The apartment
A lonely insurance clerk lets his apartment be used by his philandering bosses — until a colleague's suicide attempt forces him to choose between career advancement and doing the right thing, with love and integrity on the line.
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Unique Selling Point
The screenplay's unique selling proposition lies in its ability to balance biting corporate satire with genuine human emotion, creating a story that is both hilarious and heartbreaking. Its exploration of moral compromise in the workplace feels remarkably contemporary, while the central romance develops with uncommon authenticity. The film's distinctive voice-over technique and seamless integration of comedy and drama set it apart from conventional romantic comedies.
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Story Facts
Genres: Drama, Comedy, Romance, Character Study, Romantic Comedy, Family
Setting: 1959, New York City, primarily in a brownstone apartment and corporate office buildings
Themes: Integrity vs. Ambition, Loneliness and Connection, Exploitation and Power Dynamics, Infidelity and Moral Compromise, Redemption and Empathy
Conflict & Stakes: Bud's struggle to navigate his feelings for Fran while dealing with Sheldrake's manipulative behavior and the consequences of their affair, with personal and professional stakes at risk.
Mood: Bittersweet and comedic, with moments of tension and romance.
Standout Features:
- Unique Hook: The use of an apartment as a central plot device for romantic entanglements and corporate manipulation.
- Character Dynamics: The complex relationships between Bud, Fran, and Sheldrake create a rich narrative filled with tension and humor.
- Setting: The 1950s New York City backdrop adds a nostalgic charm and enhances the story's themes of ambition and romance.
- Humor and Heart: The screenplay balances comedic elements with serious themes, making it both entertaining and thought-provoking.
Comparable Scripts: The Apartment (1960), The Graduate (1967), Mad Men (TV Series, 2007-2015), The Secret Life of Walter Mitty (2013), The Odd Couple (Play/Film, 1965), The 40-Year-Old Virgin (2005), The Pursuit of Happyness (2006), The Office (US, TV Series, 2005-2013), The Great Gatsby (Novel, 1925)
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The Apartment Synopsis
Synopsis
In the bustling heart of New York City, C.C. Baxter, a diligent but underappreciated insurance clerk at Consolidated Life, discovers an unconventional path to career advancement. By lending his modest apartment to his superiors for their extramarital affairs, Baxter gains favor and climbs the corporate ladder, but at the cost of his personal life and dignity. The apartment, a cozy but unremarkable space in a converted brownstone, becomes a revolving door for secret rendezvous, leaving Baxter to navigate awkward encounters with neighbors and a growing sense of isolation. As the holiday season approaches, Baxter's routine is upended when he develops feelings for Fran Kubelik, the charming elevator operator in his building, who is unwittingly drawn into the web of deceit.
Fran, a kind-hearted and optimistic young woman, is entangled in a tumultuous affair with Jeff Sheldrake, a married executive and one of Baxter's superiors. Sheldrake uses Baxter's apartment for their meetings, promising Fran a future together while stringing her along. Baxter, ever the loyal employee, facilitates these arrangements, but his growing affection for Fran and the chaos they cause in his life force him to confront the moral compromises he's made. Meanwhile, Fran's relationship with Sheldrake deteriorates, leading to emotional turmoil and a desperate act that reveals the depth of her pain. Baxter, caught in the crossfire, must decide whether to continue enabling others or stand up for himself and those he cares about.
As the story unfolds, Baxter's interactions with his nosy landlady, eccentric neighbors, and scheming colleagues highlight the absurdity and loneliness of urban life. The narrative balances sharp humor with poignant moments, exploring themes of integrity, loneliness, and the search for genuine connection in a corporate world. Baxter's journey from a pushover to a man of principle is catalyzed by Fran's crisis, forcing him to reevaluate his priorities. Fran, in turn, grapples with her own poor choices in love, finding unexpected support in Baxter's quiet kindness. The film culminates in a heartfelt resolution during the New Year's Eve festivities, where relationships are tested, and true emotions surface.
Throughout, the screenplay weaves in elements of comedy through Baxter's mishaps and the farcical situations arising from his apartment-sharing scheme, contrasted with the dramatic undertones of infidelity and personal growth. The setting, primarily within the confines of the apartment and the insurance office, amplifies the intimacy and claustrophobia of the characters' lives, making their internal conflicts feel immediate and relatable. By the end, Baxter and Fran both emerge transformed, hinting at a possible new beginning built on honesty and mutual respect. This blend of wit, romance, and social commentary creates a timeless tale that resonates with anyone who has felt overlooked or compromised in the pursuit of success.
Script Level Analysis
This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.
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Screenplay Insights
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Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis
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Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis
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Analysis of the Scene Percentiles
- High character development (83.81 percentile) indicates strong, relatable characters that can engage audiences.
- Excellent dialogue (90.48 percentile) suggests the writer has a knack for crafting authentic and compelling conversations.
- Strong structure (79.47 percentile) shows a well-organized screenplay that likely follows a coherent narrative arc.
- Low originality score (15.26 percentile) suggests the need for more unique concepts or fresh perspectives in the story.
- Conflict level (21.19 percentile) is quite low, indicating a need for more tension and stakes to drive the narrative forward.
- Engagement score (12.37 percentile) is concerning; the writer should focus on making the story more captivating to maintain audience interest.
The writer appears to be intuitive, with strengths in character and dialogue but lower scores in concept and plot.
Balancing Elements- The writer should work on enhancing the conflict and stakes to complement the strong character and dialogue elements.
- Improving the originality and unpredictability of the plot can help balance the screenplay and make it more engaging.
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Overall AssessmentThe screenplay has strong character and dialogue elements, but it needs improvement in originality, conflict, and engagement to reach its full potential.
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Pass / Consider / Recommend Analysis
Top Takeaway from This Section
GPT5
Executive Summary
- Distinct, economical voice and world-building: Bud’s voiceover immediately establishes stakes, tone and his small, sympathetic neuroses. The opening sequences (1–2) set up the corporate ecosystem and the odds of anonymity vs. loneliness in the city; they make the film’s social satire intelligible and funny while rooting us in Bud’s interior life. high ( Scene 1 Scene 2 (Nineteenth Floor) )
- Tight plot mechanics and escalation: the key-as-currency conceit is simple and brilliantly elastic — it creates repetitive-but-escalating complications (Dobisch, Kirkeby, Sheldrake). The middle sequences demonstrate how the setup is used to raise stakes, produce complications and pivot to a promotion that catalyzes Baxter’s choice. high ( Scene 9 Scene 21 (Sheldrake's Office) Scene 28 (Baxter's Office) )
- Masterful tonal balance between comedy and real danger: the overdose sequence is handled with both dark humor and genuine pathos; the doctor's pragmatic neighborliness (Dr. Dreyfuss) and Bud's panic create dramatic urgency while keeping the film’s comic voice. This is where the script earns its emotional pay-off. high ( Scene 32 (Bud's Apartment - Fran's OD) Scene 36 (Resuscitation / Dr. Dreyfuss) Scene 37 (Aftermath / Bud watches over Fran) )
- Dialogue and character chemistry: exchanges between Bud and Fran (and Fran’s scenes with Sheldrake) are economical and revealing — comic banter coexists with vulnerability. The script writes behavior not exposition, letting small actions (flower in lapel, taking off hat) communicate attraction and class differences. high ( Scene 13 (Elevator / Fran introduction) Scene 29 (Office party / Bud and Fran) )
- Thematic unity and a quietly earned ending: motifs (key, elevator, holiday rituals) recur and pay off — Bud's moral arc completes believably. The final scenes deliver an intimate, hopeful close rather than a brazen fairy-tale reversal; the script respects the characters' growth. high ( Scene 55 (Lobby — directory sign) Scene 60 (Final gin games in the apartment) )
- Fran’s interiority and agency: Fran is a strong, sympathetic character, but much of her arc is observed through others (Bud, Sheldrake, Dreyfuss). The script could give her more active choices and inner life — deeper scenes where she explains motives, fears, or asserts desires would make her agency feel less reactive and increase emotional payoff. high ( Scene 32 (Fran's OD / aftermath) Scene 50 (Kirkeby/Dobisch react to missing Fran) )
- Middle-act pacing & focus: several comic set pieces and detours (office parties, repeated brief elevator gags) slightly elongate the middle. Trimming or sharpening some beats would tighten momentum toward the overdose and moral crisis without losing the social texture. medium ( Scene 22 (Sheldrake / Ticket swap) Scene 28 (Baxter's office celebration) )
- Ethical stakes could be amplified: while the script has a clear moral arc, the broader consequences of the apartment-briefing scheme (legal, reputational) are minimized. Increasing the felt risk (e.g., a nearer miss with exposure, or a bigger threat from the clique) would raise suspense and make Baxter’s sacrifice more costly. medium ( Scene 21 (Sheldrake's interrogation of Baxter) )
- Supporting characters underused: Margie, Mrs. Dreyfuss and others are colorful but could be better integrated into the main arc (Margie’s subplot ends abruptly, Mrs. Dreyfuss is mostly comic relief). Either deepen their connection to Baxter's choices or streamline them to maintain focus. low ( Scene 31 (Cheap bar / Margie) )
- Opening information density: the VO is witty and functional, but the opening is heavy with statistic-based humor that slightly delays the emotional hook. A tighter hook focusing sooner on Baxter’s apartment problem might accelerate audience investment. low ( Scene 1 (Opening VO) )
- Clear resolution for Sheldrake-Fran relationship: Sheldrake leaves his wife, but the script doesn't deeply explore what a long-term relationship between him and Fran (or between Fran and Baxter) will look like. An added scene showing Fran's feelings about Sheldrake's real-world commitment or a clearer signpost about whether Sheldrake will change would reduce ambiguity about that subplot. medium ( Scene 32 (Fran's note JEFF / aftermath) )
- Consequences for the 'club' beyond Baxter: the quartet's leverage and how personnel politics actually shift after the reveal are hinted at but not shown. A brief scene after Baxter's resignation (or before he gives up the key) showing ripple effects in the office would complete the social satire arc. low ( Scene 21 (Sheldrake's promotion decision) )
- Investigation / Social fallout: given the overdose and the apartment's use as tryst ground, the script skirts any official investigation or gossip that could plausibly follow. The omission keeps the focus intimate, but introducing a single credible institutional consequence could heighten stakes. low ( Scene 36 (Resuscitation) )
- Deeper background on Fran's family situation: we learn she lives with sister and has a cab-driver brother-in-law, but her aspirations and longer-term plans are underexplored. A scene that gives one strong detail (an ambition, a fear) would make her more three-dimensional. medium ( Scene 29 (Party / Fran & Baxter) )
- Baxter’s lowest point: the script gestures at possible self-destruction (gun) but never revisits it in a way that frames his new moral stance as hard-won. A short interior beat or flashback reinforcing why Baxter refuses the easy route would strengthen his arc's completeness. low ( Scene 58 (Bud packing - gun moment) )
- Economy of a single prop driving plot: the key functions like a Greek unities device — comic, plot-driving and thematic. It's an elegantly simple motor for escalation and metaphor (access, secrecy, corporate barter). high ( Scene 9 (Dobisch phone call / key exchange) )
- Bold tonal shifts handled with confidence: Wilder & Diamond transition from light workplace comedy to life-or-death drama without jarring the audience; that tonal dexterity is a signature strength and not easy to pull off. high ( Scene 32 (Fran's overdose) Scene 36 (Dreyfuss treatment) )
- Small physical details as character shorthand: Fran's carnation, Bud's habit of removing his hat, the cracked compact mirror — these economical details reveal class, habit and vulnerability without heavy exposition. medium ( Scene 13 (Fran introduction (elevator)) )
- Corporate satire is specific and affectionate: the script skewers 1950s corporate bureaucracy (efficiency reports, elevator politics) in a way that is precise and funny rather than mean-spirited. medium ( Scene 21 (Sheldrake / personnel interrogation) )
- An ending that privileges small human acts: rather than melodramatic closure, the film rewards everyday intimacy (a card game, shared food). That restraint makes the ending feel earned and true to character. high ( Scene 60 (Final gin rummy / closure) )
- gender/agency blindspot Fran is a vividly drawn character, but much of her inner life is described or acted on by men (Sheldrake, Bud, Dreyfuss). The script relies on older genre conventions where the male protagonist's moral growth is the primary arc while the female lead functions as impetus and prize. Examples: Fran's overdose is framed largely as a problem for Baxter to solve (Sequences 32, 36, 37) and at points her choices (e.g., staying in Baxter's apartment) are explained away rather than explored. Contemporary readers/viewers may read this as limiting her autonomy. high
- moral consequence blindspot The office 'key-for-assignments' scheme is a clear ethical breach, but legal and broader social consequences are minimized. The script treats the misuse as social comedy rather than a systemic power abuse. While tonally intentional, this could read as an avoidance of addressing institutional responsibility (Sequences 9, 21, 28). medium
- period-specific idiom and stereotypes The screenplay contains mid-20th-century slang and social attitudes (e.g., 'dame', 'nebbish', casual sexual double-standards, some ethnic humor via background characters) that mark it as period work. These are not 'errors' but can feel dated if presented without contextual framing (seen across sequences with party banter and character descriptions). low
- occasional exposition in voiceover The opening voiceover (Sequence 1) is charming but information-dense; at times the script leans on VO to deliver social context rather than dramatizing it. This can feel like a stage habit rather than pure cinematic writing. low
Grok
Executive Summary
- The dialogue is sharp, witty, and natural, driving humor and character revelation without feeling forced, enhancing the screenplay's comedic and dramatic elements. high ( Scene 3 Scene 14 )
- Bud's character arc from a passive pushover to a man of integrity is well-developed and satisfying, providing emotional depth and a clear transformation. high ( Scene 56 Scene 59 )
- Themes of loneliness, moral compromise, and redemption are consistently woven throughout, creating a cohesive narrative that resonates deeply. high
- The pacing is efficient, with a strong build-up and resolution, keeping the audience engaged from the opening voice-over to the heartfelt conclusion. medium ( Scene 1 Scene 60 )
- Emotional scenes, like Fran's suicide attempt and recovery, add significant depth and stakes, balancing humor with real human drama. medium ( Scene 36 Scene 42 )
- Some female characters, like Sylvia and Fran, are portrayed with stereotypical traits, limiting their depth and agency in certain scenes. medium ( Scene 3 Scene 25 )
- The screenplay could benefit from more diverse representation in characters and settings to enhance inclusivity and modern relevance. low
- Expository scenes in the middle act occasionally drag, with repetitive elements that could be tightened for better flow. medium ( Scene 11 Scene 15 )
- The romantic resolution between Bud and Fran feels somewhat abrupt, lacking more buildup to strengthen emotional payoff. medium ( Scene 60 )
- Antagonist Sheldrake remains somewhat one-dimensional, with potential for more nuanced development to heighten conflict. low
- Deeper exploration of secondary characters, such as Mrs. Sheldrake or Dr. Dreyfuss, could add more layers to the supporting cast. medium
- Additional subplots might enrich the narrative, providing more conflict or contrast to the main story. low
- More detailed visual descriptions in some scenes could enhance the cinematic quality, though the script is concise. low
- Cultural or historical context of 1950s New York could be expanded to ground the story further, but it's not essential. low
- A stronger epilogue might reinforce themes, but the ending is satisfying as is. low
- The use of voice-over narration effectively sets up the story and character, adding a unique expository style. medium ( Scene 1 Scene 2 )
- Satirical elements critiquing corporate culture are cleverly integrated, providing social commentary. high ( Scene 14 Scene 28 )
- Holiday settings (e.g., Christmas and New Year's) symbolize emotional states and add thematic resonance. medium
- High-tension dramatic scenes, like the suicide attempt, showcase the screenplay's ability to shift tones adeptly. high ( Scene 36 )
- The understated romantic climax highlights the screenplay's strength in subtle character interactions. medium ( Scene 60 )
- Underestimation of female agency The writer appears to have a blind spot in portraying female characters primarily through their relationships with men, limiting their independence; for example, Fran is often reactive to Sheldrake's actions in sequences like 25 and 55, and Sylvia is depicted as a caricature in sequence 3, reducing opportunities for deeper female-driven narratives. medium
- Over-reliance on coincidence The script occasionally uses contrived coincidences for plot advancement, such as Bud discovering Fran in his apartment in sequence 36, which might feel less organic and could be seen as a novice error, though it's mitigated by strong character work overall. low
DeepSeek
Executive Summary
- Exceptional character arc for Bud Baxter, transforming from passive opportunist to principled individual high ( Scene 1 (Opening voice-over) Scene 12 (Elevator introduction) Scene 56 (Bud's resignation) )
- Fran Kubelik's complex emotional journey from despair to self-realization is beautifully developed high ( Scene 25 (Chinese restaurant confrontation) Scene 32 (Suicide attempt) Scene 60 (Final scene) )
- Razor-sharp dialogue that balances comedy and drama while revealing character high ( Scene 3 (Apartment aftermath) Scene 15 (Phone call with Dobisch) Scene 28 (Office confrontation) )
- Brilliant corporate satire that remains relevant decades later high ( Scene 1 (Opening statistics) Scene 14 (Office party) Scene 54 (Executive promotion) )
- Perfect pacing that balances comedic and dramatic elements throughout high ( Scene 38 (Morning after) Scene 42 (Recovery scenes) Scene 59 (New Year's Eve) )
- The Margie MacDougall character feels slightly stereotypical compared to other well-developed characters low ( Scene 31 (Bar scene with Margie) )
- Some medical details of the suicide attempt might benefit from more technical accuracy low ( Scene 7 (Dr. Dreyfuss conversation) )
- Slightly more development of Sheldrake's home life and motivations could add depth to his character medium
- Additional background on Fran's family situation beyond her sister and brother-in-law low
- Innovative use of statistical voice-over to establish theme and character high ( Scene 1 (Opening voice-over) )
- The Miss Olsen subplot provides excellent thematic reinforcement and plot propulsion medium ( Scene 46 (Miss Olsen's firing) )
- Perfect ending that pays off all character arcs without sentimental resolution high ( Scene 60 (Final scene) )
- Period-specific gender dynamics While remarkably progressive for its time, some aspects of the workplace gender dynamics may require contextual understanding for modern audiences low
- None evident The screenplay demonstrates professional mastery in all aspects - structure, dialogue, character development, and thematic integration N/A
Gemini
Executive Summary
- Exceptional opening establishing Bud's character, his world, and the central premise with economical voiceover and visual storytelling. The voiceover is particularly effective at communicating key information and setting the tone. high ( Scene 1-3 )
- Strong character development of Bud Baxter, transitioning from an ambitious but ultimately decent man caught in a compromising situation to a person willing to make morally sound choices. high ( Scene 3-10 )
- Witty and insightful dialogue throughout the screenplay. The back-and-forth exchanges are sharp, often humorous, and reveal character effectively. Note particularly the dialogue between Fran and Sheldrake in the Chinese restaurant. high ( Scene 25 Scene 26 )
- Consistent thematic exploration of loneliness, ambition, and moral compromise in a corporate setting. The screenplay does a good job of weaving these themes throughout the narrative. medium ( Scene All )
- The ending provides a satisfying resolution to Bud's arc, with him finally choosing integrity over ambition. The final line is iconic and perfectly encapsulates the themes of the film. high ( Scene 59 Scene 60 )
- Fran's character arc could be better developed. While she serves as a catalyst for Bud's transformation, her motivations and desires are sometimes less clear, particularly in moments where she expresses love for Sheldrake even after recognizing his flaws. medium ( Scene All )
- The pacing lags somewhat in the middle acts, especially after Fran's suicide attempt. Some scenes could be tightened or combined to maintain momentum. The story becomes episodic with the events directly related to the supporting characters seemingly resolved. low ( Scene 45-50 )
- In contemporary screenwriting, it is no longer common to use sequence numbers. They can be removed to modernize the script. low ( Scene Various )
- The shift in dynamic between the characters after the incident is a bit too abrupt, as it becomes apparent Bud has the upper hand. This takes away from some of the more compelling parts of Bud’s character. low ( Scene 51 )
- The constant back and forth with Sheldrake calling Bud, instead of more dramatic storytelling, pulls away from the overall gravity of the story. The events could play out more organically. low ( Scene All )
- A deeper exploration of Fran's backstory and motivations would enrich her character and make her decisions more understandable. Her vulnerability is obvious, but delving into the experiences that led her to her current state would enhance the narrative. medium
- The screenplay could benefit from a more nuanced portrayal of the supporting characters beyond their roles as lecherous executives. Exploring their motivations and vulnerabilities would add depth to the social commentary and make them more compelling. low
- While the ending is satisfying, a more direct confrontation between Bud and Sheldrake regarding their views on morality would enhance the resolution and more directly address a central theme of the script. low
- The consequences of Bud’s actions have very little impact on the overall story. Exploring more of what it is like to lose that job may drive home more of the message. low
- It's very important to show the real desperation a person like Fran goes through, and a lot of that gets glossed over. Digging into her motivations and feelings, showing her actions instead of hearing about them (such as the suicide attempt) will go a long way to making that character stronger. medium
- The use of irony is a defining characteristic, contrasting Bud's outward conformity with his inner turmoil and the hypocrisy of the corporate culture. The visual storytelling is also strong, using set design and camera angles to reinforce thematic elements. high ( Scene Several )
- The screenplay excels at creating memorable and quotable lines of dialogue that contribute to the film's iconic status. Many scenes build from the witty dialogue. medium ( Scene Various )
- The screenplay provides a fascinating snapshot of social and gender dynamics in the 1950s, although some aspects may be viewed differently by modern audiences. low ( Scene Several )
