SCENES
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Scene Map 60
# PG SLUGLINE
1 3
1 EXT. PARKING LOT - EARLY MORNING 1
2 5
4 EXT. THE STREETS OF LA - CONTINUOUS 4
3 6
5 EXT. THE 405 FREEWAY - CONTINUOUS 5
4 6
7 EXT. DOWNTOWN BUSINESS DISTRICT - LATER 7
5 8
10 INT. UNDECORATED LOFT - DAY 10
6 12
11 INT. FREIGHT ELEVATOR - LATER 11
7 14
13 EXT. APARTMENT BLOCK - DUSK 13
8 16
15 INT. BARE APARTMENT - EVENING 15
9 16
18 INT. BARE APARTMENT - EARLY MORNING 18
10 18
21 INT. EMPTY DINER - EARLY MORNING 21
11 22
22 INT. DISCOUNT RECORD STORE - LATER 22
12 23
25 EXT./INT. FANCY RESTAURANT/FANCY CAR - NIGHT 25
13 25
26 INT. UNDECORATED WAREHOUSE - DAY 26
14 27
27 INT. UNDECORATED WAREHOUSE - LATER 27
15 28
28 INT. NORTH CORONA METROLINK PARKING STRUCTURE - EARLY MORNING
16 30
30 EXT./INT. BANCO POPULAR/AVALANCHE - LATER THAT MORNING 30
17 32
31 EXT. VALLEY BLVD / I-10 - CONTINUOUS 31
18 33
32 EXT. OFF RAMP - CONTINUOUS 32
19 34
33 EXT. ROSEMEAD SHOPPING CENTER - CONTINUOUS 33
20 35
36 INT. UNDECORATED LOFT - LATER 36
21 36
39 INT. HALF EMPTY DINER - DAY 39
22 41
41 INT. BABY’S BATHROOM - EVENING 41
23 43
43 EXT. APARTMENT BLOCK - DAY 43
24 45
45 EXT. DINER PARKING LOT / INT. DINER - DAY 45
25 46
46 INT. DOC’S MERC - LATER 46
26 47
47 EXT. US POST OFFICE. WATTS - DAY 47
27 48
48 INT. US POST OFFICE - DAY 48
28 50
49 INT. DOC’S MERC - MOMENTS LATER 49
29 51
50 INT. FREIGHT ELEVATOR - AFTERNOON 50
30 52
51 INT. UNDECORATED LOFT - MOMENTS LATER 51
31 56
52 INT. UNDECORATED LOFT - MOMENTS LATER 52
32 58
53 INT. ‘96 CADILLAC DEVILLE - NIGHT 53
33 60
55 INT./EXT. CADILLAC DEVILLE/OUTSIDE TRAIN YARD - EVENING 55
34 63
57 INT. ABANDONED RAIL YARD - MOMENTS LATER 57
35 68
58 INT. SUV - NIGHT 58
36 69
59 INT. HALF EMPTY DINER - NIGHT 59
37 74
60 INT. UNDECORATED LOFT - NIGHT 60
38 78
62 INT. UNDERGROUND PARKING P3 - NIGHT 62
39 79
63 INT. UNDECORATED LOFT - MOMENTS LATER 63
40 81
64 INT./EXT. SUV - MOMENTS LATER 64
41 82
68 INT. UNDECORATED LOFT - LATER 68
42 84
70 INT. UNDECORATED LOFT - EARLY MORNING 70
43 84
72 INT. MITSUBISHI GALANT - DAY 72
44 86
73 EXT. US POST OFFICE. WATTS - DAY 73
45 89
74 EXT. THE STREETS OF WATTS - CONTINUOUS 74
46 90
75 INT./EXT. RUNDOWN MALL - CONTINUOUS 75
47 91
79 EXT. RUNDOWN MALL PARKING LOT - CONTINUOUS 79
48 94
80 EXT. BACK ON THE STREETS OF WATTS - CONTINUOUS 80
49 95
81 INT. BARE APARTMENT - LATER 81
50 97
84 EXT. APARTMENT BLOCK - CONTINUOUS 84
51 98
86 EXT. RETIREMENT HOME - EVENING 86
52 99
88 EXT. HALF EMPTY DINER - NIGHT 88
53 102
90 INT./EXT. CALLBOX/ PARK - NIGHT 90
54 103
91 INT./EXT. PHONE BOX/DOC’S - NIGHT 91
55 106
92 EXT. PARK - NIGHT 92
56 108
93 EXT. DOWNTOWN STREETS - NIGHT 93
57 114
98 INT. UNDERGROUND PARKING P2 - MOMENTS LATER 98
58 116
99 INT. CAR - DAY 99
59 118
102 INT./EXT. BABY’S CAR/LA STREETS 102
60 120
103 INT. BABY’S CELL - DAY 103
INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
1 3
1 EXT. PARKING LOT - EARLY MORNING 1
1 EXT. PARKING LOT - EARLY MORNING 1
1 EXT. PARKING LOT - EARLY MORNING 1 A strip mall in the San Fernando Valley. A front wheel of a car pulls slowly into view. A curb reads ‘Short Stay. 5 Mins Only.’ 2 INT. CAR - CONTINUOUS 2
2 5
4 EXT. THE STREETS OF LA - CONTINUOUS 4
4 EXT. THE STREETS OF LA - CONTINUOUS 4
4 EXT. THE STREETS OF LA - CONTINUOUS 4 JON SPENCER “I’m gonna daaaaance.” Baby’s car sails into busy traffic, the track blasting on the car stereo, building in speed and energy.
3 6
5 EXT. THE 405 FREEWAY - CONTINUOUS 5
5 EXT. THE 405 FREEWAY - CONTINUOUS 5
5 EXT. THE 405 FREEWAY - CONTINUOUS 5 The Black & Whites are left behind as Baby revs past the green light and into aggressive morning traffic. 85... 90. Highly distorted guitar signals the arrival of a POLICE HELICOPTER. It dogs above, but has to play find-the-lady with
4 6
7 EXT. DOWNTOWN BUSINESS DISTRICT - LATER 7
7 EXT. DOWNTOWN BUSINESS DISTRICT - LATER 7
7 EXT. DOWNTOWN BUSINESS DISTRICT - LATER 7 OVER CREDITS: ‘Harlem Shuffle’ by Bob & Earl. Our hero, Baby, appears from a door in the mirrored exterior of a non-descript business address in Bunker Hill.
5 8
10 INT. UNDECORATED LOFT - DAY 10
10 INT. UNDECORATED LOFT - DAY 10
10 INT. UNDECORATED LOFT - DAY 10 ‘Egyptian Reggae’ by Jonathan Richman & The Modern Lovers. Coffee is drunk. Cash split. The gang are in a garment warehouse space with some vintage sewing desks. On a large table in the middle. DOC, an older (60s), silver-
6 12
