Pinocchio

Executive Summary

Poster
Overview

Genres: Drama, Fantasy, Adventure, Musical, War, Historical, Comedy, Family, Horror, Tragedy, Dark Comedy

Setting: Early 20th century, specifically around the years of World War I and the rise of fascism in Italy., A fictional Italian village, including Geppetto's workshop, a church, a carnival, and various outdoor settings like hills and forests.

Overview: The story begins with Geppetto, an elderly woodcarver, mourning the loss of his son Carlo, who died in the Great War. In his grief, he creates a puppet named Pinocchio, wishing for it to come to life. Pinocchio awakens with childlike curiosity and a desire for acceptance, leading him on a journey filled with adventures and misadventures. As he navigates the complexities of life, he encounters various characters, including the manipulative Count Volpe, who seeks to exploit Pinocchio's uniqueness. The narrative explores themes of love, loss, and the quest for identity, culminating in Pinocchio's realization of the importance of sacrifice and connection. The story concludes with a poignant reunion between Pinocchio and Geppetto, emphasizing the transformative power of love.

Themes: The Transformative Power of Love and Connection, The Nature of Reality and Humanity, Loss, Grief, and the Aftermath of Trauma, The Corrupting Influence of Power and Ideology, Ambition, Greed, and Selfishness vs. Sacrifice and Redemption, The Role of Fate and Free Will, The Burden of Fatherhood and Parental Responsibility, The Meaning of Obedience and Disobedience

Conflict and Stakes: Geppetto's struggle with grief and the desire to reconnect with his lost son through Pinocchio, alongside Pinocchio's journey to understand his identity and the consequences of his actions in a world influenced by war and fascism.

Overall Mood: Bittersweet and whimsical, with moments of humor, tragedy, and hope.

Mood/Tone at Key Scenes:

  • Scene 1: Melancholic and sorrowful as Geppetto mourns the loss of Carlo, setting the emotional tone for the story.
  • Scene 4: Tense and tragic during the bombing scene, highlighting the impact of war on personal lives.
  • Scene 18: Joyful and lively during Pinocchio's performance, showcasing his newfound fame and the excitement of the carnival.
  • Scene 36: Suspenseful and frantic as the characters attempt to escape the Dogfish, blending fear with moments of humor.
  • Scene 40: Uplifting and triumphant as Pinocchio is revived, emphasizing themes of love and acceptance.

Standout Features:

  • Unique Hook: The story reimagines the classic tale of Pinocchio with a darker, more complex narrative that explores themes of loss and identity.
  • Major Twist: Pinocchio's journey includes multiple deaths and resurrections, emphasizing the consequences of his actions and the nature of mortality.
  • Distinctive Setting: The backdrop of a war-torn Italy during the rise of fascism adds a unique historical context to the story.
  • Innovative Ideas: The use of a cricket as a narrator and moral guide provides a fresh perspective on the classic tale.
  • Unique Characters: The characters, such as Count Volpe and Spazzatura, offer depth and complexity, enhancing the narrative.

Comparable Scripts:

  • The Adventures of Pinocchio by Carlo Collodi
  • Life is Beautiful (La vita è bella)
  • The Iron Giant
  • Big Fish
  • The Boy Who Lived (Harry Potter series)
  • A Monster Calls
  • Coco
  • Frankenstein by Mary Shelley
  • The Little Prince by Antoine de Saint-Exupéry

Writing Style:

The screenplay exhibits a distinctive blend of dark fantasy, emotional depth, and intricate character development. It frequently explores themes of morality, identity, transformation, and the complexities of human relationships, often within richly imagined and atmospheric settings. There's a consistent thread of weaving fantastical elements with poignant human drama, creating narratives that are both visually evocative and emotionally resonant. The dialogue often carries significant weight, exploring philosophical undertones and complex emotional landscapes.

Style Similarities:

  • Guillermo del Toro
  • Guillermo Arriaga
  • Neil Gaiman
Other Similarities
Pass/Consider/Recommend


Explanation:


USP: This screenplay's unique selling proposition lies in its sophisticated thematic fusion of the classic fairy tale with historical realism and profound philosophical questions about mortality. Unlike traditional adaptations, it positions Pinocchio's immortality as a curse rather than a blessing, exploring the preciousness of finite life through the lens of grief and fascist ideology. The setting in Mussolini's Italy provides a powerful political backdrop that elevates the story beyond simple fantasy into meaningful social commentary, while maintaining the magical elements that make the original compelling.
Market Analysis

Budget Estimate:$30-50 million

Target Audience Demographics: Families, children, and adults who enjoy animated features, fairy tales, and stories with moral lessons.

Marketability: The story combines classic fairy tale elements with modern themes, appealing to both nostalgic adults and new generations, making it highly marketable.

The unique blend of humor, adventure, and emotional depth can attract a diverse audience, enhancing its box office potential.

The film's exploration of relevant social themes, such as the impact of war and the importance of family, resonates with contemporary audiences.

Profit Potential: Moderate to high, as the film can attract family audiences and has potential for merchandise and adaptations, especially if it garners positive reviews and awards.

Analysis Criteria Percentiles
Writer's Voice

Summary:The writer's voice throughout the screenplay is a captivating blend of whimsy, profound emotional depth, and a touch of darkness, masterfully woven through poignant dialogue, evocative narrative descriptions, and deliberate scene direction. The dialogue often juxtaposes childlike innocence and playful banter with underlying themes of loss, fear, and existential questioning. Narrative descriptions are rich in sensory detail, painting vivid emotional landscapes and highlighting the internal turmoil of characters. Scene direction skillfully manipulates mood, shifting seamlessly from heartwarming intimacy to ominous tension, and from fantastical wonder to stark reality. This consistent stylistic approach creates a unique tone that is both magical and grounded, capable of evoking laughter, tears, and introspection.

Best representation: Scene 5 - The Birth of Pinocchio. Scene 5 best showcases the author's unique voice due to its powerful juxtaposition of profound grief with burgeoning magical realism. The scene opens with Geppetto's raw, almost violent, expression of sorrow through chopping down the tree, a visceral manifestation of his unresolved pain. This is immediately followed by the introduction of Sebastian J. Cricket, a character that injects the narrative with a touch of the fantastical and literary. The descriptive language used to portray the storm and the falling tree, coupled with the somber mood and Geppetto's introspective struggle, perfectly encapsulates the writer's ability to blend emotional realism with the extraordinary, setting the stage for Pinocchio's fantastical journey while grounding it in deep human emotion.

Memorable Lines:

  • Pinocchio: I’m made of flesh and bone and meaty bits!! I’m a real boy! (Scene 10)
  • Candlewick: No! I will not let you do this! All my life, Father...just trying to please you. But I never will. You were right: I’m thin and weak- and flimsy-- just like the wick of a candle. Always afraid. But even then- with all the fear I feel- I can say “no” to you. I can do that. I’m not afraid to say no. Are you? (Scene 33)
  • GEPPETTO: My Son... My son... You are my shining Sun. My moon. My stars. My clear blue daylight sky. (Scene 2)
  • Count Volpe: You may have NO strings- but I control you. You obey me. Capiche? (Scene 28)
  • GEPPETTO: Guess what I saw! (Scene 1)
Characters

Geppetto:An elderly woodcarver grieving the loss of his son Carlo, who creates Pinocchio in hopes of filling the void in his life.

Pinocchio:A wooden puppet brought to life, who embarks on a journey of self-discovery, innocence, and the struggle between obedience and freedom.

Sebastian J. Cricket:A wise and observant cricket who serves as Pinocchio's conscience and narrator, guiding him through moral dilemmas.

Count Volpe:A cunning and manipulative puppeteer who seeks to exploit Pinocchio's fame for his own gain.

Spazzatura:Count Volpe's jealous assistant, who experiences a change of heart and ultimately helps Pinocchio.

Candlewick:A boy from the youth camp who befriends Pinocchio but is influenced by the militaristic environment around them.

The Wood Sprite:A mystical figure who grants Pinocchio life and represents the themes of mortality and sacrifice.

Story Shape
Summary

Summary of "Pinocchio" Screenplay

In this emotionally charged reimagining of the classic tale, the story begins with Geppetto mourning his son Carlo, lost in the devastation of war. The screenplay juxtaposes poignant memories of Carlo's joyful childhood with scenes of Geppetto's enduring grief. Flashbacks reveal warm moments shared between father and son, from bedtime stories to playful afternoons in their workshop.

After years of sorrow, Geppetto's grief drives him to create a puppet, Pinocchio, during a drunken stupor. A magical encounter with a Wood Sprite brings the puppet to life, who introduces chaos into Geppetto's life. As Pinocchio innocently explores the world, tensions rise in their small town amidst a fascist regime. Pinocchio's playful nature leads him to trouble, resulting in a series of misunderstandings that compound Geppetto's struggles as he defends his son against societal ire.

The narrative shifts between Pinocchio's whimsical adventures and Geppetto's desperate search for him after Pinocchio is lured away by Carnival owner Count Volpe. As Pinocchio becomes swept up in fame, he grapples with his identity and his father’s love, leading to emotional conflicts.

The story escalates as Pinocchio faces the harsh realities of war when he is coerced into joining a military camp, highlighting themes of loyalty, courage, and the loss of innocence. In a dramatic turn, Pinocchio confronts Count Volpe, leading to a dangerous encounter with a monstrous Dogfish. After a harrowing journey within the beast, Pinocchio selflessly sacrifices himself to save Geppetto.

In the climactic moments, Pinocchio's bravery leads to his revival, solidifying his bond with Geppetto. Their reunion symbolizes healing, love, and hope. The story concludes with Pinocchio mourning the eventual passing of his loved ones, reflecting on the cycle of life, grief, and acceptance as he continues to navigate the complexities of existence.

Through its blend of fantasy and poignant reality, this rendition of "Pinocchio" elegantly explores themes of love, loss, and redemption, resonating with the universal struggles of the human experience.




Screenplay Story Analysis

Story Critique The narrative arc, while tragic, is deeply resonant, establishing a powerful emotional core through Geppetto's grief and the subsequent creation of Pinocchio. The exploration of themes like loss, fatherhood, and the burden of creation is masterfully handled. The introduction of fascist Italy provides a compelling historical backdrop that adds layers of complexity and danger to Pinocchio's journey. The episodic nature of Pinocchio's adventures allows for a rich tapestry of character development and thematic exploration. The integration of Cricket as a narrator and observer adds a unique perspective. The pacing generally serves the story well, building emotional stakes and escalating the fantastical elements organically. The ending, while poignant, offers a sense of closure and philosophical reflection. The story successfully blends profound emotional depth with fantastical adventure.
Suggestions:
  • Consider further developing the motivations and backstories of supporting characters like Spazzatura and Candlewick to add more depth to their roles.
  • Explore the symbolic meaning of the Dogfish and its role in Pinocchio's journey in more detail.
  • Potentially foreshadow or allude to Pinocchio's inherent goodness or capacity for self-sacrifice earlier in the narrative to make his eventual heroic acts more anticipated.
  • While the fascist setting is impactful, ensure its integration feels organic to Pinocchio's personal journey and doesn't overshadow the core emotional themes.
  • The ending offers a sense of peace, but perhaps a subtle hint towards future challenges or the continued exploration of Pinocchio's unique existence could provide a more lasting impression.

Note: This is the overall critique. For scene by scene critique click here
Beginning The opening effectively establishes Geppetto's profound grief and the tragic loss of his son, Carlo. This immediately grounds the narrative in emotional reality and provides a compelling reason for Geppetto's subsequent actions. The flashback to Carlo's childhood is heartwarming and effectively showcases their close bond, making the impending tragedy more impactful. The introduction of Sebastian J. Cricket as a narrator is a classic and effective device, setting a tone of storytelling and providing exposition without feeling overly clunky. The workshop as a 'wonderland' establishes Geppetto's craft and the potential for magic. The initial setup is strong, emotionally resonant, and sets a clear, albeit melancholic, trajectory for the story.
Suggestions:
  • While the loss of Carlo is central, consider adding a brief, subtle visual or narrative hint of Geppetto's initial struggles or isolation *before* Carlo's death to amplify the impact of his subsequent grief.
  • Ensure the transition from Geppetto's present grief to the flashback of Carlo feels seamless and evocative, perhaps through a specific object or sound.
  • The Cricket's voice-over could be used to subtly foreshadow the magical elements to come, without giving away too much.
Middle The middle section of the story effectively escalates Pinocchio's adventures and the dangers he faces. His creation and immediate chaotic life, followed by his encounters with the fascists, the carnival troupe of Count Volpe, and the oppressive school system, create a dynamic and engaging narrative. The exploration of lying and its consequences through his growing nose is a classic and well-executed motif. The introduction of Count Volpe and Spazzatura as antagonists provides a clear threat, driven by greed and a desire for profit. The narrative successfully weaves together Pinocchio's personal growth with the broader societal and political context of fascist Italy. The stakes are raised with each misstep Pinocchio makes, highlighting his naivete and the harsh realities of the world.
Suggestions:
  • Ensure Pinocchio's naivete, while central to his character, doesn't consistently lead to peril without some moments of genuine learning or proactive decision-making from him.
  • Explore the internal conflict of Spazzatura more explicitly, perhaps through brief moments of non-verbal communication or subtle actions that hint at his growing discomfort with Volpe's methods.
  • The fascist indoctrination at the youth camp could be more subtly integrated, showing its insidious effects on the boys' minds and relationships rather than just overt training.
  • Consider varying the nature of Pinocchio's 'deaths' and rebirths to showcase different aspects of his character or the lessons he's meant to learn.
Ending The latter part of the story brings the narrative to a powerful and emotionally charged climax. Pinocchio's 'deaths' and rebirths, particularly his time in Limbo with Death, offer philosophical depth and explore the concept of mortality. His reunion with Geppetto within the Dogfish and their subsequent escape is a thrilling and visually spectacular sequence. The final sacrifice and revival of Pinocchio, driven by Cricket's plea and Geppetto's acceptance, provide a deeply satisfying emotional resolution. The ending beautifully ties together themes of love, sacrifice, and acceptance, bringing Geppetto's arc to a peaceful conclusion. The montage of their later lives and the poignant fade-outs of supporting characters offer a sense of enduring life and love.
Suggestions:
  • The philosophical discussions in Limbo with Death could be slightly more intertwined with Pinocchio's immediate struggles and choices to make them feel less like exposition.
  • While the Dogfish escape is exciting, ensure the mechanics of the mine detonation are clear and visually impactful.
  • The final montage, while touching, could perhaps benefit from a slightly more active role for Pinocchio in demonstrating his learned maturity, rather than just showing him alongside others.
  • The Cricket's final song, while thematic, could be more tightly integrated with the narrative closure rather than feeling like a separate musical number leading into the credits.

See the full analysis by clicking the title.

1 - Echoes of Loss Sorrowful, Reflective, Nostalgic 9.2 9 98 9 897.57889710 98.58.599
2 - A Father's Love: Seasons of Joy Heartwarming, Nostalgic, Playful, Sentimental 9.2 9 98 9 9973649710 99999
3 - A Winter's Day in the Village Nostalgic, Heartwarming, Whimsical, Community-oriented 9.2 9 98.5 9 887.52739710 998.588
4 - A Father's Grief Heartbreaking, Tender, Tragic, Hopeful 9.2 9 99 9 998108109810 99988
5 - The Weight of Grief Melancholic, Reflective, Hopeful, Regretful 8.7 9 99 9 887878989 89888
6 - The Birth of Pinocchio Melancholic, Whimsical, Mysterious 8.5 9 89 9 887778989 89888
7 - Awakening Terror Horror, Suspense, Emotional 8.5 8 99 8 898979989 89888
8 - Chaos in the Workshop Whimsical, Chaotic, Heartbreaking, Confused 8.5 9 88 9 887.5988999 898.599
9 - Whimsy Amidst Ominous Shadows Playful, Nostalgic, Hopeful 8.5 8 89 8 786677878 79888
10 - The Church of Fear Dramatic, Whimsical, Tense 8.5 9 89 8 887988989 79888
11 - A Tense Encounter in the Workshop Whimsical, Menacing, Solemn 8.5 8 99 8 887.5888998 898.588
12 - Hot Chocolate Chaos Whimsical, Tense, Chaotic, Playful 8.5 8 98.5 9 887.5988978 898.588
13 - A Night of Innocence and Reflection Whimsical, Heartwarming, Playful 8.5 8 89 9 687.5685878 998.58.58
14 - Carnival of Ambition Whimsical, Menacing, Playful, Tense 8.5 8 99 9 887.5988988 898.588
15 - A Gift of Hope Innocence, Heartwarming, Conflict, Tension 8.7 9 98.5 9 998988989 898.599
16 - The Temptation of Pinocchio Whimsical, Playful, Menacing 8.5 8 99 8 887.5988988 898.588.5
17 - Temptation at Dusk Tense, Playful, Intriguing 8.5 8 99 9 987.5988998 898.588
18 - The Carnival Performance Magical, Whimsical, Emotional 9.2 9 98 9 987979979 99888
19 - A Carnival of Lies and Tragedy Tragic, Emotional, Intense, Dramatic 9.2 9 98.5 9 987.598109910 998.588
20 - Pinocchio's Bureaucratic Limbo Whimsical, Surreal, Dark 8.5 9 89 9 787.5787898 898.588
21 - Confronting Mortality in Limbo Mysterious, Philosophical, Somber 9.2 10 99 9 987.5888899 998.588
22 - The Miracle and the Chaos Tense, Humorous, Dramatic 8.7 9 99 9 987.5989999 998.588
23 - A Heartfelt Divide Heartbroken, Desperate, Conflicted, Regretful 9.2 9 98.5 10 987.59899710 998.588
24 - A Father's Regret and a Deceptive Deal Desperation, Regret, Hope, Conflict 8.5 8 99 9 887.5989999 898.58.58
25 - Parallel Journeys: Longing and Fame Hopeful, Melancholic, Enchanting 8.7 9 98 9 987878979 88899
26 - Farewells and Performances Resignation, Pride, Excitement, Sadness 8.7 9 99 9 889989989 89899
27 - Desperation and Darkness Desperation, Hope, Betrayal, Conflict 8.7 9 98 9 898989989 89899
28 - Confrontation at the Carnival Tense, Emotional, Defiant 8.5 8 98 9 887989989 89888
29 - Pinocchio's Defiant Performance Whimsical, Satirical, Dark 8.7 9 99 9 887.5989999 898.588
30 - The Burden of Immortality Philosophical, Hopeful, Confused 8.5 9 88.5 9 787.5687788 898.58.58
31 - Courage and Camaraderie Tense, Reflective, Naive, Serious 8.7 9 98.5 9 987.5988979 998.588
32 - The Battle of Friendship Patriotic, Playful, Absurd 8.5 8 98 9 887.5788889 89999
33 - Defiance Amidst Chaos Intense, Emotional, Tense, Tragic 9.2 9 98 9 998989989 99999
34 - Cliffside Betrayal and the Dogfish's Maw Tense, Dramatic, Intense, Emotional, Action-packed 9.2 9 98 10 987.59810989 998.588
35 - Escape from the Dogfish Tense, Emotional, Hopeful, Surreal 8.5 9 88.5 9 887.5888999 898.588
36 - The Great Escape from the Dogfish Tense, Exciting, Emotional 8.7 9 98 9 887.5989989 898.588
37 - Pinocchio's Sacrifice Tense, Emotional, Action-packed, Sacrificial 9.2 9 99 9 998989989 99988
38 - Resurrection on the Shore Emotional, Hopeful, Sorrowful, Joyful 9.2 9 99 9 9987779810 99898
39 - A Bittersweet Farewell Reflective, Emotional, Hopeful 9.2 9 99 9 9873729710 99888


Scene 1 - Echoes of Loss
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
PINOCCHIO



Written by


Guillermo del Toro
and
Patrick McHale




Based on

"Pinocchio" by C. Collodi
DARKNESS:

CRICKET (V.O.)
By the time master Geppetto made
Pinocchio, he had already lost a
son...

FADE IN:


EXT. THE HILL - DUSK

CRICKET (V.O.)
Now this was quite a few years
before my time, but I learned the
story... and then it became my
story...

Some autumn leaves are blowing by.

Small hill by a pine forest, and RED birch trees. AUTUMN. A
lonely figure standing by a wooden grave marker. This is
GEPPETTO. Able-bodied and in his mid-seventies, but sorrow
ages him. A shock of white hair- matching his unruly beard-
haloing his strong, noble face.

He is consumed by grief. He kneels by the grave, brushes off
the snow.

Embedded- and framed- by the wooden grave marker, there is a
photograph of a beautiful boy of TEN, Carlo. And the
inscription on the grave reads:

CARLO, MY ANGEL, Gone back to heaven, February, 1916.

CRICKET (V.O.)
Geppetto lost Carlo during the
Great War. They had been together
only ten years-
(beat)
-but it was as if Carlo had taken
the old man’s life with him...

Geppetto looks at the photograph and smiles a tremulous
smile. A tear rolls down his cheek.

CAMERA pushes on the photograph. We transition to:


EXT. GEPPETTO WORKSHOP - TREE (THE PAST) - DAY

Cold WINTER day. CARLO swings in a tree swing. Looks up at
planes passing overhead. Jumps off the swing. He rushes back
to the house, pretending to be an airplane.
2.


CARLO
(airplane sounds)


INT. GEPPETTO WORKSHOP - DAY

The workshop is a WARM wonderland of toys and marionettes.
Everything is hand-carved: doors, furniture, shelves,
utensils.

CARLO
Papa, Papa...

GEPPETTO
Yes?

CARLO
Guess what I saw!

GEPPETTO
What?

CARLO
Guess!

GEPPETTO
I have no idea.

CARLO
I saw some planes!

GEPPETTO
Oh, did you? Good.

Geppetto is carving a puppet. Carlo tries to steal a look.

CARLO
What is it you’re making this time,
Papa?

GEPPETTO
Guess.

CARLO
A soldier? A magician? A witch?

GEPPETTO
No, no, no, no, no, no, no! You’ll
have to wait and see, Carlo. All
good things require patience!


-DRAG WOOD BACK TO THE HOUSE.
3.


-FEED THE FIRE TOGETHER.

CRICKET (V.O.)
They wanted for nothing; all they
needed was each other’s company.

-HAVE A MODEST BUT ABUNDANT MEAL TOGETHER. CROSS THEMSELVES
AND EAT.

GEPPETTO
(quietly praying)
Genres: ["Fantasy","Drama"]

Summary The scene opens with Geppetto mourning his son Carlo at a grave, reflecting on the profound grief of losing him during the Great War. Cricket's voice-over narrates the depth of their bond, transitioning to a warm flashback of Carlo's joyful childhood, where he plays and interacts lovingly with Geppetto in their workshop. The contrast between the sorrowful present and the happy memories highlights Geppetto's enduring pain and the cherished moments they shared, culminating in a quiet meal and prayer together.
Strengths
  • Emotional depth
  • Character development
  • Atmospheric storytelling
Weaknesses
  • Lack of overt conflict
  • Limited action
Critique
  • The opening scene effectively establishes the emotional core of the story by introducing Geppetto's profound grief over the loss of his son Carlo, which is crucial for setting the tone of loss and longing that permeates the entire screenplay. The use of Cricket's voice-over narration provides necessary exposition about the backstory, making it accessible for viewers unfamiliar with the Pinocchio tale, but it risks feeling overly expository if not balanced with visual storytelling. For instance, while the voice-over explains Carlo's death and its impact, the scene could benefit from more subtle integration to avoid telling the audience what they can infer from Geppetto's actions, such as his tearful gaze at the photograph, which already conveys deep sorrow powerfully.
  • The transition from the present-day grave scene to the flashback is handled cinematically with a camera push-in on the photograph, creating a smooth and emotional bridge that enhances the narrative flow. However, this technique might be overused if similar transitions appear frequently in later scenes, potentially desensitizing the audience. Additionally, the flashback itself, while heartwarming and effective in showing the bond between Geppetto and Carlo, rushes through several key moments (like dragging wood, feeding the fire, and sharing a meal) in a montage style, which could make these interactions feel generic rather than deeply personal. Specific, unique details could elevate these sequences to make Carlo's character more memorable and the loss more impactful.
  • Geppetto's character is well-introduced as a figure of quiet strength and vulnerability, with his physical actions—such as brushing snow off the grave and smiling tremulously at the photo—communicating his grief more effectively than words alone. That said, the scene leans heavily on visual and auditory cues of sadness (tears, somber music implied by the voice-over), which might border on melodrama if not carefully calibrated. The flashback contrasts this by depicting a warm, idyllic life, but it could delve deeper into Geppetto's personality through his interactions with Carlo, revealing more about his craftsmanship and paternal instincts to foreshadow his later actions with Pinocchio.
  • Thematically, the scene adeptly foreshadows the central motifs of creation, loss, and the desire for companionship, as seen in the voice-over's reflection on how Carlo's death took 'the old man’s life with him.' This sets up Geppetto's motivation for the rest of the story, but it might be too front-loaded with thematic elements, potentially overwhelming the audience before they've had a chance to connect with the characters. Furthermore, the depiction of daily activities in the flashback, while charming, lacks conflict or tension, which could make the scene feel static in comparison to the more dynamic scenes that follow, such as the chaotic events involving Pinocchio.
  • Overall, as the first scene in a 39-scene screenplay, it successfully hooks the audience with an emotional entry point and establishes the historical context (the Great War), which ties into the broader socio-political themes of the film. However, the reliance on voice-over might reduce the immediacy of the storytelling, making it feel more like a prologue than an integral part of the narrative. To improve engagement, the scene could incorporate more active elements, such as subtle environmental details (e.g., war remnants in the background) to ground the grief in a larger world, ensuring that the audience is not only emotionally invested but also curious about how this loss propels the story forward.
Suggestions
  • Incorporate more 'show, don't tell' elements by reducing the voice-over narration and letting Geppetto's actions and expressions convey his grief. For example, extend the grave scene with silent moments where Geppetto interacts with mementos, allowing the audience to infer the backstory through visual cues rather than explicit explanation.
  • Enhance the flashback sequences by adding specific, sensory details to make the bond between Geppetto and Carlo more vivid and relatable. For instance, include unique dialogue or a signature activity that highlights their relationship, such as a particular game they play or a shared joke, to make Carlo's death feel more personal and heartbreaking.
  • Vary the pacing and shot composition to maintain visual interest; use closer shots during emotional beats at the grave and wider, more dynamic shots in the flashback to capture the energy of Carlo's playfulness. This could help balance the melancholic tone and prevent the scene from feeling too slow-paced.
  • Introduce subtle foreshadowing in the flashback to connect it more seamlessly to the main plot, such as showing Geppetto working on a puppet that resembles Pinocchio or hinting at his craftsmanship skills that will later bring Pinocchio to life, building anticipation for the story's progression.
  • Consider tightening the montage of daily activities in the flashback to focus on one or two key, emblematic moments rather than a series of quick cuts. This would allow for deeper emotional resonance and give the audience time to connect with the characters before transitioning back to the present.



Scene 2 - A Father's Love: Seasons of Joy
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. GEPPETTO BEDROOM - NIGHT

Carlo is in his hand-carved bed, decorated with Italian fairy-
tale pictures. Light snow falls outside a window.

Geppetto reads Carlo a fairy tale.

GEPPETTO
And the old witch warned the little
hedgehog- do not tell lies, or your
nose will grow and grow- up to
here!

Geppetto extends his finger out from his nose to demonstrate
it growing. Carlo’s eyes sparkle, still immersed in the
story.

CARLO
His nose would grow?

GEPPETTO
Lies, my dear boy, are found out
immediately, because they are like
long noses- visible to all but the
teller of the lie...
(beat)
And the more you lie... the more it
grows...

They both laugh as Geppetto encompasses Carlo in the blanket,
tickling him through the fabric.

CARLO
(yawns)
Sing me Mama’s song so I can sleep,
please, Papa?

GEPPETTO
Alright.
4.


Geppetto grabs his accordion and starts playing a sweet
LULLABY.

He clears his throat and then begins.

GEPPETTO
(singing)
My Son... My son... You are my
shining Sun. My moon. My stars.
My clear blue daylight sky.

Carlo closes his eyes and what follows is a series of
vignettes over different seasons.


-GEPPETTO PUSHES CARLO ON A SWING.

CARLO
Higher, Papa! Higher!

GEPPETTO (SONG) V.O.
And if you looked at me today, my
heart would heal so fast. And if
you held me right away, I’d be
complete at last... At last...


-GEPPETTO TEACHES CARLO TO CARVE MARIONETTES.


EXT. BUTCHER’S SHOP

Geppetto installs a pig-doorbell on the BUTCHER’S SHOP.

GEPPETTO
Try it.

Carlo pulls the strings to test it out.

He’s paid with sausages and HAM!!

GEPPETTO (CONT’D)
Thank the ladies.

The BUTCHER SISTERS laugh at how excited Carlo is. How cute.

Geppetto walks Carlo up to the school and gives him a book.

GEPPETTO (CONT’D)
For you.

CARLO
(small gasp)
For me?
5.


GEPPETTO
For you, Carlo.

Waves goodbye to Carlo as he heads off to SCHOOL. Carlo joins
happy kids.

GEPPETTO (SONG) V.O. (CONT’D)
You are my favorite, favorite
thing. Better than Sunset- Better
than spring: You bring me joy, You
make me sing. In the morning and
the evening too. You are everything
to me and I love you.


INT. GEPPETTO WORKSHOP

Carlo studies his SCHOOLBOOK beside his father. Geppetto
proudly glances at his studious son.

Geppetto carves the FACE OF A CHRIST.


INT. CHURCH - DUSK

Geppetto and Carlo install the unpainted crucifix in church.

GEPPETTO
Pull, Carlo! Pull!

TOWN PRIEST
Magnificent work, Geppetto.

GEPPETTO
Thank you.


EXT. THE HILL - DAY

Geppetto rests in a bed of moss near the forest, a picnic
spread out before him. Carlo flies a kite nearby, giggling
with childish glee as it dances upon the wind.

GEPPETTO (SONG) V.O.
My Son, My Son: You are my golden
Sun.


-GEPPETTO AND CARLO CHOP DOWN A TREE.

As it starts to fall Geppetto lunges forward to quickly pull
Carlo out of the way.
6.


GEPPETTO
(stuttering)
Watch out, Carlo!


-CARLO LOOKS FOR A PERFECT PINE CONE.

GEPPETTO
(speaking)
When one life is lost, another must
grow.

CARLO
How about this one?

Carlo shows him a scraggly-looking pine cone.

GEPPETTO
(speaking)
No- no- no- no, Carlo. It has to be
perfect- complete. See? This one’s
missing some of its scales...

Carlo nods, examining the imperfect pine cone.


-GEPPETTO CARVES. CARLO WATCHES AND HELPS.

GEPPETTO (SONG) V.O.
My Son, My Son: You are my shining
Sun...


INT. GEPPETTO WORKSHOP - DUSK

Geppetto carves a pair of clogs for Carlo.

