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Scene 1 -  Generational Clash
2 EXT. PACIFIC OCEAN -- DAY 2

A lone palm tree rises up into a yellow afternoon sky. Behind
it, the sparkling blue of the Pacific Ocean and the city of
San Diego. A dry, hot Southern California day. Even the wind
is lazy, and a little bored.

3 EXT. NEIGHBORHOOD SHOPPING CENTER -
DAY 3

Santa Claus wears shorts and sandals, ringing a bell as he
collects for the Salvation Army. This is Christmas in the
Southland. No snow, no winter wonderland. Just a pleasantly
thick heat and an unchanging season, as music continues.

Turning the corner, walking into frame is ELAINE MILLER, 35.
She is a tall woman, consumed by the fevered conversation she's

Having with her pale young son WILLIAM, late pre-teens. They
stand apart from the other shoppers. All around them is the
highly-charged salesmanship of the season... silver glittering
fake Christmas trees. She hurries her son through the
commercial juggernaut, continuing their lively intellectual
conversation, when something stops her. A Workman is affixing
letters to a store-front. He has already placed the MERRY...
now he's finishing the XMAS. Elaine is strong, but always
pleasant, always clear about her purpose in this life.

ELAINE
Excuse me, I'm a teacher. There is no
word in The English Language -- "Xmas."
It's either Merry Christmas... or Happy
Holidays.

The Workman nods thanks, with faux appreciation, as Mom turns
away. The Workman shares a look with William, who shrugs -
that's my Mom.

TITLE: 1969

4 EXT. MINI-TRACT CONDO COMPLEX --
DAY 4

This is the new professional-class. It's a mini-condo
community. Rows of Spanish-styled three-bedroom houses with
common walls. Move in on one of these homes, the one without
Christmas lights. At the door is a furtive 15 year-old Girl.
She checks her cheek, straightens her hair. She hides
something under her coat, and gathers the proper nonchalance
to enter. Music fades.

5 INT. KITCHEN -- DAY 5

We now hear the dialogue between this lively Mother and her
son, as she cooks a pan full of soy-based health-food cutlets.
The meal simmers unappetizingly in the pan. Across the kitchen
we see William. He's a great listener, with a calm and curious
face that takes everything in.

WILLIAM
- so Livia -

ELAINE
-- killed everyone off so her son
Tiberius could inherit the throne.
(thoughtful pause)
Just like Nixon.

William nods, intrigued. He has a good disposition. The
world of knowledge engages him, and he loves what it brings
out in his Mom. There is a small clatter at the front door,
as the girl we've just seen enters, barely brushing some
chimes.
She silently curses herself.

ELAINE (cont'd)
Anita, is that you?

ANITA'S VOICE
Hey Mom! I already ate.

Mom moves to the living room to greet William's sister.
William
peers into the next room.

6 INT. LIVING ROOM --
DAY 6

She's almost to her bedroom down the hall when mom catches
her. We now discover ANITA, 16, up-close. She is an alluring
young Natalie Wood, with a suspicious and sunny smile.

ELAINE
You sure? I'm making soy cutlets.

The words "soy cutlets" sends a small shiver through the girl.

ANITA
I'm fine. Already ate.

William stands in the doorway now, watching, monitoring, as
Mom moves closer to his sister. She sees something curious
about her daughter.

ELAINE
Wait. You've been kissing.
ANITA
(too quickly)
No I haven't.

ELAINE
(peering at her lips)
Yes... yes, you have...

ANITA
No I haven't.

ELAINE
Yes you have. I can tell.

ANITA
(boldly)
You can't tell.

Mom steps closer and examines the lips even more carefully.
To her, everything is a quest for knowledge.

ELAINE
Not only can I tell, I know who it is.
It's Darryl.

Anita is stunned silent. She turns slightly to look at herself
in a hall mirror, searching for clues, implicating herself
immediately.

ELAINE (cont'd)
And what have you got under your coat?

This is the booty Anita didn't want to give up. Mom picks at
the corner of an album cover now visible under her jacket.
She withdraws the album. It's Simon and Garfunkel's Bookends.

ANITA
(busted)
It's unfair that we can't listen to
our music!

ELAINE
(weary of the issue)
Honey, it's all about drugs and
promiscuous sex.

ANITA
Simon and Garfunkel is poetry!

ELAINE
Yes it's poetry. It's the poetry of
drugs and promiscuous sex. Look at
the picture on the cover...

CLOSE ON BOOKENDS ALBUM COVER

Mom's fingers at the edges. We examine the insolent faces on
Richard Avedon's classic album cover. Even Simon and Garfunkle
look guilty under her scholarly inspection.

ELAINE (cont'd)
... honey, they're on pot.

ANITA
First it was butter, then sugar and
white flour.
(beat)
Bacon. Eggs, bologna, rock and roll,
motorcycles.

Nearby, William squirms as he watches the gently escalating
conversation. Anita glances at her brother. He silently
urges her to downshift. She can't.

ANITA (cont'd)
Then it was celebrating Christmas on a
day in September When you knew it
wouldn't be "commercialized."

ELAINE
That was an experiment. But I
understand -

ANITA
What else are you going to ban?

ELAINE
Honey, you want to rebel against
knowledge.

ELAINE (cont'd)
I'm trying to give you the Cliff's
Notes on how to live in this world.

ANITA
(simple and direct)
We're like nobody else I know.

These are the words that sting Mom most.

ELAINE
I'm a teacher. Why can't I teach my
own kids?
(pats chest)
Use me.

ANITA
Darryl says you use knowledge to keep
me down. He says I'm a "yes" person
and you're trying to raise us in a
"no" environment!

ELAINE
(immediately, can't help
it)
Well, clearly, "no" is a word Darryl
doesn't hear much.

Anita gasps. Ever the peacemaker, William weighs in. Nearby
is a poster - "No More War."

WILLIAM
Mom --

ELAINE
Everything I say is wrong.

ANITA
I can't live here! I hate you! Even
William hates you!

WILLIAM
I don't hate her.

ANITA
(to William)
You don't even know the truth!

William looks vaguely confused.

ELAINE
Sweetheart, don't be a drama queen.

Anita takes a breath and then out of her mouth comes the
strangled-sounding words of a kid swearing at her parent for
the first time.

ANITA
Feck you! All of you!

ELAINE
Hey!

Anita runs down the hall to her room. Elaine turns to William,
relating to him more as a fellow parent than a child.
ELAINE (cont'd)
Well, there it is. Your sister using
the "f" word.

WILLIAM
I think she said "feck."

ELAINE
(sputtering)
What's the difference?

WILLIAM
(encouraging)
Well. The letter "u"...

Shot moves in on the kid, as we hear the opening strains of
The Moody Blues' "Nights in White Satin."
Genres: ["Drama","Family","Comedy"]

Summary In a Southern California shopping center, teacher Elaine Miller passionately confronts a workman about the use of 'Xmas,' emphasizing the importance of 'Merry Christmas.' The scene transitions to their home, where Elaine prepares dinner while discussing historical figures with her son William. Their daughter Anita arrives, hiding something under her coat, leading to a heated argument about her secretive behavior and musical interests. The conflict escalates, revealing tensions between Elaine's strictness and Anita's rebelliousness, culminating in Anita swearing at her mother and storming off, leaving the family dynamics unresolved.
Strengths
  • Strong character development
  • Engaging dialogue
  • Emotional depth
Weaknesses
  • Slightly predictable family conflict dynamics

Ratings
Overall

Overall: 8

The scene effectively sets up the family dynamics and conflicts, engages the audience with emotional moments and humor, and introduces themes of rebellion and parental guidance.


Story Content

Concept: 8

The concept of exploring family relationships, generational conflicts, and the struggle between tradition and modernity is well-executed.

Plot: 7

The plot revolves around the tension between the mother and her children, particularly focusing on Anita's rebellion and Elaine's attempts to guide her children.

Originality: 9

The scene presents a fresh take on family dynamics and generational conflicts, with authentic dialogue and character interactions.


Character Development

Characters: 9

The characters are well-developed, with distinct personalities and clear motivations driving their actions.

Character Changes: 7

Anita shows signs of rebellion and defiance, while Elaine struggles with parenting and understanding her children, indicating potential character growth.

Internal Goal: 8

Elaine's internal goal is to maintain control and authority over her children while also fostering their intellectual growth and understanding.

External Goal: 7

Elaine's external goal is to navigate the challenges of raising her children in a changing world and maintaining her role as a teacher and authority figure.


Scene Elements

Conflict Level: 8

The scene is filled with internal and external conflicts, particularly between Anita and Elaine, adding tension and drama.

Opposition: 8

The opposition in the scene is strong, with conflicting values and desires between characters driving the conflict.

High Stakes: 7

The stakes are high in terms of family relationships, as the scene highlights the potential breakdown of communication and understanding between family members.

Story Forward: 7

The scene sets up important character dynamics and conflicts that will drive the story forward, laying the groundwork for future developments.

Unpredictability: 7

The scene is somewhat predictable in its family drama dynamics, but still holds surprises in character interactions and revelations.

Philosophical Conflict: 9

The scene presents a conflict between traditional values and rebellion, as seen in Elaine's approach to parenting and her daughter Anita's desire for independence and self-expression.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from humor to tension to empathy, creating a strong emotional impact on the audience.

Dialogue: 9

The dialogue is engaging, revealing character dynamics, conflicts, and themes, while also providing humor and emotional depth.

Engagement: 9

This scene is engaging due to its relatable family dynamics, sharp dialogue, and emotional depth.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, keeping the audience engaged.


Technical Aspect

Formatting: 8

The scene follows standard formatting for a screenplay, effectively conveying the setting and character interactions.

Structure: 8

The scene follows a traditional structure for a family drama, effectively building tension and conflict.


Critique
  • The scene effectively establishes the family dynamics and the central conflict between Elaine and Anita, showcasing the generational gap and differing values. However, the dialogue can feel a bit on-the-nose at times, particularly when Elaine explains her perspective on knowledge and rebellion. This could be more subtly woven into the conversation to avoid feeling overly expository.
  • The character of Elaine is well-defined as a passionate and somewhat overbearing mother, but her motivations could be deepened. Exploring her backstory or her own struggles with knowledge and parenting could add layers to her character and make her more relatable.
  • Anita's character comes across as rebellious and independent, but her motivations for wanting to listen to music and rebel against her mother's teachings could be more clearly articulated. This would help the audience understand her perspective better and create a more empathetic view of her actions.
  • William serves as a passive observer in this scene, which is effective for highlighting the conflict, but he could be given a more active role in the dialogue. His attempts to mediate or express his own feelings could add depth to his character and make the family dynamic more engaging.
  • The use of music, particularly the reference to 'Nights in White Satin,' is a nice touch that sets the emotional tone for the scene. However, it could be more effectively integrated into the dialogue or actions of the characters to enhance the emotional impact rather than feeling like a separate element.
Suggestions
  • Consider adding more subtext to the dialogue, allowing characters to imply their feelings rather than stating them outright. This can create a more engaging and layered conversation.
  • Explore Elaine's backstory or her own experiences with knowledge and rebellion to provide context for her strong opinions. This could make her character more relatable and complex.
  • Give William a more active role in the conversation, allowing him to express his own thoughts or feelings about the conflict between his mother and sister. This could help to develop his character further.
  • Clarify Anita's motivations for her rebellion and interest in music. This could be done through a brief flashback or a more detailed explanation in her dialogue.
  • Integrate the music more seamlessly into the scene, perhaps by having it play softly in the background during the conversation, influencing the mood and emotional tone of the dialogue.



Scene 2 -  The Dance of Identity
7 INT. SCHOOL DANCE/GYMNASIUM BATHROOM --
NIGHT 7

Music continues. Shot moves along a row of very mature-looking
male teenagers, examining themselves in the bathroom mirror.
There's the kid with a very mature-looking moustache, the kid
proudly sporting full-blown hormonal acne (he slaps on some
Hai Karate), the guy to whom puberty has already delivered the
face of an adult, complete with long jutting sideburns... and
then a blank space at the mirror, as the shot moves down, down,
down to find William. He is so much younger, without a zit in
sight. Puberty is so very distant on his horizon.

8 INT. DANCE -- NIGHT -- UNDER-
CRANKED 8

Song continues as we see William's perspective of these much-
older looking kids. Girls now are visible, and they are even
more mature than the boys we've just seen. They flirt and
glow, arms trailing across the shoulders of the boys.
Whispering in each other's ears, none of them looking down.
It's a troubling experience, to be this close to the alluring
world of older teenagers... and to be so invisible to them.

VOICE (O.S.)
Are you really in our grade?

9 INT. JUNIOR HIGH LOCKER ROOM --
DAY 9

VOICE
(louder)
Are you really in our grade?
William turns to see tall, adenoidal TIM TOBIN. The most
mature
looking kid we've seen yet, he challenges William in a loud
theatrical tone. It is a voice right out of Guys and Dolls,
which incidentally is the school play in which Tobin had just
starred. William answers in a respectful voice. He is
desperate for acceptance.

WILLIAM
Yeah.

TOBIN
Hey guys! Check it out! William
doesn't have any pubes!

Others now begin to gather around, examining William. He has
never been more naked.

GUY # 1
How old are you man?

TOBIN
He's not a man, he's a little baby
kid. He Doesn't even get zits yet.

GUY # 2
How come you don't have any hair down
there?

TOBIN
(in loud, funny voice)
Where are your pubes???!!

Their voices echo off the tiled walls. Now everyone is
watching
the hairless William. He is confused by their meanness.

GUY # 2
Yeah. Where are your pubes?

All eyes are on him, waiting for a response. The kid's mental
wheels turn frantically. And from somewhere comes an attitude,
a swagger, and somehow the perfect line arrives from what could
only be a merciful deity.

WILLIAM
(cool, dismissive)
I had 'em. I shaved 'em off.

It is a new persona for the kid -- the witty guy. And it
works.
Guy #2 cracks up, then others. William's new accuser is
suddenly surrounded by the impressed gales of laughter of these
older boys. Others turn away, on to other things. Tobin
stares
at William, and then also turns away.

10 INT. FAMILY CAR --
DAY 10

William jumps into the backseat of the white Ford Country Sedan
station wagon, carrying books. ("See ya pubes!") Mom
continues
driving William and Anita home from school.

ELAINE
(cheerfully, by rote, to
William in back)
Put on your seatbelt. I don't want
you flying through the windshield.

Anita examines her own un-fastened seatbelt, which Mom hasn't
noticed.

WILLIAM
We got our annuals today --

ELAINE
(cheerful, automatic)
"Received" your annual.

WILLIAM
(looking at his photo)
I look so much younger than everyone
else.

ELAINE
Enjoy it while you can.

Camera drifts from Mom to Anita, who can take it no longer.

ANITA
Mom. It's time.

ELAINE
(pleasant, pointed)
Can this wait until we get home?

ANITA
Mom, pull over. Tell him the truth.
Tell him how old he is.

Mom pulls over, and stares straight ahead with deep irritation.
ELAINE
(as in "be quiet")
He knows how old he is.

ANITA
The other kids make fun of him because
of How young he looks. Nobody includes
him.

They call him "The Narc" behind his back...

WILLIAM
They do?

ELAINE
What's a "Narc?"

ANITA
(bleeding for her brother)
A Narcotics Officer!

ELAINE
Well what's wrong with that?

WILLIAM
(ever the peacemaker)
Come on you guys. It's no big deal.
I'm 12. It's okay. She skipped me a
grade, it's okay. Big deal. I'm a
year younger. They're 13, I'm 12 --
(beat)
Aren't I?

Their silence is eloquent.

ELAINE
(confessing, in a rush)
I also put you in first grade when you
were five and never told you.

WILLIAM
(trembling)
So... I'm... how old?

A heavy quiet. She and his sister ignore him, as they now
debate the subject with each other.

ANITA
You lied to him! You make such a big
deal about the truth and you lied!

ELAINE
(that one hurts)
He never asked.

ANITA
What -- like he's going to ask if he's
as old as he thinks he is? Don't you
realize, this is going to scar him
forever?

ELAINE
Honey... sweetheart... don't be
Cleopatra. We have to be his mother
and his Dad.

ANITA
You put too much pressure on him!

WILLIAM
(apprehensive)
How... old...

ANITA
And when he rebels in some strange and
odd way, don't blame me.

WILLIAM
... am I?

ELAINE
(matter of fact)
I skipped you an extra grade. You're
eleven.

WILLIAM
(horrified, voice crackling)
ELEVEN?

He looks at his body, the information affects him physically.
New sounds come from way down deep inside. Mom now begins
speed-rapping, trying to stem the leak. She starts the car.

ELAINE
So you skipped fifth grade. There's
too much padding In the grades. I
taught elementary school. 5th grade -
unnecessary. Nothing happens in the
5th grade. All Teachers know it, no
one talks about it.

WILLIAM
(still in shock)
E - leven.
ELAINE
And you skipped kindergarten because I
taught it to you when you were four.

WILLIAM
(still horrified, looking
at his body)
This explains... so much...

ANITA
You've robbed him of an adolescence!

ELAINE
Adolescence is a marketing tool.

ANITA
He's got no "crowd"... no friends...

WILLIAM
Okay!

Anita reaches out to her brother. With the compassion of a
saint, she offers this:

ANITA
Honey, I know you were expecting
puberty. You're just going to have to
shine it on for a while.

Deeply embarrassed, William shrinks down in the seat. Mom
monitors his face constantly. She is raw and sincere... and
yes, inspiring:

ELAINE
Who needs a "crowd?" You're unique. You're
two years ahead of everybody. Take those
extra years and do what you want. Go to
Europe for a year! Take a look around,
see what you like! Follow your dream!
You'll still be the youngest lawyer in the
country. Your own great grandfather
practiced law until he was 93. Your dad
was so proud of you. He knew you were a
pronominally accelerated child.

ANITA
What about me?

ELAINE
(heartbroken, can't help
herself)
You're rebellious and ungrateful of my
love.

ANITA
Well, somebody's gotta be normal around
here!

WILLIAM
(blinking, still can't
believe it)
Eleven.
Genres: ["Drama","Coming-of-age"]

Summary At a school dance, young William faces ridicule from older boys, led by Tim Tobin, who mock his lack of maturity. In a clever moment, William uses humor to deflect their taunts, gaining some respect. Later, in a family car, he learns from his mother Elaine and sister Anita that he is actually eleven years old, not twelve, leading to a shocking realization about his identity and social standing. The scene captures William's struggle for acceptance and the tension between his expectations and reality.
Strengths
  • Emotional depth
  • Character development
  • Engaging dialogue
Weaknesses
  • Some repetitive dialogue
  • Slightly predictable emotional beats

Ratings
Overall

Overall: 8

The scene effectively conveys tension, emotion, and reflection through the dialogue and character interactions, making it engaging and impactful.


Story Content

Concept: 8

The concept of revealing William's true age and the subsequent family dynamics is well-executed, providing depth to the characters and advancing the plot.

Plot: 7

The plot revolves around the revelation of William's age and the family's reaction, leading to emotional moments and character development.

Originality: 9

The scene offers a fresh perspective on coming-of-age themes, exploring the complexities of family relationships and societal pressures with a unique blend of humor and emotional depth.


Character Development

Characters: 9

The characters are well-developed, each with their own unique personalities and motivations, driving the conflict and emotional impact of the scene.

Character Changes: 8

William undergoes a significant emotional change as he learns the truth about his age, leading to introspection and growth.

Internal Goal: 8

The protagonist's internal goal is to find acceptance and belonging among his peers, despite feeling different and younger than them.

External Goal: 7

The protagonist's external goal is to navigate the challenges of being younger than his peers and dealing with the consequences of his mother's decisions.


Scene Elements

Conflict Level: 8

The conflict between Elaine, Anita, and William regarding the revelation of his age creates tension and emotional stakes, driving the scene forward.

Opposition: 7

The opposition in the scene adds conflict and complexity to the protagonist's journey, creating obstacles that challenge his beliefs and values.

High Stakes: 7

The stakes are high for William as he grapples with the revelation of his age and the impact it has on his sense of identity and belonging within his family.

Story Forward: 7

The scene moves the story forward by revealing important information about William's age and deepening the family dynamics, setting the stage for future developments.

Unpredictability: 7

This scene is unpredictable in its emotional twists and turns, keeping the audience invested in the protagonist's struggles and revelations.

Philosophical Conflict: 8

The philosophical conflict revolves around the importance of honesty, acceptance, and individuality in the face of societal norms and expectations.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, particularly on William, as he grapples with the revelation of his true age and the family dynamics surrounding it.

Dialogue: 8

The dialogue is engaging, reflecting the tension and emotion between the characters, and effectively conveys the themes of truth and family relationships.

Engagement: 9

This scene is engaging due to its relatable themes, emotional depth, and well-developed characters, drawing the audience into the protagonist's journey.

Pacing: 8

The pacing of the scene effectively builds tension and emotional resonance, allowing for impactful character moments and revelations.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for its genre, allowing for clear visualization of the scenes and character interactions.

Structure: 8

The scene follows a coherent structure that effectively conveys the protagonist's internal and external conflicts, leading to a compelling narrative arc.


Critique
  • The scene effectively captures the awkwardness of adolescence and the stark contrast between William and his peers, which is a relatable experience for many viewers. The use of humor, particularly William's witty comeback, provides a nice balance to the tension and bullying he faces, showcasing his intelligence and resilience.
  • The dialogue is sharp and reflects the characters' personalities well. William's respectful demeanor contrasts with the brashness of Tim Tobin and his friends, highlighting his vulnerability. However, the dialogue could benefit from more subtext; while the characters express their feelings directly, adding layers of unspoken tension could enhance the emotional depth.
  • The transition from the bathroom scene to the car is somewhat abrupt. While it serves to move the story forward, a smoother transition could help maintain the emotional flow. Consider adding a moment of reflection for William as he leaves the bathroom, perhaps a brief internal monologue that captures his feelings of inadequacy before he enters the car.
  • Elaine's character is established well in the car scene, but her dialogue could be more nuanced. Instead of her immediately jumping to defend her parenting choices, it might be more effective to show her initial confusion or denial about the situation before she tries to rationalize it. This would make her character more relatable and complex.
  • The pacing of the scene feels rushed, particularly in the car dialogue. The rapid-fire exchanges can be overwhelming and may detract from the emotional weight of the revelation about William's age. Slowing down the dialogue and allowing for pauses could give the audience time to absorb the implications of what William is learning about himself.
Suggestions
  • Consider adding a moment of introspection for William after the bathroom confrontation, allowing the audience to see his internal struggle with his identity and how he perceives himself in relation to his peers.
  • Enhance the emotional stakes by incorporating more visual storytelling elements, such as close-ups on William's face during key moments of realization, to emphasize his shock and confusion about his age.
  • Introduce a moment of silence or a pause in the car scene after the revelation about William's age, allowing the weight of the information to settle in for both William and the audience before moving on to the next dialogue.
  • Explore the dynamics between Elaine and Anita further. Their differing perspectives on parenting could be highlighted through more subtle exchanges, showcasing their relationship and how it affects William's self-perception.
  • Consider using a recurring motif or symbol throughout the scene that represents William's struggle with maturity, such as a specific item in the bathroom or car that reflects his innocence or the pressures of growing up.



Scene 3 -  A Bittersweet Farewell
11 INT. WILLIAM'S BEDROOM --
DAY 11

William finishes the last of many candy bars. A mound of
wrappers sit just below the mirror. He examines his face
hopefully for zits. Nothing coming. We begin to hear Simon
and Garfunkel's "America."

12 INT. LIVING ROOM -
DAY 12

Anita stands in the living room. The song continues playing
on the stereo.

ANITA
I want to play you a song that explains
why I'm leaving, and try to listen.

ELAINE
We can't talk? We have to listen to
rock music?

13 EXT. FRONT LAWN --
DAY 13

William watches sadly. Anita's good-looking boyfriend DARRYL,
a dead ringer for young Stephen Stills, loads her suitcases
into a large turqouise Chevy. The suitcases are adorned with
plastic stick-on flowers. All coolness is leaving William's
life. Mom watches nearby, worried and helpless. (Their house
is more austere, less "fun" than the other front lawns.)

WILLIAM
Take good care of her in San Francisco,
man.

Darryl gives the kid a sub-human look. He's invisible, too
young to converse with.

ELAINE
How can she leave such a loving family?

Anita turns and heads towards them. She focuses on William,
placing her hands on his young shoulders. Her face is very
close to him now, as she delivers this sage prediction of the
future.

ANITA
One day you'll be cool.

He nods stoically, hopefully. He is utterly lost. She leans
forward and whispers in his ear.

ANITA (cont'd)
Look under your bed. It'll set you
free.

Anita shakes hands with Mom, and exits. As the car takes off:

ELAINE
She'll be back.

In the distance we hear the whoop of her daughter.

ANITA
YEAHHHHH-HOOOOOOOO.

ELAINE
Maybe not soon...

William watches wistfully. He moves away from his mother.
She pulls him closer. Shot moves in on his slightly fearful
face.

14 INT. DARRYL'S CAR -
DAY 14

Anita looks back at the receding American Gothic-image of her
mother and brother. Sister waves to brother. She feels for
him. Music now shifts to The Who's "Sparks."

15 INT. BEDROOOM --
NIGHT 15

William locks the door. He reaches under his bed. It's a
black leatherette travel bag, with tartan design. He unzips
the bag -- it's filled with albums. He flips through the
amazing, subversive cache of music. Cream's Wheels of Fire...
the seminal Bob Dylan bootleg Great White Wonder... the Rolling
Stones' Get Yer Ya Ya's Out... The Beach Boys' Pet Sounds...
Abraxas by Santana... Jethro Tull's Stand Up... The Mother's of
Invention's We're Only In It For The Money... Led Zeppelin...
Crosby, Stills and Nash... Miles Davis' Bitches Brew... and
The Who's Tommy... with a note taped to it.

ANITA (V.O.)
"Listen to Tommy with a candle burning
and you will see your entire future..."

The heady effect of all these albums registers, as we see him
lighting a candle.

TITLE: 1973

DETAIL SHOT OF NOTEBOOK

A blue school notebook, with ballpoint pen renderings of the
names of groups like the Who and Led Zeppelin, complete with
carefully drawn thunderbolts. Also, the name LESTER BANGS.

16 INT. JOURNALISM CLASS -- DAY
16

William, now 15, sits in class with book, Adventures in
Journalism. His hair is shoulder-length. A dedicated teacher,
PATRICIA DEEGAN, walks the aisles. Music continues.

17 EXT. FOOD MACHINES -
DAY 17

William presses the food machine button, pulls an orange from
a vending container. He still looks younger than most of the
students... and these days, especially the girls.

18 EXT. LUNCH COURT --
DAY 18

William sits apart from all the others, under a tree. He reads
intently, happily, as he eats the orange. It's a copy of Creem
Magazine. Music continues.

CLOSE ON PHOTOS IN MAGAZINE

Camera moves across the photos, catching the expressions and
fashions of the rock heroes of the day. Ian Anderson of Jethro
Tull, eyes wide and hair flying as he plays flute. Neil Young,
enigmatic with perfectly patched Levis. The Southern Rock
Royalty
of The Allman Brothers Band, posing and laughing in front of
massive stacks of amps. Marc Bolan of T. Rex, his ringlet-hair
backlit by stage lights. David Bowie in skin-tight Japanese
one-
piece attire, onstage with The Spiders From Mars. Pete
Townsend
of the Who, slashing windmill-style at his guitar.

Drift down to a by-line - by Lester Bangs.

19 EXT. PARKING LOT -
DAY 19

William walks through the parking lot after school. Everybody
now congregates around the new arrival of their lives - their
own cars. Arms suddenly clap William on the back, friendly
faces smile strangely, laughing. He takes a few steps and
looks up to see... a school official is hurriedly removing
something from the high-school marquee.

HIGH-SCHOOL MARQUEE

which reads: WILLIAM MILLER IS TOO YOUNG TO DRIVE (OR FUCK)

All are laughing. He laughs with them, and turns as his face
goes slack. He shrugs, marches on.

20 EXT. DOWNTOWN SAN DIEGO RADIO STATION --
DAY 20

The song we've been listening to is ripped off the turntable by
a highly-active man in a red promotional t-shirt proclaiming
the
greatness of The Guess Who. He is a ferocious, lumbering,
music-
driven presence, and he fills this small radio studio to the
very brim. This is LESTER BANGS, 25, the rarely-seen God of a
then new art-form -- Rock Journalism. A Disc-jockey with long-
long hair watches helplessly. William views all this through a
glass window. He stands on the corner of a downtown side
street, halfway up a steep incline. He is the only person on
the streets this early Saturday morning. Reveal that he is
watching a live radio show, audible to us through the small
p.a. speaker overhead.

DISC-JOCKEY
Quite an honor to have the World's
Greatest Rock Critic... and editor of
Creem Magazine, back Home in San Diego
for a few days -- Lester Bangs.

LESTER BANGS
What is this hippie station?! Where's
Iggy Pop? Don't you have a copy of
Raw Power?!

DISC-JOCKEY
Lester, isn't it a little early for
this?

Bangs searches for the album -- vinyl flying everywhere now,
with no regard for album jackets.

BANGS
Found it!!
Genres: ["Drama","Coming-of-age","Music"]

Summary In a poignant scene, young William grapples with the emotional turmoil of his sister Anita's departure, feeling the loss of coolness as her boyfriend Darryl dismisses him. Anita leaves behind a cryptic message and a travel bag filled with influential music albums, encouraging William to listen to 'Tommy' with a candle burning to glimpse his future. This moment marks a turning point for William, blending nostalgia and sadness with a glimmer of hope as he prepares to explore his newfound interests in music and journalism.
Strengths
  • Emotional depth
  • Authentic character interactions
  • Symbolism of music
Weaknesses
  • Limited external conflict
  • Some dialogue may feel melodramatic

Ratings
Overall

Overall: 8

The scene effectively captures the emotional complexity of the characters and sets up a significant turning point in the story. The use of music and dialogue enhances the atmosphere and engages the audience.


Story Content

Concept: 8

The concept of a family dealing with change and the coming-of-age theme is well-executed. The incorporation of music as a central element adds a unique and compelling layer to the scene.

Plot: 7

The plot progresses as Anita leaves home, leading to a shift in dynamics within the family. The discovery of the music collection under William's bed hints at future developments.

Originality: 9

The scene offers a fresh take on the coming-of-age genre by incorporating music as a central theme and exploring the protagonist's internal and external conflicts in a nuanced way. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 9

The characters are well-developed and their emotions feel authentic. Each character's reaction to Anita's departure reveals deeper layers of their personalities.

Character Changes: 7

Anita's departure marks a significant change in the family dynamic, leading to introspection and growth for the other characters. William's discovery of the music collection hints at his own journey of self-discovery.

Internal Goal: 8

The protagonist's internal goal in this scene is to find his place in the world and navigate the changes happening around him. He is seeking validation and understanding of his own identity.

External Goal: 7

The protagonist's external goal is to cope with his sister leaving and the changes in his family dynamic. He also faces the challenge of growing up and finding his own path.


Scene Elements

Conflict Level: 6

The conflict in the scene is more internal and emotional, revolving around the characters' struggles with change and growing up. There is tension between family members but it is not overtly dramatic.

Opposition: 7

The opposition in the scene is strong enough to challenge the protagonist's beliefs and desires, creating conflict and tension that drive the narrative forward. The obstacles faced by the protagonist are relatable and impactful.

High Stakes: 6

The stakes are emotional and personal, focusing on the characters' relationships and individual growth. The departure of a family member raises questions about identity and belonging.

Story Forward: 7

The scene moves the story forward by setting up future conflicts and character arcs. Anita's departure foreshadows changes to come, adding depth to the narrative.

Unpredictability: 7

This scene is unpredictable because it subverts some coming-of-age tropes and presents the protagonist's journey in a unique and nuanced manner. The unexpected interactions and revelations keep the audience intrigued.

Philosophical Conflict: 7

The philosophical conflict in this scene is between the protagonist's desire for independence and the reality of his youth and family responsibilities. It challenges his beliefs about adulthood and freedom.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of sadness, hope, and resignation as Anita leaves home, leaving behind a sense of loss and uncertainty. The characters' vulnerability adds to the emotional impact.

Dialogue: 8

The dialogue is poignant and reflective, capturing the emotional turmoil of the characters. The interactions between family members feel genuine and add depth to the scene.

Engagement: 9

This scene is engaging because it captures the protagonist's emotional turmoil and growth in a relatable and poignant way. The use of music and visual imagery adds depth to the narrative.

Pacing: 8

The pacing of the scene is effective in building tension and emotional resonance. The rhythm of the dialogue and actions enhances the scene's impact and keeps the audience invested in the protagonist's journey.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings, descriptions, and dialogue. The use of visual and auditory cues enhances the atmosphere.

Structure: 8

The scene follows a traditional structure for a coming-of-age narrative, with a clear setup, conflict, and resolution. The pacing and transitions are effective in conveying the protagonist's emotional journey.


Critique
  • The scene effectively captures the emotional turmoil of William as he navigates the complexities of adolescence, particularly the feelings of loss and confusion surrounding his sister's departure. The use of music, specifically Simon and Garfunkel's 'America,' adds a poignant layer to the scene, enhancing the emotional weight of the moment.
  • Anita's character is well-developed in this scene, showcasing her rebellious spirit and the generational divide between her and her family. Her cryptic message to William about finding something under his bed serves as a strong narrative device that foreshadows his journey of self-discovery and growth.
  • The visual elements, such as the contrasting settings of the austere home and the vibrant imagery of Anita's suitcase, effectively symbolize the clash between William's sheltered life and the allure of the outside world. This contrast reinforces the theme of innocence versus experience.
  • The dialogue is sharp and reveals the characters' personalities well. Elaine's protective nature and Anita's defiance are clearly articulated, but there could be more depth in Elaine's emotional response to Anita's departure. This would enhance the tension and stakes of the scene.
  • The transition from William's bedroom to the front lawn is smooth, but the pacing could be improved. The scene feels slightly rushed, particularly in the moments leading up to Anita's departure. Allowing for more pauses or reactions from William and Elaine could heighten the emotional impact.
Suggestions
  • Consider adding a moment where Elaine expresses her fears or regrets about Anita leaving, which would deepen her character and provide a more emotional anchor for the scene.
  • Expand on William's internal thoughts or feelings as he watches Anita leave. This could be done through voiceover or visual cues that show his sense of loss and confusion more vividly.
  • Incorporate more physical actions or reactions from William during Anita's farewell. For example, showing him fidgeting or looking away could emphasize his discomfort and emotional state.
  • Explore the significance of the music playing in the background more explicitly. Perhaps have William reflect on the lyrics or relate them to his own situation, which would create a stronger connection between the music and the narrative.
  • Consider revising the ending to include a more definitive emotional reaction from William after Anita leaves. This could be a moment of realization or a decision that propels him into the next phase of his journey.



Scene 4 -  Echoes of Rock and Roll
21 EXT. RADIO STATION --
DAY 21

William watches intently. Bangs thuds the needle onto a copy
of Raw Power. We're rewarded with a blast of Iggy and the
Stooges' "Search and Destroy." A closer shot on William now
watching the whirlwind of anarchy inside. Lester does an Iggy
Pop impression, acting out a story for the d.j. that we cannot
hear, never noticing the kid soaking in everything from the
other side of this double-glass window.

22 EXT. RADIO STATION -- DAY -- LATER
22

Bangs walks with William on this sharply inclined San Diego
street. It's early, the streets are silent. Bangs is about
fifteen beer pounds overweight. His jeans are loose, his
paleness and messy moustache an emblem of the long days and
nights spent writing. In there somewhere is a good-looking
guy. His hands are thrust deeply into his pockets, and he
takes big sweeping steps.

BANGS
So you're the one who's been sending
me those articles from your school
newspaper -

WILLIAM
I've been doing some stuff for a local
underground paper, too.

BANGS
What are you like the star of your
school?

WILLIAM
They hate me.

BANGS
You'll meet them all again on their
long journey to the middle.

The kid nods, they walk.
BANGS (cont'd)
Well, your writing is damn good. It's
just a shame you missed out on rock
and roll.

WILLIAM
I did?

BANGS
Oh yeah. It's over.

WILLIAM
Over?

BANGS
Over. You got here just in time for
the death rattle, the last gasp, the
last grope.

WILLIAM
Well. At least I'm here for that.

Bangs looks at the much smaller kid, shaking his head. It's
too late for newcomers. But if the kid's age is an issue, he
doesn't mention it. Like a machine-gun:

BANGS
What do you type on?

WILLIAM
Smith-Corona Galaxis Deluxe.

BANGS
You like the new Lou Reed?

WILLIAM
(automatic)
The early stuff. The new stuff, he's
trying to be Bowie, he should be
himself. I'm not a big Lou man.

BANGS
Yeah, but if Bowie's doing Lou, and
Lou's Doing Bowie, Lou's still doing
Lou.

WILLIAM
(standing his ground)
If you like Lou.

BANGS
Take drugs?
WILLIAM
No.

BANGS
Smart kid. I used to do speed and
sometimes Nyquil and stay up all night
writing and writing, like 25 pages of
dribble about, you know, the Guess
Who, or Coltrane, just to write, you
know, with the music blasting...

WILLIAM
Me too. The writing part...

For a moment, the serious demeanor dissolves and the oddest
thing happens. Bangs laughs. It's an odd and charming laugh,
the kind a tough guy keeps well-hidden. It surprised the kid,
who smiles back. Bangs stops at the corner, and offers a
pleasant but very final nod of the head.

BANGS
Well, alright. It's been nice to meet
you. I'll see you around. Keep sending
me your stuff.

WILLIAM
Okay. See you.

BANGS
I can't stand here all day talking to
my many fans.

WIDE SHOT - SOLITUDE

But neither have anywhere to go on this early downtown morning.
They stand for a beat, hands in pockets, on this deserted
street. They are alone together, there's nobody else in sight.
Genres: ["Drama","Coming-of-age","Music"]

Summary In a quiet San Diego street, William observes the chaotic energy of a radio station where Lester performs an Iggy Pop impression. He walks with the seasoned music journalist Bangs, engaging in a thoughtful discussion about their differing views on music and writing. While Bangs expresses nostalgia and cynicism about the state of rock and roll, William defends his passion for music. Their conversation highlights the unresolved conflict between nostalgia and hope as they part ways, standing alone on the deserted street.
Strengths
  • Engaging dialogue
  • Insightful mentorship dynamic
  • Exploration of music and writing culture
Weaknesses
  • Low conflict level
  • Limited plot progression

Ratings
Overall

Overall: 8

The scene effectively captures the essence of a mentorship moment between Bangs and William, providing insight into the music scene and the impact of artistic expression on youth. The dialogue is engaging and informative, setting up a strong foundation for character development and thematic exploration.


Story Content

Concept: 8

The concept of mentorship in the music industry, the evolution of rock and roll, and the impact of artistic expression on youth are well-developed in this scene. It sets the stage for deeper exploration of these themes throughout the screenplay.

Plot: 7

The plot in this scene focuses on the interaction between Bangs and William, highlighting the passing of knowledge and the influence of music on youth culture. While the plot is engaging, it serves more as a character-building moment than a significant plot progression.

Originality: 9

The scene showcases originality through its fresh approach to depicting underground music and writing culture, as well as the authenticity of the characters' actions and dialogue.


Character Development

Characters: 9

The characters of Bangs and William are well-defined and engaging. Bangs serves as a mentor figure, while William represents the curiosity and potential of youth. Their dynamic and dialogue drive the scene forward and set the stage for character development.

Character Changes: 6

While there is a subtle shift in William's perspective and understanding of music and writing, the scene primarily serves as a foundation for character development rather than significant character changes.

Internal Goal: 8

The protagonist's internal goal is to find his place in the world of writing and music, seeking validation and recognition for his talent. This reflects his deeper desire for acceptance and belonging in a world that may not understand or appreciate his unique perspective.

External Goal: 7

The protagonist's external goal is to establish connections and gain opportunities in the world of underground journalism and music. This reflects the immediate challenge of breaking into a competitive and exclusive industry.


Scene Elements

Conflict Level: 5

While there is a subtle conflict in terms of generational differences and the passing of knowledge, the scene primarily focuses on mentorship and character development rather than intense conflict.

Opposition: 7

The opposition in the scene is strong, with conflicting viewpoints and challenges that the protagonist must navigate to achieve his goals.

High Stakes: 4

The stakes in this scene are relatively low, focusing more on character development and thematic exploration than high-stakes conflict or action.

Story Forward: 7

The scene moves the story forward by establishing the mentorship dynamic between Bangs and William, setting the stage for deeper exploration of music, writing, and youth culture in the screenplay.

Unpredictability: 7

This scene is unpredictable because of the unexpected character interactions and moments of vulnerability that add depth to the narrative.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the idea of authenticity and staying true to oneself in a world that may not always appreciate or understand individuality. This challenges the protagonist's beliefs about art and creativity.


Audience Engagement

Emotional Impact: 7

The scene evokes a sense of nostalgia, curiosity, and hopefulness, particularly in the mentorship dynamic between Bangs and William. It resonates emotionally with the audience and sets the stage for deeper emotional exploration.

Dialogue: 8

The dialogue in this scene is sharp, insightful, and reflective of the characters' personalities. It effectively conveys the mentorship dynamic between Bangs and William, as well as their shared passion for music and writing.

Engagement: 9

This scene is engaging because of its sharp dialogue, character dynamics, and sense of authenticity in depicting underground culture.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue-heavy moments with introspective beats, creating a dynamic rhythm.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character dialogue.

Structure: 8

The scene follows the expected structure for its genre, with a clear progression of events and character interactions.


Critique
  • The scene effectively captures the dynamic between William and Bangs, showcasing their contrasting perspectives on music and writing. Bangs' character is well-defined through his dialogue and physical description, which adds depth to his persona as a jaded yet passionate music journalist.
  • The dialogue flows naturally, with witty exchanges that reveal both characters' personalities. William's youthful enthusiasm contrasts with Bangs' cynical outlook, creating an engaging tension that drives the scene forward.
  • The setting of the San Diego street adds a layer of realism and enhances the mood of the scene. The early morning silence juxtaposed with the chaotic energy of the radio station creates a nice contrast that reflects the characters' internal states.
  • However, the scene could benefit from more visual storytelling. While the dialogue is strong, incorporating more visual cues or actions could enhance the emotional weight of their conversation. For example, showing William's reactions or physical responses to Bangs' comments could deepen the audience's connection to his character.
  • The ending feels somewhat abrupt. While the final exchange between William and Bangs is humorous, it leaves the audience wanting more closure or a clearer sense of direction for William's journey. A more definitive moment of connection or a hint at future interactions could strengthen the scene's impact.
Suggestions
  • Incorporate more physical actions or reactions from William during the conversation to visually express his emotions and thoughts, making the scene more dynamic.
  • Consider adding a moment where William reflects on Bangs' words after their conversation, perhaps showing him contemplating his place in the music world or jotting down notes, which could provide a smoother transition to the next scene.
  • Enhance the visual elements by describing the surroundings in more detail, such as the atmosphere of the street or the sounds of the city waking up, to create a richer backdrop for their conversation.
  • Explore the possibility of including a brief moment of vulnerability from Bangs, which could add depth to his character and create a stronger emotional connection with William.
  • Rework the ending to provide a clearer sense of direction for William, perhaps by hinting at his next steps or leaving him with a thought-provoking question that resonates with the audience.



Scene 5 -  Lessons in Rock Journalism
23 INT. DINER --
DAY 23

William listens intently as Lester eat a sandwich. His face
is an open book filling with words.

BANGS
-- so anyway, you're from San Diego
and that's good. Because once you go
to L.A., you're gonna have friends
like crazy but they'll be fake friends,
they're gonna try to corrupt you. The
publicists! The bands! You got an
honest face, they're gonna tell you
everything. But you CANNOT make friends
with the rock stars.

The kid takes out a green collegiate notebook and gestures --
can I make a note? Bangs nods.

BANGS (cont'd)
Cannot make friends with the rock stars.
(savage bite)
That's what's important. If you're a rock
journalist, a true journalist -- first you
will never get paid much. But you will
get free records from the record company.

The kid's eyes widen. Bangs, in direct conflict with his
brutal
writing style, is looking suspiciously like a compassionate
softie.

BANGS (cont'd)
And they'll buy you drinks, you'll meet
girls... they'll try to fly you places for
free.... offer you drugs... I know. It
sounds great. But they are not your
friends. These are people who want you
to write sanctimonious stories about the
genius of the rock stars and they will
ruin rock and roll and strangle everything
we love about it.

Privately, William thrills. We. Our. It all sounds great to
him. He listens to the grouping of the words, every one of
them. He madly scribbles.

BANGS (cont'd)
They are trying to buy respectability
for a form that is gloriously and
righteously -

The kid leans forward as Lester finds the right word.

BANGS (cont'd)
- dumb! And you're smart enough to
know that. And the day it ceases to
be dumb is the day it ceases to be
real. Right? And then it will just
Become an Industry of Cool.

WILLIAM
... Industry... of... cool...
BANGS
And that's what they want! And it's
happening right now. I'm telling you,
you're coming along at a very dangerous
time for rock and roll. The war is
over. They won. 99% of what passes
for rock now... SILENCE is much more
compelling. It's over. I think you
should turn around and go back and
be... a lawyer or something... but I
can see from your face that you won't.
I can pay you thirty-five bucks. Gimme
a thousand words on Black Sabbath.

WILLIAM
(attempting cool)
An assignment.

LESTER
Yeah. And you should build your
reputation on being honest... and
unmerciful.

WILLIAM
(writing in notebook)
Honest... unmerciful...

BANGS
And if you get into a jam -- call me.
I stay up late.

Bangs reaches across the table, and William watches as he
scribbles his number on the back of the kid's green collegiate
notebook. The notebook has just become valuable. They sit
together, listening to the beautiful and compelling silence.
Genres: ["Drama","Coming-of-age","Music"]

Summary In a diner, young aspiring journalist William listens intently as mentor Lester Bangs shares his cynical insights about the music industry, warning him of the superficiality and dangers of befriending rock stars. William eagerly takes notes, absorbing Bangs' advice on maintaining journalistic integrity. The scene culminates with Bangs offering William a writing assignment on Black Sabbath and providing his phone number, marking a pivotal moment in William's journey as he reflects on the weight of their conversation.
Strengths
  • Engaging dialogue
  • Exploration of complex themes
  • Character dynamics
Weaknesses
  • Limited emotional impact
  • Lack of significant character development

Ratings
Overall

Overall: 8

The scene is engaging, thought-provoking, and well-executed, offering valuable insights into the music industry and journalistic ethics.


Story Content

Concept: 9

The concept of journalistic integrity versus industry influence is compelling and well-developed, providing a deep exploration of the themes of authenticity and commercialization.

Plot: 8

The plot advances the story by introducing William to the world of music journalism and setting up potential conflicts and dilemmas for his character.

Originality: 8

The scene offers a fresh perspective on the music industry, with authentic character interactions and a focus on the ethical dilemmas faced by journalists.


Character Development

Characters: 7

The characters are well-defined and contribute to the scene's themes and conflicts, particularly Bangs as a mentor figure and William as a young journalist navigating the industry.

Character Changes: 6

While there is not a significant character change in this scene, it sets up potential growth and development for William as he navigates the challenges of music journalism.

Internal Goal: 8

William's internal goal is to establish himself as a respected rock journalist while staying true to his values and integrity.

External Goal: 7

William's external goal is to write a thousand words on Black Sabbath for Bangs.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict present in the scene, primarily centered around the clash of ideals between Bangs and William regarding the music industry.

Opposition: 7

The opposition in the scene is strong, with conflicting viewpoints and motivations between the characters.

High Stakes: 7

The stakes are moderately high as William grapples with the decision to pursue a career in music journalism and navigate the challenges of maintaining integrity in a commercialized industry.

Story Forward: 8

The scene moves the story forward by introducing key themes and conflicts that will likely shape William's journey as a young journalist in the music industry.

Unpredictability: 7

The scene is unpredictable in its exploration of ethical dilemmas and the characters' conflicting motivations.

Philosophical Conflict: 9

The philosophical conflict revolves around the commercialization and corruption of rock and roll, with Bangs advocating for honesty and integrity in journalism.


Audience Engagement

Emotional Impact: 6

The scene evokes a mix of emotions, from nostalgia for the past to a sense of foreboding about the future of rock and roll.

Dialogue: 9

The dialogue is sharp, insightful, and drives the scene forward, effectively conveying the conflicting perspectives on rock and roll and journalism.

Engagement: 9

This scene is engaging due to its sharp dialogue, conflict between characters, and exploration of complex themes.

Pacing: 8

The pacing of the scene effectively builds tension and character development, keeping the audience engaged.


Technical Aspect

Formatting: 8

The scene follows standard formatting conventions for a screenplay, with clear scene descriptions and character actions.

Structure: 8

The scene follows a traditional structure for a dialogue-driven scene in a screenplay, effectively building tension and character development.


Critique
  • The scene effectively captures the mentor-mentee dynamic between William and Lester Bangs, showcasing the contrast between Bangs' cynical worldview and William's youthful enthusiasm. This relationship is central to the narrative, and the dialogue does a great job of establishing Bangs as a seasoned journalist who is both jaded and protective of the integrity of rock music.
  • The dialogue is rich and engaging, with Bangs delivering a series of impactful lines that convey his philosophy on journalism and the music industry. However, some of the dialogue could be tightened to enhance the pacing. For instance, while Bangs' warnings are important, they could be delivered more succinctly to maintain the scene's momentum.
  • The visual elements are somewhat lacking in this scene. While the diner setting is appropriate, there could be more descriptive details to create a vivid atmosphere. For example, incorporating sensory details about the diner—like the smell of coffee, the clatter of dishes, or the ambiance of other patrons—could enhance the scene's immersion.
  • William's reactions to Bangs' words are crucial, yet they could be more vividly portrayed. Instead of just stating that he 'thrills' at the words, consider showing his physical reactions—like leaning in closer, wide eyes, or a smile creeping onto his face—to convey his excitement and admiration more effectively.
  • The ending of the scene, where Bangs writes his number on the back of William's notebook, is a strong moment that signifies a turning point for William. However, it could be enhanced by emphasizing the significance of this gesture. Perhaps a brief moment of silence or a close-up shot of the notebook could underscore its newfound value and the weight of the opportunity being presented.
Suggestions
  • Tighten the dialogue by removing any repetitive phrases or ideas. Focus on making each line impactful and concise to maintain the scene's energy.
  • Add more sensory details to the diner setting to create a richer atmosphere. Describe the sounds, smells, and sights to immerse the audience in the scene.
  • Show William's physical reactions more vividly to convey his emotional state. Use body language and facial expressions to illustrate his excitement and admiration for Bangs.
  • Consider adding a moment of silence or a visual emphasis on the notebook when Bangs writes his number, highlighting the significance of this exchange for William's journey.
  • Explore the theme of authenticity versus superficiality further by incorporating a brief moment where William reflects on his own aspirations in contrast to Bangs' warnings, deepening the thematic resonance of the scene.



Scene 6 -  Backstage Aspirations
24 INT. FAMILY CAR --
NIGHT 24

Mom drives William to the San Diego Sports Arena. She looks
out the window at the adrenalized concert-goers. She feels
protective not just of her son, but an entire generation.
William goes over his questions for Black Sabbath.

ELAINE
Look at this. An entire generation of
Cinderellas and there's no slipper
coming.

William looks out the window at the sign: TONIGHT - SOLD OUT -
BLACK SABBATH with special guest Stillwater.
WILLIAM
You can drop me off here.

ELAINE
Black. Sabbath. Just remember - you
wanted to be Atticus Finch in To Kill
a Mockingbird.

The kid doesn't answer. He silently goes over his questions.

ELAINE (cont'd)
As long as I know this is just a hobby,
I'll go along with it.

WILLIAM
All I have to do is listen. That's
what Lester Bangs said.

ELAINE
(dryly)
I'll be waiting right here at eleven
'o clock sharp. If you get lost, use
the family whistle.

He unhooks his seatbelt, stuffs his questions into an orange
canvas shoulder-bag and exits.

Elaine watches her son disappearing into the stony rock-concert
crowd. It's a windy night. Everything about this image
troubles her. She fights with herself, and then uses the
family
whistle immediately. He turns.

ELAINE (cont'd)
(sweetly, too loud)
Don't take drugs!!

Fifteen concert-goers turn around instinctively, at the sound
of a Mother, and then identify William as the object of her
concern. All around him, we hear:

HAPPY CONCERT GOERS
Don't take drugs!!

He winces, nods and moves forward. Music echoes from the open
windows of many other cars.

25 EXT. SAN DIEGO SPORTS ARENA BACKSTAGE RAMP --
NIGHT 25

The kid tromps down the steep incline leading to a small steel
backstage arena door. He rings the buzzer. The door wheezes
open to reveal the keeper of the San Diego Sports Arena's
backstage list. Famous to all those who attempt to enter,
this is SCOTTY. He is a wiry, humorless man for whom
powerlessness is the theme of his life -- except for those few
hours he controls the list. Scotty is only forty but
everything
about him screams that he's an angry sixty.