11 INT. FREIGHT ELEVATOR - LATER 11
11 INT. FREIGHT ELEVATOR - LATER 11
11 INT. FREIGHT ELEVATOR - LATER 11 ‘Secondo Intermezzo Pop’ by Ennio Morricone. Baby travels with Griff, Darling, Buddy and Doc in a packed elevator. All five of them clutch HOLDALLS. Darling is all over Buddy. Smooching and laughing. (The 20 year
7 14
13 EXT. APARTMENT BLOCK - DUSK 13
13 EXT. APARTMENT BLOCK - DUSK 13
13 EXT. APARTMENT BLOCK - DUSK 13 ‘Nutrocker’ by B. Bumble And The Stingers. A piano bangs out a funereal intro. We see a dilapidated red brick apartment building complete with a rusty fire escape. It’s a stone’s throw from a park. Judging by some of the
8 16
15 INT. BARE APARTMENT - EVENING 15
15 INT. BARE APARTMENT - EVENING 15
15 INT. BARE APARTMENT - EVENING 15 Baby sits alone. The Elderly Man is asleep in his chair. Baby absent mindedly flicks through kids’ TV CHANNELS. Flip to Alfala from ‘The Little Rascals’ singing - ALFALFA
9 16
18 INT. BARE APARTMENT - EARLY MORNING 18
18 INT. BARE APARTMENT - EARLY MORNING 18
18 INT. BARE APARTMENT - EARLY MORNING 18 ‘Call Me’ by Siriusmo. Baby hasn’t slept. Stares at the phone. In time with a track made up of dial tones, he pretends to play it like a theremin.
10 18
21 INT. EMPTY DINER - EARLY MORNING 21
21 INT. EMPTY DINER - EARLY MORNING 21
21 INT. EMPTY DINER - EARLY MORNING 21 ‘Let’s Go Away For Awhile’ by The Beach Boys. Baby. Shades on. Phones in. Looking ahead. Listening to music. He sits in a pleasant, but not very busy, old school diner. The decor is 50s retro and auto centric. Classic convertibles
11 22
22 INT. DISCOUNT RECORD STORE - LATER 22
22 INT. DISCOUNT RECORD STORE - LATER 22
22 INT. DISCOUNT RECORD STORE - LATER 22 ‘The Plot’ by Lalo Schifrin. Baby marches into a discount music store, the final resting place of physical media. Zeroes in on the right section. He’s never looked so serious. He flips through jewel cases. Finds.
12 23
25 EXT./INT. FANCY RESTAURANT/FANCY CAR - NIGHT 25
25 EXT./INT. FANCY RESTAURANT/FANCY CAR - NIGHT 25
25 EXT./INT. FANCY RESTAURANT/FANCY CAR - NIGHT 25 ‘Marca A La Turca’ by La Tia Leonor Y Sus Sobrinos. Baby drives Doc’s Merc up to an equally smart restaurant. It’s a final sitting for dinner, not too busy. Baby sees a booth full of SERIOUS LOOKING GUYS through the window.
13 25
26 INT. UNDECORATED WAREHOUSE - DAY 26
26 INT. UNDECORATED WAREHOUSE - DAY 26
26 INT. UNDECORATED WAREHOUSE - DAY 26 ‘Kashmere’ by The Kashmere Stage Band. Baby walks in with Doc. We see what he sees. Three new colleagues. Three hardened criminals. Meet EDDIE, J.D. and BATS.
14 27
27 INT. UNDECORATED WAREHOUSE - LATER 27
27 INT. UNDECORATED WAREHOUSE - LATER 27
27 INT. UNDECORATED WAREHOUSE - LATER 27 ‘Unsquare Dance’ by Dave Brubeck. Over a strong bass line, hand claps and snare drums - Doc relates a plan to the four strong team. Some of it is illustrated on the chalkboard. We see everyone, except Baby,
15 28
28 INT. NORTH CORONA METROLINK PARKING STRUCTURE - EARLY MORNING
28 INT. NORTH CORONA METROLINK PARKING STRUCTURE - EARLY MORNING
28 INT. NORTH CORONA METROLINK PARKING STRUCTURE - EARLY MORNING ‘Bongolia’ by The Incredible Bongo Band. On a bongo roll, we see a windshield POV, as we pull into a concrete parking structure and park up in a long stay spot.
16 30
30 EXT./INT. BANCO POPULAR/AVALANCHE - LATER THAT MORNING 30
30 EXT./INT. BANCO POPULAR/AVALANCHE - LATER THAT MORNING 30
30 EXT./INT. BANCO POPULAR/AVALANCHE - LATER THAT MORNING 30 The Avalanche pulls into a strip mall lot outside the bright red facade of a Banco Popular. Parks up. Baby is still at the wheel. In the back are Eddie and J.D. dressed in black duds. In shotgun and in black is Bats.
17 32
31 EXT. VALLEY BLVD / I-10 - CONTINUOUS 31
31 EXT. VALLEY BLVD / I-10 - CONTINUOUS 31
31 EXT. VALLEY BLVD / I-10 - CONTINUOUS 31 Sweating, Baby speeds out of there. Screams down the shoulder. Going 70... 80. The gang in the car have their masks off and slump down, out of sight. Bats curses. An out of control guitar solo signals the Avalanche joining the
18 33
32 EXT. OFF RAMP - CONTINUOUS 32
32 EXT. OFF RAMP - CONTINUOUS 32
32 EXT. OFF RAMP - CONTINUOUS 32 The Avalanche glides fast down the off ramp. But up ahead- A RED LIGHT. Construction. Single lane traffic. The music breaks down to the solo bass line. Baby’s car is third back from the stop light. Bats motions for them to get
19 34
33 EXT. ROSEMEAD SHOPPING CENTER - CONTINUOUS 33
