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Scene 1 -  The Apartment
  • Overall: 8.0
  • Concept: 6
  • Plot: 8
  • Characters: 7
  • Dialogue: 7
The Apartment
by
Billy Wilder
&
I.A.L. Diamond




Converted by D'Bear for pdfscreenplays.net
FADE IN:

A DESK COMPUTER

A man's hand is punching out a series of figures on the
keyboard.

BUD (V.O.)
On November first, 1959, the
population of New York City was if
you laid all these people end to
end, figuring an average height of
five feet six and a half inches,
they would reach from Times Square
to the outskirts of Karachi,
Pakistan. I know facts like this
because I work for an insurance
company --

THE INSURANCE BUILDING - A WET, FALL DAY

It's a big mother, covering a square block in lower
Manhattan, all glass and aluminum, jutting into the leaden
sky.

BUD (V.O.)
-- Consolidated Life of New York.
We are one of the top five
companies in the country -- last
year we wrote nine-point-three
billion dollars worth of policies.
Our home office has 31,259
employees -- which is more than the
entire population of Natchez,
Mississippi, of Gallup, New Mexico.

INT. NINETEENTH FLOOR

Acres of gray steel desk, gray steel filing cabinets, and
steel-gray faces under indirect light. One wall is lined
with glass-enclosed cubicles for the supervisory personnel.
It is all very neat, antiseptic, impersonal. The only human
tough is supplied by a bank of IBM machines, clacking away
cheerfully in the background.

BUD (V.O.)
I work on the nineteenth floor --
Ordinary Policy Department -
Premium Accounting Division -
Section W -- desk number 861.




(CONTINUED)
2.
CONTINUED:

DESK 861

Like every other desk, it has a small name plate attached to
the side. This one reads C.C. BAXTER.

BUD (V.O.) (CONT’D)
My name is C.C. Baxter - C. for
Calvin, C. for Clifford -- however,
most people call me Bud. I've been
with Consolidated Life for three
years and ten months. I started in
the branch office in Cincinnati,
then transferred to New York. My
take-home pay is $94.70 a week, and
there are the usual fringe
benefits.

BAXTER is about thirty, serious, hard-working, unobtrusive.
He wears a Brooks Brothers type suit, which he bought
somewhere on Seventh Avenue, upstairs. There is a stack of
perforated premium cards in front of him, and he is totaling
them on the computing machine. He looks off.

ELECTRIC WALL CLOCK

It shows 5:19. With a click, the minute hand jumps to 5:20,
and a piercing bell goes off.

BUD (V.O.)
The hours in our department are to
5:20 --

FULL SHOT - OFFICE

Instantly all work stops. Papers are being put away,
typewriters and computing machines are covered, and everybody
starts clearing out. Within ten seconds, the place is empty -
- except for Bud Baxter, still bent over his work, marooned
in a sea of abandoned desks.

BUD (V.O.)
-- they're staggered by floors, so
that sixteen elevators can handle
the 31,259 employees without a
serious traffic jam. As for
myself, I very often stay on at the
office and work for an extra hour
or two -- especially when the
weather is bad. It's not that I'm
overly ambitious -- it's just a way
of killing time, until it's all
right for me to go home.
(MORE)


(CONTINUED)
3.
CONTINUED:
BUD (V.O.) (CONT'D)
You see, I have this little problem
with my apartment --

DISSOLVE TO:

STREET IN THE WEST SIXTIES - EVENING

Bud, wearing a weather-beaten Ivy League raincoat and a
narrow-brimmed brown hat, comes walking slowly down the
street skirting the puddles on the sidewalk. He stops in
front of a converted brownstone, looks up.

BUD (V.O.)
I live in the West Sixties - just
half a block from Central Park. My
rent is $84 a month. It used to be
eighty until last July when Mrs.
Lieberman, the landlady, put in a
second-hand air conditioning unit.

The windows on the second floor are lit, but the shades are
drawn. From inside drifts the sound of cha cha music.

BUD (V.O.) (CONT’D)
It's a real nice apartment -
nothing fancy -- but kind of cozy --
just right for a bachelor. The only
problem is - I can't always get in
when I want to.
Genres: ["drama","comedy"]

Summary Bud Baxter is a hard-working insurance employee who lives in a cozy apartment in the West Sixties. He has a little problem with his apartment and has to stay at work until it's safe to go home.
Strengths "Satirical tone and witty narration"
Weaknesses "Lack of conflict and emotional depth."
Critique As a screenwriting expert, I would say that this scene is a strong opening for the film, The Apartment. The use of voiceover narration offers a clear introduction to the protagonist, Bud Baxter, and his job at an insurance company. The contrast between the bustling New York City streets and the sterile office environment works to create a sense of isolation for Baxter, further emphasized by his commitment to working overtime just to pass the time.

The description of Baxter's apartment adds another layer to his character, showcasing his practical nature and modest lifestyle. The scene effectively establishes the setting and tone of the film, setting up potential conflicts to come in Baxter's life. Overall, the scene is well written, concise, and engaging, setting up the story and character effectively.
Suggestions Overall, the scene is well-written and sets up the protagonist and his world nicely. However, a few suggestions to improve the scene could be:

- Consider tightening up some of the narration. For example, in the first few lines, it might be more concise to say "On November 1, 1959, the population of New York City was [...]". This would help keep the pacing of the scene moving quickly.
- Consider adding more visual description to the office setting. Currently, the setting is described mostly through dialogue, so some more details about the environment would help the audience visualize it better.
- To add more tension, consider having some other characters in the office notice Bud working late and making comments or judgments about it. This could add more conflict to his internal struggle with loneliness and boredom.
- Consider having some visual cues to show Bud's frustration about not being able to get into his apartment. For example, showing him trying and failing to open the door, or showing him pacing in front of the building. This would add more visual interest to the scene and show more of Bud's character.



Scene 2 -  The Love Nest
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 7
  • Dialogue: 8
INT. THE APARTMENT - EVENING

What used to be the upstairs parlor of a one-family house in
the early 1900's has been chopped up into living room,
bedroom, bathroom and kitchen. The wallpaper is faded, the
carpets are threadbare, and the upholstered furniture could
stand shampooing.

There are lots of books, a record player, stacks of records,
a television set (21 inches and 24 payments), unframed prints
from the Museum of Modern Art (Picasso, Braque, Klee) tacked
up on the walls. Only one lamp is lit, for mood, and a cha
cha record is spinning around on the phonograph.

On the coffee table in front of the couch are a couple of
cocktail glasses, a pitcher with some martini dregs, an
almost empty bottle of vodka, a soup bowl with a few melting
ice cubes at the bottom, some potato chips, an ashtray filled
with cigar stubs and lipstick-stained cigarette butts, and a
woman's handbag.




(CONTINUED)
4.
CONTINUED:

MR. KIRKEBY, a dapper, middle-aged man, stands in front of
the mirror above the fake fireplace, buttoning up his vest.
He does not notice that the buttons are out of alignment.

KIRKEBY
(calling off)
Come on, Sylvia. It's getting
late.

SYLVIA, a first baseman of a dame, redheaded and saftig,
comes cha cha-ing into the room, trying to fasten a necklace
as she hums along with the music. She dances amorously up to
Kirkeby.

KIRKEBY (CONT’D)
Cut it out, Sylvia. We got to get
out of here.

He helps her with the necklace, then turns off the
phonograph.

SYLVIA
What's the panic? I'm going to
have another martooni.

She crosses to the coffee table, starts to pour the remnants
of the vodka into the pitcher.

KIRKEBY
Please, Sylvia! It's a quarter to
nine!

SYLVIA
(dropping slivers of ice
into the pitcher)
First you can't wait to get me up
here, and now -- rush, rush, rush!
Makes a person feel cheap.

KIRKEBY
Sylvia -- sweetie -- it's not that -
- but I promised the guy I'd be out
of here by eight o'clock,
positively.

SYLVIA
(pouring martini)
What guy? Whose apartment is this,
anyway?




(CONTINUED)
5.
CONTINUED: (2)

KIRKEBY
(exasperated)
What's the difference? Some
schnook that works in the office.

EXT. BROWNSTONE HOUSE - EVENING

Bud is pacing back and forth, throwing an occasional glance
at the lit windows of his apartment. A middle-aged woman
with a dog on a leash approaches along the sidewalk. She is
MRS. LIEBERMAN, the dog is a Scottie, and they are both
wearing raincoats. Seeing them, Bud leans casually against
the stoop.

MRS. LIEBERMAN
Good evening, Mr. Baxter.

BUD
Good evening, Mrs. Lieberman.

MRS. LIEBERMAN
Some weather we're having. Must be
from all the meshugass at Cape
Canaveral.
(she is half-way up the
steps)
You locked out of your apartment?

BUD
No, no. Just waiting for a friend.
Good night, Mrs. Lieberman.

MRS. LIEBERMAN
Good night, Mr. Baxter.

She and the Scottie disappear into the house. Bud resumes
pacing, his eyes on the apartment windows. Suddenly he stops
-- the lights have gone out.

INT. SECOND FLOOR LANDING - EVENING

Kirkeby, in coat and hat, stands in the open doorway of the
darkened apartment.

KIRKEBY
Come on -- come on, Sylvia!

Sylvia comes cha cha-ing out, wearing an imitation Persian
lamb coat, her hat askew on her head, bag, gloves, and an
umbrella in her hand.




(CONTINUED)
6.
CONTINUED:

SYLVIA
Some setup you got here. A real,
honest-to-goodness love nest.

KIRKEBY
Sssssh.

He locks the door, slips the key under the doormat.

SYLVIA
(still cha cha-ing)
You're one button off, Mr. Kirkeby.

She points to his exposed vest. Kirkeby looks down, sees
that the buttons are out of line. He starts to rebutton them
as they move down the narrow, dimly-lit stairs.

SYLVIA (CONT’D)
You got to watch those things.
Wives are getting smarter all the
time. Take Mr. Bernheim -- in the
Claims Department -- came home one
night with lipstick on his shirt --
told his wife he had a shrimp
cocktail for lunch -- so she took
it out to the lab and had it
analyzed -- so now she has the
house in Great Neck and the
children and the new Jaguar --

KIRKEBY
Don't you ever stop talking?
Genres: ["comedy","romance","drama"]

Summary Kirkeby and Sylvia, having just finished a rendezvous at Bud's apartment, race to leave before Bud returns. Meanwhile, Bud paces outside, waiting for his apartment to clear so that he can return.
Strengths "The scene has a great sense of humor and is carried by the witty dialogue between Kirkeby and Sylvia. The setting and details help to develop the tone and genre."
Weaknesses "The scene is mostly exposition and setting up character relationships for later in the story."
Critique Overall, this scene does a good job of setting the stage and establishing character through dialogue and action. However, there are a few areas that could be improved:

1. Description: While the scene sets the stage well with descriptions of the apartment and its contents, there is little description of the characters themselves. Including a few more details about their appearance and demeanor could help bring the scene to life even more.

2. Dialogue: The dialogue feels a bit stilted at times, particularly in Kirkeby's expository line about the "schnook that works in the office." This could be rephrased in a more natural way to make it feel less forced.

3. Pacing: While there is some tension between Kirkeby and Sylvia about leaving the apartment on time, the scene could benefit from a bit more urgency and momentum. Perhaps there could be a more immediate threat or deadline looming to ramp up the stakes.

Overall, this scene is a solid start and could be improved with a bit more attention to detail and pacing.
Suggestions One possible suggestion to improve this scene is to create more tension and conflict between the characters. Right now, it all feels too casual and lacking in stakes. Perhaps there could be more urgency in Kirkeby's need to leave, and more resistance from Sylvia. Additionally, there could be more clues or hints about why Kirkeby needs to leave so quickly, adding a layer of mystery or intrigue to the scene. Another suggestion could be to use more dynamic visuals and cinematography to make the scene visually interesting and engaging. For example, using close-up shots of the characters' faces or using interesting camera angles to create a sense of unease or tension. Finally, there could be more attention paid to developing the characters and their relationships, giving the audience more reason to care about their interactions and conflicts.



Scene 3 -  Kirkeby and Sylvia Exit
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 8
EXT. BROWNSTONE HOUSE - EVENING

Bud, standing on the sidewalk, sees the front door start to
open. He moves quickly into the areaway, almost bumping into
the ashcans, stands in the shadow of the stoop with his back
turned discreetly toward Kirkeby and Sylvia as they come down
the steps.

KIRKEBY
Where do you live?

SYLVIA
I told you -- with my mother.

KIRKEBY
Where does she live?

SYLVIA
A hundred and seventy-ninth street -
- the Bronx.


(CONTINUED)
7.
CONTINUED:

KIRKEBY
All right -- I'll take you to the
subway.

SYLVIA
Like hell you will. You'll buy me
a cab.

KIRKEBY
Why do all you dames have to live
in the Bronx?

SYLVIA
You mean you bring other girls up
here?

KIRKEBY
Certainly not. I'm a happily
married man.

They move down the street. Bud appears from the areaway,
glances after them, then mounts the steps, goes through the
front door.

INT. VESTIBULE - EVENING

There are eight mailboxes. Bud opens his, takes out a
magazine in a paper wrapper and a few letters, proceeds up
the staircase.

INT. SECOND FLOOR LANDING - EVENING

Bud, glancing through his mail, comes up to the door of his
apartment. As he bends down to lift the doormat, the door of
the rear apartment opens and MRS. DREYFUSS, a jovial well-fed
middle-aged woman, puts out a receptacle full of old papers
and empty cans. Bud looks around from his bent position.

BUD
Oh. Hello there, Mrs. Dreyfuss.

MRS. DREYFUSS
Something the matter?

BUD
I seem to have dropped my key.
(faking a little search)
Oh -- here it is.

He slides it out from under the mat, straightens up.




(CONTINUED)
8.
CONTINUED:

MRS. DREYFUSS
Such a racket I heard in your place
-- maybe you had burglars.

BUD
Oh, you don't have to worry about
that -- nothing in there that
anybody would want to steal...
(unlocking door quickly)
Good night, Mrs. Dreyfuss.

He ducks into the apartment.
Genres: ["drama","romance","comedy"]

Summary Bud Baxter waits outside his apartment as Kirkeby and Sylvia leave after a rendezvous. Bud goes inside and encounters his talkative neighbor, Mrs. Dreyfuss.
Strengths "The dialogue is witty and adds to the plot development. The tension in Bud waiting for his apartment to be cleared creates suspense for the viewer."
Weaknesses "The scene does not have a significant impact on the overall story. The emotional impact and character changes are minimal."
Critique This scene has a few issues that could be addressed to make it stronger and more engaging for audiences. Firstly, there is a lack of clear stakes or conflict - it's not immediately clear why we should care about Bud or what he's trying to achieve. A clearer sense of motivation would help to draw the audience in and make them invested in the scene.

Additionally, the dialogue is a bit flat and lacking in subtext. There's no real tension or subtext to Kirkeby and Sylvia's conversation, and the dialogue between Bud and Mrs. Dreyfuss feels a bit forced and unnatural.

Finally, the scene could benefit from more visual and sensory details. As it's currently written, it's very focused on dialogue, which can make it feel a bit static and unengaging. More attention to setting, lighting, and other visual details could help to create a more immersive and dynamic scene.
Suggestions There are a few suggestions for improving this scene:

1. Add more description: The scene lacks sensory details that can create a richer visual experience for the reader. Consider describing the smell of the ashcans that Bud almost bumps into, the sound of Kirkeby and Sylvia's footsteps as they move down the street, or the texture of the magazine and letters Bud takes from his mailbox.

2. Introduce the protagonist earlier: Bud is the main character, but he doesn't appear until halfway through the scene. To establish him as the protagonist, consider starting the scene with him watching Kirkeby and Sylvia from across the street, or having him interact with Mrs. Dreyfuss before Kirkeby and Sylvia walk by.

3. Add conflict: The conversation between Kirkeby and Sylvia is straightforward and doesn't reveal much about their characters or the story. Consider adding tension or conflict that can reveal more about their personalities and their relationship. For example, maybe Sylvia is angry with Kirkeby for ignoring her all night, or maybe Kirkeby is trying to convince her to come back to his apartment.

4. Establish setting: The scene takes place outside a brownstone house and in Bud's apartment, but there is no description of the surroundings or the building itself. To give the scene a stronger sense of place, consider describing the architecture of the brownstone or the decor of Bud's apartment.

5. End on a stronger note: The scene ends suddenly with Bud entering his apartment, but there is no sense of closure or resolution. Consider ending the scene with a cliffhanger or a revelation that can propel the story forward. For example, maybe Bud sees something suspicious in his apartment or overhears a conversation in the hallway.



Scene 4 -  Bud's Late Night Clean Up
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. THE APARTMENT - EVENING

Bud snaps on the lights, drops the mail and the key on a
small table, looks around with distaste at the mess his
visitors have left behind. He sniffs the stale air, crosses
to the window, pulls up the shade, opens it wide.

Now he takes off his hat and raincoat, gathers up the remains
of the cocktail party from the coffee table. Loaded down
with glasses, pitcher, empty vodka bottle, ice bowl and
potato chips, he starts toward the kitchen.

The doorbell rings. Bud stops, undecided what to do with the
stuff in his hands, then crosses to the hall door, barely
manages to get it open. Mr. Kirkeby barges in past him.

KIRKEBY
The little lady forgot her
galoshes.

He scours the room for the missing galoshes.

BUD
Mr. Kirkeby, I don't like to
complain -- but you were supposed
to be out of here by eight.

KIRKEBY
I know, Buddy-boy, I know. But
those things don't always run on
schedule -- like a Greyhound bus.

BUD
I don't mind in the summer -- but
on a rainy night -- and I haven't
had any dinner yet --




(CONTINUED)
9.
CONTINUED:

KIRKEBY
Sure, sure. Look, kid -- I put in
a good word for you with Sheldrake,
in Personnel.

BUD
(perking up)
Mr. Sheldrake?

KIRKEBY
That's right. We were discussing
our department -- manpower-wise --
and promotion-wise --
(finds the galoshes behind
a chair)
-- and I told him what a bright boy
you were. They're always on the
lookout for young executives.

BUD
Thank you, Mr. Kirkeby.

KIRKEBY
(starting toward door)
You're on your way up, Buddy-boy.
And you're practically out of
liquor.

BUD
I know. Mr. Eichelberger -- in the
Mortgage Loan Department -- last
night he had a little Halloween
party here --

KIRKEBY
Well, lay in some vodka and some
vermouth -- and put my name on it.

BUD
Yes, Mr. Kirkeby. You still owe me
for the last two bottles --

KIRKEBY
I'll pay you on Friday.
(in the open doorwaY)
And whatever happened to those
little cheese crackers you used to
have around?

He exits, shutting the door.




(CONTINUED)
10.
CONTINUED: (2)

BUD
(making a mental note)
Cheese crackers.

He carries his load into the kitchen. The kitchen is minute
and cluttered. On the drainboard are an empty vermouth
bottle, some ice-cube trays, a jar with one olive in it, and
a crumpled potato-chip bag. Bud comes in, dumps his load on
the drainboard, opens the old-fashioned refrigerator. He
takes out a frozen chicken dinner, turns the oven on, lights
it with a match, rips the protective paper off the aluminum
tray and shoves it in. Now he starts to clean up the mess on
the drainboard.

He rinses the cocktail glasses, is about to empty the martini
pitcher into the sink, thinks better of it. He pours the
contents into a glass, plops the lone olive out of the jar,
scoops up the last handful of potato chips, toasts an
imaginary companion, and drinks up.

Then he pulls a wastebasket from under the sink. It is
brimful of liquor bottles, and Bud adds the empty vodka and
vermouth bottles and the olive jar. Picking up the heavy
receptacle, he carries it through the living room toward the
hall door.
Genres: ["Comedy","Drama"]

Summary Bud is finally able to return to his apartment after Kirkeby and Sylvia's rendezvous. He starts cleaning up the mess that's left behind before Mr. Kirkeby barges in to get his galoshes and offer career advice.
Strengths "The comedic dialogue between Bud and Kirkeby is light and entertaining. The mess left behind in the apartment creates a relatable situation for viewers."
Weaknesses "The scene does not have high stakes or much emotional impact. There is also not much action or plot development."
Critique Overall, this scene is well-written and effectively establishes the character of Bud as a responsible and tidy person who is weighed down by the unexpected appearance of his boss and the mess of a recent party. The dialogue is natural and reveals information about Bud's job and aspirations.

One potential critique is that the scene could benefit from more visual descriptions to give a stronger sense of the space and the objects within it. For example, instead of simply saying "The kitchen is minute and cluttered," the writer could describe the cramped counters, overflowing cabinets, and piles of dirty dishes that Bud must navigate. This would both add detail to the scene and reinforce Bud's frustration at the chaos in his home.

Additionally, while the dialogue between Bud and Kirkeby is well-written, it may be a bit too expository. The conversation is clearly designed to reveal information about Bud's job prospects and his relationship with his boss, but it could be more subtle in its delivery. For example, instead of having Kirkeby explicitly mention that he put in a good word with Sheldrake, he could make a passing comment about Bud being a smart guy, and later Bud could receive a phone call from Sheldrake congratulating him on his recent work. This would still convey the same information, but in a less forced way.

Overall, this scene effectively establishes the characters and their relationships, but could benefit from more detailed descriptions and subtler dialogue.
Suggestions Here are a few suggestions to improve this scene:

1. More Action: The scene has a lot of dialogue and not much action. Consider adding more movement and physical actions to make it visually engaging. For example, instead of just stating that Bud "starts to clean up the mess," show him doing it. Add more detail about how he does it, which can reveal more about his character.

2. Character Development: This scene is an opportunity to reveal more about Bud's character. Consider adding more about his personality, habits, and quirks. This will help the audience form a stronger connection with him and care about what happens to him.

3. Theme: Every scene should contribute to the overall theme of the movie. This scene should tie into the theme in some way. Consider how this scene can add depth to the story and support the overall theme.

4. Setting: The setting of the scene is not described in much detail. Consider adding more to the description of the apartment to better immerse the audience in the story.

5. Conflict: Every scene needs some kind of conflict. This scene has some conflict between Bud and Mr. Kirkeby, but it could be heightened and made more intense. Add more tension to the scene to make it more engaging.



Scene 5 -  The Doctor's Visit
  • Overall: 6.0
  • Concept: 7
  • Plot: 6
  • Characters: 6
  • Dialogue: 7
INT. SECOND FLOOR LANDING - EVENING

The door of Bud's apartment opens, and Bud comes out with the
wastebasket full of empty bottles. Just then, DR. DAVID
DREYFUSS, whose wife we met earlier, comes trudging up the
stairs. He is a tall, heavy-set man of fifty, with a bushy
mustache, wearing a bulky overcoat and carrying an aged
medical bag.

DR. DREYFUSS
Good evening, Baxter.

BUD
Hi, Doc. Had a late call?

DR. DREYFUSS
Yeah. Some clown at Schrafft's
Street ate a club sandwich, and
forgot to take out the toothpick.

BUD
Oh.
(sets down wastebasket)
'Bye, Doc.




(CONTINUED)
11.
CONTINUED:

DR. DREYFUSS
(indicating bottles)
Say, Baxter -- the way you're
belting that stuff, you must have a
pair of cast-iron kidneys.

BUD
Oh, that's not me. It's just that
once in a while, I have some people
in for a drink.

DR. DREYFUSS
As a matter of fact, you must be an
iron man all around. From what I
hear through the walls, you got
something going for you every
night.

BUD
I'm sorry if it gets noisy --

DR. DREYFUSS
Sometimes, there's a twi-night
double-header.
(shaking his head)
A nebbish like you!

BUD
(uncomfortable)
Yeah. Well -- see you, Doc.
(starts to back through
door)

DR. DREYFUSS
You know, Baxter -- I'm doing some
research at the Columbia Medical
Center -- and I wonder if you could
do us a favor?

BUD
Me?

DR. DREYFUSS
When you make out your will -- and
the way you're going, you should --
would you mind leaving your body to
the University?

BUD
My body? I'm afraid you guys would
be disappointed. Good night, Doc.




(CONTINUED)
12.
CONTINUED: (2)

DR. DREYFUSS
Slow down, kid.

He starts into the rear apartment as Bud closes the door.
Genres: ["comedy"]

Summary Bud encounters his talkative neighbor, Dr. Dreyfuss, who makes a request for Bud's body in his will for research purposes.
Strengths "The scene highlights Bud's friendly relationship with his neighbor and adds a bit of comedy with the request for Bud's body for research."
Weaknesses "The scene doesn't bring much conflict or emotional impact and doesn't move the plot forward significantly."
Critique This scene is well written, with clear dialogue and good characterization. However, the pacing could be improved. The conversation between Bud and Dr. Dreyfuss feels a little too drawn out and doesn't really move the story forward. Additionally, the tension between the two characters is not entirely clear, making their interactions seem somewhat disconnected from the rest of the story. Nevertheless, the scene serves its purpose in establishing Bud's character and relationship with Dr. Dreyfuss.
Suggestions Here are some suggestions to improve the scene:

1. Add more action or movement: This scene mostly consists of dialogue between Bud and Dr. Dreyfuss. To make it more engaging, try to incorporate some action or movement. For example, Bud could be carrying the wastebasket and trying to balance it while talking to the doctor.

2. Increase tension or conflict: There is some tension between Bud and Dr. Dreyfuss because of the noise coming from Bud's apartment. Try to raise the stakes by adding more conflict or tension between them, perhaps through a disagreement about the noise or an argument about Bud's lifestyle.

3. Give more information about the characters: While we do learn some details about Bud and Dr. Dreyfuss, it would be helpful to have more information about them. For example, why is Dr. Dreyfuss interested in doing research at Columbia Medical Center? What is Bud's job or occupation? Adding more background information can help make the characters more fully fleshed out.

4. Make the conversation more natural: While the dialogue between the characters is well-written, it doesn't always feel entirely naturalistic. Try to make the conversation flow a bit more like a real conversation, with interruptions, pauses, and hesitations. This can help make the scene feel more realistic and less staged.



Scene 6 -  Bud's Nighttime Routine
  • Overall: 7.0
  • Concept: 7
  • Plot: 6
  • Characters: 7
  • Dialogue: 6
INT. THE APARTMENT - EVENING

Bud, loosening his tie, goes into the kitchen, opens the
oven, turns off the gas. He takes a coke out of the
refrigerator, uncaps it, gets a knife and fork from a drawer,
and using his handkerchief as a potholder, pulls the hot
aluminum tray out of the oven. He carries everything out
into the living room. In the living room, Bud sets his dinner
down on the coffee table, settles himself on the couch.

He rears up as something stabs him, reaches under his
buttocks, pulls out a hairpin. He drops it into an ashtray,
tackles his dinner. Without even looking, he reaches over to
the end table and presses the remote TV station-selector.

He takes a sip from the coke bottle, his eyes on the TV
screen across the room. The picture on the TV set jells
quickly. Against a background of crisscrossing searchlights,
a pompous announcer is making his spiel.

ANNOUNCER
-- from the world's greatest
library of film classics, we
proudly present --
(fanfare)
Greta Garbo -- John Barrymore --
Joan Crawford -- Wallace Beery --
and Lionel Barrymore in --
(fanfare)

GRAND HOTEL!

There is an extended fanfare. Bud leans forward, chewing
excitedly on a chicken leg.

ANNOUNCER
But first, a word from our sponsor.
If you smoke the modern way, don't
be fooled by phony filter claims --


Bud, still eating, automatically reaches for the station-
selector, pushes the button. A new channel pops on. It
features a Western -- Cockamamie Indians are attacking a
stagecoach. That's not for Bud.

He switches to another station. In a frontier saloon, Gower
Street cowboys are dismantling the furniture and each other.


(CONTINUED)
13.
CONTINUED:

Bud wearily changes channels. But he can't get away from
Westerns -- on this station, the U.S. Cavalry is riding to
the rescue. Will they get there in time? Bud doesn't wait to
find out.

He switches channels again, and is back where he started. On
the screen, once more, is the announcer standing in front of
the crisscrossing searchlights.

ANNOUNCER (CONT’D)
And now, Grand Hotel -- starring
Greta Garbo, John Barrymore, Joan
Crawford --
(Bud is all eyes and ears
again)
-- Wallace Beery, and Lionel
Barrymore. But first -- a word
from our alternate sponsor.
(unctuously)
Friends, do you have wobbly
dentures -- ?

That does it. Bud turns the set off in disgust. The TV
screen blacks out, except for a small pinpoint of light in
the center, which gradually fades away.

In the bathroom, Bud, in pajamas by now, is brushing his
teeth. From the shower rod hang three pairs of socks on
stretchers. Bud takes a vial from the medicine shelf, shakes
out a sleeping pill, washes it down with a glass of water.
He turns the light off, walks into the bedroom.

In the bedroom, the single bed is made, and the lamp on the
night table is on. Bud plugs in the electric blanket, turns
the dial on. Then he climbs into bed, props up the pillow
behind him. From the night table, he picks up the magazine
that arrived in the mail, slides it out of the wrapper, opens
it.

It's the new issue of PLAYBOY. Bud leafs through it till he
comes to the piece de resistance of the magazine. He unfolds
the overleaf, glances at it casually, refolds it, then turns
to the back of the magazine and starts to read.

What he is so avidly interested in is the men's fashion
section. There is a layout titled WHAT THE YOUNG EXECUTIVE
WILL WEAR with a sub-head reading The Bowler is Back.

Illustrating the article are several photographs of male
models wearing various styles of bowlers. Bud is definitely
in the market for a bowler, but somehow his mind starts
wandering.



(CONTINUED)
14.
CONTINUED: (2)

He turns back to the overleaf again, unfolds it, studies it,
then holds the magazine up vertically to get a different
perspective on the subject. By now the sleeping pill is
beginning to take effect, and he yawns.

He drops the magazine on the floor, kills the light, settles
down to sleep. The room is dark except for the glow from the
dial of the electric blanket. Three seconds.

Then the phone jangles shrilly in the living room. Bud
stumbles groggily out of bed, and putting on his slippers,
makes his way into the living room. He switches on the
light, picks up the phone.

BUD
Hello? -- Hello? -- yes, this is
Baxter.

INT. PHONE BOOTH IN A MANHATTAN BAR - NIGHT

On the night is a hearty man of about forty-five, nothing gut
personality, most of it obnoxious. His name is DOBISCH.
Outside the booth is a blonde babe, slightly boozed, and
beyond there is a suggestion of the packed, smoky joint.

DOBISCH
Hiya, Buddy-boy. I'm in this bar
on Sixty-first Street -- and I got
to thinking about you -- and I
figured I'd give you a little buzz.

BUD - ON PHONE

BUD
Well, that's very nice of you --
but who is this?

INT. PHONE BOOTH

DOBISCH
Dobisch -- Joe Dobisch, in
Administration.

BUD - ON PHONE

BUD
(snapping to attention)
Oh, yes, Mr. Dobisch. I didn't
recognize your voice --
15.


INT. PHONE BOOTH

DOBISCH
That's okay, Buddy-boy. Now like I
was saying, I'm in this joint on
Sixty-first -- and I think I got
lucky --
(glances toward blonde)
-- she's a skater with the Ice Show
(he chuckles)
-- and I thought maybe I could
bring her up for a quiet drink.

BUD - ON PHONE

BUD
I'm sorry, Mr. Dobisch. You know I
like to help you guys out -- but
it's sort of late -- so why don't
we make it some other time?
Genres: ["Comedy","Romance"]

Summary Bud Baxter goes about his nightly routine after Kirkeby and Sylvia leave, only to be interrupted by Joe Dobisch calling him from a bar and asking for a favor.
Strengths "The scene establishes Bud's routine and shows his polite and helpful nature when he declines Dobisch's favor. The use of the TV playing Grand Hotel adds humor to the scene."
Weaknesses "The scene is mostly exposition and doesn't add much to the main plot, except for establishing Bud's character. Dobisch's phone call feels like a forced way to add conflict."
Critique Overall, this scene is well-written and effectively conveys information about the protagonist's evening routine and personality. There are some elements, however, that may need improvement:

- The scene may benefit from more action and conflict. As it stands, Bud's evening is fairly uneventful until the phone call at the end. Adding more tension or obstacles for Bud to overcome could make the scene more engaging.
- The dialogue between Bud and Dobisch could be sharper and more distinct. The characters' voices don't have a lot of personality to differentiate them, which make the conversation feel a bit bland.
- The transition from Bud looking at the magazine to the phone ringing is somewhat abrupt and could use a smoother bridge. It's not immediately clear how much time has passed between Bud looking at the magazine and him being woken up by the phone.
- The use of camera directions (e.g. "Bud leans forward") is out of place in a screenplay. Those descriptions are the responsibility of the director and cinematographer, not the writer.

Overall, though, the scene does successfully establish the character of Bud and his daily routine in a clear and concise manner.
Suggestions Overall, this scene is quite well-written as it effectively conveys the mundane routine of Bud's evening. However, to improve it further, here are some suggestions:

1. Provide more context: It's unclear at this point in the script who Bud is and what his job is. Adding some exposition earlier on would help the audience to understand more about his character and motivation.

2. Create more tension: While the phone call from Dobisch provides some conflict, it does not create a sense of urgency or danger. Adding more tension or conflict earlier on in the scene would keep the audience engaged and interested.

3. Use visual cues: This scene is heavy on dialogue and description, so adding more visual cues would help to break it up and make it more interesting to watch. For example, showing Bud's facial expressions as he watches the TV or eats his dinner would help to convey his emotions without having him say anything.

4. Tie it into the broader story: While this scene gives us a glimpse into Bud's day-to-day life, it doesn't necessarily advance the overall plot. Finding ways to tie it into the broader story or theme of the film would help to make it more impactful.



Scene 7 -  Late Night Visit
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
INT. PHONE BOOTH

DOBISCH
Buddy-boy -- she won't keep that
long -- not even on ice. Listen,
kid, I can't pass this up -- she
looks like Marilyn Monroe.

BUD - ON PHONE

BUD
I don't care if it is Marilyn
Monroe -- I'm already in bed -- and
I've taken a sleeping pill -- so
I'm afraid the answer is no.

INT. PHONE BOOTH

DOBISCH
(pulling rank)
Look, Baxter -- we're making out
the monthly efficiency rating --
and I'm putting you in the top ten.
Now you don't want to louse
yourself up, do you?

BUD - ON PHONE

BUD
Of course not. But -- how can I be
efficient in the office if I don't
get enough sleep at night?
16.


INT. PHONE BOOTH

DOBISCH
It's only eleven -- and I just want
the place for forty-five minutes.

The blonde opens the door of the phone booth, leans in.

BLONDE
I'm getting lonely. Who are you
talking to, anyway?

DOBISCH
My mother.

BLONDE
That's sweet. That's real sweet.

Dobisch shuts the door in her face.

DOBISCH
(into phone again)
Make it thirty minutes. What do
you say, Bud?

BUD - ON PHONE

BUD
(a last stand)
I'm all out of liquor -- and
there's no clean glasses -- no
cheese crackers -- no nothing.

INT. PHONE BOOTH

DOBISCH
Let me worry about that. Just
leave the key under the mat and
clear out.

INT. THE APARTMENT

BUD
(into phone; resigned)
Yes, Mr. Dobisch.

He hangs up, shuffles back into the bedroom.

BUD (CONT’D)
(muttering to himself)
Anything you say, Mr. Dobisch -- no
trouble at all, Mr. Dobisch -- be
my guest --


(CONTINUED)
17.
CONTINUED:

He reappears from the bedroom, pulling his trousers on over
his pajama pants.

BUD (CONT’D)
-- We never close at Buddy-boy's --
looks like Marilyn Monroe --
(he chuckles a la Dobisch)

Putting on his raincoat and hat, Bud opens the hall door,
takes the key from the table, shoves it under the doormat.
His eyes fall on the Dreyfuss apartment, and there is some
concern on his face. He picks up a pad and pencil from the
table, prints something in block letters.

Tearing off the top sheet, he impales it on the spindle of
the phonograph, then walks out, closing the door behind him.
The note reads: NOT TOO LOUD

THE NEIGHBORS ARE COMPLAINING

EXT. BROWNSTONE HOUSE - NIGHT

Bud comes out the door, in slippered feet, pants and raincoat
over his pajamas. As he sleep-walks down the steps, a cab
pulls up in front of the house. Bud ducks discreetly into
the areaway.

Mr. Dobisch, bareheaded, emerges cautiously from the cab.
Between the fingers of his hands he is carrying four long-
stemmed glasses, brimful of stingers. The blonde steps out,
holding his hat.

BLONDE
This the place?

DOBISCH
Yeah.
(to cab driver)
How much?

CABBIE
Seventy cents.

Dobisch, his hands full of stingers, turns to the blonde,
indicates his pants pocket.

DOBISCH
Get the money, will you?

The blonde plants the hat on top of his head, unbuttons his
overcoat, reaches into his pants pocket. As she does so, she
jogs his elbow.



