Arsenic and old lace
Mortimer's wedding day takes a deadly turn when he discovers his aunts' sinister hobby of murder and body storage.
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Unique Selling Point
This offbeat and darkly comedic play combines murder, humor, and eccentric characters into a unique and captivating theatrical experience. Blending absurdity and wit, it delves into the peculiar Brewster family and their bizarre adventures. The distinct characters, innovative storytelling, and unexpected plot twists keep the audience engaged and entertained throughout the captivating narrative. It is a play that challenges expectations and leaves a lasting impression with its quirky charm and darkly humorous exploration of family dynamics.
AI Verdict & Suggestions
Ratings are subjective. So you get different engines' ratings to compare.
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Recommend
Consider
Story Facts
Genres: Comedy, Dark Comedy, Mystery, Romance, Thriller, Crime, Drama
Setting: 1940s, Brooklyn, New York
Themes: Insanity, Murder, Family, Love, Identity
Conflict & Stakes: Mortimer's struggle to keep his family's dark secret from Elaine and the police, Mortimer's struggle to protect Teddy from being committed to a mental institution, and Mortimer's struggle to stop Jonathan and Dr. Einstein from killing him.
Comparable Scripts: Arsenic and Old Lace, The Honeymoon Killers, The Twilight Zone Episode 'The Midnight Sun', The Addams Family, Clue, Psycho, The Texas Chain Saw Massacre, The Shining, Hereditary, Midsommar
Script Level Analysis
This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.
Screenplay Insights
Breaks down your script along various categories.
Story Critique
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis
Breaks down the emotional journey of the audience across the script.
Goals and Philosophical Conflict
Logic & Inconsistencies
Scene Analysis
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
Analysis of the Scene Percentiles
- Originality: With a percentile ranking of 93.5, the screenplay showcases a highly unique and innovative concept.
- Dialogue: The screenplay excels in dialogue, achieving a percentile ranking of 71.95. The writer's ability to create compelling and engaging dialogue brings the characters to life.
- Plot: The plot structure and development received a relatively low percentile ranking of 16.26. This suggests the writer should focus on refining the overall narrative flow and strengthening the cause-and-effect relationships between events.
- Emotional Impact: The screenplay's emotional impact, with a percentile ranking of only 11.38, indicates that the writer could explore more deeply the emotional experiences and motivations of the characters.
The high percentiles in dialogue and character development suggest an intuitive writing style. The writer has a talent for crafting memorable characters and bringing them to life through natural and engaging dialogue.
Balancing Elements- Consider exploring the balance between originality and plot structure. While the screenplay's originality is exceptional, strengthening the plot elements could enhance the overall narrative.
- To enhance emotional impact, delve deeper into the characters' emotional journeys and motivations. This can help connect with the audience on a profound level.
- Maintain the strengths in dialogue and character development while addressing the areas for improvement to create a well-rounded and engaging screenplay.
Intuitive
Overall AssessmentThe screenplay exhibits strong potential, particularly in originality and dialogue. By addressing the areas for improvement, such as plot structure and emotional impact, the writer can elevate the screenplay to a higher level of effectiveness and captivate audiences.
How scenes compare to the Scripts in our Library
| Percentile | Before | After | ||
|---|---|---|---|---|
| Scene Overall | 8.1 | 12 | the pursuit of happyness : 8.0 | a few good men : 8.2 |
| Scene Concept | 8.0 | 26 | The Wolf of Wall Street : 7.9 | Casablanca : 8.1 |
| Scene Plot | 7.5 | 14 | the pursuit of happyness : 7.4 | severance (TV) : 7.6 |
| Scene Characters | 8.2 | 29 | the pursuit of happyness : 8.1 | Erin Brokovich : 8.3 |
| Scene Emotional Impact | 6.6 | 6 | Some like it hot : 6.4 | Dr. Strangelove : 6.7 |
| Scene Conflict Level | 7.1 | 31 | Boyz n the hood : 7.0 | Bonnie and Clyde : 7.2 |
| Scene Dialogue | 8.0 | 52 | glass Onion Knives Out : 7.9 | Mr. Smith goes to Washington : 8.1 |
| Scene Story Forward | 8.0 | 39 | Scott pilgrim vs. the world : 7.9 | Erin Brokovich : 8.1 |
| Scene Character Changes | 5.9 | 10 | Boyz n the hood : 5.8 | Hot Fuzz : 6.0 |
| Scene High Stakes | 6.9 | 32 | the pursuit of happyness : 6.8 | Bonnie and Clyde : 7.0 |
| Scene Unpredictability | 7.86 | 84 | Enemy of the State : 7.85 | Ex-Machina : 7.89 |
| Scene Internal Goal | 7.97 | 7 | The Wolf of Wall Street : 7.96 | Schindler's List : 7.98 |
| Scene External Goal | 6.98 | 9 | Synecdoche, NY : 6.97 | Bad Boy : 7.00 |
| Scene Originality | 8.97 | 95 | 2001 : 8.96 | Inglorious Basterds : 8.98 |
| Scene Engagement | 9.00 | 83 | Vice : 8.99 | the dark knight rises : 9.02 |
| Scene Pacing | 8.14 | 24 | severance (TV) : 8.13 | Erin Brokovich : 8.15 |
| Scene Formatting | 8.00 | 11 | Pawn sacrifice : 7.98 | Easy A : 8.01 |
| Script Structure | 8.03 | 15 | fight Club : 8.02 | True Blood : 8.04 |
| Script Characters | 7.90 | 41 | Easy A : 7.80 | Casablanca : 8.00 |
| Script Premise | 8.90 | 94 | Casablanca : 8.80 | Pinocchio : 9.00 |
| Script Structure | 7.80 | 36 | Hors de prix : 7.70 | Black mirror 304 : 7.90 |
| Script Theme | 8.40 | 70 | the dark knight rises : 8.30 | face/off : 8.50 |
| Script Visual Impact | 7.80 | 53 | face/off : 7.70 | Titanic : 7.90 |
| Script Emotional Impact | 7.30 | 14 | Rick and Morty : 7.20 | severance (TV) : 7.40 |
| Script Conflict | 7.00 | 8 | fight Club : 6.80 | Mr Robot : 7.10 |
| Script Originality | 8.80 | 93 | Killers of the flower moon : 8.70 | fight Club : 8.90 |
| Overall Script | 8.29 | 75 | Black mirror 304 : 8.25 | the black list (TV) : 8.30 |
Other Analyses
This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.