33 EXT. ROSEMEAD SHOPPING CENTER - CONTINUOUS 33
33 EXT. ROSEMEAD SHOPPING CENTER - CONTINUOUS 33 Baby eases this unplanned ride into a shopping center parking lot. The GPS is going crazy (all in time with the music) FEMALE GPS VOICE Route recalculation...
20 35
36 INT. UNDECORATED LOFT - LATER 36
36 INT. UNDECORATED LOFT - LATER 36
36 INT. UNDECORATED LOFT - LATER 36 Doc divides up the take in front of the gang. Baby walks back in, handing out black coffees. To Doc, to Eddie, to Bats, to... Baby looks for the missing team member. Doc catches it. DOC
21 36
39 INT. HALF EMPTY DINER - DAY 39
39 INT. HALF EMPTY DINER - DAY 39
39 INT. HALF EMPTY DINER - DAY 39 Baby opens his eyes. He sits in his usual spot. Sans shades. Retreats into a happy song (’Lalo Bossa Nova’ by Quincy Jones). A finger clicks in front of his face. She’s here. His waitress. WAITRESS
22 41
41 INT. BABY’S BATHROOM - EVENING 41
41 INT. BABY’S BATHROOM - EVENING 41
41 INT. BABY’S BATHROOM - EVENING 41 ...then resurfaces wet to sing along with ‘Debora’. Again. Baby is in the bath. The song echoes around the tiles. It is being played on a battered iPod speaker dock. Baby goofs around to the track in the bath, in his own mini musical.
23 43
43 EXT. APARTMENT BLOCK - DAY 43
43 EXT. APARTMENT BLOCK - DAY 43
43 EXT. APARTMENT BLOCK - DAY 43 Baby comes bounding out of his block. He gets into his Red Chrysler Lebaron and peels out. He doesn’t see- A BLACK MERC behind him. It follows slowly. 44 INT. HALF EMPTY DINER - DAY 44
24 45
45 EXT. DINER PARKING LOT / INT. DINER - DAY 45
45 EXT. DINER PARKING LOT / INT. DINER - DAY 45
45 EXT. DINER PARKING LOT / INT. DINER - DAY 45 Baby walks up to Doc. Shades firmly on. The hum continues. DOC I called three times. Something wrong? BABY
25 46
46 INT. DOC’S MERC - LATER 46
46 INT. DOC’S MERC - LATER 46
46 INT. DOC’S MERC - LATER 46 ‘Here We Go’ by Mister Scruff. Doc drives the Merc down a street with palm trees on either side. But this is not Sunset Boulevard. It’s Watts. Baby looks out of the window. His stomach sinking.
26 47
47 EXT. US POST OFFICE. WATTS - DAY 47
47 EXT. US POST OFFICE. WATTS - DAY 47
47 EXT. US POST OFFICE. WATTS - DAY 47 Doc pulls into a unremarkable strip mall that houses a post office. Construction is occurring nearby. The noise is disorienting. It is hot outside. Sticky. Close. DOC
27 48
48 INT. US POST OFFICE - DAY 48
48 INT. US POST OFFICE - DAY 48
48 INT. US POST OFFICE - DAY 48 Baby enters the post office. An alien environment to him. It’s an impersonal space. Like a bank, but without couches and complimentary coffee. A security guard is present. The counter is wide open, a heavy door protects the back room.
28 50
49 INT. DOC’S MERC - MOMENTS LATER 49
49 INT. DOC’S MERC - MOMENTS LATER 49
49 INT. DOC’S MERC - MOMENTS LATER 49 Baby jumps back in shotgun. Samm in the back. DOC So? BABY
29 51
50 INT. FREIGHT ELEVATOR - AFTERNOON 50
50 INT. FREIGHT ELEVATOR - AFTERNOON 50
50 INT. FREIGHT ELEVATOR - AFTERNOON 50 ‘Threshold’ by Steve Miller Band. CLUNK. The elevator doors close on Baby and Doc like a prison cell. Baby looks trapped as he and Doc go up in the world. DOC
30 52
51 INT. UNDECORATED LOFT - MOMENTS LATER 51
51 INT. UNDECORATED LOFT - MOMENTS LATER 51
51 INT. UNDECORATED LOFT - MOMENTS LATER 51 Walking through the doorway of Doc’s warehouse, we see what BATS He’s got tinnitus. A hum in his drum
31 56
52 INT. UNDECORATED LOFT - MOMENTS LATER 52
52 INT. UNDECORATED LOFT - MOMENTS LATER 52
52 INT. UNDECORATED LOFT - MOMENTS LATER 52 ‘This Is Soul’ by Paul Nero. Doc relates the plan on the chalkboard. Again Baby drowns this out with incongruously jazzy music in his ears. This time Baby only half watches. He looks up at the lights,
32 58
53 INT. ‘96 CADILLAC DEVILLE - NIGHT 53
53 INT. ‘96 CADILLAC DEVILLE - NIGHT 53
53 INT. ‘96 CADILLAC DEVILLE - NIGHT 53 ‘Nowhere To Run’ by Martha and the Vandellas. Baby drives. Bats in shotgun. Buddy and Darling in back. She sings along. She has some really good lungs. DARLING
33 60
55 INT./EXT. CADILLAC DEVILLE/OUTSIDE TRAIN YARD - EVENING 55
55 INT./EXT. CADILLAC DEVILLE/OUTSIDE TRAIN YARD - EVENING 55
55 INT./EXT. CADILLAC DEVILLE/OUTSIDE TRAIN YARD - EVENING 55 ‘Fog On The Hudson’ by Moondog. The gang wait in the dark outside a deserted train yard. Headlights off. It’s eerie quiet. Inside, everyone chews gum. Save for Baby who doesn’t look like he wants to play anymore.
