SCENES
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Scene Map 60
# PG SLUGLINE
1 1
The Apartment
2 2
INT NINETEENTH FLOOR
3 4
INT THE APARTMENT EVENING
4 6
EXT BROWNSTONE HOUSE EVENING
5 7
EXT BROWNSTONE HOUSE EVENING
6 9
INT THE APARTMENT EVENING
7 11
INT SECOND FLOOR LANDING EVENING
8 13
INT THE APARTMENT EVENING
9 15
INT PHONE BOOTH IN A MANHATTAN BAR NIGHT
10 18
EXT BROWNSTONE HOUSE NIGHT
11 19
INT SECOND FLOOR LANDING NIGHT
12 21
INT LOBBY INSURANCE BUILDING DAY
13 22
INT ELEVATOR
14 24
INT NINETEENTH FLOOR DAY
15 25
INT DOBISCH'S OFFICE DAY
16 27
INT VANDERHOF'S OFFICE DAY
17 30
INT KIRKEBY'S OFFICE DAY
18 32
INT NINETEENTH FLOOR DAY
19 33
INT ELEVATOR DAY
20 34
INT TWENTY-SEVENTH FLOOR FOYER DAY
21 35
INT SHELDRAKE'S ANTEROOM DAY
22 40
INT SHELDRAKE'S ANTEROOM DAY
23 43
INT LOBBY INSURANCE BUILDING EVENING
24 46
EXT INSURANCE BUILDING EVENING
25 48
EXT DOWNTOWN STREET EVENING
26 52
INT CHINESE RESTAURANT EVENING
27 55
EXT MAJESTIC THEATRE EVENING
28 56
INT BAXTER'S OFFICE DAY
29 61
INT SWITCHBOARD ROOM DAY
30 67
INT BAXTER'S OFFICE DAY
31 71
INT CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES EVENING
32 74
INT BUD'S APARTMENT EVENING
33 79
INT CHEAP BAR - COLUMBUS AVENUE NIGHT
34 80
EXT BROWNSTONE HOUSE NIGHT
35 81
INT APARTMENT NIGHT
36 84
INT APARTMENT NIGHT
37 92
INT THE APARTMENT DAWN
38 95
INT STAIRCASE - BROWNSTONE HOUSE DAY
39 96
INT LIVING ROOM - SHELDRAKE HOUSE DAY
40 99
INT THE APARTMENT DAY
41 102
INT SECOND FLOOR LANDING DAY
42 103
INT THE APARTMENT DAY
43 113
EXT BROWNSTONE HOUSE DAY
44 115
INT SECOND FLOOR LANDING DAY
45 117
INT APARTMENT DAY
46 118
INT SHELDRAKE'S ANTEROOM DAY
47 120
INT THE APARTMENT DAY
48 122
INT SHELDRAKE'S ANTEROOM
49 123
EXT BROWNSTONE HOUSE DAY
50 129
INT LOBBY INSURANCE BUILDING DAY
51 132
INT THE APARTMENT EVENING
52 138
INT NINETEENTH FLOOR DAY
53 140
INT TWENTY-SEVENTH FLOOR FOYER DAY
54 142
INT ADJOINING OFFICE DAY
55 143
INT LOBBY INSURANCE BUILDING EVENING
56 146
INT SHELDRAKE'S OFFICE DAY
57 148
INT BUD'S NEW OFFICE DAY
58 149
INT THE APARTMENT NIGHT
59 151
INT CHINESE RESTAURANT NIGHT
60 153
EXT BROWNSTONE HOUSE NIGHT
INT EXT INT/EXT hover for full slug
Scene Map
60
# PG SLUGLINE
1 1
The Apartment
The Apartment
The Apartment by Billy Wilder & I.A.L. Diamond
2 2
INT NINETEENTH FLOOR
INT. NINETEENTH FLOOR
INT. NINETEENTH FLOOR Acres of gray steel desk, gray steel filing cabinets, and steel-gray faces under indirect light. One wall is lined with glass-enclosed cubicles for the supervisory personnel. It is all very neat, antiseptic, impersonal. The only human
3 4
INT THE APARTMENT EVENING
INT. THE APARTMENT - EVENING
INT. THE APARTMENT - EVENING What used to be the upstairs parlor of a one-family house in the early 1900's has been chopped up into living room, bedroom, bathroom and kitchen. The wallpaper is faded, the carpets are threadbare, and the upholstered furniture could
4 6
EXT BROWNSTONE HOUSE EVENING
EXT. BROWNSTONE HOUSE - EVENING
EXT. BROWNSTONE HOUSE - EVENING Bud is pacing back and forth, throwing an occasional glance at the lit windows of his apartment. A middle-aged woman with a dog on a leash approaches along the sidewalk. She is MRS. LIEBERMAN, the dog is a Scottie, and they are both
5 7
EXT BROWNSTONE HOUSE EVENING
EXT. BROWNSTONE HOUSE - EVENING
EXT. BROWNSTONE HOUSE - EVENING Bud, standing on the sidewalk, sees the front door start to open. He moves quickly into the areaway, almost bumping into the ashcans, stands in the shadow of the stoop with his back turned discreetly toward Kirkeby and Sylvia as they come down
6 9
INT THE APARTMENT EVENING
INT. THE APARTMENT - EVENING
INT. THE APARTMENT - EVENING Bud snaps on the lights, drops the mail and the key on a small table, looks around with distaste at the mess his visitors have left behind. He sniffs the stale air, crosses to the window, pulls up the shade, opens it wide.