WILLIAM
Hi. I'm William Miller and I'm here
from Creem Magazine to interview the
band Black Sabbath.

Scotty, immediately suspicious, moves to a nearby podium and
snaps through three clipboard pages. He moves back to the
door and grabs the handle.

SCOTTY
Not on the list.

He shuts the door with finality. The kid stands silently for
a moment. He looks over his shoulder, at two chattering
Groupies watching his dilemma from the top of the ramp. They
look at him sympathetically, but he turns away. William rings
the buzzer again, withdrawing a copy of Creem from his bag.
The door opens.

WILLIAM
Sir, I'm a journalist, and here's a
copy of the magazine.

The magazine hangs in mid-air.

SCOTTY
You're not on the list. Go to the
top of the ramp with the girls!

Slam. William stands there for a moment. Unsure of what to
do next, he looks back to the top of the ramp. Rejected by
him just moments earlier, the groupies now feign disinterest.
Bracing himself, William rings again. The door opens slowly
this time. Scotty stands peering at him.

WILLIAM
(in a rush)
What-happens-after-I-go-to-the-top-of-
the-ramp with-the-gi -

Slam. Lock.

26 EXT. TOP OF SPORTS ARENA RAMP --
NIGHT 26
William inches into the realm of the girls at the top of the
ramp. The wind whips. It's just him, and two Groupies in
their evening best. They now pretend to barely notice the
young journalist who has been banished to stand with them.
Chattering excitedly, with sophistication far beyond her 17
years, is ESTRELLA. She sports long unruly black hair. Her
partner hangs in the shadows, adjusting shoes. Estrella turns
to the kid with great disinterest.

ESTRELLA
Who are you with?

WILLIAM
(embarrassed to be alive)
Me? I'm with myself.

ESTRELLA
No, who are you with? What band?

WILLIAM
I'm here to interview Black Sabbath.
(beat)
I'm a journalist. I'm not a... you
know...

Estrella stares at him. Moving into the parking lot light,
introducing herself, is a luminous girl in a green faux-fur
trimmed coat. This is PENNY LANE. There is an inviting warmth
and real interest in the way she asks:

PENNY LANE
... you're not a what?

WILLIAM
(enthralled)
Oh... I'm just... not a... you know.

PENNY LANE
Not a "what"?

WILLIAM
(charmed)
You know. A "groupie."

The two girls are deeply insulted by the word.

ESTRELLA
Ohhh!

WILLIAM
Sorry, I -
PENNY LANE
We. Are not. "Groupies."

Estrella indicates Penny with great reverence.

ESTRELLA
This is Penny Lane, man. Show some
respect.

WILLIAM
-- sorry.

Penny steps closer, focusing completely on the kid. Behind
her, concert-goers throw a few woo-woos their way. She seems
not to hear them.

PENNY LANE
"Groupies" sleep with rock stars because
they want to be near someone famous.
We are here because of the music. We
are Band Aids.

ESTRELLA
She used to run a school for Band Aids.

PENNY LANE
We don't have intercourse with these
guys. We support the music. We inspire
the music. We are here because of the
music.

William is nodding like a doll in a dashboard window.
Listening.

ESTRELLA
Marc Bolan broke her heart, man. It's
famous.

PENNY LANE
It's a long story. I'm retired now.
I'm just visiting friends.

ESTRELLA
She was the one who changed everything.
She said "no more sex, no more
exploiting our bodies and hearts... "

WILLIAM
Right. Right.

ESTRELLA
"... just blow-jobs, and that's it."

WILLIAM
Okay. Well, see, now I get the
difference.

Shot drifts off him and picks up, out of the darkness, another
breathless girl teetering on tall shoes. She is in the
vicinity
of 16. Her black hair is cropped short and died red, just
like the cover of Bowie's Aladdin Sane. She is POLEXIA, the
voluptuous one, from Riverside.

POLEXIA
(the usual greeting)
It's all happening. It's all happening.

ESTRELLA
Polexia!! Did you tell Sabbath we
were going to be here?

POLEXIA
I talked to Dick with Stillwater, I
talked with Sabbath. They're all dying
to see us. It's all happening.

PENNY LANE
This is our journalist friend.
Journalist Friend, meet Estrella Starr,
and Polexia Aphrodisia. And you are --

WILLIAM
William.

Silent beat. His name lands like a thud.

POLEXIA
Here comes Sabbath!

ESTRELLA
Ozzy!!! Tony!!! It's us!!

A long black limo with darkened windows swishes past, beeps
twice. The metal backstage gate rises and the limo rolls
inside. And then silence again. The girls do not discuss
being rebuffed.

ESTRELLA (cont'd)
I think I saw Sapphire in there.

POLEXIA
(can't hold it in any longer)
Okay. I was with Ian Hunter all night
at Rodney's Last night. Wanna see his
spoo? I saved it in a baggie.

She opens her purse and shows the girls something inside.
William edges away.

ESTRELLA
(peering into purse)
I'm really happy he's doing so well.

PENNY
(regarding what's in purse)
Yeah. I know he's such a talented
guy. I mean, look at him. Who deserves
it more?

POLEXIA
(looking in purse)
Nobody -- he's so sweet.

ESTRELLA
(with compassion)
Don't you just root for him, you know.
To go that little distance between
good and great?

PENNY
Wait. That's not his. I would know
his.

A very odd look on his face, William now cranes for a discreet
look. What's in that purse?

BAM -- THE BACKSTAGE DOOR OPENS

Out steps SAPPHIRE, 19, a tall girl with taller platforms.
Heavy
eye-makeup. Her accent is Texan, with odd traces of English.
In one hand is a half-drained bottle of champagne. In the
other,
a fistful of backstage passes.

SAPPHIRE
Does anybody remember laugh-tah?
(as they turn)
Come and GET 'EM!

The girls scream and happily head down the ramp to Sapphire.
Penny looks back and grabs William with a well-placed arm
hooked
around his. He joins the clacking sea of legs moving down the
ramp. Sapphire slaps passes on the girls. As Scotty (The
Keeper of the Backstage List) watches, Penny now slips William
forward for a pass.

SCOTTY
Oh no. Not this one --

SAPPHIRE
(off William)
Who brought Opie?

The kid looks over his shoulder. Who's Opie?

PENNY
He's with us.

SCOTTY
(hand blocking William)
He wasn't with you.

SAPPHIRE
(to Scotty)
Are you going to turn this into a
Thing?

SCOTTY
All of you can wait outside! Top of
the ramp!

WILLIAM
I don't want to cause a Thing. I'll
wait.

PENNY
(privately, to William)
I'll go take care of this.

Sadly, they leave him behind. The thundering arena sound of
the collecting crowd, the p.a. system blasting Yes'
"Roundabout"... purposeful roadies carrying guitar cases...
the glimpse of backstage rock and roll... everything he wants
to be a part of is on the other side of this door. And then
it shuts. He stands alone.

At the top of the ramp, a tour bus unloads. It reads --
STILLWATER TOUR 73. Moving loudly out of the bus is the
opening
band. This is Stillwater. Four road-weary band members, and
their road manager. Voices booming.

RUSSELL HAMMOND, 27, presses the buzzer with the nose of his
guitar-case. It's obvious from moment one. This is the star
of the band, the charismatic one. He's tired. They're late.
William recognizes him instantly, as the guitarist stretches.
The buzzer goes unanswered. The kid is invisible to him, as
the others now arrive behind Russell.

Tour/band manager DICK ROSWELL, 27, follows, loudly banging on
the steel door. He has the flaxen-haired look of a former
hippie, but he carries the emblem of a real pro -- the newest
silver Halliburton briefcase covered with backstage passes.
His direction is always - forward.

DICK
Let us in, we're Stillwater! We're on
the show!!

William is surrounded by them now. They stand together under
the
single lightbulb, familiar faces, a live-action album cover.
JEFF
BEBE the singer, his shiny black hair hanging in sheets around
his
head. ED VALLENCOURT the quiet drummer, his long arms hanging
limply at his sides. His is a face made for the background.
LARRY
TURNER the compact bass-player. Dick now kicks at the door
with
his foot, as William produces a copy of Creem Magazine.

WILLIAM
(to Dick)
Hi, I'm a journalist. I write for Creem
Magazine.

Once again, the magazine hangs there. He can't give it away.

JEFF
The enemy! A rock writer!

WILLIAM
(struggling forward)
I'd like to interview you or someone
from the band.

DICK
(busy, running behind)
I'm sorry but could you please fuck
off?

William blinks a little, takes it in stride. Russell sizes
him up, moving in the background.

WILLIAM
Okay. Okay. I could do that.

JEFF
You guys never listened to our records.
You're all just frustrated musicians.
Do you know what your magazine SAID
about us? What was it - "the singer's
incessant cater walling distracts From
an assault with no clear purpose."

LARRY
(in background)
That was Rolling Stone.

RUSSELL
Yeah. Okay. Fuck off anyway. We
play for fans, not critics.

Stung, William shrugs. It's been a terrible night, but at
least thrillingly so.

WILLIAM
Russell. Jeff. Ed. Larry.
(can't help it)
I really love your band. I think the
song "Fever Dog" is a big step forward
for you guys. I think you guys
producing it yourselves, instead of
Glyn Johns, was the right thing to do.
And the guitar sound was incendiary.
(gestures with fist)
Way to go.

He turns and leaves, beginning his long trek back up the ramp.
Russell looks at the others. That kind of love is hard to
give up.

RUSSELL
(good humored, yelling)
Well don't stop there.

JEFF
Yeah, come back here!! Keep going!

They wave him back, as the backstage door opens again. The
kid moves back down the ramp. They herd him in with them,
through the door. Scotty quickly spots the kid and squares
off.

Russell notes the kid's swirling emotional state, shoves him
forward.
SCOTTY
Not this one.

RUSSELL
He's with us.

SCOTTY
He's not with you. He's not with them.
He's not on the list. He's not coming
in. And this is my arena. And
furthermore -

Russel craves the confrontation and moves forward closer to
Scotty.

SCOTTY (cont'd)
- have a good time tonight. Welcome
to San Diego.
Genres: ["Drama","Music"]

Summary William is driven by his mother, Elaine, to the San Diego Sports Arena for an interview with Black Sabbath. Elaine expresses her protective feelings about the youth, while William prepares for his interview. After being dropped off, he faces rejection from Scotty, the gatekeeper, and struggles to connect with the band Stillwater. He meets two 'Band Aids,' Estrella and Penny Lane, who help him navigate the scene. Despite initial dismissals, William impresses Stillwater with his music knowledge, leading to a moment of acceptance as they invite him backstage.
Strengths
  • Sharp dialogue
  • Tension-filled interactions
  • Insight into the music industry
Weaknesses
  • Some characters may come off as stereotypical

Ratings
Overall

Overall: 8

The scene is engaging, filled with tension, and provides insight into the music industry and the dynamics between journalists and musicians.


Story Content

Concept: 8

The concept of a young journalist trying to interview a rock band backstage is intriguing and well-executed.

Plot: 7

The plot revolves around the young journalist's attempts to interview the band members and the conflicts that arise in the backstage setting.

Originality: 9

The scene offers a fresh perspective on the music industry and the dynamics between journalists, musicians, and fans. The characters' interactions feel authentic and engaging, with a mix of humor and drama that sets it apart.


Character Development

Characters: 8

The characters are well-defined, with distinct personalities and motivations, especially the young journalist and the band members.

Character Changes: 7

The young journalist undergoes a minor change in his perception of the band members and the backstage world.

Internal Goal: 8

The protagonist's internal goal is to prove himself as a serious journalist and gain respect in the music industry. This reflects his desire for validation and recognition of his talent and passion for music journalism.

External Goal: 7

The protagonist's external goal is to interview the band Black Sabbath for Creem Magazine. This goal reflects his immediate challenge of gaining access to the backstage area and proving his credibility as a journalist.


Scene Elements

Conflict Level: 8

There is a high level of conflict between the young journalist and the band members, as well as internal conflicts within the characters.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing multiple obstacles in his quest to interview Black Sabbath. The conflicts with Scotty and the band members create tension and uncertainty, adding depth to the narrative.

High Stakes: 7

The stakes are high for the young journalist as he tries to secure an interview with the band members and prove himself as a journalist.

Story Forward: 8

The scene moves the story forward by introducing new conflicts and deepening the understanding of the characters.

Unpredictability: 8

This scene is unpredictable due to the unexpected interactions between characters and the shifting power dynamics. The audience is kept on their toes, unsure of how the protagonist will navigate the challenges he faces.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the difference between groupies and true music fans. The characters debate the motivations behind their presence at the concert, highlighting the clash between superficial fame-seeking and genuine appreciation for music.


Audience Engagement

Emotional Impact: 7

The scene evokes mixed emotions, including tension, defiance, and reflection.

Dialogue: 9

The dialogue is sharp, witty, and reveals the tensions and dynamics between the characters effectively.

Engagement: 9

This scene is engaging because of its dynamic characters, witty dialogue, and high stakes. The protagonist's journey to interview Black Sabbath keeps the audience invested in his struggles and triumphs.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed reveals and character interactions. The rhythm of the dialogue and action keeps the audience engaged and invested in the story.


Technical Aspect

Formatting: 8

The scene follows standard formatting for a screenplay, with clear scene headings, character names, and dialogue formatting. It adheres to industry standards for scriptwriting.

Structure: 8

The scene follows a well-paced structure, introducing conflicts, characters, and setting in a coherent and engaging manner. It sets up the protagonist's goals and challenges effectively.


Critique
  • The scene effectively establishes the tension between William's aspirations and his mother's protective instincts. Elaine's dialogue captures her concern for her son and the broader implications of the rock and roll lifestyle, which adds depth to her character.
  • William's internal conflict is palpable as he prepares for the interview, and the contrast between his youthful innocence and the chaotic world of rock music is well-drawn. However, the scene could benefit from more visual cues that illustrate William's emotional state as he approaches the concert.
  • The introduction of Scotty as the gatekeeper is a clever narrative device that highlights the barriers William faces in his journey. However, his characterization could be enhanced with more subtlety; he comes off as a one-dimensional antagonist rather than a complex figure with his own motivations.
  • The dialogue between William and the groupies is engaging and provides insight into the world of rock music from a female perspective. However, the term 'Band Aids' could be better explained or contextualized for clarity, as it may not be familiar to all viewers.
  • The pacing of the scene is generally good, but the transitions between William's interactions with Elaine, Scotty, and the groupies could be smoother. Some moments feel abrupt, which disrupts the flow of the narrative.
Suggestions
  • Consider adding more visual elements that reflect William's emotional journey as he approaches the concert, such as close-ups of his anxious expressions or the contrasting energy of the crowd.
  • Develop Scotty's character further by giving him a backstory or a moment of vulnerability that explains his behavior, making him a more relatable figure rather than just an obstacle for William.
  • Clarify the concept of 'Band Aids' through a brief exchange or a visual cue that illustrates their role in the rock scene, ensuring that all viewers can grasp the significance of their identity.
  • Smooth out the transitions between different interactions by using visual or auditory cues, such as the fading sound of Elaine's voice as William moves into the crowd, to create a more cohesive flow.
  • Consider adding a moment where William reflects on his mother's words as he stands in the crowd, perhaps through a voiceover or a brief internal monologue, to deepen the emotional impact of the scene.



Scene 7 -  Backstage Buzz
27 INT. BACKSTAGE HALLWAY --
NIGHT 27

The band moves quickly down the hallway, with William moving
to keep up. A young and grizzled red-haired roadie, RED DOG,
catches them on the way. The band swarms around him.

RUSSELL
Red Dog!

RED DOG
We're playing here tomorrow night.

JEFF
(aside, to the kid)
This is Red Dog, the Allman Brothers
Band's number one roadie.

Russel clamps an arm around Red Dog's neck.

RUSSELL
How're the guys?

RED DOG
Havin a ball, man. When we have a
party, we have an Allman Brothers Band
party. Everybody boogies. Everybody
gets off. It's family, man. We all got
These now.
(flashes new mushroom tattoo
on forearm)
We'll see you guys in Boston, right?
(specifically to Russell)
Dicky and Gregg send you their love.

Camera catches flash of envy on the face of Jeff Bebe, as
Stillwater sweeps forward into a small dressing room.

28 INT. DRESSING ROOM -- NIGHT
28

Dressing room activity swirls around him, as William simply
listens. He holds a small microphone. His stoic look gives
away
little of the full body rush he's experiencing. As the other
band members drift across frame, Russell Hammond, a true rock
and
roll believer, speaks as he straps on his guitar and gets ready
for the show. To the kid, every word is reckless gem.

RUSSELL
... and it's okay, because rock and
roll is a LIFESTYLE... and a way of
thinking and it's not about money and
"popularity!"

JEFF
Some money would be nice.

Jeff sprays some shaving cream into his palm, and rubs it into
his scalp - poor man's mousse.

RUSSELL
- but it's a voice that says here I
am... and FUCK YOU if you can't
understand me.

Russell smooths the strings of his guitar with a small cloth
from his guitar case. The kid notices all these close-up
details of rock.

RUSSELL (cont'd)
And one of those people is gonna save the
world and that means that ROCK AND ROLL
CAN SAVE THE WORLD -- all of us together.

The kid's eyes dance. He checks to make sure he's getting the
recording. He listens intently.

JEFF
And the chicks are great.

RUSSELL
But we didn't do it for that! We are
here because we needed to fuckin be
here, not just 'cause we needed to
away from Troy, Michigan, WHICH WE
DID... but what it all comes down to
is that thing. The Indefinable Thing,
when people catch something from your
music, the thing you put into it. I'm
talking about... what am I talking
about?

WILLIAM
(elegantly)
The buzz?

RUSSELL
THE BUZZ! And the chicks, the
whatever, is an off-shoot of THE BUZZ.
And like -- you saying you liked "Fever
Dog?" That is the fucking buzz, man.
All we get are these fucking old-ass
interviewers who don't understand,
don't LISTEN, don't appreciate why we
are here, which is the fuckin' BUZZ.

William nods, holds his microphone steady. Russell tunes his
guitar, ripping through unamplified guitar licks as he speaks.
Jeff hustles to reclaim his own connection to the interviewer.

JEFF
The next album will be even better.
More texture.

RUSSELL
But... it's not what you put in, is
it? It's what you leave out. Listen
to... listen to Marvin Gaye...

Russell's face grows rapturous as he discusses this piece of
music.

RUSSELL (cont'd)
A song like "What's Going On." That
single "woo" at the end of the second
verse - you know that woo - that single
"woo."

WILLIAM
(proudly)
I know that, "woo."

RUSSELL
(he does it)
That's what you remember. The silly
things, the little things... there's
only one, and it makes the song. It's
what you leave out. That's rock and
roll.

William nods, says nothing, keeps the microphone pointed.
Activity surrounds him.

JEFF
(impressed)
We used to talk more about this stuff.

RUSSELL
Okay. See, this is maybe the most
honest we've ever been in an interview
because you know our music. You're
the first press guy we've made friends
with. We don't normally talk like
this to them. And you're supposed to
be The Enemy! What are you - 18?

WILLIAM
Yeah.

RUSSELL
There you go. Still young enough to
be honest.

DICK
(walkie talkie crackling)
Ten minutes 'till showtime, anyone who
isn't in the band -- out!

Russell takes a last swig of beer. A roadie whisks his guitar
away.

DICK (cont'd)
All this luggage is going to L.A.!

William is swept out in the chaos of the pre-show ritual,
past the pile of luggage by the door. It's a colorful heap of
suitcases, featuring colorful laminated band tags, each with a
number.
Genres: ["Drama","Music"]

Summary In a bustling backstage environment, the band Stillwater prepares for their show, fueled by excitement and camaraderie. Roadie Red Dog shares greetings from the Allman Brothers, while Russell passionately discusses the essence of rock and roll with William, emphasizing the emotional connection in music. Jeff adds humor to the mix, highlighting the perks of band life. As the urgency builds with Dick's announcement of impending showtime, the scene captures the chaotic energy and artistic tension of pre-show preparations.
Strengths
  • Authentic portrayal of rock and roll culture
  • Complex and well-developed characters
  • Insightful dialogue that captures the essence of the music industry
Weaknesses
  • Limited focus on secondary characters
  • Some cliched elements in the portrayal of rock stars

Ratings
Overall

Overall: 9

The scene is highly engaging, offering a profound insight into the world of rock music and the characters involved. It is emotionally charged, thought-provoking, and sets the stage for significant developments in the story.


Story Content

Concept: 9

The concept of exploring the philosophy and ethos of rock and roll through the eyes of a young journalist is compelling and well-executed. It delves into the core values of the music industry and the transformative power of art.

Plot: 8

The plot advances as William gains valuable knowledge and connections in the music world, setting the stage for his growth and development as a character. The scene also introduces conflicts and tensions within the band, adding depth to the narrative.

Originality: 9

The scene demonstrates a high level of originality through its fresh approach to exploring the inner workings of a rock band. The authenticity of the characters' actions and dialogue adds depth and complexity to the scene.


Character Development

Characters: 9

The characters, especially Russell Hammond, are well-developed and complex, each with their own motivations and beliefs. Their interactions reveal layers of personality and drive the scene forward with authenticity.

Character Changes: 8

The characters, especially William, undergo significant growth and transformation in the scene. William's encounter with the band and his insights into the music industry shape his perspective and set him on a new path.

Internal Goal: 8

William's internal goal in this scene is to capture the essence of the band members' beliefs and values about rock and roll music. He is seeking to understand their passion and dedication to their craft.

External Goal: 7.5

The protagonist's external goal in this scene is to document the band members' interactions and preparations before a show. He is focused on capturing the behind-the-scenes moments of a rock concert.


Scene Elements

Conflict Level: 7

The scene introduces internal conflicts within the band and external challenges faced by William as he navigates the music world. These conflicts add tension and drama, driving the narrative forward.

Opposition: 7.5

The opposition in this scene is strong, with conflicting beliefs and values among the characters creating tension and drama. The audience is left unsure of how the conflicts will be resolved.

High Stakes: 7

The stakes are high for William as he navigates the music world and seeks to make a name for himself as a journalist. The band also faces challenges and decisions that could impact their future, adding tension and urgency to the scene.

Story Forward: 9

The scene propels the story forward by deepening the characters, introducing new conflicts, and setting up future developments. It lays the groundwork for William's journey and the band's evolution, driving the narrative towards its climax.

Unpredictability: 7

This scene is unpredictable because of the conflicting beliefs and values of the characters, as well as the unexpected revelations about the band members' motivations and passions.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the band members' belief in the power of rock and roll music to save the world versus the commercial aspects of the music industry. Russell's passionate speech about the 'buzz' and the essence of rock and roll challenges traditional notions of success and fame in the music industry.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from excitement and passion to nostalgia and introspection. The characters' struggles and triumphs resonate with the audience, creating a powerful emotional connection.

Dialogue: 9

The dialogue is sharp, insightful, and captures the essence of rock and roll culture. It conveys the passion, rebellion, and camaraderie of the characters, adding depth and authenticity to their interactions.

Engagement: 9

This scene is engaging because it immerses the audience in the vibrant world of rock and roll culture, with dynamic character interactions and passionate dialogue that keeps the viewer invested in the story.

Pacing: 8.5

The pacing of the scene contributes to its effectiveness by building tension and revealing character dynamics in a natural and engaging way. The rhythm of the dialogue and actions keeps the audience invested in the story.


Technical Aspect

Formatting: 8

The formatting of this scene follows the expected format for a dialogue-heavy interaction between characters in a screenplay. The scene is well-paced and structured to maintain the audience's engagement.

Structure: 8

The structure of this scene follows the expected format for a backstage interaction in a music-themed screenplay. The pacing and rhythm of the scene contribute to its effectiveness in building tension and revealing character dynamics.


Critique
  • The scene effectively captures the chaotic energy of a backstage environment, immersing the audience in the rock and roll lifestyle. The dialogue between Russell and the other band members feels authentic and reflects their passion for music, which is essential for character development.
  • William's character is well-established as an eager and impressionable young journalist, and his interactions with Russell highlight the generational gap in their perspectives on music. However, the scene could benefit from more internal conflict for William, as he navigates his admiration for the band and his role as a journalist.
  • The use of humor, particularly through Jeff's comments, adds a light-hearted touch to the scene, balancing the more serious themes of artistic integrity and the essence of rock and roll. However, the humor could be more evenly distributed to maintain a consistent tone throughout.
  • The pacing of the scene is generally good, but it could be tightened in certain areas, particularly during Russell's monologues. While his passionate speeches are engaging, they risk losing the audience's attention if they become too lengthy without interruption.
  • The visual elements, such as the description of the dressing room and the chaotic pre-show preparations, are vivid and help set the scene. However, incorporating more sensory details (like sounds, smells, and the atmosphere) could enhance the immersive experience for the audience.
Suggestions
  • Consider adding more internal thoughts or reactions from William to deepen his character and show his struggle between admiration for the band and his journalistic integrity.
  • Introduce a moment of tension or conflict within the band during the dressing room scene to create stakes and keep the audience engaged. This could be a disagreement about their music or a personal issue that affects their performance.
  • Shorten some of Russell's monologues to maintain a brisk pace. You could break them up with reactions from William or interjections from other band members to keep the dialogue dynamic.
  • Incorporate more sensory details to enhance the atmosphere of the backstage environment. Describe the sounds of the crowd, the smell of sweat and beer, or the visual chaos of the dressing room to create a more vivid scene.
  • Consider using William's microphone as a narrative device to reflect his growing confidence or insecurity throughout the scene. For example, he could fumble with it during a moment of doubt or hold it steady when he feels empowered.



Scene 8 -  Backstage Connections
29 INT. BACKSTAGE STEPS -- NIGHT -- MINUTES
LATER 29

William sits on the backstage steps, writing feverishly in his
notebook. Behind him, two steps higher, Penny Lane scoots
into place.

PENNY LANE
I found you a pass.

WILLIAM
(amped, distracted)
Thanks. I got in with Stillwater.
(as he writes)
The guitarist, Russel Hammond, he
just thoroughly opened up. He is by
far the best and most honest interview
I've ever done.
(she nods)
I've only done two, but you know.
He's number one.

PENNY LANE
You're learning. They're much more
fun on the way up.

William nods, still scribbling. She eases down into place on
the step next to him. Her proximity cause him to look at
her, his eyebrows rising. She smooths them down with two
single
fingers.

PENNY LANE (cont'd)
How old are you?

WILLIAM
Eighteen.

PENNY LANE
Me too.
(beat)
How old are we really?

WILLIAM
Seventeen.

PENNY LANE
Me too.

WILLIAM
Actually I'm 16.

PENNY LANE
Me too. Isn't it funny? The truth
just sounds Different.

WILLIAM
(confesses)
I'm 15.
PENNY LANE
You want to know how old I really am?

WILLIAM
(immediately)
No.

She looks upstairs, soaking in the sound of another band tuning
up. Music is her religion.

WILLIAM (cont'd)
How did you get started in all this?

PENNY LANE
It's a long story.

WILLIAM
(quick study)
Right. Right.

PENNY LANE
We live in the same city. We should
be friends.

She takes his backstage pass form his shirt and puts it on his
thigh - the cooler location. Nearby, the dressing room door
opens, and the Stillwater exits. Excitement level rises as
they mass in the hallway with instruments. We hear the amped
voice of Russell growing nearer.

RUSSELL
The Enemy!

He approaches, as William stands. Penny watches, hanging out
of Russell's eyesight.

Standing in the supercharged hallway, the kid is anxious to
introduce his new friends.

WILLIAM
Russell, this is Penny Lane.

PENNY LANE
(stepping into view)
Pleasure.

RUSSELL
Penny Lane? Like the song, right?

PENNY LANE
Have we met?
THEY SHAKE

And do not let go, for too long. There is history in their
shake. Their eyes tell all. Shot takes us to William, who
puts two and two together. It isn't hard. They clearly know
each other. Well.

WILLIAM
Well, I guess you've... you've met.

DICK
Penny Lane! God's gift to rock and
roll!! You're back!
(privately)
Marc Bolan. Please.

Other band members pass, adjusting clothes for show time,
waiting in the hallway... and now singing the Beatles song
"Penny Lane."

RUSSELL
Come on, let's go.
(noting kid's shyness)
Both of you.
Genres: ["Drama","Music"]

Summary William, backstage and focused on his writing, is approached by Penny Lane, who playfully engages him in a conversation about their ages and shared love for music. As they bond, the band Stillwater prepares to perform, and William introduces Penny to Russell, a band member who recognizes her, hinting at a deeper connection between them. The scene captures the youthful excitement and flirtation of the rock and roll lifestyle, culminating in Russell inviting both William and Penny to join him as the band takes the stage.
Strengths
  • Engaging dialogue
  • Emotional resonance
  • Character development
  • Authentic interactions
Weaknesses
  • Low conflict level
  • Relatively low stakes

Ratings
Overall

Overall: 8

The scene is well-written, engaging, and emotionally resonant, with strong character interactions and a sense of connection between the characters. The dialogue is natural and compelling, drawing the audience into the world of the music industry backstage.


Story Content

Concept: 8

The concept of backstage interactions and the connection between characters in the music industry is well-executed and adds depth to the overall story. The scene effectively explores themes of youth, friendship, and the music industry.

Plot: 7

The plot of the scene focuses on the interaction between William and Penny Lane backstage, adding depth to their characters and advancing their relationship. The scene moves the story forward by establishing a connection between the characters and setting up future developments.

Originality: 8

The scene offers a fresh take on the music industry, focusing on the personal connections and emotional dynamics behind the scenes. The characters' actions and dialogue feel authentic and relatable, adding a layer of originality to the familiar rock and roll setting.


Character Development

Characters: 9

The characters of William and Penny Lane are well-developed and engaging, with distinct personalities and motivations. Their interactions feel authentic and add depth to the scene, creating a sense of connection and emotional resonance.

Character Changes: 7

Both William and Penny Lane experience a subtle change in their relationship and understanding of each other during the scene. Their connection deepens, and they both reveal more about themselves, leading to a shift in their dynamic.

Internal Goal: 8

The protagonist's internal goal in this scene is to establish himself as a serious music journalist and gain the respect of the musicians he admires. This reflects his desire for validation, recognition, and a sense of belonging in the music industry.

External Goal: 7

The protagonist's external goal in this scene is to conduct a successful interview with the guitarist, Russel Hammond, and make a good impression on him. This reflects the immediate challenge of proving himself as a journalist and building connections in the music world.


Scene Elements

Conflict Level: 5

The conflict in the scene is relatively low, focusing more on the connection and interaction between the characters rather than external conflicts. The tension comes from the emotional dynamics between William and Penny Lane, adding depth to their relationship.

Opposition: 7

The opposition in the scene is strong, with conflicts arising from the characters' hidden truths, personal insecurities, and social dynamics. The audience is left wondering how these conflicts will be resolved and how they will impact the characters' relationships.

High Stakes: 4

The stakes in the scene are relatively low, focusing more on the personal and emotional dynamics between the characters rather than high-stakes conflicts. The tension comes from the connection and interaction between William and Penny Lane.

Story Forward: 8

The scene effectively moves the story forward by establishing a connection between William and Penny Lane, setting up future developments and adding depth to their characters. The interactions in the scene advance the plot and create anticipation for what's to come.

Unpredictability: 7

This scene is unpredictable because of the unexpected revelations about the characters' ages and identities, as well as the tension in the interactions between William, Penny Lane, and Russell Hammond. The audience is kept on their toes, unsure of how the relationships will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the idea of authenticity and identity. Penny Lane and William both struggle with their true ages and identities, highlighting the theme of self-discovery and the masks we wear in different social contexts.


Audience Engagement

Emotional Impact: 8

The scene has a strong emotional impact, drawing the audience into the world of the music industry backstage and creating a sense of connection and nostalgia. The interactions between William and Penny Lane are emotionally resonant and engaging.

Dialogue: 9

The dialogue in the scene is natural, engaging, and reveals important aspects of the characters' personalities and motivations. The conversations between William and Penny Lane are compelling and add depth to their relationship, drawing the audience into the scene.

Engagement: 9

This scene is engaging because of its dynamic dialogue, emotional depth, and relatable characters. The interactions between William and Penny Lane, as well as the introduction of Russell Hammond, create intrigue and suspense, drawing the audience into the story.

Pacing: 9

The pacing of the scene contributes to its effectiveness by building tension, emotional depth, and character development. The dialogue flows naturally, with pauses and beats that enhance the dramatic moments and character interactions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, character names, and dialogue formatting. The visual descriptions and character actions are well-defined, enhancing the reader's understanding of the setting and character interactions.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness, building tension and emotional depth.


Critique
  • The scene effectively captures the youthful energy and excitement of William and Penny as they navigate the rock and roll world. Their playful banter about their ages adds a layer of humor and highlights their insecurities, which is relatable for the audience.
  • Penny's character is well-developed in this scene, showcasing her confidence and charm. The way she interacts with William, especially when she smooths down his eyebrows, adds a touch of intimacy and flirtation, which enhances their chemistry.
  • The dialogue flows naturally, with a good mix of humor and earnestness. However, the repeated age confusion could be streamlined to avoid redundancy. While it emphasizes their youth, it may come off as overly drawn out.
  • The introduction of Russell adds tension and excitement to the scene, but the transition from the intimate moment between William and Penny to the arrival of Russell feels slightly abrupt. A smoother transition could enhance the pacing.
  • The use of music as a backdrop is effective, reinforcing Penny's connection to the rock scene. However, the scene could benefit from more vivid descriptions of the sounds and atmosphere to immerse the audience further into the setting.
Suggestions
  • Consider tightening the dialogue about their ages to maintain the humor without it feeling repetitive. Perhaps limit the back-and-forth to two exchanges instead of four.
  • Enhance the transition between the intimate moment and Russell's entrance by adding a brief moment of anticipation or tension, such as William's nervousness about introducing Penny to Russell.
  • Incorporate more sensory details about the backstage environment, such as the sounds of tuning instruments or the buzz of excitement from the crowd, to create a more immersive experience.
  • Explore Penny's backstory briefly in her dialogue to give the audience a glimpse of her journey into the rock scene, which could deepen her character and make her connection with William more impactful.
  • Consider adding a visual cue or action that signifies the chemistry between Penny and Russell, such as a shared glance or a subtle gesture, to foreshadow their history and create intrigue for William.



Scene 9 -  Backstage Excitement
30 INT. BACKSTAGE --
NIGHT 30

House lights go down. Cheers rise. Dick's flashlight dances
on the ground just in front of them, guiding their way in the
dark to the stage steps.

RUSSELL
- get in the huddle.

Russell pulls William into the band's huddle.

SHOT LOOKING UP AT THEM

Their band ritual, psyching together, arms on each other's
shoulders in a circle. They sing a dew lines of the classic
"Train Kept A-Rollin'" (or "Go See Cal" from the Cal
Worthington
ad) They all touch feet, and then break, heading for the stage.
Russell directs Penny to his side of the stage. The kid
follows.
Plugging in, still in darkness, Russell hits a practice chord -
-
thwack. He steps on effects pedal. Applause. (Adlib onstage
private patter, between members, goading each other -- the
stuff
no audience ever hears) Twenty feet away, Dick prepares to
address the crowd from the darkened stage. It is his favorite
moment of the evening, the highlight of his job.

DICK
From Troy, Michigan. Please welcome --
(importantly)
Stillwater.

Light hits the stage, and the band launches into their opening
song, "If You Say Nothing." Audience response is strong.
Shot lingers on the face of William as he soaks in the most
undeniably exciting moment of any concert, the first thirty
seconds.

Jeff the singer grabs the microphone and launches into some
vocal pyrotechnics. Russell looks over to Penny and William,
at stage right, grinning, pretending to trip on his cord, an
elegant show-off move of a musician who is now where he
belongs... before seriously stepping forward for the first
guitar lead of the night. The kid looks over to see Penny
watching Russell.

31 EXT. BACKSTAGE -- NIGHT --
LATER 31

Cases are shut and rolled toward the trucks. Stillwater heads
for their bus. Jeff the singer says goodbye to Estrella Starr,
like a sailor leaving port. Russell lingers behind, saying
goodbye to William, loading his own equipment. Black Sabbath
passes with entourage, heading to the stage.

RUSSELL
(privately)
So. You want to come up to L.A., we'll
be at the "Riot House" all week.

WILLIAM
"The Riot House?"

RUSSELL
The Continental Hyatt House! It's on
Sunset Strip.

WILLIAM
(attempting cool)
Right. Right.

All the while, just over the kid's shoulder, Russell scans the
backstage crowd of hangers-on. Looking perhaps for Penny Lane.

DICK
Let's blow this burg!
RUSSELL
(exiting)
Well tell your friend Miss Penny Lane
to Call Me. Tell her "It ain't
California without her. We want her
around like last summer." Say it
like that.

WILLIAM
Got it.

RUSSELL
(returns, whispers)
Oh, I'm under the name - Harry Houdini.

JEFF
(exiting, to William)
The Enemy!! Yeah!! Come to L.A.,
we'll take some more.

Russell joins Jeff, exiting and laughing. A good show is still
in the air.

WILLIAM
Later Jeff! See you, Dick. Larry.
Ed.
(and now the roadies)
Mick, Gregg, Red Dog, Scully, Frosty,
Estrella, The Wheel!

ROADIES DICK
Laterrrr! We'll see you down the
line.

William is deliriously happy, hands upraised. He turns to see
Penny.

WILLIAM
PENNY!

PENNY
(calming him)
Hey. Hey. Be cool.

WILLIAM
You just missed Russell! He says he's
at the "Riot House" all week and to call
him. He's under the name Harry Houdini.
Do you know about the "Riot House?"

PENNY LANE
I think I've heard of it.

WILLIAM
He had a message for you! He said,
"It's not California without you. We
want you around like last summer."
(consults notebook)
Actually he said "ain't." "It ain't
California - "

PENNY LANE
I get the gist.

WILLIAM
How well do you guys know each other?

She smiles privately.

WILLIAM (cont'd)
I got it. No problem. Long story.
Alright! I gotta go.

Elsewhere in the arena, Black Sabbath is performing "Sweet
Leaf." The kid could care less. He has bonded with
Stillwater.
He heads for the door. Penny walks with him. He's loving it.
They pass a still-scowling Scotty, flashing passes, as they
exit out into the ramp area.
Genres: ["Drama","Music"]

Summary Backstage at a concert, the band Stillwater engages in a pre-show ritual led by Russell, who exudes charisma and confidence. After a successful performance, he invites William to join them in L.A. and sends a message to Penny Lane, hinting at a deeper connection between them. William, starstruck and excited, relays the invitation to Penny, who responds with a calm understanding. The scene captures the exhilarating atmosphere of live music and the budding relationships among the characters, ending with William and Penny leaving the arena together, filled with anticipation.
Strengths
  • Engaging dialogue
  • Authentic character interactions
  • Emotional depth
Weaknesses
  • Limited exploration of internal conflicts
  • Some predictable moments

Ratings
Overall

Overall: 9

The scene is engaging, well-paced, and filled with emotional depth, capturing the essence of a pivotal moment in the story.


Story Content

Concept: 9

The concept of exploring the backstage dynamics of a rock band and the interactions between characters is executed effectively, adding depth to the narrative.

Plot: 9

The plot advances significantly as William gains access to the backstage world of Stillwater, setting the stage for future developments.

Originality: 9

The scene offers a fresh perspective on the music industry of the 1970s, with authentic character interactions and a focus on personal relationships. The dialogue feels natural and the setting is vividly portrayed.


Character Development

Characters: 9

The characters are well-developed, with distinct personalities and motivations that drive the scene forward.

Character Changes: 7

William experiences growth and new connections in the scene, setting the stage for further development.

Internal Goal: 8

The protagonist's internal goal is to navigate the complexities of relationships within the band and with Penny Lane. He seeks acceptance, connection, and a sense of belonging in this world.

External Goal: 7

The protagonist's external goal is to establish himself as a respected member of the band and to navigate the opportunities and challenges that come with being part of the music industry.


Scene Elements

Conflict Level: 6

While there is some tension and conflict in the scene, it is overshadowed by the excitement and camaraderie of the backstage environment.

Opposition: 7

The opposition in the scene is moderate, with conflicts and challenges that test the protagonist's relationships and goals. The audience is left wondering how these obstacles will be overcome.

High Stakes: 7

While the stakes are not life-threatening, the scene is crucial for William's journey and the development of his relationships.

Story Forward: 8

The scene moves the story forward by introducing new relationships, conflicts, and opportunities for the characters.

Unpredictability: 7

This scene is unpredictable because of the shifting dynamics between characters, unexpected interactions, and the potential for conflict and resolution. The audience is kept on their toes.

Philosophical Conflict: 7

The philosophical conflict revolves around the pursuit of fame, success, and personal fulfillment in the music industry. It challenges the protagonist's values, beliefs, and sense of identity.


Audience Engagement

Emotional Impact: 9

The scene evokes a range of emotions, from excitement to nostalgia, creating a powerful connection with the audience.

Dialogue: 8

The dialogue is natural, engaging, and reveals the relationships between characters effectively.

Engagement: 9

This scene is engaging because of its dynamic characters, emotional conflicts, and vivid setting. The audience is drawn into the world of the music industry and invested in the protagonist's journey.

Pacing: 8

The pacing of the scene is well-executed, with a balance of action, dialogue, and emotional beats. The rhythm enhances the tension and drama of the concert setting.


Technical Aspect

Formatting: 8

The scene follows standard formatting conventions for a screenplay, with clear scene headings, character names, and dialogue formatting. The visual descriptions and action lines are well-crafted.

Structure: 8

The scene follows a clear structure, moving from backstage preparations to the concert performance and post-show interactions. The pacing and rhythm enhance the dramatic tension and emotional impact.


Critique
  • The scene effectively captures the excitement and energy of a live concert, which is essential for a story centered around music and youth. The use of dialogue and action conveys the camaraderie among the band members, particularly in the huddle, which adds depth to their relationships.
  • However, the transition from the concert's high-energy opening to the quieter moment between William and Penny feels slightly abrupt. While the excitement is palpable, the shift to a more intimate conversation could benefit from a smoother transition that maintains the emotional momentum.
  • William's character development is evident as he navigates the rock scene, but his reactions could be more nuanced. For instance, his excitement about Russell's invitation to L.A. could be contrasted with a moment of self-doubt or reflection on what that means for him, adding complexity to his character.
  • The dialogue between William and Penny is playful, but it could delve deeper into their emotional connection. While they share a moment of excitement, exploring their insecurities or aspirations could enhance the stakes of their relationship and make the audience more invested in their dynamic.
  • The scene ends on a high note with William's happiness, but it might benefit from a hint of foreshadowing regarding the challenges he will face in the rock world. This could create a more layered conclusion that leaves the audience anticipating future conflicts.
Suggestions
  • Consider adding a brief moment of reflection for William after the concert, where he contemplates the significance of the experience and what it means for his aspirations as a journalist.
  • Enhance the dialogue between William and Penny by incorporating more personal insights or vulnerabilities, allowing the audience to connect with their characters on a deeper level.
  • Introduce a visual element that symbolizes William's journey, such as a close-up of his notebook filled with notes and sketches, to emphasize his growth and aspirations amidst the chaos of the concert.
  • Create a smoother transition between the concert's excitement and the conversation with Penny by incorporating a moment where William processes the performance before engaging with her, perhaps by pausing to take in the atmosphere.
  • Foreshadow potential challenges by subtly hinting at the darker side of the rock scene during the huddle or in the dialogue, which could set the stage for future conflicts and character development.



Scene 10 -  An Invitation to Adventure
32 EXT. SPORTS ARENA -- NIGHT
32

Penny takes out an eyeliner pencil, writes her number on the
back of his green notebook.

PENNY LANE
Call me if you need a rescue. We live
in the same city.

WILLIAM
I think I live in a different world.

They stand in the night air. The parking lot is largely silent
now, save for the thudding bass sounds of Black Sabbath. In
the distance, we hear Elaine's insistent whistle.

PENNY
Speaking of the world. I've made a
decision.
(a very serious secret)
I'm going to live in Morocco for one
year. I need a new crowd.
He nods. He is a rapt audience for this flashy girl.

PENNY (cont'd)
Do you want to come?

WILLIAM
Yes.

In the distance, we hear the family whistle growing louder.

PENNY
It's a plan. You've got to call me.

WILLIAM
Okay.

PENNY
It's all happening.

WILLIAM
It's all happening.

He nods cooly. He waits until she turns, and the sprints
through the parking lot, to the distant family whistle.

FADE OUT:

FADE IN:

33 ON TAPE
RECORDER 33

William's fingers work the clunky keys, pressing rewind. We
hear a snippet of the intense and lively Stillwater interview,
full of overlapping and barely discernible voices.
Meticulously, he untangles the voices, especially Russell's,
as he transcribes.

INT. WILLIAM'S BEDROOM - DAY

The work of a journalist, as William sits at his Smith-Corona
Galaxis. There is a knock at the window, and William scoots
back in his chair to see a familiar face. It is Darryl, his
sister's old boyfriend. William opens the window.

WILLIAM
Hey Darryl.

DARRYL
Hey.
Darryl climbs in the window, looks around the room that was
once the site of his previous glory.

DARRYL (cont'd)
So she's a stewardess now.

WILLIAM
Yeah. She and Mom are still sorta...
I'd say "not speaking," but I don't
know if they ever did.

DARRYL
Your sister. A stewardess.
(nods to himself)
The things your sister and I did inside
these four walls...

WILLIAM
That's okay. I don't want to know.
It's my room now.

DARRYL
We flew the friendly skies -

WILLIAM
Okay -

DARRYL
I don't want to put you in the middle
of anything. We don't have to talk
about it.

WILLIAM
No.

DARRYL
You seem cooler.

WILLIAM
Yeah. I'm thinking about going to
Morocco.

DARRYL
Lemme know if you need a little help
with your Mom.

WILLIAM
A little might not be enough.

DARRYL
She still freaks me out.
WILLIAM
(nods, an old issue)
Yeah -

DARRYL
She's famous.

WILLIAM
Listen -

DARRYL
Go ahead and do what you were doing.
I just wanna hang in here for a moment.

WILLIAM
Cool. Alright.

William nods and continues his work, self-consciously, as
Darryl
sits on his bed and soaks in the memories of the room. A long
moment passes. Darryl pats his thighs, and rises.

DARRYL
Okay, man.

WILLIAM
Okay, man.
Genres: ["Drama","Coming-of-age","Music"]

Summary In a nighttime parking lot, Penny writes her number on William's notebook and shares her dream of living in Morocco for a year, inviting him to join her. Captivated by her adventurous spirit, William eagerly agrees. Their moment of connection is interrupted as he rushes off to respond to a family whistle. The scene transitions to William's bedroom, where he reminisces with Darryl, his sister's old boyfriend, about family dynamics and the past, highlighting William's internal conflict between his current life and the allure of new possibilities.
Strengths
  • Strong character development
  • Emotional depth
  • Authentic dialogue
Weaknesses
  • Lack of external conflict
  • Limited action

Ratings
Overall

Overall: 8

The scene effectively conveys a sense of introspection and growth for the main character, with strong emotional resonance and thematic depth.


Story Content

Concept: 8

The concept of self-discovery and the search for belonging is well-developed and drives the narrative forward, providing a meaningful exploration of identity and personal growth.

Plot: 7

The plot advances through character interactions and revelations, setting up future conflicts and resolutions while maintaining a focus on William's journey of self-discovery.

Originality: 9

The scene introduces a fresh and original take on the theme of adventure and personal growth, with unique character dynamics and a sense of mystery and intrigue. The characters' actions and dialogue feel authentic and relatable, adding depth to the narrative.


Character Development

Characters: 8

The characters are well-defined and undergo subtle changes, particularly William as he navigates his relationships with his family and peers, adding depth and complexity to the narrative.

Character Changes: 7

William undergoes a subtle shift in perspective and understanding, moving towards greater self-awareness and acceptance of his unique identity.

Internal Goal: 8

The protagonist's internal goal is to break free from his current life and experience something new and exciting. This reflects his desire for change, growth, and a sense of adventure.

External Goal: 7

The protagonist's external goal is to make plans to go to Morocco with Penny. This reflects his immediate desire for adventure and escape from his current circumstances.


Scene Elements

Conflict Level: 6

While there are underlying tensions and conflicts within the relationships depicted, the scene focuses more on introspection and personal growth rather than external conflicts.

Opposition: 7

The opposition in the scene is strong, with conflicting desires and goals between the characters that create tension and uncertainty. The audience is left wondering about the outcome of their decisions and plans.

High Stakes: 5

While the stakes are not overtly high in this scene, the emotional and personal growth of the characters adds a sense of importance and significance to the narrative.

Story Forward: 7

The scene moves the story forward by deepening the audience's understanding of the characters and their relationships, setting up future conflicts and resolutions.

Unpredictability: 7

This scene is unpredictable because of the characters' unexpected decisions and the sense of mystery and intrigue surrounding their plans to go to Morocco. The audience is left wondering about the outcome of their adventure.

Philosophical Conflict: 7

There is a philosophical conflict between staying in the familiar and safe environment or taking a risk and exploring new opportunities. This challenges the protagonist's beliefs about stability and change.


Audience Engagement

Emotional Impact: 8

The scene evokes a strong emotional response through its exploration of themes of identity, family, and the passage of time, resonating with the audience on a personal level.

Dialogue: 7

The dialogue is natural and reflective of the characters' personalities, providing insight into their thoughts and emotions while driving the scene forward.

Engagement: 9

This scene is engaging because of its emotional depth, witty dialogue, and relatable characters. The audience is drawn into the characters' journey and invested in their decisions and relationships.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense, keeping the audience engaged and invested in the characters' journey. The rhythm of the dialogue and action adds to the emotional impact of the scene.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions that enhance the visual and emotional impact of the story. The formatting adds to the overall atmosphere and tone of the scene.

Structure: 8

The scene follows a clear and engaging structure, with a natural flow of dialogue and action that keeps the audience invested in the characters' journey. The pacing and rhythm of the scene contribute to its effectiveness and emotional impact.


Critique
  • The scene effectively captures the youthful exuberance and romantic tension between William and Penny, showcasing their connection through dialogue and shared aspirations. However, the dialogue could benefit from more subtext to deepen their interaction. While Penny's declaration about moving to Morocco is intriguing, it feels somewhat abrupt and lacks emotional weight. Exploring her motivations for this decision could add depth to her character and make the moment more impactful.
  • The contrast between the quiet parking lot and the distant sounds of Black Sabbath creates a nice atmosphere, but the scene could use more sensory details to enhance the setting. Describing the sights, sounds, and even smells of the concert aftermath could immerse the audience further into the moment.
  • William's response to Penny's invitation to Morocco is enthusiastic but lacks a sense of hesitation or contemplation that would be realistic for a young person faced with such a significant decision. Adding a moment of internal conflict or reflection could make his character more relatable and grounded.
  • The transition from the excitement of the concert to the more mundane setting of William's bedroom is effective, but the shift could be smoother. The fade-out and fade-in could be replaced with a more seamless transition that connects the two scenes thematically, perhaps by echoing a line or sentiment from their conversation in the next scene.
Suggestions
  • Consider adding a moment where William expresses his uncertainty about joining Penny in Morocco, which would create a more relatable internal conflict and enhance character development.
  • Incorporate more sensory details in the scene to paint a vivid picture of the environment, such as the lingering sounds of the concert, the cool night air, or the glow of the parking lot lights.
  • Explore Penny's motivations for wanting to move to Morocco in more detail, perhaps through a brief flashback or a deeper conversation that reveals her character's desires and fears.
  • Instead of a fade-out, use a visual or thematic element from the parking lot scene that carries over into the bedroom scene, creating a more cohesive narrative flow.



Scene 11 -  A Dance of Emotions
34 INT. LIVING ROOM -- EVENING
34

William slips on corduroy jacket, over a tie-dyed shirt. Well,
it's definitely a look. Mom appears more nervous than her
son.

ELAINE
I worry about the drunk drivers.

WILLIAM
Mom. I'm 15.
(beat, vague panic)
Right?

ELAINE
Yes, you're 15. "And here's that money
I owed you."

She reaches in a small box near the door, gives him twenty
bucks. It's their routine.

ELAINE (cont'd)
Your dad's favorite joke. I don't do
it as well.

WILLIAM
I thought it was pretty good.

ELAINE
Keep the small bills on the outside.
And call me if anyone gets drunk.

WILLIAM
I will call you if anyone
anywhere gets drunk.

ELAINE
Good.

WILLIAM
(anticipating her, like a
parent)
And don't take drugs.

ELAINE
(stoic)
Ha ha. Very funny. See -- sense of
humor. Have fun at the dance. I'm
glad you're making friends.

They move to the door, and he steadies her, as if to remind
her she's not going. He opens the door. She's a wreck, and
she knows it.

WILLIAM
Mom?

ELAINE
Yeah -

WILLIAM
(loving but firm, as if to
a dog.)
Stay.

ELAINE
Oh... okay.

WILLIAM
I-love-you-bye.

