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Scene Map 60
# PG SLUGLINE
1 2
1 EXT. A FREEWAY - MORNING 1
2 7
8 EXT. THE PARKING LOT - NIGHT 8
3 8
10 INT. A COFFEE SHOP - NIGHT 10
4 10
11 EXT. MOLLY'S TRAILER - DAY 11
5 11
13 INT. DRESSING ROOM AREA "GODDESS" - THE STARDUST - NIGHT 13
6 13
14 INT. THE SHOWROOM - NIGHT (LATER) 14
7 15
16 INT. THE DRESSING ROOM 16
8 18
17 EXT. REAR ENTRANCE - STARDUST - NIGHT :17
9 19
19 INT. THE SHARK CLUB - NIGHT 19
10 21
20 INT. A POLICE STATION - NIGHT 20
11 24
23 EXT. THE COURTHOUSE - DAWN 23
12 26
26 INT. "THE CHEETAH" - THE DRESSING ROOM - NIGHT 26
13 29
28 INT. THE DRESSING ROOM 28
14 30
29 EXT. THE STREET OUTSIDE THE CHEETAH - NIGHT 29
15 32
32 INT. THE CHEETAH - NIGHT 32
16 35
35 INT. OUTSIDE THE BACK ROOM - NIGHT JS
17 37
38 INT. THE TRAILER - DAY 38
18 39
39 EXT. OPPOSITE THE LUXOR - DAY 39
19 42
43 INT. THE CHEETAH - THE CLUB - LATE AFTERNOON 43
20 44
44 INT. THE TRAILER - NIGHT 44
21 46
48 INT. THE SHOWROOM - STARDUST 48
22 48
49 INT. THE SHOWROOM 49
23 51
51 EXT. THE MAIN ENTRANCE TO THE STARDUST - DAY 51
24 54
54 INT. JAMES' PLACE - DAY 54
25 57
57 INT. THE CHEETAH - NIGHT 57
26 59
59 EXT. JAMES' PLACE - NIGHT 59
27 61
60 INT. STARDUST - OFFICES - DAY 60
28 64
64 INT. CORRIDOR OF OFFICES - LATER 64
29 66
65 INT. SHOWROOM STAGE - DAY 65
30 68
70 INT. DRESSING ROOM - NIGHT 70
31 70
71 INT. BACKSTAGE - STAIRWAY 71
32 73
76 EXT. IN FRONT OF THE STARDUST - NIGHT 76
33 76
78 INT. TRAILER - NIGHT 78
34 77
79 INT. STAGE AT STARDUST - DAY 79
35 78
80 INT. SPAGO ·· DAY 80
36 80
81 INT. SPAGO - LATER 81
37 82
82 INT. THE STAGE - DAY 82
38 84
83 INT. DRESSING ROOM - NIGHT SJ
39 86
84 INT. CONVENTION CENTER - DAY 84
40 89
87 INT. DRESSING ROOM - EARLY EVENING 87
41 92
90 INT. STAIRWAY TO THE STAGE - NIGHT 90
42 95
95 INT. BACKSTAGE/STAGE - NIGHT 95
43 97
96 INT. HIS FERRARI - NIGHT 96
44 98
98 EXT. POOL - NIGHT 98
45 100
101 EXT. TRAILER - EARLY MORNING 101
46 101
103 INT. THE SHOWROOM - DAY 103
47 103
104 INT. BACKSTAGE - DAY. 104
48 105
105 INT. THE DRESSING ROOM 105
49 106
107 EXT. THE STRIP - DAY 107
50 109
110 INT. THE DRESSING ROOM - NEXT NIGHT 110
51 111
114 INT. THE STAGE - NIGHT 114
52 114
118 INT. CRISTAL'S DRESSING ROOM - STARDUST - NIGHT 118
53 115
119 INT. THE STAGE - NIGHT 119
54 116
121 INT. NOMI'S DRESSING ROOM - NIGHT 121
55 118
122 INT./EXT. SPECIAL WING OF THE PARADISE - HALL AND TERRACE - 122
56 122
129 INT. A HOSPITAL ROOM - NIGHT 129
57 123
131 INT. THE WAITING ROOM - NIGHT 131
58 125
132 INT. MOLLY'S HOSPITAL ROOM - NIGHT 132
59 127
138 INT. MOLLY'S HOSPITAL ROOM - DAY 138
60 128
141 EXT. A FREEWAY - DAY 141
Scene Map
60
# PG SLUGLINE
1 2
1 EXT. A FREEWAY - MORNING 1
1 EXT. A FREEWAY - MORNING 1
1 EXT. A FREEWAY - MORNING 1 Her name is NOMI MALONE. She looks from a distance like a kid. She stands along the Interstate, outlined in the shadows of the setting sun. She's got a big American Tourister in front of her with a sign on it that says: "Vegas". The suitcase looks like
2 7
8 EXT. THE PARKING LOT - NIGHT 8
8 EXT. THE PARKING LOT - NIGHT 8
8 EXT. THE PARKING LOT - NIGHT 8 She walks out, looks around. Jeff's car isn't there. She stands there a long beat. NOMI Shit.
3 8
10 INT. A COFFEE SHOP - NIGHT 10
10 INT. A COFFEE SHOP - NIGHT 10
10 INT. A COFFEE SHOP - NIGHT 10 It is near the strip in Vegas -- lots of old people in for a cheap meal, a guy in a clown outfit, the flash of pinkie rings. Molly puts a tray with soft drinks and fries on the table and sits opposite Nomi. Molly looks at her. Nomi doesn't say
4 10
11 EXT. MOLLY'S TRAILER - DAY 11
11 EXT. MOLLY'S TRAILER - DAY 11
11 EXT. MOLLY'S TRAILER - DAY 11 The trailer is small and old, one among a hundred, as crummy as hers. In the background we see Vegas. Molly, in a bathrobe, is taking some clothes from a clothesline - finishes, she heads into the trailer.
5 11
13 INT. DRESSING ROOM AREA "GODDESS" - THE STARDUST - NIGHT 13
13 INT. DRESSING ROOM AREA "GODDESS" - THE STARDUST - NIGHT 13
