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
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
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Tone | Overall Grade | Concept | Plot | Originality Score | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Joy's Headquarters: A World of Emotions | Playful, Whimsical, Light-hearted | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 8 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
2 - Broccoli Battles and Core Memories | Humorous, Light-hearted, Playful | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
3 - The Islands of Personality | Playful, Nostalgic, Whimsical | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 7 | 6 | 9 | 8 | 8 | 8 | |
4 - Leaving Home: A Journey Across America | Humorous, Whimsical, Nostalgic | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
5 - Moving Day Mayhem | Humorous, Whimsical, Light-hearted, Sarcastic | 8 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
6 - Broccoli Pizza and Dinosaur Memories | Humorous, Whimsical, Nostalgic | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 6 | 5 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
7 - The Blueing of Memories | Humorous, Emotional, Playful | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
8 - Fear and Frustration in the New Home | Anxious, Humorous, Upbeat | 8 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
9 - Joy Takes the Lead | Humorous, Positive, Supportive, Light-hearted | 8 | 9 | 7 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
10 - Joy's Master Plan for a Great First Day | Hopeful, Playful, Supportive | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
11 - First Day Jitters and a Blue Memory | Excitement, Nervousness, Confusion, Humor | 8 | 9 | 8 | 9 | 8 | 6 | 8 | 7 | 6 | 7 | 5 | 8 | 7 | 7 | 7 | 9 | 8 | 8 | 8 | |
12 - The Blue Memory | Emotional, Whimsical, Tense | 8 | 9 | 8 | 9 | 7 | 8 | 8 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
13 - Joy and Sadness's Journey to Headquarters | Emotional, Whimsical, Tense | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | |
14 - Dissonance at Dinner | Humorous, Light-hearted, Subtle | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
15 - First Day Blues | Humorous, Sarcastic, Concerned | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
16 - The Foot | Humorous, Tense, Sarcastic | 8 | 9 | 7 | 9 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
17 - A Crumbling Past | Anxious, Melancholic, Hopeful | 8 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
18 - Lost in Long-Term Memory | Hopeful, Desperate, Inspirational, Anxious | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
19 - The Memory Vacuum | Whimsical, Playful, Anxious | 8 | 9 | 8 | 9 | 8 | 8 | 8 | 7.5 | 7 | 8 | 7 | 8 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
20 - The Memory Dump | Humorous, Whimsical, Sarcastic | 8 | 9 | 7 | 9 | 8 | 5 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 6 | 7 | 9 | 8 | 8 | 8 | |
21 - Memory Mayhem | Humorous, Emotional, Tense | 8 | 9 | 8 | 9 | 7 | 7 | 8 | 7.5 | 7 | 8 | 8 | 8 | 8 | 9 | 7 | 9 | 8.5 | 8 | 8 | |
22 - Bing Bong's Memories and the Abstract Thought Shortcut | Whimsical, Nostalgic, Playful, Heartfelt | 9 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 6 | 8 | 6 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | |
23 - Escape from Abstraction | Whimsical, Surreal, Humorous | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 8 | 6 | 9 | 8 | 8 | 8 | |
24 - A Journey Through Imaginationland | Whimsical, Playful, Nostalgic | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
25 - Hockey Chaos | Anger, Sadness, Conflict, Resentment, Defiance | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
26 - Bing Bong's Grief and Acceptance | Sad, Hopeful, Whimsical | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
27 - The Search for Happiness | Humorous, Dramatic, Reflective | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
28 - The Dream Production Deadline | Whimsical, Playful, Inquisitive | 8 | 9 | 7 | 8 | 8 | 6 | 8 | 7.5 | 6 | 8 | 5 | 8 | 8 | 7 | 7 | 9 | 8.5 | 8 | 8 | |
29 - A Nightmare in the Making | Whimsical, Playful, Surreal, Satirical | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 6 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | |
30 - Into the Subconscious | Whimsical, Suspenseful, Playful, Dark | 8 | 8 | 7 | 9 | 8 | 6 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
31 - Escape from the Subconscious | Whimsical, Suspenseful, Playful | 8 | 8 | 8 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8.5 | 8 | 8 | |
32 - Chaos and a Bus Ticket to Minnesota | Whimsical, Exciting, Humorous, Tense | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | |
33 - Riding the Rails of Riley's Mind | Hopeful, Reflective, Playful | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
34 - Running Away and Returning | Excitement, Tension, Drama, Action, Suspense | 9 | 9 | 8 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
35 - Joy's Epiphany in the Memory Dump | Sad, Hopeful, Desperate, Reflective | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
36 - Bing Bong's Sacrifice | Hopeful, Sacrificial, Emotional, Determined | 9 | 8 | 9 | 9 | 9 | 8 | 9 | 8 | 7 | 7 | 8 | 9 | 8 | 10 | 8 | 9 | 9 | 9 | 9 | |
37 - A Race Against Time | Desperate, Frantic, Suspenseful, Dramatic, Humorous | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | |
38 - Joy's Daring Rescue | Excitement, Determination, Humor, Tension | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
39 - Sadness Saves the Day | Anxious, Worried, Reflective, Heartwarming | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 7 | 7 | 7 | 7 | 9 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
40 - A New Beginning: Expansion and Upgrades | Hopeful, Reflective, Inspirational, Whimsical | 9 | 9 | 8 | 9 | 9 | 8 | 9 | 8 | 3 | 7 | 5 | 8 | 7 | 9 | 8 | 9 | 8 | 9 | 9 | |
41 - Embarrassed at the Rink | Light-hearted, Nostalgic, Playful, Embarrassing, Chaotic | 8 | 8 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 8 | 7 | 9 | 8 | 8 | 8 | |
42 - Riley's First Game | Hopeful, Exciting, Heartwarming, Humorous | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 |
Scene 1 - Joy's Headquarters: A World of Emotions
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.
Ratings
Scene 2 - Broccoli Battles and Core Memories
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!
Ratings
Scene 3 - The Islands of Personality
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...
Ratings
Scene 4 - Leaving Home: A Journey Across America
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!
Ratings
Scene 5 - Moving Day Mayhem
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.
Ratings
Scene 6 - Broccoli Pizza and Dinosaur Memories
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.
Ratings
Scene 7 - The Blueing of Memories
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.
Ratings
Scene 8 - Fear and Frustration in the New Home
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.
Ratings
Scene 9 - Joy Takes the Lead
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!
Ratings
Scene 10 - Joy's Master Plan for a Great First Day
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!
Ratings
Scene 11 - First Day Jitters and a Blue Memory
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!
Ratings
Scene 12 - The Blue Memory
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.
Ratings
Scene 13 - Joy and Sadness's Journey to Headquarters
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.
Ratings
Scene 14 - Dissonance at Dinner
Riley and her parents eat dinner.
MOM
So as it turns out the green trash
can is not recycling, it’s for
greens. Like compost. And
eggshells.
DAD
(not really listening)
Mmm.
MOM
And the blue one is recycling. And
the black one is trash.
Riley pushes food around on her plate.
INT. HEADQUARTERS
DISGUST
Riley is acting so weird. Why is
she acting so weird?
INSIDE OUT 46.
ANGER
What do you expect? All the islands
are down.
DISGUST
Joy would know what to do.
FEAR
That’s it! Until she gets back, we
just do what Joy would do!
DISGUST
Great idea! Anger, Fear, Disgust.
How are WE supposed to be happy?
MOM (O.S.)
Hey, Riley. I’ve got good news!
INT. KITCHEN TABLE - CONTINUOUS
MOM
I found a junior hockey league
right here in San Francisco. And
get this: try-outs are tomorrow
after school. What luck, right?
INT. HEADQUARTERS
ANGER
Hockey?
DISGUST
Uh-oh. What do we do?
FEAR
Guys, uh, this... Here, you pretend
to be Joy.
Fear pushes Disgust forward. She steps up to drive.
ON THE SCREEN:
MOM
Won’t it be great to be back out on
the ice?
INSIDE OUT 47.
INT. KITCHEN DINING TABLE
RILEY
(sarcastic)
Oh yeah, that sounds fantastic.
INT. HEADQUARTERS
FEAR
What was that? That wasn’t anything
like Joy.
DISGUST
Uh, because I’m NOT Joy.
FEAR
Yeah, no kidding.
INT. KITCHEN TABLE
Mom, taken aback, eyes Riley. Zoom in to Mom’s head...
INT. MOM’S HEADQUARTERS
MOM’S SADNESS
Did you guys pick up on that?
MOM'S ANGER
Uh-huh.
MOM'S JOY / MOM'S FEAR / MOM'S DISGUST
Oh yeah/Definitely.
MOM’S DISGUST
Something’s wrong.
MOM’S ANGER
Should we ask her?
MOM’S SADNESS
Let’s probe. But keep it subtle, so
she doesn’t notice.
Ratings
Scene 15 - First Day Blues
MOM
So! How was the first day of
school?
INSIDE OUT 48.
INT. RILEY’S HEADQUARTERS
ANGER
She’s probing us.
DISGUST
I'm done.
(to Fear)
YOU pretend to be Joy.
FEAR
What? Uh... okay... hmm.
INT. KITCHEN TABLE
RILEY
(nervous)
It was fine, I guess, I don't know.
INT. RILEY’S HEADQUARTERS
DISGUST
Oh, very smooth, that was JUST like
Joy.
INT. MOM’S HEADQUARTERS
MOM’S ANGER
Something’s definitely going on.
MOM’S DISGUST
She’s never acted like this before.
What should we do?
MOM’S SADNESS
We’re going to find out what’s
happening. But we’ll need support.
Signal the husband.
INT. KITCHEN TABLE
Mom clears her throat at Dad. He doesn’t notice. Zoom in to
Dad’s head...
INT. DAD’S HEADQUARTERS
All of Dad’s emotions are watching a HOCKEY MATCH, cheering.
INSIDE OUT 49.
SPORTS ANNOUNCER
...with a nice pass over to Reeves,
he comes across center ice...
INT. KITCHEN TABLE
Again Mom stares, clears her throat. Dad looks up, clueless.
INT. DAD’S HEADQUARTERS
DAD’S ANGER
Uh-oh. She’s looking at us.
(turns off the memory)
What did she say?
DAD’S FEAR
What? Uh, sorry, Sir. No one was
listening.
DAD'S ANGER
Is it garbage night? We left the
toilet seat up? What? What is it,
woman, what?!?
INT. MOM’S HEADQUARTERS
MOM’S DISGUST
(re: Dad on the screen)
He’s making that stupid face again.
MOM’S ANGER
I could strangle him right now!
MOM’S SADNESS
Signal him again.
INT. KITCHEN TABLE
Mom raises her eyebrows and tilts her head towards Riley. Dad
finally gets it.
DAD
Ahh, so, Riley! How was school?
INT. MOM’S HEADQUARTERS
Mom’s Emotions give up.
INSIDE OUT 50.
MOM'S JOY / MOM'S SADNESS / MOM'S FEAR
/ MOM'S DISGUST
You gotta be kidding me!/He really
needs to start paying attention./
Is he paying attention at all?
MOM'S ANGER
For THIS we gave up that Brazilian
helicopter pilot?
INT. RILEY’S HEADQUARTERS
ANGER
Move! I’LL be Joy.
INT. KITCHEN TABLE
RILEY
(snarky)
School was great, alright?
MOM
Riley, is everything okay?
Riley rolls her eyes.
INT. DAD’S HEADQUARTERS
DAD’S FEAR
Sir, she just rolled her eyes at us.
DAD’S ANGER
What is her deal? Alright, make a
show of force. I don’t want to have
to put “the Foot” down.
DAD'S FEAR
No. Not the Foot.
INT. KITCHEN TABLE
DAD
Riley, I do NOT like this new
attitude.
Ratings
Scene 16 - The Foot
ANGER
Oh I’ll show you attitude, old man.
INSIDE OUT 51.
FEAR
No, no, no! Stay happy!
Anger shoves him away and hits a button.
INT. KITCHEN TABLE
RILEY
What is your problem? Just leave me
alone.
INT. DAD’S HEADQUARTERS
DAD’S FEAR
Sir! Reporting high levels of sass!
DAD’S ANGER
Take it to DEFCON 2.
Sirens begin to BLARE.
DAD’S FEAR
You heard that, gentleman. DEFCON 2.
INT. KITCHEN TABLE
DAD
Listen young lady, I don’t know
where this disrespectful attitude
came from...
INT. RILEY’S HEADQUARTERS
ANGER
You want a piece of this, Pops?
Come and get it!
Anger grasps two levers with all his might.
INT. KITCHEN TABLE
RILEY
Yeah, well... well...
INT. DAD’S HEADQUARTERS
DAD’S ANGER
Here it comes... Prepare the Foot!
INSIDE OUT 52.
Dad’s Emotions uncover “Launch Station” buttons, insert keys.
DAD’S FEAR
Keys to safety position! Ready to
launch on your command, Sir!
INT. RILEY’S HEADQUARTERS
ANGER, flames and yell at full blast, pushes up the levers.
INT. KITCHEN TABLE
RILEY
Just SHUT UP!
Dad and Mom are shocked.
INT. DAD’S HEADQUARTERS
DAD’S ANGER
FIRE!
INT. KITCHEN TABLE
DAD
That’s it, go to your room! Now!
Riley pushes away from the table and goes upstairs in a huff.
INT. DAD’S HEADQUARTERS
DAD’S FEAR
The Foot is down! The Foot is down!
They all CHEER.
DAD’S ANGER
Good job gentlemen. That could have
been a disaster.
INT. MOM’S HEADQUARTERS
MOM’S SADNESS
Well, that was a disaster.
Mom’s Anger recalls a memory: the Brazilian helicopter pilot.
HELICOPTER PILOT
Come fly with me, gatinha.
INSIDE OUT 53.
They all SIGH.
Ratings
Scene 17 - A Crumbling Past
Riley slams her bedroom door.
EXT. MIND WORLD, LIGHTLINE
In the distance, Family Island RUMBLES.
Joy and Sadness have made it across Goofball Island and must
now walk across the thin lightline. Below is the darkness of
the Memory Dump.
SADNESS
We’re gonna walk out there? On
that?
JOY
It’s the quickest way back.
SADNESS
But it’s right over the Memory
Dump. If we fall we’ll be forgotten
forever!
JOY
We have to do this. For Riley. Just
follow my footsteps.
SADNESS
Hohh... ok.
JOY
(stepping onto lightline)
It's not that high. It’s totally
fiii... Whoa...
She loses her balance. Almost drops a memory over the side.
Sadness steps out onto the lightline. They inch along.
INT. RILEY’S ROOM - LATER
Dad knocks on Riley’s door, peeks in.
DAD
Hey.
Riley’s in her sleeping bag. She doesn’t answer.
INSIDE OUT 54.
DAD (CONT’D)
So uh, things got a little out of
hand downstairs. You want to talk
about it?
(still no answer)
Come on. Where’s my happy girl?
Monkey.
(he tries monkey noises)
INT. HEADQUARTERS
ANGER
He’s trying to start up Goofball.
Fear looks at the empty Core Memory Holder, then out the
window: GOOFBALL ISLAND is dark and silent.
INT. RILEY’S ROOM
DAD
Come on.
(tries more monkey noises)
Riley looks at Dad, but TURNS AWAY.
EXT. GOOFBALL ISLAND
Goofball Island crumbles and breaks.
EXT. GOOFBALL ISLAND LIGHTLINE
Joy sees the lightline breaking ahead.
JOY
Ahhh! Go back! RUN! RUN! RUN!
They run back onto Goofball Island as the lightline crumbles.
EXT. GOOFBALL ISLAND
Joy and Sadness frantically outrun collapsing debris.
EXT. LONG-TERM MEMORY CLIFF EDGE
They leap across the buckling bridge, making it over to the
cliff just in time to see Goofball Island fall into the dump.
INSIDE OUT 55.
JOY
What-- ?
Joy watches it sink. FLASH CUTS of Young Riley:
* Riley twirling until she falls over.
* The family jumping on a trampoline.
* Riley riding on Dad’s shoulders, making silly faces with
ice cream all over her face.
Ratings
Scene 18 - Lost in Long-Term Memory
DAD
I get it, you need some alone time.
We’ll talk later.
INT. HEADQUARTERS
The Emotions stare out the back window in disbelief.
DISGUST
We have a major problem.
FEAR
Ohh, Joy where are you?
EXT. LONG-TERM MEMORY CLIFF EDGE
Joy and Sadness stare down into the abyss.
SADNESS
We lost Goofball Island. That means
she can lose Friendship, and
Hockey, and Honesty, and Family!
You can fix this, right Joy?
JOY
I... I don’t know.
(Sadness sighs in despair)
But we have to try. C’mon.
The sky darkens.
JOY (CONT’D)
Riley’s gone to sleep.
(more sighs from Sadness)
...which is a good thing, when you
think about it, because nothing else
bad can happen while she’s asleep!
We’ll be back to Headquarters before
she wakes up. We’ll just go across
Friendship Island.
INSIDE OUT 56.
Shelves jut out over the cliff edge, making Friendship Island
inaccessible.