- The names and actions of the secondary characters help with the characterization of Bud and with Sheldrake. It helps to round out the script and tell a great story. low ( Scene Several )
- The use of the Christmas holiday as a setting provides a particularly poignant contrast to the loneliness and moral compromises experienced by the characters. medium ( Scene Several )
- Emotional Range While the script skillfully portrays cynicism and dark humor, it sometimes shies away from fully exploring the depths of emotional vulnerability, particularly in Fran's character. While hinted at, the level of despair for a character so close to death is a missed opportunity. medium
- Motivation Motivation for supporting characters is not made completely clear. There is the sense they are chasing the same goals of Sheldrake, but there is no real definition of why that is, or if there are ulterior motives. low
- Over-reliance on Dialogue for Exposition At times, characters explicitly state information or feelings that could be conveyed more subtly through action and subtext. This can make the dialogue feel unnatural and overly explanatory. The exposition is good and well-presented, but could be elevated with more natural action. low
- Occasional Contrived Plot Devices Certain plot points, such as Sheldrake's sudden declaration that he's leaving his wife, feel somewhat forced and serve primarily to advance the plot rather than arising organically from the characters and their circumstances. low
Claude
Executive Summary
- The screenplay opens with a strong, engaging introduction to the protagonist, Baxter, and his world. The detailed descriptions of the insurance company setting and Baxter's routine provide valuable context and set the tone for the story. high ( Scene 1 (The Apartment) Scene 2 (INT. NINETEENTH FLOOR) )
- The screenplay effectively develops the supporting characters, such as Fran Kubelik and the other employees at the insurance company, and explores their relationships with Baxter in a way that adds depth and complexity to the story. medium ( Scene 29 (INT. SWITCHBOARD ROOM - DAY) Scene 30 (INT. BAXTER'S OFFICE - DAY) )
- The interactions between Baxter and Sheldrake are well-written, with strong dialogue that reveals the power dynamics and moral dilemmas at the heart of their relationship. high ( Scene 21 (INT. SHELDRAKE'S ANTEROOM - DAY) Scene 22 (INT. SHELDRAKE'S OFFICE - DAY) )
- The screenplay effectively handles the climactic moment when Fran attempts suicide and Baxter's subsequent actions, creating a powerful and emotionally resonant sequence that drives the story forward. high ( Scene 36 (INT. THE APARTMENT - NIGHT) Scene 37 (INT. THE APARTMENT - DAWN) )
- The final act of the screenplay brings the story to a satisfying and emotionally impactful conclusion, with Baxter and Fran's reunion and the resolution of their relationship. high ( Scene 59 (INT. CHINESE RESTAURANT - NIGHT) Scene 60 (EXT. BROWNSTONE HOUSE - NIGHT) )
- The screenplay could benefit from tighter pacing in certain sections, such as the extended sequence where Baxter flips through television channels, which feels a bit drawn out. medium ( Scene 8 (INT. GRAND HOTEL) )
- While the screenplay effectively establishes the setting and Baxter's world, there could be more thematic depth and exploration of the broader social and corporate dynamics at play, beyond Baxter's personal story. medium ( Scene 1 (The Apartment) Scene 2 (INT. NINETEENTH FLOOR) )
- The screenplay could benefit from more explicit exploration of the power dynamics and gender dynamics within the corporate setting, as these themes are present but could be more fully developed. medium ( Scene 29 (INT. SWITCHBOARD ROOM - DAY) Scene 30 (INT. BAXTER'S OFFICE - DAY) )
- The screenplay's handling of Fran's suicide attempt and Baxter's response is a standout sequence, demonstrating the writers' skill in crafting emotionally impactful and morally complex moments. high ( Scene 36 (INT. THE APARTMENT - NIGHT) Scene 37 (INT. THE APARTMENT - DAWN) )
- The final act of the screenplay, with Baxter and Fran's reunion and the resolution of their relationship, is a well-executed and satisfying conclusion to the story. high ( Scene 59 (INT. CHINESE RESTAURANT - NIGHT) Scene 60 (EXT. BROWNSTONE HOUSE - NIGHT) )
- Lack of Diversity The screenplay primarily focuses on the experiences of white, heteronormative characters, with limited representation of diverse backgrounds and perspectives. While the story is compelling, the lack of diversity in the main cast and supporting characters may limit the screenplay's appeal to a broader audience. medium
- Overuse of Exposition In a few instances, the screenplay relies too heavily on expository dialogue and narration to convey information, which can feel heavy-handed and disrupt the natural flow of the story. For example, the opening sequence with Baxter's voiceover provides a significant amount of background information that could be more organically woven into the narrative. low
Screenplay Insights:
Characters: 7.4, The screenplay for 'The Apartment' features strong character development for its protagonists, Bud Baxter and Fran Kubelik, who undergo significant emotional growth and transformation, enhancing the narrative's themes of loneliness and integrity. While Bud and Fran's arcs are compelling and relatable, secondary characters like Sheldrake, Kirkeby, and Dobisch are less nuanced, relying on stereotypes that could be refined for greater depth. Overall, the character journeys effectively drive the story's emotional impact, but opportunities exist to bolster antagonist development and diversity for a more robust engagement. See More
Premise: 8.8, The screenplay 'The Apartment' effectively establishes a compelling premise centered on Bud Baxter's moral compromises in a corporate setting, blending humor, romance, and drama to create an engaging narrative. Its strength lies in the clear setup and relatable themes of loneliness and ambition, but it could be enhanced by updating elements to resonate with modern audiences and deepening character motivations for greater emotional impact. See More
Structure: 9.3, The screenplay for 'The Apartment' showcases a robust structure and engaging plot that effectively blend comedy and drama, highlighting themes of loneliness, integrity, and personal growth. Strengths include a clear three-act structure, strong character arcs, and well-paced tension, but minor refinements could enhance pacing in repetitive scenes and deepen emotional stakes for greater narrative clarity and impact. See More
Theme: 8.4, The screenplay 'The Apartment' effectively explores themes of loneliness, moral compromise, and the search for genuine connection, using humor and heartfelt moments to create a resonant narrative. Strengths lie in its character-driven storytelling and universal themes that evoke empathy, while areas for improvement include refining thematic subtlety to enhance emotional depth and avoid occasional didacticism, ultimately strengthening its appeal to audiences. See More
Visual Impact: 8.8, The screenplay for 'The Apartment' excels in creating a rich, immersive visual world that blends humor, romance, and drama, effectively using everyday settings to convey deeper emotional truths. Its innovative visual approaches, such as symbolic use of props and atmospheric transitions, enhance storytelling, making it a timeless example of cinematic efficiency, though it could benefit from more dynamic visual variety to elevate emotional resonance. See More
Emotional Impact: 9.2, The screenplay for 'The Apartment' masterfully elicits a wide range of emotional responses through its blend of humor, heartbreak, and redemption, creating deep audience investment in characters like Bud and Fran. Strengths lie in relatable character arcs and poignant emotional moments, particularly the suicide attempt and romantic resolution, which resonate powerfully. Areas for enhancement include tightening emotional pacing in transitional scenes and adding more nuanced emotional complexity to support universal themes, potentially drawing from films like 'Casablanca' for deeper romantic tension. See More
Conflict: 8.8, The screenplay effectively utilizes conflict and stakes to create engaging narrative tension, particularly through Bud's moral dilemmas and Fran's emotional struggles. While the core conflicts drive the story forward and maintain audience interest, opportunities exist to deepen conflict clarity and escalate stakes more gradually for heightened emotional impact and engagement. See More
Originality: 8.8, The screenplay for 'The Apartment' showcases remarkable originality and creativity through its satirical take on corporate culture, personal integrity, and romantic entanglements, blending sharp humor with poignant drama. Its unique premise of an apartment as a commodity for career advancement, combined with well-developed character arcs and innovative narrative techniques, sets it apart as a timeless classic that humorously critiques societal norms while exploring deep emotional truths. See More
Top Takeaway from This Section
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- The scene opens with Bud's voice-over narration as he humorously shares facts about New York City's population in 1959 while typing at his desk in an insurance company. He highlights the size and achievements of Consolidated Life of New York, setting a light-hearted tone and establishing his character as detail-oriented. The scene transitions to an exterior shot of the company's imposing building on a rainy day, emphasizing the corporate environment. Bud's witty commentary continues, drawing the audience into his world without any conflict.
- In Scene 2, Bud Baxter, a 30-year-old employee at Consolidated Life, narrates his mundane life working in the Ordinary Policy Department. As he stays late at the sterile office, the clock strikes 5:20 PM, signaling the end of the workday for his colleagues, leaving him alone. Bud walks home in the rain, reflecting on his cozy yet problematic apartment, which he struggles to access freely. The scene captures his isolation and the monotony of corporate life, ending with him standing outside his apartment building, hinting at deeper personal issues.
- In a dimly lit apartment filled with remnants of a recent gathering, Mr. Kirkeby anxiously urges Sylvia to get ready to leave, but she playfully resists, dancing and insisting on another martini. Their light-hearted banter reveals a conflict between Kirkeby's urgency and Sylvia's reluctance, culminating in her questioning the ownership of the apartment, which Kirkeby dismissively attributes to an unimportant colleague.
- In this comedic evening scene, Bud paces outside a brownstone, engaging in a brief conversation with Mrs. Lieberman, who comments on the weather and Bud's situation. Inside, Kirkeby and Sylvia share a flirtatious exchange as they prepare to leave the apartment, with Kirkeby trying to maintain discretion while Sylvia playfully talks about infidelity. The scene builds tension around their secretive activities, ending with Kirkeby urging Sylvia to quiet down as they descend the stairs.
- In this scene, Bud hides in the shadows to avoid being seen by Kirkeby and Sylvia as they leave the brownstone. Their conversation reveals Sylvia's Bronx residence and Kirkeby's denial of infidelity. After they depart, Bud retrieves his mail and has a brief, awkward exchange with Mrs. Dreyfuss, who expresses concern about noise in his apartment. Bud fabricates a story about losing his key to deflect her suspicions before entering his apartment to escape further interaction.
- In this scene, Bud returns to his messy apartment after a cocktail party, expressing frustration over guests overstaying their welcome. He awkwardly interacts with Mr. Kirkeby, who stops by to retrieve his wife's galoshes and casually reminds Bud of his debts while mentioning a potential promotion for Bud. After Kirkeby leaves, Bud prepares a frozen dinner and drinks a leftover martini, all while cleaning up the remnants of the party. The scene captures Bud's quiet frustration and resignation as he deals with the aftermath of the evening.
- In this humorous scene, Bud encounters Dr. David Dreyfuss on the second floor landing of their apartment building. After Bud exits with a wastebasket full of empty liquor bottles, Dreyfuss playfully teases him about his drinking habits and social life, suggesting he has 'cast-iron kidneys' and should consider donating his body to science. Bud, feeling uncomfortable with the probing comments, tries to deflect and end the conversation, ultimately retreating into his apartment as Dreyfuss continues his light-hearted jests.
- In this scene, Bud returns home in the evening, prepares and eats dinner while dealing with frustrating television commercials. After completing his bedtime routine, which includes brushing his teeth and reading Playboy, he is interrupted by a phone call, groggily identifying himself as Baxter.
- In a Manhattan bar phone booth, Joe Dobisch pressures Bud Baxter to lend his apartment for a brief encounter with a blonde woman, claiming she resembles Marilyn Monroe. Despite Bud's initial reluctance due to fatigue and a sleeping pill, Dobisch threatens his work efficiency rating, forcing Bud to comply. He hurriedly prepares his apartment, leaving a note for neighbors to keep the noise down before exiting, highlighting the absurdity of corporate demands intruding on personal life.
- Bud sleep-walks out of a brownstone house at night, hiding in the areaway as Mr. Dobisch and a blonde woman arrive in a cab. They engage in a flirtatious conversation about entering the house, with the blonde expressing concern about disturbing Dobisch's mother, which he dismisses. Bud, feeling uncomfortable after overhearing their exchange, shuffles away down the street, ending the scene.
- In this night scene, Dobisch tricks a blonde woman into entering Bud's apartment, claiming it belongs to his mother. Despite her suspicions, she unlocks the door, and they enter as Dobisch shuts it behind them. Meanwhile, Dr. Dreyfuss, annoyed by the noise from Bud's apartment, comments to his wife before retreating inside. The scene shifts to Bud, who is alone in Central Park, dressed in a raincoat and slippers, shivering on a damp bench. He eventually falls asleep as the wind swirls leaves around him, highlighting his isolation and exhaustion.
- On a gray November morning, Bud enters the lobby of a large insurance building, bundled up due to a bad cold. He joins a crowd waiting for the express elevators, exchanging brief greetings with Mr. Kirkeby and the cheerful elevator operator, Fran Kubelik, who greets passengers by name. The scene captures the routine hustle of office life, with Bud's discomfort contrasted by Fran's charm, culminating in her playful announcement as the elevator doors close.
- In a crowded elevator, Bud compliments Fran on her new haircut, leading to a humorous exchange about colds and statistics. As they banter, Mr. Kirkeby inappropriately slaps Fran's behind, which she playfully rebuffs. The scene is light-hearted and flirtatious, concluding with Fran announcing the next floor as the doors close.
- In this scene, Kirkeby expresses his frustration over elevator operator Kubelik's lack of interest in him, while Bud defends her as a respectable woman. After their humorous exchange, Kirkeby leaves for his office, and Bud prepares for the workday, meticulously organizing his desk and medications. As the office fills with employees, Bud demonstrates his conscientious nature by immediately starting work and making a secretive phone call to Mr. Dobisch, introducing himself as Baxter.
- In this light-hearted scene, Dobisch juggles a phone call with Bud while shaving, discussing a key mix-up that left Bud locked out of his apartment. After a humorous exchange, Bud discreetly swaps keys with a messenger and checks his temperature, hinting at personal tension as he prepares to make a call regarding a scheduled meeting.
- In scene 16, set in a corporate environment, Mr. Vanderhof is in his glass-enclosed office dictating a letter when he receives a phone call from Bud, who cancels their planned birthday meeting due to a fabricated illness. Vanderhof, disappointed, suggests a Turkish bath, but Bud insists on staying in bed. They tentatively reschedule for the following Wednesday. Bud then calls Mr. Eichelberger to discuss rescheduling a business meeting, agreeing on Friday after noting a calendar conflict. The scene highlights Bud's busy schedule management and the light-hearted, comedic tone of corporate interactions.
- In scene 17, Kirkeby is in his office dictating business statistics when he receives a call from Bud requesting to switch their plans from Friday to Thursday. After tentatively agreeing, he calls Sylvia, a switchboard operator and his date from the previous night, to propose the same change. Initially hesitant due to a conflicting TV show, Sylvia is persuaded by Kirkeby to watch it together at his apartment. The scene concludes with Kirkeby confirming the schedule change with Bud, blending professional duties with light-hearted personal interactions.
- In scene 18, Bud is busy at his desk making phone calls to confirm dates when his colleague Moffett informs him that Mr. Sheldrake's secretary has been trying to reach him. Bud, surprised, quickly prepares to head upstairs, engaging in a light-hearted bet with Moffett about whether he is being promoted or fired. As he rushes to the elevator, he encounters Fran Kubelik, the elevator operator, and makes a flirtatious comment before entering her elevator. The scene captures Bud's anxious yet confident demeanor amid the office's casual atmosphere.
- In this light-hearted scene set in an elevator, Fran and Bud engage in playful banter as they ascend to the 27th floor. Bud boasts about his work efficiency and hints at a promotion, while Fran teasingly compares him to Mr. Kirkeby and comments on his unusual elevator behavior. Their flirtatious exchange continues with Bud inviting Fran to lunch, showcasing their witty dynamic. The scene concludes with Fran announcing their arrival at floor 27.
- In the luxurious foyer of the 27th floor, Bud steps out of the elevator, feeling nervous about his upcoming meeting. Fran, still in the elevator, encourages him and helps him with his appearance by placing a carnation in his buttonhole. Bud shares a fond memory of noticing Fran's flowers when she worked on the elevator, hinting at their growing connection. As the elevator buzzer sounds insistently, Fran wishes Bud good luck and reminds him to wipe his nose. Bud quickly composes himself and enters the office of J. D. Sheldrake, Director of Personnel.
- In this tense scene, Bud enters Sheldrake's office, where he is confronted by Sheldrake about a key-sharing arrangement among executives. Sheldrake praises Bud's work but questions his popularity and suspects misconduct related to an apartment key. Bud explains the innocent origins of the situation, using a nasal spray due to his apparent health issue. The scene ends abruptly as Sheldrake receives a phone call from his secretary, Miss Olsen.
- In Sheldrake's office, Miss Olsen eavesdrops on a phone call with Sheldrake's wife while Sheldrake deceives her about his evening plans. He manipulates Bud into giving him the key to Bud's apartment in exchange for tickets to 'The Music Man' and promises of career advancement. Despite Bud's initial reluctance and awkward attempts to leave, he ultimately complies, handing over the key and address before leaving with the tickets, highlighting the tense and manipulative nature of their interaction.
- In the lobby of an insurance building, Bud waits expectantly for Fran, wearing a raincoat and a carnation. As female employees exit, Bud overhears Sylvia lamenting a disappointing date, which stings him. When Fran finally appears, Bud invites her to see The Music Man and grab dinner, but she declines due to a prior commitment with a man she no longer cares for. Despite Bud's attempts to persuade her, Fran remains polite but firm in her refusal. The scene ends with them exiting together, leaving Bud's hopes unfulfilled.
- In this playful evening scene, Bud and Fran leave an insurance building, where Bud excitedly invites Fran to a theatre show and suggests they go dancing afterward. Despite Bud's enthusiasm, Fran is taken aback when she learns he has accessed her personal information from her insurance file. They share a light-hearted exchange, with Fran humorously cautioning Bud about sharing sensitive details. As they part ways, Bud watches Fran walk away with a grin, oblivious to his own antics of mistakenly spraying anti-histamine on his carnation.
- In this scene, Fran rushes to the dimly-lit Chinese restaurant 'The Rickshaw' to meet Sheldrake, who is anxious about being seen. Their conversation is filled with emotional tension as they discuss their past affair and the pain of separation. Fran, sporting a new haircut, sarcastically addresses Sheldrake's attempts to reconcile, while he pleads for her to return to him. Despite the familiarity of their meeting, Fran insists on leaving for another date, highlighting her struggle with lingering feelings and resentment. The scene ends with a cut to Bud, who is anxiously waiting for Fran outside the Majestic Theatre.
- In a bustling Chinese restaurant, Fran and Sheldrake share drinks and reflect on their complicated relationship, with Fran expressing skepticism about Sheldrake's intentions to divorce his wife. Despite her guardedness, she admits her love for him, leading to a moment of vulnerability. Their intimate conversation is interrupted by the arrival of other patrons, including the disapproving Miss Olsen. As they decide to leave, Sheldrake tips the piano player, and they share a kiss in a cab, heading to Bud's apartment, highlighting the emotional tension and romance of their affair.
- The scene begins with Bud Baxter waiting alone outside the Majestic Theatre, reflecting on his loneliness. It transitions to a close-up of his desk calendar, revealing Mr. Sheldrake's exclusive use of Bud's apartment on specific dates, hinting at underlying tensions. Inside the insurance building, Bud clears out his desk on a gloomy December morning, receiving a reluctant dollar from his colleague Moffett. He then confidently identifies himself to a sign painter, who opens the door to his new office, marking a bittersweet moment of achievement amidst the somber atmosphere.
- In scene 28, Bud Baxter arrives at his new office, where he is initially pleased with his promotion. However, he is quickly confronted by Kirkeby, Dobisch, Eichelberger, and Vanderhof, who demand continued access to his apartment, which they previously helped him use to curry favor with superiors. Despite Bud's attempts to deflect their threats, the confrontation escalates until Sheldrake, a higher executive, enters and praises Bud, causing the men to back down. Alone with Sheldrake, Bud learns about his extramarital affair and agrees to provide a key to the apartment for Sheldrake's use, marking a shift in their professional dynamic. The scene concludes with Bud scheduling Sheldrake's future visits on his calendar.
- In Scene 29, the switchboard operators joyfully abandon their posts to join a lively Christmas party on the 19th floor, where employees engage in festive activities and dancing. Bud, slightly intoxicated, reconciles with Fran after a past misunderstanding, but the mood shifts when Miss Olsen confronts Fran about Mr. Sheldrake's infidelity, leaving Fran distressed. The scene concludes with Bud and Fran seeking privacy in his office as the party continues around them.
- In this scene, Bud tries to impress Fran with a new bowler hat and his connections at work, but she remains distant and preoccupied with her own troubles. As Bud seeks her validation and suggests a date, Fran declines, hinting at personal issues related to Christmas. The mood shifts when Bud realizes Fran's compact mirror holds significance, leading to his emotional distress. After a phone call with Sheldrake, Bud exits the office feeling hurt, ignoring a lively Christmas party and his colleague Kirkeby, setting the stage for unresolved tensions.
- In a crowded bar on Christmas Eve in the 1960s, Bud Baxter sits alone, brooding over his drink while festive patrons celebrate around him. Despite attempts from a Santa Claus to engage him and Margie MacDougall's persistent efforts to connect, Bud remains emotionally distant. Their brief conversation reveals their shared loneliness, contrasting sharply with the holiday cheer surrounding them, as they ultimately sit in silence, contemplating their isolation.
- On Christmas Eve in Bud's apartment, Fran is found crying on the couch while Sheldrake paces nervously, trying to console her about his delayed divorce. Their conversation turns bitter as Fran sarcastically references his past affairs, and Sheldrake defensively claims he has changed. They exchange gifts awkwardly, with Fran rejecting his monetary gift before he insists she take it. Tension escalates when Fran makes a cutting remark about their arrangement, prompting Sheldrake to leave abruptly. Alone, Fran plays a record, sobs, and contemplates a vial of sleeping pills, hinting at a potential suicide attempt as the scene fades.