13 INT. DRESSING ROOM AREA "GODDESS" - THE STARDUST - NIGHT 13 The backstage, dressing room area of this big hotel show is actually downstairs -- underneath the stage. In the final hour before the show goes on, there is a frenetic high energy here. "Goddess" itself is a high-energy, loud, 'hip
6 13
14 INT. THE SHOWROOM - NIGHT (LATER) 14
14 INT. THE SHOWROOM - NIGHT (LATER) 14
14 INT. THE SHOWROOM - NIGHT (LATER) 14 Nomi is standing in the back, high up, the spotlights flanking her, watching the show. We see "Goddess" itself now hard-edged, rock and roll dancing, very high energy, but great showmanship.
7 15
16 INT. THE DRESSING ROOM 16
16 INT. THE DRESSING ROOM 16
16 INT. THE DRESSING ROOM 16 It is a beautiful room, literally an explosion of roses and mirrors. MOLLY Yes, Miss Connors.
8 18
17 EXT. REAR ENTRANCE - STARDUST - NIGHT :17
17 EXT. REAR ENTRANCE - STARDUST - NIGHT :17
17 EXT. REAR ENTRANCE - STARDUST - NIGHT :17 Molly sees Nomi walking ahead to Molly's car. MOLLY (loud) Hey. Nomi keeps walking.
9 19
19 INT. THE SHARK CLUB - NIGHT 19
19 INT. THE SHARK CLUB - NIGHT 19
19 INT. THE SHARK CLUB - NIGHT 19 This is a gigantic club. There are hundreds of people. There is a main dance floor, but above it, on all sides of the walls, are balconies. The MUSIC is non-stop -- hip-hop and rave. She is dancin~ with Molly. She's wearing that little slip of a
10 21
20 INT. A POLICE STATION - NIGHT 20
20 INT. A POLICE STATION - NIGHT 20
20 INT. A POLICE STATION - NIGHT 20 She stands with POLICEMEN and others in front of a booking desk. She still looks great in her hot little dress. BOOKING SERGEANT What's the charge?
11 24
23 EXT. THE COURTHOUSE - DAWN 23
23 EXT. THE COURTHOUSE - DAWN 23
23 EXT. THE COURTHOUSE - DAWN 23 She is walking out. James Smith stands there, leaning against a wall. She looks at him, right through him, keeps walking. A beat, and he goes after her. JAMES
12 26
26 INT. "THE CHEETAH" - THE DRESSING ROOM - NIGHT 26
26 INT. "THE CHEETAH" - THE DRESSING ROOM - NIGHT 26
26 INT. "THE CHEETAH" - THE DRESSING ROOM - NIGHT 26 It is very small, very garish, very seedy. one big cracked and faded mirror, very harsh lighting. Loud rock MUSIC blasts from outside. Standing in front of the mirror, putting make-up on, adjusting
13 29
28 INT. THE DRESSING ROOM 28
28 INT. THE DRESSING ROOM 28
28 INT. THE DRESSING ROOM 28 Al talking to Penny -- some of the other girls are ready and heading out into the club. Nomi is working on her nails. AL (to Penny) You ever done a lap dance before?
14 30
29 EXT. THE STREET OUTSIDE THE CHEETAH - NIGHT 29
29 EXT. THE STREET OUTSIDE THE CHEETAH - NIGHT 29
29 EXT. THE STREET OUTSIDE THE CHEETAH - NIGHT 29 A big stretch limo pulls up. Getting out of it are Cristal Connors, wearing a Lanvin black leather mini with stiletto heels and a beautiful lace top; Zack Carey, the entertainment director of the stardust; Phil Newkirk, the PR head; and two Japanese
15 32
32 INT. THE CHEETAH - NIGHT 32
32 INT. THE CHEETAH - NIGHT 32
32 INT. THE CHEETAH - NIGHT 32 There are other girls up on platforms now -- Nomi circulates among the tables; she wears a very short red negligee. We see Al watching her a few steps back. We see that she is avoiding Cristal's tab.le. Dee is there, talking to Cristal. They both
16 35
35 INT. OUTSIDE THE BACK ROOM - NIGHT JS
35 INT. OUTSIDE THE BACK ROOM - NIGHT JS
35 INT. OUTSIDE THE BACK ROOM - NIGHT JS James smith stands at the other side of the bamboo curtain, watching her body, rapt. ANOTHER BOUNCER What are you doi.n' here, man?
17 37
38 INT. THE TRAILER - DAY 38
38 INT. THE TRAILER - DAY 38
38 INT. THE TRAILER - DAY 38 She is asleep on the couch -- someone .is BANGING on the door. Half asleep, she goes to it, opens it. James Smith stands there wearing his shades. She starts to slam it. He stops it with his foot.
18 39
39 EXT. OPPOSITE THE LUXOR - DAY 39
39 EXT. OPPOSITE THE LUXOR - DAY 39
39 EXT. OPPOSITE THE LUXOR - DAY 39 She sits in front of the enormous sphinx. It is jammed with tourists. She wears her jeans, boots, and her black leather jacket. She is curled onto herself, her head on her arms, lost in her thoughts.
19 42
43 INT. THE CHEETAH - THE CLUB - LATE AFTERNOON 43
43 INT. THE CHEETAH - THE CLUB - LATE AFTERNOON 43