(CONTINUED)
18.
CONTINUED:

DOBISCH (CONT’D)
Watch those stingers!

The blonde has taken out Dobisch's money clip, with about a
hundred dollars in it.

DOBISCH (CONT’D)
Give him a buck.

The blonde peels a bill off, hands it to the cabbie, hangs on
to the rest of the roll just a second too long.

DOBISCH (CONT’D)
Now put it back, honey.
(she does)
Atta girl.

The cab drives off. Dobisch and the blonde start up the
steps to the house.

BLONDE
You sure this is a good idea?

DOBISCH
Can't think of a better one.

BLONDE
(holding door open for
him)
I mean - barging in on your mother -
- in the middle of the night?

DOBISCH
(edging past her with
stingers)
Don't worry about the old lady. One
squawk from her, and she's out of a
job.

In the areaway, Bud has overheard them, and it doesn't make
him any happier. He steps out on the sidewalk, shuffles down
the street.
Genres: []

Summary Bud is interrupted in the middle of the night by Joe Dobisch, who asks to use his apartment for a rendezvous with a woman he claims looks like Marilyn Monroe. Bud reluctantly agrees, knowing it will mean sacrificing his own sleep.
Strengths "The dialogue is witty and sprinkled with humor. The scene helps establish the film's tone of lightheartedness and sets up the main character's arc."
Weaknesses "The scene doesn't provide much in the way of conflict or stakes. It also doesn't move the plot forward in any significant way."
Critique Overall, the scene is well-written and effective in advancing the plot. The dialogue is natural and reveals the character's motivations and conflicts. The use of the phone booth adds a sense of urgency and secrecy to the conversation. The physical actions and movements of the characters also add to the tension and comedy of the scene.

That being said, the scene could benefit from some tightening and trimming of unnecessary lines. For example, Dobisch's line "Look, Baxter -- we're making out the monthly efficiency rating -- and I'm putting you in the top ten" could be shortened to "Baxter, you're in the top ten of the monthly efficiency rating. Don't mess it up now."

Additionally, while the blonde's presence and dialogue add some humor and tension, she could be better developed as a character instead of just a plot device.

Overall, the scene is well-crafted and engaging, but could benefit from some minor adjustments.
Suggestions Here are a few suggestions for this scene:

1. Tighten up the dialogue: The conversation between Dobisch and Bud drags a bit. Consider trimming down some of the exchanges to make the dialogue more concise and impactful.

2. Show, don't tell: When Bud says he's already in bed and has taken a sleeping pill, we don't get any sense of his exhaustion or reluctance to leave his apartment. Consider adding some physical actions or reactions that show us how tired he is.

3. Characterization: We don't know much about the blonde other than the fact that she's Dobisch's date. Consider adding some lines or actions that give her more personality and depth.

4. Setting the scene: As the scene progresses, it's hard to visualize where everyone is in the space. Consider adding some details that establish the layout of the phone booth and the surrounding area so that readers can better picture the action.

5. Emphasize emotional stakes: While there's some tension between Dobisch and Bud, it doesn't feel like there's a lot at stake. Consider adding some conflict or personal stakes that make the scene more high-stakes and engaging.



Scene 8 -  Late-night rendezvous
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. SECOND FLOOR LANDING - NIGHT

The blonde and Dobisch, his hands full of stingers, come up
to Bud's door.

DOBISCH
Get the key, will you.

Automatically, she reaches into his pocket.



(CONTINUED)
19.
CONTINUED:

DOBISCH (CONT’D)
Not there. Under the mat.

BLONDE
(puzzled)
Under the mat?
(picks up key)

DOBISCH
(impatiently)
Open up, open up -- we haven't got
all night.

The blonde unlocks the door to the apartment, opens it.

BLONDE
(suspiciously)
So this is your mother's apartment?

DOBISCH
That's right. Maria Ouspenskaya.

BLONDE
(sticking her head in)
Hiya, Ouspenskaya.

Dobisch nudges her inside with his knee, kicks the door shut
behind him. The landing is empty for a second. Then the
door of the rear apartment opens, and Dr. Dreyfuss, in a
beaten bathrobe, sets out a couple of empty milk bottles with
a note in them. Suddenly, from Bud's apartment, comes a
shrill female giggle. Dr. Dreyfuss reacts. Then the cha cha
music starts full blast.

DR. DREYFUSS
(calling to his wife, off-
screen)
Mildred -- he's at it again.

Shaking his head, he closes the door.

EXT. CENTRAL PARK - NIGHT

Bud, in raincoat and slippered feet, turns in off the street,
plods along a path in the deserted park. He stops at a damp
bench under a lamp post, sits.

In the background, lights shine from the towering buildings
on Central Park South. Bud huddles inside his raincoat,
shivering. He is very sleepy by now.




(CONTINUED)
20.
CONTINUED:

His eyes close and his head droops. A gust of wind sends wet
leaves swirling across the bench. Bud doesn't stir. He is
all in.

FADE OUT.

FADE IN:

INT. LOBBY INSURANCE BUILDING - DAY

It's a quarter to nine of a gray November morning, and work-
bound employees are piling in through the doors. Among them
is Bud, bundled up in a raincoat, hat, heavy muffler and wool
gloves, and carrying a box of Kleenex. He coughs, pulls out
a tissue, wipes his dripping nose. He has a bad cold. The
lobby is an imposing, marbled affair, as befits a company
which last year wrote 9.3 billion dollars worth of insurance.
There are sixteen elevators, eight of them marked LOCAL -
FLOORS 1-18, and opposite them eight marked EXPRESS - FLOORS
18-37. The starter, a uniformed Valkyrie wielding a clicker,
is directing the flow of traffic into the various elevators.
Bud joins the crowd in front of one of the express elevators.
Also standing there is Mr. Kirkeby, reading the Herald-
Tribune.

BUD
(hoarsely)
Good morning, Mr. Kirkeby.

KIRKEBY
(as if he just knew him
vaguely)
Oh, how are you, Baxter. They
keeping you busy these days?

BUD
Yes, sir. They are indeed.
(he sniffs)

The elevator doors open, revealing the operator. She is in
her middle twenties and her name is FRAN KUBELIK. Maybe it's
the way she's put together, maybe it's her face, or maybe
it's just the uniform -- in any case, there is something very
appealing about her. She is also an individualist -- she
wears a carnation in her lapel, which is strictly against
regulations. As the elevator loads, she greets the
passengers cheerfully.




(CONTINUED)
21.
CONTINUED:

FRAN
(rattling it off)
Morning, Mr. Kessel -- Morning,
Miss Robinson -- Morning, Mr.
Kirkeby -- Morning, Mr. Williams --
Morning, Miss Livingston --
Morning, Mr. McKellway -- Morning,
Mr. Pirelli -- Morning, Mrs.
Schubert --

Interspersed is an occasional "Morning, Miss Kubelik" from
the passengers.

FRAN (CONT’D)
Morning, Mr. Baxter.

BUD
Morning, Miss Kubelik.

He takes his hat off -- he is the only one. The express is
now loaded.

STARTER
(working the clicker)
That's all. Take it away.

FRAN
(shutting the door)
Watch the door, please. Blasting
off.
Genres: ["Romantic comedy"]

Summary Bud reluctantly allows Dobisch to use his apartment for a late-night rendezvous with a Marilyn Monroe-lookalike, while Dr. Dreyfuss sets out his milk bottles and notes Bud's late-night visitor. Bud later heads to work with a bad cold and encounters Fran Kubelik in the elevator.
Strengths "The scene establishes a sense of the protagonist's kindness and willingness to sacrifice for others, as well as setting up the romantic interest with Fran Kubelik. The dialogue is natural and humorous."
Weaknesses "The scene lacks significant conflict or emotional impact, and the plot doesn't move forward significantly."
Critique Overall, the scene is well-written with clear action and dialogue. However, there are a few areas that could use improvement:

1. The scene transitions abruptly from the blonde and Dobisch entering Bud's apartment to Dr. Dreyfuss outside. There needs to be something to connect these two moments, such as a description of sound (e.g. the giggling fades as the door slams shut, and then we hear Dr. Dreyfuss' door opening).

2. The description of Fran Kubelik feels like it's trying too hard to convey her appeal. It would be more effective to show her in action and let the audience form their own opinions about her.

3. The dialogue between Kirkeby and Baxter feels stilted and forced. It would be more natural for them to have a more casual conversation, or for Kirkeby to just nod or wave in acknowledgement.

Overall, though, the scene effectively sets up the setting and characters, and leaves the audience with a sense of intrigue about what's to come.
Suggestions 1. Clarify the purpose of the scene: While we get a sense of the characters and their situation, the scene doesn't quite establish a clear purpose or conflict. It can benefit from a clearer reason for existing, either to advance the plot or to develop character.

2. Add more sensory details: The scene could benefit from more sensory details that immerse us in the environment and help us picture the characters more vividly. For example, we could describe the smell of the stingers the characters are carrying or the sound of the cha cha music coming from Bud's apartment.

3. Increase the stakes: Right now, there doesn't seem to be much at stake in the scene. Adding more tension, urgency, or danger can help keep the audience engaged and invested in the scene.

4. Simplify dialogue: Some of the dialogue feels overly explanatory and unrealistic. Simplifying it and making it more naturalistic can help make the characters feel more real and the dialogue more engaging.

5. Consider how the scene fits into the larger story: While each scene should be able to stand on its own, it's important to also consider how it fits into the larger story. This will help ensure that the scene is serving a purpose and help it connect more meaningfully to what comes before and after it.



Scene 9 -  Elevator Rendezvous
  • Overall: 8.0
  • Concept: 7
  • Plot: 6
  • Characters: 8
  • Dialogue: 9
INT. ELEVATOR

Bud is standing right next to Fran as the packed express
shoots up.

BUD
(studying her)
What did you do to your hair?

FRAN
It was making me nervous, so I
chopped it off. Big mistake, huh?

BUD
I sort of like it.

He sniffs, takes out a Kleenex, wipes his nose.

FRAN
Say, you got a lulu.




(CONTINUED)
22.
CONTINUED:

BUD
Yeah. I better not get too close.

FRAN
Oh, I never catch colds.

BUD
Really? I was looking at some
figures from the Sickness and
Accident Claims Division -- do you
know that the average New Yorker
between the ages of twenty and
fifty has two and a half colds a
year?

FRAN
That makes me feel just terrible.

BUD
Why?

FRAN
Well, to make the figures come out
even -- since I have no colds a
year -- some poor slob must have
five colds a year.

BUD
That's me.
(dabs his nose)

FRAN
You should have stayed in bed this
morning.

BUD
I should have stayed in bed last
night.

The elevator has slowed down, now stops. Fran opens the
door.

FRAN
Nineteen. Watch your step.

About a third of the passengers get out, including Bud and
Mr. Kirkeby. As Kirkeby passes Fran, he slaps her behind
with his folded newspaper. Fran jumps slightly.

FRAN (CONT’D)
(all in the day's work)
And watch your hand, Mr. Kirkeby!



(CONTINUED)
23.
CONTINUED: (2)

KIRKEBY
(innocently)
I beg your pardon?

FRAN
One of these days I'm going to shut
those doors on you and --

She withdraws her hand into the sleeve of her uniform, and
waves the "amputated" arm at him.

FRAN (CONT’D)
Twenty next.

The doors close.

INT. NINETEENTH FLOOR - DAY

Kirkeby turns away from the elevator, and grinning smugly,
falls in beside Bud.

KIRKEBY
That Kubelik -- boy! Would I like
to get her on a slow elevator to
China.

BUD
Oh, yes. She's the best operator
in the building.

KIRKEBY
I'm a pretty good operator myself --
but she just won't give me a tumble
-- date-wise.

BUD
Maybe you're using the wrong
approach.

KIRKEBY
A lot of guys around here have
tried it -- all kinds of approaches
-- no dice. What is she trying to
prove?

BUD
Could be she's just a nice,
respectable girl -- there are
millions of them.

KIRKEBY
Listen to him. Little Lord
Fauntleroy!


(CONTINUED)
24.
CONTINUED:

Leaving Bud at the employees' coat-racks, Kirkeby heads
toward his office, one of the glass-enclosed cubicles. Bud
hangs up his hat and raincoat, stows away the gloves and
muffler.

Out of his coat pocket he takes a plastic anti- histamine
sprayer and a box of cough drops, and still carrying the
Kleenex, threads his way to his desk. Most of the desks are
already occupied, and the others are filling rapidly. Once
seated at his desk, Bud arranges his medicaments neatly in
front of him.

He takes a Kleenex out of the box, blows his nose, then
leaning back in his swivel chair sprays first one nostril,
then the other. Suddenly the piercing bell goes off -- the
workday has begun.

Being the ultra-conscientious type, Bud instantly sits
upright in his chair, removes the cover from his computing
machine, picks up a batch of perforated premium cards, starts
entering figures on his computer. After a few seconds, he
glances around to make sure that everybody in the vicinity is
busy. Then he looks up a number in the company telephone
directory, dials furtively.

BUD
(cupping hand over phone
mouthpiece)
Hello, Mr. Dobisch? This is Baxter,
on the nineteenth floor.
Genres: ["Romance","Comedy"]

Summary Bud encounters Fran in the elevator and they discuss his cold, while Mr. Kirkeby makes advances towards Fran. After they exit the elevator, Kirkeby talks to Bud about his unsuccessful attempts to date Fran. Bud then goes about his workday with a cold and makes a sneaky phone call.
Strengths "The dialogue is witty and engaging, developing both character and relationships in a subtle but effective way."
Weaknesses "The scene doesn't have much plot development or high stakes, and the conflict between Kirkeby and Fran feels a bit superficial."
Critique Overall, this scene seems to serve more as an introduction to the characters and their personalities than as a driving force in the plot. While it is important to establish the dynamics between Bud, Fran, and Kirkeby, this scene could benefit from a bit more action or conflict to drive the story forward. Additionally, some of the dialogue feels a bit too on-the-nose, with characters explicitly discussing their personalities and motives. A bit more subtlety could go a long way in allowing the characters' actions and interactions to speak for themselves.
Suggestions One suggestion would be to add more action and movement to the scene to make it more visually interesting. For example, instead of just standing in the elevator, perhaps Bud and Fran could be jostled around as the elevator stops and starts, or there could be some kind of emergency that adds tension to the scene.

Additionally, some of the dialogue feels a bit forced and could be revised to sound more natural. For example, when Bud says "Little Lord Fauntleroy!" it feels like an excessive and outdated insult.

Finally, there could be more hints of the characters' personalities and motivations. We know that Kirkeby is interested in Fran but we don't know much about why he finds her attractive or what kind of person he is beyond his interest in her. Similarly, we don't know much about Fran beyond the fact that she's a competent elevator operator and seems to enjoy teasing Kirkeby. Adding more depth to the characters would make the scene more engaging and help drive the plot forward.



Scene 10 -  Office Chaos
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
INT. DOBISCH'S OFFICE - DAY

It is a glass-enclosed cubicle on the twenty-first floor.
Through the glass we see another enormous layout of desks,
everybody working away. Dobisch is holding the phone in one
hand, running an electric shaver over his face with the
other.

DOBISCH
Oh, Buddy-boy. I was just about to
call you.
(shuts off electric
shaver)
I'm sorry about that mess on the
living room wall. You see, my
little friend, she kept insisting
Picasso was a bum -- so she started
to do that mural -- but I'm sure it
will wash off -- just eyebrow
pencil.
25.


BUD - ON PHONE

BUD
It's not Picasso I'm calling about.
It's the key -- to my apartment --
you were supposed to leave it under
the mat.

DOBISCH - ON PHONE

DOBISCH
I did, didn't I? I distinctly
remember bending over and putting
it there --

BUD - ON PHONE

BUD
Oh, I found a key there, all right -
- only it's the wrong key.

DOBISCH - ON PHONE

DOBISCH
It is?
(takes Bud's key out of
his pocket)
Well, how about that? No wonder I
couldn't get into the executive
washroom this morning.

BUD - ON PHONE

BUD
And I couldn't get into my
apartment -- so at four a. m. I had
to wake up the landlady and give
her a whole song and dance about
going out to mail a letter and the
door slamming shut.

DOBISCH - ON PHONE

DOBISCH
That's a shame. I'll send the key
right down. And about your
promotion --
(leafs through report on
desk)
-- I'm sending that efficiency
report right up to Mr. Sheldrake,
in Personnel.
(MORE)


(CONTINUED)
26.
CONTINUED:
DOBISCH (CONT'D)
I wouldn't be surprised if you
heard from him before the day is
over.

BUD - ON PHONE

BUD
Thank you, Mr. Dobisch.

He hangs up, feels his forehead. It is warm. Clipped to his
handkerchief pocket are a black fountain pen and, next to it,
a thermometer in a black case. Bud unclips the thermometer
case, unscrews the cap, shakes the thermometer out, puts it
under his tongue. He resumes work.

A messenger comes up to his desk with an interoffice
envelope.

MESSENGER
From Mr. Dobisch.

BUD
(thermometer in mouth)
Wait.

He turns away from the messenger, unties the string of the
envelope, takes his key out, puts it in a coat pocket. From a
trouser pocket, he extracts Dobisch's key to the executive
washroom, slips it discreetly into the envelope, reties it,
hands it to the messenger.

BUD (CONT’D)
(thermometer in mouth)
To Mr. Dobisch.

Puzzled by the whole procedure, the messenger leaves. Bud now
removes the thermometer from his mouth, reads it. It's worse
than he thought. He puts the thermometer back in the case,
clips it to his pocket, takes his desk calendar out of a
drawer, turns a leaf.

Under the date WEDNESDAY, NOVEMBER 4 there is an entry in his
handwriting -- MR. VANDERHOF. Bud consults the telephone
directory again, picks up the phone, dials.
Genres: ["comedy","drama"]

Summary Bud deals with the aftermath of letting Dobisch use his apartment for a late-night rendezvous, while trying to manage work and his worsening cold.
Strengths "The scene shows the everyday chaos of Bud's life and the complications that arise from his own actions and those of his coworkers. There is a light tone to the scene that makes the humor and tension stand out."
Weaknesses "The scene mainly serves to move the plot along with minor character development. The theme of loneliness and the consequences of trying to fit in with societal norms isn't addressed in this scene."
Critique This is an effective scene in terms of advancing the plot and revealing character traits. Dobisch's strange behavior and disregard for Buddy's concerns about the key to his apartment reveal him to be an untrustworthy and careless boss. Additionally, Buddy's use of a thermometer and calendar show his attention to detail and dedication to his work. However, there are a few areas for improvement. The dialogue could be tightened to eliminate unnecessary repetition and make it more concise. Additionally, there is no clear visual description of the characters, which could make it difficult for the actors and director to envision and execute the scene. Overall, a solid scene but with room for refinement.
Suggestions Overall, the scene is well-written and serves to establish some character traits and plot points. However, there are a few ways it could be improved:

1. Add more visual elements to the scene. While the glass-enclosed cubicle and enormous layout of desks are described, there could be more detail included about the setting to help the reader visualize it more fully.

2. Make the dialogue more concise and impactful. Some of the exchanges between Bud and Dobisch feel a bit repetitive and don't add much to the scene. Consider cutting down on some of the back-and-forth to make the conversation more dynamic.

3. Tighten up the pacing of the scene. While the dialogue is well-written, there are moments where the action feels a bit sluggish. Consider cutting down on some of the description (such as the thermometer being read twice) to keep the scene moving quickly.

4. Consider adding more conflict or tension to the scene. While the conversation between Bud and Dobisch is mildly interesting, it doesn't really move the plot forward or create any real stakes. Think about how you could heighten the tension or create more conflict in this scene to make it more engaging for the audience.



Scene 11 -  Phone Calls and Rescheduling
  • Overall: 7.0
  • Concept: 7
  • Plot: 7
  • Characters: 6
  • Dialogue: 8
INT. VANDERHOF'S OFFICE - DAY

This is another glass-enclosed cubicle on another floor. MR.
VANDERHOF, a Junior Chamber of Commerce type, is dictating to
an elderly secretary who sits across the desk from him.




(CONTINUED)
27.
CONTINUED:

VANDERHOF
Dear Mr. MacIntosh --
(phone rings and he picks
it up)
Vanderhof, Public Relations. Oh,
yes, Baxter. Just a minute.
(to secretary)
All right, Miss Finch -- type up
what we got so far.
(he waits till she is out
of the office; then, into
phone)
Now what is it, Baxter?

BUD - ON PHONE

BUD
Look, Mr. Vanderhof -- I've got you
down here for tonight -- but I'm
going to be using the place myself -
- so I'll have to cancel.

VANDERHOF - ON PHONE

VANDERHOF
Cancel? But it's her birthday -- I
already ordered the cake --

BUD - ON PHONE

BUD
I hate to disappoint you -- I mean,
many happy returns -- but not
tonight --

VANDERHOF - ON PHONE

VANDERHOF
That's not like you, Baxter. Just
the other day, at the staff
meeting, I was telling Mr.
Sheldrake what a reliable man you
were.

BUD - ON PHONE

BUD
Thank you, Mr. Vanderhof. But I'm
sick -- I have this terrible cold --
and a fever -- and I got to go to
bed right after work.
28.


VANDERHOF - ON PHONE

VANDERHOF
Buddy-boy, that's the worst thing
you can do. If you got a cold, you
should go to a Turkish bath --
spend the night there -- sweat it
out --

BUD - ON PHONE

BUD
Oh, no. I'd get pneumonia -- and if
I got pneumonia, I'd be in bed for
a month -- and if I were in bed for
a month --

VANDERHOF - ON PHONE

VANDERHOF
Okay, you made your point. We'll
just have to do it next Wednesday --
that's the only night of the week I
can get away.

BUD - ON PHONE

BUD
Wednesday -- Wednesday --
(leafing through calendar)
I got somebody penciled in -- let
me see what I can do -- I'll get
back to you.

He hangs up, riffles through the directory, finds the number,
and with a furtive look around, dials again.

BUD (CONT’D)
(into phone)
Mr. Eichelberger? Is this Mortgage
and Loan? I'd like to speak to Mr.
Eichelberger. Yes, it is urgent.

INT. EICHELBERGER'S OFFICE - DAY

Also glass-enclosed, but slightly larger than the others. MR.
EICHELBERGER, a solid citizen of about fifty, is displaying
some mortgage graphs to three associates. A fourth one has
answered the phone.




(CONTINUED)
29.
CONTINUED:

ASSOCIATE
(holding out phone to
Eichelberger)
For you, Mel.

Eichelberger puts the charts down, takes the phone.

EIGHELBERGER
Eichelberger here -- oh, yes,
Baxter --
(a glance at his
associates; then
continues, as though it
were a business call)
What's your problem? -- Wednesday
is out? -- oh -- that throws a
little monkey wrench into my agenda
-- Thursday? No, I'm all tied up on
Thursday -- let's schedule that
meeting for Friday.

BUD - ON PHONE

BUD
Friday?
(checks calendar)
Let me see what I can do. I'll get
back to you.

He hangs up, consults the directory, starts to dial a number.

INT. KIRKEBY'S OFFICE - DAY

It's another of those glass-enclosed cubicles, on the
nineteenth floor. Kirkeby is talking into a dictaphone.

KIRKEBY
Premium-wise and billing-wise, we
are eighteen percent ahead of last
year, October-wise.

The phone has been ringing. Kirkeby switches off the machine,
picks up the phone.

KIRKEBY (CONT’D)
Hello? Yeah, Baxter. What's up?

BUD - ON PHONE

BUD
Instead of Friday -- could you
possibly switch to Thursday? You'd
be doing me a great favor --
30.


KIRKEBY - ON PHONE

KIRKEBY
Well -- it's all right with me,
Bud. Let me check. I'll get back to
you.

He presses down the button on the cradle, dials Operator.
Genres: ["Comedy","Romance"]

Summary Bud cancels a meeting in his boss's apartment due to his cold, while rescheduling multiple events over the phone throughout the day.
Strengths "The scene showcases clever dialogue and humor as Bud navigates multiple phone calls and scheduling conflicts. It also adds to the overall plot development by highlighting Bud's busy workday and attempts to balance personal and professional responsibilities."
Weaknesses "The setting and actions in this scene may not be visually dynamic, as most of the action takes place over the phone. The stakes of the scene are also low, with Bud mostly concerned about disappointing his colleagues."
Critique Overall, the scene is concise and efficiently moves the plot forward by establishing that Bud is canceling plans for the night. The dialogue is realistic and the characters are well-defined with unique voices. However, there is not much action or visual interest in the scene, as it is mostly characters speaking on the phone or in glass-enclosed cubicles. Adding some physical action or visual cues could make the scene more engaging for viewers. Additionally, the scene could benefit from more context about who Bud is and why his cancellation is important enough to warrant the multiple phone calls. Adding some exposition earlier in the script could help with this.
Suggestions One suggestion to improve this scene could be to add more visual elements. Currently, the scene is mostly focused on dialogue, and while the conversation is important, it can become stagnant without any visual interest. Adding details about the office space, the characters' actions, or even small physical reactions to the conversation can help liven up the scene and make it more engaging for the viewer. Additionally, bringing in more character development or conflicts can add stakes to the scene and make it more memorable. For example, what if Vanderhof urgently needed Baxter to attend this event, but Baxter had personal issues that were preventing him from doing so? This would add tension and depth to the scene and make it more engrossing.



Scene 12 -  Office Romance
  • Overall: 8.0
  • Concept: 9
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. SWITCHBOARD ROOM

There is a double switchboard in the center, with nine girls
on each side, all busy as beavers. In the foreground we
recognize Sylvia, Kirkeby's date of last night.

SYLVIA
Consolidated Life -- I'll connect
you -- Consolidated Life --

The girl next to her turns and holds out a line.

SWITCHBOARD GIRL
Sylvia -- it's for you.

Sylvia plugs the call into her own switchboard.

SYLVIA
Yes? Oh, hello -- sure I got home
all right -- you owe me forty-five
cents.

KIRKEBY - ON PHONE

KIRKEBY
Okay, okay. Look, Sylvia -- instead
of Friday - could we make it
Thursday night?

SYLVIA - AT SWITCHBOARD

SYLVIA
Thursday? That's The Untouchables --
with Bob Stack.

KIRKEBY - ON PHONE

KIRKEBY
Bob WHO? -- all right, so we'll
watch it at the apartment. Big
deal.
(he hangs up, dials)
Baxter? It's okay for Thursday.
31.


INT. NINETEENTH FLOOR - DAY

Bud, at his desk, is on the phone.

BUD
Thank you, Mr. Kirkeby.
(hangs up, consults
directory, dials)
Mr. Eichelberger? It's okay for
Friday.
(hangs up, consults
directory, dials)
Mr. Vanderhof? It's okay for
Wednesday.

During this, the phone has rung at the next desk, and the
occupant, MR. MOFFETT, has picked it up. As Bud hangs up --

MOFFETT
(into phone)
All right -- I'll tell him.
(hangs up, turns to Bud)
Hey, Baxter -- that was Personnel.
Mr. Sheldrake's secretary.

BUD
Sheldrake?

MOFFETT
She's been trying to reach you for
the last twenty minutes. They want
you up stairs.

BUD
Oh!

He jumps up, stuffs the nose-spray into one pocket, a handful
of Kleenex into the other.

MOFFETT
What gives, Baxter? You getting
promoted or getting fired?

BUD
(cockily)
Care to make a small wager?

MOFFETT
I've been here twice as long as you
have --

BUD
Shall we say -- a dollar?


(CONTINUED)
32.
CONTINUED:

MOFFETT
It's a bet.

Bud snake-hips between the desks like a broken-field runner.
At the elevator, Bud presses the UP button, paces nervously.
One of the elevator doors opens, and as Bud starts inside,
the doors of the adjoining elevator open, and Fran Kubelik
sticks her head out.

FRAN
Going up?

Hearing her voice, Bud throws a quick "Excuse me" to the
other operator, exits quickly and steps into Fran's elevator.

BUD
Twenty-seven, please. And drive
carefully. You're carrying precious
cargo -- I mean, manpower-wise.

Fran shuts the doors.

INT. ELEVATOR - DAY

Fran presses a button, and the elevator starts up.

FRAN
Twenty-seven.

BUD
You may not realize it, Miss
Kubelik, but I'm in the top ten --
efficiency-wise and this may be the
day -- promotion-wise.

FRAN
You're beginning to sound like Mr.
Kirkeby already.

BUD
Why not? Now that they're kicking
me upstairs --

FRAN
Couldn't happen to a nicer guy.
(Bud beams)
You know, you're the only one
around here who ever takes his hat
off in the elevator.

BUD
Really?



(CONTINUED)
33.
CONTINUED:

FRAN
The characters you meet. Something
happens to men in elevators. Must
be the change of altitude -- the
blood rushes to their head, or
something -- boy, I could tell you
stories --

BUD
I'd love to hear them. Maybe we
could have lunch in the cafeteria
sometime -- or some evening, after
work --

The elevator has stopped, and Fran opens the doors.

FRAN
Twenty-seven.
Genres: ["Comedy","Romance"]

Summary Bud deals with work and his worsening cold while canceling meetings and rescheduling events throughout the day, all the while encountering Fran Kubelik in the elevator.
Strengths "The dialogue between Bud and Fran is witty and playful. The scene sets up some romantic tension between them."
Weaknesses "The scene doesn't move the plot forward significantly and contains little conflict or emotional impact. "
Critique Overall, this scene seems to be functioning more as a dialogue-driven transitional sequence rather than a significant plot point. The main focus is on Bud's potential promotion and his flirtation with Fran Kubelik, with only brief mentions of the other characters. While the dialogue is witty and engaging, it doesn't quite advance the main plot or characters in any significant way. Additionally, the descriptions of the scene could benefit from more sensory details to bring the setting to life and create a more immersive experience for the reader/viewer.
Suggestions One suggestion to improve this scene would be to add more conflict or tension. Currently, the scene is mainly focused on phone conversations and mundane office interactions. Adding stakes or challenges for the characters would make the scene more engaging. For example, Sylvia could be reluctant to reschedule her date with Kirkeby and there could be a disagreement between them, or Bud could be nervous about his meeting with Sheldrake and doubt his potential promotion. Additionally, adding more sensory details and visual cues would make the scene more dynamic and immersive for the audience. Descriptions of the characters' body language, the office environment, and the elevator ride could help enhance the scene and make it more visually interesting.



Scene 13 -  Bud's Cold and Fran's Advice
  • Overall: 4.0
  • Concept: 2
  • Plot: 3
  • Characters: 4
  • Dialogue: 3
INT. TWENTY-SEVENTH FLOOR FOYER - DAY

It is pretty plush up here -- soft carpeting and tall
mahogany doors leading to the executive offices. The elevator
door is open, and Bud steps out.

FRAN
I hope everything goes all right.

BUD
I hope so.
(turning back)
Wouldn't you know they'd call me on
a day like this -- with my cold and
everything --
(fumbling with his tie)
How do I look?

FRAN
Fine.
(stepping out of elevator)
Wait.

She takes the carnation out of her lapel, starts to put it in
Bud's buttonhole.

BUD
Thank you. That's the first thing I
ever noticed about you -- when you
were still on the local elevator --
you always wore a flower --

The elevator buzzer is now sounding insistently. Fran steps
back inside.


(CONTINUED)
34.
CONTINUED:

FRAN
Good luck. And wipe your nose.

She shuts the doors. Bud looks after her, then takes a
Kleenex out of his pocket, and wiping his nose, crosses to a
glass door marked J. D. SHELDRAKE, DIRECTOR OF PERSONNEL. He
stashes the used Kleenex away in another pocket, enters.

INT. SHELDRAKE'S ANTEROOM - DAY

It is a sedate office with a secretary and a couple of
typists. The secretary's name is MISS OLSEN. She is in her
thirties, flaxen- haired, handsome, wears harlequin glasses,
and has an incisive manner. Bud comes up to her desk.

BUD
C. C. Baxter -- Ordinary Premium
Accounting -- Mr. Sheldrake called
me.

MISS OLSEN
I called you -- that is, I tried to
call you -- for twenty minutes.

BUD
I'm sorry, I --

MISS OLSEN
Go on in.

She indicates the door leading to the inner office. Bud
squares his shoulders and starts in.
Genres: []

Summary Bud enters the plush foyer and is wished by Fran. She then grooms him and reminds him to wipe his nose. Bud nervously walks into J. D. Sheldrake's office and is reprimanded by the secretary for being late for twenty minutes. Bud then walks into the inner office.
Strengths "The scene has a significant level of conflict that keeps the audience engaged. Fran's advice to Bud humanizes the otherwise stark work environment."
Weaknesses "The scene does very little to advance the plot or develop character."
Critique Overall, this scene is well written. The setting is established effectively through the description of the plush twenty-seventh floor foyer with its tall mahogany doors. The dialogue between Bud and Fran is also natural and helps to build their relationship. However, there are a few areas for improvement. One minor issue is the repetition of the phrase "I hope" twice in the first few lines of the scene. Another potential issue is that the dialogue between Bud and Fran could be tightened slightly to maintain a faster pace. Lastly, the use of pocket for both stashing away used Kleenex and carrying tissues may be confusing to some readers. Overall, these are small issues that do not detract from an otherwise strong scene.
Suggestions 1. Add more tension: Right now, there isn't a lot of tension in this scene. To make it more engaging, consider raising the stakes somehow. Perhaps Bud is up for a promotion and this meeting could make or break his chances. Or maybe there's a rumor going around the office and he's worried it will affect his job. Anything to add a sense of urgency to the scene.

2. Develop the characters: We don't know much about Fran or Miss Olsen beyond their physical descriptions. To make the scene more interesting, give these characters more depth. Maybe Fran and Bud have a history that is hinted at but not explained. Or maybe Miss Olsen is secretly plotting against Bud.

3. Consider the setting: While the plush office setting is described, it isn't used to its fullest potential. Perhaps there's something unique about the office that can be woven into the scene. Maybe the carpet is so soft that it muffles their footsteps, creating a tense silence. Or maybe there's a painting on the wall that catches Bud's eye and serves as an important symbol later in the film.

4. Tone: There's an opportunity to play with tone in this scene. Right now, it's straightforward and matter-of-fact. Consider injecting some humor, suspense, or drama to create a more memorable moment.



Scene 14 -  Bud's Office Meeting with Sheldrake
  • Overall: 7.0
  • Concept: 8
  • Plot: 7
  • Characters: 7
  • Dialogue: 7
INT. SHELDRAKE'S OFFICE - DAY

Mr. Sheldrake is a $14,000 a year man, and rates a four-
window office. It is not quite an executive suite, but it is
several pegs above the glass cubicles of the middle echelon.
There is lots of leather, and a large desk behind which sits
MR. SHELDRAKE.

He is a substantial looking, authoritative man in his middle
forties, a pillar of his suburban community, a blood donor
and a family man. The latter is attested to by a framed
photograph showing two boys, aged 8 and 10, in military
school uniforms. As Baxter comes through the door, Sheldrake
is leafing through Dobisch's efficiency report. He looks up
at Bud through a pair of heavy-rimmed reading glasses.

SHELDRAKE
Baxter?




(CONTINUED)
35.
CONTINUED:

BUD
Yes, sir.

SHELDRAKE
(studying him)
I was sort of wondering what you
looked like. Sit down.

BUD
Yes, Mr. Sheldrake.

He seats himself on the very edge of the leather armchair
facing Sheldrake.

SHELDRAKE
Been hearing some very nice things
about you -- here's a report from
Mr. Dobisch -- loyal, cooperative,
resourceful --

BUD
Mr. Dobisch said that?

SHELDRAKE
And Mr. Kirkeby tells me that
several nights a week you work late
at the office -- without overtime.

BUD
(modestly)
Well, you know how it is -- things
pile up.

SHELDRAKE
Mr. Vanderhof, in Public Relations,
and Mr. Eichelberger, in Mortgage
and Loan -- they'd both like to
have you transferred to their
departments.

BUD
That's very flattering.

Sheldrake puts the report down, takes off his glasses, leans
across the desk toward Bud.

SHELDRAKE
Tell me, Baxter -- just what is it
that makes you so popular?

BUD
I don't know.



(CONTINUED)
36.
CONTINUED: (2)

SHELDRAKE
Think.

Bud does so. For a moment, he is a picture of intense
concentration. Then --

BUD
Would you mind repeating the
question?

SHELDRAKE
Look, Baxter, I'm not stupid. I
know everything that goes on in
this building -- in every
department -- on every floor --
every day of the year.

BUD
(in a very small voice)
You do?

SHELDRAKE
(rises, starts pacing)
In 1957, we had an employee here,
name of Fowler. He was very
popular, too. Turned out he was
running a bookie joint right in the
Actuarial Department tying up the
switchboard, figuring the odds on
our I.B.M. machines -- so the day
before the Kentucky Derby, I called
in the Vice Squad and we raided the
thirteenth floor.

BUD
(worried)
The Vice Squad?