- In a deserted bar on Columbus Avenue, a drunken Santa Claus is urged by the bartender to leave as the bar closes for the night. Meanwhile, Bud and Margie MacDougall dance closely to blues music, ignoring the bartender's insistence that they go home. After the bartender turns off the music and lights, Bud and Margie reluctantly decide to leave together, with Bud sarcastically suggesting they head to his place. The scene ends with them exiting the bar as the bartender holds the door open.
- In scene 34, Bud and Margie walk to his brownstone apartment at night. As they ascend the steps, Margie tries to discuss her friend Mickey in jail, but Bud declines to see his picture. Their conversation turns playful and flirtatious, with Margie probing about Bud's love life, leading to Bud's sarcastic self-introduction. The scene ends with Bud opening the door to his apartment, inviting Margie inside.
- In this tense scene, Bud and Margie enter Bud's apartment, where playful flirtation quickly turns to panic when Bud discovers Fran unconscious on the bed from an apparent overdose of sleeping pills. After a frantic attempt to wake her, Bud rushes to seek help from Dr. Dreyfuss, leaving Margie confused and unaware of the unfolding crisis.
- In this tense scene, Bud rushes home to find Margie waiting for him, but he abruptly ends their encounter and forces her to leave as Dr. Dreyfuss arrives to treat Fran, who is unconscious from a sleeping pill overdose. Bud assists the doctor in reviving Fran, hiding a suicide note he discovers, while Dr. Dreyfuss employs various medical techniques to keep Fran conscious. The scene culminates with Bud and Dr. Dreyfuss walking Fran around the apartment, emphasizing the urgency of her situation.
- At dawn, Dr. Dreyfuss tends to Fran after her suicide attempt, while Bud anxiously pleads with him not to report it. Dr. Dreyfuss decides against an official report but reprimands Bud for his irresponsibility, warning of future risks. After Dr. Dreyfuss leaves, Bud tenderly cares for Fran, turning on her electric blanket and watching over her as the scene fades out.
- In a brownstone house, Mrs. Lieberman confronts Bud about the loud noises from his apartment the previous night, accusing him of disturbing her sleep. Bud, looking disheveled and apologetic, assures her it won't happen again, but she warns him about the house's respectability before leaving. Afterward, Bud quietly observes Fran asleep in the bedroom and attempts to make a phone call to Mr. J.D. Sheldrake.
- On Christmas Day, Sheldrake enjoys playful moments with his sons, Tommy and Jeff Jr., as they play with a Cape Canaveral toy set. However, the festive atmosphere shifts when Sheldrake receives a phone call from Baxter, who reveals a crisis involving Sheldrake's mistress, Fran, who has overdosed. Sheldrake, caught between family and his secret life, lies to his wife about the nature of the call, claiming it's work-related, while trying to maintain his composure. The scene captures the tension between familial joy and personal turmoil.
- In this scene, Bud speaks with Mr. Sheldrake, assuring him that he has managed the situation with Fran, who wakes up in Bud's bedroom suffering from a hangover. As Bud helps Fran, she expresses shame and regret over her actions, including a past suicide attempt. Despite her initial resistance, Bud insists she stay and rest, offering her comfort and care. He discreetly removes harmful items from his bathroom to ensure her safety. The scene concludes with Bud realizing they are out of coffee and heading out to get some.
- In this scene, Bud approaches Mrs. Dreyfuss to borrow some food items, but is met with her scornful accusations regarding his treatment of a girl he dated. Despite Bud's attempts to defend himself, Mrs. Dreyfuss dismisses him and refuses to help, ultimately slamming the door in his face. The confrontation leaves Bud feeling rejected and the issue unresolved.
- Fran shakily enters Bud's apartment, attempting to call her sister to explain her absence, but Bud intervenes to prevent her from revealing details about her night with Sheldrake. They rehearse a cover story, and Fran expresses her emotional turmoil over Sheldrake, admitting her love for him despite his deceit. Mrs. Dreyfuss arrives with food, mistakenly thinking Bud is involved with Fran, and offers her blunt advice. After she leaves, Fran and Bud discuss a $100 envelope from Sheldrake, and Bud encourages Fran to avoid impulsive actions like writing to Mrs. Sheldrake. As they play gin rummy, Fran reflects on her pattern of failed relationships, and eventually, she falls asleep while Bud tucks her in and prepares to shave.
- In this comedic and tense scene, Bud is caught off guard when Kirkeby and Sylvia arrive at his apartment, disrupting his attempt to keep Fran's presence a secret. As Bud tries to block their entry and insists they leave, Kirkeby, initially oblivious, pushes past him with a champagne bucket, reminding Bud of a prior reservation. The situation escalates when Kirkeby notices Fran's dress caught in the bedroom door, leading to a humorous realization about Bud's circumstances. Despite Kirkeby's newfound understanding, Bud remains adamant that they must leave.
- In this comedic scene, Sylvia impatiently cha-cha dances and knocks on Bud's door, while Dr. Dreyfuss disapprovingly observes before retreating to his apartment. Inside, Bud is trying to keep his affair with Fran a secret from Kirkeby, who smugly comments on Bud's romantic success. Bud forces Kirkeby out, leading to a humorous exchange where Kirkeby suggests they visit Sylvia's mother instead, deflecting from their original plans. The scene ends with Kirkeby and Sylvia leaving together, creating a light-hearted atmosphere filled with awkwardness and innuendo.
- In this poignant scene, Bud enters the bedroom and awakens Fran, leading to a heartfelt exchange where he expresses concern for her well-being. As Fran jokes about her despondency, Bud warns her against any thoughts of self-harm, revealing his protective nature. Their conversation touches on themes of vulnerability and unrequited affection, with Fran wistfully wishing for love. The scene concludes with Bud resuming his shaving routine after ensuring the razor blade is safely in place, highlighting the tension between care and despair.
- In the tense morning after Christmas, Sheldrake coldly fires Miss Olsen for her indiscreet comments at the office party, leading to a confrontation about their past relationship. Miss Olsen, hurt and emotional, acknowledges that Sheldrake had already let her go years ago when he began his affairs. After accepting her dismissal, she packs her belongings and secretly eavesdrops on Sheldrake's phone call to C.C. Baxter, leaving the unresolved tension between them lingering in the air.
- In Bud's apartment, he updates Jeff Sheldrake about Fran's recovery after a troubling incident. Despite Bud's encouragement, Fran is reluctant to speak with Sheldrake. As she answers the call, the conversation becomes tense and awkward, with Sheldrake downplaying the situation while Fran remains emotionally withdrawn, leading to unresolved conflict.
- In Sheldrake's anteroom, Miss Olsen overhears a tense phone conversation between Sheldrake and Fran, where Fran angrily denies their past relationship. After contemplating the situation, Miss Olsen decides to call Mrs. Sheldrake, inviting her to lunch to discuss her husband's infidelity. As she hangs up, Sheldrake emerges from his office, unaware of her intentions. Miss Olsen quickly covers her actions and exits, leaving Sheldrake watching her departure, setting the stage for future conflict.
- In scene 49, Bud Baxter rushes home to address a gas leak in his apartment, discovering Fran Kubelik has been cleaning and doing laundry. Their conversation shifts from the chaos of Bud's messy living space to personal stories, including Bud's failed suicide attempt and Fran's feelings for Mr. Sheldrake. As they bond over their vulnerabilities, Bud convinces Fran to stay for dinner, highlighting their growing connection amidst the humor and warmth of their interaction.
- In scene 50, Karl Matuschka, a worried cab driver and Fran Kubelik's brother-in-law, arrives at the insurance building seeking information about Fran, who hasn't reported to work for two days. He learns from the elevator starter to approach Mr. Dobisch on the 21st floor. In Dobisch's office, Matuschka finds Dobisch and Kirkeby discussing Fran's absence and her connection to 'Buddy-boy,' whom they resent. Matuschka expresses his concern for Fran, but Dobisch and Kirkeby are evasive, hinting at their knowledge while withholding information. The scene ends with Matuschka confused and scowling, questioning who 'Buddy-boy' is, leading to a transition to the next scene.
- In Bud's apartment, a romantic dinner takes a chaotic turn when Fran's aggressive brother-in-law, Karl Matuschka, confronts them, suspecting impropriety. After a playful start, the mood shifts dramatically as Matuschka's anger escalates, leading to a physical altercation with Bud. The situation intensifies when Dr. Dreyfuss reveals Fran's recent suicide attempt, prompting Fran to intervene and leave with Matuschka. Despite the turmoil, Bud remains euphoric, reflecting on the bittersweet nature of love and misunderstanding.
- In scene 52, Bud arrives at his office on the nineteenth floor, concealing a swollen eye with dark glasses. He prepares to confront Mr. Sheldrake about his feelings for Miss Kubelik, rehearsing a speech about taking her away. Despite being mocked by colleagues Kirkeby and Dobisch for his appearance and behavior, Bud remains focused on his mission. The scene highlights Bud's internal struggle and determination, contrasted with the sarcastic humor of his coworkers, ending with them commenting on his odd behavior as he leaves.
- In scene 53, Bud arrives on the 27th floor, rehearsing his intentions to marry Miss Kubelik. However, upon entering Sheldrake's office, he discovers that Sheldrake has left his wife and plans to pursue Miss Kubelik, leaving Bud stunned. The conversation reveals a clash of intentions, with Bud wanting to marry her while Sheldrake assumes Bud is relinquishing her. The scene ends with Bud hesitantly moving toward an adjoining office, reflecting his internal conflict and the tension of the moment.
- In this scene, Sheldrake brings Bud into a smaller office to announce his promotion, which Bud receives with mechanical compliance and underlying resentment. While Sheldrake excitedly lists the perks of the new position, he remains oblivious to Bud's discomfort and concerns about Miss Kubelik and the rapid changes in his life. Bud's internal conflict is highlighted when he breaks his dark glasses in frustration, symbolizing his struggle with the situation. The scene ends with Bud left alone, grappling with his emotions as Sheldrake exits, emphasizing the tension between their differing priorities.
- In the evening lobby of an insurance building, Bud Baxter watches as his name is added to the directory, marking his promotion. He and Fran Kubelik engage in a polite yet awkward conversation about their lives, revealing unspoken feelings and personal struggles. Bud lies about having a date to mask his loneliness, while Fran avoids discussing her relationship with Sheldrake. As they part ways, Bud's solitary actions of buying books highlight his isolation, culminating in a bittersweet farewell.
- In Sheldrake's office, Bud Baxter is pressured into lending his apartment key for Sheldrake's date with Miss Kubelik. Initially resistant due to moral objections, Bud faces threats to his job and career advancement from Sheldrake. Despite his initial defiance, Bud ultimately submits to the coercive pressure, handing over the key before leaving the office in frustration.
- In scene 57, Bud decisively quits his job, confronting Sheldrake's attempts to control him. He tidies his office, symbolically rejects his old life by donning his coat and hat, and declares his intention to become a 'mensch.' As he leaves, he places his bowler hat on a handyman's head, signifying his surrender of status. The scene ends with Bud entering the elevator, leaving Sheldrake confused and the handyman bewildered.
- On New Year's Eve, Bud packs his apartment, contemplating a gun before being interrupted by his neighbor, Dr. Dreyfuss, who asks for ice for a party. Their conversation reveals Bud's emotional detachment and desire to leave without a plan. Despite Dr. Dreyfuss's friendly invitation to join the party, Bud declines, showcasing his isolation. After Dr. Dreyfuss leaves, Bud continues packing, reflecting on his life as he twirls a strand of spaghetti from his tennis racquet, symbolizing his lingering memories and internal struggles.
- On New Year's Eve in a crowded Chinese restaurant, Fran sits alone, wearing a paper hat and feeling detached as Sheldrake arrives late, frustrated by his plans and Baxter's actions. Their conversation is laced with sarcasm and emotional distance, highlighting their strained relationship. As midnight approaches, the festive atmosphere contrasts with their personal dissatisfaction. When the lights come back on after the celebrations, Fran has mysteriously left, leaving her paper hat behind, while Sheldrake, confused and searching for her, realizes her absence.
- In the final scene, Fran arrives at Bud's apartment, initially fearful after hearing a loud noise but relieved to find him safe. They share their new single statuses and engage in a playful card game, during which Bud confesses his love for Fran. The scene captures their joyful reunion and the start of a romantic relationship, concluding with a fade out as Bud deals cards while gazing at Fran.
Top Takeaways from This Section
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Character Bud Baxter
Description Bud's sudden decision to stand up to Sheldrake and refuse him the apartment key feels abrupt and out of character. Throughout most of the script, Bud is depicted as a passive, people-pleasing individual who goes along with others' demands to advance his career. This shift to assertiveness appears driven by the plot's need to resolve the story rather than organic character development, making it seem unearned and inconsistent with his earlier behaviors.
( Scene 57 (Scene number 57) ) -
Character Fran Kubelik
Description Fran's suicide attempt comes across as impulsive and not fully justified by her emotional state shown earlier. While she is upset about her relationship with Sheldrake, the script doesn't build up her despair gradually, making the action feel more like a plot device to heighten drama than a natural extension of her character. Her quick recovery and return to relative normalcy also seem glossed over, lacking depth in exploring her mental state.
( Scene 35 (Scene number 35) Scene 36 (Scene number 36) ) -
Character Jeff Sheldrake
Description Sheldrake's decision to leave his wife feels motivated by external events (Miss Olsen informing Mrs. Sheldrake) rather than his own character growth or genuine remorse. This behavior appears contrived to advance the plot toward a happy ending for Bud and Fran, rather than stemming from Sheldrake's established traits as a self-centered womanizer, making it seem opportunistic and inconsistent.
( Scene 54 (Scene number 54) )
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Description The story inconsistently handles the consequences of Bud lending his apartment. Early scenes establish that neighbors and the landlady are suspicious (e.g., Mrs. Dreyfuss complaining about noise), but there are no significant repercussions until late in the story. This lack of escalation creates a coherence issue, as the constant use of the apartment for affairs should logically lead to more immediate conflicts, but it's downplayed to maintain the comedic tone.
( Scene 1 (Scene number 1) Scene 2 (Scene number 2) Scene 56 (Scene number 56) ) -
Description Fran's family shows minimal reaction to her absence over multiple days, which feels inconsistent with typical family dynamics. In scene 38, her brother-in-law eventually comes looking for her, but the delay and lack of panic (no police involvement) don't align with the concern one might expect, making the story's handling of her disappearance seem contrived for plot convenience.
( Scene 38 (Scene number 38) Scene 46 (Scene number 46) )
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Description Fran's suicide attempt is discovered too conveniently by Bud, who returns home just in time. The script doesn't explain how Bud, who was out with another woman, happens to come back at the critical moment, creating a significant plot hole that relies on coincidence to resolve a major dramatic event, disrupting the narrative's believability.
( Scene 35 (Scene number 35) Scene 36 (Scene number 36) ) -
Description The executives' ability to book Bud's apartment without conflicts or a formal system is underdeveloped. For instance, multiple characters use the apartment frequently, but there's no explanation for how scheduling works or why Bud can reclaim control so easily when he decides to stop. This gap makes the plot feel contrived, especially when Bud's promotion and demotion hinge on this arrangement without exploring potential logistical issues.
( Scene 10 (Scene number 10) Scene 57 (Scene number 57) )
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Description Bud's voice-over narration in the opening scenes feels overly expository and unnatural, providing detailed statistics and backstory that could be shown through action rather than told. This dialogue lacks authenticity, as it sounds more like a scripted summary than genuine internal monologue, which can distance the audience from the character.
( Scene 1 (Scene number 1) Scene 2 (Scene number 2) ) -
Description Fran's dialogue during her emotional confrontation with Sheldrake includes lines that are too witty and composed for someone in deep distress, such as 'Ring-a-ding-ding' and references to other women. This feels inauthentic, as it prioritizes cleverness over realistic emotional expression, making her character seem less vulnerable and more like a plot device.
( Scene 24 (Scene number 24) Scene 25 (Scene number 25) ) -
Description Bud's dialogue when confronting Sheldrake is overly formal and explanatory, with phrases like 'I'm going to take Miss Kubelik off your hands.' This sounds stilted and not true to Bud's usual hesitant, self-deprecating voice, appearing more as a means to convey plot information than authentic character speech.
( Scene 53 (Scene number 53) )
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Element Dialogue about the apartment key and its exchanges
( Scene 9 (Scene number 9) Scene 10 (Scene number 10) Scene 21 (Scene number 21) Scene 57 (Scene number 57) )
Suggestion The repeated scenes involving the key being requested, lost, or exchanged could be consolidated into fewer instances to avoid redundancy. For example, combine the key-related conflicts in scenes 9-10 and 21 into a single, more impactful sequence early in the script, reducing repetition and improving pacing by focusing on escalating consequences rather than reiterating the same mechanic. -
Element Bud's internal monologues and explanations
( Scene 1 (Scene number 1) Scene 2 (Scene number 2) Scene 8 (Scene number 8) )
Suggestion Bud's voice-over and direct explanations of his situation (e.g., in scenes 1 and 2) are redundant with the visual storytelling. Streamline by cutting some of the voice-over narration and letting actions and dialogue reveal the same information, making the narrative more engaging and less expository. -
Element References to the gin rummy game
( Scene 46 (Scene number 46) Scene 56 (Scene number 56) )
Suggestion The gin rummy game is mentioned multiple times as a bonding activity between Bud and Fran, but it doesn't advance the plot significantly. Remove or reference it only once to avoid repetition, using it solely in the final scene to symbolize their relationship without earlier redundant mentions.
Top Takeaway from This Section
Bud - Score: 82/100
Aliases
Buddy-boy, Bud
Role
Protagonist
Character Analysis Overview
Fran - Score: 81/100
Aliases
Miss Kubelik
Role
Deuteragonist
Character Analysis Overview
Sheldrake - Score: 65/100
Aliases
Jeff, Mr. Sheldrake
Role
Antagonist
Character Analysis Overview
Kirkeby - Score: 41/100
Aliases
Mr. Kirkeby
Role
Supporting Character
Character Analysis Overview
Top Takeaway from This Section
Primary Theme: The screenplay's primary theme is the struggle for individual integrity and genuine connection in a dehumanizing, exploitative corporate environment.
How Multiple Themes Interact: Several themes intertwine to reinforce the primary theme. Social climbing and infidelity reveal the moral compromises individuals make to succeed in the corporate world, contrasting with the possibility of redemption and authentic connection offered by love and empathy. Loneliness serves as a catalyst, pushing characters towards both destructive and transformative paths. Ultimately, the pursuit of personal integrity triumphs over superficial success, suggesting a path towards genuine happiness lies in valuing human connection and moral courage over ambition.
Theme | Theme Details | Theme Explanation | Primary Theme Support | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Integrity vs. Ambition (30%) | Bud's initial willingness to lend his apartment for career advancement versus his eventual rejection of the corporate ladder and Sheldrake's exploitation. Fran's moral struggles with her affair with Sheldrake. Bud's choice to become a 'mensch' rather than continue being exploited. | This theme explores the tension between pursuing success within a corrupt system and maintaining one's moral compass. It questions whether personal integrity is compatible with achieving ambition in a morally compromised environment. | This theme forms the core of the screenplay's message, showing the challenges to integrity within the exploitative corporate setting. Bud's transformation from a compliant employee to one who chooses personal integrity directly supports the primary theme. | ||||||||||||
Strengthening Integrity vs. Ambition:
| |||||||||||||||
Loneliness and Connection (25%) | Bud's isolated existence and the lack of genuine relationships. Fran's emotional isolation despite her affair. The characters' desperate attempts to connect, both authentically and superficially. | The film examines the pervasive loneliness within a seemingly vibrant city and corporate environment. It emphasizes the human need for connection and how this vulnerability can be exploited, or conversely, lead to genuine relationships. | Loneliness drives Bud's initial acquiescence to the executives' demands, highlighting how the lack of connection makes him vulnerable to exploitation. His eventual connection with Fran, born out of shared loneliness, offers a path to integrity and counters the dehumanizing effects of the corporate environment. | ||||||||||||
Exploitation and Power Dynamics (20%) | The executives' use of Bud's apartment. Sheldrake's manipulation of Fran. The power imbalance in the corporate hierarchy and its effect on personal relationships. | This theme exposes the abuse of power within the corporate structure and in personal relationships. It demonstrates how those in positions of authority exploit others for personal gain, creating a system of dependence and moral compromise. | The theme of exploitation directly challenges the notion of a just and equitable corporate environment. It illustrates the systemic obstacles individuals face in maintaining their integrity, serving as a strong counterpoint to the superficial success promoted by the corporate setting. | ||||||||||||
Infidelity and Moral Compromise (15%) | Sheldrake's multiple affairs. The casual nature of infidelity within the corporate culture. The consequences of these actions on those involved. | This theme delves into the complex moral landscape of relationships and the impact of infidelity on individuals and families. It questions the ethical implications of personal choices and the ripple effects of such decisions. | Infidelity represents the moral compromises individuals make in the pursuit of success and personal gratification. It underscores the dehumanizing effect of the corporate environment, where personal relationships are often sacrificed for personal gain. It reinforces the struggle for integrity within this morally compromised world. | ||||||||||||
Redemption and Empathy (10%) | Bud's transformation from a 'schnook' to a man of integrity. Fran's eventual rejection of Sheldrake. The moments of genuine empathy and connection between characters. | This theme focuses on the possibility of personal growth and moral transformation. It suggests that even in a corrupt environment, individuals can find redemption through empathy, compassion, and a commitment to ethical behavior. | Redemption and empathy offer a positive resolution to the struggle for integrity, indicating that individuals can escape the exploitative cycle and find genuine connection. It highlights the power of human connection in overcoming the dehumanizing forces of the corporate environment, reinforcing the importance of empathy and moral courage. |
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 |
Top Takeaway from This Section
Emotional Analysis
Emotional Variety
Critique
- The screenplay demonstrates strong emotional variety overall, with a good balance of humor, melancholy, tension, and romance. Scenes 1-2 establish a light-hearted, informative tone with Bud's witty narration, while scenes 3-11 introduce comedic elements through the apartment-sharing scheme. The emotional palette expands significantly with Fran's suicide attempt (scenes 32, 35-37), creating dramatic intensity that contrasts effectively with earlier humor.
