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Scene Map 60
# PG SLUGLINE
1 1
INT LOFT APARTMENT - MICHAEL’S ACTING CLASS DAY
2 4
INT THEATRE-IN-THE-ROUND: A REHEARSAL
3 6
EXT MCMULLEN’S RESTAURANT - NIGHT - ESTABLISH
4 7
INT DINING AREA - MICHAEL AND JEFF
5 8
EXT THE STREET OF THEIR LOFT - MICHAEL, JEFF - WALKING
6 9
INT A TENEMENT BUILDING NIGHT
7 11
INT LOFT - THE PARTY LATER
8 15
INT LOFT - PIANO AREA LATER
9 16
INT LOFT - OUTSIDE OF KITCHEN BATHROOM LATER
10 18
INT SANDY’S APARTMENT - MICHAEL & SANDY
11 20
EXT NATIONAL T.V. STUDIO DAY
12 22
EXT 6TH AVENUE DAY
13 27
EXT MADISON AVENUE - LONG LENS DAY
14 29
INT CONTROL ROOM - RON, JACQUI, OTHERS
15 32
EXT RUSSIAN TEA ROOM DAY
16 36
INT LOFT APARTMENT - MICHAEL AND JEFF
17 37
INT SANDY’S APARTMENT - SANDY AND MICHAEL NIGHT
18 39
INT MICHAEL’S ROOM - EARLY MORNING
19 41
INT CORRIDOR - STUDIO - JO & DOROTHY DAY
20 43
INT STUDIO - HOSPITAL ROOM SET DAY
21 46
INT CONTROL BOOTH - ALL
22 47
INT STUDIO - CAST, CREW
23 48
INT LOFT APARTMENT NIGHT
24 50
INT SANDY’S APARTMENT NIGHT
25 53
INT STUDIO - EMILY’S OFC - DOROTHY & VAN HORN
26 56
EXT TV STUDIO - CLOSE ON A FAN
27 57
INT JULIE’S APARTMENT - ENTRY HALL NIGHT
28 59
INT JULIE’S KITCHEN - JULIE, DOROTHY NIGHT
29 61
INT AMY’S BEDROOM
30 62
INT JULIE’S APARTMENT NIGHT
31 64
INT TAXI - DOROTHY NIGHT
32 67
INT STUDIO - DOROTHY & “PATIENT” - TAPING
33 68
INT STILL PHOTOGRAPHY STUDIO DAY
34 69
INT SANDY’S APARTMENT NIGHT
35 72
INT PENTHOUSE APT. NIGHT
36 75
EXT TERRACE - JULIE NIGHT
37 77
INT FUNERAL PARLOR SET - STUDIO DAY
38 78
INT SANDY’S APARTMENT - SANDY NIGHT
39 79
EXT PHILLIPS’ FARMHOUSE DAY
40 80
INT FARMHOUSE KITCHEN - LES, JULIE, DOROTHY NIGHT
41 85
INT JULIE’S ROOM NIGHT
42 86
EXT FARMHOUSE, SWINGS - LATE DUSK
43 87
INT STUDIO - GREEN ROOM DAY
44 89
INT GEORGE FIELDS’S OFFICE - CLOSE ON GEORGE
45 90
INT LOFT - LATE DAY
46 93
INT JULIE’S BATHROOM NIGHT
47 94
INT JULIE’S LIVING ROOM NIGHT
48 97
INT COPACABANA - DANCE FLOOR NIGHT
49 100
EXT STREET OUTSIDE LOFT NIGHT
50 101
INT LOFT - DOROTHY & JOHN
51 106
INT LIVING ROOM
52 107
INT GEORGE FIELDS’ LIVING ROOM NIGHT
53 111
INT CONTROL ROOM - CLOSE ON MONITOR DAY
54 112
INT DRESSING ROOM CORRIDOR DAY
55 112
INT CONTROL ROOM
56 114
INT CONTROL ROOM
57 115
INT CONTROL ROOM - ALL
58 116
INT STUDIO - FLOOR
59 118
EXT A PLAYHOUSE - BARN - EARLY EVENING
60 119
EXT T.V. STUDIO - ENTRANCE DAY
Scene Map
60
# PG SLUGLINE
1 1
INT LOFT APARTMENT - MICHAEL’S ACTING CLASS DAY
INT. LOFT APARTMENT - MICHAEL’S ACTING CLASS - DAY
TOOTSIE Screenplay by Larry Gelbart March 8 1982 MACRO SHOT. LIKE AN ABSTRACT PAINTING
2 4
INT THEATRE-IN-THE-ROUND: A REHEARSAL
INT. THEATRE-IN-THE-ROUND: A REHEARSAL
INT. THEATRE-IN-THE-ROUND: A REHEARSAL Michael, propped with cane and holding script, sits on one side of the stage. One by one, actors run to him and say their lines. 1ST ACTOR
3 6
EXT MCMULLEN’S RESTAURANT - NIGHT - ESTABLISH
EXT. - MCMULLEN’S RESTAURANT - NIGHT - ESTABLISH
EXT. - MCMULLEN’S RESTAURANT - NIGHT - ESTABLISH INT. MCMULLEN’S RESTAURANT - NIGHT Busy, noisy. Would-be actors are waiters and waitresses -- capped teeth, bow ties, aprons. KITCHEN AREA - MCMULLEN’S RESTAURANT
4 7
INT DINING AREA - MICHAEL AND JEFF
INT. DINING AREA - MICHAEL AND JEFF
INT. DINING AREA - MICHAEL AND JEFF Michael comes out of the kitchen, takes menus out, then stops as he looks toward the dining area, puts the menus back, and turns to Jeff who has just come out of the kitchen. MICHAEL