He opens the door. Neil Young. "Sugar Mountain." Watching
him leave is always a killer. She's not getting any better at
it either. She folds her arms tightly across her chest.
35 EXT. WILLIAM'S HOUSE --
NIGHT 35

Penny waist by her car, down the hill, sporting a different
more elegant look. She cups her hands and yells up to him.
He hikes down the hill, squishing down the water plants, almost
falling, the first time we've seen him happy in his own skin.

36 EXT. SUNSET BOULEVARD -- LATER
NIGHT 36

Miss Penny Lane's yellow Vega makes the big swing onto Sunset
Boulevard. She sings along to the obscure words of Led
Zeppelin's "Dancing Days." William takes it all in from the
passenger seat. Huge billboards advertise not cigarettes or
beer, but albums. It's a wondrous piece of geography for any
rock fan. Shot moves in as William, watches, takes it all in.
He moves his head outside the window to see fully. Her
windshield is cracked along the side.

PENNY LANE
The Continental Hyatt House. Also known
as The Riot House.
(does tour guide voice)
Every band stays here, all the ones
that matter. The Who. Zeppelin.
Alice. Bowie. English bands. American
bands. We all know each other. Twenty-
four hour room service. Like us, they
were outsiders. They were so outside,
they're inside, and insiders never
even knew it, because they're outsiders
and they are inside a place outsiders
will never be. And why are we even
talking about it? If you're really an
insider, you're never gonna say it.
You know what I mean?

WILLIAM
(beat, working it out)
Yeah. Yes.

She makes a swift turn into a secret parking spot near the
hotel.

PENNY
And we're not gonna hang out with
Russell. You can, but not me.

WILLIAM
What is it with you and Russell?
Genres: ["Drama","Coming-of-age","Music"]

Summary William prepares for a dance, donning a corduroy jacket over a tie-dyed shirt while his anxious mother, Elaine, expresses her worries about drunk drivers. They engage in their routine of exchanging money and advice, with William reassuring her and reminding her to stay safe. As he leaves, Elaine struggles with her emotions, but William lovingly encourages her to stay before departing. The scene shifts to Penny Lane waiting for him by her car, highlighting William's newfound happiness and confidence as he steps into a more carefree evening.
Strengths
  • Engaging dialogue
  • Character development
  • Emotional depth
  • Nostalgic tone
Weaknesses
  • Subtle conflict
  • Limited action

Ratings
Overall

Overall: 8

The scene effectively combines elements of drama, coming-of-age, and music genres to create a nostalgic and reflective tone. It introduces high stakes with William attending a dance and the potential for new experiences with Penny Lane, setting up future conflicts and character development.


Story Content

Concept: 8

The concept of a young boy navigating adolescence, music, and family dynamics is well-executed, providing a rich backdrop for character growth and thematic exploration.

Plot: 7

The plot revolves around William's preparations for a dance, his interactions with Penny Lane, and the introduction to the rock and roll lifestyle, setting the stage for future events and character arcs.

Originality: 9

The scene offers a fresh take on the coming-of-age theme by focusing on the intimate mother-son relationship and the teenage desire for independence. The characters' actions and dialogue feel authentic and relatable.


Character Development

Characters: 8

The characters of William, Elaine, and Penny Lane are well-developed, each with their own motivations and conflicts. Their interactions drive the scene forward and set up potential growth and change.

Character Changes: 7

William undergoes a subtle shift in perspective and attitude, moving towards a new phase of his life with the introduction of Penny Lane and the rock and roll lifestyle. This sets the stage for potential character growth and development.

Internal Goal: 8

The protagonist's internal goal in this scene is to reassure his nervous mother and assert his independence as a teenager. This reflects his deeper need for autonomy and validation of his maturity.

External Goal: 7

The protagonist's external goal in this scene is to attend the dance and have a good time. This reflects the immediate circumstances of socializing and fitting in with peers.


Scene Elements

Conflict Level: 6

The conflict in the scene is subtle but present, with hints of tension between characters and the potential for future challenges and growth.

Opposition: 6

The opposition in the scene is subtle, with the mother's protective instincts conflicting with the son's desire for freedom. The audience is left wondering how their relationship will evolve.

High Stakes: 7

The stakes are relatively high for William as he prepares to attend a dance, navigate new relationships, and explore the rock and roll world. The scene sets up potential conflicts and challenges that will impact the characters' lives.

Story Forward: 7

The scene moves the story forward by introducing key elements, such as William's dance preparations, his interactions with Penny Lane, and the allure of the rock and roll lifestyle. It sets up future events and character arcs, driving the narrative towards new developments.

Unpredictability: 7

This scene is unpredictable because of the nuanced emotions and shifting power dynamics between the characters. The mother's vulnerability and the son's assertiveness add layers of complexity to their interaction.

Philosophical Conflict: 8

The philosophical conflict evident in this scene is the tension between parental protection and teenage rebellion. The mother's concern for drunk drivers and drug use contrasts with the son's desire for freedom and fun.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from nostalgia and love to anxiety and excitement, drawing the audience into the characters' experiences and setting up emotional connections for future developments.

Dialogue: 7

The dialogue is engaging and reveals the personalities of the characters, especially in the playful banter between William and Penny Lane. It sets the tone for their relationship and future interactions.

Engagement: 9

This scene is engaging because of its relatable characters, emotional depth, and subtle humor. The interactions between the mother and son create tension and empathy, keeping the audience invested in their relationship.

Pacing: 8

The pacing of the scene is well-balanced, with a mix of dialogue, action, and emotional beats that maintain the audience's interest and build tension. The rhythm of the scene enhances its effectiveness.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the standard screenplay format, with clear scene headings, character names, and dialogue formatting. It is easy to follow and visually engaging.

Structure: 8

The scene follows the expected structure for a character-driven drama, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the emotional impact of the scene.


Critique
  • The scene effectively captures the emotional tension between William and Elaine, showcasing their mother-son dynamic. However, the dialogue could benefit from more subtext to deepen their relationship. For instance, Elaine's nervousness about drunk drivers could be tied to a past incident, adding layers to her concern.
  • William's character is portrayed as somewhat dismissive of his mother's worries, which is relatable for a teenager. However, this could be balanced with moments of genuine affection or understanding to make him more sympathetic. The line 'I will call you if anyone anywhere gets drunk' feels a bit too sarcastic and could be softened to maintain the emotional weight of the scene.
  • The use of Neil Young's 'Sugar Mountain' as a backdrop is a nice touch, but it could be more integrated into the scene. Perhaps William could reference the song or its themes in his conversation with Elaine, creating a stronger connection between the music and their emotional state.
  • The transition from the living room to the exterior with Penny is abrupt. A more gradual shift, perhaps with William reflecting on his mother's words as he walks outside, could enhance the flow of the scene and provide a smoother transition to the next moment.
  • Elaine's struggle with her emotions is palpable, but the scene could benefit from visual cues that emphasize her internal conflict. For example, showing her fidgeting with an object or glancing at a family photo could visually represent her anxiety about William growing up and leaving home.
Suggestions
  • Incorporate more subtext in the dialogue to reveal deeper emotions and past experiences that inform Elaine's worries.
  • Soften William's sarcastic responses to make him more relatable and sympathetic, perhaps by adding a moment of genuine concern for his mother.
  • Integrate the song 'Sugar Mountain' more meaningfully into the dialogue, allowing characters to reference its themes or lyrics.
  • Create a smoother transition from the living room to the exterior by having William reflect on his mother's concerns as he walks outside.
  • Add visual elements that highlight Elaine's internal struggle, such as her body language or interactions with objects in the room, to enhance the emotional depth of the scene.



Scene 12 -  Confusion in the Rock Scene
37 EXT. SUNSET BOULEVARD --
NIGHT 37

Neil Young and Crazy Horse's "Cinnamon Girl" ricochets across
the Strip. It's blasting from cars tuned into KMET. Penny
now wears her green faux-fur trimmed coat. She grabs William's
hand, steadying her hat at the same time. They dart across
the busy street. She stumbles a little on her platforms. He
steadies his taller date. They are a good team as they pass
one of several humming tour busses parked out front.

38 INT. HYATT HOUSE LOBBY --
NIGHT 38

Penny blasts into the Continental Hyatt House, William on her
arm. The lobby of this bastion of seventies rock is more alive
than most clubs. It's a swirling mass of Roadies carrying
Halliburton briefcases plastered with tour stickers, mingling
Rockers, and more than a few Groupies with lower-ambitions and
taller-platforms than Penny Lane. The feeling is communal,
illicit, intoxicating. The secret community of rock. Penny
attracts a hailstorm of friends and comrades.

PENNY LANE
It's all happening.
(grabbing him like a shield)
And I'm about to use you as protection.

ROADIE # 1
Penny Lane!!

PENNY LANE
(aside)
These guys are with Alice Cooper. I'm
going to pretend I don't know them.

ENGLISH ROADIE # 2
Penny!! Does Alice know you're here?

PENNY LANE
I'm just showing my very dear, very
wonderful friend around. He's a very
important writer - he knows Lester
Bangs.
(English accent)
I'm responsible for his moral conduct
while he's abroad.

ROADIE # 3
(arriving, mock drama)
Penny Lane!! God's gift to rock and
roll!!
PENNY LANE
I'm retired.
(uses English accent)
And don't argue with me!

ROADIE # 3
Again?

PENNY LANE
(moving, English accent)
Have we met?

Effortlessly touching an arm here and there, charming all -
she had four men suddenly circling her.

PENNY LANE (cont'd)
I've made a decision. I'm going to go
traveling in India. Then I'm going to
learn how to play the violin. Then
I'm going to go to college for one
year.

William looks at her, perplexed and a little hurt. What about
Morocco?

ROADIE # 2
(exiting, not buying it)
There's nothing they could teach you
in college, darling.
(whispers)
Call Alice. He's under the name Bob
Hope.

ROADIE # 1
I heard you were with Russell from
Stillwater.

PENNY
Please. I throw the little ones back.

Lusty laughs circle William. Overlapping this dialogue is the
appearance of our friend Polexia.

POLEXIA
(in tears, in pieces,
emotional)
Ian Hunter is a fucking asshole!

WILLIAM
Polexia!
POLEXIA
Opie!!!

She hugs him like a long-lost friend, knocking the air out of
him. And now overlapping this action, appears Superfan RIC
NUNEZ, 14. His eyes are forever moist, but he's oddly formal
and never feels worthy of the rockers he idolizes. Tonight he
wears a custom homemade t-shirt with iron-on block letters.
It features the four Led Zeppelin symbols and the words: "TO
BE A ROCK AND NOT TO ROLL." A felt-tip pen is still in his
quivering hand. Nunez walks with them, backpedaling as he
says:

RIC
It's all happening. I just saw them
on the seventh floor! Mr. Jimmy Page...
Mr. John Paul Jones...
(displays squiggle on shirt)
Mr. Robert Plant signed my shirt in
the elevator!! Five minutes ago, he
touched this pen. Please don't smear
it. And Bonzo's gotta new motorcycle
in the hotel!

PENNY
Ric is a Zeppelin fan.

WILLIAM
Yeah, I picked that up.

PENNY
He tours with them, but not "with"
them.

RIC
They're on the 12th floor, but there's
guards there! So you gotta go to the
tenth floor and go up the back steps.

PENNY LANE
This is my very dear, very close, very
wonderful friend William Miller, he is
very close with Lester Bangs.

RIC
It's all happening!! See you in
Cleveland!

Ric rushes back to the elevators.

PENNY LANE
I'm retired! Doesn't anybody believe
me!?
Genres: ["Drama","Comedy"]

Summary In the vibrant lobby of the Continental Hyatt House, Penny Lane charms roadies and fans while expressing her desire to travel and learn, leaving William Miller confused and hurt by her remarks about her past with Russell. The scene introduces enthusiastic superfan Ric Nunez, who shares his excitement about meeting Led Zeppelin, adding to the lively atmosphere. Amidst the chaos, William grapples with his feelings for Penny, who remains oblivious to the emotional tension, culminating in her declaration of being 'retired' from the rock scene, leaving William questioning her sincerity.
Strengths
  • Vibrant characters
  • Engaging dialogue
  • Authentic portrayal of the 70s rock scene
Weaknesses
  • Some characters may need further development
  • Potential for confusion with the large cast of characters

Ratings
Overall

Overall: 8

The scene is engaging, filled with dynamic interactions and intriguing developments. It effectively sets the stage for further exploration of the characters and their journeys.


Story Content

Concept: 8

The concept of immersing the audience in the world of 70s rock music through the eyes of a young writer is compelling and well-executed.

Plot: 7

The plot advances through character interactions and revelations, setting up future conflicts and resolutions.

Originality: 9

The scene demonstrates a high level of originality through its fresh approach to depicting the rock music scene of the 1970s, the authenticity of the characters' actions and dialogue, and the unique blend of humor and drama. The writer's voice and style add a fresh perspective to familiar themes and settings.


Character Development

Characters: 9

The characters are vibrant, each with their own quirks and motivations. Their interactions drive the scene forward and add depth to the narrative.

Character Changes: 7

Several characters experience subtle changes in their perspectives and relationships, setting the stage for further development.

Internal Goal: 8

Penny Lane's internal goal in this scene is to maintain her facade of being a retired groupie while also expressing her desire for personal growth and change. This reflects her deeper need for validation and independence, as well as her fear of being judged or misunderstood.

External Goal: 7

The protagonist's external goal in this scene is to navigate the social dynamics of the rock music scene and maintain her reputation while also connecting with her friends and acquaintances. This reflects the immediate circumstances of being in a crowded and lively environment where appearances matter.


Scene Elements

Conflict Level: 6

There is a moderate level of conflict present, mainly in the form of internal struggles and social dynamics within the rock scene.

Opposition: 7

The opposition in the scene is strong but not overwhelming, creating a sense of tension and conflict that keeps the audience engaged and unsure of how the characters will navigate the social dynamics of the rock music scene. The obstacles and challenges faced by the characters add depth and complexity to the narrative.

High Stakes: 6

While the stakes are not extremely high in this scene, there is a sense of anticipation and potential consequences for the characters' actions.

Story Forward: 8

The scene moves the story forward by introducing new dynamics, conflicts, and relationships that will impact the characters' journeys.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists and turns in the characters' interactions, the shifting dynamics of the social scene, and the surprising revelations about the characters' motivations and goals.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the tension between Penny Lane's public persona as a retired groupie and her private aspirations for personal growth and change. This challenges her beliefs about identity, fame, and fulfillment, as well as her worldview of the rock music scene.


Audience Engagement

Emotional Impact: 7

The scene evokes a range of emotions, from excitement and nostalgia to confusion and introspection.

Dialogue: 8

The dialogue is witty, engaging, and reveals insights into the characters' personalities and relationships.

Engagement: 9

This scene is engaging because of its dynamic characters, witty dialogue, and fast-paced action. The interactions between the characters and the sense of excitement and energy in the setting keep the audience invested in the story.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing the dialogue, action, and character interactions in a way that maintains the audience's interest and builds tension. The rhythm of the scene enhances the emotional impact of key moments and revelations.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre by using proper scene headings, action lines, and dialogue formatting. The visual descriptions and character interactions are clear and engaging.

Structure: 8

The structure of the scene follows the expected format for its genre by establishing the setting, introducing the characters, and developing the conflict and dialogue in a coherent and engaging manner. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively captures the chaotic and vibrant atmosphere of the rock scene in the 1970s, which is essential for immersing the audience in the world of the characters. The use of music, particularly Neil Young's 'Cinnamon Girl,' sets a nostalgic tone that aligns well with the characters' experiences.
  • Penny's character shines through her interactions with the roadies and her playful banter, showcasing her charm and confidence. However, her sudden declaration about traveling to India and learning the violin feels abrupt and somewhat disconnected from her previous excitement about Morocco. This could confuse the audience regarding her motivations and desires.
  • William's perplexity and hurt regarding Penny's plans are well-portrayed, adding depth to his character. However, the emotional stakes could be heightened by providing more context about his feelings for Penny and what Morocco represents for him. This would create a stronger contrast between his hopes and her shifting ambitions.
  • The introduction of Ric Nunez adds a humorous and youthful element to the scene, but his character could benefit from more depth. While his enthusiasm is infectious, giving him a brief moment of vulnerability or a personal anecdote could make him more relatable and memorable.
  • The dialogue is lively and captures the essence of the rock culture, but some lines, particularly Penny's, could be streamlined for clarity. For instance, her assertion of being 'retired' could be more impactful if it were tied to a specific moment or memory, rather than feeling like a throwaway line.
  • The overlapping dialogue creates a sense of chaos, which is fitting for the setting, but it can also make it difficult for the audience to follow the main narrative thread. Consider balancing the overlapping dialogue with clearer beats to ensure key moments are not lost.
Suggestions
  • Clarify Penny's motivations by providing a brief backstory or context for her desire to travel to India and learn the violin. This could be done through a line or two that connects her past experiences to her current aspirations.
  • Enhance William's emotional response to Penny's plans by incorporating a moment of introspection or dialogue that reveals his feelings about her shifting ambitions and what they mean for their relationship.
  • Develop Ric Nunez's character by adding a line that reveals his personal connection to the rock scene or a moment that showcases his vulnerability, making him more than just a superfan.
  • Streamline Penny's dialogue about being 'retired' to make it feel more impactful. Consider tying it to a specific experience or sentiment that resonates with her character arc.
  • Consider reducing the amount of overlapping dialogue to ensure that key emotional beats are clear and impactful. This could involve focusing on fewer characters speaking at once or using visual cues to highlight important moments.



Scene 13 -  Tensions at the Hyatt House Party
39 INT. HYATT HOUSE LOBBY PHONE -- NIGHT -- MINUTES
LATER 39

Penny nearby as William picks up the house phone. He shouts
over the din.

WILLIAM
Harry Houdini, please.

As he waits, he discreetly pockets the matches, hotel pad and
pencil next to the housephone.

40 INT. HALLWAY/RUSSELL'S HOTEL ROOM -- NIGHT
40

William, Polexia and an ambivalent Penny walk the hallway,
looking for the room. William looks in the passing open doors,
each one a different window into another world.

PENNY LANE
Okay. Time to put on the lampshade.

Up ahead, the door to their smallish hotel room is open.
Inside, a band party in full swing. A clunky early-model boom
box segues from James Brown's "Make It Funky" to Led Zeppelin's
"Gallows Pole." Russell Hammond is the center of this party,
jabbing out the chords, playing along on guitar. Much singing
echoes all around. It's a hotel-room Hootenanny, and all
members of the band are present. Penny Lane takes a breath
and enters, with arms extended and pointing in opposite
directions. She does a flawless stewardess imitation, with
proper hand gestures, to a loud party ovation.

PENNY LANE (cont'd)
"Ladies and Gentlemen. Please
extinguish all smoking materials and
notice that the captain has turned on
The No Smoking sign. Your seat and
tray tables should be locked in their
full and upright positions."

RUSSELL/OTHERS
PENNY!! PENNY LANE!!

She is instantly and overwhelmingly, the life of this party.
Russell joins William.

RUSSELL
(impressed to see him)
Alright.
WILLIAM
(happy to be there)
Alright.

Russell places a beer in William's hands, and exits.

PENNY LANE
(continuing)
"In the unlikely event of a water
landing, the seat below you will serve
as a -"
(give up)
Oh, the hell with it.

They all applaud her, laughing. William watches her with
wonder, as she turns his way and winks. Jeff approaches the
alluring Polexia, and goes to get her a beer. Meanwhile,
Polexia sidles up to William. She sees him watching Penny at
the other side of the room.

POLEXIA
(privately)
Act One, in which she pretends she
doesn't care about him.

POV shot travels to Russell, strumming the guitar that is
always
a part of his body. Russell is watching Penny Lane
surreptitiously.

POLEXIA (cont'd)
Act Two, in which he pretends he doesn't
care... and goes right for her.

Russell moves towards Penny.

POLEXIA (cont'd)
Act Three, in which it all plays out
the way she planned it. She'll eat
him alive.

WILLIAM
(worried)
We've got to stop them.

POLEXIA
Stop them? You were her excuse for
coming here.

ON PENNY
PENNY
I need ice!

Penny disappears out the door, across the hallway. Russell
follows a moment later. The kid's eyebrows rise. Polexia
regards the kid with affection, adjusting his collar and
peeling
a hair off his jacket.

POLEXIA
I just worry about people using her.
You know? 'Cause she brings out the
good side in everybody else, but what
do they do for her? Life kills me.
Do you have any pot?

WILLIAM
Not on me.

POLEXIA
Do you smoke?

WILLIAM
No.
(attempting to fit in)
But I... I grow it. I grow it.

Polexia looks at the kid, laughing at his poor job of lying.

POLEXIA
You're funny. You know, if you were
only taller, English, rich, a guitar-
player and older...

WILLIAM
I'd be someone else.

POLEXIA
Yeah. Good point.

Jeff appears with her beer, and she whispers in the kid's ear
before she exits with Jeff Bebe.

POLEXIA (cont'd)
Bless me father for I may sin tonight.

The kid watches, as the boom box plays an obscure favorite of
Russell's, Eddie Giles' "Losin' Boy." There is the sound of a
motorcycle somewhere down the hallway.
Genres: ["Drama","Comedy"]

Summary In the lively Hyatt House lobby, William humorously requests Harry Houdini while pocketing hotel supplies. He, along with Penny and Polexia, heads to Russell's hotel room, where a vibrant party is in full swing. Penny captivates the crowd with a comedic stewardess act, while Russell, the party's focal point, hands William a beer before leaving. As Penny and Russell share a moment, Polexia expresses concern about Penny's potential vulnerability in the situation. The scene concludes with William feeling out of place, grappling with his insecurities amidst the unfolding romantic tension.
Strengths
  • Engaging dialogue
  • Dynamic character interactions
  • Humorous moments
Weaknesses
  • Limited external conflict
  • Some predictable character dynamics

Ratings
Overall

Overall: 8

The scene effectively combines humor, drama, and character development, creating an engaging and memorable moment in the story.


Story Content

Concept: 8

The concept of a band party in a hotel room serves as a pivotal moment for character interactions and relationship dynamics.

Plot: 7

The plot advances through the interactions between characters and the introduction of new dynamics, setting the stage for future developments.

Originality: 9

The scene introduces unique characters and situations, such as a hotel-room Hootenanny and the characters' playful interactions. The dialogue feels authentic and adds depth to the characters.


Character Development

Characters: 9

The characters are well-developed, each with their own unique personalities and motivations, driving the scene forward with their interactions.

Character Changes: 7

Several characters experience subtle shifts in their attitudes and relationships, setting the stage for potential growth and development.

Internal Goal: 8

The protagonist's internal goal is to navigate the social dynamics of the party and protect Penny Lane from potential harm. This reflects his desire to be a good friend and his fear of losing Penny's trust.

External Goal: 7

The protagonist's external goal is to blend in with the band members and enjoy the party without causing any trouble. This reflects his immediate challenge of fitting in with a new group of people.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict present, primarily in the form of internal struggles and emotional tensions between the characters.

Opposition: 7

The opposition in the scene is strong, with conflicting desires and hidden agendas among the characters. The audience is left wondering how these conflicts will play out and who will come out on top.

High Stakes: 6

While the stakes are not extremely high in this scene, the emotional and relational implications for the characters are significant.

Story Forward: 8

The scene moves the story forward by introducing new dynamics, deepening character relationships, and setting up future conflicts and resolutions.

Unpredictability: 7

This scene is unpredictable because of the shifting dynamics between the characters and the unexpected twists in their interactions. The audience is kept on their toes, wondering how the relationships will develop.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the idea of authenticity and identity. The characters are all pretending to be someone they're not, whether it's Penny Lane playing the role of a stewardess or William pretending to be a pot grower. This challenges their beliefs about honesty and self-expression.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from humor to concern, creating a compelling and immersive experience for the audience.

Dialogue: 8

The dialogue is witty, engaging, and reveals insights into the characters' thoughts and emotions, enhancing the scene's depth.

Engagement: 9

This scene is engaging because of its lively atmosphere, witty dialogue, and character dynamics. The audience is drawn into the party and invested in the interactions between the characters.

Pacing: 8

The pacing of the scene is well-executed, with a good balance of dialogue, action, and description. It keeps the audience engaged and maintains a sense of momentum throughout.


Technical Aspect

Formatting: 8

The scene follows the expected format for a party scene, with clear descriptions of the setting and character actions. The dialogue is formatted correctly and adds to the overall atmosphere.

Structure: 8

The scene follows a traditional structure for a party scene in a screenplay, with introductions, interactions, and conflicts. It flows smoothly and keeps the audience engaged.


Critique
  • The scene effectively captures the chaotic and vibrant atmosphere of a rock party, showcasing Penny's charisma and the dynamics between the characters. However, the dialogue can feel a bit expository at times, particularly in Polexia's lines, which serve to explain the tension between Penny and Russell rather than allowing the audience to infer it through action and subtext.
  • William's character is portrayed as somewhat passive in this scene, primarily reacting to the actions of others rather than taking initiative. This could be an opportunity to deepen his character by giving him a more active role in the unfolding drama, especially regarding his feelings for Penny.
  • The humor in Penny's stewardess imitation is a nice touch, but it could be enhanced by incorporating more physical comedy or interaction with the partygoers to elevate the energy of the scene. This would also help to further establish her as the life of the party.
  • The pacing of the scene feels uneven at times, particularly with the transitions between dialogue and action. The flow could be improved by tightening the dialogue and ensuring that each line serves to advance the plot or develop character relationships more effectively.
  • While the scene does a good job of establishing the party atmosphere, it could benefit from more sensory details to immerse the audience in the environment. Describing the sights, sounds, and smells of the party could enhance the overall experience and make the scene more vivid.
Suggestions
  • Consider revising Polexia's dialogue to be less expository and more subtle, allowing the audience to pick up on the tension between Penny and Russell through their actions and interactions.
  • Give William a more active role in the scene, perhaps by having him confront Russell or express his feelings for Penny more directly, which would add depth to his character and heighten the stakes.
  • Enhance the humor of Penny's stewardess routine by incorporating more physical comedy or playful interactions with the partygoers, making her entrance even more memorable.
  • Tighten the dialogue to improve pacing, ensuring that each line contributes to character development or plot advancement, and consider using pauses or reactions to create a more dynamic flow.
  • Add more sensory details to the scene to create a richer atmosphere, describing the music, the energy of the crowd, and the overall vibe of the party to fully immerse the audience in the experience.



Scene 14 -  Ice Room Tensions
41 INT. ICE ROOM --
NIGHT 41
The ice machine makes new cubes with a grinding noise. Penny
puts ice in her glass. Behind her, Russell moves into frame,
hands delicately riding the sides of her body. A motorcycle
roars by, just outside the door, as Penny moves away from
Russell's exploring hands.

PENNY
(with real indignation)
How does it end?

RUSSELL
What?

PENNY
You know - the story about the girl
who dumps the guy who has an ex-ex
wife -- the one we don't talk about --
and gets a hundred... okay, five letters
from him, and then doesn't even leave
a pass in San Diego. Wake up! I'm
retired and I never believed you anyway.
You're too talented and too good-looking
to be trusted and everybody knows it.

RUSSELL
(smiling, loves it)
You're retired like Frank Sinatra is
retired.

She makes a scoffing noise. He moves to the ice machine, with
a glass of his own.

RUSSELL (cont'd)
Miss Penny Lane. Let me tell you what
rock and Roll will miss the day you
truly retire.

He tosses cubes in his glass, one by one. After the first
cube:

RUSSELL (cont'd)
The way you turn a hotel room into a
home.
(cube)
The way you pick up strays wherever
you go. Like Pied Piper.
(cube)
The way you know the words to every
song. Every song. Especially the bad
ones. Mostly the bad ones.
(cube)
That green coat in the middle of summer.
(cube)
The real name you won't reveal.
(cube)
And. I'd keep going, but my glass if
full.

PENNY
(quietly)
Damn.

He kisses her powerfully, hands at his sides. She fights to
keep her hands off him. Bonham's motorcycle rips by, just
outside the door.

RUSSELL
Come to Arizona.

PENNY
Never.

RUSSELL
We leave Thursday morning. 9 AM. And
pack light this time. Jesus.

They kiss. The motorcycle speeds by again, just outside.

42 INT. HALLWAY -- NIGHT
42

The hallways are crowded, as William looks at the closed door
of the ice room. He leans against the wall, alone now. Trying
to look like he belongs. Behind him, most of the band has
disappeared into other rooms, leaving only hangers-on in their
places.

43 INT. ROLLING STONE MAGAZINE -- DAY
43

Music. We pan across cubicles bustling with laid-back fervor.
These are the San Francisco-based main offices of Rolling Stone
Magazine. We have arrived for the waning days that this
magazine could still be called, with a straight-face, an
"underground" publication. Their mounting success crowds the
edges of every frame. Camera catches the Annie Leibowitz
portraits that hang on the walls -- Lennon, Jagger, Rod
Stewart,
James Taylor.

We find editor BEN FONG-TORRES, 29, in his cramped cubicle.
Sitting nearby is curly-haired and mustachioed Star Staff
writer, DAVID FELTON, 32, who smokes his cigarettes with a long
holder. Felton reads one of William's articles, chuckling.

BEN FONG-TORRES
William Miller?

INTERCUT:

INT. WILLIAM'S BEDROOM -- DAY

William is on the phone in his own small room.

WILLIAM
This is he.

BEN
Crazy. William, this is Ben Fong-
Torres. I'm the music editor at Rolling
Stone Magazine. We've got a copy of
your stories from the San Diego Door.
This is the same William Miller?

William instantly, nervously alters his voice to sound older.

WILLIAM
Yes it is.

BEN
(rifling through tearsheets)
Voice of God, howling dogs, the spirit
of rock And roll... this is good solid
stuff.

WILLIAM
(immediately, suddenly
deeper)
Thanks... thanks.

BEN
You should be writing for us. Any
ideas?

WILLIAM
(voice now to deep)
How about Stillwater?

BEN
Crazy. New album... their third...
starting to do something.

Ben shuffles through papers, looking for a tour itinerary on
his promotional-material laden-desk, automatically plotting
the piece aloud.
BEN (cont'd)
(pleasant, terse)
Stillwater. Hard-working band makes
good. Get 'em to respond to the critics
who dismissed the first two albums as
workmanlike. Guitarist is the clear star
of the band. Crazy. Let's do three-
thousand words. You'll catch up to them
on the road. We'll set up billing --
don't let the band pay for anything.

WILLIAM
(affecting casualness)
Sounds good.

BEN
We can only pay -- lemme see, three-
thousand words -- seven hundred dollars.

The kid's eyes widen.

BEN (cont'd)
Alright, a grand. What's your
background? You a journalism major?

WILLIAM
(deeply)
Yes.

BEN
What college --
Genres: ["Drama","Music"]

Summary In an intimate ice room, Penny confronts Russell about his past, expressing skepticism about his sincerity. Their playful banter leads to a passionate kiss, highlighting their chemistry. However, despite the moment, Penny firmly declines Russell's invitation to Arizona, maintaining her independence as the scene ends with the roar of motorcycles outside.
Strengths
  • Emotional depth
  • Sharp dialogue
  • Character development
Weaknesses
  • Some ambiguity in character motivations

Ratings
Overall

Overall: 9

The scene is highly engaging, emotionally charged, and provides significant insight into the characters and their motivations. The dialogue is sharp and impactful, contributing to the overall intensity of the scene.


Story Content

Concept: 8

The concept of exploring the inner workings of the rock music industry and the personal relationships within it is compelling and well-executed.

Plot: 9

The plot is rich with character interactions, conflicts, and revelations, driving the narrative forward and keeping the audience engaged.

Originality: 9

The scene introduces fresh and authentic characters and situations within the rock and roll music scene, with a focus on personal relationships and conflicts.


Character Development

Characters: 9

The characters are well-developed, with complex motivations and relationships that add depth to the scene. Their interactions feel authentic and emotionally resonant.

Character Changes: 8

The characters undergo significant emotional changes and revelations during the scene, particularly in their relationships with each other.

Internal Goal: 8

Penny's internal goal is to assert her independence and self-worth in her interactions with Russell. She wants to show that she is not easily swayed by his charm and compliments.

External Goal: 7

The protagonist's external goal is to navigate her relationship with Russell and maintain her sense of self amidst his advances and invitations.


Scene Elements

Conflict Level: 8

There is a high level of conflict in the scene, both internal and external, adding tension and drama to the narrative.

Opposition: 7

The opposition in the scene is strong, with Penny resisting Russell's advances and maintaining her independence.

High Stakes: 8

The stakes are high in the scene, particularly in terms of the characters' relationships, careers, and personal growth.

Story Forward: 9

The scene effectively moves the story forward, introducing new conflicts, revelations, and character dynamics that propel the narrative towards its resolution.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists in the characters' dialogue and actions.

Philosophical Conflict: 8

The philosophical conflict in this scene is between Penny's desire for independence and Russell's attempts to charm and persuade her. It challenges Penny's beliefs about trust and authenticity.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, with characters expressing deep emotions and engaging in intense interactions that resonate with the audience.

Dialogue: 9

The dialogue is sharp, emotional, and impactful, revealing the characters' inner thoughts and feelings while driving the narrative forward.

Engagement: 9

This scene is engaging because of the dynamic interactions between the characters and the tension that builds throughout the dialogue.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense through the characters' interactions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions.

Structure: 8

The scene follows a clear structure with well-defined character interactions and dialogue sequences.


Critique
  • The scene effectively captures the tension and chemistry between Penny and Russell, showcasing their complex relationship. However, the dialogue could benefit from more subtext to deepen the emotional stakes. While Penny's indignation is clear, the underlying feelings of vulnerability and desire could be more pronounced.
  • Penny's line about being 'retired' feels somewhat clichéd and could be rephrased to sound more original and reflective of her character's unique voice. This would enhance her individuality and make her feelings more impactful.
  • Russell's playful banter is engaging, but it risks overshadowing the emotional weight of the scene. Balancing humor with the gravity of Penny's concerns could create a more nuanced interaction that resonates with the audience.
  • The use of the ice machine as a sound motif is clever, but it could be more thematically tied to the characters' emotional states. For instance, the grinding noise could symbolize the tension in their relationship, enhancing the atmosphere.
  • The scene transitions abruptly to the hallway where William is waiting. This shift could be smoother, perhaps by incorporating William's perspective or feelings about what he overhears, which would create a stronger connection between the two scenes.
Suggestions
  • Consider adding more internal conflict for Penny during her dialogue. This could be achieved through her body language or hesitations, indicating her struggle between attraction and self-preservation.
  • Revise Penny's lines to incorporate more unique phrasing that reflects her character's personality and experiences, making her voice stand out more distinctly.
  • Introduce a moment of silence or a pause after a significant line to allow the weight of the conversation to settle, giving the audience time to absorb the emotional implications.
  • Explore the possibility of using the ice machine's sound to punctuate key moments in the dialogue, reinforcing the tension and emotional stakes in the scene.
  • Incorporate William's perspective more actively in the scene, perhaps through his thoughts or reactions to the conversation between Penny and Russell, to create a more cohesive narrative flow.



Scene 15 -  The Battle for Dreams
INT. ELAINE'S HOUSE -- CONTINUOUS

Elaine now gets on the extension.

ELAINE
Honey, I need you to do that thing
that fixes the garbage disposal --

She hangs up.

INT. WILLIAM'S BEDROOM -- CONTINUOUS

The kid is paralyzed.

BEN
Well, I know how my lady gets when I
don't Snap to it -

WILLIAM
Crazy.

BEN
Crazy! I'll let you go. Call me at
the San Francisco office tomorrow.

44 INT. LESTER BANGS HOME -- LATE
NIGHT 44

The great Lester Bangs stands in the promotional album-clogged
bedroom of his Birmingham, Michigan, home/office at Creem
Magazine. There is nothing in frame that does not deal with
music. In the background, a scratchy and chaotic Coltrane
record.

LESTER BANGS
Beware Rolling Stone Magazine. They
will change your story, they'll re-
write it and turn it into swill.
Beware!!

WILLIAM
But besides that, what would be wrong
with it?

LESTER BANGS
(laughs, entertained)
You have starry eyes, my friend.
(beat)
Look. Do the story. It's a good break
for ya. But remember this --

The kid listens intently, and makes notes.

LESTER BANGS (cont'd)
... don't do it to make friends with
people who are trying to use you to
further the big business desire to
glorify worthless rock stars like
Stillwater. And don't let those swill
merchants re-write you.

WILLIAM
(still copying)
... swill merchants...

LESTER BANGS
Now. What are you listening to?

45 EXT. TEACHER'S LOUNGE -- DAY
45
William knocks on the teacher's lounge door. A Teacher
answers,
protective of their sanctuary.

WILLIAM
(urgently)
I need to talk to Mrs. Deegan, from
Journalism.

Mrs. Deegan appears in the doorway.

46 EXT. WILLIAM'S HOME -- LATE
AFTERNOON 46

The sun is still shining. It's late afternoon, as Elaine
Miller
exits her car and arrives home. She sees a few extra cars in
the driveway, is immediately suspicious.

47 INT. LIVING ROOM -- LATE AFTERNOON
47

Elaine arrives to find William, Mrs. Deegan and Darryl awaiting
her in the living room. It's a 1973-style intervention. They
wear sunny, compassionate smiles.

ELAINE
Whatever it is, the answer is no.

MRS. DEEGAN
Elaine, we need to talk to you.
Nothing is wrong. I am a teacher.
You're a teacher. We speak the same
language.

Mom sits down. She is fully engaged and worried, her natural
state.

MRS. DEEGAN (cont'd)
Now I'm not a jump-up-and-down person,
but something wondrous has happened to
William. And you have every reason to
be happy...
(knows her)
... and calm.

Carefully gauging Elaine's face, the teacher continues.

MRS. DEEGAN (cont'd)
William has been gifted with a shining
opportunity in the world of journalism.
Through a love of music, and at an
oddly-young age, he has received a major
assignment from a national publication
called Rolling Stone Magazine.

Mrs. Deegan produces a copy, and places it on Elaine's lap.
It sits there like the plague.

MRS. DEEGAN (cont'd)
Now you are rather famously not a fan
of rock music, but such are the ironies
of life, that happens to be the very
topic of William's assignment -
(cheerfully)
- rock music. A band.

ELAINE
(warily, to Darryl)
Honey, what are you doing here?

DARRYL
Moral support.

Mom looks evenly at her son, seated opposite her in this small
living room.

ELAINE
What's involved?

MRS. DEEGAN
Well. It's a great opportunity. He'll
be well-paid, and published nationally --
(quickly)
-- and he'll go on tour with a rock
band for four days. No small planes...
he travels on a bus.

ELAINE
Is it time for me to say something?

MRS. DEEGAN
Sure.

ELAINE
No.

MRS. DEEGAN
And in anticipation of that response -

ELAINE
No.

MRS. DEEGAN
-- William has prepared --

ELAINE
(rueful)
"Lo, that which I have feared has come
upon me."

WILLIAM
(lightening fast)
"He who jealously guards his fears,
quietly yearns to bring them about!"

Mrs. Deegan admires their high-strung intellectual parrying,
makes an impressed noise.

ELAINE
(with compassion)
No. I have raised him to be an honor
student, which he is. We have agreed
on all our goals. We raised him to be
a lawyer, we moved here to be near the
finest law school in the West. Plus,
he has finals coming up, and in one
week he graduates with all his friends
-

DARRYL
He's got no friends!!

WILLIAM
Darryl. Please.

Nearby, having anticipated all of the above, William nods to
Mrs. Deegan, and stands.

MRS. DEEGAN
Elaine, may I present to you... your
own son.

William takes a lawyerly stroll, turns to face his mom.

WILLIAM
Lady of the Jury.
(beat)
I wish to disprove the prevailing false
belief that rock music is based on drugs
and sex. True, perhaps at one time...
but rock music is different now. It is
now performed by hard-working
intellectuals, with... with blazing
intellectual pursuits, and I am going to
play for you a piece of music designed
to show you that my thesis is correct.

ELAINE
This is going to be hell.

Across the room, Darryl takes his position near the stereo.

WILLIAM
The song is based on the literature of
Tolkien... and it's mystical attempt
to elevate humanity has been successful
throughout the world... this song
will change your life.

Mom stifles a cough. William nods to Darryl, who reverentially
drops the needle with a thud. Mom is trapped, as we listen to
silent static... and then... the opening notes of Led
Zeppelin's
"Stairway to Heaven." William gives his Mother the album
cover's inner-sleeve with lyrics.

WILLIAM (cont'd)
We ask you only to listen.

Camera passes across their serious and expectant faces. The
intro in not short. We listen, just watching their faces, as
Elaine becomes increasingly impatient.

ELAINE WILLIAM
When is it going to start - Soon.

Immediately, overlapping, the vocal begins. ("There's a lady
who's sure all that glitters is gold.")

DISSOLVE TO:

48 SUN MOVING SLOWLY ACROSS THE
SKY 48

Sprinklers click across the lawns. ("... and it makes me
wonder... ")
Genres: ["Drama","Comedy"]

Summary In a tense afternoon at Elaine's house, William passionately argues for his chance to pursue music journalism with Rolling Stone, facing his mother's skepticism. Mrs. Deegan mediates the discussion, trying to reassure Elaine, while Lester Bangs offers William wisdom about the music industry. The conflict escalates as William defends his dreams, culminating in a dramatic moment where he plays 'Stairway to Heaven' to sway his mother, leaving the scene filled with anticipation.
Strengths
  • Sharp dialogue
  • Character development
  • Engaging conflict
Weaknesses
  • Some predictable elements
  • Slightly slow pacing in parts

Ratings
Overall

Overall: 8

The scene is engaging, with a good balance of drama and humor, and sets up a significant turning point for the main character. The dialogue is sharp and reveals important character dynamics.


Story Content

Concept: 8

The concept of a young journalist getting a major assignment in the world of rock music is intriguing and sets up potential conflicts and growth for the characters.

Plot: 7

The plot advances with the introduction of the assignment and the conflict between the mother's expectations and the son's aspirations.

Originality: 9

The scene introduces a fresh perspective on the conflict between personal passion and societal expectations, with a focus on music journalism and family dynamics. The characters' actions and dialogue feel authentic and relatable.


Character Development

Characters: 9

The characters are well-developed, with distinct personalities and motivations. The interactions between them drive the scene forward.

Character Changes: 8

The son undergoes a significant change as he embraces the opportunity presented to him, setting up potential growth and conflict in future scenes.

Internal Goal: 8

William's internal goal in this scene is to prove to his mother that rock music is not based on drugs and sex, but rather on intellectual pursuits. This reflects his desire to pursue his passion for music and journalism while also seeking his mother's approval.

External Goal: 7

William's external goal in this scene is to convince his mother to allow him to pursue a journalism assignment with Rolling Stone Magazine and go on tour with a rock band. This reflects his immediate challenge of convincing his mother to support his career aspirations.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict between the mother's reluctance and the son's desire to pursue the assignment, adding tension to the scene.

Opposition: 8

The opposition in the scene is strong, with conflicting desires and beliefs between the characters, creating a compelling dynamic that drives the narrative forward.

High Stakes: 8

The stakes are high as the son faces a life-changing opportunity that could impact his future and relationships.

Story Forward: 8

The scene moves the story forward by introducing a major plot point and setting up future conflicts and developments.

Unpredictability: 7

This scene is unpredictable because of the unexpected turn of events, such as William's bold decision to play a Led Zeppelin song for his mother and the ensuing confrontation.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the value of pursuing one's passion versus conforming to societal expectations. William believes in the transformative power of music and journalism, while his mother prioritizes traditional academic and career paths.


Audience Engagement

Emotional Impact: 7

The scene evokes a mix of emotions, from concern for the characters' futures to hope for the son's success.

Dialogue: 8

The dialogue is witty, engaging, and reveals important information about the characters and their relationships.

Engagement: 9

This scene is engaging because of the emotional conflict between the characters, the high stakes of William's career aspirations, and the dynamic dialogue that drives the narrative forward.

Pacing: 8

The pacing of the scene is effective in building tension and emotional resonance, with a gradual escalation of conflict and resolution.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene headings and character dialogue. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows a clear structure with distinct locations and character interactions. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively captures the tension between William's aspirations and Elaine's protective instincts. However, the dialogue can feel a bit heavy-handed at times, particularly in the exchanges between William and Elaine. The intellectual banter, while clever, may come off as forced and could benefit from more naturalistic dialogue that reflects their emotional stakes.
  • The use of 'Stairway to Heaven' as a pivotal moment is a strong choice, symbolizing William's passion for music and his desire to connect with his mother. However, the buildup to the song could be more dynamic. The scene could explore Elaine's internal conflict more deeply, perhaps through her body language or facial expressions, rather than relying solely on dialogue.
  • The pacing of the scene feels uneven. The transition from the intervention to the music presentation could be smoother. The scene could benefit from a more gradual buildup to the moment when William plays the song, allowing for more tension and anticipation.
  • Darryl's role in the scene is somewhat underdeveloped. While he serves as comic relief, his character could be fleshed out more to enhance the dynamics of the intervention. His motivations and relationship with William and Elaine could be explored further to add depth to the scene.
  • The scene's emotional stakes are high, but the resolution feels somewhat lacking. While Elaine's initial resistance is clear, her eventual acceptance of William's passion for music could be more nuanced. A moment of vulnerability or understanding from Elaine could create a more impactful emotional arc.
Suggestions
  • Consider revising the dialogue to make it feel more organic and less like a scripted debate. Allow the characters to express their emotions more freely, which can enhance the authenticity of their interactions.
  • Incorporate more visual storytelling elements to convey Elaine's internal struggle. Close-ups of her expressions or subtle gestures can communicate her feelings without relying solely on dialogue.
  • Enhance the pacing by adding transitional beats between the intervention and the music presentation. This could involve brief moments of silence or reactions from the characters that build anticipation for the song.
  • Develop Darryl's character further by giving him a more defined role in the intervention. Perhaps he could have a moment of insight or a personal stake in the outcome, which would add complexity to the scene.
  • Explore the emotional resolution more deeply. Consider adding a moment where Elaine reflects on her own experiences with music or her past, allowing for a more profound connection with William's passion.



Scene 16 -  Between Protection and Freedom
49 INT. LIVING ROOM --
AFTERNOON 49

Mom adjust herself in the chair, listens politely, checks her
watch. She looks at William.

50 EXT. HOME - AFTERNOON
50

Sprinklers continue. ("If there's a bustle in your hedgerow...
")

51 INT. LIVING ROOM --
AFTERNOON 51

Mom listens fitfully. The song continues.

DISSOLVE TO:

52 EXT. HOUSE -- STILL LATER AFTERNOON
52

Sprinklers shut off. Music is now blasting. ("To be a rock,
and not to roll... ")

53 INT. LIVING ROOM - LATER AFTERNOON
53

Mom's face remains stoic to the bitter end. ("... and she's
buying the Stairway to Heaven.") The song ends. Silence.
All look to Elaine. They wait on her response. We hear the
turntable arm return to its cradle.

ELAINE
What am I supposed to say? You say
it's Tolkien, fine. They sound like
nice kids. Is it meant to elevate
humanity? "Sure, let's elevate
humanity. After we sell you drugs and
sex." All I have is my honesty. That's
what I believe, and that's what I know.
(flipping through magazine)
Oh. Here's a nice ad.

She holds up the magazine. And ad reads, in large bold type:
BUY THIS FUCKING ALBUM.

ELAINE (cont'd)
You've clearly ganged up on me, and I
still say no. No no no no no no no.

She shuts her eyes, and blurts out something against her better
judgement.

ELAINE (cont'd)
NO MORE THAN FOUR DAYS AND I WANT A
PHONE NUMBER FOR WHERE YOU ARE EVERY
MINUTE AND I WANT YOU TO CALL ME TWICE
A DAY AND YOU'D BETTER NOT MISS ONE
TEST - AND NO DRUGS.

William nods gratefully, and exits frame. Hold on the empty
chair, as drums herald the beginning of the Allman Brothers
Band's "Trouble No More" from Live at Fillmore East.

SHOT MOVES IN ON ELAINE

who feels a very particular kind of loneliness. It's the
loneliness she got married, and then raised a family, to
escape.

54 INT. STILLWATER TOUR BUS --
DAY 54

An empty Heineken beer bottle rolls up and down the aisle,
taking us to William. William picks up the bottle and places
it in the seat back pocket in front of him. He has joined the
circus, and the feeling of being here is a lot more lonely and
forbidding than he expected. The bus struggles to make it up
the hill, back rows shuddering loudly, as music continues.

DICK
C'mon, Doris! Darling Bus. You can
make it!

55 EXT. NEVADA DESERT HIGHWAY --
DAY 55

The Stillwater Tour Bus rumbles down the desert highway. The
destination banner reads - ALMOST FAMOUS -- TOUR 73. Music
continues.

56 INT. BUS - DAY
56

William strains for a look at Russell five rows up. He plays
slide guitar, working out a part. Next to Russell is Penny
Lane. Penny raises an early-model Polaroid camera and - flash
- takes a picture of a nearby sleeping Jeff Bebe.

PENNY
Gotcha.

Jeff grumbles from the depths of a hangover. Penny stuffs the
shot in her pocket. William watches, his private heart pounds.
Polexia appears and sits next to him, noticing his shyness.

POLEXIA
Do you have any pot?

WILLIAM
No. I'm a journalist.

POLEXIA
Well, go do your job then. You're on
the road, man. It's all happening! Get
in there. Go talk to 'em!

Challenged, William rises and approaches Russell. He fixes
the charismatic guitarist in his sights. Shot takes him down
the aisle to the jamming star guitarist. He crouches in the
aisle and talks to Russell who immediately seems moody. His
mood is in the air.

WILLIAM
(very professional)
Russell. Do you think we might be
able to find some time to talk when we
get to Phoenix? I want to interview
everyone separately... and I felt we'd
start with you and me.

Nearby, Jeff now listens in, feeling immediately jealous.

RUSSELL
Absolutely.

Russell turns away. The kid squats uncomfortably in the aisle,
babbling on.

WILLIAM
Because I've got a thing in a couple
days.

RUSSELL
What.

WILLIAM
(self-conscious)
It's a... thing where... uhm... you go
there to graduate. School.

RUSSELL
(sharply)
I never graduated. And look what
happened. You're here interviewing me.

Good point. Laughs from everybody listening nearby. It's a
good line. William makes a quick jot in his notebook.

RUSSELL (cont'd)
No no no. Don't put that in Rolling
Stone. My bio says I graduated. We'll
come up with something better later.
Just enjoy the ride.
Russell eyes the notebook suspiciously before turning away.
Penny notices William's discomfort, laughing warmly, all while
grabbing a Coke and giving one to nearby bassist Larry.

LARRY
How did you know I was thirsty?

He didn't even realize he was thirsty, but he is. He nods
thanks to Penny, the perfect road companion for all. And then
Penny gives the other Coke, her Coke, to William. He accepts
it too, and starts back to his seat. He's been blown off, and
he knows it, but before he exits Penny grabs his arm and
whispers in his ear:

PENNY
I may need to stay in your room tonight.
Russell's in a bad mood. He's very
Bob Dylan in Don't Look Back today.
He's trying to write.

William nods cooly -- they are comrades -- and returns to his
seat. A large joint passes in front of him, across him, to
Polexia, as everyone cheers Doris the Bus rumbling up another
hill.

POLEXIA
(inhaling deeply)
Want some?

WILLIAM
No thanks.

A wall of pot smoke is exhaled, right into his face. It
surrounds him like a cloud. The bus shudders, as Russell
continues playing slide up ahead.
Genres: ["Drama","Coming-of-age","Music"]

Summary In this scene, Elaine confronts her fears about her son William joining a band, imposing strict conditions for his safety before reluctantly allowing him to go on tour. The setting shifts to the Stillwater tour bus, where William, despite being surrounded by the band, grapples with feelings of loneliness and the weight of his mother's concerns.
Strengths
  • Well-developed characters
  • Engaging dialogue
  • Emotional depth
Weaknesses
  • Some scenes may feel slightly repetitive or slow-paced

Ratings
Overall

Overall: 8

The scene effectively portrays the complexities of relationships and emotions within the music industry, providing depth to the characters and setting.


Story Content

Concept: 8

The concept of a young journalist navigating the world of rock music and touring with a band is engaging and well-executed.

Plot: 7

The plot focuses on William's interactions with the band Stillwater and his journalistic ambitions, moving the story forward effectively.

Originality: 9

The scene introduces unique character dynamics and conflicts, such as Elaine's struggle with her family's values and William's journey into the music world. The authenticity of the characters' actions and dialogue adds to the originality.


Character Development

Characters: 9

The characters are well-developed, each with their own motivations, conflicts, and dynamics, adding depth to the scene.

Character Changes: 7

There is some character development, particularly in William's growing confidence and professionalism as a journalist.

Internal Goal: 8

Elaine's internal goal is to uphold her values of honesty and integrity in the face of pressure from her family. This reflects her deeper need for authenticity and her fear of compromising her beliefs.

External Goal: 7

William's external goal is to navigate the challenges of joining the circus tour and conducting interviews with the band members. This reflects his immediate circumstances and the new experiences he is facing.


