Inside Out

Executive Summary

Poster
Overview

Genres: Animation, Comedy, Family, Adventure, Fantasy, Drama, Sports

Setting: Contemporary, San Francisco, Minnesota, and Riley's Mind World

Overview: Inside Out is a captivating journey into the mind of a young girl named Riley, where her emotions - Joy, Sadness, Anger, Fear, and Disgust - take on distinct personalities and navigate the complexities of her inner world. When Riley's family moves from Minnesota to San Francisco, her emotions are thrown into chaos as she struggles to adapt to her new surroundings and the challenges of starting a new school. The story follows Riley's emotional roller coaster, highlighting the importance of embracing all emotions, even sadness, and how her inner world shapes her experiences. The film's unique perspective on the human mind explores the power of memories and the crucial role of emotions in shaping our personalities.

Themes: Emotions and Mental Health, Identity and Self-Discovery, Family and Relationships, Change and Adaptation, Memory and Core Memories

Conflict and Stakes: Riley's struggle to adjust to her new life in San Francisco, with her happiness and well-being at stake. The core memories that power her personality islands are at risk of being lost, threatening her sense of identity and her ability to cope with challenges. Joy and Sadness must work together to restore Riley's core memories and guide her towards emotional balance.

Overall Mood: Whimsical, heartfelt, and ultimately hopeful.

Mood/Tone at Key Scenes:

  • Scene 1: A sense of wonder and curiosity as we are introduced to Riley's inner world and the emotions controlling her.
  • Scene 7: A sense of anxiety and desperation as Joy tries to prevent Sadness from affecting Riley's core memories.
  • Scene 18: A sense of somberness and nostalgia as Bing Bong's rocket, symbolizing his connection to Riley, is destroyed.
  • Scene 32: A feeling of hope and resilience as Joy and Bing Bong overcome obstacles and work together to save Riley's core memories.
  • Scene 42: A sense of joy and celebration as Riley returns home and the family comes together.

Standout Features:

  • Unique Hook: The story is told from the perspective of emotions, giving a unique insight into the internal world of a young girl, as her feelings navigate the challenges of growing up and adjusting to a new environment.
  • Genre Blend: The movie blends animation, comedy, drama, and fantasy elements into a compelling and engaging story.
  • Distinctive Setting: The setting of Riley's mind is visually captivating and imaginative, with each emotion having a unique personality and role, creating a colorful and engaging world to explore.
  • Unique Characters: The emotions, including Joy, Sadness, Anger, Fear, and Disgust, are not only visually distinct but also have unique personalities and motivations, contributing to the film's humor and heart.
  • Plot Twist: The revelation that Sadness plays a vital role in Riley's well-being is a surprising and meaningful plot twist, highlighting the importance of accepting and integrating all emotions.

Comparable Scripts:

  • Inside Out (2015)
  • Eternal Sunshine of the Spotless Mind (2004)
  • The Good Place (TV Series)
  • Inside (2015)
  • A Wrinkle in Time (2018)
  • The Perks of Being a Wallflower (2012)

Writing Style:

The screenplay exhibits a unique writing style that blends imaginative storytelling, emotional depth, and humor to explore complex themes, internal conflicts, and the inner workings of the mind. It often utilizes surreal and fantastical elements to enhance the narrative and create a distinctive atmosphere.

Style Similarities:

  • Pete Docter
  • Charlie Kaufman
Other Similarities
Pass/Consider/Recommend

Recommend


Explanation: The screenplay for 'Inside Out' is a highly imaginative and emotionally resonant exploration of a young girl's inner world. Through the lens of personified emotions navigating Riley's psyche, the story seamlessly blends humor, heart, and profound insights into the complexities of growing up. The screenplay's consistent character arcs, thematic depth, and innovative storytelling make it a standout example of Pixar's mastery of the animated feature genre.


USP: Inside Out's unique selling proposition lies in its innovative concept of personifying emotions to explore the inner workings of a young girl's mind. This approach not only provides a fresh perspective on emotional resilience and mental health but also makes the story highly relatable and engaging for audiences of all ages. The screenplay's ability to balance humor, drama, and heartfelt moments makes it a standout piece of storytelling.
Market Analysis

Budget Estimate:$150-200 million

Target Audience Demographics: Families with children, adults who enjoy animated films, fans of coming-of-age stories.

Marketability: It features a captivating story, relatable characters, and stunning visuals, making it likely to appeal to a broad audience. Its themes of emotional growth and the importance of family resonate with viewers of all ages.

Its unique blend of animation, humor, and emotional depth has the potential to draw in both children and adults. The movie's themes of self-discovery and acceptance are relevant to a wide range of viewers. Additionally, its imaginative and engaging world-building will appeal to those who enjoy fantasy and adventure.

Its strong cast of characters and compelling storyline combined with its innovative and visually appealing world of emotions will appeal to a wide audience. Its themes of emotional intelligence and resilience are relevant to viewers of all ages.

Profit Potential: High, with potential for significant box office revenue and merchandising opportunities.

Analysis Criteria Percentiles
Writer's Voice

Summary:The writer's voice is whimsical, imaginative, and emotionally resonant. They blend humor and emotional depth effectively, creating a unique style that is both playful and poignant. The narrative is driven by internal struggles and the complexities of human emotions, conveyed through creative dialogue and imaginative scene descriptions.

Best representation: Scene 12 - Joy and Sadness's Journey to Headquarters. This scene is the best representation because it effectively combines humor, emotion, and action, showcasing the writer's ability to create a dynamic and engaging narrative. The dialogue is witty and engaging, highlighting the unique personalities of each emotion, while the narrative description effectively conveys the chaos and urgency of the situation. This scene also demonstrates the writer's skill in using visual imagery to convey complex emotional concepts, creating a powerful and memorable moment.

Memorable Lines:

  • Bing Bong: Take her to the moon for me. Okay? (Scene 36)
  • Riley: I know you don’t want me to but... I miss home. I miss Minnesota. (Scene 39)
  • Joy: We are gonna to have a good day, which will turn into a good week, which will turn into a good year, which turns into a good LIFE! (Scene 10)
  • Sadness: I only make everything worse! (Scene 37)
  • Bing Bong: Take her to the moon for me. Okay? (Scene 36)
Characters

Riley:A young girl experiencing the challenges of moving to a new city and adapting to a new school.

Joy:A glowing emotion who strives to keep Riley happy and optimistic.

Sadness:A blue emotion who initially struggles to control her emotions, but ultimately learns to embrace sadness and its importance.

Bing Bong:Riley's imaginary friend who guides Joy and Sadness through Riley's mind, eventually sacrificing himself to help them.

Anger:A red emotion who is prone to outbursts and frustration.

Fear:A purple emotion who is easily scared and anxious.

Disgust:A green emotion who is disgusted by things she considers gross or unpleasant.

Story Shape
Summary "Inside Out" follows the journey of a young girl named Riley as she navigates the challenges of moving to a new city. Her emotions, including Joy, Sadness, Fear, Anger, and Disgust, work together in Headquarters to guide her through the ups and downs of her experiences. The film explores the importance of memories, core personality traits, and the impact of emotions on Riley's well-being. As Riley learns to balance her emotions and embrace both joy and sadness, she discovers the power of family, resilience, and acceptance in shaping her identity and finding happiness in her new life.


Screenplay Story Analysis

Story Critique The screenplay, while aiming for an imaginative and emotionally resonant journey through Riley's inner world, faces challenges in maintaining a clear and engaging plot. The screenplay's strength lies in its character development, particularly for Joy and Sadness, showcasing their emotional journeys and growth. The concept of emotions as distinct characters within Riley's mind provides a unique and creative framework. However, the plot suffers from pacing issues. The initial setup is somewhat slow, and the story's central conflict lacks a clear driving force. The scenes often jump between Riley's external experiences and her inner world, creating a disjointed flow. Additionally, the screenplay lacks a compelling antagonist, leaving the narrative feeling somewhat aimless. While the concept of memories being lost in the Memory Dump presents a potential conflict, it isn't fully explored or resolved in a satisfying way.
Suggestions: To enhance the plot, consider streamlining the narrative by focusing on a more focused conflict that drives the story forward. This could involve introducing a clear antagonist, whether internal or external, that poses a significant threat to Riley's emotional well-being. Exploring the consequences of losing core memories could also be a central conflict, raising the stakes for the characters. The pacing could be improved by eliminating unnecessary scenes and focusing on scenes that directly advance the plot. The emotional impact of the story could also be amplified by weaving together Riley's external struggles with her inner world in a more organic and cohesive way, showcasing how her emotional journey shapes her experiences and vice versa.

Note: This is the overall critique. For scene by scene critique click here
Beginning The screenplay's beginning establishes a strong foundation for its unique premise of emotions personified within Riley's mind. The initial scenes introduce the characters and their personalities effectively, highlighting their distinct roles and interactions. However, the lack of a clear antagonist or a driving conflict creates a somewhat slow pace in the early stages. While the audience is introduced to the concept of core memories, their significance isn't fully emphasized in the beginning, leading to a lack of immediate stakes or urgency. Additionally, the connection between Riley's external world and her internal emotional world is not fully established, leaving the audience with a sense of disconnection.
Suggestions: To improve the beginning, consider introducing a more immediate conflict that drives the story forward. This could involve a challenge that Riley faces early on, forcing her emotions to work together to overcome it. Additionally, highlighting the significance of core memories, showcasing their power and impact on Riley's personality, would create a sense of urgency and importance from the outset. Establishing a clear connection between Riley's external world and her internal emotional world is crucial. This could involve showcasing how her emotions are directly influenced by her experiences or how they influence her behavior, creating a more engaging and connected narrative.
Middle The screenplay's middle section features a series of events that contribute to Riley's emotional journey. The exploration of the various aspects of Riley's personality through the Islands of Personality is a clever concept that provides a visual and thematic representation of her inner world. The screenplay also effectively showcases the challenges that Riley faces as she adjusts to a new environment and deals with the emotional fallout of the move. However, the middle section could be strengthened by creating a more cohesive narrative flow. The constant transitions between Riley's external experiences and her internal world create a disjointed feeling. Additionally, the exploration of the Memory Dump and the Forgetters feels somewhat underdeveloped, leaving the audience with unanswered questions and a lack of resolution.
Suggestions: To improve the middle section, consider streamlining the narrative flow by creating a clear path for the story to unfold. This could involve focusing on a specific goal or objective that drives the characters forward. The transitions between Riley's external world and her internal world could be made smoother by linking the events more explicitly. Additionally, the exploration of the Memory Dump and the Forgetters could be enhanced by creating a more tangible conflict or threat. This could involve showcasing the potential consequences of losing core memories or developing the Forgetters into more significant antagonists.
Ending The screenplay's ending offers a sense of resolution, with Riley finding a sense of balance and acceptance in her new life. The return of the core memories and the creation of a new Family Island represent a positive outcome for Riley's emotional journey. However, the ending could be further strengthened by providing a more satisfying closure to the narrative. The fate of Bing Bong feels somewhat unresolved, leaving the audience with a sense of emptiness. The resolution of the conflict regarding the Memory Dump is also not fully explored, leaving the audience with unanswered questions. Additionally, the final scene, which showcases Riley's new hockey game, feels somewhat anticlimactic and doesn't fully capture the emotional impact of her journey.
Suggestions: To improve the ending, consider providing a more definitive resolution for Bing Bong's story, showcasing his sacrifice and his lasting impact on Riley. The consequences of losing core memories and the fate of the Memory Dump could be explored more thoroughly, providing a more satisfying closure to these storylines. Additionally, the final scene could be made more impactful by emphasizing the emotional significance of Riley's progress and growth. This could involve highlighting how her journey has shaped her character or showcasing the positive impact of her emotional understanding on her life.

See the full analysis by clicking the title.

1 - Joy's Headquarters: A World of Emotions Playful, Whimsical, Light-hearted 8 9 79 8 787676888 79888
2 - Broccoli Battles and Core Memories Humorous, Light-hearted, Playful 8 9 79 8 687675877 79888
3 - The Islands of Personality Playful, Nostalgic, Whimsical 8 9 79 8 687574777 69888
4 - Leaving Home: A Journey Across America Humorous, Whimsical, Nostalgic 8 9 79 8 687676877 79888
5 - Moving Day Mayhem Humorous, Whimsical, Light-hearted, Sarcastic 8 9 89 8 687776878 79888
6 - Broccoli Pizza and Dinosaur Memories Humorous, Whimsical, Nostalgic 8 9 79 8 687665877 89888
7 - The Blueing of Memories Humorous, Emotional, Playful 8 9 89 8 887776879 79888
8 - Fear and Frustration in the New Home Anxious, Humorous, Upbeat 8 9 88 8 787776878 79888
9 - Joy Takes the Lead Humorous, Positive, Supportive, Light-hearted 8 9 79 8 687675777 89888
10 - Joy's Master Plan for a Great First Day Hopeful, Playful, Supportive 8 9 89 7 787776878 79888
11 - First Day Jitters and a Blue Memory Excitement, Nervousness, Confusion, Humor 8 9 89 8 687675877 79888
12 - The Blue Memory Emotional, Whimsical, Tense 8 9 89 7 887887889 79988
13 - Joy and Sadness's Journey to Headquarters Emotional, Whimsical, Tense 9 9 89 8 887989989 79988
14 - Dissonance at Dinner Humorous, Light-hearted, Subtle 8 9 79 8 787676778 89888
15 - First Day Blues Humorous, Sarcastic, Concerned 8 9 79 8 787876877 89888
16 - The Foot Humorous, Tense, Sarcastic 8 9 79 9 787877878 89888
17 - A Crumbling Past Anxious, Melancholic, Hopeful 8 8 79 9 887787889 79888
18 - Lost in Long-Term Memory Hopeful, Desperate, Inspirational, Anxious 8 9 89 7 787889889 79888
19 - The Memory Vacuum Whimsical, Playful, Anxious 8 9 89 8 887.5787889 798.588
20 - The Memory Dump Humorous, Whimsical, Sarcastic 8 9 79 8 587675776 79888
21 - Memory Mayhem Humorous, Emotional, Tense 8 9 89 7 787.5788889 798.588
22 - Bing Bong's Memories and the Abstract Thought Shortcut Whimsical, Nostalgic, Playful, Heartfelt 9 9 89 9 798686889 89899
23 - Escape from Abstraction Whimsical, Surreal, Humorous 8 9 79 8 787676788 69888
24 - A Journey Through Imaginationland Whimsical, Playful, Nostalgic 8 9 79 8 787675778 79888
25 - Hockey Chaos Anger, Sadness, Conflict, Resentment, Defiance 8 8 89 9 887978879 79888
26 - Bing Bong's Grief and Acceptance Sad, Hopeful, Whimsical 8 8 89 9 887778879 79888
27 - The Search for Happiness Humorous, Dramatic, Reflective 8 9 79 8 787887877 89888
28 - The Dream Production Deadline Whimsical, Playful, Inquisitive 8 9 78 8 687.5685887 798.588
29 - A Nightmare in the Making Whimsical, Playful, Surreal, Satirical 8 9 79 8 787886887 79988
30 - Into the Subconscious Whimsical, Suspenseful, Playful, Dark 8 8 79 8 687878887 79888
31 - Escape from the Subconscious Whimsical, Suspenseful, Playful 8 8 89 9 787.5888988 798.588
32 - Chaos and a Bus Ticket to Minnesota Whimsical, Exciting, Humorous, Tense 8 8 79 8 787879887 79888
33 - Riding the Rails of Riley's Mind Hopeful, Reflective, Playful 8 8 89 9 887677879 79888
34 - Running Away and Returning Excitement, Tension, Drama, Action, Suspense 9 9 89 8 887989989 79888
35 - Joy's Epiphany in the Memory Dump Sad, Hopeful, Desperate, Reflective 9 9 89 9 9988899810 89999
36 - Bing Bong's Sacrifice Hopeful, Sacrificial, Emotional, Determined 9 8 99 9 8987789810 89999
37 - A Race Against Time Desperate, Frantic, Suspenseful, Dramatic, Humorous 8 8 99 8 787979988 79888
38 - Joy's Daring Rescue Excitement, Determination, Humor, Tension 9 9 89 9 887788979 89988
39 - Sadness Saves the Day Anxious, Worried, Reflective, Heartwarming 9 8 99 9 9877779710 89888
40 - A New Beginning: Expansion and Upgrades Hopeful, Reflective, Inspirational, Whimsical 9 9 89 9 898375879 89899
41 - Embarrassed at the Rink Light-hearted, Nostalgic, Playful, Embarrassing, Chaotic 8 8 79 8 787675778 79888
42 - Riley's First Game Hopeful, Exciting, Heartwarming, Humorous 9 9 89 9 887776879 89888