5 8
EXT THE STREET OF THEIR LOFT - MICHAEL, JEFF - WALKING
EXT. THE STREET OF THEIR LOFT - MICHAEL, JEFF - WALKING -
EXT. THE STREET OF THEIR LOFT - MICHAEL, JEFF - WALKING - NIGHT Michael and Jeff heading home from work. MICHAEL When I was living with her she was
6 9
INT A TENEMENT BUILDING NIGHT
INT. A TENEMENT BUILDING - NIGHT
INT. A TENEMENT BUILDING - NIGHT Michael and Jeff head up the stairs AWAY FROM CAMERA. JEFF Instead of trying to be Michael Dorsey the great actor, or Michael
7 11
INT LOFT - THE PARTY LATER
INT. LOFT - THE PARTY - LATER
INT. LOFT - THE PARTY - LATER CAMERA opens on birthday sign, PAN TO Michael who talks with lady ‘til she’s called away. He goes to seated Pat: MICHAEL (sitting on arm of chair)
8 15
INT LOFT - PIANO AREA LATER
INT. LOFT - PIANO AREA - LATER
INT. LOFT - PIANO AREA - LATER Michael plays the piano. Roz sits near him. He keeps glancing around looking for the missing Linda. ROZ It’s nice Michael...
9 16
INT LOFT - OUTSIDE OF KITCHEN BATHROOM LATER
INT. LOFT - OUTSIDE OF KITCHEN BATHROOM - LATER
INT. LOFT - OUTSIDE OF KITCHEN BATHROOM - LATER Young man watches as someone inside the bathroom tries to open the stuck door. Finally, Sandy comes out, bathroom plunger in hand. SANDY
10 18
INT SANDY’S APARTMENT - MICHAEL & SANDY
INT. SANDY’S APARTMENT - MICHAEL & SANDY
INT. SANDY’S APARTMENT - MICHAEL & SANDY Michael sits on the couch, feet up on the coffee table, script on his lap. Sandy stands near him. MICHAEL Now concentrate. Concentrate. Cue:
11 20
EXT NATIONAL T.V. STUDIO DAY
EXT. NATIONAL T.V. STUDIO - DAY
EXT. NATIONAL T.V. STUDIO - DAY People going in and out. Busy INT. T.V. STUDIO - OUTER WAITING ROOM - DAY The room is dominated by a colorful mural featuring caricatures of the leading players on “Southwest General.”
12 22
EXT 6TH AVENUE DAY
EXT. 6TH AVENUE - DAY
EXT. 6TH AVENUE - DAY Michael, running angrily up to an imposing building. INT. NATIONAL ARTISTS AGENCY - RECEPTION AREA Michael marches in and past the receptionist.
13 27
EXT MADISON AVENUE - LONG LENS DAY
EXT. MADISON AVENUE - LONG LENS - DAY
EXT. MADISON AVENUE - LONG LENS - DAY Teaming with people, coming and going. The focus gradually forces us to notice one woman moving towards us unsteadily on high heels. She is Michael. INT. NATIONAL T.V. STUDIO - OUTER WAITING ROOM - DAY
14 29
INT CONTROL ROOM - RON, JACQUI, OTHERS
INT. CONTROL ROOM - RON, JACQUI, OTHERS
INT. CONTROL ROOM - RON, JACQUI, OTHERS Including Mel Rich, the TD. RON (to Rita) You really think she’s worth
15 32
EXT RUSSIAN TEA ROOM DAY
EXT. RUSSIAN TEA ROOM - DAY
EXT. RUSSIAN TEA ROOM - DAY Patrons come and go. Dorothy stands outside waiting. George Fields approaches, goes briskly to the entrance. DOROTHY Excuse me, sir, I wonder if you
16 36
INT LOFT APARTMENT - MICHAEL AND JEFF
INT. LOFT APARTMENT - MICHAEL AND JEFF
INT. LOFT APARTMENT - MICHAEL AND JEFF Michael is in an old robe with his feet in a pan of water, tomatoes and cottage cheese on his plate, packages all around. Jeff pours hot water into the pan. MICHAEL
17 37
INT SANDY’S APARTMENT - SANDY AND MICHAEL NIGHT
INT. SANDY’S APARTMENT - SANDY AND MICHAEL - NIGHT
INT. SANDY’S APARTMENT - SANDY AND MICHAEL - NIGHT Sandy is closing the door. SANDY (closing door) Oh, my God! When did she die?
18 39
INT MICHAEL’S ROOM - EARLY MORNING
INT. MICHAEL’S ROOM - EARLY MORNING
