
foul demon.
TINY WOMAN
I am not asking for alms, but rather
the ear of a kind man with a noble
heart.
MERTIN
(sighs)
Aye. Speak then if ye must.
TINY WOMAN
Captain Mertin, surely I am a God-
fearing Christian woman like yourself,
but alas, I am afraid that the world
TINY WOMAN
was not built with me in mind. Door
knobs are too high, chairs are
unwieldy, high-ceilinged rooms mock
my stature. Nor am I a married lady,
Captain. after all, who would marry
a person of my diminutiveness? So I
am forced to work for my few pennies
a week as an optometrist. Why cannot
there be a place for me to work safe
and comfortable?
Mertin wipes a tear from his eye.
MERTIN
Woman, your story moves me like n
other. Me own sister was tiny and
then died. Therefore, I shall make
ye me wife. And I shall build a floor
in my building, between the 7th and
8th, which will be scaled down, so
from now on there shall be at least
one place on God's green Earth that
you and your accursed kind can live
in peace...
DISSOLVE TO:
INT. HALLWAY 7 1/2 FLOOR - DAY
Don And Wendy crouch and talk.
DON
So that's the story of 7 1/2. Since
the rents are considerably lower
this floor has been adopted by
businesses which for one reason or
another are forced to cut corners.
After all... the overhead is low!
Ha ha ha!
WENDY
Ha ha ha!
TITLE: The End
CUT TO:
INT. ORIENTATION ROOM - DAY
The screen goes dark. The lights go up. Craig looks over at
Maxine. She stands and walks past him.
CRAIG
Moving story.
MAXINE
Yes. Unfortunately it's bullshit.
The real story of 7 1/2 is so evil
that it could never be revealed to
Americans raised on sitcoms and happy
news anchors.
CRAIG
Is that true?
MAXINE
Well, truth is for suckers, isn't
it?.
CRAIG
Listen. I'm Craig Schwartz, just
starting out at LesterCorp.
MAXINE
How dreary - to be - Somebody / How
public - like a Frog / To tell one's
name - the livelong June / To an
admiring Bog!
CRAIG
(proudly)
Emily Dickinson.
MAXINE
I wouldn't know.
Maxine walks away.
CUT TO:
Ratings
Scene 8 - Chaos in the Kitchen
Lotte chops onions. A parrot sits on her head. Craig stirs a
pot on the stove. A monkey leaps from the top of the cabinet
to the top of the refrigerator to the kitchen table. A dog
watches the monkey and barks at it.
PARROT
Shut up! Shut up! Shut up!
CRAIG
Shut up!
LOTTE
(to Craig)
Sorry, honey.
The dog continues to bark.
PARROT
Sorry honey. Sorry honey.
An offscreen neighbor pounds the wall.
NEIGHBOR (O.S.)
Shut up!
LOTTE
(yelling)
Sorry!
Lotte grabs the parrot off her head and leaves the room.
PARROT (O.S.)
Help! She's locking me in a cage!
Lotte reenters.
LOTTE
Isn't that cute? I just taught her
that.
CRAIG
Adorable. What time are they supposed
to be here?
LOTTE
Seven-ish
CRAIG
We have to make it an early night.
LOTTE
They'll understand. Besides I've got
a morning appointment tomorrow with
Elijah's shrink. We're getting to
the bottom of this acid stomach.
CRAIG
(not paying attention)
Hmmm.
LOTTE
Some sort of childhood trauma, she
thinks. Possible feelings of
inadequacy as a chimp. Interesting,
huh?
CRAIG
Hmmm.
The doorbell rings. The dog barks. The parrot screams. The
neighbor pounds on the wall.
DISSOLVE TO:
Ratings
Scene 9 - Silent Tensions
The dining room table is set up. Craig and Lotte and their
friends Peter and Gloria are seated and eating dinner. There
is an obvious lull in the conversation.
PETER
Good food, Lotte.
LOTTE
Thanks. Craig helped, too, by the
way.
PETER
Vegetarian, right?
LOTTE
Yes. All vegetable. all the time.
PETER
Amazing.
There is another lull. Everyone eats.
PETER
No kidding about that 7 1/2 floor.
Craig?
CRAIG
No kidding, Peter.
GLORIA
That's great. It almost sounds like
make-believe.
(beat)
Like a storybook.
(beat)
like a fairy tale.
(beat)
It's really great.
(beat)
So Lotte, when you say all vegetable,
do you mean all vegetable entire1y?
CUT TO:
INT. PETER AND GLORIA'S CAR - NIGHT
Gloria and Peter drive in silence.
GLORIA
Lotte told me that Eskimos have a
lot of words for snow.
PETER
How many?
GLORIA
Ten, I think.
PETER
I wonder why so many.
GLORIA
Because they have a lot of snow.
Isn't that interesting?
CUT TO:
INT. CRAIG AND LOTTE'S KITCHEN - NIGHT
Craig washes the dishes. Lotte dries them. They don’t look
at each other.
CUT TO:
Ratings
Scene 10 - Whispers of Desire
Craig in a cream colored suit, pours over the file cabinets.
Floris watches from the doorway.
FLORIS
You're good.
Craig turns.
CRAIG
(over-enunciating)
Thank you, Floris.
Floris shrugs, shakes her head.
FLORIS
You're not like the other boys we've
had here. Granted, I can't understand
what you're saying either, but your
soft palette resonates tremendously
well and you never ever constrict
your epiglottis.
CRAIG
I am a trained performer.
FLORIS
(swooning)
Music to my ears! Whatever you said.
Speak, speak, speak, my magnificent
friend, speak!
CUT TO:
INT. HALLWAY 7 1/2 FLOOR - DAY
Craig pours himself a cup of coffee. Maxine approaches with
an empty cup.
CRAIG
Hello again.
Craig fills her cup.
MAXINE
Yes, well...
CRAIG
You know, I've been thinking about
what you said yesterday, about the
orientation film being a cover-up.
I think you're on to something.
MAXINE
And fifty other lines to get into a
girl's pants.
CRAIG
No, really.
MAXINE
You know, if you ever got me, you
wouldn't have a clue what to do with
me. That's the thing, Romeo.
Maxine walks away.
CUT TO:
INT. CRAIG AND LOTTE'S GARAGE - NIGHT
Craig is at his workbench, painting the finishing touches on
a new puppet. It is beautiful. It is Maxine. Lotte watches
quietly from the door. A Lotte puppet hangs from a hook,
tangled and dusty.
LOTTE
New puppet?
Craig is surprised, caught.
CRAIG
Yeah, just an idea I had.
LOTTE
She's very beautiful.
CRAIG
(shrugging)
Just an idea I had.
Craig hangs the puppet, stands, and switches off the light.
CRAIG
C'mon, let's go to bed.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - NIGHT
The room is dark. Lotte snores lightly. Craig lies there
with his eyes open. Quietly, he gets up and leaves the
bedroom. Lotte watches him go.
CUT TO:
INT. GARAGE - NIGHT
Craig stands above the puppet stage. He is working both the
Craig puppet and the Maxine puppet at the same time. The two
perform a beautiful and graceful pas de deux. They finish in
a passionate embrace.
CRAIG
(quietly)
I would too know what to do with
you.
CUT TO:
Ratings
Scene 11 - Flirtation and Frustration in the File Room
Craig files. Floris watches him from the doorway. Dr. Lester
watches Floris from behind a cabinet.
FLORIS
Oh, what magic those fingers could
work on the right “cabinet.”
(strokes Craig's neck)
Alphabetize me, baby. And don't
forget, I comes before U.
Floris laughs long and hard. Too long and too hard.
CRAIG
Floris, you're very nice, but I'm
afraid I’m in love with somebody
else.
FLORIS
(upset)
I'm afraid I... have no idea what
you are saying... you bastard!
Floris runs from the room. Lester pokes his head out from
behind the cabinet.
LESTER
Don't toy with Floris, Schwartz.
Why, if I were eighty years younger,
I'd box your ears.
CRAIG
I wasn't toying with her, sir. I was
just... How old are you?
LESTER
One hundred and five. Carrot juice.
(beat)
Lot's of it. I swear, it's almost
not worth it. I piss orange. Oh, and
I, have to piss sitting down... like
a godamn girly... every fifteen
minutes. But nobody wants to die,
Schwartz.
CRAIG
I'll keep that in mind, sir.
LESTER
No sir-e-bob, I don't die. But what
I do is get older, wrinkled like a
former plum that's become the wrinkled
prune you see before you. Oh, to be
a young man again, maybe then Floris
would care for me.
CRAIG
The elderly have so much to offer,
sir. They are our link with history.
LESTER
I don't want to be your godamn link,
damn you. I want to feel Floris'
naked thighs against my own. I want
to know passion. I want my body to
inspire lust in that beautiful,
complex woman. I want her to shiver
in a spasm of ecstasy when I penetrate
LESTER
her. Oh, God, the agony of the flesh,
Schwartz.
CRAIG
Dr. Lester, while I am flattered
that you share your feelings with
me, I believe perhaps the workplace
is not the most suitable environment
for this type of discussion.
LESTER
All right. Meet me at the Juicy-Juice
Juice Bar after work today and I'll
spill my goddamn guts for you.
Lester exits.
CRAIG
Shit.
CUT TO:
Ratings
Scene 12 - The Name Game
Craig squats next to a payphone.
CRAIG
(into phone)
I won't be late. I just have to listen
to Lester's sexual fantasies and
drink carrot juice for a little while.
It's a job thing.
Maxine walks by. Craig grabs her arm, signals for her to
wait a minute. She waits.
CRAIG
(into phone)
I gotta go back to work. Yeah, okay.
You too. Okay. Bye.
Craig hangs up.
MAXINE
What?
CRAIG
I just wanted to say “hi.” Did you
know I still don't know your name or
where you work?
MAXINE
Yeah.
CRAIG
How about this, if I can guess your
first name within three tries, you
have to come out for a drink with me
tonight.
MAXINE
Why not?
CRAIG
Great.
(watches her face as
he guesses)
Buuuhhppaahhhhnnn. . . . .
Muhhhahhhhh. . . . . ahhhnnnaaa. .
nollltuuukkkaaaaralllll. . .
tashabararassssssuuuuusaaaaaaa. . .
nnnnnnnaaaaaannnnnnnnncccccceeeeeee
Mwaaaaaa. . . . .Mahhhhhkkkkk. . .
sssseeeeeen. Maxine?
MAXINE
Who told you?
CRAIG
I'm right?
MAXINE
Who told you?
CRAIG
That's incredible! Nobody told me!
I swear! It's kismet. Maxine! It's
a beautiful name. There's a psychic
connection. Don't you see? It was
meant to be! Maxine! Maxine! Maxine!
I will shout it from the rooftops!
MAXINE
Somebody told you.
CRAIG
Oh, Maxine, nobody told me. Maxine,
Maxine. It just came out of me like
a song, Maxine. A beautiful crazy,
song, Maxine. Maxine. Maxine!
MAXINE
I am dubious, but I don't welsh.
Meet me at The Stuck Pig. Seven
o'clock. You're late, I walk. So
help me, if I find out you cheated.
CRAIG
(in heaven)
Maxine.
Craig walks down the hall. A tiny smile flits across Maxine's
face.
CUT TO:
Ratings
Scene 13 - Juice Bar Fantasies and Awkward Flirtations
Lester and Craig sit at a table. There are several emptied
glasses of carrot juice in front of Lester. Craig nurses one
glass, and keeps checking his watch.
LESTER
Imagine a room full of women. Nubile,
blonde, wet with desire, Schwartz. A
harem, if you will. Me in leather.
A harness, if you like. I am the
object of this desire, and all eyes
are on me as I speak. “Ladies,” I
begin. “I am the love god, Eros. I
intoxicate you. My spunk is to you
manna from heaven...
CRAIG
(standing)
Dr. Lester, it's been really
fascinating, but I'm afraid I have
to get home to my wife now.
LESTER
Wife, huh? I'd love to meet her,
Craig.
CRAIG
Yessir.
LESTER
Shall we say dinner on Friday. Just
the two of us?
(afterthought)
You can come too if you like,
Schwartz.
CRAIG
(checking watch)
That's sounds fine, sir. Gotta run.
Craig hurries to the door. Lester downs Craig's juice, signals
the waiter for more.
CUT TO:
INT. THE STUCK PIG - NIGHT
Maxine sits at the bar, watching her watch. Craig rushes
into the room, frantic, out of breath. He spots Maxine and
plops himself next to her.
CRAIG
Made it. Maxine. Maxine, Maxine,
Maxine.
MAXINE
Just.
CRAIG
Buy you a drink, Maxine?
MAXINE
You married?
CRAIG
Yeah. But enough about me.
Maxine laughs. The bartender approaches.
CRAIG
What'll you have?
MAXINE
(to bartender)
The usual, Barry.
CRAIG
(to bartender)
I'll have, like, a beer. Like a
Budweiser, or something.
The bartender walks away.
CRAIG
I like you. I don't know what it is
exactly.
MAXINE
My tits?
CRAIG
No, no, it's your energy or your
attitude or the way you carry yourself
or...
MAXINE
Christ, you're not a fag are you?
Because I don't want to be wasting
my time.
The drinks arrive. Maxine's is in an enormous fishbowl of a
glass. It's bright blue, with fruit and marshmallows swimming
in it. Paper umbrellas stick out of it, an plastic monkeys
hang from the rim.
CRAIG
That's the usual?
MAXINE
Don’t let the girly shit fool you.
It'd blow your shorts off.
Maxine downs it like a shot of whiskey. She pushes the empty
glass to the bartender.
MAXINE
Set me up again, Barry.
The bartender walks away with the empty glass.
CRAIG
I’m not a homosexual. I just like
women for more than their bodies. I
guess you could say I'm the new
American male.
MAXINE
You're a fag or a liar.
CRAIG
(backpedaling)
I mean, I am really attracted to
you.
MAXINE
(mocking)
I mean, I am really attracted to
you. Jesus, you are a fag. We can
share recipes, if you like, Darlene.
Maxine gets up.
CRAIG
(at a loss)
No, wait! I like your tits.
(beat)
I love your tits. I want to fuck
you.
MAXINE
(sitting)
Good. Now we're getting somewhere.
(beat)
Not a chance.
Maxine's second drink comes. She downs it, pushes the glass
toward the bartender.
MAXINE
So, tell me about yourself. If you
can get your mind out of the gutter
long enough, dog-boy.
CRAIG
Well, I'm a puppeteer...
The bartender comes back with Maxine's drink.
MAXINE
(to bartender)
Check.
CUT TO:
Ratings
Scene 14 - Tensions and Escapes
Lotte is combing Elijah. Craig enters.
CRAIG
Hi.
LOTTE
Hi.
CRAIG
(nervous, talking too
much)
Sorry, I'm so late. Lester just
wouldn't let me go. We’re supposed
to have dinner with him on Friday.
I can get us out of it if you want.
He's really amazing, this insane old
lech. It's actually sort of amusing
when you get past just how disgusting
it is.
There is a silence. Lotte continues to comb out Elijah.
Finally:
LOTTE
Did you eat?
CRAIG
Nah. I'm not hungry. I'm sorry I
didn't call. It was just, you know,
hard to get away.
LOTTE
I was worried.
CRAIG
I'm sorry. How was your evening?
LOTTE
Tom-Tom's puncture wound is infected.
CRAIG
The ferret?
LOTTE
The iguana.
CRAIG
Right.
LOTTE
I dressed the wound. Then I've just
been feeding everyone, putting
everyone to bed.
CRAIG
Yeah. You want a beer?
LOTTE
No thanks. I'm going to turn in.
CRAIG
All right. I'll be in my workshop
for a little while. I'll be in in a
little while. I need to unwind a
little.
(beat)
I'll be in soon. A little while.
LOTTE
'kay.
Lotte exits.
CUT TO:
INT. GARAGE - NIGHT
Craig works the Craig and Maxine puppets. The puppets sit on
the edge of the small stage and chat. Craig does a pretty
fair impersonation of Maxine's voice.
CRAIG
(as Maxine, fascinated)
Tell me, Craig, why do you love
puppeteering?
(as Craig)
Well, Maxine, I'm not sure exactly.
Perhaps it's the idea of becoming
someone else for a little while.
CRAIG
Being inside another skin. Moving
differently, thinking differently,
feeling differently.
(as Maxine)
Interesting. Would you like to be
inside my skin, Craig? Think what I
think? Feel what I feel?
(as Craig)
More than anything. Maxine.
(as Maxine)
It's good in here, Craig. Better
than your wildest dreams.
The puppets kiss.
CUT TO:
Ratings
Scene 15 - Unrequited Confessions and Hidden Secrets
Craig waits at the coffee machine. Checks his watch. Finally
Maxine approaches.
CRAIG
Hi.
MAXINE
You're not someone I could get
interested in. Craig. You play with
dolls.
CRAIG
(rehearsed)
Puppets. Maxine. It's the idea of
being inside someone else, feeling
what they feel, seeing what they
see...
MAXINE
Yikes.
CRAIG
Please, let me explain.
Craig grabs Maxine's hand and drags her into an empty office.
CUT TO:
INT. EMPTY OFFICE - DAY
Craig pulls Maxine in closes the door.
CRAIG
It's just, and I've never done this
before, Maxine, but it's just that I
CRAIG
feel something for you. I've never
felt this before for anyone, not
even my wife. My future is with you,
Maxine.
MAXINE
You might want to check those tarot
cards one more time.
Maxine heads for the door. Craig sits on a box. He puts his
head in his hands and sighs. Across the room he notices a
very small door with a two by four nailed across it.
CRAIG
Another evil secret of the 7 1/2
floor.
Craig pries the two-by-four off and opens the door. It's a
dark and wet membranous tunnel inside.
CRAIG
Holy shit. Maxine is gonna love this.
Craig lets go of the door and it slams shut.
CUT TO:
Ratings
Scene 16 - The Mysterious Door and the Juicer
Lester sits at his desk studying an instruction manual for a
juicer. The spanking new juicer sits on his desk. There is
an urgent knocking at the door.
LESTER
Yes?
Craig rushes in.
CRAIG
Dr. Lester. . .
LESTER
Ah, Craig. Just the fellow I wanted
to see.
(proudly spreading
his arms)
Juicer! Easy as pie. Just keep your
fingers clear of the blade, and never,
never use it while bathing in a tub
full of water.
CRAIG
Dr. Lester, I have a question. I was
in that vacant office down the hall
CRAIG
and I stumbled upon a little door
and....
LESTER
Ah. yes, the little door.
(checks watch)
There is a short film on the little
door in the orientation room in
exactly two minutes. If you hurry,
you'll just make it.
CRAIG
Thank you, sir.
Craig exits. Lester waits a moment. then dials the phone.
LESTER
Put up reel 752.
CUT TO:
INT. ORIENTATION ROOM - DAY
Craig sits in the otherwise empty screening room. The lights
dim, the film begins.
TITLE: THE LITTLE DOOR IN THE VACANT OFFICE
CUT TO:
Ratings
Scene 17 - The Curious Door
Wendy crouches in the vacant office and studies the closed
little door. Don enters. smiling.
DON
Hi. Wendy! What're you up to in this
vacant office.
WENDY
Well, Don, I peeked in here, even
though I know it's against floor
policy. and I discovered that there's
a little tiny door in here. Isn't
it cute? It's almost like a little
dolly's door. I wonder what it’s
for.
DON
(laughing)
That's right, Wendy, it is against
floor policy, but as long as you're
here, let me tell you what I know
about our cute little door friend.
DON
Many years ago, this very office was
occupied by a kindly old watchmaker
named Mr. White.
DISSOLVE TO:
INT. WATCHMAKER'S WORKSHOP - DAY
An old man toils away in the dusty office.
WHITE
Hmmm. I must have a small store room
to store my merchandise when I am
through working on it. I know, I
will build a tiny store room. How
cute!
DISSOLVE TO:
INT. VACANT OFFICE - DAY
WENDY
Wow! That's some story, Don.
DON
Truth is stranger than fiction, Wendy!
They laugh.
TITLE: THE END
CUT TO:
INT. ORIENTATION ROOM - DAY
The lights go up. Craig sits there for a moment. An usher
pushes a broom down the aisle.
CRAIG
Bullshit.
Craig exits. The usher mumbles something into a walkie-talkie.
CUT TO:
Ratings
Scene 18 - Inside Malkovich's Mind
Craig opens the little door and climbs into the membranous
hallway. The door slams shut behind him.
CUT TO:
INT. HALLWAY - MORNING
It's dark and wet. The walls are soft and membranous. There
is a dripping sound. Craig crawls along. Soon something starts
to pull Craig as if he is being sucked through a straw. There
is a flash of light.
CUT TO:
INT. FANCY DINING ROOM - MORNING
The POV of someone reading a newspaper. The person lifts a
cup of coffee to his mouth. There is a slurping sound. The
person puts down the coffee cup and the newspaper, and stands
up.
CRAIG
(losing his balance)
Whoa! What the hell? Where am I?
We're still in POV. The person walks across the room, picks
up his wallet from a coffee table. looks in a mirror and
checks his teeth for food. It's John Malkovich.
CRAIG
Holy shit! It's that actor guy.
Shit! What's his name? That actor
guy! What's happening? Am I inside
him? Am I in his brain? Am I him?
Is he me? Does he know I'm here? My
brain is reeling! Is his brain
reeling?
Malkovich walks to the front door, opens it, exits his
apartment.
CUT TO:
INT. MAXINE'S OFFICE - CONTINUOUS
Maxine sits at her desk, eats a sandwich. looks at a fashion
magazine, and chats on the phone.
MAXINE
The puppeteer told me he loves me
today.
(laughs)
I know. I can't think of anything
more pathetic.
CUT TO:
Ratings
Scene 19 - Malkovich in the Taxi
John Malkovich's POV from the back seat of the cab. The cab
pulls away from the curb.