Scene 1 - Joy's Headquarters: A World of Emotions
INT. HOSPITAL - DAY

A newborn baby swaddled in a blanket, held by her parents.
Push in... and ZOOM IN TO HER HEAD.


INT. HEADQUARTERS

Out of the blackness steps a glowing figure. This is JOY. The
room is black except for a bright CONSCIOUSNESS SCREEN.

JOY
Hmm?

In front of Joy is a single large BUTTON. She pushes it.


INT. HOSPITAL - CONTINUOUS

The baby gurgles and wiggles happily.

JOY (V.O.)
And there she was...


INT. HEADQUARTERS - CONTINUOUS

ON THE CONSCIOUSNESS SCREEN:

MOM
Hello, Riley.

DAD
Oh look at you. Aren’t you a little
bundle of joy?

A GOLDEN GLOWING SPHERE rolls from behind the screen. It’s a
MEMORY of what we just saw: Mom and Dad cooing at Riley.

JOY
Whoa.
INSIDE OUT 2.

Joy rolls the memory on its track, illuminating the room. She
turns back to the button and pushes it again.


INT. HOSPITAL - CONTINUOUS

Baby Riley gurgles happily.

JOY (V.O.)
It was amazing. Just Riley and me,
forever...


INT. HEADQUARTERS - CONTINUOUS

Baby Riley CRIES.

JOY (V.O.)
...for 33 seconds.

Joy looks to her side. There’s a new, droopy, blue character
touching the button.

SADNESS
I’m Sadness.

JOY
Oh, hello. I’m Joy.

Joy tries to muscle past Sadness to press the button.

JOY (CONT’D)
Can I just... if you could... I
just want to fix that. Thanks.

The two struggle.

JOY (V.O.)
And that was just the beginning.
Headquarters only got more crowded
from there.


INT. MINNESOTA HOUSE - DAY

Riley, now age 3, barrels through the house pulling a wagon.


INT. HEADQUARTERS

ON THE SCREEN: Riley’s POV as she runs through the house.
Fear “supervises” Joy, who drives.
INSIDE OUT 3.

FEAR
Very nice. Okay, looks like you got
this. Very good, sharp turn...

Riley approaches a POWER CORD on the ground.

FEAR (CONT’D)
Ahh! Look out!!! No!

Fear leaps to the console.

JOY (V.O.)
That’s Fear. He’s really good at
keeping Riley safe.


INT. MINNESOTA HOUSE - CONTINUOUS

Riley stops. She cautiously steps over the power cord.

FEAR (O.S.)
Easy... we’re good! We’re good.


INT. HEADQUARTERS

A fear memory (purple) rolls in.

JOY/SADNESS
Whew!/Nice job.

FEAR
Thank you! Thank you very much.

Joy jumps back into driving position.

JOY
And we’re back!


INT. MINNESOTA HOUSE - CONTINUOUS

Riley continues her sprint through the house.

Suddenly she’s picked up.


INT. KITCHEN - CONTINUOUS

PLOP into highchair. Bib. Tray. Bowl.

DAD
Here we go. Alright, open.
INSIDE OUT 4.

Dad lifts a spoonful of food to Riley’s mouth.


INT. HEADQUARTERS

JOY
Hmm. This looks new.

FEAR/SADNESS
Do you think it’s safe?/What is it?

ON THE SCREEN: a spoonful of broccoli.

DISGUST enters.

DISGUST
Okay, caution! There is a dangerous
smell, people. Hold on, what is
that?

JOY (V.O.)
This is Disgust. She basically
keeps Riley from being poisoned,
physically and socially.

DISGUST
That is not brightly colored or
shaped like a dinosaur... Hold on
guys... It’s broccoli!

Disgust GAGS and pulls a lever.
Genres: ["Animation","Comedy","Family"]

Summary The scene introduces Joy, a cheerful and vibrant emotion who controls the happiness of a young girl. We see her in Headquarters, a control room where memories and experiences are manipulated. Other emotions like Sadness, Fear, and Disgust are also present, each with their distinct personalities and functions. Joy aims to maintain a positive outlook, while the others act as safety mechanisms. The scene ends with Disgust's reaction to broccoli, hinting at potential conflicts and the complex dynamics between the emotions.
Strengths
  • Creative concept
  • Engaging characters
  • Emotional depth
Weaknesses
  • Limited conflict
  • Predictable dialogue

Ratings
Overall

Overall: 8

The scene effectively introduces the main characters and sets up the premise of the story in a visually engaging and emotionally resonant way.


Story Content

Concept: 9

The concept of emotions as characters interacting in a control center within a person's mind is innovative and engaging, providing a fresh perspective on human psychology.

Plot: 7

The plot establishes the central conflict of emotions vying for control over the protagonist's actions and decisions, setting up potential conflicts and character arcs.

Originality: 9

The scene introduces a fresh and original concept of personifying emotions and exploring their impact on a child's life. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters are distinct and well-defined, each representing a different emotion with their own personalities and motivations, adding depth and complexity to the story.

Character Changes: 7

The introduction of Sadness as a new character hints at potential growth and development for the protagonist and other characters as they navigate their emotions.

Internal Goal: 8

The protagonist's internal goal is to maintain a sense of joy and happiness in the baby's life. This reflects the deeper need for emotional well-being and positive experiences.

External Goal: 7

The protagonist's external goal is to navigate the challenges and obstacles that arise in the baby's life, such as fear of danger or disgust towards certain things.


Scene Elements

Conflict Level: 6

The conflict between Joy and Sadness over control of the protagonist's emotions creates tension and sets up potential obstacles for the characters to overcome.

Opposition: 7

The opposition in the scene is strong enough to create conflict and challenge the protagonist's goals, adding depth to the narrative.

High Stakes: 6

While the stakes are not extremely high in this scene, the emotional impact and potential consequences of the characters' actions set up future conflicts and challenges.

Story Forward: 8

The scene effectively sets up the central conflict and introduces key elements of the story, moving the narrative forward and engaging the audience.

Unpredictability: 8

This scene is unpredictable because of the unexpected interactions between the emotions and the baby's reactions, keeping the audience intrigued.

Philosophical Conflict: 9

The philosophical conflict is between Joy's desire to maintain happiness and positivity, and the other emotions' roles in protecting the baby from harm or negative experiences. This challenges Joy's belief in the importance of joy above all else.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions from joy and curiosity to concern and anticipation, drawing the audience into the story and characters.

Dialogue: 7

The dialogue effectively conveys the personalities of the characters and sets up their relationships and dynamics within the story.

Engagement: 9

This scene is engaging because of its creative concept, dynamic character interactions, and emotional depth.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience invested in the unfolding events.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for its genre, effectively distinguishing between different locations and characters.

Structure: 8

The scene follows a unique structure that alternates between the real world and the internal world, effectively conveying the parallel narratives.


Critique
  • The scene does a good job of introducing the main characters, Joy and Sadness, and establishing their roles in Riley's mind.
  • The conflict between Joy and Sadness is clear and sets up the dynamic for future interactions.
  • The introduction of Fear and Disgust adds depth to the scene and showcases the different functions of each emotion.
  • The use of memories to illustrate the emotions' reactions is effective in showing how they influence Riley's behavior.
  • The scene effectively sets up the premise of the story and establishes the central conflict between Joy's desire for happiness and Sadness' presence.
  • The humor in Disgust's reaction to broccoli adds a light-hearted touch to the scene.
Suggestions
  • Consider adding more visual cues to differentiate between the emotions, such as distinct colors or symbols.
  • Explore ways to visually represent the internal struggle between Joy and Sadness more dynamically.
  • Introduce more interactions between the emotions to showcase their relationships and dynamics.
  • Provide more context for why Sadness is drawn to the button and why Joy is so determined to press it.
  • Consider incorporating more sensory elements to enhance the audience's immersion in Riley's mind.



Scene 2 - Broccoli Battles and Core Memories
INT. KITCHEN

YOUNG RILEY
Yucky!

Riley swats the broccoli. It flies into Dad’s face.


INT. HEADQUARTERS

A disgust memory (green) rolls in.

DISGUST
Well, I just saved our lives. Yeah.
You're welcome.
INSIDE OUT 5.

INT. KITCHEN

DAD
Riley, if you don’t eat your dinner,
you’re not going to get any dessert.


INT. HEADQUARTERS

ANGER looks up from reading his newspaper.

ANGER
Wait. Did he just say we couldn’t
have dessert?

JOY (V.O.)
That’s Anger. He cares very deeply
about things being fair.

ANGER
So that’s how you want to play it,
old man? No dessert? Oh, sure,
we’ll eat our dinner, right after
YOU eat this! GrrrraaaAAHH!!!!

Anger takes the controls as FLAMES blast out of his head. An
anger memory (red) rolls in.


INT. KITCHEN

Riley throws a fit. Dad distracts her.

DAD
(’flying’ the spoon)
Hey, Riley, Riley, here comes an
airplane!


INT. HEADQUARTERS

Anger stops screaming.

ANGER
Oh, airplane. We got an airplane,
everybody.

DISGUST/FEAR/SADNESS/JOY
Ohh!/Ahh!


INT. KITCHEN

Dad “lands” the food into Riley’s smiling mouth.
INSIDE OUT 6.

INT. HEADQUARTERS

A happy memory (golden) rolls in.

The others leave Joy alone at the console with Sadness.

JOY (V.O.)
And you’ve met Sadness. She...
well, she...

FLASH CUTS of Riley crying: broken toy, spilled ice cream,
tantrum in the supermarket, wanting out of her car seat.

JOY (V.O.)
I’m not actually sure what she
does. And I’ve checked, there’s no
place for her to go, so she’s good,
we’re good. It’s all great!

Sadness exits. Joy turns to the wall of golden memories.

JOY (V.O.)
Anyway! These are Riley’s memories--
and they’re mostly happy, you’ll
notice, not to brag.

She inspects one of the golden memories: Riley and her friend
MEG (both age 3) going down a slide. She REWINDS it,
relishing the happy moment.

JOY (V.O.)
But the REALLY important ones are
over here. I don’t want to get too
technical, but these are called
CORE MEMORIES.

Joy pops up the CORE MEMORY HOLDER. Inside are five intensely
bright golden memories.

JOY (V.O.)
Each one came from a super-
important time in Riley’s life.
Like when she first scored a goal?
That was so amazing!
Genres: ["Animation","Comedy","Family"]

Summary Riley's refusal to eat broccoli ignites Anger's frustration in Headquarters, but Dad's playful distraction successfully feeds Riley the broccoli. Joy introduces the other emotions, including Sadness, and emphasizes the significance of core memories, which represent key moments in Riley's life.
Strengths
  • Creative concept of personifying emotions
  • Humorous dialogue and interactions between characters
  • Effective introduction of central themes and conflicts
Weaknesses
  • Limited character development in this scene
  • Relatively low stakes

Ratings
Overall

Overall: 8

The scene effectively introduces the audience to the central concept of the film, sets up the dynamics between the different emotions, and establishes the tone of the story.


Story Content

Concept: 9

The concept of personifying emotions and using memories to represent them is innovative and engaging. It provides a creative way to explore the complexities of human emotions.

Plot: 7

The plot in this scene focuses on introducing the main characters (emotions) and setting up the central conflict of maintaining Riley's happiness. It effectively sets the stage for the rest of the story.

Originality: 9

The scene is highly original in its concept of personifying emotions and memories, creating a fresh and engaging narrative.


Character Development

Characters: 8

The characters (emotions) are well-defined and each has a distinct personality that drives their actions. Their interactions provide humor and insight into Riley's emotional development.

Character Changes: 6

While there is not significant character development in this scene, it sets the stage for the emotional growth and changes that Riley and the emotions will undergo throughout the story.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain a balance between her emotions and make sense of her memories.

External Goal: 7

The protagonist's external goal is to eat her dinner so she can have dessert.


Scene Elements

Conflict Level: 6

The conflict in this scene is primarily internal, as the emotions vie for control over Riley's actions. It sets up the ongoing struggle between Joy and the other emotions.

Opposition: 7

The opposition in the scene adds conflict and drama, keeping the audience engaged.

High Stakes: 5

The stakes in this scene are relatively low, focusing more on the internal struggles of the emotions rather than external threats. However, it sets up the importance of maintaining Riley's emotional balance.