34 63
57 INT. ABANDONED RAIL YARD - MOMENTS LATER 57
57 INT. ABANDONED RAIL YARD - MOMENTS LATER 57
57 INT. ABANDONED RAIL YARD - MOMENTS LATER 57 ‘Tequila’ by The Button Down Brass. Cowbells play in Baby’s ears. A bass part kicks in as - Our foursome approach the truck and the semi-circle of black SUVs with tinted windows. In the center of this gathering,
35 68
58 INT. SUV - NIGHT 58
58 INT. SUV - NIGHT 58
58 INT. SUV - NIGHT 58 The foursome drive in the newly acquired SUV. All are silent. Bats is still jonesing from the previous encounter. Baby drives past his usual DINER and subtly looks in to see if Debora is working. Before he can establish this -
36 69
59 INT. HALF EMPTY DINER - NIGHT 59
59 INT. HALF EMPTY DINER - NIGHT 59
59 INT. HALF EMPTY DINER - NIGHT 59 ‘When Something Is Wrong With My Baby’ by Sam & Dave. This song plays on the diner’s stereo system. Opens with - SAM & DAVE “When something is wrong with my baby,
37 74
60 INT. UNDECORATED LOFT - NIGHT 60
60 INT. UNDECORATED LOFT - NIGHT 60
60 INT. UNDECORATED LOFT - NIGHT 60 Doc enters. He’s instantly aware of - A mood. And three camps. Bats on the opposite side of the room to Buddy and Darling, while Baby lies on his makeshift bed in another part of the room, facing away. His headphones are on.
38 78
62 INT. UNDERGROUND PARKING P3 - NIGHT 62
62 INT. UNDERGROUND PARKING P3 - NIGHT 62
62 INT. UNDERGROUND PARKING P3 - NIGHT 62 Baby walks from the freight elevator to the SUV. He gets in. Starts up. But when he pulls out toward the exit. Buddy is waiting for him. Blocking his path. BUDDY
39 79
63 INT. UNDECORATED LOFT - MOMENTS LATER 63
63 INT. UNDECORATED LOFT - MOMENTS LATER 63
63 INT. UNDECORATED LOFT - MOMENTS LATER 63 A D90 audio cassette plays in the handheld recorder. Baby sits in the middle of the room. Forced to listen. We can hear the hum in his ears again, underlining the tense mood. Buddy and Bats stand over him. Bats has his gun out. Darling
40 81
64 INT./EXT. SUV - MOMENTS LATER 64
64 INT./EXT. SUV - MOMENTS LATER 64
64 INT./EXT. SUV - MOMENTS LATER 64 The hum in Baby’s ears underscores this section, adding uneasy menace as the SUV drives fast down deserted streets. Baby is in the back seat. Buddy drives. Bats is in shotgun with his gun lightly trained on Baby. Stereo is silent.
41 82
68 INT. UNDECORATED LOFT - LATER 68
68 INT. UNDECORATED LOFT - LATER 68
68 INT. UNDECORATED LOFT - LATER 68 Buddy and Bats stand over Baby at the tape recorder. Darling, again, is in the corner. He presses play. The montage that plays is a collage of almost all dialogue we’ve heard so far. A nonsense medley of crosscut dialogue. It
42 84
70 INT. UNDECORATED LOFT - EARLY MORNING 70
70 INT. UNDECORATED LOFT - EARLY MORNING 70
70 INT. UNDECORATED LOFT - EARLY MORNING 70 Doc enters to find Buddy, Darling & Bats dressed in civilian attire for the robbery. They look weirdly normal. DOC Where’s Baby?
43 84
72 INT. MITSUBISHI GALANT - DAY 72
72 INT. MITSUBISHI GALANT - DAY 72
72 INT. MITSUBISHI GALANT - DAY 72 ‘Music For The Head Ballet’ by The Bonzo Dog Doo Dah Band. A solo harpsichord plays a jolly fairground intro as the gang cruises down Century Boulevard. Very slowly. Baby listens to the music in his earphones as they reach the
44 86
73 EXT. US POST OFFICE. WATTS - DAY 73
73 EXT. US POST OFFICE. WATTS - DAY 73
73 EXT. US POST OFFICE. WATTS - DAY 73 ‘Intermission’ by Blur. A solo piano plays an endlessly descending melody. Baby pulls up into the strip mall. The place is quiet but everything feels bad. The heat, the traffic, the summer
45 89
74 EXT. THE STREETS OF WATTS - CONTINUOUS 74
74 EXT. THE STREETS OF WATTS - CONTINUOUS 74
74 EXT. THE STREETS OF WATTS - CONTINUOUS 74 The three of them disappear out of the back of the strip mall. Ducking into to a back alley. The sound of police boots and screeching tires gaining on them. They pound along the alley. Baby is first, looking crazy with
46 90
75 INT./EXT. RUNDOWN MALL - CONTINUOUS 75
75 INT./EXT. RUNDOWN MALL - CONTINUOUS 75
75 INT./EXT. RUNDOWN MALL - CONTINUOUS 75 Baby slides down banisters into the sunken ground level of a busy-ish shopping mall that has seen better days. Another crazed drum solo signals his fast descent down the stairs and mad dash right into a customer elevator going up.
47 91
79 EXT. RUNDOWN MALL PARKING LOT - CONTINUOUS 79
79 EXT. RUNDOWN MALL PARKING LOT - CONTINUOUS 79