7 11
INT SECOND FLOOR LANDING EVENING
INT. SECOND FLOOR LANDING - EVENING
INT. SECOND FLOOR LANDING - EVENING The door of Bud's apartment opens, and Bud comes out with the wastebasket full of empty bottles. Just then, DR. DAVID DREYFUSS, whose wife we met earlier, comes trudging up the stairs. He is a tall, heavy-set man of fifty, with a bushy
8 13
INT THE APARTMENT EVENING
INT. THE APARTMENT - EVENING
INT. THE APARTMENT - EVENING Bud, loosening his tie, goes into the kitchen, opens the oven, turns off the gas. He takes a coke out of the refrigerator, uncaps it, gets a knife and fork from a drawer, and using his handkerchief as a potholder, pulls the hot
9 15
INT PHONE BOOTH IN A MANHATTAN BAR NIGHT
INT. PHONE BOOTH IN A MANHATTAN BAR - NIGHT
INT. PHONE BOOTH IN A MANHATTAN BAR - NIGHT On the night is a hearty man of about forty-five, nothing gut personality, most of it obnoxious. His name is DOBISCH. Outside the booth is a blonde babe, slightly boozed, and beyond there is a suggestion of the packed, smoky joint.
10 18
EXT BROWNSTONE HOUSE NIGHT
EXT. BROWNSTONE HOUSE - NIGHT
EXT. BROWNSTONE HOUSE - NIGHT Bud comes out the door, in slippered feet, pants and raincoat over his pajamas. As he sleep-walks down the steps, a cab pulls up in front of the house. Bud ducks discreetly into the areaway.
11 19
INT SECOND FLOOR LANDING NIGHT
INT. SECOND FLOOR LANDING - NIGHT
INT. SECOND FLOOR LANDING - NIGHT The blonde and Dobisch, his hands full of stingers, come up to Bud's door. DOBISCH Get the key, will you.
12 21
INT LOBBY INSURANCE BUILDING DAY
INT. LOBBY INSURANCE BUILDING - DAY
INT. LOBBY INSURANCE BUILDING - DAY It's a quarter to nine of a gray November morning, and work- bound employees are piling in through the doors. Among them is Bud, bundled up in a raincoat, hat, heavy muffler and wool gloves, and carrying a box of Kleenex. He coughs, pulls out
13 22
INT ELEVATOR
INT. ELEVATOR
INT. ELEVATOR Bud is standing right next to Fran as the packed express shoots up. BUD (studying her)
14 24
INT NINETEENTH FLOOR DAY
INT. NINETEENTH FLOOR - DAY
INT. NINETEENTH FLOOR - DAY Kirkeby turns away from the elevator, and grinning smugly, falls in beside Bud. KIRKEBY That Kubelik -- boy! Would I like
15 25
INT DOBISCH'S OFFICE DAY
INT. DOBISCH'S OFFICE - DAY
INT. DOBISCH'S OFFICE - DAY It is a glass-enclosed cubicle on the twenty-first floor. Through the glass we see another enormous layout of desks, everybody working away. Dobisch is holding the phone in one hand, running an electric shaver over his face with the
16 27
INT VANDERHOF'S OFFICE DAY
INT. VANDERHOF'S OFFICE - DAY
INT. VANDERHOF'S OFFICE - DAY This is another glass-enclosed cubicle on another floor. MR. VANDERHOF, a Junior Chamber of Commerce type, is dictating to an elderly secretary who sits across the desk from him. (CONTINUED)
17 30
INT KIRKEBY'S OFFICE DAY
INT. KIRKEBY'S OFFICE - DAY
INT. KIRKEBY'S OFFICE - DAY It's another of those glass-enclosed cubicles, on the nineteenth floor. Kirkeby is talking into a dictaphone. KIRKEBY Premium-wise and billing-wise, we
18 32
INT NINETEENTH FLOOR DAY
INT. NINETEENTH FLOOR - DAY
INT. NINETEENTH FLOOR - DAY Bud, at his desk, is on the phone. BUD Thank you, Mr. Kirkeby. (hangs up, consults
19 33
INT ELEVATOR DAY
INT. ELEVATOR - DAY
INT. ELEVATOR - DAY Fran presses a button, and the elevator starts up. FRAN Twenty-seven. BUD
20 34
INT TWENTY-SEVENTH FLOOR FOYER DAY
INT. TWENTY-SEVENTH FLOOR FOYER - DAY
INT. TWENTY-SEVENTH FLOOR FOYER - DAY It is pretty plush up here -- soft carpeting and tall mahogany doors leading to the executive offices. The elevator door is open, and Bud steps out. FRAN
21 35
INT SHELDRAKE'S ANTEROOM DAY
INT. SHELDRAKE'S ANTEROOM - DAY