- Some sections feel overly focused on specific emotional tones. Scenes 12-24 maintain a predominantly light-hearted, flirtatious tone during Bud and Fran's office interactions, which risks becoming repetitive before the dramatic turn in scene 25. Similarly, scenes 31-34 focus heavily on melancholy and loneliness during Bud's Christmas Eve, creating an extended period of somber emotion that might benefit from more variation.
- The emotional transitions are generally well-handled, particularly the shift from comedy to drama around Fran's suicide attempt. However, the return to lighter moments in scenes 42-49 (Bud and Fran's recovery period) could benefit from more nuanced emotional layering to maintain engagement after the intense drama of the suicide storyline.
Suggestions
- Introduce moments of warmth or connection earlier in scenes 31-34 to contrast with Bud's loneliness. For example, during the bar scene (31), include a brief interaction where someone shows genuine kindness to Bud rather than just Margie's transactional approach.
- In scenes 42-49, during Fran's recovery, incorporate more subtle emotional shifts between vulnerability, hope, and humor rather than maintaining a consistent tender/somber tone. Small moments of genuine laughter or shared vulnerability between Bud and Fran would enhance emotional variety.
- Add a scene between 24-25 where Bud experiences a moment of professional triumph or personal connection unrelated to Fran to diversify the emotional focus before the dramatic turn with Sheldrake.
Emotional Intensity Distribution
Critique
- Emotional intensity is well-distributed overall, with effective peaks during key dramatic moments (Fran's suicide attempt in scenes 35-37, Bud's confrontation with Sheldrake in scene 57). The gradual build-up from light corporate comedy to personal drama creates a satisfying emotional arc.
- The period from scenes 25-30 maintains consistently high emotional intensity (Fran/Sheldrake conflict, Bud's discovery of their affair) without sufficient relief, potentially causing emotional fatigue. The audience experiences sustained tension, disappointment, and melancholy without breathing room.
- Scenes 12-20 show excellent intensity modulation, balancing workplace humor, budding romance, and underlying tension about Bud's apartment situation. The emotional peaks and valleys in this section are particularly well-calibrated.
Suggestions
- Insert a lighter, character-building scene between 28-30 to provide emotional relief from the intense Fran/Sheldrake/Bud triangle. Perhaps a humorous office interaction unrelated to the main plot that showcases Bud's competence or kindness.
- In scenes 35-37 (suicide attempt sequence), consider briefly reducing intensity at moments to allow audience processing. For example, include a moment where Dr. Dreyfuss makes a darkly humorous comment that provides slight relief without undermining the drama.
- Strengthen the emotional intensity in scene 55 (lobby conversation) by making Bud's disappointment more visually evident and extending the silent moments after Fran leaves to emphasize his loneliness.
Empathy For Characters
Critique
- Empathy for Bud is exceptionally strong throughout, particularly in scenes where he's exploited (scenes 6, 9-11) and when he shows genuine care for Fran (scenes 40, 42, 49). His vulnerability and growth create a compelling emotional journey that deeply engages the audience.
- Empathy for Fran fluctuates significantly. It peaks during her vulnerable moments (scenes 25-26, 32, 35-37) but weakens when she treats Bud poorly (scene 55). Her pattern of choosing Sheldrake over Bud reduces audience connection at key moments.
- Secondary characters like Dr. Dreyfuss and Mrs. Dreyfuss generate unexpected empathy in their limited scenes (37, 41-42), showing how even minor characters can create emotional resonance when given specific, humanizing moments.
Suggestions
- In scene 55, add a moment where Fran visibly struggles with her decision to choose Sheldrake, showing internal conflict rather than straightforward rejection of Bud. This would maintain empathy while still advancing the plot.
- Include a brief flashback or revelation in scenes 25-26 showing why Fran is drawn to Sheldrake despite his treatment of her, providing deeper psychological motivation that enhances empathy.
- Strengthen Fran's agency in scenes 40-42 by having her initiate more positive actions during recovery rather than being primarily passive, which would make her emotional journey more engaging and empathetic.
Emotional Impact Of Key Scenes
Critique
- Key scenes generally land with strong emotional impact. Fran's suicide attempt (scenes 35-37) is particularly powerful, with high intensity ratings (sadness 8-9, fear 7-8) that create genuine emotional stakes and audience investment.
- The final scene (60) achieves excellent emotional resolution but could be more impactful with slightly longer lingering on the emotional transition from uncertainty to joy. The current pacing rushes the emotional payoff somewhat.
- Some pivotal moments lack sufficient emotional weight, particularly Sheldrake's manipulation of Bud in scene 22. The emotional impact of Bud's compromise could be heightened to make this turning point more dramatically significant.
Suggestions
- Extend the final moment in scene 60 by 15-20 seconds, focusing on close-ups of Bud and Fran's faces as they realize the significance of their connection, allowing the emotional resolution to land more completely.
- In scene 22, emphasize Bud's internal conflict through more visible hesitation and physical tension before handing over the key. Add a moment where he almost changes his mind to increase emotional stakes.
- Heighten the emotional impact of scene 53 (Sheldrake's revelation) by having Bud's reaction include more visible physical collapse or emotional devastation rather than primarily shock and disbelief.
Complex Emotional Layers
Critique
- The screenplay excels at creating complex emotional layers in many scenes. Scene 49 beautifully blends humor (Bud's racquet spaghetti strainer), warmth (shared cooking), and underlying melancholy (discussion of being taken advantage of), creating rich emotional texture.
- Some emotional moments feel one-dimensional, particularly the executives' scenes (scenes 28, 56) which primarily generate frustration and disapproval without nuanced emotional layers. These characters rarely show complexity beyond their exploitative behavior.
- Bud's emotional journey shows excellent complexity, particularly in scenes where humor masks pain (scene 31's lonely Christmas Eve) or where kindness coexists with frustration (scenes 40-42 with Fran). This layered characterization is a strength throughout.
Suggestions
- In scenes with the executives (particularly 28 and 56), add moments where they reveal vulnerability or doubt about their actions, creating more nuanced emotional interactions rather than straightforward antagonist roles.
- Deepen the emotional complexity in scene 32 (Sheldrake/Fran Christmas confrontation) by having Sheldrake show genuine, though flawed, care for Fran alongside his manipulation, making the dynamic more psychologically interesting.
- In scene 55 (lobby conversation), layer Fran's rejection of Bud with more evident internal conflict and regret rather than primarily pragmatic concern about gossip, creating a more emotionally complex interaction.
Additional Critique
Secondary Character Emotional Depth
Critiques
- Secondary characters like Kirkeby, Dobisch, and Sylvia primarily function as comic relief or obstacles, lacking emotional depth that would make their interactions with Bud more nuanced and emotionally engaging.
- Mrs. Dreyfuss shows unexpected emotional complexity in her limited scenes (41-42), moving from judgment to compassion, but this interesting emotional journey is underdeveloped and could be more integrated into the main narrative.
- Dr. Dreyfuss serves primarily as a moral voice and plot device rather than a fully realized character with his own emotional journey, missing opportunities for richer emotional interactions.
Suggestions
- Add a scene where one of the executives (perhaps Kirkeby) shows genuine remorse or doubt about using Bud's apartment, creating a more complex emotional dynamic and making their eventual confrontation in scene 28 more nuanced.
- Develop Mrs. Dreyfuss's character further by showing her observing Bud and Fran's recovery with growing understanding, creating a subtle emotional subplot about community and judgment.
- Include a moment where Dr. Dreyfuss reveals why he cares so much about morality (personal experience, professional ethics) to add emotional depth to his role as moral compass.
Emotional Pacing in Third Act
Critiques
- The emotional pacing in scenes 50-59 becomes somewhat erratic, alternating between intense confrontations (scene 51 with Matuschka), quiet character moments (scenes 54-55), and dramatic decisions (scene 57) without smooth emotional transitions.
- The resolution of Sheldrake's storyline (scenes 53-54, 59) feels emotionally rushed, with his comeuppance occurring largely off-screen and lacking the emotional weight that his character's manipulation deserves.
- Bud's emotional transformation in scenes 57-58 is powerful but could benefit from more gradual build-up to make his final decision feel more earned and emotionally satisfying.
Suggestions
- Restructure scenes 53-54 to include a more emotionally charged confrontation between Bud and Sheldrake, allowing Bud to articulate his growth and Sheldrake to show some recognition of his behavior's impact.
- Add a transitional scene between 57-58 showing Bud processing his decision to quit, perhaps with a quiet moment of reflection that deepens the emotional significance of his transformation.
- Extend scene 59 to include more emotional fallout from Sheldrake's actions, perhaps showing Miss Olsen's satisfaction or Mrs. Sheldrake's reaction to create more complete emotional closure for this subplot.
Environmental Emotional Storytelling
Critiques
- The screenplay underutilizes environmental elements to reinforce emotional states. While the apartment is well-established as a symbolic space, other locations (office, bars, streets) could more actively contribute to emotional storytelling.
- Seasonal elements (Christmas, New Year's) are effectively used for emotional contrast but could be more integrated into character emotions and transformations throughout the narrative.
- Weather and time of day are inconsistently used to reinforce emotional tones, missing opportunities to enhance emotional impact through environmental storytelling.
Suggestions
- In scenes 31-34 (Christmas Eve), more actively use holiday decorations and music to contrast with Bud's loneliness, creating stronger emotional irony and depth.
- Use weather more consistently to reflect emotional states - for example, having rain during Bud's lonely walks (scenes 2, 10-11) and clearing weather as his situation improves toward the end.
- Enhance the office environment in scenes 12-24 to more actively reflect the emotional dynamics - perhaps making the space feel more oppressive as Bud's exploitation continues, then more open as he gains confidence.
Top Takeaway from This Section
Goals and Philosophical Conflict | |
---|---|
internal Goals | Throughout the script, Bud Baxter's internal goals evolve from seeking acceptance and validation in his corporate world to confronting his loneliness and ultimately committing to a loving relationship with Fran. His journey reflects a shift from compromise and moral conflict to self-actualization and emotional honesty. |
External Goals | Bud's external goals shift from wanting to climb the corporate ladder and gain recognition to protecting his personal life and supporting Fran in her recovery. His ambitions evolve from superficial career gains to meaningful connections. |
Philosophical Conflict | The overarching philosophical conflict in the screenplay revolves around the tension between individual fulfillment (personal integrity, love, and connection) versus societal expectations (conformity, professional ambition, and moral compromises). This conflict is central to Bud's journey, as he must navigate his desire for authentic relationships in a corporate culture that often prioritizes power and manipulation. |
Character Development Contribution: The evolution of Bud's goals and the resulting conflicts contribute to his character development by illustrating his journey from a passive, compliant employee to an empowered individual who takes control of his destiny and embraces vulnerability in love.
Narrative Structure Contribution: These goals and conflicts drive the narrative structure by creating a tension that unfolds as Bud navigates his professional vs. personal life and ultimately seeks resolution through meaningful choices, aligning his external actions with internal realizations.
Thematic Depth Contribution: The intertwined goals and conflicts deepen the themes of love, loneliness, and the cost of ambition, inviting audiences to reflect on the values of connection over career success and the importance of personal integrity in a morally ambiguous world.
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? |
Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | ||||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for Full Analysis | Page | Tone | Overall | Scene Impact | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
1 - Bud's Humorous Introduction to Corporate Life | 1 | Informative, Reflective | 8.2 | 6 | 9 | 8 | 8 | 8 | 6 | 8 | 7.5 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 9 | 8.5 | 8 | 8.5 | |
2 - Lonely Routine | 2 | Dry Humor, Observational, Melancholic | 8.5 | 8 | 9 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 8 | 8 | 8.5 | 8.5 | 9 | 9 | |
3 - A Cha Cha and a Martini | 4 | Sardonic, Witty, Melancholic | 8.5 | 8 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7.5 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
4 - Secrets in the Rain | 6 | Humorous, Tense, Sarcastic | 8.5 | 8 | 8 | 9 | 7.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 8.5 | 8 | 8 | 8 | |
5 - Shadows and Secrets | 7 | Sarcastic, Humorous, Tense | 8.2 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 7 | 8 | 7 | 7 | 8 | 6 | 8 | 8 | 7 | 8 | 8 | 8 | |
6 - After the Party | 9 | Sardonic, Resigned, Wry | 8.2 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 8 | 8 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
7 - Awkward Exchanges | 11 | Sarcastic, Witty, Cynical | 8.2 | 6 | 8 | 8 | 8 | 9 | 6 | 8 | 6 | 6 | 6 | 5 | 7 | 6 | 7 | 9 | 8 | 7 | 7 | 7 | |
8 - A Night in Routine | 13 | Reflective, Lonely, Melancholic | 8.5 | 7 | 8 | 8 | 8 | 8 | 6 | 8 | 6 | 2 | 4 | 3 | 5 | 5 | 9 | 7 | 7 | 8 | 9 | 9 | |
9 - The Reluctant Favor | 15 | Resigned, Humorous, Obnoxious | 8.2 | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
10 - Midnight Eavesdropping | 18 | Tension, Humor, Discomfort | 8.5 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 8 | 9 | 8.5 | 9 | 9 | |
11 - Deception and Isolation | 19 | Suspenseful, Humorous, Melancholic | 8.5 | 8 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8.5 | 8 | |
12 - Morning Routine in the Lobby | 21 | Mundane, Melancholic, Satirical | 7.5 | 7 | 8 | 7 | 7 | 8 | 4 | 8 | 7 | 4 | 7 | 3 | 6 | 6 | 5 | 8 | 8 | 8 | 9 | 9 | |
13 - Elevator Encounters | 22 | Humorous, Casual, Sarcastic | 8.5 | 7 | 8 | 8 | 7 | 9 | 6 | 8 | 7 | 4 | 7 | 3 | 6 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | |
14 - Office Dynamics and Personal Aspirations | 24 | Humorous, Sarcastic, Casual | 8.5 | 7 | 8 | 8 | 8.5 | 9 | 5 | 8 | 7.5 | 5 | 8 | 4 | 6 | 7 | 6 | 9 | 8.5 | 8 | 8 | 8 | |
15 - Key Mix-Up and Temperature Check | 25 | Humorous, Sarcastic, Witty | 8.5 | 7 | 8 | 9 | 9 | 8 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
16 - Corporate Conflicts and Calendar Chaos | 27 | Humorous, Conversational, Formal | 8.5 | 7 | 8 | 9 | 8 | 9 | 6 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
17 - Schedule Switch and Date Night | 30 | Casual, Humorous, Businesslike | 8.2 | 7 | 8 | 8 | 8 | 9 | 5 | 8 | 7.5 | 6 | 8 | 4 | 7 | 7 | 6 | 9 | 9 | 8.5 | 8 | 8 | |
18 - Elevator Anticipation | 32 | Humorous, Conversational, Professional | 8.5 | 8 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 6 | 8 | 5 | 8 | 7 | 7 | 9 | 8.5 | 8.5 | 9 | 9 | |
19 - Elevator Banter | 33 | Hopeful, Playful, Flirtatious | 8.5 | 7 | 8 | 8 | 8 | 9 | 6 | 8 | 7.5 | 3 | 8 | 4 | 7 | 7 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
20 - A Moment of Support | 34 | Humorous, Wistful, Nostalgic | 8.5 | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 8 | 9 | 8.5 | 8 | 9 | 9 | |
21 - Confrontation in Sheldrake's Office | 35 | Serious, Humorous, Confrontational | 8.5 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 8.5 | 8.5 | 9 | 9 | |
22 - The Price of Secrecy | 40 | Humorous, Conversational, Serious | 8.5 | 7 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
23 - Unresolved Invitations | 43 | Romantic, Witty, Casual | 8.5 | 7 | 8 | 8 | 9 | 9 | 6 | 8 | 7 | 3 | 7 | 4 | 7 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
24 - A Night Out and a Dash of Humor | 46 | Playful, Hopeful, Nostalgic | 8.7 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 7 | 5 | 8 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
25 - A Tense Reunion at The Rickshaw | 48 | Wistful, Nostalgic, Emotional, Reflective | 8.5 | 8 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 7 | 8 | 6 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
26 - A Bittersweet Reunion | 52 | Tense, Emotional, Reflective | 8.7 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
27 - A New Beginning | 55 | Melancholic, Reflective, Lonely | 8.5 | 8 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 3 | 7 | 2 | 6 | 6 | 9 | 8 | 7.5 | 8 | 8 | 8 | |
28 - Office Politics and Hidden Agendas | 56 | Tense, Sarcastic, Serious | 8.5 | 8 | 8 | 9 | 7.5 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
29 - Holiday Revelations | 61 | Light-hearted, Playful, Sarcastic | 8.5 | 8 | 8 | 9 | 8.5 | 9 | 7 | 8 | 7.5 | 8 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | 8.5 | 8 | |
30 - Unraveling Connections | 67 | Melancholic, Hopeful, Nostalgic | 8.7 | 9 | 9 | 8 | 8.5 | 9 | 9 | 8 | 7.5 | 8 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
31 - Lonely Spirits on Christmas Eve | 71 | Melancholic, Reflective, Lonely | 8.5 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 6 | 8 | 5 | 7 | 7 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
32 - Christmas Eve Despair | 74 | Melancholic, Reflective, Emotional | 9.2 | 9 | 9 | 9 | 9 | 10 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
33 - Closing Time at the Bar | 79 | Melancholic, Lonely, Intimate | 8.5 | 7 | 8 | 8 | 7.5 | 9 | 8 | 8 | 7.5 | 6 | 7 | 5 | 6 | 8 | 9 | 8 | 8.5 | 8.5 | 8 | 8 | |
34 - A Flirtatious Encounter | 80 | Melancholic, Sarcastic, Lonely | 8.5 | 7 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
35 - From Flirtation to Desperation | 81 | Tense, Emotional, Sarcastic, Anxious | 9.2 | 10 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 10 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
36 - Desperate Measures | 84 | Anxious, Tense, Frantic, Concerned, Sarcastic | 8.7 | 9 | 9 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
37 - Dawn of Reckoning | 92 | Anxious, Regretful, Reflective | 8.7 | 8 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
38 - The Noisy Neighbor | 95 | Tense, Anxious, Regretful | 8.5 | 7 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
39 - Christmas Deception | 96 | Serious, Anxious, Concerned | 8.5 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 8 | 9 | 8.5 | 9 | 9 | |
40 - A Christmas Morning of Care | 99 | Melancholic, Regretful, Compassionate | 8.7 | 7 | 9 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 8 | 8 | 8 | 9 | 7 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
41 - A Bitter Exchange | 102 | Contemptuous, Regretful, Sarcastic | 8.5 | 7 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
42 - A Fragile Morning | 103 | Melancholic, Reflective, Compassionate | 8.7 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
43 - Unexpected Guests | 113 | Tense, Confrontational, Emotional | 8.5 | 9 | 8 | 9 | 9 | 9 | 7 | 8 | 7.5 | 8 | 8 | 8 | 8 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
44 - Secrets and Misunderstandings | 115 | Tense, Emotional, Intimate | 8.7 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 7.5 | 9 | 7 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
45 - A Moment of Concern | 117 | Melancholic, Reflective, Tender | 8.7 | 8 | 9 | 8 | 8.5 | 9 | 7 | 8 | 7.5 | 4 | 8 | 5 | 6 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
46 - Bitter Farewell | 118 | Tense, Emotional, Confrontational | 8.5 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 9 | 9 | 8.5 | 8.5 | 9 | 9 | |
47 - Silent Tensions | 120 | Tense, Emotional, Confrontational | 8.5 | 9 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
48 - Eavesdropping and Betrayal | 122 | Emotional, Confrontational, Reflective | 8.5 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
49 - Gas Leak and Growing Connection | 123 | Anxious, Reflective, Light-hearted | 8.5 | 8 | 8 | 8 | 8 | 9 | 8 | 8 | 7.5 | 6 | 7 | 5 | 7 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
50 - A Brother's Concern | 129 | Suspenseful, Humorous, Dramatic | 8.5 | 8 | 8 | 9 | 8.5 | 8 | 7 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 8.5 | 8 | 8 | |
51 - A Tense Evening: Love and Conflict | 132 | Tender, Light-hearted, Tense | 8.5 | 9 | 8 | 9 | 8.5 | 9 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 9 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
52 - A Bold Proposal Amidst Mockery | 138 | Tension, Humor, Emotional | 8.5 | 8 | 8 | 9 | 8.5 | 9 | 9 | 8 | 7.5 | 9 | 8 | 8 | 9 | 7 | 9 | 8 | 8.5 | 8.5 | 9 | 9 | |
53 - Unexpected Revelations | 140 | Tense, Revealing, Confrontational | 8.7 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8.5 | |
54 - A Promotion with Strings Attached | 142 | Tension, Resignation, Surprise | 8.5 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
55 - Lonely Promotions | 143 | Reflective, Bittersweet, Resigned | 8.7 | 7 | 9 | 8 | 8 | 9 | 9 | 8 | 7.5 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8.5 | 8 | 9 | 9 | |
56 - The Key to Compromise | 146 | Serious, Tense, Confrontational | 8.5 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 9 | 8.5 | 9 | 9 | |
57 - A Bold Departure | 148 | Resignation, Defiance, Transformation | 9.2 | 9 | 9 | 9 | 8 | 9 | 10 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | 10 | 9 | 9 | 9 | 9 | 9 | |
58 - New Year's Reflections | 149 | Reflective, Resigned, Casual | 8.5 | 8 | 8 | 8 | 7.5 | 9 | 7 | 8 | 7.5 | 3 | 8 | 4 | 6 | 7 | 8 | 8 | 8.5 | 8 | 8 | 8 | |
59 - Midnight Departure | 151 | Reflective, Melancholic, Regretful | 8.5 | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 7.5 | 6 | 8 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
60 - A New Beginning | 153 | Romantic, Reflective, Hopeful | 8.5 | 10 | 8 | 8 | 8.5 | 9 | 7 | 9 | 7.5 | 4 | 8 | 3 | 7 | 7 | 9 | 9 | 9 | 8.5 | 9 | 9 |
Summary of Scene Level Analysis
Here are insights from the scene-level analysis, highlighting strengths, weaknesses, and actionable suggestions.