79 EXT. RUNDOWN MALL PARKING LOT - CONTINUOUS 79 Baby races into the full lot, shaking off his new injury. He zeroes in on models of cars from the pre-immobilizer era. Spots a 91 Accord, a 95 Civic, a 2003 Corolla. As the cops burst into the parking lot, Baby disappears down
48 94
80 EXT. BACK ON THE STREETS OF WATTS - CONTINUOUS 80
80 EXT. BACK ON THE STREETS OF WATTS - CONTINUOUS 80
80 EXT. BACK ON THE STREETS OF WATTS - CONTINUOUS 80 We stay with Baby as he sprints through back alleys. The sirens and firing sounds fall away and the sound of blood in Baby’s eardrums gets louder and louder. Baby swaps his gun between hands and presses on his neck,
49 95
81 INT. BARE APARTMENT - LATER 81
81 INT. BARE APARTMENT - LATER 81
81 INT. BARE APARTMENT - LATER 81 The Elderly Man asleep in front of the TV news. On it: live helicopter footage of Buddy carjacking a Red Durango as he battles police in the streets. The window is open and we can hear ‘Radar Love’ playing even
50 97
84 EXT. APARTMENT BLOCK - CONTINUOUS 84
84 EXT. APARTMENT BLOCK - CONTINUOUS 84
84 EXT. APARTMENT BLOCK - CONTINUOUS 84 And heads down. Behind him gunfire, massed sirens, ‘copters. Baby puts his ear phones in. Spins the wheel on this (older) iPod. Gets half way down the escape, jumps to the next roof- Hides behind a stairwell exit on the next roof and finds a
51 98
86 EXT. RETIREMENT HOME - EVENING 86
86 EXT. RETIREMENT HOME - EVENING 86
86 EXT. RETIREMENT HOME - EVENING 86 Baby pulls up outside a sign reading ‘Holiday Villa’. A well lit path through verdant gardens leads to the entrance. The Elderly Man is asleep in shotgun. Baby looks at him sadly. He takes the Dictaphone and records the following.
52 99
88 EXT. HALF EMPTY DINER - NIGHT 88
88 EXT. HALF EMPTY DINER - NIGHT 88
88 EXT. HALF EMPTY DINER - NIGHT 88 ‘Never Never Gonna Give You Up’ by Barry White. The welcoming neon lights of the diner reflect on Baby’s windshield as he pulls up to the shuffling groove.
53 102
90 INT./EXT. CALLBOX/ PARK - NIGHT 90
90 INT./EXT. CALLBOX/ PARK - NIGHT 90
90 INT./EXT. CALLBOX/ PARK - NIGHT 90 “3108045898” Baby punches the number into a call box phone. He’s in the park near his old apartment block. That area is cordoned and swarming with cops. As the phone rings he looks at his
54 103
91 INT./EXT. PHONE BOX/DOC’S - NIGHT 91
91 INT./EXT. PHONE BOX/DOC’S - NIGHT 91
91 INT./EXT. PHONE BOX/DOC’S - NIGHT 91 Doc laughs, incredulous. He shakes his head. DOC It don’t work like that. You got another debt now. One you can’t pay
55 106
92 EXT. PARK - NIGHT 92
92 EXT. PARK - NIGHT 92
92 EXT. PARK - NIGHT 92 Baby sits on a low wall, deciphering that last phone call. He has a portable cassette player and rewinds Doc’s command. DOC (ON TAPE) You’re going to go to the florist’s
56 108
93 EXT. DOWNTOWN STREETS - NIGHT 93
93 EXT. DOWNTOWN STREETS - NIGHT 93
93 EXT. DOWNTOWN STREETS - NIGHT 93 Baby drives through the eerily dead business sector. 94 INT. UNDERGROUND PARKING P3 - NIGHT 94 Baby parking the Mustang in his usual spot. The parking lot is mostly empty. Save a couple of cars.
57 114
98 INT. UNDERGROUND PARKING P2 - MOMENTS LATER 98
98 INT. UNDERGROUND PARKING P2 - MOMENTS LATER 98
98 INT. UNDERGROUND PARKING P2 - MOMENTS LATER 98 Baby pulls up to the wreckage of Buddy’s Charger. It rests on top of his crushed Mustang. The driver door of the trashed charger is obscured. We hear the engine hiss and die. Baby jumps out of his car and reaches into the Mustang. Pulls
58 116
99 INT. CAR - DAY 99
99 INT. CAR - DAY 99
99 INT. CAR - DAY 99 Sunlight. Baby is out cold. He looks bad. Cut, bruised. His damaged hand is bandaged with whatever rag was in the car. He wakes and sits up. He still cannot hear. But he can see. The diner. He is parked right outside.
59 118
102 INT./EXT. BABY’S CAR/LA STREETS 102
102 INT./EXT. BABY’S CAR/LA STREETS 102
102 INT./EXT. BABY’S CAR/LA STREETS 102 ‘Lalo Bossa Nova’ by Quincy Jones. A skipping Latin bossa nova beat. Cowbell. Shakers. Tambos. The sun is out. Sky is blue. Some clouds ahead. Baby plays Quincy Jones at FULL VOLUME. He can’t hear it, but
60 120
103 INT. BABY’S CELL - DAY 103
103 INT. BABY’S CELL - DAY 103
103 INT. BABY’S CELL - DAY 103 On Baby, sitting alone in his cell, staring out to nothing. A guard comes past and hands him an envelope. Inside is a postcard with a 50s style illustration of a young couple in a classic convertible, just like the artwork in the
INT EXT INT/EXT tap to expand