MALKOVICH (V.O.)
(resonant throughout)
The Broadhurst Theater, please.
The cabbie studies Malkovich in his rearview mirror as he
drives.
CABBIE
Say, aren't you that actor guy?
MALKOVICH
Yeah.
CABBIE
John Makel...
CRAIG (V.O.)
John Malkovich! Of course!
CABBIE
Mapplethorpe?
MALKOVICH (V.O.)
Malkovich.
CABBIE
Malkovich!
CRAIG (V.O.)
John fucking Malkovich!
CABBIE
Yeah. I liked you in that one movie.
MALKOVICH (V.O.)
Thank you.
CABBIE
The one where you're that jewel thief.
MALKOVICH
I never played a jewel thief.
CABBIE
Who am I thinking of?
MALKOVICH
I don't know.
CABBIE
I'm pretty sure it was you. Hey,
could I get your autograph now?
It's for .... oh, what the hell,
it's for me! I'm your biggest fan!
MALKOVICH
Yeah, okay.
The cabbie hands a pad back over the seat. Malkovich reaches
for it. There is a slurping sound.
CRAIG (V.O.)
(panicky)
Ahhhh!
The image starts to fade, then suddenly goes black.
CUT TO:
EXT. DITCH - DAY
It’s on the side of Jersey Turnpike. There is a “pop” and
Craig falls from nowhere into the ditch. He is soaking wet,
and now dirty from the ditch. He stands, looks confusedly
around, sees a N.J. Turnpike sign. After a moment, he goes
to the side of the road and sticks out his thumb.
CUT TO:
Ratings
Scene 20 - The Portal Proposal
Maxine sits behind her desk with her feet up, and talks on
the phone.
MAXINE
Absolutely, doll. I'm just about to
close up here.
Craig walks in disheveled and exhausted. Maxine sees him,
keeps talking.
MAXINE
(into phone)
Meet you at “The Pig” in twenty
minutes.
(laughs lasciviously)
Oh yeah, maybe I'll keep my legs
closed till then.
(hangs up. to Craig)
I'm splitting for the day. Lock up
for me, won't you, darling.
Maxine stands, puts some stuff in her purse.
CRAIG
Don't you want to know what happened
to me?
MAXINE
(considers)
No.
Maxine heads for the door. Craig grabs her arm.
CRAIG
This is important!
MAXINE
(looking at his hand
on her arm)
It better be.
Craig sits Maxine down in a chair, lets go of her arm.
CRAIG
There's a tiny door in that empty
office. It's a portal, Maxine. It
takes you inside John Malkovich.
You see the world through John
Malkovich's eyes, then, after about
fifteen minutes, you're spit out
into a ditch on the side of The New
Jersey Turnpike.
MAXINE
Sounds delightful. Who the fuck is
John Malkovich?
CRAIG
He's an actor. One of the great
American actors of the 20th century.
MAXINE
What's he been in?
CRAIG
Lots of things. He's very well
respected. That jewel thief movie,
for example. The point is that this
is a very odd thing, supernatural,
for lack of a better word. It raises
all sorts of philosophical questions
about the nature of self, about the
existence of the soul. Am I me? Is
Malkovich Malkovich? Was the Buddha
right, is duality an illusion? Do
you see what a can of worms this
portal is?
CRAIG
I don't think I can go on living my
life as I have lived it. There's
only one thing to do. Let's get
married right away.
MAXINE
Is this Malkovich fellow appealing?
CRAIG
Yes, of course. He's a celebrity.
MAXINE
Good. We'll sell tickets.
CRAIG
Tickets to Malkovich?
MAXINE
Exactly. Two hundred dollars a pop.
CRAIG
But there's something profound here,
Maxine, we can't exploit it.
MAXINE
Fine. I'll do it myself. I was going
to offer a partnership to you, but
this way it's more money for me.
CRAIG
You wanted to be partners with me?
MAXINE
(bored)
Sure. It'd be fun.
CRAIG
(pleased)
Really?
(then:)
But, Maxine, can of worms! End of
the world! Illusory nature of
existence!
MAXINE
I'll protect you, Dollface.
Maxine reaches over and squeezes his lips affectionately
between her thumb and forefinger.
CRAIG
(in love)
Oh. Maxine.
DISSOLVE TO:
Ratings
Scene 21 - Portal to Self-Discovery
Craig and Lotte are getting into evening clothes.
LOTTE
Don't be ridiculous. There is no
such thing as a portal into someone
else's brain.
CRAIG
Brain. soul, I'm telling you, Lotte.
I was right inside him looking out.
We're going to be rich.
LOTTE
I want to try.
CRAIG
What?
LOTTE
I want to be John Malkovich. Tomorrow
morning. Plus I'd like to meet this
partner of yours.
CRAIG
(nervously)
Well, you know we're going to be
very busy tomorrow. I'll tell you
what. Let's do it tonight. Right
now.
LOTTE
Now?
CRAIG
Yeah. We'll do it right now. On the
way to Lester's house.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - NIGHT
Craig holds open the small door as Lotte climbs in.
CRAIG
I'll meet you on the turnpike.
LOTTE
I'm scared.
The door slams shut.
CRAIG
Me too, babe.
Craig hurries out the door.
CUT TO:
INT. BATHROOM - NIGHT
Malkovich is in the shower. We watch from his POV as he soaps
himself. He does this in a sensual manner.
LOTTE (V.O.)
Holy cow!
Malkovich steps out of the shower, slowly towels himself
dry.
LOTTE (V.O.)
Oh, yes. Yes.
CUT TO:
EXT. DITCH - NIGHT
Lotte lands in the ditch. She is wet and ragged. Traffic
whizzes by. Craig turns on the headlights in his parked car.
They shine on Lotte. Craig steps out of the car.
LOTTE
I have to go back.
CRAIG
Okay. Maybe tomorrow.
LOTTE
I have to go back now.
CRAIG
We'll talk about it in the car.
Craig helps Lotte up and toward the car.
CUT TO:
INT. CRAIG AND LOTTE'S CAR - NIGHT
Craig drives. Lotte looks distractedly out the window.
LOTTE
I have to go back, Craig. Being inside
did something to me. All of a sudden
everything made sense. I knew who I
was.
CRAIG
You weren't you. You were John
Malkovich.
LOTTE
(tickled)
I was, wasn't I?
(yelling out the window)
I was John fucking Malkovich!
(laughs, then intensely)
Take me back, Craig.
CRAIG
Tomorrow. We're late for Lester.
CUT TO:
Ratings
Scene 22 - Obsession and Resignation
It's a posh place with flocked wallpaper and candelabras.
Lester, Craig, and Lotte sit around an elegantly appointed
table with all different sorts of juices in front of them.
Lotte is still wet. Lester sits quite close to her.
LESTER
Tell me, Lotte, can you understand a
word I'm saying?
LOTTE
Yes, of course, Dr. Lester.
LESTER
Oh, be still my heart.
LOTTE
Dr. Lester, would you point me toward
the restroom?
LESTER
With immense pleasure, my dear. Down
that hall, ninth door on the left.
Watch the step down. It's sunken,
you know.
Lotte smiles, and heads down the hall.
CRAIG
Dr. Lester...
LESTER
More beet-spinach juice, my friend?
CRAIG
No thank you sir. It's delicious,
though. I just wanted to thank you
for the opportunity to work at
LesterCorp, but I'm afraid I'm going
to have to tender my resignation
effectively immediately.
LESTER
I see. Are you unhappy at our little
company?
CRAIG
No sir, not at all. It's just that
I'm going to open my own business
and...
LESTER
And what sort of business will this
be? If you don't mind my asking.
CRAIG
Uh, import-export. Olive oil. Right
on 7 1/2 actually.
(beat)
In the vacant office. So we'll still
be seeing each other.
LESTER
The vacant office. I see. Olive oil.
Interesting. Be warned, Schwartz,
there are certain “doors” which should
never be opened.
CUT TO:
INT. LESTER'S HALLWAY - NIGHT
Lotte walks down the ritzy hallway. She is counting closed
doors in search of the bathroom. She opens a door, looks
inside, gasps, then enters the room.
CUT TO:
INT. LESTER' S ROOM - CONTINUOUS
Lotte enters the room. It is dark. At the far end there is
what amounts to a candle-lit shrine to John Malkovich. The
centerpiece of the shrine is an enormous photograph of
Malkovich bordered by a garland of flowers. Lotte stares at
it for a moment, then drops to her knees in front of it.
CUT TO:
INT. CRAIG AND LOTTE' S BATHROOM - NIGHT
Lotte has just taken a shower. She towels herself dry in
much the same way as Malkovich. Her eyes are closed. She
opens them slowly and sees herself in the mirror.
Disappointedly, she drops the towel and heads out of the
bathroom.
CUT TO:
INT. CRAIG AND LOTTE'S GARAGE - NIGHT
Craig sits at his work table. He is pulling the heads off of
the Craig and the Maxine puppets. He puts the Maxine head on
the Craig puppet. He sighs.
CRAIG
My kingdom for your portal, Maxine.
CUT TO:
Ratings
Scene 23 - Identity Crisis and Obsession
Maxine sits at her desk composing an ad. Craig stands behind
her, ostensibly looking over her shoulder, but actually
studying the back of her head. He sighs.
MAXINE
Okay. Here it is.
(reading)
Ever want to be someone else? Now
you can. No kidding. Only two hundred
dollars for fifteen minutes. Visit
J.M. Inc., Mertin-Flemmer Building.
etc., etc.
CRAIG
Sounds good. Oblique but intriguing.
Phone it in.
Maxine dials the phone. Lotte enters.
CRAIG
Lotte! Why aren't you at the pet
shop?
LOTTE
Fuck pets. Is this your partner?
LOTTE
I had to come back and do the
Malkovich ride again. Fuck everything
else. Is this her?
MAXINE
(into phone)
Yes, hello, I wanted to place an ad.
(to Lotte)
Hi, are you Craig's wife?
LOTTE
Yes, Hi.
CRAIG
Lotte, Maxine. Maxine, Lotte.
Lotte and Maxine shake hands.
LOTTE
Hi. Have you done Malkovich yet?
MAXINE
Hi, uh.
(into phone)
Hi. I wanted to place an ad. Yes.
"Ever want to be someone else?" No,
that's the ad, but let's talk about
you in a minute. "Ever want to be
someone else? Now you can. No
kidding..."
CRAIG
(to Lotte)
Why aren't you at work?
LOTTE
I've been going over and over my
experience last night. It was amazing.
(beat)
I've decided I'm a transsexual. Isn't
that the craziest thing?
CRAIG
What, are you nuts? That's Oprah
talking.
LOTTE
Everything felt right for the first
time. I need to go back to make sure,
then if the feeling is still there.
I'm going to speak to Dr. Feldman
about sexual reassignment surgery.
CRAIG
This is absurd. Besides Feldman's an
allergist. If you're going to do
something, do it right.
(beat)
It's just the thrill of seeing through
someone else's eyes, sweetie. It'll
pass.
LOTTE
Don't stand in the way of my
actualization as a man, Craig.
MAXINE
(hanging up the phone)
Let her go, Craig. I mean “him."
CRAIG
(anything for Maxine)
Yeah, okay.
(opens the portal
door)
I'll pick you up.
Lotte enters. Craig closes the door. stands there.
MAXINE
You better hurry. Traffic.
Maxine tosses Craig his car keys. He heads out the door.
Maxine dials the phone.
MAXINE
(into phone)
Davey? Max. Get me John Malkovich's
home phone? That's great. Love ya
and owe ya.
CUT TO:
Ratings
Scene 24 - Intrusions of Desire
Malkovich's POV. He sits on the couch. drinks coffee, and
reads a copy of Awake and Sing. Bach plays on the stereo in
the background.
MALKOVICH
(reading aloud)
So you believe in God... you got
something for it? You worked for all
the capitalists. You harvested the
fruit from your labor? You got God!
LOTTE (V.O.)
What raw, animal power!
MALKOVICH
But the past comforts you? The present
smiles on you, yes?
The phone rings. Malkovich puts down the script, and picks
up the phone.
MALKOVICH
(into phone)
Yeah?
MAXINE (O.S.)
(telephone voice)
Mr. Malkovich?
MALKOVICH
Who's calling?
MAXINE (O.S.)
You don't know me, but I'm a great
admirer of yours.
MALKOVICH
How'd you get this number?
MAXINE (O.S.)
It's just that I fantasize about you
and, well, speaking to you now has
gotten me sort of excited and...
LOTTE (O.S.)
(turned on)
Oh, I like this.
MALKOVICH
Listen, this is not amusing. Please
don't call here any...
MAXINE (0.S.)
(giggling)
Oho, such authority! NY nipples are
at attention, General Malkovich,
sir. So I'll be at Bernardo's tonight
at eight. Please, please meet me
there. I just adored you in that
jewel thief movie...
Malkovich hangs up the phone.
LOTTE (V.O.)
My God!
LOTTE (V.O.)
(attempting thought
control)
Meet her there. Meet her there. Meet
her there. Meet her there. Meet her
there...
Malkovich goes back to his script.
LOTTE
Meet her there. Meet her there. Meet
her there...
Malkovich picks up a pen and writes: Bernardo's 8:00.
CUT TO:
EXT. DITCH - MORNING
Craig waits. Lotte pops into the ditch. She's wet and slimy.
CRAIG
How was it?
LOTTE
I have to go back tonight. At eight
Exactly.
CRAIG
Why?
LOTTE
Don't crowd me, Craig.
CUT TO:
Ratings
Scene 25 - A Chance Encounter at Bernardo's
Malkovich's POV. It's a busy Italian restaurant. Malkovich
looks around, checks his watch: 8:03. A guy walks up to him.
GUY
Excuse me, are you John Malkovich?
MALKOVICH
Yes.
GUY
Wow. You were really great in that
movie where you played that retard.
MALKOVICH
Thank you very much.
GUY
I just wanted to tell you that. And
say thank you. I have a cousin that's
a retard, so, as you can imagine, it
means a lot to me to see retards
portrayed on the silver screen so
compassionately.
The guy walks away. Malkovich scans the room. Maxine enters
the restaurant. We see her, but Malkovich doesn't single her
out of the crowd. She looks around.
LOTTE (V.O.)
Maxine!
Maxine spots Malkovich. and heads over. He focuses on her.
MAXINE
Hi. I'm so glad you decided to come.
I'm Maxine.
Maxine holds out her hand. She is charming. Malkovich takes
her hand.
MALKOVICH
I'm John. I didn't think I was going
to come, but I felt oddly compelled.
I have to admit I was a bit intrigued
by your voice.
LOTTE (V.O.)
God, she's beautiful. The way she's
looking at me. At him. At us.
MAXINE
And the funny thing is. Mr. Malkovich,
my voice is probably the least
intriguing thing about me.
LOTTE (V.O.)
I've never been looked at like this
by a woman.
MALKOVICH
Can I get you a drink?
MAXINE
Whatever you're having.
CUT TO:
Ratings
Scene 26 - Dinner of Discontent
Craig drives. Lotte is soaking wet. She stares out the window.
CRAIG
So how was it? What was he doing?
LOTTE
Oh, you know, not a lot. Just hanging
around his apartment. I think he
must be a lonely man.
CRAIG
You see, men can feel unfulfilled,
too. I'm glad you're realizing that.
You shouldn't be so quick to assume
that switching bodies would be the
answer to all your problems.
LOTTE
You're right. You know I was thinking
that we should have Maxine over for
dinner. Since you two are partners
and all. It might be a nice gesture.
CRAIG
I don't know. There's some tension
between us. I'd hate to expose you
to that.
LOTTE
It'll be okay. I'll fix my lasagna.
We’ll smoke a joint.
(dreamily)
Tensions will melt away.
CUT TO:
INT. CRAIG AND LOTTE'S DINING ROOM - NIGHT
Craig, Lotte, and Maxine are seated at the table and eating
lasagna. Lotte eyes Maxine. Craig eyes Maxine. There is an
awkward silence.
LOTTE
(to Maxine)
Did you know that Eskimos have not
one, but fifty words for snow. It's
because they have so much of it.
CRAIG
After dinner I'll show you my puppets.
MAXINE
Ah.
LOTTE
After that I'll introduce you to my
favorite monkey, Elijah. He's got an
LOTTE
ulcer, due to a suppressed childhood
trauma. But we're getting to the
bottom of it.
(whispers)
Psychotherapy.
There is another silence.
MAXINE
(to no one in
particular)
The way I see it, the world is divide
into those go after what they want
and those who don't. The passionate
ones, the ones who go after what
they want, may not get what they
want, but they remain vital, in touch
with themselves, and when they lie
on their deathbeds, they have few
regrets. The ones who don't go after
what they want... well, who gives a
shit about them anyway?
Maxine laughs. There is another silence. Suddenly, at the
same moment, both Craig and Lotte lunge for Maxine and start
kissing her passionately about the face and neck. They stop
just as suddenly and look at each other.
CRAIG
You?
Lotte looks away.
MAXINE
Craig, I just don't find you
attractive. And, Lotte, I'm smitten
with you, but only when you're in
Malkovich. When I looked into his
eyes last night, I could feel you
peering out. Behind the stubble and
the too-prominent brow and the male
pattern baldness, I sensed your
feminine longing peering out, and it
just slew me.
CRAIG
(disgusted)
My God.
Lotte strokes Maxine's face. Craig clears dishes from the
table.
MAXINE
(to Lotte, removing
her hand)
Only to John, sweetie. I'm sorry.
(gets up)
Thanks for a wonderful dinner.
(walks past kitchen.
to Craig)
No hard feelings, partner.
Maxine exits. Craig and Lotte look at each other.
LOTTE
I want a divorce.
CUT TO:
Ratings
Scene 27 - A Transformative Encounter
It is deadly silent. Craig and Maxine sit at their desks.
The wall clock ticks. Craig whistles tunelessly, every once
in a while looking up and discreetly checking out Maxine.
Eventually there is a knock at the door.
CRAIG
(a little too urgently)
Come in!
Erroll, a sad, fat young man enters meekly.
ERROLL
Hello, I'm here about the ad.
CRAIG
Please, have a seat.
Erroll sits in a chair in front of Craig's desk. He glances
nervously over at Maxine.
ERROLL
When you say, I can be somebody else,
what do you mean exactly?
CRAIG
Exactly that. We can put you inside
someone else's body for fifteen
minutes.
ERROLL
Oh, this is just the medical
breakthrough I've been waiting for.
Are their any side effects? Please
say no! Please say no!
MAXINE
No.
ERROLL
Long term psychic or physiological
repercussions?
MAXINE
No. Don't be an ass.
ERROLL
Can I be anyone I want?
MAXINE
You can be John Malkovich.
ERROLL
Well that's perfect. My second choice.
Ah, this is wonderful. Too good to
be true! You see, I'm a sad man. Sad
and fat and alone. Oh, I've tried
all the diets, my friends. Lived
for a year on nothing but imitation
mayonnaise. Did it work? You be the
judge. But Malkovich! King of New
York! Man about town! Most eligible
bachelor! Bon Vivant! The
Schopenhauer of the 20th century!
Thin man extraordinaire!
MAXINE
Two hundred dollars, please.
ERROLL
Yes. Yes. A thousand times, yes!
Erroll takes out his wallet.
CUT TO:
EXT. DITCH - DAY
Craig waits by his car, checks his watch. "Pop!" Erroll
plops into the ditch, wet and unkempt. He looks around, sees
Craig, charges him with a yell and gives him an enormous
bear hug.
ERROLL
Oh, thank you! Thank you! Thousand
times, thank you!
CRAIG
(gasping for air)
Tell your friends.
ERROLL
Oh, I will, and I have many, many
friends and associates, my friend.
All, by the way, in Overeaters
Anonymous. All of them fat and alone
like me, all of them dream of being
someone else, all of them with John
Malkovich as their second choice!
CUT TO:
Ratings
Scene 28 - The Confrontation at the 7 1/2 Floor
The hall outside Craig and Maxine's office sports a long
line of crouching fat people, all clutching cash in their
hands.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - CONTINUOUS
Craig kneels at the door and peeks out through the mail slot.
Maxine sits at her desk and files her toenails.
CRAIG
This is amazing! We're gonna be rich!
MAXINE
So unbolt the fucking door, Einstein.
Craig unlocks the door. Lester steps in, closes the door
behind him, locks it.
LESTER
You're making a big mistake, Schwartz.
(nods to Maxine)
MA'AM.
CRAIG
Dr. Lester, I don't know what you're
talking about.
LESTER
There are rules, boy, procedures,
etiquette. This is not a toy. I've
been waiting seventy years to utilize
this room, grooming myself, quietly
setting the stage, performing
ablutions, paying tribute, seeing
all his motion pictures again and
again. Worshipping, Schwartz,
worshipping properly.
CRAIG
You're insane.
LESTER
I am not alone. There are others. We
are legion. You will pay for this
blasphemy. You will pay dearly.
Lester exits. Craig looks at Maxine. There is a moment of
tension. Finally:
MAXINE
Crackpot.
Craig opens the door. The first few fat people move noisily
into the room.
CUT TO:
Ratings
Scene 29 - The Dark Initiation
Many cloaked people in the room kneeling with candles in
hand before the lit photo of Malkovich. Lotte kneels in the
back row. They chant:
DISCIPLES OF MALKOVICH
How much do we love you? We loved
you in "Making Mr. Right." That is
how much we love you. We even own
the director's cut on laser disc.
Please accept us into your head as
we have accepted you into our hearts.
Please let us be you. Amen.
CUT TO:
INT. LESTER'S DINING ROOM - A BIT LATER
The worshippers mill about, chatting, drinking coffee,
nibbling on cookies.
LESTER
May I have your attention, please.
We have a new disciple among us
tonight.
DISCIPLES OF MALKOVICH
Hallelujah.
LESTER
She is the wife of Schwartz.
A stunned hush falls over the group.