Some points may appear in both strengths and weaknesses due to scene variety.
Tip: Click on criteria in the top row for detailed summaries.
Scene Strengths
- Emotional depth in character portrayal
- Sharp and engaging dialogue enhancing character dynamics
- Effective blend of humor and tension in character interactions
- Details that establish immersive settings and atmosphere
- Strong overall character development and arcs
Scene Weaknesses
- Limited external conflict leading to lower stakes
- Pacing issues with slow progression in some parts
- Lack of significant character development in isolated scenes
- Minimal physical action reducing engagement
- Predictable outcomes in plot progression
Suggestions
- Introduce more external conflicts or stakes to heighten tension and engagement.
- Consider increasing the pacing by tightening scenes or adding more dynamic action.
- Focus on strengthening character development, especially in key scenes to build audience connection.
- Incorporate varied physical action or visual storytelling elements to complement the dialogue.
- Aim for more unexpected plot twists or outcomes to keep the audience engaged and surprised.
Scene 1 - Bud's Humorous Introduction to Corporate Life
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene primarily serves as exposition, setting the stage for the story by introducing the protagonist, Bud, and his workplace, Consolidated Life. While it provides interesting details about the company's size and scale, it doesn't create a strong immediate hook to compel the reader to jump to the next scene. The scene ends with Bud's voiceover introducing the insurance company, but there is no open question, cliffhanger, or suspense that would leave the reader eager to immediately find out what happens next.
As the opening scene, it establishes the setting and introduces the main character, Bud. The dry facts about the insurance company's size and population comparisons could be intriguing, but the scene mainly serves as a setup. The script has potential, but it needs to introduce conflict or hint at an underlying mystery to truly capture the reader's attention and raise the script continuation score.
Scene 2 - Lonely Routine
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is quite compelling, as it introduces the central conflict: Bud's inability to access his own apartment. The description of the sterile office environment contrasts sharply with the hints of a lively party happening in his apartment, creating intrigue. The voice-over narration builds suspense by revealing that Bud stays late at work not out of ambition, but to avoid a problem at home. The final image of Bud looking up at his apartment with cha cha music playing behind drawn shades piques the reader's curiosity, making them want to know what's happening inside and why he can't go in.
The script is still compelling due to the intriguing setup of Bud's character and the mysterious situation surrounding his apartment. We understand he's detail-oriented and perhaps a bit of a pushover. The question of what is happening in his apartment creates a desire to know more. The initial humorous tone established in the first scene has created a feeling of safety, causing the reader to be curious about the problem that Bud faces.
Scene 3 - A Cha Cha and a Martini
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene finally delivers on the promise hinted at in the previous scene, showing what's really going on in Bud's apartment. The messy aftermath of a rendezvous, coupled with the arrival of Kirkeby and Sylvia, immediately creates intrigue. The scene ends with Kirkeby dismissively calling the apartment owner a 'schnook that works in the office,' which sets up a strong expectation for the next scene. The dialogue is snappy and the characters are well-defined, making the reader want to see how this situation unfolds and how Bud is involved.
The script is still compelling because it's delivering on the promises made in the previous scenes. The mystery of why Bud can't always access his apartment is solved, and a new conflict is introduced: Bud is unknowingly being used. This builds anticipation and plants the seed of a potential story about Bud's exploitation. The earlier introduction of Bud's personality and work life makes the reader curious about how he'll react to this situation.
Scene 4 - Secrets in the Rain
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene increases the reader's desire to continue because it builds suspense and confirms the suspicions raised in the previous scene. Bud is clearly waiting for someone, and the lights going out in his apartment, followed by Kirkeby and Sylvia's exit, confirms that they were indeed using his apartment. The dialogue on the stairs, where Sylvia talks about wives getting smarter, adds a layer of humor and foreshadows potential consequences for Kirkeby, creating more intrigue. The scene leaves the reader wondering what Bud will do next, now that he knows for sure what's been happening.
The script is maintaining a decent level of engagement. The central mystery surrounding Bud's apartment and why he can't always access it is becoming more explicit. This scene solidifies that mystery and gives the reader a taste of what Bud will do next. The humorous elements, like Mrs. Lieberman's comments and Sylvia's chatter, keep the tone light and engaging. The ongoing questions about Bud's personality and motivations (why is he letting this happen?) continue to drive curiosity.
Scene 5 - Shadows and Secrets
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is compelling because it builds on the earlier hints that Bud is allowing his apartment to be used for illicit affairs. The suspense builds as Bud hides from Kirkeby and Sylvia, and then has to awkwardly interact with Mrs. Dreyfuss. The scene ends with Bud retreating into his apartment, heightening the sense of mystery and making the reader want to know what happens next. The questions about who is visiting his apartment continue to build as he is trying to avoid being noticed.
The script is maintaining a good level of intrigue. The core question of *why* Bud is allowing his apartment to be used in this way remains unanswered, and the increasing awkwardness and near-misses ramp up the tension. The humor helps balance the more uncomfortable aspects of the situation, but the script needs to be careful not to let the joke wear thin. The reader is invested in seeing how Bud will navigate this increasingly difficult situation, and what the underlying reason for his behavior really is.
Scene 6 - After the Party
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is fairly compelling because it shows the direct consequences of Bud's acquiescence. Kirkeby's visit reinforces Bud's exploited position, and the promise of a recommendation from Sheldrake is a significant hook, raising the stakes for Bud's future. The mention of Sheldrake, a character of presumably high importance, heightens the audience's anticipation. The scene also creates a sense of mounting tension as Bud's tolerance is tested, making the viewer wonder how long he can endure this situation. Finally, the scene includes a couple of smaller 'cliffhangers' or open questions: Will Bud get his recommendation? And is Sheldrake's praise worth all this hassle?
The script continues to be intriguing due to the ongoing mystery of what, precisely, is happening in Bud's apartment, and how far he is willing to go to climb the corporate ladder. The introduction of Sheldrake as a potential key figure in Bud's future adds to the overall intrigue. However, the initial hook of the cha-cha music and the lit windows is becoming slightly less potent as the pattern of exploitation is now more apparent. The script is teetering on becoming repetitive if the core conflict doesn't escalate soon.
Scene 7 - Awkward Exchanges
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene has a moderate pull to continue. The conversation with Dr. Dreyfuss adds to the ongoing thread of Bud's neighbors being aware of the activity in his apartment, which is a source of humor and embarrassment for Bud. The doctor's probing questions and jokes about Bud's 'iron man' lifestyle, followed by the bizarre request to leave his body to the university, create an awkward and comical exchange that leaves the reader curious about how Bud will handle these interactions in the future. The scene ends without a clear resolution, leaving the reader wondering if the neighbors will continue to bother Bud and whether this aspect will escalate.
The script continues to be engaging due to the central conflict of Bud's apartment being used for extramarital affairs and the complications that arise from it. The humor arising from the neighbor interactions, as well as the glimpses into Bud's personal life, help to make Bud a relatable and sympathetic character. The ongoing mystery of who is using the apartment and the possible consequences for Bud also help to keep the story moving. This scene reinforces the humor but also adds to the pressure Bud is feeling, albeit indirectly.
Scene 8 - A Night in Routine
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene shows Bud's solitary evening routine. It's a quiet, character-building scene showing him eating dinner, watching TV, and preparing for bed. The ringing phone at the end is what gives it a decent continuation score, because it interrupts his routine and implies an upcoming conflict or complication. The reader is left wondering who is calling and what they want, as well as a strong change of pace from the routine.
The script continues to build on Bud's character and his unfortunate situation. His apartment is being used by his superiors, and he is stuck in an awkward situation. The script creates a sense of pity and anticipation for Bud's future. The reader is curious about how Bud will navigate these situations and whether he will stand up for himself. The mention of Mr. Sheldrake in a previous scene also helps drive the score as it makes the reader wonder what that character is up to.
Scene 9 - The Reluctant Favor
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling. Bud's established routine is shattered by an external force (Dobisch's call). The power dynamic between them, Dobisch's blatant manipulation, and Bud's reluctant agreement creates immediate tension. The scene ends with Bud leaving his apartment again, with a note about noise, and concern about his neighbors. It creates suspense as to what happens when Dobisch gets to the apartment. The reader will definitely want to see what happens next.
The script maintains a strong pull due to the compounding effects of Bud's situation. We are still wondering about whether he will get the promotion from Mr. Sheldrake. Each scene reveals more about his exploitation, increasing the tension and setting up potential conflict. The reader is invested in seeing how Bud's situation escalates and whether he will eventually stand up for himself or succumb to the pressure. The fact that Bud glances at the Dreyfuss apartment, suggests the payoff for noise complaints is coming.
Scene 10 - Midnight Eavesdropping
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene compels the reader to continue because it escalates Bud's predicament and introduces a new layer of conflict. Bud's willingness to give up his apartment is already established, but the dialogue he overhears reveals Dobisch's exploitative and even cruel behavior toward his supposed 'mother,' making Bud's earlier compliance feel even more significant and potentially setting up a turning point for his character. The scene also ends with Bud shuffling off down the street, leaving the reader curious about what he will do next and how he will react to this new information. Will he say something? Will he let it lie?
The overall script continues to be compelling due to the audience knowing about Bud and Kirkeby using the appartment as a 'love nest'. Now, Sheldrake in personnel can be expected to call on Bud, adding tension and the unknown. The central conflict of Bud being exploited is still very active, and the reader is waiting to see if and how Bud will change, or if he is just a 'nebbish'.
Scene 11 - Deception and Isolation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene effectively creates a strong desire to see what happens next to Bud. The juxtaposition of Dobisch's crass behavior and lies with Bud's growing unhappiness, followed by Bud's desperate retreat to Central Park, sets up a significant turning point. Will Bud continue to be exploited, or will he take some kind of action? The ending with Bud asleep and exposed in the park is a visual cliffhanger, leaving the reader wondering about his well-being and future choices.
The script maintains a moderate level of compulsion, primarily driven by concern for Bud and curiosity about his evolving situation. While the humor and episodic nature of the initial scenes might have started to wear thin, the increasing exploitation and Bud's evident discomfort are now building tension. The introduction of Dobisch as a more overt antagonist adds a new dimension to Bud's challenges. The unresolved issues of Bud's apartment being used against his will, coupled with the hints of a potential romantic interest in Fran, keeps the reader invested to see how these situations resolve.
Scene 12 - Morning Routine in the Lobby
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is fairly compelling, although not overwhelmingly so. It marks a shift back to Bud's work life after a series of increasingly personal and desperate scenes. The introduction of Fran Kubelik, with her appealing individuality (the carnation), offers a potential new romantic interest for Bud. Her interactions with the other passengers and Bud set her up as a person of interest. The scene ends on a light and slightly intriguing note, making the reader want to see how Bud interacts with Fran in the elevator.
The script maintains a solid level of interest. The previous scenes have established Bud's vulnerability and the extent to which he is being taken advantage of. His miserable experience in Central Park creates sympathy. The reintroduction of his work life, coupled with the intriguing Fran, provides a welcome change of pace. However, the story needs a clear direction; Bud's passivity could become tiresome if not addressed soon. The appearance of Fran is a potential avenue for change.
Scene 13 - Elevator Encounters
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene builds on the budding connection between Bud and Fran, adding a layer of flirtatious banter and shared humor. The reveal of Kirkeby's inappropriate behavior towards Fran at the end of the scene creates a strong desire to see how Bud reacts to this information and how Fran handles the situation. The scene's conclusion, with the elevator doors closing, leaves the reader eager to know what happens next, especially given the implied tension between Bud, Fran, and Kirkeby.
The script maintains a decent level of compulsion due to the ongoing development of Bud's character and his awkward social interactions. The earlier scenes establish Bud's exploitable nature and his involvement in the executives' affairs, and the growing tension from neighbors and others finding out about his apartment. The slow-burn romance with Fran, now complicated by Kirkeby's behavior, adds another layer of intrigue. However, the episodic nature of the scenes, particularly those involving Bud's apartment and the various executives, runs the risk of becoming repetitive if a larger plot doesn't coalesce soon.
Scene 14 - Office Dynamics and Personal Aspirations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
The scene continues Bud's character development by showing his contrasting interactions with Kirkeby and his diligent work ethic. Kirkeby's crude remarks and Bud's awkward attempts to defend Fran highlight their different values. The scene builds mild suspense as Bud makes a furtive phone call, leaving the audience wondering who he's calling and why he's being secretive. The ending is a soft hook, relying more on curiosity than outright suspense, creating moderate interest in what Bud is planning.
The script maintains a moderate level of engagement. The questions raised in previous scenes are still present: Will Bud ever stand up for himself? What will come of Dobisch's using the apartment? The budding connection with Fran continues to be a thread of hope amidst the seedy circumstances. Bud's secret phone call adds a new, immediate question, piquing interest in his motivations and what he's planning.
Scene 15 - Key Mix-Up and Temperature Check
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene advances several plot threads and introduces new tensions. The initial exchange between Bud and Dobisch is amusing and resolves the key mix-up from the previous scene, while simultaneously reinforcing Dobisch's casual disregard for Bud's well-being. Dobisch's efficiency report hint creates anticipation of Bud's upcoming meeting with Mr. Sheldrake in Personnel. Bud’s actions to correct the key mixup and then make calls to Mr. Vanderhof create curiosity as to what Bud is arranging and why.
Several threads continue to keep the reader engaged. The consequences of Bud's apartment lending are still unfolding, with Dobisch's actions directly impacting Bud's life. The promise of a promotion offers a potential turning point for Bud's character arc, creating anticipation for the upcoming meeting with Sheldrake. The arrangement of meetings with multiple people provides an intriguing hook as to what Bud is planning, adding to the complexity of his character and his motivations.
Scene 16 - Corporate Conflicts and Calendar Chaos
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene builds intrigue as Bud cancels multiple meetings, suggesting something important is happening. The reader is left wondering why Bud needs his apartment, and the fast-paced rescheduling of appointments creates a sense of urgency. The repeated calendar checks and furtive phone calls increase the mystery, prompting the reader to anticipate what Bud is planning and who he will call next.
The script continues to be compelling due to the ongoing mystery surrounding Bud's apartment and his involvement with the executives. The introduction of Fran as a potential love interest adds another layer of intrigue. This scene reinforces the plot device by having multiple executives wanting access to his apartment. The audience knows that Sheldrake wants it too, creating some narrative tension as well.
Scene 17 - Schedule Switch and Date Night
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is moderately compelling. It efficiently juggles several ongoing plot threads: Bud's manipulation of his schedule, the favors he's doing for his superiors, and the romantic entanglement between Kirkeby and Sylvia. The switching between Kirkeby's office and the switchboard room creates a sense of comedic irony and dramatic build-up. The scene ends with confirmation of a date, but does not end with significant suspense or cliffhangers.
The script maintains a solid level of intrigue. The ongoing questions regarding Bud's motivations and the consequences of his actions at work remain engaging. The introduction of Fran and the flirtatious interactions between her and Bud is keeping my attention. There is however, a lack of more serious problems or tension that would significantly increase the desire to immediately continue.
Scene 18 - Elevator Anticipation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is very effective at making the reader want to continue. The rapid pace of Bud confirming appointments, followed by the urgent message from Personnel, creates immediate suspense. The dialogue is snappy and engaging, particularly the wager between Bud and Moffett. Finally, the cliffhanger with Fran and the precious cargo line adds a romantic/hopeful note, leaving the reader eager to see what happens in Sheldrake's office.
The script continues to be engaging, with the central question of Bud's apartment and its impact on his career progressing. Bud's potential promotion and Fran's growing presence in his life are strong hooks. The unresolved tension between Bud and the executives benefiting from his apartment (Kirkeby, Dobisch, Vanderhof and Eichelberger) is still simmering, though perhaps fading slightly in light of these new developments.
Scene 19 - Elevator Banter
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene builds intrigue and anticipation. Bud is clearly on his way to something important, and his boasting hints at a significant change in his status. Fran's reactions add a layer of mystery, suggesting she knows more than she lets on. The scene ends with Bud's invitation, raising the possibility of a romantic connection and Fran opening the doors. Ending at Floor 27 adds anticipation.
The script is building tension effectively. The setup of Bud's potential promotion, his interactions with superiors, and the mystery surrounding Sheldrake all contribute to a strong narrative pull. Fran's role as a possible love interest and her connection to the higher-ups add further intrigue. The unanswered questions about what awaits Bud on the 27th floor, plus what Fran knows, sustain a high level of reader engagement.
Scene 20 - A Moment of Support
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene builds suspense effectively. Fran's well-wishing and the gift of the carnation create a sense of anticipation, suggesting something significant is about to happen in Bud's meeting with Sheldrake. The insistent elevator buzzer adds urgency, and Bud's final step into Sheldrake's office serves as a cliffhanger, making the reader eager to find out what awaits him.
The script maintains a strong pull due to the unresolved questions about Bud's potential promotion and the nature of his relationship with Fran. The recent escalating hints of corporate corruption add intrigue. However, the plot line of Bud 'lending' his apartment seems to be taking a back seat.
Scene 21 - Confrontation in Sheldrake's Office
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene ratchets up the tension considerably. Sheldrake's interrogation of Bud, coupled with the threat of the "Vice Squad," creates a palpable sense of unease. The audience is left wondering what Sheldrake will do with this information. Will he fire Bud? Will he use it to his advantage? The abrupt ending, with Sheldrake answering the phone, leaves the audience hanging and eager to see what happens next, making them want to jump straight into the next scene.
The script continues to build intrigue, as the central conflict about the use of Bud's apartment has finally surfaced. The overall situation has become more complex and suspenseful. The question of what Sheldrake will do with this information—fire Bud, exploit him further, or something else entirely—drives the narrative forward. The unresolved relationship between Bud and Fran is still bubbling in the background as well, adding further depth.
Scene 22 - The Price of Secrecy
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene ratchets up the tension significantly. Miss Olsen's eavesdropping adds a layer of suspense – what will she do with the information she overhears? Sheldrake's blatant lie to his wife, coupled with the offer of tickets to Bud in exchange for the apartment key, clearly establishes the power dynamic and Sheldrake's manipulative nature. Bud's internal conflict is palpable as he weighs the potential career benefits against the moral implications, leaving the audience wondering if he will cave in.
The script maintains a strong pull. The audience is invested in Bud's fate, particularly after his budding connection with Fran. The introduction of Sheldrake's marital problems and his blatant exploitation of Bud's apartment adds further intrigue. Miss Olsen's potential to expose Sheldrake introduces a new dynamic, and the question of whether Bud will succumb to Sheldrake's pressure to continue the arrangement hangs heavy. The fading interest is Bud's budding relationship with Fran, but it may come back as he uses his appartment for his next indiscretion.
Scene 23 - Unresolved Invitations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene ends on a somewhat unresolved note, making the reader want to know what happens next. Bud's attempts to invite Fran out are met with a polite rejection, but the ambiguity surrounding Fran's 'kaputt' relationship and her obligation to meet someone leaves room for hope. The fact that Bud follows her out of the building shows his determination, even if he's unsuccessful in changing her plans. This creates anticipation for whether Bud can win her over or if Fran will reconcile with the 'man' she's meeting.
The script continues to be engaging due to the central question of whether Bud will find happiness, particularly with Fran. Sheldrake's manipulation of Bud is still a fresh plot point, which is now combined with the introduction of Fran as a romantic interest. The scene also reinforces Bud's character as a pushover, now making the reader eager to see him break free from this pattern, and if he can, whether it will be enough to win Fran over. Also, how will the audience feel if Bud only turns out to be using her as leverage or social climbing?
Scene 24 - A Night Out and a Dash of Humor
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene creates a strong push to continue. Bud and Fran have agreed to meet, seemingly setting up a date, which is a satisfying resolution to the earlier conflict of Bud being rejected. However, Bud's revelation about knowing Fran's personal details from her insurance file introduces a new element of unease and potential conflict. Will Fran be creeped out? This creates suspense and makes the reader want to see how she reacts and whether the date actually happens.
The script continues to hold interest due to several unresolved plot points. The central question of whether Bud will succeed romantically with Fran remains. Also, the implications of Bud giving Sheldrake the apartment key are still looming. The audience is waiting to see the consequences of that decision and how it will affect Bud. This scene adds another layer to the central tension as Bud reveals he looked up Fran's insurance information, making the romantic prospects more complex. Finally the smaller plot regarding his cold remains.