INT. SHELDRAKE'S ANTEROOM - DAY It is a sedate office with a secretary and a couple of typists. The secretary's name is MISS OLSEN. She is in her thirties, flaxen- haired, handsome, wears harlequin glasses, and has an incisive manner. Bud comes up to her desk.
22 40
INT SHELDRAKE'S ANTEROOM DAY
INT. SHELDRAKE'S ANTEROOM - DAY
INT. SHELDRAKE'S ANTEROOM - DAY Miss Olsen is on the phone. MISS OLSEN Mrs. Sheldrake returning your call - - on two --
23 43
INT LOBBY INSURANCE BUILDING EVENING
INT. LOBBY INSURANCE BUILDING - EVENING
INT. LOBBY INSURANCE BUILDING - EVENING It is about 6:30, and the building has pretty well emptied out by now. Bud, in raincoat and hat, is leaning against one of the marble pillars beyond the elevators. His raincoat is unbuttoned, and Fran's carnation is still in his lapel. He is
24 46
EXT INSURANCE BUILDING EVENING
EXT. INSURANCE BUILDING - EVENING
EXT. INSURANCE BUILDING - EVENING Fran and Bud come out. BUD (putting his hat on) Well, it was just an idea -- I hate
25 48
EXT DOWNTOWN STREET EVENING
EXT. DOWNTOWN STREET - EVENING
EXT. DOWNTOWN STREET - EVENING Fran comes hurrying along the street. She is late. Her objective is a small Chinese restaurant, with a neon sign reading THE RICKSHAW - COCKTAILS - CANTONESE FOOD. She starts down a flight of steps leading to the entrance.
26 52
INT CHINESE RESTAURANT EVENING
INT. CHINESE RESTAURANT - EVENING
INT. CHINESE RESTAURANT - EVENING Fran and Sheldrake, in the booth, are working on the second round of drinks. SHELDRAKE Fran -- remember that last weekend
27 55
EXT MAJESTIC THEATRE EVENING
EXT. MAJESTIC THEATRE - EVENING
EXT. MAJESTIC THEATRE - EVENING It's 9 o'clock, the lobby is deserted, and standing on the sidewalk all by himself, is Bud. He takes a Kleenex out of his pocket, blows his nose, stuffs the used Kleenex in another pocket. He looks up and down the street, consults his
28 56
INT BAXTER'S OFFICE DAY
INT. BAXTER'S OFFICE - DAY
INT. BAXTER'S OFFICE - DAY Bud enters his new office, deposits his stuff on the bare desk, looks around possessively. The small cubicle boasts one window, carpeting on the floor, a filing cabinet, a couple of synthetic-leather chairs, and a clothes-tree -- to Bud, it is
29 61
INT SWITCHBOARD ROOM DAY
INT. SWITCHBOARD ROOM - DAY
INT. SWITCHBOARD ROOM - DAY Perched on top of the switchboard is a small decorated Christmas tree, and the operators are dispensing holiday greetings to all callers. OPERATORS
30 67
INT BAXTER'S OFFICE DAY
INT. BAXTER'S OFFICE - DAY
INT. BAXTER'S OFFICE - DAY Bud ushers Fran in, and is confronted by a strange couple necking in the corner. He gestures them out, crosses to his desk. BUD
31 71
INT CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES EVENING
INT. CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES - EVENING
INT. CHEAP BAR - COLUMBUS AVENUE IN THE SIXTIES - EVENING It is six o'clock, and the joint is crowded with customers having one for the road before joining their families for Christmas Eve. There are men with gaily wrapped packages, small trussed-up Christmas trees, a plucked turkey in a
32 74
INT BUD'S APARTMENT EVENING
INT. BUD'S APARTMENT - EVENING
INT. BUD'S APARTMENT - EVENING The living room is dark, except for a shaft of light from the kitchen, and the glow of the colored bulbs on a small Christmas tree in front of the phony fireplace. Hunched up in one corner of the couch is Fran, still in her coat and
33 79
INT CHEAP BAR - COLUMBUS AVENUE NIGHT
INT. CHEAP BAR - COLUMBUS AVENUE - NIGHT
INT. CHEAP BAR - COLUMBUS AVENUE - NIGHT The joint is deserted now except for the Santa Claus, who is leaning against the bar, quite loaded, and Bud and Margie MacDougall, who are dancing to a slow blues coming from the juke box. Bud is still in his overcoat and bowler, and Margie
34 80
EXT BROWNSTONE HOUSE NIGHT