Scene Elements

Conflict Level: 6

There is a moderate level of conflict, particularly in the jealousy between characters and the challenges William faces as a young journalist.

Opposition: 8

The opposition in the scene, such as Elaine's resistance to her family's pressure and William's challenges on the tour, adds complexity and conflict to the narrative.

High Stakes: 6

While the stakes are not extremely high, there is a sense of importance in William's journalistic ambitions and his relationships with the band members.

Story Forward: 8

The scene effectively moves the story forward by showcasing William's interactions with the band Stillwater and his journalistic pursuits.

Unpredictability: 7

The scene is unpredictable in Elaine's unexpected outburst and William's interactions with the band members, keeping the audience on their toes.

Philosophical Conflict: 9

The philosophical conflict is evident in Elaine's belief in honesty and integrity clashing with her family's more relaxed attitude towards drugs and music. This challenges her values and worldview.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from loneliness and jealousy to warmth and excitement, engaging the audience in the characters' experiences.

Dialogue: 8

The dialogue is engaging, showcasing a mix of professionalism, humor, and warmth, reflecting the relationships between the characters.

Engagement: 9

This scene is engaging due to the emotional stakes, conflicts, and character dynamics that keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, enhancing the overall impact of the character interactions.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene transitions and character actions.

Structure: 8

The scene follows a traditional structure for character interactions and dialogue, effectively building tension and conflict.


Critique
  • The scene effectively captures the tension between Elaine's protective instincts and William's desire for independence. However, the dialogue could be more dynamic. Elaine's responses feel somewhat repetitive, which may dilute the emotional impact of her concerns. Instead of simply stating 'no' multiple times, consider varying her objections to reflect her internal struggle more vividly.
  • The transition from Elaine's confrontation to the Stillwater tour bus is somewhat abrupt. While the emotional weight of Elaine's loneliness is conveyed, the connection to William's experience on the bus could be strengthened. A more seamless transition could enhance the narrative flow and deepen the audience's understanding of both characters' emotional states.
  • The use of music as a backdrop is a strong choice, but it could be more integrated into the dialogue. For instance, Elaine's comments about the music could directly relate to her feelings about William's choices, creating a more cohesive thematic link between the two settings.
  • The visual elements, such as the empty chair and the Heineken bottle, are effective in conveying loneliness and the passage of time. However, consider adding more sensory details to enhance the atmosphere. Describing the sounds, smells, or even the temperature of the room could immerse the audience further into the scene.
  • William's character development could be more pronounced in this scene. While he expresses gratitude for Elaine's conditional approval, his emotional response could be explored further. Adding a moment of reflection or internal conflict could provide depth to his character and highlight the weight of his mother's concerns.
Suggestions
  • Revise Elaine's dialogue to include more varied expressions of her concerns, perhaps incorporating anecdotes or personal experiences that illustrate her fears about the music industry.
  • Create a smoother transition between Elaine's emotional moment and William's experience on the tour bus. Consider using a visual or auditory cue that links the two scenes more effectively.
  • Integrate the music more closely with the dialogue, allowing Elaine's comments about the songs to reflect her feelings about William's choices and the potential consequences.
  • Enhance the sensory details in the scene to create a more immersive atmosphere, focusing on the sounds, smells, and visual elements that contribute to the emotional tone.
  • Add a moment of introspection for William after Elaine's approval, allowing him to grapple with the implications of her conditions and his own feelings about the tour and his relationship with his mother.



Scene 17 -  Tensions and Trust at the Ramada Inn
57 INT. WILLIAM'S LIVING ROOM - NIGHT
57

Elaine sits in her living room, filled with her books. Large
Department store photos of her children on the wall. She feels
her own loneliness, and his too, as she dials a phone number.

ELAINE
Has William Miller arrived yet? He
hasn't. Could you give him a message
as soon as you see him? -

58 INT. BUS --
NIGHT 58

Several hours later on this ride. Outside, night and desert.
Inside, a few cigarettes, a joint of two glow in the darkness
of the bus. The end of the Led Zeppelin classic "Whole Lotta
Love" plays from the bus stereo, full blast. Everybody is
free and anonymous in the dark. They sing at full-volume.
William looks out the window in wonder.

ZEPPELIN/ALL
"Way down inside... (woman)
woman... you need... "

The ten-ton guitar chord of Jimmy Page.

ZEPPELIN/ALL (cont'd)
"Loooooooooooooooooooooooovvve... "

John Bonham's drums thunder through the bus, everybody still
singing as they dip down into the city ahead, Phoenix. William
watches the living documentary around him. He writes furiously
in the green notebook, scribbling in the dark, trying to steady
his writing on the bumpy bus. Behind him, someone is beating
along to the song on his seat. He never want to leave this
world.

59 INT. ARIZONA RAMADA INN LOBBY --
NIGHT 59

All enter the lobby like warriors, in a pack. The hotel chairs
are spotted with curious hangers-on, decked out and lounging.
Dick is already stationed, as always, at the front desk. The
sad state of hotel service grates on a road dog like Dick. He
is forever teaching others their jobs.

DICK
Jeff, Tony... Keys... keys... keys...
room list...
(re: luggage, to hotel
bellman)
If it doesn't have a number on it, it
ain't ours!

He gives key and a stack of messages to Russell, and turns to
William who he makes feel more important. Penny is nearby with
her suitcase and tackle box purse. William watches Russell's
guitars whisked away - they are luggage-numbered 1, 3, and 4.

DICK (cont'd)
The Enemy! Here you go, here's the key to
your palatial suite, room list, plus let me
give you a luggage tag. You're Number 42.

CLERK
Is this Mr. Miller? You have a message
from Elaine.

WILLIAM
Thanks.

CLERK
(confidentially)
She's a handful.

WILLIAM
I know.

William cooly takes the folded message, doesn't look at it,
and tries to pretend this embarrassing moment didn't happen.
Jeff exchanges a look with Russell. Nearby, the walking
commotion arrives, clacking through the lobby. It's Sapphire.
Last night's clothes are now today's. She holds a travel case,
and hanger with some odd blouses.

SAPPHIRE
Finally, you're here!! They kicked me
out of my room! Fuck Ozzy!

She hugs Penny Lane. Estrella appears, happy to have help
with Sapphire.

ON RUSSELL

who approaches William.

RUSSELL
Come by in a few minutes. We'll do
the interview.

The kid exits and goes to join Penny, who is still comforting
Sapphire. Russell looks through his messages. The guitar,
now in a case, never leaves his hand. Jeff Bebe approaches,
regarding William standing with Penny and the girls. Intrigue
is swirling in the lobby.

JEFF
I'm worried, man.

RUSSELL
Naw, we can trust him. He's a fan.

JEFF
But it's Rolling Stone. He looks
harmless, but he does represent the
magazine that trashed Eric Clapton,
broke up Cream, ripped Led Zeppelin,
and wrote that lame story about the
Allman Brothers Band that bummed Duane
out before he died. Don't forget the
Rules. This little shit is the Enemy.
He writes what he sees.
(beat)
But it would be cool to be on the cover.

RUSSELL
Leave it to me. We'll get a good story.

JEFF
Plus our girlfriends read this magazine
and -
(looking at Band-aids)
-- you know.

RUSSELL
You made your point. I'll take to
him.

ON WILLIAM BY ELEVATOR

Penny speaks confidentially to him. If she is slightly bossy,
it is only because she's good at logistics, emotional and
otherwise.

PENNY
Can Sapphire stay in your room tonight?
She had a big fight with Ozzy, and
Polexia's not working out with Jeff
Bebe.
(to Sapphire and Polexia)
You just have to remember... these
guys are jealous, insecure, talented,
egocentric, and manipulative geniuses...
they're lead-singers. They can say
"I love you" to 20,000 people... but
any fewer is a real problem.
(girls nod, comforted, she
continues to the kid)
Jeff Bebe has so much jealousy over
Russell that he can't express. Plus,
he never slept last night. You keep
Sapphire and I'll stay with Russell.

William covers his disappointment over losing Penny as a
roommate. Cooly:

WILLIAM
Sure. I'll take her.

POLEXIA
Me too?

WILLIAM
Sure.

Estrella arrives with travel bag, equally homeless, looking
hopeful.

WILLIAM (cont'd)
If there's room -

Penny squeezes him. He feels cool... but the girl he really
wanted to stay in his room now joins Russell, disappearing
into the elevator. He looks down at the message in his hand,
and opens it.

It reads: DON'T TAKE DRUGS! He snaps it closed quickly, before
anyone can see.

59A IN. RUSSELL's ROOM --
NIGHT 59A

Russell plays acoustic guitar, a notebook cradled on his lap.
Trying to write. It's coming slowly. Shot moves off him,
past a flickering television, onto Penny who silently and
intently watches Russell as if he's a rare and beautiful bird.
He looks over at her - she turns away quickly. He goes back
to work. Tries to catch her watching him again. She turns
away just in time.
Genres: ["Drama","Music"]

Summary Elaine, feeling lonely, tries to reach William but learns he hasn't arrived yet. On a bus ride, William enjoys a sense of freedom as he and other passengers sing along to Led Zeppelin. Upon arriving at the Arizona Ramada Inn, tensions rise among the band members regarding William's role as a journalist for Rolling Stone, with concerns about his impact on their image. Penny asks William to let Sapphire stay in his room, which he agrees to, masking his disappointment over not having Penny as a roommate. The scene captures the excitement and anxiety of youth, culminating in William receiving a warning message from Elaine about drugs.
Strengths
  • Rich character development
  • Engaging dialogue
  • Authentic portrayal of backstage dynamics
Weaknesses
  • Some scenes may feel slightly disjointed due to multiple character interactions

Ratings
Overall

Overall: 8

The scene effectively balances character development, plot progression, and thematic exploration, creating a dynamic and engaging narrative.


Story Content

Concept: 8

The concept of exploring the behind-the-scenes world of a rock band and the personal struggles of the characters is well-executed and adds depth to the overall story.

Plot: 8

The plot advances as William navigates the backstage environment, interacts with the band members, and faces challenges in his journalistic pursuits.

Originality: 9

The scene introduces fresh character dynamics, witty dialogue, and a unique setting that adds authenticity to the story. The actions and dialogue feel genuine and original, contributing to the overall authenticity of the scene.


Character Development

Characters: 9

The characters are well-developed, each with their own motivations, insecurities, and relationships that drive the narrative forward.

Character Changes: 7

While there are subtle shifts in the characters' dynamics and relationships, the scene primarily focuses on revealing their personalities and motivations.

Internal Goal: 8

The protagonist's internal goal in this scene is to navigate his relationships with the band members and the women around him while maintaining his cool and professionalism. This reflects his deeper need for acceptance, respect, and success in his career.

External Goal: 7

The protagonist's external goal in this scene is to conduct an interview with Russell. This reflects the immediate challenge of balancing his personal relationships with his professional responsibilities.


Scene Elements

Conflict Level: 7

There are underlying tensions and conflicts between the characters, particularly in terms of jealousy, trust, and personal ambitions.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, tensions between characters, and unexpected obstacles. The audience is left wondering how the characters will navigate these challenges.

High Stakes: 7

The high stakes are subtly hinted at through the characters' ambitions, insecurities, and the competitive nature of the rock and roll world.

Story Forward: 8

The scene moves the story forward by setting up new conflicts, deepening character relationships, and foreshadowing future events within the narrative.

Unpredictability: 7

This scene is unpredictable because of the shifting dynamics between the characters, unexpected revelations, and the introduction of new conflicts. The audience is kept on their toes, unsure of how the relationships will evolve.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the tension between loyalty to the band and the desire for personal success. This challenges the protagonist's beliefs about integrity, ambition, and loyalty.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from excitement and intrigue to loneliness and disappointment, creating a compelling and immersive experience for the audience.

Dialogue: 7

The dialogue effectively conveys the emotions, conflicts, and dynamics between the characters, adding depth to their interactions.

Engagement: 9

This scene is engaging because of the dynamic character interactions, witty dialogue, and emotional depth. The tension and humor keep the audience invested in the story and the characters' relationships.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue, action, and emotional beats. It maintains a good rhythm that keeps the audience engaged and invested in the characters' interactions.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre, with proper scene headings, character names, and action descriptions. It is easy to follow and visually engaging.

Structure: 8

The structure of the scene follows the expected format for its genre, with clear scene transitions, character introductions, and dialogue sequences. It maintains a good pacing and rhythm throughout.


Critique
  • The scene effectively contrasts Elaine's loneliness with William's sense of freedom and excitement on the bus. This juxtaposition highlights the emotional stakes for both characters, but it could be enhanced by deepening Elaine's internal struggle. Consider adding more internal monologue or visual cues that illustrate her feelings of isolation and concern for William.
  • The transition between Elaine's phone call and the bus ride is smooth, but the emotional weight of Elaine's message could be amplified. The message she sends is significant, yet it feels somewhat overshadowed by the lively atmosphere on the bus. Emphasizing the importance of her message could create a stronger emotional impact when William receives it.
  • William's reaction to the message from Elaine is understated. While he tries to maintain a cool demeanor, it would be more compelling to show a moment of vulnerability or conflict within him. This could be achieved through a brief flashback or a visual representation of his internal struggle as he grapples with his mother's concerns versus his desire for independence.
  • The dialogue among the band members is engaging and captures the chaotic energy of the rock scene. However, it could benefit from more distinct character voices. Each character should have a unique way of speaking that reflects their personality, which would help the audience differentiate between them more easily.
  • The scene ends with William feeling disappointed about not having Penny as a roommate, but this emotional beat could be more pronounced. Consider adding a moment where he reflects on what this means for his feelings towards her, perhaps through a visual cue or a brief internal thought that reveals his deeper emotions.
Suggestions
  • Add a brief internal monologue for Elaine during her phone call to convey her feelings of loneliness and concern for William more explicitly.
  • Enhance the significance of Elaine's message by having William react more visibly to it, perhaps by showing a moment of hesitation or conflict before he puts it away.
  • Differentiate the band members' dialogue by giving each character a distinct way of speaking or unique phrases that reflect their personalities.
  • Include a visual or auditory cue that emphasizes the contrast between the lively bus atmosphere and Elaine's somber mood, such as a sudden silence or a change in music when the message is delivered.
  • Consider adding a moment where William reflects on his feelings for Penny after she leaves, perhaps through a visual cue or a brief internal thought that reveals his disappointment and longing.



Scene 18 -  Outsider's Gaze
60 INT. WILLIAM'S HOTEL ROOM -- NIGHT
60

Stillwater's "Fever Dog" plays from the t.v. radio. William
on the bed, a thick local phone book on his lap. His hotel
room. He watches self-consciously as the girls go about the
ritual of inhabiting a room on the road. Sapphire flutters a
paisley scarf over the room lamp. Polexia puts a towel along
the crack of the door, blows out the glowing embers on too-
many sticks of incense, and moves to the phone. Estrella has
joined them as well, complete with a bag full of shoes.
Instantly, we have atmosphere and not much room left in this,
the smallest room in the hotel. William thumbs through the
phone book with fascination.

WILLIAM
All these people.
(wondrous, off phone book)
And they all live in Phoenix.

POLEXIA
(on phone)
Hi Dad!! I can't talk long! I'm here in
Paris. I'm staying in another Youth Hostel
with no phone and no address for mail!!

WILLIAM
(still wondrous, from phone
book)
Alex. Lowbatz.

SAPPHIRE
(emerging from bathroom)
I was the one who told him what to
tattoo on his fingers, I was the one
who made his shirts... I was there
when his wife left him.

WILLIAM
Charles. C. Swoop.

POLEXIA
(on phone)
I CAN SEE THE EIFFELL TOWER. DO YOU
KNOW THERE ARE 578 STEPS TO THE TOP?

She's reading from a European tour book.

WILLIAM
Paul and Debbie Finger.

ESTRELLA
(looking out window)
Oh my God. Simon Kirke of Bad Company
is by the pool.

The girls mobilize by the window. William is increasingly
aware that he is an outsider in his own tiny room. He tries
to organize his stuff in the corner.

POLEXIA
I GOTTA GO! I'LL CALL FROM ROME!

ESTRELLA
Is anybody here as worried about Penny
and Russell as I am?

POLEXIA
(the perfect daughter)
AND HAPPY BIRTHDAY TO MAGGIE!!
I LOVE YOU!!

She winks at William, who looks away.
SAPPHIRE
(to Polexia and William)
Ooo, watch out - whoever you look at
when you say that - that's who you
really mean.

Polexia hands up and throws a pillow at Sapphire, the kid
watches these girls like a tennis match.

60A IN. PENNY AND RUSSELL'S ROOM - SAME
TIME 60A

Russell puts down his guitar.

RUSSELL
You know. We should talk about what
we don't talk about.

PENNY
We don't have to.

RUSSELL
No, I - I went to Catholic school. I
believe in guilt and... you know, if
there's any to be had, I pretty much
want to roll around in it.

PENNY
I don't believe in attachments. No
boundaries. Just the music.

RUSSELL
I'm just saying, it's okay to talk
about it.

Penny stands and turns. She speaks the word.

PENNY
Leslie.

Russell nods. The name is out in the open.

PENNY (cont'd)
Leslie. Leslie. Leslie. Leslie.
Leslie. Leslie. Leslie. Leslie.

RUSSELL
(somehow satisfied)
Alright - now we're talking.

But she continues, saying the name in a multitude of different
ways, in different accents, and with different degrees of
indifference and passion and lust and play-acting and mock-
drama.

PUSH IN ON HIS FACE

As he listens and studies this ethereal creature for meaning.
Is she mocking him? In love with him? Taunting him?
Seducing
him?

PENNY
Leslie. Leslie. Leslie. Lesssssslie.
Leslie. Leslie. Leslie. Leslie.
Leslie. Leslie. Leslie. Leslie.
LESlie. Leslie...

She continues saying it until it no longer has meaning. And
finally she sits next to him.

PENNY (cont'd)
(beat)
Now. Have I helped you get that off
your chest?

They kiss.
Genres: ["Drama","Romance"]

Summary In a small hotel room in Phoenix, William feels like an outsider as he observes the lively interactions of Sapphire, Polexia, and Estrella preparing for their night out. Polexia shares her travel experiences with her father over the phone, while Sapphire decorates the room and reminisces about a musician, and Estrella expresses excitement about seeing a famous artist. The playful banter among the girls highlights their camaraderie, contrasting with William's growing sense of alienation. The scene captures the vibrant energy of youth, ending with a parallel moment of intimacy between friends Penny and Russell.
Strengths
  • Deep emotional exploration
  • Intimate character interactions
  • Complex character dynamics
Weaknesses
  • Limited external conflict
  • Subtle plot progression

Ratings
Overall

Overall: 8

The scene is emotionally rich, with intimate moments and deep character revelations. The dialogue is engaging, and the dynamics between characters are compelling.


Story Content

Concept: 8

The concept of exploring guilt, boundaries, and attachment in a romantic relationship is well-executed. The scene delves into the complexities of human emotions and relationships.

Plot: 7

While the plot progression is subtle, the scene focuses more on character dynamics and emotional depth. The interactions between characters drive the narrative forward.

Originality: 9

The scene features unique character dynamics and dialogue, offering fresh insights into the protagonist's internal struggles and external challenges. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters are well-developed, with complex emotions and inner conflicts. Their interactions reveal layers of their personalities and relationships.

Character Changes: 8

The characters experience emotional growth and revelations during the scene, particularly in their understanding of guilt, attachment, and boundaries in relationships.

Internal Goal: 8

The protagonist's internal goal in this scene is to feel like he belongs and is a part of the group of girls in the room. He is increasingly aware of his outsider status and tries to organize his belongings to fit in.

External Goal: 7

The protagonist's external goal is to navigate the social dynamics of the group of girls in the room and establish a connection with them.


Scene Elements

Conflict Level: 6

The conflict in the scene is more internal and emotional, focusing on the characters' inner struggles and relationship dynamics.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing social challenges and conflicts within the group of girls.

High Stakes: 5

The stakes are more internal and emotional in this scene, focusing on the characters' personal growth and relationship dynamics.

Story Forward: 7

While the scene focuses more on character development and emotional depth, it still moves the story forward by revealing key aspects of the characters' relationships and inner conflicts.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists in the characters' interactions and the shifting dynamics within the group.

Philosophical Conflict: 8

The philosophical conflict in this scene revolves around the protagonist's sense of belonging and identity. He struggles with feeling like an outsider in a group of people who seem to have a strong bond.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, with intimate moments, deep revelations, and vulnerable interactions between characters.

Dialogue: 8

The dialogue is engaging, with a mix of playful banter and deep emotional conversations. It effectively conveys the characters' feelings and inner thoughts.

Engagement: 9

This scene is engaging because of the dynamic character interactions, witty dialogue, and the sense of tension and conflict between the characters.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense through the characters' interactions and dialogue.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, character names, and dialogue formatting.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness.


Critique
  • The scene effectively establishes a sense of atmosphere and character dynamics through the girls' interactions and William's outsider perspective. The use of the phone book as a prop symbolizes William's fascination with the world around him, contrasting with his feelings of isolation.
  • The dialogue is lively and captures the playful banter among the girls, which adds depth to their characters. However, the rapid-fire exchanges can be overwhelming, making it difficult for the audience to fully absorb each character's personality and motivations.
  • William's character is well-defined as the observer, but his internal conflict could be more pronounced. While he is aware of his outsider status, the scene could benefit from more explicit emotional reactions to enhance the audience's connection to him.
  • The transition to Penny and Russell's room provides a nice contrast to the previous scene, but it feels somewhat abrupt. The shift in focus could be smoother, perhaps by incorporating a visual or auditory cue that links the two spaces more effectively.
  • Penny's playful repetition of 'Leslie' is a clever way to explore her feelings and the complexities of her relationship with Russell. However, the scene risks losing momentum as it drags on. The pacing could be tightened to maintain engagement without sacrificing the emotional weight of the moment.
Suggestions
  • Consider adding a brief moment where William expresses his feelings of isolation more explicitly, perhaps through a line of internal dialogue or a visual cue that highlights his discomfort in the lively atmosphere.
  • To enhance clarity, slow down the dialogue exchanges slightly, allowing each character's personality to shine through without overwhelming the audience. This could involve giving each character a moment to react to what others are saying.
  • Introduce a transitional element between the two rooms, such as a sound from Penny and Russell's room that draws William's attention, creating a more seamless flow between the scenes.
  • Shorten the repetition of 'Leslie' in Penny's dialogue to maintain the scene's momentum while still conveying her emotional state. Consider using a few variations that capture her feelings without losing the audience's interest.
  • Incorporate a visual element that emphasizes William's outsider status, such as a shot of him looking at the girls through a reflection or a window, reinforcing his feelings of separation from the group.



Scene 19 -  Professionalism and Playfulness
60B INT. WILLIAM'S HOTEL ROOM - SAME
TIME 60B

The girls continue their settling-in process.

SAPPHIRE
Opie, can I order room service?

The nickname "Opie" re-opens a nagging wound. Polexia hangs
up, and begins to dial again.

WILLIAM
Okay. You guys. Wait. Put down the
phone, Polexia.
(she does, sadly)
First, this is my room...

SAPPHIRE
Come on, you're a fan like us. You're
on our side of the line.

WILLIAM
Second. I'm not Opie. Alright? Opie
is a little boy. I'm here to do a
job. I am a professional.
ESTRELLA
(flipping luggage tag)
Ooooooo, sorry, Mr. 42.

WILLIAM
Third!
(has their attention now)
... this phone is a big, big deal. In
a minute, I have to go interview
Russell. Do not answer this phone if it
rings. I have family members with
severe anxiety Problems. She will not
understand.

POLEXIA
(wounded)
But what if Ozzy calls Sapphire? And
I gave Jimmy Page this number.

ESTRELLA
Or a guy who looked like Jimmy Page.

William looks at their troubled faces, full of too much-longing
and too much make-up.

WILLIAM
Okay. I have a solution. Answer the
phone. But if anyone without an English
accent is on the phone...
(winging it)
Just hang up. Or say it's the wrong
room.

They nod. It's a good plan.

61 EXT. HALLWAY -- NIGHT
61

The hanging sign on the door reads: DO NOT DISTURB. William
knocks on Russell's door. A maid pushes up against him with
her cart, which now blocks the hallway.

WILLIAM
SHOULD I COME BY LATER?

A group of golf conventioneers are now trapped behind the maid
cart. They ease past William as he negotiates with Russell
through the door.

RUSSELL (O.S.)
YES, I'M IN TOO TRUTHFUL A MOOD!
WILLIAM
MAYBE THAT'S A GOOD THING!!

RUSSELL (O.S.)
I'LL SEE YOU AT THE RADIO INTERVIEW
LATER!! TEN-THIRTY IN THE LOBBY.

WILLIAM
OKAY!

RUSSELL
GO AWAY!

WILLIAM
OKAY!

We hear Penny's giggle. Then the door opens, and it's Penny
looking ravishing. In the background, Russell sits shirtless
at the table. He playfully pelts the kid with crumpled up
wads of hotel stationery.

PENNY
Don't worry. Some to the radio
interview.

WILLIAM
No, I'm fine. I'll just interview
Jeff Bebe some more.

RUSSELL
(as in "you're on of us")
GO AWAY!

She shuts the door quickly. It hurts a little. He picks up
the wadded pieces of paper, stuffs them in his pocket. He
leaves the door and helps himself to some soap and pencils and
matches from the nearby maid's cart. Then he returns to
Russell's door. He can't help but listen to the muffled sounds
of laughter, just for a moment, escalating. He flips the sign
over: HOUSEKEEPING PLEASE ENTER - CLEAN ROOM.

62 INT. OUTER RADIO STATION -
NIGHT 62

Humble Pie. "Thirty Days in the Hole." Russell and band enter
the radio station, passing through the now-empty front office.
As always, Russell sets the tone. He's feeling good.
Stillwater takes over -- they feel mighty, like the Beetles,
as they climb across chairs, rearrange wall hangings and gold
records and head down the small hallway to the control room
interview. Rolling with the flow are William and Penny in her
green coat. He tries to distance himself from her -- still a
little stung by the earlier hallway rebuff -- but she will
have none of it. She privately shares every great passing
moment with him. He tries not to succumb to these charms.
It's hard. Music segues to Stillwater's own "Fever Dog."

63 INT. RADIO CONTROL ROOM -
NIGHT 63

Stillwater's own record spins, and it sounds good to everyone
in this room. Russell takes a seat near the open mike. Jeff
Bebe is quick to take the other seat, arranging himself to be
just as close to the microphone as Russell. William watches
all as he sits at the dark back of this control booth.
Stillwater sits with late-night progressive disc-jockey QUINCE
ALLEN, 25.

Quince takes a long hit from a joint and does not pass it.
The entire Stillwater band is now collected in the studio and
ready for the interview. William can't avoid looking at Penny
Lane, who looks great tonight. She catches him, and he barely
looks away in time. Polexia, newly reconciled with Jeff,
notices. The very mellow disc-jockey eases up to the
microphone, as the finale of "Fever Dog" is just ending.

QUINCE ALLEN
The guitar of Russell Hammond. "Fever
Dog"... The band is Stillwater.
(beat)
Watch with your mind as they
materialize.

Band members gets closer to the microphone, preparing to speak.
Quince lowers his head, shutting his eyes and getting into the
music as the song plays out.
Genres: ["Drama","Music"]

Summary In William's hotel room, he struggles to maintain professionalism as the girls, particularly Sapphire, bring a playful energy, calling him 'Opie' and requesting room service. Despite his insistence on not answering the phone for important calls, the girls agree to only hang up if the caller lacks an English accent. Meanwhile, William's attempts to reach the dismissive Russell highlight their contrasting attitudes, and he feels conflicted about his feelings for Penny as the scene transitions to the radio station where the band prepares for an interview.
Strengths
  • Engaging dialogue
  • Complex characters
  • Emotional depth
Weaknesses
  • Some moments of confusion for the characters

Ratings
Overall

Overall: 8

The scene effectively captures the backstage atmosphere and the emotional complexities of the characters, creating a compelling narrative.


Story Content

Concept: 8

The concept of backstage interactions and the inner workings of a band are well-executed, providing insight into the characters' motivations and relationships.

Plot: 7

The plot advances through the interactions between the characters and the introduction of conflicts, setting the stage for future developments.

Originality: 9

The scene introduces a fresh take on the dynamic between a professional and his fans, with a focus on boundaries and personal connections. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters are well-developed, each with their own motivations and conflicts, adding depth to the scene.

Character Changes: 7

Several characters experience emotional shifts and revelations, particularly Penny and William, adding complexity to their arcs.

Internal Goal: 8

The protagonist's internal goal is to assert his professionalism and boundaries with the girls, who see him as a fan like them. This reflects his need to be taken seriously in his career and not be seen as just a fanboy.

External Goal: 7

The protagonist's external goal is to prepare for an interview with Russell, a musician. He needs to ensure that the girls do not answer the phone during the interview due to his family members' anxiety issues.


Scene Elements

Conflict Level: 7

There are various conflicts present, including William's struggle for acceptance, Penny's emotional turmoil, and the band members' concerns about their image.

Opposition: 7

The opposition in the scene comes from the protagonist's struggle to assert his professionalism while maintaining personal connections with the girls.

High Stakes: 7

The stakes are raised through the conflicts and emotional tensions present in the scene, adding intensity to the narrative.

Story Forward: 8

The scene moves the story forward by introducing new conflicts, deepening character relationships, and setting the stage for future developments.

Unpredictability: 7

This scene is unpredictable because of the unexpected interactions between the characters and the shifting dynamics of their relationships.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the protagonist's professional identity and his personal connections with the girls. He must balance his role as a professional with his desire to connect with his fans.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from excitement to loneliness, adding depth to the characters' experiences.

Dialogue: 8

The dialogue is engaging and reveals the characters' personalities and relationships effectively.

Engagement: 9

This scene is engaging because of the witty dialogue, relatable conflicts, and dynamic relationships between the characters.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and highlighting the emotional beats of the characters.


Technical Aspect

Formatting: 8

The formatting of the scene is well-executed, with clear transitions between locations and characters. It follows the expected format for its genre.

Structure: 8

The scene follows a clear structure with a setup of the protagonist's goals, conflicts, and resolution. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively captures William's struggle for identity and professionalism in a chaotic environment filled with youthful exuberance. However, the nickname 'Opie' serves as a recurring reminder of his immaturity, which could be explored further to deepen the emotional impact of his character's journey.
  • The dialogue is lively and reflects the characters' personalities well, but it could benefit from more subtext. For instance, while William asserts his professionalism, there could be moments where his insecurities about fitting in are subtly revealed through his interactions with the girls.
  • The transition from the hotel room to the radio station is somewhat abrupt. A smoother transition could enhance the flow of the scene, perhaps by incorporating William's internal thoughts or feelings as he prepares to leave the room.
  • The humor in the scene is effective, particularly in the exchanges about the phone and the potential for celebrity calls. However, the stakes could be raised by emphasizing the importance of the interview with Russell, making William's anxiety more palpable.
  • The scene ends with a shift to the radio station, which is a good narrative device, but it could be more impactful if it included a moment of reflection from William about his feelings towards Penny and his role as a journalist before he enters the new environment.
Suggestions
  • Consider adding a moment where William reflects on the nickname 'Opie' and how it makes him feel, perhaps through a brief internal monologue or a more vulnerable exchange with one of the girls.
  • Incorporate more subtext in the dialogue to reveal William's insecurities. For example, he could hesitate or stammer when asserting his professionalism, hinting at his internal conflict.
  • Create a more gradual transition to the radio station by including a brief moment where William gathers his thoughts or prepares himself mentally for the interview, enhancing the emotional stakes.
  • Increase the tension by emphasizing the significance of the interview with Russell. Perhaps include a line where William expresses his hopes or fears about the outcome of the interview.
  • Before the scene shifts to the radio station, include a moment where William observes the girls' camaraderie and reflects on his feelings of isolation, setting up a contrast for his upcoming interactions with the band.



Scene 20 -  Chaos on Air
64 INT. HOTEL ROOM --
NIGHT 64

The phone rings. Estrella answers.

ESTRELLA
William's room.

INT. ROLLING STONE OFFICE -- NIGHT

Ben Fong-Torres is calling from Rolling Stone.

BEN
Can I please speak to him? This is
Ben Fong-Torres at Rolling Stone.

Estrella panics, hangs up quickly, as if the phone has just
caught fire.

ESTRELLA
I think I just messed up!

65 INT. RADIO STATION -- NIGHT -- SAME
TIME 65

Quince raises his head and continues on-the-air. The same
song is still ending.

QUINCE
Look at the dogs, wearing the funny
hats. Juggling just for you. Freaks
and family...

Penny shoots William a look. Do you believe this guy?

QUINCE (cont'd)
It's Quince, with Stillwater. Here.
Live. It's the Night Circus.

The band scoots closer to the microphone, ready to talk.
Quince
continues, looking meaningfully at the band. They are
waiting... eager for a chance to speak.

QUINCE (cont'd)
Every minute a baby is born somewhere..
Life. Death. Hermetically sealed
bags of human emotion. Bags of love...
bags of kindness?
(suddenly, turns)
How'd you get together?

As Jeff eagerly speaks, Quince lowers his head and listens...
feels... the words of his guests.

JEFF
Well... not to get into a "me" thing...
this is Jeff talking... but I did start
the band, some time, actually, ago.
This is back when we were the Jeff
Bebe band, and I placed an ad in a
magazine called Peaches looking for a
guitarist and Russell Hammond answered.

Quince nods, head bowed, swaying slowly.

QUINCE
(with deep understanding)
Peaches.
Jeff watches Quince's head lower. It's hard to know when to
talk with Quince. The depth of his mellowness is tough to get
in rhythm with.

JEFF
I think he was a gift from God,
actually. Nobody plays like Russell
Hammond.

RUSSELL
(sorta moved)
Well, shit. Thank you.

He instantly realizes he's slipped, on the air.

RUSSELL (cont'd)
Ooops. Better hit the delay button.

All eyes turn to Quince, whose head stays down, grooving to
some inner beat. He says nothing. The band looks at each
other. We become increasingly aware that Quince may now be
asleep. Long silence. William shares an amazed look with
Penny. Quince is definitely asleep. Russell leans forward
and continues talking quietly, with hilarious sincerity.

RUSSELL (cont'd)
Okay - we're talking now, right? Why
the fuck do you wait until and interview
in Arizona to say something nice about
me. Why don't you say it to my fucking
face sometime? Because I tell you
every time I think you nailed something.

JEFF
Everybody pays you compliments. It's
not my fucking job to kiss your fucking
ass all the time.

RUSSELL
Well then who's fucking job is it?
Because my ass is dying for a kiss.
And I know yours is too.

DICK
It's my fucking job. You're all
geniuses. And let me just add this
thought - smegma.

Penny covers her mouth as offers a look of absurdity to
William.
He offers one back, as laughs are stifled throughout the room.
William shares a look. Quince is still deeply asleep, as the
usually quiet tony leans forward to speak.

TONY
Feces.

He cracks himself up, silently. Quince snaps awake, fully in-
stride.

QUINCE
The dong is called "Love Thing." Your
mind is Starting to take effect.
They're all here to see you swallow
fire. You scream soundlessly... on the
Night Circus. It's Quince, with
Stillwater.

"Love Thing" takes over, as Quince swivels in the chair.

QUINCE (cont'd)
I thought that went well.
Genres: ["Drama","Comedy"]

Summary Estrella panics after a phone call from Ben Fong-Torres, fearing she has messed up by not connecting him to William. Meanwhile, at the radio station, Quince hosts a live show with the band Stillwater, engaging in humorous banter that leads to him falling asleep mid-broadcast. The band members share amusing exchanges about each other and the music industry, while William and Penny react with incredulous looks. The scene culminates in Quince waking up and resuming the show, restoring order to the chaotic atmosphere.
Strengths
  • Humorous dialogue
  • Character dynamics
  • Quirky interactions
Weaknesses
  • Limited emotional depth
  • Minimal character development

Ratings
Overall

Overall: 8

The scene is engaging, humorous, and provides insight into the characters' personalities and relationships, making it entertaining and thought-provoking.


Story Content

Concept: 7

The concept of a radio station interview with quirky band members and a sleepy host is unique and adds humor and depth to the scene.

Plot: 7

The plot progresses as the band members interact with the radio host, revealing their dynamics and conflicts, adding depth to the story.

Originality: 9

The scene introduces fresh and unexpected dialogue exchanges, showcasing the authenticity of the characters' interactions.


Character Development

Characters: 9

The characters are well-developed, each with distinct personalities and quirks that shine through in their dialogue and interactions.

Character Changes: 5

There is minimal character change in the scene, with more focus on character dynamics and humor.

Internal Goal: 8

Estrella's internal goal is to handle the phone call professionally and not reveal any mistakes to her colleagues. This reflects her desire to be competent and respected in her job.

External Goal: 7

The protagonist's external goal is to successfully manage the radio show and keep the band members engaged and on track during the interview. This reflects the immediate challenge of maintaining professionalism and control in a live broadcast setting.


Scene Elements

Conflict Level: 6

There is a moderate level of conflict between the band members and the radio host, adding tension and humor to the scene.

Opposition: 7

The opposition in the scene adds conflict and drama, creating uncertainty and tension for the characters.

High Stakes: 5

The stakes are moderate, with tensions between the band members and the radio host, but not at a critical level.

Story Forward: 7

The scene moves the story forward by revealing more about the characters and their relationships, setting up future conflicts and developments.

Unpredictability: 8

This scene is unpredictable due to the unexpected character reactions and plot developments.

Philosophical Conflict: 6

The philosophical conflict in this scene revolves around the tension between professionalism and authenticity in the music industry. The characters struggle with balancing their public personas with their personal feelings and opinions.


Audience Engagement

Emotional Impact: 6

The scene evokes a range of emotions, from amusement to reflection, but does not have a significant emotional impact.

Dialogue: 8

The dialogue is witty, humorous, and reveals the characters' relationships and conflicts effectively.

Engagement: 9

This scene is engaging due to its dynamic dialogue, character conflicts, and unpredictable twists.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, keeping the audience engaged.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for a screenplay, enhancing readability and clarity.

Structure: 8

The scene follows a coherent structure that effectively builds tension and character development.


Critique
  • The scene effectively captures the chaotic and humorous atmosphere of a live radio show, showcasing the personalities of the band members and their interactions with the host, Quince. However, the pacing feels uneven, particularly with Quince's character. His transition from a seemingly engaged host to falling asleep could be more gradual to enhance the comedic effect.
  • The dialogue is witty and captures the essence of the rock and roll lifestyle, but some lines could benefit from tightening. For instance, Russell's monologue about compliments feels a bit drawn out and could be more impactful if it were more concise.
  • The contrast between Estrella's panic in the hotel room and the laid-back chaos of the radio station is interesting, but it could be emphasized further. The scene could benefit from a clearer visual or auditory cue that links these two locations, enhancing the sense of urgency and comedic timing.
  • While the humor is present, the emotional stakes for William are somewhat muted in this scene. Given his role as a journalist and his feelings for Penny, it would be beneficial to weave in more of his internal conflict or reactions to the absurdity around him, which would deepen the audience's connection to his character.
  • The ending feels abrupt, with Quince's sudden awakening and the transition back to the music. A more gradual build-up to the conclusion, perhaps with a final punchline or a reaction shot from William or Penny, could provide a stronger closure to the scene.
Suggestions
  • Consider adding a moment where William reacts to Estrella's panic, which could heighten the tension and provide a comedic juxtaposition to the laid-back atmosphere of the radio station.
  • Tighten Russell's dialogue to make his points more succinct, enhancing the comedic timing and impact of his lines.
  • Incorporate a visual or auditory element that connects Estrella's phone call with the radio station, such as a sound effect or a visual cue that emphasizes the chaos of the moment.
  • Weave in more of William's internal thoughts or reactions throughout the scene to highlight his feelings of being an outsider, which would add depth to his character and the overall narrative.
  • End the scene with a stronger punchline or a reaction shot that encapsulates the absurdity of the situation, providing a more satisfying conclusion.



Scene 21 -  Camaraderie and Compromise
66 INT. RENTAL CAR --
NIGHT 66

Adrenalized laughter. The whole band is crammed into a medium-
sized rental car. Penny half on William's lap, half on
Russell's.

RUSSELL
(to William)
See, this is what nobody writes about!
The in-between times! This! Us!
Right now!!

67 INT. WILLIAM'S HOTEL
ROOM 67

The phone is ringing. Estrella emerges from the bathroom with
no make-up and a t-shirt. She picks up the phone. Across the
room, Sapphire signs for room service. Now she is far too
made-up. The t.v. radio plays Free's "Fire and Water" in the
b.g.

ESTRELLA
(suspiciously)
Hello?

INTERCUT:

INT. WILLIAM'S HOUSE -- NIGHT
It's Mom on the phone.

ELAINE
(measured, very proper)
May I speak with William please?

ESTRELLA
(cheerfully)
He's not here. I think he's in the
bar with the Band. They just got back
from the radio station. Is this Maryann
with the pot?

Silence.

ESTRELLA (cont'd)
Hello?

ELAINE
No this isn't Maryann with the pot.
This is Elaine... his Mother.

Estrella physically recoils.

ESTRELLA
(cringing)
I thought you were English.

ELAINE
Could you please give him a message?
Could you tell him to call home
immediately? And could you also tell
him -
(at full power)
I know what's going on.

ESTRELLA
Alright. Okay. But I'm just going to
say this, and I'm going to stand by
it.
(can't help herself)
You should be really proud of him.
'Cause I know guys... and I'll bet you
do too. And he respects women, and he
likes women, and let's just pause and
appreciate a man like that. You
created him out of thin air, and you
raised him right, and we're all looking
out for him. And that's more than
I've ever said to my own parents, so
there you go.
(silence)
This is the maid speaking, by the way.

68 INT. HOTEL LOBBY --
NIGHT 68

Russell and William sit in two large red-leatherette seats in
the hotel lobby. William shuffles through many pages of
questions written in small script. His tape recorder
microphone
sits balanced on the chair.

WILLIAM
(very professional)
Now that you're starting to be
successful, you had twenty-six years
to write your first Album... and you'll
have maybe four months for the second.
Do you worry that the pressure of the
business will get in the way of the
original joy of making your music? Or
-

Russell blinks. The all-consuming issues of his life are right
in front of him.

RUSSELL
Whoa!
(laughing)
I need three more beers and my guitar
before I can answer that question.
Let's take a walk.

69 EXT. HOTEL POOL AREA - NIGHT
69

Russell walks the outskirts of the pool area with William.
William follows him through the sliding glass door to his room,
facing the pool. Russell grabs his guitar. They stand for a
moment, unheard by the others, and regard the living portrait
twenty yards in front of them. The off-limits after-hours
pool area has been overtaken by the Stillwater tour members.
Jeff Bebe sits in a chair nearby. Dick laughs at a joke.
Always the life of the party, Penny Lane dispenses stolen
towels
from a maid cart. And she is the first to slip into the pool
for some after-hours, against-the-rules swimming.
Effortlessly,
she turns a collection of people into a party. They regard
her, well out of earshot of the others.

RUSSELL
For a minute I thought you were actually
a real journalist... which is... you
know, it's great.
(beat)
Shut that thing off, and I'll tell you
the truth.

William shuts his tape recorder off.

WILLIAM
It's off.

RUSSELL
Look. I trust you. I'm going to lay
this right on you. Just make us look
cool.

WILLIAM
I will quote you warmly and accurately.

RUSSELL
That's what I'm worried about. See -
some of us have girlfriends back home.
Some of us have wives. And... some of
the people you meet on the road are
really amazing people...

They both watch Penny Lane, sparkling, fresh from the pool.
She places hotel furniture into the shallow end and inviting
all, even other curious hotel guests, to join them in the pool.

RUSSELL (cont'd)
Like you. And some of the things that
happen are good for just a few people
to know about - as opposed to, say, a
million people.

Dawn is breaking for William.

WILLIAM
Ohhhh. Oh. Yeah.

RUSSELL
You know what I mean?

WILLIAM
Right. Yeah.

RUSSELL
See, you're dangerous. Most people
are just waiting to talk, but you
listen.
WILLIAM
Right. Right.

RUSSELL
So your question you asked me. I think
about It every fucking night. The
"business." I hate it!
(quietly)
I grew up with these guys, okay? I
can't play all that I can play, I'm
past these musicians, do you understand?

WILLIAM
I do.

RUSSELL
The more popular we get, the more I
can't walk on them, the bigger their
houses get, the more pressure... you
forget, man. You forget what it was
like to be real, to be a fan. You can
hear it in a lot of bands who've been
successful - it doesn't sound like
music anymore. It sounds like...
like lifestyle maintenance.
(suddenly confessional)
I used to be able to hear the sounds
of the world. Everything, to me, used
to sound like music. Everything. Now
I don't hear it. You know what I'm
trying to say?

WILLIAM
(ruefully)
Yeah.

RUSSELL
Man, it feels good to say this stuff
out loud. But what am I doing? I'm
telling secrets to the one guy you
don't tell secrets to.

WILLIAM
(feeling included)
No, that's okay. We'll do the interview
tomorrow.

RUSSELL
This is good. So there's the "friend"
and then there's the "interview guy."

WILLIAM
Yeah.

RUSSELL
So tonight it's "friend".... and when
we wake up tomorrow - "interview guy."
We'll figure it out as we go, buddy.

WILLIAM
Hey - for whatever it's worth - you
guys are really good.

Russell laughs at the kid's easy naivete. He hands his guitar
to the kid, and joins the party. William watches, part of the
crowd... somehow feeling a little compromised. He doesn't
care. Penny gestures for him to join them.
Genres: ["Drama","Comedy"]

Summary In this scene, the band shares a lighthearted moment in a cramped rental car, where Estrella defends William to his concerned mother, Elaine. The setting shifts to a hotel lobby, where William interviews Russell, who opens up about the pressures of fame and the loss of authenticity in the music industry. Their conversation fosters a bond of trust, culminating in Russell handing his guitar to William before joining the lively party atmosphere. The scene captures a blend of camaraderie and introspection, leaving William feeling both included in the festivities and aware of the compromises that come with success.
Strengths
  • Authentic character interactions
  • Emotional depth
  • Engaging dialogue
Weaknesses
  • Lack of clear external conflict
  • Some dialogue may be overly expository

Ratings
Overall

Overall: 8

The scene effectively delves into the inner thoughts and emotions of the characters, providing depth and insight into their struggles and desires. The dialogue is engaging and reveals layers of complexity within the relationships.


Story Content

Concept: 8

The concept of exploring the behind-the-scenes moments of a rock band's life and the challenges they face in maintaining authenticity in the music industry is compelling and well-executed.

Plot: 7

The plot progresses through meaningful interactions and revelations between the characters, setting up conflicts and emotional arcs that will likely unfold in future scenes.

Originality: 9

The scene offers a fresh perspective on the music industry and explores themes of friendship, authenticity, and the price of success. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters are well-developed and showcase a range of emotions and motivations, adding depth and authenticity to the scene. Each character's unique personality shines through in their interactions.

Character Changes: 7

Russell and William both experience moments of vulnerability and self-reflection, hinting at potential character growth and transformation in future scenes.

Internal Goal: 8

The protagonist's internal goal is to navigate the complexities of his role as a journalist and friend to the band members, while also grappling with his own sense of identity and purpose.

External Goal: 7

The protagonist's external goal is to conduct a successful interview with the band members and capture the essence of their experiences on tour.


Scene Elements

Conflict Level: 6

While there are underlying tensions and conflicts hinted at in the scene, the focus is more on introspection and character development rather than external conflicts.

Opposition: 7

The opposition in the scene is strong, with conflicting desires and hidden agendas among the characters. The audience is left wondering how these tensions will play out.

High Stakes: 6

While there are personal and professional stakes involved for the characters, the scene focuses more on internal struggles and relationships rather than high-stakes external conflicts.

Story Forward: 7

The scene deepens the relationships between the characters, sets up future conflicts and resolutions, and provides insight into the challenges they face in the music industry.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the characters' conversations and revelations. The audience is kept on their toes, unsure of how the interactions will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the tension between artistic integrity and commercial success. Russell expresses his struggle with maintaining authenticity in the face of industry pressures.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from nostalgia and hope to conflict and compassion, drawing the audience into the characters' inner struggles and desires.

Dialogue: 8

The dialogue is natural, engaging, and reveals important insights into the characters' thoughts and feelings. It effectively conveys the emotional depth of the scene.

Engagement: 9

This scene is engaging because of its dynamic character interactions, emotional depth, and thematic complexity. The audience is drawn into the characters' struggles and relationships.

Pacing: 8

The pacing of the scene effectively builds tension and suspense, allowing for moments of introspection and emotional resonance. The rhythm of the dialogue enhances the scene's impact.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions and character actions. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows a cohesive structure that effectively builds tension and develops the characters' relationships. The pacing and rhythm contribute to the scene's effectiveness.


Critique
  • The scene effectively captures the chaotic energy of the band and the camaraderie among its members, which is essential for establishing the tone of the film. However, the transition between the rental car and the hotel room feels abrupt. A smoother transition could enhance the flow of the narrative.
  • Estrella's dialogue with Elaine is a standout moment, showcasing her character's depth and providing a contrast to Elaine's more traditional maternal concerns. This interaction adds layers to both characters, but it could benefit from a clearer emotional arc. Estrella's admiration for William could be more explicitly tied to her own experiences, making her perspective more relatable.
  • Russell's confessional moment with William is powerful, revealing his internal struggles with fame and authenticity. However, the dialogue could be tightened to avoid redundancy. For instance, phrases like 'you forget what it was like to be real' could be rephrased for more impact and clarity.
  • The scene does a good job of balancing humor and seriousness, particularly in the interactions between William and Russell. However, the humor sometimes undercuts the emotional weight of Russell's revelations. Finding a better balance between the two tones could enhance the scene's overall impact.
  • William's character development is evident as he navigates his dual role as a friend and journalist. However, his internal conflict could be more pronounced. Adding subtle visual cues or internal monologue could help convey his feelings of compromise more effectively.
Suggestions
  • Consider adding a brief moment of reflection for William after the phone call with Elaine, allowing the audience to see how he processes his mother's concerns amidst the chaos.
  • Enhance the transition between the rental car and the hotel room by incorporating a visual or auditory cue that links the two settings, such as a song playing in the car that continues into the hotel scene.
  • Tighten Russell's dialogue by removing repetitive phrases and focusing on the core of his message. This will make his confessions feel more impactful and concise.
  • Explore the emotional stakes of the scene further by incorporating more non-verbal communication between William and Russell, allowing their expressions and body language to convey the weight of their conversation.
  • Consider adding a moment where William hesitates before joining the party, emphasizing his internal struggle between his role as a journalist and his desire for connection with the band.



Scene 22 -  Electric Chaos and Band Bonding
70 EXT. SUN STADIUM - AFTERNOON
70

William interviews Larry in the seats of the empty arena. On
stage, Ed soundchecks his drums.

WILLIAM
How would you describe your role in
Stillwater? What is the chemical that
you add to the chemistry?

LARRY
I'm the bass-player.

WILLIAM
(pressing for some poetry)
Right. And when you take that away...
what would be missing? Stylistically?
What chemical?

LARRY
(not getting it)
The bass?

Larry doesn't give him much.

71 EXT. SUN STADIUM -
NIGHT 71

It's raining. The pre-show huddle breaks up, William a part
of them. Penny Lane adjusts Larry's look. She takes the scarf
from around his neck and ties it around his leg. He looks
instantly better. William watches in the darkness as Dick
takes the microphone. The best part of his day has arrived.
In his important voice:
DICK
Good evening Phoenix.
(applause)
From Troy, Michigan. Please welcome,
Stillwater.

Lights come up, as the band launches into "Fever Dog." Jeff
begins singing. Russell reaches to adjust the microphone for
a back-up vocal and is hit with something unexpected.

A sharp electrical shock.

It's just a slight pop in the loud din of music, but within a
moment something is clearly wrong. Russell holds onto the
microphone stand with a surprised look, conducting high-voltage
for two seconds and then he snaps his hand off the metal. His
face is white, he takes off his guitar and walks off-stage,
collapsing a couple steps later.

72 EXT. BACKSTAGE --
NIGHT 72

Dick is waving wildly for the band to board the bus, which has
been pulled up into the backstage area. He guides a sagging
Russell, assisted by Penny Lane, into the bus.

DICK
Get in, get in!!

William boards the bus, as the extremely agitated PROMOTER
arrives to confront Dick.

PROMOTER
Are you the manager of this band?

DICK
That, and more. Get in!

PROMOTER
You didn't even play a full set!

Dick whirls and unleashes an anger we've not yet seen,
gesturing
with the silver briefcase that does not leave his hand.

DICK
Your shoddy stage set-up almost killed
our guitarist!

PROMOTER
You trashed the dressing room - you
didn't play your thirty-five minutes.
You didn't fulfill your contract -

DICK
Everybody in! Get in the bus!

PROMOTER
I'll report you to every promoter in
the country! I'm gonna talk to Frank
Barcelona!