Unique Voice
Writer's Craft
Memorable Lines
World Building
Unique Voice
Writer's Craft
Memorable Lines
World Building
Pass / Consider / Recommend Analysis
Gemini
Executive Summary
- The screenplay boasts a unique and darkly comedic premise, blending murder mystery with screwball comedy elements. high ( Scene general )
- The romantic relationship between Mortimer and Elaine is charming and provides a strong counterpoint to the darker elements of the story. high ( Scene 1 Scene 2 Scene 5 Scene 6 )
- The dialogue is witty and fast-paced, contributing significantly to the comedic tone and overall entertainment value. high ( Scene general )
- The character of Teddy Brewster, with his delusion of being Theodore Roosevelt, provides consistent humor and adds to the overall absurdity of the situation. high ( Scene 3 Scene 4 Scene 7 )
- The contrast between the seemingly innocent and sweet Brewster sisters and their murderous activities creates a darkly humorous and intriguing dynamic. high ( Scene 8 Scene 9 Scene 13 Scene 22 )
- The pacing could be tightened in the middle section, particularly during scenes with Jonathan and Dr. Einstein, to maintain a consistent level of engagement. medium ( Scene general )
- Mortimer's character development could be further explored, particularly his internal conflict between his love for his aunts and his moral objections to their actions. medium ( Scene 14 Scene 18 Scene 19 )
- Jonathan and Dr. Einstein's motivations and backstory could be elaborated upon to provide a deeper understanding of their characters and actions. low ( Scene 24 Scene 25 )
- The screenplay could benefit from a stronger exploration of the ethical and psychological implications of the Brewster sisters' actions, adding depth and complexity to the narrative. medium ( Scene general )
- The use of dramatic irony, where the audience is aware of the murders while other characters remain oblivious, effectively enhances the comedic and suspenseful elements. high ( Scene general )
GPT4
Executive Summary
- The screenplay opens with a strong and engaging setup that introduces the main characters and the central premise effectively. high ( Scene 1 )
- The dialogue is sharp and witty, providing both humor and depth to the characters, which engages the audience. high ( Scene 10 )
- The plot twist with Jonathan's character adds an element of surprise and maintains audience interest. medium ( Scene 22 )
- The use of dramatic irony, especially in scenes where the audience knows more than the characters, is effectively employed to build tension. medium ( Scene 17 )
- Character development is strong, particularly with Mortimer, whose reactions and decisions drive the plot forward. high ( Scene 26 )
- Some scenes, particularly in the middle of the screenplay, could benefit from tighter pacing to maintain momentum. medium ( Scene 5 )
- The motivations of secondary characters like Dr. Einstein could be more developed to enhance their believability and depth. medium ( Scene 18 )
- The transitions between some scenes are abrupt and could be smoothed to ensure a more cohesive narrative flow. low ( Scene 20 )
- The subplot involving the police and Jonathan's criminal activities sometimes overshadows the main plot, which could be balanced better. medium ( Scene 15 )
- The ending feels somewhat rushed and could be expanded to provide a more satisfying resolution to all character arcs. high ( Scene 25 )
- The screenplay could benefit from a stronger emotional arc for Elaine to enhance the romantic subplot. medium
- The screenplay effectively uses dark comedy elements, which is a unique aspect that sets it apart from typical comedies. high ( Scene 12 )
Summary
High-level overview
In the heart of Brooklyn, Mortimer Brewster and Elaine Harper embark on a journey to obtain their marriage license amidst chaos and confusion. As Mortimer's aunts reveal their dark secrets, Jonathan Brewster's criminal activities come to light, leading to a series of tense confrontations and a chaotic brawl involving the police. Mortimer must navigate through the madness to save his family and his newfound love before it's too late. With unexpected twists and turns, the screenplay unfolds into a darkly humorous tale of love, madness, and deception in the Brewster household.
Scene by Scene Summaries
Scene by Scene Summaries
- In the heart of Brooklyn, where the unexpected is commonplace, a dramatic critic named Mortimer Brewster seeks to conceal his identity. Amidst the chaos of a baseball brawl and the search for celebrity sightings, Mortimer and Elaine Harper embark on a journey to obtain their marriage license at the Marriage License Bureau. As the clerk sings a cheerful tune, Mortimer and Elaine approach the counter, setting the stage for a peculiar and amusing adventure.
- Elaine Harper and Mortimer Brewster go to the marriage license bureau to get married. Mortimer tries to keep his marriage a secret but the clerk and two journalists try to get information about it. Mortimer gets frustrated and yells his name, then grabs Elaine's hand and runs out of the room, with the journalists chasing after them.
- Police officers collect toys for underprivileged children from the Brewster sisters. Eccentric Teddy Brewster, who believes he is President Roosevelt, charges upstairs pretending to be a soldier. Officer O'Hara is initially uncomfortable but goes along with it. Abby Brewster offers the officers refreshments and agrees to make beef broth for Officer Brophy's wife.
- In the Brewster sisters' living room, Teddy, who believes he is Teddy Roosevelt, plays the bugle on the balcony. Visitors Brophy and O'Hara are startled, and Teddy is scolded. He retreats with toys, including a model warship bound for Australia. Reverend Harper inquires about Teddy's 'blockhouse.' Martha explains Teddy's delusion, and they avoid challenging it. As Brophy and O'Hara depart, Teddy salutes O'Hara. Harper questions their approach, but Abby insists they not intervene.
- After Reverend Harper leaves, Abby reveals to Martha that she moved the clock's minute hand back while he was distracted. They discuss their plans for Teddy to go to a sanitarium after they die and their belief that Reverend Harper is becoming more supportive. Teddy pretends to prepare for a trip to Panama, while Elaine surprises the sisters by kissing them through the window. Mortimer arrives and flirts with Elaine, eventually chasing her around a tree despite her initial reluctance.