INT. MICHAEL’S ROOM - EARLY MORNING An alarm goes off showing 4:30 a.m. SERIES OF QUICK CUTS: A) Michael shaving, very closely. B) Michael shaving his legs.
19 41
INT CORRIDOR - STUDIO - JO & DOROTHY DAY
INT. CORRIDOR - STUDIO - JO & DOROTHY - DAY
INT. CORRIDOR - STUDIO - JO & DOROTHY - DAY Dorothy follows, as Jo points off towards a doorway. JO You’re in nine. Dorothy goes to the door, enters.
20 43
INT STUDIO - HOSPITAL ROOM SET DAY
INT. STUDIO - HOSPITAL ROOM SET - DAY
INT. STUDIO - HOSPITAL ROOM SET - DAY Ron is blocking a scene between JULIE and RICKY LACY, who lies atop a bed, script in hand. Rita and crew stand by making notes. During, Dorothy stands in bg next to a DISTINGUISHED LOOKING GENTLEMAN, watching. ALVIN is making
21 46
INT CONTROL BOOTH - ALL
INT. CONTROL BOOTH - ALL
INT. CONTROL BOOTH - ALL Ron holds his head in his hands. RON I don’t believe this. RITA
22 47
INT STUDIO - CAST, CREW
INT. STUDIO - CAST, CREW
INT. STUDIO - CAST, CREW Rita and Ron enter. John stands holding his face. There is a buzz of conversation. All OVERLAPPING. JOHN (bewildered)
23 48
INT LOFT APARTMENT NIGHT
INT. LOFT APARTMENT - NIGHT
INT. LOFT APARTMENT - NIGHT Jeff sits at the table, smoking his pipe, holding his play. Michael stands in his shorts, setting his wig. MICHAEL I don’t know if she’s pretty or not
24 50
INT SANDY’S APARTMENT NIGHT
INT. SANDY’S APARTMENT - NIGHT
INT. SANDY’S APARTMENT - NIGHT Sandy stands with her phone to her ear, coat over her arm. SANDY (into phone) I asked you to give me the pain
25 53
INT STUDIO - EMILY’S OFC - DOROTHY & VAN HORN
INT. STUDIO - EMILY’S OFC - DOROTHY & VAN HORN
INT. STUDIO - EMILY’S OFC - DOROTHY & VAN HORN Taping a scene. Julie and April stand out of camera watching. JOHN (reading teleprompter) “I think you’ll find you’ve picked
26 56
EXT TV STUDIO - CLOSE ON A FAN
EXT. TV STUDIO - CLOSE ON A FAN
EXT. TV STUDIO - CLOSE ON A FAN PULL BACK to see April, Julie and Dorothy signing autographs. FAN #2 (to April) Did you give Melanie White an
27 57
INT JULIE’S APARTMENT - ENTRY HALL NIGHT
INT. JULIE’S APARTMENT - ENTRY HALL - NIGHT
INT. JULIE’S APARTMENT - ENTRY HALL - NIGHT Julie, holding baby clothes and a bottle, opens the door to admit Dorothy, holding a small bouquet of flowers, her coat over her arm. JULIE
28 59
INT JULIE’S KITCHEN - JULIE, DOROTHY NIGHT
INT. JULIE’S KITCHEN - JULIE, DOROTHY - NIGHT
INT. JULIE’S KITCHEN - JULIE, DOROTHY - NIGHT One wine bottle stands empty. They are deep into the second one. Julie stands at the counter, cutting mushrooms. Dorothy is at the bulletin board, which contains torn out
29 61
INT AMY’S BEDROOM
INT. AMY’S BEDROOM
INT. AMY’S BEDROOM CAMERA PULLS BACK from close-up of Amy in crib to reveal Julie moving to crib as lights come on. Dorothy follows Julie. Julie leans over crib, lifting Amy up and out of crib. JULIE
30 62
INT JULIE’S APARTMENT NIGHT
INT. JULIE’S APARTMENT - NIGHT
INT. JULIE’S APARTMENT - NIGHT The leftovers from dinner sit on the living room table. Julie and Amy sit on the couch, opposite Dorothy who sits at the other end of the couch. Dorothy has a cup of coffee, Julie a glass of wine.
31 64
INT TAXI - DOROTHY NIGHT
INT. TAXI - DOROTHY - NIGHT
INT. TAXI - DOROTHY - NIGHT Pulling off false nails, ripping off eyelashes. TAXI DRIVER (deadpan) Have a bad night, lady?
32 67
INT STUDIO - DOROTHY & “PATIENT” - TAPING
INT. STUDIO - DOROTHY & “PATIENT” - TAPING