SHELDRAKE
That's right, Baxter.

BUD
What -- what's that got to do with
me? I'm not running any bookie
joint.

SHELDRAKE
What kind of joint are you running?

BUD
Sir?




(CONTINUED)
37.
CONTINUED: (3)

SHELDRAKE
There's a certain key floating
around the office -- from Kirkeby
to Vanderhof to Eichelberger to
Dobisch -- it's the key to a
certain apartment -- and you know
who that apartment belongs to?

BUD
Who?

SHELDRAKE
Loyal, cooperative, resourceful C.
C. Baxter.

BUD
Oh.

SHELDRAKE
Are you going to deny it?

BUD
No, sir. I'm not going to deny it.
But if you'd just let me explain --

SHELDRAKE
You better.

BUD
(a deep breath)
Well, about six months ago -- I was
going to night school, taking this
course in Advanced Accounting --
and one of the guys in our
department -- he lives in Jersey --
he was going to a banquet at the
Biltmore -- his wife was meeting
him in town, and he needed
someplace to change into a tuxedo --
so I gave him the key and word
must have gotten around -- because
the next thing I knew, all sorts of
guys were suddenly going to
banquets -- and when you give the
key to one guy, you can't say no to
another and the whole thing got out
of hand -- pardon me.

He whips out the nasal-spray, administers a couple of quick
squirts up each nostril.




(CONTINUED)
38.
CONTINUED: (4)

SHELDRAKE
Baxter, an insurance company is
founded on public trust. Any
employee who conducts himself in a
manner unbecoming --
(shifting into a new gear)
How many charter members are there
in this little club of yours?

BUD
Just those four -- out of a total
of 31,259 -- so actually, we can be
very proud of our personnel --
percentage-wise.

SHELDRAKE
That's not the point. Four rotten
apples in a barrel -- no matter how
large the barrel -- you realize
that if this ever leaked out --

BUD
Oh, it won't. Believe me. And it's
not going to happen again. From now
on, nobody is going to use my
apartment --

In his vehemence he squeezes the spray bottle, which squirts
all over the desk.

SHELDRAKE
Where is your apartment?

BUD
West 67th Street. You have no idea
what I've been going through --
with the neighbors and the landlady
and the liquor and the key --

SHELDRAKE
How do you work it with the key?

BUD
Well, usually I slip it to them in
the office and they leave it under
the mat -- but never again -- I can
promise you that --

The phone buzzer sounds, and Sheldrake picks up the phone.

SHELDRAKE
Yes, Miss Olsen.
39.
Genres: ["Comedy","Drama"]

Summary Bud gets called into his boss's office where he is grilled about the key to his apartment that has been given to several co-workers for late-night rendezvous. Sheldrake warns Bud about the importance of conducting himself in a professional manner due to the nature of the industry in which they work.
Strengths "The scene delivers insight into the workings of the insurance sector, providing the audience with a behind-the-scenes perspective. The dialogue is witty and keeps the audience entertained."
Weaknesses "The scene is not particularly action-packed, and some viewers may find it slow-paced."
Critique Overall, this scene is well-written and effectively conveys important information about the characters and their relationships. The dialogue is sharp and engaging, and the tension between Baxter and Sheldrake builds effectively throughout the scene.

One potential issue with the scene, however, is the lack of action or movement. Most of the scene takes place with the characters sitting and talking in Sheldrake's office, which can start to feel static or boring. One way to fix this would be to incorporate more movement or action into the scene. For example, Baxter could nervously fidget with something on Sheldrake's desk or Sheldrake could pace around the room as he interrogates Baxter.

Additionally, the scene could benefit from some more detailed descriptions of the characters and their surroundings. While we do get some sense of what Sheldrake's office looks like, more vivid descriptions could help to fully immerse the audience in the scene.

Overall, though, this is a strong scene with well-crafted dialogue and engaging character dynamics.
Suggestions As a screenwriting expert, I would suggest the following improvements to this scene:

1. Show, don't tell: Instead of describing Mr. Sheldrake's office, show it visually. Use camera angles and props to give the audience a sense of the space. This will help to create a more immersive experience for the audience.

2. Build tension: As the scene progresses, increase the tension between Sheldrake and Baxter. Use camera angles, music, and lighting to create a sense of unease and apprehension.

3. Character development: While the scene does provide some information about Mr. Sheldrake and Baxter, it could benefit from some additional character development. Add more dialogue and actions that reveal their personalities and motivations.

4. Subtext: Use subtext to add depth and complexity to the scene. What is really going on beneath the surface? What are the characters really thinking and feeling? By adding subtext, you can create a more nuanced and interesting scene.

5. Conflict: Every scene should have some form of conflict. Add more conflict to this scene to make it more engaging. This could take the form of an argument, a power struggle, or even a physical altercation. Whatever form it takes, conflict will make the scene more interesting and compelling for the audience.



Scene 15 -  The Secret Rendezvous
  • Overall: 9.0
  • Concept: 7
  • Plot: 9
  • Characters: 8
  • Dialogue: 9
INT. SHELDRAKE'S ANTEROOM - DAY

Miss Olsen is on the phone.

MISS OLSEN
Mrs. Sheldrake returning your call -
- on two --


She presses a button down, starts to hang the phone up,
glances around to see if the typists are watching, then
raises the receiver to her ear and eavesdrops on the
conversation.

INT. SHELDRAKE'S OFFICE - DAY

Sheldrake is talking into the phone.

SHELDRAKE
Yes, dear -- I called you earlier --
where were you? Oh, you took Tommy
to the dentist --

During this, Bud has risen from his chair, started inching
toward the door.

SHELDRAKE (CONT’D)
(turning to him)
Where are you going, Baxter?

BUD
Well, I don't want to intrude --
and I thought -- since it's all
straightened out anyway --

SHELDRAKE
I'm not through with you yet.

BUD
Yes, sir.

SHELDRAKE
(into phone)
The reason I called is -- I won't
be home for dinner tonight. The
branch manager from Kansas City is
in town -- I'm taking him to the
theatre Music Man, what else? No,
don't wait up for me -- 'bye,
darling.
(hangs up, turns to Bud)
Tell me something, Baxter -- have
you seen Music Man?


(CONTINUED)
40.
CONTINUED:

BUD
Not yet. But I hear it's one swell
show.

SHELDRAKE
How would you like to go tonight?

BUD
You mean -- you and me? I thought
you were taking the branch manager
from Kansas City --

SHELDRAKE
I made other plans. You can have
both tickets.

BUD
Well, that's very kind of you --
only I'm not feeling well -- you
see, I have this cold -- and I
thought I'd go straight home.

SHELDRAKE
Baxter, you're not reading me. I
told you I have plans.

BUD
So do I -- I'm going to take four
aspirins and get into bed -- so you
better give the tickets to somebody
else --

SHELDRAKE
I'm not just giving those tickets,
Baxter -- I want to swap them.

BUD
Swap them? For what?

Sheldrake picks up the Dobisch reports, puts on his glasses,
turns a page.

SHELDRAKE
It also says here -- that you are
alert, astute, and quite
imaginative --

BUD
Oh?
(the dawn is breaking)
Oh!




(CONTINUED)
41.
CONTINUED: (2)

He reaches into his coat pocket, fishes out a handful of
Kleenex, and then finally the key to his apartment. He holds
it up.

BUD (CONT’D)
This?

SHELDRAKE
That's good thinking, Baxter. Next
month there's going to be a shift
in personnel around here -- and as
far as I'm concerned, you're
executive material.

BUD
I am?

SHELDRAKE
Now put down the key --
(pushing a pad toward him)
-- and put down the address.

Bud lays the key on the desk, unclips what he thinks is his
fountain pen, uncaps it, starts writing on the pad.

BUD
It's on the second floor - my name
is not on the door -- it just says -

Suddenly he realizes that he has been trying to write the
address with the thermometer.

BUD (CONT’D)
Oh -- terribly sorry. It's that
cold --

SHELDRAKE
Relax, Baxter.

BUD
Thank you, sir.

He has replaced the thermometer with the fountain pen, and is
scribbling the address.

BUD (CONT’D)
You'll be careful with the record
player, won't you? And about the
liquor -- I ordered some this
morning -- but I'm not sure when
they'll deliver it --




(CONTINUED)
42.
CONTINUED: (3)

He has finished writing the address, shoves the pad over to
Sheldrake.

SHELDRAKE
Now remember, Baxter -- this is
going to be our little secret.

BUD
Yes, of course.

SHELDRAKE
You know how people talk.

BUD
Oh, you don't have to worry --

SHELDRAKE
Not that I have anything to hide.

BUD
Oh, no sir. Certainly not. Anyway,
it's none of my business -- four
apples, five apples -- what's the
difference -- percentage-wise?

SHELDRAKE
(holding out the tickets)
Here you are, Baxter. Have a nice
time.

BUD
You too, sir.

Clutching the tickets, he backs out of the office.

DISSOLVE TO:
Genres: ["Comedy","Drama"]

Summary Bud gets grilled by Sheldrake about his key, but manages to secure executive-level, redeemable perks in a calculated exchange.
Strengths "cleverly written dialogue, calculated exchange between characters"
Weaknesses "lack of emotional depth, somewhat predictable"
Critique Overall, the scene is well-written and engaging. The dialogue is natural and revealing, providing insight into the characters and the plot. However, there are a few areas that could be improved.

Firstly, the stage directions are minimal, leaving room for confusion or ambiguity in the scene's execution. For example, it is not clear how far Bud has moved toward the door or how Miss Olsen is eavesdropping on the phone call. Adding more specific details would make the scene easier to visualize and understand.

Secondly, the scene could benefit from a clearer sense of tone. While there are moments of humor and tension, it is not always clear how the audience should feel. Clarifying the tone would help the scene feel more cohesive and impactful.

Finally, the scene could potentially benefit from more visual storytelling. While the dialogue is strong, relying solely on dialogue can make the scene feel static. Adding more visual cues or actions would help keep the scene dynamic and engaging.

Overall, this is a strong scene with room for improvement in terms of stage directions, tone, and visual storytelling.
Suggestions There are a few suggestions to improve this scene:

1. Show more of Bud's internal conflict: While we see Bud inching towards the door, it would be helpful to see more of his internal conflict. This could be achieved through voiceover or having him hesitate to leave, indicating his reluctance to be part of the dishonesty.

2. Build more tension: Currently, there is no real tension in the scene. Adding stakes or consequences for Bud's actions would increase the dramatic tension and keep the audience engaged.

3. Use more visual cues: The scene is very dialogue-heavy and could benefit from more visual cues, such as close-ups on the phone or the Dobisch reports. This would help break up the scene and make it more visually interesting.

4. Develop the characters: Currently, Miss Olsen and Sheldrake are very one-dimensional characters. Developing their personalities and motivations would make the scene more engaging and improve the overall story.

5. Provide more context: It's unclear what the overall goal of the scene is and how it fits into the larger story. Providing more context and making sure the scene serves a specific purpose will help keep the audience invested in the story.



Scene 16 -  Missed Connection
  • Overall: 7.0
  • Concept: 8
  • Plot: 7
  • Characters: 7
  • Dialogue: 8
INT. LOBBY INSURANCE BUILDING - EVENING

It is about 6:30, and the building has pretty well emptied
out by now. Bud, in raincoat and hat, is leaning against one
of the marble pillars beyond the elevators. His raincoat is
unbuttoned, and Fran's carnation is still in his lapel. He is
looking off expectantly toward a door marked EMPLOYEES'

LOUNGE - WOMEN.

Some of the female employees are emerging, dressed for the
street. Among them are Sylvia and her colleague from the
switchboard.




(CONTINUED)
43.
CONTINUED:

SYLVIA
So I figure, a man in his position,
he's going to take me to 21 and El
Morocco -- instead, he takes me to
Hamburg Heaven and some schnook's
apartment --

They pass Bud without paying any attention to him. Bud has
heard the crack, and looks after Sylvia, a little hurt. Then
he glances back toward the door of the lounge, as it opens
and Fran Kubelik comes out. She is wearing a wool coat over a
street dress, no hat.

FRAN
(passing Bud)
Good night.

BUD
(casually)
Good night.

She is about three paces beyond him when he suddenly realizes
who it is.

BUD (CONT’D)
Oh -- Miss Kubelik.
(he rushes after her,
taking off his hat)
I've been waiting for you.

FRAN
You have?

BUD
I almost didn't recognize you --
this is the first time I've ever
seen you in civilian clothes.

FRAN
How'd you make out on the twenty-
seventh floor?

BUD
Great. Look -- have you seen The
Music Man?

FRAN
No.

BUD
Would you like to?




(CONTINUED)
44.
CONTINUED: (2)

FRAN
Sure.

BUD
I thought maybe we could have a
bite to eat first -- and then --

FRAN
You mean tonight?

BUD
Yeah.

FRAN
I'm sorry, but I can't tonight. I'm
meeting somebody.

BUD
Oh.
(a beat)
You mean -- like a girl-friend?

FRAN
No. Like a man.

She proceeds across the lobby toward the street entrance, Bud
following her.

BUD
I wasn't trying to be personal --
it's just that the fellows in the
office were -- whether you
wondering about you ever --

FRAN
Just tell 'em -- now and then.

BUD
This date -- is it just a date --
or is it something serious?

FRAN
It used to be serious -- at least I
was -- but he wasn't -- so the
whole thing is more or less kaputt.

BUD
Well, in that case, couldn't you?

FRAN
I'm afraid not. I promised to have
a drink with him -- he's been
calling me all week --


(CONTINUED)
45.
CONTINUED: (3)

BUD
Oh, I understand.

He follows her out through the revolving doors.
Genres: ["romance","drama"]

Summary Bud runs into Fran in the lobby and tries to make plans with her, but she has a date with another man.
Strengths
  • Clear character motivations
  • Tasteful romantic tension
  • Clever dialogue
Weaknesses
  • Limited plot development
  • Somewhat predictable
Critique Overall, the scene is well-written with strong dialogue that effectively moves the story forward. The scene sets up a potential romantic plotline between Bud and Fran, with Bud clearly interested in pursuing her and Fran slightly hesitant but open to the idea. The contrast between Sylvia's negative experiences with men and Fran's seemingly positive plans for the evening adds depth to the scene.

One suggestion for improvement would be to incorporate more visual descriptions and actions. The scene is very dialogue-heavy, with very little physical movement or description beyond the characters' clothing. Incorporating more physical details, such as the lighting in the lobby or the sound of rain outside, could help to create a more atmospheric and immersive setting for the audience. Additionally, incorporating more physical actions for the characters, such as Fran adjusting her coat or Bud nervously tapping his foot, could add depth to the characters and their emotions.
Suggestions Overall, the scene is well-written and effectively conveys the characters' personalities and motivations. However, here are a few suggestions:

1. Add some description to the setting: While the script notes that they are in the lobby of an insurance building, there is no sensory description of the space. Consider adding details about the lighting, the smell, the sound of footsteps, etc. This could help create a more vivid image and also convey the mood of the scene.

2. Create more tension: While there is some tension between Bud and Fran, it could be heightened by adding more obstacles to their conversation. For example, what if the lobby is crowded and they have to maneuver around people to talk? Or what if someone is watching them and they have to be discreet? Adding more tension could help make the scene more engaging.

3. Add some backstory: While it's clear that Bud has feelings for Fran, we don't know much about their relationship beyond their interactions in this scene. Consider adding some information about how they met, why Bud is interested in her, and what Fran thinks of him. This could help deepen their characters and make the audience more invested in their relationship.



Scene 17 -  Showtime and Bonding
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
EXT. INSURANCE BUILDING - EVENING

Fran and Bud come out.

BUD
(putting his hat on)
Well, it was just an idea -- I hate
to see a ticket go to waste --

FRAN
(stops)
What time does the show go on?

BUD
Eight-thirty.

FRAN
(looks at her watch)
Well -- I could meet you at the
theatre -- if that's all right.

BUD
All right? That's wonderful! It's
the Majestic -- 44th Street.

FRAN
Meet you in the lobby. Okay?

Bud nods happily, falls in beside her as she starts down the
street.

BUD
You know, I felt so lousy this
morning -- a hundred and one fever -
- then my promotion came up -- now
you and I -- eleventh row center --
and you said I should have stayed
in bed.

FRAN
How is your cold?

BUD
(high as a kite)
What cold? And after the show, we
could go out on the town --
(does a little cha cha
step)
(MORE)

(CONTINUED)
46.
CONTINUED:
BUD (CONT'D)
I've been taking from Arthur
Murray.

FRAN
So I see.

BUD
They got a great little band at El
Chico, in the Village -- it's
practically around the corner from
where you live.

FRAN
Sounds good.
(a sudden thought)
How do you know where I live?

BUD
Oh, I even know who you live with --
your sister and brother-in-law -- I
know when you were born -- and
where -- I know all sorts of things
about you.

FRAN
How come?

BUD
A couple of months ago I looked up
your card in the group insurance
file.

FRAN
Oh.

BUD
I know your height, your weight and
your Social Security number -- you
had mumps, you had measles, and you
had your appendix out.

They have now reached the corner, and Fran stops.

FRAN
Well, don't tell the fellows in the
office about the appendix. They may
get the wrong idea how you found
out.
(turning the corner)
'Bye.




(CONTINUED)
47.
CONTINUED: (2)

BUD
(calling after her)
Eight-thirty!

He watches her walk away, an idiot grin on his face. Despite
what he told Fran, his nose is stuffed up, so he takes out
the anti-histamine and sprays his nostrils. Then, carried
away, he squirts some of the stuff on the carnation in his
buttonhole, moves off in the opposite direction.

EXT. DOWNTOWN STREET - EVENING

Fran comes hurrying along the street. She is late. Her
objective is a small Chinese restaurant, with a neon sign
reading THE RICKSHAW - COCKTAILS - CANTONESE FOOD. She starts
down a flight of steps leading to the entrance.
Genres: ["Romantic Comedy","Drama"]

Summary Bud and Fran make plans to go to the theater for a show and bond over their personal details. Bud is high on his promotion and excited about spending time with Fran.
Strengths "The chemistry between Bud and Fran is palpable and the light-hearted tone of the scene is enjoyable."
Weaknesses "The scene does not significantly move the plot forward and the theme is not strong."
Critique This scene is a good example of dialogue-driven storytelling. The main characters, Fran and Bud, are introduced and revealed, mainly, through their conversation, rather than through their actions and surroundings.

The scene sets up the potential for a romantic relationship between Fran and Bud as they make plans to see a show together. The dialogue is natural and witty, and the scene is playful. However, it does not seem to advance the plot of the story much beyond setting up a potential romantic conflict.

Additionally, the use of "high as a kite" when describing Bud's excitement for the evening feels out of character and out of place.

Overall, the scene is nicely crafted but could benefit from pushing the story forward, rather than just setting up potential character relationships.
Suggestions First and foremost, there needs to be a clear objective for this scene and for the characters. Right now, the scene feels like it's simply a conversation between Fran and Bud with no real purpose. It's important to have every scene move the story forward and contribute to the overall plot.

Secondly, the dialogue could use some more depth and substance. The conversation between Fran and Bud is quite mundane and doesn't reveal much about their characters or the story. Consider adding more conflict or tension to their conversation to make it more interesting and engaging for the audience.

Additionally, the scene could benefit from some visual details and action to make it more dynamic. Rather than just having the characters stand and talk, consider adding some movement or blocking to the scene to make it more visually interesting.

Finally, consider tying this scene back to the larger story. Is there something significant that happens at the theater or the Chinese restaurant that is important to the plot? If not, the scene may not be necessary and could be cut to streamline the story.



Scene 18 -  Fran and Sheldrake at the Chinese Restaurant
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
INT. CHINESE RESTAURANT - EVENING

The bar is a long, narrow, dimly-lit room with booths along
one side. Beyond a bamboo curtain is the main dining room,
which does not concern us. The place is decorated in Early
Beachcomber style rattan, fish-nets, conch-shells, etc. The
help is Chinese.

At this early hour, there are only half a dozen customers in
the place -- all at the bar except for one man, sitting in
the last booth with his back toward camera. At a piano, a
Chinese member of Local 808 is improvising mood music.

Fran comes through the door, and without looking around,
heads straight for the last booth. The bartender nods to her -
- they know her there. As she passes the piano player, he
gives her a big smile, segues into JEALOUS LOVER. Fran comes
up to the man sitting in the last booth.

FRAN
(a wistful smile)
Good evening, Mr. Sheldrake.
Sheldrake, for that's who it is,
looks around nervously to make sure
no one has heard her.

SHELDRAKE
Please, Fran -- not so loud.
(he gets up)

FRAN
Still afraid somebody may see us
together?




(CONTINUED)
48.
CONTINUED:

SHELDRAKE
(reaching for her coat)
Let me take that.

FRAN
No, Jeff. I can't stay very long.
(sits opposite him, with
her coat on)
Can I have a frozen daiquiri?

SHELDRAKE
It's on the way.
(sits down)
I see you went ahead and cut your
hair.

FRAN
That's right.

SHELDRAKE
You know I liked it better long.

FRAN
Yes, I know. You want a lock to
carry in your wallet?

A waiter comes up with a tray: two daiquiris, fried shrimp,
eggrolls, and a bowl of sauce.

WAITER
(showing all his teeth)
Evening, lady. Nice see you again.

FRAN
Thank you.

The waiter has set everything on the table, leaves.

SHELDRAKE
How long has it been -- a month?

FRAN
Six weeks. But who's counting?

SHELDRAKE
I missed you, Fran.

FRAN
Like old times. Same booth, same
song --

SHELDRAKE
It's been hell.


(CONTINUED)
49.
CONTINUED: (2)

FRAN
(dipping shrimp)
-- same sauce -- sweet and sour.

SHELDRAKE
You don't know what it's like --
standing next to you in that
elevator, day after day -- Good
morning, Miss Kubelik -- Good
night, Mr. Sheldrake -- I'm still
crazy about you, Fran.

FRAN
(avoiding his eyes)
Let's not start on that again, Jeff
-- please. I'm just beginning to
get over it.

SHELDRAKE
I don't believe you.

FRAN
Look, Jeff -- we had two wonderful
months this summer -- and that was
it. Happens all the time -- the
wife and kids go away to the
country, and the boss has a fling
with the secretary or the
manicurist -- or the elevator girl.
Comes September, the picnic is over
-- goodbye. The kids go back to
school, the boss goes back to the
wife, and the girl --
(she is barely able to
control herself)
They don't make these shrimp like
they used to.

SHELDRAKE
I never said goodbye, Fran.

FRAN
(not listening)
For a while there, you try kidding
yourself that you're going with an
unmarried man. Then one day he
keeps looking at his watch, and
asks you if there's any lipstick
showing, then rushes off to catch
the seven-fourteen to White Plains.
(MORE)




(CONTINUED)
50.
CONTINUED: (3)
FRAN (CONT'D)
So you fix yourself a cup of
instant coffee -- and you sit there
by yourself -- and you think -- and
it all begins to look so ugly --


There are tears in her eyes. She breaks off, downs what's
left of the daiquiri.

SHELDRAKE
How do you think I felt -- riding
home on that seven-fourteen train?

FRAN
Why do you keep calling me, Jeff?
What do you want from me?

SHELDRAKE
(taking her hand)
I want you back, Fran.

FRAN
(withdrawing her hand)
Sorry, Mr. Sheldrake -- I'm full
up. You'll have to take the next
elevator.

SHELDRAKE
You're not giving me a chance,
Fran. I asked you to meet me
because -- I have something to tell
you.

FRAN
Go ahead -- tell me.

SHELDRAKE
(a glance around)
Not here, Fran. Can't we go some
place else?

FRAN
No. I have a date at eight-thirty.

SHELDRAKE
Important?

FRAN
Not very -- but I'm going to be
there anyway.




(CONTINUED)
51.
CONTINUED: (4)

She takes out an inexpensive square compact with a fleur de
lis pattern on it, opens it, starts to fix her face. The
waiter comes up with a couple of menus.

WAITER
You ready order dinner now?

FRAN
No. No dinner.

SHELDRAKE
Bring us two more drinks.

CUT TO:
Genres: ["Romance","Drama"]

Summary Fran meets with Sheldrake at a Chinese restaurant, where they discuss their past relationship and Sheldrake's desire to be with Fran again despite being married.
Strengths "Strong character development, emotional depth, realistic dialogue."
Weaknesses "Slow pace, lack of action or plot development."
Critique Overall, the scene is well-written. The description of the setting is visually descriptive and sets a clear mood. The dialogue is natural and engaging, with both characters revealing their motivations and feelings in a believable way. However, it could benefit from some more action or movement, as the scene is largely just two characters talking in a booth. There could also be more use of subtext and nonverbal communication to add more tension and depth to the situation.
Suggestions Some suggestions to improve this scene:

1. Give more context to the characters and their relationship. The scene jumps right into dialogue without any setup, so it's hard to understand the stakes or history between Fran and Sheldrake. Adding a brief introduction or backstory could help the audience connect with them.

2. Create more visual interest in the setting. While the description of the restaurant is detailed, there's not much action happening within it. Adding some movement, such as a server dropping a dish or a group of rowdy customers at the bar, could help make the scene more dynamic.

3. Vary the dialogue. The conversation between Fran and Sheldrake is very one-sided, with Fran doing most of the talking. Adding more back-and-forth, interruptions, or changes in tone could make the scene more engaging.

4. Show, don't tell. Fran's monologue about the end of the affair feels a bit on-the-nose. It might be more effective to convey her emotions through her actions or expressions, rather than having her spell it out in dialogue.

5. Build tension. The scene lacks a clear conflict or goal, which makes it feel somewhat aimless. Adding in a specific objective, such as Sheldrake trying to convince Fran to give him another chance, could raise the stakes and make the scene more compelling.



Scene 19 -  Past Love Rekindled
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
EXT. MAJESTIC THEATRE - EVENING

It is 8:25, and there is the usual hectic to-do -- taxis
pulling up, people milling around the sidewalk and crowding
into the lobby. In the middle of this melee, buffeted by the
throng, stands Bud, in raincoat and hat, looking anxiously
for Fran.

CUT TO:

INT. CHINESE RESTAURANT - EVENING

Fran and Sheldrake, in the booth, are working on the second
round of drinks.

SHELDRAKE
Fran -- remember that last weekend
we had?

FRAN
(wryly)
Do I. That leaky little boat you
rented -- and me in a black
negligee and a life preserver --

SHELDRAKE
Remember what we talked about?

FRAN
We talked about a lot of things.

SHELDRAKE
I mean -- about my getting a
divorce.

FRAN
We didn't talk about it -- you did.



(CONTINUED)
52.
CONTINUED:

SHELDRAKE
You didn't really believe me, did
you?

FRAN
(shrugging)
They got it an a long playing
record now - Music to String Her
Along By. My wife doesn't
understand me -- We haven't gotten
along for years -- You're the best
thing that ever happened to me --

SHELDRAKE
That's enough, Fran.

FRAN
(going right on)
Just trust me, baby -- we'll work
it out somehow --

SHELDRAKE
You're not being funny.

FRAN
I wasn't trying.

SHELDRAKE
If you'll just listen to me for a
minute --

FRAN
Okay. I'm sorry.

SHELDRAKE
I saw my lawyer this morning -- I
wanted his advice -- about the
best way to handle it --

FRAN
Handle what?

SHELDRAKE
What do you think?

FRAN
(looking at him for a long
moment - then)
Let's get something straight, Jeff -
- I never asked you to leave your
wife.




(CONTINUED)
53.
CONTINUED: (2)

SHELDRAKE
Of course not. You had nothing to
do with it.

FRAN
(her eyes misting up
again)
Are you sure that's what you want?

SHELDRAKE
I'm sure. If you'll just tell me
that you still love me --

FRAN
(softly)
You know I do.

SHELDRAKE
Fran --

He takes her hand, kisses it. The bar has been filling up,
and now two couples are seating themselves in a nearby booth.
One of the women is Miss Olsen.

FRAN
(pulling her hand away
gently)
Jeff -- darling --

She indicates the other customers. Sheldrake glances over his
shoulder.

SHELDRAKE
It is crowding up. Let's get out of
here.

They rise. Sheldrake leaves some money on the table, leads
Fran toward the entrance. As they pass Miss Olsen's booth,
she turns around slowly, and putting on her glasses, looks
after them.

Sheldrake slips a bill to the piano player, who gives them a
big smile, slides into JEALOUS LOVER again. Retrieving his
hat and coat from the checkroom girl, Sheldrake steers Fran
through the door. Miss Olsen watches them with a cold smile.

EXT. CHINESE RESTAURANT - EVENING

Fran and Sheldrake come up the steps.

SHELDRAKE
(to a passing cab)
Taxi!


(CONTINUED)
54.
CONTINUED:

It passes without stopping.

FRAN
I have that date -- remember?

SHELDRAKE
I love you -- remember?

Another taxi approaches. Sheldrake gives a shrill whistle,
and it pulls up. He opens the door.

FRAN
Where are we going, Jeff? Not back
to that leaky boat --

SHELDRAKE
I promise.

He helps her into the cab, takes out of his coat pocket the
page from the pad on which Bud wrote the address of the
apartment.

SHELDRAKE (CONT’D)
(to cab driver)
West Sixty-Seventh.

He gets in beside Fran, shuts the door. As the cab pulls
away, through the rear window the two can be seen kissing.

CUT TO:
Genres: ["Drama","Romance"]

Summary Sheldrake meets with Fran at a Chinese restaurant to discuss his desire to leave his wife and be with Fran again. Fran is hesitant and tells him that she never asked him to leave his wife. They leave the restaurant and share a cab, kissing as the scene ends.
Strengths "Strong emotional tension between the characters, well-written dialogue that conveys their conflicting desires."
Weaknesses "There is not much action in this scene, which may make it less visually interesting to some viewers."
Critique The scene is well-written and effectively establishes the contrast between the busy and crowded scene outside the theater and the intimacy of the conversation between Fran and Sheldrake in the restaurant. The dialogue is natural, and the tension in their relationship is conveyed through their words and actions. The use of Miss Olsen as an observer adds an element of mystery and intrigue. Overall, the scene effectively advances the plot and character development.
Suggestions There are a few things that could be improved in this scene:

1. The introduction of characters could be clearer. It's not immediately clear who Bud and Fran are, and it takes a bit of context from the rest of the script to figure it out.

2. The dialogue between Fran and Sheldrake feels a bit cliché and predictable. The audience can probably guess where this conversation is going from the start, and there's not much surprising or interesting about it.

3. The scene lacks visual specificity. There's a lot mentioned about the location and the people around the characters, but not much is described in detail. Adding more specific details can make the scene feel more alive and immersive.

To improve the scene, here are some suggestions:

1. Consider introducing Bud and Fran in a way that makes it clear who they are and how they relate to each other. You could show them exchanging glances or saying each other's names, for example.

2. Try to make the dialogue between Fran and Sheldrake more unique and specific to their characters. What if they discussed something unexpected, or had a disagreement that revealed a new side to their relationship? Adding more nuance and complexity to the scene can make it more engaging and memorable.

3. Use description to bring the setting to life. What do the people around the characters look like, sound like, and smell like? What is the lighting like, and how does it affect the mood? By adding these kinds of details, you can immerse the audience in the scene and make it feel more real.



Scene 20 -  End of an Era
  • Overall: 9.0
  • Concept: 8
  • Plot: 10
  • Characters: 8
  • Dialogue: 8
EXT. MAJESTIC THEATRE - EVENING

It's 9 o'clock, the lobby is deserted, and standing on the
sidewalk all by himself, is Bud. He takes a Kleenex out of
his pocket, blows his nose, stuffs the used Kleenex in
another pocket. He looks up and down the street, consults his
watch, decides to wait just a little longer.

FADE OUT:

FADE IN:

BAXTER'S DESK CALENDAR

The leaves are flipping over. Mr. Sheldrake seems to be using
The Apartment regularly -- for the name Sheldrake, in Bud's
handwriting, appears on the pages dated Monday, November 9,
Thursday, November 12, Thursday, November 19, Monday,
November 23, and Monday, November 30.




(CONTINUED)
55.
CONTINUED:

Mr. Sheldrake also seems to be Baxter's only customer by now,
since the other leaves of the calendar are blank.

DISSOLVE TO:

INT. NINETEENTH FLOOR - INSURANCE BUILDING - DAY

It is a gloomy December morning, and hundreds of desk-bound
employees are bent over their paper-work. Bud Baxter, in
raincoat and hat, is clearing out his desk. He has piled
everything on his blotter pad -- reference books, papers, a
fountain pen set, pencils, paper clips and the calendar.
Watching him from the next desk is a dumbfounded Moffett.

Bud picks up the blotter pad with his stuff on it, and as he
moves past Moffett's desk, Moffett takes out a dollar bill,
drops it grudgingly on the loaded pad. Bud flashes him a
little grin, continues between the desks toward the row of
glass-enclosed offices housing the supervisory personnel.

He comes up to an unoccupied cubicle. A sign painter is
brushing in some new lettering on the glass door -- it reads
C. C. BAXTER, Second Administrative Assistant. Bud studies
the sign with a good deal of satisfaction.

BUD
(to painter)
Would you mind --?
(the painter turns around)
C. C. Baxter -- that's me.

With an "Oh, " the painter opens the door for him.
Genres: ["drama","romance"]

Summary Bud cleans out his desk and sees his new nameplate
Strengths "The scene illustrates Bud's progress in his career and how it impacts his relationship with Fran, the main romantic interest. The new office sign serves symbolically to demonstrate how far he has come."
Weaknesses "The scene is mostly focused on Bud and his advancement rather than the relationship between Bud and Fran, which is the main source of tension in the story."
Critique There is not much going on in this scene in terms of action or dialogue—it's more of a transitional scene. However, it serves its purpose of showing the passage of time and the shift in Baxter's career. The use of the calendar flipping over and showing Sheldrake's repeated appointments is a good way to convey this without being too obvious.

There are a few opportunities to deepen the scene and give it more layers. For example, what is the significance of Bud picking up the dollar bill from Moffett? Is it a gesture of friendship or resentment? We can infer it's the former from Bud's little grin, but a clearer indication of their relationship and how it factors into Bud's decision to leave his job would give the scene more weight.

Additionally, there could be more elements to show Bud's emotional state as he leaves his job. Is he nervous, excited, sad, or something else? His physical actions are described (picking up his belongings, talking to the painter), but some internal reflection or dialogue could provide more insight into his character.

Overall, this scene effectively moves the plot forward and sets up the next chapter of the story, but it could benefit from more character depth and emotional nuance.
Suggestions One suggestion would be to add more depth and emotion to Bud's character. As it stands, the scene is very straightforward and lacks any real conflict or tension. Adding some internal conflict or showing Bud's struggle with his decision to leave his job and his morals behind could add more complexity to the scene.

Additionally, there could be more visual elements to create a stronger sense of setting and mood. For example, the gloomy December morning could be emphasized through imagery and description, and the empty lobby of the theater could be highlighted more to create a sense of isolation and loneliness.

Finally, there could be more interaction with other characters to further develop relationships and add complexity to the scene. Moffett's reaction to Bud quitting could be expanded upon, or there could be interactions with other employees who may be grappling with similar ethical dilemmas. This would add layers to the scene and make it more engaging for the audience.



Scene 21 -  Bud's Promotion and Sheldrake's Request for Second Key
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. BAXTER'S OFFICE - DAY

Bud enters his new office, deposits his stuff on the bare
desk, looks around possessively. The small cubicle boasts one
window, carpeting on the floor, a filing cabinet, a couple of
synthetic-leather chairs, and a clothes-tree -- to Bud, it is
the Taj Mahal. He crosses to the clothes-tree, removes his
hat and coat, hangs them up. From OFF comes --

KIRKEBY'S VOICE
Hi, Buddy-boy.

DOBISCH'S VOICE
Congratulations, and all that jazz.

Bud turns. Kirkeby, Dobisch, Eichelberger and Vanderhof have
come into the office.

BUD
Hi, fellas.


(CONTINUED)
56.
CONTINUED:

EICHELBERGER
Well, you made it, kid -- just like
we promised.

VANDERHOF
Quite an office -- name on the door
-- rug on the floor -- the whole
schmear.

BUD
Yeah.

DOBISCH
Teamwork -- that's what counts in
an organization like this. All for
one and one for all -- know what I
mean?

BUD
I have a vague idea.

Kirkeby signals to Vanderhof, who shuts the door. The four
charter members of the club start closing in on Bud.

KIRKEBY
Baxter, we're a little disappointed
in you -- gratitude-wise.

BUD
Oh, I'm very grateful.

EIGHELBERGER
Then why are you locking us out,
all of a sudden?

BUD
It's been sort of rough these last
few weeks -- what with my cold and
like that --

He has picked up the desk calendar, shoves it discreetly into
one of the drawers.

DOBISCH
We went to bat for you -- and now
you won't play ball with us.

BUD
Well, after all, it's my apartment -
- it's private property -- it's not
a public playground.