SADNESS
We’ll never make it, hoh... nooo...
JOY
No, no, no, don’t obsess over the
weight of life’s problems, remember
the funny movie where the dog
dies?!
Sadness face plants.
JOY (CONT’D)
Uhhh, Sadness, we don’t have time
for this.
She looks to her side. Memory shelves wind into the distance.
Joy heads off into the maze.
JOY (CONT’D)
We’ll just have to go around! Take
the scenic route.
SADNESS
Wait! Joy, you could get lost in
there!
JOY
Think positive!
SADNESS
Okay. I’m positive you will get
lost in there. That’s Long-Term
Memory. An endless warren of
corridors and shelves. I read about
it in the manuals.
Joy stops. Sadness is right. But wait!
JOY
The manuals? The manuals! You read
the manuals!
SADNESS
Yeah...
JOY
So you know the way back to
headquarters!
SADNESS
I, guess...
INSIDE OUT 57.
JOY
You are my map! Let’s go! Lead on,
Mind Map! Show me where we’re
going!
SADNESS
Okay! Only, I’m too sad to walk.
Just give me a few... hours.
Joy grabs Sadness’ leg and DRAGS her into the shelves.
JOY
Which way? Left?
SADNESS
Right.
(Joy turns right)
No. I mean, go left. I said left
was right, like “correct.”
JOY
Okay.
SADNESS
This actually feels kind of nice.
Joy heads off into the COMPLICATED LABYRINTH ahead of them.
JOY
Okay! Here we go. We’ll be back to
Headquarters before morning. We can
do it. This’ll be easy. This is
working!
DISSOLVE TO:
Ratings
Scene 19 - The Memory Vacuum
Joy, exhausted, drags Sadness through the maze of shelves.
JOY
This is not working. Are we getting
close?
SADNESS
Yeah. Just another right. And a
left. Then another left, and a
right...
JOY
Are you sure you know where we’re
going? Because we seem to be
walking AWAY from Headquarters--
INSIDE OUT 58.
The SKY BRIGHTENS. Day. And they’re still lost.
JOY (CONT’D)
Riley’s awake.
Joy drops a core memory. Sadness reaches to grab it.
JOY (CONT’D)
Ah ah ah, don’t touch, remember? If
you touch them, they stay sad!
SADNESS
Oh. Sorry. I won’t...
Joy looks behind her. The bottom row of memories are BLUE.
SADNESS (CONT’D)
...starting now.
JOY
I can’t take much more of this.
MALE FORGETTER (O.S.)
Forget ‘em!
JOY
Mind Workers!
Joy runs off toward the voice.
SADNESS
But Joy we’re almost... ohhhh.
EXT. LONG-TERM MEMORY - LATER
Joy finds two workers vacuuming up memories from the shelves.
FEMALE FORGETTER
Phone numbers. We don’t need all of
these. They’re in her phone.
MALE FORGETTER
Just forget all of that. Please.
Forget it!
JOY
Excuse me. Hi. I need to find
Friendship Island...
FEMALE FORGETTER
(pointing to memories)
Look at this. Four years of piano
lessons.
INSIDE OUT 59.
MALE FORGETTER
Yeah, looks pretty faded.
FEMALE FORGETTER
You know what? Save "Chopsticks”
and “Heart and Soul,” get rid of
the rest.
Zoop! The memories get vacuumed up.
JOY
Are you--
FEMALE FORGETTER
U.S. Presidents. What do you think?
MALE FORGETTER
Eh, just keep Washington, Lincoln
and the fat one.
FEMALE FORGETTER
Forget ‘em!
JOY
Hey! You can’t throw those away!
Those are perfectly good memories.
MALE FORGETTER
The names of every “Cutie Pie
Princess” doll?
JOY
Yes! That is critical information!
Glitterstorm, Honeypants, Officer
Justice...
FEMALE FORGETTER
Forget ‘em!
He vacuums up the memories behind Joy.
Ratings
Scene 20 - The Memory Dump
The memories shoot out a sewer pipe and fall into the
darkness of the Memory Dump.
EXT. LONG-TERM MEMORY - CONTINUOUS
JOY
Hey! Bring those back.
INSIDE OUT 60.
FEMALE FORGETTER
They’re in the dump. Nothing comes
back from the dump.
MALE FORGETTER
Yeah. Look lady, this is our job,
OK?
FEMALE FORGETTER
When Riley doesn’t care about a
memory, it fades.
JOY
Fades?
FEMALE FORGETTER
Happens to the best of ‘em.
MALE FORGETTER
(pulls memory from a cart)
Except for this bad boy! This one
will NEVER fade.
JOY
(recognizing it)
The song from the gum commercial?
MALE FORGETTER
(conspiratorial)
Sometimes we send that one up to
headquarters for no reason.
FEMALE FORGETTER
It just plays in Riley’s head over
and over again. Like a million
times! Ha! Let’s watch it again!
She rewinds it and plays it again. They sing along.
MALE FORGETTER
Tripledent gum will make you smile!
Tripledent gum! It lasts a while!
Tripledent gum will help you,
mister, to punch bad breath right
in the kisser.
JOY
We all know the song. Okay. Yup.
Real catchy.
MALE FORGETTER
(to Female Forgetter)
What do ya think? Should we do it?
INSIDE OUT 61.
FEMALE FORGETTER
Yeah! Ha ha!
MALE FORGETTER
OK, here we go! Ha ha ha!
He tips the gum memory into the inner workings of the shelf.
FWOOM! It shoots up towards Headquarters.
Ratings
Scene 21 - Memory Mayhem
Fear, Anger and Disgust are having a peaceful morning. The
memory drops into Headquarters, playing at full volume.
GUM MEMORY
Tripledent gum will make you smile!
Tripledent gum! It lasts a while--
ANGER
Wha-- this again!?!
INT. LONG-TERM MEMORY
The Forgetters walk away, laughing and singing.
JOY
(following them)
Wait! Do you know how to get to
Friendship Island?!
INT. RILEY’S ROOM - DAY
Riley, laptop on her stomach, hums the Tripledent gum song.
MEG (O.S.)
(on the computer)
Do you like it there? Did you feel
any earthquakes? Is the bridge
cool?
RILEY
Yeah, it’s good. What happened with
the playoffs?
MEG
We won the first game. Coach says
we might actually go to the finals
this year. Oh, and we’ve got this
new girl on the team. She’s so
cool.
INSIDE OUT 62.
INT. HEADQUARTERS
DISGUST
Oh, she did NOT just say that.
FEAR
A NEW GIRL? Meg has a new friend
already?!
Anger GROWLS.
DISGUST
Hey hey, stay happy! We do NOT want
to lose any more islands here guys!
INT. RILEY’S ROOM
MEG
We can pass the puck to each other
without even looking. It’s like
mind reading!
INT. HEADQUARTERS
ANGER
You like to read minds, Meg? I got
something for you to read right here!
(grabbing the controls)
DISGUST
No no no, what are you doing?!
FEAR
Wait, wait-- let’s just be calm for
one second--
Anger snaps Fear’s nose like a rubber band. Anger slams the
controls forward like a lunatic.
ANGER
GAAAAAA!!!!
INT. RILEY’S ROOM
MEG (O.S.)
I heard they have parrots living in-
RILEY
I gotta go.
INSIDE OUT 63.
MEG
What?
RILEY
I GOTTA GO.
Riley slams down the computer and SCOWLS.
EXT. LONG-TERM MEMORY
Joy follows the Forgetters, trying to get directions. They
ignore her, singing the gum-commercial jingle.
A horrible mechanical GROANING sound. Joy reacts.
JOY
What...?
EXT. LONG-TERM MEMORY
Joy rounds a corner and sees Friendship Island crumbling.
JOY
Friendship Island?
The FRIENDSHIP CORE MEMORY Joy holds fades. She runs forward.
JOY (CONT’D)
Wh-- ?
She looks on in horror as Friendship Island falls.
JOY (CONT’D)
Ohh, not Friendship.
Joy hugs the core memories. One of them is memory of young
Riley and Meg walking together.
SADNESS
Oh, Riley loved that one. And now
it's GONE. Goodbye friendship,
hello loneliness.
Joy sees Hockey Island in the distance.
JOY
(trying to stay positive)
We’ll just have to go the long way.
They turn to look back into the deep memory shelves.
INSIDE OUT 64.
SADNESS
Yeah. The long, long, looong way.
I’m ready.
Sadness lies down on the ground, offering her leg. Joy sighs.
She doesn’t want to do this again.
JOY
Ah, yes.
(pulling Sadness)
There’s gotta be a better way.
BING BONG (O.S.)
(talking to the memories)
Ohhh, look at you, you’re a KEEPER!
JOY
Huh?
Joy sees a strange figure up ahead, gathering memories.
BING BONG
I will take you, but not you.
(beat)
Oh who am I kidding, I can’t leave
you!
JOY
Hello!
The figure sees Joy -- and bolts.
JOY (CONT’D)
Wait! Hey, wait! Stop!
Joy chases after him.
Ratings
Scene 22 - Bing Bong's Memories and the Abstract Thought Shortcut
Joy rounds a corner to find the figure crouched on the
ground, hiding his face in his hands like a three year old.
JOY
Excuse me...?
BING BONG
(jumping up; cornered)
Ahhhh! Uh, I was looking for, uh--
(grabs a memory)
--DIVERSION!
He THROWS IT and makes a run for it.
INSIDE OUT 65.
BING BONG (CONT’D)
Ha ha! So long, sucker!
He immediately crashes into a cart of memories.
BING BONG (CONT’D)
Ow! Oww, I hurt all over.
JOY
Wait. I know you.
BING BONG
No you don’t. I get that a lot, I
look like a lot of people.
JOY
No, I do! Bing Bong! Riley’s
Imaginary Friend!
BING BONG
You really DO know me!
JOY
Well of course! Riley loved playing
with you, you two were best
friends! Oh! You would know. We’re
trying to get back to
Headquarters...
BING BONG
Headquarters? You guys are from
Headquarters?
JOY
(mock modesty)
Well, yeah. I’m Joy. This is
Sadness.
BING BONG
You’re Joy? THE Joy?
JOY
Mm-hmm.
BING BONG
Well what the heck are you doing
out here?
JOY
That's a good question! You want to
answer that, Sadness?
INSIDE OUT 66.
BING BONG
Without you, Riley won’t ever be
happy. We can't have that, we gotta
get you back! I’ll tell you what,
follow me.
JOY
Oh, thank you!
EXT. LONG-TERM MEMORY
Bing Bong leads them on through the memory shelves.
JOY
It is so great to see you again. I
gotta tell you, I am such a huge
fan of your work. Do you remember
when you and Riley were in a band?
FLASH CUTS of their adventures:
*Riley bangs on pots and pans, Bing Bong plays his trunk.
JOY (V.O.)
I went to all of your concerts.
BING BONG (V.O.)
Yeah, I blow a mean nose.
*Bing Bong runs on ceiling, Riley chases after him.
JOY (V.O.)
Watching you play tag was such a
treat.
BING BONG (V.O.)
Two-time world champ.
*Riley and Bing Bong sit in her wagon (”rocket”).
JOY (V.O.)
Oh, and remember your rocket?!
BING BONG (V.O.)
Of course! It runs on song power.
JOY
That’s right, your theme song!
(singing)
Who's your friend who likes to
play?
INSIDE OUT 67.
BING BONG
(sings)
BING BONG BING BONG!
JOY
His rocket makes you yell “Hooray!”
BING BONG/JOY
BING BONG BING BONG!
Sadness eyes Bing Bong, who is a pink elephant made with a
cat tail.
SADNESS
What exactly are you supposed to
be?
BING BONG
You know, it’s unclear. I’m mostly
cotton candy, but shape-wise, I’m
part cat, part elephant, part
dolphin.
JOY
Dolphin?
Bing Bong does a spot-on dolphin impression.
BING BONG
You gotta remember, when Riley was
three, animals were all the rage.
The cow goes moo. The horse goes
neigh. That’s all people talked
about back then.
JOY
Yeah, I guess that’s true. What are
you doing out here?
BING BONG
Well, there’s not much call for
imaginary friends lately, so, uh,
you know, I’m...
JOY
Hey, hey, don’t be sad. Tell you
what, when I get back up to
Headquarters, I’ll make sure Riley
remembers you.
BING BONG
You will?!
INSIDE OUT 68.
JOY
Of course, she’d love that!
BING BONG
Ha ha! This is the greatest day of
my life!
He launches into a jig, but hurts himself and bursts into
tears. Candy pours out of his tear ducts.
JOY
Are you okay?
SADNESS
What’s going on?
BING BONG
I cry candy. Try the caramel, it’s
delicious.
JOY
Ooo.
(fumbles memories)
Woah!
BING BONG
Oh-- here-- use this.
(offers his satchel)
JOY
Thanks!
BING BONG
Oh, hold on. Wait a second.
He empties out an impossible amount of stuff: tons of
memories, a boot, an anchor, a cat... Joy and Sadness stare
in amazement.
BING BONG (CONT’D)
What? It’s imaginary.
Joy accepts the satchel and puts in the core memories.
JOY
Thanks! This’ll make it a lot
easier to walk back to
Headquarters.
BING BONG
Walk? We’re not walkin’! We’re
taking the Train of Thought!
He points to the train speeding towards Headquarters.
INSIDE OUT 69.
JOY
The train, of course! That is so
much faster! But how do we catch
it?
BING BONG
Well, it kind of goes all over the
place, but there is a station in
Imaginationland. I know a short
cut. Come on, this way!
JOY
I’m so glad we ran into you!
A giant BUILDING blocks their progress. Bing Bong opens a
door. It’s dark inside.
BING BONG
The station is right through here.
The train station is visible through a door on the other side.
BING BONG (CONT’D)
After you.
SADNESS
Joy...
JOY
What?
SADNESS
I read about this place in the
manual. We shouldn’t go in there.
JOY
Bing Bong says it’s the quickest
way to Headquarters.
SADNESS
No, but Joy, this is Abstract
Thought.
BING BONG
What’re you talking about? I go in
here all the time. It’s a shortcut,
see?
He points to a “Danger” sign above the door.
BING BONG (CONT’D)
D-A-N-G-E-R: shortcut. I’ll prove
it to you.
(he climbs in)
(MORE)
INSIDE OUT 70.
BING BONG (CONT’D)
Look at me! I’m closer to the
station ‘cause I’m taking the
shortcut!
SADNESS
Let’s go around. This way.
She points: the building is huge -- it’s a long way around.
BING BONG
Almost there...!
Joy looks back at Bing Bong. The station is right there.
JOY
(to Sadness)
If you want to walk the long way,
go for it. But Riley needs to be
happy. I‘m not missing that train.
(walks in)
Bing Bong knows what he’s doing.
He's part dolphin. They're very
smart.
SADNESS
Well, I guess...
She climbs in.
Ratings
Scene 23 - Escape from Abstraction
Riley carries her lunch tray outside. The yard is full of
chatty, happy kids, but Riley finds an empty bench and eats
by herself.
EXT. ABSTRACT THOUGHT BUILDING - HATCH DOOR - MOMENTS LATER
Two Mind Workers approach the same door our trio entered.
ABSTRACT WORKER #1
Okay, what abstract concept are we
trying to comprehend today?
ABSTRACT WORKER #2
(checking a clipboard)
Um... loneliness.
ABSTRACT WORKER #1
Hm. Looks like there’s something in
there. I’m going to turn it on for
a minute and burn out the gunk.
INSIDE OUT 71.
She closes the door.
INT. ABSTRACT THOUGHT BUILDING
BING BONG
What’d I tell ya? You’ll be at
Headquarters in no time.
BAM! The door closes behind them. The LIGHTS GO ON.
BING BONG (CONT’D)
Say, would you look at that!
Around them, strange SHAPES float into space.
JOY
Whoa! What's happening?!
SADNESS
Oh no. They turned it on.
BING BONG
Huh! I’ve never seen this before.
Bing Bong’s head turns into a Picasso-like form. Joy and
Sadness scream as they become Cubist versions of themselves.
BING BONG (CONT’D)
My face! My beautiful face!
JOY
What is going on?
SADNESS
We’re abstracting! There are four
stages. This is the first: non-
objective fragmentation!
BING BONG
Alright, do not panic! What is
important is that we all STAY
TOGETHER.
His arm falls off.
JOY
Ah!
Joy’s head falls off. Sadness’ leg goes. She topples.
SADNESS
We’re in the second stage: we’re
deconstructing!
INSIDE OUT 72.
BING BONG
Run!
Bing Bing falls into pieces.
BING BONG (CONT’D)
Aaah! I can’t feel my legs!
(his disassembled arm finds
them)
Oh, there they are.
JOY
Come here, me!
They gather their pieces as they rush to the exit.
SADNESS
We’ve gotta get out of here before
we’re nothing but shape and color!
We’ll get stuck here forever!
JOY
“Stuck?!” Why did we come in here?!
BING BONG
I told you, it’s a shortcut!
Though the window, the TRAIN OF THOUGHT pulls in.
JOY
The train!
POP! They change into FLAT COLOR VERSIONS of themselves.