Scene 25 - A Tense Reunion at The Rickshaw
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling due to several factors. First, it reveals the identity of the man Fran is meeting, building suspense around their relationship. Second, the dialogue is sharp and emotionally charged, hinting at a complex and painful past between Fran and Sheldrake. Fran's controlled bitterness and Sheldrake's desperate attempts to win her back create a strong sense of conflict. The scene ends with Fran mentioning a date at 8:30, creating a clear deadline and a question of whether she will keep it or succumb to Sheldrake's pleas, then cuts to Bud outside the theatre waiting for Fran. This ending creates a double suspense, since the audience does not know if Fran will actually come, and if she does, it will imply that she chose Bud over Sheldrake, who is of a higher status.
The script maintains a strong level of engagement due to the central love triangle between Bud, Fran, and Sheldrake. This scene adds depth to Fran's character and clarifies her complicated relationship with Sheldrake, raising the stakes for Bud. The scene cuts between Fran and Sheldrake, and Bud at the Majestic theatre waiting for Fran, which builds tension.
Scene 26 - A Bittersweet Reunion
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it finally reveals Sheldrake's intent to leave his wife for Fran, upping the stakes and adding a layer of emotional complexity. Fran's confession of love, coupled with her skepticism, creates a delicious tension. The fact that they are seen by Miss Olsen, who clearly disapproves, hints at further complications and potential fallout. The address written on the pad from Bud’s apartment is also of interest. Finally, the scene ends on a high note with Fran and Sheldrake kissing in a cab headed to Bud's apartment, leaving the reader eager to know what happens next.
The script maintains strong momentum because of the escalating conflict surrounding Bud's apartment, Sheldrake's affair, and Fran's emotional turmoil. The unanswered questions are high: Will Sheldrake actually leave his wife? Will Fran and Sheldrake find happiness? Will Miss Olsen take action? Where is Bud while all of this is happening? All these unanswered questions fuel the desire to continue reading. The consistent use of Bud's apartment as a central location continues to tie the narrative together.
Scene 27 - A New Beginning
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is very compelling because it shows a clear passage of time and change in status. Bud is waiting for Fran, who is not coming. The fast-forward via calendar pages showing Sheldrake's increasing use of the apartment implies that she is with him, leading to a sense of dread that this affair will continue, even escalate. Then, the scene cuts to Bud clearing out his desk, implying he's finally getting a promotion (presumably in exchange for access to the apartment), but it's not clear if it's worth it. This creates intrigue as to what will happen next with the Sheldrake affair.
The script overall is compelling because of the central question: will Bud ever stand up for himself? Will the affair between Sheldrake and Fran be discovered? The continued use of the apartment and the promotion suggests that the exploitation of Bud is getting worse and that he will continue to be passive. The script still manages to hold attention by raising the stakes and showcasing the consequences of Bud's initial decision to lend his apartment.
Scene 28 - Office Politics and Hidden Agendas
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene has a high scene_continuation_score because it presents several compelling turning points. First, Bud is confronted by the executives who previously used his apartment, setting up a power dynamic and raising the stakes for his new position. Second, Sheldrake's arrival and subsequent conversation with Bud reveal that the apartment arrangement will continue, now with Sheldrake's secretary potentially involved. The use of the broken compact adds intrigue and links the apartment to Sheldrake's affair with Fran. Finally, the dissolve to the calendar showing Sheldrake's recurring bookings underscores the cyclical nature of the arrangement, promising further complications.
The script_continuation_score remains relatively high, sustained by the ongoing tension of the apartment arrangement and the unresolved romantic feelings between Bud and Fran. While Bud achieves a career advancement, the circumstances surrounding it are morally ambiguous, and the audience is left wondering about the ethical implications of his choices. Sheldrake's affair with Fran, though not explicitly confirmed, is becoming a central point of interest, and the audience is keen to see how this unfolds. The script is doing a good job of creating tension.
Scene 29 - Holiday Revelations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is compelling because it presents several immediate conflicts. First, Bud and Fran's relationship is revisited after a long absence, opening questions about their future. Second, Miss Olsen's revelation about Sheldrake's past affairs and manipulative behavior creates immediate tension for Fran and casts a shadow on her relationship with Sheldrake. Finally, Bud offers Fran to escape to his office. All of those things make us want to keep reading.
The script remains compelling due to the ongoing tension between Bud and Fran, the question of Fran's feelings for Sheldrake, and the reveal about Sheldrake's past affairs. We are invested in seeing if Bud and Fran can overcome these obstacles and establish a genuine connection, or if Sheldrake will continue to manipulate them. The script is building to the end, keeping the audience wanting to see which direction things will go.
Scene 30 - Unraveling Connections
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene packs an emotional punch, making the reader eager to see what happens next. Bud's realization that Fran is involved with Sheldrake, confirmed by the compact mirror, creates a significant turning point. His hurt and dejected reaction, combined with his deliberate exit and Kirkeby's callous request, generates suspense. The scene ends with a clear indication that Bud is on the verge of a major decision, further compelling the reader to find out what that decision will be.
The script maintains a strong hold on the reader. The central love triangle is heating up now that Bud is realizing the extent of Sheldrake's manipulation and its impact on Fran. Bud's promotion also makes him more of a player now, giving him greater access to influence events. Additionally, there are unresolved tensions like Dobisch's threat from an earlier scene that could pay off at any time, reminding the reader about the dangers lurking under Bud's seemingly successful career.
Scene 31 - Lonely Spirits on Christmas Eve
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene establishes a new, intriguing situation. Bud, freshly promoted but morally compromised and now seemingly alone, is seeking solace in a bar on Christmas Eve. Margie MacDougall, a similarly lonely and somewhat eccentric character, approaches him, creating a spark of potential connection or further complication. The scene ends with Margie suggesting that Bud's apartment is not empty afterall, hinting at a rendezvous. This raises questions about whether Bud will succumb to another meaningless encounter, find some genuine connection, or if this is just another distraction from his problems. The blend of humor and pathos, coupled with the setup of a potential relationship, makes the reader want to know what will happen next.
The script continues to be compelling due to Bud's ongoing moral crisis. Having just gotten promoted on morally questionable actions, he is facing the first Christmas Holiday alone. The audience is wondering if he will decide to change or if this will be just another meaningless Holiday. The introduction of Fran is still a big unanswered question in the script. The ending of the previous scene had Bud walking away and the viewers may be wondering where that plotline is headed. Finally, Bud's new promotion and apartment, while a success in some ways, feel empty, raising the question of whether he'll find genuine happiness or remain trapped in a cycle of self-destructive behavior.
Scene 32 - Christmas Eve Despair
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it presents a significant turning point in Fran's emotional state and introduces the possibility of a tragic outcome. The heated argument with Sheldrake lays bare the exploitative nature of their affair and Fran's deep unhappiness. The scene culminates with her contemplating suicide and deliberately filling a glass with water, creating intense suspense and a strong urge to find out what she will do next. The dissolve at the end heightens the tension, leaving the reader in a state of high anticipation.
The script maintains a strong level of intrigue due to several unresolved conflicts and character arcs. The central question of whether Bud and Fran can find happiness remains unanswered. The audience is curious about Bud's growing feelings for Fran, Miss Olsen's potential revenge on Sheldrake, and Sheldrake's marital situation. This scene adds an urgent element by presenting Fran's possible suicide attempt, making the audience anxious for her safety and the future of her relationship with Bud. There is plenty to play for, and the writer has avoided letting the audience settle into a mood of complacency.
Scene 33 - Closing Time at the Bar
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
The scene ends with Bud and Margie leaving the bar, and Bud, in a moment of self-deprecating humor, suggests they go to his place since 'everybody else does.' This line is darkly funny considering what we know about Bud's apartment being used by executives for their affairs. The cliffhanger is whether Bud intends on sleeping with Margie, or if something else will happen. The unresolved situation with Fran hanging over the entire scene does push the reader forward, to see how Bud will resolve the situation. The low score is due to the change in scene away from her.
The primary hook is the fate of Fran Kubelik, following her possible suicide attempt in the previous scene. Bud's actions in this scene—his attempt to find some connection amidst the holiday loneliness—are overshadowed by the reader's concern for Fran. The audience remembers the vial of pills and glass of water from the end of the last scene, and is very concerned with whether Fran is still alive. This concern has to be resolved.
Scene 34 - A Flirtatious Encounter
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene provides a sense of forward momentum as Bud finally brings someone back to his apartment, suggesting a potential change in his lonely routine. The dialogue is snappy and reveals more about both Bud and Margie's personalities, creating some intrigue. However, the scene itself is relatively short and lacks a major cliffhanger, thus keeping the continuation score good but not exceptional. The biggest intrigue is what will happen back at the apartment.
The script maintains a decent level of intrigue overall. We've seen Bud's loneliness and exploitation, and now he is bringing someone back to his apartment, which should be a turning point. A relationship is about to begin, which may mean the events that happened may never happen again. The overarching question of whether Bud will escape his rut and find genuine connection is still a driving force. While the Fran-Sheldrake storyline is important, its specific resolution is becoming less urgent compared to Bud's personal arc.
Scene 35 - From Flirtation to Desperation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is incredibly compelling because it throws a massive wrench into the Bud/Margie hookup and brings the Fran storyline to a head. The initial banter between Bud and Margie establishes a comedic tone, but this is immediately subverted by the discovery of Fran unconscious in the bedroom, creating intense suspense. The scene ends on a cliffhanger, with Bud frantically seeking help from Dr. Dreyfuss, leaving the reader desperate to know if Fran will survive and how this will affect Bud.
The script continues to be extremely compelling due to the escalating stakes in Bud and Fran's relationship, now punctuated by a potential tragedy. The earlier scenes established Bud's willingness to let others take advantage of him, which led to this dramatic moment. The unresolved romantic tension between Bud and Fran, the mystery surrounding her relationship with Sheldrake, and now her apparent suicide attempt create a potent mix that drives the narrative forward. The introduction of Margie as a potential romantic interest for Bud initially created a new thread, but it is immediately sidelined by the more pressing Fran situation.
Scene 36 - Desperate Measures
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it continues the urgent situation of Fran's overdose and adds further complications. Bud is forced to deal with both Fran's medical crisis and the unexpected arrival of Margie and Dr. Dreyfuss. The scene ends with Fran being walked around the room, starting her recovery. This leaves the reader eager to know if Fran will recover fully and how Bud will explain the situation, thus creating a strong pull to continue reading.
The script maintains a strong level of compulsion due to the high stakes surrounding Fran's well-being and Bud's increasingly complex situation. The unresolved tension between Bud's feelings for Fran and her attachment to Sheldrake still drives the story, and the question of whether Fran will fully recover and make different life choices keeps readers invested. The ongoing mystery of Sheldrake's actions, Bud losing keys and getting his apartment used by people are older hooks that have been somewhat resolved but still create a sense of anticipation for the next developments.
Scene 37 - Dawn of Reckoning
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene provides a crucial shift in perspective, showcasing the immediate aftermath of Fran's suicide attempt and Bud's emotional reaction. Dr. Dreyfuss's scolding and advice serve as a wake-up call for Bud, highlighting the consequences of his actions and urging him to become a better person. The scene leaves the reader wondering if Bud will heed this advice and how Fran will recover, creating a strong desire to see what happens next. There is a major open question about whether she will try again.
The script maintains strong momentum as it delves into the consequences of Bud's choices and the complexities of his relationship with Fran. The revelation of her suicide attempt has raised the stakes, and the reader is invested in seeing how both characters will navigate this difficult situation. The introduction of Sheldrake as the cause is also going to put him in the hot seat very soon. The reader will want to know where Margie went as well.
Scene 38 - The Noisy Neighbor
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene provides a double hook. First, Mrs. Lieberman's confrontation establishes potential conflict and repercussions for Bud, suggesting the building's community might turn against him. Second, the scene ends with Bud making a phone call to Sheldrake, creating immediate suspense about the conversation they will have and what Bud's intentions are. The call also raises questions about what Bud will say about Fran without anyone listening to their conversation.
The script maintains intrigue by continuing the fallout from Fran's suicide attempt. The previous scenes establish Bud's growing connection with Fran and his attempts to help her, which is contrasted by the nosy neighbor complaining about the prior night and the upcoming phone call with Sheldrake. This will further develop the love triangle between the characters. The script risks losing momentum if the phone call scene doesn't meaningfully advance the plot or character development. It needs to reveal either more about the Bud/Fran relationship or about Sheldrake's character.
Scene 39 - Christmas Deception
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is compelling because it significantly raises the stakes for both Sheldrake and Bud. Sheldrake's domestic life is disrupted by the phone call, and he's forced to lie to his wife, increasing the tension and risk of his affair being exposed. Bud's urgent situation with Fran creates immediate concern and requires Sheldrake to be involved, which he clearly doesn't want. The scene ends with Sheldrake trying to brush off Bud, leaving the reader wondering how Bud will handle the crisis alone and how Sheldrake's lie will hold up.
The script remains compelling due to the escalating complications surrounding the affair and Bud's involvement. The revelation of Fran's overdose and the need for Bud to contact Sheldrake raise the stakes and introduce immediate consequences. The unanswered questions regarding Bud's ability to manage the situation and Sheldrake's potential exposure to his wife create strong forward momentum, even if the FADE interest has waned.
Scene 40 - A Christmas Morning of Care
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene has a good level of tension. Bud continues to cover up for Sheldrake, but Fran is beginning to wake up and become aware of her surroundings. This raises the stakes: will Fran overhear the conversation and realize Bud is covering for Sheldrake? Bud removing the razor blades and iodine adds a layer of suspense, hinting at his concern for Fran's safety and potential for further self-harm. The scene ends with him leaving, creating anticipation for what will happen next.
The script remains compelling due to the unresolved tension between Fran and Sheldrake, Bud's increasingly complicated situation, and the question of whether Fran will discover the truth about Sheldrake's involvement and Bud's role in enabling it. The earlier plot lines with Dobisch and Kirkeby are less prominent, but the central love triangle is still engaging. Fran's suicide attempt raises the stakes and creates a sense of urgency, making the reader want to see how she recovers and what choices she makes next.
Scene 41 - A Bitter Exchange
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene creates a decent amount of tension and curiosity. Mrs. Dreyfuss's reaction to Bud's request and her knowledge of the situation (gained from the doctor) is intriguing. The scene quickly escalates as she throws accusations, implying she knows more than she lets on. While Bud's explanation is unconvincing, the audience is left wondering how Mrs. Dreyfuss will react next and what her intentions are toward Fran. The slammed door creates a sense of urgency and a desire to see what happens inside Bud's apartment.
The script maintains a good level of engagement. The suicide attempt and its immediate aftermath have heightened the stakes, and the fallout is being explored in subsequent scenes. Sheldrake's detachment and Bud's evolving feelings for Fran are creating a complex emotional dynamic. There's a consistent curiosity about whether Fran will recover and what choice she'll make (Sheldrake or Bud). However, story threads, like Kirkeby and other's attempts to borrow Bud's apartment, feels a bit stale. This needs to be wrapped up.
Scene 42 - A Fragile Morning
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is mostly character-driven, focusing on the developing dynamic between Bud and Fran after her suicide attempt. The initial conflict of Fran wanting to call her sister creates immediate tension, which is then followed by a series of smaller character moments. Mrs. Dreyfuss's unexpected entrance and unsolicited advice adds a comedic element. The revelation of the $100 and Fran's instruction to return it provide some forward momentum. However, the scene primarily revolves around establishing a connection between the two characters, which gives the reader a reason to see how it plays out, but a scene consisting entirely of gin rummy is not the most compelling.
The script maintains a strong hold due to the central question of whether Fran and Bud can find happiness, especially given their problematic relationships with Sheldrake. The stakes have been raised by Fran's suicide attempt, making the reader invested in her recovery and future. The tension between Bud's growing feelings for Fran and her lingering attachment to Sheldrake creates a compelling love triangle. There's also suspense about what Sheldrake will do next, as his actions are unpredictable and potentially harmful.
Scene 43 - Unexpected Guests
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene creates a high degree of suspense and anticipation. The arrival of Kirkeby and Sylvia disrupts the delicate balance Bud has established while caring for Fran. The reader is left wondering what will happen when they discover Fran in the bedroom, and how Bud will manage to protect her secret and maintain the charade. The escalating tension between Bud and Kirkeby, combined with Kirkeby's oblivious comments and the looming threat of discovery, makes the reader eager to see how Bud will navigate this awkward and potentially explosive situation.
The script maintains a strong pull due to the ongoing love triangle dynamic, Fran's fragile emotional state, and Bud's developing sense of responsibility. The reader is invested in Fran's recovery and interested to see if her feelings toward Bud will evolve. The return of Kirkeby, who represents Bud's past exploitation and moral compromises, reintroduces a core conflict. The script has done a decent job of balancing situational humor with the core pathos of the main characters.
Scene 44 - Secrets and Misunderstandings
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene maintains a moderate level of intrigue. The awkwardness of Sylvia and Kirkeby's thwarted attempt to use the apartment is somewhat humorous, and Dr. Dreyfuss's reaction adds to the comedic tension, reminding the reader of Bud's earlier difficulties. However, the primary driver of forward momentum is the unresolved situation with Fran. The reader knows she's in a vulnerable state, and this scene offers only brief glimpses of her situation. Will Fran be okay? Will Bud continue to help her? These unanswered questions encourage the reader to turn the page.
The script is maintaining a strong momentum. Fran's overdose and ongoing vulnerability are now the central conflict, and the audience wants to see if she recovers and what happens between her and Bud. The script has also teased us with Kirkeby and Sylvia's plans after their time with Bud was cut short. The romantic angle is also becoming clearer, with Bud possibly falling for Fran, raising curiosity about whether they'll end up together. The overall situation is tense and dramatic, pulling the reader forward to see how these conflicts will resolve.
Scene 45 - A Moment of Concern
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene generates considerable suspense. Bud's paranoia that Fran might attempt suicide again after the previous scene is palpable, especially when she asks to open the window. The scene ends with Bud shaving, and a missing razor blade (that the audience knows he hid) creates huge tension. Will she find another way, or is she past the point of wanting to harm herself? The fade out adds to the uncertainty, making the audience want to know what will happen next.
The script maintains strong momentum due to the high stakes surrounding Fran's fragile emotional state and Bud's growing feelings for her. The previous scenes established the depth of Fran's despair and Bud's protective instincts, while the external forces like Kirkeby and Sheldrake create more tension. The main arc of the story revolves around this will-they-wont-they situation with Fran, and the romantic arc is gaining steam as Bud begins to really come to her aide. The audience wants to know if Fran can recover and if Bud can make a difference in her life.
Scene 46 - Bitter Farewell
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it features a significant power shift and raises several urgent questions. Miss Olsen, who has been a background character, is suddenly fired, creating immediate sympathy and intrigue. Her final lines suggest she has been suffering in silence for a long time, adding depth to her character and making the audience want to know more about her story. Then, she eavesdrops on Sheldrake's phone call, promising a reveal that could significantly impact Bud and Fran. The combination of professional drama, potential betrayal, and eavesdropping creates strong suspense and encourages the reader to turn the page.
The script remains compelling due to the central love triangle between Bud, Fran, and Sheldrake. Fran's emotional state after the suicide attempt remains a major concern, and the lingering question of her true feelings adds to the tension. Will she choose Bud or Sheldrake? The cliffhanger of Miss Olsen eavesdropping on Sheldrake's phone call to Bud suggests an impending shift in power dynamics, which the reader is keen to see unfold. The past few scenes show Bud and Fran getting closer, but we do not know how this will shake out.
Scene 47 - Silent Tensions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it fulfills the anticipation built from the previous scene while introducing new layers of tension. We finally hear Sheldrake and Fran interact directly after her suicide attempt, and their conversation is fraught with unresolved issues. Bud's departure to the grocery store leaves Fran vulnerable and alone with Sheldrake's voice, creating suspense about what will be said and whether she will succumb to his influence. The stakes are high, and the reader is invested in Fran's emotional state and the potential consequences of this conversation.
The script continues to hold reader interest through the intertwined fates of Bud, Fran, and Sheldrake. Fran's suicide attempt and its aftermath have created a significant turning point, and the reader is eager to see how these characters navigate their complex relationships. The reveal of Miss Olsen informing Mrs. Sheldrake adds another layer of intrigue, suggesting potential consequences for Sheldrake. However, the sheer number of scenes dedicated to Bud's apartment being used for affairs, while important to the setup, may be starting to lose some steam compared to the more pressing matters of Fran's wellbeing and the Sheldrake's marital turmoil.
Scene 48 - Eavesdropping and Betrayal
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it features a significant turning point. Miss Olsen, having been fired and privy to Sheldrake's manipulation of Fran, decides to take action by contacting Mrs. Sheldrake. This creates immediate suspense, as the reader anticipates the fallout from Miss Olsen's revelation. The scene ends with Miss Olsen's pointed exit, leaving Sheldrake visibly unsettled and suspicious, furthering the tension.
The script maintains strong momentum due to the increasing tension surrounding Sheldrake's affair and its consequences. Fran's suicide attempt and her subsequent recovery have added emotional weight to the story. Miss Olsen's decision to inform Mrs. Sheldrake serves as a catalyst, promising a dramatic confrontation and potential shift in the power dynamics. The unresolved feelings between Bud and Fran, and Bud's growing disillusionment with the corporate world, continue to create forward momentum.