EXT. BROWNSTONE HOUSE - NIGHT
EXT. BROWNSTONE HOUSE - NIGHT Bud and Margie come walking down the street. As they reach the house, Bud starts up the steps, but Margie continues along the sidewalk. MARGIE
35 81
INT APARTMENT NIGHT
INT. APARTMENT - NIGHT
INT. APARTMENT - NIGHT It is exactly the way we left it. There is no sign of Fran, except for the gloves she dropped on the coffee table earlier. Bud switches on the light, shuts the door. MARGIE
36 84
INT APARTMENT NIGHT
INT. APARTMENT - NIGHT
INT. APARTMENT - NIGHT Margie has settled herself comfortably on the couch, and is fixing the drinks. The cha cha music is still going. Bud comes flying in, heads for the bedroom. MARGIE
37 92
INT THE APARTMENT DAWN
INT. THE APARTMENT - DAWN
INT. THE APARTMENT - DAWN Through the bedroom window comes the first faint light of dawn. Fran has been put to bed by an exhausted Dr. Dreyfuss. She is in her slip, and Dreyfuss is just drawing the blanket over her. Her eyes are closed, and she is moaning fitfully.
38 95
INT STAIRCASE - BROWNSTONE HOUSE DAY
INT. STAIRCASE - BROWNSTONE HOUSE - DAY
INT. STAIRCASE - BROWNSTONE HOUSE - DAY Mrs. Lieberman, followed by her dog, is climbing the stairs to Bud's apartment, puffing asthmatically. She seems quite angry as she arrives at the door and rings the bell. There is no answer. She starts knocking impatiently.
39 96
INT LIVING ROOM - SHELDRAKE HOUSE DAY
INT. LIVING ROOM - SHELDRAKE HOUSE - DAY
INT. LIVING ROOM - SHELDRAKE HOUSE - DAY The decor is split-level Early American. There is a huge Christmas tree and a jumble of presents, open gift boxes, and discarded wrappings. Sheldrake and his two sons, TOMMY and JEFF JR., are squatting on the floor, testing a Cape
40 99
INT THE APARTMENT DAY
INT. THE APARTMENT - DAY
INT. THE APARTMENT - DAY BUD (into phone) Yes, sir -- I understand. (taking Fran's letter out
41 102
INT SECOND FLOOR LANDING DAY
INT. SECOND FLOOR LANDING - DAY
INT. SECOND FLOOR LANDING - DAY Bud comes out of his apartment, leaving the door half open, heads for the Dreyfuss apartment. He rings the bell, peers down over the banister to make sure Mrs. Lieberman isn't snooping around. Mrs. Dreyfuss opens the door.
42 103
INT THE APARTMENT DAY
INT. THE APARTMENT - DAY
INT. THE APARTMENT - DAY Fran enters shakily from the bedroom, looks around for the phone, locates it, picks it up. As she starts dialing, Bud comes in from the hall. BUD
43 113
EXT BROWNSTONE HOUSE DAY
EXT. BROWNSTONE HOUSE - DAY
EXT. BROWNSTONE HOUSE - DAY A Volkswagen draws up to the curb in front of the house. Kirkeby gets out on the street side, Sylvia squeezes herself out through the other door. Kirkeby raises the front hood of the Volkswagen, reaches into the luggage compartment, takes
44 115
INT SECOND FLOOR LANDING DAY
INT. SECOND FLOOR LANDING - DAY
INT. SECOND FLOOR LANDING - DAY Outside the door of Bud's apartment, Sylvia is cha cha-ing impatiently. Up the stairs comes Dr. Dreyfuss, in his overcoat and carrying his medical bag. SYLVIA
45 117
INT APARTMENT DAY
INT. APARTMENT - DAY
INT. APARTMENT - DAY Bud comes into the bedroom. As he heads for the bathroom, Fran stirs slightly, opens her eyes. FRAN Who was that?
46 118
INT SHELDRAKE'S ANTEROOM DAY
INT. SHELDRAKE'S ANTEROOM - DAY
INT. SHELDRAKE'S ANTEROOM - DAY It is the morning after Christmas, and Miss Olsen and the other girls are just settling down to work. Sheldrake, in hat and coat, approaches from the elevators, comes through the glass doors.
47 120
INT THE APARTMENT DAY
INT. THE APARTMENT - DAY
INT. THE APARTMENT - DAY Bud, wearing slacks, a shirt open at the neck, and a cardigan sweater, is at the phone. A pillow and a blanket on the living room couch indicate where he spent the night. BUD
48 122
INT SHELDRAKE'S ANTEROOM
INT. SHELDRAKE'S ANTEROOM