LOTTE
(apologetically)
I'm getting divorced.
LESTER
No you mustn't, my child.
LOTTE
But why, Son of Malkovich?
LESTER
We need you on the inside, my child.
To report on his comings and goings,
and if need be, to... destroy him...
(hands Lotte a gun)
...for lack of a better word.
CUT TO:
Ratings
Scene 30 - Unraveling Ties
Craig is putting stuff in boxes. Lotte enters in her cloak.
LOTTE
What are you doing?
CRAIG
I'm moving. Remember? What's with
the hooded cloak?
LOTTE
Nothing. Don't go, Craig. I've been
thinking. Let's try to work this
out. We've got so much history.
CRAIG
(still packing)
You should feed your animals. They're
looking peaked.
LOTTE
I'm getting rid of the fucking
animals.
CRAIG
What?
LOTTE
I'm getting rid of the animals. I've
lost interest. Besides, they're
standing between you and me.
CRAIG
No they're not.
LOTTE
You've always hated the animals.
CRAIG
You've always loved the animals.
LOTTE
I'm giving them up. I've changed.
I've found a new focus.
CRAIG
What's that?
LOTTE
(beat)
Us, of course.
Craig looks up from his packing. He and Lotte stare at each
other for a long while.
CRAIG
(tenderly)
Oh, Lot...
They hug.
CRAIG
What about Maxine?
LOTTE
Fuck Maxine.
CRAIG
We wish.
They look at each other and laugh, them fall back into the
embrace. They both get faraway looks in their eyes.
CUT TO:
INT. CRAIG AND LOTTE'S GARAGE - NIGHT
The clock reads 3:00 AM. Craig, in his pajamas, is working
the Craig and Maxine puppets. They make love on the bare
puppet stage. Craig seems possessed.
CUT TO:
Ratings
Scene 31 - Through the Portal: A Night of Deception
The phone rings. Maxine sleepily picks it up.
MAXINE
Yes?
LOTTE (O.S.)
I have to see you. Can you call him
and invite us over?
MAXINE
When?
LOTTE (O.S.)
Give me one hour to get inside him
Exactly.
Maxine checks her alarm clock. The time is 3:11 AM.
CUT TO:
INT. CRAIG AND LOTTE'S CAR - NIGHT
Lotte drives.
CUT TO:
INT. MAXINE'S APARTMENT - A BIT LATER
The doorbell rings. Maxine, in a sheer black nightgown,
answers it. John Malkovich stands there.
MAXINE
Thanks so much for coming over.
MALKOVICH
Oh, I'm really glad you called.
Maxine gestures for him to enter. As Malkovich passes by
her, she checks the wall clock. The time is 3:50.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - NIGHT
Lotte sits on the floor in the dark. She leans, out of breath,
against the wall next to the portal and checks her watch.
The time is 4:10. She pulls open the door.
CUT TO:
INT. MAXINE'S LIVING ROOM - NIGHT
Maxine and Malkovich sit a bit awkwardly next to each other
on the couch.
MAXINE
So, do you enjoy being an actor?
MALKOVICH
Oh sure. It's very rewarding...
The digital clock on the VCR clicks over to 4:11 AM. Maxine's
look softens, and she kisses Malkovich hard on the lips. He
seems surprised, but quickly warms to it. We shift top
Malkovich's POV as Maxine begins to unbutton Malkovich's
shirt.
LOTTE (V.O.)
Oh my darling. Oh my sweetheart.
MAXINE
I love you, Lotte.
LOTTE (V.O.)
Maxine...
MALKOVICH
(stopping)
I'm sorry, did you just call me
"Lotte"?
MAXINE
Do you mind?
MALKOVICH
(thinking)
No, I guess not. I'm an actor.
They get back to it.
MAXINE
Oh, my sweet, beautiful Lotte.
MALKOVICH
(thinks he's playing
along)
Yes, Maxine, yes.
LOTTE (V.O.)
This is too good to be true.
CUT TO:
INT. CRAIG AND LOTTE'S BEDROOM - NIGHT
A sweaty and spent Craig sneaks back into the bedroom. He
sees that the bed is empty.
CUT TO:
EXT. DITCH - NIGHT
With a gasp and a wail of release, Lotte pops into the ditch.
She is soaking wet and breathes heavily. She just lies there.
CUT TO:
Ratings
Scene 32 - Heartbreak and Confusion
Craig is hunched over a cup of coffee. The front door can be
heard to open. After a moment Lotte appears in the kitchen
doorway. She is caked with dirt. Craig looks up at her.
CRAIG
You were him last night, weren't
you?
LOTTE
(quietly)
Yes.
CRAIG
And he was with her.
LOTTE
We love her, Craig. I'm sorry.
CRAIG
We?
LOTTE
Me and John.
CRAIG
Don't forget me.
LOTTE
Well, you have the Maxine action
figure to play with.
Craig looks down at his coffee.
LOTTE
I'm sorry. That was nasty.
CRAIG
Life is confusing, isn't it?
LOTTE
Sometimes we're forced to make hard
decisions.
(beat)
I'd like for us to stay together,
Craig. You know, platonically, if
that's possible. I truly value our
friendship.
CRAIG
I feel that somehow my parents never
prepared me to make this particular
decision. Not that I blame them. How
could they know?
CRAIG
Today's world is so complicated.
(beat)
No. I have to go away now. I'm sorry,
Lotte. I'm so sorry.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - MORNING
Craig enters with red-rimmed eyes. Maxine sits at her desk,
actually looking kind of radiant.
MAXINE
You're late.
CRAIG
Are you torturing me on purpose?
MAXINE
(matter of fact)
I've fallen in love.
CRAIG
I don't think so. I've fallen in
love. This is what people who've
fallen in love look like.
MAXINE
You picked the unrequited variety.
Very bad for the skin.
CRAIG
You're evil, Maxine.
MAXINE
Do you have any idea what its like
to have two people look at you with
total lust and devotion through the
same pair of eyes? No I don't suppose
you would. It's quite a thrill, Craig.
Craig turns and walks out the door.
CUT TO:
INT. HALLWAY 7 1/2 FLOOR - CONTINUOUS
Craig hurries past a long line of fat people, all looking
eager, all clutching cash.
CUT TO:
Ratings
Scene 33 - Morning Tensions
Lester sits at his desk. The intercom buzzes.
LESTER
(depressing switch)
Yes, my dear?
FLORIS (O.S.)
(intercom voice)
Someone names A Lot of Warts on line
two.
LESTER
Thank you, Floris.
FLORIS (O.S.)
(intercom voice)
Think, Jew florist?
LESTER
(pressing line 2)
Good morning, Lotte!
LOTTE (O.S.)
Dr. Lester, everything's falling
apart.
CUT TO:
INT. GUN SHOP - MORNING
Craig is at the counter buying a pistol.
CUT TO:
INT. JUICY-JUICE JUICE BAR - MORNING
Lester and Lotte sit at a table. They both have really large
glasses of carrot juice in front of them.
LOTTE
I blew it, Dr. Lester.
LESTER
You followed your heart, my child,
and that is not necessarily a bad
thing.
LOTTE
But now we've lost access to Craig.
LESTER
(laughs)
My child, I don't think its a great
mystery what Craig's up to.
CUT TO:
CUT TO:
Ratings
Scene 34 - Coercion and Desire
Craig stands still and tense, with gun in hand. We hear the
front door unlock. Lotte enters. She does not see Craig. He
grabs her from behind as she passes. Lotte screams. Craig
holds the gun to her head.
LOTTE
I'm your Goddamn wife. Once you vowed
to cherish me forever. Now you hold
a gun to my head?
CRAIG
Yeah, well welcome to the nineties.
LOTTE
Suck my dick!
CRAIG
(slapping her)
Shut up!
Lotte is stunned. She feels the muzzle against her forehead.
She shuts up. Keeping the gun trained on Lotte, Craig dials
the phone. He hands the receiver to her. He holds his ear to
the receiver also.
CRAIG
Tell her you need to see her.
LOTTE
(to Craig)
You bastard.
Craig cocks the pistol.
MAXINE (V.O.)
J.M. Inc. Be all that someone else
can be.
LOTTE
(looking at Craig)
I have to see you.
MAXINE (V.O.)
Sweetie!
MAXINE (V.O.)
Oh, but we can't. It's business hours.
I need to keep the membranous tunnel
open for paying customers.
CRAIG
(sotto)
Tell her, what the hell, close early
today, live dangerously.
LOTTE
What the hell, darling. Close early
today, live dangerously.
MAXINE (V.O.)
Oooh, doll. I love this new devil-
may-care side of you. Alrighty, I'll
track down Lover-boy, and I'll see
both of you in one hour. Exactamundo.
Maxine hangs up. Lotte hands the phone to Craig, who hangs
it up. Craig opens up the big cage where Elijah is housed,
and motions with the gun for Lotte to enter.
LOTTE
(screaming)
Help! He's locking me in a cage!
Craig slaps Lotte hard. She looks at him, almost sadly.
NEIGHBOR
Shut up!
PARROT
Shut up!
CRAIG
Lesson number one: Be careful what
you teach your parrot.
Craig tapes Lotte's mouth, ties her hands and feet. Elijah
watches him tie her. He becomes somewhat agitated, and holds
his stomach.
CUT TO:
INT. BROADHURST THEATER - DAY
Malkovich is rehearsing some business on stage. Maxine watches
from the house. She anxiously checks her watch, then points
to it so Malkovich can see.
MALKOVICH
Tommy, can I take fifteen?
CUT TO:
INT. MALKOVICH'S DRESSING ROOM - DAY
Malkovich and Maxine are having sex on the make-up table,
against the mirror.
MAXINE
Oh, Lotte... Oh, sweetie...
We now watch the scene from Malkovich's POV.
MALKOVICH
Maxine...
CRAIG (V.O.)
I can't believe it. This is too good
to be true.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - DAY
Craig is toweling himself off, hurriedly combing his hair.
Maxine enters.
CRAIG
You're glowing again.
MAXINE
A girl has a right to glow if she
wants. It's in the fucking
constitution.
Maxine sits. Craig smiles to himself.
CUT TO:
Ratings
Scene 35 - Control and Confusion
Craig is feeding the various caged animals. He puts two plates
of food in Elijah's cage. Lotte is ungagged and unbound now.
She eats as Craig slumps down next to the cage, gun in hand.
CRAIG
It was lovely being you being
Malkovich, my dear. I'd never seen
the passionate side of sweet Maxine
before, or her actual tits for that
matter. If only, I've been thinking
to myself, if only I could actually
feel what Malkovich feels, rather
CRAIG
than just see what he sees... And
then, dare I say it, if only I could
control his arms, his legs, his
pelvis, and make them do my bidding.
LOTTE
It'll never happen, fuckface.
CRAIG
Ah, but you're forgetting one thing,
Lambchop.
LOTTE
What's that?
CRAIG
I'm a puppeteer.
Craig picks up the phone and dials. He smiles as he holds
the receiver up to Lotte's face.
CUT TO:
INT. MAXINE'S APARTMENT - NIGHT
Malkovich and Maxine are having sex on Maxine's couch.
MAXINE
Lotte, this is so good...
CRAIG (V.O.)
(tense, commanding)
Move right hand across her left breast
now. Move right hand across her left
breast now. Move right hand across
her left breast now.
Malkovich clumsily, awkwardly moves his hand across Maxine's
breast.
CRAIG
Holy shit, yes!
MALKOVICH
Holy shit, yes!
CRAIG (V.O.)
Holy shit! He said what I said!
MALKOVICH
Holy shit! He said what I said!
MAXINE
Lotte? Is that you?
CRAIG (V.O.)
Yes, yes, sweetheart, yes!
MALKOVICH
Yes, yes, sweetheart, yes!
(scared)
What the fuck is going on? I'm not
talking. This is not me!
MAXINE
Oh, Lotte...
Maxine kisses Malkovich hard on the lips. There is a sucking
sound.
CUT TO:
EXT. DITCH - NIGHT
There is a pop and Craig lands in the ditch.
CUT TO:
Ratings
Scene 36 - Control and Chaos
A panicked Malkovich is pulling on his clothes.
MALKOVICH
Something was making me talk. Some
Goddamn thing was making me move. I
gotta get out of here.
MAXINE
Oh, Dollface, it was just your passion
for me taking hold.
MALKOVICH
No, Dollface, I know what my passion
taking hold feels like. I gotta go.
He leaves. Maxine falls back on the couch and sighs
contentedly.
CUT TO:
INT. CRAIG AND LOTTE'S LIVING ROOM - NIGHT
A wet, mess Craig sits next to Lotte's cage. Lotte is bound
and gagged.
CRAIG
I did it, sweetie. I moved his arm
across your girlfriend's glorious
tit.
CRAIG
I made him talk. And, oh, there was
the beginning of sensation in the
fingertips. Ummmm-mmmm! It's just a
matter of practice before Malkovich
becomes nothing more than another
puppet hanging next to my worktable.
Coffee?
CUT TO:
INT. MALKOVICH'S APARTMENT - NIGHT
Malkovich paces nervously, a glass of whisky in his hand.
Kevin Bacon sits on the couch and fiddles with a Rubic's
Cube.
MALKOVICH
It's like nothing I've ever felt
before. I think I'm going crazy.
KEVIN BACON
I'm sure you're not going crazy.
MALKOVICH
Kevin, I'm telling you... it was
like nothing I've...
KEVIN BACON
Yeah yeah yeah. Yadda yadda yadda.
Were you stoned?
MALKOVICH
Yes, but you see, someone else was
talking through my mouth.
KEVIN BACON
You were stoned. Case closed. End of
story. How hot is this babe?
MALKOVICH
I think it might've been this Lotte
woman talking through me. Maxine
likes to call me Lotte.
KEVIN BACON
Ouch. Now that's hot. She's using
you to channel some dead lesbian
lover. Let me know when you're done
with her. This is my type of chick.
MALKOVICH
I'm done with her now. Tonight really
creeped me out.
KEVIN BACON
You're crazy to let go of a chick
who calls you Lotte. I tell you that
as a friend.
MALKOVICH
I don't know anything about her.
What if she's some sort of witch or
something?
KEVIN BACON
All the better. Hey, Hot Lesbian
Witches, next Geraldo, buddy boy.
Ha ha ha.
MALKOVICH
I gotta know the truth, Kevin.
KEVIN BACON
The truth is for suckers, Johnny-
Boy.
CUT TO:
Ratings
Scene 37 - Malkovich's Misadventure on the 7 1/2 Floor
Malkovich, in a baseball cap and sunglasses, leans against
the wall. After a moment, Maxine emerges from the building
and walks down the block. Malkovich follows at a safe
distance.
CUT TO:
INT. 7 1/2 FLOOR - MORNING
The elevator doors are pried open. It's packed. Maxine and a
few other people climb out. The last to emerge is Malkovich.
He is astounded by the dimensions of the floor. He turns
the corner and sees the long line of crouching fat people.
Maxine goes into the office and closes the door. Maxine
sees "J.M. Inc." stenciled on the office door. He turns to
the first fat man and line.
MALKOVICH
Excuse me, what type of service does
this company provide?
FAT MAN
You get to be John Malkovich for
fifteen minutes. Two hundred clams.
MALKOVICH
(quietly flipped)
I see.
FAT MAN
No cutting, by the way.
Malkovich pounds on the door.
FAT MAN
No cutting!
Several fat people jump on Malkovich, and start beating him.
Craig steps out of the office.
CRAIG
Hey! Break it up! Break it up!
Everybody gets a chance to be...
The fat people climb off Malkovich. His glasses and cap have
been knocked off and everyone recognizes him.
FAT MAN
It's him! Oh, we're so sorry Mr.
Malkovich! I hope me and my associates
from Overeaters Anonymous didn't
hurt you too terribly.
MALKOVICH
(to Craig)
Inside.
CUT TO:
Ratings
Scene 38 - The Portal Experience
Craig and Malkovich enter. Maxine looks up, startled, but
controlling it.
MAXINE
Darling!
MALKOVICH
What the fuck is going on?
CRAIG
Mr. Malkovich, my name is Craig
Schwartz. I can explain. We operate
a little business her that...
simulates, for our clientele, the
experience of... being you, actually.
MALKOVICH
Simulates?
CRAIG
Sure, after a fashion.
MALKOVICH
Let me try.
CRAIG
You? Why I'm sure it would pale in
comparison to the actual experience.
MALKOVICH
Let me try!
MAXINE
Let him try.
CRAIG
Of course, right this way, Mr.
Malkovich. Compliments of the house.
Craig ushers Malkovich to the portal door, opens it.
MALKOVICH
(repulsed by the slime)
Jesus.
Malkovich climbs in. The door closes.
CRAIG
What happens when a man climbs through
his own portal?
MAXINE
(shrugs)
How the hell would I know? I wasn't
a philosophy major.
CUT TO:
Ratings
Scene 39 - Malkovich's Surreal Descent
Malkovich crawls through. It's murky. He's tense. Suddenly
there is a slurping sound.
CUT TO:
PSYCHEDELIC MONTAGE
We see Malkovich hurtling through different environments.
It's scary: giant toads, swirling eddies of garish, colored
lights, naked old people pointing and laughing, black velvet
clown paintings.
CUT TO:
INT. RESTAURANT - NIGHT
Malkovich pops into a chair in a swakn night club. He's
wearing a tuxedo. The woman across the table from him is
also Malkovich, but in a gown. He looks around the restaurant.
Everyone is Malkovich in different clothes. Malkovich is
panicked. The girl Malkovich across the table looks at him
seductively, winks and talks.
GIRL MALKOVICH
Malkovich Malkovich Malkovich
Malkovich...
Malkovich looks confused. The Malkovich waiter approaches,
pen and pad in hand, ready to take their orders.
WAITER MALKOVICH
Malkovich Malkovich Malkovich?
GIRL MALKOVICH
Malkovich Malkovich Malkovich
Malkovich.
WAITER MALKOVICH
Malkovich Malkovich.
(Turning to Malkovich)
Malkovich?
Malkovich looks down at the menu. Every item is "Malkovich."
He screams:
MALKOVICH
Malkovich!
The waiter jots it down on his pad.
WAITER MALKOVICH
Malkovich.
Malkovich pushes himself away from the table and runs for
the exit. He passes the stage where a girl singer Malkovich
is singin sensuously into the microphone. She is backed by a
'40's style big band of Malkoviches.
SINGING MALKOVICH
Malkovich Malkovich Malkovich
Malkovich...
Malkovich flies through the back door.
CUT TO:
Ratings
Scene 40 - The Portal Dispute
Malkovich lands with a thud in the ditch. Craig is waiting
there with his van. On its side is painted "See The World in
Malk-O-Vision" followed by a phone number. Malkovich is
huddled and shivering and soaking wet.
CRAIG
So how was it?
MALKOVICH
That... was... no... simulation.
CRAIG
I know. I'm sorry...
MALKOVICH
I have been to the dark side. I have
seen a world that no man should ever
see.
CRAIG
Really? For most people it's a rather
pleasant experience. What exactly
did you...
MALKOVICH
This portal is mine and must be sealed
up forever. For the love of God.
CRAIG
With all respect, sir, I discovered
that portal. Its my livelihood.
MALKOVICH
It's my head, Schwartz, and I'll see
you in court!
Malkovich trudges off along the shoulder of the turnpike.
CRAIG
(calling after him)
And who's to say I won't be seeing
what you're seeing... in court?
Cars whiz by Malkovich. Someone yells from a passing car.
MOTORIST
Hey, Malkovich! Think fast!
Malkovich looks up. A beer can comes flying out of the car
and hits him on the head.
CUT TO:
Ratings
Scene 41 - Tensions Unleashed
Craig is feeding the animals. His gun is stuck in his pants.
He gets to Lotte's cage. She is bound but ungagged. She looks
haggard.
LOTTE
Once this was a relationship based
on love. Now you have me in a cage
with a monkey and a gun to my head.
CRAIG
Things change. Anyway, you gave up
your claim to that love the first
time you stuck your dick in Maxine.
LOTTE
You fell in love with her first.
CRAIG
Yeah but I didn't do anything about
it. Out of respect for our marriage.
LOTTE
You didn't do anything about it out
of respect for the fact that she
wouldn't let you near her with a ten
foot pole, which is, by the way,
about nine feet, nine inches off the
mark anyway.
CRAIG
(beat)
That's true. Oh, God, Lotte, what
have I become? My wife in a cage
with a monkey. A gun in my hand.
Betrayal in my heart.
LOTTE
Maybe this is what you've always
been, Craig, you just never faced it
before.
CRAIG
Perhaps you're right. I can't let
you go though. Too much has happened.
You're my ace in the hole.
LOTTE
I need a shower.
CRAIG
I'm sorry. Oh God, I'm sorry. I'm
some kind of monster. I'm the guy
CRAIG
you read about in the paper and go,
"he's some kind of monster."
LOTTE
You're not a monster, Craig. Just a
confused man.
CRAIG
I love you so much.
She dials her phone, opens her cage, puts phone to her ear.
CRAIG
But I gotta go now. I've got to go
be Johnny.
MAXINE (O.S.)
J.M. Inc. Be all that someone...
LOTTE
We have to meet.
MAXINE
One hour.
Craig hangs up, tapes Lotte's mouth.
CRAIG
I'll tell you all about it when I
get home.
Craig exits. Lotte fiddles with the ropes on her hands Elijah,
slumped in the corner of the cage, blankly watches her moving
hands. Suddenly his eyes narrow. Something is going on in
his brain. We move slowly into his eyes.
DISSOLVE TO:
EXT. JUNGLE - DAY
It is a memory: blurry and overexposed, the color washed
out. We see a weathered wooden sign which reads "Africa."
The sound of running feet, huffing frantic breathing. We
watch from up in a tree (Elijah's POV) as two men in safari
suits chase a couple of chimps across the jungle floor. The
chimps are screaming as the safari men tackle them and tie
them up. The safari men laugh.