- Mortimer and Elaine reveal their marriage to Mortimer's aunts, Abby and Martha, who are overjoyed. Mortimer plans a honeymoon to Niagara Falls and orders flowers, while the aunts offer to celebrate with wine and a wedding cake.
- Teddy, dressed in colonial attire, shares his excitement about the Panama project. Mortimer brings news of national support. Teddy leaves for the cellar. Abby finds a childhood picture of Teddy's troubled brother, Jonathan. Mortimer recalls a play featuring a similar character and speculates about Jonathan's fate. Searching for a note, Mortimer discovers a body in the window seat but keeps it secret. When he reveals it, his aunts calmly explain the man, Adam Hoskins, died before ending up in the window seat and his presence is unrelated to Teddy.
- Mortimer confronts his aunts about a dead body in the window-seat. The aunts nonchalantly confess to poisoning the man and hiding his body, revealing they have buried multiple bodies in the cellar. Mortimer, shocked and horrified, attempts to process the situation.
- After a rude phone call, Mortimer realizes he's sitting in the chair where his aunts' first victim died. Whispering reveals they poisoned victims with arsenic, strychnine, and cyanide. As the aunts leave to frost a cake, Mortimer gets entangled in a chair. Elaine interrupts his attempt to hide in the window seat.
- Mortimer Brewster, on his wedding day to Elaine, orders her to leave the house after something mysterious occurs. Despite Elaine's pleas, Mortimer pushes her out and locks the door. He then calls Judge Cullman to discuss Teddy's situation. Meanwhile, Gibbs, an elderly gentleman, arrives seeking to rent a room. Abby and Martha answer the door and show Gibbs in as Mortimer continues his phone conversation.
- Abby and Martha invite Gibbs to dinner, but he declines. They offer him wine, but he initially refuses. Mortimer, who has been trying to reach the Happy Dale Sanitarium on the phone, finally gets through and asks to speak to Mr. Witherspoon. Gibbs tries the elderberry wine and seems to enjoy it. Mortimer warns Gibbs to get out as he realizes Gibbs is about to drink poisoned wine, frightening Gibbs who runs off.
- Mortimer Brewster calls Dr. Witherspoon to arrange for his brother Teddy's commitment to Happy Dale. However, Witherspoon informs him that he has several Theodore Roosevelts at the moment and it would lead to trouble unless Teddy believed he was Napoleon Bonaparte. Brewster agrees to the plan and ends the call. He then instructs his aunts, Abby and Martha, to not let anyone into the house and leave Mr. Whosit where he is, before leaving to arrange the paperwork. Abby and Martha agree, despite their concerns about Mortimer's strange behavior. Mortimer realizes he is wearing Mr. Hoskins' hat and throws it away before leaving in a taxi. Meanwhile, Abby and Martha discuss Mortimer's odd behavior and decide that it must be due to his recent marriage. There is a knock at the door, and Abby and Martha see two unfamiliar men outside through the frosted window-panels.
- Unsettling strangers posing as kin seek refuge, sparking suspicion and fear. A dead body's mention ignites tension, leaving the Brewster sisters eavesdropping in uncertainty.
- Judge Cullman initially orders Teddy Brewster's commitment but relents after realizing the error. Meanwhile, Mortimer confronts the judge and warns him against drinking. Teddy's delusions persist as he prepares to explore the 'Panama Canal' in the cellar with Dr. Einstein. Jonathan Brewster threatens his aunts to provide them shelter, creating tension.
- Dr. Einstein and Jonathan plan to dispose of Mr. Spenalzo's body through a window. The aunts are suspicious and hesitant, but Jonathan asserts his authority and the body is secretly brought into the room.
- In the depths of the Brewster house, the bodies of Mr. Hoskins and Mr. Spenalzo are hastily hidden by Jonathan and Dr. Einstein. Amidst the chaos, Elaine arrives, unaware of the sinister secrets lurking within. Jonathan's question to her about his reputation casts an ominous shadow over the scene.
- Elaine is interrogated by Jonathan, who mistakes her for someone else. Amidst the chaos, Teddy mistakes Elaine for his daughter. Elaine attempts to escape but is captured by Jonathan and Einstein, who drag her to the cellar. As Mortimer arrives, Jonathan reveals his true identity, surprising his unsuspecting brother.
- In the Brewster residence's sitting room, Mortimer, Jonathan, Dr. Einstein, Elaine, Abby, and Martha experience a tumultuous night filled with forgetfulness, violence, and revelations. Despite being threatened by Jonathan, Mortimer remains distracted and neglects to obtain a doctor's signature. Elaine, furious at Mortimer's disregard for her safety, leaves in anger. Meanwhile, Abby and Martha whisper about the shoe Jonathan possesses, hinting at another layer of tension. The scene concludes with Mortimer's realization of his mistake and desperate plea for Witherspoon's assistance to remove Jonathan.
- Mortimer discovers another dead body, hidden in the window seat, and confronts his aunt Abby about it. Abby insists that the body is an impostor, but Mortimer remains suspicious. As Jonathan and Doctor Einstein enter the room, Mortimer realizes that the body in the window seat is actually Jonathan's accomplice. Mortimer confronts Jonathan, who threatens him with a gun. Abby opens the door to find Officer O'Hara, who has come to investigate a disturbance. Jonathan and Doctor Einstein leave with the body, and Mortimer calls the police.
- Officer O'Hara is invited into the kitchen, leaving Jonathan and Einstein alone. Jonathan insists they stay and confront Mortimer, who returns to the sitting room and opens the window seat to speak to the corpse.
- Jonathan and Einstein confront Mortimer about the dead bodies, leading to Mortimer's attempt to call the police. However, Jonathan threatens to expose the cellar body, giving him an advantage. Mortimer leaves to meet O'Hara, providing time for the sisters to reveal their murder of twelve people and the burial of their bodies in the cellar.
- Dr. Einstein shocks Jonathan by revealing Abby and Martha's body count, prompting Einstein's ominous suggestion to match Jonathan's. Meanwhile, Mortimer's attempt to commit Teddy backfires, leaving Elaine longing for Mortimer's affections amidst the chaotic Halloween night.