INT. STUDIO - DOROTHY & “PATIENT” - TAPING The female “Patient” is in an arm cast, sobbing. PATIENT “I can’t move out, Miss Kimberly. I have nowhere to go. I don’t know
33 68
INT STILL PHOTOGRAPHY STUDIO DAY
INT. STILL PHOTOGRAPHY STUDIO - DAY
INT. STILL PHOTOGRAPHY STUDIO - DAY Montage of Dorothy posing for Greg Gorman, the fashion photographer: Dorothy wearing a red sequined gown, posing in front of the American flag.
34 69
INT SANDY’S APARTMENT NIGHT
INT. SANDY’S APARTMENT - NIGHT
INT. SANDY’S APARTMENT - NIGHT She is on the telephone to Michael. SANDY -- so I was thinking in the scene
35 72
INT PENTHOUSE APT. NIGHT
INT. PENTHOUSE APT. - NIGHT
INT. PENTHOUSE APT. - NIGHT A party in session. Someone like Bobby Short at the piano. The CAMERA PULLS BACK from the piano and PANS TO FIND Michael and Sandy entering the foyer, as George heads toward them with Phil Weintraub.
36 75
EXT TERRACE - JULIE NIGHT
EXT. TERRACE - JULIE - NIGHT
EXT. TERRACE - JULIE - NIGHT Alone, drink in hand, looking at the spectacular view. Michael appears, leans on the rail near her. MICHAEL Hi. My name’s Michael Dorsey.
37 77
INT FUNERAL PARLOR SET - STUDIO DAY
INT. FUNERAL PARLOR SET - STUDIO - DAY
INT. FUNERAL PARLOR SET - STUDIO - DAY Dorothy enters and sits disconsolately on a chair beside a coffin atop a bier. A moment and Julie enters. She stands in the doorway staring at Dorothy. DOROTHY
38 78
INT SANDY’S APARTMENT - SANDY NIGHT
INT. SANDY’S APARTMENT - SANDY -NIGHT
INT. SANDY’S APARTMENT - SANDY -NIGHT On phone ... eyes closed, she is surprisingly moving. SANDY “the world won’t know. No one ever will know. But maybe it’s enough
39 79
EXT PHILLIPS’ FARMHOUSE DAY
EXT. PHILLIPS’ FARMHOUSE - DAY
EXT. PHILLIPS’ FARMHOUSE - DAY A working farm. Les’ pickup truck pulls up. As Les helps Julie and Amy out, Dorothy goes to the rear and starts pulling out suitcases. Les hurries to her. LES
40 80
INT FARMHOUSE KITCHEN - LES, JULIE, DOROTHY NIGHT
INT. FARMHOUSE KITCHEN - LES, JULIE, DOROTHY - NIGHT
INT. FARMHOUSE KITCHEN - LES, JULIE, DOROTHY - NIGHT Easter eggs being dyed. Everyone working. LES I’ll get up real early and hide these. You girls can get some
41 85
INT JULIE’S ROOM NIGHT
INT. JULIE’S ROOM - NIGHT
INT. JULIE’S ROOM - NIGHT Julie seems asleep as Dorothy carefully comes in, takes a flannel nightgown off a hook and tiptoes towards a bathroom. INT. BATHROOM - NIGHT Dorothy changes wigs. Puts one on with curlers in it.
42 86
EXT FARMHOUSE, SWINGS - LATE DUSK
EXT. FARMHOUSE, SWINGS - LATE DUSK
EXT. FARMHOUSE, SWINGS - LATE DUSK Julie and Dorothy sit opposite each other on the swings. Julie holds Amy. Dorothy sings to Amy. DOROTHY Isn’t she cute!
43 87
INT STUDIO - GREEN ROOM DAY
INT. STUDIO - GREEN ROOM - DAY
INT. STUDIO - GREEN ROOM - DAY Cast members relax, one memorizes lines. Dorothy and Van Horn sit on a sofa holding scripts. A T.V. Monitor shows crew activity on the floor, Ron talking to Julie. VAN HORN
44 89
INT GEORGE FIELDS’S OFFICE - CLOSE ON GEORGE
INT. GEORGE FIELDS’S OFFICE - CLOSE ON GEORGE
INT. GEORGE FIELDS’S OFFICE - CLOSE ON GEORGE GEORGE (on phone) I can’t get you out of it. There is no out of it. It’s a one-way
45 90
INT LOFT - LATE DAY
INT. LOFT - LATE DAY
INT. LOFT - LATE DAY A prostrate Michael is in his darkened room, a wet towel pressed to his forehead. Jeff tiptoes in with a glass of water. Michael picks up a handful of pills. JEFF