SAFARI MAN
Well, there monkeys ain't going
nowhere. Let's get us a couple a
brews 'fore the boss comes back...
The safari men leave the chimps on the ground. We descend
from the trees to the ground next to the bound chimps. One
of the chimps looks at the camera. He grunts and squeals.
CHIMP ONE (DUBBED VOICE)
Son, untie your mother and me!
Quickly! Before the great bald chimp-
men return.
A small pair of chimp hands enter into the frame and struggle
to untie the ropes, but to no avail. Chimp two speaks.
CHIMP TWO (DUBBED VOICE)
Hurry, Elijah!
SAFARI MAN
Why you little bastard!
Elijah is wrestled to the ground amidst much screaming.
DISSOLVE TO:
INT. CRAIG AND LOTTE'S APARTMENT - DAY
Elijah shakes off the memory and looks determinedly at the
ropes on Lotte's hands. He attempts to untie the knot. He
works furiously and succeeds. Lotte pulls the tape from her
mouth.
LOTTE
Oh, Elijah, you are magnificent!
Elijah beams and screams for ecstatic joy. Lotte unlocks the
cage, and dials the phone.
LOTTE
Maxine! Listen: It hasn't been me
in John the last three times. Craig's
had me locked up in the apartment.
He made me call you at gunpoint.
It's been him! Oh, God, it's been
him!
MAXINE (O.S.)
(beat, calmly)
Really? Well, you know, he's quite
good. I'm surprised. Anyway, I have
a session with Malkovich I have to
attend. I'll speak with you soon.
LOTTE
But Maxine, I thought it was me you
loved.
MAXINE (O.S.)
I thought so too, doll. I guess we
were mistaken.
Maxine hangs up. Lotte, visibly shaken, dials the phone.
LOTTE
Hello, Dr. Lester?
CUT TO:
Ratings
Scene 42 - Possession and Power Play
The doorbell rings. Malkovich answers it. Maxine stands there,
dressed in an evening gown.
MALKOVICH
Come on in.
MAXINE
I can explain about the portal,
darling.
MALKOVICH
Don't con me, Maxine. We're over. I
just let you up here to tell you
that, and to tell you that I'm taking
you and Schwartz to court.
MAXINE
Oh shut up.
(beat)
Craig, darling are you in there?
Malkovich tenses up, then shakes his head in an awkward,
puppet-like manner. When Malkovich speaks, it seems to be
against him will.
MALKOVICH
Yes. How did you know it was me?
MAXINE
Lotte called me.
MALKOVICH
Oh, so the bitch escaped.
MAXINE
Apparently you can control this
Malkovich fellow now.
MALKOVICH
I'm getting better all the time.
MAXINE
I'll say you are. Let's do it on his
kitchen table, then make him eat an
omelette off of it.
MALKOVICH
(as Malkovich)
No... damn... you...
(as Craig)
Oh shut up, you overrated sack of
shit.
Malkovich begins undressing, and does a lewd bump and grind
while looking mortified. Maxine giggles. Malkovich (Craig)
laughs wildly.
CUT TO:
Ratings
Scene 43 - Indoctrination and Confession
Lester's hand is in a bloody bandage. The juicer sits on hi
desk. Lotte sits across from him looking nervous and hollow-
eyed.
LESTER
You know I think it pays to leave
juice-making to the trained
professionals. You look terrible, my
dear.
LOTTE
Craig stole Maxine from me, Dr.
Lester.
LESTER
Hmmm, a lesbian, are you? I must
inform you that I find that highly
arousing.
LOTTE
No, you don't understand. I've been
inside Malkovich when I'm with
Maxine...
LESTER
(slaps Lotte furiously)
What?! That is not allowed. My God,
you are supposed to be one of us.
You know you must never partake of
Malkovich by yourself!
LOTTE
No, I didn't know that.
LESTER
Oh, didn't anyone show you the
indoctrination video?
LOTTE
No.
LESTER
Oh, sorry. Right this way.
CUT TO:
INT. SCREENING ROOM - NIGHT
Lotte site next to Lester in the darkened auditorium. The
projector whirs. The screen lights up.
TITLE: SO YOU WANT TO BE JOHN MALKOVICH
A much younger Lester addresses the camera in this black and
white film, which seems to have been made in the 50's.
LESTER ON FILM
Welcome, my fellow Malkovichians.
As you may already know, today a
baby was born into this sad world.
We see a shot of a newborn.
LESTER ON FILM
His name is John Horatio Hannibal
Malkovich. And we are the keepers of
the door to his soul. One day, when
his brain is big enough, we will all
journey into his head and live there
for all eternity. Following the
teachings of our leader Karl Marx,
we will build the ultimate communist
community, one body and hundreds,
maybe thousands, of brains inside
working together to form a super
human intellect capable of curing
disease, stopping all war, and ruling
the world with a benevolent fist. We
will take a wife, a woman of uncommon
beauty and intellect, who is, as
yet, still an infant herself.
We see a photo of another infant, this one with a ribbon in
her hair.
LESTER ON FILM
Her name is Floris Horatia Hannibella
DeMent.
LOTTE
Does Floris know that she's the
chosen?
LESTER
Well, I tried to explain it to her,
but...
Lester points to his ear and shrugs.
CUT TO:
Ratings
Scene 44 - Puppet Mastery in the Bedroom
Malkovich and Maxine lie naked on the bed, looking quite
relaxed.
MAXINE
You still there, sweets?
MALKOVICH
Yeah. I've figured out how to hold
on as long as I want. Oddly enough,
it's all in the wrists.
MAXINE
Wow.
(little girl pout)
Do a puppet show for me, Craig honey.
MALKOVICH
You mean with Malkovich?
MAXINE
I'd love to see your work.
MALKOVICH
(pleased)
Really? Yeah. Okay.
Malkovich leans over and kisses her, then gets up.
MALKOVICH
I'll do something I call "Craig's
Dance of Despair and Disillusionment."
Malkovich performs the same dance that the Craig pupper did
at the beginning of the film. It is exactly the same, complete
with impossible somersaults and perspiring brow. He finishes
by falling to his knees and weeping.
MAXINE
(moved)
That was incredible. You're brilliant!
MALKOVICH
You see, Maxine, it isn't just playing
with dolls.
MAXINE
You're right, my darling, it's so
much more. It's playing with people!
Malkovich kisses Maxine. She snuggles close to him.
MAXINE
Stay in him forever?
MALKOVICH
(as Malkovich,
screaming)
No!
(as Craig, calmly)
But how will we make a living, my
love, if our clientele doesn't have
access to our product?
MAXINE
Well, we'll have all the money in
Malkovich's bank account, plus he
still gets acting work occasionally.
MALKOVICH
(as Malkovich, breaking
through)
No! Please!
(as Craig, to Malkovich)
Shut up, will you? We're trying to
think here.
(to Maxine)
It is sort of like being a puppeteer.
I like that about it.
MAXINE
No one would ever have to know its
not him.
MALKOVICH
(an idea)
Wait a minute! What if everybody
knew? What if we presented Malkovich
as the world's most complicated puppet
and me as the only puppeteer
sophisticated enough to work him?
We'd wipe the floor with the Great
Mantini!
MAXINE
Oh, Craiggy, that's brilliant!
CUT TO:
Ratings
Scene 45 - Desperate Confrontation at the Portal
The worshippers are assembled. Lotte stands before them.
LOTTE
I have sinned, unwittingly, against
the community. And for this I am
truly sorry.
MAN #2
W-w-what's it like on the inside?
LOTTE
Oh, it's glorious. It's indescribable.
MAN #2
Oooh, I wanna go. I wanna go. I say
it's time.
LESTER
Perhaps you're right, Terry. We're
all prepared, and perhaps this
Schwartz fellow is forcing our hand
a bit. We will enter the portal
tonight!
Everyone cheers.
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - NIGHT
Maxine and Malkovich are furiously filling the portal with
cement. Suddenly Malkovich stops and runs to the office door
screaming a bloodcurdling scream. He stops just as suddenly,
begins to strangle himself.
MALKOVICH
(Craig to Malkovich)
Shut up!
(to Maxine)
Sorry, dear, I lost control for a
minute.
MAXINE
(kissing him)
It's okay, my sweet.
They go back to filling the portal. There is the sound of
many shuffling feet in the hallway. The door flies open and
the Malkovichians led by Lester and Lotte burst in. Malkovich
and Maxine turn with a start.
LESTER
Aaaahhhh, the portal!
LOTTE
(to Malkovich)
You bastard!
Lotte lunges for Malkovich. Lester grabs her arm, holds her
back.
LESTER
No! Don't harm the vessel!
LOTTE
It's Craig in there, I can tell.
LESTER
I understand, but we must protect
the vessel at all costs.
(to Malkovich)
Please, Craig, please step aside and
allow us to have what is rightfully
ours.
CRAIG
Squatter's rights, Lester.
Craig laughs somewhat maniacally. Maxine slips her arm through
Craig's, joins him in his laughter, and glances triumphantly
over at Lotte.
MAXINE
Now excuse us, we have an
entertainment legend to create.
LESTER
(to the cult members)
Clear the way for them, my friends.
They will be dealt with in due time.
The Malkovichians grumble and let Malkovich and Maxine exit.
LESTER
Now, let's see what we can do to
salvage this portal... for the sake
of all that is good.
The Malkovichians converge on the sealed portal, and begin
clawing desperately at the quick-drying cement.
Fingers are scraped raw, and we see smears of blood and skin
on the rough gray surface.
CUT TO:
Ratings
Scene 46 - The Absurd Proposal
A slick-looking agent answers a buzzing phone.
AGENT
Of course, send him right in. Don't
ever keep him waiting again. Do you
understand?
Malkovich and Maxine enter. The agent stands, holds out his
hand.
AGENT
John! Great to see you! Sorry about
the cunt at reception.
MALKOVICH
This is my fiancee Maxine.
The agent shakes Maxine's hand.
AGENT
Great to see you, Maxine. Sorry about
the cunt at reception. Please have a
seat.
Malkovich and Maxine sit.
AGENT
Can I get you anything? Coffee? Water?
MAXINE
No thanks.
AGENT
(into phone)
Teresa, get me a chicken soup.
(to Malkovich and
Maxine)
Chicken soup?
Maxine and Malkovich shake their heads "no."
MALKOVICH
I'll get right to the point, Larry.
I'm a puppet now...
AGENT
Okay.
MALKOVICH
I'm being controlled by the world's
greatest puppeteer, Craig Schwartz...
AGENT
(no clue)
Oh yeah, he's good.
MALKOVICH
... and I want to show off his skills
by performing a one-puppet
extravaganza in Reno.
MAXINE
Vegas.
MALKOVICH
Vegas. Can you arrange that?
AGENT
Sure, sure. Just let me make a couple
of calls.
CUT TO:
Ratings
Scene 47 - The Portal's Illusion
The cult members are still there, now with picks shovels.
They are worn out and sweaty. The portal is excavated, but
it seems ragged and destroyed. Man #2 emerges from the hole,
a rope tied around his waist.
MAN #2
That's the last of it, boss.
Lester peers through the door.
LESTER
Well, let's see what we've got here.
Lester crawls into the tunnel, the door slams behind him.
CUT TO:
INT. PORTAL - CONTINUOUS
Lester crawls through. There is a slurping sound and a flash
of light.
CUT TO:
INT. BUNKER - DAY
The scene is in black and white. Bombs are dropping. There
is a blonde in forties clothes there. Lester views the scene
through somebody's POV.
LESTER (V.O.)
My God, where am I? This seems so
familiar.
The person walks past a mirror. It's Hitler.
LESTER (V.O.)
My God, I'm Hitler in the bunker!
Aaaahhhh! Aaaah!
DIRECTOR
Cut!
We look over to see a director and camera crew.
LESTER (V.O.)
Oh, I'm just the actor in that
Twilight Zone episode.
There is a popping sound.
CUT TO:
EXT. DITCH - DAY
Lester pops into the ditch. One of his cult members is waiting
with a car, and looking hopeful. Lester sadly shakes his
head "no."
CUT TO:
Ratings
Scene 48 - Revelations and Resignations
The cult members mill about, drinking coffee, chatting.
Lester enters with the cult member who picked him up at the
ditch. All quiet down and look over at him.
LESTER
Thank you all for your efforts, but
I'm afraid we can no longer get into
Malkovich through the portal.
LOTTE
(panicky)
Why not? I need to get in there!
LESTER
I'm not certain, my dear, but I
believe your husband has somehow
psychically diverted the route.
LOTTE
That bastard! I'll gladly dispose of
him in the name of the order, Son of
Malkovich.
LESTER
I'm afraid that no physical harm
must come to him as long as he
inhabits the vessel.
MAN #3
(raises hand)
Oooh, I got an idea! What if we build
another portal to Malkovich, like
around back, and sneak in that way?
MAN #4
Only Captain Mertin knew how to build
a portal, dummy, and he's dead!
LESTER
Actually, my friends, I suppose its
time I told you, I'm Captain James
Mertin.
The members fall into a stunned silence. Lester takes some
refrigerator magnets and spells out L-E-S-T-E-R on a board.
He then rearranges them for a while.
LESTER
You see, Lester is an anagram for
Mertin.
Lester continues to rearrange the letters, getting a little
tense now.
LESTER
It used to work, I'm sure of it.
Several members check their watches.
LESTER
Oh, damn it to hell. Anyway, I am.
L-E-S-T-E-R has been left as E-L R-E-S-T as Lester turns
from the board to face the congregation.
MAN #3
How can this be? I thought you were
only one hundred and five years old.
MAN #3
Mertin would have to be...
LESTER
(chuckles amiably)
I'm two hundred and five, truth be
told.
WOMAN #1
(flirtatiously)
You don't look a day over one hundred
and five, Captain. What's your secret?
LESTER
Lots of carrot juice, little lady.
That, and a deal with the Devil.
There is a lot of murmuring in the room now.
MAN #2
So what exactly are you saying? Are
we in cahoots with the Dark Master
here?
LESTER
Surprise.
The cultists get tense, start to leave en masse.
LESTER
Wait! It's not that bad! When we get
into Malkovich, we still get to rule
the world, just like I told you. The
only difference is that we rule in
the name of evil, instead of good.
People stop in their tracks.
MAN #3
That's the only difference?
LESTER
Absolutely.
The cultists think about is, then shrug and stay put.
LESTER
So anyway...
Lotte stands.
LOTTE
Well, I for one, am resigning. I
will not serve evil. I am ashamed of
all of you.
Lotte heads for the door.
LESTER
My dear, let me assure you that when
we attain power, it will be much
more pleasant for those inside
Malkovich, than for those outside.
Lotte stops and turns.
LOTTE
I'll take my chances.
She exits.
LESTER
Anybody else?
WOMAN #1
Do we get to wear a crown?
LESTER
But of course.
WOMAN #1
Count me in.
LESTER
Good. I think its time to beckon Mr.
Flemmer. Perhaps He can help us out
of this pickle.
FLIP TO:
INT. LESTER'S SHRINE ROOM - A BIT LATER
Mr. Flemmer, a silver-haired gentleman in turtleneck and
blazer, scratches his head. The cultists patiently watch
him.
FLEMMER
Boy, this is a toughie. To be honest,
I didn't anticipate this.
LESTER
And as I said, sir, we can't very
well exert physical persuasion upon
the sacred vessel Malkovich.
FLEMMER
Right, Lester. I heard you the first
time. I'm not a dummy.
LESTER
Didn't mean to imply that you were,
sir.
FLEMMER
Look, I'm going back to my house to
ponder this. So stay calm and keep
track of Schwartz's comings and
goings. Oh, and somebody dispose of
Schwartz's wife, will you?
(to cultists)
Nice to meet you all.
The cult members ad-lib "same here, sir."
CUT TO:
Ratings
Scene 49 - Liberation and Escape
Lotte site in the living room, in her pajamas, softly sobbing.
The caged animals watch her.
LOTTE
Oh, my friends. Be thankful you're
not human. People are treacherous
and greedy and corrupt. I've lost my
heart to two of them and I almost
lost my soul to another. And I'm no
better. Look at the way I keep you,
locked in cages, for my own enjoyment.
Well, I've been in a cage too, my
friends. Literally and figuratively.
So tonight I set you free.
Lotte opens the windows and the front door, then unlocks all
the cages. The animals scurry and fly out of their cages,
and out of the house. Lotte watches silently until she is
alone.
LOTTE
Good-bye, friends.
A hand reaches for hers. She looks down. Elijah is still
there and holding her hand. She smiles.
LOTTE
Hello, friend.
CUT TO:
EXT. CITY STREET - NIGHT
We see the menagerie of animals on the otherwise deserted
street, dispersing into the night. A lone dark figure turns
the corner, and walks slowly up the street to Craig and
Lotte's building.
CUT TO:
INT. CRAIG AND LOTTE'S APARTMENT - CONTINUOUS
Lotte and Elijah see the dark figure coming up the steps.
The buzzer rings. Lotte and Elijah jump.
LOTTE
They've come to kill me, Elijah.
See, I know too much. I should get
the door. It's impolite to keep death
waiting.
Elijah looks at her sweetly, a great sadness in his eyes.
Then he leads her by the hand out the window.
CUT TO:
Ratings
Scene 50 - The Magical Performance of John Malkovich
The marquee reads: World's Greatest Puppeteer Craig Schwartz
and his Magical Puppet John Malkovich.
CUT TO:
INT. DRESSING ROOM - NIGHT
Malkovich sits in a tuxedo and watches himself in the dressing
table mirror. Maxine, in a tight black number, reclines on
the couch.
MAXINE
This is it, lover. You're stepping
onto that stage a nobody and presto-
change-o, you're coming back the
greatest puppeteer the world has
ever seen.
MALKOVICH
I'm nervous. Malkovich is fighting
me hard today.
Malkovich jerks a bit, gets it under control.
MAXINE
Doesn't he know how important tonight
is to us?
MALKOVICH
He's a selfish bastard.
CUT TO:
INT. LAS VEGAS THEATER - NIGHT
The house is filling with formally dressed audience members.
The cultists and Lester, also in tuxes and gowns, are among
them. The lights go down.
ANNOUNCER (O.S.)
Ladies and gentlemen, it is the great
privilege of the Luxor hotel and
Casino to present Craig Schwartz and
his magical puppet John Malkovich.
The orchestra starts up. The curtains part.
LESTER
Blasphemous bastard.
Malkovich tap dances out onto the stage. He is amazingly
nimble and the audience "oohs" and "aahs."
LESTER
(grudgingly)
Pretty good though.
Malkovich does an amazing triple somersault, lands on one
knee and, with spread arms, begins singing: "Kiss Today
Goodbye." in a beautiful tenor. The orchestra catches up
with him. The audience goes wild. A pretty-boy young man
with a big tousle of black hair and a shiny, tight suit
appears at the back of the house. An usher glances over at
him.
USHER
Oh, Mr. Mantini! We weren't expecting
you tonight, sir. Um, I'm afraid
there's not an empty seat in the
entire house.
MANTINI
(not taking his eyes
from the stage)
Make one empty.
USHER
Y-y-y-es sir.
The usher looks nervously around for someone to boot. Martini
waits in the back. On stage, Malkovich is now performing the
"back of the car scene" from "On The Waterfront." He
alternates between the Marlon Brando part and the Rod Steiger
part, moving back and forth from one stool to the another.
He performs it magnificently. We see Lester in the audience
wiping a small tear from his eye.
LESTER
Not too shabby.
Mantini is now sitting in a good aisle seat next to a
beautiful woman. Her boyfriend is being hauled toward the
exit by the usher. The beautiful woman watches, with some
concern, as the boyfriend is taken away. Then she turns and
smiles flirtatiously at Mantini. Mantini smiles back. On
stage Malkovich is dressed in a ringmaster's outfit and
juggling chainsaws.
MANTINI
Nothing more than a Goddamn clown.
At this point the entire audience stands and gives Malkovich
a spontaneous standing ovation. All except Mantini. Even the
cultists get up.
CUT TO:
Ratings
Scene 51 - Despair and Strategy
Lotte sits sadly in the wet tunnel. She is scrunched-up
against the damp cold. A small fire smolders in front of
her. We hear footsteps approaching. It is Elijah, carrying
supplies: food and blankets. He covers her with a blanket
and sits down next to her.
LOTTE
They're going to take over the world,
Elijah. Evil will reign. But, then,
evil already reigns, doesn't it? So
what difference does it make if John
Malkovich is wearing the fucking
crown while it's reigning?
Elijah sighs, then holds his stomach. The ulcer is returning.
CUT TO:
INT. FLEMMER'S APARTMENT - DAY
It's a conservatively furnished upper westside apartment.
Looks like it belongs to a Columbia professor. The walls are
lined with books. Mr. Flemmer sits at his desk, his head in
his hands, deep in thought. The doorbell rings.
FLEMMER
It's open.
The door opens and Lester pokes his head in.
LESTER
It's just me, boss. I brought
croissants.
Lester enters with a greasy white paper bag.
FLEMMER
Have a seat. I wracking my brain
over this Malkovich thing.
LESTER
We saw his show at the Luxor last
night.
FLEMMER
(impressed)
Vegas? What'd you think?
LESTER
The kid's got talent. You've never
seen Malkovich like this. Schwartz
had him up there singing and dancing.
Impressions.
FLEMMER
Impressions? Those are hard.
LESTER
Very talented son of a bitch. Too
bad we can't kill him.
FLEMMER
I suppose I could come to him in a
dream. I don't know. That's the best
I can think of right now.
LESTER
A scary dream?
FLEMMER
No, a sexy dream. Of course, a scary
dream.
LESTER
(noncommittally)
I like that.
CUT TO:
Ratings
Scene 52 - Nightmares and Rivalries
Malkovich sits on the floor in silk pajamas. He is surrounded
by newspaper clippings. He is drinking champagne from the
bottle. Maxine is at a dressing table, brushing her hair.