- Mortimer confesses to Elaine that he cannot marry her due to his family's history of insanity. Elaine insists she does not care, but Mortimer is adamant and runs away to sign commitment papers. Abby and Martha discover Jonathan's plan to bury two corpses together and threaten to involve the authorities.
- Mortimer Brewster, oblivious to the danger posed by his brother Jonathan, dismisses warnings from Dr. Einstein about Jonathan's violent mood. Despite Einstein's pleas, Mortimer confiscates his schnapps, leaving the audience with a sense of foreboding as Jonathan plans to confront and potentially harm Mortimer.
- Mortimer pours himself a drink and mocks characters in plays for their lack of intelligence, unaware of his brother Jonathan's presence. Jonathan silently cuts the curtain cords behind Mortimer and, with Einstein's help, subdues him. Jonathan reveals his plan to operate on Mortimer, while Einstein is torn between wanting a quick death and the artistic achievement Jonathan seeks.
- Dr. Einstein and Jonathan are about to operate on Mortimer when they realize he can move and decide to kill him instead. Officer O'Hara arrives, and Einstein tries to distract him, but Jonathan stabs him. Einstein knocks out Jonathan, and O'Hara recognizes him, but Einstein claims he's from his play. O'Hara leaves to investigate a knock at the door.
- Einstein alerts Jonathan about the police presence outside. Jonathan, still asleep, is unaware of the situation. O'Hara engages in a tense confrontation with Brophy and Saunders, informing them that Mortimer is assisting with his play. Brophy reveals that complaints about the Colonel's bugle have prompted the arrest of Jonathan. Mortimer, untied but gagged, unsuccessfully tries to communicate. Jonathan awakens and overhears his imminent detention. O'Hara reluctantly agrees to accompany Jonathan to the cellar, but Brophy insists. Amidst confusion and panic, Jonathan attacks O'Hara, sparking a brawl among the officers, Mortimer, and Saunders. Einstein cautiously observes the chaos from above. Mortimer frees himself from his restraints, adding to the turmoil.
- Amidst the chaos of a battle, Mortimer observes the absurdity from the sidelines. Jonathan, an escaped prisoner from Indiana, is subdued and revealed to be Mortimer's brother. O'Hara, who identified Jonathan, is suspended. As the scene ends, a mysterious hatted figure is seen outside the frosted glass door.
- As Teddy Brewster declares himself President Roosevelt, Lieutenant Rooney investigates his accomplice. Mortimer intervenes with fabricated documents while Witherspoon arrives to take Teddy to Happy Dale Sanitarium. Mortimer unravels a coded message involving Brewster and Roosevelt, resolving Rooney's doubts. The chaotic scene culminates with Teddy surrendering his bugle to Mortimer, leading to his eventual departure.
- Teddy Brewster prepares to leave for Happy Dale, a mental asylum, as per legal requirement. Mortimer Brewster, Teddy's brother, expresses concern and asks the director of Happy Dale, Witherspoon, to ensure Teddy's well-being. Witherspoon assures Mortimer but declines his request to visit Happy Dale. Teddy's sisters, Abby and Martha, protest his departure and wish to accompany him, but Witherspoon refuses. Despite Mortimer's suggestion, Witherspoon insists that Happy Dale only admits patients with mental illness. The scene ends with Witherspoon expressing concern about Teddy's behavior and the presence of staircases at Happy Dale.
- Lieutenant Rooney arrives at the Brewster house to investigate alleged murders and buried bodies. Mortimer claims his aunts are crazy, but Rooney remains skeptical. Elaine eavesdrops and confirms her suspicions. The aunts sign commitment papers, and Elaine discovers a trapdoor to the cellar.
- Dr. Einstein is forced to sign papers before leaving the Brewster residence. As Rooney and Saunders enter, Einstein overhears his wanted description and almost gets caught. Witherspoon intervenes, allowing Einstein to escape. Mortimer learns he's not a Brewster, initially shocked but then embraces the news. The scene ends with Mortimer passionately kissing Elaine.
- Elaine tries to tell Mortimer something, but he keeps kissing her. He carries her to the front door, opens it, and rushes outside with her still in his arms. Elaine's sisters wave goodbye, and Lieutenant Rooney is confused by the situation. Outside, Mortimer and Elaine continue kissing. The cab driver offers to call them a cab, but Mortimer tells him they are going to Niagara Falls. Mortimer carries Elaine away on his shoulder, and the cab driver realizes he is not a cab driver. Mortimer and Elaine enter Reverend Harper's house, and the cab driver mimes being a coffee pot.
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Analysis: The screenplay showcases a captivating cast of eccentric and complex characters who undergo transformative journeys throughout the narrative. While the depth and complexity of character development is generally strong, some characters could benefit from further refinement to enhance their relatability and consistency. The compelling character arcs and the exploration of themes through character development drive the narrative forward and create a strong connection with the audience.
Key Strengths
- The character of Mortimer undergoes a significant transformation throughout the screenplay. He starts off as a carefree and humorous individual, but as he delves deeper into his family's dark secrets, he becomes more determined, protective, and quick-thinking.
- The Brewster sisters, Abby and Martha, are complex and enigmatic characters. They are sweet and caring on the surface, but they harbor dark secrets and are involved in criminal activities.
Analysis: The screenplay for "Arsenic and Old Lace" presents a unique and darkly comedic premise with strong potential for audience engagement. The juxtaposition of seemingly innocent elderly women with their penchant for murder creates a compelling hook. However, the initial scenes could be further refined to establish a clearer connection between the opening cartoons and the main narrative, enhancing the overall intrigue and thematic depth.
Key Strengths
- The contrast between the sweet and innocent appearance of the Brewster sisters and their dark secret of murder creates a compelling hook and sets the stage for a darkly comedic narrative.
- The introduction of Mortimer, a seemingly normal individual thrown into the chaos of his eccentric family, adds a layer of humor and relatability to the story.
Analysis: The screenplay exhibits a solid structure and plot development, effectively engaging the audience with its blend of suspense, humor, and family drama. However, certain areas could be refined to enhance its narrative flow and character development.