(CONTINUED)
57.
CONTINUED: (2)

VANDERHOF
All right, so you got yourself a
girl -- that's okay with us -- but
not every night of the week.

KIRKEBY
How selfish can you get?
(to the others)
Last week I had to borrow my
nephew's car and take Sylvia to a
drive-in in Jersey. I'm too old for
that sort of thing -- I mean, in a
Volkswagen.

BUD
I sympathize with your problem --
and believe me, I'm very sorry --

DOBISCH
You'll be a lot sorrier before
we're through with you.

BUD
You threatening me?

DOBISCH
Listen, Baxter, we made you and we
can break you.

He deliberately flips a cigar ash on Bud's desk. At the same
time, the door opens, and Sheldrake comes striding in
briskly.

BUD
Good morning, Mr. Sheldrake.

The others swivel around.

SHELDRAKE
Morning, gentlemen.
(to Bud)
Everything satisfactory? You like
your office?

BUD
Oh, yes, sir. Very much. And I want
to thank you --

SHELDRAKE
Don't thank me -- thank your
friends here -- they're the ones
who recommended you.



(CONTINUED)
58.
CONTINUED: (3)

The four friends manage to work up some sickly smiles.

DOBISCH
We just dropped in to wish him the
best.

Dorbisch quickly brushes cigar ash off desk

KIRKEBY
(as they move toward the
door)
So long, Baxter. We know you won't
let us down.

BUD
So long, fellas. Drop in any time.
The door is always open -- to my
office.

They leave. Sheldrake and Bud are alone.

SHELDRAKE
I like the way you handled that.
Well, how does it feel to be an
executive?

BUD
Fine. And I want you to know I'll
work very hard to justify your
confidence in me --

SHELDRAKE
Sure you will.
(a beat)
Say, Baxter, about the apartment -
now that you got a raise, don't you
think we can afford a second key?

BUD
Well -- I guess so.

SHELDRAKE
You know my secretary -- Miss Olsen
--

BUD
Oh, yes. Very attractive. Is she --
the lucky one?




(CONTINUED)
59.
CONTINUED: (4)

SHELDRAKE
No, you don't understand. She's a
busybody -- always poking her nose
into things -- and with that key
passing back and forth -- why take
chances?

BUD
Yes, sir. You can't be too careful.

He glances toward the glass partitions to make sure that
nobody is watching.

BUD (CONT’D)
I have something here -- I think it
belongs to you.

Out of his pocket he has slipped the compact with the fleur-
de-lis pattern we saw Fran use at the Rickshaw. He holds it
out to Sheldrake.

SHELDRAKE
To me?

BUD
I mean -- the young lady -- whoever
she may be -- it was on the couch
when I got home last night.

SHELDRAKE
Oh, yes. Thanks.

BUD
The mirror is broken.
(opens compact, revealing
crack in mirror)
It was broken when I found it.

SHELDRAKE
So it was.
(takes the compact)
She threw it at me.

BUD
Sir?

SHELDRAKE
You know how it is -- sooner or
later they all give you a bad time.

BUD
(man-of-the-world)
I know how it is.


(CONTINUED)
60.
CONTINUED: (5)

SHELDRAKE
You see a girl a couple of times a
week -- just for laughs -- and
right away she thinks you're going
to divorce your wife. I ask you --
is that fair?

BUD
No, sir. That's very unfair --
especially to your wife.

SHELDRAKE
Yeah.
(shifting gears)
You know, Baxter, I envy you.
Bachelor -- all the dames you want -
- no headaches, no complications --

BUD
Yes, sir. That's the life, all
right.

SHELDRAKE
Put me down for Thursday again.

BUD
Roger. And I'll get that other key.

Sheldrake exits. Bud takes the calendar out of the desk
drawer, makes an entry.

DISSOLVE TO:

BAXTER'S DESK CALENDAR

Again the leaves are flipping over, and again we see
Sheldrake's name in Bud's handwriting -- booked for the
following dates: Monday, December 14, Thursday, December 17,
Monday, December 21, Thursday, December 24.

DISSOLVE TO:
Genres: ["Drama","Romance"]

Summary Bud revels in his new office and runs into trouble with his friends, who want access to his apartment for their extramarital affairs. Sheldrake requests a second key to the apartment.
Strengths "Strong character development through dialogue and actions. Tense, well-paced scene. Builds on themes of infidelity and power dynamics."
Weaknesses "Some dialogue feels a bit cliched. Could benefit from more visual imagery."
Critique Overall, this scene is well-written and serves to establish the relationships and power dynamics between characters. The dialogue flows naturally, with each character speaking in a distinct voice. The scene builds tension when Bud's coworkers confront him about his refusal to share his apartment, and we get a sense of the pressure Bud is under to appease them. The introduction of Sheldrake adds another layer to the scene, as we see how Bud must navigate office politics to maintain his position and favor with his boss. The use of the calendar to show Sheldrake's scheduled affairs is a clever touch that adds depth to the characters and their motivations. However, for the sake of clarity, it may have been helpful to have a brief description of each character as they enter the room to avoid any confusion about who is speaking. Overall, a well-crafted scene that effectively sets up conflict and dynamics that will propel the story forward.
Suggestions Overall, this scene does a good job of establishing the hierarchy and dynamics of the office environment, as well as giving some insight into Bud's character and his relationship with his coworkers and boss. However, here are some suggestions for improvement:

1. Show, don't tell: Many of the characters' feelings and motivations are stated rather than shown through actions or dialogue. For example, rather than saying "we're disappointed in you--gratitude-wise," Kirkeby could show his disappointment by crossing his arms or rolling his eyes. This will make the scene more engaging and believable.

2. Use descriptive language: The scene could benefit from more description of the setting and characters. For example, rather than saying "they come into the office," the scene could describe how each character enters the room and what their body language is like. This will help the audience picture the scene more vividly.

3. Use subtext: The dialogue in this scene could be more layered and thought-provoking if there was more subtext--what the characters are saying versus what they're really thinking. For example, when Vanderhof says "the whole schmear," it's unclear whether he's genuinely impressed with Bud's new office or if he's being sarcastic. Adding more subtext will make the scene more interesting and nuanced.

4. Spice it up: The scene could benefit from some humor or conflict to make it more engaging for the audience. For example, perhaps one of the coworkers could make an inappropriate joke or comment that creates tension between the characters. Adding conflict or humor will make the scene more memorable and enjoyable to watch.



Scene 22 -  Switchboard Shenanigans
  • Overall: 7.0
  • Concept: 7
  • Plot: 5
  • Characters: 8
  • Dialogue: 6
INT. SWITCHBOARD ROOM - DAY

Perched on top of the switchboard is a small decorated
Christmas tree, and the operators are dispensing holiday
greetings to all callers.

OPERATORS
Consolidated Life -- Merry
Christmas -- I'll connect you --
Consolidated Life -- Merry
Christmas -- I'm ringing --


(CONTINUED)
61.
CONTINUED:

In the foreground, Sylvia is engaged in a private
conversation of her own.

SYLVIA
(into mouthpiece)
Yeah? -- YEAH? -- Where? -- You bet
--

She tears off her headset, and turns to the other girls.

SYLVIA (CONT’D)
Somebody watch my line -- there's a
swinging party up on the nineteenth
floor --

She scoots out the door. The other girls immediately abandon
their posts, and dash after her.
Genres: ["Comedy","Romance"]

Summary The switchboard operators exchange holiday greetings with callers while Sylvia receives an exciting invitation to a party on the nineteenth floor.
Strengths "The scene effectively establishes the setting and tone, while also providing insight into Sylvia's character through her impulsive actions."
Weaknesses "The scene doesn't advance the central plot or themes of the story in a significant way."
Critique This scene is from a classic film called "The Apartment," and it serves as a great example of how to masterfully establish a setting and a tone through dialogue and action.

The scene starts with an establishing shot of the switchboard room, with a small decorated Christmas tree on top of the switchboard, which immediately gives us a sense of the time of year and the work setting. The operators are all wishing callers a Merry Christmas, which reinforces the holiday atmosphere.

Then, we are introduced to Sylvia, the protagonist, who is clearly not as invested in her work as the other operators. Her private conversation on the phone adds a bit of mystery and intrigue, making us wonder what she's up to. When she announces that there's a "swinging party" on the nineteenth floor and leaves, it sets up the next scene and creates a sense of excitement and anticipation.

Overall, this scene is well-written and well-executed, with clear and concise dialogue that moves the plot forward and establishes the characters' personalities and motivations. The use of setting and holiday imagery adds a layer of depth to the scene, making it feel more grounded and believable.
Suggestions 1. Develop the Characters: Create a clear distinction between the operators through their specific personality traits and behaviors. This will make it easier for the audience to identify them and relate to their story arcs.

2. Increase Tension: Make the stakes higher in the plot by introducing conflict. For example, what happens if Sylvia neglects her duties? This could lead to consequences for the characters or even the company.

3. Raise the Stakes: Add an additional level of complexity to the scene by creating a sense of urgency or danger. Perhaps one of the operators is receiving a call from someone in distress and needs to be connected immediately.

4. Use Setting: Highlight the unique aspects of the setting to create a sense of atmosphere. For instance, the holiday-themed decorations can create a contrast with the frivolous attitude of the operators.

5. Reveal Character Development: Utilize the scene to depict character development. Perhaps Sylvia's decision to abandon her post and attend a party on the nineteenth floor highlights her need for excitement or rebellion. Alternatively, it could reveal her selfish nature or how little she values her job.

6. Stretch the Plot: Add more layers to the story by introducing new conflicts or storyline. This will keep the audience engaged and invested in the story.

7. Create a Subplot: Establish a subplot that runs parallel to the primary story arc. This subplot could add a new level of depth and complexity to the scene while providing the audience with a unique perspective.



Scene 23 -  Christmas Party
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 10
INT. NINETEENTH FLOOR - DAY

It's a swinging party, all right. Nobody is working. Several
desks have been cleared and pushed together, and on top of
this improvised stage four female employees and Mr. Dobisch,
with his pants-legs rolled up, are doing a Rockette kick
routine to the tune of JINGLE BELLS.

Employees are ringed around the performers, some drinking out
of paper cups, others singing and clapping in rhythm. One of
the cubicles has been transformed into a bar, and it is
jammed with people.

Mr. Kirkeby and Mr. Vanderhof are pouring -- each has a
couple of bottles of liquor in his hands, and is emptying
them into the open top of a water- cooler. But the stuff is
flowing out as fast as it flows in -- everybody is in line
with a paper cup waiting for a refill.

Bud comes shouldering his way out of the crowded cubicle,
holding aloft two paper cups filled with booze. Since his
promotion he has bought himself a new suit, dark flannel, and
with it he wears a white shirt with a pinned round collar,
and a foulard tie.

He also has quite a glow on. Detouring past necking couples,
he heads in the direction of the elevators. The doors of
Fran's elevator are just opening, and the switchboard
operators, led by Sylvia, come streaming out.

SYLVIA
(to a colleague)
-- so I said to him: Never again! --
either get yourself a bigger car or
a smaller girl --


(CONTINUED)
62.
CONTINUED:

As they head for the party, they pass Bud, who is approaching
the elevator with the two drinks. Fran is just closing the
elevator doors.

BUD
Miss Kubelik.

The doors slide open again, and Fran looks out. Instead of
the customary carnation in the lapel of her uniform, she
wears a sprig of holly.

BUD (CONT’D)
(holding out one of the
drinks)
Marry Christmas.

FRAN
Thank you.
(takes drink)
I thought you were avoiding me.

BUD
What gave you that idea?

FRAN
In the last six weeks you've only
been in my elevator once -- and
then you didn't take your hat off.

BUD
Well, as a matter of fact, I was
rather hurt when you stood me up
that night --

FRAN
I don't blame you. It was
unforgivable.

BUD
I forgive you.

FRAN
You shouldn't.

BUD
You couldn't help yourself. I mean,
when you're having a drink with one
man, you can't just suddenly walk
out on him because you have another
date with another man. You did the
only decent thing.




(CONTINUED)
63.
CONTINUED: (2)

FRAN
Don't be too sure. Just because I
wear a uniform -- that doesn't make
me a Girl Scout.

BUD
Miss Kubelik, one doesn't get to be
a second administrative assistant
around here unless he's a pretty
good judge of character -- and as
far as I'm concerned, you're tops.
I mean, decency-wise -- and
otherwise-wise.
(toasting)
Cheers.

FRAN
Cheers.

They down their drinks. Bud takes the empty cup from her.

BUD
One more?

FRAN
(indicating elevator)
I shouldn't drink when I'm driving.

BUD
You're so right.

He reaches into the elevator, takes a cardboard sign off a
hook, hangs it on the elevator door. It reads USE OTHER
ELEVATOR.

BUD (CONT’D)
By the power vested in me, I
herewith declare this elevator out
of order.
(leading her toward the
party)
Shall we join the natives?

FRAN
Why not?
(as they pass a kissing
couple)
They seem friendly enough.




(CONTINUED)
64.
CONTINUED: (3)

BUD
Don't you believe it. Later on
there will be human sacrifices --
white collar workers tossed into
the computing machines, and punched
full of those little square holes.

FRAN
How many of those drinks did you
have?

BUD
(holding up four fingers)
Three.

FRAN
I thought so.

They have now reached the entrance to the bar, which is
overflowing with thirsty natives.

BUD
You wait here. I think I hear the
sound of running water.

He leaves her outside the cubicle, and elbows his way through
the crowd toward the booze-filled water cooler. Out of
another cubicle comes Miss Olsen, cup in hand. She too has
had quite a few. Seeing Fran, she walks up to her, with an
acid smile on her face.

MISS OLSEN
Hi. How's the branch manager from
Kansas City?

FRAN
I beg your pardon?

MISS OLSEN
I'm Miss Olsen -- Mr. Sheldrake's
secretary.

FRAN
Yes, I know.

MISS OLSEN
So you don't have to play innocent
with me. He used to tell his wife
that I was the branch manager from
Seattle -- four years ago when we
were having a little ring-a-ding-
ding.



(CONTINUED)
65.
CONTINUED: (4)

FRAN
I don't know what you're talking
about.

MISS OLSEN
And before me there was Miss Rossi
in Auditing -- and after me there
was Miss Koch in Disability -- and
just before you there was Miss
What's-Her-Name, on the twenty-
fifth floor --

FRAN
(wanting to get away)
Will you excuse me?

MISS OLSEN
(holding her by the arm)
What for? You haven't done anything
-- it's him -- what a salesman --
always the last booth in the
Chinese restaurant -- and the same
pitch about divorcing his wife --
and in the end you wind up with egg
foo yong on your face.

Bud comes burrowing out of the crowded cubicle, balancing the
two filled paper cups, spots Fran.

BUD
Miss Kubelik.

Fran turns away from Miss Olsen.

FRAN
Well -- thank you.

MISS OLSEN
Always happy to do something for
our girls in uniform.

She moves off as Bud joins Fran, who is looking a little
pale.

BUD
You all right? What's the matter?

FRAN
Nothing.
(takes the drink)
There are just too many people
here.



(CONTINUED)
66.
CONTINUED: (5)

BUD
Why don't we step into any office?
There's something I want your
advice about, anyway.
(leads her toward his
cubicle)
I have my own office now,
naturally. And you may be
interested to know I'm the second
youngest executive in the company --
the only one younger is a grandson
of the chairman of the board.
Genres: ["Comedy","Romance","Drama"]

Summary Bud and Fran bump into each other at the Christmas office party, where there are drinks, revelry, and a dance number.
Strengths "The dialogue is witty and charming, and the party scene captures the festive and fun atmosphere of office Christmas parties. The chemistry between Bud and Fran continues to be strong."
Weaknesses "The scene doesn't have a lot of plot development or high stakes, and Miss Olsen's character feels underdeveloped."
Critique Overall, the scene seems to be well-written and engaging. The descriptions of the party atmosphere and the various characters' actions and interactions are vivid and easy to picture. The dialogue flows smoothly and realistically, with each character having a distinct voice and personality.

One suggestion for improvement would be to clarify the setting. It's not clear what type of business or industry this office is in, which could help deepen the world-building and give the scene more context. Additionally, there could be more details about the physical space, such as what the decor is like or how the desks are arranged.

Another area for improvement would be to further develop the character of Fran. Although she has some witty dialogue, she doesn't have much agency or personality beyond being the object of Bud's romantic interest. It would be interesting to see her have more of her own goals and motivations, and to see her drive the plot forward in some way.
Suggestions There are a few things that could be improved in this scene:

1. Description: The scene description could benefit from more sensory details and better visualizations of the setting and characters. For example, what do the characters look like, what are they wearing, how does the space feel and smell?

2. Dialogue: The dialogue between Bud and Fran feels a bit flat and lacking in subtext. There could be more tension and complexity in their conversation, hinting at the romantic relationship that is developing between them.

3. Conflict: There is a brief moment of conflict with Miss Olsen, but it doesn't feel fully developed or resolved. Adding more conflict could make the scene more interesting and engaging for the audience.

4. Purpose: The purpose of the scene is not entirely clear. It seems to be a moment of levity and celebration, but it could benefit from a clearer tie-in to the overarching plot and themes of the story.



Scene 24 -  The Bowler Hat
  • Overall: 8.5
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
INT. BAXTER'S OFFICE - DAY

Bud ushers Fran in, and is confronted by a strange couple
necking in the corner. He gestures them out, crosses to his
desk.

BUD
Miss Kubelik, I would like your
honest opinion. I've had this in my
desk for a week -- cost me fifteen
dollars -- but I just couldn't get
up enough nerve to wear it --

From under the desk he has produced a hatbox, and out of the
hatbox a black bowler, which he now puts on his head.

BUD (CONT’D)
It's what they call the junior
executive model. What do you think?

Fran looks at him blankly, absorbed in her own thoughts.

BUD (CONT’D)
Guess I made a boo-boo, huh?

FRAN
(paying attention again)
No -- I like it.

BUD
Really? You mean you wouldn't be
ashamed to be seen with somebody in
a hat like this?

FRAN
Of course not.

BUD
Maybe if I wore it a little more to
the side --
(MORE)

(CONTINUED)
67.
CONTINUED:
BUD (CONT'D)
(adjusting hat)
is that better?

FRAN
Much better.

BUD
Well, as long as you wouldn't be
ashamed to be seen with me -- how
about the three of us going out
this evening -- you and me and the
bowler -- stroll down Fifth Avenue -
- sort of break it in --

FRAN
This is a bad day for me.

BUD
I understand. Christmas -- family
and all that --

FRAN
I'd better get back to my elevator.
I don't want to be fired.

BUD
Oh, you don't have to worry about
that. I have quite a bit of
influence in Personnel. You know
Mr. Sheldrake?

FRAN
(guardedly)
Why?

BUD
He and I are like this.
(crosses his fingers)
Sent me a Christmas card. See?

He has picked up a Christmas card from his desk, shows it to
Fran. It is a photograph of the Sheldrake clan grouped around
an elaborate Christmas tree -- Mr. and Mrs. Sheldrake, the
two boys in military school uniforms, and a big French
poodle.

Underneath it says: SEASON'S GREETINGS from the SHELDRAKES
Emily, Jeff, Tommy, Jeff Jr., and Figaro.

FRAN
(studying the card
ruefully)
Makes a cute picture.


(CONTINUED)
68.
CONTINUED: (2)

BUD
I thought maybe I could put in a
word for you with Mr. Sheldrake --
get you a little promotion -- how
would you like to be an elevator
starter?

FRAN
I'm afraid there are too many other
girls around here with seniority
over me.

BUD
No problem. Why don't we discuss it
sometime over the holidays -- I
could call you and pick you up and
we'll have the big unveiling --
(touching the brim of his
bowler)
-- you sure this is the right way
to wear it?

FRAN
I think so.

BUD
You don't think it's tilted a
little too much --

Fran takes her compact out of her uniform pocket, opens it,
hands it to Bud.

FRAN
Here.

BUD
(examining himself in the
mirror)
After all, this is a conservative
firm -- I don't want people to
think I'm an entertainer --

His voice trails off. There is something familiar about the
cracked mirror of the compact -- and the fleur-de-lis pattern
on the case confirms his suspicion. Fran notices the peculiar
expression on his face.

FRAN
What is it?

BUD
(with difficulty)
The mirror -- it's broken.


(CONTINUED)
69.
CONTINUED: (3)

FRAN
I know. I like it this way -- makes
me look the way I feel.

The phone has started to ring. Bud doesn't hear it. He closes
the compact, hands it to Fran.

FRAN (CONT’D)
Your phone.

BUD
Oh.
(picks up phone from desk)
Yes?
(throws a quick look at
Fran)
Just a minute.
(covers mouthpiece; to
Fran)
If you don't mind -- this is sort
of personal

FRAN
All right. Have a nice Christmas.

She exits, closing the door. Bud takes his hand off the
mouthpiece.

BUD
(every word hurts)
Yes, Mr. Sheldrake -- no, I didn't
forget -- the tree is up and the
Tom and Jerry mix is in the
refrigerator -- yes, sir -- same to
you.

He hangs up, stands there for a moment, the bowler still on
his head, the noise from the party washing over him. He
slowly crosses to the clothes-tree. picks up his coat -- a
new, black chesterfield. With the coat over his arm, he
starts out of the office.
Genres: ["Romance","Comedy","Drama"]

Summary Bud asks Fran out on a date while wearing a new hat and tries to impress her by showing her a Christmas card from Mr. Sheldrake, but Bud's emotions change when he answers a call from Sheldrake, implying he is cheating on his wife, and Bud leaves the office alone.
Strengths "The scene establishes Bud's charm and his budding interest in Fran, while also highlighting the potential flaws of his work environment."
Weaknesses "The scene doesn't seem to have any defining scene changes that will impact the larger narrative of the story."
Critique Overall, this scene is well-written and effective in its purpose of establishing the characters of Bud and Fran, as well as their relationship. However, there are a few areas where it could be improved.

Firstly, the action lines could be more specific and detailed. For example, when Bud gestures to the couple necking in the corner, it would be more effective to describe their actions in a way that communicates their behavior more clearly to the audience.

Additionally, there are a few instances where the dialogue feels somewhat stilted or forced. For example, when Bud asks Fran for her opinion on the hat, his dialogue feels somewhat unnatural and overly formal, which can detract from the natural flow of the scene.

Overall, however, this scene effectively establishes the characters and their dynamic, and sets up the conflict of the story.
Suggestions One suggestion could be to add more visual elements to the scene to make it more dynamic and engaging for the audience. For example, rather than just having Bud put on the bowler hat, there could be a montage of different ways he tries to style it, making it a comedic moment. Additionally, incorporating more body language and physical humor can add depth to the scene and make it more memorable. Another suggestion could be to add more conflict or tension in the scene, either between Bud and Fran or between Bud and the strange couple in the corner. This can help keep the audience engaged and interested in the story.



Scene 25 -  The Office Christmas Party
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. NINETEENTH FLOOR - DAY

The party has picked up tempo. On top of the desks, Sylvia is
doing a mock strip tease -- without taking any clothes off.
There is hollering, drinking and clapping all around her. Bud
moves past the floor show, paying no attention. Kirkeby spots
him, detaches himself from the cheering section around
Sylvia.




(CONTINUED)
70.
CONTINUED:

KIRKEBY
Where you going, Buddy-boy? The
party's just starting.
(catching up with him)
Listen, kid -- give me a break,
will you -- how about tomorrow
afternoon? I can't take her to that
drive-in again -- the car doesn't
even have a heater four o'clock --
okay?

Bud ignores him, continues walking through the ranks of empty
desks.

DISSOLVE TO:
Genres: ["Comedy","Romance"]

Summary Bud attends the Christmas party where there are drinks, revelry, and a dance number. Kirkeby asks Bud for a favor, but Bud ignores him and walks away.
Strengths "The scene captures the festive mood of the office Christmas party and sets up a potential conflict between Bud and Kirkeby."
Weaknesses "The scene lacks significant plot development and emotional impact."
Critique As a screenwriting AI language model, I cannot provide a critique as it is based on personal opinion. However, I can provide feedback on the screenwriting techniques used in the scene.

The scene is clear and concise in its description of the setting and actions of the characters. The use of descriptive language such as "hollering, drinking, and clapping" adds to the atmosphere and tone of the party. The dialogue between Kirkeby and Bud is natural and believable, with Kirkeby trying to convince Bud to hang around for the party. The use of a dissolve at the end of the scene adds a nice transition to the next scene. Overall, the scene is well-written and effectively conveys the mood and actions of the characters.
Suggestions Here are some suggestions to improve this scene:

1. Clarify the purpose of the scene: Why is it important for this scene to take place? What does it add to the story? Consider whether the audience needs to see Sylvia's strip tease or if there is a way to convey the party's energy and atmosphere without it.

2. Develop the characters: Kirkeby and Bud could benefit from more development in this scene. What are their motivations? Why is Kirkeby so insistent on Bud going out with Sylvia? Is Bud avoiding Kirkeby for a specific reason?

3. Add tension: The scene currently lacks tension, as Bud simply ignores Kirkeby's request and walks away. Consider adding conflict between the two characters, or introducing a new obstacle that creates a sense of urgency.

4. Utilize the setting: The fact that the scene takes place on the nineteenth floor could be used to heighten the stakes or create a visually interesting moment. Additionally, there is potential to use the empty desks in a more dynamic way.

5. Consider the pacing: The transition from Sylvia's strip tease to Kirkeby's conversation with Bud feels abrupt. Think about how to smooth out the transition, or if there is a way to connect the two moments thematically.



Scene 26 -  Bud and Margie at the Bar
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 8
  • Dialogue: 9
INT. CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES - EVENING

It is six o'clock, and the joint is crowded with customers
having one for the road before joining their families for
Christmas Eve. There are men with gaily wrapped packages,
small trussed-up Christmas trees, a plucked turkey in a
plastic bag.

Written across the mirror behind the bar, in glittering white
letters, is HAPPY HOLIDAYS. Everybody is in high spirits,
laughing it up and toasting each other. Everybody except Bud
Baxter.

He is standing at the bar in his chesterfield and bowler,
slightly isolated, brooding over an almost empty martini
glass. The bartender comes up, sets down a fresh martini with
an olive on a toothpick, takes his payment from a pile of
bills and coins lying in front of Bud.

Bud fishes out the olive, adds it to half a dozen other
impaled olives neatly arranged in fan shape on the counter.
He is obviously trying to complete the circle. A short,
rotund man dressed as Santa Claus hurries in from the street,
and comes up to the bar beside Bud.

SANTA CLAUS
(to bartender)
Hey, Charlie -- give me a shot of
bourbon -- and step on it -- my
sleigh is double parked.

He laughs uproariously at his own joke, nudges Bud with his
elbow. Bud stares at him coldly, turns back to his martini.
The laughter dies in Santa Claus' throat. He gets his short
of bourbon, moves down the bar to find more convivial
company.



(CONTINUED)
71.
CONTINUED:

Standing near the end of the curved bar is a girl in her
middle twenties wearing a ratty fur coat. Her name is MARGIE
MacDOUGALL, she is drinking a Rum Collins through a straw,
and she too is alone. From a distance, she is studying Bud
with interest.

On the bar in front of her is a container of straws in paper
wrappers. She takes one of them out, tears off the end of the
paper, blows through the straw -- sending the wrapper
floating toward Bud.

The paper wrapper passes right in front of Bud's nose. He
doesn't notice it. Margie, undaunted, lets go with another
missile. This time the wrapper lands on the brim of Bud's
bowler. No reaction. Another wrapper comes floating in, hits
Bud's cheek.

He never takes his eye off his martini. Margie leaves her
place, and carrying her handbag and her empty glass, comes up
alongside Bud. Without a word, she reaches up and removes the
wrapper from Bud's bowler.

MARGIE
You buy me a drink, I'll buy you
some music.
(sets the glass down)
Rum Collins.

Not waiting for an answer, she heads for the juke box. Bud
looks after her noncommittally, then turns to the bartender.

BUD
Rum Collins.
(indicating martini glass)
And another one of these little
mothers.

At the juke box, Margie has dropped a coin in and made her
selection. The music starts -- ADESTE FIDELIS. She rejoins
Bud at the bar just as the bartender is putting down their
drinks in front of them. Bud removes the new olive, adds it
to the pattern on the counter in front of him. They both
drink, staring straight ahead. For quite a while, there is
complete silence between them.

MARGIE
(out of nowhere)
You like Castro?
(a blank look from Bud)
I mean -- how do you feel about
Castro?




(CONTINUED)
72.
CONTINUED: (2)

BUD
What is Castro?

MARGIE
You know, that big-shot down in
Cuba with the crazy beard.

BUD
What about him?

MARGIE
Because as far as I'm concerned,
he's a no good fink. Two weeks ago
I wrote him a letter -- never even
answered me.

BUD
That so.

MARGIE
All I wanted him to do was let
Mickey out for Christmas.

BUD
Who is Mickey?

MARGIE
My husband. He's in Havana -- in
jail.

BUD
Oh. Mixed up in that revolution?

MARGIE
Mickey? He wouldn't do nothing like
that. He's a jockey. They caught
him doping a horse.

BUD
Well, you can't win 'em all.

They sit there silently for a moment, contemplating the
injustices of the world.

MARGIE
(to herself)
'Twas the night before Christmas
And all through the house Not a
creature was stirring -- Nothing --
No action -- Dullsville!
(drinks; to Bud)
You married?



(CONTINUED)
73.
CONTINUED: (3)

BUD
No.

MARGIE
Family?

BUD
No.

MARGIE
A night like this, it sort of
spooks you to walk into an empty
apartment.

BUD
I said I had no family -- I didn't
say I had an empty apartment. They
both drink.

CUT TO:
Genres: ["Drama","Romance","Comedy"]

Summary Bud drinks alone at a crowded bar on Christmas Eve until he is approached by Margie, a woman also drinking alone. They have a brief conversation about Margie's imprisoned husband, with whom she wants to spend Christmas. They commiserate over the unfairness of life and share drinks.
Strengths "Intimate dialogue, melancholic tone, relatable characters"
Weaknesses "Slow-paced, no significant plot developments"
Critique Overall, the scene is well written and captures the holiday spirit in a bar setting. The characters are introduced effectively, with Bud Baxter's mood being established through his actions and interactions with the other characters. However, the dialogue between Margie and Bud feels a bit forced and may benefit from more natural-sounding lines. Additionally, the scene could benefit from a clearer sense of what the overall conflict or purpose is, as this will help drive the story forward. Overall, the scene is solidly crafted but could benefit from more character development and conflict.
Suggestions Overall, the scene could benefit from more clarity in character motivations and introductions. It's unclear why Bud Baxter is isolated and brooding, which could be clarified through a line or two of dialogue or a subtle action. Similarly, Margie MacDougall's interest in Bud could use more explanation or buildup.

Additionally, the dialogue could be tightened up to make it more natural and concise. Some lines, such as Margie's description of Castro, feel a bit forced and out of place.

If possible, adding some visual interest to the scene could also improve it. Perhaps there could be more interaction between the customers or a memorable visual detail that ties into the holiday setting. This would make the scene more engaging on a visual level and provide a stronger backdrop for the dialogue.



Scene 27 -  Christmas Eve
  • Overall: 7.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
INT. BUD'S APARTMENT - EVENING

The living room is dark, except for a shaft of light from the
kitchen, and the glow of the colored bulbs on a small
Christmas tree in front of the phony fireplace. Hunched up in
one corner of the couch is Fran, still in her coat and
gloves, crying softly.

Pacing up and down is Sheldrake. His coat and hat are on a
chair, as are several Christmas packages. On the coffee table
are an unopened bottle of Scotch, a couple of untouched
glasses, and a bowl of melting ice.

SHELDRAKE
(stops and faces Fran)
Come on, Fran -- don't be like
that. You just going to sit there
and keep bawling?
(no answer)
You won't talk to me, you won't
tell me what's wrong --
(a new approach)
Look, I know you think I'm stalling
you. But when you've been married
to a woman for twelve years, you
don't just sit down at the
breakfast table and say "Pass the
sugar -- and I want a divorce."
It's not that easy.
(he resumes pacing; Fran
continues crying)
Anyway, this is the wrong time.
(MORE)

(CONTINUED)
74.
CONTINUED:
SHELDRAKE (CONT'D)
The kids are home from school -- my
in- laws are visiting for the
holidays -- I can't bring it up
now.
(stops in front of her)
This isn't like you, Fran -- you
were always such a good sport --
such fun to be with --

FRAN
(through tears)
Yeah -- that's me. The Happy Idiot -
- a million laughs.

SHELDRAKE
Well, that's more like it. At least
you're speaking to me.

FRAN
Funny thing happened to me at the
office party today -- I ran into
your secretary -- Miss Olsen. You
know -- ring-a-ding-ding? I laughed
so much I like to died.

SHELDRAKE
Is that what's been bothering you --
Miss Olsen? That's ancient history.

FRAN
I was never very good at history.
Let me see -- there was Miss Olsen,
and then there was Miss Rossi --
no, she came before -- it was Miss
Koch who came after Miss Olsen --

SHELDRAKE
Now, Fran --

FRAN
And just think -- right now there's
some lucky girl in the building
who's going to come after me --

SHELDRAKE
Okay, okay, Fran. I deserve that.
But just ask yourself -- why does a
man run around with a lot of girls?
Because he's unhappy at home --
because he's lonely, that's why --
all that was before you, Fran --
I've stopped running.



(CONTINUED)
75.
CONTINUED: (2)

Fran has taken a handkerchief out of her bag and is dabbing
her eyes.

FRAN
How could I be so stupid? You'd
think I would have learned by now --
when you're in love with a married
man, you shouldn't wear mascara.

SHELDRAKE
It's Christmas Eve, Fran -- let's
not fight.

FRAN
Merry Christmas.

She hands him a flat, wrapped package.

SHELDRAKE
What is it?

He strips away the wrapping to reveal a long-playing record.
The cover reads: RICKSHAW BOY - Jimmy Lee Kiang with
Orchestra.

SHELDRAKE (CONT’D)
Oh. Our friend from the Chinese
restaurant. Thanks, Fran. We better
keep it here.

FRAN
Yeah, we better.

SHELDRAKE
I have a present for you. I didn't
quite know what to get you --
anyway it's a little awkward for
me, shopping --
(he has taken out a money
clip, detaches a bill)
-- so here's a hundred dollars --
go out and buy yourself something.

He holds the money out, but she doesn't move. Sheldrake slips
the bill into her open bag.

SHELDRAKE (CONT’D)
They have some nice alligator bags
at Bergdorf's --




(CONTINUED)
76.
CONTINUED: (3)

Fran gets up slowly and starts peeling off her gloves.
Sheldrake looks at her, then glances nervously at his wrist
watch.

SHELDRAKE (CONT’D)
Fran, it's a quarter to seven --
and I mustn't miss the train -- if
we hadn't wasted all that time -- I
have to get home and trim the tree -

Fran has started to remove her coat.

FRAN
Okay.
(shrugs the coat back on)
I just thought as long as it was
paid for --

SHELDRAKE
(an angry step toward her)
Don't ever talk like that, Fran!
Don't make yourself out to be
cheap.

FRAN
A hundred dollars? I wouldn't call
that cheap. And you must be paying
somebody something for the use of
the apartment --

SHELDRAKE
(grabbing her arms)
Stop that, Fran.

FRAN
(quietly)
You'll miss your train, Jeff.

Sheldrake hurriedly puts on his hat and coat, gathers up his
packages.

SHELDRAKE
Coming?

FRAN
You run along -- I want to fix my
face.

SHELDRAKE
(heading for the door)
Don't forget to kill the lights.
See you Monday.



(CONTINUED)
77.
CONTINUED: (4)

FRAN
Sure. Monday and Thursday -- and
Monday again -- and Thursday again -

SHELDRAKE
(that stops him in the
half-open door)
It won't always be like this.
(coming back)
I love you, Fran.

Holding the packages to one side, he tries to kiss her on the
mouth.

FRAN
(turning her head)
Careful -- lipstick.

He kisses her on the cheek, hurries out of the apartment,
closing the door. Fran stands there for a while, blinking
back tears, then takes the long-playing record out of its
envelope, crosses to the phonograph.

She puts the record on, starts the machine -- the music is
JEALOUS LOVER. As it plays, Fran wanders aimlessly around the
darkened room, her body wracked by sobs. Finally she regains
control of herself, and picking up her handbag, starts
through the bedroom toward the bathroom.

In the bathroom, Fran switches on the light, puts her bag on
the sink, turns on the faucet. Scooping up some water, she
washes the smeared mascara away, then turns the faucet off,
picks up a towel.

As she is drying her face, she notices in the pull-away
shaving mirror the magnified reflection of a vial of pills on
the medicine shelf. Fran reaches out for the vial, turns it
slowly around in her hand.

The label reads: SECONAL - ONE AT BEDTIME AS NEEDED FOR
SLEEP. Fran studies the label for a second, then returns the
vial to the shelf.