Then PAINTS them beautifully in bright colors.
Genres: ["Drama","Family","Fantasy"]

Summary In Geppetto's cozy bedroom, he reads a fairy tale to his son Carlo, sharing laughter and affection. As Carlo drifts to sleep, Geppetto plays a lullaby on his accordion, leading to a series of heartwarming vignettes that showcase their close bond across different seasons. They enjoy playful moments like swinging, carving marionettes, and sharing a picnic, while also facing a minor scare when a tree nearly falls on Carlo. The scene captures the warmth and joy of their relationship, culminating in Geppetto lovingly crafting colorful clogs for Carlo in the workshop.
Strengths
  • Emotional depth
  • Character dynamics
  • Thematic richness
  • Authentic dialogue
Weaknesses
  • Low external conflict
  • Limited character growth
Critique
  • The scene effectively builds on the emotional foundation laid in Scene 1 by expanding the flashback to showcase the deep bond between Geppetto and Carlo, using a series of vignettes that contrast the grief in the present with the warmth of the past. This montage style is a strong cinematic choice for conveying backstory efficiently, evoking nostalgia and highlighting themes of loss, love, and innocence, which helps the audience understand Geppetto's motivation for creating Pinocchio later in the script.
  • However, the vignettes risk feeling repetitive or formulaic as they depict a string of idyllic, montage-like moments without significant variation in pacing or emotional depth. Many activities—such as swinging, carving, and daily chores—blend together, potentially diluting the impact of individual scenes and making the sequence feel more like a checklist of happy memories rather than a nuanced exploration of their relationship, which could lessen the audience's emotional investment if not balanced with more distinctive or conflicting elements.
  • The dialogue, particularly in the bedroom scene and the vignettes, is charming and heartfelt but can come across as overly sentimental or expository. For instance, Geppetto's explanation of lying and the nose-growing metaphor directly foreshadows Pinocchio's traits, which is clever thematically but might feel heavy-handed if it lacks subtlety; this could alienate viewers who prefer show-don't-tell approaches, as the fairy tale lesson is stated explicitly rather than demonstrated through action or subtext.
  • Visually, the scene is rich with descriptive elements, such as the hand-carved bedroom, seasonal changes, and specific actions like installing the pig-doorbell or carving clogs, which effectively immerse the audience in the world and reinforce Geppetto's craftsmanship. However, the lack of camera directions or varied shot compositions in the screenplay might make it challenging for directors to visualize dynamic transitions between vignettes, potentially resulting in a static or overly similar visual style that doesn't fully capitalize on the emotional potential of the montage.
  • The use of Geppetto's voice-over singing the lullaby is a poignant device that unifies the vignettes and adds a layer of melancholy, mirroring the grief from Scene 1. That said, it occasionally overtakes the visual storytelling, with lyrics that explicitly state emotions (e.g., 'You bring me joy, You make me sing'), which might reduce the scene's subtlety and make it feel more like a music video than integrated narrative, especially if the song's repetition doesn't evolve to reflect changing moods or build tension.
  • Overall, while the scene successfully establishes Carlo as a beloved character and heightens the stakes for Geppetto's loss, it could benefit from more character specificity for Carlo, who currently appears as a generic 'cute child' archetype. Adding unique quirks or personal details to his interactions with Geppetto would make their bond more relatable and memorable, helping readers and viewers connect on a deeper level and providing a stronger contrast to Pinocchio's later development.
Suggestions
  • Vary the pacing and structure of the vignettes by incorporating a mix of quick cuts for energetic activities (like swinging or tree chopping) and slower, more intimate moments (like the pine cone search) to create emotional highs and lows, preventing the montage from feeling monotonous and enhancing audience engagement.
  • Refine the dialogue to be more natural and less didactic; for example, show the consequences of lying through playful, indirect demonstrations in the vignettes rather than having Geppetto explicitly explain it, allowing the audience to infer themes and making the scene feel more organic and less preachy.
  • Add subtle hints of conflict or foreshadowing within the vignettes, such as a brief moment of Carlo's curiosity about war planes turning somber, to ground the happiness in reality and better tie it to the overarching narrative of loss and the Great War, making the transition to grief in later scenes more impactful.
  • Enhance visual and sensory details by including specific camera angles, sound design notes (e.g., the creak of the swing or the scent of fresh wood), or minor character actions that reveal personality, such as Carlo's facial expressions during carving, to deepen immersion and make the world feel more alive and cinematic.
  • Shorten or consolidate some vignettes to focus on the most thematically relevant ones (e.g., the pine cone scene, which connects to Pinocchio's origin), ensuring each moment advances character development or foreshadows key elements, thus improving the scene's efficiency and narrative flow without losing emotional weight.
  • Consider evolving the lullaby voice-over to include variations in tone or instrumentation across vignettes to reflect the passage of time and shifting emotions, or integrate it more sparingly to allow silent, visual storytelling to shine, balancing exposition with subtlety for a more nuanced emotional experience.



Scene 3 - A Winter's Day in the Village
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. GEPPETTO BEDROOM

Carlo yawns and sleepily nestles back down in his pillow.
Geppetto puts down his accordion and gets into his own bed.

CARLO
Good night, Papa...

GEPPETTO
Good night, my son.
7.


EXT. TOWN STREETS - DAY

WINTER -- February, 1916

Snow still lingers around town. Geppetto and Carlo go by,
dragging a WOODEN CART filled with the paints and tools.
Geppetto is well groomed. Carlo sits on the back of the cart,
proudly wearing his new brightly colored clogs.

CARLO
I love my new shoes, Papa.

GEPPETTO
I’m very glad, Carlo.

CARLO
We’re going to church first, right?

GEPPETTO
Oh yes, yes.

Carlo spots a stray dog on the side of the road.

CARLO
Hello there, little dog.

We see the town: a BEAUTIFUL village with turn-of-the-century
buildings peppered amongst Medieval hamlets and workshops:
The spirit of the town is LIVELY. Geppetto and Carlo wave to
people as they travel through town.

STREET SWEEP WOMAN
Buongiorno, Geppetto.

Carlo and Geppetto pass by an alley with sleeping dogs and
lighthearted posters. They pass by more townspeople going
about their day.

CARNIVAL WORKER #2
Morning.

GEPPETTO
Morning!

THE BUTCHER says “hello” as do the YOUNG TWIN DAUGHTERS.

BUTCHER
Master Geppetto! You gonna finish
that crucifix today?

GEPPETTO
We’re gonna do our best! Ladies.
8.


TWIN DAUGHTER 1 TWIN DAUGHTER 2
Such a perfectionist! Such a perfectionist!

The BLACKSMITH and his WIFE hammer horseshoes.

THE BLACKSMITH
(he will become PODESTÀ)
A model Italian citizen!

PODESTÀ'S WIFE
And such a good father.

FRUIT VENDOR
Carlo, nice shoes. Catch!

The FRUIT VENDOR tosses him an orange.

CARLO
Thank you, sir!

MILLINER
Good morning.

CARLO
Hi!

Geppetto and Carlo head up towards a MASSIVE STONE CHURCH,
romanesque and looming above the town, casting a shadow over
it. A few people bustle about in front. THE DOCTOR AND HIS
WIFE pass by and greet them.

DOCTOR
Buongiorno.

GEPPETTO
Buongiorno, Dottore.

THE TOWN PRIEST awaits Geppetto on the steps.

TOWN PRIEST
Ahh, Carlo. Geppetto.

The Priest reaches out and shakes Geppetto’s hand to welcome
him.

Carlo runs ahead and sees the nearly finished Crucifix.
Genres: ["Drama","Family","Historical"]

Summary In this heartwarming scene, Geppetto and his son Carlo share a tender goodnight in their cozy bedroom before transitioning to a lively winter day in their Italian village. As they drag a cart filled with paints and tools, Carlo proudly shows off his new clogs and expresses excitement about their visit to church. The duo interacts warmly with various townspeople, who admire Geppetto's craftsmanship and fatherhood, creating a sense of community spirit. The scene culminates with Carlo eagerly running ahead to see the nearly finished crucifix at the church.
Strengths
  • Heartwarming portrayal of father-son bond
  • Authentic dialogue and interactions
  • Engaging setting and community dynamics
Weaknesses
  • Low conflict level may lack tension for some viewers
Critique
  • The scene effectively continues the flashback sequence from the previous scenes, maintaining the nostalgic and warm tone that highlights Geppetto and Carlo's bond. However, the transition from the intimate bedroom setting to the bustling town streets feels somewhat abrupt, potentially disrupting the emotional flow established in Scenes 1 and 2. This could alienate viewers who are deeply invested in the personal grief and joy, as the cut shifts from a quiet, tender moment to a more expository, community-focused sequence without a strong narrative bridge, making it feel like a mechanical shift rather than an organic progression.
  • The interactions with the various townspeople serve to establish Geppetto's reputation and the lively community atmosphere, which is a smart way to world-build and contrast with his later isolation. That said, these exchanges come across as a series of rapid, superficial greetings that resemble a checklist of characters rather than meaningful encounters. This can make the scene feel padded or overly descriptive, reducing emotional engagement and failing to deepen character development or advance the plot beyond reinforcing Carlo's innocence and Geppetto's likability.
  • Dialogue in this scene is functional but lacks subtext and variety, often consisting of simple greetings and affirmations that don't reveal much about the characters' inner lives or foreshadow future events. For instance, while Carlo's excitement about his shoes ties back to the end of Scene 2, the exchanges with townspeople are mostly polite and generic, missing an opportunity to add layers, such as subtle hints of the impending war or Geppetto's unspoken grief, which could heighten the tragic irony given the historical context of February 1916.
  • Visually, the scene is rich with descriptive elements that paint a vivid picture of the town, blending turn-of-the-century and medieval aesthetics, which supports the film's thematic elements of nostalgia and loss. However, the rapid succession of character introductions and actions might overwhelm the audience, potentially diluting the impact of key moments like Carlo spotting the dog or running ahead to the church. This could benefit from more focused cinematography to emphasize emotional beats, such as close-ups on Carlo's face to convey his childlike wonder, rather than spreading attention across multiple brief interactions.
  • Overall, while the scene successfully humanizes the setting and characters, it risks feeling like filler in the broader script, as it doesn't introduce significant conflict or character growth. In the context of a 39-scene script, this early flashback scene should build tension toward Carlo's death (as depicted in Scene 4), but it currently leans more toward idyllic portrayal, which, while emotionally resonant, might not effectively escalate stakes or maintain momentum, potentially making the audience's emotional investment plateau before the tragedy hits.
Suggestions
  • Smooth the transition between the bedroom and town street by adding a subtle visual or auditory cue, such as a fade or a sound bridge (e.g., the wind from the autumn scene in Scene 1 carrying into the winter day), to maintain emotional continuity and make the shift feel less jarring.
  • Condense the townspeople interactions by focusing on 2-3 key encounters that reveal more about Geppetto and Carlo's relationships or foreshadow themes, such as having the Butcher reference Geppetto's craftsmanship in a way that hints at his perfectionism or the war's impact, to make the scene more dynamic and less repetitive.
  • Enhance dialogue with subtext by incorporating subtle references to the Great War or personal loss; for example, have Geppetto's response to the Butcher include a brief, wistful comment about the crucifix's significance, adding depth and connecting to the overarching grief narrative without overt exposition.
  • Refine the visual storytelling by using camera techniques to heighten emotional moments, such as tracking shots during Carlo's run to the church or close-ups on his clogs to symbolize innocence and impending loss, ensuring that the scene's descriptive elements serve the story rather than overwhelming it.
  • Introduce a minor conflict or tension to build stakes, such as Carlo's playful distraction with the dog causing a small delay that subtly foreshadows danger, to prevent the scene from feeling too idyllic and to better prepare the audience for the tragedy in Scene 4, while keeping the focus on character development.



Scene 4 - A Father's Grief
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. CHURCH - EVENING

Geppetto still painting. Carlo looks up from his SCHOOL BOOK.
9.


CARLO
It looks great, Papa! Is it almost
time to go home?

GEPPETTO
Almost. Send up a little more red
for me.

CARLO looks in Geppetto’s COMPLEX TOOL/PAINT BOX and passes a
paint jar, using a bucket.

CARLO
Oh! I forgot to show you what I
found!

GEPPETTO
What is it, my boy??

CARLO
You’ll see...Ta-da!!!

Carlo has hidden a PINE CONE in the bucket.

GEPPETTO
(laughing)
The PERFECT pine cone! It still has
all its scales!

CARLO
I thought I could plant it myself
and watch the tree grow. And then
carve toys for myself- like you do.

Geppetto laughs, proud.

GEPPETTO
I think that’s as good an idea as
any boy ever had, Carlo...

Geppetto tosses the pine cone down to Carlo. He fumbles and
bats it around several times before safely securing it.

CARLO
Isn’t it?

A low rumble drones above their heads.

CARLO (CONT’D)
What’s that sound, Papa?

Geppetto listens.

CARLO (CONT’D)
Is it a plane?
10.


Geppetto grows concerned, but shakes it off. He climbs down
the scaffold- agile- nimble.

GEPPETTO
Gather the tools- quickly. We’ll go
home to a warm fire and hot soup.

CARLO
Can we have some hot chocolate too?

GEPPETTO
(distracted)
Sure, sure.

CARLO
It seems like a hot chocolate sort
of day...doesn’t it?

GEPPETTO
Oh yes, yes, yes. Fa-fine.

Geppetto isn’t listening. His attention is on the ominous
sounds outside. He heads towards the exit of the church.
Carlo starts to follow him.


EXT. CHURCH - NIGHT

Geppetto stands at the foot of the church and looks up in the
sky.

CARLO
Papa, what is it?

GEPPETTO
Nothing. I’m sure it’s nothing,
but...

CARLO
Oh wait, my pine cone!

Carlo returns to collect his pine cone.

The sky is peppered with planes, going to war. Bombs explode
in the distance.

CRICKET (V.O.)
It was later said that Geppetto’s
little town was not even a target-
that these planes were heading back
to base and simply let go of their
bombs to make their ballast
lighter...
11.


One of the planes- THE BIGGEST ONE-

-Releases 3 large bombs.

THE BOMBS FALL- whistling-

-heading for the ground-

GEPPETTO
(gasps)
Carlo!

Geppetto runs back to the church-

Inside the church Carlo finds his missing pine cone.

-But it is too late! The bombs hit the church and burn the
frame. Debris flies everywhere.

Geppetto falls to the ground. His ears ringing.

All he can see is fire.

Something lands near him: Carlo’s perfect PINE CONE.

GEPPETTO (CONT’D)
No. Carlo.

Geppetto passes out.


CAMERA TRACKS INTO: THE BURNING CHURCH.

CUT TO:


EXT. THE HILL - DUSK

Geppetto plants the pine cone by Carlo’s grave, and cries. A
few MOURNERS keep their distance.

Then they move away, leaving Geppetto alone with his grief.

Two men hammer the headstone into the ground.

DISSOLVE TO:


INT. CHURCH

CRICKET (V.O.)
Geppetto never left his side- and
that was that. He worked very
little, he ate even less...
(MORE)
12.
CRICKET (V.O.) (CONT'D)
and the Church’s crucifix remained
unfinished...

-The bombed out church- the broken, maimed crucifix, examined
by the angry Town Priest. He begins to pray.


EXT. THE HILL

-Geppetto in the WINTER, cleaning Carlo’s grave.

-Geppetto in the SPRING, laying flowers on the grave.

-Geppetto in the SUMMER, telling stories with puppets.

-Geppetto in the FALL, singing a song with his accordion.
Genres: ["Drama","Historical","War"]

Summary In this poignant scene, Geppetto and his son Carlo share a warm moment in a church as they discuss a pine cone Carlo found, symbolizing hope and creativity. However, their tender interaction is abruptly shattered by the ominous sound of warplanes, leading to a devastating bombing that claims Carlo's life. Geppetto, left in shock, finds the pine cone amidst the destruction and later mourns at Carlo's grave, planting the pine cone as a tribute. The scene transitions through the seasons, depicting Geppetto's ongoing grief and connection to his lost son, culminating in a somber moment with the town priest praying over the damaged crucifix.
Strengths
  • Emotional depth
  • Character development
  • Tension building
  • Narrative impact
Weaknesses
  • Tragic event may be too intense for some audiences
Critique
  • The scene effectively captures the tragic pivot of the story, transforming the warm, familial bond established in previous scenes into a moment of profound loss. This contrast amplifies emotional resonance, making Carlo's death a heartbreaking culmination of the grief introduced in Scene 1. However, the rapid shift from casual dialogue about the pine cone to the bombing feels abrupt, potentially undermining the audience's ability to process the tragedy fully. In screenwriting, building suspense gradually is crucial for emotional investment, and here, the rumble's introduction could benefit from more subtle foreshadowing to heighten tension without telegraphing the event too obviously.
  • Dialogue in the scene is functional but occasionally lacks nuance; for instance, Carlo's lines about the pine cone and the rumble come across as somewhat expository, serving to advance the plot rather than feeling organic to a child's curiosity. This can make the characters seem like vehicles for information rather than fully realized individuals, which is a missed opportunity given the strong character development in earlier scenes. Additionally, Geppetto's distracted responses during the exchange feel authentic to his growing concern, but they could be deepened to show more internal conflict, drawing on his established grief from Scene 1 to make his fear more palpable and relatable.
  • Visually, the bombing sequence is dramatic and cinematic, with effective use of sound (the rumbling planes and whistling bombs) and imagery (debris flying and fire engulfing the church), which aligns well with the story's themes of destruction and loss. However, the cut to the exterior and the voice-over explanation of the bombing's cause feels heavy-handed, as it tells rather than shows the audience why this tragedy occurred. In screenwriting, voice-over should complement visuals without redundancy; here, it could be streamlined to allow the audience to infer the randomness of war through action and reaction shots, enhancing immersion.
  • The montage of Geppetto's grief in different seasons is a strong visual device that conveys the passage of time and deepening sorrow, echoing the cyclical nature of loss seen in Scene 1. Yet, this section risks repetition with earlier depictions of Geppetto at the grave, potentially diluting the scene's impact by revisiting similar beats. As a critique for improvement, ensuring each element adds new layers to Geppetto's character—such as evolving coping mechanisms or subtle changes in his demeanor—would prevent the montage from feeling redundant and maintain narrative momentum.
  • Overall, the scene successfully establishes the emotional core that drives Geppetto's actions for the rest of the screenplay, particularly his decision to create Pinocchio. However, it could better integrate thematic elements, such as the symbolism of the pine cone, which ties into Carlo's death and later becomes central to Pinocchio's origin. By making these connections more explicit or layered, the scene could reinforce the story's motifs of creation from loss and the cycle of life, providing a richer understanding for the reader while guiding the writer toward a more cohesive narrative arc.
Suggestions
  • Add subtle foreshadowing earlier in the scene or through cross-cutting with exterior shots of planes to build suspense gradually, making the bombing feel inevitable yet shocking, and allowing the audience to anticipate danger without spoiling the surprise.
  • Refine the dialogue to be more natural and character-driven; for example, have Carlo's excitement about the pine cone stem from a personal memory or shared story with Geppetto, reducing exposition and enhancing emotional authenticity.
  • Enhance visual storytelling by incorporating more dynamic camera work during the bombing, such as slow-motion shots of the bombs falling or close-ups on Geppetto's face to capture his horror, and reduce reliance on voice-over by showing the bombing's randomness through contextual clues like distant explosions or news of the war.
  • Vary the grief montage to show Geppetto's emotional progression more distinctly, perhaps by including interactions with townspeople or changes in the environment that reflect his isolation, avoiding overlap with Scene 1 and emphasizing his withdrawal as described in the voice-over.
  • Strengthen thematic ties by explicitly linking the pine cone to future events, such as a brief cut or visual motif that hints at its role in Pinocchio's creation, helping to unify the scene with the overall script and making the tragedy feel more integral to the narrative.



Scene 5 - The Weight of Grief
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. GEPPETTO WORKSHOP - THE YEARS PASS.

CRICKET
The years passed, the world moved
on, but Geppetto did not...

Geppetto DRINKS alone in his cold, lifeless bedroom. He
stares at Carlo’s old SCHOOL BOOK and a few other mementos.
He passes out, asleep.

FADE OUT.

FADE IN:


EXT. THE HILL - SUNSET

SPRING -- Saturday, APRIL 9, 1939.

A PINE TREE has grown out of Carlo’s grave. Storm clouds.

CRICKET (V.O.)
And this is where I come in...

CAMERA discovers SEBASTIAN J. CRICKET. A somewhat elegant
cricket, but still a cricket. He hops along the grass, uphill-
carrying a CANVAS BAG AND A SUITCASE in one arm, and a
LEATHER-BOUND VOLUME AND A KNAPSACK tucked under the other.

CRICKET (V.O.)
Y’see I was a writer- and for years
I’d been looking for the ideal
conditions to set my illustrious,
fascinating life-story to paper.
Until at long last... I found it:
13.


The Cricket approaches the grave and looks UP-

- To a nook in the pine tree.

CRICKET (V.O.)
My sanctuary. HOME!


INT. NOOK - SUNSET

It begins to rain outside, but the nook is spacious and dry.
The Cricket examines the space- standing on its own two hind
legs- like a proud homeowner. He is making it “cozy”.

CRICKET (V.O.)
HERE I could write my memoirs! And
what a tale it would be! I had
lived in a barrister’s fireplace in
Sardinia, sailed on the Adriatic in
a fishing boat! Nested one Perugian
winter with an acclaimed sculptor!!

Cricket takes a portrait- places it on a knot in the nook and
then displays his inkwell and quill.

He writes the title of his book:

CRICKET
“Stridulations of My Youth”
By Sebastian J. Cricket.

Then:

The Cricket looks out the nook.


EXT. THE HILL - SUNSET

Geppetto sprawled beside grave, bottle in hand in the rain.

GEPPETTO
(weeping)
I dreamed of you, Carlo...I
dreamed, you were right back here
with me. My son.

The Cricket watches Geppetto, crying by the grave.

CRICKET
Oh dear.

GEPPETTO
If only I could have you back
here... I’m so sorry...
14.


CRICKET (V.O.)
I watched the old man weep and it
moved me... And it turns out that I
wasn’t the only one watching him...

The Cricket looks into the woods.


FROM THE WOODS

THE WINGED FIGURE watches Geppetto.

CRICKET
In my many wanderings on this
earth, I’ve learned that there are
old spirits living in the
mountains, in the forests...

The Cricket and her make eye contact.

CRICKET (CONT’D)
Who rarely involve themselves in
the human world-

The GLOWING EYEBALLS fade into the bark of the trees.

CRICKET (CONT’D)
But on occasion... They do.

GEPPETTO
I want you back, Carlo- right
here...with me!


GEPPETTO SLAMS HIS FIST AGAINST THE TREE.

GEPPETTO
Why won’t you listen to my prayers!
Why!!

A deluge of rain pours down from the branches.

The Cricket takes one last pitiful look at furious Geppetto,
as he marches away, stumbling- shakes his head, and goes back
inside.


INT. NOOK - NIGHT

Cricket sits down and starts to write again-

CRICKET
Ahh, where were we? Ah yes,
Perugia.
15.


when--

His handwriting shakes- wavers. The whole nook shakes.

CRICKET (CONT’D)
Whoaaah! What in my antennae-?
Oooof!!!


EXT. THE HILL - NIGHT

From Cricket’s POV inside the nook, we see Geppetto using an
axe to chop down the tree. Lighting! THUNDER!


INT. NOOK - SAME

The Cricket’s world SHAKES with every hack of the axe,
causing him to lose balance. He scrambles to keep his papers
safe.

GEPPETTO (O.S.)
I will have him back. I’ll make
Carlo again.

CRICKET
Wuhh...Hey!!

GEPPETTO
Out of this accursed pine!!


EXT. THE HILL - NIGHT

Rain pours down. Wind whirls. Lightning! THUNDER CRACKS!

Geppetto hacks the tree with an axe.


INT. NOOK - NIGHT

C-c-crack! Tree falls. Cricket goes weightless (ref: Magnolia
ambulance scene).

CRICKET
ahhhahaha!

It lands HARD. His papers strewn all over.
Genres: ["Fantasy","Drama"]

Summary Years after Carlo's death, Geppetto mourns alone in his workshop, drinking and reminiscing about his son. On a hill where a pine tree grows from Carlo's grave, Sebastian J. Cricket, a wandering writer, sets up his writing sanctuary. As Geppetto, consumed by grief, violently chops down the tree in a desperate attempt to recreate Carlo, the storm intensifies, disrupting Cricket's peaceful moment. The scene culminates in chaos as the tree falls, scattering Cricket's papers and highlighting Geppetto's unresolved sorrow.
Strengths
  • Emotional depth
  • Fantasy elements
  • Character development
  • Unique narrative twist
Weaknesses
  • Pacing could be slower to enhance emotional impact
Critique
  • The scene effectively introduces Sebastian J. Cricket as a narrator and character, using voice-over to provide backstory and establish his personality, which adds a layer of whimsy and introspection to the story. This helps bridge the gap between Geppetto's ongoing grief and the fantastical elements of the plot, making Cricket a compelling observer who humanizes the insect world while contrasting with Geppetto's despair. However, the voice-over risks becoming overly expository, potentially overwhelming the visual storytelling by telling rather than showing Cricket's adventures, which could dilute the emotional impact if not balanced with more subtle integration.
  • Geppetto's portrayal in grief is poignant and consistent with the buildup from previous scenes, showing his deterioration through alcohol and isolation, which deepens the audience's understanding of his character arc. The decision to have him chop down the tree serves as a strong inciting incident, symbolizing his desperate attempt to reclaim his loss and setting up the conflict for Pinocchio's creation. That said, the dialogue during his outburst feels somewhat melodramatic and on-the-nose, with lines like 'I want you back, Carlo' potentially coming across as clichéd, which might reduce the authenticity of his emotional state and make it harder for viewers to connect on a deeper level.
  • The visual elements, such as the storm, the tree shaking, and Cricket's disrupted nook, create a chaotic and dynamic atmosphere that mirrors Geppetto's inner turmoil and heightens tension. This use of weather and action effectively conveys the theme of nature's indifference to human suffering, but the rapid cuts between interiors (Cricket's nook) and exteriors (the hill) can feel disjointed, potentially confusing the audience about spatial relationships and pacing. Additionally, the brief appearance of the winged figure adds mystery and foreshadows supernatural elements, but it lacks sufficient development here, making it feel like a throwaway moment that could benefit from more buildup to enhance its significance in the narrative.
  • Thematically, the scene reinforces the story's core motifs of loss, grief, and the intersection of the human and mythical worlds, with Cricket's observation of Geppetto serving as a narrative device to explore empathy and connection. However, the focus on Cricket's setup in the nook might overshadow Geppetto's emotional climax, as the shift to Cricket's mundane activities (like writing his memoirs) could dilute the intensity of Geppetto's breakdown, making the scene feel somewhat unbalanced between character introduction and dramatic escalation.
  • Overall, the scene successfully transitions the story from reflection on past loss to active pursuit of change, with strong visual and auditory cues (like thunder and rain) amplifying the drama. Yet, it could improve in emotional depth by exploring Geppetto's internal conflict more subtly through actions and expressions rather than direct dialogue, ensuring that the audience feels the weight of his grief without relying on explicit statements, which would make the scene more immersive and true to cinematic storytelling principles.
Suggestions
  • Refine the voice-over narration to be more concise and integrated with visual elements, such as showing Cricket's past adventures through quick flashbacks or symbolic imagery, to reduce exposition and enhance engagement.
  • Enhance Geppetto's dialogue to be more nuanced and less declarative; for example, replace direct pleas like 'I want you back, Carlo' with fragmented, drunken mutterings or symbolic actions that convey the same emotion, allowing the audience to infer his pain.
  • Add more sensory details to the environment, such as the sound of rain pounding on the grave or the feel of mud under Geppetto's feet, to immerse the audience and make the scene more vivid and emotionally resonant.
  • Develop the winged figure's appearance with a subtle hint of her identity or purpose, perhaps through a lingering shot or a faint glow, to build anticipation and connect it more clearly to the Wood Sprite's role in later scenes without revealing too much.
  • Improve pacing by smoothing transitions between Cricket's interior nook and the exterior hill, possibly using match cuts or overlapping sound effects to maintain continuity and heighten the chaos of the tree-chopping sequence.



Scene 6 - The Birth of Pinocchio
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
EXT. THE HILL

Geppetto drags a piece of the trunk back towards-
16.


EXT. GEPPETTO HOUSE

-His house.

CRICKET
(Gasps)


INT. GEPPETTO WORKSHOP

The Cricket pops out of the tree like a submarine captain,
dizzy from his journey. He is inside the workshop.

He follows Geppetto in his drinking binge: stumbling drunk
and retrieving sharp carving instruments.

SHINK! A bark spud slides across surface, almost decapitating
Cricket!

CRICKET
What on earth? Nooo!

He narrowly escapes and hides in a cuckoo clock.

As Cricket watches with morbid fascination, camera adjusts to
reveal a TINY MAN standing right behind him! Wait, no, it’s
just a wooden peg doll from the cuckoo clock. Phew!

HE almost kills the Cricket as the clock strikes the hour.

CRICKET (CONT’D)
Oww! Ohhh! Oooh!

Geppetto looks at a picture of Carlo (one ear visible in
photo). He witnesses Geppetto carve Pinocchio- furiously.
Vehemently.

CRICKET (CONT’D)
It’s a house of horrors!
(gasps and covers his eyes)

He finishes one beautifully carved ear, little curls of hair
on one side of his head. He touches the ear tenderly.

He cries at the sight. He prays- to no one in particular.

Geppetto hammers some nails. Attaches a carved hand. Hinges a
knee. Places the head on the neck joint.

We see an unfinished, basic puppet, sketched but crude.

PINOCCHIO.
17.


GEPPETTO
I... I will finish you tomorrow...

Geppetto stumbles to the stairs.

GEPPETTO (CONT’D)
Yes, tomorrow...

But passes out halfway up the steps- slides down and slumps
on the floor.

A glowing eye blinks into view in front of Geppetto. It
inspects him.

Cricket watches curiously. Another eye floats in to inspect
Cricket.

CRICKET
Shoo, Shoo, Shoo, Shoo, Shoo!

Cricket sees eyes are swarming all around Pinocchio.

CRICKET (CONT’D)
Hey! Get away from there! Go away!
Bugger off!

Cricket jumps to Pinocchio, trying to scare away the eyes.

CRICKET (CONT’D)
No, no, no, no, no! This is my
home! No trespassing! Go, go, go,
go. Get away from here! Go! Go
away! Go away!

Eyes drift away.

CRICKET (CONT’D)
Yes, that’s right!

The eyes begin to form a FIGURE. The FIGURE DISPLAYS its
wings (covered with eyes in place of feathers) and reveals
the benign face of a PALE WOOD SPRITE. The face has clear
similarities to Carlo’s mother’s face, but is simplified and
statuesque.

CRICKET (CONT’D)
Now what?

The Cricket watches as the Pale Figure approaches Pinocchio.

CRICKET (CONT’D)
(in awe)
Whoa!
18.


WOOD SPRITE
Little wooden boy... May you rise
with the sun and walk the earth...

CRICKET
Excuse me- Can I help you?

Unnervingly, the FIGURE half turns, ALL EYES ON THE CRICKET,
WINGS FLUTTERING.

CRICKET (CONT’D)
This is my home we’re talking
about!

He hops towards the Wood Sprite.

CRICKET (CONT’D)
(harrumphs)
May I ask- Who on earth are you?

WOOD SPRITE
On Earth? A Guardian. I care for
the little things, the forgotten
things- the lost ones.

CRICKET
Well, I am Sebastian J. Cricket:
HOMEOWNER. And I have every right
to be consulted about your schemes
and machinations regarding my
property.

WOOD SPRITE
Well, since you already live in the
heart of the wooden boy, perhaps
you can help me.

CRICKET
Help you what?

WOOD SPRITE
To watch over him: guide him to be
good.

CRICKET
I’m not a governess, madam, I am a
novelist- a raconteur- currently
immersed in writing my memoirs.

WOOD SPRITE
Well, in this world you get what
you give. Take on this
responsibility, and I will grant
you one wish.
19.


CRICKET
And that could be anything?
Anything at all?

Cricket scratches his antenna with his hind leg.

CRICKET (CONT’D)
The publication of my book? Fame?
Fortune?

WOOD SPRITE
Anything.

Cricket looks to Pinocchio, who lays in the corner, half in
shadow, limbs akimbo.

CRICKET
Hmm, maybe I CAN help. I’ll try my
best and that’s the best anyone can
do!
(beat)
Hehe, that’s rather clever, isn’t
it?

Cricket turns back to Wood Sprite, who touches the puppet
with her GLOWING RIGHT HAND:

WOOD SPRITE
Little wooden boy. Made of pine- We
shall call you Pinocchio- may you
rise with the sun and wander the
earth and bring joy and company to
that poor heartbroken man- be his
son- fill his days with light- so
he’ll never be alone.

The Cricket is perched on Pinocchio’s nose. ZAPPP! He is
electrocuted by the Wood Sprite’s magic. He falls to the
table.

She then fades away...