Baby Driver

A young getaway driver who uses music to drown out his tinnitus and past trauma must pull off one last heist to buy his freedom, but his crew's psychopathic new member and a vengeful survivor force him into a violent standoff that threatens everyone he loves.

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Overview

Poster
Unique Selling Proposition

Rhythmic, POV‑driven set pieces where editing, stunt work, and diegetic needle drops lock together—plus a tinnitus point‑of‑hearing and a moral arc that climaxes in action with the hero choosing surrender over escape.

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.
Synthesis Where readers agree and split
8.1

A championable elevated commercial script whose singular music-synced formal conceit sustains strong advocacy despite a midsection causal break and an underbuilt romance that require targeted revision.

Read as Elevated commercial Crime Action Thriller

An elevated commercial crime thriller that bets its identity on a music-as-grammar formal conceit, asking the reader to accept that song structure and sonic rhythm can carry the emotional and structural work that dialogue typically does.

Readers split on secondary lane and emotional depth tolerance: three read this as elevated commercial requiring friction-tested character work, while two see it as mainstream/polish-ready where broad archetypes serve the kinetic fable. The split traces to how much explicit interiority the stylized register can sustain before losing its momentum.

Would readers champion it?
Not yetNot yetReaders wouldn’t actively push for it.
WeaklyWeaklyMentioned, but no real push behind it.
ModeratelyModeratelyMentioned favorably to the right buyer.
StronglyStronglyActively championed across their network.
DeepSeekModeratelyGrokModeratelyClaudeStronglyGPT5StronglyGeminiStrongly
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 rewriteGPT5Targeted rewriteGrokTargeted rewriteGeminiJust polish
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.
DeepSeekDistinctiveGPT5DistinctiveGrokDistinctiveClaudeOne-of-a-kindGeminiOne-of-a-kind

On the score: The score sits between two verdicts — small changes in either direction could flip it.

What's working All 5 readers agree

The music-as-grammar structural conceit is executed with a consistency and formal control that is genuinely rare, creating a reading experience that is distinct, thrilling, and highly marketable.

What's blocking 4 of 5 readers agree

The Debora relationship and midsection causal break are too thin to carry the emotional weight the resolution asks of them, which means the script's final image arrives without the character work to make it land as earned.

Why not lower

The formal conceit is executed with enough consistency and control that the script reads as a genuinely distinctive piece of work even where the emotional spine is thin, sustaining advocacy despite structural gaps.

Why not higher

The midsection causal break and underbuilt romance are not polish problems but targeted structural gaps that prevent the script from fully delivering on its emotional ambition, stopping it short of a higher band.

Fix-first · Protect-while-fixing · Reader splits · Quick credibility wins
Rewrite map

A script with a singular, music-driven formal conceit that needs targeted work on midsection causal pressure and the Debora relationship to fully earn its third-act emotional payoff.

Read as Elevated commercial

Start here

Re-anchoring Baby's post-midpoint desire through a single concrete choice that visibly alters his behavior in subsequent scenes will restore sequence-to-sequence traction and naturally create the causal pressure needed to deepen the Debora relationship without adding conventional exposition.