MALKOVICH
They love me, darling! "Craig Schwartz
is fantastic!"
MALKOVICH
The New York Times. "If only Craig
Schwartz had always been inside
Malkovich!" Women's Wear Daily.
"Craig Schwartz - The world's greatest
puppeteer!" Paul Wunder, WBAI Radio.
MAXINE
Oh, darling. It's a dream come true.
We're going to ride this straight to
the top.
MALKOVICH
Sleepy suddenly.
MAXINE
Busy day, my little fire chief. Why
don't you climb into bed, and I'll
meet you there in just...
But Malkovich is already passed out on the floor on top of
his clippings. Maxine smiles maternally, gets up and puts
blanket over him. We stay on Malkovich's face.
DISSOLVE TO:
INT. HELL - NIGHT
Craig wanders across a jagged, rocky landscape. Geysers of
flame shoot up around him. The sky is red. He is frightened.
He arrives at a desk. The man behind the desk is facing away
from him. He swivels to face Craig. It is Flemmer, looking
the same as usual except for little red horns and a sinister
grin.
CRAIG
Who are you?
FLEMMER
I am the Devil.
CRAIG
Oh.
FLEMMER
Leave Malkovich. He is mine.
CRAIG
Okay. Sorry. I didn't know.
CUT TO:
INT. HOTEL SUITE - CONTINUOUS
Malkovich awakes with a start. Maxine looks over at him.
MAXINE
Bad dream, darling?
MALKOVICH
I've got to leave Malkovich.
MAXINE
You've got to be kidding.
MALKOVICH
I just had the most horrifying
nightmare. The devil was in it.
Flemmer crouches behind a bureau and listens. He is pleased
with himself.
MAXINE
Malkovich is our meal ticket. You
can't back out because of some stupid
dream.
FLEMMER
(to himself)
Shit.
MALKOVICH
Honey, we can be happy and poor
together.
MAXINE
(laughs derisively)
Perhaps you'll want to consult that
Ouija board again.
There is a knock at the door. Maxine opens it, angry.
MAXINE
Yeah what?!
MALKOVICH
Derek Mantini!
Mantini enters. Maxine is suddenly interested. Mantini and
Maxine give each other the once over.
MANTINI
(still eyeing Maxine)
Hello, Schwartz. I saw your show.
MALKOVICH
Did you see the reviews?
MANTINI
Yeah, I saw them
MALKOVICH
Because if you missed any, I just
happen to have copies here you can
take with you when you leave now.
MAXINE
I'm Maxine. I produced the evening
with Malkovich.
MANTINI
Very impressive. I could use a
producer with your vision. And other
outstanding attributes.
MALKOVICH
She's not available.
MANTINI
We'll see, Schwartz. We'll see.
MAXINE
Yeah, we'll see, Schwartz. We'll
see.
MANTINI
I won't waste your time Schwartz, or
more importantly, mine. Here's my
proposal: There's only room in this
world for one "World's Greatest
Puppeteer." Correct? So let's allow
the puppet-going public to crown
their king.
MALKOVICH
How do we do that?
MANTINI
A friendly competition, if you will.
Your Malkovich puppet and my Harry
S. Truman puppet appear opposite
each other in a play. Not some Vegas
Burly-Q pyrotechnics, but a real
play that requires actual acting.
The audience decides who is more
deserving of the title. The losing
puppeteer bows out graciously. Goes
back to obscurity as a file clerk.
MALKOVICH
What's the play?
MANTINI
Say... "Equus"? It's got everything.
MALKOVICH
Never heard of it.
MANTINI
Broadway's finest three hours. It's
about the suppression of the
individual. Conformity as God in
modern society.
MALKOVICH
Sounds boring. Are there any songs?
MANTINI
Nothing but acting to hide behind,
buddy-boy.
MALKOVICH
I'm not afraid. I toured for a year
with the National Puppet Company's
production of "Long Day's Journey
Into Night."
MANTINI
Great then.
MALKOVICH
Is there dancing?
MANTINI
No.
MALKOVICH
Who needs dancing?
CUT TO:
Ratings
Scene 53 - Plant Care and Puppet Plans
Lester is watering Flemmer's plants. A key is heard in the
door. Flemmer enters, a small carry-on bag slung over his
shoulder.
LESTER
How'd it go? Did you say the
philodendron gets water or no?
FLEMMER
No, for God's sake, I just watered
it yesterday.
(beat)
It almost went well. I gave a pretty
good dream, but circumstances arose.
LESTER
What kind of circumstances?
FLEMMER
Maxine says she'll leave him if he
leaves Malkovich, plus he's been
challenged to a puppet-duel by
Mantini.
LESTER
The Great Mantini?
FLEMMER
No, the Mediocre Mantini. Of course
the Great Mantini!
LESTER
Oh, he's good! Great, actually. I
saw him do "Tru" with his sixty foot
Robert Morse puppet. Sensational.
FLEMMER
But I think I have another plan.
LESTER
(snippy)
Do tell. I love a good plan.
FLEMMER
Why are you being like this?
Lester shrugs.
LESTER
I missed you. I'm sorry. Tell me the
plan.
FLEMMER
Well, if Mantini wins, Schwartz will
leave Malkovich, right? So, if he
needs it, I help Mantini's performance
a bit, give him an edge. Spice up
the show.
LESTER
Can you do that? I mean, do you know
anything about puppetry?
FLEMMER
I am the Devil, Lester. I think I
can handle it.
LESTER
I was just asking. No disrespect
intended.
FLEMMER
Fine. Let's drop it.
LESTER
Fine. I mean, it's not like I was
doubting you, it's just that I know
puppetry is a skill that takes a
long time to acquire.
FLEMMER
Fine. I'm not mad. Let's just drop
it.
LESTER
Fine. Your mail's on the kitchen
table. Mostly junk. Oh, there's a
letter from Alex Trebek.
CUT TO:
Ratings
Scene 54 - Tensions and Discontent
Lotte and Elijah, now dirty and drawn, are talking. Elijah
uses sign language.
ELIJAH (SUBTITLES)
You've got to tell Craig what's going
on. He must never leave Malkovich.
LOTTE
I'm glad you learned sign language,
Elijah, but I'm tired of your nagging.
I'm tired of this conversation. I'm
tired period. What has the world
ever done for me that I should feel
personally responsible for saving
it?
ELIJAH
It is better to light one candle
than curse the darkness. I learned
that from you.
Lotte turns away, shaken. A tear rolls down her face.
LOTTE
What have I become?
CUT TO:
EXT. BROADHURST THEATER - NIGHT
The Marquee reads: Derek Mantini's sixty-foot Harry S. Truman
puppet and Craig Schwartz's actual-size John Malkovich puppet
in Peter Shaffer's "Equus."
CUT TO:
INT. BROADHURST THEATER - NIGHT
The house is packed. On stage is a minimalist set: wood planks
and metal poles. Six guys in brown turtlenecks and stylized
wire horse heads mill about. The 60 foot Harry S. Truman
puppet is pacing, his strings extending up into the flyspace
and out of sight. Malkovich sits on a bench. Truman and
Malkovich both take stabs at British accents.
HARRY S. TRUMAN PUPPET
Do you dream often?
MALKOVICH
Do you?
HARRY S. TRUMAN PUPPET
It's my job to ask the questions.
Yours to answer them.
MALKOVICH
Says who?
HARRY S. TRUMAN PUPPET
Says me. Do you dream often?
MALKOVICH
Do you?
We see the audience fidgeting in their seats, coughing.
CUT TO:
INT. BROADHURST BACKSTAGE - CONTINUOUS
The dialogue drones on as Maxine watches coolly from the
wings. She drags on a cigarette. Mr. Flemmer, dressed as a
stagehand, stands behind Maxine. He also watches the actors,
with an occasional sideways glance at Maxine.
MAXINE
(without turning around)
Keep your eyes in your pants, old
timer.
CUT TO:
INT. THE BROADHURST LOBBY - A BIT LATER
It's intermission. The lobby is crowded. Maxine moves through
the crowd listening to snippets of conversation. Flemmer,
now in a tuxedo, moves about also. First couple:
THEATERGOER #1
That Truman puppet is downright boring
as the psychiatrist.
THEATERGOER #2
It's a wooden performance, really.
Get it? Wooden?
Second couple:
THEATERGOER #3
What's with the Malkovich puppet?
He was much better in Vegas when he
played the piano with his feet.
THEATERGOER #4
I hate it when they try to stretch.
It's like Woody Allen.
Third couple:
THEATERGOER #5
They both stink! I'm going across
the street to second act Miss Saigon.
CUT TO:
INT. DRESSING ROOM - A FEW MINUTES LATER
Malkovich watches himself in his dressing table mirror.
Maxine enters, flops herself down on the couch and lights up
a cigarette.
MAXINE
You'd better turn on the pyrotechnics,
lover, 'cause right now you're running
neck and neck with the dead president.
And you're both in last place.
Malkovich continues to watch himself in the mirror, nods his
head.
CUT TO:
Ratings
Scene 55 - Frozen Moments and Upstaged Performances
Mantini leans against a rail and smokes a cigarette. Charles
Nelson Reilly, in a tuxedo, confers with him in hushed tones.
CHARLES NELSON REILLY
You're doing beautifully, my boy. I
wept at the speech about your wife.
Flemmer materializes behind Mantini
CHARLES NELSON REILLY
What the hell? Nyong-nyong!
Mantini spins around to face Flemmer. Reilly makes a break
for it. Flemmer points a finger and Reilly freezes in mid-
strut. Flemmer then points a finger at Mantini, and he, too,
freezes. Flemmer picks up the giant wooden controls for the
marionette, and pulls a copy of the play from his pocket.
CUT TO:
INT. BROADHURST STAGE - NIGHT
We watch the second act in progress. The Truman puppet pace
as he delivers a monologue. Somehow he doesn't even seem to
be a puppet anymore, so subtle and graceful are his movements
and the changes in his facial expressions. It's as if there's
a giant actual Harry Truman on stage.
HARRY S. TRUMAN PUPPET
I can hear the creature's voice.
It's calling me out of the black
cave of the Psyche. I shove in my
dim little torch, and there he stands --
waiting for me. He raises his matted
head. He opens his great, square
teeth and says
(mocking)
'Why? ... Why me? ... Why --
ultimately -- Me? ... Do you really
imagine you can account for Me?
Totally, infallibly, inevitably
account for Me? ... Poor Dr. Dysart!'
Malkovich watches impressed and a little scared by this
bravura performance. He glances out into the audience and
sees a silent, rapt crowd.
DISSOLVE TO:
INT. BROADHURST STAGE - A BIT LATER
Malkovich is delivering a monologue. Acting up a storm.
During Malkovich's speech, Truman repeatedly attempts to
upstage him, nodding his head, looking thoughtful, raising
his ten foot eyebrows in surprise...
MALKOVICH
Eyes! ... White eyes -- never closed!
Eyes like flames -- coming -- coming!
... God seest! ... God seest! ...
NO!
CUT TO:
EXT. NEW YORK STREET - CONTINUOUS
A man hole cover is pushed off. Lotte climbs out onto the
street. She is dirty but determined.
CUT TO:
Ratings
Scene 56 - The Battle for the Spotlight
Malkovich is in convulsions on the floor. Big dramatic
convulsions. Truman scoops him up, and places him on the
bench. Malkovich continues with the convulsions, milking it.
Truman speaks.
HARRY S. TRUMAN PUPPET
Here ... Here ... Sssh ... Sssh ...
Calm now ... Lie back. Just lie back!
Now breathe in deep. Very deep. In
... Out ... In ... Out ... That's
it ... In. Out .. In ... Out ...
Malkovich is breathing insanely now, trying to keep the focus
on himself. Flemmer is in the catwalks, watching the crowd.
The audience is watching Malkovich.
AUDIENCE MEMBER
(to his wife)
That Malkovich puppet is a damn fine
actor.
FLEMMER
(blood boiling)
Bastard is stealing my thunder.
Malkovich and Truman on the stage. Truman is pacing, swirling,
dancing, juggling enormous bowling pins as he talks.
HARRY S. TRUMAN PUPPET
All right! I'll take it away! He'll
be delivered from madness. What then?
He'll feel himself acceptable! What
then?
Malkovich has upPed his convulsions now. He watches Truman
out of the corner of his eye while writhing tormentedly on
the bench. He levitates. Spins in mid-air. Falls on all fours
and does an uncanny impression of a yelping dog. Truman
watches Malkovich, continues to speak. But now, when he talks,
fire comes out of his mouth.
HARRY S. TRUMAN PUPPET
I'll heal the rash on his body. I'll
erase the welts cut into his body by
flying manes.
The audience "ooohs" at the flames. Malkovich rips off his
clothes and convulses into the dying swan-bit from "Swan
Lake." The audience applauds. Truman continues his speech,
now transforming himself into an actual 60 foot swan and
flying around the auditorium as he speaks.
HARRY S. TRUMAN PUPPET
You won't gallop anymore, Alan. Horses
will be quite safe. You'll save your
pennies every week, till you can
change that scooter into a car...
The audience watches the giant swan overhead, necks craned,
in awe. Malkovich sighs. He is out of his league. He goes
into a remarkable tap dance routine and sings "Mr.
Bojangles", but nobody even looks at the stage. The giant
swan bursts into flames, flies back onto the stage, burns to
a crisp, then rises from his ashes as the actual Harry S.
Truman. Truman looks confused and disoriented, as if just
raised from the dead.
ACTUAL TRUMAN
Where am I? Aren't I dead?
(possessed)
Vote for Mantini!
Truman grows and grows until he is again just a giant puppet.
The audience bursts into applause, then delivers a standing
ovation. Truman bows. Flemmer laughs wildly in the catwalks.
Malkovich walks dejectedly from the stage.
CUT TO:
INT. BACKSTAGE - CONTINUOUS
Malkovich walks past Maxine. She doesn't even look at him.
Thunderous applause is heard in the background.
MALKOVICH
Good-bye, Maxine.
MAXINE
Whatever.
Malkovich drops limply to the floor. He lifts his head.
MALKOVICH
(weak but relieved)
I'm back! My nightmare is over.
CUT TO:
Ratings
Scene 57 - The Possession of Malkovich
Flemmer watches Malkovich from above. He pulls out a walkie-
talkie.
FLEMMER
(into walkie-talkie)
Okay, now!
CUT TO:
INT. CRAIG AND MAXINE'S OFFICE - CONTINUOUS
Lester is surrounded by all the Malkovichians. He holds the
walkie-talkie, has just received word. He nods, and the
Malkovichians crawl in single file into the portal, while
shrieking a war cry.
CUT TO:
INT. BACKSTAGE - CONTINUOUS
Maxine watches as Malkovich pulls himself up off the ground.
Suddenly, he is again possessed, first by one person, then
by two, then by three, his body jerking and pulsating with
each new occupant. It's almost like popping corn, starting
out slowly, then going faster and faster, until Malkovich is
possessed by all fifty Malkovichians. He shrieks a war cry
and runs out onto the stage.
CUT TO:
INT. STAGE - CONTINUOUS
The Truman puppet now hangs limply from the catwalks.
Malkovich hovers just above the stage and addresses the
audience.
MALKOVICH
(now sounding like
fifty voices)
I am your earthly king! Kneel before
me!
The audience scoffs at first, but then are compelled to their
knees.
CROWD
(like automatons)
Hail Malkovich, king of the damned.
Malkovich laughs, gives the thumbs up sign to Flemmer in the
catwalks. Flemmer gives the thumbs up sign back.
Lotte appears in the back of the theater, an out-of-breath
figure in shadows. It is too late. She runs from the theater.
CUT TO:
INT. BACKSTAGE - CONTINUOUS
Maxine watches, somewhat amused. She turns and heads for the
exit.
CUT TO:
EXT. NEW JERSEY TUNPIKE - NIGHT
A dejected Craig walks along the shoulder. He is wet and
cold. We hold on him for a long while until he eventually
merges with the landscape.
FADE OUT
FADE IN
Ratings
Scene 58 - The Tyranny of Gray
CHYRON: LATER THAT WEEK
Something is wrong. It's a typical midtown street, but
everything is painted gray: the buildings, the streets, the
sidewalks, the cars. People walk along the streets, carrying
gray briefcases, wearing gray jumpsuits. Nobody talks, nobody
smiles. Gray birds fly silently in the sky. There is no
noise whatsoever. There are several movie theaters on the
block. All marquees advertise John Malkovich movies. Around
the corner comes Malkovich. He is floating about ten feet
off the ground on an enormous, bright red, jeweled throne.
He wears a gold crown and purple silk robe and smiles
condescendingly, majestically. Floris sits on his lap. She
is dressed in an orange satin gown. Nobody on the street
looks up.
MALKOVICH
(fifty voices)
Greetings, my lowly subjects.
FLORIS
Great things, my lonely subtext?
MALKOVICH
(rolls his eyes)
Boy, be careful what you wish for.
(to Floris)
Never mind, dear. Just enjoy the
ride, will you?
Floris shrugs, picks at her finger nails.
MALKOVICH
(to the people on the
street)
I am bored. You will dance for your
king now.
Without pause the entire street of gray clad people breaks
into a meticulously choreographed production number. Totally
silent, totally joyless, but exquisitely executed. We see
that Maxine is one of the anonymous dancers. Her face is
void of expression. Malkovich laughs.
MALKOVICH
Faster! Faster, my little trained
monkeys!
The crowd dances faster and faster. Older people fall over,
exhausted, clutching their hearts. Nobody stops dancing to
help, nobody dares.
CUT TO:
Ratings
Scene 59 - A Bittersweet Farewell
Bird's eye view of the park. It's all painted gray. Every
tree, every leaf. There's no sign of life. The camera moves
in, through some gray trees and gray brush to:
A LUSH GREEN OASIS CAMOUFLAGED ON THE TOP AND SIDES WITH
GRAY PAINT
This place is filled with life: Colorful birds, lizards,
cats, a rooster. All the animals are active, happy, but
totally silent, as if they know the precariousness of their
position. Lotte and Elijah sit among them. These are the
animals that she freed earlier. Lotte and Elijah hold hands
and look into each other's eyes. We see that they both wear
gold bands. They are husband and wife. Elijah signs.
ELIJAH
Must you take this terrible demon on
yourself, my love?
LOTTE
Yes. I'm the only one. I have to
enter Malkovich and destroy him from
the inside. If not me, who?
ELIJAH
If there was any way I could go in
your place. But I'm only a monkey
and...
LOTTE
(puts finger to his
lips)
Hush, sweetheart.
Lotte slips into a gray jumpsuit. She stuffs a homemade bomb
on her pocket. She and Elijah kiss passionately, then embrace.
LOTTE
(to the animals)
I'll be with you always, my friends.
Who knows, maybe if I'm lucky, I'll
rejoin you with wings and a beak.
ELIJAH
Wings and a halo, my darling. Wings
and a halo.
Lotte turns quickly. This is too much to bear. She descends
into a storm drain. The animals stop what they're doing.
PARROT
(softly)
Good-bye. Good-bye.
DISSOLVE TO:
Ratings
Scene 60 - Strings of Deception
A man-hole cover lifts. Lotte pokes her head out. The coast
is clear. She emerges. Assumes the dead-eyed expression of
the others, and enters the building.
CUT TO:
INT. ELEVATOR - DAY
Lotte watches the floors change. After seven, she presses
the emergency stop button. The elevator jerks to a halt.
She picks up the crow bar in the corner, pries open the door.
The 7 1/2 floor is gone. Nothing is there but pipes and wires
and beams. She climbs out onto the floor.
CUT TO:
INT. BETWEEN FLOORS - CONTINUOUS
Lotte searched the floor for some sign of the portal. It is
nowhere to be found. There is a noise behind her. She turns
with a start. It's Craig, ragged and ill-shaven.
LOTTE
My God!
CRAIG
I'm so glad you're safe. You look
really wonderful.
LOTTE
I'm in love. For the first time.
It's funny, but when it happens to
you, there's no question.
CRAIG
He's a lucky man.
(beat)
Do I know him?
LOTTE
It's Elijah.
CRAIG
The iguana?
LOTTE
The monkey.
CRAIG
Oh, right. As long as you're happy.
I'm sure he's a better lover than I
ever was.
LOTTE
A better friend.
CRAIG
(beat)
I'm sorry for everything.
LOTTE
(pecking him on the
cheek)
It's okay, Craig. It all worked out,
in an odd sort of way.
CRAIG
You came up here looking for the
portal?
LOTTE
Yeah. I was going to kill him from
the inside.
CRAIG
And yourself too in the process.
God, you're so beautiful. Why couldn't
I see that before?
LOTTE
You saw it once. Now you see it again.
That's life, isn't it? And you were
up here to try the same thing, weren't
you?
CRAIG
I suppose. But they got here first,
the lousy bastards. So now it's all
over, I guess.
LOTTE
I don't know. There's a small
community of us. We have a place
they don't know about. We're happy.
We'll keep trying to figure out a
way. Come stay with us. Join the
struggle.
CRAIG
You'll have me, after all I've done
to you?
LOTTE
People make mistakes.
CRAIG
I'm through with puppets, Lotte. I
just want you to know that.
LOTTE
I know.
CRAIG
I'd like to be a farmer. I want to
help things grow, to encourage life.
Do you and your friends need a farmer?
LOTTE
Sure. We could really use a farmer.
We'd be grateful for the help.
(beat)
Also, I think, you know, if you
wouldn't mind too terribly, a little
puppet show every once in a while,
would do a lot to lift our spirits.
You know, if you wouldn't mind too
terribly.
Craig's eyes well up with tears. Lotte looks at him sweetly.
LOTTE
Oh honey. It's gonna be okay.
She puts her arm around him and leads him toward the elevator.
CRAIG
I love you, Lotte.