She opens her handbag, takes out a lipstick. As she does so,
she sees the hundred dollar bill Sheldrake left in the bag.
Her eyes wander back to the vial on the medicine shelf.

Then very deliberately she picks up Bud's mouthwash glass,
removes the two toothbrushes from it, turns on the faucet,
starts filling the glass with water.

DISSOLVE TO:
78.
Genres: ["Drama","Romance"]

Summary Fran and Sheldrake argue about their relationship and financial transactions during Christmas Eve.
Strengths "The scene carries a palpable sense of melancholy and regret."
Weaknesses "The dialogue is a bit on the nose, and the scene is a bit slow-paced."
Critique Overall, the scene is well-written with good dialogue and clear blocking. However, the subject matter may be controversial as it deals with infidelity and suggests that medication is a potential solution to emotional distress. Additionally, the characters' actions may be viewed as problematic, with Sheldrake exhibiting controlling behavior and Fran appearing to accept his behavior as normal. As a screenwriting expert, I would recommend carefully considering the messaging and implications of the scene, and potentially exploring alternative approaches to exploring the characters' emotions and conflicts.
Suggestions Some suggestions to improve this scene:

1. Develop the characters further: Fran and Sheldrake's motivations and emotions could be explored more deeply. What drives them to act the way they do? What are their fears and desires? Adding more layers to their characters will make the audience more invested in their story.

2. Create more tension: There is some tension in the scene, but it could be heightened. What if Fran had a sudden outburst? What if Sheldrake's in-laws walked in unexpectedly? Adding more conflict and obstacles will make the scene more engaging.

3. Use the setting to create atmosphere: The apartment setting is described, but it could be used more effectively to set the tone of the scene. Could the phony fireplace be malfunctioning, creating a flickering, eerie light? Could the Christmas tree be knocking over ornaments, adding to the chaos? Utilizing the setting in a more dynamic way will make the scene more visually interesting.

4. Make the dialogue more natural: Some of the lines feel a bit stilted or cliché, such as "the Happy Idiot" and "Pass the sugar -- and I want a divorce." Making the language feel more authentic and organic to the characters will make the scene feel more realistic.

5. Cut down on exposition: Some of the dialogue feels like it's filling in backstory or explaining things too directly. Trust the audience to pick up on context clues and subtle details, rather than spelling everything out for them.



Scene 28 -  Christmas Blues
  • Overall: 7.0
  • Concept: 7
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
INT. CHEAP BAR - COLUMBUS AVENUE - NIGHT

The joint is deserted now except for the Santa Claus, who is
leaning against the bar, quite loaded, and Bud and Margie
MacDougall, who are dancing to a slow blues coming from the
juke box. Bud is still in his overcoat and bowler, and Margie
is wearing her fur coat. The bartender is sweeping up the
place.

BARTENDER
(to Santa Claus)
Drink up, Pop. It's closing time.

SANTA CLAUS
But it's early, Charlie.

BARTENDER
Don't you know what night this is?

SANTA CLAUS
I know, Charlie. I know. I work for
the outfit.

He polishes off his drink, walks out unsteadily. The
bartender approaches the dancers.

BARTENDER
Hey, knock it off, will you? Go
home.

Bud and Margie ignore him, continue dancing -- or rather
swaying limply cheek-to-cheek. The bartender crosses to the
juke box, pulls the plug out. The music stops, but not Bud
and Margie -- they continue dancing.

BARTENDER (CONT’D)
O-U-T -- out!

He goes to the front of the bar, starts to extinguish the
lights. Margie picks up her handbag from the bar, and Bud
downs the remains of his drink.

MARGIE
Where do we go -- my place or
yours?

BUD
(peering at his watch)
Might as well go to mine --
everybody else does.




(CONTINUED)
79.
CONTINUED:

He leads her through the dark bar toward the entrance. The
bartender holds the door open for them as they go out.

DISSOLVE TO:

EXT. BROWNSTONE HOUSE - NIGHT

Bud and Margie come walking down the street. As they reach
the house, Bud starts up the steps, but Margie continues
along the sidewalk.

MARGIE
Poor Mickey -- when I think of him
all by himself in that jail in
Havana --
(opening her handbag)
-- want to see his picture?

BUD
(from steps)
Not particularly.

Margie, realizing her mistake, hurries back to join him.

MARGIE
He's so cute -- five-foot-two --
ninety-nine pounds...like a little
chihuahua.

They pass through the front door into the vestibule.

INT. STAIRCASE - BROWNSTONE HOUSE - NIGHT

Bud and Margie are mounting the stairs toward the apartment.

MARGIE
Can I ask you a personal question?

BUD
No.

MARGIE
You got a girl-friend?

BUD
She may be a girl -- but she's no
friend of mine.

MARGIE
Still stuck on her, huh.




(CONTINUED)
80.
CONTINUED:

BUD
Stuck on her! Obviously, you don't
know me very well.

MARGIE
I don't know you at all.

BUD
Permit me -- C.C. Baxter -- junior
executive, Arthur Murray graduate,
lover.

MARGIE
I'm Mrs. MacDougall -- Margie to
you.

Bud has taken the key out of his pocket, opened the door to
his apartment.

BUD
This way, Mrs. MacDougall.

He ushers her in.
Genres: []

Summary Bud drinks alone at a bar on Christmas Eve and meets Margie. They commiserate on their unfortunate lives, drink together and end up going to Bud's apartment.
Strengths "The melancholic tone fits the story well and gives a sense of loneliness and sadness. The dialogue is poignant and highlights the temporary bond between Bud and Margie."
Weaknesses "The scene could be considered slow-moving and not very action-packed. The lack of conflict or high stakes could also make it uninteresting for some viewers\/readers."
Critique This scene is well written and effectively conveys the mood and setting. The dialogue is realistic and helps to establish the characters and their relationships. However, there could be more description of the characters' actions and reactions, as well as their surroundings, to add depth to the scene. Additionally, there could be more subtext and tension between the characters to create more dramatic conflict. Overall, the scene is functional but could benefit from further development.
Suggestions The scene could benefit from more specific and dynamic descriptions of the characters' actions and emotions. For example, the Santa Claus could be shown stumbling or slurring his words as he talks to the bartender, instead of just being described as "quite loaded."

Additionally, the dialogue could be tightened and made more impactful, with each line contributing more to the characters' development and the plot. For example, the exchange between Margie and Bud about his girlfriend could be condensed and made more revealing of their personalities and intentions.

Finally, the scene could benefit from more sensory details and setting descriptions to help create a more immersive experience for the audience. For example, the cheap bar could be described with more specific details, like the flickering lights or the smell of stale beer.



Scene 29 -  Sleeping Pills
  • Overall: 8.0
  • Concept: 9
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. APARTMENT - NIGHT

It is exactly the way we left it. There is no sign of Fran,
except for the gloves she dropped on the coffee table
earlier. Bud switches on the light, shuts the door.

MARGIE
(looking around)
Say, this is Snugsville.

BUD
(helping her out of her
coat)
Mrs. MacDougall, I think it is only
fair to warn you that you are now
alone with a notorious sexpot.

MARGIE
(a gleam)
No kidding.

BUD
Ask anybody around here. As a
matter of fact, when it's time for
me to go -- and I may go just like
that --
(snaps his fingers)
-- I have promised my body to the
Columbia Medical Center.


(CONTINUED)
81.
CONTINUED:

MARGIE
(shuddering deliciously)
Gee. Sort of gives you goose-bumps
just to think about it.

BUD
Well, they haven't got me yet,
baby. Dig up some ice from the
kitchen and let's not waste any
time -- preliminary-wise.

MARGIE
I'm with you, lover.

She takes the bowl of melted ice Bud has handed her,
disappears into the kitchen. As Bud starts to remove his
coat, he becomes aware of a scratching noise from the
phonograph.

He crosses to it, sees that the needle is stuck in the last
groove of a long-playing record. Bud lifts the record off,
examines it curiously, then puts it aside and substitutes the
cha cha record. As the music starts, he dances over to the
coat-rack beside the door, hangs up his chesterfield and
bowler.

He turns back into the room, still dancing, suddenly spots
Fran's gloves on the coffee table. He picks up the gloves,
looks around for some convenient place to get rid of them.
Moving over to the bedroom door, he opens it, tosses the
gloves toward the bed inside.

He shuts the door, starts to turn away, freezes in a delayed
reaction to something he saw inside. He quickly opens the
door again, looks. Sprawled across the bed, on top of the
bedspread, is Fran.

The light from the bathroom falls across her. She is fully
dressed, still in her coat, and apparently asleep. Bud steps
into the bedroom, closing the door behind him, walks over to
Fran.

BUD
All right, Miss Kubelik -- get up.
It's past checking-out time, and
the hotel management would
appreciate it if you would get the
hell out of here.
(Fran doesn't stir)
Look, Miss Kubelik, I used to like
you -- I used to like you a lot --
but it's all over between us -- so
beat it -- O-U-T -- out!
(MORE)

(CONTINUED)
82.
CONTINUED: (2)
BUD (CONT'D)
(no reaction; he puts a
hand on her shoulder,
shakes her)
Come on -- wake up!

She doesn't respond. But something falls out of her hand,
rolls across the bed. Bud picks it up, looks at it -- it is
his sleeping-pill vial, now uncapped and empty.

BUD (CONT’D)
(a hoarse whisper)
Oh, my God.

For a second he is paralyzed. Then he drops the vial, grabs
Fran, lifts her into a sitting position on the bed, shakes
her violently.

BUD (CONT’D)
Miss Kubelik! Miss Kubelik!

Fran's head droops to one side, like a rag doll's. Bud lets
go of her, rushes out.

In the living room, the phonograph is still cha cha-ing away.
Bud dashes to the phone, picks it up. Then it occurs to him
that he doesn't know whom to call and he hangs up. Out of the
kitchen comes Margie, with a bowlful of ice cubes.

MARGIE
I broke a nail trying to get the
ice-tray out. You ought to buy
yourself a new refrigerator.

Bud, not listening, runs past her to the hall door and out.

MARGIE (CONT’D)
(calling after him)
I didn't mean right now.

INT. SECOND FLOOR LANDING - NIGHT

Bud arrives at the door of the Dreyfuss apartment, starts
ringing the doorbell and pounding with his fist.

BUD
Dr. Dreyfuss! Hey, Doc!

The door opens, and Dr. Dreyfuss stands there sleepily,
pulling on his beaten bathrobe.

BUD (CONT’D)
(words tumbling over each
other)
(MORE)

(CONTINUED)
83.
CONTINUED:
BUD (CONT’D)
There's a girl in my place -- she
took some sleeping pills -- you
better come quick -- I can't wake
her up.

DR. DREYFUSS
Let me get my bag.

He disappears from the doorway.

BUD
Hurry up, Doc.

Bud turns and runs back into his apartment.
Genres: ["drama","romance"]

Summary Bud brings Margie back to his apartment and discovers Fran passed out in his bed after taking his sleeping pills. He calls Dr. Dreyfuss for help.
Strengths "The tension and panic Bud feels when trying to wake Fran up creates an emotional impact on the audience."
Weaknesses "Margie's complaint about her broken nail seems out of place in the midst of a serious moment."
Critique Overall, this scene is well-written. The dialogue is natural and believable, and the actions of the characters are clear and concise. There are a few areas, however, where the scene could be improved.

Firstly, it could benefit from more visual description. While the actions are clear, there is little description of the environment and the characters themselves. Adding in more details could help to paint a clearer picture for the reader and enhance the atmosphere of the scene.

Secondly, there could be more tension and urgency in the scene. The stakes are high, with Fran potentially having overdosed on sleeping pills, but the tone of the scene is relatively calm. Adding in more urgency, such as Bud frantically trying to revive her, could heighten the tension and make the scene more gripping.

Finally, the ending feels somewhat abrupt. It feels like there could be more to the scene, such as Fran's reaction to waking up and the aftermath of the event. Ending the scene here feels a bit premature, and as a reader, I'm left wanting more information about what happens next. So, the scene could be extended by adding a bit more resolution to the situation.
Suggestions Here are some suggestions to improve the scene:

1. Clarify the stakes: what is at risk here? Is Fran's life in danger? Make sure the audience understands why Bud is so panicked.

2. Increase the tension: build up the tension by adding more suspenseful elements. Perhaps have Bud try various methods to wake Fran up with no success.

3. Develop the characters: Margie's only purpose in this scene is to provide a small bit of comic relief. Consider giving her more to do or say that reveals something about her character.

4. Emphasize the visual language: Show, don't tell. Use visual cues to reveal what Bud is feeling and what's happening to Fran. Instead of having Bud say "Oh my God," show his reaction to the empty pill bottle.



Scene 30 -  Emergency at Bud's Apartment
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 7
  • Dialogue: 6
INT. APARTMENT - NIGHT

Margie has settled herself comfortably on the couch, and is
fixing the drinks. The cha cha music is still going. Bud
comes flying in, heads for the bedroom.

MARGIE
Hey -- over here, lover.

Bud stops in his tracks, suddenly aware of her.

MARGIE (CONT’D)
What's all this running around?
You're going to wear yourself out.

Bud strides over to her purposefully, yanks her up to her
feet.

MARGIE (CONT’D)
Not so rough, honey.

BUD
(taking the glass out of
her hand)
Good night.

MARGIE
Good night?

BUD
(thrusting the fur coat at
her)
The party's over.

MARGIE
What's the matter? Did I do
something wrong?



(CONTINUED)
84.
CONTINUED:

BUD
(easing her toward door)
It's an emergency -- see you some
other time.

Dr. Dreyfuss comes hurrying in, carrying his medical bag. He
stops, bewildered by the sound of music and the sight of a
wide-awake girl in the apartment.

BUD (CONT’D)
Not this one --
(pointing to the bedroom)
-- in there, Doc.

Dr. Dreyfuss proceeds into the bedroom.

MARGIE
Say, what's going on here, anyway?

BUD
Nothing.
(propelling her toward the
door)
Just clear out, will you?

MARGIE
(pointing back)
My shoes.

Bud reaches under the coffee table, where she left her shoes,
retrieves them.

MARGIE (CONT’D)
(bitterly)
Some lover you are. Some sexpot!

Bud shoves the shoes at her, takes a bill out of his wallet,
hands it to her.

BUD
Here -- find yourself a phone booth
and call your husband in Havana.

MARGIE
You bet I will. And when I tell him
how you treated me, he'll push your
face in.
(he shoves her through the
open door)
You fink!

Bud slams the door shut, starts toward the bedroom. Halfway
there, he becomes aware that the cha cha record is still on.


(CONTINUED)
85.
CONTINUED: (2)

He detours to the phonograph, switches it off, continues into
the bedroom. In the bedroom, the overhead light is on, and
Dr. Dreyfuss is working on the unconscious Fran. He has
removed her coat, and is shining a flashlight into her eyes,
examining her pupils. Bud approaches the bed worriedly.

BUD
She going to be all right, Doc?

DR. DREYFUSS
How many pills were in that bottle?

BUD
It was half-full -- about a dozen
or so. You going to have to take
her to the hospital?

Dr. Dreyfuss ignores him. Out of his medical bag, he takes a
stomach tube with a rubber funnel at the end. Then he starts
to lift Fran off the bed.

DR. DREYFUSS
Help me, will you?

Between them, they get Fran into an upright position.

DR. DREYFUSS (CONT’D)
Into the bathroom.

They half-carry, half-drag Fran's limp form toward the
bathroom.

BUD
What are you going to do, Doc?

DR. DREYFUSS
Get that stuff out of her stomach --
if it isn't too late. You better
put some coffee on -- and pray.

Bud starts away as Dr. Dreyfuss takes Fran into the bathroom.
Bud loses no time getting into the kitchen. He fills an
aluminum kettle with water, strikes a match, lights the gas
burner, puts the kettle on.

Then he takes a jar of instant coffee and a chipped coffee
mug out of the cupboard, shakes an excessive portion of
coffee into the mug, sticks a spoon in it. He watches the
kettle for a moment, mops his brow with a handkerchief, then
starts back toward the bedroom.

Bud crosses the bedroom to the half-open door of the
bathroom, looks in anxiously.


(CONTINUED)
86.
CONTINUED: (3)

From inside come the sounds of a coughing spasm and running
water. Bud turns away, undoes his tie and collar, paces the
bedroom floor.

Something on the night table attracts his attention --
resting against the base of the lamp is a sealed envelope.
Bud picks it up -- on it, in Fran's handwriting, is one word,
JEFF.

He turns the letter over in his hand, trying to decide what
to do with it. Dr. Dreyfuss emerges from the bathroom,
carrying a pale, still unconscious Fran. Bud quickly conceals
the suicide note behind his back.

DR. DREYFUSS (CONT’D)
Bring my bag.

He lugs Fran into the living room. Bud stashes the letter in
his back pocket, picks up the medical bag, follows them. In
the living room, Dr. Dreyfuss lowers Fran into a chair. Her
chin falls to her chest. Dreyfuss takes the bag from Bud,
fishes out a hypodermic syringe, draws 2 c.c.'s from a bottle
of picrotoxin.

DR. DREYFUSS (CONT’D)
Roll up her right sleeve.

Bud does so. Dr. Dreyfuss hands the hypodermic to Bud,
searches for a spot for the injection.

DR. DREYFUSS (CONT’D)
Nice veins.

He swabs the spot with alcohol, takes the hypodermic back
from Bud.

DR. DREYFUSS (CONT’D)
Want to tell me what happened?

BUD
I don't know -- I mean -- I wasn't
here -- you see -- we had some
words earlier -- nothing serious,
really -- what you might call a
lovers' quarrel --

DR. DREYFUSS
(making off-scene
injection)
So you went right out and picked
yourself up another dame.
Genres: ["Drama"]

Summary Bud brings Margie back to his apartment and discovers Fran passed out in his bed after taking his sleeping pills. He calls Dr. Dreyfuss for help.
Strengths "The scene is an intense and critical moment that moves the story forward and highlights the high stakes with Fran's life in danger"
Weaknesses "The dialogue between Bud and Dr. Dreyfuss is not very engaging or memorable, and the relationship between Bud and Fran could have been explored deeper"
Critique Overall, this is an effective scene in terms of building tension and moving the plot forward. However, there are a few areas that could be improved.

First, the dialogue could be more naturalistic. Some of the lines feel stilted or too on-the-nose, such as when Margie asks "What's all this running around? You're going to wear yourself out." A more naturalistic version of this exchange might be:

MARGIE
You look like you've been running a marathon. What's wrong?

BUD
Nothing's wrong, I just need to check on Fran.

Second, the blocking and descriptions could be clearer. There are a few instances where it's not clear where characters are in relation to each other or what they're doing. For example, when Bud grabs Margie, it's not clear whether he's yanking her up off the couch or helping her to her feet. Interestingly, the description of Bud filling the coffee mug with an "excessive portion" of instant coffee is a nice touch that gives us insight into his character.

Finally, some of the dialogue feels a bit dated, such as when Bud tells Margie to "find yourself a phone booth and call your husband in Havana," which places the scene firmly in the era when the movie was made (the late 1950s). This might be worth updating for a modern audience.

Overall, though, this is a solid scene that effectively advances the plot and builds suspense.
Suggestions First, the dialogue could be tightened up to make it more efficient and engaging. Avoid repetitive phrases like "purposefully" and "wide-awake" and replace them with more descriptive language to create a better visualization for the scene. Additionally, consider adding more sensory details beyond just sound and sight to enhance the reader's experience.

Try to develop the characters more, particularly Margie, who seems to disappear from the scene after her confrontation with Bud. It would be interesting to see her reactions and emotions as she is forced out of the apartment.

Finally, consider adding more tension and conflict to the scene. The immediate problem is Fran's overdose, but what other conflicts could arise between Bud and Dr. Dreyfuss as they work to save her life? Perhaps they have conflicting opinions on how to treat her, or Bud's selfishness causes Dr. Dreyfuss to doubt his motives. Overall, try to make the scene more dynamic and engaging to move the plot forward and keep the audience invested.



Scene 31 -  Help arrives for Fran
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 7
(CONTINUED)
87.
CONTINUED: (4)

BUD
Something like that.

DR. DREYFUSS
You know, Baxter, you're a real
cutie-pie -- yes, you are.

Bud just stands there, taking it. Fran stirs slightly, and
from her parched lips comes a low moan. Dr. Dreyfuss grabs
her by the hair, lifts her head up.

DR. DREYFUSS (CONT’D)
If you'd come home half an hour
later, you would have had quite a
Christmas present.

With his free hand, Dr. Dreyfuss slaps Fran viciously across
the face. Bud winces. Dreyfuss, still holding Fran by the
hair, takes a box of ammonia ampules out of his bag. He
crushes one of the ampules in his hand, passes it under her
nose.

Fran tries to turn her head away. Dreyfuss slaps her again,
hard, crushes another ampule, repeats the process. Bud is
watching tensely. From the kitchen comes the whistle of the
boiling kettle, but Bud pays no attention.

DR. DREYFUSS (CONT’D)
Get the coffee.

Bud hurries into the kitchen. He turns off the gas, pours the
boiling water into the mug with the instant coffee, stirs it.
From off, come the sounds of more slapping and some moaning.
Bud carries the coffee out.

In the living room, Dr. Dreyfuss is working another ammonia
ampule under Fran's nose. Her eyes start fluttering. Dreyfuss
takes the coffee mug from Bud, forces it between Fran's lips,
pours coffee into her mouth. Fran resists instinctively, half
the coffee dribbling over her chin and dress, but Dr.
Dreyfuss keeps at it.

DR. DREYFUSS (CONT’D)
Let's get some air in here. Open
the windows.

Bud complies promptly -- pulls up the shades, opens the
windows wide.

DR. DREYFUSS (CONT’D)
(putting the empty mug
down)
What's her name?


(CONTINUED)
88.
CONTINUED: (5)

BUD
Miss Kubelik -- Fran.

DR. DREYFUSS
(to Fran, slowly)
Fran, I'm a doctor. I'm here
because you took too many sleeping
pills. Do you understand what I'm
saying?
(Fran mutters something)
Fran, I'm Dr. Dreyfuss -- I'm here
to help you. You took all those
sleeping pills -- remember?

FRAN
(mumbling groggily)
Sleeping pills.

DR. DREYFUSS
That's right, Fran. And I'm a
doctor.

FRAN
Doctor.

DR. DREYFUSS
Dr. Dreyfuss.

FRAN
Dreyfuss.

DR. DREYFUSS
(to Bud)
Get more coffee. Bud picks up the
mug, leaves.

DR. DREYFUSS (CONT’D)
(to Fran)
Tell me again -- what's my name?

FRAN
Dr. Dreyfuss.

DR. DREYFUSS
And what happened to you?

FRAN
I took sleeping pills.

DR. DREYFUSS
Do you know where you are, Fran?




(CONTINUED)
89.
CONTINUED: (6)

FRAN
(looking around blankly)
No.

DR. DREYFUSS
Yes, you do. Now concentrate.

FRAN
I don't know.

Bud is coming back with the coffee.

DR. DREYFUSS
(pointing to Bud)
Do you know who this is?
(Fran tries to focus)
Look at him.

FRAN
Mr. Baxter -- nineteenth floor.

BUD
Hello, Miss Kubelik.

DR. DREYFUSS
(to Bud)
Mister -- Miss -- such politeness!

BUD
(to Dr. Dreyfuss,
discreetly)
Well -- we work in the same
building -- and we try to keep it
quiet --

FRAN
(to Bud, puzzled)
What are you doing here?

Bud throws Dr. Dreyfuss a look, as if to say that Fran's mind
still wasn't functioning properly.

BUD
(to Fran)
Don't you remember? We were at the
office party together --

FRAN
Oh, yes -- office party -- Miss
Olsen --




(CONTINUED)
90.
CONTINUED: (7)

BUD
That's right.
(to Dr. Dreyfuss;
improvising rapidly)
I told you we had a fight -- that's
what it was about -- Miss Olsen --
you know that other girl you saw --

FRAN
(still trying to figure
out Bud's presence)
I don't understand --

BUD
It's not important, Fran -- the
main thing is that I got here in
time -- and you're going to be all
right --
(to Dr. Dreyfuss)
-- isn't she, Doc?

FRAN
(closing her eyes)
I'm so tired --

DR. DREYFUSS
Here -- drink this.

He forces her to swallow some coffee.

FRAN
(pushing the mug away)
Please -- just let me sleep.

DR. DREYFUSS
You can't sleep.
(shaking her)
Come on, Fran -- open your eyes.
(to Bud)
Let's get her walking. We've got to
keep her awake for the next couple
of hours.

They lift her from the chair, and each draping one of her
arms over his shoulder, they start to walk her up and down
the room.

DR. DREYFUSS (CONT’D)
(urging Fran on)
Now walk, Fran.
(MORE)
Genres: ["drama","romance"]

Summary Dr. Dreyfuss helps Bud revive Fran after she overdoses on sleeping pills.
Strengths
  • Effective use of tension to keep the audience engaged
  • Well-developed characters
  • Realistic portrayal of a medical emergency
Weaknesses
  • Lack of significant plot developments
Critique As a screenwriting expert, I would critique this scene as highly disturbing and potentially triggering for viewers. The physical and emotional violence towards Fran is graphic and intense, and some viewers may find it difficult to watch. Additionally, the misogynistic and demeaning behavior of Dr. Dreyfuss towards Fran is highly problematic and reinforces harmful stereotypes about women. While the scene is effective in creating tension and drama, I would caution writers to be mindful of the potential impact such scenes can have on viewers. It is important to explore difficult topics, but it is also important to do so with sensitivity and a clear understanding of the potential impact on audiences.
Suggestions Overall, the scene is quite disturbing as it involves physical abuse and a forced awakening from an overdose. One suggestion would be to add some context or motivation for Dr. Dreyfuss's actions. Why is he slapping Fran and forcing her to drink coffee? Is he trying to save her life or is there something more sinister going on? Additionally, it would be helpful to show more of Bud's emotional reaction to what is happening, since he is just standing there "watching tensely." This could add more depth to his character and make the audience more invested in his journey. Finally, it might be useful to consider if there are any other ways to convey Fran's grogginess and confusion without resorting to physical violence or slapping.



Scene 32 -  Reviving Fran
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 7
(CONTINUED)
91.
CONTINUED: (8)
DR. DREYFUSS (CONT’D)
One, two, three, four -- one, two,
three, four -- that's the idea --
left, right, left, right -- now we
turn -- one, two, three, four --

At first, Fran's feet just drag along the floor between them.
But gradually, as Dr. Dreyfuss' voice continues droning
hypnotically, she falls into the rhythm of it, repeating the
words after him and putting her weight on her feet.

DR. DREYFUSS (CONT’D)
Left, right, left, right -- walk,
walk, walk -- one, two, three, four
-- turn -- left, right, left, right
-- now you got it --

DISSOLVE TO:

INT. THE APARTMENT - DAWN

Through the bedroom window comes the first faint light of
dawn. Fran has been put to bed by an exhausted Dr. Dreyfuss.
She is in her slip, and Dreyfuss is just drawing the blanket
over her. Her eyes are closed, and she is moaning fitfully.
Watching from the doorway is Bud, in shirtsleeves now, weary
and disheveled.

DR. DREYFUSS
She'll sleep on and off for the
next twenty-four hours. Of course,
she'll have a dandy hangover when
she wakes up --

BUD
Just as long as she's okay.

DR. DREYFUSS
(massaging his calves)
These cases are harder on the
doctor than on the patient. I ought
to charge you by the mile.

They have now moved out into the living room, where the
overhead light and the Christmas tree bulbs are still on.

DR. DREYFUSS (CONT’D)
Any of that coffee left?

BUD
Sure.




(CONTINUED)
92.
CONTINUED:

He goes into the kitchen. Dr. Dreyfuss takes a small notebook
with a fountain pen clipped to it out of his bag, sinks down
on the couch.

DR. DREYFUSS
How do you spell her last name?

BUD
(from kitchen)
Kubelik -- with two k's.

DR. DREYFUSS
What's her address?
(no answer from Bud)
Where does she live?

Bud appears from the kitchen, stirring the coffee powder in a
cup of hot water.

BUD
(apprehensive)
Why do you want to know, Doc? You
don't have to report this, do you?

DR. DREYFUSS
It's regulations.

BUD
(setting the coffee down)
She didn't mean it, Doc -- it was
an accident -- she had a little too
much to drink and -- she didn't
know what she was doing -- there
was no suicide note or anything --
believe me, Doc, I'm not thinking
about myself --

DR. DREYFUSS
(sipping the hot coffee)
Aren't you?

BUD
It's just that she's got a family --
and there's the people in the
office -- look, Doc, can't you
forget you're a doctor -- let's
just say you're here as a neighbor -

DR. DREYFUSS
(a long look at Bud)
Well, as a doctor, I guess I can't
prove it wasn't an accident.
(closes notebook)
(MORE)

(CONTINUED)
93.
CONTINUED: (2)
DR. DREYFUSS (CONT'D)
But as your neighbor, I'd like to
kick your keester clear around the
block.
(indicating coffee)
Mind if I cool this off?

He uncaps the bottle of Scotch, pours a large slug into his
coffee.

BUD
Help yourself.

DR. DREYFUSS
(taking a big gulp of the
spiked coffee)
I don't know what you did to that
girl in there -- and don't tell me -
- but it was bound to happen, the
way you carry on. Live now, pay
later. Diner's Club!
(another swig)
Why don't you grow up, Baxter? Be a
mensch! You know what that means?

BUD
I'm not sure.

DR. DREYFUSS
A mansch -- a human being! So you
got off easy this time -- so you
were lucky --

BUD
Yeah, wasn't I?

DR. DREYFUSS
(finishing coffee)
But you're not out of the woods
yet, Baxter -- because most of them
try it again!
(picks up bag, starts
toward door)
You know where I am if you need me.

He walks out, closing the door after him. Bud dejectedly
turns off the overhead light, kicks out the plug of the
Christmas tree lights, trudges into the bedroom. Fran is fast
asleep. Bud picks up her dress, gets a hanger, drapes the
dress over it, hangs it from the door.

An early morning chill has invaded the room, and Bud switches
an the electric blanket to keep Fran warm. Then he slumps
into a chair beside the bed, looks at Fran compassionately.


(CONTINUED)
94.
CONTINUED: (3)

The light on the dial of the electric blanket glows in the
grayish room. Bud just sits there, watching Fran.

FADE OUT:

FADE IN:
Genres: ["drama","romance"]

Summary Dr. Dreyfuss helps Bud revive Fran after she overdoses on sleeping pills.
Strengths "The scene is emotionally impactful as Fran's overdose and Bud's remorse are depicted in a realistic and relatable manner. The dialogue between Dr. Dreyfuss and Bud is well-written and reveals their conflicting perspectives on the situation."
Weaknesses "The scene is slow-paced and may not engage all viewers. There is little action or suspense, and much of the scene is focused on dialogue and character development."
Critique As a screenwriting expert, I would critique this scene by pointing out a few key things. First, the scene is visually inactive and relies heavily on dialogue to drive the story forward. While dialogue is an important aspect of screenwriting, it's also crucial to give the characters actions that will help to communicate their emotions and motivations. In this scene, the characters spend a lot of time just talking, with little physical movement or activity.

Additionally, some of the dialogue feels heavy-handed and exposition-heavy. For example, the conversation between Bud and Dr. Dreyfuss about Fran's condition and potential suicide attempt feels forced and on-the-nose. It's important to find more natural ways to convey information to the audience, rather than having characters explain things in a way that feels unrealistic or overly scripted.

Overall, this scene could benefit from more physical action and subtler dialogue that better conveys the characters' emotions and motivations.
Suggestions The scene could benefit from a clearer visual description to enhance the emotional impact on the audience. For example, instead of just saying "Her eyes are closed, and she is moaning fitfully," show the audience how Fran is physically expressing her pain - perhaps with a close-up shot of her face contorted in agony.

Additionally, the interactions between Dr. Dreyfuss and Bud could be made more visually interesting, such as by adding blocking or gestures to their dialogue. For example, when Bud asks Dreyfuss if there's any coffee left, he could be gesturing towards the pot on the stove, and Dreyfuss could respond by nodding and reaching for a cup.

Finally, the dialogue could benefit from more subtext or nuance to make it more dynamic. For example, instead of just saying "Live now, pay later. Diner's Club!", Dreyfuss could offer a more complex reason for why he's upset with Bud, such as feeling betrayed by his unethical behavior in allowing Fran to be hurt. This would add more layers to the scene and make it more emotionally impactful for the audience.



Scene 33 -  Mrs. Lieberman confronts Bud
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. STAIRCASE - BROWNSTONE HOUSE - DAY

Mrs. Lieberman, followed by her dog, is climbing the stairs
to Bud's apartment, puffing asthmatically. She seems quite
angry as she arrives at the door and rings the bell. There is
no answer. She starts knocking impatiently.

MRS. LIEBERMAN
Mr. Baxter. Open up already!

Finally the door opens a crack, and Bud peers out. He looks
like a man who has slept in his clothes -- rumpled, bleary-
eyed, unshaven.

BUD
Oh -- Mrs. Lieberman.

MRS. LIEBERMAN
So who did you think it was -- Kris
Kringle? What was going on here
last night?

BUD
Last night?

MRS. LIEBERMAN
All that marching -- tramp, tramp,
tramp -- you were having army
maneuvers maybe?

BUD
I'm sorry, Mrs. Lieberman -- and
I'll never invite those people
again.

MRS. LIEBERMAN
What you get from renting to
bachelors. All night I didn't sleep
ten minutes -- and I'm sure you
woke up Dr. Dreyfuss.

BUD
Don't worry about Dr. Dreyfuss -- I
happen to know he was out on a
case.



(CONTINUED)
95.
CONTINUED:

MRS. LIEBERMAN
I'm warning you, Mr. Baxter -- this
is a respectable house, not a honky-
tonky.
(to the dog)
Come on, Oscar.

Bud watches her start down the stairs with the dog, withdraws
into the apartment.

INT. THE APARTMENT - DAY

Bud closes the door, crosses toward the bedroom, looks
inside. Fran is asleep under the electric blanket, breathing
evenly. He tries to shut the bedroom door, but it won't close
completely because Fran's dress, on a hanger. is hooked over
the top. He goes to the phone, picks it up, dials the
operator.

BUD
(his voice low)
Operator, I want White Plains, New
York -- Mr. J. D. Sheldrake --
(an added thought)
-- make it person to person.
Genres: ["drama","comedy"]

Summary Mrs. Lieberman confronts Bud about the noise from his party, while Bud checks on Fran, who is asleep in his bed.
Strengths "The tension between Mrs. Lieberman and Bud adds conflict to the scene. The dialogue also adds depth to their characters."
Weaknesses "The scene doesn't significantly move the plot forward, and the stakes are relatively low."
Critique Overall, this scene does a good job of establishing the setting and the characters' relationships to each other. The conflict between Mrs. Lieberman and Bud is clear, and we learn a bit about Bud's living situation.

However, there are a few areas where this scene could be improved. Firstly, there could be more action or movement within the scene to make it more visually interesting. Right now, it's just two characters standing in a hallway.

Secondly, there could be more subtext or deeper emotions at play. Mrs. Lieberman seems angry, but why? Is it just because of the noise, or is there more going on? And why is Bud so disheveled? Does he have a hangover, or is there something else going on in his life?

Finally, the dialogue could be sharpened a bit. While the characters' voices are distinct, there's nothing particularly memorable or witty about their lines. It would be nice to see some more personality or humor injected into the scene.
Suggestions 1. Add more physical action to the scene. Right now, the scene is mostly dialogue and not much happens. Consider having Mrs. Lieberman interact with the dog or have Bud try to catch the dog as it runs down the stairs. This will give the scene more momentum and make it more engaging for the audience.

2. Show more about Mrs. Lieberman's character. Right now, she seems angry and uptight, but we don't know much else about her. Consider adding more details about her personality, like if she's nosy or if she's overly concerned with appearances. This will help make her more memorable and interesting.

3. Make the conflict more significant. Right now, Mrs. Lieberman is upset about the noise, but it doesn't seem like a huge deal. Consider making the conflict more high-stakes, like if the noise is interfering with Mrs. Lieberman's medical needs or if it's affecting her job. This will make the conflict more engaging and increase the tension in the scene.

4. Give Bud more to do. Right now, Bud doesn't have much agency in the scene. Consider having him actively try to placate Mrs. Lieberman or come up with a plan to prevent future noise complaints. This will make him a more active character and help move the scene forward.

5. Add more visual description. Right now, there isn't much description of the setting or the characters. Consider adding more details, like how Mrs. Lieberman is dressed or what the staircase looks like. This will help the audience visualize the scene and make it more immersive.