43 INT. THE CHEETAH - THE CLUB - LATE AFTERNOON 43 Nomi is onstage with Penny. They are both naked, dancing around poles to a hard rock song. There are only a few customers. Nomi, while continuing her dance, bends over to Penny. NOMI (whisper)
20 44
44 INT. THE TRAILER - NIGHT 44
44 INT. THE TRAILER - NIGHT 44
44 INT. THE TRAILER - NIGHT 44 She swings the door open, comes charging in. NOMI Molly? Molly? Molly runs out of the bathroom. She's been in the shower, her
21 46
48 INT. THE SHOWROOM - STARDUST 48
48 INT. THE SHOWROOM - STARDUST 48
48 INT. THE SHOWROOM - STARDUST 48 She goes out onstage, looking determined if not comfortable, and joins the other girls. Bright spotlights suddenly go on -- she can't see who is out there watching her in the showroom.
22 48
49 INT. THE SHOWROOM 49
49 INT. THE SHOWROOM 49
49 INT. THE SHOWROOM 49 The remaining girls are dancing to the HARD ROCK NUMBER we saw Cristal do in the beginning of the script. Tony Moss watches them. Nomi looks like she's on fire -- her movements sensuous, fluid,
23 51
51 EXT. THE MAIN ENTRANCE TO THE STARDUST - DAY 51
51 EXT. THE MAIN ENTRANCE TO THE STARDUST - DAY 51
51 EXT. THE MAIN ENTRANCE TO THE STARDUST - DAY 51 We see a SUPERVISOR gathered with a dozen uniformed bellman. James smith is one of them. Suitcases are everywhere along the pavement. Big buses are parked nearby. SUPERVISOR
24 54
54 INT. JAMES' PLACE - DAY 54
54 INT. JAMES' PLACE - DAY 54
54 INT. JAMES' PLACE - DAY 54 She steps in behind him. It is a very large room in a state of disarray. The walls are filled with photographs of James and others dancing. There is very little in the room, although the room is neat: a bed, a chair, a small table, a blaster on the
25 57
57 INT. THE CHEETAH - NIGHT 57
57 INT. THE CHEETAH - NIGHT 57
57 INT. THE CHEETAH - NIGHT 57 She walks in, wearing her jeans, boots, and black leather jacket. Henrietta is up onstage, doing her act. She is singing. HENRIETTA
26 59
59 EXT. JAMES' PLACE - NIGHT 59
59 EXT. JAMES' PLACE - NIGHT 59
59 EXT. JAMES' PLACE - NIGHT 59 Nomi knocks on the door. NOMI James? A long beat, and then the door opens. James stands there with a
27 61
60 INT. STARDUST - OFFICES - DAY 60
60 INT. STARDUST - OFFICES - DAY 60
60 INT. STARDUST - OFFICES - DAY 60 Nomi walks into an office. She is wearing the simple, classy, sexy black dress she bought at Versace. She wears high stiletto heels. She looks overdressed, of course, but magnificent. A RECEPTIONIST looks her up and down suspiciously.
28 64
64 INT. CORRIDOR OF OFFICES - LATER 64
64 INT. CORRIDOR OF OFFICES - LATER 64
64 INT. CORRIDOR OF OFFICES - LATER 64 She is walking down the corridor. She looks disturbed. Phil Newkirk comes down the corridor with Zack Carey, the entertainment director. They are laughing about something, then they see her.
29 66
65 INT. SHOWROOM STAGE - DAY 65
65 INT. SHOWROOM STAGE - DAY 65
65 INT. SHOWROOM STAGE - DAY 65 She stands there with two other girls in leotards. The leotards are Bob Fosse-style leotards, cut up so high on the sides that they reveal a part of the buttocks. With her are Marty Jacobsen, the choreographer, and Dawn
30 68
70 INT. DRESSING ROOM - NIGHT 70
70 INT. DRESSING ROOM - NIGHT 70
70 INT. DRESSING ROOM - NIGHT 70 She is in front of the mirror at her dressing table. Dawn stands next to her and is helping her with her makeup. Molly is working on her costume, which she is already wearing.
31 70
71 INT. BACKSTAGE - STAIRWAY 71
71 INT. BACKSTAGE - STAIRWAY 71
71 INT. BACKSTAGE - STAIRWAY 71 They are at the bottom of the long steel stairway leading from the dressing room to the stage. It i.s a dim, half-light down here. They are ready to go up. We see Sonny, Annie, Julie, Nicky,
32 73
76 EXT. IN FRONT OF THE STARDUST - NIGHT 76
76 EXT. IN FRONT OF THE STARDUST - NIGHT 76
76 EXT. IN FRONT OF THE STARDUST - NIGHT 76 She heads out with Molly into the parking lot. She has her roses in her arms. They are giggling, very up. When she steps out, she sees James standing there in the darkness. She keeps going.
33 76
78 INT. TRAILER - NIGHT 78
78 INT. TRAILER - NIGHT 78