Story Forward: 8

The scene effectively sets up the central conflict and themes of the story, moving the narrative forward and engaging the audience in Riley's emotional journey.

Unpredictability: 7

This scene is unpredictable because of the unexpected interactions between the personified emotions and memories.

Philosophical Conflict: 8

The philosophical conflict in this scene is between the protagonist's desire for happiness and the presence of sadness in her memories.


Audience Engagement

Emotional Impact: 7

The scene elicits a range of emotions from the audience, from amusement at the interactions between the emotions to empathy for Riley's emotional journey.

Dialogue: 7

The dialogue is witty and reveals the personalities of the characters. It sets the tone for the scene and establishes the dynamics between the emotions.

Engagement: 9

This scene is engaging because of its unique concept, humor, and emotional depth.

Pacing: 8

The pacing of the scene effectively builds tension and emotion, enhancing its overall impact.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre, effectively conveying the fantastical elements of the protagonist's mind.

Structure: 8

The structure of the scene effectively transitions between the real world and the protagonist's mind, creating a cohesive narrative flow.


Critique
  • The scene lacks a clear transition between Riley swatting the broccoli and Dad's reaction, making the action feel disjointed.
  • The introduction of Anger and his reaction to the dessert threat feels forced and abrupt, lacking a smooth build-up.
  • The shift from Anger's outburst to Dad distracting Riley with an airplane feels rushed and could benefit from a smoother transition.
  • The dialogue between the emotions in Headquarters, while informative, feels a bit expository and could be more integrated into the scene organically.
  • The interaction between Joy and Sadness at the end of the scene feels superficial and doesn't delve deep into their dynamic or the potential conflict between them.
Suggestions
  • Consider adding a smoother transition between Riley swatting the broccoli and Dad's reaction to create a more cohesive flow of action.
  • Build up Anger's reaction to the dessert threat more gradually to make it feel more organic and in line with his character.
  • Work on creating a more seamless transition from Anger's outburst to Dad distracting Riley with the airplane to improve the pacing of the scene.
  • Integrate the dialogue between the emotions in Headquarters more naturally into the scene to avoid it feeling too expository.
  • Develop the interaction between Joy and Sadness at the end of the scene to add depth to their dynamic and set up potential conflicts for future scenes.



Scene 3 - The Islands of Personality
EXT. MINNESOTA LAKE, WINTER - DAY

Two-and-a-half-year-old Riley shoots a hockey puck across the
ice. She trips and accidentally scores a goal.
INSIDE OUT 7.

MOM/DAD
(cheering)
Heeey! Would you look at that?! We
got a future center here!


INT. HEADQUARTERS

A super-bright CORE MEMORY rolls in.

It rolls to the Core Memory Holder. Clicking into position,
a LIGHTLINE shoots out. The Emotions follow it to the back
window and watch a new ISLAND OF PERSONALITY form.

JOY (V.O.)
And each core memory powers a
different aspect of Riley’s
personality. Like Hockey Island!

Five ISLANDS OF PERSONALITY float in space, miles from
Headquarters, connected by LIGHTLINES -- their power sources.

JOY (V.O.)
Goofball Island is my personal
favorite.


INT. MINNESOTA LIVING ROOM - NIGHT

Toddler Riley runs naked from the bathroom, underpants on her
head, laughing wildly. Dad chases her with a towel.

DAD
Come back here, you little monkey!


INT. HEADQUARTERS

Goofball Island activates: lights, movement, etc.


INT. MINNESOTA LIVING ROOM

Naked Riley does the goofy dance on the sofa.


INT. HEADQUARTERS

JOY (V.O.)
Yup, Goofball is the best! Friendship
Island is pretty good too.

Joy looks at FRIENDSHIP ISLAND.
INSIDE OUT 8.

EXT. SIDEWALK - DAY

Riley and Meg walk leg over leg, arms linked, laughing.


INT. HEADQUARTERS

Joy inspects Honesty Island.

JOY (V.O.)
Oh, I love Honesty Island! And
that's the truth!


INT. MINNESOTA HOUSE - DAY

A guilty Riley stands by a broken plate. She reveals a
HAMMER from behind her back.


INT. HEADQUARTERS

Joy examines Family Island.

JOY (V.O.)
And, of course, Family Island is
amazing.


EXT. MINNESOTA KITCHEN TABLE - DAY

The family decorate cookies together. Riley stuffs one into
Dad's mouth.


INT. HEADQUARTERS

The Emotions look out over the Islands of Personality.

JOY (V.O.)
The point is, the Islands of
Personality are what make Riley...
Riley!


INT. BATHROOM

Riley splashes in the bathtub.

YOUNG RILEY
Look out, mermaid!
INSIDE OUT 9.

INT. MINNESOTA LIVING ROOM

Riley climbs the couch. She looks at the floor.


INT. HEADQUARTERS

Joy projects an IMAGINATION of LAVA onto the screen.


INT. MINNESOTA LIVING ROOM

YOUNG RILEY
Lava!

Riley jumps from couch to chair to avoid the lava.


INT. MINNESOTA HOUSE

Riley draws. Pull back to reveal she’s drawing on the wall.

YOUNG RILEY
(singing)
Who’s your friend who likes to
play? Bing Bong, Bing Bong...
Genres: ["Animation","Family","Comedy"]

Summary This scene introduces the concept of 'Islands of Personality' within Riley's mind. Each island represents a different aspect of her identity, like Goofball Island for her playful nature and Friendship Island for her bond with Meg. These islands are formed by core memories, visualized as lightlines connecting them to headquarters. We see various moments from Riley's life that contribute to the creation of these islands, showcasing her innocence, imagination, and love for family and friends. The scene ends with Riley drawing and singing about her imaginary friend Bing Bong, highlighting the importance of her imagination.
Strengths
  • Engaging concept introduction
  • Visual storytelling
  • Character development
Weaknesses
  • Limited dialogue dynamics
  • Low conflict level

Ratings
Overall

Overall: 8

The scene effectively introduces a key concept of the film while maintaining a light and engaging tone. It provides insight into Riley's character development and sets up the dynamics between the Emotions in an entertaining way.


Story Content

Concept: 9

The concept of Islands of Personality is crucial to understanding Riley's character and how her emotions shape her experiences. The scene effectively conveys this complex idea in a visually engaging and accessible manner.

Plot: 7

The plot in this scene focuses on showcasing Riley's early memories and the formation of her personality islands. While it moves the story forward by establishing key elements, it is more focused on world-building and character development.

Originality: 9

The scene showcases a highly original concept of personifying the inner workings of a young girl's mind, with fresh and authentic character interactions and dialogue.


Character Development

Characters: 8

The Emotions in Headquarters are well-defined and each has a distinct personality that adds depth to the scene. Riley's character is also beginning to take shape through her interactions and actions.

Character Changes: 6

While there is not significant character change in this scene, it sets the stage for Riley's development by establishing the core elements of her personality and how they are influenced by her emotions.

Internal Goal: 8

The protagonist's internal goal in this scene is to explore and understand the different aspects of her personality represented by the islands. This reflects her curiosity and desire to comprehend her own identity.

External Goal: 7

The protagonist's external goal is not explicitly stated in this scene, but it seems to revolve around her interactions with her family and the world around her.


Scene Elements

Conflict Level: 5

While there is a minor conflict between Riley and her dad over eating broccoli, the scene is more focused on introducing the concept of personality islands and showcasing the dynamics between the Emotions.

Opposition: 7

The opposition in the scene is moderate, with internal and external conflicts providing a sense of challenge and growth for the protagonist.

High Stakes: 4

The stakes are relatively low in this scene, focusing more on character development and world-building. The conflict is minor and serves as a vehicle for introducing key concepts rather than raising tension.

Story Forward: 7

The scene moves the story forward by introducing key concepts and setting up the dynamics between the Emotions. It lays the groundwork for understanding Riley's character and the role of her emotions in shaping her experiences.

Unpredictability: 7

The scene is somewhat predictable in its exploration of the protagonist's internal and external conflicts, but still maintains a level of intrigue and emotional resonance.

Philosophical Conflict: 8

There is a philosophical conflict between the different aspects of the protagonist's personality represented by the islands. This conflict challenges her sense of self and the balance between different traits.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of nostalgia and innocence as it explores Riley's early memories and the formation of her personality. It sets a foundation for emotional resonance as the story progresses.

Dialogue: 6

The dialogue serves the purpose of explaining the concept of Islands of Personality and setting up the dynamics between the Emotions. It is informative and engaging but could be more dynamic to enhance the scene.

Engagement: 9

This scene is engaging due to its emotional depth, imaginative world-building, and relatable character dynamics.

Pacing: 8

The pacing of the scene effectively builds tension and emotional resonance, enhancing the overall impact of the narrative.


Technical Aspect

Formatting: 8

The formatting of the scene aligns with the expected format for its genre, effectively conveying the visual and emotional elements of the story.

Structure: 8

The scene follows a unique structure that effectively conveys the inner and outer conflicts of the protagonist, enhancing the overall narrative.


Critique
  • The scene transitions between different moments in Riley's life quite abruptly, which can be disorienting for the audience.
  • The introduction of multiple Islands of Personality and core memories in quick succession may overwhelm viewers with information.
  • The visual representation of the Islands of Personality and core memories could be more distinct and visually engaging to enhance the audience's understanding.
  • The dialogue provided by Joy as a narrator feels a bit forced and could be integrated more naturally into the scene.
  • The scene lacks a clear emotional throughline or central conflict, making it feel more like a series of disconnected vignettes rather than a cohesive narrative.
Suggestions
  • Consider streamlining the scene by focusing on one or two key moments that best represent Riley's personality and growth.
  • Integrate the introduction of the Islands of Personality and core memories more organically into the storytelling, perhaps through character interactions or visual cues.
  • Enhance the visual representation of the Islands of Personality to make them more visually engaging and memorable for the audience.
  • Explore ways to incorporate the emotional journey of Riley more prominently in the scene to create a stronger emotional connection with the audience.
  • Consider adding a central conflict or theme to tie the different moments together and give the scene a more cohesive structure.



Scene 4 - Leaving Home: A Journey Across America
EXT. MINNESOTA LAKE - DAY

Six-year-old Riley skates across the ice backwards.

MOM/DAD
Hey! Very nice! Where did you learn
that?


INT. HEADQUARTERS

Joy skates around the room, in sync with Riley.


EXT. MINNESOTA FRONT STEPS - DAY

Riley and Meg slurp frozen drinks. Riley grimaces: ice
headache!


INT. HEADQUARTERS

FEAR
Brain freeze!

The Emotions scream as Headquarters freezes over.
INSIDE OUT 10.

EXT. MINNESOTA LAKE - DAY

A kids’ hockey game. Riley takes a shot and scores!


INT. HEADQUARTERS

JOY
Yaaay!


INT. RILEY’S MINNESOTA BEDROOM - NIGHT

Parents tuck Riley into bed and turn off the light.

DAD
Good night, kiddo!

RILEY
G’night, Dad.

She looks up at the stars on her ceiling and falls asleep.


INT. HEADQUARTERS

Joy watches the screen go DARK. She inspects the shelves
mostly populated with GOLDEN MEMORIES.

JOY
And... we’re out. That’s what I’m
talking about: another perfect day!
Nice job everybody! Let’s get those
memories down to Long Term.

Joy pulls a lever. Memories cascade down the shelves.

FEAR
All right, we did not die today! I
call that an unqualified success.

The memories pachinko down the shelves and up a tube. Joy
runs to the back window to watch them glide through the
distant tubes towards Long-Term Memory like falling stars.

JOY (V.O.)
And that’s it! We love our girl.
She’s got great friends and a great
house. Things couldn’t be better.
After all, Riley’s 11 now. What
could happen?

CUT TO:
INSIDE OUT 11.

EXT. MINNESOTA HOUSE FRONT YARD - DAY

Moving sign: Sold!


INT. HEADQUARTERS

JOY
Wha...?

SADNESS/FEAR/ANGER/DISGUST
AIIIIIGHH!!!


EXT. DRIVEWAY - DAY

SLAM! A packed car hatchback closes.


INT. HEADQUARTERS

JOY
Huh?

SADNESS/FEAR/ANGER/DISGUST
AIIIIIGHH!!!


EXT. MINNESOTA STREET - DAY

VROOM! A moving van drives away.


INT. HEADQUARTERS

JOY
OK, not what I had in mind.

SADNESS/FEAR/ANGER/DISGUST
AIIIIIGHH!!!


EXT. AMERICAN HIGHWAYS

A SERIES OF SHOTS: the family car drives across America. The
car passes corn fields and rolling hills.

TITLE CARD: A PIXAR ANIMATION STUDIOS FILM

Riley sleeps in the back seat. The car zips around a
mountain curve, down a desert highway.

Riley looks out the back window.
INSIDE OUT 12.

The car emerges from a tunnel onto the GOLDEN GATE BRIDGE.

TITLE CARD: INSIDE OUT

The car drives across the bridge. Riley looks out the window.

JOY (V.O.)
Hey look! The Golden Gate Bridge!
Isn’t that great?! It’s not made
out of solid gold like we thought,
which is kind of a disappointment,
but still!

The car drives past the Ferry Building.


INT. HEADQUARTERS

FEAR
I sure am glad you told me
earthquakes are a myth, Joy.
Otherwise I’d be terrified right
now!

Everyone eyes each other behind Fear’s back.

JOY
Uh... yeah.


EXT. LOMBARD STREET - DAY

The car is stuck in traffic. Cars HONK and people YELL.


INT. HEADQUARTERS

ANGER
These are my kind of people!


EXT. MARKET STREET - DAY

DAD
All right, just a few more blocks.
We’re almost to our new house!


INT. HEADQUARTERS

ANGER
Step on it, Daddy!
INSIDE OUT 13.

DISGUST
Why don't we just live in this
smelly car? We've already been in
it forever.

JOY
Which, actually, was really lucky,
because that gave us plenty of time
to think about what our new house
is going to look like! Let’s review
the top five daydreams.

Joy plugs in DAYDREAMS showing fantasy houses: tree house,
water-slide house, etc.

FEAR
Ooh! That looks safe!

JOY
Ohh, this is will be great for
Riley! Oh, no, no, no, THIS one.

A gingerbread house.

DISGUST (O.S.)
Ugh, Joy. For the last time, she
cannot live in a cookie.

A castle.