Protect while fixing 1
Music-as-grammar structural conceit

Addressing the midsection pressure and romance gaps risks introducing conventional dialogue or explicit interiority that would overwrite the rhythmic, music-driven staging that currently carries the script's identity.

When tightening causal chains or adding friction to the romance, embed new beats within the existing music POV and rhythmic spacing rather than switching to standard dialogue-driven exposition.

Fix first 3
Midsection causal pressure and protagonist desire break

The reader loses forward pull as sequences stack tension without handing off a new objective, making the second half feel like a series of thrilling interludes rather than a tightening vice.

Root cause

After the initial job cycle, the script does not re-clarify Baby's governing desire or install a replacement want, leaving his actions reactive and the narrative spine diffuse.

One direction

One path is to anchor Baby's post-midpoint pursuit through a single concrete choice or consequence that visibly alters his behavior in subsequent scenes, restoring sequence-to-sequence traction.

Debora relationship underbuilt as emotional anchor

The reader struggles to invest in the romance as a partnership, making the climax and surrender feel more like a tonal conclusion than an emotionally earned decision.

Root cause

The script uses Debora primarily as a symbol of escape and musical affinity rather than a pressured counterpart with her own desires, leaving the relationship without friction or tested alignment.

One direction

One path is to give Debora a specific, concrete desire or boundary that collides with Baby's world, forcing both to reveal values beyond music and making her final choice to wait for him read as a decision rather than a given.

Third-act emotional compression and antagonist flattening Readers disagree on cause

The reader experiences the climax and resolution as a sequence of events rather than an emotional arc, with the antagonist shifting from a psychological foil to a purely physical obstacle.

Root cause

The script compresses the emotional reckoning into a sprint while stripping the primary antagonist of his established voice, prioritizing kinetic survival over character payoff.

One direction

One path is to preserve the antagonist's verbal manipulation or psychological warfare during the final pursuit, or insert a single beat before the surrender that makes Baby's internal turn legible without relying on plot mechanics.

Your decisions 1
Protagonist interiority: explicit desire articulation vs. music-driven withholding Consequential
Side A

Committing to explicit desire means adding scenes or beats where Baby states or acts on a clear goal, tightening causal pressure but risking conventional exposition that could dilute the stylized register.

Side B

Committing to music-driven withholding means trusting the rhythmic staging, tinnitus motif, and non-verbal physicality to carry internal state, preserving stylistic purity but requiring tighter consequence handoffs to maintain momentum.

Quick credibility wins 1
Overwritten action emphasis and parentheticals

Strip the caps-for-emphasis and delivery-directing parentheticals from action lines, trusting the rhythmic prose and choreographed staging to carry the intensity without typographic shouting.

Ask AI about this read
Story Facts
Genres:
Crime 70% Action 60% Drama 40% Romance 25% Thriller 30%

Setting: Modern day, Los Angeles, California, primarily in urban areas, including a diner, parking structures, and various streets.

Themes: Escape and Redemption, Music as a Coping Mechanism and Identity, Love and Connection, Violence and Its Consequences, Father Figures and Mentorship, Loyalty and Betrayal, Freedom and Confinement

Conflict & Stakes: Baby's struggle to escape his criminal past while protecting those he loves, particularly Debora, amidst violent heists and police pursuits.

Mood: Energetic and tense, with moments of romance and introspection.

Standout Features:

  • Unique Hook: The integration of music into the narrative, where Baby's driving and actions sync with the soundtrack, creating a rhythmic experience.
  • Plot Twist: The revelation of Baby's traumatic past and its impact on his present choices, particularly in relation to his relationships.
  • Distinctive Setting: The vibrant and chaotic urban landscape of Los Angeles, which serves as both a backdrop and a character in its own right.
  • Innovative Ideas: The use of a deaf protagonist who experiences the world through music, adding depth to the character and the storytelling.
  • Genre Blends: A mix of action, crime, romance, and musical elements that appeals to a diverse audience.

Comparable Scripts: Drive (2011), The Driver (1978), Reservoir Dogs (1992), The Blues Brothers (1980), Pulp Fiction (1994), Heat (1995), Point Break (1991), Snatch (2000), Mad Max: Fury Road (2015), La Haine (1995)

How 5 AI Readers Scored The Script

Graded as Elevated commercial
Claude GPT5 Gemini DeepSeek Grok Average spread Row tint: weak mid strong excellent
Premise i
8.4
Plot i
7.4
Structure i
8.0
Character i
7.0
Dialogue i
7.2
Tone / Voice i
9.2
Theme i
7.4
Marketability i
8.4

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: 8.76
Key Suggestions:
The screenplay’s greatest strength is its innovative music–action integration, but to elevate it further, focus on deepening character agency—especially for Debora and Joseph. Give Debora proactive choices in the second half (e.g., hiding a clue, stalling Buddy) so she transitions from a reactive love interest to an active partner. Joseph needs a moment of wisdom or defiance in sign language to make his farewell more impactful. Also, address dialogue subtext: replace on-the-nose exposition (scenes 5, 14, 29, 53) with layered, character-specific lines that reveal through tension rather than telling. Finally, slow down the emotional aftermath of Baby’s deafness—a brief scene where he struggles to feel the music from memory would make his sacrifice more tangible and the reunion more earned.
> Go to Screenplay Insights
Story Critique