Key Strengths
- The screenplay effectively establishes a quirky and memorable family dynamic, with each character bringing a unique personality and eccentricity to the story.
Areas to Improve
- The resolution of Jonathan's storyline feels somewhat rushed and could be developed further to provide a more satisfying conclusion to his character arc.
Analysis: The screenplay effectively explores the themes of family, mental health, morality, and mistaken identity in a darkly comedic manner. The themes are woven into the narrative through the Brewster sisters' eccentric behavior, Teddy's delusions, Mortimer's struggle to maintain his sanity, and Jonathan's sinister presence. While the screenplay successfully conveys its messages about the complexities of familial relationships and the dangers of unchecked mental illness, it could benefit from a more nuanced exploration of morality and a clearer resolution to Jonathan's storyline.
Key Strengths
- The screenplay effectively portrays the theme of family through the Brewster sisters' unwavering support for each other, despite their eccentricities. Scenes such as their conversations about Teddy's well-being and their attempts to protect him from harm highlight the strength of their bond.
Analysis: This screenplay showcases a strong foundation for visual storytelling, effectively capturing the chaotic and suspenseful atmosphere of the narrative. The vivid descriptions and creative use of visual elements provide a strong base for translating the screenplay into a visually engaging film experience.
Key Strengths
- The screenplay effectively captures the chaotic and claustrophobic atmosphere of the Brewster residence. The use of close-ups, shaky camera, and eerie lighting creates a sense of tension and unease that adds to the overall impact of the narrative.
Analysis: The screenplay effectively elicits emotional responses from the audience, particularly through its eccentric and intriguing characters and the use of dark humor. However, there is room for improvement in deepening the emotional depth and broadening the range of emotions explored.
Key Strengths
- The screenplay's cast of eccentric and intriguing characters is a major strength. Their peculiar behaviors and interactions create a sense of unease and amusement, which effectively engages the audience.
Analysis: The screenplay effectively employs conflict and stakes to generate tension and engage the audience. The central conflict of the Brewster family's dark secrets and the consequences of their actions provides a solid foundation for the narrative. However, there are opportunities to further enhance the clarity and impact of the stakes, as well as the integration of the conflict within the plot and character development.
Key Strengths
- The introduction of Teddy's character as Colonel Roosevelt adds a unique and entertaining element to the screenplay, providing a source of humor and conflict. The scenes involving Teddy's delusional interactions and the family's attempts to humor him add levity and keep the audience engaged.
Areas to Improve
- The motivations of Jonathan and Dr. Einstein are not fully explored, leaving the audience with unanswered questions about their actions and goals. Providing a clearer understanding of their backstory and motivations would enhance the conflict and make their actions more impactful.
Analysis: Arsenic and Old Lace exhibits remarkable originality in its blend of dark comedy and suspense. The play's eccentric characters, witty dialogue, and unexpected plot twists set it apart from other works in the genre.
Expand to see detailed analysis
View Complete AnalysisScreenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
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Character Mortimer Brewster
Description Mortimer's behavior swings dramatically between being appalled by his aunts' actions and being flippant about the murders. This inconsistency could be explored further to reveal his inner conflict and coping mechanisms.
( Scene 2 Scene 5 ) -
Character Elaine Harper
Description Elaine's reaction to Mortimer's erratic behavior is initially understanding, but later turns to anger and frustration. This shift could be better explained by her emotional journey and growing concerns.
( Scene 9 Scene 10 )
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Description The Brewster sisters' motivation for taking in lonely old men is portrayed as an act of charity. However, their methods and the ease with which they commit murder raise questions about their true intentions and the nature of their 'charity'.
( Scene 11 ) -
Description The fight scene between Jonathan and the police officers seems unnecessarily drawn out, especially considering the urgency of Mortimer's situation and the impending arrival of Mr. Witherspoon.
( Scene 28 )
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Description It's unclear how Jonathan and Dr. Einstein found their way back to the Brewster residence after 20 years, especially considering Jonathan's mental state and criminal background.
( Scene 13 )
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Description Dr. Einstein's use of theatrical language and references to plays when trying to warn Mortimer seems out of character and a bit forced.
( Scene 25 )
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Element Teddy's bugle blowing and the subsequent reaction of the grandfather clock
( Scene 3 Scene 4 )
Suggestion The repetitive nature of this gag could be reduced or altered to maintain its comedic effect while avoiding redundancy. -
Element Mortimer's attempts to explain the situation to Elaine
( Scene 9 Scene 10 )
Suggestion Streamlining these interactions could improve the pacing of the story and build suspense.
Mortimer - Score: 86/100
Role
Protagonist
Character Analysis Overview
Jonathan - Score: 76/100
Role
Antagonist
Character Analysis Overview
Abby - Score: 74/100
Character Analysis Overview
Martha - Score: 75/100
Character Analysis Overview
Elaine - Score: 82/100
Character Analysis Overview
Dr. - Score: 59/100
Character Analysis Overview
Doctor - Score: 60/100
Character Analysis Overview
Identified Themes
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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Insanity
60%
|
Multiple characters display symptoms of mental illness, including delusions, hallucinations, and homicidal tendencies.
|
The screenplay explores the nature of insanity and its impact on individuals and families. | ||||||||||||
Strengthening Insanity
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Murder
40%
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Several characters are murdered throughout the screenplay, and the disposal of their bodies becomes a central plot point.
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The theme of murder highlights the dark side of the characters and the lengths they are willing to go to protect their secrets. | ||||||||||||
|
Family
30%
|
The Brewster family is at the heart of the screenplay, and their dysfunctional relationships drive the plot.
|
The theme of family explores the complex dynamics of family love, loyalty, and betrayal. | ||||||||||||
|
Love
20%
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Mortimer and Elaine's love story provides a contrast to the darkness surrounding them, but it is ultimately tested by the events of the screenplay.
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The theme of love demonstrates the power of human connection and the ability of love to overcome adversity. | ||||||||||||
|
Identity
15%
|
Several characters struggle with their own identity, including Mortimer, who discovers that he is not a Brewster.