46 93
INT JULIE’S BATHROOM NIGHT
INT. JULIE’S BATHROOM - NIGHT
INT. JULIE’S BATHROOM - NIGHT Dorothy, towel around neck, is shaving. INT. JULIE’S BATHROOM - NIGHT CAMERA TILTS UP from cosmetics to Dorothy as she fixes her lipstick, hears Amy crying, stares, frozen in horror.
47 94
INT JULIE’S LIVING ROOM NIGHT
INT. JULIE’S LIVING ROOM - NIGHT
INT. JULIE’S LIVING ROOM - NIGHT The door opens and Julie enters, locking it behind her. She crosses through the foyer, putting down her keys and beginning to take her coat off. JULIE
48 97
INT COPACABANA - DANCE FLOOR NIGHT
INT. COPACABANA - DANCE FLOOR - NIGHT
INT. COPACABANA - DANCE FLOOR - NIGHT CAMERA PULLS BACK from band to reveal people dancing the samba. Les and Dorothy, seated at a table, are having their order taken by a waiter. LES
49 100
EXT STREET OUTSIDE LOFT NIGHT
EXT. STREET OUTSIDE LOFT - NIGHT
EXT. STREET OUTSIDE LOFT - NIGHT A cab pulls up and Dorothy drags herself out. A MAN’S VOICE Dorothy? Dorothy whirls around. John Van Horn stands in a shadow.
50 101
INT LOFT - DOROTHY & JOHN
INT. LOFT - DOROTHY & JOHN
INT. LOFT - DOROTHY & JOHN As Dorothy lets him in. VAN HORN Just ... anything alcoholic will do. One drink and I’ll be on my
51 106
INT LIVING ROOM
INT. LIVING ROOM
INT. LIVING ROOM Michael racing around closing the windows as Sandy continues to scream on what seems like one endless breath. MICHAEL I’m really surprised you’re taking
52 107
INT GEORGE FIELDS’ LIVING ROOM NIGHT
INT. GEORGE FIELDS’ LIVING ROOM - NIGHT
INT. GEORGE FIELDS’ LIVING ROOM - NIGHT A rumpled George sits at his desk in a bathrobe, sipping vodka. Michael paces the room. GEORGE (pouring vodka)
53 111
INT CONTROL ROOM - CLOSE ON MONITOR DAY
INT. CONTROL ROOM - CLOSE ON MONITOR - DAY
INT. CONTROL ROOM - CLOSE ON MONITOR - DAY April is just finishing her speech. APRIL (to Dorothy) “And since he’s been on probation
54 112
INT DRESSING ROOM CORRIDOR DAY
INT. DRESSING ROOM CORRIDOR - DAY
INT. DRESSING ROOM CORRIDOR - DAY Dorothy, in party dress, comes out of her dressing room, holding a small, gift wrapped package, and knocks at Julie’s dressing room. Julie opens the door. There is a moment of tension. Dorothy hands her the gift.
55 112
INT CONTROL ROOM
INT. CONTROL ROOM
INT. CONTROL ROOM Ron, Mel, and Rita are at the console. Seated behind them are the writers. On the monitor marked “AIR” the taped section of the show is being broadcast.
56 114
INT CONTROL ROOM
INT. CONTROL ROOM
INT. CONTROL ROOM The writers’ heads are in their hands. SIMULTANEOUSLY: RON Here we go again.
57 115
INT CONTROL ROOM - ALL
INT. CONTROL ROOM - ALL
INT. CONTROL ROOM - ALL The writers are on their feet, in shock. SIMULTANEOUSLY: RON (to Rita)
58 116
INT STUDIO - FLOOR
INT. STUDIO - FLOOR
INT. STUDIO - FLOOR The cast reacts - MICHAEL (defiantly) Let’s see you all drink to that!
59 118
EXT A PLAYHOUSE - BARN - EARLY EVENING
EXT. A PLAYHOUSE - BARN - EARLY EVENING
EXT. A PLAYHOUSE - BARN - EARLY EVENING A sign identifies it: “The Syracuse Playhouse.” A hand- painted poster beneath it reads: MICHAEL DORSEY and SANDY LESTER in “THE LOVE CANAL” written and directed by JEFF SLATER.
60 119
EXT T.V. STUDIO - ENTRANCE DAY
EXT. T.V. STUDIO - ENTRANCE - DAY
EXT. T.V. STUDIO - ENTRANCE - DAY DOLLY WITH passerby to reveal entrance to studio, as Julie comes out and is immediately surrounded by fans. She begins signing, suddenly looks up.