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

Key Suggestions:
The script's greatest strength is the rhythmic integration of music and action, creating a unique cinematic language. However, to elevate the craft, deepen the consequences of Baby's choices—especially his deafness and the trauma he witnesses—so the ending doesn't feel too neat. Streamline the middle act by reducing repetitive heist planning and give underutilized characters like Griff and J.D. more weight before their exits. Ensure that every set piece serves character progression, not just spectacle.
> Go to Story Critique
Characters

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

Key Suggestions:
The character analysis highlights strong foundations for Baby, Buddy, and Doc, but reveals critical opportunities to deepen secondary characters and their motivations. Doc's sudden shift from cold businessman to sacrificial mentor in scene 54 lacks internal setup—add a moment of hesitation or visual cue (e.g., a photo) to make his choice feel organic. Bats' violence, while effective, would gain menace from a clearer trigger (e.g., a perceived threat from the Butcher). Most importantly, Debora remains one-dimensional; her role as love interest can be strengthened by a brief backstory (e.g., a failed relationship) or a moment of agency (e.g., lying to protect Baby) to make her more than a plot device. These refinements will elevate the script from a stylish thriller into a character-driven story with lasting emotional resonance.
> Go to Characters
Emotional Analysis

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

> Go to Emotional Analysis
Goals and Philosophical Conflict

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

Key Suggestions:
The analysis highlights a strong arc where Baby evolves from a passive escapist to an active seeker of redemption. To strengthen the script, ensure that each major scene explicitly reinforces the tension between his desire for freedom (through music and crime) and his growing sense of responsibility (to Debora, the Elderly Man, and his own conscience). The philosophical conflict of Freedom vs. Responsibility is the engine of the story—make it resonate in every choice Baby makes, especially in the climactic confrontation with Buddy and the police. Consider tightening the transition from internal to external goals so that the audience feels the weight of his sacrifice when he finally chooses responsibility over escape.
> Go to Goals and Philosophical Conflict
Themes

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

Key Suggestions:
The script’s strength lies in its tightly woven themes, where music as a coping mechanism, love, and violence all reinforce the protagonist’s journey from crime to redemption. To enhance the craft, consider deepening the contrast between father figures (Doc vs. Joseph) to make Baby’s moral choice more visceral. Also, ensure that Baby’s evolving relationship with music—from a tool of escape to something he can share or let go of—is more explicitly tied to his emotional growth, especially in the prison and post-release scenes. The current analysis shows all themes serve the primary arc, but sharpening these connections will give the screenplay even greater emotional resonance.
> Go to Themes
Logic & Inconsistencies

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

Key Suggestions:
The script's structural strengths—synchronized sound, kinetic set-pieces, tight pacing—are undermined by character choices that bend logic for convenience (e.g., Baby leaving Joseph then returning, Debora’s whiplash trust) and plot mechanics that contradict established facts (e.g., Farmers surviving a shootout that explicitly left them dead). To elevate the craft, prioritize character consistency: let Debora’s caution pay off in a slower, earned decision, and ensure Baby’s protective instincts toward Joseph are unwavering. Resolve the Farmers’ resurrection by either adjusting the earlier scene count or adding a clear survival explanation. Trim redundant elements (the second coffee run, extended montages) to keep the drive propulsive. Finally, ground the epilogue by clarifying whether it’s fantasy or reality—if literal, reconcile the tone with the brutal preceding acts.
> Go to Logic & Inconsistencies

Scene Analysis

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

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

Other Analyses

Writer Exec

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

Unique Voice

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

Key Suggestions:
The analysis highlights your signature voice: music-infused, rhythmic prose that syncs action with sound, creating a cinematic, immersive experience. To build on this, consider varying your musical grammar to avoid predictability—experiment with silence or offbeat rhythms to heighten tension. Also, deepen character expression through musical choices: each character could have a distinct sonic signature that evolves with their arc. The playful tone is a strength, but ensure it never undercuts genuine emotional stakes, especially in moments of trauma or loss.
> Go to Unique Voice
Writer's Craft

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

Key Suggestions:
The screenplay has strong stylistic flair and a unique music-synced grammar, but it urgently needs deeper narrative tension and emotional stakes. Every scene should contain active conflict and personal opposition to Baby's goals. Avoid letting style substitute for story; focus on dramatizing Baby's internal state through behavior and subtext rather than exposition. Strengthen character agency by giving Baby active choices that drive his arc, even in small moments.
> Go to Writer's Craft
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
> Go to Memorable Lines
Tropes
Highlights common or genre-specific tropes found in the script.
> Go to Tropes
World Building

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

Key Suggestions:
The world-building is richly textured with a music-driven, retro aesthetic that deeply integrates into character and plot. To strengthen the script, ensure that the environment—from the gritty LA locations to the iconic diner and apartment—consistently mirrors Baby's emotional arc. The physical spaces should evolve as he moves from entrapment to liberation, perhaps by making the diner a symbol of innocence that gradually becomes tainted by violence. Additionally, the technology (iPods, cassette recorders) must remain a seamless storytelling tool; avoid over-reliance on syncing to avoid feeling gimmicky, and explore more tactile, sensory details to ground the deaf motif.
> Go to World Building
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The analysis found no significant scene pattern correlations, which may indicate that the script's scenes lack structural cohesion or thematic connectivity. To strengthen the narrative, consider ensuring each scene advances plot, character, or theme in a meaningful way, and look for opportunities to create echoes or parallels between scenes. This will help build a more integrated, satisfying story arc.
> Go to Correlations
Loglines
Presents logline variations based on theme, genre, and hook.
> Go to Loglines