DICK
YOU DON'T FUCK WITH MY BAND'S SAFETY!

PROMOTER
I hope you have a good lawyer.

DICK
I AM A LAWYER!

He swings into the bus, as the bus revs.

PROMOTER
LOCK THE GATE ON 'EM!

73 INT. BUS --
NIGHT 73

Russell sits, pale, next to Penny at the front of the bus. He
examines his singed hand, shaking it a little to emphasize the
positivity of her words.

PENNY
Don't worry. It's happened to all the
greats. Thank God you didn't hold the
mike stand with both hands, you'd still
be holding it. This is a good thing.
It's a good, good, good thing.

William sits nearby, watching Russell, making notes out of eye-
sight of others. The ever-wary Jeff, unseen by William, cranes
to see that he's writing in his notebook.

Dick swings into the seat across from Russell. The bus door
shuts, as the promoter is still yelling.

Doris is slow to gain speed, as Estrella appears, running
alongside. She knocks on the window next to William.

ESTRELLA
I forgot to tell you! Your mom says
to call home immediately. She says
she knows what's going on!
(receding)
See you guys in Topeka! I'll catch a
ride with Sabbath!

William nods with embarrassment, waves to her, as the bus races
toward the now closing gate.

DICK
(casually, to Russell)
Wanna buy a gate?

Before Russell can answer - BASH. Doris barrels through the
steel-gate, snapping it like a chopstick to great cheers inside
this bus.

DICK (cont'd)
You just bought a gate.
(to the bus)
C'mon Doris!! Get us out of town!!

The bus struggles up a slight incline, everybody rooting for
Doris, as she eases out of the parking lot and onto a
thoroughfare.

WILLIAM
What did it feel like to be
electrocuted?

RUSSELL
It burns. It feels like a dose of
lead shooting through your body... and
then you see God, and he says, "How
bad do you want to be legendary?" And
god damnit. I let go.
(shaky grin as all laugh
warmly)
Rock and roll.

Jeff watches this charisma with thinly veiled envy. The kid
scribbles in his notebook. We hear Led Zeppelin's "That's the
Way."
Genres: ["Drama","Music"]

Summary In an empty arena, William interviews Larry, who struggles to articulate his role in the band Stillwater. The scene shifts to a rainy night performance where Russell is electrocuted by a faulty microphone, causing chaos as the band rushes to their bus. Dick, the manager, confronts an angry promoter about safety concerns, while Russell, shaken but in good spirits, humorously recounts his experience, leading to a moment of camaraderie among the band members.
Strengths
  • Effective tension and conflict
  • Emotional depth in character interactions
  • Engaging dialogue and humor
Weaknesses
  • Some dialogue may feel slightly forced or cliched

Ratings
Overall

Overall: 8

The scene effectively combines tension, humor, and emotional depth, creating a compelling and engaging narrative.


Story Content

Concept: 8

The concept of a band member getting electrocuted during a performance adds a unique and dramatic element to the scene, setting up conflicts and emotional moments.

Plot: 8

The plot unfolds with a series of escalating events, from the electrocution incident to the confrontations between the band and the promoter, keeping the audience engaged and invested in the outcome.

Originality: 9

The scene offers a fresh and authentic perspective on the music industry, presenting unique situations and conflicts that feel true to life. The characters' actions and dialogue ring true to the rock and roll world, adding originality to the scene.


Character Development

Characters: 8

The characters' reactions and interactions reveal their vulnerabilities, strengths, and conflicts, adding depth and complexity to the scene.

Character Changes: 7

The characters undergo emotional and situational changes, particularly Russell after the electrocution incident, adding depth to their arcs.

Internal Goal: 8

William's internal goal in this scene is to understand the dynamics and chemistry within the band Stillwater. He is seeking deeper insight into Larry's role and contribution to the group, reflecting his desire to uncover the essence of music and creativity.

External Goal: 9

The protagonist's external goal is to navigate the challenges and obstacles that arise during the band's performance, particularly dealing with technical difficulties and confrontations with the promoter. This goal reflects the immediate circumstances and pressures faced by the characters in the scene.


Scene Elements

Conflict Level: 9

The scene is filled with conflicts, from the electrocution incident to the confrontations between the band and the promoter, creating tension and drama.

Opposition: 8

The opposition in the scene is strong, with multiple obstacles and conflicts challenging the characters' goals and motivations. The confrontations with the promoter and the technical difficulties create a sense of uncertainty and tension.

High Stakes: 8

The high stakes of the electrocution incident and the confrontations with the promoter raise the tension and importance of the scene, impacting the characters' futures.

Story Forward: 8

The scene moves the story forward by introducing new conflicts, deepening character relationships, and setting up future events, advancing the narrative.

Unpredictability: 8

This scene is unpredictable due to the unexpected technical difficulties and confrontations that arise, keeping the audience on edge and unsure of how the situation will unfold. The sudden twists and turns add excitement and tension to the narrative.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around the clash between artistic integrity and commercial success. Dick's anger towards the promoter highlights the tension between prioritizing the band's safety and fulfilling contractual obligations.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from anxiety and tension to warmth and humor, engaging the audience on an emotional level.

Dialogue: 7

The dialogue effectively conveys the tension, humor, and emotional moments in the scene, capturing the characters' personalities and conflicts.

Engagement: 9

This scene is engaging because of its high stakes, intense emotions, and dynamic interactions between characters. The conflicts and obstacles keep the audience invested in the outcome, creating a sense of urgency and excitement.

Pacing: 9

The pacing of the scene is well-executed, with a gradual build-up of tension and suspense leading to a climactic moment with Russell's electrocution. The rhythm of the scene keeps the audience engaged and invested in the unfolding events.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene descriptions, character actions, and dialogue. The visual and auditory elements are well-crafted to enhance the reader's immersion in the music world.

Structure: 8

The scene follows a coherent structure that effectively builds tension and drama, leading to a climactic moment with the technical difficulties and confrontations. The pacing and rhythm contribute to the scene's effectiveness.


Critique
  • The scene effectively captures the chaotic energy of a live performance and the camaraderie among the band members, which is essential for a rock and roll narrative. However, the transition from the interview with Larry to the performance feels abrupt. The shift could benefit from a smoother connection that highlights William's emotional journey as he moves from the interview to the excitement of the concert.
  • Larry's responses during the interview are intentionally vague, which serves to illustrate his character as somewhat oblivious or simplistic. However, this could be enhanced by giving William a more compelling reason to press for deeper answers. Perhaps he could share a personal anecdote or express his own struggles with identity, making the dialogue feel more dynamic and relatable.
  • The electrical shock incident is a pivotal moment that introduces tension and danger, but it could be more impactful if foreshadowed earlier in the scene. Subtle hints about the band's safety or Russell's increasing stress could build anticipation for this moment, making it feel less sudden and more earned.
  • The dialogue between Dick and the promoter is strong and showcases Dick's protective nature, but it could benefit from more emotional stakes. Adding a line that reveals Dick's personal investment in the band or his history with Russell could deepen the audience's understanding of his anger and urgency.
  • The scene ends on a humorous note with Russell's description of being electrocuted, which is effective in lightening the mood. However, it might be more powerful if it were juxtaposed with a moment of silence or concern from the other characters before they laugh. This would highlight the absurdity of the situation and the thin line between danger and humor in the rock and roll lifestyle.
Suggestions
  • Consider adding a brief moment of reflection for William after the interview with Larry, where he contemplates the band's dynamics or his own aspirations, creating a stronger emotional bridge to the concert scene.
  • Enhance Larry's character by giving him a moment of insight or a quirky analogy that reflects his personality, making the interview more engaging and memorable.
  • Introduce subtle foreshadowing of the electrical shock earlier in the scene, perhaps through a brief mention of the equipment or a comment from another band member about the stage setup.
  • Deepen the conflict between Dick and the promoter by incorporating a line that reveals Dick's personal stakes in the band's success, making his anger more relatable and impactful.
  • Add a moment of tension or concern from the band members after Russell's shock before transitioning to laughter, emphasizing the precariousness of their lifestyle and the camaraderie that follows.



Scene 23 -  Chasing Dreams and Confessions
74 INT. BUS - EARLY
MORNING 74

Song continues. Almost everybody is asleep. William takes
the camera and snaps a Polaroid of a sleeping Penny. She wakes
up.

PENNY
Give that to me.
She grabs for it, they have a brief play-fight. He grabs some
other Polaroids from her pocket. He hustles to the back of
the bus, pockets the photo, and settles down to watch the
passing landscapes. She chases him down the aisle. Music
continues as she sits down next to him. Out the window, a
long-distance running team of Girls keeps pace with the bus
for a bit. They wave. Penny watches them over sunglasses,
waves briefly to the real world.

PENNY (cont'd)
(breathing heavy, owning
the world)
When we go to Morocco, I think we should
wear completely different clothes, and
be completely different people.

WILLIAM
What will our names be?

She snaps a Polaroid of a nearby sleeping Silent Ed, pockets
the Polaroid. She regards Russell up ahead, also sleeping.
Her attention has already wandered from Morocco.

PENNY
What do you think of Russell?

WILLIAM
I like him.

PENNY
You're coming to Cleveland, right?

WILLIAM
Cleveland, Ohio? Oh no no no. I gotta
get my interview with Russell before
Greenville. And you've got to help
me. Okay? Friends... remember?

Penny is still watching Russell.

PENNY
You should give him a break. There
are real problems in the band. Off
the record.

Gravely noting the word "problems", the kid joins Penny in
watching Russell, who is splayed haphazardly, sleeping
restlessly up ahead.

WILLIAM
What problems?
PENNY
Okay. I got it. I think your name
should be Spencer, and mine will be
Jane.

WILLIAM
I can't keep up with you.

PENNY
No one can.

WILLIAM
What's your real name?

She looks at him briefly. She puts her arm around him. It's
intoxicating, but he doesn't quite know how to act. With her
free hand, she gestures with a hanger. As they regard Russell
sleeping nearby:

PENNY
Here's the thing about Russell. He's
my last project. I only do this for a
very few people. And I think we should
do it together - he is almost great.
We've got to take him there. You and
me - we can do it. Deal? Because the
other guys are good - but he could be
great. He's my last project.

He looks at her. She imitates his face back to him.

PENNY (cont'd)
It's all happening.

75 INT. TOPEKA ARENA BACKSTAGE --
NIGHT 75

William sits interviewing Silent Ed by some equipment cases.

WILLIAM
What do you love about music?

Ed looks at him thoughtfully. It is an eloquent moment. He
thinks. He shrugs. The kid tumbles with more questions.
These interviews are not going well.

76 INT. BATHROOM - NIGHT
76

William, looking concerned over the state of his interviews,
walks into the backstage bathroom. He makes a few
surreptitious
notes in his notebook before noticing that Jeff is standing
there, clearly just finishing a quick hit of cocaine offered
by a Local Hanger-On. Seeing the kid, he immediately hides
the coke spoon.

JEFF
Hey.

WILLIAM
Hey.

William pretends he sees nothing as he turns to the urinal,
and shot stays on Jeff, who looks a little high and a little
worried.

77 INT. BACKSTAGE PAY PHONE -
NIGHT 77

William is on the pay phone with his Mother. The show booms
in the background.

WILLIAM
I know. I know. I know.
(beat)
I know. Mom. Mom... Mom.

78 INT. STAGE - NIGHT
78

Stillwater on-stage. A great show. Russell on fire.

79 INT. BACKSTAGE PAY PHONE -
NIGHT 79

William on the phone. Estrella leans on him, fixing her shoe.

WILLIAM
Right now -- Topeka. Then Greenville.
Then home.

He winces slightly, holds the phone away from his ear for a
moment.

WILLIAM (cont'd)
I'm sorry I didn't call yesterday!
It's not like you can just carry a
phone around with you.

80 INT. ELAINE'S SCHOOL OFFICE --
AFTERNOON 80

Mom sits in her school office, a miniature version of her home
- a fortress in which she is surrounded by books. The sun is
going down. She can't resist a sentimental moment.

ELAINE
I guess I just miss you, and I don't
understand why I've driven both my
kids so far away from me. By all
practical rules don't I get you for
three more years?

He is touched by her vulnerability, more visible now than ever,
as music continues in b.g.

ELAINE (cont'd)
Was I not fun?

81 INT. BACKSTAGE PAY PHONE --
NIGHT 81

William has his finger in his ear. The din if Stillwater's
set now blots out all other noise. It is not the time to
answer
this question.

WILLIAM
I missed the last thing you said.

Mom takes a pause.

ELAINE
I LOVE YOU.

Penny now enters, watching.

WILLIAM
WHAT?

ELAINE
(angry, louder)
I MISS YOU AND I LOVE YOU!

William now notices Penny standing nearby, picking at a salad
from a paper dish. Looking at her, he lets loose with what he
believes is a private confession.

WILLIAM
I LOVE YOU!!

Penny smiles knowingly, collecting his affection like another
backstage pass, and turns away. Camera stays on William. He
is suddenly and deeply embarrassed. He's just told her that
he loves her and she knows it. He hangs up, traumatized.
Genres: ["Drama","Romance","Music"]

Summary On a bus in the early morning, William playfully captures a Polaroid of a sleeping Penny, leading to a lighthearted chase down the aisle. Their conversation reveals Penny's aspirations to help band member Russell succeed, while William grapples with his feelings for her. As he interviews other band members, underlying tensions surface, culminating in an awkward phone call with his mother where he inadvertently confesses his love for Penny, leaving him embarrassed and vulnerable.
Strengths
  • Emotional depth of characters
  • Intriguing character dynamics
  • Engaging dialogue
Weaknesses
  • Some interviews not going well
  • Potential lack of clarity in character motivations

Ratings
Overall

Overall: 8

The scene effectively conveys the emotional depth and complexity of the characters, setting up intriguing conflicts and relationships that drive the narrative forward.


Story Content

Concept: 8

The concept of Penny viewing Russell as her 'last project' adds depth to the character dynamics and sets up potential conflicts and resolutions.

Plot: 7

The plot advances through the exploration of Penny and William's evolving relationship, as well as the introduction of conflicts within the band Stillwater.

Originality: 9

The scene introduces fresh dynamics between characters and presents authentic dialogue that captures the complexities of human relationships. The characters' actions and motivations feel genuine and original.


Character Development

Characters: 9

The characters are well-developed and their motivations and relationships are intricately portrayed, adding layers to the narrative.

Character Changes: 7

Penny's revelation about Russell being her 'last project' hints at potential character growth and transformation in future scenes.

Internal Goal: 8

The protagonist's internal goal is to navigate his feelings for Penny and his role in helping her with Russell. This reflects his desire for connection and purpose.

External Goal: 7

The protagonist's external goal is to secure an interview with Russell before Greenville. This reflects his immediate challenge and the pressure he is under to achieve his professional goals.


Scene Elements

Conflict Level: 7

There are underlying conflicts within the band Stillwater and in the relationships between the characters, adding tension to the scene.

Opposition: 7

The opposition in the scene is strong enough to create conflict and obstacles for the protagonist, adding complexity to the narrative and raising the stakes.

High Stakes: 7

The stakes are raised as Penny reveals her investment in Russell and the band faces internal conflicts, setting the stage for potential dramatic resolutions.

Story Forward: 8

The scene moves the story forward by introducing new conflicts, deepening character relationships, and setting up future developments.

Unpredictability: 8

This scene is unpredictable because of the shifting dynamics between characters and the unexpected revelations about their motivations and goals.

Philosophical Conflict: 8

There is a philosophical conflict between Penny's desire to help Russell and the protagonist's focus on his interview. This challenges the protagonist's values and priorities.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions through the characters' interactions and reveals their vulnerabilities and desires.

Dialogue: 8

The dialogue is engaging and reveals the characters' emotions and intentions effectively, driving the scene forward.

Engagement: 9

This scene is engaging because of the emotional tension between the characters, the sense of mystery surrounding their relationships, and the dynamic dialogue that drives the scene forward.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, keeping the audience engaged and invested in the characters' journey.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The dialogue is formatted correctly, enhancing readability.

Structure: 8

The scene follows a coherent structure that advances the plot and develops the characters' relationships. The pacing and rhythm contribute to the scene's effectiveness.


Critique
  • The scene effectively captures the playful dynamic between William and Penny, showcasing their chemistry through lighthearted banter and physical playfulness. However, the transition from their playful interaction to the more serious discussion about Russell feels abrupt. The tonal shift could be smoothed out to maintain the flow of the scene.
  • Penny's character is well-developed in this scene, revealing her ambition and desire to help Russell. However, her motivations could be made clearer. Why is she so invested in Russell's potential? Adding a line or two that hints at her personal connection to him or her past experiences could deepen her character and make her intentions more relatable.
  • William's reaction to Penny's proposal about changing their identities in Morocco is somewhat passive. While it fits his character to be a bit overwhelmed, giving him a stronger response could enhance his character arc. This could be an opportunity for him to assert himself more, showing growth in his confidence.
  • The use of Polaroids as a motif is a nice touch, symbolizing the fleeting moments of youth and the desire to capture memories. However, the significance of the Polaroids could be emphasized further. Perhaps William could express a desire to document their experiences more seriously, contrasting with Penny's more whimsical approach.
  • The dialogue is generally strong, but some lines feel a bit on-the-nose, particularly when discussing Russell's potential. Subtlety can often enhance the impact of dialogue. Instead of stating that Russell is 'almost great,' consider showing this through their observations or interactions with him, allowing the audience to infer the tension.
Suggestions
  • Consider adding a brief moment where Penny reflects on her past experiences with Russell, which could provide context for her desire to help him and deepen her character.
  • Enhance the transition between the playful banter and the serious discussion about Russell by incorporating a moment of silence or a shared glance that signifies the shift in tone.
  • Give William a more assertive response to Penny's ideas about Morocco, showcasing his growth and confidence as he navigates his feelings for her.
  • Emphasize the significance of the Polaroids by having William articulate his desire to capture their experiences, contrasting with Penny's more carefree attitude.
  • Revise some of the dialogue to be more subtle, allowing the audience to infer the complexities of Russell's character and the dynamics within the band through their interactions rather than explicit statements.



Scene 24 -  Tensions Unraveled
82 INT. TOPEKA DRESSING ROOM -- NIGHT
82

Russell's hair is slicked with sweat from a show just finished.
He is shirtless with a towel around his shoulders. Luggage
for the next city is stacked by the door.

RUSSELL
Fire away. I'm ready. I'm on the
"You" Train. Take me there.

The kid plugs in his microphone. Russell listens as he springs
his first question.

WILLIAM
Do you have to be depressed to write a
sad song? Do you have to be in love
to write a love song? Is a song better
if it really happened to you? Like,
"If You Say Nothing"... where did you
write that and how did it come about?

Russell admires the many questions. Says nothing. He looks
at his hand, thinks.

RUSSELL
When did you get so professional?

In the background, Penny Lane irons Silent Ed's shirt.
Grinning, she cuffs his shoulder. To the shirtless silent
drummer, waiting for his shirt.

PENNY
I'm almost done with my shirt.

Ed watches her appreciatively, drumming silently on a rubber
pad. Penny kisses Russell, who swings her onto his lap. In
the corner, Jeff watches them all with a vague feeling of being
underappreciated. And now Dick enters with a large cardboard
box.

DICK
Russell, your dad showed up again.
And on a lighter note.
(importantly)
Gentlemen. Your first t-shirts have
arrived.

There is an immediate buzz in the room, as Dick yanks open the
box filled with new white t-shirts. He untangles the first
fresh
shirt, and displays it proudly. A silent beat as all examine
it -
their first t-shirt. Faces fall. Ed stops drumming. There
has
been a mistake. It is a fuzzy band photo with the group name
emblazoned below. Only Russell, who stand out front, is
colored-
in and emphasized on the shirt. He turns away, making a noise.
Jeff stares at the t-shirt. He's just about in tears. There
is
a long silence and then... Ed resumes drumming on the rubber
pad.

DICK (cont'd)
It's the record company's mistake.
And they will pay. Shirts gone, band
happy.

He drops the offending shirt into the trash, as if it were
contaminated, and exits with the box. William watches as the
two men, Russell and Jeff, move to opposite sides of the room.
Russell puts on a shirt, so does Jeff. The vibe is thick.
Russel turns to see Jeff staring at him.

RUSSELL
Can we just skip the vibe and go
straight to us laughing about this?

JEFF
(bitterly)
Yeah. Okay.

RUSSELL
(trying for a joke)
Because I can see by your face - you
want to get into this -

JEFF
How can you tell? I'm just one of the
out-of-focus guys.

RUSSELL
Here we go.

William watches as Russell fishes the t-shirt out of the trash.

RUSSELL (cont'd)
Here. Take it. You LOVE this shirt -
it lets you say everything you want to
say.

JEFF
Well, it speaks pretty loudly to me.

RUSSELL
It's a t-shirt.

Russell turns away.

JEFF
I'm always gonna tell you the truth.

RUSSELL
Are you doing coke again?

JEFF
Oh yeah. All the time.

The kid looks down.

JEFF (cont'd)
This is big stuff, man. From the very
beginning -- we said -- I'm the front
man and you're the guitarist with
mystique. That's the dynamic we agreed
on -- Page, Plant... Mick, Keith. But
somehow it's all turning around. We
have got to control what's happening
to us. There's a responsibility here -

RUSSELL
Excuse me, but didn't we all get into
this to avoid responsibility?

JEFF
Forgive me.
(continuing, on shirt)
But this is the slow-moving train of
compromise that will kill us.

Russell makes a disgusted noise. Penny Lane exits discreetly,
looking back at William.

JEFF (cont'd)
I can't say anymore with a writer here.

RUSSELL
You can trust him, you can say whatever
you want.

JEFF
(eyes suddenly moist)
I works as hard or harder than anybody
on that stage. You know what I do - I
connect. I get people off. I look
for the guy who isn't getting off, and
I make him get off.
(beat)
Actually, that you can print.
(continues to Russell)
And yet, why do I always end up feeling
like I'm a joke to you? I feel nothing
but love for you. We're a family.

He looks at the t-shirt and starts to cry. Embarrassed, he
grows angrier.

JEFF (cont'd)
You want to pretend this isn't going
to be a very big band. Well it is. You
call yourself a leader of this band, but
your direction allowed the t-shirt, when
you allowed Dick to manage us, 'cause
he's your friend... don't you see? The
t-shirt is everything. It's everything.

RUSSELL
Is it my turn? Because I think we
should, for once, say what we really
mean.

JEFF
Oh, this is the part where you quit -

RUSSELL
(stiffening)
Right. I'm so predictable.

JEFF
No I gotta tell the truth -- I want
you to like me. But sometimes I feel
like you collect people who love you
and then very skillfully... you make
them feel bad that they're not good
enough for you.

RUSSELL
Stick to singing, brother, 'cause you
ain't gonna make it as a shrink.

JEFF
Deal with it! And let me just say
what nobody Else wants to say to you -

RUSSELL
What?
JEFF
Your looks have become a problem.
Genres: ["Drama","Music"]

Summary In a backstage dressing room after a concert, Russell, shirtless and sweaty, is interviewed by journalist William when a poorly designed t-shirt featuring Russell sparks conflict among the band members. Jeff confronts Russell about his feelings of inadequacy and frustration with Russell's leadership, leading to an emotional exchange that highlights the pressures of fame and their strained friendship. Despite Russell's attempts to deflect the tension with humor, the confrontation escalates, leaving unresolved feelings and heightened emotional stakes.
Strengths
  • Emotional depth of characters
  • Sharp dialogue
  • Exploration of complex themes
Weaknesses
  • Some moments may feel slightly melodramatic

Ratings
Overall

Overall: 8

The scene is emotionally charged, with well-developed character conflicts and themes that add depth to the story. The dialogue is engaging and reveals the inner turmoil of the characters.


Story Content

Concept: 8

The concept of exploring the tensions and power dynamics within a music band, as well as the struggles of fame and responsibility, is well-executed in this scene.

Plot: 7

The plot advances through the exploration of character relationships and conflicts, particularly between Jeff and Russell, adding layers to the overall narrative.

Originality: 9

The scene offers a fresh perspective on the music industry and band dynamics, with authentic dialogue and nuanced character interactions. The authenticity of the characters' actions and emotions adds originality to familiar themes of leadership and conflict.


Character Development

Characters: 9

The characters are complex and multi-dimensional, with Jeff and Russell standing out for their emotional depth and conflicting personalities.

Character Changes: 8

Both Jeff and Russell undergo emotional changes in the scene, revealing their vulnerabilities and inner struggles.

Internal Goal: 8

The protagonist's internal goal is to maintain his image as the frontman of the band and to navigate the changing dynamics within the group. This reflects his need for validation, control, and acceptance.

External Goal: 7

The protagonist's external goal is to address the issue with the band's t-shirts and assert his leadership within the group. This reflects the immediate challenge of managing the band's image and relationships.


Scene Elements

Conflict Level: 9

The conflict between Jeff and Russell, as well as the underlying tensions within the band, create a high level of emotional and interpersonal conflict in the scene.

Opposition: 8

The opposition in the scene is strong, with conflicting goals, emotions, and power dynamics between the characters. The audience is left uncertain about the outcome, adding suspense and complexity to the scene.

High Stakes: 8

The high stakes involve the future of the band, the dynamics between the members, and the personal relationships at risk.

Story Forward: 7

The scene provides insight into the inner workings of the band Stillwater and sets up future conflicts and character developments.

Unpredictability: 8

This scene is unpredictable because of the shifting power dynamics, emotional revelations, and unexpected conflicts between the characters. The audience is kept on edge, unsure of how the scene will unfold.

Philosophical Conflict: 9

The philosophical conflict is between individuality and unity within the band. Jeff believes in maintaining his identity and role, while Russell prioritizes the band's success and cohesion. This challenges their beliefs about leadership, responsibility, and loyalty.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions from the audience, particularly through the raw and vulnerable moments of the characters, adding depth to the storytelling.

Dialogue: 8

The dialogue is sharp, revealing the inner thoughts and emotions of the characters while driving the conflict forward.

Engagement: 9

This scene is engaging because of the emotional intensity, character dynamics, and conflict resolution. The audience is drawn into the characters' struggles and relationships, creating a compelling narrative.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension, emotional depth, and character development. The rhythm of the dialogue and actions enhances the scene's impact and engagement.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to the scene's effectiveness by building tension and emotional depth.


Critique
  • The scene effectively captures the tension between Russell and Jeff, showcasing their differing perspectives on fame and responsibility. However, the dialogue can feel a bit heavy-handed at times, particularly in Jeff's monologue about feeling like a joke. This could be streamlined to maintain the emotional impact without losing the audience's engagement.
  • The introduction of the t-shirt as a symbol of the band's identity and the pressures they face is a strong narrative device. However, the emotional stakes could be heightened by providing more context about why the t-shirt specifically triggers such a strong reaction in Jeff. This would help the audience understand the deeper implications of the shirt beyond just a visual representation.
  • Penny's presence in the scene feels somewhat passive. While she is ironing and interacting with the band, her role could be expanded to provide more insight into her character and her relationship with Russell and Jeff. This would add another layer to the conflict and make her a more active participant in the unfolding drama.
  • The pacing of the scene could be improved. The dialogue exchanges between Russell and Jeff are intense, but the scene could benefit from moments of silence or physical action to break up the dialogue and allow the audience to absorb the emotional weight of the conversation.
  • The scene ends on a cliffhanger with Jeff's comment about Russell's looks, which is intriguing but may feel abrupt. A more gradual build-up to this moment could enhance its impact, allowing the audience to feel the tension simmering before it boils over.
Suggestions
  • Consider revising Jeff's monologue to make it more concise and impactful. Focus on the core emotions he is expressing without over-explaining his feelings.
  • Add a brief flashback or a line of dialogue that hints at the band's past successes or struggles, which would give more weight to the t-shirt incident and Jeff's reaction.
  • Give Penny a more defined role in the scene. Perhaps she could interject with her own thoughts on the situation, providing a different perspective that could either support or challenge Russell and Jeff's views.
  • Incorporate pauses or physical actions between dialogue exchanges to create a more dynamic rhythm in the scene. This could involve characters moving around the dressing room or engaging in small tasks that reflect their emotional states.
  • Consider extending the scene to allow for a more gradual build-up to Jeff's final comment. This could involve more back-and-forth dialogue that escalates the tension before reaching the climax of the confrontation.



Scene 25 -  A Night of Chaos and Longing
82A EXT. BACKSTAGE -
NIGHT 82A

Russell walks swiftly past a happy silver-haired man, who holds
court with beer in hand. He dresses too young for his age,
late fifties. He is DAD.

DAD
Son!

RUSSELL
(dutifully)
Hello Harry.

Dad introduces a woman much younger, who eyes Russell hungrily.

DAD
He got all the good genes, huh? Meet
Deirdre. We're getting married in
July.

83 EXT. ARENA -- NIGHT
83

Russell walks fast outside the arena. William hustles to catch
up. The two men walk in long silent strides in the cold night
air, beyond the backstage area. Fans begin to recognize and
follow at a discreet distance.

WILLIAM
You okay? You alright?

Russell doesn't answer.

RUSSELL
(resolute, wound up)
From here on out, I'm only interested
in what's real.

The kid nods. They walk.

RUSSELL (cont'd)
Real feelings. Real people. That's
all I'm interested in... From here on
out. What is REAL? You're real.

WILLIAM
Thanks.
A wave of warmth comes over Russell.

RUSSELL
You know, you know all about us and I
don't know shit about you.
(struggling to be personal)
What's your... your family like? Tell
me.

WILLIAM
Well, my dad died of a heart attack
and my sister believes that my Mom is
so intense that she might have
contributed to it. Plus -

RUSSELL
(immediately)
Okay, that's good. That's enough.

WILLIAM
It's good to talk about it. Really
good.

Russel now sees some hero worship in the kid's face, and it
makes him nervous.

WILLIAM (cont'd)
Hey, man, maybe we should go back.

RUSSELL
If they want me, they can find me.

William turns and sees nobody following but fans.

WILLIAM
So listen. I have to go home tomorrow.
I know this is a bad time to finish
our interview.

RUSSELL
Hey, man, you know what? Write whatever
you want. I trust you.

A big square Chevy van slows down. A CONCERT-GOER hands his
head out the window.

CONCERT-GOER
(battle-cry)
Woooooooooo!!! You're Russel from
Stillwater!!
RUSSELL
On my better days, yes. I am "Woooooo,
Russell from Stillwater!"

CONCERT-GOER
Wanna go to a party at my friend Aaron's
house?! I know you're a big rock star,
but do you want to hang with some people
looking to have a good time?

Russel regards the van full of kids. More fans crowding
around. The kid behind the wheel unknowingly says the magic
words.

CONCERT-GOER (cont'd)
We're just real Topeka people, man.

He has said the magic word.

A84 EXT. AARON'S PARTY - NIGHT
A84

Russell arrives at the party in the rural outskirts of Topeka.
William nearby.

84 INT. AARON'S HOUSE -- NIGHT
84

William watches as Russell slugs from a Jack Daniels bottle.
They sit in the bedroom of a mindblown fan, 17 year-old AARON.
He has long frizzy brown hair, tied in a spray behind him.
Many from the neighborhood are now pouring into the home.

RUSSELL
(eyes glowing)
You. Aaron. Are what it's all about.
You are real. Your room is real.
Your friends are real. You are more
important than... than... all the silly
machinery. And you know it! In eleven
years it's gonna be 1984, man. Think
about that!

AARON
Wanna see me feed a mouse to my snake?

RUSSELL
Yes.

KID # 1
Can I have your belt?
RUSSELL
Take it!

Russel whips off his belt, gives it to the fan. A joint goes
by, headed for Russell. William intercepts it and passes it
on.

RUSSELL (cont'd)
Aaron? Where's your bathroom? I want
to live here. I want to eat your food,
and live in your city and fuckin rock
like I used to. I want to learn
everything there is to know about your
city and your town. And your way of
being real.
(stunning realization)
I used to be you.

AARON
Down the hall by the washing machine.

RUSSELL
What?

AARON
The bathroom.

RUSSELL
Okay. Good to know.

Russell rises and squeezes past fans and heads down the hall.

85 INT. AARON'S HALLWAY - NIGHT
85

William follows Russell protectively.

PASSING FAN # 1
WOOOOOOO!!

A QUIET GIRL, 14, turns and watches Russell pass. We linger
on her face for just a moment, full of wonder.

WILLIAM
We should probably head back sometime.

Russell ignores him.

PASSING FAN # 2
(holding red cup)
Watch out, there's acid in the beer
that's in the Red cups.
Russell looks at the cup in his own hand. It's white. Then,
with his other hand, he grabs the red cup and drains it.
William winces. They move on.

RUSSELL
Topeka. Check it out.

Russell enters the bathroom. William stands guard. With a
finger outstretched from each hand, he lectures the fans
massing
in the hallway.

WILLIAM
Please don't give him any more acid.

86 INT. LIVING ROOM -- NIGHT -- TWENTY MINUTES
LATER 86

William watches as a wobbly Russell Hammond, in sunglasses
now, goes through Aaron's record collection. He places the
albums over his face, like masks.

RUSSELL
Faces. Stones. Sa-weet Baby James!!
None of these people are gonna be around
in twenty years! Plastic begets
plastic!! Black plastic.

Partygoers are strangely fascinated by the rock star in their
living room.

INTERCUT:

87 INT. BACK BEDROOM -- NIGHT
87

William waits anxiously to use the phone, keeping an eye on
Russell. Russell is now strangely twisting/dancing with four
girls in the living room, as more cars arrive outside.

KID ON PHONE
He's here right now! Go ahead and put
it Out over the radio, tell people to
bring food And beer and chicks. We're
at Rural Route # 4 -

WILLIAM
No no. Nope. No.

William takes the phone and hangs up. Keeping an eye on
Russell
in the next room, he dials from a tour itinerary sheet.

WILLIAM (cont'd)
Dick Roswell, please?
(beat)
Dick!! I got him!! He's okay... I've
been Looking after him. He's on acid,
though. I can't Really tell. How do
you know when it's "kicked in?"
Genres: ["Drama","Music"]

Summary Russell meets his father and his fiancée, Deirdre, before leaving backstage with William. As they step outside, Russell expresses his yearning for authenticity, leading to a deeper conversation about family. They are soon approached by fans, and Russell eagerly accepts an invitation to a party. At the party, he engages with fans, reminiscing about his past and craving genuine experiences. However, as he becomes increasingly intoxicated, chaos ensues, and he struggles to maintain control, with William trying to keep him grounded amidst the disorientation.
Strengths
  • Emotional depth
  • Character development
  • Engaging dialogue
Weaknesses
  • Limited external conflict
  • Slow pacing in some parts

Ratings
Overall

Overall: 8

The scene effectively captures the emotional depth and introspection of the characters, providing insight into their inner struggles and desires.


Story Content

Concept: 9

The concept of exploring authenticity, fame, and self-discovery in the context of a rock star's interactions with ordinary people is compelling and thought-provoking.

Plot: 7

The plot advances through the interactions between Russell and the fans at the party, revealing his inner turmoil and desire for connection.

Originality: 9

The scene offers a fresh perspective on the rock star lifestyle, focusing on the protagonist's search for authenticity and real connections amidst fame and superficiality. The characters' actions and dialogue feel authentic and relatable, adding to the originality of the scene.


Character Development

Characters: 9

The characters, especially Russell, are well-developed and complex, with layers of emotions and motivations driving their actions.

Character Changes: 8

Russell undergoes a significant internal change as he reflects on his past and contemplates his future, leading to a deeper understanding of himself.

Internal Goal: 9

The protagonist's internal goal is to seek authenticity and real connections with people, as reflected in his dialogue about being interested in real feelings and real people.

External Goal: 7

The protagonist's external goal is to escape the pressures of fame and find a sense of belonging and connection in the party in Topeka.


Scene Elements

Conflict Level: 6

The conflict in the scene is more internal and emotional, as Russell grapples with his identity and the pressures of fame.

Opposition: 7

The opposition in the scene is strong enough to create tension and uncertainty, as the protagonist grapples with his internal conflicts and desires amidst external pressures and expectations.

High Stakes: 6

While the stakes are not overtly high in this scene, the emotional and personal stakes for Russell are significant as he grapples with his identity and purpose.

Story Forward: 7

The scene moves the story forward by revealing key insights into Russell's character and setting up potential conflicts and resolutions.

Unpredictability: 7

This scene is unpredictable because it subverts expectations of a typical rock star party scene by focusing on the protagonist's introspective moments and search for authenticity. The unexpected interactions and revelations add depth to the narrative.

Philosophical Conflict: 8

The philosophical conflict is between the protagonist's desire for authenticity and real connections versus the superficiality of fame and the rock star lifestyle.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions and empathy for the characters, especially Russell, as they navigate personal struggles and revelations.

Dialogue: 8

The dialogue is engaging and reveals the inner thoughts and conflicts of the characters, adding depth to the scene.

Engagement: 9

This scene is engaging because it delves into the protagonist's inner struggles and desires, creating a sense of emotional depth and authenticity. The interactions between characters and the unfolding events keep the audience invested in the story.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, allowing the audience to connect with the protagonist's inner journey and struggles. The rhythm of the scene enhances its effectiveness in conveying the character's emotional state.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows a coherent structure that effectively conveys the protagonist's internal and external goals, as well as the philosophical conflict. The pacing and rhythm of the scene contribute to its effectiveness.


Critique
  • The scene effectively captures Russell's desire for authenticity and connection, contrasting his rock star persona with his yearning for real experiences. However, the dialogue can feel a bit on-the-nose at times, particularly Russell's declaration of wanting 'real feelings' and 'real people.' This could be more subtly conveyed through actions or reactions rather than explicit statements.
  • The introduction of Russell's father and his fiancée adds an interesting layer to Russell's character, but it feels somewhat rushed. The transition from this familial interaction to Russell's existential musings with William could benefit from a smoother narrative flow, allowing the audience to digest the emotional weight of Russell's family dynamics before diving into his philosophical reflections.
  • William's character serves as a grounding presence, but his responses can come off as overly passive. He often reacts to Russell's statements rather than driving the conversation. This could be adjusted to give William more agency, perhaps by challenging Russell's views or sharing more of his own experiences, which would create a more dynamic exchange.
  • The party atmosphere is well-established, but the pacing feels uneven. The transition from the backstage conversation to the party scene could be more gradual, allowing for a buildup of excitement and tension. As it stands, the shift feels abrupt, which may disorient the audience.
  • The humor in the scene, particularly with the concert-goer inviting Russell to a party, is effective, but it could be enhanced by incorporating more playful banter between Russell and William. This would not only lighten the mood but also deepen their relationship, showcasing their camaraderie amidst the chaos.
Suggestions
  • Consider using subtext to convey Russell's desire for authenticity. Instead of stating it outright, show it through his interactions with fans or his reactions to the superficiality of fame.
  • Expand on the emotional impact of Russell's family dynamics. Perhaps include a brief moment of reflection from Russell after his father's introduction, allowing the audience to feel the weight of his familial expectations.
  • Give William more of a voice in the conversation. Allow him to push back against Russell's ideas or share his own struggles, creating a more engaging dialogue that showcases their differing perspectives.
  • Smooth the transition between the backstage conversation and the party scene. Perhaps include a moment where Russell hesitates before joining the party, reflecting on his internal conflict about fame and authenticity.
  • Incorporate more humor and playful exchanges between Russell and William to enhance their bond. This could involve light-hearted teasing or shared jokes that reflect their growing friendship amidst the rock star chaos.



Scene 26 -  The Golden God Jump
88 EXT. AARON'S BACKYARD -
NIGHT 88

Russel stands on the jutting corner of the house rooftop.
The unlit, unheated greenish family pool beckons to him below.
It's kicked in.

RUSSELL
(bellowing to the heavens)
I AM A GOLDEN GOD!!

Russell cackles at the joke of it all. William yells up from
down below.

WILLIAM
Hey Russell -

RUSSELL
I AM A GOLDEN GOD!!

WILLIAM
Don't jump, okay?

RUSSELL
And you can tell Rolling Stone Magazine
my last words were -

He spreads his arms, and tries to think of last words.

RUSSELL (cont'd)
-- I'm on drugs!!

The kids cheer. William looks around, remains cool. Yells
upward in the cold night air.

WILLIAM
I think we should work on those last
words.

RUSSELL
Critic!!
WILLIAM
No, I'm not -

RUSSELL
Okay I got it. I got it. I got it.
I got it. This is better. Last words
-
(spreads his arms, his
greatest realization)
I DIG MUSIC!!

It gets a skimpy reaction from the partygoers.

RUSSELL (cont'd)
(immediately)
I'm on drugs!!

They applaud again.

WILLIAM
Just come on down!!

RUSSELL
(matter-of-fact)
Okay.

He jumps from the roof into the cold, algaed water below. He
sinks immediately. One kid jumps in, then another, then more.

Everybody wants to save Russell.

89 EXT. AARON'S NEIGHBORHOOD -- EARLY MORNING
89

It's getting lighter. Cars line the street. And now, finally
turning the corner, is Doris the Bus.

90 INT. KITCHEN --
MORNING 90

William watches the effects of personal charisma. Wet
partygoers surround Russell, bottle of Jack Daniels still in
hand, wrapped in towels. Now a bond has passes between them,
all of them. Algae drips from the corner of Russell's face
and neck.

RUSSELL
Thanks for saving my life. I won't
hold it against you.

Twenty different kids thank him for the opportunity. ("Glad
to do it," "Right on," "Damn straight.")
91 INT. LIVING ROOM/KITCHEN -- MORNING
91

Door opens. Dick enters. Finding the guitarist in the
kitchen,
he clicks into time-tested road-managerial maintenance. Easing
Russell out of his towel, slipping his own jacket around him,
from Russell's hands.

DICK
(privately)
They've been crying for you like a
bunch of whimpering pussies --

RUSSELL
(woozy)
The band is over. This is my family
now.

OTHERS
Right on. He's staying with us.

DICK
(soothing)
Definitely. It's all over. We'll
just ride on to Greenville, listen to
some great music, finish the tour, and
leave those ungrateful fools behind.
And then we'll come back here, where
you'll live.

RUSSELL
I know what you're doing... and I like
it.
(noticing William)
Look at him. He's taking notes with
his eyes.
(beat, to Dick)
How do we know he's not a cop?

William laughs painfully, as Russell moves in, eyes flaring
with sudden paranoia.

RUSSELL (cont'd)
He could be selling information!

DICK
(to Russell)
Easy. He's your Guardian Angel.

Russell turns away. William shrugs with style, but his
lingering look is filled with hurt. Dick guides Russell to
the door, grabbing the kid and talking very directly to him as
they move.

DICK (cont'd)
Don't worry. He only means half of
what he says.

WILLIAM
Which half?

DICK
Good question.

WILLIAM
(very direct)
I have a lot more. Just help me get
my interview so I can go home from
Greenville. I have to go home.
(pulls him back)
I have to go home.

DICK
Hey. You saved the tour. That's
good enough for now.

Frustrated but feeling important, William hands him some of
Russell's wet clothes. William deftly retrieves Russell's shoes
and smoothly plucks the guitarist's sunglasses from the
partygoer who also wears his belt. They move to the door in a
pack. We hear the beginning of Elton John's "Tiny Dancer."
Dick faces the crowd and addresses them in his "important"
stage voice.

DICK (cont'd)
Ladies and Gentlemen, the evening is
over! We hope you've enjoyed
yourselves, and we'll See you again in
1974!! Good evening!!

William gives Russell his sunglasses to face the sunlight.
Russell stumbles out of the house to great cheers. The Quiet
Girl breaks free to catch Russell on the way out.

QUIET GIRL
I'll never forget you.

Dick pats William's arm one more time -- good work. They leave
Aaron's house as legends.
Genres: ["Drama","Comedy"]

Summary In a chaotic night at Aaron's backyard, Russell humorously declares himself a 'golden god' before jumping into the pool, prompting a frantic rescue by his friends. The scene shifts to the morning, where Russell, now wrapped in towels, is surrounded by grateful partygoers. Dick reassures him about the band's future, while William expresses his desire to leave. Amidst the chaos, Russell finds a sense of belonging, highlighted by the Quiet Girl's admiration.
Strengths
  • Strong character development
  • Engaging dialogue
  • Memorable moments
Weaknesses
  • Some elements of chaos may be overwhelming for the audience

Ratings
Overall

Overall: 8

The scene effectively combines humor, chaos, and reflection to create a memorable and impactful moment in the story.


Story Content

Concept: 8

The concept of Russell's impulsive declaration and subsequent bonding with the partygoers adds depth to his character and explores themes of identity and camaraderie.

Plot: 7

The plot advances as Russell's actions lead to a shift in the dynamics among the characters, setting the stage for future conflicts and resolutions.

Originality: 9

The scene presents a fresh approach to the theme of youthful rebellion and camaraderie, with unique character interactions and humorous dialogue. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters, especially Russell, William, and Dick, are well-developed and their interactions reveal layers of their personalities and relationships.

Character Changes: 7

Russell's impulsive actions and the reactions of the other characters lead to subtle changes in their dynamics and relationships.

Internal Goal: 8

The protagonist's internal goal in this scene is to feel accepted and valued by his friends and bandmates. This reflects his deeper need for connection and belonging.

External Goal: 7

The protagonist's external goal in this scene is to maintain his rebellious and carefree image in front of his friends. This reflects the immediate challenge of balancing his wild behavior with the concern of his friends for his safety.


Scene Elements

Conflict Level: 6

There is a moderate level of conflict, primarily stemming from Russell's impulsive behavior and the tensions among the characters.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing conflicting desires and pressures from his friends. The uncertainty of how the situation will resolve adds to the tension.

High Stakes: 6

While the stakes are not extremely high in this scene, the characters' actions and interactions have consequences that will impact future events.

Story Forward: 7

The scene moves the story forward by deepening the relationships among the characters and setting the stage for future conflicts and resolutions.

Unpredictability: 8

This scene is unpredictable because of the unexpected actions and reactions of the characters. The audience is kept on their toes as they wonder how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is between the protagonist's desire for freedom and self-expression, and the concern of his friends for his well-being and safety. This challenges the protagonist's beliefs about living in the moment versus considering the consequences of his actions.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from humor to nostalgia to paranoia, creating a memorable and emotionally resonant moment.

Dialogue: 8

The dialogue is witty, engaging, and reveals the characters' emotions and motivations effectively.

Engagement: 9

This scene is engaging because of its humor, relatable characters, and dynamic interactions. The tension between the characters and the unpredictability of the situation keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and suspense as the protagonist's actions escalate. The rhythm of the dialogue and action keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and character actions. The dialogue is formatted correctly and contributes to the flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness.


Critique
  • The scene effectively captures the chaotic energy of a party and Russell's reckless bravado, which aligns well with his character's arc. However, the transition from Russell's declaration of being a 'golden god' to his jump into the pool feels abrupt. While the comedic tone is maintained, the stakes could be heightened to create more tension and emotional investment from the audience.
  • William's role as the voice of reason is established, but his dialogue could be more impactful. Instead of simply asking Russell not to jump, he could express genuine concern for Russell's well-being, which would deepen their relationship and highlight the contrast between Russell's carefree attitude and William's growing maturity.
  • The dialogue is humorous and captures the absurdity of the situation, but it could benefit from more subtext. For instance, Russell's proclamation of 'I DIG MUSIC!!' could be layered with a hint of vulnerability, revealing his internal struggle with fame and identity, rather than just being a punchline.
  • The scene's pacing is generally good, but the transition to the morning could be smoother. The shift from the chaotic night to the quieter morning feels jarring. A brief moment of reflection or a visual cue could help bridge this gap, allowing the audience to absorb the aftermath of the night's events.
  • The introduction of Dick as a stabilizing force is effective, but his dialogue could be more nuanced. Instead of simply reassuring Russell, he could acknowledge the gravity of the situation, adding depth to his character and the dynamics within the band. This would also enhance the tension between the carefree party atmosphere and the underlying issues the band faces.
Suggestions
  • Consider adding a moment where William expresses his genuine concern for Russell, perhaps by recalling a previous conversation or incident that highlights their friendship. This would deepen their relationship and make the stakes feel higher.
  • Layer Russell's dialogue with more emotional depth. When he declares 'I DIG MUSIC!!', consider having him reflect on what music means to him personally, which could resonate more with the audience.
  • Smooth the transition between the chaotic night and the early morning by including a brief moment of silence or a visual cue, such as the sun rising or the partygoers slowly leaving, to emphasize the aftermath of the night's events.
  • Enhance Dick's character by giving him more nuanced dialogue that acknowledges the seriousness of Russell's situation while still maintaining his role as a stabilizing force. This could create a more complex dynamic within the band.
  • Consider incorporating a visual motif, such as the algae in the pool, to symbolize the murky reality of Russell's life and the consequences of his reckless behavior. This could add a layer of thematic depth to the scene.



Scene 27 -  Finding Connection Amidst Chaos
92 INT. TOUR BUS -- MORNING - 5
AM 92
"Tiny Dancer" continues on the bus stereo. Russell sits up
front, swathed in a large robe, alone and silent. The others
have given him a wide berth. He feels silly, and they know
it, and he hates that they know it, which makes him feel
foolish. He sits silently. William watches him from four
rows back, next to Penny. She kisses the top of his forehead,
a hero's welcome. He yawns. The song's vocal begins. There is
only more silence. Then, after a beat, we hear a voice or
two, fighting the quiet and singing along. Then others...
waking up... joining in. Then Jeff. Russell hears them and
starts to sing along too, louder now, without turning around.
It's a voice everyone wants to hear. Like it or not, this is
his family.

FADE OUT

FADE IN:

93 EXT. HIGHWAY -- DAY
93

Passing signs announce Greenville, North Carolina.

94 INT. LESTER BANGS BEDROOM -
DAY 94

Lester on the phone. He is paler than ever, in a room clogged
with vinyl, happily listening to the MC5 in the background.

LESTER
How's it going?

INTERCUT:

95 INT. WILLIAM'S HOTEL ROOM -
DAY 95

It's a small wooden-walled hotel room in Greenville. Polexia
tries on clothes. William barely notices as he talks to Lester
on the phone.

WILLIAM
Rolling Stone is calling me. I don't
have my key interview. I don't know
what to say.

LESTER BANGS
(pacing, assembling thoughts
with his hands)
You're flipping out. That's good.
Alright. This is how you blow their
minds. He'll ask you - this is Ben
Fong-Torres, right? - he'll ask you
how the story's going. Here's what
you do - let's fry his mind. Tell him
"it's a think piece about a mid-level
band struggling with their own
limitations in the harsh face of
stardom." Ha ha!! This is fun!

William scrambles to make notes.

WILLIAM
(madly copying)
... think... piece...

CLOSE ON WRITING

Longhand small script on yellow legal tablets.

96 INT. HOTEL BATHROOM -- NIGHT
96

William sits in the tub, without water. It's his makeshift
office, he's surrounded with scraps of notepaper. He writes
savagely, and now, savagely throws it away.

97 INT. HOTEL BEDROOM -- NIGHT
97

In the bedroom, Sapphire, Polexia and Penny watch The Midnight
Special. Sapphire looks at a room service menu.

SAPPHIRE
It says the food is hearty and
adventurous.

POLEXIA
(yawns)
Greenville. I'm bored.

Penny yawns too, it's catchy, and rises to visit the bathroom.

POLEXIA (cont'd)
Hey let's deflower the kid.

Now Sapphire yawns, looks in her purse.

SAPPHIRE
Who his the quaaludes from me?

98 INT. HOTEL BATHROOM -- NIGHT
98
Penny enters to see William writing in the tub. She sits on
the toilet to pee. Flustered:

WILLIAM
Wait. I'll leave.

He gets up, knocking his carefully organized notes onto the
floor. He is brimming with things to say. More than he is
even able to communicate.

WILLIAM (cont'd)
You know, I think this is going
backwards for me.

PENNY
Backwards?

WILLIAM
(flustered)
I don't know. I just thought we could
hang out, maybe do some stuff back
home, regular stuff, get to know each
other better... and then I'd see you
pee. I mean, that's the way I usually
do it.

PENNY
You're one of us. It's no big deal.

WILLIAM
I'm not one of you.

PENNY
Oh! If you go to Cleveland, Bowie's
going to be there at Swingo's, the
greatest hotel in America. I'll
introduce you to him, and his security
guy Dennis.

William stops at the door.

WILLIAM
Don't you have any regular friends?

PENNY
Famous people are just more interesting.

He looks at her. Even sitting on the can, she's elegant and
totally focused on him.

WILLIAM
(carefully)
Well, I would be worried that they
were using me. And not that anybody's
using you, but -

She swoons a little, touched and moved.

PENNY
Boy, if this was the real world and
some guy talked to me like that -

WILLIAM
Let me finish.
(continuing)
I'm not famous.... but you could always
use me. If anything happens. And I
would never use you. Even if I got
famous. So you know, you always have
that from me... in the real world. If
you ever have to go back there, for
anything.

She looks at him curiously, as the door blasts open. Sapphire
and Polexia head for William.

SAPPHIRE
Your time has come.