The light fades away as well.
Genres: ["Fantasy","Drama"]

Summary In this scene, Geppetto, in a drunken stupor, carves a puppet while grieving for his deceased son, Carlo. The Cricket, who emerges from the tree trunk, observes Geppetto's reckless behavior and narrowly avoids danger. As Geppetto works, a magical Wood Sprite appears, offering the Cricket a wish in exchange for watching over the newly animated puppet, Pinocchio. After some negotiation, the Cricket agrees, and the Wood Sprite blesses the puppet, bringing it to life before fading away, leaving the workshop in dim light.
Strengths
  • Effective blend of fantasy and emotional themes
  • Intriguing introduction of the Wood Sprite
  • Strong emotional impact on the audience
Weaknesses
  • Some dialogue could be more nuanced and impactful
Critique
  • The scene effectively bridges the emotional weight of Geppetto's grief from previous scenes to the magical introduction of Pinocchio, creating a pivotal moment that sets up the fantasy elements. However, the rapid escalation from Geppetto's drunken carving to the Wood Sprite's appearance might feel abrupt, potentially undermining the emotional buildup. As a reader or viewer, this could make the transition less immersive, as the shift from realistic grief to supernatural intervention lacks subtle foreshadowing, which was hinted at in Scene 5 with the winged figure but not fully capitalized on here.
  • Character development is strong for Geppetto, showing his vulnerability and desperation through his actions, but the Cricket's role feels overly comedic and detached. His constant exclamations and attempts at humor (e.g., 'It’s a house of horrors!') contrast sharply with the scene's somber tone, which might dilute the gravity of Geppetto's loss. For the audience, this could make the Cricket seem like comic relief rather than a meaningful narrator, reducing the depth of his character as established in the voice-over narration from earlier scenes.
  • Dialogue is engaging and reveals character motivations, particularly in the exchange between the Cricket and the Wood Sprite, which establishes the rules of the fantasy world. However, some lines come across as expository and on-the-nose, such as the Wood Sprite's speech about caring for 'the little things, the forgotten things,' which might feel forced to a reader familiar with fairy tale tropes. This could benefit from more subtext to make the interactions feel more natural and less like direct plot exposition.
  • Visually, the scene uses dynamic action and descriptions (e.g., the Cricket hiding in the cuckoo clock, the swarm of eyes forming the Wood Sprite) to create a sense of chaos and wonder, which is appropriate for a fantasy screenplay. That said, the depiction of the Wood Sprite's appearance and the magic zap could be more detailed to heighten tension and awe; as it stands, it might appear clichéd or rushed, not fully leveraging cinematic potential to make the moment more memorable and emotionally resonant.
  • Thematically, the scene reinforces themes of loss, redemption, and the intervention of fate, tying back to Geppetto's grief over Carlo. However, the negotiation between the Cricket and the Wood Sprite introduces a contractual element that feels somewhat contrived, potentially confusing viewers about the stakes. Additionally, the scene's end with Pinocchio's animation is anticlimactic, fading away without a strong visual or emotional payoff, which might leave the audience wanting more closure or a clearer hook into the next scene.
  • In terms of pacing and flow, the scene is dense with action and dialogue, which could overwhelm in a short screen time. For instance, Geppetto's carving process is described vividly but might benefit from more pauses to allow the audience to absorb the emotional layers, especially given the 90-second estimate from the previous scene's context. Overall, while the scene advances the plot effectively, it could better balance humor, drama, and fantasy to maintain engagement without sacrificing depth.
Suggestions
  • Slow down the sequence of Geppetto's carving and the Wood Sprite's appearance by adding more descriptive beats, such as close-ups on Geppetto's tears or the Cricket's reactions, to build tension and allow emotional moments to resonate more deeply with the audience.
  • Refine the Cricket's dialogue to be less exclamatory and more introspective, drawing on his voice-over narration from earlier scenes to make him a more reliable and empathetic guide, reducing the comedic overkill and enhancing his role as a commentator on human emotions.
  • Make the Wood Sprite's dialogue more subtle and metaphorical, perhaps by incorporating elements from Carlo's backstory or Geppetto's grief, to avoid exposition and create a more organic reveal of the fantasy elements, making the scene feel less predictable.
  • Enhance visual descriptions by adding sensory details, such as the sound of wood carving, the flicker of candlelight in the workshop, or the ethereal glow of the Wood Sprite's eyes, to make the magic more immersive and cinematic, helping to distinguish this adaptation from traditional Pinocchio stories.
  • Strengthen the thematic connection by ensuring the Wood Sprite's wish-granting ties directly to Geppetto's arc, perhaps by having her reference Carlo explicitly or showing a brief flashback, and end the scene with a stronger visual cue, like Pinocchio's first twitch, to create a smoother transition to Scene 7 and heighten anticipation.
  • Adjust pacing by intercutting between Geppetto's actions and the Cricket's observations more fluidly, using shorter, punchier sentences for high-tension moments and longer descriptions for emotional highs, to maintain a balanced rhythm that keeps the audience engaged without rushing the key magical reveal.



Scene 7 - Awakening Terror
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
INT. FIREPLACE - MORNING

Geppetto wakes up at the bottom of the stairs. Through the
fog of sleep we hear faint footsteps and clattering.

He looks around, hungover but curious of the sounds.

He notices: The Puppet is gone.
20.


He notices: The picture of Carlo, knocked over and covered in
wood shavings.

He looks under the workshop table: Nothing.

He hears more noise. Reacts quickly and bumps his head on the
table.

Clattering. It’s coming from above. A ladder leads to an
attic crawlspace over the workshop.

GEPPETTO
Who goes there??

Geppetto grabs an AXE from the ground and moves cautiously.

GEPPETTO (CONT’D)
I...I’m warning you. I...I have a
weapon!

He climbs the ladder, and enters the attic.


INT. ATTIC - MORNING

Suspenseful horror movie sequence: Geppetto pops his head
into the dim attic.

In the dark corner is a strange, unnatural writhing-and-
rattling THING. Geppetto approaches trepidatiously. As his
eyes adjust he sees there is something ALIVE in the attic.

The THING steps into the light like Frankenstein, revealing
its grotesquely lit face: it is PINOCCHIO!

PINOCCHIO
Good morning, Papa!

Pinocchio is alive!

GEPPETTO
ARRRRRGH!!!

Geppetto screams in absolute horror!!

GEPPETTO (CONT’D)
W-what is this??! What kind of
sorcery?!

PINOCCHIO
You wanted me to live! You asked
for me to live!
21.


GEPPETTO
Who- Who--are you!??

PINOCCHIO
My name is Pinocchio! I’m your son!

Geppetto frantically holds the axe.

GEPPETTO
You’re not my son! Don’t come near
me!

Sebastian J. pops out of Pinocchio’s chest.

CRICKET
The boy is telling the truth,
Master Geppetto!

GEPPETTO
Arrrgh!! It’s full of cockroaches!

Geppetto recoils.

The old man backs up in terror, hitting his head on the low
ceiling, tripping backwards through the crawlspace door,
hitting his chin as he falls down...
Genres: ["Fantasy","Drama","Horror"]

Summary Geppetto wakes up hungover in his workshop to find his puppet Pinocchio missing. As he investigates strange noises from the attic, he encounters a living Pinocchio who claims to be his son, supported by a cricket named Sebastian J. Geppetto, horrified and in denial, panics and injures himself while trying to escape the shocking revelation.
Strengths
  • Effective use of horror elements
  • Compelling character dynamics
  • Emotional depth
Weaknesses
  • Some dialogue could be further refined for impact
Critique
  • The scene effectively builds suspense and horror in the attic reveal, which mirrors classic monster movie tropes and fits the initial shock of Pinocchio coming to life. However, this horror-centric approach might feel overly intense and disconnected from the broader story's mix of grief, fantasy, and eventual humor. Since the narrative involves themes of loss and redemption, the horror could overshadow the emotional depth of Geppetto's character, making his reaction seem one-dimensional rather than a nuanced blend of fear, longing, and denial. This could alienate viewers who expect a more whimsical or heartfelt tone based on the fairy tale origins, potentially reducing empathy for Geppetto early on.
  • Geppetto's dialogue and actions, such as screaming 'Arrrgh!!' multiple times and immediately denying Pinocchio's identity, come across as repetitive and exaggerated, which might diminish the scene's emotional impact. While the intent is to show his terror, this portrayal risks making him appear cartoonish rather than a grieving father confronting a supernatural event. A more layered response could explore his internal conflict—perhaps showing flashes of recognition or hope amidst the fear—to better connect with his arc from loss in earlier scenes, helping the audience understand his psychological state without relying on shock value alone.
  • The introduction of the Cricket popping out of Pinocchio's chest is a clever visual gag that adds humor, but it feels abrupt and underutilized in this context. Mistaking the Cricket for cockroaches injects comedy into a horror sequence, which could disrupt the tension and make the tone inconsistent. Additionally, this moment doesn't fully capitalize on the Cricket's established role as a narrator and observer from previous scenes, missing an opportunity to deepen his character or provide insightful commentary that bridges the horror to the fantastical elements, thus weakening the scene's coherence within the larger narrative.
  • Pacing in the scene is rapid, with quick cuts from hearing noises to the reveal, which builds excitement but leaves little room for character development or subtle foreshadowing. For instance, the faint footsteps and clattering could be drawn out with more sensory details or reaction shots to heighten anticipation and make the reveal more earned. This fast pace might work for action-oriented sequences but feels rushed in a story moment that should emphasize emotional stakes, potentially making the audience's investment in Pinocchio's awakening less profound and the transition to future comedic elements less smooth.
  • The visual elements, such as the dimly lit attic and Geppetto's clumsy movements, effectively create a suspenseful atmosphere, but they could be more thematically integrated. For example, the wood shavings covering Carlo's photo symbolize Geppetto's blurred memories and new creation, yet this is not explored deeply, reducing its symbolic potential. Furthermore, the scene's end with Geppetto falling and hitting his chin feels like a physical comedy beat that undercuts the horror without adding meaningful progression, which might confuse viewers about the intended tone and fail to advance the story's emotional core effectively.
Suggestions
  • To balance the horror tone, incorporate subtle hints of wonder or familiarity in Geppetto's reaction, such as a brief moment where he sees a resemblance to Carlo, to create a more nuanced emotional arc and better align with the story's themes of grief and fantasy.
  • Refine Geppetto's dialogue to be less repetitive by adding introspective lines or pauses that reveal his inner turmoil, making his denial more poignant and helping the audience connect with his character on a deeper level.
  • Expand the Cricket's role by having him provide a quick, witty narration or aside that contextualizes the event, smoothing the transition from horror to humor and reinforcing his function as a guide in the story.
  • Slow the pacing slightly by adding beats, such as close-ups of Geppetto's face during the climb or ambient sounds building tension, to make the reveal more impactful and give space for emotional resonance before escalating to panic.
  • Enhance visual storytelling by using symbolic elements, like lighting that casts shadows reminiscent of Carlo's photo, to tie the scene back to earlier motifs of loss and creation, strengthening the overall narrative cohesion.



Scene 8 - Chaos in the Workshop
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. GEPPETTO WORKSHOP - MORNING

...and landing on the hard floor of the workshop. The axe
tumbles from his hand.

Pinocchio descends the ladder with disjointed, inhuman
movements; he’s not yet in full control of his body (ref: a
baby’s weird twitchy movements / floppy wooden puppet).

Geppetto, flat on his back, tries to pull himself further
away from this monstrosity.

Pinocchio starts to look around the room in wonder. He picks
up the axe and looks at it with curiosity.

He gasps and runs off, giggling, as he sees something else of
interest.

Having lost interest in the axe, he tosses it aside. Luckily
this time Geppetto is able to catch it before it strikes him.

PINOCCHIO
(gasps)
Wow...What is this?
22.


Another gasp, as Pinocchio sees a row of glinting empty
bottles. He rushes over.

PINOCCHIO (SONG) (CONT’D)
All the things my eyes can see...

GEPPETTO
No...No. Get away from me!

PINOCCHIO
Everything is new to me.

GEPPETTO (SONG)
You, you stand back! Don’t come
near me!

PINOCCHIO
Yo dee lo dee lee
What do you call it, call it?

GEPPETTO (SONG)
It...It’s a clock. Don’t touch it!

PINOCCHIO (SONG)
What to do with it, with it?

GEPPETTO (SONG)
It sings at 6 o’clock.

Pinocchio hops around the room causing destruction in his
glee.

PINOCCHIO (SONG)
Yo dee lo dee lo yo dee

GEPPETTO
Oh no! Argh!

Pinocchio begins to pick up objects he sees around the room.

PINOCCHIO
Yo dee lo dee lo yo lee
What do you call it, call it?

GEPPETTO
No, no, please!

Geppetto chases him, trying to calm him- picking up after
him. Sebastian stays inside the nook- holds on for dear life.

GEPPETTO (SONG) (CONT’D)
That’s a hammer.
23.


PINOCCHIO (SONG)
What to do with it, with it?

GEPPETTO (SONG)
You tap, you smash, you shatter.

PINOCCHIO (SONG)
Love it. I love it.
Yo dee lo dee lo yo dee lo dee lo
dee dee

Pinocchio smashes with the hammer, shattering all the
bottles.

GEPPETTO (SONG)
Oh no! No! Ugh!

PINOCCHIO (SONG)
Everything is new to me,
To me

GEPPETTO (SONG)
Ca-Careful!

Pinocchio grabs a broom and swings it around, dancing with it
like Fred Astaire.

Cricket, inside the nook, hangs on for dear life.

Pinocchio climbs up and swings from the ceiling. In his
enthusiasm, he knocks some knives off a shelf. They come
dangerously close to stabbing Geppetto, but he manages to
leap out of the way as they pierce the ground all around him.

GEPPETTO (CONT’D)
Ahh, sharp! Sharp!! Ahhh!

PINOCCHIO (SONG)
The world is rich with funny words
They ring like bells those tiny
words
They glow, they shine, they dance
in my mind
Like a chorus line, those silly
words of mine
La la eee dooo
La la eee dooo
What do you call it, call it?

GEPPETTO (SONG)
Uhh, a--a chamberpot.

Pinocchio begins running around again clutching the bedpan.
24.


PINOCCHIO
What to do with it, with it?

GEPPETTO (SONG)
Um-uh I...oh.

PINOCCHIO (SONG)
Love it
I love it
Yo dee lo dee lo yo dee lo dee lo
dee dee
Everything is new
Everything is new to me

Yo dee lo dee lo yo dee
Yo dee lo dee lo yo dee

Love it, love it

GEPPETTO (SONG)
Oh dear, oh dear. Well, alright,
alright, that’s enough. That’s
enough. Ohhh. Don’t. Don’t! No! No!
You have to stop!

PINOCCHIO (SONG)
Everything is new to me!

Geppetto stares disgusted at his unholy creation.

Geppetto throws a blanket over Pinocchio- yodelling.

Then nervously runs and pushes Pinocchio- blanket and all-
into a closet.

Closes the closet door. Locks it. Pinocchio BANGS loudly,
trying to escape.

PINOCCHIO (CONT’D)
That was so much fun, Papa!

GEPPETTO
You’re not my son!
(beat)
What is wrong with you!?

It’s quiet. He stares at the door apprehensively.

PINOCCHIO
I’m sorry.

Geppetto opens the door slowly to look inside.

Pinocchio sits in the corner. A glove is stuck on the end of
25.


his nose. He makes for a ridiculous figure, and for a moment,
Geppetto’s heart begins to soften.

GEPPETTO
I--uh...
(searching for the words)
Just stay here- don’t come out

The CHURCH BELLS ring. Backs away from the door.

GEPPETTO (CONT’D)
Time for Church-

Trying to pretend like it’s a normal day, he heads to front
door.

PINOCCHIO
Church?! I wanna go to Church!!
Church!! Church!! Church!!

GEPPETTO
Stay there. You- you understand?

Opens the front door, and closes roughly behind him.

Pinocchio continues to bang on the locked closet door.

PINOCCHIO
Church!! Church!! Church!! Church!

SMASH! Pinocchio BURSTS out of the closet- yelling!!

PINOCCHIO (CONT’D)
Church!!!

CRICKET
No no. He told you to stay-

PINOCCHIO
(sing song)
I’m going to church, I’m going to
church, I’m going to church!

Pinocchio continues to head towards the door.

CRICKET
No, no, no! Please stop, you must
obey your Papa.

PINOCCHIO
“Obey”?

CRICKET
To do as you are told...
26.


PINOCCHIO
But I don’t want to obey.

CRICKET
Well, you must try your best, and
that’s the best anybody can do.

MUSIC SWELLS as if in the start of a musical number. Cricket
sings oh, ever so briefly with a perfect baritone voice...

CRICKET (CONT’D)
My dear father loved to say---

Pinocchio opens the door, slamming it into the Cricket,
crushing him and cutting off his song.

PINOCCHIO
I’m going to church!! I’m going to
church!!

Pinocchio opens the door and leaves.

CRICKET
Ugggh.
Genres: ["Fantasy","Musical","Drama"]

Summary In Geppetto's workshop, a newly animated Pinocchio explores with childlike curiosity, causing chaos and destruction despite Geppetto's fearful attempts to control him. As Pinocchio joyfully smashes bottles and swings from the ceiling, Geppetto's warnings go unheeded. After a brief moment of calm, Pinocchio, driven by a desire to go to church, breaks free from confinement, ignoring the Cricket's advice and inadvertently crushing him as he exits the workshop.
Strengths
  • Effective introduction of conflict
  • Strong emotional impact
  • Compelling character dynamics
Weaknesses
  • Some chaotic elements may be overwhelming for some viewers
Critique
  • The scene effectively captures the chaotic energy of Pinocchio's newfound life, mirroring his childlike curiosity and disjointed movements, which visually echoes the puppet's unnatural animation from scene 6. This creates a strong contrast with Geppetto's terror and frustration, building on the horror elements introduced in scene 7, and helps establish Pinocchio as a disruptive force in Geppetto's grief-stricken world. However, the rapid succession of destructive actions risks overwhelming the audience, potentially diluting the emotional impact by prioritizing slapstick comedy over deeper character exploration. For instance, Geppetto's shift from fear to momentary softening feels abrupt and underdeveloped, missing an opportunity to delve into his internal conflict between his loss of Carlo and the uncanny presence of Pinocchio, which could make the scene more poignant and tied to the overarching themes of grief and paternal love.
  • The incorporation of song and musical elements adds a whimsical, fairy-tale quality that fits the story's fantasy roots, but the lyrics and repetitive phrases (e.g., 'Yo dee lo dee lo') come across as overly simplistic and cartoonish, which might undermine the scene's darker undertones established in earlier scenes like the bombing in scene 4 or Geppetto's drinking in scene 5. This could alienate viewers seeking a more nuanced blend of humor and tragedy, as the song doesn't significantly advance character development or reveal new insights, feeling more like filler than integral storytelling. Additionally, the Cricket's role is underutilized here; while his observation and brief advice attempt to ground the chaos, his crushing at the end becomes a repetitive gag that lessens its impact and makes him seem like comic relief rather than a key moral guide, as hinted in scene 6.
  • Visually, the scene's depiction of destruction (e.g., smashing bottles, knocking knives) is vivid and cinematic, enhancing the sense of uncontrolled energy and danger, which aligns with Pinocchio's 'baby-like' movements. However, this focus on physical comedy overshadows potential for symbolic depth, such as using the objects Pinocchio interacts with to subtly reference Geppetto's past (e.g., the axe could evoke the tree-chopping in scene 5, or the bottles could symbolize his alcoholism). The tone shifts too quickly between horror, comedy, and whimsy without smooth transitions, which might confuse the audience about the intended emotional arc, especially given the heavy grief in preceding scenes. Furthermore, Pinocchio's immediate disobedience and glee in causing chaos feel inconsistent with the Wood Sprite's blessing in scene 6, where he was intended to be guided towards goodness, making his character appear more malicious than innocently naive at this stage.
  • The dialogue effectively conveys Geppetto's fear and Pinocchio's wonder, with lines like 'You’re not my son!' highlighting the theme of identity and loss, but it lacks subtlety in places, such as the repetitive 'No, no, please!' which can feel melodramatic and reduce tension. The scene's ending, with Pinocchio breaking out and crushing the Cricket, provides a strong setup for the next scene (Pinocchio heading to church), but it resolves too abruptly, leaving little room for the audience to process the escalating conflict. Overall, while the scene successfully introduces Pinocchio's personality and escalates the stakes in Geppetto's household, it could better balance its comedic elements with the story's serious undertones to avoid feeling like a standalone gag reel rather than a cohesive part of the narrative arc.
Suggestions
  • Incorporate moments of quiet reflection amidst the chaos, such as a brief pause where Geppetto recalls a memory of Carlo triggered by Pinocchio's actions, to deepen emotional resonance and tie the scene more closely to the themes of loss from earlier scenes.
  • Refine the song lyrics to include subtle references to Pinocchio's origin or Geppetto's grief, making them more thematic and less repetitive, which could enhance character development and integrate the musical elements more seamlessly into the story's tone.
  • Adjust the pacing by spacing out Pinocchio's destructive actions with build-up or consequences, allowing for more tension and character reactions, and ensure Pinocchio's behavior aligns with his intended innocence by showing his curiosity as exploratory rather than purely destructive.
  • Expand the Cricket's role by giving him more active involvement, such as attempting to intervene verbally or physically earlier in the scene, to reinforce his function as a moral compass and reduce the reliance on physical gags like his crushing.
  • Strengthen the visual storytelling by using symbolic props (e.g., having Pinocchio interact with Carlo's old toys) and camera techniques (e.g., close-ups on Geppetto's face during moments of fear) to heighten emotional stakes and improve transitions between horror and comedy elements.



Scene 9 - Whimsy Amidst Ominous Shadows
  • Overall: 8.5
  • Concept: 8
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
EXT. TOWN STREETS AND PIAZZA - DAY

The town has changed. POSTERS OF FASCIST PROPAGANDA are
everywhere. Portraits of Mussolini take entire walls.
Pinocchio goes by one that reads: BELIEVE, OBEY, FIGHT. He
waves to the mural.

PINOCCHIO
Hiiiii! Okay, byeeeee!

Some houses are in disrepair- destroyed, abandoned.

Pinocchio-

-hears the bell and sees-


THE TOWN’S CHURCH.

PINOCCHIO
Oooh!

Pinocchio makes some playful noises as he proceeds to hop up
each church step.
27.
Genres: ["Drama","Fantasy"]

Summary In scene 9, set in a town under fascist influence, Pinocchio joyfully interacts with his surroundings, waving at a propaganda mural and expressing excitement upon discovering a church. Despite the ominous atmosphere marked by abandoned houses and Mussolini's portraits, Pinocchio's playful demeanor shines through as he hops up the church steps, embodying innocence and curiosity.
Strengths
  • Effective juxtaposition of themes
  • Compelling visual contrast between characters and setting
  • Innovative concept of town transformation
Weaknesses
  • Dialogue could be further developed for deeper character interactions
  • Subtle plot progression may require more overt narrative cues
Critique
  • This scene effectively establishes a stark contrast between Pinocchio's childlike innocence and the oppressive atmosphere of fascist Italy, which is a strong thematic element in the overall script. Pinocchio's wave and casual goodbye to the Mussolini mural highlight his naivety, providing a humorous yet ironic moment that underscores the dangers of blind obedience in a totalitarian regime. However, the scene feels somewhat underdeveloped, as Pinocchio's interaction with the propaganda is brief and superficial, missing an opportunity to delve deeper into his character and the socio-political context. For instance, while the mural's slogan 'BELIEVE, OBEY, FIGHT' is visually prominent, Pinocchio's response doesn't explore how he misinterprets or innocently engages with it, which could add layers to his development and make the audience more invested in his journey.
  • The visual elements, such as the disrepair of houses and the fascist posters, successfully convey the decay and oppression of the setting, tying into the script's broader themes of loss, grief, and societal change. This helps transition from the intimate chaos of Scene 8 in the workshop to the public confrontation in Scene 10 at the church. That said, the scene lacks depth in its depiction of the town's atmosphere; the abandoned houses are mentioned but not shown in a way that evokes emotional resonance or builds tension. Pinocchio's playful hopping up the church steps is a charming visual that emphasizes his energetic personality, but it comes across as overly simplistic and cartoonish, potentially undermining the gravity of the fascist backdrop and making the scene feel like a light interlude rather than a meaningful bridge.
  • In terms of pacing, this short scene (estimated at around 15-20 seconds based on the description) serves as a quick cutaway that advances Pinocchio's movement toward the church, but it risks feeling abrupt or inconsequential in the context of a 39-scene script. The dialogue is minimal and exaggerated, with Pinocchio's 'Hiiiii! Okay, byeeeee!' and excited noises reinforcing his childlike wonder, but it lacks subtlety or variation, which could make it more engaging. Additionally, the scene doesn't fully capitalize on the opportunity to show Pinocchio's growth or internal conflict, especially since he's just been brought to life and is exploring the world for the first time. This could be a missed chance to build empathy for Pinocchio, as his actions here are purely reactive and don't reveal much about his evolving understanding of the world around him.
  • Thematically, the scene introduces the fascist elements that will play a larger role later, but it doesn't integrate them cohesively with Pinocchio's character arc. For example, his wave to the mural could symbolize his unwitting alignment with the regime's ideals, foreshadowing conflicts in scenes like the church confrontation or his interactions with the Podestà. However, this potential is underexplored, leaving the scene feeling isolated rather than connected to the script's exploration of obedience, identity, and morality. Finally, the tone shifts abruptly from the chaotic humor of Scene 8 to this exploratory whimsy, which might disrupt the emotional flow, especially given the heavy themes of grief and loss established earlier in the script.
Suggestions
  • Expand the scene to include more of Pinocchio's reactions to the fascist propaganda, such as having him mimic the 'BELIEVE, OBEY, FIGHT' slogan in a playful way or question it innocently, which would add depth to his character and better integrate the historical context, making the scene more thematically rich and engaging.
  • Incorporate additional sensory details or minor actions to build the town's atmosphere, like adding sounds of distant marching boots, whispers of townspeople reacting to Pinocchio's odd appearance, or visual cues of war damage (e.g., Pinocchio tripping over debris), to make the transition from the workshop to the church feel more immersive and less rushed.
  • Refine Pinocchio's dialogue and actions to include a moment of reflection or internal conflict, perhaps through voice-over from the Cricket or subtle facial expressions, to show his curiosity evolving and to better connect this scene to his overall arc of learning about the world, obedience, and consequences.
  • Consider adding a brief interaction with a background character, such as a passerby who glares at Pinocchio or comments on the propaganda, to heighten tension and foreshadow the societal rejection he faces in the next scene, while maintaining the scene's brevity to keep pacing tight.
  • Adjust the tone by blending more humor with subtle dread, for example, by having Pinocchio's hopping up the steps include a near-miss with a fascist poster falling, to create a smoother emotional transition from the comedic peril of Scene 8 to the dramatic escalation in Scene 10, ensuring the scene feels like a natural part of the narrative flow.



Scene 10 - The Church of Fear
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 8
  • Dialogue: 7
INT. CHURCH

The Town Priest prepares to bless palms with holy water and
incense. Everybody is singing.

TOWN PRIEST
Ostende nobis, Domine,
misericordiam Tuam.

CONGREGATION
Et salutare Tuum da nobis.

TOWN PRIEST
Pater omnipotens, aeterne Deus.

CONGREGATION
Et clamor meus ad Te veniat.

TOWN PRIEST
Pater omnipotens, aeterne Deus.

Everyone closes their eyes and clasps hands in prayer.
Pinocchio watches with wonder. Without realizing it, he
wanders down the aisle.

Pinocchio looks at the Christ, backlit by a sun-ray,
majestic... missing an arm.

He catches the eye of CANDLEWICK.

CANDLEWICK
Look- Father- over there- what is
that??

Someone in the crowd screams.

MILLINER
Dio Mio!

PRIEST
Ahh! An abhorration.

PINOCCHIO
Papa! Papa! Over here!

PARISHIONER WOMAN
It speaks!?

TWIN DAUGHTER 1
Avra il Diavolo!

GEPPETTO
Pinocchio!
28.


PINOCCHIO
(runs to Geppetto)
Papa! It’s me! I came to church!

The crowd lets out a collective gasp.

CARNIVAL WORKER #1
It’s a demon!

TWIN DAUGHTER 1
Witchcraft!

WOMAN 2 makes the gesture of the horns to protect herself
from Malocchio, the “evil eye”!

TWIN DAUGHTER 2
Malocchio!!

PINOCCHIO
(correcting her)
Pinocchio!

People are disgusted and terrified, making sign of the cross
on themselves.

GEPPETTO
No!! No!! Please. It’s...It’s a
puppet- To- to entertain!!

Everyone chatters/gossips/argues with each other.

CANDLEWICK
If he’s a puppet, where are his
strings?

The Podestà calmly stands and begins to walk down the aisle.
The crowd continues to murmur.

PODESTÀ
That’s true. Who controls you,
wooden boy?

GEPPETTO
Of course, I control him.

PINOCCHIO
Who controls YOU?

Geppetto picks him up and covers his mouth- but Pinocchio
struggles to escape.

GEPPETTO
(being kicked and hit by
Pinocchio)
(MORE)
29.
GEPPETTO (CONT’D)
No one talks to the Podestà like
that.
(awkwardly chuckling)
He- oh, he’s a puppet, just a
puppet.

PINOCCHIO
No, I’m not! I’m made of flesh and
bone and meaty bits!! I’m a real
boy!

His nose grows! People scream again!

MILLINER
Demon!!

TWIN DAUGHTER 2
Arrrrgh!!

TWIN DAUGHTER 1
A monster!!!

OLD WOMAN
Il Diavolo!

GEPPETTO
No, no...no! He’s harmless!!

PODESTÀ'S WIFE
It’s an abomination!

BUTCHER
(Shouting in Italian)

TWIN DAUGHTER 1
This is the work of the Devil!

TOWN PRIEST
ENOUGH! This is a house of God. You
drunken fool! You carving this,
this...thing! While our blessed
Christ hangs unfinished all these
years! Take that unholy thing away!
Take it away! Now!

BUTCHER
(Shouting in Italian)

GEPPETTO
Yes, yes, Padre. Uh-uh-uh sorry,
sorry, sorry, sorry. He’ll be fine.

Geppetto picks Pinocchio up and tries to leave the church!
30.


PARISHIONER WOMAN
Get out!

OLD WOMAN
Shame on you, Geppetto!

FRUIT VENDOR
Burn him!

MILLINER
Chop ‘im up!

BUTCHER
Oh mio dio!
(continues cursing in
Italian)

Candlewick sticks his tongue out at Pinocchio and Pinocchio
responds in kind.

OLD WOMAN
Get out!!

PARISHIONER WOMAN
Curse you, Geppetto!

PODESTÀ'S WIFE
The lord will punish him!

OLD WOMAN
(yelling in Italian)

TWIN DAUGHTER 1
Get out!!!

The church doors slam behind them.

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

Summary During a solemn palm blessing ceremony in a church, Pinocchio innocently wanders in, captivated by a statue of Christ. His presence triggers panic among the congregation, led by Candlewick, who accuses him of being a demon. Geppetto defends Pinocchio, but when Pinocchio insists he is a real boy, his nose grows, escalating the townspeople's fear and hostility. The Priest orders Geppetto to leave with Pinocchio, who struggles as they exit amidst a barrage of insults and accusations from the frightened crowd.
Strengths
  • High emotional impact
  • Effective tension building
  • Unique concept
Weaknesses
  • Potential for confusion among characters
  • Limited exploration of individual reactions
Critique
  • The scene effectively captures the chaotic and fearful reaction of the congregation to Pinocchio's presence, which serves as a strong escalation of conflict and highlights themes of prejudice and the fear of the unknown. This mirrors real-world societal reactions to difference, making it relatable and deepening the audience's understanding of Pinocchio's outsider status. However, the rapid accumulation of multiple characters shouting accusations can feel overwhelming, potentially diluting the impact of individual reactions and making it hard for viewers to focus on key emotional beats, such as Geppetto's defense or Pinocchio's innocence.
  • Pinocchio's dialogue and actions, like correcting his name to 'Pinocchio' and claiming to be made of 'flesh and bone,' emphasize his childlike curiosity and naivety, which is a strong character trait carried over from previous scenes. This contrast with the crowd's hysteria adds humor and poignancy, but the nose-growing moment, while faithful to the source material, feels somewhat abrupt and could be better integrated to build suspense, allowing the audience more time to anticipate the lie's consequence and heighten the comedic or horrific effect.
  • Geppetto's arc in this scene shows a quick shift from terror (as seen in Scene 7) to defense, which is a natural progression but lacks depth. His internal conflict—grappling with the loss of Carlo and the uncanny reality of Pinocchio—could be more explicitly shown through subtle actions or expressions, making his defense more emotionally resonant and helping the audience connect with his character development. Currently, the transition feels rushed, potentially undercutting the scene's emotional weight.
  • The use of fascist undertones, evident in characters like the Podestà and Candlewick, adds layers to the conflict, foreshadowing larger societal themes. However, in this church setting, the religious hysteria overshadows these elements, which might confuse viewers if not tied back clearly to the broader narrative. The scene could benefit from more visual cues, like fascist symbols in the church, to reinforce the regime's influence and create a cohesive atmosphere that blends religious and political fear.
  • Visually, the description of the church and Pinocchio's interaction with the armless Christ statue is evocative, symbolizing incompleteness and shared suffering, which is a nice thematic touch. Yet, the staging of the chaos—with many characters reacting simultaneously—might be challenging to film without becoming visually cluttered. The script relies heavily on dialogue for the crowd's reactions, which could be supplemented with more dynamic action descriptions to guide the director and enhance the scene's cinematic flow, ensuring that the horror and comedy are balanced effectively.
Suggestions
  • Tighten the crowd's reactions by grouping similar responses (e.g., combine multiple 'demon' shouts into a single action line describing a wave of panic) to reduce redundancy and improve pacing, allowing key lines from characters like the Podestà or Geppetto to stand out more clearly.
  • Add a brief moment before Pinocchio's nose grows where he hesitates or shows confusion, building tension and making the transformation more impactful; this could also deepen his character by showing his internal struggle with truthfulness.
  • Incorporate more physicality for Geppetto, such as a close-up of his hands trembling or a flashback cut to Carlo's photo, to externalize his emotional conflict and make his defense of Pinocchio feel more earned and heartfelt.
  • Enhance the fascist theme by including subtle visual elements in the church, like a Mussolini portrait or a banner, and have the Podestà's questions tie into obedience propaganda, strengthening the connection to the story's larger socio-political commentary.
  • Refine the dialogue by making it more concise— for example, reduce the number of overlapping shouts by using ellipses or action interruptions—and suggest alternative visual storytelling, such as Pinocchio's wide-eyed wonder contrasting with the crowd's horrified faces, to maintain energy without overwhelming the audience.