SADNESS
Oh no... We’re two-dimensional!
That’s stage three!
JOY
We’re getting nowhere!
BING BONG
Depth! I’m lacking depth!
It’s hard to move. They struggle towards the window.
JOY
Come on!
Sadness and Bing Bong follow and try to squeeze through. But
because of the broken perspective, they are now all HUGE
compared to the door.
INSIDE OUT 73.
JOY (CONT’D)
AUGH! We can’t fit!
POP! They abstract into ABSTRACT COLORED BLOBS.
SADNESS
Oh no, we’re nonfigurative. This is
the last stage!
BING BONG
We’re not going to make it!
Sadness slumps to the ground... and becomes a line!
SADNESS
Wait! We’re two dimensional. Fall
on your face!
(crawls like an inchworm)
JOY
Oh!
They follow Sadness and inch safely out the window.
Ratings
Scene 24 - A Journey Through Imaginationland
The three lines land outside just as the train pulls out.
They get up to go, but as lines they can barely move.
JOY
Wait! Stop! Stop! STOP!
POP! Joy goes from non-representational to two-dimensional.
She falls down flat as the train speeds off.
POP! The three transform back to normal.
JOY (CONT’D)
(to Bing Bong)
I thought you said that was a
shortcut.
BING BONG
I did, but wow, we should NOT have
gone in there. That was dangerous!
They really should put up a sign.
JOY
How long till the next train?
BING BONG
Who knows? But don’t worry. There’s
another station. That way!
(MORE)
INSIDE OUT 74.
BING BONG (CONT'D)
(points O.S.)
The train always stops there right
before it goes to Headquarters. If
we hurry, we can catch it!
JOY
This isn’t another one of your
short cuts, is it?
BING BONG
(laughing exuberantly)
Yeah!
Joy skeptically watches him head off.
JOY
(to Sadness)
Is there really another station?
SADNESS
Uh-huh. Through there.
Bing Bong leads them towards the impressive gates of...
BING BONG
Welcome to Imaginationland!
INT. IMAGINATIONLAND - CONTINUOUS
JOY
Imaginationland?
BING BONG
Sure! I come here all the time. I’m
practically the mayor. Hey, you
guys hungry? There’s French Fry
Forest!
(starts eating)
Nom nom nom, delicious!
Joy is loving this.
JOY
No way!
BING BONG
Check it out! Trophy Town! Medals!
Ribbons! Everyone’s a winner!
Bing Bong kicks a soccer ball into a giant goal and workers
appear out of nowhere to shower him with awards.
INSIDE OUT 75.
BING BONG (CONT’D)
I won first place!
Workers give Joy a medal and Sadness a ribbon.
JOY
Me too!
SADNESS
Hohh... Participation award...
JOY
Wait, is that-- Sadness, look, it’s
Cloud Town! That is my favorite!
Joy rips off a chunk of cloud and floats up into the air.
JOY (CONT’D)
It's so soft!
Joy jumps down and runs off.
BING BONG
Woah! Let me try!
Bing Bong rips off some cloud. A CLOUD MAN emerges from the
house, angry.
CLOUD MAN
Hey! What’s the big idea? You’d
better fix that wall, or else
you’re in big troub--
POOF! Bing Bong blows the Cloud Man away and walks off
nervously.
EXT. IMAGINATIONLAND, LAVA DAYDREAM
Joy and Bing Bong gleefully jump between couch cushions.
JOY BING BONG
Oh no, lava! Whooo! Whawhoooo! Imaginationland is *
the best!
Sadness tries to jump to a rock, barely makes it.
SADNESS
Is it all going to be so
interactive?
INSIDE OUT 76.
EXT. IMAGINATIONLAND, HOUSE OF CARDS
BING BONG
Hey, look! The House of Cards!!
Ooh, wait, hang on just a minute...
From a nearby garage made of cards, Bing Bong pulls a wagon.
JOY
Your rocket!
BING BONG
Yeah! I stashed it in there for
safekeeping. Now I’m all set to
take Riley to the MOON!
He gestures proudly -- accidentally knocking over the house.
BING BONG (CONT’D)
Oh, I’m sorry.
HOUSE OF CARDS WORKER
Great.
EXT. IMAGINATIONLAND
JOY
I love Imaginationland!
BING BONG
Isn’t it great? And there’s always
something new, like...
A giant machine. A conveyer belt reveals a handsome teenager.
BING BONG (CONT’D)
Who the heck is that?
BOYFRIEND GENERATOR WORKER
Imaginary Boyfriend.
IMAGINARY BOYFRIEND
I would die for Riley.
Joy grimaces.
BING BONG
I’ve never seen him before.
IMAGINARY BOYFRIEND
I live in Canada.
INSIDE OUT 77.
BING BONG
Anyway. This way, through Preschool
World! We’re nearly to the train!
JOY
Riley, here we come!
EXT. HOCKEY RINK - FOOT OF GOLDEN GATE BRIDGE -- SUNSET
INT. HOCKEY RINK - BLEACHERS - CONTINUOUS
Mom and Riley sit on the bleachers.
MOM
This should be fun. New team, new
friends! These kids look pretty
good -- considering they're from
San Francisco. Heh heh!
HOCKEY COACH (O.S.)
Okay Andersen, you're up!
RILEY
I gotta go.
Riley heads onto the ice.
MOM
Okay. Good luck, sweetie!
INT. HEADQUARTERS
DISGUST
Luck isn’t gonna help us now. If
she tries to use Hockey Island,
it’s going down.
FEAR
Which is why I’ve recalled every
hockey memory I can think of.
The Emotions are standing ankle deep in memories.
FEAR (CONT’D)
One of these has got to work in
place of the core memory.
O.S. Hockey whistle.
ANGER/DISGUST
She’s about to play!/Hurry!
INSIDE OUT 78.
Fear loads a memory into the core holder.
Ratings
Scene 25 - Hockey Chaos
Riley skates onto the ice.
INT. HEADQUARTERS
Out the window, Hockey Island lights up feebly.
FEAR
Ha ha! We did it gang! It’s working--
BOOM! The Core Memory Holder ejects a memory, slamming Anger
in the face. Hockey Island shakes. Fear SHRIEKS.
INT. HOCKEY RINK
Riley struggles to dribble the puck.
HOCKEY COACH
Line change! Line change! Change it
up! Change it up!
INT. HEADQUARTERS
Fear frantically loads memories into the Holder, which spits
them out like dodge balls. Disgust and Anger run for cover.
The Holder spins furiously, flinging Fear against the window.
Memories pelt him.
DISGUST
(hiding behind a sofa)
It’s like we don't learn anything.
INT. HOCKEY RINK
HOCKEY COACH
Let’s pick it up out there!
Riley attempts to slap the puck, misses, and TRIPS.
INT. HEADQUARTERS
ANGER
That’s it!
INSIDE OUT 79.
FEAR
No, no, no, breathe! Find your
happy place--
Anger grabs Fear by the neck and ricochets him off the
console, then furiously takes the controls.
INT. HOCKEY RINK
Riley angrily throws her stick to the ice and skates off.
The other players stop and watch.
INT. HOCKEY RINK - BLEACHERS - CONTINUOUS
Mom stands up, concerned.
Riley heads to the stands and removes her skates.
MOM
Riley, what’s wrong?
RILEY
Let’s go.
MOM
You’re not going to finish tryouts?
RILEY
What’s the point?
MOM
Hey, it’ll be alright. Let’s just--
RILEY
Stop saying everything will be
alright!
Riley stomps towards the exit. She looks back at the rink.
All the players cheer and high five.
Riley turns away from the rink and walks out.
Ratings
Scene 26 - Bing Bong's Grief and Acceptance
Boom! Joy turns around and watches Hockey Island crumble.
JOY
Hockey? Oh no... no, she loves
hockey. She can’t give up hockey.
Joy pulls out the HOCKEY CORE MEMORY: Riley’s first goal.
INSIDE OUT 80.
INT. IMAGINATIONLAND, PRESCHOOL WORLD
JOY
Bing Bong, we have to get to that
station.
BING BONG
Sure thing. This way, just past
Graham Cracker Castle. Hey. That’s
weird. Graham Cracker Castle used
to be right here. I wonder why they
moved it?
He walks on, concerned, LEAVING HIS WAGON BEHIND HIM.
BING BONG (CONT’D)
Wow, that’s not... I would have
sworn Sparkle Pony Mountain was
right here. Hey, what’s going on?
JOY
Yeah, yeah, I dunno, we’ll have to
come back--
BING BONG
Princess Dream World!
A wrecking ball hits a pink castle. Glitter dust plumes.
BING BONG (CONT’D)
Oh no! The Stuffed Animal Hall of
Fame!
RIIIP! The head of a bear comes off. Too late, Bing Bong
notices some construction workers CARRYING AWAY HIS ROCKET.
BING BONG (CONT’D)
My rocket!
(running after them)
Wait! Riley and I, we’re still
using that rocket! It still has
some song power left!!
(sings)
Who's your friend who likes to
play?
THE ROCKET RESPONDS weakly, propelling it forward. The
workers toss it onto a junk pile. A bulldozer pushes the pile
towards the CLIFF EDGE.
BING BONG (CONT’D)
Nooo!!! No! No! No! You can’t take my
rocket to the dump! Riley and I are
going to the MOON! Ahhh!
INSIDE OUT 81.
Over it goes, into the darkness.
BING BONG (CONT’D)
Riley can’t be done with me.
Bing Bong sits, stunned. Joy approaches gingerly.
JOY
Hey, it’s going to be okay. We can
fix this! We just need to get back
to Headquarters. Which way to the
train station?
BING BONG
(still stunned)
I had a whole trip planned for us.
Joy tries another tactic.
JOY
Hey, who’s ticklish, huh? Here
comes the tickle monster...
No response.
JOY (CONT’D)
Hey! Bing Bong, look at this!
Dohoioih!
She makes a silly face. Nothing.
JOY (CONT’D)
Oh, here’s a fun game! You point to
the train station and we all go
there! Won’t that be fun? Come on,
let’s go to the train station!
Joy walks off, attempting to lead.
SADNESS
(sits beside Bing Bong)
I’m sorry they took your rocket.
They took something that you loved.
It’s gone, forever.
JOY
Sadness, don’t make him feel worse.
SADNESS
Sorry.
BING BONG
It’s all I had left of Riley.
INSIDE OUT 82.
SADNESS
I bet you and Riley had great
adventures.
BING BONG
They were wonderful. Once we flew
back in time. We had breakfast
twice that day.
SADNESS
That’s sounds amazing. I bet Riley
liked it.
BING BONG
Oh she did. We were best friends.
SADNESS
Yeah. It’s sad.
Bing Bong puts his head on Sadness’ shoulder and CRIES.
Sadness keeps her arm around him until he’s done.
BING BONG
I’m okay now.
(stands)
C’mon, the train station is this
way.
He walks off. Joy and Sadness follow.
JOY
How did you do that?
SADNESS
I don’t know. He was sad, so I
listened to what--
BING BONG (O.S.)
Hey, there’s the train!
Ratings
Scene 27 - The Search for Happiness
Our trio climb aboard just as the train moves.
JOY
We made it! We’re finally going to
get home!
Twirling, she knocks over two boxes labeled “FACTS” and
“OPINIONS.” Small objects spill out of both.
INSIDE OUT 83.
JOY (CONT’D)
Oh no! These Facts and Opinions
look so similar!
He dumps them into the “FACTS” box.
BING BONG
Eh, don’t worry about it -- happens
all the time.
INT. RILEY’S ROOM - NIGHT
Riley drops her gear and throws herself on her sleeping bag.
INT. HEADQUARTERS
DISGUST
On a scale of one to ten, I give
this day an F.
ANGER
Well why don’t we quit standing
around and DO something?
DISGUST
Like what, genius?
Fear enters with a suitcase.
FEAR
Like quitting! That’s what I’m
doing.
He stomps on the recall button.
FEAR (CONT’D)
Sure, it’s the coward’s way out.
But this coward is gonna survive!
The tube drops over him, but pummels Fear with dozens of
memories. The tube shuts off and retracts. Fear drops to the
floor in pain.
DISGUST
Emotions can’t quit, genius.
Fear spits up a memory.
DISGUST (CONT’D)
Euch! I thought we were supposed to
be keeping Riley happy.
INSIDE OUT 84.
ANGER
Wait a minute. Wait a minute!
Anger runs to the back and rummages through the ideas.
ANGER (CONT’D)
Ah ha!
FEAR
What is it?
ANGER
(holds up the lightbulb)
Oh nothing. Just the best idea ever.
DISGUST
What?
ANGER
All the good core memories were
made in Minnesota. Ergo, we go back
to Minnesota and make more. Ta-da!
FEAR
Wait. You’re saying we run away?
ANGER
Well, I wouldn’t call it that. I’d
call it, “The Happy Core Memory
Development Program.”
FEAR
You can’t be serious.
ANGER
Hey. Our life was perfect until Mom
and Dad decided to move to San Fran
Stinktown.
FEAR
But, I mean, it’s just so drastic!
ANGER
Need I remind you of how great
things were there? Our room? Our
back yard? Our friends?
He punches up a memory. It plays on the screen.
GUM MEMORY
Tripledent gum will make you smile!
Tripledent gum it lasts--
INSIDE OUT 85.
ANGER
Did I ASK for the gum
commercial?!?!
(he ejects the memory)
Anyway, it was better, that’s my
point.
DISGUST
(considering)
Riley was happier in Minnesota...
FEAR
Wait, hold on. Shouldn’t we just
sleep on this or something?
ANGER
Fine. Let’s sleep on it. Because
hey, I’m sure jolly fun-filled
times are just around the corner.
Ratings
Scene 28 - The Dream Production Deadline
Riley goes to sleep.
EXT. LONG-TERM MEMORY CLIFFS
The train slows to a stop.
JOY
Huh?
The engineer and his assistant hop off the engine.
JOY (CONT’D)
Hey hey! Why aren’t we moving?
TRAIN ENGINEER
Riley’s gone to sleep. We’re all on
break.
SADNESS
You mean we’re stuck here until
morning?
BING BONG
Yeah, the Train of Thought doesn’t
run while she’s asleep.
JOY
Oh, we can’t wait that long!
INSIDE OUT 86.
SADNESS
How about we wake her up?
JOY
Sadness, that’s ridiculous. How
could we possibly...
She follows Sadness’ gaze and spots DREAM PRODUCTIONS.
JOY (CONT’D)
How about we wake her up!?
SADNESS
Great idea, Joy.
JOY
Thanks. Come on!
EXT. DREAM PRODUCTIONS - NIGHT
Pan down from the DREAM PRODUCTIONS GATE: a busy backlot.
JOY
Whoa! This place is huge.
SADNESS
Yeah, it looks so much smaller than
I expected.
They walk past dream “movie posters.”
BING BONG
Whoa! “I Can Fly”? I love that one!
Joy spots a Unicorn sitting in a director’s chair.
JOY
Rainbow Unicorn! She’s RIGHT THERE!
Joy tries to play it cool as they walk past.
SADNESS
My friend says you’re famous. She
wants your autograph.
JOY
No, no, Sadness, don’t bother Miss
Unicorn, okay?
(to unicorn)
Sorry, she’s from outta town. So
embarrassing, right?
She pushes Sadness away. Joy pops back in.
INSIDE OUT 87.
JOY (CONT’D)
I loved you in Fairy Dream
Adventure Part 7. Okay, bye. I love
you.
They reach STAGE B. A sign below a red flashing light reads,
“DO NOT ENTER WHEN LIGHT FLASHING.”
BING BONG
Huh. Wonder what that means. Oh
well, let’s go in!
They enter.
Ratings
Scene 29 - A Nightmare in the Making
Workers scramble to get ready for the production. A Director
distributes scripts.
DREAM DIRECTOR (O.S.)
Set up the classroom set! Today’s
memories are in, we’ve got a lot to
work with here. Riley dumped her
best friend, had a miserable day at
school, and quit hockey. The
writers have put together a killer
script!
INT. STAGE B - COSTUME AREA
Joy cringes at the news as the three hide behind costumes.
INT. HEADQUARTERS
Fear enters drinking tea.
FEAR
(grumbling to self)
Just because Joy and Sadness are
gone, I have to do stupid dream
duty...
INT. STAGE B - COSTUME AREA
Joy, Sadness and Bing Bong watch from behind boxes.
JOY
Okay, how are we gonna wake her up?
INSIDE OUT 88.
SADNESS
Well, she wakes up sometimes when
she has a scary dream. We could
scare her.
JOY
Scare her? No no, she’s been
through enough already.
SADNESS
But Joy--
JOY
Sadness you may know your way
around down here, but I know Riley!
We’re gonna make her so happy
she’ll wake up with exhilaration!
We’ll excite her awake!
SADNESS
That’s never happened before.
Joy spots a nearby dog costume and tosses it to Sadness.
JOY
Ooh, Riley loves dogs. Put this on!
SADNESS
I don’t think that’ll work.
JOY
Bing Bong.
BING BONG
Yeah?
