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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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EXT. INTERSECTION OF STREETS - NIGHT Traffic is light. All the shops are dark except one -- a dimly lit establishment, from which drift the mournful strains of an organ. A circumspect sign reads: MOZARELLA'S FUNERAL PARLOR
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INT. MOZARELLA'S FUNERAL PARLOR - NIGHT It looks legitimate enough -- with potted palms, urns and funeral statuary. A harmless gray-haired man is playing the organ with appropriate feeling. Daintily arranging a funeral spray is the proprietor himself, MR. MOZARELLA.
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EXT. FUNERAL PARLOR - NIGHT Policemen, under the supervision of the captain, are herding customers into a paddy-wagon. Fighting his way out of the wagon is our Drunk, waving his coffee cup in the air. DRUNK
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EXT. CHICAGO STREET - DAY The street is covered with snow. Joe and Jerry, without overcoats, the collars of their tuxedos turned up against the bitter cold, come down the steps of the elevated, carrying their instruments. The only thing that keeps Jerry from
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INT. POLIAKOFF'S OUTER OFFICE - DAY Beside Nellie, there is another secretary pecking away at a typewriter. Nellie's face is grim as Joe and Jerry come up. JOE Now look, Nellie -- if it's about
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INT. POLIAKOFF'S INNER OFFICE - DAY The room is small and cluttered, and the walls are covered with photographs of Poliakoff's clients -- bands, vocalists, trios, radio personalities. Sitting behind the desk, speaking urgently into the phone,
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INT. POLIAKOFF'S OUTER OFFICE - DAY Joe leads Jerry out. JERRY It's a hundred miles, Joe -- it's snowing -- how are we going to get
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EXT. ALLEY - DAY Joe and Jerry come skidding around the corner from Clark Street, race down the snow-covered alley. In b.g. there is the SOUND of squealing tires and police sirens. JERRY
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EXT. CHICAGO RAILROAD PLATFORM - NIGHT Two pairs of high-heeled shoes, unusually large in size, are hurrying along the platform. CAMERA FOLLOWS them and PANS UP gradually, revealing rather hefty legs in rolled stockings, short dresses, coats with cheap fur pieces, and rakish cloche
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INT. PULLMAN CAR - NIGHT As Joe and Jerry come in from the vestibule, Joe grabs Jerry, holds him against the baggage rack. JOE (an angry whisper)
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INT. WOMEN'S LOUNGE There is another customer there -- Sugar. She has one leg up on the leather settee, her skirt is slightly raised, and she is about to remove a small silver flask tucked under her garter. As Jerry and Joe come in, she guiltily pulls her
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EXT. LOCOMOTIVE WHEELS - NIGHT The wheels are pounding along the track, accompanied by a spirited rendition of RUNNING WILD. INT. PULLMAN CAR - NIGHT At one end of the car, Sweet Sue and her Society Syncopators
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EXT. LOCOMOTIVE WHEELS - NIGHT The wheels are still pounding away -- but there's no more music. INT. PULLMAN CAR - NIGHT The berths are made up, and the girls are getting ready for
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EXT. LOCOMOTIVE WHEELS - NIGHT The wheels are pounding along the track in the rhythm of Jerry's 'I'm a girl, I'm a girl.' DISSOLVE: INT. PULLMAN CAR - NIGHT
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INT. WOMEN'S LOUNGE - NIGHT Sugar comes in, followed by Josephine with the cake of ice. SUGAR (pointing to sunken washbowl)
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INT. PULLMAN CAR - NIGHT Olga is climbing up on the ladder to Upper 7 with the new supply of ice in the cymbal. The party is now really winging. Amidst the hushed hilarity, the hot water bottle is being passed around, paper cups and crackers are flying, some of
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EXT. LOCOMOTIVE WHEELS - NIGHT The pounding wheels suddenly lock, and come to a jolting stop. INT. PULLMAN CAR - NIGHT The abrupt stop sends everybody in Upper 7 tumbling out into
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EXT. LOCOMOTIVE WHEELS - NIGHT The stalled wheels start to turn over and pick up speed. DISSOLVE: INT. PULLMAN CAR - NIGHT The train is moving. Joe appears from the women's lounge,
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EXT. SEMINOLE-RITZ HOTEL - DAY The sprawling gingerbread structure basks in the warm Florida sun, fanned by towering palm trees, and lulled by waves breaking lazily on the exclusive beach frontage. Wintertime and the livin' is easy, fish are jumpin' and the
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INT. LOBBY OF THE SEMINOLE-RITZ - DAY The lobby is very resort-y -- potted palms, overhead fans, and a heavy undergrowth of wicker furniture. Osgood, balancing the instruments, follows Jerry in. OSGOOD
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INT. FOURTH FLOOR CORRIDOR - DAY This is the floor on which the girls are billeted. Sugar, Joe and the other Society Syncopators are gathered around Bienstock and Sue, while bellhops are bringing up the luggage. BIENSTOCK