WILLIAM
Did he call?
(realizes their intention)
What are you -- stop it -- we're talking
here.

SAPPHIRE
Pants him. Opie must die.

They swarm him, dragging him kicking into the bedroom.
Genres: ["Drama","Comedy"]

Summary On a morning tour bus, Russell feels isolated until a sing-along transforms the atmosphere, helping him feel part of the group. Meanwhile, in a hotel room, William struggles with his feelings for Penny and seeks advice from Lester, leading to a humorous and awkward bathroom encounter. The scene captures the blend of introspection, humor, and camaraderie as William's insecurities and the playful disruptions from Sapphire and Polexia leave his feelings unresolved.
Strengths
  • Authentic character interactions
  • Emotional depth
  • Witty dialogue
Weaknesses
  • Limited plot progression
  • Low external conflict

Ratings
Overall

Overall: 8

The scene effectively balances humor and emotion, providing insight into the characters' relationships and inner thoughts. The dialogue is engaging, and the interactions feel authentic, drawing the audience into the story.


Story Content

Concept: 8

The concept of exploring the aftermath of a chaotic night on the tour bus is compelling and well-executed. It delves into the characters' vulnerabilities and relationships, adding depth to the narrative.

Plot: 7

While the scene doesn't focus heavily on plot progression, it serves as a crucial moment for character development and relationship dynamics. The interactions and conversations drive the story forward in a more subtle way.

Originality: 8

The scene offers a fresh take on the rock band dynamic, exploring themes of acceptance, authenticity, and personal growth within the context of fame and music.


Character Development

Characters: 9

The characters are well-developed and their interactions feel authentic and relatable. Each character's personality shines through in their dialogue and actions, adding depth to the scene.

Character Changes: 7

The characters experience subtle shifts in their relationships and emotions, particularly in their interactions with each other. These changes contribute to their growth and development throughout the scene.

Internal Goal: 8

The protagonist's internal goal is to feel accepted and valued by his bandmates, to overcome his feelings of silliness and foolishness, and to find his place within the group.

External Goal: 7

The protagonist's external goal is to prepare for an interview with Rolling Stone and to come up with a compelling story angle to impress the interviewer.


Scene Elements

Conflict Level: 4

While there are subtle conflicts and tensions within the relationships, the scene focuses more on introspection and character dynamics rather than external conflicts. The conflicts are more emotional and internal.

Opposition: 7

The opposition in the scene is strong, with conflicting desires and motivations among the characters that create tension and uncertainty.

High Stakes: 3

The stakes are relatively low in this scene, focusing more on character dynamics and relationships rather than external conflicts or high-intensity situations. The emphasis is on introspection and emotional depth.

Story Forward: 6

While the scene doesn't propel the main plot forward significantly, it deepens the characters' relationships and sets the stage for future developments. It adds layers to the narrative and enhances the audience's understanding of the characters.

Unpredictability: 7

This scene is unpredictable due to the unexpected emotional revelations and character interactions that challenge the audience's expectations.

Philosophical Conflict: 7

The philosophical conflict revolves around the protagonist's desire for authenticity and connection in contrast to the superficiality and fame-seeking behavior of some of his bandmates.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from affection and nostalgia to reflection and intimacy. The characters' vulnerabilities and interactions create a strong emotional impact, drawing the audience into their world.

Dialogue: 8

The dialogue is witty, heartfelt, and reflective, capturing the essence of the characters' relationships and emotions. It effectively conveys the dynamics within the group and adds depth to the scene.

Engagement: 8

This scene is engaging because of its intimate character moments, emotional conflicts, and relatable themes of acceptance and self-discovery.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, keeping the audience engaged and invested in the characters' journeys.


Technical Aspect

Formatting: 9

The formatting adheres to the expected format for a screenplay, with clear scene headings, descriptions, and dialogue.

Structure: 9

The scene follows a clear structure with distinct beats and transitions, effectively building tension and emotional depth.


Critique
  • The scene effectively captures the emotional transition of Russell from feeling isolated to becoming part of the group through the sing-along. However, the initial silence could be expanded to emphasize Russell's internal struggle more deeply, allowing the audience to connect with his vulnerability before the shift to camaraderie.
  • The use of 'Tiny Dancer' as a backdrop is a strong choice, as it evokes nostalgia and a sense of belonging. However, the scene could benefit from more visual cues that illustrate the characters' reactions to the song, enhancing the emotional weight of the moment.
  • William's perspective as an observer is interesting, but it might be more impactful if he had a more active role in the scene. His feelings for Penny and his relationship with Russell could be explored further, perhaps through a brief internal monologue or a more direct interaction with Russell.
  • The dialogue is engaging, but it could be tightened to enhance the pacing. Some lines feel a bit expository, particularly when establishing the dynamics between the characters. More subtext could be introduced to convey their feelings without overtly stating them.
  • The transition from the bus scene to the next location feels abrupt. A smoother transition could help maintain the emotional flow and keep the audience engaged with the characters' journeys.
Suggestions
  • Consider adding a moment where Russell reflects on his feelings of isolation before the sing-along begins, perhaps through a brief flashback or a visual cue that highlights his internal conflict.
  • Incorporate more visual elements that show the reactions of the other characters as they join in the singing, such as close-ups of their faces or body language that conveys their support for Russell.
  • Give William a more active role in the scene by allowing him to initiate a conversation with Russell or express his feelings about the situation, which could deepen the emotional stakes.
  • Tighten the dialogue to remove any unnecessary exposition and focus on subtext, allowing the audience to infer the characters' feelings and relationships more organically.
  • Create a more gradual transition from the bus scene to the next location, perhaps by including a moment of reflection or a shared joke among the characters that reinforces their bond before moving on.



Scene 28 -  Awakening in the Hotel Room
99 INT. HOTEL BEDROOM -- NIGHT
99

Steely Dan, looking pale and somehow snappy, perform "Do It
Again" on The Midnight Special. The girls force William onto
the bed, and envelope him. Their sexuality is fun, untroubled.
Shot moves past bodies crossing frame, onto William's face.

ANGLE ON PENNY

Across room, sitting and watching.

SAPPHIRE
Just relax. Take a vacation from
yourself. Leave this to professionals.

Estrella and Polexia kiss each other playfully. William looks
confused. Across the room, Penny laughs, turns up the TV,
blows him a kiss.

Penny's eyes. Across the room.

His eyes.

His sexual awakening may be downtime amusement for them, but
to him it's an embarrassingly intense moment he shares only
with Penny Lane -- across the room. She turns away, smiling,
disappears into the next room.

ON STEELY DAN

On the television.

DISSOLVE TO:

99A INT. BEDROOM - NIGHT - TWENTY MINUTES LATER -
HANDHELD 99A

Post-sex pajama party. Sapphire, Estrella, and Polexia
girltalk
about their first rock and roll conquests. Penny is
conspicuous
by her absence. William is under the sheets, listening,
feeling
different, now a man and somehow one of the girls too.

DISSOLVE TO:

100 INT. BEDROOOM -- NEXT
MORNING 100

William is awake. Sunlight floods in from the corners of the
window-shades. He is surrounded by the fallen cavalry of the
night before... Sapphire and Polexia. The phone rings, and
Sapphire instantly snaps it up, still asleep. Lost in her
dreams, she offers the sexiest hello ever.

SAPPHIRE
(half-English accent)
Hello. Hi, Ben-Fong-Torres from Rolling
Stone.

William snatches the phone.

WILLIAM
(lowers voice)
Hello.

101 INT. BEN FONG-TORRES' KITCHEN -- SATURDAY
MORNING 101

Ben Fong-Torres is up bright and early.

BEN
Hello William, this is your editor at --

He offers the name of the magazine with a swirl that implies
high-level importance.

BEN (cont'd)
Rolling Stone. How's the story?

INT. GREENVILLE HOTEL ROOM -- CONTINUOUS

William snaps into his very professional tone of equally grave
importance.

WILLIAM
I'm getting good stuff out here.

BEN
Sounds like it.

Next to him, Polexia yawns herself awake.

POLEXIA
Man, I need some -

He clamps a hand over her mouth.

BEN
(jocular but tough)
Now listen. Get it together. We're
both professionals, I don't have to
tell you this. You're not out there
to join the party -- we already have
one Hunter Thompson. You're out there
to interview and Report. You got me?
This isn't Creem Magazine, it's Rolling
Stone. We need this story in four
days. Now I want to know how it's
shaping up.

WILLIAM
It's a think-piece about a mid-level
band grappling with their limitations
in the face of the harsh glare of
success.

BEN
(pause)
I like what we're saying. Let me try
and get you a thousand more words.
It's in consideration for the cover,
but don't tell the band.

WILLIAM
(conflicted)
Crazy.

The kid hangs up, now shouldering even more pressure. He
unclamps Polexia's mouth.

POLEXIA
- coffee.

SAPPHIRE
Me too. Greenville is so boring.
(to William)
Any other city in the world and you'd
still be a virgin.

WILLIAM
I'm going out to find Russell.

SAPPHIRE
Will you take the laundry?

WILLIAM
(to the girls)
What am I to you? Tell me right now!
What. Am. I. To. You.
Genres: ["Drama","Comedy"]

Summary In a hotel bedroom, William is captivated by the sexual energy of the girls while watching Steely Dan on TV. He feels a mix of confusion and excitement, particularly regarding his connection with Penny, who observes from afar. The scene shifts to a post-sex pajama party where the girls share their rock and roll stories, highlighting William's journey toward maturity. The next morning, he faces pressure from his Rolling Stone editor, adding to his internal conflict as he navigates his identity among the carefree girls.
Strengths
  • Engaging dialogue
  • Character development
  • Emotional depth
Weaknesses
  • Lack of high stakes
  • Some awkward transitions

Ratings
Overall

Overall: 8

The scene effectively combines elements of drama, comedy, and character development, creating a compelling and engaging narrative.


Story Content

Concept: 8

The concept of exploring William's sexual awakening and the pressure he faces as a journalist is well-executed and adds depth to the scene.

Plot: 7

The plot progresses as William navigates his relationships with the girls and his professional responsibilities, adding layers to the story.

Originality: 9

The scene offers a fresh take on the coming-of-age and music journalism genres, blending personal growth with professional ambition in a unique setting.


Character Development

Characters: 9

The characters are well-developed, each with their own unique personalities and dynamics that drive the scene forward.

Character Changes: 7

William undergoes a subtle but significant change as he navigates his sexual awakening and professional responsibilities.

Internal Goal: 8

The protagonist's internal goal is to navigate his sexual awakening and newfound sense of maturity in the midst of the rock and roll lifestyle. He is grappling with his own emotions and desires.

External Goal: 7.5

The protagonist's external goal is to write a story for Rolling Stone magazine about a band's struggle with success. He is under pressure to deliver a compelling piece within a tight deadline.


Scene Elements

Conflict Level: 7

There is a moderate level of conflict present, both internally for William and externally in his interactions with the girls and his editor.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing internal doubts and external pressures that challenge his beliefs and values.

High Stakes: 6

While the stakes are not extremely high in this scene, the pressure William faces as a journalist adds tension and importance to his actions.

Story Forward: 8

The scene moves the story forward by developing William's character, relationships, and the overarching plot of his journalistic assignment.

Unpredictability: 7

This scene is unpredictable because it blends personal and professional conflicts in unexpected ways, keeping the audience guessing about the protagonist's choices and outcomes.

Philosophical Conflict: 8

The philosophical conflict revolves around the protagonist's dual identity as a young man exploring his sexuality and a professional journalist trying to make a name for himself in the music industry. This conflict challenges his values and beliefs about art, success, and personal fulfillment.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from awkwardness to intensity, adding depth to the characters and their relationships.

Dialogue: 8

The dialogue is engaging, with a mix of playful banter, professional exchanges, and emotional moments that enhance the scene.

Engagement: 9

This scene is engaging because it combines humor, drama, and tension to keep the audience invested in the protagonist's journey.

Pacing: 8

The pacing of the scene is effective, balancing introspective moments with fast-paced dialogue and action to maintain momentum and tension.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, dialogue, and action descriptions.

Structure: 8

The scene follows a clear structure with a setup, conflict, and resolution, moving seamlessly between the protagonist's personal journey and professional challenges.


Critique
  • The scene effectively captures the chaotic energy of a rock and roll lifestyle, showcasing William's sexual awakening amidst the playful intimacy of the girls. However, the contrast between William's internal struggle and the carefree attitude of the girls could be more pronounced to enhance the emotional stakes.
  • The dialogue is engaging and reflects the characters' personalities well, but it could benefit from more subtext. For instance, William's question, 'What am I to you?' feels abrupt and could be better integrated into the flow of the scene to avoid feeling like a forced moment of introspection.
  • The use of Steely Dan's 'Do It Again' as a backdrop is fitting, but the scene could explore how the music influences William's emotions and perceptions. Adding a moment where he reflects on the lyrics or the vibe of the song could deepen the connection between the music and his experience.
  • The transition between the pajama party and the phone call with Ben Fong-Torres is somewhat jarring. A smoother transition could help maintain the flow of the narrative and keep the audience engaged. Consider using a visual or auditory cue that links the two moments more cohesively.
  • William's character development is evident as he navigates his feelings of confusion and excitement, but the scene could delve deeper into his internal conflict. Adding more internal monologue or visual cues that reflect his emotional state would enhance the audience's understanding of his journey.
Suggestions
  • Consider adding a moment where William reflects on his feelings while watching the girls, perhaps through a brief internal monologue or a visual metaphor that illustrates his confusion and excitement.
  • Integrate William's question about his role in the group more naturally into the dialogue, perhaps by having him express his feelings of inadequacy earlier in the scene, leading to a more impactful moment when he finally asks.
  • Enhance the connection between the music and William's emotional state by incorporating a moment where he reacts to the lyrics or the performance, allowing the audience to see how the music resonates with his experience.
  • Create a smoother transition between the pajama party and the phone call by using a visual or auditory cue, such as a fade-out of the music or a close-up of William's face as he shifts from the party atmosphere to the seriousness of the phone call.
  • Add more visual or auditory elements that reflect William's internal conflict, such as close-ups of his expressions or sounds that symbolize his emotional turmoil, to help the audience connect with his journey more deeply.



Scene 29 -  Embracing the Chaos
102 INT. HOTEL HALLWAY -
DAY 102

Circles have sprouted up under William's eyes. The orange bag
strapped over his shoulder, he lugs a huge bag of laundry. He
consults room list. A variety of noises and smells drift from
the band rooms. He sees Room Service arrive at Dick's door,
and it's Estrella who opens the door. (Dick in the
background.) She smiles sweetly to William -- good morning --
as the door shuts.

WILLIAM
Houdini... Houdini...

He arrives at Russell's door. Two exclamation points have
been Sharpie-markered to the words Do Not Disturb on the sign
is gaffer-taped to his door. He looks through the crack, at
the bottom of the door. Carefully and politely, he knocks.
Instantly:

RUSSELL (O.S.)
GO AWAY!

Pissed, the kid flips off the door. He sits down on a chair
directly across from the room. Push in on William, who is
more pent-up than ever. He tries hard not to cry, taking
gulps of air as a maid cart swishes past, revealing... he's
failed. He cries.

FADE UP FROM DARKNESS

A super-energized Russell Hammond looks into William's sleepy
face. William's eyes open. His own sleepy face is evident in
Russell's sunglasses. The bag of laundry is still at his feet.

RUSSELL (cont'd)
We'll do the interview in Cleveland!

WILLIAM
No. I can't. You've got to help me.
I have to go home.

RUSSELL
Come on man, we'll have more time there.
Don't be tense!!

He begins rubbing the kid's shoulders. He's waking up.
There's
Penny, also rubbing his shoulders. It is degrading... and
somehow cool too.

WILLIAM
(to Penny)
You said you'd help me.

PENNY
(massaging)
Come to Cleveland.

RUSSELL
(massaging, hypnotically)
Come to Cleveland... Come to
Cleveland...

WILLIAM
I can't!!

RUSSELL
Can we help it if we like having you
around!

William is a bundle of nerves and exhaustion now. Embarrassed
and frustrated.

RUSSELL (cont'd)
Cleveland, my man. You can't miss out
on the Rock Mecca of the midwest -
you're with us. It's all happening!

PENNY
Rock and roll!

WILLIAM
(weary)
Rock and roll.

We hear David Bowie's live version of "Waiting for the Man."

103 INT. HOTEL ROOM --
DAY 103

They sit together, hair askew, in sunglasses, resting against
the headboard. Carefully, Russell identifies his thoughts.

RUSSELL
I feel... like his parents.

Penny runs a worried hand through her hair.

PENNY
I know.

RUSSELL
I wonder how that happened.

PENNY
You ever notice that all our sentences
begin with "I?"

RUSSELL
I hadn't, no.

PENNY
'Cause we should work on that.

He looks at her, plays the guitar a little.

104 EXT. HIGHWAY - NIGHT
104
Night. Doris rocks toward Cleveland on a muggy summer night.
The windows of passing houses offer rich Edward Hopper glimpses
of lives and people William will never meet.

105 INT. WILLIAM'S BUS BUNK -
NIGHT 105

William watches from his bus bunk at the back, head on elbow.
Looking up, he sees the rhythmic motion of bodies on the
mattress above him, as music continues.

William gets up, nods hello to the Roadie and his Date on the
bunk above. He moves down the aisle... to the seats near the
front. A sleeping Russell sits upright, hugging his guitar.
Penny asleep next to him, Polaroid in her hand of... Russell
sleeping. The kid moves on. He sits with the Bus Driver,
whose CB crackles with chatter from other tour buses headed to
Cleveland.

ON THE FIRST SIGN - LATE NIGHT

Cleveland signs. Music rises. Heads pop awake.

RUSSELL
Cleveland!

106 EXT. DOWNTOWN CLEVELAND - LATE
NIGHT 106

Like a slow-moving shark, Doris pulls into empty downtown
Cleveland. The streets are empty. They pass the Agoura
Ballroom, where a man with a long stick arranges the letters
Stillwater on the marquee. Applause in the bus.

107 INT. SWINGO'S CELEBRITY INN - LATE NIGHT/EARLY
MORNING 107

Russell and band enter like warriors, in a pack. William sags
with the heavy bags in hand and over his shoulder. Here, in
the middle of the midwest, is an explosive rock mecca, just as
promised. The feeling of belonging invades all those in this
lobby. Fans and other touring rockers mingle together.
Outside in the real world, everyone else is going to work.

FAN
It's Bowie!

The lobby ignites, as William stands near Penny and Russell.
Bowie races from a limousine through the lobby and into the
elevators. He is shrouded by a jacket. Just the top of his
electric red hair travels the lobby, as he's hustled by
security
man Dennis in the elevator. And out of the chaos comes...

108 INT. HOTEL ROOM - DAY
108

Jeff Bebe and Polexia smash against the wall of the Swingo's
hotel room, making love.

109 INT. HOTEL ROOM - DAY
109

Russell and Penny Lane smash against their own wall.

109A INT. ARENA - NIGHT
109A

Dick squats at the front of the stage, and talks to a few fans
in the front row of this crowd.

110 INT. BACKSTAGE CLEVELAND PAY PHONE - NIGHT
110

A wild Cleveland crowd in the building. The cities on this
tour are getting bigger, and so are the audiences. And there
is a whiff of business now too. Men in satin tour jackets and
some Disc-jockey types cruise the backstage. A Hysterical Fan
is led screaming to the nearby medic room. Few even react -
it's Cleveland - as the shot finds William, tired and yawning,
on the backstage pay phone. He is absolutely ready for the
worst.

WILLIAM
Hi Mom. I'm in Cleveland.

He listens stoically. Larry and Ed watch nearby.

INTERCUT:

INT. LIVING ROOM -- NIGHT

Moms sits in silence.

WILLIAM (cont'd)
(rehearsed)
I'm fine! I'm fine! I'm flying back on
Monday Morning. I'll only miss one
test. I'll make it up.

Russell listens in, holding his guitar, laughing.

RUSSELL
Tell her you're a slave to the groove
- you can't help it!

WILLIAM
(covers phone)
No.

Russell grabs the phone, talks to the silent mother on the
other end.

RUSSELL
Hi Mom! It's Russell Hammond, I play
guitar in Stillwater! It's my fault.
How does it feel to be the mother of
the future of rock journalism?
(beat)
Hello?

Silence. Penny passes and stands near William, smoothing her
pass. They watch a new pack of groupies prowl the road-crew.
They are more glam, more trashy and less selective. They glare
insolently at Penny Lane. This is the future.

RUSSELL (cont'd)
You've got a great kid -- nothing to
worry about! We're taking care of
him! And you should come to a show
sometime! Join the Circus!

ELAINE
Listen to me. Your charm does not
work on me. I'm onto you. Of course
you like him.

RUSSELL
Yes.

ELAINE
He worships you people and that's fine
with you, as long as he helps make you
rich.

RUSSELL
(a nerve is struck)
Rich? I don't think so -

ELAINE
Listen to me. He's a smart, good-
hearted, 15 year-old kid, with infinite
potential.

Russel looks over at the kid, eyes narrowing as he processes
the truth. He's 15?
ELAINE (cont'd)
This is not some apron-wearing mother
you're talking to. I know about your
Valhalla of Decadence, and I shouldn't
have let him go. He is not ready for
your world of compromised values, and
diminished brain cells that you throw
away like confetti. Am I speaking
clearly to you?

RUSSELL
Yes, ma'am.

ELAINE
If you break his spirit, harm him in
any way, keep him from his chosen
profession -- which is law, Something
you may not value but I do -- you will
meet the voice on the other end of
this telephone. And it will not be
pretty. Do we understand each other?

RUSSELL
Yes... yes...

ELAINE
(always the teacher)
I didn't ask for this role, but I'll
play it. Now go do your best. "Be
bold and mighty forces will come to
your aide!" Goethe said that. It's
not too late for you to be a person of
substance. Get my son home safely,
I'm glad we spoke.

She hangs up. Russell hangs up, oddly affected and shook up.

WILLIAM
Some people get her. Some don't.

Russell is still recovering. William feels embarrassed by his
mother, once again.

111 ON THE HUDDLE
111

William with the band. He yawns, as the band breaks.
Cleveland
awaits. We follow Dick, who guides the band onto the stage
platform, still in darkness. Already, stomping and applause
is mounting. Russell turns to William before taking the stage:
RUSSELL
Your Mom kind of freaked me out.

WILLIAM
She means well.

Still rattled, he takes the stage. We see the unbridled
enthusiasm of the faces on the front row. A wave of cigarette
lighters stretch out before them.

DICK
(importantly)
From Troy, Michigan...

Russell thwacks a couple chords. Audience thunders. He turns
to other members, feeling chills. It's in these moments that
everything else disappears. They bow and wave, still in
darkness... each member seems to have his own fans. Dick lets
all this play out before finally adding...

DICK (cont'd)
Would you please welcome to Cleveland...

More applause. This is very very very very fun.

DICK (cont'd)
Stillwater.

Lights come up. A full blast of audience love hits them right
in the face, as they begin "Fever Dog." The band charges
headlong into their set, as various fans are squeezed up out
of the crowd and onto the stage.

HANDHELD ON RUSSELL

Who is in the middle of playing, as he smoothly whips off his
guitar, and uses the instrument to send a Frenetic fan back
into the crowd. He slips back under the strap, laughing.
More stage climbers spring up where that fan came from, and
Russell now watches as Jeff Bebe dodges a fan and comes over
to Russell to lean on him. Russell turns to share the moment
with Penny, dancing with arms in the air at the side of the
stage.
Genres: ["Drama","Music"]

Summary William, emotionally drained, struggles with his desire to return home while navigating the vibrant yet chaotic world of the rock lifestyle. After a breakdown in the hotel hallway, he is encouraged by Russell and Penny to join them in Cleveland. The scene shifts to a bus ride where William observes the band's dynamic, culminating in a phone call with his concerned mother. Despite her worries, William reluctantly embraces the excitement of the upcoming performance, highlighting his internal conflict between safety and the allure of rock and roll.
Strengths
  • Emotional depth of characters
  • Exploration of complex relationships
  • High stakes and tension
Weaknesses
  • Some dialogue could be more impactful
  • Pacing in certain moments

Ratings
Overall

Overall: 8

The scene effectively captures the emotional depth and tension within the characters, while also advancing the plot and showcasing the high stakes involved.


Story Content

Concept: 8

The concept of exploring the inner workings of a rock band, the pressures of fame, and the personal struggles of the characters is well-executed.

Plot: 8

The plot progresses as the characters navigate conflicts, make decisions, and face the consequences of their actions.

Originality: 9

The scene offers a fresh perspective on the rock band tour narrative, focusing on the protagonist's internal and external struggles with authenticity and depth. The characters' actions and dialogue feel genuine and relatable.


Character Development

Characters: 9

The characters are well-developed, each with their own motivations, conflicts, and relationships that drive the narrative forward.

Character Changes: 8

Several characters experience growth, conflict resolution, and self-realization throughout the scene, leading to significant changes in their perspectives and relationships.

Internal Goal: 8

The protagonist's internal goal is to maintain his integrity and sense of self amidst the chaos and pressure of the rock band tour. He struggles with feelings of exhaustion, frustration, and the desire to go home.

External Goal: 7

The protagonist's external goal is to navigate the challenges of the tour, including dealing with demanding band members, fans, and his own personal struggles.


Scene Elements

Conflict Level: 8

There are multiple conflicts present, including internal struggles, tensions within the band, and external pressures from fame and success.

Opposition: 8

The opposition in the scene is strong, with the protagonist facing internal and external challenges that test his values and beliefs. The audience is kept on edge, unsure of how the conflicts will be resolved.

High Stakes: 9

The high stakes of fame, personal relationships, and the characters' futures are clearly depicted, adding tension and urgency to the scene.

Story Forward: 8

The scene moves the story forward by introducing new conflicts, resolving existing tensions, and setting up future developments for the characters and plot.

Unpredictability: 7

This scene is unpredictable due to the unexpected twists in character interactions and revelations. The audience is kept on their toes, unsure of how the protagonist will navigate the challenges.

Philosophical Conflict: 9

The philosophical conflict revolves around the protagonist's values and beliefs being challenged by the rock and roll lifestyle. The protagonist's mother represents a contrasting value system of responsibility and integrity.


Audience Engagement

Emotional Impact: 9

The scene evokes a range of emotions from tension and anxiety to moments of connection and reflection, creating a strong emotional impact on the audience.

Dialogue: 7

The dialogue effectively conveys the emotions, tensions, and dynamics between the characters, but could be more impactful in certain moments.

Engagement: 9

This scene is engaging because it captures the emotional and psychological turmoil of the protagonist, as well as the dynamic interactions between characters. The tension and drama keep the audience invested.

Pacing: 8

The pacing of the scene is well-crafted, with a balance of tension, drama, and character moments. The rhythm of the scene enhances its effectiveness.


Technical Aspect

Formatting: 8

The formatting adheres to the expected format for a screenplay, with clear scene descriptions, character actions, and dialogue. The visual elements are well-crafted.

Structure: 8

The scene follows a coherent structure, moving seamlessly between different locations and character interactions. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The emotional weight of William's exhaustion and pent-up frustration is effectively conveyed through his physical state and actions, such as the circles under his eyes and the heavy laundry bag. This sets a strong tone for the scene, emphasizing his vulnerability.
  • The use of humor in Russell's playful massage of William adds a layer of complexity to their relationship, showcasing Russell's carefree attitude juxtaposed with William's serious predicament. However, the humor may come off as slightly degrading for William, which could be explored further to deepen the emotional stakes.
  • The dialogue between William, Russell, and Penny is engaging, but it could benefit from more subtext. For instance, while they discuss going to Cleveland, there could be a deeper exploration of William's internal conflict about his identity and aspirations versus the allure of the rock lifestyle.
  • The transition from William's emotional breakdown to Russell's energetic awakening is jarring. While it serves to highlight the contrast between their characters, it may feel abrupt to the audience. A smoother transition could enhance the flow of the scene.
  • The scene captures the chaotic energy of the rock and roll lifestyle effectively, but it risks overshadowing William's emotional journey. Balancing the external chaos with William's internal struggles will create a more cohesive narrative.
Suggestions
  • Consider adding a moment where William expresses his fears or doubts about the rock lifestyle more explicitly, perhaps through a brief internal monologue or a more direct conversation with Russell or Penny.
  • Enhance the transition between William's breakdown and Russell's awakening by incorporating a moment of reflection or a shared look between the characters that signifies a deeper connection or understanding.
  • Explore the dynamics of power and vulnerability in the massage scene further. Perhaps William could push back against Russell's playful demeanor, asserting his need for support rather than just being a source of amusement.
  • Incorporate more sensory details to enrich the setting, such as the sounds of the hotel hallway or the smells wafting from the band rooms, to create a more immersive experience for the audience.
  • Consider ending the scene with a stronger emotional hook, perhaps by having William make a definitive choice about his future or expressing a desire to reclaim his agency, which would set up the stakes for the next scene.



Scene 30 -  A Clash of Loyalty and Opportunity
112 INT. DRESSING ROOM -- NIGHT
112

William in the dressing room, eyes red with exhaustion, finally
interviewing Russell. He holds the mike stoically.

WILLIAM
So when you play a great show like
tonight...

Dick enters with great urgency.

DICK
Okay. I need everybody's attention.

The kid shuts his eyes. He knew this would happen.

DICK (cont'd)
Alright, well, the rumors are true.
The record company has sent a big-time
manager here to try and talk you into
replacing me. His name is Dennis Hope.
I know you've all heard of him. He's
got all the big bands. He's right
outside. He wants five minutes with
you right now. I think we gotta do
it.

RUSSELL
(pissed)
Then bring him in.

William shuts off his tape recorder.

JEFF
(arrogant)
Bring him in! We'll send him out on a
rail!

RUSSELL
(to William)
We'll finish on the way to Boston.
You can fly home from Boston.

William nods, exhausted, as Dick opens the door. In walks a
small general of a man in a baseball t-shirt, well-trimmed
beard and bowl cut. He holds the super-new Halliburton
briefcase. He is DENNIS HOPE, 25. A man from the midwest,
with a vision of the future of rock and roll. Already in his
head are all the things that will come to pass. Higher ticket
prices. Merchandising deals. Greater distribution and
accounting of album sales. He shrugs hello to the band.

DENNIS HOPE
(completely unthreatening)
Hi.

RUSSELL
We already have a manager. He's been
with us from the beginning.

Hope appreciates the lack of small talk. He strides the room
with the joyful enthusiasm of a kid who wants to build a fort.
Russell watches, dismissive, holding his guitar.

DENNIS HOPE
Respectfully. We all have our roots.
I believe in bands holding onto their
roots. But those roots need to be
augmented. I'm gonna tell you the truth
- I may enrage some and enthrall others.
I don't really give a fuck. Your
manager here needs a manager. Example.
If you hadn't run out on the contract in
Phoenix, you could have sued over
Russell's hand... but you left, negating
the contract, forfeiting the deposit,
and you effectively traveled a long
way to pay that promoter... to
electrocute you.

Russell looks at his hand.

DENNIS HOPE (cont'd)
We can all work together. Your damages
have put you way into the hole for
this tour. Right now you owe the record
company more than you've got. But
your record's selling, there's money
to be made. So I've brought a plane
in, we can add more shows to make-up
the difference. Respectfully.

RUSSELL
(immediately)
We travel by bus.

JEFF
Doris is the soul of this band! That
bus has been our home since we were
the Jeff Bebe Band.

Dick watches his loyal band with admiration.

DENNIS
Hey man -- it's travel on a pogo stick
if I thought we'd make more money.
You can play more dates with a plane...

112A INT. CLEVELAND ARENA - NIGHT - SAME
TIME 112A
Penny Lane stands on stage facing the empty arena. The roadies
have packed up and moved on. She is alone in the poetic and
trash filled structure that was just hours ago filled with
people. (Behavior to come)

INTERCUT WITH:

112B INT. DRESSING ROOM -- NIGHT
112B

The band meeting continues.

RUSSELL
(passionate)
Hey man, it's not about the money! It's
about Playing music, and turning people
on!

The band agrees.

DENNIS HOPE
(delicately)
Yes, of course. Clearly.
Respectfully. But on the distasteful
subject of money. Just know. You're
making it -- right now -- and it's all --

He gestures to infinity.

DENNIS HOPE (cont'd)
-- out there. I'm just talking about
bringing it --

Bringing his hand together in a fist, he returns it, close to
his heart.

DENNIS HOPE (cont'd)
-- back here.

The band looks at Dick, who manages not to be speechless.

DICK
But why should we pay you for something
we can do ourselves?

DENNIS HOPE
(immediately)
Do you know how to keep from getting
charged for the ice below the
floorboards of Chicago Stadium?
Do you know how to do a headlining
tour, do you Claire Rothman at the
L.A. Forum? Do you know Bobbi Cowan,
Lisa Robinson, Jim Ladd, Frank
Barcelona?
(look around, amazed)
This is Cleveland. Where's Kid Leo??
(basics)
Do you know how you get a record not
pressed but played? Do you know? I
didn't invent the rainy day, man. I
just own the best umbrella.

He laughs. It's fun. Band members are now listening,
curiously
spellbound.

DENNIS HOPE (cont'd)
Because as much as you may believe that
it will last forever, it does not last
forever... your biggest fan right now
soon they're going to go to college,
gonna wanna buy clothes, spend that money
some other way, and you know what?
(the final insult)
They'll tape your record from a friend's
copy.

Russell stops fingering his guitar. Shot moves across the
faces of the band members. Pain.

DENNIS HOPE (cont'd)
You've got to take what you can, when you
can, while you can. And you've got to do
it now. That's what the big boys do.

The band squirms, but listens.

DENNIS HOPE (cont'd)
Because if you think Mick Jagger will
still be out there trying to be a rock
star at age fifty, you're sadly sadly
mistaken.

Now he's reaching them. Their slackened roar-weary faces stare
back at the young dynamo.

DICK
(flustered)
Yeah, well... we'll think about what
you said.

DENNIS HOPE
(casually)
No no. You don't understand. I'll
think about it. I'm not auditioning.
I came here to decide whether I want
to represent you. So I'll stand outside
for a moment, and think about whether
I want to stay.

He leaves the room with a pleasant shrug. Stunned silence.
William watches their body language. No one wants to talk
first. Their faces read as -- who was that guy, and how can
we talk him into staying?
Genres: ["Drama","Music"]

Summary In the dressing room after a concert, William interviews Russell when Dick announces the arrival of Dennis Hope, a potential new manager. Dennis challenges the band's loyalty to their current manager, emphasizing the financial opportunities they are missing. While Russell and Jeff defend their commitment to music over money, Dennis argues for the need to adapt to the industry's demands. The scene culminates in a tense discussion, leaving the band in stunned silence as they contemplate Dennis's provocative offer.
Strengths
  • Strong dialogue
  • Intense conflict
  • Compelling new character introduction
Weaknesses
  • Limited emotional depth
  • Lack of character development for Dennis Hope

Ratings
Overall

Overall: 8

The scene is well-written with strong dialogue and tension between the characters. It introduces a new conflict and raises the stakes for the band members.


Story Content

Concept: 8

The concept of the band facing a decision about their management and the future direction of their career is engaging and adds depth to the story.

Plot: 8

The plot advances significantly as the band is presented with a major decision that will impact their future. The conflict between loyalty and financial success is compelling.

Originality: 9

The scene offers a fresh take on the music industry's challenges, blending humor and drama in a realistic portrayal of band dynamics and industry pressures.


Character Development

Characters: 7

The characters are well-defined and their reactions to the new situation are realistic. Dennis Hope is a strong addition to the cast and adds a new dynamic to the group.

Character Changes: 7

The band members are forced to confront their loyalty to their current manager and consider the potential benefits of working with Dennis Hope, leading to internal conflict and growth.

Internal Goal: 8

The protagonist's internal goal is to maintain the band's artistic integrity and loyalty to their current manager, despite the temptations of fame and money.

External Goal: 7.5

The protagonist's external goal is to navigate the offer from the new manager and decide whether to stay loyal to their current manager or pursue potentially lucrative opportunities.


Scene Elements

Conflict Level: 8

The conflict between the band members, their current manager, and Dennis Hope creates a high-stakes situation that will have significant consequences for their future.

Opposition: 8

The opposition in the scene is strong, with the band members facing a difficult decision that challenges their values and loyalties, creating uncertainty and conflict.

High Stakes: 9

The stakes are high as the band must decide whether to stick with their current manager or take a risk with Dennis Hope, potentially impacting their career and future success.

Story Forward: 9

The scene significantly moves the story forward by introducing a new conflict and decision point for the band members, setting the stage for future developments.

Unpredictability: 8.5

This scene is unpredictable because of the unexpected arrival of the new manager and the band's conflicting reactions to his offer, keeping the audience guessing about the outcome.

Philosophical Conflict: 9

The philosophical conflict is between artistic integrity and commercial success. The new manager represents the commercial side of the music industry, while the band members value their artistic freedom and connection with their fans.


Audience Engagement

Emotional Impact: 6

While the scene is more focused on tension and business decisions, there is still emotional weight in the band's struggle to make a difficult choice.

Dialogue: 9

The dialogue is sharp, engaging, and reveals the conflicting motivations of the characters. It drives the scene forward and creates tension.

Engagement: 9

This scene is engaging because of the high stakes, emotional conflicts, and dynamic character interactions that keep the audience invested in the outcome.

Pacing: 8.5

The pacing of the scene effectively builds tension and suspense, with well-timed reveals and character interactions that keep the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for a dialogue-heavy scene in a screenplay, with clear scene descriptions and character actions.

Structure: 8

The scene follows the expected structure for a dramatic confrontation in a music industry setting, with clear character motivations and conflicts driving the action.


Critique
  • The scene effectively captures the tension between the band and the new manager, Dennis Hope, highlighting the conflict between artistic integrity and commercial success. However, the dialogue could benefit from more subtext; while the characters express their feelings about the situation, deeper emotional stakes could be introduced to enhance the drama.
  • William's exhaustion is palpable, but his role in this scene feels somewhat passive. As the interviewer, he should be more actively engaged in the conversation, perhaps challenging Russell or expressing his own concerns about the band's direction. This would not only develop his character further but also create a more dynamic interaction.
  • The introduction of Dennis Hope is strong, but his character could be fleshed out more. While he presents a compelling argument for the band to consider his management, adding a moment that reveals his motivations or vulnerabilities could make him a more rounded antagonist. This would create a more complex conflict between him and the band.
  • The pacing of the scene feels uneven. The buildup to Dennis's entrance is effective, but once he arrives, the dialogue becomes somewhat repetitive. Streamlining the conversation and focusing on key points could maintain tension and keep the audience engaged.
  • The intercutting with Penny in the empty arena is a nice visual touch, but it could be more thematically connected to the dressing room scene. Establishing a clearer link between her solitude and the band's struggle with their identity and future would enhance the emotional resonance of both scenes.
Suggestions
  • Consider adding more internal conflict for William during the interview. Perhaps he could voice his concerns about the band's direction or express his own aspirations, making him a more active participant in the scene.
  • Introduce a moment where Dennis reveals a personal stake in the band's success, such as a past connection to their music or a desire to prove himself in the industry. This would add depth to his character and make the stakes feel higher.
  • Tighten the dialogue by focusing on the most impactful lines. Remove any repetitive statements and ensure that each character's dialogue serves to advance the plot or deepen the conflict.
  • Enhance the emotional stakes by showing the band's reactions to Dennis's arguments more vividly. Consider using close-ups or reactions shots to capture their internal struggles and the weight of the decision they face.
  • Explore the theme of loyalty versus ambition more deeply. Perhaps include a moment where a band member expresses doubt about their current path, creating a rift that could be explored in future scenes.



Scene 31 -  The Price of Rock and Roll
113 INT. PLANE --
DAY 113

William watches as the band stands inside the new plane.
Dennis
Hope looks on.

RUSSELL
This is not us. This is too much.

He looks around for support. Grim nodding faces.

RUSSELL (cont'd)
(impressed at seat)
This is too much.

William watches as Russell reclines. Russell grabs Penny, and
she falls into the seat next to him. We hear the loud
oncoming
sound of the plane in flight, as Dennis cooly asks for Penny's
seat.

DENNIS HOPE
Do you mind?

114 EXT. PRIVATE AIRPORT -- DAY
114

Doris the bus stays behind in the parking lot, abandoned near
a field. The new plane lifts off in the background, as the
bus sits alone, as if crying steel tears. Bus Banner reads
simply: CLEVELAND. Reprise ending of Whole Lotta Love.

115 INT. PLANE
NIGHT 115

The girls sit on the jumper seats at the back of the plane,
with William.
116 INT. BOSTON HOTEL ROOM HALLWAY --
DAY 116

William trudges the hallway with tape-recorder and notebook,
trolling for Russell. He passes Boston travelogue posters on
the walls. A few room doors are open, he looks for any sign
of the guitarist. William veers into Dick's room, where a
poker game full of Roadies is in progress. The room is thick
with exotic smoke. They are a bunch of road-hardened snobs,
smoking cigars and other items, famous to themselves, listening
not to rock and roll... but Sarah Vaughn.

WILLIAM
Anyone seen Russell?

DICK
The Enemy!

Door widens to reveal Russell.

RUSSELL
Hey! Welcome to the Road Crew Poker
Party. This game's been going of for
two years.

DICK
That's Mick - he's with The Who. That's
John - with J. Geils. And that's
Richard with the Eagles... and you know
The Wheel.

THE WHEEL
Hey.

Grumbling roadies continue playing. Like an old pro, the kid
turns down a Cola-can hash-pipe. This hand is down to Dick,
and a roadie named REG from Humble Pie.

DICK
Side proposition. For fifty dollars
and a case of Heineken, I will put
into the pot... three Lovely Ladies,
Including the famous Penny Lane... the
Band-Aids, who need to exit our tour
before New York...

REG
It's a deal. Show 'em.

Dick lays down three tens. Reg lays down three Kings. Dick
loses.
DICK
Three Lovely Ladies... now in the
custody of Humble Pie.

REG
Alright, so we owe you fifty dollars
and a case of Heineken.

Embarrassed, Russell notices the kids face. He leans over,
and speaks confidentially to him.

RUSSELL
Look. Nobody's feelings are getting
hurt here. She already knows Leslie's
coming To New York tomorrow. They all
understand. This is the Circus.
Everybody's trying not to go home.
Nobody's saying goodbye.

WILLIAM
No, I got it.

RUSSELL
These are the Rules that come with
every electric Guitar and every
amplifier. They're not just written
anywhere. Rock and roll, brother. No
attachments. No boundaries.

But the kid feels bad, and Russell knows it.

RUSSELL (cont'd)
Quit looking at me like that.
Genres: ["Drama","Music"]

Summary In this scene, William observes the band adjusting to their new luxurious plane, while Russell expresses discomfort with the extravagance. Dennis asserts his authority by asking for Penny's seat, indicating a shift in group dynamics. Later, William finds Russell in a poker game with dismissive roadies, where Russell explains the unspoken rules of the rock and roll lifestyle, emphasizing its transient nature and the avoidance of attachments. The scene captures a mix of awe and discomfort, highlighting the emotional struggles of the characters as they navigate their identities in this new world.
Strengths
  • Complex character dynamics
  • Exploration of rock and roll lifestyle
  • Tension and conflict
Weaknesses
  • Some dialogue may be overly expository
  • Pacing could be improved in certain sections

Ratings
Overall

Overall: 8

The scene effectively captures the conflicting emotions and dynamics within the band and the protagonist, creating a tense and reflective atmosphere that adds depth to the story.


Story Content

Concept: 8

The concept of exploring the unwritten rules of the rock and roll lifestyle and the transient nature of relationships on tour is well-executed and adds complexity to the characters and plot.

Plot: 7

The plot advances through the interactions between the characters and the introduction of the new manager, Dennis Hope, which creates tension and sets up potential conflicts for future scenes.

Originality: 9

The scene introduces fresh situations within the rock band setting, with a focus on the protagonist's internal and external goals. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters are well-developed, with Russell embodying the rock star persona while also showing vulnerability, and William navigating the complexities of his role as a journalist and his growing attachment to the band.

Character Changes: 7

Russell's speech about the rules of rock and roll and the transient nature of relationships hints at a potential change in his perspective, while William's growing attachment to the band and his conflicting emotions show a subtle shift in his character.

Internal Goal: 8

The protagonist's internal goal is to navigate the complex dynamics of the rock band and understand the rules of the music industry. This reflects his desire for acceptance and understanding in a world that is unfamiliar to him.

External Goal: 7

The protagonist's external goal is to find Russell and continue his journalistic pursuit. This reflects his immediate challenge of locating a key figure in the band for his story.


Scene Elements

Conflict Level: 7

The conflict between Russell's rock star persona and his vulnerability, as well as the tension surrounding the new manager's offer, create a compelling conflict that drives the scene forward.

Opposition: 8

The opposition in the scene is strong, with conflicting values and goals among the characters. The protagonist faces challenges and obstacles that add depth to the narrative.

High Stakes: 7

The high stakes are established through the tension between the band members, the introduction of the new manager, and the potential impact on their future decisions and relationships, adding depth to the scene.

Story Forward: 8

The scene moves the story forward by introducing the new manager, Dennis Hope, and setting up potential conflicts and decisions for the characters, driving the narrative towards new developments.

Unpredictability: 7

This scene is unpredictable because of the unexpected twists in the poker game and the revelations about the music industry rules. The audience is kept on their toes with the shifting dynamics.

Philosophical Conflict: 9

The philosophical conflict is between the rock and roll lifestyle of detachment and freedom, and the protagonist's sense of responsibility and attachment to emotions. This challenges the protagonist's beliefs about relationships and boundaries in the music industry.


Audience Engagement

Emotional Impact: 8

The scene evokes a range of emotions, from tension and defiance to nostalgia and reflection, creating a strong emotional impact on the audience.

Dialogue: 8

The dialogue effectively conveys the conflicting emotions and perspectives of the characters, particularly in Russell's speech about the rules of rock and roll and the transient nature of relationships.

Engagement: 9

This scene is engaging because of the witty dialogue, tense interactions, and intriguing character dynamics. The reader is drawn into the world of the rock band and the protagonist's journey.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue-heavy moments with action and tension. The rhythm keeps the reader engaged and invested in the characters' journey.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings and descriptions. The formatting enhances the readability and flow of the screenplay.

Structure: 8

The scene follows the expected structure for its genre, with a clear progression of events and character interactions. The pacing and rhythm contribute to its effectiveness.


Critique
  • The scene effectively captures the tension between the band's desire for authenticity and the pressures of the music industry, particularly through Russell's discomfort with the new plane. However, the dialogue could be more dynamic; it feels somewhat flat and lacks the emotional weight that could enhance the stakes of the moment.
  • The contrast between the luxurious plane and the abandoned bus is a strong visual metaphor for the band's transition from their roots to a more commercial lifestyle. However, the emotional impact of this transition could be deepened by exploring the characters' internal conflicts more explicitly, particularly through their reactions to the new environment.
  • Russell's dialogue about 'no attachments' and 'no boundaries' is a crucial thematic element, but it could benefit from more nuance. Instead of stating these rules outright, consider showing them through actions or more subtle interactions that illustrate the emotional toll of such a lifestyle.
  • The poker game scene introduces interesting characters and dynamics, but it feels somewhat disconnected from the main narrative. Integrating this subplot more seamlessly into the overall arc of William's journey could enhance the scene's relevance and impact.
  • The pacing of the scene could be improved. The transition from the plane to the poker game feels abrupt, and the flow could be smoother by adding transitional moments that reflect William's emotional state as he navigates these contrasting environments.
Suggestions
  • Enhance the dialogue to reflect the characters' emotional states more vividly. Consider using subtext to convey their feelings about the changes happening around them.
  • Deepen the visual metaphor of the bus versus the plane by incorporating more sensory details that evoke the nostalgia of the bus and the coldness of the plane, allowing the audience to feel the weight of the transition.
  • Instead of having Russell explicitly state the rules of rock and roll, show these principles through his interactions with the other characters, perhaps by illustrating moments where attachments are tested or boundaries are crossed.
  • Integrate the poker game subplot more effectively by linking it to William's journey. Perhaps have him overhear a conversation that reflects his own struggles with the rock lifestyle, making it more relevant to his character development.
  • Consider adding a moment of reflection for William after the poker game, where he contemplates what he has witnessed and how it relates to his own aspirations and fears, providing a deeper emotional connection to the scene.



Scene 32 -  Birthday Farewell
116A INT. HALLWAY -
AFTERNOON 116A

The kid is still stuck on the road. He is in hell now.
Wearily, with deep circles under his eyes, he shuts his eyes
for a moment. Another band is moving through.

SABBATH ROADIE
Keep this hallway clear!

117 INT. BACKSTAGE TRAILER/DRESSING ROOM --
AFTERNOON 117

William and Penny sit on opposite ends of a blue locker-room
bench. It's a small dressing room, crowded with roadies,
guitars and men in stages of half-dress. Piles of luggage
headed for New York sit by the door. The door suddenly opens
and Dick arrives with champagne and a cake decorated with a
sparkler. It is placed in Penny's lap. It reads: Unforgettable
Penny... Age Unknown. Boston, 1973. They gather now as the
cake sits before a surprised and enchanted Penny Lane.

DICK
Happy Birthday from us.

William watches her face as she reads the message on the cake.
It hasn't sunk in yet.

Russell produces a piece of hotel stationery. He reads a poem.

RUSSELL
So Penny our friend has gained another year.
But long ago, she threw it in gear.
She rocked the south
The East and West.
Could you please get off this endless tour
Where we're Black Sabbath's fucking
special guest?

Laughter.

RUSSELL (cont'd)
She says she's retired
Though we've heard that before.
She chose us...
And in Penny Lane we trust
She is a fan of this band.
Much more so than us.

William watches her face. Still enchanted, she hands out
slices
of the cake.

DENNIS HOPE
(to the point)
Sorry the plane isn't bigger.

It hits her. She looks at William for a clue. His truthful
face does not look away. Now she knows. She turns to the
others -- the plane isn't bigger? Shot moves in on Penny as
she blinks just a little, cutting into the cake, still mugging
for everybody, covering it all with a layer of sweet giddy
laughter. Shot comes to rest behind her, her head turning to
connect with band members. Each of them look away, nobody
maintaining eye contact with her except the one she now doesn't
look at. William. She blows out the candles, vamping Marilyn
Monroe-style, and sucks off the frosting seductively, to
cheers.
Russell watches, as we push in on Penny. She notices all the
luggage is gone, only her two cases remain by the door.
118 EXT. CONCORD PAVILLION BACKSTAGE -- EARLY
MORNING 118

William exits a backstage Portosan. Penny catches him by the
grilling area where catering is preparing for the outdoor
event.
Their laminated passes swing from around their necks. Thuding
in the distance, Stillwater plays for a cheering outdoor crowd.
The sound of summer insects in the air.

PENNY
So it wasn't a birthday party, it was
a farewell.

William doesn't answer. He looks at her, blowing some hair
out of her face.

PENNY (cont'd)
You think you can fool me. I read
you. I know what you're thinking.

WILLIAM
What's that?

PENNY
(touched)
You're worried about me and Russell.

WILLIAM
Yeah. I gotta work on that.

PENNY
You're so sweet. God -- if there was
more of you in him...

WILLIAM
Don't tell me this stuff. I want to
like him.

PENNY
(concerned for him)
Did you miss your test or something?

He shakes his head. It's so beyond a test.

PENNY (cont'd)
I know I'm not on the plane, and I'm
not going on some other band's bus. I
mean, I could go with the Sabbath road
crew, but that would be pathetic. The
girls are all going with Humble Pie.
If you could find out from Russell --

WILLIAM
(quietly)
Penny -

PENNY
(a decision)
Forget it. I'm flying to New York
myself. I have a bunch of partial
tickets. I know his ex-wife, current
girlfriend's going to be there -

William's eyebrows rise. She examines his face for clues.

WILLIAM
-- I'm not sure that's a good idea.

PENNY
(overlapping)
What? What are you saying? What do
you know? Did Russell say something?

WILLIAM
I don't know anything.

PENNY
I know he wants me there. He gave me
a cake. He wrote me that sweet poem.

WILLIAM
(loud)
Wake up! Don't go to New York!

PENNY
What are you telling me?

She looks so achingly beautiful to him.

WILLIAM
Because you're not who you said you
were! I thought you were retired!

PENNY
You're right. I'm not who I said I
was. I'm just like you. I love music,
so this is my family. Some people
like tractors, and they hang out with
tractor people. What's the worst that
could happen if I go to New York?
(little girl)
"I get my little heart broken?"
WILLIAM
Oh no. Never you! You eat people
alive!

She tears some leaves off a tree. He looks at her, unable to
formulate a response.

PENNY
(accusatory)
I'm sorry I told you so much. You
have some way of making everybody tell
you all their secrets.

WILLIAM
That's a good one. Tell me too much
and make it my fault.

He continues walking, she follows. They have ventured outside
the backstage area, onto adjoining Boston farmland. The show
booms in the background.