She gives him the satchel containing the CORE MEMORIES.
JOY
Don’t let anything happen to these.
BING BONG
Got it!
INT. STAGE B - STAGE AREA, CLASSROOM SET
DREAM DIRECTOR checks the monitor.
DREAM DIRECTOR
Mm hm. Add the reality distortion
filter.
INSIDE OUT 89.
A WORKER slips a filter over the camera lens, transforming
the MIND WORKERS into replicates of Riley’s classmates.
DREAM DIRECTOR (CONT’D)
Love it.
(to actors)
Remember, play to the camera,
everyone! Riley is the camera!
Makeup, get out of there, we are on
in 5,4,3...
A UNION HARP PLAYER strums: the dream is starting.
From the camera’s POV: the classroom set. STUDENTS at desks.
An EXTRA playing Riley’s teacher reads cue cards badly.
EXTRA
Hello class. Before we begin
today’s pop quiz, which counts for
90% of your final grade...
INT. HEADQUARTERS - CONTINUOUS
FEAR
Man, she is one bad actress.
INT. STAGE B - CLASSROOM SET
The CUE CARD GUY flips over the next card.
EXTRA
...I want to introduce our new
student. Riley. Would you like to
stand up and introduce yourself?
DREAM DIRECTOR
Camera.
The camera adjusts as if Riley is standing.
DREAM DIRECTOR (CONT’D)
And... cue Riley.
A CREW MEMBER clears his throat and reads into a megaphone.
RILEY VOICE
My name’s Riley Andersen, I’m from
Minnesota and now I live here.
A STUDENT points to the camera.
INSIDE OUT 90.
DREAM STUDENT #1
Ew, look! Her teeth are falling out!
A crew member drops handfuls of teeth in front of the camera.
INT. HEADQUARTERS
FEAR
(dismissive)
Pff, teeth falling out, I'm used to
that one. Let me guess, we have no
pants on.
ON THE SCREEN:
DREAM STUDENT #2
Hey look! She came to school with
no pants on!
The camera adjusts down to reveal Riley’s bare legs. Riley’s
hands try to block them.
FEAR
Called it!
INT. STAGE B - BACKSTAGE
Joy and Sadness are in the dog costume, waiting to go on.
JOY
Ready?
SADNESS
I don’t think this happy thing is
going to work. But if we scare her--
JOY
Just follow my lead. Here we go!
Joy yanks Sadness onto the set.
INT. STAGE B - CLASSROOM SET
They run around in playful circles. Joy makes puppy noises.
DREAM DIRECTOR
(flipping through script)
Who is that?
INSIDE OUT 91.
INT. HEADQUARTERS
FEAR
What’s going on?
INT. STAGE B - CLASSROOM SET
Joy and Sadness run around, Joy licking students and barking.
Through the reality distortion they look like a happy puppy.
Joy looks at the sleep indicator: Riley is still asleep.
INT. RILEY’S ROOM - CONTINUOUS
Riley is sound sleep.
INT. STAGE B - CLASSROOM SET
JOY
(to Bing Bong)
Psst. You’re on! Go!
Bing Bong pulls a rope. Balloons drop! A colorful backdrop!
JOY (CONT’D)
Woo! Let’s party! Let’s dance. Woo!
INT. HEADQUARTERS
FEAR
Hey, a party!
INT. RILEY’S ROOM
Riley is still sound asleep.
INT. STAGE B - CLASSROOM SET
On stage, Joy and Sadness run in circles, barking.
SADNESS
Joy, this isn’t working.
Bing Bong knocks over a light, causing spooky uplighting.
Sadness tries to stop. The dog costume RIPS IN HALF.
INSIDE OUT 92.
INT. HEADQUARTERS
Fear does a spit take. On screen, a real dog is in two
pieces.
INT. STAGE B - CLASSROOM SET
Joy runs after Sadness.
JOY
Huh? Sadness, what are you doing?!
Come back here!
INT. HEADQUARTERS
On screen, the front half of a dog chases the rear half.
FEAR
It’s just a dream, it’s just a
dream, it’s just a dream...
INT. RILEY’S ROOM
Riley stirs in her sleep.
INT. STAGE B - CLASSROOM SET
DREAM DIRECTOR
They’re trying to wake her up! Call
security!
INT. HEADQUARTERS
Bing Bong appears on screen.
BING BONG (O.S.)
Hi Riley, it’s me! Who’s your
friend who likes to play? Bing
Bong, Bing Bong!
FEAR
Bing Bong?
INT. STAGE B - CLASSROOM SET
Bing Bong slips, tipping over the set wall.
INSIDE OUT 93.
JOY
Sadness! You are ruining this
dream! You’re scaring her!
SADNESS
But look, it’s working!
The SLEEP INDICATOR is starting to tip. Joy’s eyes widen.
JOY
Whoa!
But before she can do anything, Security enters.
DREAM DIRECTOR
(to Security)
They are not part of this dream!
Get them!
Sadness pulls Joy out of harms way as guards GRAB Bing Bong.
DREAM PRODUCTIONS COP #1
Stop right there!
BING BONG
Ow! Hey!
DREAM DIRECTOR
(to camera operator)
Pan away! Pan away!
The camera pans away to Rainbow Unicorn making off with a
giant cupcake platter from the craft services table.
Ratings
Scene 30 - Into the Subconscious
FEAR
Booooo! Pick a plot line!
INT. STAGE B - CLASSROOM SET
Joy and Sadness watch as guards haul off Bing Bong.
EXT. STAGE B
Joy and Sadness exit Stage B.
BING BONG (O.S.)
Ow! Ow! Cut that out. Ow! Please...
you can’t do this!
(MORE)
INSIDE OUT 94.
BING BONG (O.S.) (CONT'D)
Do you like candy? You look hungry.
I can get you candy! Please! Ow.
Ow. Ow.
Joy and Sadness watch Bing Bong being dragged far off to the
dark, menacing entry of SUBCONSCIOUS.
JOY
No, no no no, there go the core
memories...!
The door opens. SPOOKY LIGHT spills out.
BING BONG
I can’t go in there. I’m scared of
the dark. Please!
He’s thrown in and the door SLAMS SHUT.
Joy and Sadness head after him, down the long stairway.
EXT. SUBCONSCIOUS STAIRS
JOY
What is this place?
SADNESS
(hushed tone)
The Subconscious. It’s where they
take all the troublemakers.
EXT. SUBCONSCIOUS GATE
Joy and Sadness hide. TWO CLUELESS GUARDS block the gate.
SUBCONSCIOUS GUARD DAVE
My hat feels loose.
SUBCONSCIOUS GUARD FRANK
Let me see.
How to get in? Sadness has an idea.
EXT. SUBCONSCIOUS GATE
Sadness leads Joy around and behind the guards.
SUBCONSCIOUS GUARD DAVE
You got my hat? Or, or is that your
hat?
INSIDE OUT 95.
SUBCONSCIOUS GUARD FRANK
Yeah, it’s my hat.
SUBCONSCIOUS GUARD DAVE
You sure? I don’t know, look in the
label.
SUBCONSCIOUS GUARD FRANK
Yeah, it says, “My Hat.”
SUBCONSCIOUS GUARD DAVE
Wait, it says, “My Hat”?
SUBCONSCIOUS GUARD FRANK
“My Hat,” it says.
SUBCONSCIOUS GUARD DAVE
That’s what I wrote in my hat.
SUBCONSCIOUS GUARD FRANK
What are you talking about?
SUBCONSCIOUS GUARD DAVE
You’ve got my hat on.
SUBCONSCIOUS GUARD FRANK
Okay, but it’s my handwriting--
Sadness loudly SHAKES the door.
SUBCONSCIOUS GUARD DAVE
Hey! You!
SADNESS
Oh! You caught us! Heh.
SUBCONSCIOUS GUARD FRANK
Get back in there! No escaping!
The guards shove them through and slam the door.
Ratings
Scene 31 - Escape from the Subconscious
Joy gives Sadness an approving nod: nice work.
They head forward. This place is spooky.
SADNESS
I don’t like it here. It’s where
they keep Riley’s darkest fears.
Joy spots a dark shape ahead:
INSIDE OUT 96.
JOY
It’s broccoli!
Behind them:
SADNESS
The stairs to the basement!
They SCAMPER AWAY like frightened mice.
JOY
Grandma’s vacuum cleaner!
The vacuum gives chase. Joy and Sadness lose it and hide
behind a rock.
JOY (CONT’D)
(catching her breath)
Okay, come on.
Sadness makes a loud CRINKLING NOISE with each step.
JOY (CONT’D)
Would you walk quieter?
SADNESS
I’m trying!
JOY
What is going--
(looking down)
Candy wrappers.
They follow a trail of candy wrappers into the cave to find--
INT. SUBCONSCIOUS CAVE, CLOWN LAIR
--a crying Bing Bong in a balloon cage, atop a large mound.
JOY
Bing Bong!
BING BONG
Joy?
JOY
There you are.
BING BONG
SHHHHH!
(points)
They are standing in front of a giant SLEEPING CLOWN.
INSIDE OUT 97.
JOY
(terrified)
It’s Jangles.
JANGLES
(talking in his sleep)
Who’s the birthday girl, who’s the
birthday girl...
They gingerly approach Jangles. Joy climbs up to Bing Bong.
JOY
Do you have the core memories?
He gives her the satchel. Joy holds them close.
BING BONG
All he cared about was the candy!
Joy helps Bing Bong squeeze through, but the balloon-bars
make loud twisting noises. Jangles stirs. Joy freezes. She
stretches them further...
Success! Joy and Bing Bong hurry down and the trio rush away.
BING BONG (CONT’D)
We’re out of here! Let’s get to
that train.
JOY
Wait. The train’s not running. We
still have to wake up Riley.
SADNESS
But how?
Joy and Sadness look back at the clown.
BING BONG
Oh no.
Together, Joy and Sadness approach Jangles and HONK HIS NOSE.
His eyes open. He stands. He’s HUGE, towering over them.
JOY
(loudly)
H-hhey Sadness, did you hear about
the p-pahh-party that we’re having?
SADNESS
Ohhhh yeah, yes Joy! Isn’t it a ba-
bahh... birthday party?
INSIDE OUT 98.
JANGLES
Did you say... birthday?
JOY
And there’s going to be cake, and
presents and--
SADNESS
--and games and balloons--
JANGLES
(pulls out a giant mallet)
A BIRTHDAY?!?!
JOY
Okay. Follow us!
All three run towards the gate, followed by the giant clown!
JOY (CONT’D)
Nothing like a good scare to wake
you up, right?
Ratings
Scene 32 - Chaos and a Bus Ticket to Minnesota
The guards inspect each others’ hats.
SUBCONSCIOUS GUARD FRANK
Okay, but it’s my handwriting.
SUBCONSCIOUS GUARD DAVE
No, it isn’t. That’s my handwrit--
I wrote that!
SUBCONSCIOUS GUARD FRANK
No, but THIS one’s my handwriting--
BASH! Jangles’ mallet smashes through, laughing maniacally.
Our trio run up the stairs, Jangles close behind.
INT. DREAM PRODUCTIONS - STAGE B - MOMENTS LATER
The UNICORN DREAM is mid-production: a Glitter Dance Party,
rainbows and sparkles aplenty. The crew is bored.
INT. HEADQUARTERS
Fear is practically asleep.
INSIDE OUT 99.
INT. STAGE B
The set begins to shake. BLAAAM! Jangles crashes in.
JANGLES
WHO’S THE BIRTHDAY GIRL?!?!
INT. HEADQUARTERS
Fear SHRIEKS, bashes a button and passes out.
INT. RILEY’S ROOM - NIGHT
Riley bolts upright in bed.
INT. STAGE B
The meter reads “AWAKE.” Joy and Sadness do a happy dance.
BING BONG
Come on, let’s go!
They bolt, leaving Jangles gleefully demolishing the sets.
EXT. TRAIN STATION - MOMENTS LATER
Our trio leap aboard just as the train picks up speed.
JOY SADNESS
Ha ha! We made it! Whoo-hoo! Ha ha! *
JOY
Guess who’s on their way to
Headquarters?!
Joy grabs Sadness and picks her up in celebration.
SADNESS
We are!
INT. RILEY’S ROOM - NIGHT
Riley sitting up in bed after being scared awake.
INT. HEADQUARTERS - MORNING
Anger and Disgust come out looking tired, rumpled...
INSIDE OUT 100.
DISGUST
What is going on?
ANGER
He did it again.
FEAR
(huddled on the floor)
We were at school, and we were
naked, and there was a dog, and his
back half was chasing him... and
then we saw Bing Bong.
ANGER
You idiot! It was a DREAM! This is
ridiculous, we can’t even get a
good night sleep anymore. Time to
take action.
He goes and gets the Idea Bulb he held up earlier.
ANGER (CONT’D)
Stupid Mom and Dad. If they hadn't
moved us, none of this would've
happened. Who’s with me?
Fear stammers nervously. Anger looks to Disgust.
DISGUST
Yeah, let's do it.
Anger plugs the Idea Bulb in.
INT. RILEY’S ROOM - NIGHT
Riley gets the idea. She takes out her computer.
INT. HEADQUARTERS
ANGER
She took it. There’s no turning
back.
DISGUST
So, how’re we gonna get to
Minnesota from here?
ANGER
Well, why don’t we go to the
elephant lot and rent an elephant?
INSIDE OUT 101.
FEAR
Hey! That sounds nice!
ANGER
We're taking the bus, nitwit!
INT. RILEY’S ROOM - NIGHT
On her laptop, Riley pulls up the Transway Bus Lines website.
INT. HEADQUARTERS
ANGER
There’s a bus leaving tomorrow.
Perfect.
DISGUST
A ticket costs money. How do we get
money?
ANGER
Mom’s purse.
DISGUST
You wouldn’t.
ANGER
Oh, but I would. Where was it we
saw it last?
He punches up a memory. It comes up and plays.
GUM MEMORY (O.S.)
Tripledent gum will--
ANGER
NOOOO!!!
(slams his fist, canceling
the memory)
It’s downstairs somewhere. Mom and
Dad got us into this mess. They can
pay to get us out.
Ratings
Scene 33 - Riding the Rails of Riley's Mind
Riley’s face grows angry.
EXT. MIND WORLD - MORNING
The train speeds ahead. The trio look out the train door.
INSIDE OUT 102.
BING BONG
How about this, huh? Isn’t this
nice? You can see everything from
up here! Look, there's Inductive
Reasoning. There's Deja Vu. There's
Language Processing! There's Deja
Vu. There's Critical Thinking!
There's Deja Vu. Hey look at this,
guys! Memories!
Bing Bong ducks inside the train. Joy looks over to Sadness.
JOY
Hey, that was a good idea. About
scaring Riley awake. You’re not so
bad.
SADNESS
Really?
JOY
Nice work.
Joy turns to sit on a crate inside the train.
JOY (CONT’D)
I can’t wait to get the old Riley
back. As soon as we get there I’m
going to fix this whole mess.
Bing Bong looks at a memory.
BING BONG
Whoa. Is this Riley?
A RECENT MEMORY: Riley hoisted in the air by her teammates.
BING BONG (CONT’D)
She’s so big now. She won’t fit in
my rocket. How’re we gonna get to
the moon?
JOY
(taking the memory)
Oh, it's that time in the twisty
tree, remember? The hockey team
showed up and Mom and Dad were
there cheering. Look at her, having
fun and laughing. I love this one.
SADNESS
Mmm. I love that one too.
INSIDE OUT 103.
JOY
Atta girl! Now you’re getting it!
SADNESS
Yeah. It was the day the Prairie
Dogs lost the big playoff game.
Riley missed the winning shot. She
felt awful. She wanted to quit.
Joy’s smile fades.
SADNESS (CONT’D)
Sorry. I went sad again, didn’t I?
JOY
I’ll tell ya what. We’ll keep
working on that when we get back.
Okay?
SADNESS
Okay.
Joy puts the memory in the satchel.
Ratings
Scene 34 - Running Away and Returning
Riley sneaks down the stairs. Mom is on the phone in the
kitchen with her back to Riley.
MOM
(on phone)
But I just don’t understand, why
did our moving van even go to
Texas?
Riley spots Mom’s purse on the table.
MOM (CONT’D)
Multiple customers?
Riley opens the purse.
MOM (O.S) (CONT’D)
Well, we were promised delivery on
the fifth. Uh-huh.
Riley takes out Mom’s credit card. She pauses. Is she really
doing this? Suddenly Mom turns. Riley panics.
Mom looks up. Empty room.
INSIDE OUT 104.
MOM (CONT’D)
(still on phone)
Excuse me, isn’t there any way that
you can rush it?
Riley slips off with the credit card.
EXT. MIND WORLD - CONTINUOUS
The train passes crumbling HONESTY ISLAND.
INT. TRAIN CAR
Honesty Island crashes into the train tracks. Joy, Sadness
and Bing Bong scream.
Workers below see the train falling towards them.
WORKER #1
LOOK OUT!
The train CRASHES onto the cliffside. It slips towards the
edge. Joy struggles to get up, but the floor is pitching.