Tootsie

A volatile, out-of-work actor reinvents himself as a no-nonsense woman to land a soap role—only to become a feminist icon, fall for his co-star, and face a live-television reckoning when his lie collapses.

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Overview

Poster
Unique Selling Point

Tootsie's unique selling proposition lies in its ability to use a seemingly outlandish comedic premise — a man dressing as a woman — as a vehicle for genuine social commentary and profound character transformation. Unlike typical cross-dressing comedies that mine the premise purely for laughs, this script uses Michael's experience as Dorothy to fundamentally change who he is as a person. The script is remarkable for making the audience care equally about the comedy and the emotional stakes, creating a rare hybrid where every laugh deepens character and every emotional beat is earned through comedic structure. It also offers a sharp insider's view of the entertainment industry — from struggling actors to soap opera production — that gives the world of the film an authentic, lived-in quality.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Grok
 Highly Recommend
Gemini
 Highly Recommend
DeepSeek
 Highly Recommend
Claude
 Highly Recommend
Average Score: 9.3
Note: As Neil Gaiman says, ”People are usually right about what's wrong, and usually wrong about how to fix it.” Consider the suggestions in this analysis as potential catalysts: adopt what strengthens your vision, and let the rest deepen your understanding of what the story wants to become.
Model Upgrade (March 31, 2025): Our AI models have been upgraded as of this date. Feedback quality is higher, but scores may not be directly comparable to earlier analyses. If you're re-analyzing a script, focus on the written feedback rather than score-to-score comparisons.
Key Takeaways
For the Writer:
To refine this script, focus on tightening mid-Act II pacing by streamlining montages and extended sequences to maintain comedic momentum, and ensure supporting characters like Sandy receive fuller emotional resolutions to avoid abrupt cutoffs. Additionally, amplify the consequences of Michael's deceit for greater realism and thematic impact, such as exploring professional fallout, to deepen the story's exploration of empathy and accountability without undermining its humor.
For Executives:
This script has strong commercial potential as a proven, timeless comedy with broad appeal, satirical depth, and awards buzz, evidenced by its high ratings across analyses. However, risks include dated gender dynamics and underdeveloped character arcs that could invite modern criticism or audience disengagement, potentially reducing marketability if not updated; it's a solid package but requires polishing to fully capitalize on its relevance and avoid perceptions of uneven storytelling.
Story Facts
Genres:
Comedy 50% Drama 35% Romance 25%