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INT. ROOM 413 - DAY It's a small room, twin-beds, more wicker, adjoining bathroom. Outside the French windows is a balcony, giving on the ocean. As Joe comes in, a BELLHOP is just setting down some suitcases -- two of them are Joe's and Jerry's, the third is a somewhat
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EXT. BEACH - DAY To the accompaniment of BY THE BEAUTIFUL SEA, several girls from the band, in bathing suits and caps, are running into the surf. The other girls are already in the water, splashing around and frolicking like a school of playful porpoises.
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INT. FOURTH FLOOR CORRIDOR - DAY Jerry, holding Sugar by the hand, comes running down the corridor from the elevator. He flings open the door of 413, pulls Sugar inside. INT. ROOM 413 - DAY
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EXT. FANTAIL OF THE YACHT CALEDONIA - DAY It is a chic vessel indeed -- and so is Osgood Fielding the Third, lounging in a deck chair, speaking into a radio- telephone. OSGOOD
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INT. ROOM 413 - NIGHT Joe barges in, drops the saxophone case, locks the door. Then he darts into the bathroom, wriggling out of his dress. CAMERA PANS OVER to the other door of the bathroom as the dress and shoes come flying out. They are immediately followed
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EXT. PIER - NIGHT About a dozen motorboats are tied up to the pier. Sugar hurries across the planking and up the stairs to the deserted pier, stops and looks around for her date. Behind her, Joe comes skimming along the planking on his bicycle, swoops
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EXT. YACHT AT ANCHOR - NIGHT The CALEDONIA is bobbing gently on a calm, moonlit sea. The motorboat with Joe and Sugar comes in stern-backwards. Joe, looking over his shoulder, maneuvers the motorboat to a stop under the landing ladder. (Reams of romantic music under
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INT. SALON OF YACHT - NIGHT It's a very elegant layout -- mahogany paneling, shelves of trophies, a stuffed marlin on the wall, a luxurious couch with a table for two et up beside it. On the table are lit candles, cold pheasant under glass, and champagne in a silver
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INT. ROADHOUSE - NIGHT It is small, dark, and practically deserted. The Cuban band is playing LA CUMPARSITA. Among the dancers on the floor are Osgood and Jerry, easily the most stylish couple in the joint. Jerry has the flower tucked in his cleavage. As they tango --
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INT. LOBBY SEMINOLE-RITZ HOTEL - DAY We are CLOSE on a doormat bearing the name SEMINOLE-RITZ HOTEL. A pair of men's feet step across the mat, the shoes encased in white linen spats. CAMERA PULLS BACK TO REVEAL Spats Colombo entering the lobby,
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INT. ELEVATOR - (CONTINUOUS) - DAY Joe and Jerry scramble inside. JOE Going up. As the elevator operator starts to close the doors, he is
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INT. ROOM 414 - (CONTINUOUS) - DAY Dolores, in a robe and hair-curlers, is at the phone. Sugar, in a negligee, is stretching out on her bed, dreamily reading a copy of Vanity Fair. DOLORES
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INT. ROOM 413 - (CONTINUOUS) - DAY JOE (into phone) Smart move. (reaches into waste
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INT. ROOM 413 - (CONTINUOUS) - DAY Jerry emerges from bathroom, carrying their toilet articles and an armful of towels embroidered with SEMINOLE-RITZ HOTEL. JOE (into phone)
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INT. SPATS' SUITE - DAY The four henchmen, in dinner clothes are playing cards in the lavishly appointed living room when Spats emerges from the bedroom. He is just slipping into his tuxedo coat, and his spats are unbuttoned.
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INT. THIRD FLOOR CORRIDOR - DAY There is no sign of Spats and his boys. The elevator door is just opening, and the Bellhop emerges, pushing the old man in the wheelchair. Joe and Jerry watch as the Bellhop wheels the old man into one of the rooms. They look at each other,
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INT. PANTRY - DAY In the center of the room stands a huge cake, and two convention officials are decorating it under the watchful eye of Johnny Paradise, who leans against the wall monotonously tossing a coin into the air. One of the
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INT. PANTRY - DAY The inscribed top of the cake has been lifted off to reveal a hollow interior. Johnny Paradise is climbing inside. SECOND OFFICIAL Easy now. You know when you come
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INT. LOBBY - NIGHT Joe and Jerry bolt out of the rear corridor, go pounding up the stairs, followed by two of the officials. As they disappear from sight, CAMERA PANS OVER to the elevator. The door opens, and out step Joe and Jerry, wearing their wigs
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INT. BALLROOM - NIGHT Joe appears in the vestibule at the top of the stairs, looks down. From his point of view, we see Sugar perched on top of the piano, bathed in a spotlight. She is a little drunk, and
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EXT. MOTORBOAT - NIGHT In the back seat, Joe is removing his wig and coat. JOE You don't want me, Sugar -- I'm a liar and a phony -- a saxophone player --