Scene 11 - A Tense Encounter in the Workshop
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
INT. GEPPETTO WORKSHOP - AFTERNOON

It is raining outside.

Geppetto is filing off the excess nose from Pinocchio.
Pinocchio is fidgeting. And yodeling.

PINOCCHIO
Yo dee lo dee lo yo lee. Hello!

GEPPETTO
Stop fidgeting, please!
(he doesn’t)
31.


Cricket watches from a ledge while tuning a tiny fiddle. He
waves at Pinocchio.

GEPPETTO (CONT’D)
Carlo never acted like this.
(sighs)

PINOCCHIO
Papa- Why did my nose grow today?

GEPPETTO
You lied, Pinocchio. And a lie is-
plain to see as your nose... And...

PINOCCHIO
And the more you lie, the more it
grows... Is that it?

Pinocchio extends his finger out from his nose to illustrate.

Geppetto is startled- how does Pinocchio know that??

GEPPETTO
That- yes- that’s it-


A KNOCK on the door. Geppetto goes to answer. Lightning
illuminates: The Town Priest and The Podestà (in Fascist
Regalia). More lightning illuminates:

Candlewick- Glaring menacingly.

The Podestà gives a ROMAN SALUTE!

They all do.
Genres: ["Fantasy","Drama"]

Summary In Geppetto's workshop on a rainy afternoon, Geppetto struggles to keep Pinocchio still while explaining the consequences of lying, as Pinocchio playfully fidgets and yodels. Their light-hearted interaction is interrupted by the arrival of the Town Priest and the Podestà in Fascist regalia, bringing a tense atmosphere as they exchange Roman salutes, leaving the scene on an ominous note.
Strengths
  • Effective blending of fantasy and drama elements
  • Compelling character dynamics
  • Tension-filled conflict progression
Weaknesses
  • Potential for confusion in the fantastical elements for some viewers
Critique
  • This scene serves as a transitional moment after the high-tension church confrontation in Scene 10, effectively using the rainy afternoon setting to create a moody, introspective atmosphere that contrasts with the chaos, allowing for a brief character moment before reintroducing external conflict. It highlights Geppetto's ongoing struggle with Pinocchio's unnatural behavior, reinforcing his grief over Carlo through the line 'Carlo never acted like this,' which deepens the emotional layer and underscores the theme of loss versus the imperfect replacement. However, Pinocchio's fidgeting and yodeling come across as overly simplistic and cartoonish, potentially undermining the scene's emotional weight by emphasizing humor at the expense of character development, making Pinocchio feel more like a comedic prop than a nuanced figure with a 'borrowed soul.' The Cricket's role is minimally engaging; he waves and tunes a fiddle but lacks agency or dialogue, rendering him a passive observer that doesn't advance his arc as a guide, which could make his presence feel redundant in this context. The dialogue about lying is a missed opportunity for deeper exploration; Pinocchio's instant understanding and demonstration feel contrived and abrupt, lacking buildup or surprise, which diminishes the impact of this key thematic element. Finally, the sudden knock and arrival of the Town Priest, Podestà, and Candlewick shift the tone abruptly to tension, but the fascist salute ending feels somewhat tacked on, as the scene doesn't sufficiently build suspense or connect the domestic intimacy to the broader socio-political themes, making the transition feel forced rather than organic.
  • In terms of pacing, the scene is concise, which helps maintain momentum in a longer script, but it risks feeling rushed due to the quick shift from a personal father-son interaction to an authoritative intrusion. This brevity might not allow enough time for the audience to absorb Geppetto's emotional state or Pinocchio's growth, potentially leaving viewers disconnected from their evolving relationship. Visually, the rainy weather and Cricket's actions add atmospheric detail, but they could be better integrated to enhance symbolism—such as the rain mirroring Geppetto's turmoil or the Cricket's fiddle tuning foreshadowing discord. The character dynamics are intriguing, with Geppetto's frustration and Pinocchio's innocence creating a poignant contrast, but the scene doesn't fully capitalize on this to show progression in their bond, especially after the traumatic church event. Additionally, the fascist elements introduced at the end align with the script's themes but lack subtlety; the glare from Candlewick and the salute could be more menacing if foreshadowed earlier, making the threat feel more immediate and less like an abrupt cut. Overall, while the scene effectively bridges emotional recovery and escalating conflict, it could benefit from more nuanced handling of character interactions and thematic depth to better serve the story's exploration of grief, identity, and authoritarianism.
Suggestions
  • Expand Pinocchio's dialogue and actions to show more curiosity or emotional response when discussing lying, perhaps by having him reference the church incident to create a direct callback, making his understanding feel earned and tying it to his recent experiences.
  • Give the Cricket a small, active role, such as a line of commentary or a gesture that reinforces his role as a guide, like warning about the consequences of lying or reacting to the knock at the door, to make him a more integral part of the scene and avoid him feeling like extraneous decoration.
  • Add subtle foreshadowing of the visitors' arrival, such as distant sounds of footsteps or shadows through the window during the filing sequence, to build suspense and make the interruption feel more natural and less abrupt.
  • Deepen Geppetto's emotional expression when comparing Pinocchio to Carlo, perhaps through a brief flashback or internal monologue, to heighten the grief theme and strengthen the audience's investment in their relationship without slowing the pace.
  • Incorporate more visual storytelling to enhance the fascist theme, like having propaganda posters visible in the workshop or referencing the earlier mural in dialogue, to create a smoother transition to the salute and better integrate the socio-political context into this intimate setting.



Scene 12 - Hot Chocolate Chaos
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. GEPPETTO HOUSE / DINING ROOM - NIGHT

Geppetto pours his visitors some hot chocolate.

GEPPETTO
There you go.

TOWN PRIEST
Chocolate! Thank you, Geppetto. We
appreciate your hospitality

PODESTÀ
Candlewick, go sit by the fire.

Candlewick obeys.
32.


TOWN PRIEST
We are here to talk about the
incident at the church today. The
community was startled by your
creation...

PODESTÀ
(interrupts)
As Podestà, I must ensure that this
“puppet” of yours poses no threat
to our community?

GEPPETTO
Oh no, no, nothing like that!

PINOCCHIO
Ooh, is that--hot chocolate?

The Podestà stares at Pinocchio with bewilderment.

CANDLEWICK
You’re a puppet. You’ve never eaten
anything in your life!

PINOCCHIO
Oh- oh- That must be why I’m SO
hungry!! Oh, I’m STARVING, Papa!
I’m STARVING to DEATH!

GEPPETTO
You are not. Now go sit by the fire
and let me talk to our guests.

PINOCCHIO
But I don’t want to! I want hot
chocolate! PLEASE, Papa! PLEASE,
PLEASE, PLEASE, PLEEEEEASE--

The Town Priest and Podestà exchange shocked looks.

Geppetto quickly pours a cup of chocolate for Pinocchio.

GEPPETTO
There there now- here you go.

PINOCCHIO
Oh boy! Thank you, thank you, thank
you, thank you--

GEPPETTO
Yes, yes- Pinocchio. Go, go warm
your feet by the fire. Obey your
Papa.
33.


PINOCCHIO
Oh, yes! I WILL obey if I get
CHOCOLATE! O’boy, o’boy, o’boy.

Pinocchio goes to the fireplace, spilling hot chocolate as he
goes.

GEPPETTO
(to his guests)
He really is a charming boy.

TOWN PRIEST
Podestà watches over the town’s
moral well being, you understand?
His authority cannot be questioned.

PODESTÀ
That’s right- and I won't be
mocked.

Pinocchio sits down, puts his feet close to the fire and
proceeds to IMITATE CANDLEWICK’s EVERY GESTURE as he sips
chocolate noisily. Candlewick sees this as a challenge.

(As the adults talk, Candlewick and Pinocchio continue their
game of “copy cat”.)

GEPPETTO (O.S.)
I will do just as you wish. You
have my word.

PODESTÀ
So what about this wooden boy? Will
you let him run wild through town
all day?

GEPPETTO
Oh no, no, no, no, no... I- I’ll
keep him- locked up! Right here in
the house.

Pinocchio hears this.

PINOCCHIO
I won’t be locked up! I’ll smash
the windows out, I will!

PODESTÀ
This abnormal boy lacks discipline.
But he seems strong. Sturdy. Made
of good Italian pine.
34.


GEPPETTO (O.S.)
Oh, very good pine, yes. Not
perfect, you see, but uh he...he
means well.

Pinocchio’s game of “copy cat” continues with Candlewick.

CANDLEWICK
(low voice)
Hey, try to get closer to the fire-
to get warm...

PODESTÀ
Son, come here. Look at my boy,
Candlewick.

GEPPETTO
Yes, yes.
(laughs nervously)

Pinocchio gazes at the fire and starts to inch closer.

Meanwhile, Podestà gestures for Candlewick to come closer.

PODESTÀ
A model Fascist Youth: proud and
brave- virile like his father! And
his teeth- perfect teeth. And no
sign of jaundice!!

PINOCCHIO (O.S.)
Papa- Papa- my feet feel hot- like
chocolate- Look!

Geppetto turns: Pinocchio’s legs are on fire!!! He screams.

CRICKET
FIRE!! My house is on fire!!

PINOCCHIO
(excited)
Yes, look at me! Look! I’m on fire!
Yay!

Geppetto screams and grabs the puppet, he dashes back and
forth around the room and finally sinks the legs into a
bucket of water.

PINOCCHIO (CONT’D)
Awwww, look what you did, Papa! You
ruined the nice light on my feet!
35.


PODESTÀ
This is what you get with an
undisciplined mind. You must send
this child to school!

GEPPETTO
To school?! Pinocchio??!!

PODESTÀ
Yes. Tomorrow.

Cricket watches from above, considering what the Podestà has
said. Perhaps school would be good for the boy.

PINOCCHIO
(intrigued)
School?! Hehe.
Genres: ["Drama","Fantasy","Comedy"]

Summary In Geppetto's dining room at night, the Town Priest and Podestà discuss Pinocchio's disruptive behavior and potential threat to the community. Pinocchio interrupts, begging for hot chocolate and playfully imitating Candlewick, which leads to chaos when he accidentally sets his wooden feet on fire. Geppetto extinguishes the flames, but the incident prompts the Podestà to insist that Pinocchio must go to school, shocking Geppetto while Pinocchio expresses intrigue at the idea.
Strengths
  • Effective balance of humor and tension
  • Dynamic character interactions
  • Clear progression of plot
Weaknesses
  • Potential for confusion with multiple character interactions
Critique
  • The scene effectively captures Pinocchio's chaotic and innocent personality, which is consistent with his earlier actions in scenes 8 and 10, providing continuity in character development. However, this consistency might make Pinocchio come across as one-dimensional if his behavior doesn't evolve; his repetitive begging and excitement feel overly cartoonish, potentially reducing the emotional depth and making it harder for the audience to connect with him on a more human level beyond the humor.
  • The dialogue drives the scene's humor and conflict, but it can feel exaggerated and unnatural, such as Pinocchio's prolonged pleas for hot chocolate or the Podestà's stiff declarations about discipline. This might stem from an overemphasis on comedic timing, which, while entertaining, could alienate viewers by not allowing for more subtle, realistic interactions that build tension or reveal character motivations, especially in the context of the fascist regime's influence hinted at in scene 9.
  • The 'copy cat' game between Pinocchio and Candlewick adds a playful dynamic that highlights their childish rivalry and foreshadows themes of obedience and discipline, but it risks overshadowing the more serious discussion between the adults. This imbalance could dilute the scene's potential to explore Geppetto's internal conflict and the societal pressures from the Podestà and Priest, making the transition to the school suggestion feel abrupt rather than a natural progression from the established conflicts.
  • Visually, the fire incident is a strong comedic beat that escalates the chaos, but it may undermine the gravity of Pinocchio's earlier church rejection in scene 10 by treating danger too lightly. This could weaken the overall narrative tension, as Pinocchio's recklessness leads to immediate, humorous resolution without lasting consequences, potentially missing an opportunity to show character growth or heighten the stakes in Geppetto's relationship with his creation.
  • The scene serves as a pivotal setup for Pinocchio's arc toward schooling, tying into the Podestà's fascist ideals and the story's broader themes of conformity and identity. However, the Cricket's observational role is underutilized; his internal consideration of the school idea could be expanded to provide more insight or commentary, making his presence feel more integral rather than peripheral, especially since he was crushed and ignored in the previous scene, which isn't addressed here.
Suggestions
  • Refine Pinocchio's dialogue to include moments of reflection or learning from past events, such as referencing the church incident to show slight character development and make his interruptions less repetitive, helping to balance humor with emotional depth.
  • Incorporate more nuanced interactions during the adult conversation, such as subtle hints of Geppetto's grief over Carlo to connect his frustration with Pinocchio to the larger story, and add pauses or visual cues to build tension gradually, making the fascist undertones more palpable.
  • Enhance the 'copy cat' game by using it to reveal more about Candlewick's character, perhaps showing his internal struggle with his father's expectations, which could create a stronger parallel with Pinocchio and make the game a tool for thematic development rather than just comedy.
  • Adjust the fire incident to include a brief moment of consequence or reflection afterward, such as Geppetto expressing genuine fear or Pinocchio showing brief remorse, to add emotional weight and prevent the scene from feeling too slapstick, thereby strengthening the narrative stakes.
  • Give the Cricket a more active role, such as having him whisper advice or react verbally to the chaos, to reinforce his function as Pinocchio's conscience and tie into his agreement with the Wood Sprite in scene 6, while ensuring his crushed state from scene 8 is acknowledged to maintain continuity and deepen his involvement in the story.



Scene 13 - A Night of Innocence and Reflection
  • Overall: 8.5
  • Concept: 8
  • Plot: 8
  • Characters: 9
  • Dialogue: 9
INT. GEPPETTO BEDROOOM - NIGHT

It’s raining. Geppetto closes the upstairs window.

GEPPETTO
Oh, what a day... What a day...

PINOCCHIO
(imitating)
Oh, what a day! What a day!!

GEPPETTO
Hahaha. Time for bed.

Geppetto lifts Pinocchio off of his bed and carries him over
to the bed that belonged to Carlo.

PINOCCHIO
You know, Papa? I liked my old
legs! And I liked them on fire!

GEPPETTO
Pinocchio, if you go to sleep- I’ll
make you a new pair of legs in the
morning.

The Cricket pops out and watches as Geppetto tucks him in.

PINOCCHIO
Just like the old ones?

GEPPETTO
(chuckling)
Better than the old ones.
36.


PINOCCHIO
Better!!?? Can I have cricket legs,
Papa? Can you make me four of them?

GEPPETTO
(chuckles softly)
No, no, no, no. Just two...Two will
do.

Geppetto gets into bed.

PINOCCHIO
(to Geppetto)
Good night, Papa...

GEPPETTO
Good night, my--
Goodnight...Pinocchio.

For a moment, it was as if Pinocchio WAS Carlo.

Pinocchio sees the Cricket.

PINOCCHIO
Sebastian-

CRICKET
Yes, Pinocchio?

PINOCCHIO
Who’s Carlo?

CRICKET
Carlo was a boy. Geppetto lost him
many years ago.

PINOCCHIO
Where did he put him? How can you
lose a whole person??

CRICKET
I mean he... he died, Pinocchio.
He’s no longer alive...

PINOCCHIO
Is that a bad thing?

CRICKET
Yes, it’s a great burden for a
father to lose a child so young.

PINOCCHIO
What’s a burden?
37.


CRICKET
It’s something... painful you must
carry, even though it hurts you
very much...

Long beat as Pinocchio closes his eyes...

The Cricket smiles and goes back home.

CRICKET (V.O.)
I wrote a lot that night.


INT. NOOK - SAME

CRICKET
I had so much to say- not about my
own life, for a change, but about
imperfect fathers and imperfect
sons- and about loss- and love.

The Cricket is writing on a small “desk”.

CRICKET (V.O.)
And for that one evening at least,
we were, all of us, blissfully
oblivious.

He intensifies the flame in an oil lamp.

DISSOLVE TO:


EXT. STREETS / MAIN PLAZA / TOWN - DAWN

Geppetto pulls his cart as they head for the church. A NEW
ARM for the CRUCIFIXION is in tow.

Pinocchio is excited about his new legs. They are in fact,
just badly patched and unremarkable.

PINOCCHIO
You were right, Papa! These legs
are much, much, much, much better
than the old ones!
(beat)
Ha, look at me! I can walk
backwards, hup! And- and- jump
forwards, hup! I couldn’t do it
before!!

Geppetto strains as he pulls his heavy cart- he’s old. He
briefly looks at Pinocchio, smirks, then shakes his head,
rolls his eyes, and continues ignoring the wooden boy.
38.


On a building nearby- a wild, gnarly monkey, SPAZZATURA,
hangs a banner:

“COUNT VOLPE’S MAGNIFICENT MARIONETTES”

Spazzatura hears voices and looks below:

PINOCCHIO (CONT’D)
Ooooh! Papa! Can you see this? He
looks just like me!

From above, Spazz watches Pinocchio as he goes by. The monkey
is amazed at the sight of the living puppet. Cricket sees
Spazz gazing at Pinocchio and gasps.

CRICKET
What is that?

GEPPETTO (O.S.)
Pinocchio!! C’mon. Hurry up. Hurry
up.

PINOCCHIO
Oh boy, oh boy, oh boy! I love
these new legs, Papa!!

Pinocchio runs to catch up and jumps back in the cart.

PINOCCHIO (CONT’D)
Can we go to a carnival?

GEPPETTO
Perhaps, Pinocchio. Perhaps...Right
now we have work to do.

PINOCCHIO
Work! I love work! Papa, what is
work?

GEPPETTO
Oh, Pinocchio, please no more
questions.

They round the corner and head towards the church. Spazz has
been following them the whole time.

Spazz runs away-
Genres: ["Fantasy","Drama"]

Summary In Geppetto's bedroom during a rainy night, he shares a light-hearted moment with Pinocchio, tucking him into bed and promising to make him new legs. As Pinocchio playfully imitates Geppetto, the Cricket reflects on the pain of loss while explaining the death of Geppetto's son, Carlo. The scene transitions to dawn, where Geppetto, weary from age, pulls a cart while Pinocchio excitedly demonstrates his new legs. They encounter Spazzatura, a curious monkey, who observes them before running away. The scene captures the warmth of their bond, juxtaposed with themes of loss and innocence.
Strengths
  • Whimsical tone
  • Heartwarming interactions
  • Character dynamics
Weaknesses
  • Limited conflict
  • Low stakes
Critique
  • The scene effectively captures the emotional intimacy between Geppetto and Pinocchio, mirroring the loss of Carlo and highlighting themes of grief and surrogate fatherhood. This moment where Geppetto tucks Pinocchio into Carlo's bed and briefly sees him as his lost son is poignant, providing a rare tender pause in the story that deepens character development and gives the audience a moment to breathe amidst the chaos of earlier scenes. However, this emotional beat could be more impactful if it were shown through subtle actions and expressions rather than relying on dialogue that explicitly states the connection, as the line 'For a moment, it was as if Pinocchio WAS Carlo' feels a bit heavy-handed and tells rather than shows.
  • The transition from the rainy night in the bedroom to the dawn in the streets is handled with a dissolve, which is a good visual choice to indicate the passage of time and a shift in tone from reflective to energetic. This contrast works well thematically, symbolizing hope and renewal, but the dissolve might not be smooth enough in execution, as the scene jumps from a personal, indoor moment to a public, outdoor one without a strong narrative bridge. Additionally, Pinocchio's rapid-fire questions and excitement in the street scene could reinforce his childlike curiosity but might feel repetitive if similar behaviors were prominent in previous scenes (e.g., scene 12), potentially diluting the character's depth by making him seem one-dimensional.
  • The introduction of Spazzatura the monkey adds foreshadowing for future conflicts, effectively building suspense and connecting to the carnival elements introduced later. However, Spazzatura's appearance feels somewhat abrupt and underexplained, with his fascination with Pinocchio not given enough context or visual buildup, which could confuse viewers unfamiliar with the character's role in the broader story. This lack of integration makes the monkey's actions seem tacked on, reducing the scene's cohesion and missing an opportunity to heighten tension through more deliberate staging or a brief reaction shot from Geppetto or Cricket.
  • Cricket's voice-over narration provides insightful commentary on themes of imperfect relationships and obliviousness, which enriches the scene's introspective quality and ties into his role as a moral guide. That said, the voice-over risks over-explaining the emotional undercurrents, potentially undermining the audience's ability to infer meaning from the visuals and dialogue. In a screenplay, this can lead to a passive viewing experience, and while it's consistent with Cricket's character established earlier, it might benefit from being more concise or integrated with on-screen action to maintain engagement.
  • Overall, the scene's pacing balances slow, emotional moments with faster, playful ones, which mirrors Pinocchio's dual nature as both a source of joy and chaos. However, the dialogue, particularly Pinocchio's incessant questions and Geppetto's exasperated responses, can come across as clichéd and overly simplistic, failing to advance the plot significantly beyond character exposition. As scene 13 in a 39-scene script, it serves as a transitional piece, but it could be more dynamic by incorporating subtle hints of the fascist regime's influence (e.g., distant propaganda sounds or visual cues) to maintain the story's larger thematic threads and prevent the scene from feeling isolated.
Suggestions
  • Enhance the emotional depth by using more visual storytelling; for example, show Geppetto hesitating or tearing up when tucking Pinocchio in, rather than relying on descriptive text, to make the Carlo parallel more implicit and powerful.
  • Smooth the transition between locations by adding a narrative link, such as a sound bridge with rain continuing into the dawn scene or a cut to Cricket's writing that foreshadows the day ahead, ensuring the dissolve feels organic and not abrupt.
  • Develop Spazzatura's introduction with more buildup, perhaps by having him appear earlier in the background or through a reaction from Cricket that hints at danger, to make his fascination with Pinocchio more intriguing and less sudden.
  • Refine the voice-over to be more subtle; shorten Cricket's narration or intercut it with visuals of the characters sleeping peacefully, allowing the audience to connect emotionally without explicit explanation.
  • Vary Pinocchio's dialogue to avoid repetition; introduce more varied interactions, like physical comedy or silent moments, and weave in subtle references to the fascist setting (e.g., Pinocchio noticing a poster in the street) to better tie the scene into the overall narrative and advance plot elements.



Scene 14 - Carnival of Ambition
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. PERIPHERY STREETS - EDGE OF TOWN - SAME

He runs down the town streets-

And heads for a set of ROMANESQUE ruins-
39.


EXT. ROMANESQUE RUINS - SAME

There, a CARNIVAL is setting up around Count Volpe’s puppet
theater...

There’s a MERRY GO ROUND and COTTON CANDY VENDING CARTS and
ticket booths and the FREAK SHOW cart, and a GIRAFFE, AN
ASTROLOGER’s cart and a--

BARREL MAN
Stupid monkey!

Spazz runs past and under a few of the carts and knocks on
the door of an ornate, beautiful one.


INT. COUNT VOLPE LIVING HEADQUARTERS - SAME

A Baroque paradise of rotting suede and leaf of gold and
garish lamps; somewhat like the church’s red interior.

This is Count Volpe’s Palace. And at its center, in a throne-
like chair sits COUNT VOLPE himself: an elegant, sleek
trickster- SATAN himself-

COUNT VOLPE
(grumbling)
I’m coming!

Full of rage, Volpe kicks open the door with a Tex Avery-like
explosion, knocking Spazz to the ground.

COUNT VOLPE (CONT’D)
What is it?! What are you doing
here? I told you to put up posters
and draw big crowds! This carnival
is going to pot! And you! Can you
not see how desperate the situation
is!?

Spazz tries to communicate. Count Volpe lifts his SILVER CANE
threateningly!

COUNT VOLPE (CONT’D)
A... WHAT??

Count Volpe is intrigued.

COUNT VOLPE (CONT’D)
A “living puppet”? Are you
absolutely sure?

Spazz continues to gesticulate.
40.


COUNT VOLPE (CONT’D)
This could get us to the top again.
This could make us kings again!!!


EXT. CARNIVAL - SAME

As if from nowhere we see Spazz playing a small violin. Count
Volpe begins to sing:

COUNT VOLPE (SONG)
We were a King, once
Can we be king, twice?
We were bathing in milk
Played for diamonds and silk.
Once
But we want it twice!

Volpe prances down the steps and grabs Spazz, spinning and
twirling him, half dance partner, half child’s top.

COUNT VOLPE (CONT’D)
My show was a magnet, for the crowd
No one could resist Volpe’s crown.

He bounds out of the puppet wagon.

COUNT VOLPE (CONT’D)
Now the little ones
Now the married ones

He hoists up the TWO-HEADED PERFORMER, then hugs the FAT LADY
and MANGIAFUOCCO together.

Volpe steals a magazine from one of the CARNIVAL WORKERS.

CARNIVAL WORKER #3
Hey!
(He trails off, cursing in
Italian)

COUNT VOLPE
Prefer Garbo
Gardel, Valentino
La voce di Caruso
Jazz on the radio

He rips out the pages highlighting the stars of the day. He
tosses them aside one by one.

Volpe ties Spazz to a bunch of balloons and releases them in
the air. He grabs a rifle from the shooting gallery and
shoots them down before he floats away.
41.


COUNT VOLPE (CONT’D)
You were the Kings, once
Mon Dieu was it, nice!
You were knights of the night
Full of glory and might
Once
So let’s get it twice!

Volpe and Spazz stick their heads through holes and pose in a
large carnival cutout board.

Volpe leaps from post to post as the CARNIVAL WORKERS hammer
them in.

COUNT VOLPE (CONT’D)
Believe in you!
Believe in me!

Song ends.

The bells of the church ring the MATINALE.
Genres: ["Fantasy","Drama","Musical"]

Summary In this scene, Spazz rushes to Count Volpe's puppet theater amidst the bustling setup of a carnival, encountering various attractions and characters. Inside Volpe's ornate yet decaying headquarters, Spazz faces the Count's wrath for failing to promote the carnival, but piques his interest with news of a 'living puppet.' This revelation shifts the mood from anger to excitement, leading to a lively outdoor performance where Volpe sings about their past glory, engaging in theatrical antics with carnival performers. The scene captures themes of ambition and nostalgia, culminating in the ringing of church bells.
Strengths
  • Introduction of a compelling new character (Count Volpe)
  • Effective establishment of conflict and tension
  • Smooth transition from previous scenes
  • Intriguing blend of whimsical and menacing tones
Weaknesses
  • Limited interaction with other characters
  • Potential for overshadowing existing character dynamics
Critique
  • This scene effectively introduces Count Volpe and expands on Spazzatura's character by showing their dynamic, which adds depth to the antagonists. The transition from Spazz's frantic run to Volpe's headquarters and then to the carnival setup maintains a high energy level, mirroring the chaotic and whimsical tone of the overall script. However, the scene risks feeling overly cartoonish with elements like the 'Tex Avery-like explosion' and exaggerated actions (e.g., kicking the door open, shooting balloons), which might clash with the film's more serious themes of grief, loss, and fascism. This cartoonishness could undermine the emotional weight built in earlier scenes, such as Geppetto's mourning or Pinocchio's innocence, making the antagonists seem less threatening and more like comic relief, which may dilute the stakes in a story that deals with profound human experiences.
  • The musical number is a strong visual and auditory element that conveys Count Volpe's ambition and desire for regained glory, fitting into the script's use of music to express emotion and advance plot. It showcases Volpe's manipulative and energetic personality through dynamic actions, like dancing with Spazz and interacting with other carnival performers, which helps establish the carnival as a contrasting world to the solemn church and town settings. However, the song lyrics and performance might lack specificity to the story's core themes; for instance, while it touches on Volpe's past success, it doesn't deeply connect to the fascist undertones or Pinocchio's unique condition, potentially making it feel somewhat isolated. Additionally, the rapid succession of antics (e.g., hoisting performers, stealing a magazine, shooting balloons) could overwhelm the audience, reducing emotional impact and making the scene feel more like a montage than a cohesive narrative beat.
  • Character development in this scene is functional but could be more nuanced. Spazzatura's role as a non-verbal character is well-utilized through gestures and expressions, effectively communicating his fear and intrigue, which builds sympathy and sets up future conflicts. Count Volpe is portrayed as a charismatic villain, but his dialogue and actions lean heavily on anger and greed without revealing deeper motivations, such as why he was 'king' before or how his fall relates to the broader socio-political context of the story. This lack of depth might make Volpe a one-dimensional antagonist, especially when compared to more layered characters like Geppetto or Pinocchio. Furthermore, the scene ends abruptly with the church bells ringing, which is a good callback to the previous scene but feels tacked on, missing an opportunity to heighten tension or foreshadow the intersection of the carnival and church worlds more organically.
  • Visually, the scene is rich with imaginative elements, such as the baroque decay of Volpe's headquarters and the bustling carnival setup, which contrast nicely with the austere church interiors from earlier scenes and enhance the film's fairy-tale aesthetic. The use of vivid descriptions, like the giraffe and astrologer's cart, adds to the world-building and sense of a vibrant, otherworldly carnival. However, this visual extravagance might overshadow the emotional core of the story at this point, as the script is still establishing Pinocchio's journey and Geppetto's grief. The comedic tone here, while entertaining, could alienate viewers if it doesn't align with the film's intended balance of humor and drama, particularly since the immediate preceding scene (Scene 13) has a more tender, introspective moment between Geppetto and Pinocchio. Ensuring tonal consistency is crucial to maintain audience engagement across scenes.
  • Overall, the scene serves as a pivotal setup for Count Volpe's antagonism towards Pinocchio, advancing the plot by planting the seed for future conflicts, such as Volpe's pursuit of the 'stringless wonder.' It effectively uses Spazz's discovery to bridge the gap between the town and carnival worlds, creating anticipation for their inevitable clash. However, the scene could benefit from tighter integration with the script's themes of obedience, loss, and identity. For example, the song could subtly reference the fascist propaganda seen elsewhere, tying Volpe's ambition to the regime's control, which would make the scene feel more connected to the larger narrative. Additionally, while the action is engaging, it might be too reliant on physical comedy, potentially underutilizing dialogue to reveal character insights, which could make the scene more memorable and thematically resonant.
Suggestions
  • Refine the musical number to focus on key lyrics that directly reference Pinocchio or the fascist elements, making it more plot-relevant and less generic, to better integrate it with the story's themes and increase emotional depth.
  • Add subtle backstory elements to Count Volpe's dialogue or actions, such as a brief mention of his past failures or a visual cue in his headquarters, to make him a more multifaceted villain and enhance audience investment in his conflict with Pinocchio.
  • Balance the cartoonish humor by incorporating moments of restraint or darker undertones, like having Volpe's rage hint at genuine desperation, to maintain tonal consistency with the film's blend of whimsy and tragedy.
  • Shorten or streamline the sequence of carnival antics during the song to avoid overwhelming the audience, perhaps by combining some actions or focusing on two or three iconic moments that best illustrate Volpe's character and ambitions.
  • Strengthen the transition to the church bells by adding a visual or auditory cue that links back to the previous scene, such as a distant view of the church or a faint echo of Pinocchio's voice, to create a smoother narrative flow and build suspense for the upcoming events.



Scene 15 - A Gift of Hope
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. CHURCH - DAY

GEPPETTO
Now let it down. More. That’s it,
that’s it. Just a little
more...Stop.

Geppetto assembles the arm of Christ and then descends on the
rope to an expecting Pinocchio.

GEPPETTO (CONT’D)
There we go. Ahh, very good, child!
Very good!

He goes to his toolbox.

PINOCCHIO
Papa- there’s something I don’t
understand...

GEPPETTO
What is it, Pinocchio?

PINOCCHIO
Everybody likes him.

GEPPETTO
Who?

Pinocchio points at the Christ.
42.


PINOCCHIO
Him. They were all singing to him-
(beat)
He’s made of wood too... Why do
they like him and not me?

Geppetto is touched by Pinocchio’s innocence.

GEPPETTO
Come here, Pinocchio. People are
sometimes afraid of things they
don’t know- but they’ll get to know
you- and like you. And- and for
that...
(beat)
Are you ready for school?

Pinocchio nods excitedly.

GEPPETTO (CONT’D)
Then, I have something I’d like to
give you. Ta-da!

Geppetto reveals a schoolbook. It is CARLO’S old book: the
name “CARLO” emblazoned on the front.

PINOCCHIO
I love it, Papa! I love it! I love
it!

Pinocchio is overwhelmed with joy.

PINOCCHIO (CONT’D)
What is it?

GEPPETTO
It is a schoolbook... a very
special schoolbook, one which
belonged to a very special boy...

PINOCCHIO
Carlo? The boy you lost?

Geppetto nods.

PINOCCHIO (CONT’D)
Was he a very good boy, Papa?