78 INT. TRAILER - NIGHT 78 They have changed. Molly wears an old robe; Nomi a Harley-Davidson T-shirt. She has put her flowers in a vase in the tiny living room. She is smelling her roses. An Andrew Carver SONG is playing. Molly is only a few feet
34 77
79 INT. STAGE AT STARDUST - DAY 79
79 INT. STAGE AT STARDUST - DAY 79
79 INT. STAGE AT STARDUST - DAY 79 It is dark. Nomi walks in. It seems there is no one else here. NOMI Hello? (a beat)
35 78
80 INT. SPAGO ·· DAY 80
80 INT. SPAGO ·· DAY 80
80 INT. SPAGO ·· DAY 80 It is at Caesars Forum. They have been seated at a center table. Cristal keeps her cowboy hat on and wears wrap-around shades. She looks glamorous. Nomi sits across from her in her black leather jacket, her Harley T-shirt, and jeans -- looking
36 80
81 INT. SPAGO - LATER 81
81 INT. SPAGO - LATER 81
81 INT. SPAGO - LATER 81 They are e~ting salads and sashimi. Cristal has a bottle of Roederer Cristal in front of her. She is pouring Nomi some. NOMI I get a headache from champagne.
37 82
82 INT. THE STAGE - DAY 82
82 INT. THE STAGE - DAY 82
82 INT. THE STAGE - DAY 82 It is dark. Suddenly the stageli.ghts go on. Cristal and Nomi. face each other, both of them wearing high-cut Bob Fosse-style leotards. There is no one else here. A beat, as they look at each other -- it i.s very quiet -- and
38 84
83 INT. DRESSING ROOM - NIGHT SJ
83 INT. DRESSING ROOM - NIGHT SJ
83 INT. DRESSING ROOM - NIGHT SJ They are in between numbers, changing their costumes. At the dressing table next to Nomi, Phil Newkirk, the public relations guy, is talking to Nicky. we can't hear what they're saying. Down the row of tables, Julie is getting ready with her two
39 86
84 INT. CONVENTION CENTER - DAY 84
84 INT. CONVENTION CENTER - DAY 84
84 INT. CONVENTION CENTER - DAY 84 We see dozens of Jaguars displayed around the showroom. It is a Jaguar car dealers' convention. There are hundreds of people. We see Nomi and Nicky, wearing their costumes from the show. They wear tops, too,· but they are so skimpy they may as well be
40 89
87 INT. DRESSING ROOM - EARLY EVENING 87
87 INT. DRESSING ROOM - EARLY EVENING 87
87 INT. DRESSING ROOM - EARLY EVENING 87 She walks in. She looks very angry, very upset. She is wearing her black leather jacket, her Harley T-shirt, her jeans. She sees Cristal talking to Zack in the dressing room. She looks at them a beat, then walks up to them.
41 92
90 INT. STAIRWAY TO THE STAGE - NIGHT 90
90 INT. STAIRWAY TO THE STAGE - NIGHT 90
90 INT. STAIRWAY TO THE STAGE - NIGHT 90 Nomi with Annie, Julie, Nicky, Sonny, Felix a. nd Daryl in the half-dark, waiting to go up. Molly, a flashlight in her mouth, is sewing something on Annie's costume. Sal, passing Annie, puts his hand on her crotch. She tries to
42 95
95 INT. BACKSTAGE/STAGE - NIGHT 95
95 INT. BACKSTAGE/STAGE - NIGHT 95
95 INT. BACKSTAGE/STAGE - NIGHT 95 We see a CLOSEUP of Henrietta Bazoom's fat, sweating face as she stands on the darkened, empty stage in her low-cut evening gown. As soon as she sees Nomi, we hear the guttural voice from hell. HENRIETTA (in a flurry)
43 97
96 INT. HIS FERRARI - NIGHT 96
96 INT. HIS FERRARI - NIGHT 96
96 INT. HIS FERRARI - NIGHT 96 As he drives; she sits next to him. ZACK Have you ever been in one of these? She shakes her head, looks straight ahead. They are in the
44 98
98 EXT. POOL - NIGHT 98
98 EXT. POOL - NIGHT 98
98 EXT. POOL - NIGHT 98 She is up against the side of the pool, naked. Her arms are on the side of the pool. Her head is back. Her eyes are closed. The water from the fountain is hitting the pool water a few feet in front of her.
45 100
101 EXT. TRAILER - EARLY MORNING 101
101 EXT. TRAILER - EARLY MORNING 101
101 EXT. TRAILER - EARLY MORNING 101 The sun is coming up as she comes from the cab to the front porch and then in the door. 102 INT. TRAILER 102 Moll¥ is asleep on the couch. She wakes up. Nomi stands there,
46 101
103 INT. THE SHOWROOM - DAY 103
103 INT. THE SHOWROOM - DAY 103
103 INT. THE SHOWROOM - DAY 103 Nomi is dancing alongside Nicky, Sonny, and Julie. They are doing one of Cristal's edgy, HARD-ROCK, sensuous numbers. They are wearing the high-cut Bob Fosse leotards. Nomi. wears a black headband that dangles down to the middle of her back. They bump