INT. SHELDRAKE'S ANTEROOM Miss Olsen, glued to the phone, is listening intently. SHELDRAKE - ON PHONE SHELDRAKE Are you there, Fran?
49 123
EXT BROWNSTONE HOUSE DAY
EXT. BROWNSTONE HOUSE - DAY
EXT. BROWNSTONE HOUSE - DAY Bud comes down the street, carrying a large brown paper bag overflowing with groceries. He goes up the steps of the house and through the front door. INT. STAIRCASE AND SECOND FLOOR LANDING - DAY
50 129
INT LOBBY INSURANCE BUILDING DAY
INT. LOBBY INSURANCE BUILDING - DAY
INT. LOBBY INSURANCE BUILDING - DAY It is mid-afternoon, and traffic is light. A Yellow Cab has pulled up in front of the entrance, and the driver, a stockily-built young man in a leather jacket and cap, gets out and comes through the revolving doors into the lobby. His
51 132
INT THE APARTMENT EVENING
INT. THE APARTMENT - EVENING
INT. THE APARTMENT - EVENING Buddy-boy is bending over a hot stove, preparing an Italian dinner. He takes a saucepan of spaghetti off the fire, and picking up the tennis racquet with the other hand, pours the spaghetti on top of the racquet strings. Then he turns on the
52 138
INT NINETEENTH FLOOR DAY
INT. NINETEENTH FLOOR - DAY
INT. NINETEENTH FLOOR - DAY Bud is coming from the elevators toward his office. He is wearing his chesterfield, bowler, and a pair of dark glasses. He opens the office door, starts in. INT. BUD'S OFFICE - DAY
53 140
INT TWENTY-SEVENTH FLOOR FOYER DAY
INT. TWENTY-SEVENTH FLOOR FOYER - DAY
INT. TWENTY-SEVENTH FLOOR FOYER - DAY The elevator doors open. ELEVATOR OPERATOR Twenty-seven. Bud steps out. As he heads for Sheldrake's office, he
54 142
INT ADJOINING OFFICE DAY
INT. ADJOINING OFFICE - DAY
INT. ADJOINING OFFICE - DAY It is a slightly smaller and less lavish edition of Sheldrake s office. Sheldrake ushers Bud through the door, points to the chair behind the desk. SHELDRAKE
55 143
INT LOBBY INSURANCE BUILDING EVENING
INT. LOBBY INSURANCE BUILDING - EVENING
INT. LOBBY INSURANCE BUILDING - EVENING We are close on the building directory. Listed under PERSONNEL is J.D. SHELDRAKE, Director, and just below that a man's hand is inserting the name C.C. BAXTER in the slot marked Asst. Director. The lettering is complete except for
56 146
INT SHELDRAKE'S OFFICE DAY
INT. SHELDRAKE'S OFFICE - DAY
INT. SHELDRAKE'S OFFICE - DAY Sheldrake is swiveled around sideways behind his desk, with a bootblack kneeling in front of him, shining his shoes. Reaching for the intercom, Sheldrake presses down one of the levers.
57 148
INT BUD'S NEW OFFICE DAY
INT. BUD'S NEW OFFICE - DAY
INT. BUD'S NEW OFFICE - DAY Bud comes in, shutting the door behind him, stands rooted to the spot for a moment. Then he takes some pencils out of his breast pocket and drops them into a container on the desk, closes his account book, slams a couple of open file drawers
58 149
INT THE APARTMENT NIGHT
INT. THE APARTMENT - NIGHT
INT. THE APARTMENT - NIGHT Bud is in the process of packing. In the middle of the living room are several large cardboard cartons filled with his possessions. The art posters are off the walls, the bric-a- brac has been removed from the shelves, and Bud is stowing
59 151
INT CHINESE RESTAURANT NIGHT
INT. CHINESE RESTAURANT - NIGHT
INT. CHINESE RESTAURANT - NIGHT It is five minutes before midnight, New Year's Eve. Sitting alone in the last booth is Fran, a paper hat on her head, a pensive look on her face. There are two champagne glasses on the table, and the usual noisemakers, but the chair opposite
60 153
EXT BROWNSTONE HOUSE NIGHT
EXT. BROWNSTONE HOUSE - NIGHT
EXT. BROWNSTONE HOUSE - NIGHT Fran, a coat thrown over the dress she was wearing at the Rickshaw, comes down the street almost at a run. There is a happy, expectant look on her face. She hurries up the steps of the house and through the front door.
INT EXT INT/EXT tap to expand
Take the Tour
Take the Tour