BING BONG
Hold on!
Workers grab Joy, Sadness and Bing Bong just as the train
slides off the cliff and drops into the dump below.
Joy looks towards Headquarters.
JOY
That was our way home! We lost
another island... what is
happening?
WORKER #1
Haven’t you heard? Riley is running
away.
JOY
What?!
INT. RILEY’S ROOM - MORNING
Riley packs her clothes when her expression changes to worry.
INSIDE OUT 105.
INT. HEADQUARTERS
Fear is driving.
FEAR
Wait, wait, hang on, guys. Are we
really doing this? I mean, this is
serious.
Anger pushes Fear aside and works the console.
ANGER (O.S.)
Look. We have no core memories. You
want Riley to be happy? Let’s get
back to Minnesota and make more.
INT. RILEY’S ROOM
Riley’s worried face goes angry. She packs and exits.
EXT. LONG-TERM MEMORY CLIFFS
SADNESS
If we hurry, we can still stop her.
(points)
JOY
Family Island. Let’s go!
The trio run along the cliff edge towards the last island.
INT. SAN FRANCISCO HOUSE - STAIRWAY - DAY
Riley walks downstairs.
EXT. LONG-TERM MEMORY CLIFFS
Family Island shakes and crumbles.
SADNESS
Joy! Joy! It’s too dangerous! We
won’t make it in time!
JOY
But that’s our only way back!
The rumbling causes an END CAP of a nearby shelf to break,
exposing an open tube. A memory gets sucked up and shot
towards Headquarters.
INSIDE OUT 106.
JOY (CONT’D)
A recall tube!
SADNESS
We can get recalled!
They run towards it.
Ratings
Scene 35 - Joy's Epiphany in the Memory Dump
Riley goes to the front door. Mom and Dad are in the kitchen.
MOM
Have a great day, sweetheart.
DAD
See you after school, monkey.
MOM
We love you!
Riley doesn’t respond. She turns and walks out the door.
EXT. LONG-TERM MEMORY CLIFFS
Family Island rumbles. A LARGE CHUNK of cliff edge breaks off
behind them, driving Joy and Sadness forward.
JOY
Go! Run! RUN!
Joy steps into the disconnected TUBE, ready to sail up to
Headquarters.
Sadness tries to climb in, but there’s not enough room; she
jostles, pressing against the satchel. The CORE MEMORIES
start to turn blue.
JOY (CONT’D)
Woah woah! Sadness!
(pushing her back)
Sadness, stop! You’re hurting
Riley!
Joy pulls a core memory from the satchel. It is BRIGHT BLUE,
but slowly fades back to normal.
SADNESS
Oh no, I did it again...
INSIDE OUT 107.
JOY
If you get in here, these core
memories will get sad!
Joy watches FAMILY ISLAND crumble. She looks down at Sadness.
Joy, pained, decides.
JOY (CONT’D)
I’m sorry. Riley needs to be happy.
She pulls the tube closed and starts up alone.
Sadness and Bing Bong watch, betrayed and despondent.
Joy looks guilt-ridden, but looks on towards Headquarters.
Suddenly, the cliffside rumbles. Joy’s tube BREAKS. Joy
FALLS!
Bing Bong runs forward to help her, but the ground beneath
him crumbles away.
Joy and Bing Bong tumble into the abyss.
SADNESS
Joy!!!
EXT. SAN FRANCISCO ALLEY - DAY
Riley walks off into the fog.
EXT. MEMORY DUMP - MOMENTS LATER
Joy falls, clutching the satchel of core memories.
She lands hard, rolling down a hill of faded memories. She
sits up, looks around. The satchel! All the memories are
still there. Panicked, Joy runs up the hills of memories.
Off in another part of the dump, Bing Bong comes to.
BING BONG
Joy?
Bing Bong notices his hand beginning to fade. He gasps.
BING BONG (CONT’D)
Joy!
He finds Joy desperately clawing her way up the hill.
INSIDE OUT 108.
BING BONG (CONT’D)
Joy? Joy, what are you doing? Will
you stop it please?
Joy ignores him; keeps trying.
BING BONG (CONT’D)
Don’t you get it, Joy? We’re stuck
down here. We’re forgotten.
This stops Joy. All around, memories are fading to dust.
Vapors blowing in the atmosphere, they disappear.
RILEY (O.S.)
We used to play tag and stuff.
Joy recognizes this. She finds Sadness’ BLUE CORE MEMORY:
Riley crying in class.
RILEY (O.S.) (CONT’D)
But everything’s different now
since we moved.
Seeing Riley cry breaks Joy’s heart. She falls to her knees.
She picks up a nearby MEMORY of young happy Riley coloring.
JOY
Do you remember how she used to
stick her tongue out when she was
coloring?
Another memory: Riley talking to a bug.
JOY (CONT’D)
I could listen to her stories all
day.
Another memory: Riley spinning.
JOY (CONT'D)
I just wanted Riley to be happy.
And now...
She holds the recent blue memory of Riley in class. Joy hugs
them all until the memories fall out of her arms.
Joy cries. A long, deep, painful cry.
Joy has lost everything.
Around her, memories fade and disappear.
A tear falls onto the faded TWISTY-TREE MEMORY. Joy wipes it.
INSIDE OUT 109.
In wiping the tear, the memory rewinds. Its color CHANGES
from GOLD TO BLUE.
IN THE MEMORY: Riley sits in the tree with her parents, the
team approaching in the distance.
Joy looks closer. What’s this? She rewinds more.
IN THE MEMORY: Riley sits in the tree, crying, alone.
Joy remembers what Sadness said about the memory...
SADNESS (V.O.)
It was the day the Prairie Dogs
lost the big playoff game. Riley
missed the winning shot. She felt
awful. She wanted to quit.
IN THE MEMORY: Mom and Dad come to console Riley.
Joy fast forwards.
IN THE MEMORY: The hockey team lifts Riley on their shoulders
and cheers. Riley smiles.
JOY
Sadness. Mom and Dad, the team...
they came to help because of
Sadness.
She turns to Bing Bong, ready to take action.
JOY (CONT’D)
We have to get back up there!
BING BONG
Joy, we’re stuck down here. We
might as well be on another planet.
JOY
(getting an idea)
Another planet.
(sings)
Who’s your friend who likes to
play?
Silence.
JOY (CONT’D)
(sings louder)
Who’s your friend who likes to
play?
INSIDE OUT 110.
BING BONG
(understanding; excited)
His rocket makes you yell "Hooray!"
Far off, BING BONG’S ROCKET answers. They run towards it.
BING BONG (CONT’D)
Who's the best in every way and
wants to sing this song to say,
who's your friend who likes to
play? Bing Bong Bing Bong!
Joy and Bing Bong find the rocket!
Ratings
Scene 36 - Bing Bong's Sacrifice
They perch the wagon atop a hill. Joy looks resigned.
JOY
Hop in!
Both inside, Bing Bong pushes off. They speed down a slope to
gain momentum, singing all the way. They reach the bottom and
shoot up another hill, launching up towards the cliff top.
Joy and Bing Bong enthusiastically, if not desperately, sing
at the top of their lungs.
Not even close. They crash back to the bottom.
JOY (CONT’D)
C’mon!
EXT. MEMORY DUMP - MOMENTS LATER
They shoot down a taller hill for another go. They SING
faster and louder.
Joy reaches for the ledge but they fall with a thud.
Bing Bong stands. There’s no way they’ll make it. He looks
up at the ledge and then to his hand -- it’s disappearing!
BING BONG
Come on, Joy. One more time. I’ve
got a feeling about this one.
EXT. MEMORY DUMP - MOMENTS LATER
Hurdling down the largest hill yet, they continue to sing
Bing Bong’s song.
INSIDE OUT 111.
BING BONG
Louder! Louder, Joy! Sing louder!
Bing Bong times it just right... and jumps out of the wagon.
Without his weight, the Joy gains momentum. She’s unaware of
Bing Bong’s absence.
JOY
We’re gonna make it!
The rocket makes it over the ledge! It crashes atop the
cliff.
JOY (CONT'D)
Woohoo! Bing Bong, we did it! We--
She turns around. She’s alone.
JOY (CONT'D)
Bing Bong? Bing Bong!
She runs to the cliff side. Below, Bing Bong laughs
excitedly, happy to help Riley in the only way he can.
BING BONG
Ya ha ha! You made it! Ha ha! Go!
Go save Riley!
(pause)
Take her to the moon for me. Okay?
He waves as the last of him vanishes into the air. Joy’s eyes
widen in awe; he’s sacrificed his life for her.
JOY
I'll try, Bing Bong. I promise.
Joy gets up and soldiers on.
Ratings
Scene 37 - A Race Against Time
Mom and Dad walk in.
MOM
We’re home! Riley? Riley!
INT. RILEY’S ROOM - EVENING
Dad opens the door. The room is empty.
MOM
I’ll call her cell.
INSIDE OUT 112.
EXT. SAN FRANCISCO STREET - EVENING
Riley walks through a sketchy part of the city.
INT. HEADQUARTERS
FEAR
This is terrible. Wait. Is that
someone walking towards us? Let’s
cross the street.
Riley’s cell phone rings. MOM is calling.
INT. HEADQUARTERS
FEAR
It's Mom! She's on to us! Where's
my bag?
Fear finds a paper bag and breathes into it to calm himself.
DISGUST
What do we do?
ANGER
Riley needs to get core memories.
We keep going.
EXT. SAN FRANCISCO STREET - CONTINUOUS
Riley ignores the call and walks on.
EXT. LONG-TERM MEMORY
Joy runs through the Long-Term Memory stacks.
JOY
Sadness!
She sees Family Island rumble, pieces beginning to break off.
She frantically continues on.
EXT. BUS DEPOT - EVENING
Riley walks into the bus depot.
INSIDE OUT 113.
EXT. LONG-TERM MEMORY
Joy runs through a long corridor.
JOY
Sadness? Sadness?
(no answer; desperate)
C’mon Sadness, where are you? Okay.
If I were Sadness, where would I be?
Joy slumps to the ground. She kicks a leg up in the air.
JOY (CONT'D)
(Sadness voice)
Ohhh... everything is awful and my
legs don’t work and you have to
drag me around while I touch all
the--
Joy stops. Something has caught her eye.
REVEAL: a path of blue memories on the bottom shelves.
Joy follows the path.
EXT. BUS DEPOT - MOMENT LATER
Riley walks out of the bus depot and into the advancing line.
Her cell phone rings again: “Mom.”
INT. HEADQUARTERS
Fear breathes faster into his paper bag.
DISGUST
Oh no. It’s Mom again. What do we
do?!
ANGER
Uh... Uh...
Boom! Family Island rumbles behind them.
QUICK INTERCUTS between the line getting shorter, Riley
declining Mom’s call, and Family Island crumbling. Finally...
INT. HEADQUARTERS
Fear’s bag POPS.
INSIDE OUT 114.
ANGER
This is madness! She shouldn’t run
away!
DISGUST
Let’s get this idea out of her
head.
They rush to unplug the idea.
INT. LONG-TERM MEMORY
Joy runs, following the path of blue memories.
JOY
Sadness!
Joy rounds a corner and spots Sadness far down the next row.
JOY (CONT’D)
Sadness!
Sadness turns around.
SADNESS
Joy?
Inexplicably, Sadness turns and runs away.
JOY
Wait, Sadness!
Joy chases after her. Sadness doesn’t stop.
SADNESS
Just let me go! Riley’s better off
without me!
Joy follows Sadness straight into...
INT. IMAGINATIONLAND, FRENCH FRY FOREST
Sadness topples giant french fries in Joy’s path.
JOY
Come back!
Joy uses a super-long fry to vault over the mound of fries.
INSIDE OUT 115.
INT. IMAGINATIONLAND, CLOUD TOWN
Two MIND WORKER COPS are questioning a CLOUD WITNESS.
MIND WORKER COP #1
So you’re saying your husband was
blown away by an elephant.
The Cloud Witness nods. Sadness runs past the crime scene.
They don’t notice.
MIND WORKER COP #1 (CONT’D)
Was he with anyone?
CLOUD WITNESS
Yes! And there she is!
Joy runs right through the Cloud Witness, dissipating her.
MIND WORKER COP #1
(runs after Joy)
Hey! Come back here!
MIND WORKER COP #2
Forget it, Jake. It’s Cloud Town.
EXT. IMAGINATIONLAND, CLIFF EDGE
Joy searches for Sadness. Suddenly, rain falls on her. Above,
Sadness is floating on a chunk of rain cloud, away from
Headquarters.
JOY
What? Sadness!
SADNESS
(crying)
I only make everything worse!
JOY
Wait-- Sadness! We've gotta get you
back to...
(Sadness is too far away)
Ugh.
Joy looks back at Family Island crumbling. She looks around:
what does she have to work with? The Boyfriend Generator...
INT. HEADQUARTERS
Anger tries to untwist the Idea Bulb, but IT WON’T MOVE.
INSIDE OUT 116.
ANGER
It’s stuck!
DISGUST
Oh great.
FEAR
Whadayamean it’s stuck?!?
DISGUST
Now what?
A strange BLACKNESS spreads over the console.
FEAR
Oh, no, no, no. What is THIS?!
INT. BUS - EVENING
Riley boards the bus.
INT. HEADQUARTERS
Anger slams a chair down on the console. It bounces off with
no effect. Fear lunges in with a crowbar. He loses control
and it smacks him in the face.
INT. BUS - CONTINUOUS
Riley walks down the aisle of the bus.
INT. HEADQUARTERS
FEAR
Oh, how do we stop it?
DISGUST
I got it! Make her feel scared!
That’ll make her change her mind!
FEAR
Brilliant!
DISGUST
I know it’s brilliant. Do it!
Fear frantically pushes buttons.
INSIDE OUT 117.
FEAR
Ahh! Nothing’s working! Why isn’t
it working??
ANGER
Let me try!
Disgust and Fear pound on the console buttons.
DISGUST
Great, you broke it!
FEAR
No, I didn’t!
ANGER
Let me do it!
Ratings
Scene 38 - Joy's Daring Rescue
Riley takes a seat.
INT. HEADQUARTERS
By now, the console is mostly black.
FEAR
Guys. We can’t make Riley feel
anything.
INT. BUS - CONTINUOUS
Riley sits on the bus.
INT. HEADQUARTERS
ANGER
What have we done?
EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR
Joy runs up to Riley’s Imaginary Boyfriend.
JOY
Hey! Hey, look at me. Did you mean
what you said before?
INSIDE OUT 118.
IMAGINARY BOYFRIEND
I would die for Riley! I would die
for Riley!
JOY
Yeah, yeah, okay, Haircut. Time to
prove it.
Joy scoops him into her satchel. She activates the generator.
Imaginary Boyfriends pour out, directly into Joy’s satchel.
EXT. IMAGINATIONLAND
Joy spots Sadness ahead, and runs past her.
EXT. IMAGINATIONLAND, BALLOON TREES
Joy pulls a balloon free from a TWISTY BALLOON PALM TREE. She
aims it towards the approaching Sadness and unties it.
PTHHPT! The balloon blows Sadness back over the MEMORY DUMP.
In the process, the HOUSE OF CARDS behind them collapses.
HOUSE OF CARDS WORKER
(angry)
That’s it! I fold!
EXT. IMAGINATIONLAND, BOYFRIEND GENERATOR
Joy sprints by grabbing the SATCHEL, now full of boyfriends.
EXT. IMAGINATIONLAND, CLIFFSIDE
Sadness floats out over the Memory Dump. Joy runs along the
cliff edge, parallel to Sadness, towards Family Island.
EXT. LONG-TERM MEMORY CLIFFS, NEAR FAMILY ISLAND
Joy sights Sadness and aligns herself with Family Island. She
dumps the satchel, pouring out the Boyfriends. Their momentum
pulls her to the top of a TOWER OF BOYFRIENDS.
JOY
(to herself)
This is crazy, this is crazy... No,
no, no! Joy! Be positive.
(beat)
I am POSITIVE this is crazy!
INSIDE OUT 119.
Joy spots the trampoline on Family Island, then Sadness
floating away. She times it...
JOY (CONT’D)
NOW!
The tower tips forward.
IMAGINARY BOYFRIENDS
For Riley!
Joy falls towards Family Island, bounces on the TRAMPOLINE,
flying up towards Sadness. She intercepts Sadness midair...
JOY
Gotcha!
SADNESS
Joy?
JOY
Hang on!
They launch towards Headquarters. Will they make it?
Ratings
Scene 39 - Sadness Saves the Day
Anger, Fear and Disgust watch the screen, worried.
FEAR
Ohhh, I wish Joy was here!
SPLAT! Joy and Sadness hit the back window and slide down,
grabbing the window edge. The Emotions run to the window.
DISGUST
It’s Joy!
ANGER
Stand back! Arrrrgh!
Anger throws a chair at the window. It bounces off.
DISGUST
(sarcastically)
That worked.
ANGER
Well, what would you do, if you’re
so smart?!
He’s smoldering. Disgust’s eyes light up.
INSIDE OUT 120.
DISGUST
I’d tell you, but you’re too dumb
to understand.