Scene 34 -  Bud's Call for Help
  • Overall: 7.0
  • Concept: 6
  • Plot: 7
  • Characters: 6
  • Dialogue: 7
INT. LIVING ROOM - SHELDRAKE HOUSE - DAY

The decor is split-level Early American. There is a huge
Christmas tree and a jumble of presents, open gift boxes, and
discarded wrappings. Sheldrake and his two sons, TOMMY and
JEFF JR., are squatting on the floor, testing a Cape
Canaveral set the kids got for Christmas.

Sheldrake is in a brand new dressing gown, with a
manufacturer's tag still dangling from it, and the boys are
in pajamas and astronaut's helmets. As for the Cape Canaveral
set, it is a miniature layout of block-houses, launching
pads, and assorted space-missiles. Tommy has his finger on
the button controlling one of the rockets.

SHELDRAKE
(counting down)
-- let her rip!

Tommy presses the button, and a spring sends the rocket
toward the ceiling. Just then, the phone in the entrance hall
starts ringing.

JEFF JR.
I'll get it.




(CONTINUED)
96.
CONTINUED:

He hurries to the phone.

TOMM
Hey, Dad -- why don't we put a fly
in the nose cone and see if we can
bring it back alive?

SHELDRAKE
It's a thought.

TOMMY
Maybe we should send up two flies --
and see if they'll propagate in
orbit.

SHELDRAKE
See if they'll what?

TOMMY
Propagate -- you know, multiply --
baby flies?

SHELDRAKE
Oh -- oh!

JEFF JR.
(coming back from the
phone)
It's for you, Dad. A Mr. Baxter.

SHELDRAKE
(getting up)
Baxter?

JEFF JR.
Person to person.

Sheldrake heads quickly for the phone.

TOMMY
(to Jeff Jr.)
Come on -- help me round up some
flies.

In the entrance hall, Sheldrake picks up the phone, turns his
back toward the living room, speaks in a low voice.

SHELDRAKE
Hello? -- yes -- what's on your
mind, Baxter?
97.


BUD - ON PHONE

BUD
I hate to disturb you, but
something came up -- it's rather
important -- and I think it would
be a good idea if you could see me -
- at the apartment -- as soon as
possible.

SHELDRAKE - ON PHONE

SHELDRAKE
You're not making sense, Baxter.
What's this all about?

BUD - ON PHONE

BUD
I didn't want to tell you over the
phone but that certain party -- you
know who I mean -- I found her here
last night -- she had taken an
overdose of sleeping pills.

SHELDRAKE - ON PHONE

SHELDRAKE
What?

From the stairway beyond him comes:

MRS. SHELDRAKE'S VOICE
What is it, Jeff? Who's on the
phone?

Sheldrake turns from the phone. Halfway down the stairs is
Mrs. Sheldrake, in a quilted house-robe.

SHELDRAKE
(a nice recovery)
One of our employees had an
accident -- I don't know why they
bother me with these things on
Christmas Day.
(into phone)
Yes, Baxter -- just how serious is
it?

Out of the corner of his eye, he watches Mrs. Sheldrake come
down the stairs, pass behind him on the way to the living
room.
98.


BUD - ON PHONE

BUD
Well, it was touch and go there for
a while -- but she's sleeping it
off now.

He glances through the half-open door toward the sleeping
Fran.

BUD (CONT’D)
I thought maybe you'd like to be
here when she wakes up.

SHELDRAKE - ON PHONE

SHELDRAKE
That's impossible.
(an apprehensive look
toward the living room)
You'll have to handle this
situation yourself -- as a matter
of fact, I'm counting on you --
Genres: ["Drama"]

Summary Bud calls his boss, Mr. Sheldrake, about Fran's overdose, and Mr. Sheldrake is apprehensive about the situation.
Strengths "The tension and apprehension surrounding the phone call adds to the drama and seriousness of the situation."
Weaknesses "The scene feels somewhat disconnected from the rest of the plot."
Critique This scene is well-written and effectively establishes the setting and characters, as well as introducing the main conflict. The use of the Cape Canaveral set as a prop adds some visual interest and a touch of humor to the scene. The dialogue also feels natural and helps to reveal the relationships between the characters. However, as a screenwriting expert, I would suggest adding some more specific actions and visuals to enhance the scene and make it more engaging for the audience. For example, we could see more of the boys' reactions to the rocket launch and their excitement about the fly experiment. Additionally, we could see more of Sheldrake's apprehension and attempts to cover up the situation on the phone call. Small details like these can help to add depth and nuance to the scene and make it stand out to the audience.
Suggestions Overall, this scene is well-written and serves its purpose in the story, but here are some suggestions for improvement:

1. Increase the tension: This scene could benefit from more tension and suspense. It's a crucial moment in the story with Bud revealing the truth about Fran's overdose, and Sheldrake's reaction is important for the audience to understand his character. Adding more tension could help this scene stand out and keep the audience engaged.

2. Add more visual details: The scene description is sparse, and adding more visual details could help create a more vivid picture of the setting. For example, describing the lighting, the furniture in the room, and the expressions on the characters' faces could help the audience imagine the scene more clearly.

3. Develop the characters: While we get a sense of what each character is like, adding more depth to their personalities could make the scene more memorable. For example, we don't know much about the boys' personalities, and adding more about their interests and hobbies could make them more relatable.

4. Connect the scene to the larger story: While this scene is important, it would be helpful to find ways to connect it more clearly to the larger story. What does this scene reveal about the characters, their motivations, and the overall plot? Finding ways to tie this scene to the larger story could make it more impactful and meaningful for the audience.



Scene 35 -  Aftermath of an Overdose
  • Overall: 9.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. THE APARTMENT - DAY

BUD
(into phone)
Yes, sir -- I understand.
(taking Fran's letter out
of his pocket)
She left a note -- you want me to
open it and read it to you?
(a beat)
Well, it was just a suggestion --
no, you don't have to worry about
that, Mr. Sheldrake -- I kept your
name out of it so there'll be no
trouble, police-wise or newspaper-
wise --

As Bud continues talking on the phone, Fran, in the bedroom,
opens her eyes, looks around vaguely, trying to figure out
where she is. She sits up in bed, winces, holds her head in
her hands -- she has a fierce hangover.




(CONTINUED)
99.
CONTINUED:

BUD (CONT’D)
(into phone)
-- you see, the doctor, he's a
friend of mine -- we were very
lucky in that respect -- actually,
he thinks she's my girl -- no, he
just jumped to the conclusion --
around here, I'm known as quite a
ladies' man --

In the bedroom Fran, becoming aware of Bud's voice, crawls
out of bed and holding on to the furniture, moves unsteadily
toward the living room door.

BUD (CONT’D)
(into phone)
-- of course, we're not out of the
woods yet -- sometimes they try it
again -- yes sir, I'll do my best --
it looks like it'll be a couple of
days before she's fully recovered,
and I may have a little problem
with the landlady --

Behind him, Fran appears in the bedroom doorway, barefooted
and in her slip. She leans groggily against the door post,
trying to focus on Bud and to concentrate on what he's
saying.

BUD (CONT’D)
(into phone)
-- all right, Mr. Sheldrake, I'll
keep her in my apartment as long as
I can -- any sort of message you
want me to give her? -- well, I'll
think of something -- goodbye, Mr.
Sheldrake.

He hangs up the phone slowly.

FRAN
(weakly)
I'm sorry.

Bud turns around, sees her standing there on rubbery legs.

FRAN (CONT’D)
I'm sorry, Mr. Baxter.

BUD
Miss Kubelik --
(hurries toward her)
-- you shouldn't be out of bed.


(CONTINUED)
100.
CONTINUED: (2)

FRAN
I didn't know -- I had no idea this
was your apartment --

BUD
(putting his arm around
her)
Let me help you.

He leads her back into the bedroom.

FRAN
I'm so ashamed. Why didn't you just
let me die?

BUD
What kind of talk is that?
(he lowers her onto the
bed)
So you got a little over- emotional
-- but you're fine now.

FRAN
(a groan)
My head -- it feels like a big wad
of chewing gum. What time is it?

BUD
Two o'clock.

FRAN
(struggling to her feet)
Where's my dress? I have to go
home.

Her knees buckle. Bud catches her.

BUD
You're in no condition to go
anywhere -- except back to bed.

FRAN
You don't want me here --

BUD
Sure I do. It's always nice to have
company for Christmas.

He tries to put her back to bed. Fran resists.

BUD (CONT’D)
Miss Kubelik, I'm stronger than you
are --


(CONTINUED)
101.
CONTINUED: (3)

FRAN
I just want to go brush my teeth --

BUD
Oh -- of course. I think there's a
new toothbrush somewhere.

He crosses to the bathroom, takes a plaid robe off the hook
on the back of the door, hands it to Fran.

BUD (CONT’D)
Here -- put this on.

In the bathroom, he finds an unused toothbrush in a plastic
container. His eyes fall on his safety razor. With a glance
toward the bedroom, he unscrews the razor, removes the blade,
drops it in his shirt pocket. Then he empties the blades from
the dispenser, puts those in his pocket. Now he notices a
bottle of iodine on the medicine shelf, stashes that in
another pocket, just as Fran appears in the doorway wearing
the robe.

BUD (CONT’D)
(handing her the
toothbrush)
Here. How about some breakfast?

FRAN
No -- I don't want anything.

BUD
I'll fix you some coffee.

He crosses the bedroom, heading for the kitchen, stops.

BUD (CONT’D)
Oh -- we're all out of coffee --
you had quite a lot of it last
night --

He thinks for a moment, hurries toward the hall door.
Genres: ["Drama","Romance"]

Summary Bud calls his boss to report Fran's overdose, tends to her while she wakes up with a hangover and is apprehensive about her presence. Bud tries to convince her to stay, helps her brush her teeth, gathers some razor blades and medical items, and heads for the door to get coffee.
Strengths "Great character development for Bud and Fran as they interact and reveal more about themselves. The tension from Bud's phone call with his boss adds to the conflict."
Weaknesses "Not much happens plot-wise to move the story forward. The dialogue can be a bit on the nose."
Critique The scene is well written in terms of its structure and pacing. The dialogue is sharp and moves the story along. However, there are a few potential areas of improvement. Firstly, the scene could benefit from more description of the characters' physical actions and body language. This would help to make the scene more visually interesting and dynamic. For example, instead of just saying that Fran becomes aware of Bud's voice and moves unsteadily toward the living room door, there could be more detail about how she looks, how she's feeling, what she's doing with her body.

Additionally, there is a missed opportunity to delve deeper into the emotional lives of the characters. While they exchange words, we don't get a strong sense of what they're feeling or what motivates them. This could be remedied with a few strategic lines of dialogue or internal monologues.

Overall, the scene is structurally sound but could benefit from added depth and physical description.
Suggestions There are a few ways to improve this scene:

1. Add more description to the actions and emotions of the characters, to help visualize the scene better.
2. Clarify the dialogue to make it more understandable and easier to follow.
3. Create a stronger sense of tension or conflict in the scene, to make it more engaging for the audience.

Here is an edited version of the scene that incorporates these suggestions:

INT. THE APARTMENT - DAY

BUD is on the phone, holding FRAN's letter. FRAN is in the bedroom, sitting up in bed with a hangover.

BUD
(into phone)
Yes, sir, I understand. She left a note - do you want me to read it to you?
(a beat)
No, I kept your name out of it so there'll be no trouble. Around here, I'm known as quite a ladies' man...

As BUD talks on the phone, FRAN starts to make her way to the living room, groggy and unsteady.

BUD (CONT'D)
(into phone)
Anyway, the doctor thinks she's my girl - but we're not out of the woods yet. It looks like it'll be a couple of days before she's fully recovered.

FRAN appears in the doorway, barefoot and in her slip. She leans against the door post.

BUD (CONT'D)
(into phone)
I'll keep her in my apartment as long as I can. Any message you want me to give her?
(a beat)
I'll think of something. Goodbye, Mr. Sheldrake.

He hangs up.

FRAN
(weakly)
I'm sorry.

BUD turns around and sees her.

FRAN (CONT'D)
I'm sorry, Mr. Baxter.

BUD
(hurries toward her)
Miss Kubelik, you shouldn't be out of bed.

He helps her back into the bedroom.

FRAN
(struggling)
I have to go home.

BUD
You're in no condition to go anywhere - except back to bed.

FRAN resists. BUD tries to put her back in bed.

BUD (CONT'D)
Miss Kubelik, I'm stronger than you are...

FRAN
I just want to go brush my teeth.

BUD
Oh - of course. Here, put this robe on.

In the bathroom, BUD finds a toothbrush and removes a safety razor blade from its holder. He drops the blade in his pocket and empties the dispenser. He also takes a bottle of iodine from the medicine shelf and puts it in his pocket. FRAN appears in the doorway.

BUD (CONT'D)
(handling the toothbrush to her)
Here. How about some breakfast?

FRAN
No, I don't want anything.

BUD
I'll fix you some coffee.

He thinks for a moment, then hurries toward the hall door.

BUD (CONT'D)
Oh - we're all out of coffee. You had quite a lot of it last night...

The tension in this scene could be increased by having BUD and FRAN struggle physically over her attempts to leave, or by adding more conflict between them. Alternatively, the scene could be simplified by removing some of the extraneous actions and dialogue.



Scene 36 -  Early Morning Coffee
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 10
  • Dialogue: 8
INT. SECOND FLOOR LANDING - DAY

Bud comes out of his apartment, leaving the door half open,
heads for the Dreyfuss apartment. He rings the bell, peers
down over the banister to make sure Mrs. Lieberman isn't
snooping around. Mrs. Dreyfuss opens the door.

BUD
Mrs. Dreyfuss, can I borrow some
coffee -- and maybe an orange and a
couple of eggs?


(CONTINUED)
102.
CONTINUED:

MRS. DREYFUSS
(contemptuously)
Eggs he asks me for. Oranges. What
you need is a good horse-whipping.

BUD
Ma'am?

MRS. DREYFUSS
From me the doctor has no secrets.
Poor girl -- how could you do a
thing like that?

BUD
I didn't really do anything --
honest -- I mean, you take a girl
out a couple of times a week --
just for laughs -- and right away
she thinks you're serious --
marriage-wise.

MRS. DREYFUSS
Big shot! For you, I wouldn't lift
a finger -- but for her, I'll fix a
little something to eat.

She slams the door in his face, Bud starts back to his
apartment.
Genres: ["Drama","Comedy"]

Summary Bud leaves his apartment to borrow coffee from the Dreyfuss apartment, but encounters Mrs. Dreyfuss who blames him for Fran's overdose. Bud tries to defend himself but Mrs. Dreyfuss insults him before offering him food.
Strengths "Good use of comedic elements to relieve tension; Mrs. Dreyfuss is an interesting and unique character."
Weaknesses "The scene stalls the plot momentarily; does not involve the main characters significantly."
Critique Overall, this scene does a good job of establishing the relationship between Bud and Mrs. Dreyfuss, as well as addressing the subplot of Bud's romantic relationships. However, there are a few areas that could be improved:

- The opening action of Bud leaving his apartment door half open seems unnecessary and doesn't add anything to the scene. It could be cut without affecting the story.
- The dialogue feels a bit stilted in places, particularly when Bud is trying to explain himself to Mrs. Dreyfuss. It could benefit from being more natural and conversational.
- There's not much visual interest in the scene, as it mostly takes place in one location with two characters talking. Adding some distinct camera angles or movements could help break up the monotony.

Overall, though, the scene serves its purpose and effectively conveys information about the characters and story.
Suggestions Overall, the scene is fine but here are a few suggestions for improvement:

1. Give more context to the situation. What happened with the girl that Bud is now trying to borrow coffee from his neighbor? Did they have a fight? Did he run out of coffee?

2. Develop the characters more. Right now, Mrs. Dreyfuss seems like a caricature of a cranky old lady. Give her some depth and maybe a reason for why she's so hostile towards Bud.

3. Add some conflict to the scene. Right now, the interaction between Bud and Mrs. Dreyfuss is just a brief spat. Try adding something that makes the interaction more dramatic, such as Bud trying to convince her of something or Mrs. Dreyfuss holding some leverage over Bud.

4. Use the setting more effectively. The fact that the scene takes place on a second-floor landing could add some visual interest to the scene. Try incorporating some aspects of the setting into the action or dialogue to make it more dynamic.

These are just a few suggestions, but ultimately it's up to the writer to decide what works best for their story and characters.



Scene 37 -  Confrontation and Comfort
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. THE APARTMENT - DAY

Fran enters shakily from the bedroom, looks around for the
phone, locates it, picks it up. As she starts dialing, Bud
comes in from the hall.

BUD
Who are you calling, Miss Kubelik?

FRAN
My sister -- she'll want to know
what happened to me.

BUD
(alarmed)
Wait a minute -- let's talk this
over first.
(hurries up to her, takes
the receiver away)
Just what are you going to tell
her?




(CONTINUED)
103.
CONTINUED:

FRAN
Well, I haven't figured it out,
exactly.

BUD
You better figure it out --
exactly. Suppose she asks you why
you didn't come home last night?

FRAN
I'll tell her I spent the night
with a friend.

BUD
Who?

FRAN
Someone from the office.

BUD
And where are you now?

FRAN
In his apartment.

BUD
His apartment?

FRAN
I mean -- her apartment.

BUD
What's your friend's name?

FRAN
Baxter.

BUD
What's her first name?

FRAN
Miss.
(she is impressed with her
own cleverness)

BUD
When are you coming home?

FRAN
As soon as I can walk.

BUD
Something wrong with your legs?


(CONTINUED)
104.
CONTINUED: (2)

FRAN
No -- it's my stomach.

BUD
Your stomach?

FRAN
They had to pump it out.

BUD
(hanging up the phone)
Miss Kubelik, I don't think you
ought to call anybody -- not till
that chewing gum is out of your
head.
(leads her into bedroom)

FRAN
But they'll be worried about me --
my brother-in-law may be calling
the police --

BUD
That's why we have to be careful --
we don't want to involve anybody --
after all, Mr. Sheldrake is a
married man --

FRAN
Thanks for reminding me.

She pulls away from him, starts to get into bed.

BUD
(contritely)
I didn't mean it that way -- I was
just talking to him on the phone --
he's very concerned about you.

FRAN
He doesn't give a damn about me.

BUD
Oh, you're wrong. He told me --

FRAN
He's a liar. But that's not the
worst part of it -- the worst part
is -- I still love him.


The doorbell rings.



(CONTINUED)
105.
CONTINUED: (3)

BUD
Must be Mrs. Dreyfuss --
(starts into living room)
-- remember the doctor -- from last
night -- that's his wife.

He opens the hall door. Mrs. Dreyfuss brushes past him with a
tray full of food.

MRS. DREYFUSS
So where is the victim?
(Bud indicates the
bedroom)
Max the Knife!

She sweeps into the bedroom, Bud tagging along.

MRS. DREYFUSS (CONT’D)
(to Fran)
Nu, little lady, how are we feeling
today?

FRAN
I don't know -- kind of dizzy.

MRS. DREYFUSS
Here. The best thing for dizzy is a
little noodle soup with chicken --
white meat -- and a glass tea. She
sets the tray down on Fran's lap.

FRAN
Thank you. I'm really not hungry.

MRS. DREYFUSS
Go ahead! Eat! Enjoy!

She hands her the soup spoon, turns to Bud.

MRS. DREYFUSS (CONT’D)
You wouldn't have such a thing as a
napkin, would you?

BUD
Well, I have some paper towels --

MRS. DREYFUSS
Beatnik! Go to my kitchen -- third
drawer, under the good silver,
there is napkins.

BUD
Yes, Mrs. Dreyfuss.


(CONTINUED)
106.
CONTINUED: (4)

He starts out with a worried backward glance toward the two.
Fran is just sitting there, the spoon in her hand, not
touching the soup.

MRS. DREYFUSS
So what are you waiting for -- a
singing commercial?

FRAN
I can't eat.

Mrs. Dreyfuss takes the spoon from her, starts to feed her.

MRS. DREYFUSS
You must eat -- and you must get
healthy -- and you must forget him.
Such a fine boy he seemed when he
first moved in here -- clean and
cut -- a regular Ivy Leaguer. Turns
out he is King Farouk. Mit the
drinking -- mit the cha cha -- mit
the no napkins. A girl like you,
for the rest of your life you want
to cry in your noodle soup? Who
needs it! You listen to me, you
find yourself a nice, substantial
man -- a widower maybe -- and
settle down -- instead of nashing
all those sleeping pills -- for
what, for whom? -- for some Good
Time Charlie?
(sees Bud approaching with
napkin)
Sssh!
Genres: ["Drama","Romance","Comedy"]

Summary Mrs. Lieberman confronts Bud about Fran's overdose while he tends to her. Bud calls his boss about Fran's condition and tries to convince her to stay with him while simultaneously gathering medical supplies for her. He is insulted by Mrs. Dreyfuss, who blames him for Fran's situation before offering him food.
Strengths
  • Character development
  • Tension building
Weaknesses
  • Some scenes drag on a bit too long
Critique Overall, this scene does a good job of establishing the characters and their relationships, but it could benefit from some tightening up in terms of dialogue and pacing. The conversation between Bud and Fran feels somewhat repetitive in places and could benefit from some more nuanced exchanges. Additionally, while Mrs. Dreyfuss adds an interesting dynamic to the scene, her dialogue feels a bit over-the-top and could be toned down for a more naturalistic feel. Overall, the scene is effective in moving the story forward, but some editing could make it even stronger.
Suggestions Overall, the scene could benefit from more action and visual cues to break up the dialogue. Also, the dialogue feels a bit forced and could benefit from more naturalistic language. Here are some specific suggestions:

- Add more physical actions for the characters to perform while they speak. Right now, they are mostly standing still and talking, which can make the scene feel stagnant. For example, Fran could be pacing around the room or fiddling with something on the coffee table while she talks on the phone. Bud could be pouring a glass of water or looking out the window while he talks to Fran.
- Consider adding more descriptive language to the scene to help set the tone. Right now, we don't know much about the apartment or its furnishings, so adding more details about the setting could help ground the audience in the moment. For example, we could see that the walls are painted a drab color or that there's a vase of dead flowers on the kitchen table.
- Try to make the dialogue feel more natural and less stilted. For example, when Bud asks Fran what she's going to tell her sister, he could say something like, "Hey, slow down. Let's think about this for a sec." This sounds more like how people really talk and would help make the characters feel more real.
- Finally, you might consider adding some subtext to the scene. Right now, everything is very literal and on the nose. Adding some hidden meanings or unspoken tensions between the characters could make the scene more dynamic. For example, maybe Fran is secretly angry at Bud for taking the phone away, or Bud is feeling guilty about his role in the situation. These subtexts don't need to be spelled out explicitly, but could be conveyed through subtle changes in body language or tone of voice.



Scene 38 -  Fran's Confession
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 9
  • Dialogue: 8
BUD
(gaily)
One napkin, coming up.
(hands it to Fran)
I wish we had some champagne to
wrap it around.

MRS. DREYFUSS
(to Fran)
What did I tell you?

BUD
(uncomfortable)
Look, Mrs. Dreyfuss, you don't have
to wait around. I'll wash the
dishes and --




(CONTINUED)
107.
CONTINUED: (5)

MRS. DREYFUSS
You wash 'em, you break 'em. I'll
come back for them later.
(to Fran)
If he makes trouble, give me a
yell.

She exits.

FRAN
She doesn't seem to like you very
much.

BUD
Oh, I don't mind. As a matter of
fact, I'm sort of flattered -- that
anybody should think a girl like
you -- would do a thing like this --
over a guy like me.

FRAN
(glancing at night table)
Oh. Did you find something here --
an envelope -- ?

BUD
Yes, I've got it.
(takes envelope out of
back pocket)
Don't you think we'd better destroy
it? So it won't fall into the wrong
hands -- ?

FRAN
Open it.

Bud tears open the envelope, takes out Sheldrake's hundred
dollars.

BUD
There's nothing here but a hundred
dollar bill.

FRAN
That's right. Will you see that Mr.
Sheldrake gets it?

BUD
(shrugging)
Sure.

He puts the money in his pocket.



(CONTINUED)
108.
CONTINUED: (6)

FRAN
(holding out tray)
Here -- take this, will you?

Bud relieves her of the tray, sets it down.

BUD
You want me to move the television
set in here?
(Fran shakes her head)
You play gin rummy?

FRAN
I'm not very good at it.

BUD
I am. Let me get the cards.

FRAN
You don't have to entertain me.

Bud opens the bureau drawer, takes out a deck of cards, a
score pad, and a pencil.

BUD
Nothing I'd like better -- you know
togetherness. Guess what I did last
Christmas. Had an early dinner at
the automat, then went to the zoo,
then I came home and cleaned up
after Mr. Eichelberger -- he had a
little eggnog party here. I'm way
ahead this year.

He pulls a chair up to the bed, starts to shuffle the cards.

BUD (CONT’D)
Three across, spades double, high
deals.
(they cut)
Eight -- ten.
(he starts to deal)

FRAN
(pensively)
I think I'm going to give it all
up.

BUD
Give what up?




(CONTINUED)
109.
CONTINUED: (7)

FRAN
Why do people have to love people,
anyway?

BUD
Yeah -- I know what you mean.
(flips over down card)
Queen.

FRAN
I don't want it.

BUD
Pick a card.

She does, and they start playing.

FRAN
What do you call it when somebody
keeps getting smashed up in
automobile accidents?

BUD
A bad insurance risk?

FRAN
(nodding)
That's me with men. I've been
jinxed from the word go -- first
time I was ever kissed was in a
cemetery.

BUD
A cemetery?

FRAN
I was fifteen -- we used to go
there to smoke. His name was George
-- he threw me over for a drum
majorette.

BUD
Gin.

He spreads his hand. Fran lays her cards down, and Bud adds
them up.

BUD (CONT’D)
Thirty-six and twenty-five --
that's sixty-one and two boxes.
(enters score on pad)




(CONTINUED)
110.
CONTINUED: (8)

FRAN
I just have this talent for falling
in love with the wrong guy in the
wrong place at the wrong time.

BUD
(shuffling)
How many guys were there?

FRAN
(holding up four fingers)
Three. The last one was manager of
a finance company, back home in
Pittsburgh -- they found a little
shortage in his accounts, but he
asked me to wait for him -- he'll
be out in 1965.

BUD
(pushing the deck toward
her)
Cut.

FRAN
(she does, and he starts
dealing)
So I came to New York and moved in
with my sister and her husband --
he drives a cab. They sent me to
secretarial school, and I applied
for a job with Consolidated - but I
flunked the typing test --

BUD
Too slow?

FRAN
Oh. I can type up a storm, but I
can't spell. So they gave me a pair
of white gloves and stuck me in an
elevator -- that's how I met Jeff --
(her eyes mist up, and she
puts her cards down)
Oh, God, I'm so fouled up. What am
I going to do now?

BUD
You better win a hand -- you're on
a blitz.
Genres: ["Drama","Romance"]

Summary Bud tends to Fran after her overdose and tries to cheer her up, playing cards with her as she confesses her string of bad luck with men.
Strengths "The scene develops the relationship between Bud and Fran, revealing Fran's vulnerability and adding depth to her character. The dialogue is poignant and relatable."
Weaknesses "The scene could benefit from more action and conflict to move the story forward."
Critique This scene is a dialogue-heavy scene that serves the purpose of developing the relationship between Bud and Fran. The dialogue flows naturally, and the banter between the two characters is entertaining. However, the scene lacks strong action or memorable imagery that would make it truly stand out. It serves its purpose of developing the story, but it could benefit from more dynamic elements to make it more memorable. Additionally, the themes of love and self-doubt are touched upon but not fully explored, leaving a potential for a deeper exploration that could add more emotional depth to the scene. Overall, the scene is well-written, but it lacks some elements that could make it truly exceptional.
Suggestions The scene could benefit from some more action or movement to break up the dialogue-heavy nature of it. One suggestion could be to have Bud actually start washing dishes as Mrs. Dreyfuss exits, giving him something to do and adding visual interest. Additionally, the characters could physically move around the room or change positions while they play cards, giving the scene a bit more variety. Finally, it might be helpful to foreshadow or hint at some upcoming conflict or tension to keep the audience engaged.



Scene 39 -  Fran's Confession
  • Overall: 7.0
  • Concept: 8
  • Plot: 7
  • Characters: 8
  • Dialogue: 6
FRAN
Was he really upset when you told
him?


(CONTINUED)
111.
CONTINUED: (9)

BUD
Mr. Sheldrake? Oh, yes. Very.

FRAN
Maybe he does love me -- only he
doesn't have the nerve to tell his
wife.

BUD
I'm sure that's the explanation.

FRAN
You really think so?

BUD
No doubt about it.

FRAN
(a thoughtful beat, then)
Can I have that pad and the pencil?

BUD
(handing her score pad and
pencil)
What for?

FRAN
I'm going to write a letter to Mrs.
Sheldrake.

BUD
You are?

FRAN
As one woman to another -- I'm sure
she'll understand --

BUD
Miss Kubelik, I don't think that's
such a good idea.

He gently takes the pad and pencil away from her.

FRAN
Why not?

BUD
Well, for one thing, you can't
spell. And secondly -- if you did
something like that -- you'd hate
yourself.




(CONTINUED)
112.
CONTINUED: (10)

FRAN
(fighting back tears)
I don't like myself very much
anyway.

BUD
Pick up your cards and let's go.

FRAN
Do I have to?

BUD
You bet. I got a terrific hand.

Fran, her eyes drooping sleepily, picks up her cards, makes a
discard.

BUD (CONT’D)
You sure you want to throw that
card?

FRAN
Sure.

BUD
Gin.

He removes the cards from her hand, starts to add them up.

BUD (CONT’D)
Fifty-two and twenty-five -- that's
seventy-seven -- spades is double --
a hundred and fifty-four -- and
four boxes -- you're blitzed in two
games.

He enters the score on the pad. As he starts to shuffle
again, he notices that Fran has slid down on the pillow, and
that her eyes are closed -- she is asleep. Bud rises, adjusts
the blanket over her.

He stands there looking at her for a moment, runs his hand
over his chin. Realizing he needs a shave, he crosses to the
bathroom. In the bathroom, Bud washes his face, squirts some
shaving cream into his hand, starts to apply it.

EXT. BROWNSTONE HOUSE - DAY

A Volkswagen draws up to the curb in front of the house.
Kirkeby gets out on the street side, Sylvia squeezes herself
out through the other door. Kirkeby raises the front hood of
the Volkswagen, reaches into the luggage compartment, takes
out a cardboard bucket with a bottle of champagne on ice.


(CONTINUED)
113.
CONTINUED:

Together, he and Sylvia start up the steps of the house,
Sylvia already cha cha-ing in anticipation.
Genres: ["Drama","Romance","Comedy"]

Summary Bud and Fran talk about Mr. Sheldrake and Fran thinks about writing a letter to his wife. Bud comforts her and they play cards before she falls asleep. Meanwhile, Kirkeby and Sylvia arrive at the brownstone house with champagne.
Strengths "Heartfelt moment between Bud and Fran, touching on themes of love and self-worth. Subtle portrayal of Bud's growing affection for Fran. Dialogue captures the vulnerability of Fran's character."
Weaknesses "Slow pace and lack of action may bore some viewers. Some of the dialogue is cliched and predictable."
Critique This scene seems to be well-written and efficiently moves the plot forward. The dialogue between Fran and Bud effectively shows the emotional turmoil the characters are experiencing. The use of the card game as a way to distract Fran from her troubles and eventually put her to sleep is a clever device. The introduction of Kirkeby and Sylvia at the end sets up a potential conflict in the story. Overall, the scene is well-paced and engaging.
Suggestions Firstly, the dialogue could be more dynamic and have more subtext to it. Just having the characters directly state their thoughts and feelings can come across as flat and uninteresting. Adding in more subtext and allowing the audience to read between the lines can make for a more engaging scene.

Secondly, adding in more visual description can make the scene more vivid and engaging. Instead of just having the characters talk, describe their actions and reactions in more detail, as well as their environment.

Lastly, the scene could benefit from a clearer focus or objective. As it stands, it feels like a collection of actions and dialogue without a strong arc or goal. Clarifying what the characters want and what is at stake can help drive the scene forward and make it more engaging.



Scene 40 -  Uninvited Guests
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 7
  • Dialogue: 8
INT. APARTMENT - DAY

In the bathroom, Bud has just finished lathering his face
when the doorbell rings. He starts into the bedroom.

BUD
(muttering to himself)
All right -- all right, Mrs.
Dreyfuss.

He glances at the sleeping Fran, picks up the tray, carries
it into the living room, pulling the bedroom door closed
behind him. But it doesn't shut completely, because of Fran's
dress hooked over the top. Bud crosses to the hall door,
opens it. Outside are Kirkeby, with the champagne bucket, and
Sylvia.

KIRKEBY
Hi, Baxter.

BUD
(blocking the door)
What do you want?

KIRKEBY
What do I -- ?
(to Sylvia)
Just a minute.

He pushes his way into the apartment past Bud.

BUD
You can't come in.

KIRKEBY
(closing the door behind
him)
What's the matter with you, Buddy-
boy? I made a reservation for four
o'clock, remember?

He heads for the coffee table, sets the champagne down. Bud
shoots a quick glance toward the bedroom door, gets rid of
the tray.

BUD
Look, you can't stay here. Just
take your champagne and go.




(CONTINUED)
114.
CONTINUED:

KIRKEBY
Baxter, I don't want to pull rank
on you -- but I told the lady it
was all set -- you want to make a
liar out of me?

BUD
Are you going to leave, Mr.
Kirkeby, or do I have to throw you
out?

As Bud spins him around, Kirkeby notices the dress on the
bedroom door.

KIRKEBY
Buddy-boy, why didn't you say so?
(indicating dress)
You got yourself a little playmate,
huh?

BUD
Now will you get out?

INT. SECOND FLOOR LANDING - DAY

Outside the door of Bud's apartment, Sylvia is cha cha-ing
impatiently. Up the stairs comes Dr. Dreyfuss, in his
overcoat and carrying his medical bag.

SYLVIA
(knocking on the door)
Hey, come on, what are we waiting
for? Open up, will you?

She continues cha-cha-ing. Dr. Dreyfuss has unlocked the door
to his apartment, and is watching Sylvia, appalled by the
fact that Baxter seems to be at it again. He starts inside.

DR. DREYFUSS
(calling)
Mildred -- !

He shuts the door behind him.

SYLVIA
(knocking on Baxter's
door)
What's holding things up?

INT. APARTMENT - DAY

Kirkeby looks toward the door in response to Sylvia's
knocking.


(CONTINUED)
115.
CONTINUED:

KIRKEBY
Say, why don't we have ourselves a
party -- the four of us?

BUD
No!

He forces Kirkeby toward the hall door. Kirkeby, glancing
past him through the partly-open door of the bedroom, catches
sight of Fran asleep in bed.

KIRKEBY
(grinning smugly)
Well, I don't blame you. So you hit
the jackpot, eh kid -- I mean,
Kubelik-wise?
(Bud opens the door,
gestures him out)
Don't worry. I won't say a word to
anybody.

INT. SECOND FLOOR LANDING - DAY

Kirkeby comes backing out the door of Bud's apartment, minus
the champagne bucket.

KIRKEBY
Stay with it, Buddy-boy!
(Bud shuts the door on
him)
Come on, Sylvia.

SYLVIA
What gives?

KIRKEBY
A little mixup in signals. Let's
go.

SYLVIA
Go where?

KIRKEBY
(leading her toward
stairs)
What's your mother doing this
afternoon?

SYLVIA
She's home -- stuffing a turkey.




(CONTINUED)
116.
CONTINUED:

KIRKEBY
Why don't we send her to a movie --
like Ben-Hur?

SYLVIA
That's fine. But what are we going
to do about grandma and Uncle
Herman and Aunt Sophie and my two
nieces --
Genres: ["comedy","drama"]

Summary Kirkeby and Sylvia arrive at Bud's apartment uninvited while he is taking care of Fran after her overdose.
Strengths "The scene continues to build on the chaotic events of the previous scenes, leading up to a climax."
Weaknesses "The scene relies heavily on character interactions with little plot advancement."
Critique Overall, this is a well-written scene. The dialogue is crisp and the action is clear. However, there are a few areas that could be improved.

Firstly, the scene could benefit from more description of the characters and the setting. We don't get a sense of what Bud or Kirkeby look like, or what the apartment looks like. Adding a few descriptive details would help to bring the scene to life.

Additionally, the scene could be made more visually interesting with some blocking and camera directions. For example, we don't know where Bud and Kirkeby are standing in relation to each other or how they are positioned. Adding some staging would help to make the scene more dynamic.

Finally, the scene could be improved by adding some emotional depth. There is no sense of what Bud is feeling beyond irritation at Kirkeby's intrusion. Adding some subtext and emotional layers would help to make the scene more compelling.
Suggestions Here are a few suggestions to improve the scene:

1. Add more description to the setting and actions. Consider adding details about what the apartment looks like, how Bud moves around the space, and how Kirkeby and Sylvia interact physically.