We come on very close to Craig's arm as he lifts it to put
it around Lotte. We see a thin almost invisible filament.
We follow it up, and discover that Craig is now a marionette
being controlled from above by an emotionless Mantini in a
gray jumpsuit.
MANTINI
(in Craig's voice)
I can't wait to see where you and
your friends live, Lotte.
LOTTE (O.S.)
It's beautiful, Craig, like Eden.
Now we see filaments attached to Mantini's arms, and w follow
them up to find that Flemmer is controlling Mantini.
FLEMMER
One serpent, coming up.
Flemmer throws his head back and laughs. The camera moves
into his mouth and down his throat, which, oddly enough,
looks exactly like the membranous John Malkovich portal
tunnel.
MUSIC IN: "Put Your Hand Inside The Puppet Head" by They
Might Be Giants. It plays throughout the credits.
FADE OUT
THE END
Ratings
Characters in the screenplay, and their arcs:
| Character | Arc | Critique | Suggestions |
|---|---|---|---|
| craig | Craig's character arc begins with him as a conflicted puppeteer, struggling with his identity and career while harboring unrequited love for Maxine and a complicated relationship with Lotte. As he navigates the surreal experiences of entering John Malkovich's mind, he becomes increasingly driven by curiosity and ambition, leading to moments of manipulation and control. However, as the story progresses, Craig faces the consequences of his actions, leading to feelings of betrayal and regret. This culminates in a transformative journey where he learns the importance of love, forgiveness, and vulnerability. By the end of the screenplay, Craig emerges as a more self-aware individual, having reconciled his desires for control with the need for genuine connection, ultimately finding redemption through his relationships. | While Craig's character arc is rich and multifaceted, it risks becoming overly complex and may confuse the audience if not carefully balanced. His transitions from humor to manipulation and then to vulnerability need to be clearly defined to maintain coherence. Additionally, the pacing of his emotional journey could benefit from more gradual development, allowing the audience to fully grasp his internal conflicts and transformations. The juxtaposition of his quirky charm with darker traits should be handled delicately to avoid alienating viewers. | To improve Craig's character arc, consider focusing on key moments that highlight his internal struggles and growth. Introduce pivotal scenes that allow for gradual shifts in his character, emphasizing the consequences of his manipulative behavior and the impact on his relationships. Strengthening his interactions with Lotte and Maxine can provide clearer emotional stakes, making his eventual redemption more impactful. Additionally, incorporating moments of self-reflection or dialogue that explicitly address his fears and desires can enhance audience empathy and understanding of his journey. |
| lotte | Lotte's character arc begins with her as a pragmatic and supportive partner to Craig, who is initially skeptical of change. As the story progresses, she is drawn into the surreal experience of entering Malkovich's mind, which catalyzes her journey of self-discovery. Lotte experiences a transformation from fear to empowerment, grappling with her identity and desires. Her emotional journey is marked by conflicts between her loyalty to Craig and her growing feelings for Malkovich, leading her to moments of vulnerability and manipulation. Ultimately, Lotte evolves into a character who confronts her inner turmoil, seeks liberation from emotional control, and embraces her strength and compassion. By the end of the screenplay, she emerges as a self-aware individual who is willing to sacrifice for the greater good, showcasing her resilience and determination. | Lotte's character arc is compelling, showcasing her growth from a supportive partner to a self-aware individual. However, the arc could benefit from clearer motivations and stakes throughout the screenplay. While her emotional journey is rich, there are moments where her internal conflicts could be more explicitly tied to the external plot, enhancing the audience's connection to her struggles. Additionally, her relationship dynamics with Craig and Malkovich could be further developed to highlight the contrasts and conflicts in her character more effectively. | To improve Lotte's character arc, consider the following suggestions: 1. Establish clearer motivations for her actions early in the screenplay, linking her desires for change to specific events or conflicts. 2. Deepen her relationship dynamics with both Craig and Malkovich, allowing for more nuanced interactions that reveal her internal struggles. 3. Incorporate moments of agency where Lotte actively makes choices that drive her character development, rather than being primarily reactive to Craig's actions. 4. Explore her connection to the animals more deeply, using them as a metaphor for her own journey towards liberation and self-acceptance. 5. Ensure that her emotional revelations are tied to the climax of the story, providing a satisfying resolution to her arc that resonates with the audience. |
| craig schwartz | Throughout the screenplay, Craig Schwartz evolves from a quirky, confused individual into a more self-aware character who confronts his desires and the consequences of his actions. Initially, he is driven by a mix of humor and longing, navigating surreal experiences with a sense of curiosity. As he becomes increasingly manipulative in his pursuit of experiencing life through John Malkovich's eyes, he faces moral dilemmas that challenge his identity. Ultimately, Craig must confront the emptiness of his ambitions and the impact of his choices on those around him, leading to a moment of self-realization and a decision to seek genuine connections rather than control. By the end, he emerges as a more introspective and grounded individual, having learned the importance of authenticity and the value of relationships over power. | Craig's character arc presents a compelling journey, but it risks becoming too focused on manipulation and ambition without adequately exploring the emotional depth of his longing for connection. While his quirky nature and humor are engaging, they can sometimes overshadow the more serious themes of identity and fulfillment. Additionally, the transition from a humorous, confused character to a manipulative one may feel abrupt if not properly developed, potentially alienating the audience from his internal struggles. | To improve Craig's character arc, consider deepening the exploration of his emotional vulnerabilities earlier in the screenplay. This could involve flashbacks or moments of introspection that reveal his past experiences with love and identity, making his motivations more relatable. Additionally, balance his manipulative tendencies with moments of genuine connection with other characters, allowing the audience to see the conflict between his desires for control and his need for authentic relationships. Finally, ensure that his self-realization is gradual and earned, with clear stakes that highlight the consequences of his actions, leading to a more satisfying and believable transformation. |
| floris | Floris begins as a whimsical and eccentric receptionist, using humor and theatricality to cope with her mundane existence at LesterCorp. As the story progresses, her interactions with Craig spark a desire for genuine connection, leading her to confront her feelings of loneliness and longing. However, under Malkovich's oppressive regime, she becomes increasingly passive and detached, mirroring the despair of those around her. In the climax, a pivotal moment occurs where she must choose between remaining compliant or embracing her true self and desires. Ultimately, Floris finds the courage to express her feelings and stand against the oppressive atmosphere, leading to a transformation where she becomes a symbol of hope and resilience, inspiring others to seek connection and defy the status quo. | Floris's character arc is intriguing, but it may lack depth in certain areas. While her initial eccentricity and humor are engaging, her transition into passivity under Malkovich's rule could be more thoroughly explored. The shift from a vibrant character to a subdued one may feel abrupt without sufficient buildup or internal conflict. Additionally, her relationship with Craig could benefit from more development to enhance the emotional stakes of her journey. | To improve Floris's character arc, consider adding more layers to her internal struggle as she navigates her feelings for Craig and the oppressive environment. Incorporate scenes that highlight her vulnerability and the impact of Malkovich's rule on her psyche. Additionally, deepen her relationship with Craig by showcasing moments of genuine connection that challenge her passivity. This could culminate in a more impactful climax where her choice to embrace her true self feels earned and resonates with the audience. Finally, ensure that her transformation is gradual, allowing viewers to witness her evolution from humor to resilience. |
| lester | Lester begins as a humorous and eccentric figure, embodying a blend of charm and desperation. As the story progresses, he grapples with his desires and regrets, leading him to a pivotal moment where he must confront the darker aspects of his personality and the consequences of his actions. His journey takes him from being a whimsical inventor to a manipulative cult leader, ultimately revealing his true identity as Captain James Mertin. In the climax, Lester faces a moral dilemma that forces him to choose between his thirst for power and the well-being of those around him. By the end, he experiences a transformation, recognizing the emptiness of his pursuits and seeking redemption, which adds depth to his character and a sense of closure to his arc. | Lester's character arc is intriguing, but it risks becoming convoluted due to the rapid shifts between his humorous and darker sides. While his eccentricity is engaging, the transition from a whimsical inventor to a cult leader could benefit from more gradual development. The motivations behind his actions, particularly his obsession with John Malkovich, could be explored further to enhance emotional resonance. Additionally, the balance between humor and intensity may need refinement to ensure that the audience can connect with his struggles without losing the comedic elements that define him. | To improve Lester's character arc, consider deepening his backstory to provide context for his desires and regrets. This could involve flashbacks or conversations that reveal his past experiences and how they shaped his current persona. Gradually introduce the darker aspects of his character, allowing the audience to witness his transformation in a more organic way. Incorporate moments of vulnerability that showcase his internal conflict, making his eventual redemption more impactful. Finally, ensure that the humor remains consistent throughout the screenplay, using it as a tool to highlight his struggles rather than overshadow them. |
| maxine | Throughout the screenplay, Maxine begins as a confident and manipulative figure, using her charm and wit to navigate relationships and achieve her goals. As the story progresses, she faces challenges that force her to confront her emotional barriers and insecurities. Her interactions with Craig and Malkovich lead her to question her motivations and the consequences of her manipulative behavior. By the climax, Maxine experiences a moment of vulnerability that allows her to reevaluate her priorities, leading to a transformation where she learns to balance her ambition with genuine connections. In the resolution, she emerges as a more self-aware individual, still confident but with a deeper understanding of the importance of emotional authenticity in her relationships. | Maxine's character arc is compelling, showcasing her complexity and the duality of her nature. However, the arc could benefit from clearer moments of internal conflict and growth. While her manipulative traits are well-established, the transition to vulnerability may feel abrupt without sufficient buildup. Additionally, her motivations could be explored more deeply to enhance audience empathy and understanding of her choices. The balance between her ambition and emotional depth needs to be more pronounced to create a satisfying resolution. | To improve Maxine's character arc, consider incorporating key scenes that highlight her internal struggles and the consequences of her manipulative actions. This could include moments of failure or emotional fallout that force her to confront her behavior. Additionally, providing backstory elements that explain her drive for control and success could deepen her character. Introducing a mentor or a pivotal relationship that challenges her worldview could also facilitate her growth. Finally, ensure that her transformation feels earned by gradually revealing her vulnerabilities and allowing her to make conscious choices that reflect her development. |
| malkovich | Malkovich's character arc begins with a sense of curiosity and adaptability as he encounters the absurdity of his situation. As he becomes more aware of the manipulation and loss of control over his identity, he experiences confusion, panic, and vulnerability. This culminates in a profound revelation where he expresses fear and determination to reclaim his identity. Throughout the screenplay, he grapples with external forces that seek to control him, leading to a struggle for agency. Ultimately, he undergoes a transformation from a passive figure to a tyrannical ruler, asserting dominance and authority, which reflects his internal conflict and the complexities of power dynamics. His journey is one of self-discovery, culminating in a desire to break free from control and reclaim his identity. | While Malkovich's character arc is compelling and showcases a transformative journey, it may benefit from deeper exploration of his motivations and emotional responses. The transition from vulnerability to authority feels abrupt, and the screenplay could enhance the character's depth by providing more context for his actions and decisions. Additionally, the portrayal of his internal struggles could be more nuanced, allowing the audience to connect with his plight on a deeper emotional level. The themes of identity and control are rich, but they could be further developed to create a more cohesive narrative. | To improve Malkovich's character arc, consider incorporating flashbacks or moments of introspection that reveal his past experiences and how they shape his current struggles. This could provide a clearer understanding of his motivations and desires. Additionally, introducing secondary characters who challenge or support his journey could add layers to his character and create more dynamic interactions. Allowing for moments of vulnerability and connection with others could enhance the emotional stakes of his transformation. Finally, ensuring a gradual progression in his shift from vulnerability to authority would create a more believable and relatable character journey. |
| elijah | Elijah's character arc begins with him as a silent yet impactful presence, primarily serving as Lotte's emotional anchor. As the story progresses, he faces challenges that test his loyalty and understanding, particularly as Lotte navigates her struggles. Through these trials, Elijah learns to express his feelings more openly, moving from a primarily non-verbal communicator to someone who finds his voice and articulates his thoughts and emotions. By the climax, he becomes not only Lotte's support but also a catalyst for her growth, encouraging her to confront her fears. In the resolution, Elijah emerges as a more confident individual, having developed a deeper understanding of himself and his relationship with Lotte, ultimately reinforcing their bond. | While Elijah's character is well-defined as a supportive and empathetic figure, his arc may lack sufficient conflict and personal growth. The reliance on non-verbal communication, while poignant, could limit his character's development and emotional range. Additionally, the screenplay may benefit from exploring Elijah's own struggles and vulnerabilities, which would create a more balanced dynamic between him and Lotte. As it stands, he risks being perceived as a one-dimensional character whose sole purpose is to support Lotte without his own narrative journey. | To improve Elijah's character arc, consider introducing personal challenges that he must face alongside Lotte's struggles. This could involve exploring his own fears, insecurities, or past traumas that resonate with Lotte's experiences. Allowing him to have moments of doubt or conflict would add depth to his character and create opportunities for growth. Additionally, incorporating scenes where Elijah must advocate for himself or express his needs could enhance his emotional journey. By giving him a more active role in the narrative, the screenplay can create a richer, more dynamic relationship between Elijah and Lotte, ultimately leading to a more satisfying resolution for both characters. |
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Humorous Tones and Lower Conflict | Scenes with humorous tones average a conflict grade of 7.0, lower than the overall average of 7.47, indicating that humor may be used to reduce narrative tension and focus on lighter, comedic elements, potentially allowing for character development without high-stakes drama. |
| Reflective Tones with Reduced High Stakes | Reflective-toned scenes have an average high stakes grade of 6.25 and conflict grade of 6.67, compared to overall averages of 7.38 and 7.47, suggesting that the author relies on internal introspection and emotional depth to advance the story, rather than external action or high-risk scenarios, which might create a more subdued pacing in these sections. |
| Surreal Elements and High Concept Innovation | Surreal tones appear in 22 scenes and correlate with an average concept grade of 8.41, slightly higher than typical scenes, revealing the author's strength in imaginative and original world-building, which could be an unconscious signature style that elevates conceptual creativity over other aspects. |
| Sarcastic Tones and Perfect Dialogue | All scenes incorporating sarcastic tones achieve a dialogue grade of 9, while other scenes vary (with some as low as 6), indicating that sarcasm is a highly effective tool in the author's writing for crafting witty, engaging conversations, possibly highlighting a talent for sharp character interactions that may not be as prominent in non-sarcastic scenes. |
| Emotional Impact Achieved with Low Conflict in Melancholic Scenes | Melancholic-toned scenes maintain high emotional impact (average 8.5) despite lower conflict grades (average 6.5 in similar reflective contexts), suggesting that the author excels at evoking deep emotions through character vulnerability and introspection rather than confrontational plots, which could be an underappreciated aspect of their emotional storytelling. |
| Increasing Intensity in Later Scenes | Later scenes (31-60) feature a higher frequency of 'Tense' and 'Dark' tones (appearing in about 20% of these scenes compared to 10% in earlier scenes), with consistent high overall grades, indicating a gradual build-up of dramatic intensity that may subconsciously structure the narrative towards a climactic resolution, maintaining engagement through escalating stakes. |
Writer's Craft Overall Analysis
The screenplay demonstrates a strong command of blending humor, drama, and surrealism, showcasing the writer's ability to create engaging narratives with complex characters and emotional depth. The dialogue is often sharp and witty, effectively capturing character dynamics and thematic elements. However, there are opportunities for improvement in areas such as character development, pacing, and the use of subtext in dialogue.
Key Improvement Areas
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Book | 'Adventures in the Screen Trade' by William Goldman | This book provides valuable insights into the craft of screenwriting, including character development and storytelling techniques that can enhance the writer's skills. |
| Book | 'Eternal Sunshine of the Spotless Mind' screenplay by Charlie Kaufman | Studying this screenplay will help the writer understand how to blend humor with emotional depth and explore complex character dynamics. |
| Exercise | Practice writing dialogue exchanges that reveal character motivations and conflicts through subtext.Practice In SceneProv | This exercise will help enhance the depth and complexity of character interactions, making them more engaging and relatable. |
| Exercise | Write scenes with escalating conflicts and unexpected developments.Practice In SceneProv | This will improve the writer's ability to maintain tension and keep the audience engaged throughout the narrative. |
| Video | Watch interviews or analysis videos of screenwriters known for their unique voices, such as Charlie Kaufman or David Lynch. | Learning from established writers can provide valuable insights into refining one's own voice and storytelling techniques. |
| Exercise | Explore character backstories and motivations in writing exercises.Practice In SceneProv | Delving into characters' inner worlds will create more nuanced and relatable characters that drive the narrative forward. |
Stories Similar to this one
| Story | Explanation |
|---|---|
| Being John Malkovich | This film shares a surreal premise where a puppeteer discovers a portal that allows him to enter the mind of actor John Malkovich. The themes of identity, control, and the absurdity of existence are central to both stories, as well as the exploration of the blurred lines between reality and performance. |
| Adaptation | Written by Charlie Kaufman, this film explores the struggles of a screenwriter who grapples with his identity and creative process. Similar to the script, it features surreal elements, self-referential humor, and a deep dive into the psyche of its characters, reflecting on the nature of storytelling and personal transformation. |
| The Metamorphosis by Franz Kafka | Kafka's novella about Gregor Samsa's transformation into a bug resonates with themes of identity crisis and alienation. Both stories explore the absurdity of existence and the struggle to maintain one's sense of self amidst bizarre circumstances. |
| The Hours | This novel and its film adaptation interweave the lives of three women across different time periods, exploring themes of identity, mental health, and the search for meaning. The emotional depth and character-driven narrative parallel the internal struggles faced by Craig and Lotte. |
| Synecdoche, New York | Charlie Kaufman's directorial debut features a theater director who creates a life-sized replica of New York City inside a warehouse, blurring the lines between reality and art. The themes of existentialism, identity, and the nature of performance are similar to those in the script. |
| The Puppetmaster | This film tells the story of a puppeteer who manipulates both puppets and people, exploring themes of control and identity. The surreal elements and the focus on the art of puppetry resonate with the central character's journey in the script. |
| Eternal Sunshine of the Spotless Mind | This film delves into memory, identity, and the complexities of relationships, similar to the emotional and psychological exploration in the script. Both stories feature characters grappling with their past and the desire to change their identities. |
| The Science of Sleep | This film features a protagonist who struggles to distinguish between dreams and reality, paralleling Craig's surreal experiences. The whimsical and imaginative storytelling style aligns with the tone of the script. |
| The Master | This film explores the relationship between a charismatic leader and a troubled follower, delving into themes of control, identity, and the search for purpose. The psychological dynamics mirror the interactions between Craig, Lotte, and the other characters. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Identity Crisis | Craig struggles with his identity as a puppeteer and his desire to be someone else, leading him to inhabit John Malkovich's mind. | This trope involves a character grappling with their sense of self, often leading to transformative experiences. An example is in 'Fight Club,' where the protagonist creates an alter ego to escape his mundane life. |
| The Puppet Master | Craig manipulates Malkovich's actions while inside his mind, treating him like a puppet. | This trope refers to a character who controls others, often leading to themes of power and manipulation. An example is in 'The Matrix,' where agents control the actions of others within the simulated world. |
| Surrealism | The dream sequences and the bizarre nature of the portal create a surreal atmosphere throughout the script. | Surrealism involves bizarre, dream-like scenarios that challenge reality. An example is 'Eraserhead,' which features nightmarish imagery and themes. |
| Love Triangle | Craig, Lotte, and Maxine form a complicated love triangle, with feelings shifting as they navigate their relationships. | This trope involves three characters entangled in romantic feelings, often leading to conflict. An example is 'The Hunger Games,' where Katniss, Peeta, and Gale navigate their feelings for each other. |
| The Mentor | Lester serves as a mentor figure, guiding Craig in the world of puppeteering and the portal. | The mentor trope involves a wise character who provides guidance to the protagonist. An example is Mr. Miyagi in 'The Karate Kid,' who teaches Daniel about karate and life. |
| The Unreliable Narrator | Craig's perspective is often skewed by his desires and experiences, leading to a distorted view of reality. | An unreliable narrator presents a skewed version of events, causing the audience to question the truth. An example is 'Fight Club,' where the narrator's mental state affects the story's perception. |
| The Absurd | The script features absurd situations, such as the existence of a portal into Malkovich's mind and the bizarre characters. | Absurdism highlights the irrationality of life and often features illogical scenarios. An example is 'Waiting for Godot,' where characters engage in nonsensical dialogue while waiting for someone who never arrives. |
| The Sidekick | Elijah the monkey serves as a sidekick to both Craig and Lotte, providing comic relief and emotional support. | The sidekick trope involves a character who supports the protagonist, often providing humor or wisdom. An example is Robin to Batman, who assists in various adventures. |
| The Cult | Lester leads a cult-like group that worships Malkovich, showcasing themes of obsession and control. | The cult trope involves a group of followers devoted to a leader or ideology, often leading to conflict. An example is 'The Master,' which explores the dynamics of a cult and its followers. |
| Theme | Theme Details | Themee Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Identity and Self-Transformation | Craig's persistent desire to be someone else, exemplified by his disguises, puppeteering, and eventually entering John Malkovich's mind. The journey of other characters like Lotte and the Malkovichians also revolves around redefining or escaping their current identities. The ending with Lotte freeing animals and Craig being controlled by Mantini/Flemmer highlights the cyclical and often deceptive nature of identity shifts. | This theme explores the human drive to escape the confines of one's own identity, particularly when feeling inadequate, unfulfilled, or powerless. It delves into the various ways people attempt to transform themselves, whether through art, disguise, or, in this script's fantastical premise, literal inhabitation of another's consciousness. | ||||||||||||
Strengthening Identity and Self-Transformation:
| ||||||||||||||
| Escapism and the Desire for Power/Fulfillment | Craig's initial dissatisfaction with being a puppeteer, his subsequent pursuit of the Malkovich portal, and his ambition to control Malkovich. Lotte's desire to experience life as John Malkovich, her subsequent identification as transsexual, and her own attempts at self-actualization. The Malkovichians seeking to escape their mundane lives. The ultimate goal is often a perceived power or fulfillment unavailable in their original lives. | This theme examines the human tendency to seek refuge from the mundane, unsatisfactory, or painful aspects of reality by escaping into fantasy, altered states of consciousness, or idealized versions of existence. It also touches upon the associated desire for power and fulfillment that such escapes might promise. | ||||||||||||
| Illusion of Control and Manipulation | Craig's belief he controls Malkovich, only to be ultimately controlled himself by Mantini/Flemmer. Lester's manipulation of the Malkovichians and Lotte. Maxine's strategic exploitation of the portal and Craig. Flemmer's overarching manipulation of the entire situation. The ending scene explicitly reveals Craig as a puppet controlled by Mantini, who is controlled by Flemmer. | This theme highlights the deceptive nature of perceived control and the insidious ways individuals and groups can be manipulated by others. It suggests that the quest for power often leads to becoming a pawn in a larger game, blurring the lines between controller and controlled. | ||||||||||||
| Consequences of Unchecked Ambition and Desire | Craig's descent into obsession with controlling Malkovich, leading to the breakdown of his marriage and his own subjugation. Lotte's obsessive pursuit of the Malkovich experience, leading to estrangement from Craig and her eventual embrace of a new identity. The Malkovichians' fervent pursuit of the portal leads to injury and exploitation. Lester's decades-long ambition leads to cult-like behavior. | This theme focuses on the negative repercussions that arise when ambition and personal desires are pursued without regard for ethics, consequences, or the well-being of oneself and others. It explores the potential for such pursuits to lead to destruction and self-ruin. | ||||||||||||
| The Nature of Performance and Art | Craig's initial identity as 'The Great Mantini' and his puppeteering. Malkovich as an actor. The entire concept of inhabiting another's mind as a performance. The theatrical nature of the climax in Las Vegas and the play 'Equus'. The idea of manipulating someone as a performance. | This theme examines the blurred lines between performance, reality, and artistic expression. It questions what it means to 'perform' one's life and how art can serve as both an escape and a tool for manipulation or self-discovery. | ||||||||||||
| Loneliness and the Search for Connection | Craig's initial isolation in his dream and with his animals. Malkovich's perceived loneliness. The Malkovichians seeking connection through shared experience. Lotte's eventual finding of connection with Elijah and her disillusionment with human connection. The ending with Lotte and Elijah's escape to their oasis. | This theme delves into the pervasive sense of isolation and the deep human need for genuine connection and belonging. It explores how the characters, often driven by their own insecurities and desires, struggle to form meaningful relationships. | ||||||||||||
| The Absurdity of Existence | The surreal dream sequence, the talking rooster, the miniature 7 1/2 floor, the endless repetition of words in books, the various bizarre job ads, the talking parrot, the cult of Malkovichians, the fantastical portal, and the overall illogical progression of events contribute to a sense of existential absurdity. | This theme highlights the often nonsensical, irrational, and meaningless aspects of life and human endeavors. It suggests that beneath the surface of striving and ambition, there is a fundamental absurdity to the human condition. | ||||||||||||
| The Nature of Reality vs. Illusion | The blurring lines between Craig's dreams and reality, the portal as a gateway to another reality, the idea of 'playing' with people, and the final scenes where control is exerted through puppetry and external manipulation all challenge the audience's perception of what is real. | This theme questions the very nature of reality and perception, exploring how our understanding of what is real can be subjective, manipulated, or fundamentally uncertain. | ||||||||||||
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 |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is a distinctive blend of the surreal, the absurd, and the profoundly human. It's characterized by sharp, witty, and often deadpan dialogue that masks underlying emotional depth and existential musings. There's a consistent use of juxtaposition, placing mundane settings and actions alongside fantastical or bizarre elements. Repetitive imagery, subtle symbolism, and a dreamlike atmosphere are employed to explore themes of identity, societal expectations, loneliness, and the search for meaning. The narrative often moves with a quirky, unpredictable rhythm, utilizing pauses and subtle interactions to convey significant emotional weight. There's a playful yet philosophical engagement with the absurdity of life, creating a tone that is both humorous and thought-provoking. |
| Voice Contribution | The writer's voice contributes significantly to the overall mood, themes, and depth of the script by infusing it with a unique brand of melancholy humor and existential exploration. The surreal elements elevate the exploration of identity and societal pressures, making them feel both immediate and deeply personal. The witty dialogue and juxtaposition of the mundane with the extraordinary create a compelling rhythm that draws the audience into the characters' internal struggles and the script's philosophical inquiries. This distinct voice adds layers of complexity to the narrative, prompting reflection on the human condition while maintaining an engaging and often whimsical tone. |
| Best Representation Scene | 5 - Miscommunication at LesterCorp |
| Best Scene Explanation | Scene 5 best showcases the author's unique voice due to its perfect encapsulation of witty dialogue, absurd situations, and the pervasive sense of humorous miscommunication that defines the writer's style. The constant misunderstandings with the receptionist, Floris, create a comedic yet frustratingly relatable scenario that highlights the writer's ability to find humor in the mundane and the absurd. The presence of other quiet, short applicants further enhances the surreal and observational quality of the scene, demonstrating the writer's knack for creating memorable and offbeat moments that are rich in character and thematic undertones of isolation and the struggle for recognition. |
- Overall originality score: 9
- Overall originality explanation: The script showcases a high level of originality through its inventive premise of puppetry as a metaphor for identity and control, the surreal blending of reality and fantasy, and the exploration of complex themes such as gender identity, personal struggle, and societal expectations. The use of unconventional settings, such as the 7 1/2 floor and the unique portrayal of characters like Craig and Malkovich, further enhances its originality. The integration of absurd humor with poignant emotional moments creates a distinctive narrative that challenges traditional storytelling conventions.