GEPPETTO
Yes, he was.

PINOCCHIO
...And you loved him very much?
43.


GEPPETTO
I did... I, I do.

Pinocchio embraces Geppetto- it is a simple but desperate hug-
immensely moving. True gratitude, the way only a child can
dispense it.

PINOCCHIO
Then I will be just like Carlo! I
will obey and go to school, and I
will be the very, very, best at
whatever they do there! I’ll make
you proud!

Pinocchio promptly turns and marches out of the church.

PINOCCHIO (CONT’D)
Off to school, off to school. Going
to school. Going to school. Off to
school...

Geppetto chuckles and smiles tenderly as they march off.

PINOCCHIO (CONT’D)
Hup! Hup! Hup! Hup!...


EXT. MAIN PLAZA - DAY

Pinocchio steps out of the church...

Count Volpe and Spazz are hovering in the shadows. Eyes
glinting.

COUNT VOLPE
He exists! Oh, the stringless
wonder exists! You beautiful,
brilliant baboon!!! I must have
him!!
Genres: ["Fantasy","Drama"]

Summary In this poignant scene, Geppetto assembles a Christ statue in a church while comforting Pinocchio, who feels unloved despite being made of wood like the statue. Geppetto reassures him that people will come to accept him and gifts him an old schoolbook belonging to his late son, Carlo. Overjoyed, Pinocchio promises to emulate Carlo and make Geppetto proud as he excitedly leaves the church. However, the scene shifts to the main plaza where Count Volpe and Spazz lurk, plotting to capture the 'stringless wonder,' hinting at future conflict.
Strengths
  • Emotional depth
  • Character dynamics
  • Innocence vs. manipulation theme
Weaknesses
  • Potential pacing issues in dialogue sequences
Critique
  • The scene effectively captures the emotional core of Geppetto and Pinocchio's relationship, highlighting Pinocchio's childlike innocence and Geppetto's lingering grief over Carlo. This moment of tenderness, especially in the hug, provides a poignant contrast to the darker themes of loss and fascism in the overall script, making it a strong character development beat that helps the audience understand Pinocchio's desire to emulate Carlo and Geppetto's internal conflict. However, the dialogue occasionally feels expository, such as when Pinocchio directly references 'the boy you lost,' which might come across as heavy-handed and could disrupt the natural flow, potentially alienating readers who prefer subtler storytelling.
  • Visually, the church setting is thematically rich, symbolizing themes of faith, redemption, and humanity, and the act of assembling the Christ statue parallels Geppetto's role as a creator, reinforcing the father-son dynamic. Yet, the scene's pacing feels somewhat rushed in transitioning from the mechanical task of assembling the arm to the emotional revelation, which might not give enough weight to the physical actions or allow for deeper immersion. This could make the emotional payoff less impactful for viewers, as the contrast between Pinocchio's confusion and his sudden joy might benefit from more gradual buildup to heighten the stakes and emotional resonance.
  • The ending with Count Volpe and Spazz lurking in the shadows effectively builds suspense and foreshadows conflict, tying into the antagonistic elements introduced earlier. However, this transition feels abrupt and disconnected from the intimate father-son moment, potentially jarring the audience out of the emotional scene. Additionally, while Pinocchio's marching chant adds a whimsical, childlike energy, it might reinforce a stereotype of naivety that could be explored more nuancedly, especially given the script's themes of war and loss, to avoid reducing Pinocchio to a one-dimensional figure.
  • In terms of tone, the scene balances whimsy and melancholy well, providing a brief respite from the escalating tensions in the story. However, the lack of Cricket's involvement, despite his presence in surrounding scenes, might feel inconsistent, as he could add insightful commentary or humor to enrich the dynamics. This omission could miss an opportunity to deepen the ensemble feel and provide a bridge to the introspective voice-over elements seen elsewhere, making the scene feel somewhat isolated in its focus on just Geppetto and Pinocchio.
  • Overall, the scene advances the plot by setting up Pinocchio's journey to school and introducing the threat from Volpe, but it could better integrate with the broader narrative arcs, such as the fascist elements hinted at in previous scenes. The dialogue and actions are moving but sometimes predictable, which might not fully surprise the audience or push the characters into more complex interactions, potentially limiting the scene's ability to stand out in a script filled with emotional highs and lows.
Suggestions
  • Enhance the visual and sensory details during the assembly of the Christ statue to slow the pacing and build emotional tension, such as describing the creak of the rope, the dust in the air, or Geppetto's weary hands, to make the transition to Pinocchio's question feel more organic and immersive.
  • Refine the dialogue to reduce exposition; for example, instead of Pinocchio directly saying 'Carlo? The boy you lost?', have him notice the name on the book and ask a more indirect question, allowing Geppetto's response to reveal information through subtext and making the exchange feel more natural and emotionally layered.
  • Add a subtle hint of the external threat earlier in the scene, such as faint sounds of the carnival or a distant bell, to create a smoother transition to the reveal of Count Volpe and Spazz, building suspense without abruptness and better connecting the intimate moment to the larger conflict.
  • Incorporate Cricket more actively, perhaps by having him react visually or with a quiet aside to Pinocchio's innocence, to maintain continuity with his role as an observer and guide, adding depth to the scene without overshadowing the father-son focus.
  • Consider extending Pinocchio's marching chant or adding a small action that shows his enthusiasm in a more unique way, like him tripping or interacting with an object in the plaza, to add humor and individuality, preventing the character from feeling too archetypal and reinforcing his growth throughout the story.



Scene 16 - The Temptation of Pinocchio
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 8
  • Dialogue: 8
EXT. PERIPHERY STREETS - EDGE OF TOWN - SAME

Pinocchio runs excitedly through town, towards the school. A
GROUP of KIDS in fascist uniforms pass them by - SINGING A
FASCIST HYMN!!

KID/S
I fight for the land!
I fight for our sea!
I can feel a hand-
It is now guiding me-

Pinocchio heads towards them.
44.


PINOCCHIO
Whoa! Off to school! Off to
school!! Going to school, going to
school.
(he leaps down the stairs)
School! Oh boy, oh boy, oh boy!
What do you learn in school, Mr.
Cricket?

CRICKET
You learn reading and writing! You-
you learn the multiplication
tables!

PINOCCHIO
What’s the mul...mulplitication
tables?

CRICKET
Well... Say you have 4 carts, each
with 27 apples...

PINOCCHIO
I don’t care what the table says; I
have no apples and I refuse to lie!

CRICKET
No no, it’s just math. So you
multiply the 4 and the 7. 4...plus
7... and-- and you get...

PINOCCHIO
I get confused. I don’t think I
like school anymore, Sebastian.

COUNT VOLPE
Ahhh, we have found him! Look,
Spazzatura! Our miracle!

Volpe grabs Pinocchio by the nose and gives him a gentle
twirl.

PINOCCHIO
Hey, watch it!

COUNT VOLPE
Our sensation! Our star!

PINOCCHIO
Who? Me?

COUNT VOLPE
Yes, mon étoile! I am COUNT VOLPE!!
You have been chosen!
(MORE)
45.
COUNT VOLPE (CONT’D)
Come partake in the fun, fanciful,
carefree carnival life as the star
of my puppet show!

Cricket climbs up onto Pinocchio’s shoulder.

CRICKET
Don’t listen to him, Pinocchio! You
promised your Papa you would go to
school!

PINOCCHIO
Oh yeah, I promised my Papa I’d go
to school. See? He gave me Carlo’s
book!

Pinocchio holds up his book with pride. Count Volpe gently
takes it and mockingly admires it.

COUNT VOLPE
CARLO’S book! Yes, yes! A classical
canonical work!!

Count Volpe tosses the book to Spazz, who is not ready for
it. It hits him just as he is about to pounce on Cricket.

COUNT VOLPE (CONT’D)
I can see you are intrinsically an
intellectual. But banal book-
learning cannot compare to
witnessing the wide world with
one’s own eyes from atop the
glorious stage!

Volpe lifts Pinocchio up, spinning him around. This causes
Cricket to be thrown off him and onto the ground. Volpe
places Pinocchio on a ledge overlooking the entire town.

PINOCCHIO
Wow...

Spazz takes this opportunity to try and crush Cricket with
the book. He narrowly misses.

CRICKET
Ahh! Wha! Gahh! Whoa! Dear sir!!!

COUNT VOLPE
You shall see ALL the nations of
the earth for yourself as they bow
at your feet!

PINOCCHIO
My brand new feet!
46.


CRICKET
No! No! Wait! You have to go to
school!

PINOCCHIO
Oh- Can we do it tomorrow?

COUNT VOLPE
Regretfully no, for today is the
only day that our cacophonous
carnival will visit your vicinity.
But if you must go to school, then
you must go to school...

They move away.

COUNT VOLPE (CONT’D)
Come, Spazzatura... we must find
someone else to eat all our ice
cream and popcorn and hot
chocolate...

PINOCCHIO
Hot chocolate??

CRICKET
Oh no.

Spazz lunges at Cricket, but he again manages to avoid him.

COUNT VOLPE
Yes, of course. All the hot
chocolate you can drink! And all
the games you can play!

PINOCCHIO
Oh, boy! Oh, boy! Maybe it’ll be
okay if I’m a little bit late for
school...

COUNT VOLPE
Yeah, perfectly fine! No one will
even notice!

Cricket jumps up and down, desperate to get Pinocchio’s
attention.

CRICKET
Don’t listen to him Pinocchio! Wah!

COUNT VOLPE
(smacking Cricket away)
Ah, we have one last detail to take
care of.
47.


He produces a LONG, LOOOOONG contract- which strikes Cricket
as it unfurls, knocking him down the stairs.

COUNT VOLPE (CONT’D)
Sign, here- here and here. Need a
pen?

CRICKET
No, Pinocchio, don’t!!!

Spazz crushes Sebastian with the book. He cackles with glee.

PINOCCHIO
Like this?

COUNT VOLPE
(signs his own name too)
Perfect!! I will now make you burn
bright like a star! Know any songs,
my boy?

They practically scoop Pinocchio off the ground as they push
him along towards the carnival.

PINOCCHIO
Just one, I’ve got it stuck in my
head.

Spazz takes a last look at Pinocchio’s school book and tosses
it on the ground.

The Cricket lies on the floor: a HEAP.

CRICKET
Oh, the pain! Life is such hideous
pain!

DISSOLVE TO:
Genres: ["Fantasy","Drama","Adventure"]

Summary In this scene, Pinocchio excitedly runs towards school but is distracted by Count Volpe and his assistant Spazzatura, who tempt him with promises of a fun life in the carnival. Despite Cricket's warnings to honor his promise to his father and attend school, Pinocchio is swayed by Volpe's offers and ultimately signs a contract to join the carnival. Meanwhile, Spazz brutally attacks Cricket, culminating in Cricket being crushed by a book, leaving him injured as Pinocchio is led away.
Strengths
  • Effective introduction of new setting and characters
  • Building tension and conflict
  • Exploration of themes of temptation and innocence
Weaknesses
  • Potential lack of clarity in character motivations
  • Limited exploration of secondary characters
Critique
  • The scene effectively captures Pinocchio's childlike innocence and susceptibility to temptation, which is a strong character trait that advances the plot by showing his deviation from his promise to Geppetto. This moment highlights the theme of moral guidance versus worldly allure, with Cricket serving as the conscience and Count Volpe as the tempter, creating a classic conflict that readers will understand as a pivotal turn in Pinocchio's journey. However, the rapid shift from excitement about school to agreeing to join the carnival feels abrupt, potentially undermining Pinocchio's earlier enthusiasm and making his decision seem impulsive rather than a natural progression of his naivety, which could benefit from more buildup to maintain emotional authenticity.
  • Dialogue in the scene is lively and humorous, particularly in Pinocchio's misunderstandings and Volpe's flamboyant persuasion, which adds to the comedic tone and makes the scene engaging. Yet, some lines, like Pinocchio's quick dismissal of school after being tempted with treats, come across as overly simplistic, reducing the depth of his internal conflict. This might alienate readers or viewers who expect more nuanced character development, especially given the story's exploration of themes like loss and obedience established in earlier scenes.
  • Visually, the action is dynamic with elements like Pinocchio being spun around and Cricket being attacked, which injects physical comedy and energy into the sequence. This helps in illustrating the chaos and distraction that lead to Pinocchio's poor choice, but the repeated attempts to crush Cricket risk becoming repetitive and cartoonish, potentially diluting the stakes and making the violence feel gratuitous rather than meaningful. A more varied approach to these comedic beats could enhance the scene's impact without over-relying on the same gag.
  • The introduction of Count Volpe and Spazzatura reinforces their antagonistic roles, building on their setup in previous scenes and creating anticipation for future conflicts. However, the scene could better integrate the broader socio-political context, such as the fascist elements hinted at with the kids singing a hymn, to make Pinocchio's temptation feel more tied to the story's themes of authority and conformity. Currently, this connection is underutilized, which might make the scene feel somewhat isolated from the larger narrative.
  • Cricket's role as a moral compass is well-defined, with his warnings providing contrast to Volpe's seduction, which helps in clarifying the ethical dilemma for the audience. That said, Cricket's defeat at the end feels abrupt and final, which could be more emotionally resonant if it tied back to his established relationship with Pinocchio or hinted at his resilience shown later in the script. This would strengthen the scene's contribution to character arcs and make the critique more helpful for understanding how individual scenes support overall story cohesion.
Suggestions
  • Add a moment of hesitation or internal conflict for Pinocchio, such as a brief flashback to his promise to Geppetto or a pause where he questions Volpe's offers, to make his decision to skip school feel more earned and less instantaneous, enhancing character depth and emotional engagement.
  • Refine the dialogue to include more subtle persuasion from Volpe, perhaps referencing Pinocchio's unique nature or the fun he's missing out on at school, while giving Cricket sharper, more persuasive counterarguments that draw on Pinocchio's recent experiences, to create a more balanced and tense debate that builds suspense.
  • Vary the physical comedy involving Cricket's attacks by incorporating different comedic elements, such as Cricket using wit or the environment to evade Spazzatura, to avoid repetition and maintain freshness, while ensuring these moments serve to heighten the stakes rather than just providing laughs.
  • Strengthen the thematic links to the fascist regime by having the singing kids or background elements subtly influence Pinocchio's decision, such as overhearing lyrics that glorify adventure over education, to better integrate the scene with the story's larger commentary on obedience and authority.
  • End the scene with a visual or line that foreshadows the consequences of Pinocchio's choice, like a distant view of the school or a subtle hint of Volpe's deceitful nature, to increase dramatic irony and make the scene more impactful in retrospect, aiding in better pacing and anticipation for future events.



Scene 17 - Temptation at Dusk
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. CHURCH - DUSK

Later in the day.

Geppetto is just finishing up painting the crucifix. He’s on
his way down, beginning to pack up when:

PODESTÀ
Master Geppetto, would you mind
coming down?

The Podestà enters with the Town Priest.
48.


TOWN PRIEST
Ah! At last, our savior is
restored!

The Podestà does a Roman salute. Geppetto responds,
halfheartedly. In doing so he accidentally tosses his
paintbrush, which lands with a splatter at The Podestà’s
feet. The Podestà turns cold. Scary.

GEPPETTO
Oh- I- I’m so sorry.

PODESTÀ
Your boy- didn’t show up at school
today...

GEPPETTO
But- he left this morning. I...I
sent him there.

PODESTÀ
Obviously, the puppet is quite a
dissident. An independent thinker-
I’d say...

GEPPETTO
Um...uh...uhh...yes.

PODESTÀ
You better look for him. I trust
that we’ll see the wooden boy
tomorrow, at school.

GEPPETTO
Tomorrow, oh yes, yes- of course.

They exit, leaving Geppetto alone.


EXT. CARNIVAL - DUSK

We see the carnival now fully set up. A crowd of people play
at the High Striker, swinging a hammer to test their
strength.


INT. BACKSTAGE PUPPET THEATRE - DUSK

Pinocchio sits backstage, surrounded by POPCORN, SWEETS and
ICE CREAM- HOT CHOCOLATE after a grand day at the carnival.

He is accompanied by 3 fellow puppets: DEVIL, COLUMBINA and
PUNCHINELLO. They are all controlled by Spazz from up above.
49.


We hear VOICES from the puppets, as Pinocchio hears them,
even though Spazz is doing the puppeteering.

PINOCCHIO
Boy! The carnival sure is grand!

Devil offers him some more treats.

SPAZZATURA (AS DEVIL PUPPET)
How ‘bout some more popcorn!
Ehehehehe.

PINOCCHIO
Oh, I couldn’t eat another bite,
Mr. Diavolo!

SPAZZATURA (AS DEVIL PUPPET)
(indecipherable monkey
noises)

Pinocchio takes the popcorn and eats it.

PINOCCHIO
(to puppets)
Ughh, I better get going to school
I guess...

SPAZZATURA (AS COLUMBINA)
Stay a while, Pinocchio.

Count Volpe enters.

COUNT VOLPE
A-ha, I am sorry to keep you
waiting, my little puppet!

PINOCCHIO
I don’t like being called a puppet.

Count Volpe starts tying string on Pinocchio’s arms and
legs...

COUNT VOLPE
My boy, puppets are le meilleur qui
soit! The TOPS! Lift your arm.
Puppets are well respected in every
station of life!

PINOCCHIO
But I thought it was best to be a
normal boy.

COUNT VOLPE
Oh, no no NO! People love puppets!!
50.


Spazz manipulates all puppets to attention.

COUNT VOLPE (CONT’D)
Like Il Diavolo. Columbina.
Punchinello.
(beat)
But of course there is but one
puppet who is KING of them all...

PINOCCHIO
Oh, boy, I’d like to meet that guy!

COUNT VOLPE
Pinocchio!

PINOCCHIO
Wait?!! That’s ME!

COUNT VOLPE
That’s right! You are a wonder! A
miracle! They’ll love you!

PINOCCHIO
Who?

COUNT VOLPE
Les Idiots! The wonderful children
of the world! Lift your leg.
Everyone shall love you and call
your name! Pinocchio! Pinocchio!
Pinocchio...

As Volpe whisks Pinocchio away, Spazz gets pulled down from
the rafters by the still-attached strings. He hits the ground
hard, letting out an audible grunt of pain.
Genres: ["Drama","Fantasy","Adventure"]

Summary In this scene, Geppetto finishes painting a crucifix in a church when the Podestà confronts him about Pinocchio's absence from school, leading to tension as Geppetto apologizes. After they leave, the scene shifts to a lively carnival where Pinocchio, surrounded by treats and puppets, is persuaded by Count Volpe to embrace being a puppet, despite his initial desire to go to school. The scene ends with Volpe tying strings to Pinocchio and whisking him away, while Spazzatura, controlling the other puppets, falls from the rafters.
Strengths
  • Effective character dynamics
  • Tension-building interactions
  • Compelling thematic exploration
Weaknesses
  • Potential for confusion with multiple puppet characters
  • Limited external character interactions
Critique
  • The scene effectively advances the plot by heightening the stakes for Geppetto through the confrontation with the Podestà and deepening Pinocchio's entanglement with Count Volpe, creating a clear cause-and-effect chain that builds tension. However, the abrupt cuts between locations—the church, the carnival exterior, and the backstage area—can feel disjointed, potentially confusing the audience and disrupting the narrative flow. This lack of smooth transitions might dilute the emotional impact, as the shift from Geppetto's anxiety to Pinocchio's carefree enjoyment lacks a cohesive link that could maintain viewer engagement.
  • Dialogue in the church segment is functional for exposition but lacks depth and nuance, making characters like the Podestà come across as somewhat one-dimensional. For instance, the Podestà's description of Pinocchio as a 'dissident' and 'independent thinker' is on-the-nose and could benefit from more subtle, layered language that reflects the fascist regime's ideology, allowing for greater character revelation and thematic resonance. Similarly, Geppetto's stammering responses feel repetitive and could be used to better showcase his internal conflict and grief, making his character more relatable and human.
  • In the carnival portion, the interaction with the puppets controlled by Spazzatura adds a whimsical, eerie element that reinforces Pinocchio's naivety and vulnerability, which is consistent with his arc. However, the scene relies heavily on exposition through dialogue (e.g., Pinocchio mentioning school and Volpe's persuasive speech), which can feel tell-heavy rather than show-heavy. This approach misses an opportunity to use visual storytelling or action to convey Pinocchio's temptation, such as showing his facial expressions or body language shifting as he's swayed, which would make the scene more dynamic and immersive for the audience.
  • The comedic beat with Spazzatura being pulled down and falling at the end provides a humorous contrast to the darker themes, but it risks undermining the tension built earlier in the scene. This moment feels tacked on and may clash with the overall tone of loss and manipulation, potentially confusing viewers about the intended emotional weight. A more integrated approach could ensure that humor serves the story, perhaps by tying it to Spazzatura's character development or using it to foreshadow future conflicts.
  • Overall, the scene captures key themes of obedience, temptation, and paternal loss but could strengthen its emotional core by balancing the parallel storylines of Geppetto and Pinocchio more evenly. Geppetto's isolation in the church is poignant but underdeveloped, while Pinocchio's segment dominates, making the scene feel uneven. This imbalance might prevent the audience from fully connecting with Geppetto's perspective, which is crucial given his central role in the narrative, and could be addressed by adding more introspective moments or visual motifs that echo the grief established in earlier scenes.
Suggestions
  • Improve scene transitions by adding a auditory or visual bridge, such as having Geppetto hear distant carnival music or see flickering lights through the church windows, to create a smoother flow and emphasize thematic contrasts between solemnity and temptation.
  • Refine dialogue to be more natural and character-driven; for example, have the Podestà use rhetorical questions or fascist slogans to intimidate Geppetto, and give Pinocchio more hesitant or conflicted lines during his interaction with Volpe to show his internal struggle, making the dialogue serve both plot and character development.
  • Incorporate more visual storytelling elements, such as close-ups on Pinocchio's face as he's tempted by treats and strings, or a lingering shot of Geppetto alone in the church, to convey emotions and conflicts without relying solely on dialogue, which would enhance pacing and engagement.
  • Adjust the tone balance by either reducing the comedic impact of Spazzatura's fall or integrating it into a larger comedic arc for the character, ensuring it complements rather than contradicts the scene's serious undertones and maintains narrative coherence.
  • Extend Geppetto's moment of solitude in the church with a brief action or thought, like him clutching a memento of Carlo, to deepen emotional resonance and create symmetry with Pinocchio's carefree actions, helping to reinforce the father-son dynamic and prepare for future conflicts.



Scene 18 - The Carnival Performance
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. PUPPET THEATER - SAME

COUNT VOLPE (O.S.)
Pinocchio!! The living puppet!

Count Volpe opens the curtains to reveal Pinocchio.

He hangs from his strings, limp and inert.

Scant applause. The audience is cautiously curious.

COUNT VOLPE (CONT’D)
Violà!

He sees the crowds confusion.
51.


COUNT VOLPE (CONT’D)
Ohhh?

He hums merrily. Count Volpe brandishes his sword and slices
Pinocchio’s strings.

Pinocchio collapses to the ground, a pile of wood and
strings.

The audience gasps.

Count Volpe takes a VIOLIN and starts the melody of “My Son”.

COUNT VOLPE (CONT’D)
A one, and a two, and...

Suddenly Pinocchio springs to life. He taps the stage with
his foot. Slowly he starts discovering a little tap dance;
knocking his body parts together to make a rhythm.

PINOCCHIO (SONG)
My gum...My gum
I pop my bubble gum
I scream, I cry
For ice cream and for pie.

The audience Aaaah’s and claps vehemently. Pinocchio starts
having fun on stage!


EXT. PERIPHERY STREETS - EDGE OF TOWN - NIGHT

Geppetto looks for Pinocchio with the aid of an oil lamp.

GEPPETTO
Pinocchio!!! Pinocchio!!!
Pinocchio!!!

He finds the mangled, torn book of Carlo on the road.

GEPPETTO (CONT’D)
No- Carlo’s book? What?

He picks it up and brushes it clean revealing the Cricket
still crushed underneath.

CRICKET
Over there!

Geppetto looks in the direction Cricket has pointed and sees
the lights of the carnival off in the distance. He can just
make out the faint trace of Pinocchio, singing something
strangely familiar.
52.


GEPPETTO
That song...How could he know that
song?

Geppetto takes off running, accidentally stepping on Cricket
and crushing him once again.

CRICKET
Ugh, one nightmare after another.


INT. CARNIVAL - NIGHT - CONTINUOUS

Geppetto enters the carnival grounds.

He hears the song “My Son” coming from afar.

He heads towards the tent it appears to be coming from and
enters.

There stands Pinocchio on stage.


INT. PUPPET STAGE - NIGHT

Big finale.

PINOCCHIO (SONG)
You are everything to me
And I love you
My gum... My gum
I pop my bubble gum
What a treat, I’m standing on my
feet
I’m free as the wind
Oh I’m flying,
Bubbling
Popping
Tapping
Gumming
Your son...

PUPPET CHORUS (SONG)
Pop a bubble gum

PINOCCHIO
Your son

PUPPET CHORUS (SONG)
Pop a bubble gum

PINOCCHIO (SONG)
Is happy to have
53.


PUPPET CHORUS (SONG)
Pop a bubble gum
Pop a bubble gum

PINOCCHIO (SONG)
Fun!

Song ends.

Then HUGE OVATION. The audience loves him!!! Count Volpe’s
eyes light up.

Pinocchio bows to everybody! Count Volpe steps in front of
him.


INT. PUPPET SHOW - NIGHT

COUNT VOLPE
Thanks! Thank you! Thank you! And
all those treats are for sale at
the carnival. Thank you!

Money pours into Count Volpe’s collection box!!!

Geppetto arrives amidst the rapturous applause and showering
of money.

GEPPETTO
Pinocchio, what’s all this?? What
are you doing?

PINOCCHIO
Papa! I’m a star, Papa! A star!
They love me! They accept me!

Geppetto swats away one of the many young fans that grasps at
both him and Pinocchio.

GEPPETTO
(grunted)
Oh, what do you...?

Geppetto scoops him up him and starts walking away.

GEPPETTO (CONT’D)
Errr--Enough of this nonsense! You
were supposed to be at school. And
how do you know that song anyway?

Count Volpe continues relishing in the crowd’s applause,
unaware that his star performer is GONE.
54.


Spazz tries to warn him, but Count Volpe is busy collecting
money.

COUNT VOLPE
You simian simpleton!

He finally realizes Pinocchio is gone. He grabs Spazz by the
neck and squeezes him!!

COUNT VOLPE (CONT’D)
My star! Where is my star??!!
Genres: ["Fantasy","Drama","Musical"]

Summary In this scene, Count Volpe showcases Pinocchio as a living puppet in a carnival theater, initially presenting him limp before cutting his strings, which startles the audience. Pinocchio springs to life, performing a lively tap dance and singing 'My Son,' delighting the crowd. Meanwhile, Geppetto searches for Pinocchio at night, discovering clues that lead him to the carnival. He confronts Pinocchio during his performance, scolding him for skipping school, and takes him away despite the audience's applause. Count Volpe, realizing Pinocchio's absence, angrily confronts his assistant Spazz for answers.
Strengths
  • Engaging puppet show performance
  • Effective character dynamics
  • Emotional depth
Weaknesses
  • Potential confusion in the transition from puppet to real boy
Critique
  • The scene effectively uses parallel action to contrast Pinocchio's triumphant performance with Geppetto's desperate search, creating dramatic irony and emotional tension that highlights the themes of separation and longing central to the story. This structure allows the audience to feel the urgency of Geppetto's quest while enjoying Pinocchio's naive joy, making the interruption more impactful and underscoring the conflict between Pinocchio's desire for acceptance and Geppetto's protective instincts.
  • However, the transitions between locations feel somewhat abrupt and could benefit from smoother editing or additional bridging shots to maintain narrative flow. For instance, the cut from the puppet theater to Geppetto's search and back might disorient viewers, reducing the emotional buildup that could make Geppetto's entrance more powerful.
  • Pinocchio's performance, including the song 'My Son,' is a strong moment that showcases his charm and the audience's acceptance, reinforcing his character arc of seeking love and validation. The lyrics, while fun and engaging, occasionally veer into whimsy (e.g., references to bubble gum) that might undercut the story's deeper themes of grief and identity, making the scene feel tonally inconsistent with the more serious elements established in earlier scenes.
  • Geppetto's dialogue and actions during the interruption are straightforward but lack depth, coming across as generic parental scolding. This misses an opportunity to delve into his complex emotions, such as his grief over Carlo or his confusion about Pinocchio's origins, which could add layers to the father-son dynamic and make the scene more resonant.
  • The repeated crushing of the Cricket serves as comic relief but risks becoming repetitive and diminishing the character's role as a moral guide. By the third instance in quick succession, it may desensitize the audience to the humor or make the Cricket seem like a punchline rather than a meaningful character, potentially weakening the thematic elements of guidance and consequence.
  • Visually, the scene is vivid in describing the carnival atmosphere and Pinocchio's performance, which helps immerse the audience in the spectacle. However, the description of the audience's reaction and the carnival setting could be more detailed to heighten the contrast between the lively, accepting crowd and Geppetto's isolated struggle, emphasizing the story's exploration of societal acceptance versus personal rejection.
  • The ending, with Volpe's anger and the grabbing of Spazz, effectively escalates the antagonist's greed but doesn't introduce new conflicts or developments, feeling somewhat redundant given Volpe's established character. This could be an opportunity to advance the plot more dynamically, such as hinting at future repercussions for Pinocchio's involvement with the carnival.
  • Overall, the scene successfully captures the whimsical yet dark tone of the screenplay, but it could strengthen its emotional core by balancing the comedy with more nuanced character interactions and ensuring that each element serves the larger narrative arc of loss, redemption, and growth.
Suggestions
  • Smooth out the transitions between parallel actions by adding intercutting shots or sound bridges, such as the faint sound of Pinocchio's song carrying over to Geppetto's search, to build suspense and make the reunion feel more organic and emotionally charged.
  • Revise the song lyrics to better align with the story's themes, incorporating references to family, loss, or Pinocchio's quest for humanity to make the performance more thematically integral and less frivolous, enhancing character development without losing the fun element.
  • Develop Geppetto's dialogue and reactions to show more internal conflict, such as a moment of hesitation or flashback to Carlo, to deepen the emotional impact of the interruption and reinforce the father-son bond, making the scene a pivotal moment in their relationship.
  • Vary the Cricket's mishaps to avoid repetition; for example, have the Cricket avoid being crushed through clever evasion or commentary, maintaining the humor while preserving his role as a wise observer and adding depth to his character interactions.
  • Add visual details to the carnival and audience reactions to heighten immersion, such as close-ups of children's awestruck faces or colorful lighting effects, to contrast with Geppetto's somber search and emphasize the theme of societal allure versus personal truth.
  • Introduce a small consequence or foreshadowing element in Volpe's reaction, like him plotting immediate pursuit or mentioning a contract clause, to make the ending more plot-advancing and connect it seamlessly to subsequent scenes, increasing tension and stakes.
  • Consider extending the performance sequence slightly to allow Pinocchio's joy to build more gradually, giving the audience time to connect with his happiness before the abrupt interruption, which could heighten the emotional contrast and make Geppetto's intervention feel more disruptive and necessary.



Scene 19 - A Carnival of Lies and Tragedy
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
EXT. CARNIVAL - NIGHT

Pinocchio walks away, hand in hand with Geppetto. The crowd
of children follow.

GEPPETTO
You ruined Carlo’s book! And...and
you didn’t go to school- Why? You
promised me you would behave!!
Like...like...like...

PINOCCHIO
Carlo.

GEPPETTO
Yes.

PINOCCHIO
I was going to, Papa- but- but-

Geppetto stops by the road. A truck goes by.

GEPPETTO
Yes, Pinocchio, what?

PINOCCHIO
Ten bandits came out of the bushes
and took-

His nose starts to grow. A small crowd of KIDS has begun to
gather. They clap and applaud, thinking this is still part of
the performance.

PINOCCHIO (CONT’D)
They came out of the bushes and
they- they took the book-

It grows again.
55.


GEPPETTO
Oh, oh I see. And then what
happened?

PINOCCHIO
They had an axe and they- they
wanted- they wanted chocolate- hot
chocolate-

His nose grows some more.

GEPPETTO
Pinocchio- you shouldn’t lie to
me!! I am your Papa!!

PINOCCHIO
But I’m telling the truth!!

Nose grows. Crowd grows. The FREAKS, circus performers and
general public gather around.

GEPPETTO
Then why is your nose growing?

PINOCCHIO
It’s NOT!!

Pinocchio’s nose grows so long that it branches out.

GEPPETTO
Lies, lies, and more lies!

PINOCCHIO
(screaming)
I! AM NOT! LYIIIIIIIING!!!!!

Branches bloom with needles and pine cones. The GAWKERS
applaud!!!

GEPPETTO
Will you look at you!
(to the crowd)
Go away! This is not a
spectacle!!!