47 103
104 INT. BACKSTAGE - DAY. 104
104 INT. BACKSTAGE - DAY. 104
104 INT. BACKSTAGE - DAY. 104 Nomi is at the water fountain, just slurping water up. CRISTAL (quietly, behind her)
48 105
105 INT. THE DRESSING ROOM 105
105 INT. THE DRESSING ROOM 105
105 INT. THE DRESSING ROOM 105 She walks in. As soon as she does, she sees Sonny and Nicky glaring at her. Julie seems not to notice her. Nomi stops, looks at them. NOMI (after a beat)
49 106
107 EXT. THE STRIP - DAY 107
107 EXT. THE STRIP - DAY 107
107 EXT. THE STRIP - DAY 107 Nomi is walking out. She wears a black leather jacket and jeans. She looks upset. She sees Molly getting out of her car, carrying some costumes. NOMI (directly)
50 109
110 INT. THE DRESSING ROOM - NEXT NIGHT 110
110 INT. THE DRESSING ROOM - NEXT NIGHT 110
110 INT. THE DRESSING ROOM - NEXT NIGHT 110 She walks to her table. Nicky is sitting at the next table. NOMI Hi., Nicky. Nicky says nothing, ignores her. She glances at Nicky, then
51 111
114 INT. THE STAGE - NIGHT 114
114 INT. THE STAGE - NIGHT 114
114 INT. THE STAGE - NIGHT 114 onstage, during the show -- Nomi dancing wi.th Sal, sonny, Nicky, Felix, Julie, Daryl. She tries to smile, but it is a forced, frozen smile. AN ANNOUNCER (over music)
52 114
118 INT. CRISTAL'S DRESSING ROOM - STARDUST - NIGHT 118
118 INT. CRISTAL'S DRESSING ROOM - STARDUST - NIGHT 118
118 INT. CRISTAL'S DRESSING ROOM - STARDUST - NIGHT 118 There is an air of crisis in the room. Mr. Karlman paces back and forth. With them are Zack, Tony Moss, Marty Jacobsen, and Phil Newkirk. Zack is on his portable phone.
53 115
119 INT. THE STAGE - NIGHT 119
119 INT. THE STAGE - NIGHT 119
119 INT. THE STAGE - NIGHT 119 We see Sal, Julie, Nicky, Felix, Sonny, Daryl dancing -- with two new girls. We saw both of the new girls at the first audition that Nomi went to. One girl was the last finalist; the other girl was the one that Tony Moss said "try yoga or hanging
54 116
121 INT. NOMI'S DRESSING ROOM - NIGHT 121
121 INT. NOMI'S DRESSING ROOM - NIGHT 121
121 INT. NOMI'S DRESSING ROOM - NIGHT 121 Cristal's dressing room is now hers. Explosions of roses are everywhere. She is in front of the mirror taking her eyelashes off -- Molly is next to her, helping her take off her costume. Zack comes
55 118
122 INT./EXT. SPECIAL WING OF THE PARADISE - HALL AND TERRACE - 122
122 INT./EXT. SPECIAL WING OF THE PARADISE - HALL AND TERRACE - 122
122 INT./EXT. SPECIAL WING OF THE PARADISE - HALL AND TERRACE - 122 NIGHT Nomi, wearing a very flashy Vegasy gold lame gown, and Zack, in a suit, come down a windy, marble staircase. Applause, cheers of a couple hundred people that have gathered in this special
56 122
129 INT. A HOSPITAL ROOM - NIGHT 129
129 INT. A HOSPITAL ROOM - NIGHT 129
129 INT. A HOSPITAL ROOM - NIGHT 129 Molly is in the hospital bed, her face covered with bandages. Her eyes are closed; she is hooked up to IV's. A DOCTOR is there with Nomi and Zack. THE DOCTOR
57 123
131 INT. THE WAITING ROOM - NIGHT 131
131 INT. THE WAITING ROOM - NIGHT 131
131 INT. THE WAITING ROOM - NIGHT 131 He slams the door, looks at her, looks at his folder. ZACK Polly Ann Costello. Your father killed your mother and then killed himself.
58 125
132 INT. MOLLY'S HOSPITAL ROOM - NIGHT 132
132 INT. MOLLY'S HOSPITAL ROOM - NIGHT 132
132 INT. MOLLY'S HOSPITAL ROOM - NIGHT 132 She sits in a chair at the side of Molly's bed, staring at her. Molly is asleep, moaning. 133 INT. MOLLY'S HOSPITAL ROOM - DAWN 133 She is holding Molly's hand. She is staring out the window.
59 127
138 INT. MOLLY'S HOSPITAL ROOM - DAY 138
138 INT. MOLLY'S HOSPITAL ROOM - DAY 138
138 INT. MOLLY'S HOSPITAL ROOM - DAY 138 She walks in. Molly is still asleep. A NURSE is there. THE NURSE She's still out. It's the medication. NOMI
60 128
141 EXT. A FREEWAY - DAY 141
141 EXT. A FREEWAY - DAY 141
141 EXT. A FREEWAY - DAY 141 She stands at the side of the road. She wears the fancy cowboy hat, jeans, the black leather jacket, and wrap-around sunglasses. She's got a cheap suitcase in front of her. She's got her thumb out.