- Most unique situations: The most unique situations in the script are the concept of entering another person's mind through a portal, the surreal depiction of a world where everyone is a version of Malkovich, and the exploration of identity through puppetry. Additionally, the absurdity of characters like the Malkovichians and the cult dynamics surrounding them, along with the darkly comedic elements of Craig's control over Malkovich, contribute to the script's originality.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The script maintains a high level of unpredictability through its surreal narrative twists and the unexpected developments in character relationships. The frequent shifts between reality and the absurd, such as the puppet performances and the chaotic interactions among characters, keep the audience guessing about the outcomes. The introduction of bizarre elements, like the cult's obsession with Malkovich and the dark humor surrounding Craig's manipulation, adds layers of unpredictability that challenge audience expectations and create a compelling viewing experience.
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | Throughout the script, the protagonist Craig Schwartz grapples with his identity as a puppeteer, striving for artistic fulfillment while facing societal pressures, self-doubt, and the complexities of love and desire. His internal goals evolve from seeking validation through recognition of his craft, to questioning his relationship with Lotte and Maxine, ultimately confronting the implications of control over identity. |
| External Goals | Craig's external goals revolve around establishing his career and gaining a foothold in both the puppeteering world and his personal relationships with Lotte and Maxine. His aspirations shift from securing a job to competing in a puppet showdown and emerging as a significant figure in the world of puppeteering. |
| Philosophical Conflict | The overarching philosophical conflict involves Identity vs. Control; as Craig attempts to assume control over Malkovich's identity through puppetry, he inadvertently grapples with the nature of selfhood and the consequences of manipulation, encapsulating the struggle between the desire for influence and the acceptance of one's inherent individuality. |
Character Development Contribution: The evolution of internal and external goals facilitates Craig's character development through introspection and exposure to the consequences of his choices, ultimately leading him to a deeper understanding of himself and his relationships.
Narrative Structure Contribution: The intertwining of Craig's goals with philosophical conflicts shapes the narrative structure, creating a layered plot that resonates with themes of identity, manipulation, and existential questioning, while driving character interactions and conflicts.
Thematic Depth Contribution: The interplay of goals and conflicts enriches the thematic depth of the script, exploring profound questions about the nature of control, the essence of identity, and the moral implications of one's ambitions, inviting the audience to reflect on the complexities of human desires.
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? |
- Physical environment: The world is a blend of mundane urban settings and surreal, fantastical elements, primarily set in a contemporary city like New York. It features ordinary locations such as cluttered apartments, offices, streets, and kitchens, juxtaposed with bizarre anomalies like the 7 1/2 floor of a building with low ceilings, a membranous tunnel portal leading into John Malkovich's mind, gray-painted dystopian landscapes, hidden green oases, and dream-like sequences in sewers or puppet stages. This creates a disorienting atmosphere where the physical environment often symbolizes psychological states, blending realism with absurdity to reflect themes of confinement and escape.
- Culture: Culture is eccentric and whimsical, centered around obsessions with puppeteering as an art form, celebrity worship, and personal identity exploration. Elements include a cult-like devotion to John Malkovich, vegetarianism, animal care, and performances that blur reality and fantasy. Humor arises from quirky social interactions, disguises, and rituals, such as TV shows featuring giant marionettes or community gatherings, highlighting a society that values creativity and individuality but often devolves into absurdity, satire, and interpersonal chaos.
- Society: Society is dysfunctional and hierarchical, with unconventional structures like corporate environments (e.g., LesterCorp with its scaled-down offices and miscommunications), a secretive cult (Malkovichians) with rigid rules, and strained personal relationships marked by infidelity, power dynamics, and identity crises. It portrays a world of isolation, where individuals form odd alliances or obsess over fame and control, reflecting a critique of modern social norms, conformity, and the commodification of personal experiences.
- Technology: Technology is minimal and grounded in everyday items like phones, elevators, and intercoms, but it includes a central supernatural anomaly—the portal into John Malkovich's mind—that enables mind possession and temporary identity shifts. Other elements, such as puppetry devices and basic office tools, are used symbolically, with the portal representing advanced or otherworldly capabilities that drive the plot. This sparse technological landscape emphasizes human manipulation over high-tech innovation, blending realism with fantastical elements.
- Characters influence: The unique physical environment, culture, society, and technology profoundly shape characters' experiences and actions by fostering obsession, identity confusion, and moral dilemmas. For instance, the portal's surreal nature compels characters like Craig to explore and manipulate others' lives, leading to destructive behaviors, while the quirky cultural emphasis on puppeteering amplifies his sense of inadequacy and drive for control. Societal structures, such as the cult or corporate quirks, influence relationships, pushing characters into isolation or rebellion, and the limited technology heightens the intimacy and horror of possession, making personal interactions more volatile and introspective.
- Narrative contribution: These world elements drive the narrative by creating conflict and progression through surreal twists, such as the portal's discovery propelling the story into themes of identity theft and commercialization. The physical and cultural absurdities add humor and tension, facilitating plot twists like disguises, cult interventions, and mind possessions, while societal dynamics build interpersonal drama. Technology, particularly the portal, serves as a catalyst for key events, ensuring a cohesive blend of comedy, drama, and fantasy that explores the consequences of human desires and ambitions.
- Thematic depth contribution: The world elements deepen the script's thematic exploration of identity, control, and reality versus illusion. The physical environment's surreal aspects, like the gray dystopia or hidden oases, symbolize conformity and hidden truths, reinforcing themes of loss of self. Cultural obsessions with puppeteering and celebrity worship critique societal facades and the human need for escape, while the societal structure highlights power imbalances and the dangers of fanaticism. Technology, embodied in the portal, metaphorically represents invasive intimacy and the ethical perils of playing God, collectively enriching the narrative's commentary on existential loneliness, manipulation, and the search for authenticity in a chaotic world.
central conflict
The central conflict revolves around Craig's struggle for identity and self-worth as a puppeteer, juxtaposed with his obsession with Maxine and the consequences of his actions in manipulating others, particularly John Malkovich.
primary motivations
- Craig's desire to be recognized as a talented puppeteer and to find his place in the world.
- Lotte's quest for self-discovery and her evolving feelings towards her identity and relationships.
- Maxine's pursuit of power and control over her relationships and career.
catalysts
- Craig discovering the portal into John Malkovich's mind.
- Lotte's decision to explore her identity through the portal.
- The competition between Craig and Mantini that escalates the stakes.
barriers
- Craig's inability to maintain control over Malkovich and the consequences of his manipulations.
- Lotte's internal conflict regarding her feelings for Elijah and her relationship with Craig.
- The societal and personal repercussions of their actions, including the cult's influence.
themes
- Identity and self-perception.
- The nature of control and manipulation.
- The search for love and acceptance.
stakes
The stakes include Craig's mental stability, Lotte's self-actualization, and the potential loss of control over their lives and identities, culminating in the risk of losing their humanity.
uniqueness factor
The story's uniqueness lies in its surreal exploration of identity through the lens of puppetry and the metaphysical concept of entering another person's mind, creating a blend of dark comedy and existential inquiry.
audience hook
The main audience hook is the intriguing premise of a portal that allows characters to inhabit another's mind, combined with the absurdity and humor of the situations that arise from this premise.
paradoxical engine or bisociation
The paradoxical engine is the juxtaposition of puppetry as a form of control and the desire for genuine connection, highlighting the tension between manipulation and authenticity.
paradoxical engine or bisociation 2
Another bisociation engine could be the exploration of fame and anonymity, where characters seek recognition while simultaneously losing their individuality in the process.
Pass / Consider / Recommend Analysis
Grok
Executive Summary
- Craig's arc from frustrated artist to obsessive controller is richly developed, showcasing his puppeteering as a metaphor for his desires and manipulations, culminating in a poignant self-realization. high ( Scene 1 Scene 10 Scene 14 )
- The portal discovery and its surreal mechanics drive the narrative's innovation, blending fantasy with reality to explore identity in a visually and conceptually striking way. high ( Scene 18 Scene 20 Scene 39 )
- Thematic consistency in questioning selfhood, duality, and exploitation is woven throughout, from orientation films to cult rituals, creating a cohesive philosophical undercurrent. high ( Scene 7 Scene 16 Scene 43 )
- Dialogue is witty, subtext-heavy, and character-specific, revealing motivations through banter that escalates conflicts organically. medium ( Scene 13 Scene 26 Scene 44 )
- The resolution ties arcs neatly while subverting expectations, offering a dystopian twist that reinforces themes without feeling contrived. high ( Scene 58 Scene 59 Scene 60 )
- Mid-script domestic and setup scenes occasionally drag with repetitive awkward silences and animal antics, slowing momentum before the portal's full exploitation. medium ( Scene 8 Scene 9 Scene 23 )
- Side characters like Lester and the cult could benefit from tighter motivations earlier to avoid feeling like escalating threats without sufficient buildup. low ( Scene 28 Scene 33 Scene 45 )
- Some surreal sequences, like the Hitler cameo, risk feeling like non-sequiturs that dilute focus on core emotional arcs. low ( Scene 47 Scene 51 )
- The villainous Flemmer's introduction and plans feel somewhat rushed, potentially needing more foreshadowing for his supernatural influence. medium ( Scene 52 Scene 53 )
- The final twist with multiple puppet layers is clever but could clarify the hierarchy of control to avoid minor confusion in execution. low ( Scene 60 )
- Deeper exploration of Lotte's pre-portal dissatisfaction beyond animal care; her arc feels reactive compared to Craig's proactive descent. medium
- Resolution for minor threads like Elijah's trauma or the animals' fate post-freedom, which are hinted at but not fully circled back. low
- Malkovich's perspective as a character is underdeveloped; more internal conflict from his POV could heighten the invasion theme. medium ( Scene 37 Scene 40 )
- Lack of explicit cultural or societal commentary on celebrity exploitation, which the premise begs for but leaves implicit. low
- No clear antagonist confrontation scene; the cult's takeover feels abrupt without a climactic personal showdown. medium
- Orientation films parody corporate and historical narratives, adding layers of satire on truth and myth-making. high ( Scene 6 Scene 7 Scene 17 )
- The 'Malkovich world' sequence is a hallucinatory peak, visually evoking the horror of lost identity. high ( Scene 39 )
- Puppet duel in 'Equus' cleverly meta-references theater and performance, tying back to Craig's origins. medium ( Scene 50 Scene 54 Scene 55 )
- Dystopian epilogue inverts the portal's promise, delivering a chilling commentary on collective control. high ( Scene 58 )
- Lotte's animal sanctuary provides a hopeful counterpoint, emphasizing themes of freedom and connection. medium ( Scene 59 )
- Underdeveloped female agency Lotte's motivations shift reactively from animal lover to transsexual explorer to cult member without deep internal monologues, unlike Craig's detailed puppeteering obsessions; e.g., her sudden love for Maxine via Malkovich feels abrupt. medium
- Reliance on surrealism over emotional grounding While effective, the script occasionally prioritizes bizarre visuals (e.g., sequence 39's Malkovich world) over anchoring character emotions, potentially alienating viewers seeking more relational depth. low
- None evident The script exhibits professional polish with tight formatting, economical prose, and sophisticated structure; no obvious errors like inconsistent tense or overlong scenes. low
Gemini
Executive Summary
- The core concept of a portal into John Malkovich's mind is groundbreaking, wildly original, and immediately engaging, setting a unique tone for the entire film. high
- The dialogue is exceptionally sharp, witty, and reveals character with precision. It balances the surreal elements with grounded, often absurd, humor. high ( Scene 1 (INT. CHEERLESS ROOM - DAY) Scene 2 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 3 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 4 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 32 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 41 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 51 (INT. FLEMMER'S APARTMENT - DAY) Scene 54 (INT. BROADHURST STAGE - NIGHT) Scene 56 (INT. BROADHURST STAGE - LATER STILL) Scene 57 (INT. STAGE - CONTINUOUS) Scene 58 (EXT. MANHATTAN STREET - DAY) Scene 59 (EXT. CENTRAL PARK - DAY) Scene 60 (EXT. MERTIN-FLEMMER BUILDING - DAY) )
- The film brilliantly uses the portal concept to explore deep themes of identity, existentialism, and the human condition, disguised within a darkly comedic and surreal narrative. The exploration of 'being someone else' is profound. high ( Scene 2 (INT. CRAIG AND LOTTE'S BEDROOM - MORNING) Scene 8 (INT. CRAIG AND LOTTE'S KITCHEN - NIGHT) Scene 14 (INT. CRAIG AND LOTTE'S GARAGE - NIGHT) Scene 21 (INT. CRAIG AND LOTTE'S BEDROOM - NIGHT) Scene 26 (INT. CRAIG AND LOTTE'S DINING ROOM - NIGHT) Scene 30 (INT. CRAIG AND LOTTE'S LIVING ROOM - NIGHT) Scene 32 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 41 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 49 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 60 (EXT. MERTIN-FLEMMER BUILDING - DAY) )
- Craig's journey from a frustrated, underachieving puppeteer to a man obsessed with controlling Malkovich, and Lotte's transformative arc from a neglected wife to someone embracing a new identity, are compelling and surprisingly nuanced. high ( Scene 2 (INT. CRAIG AND LOTTE'S BEDROOM - MORNING) Scene 8 (INT. CRAIG AND LOTTE'S KITCHEN - NIGHT) Scene 14 (INT. CRAIG AND LOTTE'S GARAGE - NIGHT) Scene 21 (INT. CRAIG AND LOTTE'S BEDROOM - NIGHT) Scene 26 (INT. CRAIG AND LOTTE'S DINING ROOM - NIGHT) Scene 30 (INT. CRAIG AND LOTTE'S LIVING ROOM - NIGHT) Scene 32 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 41 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 49 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) Scene 60 (EXT. MERTIN-FLEMMER BUILDING - DAY) )
- The visual storytelling and surreal sequences, particularly Malkovich's experiences inside himself and the gray, controlled world, are highly inventive and memorable. high ( Scene 39 (INT. RESTAURANT - NIGHT) Scene 40 (EXT. DITCH - DAY) Scene 54 (INT. BROADHURST STAGE - NIGHT) Scene 56 (INT. BROADHURST STAGE - LATER STILL) Scene 57 (INT. STAGE - CONTINUOUS) Scene 58 (EXT. MANHATTAN STREET - DAY) )
- While the pacing is generally excellent, some sequences, particularly the introductions to LesterCorp and the origins of the 7 1/2 floor, could be slightly tighter to maintain forward momentum without sacrificing depth. The explanation of the Malkovichian cult's history feels a bit lengthy. medium ( Scene 4 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 11 (INT. LESTER'S OFFICE - CONTINUOUS) Scene 13 (INT. JUICY JUICE BAR - EVENING) Scene 34 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 43 (INT. SCREENING ROOM - NIGHT) )
- The motivations and ultimate goals of Lester and the Malkovich cult, while serving the plot, can feel slightly convoluted and open to interpretation, potentially leaving some audience members less clear on the stakes. The 'deal with the Devil' aspect in Sequence 48 is particularly opaque. medium ( Scene 11 (INT. LESTER'S OFFICE - CONTINUOUS) Scene 43 (INT. SCREENING ROOM - NIGHT) Scene 48 (INT. LESTER'S SHRINE ROOM - DAY) )
- The 'Equus' play sequence, while thematically relevant and visually striking, becomes somewhat repetitive and could be trimmed slightly without losing its impact. The meta-commentary within the play on acting and performance is excellent, but the length might test some audience members. medium ( Scene 54 (INT. BROADHURST STAGE - NIGHT) Scene 56 (INT. BROADHURST STAGE - LATER STILL) )
- Craig's repeated transformations into different personas to get work, while a source of dark humor, can feel slightly episodic. Strengthening the connection or overarching consequence of these transformations beyond immediate comedic effect might add more weight. low ( Scene 3 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 4 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) )
- The initial interactions at LesterCorp, while establishing the unique setting, can feel a tad drawn out before the central conflict and character of Lester are fully engaged. The miscommunication with Floris, while funny, could be slightly accelerated. low ( Scene 5 (INT. LESTERCORP RECEPTION AREA - CONTINUOUS) Scene 11 (INT. LESTER'S OFFICE - CONTINUOUS) )
- The film could benefit from a clearer exploration of what happens to 'ordinary' people who enter the portal, beyond Malkovich himself. What is the experience like for them, and what are the long-term consequences beyond being spit out? medium
- While Lotte's transformation into identifying as a man is a significant plot point, the script could delve slightly deeper into the internal journey and reasoning behind this profound shift, beyond the immediate experience of inhabiting Malkovich's body. medium
- The implications of Flemmer's 'deal with the Devil' for the Malkovichians' ultimate plan and the nature of 'evil' versus 'good' in their quest for power could be more explicitly defined. medium ( Scene 56 (INT. BROADHURST STAGE - LATER STILL) )
- The fate of the freed animals after Lotte and Elijah leave the oasis could be briefly addressed or implied to provide a more complete sense of closure for that subplot. low ( Scene 59 (EXT. CENTRAL PARK - DAY) )
- The mechanism by which Flemmer intends to 'help Mantini's performance' could be slightly clearer, rather than just a vague suggestion of divine intervention or manipulation. low ( Scene 51 (INT. FLEMMER'S APARTMENT - DAY) )
- The script's meta-commentary on acting, celebrity, and the nature of performance is deeply woven into the fabric of the narrative, particularly through the John Malkovich character and his eventual use as a theatrical puppet. high ( Scene 1 (INT. CHEERLESS ROOM - DAY) Scene 18 (INT. FANCY DINING ROOM - MORNING) Scene 39 (INT. RESTAURANT - NIGHT) Scene 58 (EXT. MANHATTAN STREET - DAY) )
- The repeated attempts by Craig to 'become' someone else (a woman, a black separatist, etc.) to find work are darkly humorous and highlight his desperation and the absurdity of societal expectations. high ( Scene 1 (INT. CHEERLESS ROOM - DAY) Scene 2 (INT. CRAIG AND LOTTE'S BEDROOM - MORNING) Scene 3 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) Scene 4 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) )
- The characters' speech impediments and miscommunications (Floris, Lester, and the cult's confusion) add layers of dark humor and highlight the themes of isolation and the inability to truly connect. high ( Scene 5 (INT. LESTERCORP RECEPTION AREA - CONTINUOUS) Scene 11 (INT. LESTER'S OFFICE - CONTINUOUS) Scene 48 (INT. LESTER'S SHRINE ROOM - DAY) )
- The mythology built around the 7 1/2 floor, Mertin, Flemmer, and the cult's origins, while surreal, adds depth and a sense of twisted history to the narrative. medium ( Scene 43 (INT. SCREENING ROOM - NIGHT) Scene 48 (INT. LESTER'S SHRINE ROOM - DAY) )