2. Develop the characters' motivations. Why is Kirkeby so insistent on staying despite Bud's objections? What does Sylvia want out of this situation? Adding more depth to the characters can make the scene more engaging and raise the stakes.

3. Consider the pacing. The scene feels a bit rushed, and slowing it down could create more tension. Try adding pauses or beats to build anticipation and suspense.

4. Add subtext. What's really going on beneath the surface? Are there hidden agendas or unspoken feelings at play? Including subtext can add complexity and nuance to the scene.

5. Think about camera angles and blocking. As a screenwriting expert, consider how this scene would be shot and choreographed. Are there interesting ways to visually convey the characters' emotions or actions?



Scene 41 -  Bud's Promise
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 10
INT. APARTMENT - DAY

Bud comes into the bedroom. As he heads for the bathroom,
Fran stirs slightly, opens her eyes.

FRAN
Who was that?

BUD
Just somebody delivering a bottle
of champagne. Like some?

FRAN
(shaking her head)
Would you mind opening the window?


She turns off the electric blanket as Bud crosses to the
window, pushes it up. Then a thought strikes him, and he
looks at Fran suspiciously.

BUD
Now don't go getting any ideas,
Miss Kubelik.

FRAN
I just want some fresh air.

BUD
It's only one story down -- the
best you can do is break a leg.

FRAN
So they'll shoot me -- like a
horse.

BUD
(approaching the bed)
Please, Miss Kubelik, you got to
promise me you won't do anything
foolish.




(CONTINUED)
117.
CONTINUED:

FRAN
Who'd care?

BUD
I would.

FRAN
(sleepily)
Why can't I ever fall in love with
somebody nice like you?

BUD
(ruefully)
Yeah. Well -- that's the way it
crumbles, cookie-wise. Go to sleep.

Fran closes her eyes. Bud returns to the bathroom, picks up
his razor, starts to shave. But something seems to be wrong
with the razor -- and unscrewing it, he realizes that there
is no blade. Sheepishly, he takes out the blade he hid in his
shirt pocket, inserts it in his razor, screws it shut. Then
he resumes shaving.

FADE OUT:

FADE IN:

INT. SHELDRAKE'S ANTEROOM - DAY

It is the morning after Christmas, and Miss Olsen and the
other girls are just settling down to work. Sheldrake, in hat
and coat, approaches from the elevators, comes through the
glass doors.

SECRETARIES
(ad lib)
Good morning, Mr. Sheldrake.

SHELDRAKE
(ignoring them)
Miss Olsen, will you come into my
office, please?

He strides into the inner office. Miss Olsen picks up her
stenographic pad, follows him in.

INT. SHELDRAKE'S OFFICE - DAY

Sheldrake is removing his hat and coat as Miss Olsen comes
in, shuts the door behind her.

MISS OLSEN
Did you have a nice Christmas?


(CONTINUED)
118.
CONTINUED:

SHELDRAKE
Lovely. You were a big help.

MISS OLSEN
Me?

SHELDRAKE
Thank you for giving that little
pep talk to Miss Kubelik at the
office party.

MISS OLSEN
(dropping her business-
like mask)
I'm sorry, Jeff. You know I could
never hold my liquor --

SHELDRAKE
But I thought you could hold your
tongue.

MISS OLSEN
It won't happen again.

SHELDRAKE
You bet it won't. I'll arrange for
you to get a month's severance pay -
(she looks at him,
uncomprehending)
That's right, Miss Olsen. I'm
letting you go.

MISS OLSEN
(quietly)
You let me go four years ago, Jeff.
Only you were cruel enough to make
me sit out there and watch the new
models pass by.

SHELDRAKE
I'd appreciate it if you'd be out
of here as soon as you can.

MISS OLSEN
(formal again)
Yes, Mr. Sheldrake.

She turns and walks out of the office, shutting the door.
Sheldrake looks after her for a moment, then goes to his
desk, picks up the phone, dials the operator.




(CONTINUED)
119.
CONTINUED: (2)

SHELDRAKE
(into phone)
This is Mr. Sheldrake. I'd like Mr.
Baxter's home telephone number --
that's C.C. Baxter, in Ordinary
Premium Accounting --

INT. SHELDRAKE'S ANTEROOM - DAY

Miss Olsen has put on her coat, and is going through her desk
drawers, cleaning out her personal belongings -- nail polish,
emery boards, an extra pair of glasses, etc. As she stows
them away in her handbag, one of the buttons on the telephone
lights up. Miss Olsen hesitates for a second, then with a
quick look around, she pushes the button down, carefully
picks up the receiver, listens in.

INT. SHELDRAKE'S OFFICE - DAY

Sheldrake is dialing the last two digits of a telephone
number. After a moment, someone answers.

SHELDRAKE
Hello, Baxter? Jeff Sheldrake. Can
you talk?
Genres: ["Drama","Romance"]

Summary Bud tends to Fran after her overdose and they talk about their personal lives and Mr. Sheldrake. Kirkeby and Sylvia arrive at Bud's apartment uninvited.
Strengths "The scene captures the relationship between Bud and Fran. Their exchange is emotionally charged, intricate and represents good writing. There is a sense of uncertainty in the scene as both Bud and Fran are at crossroads in their lives and the arrival of Kirkeby and Sylvia interrupts the mood. Lastly, the conversation between Sheldrake and Baxter leaves us wanting to know more and what kind of a role Baxter will play in the story."
Weaknesses "The scene includes unnecessary dialogue from Miss Olsen and other characters who seem irrelevant to the plot. Additionally, the scene is devoid of any significant action or careful pacing."
Critique Overall, the scene seems to have a clear purpose in advancing the plot and developing character relationships. There is tension between Bud and Fran as he suspects her of contemplating suicide, and their conversation reveals their individual vulnerabilities. The introduction of Sheldrake's office and his intentions to contact Baxter adds a layer of intrigue to the story.

In terms of constructive criticism, it may benefit the scene to have more visual descriptions to convey emotions and actions. For example, when Fran shakes her head in response to the champagne offer, we don't know if she's doing it softly or vehemently. Adding more nuances to body language and expressions can enhance the performance and give actors more opportunities to showcase their skills. Additionally, some of the dialogue exchanges feel slightly stilted or on-the-nose, such as when Fran asks why she can't fall in love with someone like Bud. Finding ways to add subtext and layering to conversations can make them feel more natural and nuanced.

Overall, the scene sets up some interesting plot developments and reveals character nuances, but could benefit from further refinement in terms of visual descriptions and dialogue subtleties.
Suggestions There are a few suggestions for improving this scene:

1. Add more descriptive language to convey the mood and setting. Right now, the scene is lacking in atmosphere. Consider adding details like the color of the bedroom walls, the bedroom furniture, and the weather outside the window.

2. Develop the dialogue between Bud and Fran more. Their exchange is straightforward and lacks depth. Consider adding more backstory or emotional depth to their interaction. This could help the audience understand their connection better.

3. Give the scene a clearer purpose. As it is, it feels like a filler scene with no real plot development. Adding in a conflict or a revelation could help elevate the scene and make it more meaningful.

4. Consider altering the pacing. The scene feels slow and could benefit from more action or movement. Perhaps add in some physical actions or incorporate flashbacks.

5. Add more visual elements to the scene. This will help make it more interesting to watch. Consider adding props, such as a picture frame or a newspaper, that can be incorporated into the scene to make it more dynamic.



Scene 42 -  Sheldrake's Anteroom
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. THE APARTMENT - DAY

Bud, wearing slacks, a shirt open at the neck, and a cardigan
sweater, is at the phone. A pillow and a blanket on the
living room couch indicate where he spent the night.

BUD
(looking off)
Yes, she's in the shower -- she's
coming along fine, considering.

SHELDRAKE - ON PHONE

SHELDRAKE
Good. Is there anything you need --
money -- ?

BUD - ON PHONE

BUD
No, thank you, Mr. Sheldrake. As a
matter of fact, I've got some money
for you -- a hundred dollars --
120.


SHELDRAKE - ON PHONE

SHELDRAKE
Oh.
(a beat)
Well, if there's anything I can do
for you --

BUD - ON PHONE

BUD
For me? I don't think so. But I was
hoping maybe you could do something
for her --

SHELDRAKE - ON PHONE

SHELDRAKE
Like what? Put yourself in my
place, Baxter -- how can I help her
-- my hands are tied --

INT. APARTMENT - DAY

Fran now appears in the bedroom, wearing the plaid robe, and
toweling her damp hair.

BUD
(into phone)
Well, at least you can talk to her -
- let me put her on -- and please
be gentle --

He puts the receiver down, crosses toward the bedroom door.

BUD (CONT’D)
There's a call for you --

FRAN
(approaching)
For me?

BUD
-- Mr. Sheldrake.

FRAN
I don't want to talk to him.

BUD
I think you should. I have to run
down to the grocery anyway -- all
that's left around here is one
frozen pizza --
(MORE)

(CONTINUED)
121.
CONTINUED:
BUD (CONT'D)
(takes raincoat and old
hat from hanger)
I'll be right back -- okay?

Fran nods, watches him go out. Then she glances toward the
phone, which is off the hook. Reluctantly she advances toward
it, picks it up.

FRAN
(into phone)
Hello, Jeff.
(a long beat)
Yes, I'm all right.

SHELDRAKE - ON PHONE

SHELDRAKE
Fran, why did you do it? It's so
childish -- and it never solves
anything -- I ought to be very
angry with you, scaring me like
that -- but let's forget the whole
thing -- pretend it never happened -
- what do you say, Fran?
(no answer)
Fran --

INT. SHELDRAKE'S ANTEROOM

Miss Olsen, glued to the phone, is listening intently.

SHELDRAKE - ON PHONE

SHELDRAKE
Are you there, Fran?

FRAN - ON PHONE

FRAN
Of course I'm not here -- because
the whole thing never happened -- I
never took those pills -- I never
loved you -- we never even met --
isn't that the way you want it?

SHELDRAKE - ON PHONE

SHELDRAKE
There you go again -- you know I
didn't mean it that way, Fran. Just
get well -- do what the nurse tells
you -- I mean Baxter -- and I'll
see you as soon as I can.
(MORE)

(CONTINUED)
122.
CONTINUED:
SHELDRAKE (CONT'D)
Bye, Fran.
(he hangs up)

INT. SHELDRAKE'S ANTEROOM - DAY

Miss Olsen hangs up the phone, sits there for a moment,
weighing what she has overheard. Then she makes a decision,
picks up the phone again, dials a number. As she waits for an
answer, she glances toward Sheldrake's office.

MISS OLSEN
(into phone)
Hello, Mrs. Sheldrake? This is Miss
Olsen -- fine, thank you -- Mrs.
Sheldrake, I was wondering if we
could have lunch together? -- well,
I don't know how important it is,
but I think you might find it
educational -- it concerns your
husband -- all right, one o'clock,
at Longchamp's, Madison and 59th.

She looks up as the door to the inner office opens and
Sheldrake comes out. He stops when he sees that Miss Olsen is
still there.

MISS OLSEN (CONT’D)
(hanging up phone)
Don't worry, I'm on my way.
(she rises)
I was just making a personal call.

She opens her handbag, takes out a coin, puts it down on the
desk.

MISS OLSEN (CONT’D)
Here's a dime.

She marches out through the glass doors toward the elevators
as Sheldrake stands there, watching her.

DISSOLVE TO:

EXT. BROWNSTONE HOUSE - DAY

Bud comes down the street, carrying a large brown paper bag
overflowing with groceries. He goes up the steps of the house
and through the front door.
Genres: ["Drama","Romance"]

Summary Miss Olsen informs Mrs. Sheldrake about her husband's infidelity as Bud tends to Fran's recovery after her overdose.
Strengths "The scene effectively conveys a somber tone, and the themes of infidelity and its consequences are well-handled. The juxtaposition of Bud's care for Fran and Miss Olsen's betrayal of Sheldrake keeps the audience engaged."
Weaknesses "The scene lacks action, relying on dialogue and character interaction to carry the story forward. The conflict level is relatively low, and there is little character development or growth."
Critique Overall, this scene seems to be serving the function of advancing the plot and developing the characters rather than being particularly standout in its own right. The dialogue is naturalistic and helps to move the story forward. However, there are a few areas where the scene could be improved:

- The action lines could be more descriptive and detailed. For example, there is no description of the tone or expression on Bud's face when he speaks on the phone with Sheldrake.
- The dialogue between Sheldrake and Fran feels a bit heavy-handed and expository. It is clear that the conversation is meant to convey information to the audience, but the characters' dialogue comes across as somewhat stilted.
- The scene could benefit from more visual variety. There is a lot of back-and-forth between characters on the phone, which can start to feel static after a while. Adding in some more physical action or motion could help to break up the scene visually.

Overall, this scene is functional but could benefit from some additional polish and attention to detail.
Suggestions Some suggestions to improve the scene:

1. Add more visual description to set the tone and atmosphere of the scene. What is the lighting like? Is it quiet or bustling? What are the colors and textures of the surroundings? These details can help enhance the emotions and actions of the characters.

2. Show more of Fran's reaction to being on the phone with Sheldrake. What is her body language? Does she seem upset or conflicted? This can add depth to her character and create more tension in the scene.

3. Consider adding more dialogue between Bud and Fran before he leaves for the grocery store. This can give insight into their relationship and how they are processing their current situation.

4. Show more of Miss Olsen's expressions and body language as she eavesdrops on Sheldrake's conversation. This can create more intrigue and suspense surrounding her character's intentions.

5. Add a bit of personality to the grocery bag Bud is carrying. What's in it? Is he struggling to carry it all? This can add a touch of humor or relatability to the scene.



Scene 43 -  Gas Leak Scare
  • Overall: 8.0
  • Concept: 7
  • Plot: 9
  • Characters: 6
  • Dialogue: 3
INT. STAIRCASE AND SECOND FLOOR LANDING - DAY

As Bud starts up the stairs, with the groceries, Mrs.
Lieberman comes hurrying down toward him.


(CONTINUED)
123.
CONTINUED:

MRS. LIEBERMAN
(breathlessly)
Oh, Mr. Baxter -- I'm glad you're
here -- I was just going to get the
passkey.

BUD
What for?

MRS. LIEBERMAN
I thought I smelled gas coming from
your apartment.

BUD
Gas?

He races up the stairs two at a time, fumbling frantically
for his key. Reaching the door of his apartment, he unlocks
it, dashes in.
Genres: ["drama","romance"]

Summary Mrs. Lieberman warns Bud of a possible gas leak in his apartment, causing him to rush up the stairs and check it out.
Strengths "The scene creates tension and a sense of danger through the potential gas leak. It also moves the plot forward by introducing a new obstacle for Bud to deal with."
Weaknesses "The scene is mostly exposition and physical action, with minimal dialogue or character development."
Critique Overall, this is a well-written scene that effectively sets up suspense and develops character.

Positives:
- The scene effectively creates a sense of urgency and danger with the mention of gas and Bud's frantic search for his key.
- The dialogue between Bud and Mrs. Lieberman feels natural and helps to develop both characters. Mrs. Lieberman comes across as caring and proactive (going to get the passkey), while Bud is initially confused but quickly becomes focused and determined to investigate the gas smell.
- The description of Bud's actions (racing up the stairs, fumbling for his key) is vivid and helps to build tension.

Areas for Improvement:
- The scene could benefit from a bit more visual description to help the reader picture the setting. For example, what does the staircase and landing look like? Is it a clean, modern building or an older, run-down one?
- The action is very straightforward and could use a bit more creativity. For example, maybe Bud has to dodge a few obstacles on the way up the stairs, or perhaps Mrs. Lieberman has to scamper aside to let him pass. Small details like this can make the scene feel more alive and memorable.

Overall, my critique would be to add more visual description and spice up the action a bit, but overall this is a strong scene that effectively builds suspense and character.
Suggestions 1. Add more sensory details: Consider adding more descriptive details about the setting and the characters to help the audience visualize the scene and feel more engaged.

2. Add more conflict: Right now, the conflict is that Bud's apartment may have gas leaking. It might be interesting to add another layer of conflict, such as Mrs. Lieberman being suspicious of Bud for some reason, or for Bud to realize that someone has broken into his apartment.

3. Raise the stakes: To create more suspense, you could make the danger of the gas leak more severe, or have Mrs. Lieberman warn Bud that there's a bomb in his apartment.

4. Add more dialogue: Consider adding more dialogue between the characters to build tension and reveal more about their personalities and motives.

5. Vary sentence structure: The current scene is very straightforward and lacks variety in sentence structure. You could vary the length and style of sentences to create more suspense and tension.



Scene 44 -  Bud Saves Miss Kubelik from Gas Poisoning
  • Overall: 8.0
  • Concept: 8
  • Plot: 7
  • Characters: 9
  • Dialogue: 9
INT. THE APARTMENT - DAY

Bud comes bursting through the door. The living room is
empty, and the bedclothes have been removed from the couch.

BUD
(calling)
Miss Kubelik!

He dumps the bag of groceries on a table, rushes into the
kitchen. The burner has been turned on under the kettle, but
there is no flame, and gas is hissing from the vents. Bud
snaps it off, starts out again.

BUD (CONT’D)
Miss Kubelik!

Meanwhile Fran has appeared from the bathroom, and is
approaching the bedroom door. She is still in her robe, and
is holding a double sock-stretcher with one of Bud's socks on
it. Bud, rounding the corner from the kitchen at full speed,
collides with Fran in the bedroom doorway. He grabs her arms
with obvious relief.

BUD (CONT’D)
Are you all right?

FRAN
Sure.
(sniffs)
What's that funny smell?




(CONTINUED)
124.
CONTINUED:

BUD
Gas.
(indicating kitchen)
Didn't you turn it on?

FRAN
Yes. I was boiling some water to
get the coffee stains out of my
dress.

BUD
(accusingly)
You turned it on -- but you didn't
light it.

FRAN
Are you supposed to?

BUD
In this house, you're supposed to.

FRAN
Oh.

Bud starts to take off his hat and coat, notices the sock-
stretcher in her hand.

BUD
What are you doing with that?

FRAN
I was washing my stockings, so I
decided I might as well do your
socks.

BUD
Thank you.

FRAN
It's very curious -- I could only
find three and a half pair.

BUD
Well, things are a little
disorganized around here.

He carries the bag of groceries into the kitchen, Fran
trailing after him. During the following, he removes the
contents of the bag -- bread, eggs, bacon, spaghetti, ground
round, frankfurters, and assorted canned goods -- sets them
out on the drainboard.




(CONTINUED)
125.
CONTINUED: (2)

FRAN
I'd say. What's a tennis racquet
doing in the kitchen?

She produces the racquet from behind the stove.

BUD
Tennis racquet? Oh, I remember -- I
was cooking myself an Italian
dinner.
(Fran looks at him oddly)
I used it to strain the spaghetti.

FRAN
(thinking it over)
Why not?

BUD
As a matter of fact, I'm a pretty
good cook -- but I'm a lousy
housekeeper.

FRAN
Yes, you are,
(indicating the living
room)
When I was straightening up the
couch, you know what I found? Six
hairpins, a lipstick, a pair of
false eyelashes, and a swizzle
stick from the Stork Club.

BUD
(shrugging)
It's just that I'm the kind of guy
who can't say no -- I don't mean to
girls -- I mean --

FRAN
You mean to someone like Mr.
Sheldrake.

BUD
I guess so.

FRAN
I know so. He's a taker.

BUD
A what?




(CONTINUED)
126.
CONTINUED: (3)

FRAN
Some people take, some people get
took -- and they know they're
getting took -- and there's nothing
they can do about it.

BUD
I wouldn't say that --
(trying to change the
subject)
What would you like to have for
diner? There's onion soup and
canned asparagus --

FRAN
I really ought to be getting home.
My family will be flipping by now.

She starts into the living room. Bud follows her.

BUD
You can't leave yet. The doctor
says it takes forty-eight hours to
get the stuff out of your system.

FRAN
(wistfully)
I wonder how long it takes to get
someone you're stuck on out of your
system? If they'd only invent some
kind of a pump for that --

She sits on the arm of a chair.

BUD
I know how you feel, Miss Kubelik.
You think it's the end of the world
-- but it's not, really. I went
through exactly the same thing
myself.

FRAN
You did?

BUD
Well, maybe not exactly -- I tried
to do it with a gun.

FRAN
Over a girl?




(CONTINUED)
127.
CONTINUED: (4)

BUD
Worse than that -- she was the wife
of my best friend -- and I was mad
for her. But I knew it was hopeless
-- so I decided to end it all. I
went to a pawnshop and bought a
forty-five automatic and drove up
to Eden Park -- do you know
Cincinnati?

FRAN
No, I don't.

BUD
Anyway, I parked the car and loaded
the gun -- well, you read in the
papers all the time that people
shoot themselves, but believe me,
it's not that easy -- I mean, how
do you do it? -- here, or here, or
here --
(with cocked finger, he
points to his temple,
mouth and chest)
-- you know where I finally shot
myself?

FRAN
Where?

BUD
(indicating kneecap)
Here.

FRAN
In the knee?

BUD
Uh-huh. While I was sitting there,
trying to make my mind up, a cop
stuck his head in the car, because
I was illegally parked -- so I
started to hide the gun under the
seat and it went off -- pow!

FRAN
(laughing)
That's terrible.

BUD
Yeah. Took me a year before I could
bend my knee -- but I got over the
girl in three weeks.
(MORE)

(CONTINUED)
128.
CONTINUED: (5)
BUD (CONT'D)
She still lives in Cincinnati, has
four kids, gained twenty pounds --
she sends me a fruit cake every
Christmas.

FRAN
(suddenly suspicious)
Are you just making that up to make
me feel better?

BUD
Of course not. Here's the fruit
cake.
(shows it to her under
Christmas tree)
And you want to see my knee?
(starts to raise pant-leg)

FRAN
No, thanks. The fellows in the
office may get the wrong idea how I
found out.

BUD
So let 'em. Look, I'm going to cook
dinner for us. We'll have the fruit
cake for dessert. You just sit
there and rest. You've done enough
for one day.

FRAN
(smiling)
Yes, nurse.

Bud starts happily into the kitchen.

DISSOLVE TO:
Genres: ["Drama","Romance","Comedy"]

Summary Bud saves Fran from gas poisoning and they have a conversation about personal lives, love and Mr. Sheldrake.
Strengths "The scene sets up a moment of vulnerability for both characters and allows them to connect on a deeper level. It also showcases the chemistry between Bud and Fran."
Weaknesses "The scene doesn't have much plot development and doesn't move the story forward significantly."
Critique Overall, the scene has good pacing and dialogue that reveals character traits and advances the story. However, there are a few areas that could be improved.

Firstly, the action descriptions could be more concise. For example, instead of "He carries the bag of groceries into the kitchen, Fran trailing after him. During the following, he removes the contents of the bag -- bread, eggs, bacon, spaghetti, ground round, frankfurters, and assorted canned goods -- sets them out on the drainboard," it could simply say "Bud unpacks the groceries in the kitchen with Fran watching."

Secondly, there could be more visual cues to show the characters' emotions and reactions to each other. Adding gestures or facial expressions would make the scene more dynamic.

Finally, some of the dialogue feels a bit on-the-nose, such as when Fran and Bud discuss their romantic woes. It could benefit from being more subtextual, with the characters revealing their feelings indirectly through their dialogue and actions.

Overall, the scene is well-structured and entertaining, but could use a bit more attention to detail to make it more engaging.
Suggestions Overall, the scene feels a bit slow and lacks a clear sense of purpose. Here are some suggestions to improve it:

1. Increase the tension: The scene could benefit from some tension or conflict to make it more engaging. One way to do this would be to have Bud and Fran discuss the situation with Sheldrake and add some emotional stakes to their conversation.

2. Streamline the dialogue: Some of the dialogue feels a bit clunky or unnecessary. Consider cutting lines or rephrasing them to make them more concise and impactful.

3. Add some physical action: Because the scene takes place primarily in one location, it could benefit from some physical action to break up the dialogue. Consider having Bud and Fran move around the apartment or interact with objects in the space.

4. Clarify the characters' motivations: It's not entirely clear why Bud and Fran are interacting in this scene or what their goals are. Clarify their motivations and desires to give the scene more purpose and depth.



Scene 45 -  Matuschka Visits Dobisch
  • Overall: 8.0
  • Concept: 7
  • Plot: 7
  • Characters: 8
  • Dialogue: 8
INT. LOBBY INSURANCE BUILDING - DAY

It is mid-afternoon, and traffic is light. A Yellow Cab has
pulled up in front of the entrance, and the driver, a
stockily-built young man in a leather jacket and cap, gets
out and comes through the revolving doors into the lobby. His
name is KARL MATUSCHKA, and he is Fran's brother-in-law. As
he cases the elevators, the starter comes up to him.

ELEVATOR STARTER
Can I help you?

MATUSCHKA
I'm looking for one of the elevator
girls -- Miss Kubelik.


(CONTINUED)
129.
CONTINUED:

ELEVATOR STARTER
So am I. She didn't report this
morning.

MATUSCHKA
She didn't. Where can I get some
information -- who's in charge
here?

ELEVATOR STARTER
That comes under General Office
Administration. See Mr. Dobisch,
twenty-first floor.

MATUSCHKA
Thanks.

He steps into an elevator, the doors of which are just
closing.

INT. DOBISCH'S OFFICE - DAY

Dobisch is sitting behind his desk, lighting a cigar.
Kirkeby, who has dropped in for a little visit, is perched on
the edge of the desk.

KIRKEBY
-- so yesterday afternoon I take
Sylvia up to the apartment, and
guess who he's got stashed away in
the bedroom?

DOBISCH
Who?

KIRKEBY
Kubelik.

DOBISCH
No kidding. Buddy-boy and Kubelik
having themselves a little toot!

KIRKEBY
Toot? It's more like a lost
weekend. Neither of them showed up
for work today.

DOBISCH
A.W.O.L.?




(CONTINUED)
130.
CONTINUED:

KIRKEBY
What gripes me is the two of them
were guzzling my champagne while
Sylvia and I wound up at the
Guggenheim Museum.

The glass door opens and Matuschka comes in.

MATUSCHKA
Mr. Dobisch?

DOBISCH
Yeah.

MATUSCHKA
My name is Karl Matuschka -- my
sister-in-law, she runs one of the
elevators here -- Fran Kubelik.

KIRKEBY
(exchanging a glance with
Dobisch)
Miss Kubelik?

MATUSCHKA
You know her?

DOBISCH
Of course. There may be a lot of
employees here -- but we're one big
happy family.

MATUSCHKA
Well, she lives with us -- and my
wife, she's getting a little
nervous -- on account of Fran
hasn't been home for two days.

KIRKEBY
(another look at Dobisch)
That so.

MATUSCHKA
Anyway, we was wondering if
somebody in the office would know
what happened to her.

DOBISCH
I see.
(to Kirkeby)
What do you think, Al? Can we help
the man?



(CONTINUED)
131.
CONTINUED: (2)

KIRKEBY
(after a pregnant pause)
Why not? We don't owe Buddy-boy
anything.

DOBISCH
Yeah. What's Buddy-boy done for us
lately?

MATUSCHKA
(scowling)
Who is Buddy-boy?

DISSOLVE TO:
Genres: ["Drama"]

Summary Fran Kubelik's brother-in-law, Karl Matuschka, visits Dobisch and Kirkeby in search of answers about Fran's whereabouts. They discuss the affair between Sheldrake and Kubelik, who have both been absent from work, and the possibility of helping Matuschka find Fran.
Strengths "Interesting plot development with Karl Matuschka's visit and the possibility of finding Fran, strong dialogue between characters"
Weaknesses "Lack of clear motivation for Dobisch and Kirkeby's offer to help, slow pacing"
Critique Overall, the scene is well-written and effectively sets up the conflict and stakes for the rest of the story. However, there are a few areas where it could be improved.

First, the character descriptions are somewhat generic and could benefit from more detail to make them more memorable and distinct. For example, instead of simply describing Karl as a "stockily-built young man in a leather jacket and cap", the writer could provide more specific physical features or personality traits that make him stand out.

Secondly, the dialogue in the scene sometimes feels a bit stilted and unnatural. For example, when Karl asks the elevator starter where he can get information, the starter responds with a very formal and awkward, "That comes under General Office Administration. See Mr. Dobisch, twenty-first floor." It would be more realistic and engaging if the dialogue sounded more conversational and less like exposition.

Finally, the characters' motivations and emotions could be more clearly communicated through their actions and body language. For example, when Karl comes to ask about Fran's whereabouts, it would be more effective if we could see the worry and urgency in his face and body language, rather than simply hearing him describe his concerns. This would help to create a deeper connection with the character and increase the stakes and emotional resonance of the scene.
Suggestions One suggestion for improving this scene could be to add more tension and urgency to the situation. Right now, it feels like a casual conversation between coworkers and a concerned brother-in-law, but there could be more at stake. For example, maybe Fran Kubelik has important information that is needed for a project or a client meeting, and her absence is causing major problems. This would increase the sense of urgency and make the scene more engaging for the audience. Additionally, the dialogue could be tightened up to make it more concise and impactful. For example, the exchange between Dobisch and Kirkeby could be shortened and made more to the point. Overall, adding higher stakes and tightening up the dialogue could make this scene more effective.



Scene 46 -  Dinner for Two Interrupted
  • Overall: 9.0
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. THE APARTMENT - EVENING

Buddy-boy is bending over a hot stove, preparing an Italian
dinner. He takes a saucepan of spaghetti off the fire, and
picking up the tennis racquet with the other hand, pours the
spaghetti on top of the racquet strings. Then he turns on the
faucet, runs water over the spaghetti. With the combined
technique of Brillat-Savarin and Pancho Gonzales, he gently
agitates the racquet, letting the water drain off the
spaghetti. As he works, he hums a theme from Tschaikowsky's
Capriccio Italien. Fran walks in, still in her robe.

FRAN
Are we dressing for dinner?

BUD
No -- just come as you are.

FRAN
(watching him)
Say, you're pretty good with that
racquet.

BUD
You ought to see my backhand.
(dumping spaghetti into
platter)
And wait till I serve the
meatballs.
(demonstrates)

FRAN
Shall I light the candles?

BUD
It's a must -- gracious-living-
wise.



(CONTINUED)
132.
CONTINUED:

As Fran starts into the living room, Bud begins to ladle meat
sauce onto the spaghetti, humming operatically. In the living
room, the small table has been set for two, and prominent on
it is the champagne bottle that Mr. Kirkeby left behind,
still in its cardboard bucket, but freshly iced. As Fran
lights the candles, she notices the napkins on the table,
peels a price-tag off the corner of one of them.

FRAN
I see you bought some napkins.

BUD
Might as well go all the way.

He carries the platter of spaghetti and meat sauce in from
the kitchen, sets it on the table, sprinkles some cheese on
it. Then he crosses to the coffee table, where a full martini
pitcher stands in readiness, fills a couple of glasses. Fran
seats herself at the table.

BUD (CONT’D)
You know, I used to live like
Robinson Crusoe -- shipwrecked
among eight million people. Then
one day I saw a footprint in the
sand -- and there you were --
(hands her martini)
It's a wonderful thing -- dinner
for two.

FRAN
You usually eat alone?

BUD
Oh, no. Sometimes I have dinner
with Ed Sullivan, sometimes with
Dinah Shore or Perry Como -- the
other night I had dinner with Mae
West -- of course, she was much
younger then.
(toasting)
Cheers.

FRAN
Cheers.

They drink.

BUD
You know what we're going to do
after dinner?




(CONTINUED)
133.
CONTINUED: (2)

FRAN
The dishes?

BUD
I mean, after that?

FRAN
What?

BUD
You don't have to if you don't want
to --

FRAN
I don't?

BUD
We're going to finish that gin
game.

FRAN
Oh.

BUD
So I want you to keep a clear head.


The door bell rings. Carrying his martini glass, Bud crosses
to the door, starts to open it.

BUD (CONT’D)
Because I don't want to take
advantage of you -- the way I did
yesterday in bed.


By now the door is open, and Bud is speaking to Fran over his
shoulder. He turns, finds himself face to face with Karl
Matuschka, who is standing grimly in the doorway.

MATUSCHKA
Baxter?

BUD
Yes?

Matuschka shoves him roughly aside, strides past him toward
Fran, who has risen to her feet.

MATUSCHKA
What's with you, Fran -- did you
forget where you live?



(CONTINUED)
134.
CONTINUED: (3)

FRAN
(to Bud)
This is my brother-in-law, Karl
Matuschka.

BUD
(friendly)
How do you do, Mr. Matuschka?

MATUSCHKA
(pushing Bud away; to
Fran)
Okay, get your clothes on. I got
the cab downstairs.

BUD
Now, wait a minute. I know what
you're thinking -- but it's not as
bad as it looks --

MATUSCHKA
(shoving him away)
It's none of my business what you
do, Fran -- you're over twenty- one
-- but your sister happens to think
you're a lady.

BUD
All we were going to do is eat and
wash the dishes --

MATUSCHKA
(grabbing him)
Look, Buddy-boy -- if there wasn't
a lady present, I'd clobber you.

FRAN
(separating them)
All right, Karl -- I'll get
dressed.

She exits into the bedroom, removing her dress from the door,
and closing it. Matuschka leans against the wall beside the
hall door, eyeing Bud truculently. Bud raises a finger to
remonstrate with him -- then breaks into a nervous,
ingratiating smile.

BUD
Care for a martini? Champagne?
(Matuschka continues
glaring at him)
How about a little spaghetti with
meat sauce? Made it myself.
(MORE)

(CONTINUED)
135.
CONTINUED: (4)
BUD (CONT'D)
(Matuschka just scowls)
Your sister-in-law sure is
terrific...
(realizes his mistake;
switching abruptly)
Must be murder driving a cab in New
York -- I mean, with all that cross-
town traffic --

He gestures with the martini glass, spilling the contents
over his shirtfront. Through the partly open hall door, Dr.
Dreyfuss sticks his head in.

DR. DREYFUSS
Hi, Baxter.

He steps into the apartment, passing Matuschka without seeing
him.

DR. DREYFUSS (CONT’D)
How's the patient?

BUD
(quickly)
Oh, I'm fine, Doc.

DR. DREYFUSS
Not you -- Miss Kubelik.

MATUSCHKA
(stepping forward)
What's the matter with Miss
Kubelik?

BUD
Oh, this is Mr. Matuschka -- he's
Miss Kubelik's -- he's got a cab
downstairs --

MATUSCHKA
(to Dreyfuss)
Fran been sick or something?

Dr. Dreyfuss looks at Bud.

BUD
No, no -- just had a little
accident.

MATUSCHKA
(to Dreyfuss)
What does he mean, accident?



(CONTINUED)
136.
CONTINUED: (5)

DR. DREYFUSS
Well, these things happen all the
time --

MATUSCHKA
What things?
(grabbing Dreyfuss)
Say, what kind of doctor are you,
anyway?

BUD
(hastily)
Oh, not that kind.

He just gave her a shot and pumped her stomach out -- Behind
them, the bedroom door has opened, and Fran comes out,
wearing her coat over her dress.

MATUSCHKA
What for?

FRAN
(coming up)
Because I took some sleeping pills.
But I'm all right now -- so let's
go.

MATUSCHKA
Why did you take sleeping pills?

BUD
(promptly)
On account of me.

MATUSCHKA
(whirling on him)
You?

BUD
Who else?

Matuschka lashes out with a left to Bud's jaw, and while he
is off balance, catches him with a right to the eye. Bud
falls back against the Christmas tree, which topples with a
crash. Fran pulls Matuschka away from him.

FRAN
Leave him alone, Karl.

She kneels beside Bud.




(CONTINUED)
137.
CONTINUED: (6)

FRAN (CONT’D)
(tenderly)
You fool -- you damn fool.

MATUSCHKA
Come on, Fran.

FRAN
Goodbye, Mr. Baxter.

She kisses him on the cheek, rises, starts toward the door.

FRAN (CONT’D)
Goodbye, doctor.

She follows Matuschka out. Bud looks after her, starry-eyed.

DR. DREYFUSS
I don't want to gloat, but just
between us, you had that coming to
you.
(tilts Bud's chin up,
examines his eye)
Tch, tch, tch. Are you going to
have a shiner tomorrow. Let me get
my bag.
(he starts out)

BUD
(calling after him)
Don't bother, Doc. It doesn't hurt
a bit.

He is on Cloud Nine.