The apartment

An ambitious but lonely office worker climbs the corporate ladder by lending out his apartment to executives for their extramarital affairs, until he falls for one of the women involved.

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Overview

Poster
Unique Selling Point

The screenplay's unique selling proposition lies in its ability to balance biting corporate satire with genuine human emotion, creating a story that is both hilarious and heartbreaking. Its exploration of moral compromise in the workplace feels remarkably contemporary, while the central romance develops with uncommon authenticity. The film's distinctive voice-over technique and seamless integration of comedy and drama set it apart from conventional romantic comedies.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Highly Recommend
Gemini
 Recommend
Grok
 Highly Recommend
Claude
 Recommend
DeepSeek
 Highly Recommend
Average Score: 9.2
Key Takeaways
For the Writer:
The script is structurally sound and emotionally rich, but the single biggest craft fix is to deepen Fran’s interiority and agency. Right now key dramatic turns (the overdose, the reconciliation, her choices about Sheldrake) are seen mostly through Bud’s reactions. Give Fran active beats that reveal motive, backstory and desire — private moments, decisions that propel the plot, and scenes where she drives the action rather than being a prize or catalyst. While you’re at it, tighten a few middle-act detours so the overdose and moral crisis land with maximal force and the tonal shifts feel earned.
For Executives:
This is a high-value, near-classic property: commercial, awards-friendly, and durable because it balances comedy, satire and real drama. The main risk for contemporary release is perception: Fran’s underwritten agency and some period attitudes could read as dated and expose the project to criticism. A focused rewrite (strengthen Fran’s arc, streamline middle-act pacing, and emphasize the ethical stakes of the apartment/key scheme) will preserve the film’s strengths while reducing PR and audience risks — increasing appeal to modern distributors and awards voters without losing the original tone.
See Details in P/C/R/HR Section
Story Facts
Genres:
Comedy 40% Drama 60% Romance 30%