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The theme of identity explores the nature of self and the search for belonging. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals revolved around maintaining normalcy, uncovering dark secrets, and navigating chaotic situations. |
| External Goals | The protagonist's external goals focused on handling the immediate challenges, avoiding legal trouble, and protecting his family. |
| Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around the morality of the characters' actions, the clash between tradition and individual beliefs, and the acceptance of one's family history. |
Character Development Contribution: The protagonist's goals and the philosophical conflict contribute to his growth by challenging his beliefs, forcing him to confront dark truths, and leading to a shift in his perception of his family.
Narrative Structure Contribution: The protagonist's internal and external goals drive the plot forward, adding complexity and tension to the narrative. The philosophical conflict adds depth and moral ambiguity to the storyline, creating suspense and intrigue.
Thematic Depth Contribution: The goals and philosophical conflict in the screenplay explore themes of morality, family loyalty, deception, and the acceptance of one's past. These elements contribute to the thematic depth by delving into the complexities of human nature, the consequences of one's actions, and the struggle between right and wrong.
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? |
Scene Analysis
📊 Understanding Your Percentile Rankings
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
Scenes are rated on many criteria. The goal isn't to try to maximize every number; it's to make you aware of what's happening in your scenes. You might have very good reasons to have character development but not advance the story, or have a scene without conflict. Obviously if your dialogue is really bad, you should probably look into that.
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - A Witch's Brew in Brooklyn | Humorous, Light-hearted, Romantic | 8 | 7 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 2 - Mortimer's Secret Wedding | Humorous, Whimsical, Romantic | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
| 3 - Officers Visit Eccentric Household | Light-hearted, Whimsical, Charming | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 4 | 7 | 3 | 7 | 8 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 4 - Teddy's Bugle Call | Humorous, Whimsical, Light-hearted | 8 | 8 | 7 | 8 | 9 | 5 | 8 | 7 | 4 | 6 | 3 | 7 | 7 | 6 | 8 | 9 | 8 | 9 | 9 | |
| 5 - Flirtatious Encounters | Humorous, Light-hearted, Whimsical | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 6 - Marriage Announcement and Celebration Preparations | Light-hearted, Playful, Romantic | 8 | 7 | 8 | 9 | 9 | 6 | 8 | 7 | 3 | 6 | 4 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 7 - Preparations and a Mysterious Discovery | Humorous, Suspenseful, Quirky | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | 8 | 9 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 8 - The Poisoned Wine | Humorous, Dark, Absurd | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 9 - Mortimer's Horror Unveiled | Humorous, Dark, Sarcastic | 8 | 8 | 7 | 9 | 9 | 5 | 8 | 7 | 6 | 6 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 10 - Secrets and Suspicions | Light-hearted, Whimsical, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 11 - Poisoned Wine | Humorous, Suspenseful, Dark | 8 | 8 | 8 | 9 | 7 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 12 - A Strange Request | Humorous, Suspenseful, Quirky | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 13 - Sinister Visitors | Dark, Humorous, Suspenseful | 9 | 9 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | |
| 14 - Turbulent Confrontations and Delusions | Humorous, Menacing, Erratic | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 15 - Disposal of Mr. Spenalzo's Body | Dark, Suspenseful, Humorous | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 16 - Hidden Horrors in the Brewster House | Suspenseful, Darkly Humorous, Mysterious | 9 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 17 - Unexpected Homecoming | Menacing, Suspenseful, Darkly Humorous | 8 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | |
| 18 - Chaotic Night at the Brewster Residence | Humorous, Suspenseful, Dark | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 9 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 19 - The Unmasking | Humorous, Suspenseful, Dark | 8 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 20 - Confrontation in the Sitting Room | Humorous, Suspenseful, Dark | 8 | 8 | 7 | 9 | 9 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 21 - Confrontation and Dark Secrets | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 8 | |
| 22 - Murderous Madness at the Brewster House | Humorous, Menacing, Suspenseful | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 6 | 9 | 9 | 9 | 8 | 8 | |
| 23 - Insanity Unveiled | Humorous, Suspenseful, Dark | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 24 - Mortimer's Ignorance and Impending Danger | Suspenseful, Darkly Humorous, Tense | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7.5 | 8 | 8 | 9 | 8 | 9 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
| 25 - The Betrayal in Mortimer's Cellar | Suspenseful, Dark, Humorous | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | |
| 26 - Murder Interrupted | Dark, Suspenseful, Humorous | 8 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 9 | 8 | 8 | 9 | 9 | 7 | 7 | 9 | 8 | 8 | 8 | |
| 27 - Turmoil in the Brewster House | Humorous, Suspenseful, Chaotic | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 7 | 7 | 9 | 8 | 7 | 8 | |
| 28 - Chaos on the Staircase | Dark, Humorous, Suspenseful | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 9 | 8 | 8 | 8 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
| 29 - Ted's Presidential Delusions | Humorous, Suspenseful, Absurd | 8 | 8 | 7 | 9 | 8 | 5 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 30 - Teddy's Departure | Humorous, Suspenseful, Absurd | 8 | 7 | 8 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 9 | 8 | 6 | 9 | 9 | 8 | 8 | 8 | |
| 31 - The Brewster House Investigation | Humorous, Suspenseful, Absurd | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 6 | 6 | 9 | 8 | 8 | 8 | |
| 32 - Mortimer Discovers His True Identity | Humorous, Suspenseful, Surprising | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | |
| 33 - Romantic Getaway to Niagara Falls | Light-hearted, Whimsical, Playful | 8 | 7 | 7 | 9 | 8 | 4 | 7 | 6 | 3 | 7 | 2 | 5 | 8 | 6 | 7 | 9 | 8 | 8 | 8 | |
Summary of Scene Level Analysis
Here are insights from the scene-level analysis, highlighting strengths, weaknesses, and actionable suggestions.
Some points may appear in both strengths and weaknesses due to scene variety.
Tip: Click on criteria in the top row for detailed summaries.