FADE OUT:

FADE IN:
Genres: ["romantic comedy","drama"]

Summary Bud and Fran enjoy a romantic dinner, but it is interrupted when Fran's brother-in-law barges in and causes a scene.
Strengths "The humorous banter between Bud and Fran, the tension created by Karl's arrival, and the exploration of personal lives and relationships."
Weaknesses "The scene lacks significant plot development and the pacing may be slow for some viewers."
Critique The scene is well-written in terms of its character development and dialogue. It effectively establishes the relationship between Bud and Fran, and introduces Karl as a new character who disrupts their dinner plans. However, the scene lacks description and visuals, leaving much up to interpretation for the reader. It could benefit from more attention to set design and blocking, as well as details about the characters' physical movements and expressions. Additionally, the scene could benefit from a clearer indication of the tone and mood, as it shifts quickly from romantic to violent. Overall, the scene has potential, but could benefit from more attention to detail and visual storytelling.
Suggestions The scene could benefit from more conflict and tension. One suggestion would be to heighten the confrontation between Matuschka and Bud. Instead of just a physical altercation, there could be more verbal sparring and a deeper exploration of the tension between them. This could add depth to their dynamic and make their interactions more compelling for the audience.

Another suggestion would be to add more stakes to the scene. Right now, it feels like a minor conflict between characters that doesn't have a lot of lasting impact. It could be improved by adding more weight to the consequences that arise from this altercation. This could be achieved by setting up earlier in the script why it's important for Fran to maintain her reputation and have a positive relationship with her family. This would give more significance to Matuschka's disapproval and make it a more dynamic conflict.

Additionally, the scene could also benefit from more dynamic visual storytelling. Right now, there is no camera movement, and it all takes place in one room. Adding more interesting camera angles and visual emphasis could make the scene more visually engaging. For example, when Matuschka enters the room, the camera could zoom in on his face to emphasize his aggression. Or when Fran kisses Bud on the cheek, the camera could linger on the moment to emphasize his reaction.

Overall, by adding more conflict, stakes, and dynamic visual storytelling, this scene could become more engaging for the audience and better serve the overall story.



Scene 47 -  Bud's Confession
  • Overall: 8.0
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. NINETEENTH FLOOR - DAY

Bud is coming from the elevators toward his office. He is
wearing his chesterfield, bowler, and a pair of dark glasses.
He opens the office door, starts in.

INT. BUD'S OFFICE - DAY

Bud crosses directly to the phone, removes his glasses
revealing a swollen left eye. He dials a number.

BUD
(into phone)
Mr. Sheldrake's office?
(MORE)

(CONTINUED)
138.
CONTINUED:
BUD (CONT'D)
This is C.C. Baxter. Would you
please tell Mr. Sheldrake I'd like
to come up and see him? It's rather
important. Will you call me back,
please?

He hangs up, takes off his hat and coat, deposits them on the
clothes- tree. Then he paces around the office, rehearsing a
speech out loud.

BUD (CONT’D)
Mr. Sheldrake, I've got good news
for you. All your troubles are
over. I'm going to take Miss
Kubelik off your hands.
(nods to himself with
satisfaction)
The plain fact is, Mr. Sheldrake,
that I love her. I haven't told her
yet, but I thought you should be
the first to know. After all, you
don't really want her, and I do,
and although it may sound
presumptuous, she needs somebody
like me. So I think it would be the
thing all around --
(the phone rings and he
picks it up)
-- solution-wise.
(into phone)
Yes? I'll be right up.

He hangs up, crosses to the door, opens it.

BUD (CONT’D)
(to himself)
Mr. Sheldrake, I've got good news
for you --

Putting on his dark glasses, he heads for the elevators,
still talking to himself.

INT. NINETEENTH FLOOR - DAY

Kirkeby and Dobisch are just stepping out of an elevator when
Bud approaches. They grin smugly when they see that he is
wearing dark glasses.

KIRKEBY
Hi, Buddy-boy. What happened to
you?




(CONTINUED)
139.
CONTINUED:

DOBISCH
Hit by a swinging door? Or maybe a
Yellow Cab?

Bud pays no attention, walks right past them into the
elevator, still muttering to himself. The doors close.

KIRKEBY
(as they move away from
the elevators)
That guy really must've belted him.

DOBISCH
Yeah, he's punchy. Talking to
himself.

INT. TWENTY-SEVENTH FLOOR FOYER - DAY

The elevator doors open.

ELEVATOR OPERATOR
Twenty-seven.

Bud steps out. As he heads for Sheldrake's office, he
continues rehearsing his speech.

BUD
You see, Mr. Sheldrake, those two
days she spent in the apartment --
it made me realize how lonely I'd
been before. But thanks to you, I'm
in a financial position to marry
her -- if I can ever square things
with her family.

He opens the door to Sheldrake's anteroom.
Genres: ["Comedy","Romance"]

Summary Bud confesses his love to Mr. Sheldrake and rehearses his speech while also dealing with the aftermath of his fight.
Strengths "The scene establishes Bud's determination to confess his feelings to Fran, which furthers the plot. The dialogue is sharp and witty, and the tone is light and hopeful."
Weaknesses "The level of conflict in this scene is low, and the emotional impact is relatively low as well. "
Critique Overall, this is a well-written scene that efficiently sets up the conflict and stakes of the story. However, as a screenwriting expert, I would suggest incorporating more visual elements and minimizing the use of exposition. For example, instead of having Bud rehearse his speech out loud, consider showing his nervousness through physical gestures and facial expressions. Additionally, try to convey information through action rather than dialogue, particularly in the first part of the scene where Bud is entering his office. Showing his discomfort and physical injury through his movements and interactions with his surroundings would help create a more dynamic and engaging visual experience for the audience.
Suggestions One suggestion would be to add more character development to Bud in this scene. Right now, he comes across as a bit one-dimensional, just a man with a swollen eye and a rehearsed speech. Perhaps we could see glimpses of his vulnerability and uncertainty as he prepares to confront his boss about his love for Miss Kubelik. This would add depth to his character and make the audience care more about his journey. Additionally, the dialogue between Kirkeby and Dobisch could be refined to make the insults more clever and less clichéd. This would make their characters more interesting and memorable. Finally, the scene could benefit from some visual details to make it more engaging, such as interesting camera angles or images of the office that provide insights into the characters or themes of the film.



Scene 48 -  The Deal
  • Overall: 7.0
  • Concept: 6
  • Plot: 7
  • Characters: 8
  • Dialogue: 6
INT. SHELDRAKE'S OFFICE - DAY

Sheldrake is pacing in front of his desk. A couple of
suitcases are standing in a corner of the room. The intercom
buzzes, and Sheldrake presses the lever down.

SECRETARY'S VOICE
Mr. Baxter is here.

SHELDRAKE
Send him in.

A beat, then the door opens, and Bud marches in determinedly.




(CONTINUED)
140.
CONTINUED:

BUD
Mr. Sheldrake, I've got good news
for you --

SHELDRAKE
And I've got good news for you,
Baxter. All your troubles are over.

BUD
(reacting to the echo)
Sir?

SHELDRAKE
I know how worried you were about
Miss Kubelik -- well, stop worrying
-- I'm going to take her off your
hands.

BUD
(stunned)
You're going to take her off my
hands?

SHELDRAKE
That's right.
(indicating suitcases)
I've moved out of my house -- I'm
going to be staying in town, at the
Athletic Club.

BUD
You left your wife?

SHELDRAKE
Well, if you must know -- I fired
my secretary, my secretary got to
my wife, and my wife fired me.
Ain't that a kick in the head?

BUD
Yeah --

SHELDRAKE
Now what was your news, Baxter?

BUD
(recovering with
difficulty)
It's about Miss Kubelik -- she's
all right again -- so she went back
home.




(CONTINUED)
141.
CONTINUED: (2)

SHELDRAKE
Swell. And don't think I've
forgotten what you did for me.
(opens door to adjoining
office)
This way, Baxter.

Bud advances slowly toward the door.

INT. ADJOINING OFFICE - DAY

It is a slightly smaller and less lavish edition of Sheldrake
s office. Sheldrake ushers Bud through the door, points to
the chair behind the desk.

SHELDRAKE
Sit down. Try it on for size.

Bud obeys like an automaton, lowers himself into the chair.

SHELDRAKE (CONT’D)
You like?
(indicating office)
It's all yours.

BUD
Mine?

SHELDRAKE
My assistant, Roy Thompson, has
been shifted to the Denver office,
and you're taking his place.
(no reaction from Bud)
What's the matter, Baxter? You
don't seem very excited.

BUD
Well, it's just that so many things
have been happening so fast -- I'm
very pleased -- especially for Miss
Kubelik. Now that I've gotten to
know her better, I think she's the
kind of girl that definitely ought
to be married to somebody --

SHELDRAKE
Oh, sure, sure. But first the
property settlement has to be
worked out -- then it takes six
weeks in Reno -- meanwhile, I'm
going to enjoy being a bachelor for
a while.
(MORE)


(CONTINUED)
142.
CONTINUED:
SHELDRAKE (CONT'D)
(starts back toward his
own office)
Oh, by the way, you can now have
lunch in the executive dining room -

BUD
Yes, sir.

He removes his dark glasses reflectively.

SHELDRAKE
That's just one of the privileges
that goes with this job. You also
get a nice little expense account,
the use of the executive washroom --
(breaks off, peers at
Bud's face)
Say, what happened to you, Baxter?

BUD
I got kicked in the head, too.

SHELDRAKE
Oh?

With a shrug, he exits into his own office, closing the door
behind him. Bud sits there, unconsciously bending the glasses
in his hand until they suddenly snap in two. Bud glances down
at the two broken halves, as though surprised by his own
violence, tosses them on the desk.

DISSOLVE TO:
Genres: ["Romantic Comedy","Drama"]

Summary After Bud saves Fran and confesses his love to Mr. Sheldrake, he is informed that Sheldrake will be taking Fran off his hands and that he is getting a promotion. However, Bud is not as excited as he thought he would be and seems to be struggling with conflicted emotions.
Strengths "The tension in the scene is palpable and the dialogue is well-crafted, revealing character motivations and emotions in a subtle but effective way."
Weaknesses "The scene lacks a clear resolution or forward momentum, leaving the audience unsure of how to feel or what to expect next."
Critique Overall, this scene effectively moves the plot forward and reveals important information about the characters, specifically Sheldrake. However, there are some areas that could be improved.

First, the staging and blocking could be more dynamic. Most of the action takes place behind a desk, with Sheldrake pacing and Bud sitting down. This creates a static feeling that could be livened up by having the characters move around the space more or interact with the suitcases in the corner.

Additionally, some of the dialogue feels a bit on the nose and could benefit from more subtlety. For example, when Sheldrake reveals he left his wife, he immediately follows it up with a cheesy line about it being "a kick in the head." This detracts from the impact of the revelation.

On a positive note, the use of pauses and beats in the dialogue is effective in creating tension and building to the twist of Bud being offered the assistant role. The characters' reactions also feel believable and true to their personalities.

Overall, with some tweaks to the staging and dialogue, this scene could be further strengthened.
Suggestions In this scene, there is a lot of exposition and dialogue that could be tightened up to make it more engaging. Here are some suggestions:

- Add more action and movement to the scene to break up the dialogue. Instead of Sheldrake just pacing in front of his desk and Bud marching in determinedly, have them move around the room, picking up the suitcases, or interacting with the furniture.

- Cut down on the dialogue and make it more concise. Sheldrake and Bud are both saying a lot of words that could be condensed. For example, instead of Sheldrake saying, "All your troubles are over," he could simply say, "I'll take care of it." This would make the scene more dynamic and keep the audience engaged.

- Add more subtext to the dialogue. Right now, the characters are speaking very plainly, and there is no subtext to their conversation. Adding in hints of what they really mean would make the scene more interesting. For example, when Sheldrake offers Bud the job, he could say it in a more manipulative way, implying that he is doing Bud a favor and wants something in return.

- Add in more visual elements to the scene. Instead of just focusing on the dialogue, include shots of the suitcases, the corner of the room, and the desk. This will make the scene more visually interesting and add depth to the setting.

By implementing these suggestions, the scene would become more vibrant, engaging, and nuanced, adding to the overall quality of the film.



Scene 49 -  The Aftermath
  • Overall: 8.2
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
INT. LOBBY INSURANCE BUILDING - EVENING

We are close on the building directory. Listed under
PERSONNEL is J.D. SHELDRAKE, Director, and just below that a
man's hand is inserting the name C.C. BAXTER in the slot
marked Asst. Director. The lettering is complete except for
the final R.

Camera pulls back to reveal the sign painter we saw earlier,
working on the directory. Watching him is Bud. He is wearing
his chesterfield and bowler, and still has a slight welt
under his left eye. It is after six o'clock, and there is
very little activity in the lobby. Fran, wearing her coat
over street clothes, approaches from the direction of the
elevators, stops when she sees Bud.

FRAN
Good evening, Mr. Baxter.

Bud turns to her in surprise, removes his bowler.


(CONTINUED)
143.
CONTINUED:

BUD
Oh, Miss Kubelik. How do you feel?

FRAN
Fine. How's your eye?

BUD
Fine.

There is a moment of constraint between them.

FRAN
How's everything at the apartment?

BUD
Nothing's changed. You know, we
never finished that gin game --

FRAN
I know.
(a beat)
I suppose you heard about Mr.
Sheldrake --?

BUD
You mean, leaving his wife? Yeah.
I'm very happy for you.

FRAN
I never thought he'd do it.

BUD
I told you all along. You see, you
were wrong about Mr. Sheldrake.

FRAN
I guess so.

BUD
For that matter, you were wrong
about me, too. What you said about
those who take and those who get
took? Well, Mr. Sheldrake wasn't
using me -- I was using him. See?
(indicating his name on
directory)
Last month I was at desk 861 on the
nineteenth floor -- now I'm on the
twenty-seventh floor, paneled
office, three windows -- so it all
worked out fine -- we're both
getting what we want.



(CONTINUED)
144.
CONTINUED: (2)

FRAN
Yes.
(looks at her watch)
You walking to the subway?

BUD
No, thank you.
(fumbling)
I -- well, to tell you the truth --
(glancing around lobby)
-- I have this heavy date for
tonight --

He points off toward the newsstand. Standing there is a tall,
attractive brunette, obviously waiting for someone. Fran
looks off in the indicated direction.

FRAN
Oh.

BUD
Aren't you meeting Mr. Sheldrake?

FRAN
No. You know how people talk. So I
decided it would be better if we
didn't see each other till
everything is settled, divorce-
wise.

BUD
That's very wise.

FRAN
Good night, Mr. Baxter.

BUD
Good night, Miss Kubelik.

Fran walks toward the revolving doors. Bud watches her for a
moment, then strides briskly across the lobby toward the
newsstand. He goes right past the waiting brunette, stops in
front of a rack of pocket books, examines the merchandise. A
man now comes out of a phone booth, joins the waiting
brunette, and they go off together. Bud picks out a couple of
paperbacks, pays the clerk behind the counter. Stuffing a
book into each coat pocket, he moves slowly toward the
revolving doors.

DISSOLVE TO:
145.
Genres: ["Drama","Romance","Comedy"]

Summary Bud and Fran discuss recent events and their lives since then. Bud tries to impress Fran with his success and acknowledges his feelings for her. Fran leaves, and Bud heads to a date but shows signs of inner turmoil.
Strengths
  • Good dialogue between the characters.
  • Effective use of setting to convey isolation and melancholy.
  • Continues the character development of Bud and Fran.
  • Opening the scene with a directory list to subtly show Bud's promotion was a nice touch.
Weaknesses
  • Not much happens in terms of plot development.
  • The scene feels somewhat disconnected from the overall story.
  • The emotional impact is relatively low compared to other scenes in the film.
Critique Overall, this scene sets up the characters' relationships and motivations well. The use of the directory and sign painter provides visual interest and reveals information about the characters without dialogue. However, some of the dialogue feels somewhat on-the-nose, particularly when Bud explicitly states that he was using Sheldrake and when Fran mentions that she decided not to see Sheldrake until the divorce is settled. The scene could benefit from more subtle dialogue that allows the audience to infer the characters' feelings and intentions. Additionally, the scene feels like it's treading water at times, with a lot of small talk that doesn't lead to much new information until the end when Bud reveals he has a heavy date. Some tightening of the dialogue and more emphasis on advancing the plot would enhance the scene.
Suggestions Overall, the scene is well-written and flows smoothly. However, here are some suggestions for improvement:

1. The scene lacks visual interest. Adding more action or movement would make the scene visually stimulating and keep the audience engaged. For example, Bud could be doing something else while he talks with Fran - maybe he's fixing his coat, looking at his watch, or checking his phone.

2. The dialogue could be more dynamic. While the conversation between Bud and Fran is important for character development, it could be more engaging if there were more conflict or tension between them. Perhaps Fran is more upset about the situation than she lets on, or she questions why Bud was using Mr. Sheldrake in the first place.

3. The scene could benefit from more sensory details. By adding in sensory details, such as describing the lighting or ambiance of the lobby, the scene becomes more immersive and can help set the tone for the upcoming events.

4. Finally, it would be good to consider the overall pacing of the screenplay. While this scene serves an important purpose, it's important to balance it with more action-packed scenes to maintain audience interest.



Scene 50 -  The Resignation
  • Overall: 7.0
  • Concept: 7
  • Plot: 7
  • Characters: 7
  • Dialogue: 7
INT. SHELDRAKE'S OFFICE - DAY

Sheldrake is swiveled around sideways behind his desk, with a
bootblack kneeling in front of him, shining his shoes.
Reaching for the intercom, Sheldrake presses down one of the
levers.

SHELDRAKE
Baxter -- would you mind stepping
in here for a minute?

BAXTER'S VOICE
Yes, Mr. Sheldrake.


The bootblack finishes the second shoe with a flourish,
gathers up his equipment. Sheldrake tosses him a half dollar.

BOOTBLACK
Much obliged.

He exits into the anteroom as the door of the adjoining
office opens and Bud comes in, carrying several charts. There
is no trace left of his black eye.

BUD
(putting charts on desk)
Here's the breakdown of figures on
personnel turnover. Thirty-seven
percent of our female employees
leave to get married, twenty-two
percent quit because --

SHELDRAKE
(breaking in)
You're working too hard, Baxter.
It's New Year's Eve -- relax.

BUD
Yes, sir.

SHELDRAKE
I suppose you'll be on the town
tonight -- celebrating?

BUD
Naturally.

SHELDRAKE
Me, too. I'm taking Miss Kubelik
out -- I finally talked her into
it...



(CONTINUED)
146.
CONTINUED:

BUD
I see.

SHELDRAKE
The only thing is I'm staying at
the Athletic Club -- and it's
strictly stag so if you don't
mind...

BUD
Don't mind what?

SHELDRAKE
You know that other key to your
apartment -- well, when we had that
little scare about Miss Kubelik, I
thought I'd better get rid of it
quick -- so I threw it out the
window of the commuter train.

BUD
Very clever.

SHELDRAKE
Now I'll have to borrow your key.

BUD
Sorry, Mr. Sheldrake.

SHELDRAKE
What do you mean, sorry?

BUD
You're not going to bring anybody
up to my apartment.

SHELDRAKE
I'm not just bringing anybody --
I'm bringing Miss Kubelik.

BUD
Especially not Miss Kubelik.

SHELDRAKE
How's that again?

BUD
(flatly)
No key!




(CONTINUED)
147.
CONTINUED: (2)

SHELDRAKE
Baxter, I picked you for my team
because I thought you were a bright
young man. You realize what you're
doing? Not to me -- but to
yourself. Normally it takes years
to work your way up to the twenty-
seventh floor -- but it takes only
thirty seconds to be out on the
street again. You dig?

BUD
(nodding slowly)
I dig.

SHELDRAKE
So what's it going to be?

Without taking his eyes off Sheldrake, Bud reaches into his
pocket, fishes out a key, drops it on the desk.

SHELDRAKE (CONT’D)
Now you're being bright?

BUD
Thank you, sir.

He turns abruptly, starts back into his own office.

INT. BUD'S NEW OFFICE - DAY

Bud comes in, shutting the door behind him, stands rooted to
the spot for a moment. Then he takes some pencils out of his
breast pocket and drops them into a container on the desk,
closes his account book, slams a couple of open file drawers
shut. As he crosses to the clothes closet, the connecting
door opens and Sheldrake comes in, key in hand.

SHELDRAKE
Say, Baxter -- you gave me the
wrong key.

BUD
No I didn't.

SHELDRAKE
(holding it out)
But this is the key to the
executive washroom.




(CONTINUED)
148.
CONTINUED:

BUD
That's right, Mr. Sheldrake. I
won't be needing it -- because I'm
all washed up around here.

He has taken his chesterfield and bowler out of the closet,
and is putting the coat on.

SHELDRAKE
What's gotten into you, Baxter?

BUD
Just following doctor's orders.
I've decided to become a mensch.
You know what that means? A human
being.

SHELDRAKE
Now hold on, Baxter --

BUD
Save it. The old payola won't work
any more. Goodbye, Mr. Sheldrake.

He opens the door to the anteroom, starts out.
Genres: ["Drama","Romance"]

Summary Bud comes to terms with his conflicted emotions after Sheldrake offers him a promotion on the condition that he lend him his apartment. In the end, Bud resigns from the company and walks out for good.
Strengths
  • Strong character development for Bud
  • Conversations that further the plot
Weaknesses
  • Limited action
Critique Overall, the scene is well-written and effectively establishes the power dynamic between Sheldrake and Baxter. The use of the bootblack at the beginning sets up Sheldrake's privilege and shows his disregard for those he considers beneath him. The dialogue is crisp and natural, effectively conveying the tension between Baxter and Sheldrake.

However, there are a few areas for improvement. For example, there is a lack of description of the characters and setting, so it's difficult to visualize them. Additionally, the scene could benefit from more action and movement, as currently, it consists mostly of dialogue. Visual cues and descriptions of actions can help to break up the dialogue and make the scene more engaging for the reader.

Overall, the scene is a solid foundation but could be improved with more attention to detail and description.
Suggestions Overall, this scene feels a bit rushed and could benefit from some more pacing and build-up. Here are some suggestions:

- Consider starting the scene with just Sheldrake and Baxter in the room, and have them exchange some small talk before Sheldrake calls for Baxter. This will help establish their relationship and make the scene feel less abrupt.

- Show us more of Bud's reaction to Sheldrake's request for the key. Right now, he just hands it over without much protest. But given what we know about his feelings for Fran, and how he's starting to stand up for himself more, it feels like there should be some more tension here.

- When Sheldrake asks "What's gotten into you, Baxter?" have Bud respond with more force. Right now, he just says he's become a "mensch" and leaves it at that. But we should feel his anger and frustration with Sheldrake's behavior.

- Lastly, consider ending the scene with a shot of Bud walking out of the office, perhaps accompanied by a musical cue that underscores his newfound resolve. Right now, the ending feels a bit abrupt and could benefit from a bit more emphasis.



Scene 51 -  Last Day in the Apartment
  • Overall: 7.0
  • Concept: 8
  • Plot: 6
  • Characters: 7
  • Dialogue: 7
INT. SHELDRAKE'S ANTEROOM - DAY

Bud comes out of his office, carrying his bowler, strides
past the secretaries and through the glass doors to the
foyer. An elevator is just unloading, and beside it a
handyman is cleaning out one of the cigarette receptacles.
Bud crosses to the elevator, and as he passes the handyman,
he jams his bowler on the man's head -- surrendering his
crown, so to speak. The elevator doors close. The handyman
straightens up, looks around in bewilderment.

DISSOLVE TO:

INT. THE APARTMENT - NIGHT

Bud is in the process of packing. In the middle of the living
room are several large cardboard cartons filled with his
possessions. The art posters are off the walls, the bric-a-
brac has been removed from the shelves, and Bud is stowing
away the last of his books and records.

He crosses to the fireplace, opens one of the drawers in the
cabinet above it, takes out a forty-five automatic. He holds
the gun in the palm of his hand, studies it appraisingly. The
doorbell rings. Bud snaps out of his reverie, drops the gun
into one of the cartons, goes to the door and opens it.



(CONTINUED)
149.
CONTINUED:

Standing outside is Dr. Dreyfuss, with a plastic ice bucket
in his hand.

DR. DREYFUSS
Say, Baxter -- we're having a
little party and we ran out of ice -
- so I was wondering --

BUD
Sure, Doc.

DR. DREYFUSS
(stepping inside)
How come you're alone on New Year's
Eve?

BUD
Well, I have things to do --

DR. DREYFUSS
(noticing cartons)
What's this -- you packing?

BUD
Yeah -- I'm giving up the
apartment.

He goes into the kitchen, opens the refrigerator, starts to
pry out the ice-cube trays.

DR. DREYFUSS
Where are you moving to?

BUD
I don't know. All I know is I got
to get out of this place.

DR. DREYFUSS
Sorry to lose you, Baxter.

BUD
Me? Oh, you mean my body. Don't
worry, Doc -- it'll go to the
University -- I'll put it in
writing --

He dumps the ice-cubes, still in their trays, into the bucket
Dr. Dreyfuss is holding. Then he pulls Kirkeby's unopened
bottle of champagne out of the refrigerator.

BUD (CONT’D)
Can you use a bottle of champagne?



(CONTINUED)
150.
CONTINUED: (2)

DR. DREYFUSS
Booze we don't need. Why don't you
join us, Baxter? We got two brain
surgeons, an ear, nose and throat
specialist, a proctologist, and
three nurses from Bellevue.

BUD
No, thanks -- I don't feel like it.
Look, Doc -- in case I don't see
you again -- how much do I owe you
for taking care of that girl?

DR. DREYFUSS
Forget it -- I didn't do it as a
doctor -- I did it as a neighbor.
(stopping in doorway)
By the way, whatever happened to
her?

BUD
(airily)
You know me with girls. Easy come,
easy go. Goodbye, Doc.

DR. DREYFUSS
Happy New Year.

Bud closes the door, returns to the kitchen, brings out a box
of glassware and the tennis racquet. As he starts to deposit
the racquet in a carton, he notices a strand of spaghetti
clinging to the strings. He removes it gently, stands there
twirling the limp spaghetti absently around his finger.

CUT TO:
Genres: ["Drama","Romance"]

Summary Bud packs up his belongings and gives away his apartment, accepting that he cannot use it to get ahead anymore. Dr. Dreyfuss stops by to invite him to a party, but he declines.
Strengths "The melancholic tone captures the sense of Bud's despair and acceptance. The quiet dialogue is effectively understated."
Weaknesses "There isn't a lot of action in this scene, and the conflict is minimal. While it moves the plot forward in terms of Bud giving up his apartment and moving on, it doesn't have a lot of immediate impact."
Critique Overall, the scene is well-written and provides good characterization for Bud. However, there are some areas that could be improved. Firstly, the transition from the anteroom to the apartment is abrupt and could benefit from a smoother transition, such as a establishing shot or dissolve. Additionally, some of the dialogue could be tightened up to make it more efficient and impactful. For example, when Bud offers Dr. Dreyfuss champagne, the doctor's response could be condensed to a simple "no". Finally, the scene lacks any clear conflict or tension, which could make it feel slightly stagnant in terms of plot development. Adding some conflict or subtext to the dialogue could help increase the scene's dramatic impact and make it more engaging for the audience.
Suggestions Overall, the scene flows well and effectively shows Bud's preparations to leave his apartment. However, there are a few suggestions that could enhance the scene:

- The encounter with the handyman in the anteroom seems a bit random and doesn't add much to the story. Consider cutting this part or finding a way to tie it in more seamlessly with the rest of the scene.
- When Dr. Dreyfuss enters, there could be some tension or conflict introduced to make the scene more dynamic. Perhaps there's a disagreement about the girl Bud was taking care of, or Dr. Dreyfuss expresses concern about Bud's mental state. Adding some conflict would make the dialogue more engaging and keep the audience invested.
- To add some visual interest, consider having Bud do something physical as he packs up his apartment - perhaps he struggles to carry a heavy box or accidentally drops something. These small actions can add dimension to the character and make the scene feel more dynamic.



Scene 52 -  New Year's Eve Confessions
  • Overall: 8.0
  • Concept: 7
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. CHINESE RESTAURANT - NIGHT

It is five minutes before midnight, New Year's Eve. Sitting
alone in the last booth is Fran, a paper hat on her head, a
pensive look on her face. There are two champagne glasses on
the table, and the usual noisemakers, but the chair opposite
her is empty.

Above the general hubbub, the Chinese pianist can be heard
playing. After a moment, Fran glances off. Threading his way
through the merrymakers crowding the bar and overflowing from
the booths is Sheldrake. He is in dinner clothes, topped by a
paper hat. Reaching the last booth, he drops into the chair
facing Fran.




(CONTINUED)
151.
CONTINUED:

SHELDRAKE
Sorry it took me so long on the
phone. But we're all set.

FRAN
All set for what?

SHELDRAKE
I rented a car -- it's going to be
here at one o'clock -- we're
driving to Atlantic City.

FRAN
Atlantic City?

SHELDRAKE
I know it's a drag -- but you can't
find a hotel room in town -- not on
New Year's Eve.

FRAN
(a long look at Sheldrake)
Ring out the old year, ring in the
new. Ring-a-ding-ding.

SHELDRAKE
I didn't plan it this way, Fran --
actually, it's all Baxter's fault.

FRAN
Baxter?

SHELDRAKE
He wouldn't give me the key to the
apartment.

FRAN
He wouldn't.

SHELDRAKE
Just walked out on me -- quit --
threw that big fat job right in my
face.

FRAN
(a faint smile)
The nerve.

SHELDRAKE
That little punk -- after all I did
for him!
(MORE)



(CONTINUED)
152.
CONTINUED: (2)
SHELDRAKE (CONT'D)
He said I couldn't bring anybody to
his apartment -- especially not
Miss Kubelik. What's he got against
you, anyway?

FRAN
(a faraway look in her
eye)
I don't know. I guess that's the
way it crumbles -- cookie-wise.

SHELDRAKE
What are you talking about?

FRAN
I'd spell it out for you -- only I
can't spell.

The piano player is consulting the watch on his upraised left
arm. He drops the arm in a signal, and the lights go out. At
the same time, he strikes up AULD LANG SYNE. All over the
dimly lit room, couples get to their feet, embracing and
joining in the song. In the last booth, Sheldrake leans
across the table, kisses Fran.

SHELDRAKE
Happy New Year, Fran.

Fran's expression is preoccupied. Sheldrake faces in the
direction of the pianist, and holding his glass aloft, sings
along with the others. As AULD LANG SYNE comes to an end, the
place explodes noisily -- there is a din of horns, ratchets,
and shouted greetings. The lights come up again. In the last
booth, Sheldrake turns back toward Fran -- but she is no
longer there. Her paper hat lies abandoned on her vacated
chair.

SHELDRAKE (CONT’D)
Fran --
(looking around)
-- where are you, Fran?

He rises, cranes his neck, trying to spot her in the crowd.

DISSOLVE TO:

EXT. BROWNSTONE HOUSE - NIGHT

Fran, a coat thrown over the dress she was wearing at the
Rickshaw, comes down the street almost at a run. There is a
happy, expectant look on her face. She hurries up the steps
of the house and through the front door.
153.


INT. STAIRCASE AND SECOND FLOOR LANDING - NIGHT

Fran mounts the stairs eagerly. As she reaches the landing
and heads for Bud's apartment, there is a loud, sharp report
from inside. Fran freezes momentarily, then rushes to the
door.

FRAN
Mr. Baxter!
(pounding on door)
Mr. Baxter! Mr. Baxter!

The door opens and there stands Bud, the bottle of champagne
he has just uncorked still foaming over in his hand. He
stares at Fran unbelievingly.

FRAN (CONT’D)
(sagging with relief)
Are you all right?

BUD
I'm fine.

FRAN
Are you sure? How's your knee?

BUD
I'm fine all over.

FRAN
Mind if I come in?

BUD
(still stunned)
Of course not.
Genres: ["Drama","Romance"]

Summary Fran meets with Sheldrake and is informed that they'll be going to Atlantic City for the night. In the meantime, Bud is preparing for his date but has a sudden change of heart after coming to terms with conflicting emotions. Fran rushes to Bud's apartment after hearing a loud noise, and they reconcile.
Strengths
  • Strong character development
  • Well-executed dialogue
  • Satisfying conclusion
Weaknesses
  • Lack of intense conflict or suspense
  • Unconventional pacing
Critique Overall, the scene is well-written and effectively sets up the conflict and tension between Fran and Sheldrake. The dialogue is natural and reveals a lot about the characters and their relationship. However, it could benefit from more visual cues and descriptions to help the reader better imagine the setting and actions. Also, the ending with Fran running to Bud's apartment feels a bit rushed and could benefit from a smoother transition. Overall, a strong scene that could be improved with more attention to detail and pacing.
Suggestions The scene could benefit from more character development and clearer stakes. Here are a few suggestions:

1. Clarify the stakes: Why is Fran so pensive at the beginning of the scene? Is she waiting for someone? Is she upset about something? Adding more context to her mood can help create tension and give her character more depth.

2. Develop Fran and Sheldrake's relationship: We know that they have a history, but we don't know what it is or why they're interested in each other. Providing more information about their past can help create more tension and give the kiss at the end of the scene more meaning.

3. Develop Bud's character: Bud is a major character in the script, but we don't learn much about him in this scene. Giving him more to do and developing his character will make him a stronger presence in the script overall.

4. Use the setting to add tension: The fact that Fran and Sheldrake are in a Chinese restaurant on New Year's Eve is an interesting setting, but it's not used to its full potential. Adding more detail and atmosphere to the scene can make it feel more alive and exciting.

Overall, the scene needs more development in terms of character and stakes to make it more engaging and meaningful.



Scene 53 -  Reconciliation
  • Overall: 8.0
  • Concept: 7
  • Plot: 6
  • Characters: 9
  • Dialogue: 8
INT. THE APARTMENT - NIGHT

Fran comes in and Bud shuts the door. The room is the same as
we left it, except for an empty champagne glass standing on
the coffee table.

BUD
Let me get another glass.

He goes to one of the cartons, takes out a champagne glass
wrapped in newspaper, starts to unwrap it.

FRAN
(looking around)
Where are you going?




(CONTINUED)
154.
CONTINUED:

BUD
Who knows? Another neighborhood --
another town -- another job -- I'm
on my own.

FRAN
That's funny -- so am I.
(Bud, pouring champagne,
looks up at her)
What did you do with the cards?

BUD
(indicating carton)
In there.

Fran takes the deck of cards and the gin rummy score pad out
of the carton, settles herself on the couch, starts to
shuffle the cards expertly.

BUD (CONT’D)
What about Mr. Sheldrake?

FRAN
I'm going to send him a fruit cake
every Christmas.

Bud sinks down happily on the couch, and Fran holds out the
deck to him.

FRAN (CONT’D)
Cut.

Bud cuts a card, but doesn't look at it.

BUD
I love you, Miss Kubelik.

FRAN
(cutting a card)
Seven --
(looking at Bud's card)
-- queen.

She hands the deck to Bud.

BUD
Did you hear what I said, Miss
Kubelik? I absolutely adore you.

FRAN
(smiling)
Shut up and deal!



(CONTINUED)
155.
CONTINUED: (2)

Bud begins to deal, never taking his eyes off her. Fran
removes her coat, starts picking up her cards and arranging
them. Bud, a look of pure joy on his face, deals -- and deals
-- and keeps dealing. And that's about it. Story-wise.

FADE OUT.
Genres: ["Romance","Drama"]

Summary Bud and Fran reunite and play a game of gin rummy.
Strengths "The scene offers a satisfying conclusion to the story arcs of Bud and Fran."
Weaknesses "There's not much happening plotwise."
Critique Overall, this scene is well-written and effectively delivers on its emotional payoff. The dialogue between Fran and Bud is playful and charming, conveying a sense of contentment and hopeful anticipation for their future together. The use of the cards and the gin rummy score pad really helps to set the tone for their comfortable familiarity with each other.

However, there are a few areas that could be improved upon. Firstly, the scene lacks action or movement, which is something that may not translate well on screen. Perhaps the characters could be engaged in a physical activity while they are talking, such as playing a game of darts or shooting pool. This would add a visual element to the scene and make it more engaging to watch.

Another small critique is that the dialogue feels a bit too on-the-nose at times, especially when Bud declares his love for Fran. While it is a sweet sentiment, the delivery could be more nuanced to avoid sounding overly cheesy or melodramatic.

Overall, this scene shows promise and could be fleshed out further with minor adjustments to pacing and dialogue.
Suggestions To improve the scene, there are a few things to consider:

1. Conflict: The scene lacks conflict and tension. There is no obvious obstacle or challenge the characters are facing. To make the scene more engaging, consider adding a conflict, such as a disagreement or a revelation that creates tension between the characters.

2. Character development: While the scene provides a satisfying conclusion to the story, it does little to develop the characters. To make the scene more impactful, consider adding some depth to the characters by revealing their motivations, fears, or desires.

3. Visual interest: The scene takes place in a static location with no change in camera angle or movement. To make the scene more visually interesting, consider adding some visual elements such as props or a change in lighting that can add texture and depth to the imagery.

4. Dialogue: While the dialogue is well-crafted, it might benefit from some trimming to make it more concise and impactful. Consider removing some of the filler dialogue and focusing on the most significant lines that drive the story forward.