Showgirls

A penniless, volatile dancer fights her way from a seedy Vegas strip club to the lead of a casino spectacular, igniting a ruthless rivalry with its icy star as every step up demands a deeper compromise.

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Overview

Poster
Unique Selling Proposition

Sex-forward, kinetic set pieces staged as psychological combat, with a queasily intimate female rivalry that blurs mentorship, seduction, and sabotage; a caustic, satirical view of corporate Vegas that culminates in a morally charged act of vigilante reckoning.

AI Verdict

Model upgrade — March 31, 2026
Verdicts are often harsher under the new readers, but the analysis is significantly stronger. Under the previous models, this script would have scored:
The scoring scale changed with the upgrade — use these only to compare against earlier revisions of this script. Click any reader to open their full legacy review.

How to read these: in industry coverage, Pass is the default outcome for the majority of professional scripts, and Consider means the reader stayed in the room. Industry-wide, the median professional evaluation sits at a 6 — scores of 8+ are rare everywhere, on purpose.


Synthesis Where readers agree and split
6.5

A qualified elevated-commercial package that earns development attention through its distinctive physical register and volatile central dynamic, pending structural revision to reconnect the midsection's causal chain and integrate the third-act climax.

Readers read as Mainstream commercial1 Elevated commercial4
Genres Drama5 Thriller4 Erotic1

An elevated commercial erotic melodrama promising a ruthless Vegas rise-and-burn fable delivered through kinetic set-pieces, satirical bite, and a volatile central rivalry.

Why not lower

The script's first half is genuinely propulsive and its protagonist is distinctive enough that the read holds even through the structural problems, making a Pass an undervaluation of its strongest sequences.

Why not higher

The act-level causal looseness and the detouring third-act resolution leave too much read-pressure on incident over causality to advocate beyond a Consider without structural revision.

Rewrite map

A script with a fiercely distinctive, physically-driven protagonist and a volatile central rivalry that needs structural work to reconnect the midsection's causal chain and integrate the third-act revenge into the established power struggle.

Readers read as Mainstream commercial1 Elevated commercial4

Start here

Re-clarifying Nomi's governing desire immediately after each major status change will restore the causal spine of the second act, which in turn creates the structural space needed to integrate the third-act revenge into the established power struggle rather than treating it as a detour.

What's working 1
The Nomi-Cristal rivalry's volatile chemistry

Their scenes crackle with a mix of camp, cruelty, and erotic tension that externalizes the script's core theme of performance as survival without relying on exposition.

Protect while fixing 1
Nomi's feral physicality as primary characterization

Structural revisions that add explanatory dialogue or smooth out her volatility to clarify motivation risk flattening the instinctive, action-driven register that defines her.

When re-engineering the causal chain, ensure Nomi's new objectives are expressed through physical choices, staging, and tactical movement rather than verbal exposition or internal monologue.

Fix first 2
Mid-to-late act causal and moral pressure diffuses

The reader loses forward pull as scenes deliver intense moments that fail to accumulate into a clear, escalating objective or moral reckoning.

Root cause

Nomi's governing want is not re-articulated after major status changes, and the script bypasses the internal cost of her actions in favor of external plot pivots.

One direction

Re-clarify Nomi's specific pursuit after each major turn and dramatize the tangible cost of her compromises so the second half builds toward a unified climax rather than fragmenting.

Third-act revenge thread detours the central rivalry Medium confidence

The reader's investment in the Nomi-Cristal-Zack power struggle fractures when a sudden external crisis hijacks the final act's momentum.

Root cause

The Andrew Carver assault is introduced late and operates outside the established Stardust ecosystem, functioning as a plot device rather than an integrated consequence of the world Nomi has entered.

One direction

Seed Carver's presence and untouchable status into the second-act power dynamics so his eventual confrontation feels like the culmination of the show's transactional logic rather than a parallel track.

Your decisions 1
Third-act climax integration: weave Carver into the Stardust power machine vs. maintain the revenge thread as a standalone moral pivot Consequential
Side A

Committing to integration means seeding Carver's influence into the second-act rivalry so his assault and Nomi's revenge directly topple or expose the Stardust hierarchy, making the climax a culmination of the established world.

Side B

Committing to a standalone pivot means keeping the assault as an external moral shock that forces Nomi to choose between her ambition and her loyalty to Molly, requiring a focused rewrite to give Molly agency in the aftermath.

Quick credibility wins 2
Strip on-the-nose thematic declarations from dialogue

Cut lines where characters explicitly state the script's themes or their emotional positions, and instead let the physical staging, power dynamics, and subtext carry the meaning.