ANGER
THAT’S the one! It comes with a
dragon!
Genres: ["Animation","Comedy","Family"]

Summary Riley enjoys a hockey game on a frozen lake in Minnesota before her family embarks on a cross-country move. The scene follows their journey, filled with excitement and anticipation as they travel through various states, culminating in their arrival at a new city. While Riley is excited about the change, her emotions are apprehensive about the unknown, foreshadowing the challenges they will face in their new life.
Strengths
  • Innovative concept of personifying emotions
  • Engaging dialogue that reflects character personalities
  • Effective establishment of key plot elements
Weaknesses
  • Limited character development in this scene
  • Stakes could be more clearly defined

Ratings
Overall

Overall: 8

The scene effectively sets up the premise of the movie by introducing key elements like Headquarters, Core Memories, and different islands of personality. It establishes a whimsical and nostalgic tone while providing humor and insight into the inner workings of a child's mind.


Story Content

Concept: 9

The concept of personifying emotions and exploring how they influence Riley's behavior is innovative and engaging. The introduction of Core Memories and islands of personality adds depth to the story and sets up the central conflict of the movie.

Plot: 7

The plot of the scene focuses on Riley's move to a new house, setting up the central conflict of the movie. It effectively establishes the stakes and introduces key elements that will drive the story forward.

Originality: 9

The scene introduces unique elements like a memory headquarters and showcases fresh approaches to familiar themes of change and adaptation. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters are well-defined and each emotion is distinct in their personality and motivations. Joy, Fear, Anger, Sadness, and Disgust all play important roles in shaping Riley's experiences and reactions.

Character Changes: 6

While the characters do not undergo significant changes in this scene, their reactions to Riley's move foreshadow the internal struggles and growth they will experience throughout the movie.

Internal Goal: 8

The protagonist's internal goal is to maintain a sense of joy and positivity despite the unexpected changes happening in her life.

External Goal: 7

The protagonist's external goal is to adapt to her new surroundings and make the best of the situation.


Scene Elements

Conflict Level: 6

The conflict in the scene is primarily internal, as Riley's emotions react to the changes in her life. The move to a new house creates tension and sets up the central conflict of the movie, but the stakes are not yet fully realized.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing unexpected challenges that test her resilience and ability to find joy in difficult situations.

High Stakes: 6

The stakes are moderately high in this scene, as Riley's move to a new house represents a significant change in her life. The emotions' reactions hint at the challenges she will face, but the full extent of the stakes is yet to be revealed.

Story Forward: 8

The scene effectively moves the story forward by establishing key elements of the plot, introducing the central conflict, and setting up the emotional journey that Riley will embark on. It lays the foundation for the narrative to unfold.

Unpredictability: 7

This scene is unpredictable because of the sudden changes and unexpected events that challenge the protagonist's sense of joy and positivity.

Philosophical Conflict: 6

The philosophical conflict revolves around the idea of embracing change and finding joy in new experiences, even when they are unexpected or challenging.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of nostalgia and whimsy, engaging the audience in Riley's journey. The introduction of Core Memories and the emotions' reactions to the move create an emotional connection and set the stage for deeper exploration of Riley's emotional development.

Dialogue: 7

The dialogue is witty and engaging, reflecting the unique personalities of each emotion. It effectively conveys information about the inner workings of Riley's mind while providing humor and insight.

Engagement: 9

This scene is engaging because of its mix of humor, emotion, and fantastical elements. The characters' reactions and the unfolding events keep the audience invested in the story.

Pacing: 8

The pacing of the scene effectively builds tension and emotion, leading to a climactic moment of change and uncertainty.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, adhering to the expected format for its genre.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions, fitting the expected format for its genre.


Critique
  • The scene transitions between Riley's life in Minnesota and the reactions of the Emotions in Headquarters, which can be a bit disjointed and may confuse the audience.
  • The use of multiple locations and quick cuts between them may make the scene feel rushed and lacking in emotional depth.
  • The Emotions' reactions in Headquarters, while comical, may overshadow the emotional impact of Riley's family moving across America.
  • The scene lacks a clear emotional throughline for Riley, as the focus shifts between her experiences and the Emotions' responses.
  • The dialogue between the Emotions in Headquarters feels forced and may detract from the authenticity of the scene.
Suggestions
  • Consider focusing more on Riley's perspective and emotional journey during the move, rather than the reactions of the Emotions in Headquarters.
  • Streamline the scene by choosing one central location to anchor the narrative, either Riley's experiences or the Emotions' reactions.
  • Ensure that the transitions between Riley's life in Minnesota and the Emotions in Headquarters are seamless and serve to enhance the emotional impact of the scene.
  • Introduce moments of reflection or introspection for Riley to allow the audience to connect with her on a deeper level.
  • Revisit the dialogue between the Emotions to make it more organic and reflective of their individual personalities.



Scene 5 - Moving Day Mayhem
EXT. SAN FRANCISCO HOUSE - DAY

JOY (O.S.)
Now we’re getting close, I can feel
it. Here it is, here’s our new
house... and...

The car stops and Riley steps out.

REVEAL: a run-down Victorian. Nothing like the daydreams.


INT. HEADQUARTERS

Everyone looks slackjawed.

JOY
Maybe it’s nice on the inside.
INSIDE OUT 14.

INT. SAN FRANCISCO HOUSE - CONTINUOUS

Riley steps inside. The room is dark, dusty, uninviting.

ANGER (V.O.)
We’re supposed to live here?

SADNESS (V.O.)
Do we have to?

DISGUST (V.O.)
I’m telling you, it smells like
something died in here.


INT. HEADQUARTERS

A disgust memory rolls in.

FEAR
Can you die from moving?

JOY
Guys, you’re overreacting. Nobody
is dying--

DISGUST
A DEAD MOUSE!!!

ON THE SCREEN: A dead mouse in the corner.

DISGUST (O.S.) (CONT’D)
I’m gonna be sick...

ANGER (O.S.)
Great, this is just great.

FEAR (O.S.)
Ahhhhh!! It’s the house of the
dead! What are we gonna do?! We’re
gonna get rabies!!!

Fear jumps into Anger’s arms. Anger fires up the flames.

ANGER
GET OFFA ME!!!

Fear runs around on fire. Joy puts him out with a fire
extinguisher.

JOY
Hey, hey, hey, all through the
drive Dad talked about how cool our
new room is. Let’s go check it out!
INSIDE OUT 15.

FEAR/ANGER/DISGUST (O.S.)
You’re right, Joy/Yeah!/That’s
right!/Yes, yes, yes!


INT. SAN FRANCISCO HOUSE

Riley dashes up the stairs.


INT. RILEY’S ROOM - CONTINUOUS

It’s tiny. Depressing.

FEAR/DISGUST/ANGER (O.S.)
No, no, no, no, no./I’m starting to
envy the dead mouse./Get out the
rubber ball, we’re in solitary
confinement.


INT. HEADQUARTERS

SADNESS
Oh, Riley can’t live here.

ANGER FEAR
She's right. Really bad.

DISGUST ANGER
It’s the worst. It’s This house stinks.
absolutely the worst.

Memories roll in: anger, disgust, fear.

JOY
Hey, it’s nothing our butterfly
curtains couldn’t fix. I read
somewhere that an empty room is an
opportunity.

ANGER
Where did you read that?

JOY
It doesn’t matter. I read it and
it’s great. We’ll put the bed
there. And the desk over there...

Joy projects an IMAGINATION of Riley’s furniture.

FEAR
The hockey lamp goes there...
INSIDE OUT 16.

ANGER DISGUST
Put the chair there. Well, the trophy collection
goes there.

SADNESS FEAR
Posters... Stars! I like that.

JOY
Now we’re talking! Let’s go get our
stuff from the moving van!


INT. SAN FRANCISCO HOUSE - DAY

Riley dashes down the stairs as Mom and Dad enter the house.
Dad is on the phone.

DAD
Alright. Goodbye.
(hangs up; to Mom)
Well, guess what? The moving van
won’t be here until Thursday.

MOM
You’re kidding.


INT. HEADQUARTERS

FEAR
The van is lost?! This is the worst
day ever!

ON THE SCREEN: Mom and Dad ARGUE.

MOM DAD
You said it would be here I know that’s what I said. *
yesterday! That’s what they told me!

FEAR (O.S.)
Mom and Dad are stressed out!

FEAR/ANGER/DISGUST/SADNESS
They’re arguing!/What are we going
to do?/This is so stressful./What
is their problem?

Joy runs to storage and grabs what looks to be a LIGHTBULB.

JOY
I’ve got a great idea!

She clicks the IDEA into the console.
INSIDE OUT 17.

INT. SAN FRANCISCO LIVING ROOM - DAY

Riley’s face lights up. Riley grabs her hockey stick. Puts a
wad of paper in play.

MOM DAD
Did you even read the Honey, you act like this is
contract? my fault-- *

RILEY
Andersen makes her move. She's
closing in!

DAD
(grabbing a broom)
Hey! Oh, no you’re not!

RILEY
She’s lining up for the shot!

DAD
Coming behind you! Watch out!

She slides past him. Knocks the “puck” into the fireplace.

RILEY
She shoots and she scores! Yeah!


INT. HEADQUARTERS

The Emotions cheer. Out the back window, Family Island runs.


INT. SAN FRANCISCO LIVING ROOM - CONTINUOUS

RILEY
(taunting Mom)
Come on, Grandma!

MOM
Ha! “Grandma?”


INT. HEADQUARTERS

JOY
Uh-oh, she put her hair up, we’re
in for it!
INSIDE OUT 18.

INT. SAN FRANCISCO LIVING ROOM

They all play hockey, Mom using a pillow to guard the “goal.”
Dad picks her up to shoot past her.

MOM
(laughing)
Woo! Hey, put me down!

Dad scoops up Riley, too. Riley giggles.


INT. HEADQUARTERS

A happy memory rolls in. Joy’s back in charge.


INT. SAN FRANCISCO LIVING ROOM

Dad’s cell phone beeps.

DAD
Ugh. Sorry, hold on, hold on.
(answers)
Hello?


INT. HEADQUARTERS

JOY
Wait. Wha--?


INT. SAN FRANCISCO LIVING ROOM

DAD
You’re kidding. All right. Stall
for me, I’ll be right there.
(hangs up)
The investor’s supposed to show up
on Thursday, not today! I gotta go.


INT. HEADQUARTERS

Joy is disappointed.


INT. SAN FRANCISCO LIVING ROOM

MOM
It's okay. We get it.
INSIDE OUT 19.

DAD
You’re the best. Thanks, Hon.
(to Riley, as he leaves)
See you, Sweetie.


INT. HEADQUARTERS

FEAR
Dad just left us.

SADNESS
Oh, he doesn’t love us anymore.
That’s sad. I should drive, right?

JOY BLOCKS HER.

SADNESS (CONT’D)
Joy? What are you doing?

JOY
Uh, just uh, gimme one second...
You know what I’ve realized? Riley
hasn’t had lunch!
(takes a memory off the
wall and plays it)
Remember?

MEMORY: A PIZZA SHOP.
Genres: ["Animation","Comedy","Family"]

Summary Riley and her family arrive at their new home in San Francisco, but the unfamiliar surroundings and a dead mouse discovery leave Riley's emotions in disarray. Joy tries to rally the team by visualizing a cozy room for Riley, but the delayed arrival of their belongings leads to tension. The family finds a temporary solution in a game of hockey, boosting their spirits. However, Dad's departure to meet an investor leaves Riley and her mom feeling a bit down.
Strengths
  • Humorous dialogue
  • Creative concept of personified emotions
  • Emotional depth and resonance
Weaknesses
  • Lack of major character development
  • Limited external conflict

Ratings
Overall

Overall: 8

The scene effectively combines humor, emotion, and character development to create an engaging and entertaining sequence that advances the story.


Story Content

Concept: 9

The concept of emotions as characters inside Riley's mind is innovative and well-executed, adding depth and humor to the narrative. The scene effectively explores the impact of emotions on Riley's behavior and decisions.

Plot: 8

The plot of the scene revolves around the family moving to a new house, highlighting the challenges and emotions that come with such a significant change. The introduction of conflict and resolution keeps the audience engaged.

Originality: 9

The scene offers a fresh take on the theme of resilience and adaptation, with unique character interactions and humorous moments that set it apart from typical scenes of moving into a new house.


Character Development

Characters: 8

The characters, representing different emotions, are well-defined and play distinct roles in the scene. Their interactions and reactions add depth and humor to the narrative.

Character Changes: 6

While there is not a significant character arc in this scene, the emotions experience minor shifts in their attitudes and behaviors as they navigate the challenges of moving day.

Internal Goal: 8

The protagonist's internal goal is to maintain a positive attitude and find opportunities in the face of adversity, reflecting their need for optimism and resilience.

External Goal: 7

The protagonist's external goal is to adapt to their new living situation and make the best of it, reflecting the immediate challenge of adjusting to a less than ideal environment.


Scene Elements

Conflict Level: 7

The conflict arises from the family's disappointment with the new house and the stress of the moving process. The emotions' reactions to the situation create tension and humor.

Opposition: 7

The opposition in the scene adds conflict and tension, creating obstacles for the characters to overcome and driving the narrative forward.

High Stakes: 6

The stakes are relatively low in this scene, focusing more on the emotional impact of moving to a new house rather than life-threatening situations. However, the characters' reactions make the stakes feel significant.

Story Forward: 8

The scene moves the story forward by introducing the new setting, establishing the family dynamics, and setting up potential conflicts and resolutions. It sets the stage for future developments.

Unpredictability: 7

This scene is unpredictable due to the unexpected twists in the characters' reactions and the humorous moments that keep the audience guessing.

Philosophical Conflict: 6

The philosophical conflict revolves around finding positivity and opportunity in difficult circumstances, challenging the characters' beliefs about their ability to overcome challenges and find happiness.


Audience Engagement

Emotional Impact: 8

The scene elicits a range of emotions from the audience, including joy, anxiety, and empathy. The characters' emotional responses resonate with viewers and enhance the storytelling.

Dialogue: 7

The dialogue effectively conveys the emotions and personalities of the characters, contributing to the humor and tone of the scene. The banter between the emotions adds comedic value.

Engagement: 9

This scene is engaging because of its humor, emotional depth, and relatable themes of resilience and adaptation.

Pacing: 8

The pacing of the scene effectively builds tension and emotion, leading to a satisfying resolution and character development.


Technical Aspect

Formatting: 8

The scene follows standard formatting conventions for its genre, with clear scene headings, dialogue formatting, and action descriptions.

Structure: 8

The scene follows a clear structure with well-defined character arcs and a cohesive narrative flow, fitting the expected format for its genre.