Scene 49 - Gas Leak and Growing Connection
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene significantly propels the narrative forward. The near-disaster with the gas leak creates immediate tension and highlights Fran's continued fragility. The humor derived from Bud's disorganization and the tennis racquet spaghetti strainer contrasts with the serious undercurrent of their emotional states. The discussion about being taken advantage of, and Bud's story about his suicide attempt, draw them closer emotionally. The scene ends with Fran's agreement to stay, suggesting a deepening bond, but it leaves the reader wondering how their relationship will evolve and whether Fran is truly safe.
The script continues to be compelling because of the central question of whether Bud and Fran can overcome their respective issues and find happiness together. Fran's attempted suicide and Sheldrake's manipulative behavior are major ongoing hooks. The script is building to a climax where either Bud will learn to stand up for himself, Fran will escape Sheldrake's clutches, or both will fail. The cliffhanger from the previous scene, of Fran needing to make a difficult call is no longer relevant. This means the viewer might be losing some interest, but the razor blade and near gas incident keeps the suspense high.
Scene 50 - A Brother's Concern
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is quite compelling because it introduces a new conflict and raises the stakes. The arrival of Fran's brother-in-law, Matuschka, who is clearly worried and searching for her, injects a sense of urgency and potential danger. The sly comments and glances between Dobisch and Kirkeby hint at their knowledge of the situation and their willingness to betray Bud, leaving the reader wondering how this will all unfold. The final question, "Who is Buddy-boy?", creates immediate suspense. The reader wants to see how Matuschka will react when he learns the truth and how this will affect Bud and Fran.
The script maintains a high level of tension. The previous scenes established Fran's recovery and a burgeoning connection with Bud. This scene throws that into jeopardy with the arrival of Matuschka. The unresolved conflicts surrounding Sheldrake and the affair are still relevant, but the immediate concern shifts to Matuschka's investigation and the potential for violence or exposure. The reader is invested in seeing how Bud and Fran navigate this new threat, especially given Bud's recent injury.
Scene 51 - A Tense Evening: Love and Conflict
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene ends with a dramatic climax. Matuschka arrives, discovering Fran's presence and prompting a confrontation that culminates in Bud being punched. Fran's goodbye kiss and Dr. Dreyfuss's comment leave the reader wondering about the aftermath and the consequences of Bud's actions, especially regarding his feelings for Fran and her departure. There is now increased tension regarding where Fran is going and if Bud will be ok.
The script has built considerable momentum. Fran's suicide attempt and subsequent recovery have deepened her connection with Bud, but her ties to Sheldrake remain a significant obstacle. The arrival of Matuschka dramatically escalates the tension and forces Fran to make a choice. Bud's willingness to defend Fran, even at personal cost, further endears him to the audience. The unresolved nature of Fran's feelings and the introduction of the Matuschka character create anticipation for future scenes.
Scene 52 - A Bold Proposal Amidst Mockery
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene creates a strong urge to continue reading. Bud is clearly on a mission, fueled by the events of the previous scene. The audience is curious to see what he says to Sheldrake after being punched by Fran's brother-in-law. The darkly comedic encounter with Kirkeby and Dobisch, who mock him without knowing the full story, adds another layer of suspense and anticipation for his confrontation with Sheldrake.
The script maintains a high level of compulsion due to several unresolved threads: Fran's emotional state and potential reconciliation with Sheldrake, Bud's budding feelings for Fran, and the consequences of Miss Olsen's impending revelation to Mrs. Sheldrake. This scene adds to the momentum by showing Bud finally taking decisive action, promising a dramatic confrontation with Sheldrake, who still has access to all of the power.
Scene 53 - Unexpected Revelations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene hits the reader with a double whammy of reversals, making them desperate to see what happens next. Bud, after building up his courage to confess his feelings for Fran, is completely blindsided by Sheldrake's announcement that he's leaving his wife *for* Fran. Then, just as Bud digests that, he learns Fran has gone home anyway! The rapid-fire changes in fortune and the uncertain future of both Bud and Fran immediately pull the reader into the next scene.
The script continues to be highly compelling. Bud's transformation has been gradual but consistent, and this scene marks a major turning point as his loyalty and feelings for Fran are finally taking center stage. The romantic storyline is hitting its climax, as is Bud's journey away from being a pushover and toward becoming his own person. Sheldrake's increasing desperation and the fallout from his affair also add intrigue.
Scene 54 - A Promotion with Strings Attached
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is compelling because it depicts the immediate fallout of Sheldrake's shocking announcement. Bud, still reeling, is offered a promotion that feels hollow given the circumstances. The scene ends with Bud unconsciously breaking his glasses, a visual representation of his broken aspirations and the violence inflicted upon him. This moment of quiet but powerful emotion makes the reader want to see what Bud does next, whether he will accept this promotion or reject the system that has hurt him.
The script remains highly compelling at this stage. The central conflict surrounding Bud, Fran, and Sheldrake has reached a critical point. Sheldrake's departure from his wife and pursuit of Fran have created chaos, while Bud's growing feelings for Fran are complicated by her involvement with Sheldrake. The questions of whether Bud will continue to be exploited and whether Fran will escape Sheldrake's influence remain unanswered. The introduction of Matuschka as a potential threat, while not fully developed, still adds a layer of suspense. Furthermore, the story's overall arc of Bud's moral awakening is gaining momentum, making the reader eager to see how he will ultimately choose to act.
Scene 55 - Lonely Promotions
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene compels the reader to keep going because it features a pivotal interaction between Bud and Fran following their separate encounters with Sheldrake. The scene initially appears to be a reconciliation, but it quickly becomes clear that both Bud and Fran are still hurting and making decisions based on incomplete information. Bud's attempt to appear unaffected by the situation, coupled with Fran's decision to delay seeing Sheldrake, creates a sense of unease and raises the question of whether they will truly be able to move on. The unresolved tension and Fran's exit hint at further complications and uncertainties.
The script maintains a strong level of compulsion due to the ongoing romantic tension between Bud and Fran, the fallout from Sheldrake's actions, and Bud's moral awakening. Earlier scenes established Bud's initial willingness to be used for advancement, his growing feelings for Fran, and her vulnerability. This scene brings those elements to a head, with Bud's pretense and Fran's caution highlighting their unresolved feelings. The question of whether they will find genuine happiness or remain trapped in the orbit of Sheldrake's manipulations keeps the reader invested, especially given the upcoming New Year's Eve setting hinting more drama. The fact that the script is nearing it's end provides a strong motivation for the reader to see how the story concludes.
Scene 56 - The Key to Compromise
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling because it sets up a major conflict between Bud and Sheldrake. Sheldrake's casual announcement that he's taking Miss Kubelik out, followed by his demand for the apartment key, directly challenges Bud's growing feelings for her. Bud's initial refusal and Sheldrake's threat of job loss create significant suspense. The scene ends with Bud reluctantly handing over the key, making the reader wonder what he will do next, which drives the reader to jump immediately to the next scene.
The script continues to be very compelling as it heads towards the end. Bud's character arc is nearing a climax. His moral compass is being tested, and his feelings for Fran are becoming more apparent. The central question of whether Bud will ultimately choose to do the right thing and find happiness with Fran keeps the reader invested. The stakes are high, with Bud's career on the line, and the consequences of his choices are unclear.
Scene 57 - A Bold Departure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is very compelling. Bud finally makes a decisive move and quits his job, rejecting Sheldrake's manipulative control. The quick succession of actions – tidying his office, confronting Sheldrake, surrendering his bowler – creates a strong sense of momentum. The scene ends with Bud leaving the building, leaving the reader eager to know what he'll do next and if he'll try to find Fran. We also wonder if that's the last we'll see of Sheldrake.
The script is reaching its climax. Bud's arc is finally resolving as he rejects the corporate corruption and attempts to find personal redemption. The unresolved romantic tension with Fran is now the central hook, as the reader is highly invested in whether they will end up together. The loose ends with Sheldrake also add to the overall intrigue, but are not as important as seeing Bud and Fran reunite.
Scene 58 - New Year's Reflections
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene is highly compelling. Bud is packing to leave his apartment, signaling a major change in his life. The revelation of the gun immediately creates suspense - is Bud contemplating suicide again? The neighbor's entrance breaks the tension temporarily, but the questions about Bud's future and the 'girl' (Fran) keep the reader engaged. Bud's airiness about Fran is unsettling. The final image of Bud twirling the spaghetti is both poignant and intriguing, hinting at unresolved feelings.
The script is building to a climax. Bud has finally rejected Sheldrake and his own complicity. The audience is anxious about Fran's reaction and future, especially given her earlier suicide attempt. This scene sets the stage for a final confrontation or resolution between Bud, Fran, and Sheldrake, as the questions about each of their well being and where each of them goes from here is still uncertain. The re-emergence of the gun also raises the stakes.
Scene 59 - Midnight Departure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This scene ends with Fran's sudden departure, leaving Sheldrake confused and searching for her. This creates a strong sense of mystery and urgency. The audience is left wondering where she went and what she's planning, making them want to immediately see what happens next. It is New Years and this is the climax of the movie, so we know that she has to choose between Baxter and Sheldrake.
With just one scene left, the script is at peak tension. Fran's choice between Sheldrake and Bud is now imminent. Her earlier suicide attempt, Bud's resignation and rejection of Sheldrake, and the culmination of New Year's Eve all create a perfect storm of unresolved conflict that demands immediate resolution. All plot threads are converging to the very end.
Scene 60 - A New Beginning
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
This is the perfect ending. Fran's last-minute arrival, prompted by the sound of a champagne bottle popping—mistaken for a gunshot—creates immediate suspense. The reveal that Bud is unharmed and the subsequent understated but powerful exchange between Bud and Fran provide resolution to their individual conflicts. Fran's rejection of Sheldrake and her choice to stay with Bud, culminating in her playful command, 'Shut up and deal!' is a satisfying conclusion to their respective journeys. The implication of a shared future, despite the unresolved messiness of their past, is a hopeful and resonant note to end on.
The script ends perfectly. All major plot threads have been resolved, most notably Fran choosing Bud over Sheldrake and Bud finally prioritizing his own happiness and integrity. The lingering question of their future is left open-ended, but in a way that is both hopeful and realistic. The audience gets the message that after all that has transpired, these two people can begin to have a real relationship.
- Physical environment: The screenplay depicts a world grounded in the bustling, urban environment of 1959 New York City. From the imposing glass and aluminum skyscrapers of lower Manhattan to the cramped apartments in converted brownstones, the physical setting emphasizes a sense of density, with contrasts between corporate opulence and working-class grit. The settings range from bustling lobbies and office floors to dimly lit bars, Chinese restaurants and a deserted Central Park, as well as the intimacy of people's appartments. All the settings contribute to the moods and scenes.
- Culture: The culture is a mix of mid-20th-century American norms and values, influenced by corporate hierarchies, social gatherings, and evolving social dynamics. There's an emphasis on office culture, relationships, social gatherings and cocktail culture and cocktail culture and an undercurrent of social anxiety, loneliness and a shifting moral landscape. These elements are portrayed by constant casual and somewhat casual drinking and smoking and the parties, that are always happening and invite certain characters to the apartment, and is reflected in the casual banter, interactions and relationships portrayed between the characters. The screenplay explores themes of love, relationships, class, loyalty, ambition and power. They are constantly challenged, especially through the complex interplay between the characters.
- Society: The screenplay reveals a hierarchical society with distinct social strata. Corporate structures, social norms, and gender roles are all present. The characters have very limited amount of privacy because of the neighborly atmosphere and all the neighbours constantly knowing your business. The office hierarchy dictates the characters' actions and aspirations, while societal expectations influence their relationships and choices. Relationships seem to be viewed very transactionally.
- Technology: Technology in the screenplay is largely reflective of the late 1950s setting. The presence of IBM machines, elevators, landline phones, TVs, electric shavers, record players, tape dictaphones, and household appliances helps to ground the story in its time period. The reliance on these technologies highlights the era's emphasis on efficiency, communication, and convenience, while also contributing to a sense of nostalgia and retro charm.
- Characters influence: The unique physical environment, culture, society, and technology intricately shape the characters' experiences and actions. Bud's actions and decisions are strongly influenced by his desire for advancement in the corporate hierarchy, which is also why it is so hard for him to make better ethical decisions. Fran is constantly seeking love but is ultimately manipulated by Mr. Sheldrake. The pressures of the city, office politics, and limited living spaces also contribute to the characters' feelings of isolation, desperation, and the search for genuine connection. Technological advancements, like the use of the telephone, directly impacts how characters communicate, build relationships, and navigate complex social situations. The characters seem to lack control of certain aspects of their lives, and are being used for the benefit of other characters, making the viewer really feel for them and their situations.
- Narrative contribution: The world elements contribute significantly to the narrative by providing a rich backdrop for the characters' struggles and triumphs. The corporate setting is central to the narrative of ambition, success, and moral compromises. The detailed apartment and bar scenes establish a sense of loneliness, isolation, and social pressure, reflecting the characters' inner lives. The social interactions and power dynamics of the characters are on full display in those types of scenes. Ultimately, the world elements contribute to the conflict and resolution of the themes.
- Thematic depth contribution: The world elements contribute to the thematic depth of the screenplay by exploring themes of moral compromise, the search for genuine human connection, the cost of ambition, and the struggle against societal pressures. These themes are all explored in scenes where power dynamics are questioned, morality is tested and characters are forced to make important decisions for the betterment of others. The setting of the screenplay provides the characters with the opporunities and challenges that help shape their arcs.
Voice Analysis | |
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Summary: | The writer's voice is characterized by a blend of sharp, witty dialogue, observational humor, and subtle social commentary, often conveyed through naturalistic interactions and a focus on the mundane aspects of everyday life, particularly within a corporate setting. The writer's style incorporates both irony and genuine emotion, creating a nuanced and engaging narrative. |
Voice Contribution | The writer's voice contributes to the script by adding depth to the characters, enhancing the themes of identity, conformity, and the search for genuine connection, and creating a distinct atmosphere that is both humorous and melancholic. The dialogue-driven narrative, combined with detailed scene direction, immerses the audience in the world of the screenplay and emphasizes the subtle tensions and power dynamics at play. |
Best Representation Scene | 17 - Schedule Switch and Date Night |
Best Scene Explanation | This scene is the best representation because it encapsulates the writer's ability to blend witty dialogue, subtle character interactions, and the mundane realities of office life into a cohesive and engaging narrative. Kirkeby's manipulation, Bud's compliance, and the brief glimpse into Sylvia's personal life showcase the writer's talent for revealing complex relationships and emotions through seemingly ordinary conversations. The dry humor and understated social commentary are also prominent features of the writer's unique style, making this scene a perfect encapsulation of their voice. |
Style and Similarities
The screenplay exhibits a blend of sharp wit, character-driven narratives, and sophisticated humor, often exploring complex relationships and workplace dynamics. There is a clear emphasis on dialogue-driven scenes with a naturalistic and engaging tone.
Style Similarities:
Writer | Explanation |
---|---|
Billy Wilder | Billy Wilder's style is consistently referenced throughout the scene analyses, indicating a significant influence on the overall screenplay. His knack for blending humor with deeper themes, crafting sharp dialogue, and exploring complex human relationships is a recurring motif. |
Aaron Sorkin | Aaron Sorkin's emphasis on rapid-fire dialogue, workplace dynamics, and wit is also a recurring theme, suggesting his style is frequently echoed, particularly in scenes with fast-paced exchanges and subtle power dynamics. |
Nora Ephron | Nora Ephron's focus on romantic tension, interpersonal relationships, and witty dialogue in relatable settings also emerges as a notable influence, suggesting a softer, more character-focused element. |
Other Similarities: Paddy Chayefsky and Woody Allen also appear frequently, suggesting a consistent exploration of moral dilemmas, character introspection, and social commentary, sometimes blended with humor. The screenplay likely explores both the comedic and dramatic aspects of human relationships within personal and professional settings.
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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High Dialogue and Character Quality, Consistently Strong | The 'Dialogue' and 'Characters' scores are consistently high (mostly 8s and 9s) across all scenes. This suggests a strength in your writing: your dialogue is engaging, and your characters are well-defined and compelling. However, the lack of significant variation might also indicate an opportunity to explore broader ranges or more nuanced character interactions in some scenes. |
Humor as a Dominant Tone, but Potential for Overuse | Humor, in various forms (sarcastic, witty, casual), is a recurring tone throughout the screenplay. While humor can be effective, its frequent use might overshadow other emotional dimensions. Consider varying the tone more intentionally to heighten the impact of non-humorous scenes and give them more weight. |
Emotional Impact and Conflict: A Disconnect in Early Scenes | In the early scenes (especially before scene 8), there's a lower 'Emotional Impact' score, frequently paired with a middling 'Conflict' score. The dialogue and characters may be well-written (high scores), but the scenes might lack a strong emotional hook or a driving conflict to fully engage the audience early on. Intensifying conflict and emotional stakes in these initial scenes may be necessary. |
Move Story Forward vs. Stakes: An Area for Improvement | There seems to be a subtle inverse relationship between scenes that 'Move Story Forward' (generally scoring well) and scenes that have 'High Stakes'. When plot progression is prioritized, the sense of immediate threat or significant consequence seems to diminish. This suggests that while the story is progressing, the audience may not feel a strong sense of investment or urgency. Consider ways to intertwine plot advancement with escalating stakes to maintain audience engagement. |
Melancholy and Reflection Leading to High Grades | Melancholy and reflective tones are often associated with higher 'Overall Grade' scores, especially in the latter half of the screenplay. This indicates a potential strength in writing introspective or emotionally resonant scenes. Exploring these tones more intentionally could lead to consistently high-quality scenes. |
Character Changes Correlate with Tense and Emotional Scenes | Significant 'Character Changes' tend to occur in scenes marked as 'Tense' and 'Emotional'. This suggests that moments of heightened emotion and conflict are catalysts for character development. Focus on creating more of these high-stakes scenarios to drive character arcs forward. |
Limited Variation in Character Changes in the First Third. | Character Changes show little variation at the start of the film. To keep the character alive and engaging it is important to create opportunities early for growth and change, even minor ones. A consistent character can become dull and predictable quickly. |
Low Emotional Impact in Early Humor Scenes May Need Adjustment. | Many of the early scenes are graded as humorous but also graded low in Emotional Impact. While its important to have humorous scenes, scenes that are graded low in the emotional area should be re-worked so they have more impact, or cut if they are not moving the story forward and are simply there to make someone laugh. |
Tone Combinations Create Opportunities | There is an almost even split in most scenes between multiple tones. You should see if any tone is cancelling another out, and how they could be used to compliment each other. For example, the frequent combination of humor and sarcasm might be masking the melancholic tone. Is that intentional? |
Writer's Craft Overall Analysis
The screenplay demonstrates a consistent ability to craft engaging scenes with a good balance of humor, tension, and character development. The writer excels at writing dialogue-driven scenes and establishing character dynamics, often within confined settings. However, there is a recurring suggestion to enhance the depth and complexity of character interactions, especially regarding subtext and moral dilemmas. The overall narrative showcases potential, but could benefit from a deeper exploration of themes and increased narrative tension in certain scenes to elevate the dramatic impact.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Screenplay | Read 'The Apartment' screenplay by Billy Wilder and I.A.L. Diamond | This screenplay is repeatedly suggested because it masterfully balances humor, drama, and poignant character interactions within a workplace setting, providing a blueprint for crafting nuanced and emotionally resonant scenes. It's a superb example of how to integrate subtext, moral ambiguity, and sharp dialogue. |
Screenplay | Read 'Some Like It Hot' screenplay by Billy Wilder and I.A.L. Diamond | Another Wilder and Diamond classic, this screenplay demonstrates expert blending of humor and complex situations, providing insight into comedic timing, character dynamics, and narrative pacing. Studying its dialogue and plot construction can enhance the writer's ability to balance different emotions in a narrative. |
Book | Read 'Screenplay: The Foundations of Screenwriting' by Syd Field | This book offers fundamental insights into screenplay structure, character development, and crafting engaging dialogue. It serves as a solid foundation for understanding the core elements of screenwriting and improving overall craft. |
Book | Read 'Anatomy of Story' by John Truby | Truby's book is an excellent resource for understanding character development and narrative structure, offering valuable insights into crafting complex characters and compelling stories. It will help with developing richer internal lives for characters and building more engaging plots. |
Exercise | Dialogue with Conflicting Motivations: Write a dialogue-heavy scene between two characters who have opposing goals, where the conflict is not immediately apparent on the surface. Focus on using subtext and veiled intentions.Practice In SceneProv | This exercise directly addresses the need to enhance dialogue depth and subtext. By forcing a conflict without explicitly stating it, the writer will practice crafting conversations that reveal more than they say, adding layers of complexity to character interactions. |
Exercise | Moral Dilemma Scene: Create a scene where a character faces a difficult moral choice with no easy or clearly "right" answer. Explore the character's internal conflict and the consequences of their decision.Practice In SceneProv | This exercise directly addresses the need to explore moral ambiguity and character complexity. By placing characters in situations with significant ethical stakes, the writer will practice portraying internal struggles and the impact of decisions on character arcs and thematic resonance. |
Exercise | Escalating Conflict: Write a scene that starts with a mundane situation and gradually escalates into a significant conflict. Focus on building tension incrementally through dialogue, action, and reveals.Practice In SceneProv | This exercise addresses the need to increase narrative tension and conflict escalation. Starting from a low-stakes scenario and gradually increasing the pressure will help the writer understand how to build tension effectively and prevent scenes from feeling stagnant. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
The Everyman | Bud Baxter is portrayed as a relatable, ordinary man working in a corporate environment, dealing with personal and professional challenges. | The Everyman trope represents a character who is relatable and embodies the average person's struggles. An example is Arthur Dent from 'The Hitchhiker's Guide to the Galaxy', who finds himself in absurd situations while trying to navigate life. |
Office Romance | Bud's interactions with Fran Kubelik develop into a romantic subplot amidst the corporate backdrop. | Office Romance is a common trope where characters develop romantic feelings in a workplace setting. A classic example is Jim and Pam from 'The Office', whose relationship evolves over time in a corporate environment. |
The Love Triangle | Bud finds himself in a complicated situation involving Fran and Mr. Sheldrake, creating tension and conflict. | The Love Triangle trope involves three characters where romantic interests conflict, often leading to drama. An example is the triangle between Katniss, Peeta, and Gale in 'The Hunger Games'. |
Corporate Culture | The screenplay highlights the sterile, impersonal environment of the insurance company where Bud works. | Corporate Culture is often depicted in stories to showcase the monotony and challenges of office life. 'The Office' portrays this through the daily lives of employees in a mundane corporate setting. |
The Mentor | Dr. Dreyfuss serves as a mentor figure to Bud, offering advice and support throughout the story. | The Mentor trope involves a character who guides and supports the protagonist, often providing wisdom. An example is Mr. Miyagi in 'The Karate Kid', who teaches Daniel life lessons through karate. |
The Unrequited Love | Bud harbors feelings for Fran, who is initially involved with Mr. Sheldrake, creating tension. | Unrequited Love is a common trope where one character loves another who does not return their feelings. An example is Ross's feelings for Rachel in 'Friends' during the early seasons. |
The Misunderstanding | Miscommunications and misunderstandings between Bud and Fran create conflict and tension in their relationship. | Misunderstanding is a trope where characters misinterpret each other's intentions, leading to conflict. An example is the misunderstandings between Elizabeth Bennet and Mr. Darcy in 'Pride and Prejudice'. |
The Downward Spiral | Bud's life deteriorates as he becomes entangled in the affairs of his coworkers and faces personal challenges. | The Downward Spiral trope depicts a character's gradual decline due to poor choices or circumstances. An example is the character of Walter White in 'Breaking Bad', whose decisions lead to his moral and personal downfall. |
The Redemption Arc | Bud ultimately seeks to improve his life and relationships, particularly with Fran, leading to a hopeful conclusion. | The Redemption Arc involves a character who seeks to atone for past mistakes and improve themselves. An example is Tony Stark in 'Iron Man', who evolves from a self-centered billionaire to a hero. |
Memorable lines in the script:
Scene Number | Line |
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60 | Bud: I love you, Miss Kubelik. |
49 | Bud: Some people take, some people get took -- and they know they're getting took -- and there's nothing they can do about it. |
51 | Bud: You fool -- you damn fool. |
45 | Bud: Now don't go getting any ideas, Miss Kubelik. |
48 | FRAN: Of course I'm not here -- because the whole thing never happened -- I never took those pills -- I never loved you -- we never even met -- isn't that the way you want it? |
Logline Analysis
Top Performing Loglines
Creative Executive's Take
This logline stands out as the best choice for its razor-sharp focus on the core conflict and emotional stakes, making it highly commercially appealing in today's market where audiences crave relatable stories of personal versus professional turmoil. By directly referencing the protagonist's scheme to lease his apartment and the dramatic fallout when his boss uses it with the woman he's falling for, it mirrors the script's key elements—Bud's career-driven compromises and his budding romance with Fran—while building a compelling hook that promises both heartbreak and redemption. Its concise structure and clear cause-and-effect narrative would translate well to a movie poster or trailer, drawing in viewers with a mix of humor and drama reminiscent of classic rom-coms like 'When Harry Met Sally,' ensuring broad appeal without sacrificing the script's factual accuracy, as every detail is supported by scenes depicting Bud's apartment arrangements and his growing feelings for Fran.