PENNY
Come on. You've seen what's happened.
Russell and I fell in love. How much,
I don't know... but this is the first
time I've fallen for someone, really
fallen... since Iggy, and I'm not happy
about it.

WILLIAM
(beat)
You slept with Iggy Pop!?

She says nothing.

WILLIAM (cont'd)
(sputtering)
Why don't you just tell me now, who
else -- so when I go to the record
store, I know who to be jealous of.
Because right now, it's looking like
the whole store!

He's upset. She stares at him.

PENNY
(teasing, defiant)
You'll remember me forever. I was
there when you lost your virginity.

WILLIAM
(upset at the memory)
So was Steely Dan! It was a crowded
room.

She laughs, can't help it. Then:

PENNY
You make me laugh. I think I'm gonna
cry.

WILLIAM
(continuing)
I thought we were going to Morocco!
There's no Morocco. There's never been
a Morocco. There's not even a Penny
Lane. I don'teven know your real
name.

PENNY
If I ever met a guy in the real world,
who looked at me the way you just looked
at me...

WILLIAM
When and where does the real world
occur? I am really... confused here.
Fuck! All these Rules And all these
sayings... and nicknames...

PENNY
You know -- you're too sweet for rock
and roll.

WILLIAM
Where do you get off... where do you
get "sweet?" I'm not sweet. I'm dark
and mysterious and pissed-off and I
could be very dangerous to all of you...
I'm not sweet, and you should know
that about me! I am The Enemy.

PENNY
You're not any of those things and
that's what I love about you.

William stands there in disbelief, unable to look at her.

WILLIAM
You fall in love to keep from falling
in love.

PENNY
I don't want to go home!

WILLIAM
Well, I have to go home. And you never
helped me.

PENNY
Yes I did.

WILLIAM
That disc-jockey in Arizona got a better
interview than me... and he was asleep.

He starts walking back to the stage. She follows. They are
two very young kids thrashed by the seas of rock and roll.
His frustration increases. She just doesn't get it. Applause
in b.g. She grabs his shirt.

PENNY
Look. You should be happy for me.
You don't know what he says to me in
private. Maybe it is love. As much
as it can be with someone who --

WILLIAM
(blurts)
-- sold you to Humble Pie for fifty
dollars and a case of beer? I was
there!

He is instantly sorry. Her world privately crumbles, but she
tries to remain stoic and carefree.

PENNY
What kind of beer?
Genres: ["Drama","Romance","Music"]

Summary Penny's birthday celebration takes a bittersweet turn as she realizes it's also a farewell. Amidst a surprise cake and a poem from the band, tensions rise between her and William as they confront their feelings and the complexities of her relationship with Russell. Despite William's warnings about potential heartbreak, Penny decides to pursue her path to New York, leaving their conversation unresolved and highlighting the emotional turmoil beneath the festive atmosphere.
Strengths
  • Emotional depth
  • Character development
  • Dialogue intensity
  • Revealing hidden truths
Weaknesses
  • Complexity may require multiple viewings to fully grasp all nuances

Ratings
Overall

Overall: 8

The scene is emotionally charged, with intense confrontations and reflective moments that deepen the characters' relationships and reveal their inner struggles.


Story Content

Concept: 8

The concept of exploring the complexities of relationships, love, and self-discovery in the rock and roll world is well-executed, providing depth and emotional resonance to the scene.

Plot: 7

The plot advances through the emotional interactions and revelations between the characters, adding layers to their relationships and setting up future conflicts and resolutions.

Originality: 9

The scene offers a fresh take on the complexities of relationships, love, and self-discovery within the context of the music industry. The characters' actions and dialogue feel authentic and original, adding depth to the narrative.


Character Development

Characters: 9

The characters are well-developed, with nuanced personalities, conflicting emotions, and hidden depths that drive the scene's emotional impact and narrative progression.

Character Changes: 8

The characters undergo emotional transformations, confrontations, and revelations that deepen their relationships, motivations, and inner conflicts.

Internal Goal: 8

The protagonist's internal goal is to navigate his feelings for Penny Lane and his role in the band's dynamics. He struggles with his emotions and the complexities of their relationship.

External Goal: 7

The protagonist's external goal is to maintain his professionalism and navigate the challenges of being a journalist on tour with a rock band.


Scene Elements

Conflict Level: 8

The scene is filled with internal and external conflicts, emotional tensions, and confrontations that drive the characters' growth and the narrative forward.

Opposition: 8

The opposition in the scene is strong, with conflicting emotions, desires, and motivations driving the characters' interactions. The audience is left uncertain about the outcomes, adding tension and drama to the scene.

High Stakes: 7

The stakes are high in terms of emotional turmoil, betrayals, and self-discovery for the characters, impacting their relationships and future decisions.

Story Forward: 8

The scene moves the story forward by revealing hidden truths, conflicts, and vulnerabilities, setting up future developments and resolutions in the narrative.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists in the characters' interactions and revelations. The audience is kept on their toes, unsure of how the conflicts will unfold.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around love, loyalty, and self-discovery. The protagonist grapples with his feelings for Penny Lane and the ethical implications of his role as a journalist.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions, empathy, and connection with the characters' struggles, adding depth and resonance to their relationships and inner turmoil.

Dialogue: 8

The dialogue is emotionally charged, confrontational, and revealing, capturing the characters' inner turmoil, conflicts, and vulnerabilities effectively.

Engagement: 9

This scene is engaging because of its emotional depth, sharp dialogue, and complex character dynamics. The conflicts and tensions keep the audience invested in the characters' journeys.

Pacing: 9

The pacing of the scene effectively builds tension, emotion, and conflict, keeping the audience engaged and invested in the characters' journeys. The rhythm of the dialogue and actions enhances the scene's effectiveness.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene descriptions, character actions, and dialogue. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows a coherent structure that effectively conveys the characters' emotions, conflicts, and relationships. The pacing and rhythm contribute to the scene's effectiveness and engagement.


Critique
  • The scene effectively captures the emotional turmoil between William and Penny, showcasing their complex relationship against the backdrop of the rock and roll lifestyle. However, the dialogue can feel a bit on-the-nose at times, particularly when William expresses his confusion and frustration. This could be more subtly conveyed through actions or reactions rather than explicit statements.
  • Penny's character is well-developed in this scene, revealing her vulnerability and desire for connection. However, her motivations for wanting to go to New York could be more clearly articulated. The audience might benefit from a deeper understanding of her internal conflict regarding Russell and her past relationships.
  • The use of humor in the dialogue, especially with William's quips about Iggy Pop and the crowded room, adds levity to the tension. However, the humor sometimes undercuts the emotional weight of the scene. Striking a better balance between humor and seriousness could enhance the impact of their conversation.
  • The setting transitions from the dressing room to the outdoor area effectively, but the visual descriptions could be more vivid to enhance the atmosphere. For instance, incorporating sensory details about the outdoor environment could help ground the audience in the moment and reflect the characters' emotional states.
  • The pacing of the scene feels uneven at times, particularly during the back-and-forth exchanges between William and Penny. Some lines could be trimmed or rephrased for a more natural flow, allowing the emotional stakes to build more organically.
Suggestions
  • Consider tightening the dialogue to make it feel more natural and less expository. Allow the characters' emotions to come through in their actions and reactions rather than stating them outright.
  • Explore Penny's motivations for wanting to go to New York more deeply. Perhaps include a moment where she reflects on her past relationships or her feelings for Russell, giving the audience a clearer understanding of her internal struggle.
  • Maintain the humor but ensure it serves the emotional core of the scene. Consider using humor to highlight the tension rather than distract from it, allowing for moments of levity that still resonate with the characters' emotional journeys.
  • Enhance the visual descriptions of the setting to create a more immersive experience. Use sensory details to evoke the atmosphere of the outdoor area and how it contrasts with the chaos of the dressing room.
  • Revisit the pacing of the dialogue exchanges. Aim for a rhythm that allows for pauses and reactions, giving the audience time to absorb the emotional weight of the conversation.



Scene 33 -  Turbulence in Transition
119 INT. HUMBLE PIE CREW TRUCK --
DAY 119

Sapphire, Polexia, and Estrella bump along to the music and
the road. They strain to maintain dignity in these decidedly
third-class surroundings. There's only one small blurry
window.

POLEXIA
Who did this to us?

120 INT. WILLIAM'S LIVING ROOM -- NIGHT
120

Mom on the phone.
ELAINE
Then don't come home. Don't do this
to me. If you're going to miss
graduation, don't come home.

She hangs up.

121 INT. PRODUCTION OFFICE --
NIGHT 121

William on the phone. Speechless.

122 INT. COLLEGE CLASSROOM --
DAY 122

Elaine faces her Humanities class. She stands in an
amphitheater-style, inner-city college classroom, decorated
with colorful unorthodox artifacts from her home. These
earnest
city college students listen to her. But she cannot continue.
There is a thundering upset inside her.

ELAINE
I'm sorry. I can't concentrate.
(beat, confesses, unhinged)
Rock stars kidnaped my son.

123 INT. BAND PLANE --
DAY 123

Music. Russell and band bounces down in NYC. Russell listens
to music on headphones plugged into large boom box.

124 INT. LIMOUSINE -- DAY
124

William watches, facing the band from the jump seat of their
limousine, heading into New York. Up ahead, Manhattan looms,
beautiful and scary.

RUSSELL
"New York. Just like I pictured it...
"

JEFF
" ... skyscrapers and everything."

RUSSELL
(to William)
We showed you America. We did
everything but get you laid.
Beat. They look at each other curiously. How much does the
other guy know?

125 EXT. ST. REGIS -- DAY
125

Russell and band spill out of limo. The New York cluster of
hardcore Stillwater fans wait outside. They hold collector's
sleeves covering albums to be autographed, and fresh magic
markers in hand. William in tow crawls out of the limo last.
Dick goes to work, pulling luggage from the trunk. A serious-
looking Fan (LENNY) approaches Russell with an autograph card.

FAN
I'm from the Church of Lenny. We bow
to his will and all that it represents
- The King of the King of Kings.

RUSSELL
Make it out to - ?

FAN
To Lenny.

Russell nods -- of course. He signs, as Dick approaches with
a well-placed word in his right ear.

DICK
She's here.

William turns, expecting to see Penny. Instead we see the
long-limbed, athletic, pretty and collegiate LESLIE. She
holds a Nikon camera, and snaps their picture.

JEFF
Leslie!

DICK
Your room is completely stocked, far
away from any noisy ice machines,
elevators or maid quarters. The air-
conditioning is already on. And here
is your security key -- by the way,
you look stunning.

LESLIE
(taking treatment for
granted)
ThanksI'llseeyoulater.

Nearby, the young journalist studies the tour's subtle shift
in welcoming Leslie. Dick's New York side is almost military.
DICK
Bags in five! Cars leave for the party
at six!

William studies Leslie, everyone saying hello to her, everyone
knowing the subtext. Nobody saying a word. William pulls his
heavy bag out of the back of the limousine.
The bag breaks, and the contents spill out onto the New York
sidewalk. Bars of soap, ashtrays, hotel keys, crumpled paper,
the contraband t-shirt, "Do Not Disturb" signs, notes, towels
and thick telephone books from every city.

DICK (cont'd)
You know. There are lighter souvenirs.

WILLIAM
(embarrassed)
Well -- I kept thinking I was going
home the next day --

DICK
I did too. Fifteen years ago.

All help him with his spilled souvenirs. Russell shares a
private look with the kid. Nearby Leslie greets other band
members.

WILLIAM
Ric!

It's Super Zeppelin fan Ric Nunez.

RIC
(whispers)
It's all happening. Zeppelin is at
the Plaza. So's four other bands.
They're partying up there right now.
Sapphire, and Miss Penny Lane too...
She wants you to call her.
(William reacts)
They're all staying under the name
Emily Rugburn.

William takes in the information, while regarding Ric's new
custom shirt, which features the words to Zeppelin's "The Rain
Song."

RUSSELL
(exiting with Leslie)
After the party. I'll come to your
room - I promise. We'll talk. This
is Leslie, by the way. Leslie, this
is our wayward friend from Rolling
Stone. The Enemy.

They shake, she smiles randomly.
Genres: ["Drama","Comedy"]

Summary In this scene, Sapphire, Polexia, and Estrella express their discomfort in a crew truck, while Elaine anxiously worries about her son William missing graduation. William, depicted as speechless, navigates various settings, including a production office and a college classroom, where Elaine struggles with her emotions. The scene shifts to New York, where Russell and the band arrive, introducing new dynamics with Leslie, who captures the band's attention. An embarrassing moment occurs when William's bag spills, and he learns about the presence of famous bands in town, including Penny Lane, leaving him anxious and anticipating the unfolding events.
Strengths
  • Strong character development
  • Effective use of tension and humor
  • Engaging dialogue
Weaknesses
  • Some elements may feel slightly cliched or predictable

Ratings
Overall

Overall: 8

The scene effectively balances tension, humor, and reflection, setting up important plot points and character dynamics.


Story Content

Concept: 7

The concept of the band's arrival in New York and the introduction of a new character adds depth to the story and sets the stage for future developments.

Plot: 8

The plot advances with the band's arrival in New York, the introduction of a potential new manager, and the underlying tensions within the group.

Originality: 9

The scene showcases original situations and fresh approaches to familiar themes in the music industry genre. The authenticity of characters' actions and dialogue adds depth to the narrative and creates a sense of realism.


Character Development

Characters: 8

The characters are well-developed, with clear motivations and conflicts that drive the scene forward.

Character Changes: 7

The characters undergo subtle changes in their relationships and dynamics, setting the stage for future developments.

Internal Goal: 8

The protagonist's internal goal is to navigate the challenges of fame, personal relationships, and self-identity in the midst of a rock band tour. This reflects their deeper needs for validation, belonging, and self-discovery.

External Goal: 7

The protagonist's external goal is to navigate the complexities of the band tour, manage relationships with band members and fans, and handle unexpected situations that arise. This reflects the immediate circumstances and challenges they're facing in their journey.


Scene Elements

Conflict Level: 8

The scene is filled with internal and external conflicts, adding tension and driving the narrative forward.

Opposition: 7

The opposition in the scene is strong, with characters facing internal and external conflicts that challenge their beliefs, values, and relationships. The audience is left unsure of how the characters will navigate these obstacles.

High Stakes: 7

The stakes are high as the band faces potential changes in management, relationships, and their future in the music industry.

Story Forward: 8

The scene moves the story forward by introducing new conflicts, relationships, and plot points that will impact the narrative.

Unpredictability: 8

This scene is unpredictable because it introduces unexpected twists, character interactions, and revelations that keep the audience guessing about the characters' motivations and actions.

Philosophical Conflict: 7

The philosophical conflict evident in this scene is the clash between personal desires for success, fame, and connection with the realities of the music industry, fame, and personal sacrifices. This challenges the protagonist's beliefs, values, and worldview about the price of success and the authenticity of relationships in the industry.


Audience Engagement

Emotional Impact: 7

The scene evokes a range of emotions, from tension to humor to reflection, engaging the audience in the characters' experiences.

Dialogue: 7

The dialogue effectively conveys the emotions and conflicts between the characters, adding depth to the scene.

Engagement: 9

This scene is engaging because it balances humor, drama, and suspense to keep the audience invested in the characters' journeys and the unfolding events.

Pacing: 8

The pacing of the scene contributes to its effectiveness by balancing dialogue-heavy moments with action sequences, creating a dynamic rhythm that keeps the audience engaged.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, character actions, and dialogue formatting that enhances readability and visual storytelling.

Structure: 8

The scene follows the expected structure for its genre, transitioning smoothly between different locations and character interactions to advance the plot.


Critique
  • The scene effectively captures the emotional turmoil of both Elaine and William, showcasing the contrast between their experiences. However, the transitions between locations (from the crew truck to Elaine's classroom to the band plane) feel abrupt and could benefit from smoother transitions or connective tissue to enhance the flow.
  • The dialogue in Elaine's phone call is impactful, but it could be strengthened by adding more emotional depth or specificity to her concerns about William. This would help the audience connect more with her character and the stakes involved.
  • William's speechlessness on the phone is a powerful moment, but it might be more effective if we had a glimpse of his internal struggle or thoughts during this silence. This could be achieved through a brief voiceover or visual cues that reflect his emotional state.
  • The introduction of Leslie feels somewhat rushed. While it's clear she is significant to the band dynamic, her entrance lacks the weight it could have. A more gradual reveal of her character and her relationship with the band would enhance the audience's understanding of her role.
  • The visual imagery of William's spilled bag is a strong metaphor for his chaotic journey, but it could be more explicitly tied to his emotional state. Adding a line of internal dialogue or a reaction from William that connects the spilled items to his feelings of being overwhelmed would deepen the impact.
Suggestions
  • Consider adding a brief moment of reflection for William after the phone call with Elaine, allowing the audience to see his emotional response to her distress.
  • Enhance the transition between scenes by using visual motifs or thematic elements that connect Elaine's struggles with William's experiences, creating a more cohesive narrative.
  • Introduce Leslie with a more gradual build-up, perhaps by having her interact with the band members before her formal introduction, allowing the audience to sense her importance.
  • Incorporate more specific details in Elaine's dialogue to convey her emotional state, such as mentioning specific memories or fears about William's choices.
  • Use William's spilled bag as a moment for character development; perhaps he could reflect on what each item represents to him, reinforcing his feelings of being lost in the rock and roll lifestyle.



Scene 34 -  A Night of Urgency and Uncertainty
126 INT. ST. REGIS FRONT DESK -- NIGHT
126

William checks in.

CLERK
William Miller? Sir, you have an urgent
call from a Mr. "Ben Fong-Torres."
He's holding for you, right now.

William takes the phone. The Clerk watches curiously as the
kid adopts a new persona.

WILLIAM
(deep voice)
Hello.

INTERCUT

INT. JANN'S OFFICE -- SAN FRANCISCO -- AFTERNOON

On a rainy day in San Francisco, Ben Fong-Torres stands in the
copy-strewn office of the young editor/publisher JANN WENNER.
Several other editors are also present in the background,
including David Felton with cigarette-holder in mouth, and a
prep-school Fact-Checker named ALLISON.

BEN
Congratulations. It's gonna be a cover.
Neal Preston will shoot 'em next week
in L.A. we need you back in San
Francisco tomorrow. We'll finish the
story here.

William is overwhelmed with many emotions, fear topping the
list.

BEN (cont'd)
You can tell the band. Allison, our
fact checker, needs you to transmit
whatever you have of the story, tonight,
now, along with your notes. There is
a mojo at the Daily News they'll let
us use -

WILLIAM
Mojo?

BEN
A mojo. It's a very modern machine
that transmits pages over the telephone.
It only takes eighteen Minutes a page...

126A EXT. NEW YORK STREETS --
NIGHT 126A

The sound of feet on pavement. William looks at addresses,
hustling to the Daily News office.

126B INT. DAILY NEWS COPY STATION --
NIGHT 126B

William tears pages from his notebook and feeds them into the
large and clunky earliest model fax machine -- "The Mojo." We
hear David Bowie. "The Jean Genie."

A127 EXT. MAX'S KANSAS CITY --
NIGHT A127

William weaves, exhausted, into the Stillwater press party at
this legendary New York nightspot. The Doorman, who checks
i.d.s, sees the kid and expresses great doubt.

DENNIS HOPE
He's okay, he's with us -

Hope shoves him past the Guard, and sends him into a very
mature
new world.

127 INT. MAX'S KANSAS CITY --
NIGHT 127

The famous hub of New York rock and roll. A strong whiff of
decadence mixes with youthful naivete. Not a hippie in sight.
William walks through, looking for familiar faces. Overhead
we hear Stillwater. "If You Say Nothing." The party is filled
with scenesters, long silver-haired glamsters, some British
journalists, and many hunched young skinny bodies in leather
jackets. Russell grabs him by the arm.

RUSSELL
Ah ha! There you are, ya little fucker.
Come on --

WILLIAM
I have some good news.
RUSSELL
-- I'll piss to that. Follow me.

A128 INT. MAX'S BEDROOM
A128

They enter the small bathroom. Russell bolts the door, faces
the urinal and pees. His own music throbs in the next room.

RUSSELL
Dennis Hope took me aside, and wants
to manage Me solo. Says to lose the
band by February. Should I do it? I
have no perspective anymore.

William pees in silence.

RUSSELL (cont'd)
At what point do I just take the hint?
Nobody Loves this band. People like
us, do they love us?

WILLIAM
I do.

RUSSELL
(then pissed)
Oh - get this - somebody told Penny
Lane I sold her for beer. The network
of these chicks! Like I would do that.
It's Jeff who told her, right? Not
you, right? None of these guys can
just calm down and be a fuckin adult.
Now she's here, freaking out. Leslie
can smell it.

WILLIAM
(exiting)
Wait. I've got something to tell -

But he finds himself trailing Russell to the back room bar.
Genres: ["Drama","Music","Coming of Age"]

Summary William checks into the St. Regis hotel and receives an urgent call from Ben Fong-Torres, who informs him that his story will be on the cover of Rolling Stone, prompting him to rush back to San Francisco. Overwhelmed yet excited, he learns about a 'mojo' machine to transmit his notes and hurries to the Daily News office. After sending his pages, he attends a press party at Max's Kansas City, where he encounters Russell, who shares his doubts about the band and seeks reassurance from William. The scene captures William's youthful ambition and anxiety as he navigates the pressures of his burgeoning career amidst the vibrant chaos of the rock scene.
Strengths
  • Emotional depth of characters
  • Tension and conflict
  • Authentic dialogue
Weaknesses
  • Some scenes may feel slightly disjointed due to multiple character interactions

Ratings
Overall

Overall: 8

The scene effectively captures the emotional complexity of the characters and sets up significant conflicts and decisions that will impact the story.


Story Content

Concept: 8

The exploration of fame, loyalty, and personal growth in the music industry is compelling and sets the stage for character development and plot progression.

Plot: 7

The plot advances as Russell grapples with the offer of solo management and the band faces the challenge of potential change in leadership.

Originality: 8

The scene offers a fresh take on the music industry, blending elements of humor and drama in a unique setting.


Character Development

Characters: 9

The characters are well-developed, with Russell's internal conflict and the dynamics between band members adding depth and authenticity to the scene.

Character Changes: 8

Russell undergoes significant internal turmoil and decision-making, leading to potential changes in his role within the band and personal growth.

Internal Goal: 8

William's internal goal is to navigate the high-pressure world of music journalism while grappling with his own fears and insecurities.

External Goal: 7

William's external goal is to transmit the story to his editor and navigate the press party at Max's Kansas City.


Scene Elements

Conflict Level: 8

The scene is filled with internal and external conflicts, particularly regarding loyalty, ambition, and personal identity, driving the emotional intensity.

Opposition: 8

The opposition in the scene adds complexity and conflict, creating obstacles for the protagonist to overcome.

High Stakes: 8

The high stakes involve the potential breakup of the band, Russell's personal and professional future, and the impact on relationships within the group.

Story Forward: 8

The scene moves the story forward by introducing key conflicts, decisions, and character developments that will shape the narrative's direction.

Unpredictability: 7

This scene is unpredictable in its character interactions and plot developments, keeping the audience on their toes.

Philosophical Conflict: 7

The philosophical conflict revolves around the idea of authenticity and loyalty in the music industry, as Russell questions his band's future and relationships.


Audience Engagement

Emotional Impact: 9

The emotional depth of the characters' struggles and relationships, combined with the high stakes involved, creates a powerful impact on the audience.

Dialogue: 8

The dialogue effectively conveys the characters' emotions, conflicts, and relationships, enhancing the scene's tension and intimacy.

Engagement: 9

This scene is engaging due to its fast-paced dialogue, high stakes, and intriguing characters.

Pacing: 9

The pacing of the scene is well-executed, building tension and maintaining the audience's interest throughout.


Technical Aspect

Formatting: 8

The scene follows standard formatting for its genre, with clear scene headings and descriptions.

Structure: 8

The scene follows a clear structure, moving seamlessly between locations and characters to advance the plot.


Critique
  • The scene effectively captures the tension and excitement of William's journey as a young journalist, but it could benefit from deeper emotional exploration. While we see William's overwhelmed reaction to the news about the cover story, the scene could delve more into his internal conflict about his role in the rock and roll world versus his personal values.
  • The dialogue between William and Ben Fong-Torres is informative but feels somewhat expository. It serves the plot well, but it lacks a natural flow that would make it feel more organic. Consider incorporating more subtext or emotional stakes in their conversation to enhance the tension.
  • The transition from the hotel to the Daily News office is visually engaging, but the pacing feels rushed. The quick cuts between locations could be smoothed out to allow the audience to absorb the significance of each setting. This would also help build anticipation for the press party at Max's Kansas City.
  • The introduction of Dennis Hope is effective in establishing a new dynamic, but his character could be fleshed out more. As a potential antagonist, his motivations and personality should be clearer to create a stronger conflict with the band. This would heighten the stakes for William as he navigates his relationships.
  • The scene ends abruptly with William trailing Russell, which creates a sense of urgency but may leave the audience wanting more closure. Consider adding a moment of reflection for William before he follows Russell, allowing the audience to connect with his emotional state.
Suggestions
  • Incorporate more internal monologue or visual cues to express William's emotional turmoil about the pressures of journalism and his relationships with the band. This could help the audience empathize with his character.
  • Revise the dialogue between William and Ben to include more emotional stakes, perhaps by having William express his fears about the story's impact on the band or his own integrity as a journalist.
  • Slow down the pacing during the transitions between locations to allow the audience to fully grasp the significance of each setting and the weight of William's experiences.
  • Develop Dennis Hope's character further by giving him a distinct personality trait or motivation that contrasts with the band's values, making the conflict more palpable.
  • Add a brief moment of introspection for William at the end of the scene, perhaps reflecting on the choices he faces and the implications of his role in the rock and roll world before he follows Russell.



Scene 35 -  Celebration and Despair
128 INT. GIRL'S BATHROOM - NIGHT - SAME
TIME 128

Leslie in the bathroom. Penny enters and watches her
discreetly. They stand together, side-by-side at the mirror.
Leslie looks once, turns and then turns back at Penny. She
knows.

129 INT. BACKROOM --
NIGHT 129
William sits with the band. Over Jeff's head, Penny hangs
nearby, at the outskirts, drinking and dancing. They share a
look, feigning casualty.

WILLIAM
You guys -- you guys --
(beat)
You're gonna be on the cover of Rolling
Stone.

Stunned and overwhelmed, the band waits a beat, lets it sink
in... and goes wild. Russell, stunned too, looks at the kid.
It's big news. Jeff stands immediately, eyes moist, glass
raised.

JEFF
(tears welling, instantly)
The cover of Rolling Stone. And we
made it together. They don't just put
somebody with one little hit on the
cover of Rolling Stone Fucking Magazine,
man. We made it.

The band nods solemnly, importantly.

JEFF (cont'd)
(continuing)
Damn it -- I'm gonna enjoy this. The
first time I bought that magazine The
Beatles were on the cover. Four of
them. Four of us. Together.
TOGETHER!

They begin singing the then-current Dr. Hook and the Medicine
Show hit, "The Cover of the Rolling Stone" to William.

LESLIE
Who is that girl? She's creeping me
out. She's not with any of you, is
she?

WILLIAM/DICK
She's with me.

And now Leslie has confirmation. A symphony of looks, as Dick
gets to his feet and moves to confront Penny. Penny Lane's
eyes fill and she runs out. Russell stands... and sees William
also stand. William turns and follows her. Russell stands
watching, and does not leave. We hear Elton John's "Mona
Lisas and Mad Hatters."
130 EXT. MAX'S KANSAS CITY --
NIGHT 130

William exits as a crush of Partygoers arrives. He doesn't
know where she is. He takes off to examine the cabs stuck in
traffic. Song continues.

POV WILLIAM

He looks in the backs of cabs. None of them her.

Music continues. He runs down the streets, looking for her.
Alone in New York City.

131 INT. PLAZA HOTEL --
NIGHT 131

William on the house phone.

WILLIAM
Emily Rugburn, please.

132 INT. HOTEL HALLWAY -- NIGHT
132

William approaches Suite 702. The door is open. He hears new
band voices, and sees new faces. MUSICIAN # 1 intercepts him.

WILLIAM
Hi. I'm a friend of Penny Lane's.

MUSICIAN # 1
Aren't we all -

Musician types are leaving.

WILLIAM
Where is she?

Room Service arrives. Some appetizers and a large expensive
bottle of champagne on ice.

ROOM SERVICE GUY
Can somebody sign for this?

William does.

ROOM SERVICE GUY (cont'd)
Thank you Mr. Rugburn.

Two more Musicans (English) exit the back room party. The
room is clearing out.
ENGLISH MUSICIAN
She's sick. Let's get out of here.

ENGLISH MUSICIAN # 2
She used to be so much more together.

William watches all, champagne in hand, and finds her in the
backroom. She's addled and nearly passed out.

WILLIAM
What happened?

PENNY LANE
I'm not good at goodbyes.

She sags. He grabs the phone.

PENNY LANE (cont'd)
You're the last of my old-time friends.
Polexia went to England with Deep
Purple... can you believe that? Even
Sapphire's out someplace else. All
she left was her quaaludes.

WILLIAM
Oh -- wonderful.
(into phone)
Front desk? Please send a doctor.
Room... what room? 703. 702. Both
rooms, either room. This is Mr. Rugburn,
Yes. My wife's had an accident with
some quaaludes. Yes - I'll do that.

The room has emptied out. Just them, and the remnants of a
movable party that has moved elsewhere.

WILLIAM (cont'd)
Wake up!

He struggles to get her on her feet. She tips over on her
strappy platform shoes. He struggles to untie them.
Genres: ["Drama","Music"]

Summary In a girl's bathroom, Leslie confronts her suspicions about Penny, who is emotionally vulnerable and struggling with her feelings for Dick. Meanwhile, the band celebrates their cover on Rolling Stone, but the joy is overshadowed by Penny's turmoil. As she runs out, William searches for her in New York City, ultimately finding her in a hotel room inebriated and in distress. He calls for a doctor, highlighting the contrast between the band's success and Penny's personal struggles.
Strengths
  • Emotional depth
  • Character development
  • Poignant moments
Weaknesses
  • Slightly predictable plot progression

Ratings
Overall

Overall: 8

The scene effectively conveys deep emotions and sets up a significant turning point in the story, earning a high rating.


Story Content

Concept: 8

The concept of saying goodbye and reflecting on past connections is well-executed, adding depth to the characters and the narrative.

Plot: 7

The plot advances as Penny decides to leave, creating tension and emotional resonance among the characters.

Originality: 9

The scene offers a fresh perspective on the music industry and fame, with nuanced character interactions and emotional depth. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters, especially Penny and William, show vulnerability and depth in this scene, making their interactions compelling and relatable.

Character Changes: 8

Penny's decision to leave and William's emotional response mark significant character development and growth in this scene.

Internal Goal: 8

The protagonist's internal goal is to confront Penny Lane about her behavior and well-being. This reflects his deeper desire to protect her and understand her actions.

External Goal: 9

The protagonist's external goal is to find and help Penny Lane, who is sick and nearly passed out. This reflects the immediate challenge he is facing in the scene.


Scene Elements

Conflict Level: 6

The conflict is more internal and emotional in this scene, focusing on the characters' personal struggles and relationships.

Opposition: 8

The opposition in the scene is strong, with Penny Lane's behavior and the protagonist's efforts to help her creating conflict and tension. The audience is kept on edge.

High Stakes: 6

The stakes are emotional and personal in this scene, focusing on the characters' relationships and decisions rather than external conflicts.

Story Forward: 7

The scene moves the story forward by setting up new conflicts and resolutions, particularly in Penny and William's relationship dynamics.

Unpredictability: 7

This scene is unpredictable because of the unexpected turn of events with Penny Lane's behavior and the protagonist's reaction. The audience is left unsure of how the situation will unfold.

Philosophical Conflict: 7

The philosophical conflict in this scene revolves around loyalty and friendship. Penny Lane's behavior challenges the protagonist's beliefs about friendship and loyalty.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions and resonates with the audience, particularly in the moments of farewell and reflection.

Dialogue: 7

The dialogue effectively conveys the characters' emotions and inner conflicts, enhancing the scene's impact.

Engagement: 9

This scene is engaging because of the emotional intensity and character dynamics. The audience is drawn into the protagonist's journey to help Penny Lane.

Pacing: 8

The pacing of the scene is effective in building tension and emotional impact. The rhythm of the dialogue and actions keeps the audience engaged.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, with proper scene headings and descriptions. It adheres to the expected format for its genre.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm contribute to its effectiveness.


Critique
  • The scene effectively captures the emotional highs and lows of the characters, particularly with the juxtaposition of the band's celebration and Penny's distress. However, the transition between the two locations (the bathroom and the backroom) could be smoother to maintain narrative flow.
  • William's announcement about the Rolling Stone cover is a pivotal moment, but it feels somewhat overshadowed by the immediate focus on Penny's emotional state. This could be an opportunity to deepen the contrast between the band's joy and Penny's turmoil, enhancing the stakes for both.
  • The dialogue is engaging, particularly Jeff's nostalgic reflection on the Beatles, which adds depth to the band's camaraderie. However, Leslie's line about Penny feels a bit abrupt and could benefit from more context or buildup to enhance its impact.
  • Penny's character is portrayed as vulnerable, but her motivations for running away could be clearer. Adding a line or two that hints at her internal conflict would help the audience empathize with her decision to leave.
  • The scene ends on a tense note with William's frantic search for Penny, which is effective. However, it might be beneficial to include a brief moment of reflection from William before he rushes out, showcasing his emotional state and heightening the urgency of his search.
Suggestions
  • Consider adding a brief moment of interaction between Leslie and Penny before the reveal, which could build tension and foreshadow Penny's emotional state.
  • Enhance the emotional stakes by allowing William to express his feelings more explicitly when he announces the Rolling Stone cover, perhaps by connecting it to his relationship with Penny.
  • Provide more context for Leslie's discomfort with Penny, possibly through a line that hints at their past interactions or Leslie's own insecurities.
  • Include a moment where Penny reflects on her relationships with the other girls, which could deepen her sense of loss and isolation.
  • Before William rushes out to find Penny, include a moment where he processes the news of the cover and its significance, which would add depth to his character and the situation.



Scene 36 -  Bittersweet Moments
133 EXT. GRADUATION --
DAY 133

The School band plays "Colour My World." School PRINCIPAL at
the podium.

PRINCIPAL
And now... out graduating class! Jane
Abbott!
A peppy student bounds up and grabs her diploma. Elaine
Miller
watches dolefully in the audience.

134 INT. HOTEL ROOM --
NIGHT 134

William holds Penny in his arms. Finally she is close to him.

135 EXT. GRADUATION CEREMONY --
DAY 135

PRINCIPAL
Victor Sanchez!

Warm applause for another student who grabs his diploma. He
takes off his mortar board to flash an American flag bandana.
He raises his diploma in victory.

136 INT. HOTEL ROOM --
NIGHT 136

William holds Penny Lane, and keeps her moving. It's a
sagging,
messy slow dance.

WILLIAM
"In the unlikely event of a water
landing... "

PENNY
"... you will be required to wear a
safety vest."

WILLIAM
Keep going.

PENNY
"Please place all stowable luggage in
the overhead compartments... out in the
seat in front of you."

WILLIAM
(prompting)
"Seat and tray tables."

PENNY
"And seat-backs and tray-tables should
be in their full and upright and locked
positions... "
137 EXT. GRADUATION CEREMONY --
DAY 137

PRINCIPAL
And now... out "Pending" Graduates!
(pause)
William Miller... not present.

Elaine applauds her son, stoically. It is a dagger through
her heart. A sympathetic look from a nearby Mother continues
the pain.

138 INT. HOTEL - NIGHT
138

They move slowly, she's fading.

WILLIAM
"In the tragic event of a water
landing..."

139 EXT. GRADUATION - DAY
139

The Principal shares a few thoughts:

PRINCIPAL
And to the class of 1973, we say --
(beat)
Don't forget to remember yourself as
you are today... Full of hope... and
the dream that everything is possible...
Remember this, twenty years from now,
when we all own home computers and we
all travel in shiny electrical cars
that move swiftly, high above the
city...
(beat)
They key to the future is keeping today
alive forever.

Elaine's head lowers slowly in a sea of happy parents. The
day will never end. Mrs. Deegan slips into the seat next to
her.

MRS. DEEGAN
First. Release the guilt.
(Elaine nods)
Second -

ELAINE
Please let there be only two, because
I can't get past Number One.

MRS. DEEGAN
Second. Leave a little room for the
other teachers in this world. He's
out there looking for mentors.

ELAINE
He's got twelve of them. They're lined
up. He's just tired of me.
Genres: ["Drama","Coming of Age"]

Summary The scene juxtaposes a graduation ceremony with a hotel room where William and Penny share an intimate slow dance, reciting airline safety instructions. While the Principal acknowledges William's absence, his mother Elaine watches with a heavy heart, feeling guilt and sorrow. Mrs. Deegan offers Elaine support, highlighting the emotional conflict of missed opportunities and the struggle to cope with her son's choices.
Strengths
  • Emotional depth
  • Relatable themes
  • Character development
Weaknesses
  • Lack of external conflict
  • Limited plot progression

Ratings
Overall

Overall: 8

The scene effectively conveys a mix of emotions and nostalgia, resonating with the audience through relatable themes of transition and growth.


Story Content

Concept: 8

The concept of graduation and goodbyes is a universal theme that resonates with audiences, making it a poignant and impactful scene.

Plot: 7

The plot revolves around the graduation ceremony and the emotional interactions between characters, providing a heartfelt and meaningful narrative.

Originality: 9

The scene offers a fresh perspective on the theme of motherhood and self-acceptance, presenting authentic characters and dialogue that feel genuine and relatable.


Character Development

Characters: 8

The characters show vulnerability and growth as they navigate the transition from one phase of life to another, adding depth and relatability to the scene.

Character Changes: 7

The characters experience growth and acceptance as they face the reality of moving on from familiar surroundings and relationships.

Internal Goal: 8

The protagonist's internal goal is to come to terms with her son's absence at the graduation ceremony and the feelings of guilt and inadequacy that arise from it.

External Goal: 7

The protagonist's external goal is to navigate the emotional challenges of her son's absence and find a way to move forward.


Scene Elements

Conflict Level: 4

While there is emotional tension and internal conflict within the characters, the scene focuses more on resolution and acceptance rather than external conflict.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing internal and external challenges that create conflict and drive the narrative forward.

High Stakes: 3

The stakes are more internal and emotional, focusing on the characters' personal growth and acceptance of change rather than external conflicts.

Story Forward: 6

While the scene doesn't significantly advance the main plot, it serves as a crucial moment of character development and emotional depth.

Unpredictability: 7

This scene is unpredictable in its emotional twists and turns, keeping the audience on edge as the characters navigate their complex feelings and relationships.

Philosophical Conflict: 7

The philosophical conflict revolves around the protagonist's sense of self-worth and her role as a mother, contrasting with societal expectations and pressures.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of nostalgia, hope, and melancholy, leaving a lasting impact on the audience.

Dialogue: 7

The dialogue captures the emotional weight of the moment, conveying the characters' inner turmoil and hopes for the future.

Engagement: 9

This scene is engaging because of its emotional depth, relatable characters, and compelling dialogue that draw the audience into the characters' internal struggles and external challenges.

Pacing: 8

The pacing of the scene effectively builds tension and emotional resonance, allowing the audience to connect with the characters' struggles and experiences.


Technical Aspect

Formatting: 8

The scene adheres to the expected formatting for its genre, with clear scene transitions and dialogue formatting that enhance readability.

Structure: 8

The scene follows a coherent structure that effectively conveys the emotional journey of the characters, maintaining a clear narrative flow.


Critique
  • The scene effectively juxtaposes the graduation ceremony with the intimate moment between William and Penny, highlighting the contrast between William's personal struggles and the celebratory atmosphere of graduation. However, the emotional weight of the graduation scene could be enhanced by providing more context about William's absence and its significance to both him and his mother, Elaine.
  • The dialogue between William and Penny during their slow dance is clever and adds a layer of humor to an otherwise somber moment. However, the repetition of the safety instructions could feel a bit drawn out. While it serves to illustrate their connection, tightening this dialogue could maintain the scene's momentum and emotional impact.
  • Elaine's emotional turmoil is palpable, but her internal conflict could be further explored. The scene hints at her guilt and disappointment, yet it could benefit from a more explicit expression of her feelings, perhaps through a brief internal monologue or a more poignant reaction to the Principal's speech.
  • The transition between the graduation ceremony and the hotel room could be smoother. The abrupt shifts might confuse the audience, so incorporating visual or auditory cues (like overlapping sounds or a gradual fade) could enhance the flow between these contrasting settings.
  • The use of the 'Pending Graduate' label for William is a strong narrative choice, but it could be more impactful if it were tied to a specific moment of realization for him. Perhaps a flashback or a brief reflection on what this means for his future could deepen the audience's understanding of his character arc.
Suggestions
  • Consider adding a brief moment where Elaine reflects on her hopes and dreams for William during the graduation ceremony, which could heighten the emotional stakes of his absence.
  • Tighten the dialogue between William and Penny by reducing the number of repeated safety instructions, focusing instead on the most poignant lines that encapsulate their connection.
  • Explore Elaine's internal conflict more deeply by including a moment where she expresses her feelings about William's choices, perhaps through a conversation with Mrs. Deegan or a silent moment of reflection.
  • Enhance the transitions between the graduation and hotel scenes by using visual or auditory elements that create a more seamless flow, such as overlapping sounds of the ceremony with the intimate moment in the hotel room.
  • Incorporate a moment of realization for William regarding his 'Pending Graduate' status, perhaps through a flashback or a brief internal monologue that connects his current situation to his aspirations and fears.



Scene 37 -  Bittersweet Farewell
A140 INT. HOTEL ROOM --
NIGHT A140

William holds Penny. She is very woozy.

PENNY
"... you will be required to..."
(gives up)
I'm tired.

She is very groggy, as he holds her.

WILLIAM
Well. Now that I have your attention.
And you may not remember this later, I
just want to make it clear that... Hey!
(she blinks, barely awake
again)
I know you've heard this before. And
I have never said this to anybody, not
really - well, nobody who didn't legally
have to say it back to me, but -
(tries to be casual)
I love you. And I have a hard time
sharing you with all of rock and roll
because I - why am I nervous? - You'll
never remember this - HEY! -
(she blinks)
I love you, and I'm about to boldly go
where... Many men have gone before...

He kisses her. A doctor and nurse come crashing into the room.
They push past William and pull Penny into the bathroom. He
sits on the edge of the bed, looking into the bathroom, as
they work on her. We hear Stevie Wonder. "My Cherie Amor."

140 INT. BATHROOM -
NIGHT 140

Doctor places a tube down Penny Lane's throat. A bored nurse
holds a water-bag, lowering it to ground level.
WILLIAM'S POV INTO BATHROOM

Her feet sticking out, wriggling. He watches, as music
continues.

ON THE BATHTUB

Her amber-colored stomach contents look like a Jackson Pollack
portrait of the era, with three partially dissolved pills.
Doctor hands enter frame and remove them. Music continues.

141 INT. HOTEL ROOM - LATER
NIGHT 141

The Doctor re-appears, and sits down next to William, as the
Nurse exits. The Doctor withdraws a three-page report form.

DOCTOR
Your wife will be okay for now -

WILLIAM
Thank you Doctor.

DOCTOR
However, she says you're her brother.

WILLIAM
(eyes report)
She's a little confused.

The ice shifts in the champagne bucket nearby. The Doctor
sizes up the situation.

DOCTOR
Nice champagne.

WILLIAM
I don't have a driver's license. With
me.

DOCTOR
Tomorrow's my wedding anniversary.
I'd prefer to take care of this without
facing the dawn at the police station.
So if you can find a way to get this
girl - your wife - back home to her
parents, I'd let you pay me anything
you can afford. Because you don't
appear to be related to the famous
Rugburns of Rhode Island.
His eyes flick to the champagne. The kid takes a hint, reaches
over to the champagne.

WILLIAM
Happy Anniversary.

The Doctor puts the champagne in his bag.

DOCTOR
She won't be good company, but keep
her awake for another four hours.

142 INT. AIRPORT TICKET COUNTER --
MORNING 142

Song continues. William and Penny drag themselves through the
airport. He guides her to the ticket counter. Penny wears
her green coat, large sunglasses. He sorts through her many
partial tickets. They are both so tired. She shakes off her
coat -- she's suddenly very hot -- and he grabs it and loops
it through her bags. She's irritable, and ready to go home.

143 INT. AIRPORT GATE - MORNING
143

PENNY
(baring her soul)
When I was 14, my Mom and her boyfriend
took me to a Rolling Stones concert -
and I freaked out and I rushed up to
the front of the stage and then a
thousand people had the same idea at
the same time and I was getting crushed.
And I couldn't breathe and that thought
flashed through me - almost like a car
accident - I thought I might die. And
it was in the middle of "Midnight
Rambler" and Keith Richards saw me.
And he came over, and came to the front
of the stage, and he pulled me out.
And they took me backstage and they
gave me coke with ice and a - and a
lemon. And I never went home.

WILLIAM
What about your Mom?

PENNY
She always said - "Marry Up." Marry
someone grand. That's why she named
me Lady.
WILLIAM
(horrified)
She named you Lady?

PENNY
Lady Goodman.

WILLIAM
No.

PENNY
You never really get used to it, either.

WILLIAM
Well -- this -- this just explains
everything.

He wishes it did. She rubs her stomach. It's a rocky morning.

WILLIAM (cont'd)
See you back in the real world.

PENNY
See you back there.

She kisses his forehead, and takes off down the accordian
leading to her plane. She drops her coat again, bending down
to retrieve it.

WILLIAM
Hey Lady!

Four Woman turn, but not Penny. She disappears.

144 INT. AIRPLANE - DAY
144

Penny Lane settles into her seat on the airplane. She notices
William watching from the terminal window, and waves.

STEWARDESS
Please extinguish all flammable items,
and return all seats and tray tables to
their full and upright locked positions.

She mouths along with the words. There is no one to share the
joke with. And then a few blurry memories come back to her.
She gestures to him... understanding him more fully... as he
disappears.

145 INT. AIRPORT TERMINAL - DAY
145
William walks alongside her plane, moving from terminal window
to terminal window. Catching her glance again, he's picking
up steam. What's she saying?

146 INT. PLANE -
DAY 146

She keeps watching as he runs alongside, still keeping up with
her plane. She now fully remembers, and places her
outstretched
fingers on the window. She mouths the words: I'll see you
back home!

ON WINDOW

He us running through her fingers.

CLOSE ON WILLIAM

Who can run no further.

FADE OUT

FADE UP

147 INT. BAND PLANE --
DAY 147

Russell and William are in mid-interview. The kid's microphone
is out. It's a little bit of a rough flight. William wears
the same clothes.

RUSSELL
Why didn't you come back to the party?
Bob Dylan showed up. He was sitting
at our table for... had to be an hour,
right? Just Rapping. Bob Dylan! I
kept looking for you. I was going to
introduce you.

The kid feels pain.

JEFF
What happened to you last night?

WILLIAM
It's a log story.

A sharp jolt of turbulence. Russell begins pounding on the
card table in rhythm.
RUSSELL
(singing Buddy Holly)
"Peggy Sure... Peggy Sue... "

DICK
Please.

RUSSELL
"Pretty pretty pretty pretty Peggy
Sue... "

A moment of laughter, and then bam. Jeff's drink rises and
suspends briefly in mid-air. The plane takes another mighty
knock.

JEFF
We shouldn't be here.

RUSSELL
Doris, we miss you!

Fear is creeping in around the edges. William, already an
uneasy flier, looks down.

PILOT'S VOICE
This is Craig, your pilot. It appears
we've caught the edge of that electrical
storm we were trying to outrun. Buckle
up tight now. We're gonna do our best
to getcha out of this.

The rocking of the plane worsens, as all buckle up.

JEFF
"Electrical storm?"

RUSSELL
(strapping in for a roller
coaster)
Rock and roll.

The sky darkens abruptly. William looks up, increasingly
nervous, stares straight ahead. The plane suddenly drops and
stabilizes. Everyone is silent but Russell.

RUSSELL (cont'd)
Wooooooo Baby!

A moment later, an ashen-faced CO-PILOT emerges, balancing
himself with hands on the ceiling of the shuddering plane.

CO-PILOT
We're gonna try to land in Tupelo.
We're going to have to cut the inside
lighting for the next several minutes.
We found a field to land in.

The kid notices Silent Ed is rubbing a small crucifix.

DENNIS HOPE
A field?

JEFF
I can't breathe.

Push in on Russell. We hear a series of unfamiliar electrical
sounds. The plane screwballs through the sky.

CO-PILOT
It might be a rough set-down. We should
be fine.
(cracking at the edges)
But what we do say in a situation like
this is - We would pass but before the
plane ... disassembled. However, God
help us, if there's anything you want
to say to each other, any secrets,
anything like that, now would be a
good time. But just hang in there.
We'll get you out of this.

He returns to the cockpit. The weather worsens, as the hail
suddenly pelts the plane, and it comes down hard. Inside
lights
shut off. William stares straight ahead, as the cockpit door
swings open - total chaos visible inside - and then shuts
again.

DICK
And everyone thinks it's so glamorous
out here.

LARRY
(oddly detached)
He just told us we're gonna die.

JEFF
(insecurities running wild)
We're gonna crash in Elvis' hometown --

RUSSELL
Shut up.

JEFF
-- we can't even die in an original
city!

RUSSELL
C'mon Dennis, get us a better city.

Nervous laughter. Another sheet of hail hits the plane.

LESLIE
Oh my God.

PUSH IN ON WILLIAM

Just shaking. Nearly in tears. Hyperventilating.

RUSSELL
If something should happen. I love
all of you. I don't think we have to
do the secrets thing.

The plane shakes. Now lightening strikes very close. A
flashing wall of electricity rolls through the plane and
evaporates with a burning smell still in the air. In the
darkness:

DENNIS HOPE
I once hit a man in Dearborn, Michigan.
A hit-and-run. I hit him and kept on
going. I don't know if he's alive or
dead, but I'm sorry.

LESLIE
(gripped with fear)
Oh my God.

The plane wildly rises, and falls. It stops for a moment. A
strange smooth patch.

DICK
I love you all too, and you're my
family. Especially since Marna left
me. But if I ever took an extra dollar
or two, here and there, it was because
I knew I'd earned it.

RUSSELL
I slept with Marna, Dick.

JEFF
I did too.

LARRY
I waited until you broke up with her.
But me too.

JEFF
I also slept with Leslie, when you
were fighting.

RUSSELL
You... slept with Jeff?

LESLIE
Yes, but it didn't count. It was the
summer we decided to be free of all
rules.

RUSSELL
(to Jeff)
And you say you "love me."

JEFF
(the truth)
I don't love you, man. I never did.

RUSSELL
Please. Enough.

JEFF
NONE of us love you. You act above
us. You ALWAYS HAVE!!

LARRY
Finally. The truth.

JEFF
You just held it over us, like you
light leave... like we're lucky to be
with you. And we had to live with it.
I had to live with you, and now I might
die with you and it's not fucking fair.

William watches, catatonic.

RUSSELL
(to Larry and Ed)
You hate me? You too?

Larry stares at him. Ed says nothing.

RUSSELL (cont'd)
All this love. All this loyalty.
(incredulous, giddy)
And you don't even like me.
JEFF
And I'm still in love with you Leslie.

Bam. The plane is pulling sideways, and dropping altitude.

LESLIE
I don't want to hear anymore. Shut
up! Shut up! Shut up!

RUSSELL
(to Jeff)
Whatever happens, you're dead.

JEFF
Don't be self-righteous, Russell, not
now. You were sleeping with Penny,
that groupie. Last summer, and up
until yesterday. Why don't you tell
Leslie THAT?

Russell tries to get up and attack him. The force keeps him
in his seat. He yells. Loud.

DENNIS
(freaking out)
I quit.

The turbulence worsens. William finds his mouth saying
emotional words he cannot control.

WILLIAM
"That groupie?" She was a Band-Aid.
All she did was love your band. And
you all -- you used her, all of you.
You used her and threw her away. She
almost died last night, while you were
with Bob Dylan. You're always talking
about the fans, the fans, the fans.
She was your biggest fan and you threw
her away. And if you can't see that,
that's your biggest problem.

Russell and Jeff stare at each other. The plane is rocking
very very hard. Leslie is crying.

ED
I'm gay.

They all turn to the silent drummer. (It's his first spoken
dialogue of the movie.)
Then.

The plane pops out from below the clouds. Sunshine spikes
through the embattled windows of the plane, as they float
downwards to the city of Tupelo, Mississippi. A very very
uneasy silence fills the plane. No one can look at each other.
Out bursts the Co-Pilot, giddy with victory.

CO-PILOT
Thank God above, WE'RE ALIVE!! WE'RE
ALIVE!! WE'RE GONNA MAKE IT!!