COUNT VOLPE
BUT IT IS! Unhand my Carissimo, you
carousing...
(spitting out leaves)
kleptomaniac-

He grabs Pinocchio by one arm and Geppetto holds him by the
other.
56.


GEPPETTO
Do not touch him! I made him!

COUNT VOLPE
And I discovered him!

Crowd murmurs, watching the tug of war.

GEPPETTO
He’s not your puppet, he’s mine!!

CRICKET
(interrupting)
Perhaps we should...

COUNT VOLPE
Oh, he is neither! He’s an actor.
MY actor!!

A TRUCK approaches as they start a contest of wills, pushing
and pulling on Pinocchio until-

COUNT VOLPE (CONT’D)
Give him to me!

GEPPETTO
Never!

Geppetto pulls one final time-

-and Count Volpe lets go!! Pinocchio (nose in full bloom)
ricochets away and finds himself in the path of the truck.

CRICKET
Oh, dear-

PINOCCHIO
Haha! That was so much fun, Papa!

GEPPETTO
No!

It hits him- square on. Flower petals fly everywhere.

He lands on the ground- nose broken back to normal.

Out of the truck climb the Podestà, his Wife, and Candlewick.

PODESTÀ'S WIFE
(softly)
Oh no.

GEPPETTO
Pinocchio!
57.


PODESTÀ
He came out of nowhere! T-that’s
what happens when you let children
run wild!

Pinocchio lies on the road. Everyone approaches his body.

PINE NEEDLES FALL GENTLY on the immobile puppet.

The Cricket looks at him mournfully.

CRICKET (V.O.)
Pinocchio was dead. That much was
apparent to any astute observer...
but, little did I know, that death
was not the end.

FADE OUT.

FADE IN:
Genres: ["Fantasy","Drama","Tragedy"]

Summary In a chaotic carnival scene, Pinocchio and Geppetto are confronted about Pinocchio's lies regarding a ruined book and school attendance. As Pinocchio's nose grows with each falsehood, a crowd mistakenly applauds, thinking it's a performance. Tensions rise between Geppetto and Count Volpe, who claims Pinocchio as his actor, leading to a physical struggle. In the chaos, Pinocchio is accidentally struck by a truck, appearing dead on the ground as flower petals and pine needles fall around him, while the Cricket hints at the possibility of life beyond death.
Strengths
  • Intense emotional impact
  • Effective conflict escalation
  • Innovative visual storytelling
Weaknesses
  • Potential confusion with the fantastical elements
  • Some dialogue may be overly dramatic
Critique
  • The scene effectively escalates the conflict from a personal scolding between Geppetto and Pinocchio to a chaotic public spectacle, mirroring Pinocchio's internal struggle with truth and lies, which is a core theme of the story. However, the rapid progression might feel overwhelming, potentially diluting the emotional impact of Geppetto's frustration and Pinocchio's naivety, as the audience is pulled from intimate dialogue to a frenzied crowd scene without much breathing room.
  • The visual element of Pinocchio's nose growing and branching out with needles and pine cones is a striking callback to the original Pinocchio tale, adding a layer of whimsy and horror that enhances the scene's tension. That said, this mechanic risks becoming too cartoonish or repetitive if not balanced carefully, as it could overshadow the human elements of the characters' relationships and make the scene feel more like a gag than a pivotal moment in Pinocchio's development.
  • The crowd's reaction—applauding and treating the nose growth as part of a performance—creates a humorous and ironic contrast to the seriousness of Pinocchio's lies, but it may strain believability. Since the previous scene ended with Geppetto removing Pinocchio from the stage, the immediate shift to the crowd assuming this is still an act could confuse viewers or break immersion, suggesting a need for clearer transitions or motivations for the onlookers' behavior.
  • The tug-of-war between Geppetto and Count Volpe adds physical comedy and heightens the antagonism, effectively illustrating the competing influences on Pinocchio. However, this sequence might come across as overly slapstick, potentially undermining the emotional stakes, especially given the fascist undertones in the story. It could benefit from more nuanced direction to emphasize the desperation in Geppetto's actions and the manipulative greed in Volpe's, making the conflict feel more grounded and less caricatured.
  • Pinocchio's abrupt 'death' by truck is a shocking turn that sets up the supernatural elements, but it feels somewhat unearned due to the lack of foreshadowing or buildup. The scene jumps from comedy to tragedy quickly, which might not give the audience enough time to process the emotional weight, particularly after the lighthearted nose-growing antics. This could weaken the impact of Pinocchio's 'deaths' as a recurring motif, making it harder for viewers to connect with the themes of mortality and redemption.
  • The dialogue is direct and functional, effectively conveying the characters' emotions and advancing the plot, but it occasionally borders on exposition-heavy, such as when characters explicitly state motivations (e.g., 'I am your Papa!'). This can reduce subtlety and make interactions feel less natural; incorporating more subtext or showing emotions through actions and expressions could deepen character development and make the scene more engaging.
  • The voice-over by Cricket at the end provides a narrative hook and foreshadows future events, which is a smart storytelling device. However, it risks being too on-the-nose, telling the audience what to think about Pinocchio's state rather than allowing the visuals and actions to convey the complexity. This could be refined to maintain mystery and encourage audience interpretation, strengthening the overall thematic depth without spoon-feeding the resolution.
  • Integration with broader story elements, like the fascist regime (e.g., the Podestà's arrival), adds political context and raises stakes, but the sudden appearance of the truck feels contrived and could disrupt the flow. Ensuring that such elements are woven in more organically would help maintain thematic consistency and prevent the scene from feeling like a deus ex machina for advancing the plot.
Suggestions
  • Slow down the initial confrontation between Geppetto and Pinocchio by adding more pauses or reaction shots to build emotional tension before the nose-growing begins, allowing the audience to feel the weight of Pinocchio's broken promise and Geppetto's disappointment.
  • Refine the crowd's response by having a mix of reactions—some thinking it's a performance, others realizing it's real—to add realism and depth, perhaps with a few lines of dialogue from bystanders expressing confusion or concern, which could heighten the chaos without overcomplicating the scene.
  • Enhance the visual storytelling of the nose growth by tying it more symbolically to the environment, such as having the pine cones and needles interact with the carnival setting (e.g., attracting birds or blending with decorations), to make the effect more integrated and less isolated.
  • Add subtle foreshadowing for the truck accident, like distant headlights or the sound of an engine building in the background, to create suspense and make Pinocchio's 'death' feel more inevitable and less abrupt, increasing the dramatic impact.
  • Revise the tug-of-war sequence to focus on character motivations through closer shots or internal monologues, emphasizing Geppetto's paternal protectiveness and Volpe's greed, to balance the comedy with emotional stakes and avoid it feeling too cartoonish.
  • Incorporate more subtext in the dialogue; for example, instead of Geppetto directly saying 'I am your Papa,' show his authority through actions like a firm grip or a stern look, allowing the audience to infer the relationship dynamics and making the scene more nuanced.
  • Extend the moment after Pinocchio is hit to linger on the reactions of key characters (e.g., Geppetto's horror, the crowd's shock) before cutting to the voice-over, giving the audience time to process the tragedy and building a stronger emotional connection.
  • Consider trimming some of the repetitive nose-growing descriptions to maintain pacing, and use the saved space to deepen Pinocchio's internal conflict, perhaps through a quick flashback to his promise in Scene 15, reinforcing his character arc without slowing the scene down.



Scene 20 - Pinocchio's Bureaucratic Limbo
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. EXT. DARKNESS

BLACK RABBITS carry Pinocchio in a coffin. They ascend a
circular mound in the darkness.

RABBITS IN CHORUS
Thou art gone- Thy life hast fled
All shall now bewail thee dead.

The coffin top begins to rattle.

RABBIT 1
Did you hear that?

PINOCCHIO
(gasps)
Who's there?!

RABBIT 3
I thought he was dead?

RABBIT 1
He is dead! I saw the paperwork
myself.

PINOCCHIO
Hello? I'm not dead!

They climb higher and higher.
58.


As they sing, they hear noises coming from inside. They try
to ignore it.

RABBITS IN CHORUS
No more flesh
And no more bone
No more trouble
To bemoan.


INT. LIMBO ANTEROOM

They reach what looks like a bureaucratic office with a
modest card table, four chairs, filing cabinets, a punch
clock and a coffee maker.

All the Rabbits punch the clock.

Pinocchio still in coffin, peeks out to see what’s happening.

Listening to muzak, the Rabbits have sat down to pick up
their poker game.

RABBIT 3
Alright... eh, so where were we?

RABBIT 1
Who's deal?

RABBIT 4
It's my deal, right?

RABBIT 1
Alright boys, ante up!

RABBIT 3
What's the limit again?

RABBIT 2
20's the limit, ya mook.

RABBIT 1 (O.S.)
You got something under there,
don't ya?

RABBIT 2
Not me.

RABBIT 3 (O.S.)
Probably has a leibedik 6.

RABBIT 4 (O.S.)
Hahaha, very funny.
59.


At this Pinocchio slowly emerges from the coffin, curious.

PINOCCHIO
(gasping)
Are you playing a game? Can I play?
I wanna play.

RABBIT 4
Flush! HehHehHeh.

He takes the chips.

All the other Rabbits groan.

Pan to reveal Pinocchio standing next to them.

PINOCCHIO
I wanna play! Please, please,
please!!! Can I play!?

RABBIT 3
What part of dead don't you
understand, schmendrik?

PINOCCHIO
It’s boring in there! I hate being
dead!

A LIGHT begins flashing!!

RABBIT 1
Uh-oh- Now you did it.

PINOCCHIO
What’s that?

RABBIT 4
Processing. Go see the boss, kid.
Through there- you’ll see her.

Pinocchio heads towards a large ornate door on the other side
of the room. The Rabbits return to their poker game.

RABBIT 1
Gimme a friggin’ ace!

RABBIT 2
(laughs)

Pinocchio opens the door and enters.
60.
Genres: ["Fantasy","Dark Comedy"]

Summary In this absurdly humorous scene, Black Rabbits carry Pinocchio's coffin up a dark mound, singing a lament for his death. Despite Pinocchio's insistence that he is alive, the rabbits dismiss him and continue their ascent. Upon reaching a bureaucratic limbo office, they punch in for a poker game while Pinocchio emerges from the coffin, bored with being dead and eager to join. The rabbits mock him, reminding him of his supposed death, and direct him to see 'the boss' after a flashing light signals processing. The scene ends with Pinocchio heading towards an ornate door while the rabbits return to their game.
Strengths
  • Innovative concept
  • Engaging character interactions
  • Blend of whimsy and darkness
Weaknesses
  • Limited character development
  • Subtle conflict resolution
Critique
  • The scene effectively establishes a surreal, bureaucratic afterlife in Limbo, which cleverly contrasts the gravity of death with comedic elements, reinforcing Pinocchio's immortality and providing a humorous interlude that fits the story's blend of fantasy and whimsy. This approach helps to lighten the emotional load after the traumatic events of Scene 19, making the transition to the afterlife engaging and memorable for the audience.
  • However, Pinocchio's character portrayal feels inconsistent with his established arc; his immediate shift from protesting his death to enthusiastically wanting to join the rabbits' poker game comes across as too flippant, potentially diminishing the weight of his recent 'death' and his childlike innocence. This lack of emotional depth or confusion could make him seem less relatable or sympathetic, as the scene doesn't fully explore his internal state in this otherworldly setting.
  • The dialogue among the rabbits is overly reliant on stereotypical, anachronistic slang (e.g., 'schmendrik', 'mook'), which may disrupt the film's tone and immersion. Given the story's historical and fantastical elements, this language feels out of place and could alienate viewers by introducing unintended humor that doesn't align with the narrative's themes, making the rabbits appear more like cartoonish side characters than integral parts of the world-building.
  • Visually, the Limbo Anteroom is a strong conceptual idea, depicting death as a mundane office environment, but the description lacks vivid details that could enhance its eerie, symbolic quality. For instance, the punch clock, coffee maker, and poker game are inventive, but without more sensory elements—like dim, flickering lights or decaying office props—the scene might not fully capitalize on its potential to create a haunting, bureaucratic nightmare that underscores the theme of death's inevitability.
  • Pacing in the scene is somewhat rushed, with Pinocchio's arrival, interaction with the rabbits, and departure happening quickly without building sufficient tension or foreshadowing for the encounter with Death in the next scene. This could result in the moment feeling like a brief comedic sketch rather than a pivotal transition, missing an opportunity to heighten anticipation or deepen the audience's understanding of Pinocchio's unique condition and its implications for the story.
Suggestions
  • Refine Pinocchio's dialogue and actions to better reflect his emotional state, such as adding moments of hesitation or fear to show his confusion about being 'dead,' which would make his character more nuanced and consistent with his arc of growth and learning.
  • Update the rabbits' dialogue to use more timeless or story-appropriate language, avoiding modern slang to maintain immersion and ensure the humor feels organic to the world, perhaps drawing from fairy tale archetypes or subtle irony to enhance comedic effect.
  • Enhance visual descriptions in the Limbo Anteroom by adding symbolic elements, like hourglasses or faded documents referencing other characters' fates, to build atmosphere and subtly foreshadow themes of mortality and waiting, making the scene more visually engaging and thematically rich.
  • Slow down the pacing by extending Pinocchio's interaction with the rabbits, perhaps through a brief monologue or visual cue that emphasizes his isolation, to create more tension and better connect this scene to the emotional stakes of his immortality.
  • Strengthen the transition to the next scene by hinting at Death's presence earlier, such as through subtle sounds or shadows, to build suspense and ensure the scene feels like a meaningful setup rather than just a comedic interlude.



Scene 21 - Confronting Mortality in Limbo
  • Overall: 9.2
  • Concept: 10
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. LIMBO

It’s all dark.

PINOCCHIO
Hello? Hello?

Two headlamp-like eyes open and illuminate the darkness-

-they cast their light on Pinocchio.

DEATH
Who are you? I feel as though
you’ve been here before.

PINOCCHIO
I am Pinocchio. I’m a boy... and I
think I’m... dead.

DEATH
Ah, yes, I see. The wooden
boy...with the borrowed soul. My
sister’s folly.

Light fades slowly, revealing a beautiful Sphinx with a
silver mask identical to the Wood Sprite’s (Again, subtly
reminiscent of Carlo’s mother’s face). This is DEATH.

DEATH (CONT’D)
The sentimental fool. She gave you
life, Pinocchio- when you were not
supposed to have it- NO more than a
chair or a table should. As a
result... You cannot truly- truly-
die...

PINOCCHIO
Oh, boy, oh, boy- And...and that’s
GOOD, right?!

DEATH
Well- it means that you are not-
nor will ever be- a real boy like
Carlo.
(beat)
The one thing that makes human life
precious and meaningful, you see,
is death.

Death reaches down and grabs a handful of sand.

PINOCCHIO
Oh...
61.


DEATH
Don’t get me wrong- you will die
many, many times-

She lets it flow through her fingers.

She taps the plinth she lays upon, activating a set of
increasingly large hourglasses.

DEATH (CONT’D)
(clears throat)
This being one of them. But they
are not REAL deaths. Just waiting
periods. There are rules, you see,
despite my sister’s disregard for
them.

She sets down the first one- a tiny hourglass.

DEATH (CONT’D)
We will both have to wait for the
sand to run out.
(beat)
You will stay here, with me, a
little longer each time you cross-
until the end of time.

The sand has almost run out.

PINOCCHIO
And then? After that sand runs out?

DEATH
I will simply send you back. Every
time.

PINOCCHIO
I see. Well, in that case, I’d like
to ask you ONE thing--
Ahhhhhhh!

THE TIMER RUNS OUT.

DEATH
See you next time.

A black hole opens under Pinocchio and he falls down.
Genres: ["Fantasy","Drama"]

Summary In a dark realm called Limbo, Pinocchio encounters Death, who reveals that he is a wooden boy with a borrowed soul, destined to endure false deaths. Death, appearing as a beautiful Sphinx, philosophically explains the significance of mortality, contrasting Pinocchio's existence with that of a real boy. As she demonstrates the concept of time with flowing sand and hourglasses, Pinocchio expresses hope but is abruptly sent back to the living world as the timer runs out, leaving his existential questions unresolved.
Strengths
  • Rich thematic exploration
  • Compelling dialogue between Pinocchio and Death
  • Intriguing concept of pseudo-deaths and waiting periods
Weaknesses
  • Limited external conflict
  • Minimal plot progression
Critique
  • This scene effectively deepens the film's thematic exploration of mortality and immortality, contrasting Pinocchio's borrowed life with the finality of death experienced by real humans like Carlo. It reinforces the emotional core of the story, drawing on earlier motifs of loss and the Wood Sprite's influence, which helps viewers understand Pinocchio's unique curse as a narrative device that highlights the value of human fragility. However, the philosophical dialogue from Death feels somewhat didactic and expository, potentially overwhelming the audience with abstract concepts that could be more subtly integrated to allow for greater emotional resonance and character-driven revelation rather than direct explanation.
  • The visual elements, such as the headlamp-like eyes illuminating the darkness and the symbolic use of hourglasses, create a striking and memorable atmosphere that evokes a sense of otherworldliness and inevitability. This aligns well with the surreal tone established in previous scenes like the Limbo Anteroom, providing continuity and building suspense. That said, the reveal of Death as a Sphinx with a mask resembling Carlo's mother is a clever tie-in to the backstory, but it might come across as heavy-handed or confusing if not clearly connected to earlier visual cues, potentially diluting the impact for viewers who aren't deeply familiar with the lore.
  • Pinocchio's character is portrayed with childlike innocence and curiosity, which contrasts nicely with Death's somber wisdom, emphasizing his ongoing naivety despite repeated 'deaths.' This interaction helps advance his arc by forcing him to confront the implications of his immortality, making the scene pivotal for character development. However, Pinocchio's dialogue and reactions could be more nuanced to reflect his growth from earlier scenes; for instance, his overly optimistic response ('Oh, boy, oh, boy- And...and that’s GOOD, right?!') might feel repetitive or underdeveloped if it doesn't show progression from his experiences in scenes 19 and 20, risking a lack of depth in his emotional journey.
  • Pacing in this scene is generally tight, with the hourglass mechanic building tension toward the abrupt send-off, mirroring the chaotic nature of Pinocchio's false deaths. This keeps the audience engaged and ties into the broader structure of the screenplay, where death is not an end but a transition. Nonetheless, the scene ends too suddenly with Pinocchio's fall, which could benefit from a slight extension to heighten the dramatic weight and allow the philosophical points to linger, ensuring the transition feels less like a quick reset and more like a meaningful pause in the story.
  • Overall, the scene serves as a strong interlude that balances horror, philosophy, and whimsy, fitting into the film's blend of dark fairy tale elements. It effectively uses Death's character to comment on the human condition, which is thematically rich, but the reliance on voice-over and direct address might make it feel detached from the main action, potentially alienating viewers if it doesn't seamlessly connect to the emotional stakes established in the carnival chaos of the previous scene. This could be an opportunity to strengthen the link between Pinocchio's misadventures and the consequences of his unnatural life.
Suggestions
  • Incorporate more interactive elements in the dialogue to make it less expository; for example, have Death pose questions to Pinocchio that prompt him to reflect on his experiences, drawing out his character development and making the conversation feel more dynamic and engaging.
  • Enhance the visual and sensory details of the Limbo setting to immerse the audience further; add subtle sounds, like the soft trickle of sand or ethereal whispers, and perhaps fleeting shadows of other souls to emphasize the isolation and vastness, making the environment more vivid and less reliant on dialogue for atmosphere.
  • Extend the moment when the hourglass runs out to build suspense; use slow-motion or a close-up on Pinocchio's face to capture his realization and fear, allowing the audience to connect emotionally before the abrupt cut, which could heighten the impact and make the 'see you next time' line more poignant.
  • Refine Pinocchio's reactions to show subtle growth; for instance, include a brief flashback or internal thought to reference his recent 'death' in the truck accident, helping to illustrate how these experiences are cumulatively affecting him and tying this scene more closely to the narrative arc.
  • Consider adding a small hint of foreshadowing for future events, such as a cryptic comment from Death about the increasing length of waits, to build anticipation for Pinocchio's ongoing struggles and ensure the scene contributes to the overall tension without feeling isolated.



Scene 22 - The Miracle and the Chaos
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. DOCTOR’S HOME - NIGHT

Pinocchio lies on a table. The DOCTOR examines his chest,
looking for a heartbeat.
62.


Everyone waits around: Count Volpe, Geppetto, the Podestà,
Candlewick, Spazz, Podestà’s Wife, etc.

DOCTOR
No- No-

CRICKET
Oh, Pinocchio.

DOCTOR
(looks for a pulse again)
Niente-

Sebastian watches nervously from above.

DOCTOR (CONT’D)
There’s not much we can do. I’m
afraid: The body is rigid.

GEPPETTO
But he’s always been rigid! He’s
made of wood!!

COUNT VOLPE
Even if he’s dead- I could still
book him...

GEPPETTO
How dare you, sir? Show some
respect!!

COUNT VOLPE
YOU show respect! To me and my
projected quarterly earnings!

PODESTÀ
Gentleman, please. This is no time
for your petty grievances.

Spazz mocks the Podestà.

The Town Priest says a prayer and throws holy water on
Pinocchio.

DOCTOR
How do you intend to dispose of the
dead body?

PINOCCHIO
A dead body? Where?

THEY ALL TURN!!! The women gasp in fright.
63.


GEPPETTO
Pinocchio! You’re alive!!

PODESTÀ
(interrupts)
He is immortal!!

COUNT VOLPE
Long live the arts!!

PODESTÀ’S WIFE/DOCTOR’S WIFE
(crossing themselves)
It’s a miracle!!!

PINOCCHIO climbs down. Staggers a bit. Geppetto steadies him.

GEPPETTO
Take it easy, my child. Lean on me.
We- we are going home!!

COUNT VOLPE
Eheheh, wait a moment!! I have a
legally binding contract!!

He produces his LONG LOOOONG contract.

COUNT VOLPE (CONT’D)
Signed by both artist and
management.

Geppetto stares at the signatures with bewilderment.

COUNT VOLPE (CONT’D)
He either performs or you owe me-
ten million lira!!

GEPPETTO
Well, that’s ridiculous!! It’s just
a smiling sun!!

COUNT VOLPE
It’s still his signature, is it
not??!!

PINOCCHIO
I drew that!!

Spazzatura chuckles manically.

COUNT VOLPE
A-ha! I demand full restitution
before the law!! Including
transportation, transmutation, all
the future representation...
64.


The Podestà pushes in to get to Pinocchio!!

PODESTÀ
Our country comes first! This boy
cannot be killed!! He is the ideal
soldier!! He must be drafted into
the youth camps- by law!!

He salutes, everybody salutes (two or three times).

PODESTÀ (CONT’D)
(to Pinocchio)
You will learn to fight and fire a
weapon and be a real Italian boy!

GEPPETTO
We...we must go- we truly must go.
We will all speak later, I am
sure!!

COUNT VOLPE
Not to me, sir!! Speak to my
lawyers!!
Genres: ["Fantasy","Drama","Comedy"]

Summary In a chaotic night scene at the doctor's home, Pinocchio is initially declared lifeless during an examination, prompting emotional reactions and arguments among Geppetto, Count Volpe, and the Podestà. As tensions rise over Pinocchio's status, with Volpe demanding performance contracts and the Podestà pushing for military drafting, Pinocchio unexpectedly speaks, revealing he is alive. This miraculous moment leads to joy and further disputes, as Geppetto tries to take Pinocchio home amidst unresolved conflicts and threats of legal action.
Strengths
  • Effective blend of tension and humor
  • Strong character interactions
  • Emotional depth and thematic richness
Weaknesses
  • Some dialogue may be overly dramatic
  • Complex legal and financial elements may confuse some viewers
Critique
  • The scene effectively captures the chaotic aftermath of Pinocchio's apparent death and revival, highlighting the various characters' self-interested motivations and advancing multiple plot threads, such as the contract dispute and the military draft. However, the overcrowding of characters (e.g., Count Volpe, Geppetto, Podestà, Candlewick, Spazz, and others) makes it difficult for the audience to focus on any single emotional arc, particularly Geppetto's relief and protectiveness, which could be more poignant if given more space. This dilution of focus risks weakening the scene's impact in a story that already deals with complex themes of immortality and loss.
  • Dialogue in the scene is often overly expository and on-the-nose, with lines like 'He is immortal!' and 'You will learn to fight and fire a weapon and be a real Italian boy!' feeling like direct explanations rather than natural character interactions. This can make the scene less engaging and immersive, as it tells rather than shows key information, potentially alienating viewers who prefer subtlety in storytelling. Additionally, the humor, such as Spazz mocking the Podestà or Count Volpe's greedy outbursts, while fitting the film's tone, sometimes undermines the gravity of the moment, making the conflicts feel cartoonish rather than stakes-driven.
  • Pacing is rapid and frenetic, jumping quickly from Pinocchio's revival to heated arguments without allowing for emotional breathing room. This is particularly noticeable after the introspective Limbo scenes (20 and 21), where Pinocchio's immortality is philosophically explored; the abrupt transition here misses an opportunity to contrast the eerie calmness of death with the noisy chaos of life, which could deepen the thematic resonance and give audiences a moment to process Pinocchio's return. As a result, the scene feels more like a setup for future conflicts than a fully realized beat in its own right.
  • The visual and comedic elements, such as the holy water prayer and the long contract, add whimsy and energy, but they occasionally overshadow the core relationship dynamics, especially between Geppetto and Pinocchio. For instance, Geppetto's line 'Take it easy, my child. Lean on me.' is a tender moment that could anchor the scene emotionally, but it's quickly drowned out by the surrounding arguments, reducing its impact. This imbalance might confuse viewers about the scene's primary focus—whether it's Pinocchio's revival, the contractual dispute, or the fascist elements—potentially weakening the overall narrative cohesion.
  • While the scene reinforces the film's themes of exploitation and immortality through character interactions (e.g., Count Volpe's greed and the Podestà's nationalism), it lacks a clear resolution or progression, ending on a note of unresolved tension with salutes and threats. This could leave audiences feeling unsatisfied, as the high stakes introduced (e.g., debt and drafting) are not given time to simmer or evolve, making the scene feel like a transitional interlude rather than a standalone unit with its own arc.
Suggestions
  • Streamline the number of characters present by focusing on the most essential ones (e.g., Geppetto, Count Volpe, Podestà, and Pinocchio) and have others react in the background or through visual cues to reduce clutter and allow for more meaningful interactions.
  • Refine the dialogue to incorporate more subtext and show-don't-tell techniques; for example, instead of explicitly stating 'He is immortal,' have characters react with awe or fear through actions, like backing away or crossing themselves, to convey the same information more dynamically.
  • Slow down the pacing after Pinocchio's revival by inserting a brief pause or a close-up shot of Geppetto's relieved expression, allowing the audience to absorb the emotional weight before escalating to the arguments, which would create a stronger contrast with the Limbo scenes and enhance thematic depth.
  • Balance humor and drama by integrating comedic elements more sparingly and tying them to character development; for instance, use Spazz's mockery to reveal his personality without derailing the tension, ensuring that humorous moments support rather than detract from the scene's emotional core.
  • Structure the scene with a clearer progression of conflict, starting with a moment of relief and unity (e.g., Geppetto and Pinocchio's reunion), then building gradually to the disputes, and ending with a small resolution or cliffhanger that ties back to the overall story, making the scene feel more complete and purposeful.



Scene 23 - A Heartfelt Divide
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 10
  • Dialogue: 9
EXT. BIRCH WOODS - NIGHT

Geppetto and Pinocchio walk through the woods. Geppetto is
cold, clutching/rubbing his arms, Pinocchio entirely
unbothered by the frosty night air.

GEPPETTO
(heartbroken)
What a day, what a day...

PINOCCHIO
A fun day!

GEPPETTO
What will we do??

PINOCCHIO
Oh, don’t worry, Papa! I’ll go to
war! It sounds quite fun! I can
learn to fight and- and fire a
weapon and- march like -

GEPPETTO
(on verge of tears)
No, Pinocchio, war is not fun! War
is not good! War... war took Carlo
away from me...
65.


PINOCCHIO
Then I simply won’t go!

GEPPETTO
(getting frustrated)
But you HAVE to go now. It’s the
law!

PINOCCHIO
Even when it’s something bad?

GEPPETTO
Yes, we ALL have to obey the law,
whether we like it or not!!

PINOCCHIO
Why?

GEPPETTO
I...I don’t have time- or patience
enough to explain that to you.
I...I owe that man a fortune
and...and you, you will be taken
far away and recruited into
military youth camps, and
now...now, now look what you’ve
turned me into. I made you to be
like Carlo! Why can’t you be more
like Carlo?!

Geppetto is spent, exhausted- his eyes tear-stained.
Pinocchio blubbers, understandably heartbroken.

PINOCCHIO
Because I’m NOT Carlo! I don’t
wanna be like Carlo! Carlo is...

GEPPETTO
Enough!!!
(beat)
You are such a burden.

Geppetto shakes his head, defeated.

He walks away, saddened. Pinocchio stays behind. He is
crushed.

Cricket, who has just caught up with them, stares sadly at
Pinocchio, heartbroken for the boy.

Geppetto keeps walking, tear-stained.

FADE OUT / IN:
66.


INT. GEPPETTO BEDROOM - NIGHT

Geppetto is sound asleep. Pinocchio lies awake. Tossing and
turning in his bed. A tear rolls down his cheek. He looks
longingly at his father.

PINOCCHIO
(to himself)
His nose didn’t grow.

CRICKET
What’s that?

PINOCCHIO
When he called me a burden- his
nose didn’t grow. That’s how he
really feels...
(sniffs)
I don’t want to be a burden... I
don’t want to hurt Papa and make
him want to yell at me like that...

CRICKET
Oh, Pinocchio- sometimes fathers
feel despair- like everybody else-
and they say things- things they
only THINK they mean in the moment.
But with time they learn that- that
they never really meant it at all.
Do you understand?

PINOCCHIO
(Excited gasp!)

Pinocchio leaps out of bed.

CRICKET
Hey! Hey! Where are you going?

CUT TO:


INT. GEPPETTO’S WORKSHOP - NIGHT

Pinocchio is excitedly climbing down the steps.

PINOCCHIO
I’ve got a plan!

CRICKET
Pinocchio, what-- what are you
doing?
67.


PINOCCHIO
You’ll see. I am going to the
carnival! That way I can help Papa
AND I won’t go to war!

He leans on Geppetto’s WORK TABLE and pulls a pencil and a
piece of paper. The Cricket jumps onto the desk.

PINOCCHIO (CONT’D)
I’ll leave him a note, explaining
everything.

CRICKET
No, Pinocchio- don’t do this!!

Pinocchio draws a SMILING/LAUGHING SUN. The Cricket smiles.

CRICKET (CONT’D)
Aw- that’s-

SLAM!! Pinocchio puts an upside glass and a heavy hammer on
top- the Cricket is trapped!!

CRICKET (CONT’D)
No! No!--
No! No! Don’t do this!

PINOCCHIO
You tell him, that I will send him
money. And tell him, I love him-
and I won’t be a burden anymore...

Through the distorted glass, the Cricket sees Pinocchio
leaving!!

CRICKET
No!!!

He starts pushing the glass with all his might- moves it
nearer and nearer to the edge of the table.