Critique
  • The scene transitions abruptly from the exterior of the house to Headquarters, which may be confusing for the audience.
  • The introduction of the Emotions' voices as voiceovers can be distracting and disrupt the flow of the scene.
  • The Emotions' reactions to the new house feel exaggerated and over-the-top, which may not resonate with the audience.
  • The dialogue between the Emotions lacks depth and complexity, making their interactions feel one-dimensional.
  • The resolution of the conflict with the dead mouse and the Emotions' reactions could be more nuanced and realistic.
Suggestions
  • Consider smoother transitions between locations to improve the coherence of the scene.
  • Integrate the Emotions' voices more seamlessly into the narrative to avoid disrupting the scene's flow.
  • Add more subtlety and depth to the Emotions' reactions to make them more relatable and engaging.
  • Enhance the dialogue between the Emotions to add layers to their personalities and interactions.
  • Develop a more realistic and nuanced resolution to conflicts to make the scene more emotionally resonant.



Scene 6 - Broccoli Pizza and Dinosaur Memories
INT. SAN FRANCISCO LIVING ROOM

RILEY
Hey I saw a pizza place down the
street. Maybe we could try that?

MOM
Pizza sounds delicious!


INT. HEADQUARTERS

FEAR/ANGER/DISGUST
Yeah!/Pizza!/Good idea, Joy.

Joy smiles.


INT. PIZZA PLACE - DAY

Riley and Mom get their pizza. On it: broccoli.
INSIDE OUT 20.

INT. HEADQUARTERS

FEAR/JOY/DISGUST
What the HECK IS THAT?!/Who puts
broccoli on pizza?/That’s it. I’m
done.

ANGER
Congratulations, San Francisco,
you’ve ruined pizza! First the
Hawaiians, and now YOU!


EXT. SAN FRANCISCO STREET - LATER

Mom and Riley walk home. Riley looks disappointed.

MOM
What kind of a pizza place only
serves one kind of pizza? Must be a
San Francisco thing, huh?


INT. HEADQUARTERS

Joy glances at the wall of multi-colored memories. She sighs:
things are not going well.


EXT. SAN FRANCISCO STREET - CONTINUOUS

MOM
Still, it’s not as bad as the soup
at that diner in Nebraska.

RILEY
Oh yeah. The spoon stood up in the
soup by itself! That was
disgusting.


INT. HEADQUARTERS

Joy looks out the back window. Family Island is going.

JOY
Oh good. Family is running.


EXT. SAN FRANCISCO STREET

MOM
The drive out was pretty fun, huh?
What was your favorite part?
INSIDE OUT 21.

INT. HEADQUARTERS

ANGER
Spitting out the car window!

DISGUST
Definitely not when Dad was
singing.

FEAR
Wearing a seat belt!

JOY
What about the time with the
dinosaur!

Joy pulls up a memory.

SADNESS/FEAR/ANGER/DISGUST
Yeah./Yup./That’s the one.

ON THE SCREEN: Riley and Mom pose in front of a roadside
cement dinosaur in Vernal, Utah.

DAD (ON SCREEN)
Say cheese!

Behind Dad, the car rolls down the hill. No brakes!

RILEY (ON SCREEN)
Dad! Dad! Look behind you.

MOM (ON SCREEN)
Honey. The car! The car!

DAD (ON SCREEN)
Hold still. Huh?
(runs off after the car)
Stoooop! No no no nononono!!

Stegosaurus tail through the back window. The family laughs.

Enjoying the memory, Joy and the others chuckle.

FEAR
Nice one, Joy.
Genres: ["Animation","Comedy","Family"]

Summary Riley and her mom order a pizza in San Francisco with broccoli, which initially upsets the emotions in Riley's head. During their drive home, they reminisce about their trip and a scary encounter with a dinosaur. Joy pulls up a memory of the incident, which ends in laughter for the family, calming the emotions and shifting the tone from disappointment to joy.
Strengths
  • Humorous dialogue
  • Creative concept of emotions as characters
  • Nostalgic memories shared by the family
Weaknesses
  • Relatively low stakes
  • Limited character development in this specific scene

Ratings
Overall

Overall: 8

The scene effectively combines humor, nostalgia, and character development to engage the audience and move the story forward.


Story Content

Concept: 9

The concept of emotions as characters inside Riley's head is innovative and well-executed, adding depth and humor to the narrative.

Plot: 7

The plot introduces conflict and resolution through Riley's disappointment with the pizza and the family reminiscing about past adventures, setting up future dynamics.

Originality: 9

The scene introduces a fresh take on the concept of pizza toppings and explores the theme of family bonding through shared memories. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 8

The characters of Joy, Fear, Anger, Disgust, and Sadness are well-defined and contribute to the scene's humor and emotional depth.

Character Changes: 6

While there are no significant character changes in this scene, the interactions and memories shared hint at potential growth and development for the characters.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate her emotions and memories surrounding her experiences in San Francisco, particularly her disappointment with the pizza and the lack of variety in the pizza place.

External Goal: 7

The protagonist's external goal in this scene is to bond with her mom and reminisce about their road trip experiences, highlighting the importance of family and shared memories.


Scene Elements

Conflict Level: 6

The conflict between Riley's disappointment with the pizza and the family's differing opinions on their favorite memories adds tension and humor to the scene.

Opposition: 6

The opposition in the scene is moderate, with the characters facing challenges related to their differing opinions on food and family memories.

High Stakes: 5

The stakes are relatively low in this scene, focusing more on humor, nostalgia, and character dynamics rather than high-stakes drama.

Story Forward: 8

The scene moves the story forward by establishing the family dynamics, introducing key memories, and setting up future conflicts and resolutions.

Unpredictability: 7

This scene is unpredictable because of the unexpected twist of broccoli on pizza and the humorous family memories that unfold.

Philosophical Conflict: 6

The philosophical conflict evident in this scene is the clash between traditional and unconventional food choices, reflecting broader themes of acceptance and open-mindedness.


Audience Engagement

Emotional Impact: 7

The scene evokes a range of emotions from joy and amusement to nostalgia and disappointment, connecting the audience to the characters' experiences.

Dialogue: 8

The dialogue is witty, engaging, and reveals the personalities of the characters, enhancing the scene's humor and emotional impact.

Engagement: 9

This scene is engaging because it balances humor with emotional depth, creating a relatable and entertaining experience for the audience.

Pacing: 8

The pacing of the scene effectively balances dialogue, action, and reflection, maintaining the audience's interest and advancing the story.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings and character dialogue.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions, effectively advancing the narrative and developing the protagonist's emotional journey.


Critique
  • The scene lacks a clear connection between the events happening in Riley's external world (ordering pizza with broccoli) and the reactions of her emotions in Headquarters.
  • The dialogue between Riley and her mom feels disconnected from the emotions' reactions in Headquarters, making the scene feel disjointed.
  • The transition between the external world and Headquarters is abrupt and could be smoother to enhance the flow of the scene.
  • The humor in the scene, particularly Anger's reaction to broccoli on pizza, feels forced and could be more subtly integrated into the dialogue.
  • The emotional impact of the memories being played in Headquarters doesn't fully resonate with the external events happening in Riley's life, creating a disconnect for the audience.
Suggestions
  • Consider establishing a stronger link between the external events and the emotions' reactions to create a more cohesive narrative.
  • Work on integrating the dialogue between Riley and her mom with the emotions' responses in Headquarters to create a seamless transition between the two worlds.
  • Explore ways to smoothly transition between the external world and Headquarters to maintain the flow of the scene.
  • Refine the humor in the scene to make it more organic and in line with the overall tone of the screenplay.
  • Enhance the emotional resonance of the memories being played in Headquarters by aligning them more closely with the events unfolding in Riley's life.



Scene 7 - The Blueing of Memories
EXT. SAN FRANCISCO STREET

RILEY
(smiling)
I liked that time at the dinosaur.
That was pretty funny.
INSIDE OUT 22.

INT. HEADQUARTERS

Joy’s cheer is cut short when the dinosaur memory TURNS BLUE.


EXT. SAN FRANCISCO STREET - DAY

Riley’s smile fades.


INT. HEADQUARTERS

JOY
Wait. What? What happened?

Joy looks back. Sadness is touching the memory.

FEAR
She did something to the memory.

Joy tries to fix the memory.

JOY
What did you do?

SADNESS
I just touched it.

JOY
That shouldn’t make it change.

FEAR
Change it back, Joy!

Joy rubs it, but the memory stays blue.

JOY
I’m trying.

ANGER
You can’t change it back?

JOY
No, I guess I can’t!

DISGUST
Good going Sadness. Now when Riley
thinks of that moment with Dad,
she’s gonna feel sad. Bravo.

SADNESS
I’m sorry Joy... I don’t really
know-- I thought maybe, if you-- if
I-- if... I mean...
INSIDE OUT 23.

DISGUST
Joy, we've got a stairway coming up.


EXT. SAN FRANCISCO STREET - DAY

Riley runs towards a stairway and handrail.


INT. HEADQUARTERS

JOY
Just don’t touch any other memories
until we figure out what’s going on.

SADNESS
Okay.

JOY
(stepping up to controls)
Alright. Get ready, this is a
monster railing, and we are riding
it all the way down!


EXT. SAN FRANCISCO STREET - CONTINUOUS

Riley sits on the railing, ready to slide.


INT. HEADQUARTERS

Joy looks back: GOOFBALL ISLAND is whirring like crazy.


EXT. SAN FRANCISCO STREET

Riley goes to slide... but hops off and walks down instead.


INT. HEADQUARTERS

JOY
Wait, what? What happened?

Suddenly a CORE MEMORY ROLLS up to Joy’s feet.

FEAR
A core memory!

JOY
Oh no!
INSIDE OUT 24.

Out the back window, GOOFBALL ISLAND GOES DARK. Joy rushes to
the Core Memory Holder.

JOY (CONT’D)
Sadness! What are you doing?

SADNESS
It looked like one was crooked so I
opened it and then it fell out!

Joy pops the memory back in. GOOFBALL ISLAND comes back on.


EXT. SAN FRANCISCO STREET

Riley jumps back on the railing and slides down.

RILEY
Woo hoo!


INT. HEADQUARTERS

SADNESS
It’s just that... I wanted to maybe
hold one.

She reaches out to touch one, AND IT STARTS TO GO BLUE.

FEAR
JOY!

Joy pushes Sadness away before she can touch it.

JOY
Whoa, whoa, whoa!

The core memory TURNS BACK TO YELLOW.

JOY (CONT’D)
Sadness! You nearly touched a core
memory. And when you touch them, we
can’t change them back!

SADNESS
I know. I’m sorry. Something’s
wrong with me. It’s like I’m having
a breakdown.

JOY
You are not having a breakdown.
It’s stress.
INSIDE OUT 25.

SADNESS
I keep making mistakes like that.
I’m awful...

JOY
Nooo, you’re not.

SADNESS
...and annoying.

JOY
Well... uh... You know what? You
can’t focus on what’s going wrong.
There’s always a way to turn things
around, to find the fun!

SADNESS
Yeah. Find the fun. I don’t know
how to do that.

JOY
Okay. Well, try think of something
funny!

Long pause.

SADNESS
Oh! Remember the funny movie where
the dog dies?

JOY
Yeah, that’s not...
(tries another approach)
What about that time with Meg, when
Riley laughed so hard milk came out
of her nose? I mean come on...

INSERT: Riley spitting milk out of her nose, Meg laughing.

SADNESS
Yeah, that hurt. It felt like fire.

JOY
Okay, okay, don’t think of that.
Let’s try something else. What are
your favorite things to do?

SADNESS
My favorite? Um, well, I like it
when we’re outside.

JOY
That’s good! Like there’s the beach
and sunshine... Oh!
(MORE)
INSIDE OUT 26.
JOY (CONT'D)
Like that time we buried Dad in the
sand up to his neck?

INSERT: Riley at beach, Dad buried in sand.

SADNESS (V.O.)
I was thinking more like rain.

INSERT: Riley stands in a downpour.

JOY
Rain? Rain... is my favorite too!
We can stomp around in puddles...

INSERT: Riley happily jumps through puddles.

JOY (CONT’D)
There’s cool umbrellas, lightning
storms...

SADNESS (V.O.)
More like when the rain runs down
our back and makes our shoes soggy.
And we get all cold and shivery...

INSERT: Riley’s shoes fill with water. She looks miserable.

SADNESS
...and everything just starts
feeling droopy...

Sadness melts to the floor, crying.

JOY
Oh, hey, hey... easy. Why are you
crying? That’s really the opposite
of what we’re going for here.

SADNESS
Crying helps me slow down and
obsess over the weight of life's
problems.

JOY
Ugh, you know what? Let’s think
about something else. How about we
read some mind manuals, huh? Sounds
fun!

She drags Sadness over to a shelf of technical manuals.

SADNESS
I’ve read most of them.
INSIDE OUT 27.

JOY
Well have you read this one? This
seems interesting: “Long-Term
Memory Retrieval, Volume 47?”

SADNESS
No.

JOY
Ohhh! A real page turner!

SADNESS
(opens manual; reads)
“Long-Term Memory Data Selection
via channel sub-grouping?”

JOY
See? Fun already! You lucky dog,
you’re reading these cool things and
I gotta go work. Life is so unfair.

Joy walks away. But just as she thinks things are handled...
DING! Another memory -- Disgust -- slides in. Joy groans.
Genres: ["Animation","Comedy","Family"]

Summary As Riley slides down a railing in San Francisco, Joy desperately tries to keep her happy. Inside Riley's head, Sadness struggles to control her emotions, accidentally turning memories blue and nearly touching a core memory, plunging Goofball Island into darkness. Joy attempts to distract Sadness with happy thoughts and manuals, but her efforts are met with challenges as Sadness continues to struggle. The scene ends with Joy realizing that despite her efforts, Sadness's emotional struggles are far from over.
Strengths
  • Emotional depth
  • Humorous moments
  • Character development
Weaknesses
  • Some repetitive dialogue
  • Minor pacing issues

Ratings
Overall

Overall: 8

The scene effectively combines humor, emotion, and character development to create a compelling and engaging narrative.


Story Content

Concept: 9

The concept of personifying emotions and exploring memory storage is innovative and well-executed, adding depth to the story.

Plot: 8

The plot advances through the introduction of conflict and character dynamics, keeping the audience engaged and invested in the story.

Originality: 9

The scene introduces a fresh and imaginative concept of personifying emotions and exploring their impact on human behavior. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 8

The characters are well-defined and show growth, particularly in how they interact with each other and handle emotional challenges.