Scene Strengths
- Engaging dialogue
- Effective blend of humor and suspense
- Well-developed characters
- Intriguing plot twists
- Sharp dialogue
Scene Weaknesses
- Limited character development
- Some confusion for the audience
- Lack of high stakes
- Some elements may be too dark for some audiences
- Minimal plot progression
Suggestions
- Focus on developing the characters further to increase emotional investment and connection with the audience
- Ensure clarity in key plot points and avoid overcomplicating the storyline
- Increase the stakes and tension to create a more engaging and captivating story
- Balance the darker elements with lighter moments to maintain a cohesive tone and appeal to a wider audience
- Work on creating impactful and witty dialogue to enhance the story's humor and further engage the audience
Scene 1 - A Witch's Brew in Brooklyn
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - Mortimer's Secret Wedding
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Officers Visit Eccentric Household
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Teddy's Bugle Call
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Flirtatious Encounters
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - Marriage Announcement and Celebration Preparations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - Preparations and a Mysterious Discovery
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - The Poisoned Wine
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - Mortimer's Horror Unveiled
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Secrets and Suspicions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Poisoned Wine
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - A Strange Request
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Sinister Visitors
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Turbulent Confrontations and Delusions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Disposal of Mr. Spenalzo's Body
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - Hidden Horrors in the Brewster House
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Unexpected Homecoming
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - Chaotic Night at the Brewster Residence
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - The Unmasking
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - Confrontation in the Sitting Room
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Confrontation and Dark Secrets
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - Murderous Madness at the Brewster House
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - Insanity Unveiled
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Mortimer's Ignorance and Impending Danger
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - The Betrayal in Mortimer's Cellar
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Murder Interrupted
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - Turmoil in the Brewster House
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - Chaos on the Staircase
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - Ted's Presidential Delusions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Teddy's Departure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - The Brewster House Investigation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Mortimer Discovers His True Identity
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Romantic Getaway to Niagara Falls
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
- Physical environment: The script's scenes are set in a variety of indoor and outdoor settings, including a baseball game, a marriage license bureau, a cemetery, and a suburban home. The physical environment is often used to create a sense of atmosphere and mood, and to reflect the characters' inner states.
- Culture: The script presents a mix of American and European cultural elements. The characters celebrate Halloween and drink elderberry wine, and they reference historical figures like Theodore Roosevelt and Napoleon Bonaparte. The mix of cultures creates a sense of the world's diversity, and it also reflects the characters' own eclectic personalities.
- Society: The script depicts a society that is both traditional and modern. The characters live in a close-knit community, but they are also aware of the outside world. The film explores the tension between these two worlds, and it examines the ways in which society can both support and constrain individuals.
- Technology: The script's use of technology is minimal. The characters use telephones and radios, but these devices are not central to the story. The script's focus on human interaction and relationships suggests that technology is not as important as human connection.
- Characters influence: The world elements in the script shape the characters' experiences and actions in a number of ways. The characters' physical environment, for example, can affect their mood and their behavior. The cultural elements can shape their values and beliefs, and the societal elements can affect their opportunities and choices.
- Narrative contribution: The world elements in the script contribute to the narrative in a number of ways. They provide a setting for the story, they create a sense of atmosphere, and they help to develop the characters. The world elements also contribute to the film's overall tone and mood.
- Thematic depth contribution: The world elements in the script contribute to the film's thematic depth in a number of ways. They explore the tension between tradition and modernity, the importance of human connection, and the power of love. The script's world elements help to create a complex and nuanced story that resonates with audiences on a deep level.
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice is characterized by its witty dialogue, eccentric characters, and blend of humor and darkness. The writer's unique style, which is evident in the dialogue, narrative, and direction, contributes to the overall mood, depth, and themes of the screenplay. |
| Voice Contribution | The writer's voice contributes to the script by creating a distinct and engaging tone that draws the audience into the story. The witty dialogue and humorous situations keep the audience entertained, while the eccentric characters and blend of humor and darkness add depth and complexity to the screenplay. |
| Best Representation Scene | 5 - Flirtatious Encounters |
| Best Scene Explanation | Scene 5 is the best representation of the writer's voice because it effectively combines humor, wit, and emotional depth. The dialogue is sharp and witty, the characters are quirky and engaging, and the blend of humor and darkness creates a unique and memorable scene. |
Style and Similarities
The screenplay exhibits a diverse range of writing styles, with a blend of genres and tones. It incorporates elements of dark humor, witty dialogue, and character-driven comedy. The dialogue is often fast-paced and engaging, contributing to the overall comedic effect.
Style Similarities:
| Writer | Explanation |
|---|---|
| The Coen Brothers | The Coen Brothers' influence is evident in several scenes, showcasing their signature style of dark humor, quirky characters, and unexpected plot twists. |
| Quentin Tarantino | Tarantino's writing style is also prominent, with scenes featuring his trademark blend of dark humor, witty dialogue, and unpredictable twists. |
| Woody Allen | Woody Allen's comedic style is apparent in scenes marked by quirky characters, fast-paced dialogue, and comedic misunderstandings. |
Other Similarities: The screenplay draws inspiration from various writing styles, including Alfred Hitchcock's suspenseful atmosphere, Mel Brooks' slapstick humor, and Christopher Nolan's complex characters and moral ambiguities.
Top Correlations and patterns found in the scenes:
| Pattern | Explanation |
|---|---|
| Tonal Consistency and High Emotional Impact | |
| Suspense and Character Changes | |
| Absurdity and Concept Scores | |
| Emotional Impact and High Stakes | |
| Humorous Dialogue and Light-Hearted Tone | |
| Suspenseful Tone and Conflict Scores |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of storytelling techniques, including character development, dialogue, pacing, and structure. The scenes showcase a unique and engaging voice, blending humor, tension, and depth. The writer effectively creates compelling characters and situations, keeping the reader engaged throughout.