ANGER
What?!
DISGUST
Of course your tiny brain is
confused. Guess I’ll just have to
dumb it down to your level. Sorry I
don’t speak “moron” as well as you,
but let me try: Duuuuhhhhh.
Anger explodes, bursting into full blowtorch flames. Disgust,
sporting a welding mask, picks him up and blows a hole in the
window. Joy and Sadness climb through.
Anger Fear and Disgust all talk at the same time, explaining:
FEAR
Oh, thank goodness you’re back.
DISGUST
Things are really messed up.
ANGER
We found this idea, and now Riley’s
on a bus heading for Minnesota!
Joy looks at the screen.
ON THE SCREEN: Riley stares vacantly out the bus window.
EXT. BUS DEPOT - NIGHT
The bus starts to pull away.
INT. HEADQUARTERS
DISGUST
Joy, you’ve got to fix this. Get up
there.
JOY
Sadness, it’s up to you.
SADNESS
Me?
Joy pushes Sadness towards the console.
INSIDE OUT 121.
ANGER/FEAR/DISGUST
Sadness?!?
SADNESS
I can’t, Joy.
JOY
Yes you can. Riley needs you.
Sadness looks at Joy. Really? Joy nods.
INT. BUS - CONTINUOUS
The bus pulls out onto the street.
INT. HEADQUARTERS
Sadness approaches the console and takes charge.
SADNESS
Okay.
She grips the Idea Bulb. The console is now completely black.
EXT. SAN FRANCISCO STREET - NIGHT
The bus is on the road.
INT. HEADQUARTERS
Sadness works... and ejects the Idea Bulb. The blackness
retracts.
INT. BUS - NIGHT
Feeling comes back to Riley: her expression changes from
listless to sad. She stands.
RILEY
Wait! Stop! I wanna get off.
The bus stops. Riley runs to the front and out the door.
EXT. BUS STOP - NIGHT
Riley runs away from the bus.
INSIDE OUT 122.
INT. HEADQUARTERS
The Emotions watch the screen in anticipation.
EXT. SAN FRANCISCO STREET - NIGHT
Riley runs back towards home.
INT. SAN FRANCISCO DINING ROOM - NIGHT
Mom sits at the table, on the phone. Dad hovers.
MOM
(on phone)
Alright. Thank you. We will.
(to Dad)
Her teacher hasn’t even seen Riley
all day.
DAD
What? I can't believe this.
MOM
What was she wearing last? Do you
even remember what--
The door opens. Riley walks in. They rush over to her.
MOM (CONT’D)
Riley!
DAD
Riley, there you are! Thank
goodness!
MOM
Oh, we were worried sick! Where
have you been? It’s so late...
INT. HEADQUARTERS
Sadness drives. Joy walks to her, holding the golden core
memories. She hands them over to Sadness.
The core memories turn BLUE.
Sadness places one in the recall unit.
THE MEMORY PLAYS ON SCREEN:
Young Riley and young Meg walk side by side.
INSIDE OUT 123.
INT. SAN FRANCISCO DINING ROOM - CONTINUOUS
Riley remembers.
INT. HEADQUARTERS
Sadness places another blue memory in the recall unit.
MEMORIES PLAY ON SCREEN:
Young Riley makes cookies with Mom and Dad. Riley runs around
with underpants on her head, Dad chasing. Riley scores her
first goal. Riley skates with Mom and Dad.
Sadness places her hand on the console. It turns BLUE.
INT. SAN FRANCISCO DINING ROOM
Riley cries.
RILEY
I know you don’t want me to but...
I miss home. I miss Minnesota.
Mom and Dad, concerned, listen quietly.
RILEY (CONT’D)
You need me to be happy, but... I
want my old friends, and my hockey
team... I wanna go home. Please
don’t be mad.
MOM
Oh sweetie...
DAD
We’re not mad. You know what? I
miss Minnesota too. I miss the
woods where we took hikes.
MOM
And the back yard where you used to
play.
DAD
Spring Lake, where you learned to
skate.
Riley cries harder.
DAD (CONT’D)
Come here.
INSIDE OUT 124.
He pulls Riley towards them. The three hug.
Ratings
Scene 40 - A New Beginning: Expansion and Upgrades
Joy steps forward with one more gift for Sadness: the blue
core memory.
Sadness pulls Joy by the hand and places it on the console.
INT. SAN FRANCISCO DINING ROOM
Still in an embrace, Riley smiles through her tears.
INT. HEADQUARTERS
BING! Joy and Sadness hear the sound of a new memory being
produced. It’s a NEW CORE MEMORY: BLUE AND GOLD, swirled
together. A first.
The Emotions react in awe.
The memory travels down the track and into the holder. A
lightline extends out the back of Headquarters. It is a new
FAMILY ISLAND, bigger than before.
Joy and Sadness turn back to the console together.
INT. SAN FRANCISCO DINING ROOM
Riley, Mom and Dad embrace.
INT. HEADQUARTERS
Watching the screen, Joy rests her head on Sadness. They’re a
team.
INT. HEADQUARTERS - DAYS LATER
We see many new, multicolored core memories in the Core
Memory Holder.
The Emotions admire the new Islands of Personality.
FEAR
Hey, I’m liking this new view.
INSIDE OUT 125.
ANGER
Friendship Island has expanded.
Glad they finally opened that
Friendly Arguments section.
SADNESS
I like Tragic Vampire Romance
Island.
DISGUST
Fashion Island. Everyone shut up!
FEAR
Boy Band Island. Hope that's just a
phase.
JOY
Say what you want, I think it’s all
beautiful.
WORKER FRITZ
Alright!
The Emotions turn to see workers at a new, larger console.
WORKER FRITZ (CONT’D)
There you go. Your new expanded
console is up and running.
The new console lights up.
JOY/SADNESS/FEAR/ANGER/DISGUST
Whoa!
DISGUST
Cool. Upgrade!
JOY
Ooohh.
Fear leans on the console. BEEP!
FEAR
Hey! Whoa! Whoops, wait. Did I just
do that?
DISGUST
(re: a warning light label)
Hey guys? What’s “pub-er-ty?”
JOY
I don’t know. It’s probably not
important.
INSIDE OUT 126.
ANGER
Whoa. I have access to the entire
Curse Word Library! This new
console is the sh--
BEEP!
FEAR
Sorry. I did it again. My bad.
DISGUST
(pointing to screen)
They’re getting to the rink!
Ratings
Scene 41 - Embarrassed at the Rink
The same rink Riley left before. The Golden Gate gleams in
the background.
INT. HOCKEY RINK
A pep talk from Riley’s parents. We don’t see their faces.
DAD
Now when you get out there, you be
aggressive!
RILEY
(embarrassed)
I know, Dad.
MOM
-- but not too aggressive.
RILEY
You know, you guys don’t have to
come to every game.
REVEAL: Mom and Dad’s faces are painted blue and green.
DAD
Are you kidding? I’m not missing
one! GO FOGHORNS!
MOM
GO RILEY! FOGHORNS ARE THE BEST!
RILEY
Okay, okay. I gotta go.
Riley walks away, mortified, as Dad makes foghorn noises.
INSIDE OUT 127.
INT. HEADQUARTERS
All the Emotions at the control panel.
JOY
Awww...
FEAR
They love us!
ANGER
Yeah, Mom and Dad are pretty cool.
DISGUST
Guys, of course they are. But we
can’t SHOW IT!
INT. HOCKEY RINK
Zoom in to Dad’s head...
INT. DAD’S HEADQUARTERS
Dad’s Emotions cheer. They all have their faces painted.
ON THE SCREEN: Mom beams at Dad.
DAD’S FEAR
She loved the face painting!
DAD’S ANGER
Ha! Told you it was a great idea!
Dad turns to Mom. She smiles, and we zoom in to her head...
INT. MOM’S HEADQUARTERS
All Mom’s Emotions are also painted.
MOM’S ANGER
Best idea he’s had in awhile.
MOM’S SADNESS
He’s a really good guy.
They all sigh. Mom’s Anger tosses the MEMORY of the Brazilian
helicopter pilot. Mom’s Fear retrieves it.
MOM’S FEAR
Just in case.
INSIDE OUT 128.
INT. HOCKEY RINK
Riley walks towards the ice and bumps into A TEEN BOY. He
drops his water bottle. She picks it up for him.
RILEY
Oh. Sorry!
She smiles.
ZOOM IN TO THE BOY’S HEAD.
INT. BOY’S HEADQUARTERS
A dirty, chaotic room. Stuff everywhere.
GIRL ALARM
GIRL! GIRL! GIRL!
WARNING LIGHTS ARE BLARING. His Emotions run around in a
panic, screaming. One of them is HUDDLED, CRYING.
Ratings
Scene 42 - Riley's First Game
The boy stands stunned, unable to speak. Riley hands him the
water bottle.
RILEY
Uhh... Ooooo-kay. Bye!
Riley skates out onto the ice, looking back over her
shoulder... with a hint of a smile?
HOCKEY TEAMMATE (O.S.)
All set, Riley?
She HIGH-FIVES a new teammate. They skate into position as
Mom and Dad cheer from the stands.
INT. HEADQUARTERS
Joy and Sadness stand side by side at the new console,
flanked by the others.
JOY
You ready?
SADNESS
Yeah!
INSIDE OUT 129.
JOY
Alright. Let’s play some hockey!
We ZOOM OUT of Riley’s head.
INT. HOCKEY RINK
Riley faces off. The puck drops.
JOY (O.S.)
All right Anger, take it!
ANGER (O.S.)
Give us that puck or you’re dead
meat!
Riley gets it!
FEAR (O.S.)
On our left! On our left!
An opponent steals the puck.
DISGUST (O.S.)
Let’s just try not to get all
smelly this time.
SADNESS (O.S.)
Hooh, Mom and Dad are watching us
fail.
ANGER (O.S.)
Not today!
Riley regains the puck and skates off with a smile.
JOY (V.O.)
We’ve been through a lot lately,
that’s for sure. But we still love
our girl. She has great new
friends, a great new house...
things couldn’t be better! After
all, Riley’s 12 now. What could
happen?
THE END.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
joy | Throughout the screenplay, Joy starts off as solely focused on maintaining happiness but undergoes a significant change when she realizes the importance of all emotions, especially Sadness. She learns the value of teamwork, sacrifice, and empathy, ultimately putting Riley's well-being above her own desires. Joy's character arc shows growth, development, and a deeper understanding of the complexities of human emotions. | The character arc for Joy is well-developed and showcases a meaningful journey of self-discovery and growth. However, to enhance the emotional impact of the arc, it could benefit from more internal conflict and moments of vulnerability for Joy. This would add depth to her character and make her transformation even more compelling for the audience. | To improve the character arc for Joy, consider incorporating scenes where she struggles with her own emotions and doubts her ability to always maintain happiness. This internal conflict could create a more nuanced portrayal of Joy and make her eventual realization and growth more impactful. Additionally, exploring her relationship with the other emotions in more depth could add layers to her character and provide opportunities for further development. |
sadness | Sadness starts off feeling like a burden and struggling with her role in the group. However, as the story progresses, she learns to find strength in expressing and understanding emotions. Through her journey, she showcases vulnerability, depth, and emotional resonance, ultimately becoming a crucial and compassionate character who offers comfort and empathy to others. | The character arc for Sadness is well-developed and allows for growth and transformation throughout the story. However, to enhance the arc further, it would be beneficial to explore Sadness's internal struggles and conflicts in more depth. This could involve delving into her past experiences or traumas that have shaped her melancholic nature, providing a deeper understanding of her character and motivations. | To improve the character arc for Sadness, consider incorporating more moments of internal reflection and self-discovery. Showcasing her journey towards self-acceptance and finding her place within the group could add layers to her character development. Additionally, exploring her relationships with the other emotions and how they influence her growth could provide a more nuanced portrayal of Sadness's emotional journey. |
fear | Throughout the screenplay, Fear starts off as overly cautious and anxious, constantly warning Riley about potential dangers. However, as the story progresses, Fear learns to trust in Riley's ability to navigate challenges and begins to let go of his need to control every situation. By the end of the film, Fear has grown to be more supportive and less fearful, embracing the idea that some risks are worth taking for growth and happiness. | The character arc for Fear is well-developed and shows growth and development throughout the screenplay. However, there could be more opportunities to explore Fear's vulnerabilities and fears that drive his behavior. Additionally, incorporating moments of comic relief or moments of triumph for Fear could add depth to his character and make his arc more engaging for the audience. | To improve the character arc for Fear, consider adding flashback scenes or internal monologues that delve into the root causes of his fears and anxieties. This could provide a deeper understanding of Fear's character and make his growth more impactful. Additionally, incorporating moments of humor or moments where Fear conquers his fears could add emotional depth and resonance to his arc, making it more satisfying for the audience. |
disgust | Disgust starts off as a critical and judgmental emotion, quick to dismiss and reject unpleasant experiences. However, as the story progresses, she learns to appreciate the positive aspects of situations and becomes more open-minded. Through her interactions with the other emotions, Disgust begins to understand the importance of balance and acceptance, ultimately leading to her embracing a more positive outlook on life. | The character arc for Disgust is well-developed and allows for growth and change throughout the story. However, there could be more depth added to her transformation by exploring the reasons behind her critical nature and delving into her vulnerabilities. Additionally, providing more opportunities for Disgust to showcase her positive qualities and strengths could further enhance her character development. | To improve the character arc for Disgust, consider incorporating flashback scenes or moments of introspection that reveal the origins of her judgmental nature. This could add complexity to her character and provide a deeper understanding of her motivations. Additionally, give Disgust more agency in the story by allowing her to take decisive actions that contribute to the resolution of conflicts. This will showcase her growth and development more effectively. |
anger | Throughout the screenplay, Anger starts off as a hot-headed and impulsive character who reacts strongly to negative situations. As the story progresses, he learns to channel his intense emotions in a more constructive way, using his passion and assertiveness to stand up for what is right and help his friends overcome challenges. By the end of the film, Anger has evolved into a more balanced character who still retains his fiery nature but now uses it for the greater good. | The character arc for Anger is well-developed and allows for growth and change throughout the screenplay. However, to enhance the arc further, it would be beneficial to explore Anger's vulnerabilities and deeper motivations behind his intense emotions. This could add more depth to his character and make his transformation more impactful. | To improve the character arc for Anger, consider incorporating moments of introspection where he reflects on the root causes of his anger and learns to manage it in a healthier way. Additionally, exploring his relationships with the other emotions and how they influence his behavior could provide more insight into his character development. Lastly, ensure that Anger's growth is integrated seamlessly into the overall narrative to create a cohesive and satisfying arc. |
dad | Throughout the screenplay, Dad goes on a journey of self-discovery and growth as he learns to better understand and connect with Riley. Initially clueless and struggling to communicate with his daughter, he faces challenges in maintaining control and discipline. However, through his experiences and interactions with Riley, he begins to see the importance of empathy and emotional connection in their relationship. By the end of the film, Dad has evolved into a more understanding and supportive parent, able to communicate with Riley on a deeper level and show his love in a more meaningful way. | The character arc for Dad is well-developed and shows a clear progression from clueless to understanding. However, there could be more depth added to his struggles and growth throughout the screenplay. It would be beneficial to explore the reasons behind Dad's initial disconnect with Riley and delve deeper into his emotional journey as he learns to connect with her. Additionally, more emphasis could be placed on the impact of his growth on their relationship and how it ultimately strengthens their bond. | To improve the character arc, consider incorporating flashback scenes or moments of introspection for Dad to reflect on his past actions and their impact on Riley. This can provide a deeper understanding of his character and motivations, adding complexity to his growth throughout the film. Additionally, focus on the emotional moments between Dad and Riley to highlight the evolution of their relationship and the significance of their connection. By emphasizing these aspects, the character arc for Dad can be more impactful and resonate with the audience on a deeper level. |
riley | Riley starts off as a sarcastic and anxious teenager who is struggling to adjust to her new life in San Francisco. Throughout the screenplay, she experiences a range of emotions, from defiance and frustration to vulnerability and realization. As she confronts her inner turmoil and external pressures, Riley ultimately finds resolution and growth, learning to embrace her emotions and find a sense of belonging in her new environment. | The character arc for Riley is well-developed, showcasing her growth and emotional journey throughout the screenplay. However, there could be more clarity in highlighting specific moments or events that trigger her growth and transformation. Additionally, incorporating more depth into Riley's relationships with other characters could enhance her character development and add layers to her arc. | To improve the character arc for Riley, consider adding specific scenes or interactions that serve as catalysts for her growth and transformation. Explore her relationships with other characters in more depth, showing how they impact her emotional journey and contribute to her development. Additionally, consider incorporating moments of introspection or self-discovery for Riley to further explore her inner turmoil and showcase her emotional evolution. |
mom | Throughout the screenplay, Mom undergoes a transformation from initially struggling to navigate the challenges of raising a teenager in a new environment to becoming a more confident and understanding parent who successfully bridges the gap between Riley and her father. She learns to communicate more effectively with her daughter and grows in her ability to provide emotional support and guidance. | The character arc for Mom is well-developed and realistic, showing growth and development over the course of the screenplay. However, it could benefit from more specific challenges or conflicts that Mom faces in her journey to better understand and support Riley. This would add depth to her character arc and make her transformation even more impactful. | To improve the character arc for Mom, consider introducing specific conflicts or obstacles that she must overcome in her efforts to support Riley. This could include moments of doubt or frustration, as well as opportunities for Mom to learn and grow from her mistakes. Additionally, exploring Mom's own emotional journey and backstory could add layers to her character and make her transformation more compelling. |
bing bong | Throughout the screenplay, Bing Bong starts as a whimsical and imaginative imaginary friend to Riley, bringing creativity and fun to her life. As the story progresses, he faces emotional struggles and ultimately makes a significant sacrifice to save Riley, showcasing his loyalty, bravery, and selflessness. This sacrifice leads to a deeper understanding of his character and strengthens his bond with Riley. | The character arc for Bing Bong is well-developed, showcasing his whimsical nature, loyalty, and emotional depth. However, to further enhance his arc, there could be more exploration of his backstory and motivations, as well as additional moments that highlight his friendship with Riley. This would provide a stronger emotional impact and make his sacrifice even more poignant. | To improve the character arc for Bing Bong, consider adding flashback scenes that delve into his past with Riley, showing the depth of their friendship and the significance of their bond. Additionally, explore his internal struggles and conflicting emotions leading up to his sacrifice, to further highlight his bravery and selflessness. These additions would enrich his character development and make his arc even more compelling. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Emotional Impact Often Linked to Character Changes | Scenes with high Emotional Impact scores (7 or above) are often accompanied by significant character changes. This suggests that emotionally charged moments drive character development in your screenplay. |