Remove caps, italics, and subjective prose from action lines

Delete formatting emphasis and internal-state descriptions in action blocks, trusting the observable behavior and dialogue to convey the intended emotional weight.

Ask AI about this read
Would readers champion it · Rewrite depth · Voice · Score stability
What's working All 5 readers agree

Nomi's physical, action-driven characterization is a genuinely distinctive craft choice that makes the protagonist feel specific and alive, providing the primary reason readers could champion this script despite its structural problems.

What's blocking 3 of 5 readers agree

The mid-to-late act causal chain break and the bypass of moral consequence prevent the script from delivering on the ambition its first half establishes, giving skeptical readers the strongest argument against advocacy.

Would readers champion it?
Not yetNot yetReaders wouldn’t actively push for it.
Early interestEarly interestMentioned, but no real push behind it.
ModeratelyModeratelyMentioned favorably to the right buyer.
StronglyStronglyActively championed across their network.
ClaudeModeratelyDeepSeekModeratelyGPT5ModeratelyGeminiModeratelyGrokEarly interest
How much rewrite does it need?
Start from scratchStart from scratchPremise or core engine isn’t working. Page-one rebuild.
Structural rewriteStructural rewriteSpecific acts or zones need rebuilding — not starting over, but significant revision work on those sections.
Targeted rewriteTargeted rewriteSpecific scenes or threads need rework. ~1 month.
Just polishJust polishLines and pacing tweaks. A few weeks.
ClaudeTargeted rewriteDeepSeekTargeted rewriteGPT5Structural rewriteGeminiStructural rewriteGrokStructural rewrite
How distinctive is the voice?
GenericGenericReads like other scripts in the genre.
EmergingEmergingHints of a distinctive voice, not yet locked in.
DistinctiveDistinctiveA clear, recognizable authorial voice.
One-of-a-kindOne-of-a-kindA voice that couldn’t be anyone else’s.
ClaudeDistinctiveDeepSeekDistinctiveGPT5DistinctiveGeminiDistinctiveGrokDistinctive
Story Facts
Genres:
Drama 80% Crime 50% Thriller 30% Romance 20%

Setting: Contemporary (1990s-2000s), Las Vegas, Nevada

Themes: Survival and Self-Preservation, Exploitation and Power Dynamics, Identity and Reinvention, Ambition and the American Dream, Friendship, Loyalty, and Betrayal, Revenge and Justice, Love and Connection

Conflict & Stakes: Nomi's struggle to rise in the competitive world of Las Vegas showgirls while dealing with betrayal, exploitation, and her own troubled past.

Mood: Tense and dramatic with moments of triumph and despair.

Standout Features:

  • Unique Hook: The story of a young woman's rise in the cutthroat world of Las Vegas showgirls, highlighting both the glamour and the exploitation.
  • Major Twist: Nomi's transformation from an ambitious dancer to a vengeful figure after experiencing betrayal and violence.
  • Distinctive Setting: The vibrant and often dark backdrop of Las Vegas, showcasing both its allure and its dangers.
  • Innovative Ideas: The blend of dance, drama, and elements of thriller, creating a unique narrative style.

Comparable Scripts: Showgirls (1995), Flashdance (1983), Striptease (1996), The Neon Demon (2016), Boogie Nights (1997), Hustlers (2019), Leaving Las Vegas (1995), Casino (1995), Burlesque (2010), Moulin Rouge! (2001)

How 5 AI Readers Scored The Script

Readers graded as Mainstream commercial1 Elevated commercial4
Claude GPT5 Gemini DeepSeek Grok Average spread Row tint: weak mid strong excellent
Premise i
7.2
Plot i
6.6
Structure i
7.0
Character i
7.4
Dialogue i
6.8
Tone / Voice i
7.8
Theme i
7.2
Marketability i
7.2

Script Level Analysis

Writer Exec

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

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.63
Key Suggestions:
The script's greatest strength lies in Nomi's raw, compelling arc and the searing relationship with Cristal, but it is undermined by an underdeveloped Molly, whose trauma becomes merely a plot device. To elevate the emotional stakes, give Molly her own active journey—perhaps a moment of choice or confrontation—so that Nomi's revenge feels earned not just by the plot but by a deeper relationship cost. Additionally, tighten the middle act by cutting repetitive dressing-room banter and replace it with scenes that show Nomi's internal moral compromise, making her transformation more gradual and psychologically complex. Finally, reduce overt declarations like 'whore' and let subtext carry the thematic weight; the best scenes already do this.
Story Critique

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

Key Suggestions:
The script has a strong emotional core and a compelling rise-and-fall arc, but suffers from rushed pacing and reliance on contrivance. Nomi's transition from stripping to stardom happens too quickly, undermining credibility. Key relationships—especially with Cristal and Molly—need deeper development to avoid one-dimensionality. The revenge plot, while cathartic, oversimplifies moral complexity and should be better integrated with themes of exploitation and sisterhood. Consider slowing down Nomi's journey, adding setbacks, and weaving foreshadowing for traumatic events like Molly's rape to make them feel earned rather than jarring.
Characters