Setting: 1959, New York City, primarily in a brownstone apartment and corporate office buildings

Themes: Integrity vs. Ambition, Loneliness and Connection, Exploitation and Power Dynamics, Infidelity and Moral Compromise, Redemption and Empathy

Conflict & Stakes: Bud's struggle to navigate his feelings for Fran while dealing with Sheldrake's manipulative behavior and the consequences of their affair, with personal and professional stakes at risk.

Mood: Bittersweet and comedic, with moments of tension and romance.

Standout Features:

  • Unique Hook: The use of an apartment as a central plot device for romantic entanglements and corporate manipulation.
  • Character Dynamics: The complex relationships between Bud, Fran, and Sheldrake create a rich narrative filled with tension and humor.
  • Setting: The 1950s New York City backdrop adds a nostalgic charm and enhances the story's themes of ambition and romance.
  • Humor and Heart: The screenplay balances comedic elements with serious themes, making it both entertaining and thought-provoking.

Comparable Scripts: The Apartment (1960), The Graduate (1967), Mad Men (TV Series, 2007-2015), The Secret Life of Walter Mitty (2013), The Odd Couple (Play/Film, 1965), The 40-Year-Old Virgin (2005), The Pursuit of Happyness (2006), The Office (US, TV Series, 2005-2013), The Great Gatsby (Novel, 1925)

Script Level Analysis

Writer Exec

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

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.69
Key Suggestions:
Focus your revision on deepening secondary characters (especially Sheldrake) and tightening repetitive apartment sequences. Give antagonists internal conflicts and small vulnerable moments so their demands on Bud feel earned, and cut or compress recurring ‘apartment-for-access’ beats so pacing and stakes rise steadily toward Fran’s crisis and Bud’s transformation. Also lighten explicit exposition—show through action, props, and silence rather than telling—to preserve the script’s emotional authenticity.
> Go to Screenplay Insights
Story Critique

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

Key Suggestions:
The script's core—Bud's lonely, principled soul set against a predatory corporate microcosm—is strong and emotionally resonant. To lift the whole piece, tighten the opening exposition, then slow and deepen the middle so we can feel the cumulative cost of Bud's compromises: show his inner deterioration, add scenes that reveal Fran's backstory and motives, and give Sheldrake a more textured moral life. Recalibrate pacing after the promotion so the stakes land organically, and treat Fran's suicidal moment with more psychological nuance and aftermath to avoid melodrama and preserve empathy.
> Go to Story Critique
Characters

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

Key Suggestions:
The script's emotional core—Bud's journey from a lonely, people-pleasing everyman to someone who chooses integrity and love—is strong and resonant. To make that payoff unavoidable, tighten the build: seed Bud's internal conflict earlier and more visibly (small hesitations, a brief Cincinnati flash/memory, or a private rule he breaks), lean into his statistical voice as a revealing tic rather than only a gag, and give Fran slightly more agency in the middle beats so her collapse and recovery feel earned rather than abrupt. Also consider softening Sheldrake's one-note villainy with a moment of ambiguity or private regret so the antagonist feels more human and the stakes of Bud's stand become sharper.
> Go to Characters
Emotional Analysis

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

Key Suggestions:
The script's emotional backbone is strong—Bud's vulnerability and the tonal shift from workplace comedy to personal drama work—but pacing and character empathy need tightening. Focus on modulating intensity around the suicide sequence (give the audience brief relief moments to process), deepen Fran's inner life so her choices feel motivated and maintain audience sympathy, and make Sheldrake's manipulation/its consequences hit harder (show Bud's internal conflict when he hands over the key). Small added beats—one or two quiet, warm scenes before the dramatic turn and a slightly longer, lingering final moment—will make the emotional arc feel earned and more satisfying.
> Go to Emotional Analysis
Goals and Philosophical Conflict