Character Changes: 8

Several characters, especially Sadness, show growth and development through their interactions and emotional experiences.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain Riley's emotional balance and prevent Sadness from affecting her core memories.

External Goal: 7

The protagonist's external goal is to prevent Sadness from touching any more memories and causing further emotional turmoil for Riley.


Scene Elements

Conflict Level: 7

The conflict between Joy and Sadness, as well as the challenge of managing memories, creates tension and drives the scene forward.

Opposition: 7

The opposition in the scene is strong, with Sadness posing a significant challenge to Joy's efforts to maintain Riley's emotional balance.

High Stakes: 6

While the stakes are not extremely high in this scene, the emotional well-being of Riley and the dynamics of her mind are at risk, adding tension to the narrative.

Story Forward: 8

The scene moves the story forward by introducing key concepts, developing character relationships, and setting up future conflicts.

Unpredictability: 7

This scene is unpredictable because of the unexpected actions of the characters and the emotional twists that keep the audience guessing.

Philosophical Conflict: 9

The philosophical conflict in this scene is the struggle between embracing sadness as a natural emotion and trying to maintain a facade of happiness. Joy represents the desire to always be positive, while Sadness represents the acceptance of negative emotions.


Audience Engagement

Emotional Impact: 9

The scene evokes a range of emotions, from humor to sadness, making it impactful and resonant with the audience.

Dialogue: 7

The dialogue effectively conveys the emotions and motivations of the characters, adding depth to the scene.

Engagement: 9

This scene is engaging because of its blend of humor, emotional depth, and suspenseful moments that keep the audience invested in the characters' journey.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged and invested in the characters' emotional journey.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene descriptions and character dialogue.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution.


Critique
  • The scene introduces a conflict between Joy and Sadness when Sadness accidentally turns a memory blue, leading to a struggle to fix it.
  • The dialogue between the emotions feels a bit repetitive and could benefit from more variety in responses and interactions.
  • The visual elements of the scene could be enhanced to better showcase the emotions' reactions and the impact of the blue memory.
  • The transition between Riley's external actions and the internal emotions' reactions could be smoother to maintain the flow of the scene.
  • The emotional dynamics between Joy and Sadness could be further explored to deepen their relationship and character development.
Suggestions
  • Consider adding more depth to the conflict by exploring the root cause of Sadness' actions and how it affects the other emotions.
  • Introduce more varied responses and interactions between the emotions to keep the dialogue engaging and dynamic.
  • Enhance the visual representation of the blue memory and its impact on the emotions to visually convey the emotional turmoil.
  • Smooth out the transitions between Riley's external actions and the internal emotions' reactions to maintain a cohesive narrative flow.
  • Further develop the emotional dynamics between Joy and Sadness to showcase their growth and understanding throughout the scene.



Scene 8 - Fear and Frustration in the New Home
INT. SAN FRANCISCO HOUSE - NIGHT

Riley hops down the stairs towards the living room.

DAD (O.S.)
(on phone)
What can we do? We’ve only got
capital to last a month, maybe two.
If we can't find investors by then,
we’re going to have to lay people
off.

Riley hears the stress in Dad’s voice.

RILEY
Mom! Dad! Come kiss me g’night!

MOM
Be right there!

DAD
(on phone)
I know, I know! We’ve got to land
this, okay?

Riley heads back upstairs.
INSIDE OUT 28.

INT. RILEY’S ROOM - MOMENTS LATER

Riley climbs into her sleeping bag.


INT. HEADQUARTERS

FEAR
Did you hear Dad? He sounded really
upset.


INT. RILEY’S ROOM

STRANGE NOISES from outside. Headlights cast shadows on the
wall. Riley looks scared.


INT. HEADQUARTERS

FEAR
What was that? Was it a bear? It’s
a bear!

DISGUST
There are no bears in San
Francisco!

ANGER
I saw a really hairy guy. He looked
like a bear.

FEAR
Oh, I’m so jumpy, my nerves are
shot!

DISGUST
Ew, I don’t want to hear about your
nerves!

ANGER
I’ll tell you what it is. This move
has been a bust.

FEAR
That’s what I’ve been telling you
guys! There are at least 37 things
for Riley to be scared of right now!

DISGUST
The smell alone is enough to make
her gag.
INSIDE OUT 29.

ANGER
I can’t believe Mom and Dad moved
us here!

JOY
Look, I get it. You guys have
concerns. But we’ve been through
worse! Tell you what: let’s make a
list of all the things Riley should
be HAPPY about!

ANGER
Fine. Let’s see... this house
stinks, our room stinks...

DISGUST
Pizza is weird here...

SADNESS
Our friends are back home...

FEAR
And all of our stuff is in the
missing van!

JOY
Oh c’mon, it could be worse...

DISGUST
Yeah, Joy. We could be lying on the
dirty floor. In a bag.
Genres: ["Animation","Comedy","Family"]

Summary Riley is trying to sleep in her new room but is disturbed by strange noises outside. This triggers fear and anxiety in her Headquarters, where her emotions argue about the move. Fear is worried about the noises, Anger blames the move for everything, Disgust is disgusted by the new surroundings, and Sadness misses their friends. Joy tries to encourage them to focus on the positive aspects of the move, but their brainstorming session is interrupted by another negative memory, Disgust, before they can find a solution.
Strengths
  • Innovative concept of emotions as characters
  • Humorous dialogue and interactions
  • Emotional depth and relatability
Weaknesses
  • Some dialogue could be more impactful
  • Stakes could be higher to increase tension

Ratings
Overall

Overall: 8

The scene effectively combines humor, emotion, and conflict to engage the audience and move the story forward.


Story Content

Concept: 9

The concept of emotions as characters inside Riley's head is innovative and adds depth to the storytelling, allowing for a unique exploration of internal conflict and growth.

Plot: 8

The plot effectively introduces the challenges Riley faces during the move, setting up conflicts and emotional arcs for the characters.

Originality: 8

The scene introduces a fresh approach to depicting family dynamics and internal struggles through the personification of emotions. The authenticity of the characters' actions and dialogue adds depth to the narrative.


Character Development

Characters: 8

The characters, particularly the emotions inside Riley's head, are well-developed and provide a diverse range of perspectives and reactions to the situation.

Character Changes: 7

The scene shows the beginning of character development for the emotions inside Riley's head, particularly Sadness, as they navigate the challenges of the move.

Internal Goal: 8

Riley's internal goal is to seek comfort and reassurance from her parents amidst the stressful situation. This reflects her deeper need for security and stability.

External Goal: 7

The protagonist's external goal is to navigate the challenges of moving to a new place and dealing with the financial struggles her family is facing. This reflects the immediate circumstances and obstacles she is encountering.


Scene Elements

Conflict Level: 7

The conflict between the different emotions inside Riley's head and the external challenges she faces creates tension and drives the narrative forward.

Opposition: 7

The opposition in the scene is strong, with conflicting perspectives and challenges that create obstacles for the protagonist to overcome.

High Stakes: 6

While the stakes are not life-threatening, the emotional stakes are high as Riley and her family navigate the challenges of moving to a new city and home.

Story Forward: 8

The scene effectively moves the story forward by introducing new conflicts, deepening character relationships, and setting up future developments.

Unpredictability: 7

This scene is unpredictable due to the shifting emotional dynamics and unexpected reactions of the characters, keeping the audience on their toes.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the characters' differing perspectives on the challenges they are facing. Joy tries to find positivity in the situation, while Fear, Disgust, and Anger focus on the negative aspects.


Audience Engagement

Emotional Impact: 8

The scene elicits a range of emotions from the audience, from humor to empathy, as they witness Riley's internal struggles and the efforts of her emotions to cope with the situation.

Dialogue: 7

The dialogue effectively conveys the personalities of the characters and moves the story forward, though some lines could be more impactful.

Engagement: 9

This scene is engaging because of the dynamic character interactions, humor, and underlying tension that keeps the audience invested in the unfolding events.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, contributing to its overall effectiveness in conveying the characters' struggles and conflicts.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings and dialogue formatting.

Structure: 8

The scene follows the expected structure for its genre, effectively transitioning between different locations and character interactions.


Critique
  • The scene lacks a clear focus and direction, jumping between Riley's actions in the house and the interactions of the emotions in Headquarters, which can be confusing for the audience.
  • The dialogue between the emotions feels forced and lacks depth, with each emotion simply stating their concerns without much nuance or development.
  • The transition between Riley's actions and the emotions' reactions is abrupt and disjointed, making it difficult to follow the emotional arc of the scene.
  • The scene fails to effectively convey the internal struggles of the emotions and their impact on Riley's behavior, missing an opportunity to deepen the emotional stakes of the story.
  • The conflict between the emotions and their attempts to find positivity in the situation is not fully explored or resolved, leaving the scene feeling incomplete.
Suggestions
  • Consider focusing on either Riley's perspective or the emotions' perspective to provide a clearer narrative thread.
  • Develop the dialogue between the emotions to reflect their individual personalities and motivations more effectively.
  • Create a smoother transition between Riley's actions and the emotions' reactions to maintain coherence and flow in the scene.
  • Explore the internal struggles of the emotions in more depth to highlight their impact on Riley's emotions and actions.
  • Ensure that the conflict introduced in the scene is resolved or progressed to maintain the momentum of the story.



Scene 9 - Joy Takes the Lead
INT. RILEY’S ROOM

Riley is lying on the dirty floor in a sleeping bag.


INT. HEADQUARTERS

JOY
Okay, I admit it, we had a rough
start. But think of all the good
things that--

ANGER
No, Joy. There’s absolutely no
reason for Riley to be happy right
now. Let us handle this.

FEAR
I say we skip school tomorrow and
lock ourselves in the bedroom.
INSIDE OUT 30.

DISGUST
We have no clean clothes. I mean,
no one should see us.

SADNESS
Yeah, we could cry until we can’t
breathe.

ANGER
We should lock the door and scream
that curse word we know. It’s a
good one!

JOY
Now hold on! Look, we all have our
off days. You know, I--

ON THE SCREEN: Mom opens Riley’s bedroom door.

MOM
Hi honey.

ANGER
The Mom Bad News Train is pulling
in! Toot toot!


INT. RILEY’S ROOM

Mom sits next to Riley.

MOM
Still no moving van. Now they’re
saying it won’t be here ‘til
Tuesday, can you believe it?


INT. HEADQUARTERS

ANGER
Toot toot toot!


INT. RILEY’S ROOM

RILEY
Where’s Dad?

MOM
On the phone. This new venture is
keeping him pretty busy. Your dad’s
a little stressed -- you know,
about getting his new company up
and running...
INSIDE OUT 31.

INT. HEADQUARTERS

ANGER
I rest my case!

Joy sighs. She falls back from the controls. Anger steps up
to the console.

ANGER (CONT’D)
Now for a few well-placed withering
scowls.


INT. RILEY’S ROOM

MOM
I guess all I really want to say
is: thank you.


INT. HEADQUARTERS

ANGER
Huh?

Anger drops the controls.


INT. RILEY’S ROOM

MOM
You know, through all this
confusion you’ve stayed... well,
you’ve stayed our happy girl!

Mom brushes Riley’s cheek.

MOM (CONT’D)
Your dad’s under a lot of pressure.
But if you and I can keep smiling,
it would be a big help. We can do
that for him, right?


INT. HEADQUARTERS

Joy, smiling with renewed purpose, steps back to the console.

JOY
Whoa! Well.
INSIDE OUT 32.

INT. RILEY’S ROOM

RILEY
(smiles)
Yeah! Sure.

MOM
What did we do to deserve you?
(kisses Riley)
Sweet dreams.

RILEY
Good night.


INT. HEADQUARTERS

ANGER
Well, you can’t argue with Mom.
“Happy” it is.

FEAR DISGUST
Team Happy! Sounds great! I’m totally behind you, Joy.


INT. RILEY’S ROOM

Riley goes to sleep.


INT. HEADQUARTERS

The screen goes black.

JOY
Looks like we’re going into REM. I
got Dream Duty, so I’ll take care
of sending these to Long Term.
Great day today, guys! Sleep well
TEAM HAPPY!

The team heads off to bed.

Harp music plays.

JOY (CONT’D)
Alright, what's on tonight, Dream
Production?

ON THE SCREEN: a DREAM COMES UP.

The family FLIES happily through the air in the car. They
land in front of the house--
INSIDE OUT 33.

DAD
Well, this is it. The new place.

-- except it’s haunted! Organ music. Ghosts howling. The dead
mouse rises up into frame.

MOUSE
Come live with me, Riley!

The mouse falls over, dead. A bear enters, holding a pizza.

PIZZA BEAR
Somebody order a broccoli pizza?

The pizza slices hop up and dance a jig.

PIZZA SLICE
Eat me! I’m organic!
Genres: ["Animation","Comedy","Family"]

Summary Riley is upset about moving and lies in her room in a sleeping bag. Her mother tries to comfort her, reminding her of her happy nature. Meanwhile, the emotions in headquarters argue about how to handle Riley's distress, with Anger initially dominating. However, inspired by Riley's mother's words, Joy steps up and rallies the emotions to work together to bring Riley happiness. As Riley eventually falls asleep, the emotions enter REM sleep mode, transitioning into the world of Riley's dreams.
Strengths
  • Humorous dialogue
  • Heartwarming moments
  • Creative concept of emotions as characters
Weaknesses
  • Low conflict level
  • Limited character development

Ratings
Overall

Overall: 8

The scene effectively combines humor, heartwarming moments, and character development, making it engaging and entertaining for the audience.


Story Content

Concept: 9

The concept of emotions as characters inside Riley's head is innovative and well-executed, adding depth and humor to the story.

Plot: 7

The plot focuses on Riley's adjustment to a new home and the emotions' efforts to maintain a positive outlook, providing a good balance of humor and emotional depth.

Originality: 9

The scene introduces a fresh approach to depicting internal emotional struggles through the personification of emotions and their interactions. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 8

The characters, especially the emotions, are well-developed and engaging, each contributing to the scene's humor and emotional impact.

Character Changes: 6

While there is some development in the emotions' interactions and Riley's family dynamics, the character changes are not significant in this scene.

Internal Goal: 8

The protagonist's internal goal in this scene is to maintain a sense of happiness and positivity despite the challenges she is facing. This reflects her deeper need for emotional stability and resilience in the face of adversity.

External Goal: 7

The protagonist's external goal in this scene is to navigate the stress and pressure her father is under and to support him by staying positive. This reflects the immediate circumstances of her father's new venture and the delayed moving van.