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

Key Suggestions:
The analysis reveals that your supporting characters—especially Molly and Andrew—lack active arcs and emotional depth, functioning primarily as plot catalysts. To elevate the script, consider giving Molly a moment of defiance or a subplot that reclaims her agency after the assault, and add even a hint of vulnerability or backstory to Andrew to avoid him being purely a device. For Nomi, while her arc is strong, the chicken pot pie scene feels static; a small physical action revealing her underlying tension (e.g., touching her switchblade) would deepen the moment. Strengthening these elements will make the moral complexity of the story land more powerfully with audiences.
Emotional Analysis

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

Key Suggestions:
The script’s emotional arc has strong bones but suffers from uneven pacing and a lack of layered internal conflict, especially during Nomi’s middle-section trials. To deepen audience engagement, introduce moments of vulnerability and contradiction—like Nomi’s pride in fixing Henrietta’s prosthetic or a whispered admission during the private dance—that reveal her struggle between survival and ambition. Key scenes like the audition and the push need more tension buildup and internal justification to make Nomi’s actions feel earned rather than abrupt. The ending’s tonal whiplash (humor vs. horror) can be smoothed by extending the final scene to linger on Nomi’s isolation and choice, blending triumph with melancholy.
Goals and Philosophical Conflict

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

Key Suggestions:
The analysis reveals that Nomi's journey is driven by a powerful internal conflict between ambition and morality, which culminates in a revenge-driven climax that redefines her identity. To strengthen the script, consider deepening the moral ambiguity earlier—perhaps by showing more moments where Nomi actively chooses survival over integrity—so the philosophical conflict feels earned and resonant. Additionally, ensure that the external goals (e.g., securing the Stardust role) are tightly interwoven with her internal stakes (e.g., confronting her traumatic past) to create a cohesive narrative where each scene advances both layers.
Themes

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

Key Suggestions:
The thematic analysis shows that the script effectively interweaves survival, exploitation, identity, ambition, and revenge to support the primary theme of self-determination. However, to maximize emotional impact, ensure that Nomi's relationships—especially her betrayal of Molly—are given enough dramatic weight so that her quest for autonomy feels genuinely costly. The final ambiguous resolution (hitchhiking away) is a strength, but consider whether the revenge scene against Carver fully satisfies the theme of reclaiming agency or if it risks overshadowing the internal journey. Tightening the connection between her reinvention as a showgirl and her emotional isolation will deepen audience engagement.
Logic & Inconsistencies

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

Key Suggestions:
The analysis highlights several areas where character behavior and plot logic strain plausibility. James Smith's hypocritical stance on 'dancing vs. fucking' undermines his moral authority, while Cristal's erratic shifts between mentor and saboteur weaken the rivalry's emotional truth. The script relies heavily on convenience—e.g., Nomi being hired without a Social Security number, Cristal's stair fall triggering no investigation, and the Carver assault having zero legal fallout. To strengthen craft, ensure every major action has in-world consequences (or at least acknowledged cover-ups), and that characters' decisions feel organic rather than plot-driven. Trimming redundant beats (e.g., multiple monkey gags, repeated James lectures) will tighten pacing and deepen impact.

Scene Analysis

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

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

Other Analyses

Writer Exec

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

Unique Voice

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

Key Suggestions:
Your voice is a powerful asset: cinematic, lean, and emotionally volatile. To refine it, lean even harder into the tension between vulnerability and violence—Scene 9 is a perfect example of balancing eroticism with brutality and dark humor. Trust your readers to feel the subtext; avoid over-explaining interior states. The sharp tonal shifts are your signature, but ensure each shift lands with clear cause-and-effect to avoid jarring the reader. Continue to use physical detail and sparse dialogue to convey emotion, as this creates a visceral, unforgettable narrative.
Writer's Craft

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

Key Suggestions:
Your script has a vivid world and strong atmosphere, but it consistently suffers from a passive protagonist, weak dramatic tension, and dialogue that lacks subtext. To elevate it, you need to rewrite scenes so that every unit of action centers on Nomi making active, risky choices with tangible consequences. Focus on injecting real conflict—clear wants, strong opposition, and escalating stakes—into each scene, and layer your dialogue with hidden desires that contradict surface meaning. The most effective moments (e.g., the armpit kiss, the dance battle, the switchblade reveal) show you can deliver voltage; now extend that commitment to all 60 scenes.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

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

Key Suggestions:
The world analysis reveals a powerful contrast between glamorous Las Vegas spectacle and gritty backstage/off-Strip realities. To strengthen the script, leverage these spatial and cultural dichotomies more deliberately: for example, use the trailer park vs. Stardust transition as a visual metaphor for Nomi's journey, and ensure each key environment (Cheetah, Stardust, Paradise bungalow) amplifies the themes of exploitation and performative identity. The cyclical ending (hitchhiking again) is a strong thematic bookend, but consider whether Nomi's transformation is earned or if it suggests the system remains unchanged—make this ambiguity intentional.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The analysis reveals that all 60 scenes received identical scores (0) across every category—Tone, Character, Conflict, and more. This uniformity suggests the script may not be building distinct emotional peaks and valleys or varying narrative stakes from scene to scene. To create a compelling arc, each scene should be crafted to serve a unique function: raising tension, deepening character, or shifting tone. Consider revisiting the scenes to ensure they differ in impact, emotional weight, and structural purpose, so the story carries a dynamic rhythm that keeps an audience engaged.
Loglines
Presents logline variations based on theme, genre, and hook.