Setting: Early 1980s, New York City, primarily in urban settings including a loft apartment, various theaters, and a TV studio.

Themes: Authentic Self-Expression and Identity, The Nature of Acting and Performance, Gender Roles and Identity, Deception and Its Consequences, The Search for Love and Connection, Societal Pressures and Conformity, The Struggle for Passion and Purpose, The Fragility of Relationships and Family

Conflict & Stakes: Michael's struggle to maintain his identity while cross-dressing for a role, leading to romantic entanglements and personal dilemmas, with the stakes involving his career and relationships.

Mood: A blend of comedic and dramatic tones, with moments of heartfelt emotion and tension.

Standout Features:

  • Unique Hook: The central premise of a man cross-dressing to secure a role in a soap opera, exploring themes of identity and acceptance.
  • Major Twist: The revelation of Michael's true identity and the emotional fallout it creates among his friends and colleagues.
  • Distinctive Setting: The vibrant backdrop of New York City in the early 1980s, showcasing the theater and television industry.
  • Innovative Ideas: The screenplay blends comedy with poignant social commentary on gender roles and the acting profession.
  • Unique Characters: A diverse cast of characters, each with their own struggles and aspirations, contributing to the film's depth.

Comparable Scripts: Tootsie, Mrs. Doubtfire, The Birdcage, Kinky Boots, The Adventures of Priscilla, Queen of the Desert, Victor/Victoria, The Birdcage, The Producers, La Cage aux Folles

🎯 Your Top Priorities

Our stats model looked at how your scores work together and ranked the changes most likely to move your overall rating next draft. Ordered by the most reliable gains first.

You have more than one meaningful lever.

Improving Emotional Impact (Script Level) and Conflict (Script Level) will have the biggest impact on your overall score next draft.

1. Emotional Impact (Script Level)
Big Impact Script Level
Your current Emotional Impact (Script Level) score: 8.1
Expected gain: ~24% closer to an "all Highly Recommends" score
Moves easily Writers at your level typically gain +0.43 per rewrite — a realistic improvement.
Confidence: High (based on ~896 similar revisions)
  • This is your top opportunity right now. Focusing your rewrite energy here gives you the best realistic shot at raising the overall rating.
  • What writers at your level usually do: Writers at a similar level usually raise Emotional Impact (Script Level) by about +0.43 in one rewrite.
2. Conflict (Script Level)
Big Impact Script Level
Your current Conflict (Script Level) score: 7.6
Expected gain: ~20% closer to an "all Highly Recommends" score
Moves easily Writers at your level typically gain +0.58 per rewrite — a realistic improvement.
Confidence: High (based on ~581 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Conflict (Script Level) by about +0.58 in one rewrite.
3. Structure (Script Level)
Moderate Impact Script Level
Your current Structure (Script Level) score: 8.0
Expected gain: ~15% closer to an "all Highly Recommends" score
Moves easily Writers at your level typically gain +0.37 per rewrite — a realistic improvement.
Confidence: High (based on ~745 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Structure (Script Level) by about +0.37 in one rewrite.
🎓
Skills Worth Developing

These have high model impact but rarely improve through rewrites alone — they're craft investments. Studying these areas through courses, mentorship, or focused reading could unlock gains that a normal rewrite won't.