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

Summary In this emotional scene, Geppetto and Pinocchio walk through the birch woods at night, grappling with the weight of their relationship. Geppetto, heartbroken over the prospect of Pinocchio going to war due to a debt, expresses his despair and frustration, leading to a heated argument where he calls Pinocchio a burden. This deeply affects both characters, causing Geppetto to walk away in sorrow and leaving Pinocchio feeling crushed. Later, unable to sleep, Pinocchio confides in the Cricket about his father's harsh words and resolves to run away to the carnival to help Geppetto financially. In a moment of naivety, he traps the Cricket under a glass and leaves, determined to prove his love for Geppetto, while the Cricket struggles to escape.
Strengths
  • Emotional depth
  • Character development
  • Intense conflict
  • Poignant moments
Weaknesses
  • Potential lack of clarity in character motivations
Critique
  • The scene effectively captures the emotional turmoil between Geppetto and Pinocchio, highlighting themes of grief, obedience, and identity, which are central to the overall script. However, the rapid escalation of the argument in the woods feels somewhat abrupt, lacking sufficient buildup to make Geppetto's outburst about Pinocchio being a 'burden' feel fully earned. This could alienate readers or viewers who might see it as overly harsh without enough contextual foreshadowing from previous scenes, potentially undermining the depth of Geppetto's character arc as a grieving father.
  • Pinocchio's character is portrayed with consistent naivety and optimism, which is engaging, but his quick transition from heartbreak to excitement about running away in the workshop segment comes across as rushed. This shift might not allow the audience to fully process his emotional state, making his decision to leave feel impulsive rather than a logical extension of his childlike misunderstanding of the world. It could benefit from more internal reflection to strengthen the audience's empathy and understanding of his motivations.
  • The dialogue is functional in conveying conflict and emotion, but some lines, such as Geppetto's explanation of obeying the law, feel expository and didactic, which can disrupt the natural flow of conversation. This might make the scene less cinematic, as it tells rather than shows, potentially reducing tension and immersion. Additionally, Pinocchio's repetitive and simplistic responses could be refined to add more nuance, reflecting his growth or lack thereof in a way that ties back to the script's exploration of what it means to be 'real.'
  • Visually, the scene uses the night woods and the intimate bedroom/workshop settings well to create a moody, introspective atmosphere, but the fade out/in transition between locations might feel disjointed, breaking the scene's momentum. The action of trapping the Cricket under the glass is a clever, humorous visual beat that contrasts with the emotional weight, but it risks feeling cartoonish if not balanced properly with the scene's dramatic tone, especially given the script's blend of fantasy and real-world grief.
  • The Cricket's role as an observer and commentator is underutilized here; while his sad stare and attempts to comfort Pinocchio add depth, his dialogue feels somewhat passive and could be more proactive to reinforce his function as a conscience figure. This scene misses an opportunity to deepen the relationship between Pinocchio and the Cricket, which is a recurring element in the script, potentially weakening the thematic thread of guidance and morality.
  • Overall, the scene advances the plot by setting up Pinocchio's departure and the consequences of his actions, but it risks feeling like a pivot point without enough resolution or payoff in the immediate emotional beats. The ending, with Pinocchio leaving a note and trapping the Cricket, creates suspense for the next scenes, but it might not fully capitalize on the cathartic potential of the argument, leaving the audience with unresolved tension that could be more satisfying if tied closer to earlier events, such as the carnival chaos in Scene 19.
Suggestions
  • Add subtle foreshadowing in earlier scenes to build up to Geppetto's emotional outburst, such as brief moments of frustration or comparison to Carlo, to make the conflict feel more organic and less sudden.
  • Extend Pinocchio's internal struggle in the bedroom sequence with visual cues like him tossing and turning or whispering to himself, allowing more time for his decision to run away to develop naturally and resonate emotionally.
  • Refine the dialogue to be more implicit and character-driven; for example, have Geppetto show his frustration through actions or metaphors rather than direct explanations, and give Pinocchio more varied responses that reveal his innocence in a fresh way.
  • Smooth the transitions between locations by using cross-cutting or overlapping sounds (e.g., the wind in the woods carrying into the bedroom) to maintain a continuous flow, and enhance visual elements by describing more sensory details, like the cold mist in the woods or the dim candlelight in the workshop, to heighten atmosphere.
  • Amplify the Cricket's agency by having him actively try to physically stop Pinocchio or offer more insightful advice, strengthening his role and providing opportunities for comedic or heartfelt interactions that underscore the theme of guidance.
  • Ensure the scene's emotional arc has a clearer build and release by ending with a small moment of reflection or a visual symbol (e.g., Pinocchio looking back at Geppetto before leaving), which would make the setup for future conflicts more impactful and tied to the story's larger themes of loss and redemption.



Scene 24 - A Father's Regret and a Deceptive Deal
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. CARNIVAL - NIGHT

Cold winds blow as Pinocchio knocks on Count Volpe’s door.
Footsteps are heard- cursing and then the door pops open.

Count Volpe- sword in hand- half-awake!!

COUNT VOLPE
What is that!! What do you want in
the middle of the-
(MORE)
68.
COUNT VOLPE (CONT’D)
(sees Pinocchio)
My beloved star!!! How can I be of
assistance??

PINOCCHIO
(shivering)
If I work for you- will you forget
the money you want from my Papa?

Spazzatura peeks from behind Count Volpe’s legs, jealous!

COUNT VOLPE
Oh, absolutely, my dear boy!

PINOCCHIO
And will you send him my share of
the profits??

COUNT VOLPE
HehHeh, clear accounting all the
way!! Fifty-fifty right down the
middle!!

Volpe draws a line in the sand.

They shake hands, vigorously.

SPAZZATURA BARES HIS TEETH to Pinocchio.

COUNT VOLPE (CONT’D)
Everybody up!!!!

Lights turn on in every caravan!!

COUNT VOLPE (CONT’D)
We’re leaving!!!


INT. GEPPETTO WORKSHOP - SAME

The Cricket manages to push the glass and now there is an
opening.

He maneuvers himself out of the glass- The fall is enormous,
but he will brave it.

But the glass tilts and falls, bringing the Cricket down with
it!!

They crash on the floor below!! And the HAMMER follows.

CRICKET
Ahhh...
69.


The hammer just misses him. Cricket is alive!

Cricket starts to walk away, but the hammer teeters.

It falls and crushes him!

CRICKET (CONT’D)
The pain- ughh...

CUT TO:


INT. GEPPETTO BEDROOM - MORNING

Next morning. Geppetto wakes in bed, groggy. He puts on his
glasses and looks to Pinocchio’s bed.

GEPPETTO
Pinocchio- Son- I just wanted to
say...

The bed is empty. A moment of regret. Dread...


INT. WORKSHOP - MORNING

Geppetto walks down the stairs.

Pinocchio isn’t there.

GEPPETTO
Pinocchio?

Geppetto looks under workbench, etc.

Finds the Cricket and the broken glass.

GEPPETTO (CONT’D)
Oh, little Cricket...

Geppetto reaches down and gently picks him up.

Geppetto’s eyes discover the handwritten note with crudely
drawn SMILING SUN FACE.

CRICKET
(coming to)
He’s gone...to the carnival!

CUT TO:
70.


EXT. ITALIAN COUNTRYSIDE / RUINS - MORNING

Geppetto rushes through the outskirts of TOWN. DESPERATE!
Rushing towards the carnival.

Geppeto arrives:

The lot is now vacant: cars and trucks are gone- ground is
crisscrossed by the tire tracks.

Geppetto looks around, in terror.

GEPPETTO
Pinocchio!! Pinocchio!! Pinocchio!!
Oh- oh- How will I ever find
him??!!

CRICKET
Oh, now you want to find him. After
all the things you said? After you
called him a burden. A burden!? Why
are you so blind? So, absolutely
blind? The boy loves you- he has
much to learn, but he loves you for
who you are. Would it kill you to
do as much for him?? You should
start acting like a father- a real
father. Not an old, stubborn goat-
who is so busy moaning and crying
about his losses- me, me, me, poor
me- that he cannot see the love he
actually HAS.

GEPPETTO
It’s a schedule...
(exhales)

CRICKET
I may be a bug, sir- but I have a
thing or two to teach you
about...Hey!! Where are you going?

Geppetto has picked up a flyer of-

-COUNT VOLPE’s MARVELOUS MARIONETTES!! On it are the dates
and locations of the upcoming shows.

GEPPETTO
After my son!

He dashes off, waving the flyer excitedly.
71.


CRICKET
Excuse me- If I may- Perhaps we
should- Wait!!

Cricket follows.

CUT TO:


MUSICAL MONTAGE
Genres: ["Drama","Fantasy","Adventure"]

Summary In this tense scene, Pinocchio, shivering at night, makes a naive deal with the deceitful Count Volpe to work for him in exchange for his father's debt forgiveness. Meanwhile, the Cricket struggles to escape but is crushed, leading to Geppetto's realization that Pinocchio is missing. Filled with regret, Geppetto searches for his son, urged by the Cricket to be a better father. The scene culminates with Geppetto discovering a flyer for Volpe's show and rushing off to find Pinocchio, followed by the Cricket.
Strengths
  • Emotional depth
  • Character development
  • Tension building
Weaknesses
  • Potential lack of clarity in character motivations
Critique
  • The scene effectively escalates the central conflict by physically separating Pinocchio and Geppetto, which heightens the emotional stakes and propels the story forward. It builds on the previous scene's emotional fallout, where Geppetto's harsh words drive Pinocchio to run away, creating a natural progression that underscores themes of misunderstanding and redemption. However, the rapid shifts between locations (carnival, workshop, countryside) can feel disjointed, potentially disorienting the audience and diluting the emotional impact of key moments, such as Pinocchio's deal with Count Volpe or Geppetto's realization of his loss. This choppy structure might benefit from smoother transitions to maintain narrative flow and allow viewers to fully absorb the characters' emotional states.
  • Character development is a strength here, particularly with Geppetto's arc. The Cricket's scolding monologue serves as a catalyst for Geppetto's change, forcing him to confront his flaws and shift from self-pity to proactive pursuit. This moment is poignant and thematically rich, emphasizing the need for parental growth. That said, the dialogue in this scene, especially the Cricket's rant, comes across as overly expository and didactic, telling rather than showing the audience Geppetto's blindness. This can make the exchange feel less organic and more like a lecture, reducing its emotional authenticity and potentially alienating viewers who prefer subtlety in character interactions.
  • The repeated motif of the Cricket being crushed and reviving loses its novelty by this point in the script, as it has occurred multiple times earlier. In this scene, the Cricket's narrow escape and subsequent crushing feels redundant and comedic in a way that might undermine the gravity of the story's darker themes, such as loss and immortality. While it's intended to highlight Pinocchio's chaotic influence and the Cricket's resilience, the repetition risks desensitizing the audience or turning a potentially tense moment into unintentional farce, which could detract from the scene's overall tension and the Cricket's role as a wise guide.
  • Visually, the scene has strong elements, like the cold winds at the carnival contrasting with the warmth of Geppetto's workshop, which effectively mirrors the characters' emotional states. However, the action sequences, such as the Cricket's escape from the glass, are somewhat predictable and lack innovation, making them less engaging. Additionally, Pinocchio's deal with Count Volpe is handled quickly, with Volpe's deceitful nature shown through dialogue and actions (e.g., drawing a line in the sand), but it could be more visually dynamic to emphasize Pinocchio's naivety and Volpe's manipulation, helping readers and viewers better understand the power imbalance and foreshadow future conflicts.
  • The scene's ending, with Geppetto dashing off after finding the flyer, provides a strong hook into the musical montage, maintaining momentum. Yet, the emotional resolution feels abrupt; Geppetto's shift from despair to determination is catalyzed by the Cricket's words, but it lacks sufficient buildup or internal reflection, which might make his change seem unearned. This could alienate readers who are tracking character arcs, as it skips over nuanced emotional beats that would make Geppetto's growth more believable and relatable within the context of the entire screenplay.
Suggestions
  • Smooth out the location transitions by using visual or auditory motifs, such as recurring sounds of wind or music, to bridge the cuts and create a more cohesive flow, helping the audience follow the parallel actions without confusion.
  • Refine the Cricket's dialogue to be more subtle and integrated into the action; for example, show Geppetto's realization through facial expressions or symbolic gestures rather than a direct rant, allowing the audience to infer his flaws and fostering a deeper emotional connection.
  • Vary the Cricket's perilous situations to avoid repetition; instead of another crushing incident, introduce a new challenge that highlights his resilience, such as evading a different hazard in the workshop, to keep the humor fresh and maintain narrative interest.
  • Enhance Pinocchio's deal with Count Volpe by adding more visual storytelling, like close-ups on Volpe's sly expressions or Pinocchio's wide-eyed innocence, to better convey the manipulation and make the scene more cinematic and engaging.
  • Extend Geppetto's moment of reflection after finding the note and crushed Cricket, perhaps with a brief flashback or pause for internal monologue, to make his decision to pursue Pinocchio feel more earned and provide a stronger emotional payoff for the audience.



Scene 25 - Parallel Journeys: Longing and Fame
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. ROAD - DAY

A SWEET VOICE RISES in the soundtrack, Pinocchio singing a
PURE, ITALIAN HYMN!! Music carries over the next scene.

PINOCCHIO
Ciao Papa
Mio Papa
Time has come to say farewell
For how long will I go? Is it far?
No one knows, no one can tell

Geppetto tries to hitch a ride on a country road.

A sign nearby reads ALLESANDRIA - 50km

A truck speeds by, not slowing down.

GEPPETTO
Wait! Wait! Wait!!


INT. COUNT VOLPE’S THEATRE - NIGHT

Pinocchio is on stage, singing to the crowd.

PINOCCHIO
If I am gone for a long, long,
time,
I’ll pack away a fine piece of
shine,
The sound of birds chirping with
bells,
Drawings of plums, two bags of
shells,
The smell of bread, a drop of wine,
Your memory, father of mine.
Farewell
My Papa

CUT TO:
72.


INT. TRUCK - DUSK

Volpe, Pinocchio and Spazz drive to the next town. Pinocchio
looks at a map, tracking their progress.


INT. COUNT VOLPE’S THEATRE - NIGHT

Pinocchio dances around on stage with Columbina.

Spazz looks down at the scene with disdain.

Pinocchio happily signs autographs after the show, while
Volpe collects money from the crowd.

DISSOLVE TO:


EXT: FAIRGROUNDS - MORNING

A coin lies buried in the dirt.

Geppetto reaches down and picks it up, brushing it off.

He looks around at the now empty area. He has just missed the
carnival.

DISSOLVE TO:


EXT. ROAD - DAY

Pinocchio looks out the window and waves to a crowd of fans
below from the caravan.

CUT TO:


EXT. COUNT VOLPE’S THEATRE - NIGHT

Pinocchio on stage singing.

PINOCCHIO
Ciao Papa
Mio Papa
Time has come to say farewell
I am ready to go. Going far.
Now I know it will be swell

Spazz glares at him from behind a curtain. Jealous.

CUT TO:
73.


INT. TRAIN - NIGHT

Geppetto and Cricket ride a train to the next town. Cricket
wipes the fog from the window so he can look out. Geppetto
studies a map, then stares out into the distance as well.

CUT TO:


INT. PUPPET WAGON - DAY

Pinocchio stares wistfully out the window as they travel to
the next town.

Volpe sits drinking his tea. He offers a sort of “cheers” in
Pinocchio’s direction.

PINOCCHIO
I shall be gone for a long, long,
time,
Shall be picking many peaks to
climb
Maybe I’ll see a camel cry.
Dangerous pirates with a black eye
Rain or shine, I’ll keep in my mind
Your memory, father of mine.
Farewell
My Papa


DISSOLVES BETWEEN POINT IN A MAP. SIGNALING THE JOURNEY-
THROUGHOUT THE MONTAGE.

CUTAWAY TO:


EXT. URBAN SETTING - DAY

A city somewhere. A FATHER and SON gaze enthusiastically at a
poster on the wall. Pinocchio and Count Volpe are prominently
featured.

Behind them, Spazz pastes the same poster on a wall with his
tail.

Pinocchio is supposed to be helping him but just gazes sadly
at the father and son instead.

We FADE from the poster image of Pinocchio to:


EXT. URBAN SETTING - NIGHT

Pouring rain.
74.


Geppetto stares at that same poster some time later.

It is now faded and torn, partially covered by new posters.

DISSOLVE TO:


INT. COUNT VOLPE’S THEATRE - NIGHT

Pinocchio, performing. The crowd throws flowers on the stage
as the curtains close.

Volpe stands in the wings, enthralled.

Spazz watches them from the catwalk above. He throws the
cross braces in disgust.

DISSOLVE TO:


EXT. FORREST - DAY

Geppetto trudges along and comes across a pine cone.

He picks it up holding it in his hands.

DISSOLVE TO:


EXT. COUNTRYSIDE - NIGHT

Pinocchio holds a pine cone in his hands.

He sits on the steel girders of a power line tower.

Far off in the distance the faint sound of explosions can be
heard.

CUT TO:
Genres: ["Musical","Drama","Fantasy"]

Summary Scene 25 is a musical montage showcasing the contrasting journeys of Pinocchio and Geppetto. As Geppetto desperately searches for his son, hitchhiking and traveling with Cricket, Pinocchio experiences rising fame, performing on stage and touring with Count Volpe and Spazz. The montage highlights themes of separation and longing, with Pinocchio singing a farewell hymn to his father while Geppetto faces challenges alone. Spazz's jealousy towards Pinocchio's success adds tension, culminating in a bittersweet tone as both characters navigate their paths, ultimately ending with Pinocchio alone in the countryside, holding a pine cone and listening to distant explosions.
Strengths
  • Emotional depth
  • Character development
  • Thematic resonance
Weaknesses
  • Limited external conflict
  • Some pacing issues
Critique
  • The montage effectively captures the parallel journeys of Pinocchio and Geppetto, using visual dissolves and cuts to convey the passage of time and emotional distance, which strengthens the theme of separation and longing central to the story. However, the repetitive use of Pinocchio's farewell song might dilute its emotional impact over the sequence, as it risks becoming monotonous and could benefit from variation in melody or lyrics to maintain audience engagement.
  • The scene successfully highlights Pinocchio's rising fame and Geppetto's desperate search, creating a poignant contrast that deepens the father-son dynamic. That said, some shots, like Geppetto finding a coin or Pinocchio holding a pine cone, feel somewhat disconnected or symbolic without clear contextual ties, potentially confusing viewers who aren't deeply familiar with the script's motifs, such as the pine cone's reference to Carlo.
  • Visually, the montage employs strong techniques like dissolves between map points and intercutting between characters to show simultaneous action, which is cinematically efficient. Yet, the overall pacing might feel rushed, glossing over the emotional weight of the journeys; for instance, Geppetto's hitchhiking and train rides could use more lingering shots to emphasize his isolation and growing despair, making the audience feel his frustration more acutely.
  • The inclusion of elements like Spazz's jealousy and the distant explosions adds layers of conflict and foreshadowing, tying into broader themes of war and betrayal. However, these moments are somewhat underdeveloped in the montage format, appearing as quick cuts that don't allow for sufficient buildup or emotional resonance, which could leave viewers wanting more depth in how these elements affect the characters.
  • Thematically, the scene reinforces the motif of memory and loss through Pinocchio's lyrics and Geppetto's interactions with faded posters and pine cones, aligning well with the script's exploration of grief. Nonetheless, the montage risks feeling like a filler sequence if it doesn't advance the plot significantly, as it primarily recaps the separation established in previous scenes without introducing new conflicts or revelations.
  • In terms of character development, Pinocchio's performances and fan interactions show his naivety and growing celebrity, while Geppetto's search humanizes his paternal regret. However, the lack of direct interaction or voice-over narration (beyond the song) might make it hard for audiences to connect emotionally, especially since the montage relies heavily on visual shorthand, which could be more effective with subtle additions like Cricket's observations to bridge the emotional gaps.
Suggestions
  • Vary the musical elements by introducing instrumental breaks or different verses in Pinocchio's song to prevent repetition and keep the audience engaged; consider having the music evolve to reflect the characters' changing emotions, such as shifting from upbeat to melancholic tones.
  • Strengthen symbolic connections by adding brief visual callbacks or subtle integrations, like intercutting Geppetto's pine cone with flashbacks to Carlo, to make motifs more accessible and emotionally resonant without overloading the montage.
  • Enhance pacing by reducing the number of similar shots (e.g., multiple performances) and focusing on key emotional beats, such as extending shots of Geppetto's face during moments of failure to build tension, ensuring the montage feels purposeful and not just transitional.
  • Incorporate more dynamic camera work, like tracking shots during travel sequences or close-ups on characters' expressions, to add depth and intimacy, helping to convey internal conflicts more vividly and making the parallel journeys feel more interconnected.
  • Add a line of voice-over from Cricket or a subtle narrative device to provide context or emotional commentary, which could clarify the montage's purpose and tie it more closely to the overarching story without disrupting the visual flow.
  • Consider tightening the sequence by merging some dissolves into faster cuts or adding humorous or surprising elements, such as Spazz's jealous actions, to maintain energy and prevent the montage from dragging, while ensuring it advances the plot toward the next conflict.



Scene 26 - Farewells and Performances
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. TOWN BRIDGE - NIGHT

PINOCCHIO
And as I gambol on my long, long,
climb, I hold on tight to our best
of times.
Eyes in the rain, I try to hide
Tears of a boy who shouldn’t cry.
Forevermore, I’ll keep in mind
Your memory, father of mine.
Farewell
My Papa.
75.


Back at town. Cold dark night. Candlewick leans against a
building. The Podestà is by his side. Podestà’s Wife is
standing further away, teary eyed.

Headlights of a truck illuminate them.

The truck is eerily quiet. Its wheels are wrapped with rags.
It stops a couple yards from Candlewick. We faintly see the
silhouette of The Driver.

Candlewick looks to his mother. She rushes towards him and
gently places her SCARF around his neck. She kisses him on
the forehead and smiles sadly.

Candlewick tightens the scarf, looks to his father and nods,
and climbs into the back of the truck. Candlewick salutes as
the truck departs.

CUT TO:


INT. COUNT VOLPE’S THEATRE - NIGHT

Pinocchio stands backstage, alone. On his head sits a red
helmet. A rifle is slowly LOWERED to him from above.

He has a look of resignation on his face.

Curtains open. Spotlight hits. He puts on his happy show
face. Pinocchio rolls out on the tank.

PINOCCHIO
I fight for the land
I fight oversea!
I’ll fight up to the end
Glory to Italy!

Around Pinocchio dancing marionettes appear; it’s a chorus
line! A showstopper!!

The audience applauds. The theatre is full. Count Volpe is
sweating as-

Spazz puppeteers with all his might!!!

PINOCCHIO (CONT’D)
The flag in hand
For Fatherland
Il Duce, Il Duce
We sing out and we pray
The horizon in sight
Stand up, follow the light

Volpe stands in the wings, beaming with pride.
76.


A wired eagle drops from the eaves and Pinocchio climbs
aboard.

PINOCCHIO (O.S.) (CONT’D)
Like an eagle soaring, magnificent
and free
I’ll be marching, marching on the
path to victory
We are brave! We are young!
Italia! Be jolly
Italia! We are strong

A giant Mussolini backdrop flies in.

The puppets march furiously.

Cannons full of confetti explode!

APPLAUSE! APPLAUSE! APPLAUSE!

The curtains close.

Count Volpe steps out on stage, script in hand. He bows
repeatedly.

COUNT VOLPE
Thank you! Thank you! Thank you!
Viva Benito Mussolini, nostra Duce!
Viva! Viva!! Viva!!!

He holds up the script and kisses it.


INT. BACKSTAGE PUPPET THEATRE - CONTINUOUS

Off in the wings, Pinocchio remains stuck on the eagle,
exhausted.

CUT TO:


EXT. PIER - DAY

Geppetto runs along the pier, as fast as he can. He slows,
out of breath, and we see the ship to CATANIA.

It has just left.


INT. SHIP - NIGHT

Count Volpe is counting money. Pinocchio gazes out to sea.
77.


COUNT VOLPE
Another great week, my boy!! Just
one last stop.

PINOCCHIO
Don’t forget to send my share of
the money back home to Papa.

COUNT VOLPE
Oh, I wouldn’t DREAM of forgetting!
See? Fifty-fifty-

Count Volpe separates the earnings into an equal piles.

COUNT VOLPE (CONT’D)
Minus expenses, transportation and
promotion.

He divides it in half and that half in half and half of that.

COUNT VOLPE (CONT’D)
Tomorrow, we go to a small town by
the sea- CATANIA. And there we will
perform for his excellency: Il
Duce!

Volpe produces an OFFICIAL, SEALED TELEGRAM from his pocket.

PINOCCHIO
Il Dolce?

COUNT VOLPE
No, my brightest star. Our fearless
leader: Il Duce, Benito Mussolini!!
He heard of your act and he’s
coming to see us. Ha!

He holds the telegram up for Pinocchio to see. Pinocchio
yawns, unexcited.

COUNT VOLPE (CONT’D)
He and I are very close. Here we
are in Roma...

He unfolds a photo wallet.

The photo shows Volpe amidst the crowd (a selfie) with
Mussolini in the distance.

COUNT VOLPE (CONT’D)
That’s him back there...
(beat)
You will make me- and your Papa- so
proud!!
78.


Pinocchio nods and smiles, then gazes back out to sea.

PINOCCHIO
Proud...

CUT TO:
Genres: ["Musical","Drama","Historical"]

Summary In this poignant scene, Pinocchio bids an emotional farewell to his father at a town bridge, while Candlewick departs from his family, climbing into a truck. The scene shifts to a puppet theatre where Pinocchio performs a pro-fascist show, receiving applause as Count Volpe revels in the success. Backstage, Pinocchio feels trapped and exhausted. Geppetto desperately tries to catch a departing ship but arrives too late. On the ship, Count Volpe discusses profits and future performances with Pinocchio, who remains unenthusiastic and reflective, gazing out to sea.
Strengths
  • Effective use of music and performance to convey emotions
  • Strong character development and interactions
  • Historical context adds depth and relevance
Weaknesses
  • Potential for confusion with the multiple subplots and characters introduced
Critique
  • The scene effectively uses cross-cutting to juxtapose multiple storylines—Pinocchio's performance, Candlewick's departure, and Geppetto's pursuit—creating a sense of parallel lives and escalating tension. This technique highlights themes of separation, loss, and the pervasive influence of fascism, which fits well into the overall narrative of grief and redemption. However, the rapid shifts between locations can feel disjointed, potentially overwhelming the audience and diluting the emotional impact of each segment. For instance, Candlewick's goodbye is poignant but somewhat abrupt and disconnected from Pinocchio's arc, making it feel like an insert rather than an integral part of the scene's flow.
  • Character development is strong in showing Pinocchio's exhaustion and resignation, which underscores his manipulation by Count Volpe and his internal conflict. This portrayal adds depth to Pinocchio's journey, illustrating how he's being used as a propaganda tool while longing for his father. On the downside, Geppetto's segment on the pier is emotionally charged but brief, which might not give enough weight to his desperation, especially after the buildup in previous scenes. Additionally, Count Volpe's exuberance is well-captured, reinforcing his deceitful nature, but Pinocchio's lack of enthusiasm could be more vividly depicted to emphasize his growing disillusionment.
  • The dialogue, particularly Pinocchio's farewell song and Count Volpe's excited ramblings, serves to advance the plot and reveal character motivations. The song is a nice touch for emotional resonance, but it might come across as generic without stronger ties to specific memories or lyrics that echo earlier scenes, such as his interactions with Geppetto. Visually, elements like the confetti cannons and the giant Mussolini backdrop effectively convey the propagandistic atmosphere, but the scene could benefit from more subtle visual cues to maintain a balance between spectacle and intimacy, avoiding a sense of overload.
  • Thematically, the scene reinforces the script's exploration of war's horrors and the cost of obedience, with Candlewick's salute and Pinocchio's pro-fascist performance serving as stark contrasts to Geppetto's futile chase. This builds suspense toward the Mussolini encounter, but the tone shifts abruptly from somber (Candlewick's departure) to celebratory (the theatre performance), which could confuse viewers if not smoothed out. Overall, while the scene advances the plot efficiently, it risks prioritizing spectacle over deeper emotional exploration, which is crucial in a story centered on familial bonds and loss.
  • In terms of pacing and integration, this scene acts as a bridge to future conflicts, effectively using the musical and visual elements to convey the passage of time and growing stakes. However, the inclusion of multiple subplots in a single scene might stretch the runtime or dilute focus, especially since the previous scenes (like 25) already established separation through montage. This could make the narrative feel repetitive if not justified by escalating tension, and the ending with Pinocchio's subdued 'Proud' line is a strong character beat but could be amplified with more visual or auditory cues to heighten the irony and foreshadowing.
Suggestions
  • Refine the cross-cutting by adding transitional elements, such as recurring visual motifs (e.g., a shared scarf or pine cone imagery) to better connect the segments and make the jumps feel more organic, enhancing emotional continuity.
  • Expand Pinocchio's emotional state during the performance and on the ship by including more internal reactions or close-ups of his face, perhaps with flashbacks to earlier scenes with Geppetto, to deepen the audience's understanding of his conflict and make his exhaustion more relatable.
  • Strengthen the dialogue in Pinocchio's song by incorporating specific references to his past experiences or Geppetto's teachings, making it more personal and tied to the story's themes, which could increase its emotional punch and avoid feeling like standard farewell lyrics.
  • Balance the pacing by shortening less critical segments, such as Candlewick's departure if it doesn't directly advance Pinocchio's story, or integrate it more seamlessly with audio cues (like overlapping sounds of trucks and applause) to maintain momentum without losing emotional depth.
  • Enhance visual storytelling by using symbolic elements, such as the red helmet or the telegram, to subtly reinforce themes of propaganda and loss, and consider adding a moment of silence or a slow pan after key beats to allow the audience to absorb the emotions, preventing the scene from feeling too rushed.



Scene 27 - Desperation and Darkness
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. PIER

Geppetto (Cricket in backpack pocket) walks down an old pier.
Most ships are DOCKED.

Out at sea, explosions can be seen far off in the distance.

Geppetto stands before a ship captain, shows him the flyer-
and points at the name of a SEA TOWN: CATANIA.

GEPPETTO
Eh- Excuse me, sir? Catania. Do- do
you go there? Can- can you take me
there? Please? It’s just across the
strait.

CAPTAIN
That's not the sea out there, it's
a graveyard.

GEPPETTO
Oh dear- Oh- Oh...

CAPTAIN
The Dogfish, risen from the icy
depths to take its tribute in blood
and steel. A monster, the size of
twenty ships. Full of hunger and
rage.

CRICKET
Oh please...that’s just children’s
stories.

GEPPETTO
Captain, my son is on the other
side of the gulf. He is performing
tomorrow!!

Geppetto gives him a few silver coins.

GEPPETTO (CONT’D)
This is all I have in the world.
(beat)
Take it. It-- It’s yours. I just
want to see him again.
79.


The captain considers.

CUT TO:


INT. PUPPET STAGE

Pinocchio is practicing his routine. Pinocchio dances, but
falters. He is tired- weak.

COUNT VOLPE
Step and turn and step and turn and
look alive! And step, step, step.

PINOCCHIO
Can I take a moment to rest??

COUNT VOLPE
No! Your tempo is getting sloppier
and sloppier!! No rest whatsoever!!

Volpe laughs, utterly uncaring.

Spazz watches from above.

Pinocchio collapses.

PINOCCHIO
(out of breath)
Five minutes, please.

COUNT VOLPE
Three minutes.

Count Volpe starts his stopwatch. He thumps Pinocchio on the
top of his head with his cane and leaves. The other puppets
surround Pinocchio.

We see that Spazz is controlling the puppets from above.

SPAZZATURA (AS DEVIL PUPPET)
Are you feeling okay, Pinocchio?
We’re concerned.

SPAZZATURA (AS COLUMBINA) (CONT’D)
You look so tired and worn out. You
need a good long rest.

SPAZZATURA (AS PUNCHINELLO) (CONT’D)
Some trousers and another ear
wouldn’t hurt either, if y’ask me.
80.


SPAZZATURA (AS DEVIL PUPPET) (CONT’D)
Why not go home and visit your Papa
for a while. This is no place for
you.

PINOCCHIO
*Sigh* I can’t. I have to keep
working and working and sending
money.

SPAZZATURA (AS DEVIL PUPPET)
Yeah...

SPAZZATURA (AS PUNCHINELLO) (CONT’D)
The truth is... Count Volpe is
using you. He hasn’t sent a penny
to your father.

PINOCCHIO
What?!

SPAZZATURA (AS PUNCHINELLO)
He keeps all the money for himself.

SPAZZATURA (AS COLUMBINA) (CONT’D)
He doesn’t care about you.

SPAZZATURA (AS DEVIL PUPPET) (CONT’D)
You’re not his favorite.

SPAZZATURA (AS PUNCHINELLO) (CONT’D)
Spazzatura is his favorite.

SPAZZATURA (AS DEVIL PUPPET) (CONT’D)
He’s always been. He’s a genius.

PINOCCHIO
No! Count Volpe wouldn’t lie to me!
I- I’m his star! You’re- you’re all
just jealous! Hmmf!

Pinocchio leaves in a huff.

Spazz sticks out his tongue as he goes. He tried.

Count Volpe hears the tail end of this exchange.

CUT TO:


EXT. GULF SEAS - DUSK

A small VAPORETTO ship chugs amidst the MINED SEAS.
81.


On board- Geppetto and the Cricket.

GEPPETTO
You think we will find him,
Sebastian? My Pinocchio?

CRICKET
I do. You see...
(begins to sing)
My dear father loved to say:
Hop to the top of a day
The drops are easy to swallow.
My dear father loved to say:
Mop your tears and mend your
sorrows
To not drown yourself wishing...

Geppetto looks back at the Captain. He has a life jacket on
and stands by the edge of the ship.

CAPTAIN
Arrivederci!

He salutes and goes overboard.

And then, something eclipses the sun. They both look-

A mouth. An enormous mouth, the size of ten Holland tunnels,
is swallowing the sea and the small Vaporetto.

They enter the throat and the darkness, screaming!!!