Whimsical Tone Dominates, Impacting Dialogue and Emotional Impact | The whimsical tone is prevalent throughout the screenplay, influencing the dialogue to be lighthearted and playful, but often resulting in lower Emotional Impact scores. This suggests a focus on lightheartedness and humour may be limiting the emotional depth of some scenes. |
Humorous Scenes Have a Lower Emotional Impact | Scenes with a humorous tone generally have lower Emotional Impact scores. This is a common pattern, as humor can sometimes distract from emotional depth. However, this may indicate a missed opportunity to explore emotional nuances alongside comedic elements. |
Conflict Doesn't Always Drive Emotional Impact | Interestingly, the presence of conflict in a scene doesn't guarantee a high Emotional Impact. This may point to the need to focus on the quality of conflict rather than just its presence. The nature of the conflict and its impact on characters should be explored more deeply to achieve maximum emotional resonance. |
Strong Concept and Plot Often Lead to High Character Scores | Scenes with strong Concept and Plot scores (8 or above) tend to have high Character scores. This demonstrates that well-crafted plot elements and concepts contribute significantly to character development and engagement. |
Character Changes Drive High Stakes | Scenes with significant Character Changes scores are often associated with high High Stakes scores. This suggests that character development is crucial in raising the stakes and driving the narrative forward. |
High Emotional Impact Scenes Don't Always Move the Story Forward | While many high Emotional Impact scenes effectively move the story forward, there are instances where emotional depth doesn't directly contribute to plot progression. Consider whether those scenes are fulfilling a different purpose, such as character development or thematic exploration. |
Writer's Craft Overall Analysis
The screenplay showcases a strong foundation in blending humor, emotion, and character development, resulting in scenes that are engaging and memorable. The writer demonstrates skill in creating unique and imaginative worlds, balancing internal and external conflicts effectively. However, there's room for further development in the areas of thematic depth, character complexity, and narrative structure, which can be achieved by focusing on specific exercises and studying the work of renowned screenwriters.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | 'Save the Cat!' by Blake Snyder | This book provides invaluable insights into crafting engaging and well-structured screenplays, focusing on character development, plot structure, and pacing, which can significantly elevate the writer's craft based on the areas identified for improvement. |
Screenplay | 'Eternal Sunshine of the Spotless Mind' by Charlie Kaufman | This screenplay is a masterclass in blending surreal elements with emotional depth, exploring complex themes and character journeys in a captivating way, aligning with the writer's strengths and areas for further development. |
Video | Watch interviews or behind-the-scenes footage of 'Inside Out' to gain insights into the creative process behind the film | This film showcases a unique approach to storytelling by visually exploring the complexities of human emotions, aligning with the writer's strength in blending humor and emotion. Studying the creative process behind this film can offer valuable insights into storytelling and character development. |
Exercise | Practice writing dialogue between conflicting characters to sharpen character dynamics and conflict resolutionPractice In SceneProv | This exercise will help refine the writer's ability to create authentic and engaging dialogue that reveals the motivations and internal struggles of their characters, directly addressing the identified need to develop character depth and dialogue. |
Exercise | Write a scene where two characters confront their deepest fearsPractice In SceneProv | This exercise encourages exploration of complex emotions, character dynamics, and thematic depth, all of which are areas identified for improvement in the screenplay analysis. |
Exercise | Practice writing dialogue-driven scenes that focus on character interactions and relationships, without relying on exposition or external action.Practice In SceneProv | This exercise focuses on the art of conveying emotions and conflicts through dialogue, enhancing the writer's ability to create captivating interactions and deeper character connections, directly addressing the areas identified for improvement in character development and dialogue. |
Stories Similar to this one
Story | Explanation |
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Inside Out (2015) | The screenplay shares similarities with the movie 'Inside Out' in terms of exploring the inner workings of a character's mind through personified emotions. Both stories delve into the complexities of emotions and memories, highlighting the importance of core memories and how they shape one's identity. |
Eternal Sunshine of the Spotless Mind (2004) | This screenplay is reminiscent of 'Eternal Sunshine of the Spotless Mind' in its exploration of memories and emotions. Both stories involve characters grappling with their past experiences and the impact of memories on their present state of mind. |
The Good Place (TV Series) | The concept of different personalities or aspects of identity represented by 'Islands of Personality' in the screenplay is similar to the exploration of moral philosophy and personal growth in 'The Good Place'. Both stories delve into the complexities of human nature and the internal struggles faced by individuals. |
Inside (2015) | The screenplay shares similarities with the animated film 'Inside' in its depiction of personified emotions and the internal struggles faced by the main character. Both stories explore the impact of emotions on behavior and decision-making. |
A Wrinkle in Time (2018) | The journey of self-discovery and personal growth depicted in the screenplay is reminiscent of 'A Wrinkle in Time'. Both stories follow characters as they navigate through internal and external challenges, ultimately finding strength and resilience within themselves. |
The Perks of Being a Wallflower (2012) | The emotional depth and coming-of-age themes in the screenplay are similar to 'The Perks of Being a Wallflower'. Both stories explore the complexities of adolescence, identity, and the impact of past experiences on one's present state of mind. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Internal World | The story takes place inside the mind of a young girl, Riley, where her emotions are personified and control her actions. | This trope is common in fantasy and science fiction stories, where the inner world of a character is given physical form. For example, in the movie "Inception", the protagonist enters the dreams of other characters, experiencing their subconscious minds as physical landscapes. |
Coming of Age | Riley, a young girl, is forced to adapt to a new environment, a new school, and new challenges. These challenges are reflected in her inner world as her emotions struggle to cope. | This trope is common in stories about teenagers and young adults who are navigating the transition from childhood to adulthood. For example, in the movie "The Fault in Our Stars", the protagonist, Hazel, is a teenager who is diagnosed with cancer and has to come to terms with her mortality. |
Personified Emotions | Joy, Sadness, Fear, Anger, and Disgust are each given distinct personalities and physical forms, reflecting their specific roles in Riley's emotional state. | This trope is common in fantasy and allegorical stories where abstract concepts are given human-like qualities. For example, in the movie "Inside Out", the emotions of the protagonist are personified and work together to control her actions. |
Memory as a Physical Space | Riley's memories are represented as physical objects within her mind, forming “islands of personality” that reflect her experiences. | This trope is common in fantasy and science fiction stories where memories are given a tangible form. For example, in the movie "Eternal Sunshine of the Spotless Mind", the protagonist's memories are literally erased from his mind. |
The Power of Imagination | Riley's imaginary friend, Bing Bong, plays a significant role in the story, representing the power of imagination and the importance of childhood memories. | This trope is common in children's stories and fantasies, where the power of imagination is emphasized. For example, in the movie "Peter Pan", the protagonist never grows up and continues to live in a world of imagination. |
Moving Away from Home | The story begins with Riley's family moving from Minnesota to San Francisco, which triggers a series of emotional challenges for Riley and her inner world. | This trope is common in stories about families and personal growth, as it represents a significant change in a character's life. For example, in the movie "The Wizard of Oz", the protagonist, Dorothy, is swept away from home and has to journey to find her way back. |
The Importance of Family | Despite their struggles, Riley's family provides her with love and support, reminding her of the importance of family bonds. | This trope is common in stories about family and relationships, where the importance of family is emphasized. For example, in the movie "The Lion King", the protagonist, Simba, learns the importance of family and responsibility from his father. |
The Importance of Memories | Memories are shown to be powerful tools that shape Riley's personality and influence her emotions, highlighting the importance of past experiences. | This trope is common in stories about memory and nostalgia, where the importance of past experiences is emphasized. For example, in the movie "The Notebook", the protagonist's memories of his love for a woman from his youth help him to rediscover his feelings for her. |
The Power of Positive Thinking | Joy's role in Riley's life is to maintain a positive outlook and to help her overcome challenges, emphasizing the power of optimism and resilience. | This trope is common in self-help literature and motivational stories, where the importance of positive thinking is emphasized. For example, in the movie "The Secret", the protagonist learns to use the power of positive thinking to achieve her goals. |
The Value of Diversity | The story emphasizes the importance of all emotions, even Sadness, demonstrating that different emotions are all valuable and necessary for a healthy emotional life. | This trope is common in stories about diversity and inclusion, where the importance of appreciating and respecting different perspectives is emphasized. For example, in the movie "Hidden Figures", the protagonist, Katherine Johnson, is a black woman who worked as a mathematician for NASA during the space race. |
Theme | Theme Details | Themee Explanation | ||
---|---|---|---|---|
Emotions and Mental Health | The screenplay explores the inner workings of Riley's mind through the personification of her emotions. It delves into how different emotions like Joy, Sadness, Anger, Fear, and Disgust influence Riley's thoughts, actions, and overall mental health. | The central theme of the screenplay revolves around the importance of understanding and managing one's emotions, as well as the impact of mental health on an individual's well-being. | ||
Strengthening Emotions and Mental Health:
| ||||
Identity and Self-Discovery | The screenplay follows Riley's journey of self-discovery as she navigates through different aspects of her identity represented by the 'Islands of Personality'. Each island reflects a different facet of Riley's character, highlighting her growth and development. | The theme of identity and self-discovery is prominent as Riley explores her interests, relationships, and experiences to understand who she is and what shapes her personality. | ||
Family and Relationships | The screenplay emphasizes the importance of family dynamics and relationships in shaping Riley's emotions and decisions. It showcases the bond between Riley and her parents, as well as her interactions with friends and teammates. | The theme of family and relationships underscores the impact of supportive relationships on an individual's emotional well-being and highlights the role of family in providing comfort and stability. | ||
Change and Adaptation | The screenplay explores the challenges of adapting to change, such as moving to a new city and starting a new school. It depicts how Riley copes with unfamiliar situations and the emotions that arise from significant life changes. | The theme of change and adaptation delves into the resilience and flexibility required to navigate transitions, highlighting the importance of coping mechanisms and support systems during periods of change. | ||
Memory and Core Memories | The screenplay delves into the significance of memories, particularly core memories, in shaping Riley's personality and emotional responses. It explores how memories influence her perceptions, behaviors, and overall mental state. | The theme of memory and core memories underscores the role of past experiences in shaping an individual's identity and emotional well-being, highlighting the power of memories to influence thoughts and actions. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
---|---|
Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
What is theme | Discussion on ways to layer theme into a screenplay. |
Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Voice Analysis | |
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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. |
Voice Contribution | The writer's voice contributes to the script by enhancing the emotional impact of the story, making it relatable and engaging for the audience. It adds a layer of depth to the characters, themes, and overall mood of the screenplay. The whimsical and humorous elements bring a sense of lightheartedness to the narrative, balancing the heavier emotional themes and creating a dynamic and engaging viewing experience. |
Best Representation Scene | 12 - The Blue Memory |
Best Scene Explanation | 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. |
- Overall originality score: 9.5
- Overall originality explanation: This screenplay stands out for its highly original concept of personifying emotions and giving them distinct personalities and functions within a young girl's mind. This fresh approach adds depth and complexity to the narrative, making it feel unique and engaging. The screenplay also explores familiar themes, like moving, starting a new school, and navigating complex emotions, in a novel and inventive way, using visual metaphors like "Islands of Personality" and the "Memory Dump." While the concept of a young girl's inner world is not entirely novel, the screenplay's specific execution and the characters' unique dynamics set it apart from other similar stories.
- Most unique situations: The most unique situations in the screenplay are the creation of "Islands of Personality" which represent different aspects of Riley's identity, the Memory Dump where forgotten memories fade, the abstracting process inside the Abstract Thought Building, and the fantastical world of Imaginationland. The concept of Riley's imaginary friend Bing Bong and his role in helping her navigate the emotional journey is also a unique and memorable element.
- Overall unpredictability score: 8.5
- Overall unpredictability explanation: The screenplay maintains a good balance between predictability and surprises. While the general plot arc of a young girl overcoming challenges and learning about her emotions is somewhat predictable, the specific events and situations that arise, such as the accidental blue core memory creation and the destruction of Goofball Island, are unpredictable and keep the audience engaged. The screenplay effectively subverts expectations by having Sadness play a crucial role in Riley's emotional journey, emphasizing the importance of sadness in shaping our experiences. While the overall theme is familiar, the screenplay's specific approach and the surprising turns of events make it feel fresh and unpredictable.
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goal is to navigate through her emotions and find balance between joy and sadness. Her external goal is to adapt to her new life in San Francisco. |
External Goals | The protagonist's external goal is to adapt to her new surroundings, make friends at school, and cope with the financial struggles her family faces. |
Philosophical Conflict | The overarching philosophical conflict revolves around the importance of embracing all emotions, including sadness, and finding a balance between different perspectives and experiences. |
Character Development Contribution: The protagonist's internal and external goals, as well as the philosophical conflict, contribute to her growth as she learns the value of embracing all emotions, adapting to change, and making decisions based on her true desires and feelings.
Narrative Structure Contribution: The goals and conflict help drive the protagonist's journey, shaping the narrative arc by introducing challenges and obstacles that push her towards growth and self-discovery.
Thematic Depth Contribution: The goals and conflict deepen the thematic exploration of identity, emotional resilience, and the importance of embracing all aspects of one's self to find true happiness and fulfillment.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
- Physical environment: The screenplay presents two parallel worlds: the real world, depicted as typical locations like a hospital, kitchen, hockey rink, and San Francisco streets, and the internal world of Riley's mind. This inner world is a fantastical, colorful, and imaginative space where Riley's emotions are personified as characters. It includes Headquarters, a control center for emotions, Islands of Personality representing different aspects of Riley's identity, the Long-Term Memory, a maze-like storage of memories, the Memory Dump, where forgotten memories are discarded, and Imaginationland, a whimsical world of creativity and imagination. The visual contrast between the mundane real world and the fantastical inner world creates a visually engaging and thought-provoking experience.
- Culture: The screenplay explores themes of family dynamics, the importance of friendships, the challenges of moving to a new city, and the emotional journey of growing up. It highlights the cultural elements of hockey, pizza, and school, using these familiar aspects to ground the story in relatable experiences. The portrayal of Riley's family dynamics, with her parents struggling to adapt to their new life and support their daughter, resonates with viewers who have experienced similar situations.
- Society: The screenplay depicts a hierarchical society within Riley's mind, where Joy initially holds the position of leadership and attempts to maintain a positive outlook. The other emotions, like Sadness, Fear, and Anger, have their own distinct personalities and roles, contributing to the complex dynamics of Riley's inner world. The screenplay also showcases the societal pressures Riley faces, from the expectations of school and hockey to the challenges of making new friends and adjusting to a new environment.
- Technology: The screenplay incorporates unique technological elements that add to the fantastical nature of Riley's inner world. These include the control console in Headquarters, which Joy uses to manipulate memories, the lightlines connecting Islands of Personality, the Train of Thought, a mode of transportation within Riley's mind, and the vacuum tubes that transport memories. These technologies are presented as an integral part of Riley's cognitive processes, creating a sense of wonder and highlighting the complexity of the human mind.
- Characters influence: The unique physical environment, culture, society, and technology of the screenplay directly influence Riley's experiences and actions. The characters' emotional states and interactions shape how Riley navigates her real world, contributing to her actions, thoughts, and feelings. For example, Riley's reluctance to embrace her new life in San Francisco is a direct result of her inner emotions' struggles to adjust. The fantastical elements of her mind world provide a visual representation of these inner conflicts, making them more accessible and engaging for the audience.