Pacing Scene Level 1.2× leverage

Strong model leverage, but writers at your level typically only gain +0.11 per rewrite. (Your score: 8.3)

View Pacing analysis

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.94
Key Suggestions:
To enhance the script's creative depth, focus on deepening the backstories and arcs of supporting characters like Jeff and Les to create more dynamic interactions and emotional resonance. Additionally, tighten pacing in exposition-heavy scenes to maintain engagement and ensure that emotional stakes are clearly articulated, allowing for a more immersive and impactful narrative.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
To improve 'Tootsie' from a creative standpoint, concentrate on smoothing out the uneven pacing by cutting redundant subplots and repetitive scenes, especially in the middle, to maintain momentum. Deepen character motivations and emotional stakes, such as Michael's internal conflict and its impact on relationships, to add authenticity and resonance. Strengthening the inciting incident and extending the resolution's emotional depth will create a tighter, more engaging narrative that better balances humor and drama.
Characters

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

Key Suggestions:
The character analysis reveals strong foundations in themes of identity and empowerment, but the script can be enhanced by deepening emotional backstories and clarifying character arcs, particularly for Michael and Julie. Focus on incorporating more vulnerability in dialogue and interactions to heighten emotional resonance, ensuring that key relationships drive the narrative and reflect broader societal issues, ultimately making the story more relatable and impactful for audiences.
Emotional Analysis

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

Key Suggestions:
To elevate the script's emotional craft, focus on enhancing variety and intensity by incorporating more nuanced transitions and contrasting emotions within scenes. This will prevent emotional fatigue, deepen character empathy, and create a more engaging narrative arc, ensuring that moments of frustration, comedy, and tenderness are balanced to reflect real human experiences and maintain audience investment throughout.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
From a creative perspective, the script's exploration of authenticity versus conformity is compelling, but to improve its craft, focus on tightening the resolution of internal and external goals to avoid feeling rushed, as indicated by the high resolution percentages. Deepen character arcs, particularly Michael's journey, by adding more nuanced interactions that highlight personal growth, ensuring the philosophical conflicts enhance emotional depth and prevent the narrative from relying too heavily on comedic elements at the expense of genuine drama.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script masterfully uses themes of identity and self-expression to drive Michael's character arc, but to elevate its creative depth, focus on refining the emotional authenticity in key moments, such as the confession scene, to avoid melodrama and ensure the audience connects deeply with his journey. Additionally, weave in more nuanced explorations of supporting characters' identities to reinforce the primary theme without diluting the focus, enhancing overall thematic cohesion and providing richer opportunities for actor performances.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
To strengthen the script's creative integrity, focus on resolving character inconsistencies by building more gradual, motivation-driven arcs for key figures like Michael Dorsey, ensuring their actions stem from internal development rather than plot convenience. Additionally, address plot holes and redundancies to enhance narrative coherence and pacing, making the comedy more believable and engaging, which will help maintain audience investment throughout the story.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

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

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
The script's voice excels in witty, naturalistic dialogue that blends humor and drama, but to elevate it creatively, focus on tightening the pacing in scenes with heavy exposition, such as the audition montages, to maintain momentum and deepen character revelations. Additionally, expanding on the social commentary, like the exploration of gender roles and industry pressures, could add more layers, making the themes resonate more universally while preserving the sharp, relatable humor that defines the writer's style.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay's strength lies in its character-driven humor and thematic depth, but to enhance its creative impact, the writer should focus on adding subtext to dialogue for greater emotional nuance, exploring characters' internal motivations more deeply to build relatability, and refining pacing to maintain momentum and avoid sluggish sections. Incorporating targeted exercises and studying exemplary works will help transform these areas into compelling elements that elevate the overall narrative.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
The script's world building effectively contrasts the chaotic urban entertainment industry with serene rural escapes, enhancing themes of identity and deception. To improve, focus on deepening the integration of physical environments and cultural elements to better support character arcs, such as Michael's transformation, by adding more nuanced details that highlight internal conflicts and make the world feel more lived-in and authentic, ultimately strengthening emotional resonance and thematic depth.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script demonstrates strong emotional depth and humorous dialogue, effectively driving character development, but it risks pacing issues in reflective and intimate scenes where stakes are low. To improve, focus on integrating higher external conflicts or subtle plot advancements into these sections to maintain tension and momentum, ensuring a more balanced narrative that complements the script's comedic and dramatic strengths without over-relying on emotional highs.
Loglines
Presents logline variations based on theme, genre, and hook.