Key Improvement Areas
Suggestions
| Type | Suggestion | Rationale |
|---|---|---|
| Screenplay | Read 'The Coen Brothers: This Book Really Ties the Room Together' by Jeff Goldsmith | This book provides insights into the unique storytelling techniques and character development approach of the Coen Brothers, who are known for their quirky characters and engaging narratives. |
| Video | Watch 'No Country for Old Men' (2007) directed by the Coen Brothers | This film showcases masterful character development, particularly in the portrayal of the antagonist, Anton Chigurh. Studying the film's character dynamics and dialogue can provide valuable lessons for creating compelling characters. |
| Exercise | Practice writing character sketchesPractice In SceneProv | Character sketches help writers flesh out their characters' motivations, backstories, and inner conflicts. By regularly practicing this exercise, the writer can improve their ability to create complex and well-rounded characters. |
| Screenplay | Read 'Writing Dialogue That Pops' by Laurie Halse Anderson | This book offers practical techniques for writing dialogue that is both natural and engaging. It provides exercises and examples to help writers improve their dialogue-writing skills. |
| Video | Watch 'The Social Network' (2010) written by Aaron Sorkin | This film is known for its fast-paced dialogue and witty exchanges. Analyzing the screenplay can help the writer learn how to write sharp, concise, and memorable dialogue. |
| Exercise | Practice dialogue reductionPractice In SceneProv | Dialogue reduction involves removing unnecessary lines and refining the language to make the dialogue more impactful. This exercise helps writers improve their ability to convey meaning and emotion in a concise and effective way. |
| Screenplay | Read 'Scene & Structure' by Robert McKee | This classic book provides a comprehensive guide to scene structure and storytelling techniques. It helps writers understand how to create scenes that are both engaging and meaningful in the context of the overall narrative. |
| Video | Watch 'The Dark Knight' (2008) written by Christopher Nolan and Jonathan Nolan | This film demonstrates a strong sense of scene purpose and direction. Analyzing the screenplay can help the writer learn how to craft scenes that effectively advance the plot, develop characters, and build tension. |
| Exercise | Practice scene outliningPractice In SceneProv | Scene outlining involves breaking down a scene into its key elements, such as the inciting incident, rising action, climax, falling action, and resolution. This exercise helps writers plan their scenes more effectively and ensure they have a clear structure and purpose. |
Here are different Tropes found in the screenplay
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| MacGuffin | The grandfather clock chimes once and the minute hand falls off, startling O'Hara, but Brophy and Reverend Harper remain unfazed. | A MacGuffin is an object, idea, or event that is necessary to the plot but is not in itself important. |
| Red Herring | Teddy, dressed in a colonial costume, greets Mortimer and shares his excitement about going to Panama for the canal project. | A Red Herring is a clue or piece of information that is intentionally misleading. |
| Deus Ex Machina | Judge Cullman signs the papers to commit Teddy Brewster to Happy Dale Sanitarium. | A Deus Ex Machina is a sudden and unexpected event that resolves a seemingly impossible situation. |
| Chekhov's Gun | Dr. Einstein reveals that Abby and Martha have killed 12 people and buried them in their cellar, just like Jonathan. | Chekhov's Gun is a plot device in which an object or event is introduced early in a story and is later used for a significant purpose. |
| Foreshadowing | Teddy Brewster, who is dressed and acts like President Theodore Roosevelt, joins the group and behaves erratically. | Foreshadowing is a literary device in which an author hints at future events. |
| Character Foil | Abby and Martha Brewster are two sisters who are very different in personality. | A Character Foil is a character who contrasts with another character in order to highlight their differences. |
| Flat Character | Teddy Brewster is a character who is very one-dimensional. | A Flat Character is a character who is not fully developed and has few, if any, complex traits. |
| Round Character | Mortimer Brewster is a character who is very complex and well-developed. | A Round Character is a character who is fully developed and has many complex traits. |
| Stock Character | Dr.Einstein is a character who is based on a common stereotype. | A Stock Character is a character who is based on a common stereotype. |
| Symbolism | The grandfather clock is a symbol of the passage of time. | Symbolism is a literary device in which an object, person, or event is used to represent something else. |
Memorable lines in the script:
| Scene Number | Line |
|---|---|
| 7 | Mortimer: But there's a body in the window-seat! |
| 9 | Martha: Well, dear, for a gallon of elderberry wine, I take one teaspoonful of arsenic, then add half a teaspoonful of strychnine. And then, just a pinch of cyanide. |
| 19 | Mortimer: Ye gods ! There's another one ! |
| 8 | Mortimer: Forget ? Look, my dear aunt Martha, can't I make you realize that something has to be done ? |
| 30 | Mortimer: Mister President, I have good news for you. Your term of office is over. |
Some Loglines to consider:
| Array ( [0] => Mortimer's wedding day takes a deadly turn when he discovers his aunts' sinister hobby of murder and body storage. [1] => Mortimer's attempts to control the chaos as bodies pile up on his wedding day are hilarious and thrilling. [2] => The Brewster family's secrets are exposed when Mortimer uncovers his aunts' deadly hobby and his brother hides a corpse. [3] => Mortimer struggles to balance his anti-marriage beliefs and his engagement to Elaine, all while dealing with a family of murderers. [4] => An uproarious wedding day turns deadly as Mortimer tries to keep his family's secrets hidden and his wedding on track. ) |
| A newlywed dramatic critic discovers his beloved aunts have a deadly secret: they poison lonely old men as an act of charity. |
| When a theater critic uncovers his aunts' murderous hobby, he must choose between protecting his family and upholding the law. |
| Insanity runs in the family, but murder is just a hobby in this darkly comedic tale of two spinster aunts with a peculiar sense of charity. |
| Love, murder, and mayhem collide as a newly married couple navigates the chaos of a family with a penchant for poisoning. |
| On Halloween night in Brooklyn, a dramatic critic's life takes a bizarre turn as he becomes entangled in his aunts' murderous activities and his brother's escape from a mental institution. |
| In 'Arsenic and Old Lace', a drama critic learns on his wedding day that his beloved aunts are homicidal maniacs, and that insanity runs in his family. |
| A newlywed finds out his family's deadly secret and must deal with a criminal brother and two murderous aunts while trying to protect his bride. |
| What if your two sweet aunts had a hobby of poisoning lonely old men? 'Arsenic and Old Lace' is a dark comedy about family secrets that are deadlier than they appear. |
| 'Arsenic and Old Lace': A wedding day turns into a darkly comedic nightmare as Mortimer Brewster uncovers homicidal tendencies in his family. |
| Love, murder, and insanity collide in 'Arsenic and Old Lace', where a man must confront his murderous relatives and his own identity on his chaotic wedding day. |
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