Shot of all the occupants, ending with Russell. Suddenly, the
alternative seems far more attractive. We hear Rod Stewart's
"Jo's Lament" as music plays over their still-shocked faces.
Genres: ["Drama","Musical"]

Summary In a hotel room, William confesses his love to a groggy Penny, who is later treated for a medical emergency. The doctor informs William that Penny is confused and believes he is her brother, advising him to get her home. As they navigate the airport, Penny shares a traumatic memory, revealing her complicated relationship with her mother. They share a kiss before parting ways, leaving William with a mix of emotions as he watches her board her plane.
Strengths
  • Intense dialogue
  • Emotional depth
  • Revealing character dynamics
  • High-stakes setting
Weaknesses
  • Some dialogue may feel forced or melodramatic in parts

Ratings
Overall

Overall: 9

The scene is highly engaging, emotionally charged, and reveals important character dynamics. The intense dialogue and revelations create a memorable and impactful moment.


Story Content

Concept: 9

The concept of characters facing their inner truths and confronting each other's secrets in a life-threatening situation is compelling and adds depth to the story.

Plot: 8

The plot advances significantly as the characters' relationships are tested, secrets are revealed, and conflicts come to light. The turbulent plane ride serves as a catalyst for character development.

Originality: 9

The scene offers a fresh approach to exploring personal relationships and confronting secrets within a group dynamic. The authenticity of the characters' actions and dialogue adds to the originality of the scene.


Character Development

Characters: 9

The characters show vulnerability, raw emotions, and complex relationships in this scene. Their interactions and confessions reveal deeper layers to their personalities.

Character Changes: 8

Several characters undergo significant emotional changes and revelations during the scene, leading to personal growth and deeper connections.

Internal Goal: 8

The protagonist's internal goal is to express his love for Penny and confront his own insecurities about their relationship.

External Goal: 7

The protagonist's external goal is to ensure Penny's safety and well-being as they navigate a difficult situation involving her health and confusion.


Scene Elements

Conflict Level: 9

The conflict reaches a peak as characters confront each other with long-held secrets and grievances, leading to emotional outbursts and tension.

Opposition: 8

The opposition in the scene is strong, with characters facing personal conflicts, emotional revelations, and the physical danger of the turbulent plane ride. The audience is kept on edge as they navigate the challenges presented.

High Stakes: 10

The high-stakes situation of being on a turbulent plane ride adds urgency and intensity to the character interactions, raising the emotional stakes and revealing true feelings.

Story Forward: 9

The scene propels the story forward by revealing important character dynamics, deepening conflicts, and setting the stage for future developments.

Unpredictability: 8

This scene is unpredictable because of the unexpected revelations and emotional outbursts from the characters. The turbulent situation on the plane adds to the unpredictability of the scene.

Philosophical Conflict: 9

The philosophical conflict revolves around the idea of loyalty, love, and honesty within relationships. The characters grapple with their own secrets and the consequences of their actions.


Audience Engagement

Emotional Impact: 10

The scene evokes strong emotions from the characters and the audience, as they grapple with intense revelations and confrontations in a life-threatening situation.

Dialogue: 9

The dialogue is intense, emotional, and impactful. It drives the scene forward, revealing character motivations and inner conflicts.

Engagement: 9

This scene is engaging because of its intense emotional moments, dramatic tension, and character revelations. The audience is drawn into the personal conflicts and secrets of the characters.

Pacing: 8

The pacing of the scene effectively builds tension and emotional depth, leading to impactful character interactions and revelations. The rhythm of the scene enhances its effectiveness.


Technical Aspect

Formatting: 8

The formatting of the scene follows the expected format for its genre, with clear scene descriptions and character actions. The dialogue is well-formatted and contributes to the overall flow of the scene.

Structure: 8

The structure of the scene follows a linear progression, moving from the hotel room to the airport and then to the plane. The pacing and rhythm contribute to the effectiveness of the scene.


Critique
  • The scene effectively captures the emotional turmoil of both William and Penny, showcasing their complex relationship amidst a chaotic situation. However, the transition from a tender moment to a medical emergency feels abrupt. The juxtaposition of William's heartfelt confession and the sudden intrusion of medical personnel could be smoothed out to enhance the emotional impact.
  • William's dialogue is relatable and captures the awkwardness of young love, but it could benefit from more specificity. Instead of general statements about love, incorporating personal anecdotes or memories shared between William and Penny could deepen the emotional resonance.
  • The doctor's dialogue serves its purpose but lacks depth. His character could be fleshed out to provide a more nuanced perspective on the situation. Perhaps he could share a brief personal story or insight that reflects his own experiences, adding layers to the scene.
  • The visual elements, particularly the description of Penny's condition and the chaotic bathroom scene, are vivid but could be more focused. The imagery of her stomach contents as a 'Jackson Pollack portrait' is creative but may distract from the gravity of the moment. Simplifying this description could maintain the scene's tension without losing its impact.
  • The ending of the scene, where Penny boards her plane and William watches her leave, is poignant but could be enhanced by a stronger emotional reaction from William. Instead of just watching her go, consider having him express his feelings more explicitly, perhaps through a physical gesture or a line of dialogue that encapsulates his heartbreak.
Suggestions
  • Consider adding a moment of reflection for William before the doctor arrives, allowing him to process his feelings about Penny and their relationship. This could create a more seamless transition into the medical emergency.
  • Incorporate more specific memories or shared experiences between William and Penny during his confession to make it feel more personal and impactful.
  • Develop the doctor's character by giving him a line or two that reflects his own experiences or feelings about the situation, making him more relatable and adding depth to the scene.
  • Refine the visual descriptions to focus on the emotional weight of the moment rather than overly artistic imagery that may detract from the seriousness of Penny's condition.
  • Enhance William's emotional response at the end of the scene by including a line of dialogue or a physical action that conveys his sense of loss and longing as Penny departs.



Scene 38 -  A Moment of Reflection and Resolve
148 INT. TUPELO AIRPORT CORRIDOR -- DAY
148

Music continues, as they walk together like ghosts in a long
and very pregnant silence, ignoring the kid. Everything is
different now. The kid peels off and throws up in a dumpster.
We continue with the band, unhappily moving forward. William
hustles back to catch up. They ignore him. There are much
bigger thoughts in play. No one wants to speak.

JEFF
Well, I think we can build on this new
honesty.

Boom. Russell attacks him, and they're pulled apart. The
band continues moving forward, arriving at a fork in the
airport
terminals. William stops. This is where he must part company.
He stands at the mouth of the next terminal, as the band
continues, unaware he's split off. He watches their backs,
they've forgotten him.

Then Russell turns, sensing something missing. William. All
now stop and turn. Still shell-shocked, they summon a pre-
occupied but heartfelt goodbye. William waves. Music
continues.

ON AIRPLANE DEPARTURE SCHEDULE

William's finger finds San Francisco.

149 INT. CAB -- SAN FRANCISCO --
DAY 149

The kid checks the address as he arrives at the MJB Building,
and its next-door neighbor, the San Francisco headquarters of
Rolling Stone Magazine. He still wears the same clothes from
last night in New York.

150 INT. ROLLING STONE MAGAZINE -- DAY
150

William arrives at the front desk, gets the once-over from a
friendly RECEPTIONIST, a paragon of new cool.

RECEPTIONIST
Leave your package at the desk.

WILLIAM
I'm not a messenger. I'm one of your
writers. William Miller.

He is zombie-tired, with heavy duffel case and his orange bag.

151 INT. ROLLING STONE OFFICES --
DAY 151

William walks down the center aisle. Editors and writers look
at him, standing at the front of their cubicles to see this
exhausted 15 year-old writer. At the end of the aisle, like a
human finish line, stand Ben Fong-Torres.

BEN
You're William Miller?

The secret emerges not with a bang but with a slight and tired
nod of the head.

WILLIAM
Yep.

BEN
(putting it all together)
Oh baby.

Ben leads him into the office of Jann Wenner, the editor-
publisher.

152 INT. JANN WENNER'S OFFICE --
DAY 152

William sits. Editors are feverishly discussing the next
issue.
The big concerns of a national magazine are in the air.
Everyone is focused and quick. The conversation is machine-
gun like. Jann Werner turns to the kid.

JANN
We can't run this piece.

The kid's eyes travel to his story -- a stack of fuzzy-looking
sheets on the table.

BEN
You obviously saw more than you wrote
about. After eight days on the road
with these guys.

DAVID FELTON
Didn't anything happen?

JANN
And where are you in this piece? What
did you want to write? Because this
reads like what they wanted you to
write.

BEN
What happened to your highly-touted
think piece on limitations of a middle-
level Band in the face of success?

William sits speechless. It's sinking in. Failure.
Conversation continues at a fast pace:

JANN
We can push up Chet's Who cover -

FACT CHECKER
Good 'cause it's going to take me three
days to get through this research.
It's all handwritten, on little slips.
Plus, they all refer to woman as
"chicks." I mean, as a woman I have a
problem with that. I know it's a side
issue.

DAVID FELTON
(sympathetic, loquacious)
It's a "puff piece." you fell for
'em. It happens. A relationship forms.
You want them to like you.
(wistful, chewing cigarette
holder)
Happened with me and Charlie Manson.
He was a very charming... lively...
charismatic...

Felton catches himself swooning. The other are staring at
him. He snaps out of it.
DAVID FELTON (cont'd)
... mass-murderer.

WILLIAM
Please let me finish it. Give me
tonight to work on it.

FACT CHECKER
Chet's piece is all fact-checked and
ready.

JANN
(to William)
Get some sleep. We'll do another story
sometime. We'll get you a kill fee.

FACT CHECKER
His research is all on little bits of
paper. Did I say that?

WILLIAM
Ben. You told me to send what I had.
It's not finished.

FACT CHECKER
That's being charitable.

Ben looks at the kid, then at Jann. Jann scans the kid's face
for a beat, nods.

JANN
Let him use the big office. It's
where Hunter used to write.

William rises, gratefully. He shakes Jann's hand.

FACT CHECKER
(pointed re: his age)
You can type.

WILLIAM
Yes. It took it in grade school.
Genres: ["Drama","Coming of Age","Music"]

Summary In this poignant scene, William walks through the Tupelo Airport corridor, feeling abandoned as the band moves on without him. His sense of isolation deepens when he arrives at the Rolling Stone Magazine headquarters in San Francisco, where his article is criticized by the editors. Despite the disappointment, William pleads for a chance to revise his work, and Jann Wenner offers him the opportunity to use the big office, hinting at a potential turning point in his journey as a writer.
Strengths
  • Emotional depth
  • Character development
  • Closure
Weaknesses
  • Lack of external conflict
  • Slow pacing

Ratings
Overall

Overall: 8

The scene effectively conveys a sense of closure and growth for William, while also highlighting the consequences of his actions.


Story Content

Concept: 8

The concept of William facing the aftermath of his failed story and parting ways with the band is well-executed and emotionally resonant.

Plot: 7

The plot focuses on William's realization of his mistakes and the band's departure, providing a poignant resolution to his journey.

Originality: 9

The scene introduces fresh conflicts and character dynamics, offering a unique perspective on the protagonist's journey. The dialogue feels authentic and engaging, adding to the originality of the scene.


Character Development

Characters: 8

The characters, especially William, undergo significant emotional growth and introspection in this scene.

Character Changes: 8

William undergoes significant growth and self-reflection, leading to a change in his perspective and understanding.

Internal Goal: 8

The protagonist's internal goal is to prove himself as a writer and earn respect in the industry. This reflects his desire for validation and recognition of his talent.

External Goal: 7

The protagonist's external goal is to finish his article and get it published. This reflects the immediate challenge he faces in meeting the magazine's expectations.


Scene Elements

Conflict Level: 6

The conflict is more internal and emotional, focusing on William's personal journey and the band's departure.

Opposition: 7

The opposition in the scene is strong, with the protagonist facing challenges from external forces and internal conflicts. The uncertainty adds to the tension and emotional depth of the scene.

High Stakes: 6

The stakes are more personal and emotional, focusing on William's growth and the band's departure rather than external conflicts.

Story Forward: 7

The scene moves the story forward by resolving William's arc and setting up new challenges for him.

Unpredictability: 7

This scene is unpredictable because of the unexpected conflicts and character interactions. The audience is kept on their toes, unsure of how the protagonist will navigate the challenges.

Philosophical Conflict: 9

The philosophical conflict revolves around the protagonist's struggle with authenticity and integrity in his writing. The pressure to conform to the magazine's expectations challenges his values and beliefs.


Audience Engagement

Emotional Impact: 9

The scene evokes a strong emotional response from the audience, particularly in William's realization and the band's farewell.

Dialogue: 7

The dialogue effectively conveys the emotional weight of the moment and the characters' inner turmoil.

Engagement: 9

This scene is engaging because of its emotional depth, sharp dialogue, and character dynamics. The tension and conflict keep the audience invested in the protagonist's journey.

Pacing: 8

The pacing of the scene is effective in building tension and emotional depth. The quick dialogue and character interactions keep the audience engaged and invested in the story.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene descriptions and character actions. The dialogue is well-paced and engaging.

Structure: 8

The scene follows a clear structure with well-defined beats and character interactions. It effectively builds tension and emotional depth.


Critique
  • The scene effectively captures the emotional weight of William's journey, showcasing his feelings of abandonment and disappointment. However, the transition from the airport to the Rolling Stone office feels abrupt. The emotional stakes could be heightened by adding a moment of reflection for William as he watches the band leave, perhaps recalling a specific memory or realization about his relationship with them.
  • The dialogue in the Rolling Stone office is fast-paced and captures the chaotic nature of the magazine's environment, but it risks overwhelming the audience. Some lines could be streamlined or delivered with more pauses to allow the weight of William's failure to sink in. This would enhance the emotional impact of his realization that his story is inadequate.
  • William's character arc is compelling, but the scene could benefit from a clearer expression of his internal conflict. While he is visibly tired and overwhelmed, adding a moment where he articulates his feelings—perhaps a brief monologue or an internal thought—could deepen the audience's connection to his struggle.
  • The use of music throughout the scene is effective in setting the tone, but it could be more strategically placed. For instance, the music could fade out as William enters the Rolling Stone office to emphasize the stark contrast between the celebratory atmosphere of the previous scene and the harsh reality he faces.
  • The scene introduces several characters in the Rolling Stone office, but they could be more distinct. Providing brief character traits or quirks for each editor could help the audience differentiate them and understand their perspectives on William's work. This would also enhance the tension in the room as they critique his article.
Suggestions
  • Consider adding a moment of introspection for William as he watches the band leave, perhaps reflecting on what he has lost or what he hoped to achieve with them.
  • Streamline the dialogue in the Rolling Stone office to allow for more emotional pauses, giving the audience time to absorb William's disappointment.
  • Incorporate a brief internal monologue or a line of dialogue from William that articulates his feelings of inadequacy and confusion about his role in the rock world.
  • Adjust the music cues to create a more pronounced emotional shift when William enters the Rolling Stone office, enhancing the contrast between the previous scene's energy and his current reality.
  • Develop the supporting characters in the Rolling Stone office by giving them distinct traits or lines that reflect their personalities, making the critique of William's work feel more personal and impactful.



Scene 39 -  Reflections and Revelations
153 INT. BIG OFFICE --
NIGHT 153

William sits in the "big" office. It's a small white tank.
After all the sound and fury, there is only the hum of a large
electric typewriter. His research, transcripts and some band
photos sit nearby. He takes a bite of a candy bar, a sip of
coffee. He looks at the phone.
INT. LESTER BANGS' BEDROOM -- NIGHT

Crazy jazz is playing. Lester Bangs on the phone.

LESTER BANGS
Aw, man. You made friends with them!
See, friendship is the booze they feed
you. They want you to get drunk on
feeling like you belong.

INTERCUT:

INT. ROLLING STONE -- NIGHT

William in the empty Rolling Stone office.

WILLIAM
(ruefully)
Well, it was fun.

LESTER BANGS
They make you feel cool. And hey. I
met you. You are not "cool."

WILLIAM
I know. Even when I though I was, I
knew I wasn't.

LESTER BANGS
That's because we are uncool! And
while women will always be a problem for
guys like us, most of the great art in
the world is about that very problem.
Good-looking people have no spine!
Their art never lasts! They get the
girls, but we're smarter.

WILLIAM
I can really see that now.

LESTER BANGS
Yeah, great art is about conflict and
pain and guilt and longing and love
disguised as sex, and sex disguised as
love... and let's face it, you got a
big head start.

WILLIAM
I'm glad you were home.

LESTER BANGS
I'm always home! I'm uncool!

WILLIAM
Me too!

LESTER BANGS
(leveling)
The only true currency in this bankrupt
world if what we share with someone
else when we're uncool.

WILLIAM
(distraught)
I feel better

LESTER
My advice to you. I know you think
those guys are your friends. You want
to be a true friend to them?

William takes a deep breath. Looks at the research cassettes
and
notebooks. The empty page.

LESTER BANGS
Be honest and unmerciful.
(beat)
You're doing great. Call me later is
you want. I'm always up.

154 INT. ROLLING STONE OUTER OFFICE -- MORNING
154

Ben Fong-Torres and David Felton look at William's new
manuscript with great interest.

FELTON
Read me the opening line.

BEN
(reads aloud)
"I am flying high over Tupelo,
Mississippi, with America's hottest
band, and we are all about to die."

FELTON
Mmmmm.
(as if sampling wine)
Dark. Lively.

BEN
Yeah, and it gets better.
(impressed)
Did this all really happen?

William sleeps restlessly nearby, mouth agape, sitting upright
in a plastic chair.

FACT CHECKER
(jealously reaches for
manuscript)
Give it to me. I'll call and check
the quotes.

155 INT. NEW TOUR BUS --
DAY 155

The band rides in a new tour bus. The palpable tone in the
air is -- PANIC.

JEFF
Look. Let's just piece together our
information... because the fact-checker
asked us all about different parts of
the story.

TONY
What did he write about? What's he
using?

JEFF
It. All. He's using it all.

RUSSELL
So what?

JEFF
So what?
(beat)
We come off like amateurs... some
average band... trying to come to
grips, jealous and fighting and breaking
up - we're buffoons!

RUSSELL
Maybe we just don't see ourselves the
way we really are.

JEFF
He was supposed to be our friend.

RUSSELL
(ruefully, remembering)
I told him to write what he wanted.
All eyes look to Russell.

TONY
(to Russell)
By the way, he has you on acid,
screaming "I Am A Golden God" from a
fan's rooftop.

RUSSELL
(immediately remembering)
Oh my God.

JEFF
They used him to fuck us.

RUSSELL
(still back at "Golden
God")
I didn't say "Golden God." Or did I?

DICK
We never took him seriously, and now
it's serious.

RUSSELL
I liked him as a person.

JEFF
He was never a "person!" He was a
journalist!

Russell nods. He looks at Silent Ed, drumming soundlessly on
a rubber pad.

RUSSELL
You. You had the right idea all along.

Ed silently nods thanks.

DENNIS HOPE
(nervously)
How about the plane flight?

DICK
It's all in there. But don't worry,
it's all unspecific who say what. No
names are mentioned in the more
embarrassing sequences, it's just
completely obvious who's who! We're
fucked!
Silence.

RUSSELL
I forgot he was there.

DENNIS HOPE
Well, they haven't talked to Russell -
he can always deny the key stuff to
the fact checker. Then they can't
print it.

JEFF
(brightening)
Is that true?

DENNIS HOPE
It's war, my friend. If you'd met me
earlier, he would have never been on the
around.

Dennis hands Russell the phone.

DENNIS HOPE (cont'd)
He'll live.
Genres: ["Drama","Music"]

Summary In the Rolling Stone office at night, William contemplates his experiences with the band and his feelings of inadequacy while conversing with Lester Bangs, who emphasizes the importance of honesty in art and friendship. The next morning, Ben Fong-Torres and David Felton discuss William's intriguing manuscript, which raises concerns among the band members in their tour bus about how they might be portrayed. As they grapple with anxiety over their image, they strategize on how to address the potential fallout from William's writing.
Strengths
  • Emotional depth
  • Character development
  • Reflective dialogue
Weaknesses
  • Pacing may be slow for some viewers

Ratings
Overall

Overall: 8

The scene effectively conveys a sense of introspection and emotional depth, providing a poignant reflection on the characters' experiences and relationships.


Story Content

Concept: 8

The concept of exploring the consequences of betrayal and the importance of honesty and self-awareness is well-executed in the scene.

Plot: 7

The plot focuses on the fallout from a journalist's betrayal and the impact it has on the band's dynamics, adding depth to the story.

Originality: 9

The scene introduces fresh perspectives on the themes of authenticity, friendship, and artistic integrity. The characters' actions and dialogue feel authentic and relatable, adding to the originality of the scene.


Character Development

Characters: 9

The characters' vulnerabilities and emotional struggles are effectively portrayed, adding layers to their personalities and relationships.

Character Changes: 8

The characters undergo emotional growth and self-reflection, particularly in their understanding of friendship and honesty.

Internal Goal: 9

William's internal goal is to come to terms with his own uncoolness and find value in his authenticity. This reflects his deeper need for acceptance and understanding of his true self.

External Goal: 8

William's external goal is to navigate the challenges of being a journalist and maintaining his integrity in the face of pressure from his subjects.


Scene Elements

Conflict Level: 7

The conflict arises from the betrayal by the journalist and the band's realization of their vulnerabilities and the harsh realities of the music industry.

Opposition: 8

The opposition in the scene is strong, with conflicts arising from the characters' differing values and goals. The uncertainty of the outcome adds to the tension and drama.

High Stakes: 7

The stakes are high as the characters grapple with the consequences of betrayal and the impact it has on their relationships and future.

Story Forward: 7

The scene provides a deeper insight into the characters' motivations and relationships, moving the story forward by exploring the aftermath of the betrayal.

Unpredictability: 7

This scene is unpredictable due to the unexpected twists in the characters' relationships and the philosophical conflicts that arise.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the value of authenticity and the nature of true friendship. Lester Bangs challenges William to embrace his uncoolness and prioritize honesty in his work and relationships.


Audience Engagement

Emotional Impact: 9

The scene evokes a strong emotional response from the audience, delving into themes of regret, nostalgia, and resignation.

Dialogue: 8

The dialogue is introspective and reflective, capturing the characters' emotional states and inner conflicts.

Engagement: 9

This scene is engaging because of its compelling dialogue, emotional depth, and relatable themes of authenticity and friendship.

Pacing: 8

The pacing of the scene effectively builds tension and emotional resonance, allowing the audience to connect with the characters' struggles and dilemmas.


Technical Aspect

Formatting: 8

The formatting of the scene adheres to the expected format for its genre, with clear scene headings and dialogue formatting that enhances readability.

Structure: 8

The scene follows a coherent structure that effectively conveys the characters' emotions and conflicts. The intercutting between different locations adds depth to the narrative.


Critique
  • The scene effectively captures the emotional weight of William's journey, showcasing his internal conflict and growth as a writer. The dialogue between William and Lester Bangs is particularly strong, highlighting their shared sense of being 'uncool' and the complexities of friendship in the music industry.
  • However, the transition between the phone call with Lester and the subsequent scenes in the Rolling Stone office feels abrupt. A smoother transition could enhance the flow of the narrative and maintain the emotional resonance of William's reflections.
  • The juxtaposition of William's introspective moment in the office with the band's panic in the tour bus is a clever narrative device, but it could be more explicitly connected. The audience may benefit from a clearer thematic link between William's realization of his role as a journalist and the band's fear of being misrepresented.
  • While the dialogue is engaging, some lines could be tightened for clarity and impact. For instance, Lester's advice about being 'honest and unmerciful' could be more succinct to maintain the scene's pacing.
  • The visual elements in the Rolling Stone office are somewhat underdeveloped. Describing the environment more vividly could enhance the atmosphere and reflect William's emotional state more effectively. For example, detailing the clutter of papers or the dim lighting could create a more immersive experience.
Suggestions
  • Consider adding a brief moment of reflection for William after the phone call with Lester, allowing him to process the advice before transitioning to the next scene. This could deepen the emotional impact.
  • Enhance the connection between William's introspection and the band's panic by incorporating a visual or auditory cue that links the two scenes, such as a sound from the tour bus that echoes in the Rolling Stone office.
  • Revise some of the dialogue to be more concise, particularly Lester's lines, to maintain the scene's momentum and keep the audience engaged.
  • Add more descriptive details to the Rolling Stone office setting to create a stronger sense of place and reflect William's emotional turmoil, such as the state of his workspace or the ambiance of the office at night.
  • Consider ending the scene with a more definitive emotional beat for William, perhaps a moment of determination or clarity that sets the stage for the challenges he will face with the manuscript.



Scene 40 -  The Fall from Grace
156 INT. ROLLING STONE OFFICES --
DAY 156

William is still being congratulated by his new peers. We see
him woozy but beaming, as Allison the Fact Checker comes out
of her office, waving the manuscript. She works her way
through
the cluster of editors.

FACT CHECKER
The band just denied 90% of the story.
It's a fabrication.

Everyone looks at William, who is speechless and confused.
Their congratulations stop on a dime. The fact checker can't
resist twisting the knife a little.

FACT CHECKER (cont'd)
You weren't honest. And worse, you
wasted our time.

WILLIAM
Did you talk to Russell?

FACT CHECKER
Russell Hammond is the one who denied
it.
BEN
(darkly)
Crazy.

FACT CHECKER
(one last shot, to William)
We're going with the Who - !

The kid has been sandbagged. The machine of a big-time
magazine
whirs into action on another story, as the cluster moves down
the hall.

SOMEONE'S VOICE
He's just some fan... what did you
expect?

William sits there, as only David Felton stay behind,
brandishing his cigarette-holder. He sits down next to the
kid.

FELTON
Well, I believe you.

He looks at the kid, decides to offer a personal parable.

FELTON (cont'd)
Jim Morrison once came to my house and
drank a beer. The beer is still on my
mantle. I'm 35 years old with Jim
Morrison's beer as a shrine. I wanted
to be Earnest Hemingway. Instead. I
have Jim Morrison's beer.
(shrugs, he's learned to
live with it)
If you didn't make your story up, good
for you. If you did make it up... good
for you.

The kid looks at him, too tired and still in shock.

FELTON (cont'd)
Say something, so I know you're alive.

WILLIAM
Goodbye.

He exits.

FELTON
Powerful word. Strong. Final.
157 INT. BACKSTAGE CREW MEAL -
NIGHT 157

Russell Hammond sits down on a plastic chair with a paper-plate
filled with buffet-style food - steak and baked potato.
Preoccupied, and several seats away from other crew members.
He drinks a glass of milk. Out old friend Sapphire takes the
seat next to him, holding a skimpy paper plate of vegetables.

RUSSELL
I feel bad.

SAPPHIRE
Well, at least you feel. That puts
you in a higher class of asshole.

They eat in silence. Sapphire looks around. The new breed of
groupies eye her, as they cruise Russell on the periphery.
They're bolder, flashier. She eyes them back with seniority.

RUSSELL
What did I do?

SAPPHIRE
Well - you can do what the big boys
do.
(he looks at her)
Nothing.

RUSSELL
Yeah.

The girls still circle Russell nearby. He's unaware.

SAPPHIRE
You believe these new girls? None of
'em take birth control, and they eat
all the steak.

She looks sadly at her plate of vegetables. An ever-sharp
mind in last night's clothes, she commands Russell's respect.

SAPPHIRE (cont'd)
They don't even know what it id to be
a fan! To blindly love some silly
piece of music... or some band so much
that it hurts... please, they're all
just after the money. Shoo --
(in their direction)
Go rob a bank! It's more honest!
RUSSELL
Is Penny okay?

SAPPHIRE
The Quaalude Incident. Yeah, it wasn't
pretty. She could have died. I always
warned her about letting too many guys
fall in love with her. I guess I was
wrong.
(shrugs)
On of 'em saved her life.

Russell nods.

RUSSELL
Well, it's finally over with Leslie.
I'm going to call her.

SAPPHIRE
Let her retire.
(he doesn't respond)
You want to lock her up in a house in
Michigan? Please.
(he doesn't respond)
Write her a song someday. She deserves
it. Something about that girl brought
out the best in a lot of...
(looks around backstage)
... pretty average people. She deserves
it...

Russell stares into his crew meal, nodding a little.

SAPPHIRE (cont'd)
(forward thinking)
... because something tells me twenty
years from now, we'll remember her...
and not much else.

Russell smiles to himself, knows it's true. Dick passes,
placing hands on Russell's shoulders, massaging a little.

DICK
Have a good vacation. I hope the band
stays together. Before it all went
down the shitter, it was starting to
get really good.

Dick claps Russell on the back, and moves on. He turns to
Sapphire.

RUSSELL
I'm not going to blame myself. I do
make people happy. They just shouldn't
get to know me... 'cause it appears to
spoil everything.

SAPPHIRE
Don't be so easy on yourself.

RUSSELL
What gives you the right to get this
personal with me.

SAPPHIRE
Let's not reminisce.
Genres: ["Drama","Music"]

Summary William's moment of celebration at Rolling Stone quickly turns to despair when the Fact Checker reveals that the band has denied 90% of his story, labeling it a fabrication. Confused and disheartened, William faces the disappointment of his peers, while David Felton attempts to console him with a personal anecdote. Ultimately, William chooses to leave, uttering a final 'Goodbye' as he walks away from the chaos and betrayal.
Strengths
  • Emotional depth of characters
  • Exploration of themes
  • Introspective dialogue
Weaknesses
  • Lack of external conflict
  • Limited plot progression

Ratings
Overall

Overall: 8

The scene effectively conveys the emotional depth and complexity of the characters, providing insight into their inner struggles and regrets.


Story Content

Concept: 8

The concept of reflecting on past decisions and the consequences of fame is well-executed, adding depth to the characters and the overall story.

Plot: 7

While the plot doesn't advance significantly in this scene, it adds depth to the characters and sets the stage for potential conflicts and resolutions.

Originality: 9

The scene introduces a fresh take on the theme of journalistic integrity and the pursuit of truth. The characters' actions and dialogue feel authentic and true to life, adding to the originality of the scene.


Character Development

Characters: 9

The scene focuses heavily on character development, particularly for Russell and Sapphire, showcasing their vulnerabilities and inner turmoil.

Character Changes: 7

Both Russell and Sapphire experience internal growth and reflection, leading to potential changes in their perspectives and actions.

Internal Goal: 8

William's internal goal is to prove his honesty and integrity in the face of accusations of fabrication. He wants to be seen as a trustworthy journalist and gain the respect of his peers.

External Goal: 7

William's external goal is to salvage his reputation and credibility after the band denies his story. He wants to clear his name and maintain his career in journalism.


Scene Elements

Conflict Level: 4

While there is internal conflict within the characters, the scene lacks external conflict or tension.

Opposition: 8

The opposition in the scene is strong, with the fact checker challenging William's integrity and forcing him to confront his values and beliefs. The audience is left wondering how William will overcome this obstacle.

High Stakes: 3

The stakes are relatively low in this scene, focusing more on emotional introspection than external conflicts or high-pressure situations.

Story Forward: 5

While the scene doesn't significantly move the main plot forward, it deepens the audience's understanding of the characters and sets the stage for future developments.

Unpredictability: 8

This scene is unpredictable because of the unexpected twists and turns in the characters' actions and dialogue. The audience is kept on their toes, unsure of how the situation will resolve.

Philosophical Conflict: 9

The philosophical conflict in this scene revolves around the idea of truth and integrity in journalism. The fact checker challenges William's honesty, forcing him to confront his values and beliefs about the importance of telling the truth.


Audience Engagement

Emotional Impact: 9

The scene evokes strong emotions of melancholy, nostalgia, and resignation, drawing the audience into the characters' inner struggles.

Dialogue: 7

The dialogue is introspective and reflective, revealing the characters' inner thoughts and emotions effectively.

Engagement: 9

This scene is engaging because of the high stakes and emotional intensity of the characters' interactions. The conflict and tension keep the audience invested in the outcome.

Pacing: 8

The pacing of the scene is effective in building tension and suspense, with well-timed moments of introspection and emotional depth that add to the overall impact of the scene.


Technical Aspect

Formatting: 8

The formatting of the scene is clear and easy to follow, with concise descriptions and dialogue that enhance the pacing and rhythm of the scene.

Structure: 8

The structure of the scene follows the expected format for its genre, with clear character motivations and conflict driving the action forward.


Critique
  • The scene effectively captures the emotional fallout of William's experience at Rolling Stone, showcasing the abrupt shift from celebration to disappointment. This contrast heightens the impact of the fact checker's revelation, making it a pivotal moment in William's journey.
  • The dialogue is sharp and serves to illustrate the harsh realities of the journalism world. The fact checker's comments are particularly biting, emphasizing the stakes involved in William's writing and the expectations placed upon him.
  • William's reaction to the news is appropriately muted, reflecting his shock and confusion. However, the scene could benefit from a more visceral expression of his emotions, perhaps through internal monologue or physical reactions that convey his sense of betrayal and loss.
  • David Felton's anecdote about Jim Morrison adds depth to the scene, providing a relatable moment of disillusionment that resonates with William's current predicament. However, it feels slightly disconnected from the immediate emotional weight of William's situation. A more direct connection between Felton's story and William's feelings could enhance the scene's cohesion.
  • The pacing of the scene is effective, moving quickly from the congratulatory atmosphere to the harsh reality. However, the transition could be smoothed out with a brief moment of silence or a visual cue that signifies the shift in mood, allowing the audience to fully absorb the impact of the fact checker's words.
Suggestions
  • Consider adding a brief internal monologue for William after the fact checker's revelation to provide insight into his emotional state. This could help the audience connect more deeply with his character at this moment.
  • Enhance the connection between Felton's anecdote and William's situation by having Felton draw a more explicit parallel between his experience and William's current feelings of inadequacy and disappointment.
  • Introduce a visual element that symbolizes William's emotional state, such as a close-up of his face or a shot of him sitting alone amidst the bustling office, to emphasize his isolation in that moment.
  • Explore the possibility of including a reaction shot from other characters in the office as they process the fact checker's news. This could add layers to the scene by showing how William's peers view his situation and the implications for their own work.
  • Consider ending the scene with a more definitive action from William, such as him standing up and leaving the office, to symbolize his determination to overcome this setback and continue pursuing his dreams.



Scene 41 -  A Fragile Reunion
158 INT. SAN FRANCISCO AIRPORT -- NIGHT
158

William moves like a zombie through the airport, and collapses
in a seat. He sits still in the crowded flow of human traffic.
A cluster of Flight Attendants pass. One stops, a stylish
young
woman wearing a tall bubble-shaped PSA hat with swirling
colors.

ANITA
William?

He looks at her. He feels like he's on Mars, and she looks
like a Martian.

ANITA (cont'd)
You guys this is my brother!

MALE FLIGHT ATTENDANT
(ad if meeting a celebrity)
"The Narc?!"

William looks woefully at them, like a dog who's been hit by a
car.

ANITA
You guys, I'll deadhead back later. I
think I'm needed.

MALE FLIGHT ATTENDANT
Nice to finally meet you.

FEMALE ATTENDANT
You have a good day!

Anita looks in her brother's face.
ANITA
You look awful, but that's great.
You're living your life! You're finally
free of... her.

WILLIAM
Yeah.

ANITA
Hey. I'll take off work. Let's have
an adventure together. You and me,
finally. Anywhere you want to go.
Anywhere in the world.

159 EXT. WILLIAM'S HOME -- DAY
159

William whistles the family whistle. Sister and brother trudge
up the steps.

ANITA
This is not my idea of a good time.

WILLIAM
Just get me to my bed.

ANITA
(resigned)
I'll deal with her.

William whistles again. Mom meets them at the door. She looks
at her trashed son who has finally come home. For the first
time, she hugs Anita first, and it's not lost on Anita.

It's a clumsy neck-hug, neither wanting to commit. The kid
passes to his Mother's left, with suitcase, intentionally
nudging her into his sister. Anita takes this as an aggressive
act of love, and hugs her mother back. Tears stream down Mom's
face. Their cheeks touch. Mom pulls away, and sees her own
tears on Anita's face. Thinking that she's also crying, she
grabs a tissue for them both.

160 INT. ELAINE'S HOUSE --
CONTINUOUS 160

The kid stands in the hallway listening, shaking his head,
poised to enter his room, unseen by them.

ANITA
(so worried)
What are we going to do about him?
ELAINE
I don't know. Whatever happened to him, I
just wish it could have happened to me.

ANITA
The magazine killed his story.

Now they really hug, Anita gulping back real tears. William
watches them bonding over the oddest thing - his failure.
William goes into the bedroom, the final three feet to sleep,
and shuts the door. A hand places a hotel sign on the door -
DO NOT DISTURB. Slight push in.

ON BED

He collapses with all his clothes on, almost instantly asleep.
His
walls, just as he left them, boast a pantheon of rock heroes...
with a very lonely Abraham Lincoln (or Atticus Finch) in the
center.

161 INT. ROLLING STONE OFFICES --
DAY 161

The elevator doors ding open, and out walks Russell Hammond.
The Secretary has just finished answering the phone, "Straight
Arrow Publishers." She puts the caller on hold.

RUSSELL
Hi, I'm Russel Hammond.

SECRETARY
You're here regarding?

RUSSELL
My life.

162 INT. EDITORIAL OFFICE - DAY
162

Russell stands with the editors, observing the fine portraits
on the walls. He's behind enemy lines, and he knows it.
Everything in the room fascinates him.

RUSSELL
I don't care what happens. I don't
care if you put us on the cover. But
you sent us a kid and... and he was a
fan. And we all made friends with
him - absolutely, to get a good story.
But then we actually liked him. We
thought he's... show us our lives in
some mythic way and I guess... we're
not mythic. We panicked.

JANN
You denied most of the story.

RUSSELL
Yeah, well, here's the problem with
the truth. It's too true -

BEN
Well, we appreciate the visit. The
last time an artist came here, it was
Buddy Miles and he punched me.

RUSSELL
I'm not punching anybody. I am
personally, as of 2 pm yesterday, on a
voyage of self-reinvention. This is
about William Miller.
(counting off fingers)
He lives with us, he lost his virginity,
he saw us at our worst, appreciated
our best, he saved two lives, including
mine... he smuggled about a half-pound
of pot into Boston, and we never even
told him -

Nearby, David Felton looks at another editor, raising an
eyebrow.

RUSSELL (cont'd)
-- we told him too much, we told him
everything... He almost died with us
over Tupelo... if the band survives
him, it'll be a miracle... but you
know, he tried to keep up, and that's
a journalist to me.

JANN
It's too late. We're going with a
different cover.

RUSSELL
(immediately)
Thank God.

But Russell looks around at the numerous portraits if dead
legendary rock stars, fixing on the one photo closest to all of
them, a very vulnerable-looking Janis Joplin. A second
thought.
RUSSELL (cont'd)
You tell me it's too late. But I could
go back to my hotel room and... and
O.D. tonight and something tells me
you'd find a way to put me on the cover
of the next issue. Am I right?

He looks at their faces. They cannot disagree.

RUSSELL (cont'd)
I'm learning the game.
(beat, shrug)
We fucked up. We made friends with him.

BEN
Next time we'll all be more
professional.

RUSSELL
Maybe so.
(beat, an odd thought)
But God forbid, the day comes when
selling yourself is as important as
the music you make.
(rueful, to Hendrix on the
wall)
You might have died at the right time,
my friend.

JANN
Thank you for visiting. Good luck.

RUSSELL
Do what you want, but the story is
true.

LONG SHOT RUSSELL

at the entrance. Raises his hand.

RUSSELL (cont'd)
Good evening!
Genres: ["Drama","Comedy"]

Summary In a San Francisco airport, William, feeling lost and exhausted, unexpectedly reunites with his sister Anita, a flight attendant. Despite his disheveled state, Anita offers her support and suggests they embark on an adventure together. They return home, where an emotional reunion with their mother, Elaine, unfolds, revealing the family's struggles and William's recent hardships. The scene captures the tension and vulnerability within the family, ultimately leading to a moment of connection. Overwhelmed, William collapses onto his bed, falling asleep immediately, symbolizing his need for rest and escape.
Strengths
  • Emotional depth
  • Character development
  • Exploration of themes
Weaknesses
  • Pacing could be improved in certain sections

Ratings
Overall

Overall: 8

The scene effectively captures the emotional turmoil and introspection of the characters, providing depth and insight into their motivations and conflicts.


Story Content

Concept: 8

The concept of self-reinvention and the consequences of denying the truth are well-developed and drive the emotional core of the scene.

Plot: 7

The plot focuses on the aftermath of the failed article and the band's realization of their impact on William's life, leading to introspection and conflict.

Originality: 9

The scene introduces fresh and authentic situations, such as the protagonist's struggle with fame and personal relationships, and presents them in a unique and engaging manner. The characters' actions and dialogue feel genuine and relatable.


Character Development

Characters: 9

The characters, especially Russell, are complex and multifaceted, grappling with their actions and the consequences of their choices.

Character Changes: 8

The characters, especially Russell, undergo internal changes as they confront the consequences of their actions and the impact on William's life.

Internal Goal: 8

The protagonist's internal goal in this scene is to come to terms with his past and find a sense of belonging and acceptance within his family. He is seeking emotional closure and connection with his loved ones.

External Goal: 7

The protagonist's external goal in this scene is to confront the consequences of his actions and the impact they have had on his relationships and career. He is also seeking validation and understanding from the people around him.


Scene Elements

Conflict Level: 7

The conflict arises from the band's denial of the truth in the article and their realization of the impact on William, leading to internal and external conflicts.

Opposition: 7

The opposition in the scene is strong, with conflicting values and goals between the characters creating tension and uncertainty. The audience is left wondering how the conflicts will be resolved.

High Stakes: 7

The stakes are high as the band faces the consequences of denying the truth in the article and the impact on their relationships and reputation.

Story Forward: 7

The scene moves the story forward by exploring the aftermath of the failed article and the band's realization of their impact on William, setting up future conflicts and resolutions.

Unpredictability: 8

This scene is unpredictable because it subverts expectations and presents unexpected twists in the protagonist's journey. The audience is kept on their toes, unsure of how the conflicts will be resolved.

Philosophical Conflict: 9

The philosophical conflict evident in this scene is the struggle between personal integrity and professional success. The protagonist grapples with the idea of selling out for fame and recognition versus staying true to his values and relationships.


Audience Engagement

Emotional Impact: 9

The scene evokes a strong emotional response from the audience, delving into themes of regret, friendship, and self-realization.

Dialogue: 8

The dialogue is introspective, emotional, and reflective, capturing the inner turmoil and conflicts of the characters effectively.

Engagement: 9

This scene is engaging because it delves into the protagonist's internal and external conflicts, creating tension and emotional depth. The interactions between characters are compelling and relatable, drawing the audience into the story.

Pacing: 8

The pacing of the scene contributes to its effectiveness by building tension and emotional depth, allowing the conflicts to unfold naturally and engaging the audience in the protagonist's journey.


Technical Aspect

Formatting: 8

The scene follows the expected formatting for its genre, with clear scene headings, character names, and dialogue formatting. The formatting enhances the readability and flow of the scene.

Structure: 8

The scene follows the expected structure for its genre, with a clear setup, conflict, and resolution. The pacing and rhythm of the scene contribute to its effectiveness by building tension and emotional depth.


Critique
  • The scene effectively captures William's emotional state as he returns home, feeling lost and exhausted. However, the transition from the airport to the home could be smoother. The abrupt shift in setting might benefit from a brief moment that emphasizes William's internal struggle as he moves from one environment to another.
  • Anita's character is introduced in a way that feels both supportive and slightly comedic, which works well to lighten the mood. However, her dialogue could be more impactful if it included a line that reflects her own struggles or growth, making her support for William feel more earned and relatable.
  • The interaction between William and his mother is poignant, but it could be enhanced by showing more of William's internal conflict. Instead of just observing the hug between Anita and Elaine, perhaps include a moment where William reflects on his own feelings of inadequacy or longing for connection, which would deepen the emotional resonance.
  • The use of visual imagery, such as the 'Do Not Disturb' sign, is a strong choice that symbolizes William's desire for solitude and his emotional state. However, the description of the room could be expanded to include more sensory details that evoke nostalgia or a sense of loss, enhancing the audience's connection to William's character.
  • The dialogue in the scene is generally effective, but some lines feel a bit on-the-nose, particularly when characters express their feelings about William's situation. Subtlety can often lead to a more powerful emotional impact, so consider reworking some lines to convey emotions through actions or less direct dialogue.
Suggestions
  • Consider adding a brief moment of reflection for William as he transitions from the airport to home, perhaps showing him grappling with his feelings about returning to a familiar yet changed environment.
  • Enhance Anita's character by giving her a line that reveals her own struggles or growth, making her support for William feel more genuine and relatable.
  • Include a moment where William reflects on his feelings of inadequacy or longing for connection while observing the hug between Anita and Elaine, deepening the emotional impact of the scene.
  • Expand the description of William's bedroom to include sensory details that evoke nostalgia or a sense of loss, enhancing the audience's connection to his character.
  • Revise some of the dialogue to be more subtle, allowing emotions to be conveyed through actions or less direct speech, which can create a more powerful emotional impact.



Scene 42 -  Moments of Connection
162A EXT. SAN FRANCISCO -
DAY 162A

Russell stands outside, a traveling man with no where to go.
Oddly, and in a way that surprises him, the world begins to
speak to him again... little noises everywhere, turning into a
music of its own. It's a beautiful and compelling "silence."
He thrusts his hands deep in his pockets, and takes a breath
of life. His head filling again with the music of the world,
he begins to walk down the street. Very naturally, and quite
randomly, he is noticed by young passersby. They can't help
it. He looks like a star. They can't quite figure out who it
is, but it's someone, and they begin to follow him down the
street. Unbeknownst to him as he walks along, deep in
thought,
a small crowd begins to form... following him.

163 INT. BREAKFAST TABLE - DAY
163

A quiet kitchen. Anita has been cooking. A substantial
breakfast has been placed on the table. Sausage, orange
juice... and now Anita sets down a plate of pancakes, with
syrup and butter, in front of her mother. William watches his
mother facing an old enemy - white sugar.

ANITA
They're called pancakes. Who knows
when we'll be together again. Splurge.
It's what most people call breakfast.

Mom looks at her children, and takes a breath.

ELAINE
I went through your records. And I
found a song to play for you.

She goes to the stereo and puts on a record. The two children
eye each other - what's coming next? (Song to be chosen)
The two kids eye each other again. Self-consciously avoiding
their gaze, Mom sits and toys with her breakfast. It's a song
she clearly wants them to hear. It's a song from the heart.
They look at her, amazed. Elaine looks up, regards her family.
Somehow they're back at this table. They continue eating
breakfast.

164 ON SIDEWALK
164

Bam. A bundle of bound Rolling Stone Magazines lands on the
newsstand pavement with a thud. Someone reaches in to cut the
cord, as the magazines puff up into view. It's the new issue,
with Russell Hammond on the cover. The title: Stillwater Runs
Deep. Just another stack of magazines waiting to be places in
the racks.

FADE OUT

Music segues to Led Zeppelin's "Four Sticks." Penny Lane's
sleeping Polaroid shots of our characters, featuring a few
self-portraits.

THE END
Genres: ["Drama","Slice of Life"]

Summary In a reflective scene set in San Francisco, Russell walks through the bustling streets, unknowingly attracting a crowd of young admirers as he grapples with his sense of purpose. Meanwhile, in a quiet kitchen, Anita prepares a hearty breakfast, encouraging her mother to indulge in pancakes despite her dietary restrictions. Elaine plays a heartfelt song, aiming to bridge the emotional distance within her family. The scene culminates with the delivery of a Rolling Stone magazine featuring Russell on the cover, symbolizing his rising fame, as the characters share a moment of connection over breakfast, underscored by the nostalgic tones of Led Zeppelin's 'Four Sticks.'
Strengths
  • Emotional depth
  • Character development
  • Closure
  • Reflective tone
Weaknesses
  • Lack of external conflict
  • Pacing may be slow for some viewers

Ratings
Overall

Overall: 9

The scene effectively wraps up the character arcs and storylines, providing closure while setting the stage for new beginnings. The emotional depth and reflective tone resonate with the audience, making it a poignant and memorable scene.


Story Content

Concept: 8

The concept of family, reflection, and moving forward is well-executed in the scene. It explores themes of closure, nostalgia, and hope, offering a satisfying conclusion to the characters' journeys.

Plot: 8

The plot focuses on the characters' emotional resolutions and new beginnings, driving the narrative forward while providing closure to their arcs. The scene effectively ties up loose ends and sets the stage for future developments.

Originality: 9

The scene introduces a fresh approach to the protagonist's journey of self-discovery through sensory experiences and external interactions. The characters' actions and dialogue feel authentic and engaging.


Character Development

Characters: 9

The characters undergo significant emotional growth and resolution in the scene, particularly in their relationships with each other and their personal journeys. Their interactions and reactions feel authentic and impactful.

Character Changes: 8

Several characters undergo significant emotional changes and resolutions in the scene, particularly in their relationships and personal growth. The scene marks a turning point for the characters, setting them on new paths.

Internal Goal: 8

The protagonist's internal goal in this scene is to find a sense of belonging and connection, as he experiences the world speaking to him and strangers following him. This reflects his deeper need for validation and recognition.

External Goal: 7

The protagonist's external goal is not clearly defined in this scene, but it could be interpreted as him seeking direction or purpose in his wandering.


Scene Elements

Conflict Level: 3

While there is emotional tension and resolution in the scene, the conflict is more internal and reflective rather than external. The focus is on emotional closure and character development.

Opposition: 7

The opposition in the scene is strong enough to create tension and uncertainty, as the protagonist is followed by strangers and faces internal and external conflicts.

High Stakes: 5

While the stakes are not life-threatening, the emotional stakes are high for the characters as they confront their pasts, make decisions about their futures, and navigate complex relationships. The scene is pivotal for their emotional growth.

Story Forward: 7

The scene moves the story forward by providing closure to existing plotlines and setting the stage for new developments. It wraps up loose ends while hinting at future conflicts and resolutions.

Unpredictability: 7

This scene is unpredictable because of the unexpected way the world 'speaks' to the protagonist and the strangers following him, adding a layer of mystery and tension.

Philosophical Conflict: 6

There is a subtle philosophical conflict between the protagonist's internal desire for connection and the external world's perception of him as a 'star' or someone to follow. This challenges his beliefs about his own identity and worth.


Audience Engagement

Emotional Impact: 9

The scene has a high emotional impact, evoking feelings of nostalgia, hope, and bittersweetness in the audience. The characters' emotional resolutions and interactions tug at the heartstrings, leaving a lasting impression.

Dialogue: 7

The dialogue is heartfelt and meaningful, conveying the characters' emotions and reflections effectively. It enhances the emotional depth of the scene and provides insight into the characters' inner thoughts and feelings.

Engagement: 9

This scene is engaging because of its sensory descriptions, character interactions, and the sense of mystery and intrigue surrounding the protagonist.

Pacing: 8

The pacing of the scene enhances its effectiveness by balancing introspective moments with external action, creating a dynamic and engaging rhythm.


Technical Aspect

Formatting: 8

The scene follows the expected format for its genre, with clear scene headings, descriptions, and dialogue formatting.

Structure: 8

The scene follows a non-linear structure with multiple locations and character interactions, contributing to the overall narrative flow and character development.


Critique
  • The scene effectively captures a moment of introspection for Russell, showcasing his emotional journey and the theme of rediscovery. However, the transition from Russell's solitary experience to the breakfast scene feels abrupt. The connection between these two moments could be strengthened to enhance the narrative flow.
  • The dialogue in the breakfast scene is functional but lacks emotional depth. While Anita's line about pancakes serves its purpose, it could be more impactful if it reflected the family's struggles or their shared history. This would create a stronger emotional resonance with the audience.
  • Elaine's action of playing a song for her children is a poignant moment, but the choice of song is left ambiguous. Specifying the song could add layers to the scene, as the lyrics or the mood of the song could reflect the family's dynamics or the themes of the film.
  • The visual imagery of the breakfast table is strong, but it could benefit from more sensory details. Describing the aroma of the food, the warmth of the kitchen, or the expressions on the characters' faces would create a more immersive experience for the audience.
  • The final image of the Rolling Stone magazines landing on the pavement serves as a symbolic conclusion, but it feels somewhat disconnected from the preceding scenes. A clearer thematic link between Russell's journey and the magazine's significance could enhance the impact of this moment.
Suggestions
  • Consider adding a brief moment of reflection for Russell as he walks, perhaps a memory or a thought that connects his past with his present. This could create a smoother transition to the breakfast scene.
  • Enhance the dialogue in the breakfast scene to include more personal anecdotes or shared experiences that highlight the family's dynamics, making the moment feel more authentic and relatable.
  • Choose a specific song for Elaine to play that resonates with the themes of the film or reflects the family's journey. This could deepen the emotional impact of the scene.
  • Incorporate more sensory details in the breakfast scene to create a vivid atmosphere. Describe the sounds of cooking, the warmth of the kitchen, and the characters' body language to draw the audience into the moment.
  • Strengthen the connection between Russell's journey and the arrival of the Rolling Stone magazines by including a line of dialogue or a visual cue that ties his character arc to the magazine's significance, reinforcing the theme of fame and its consequences.