Some like it hot

Two musicians witness a mob hit and disguise themselves as women to escape, joining an all-female band and finding love and chaos along the way.

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Overview

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Unique Selling Point

Discover a wildly entertaining and original Prohibition-era romp in this script, where two cross-dressing musicians, Joe and Jerry, navigate the chaotic world of speakeasies, gangsters, and glamorous parties on their journey to find work and true love. With its fast-paced action, witty dialogue, and a blend of humor and tension, this story offers a fresh take on classic themes of identity, deception, and acceptance. The unique characters, including the notorious gangster Spats Colombo and the eccentric millionaire Osgood, add depth and intrigue to the narrative, while the innovative storytelling techniques keep readers on their toes. Dive into this captivating world and experience a thrilling escape filled with laughter, suspense, and unforgettable moments.

AI Verdict & Suggestions

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Gemini
 Highly Recommend
Claude
 Recommend
Story Facts

Genres: Comedy, Musical, Romance, Crime, Drama, Action, Romantic Comedy

Setting: The story takes place in the 1920s-1930s, Chicago and Florida

Themes: Identity, Deception, Friendship, Love, Crime

Conflict & Stakes: The primary conflict is between Joe, Jerry, and the gangsters who are after them. The stakes are their lives and the potential loss of their careers as musicians. Additionally, Jerry's relationship with Osgood creates a subplot conflict as Jerry struggles with his true identity and Osgood's expectations.

Mood: Predominantly lighthearted and comedic, with moments of tension and drama.

Standout Features:

  • Unique Hook: Cross-dressing musicians on the run from gangsters in the 1920s-1930s.
  • Plot Twist: Jerry's relationship with Osgood and his struggle with his true identity.
  • Distinctive Setting: Chicago and Florida in the 1920s-1930s.
  • Innovative Idea: The exploration of gender identity and sexuality in the context of crime and comedy.
  • Unique Characters: Cross-dressing musicians, gangsters, and federal agents.

Comparable Scripts: Some Like It Hot (1959), Tootsie (1982), White Chicks (2004), Mrs. Doubtfire (1993), The Crying Game (1992), Yentl (1983), Victor/Victoria (1982), La Cage aux Folles (1978), Priscilla, Queen of the Desert (1994), The Adventures of Priscilla, Queen of the Desert (1994)

Script Level Analysis

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Overall Score: 8.00
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