Strengths
This logline succinctly integrates the protagonist's personality and emotional state, making it highly relatable and engaging from the start.
Weaknesses
It could strengthen the conflict and stakes by hinting at the specific crisis that arises, as it ends a bit abruptly without emphasizing the dramatic fallout.
Suggested Rewrites
Detailed Scores
Criterion | Score | Reason | Evidence |
---|---|---|---|
Hook | 10 | The combination of ambition, loneliness, and forbidden romance creates an immediate emotional hook that piques curiosity. | "The script's blend of humor and drama, like the Christmas party in Scene 29 and the suicide attempt in Scene 35, mirrors the logline's intriguing setup." |
Stakes | 9 | High stakes are implied through the potential loss of personal happiness and career, but could be more vivid by referencing specific consequences like moral or emotional collapse. | "The script's intense moments, such as Fran's overdose in Scene 35 and Bud's confrontations in Scene 51, underscore the stakes, though the logline doesn't detail them." |
Brevity | 10 | At only 18 words, it is exceptionally concise, delivering all key elements without excess. | "The logline's efficiency parallels the script's focused scenes, such as Bud's quick interactions in Scenes 14-17." |
Clarity | 10 | The logline is crystal clear, with a logical progression from setup to conflict, making it easy for anyone to grasp the story's core. | "The script summary's depiction of Bud's loneliness (Scenes 8-11) and career ambitions (Scenes 14-18) directly supports the logline's straightforward narrative." |
Conflict | 9 | The conflict is well-defined with the protagonist falling for a woman involved in the affairs, creating internal and external tension, though it could specify the boss's role for added depth. | "Scenes 29-30 show Bud's growing affection for Fran and the complications with Sheldrake, which the logline captures but could elaborate on for fuller alignment." |
Protagonist goal | 10 | It explicitly states the protagonist's goal of climbing the corporate ladder through the apartment scheme, tying it to his ambition and loneliness. | "Bud's voice-over in Scene 2 and his promotions in Scenes 27-28 illustrate this goal, aligning perfectly with the logline." |
Factual alignment | 10 | It accurately portrays the apartment lending, extramarital affairs, and Bud's romantic involvement, staying true to the script's events. | "References to executives' affairs (Scenes 3-7) and Bud's feelings for Fran (Scenes 18-24) are faithfully represented." |
Creative Executive's Take
As a strong second choice, this logline excels in its straightforward storytelling and emotional depth, positioning it as commercially viable for adaptations into streaming content or indie films that explore themes of ambition and loneliness. It accurately captures the script's essence by highlighting Bud's role as an 'ambitious but lonely office worker' who lends his apartment for extramarital affairs, leading to his entanglement with 'one of the women involved'—a direct nod to Fran and her affair with Sheldrake—while emphasizing the moral awakening that unfolds. This logline's appeal lies in its universal hook, appealing to modern audiences dealing with work-life balance issues, and its factual alignment with the script's progression from Bud's initial compliance to his romantic involvement, making it marketable as a character-driven drama with a clear arc that could attract A-list talent for roles exploring quiet desperation and growth.
Strengths
This logline clearly articulates the protagonist's dilemma and the central theme of integrity versus ambition, making it thematically rich and compelling.
Weaknesses
It could enhance engagement by adding a hint of the story's humor or specific crises to make the conflict more vivid and hook the reader faster.
Suggested Rewrites
Detailed Scores
Criterion | Score | Reason | Evidence |
---|---|---|---|
Hook | 9 | It has a strong hook with the moral choice and forbidden romance, though it could be punchier to immediately grab attention. | "The script's dramatic elements, such as the Christmas Eve scene (Scene 32), support the hook, but the logline's phrasing is slightly formal." |
Stakes | 10 | The stakes are clearly stated as a choice between career and integrity, with high personal and professional consequences. | "The script's emotional highs, like Fran's overdose (Scene 35) and Bud's resignation (Scene 57), underscore the logline's accurate portrayal of stakes." |
Brevity | 10 | At 16 words, it is concise and focused, conveying complex themes without unnecessary words. | "The logline's brevity aligns with the script's concise scenes, like the elevator interactions in Scenes 12-13." |
Clarity | 10 | The logline is highly clear, with a direct cause-and-effect structure and explicit mention of the choice involved. | "The script's progression from Bud's schemes (Scenes 6-11) to his moral decisions (Scenes 53-57) aligns perfectly with the logline's clarity." |
Conflict | 10 | The conflict is central and well-defined, pitting romantic feelings against career ambitions in a compelling internal and external struggle. | "Scenes 29-30 and 51 show Bud's involvement with Fran and the resulting tensions, matching the logline's conflict description." |
Protagonist goal | 10 | It explicitly defines the goal of career advancement and the conflicting choice of personal integrity, driving the narrative arc. | "Bud's promotions in Scenes 27-28 and his internal conflict in Scene 57 are directly reflected in the logline." |
Factual alignment | 10 | It faithfully captures the insurance clerk role, apartment lending, and the integrity choice, with no major discrepancies. | "Key events in Scenes 1-2 (insurance setting) and Scenes 53-54 (Bud's decision) are accurately represented." |
Creative Executive's Take
This logline ranks third for its precise detailing of the corporate setting and character dynamics, offering a commercially appealing blend of workplace satire and personal stakes that could resonate in genres like corporate thrillers or romantic dramas. It factually aligns with the script by specifying Bud as a 'junior executive at an insurance company' who allows his superiors to use his apartment for affairs, culminating in his 'involvement with an elevator operator' (Fran) and a 'moral reckoning,' which is evident in scenes like the suicide attempt and Bud's ultimate stand. Its strength lies in evoking the era's office politics without overcomplicating the narrative, making it ideal for pitching to studios focused on period pieces or social commentaries, though it could be punchier to heighten emotional urgency for broader audience engagement.
Strengths
This logline effectively captures the core premise and conflict, making it engaging and easy to follow with a clear setup and payoff.
Weaknesses
It could better emphasize the protagonist's emotional journey and moral stakes, as the phrasing feels a bit generic and doesn't fully highlight themes of loneliness and integrity.
Suggested Rewrites
Detailed Scores
Criterion | Score | Reason | Evidence |
---|---|---|---|
Hook | 10 | The logline has a strong hook with the ironic twist of the apartment scheme backfiring, immediately drawing interest with its relatable and dramatic setup. | "The script's humorous and dramatic elements, like the voice-over in Scene 1 and the suicide attempt in Scene 35, align with the logline's engaging conflict resolution." |
Stakes | 8 | The stakes are implied through the 'crashing down' phrase, indicating potential loss of career and personal relationships, but could be more explicitly tied to emotional consequences. | "The script's escalation in Scenes 36-37 with Fran's suicide attempt and Bud's moral dilemma in Scene 53 reflects high personal stakes, though the logline doesn't fully capture this depth." |
Brevity | 9 | At 22 words, it is concise and to the point, avoiding unnecessary details while still conveying the essence of the story. | "The logline mirrors the script's efficient pacing, such as Bud's quick promotions in Scenes 27-28, without overloading information." |
Clarity | 9 | The logline is straightforward and easy to understand, clearly outlining the initial setup and the inciting incident without ambiguity. | "From the script summary, Bud's arrangement with executives (e.g., Scenes 6, 14, 28) and the crisis with his boss (Scene 22) align directly with the logline's description." |
Conflict | 8 | The central conflict is present in the boss's use of the apartment with the woman Bud is falling for, creating interpersonal tension, but it could delve deeper into internal struggles. | "Conflicts in Scenes 29-30 and 51-53, such as Bud's confrontation with executives and his growing feelings for Fran, support this, but the logline simplifies it slightly." |
Protagonist goal | 9 | It clearly states the protagonist's initial goal of advancing at work through lending his apartment, which drives the early plot. | "Bud's narration in Scene 2 and his interactions in Scenes 14-17 show his ambition and use of the apartment for career gains, matching the logline's focus." |
Factual alignment | 10 | It accurately reflects key events from the script, including the apartment lending scheme and the romantic entanglement with the boss's mistress. | "Details like executives using the apartment (Scenes 3-11) and Bud falling for Fran (Scenes 18-24) are faithfully represented in the logline." |
Creative Executive's Take
Coming in fourth, this logline is commercially solid due to its emphasis on the protagonist's internal struggle and thematic depth, positioning it well for marketing as a morality tale with romantic elements. It accurately reflects the script by describing an 'ambitious insurance clerk' who lends his apartment for affairs, falls for a 'mistress' (Fran's role in Sheldrake's affair), and faces a choice between 'career advancement and personal integrity,' supported by key moments like Bud's promotion pursuits and his defense of Fran. While it captures the story's heart effectively, it might lean slightly toward melodrama in wording, which could limit its appeal to more cynical audiences, but its factual fidelity and clear conflict make it a reliable choice for adaptations emphasizing character transformation.
Strengths
It accurately sets the professional context and introduces key characters, effectively leading into the moral conflict that defines the story's arc.
Weaknesses
The logline feels a bit dry and could be more engaging by highlighting the emotional stakes or the protagonist's internal struggle earlier.
Suggested Rewrites
Detailed Scores
Criterion | Score | Reason | Evidence |
---|---|---|---|
Hook | 8 | The hook is solid with the unusual apartment scheme and moral dilemma, but it lacks the emotional punch of more dramatic phrasing. | "The script's humorous and dramatic elements (e.g., Scene 29's party) provide a hook, but the logline's tone is more subdued." |
Stakes | 8 | Stakes are hinted at through the moral reckoning, but they could be higher by specifying risks like job loss or personal tragedy. | "The script's high-stakes moments, such as Fran's suicide attempt (Scene 35) and Bud's decisions in Scene 57, align but are not fully captured in the logline." |
Brevity | 10 | At 16 words, it is very concise, delivering essential information without fluff. | "The logline's brevity mirrors the script's efficient storytelling, like the quick scene transitions in Scenes 12-14." |
Clarity | 9 | The logline is clear in its sequence of events, though the term 'moral reckoning' is somewhat vague and could be misinterpreted. | "The script's corporate setting (Scene 1) and Bud's involvement with Fran (Scenes 18-24) support the clarity, but the reckoning in Scenes 53-54 could be more explicitly tied." |
Conflict | 9 | It effectively presents the conflict with the elevator operator and moral issues, building to a climax, though it could add more interpersonal tension. | "Conflicts in Scenes 29-30 and 51 involve Fran and Bud's moral choices, which the logline references but could expand for better depth." |
Protagonist goal | 8 | The goal is implied through the apartment lending for career advancement, but it's not as explicitly stated as in other loglines, making it slightly less defined. | "Bud's ambitions are shown in Scenes 14-18, but the logline doesn't directly reference this, relying on inference from the setup." |
Factual alignment | 9 | It accurately reflects the insurance company setting and Fran's role, but 'moral reckoning' is a generalization that could be more specific to events. | "Details from Scenes 1-2 (insurance environment) and Scenes 18-24 (involvement with Fran) align, though the reckoning in Scene 57 is broadly interpreted." |
Creative Executive's Take
As the fifth and slightly weaker selection, this logline still holds commercial potential through its engaging, light-hearted tone that hints at comedy and romance, making it suitable for feel-good dramedies. It factually depicts the apartment becoming a 'corporate playground' and a 'crisis' exposing loneliness, with Bud potentially 'winning a woman’s heart,' drawing from scenes of his social isolation and relationship with Fran, though it glosses over specific details like the suicide attempt and corporate ladder-climbing for a broader emotional arc. This approach could attract a wide audience in rom-com formats, but its generality might reduce its hook compared to more detailed loglines, relying on charm rather than depth to maintain accuracy and marketability.
Strengths
This logline effectively weaves in themes of loneliness and potential romance, adding emotional depth and a sense of transformation.
Weaknesses
It is less clear on specific plot details and could be more concise, as the phrasing is somewhat wordy and less directly tied to the core conflict.
Suggested Rewrites
Detailed Scores
Criterion | Score | Reason | Evidence |
---|---|---|---|
Hook | 9 | It has a strong emotional hook with themes of loneliness and redemption, drawing readers in with its heartfelt tone. | "The script's humorous and dramatic elements (e.g., Scene 29) and resolution (Scene 60) support the hook, emphasizing personal growth." |
Stakes | 9 | Stakes are well-implied through the crisis and decision, highlighting emotional and moral risks, though they could be more concrete. | "The script's exploration of loneliness (Scenes 8-11) and high-stakes events (Scene 35) align, adding depth to the logline's portrayal." |
Brevity | 7 | At 24 words, it is a bit wordy compared to others, with some phrases that could be tightened for better impact. | "While the script has detailed scenes, the logline's length contrasts with more concise moments like the elevator exchanges in Scenes 12-13." |
Clarity | 7 | While the logline conveys the overall idea, phrases like 'corporate playground' and 'cash in or stand up' are metaphorical and might confuse some readers about the exact events. | "The script's literal apartment usage (Scenes 3-11) and crisis (Scene 35) are referenced, but the logline's abstract language doesn't align as precisely as more literal descriptions." |
Conflict | 8 | The conflict is present in the crisis and decision-making, but it's somewhat vague, not specifying the romantic entanglement with the boss. | "Conflicts in Scenes 51-53 involve Bud's choices and relationships, but the logline generalizes them, missing some specificity from the script." |
Protagonist goal | 8 | The goal is implied through the decision to 'cash in or stand up,' but it's not as explicitly stated as in other loglines, relying on inference. | "Bud's career ambitions in Scenes 14-18 and his moral shift in Scene 57 support this, but the logline could better define the initial apartment scheme." |
Factual alignment | 8 | It captures the essence of the apartment's use and Bud's loneliness, but 'corporate playground' is a loose interpretation and doesn't mention the insurance setting or specific characters. | "The script's events, such as the affairs (Scenes 3-7) and Bud's romance (Scenes 18-24), are reflected, but the logline omits details like Fran's role for brevity." |
Other Loglines
- A lonely insurance clerk lets his apartment be used by his philandering bosses — until a colleague's suicide attempt forces him to choose between career advancement and doing the right thing, with love and integrity on the line.
- When a junior executive’s modest apartment becomes the company’s secret rendezvous spot, comic compromises lead to a crisis that demands he give up the easy promotion he’s been handed and finally become a man.
- A charming dramedy about the cost of complicity: a mild-mannered office worker trades his privacy to climb the corporate ladder, only to discover that real promotion may mean sacrificing the very thing that made him human.
- In a city of elevators and office politics, one man’s key unlocks more than doors — it opens a choice between loyalty to a corrupt workplace culture and the painful path to true decency and love.
- In 1950s New York, a 'company man' must choose between career advancement and his own moral compass when he finds himself entangled in a web of infidelity and corporate exploitation.
- A downtrodden bachelor's life takes a dramatic turn when he discovers the high price of success and the true meaning of human connection in a morally compromised world.
- Bud chooses morality instead of the success he's chased and will have to decide what's truly more important to him than success.
- A lonely insurance clerk's apartment becomes a hotspot for his bosses' affairs, leading to a romantic entanglement that forces him to reclaim his integrity and find true love.
- In a satirical take on corporate life, a man's moral compromises unravel during the holidays, revealing a heartfelt story of loneliness and redemption through an unexpected romance.
- Amidst New York City's hustle, an elevator operator and an office worker navigate forbidden love and personal growth, challenging the ethics of ambition and relationships.
- A witty exploration of 1950s workplace dynamics, where lending an apartment for trysts teaches a man the value of standing up for himself and pursuing genuine connections.
- Blending comedy and drama, this tale of a bachelor exploited by his superiors culminates in a transformative New Year's Eve, emphasizing themes of self-worth and human connection.
- In a corporate world of power dynamics and moral compromises, a lonely man finds an unexpected connection with a woman entangled in his boss's affair.
- Trapped in a web of corporate corruption, a young man must choose between his own ambition and the chance at a genuine relationship.
- A man's quest for career advancement leads him to a complicated relationship with a woman caught in the crosshairs of his boss's infidelity.
- Navigating the complexities of love and morality in the cutthroat world of corporate America, a man must confront his own ethical choices and the consequences they bring.
- A office worker's scheme to climb the corporate ladder backfires when he develops feelings for the elevator girl being used by his boss.
- In 1950s New York, a lonely bachelor discovers that success comes at too high a price when it requires compromising his humanity.
- A romantic comedy about corporate corruption, suicide, and redemption that manages to be both hilarious and heartbreaking.
- The story of how a man who rented his apartment and his soul learns to reclaim both through an unexpected connection.
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Scene by Scene Emotions
suspense Analysis
Executive Summary
Suspense in 'The Apartment' is primarily derived from the precariousness of Bud's situation. The audience is constantly aware that his arrangement could collapse at any moment, leading to significant professional and personal repercussions. This is most effective when it directly threatens Fran, and less effective when it only threatens Bud's job.
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fear Analysis
Executive Summary
Fear in 'The Apartment' is largely internalized, stemming from Bud's anxiety and the consequences of exposure. There's little physical fear, but the anxiety and fear of being exposed or 'found out' creates discomfort. Fear in this film is linked more strongly to loss of social standing.
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joy Analysis
Executive Summary
Joy is used sparingly, but is vital in humanizing the characters and contrasting moments of exploitation. Its infrequency underscores the bleakness of the world. The few moments of authentic joy are related to simple connections.
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sadness Analysis
Executive Summary
Sadness pervades 'The Apartment' on many levels, from Bud's loneliness to Fran's despair. The characters are each trying to find love in a transactional, isolating world.
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surprise Analysis
Executive Summary
Surprise is a key element to the plotting of 'The Apartment'. The sudden arrival of a character, a revelation of some secret, or some sudden plot turn is consistently used.
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empathy Analysis
Executive Summary
Empathy is a crucial emotion in 'The Apartment,' driving audience investment and character development. Bud elicits empathy because he's being taken advantage of, and Fran because she wants a meaningful connection. At various points, and given their current circumstances, their power is taken from them, allowing the audience to relate.
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