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

Key Suggestions:
The analysis shows Bud’s arc is strong: he moves from passive conformity to choosing love and integrity. To improve the script, tighten the cause-and-effect showing how each compromise accumulates and raises the emotional cost of staying compliant. Make Bud’s decisive break feel earned by heightening earlier moral decisions, clarifying the moments he says “yes” under pressure, and adding one or two concrete scenes where giving in costs him something meaningful (reputation, trust, a clear opportunity). Also consider expanding Fran’s agency so the final commitment reads as mutual, not simply Bud’s rescue.
> Go to Goals and Philosophical Conflict
Themes

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

Key Suggestions:
The script’s emotional core—Bud’s choice to choose integrity and real connection over corporate compromise—is strong but not always earned on-screen. Tighten the arc so each escalation of exploitation (the apartment key, the executives’ favors, Sheldrake’s manipulation) forces a visible, consequential choice from Bud. Trim repetitive beat scenes that undercut momentum, and deepen Fran’s agency so the romance feels mutual rather than salvific. Use recurring concrete motifs (the key, the calendar, the bowler hat) to show internal change rather than tell it; sharpen dialogue to reveal character costs, not just comic texture.
> Go to Themes
Logic & Inconsistencies

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

Key Suggestions:
The script has a strong emotional core and likable central characters, but two structural weaknesses threaten audience buy‑in: Bud's late, abrupt assertiveness feels unearned, and Fran's suicide attempt depends on an improbable coincidence. Fix these by seeding Bud's turning point earlier (small acts of agency, escalating moral friction with Sheldrake, and clearer internal stakes) and by reworking the overdose scene so its discovery and motivation are believable (either by shifting timing, adding connecting beats that bring Bud back, or having another plausible discoverer). Also trim redundant key-exchange scenes and reduce expository voice-over so emotional moments land organically.
> Go to Logic & Inconsistencies

Scene Analysis

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

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

Other Analyses

Writer Exec

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

Unique Voice

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

Key Suggestions:
Your script’s voice — wry, observant, and quietly compassionate — is a major asset. Preserve the crisp, dialogue-driven humor and the mix of irony with genuine feeling, but tighten the storytelling so that the emotional through-line (Bud’s growth from passive “nebbish” to someone who claims his life) registers more clearly. Trim or consolidate episodic beats that mainly repeat the same character dynamics, cut back on explanatory voice-over where scenes can show the same information, and deepen a few intimate moments (especially around Fran) so the audience experiences the transformation rather than being told about it.
> Go to Unique Voice
Writer's Craft

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

Key Suggestions:
Your script already excels at scene-by-scene construction, comic timing, and creating vivid workplace microcosms. To raise it from very good to memorable, focus on enriching the subtext of your dialogue and deepening characters' moral complexity. Rework key scenes so conversations carry hidden agendas, contradictory desires, and internal stakes; escalate conflicts incrementally so emotional moments land with greater force. Use the suggested exercises (especially 'Dialogue with Conflicting Motivations' and 'Moral Dilemma Scene') and study the recommended Wilder/Diamond screenplays to learn how to marry humor with genuine pathos without undercutting either.
> Go to Writer's Craft
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
> Go to Memorable Lines
Tropes
Highlights common or genre-specific tropes found in the script.
> Go to Tropes
World Building

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

Key Suggestions:
The screenplay has a richly drawn period world and a humane central character, but it drifts into episodic detail and repetitive set pieces (parties, bars, apartment visitors) that dilute dramatic momentum and the emotional stakes. Focus the script by sharpening Bud and Fran's agency: consolidate scenes that repeat the same beats, make Bud's moral/strategic choices more active and consequential earlier, and tighten the throughline that connects his promotion, the apartment-key compromises, and Fran's crisis. Use the physical world (office hierarchy, cramped apartment, elevator interactions) to reveal character choices visually rather than by exposition.
> Go to World Building
Correlations

Identifies patterns in scene scores.

Key Suggestions:
To enhance the script's emotional resonance and engagement, consider intensifying the conflict and emotional stakes in the early scenes. While the dialogue and character development are strong, the initial lack of emotional impact may hinder audience connection. Balancing humor with deeper emotional moments will create a more compelling narrative arc and keep viewers invested throughout.
> Go to Correlations
Loglines
Presents logline variations based on theme, genre, and hook.
> Go to Loglines