Scene Elements

Conflict Level: 6

While there is some internal conflict among the emotions, the overall conflict level is relatively low, focusing more on humor and character dynamics.

Opposition: 7

The opposition in the scene is strong enough to create conflict and tension, keeping the audience engaged in the characters' struggles.

High Stakes: 5

The stakes are relatively low in this scene, focusing more on humor and character interactions than on high-stakes drama.

Story Forward: 7

The scene moves the story forward by establishing the emotions' roles and dynamics, setting up future conflicts and character arcs.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists in the characters' actions and dialogue, keeping the audience on their toes about how the situation will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the idea of maintaining happiness and positivity in the face of challenges. The emotions debate how to handle the situation, with Anger advocating for expressing negative emotions while Joy promotes staying happy.


Audience Engagement

Emotional Impact: 7

The scene elicits a range of emotions from the audience, including humor, warmth, and empathy, making it emotionally engaging.

Dialogue: 8

The dialogue is witty, humorous, and reflective of each character's personality, enhancing the scene's entertainment value.

Engagement: 9

This scene is engaging because of the dynamic interactions between the emotions, the relatable struggles of the protagonist, and the humorous dialogue that keeps the audience invested in the characters' journey.

Pacing: 8

The pacing of the scene effectively builds tension and emotion, leading to a satisfying resolution that advances the story.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with proper scene headings, dialogue formatting, and action descriptions.

Structure: 8

The scene follows the expected structure for its genre, with clear transitions between locations and a coherent progression of events.


Critique
  • The scene effectively showcases the internal conflict within Riley's mind as her emotions react to the situation in her life.
  • The dialogue between the emotions is engaging and highlights their distinct personalities and perspectives.
  • The transition between Riley's room and Headquarters is seamless and helps to connect the internal and external conflicts.
  • The scene effectively conveys the emotions' struggle to maintain a positive outlook despite the challenges Riley is facing.
  • The visual elements, such as the dead mouse and the dancing pizza slices, add a whimsical and comedic touch to the scene.
Suggestions
  • Consider adding more depth to the emotions' reactions to the situation, showcasing a wider range of emotions and internal conflicts.
  • Explore the possibility of incorporating more visual cues or metaphors to enhance the audience's understanding of the emotions' dynamics.
  • Provide more insight into Riley's thoughts and feelings during the scene to further connect the internal and external conflicts.
  • Consider adding a moment of reflection or growth for Riley or the emotions to show development or change in their perspectives.
  • Ensure that the transition between Riley's room and Headquarters remains clear and cohesive throughout the scene.



Scene 10 - Joy's Master Plan for a Great First Day
INT. RILEY’S ROOM

Riley frowns in her sleep.


INT. HEADQUARTERS

JOY
Ah, NO, who is in charge of
programming down there?! I know I’m
not supposed to do this, but...

Joy ducks behind the console and REBOOTS it. The dream ends.


INT. RILEY’S ROOM - NIGHT

Riley still looks troubled.


INT. HEADQUARTERS

JOY
We are not going to end the day
like this.

Joy has a thought. She recalls a memory.

ON THE SCREEN: Riley ice skates with her parents.

Joy watches, loving this kid. She shadows Riley, “skating”
around headquarters.
INSIDE OUT 34.

JOY (CONT’D)
Don’t you worry. I’m gonna make
sure that tomorrow is another great
day. I promise.


INT. RILEY’S ROOM - NIGHT

Riley SMILES in her sleep.


INT. KITCHEN - MORNING

Riley excitedly snarfs down breakfast cereal.


INT. HEADQUARTERS - MORNING

Joy plays the accordion around Headquarters. The others
appear, looking grumpy. Joy yells over the noise.

JOY
Hello! Did I wake you?

ANGER
DO you have to play that?

JOY
Well, I have to practice. And I
don’t think of it as playing so
much as hugging.

She tosses aside the accordion and runs off.

JOY (CONT’D)
Okay, first day of school! Very,
very exciting! I was up late last
night figuring out a new plan. Here
it is.
(to Fear)
Fear! I need a list of all the
possible negative outcomes on the
first day at a new school.

FEAR
Way ahead of you there. Does anyone
know how to spell “meteor?”

JOY
Disgust! Make sure Riley stands out
today... but also blends in.
INSIDE OUT 35.

DISGUST
When I’m through, Riley will look
so good the other kids will look at
their own outfits and barf.

JOY
(addressing herself)
Joy! Yes Joy? You’ll be in charge
of the console, keeping Riley happy
all day long. And may I add I love
your dress, it’s adorable. Oh, This
ol’ thing? Thank you so much, I
love the way it twirls...

TOOT TOOT! A TRAIN rushes by outside.

JOY (CONT’D)
Train of Thought! Right on
schedule.

The engineer waves from the cab and drops off a large bag.

JOY (CONT’D)
Anger! Unload the daydreams. I
ordered extra in case things get
slow in class.

ANGER
Might come in handy, if this new
school is full of boring useless
classes, which it probably will
be...

Sadness walks by. Joy stops her.

JOY
Oh - Sadness! I have a super
important job just for you.

SADNESS
Really?

JOY
Mmm-hmmm. Follow me.

CUT TO:


THE BACK OF THE ROOM

Joy draws a chalk circle on the floor around Sadness’s feet.

SADNESS
What are you doing?
INSIDE OUT 36.

JOY
(finishing the circle)
And... there. Perfect. This is the
circle of Sadness. Your job is to
make sure that all the Sadness
stays inside of it.

SADNESS
So... you want me to just stand
here?

JOY
Hey, it’s not MY place to tell you
how to do your job. Just make sure--
(nudging Sadness’ foot back
over the line)
--ALL the Sadness stays in the
circle.

Sadness stands there.

JOY (CONT’D)
See? You’re a pro at this! Isn’t
this fun?!

SADNESS
No.

JOY
(heading to the console)
Atta girl. Alright everyone, fresh
start! We are gonna to have a good
day, which will turn into a good
week, which will turn into a good
year, which turns into a good LIFE!
Genres: ["Animation","Comedy","Family"]

Summary Joy, determined to make Riley's first day of school a success, rallies the other emotions. She assigns Fear to list potential negative outcomes, Disgust to ensure Riley stands out but fits in, and Anger to clear out daydreams. Sadness, despite her reluctance, is tasked with keeping all sadness within a chalk circle. Joy's confident plan for a good day, week, year, and life sets the stage for a positive start to Riley's school experience.
Strengths
  • Creative concept of personified emotions
  • Engaging dialogue and character interactions
  • Emotional depth and resonance
Weaknesses
  • Some characters may be more developed than others
  • Limited external conflict or high stakes

Ratings
Overall

Overall: 8

The scene effectively introduces the concept of Headquarters and sets up the dynamics between the different emotions. It also establishes the central conflict of Riley adjusting to a new home and school, creating intrigue and emotional depth.


Story Content

Concept: 9

The concept of personified emotions and their influence on Riley's behavior is innovative and engaging. It adds a layer of complexity to the storytelling and allows for deeper exploration of the character's internal struggles.

Plot: 8

The plot introduces multiple storylines, including Riley's first day at a new school and her family's adjustment to a new home. It sets up conflicts and challenges that will drive the narrative forward.

Originality: 9

The scene introduces a fresh concept of personified emotions controlling the protagonist's actions, adding authenticity to the characters' emotions and dialogue.


Character Development

Characters: 7

The characters are well-defined and each emotion has a distinct personality. Joy's optimism and leadership, Sadness's vulnerability, Anger's fiery temperament, and Disgust's snarkiness create a dynamic group dynamic.

Character Changes: 7

The scene sets up the potential for character growth and change, particularly for Sadness who is struggling to find her place in Headquarters. It hints at future development and challenges for the characters.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate her emotions and find a balance between them to have a good day at school. This reflects her deeper need for emotional stability and happiness.

External Goal: 7

The protagonist's external goal in this scene is to have a successful first day at a new school and make a good impression on her peers. This reflects the immediate challenge of adapting to a new environment.


Scene Elements

Conflict Level: 7

The scene introduces internal and external conflicts, such as Riley's struggles with adjusting to a new home and school, as well as the tensions between the different emotions in Headquarters. These conflicts create tension and drive the narrative forward.

Opposition: 7

The opposition in the scene is strong enough to create tension and uncertainty about the protagonist's success in managing her emotions and experiences.

High Stakes: 6

While the stakes are not extremely high in this scene, the emotional and psychological challenges faced by Riley and her emotions create a sense of importance and urgency. The outcome of their struggles will have a significant impact on Riley's well-being.

Story Forward: 8

The scene moves the story forward by introducing key conflicts, establishing character dynamics, and setting up future plot developments. It lays the groundwork for future events and challenges.

Unpredictability: 7

This scene is unpredictable because of the unexpected interactions between the personified emotions and the protagonist, keeping the audience intrigued.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the struggle between embracing and managing different emotions. It challenges the protagonist's beliefs about the importance of each emotion in shaping her experiences.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from joy and hope to sadness and uncertainty. It establishes a strong emotional connection with the audience and sets up potential for character growth and development.

Dialogue: 7

The dialogue effectively conveys the personalities of the different emotions and sets up the conflicts and goals of the scene. It is witty, engaging, and reveals important information about the characters.

Engagement: 9

This scene is engaging because of its dynamic interactions between the characters, witty dialogue, and imaginative setting.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue-heavy moments with action and character interactions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with proper scene headings and character actions.

Structure: 8

The scene follows the expected structure for its genre, with clear transitions between different locations and interactions between characters.


Critique
  • The transition from Riley frowning in her sleep to Joy rebooting the console feels a bit abrupt and could be smoother.
  • The dialogue between Joy and the other emotions in Headquarters could be more dynamic and engaging to capture the audience's attention.
  • The scene lacks a clear visual representation of Riley's troubled state in her room, which could enhance the emotional impact of the scene.
  • The introduction of the Train of Thought and the daydreams feels a bit rushed and could be better integrated into the overall flow of the scene.
  • The interaction between Joy and Sadness regarding the chalk circle of Sadness could be more engaging and could show more of Sadness's reluctance and Joy's persistence.
Suggestions
  • Consider adding a brief transition or visual cue to connect Riley's troubled state in her room to Joy rebooting the console in Headquarters.
  • Enhance the dialogue between Joy and the other emotions by adding more humor, conflict, or depth to their interactions.
  • Include visual cues or actions in Riley's room to show her troubled state more clearly, such as tossing and turning in her sleep or a furrowed brow.
  • Integrate the introduction of the Train of Thought and the daydreams more seamlessly into the dialogue and actions of the scene.
  • Expand the interaction between Joy and Sadness to show more of Sadness's reluctance and Joy's persistence in assigning her the task of staying in the circle of Sadness.



Scene 11 - First Day Jitters and a Blue Memory
INT. SAN FRANCISCO HOUSE - MORNING

Mom helps Riley on with her backpack. Dad is on the phone.

MOM
So, the big day! New school, new
friends, huh?

RILEY
I know! I’m kinda nervous, but I’m
mostly excited! How do I look? Do
you like my shirt?


INT. HEADQUARTERS

Joy looks back at Family Island, working away.
INSIDE OUT 37.

INT. SAN FRANCISCO HOUSE - CONTINUOUS

MOM
Very cute! You gonna be okay? You
want us to walk with you?


INT. HEADQUARTERS

DISGUST
Mom and Dad? With us in public? No
thank you.

JOY
(operating console)
I’m on it.


INT. SAN FRANCISCO HOUSE

RILEY
Nope, I’m fine. Bye Mom! Bye Dad!

DAD
(covering phone)
Have a good day at school, Monkey!

All three make monkey sounds at each other.


INT. HEADQUARTERS

Goofball Island works out the back window.


INT. SAN FRANCISCO HOUSE

Riley giggles as she exits.

MOM
Have a great day, sweetheart.


EXT. SCHOOL - MORNING

Riley walks up to her new school. New kids everywhere. She
hesitates.

FEAR (O.S.)
Are you sure we want to do this?

JOY (O.S.)
In we go!
INSIDE OUT 38.

FEAR (O.S.)
Okayyy! Going in! Yes.

Riley perks up and walks in.


INT. CLASSROOM - MORNING

Riley sits at her desk and looks at the other kids in class.

DISGUST (O.S.)
Okay, we’ve got a group of cool
girls at 2 o’clock.


INT. HEADQUARTERS - CONTINUOUS

JOY
How do you know?

DISGUST
Double ears pierced, infinity
scarf...

A group of makeup-wearing girls look back at Riley.

JOY
Whoa. Is she wearing eye shadow?

DISGUST
Yeah, we want to be friends with
them.

JOY
Let’s go talk to ‘em!

DISGUST
Are you kidding?? We’re not TALKING
to them, we want them to like us.

JOY
Oh!
(then)
Wait, what?

FEAR
(drops a giant stack of
paper on the console)
Almost finished with the potential
disasters. Worst scenario is either
quicksand, spontaneous combustion,
or getting called on by the
teacher. So as long as none of
those happen...
INSIDE OUT 39.

INT. CLASSROOM

TEACHER
Okay, everybody. We have a new
student in class today.


INT. HEADQUARTERS

FEAR
Are you kidding me?! Out of the
gate? This is not happening!


INT. CLASSROOM

TEACHER
Riley would you like to tell us
something about yourself?


INT. HEADQUARTERS

FEAR
Nooooooo! Pretend we can’t speak
English!

JOY
Don't worry. I got this.

Joy pushes a lever.


INT. CLASSROOM

RILEY
Uhh... okay. My name is Riley
Andersen. I’m from Minnesota. And
now I live here.

TEACHER
And how about Minnesota?... Can you
tell us something about it? Well
you certainly get a lot more snow
than we do.


INT. HEADQUARTERS

JOY
(laughs)
She’s hilarious!

She turns a lever.
INSIDE OUT 40.

INT. CLASSROOM

Riley smiles, in spite of all the eyes on her.

RILEY
Yeah, it gets pretty cold. The lake
freezes over, and that’s when we
play hockey. I’m on a great team.
We’re called the Prairie Dogs. My
friend Meg plays forward. My Dad’s
the coach. Pretty much everyone in
my family skates.


INT. HEADQUARTERS

Joy recalls a MEMORY: the family skating together.


INT. CLASSROOM

Riley “watches” the memory, smiling.

RILEY
It’s a kind of family tradition. We
go out on the lake almost every
weekend.


INT. HEADQUARTERS

Joy smiles. Then, mysteriously, the IMAGE TURNS BLUE.