- Narrative contribution: The world-building elements in the screenplay are crucial to the narrative structure. The exploration of Riley's inner world, with its distinct physical environments and technological elements, provides a unique perspective on her emotional journey. The parallel depiction of the real world and the inner world creates a dynamic narrative, highlighting the intricate connection between Riley's internal and external experiences. The film's narrative structure allows viewers to understand Riley's emotional growth and development through a compelling and imaginative journey.
- Thematic depth contribution: The world-building elements contribute significantly to the thematic depth of the screenplay. The personification of emotions allows for a deeper understanding of their impact on human behavior. The film explores the importance of accepting and embracing all emotions, not just positive ones, and demonstrates how Sadness can play a crucial role in processing grief and making sense of life's challenges. The exploration of Riley's mind world and its relationship to her real-world experiences provides a profound commentary on the complex workings of the human psyche and the interconnectedness of our inner and outer selves.
central conflict
The central conflict is the internal struggle of Riley's emotions as they navigate the challenges of moving to a new city and adjusting to a new life, while also trying to maintain her happiness and sense of self.
primary motivations
- Joy's motivation is to keep Riley happy and maintain a positive outlook.
- Sadness's motivation is to understand her role and contribute to Riley's well-being.
- Anger's motivation is to assert control and express frustration.
- Fear's motivation is to protect Riley from perceived threats.
- Disgust's motivation is to avoid unpleasant experiences and maintain a sense of order.
catalysts
- The move to San Francisco serves as the primary catalyst for the story, disrupting Riley's established life and triggering a cascade of emotional challenges.
- The loss of core memories, particularly those related to Riley's friendships and family, creates a sense of urgency for Joy and Sadness to return to Headquarters.
- The internal conflict between the emotions themselves, particularly Joy's resistance to Sadness's influence, drives the narrative forward.
- The realization that Sadness plays a crucial role in Riley's emotional development acts as a catalyst for Joy's growth and understanding.
barriers
- The physical separation of Joy and Sadness from Headquarters creates a significant barrier, preventing them from restoring Riley's core memories and impacting her emotional stability.
- Riley's resistance to change and her difficulty adjusting to her new environment act as a barrier to her happiness and well-being.
- The internal conflicts between the emotions, particularly Joy's fear of Sadness's influence, create a barrier to their collaboration and ultimately, to Riley's well-being.
- The loss of core memories creates a barrier to Riley's sense of identity and her ability to function effectively.
themes
- The importance of accepting and understanding all emotions, including those that are traditionally considered negative.
- The power of memory and its impact on identity and emotional well-being.
- The challenges of adapting to change and the importance of resilience in the face of adversity.
- The significance of family and friendship in maintaining a sense of belonging and well-being.
- The role of imagination and creativity in coping with emotional challenges and finding joy in life.
stakes
- The stakes are high as Riley's emotional stability and her overall well-being are at risk. If Joy and Sadness fail to restore Riley's core memories and help her adjust to her new life, she may lose her sense of self and her ability to function effectively.
- The loss of core memories represents a significant loss of Riley's identity and her connection to her past, potentially leading to a disconnect from her family and friends.
- The conflict between Joy and Sadness puts Riley's happiness and emotional balance in jeopardy, highlighting the importance of embracing all emotions for a healthy and well-rounded life.
uniqueness factor
The story's uniqueness lies in its imaginative exploration of the human mind as a complex and interconnected landscape. By personifying emotions and giving them distinct personalities, the film offers a novel and relatable way to explore the challenges of growing up and navigating complex emotional landscapes.
audience hook
The film's engaging visuals, relatable characters, and heartwarming message will appeal to audiences of all ages. The unique concept of personified emotions interacting within the mind creates a sense of wonder and curiosity, while the story's themes of family, friendship, and resilience will resonate with viewers on an emotional level.
paradoxical engine or bisociation
The paradoxical engine of the story lies in the juxtaposition of Joy and Sadness. Traditionally, Joy is associated with happiness and positivity, while Sadness is seen as negative and unwanted. The story challenges this binary by demonstrating that Sadness plays a vital role in Riley's emotional well-being and that both emotions are essential for a full and balanced life. This paradox of seemingly opposing forces working together to achieve a greater good forms the core of the story's bisociation.
paradoxical engine or bisociation 2
The story also explores the bisociation between the tangible world of Riley's experiences and the abstract, internal world of her emotions. By visually representing Riley's mind as a landscape filled with islands, lightlines, and memory dumps, the film creates a unique visual language that allows the audience to engage with both the concrete and the abstract simultaneously. This bisociation enhances the film's emotional impact and its exploration of the complex relationship between our inner and outer worlds.
Engine: Claude
Recommend
Executive Summary
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.
- The introduction of the 'Islands of Personality' and how they are formed by Riley's core memories is an excellent way to establish the core concept of the screenplay and provide a clear visual representation of Riley's inner world. high ( Scene 3 )
- The seamless integration of Riley's daily life and interactions with her parents, as well as the exploration of her emotions during these moments, helps to ground the fantastical premise in a relatable and grounded reality. high ( Scene 4 )
- The handling of Riley's first day at her new school is a standout sequence, with the screenplay adeptly balancing the comedy of the emotions' attempts to keep Riley happy with the genuine emotional turmoil she is experiencing. high ( Scene 11 )
- The introduction of Bing Bong, Riley's imaginative friend, and his subsequent role in the story adds a delightful and poignant layer to the narrative, exploring the bittersweet process of growing up and letting go of childhood. medium ( Scene 17 )
- The sequence in which Joy and Sadness become separated from the other emotions and must find their way back to Headquarters is a thrilling and emotionally charged moment that drives the story forward in a compelling way. high ( Scene 26 )
- The sequence involving Riley's parents and their attempts to understand her changed behavior could be strengthened by providing more depth and nuance to their emotional reactions, as well as exploring the potential conflict between their desire to support Riley and their own struggles with the family's relocation. medium ( Scene 15 )
- The scene in the Abstract Thought building, while visually striking, could benefit from a clearer and more coherent logic to the way the characters navigate and ultimately escape the environment, as it currently feels somewhat disjointed. medium ( Scene 23 )
- Overall, the screenplay is quite comprehensive and does not have any glaring omissions. However, some additional exploration of the other emotions' internal dynamics and how they contribute to Riley's overall emotional landscape could further strengthen the narrative. low
- The screenplay's handling of Riley's first day at her new school, with the emotions' attempts to keep her happy contrasting with the genuine emotional turmoil she is experiencing, is a standout moment that demonstrates the screenplay's ability to balance humor and pathos. high ( Scene 11 )
- The sequence in which Joy and Sadness become separated from the other emotions and must find their way back to Headquarters is a thrilling and emotionally charged moment that drives the story forward in a compelling way, and highlights the screenplay's strong character development and narrative structure. high ( Scene 26 )
- The final sequence, in which Joy and Sadness work together to help Riley through a difficult emotional moment, is a powerful and poignant resolution that reinforces the screenplay's central themes of the importance of emotional balance and the value of embracing all aspects of the human experience. high ( Scene 40 )
- Lack of Diversity While the screenplay does a strong job of exploring the emotional journey of its central character, Riley, the supporting cast and background characters could benefit from greater diversity in terms of representation. The screenplay could be strengthened by incorporating more diverse perspectives and experiences, particularly within the family and school settings. medium
- Overexplanation In a few instances, the screenplay tends to over-explain certain concepts or emotional beats, which can detract from the natural flow of the story. For example, in the sequence where Joy is trying to help Sadness understand the importance of finding the fun, the dialogue could be streamlined to allow the emotional beats to land more organically. low
Engine: Gemini
Highly Recommend
Executive Summary
Inside Out is a brilliantly conceived and executed animated screenplay that successfully tackles complex themes of childhood and emotional development in a way that is both entertaining and thought-provoking. It features strong character arcs, an inventive and engaging narrative, and a unique visual style that perfectly complements the story. While the screenplay could benefit from minor pacing adjustments in a few scenes, its strengths far outweigh any weaknesses, making it a compelling and highly recommended script for production.
- The screenplay is highly creative and original, bringing to life a complex and imaginative world within Riley's mind. The personification of emotions as characters, each with their own distinct personalities and motivations, is ingenious and allows for a nuanced exploration of emotional development and the complexities of human psychology. high ( Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7 Scene 8 Scene 9 Scene 10 Scene 11 Scene 12 Scene 13 Scene 14 Scene 15 Scene 16 Scene 17 Scene 18 Scene 19 Scene 20 Scene 21 Scene 22 Scene 23 Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 Scene 29 Scene 30 Scene 31 Scene 32 Scene 33 Scene 34 Scene 35 Scene 36 Scene 37 Scene 38 Scene 39 Scene 40 Scene 41 Scene 42 )
- The character development is excellent, with each emotion undergoing a significant journey throughout the story. Joy, initially the dominant force, learns to accept Sadness's role and value, while Sadness gains confidence and self-awareness. The other emotions, particularly Anger and Fear, also evolve, demonstrating the importance of working together and embracing different perspectives. These nuanced character arcs contribute to the film's emotional depth and make the characters feel real and relatable. high ( Scene 2 Scene 7 Scene 12 Scene 22 Scene 29 Scene 36 Scene 39 Scene 40 Scene 42 )
- The pacing of the screenplay is generally well-balanced, seamlessly transitioning between moments of humor, tension, and emotional depth. The script effectively uses flashbacks and internal monologues to provide context and depth to the narrative. However, a few scenes could benefit from minor pacing adjustments to avoid feeling rushed or drawn out. medium ( Scene 3 Scene 12 Scene 17 Scene 20 Scene 21 Scene 25 Scene 27 Scene 33 Scene 35 Scene 38 Scene 41 )
- The screenplay expertly integrates visual elements, leveraging the capabilities of animation to create a truly unique and immersive experience. The visual metaphors and imaginative worlds, such as Imaginationland and the Memory Dump, are both creative and effective in conveying the abstract concepts of emotions and memories. The screenplay also utilizes animation techniques to enhance comedic moments, making the humor both visually engaging and genuinely funny. high ( Scene 3 Scene 4 Scene 12 Scene 13 Scene 22 Scene 24 Scene 25 Scene 30 Scene 31 Scene 34 Scene 37 Scene 38 Scene 39 Scene 40 Scene 41 Scene 42 )
- The screenplay's narrative is compelling and engaging, drawing the audience into the journey of Riley and her emotions. The plot is structured in a way that balances humor, suspense, and emotional depth, keeping the audience invested throughout the film. The use of flashbacks and internal monologues provides a deeper understanding of the characters and their motivations. The resolution is satisfying and offers a hopeful message about the importance of embracing all emotions. high ( Scene 3 Scene 4 Scene 13 Scene 22 Scene 27 Scene 29 Scene 34 Scene 35 Scene 36 Scene 37 Scene 38 Scene 40 Scene 41 )
- While the pacing is generally good, a few scenes could benefit from minor adjustments to enhance the flow of the story. For example, some scenes, particularly those involving the Forgetters in Long-Term Memory, could potentially be trimmed to avoid slowing down the pace of the narrative. Similarly, a few action sequences might feel more impactful with slightly tighter pacing. medium ( Scene 14 Scene 19 Scene 23 Scene 28 Scene 31 Scene 32 Scene 35 )
- The screenplay effectively establishes a unique and compelling world within Riley's mind, but it could benefit from further development of certain aspects of this world. For example, exploring the different sections of Long-Term Memory beyond the initial introduction could add depth and intrigue to the story. Similarly, expanding on the workings of the Subconscious and the Dream Productions facility could provide further insights into the workings of Riley's mind. low ( Scene 1 Scene 2 Scene 3 Scene 4 Scene 5 Scene 6 Scene 7 Scene 8 Scene 9 Scene 10 Scene 11 Scene 12 Scene 13 Scene 14 Scene 15 Scene 16 Scene 17 Scene 18 Scene 19 Scene 20 Scene 21 Scene 22 Scene 23 Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 Scene 29 Scene 30 Scene 31 Scene 32 Scene 33 Scene 34 Scene 35 Scene 36 Scene 37 Scene 38 Scene 39 Scene 40 Scene 41 Scene 42 )
- The screenplay effectively utilizes the unique capabilities of animation to enhance the storytelling. The animation style complements the story's themes and characters, creating a visually striking and memorable experience. The script also incorporates clever visual metaphors and imaginative sequences to effectively convey abstract concepts, making the story more engaging and accessible to a wider audience. high ( Scene 3 Scene 10 Scene 22 Scene 24 Scene 27 Scene 29 Scene 31 Scene 33 Scene 36 Scene 37 Scene 38 Scene 39 Scene 40 Scene 41 )
- The screenplay incorporates a clever and engaging use of humor, adding depth and levity to the story. The comedic moments are well-integrated into the narrative, enhancing the emotional impact and making the characters more relatable. The humor is subtle and often arises from the interactions between the emotions and the situations they find themselves in, making the film both entertaining and thought-provoking. high ( Scene 4 Scene 9 Scene 12 Scene 15 Scene 19 Scene 20 Scene 22 Scene 26 Scene 29 Scene 30 Scene 32 Scene 36 Scene 37 Scene 38 Scene 40 Scene 42 )
- Character Motivation Blind Spot The screenplay might have missed opportunities to explore the deeper motivations of some of the characters, particularly the secondary emotions like Anger, Fear, and Disgust. While their personalities and functions are established, it would be helpful to understand their underlying needs and fears better. For example, why is Anger so easily triggered, or what fuels Fear's anxieties? Exploring their individual motivations could add depth and complexity to the story. medium
- Lack of Conflict While the screenplay does an excellent job of establishing a unique world and characters, there could be more internal conflict and stakes within the story. For example, while Joy's initial attempts to suppress Sadness are present, this conflict could be explored further. What happens when Joy’s authority is challenged? What are the consequences of their disagreement? Developing this conflict could add tension and depth to the story. medium
Engine: GPT4
Highly Recommend
Executive Summary
Inside Out is a masterfully crafted screenplay that delves into the complexities of human emotions through the imaginative portrayal of personified emotions within a young girl's mind. The screenplay excels in its unique concept, emotional depth, and character development, making it a compelling and engaging narrative. The pacing is well-balanced, and the resolution is both satisfying and thought-provoking. This screenplay stands out for its originality and the profound way it addresses universal themes of growing up and emotional resilience.
- The introduction of the personified emotions is both creative and immediately engaging, setting the tone for the entire film. high ( Scene 1 )
- The emotional climax where Joy realizes the importance of Sadness is a powerful and poignant moment that adds depth to the narrative. high ( Scene 13 )
- The resolution where Riley reconciles with her parents and acknowledges her feelings is a satisfying and emotionally resonant conclusion. high ( Scene 39 )
- The imaginative settings like Imaginationland and Abstract Thought are visually and conceptually inventive, adding richness to the world-building. medium ( Scene 22 )
- The final scenes that show the new, expanded console and the new core memories highlight the growth and development of Riley's character. medium ( Scene 41 )
- The pacing in the middle act can feel a bit slow, particularly during the scenes in Long-Term Memory. Tightening these scenes could maintain better momentum. medium ( Scene 6 )
- Some of the abstract concepts, like the Abstract Thought sequence, might be confusing for younger audiences. Simplifying these could enhance clarity. low ( Scene 23 )
- The transition from dream sequences to waking life can be jarring. Smoother transitions could improve the overall flow. low ( Scene 28 )
- The subplot involving Riley stealing her mom's credit card feels underdeveloped and could be expanded to add more tension. medium ( Scene 34 )
- The resolution of the bus sequence could be more dramatic to heighten the stakes and emotional payoff. medium ( Scene 38 )
- A deeper exploration of the other emotions' backstories could add more depth to their characters. low
- More interaction between Riley and her new friends in San Francisco could provide a better sense of her adapting to her new environment. medium
- A clearer depiction of the passage of time would help in understanding Riley's emotional journey. low
- The screenplay's unique concept of personifying emotions is immediately captivating and sets it apart from other animated features. high ( Scene 1 )
- The emotional depth and complexity of Joy's realization about Sadness is a standout moment that adds significant weight to the narrative. high ( Scene 13 )
- Bing Bong's sacrifice is a heart-wrenching and memorable moment that underscores the themes of friendship and loss. high ( Scene 36 )
- The expanded console and new core memories symbolize Riley's growth and the integration of her emotions, providing a satisfying conclusion. medium ( Scene 41 )
- The creative and visually stunning settings like Imaginationland and Abstract Thought add a layer of richness to the screenplay. medium ( Scene 22 )
- Complexity of Abstract Concepts Some sequences, like Abstract Thought, may be too complex for younger audiences to fully grasp. Simplifying these concepts could enhance clarity and accessibility. medium
- Pacing Issues The pacing in the middle act can drag, particularly during the scenes in Long-Term Memory. Tightening these scenes could maintain better momentum. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
36 | Bing Bong: Take her to the moon for me. Okay? |
39 | Riley: I know you don’t want me to but... I miss home. I miss Minnesota. |
10 | 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! |
37 | Sadness: I only make everything worse! |
36 | Bing Bong: Take her to the moon for me. Okay? |