- The meta-narrative of the play 'Equus' serving as a battleground for puppeteers and identity mirrors the film's central themes in a clever and meta-theatrical way. medium ( Scene 50 (INT. STAGE - CONTINUOUS) Scene 54 (INT. BROADHURST STAGE - NIGHT) Scene 56 (INT. BROADHURST STAGE - LATER STILL) )
- Thematic Nuance While the script brilliantly explores themes of identity, escapism, and desire, the deeper philosophical implications of 'why' John Malkovich specifically, beyond his celebrity status, could be slightly more developed. The film relies heavily on his name as a cultural touchstone, and while effective, a subtle exploration of his persona as a vessel for deeper existential ideas might add another layer. medium
- Character Motivation Clarity (Minor Characters) Some of the secondary characters, particularly within the Malkovichian cult and even Lester, have motivations that are somewhat opaque or rely heavily on exposition from the 'origin story' sequences. While this serves the surreal tone, a slightly clearer articulation of their long-term goals beyond 'being Malkovich' could enhance their narrative impact. low
- Consequences of the Portal The script focuses heavily on the *experience* of using the portal, but the long-term, tangible consequences for individuals beyond being 'spit out' are less explored. For example, does repeated use have lasting psychological or physical effects not immediately apparent? medium
- Repetitive Dialogue/Action While generally excellent, there are moments where certain lines or actions are repeated for emphasis, such as Craig's repeated assertion of being a puppeteer. While this reinforces his character, in a few instances it could be slightly more varied. For example, Sequence 3, Craig's lines about being a puppeteer are delivered multiple times with slight variations. Similarly, the repeated 'we have to talk about it' moments between Craig and Lotte in the car (Sequence 14, 21, 26) could be condensed. low
- Overly Explicit Exposition While the film is inherently fantastical, some of the expository dialogue explaining the mechanics of the portal or the history of the 7 1/2 floor (e.g., Sequence 7, Sequence 17) could be slightly more integrated into action or visual storytelling rather than direct explanation. low
- Redundant Scene Transitions The script relies heavily on 'CUT TO:' and 'DISSOLVE TO:' transitions. While standard, the sheer frequency in sequences like 2 and 3, detailing Craig's transformation, could be slightly streamlined for a more fluid visual flow. low
DeepSeek
Executive Summary
- Exceptional world-building and premise establishment that immediately establishes the surreal yet emotionally grounded tone. The 7½ floor concept is brilliantly original and perfectly sets up the film's metaphysical exploration. high ( Scene 1 (Craig's puppet performance) Scene 4 (Discovery of 7½ floor) Scene 19 (First Malkovich portal experience) )
- Superb character development and emotional complexity. Each character's journey—Craig's artistic desperation, Lotte's gender identity exploration, Maxine's manipulative ambition—evolves organically from the premise. high ( Scene 14 (Craig's puppet fantasy with Maxine) Scene 21 (Lotte's first Malkovich experience) Scene 26 (Dinner scene with Craig, Lotte, and Maxine) )
- Brilliant thematic consistency and payoff. The script maintains its exploration of identity, control, and artistic expression throughout, culminating in powerful visual metaphors that reinforce its philosophical concerns. high ( Scene 39 (Malkovich's portal experience) Scene 58 (Gray dystopian New York) Scene 60 (Final puppet reveal) )
- Innovative structural elements that enhance world-building while providing comic relief. The fake educational films add layers of absurdity while efficiently conveying backstory and thematic concerns. medium ( Scene 7 (Orientation film) Scene 17 (Little door orientation film) Scene 43 (Malkovich cult indoctrination video) )
- Perfect integration of puppetry themes with narrative action. The script consistently uses puppetry as both literal profession and metaphor for control, identity, and artistic expression. high ( Scene 35 (Craig controlling Malkovich) Scene 44 (Craig performing through Malkovich) Scene 56 (Puppet duel with Mantini) )
- The supernatural/satanic elements (Flemmer as the Devil, Lester's 200-year lifespan) feel somewhat tacked on and could be better integrated with the established metaphysical rules of the portal. medium ( Scene 47 (Lester as Hitler in Twilight Zone) Scene 48 (Flemmer reveal and cult dynamics) )
- Some exposition scenes between Lester and other characters could be tightened. The dialogue occasionally becomes overly explanatory about themes that are already clearly demonstrated through action. low ( Scene 33 (Lester and Lotte juice bar scene) Scene 53 (Flemmer and Lester apartment scene) )
- Minor characters like Kevin Bacon and the agent could be more fully developed or integrated into the main thematic concerns rather than serving primarily as comic relief. low ( Scene 36 (Malkovich and Kevin Bacon scene) Scene 46 (Agent meeting scene) )
- Clearer establishment of the portal's rules and limitations earlier in the script. While mystery is effective, some audience confusion about how the portal works could be addressed without sacrificing intrigue. medium ( Scene 19-20 (Portal mechanics explanation) )
- More gradual development of Lotte and Elijah's romantic relationship. Their marriage, while thematically appropriate, happens somewhat abruptly given the unconventional nature of the pairing. low ( Scene 59 (Lotte and Elijah's relationship development) )
- The 'Malkovich' sequence is a stroke of genius—a perfect visual representation of solipsism and celebrity narcissism that's both hilarious and philosophically profound. high ( Scene 39 (Malkovich's Malkovich restaurant) )
- Exceptional dialogue that efficiently establishes character philosophy while advancing thematic concerns. Maxine's speech about passionate people defines her character and the script's existential concerns. high ( Scene 26 (Maxine's 'passionate ones' speech) )
- The brilliant meta-ending that reveals Craig as a puppet controlled by Mantini controlled by Flemmer perfectly encapsulates the script's themes about control, identity, and artistic expression. high ( Scene 60 (Final puppet reveal) )
- Consistently inventive comic elements that serve character and theme rather than existing merely for laughs. The speech impediment humor comments on communication and misunderstanding. medium ( Scene 7 (Floris's speech impediment) Scene 11 (Lester's carrot juice monologue) )
- The dystopian vision of Malkovich-ruled New York is a perfect satirical extension of celebrity culture and authoritarianism, executed with striking visual imagination. high ( Scene 58 (Gray dystopian New York) )
- Metaphysical Rule Consistency The writer occasionally introduces supernatural elements (the Devil, 200-year lifespans) that don't fully integrate with the established rules of the portal's metaphysics. While the portal itself is acceptably mysterious, the satanic cult elements feel somewhat disconnected from the more psychological/philosophical concerns of the main narrative. medium
GPT5
Executive Summary
- Phenomenal central concept and immediately arresting image-work: the idea of a human portal into a famous actor's mind is original and sustained with consistently surprising visual set pieces (puppet pas de deux, the membranous tunnel, the ditch 'pop' exits). Those first portal passages (Sequences 1 and 18) establish tone and stakes perfectly. high ( Scene 1 (INT. CHEERLESS ROOM / GARAGE (Craig and puppet)) Scene 18 (INT. FANCY DINING ROOM / FIRST portal entry) )
- Exceptional worldbuilding and production-durable details: the 7 1/2 floor is a memorable, coherent microcosm that supports both comedy and thematic metaphor (smallness vs. ambition). The faux-orientation films are effective devices to deliver history and tone with darkly comic bite. high ( Scene 5 (INT. LESTERCORP RECEPTION AREA / 7 1/2 floor introduction) Scene 7 (ORIENTATION FILM / 7 1/2 backstory) )
- Sharp thematic layering: the script balances philosophical questions (selfhood, authenticity) with picaresque plotting (entrepreneurial exploitation of the portal). Dialogue frequently converts philosophy into plot (money, ownership of another’s consciousness) in compelling ways. high ( Scene 20 (Craig explains portal to Maxine / partnership pitch) Scene 44 (Malkovich and Maxine plotting to monetize the portal) )
- Strong, darkly funny character moments that make the stakes intimate: the love-triangle scenes and the puppet-control intimacy are physically specific, unsettling, and emotionally resonant. They make abstract themes visceral. high ( Scene 26 (Dinner: Craig, Lotte, Maxine — love triangle crystallizes) Scene 35 (Craig controls Malkovich during sex) )
- Epic and inventive climactic imagery: the theatrical duel, Flemmer’s interference, and the final parade of Malkovich as a godlike figure deliver a memorable, satirical payoff — cinematic moments that linger and define the film's identity. high ( Scene 56 (Equus duel / Mantini vs. Craig set-piece) Scene 57-58 (Malkovich crowned and street tableau) )
- Second-act pacing becomes episodic: a long middle section catalogs customers, cult recruitment and ritual with many repetitive beats. The mid-act could be tightened by pruning repetitive 'ditch' returns and consolidating scenes that serve a single thematic beat. high ( Scene 27 (Lines outside office / Erroll / early business boom) Scene 29-37 (Cult escalation and repeated portal trips) )
- Emotional resolution for Craig and Maxine is underbaked: Craig's arc (from frustrated puppeteer to morally compromised controller to puppet himself) is fascinating but the final emotional payoffs feel ambiguous rather than cathartic. Strengthen Craig’s inner turning point and give clearer signposting of consequence. high ( Scene 41 (Elijah's memory rescue and Lotte's escape) Scene 60 (Final reveal / Mantini controlling Craig) )
- Exposition heavy moments sometimes undercut momentum: the orientation/indoctrination footage and the grown-cult sections deliver essential backstory but could be made leaner or visualized to avoid stalling narrative flow. medium ( Scene 43 (Lester indoctrination film / 'So you want to be John Malkovich') Scene 48 (Cult politics and Flemmer reveal) )
- Motivations for secondary players (Lester, the cultists, Flemmer) occasionally read as schematic; their stakes could be humanized (why they personally need Malkovich beyond ideology) to avoid caricature and heighten tension. medium ( Scene 22 (Lester's shrine / Lotte's devotion discovered) )
- Rules of the portal need clearer internal logic: timing, who can enter, what happens if the host enters his own portal, cumulative effects of multiple occupants — clarifying a few constraints would reduce later exposition and increase believability. high ( Scene 36 (Malkovich confides to Kevin Bacon / confusion conversations) )
- Legal and public consequences are mostly unexplored: Malkovich threatens court — but there's no meaningful legal, media, or law-enforcement fallout. Addressing that would heighten stakes and realism for the middle/late acts. medium ( Scene 40 (Malkovich after ditch / ‘This portal is mine’) )
- Maxine's endgame and moral/accounting consequences for her are thin: she profits, abandons, and then disappears into the crowd — a stronger beat showing her moral cost or future would add texture. medium ( Scene 56 (Equus duel & aftermath) )
- Origin of the portal (myth vs. mechanism) is tantalizingly unexplained. The script thrives on mystery, but a deliberate clarification (mystical, scientific, or comedic) would sharpen thematic intent and help production design. low ( Scene 47-48 (Flemmer revealed as Devil; cult reaction) )
- A firmer resolution for Craig’s moral responsibility: the ironic puppet fate is great thematically, but adding a final reflective beat — Craig's awareness or acceptance — would increase emotional completeness. medium ( Scene 60 (Final reveal — Mantini/Flemmer in control) )
- Some supporting characters (e.g., Peter/Gloria, Floris beyond a gag) could be pruned or folded into the central beats to keep the script lean and focused on the love-triangle and cult escalation. low ( Scene 26 (Dinner with Maxine) )
- The script smartly uses diegetic 'how-to' films (orientation, little door film) as economical expository devices that double as satire, which keeps tonal control and offers visual variety. high ( Scene 7 (Orientation film / 'real story is evil' line) )
- The 'pop' in/out mechanic (15 minutes then ejected on turnpike) is a brilliant physical rule that makes the surreal concretely cinematic and provides recurring comic beats. high ( Scene 18 (First portal visitation into Malkovich POV) )
- Lester's group is a memorable satire of fandom and religious cultism: the mixture of devotion, clerical ritual, and comic obsession is both funny and unsettling. high ( Scene 29 (Lester's cult / disciples) )
- High-concept spectacle is executed with escalating audacity — the Vegas number, the Equus duel, and the final Malkovich street tableau are cinematic sequences that will play strongly on screen. high ( Scene 50-51 (Vegas show / Malkovich exaltation and final hellish montage) )
- The last reveal that Craig himself is a puppet controlled by Mantini/Flemmer delivers a mordant final irony and a thematic coda about hierarchy and the corrupting circulation of power. high ( Scene 60 (Final shot — puppet line to Mantini/Flemmer) )
- Cultural / Sensitivity Some comic beats (cross-dressing for employment, crude uses of sexuality and slurs) read as dated or potentially offensive when examined through a modern lens. Examples: Craig repeatedly impersonating women/black lesbian separatist (Sequences 2–4) and casual homophobic banter in bars (Sequence 13). These moments were likely intended for dark comedy but could alienate contemporary audiences without thoughtful directorial framing or script adjustments. high
- Rule-definition The writer relies on the intriguing mystery of the portal but leaves several operational rules fuzzy (what triggers ejection, cumulative possession effects, why the host sometimes resists/accepts). This ambiguity serves mood but weakens later stakes (Sequence 36, where Malkovich is 'possessed' by many people). medium
- Sympathy allocation Craig is often funny and pitiable, but his moral slide (kidnapping wife, controlling Malkovich sexually) is under-justified emotionally — the script expects audience sympathy while not fully mapping his inner transformation (Sequences 30–35). high
- Expository padding The script uses multiple short 'educational' films and repetitive ditch pop sequences as exposition devices which sometimes feel like easy ways to explain rather than dramatize. These can be tightened or made more cinematic (Sequences 7, 17, 27). medium
- Scattershot supporting beats Several small subplots (e.g., various animal gags, minor couples like Peter/Gloria) are intermittently amusing but not integrated tightly, giving a slightly episodic feel in places (Sequences 9, 26). Trimming minor threads could tighten focus. low
- Directional specificity in stage directions At times the prose includes very specific stage actions (sweat piped onto puppet, puppet choreography) that read as directing rather than scripting; while vivid, that level of movement detail can be better left to director/blocking notes in production drafts (Sequence 1, Garage puppet sequences). low
Claude
Executive Summary
- The script opens with a strong, visually striking introduction to the protagonist, Craig Schwartz, and his world. The use of vivid imagery, subtle character details, and a sense of melancholy and isolation immediately draw the reader into the story and establish the tone. high ( Scene 1 (INT. CHEERLESS ROOM - DAY) Scene 2 (INT. CRAIG AND LOTTE'S LIVING ROOM - DAY) )
- The introduction of the 7 1/2 floor and the LesterCorp company is a masterful example of world-building. The script seamlessly integrates these unique elements into the narrative, creating a sense of mystery and intrigue that propels the story forward. high ( Scene 4 (INT. SEVEN AND A HALF FLOOR - CONTINUOUS) Scene 5 (INT. LESTERCORP RECEPTION AREA - CONTINUOUS) Scene 6 (INT. LESTER'S OFFICE - CONTINUOUS) )
- The script's handling of the portal to John Malkovich's mind is both imaginative and well-executed. The surreal, dreamlike quality of these sequences is both visually striking and thematically relevant, as it explores the nature of identity and the blurring of boundaries between self and other. high ( Scene 18 (INT. VACANT ROOM - DAY) Scene 19 (INT. TAXI - CONTINUOUS) )
- The sequence where Malkovich enters his own portal and experiences a world entirely populated by versions of himself is a brilliant and darkly comedic exploration of the character's ego and the nature of identity. The script's ability to balance humor and philosophical depth is a significant strength. high ( Scene 39 (INT. RESTAURANT - NIGHT) )
- The script's final act, which depicts the dystopian world under Malkovich's rule, is a visually striking and thematically rich conclusion that ties together the script's exploration of power, control, and the consequences of our desires. The contrast between the gray, oppressive city and the hidden oasis of color and life is a powerful metaphor. high ( Scene 58 (EXT. MANHATTAN STREET - DAY) Scene 59 (EXT. CENTRAL PARK - DAY) )
- The pacing in this sequence feels a bit uneven, with some moments of awkward silence that could be tightened up. Additionally, the sudden shift in tone and character dynamics could be handled with more nuance. medium ( Scene 26 (INT. CRAIG AND LOTTE'S DINING ROOM - NIGHT) )
- While the character of Lotte is well-developed, her decision to free the animals and her subsequent actions feel a bit rushed and underdeveloped. More time could be spent exploring her internal journey and the emotional weight of her choices. medium ( Scene 41 (INT. CRAIG AND LOTTE'S APARTMENT - NIGHT) )
- The puppet duel between Malkovich and Mantini's Truman puppet, while visually impressive, could benefit from more emotional resonance and a clearer sense of the stakes involved. The script could delve deeper into the characters' motivations and the thematic implications of the competition. medium ( Scene 54 (INT. BROADHURST THEATER - NIGHT) )
- The script could benefit from more exploration of the Malkovichians and their motivations, as well as the history and significance of the portal. While these elements are touched upon, a deeper dive into the lore and mythology of the story could add richness and depth to the overall narrative. medium ( Scene 43 (INT. LESTER'S OFFICE - NIGHT) Scene 47 (INT. PORTAL - CONTINUOUS) )
- The relationship between Lotte and Elijah could be further developed, as their connection and Elijah's role in Lotte's journey feel a bit underdeveloped. More time spent exploring their bond and Elijah's significance could add emotional resonance to Lotte's arc. medium ( Scene 51 (EXT. CENTRAL PARK - DAY) )
- The script's exploration of the power dynamics between Craig, Maxine, and Malkovich is a notable strength, as it delves into themes of control, manipulation, and the nature of identity in a compelling and thought-provoking way. high ( Scene 28 (INT. CRAIG AND MAXINE'S OFFICE - MORNING) )
- The sequence where Craig takes control of Malkovich's body is a standout moment, as it showcases the script's ability to blend dark comedy, psychological tension, and philosophical exploration in a seamless and engaging way. high ( Scene 35 (INT. CRAIG AND LOTTE'S LIVING ROOM - EVENING) )
- The final sequence, which brings the story full circle and reunites Craig and Lotte, is a poignant and bittersweet conclusion that ties together the script's themes of redemption, forgiveness, and the power of human connection. high ( Scene 60 (EXT. MERTIN-FLEMMER BUILDING - DAY) )
- Lack of diversity The script primarily focuses on the perspectives of white, heteronormative characters, with limited representation of diverse backgrounds and experiences. Expanding the diversity of the cast and exploring more varied perspectives could enhance the script's depth and appeal to a broader audience. medium
- Uneven pacing While the script generally maintains a strong pace, there are a few instances where the pacing feels uneven, such as the sequence in the dining room (scene 26). Tightening up these moments and ensuring a more consistent rhythm throughout the script could improve the overall flow and engagement. medium
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 21 | LOTTE: I was John fucking Malkovich! |
| 7 | MAXINE: The real story of 7 1/2 is so evil that it could never be revealed to Americans raised on sitcoms and happy news anchors. |
| 15 | MAXINE: You're not someone I could get interested in. Craig. You play with dolls. |
| 40 | Malkovich: This portal is mine and must be sealed up forever. For the love of God. |
| 26 | Maxine: The way I see it, the world is divided into those who go after what they want and those who don't. The passionate ones... remain vital, in touch with themselves, and have few regrets. |