INT. CLASSROOM

Riley’s smile fades, her brow furrows.

RILEY
Or we did, ‘til I moved away.


INT. HEADQUARTERS

Confused, Joy looks around.

FEAR/DISGUST/ANGER
Huh?/Hey, what gives?/What?

JOY
Hey--

She spots Sadness, who is guiltily touching the memory.
INSIDE OUT 41.

JOY (CONT’D)
Sadness! You touched a memory?! We
talked about this.

SADNESS
Oh yeah, I know. I’m sorry.

JOY
Get back in your circle.
(trying to eject memory)
Gnnh! What’s going on? Why won’t it
eject?!!

She fiddles with the console, but the blue memory won’t move.

FEAR
Get it out of there, Joy!
Genres: ["Animation","Comedy","Family"]

Summary Riley, starting a new school in San Francisco, is nervous but excited. Inside her head, Joy tries to help Riley adjust and make friends, while Disgust focuses on coolness and Fear worries about potential disasters. During Riley's introduction, Joy guides her to give a heartfelt speech, but when Riley mentions leaving her family behind, the memory turns blue, indicating a deeper sadness. Joy struggles to eject the blue memory, leaving the audience with questions about its significance and the conflict between Joy and Sadness.
Strengths
  • Humorous dialogue
  • Emotional depth
  • Creative concept
Weaknesses
  • Limited external conflict
  • Some repetitive character interactions

Ratings
Overall

Overall: 8

The scene effectively combines humor, emotion, and character development to create an engaging and entertaining narrative.


Story Content

Concept: 9

The concept of emotions as characters in Riley's mind is innovative and well-executed, adding depth and humor to the story.

Plot: 8

The plot of Riley starting a new school is relatable and engaging, with the added layer of her emotions influencing her actions and reactions.

Originality: 9

The scene introduces a fresh take on the challenges of starting a new school and the complexities of emotional growth.


Character Development

Characters: 8

The characters of Joy, Sadness, Fear, Disgust, and Anger are well-defined and play off each other effectively, adding humor and depth to the scene.

Character Changes: 6

While there is not a significant character change in this scene, we see the emotions grappling with their roles and relationships within Riley's mind.

Internal Goal: 8

Riley's internal goal is to navigate her first day at a new school and make a good impression on her classmates.

External Goal: 7

Riley's external goal is to adapt to her new school environment and make friends.


Scene Elements

Conflict Level: 6

The conflict mainly arises from the internal struggles of Riley's emotions as they try to navigate her first day at a new school.

Opposition: 7

The opposition in the scene comes from Riley's internal struggles and the conflicting emotions of the characters.

High Stakes: 5

The stakes are relatively low in this scene, focusing more on Riley's emotional journey on her first day at school.

Story Forward: 8

The scene moves the story forward by introducing Riley to her new school environment and setting up potential conflicts and resolutions.

Unpredictability: 7

The scene is unpredictable in how it navigates Riley's emotional journey and the unexpected actions of the characters.

Philosophical Conflict: 8

The philosophical conflict is between Joy's desire to maintain a positive outlook and Sadness's tendency to touch sad memories, leading to a disruption in Riley's emotional state.


Audience Engagement

Emotional Impact: 7

The scene elicits a range of emotions from the audience, from humor to empathy, as we see Riley's emotions at play.

Dialogue: 7

The dialogue is witty and character-driven, showcasing the personalities of each emotion and adding humor to the scene.

Engagement: 9

This scene is engaging because it captures the relatable experience of starting a new school and the emotional challenges that come with it.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth as Riley navigates her first day at a new school.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for a screenplay, with clear scene headings and character actions.

Structure: 8

The scene follows a clear structure that effectively transitions between different locations and character interactions.


Critique
  • The scene transitions between Riley's interactions at her new school and the emotions in Headquarters, which can be a bit jarring for the audience.
  • There is a lack of depth in the emotional conflict within the scene, as the focus is primarily on Joy trying to manage the situation.
  • The dialogue between the emotions feels a bit simplistic and could benefit from more nuanced interactions and reactions.
  • The visual cues in the scene, such as the blue memory and the emotions' reactions, are effective in conveying the emotions' struggles.
  • The scene ends abruptly with Joy discovering Sadness touching a memory, leaving the audience hanging without a resolution.
Suggestions
  • Consider adding more depth to the emotional conflict by exploring the other emotions' perspectives and reactions in more detail.
  • Try to smooth out the transitions between Riley's interactions at school and the emotions in Headquarters to create a more cohesive narrative flow.
  • Enhance the dialogue between the emotions to make their interactions more engaging and reflective of their distinct personalities.
  • Provide a more satisfying resolution to the scene by addressing the issue of the blue memory and its impact on Riley's emotional state.
  • Consider adding a moment of reflection or realization for Joy to further develop her character arc and the overall emotional journey of the scene.



Scene 12 - The Blue Memory
INT. CLASSROOM

RILEY
(sniffling)
We used to play tag and stuff...


INT. HEADQUARTERS

DISGUST
Cool kids whispering at 3 o’clock!


INT. CLASSROOM

The other kids whisper and stare.


INT. HEADQUARTERS

FEAR
Did you see that look?!? They’re
judging us!

JOY
Oh no.

Joy tries pulling the memory. Anger, Fear and Disgust help.

JOY (CONT’D)
Somebody help me. Grab that...
everybody...

They pull with all their might, but the memory’s not budging.
INSIDE OUT 42.

INT. CLASSROOM

RILEY
But everything’s different now.
Since we moved...

TEARS stream down Riley’s face.


INT. HEADQUARTERS

FEAR
Oh no! We’re CRYING AT SCHOOL!!!

Joy turns to the console. SADNESS IS DRIVING.

JOY
What? No! Sadness, what are you
doing?

Joy finally yanks the memory out. She runs to the console and
pulls Sadness away from the controls.

SADNESS
Oh no, I'm sorry... I... oh...

PING! A memory is created. BRIGHT BLUE.

JOY
Huh?

ANGER
Whoa!

FEAR
It’s a core memory!

DISGUST
But it’s blue!

The bright blue core memory rolls through the memory shelf
and STARTS TOWARDS THE CORE MEMORY HOLDER!

JOY
No wait... stop it! No! Ahh!

Joy leaps to the holder and pops it open, preventing the new
blue core memory from going in. Joy grabs it.

She pushes the end-of-day “memory flush” button. The tube
comes down from the ceiling.
INSIDE OUT 43.

SADNESS
(trying to take her memory
back from Joy)
Joy, no. That’s a core memory, Joy!

JOY
Hey! Stop it. Let go.

As they struggle, they bump into the Core Memory Holder,
KNOCKING ALL OF THE CORE MEMORIES OUT onto the floor.

FEAR/DISGUST/ANGER FEAR
Ahh! The core memories!

Out the window, the ISLANDS OF PERSONALITY GO DARK.
Genres: ["Animation","Comedy","Family"]

Summary Riley, overwhelmed by her family's move, cries in class. In Headquarters, Joy tries to pull a happy memory to counter Riley's sadness, but it's stuck. Sadness inadvertently triggers a blue core memory, representing Riley's sadness. Joy attempts to stop it, but the struggle leads to all core memories being knocked out of the holder. The scene ends with the islands of personality going dark, leaving the emotions in panic.
Strengths
  • Strong emotional impact
  • Effective introduction of core memory concept
  • Well-developed characters
Weaknesses
  • Slight confusion in the memory control sequence
  • Some repetitive dialogue

Ratings
Overall

Overall: 8

The scene effectively introduces the concept of core memories and showcases the internal conflict within Riley's mind, leading to a pivotal moment of emotional turmoil.


Story Content

Concept: 9

The concept of emotions as characters and the importance of core memories are central to the scene, providing depth and insight into Riley's internal struggles.

Plot: 8

The plot advances as Riley faces challenges at her new school, leading to a significant moment where a core memory is almost lost.

Originality: 9

The scene introduces a fresh concept of emotions as characters and explores the complexity of emotional control in a unique way. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 7

The characters of Joy, Sadness, Fear, Disgust, and Anger are well-developed and play crucial roles in driving the scene forward.

Character Changes: 8

Several characters experience growth and development, especially Sadness, who plays a crucial role in the scene.

Internal Goal: 8

The protagonist's internal goal is to navigate and control her emotions in a challenging social situation. This reflects her deeper need for acceptance and fear of judgment.

External Goal: 7

The protagonist's external goal is to prevent a new core memory from being inserted into her memory bank. This reflects the immediate challenge of maintaining emotional stability.


Scene Elements

Conflict Level: 8

The internal conflict within Riley's mind and the struggle to control emotions create a high level of tension and drama.

Opposition: 8

The opposition is strong in the scene, with conflicting emotions and external obstacles creating uncertainty and tension.

High Stakes: 7

The stakes are high as Riley struggles to navigate her new school environment and control her emotions.

Story Forward: 8

The scene moves the story forward by introducing key concepts and setting up future conflicts and resolutions.

Unpredictability: 8

This scene is unpredictable because of the unexpected turn of events and the characters' conflicting motivations.

Philosophical Conflict: 7

The philosophical conflict is between the importance of controlling emotions and allowing for vulnerability. This challenges the protagonist's beliefs about emotional expression and resilience.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions from the audience, particularly during Riley's vulnerable moment at school.

Dialogue: 7

The dialogue effectively conveys the emotions and internal conflicts of the characters, adding depth to the scene.

Engagement: 9

This scene is engaging because of its emotional intensity, high stakes, and dynamic character interactions.

Pacing: 9

The pacing of the scene contributes to its effectiveness by maintaining tension and momentum throughout.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for its genre, with proper scene headings and character actions.

Structure: 8

The structure follows the expected format for its genre, with clear scene transitions and character interactions.


Critique
  • The scene effectively conveys Riley's emotional turmoil as she reminisces about her old life before the move and breaks down in tears in the classroom.
  • The use of the emotions in Headquarters adds depth to the scene by showing their reactions and attempts to help Riley navigate her emotions.
  • The struggle between Joy and Sadness over the blue core memory creates tension and highlights the internal conflict within Riley.
  • The visual cues of tears streaming down Riley's face and the bright blue core memory effectively convey the emotional impact of the scene.
  • The dialogue between the emotions and Riley effectively captures the emotional complexity of the moment.
Suggestions
  • Consider adding more internal conflict among the emotions to further highlight Riley's emotional struggle.
  • Explore different ways to visually represent the emotions' actions and reactions to enhance the emotional impact of the scene.
  • Provide more insight into Riley's thoughts and feelings during this vulnerable moment to deepen the audience's connection with her.
  • Consider incorporating more subtle cues to show the emotions' internal dynamics and struggles, such as body language and facial expressions.
  • Ensure that the resolution of the conflict between Joy and Sadness is clear and impactful, emphasizing the importance of embracing all emotions in processing complex feelings.



Scene 13 - Joy and Sadness's Journey to Headquarters
INT. CLASSROOM

Riley, her face tear-stained, looks up.


INT. HEADQUARTERS

JOY
Ahh!

Joy tosses the blue core memory aside to collect the yellow
core memories.

Sadness grabs the blue core memory and heads to the Core
Memory Holder to plug it in. Joy lunges, knocking the blue
core memory out of Sadness’s hands. It’s SUCKED UP the vacuum
tube.

Joy trips backward. In the chaos a yellow core memory rolls
toward the tube.

JOY (CONT’D)
No, no, no, no!

She reaches to grab it and gets sucked up the tube herself,
along with the other core memories -- and Sadness!

Fear, Anger and Disgust now stand alone in Headquarters. A
stunned silence as the tube retracts.


INT. CLASSROOM

Riley sits and wipes her tears.
INSIDE OUT 44.

TEACHER
Thank you, Riley. I know it can be
tough moving to a new place, but
we're happy to have you here.
Alright everyone, get out your
history books and turn to chapter
seven.

Riley hides behind her book.


INT. HEADQUARTERS

ANGER
Can I say that curse word now?


INT. TUBE

Joy and Sadness scream as they rocket down the tube. Joy
desperately tries to hold on to the core memories.

The blue core memory is sorted to a side tube.


EXT. LONG-TERM MEMORY CLIFF EDGE

Joy lands in a bin of memories. Sadness crashes next to her.

JOY
Oh no...
(gathering memories)
One, two, three... okay, got ’em.
Wha-- where are we?

Joy takes in the shelving around her.

JOY (CONT’D)
Long-Term Memory...!

Joy grabs the core memories and jumps out of the dumpster.
She sees GOOFBALL ISLAND, silent and dark.

JOY (CONT’D)
Goofball Island.

Joy surveys the islands beyond. They’re all dark.

SADNESS
Hoh... Riley’s Islands of
Personality. They’re ALL down! This
is bad.
INSIDE OUT 45.

JOY
We-- we can fix this. We just have
to get back to Headquarters, plug
the core memories in, and Riley
will be back to normal.

Joy and Sadness hurry towards headquarters.

SADNESS
Riley has no core memories, no
personality islands and no--
(gasp)

JOY
Wha-- What is it?

SADNESS
You! YOU’RE not in headquarters.
Without you, Riley can’t be happy.
We gotta get you back up there.

JOY
I’m coming, Riley.

They set off across the bridge to Goofball Island. We see the
LIGHTLINE beyond it, leading towards Headquarters.
Genres: ["Animation","Comedy","Family"]

Summary While Riley struggles to adapt to her new environment, Joy and Sadness get sucked into the vacuum tube, taking crucial core memories with them. Landing in the Long-Term Memory, they discover Riley's personality islands are dark and lifeless. Realizing the urgency of the situation, they set out to return to Headquarters, determined to restore Riley's emotions and personality.
Strengths
  • Strong emotional impact
  • Well-developed concept of core memories and personality islands
  • Engaging conflict between Joy and Sadness
Weaknesses
  • Some dialogue could be more nuanced
  • Transition between scenes could be smoother

Ratings
Overall

Overall: 9

The scene is engaging, emotional, and sets up high stakes for the story. The conflict is well-established, and the emotional impact is strong.


Story Content

Concept: 9

The concept of emotions controlling Riley's mind, core memories shaping her personality, and the importance of maintaining a balance between different emotions is well-developed and central to the scene.

Plot: 8

The plot advances significantly with the introduction of the core memory crisis and the separation of Joy and Sadness. It sets up the central conflict for the rest of the story.

Originality: 9

The scene introduces a fresh approach to exploring the inner workings of the mind through the personification of emotions and core memories. The authenticity of the characters' actions and dialogue adds to the originality of the scene.