CUT TO:
Genres: ["Fantasy","Drama","Adventure"]

Summary In this tense scene, Geppetto desperately seeks passage across the strait to find his son Pinocchio, offering all his silver coins to a wary ship captain despite warnings of a monstrous Dogfish. Meanwhile, Pinocchio struggles under the harsh demands of Count Volpe and faces manipulation from Spazzatura's puppets. As Geppetto and Cricket embark on their journey, hope is briefly shared, but the scene culminates in terror as the Dogfish attacks, swallowing their ship and plunging them into darkness.
Strengths
  • Emotional depth of characters
  • Intense conflict
  • High stakes
  • Parallel character journeys
Weaknesses
  • Potential lack of clarity in the sea monster threat
  • Limited exploration of secondary characters
Critique
  • The scene effectively heightens tension through parallel editing, contrasting Geppetto's desperate pursuit with Pinocchio's exploitation, which underscores the themes of separation and danger prevalent in the script. This structure mirrors the emotional distance between father and son, making the audience feel the urgency of their reunion, but the abrupt cuts between locations can feel disjointed, potentially disrupting the flow and making it harder for viewers to emotionally invest in each segment without smoother transitions.
  • Geppetto's interaction with the ship captain is poignant and reveals his vulnerability, emphasizing his growth from a grief-stricken widower to a determined father figure. However, the dialogue relies heavily on exposition about the Dogfish, which Cricket dismisses as a 'children's story,' risking undermining the threat's credibility and making it seem like a contrived plot device rather than an organic element of the world-building. This could alienate audiences if the mythos isn't established earlier or handled with more subtlety.
  • In the puppet stage segment, Pinocchio's exhaustion and plea for rest humanize him, highlighting his naivety and the abusive dynamics with Count Volpe, which ties into the broader critique of exploitation and fascism in the script. Yet, the puppets' dialogue, voiced by Spazzatura, comes across as overly direct and didactic, spelling out Volpe's deceit without allowing Pinocchio's character to discover it organically, which diminishes the dramatic irony and Pinocchio's arc of learning through experience.
  • The visual elements, such as the distant explosions and the swallowing Dogfish, create a visceral sense of peril and spectacle, effectively building to a cliffhanger that propels the story forward. However, the scene could benefit from more sensory details—like the sound of waves, the creak of the pier, or the dim lighting in the puppet stage—to immerse the audience deeper and make the stakes feel more immediate and personal rather than relying on dialogue to convey emotion.
  • Overall, the scene advances the plot by escalating conflicts—Geppetto's journey into danger and Pinocchio's mistreatment—but it sacrifices depth in character relationships for pace. For instance, Geppetto's plea is moving, but it doesn't fully explore his internal conflict or how his past grief influences his actions, while Pinocchio's denial of the puppets' warnings feels rushed, reducing the emotional weight of his ongoing naivety and setting up future events without sufficient buildup.
Suggestions
  • Add transitional elements, such as a brief voice-over from Cricket or crossfades between scenes, to smooth the cuts and maintain emotional continuity, helping the audience track the parallel narratives without confusion.
  • Refine the Dogfish exposition by integrating it earlier in the script or showing subtle hints (e.g., fishermen's tales or visual cues in previous scenes) to make its introduction feel more earned and less reliant on the captain's dialogue, increasing suspense and believability.
  • Make the puppets' warning to Pinocchio more implicit and visual—perhaps through exaggerated facial expressions or symbolic actions—rather than direct dialogue, allowing Pinocchio's character to evolve through discovery and adding layers to his naivety without telling the audience outright.
  • Incorporate more visual storytelling for Geppetto's emotional state, such as close-ups of his trembling hands or flashbacks to Carlo triggered by his plea, to show rather than tell his desperation, enhancing audience empathy and deepening character development.
  • Extend Pinocchio's moment of collapse or his interaction with the puppets to build more tension and internal conflict, perhaps by having him hesitate or show subtle doubt, which would make his huff and departure more impactful and align better with his growth arc throughout the script.



Scene 28 - Confrontation at the Carnival
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. CARNIVAL - DAY

Pinocchio does stretches and vocal warm-ups in preparation
for the big upcoming show...

PINOCCHIO
(tongue sticking out,
singing scales)
Ya ya ya ya ya ya ya ya ya!

He passes a sign with his own image on it. He does a little
pirouette.

PINOCCHIO (CONT’D)
Haha, it’s me!

As he lands, some kids run up to him.
82.


YOUNG BOY
It’s him! It’s him!

YOUNG GIRL
Look, here he comes!

OLDER GIRL
It’s Pinocchio! Let me talk to him.
Let me see! Let me see!

PINOCCHIO
Thank you, thank you. Oh, you’re
very kind.

Kids fight for his attention like Little Rascals.

PINOCCHIO (CONT’D)
Not right now! I’m sorry!

Pinocchio ducks into the puppet theater tent.

KIDS
Awww!


INT. PUPPET THEATER

Pinocchio enters and hears the sound of a silver cane
cracking and pitiful squealing.

Curious, he hides behind a large throne/chair, only to see:


INT. TENT CORRIDOR - DAY

Count Volpe is caning Spazzatura in the empty theater.

COUNT VOLPE
You worthless, mangy, deranged ape!
What have you been saying to him!?
Huh? On the night before the big
performance! You could cost me
everything!! You know who is
coming?? You have ANY idea??

*SMACK* He hits him with the cane.

COUNT VOLPE (CONT’D)
I found you- at the bottom of that
cage- in the rain! You were left
there to die. Nobody wanted you!
And I saved you!! Rescued you!! I
should’ve let you die!!
83.


Pinocchio steps in.

PINOCCHIO
Hey! Stop that!

Count Volpe turns.

PINOCCHIO (CONT’D)
Don’t hurt him anymore!

COUNT VOLPE
This does not concern you,
Pinocchio. You’re a star! Go
rehearse your steps.

Spazz whimpers- he is MOVED by Pinocchio’s defense of him.

PINOCCHIO
I DEMAND that you stop! You said
it: I am the STAR of this show and
I won’t have my co-star treated
this way!

Count Volpe scowls. Pinocchio is offended!

PINOCCHIO (CONT’D)
And what is this I hear about my
Papa not getting any money? I might
just go home right now and ask him!
Whuddaya think about that? You can
perform for Il Dulce yourself!

Pinocchio starts to walk away but Count Volpe grips Pinocchio
with his cane. The mood turns very grim. Count Volpe’s eyes
flash with evil.

COUNT VOLPE
I think you misunderstand our
relationship, my little fire
hazard. I am the puppeteer, you are
the puppet. I am the master, and
you are the SLAVE.

He pulls out his cane SWORD- directs it at Pinocchio!!

COUNT VOLPE (CONT’D)
And you will do as I command until
your wooden body rots and I use you
to warm my furnace!!

Count Volpe slashes at Pinocchio with his sword, slicing the
tip of his nose off.

Pinocchio cries our in terror.
84.


COUNT VOLPE (CONT’D)
You may have NO strings- but I
control you. You obey me. Capiche?

As Volpe exits the carnival tent, he snaps his fingers and
summons Spazzatura.

COUNT VOLPE (CONT’D)
Spazzatura.

Spazz follows and climbs up onto his shoulder. He looks back
pitifully at Pinocchio as they walk away.


EXT. OCEAN - DAY

We see the Dogfish floating on the surface asleep.


INT. DOGFISH - CONTINUOUS

Geppetto fishes of the side of a dilapidated ship.

GEPPETTO
A son knows when his father is
alive. He will look for us, you’ll
see. You have nothing to worry
about.

He reels up the fishing rod, revealing Cricket at the end,
being used as bait.

CRICKET
Easy for you to say! Aaah!

A fish leaps out of the water, chomping at Cricket. Geppetto
is quick to react and manages to grab it!

GEPPETTO
We are having dinner tonight!

CRICKET
Hahaha! We’re so lucky!

The Cricket does a happy little dance. They celebrate.
Genres: ["Fantasy","Drama"]

Summary In this scene, Pinocchio joyfully prepares for a performance at the carnival, attracting the attention of excited children. However, the mood darkens when he witnesses Count Volpe violently abusing Spazzatura. Pinocchio bravely intervenes, asserting his status as the star and threatening to inform his father about Volpe's mistreatment. Volpe retaliates by attacking Pinocchio and cutting the tip of his nose, asserting his dominance. The scene shifts to Geppetto and Cricket inside the Dogfish, where they bond while fishing, celebrating their small victory.
Strengths
  • Intense character conflict
  • Emotional depth
  • Character growth
Weaknesses
  • Violent confrontation
  • Injury to Pinocchio
Critique
  • The scene effectively builds tension through Pinocchio's confrontation with Count Volpe, showcasing Pinocchio's growth from naive performer to someone who stands up for others, which is a key character development moment. However, this arc feels somewhat abrupt without sufficient foreshadowing from earlier scenes, potentially making Pinocchio's bravery seem unearned if the audience hasn't seen more gradual buildup of his confidence. This could confuse viewers who expect a smoother progression in his character journey.
  • The parallel cutting between Pinocchio's story at the carnival and Geppetto's situation inside the Dogfish adds a layer of suspense and maintains the film's thematic parallels of separation and longing. Yet, the transition feels disjointed and abrupt, lacking a clear visual or auditory cue to connect the two locations, which might disrupt the narrative flow and leave the audience disoriented. In a film with multiple timelines and settings, smoother transitions are crucial for maintaining engagement.
  • Count Volpe's villainous behavior, including the physical abuse of Spazzatura and the threatening of Pinocchio, heightens the stakes and underscores the theme of exploitation under fascism. However, the dialogue comes across as overly melodramatic and expository, with lines like 'I am the master, and you are the SLAVE' feeling clichéd and reducing Volpe to a one-dimensional antagonist. This could alienate viewers who seek more nuanced character portrayals, especially in a story that explores complex themes like grief and identity.
  • Pinocchio's interaction with the children at the beginning adds a touch of innocence and popularity, contrasting with the darker events that follow, which effectively highlights his dual nature as a beloved figure and a victim of manipulation. Nevertheless, this segment feels underdeveloped, as the children's enthusiasm is quickly dismissed without exploring how it affects Pinocchio emotionally or thematically ties into his desire for acceptance, missing an opportunity to deepen the audience's understanding of his character.
  • The fishing scene with Geppetto and Cricket provides a moment of levity and hope amidst the peril, balancing the intense confrontation in the carnival tent. However, this contrast might undermine the gravity of Pinocchio's abuse scene by shifting tones too sharply, potentially diluting the emotional impact. Additionally, using Cricket as bait is a clever visual gag that reinforces their bond, but it risks coming off as comical in a way that lessens the seriousness of Geppetto's desperate search for his son.
  • Overall, the scene advances the plot by escalating conflicts—Pinocchio's enslavement to Volpe and Geppetto's entrapment in the Dogfish—but it could better integrate with the broader narrative. As scene 28 in a 39-scene script, it should heighten anticipation for the climax, but the lack of resolution in either storyline leaves it feeling like a middling segment rather than a pivotal one, which might make the pacing feel sluggish if not contextualized well within the montage-heavy structure of the film.
Suggestions
  • Add transitional elements, such as a fade or a shared sound motif (e.g., a distant explosion or a musical sting), to smooth the cut between the carnival and the ocean scenes, making the parallel action feel more cohesive and less jarring.
  • Enhance Pinocchio's character development by including subtle hints of his growing assertiveness in earlier scenes, such as small acts of defiance or internal reflections, to make his confrontation with Volpe more believable and impactful.
  • Refine Volpe's dialogue to be more subtle and psychologically manipulative, perhaps by incorporating references to Pinocchio's vulnerabilities or past experiences, to create a more complex antagonist and avoid stereotypical villainy.
  • Expand the fan interaction sequence to show Pinocchio's mixed emotions—joy at being admired but sadness over his separation from Geppetto—through facial expressions or brief internal monologue, strengthening the thematic depth and emotional resonance.
  • Adjust the tone balance by either toning down the comic elements in the fishing scene or adding more serious undertones, such as Geppetto's worried expressions, to ensure it complements rather than contrasts the darkness of Pinocchio's abuse, maintaining a consistent emotional arc.
  • Consider adding visual or symbolic motifs, like recurring pine cones or shadows, to link the two storylines visually, reinforcing the father-son bond and making the scene feel more integrated into the overall narrative.



Scene 29 - Pinocchio's Defiant Performance
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. PUPPET THEATER / CATANIA - NIGHT

A SUPER-DUPER-DUPER long red limousine arrives and a small
man gets out of it: MUSSOLINI. Next to him, a thin man: his
RIGHT HAND MAN.
85.


Spazzatura plays a trumpet, announcing his arrival. Everybody
in the circus OOOH’s and AAAAAH’s

Podestà, Candlewick, and the FASCIST YOUTH from the camp
stand at attention, giving the Roman salute and holding up
signs for Il Duce.

COUNT VOLPE
Ahh Your Excellency! I wrote this
number for you.

Mussolini ignores Volpe and instead looks at the poster
announcing Pinocchio.

MUSSOLINI
I like a’ puppets.

Mussolini continues on into the theater, leaving Volpe
expectant and standing alone.


INT. BACKSTAGE PUPPET THEATRE - EVENING

Spazz is sweeping, looking miserable, licking his wounds.
Pinocchio motions to him from across the room.

PINOCCHIO
Hey! Spazzatura-

Spazz considers. Looks around nervously, as he approaches.

PINOCCHIO (CONT’D)
(whispering)
Y’know... I think we aughta make
the big show-stopper EXTRA special
for the ol’ important Dolce tonight-
I got some real good ideas-

Pinocchio whispers into Spazz’s ear. Spazz grins.

Spazz looks over his shoulder, turns back to Pinocchio, and
nods. He’s in!

Count Volpe enters backstage as Pinocchio and Spazz finish
conspiring in hushed tones.

PINOCCHIO (CONT’D)
(I think I’ll definitely want
...whisper whisper whisper)

Spazz scurries off to prepare.
86.


COUNT VOLPE
In bocca al lupo, my puppet.
Delight the Duce and I will shower
you with glory.

PINOCCHIO
Oh, we’ll give him a show he will
never forget.

Pinocchio gives Spazzatura a thumbs-up, and he responds in
kind. The plan is a go. Pinocchio takes the stage (curtains
still down).


INT. PUPPET THEATER - DAY

LIGHTS! MUSIC! CURTAIN OPENS.

Once again Pinocchio rolls out on stage in a tank. He leaps
out, dressed as a soldier!!

PINOCCHIO
I fight for the land!
I fight oversea!
For Baby-poops-his-pants
Right there in front of me!

Around Pinocchio marching marionettes appear; it’s a farting
chorus line! Spazz puppeteers with delight!!!

MUSSOLINI
Poop?

The Right Hand Man shrugs.

RIGHT HAND MAN
Yes, poop Your Excellency.

PINOCCHIO (O.S.)
The poop in hand
For Fatherland
Il Duce, Il Duce
Go smell your farts and pray
Eat your boogers, your slime
You can also get mine

Volpe stands on the side of the stage clutching the script.
Baffled. He is so nervous he takes a bite out of it.

A giant POOP MARIONETTE drops down from the catwalk and
begins dancing alongside Pinocchio.

Mussolini is not happy. Candlewick laughs uproariously. But
his smiles fades under the gaze of the Podestà.
87.


PINOCCHIO (CONT’D)
Like a bag of poop, magnificent and
free
You are farting, farting in the
men’s lavatory
You’re a poop! We are young!
Eat caca! Big baby
Eat caca! We are strong.

SPAZZATURA
(echoing) Caca!

A giant Mussolini backdrop flies in. But this time it is
vandalized and insulting.

Pinocchio flushes himself, twirling down an oversized toilet.

Song ends. The kids go wild. Count Volpe is so nervous he
takes a bite out of the script. Everyone waits to see
Mussolini’s reaction.

Mussolini quietly turns to his Right Hand Man.

MUSSOLINI
These a’ puppets I do not like.
Shoot him. And burn it all down.

The Right Hand Man pulls out a pistol, cocks it, and fires at
Pinocchio.

CUT TO:


INT. LIMBO ANTEROOM

The Rabbits sit around the table playing poker.

Pinocchio pops out of the coffin.

PINOCCHIO
Oh hi, it’s me!!

RABBIT 3
Aww! It’s HIM again!

Pinocchio sits by their side (legs dangling like any kid)-
tries to sneak a peek at the cards. The Rabbits hold them up
to their chests!

PINOCCHIO
I cannot die!

RABBIT 2
We know!
88.


PINOCCHIO
I can’t die.

RABBIT 2
Uggh.

PINOCCHIO
(sing song)
I can’t die!!

ALL RABBITS
Through the door!

Pinocchio exits through the large door.

CUT TO:
Genres: ["Musical","Drama","Fantasy"]

Summary In scene 29, Mussolini arrives at a puppet theater in Catania, where he is greeted by a crowd and Spazzatura playing the trumpet. Ignoring Count Volpe, Mussolini shows interest in puppets before entering the theater. Backstage, Pinocchio and Spazzatura conspire to create a satirical show that insults Mussolini. During the performance, Pinocchio, dressed as a soldier, performs a crude song featuring farting marionettes and a giant poop puppet, which displeases Mussolini. After the show, Mussolini orders Pinocchio's execution, leading to Pinocchio being shot. However, he revives in a limbo setting, interacting with poker-playing rabbits, emphasizing his immortality.
Strengths
  • Innovative concept
  • Effective character development
  • Emotional impact
  • High conflict level
Weaknesses
  • Dark turn of events may be unsettling for some audiences
Critique
  • The scene effectively amplifies the satirical elements of the story, using Pinocchio's performance to directly critique fascism through humor, which aligns with the overall theme of innocence clashing with authoritarianism. This not only entertains but also deepens the audience's understanding of Pinocchio's rebellious nature, making his character more dynamic and sympathetic, as it shows his evolution from naive puppet to active resistor.
  • However, the transition from the chaotic, humorous performance to the abrupt shooting and immediate cut to Limbo feels disjointed and rushed. This lack of breathing room diminishes the emotional weight of Mussolini's reaction and Pinocchio's 'death,' potentially leaving viewers confused or emotionally disengaged, especially since Pinocchio's immortality is a recurring motif that might start to feel formulaic without sufficient variation in how it's presented.
  • Character interactions, particularly Pinocchio's quick conspiracy with Spazzatura, lack sufficient buildup or motivation. While it's clear from previous scenes that Spazzatura has reasons to resent Count Volpe, this alliance feels opportunistic and underdeveloped, which could make Pinocchio's decision to sabotage the show seem impulsive rather than a natural progression of his arc. This might weaken the scene's impact and the audience's investment in their partnership.
  • The dialogue, especially the song lyrics, is cleverly humorous and serves the satire well, but it risks coming across as overly juvenile with references to bodily functions like 'poop' and 'farts.' This could undermine the seriousness of the anti-fascist message and the film's tone, particularly in a story that deals with heavy themes like grief, war, and loss, making it important to balance levity with maturity to maintain audience respect and thematic coherence.
  • Visually, the scene is vivid and cinematic, with strong elements like Mussolini's arrival, the dynamic puppet performance, and the contrast between the lively theater and the stark Limbo anteroom. However, the repetitive use of Pinocchio's 'deaths' and returns to Limbo might desensitize the audience to this plot device, reducing its novelty and emotional resonance by Scene 29, and it could benefit from more innovative staging to keep the supernatural aspects fresh and engaging.
Suggestions
  • Add a short flashback or subtle reference early in the scene to remind the audience of Pinocchio's motivations (e.g., his longing for Geppetto or past mistreatment), making his decision to sabotage the show feel more earned and connected to his emotional journey.
  • Extend the sequence of Mussolini's reaction and the audience's responses during the performance to build tension; include more varied shots of characters like Candlewick and the Podestà reacting, allowing for a slower escalation that heightens the drama before the shooting, making the shift to Limbo more impactful.
  • Refine the song lyrics to be more sophisticated and witty, perhaps incorporating clever wordplay or historical allusions to fascism, to elevate the satire while reducing reliance on crude humor, ensuring it appeals to a broader audience and aligns better with the film's deeper themes.
  • Introduce a moment of internal conflict for Pinocchio before he goes on stage, such as a brief hesitation or whispered doubt to Cricket (if present), to show his growth and add emotional depth, making the rebellion feel like a pivotal character moment rather than just comedic relief.
  • Vary the depiction of Pinocchio's 'death' and the Limbo transition by using unique visual effects or symbolic imagery (e.g., a slow-motion shot or a dream-like dissolve) to differentiate this instance from previous ones, preventing repetition and reinforcing the theme of immortality in a more creative and engaging way.



Scene 30 - The Burden of Immortality
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. LIMBO

Pinocchio climbs down and goes to meet Death.

Death sets down a MEDIUM SIZED hourglass (larger than last
time).

PINOCCHIO
Can you believe it?! I’ve escaped
war- bullets- fire- I was run
over!! I could get killed a lot!
I’m the luckiest boy in the world!

Death stands and begins circling Pinocchio like a cat.

DEATH
As I see it you were charged with a
terrible burden.

PINOCCHIO
Burden? No, I’m not. That’s a
horrible thing to say to a boy!

DEATH
Life can bring great suffering. And
eternal life can bring eternal
suffering.

PINOCCHIO
Aw, it’s not so bad as all that.
Yeah, I get a little beat up every
time, but as soon as I get back I’m
going home to my Papa.
89.


DEATH
Ahh, but Pinocchio... what if you
don’t see your father again?

PINOCCHIO
Of course I will! Why wouldn’t I?

DEATH
While YOU may have eternal life,
your friends... your loved ones...
they do not. Every moment shared
with them may be the very last. You
never know how long you have with
someone...

Time runs out.

DEATH (CONT’D)
...until they’re gone.

PINOCCHIO
Huh? I- I don’t understand.
Can...can you tell me more--please?

A black hole opens under Pinocchio and he falls down.

PINOCCHIO (CONT’D)
No. No! Noooooo!!!


INT. PADDY WAGON - NIGHT

Pinocchio wakes up, gasping!!

Pinocchio is in a paddy wagon. It’s full of boys. They’re
jostled as it drives along.

Candlewick is among the boys. Podestà sits across from
Pinocchio.

PODESTÀ
A-HA!!! I knew it! You came back
to life-

Pinocchio’s still getting his bearings. The kids buzz with
excitement and surprise. Pinocchio spots Candlewick among the
kids and excitedly waves.

PINOCCHIO
Hi, Candlewick.

Candlewick signs back an understated but delighted “hey”--
but their attention quickly goes back to Podestà.
90.


PODESTÀ
Most of us- we have but ONE life to
give to our Fatherland, but YOU!!!
You have no limit!!

PINOCCHIO
Me?

PODESTÀ
Yes, you. Follow my orders, learn
to obey and you will be the perfect
soldier.

PINOCCHIO
But my Papa...

PODESTÀ
You’ll return home a hero! Any
father would be proud of such a
son!

Podestà looks at Candlewick. Candlewick looks at Pinocchio.

Pinocchio looks around confused and smiles, oblivious.

SOLDIER driving the truck (through a window in the paddy
wagon):

SOLDIER
We’re here.

A HUGE BEAM OF LIGHT inundates the paddy wagon: Spielbergian,
glorious, brutal!!

Pinocchio squints, trying to see.


EXT. YOUTH CAMP - NIGHT

TWIN SEARCHLIGHTS focus on-

-The paddy wagon enters through the gates of an imposing,
brutalist edifice in the vicinity of a cliff. It’s a
monstrosity, imposing, like a castle or a prison.

TWO MORE SEARCHLIGHTS crisscross the sky, looking for enemy
planes.


INT. YOUTH CAMP - NIGHT

They all follow the Podestà down a long corridor. It ends at
a balcony overlooking a large, open courtyard below.
91.


Nationalistic music swells (EJA! EJA! ALALA!) like a tidal
wave as we reveal the training of several dozen kids:
Stabbing with bayonets, climbing under and above obstacles,
etc.

Pinocchio and Candlewick look at each other like “whoa!”

PINOCCHIO
Wow!! What’s all this?

CANDLEWICK
The ELITE MILITARY PROJECT- for
special, PATRIOTIC youth!

PINOCCHIO
What’s an elite?

CANDLEWICK
We are!

CONFIDENT BOY
Hehe, we’re gonna learn to be elite
soldiers!

PINOCCHIO
Learn- like school? T-to read and
write and do the “mulplitication”
thingies?

Everyone laughs.

CONFIDENT BOY
Haha! You’re funny!
Genres: ["Fantasy","Drama","War"]

Summary In this scene, Pinocchio encounters Death in Limbo, who warns him about the loneliness of immortality as he watches a larger hourglass run out. Ignoring the warning, Pinocchio is suddenly swallowed by a black hole and wakes up in a paddy wagon with other boys, including Candlewick. Podestà recognizes Pinocchio's immortality and sees him as a perfect candidate for elite military service, promising he will return home a hero. Confused but excited, Pinocchio naively engages with the other boys as they arrive at a brutal youth camp, where he learns about the intense military training taking place, while the others laugh at his innocence.
Strengths
  • Deep exploration of philosophical themes
  • Engaging character interactions
  • Emotional depth
Weaknesses
  • Limited external conflict
  • Lack of significant plot progression
Critique
  • The scene effectively contrasts Pinocchio's childlike optimism and naivety with the profound philosophical weight of Death's warnings, reinforcing the film's central themes of mortality, loss, and the burdens of immortality. This juxtaposition helps to humanize Pinocchio and deepen the audience's emotional investment, as his dismissal of Death's words mirrors his earlier experiences, showing character consistency. However, Pinocchio's dialogue, such as 'I’m the luckiest boy in the world!', feels overly simplistic and cartoonish, which might undercut the gravity of the moment and make it harder for the audience to fully engage with the existential dread Death is conveying. This could be improved by adding layers to Pinocchio's responses, perhaps showing a flicker of doubt or reflection drawn from his past 'deaths' to make his character arc more nuanced and less one-dimensional.
  • The visual and atmospheric elements in the Limbo sequence are strong, with Death circling Pinocchio like a cat creating a sense of predation and inevitability, which builds tension effectively. However, this metaphor might come across as too literal or clichéd, potentially distracting from the emotional core. Additionally, the abrupt transition via the black hole feels rushed and could disrupt the flow, making the scene feel more like a plot device than a meaningful beat. In the context of the overall script, where Pinocchio's repeated deaths are a recurring motif, this scene risks feeling repetitive if not differentiated enough from previous Limbo visits; it could benefit from unique visual or thematic elements to emphasize progression in Pinocchio's understanding or the escalating consequences of his immortality.
  • The shift to the paddy wagon and youth camp introduction successfully escalates the external conflict by integrating Pinocchio into the fascist regime's machinery, tying back to the script's socio-political commentary. Podestà's dialogue about Pinocchio being the 'perfect soldier' is compelling and advances the plot, highlighting the exploitation of his uniqueness. However, the scene lacks depth in character interactions, particularly with Candlewick, whose understated wave feels underdeveloped and misses an opportunity to build on their relationship established in earlier scenes. This could leave the audience wanting more emotional payoff, especially since Candlewick's arc involves his own struggles with paternal expectations. Furthermore, the youth camp's depiction, while visually dramatic with the searchlights, is somewhat generic and could use more specific details to immerse the viewer in the setting's oppressive atmosphere, making the fascist indoctrination feel more visceral and personal.
  • Pacing-wise, the scene moves quickly from the introspective Limbo conversation to the action-oriented youth camp arrival, which keeps the energy high but might sacrifice moments for reflection or breathing room. This rapid shift could overwhelm the audience, particularly after the intense events of Scene 29, where Pinocchio was shot and revived. The dialogue in the paddy wagon, while functional, doesn't fully capitalize on the surprise of Pinocchio's revival to explore his internal state or the reactions of the other boys, potentially missing a chance to heighten tension or humor. Overall, while the scene serves its purpose in advancing the narrative and themes, it could be more polished to ensure that the critique of eternal life and its emotional toll resonates more deeply, helping readers and writers alike understand how this pivotal moment fits into Pinocchio's journey of growth and the script's exploration of grief and resilience.
  • Thematically, the scene is a strong link in the chain of Pinocchio's development, as Death's warning about losing loved ones foreshadows potential future conflicts, such as Geppetto's mortality highlighted in later scenes. This adds a layer of foreshadowing that enriches the story, but it might not land as powerfully if Pinocchio's response remains too flippant, as it could diminish the stakes for the audience. In terms of screenwriting technique, the scene's structure is clear, with a clear beginning, middle, and end, but the dialogue could be tightened for more natural flow and to avoid exposition that feels heavy-handed, such as Podestà's direct explanation of Pinocchio's value. This scene is crucial for building suspense and character depth, but ensuring that it balances spectacle with introspection will make it more impactful and aid in the overall narrative cohesion.
Suggestions
  • Enhance Pinocchio's dialogue in the Limbo scene to include subtle hints of doubt or growth, such as a brief pause or a question that shows he's starting to internalize Death's words, making his optimism more conflicted and relatable.
  • Smooth the transition from Limbo to the paddy wagon by adding a brief visual or auditory cue, like a fading echo of Death's voice or a disorienting blur, to make the shift less abrupt and more immersive for the audience.
  • Develop the interaction between Pinocchio and Candlewick in the paddy wagon by adding a short exchange that references their shared experiences, strengthening their bond and providing emotional continuity from previous scenes.
  • Add more sensory details to the youth camp arrival, such as the sound of boots marching, the smell of gunpowder, or close-ups of the boys' fearful expressions, to heighten the atmosphere and make the setting feel more oppressive and real.
  • Extend the philosophical conversation with Death slightly to allow for a more poignant moment, perhaps with Death sharing a personal anecdote or using a visual metaphor tied to Pinocchio's past, to deepen the emotional impact without slowing the pace.
  • Refine Podestà's dialogue to be less expository by showing his excitement through actions, like a greedy smile or possessive gesture, to make the scene more dynamic and less tell-heavy.
  • Consider varying the tone in Pinocchio's responses to Death to include a mix of humor and sincerity, ensuring that his character doesn't come across as purely comedic and allowing for better audience empathy.
  • Ensure the scene's length aligns with the script's pacing; if it's running long, trim redundant lines, or if it feels rushed, add a beat for Pinocchio to react to his surroundings in the paddy wagon, building tension before the camp reveal.



Scene 31 - Courage and Camaraderie
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. YOUTH CAMP DORMATORY - NIGHT

The boys all sit, attentive in their beds.

The Podestà walks along the line of beds, addressing the
youth.

Pinocchio and Candlewick lay on top of their covers in cots
next to each other.

PODESTÀ
Listen up! They’re reporting
hostile planes in the area. But we
will carry on with the exercises
tomorrow. Anyone here afraid of the
enemy?

Pinocchio raises his hand enthusiastically.
92.


PINOCCHIO
Uhh ha.

KID/S
No, sir!

CANDLEWICK
No, sir!

Pinocchio discreetly lowers his hand before anyone notices.

PINOCCHIO
Nuh uh.

PODESTÀ
Good! You may be boys, but you have
the hearts of MEN! Tomorrow you
train for the glory of the Italy!
Tomorrow you will make your
Fatherland proud!

He salutes!!

CUT TO:


LATER.

Pinocchio lays in bed. Candlewick is deep in thought. Tense.

CANDLEWICK
Pinocchio- Pinocchio-

PINOCCHIO
Yeah.

CANDLEWICK
What do you think my father meant
about those planes?

PINOCCHIO
I don’t know. I still don’t really
understand what we’re even doing
here.

CANDLEWICK
We’re preparing to be soldiers. For
war.

PINOCCHIO
But my Papa said war is bad.

CANDLEWICK
That’s ‘cause he’s a coward.
93.


PINOCCHIO
A coward? My Papa?

CANDLEWICK
Well-- he’s afraid of war, isn’t
he? My father says if you’re afraid
to die for your country- you’re
weak. You’re a coward.

PINOCCHIO
Are you afraid?

CANDLEWICK
I’m not afraid at all!

PINOCCHIO
Well, neither am I, or my Papa. I
love war!

CANDLEWICK
I love it more!

PINOCCHIO
I love it, twenty-four seven, every
day and any time!!

CANDLEWICK
Well, so do I-

PINOCCHIO
Well- we’ll see about that! Won’t
we?

They go back to bed, their backs turned.

CANDLEWICK
(sotto voce)
I’ll show him I’m no coward. I’ll
make him like me.

Pinocchio turns- whispers:

PINOCCHIO
Y’know, all fathers love their
sons. But... sometimes fathers feel
despair- like everyone else- and
they say things they only THINK
they mean in the moment. But with
time they learn that they never
really meant it at all. And they
may even call you ugly things- like
a burden... or a coward... but
inside, they love you.
94.


Candlewick is silent. He takes it in. Gets serious.

CANDLEWICK
Are you scared? Of dying?

PINOCCHIO
Me? Naaaah. I died a couple times
and it was alright. There’s rabbits
and card games, and a LOT of sand.
BLUE sand.

Candlewick can’t help but laugh with relief at Pinocchio’s
ridiculousness.

CANDLEWICK
(chuckling)
You’re so weird.

PINOCCHIO
No weirder than you, pal!

They throw pillows at each other, laughing.

Beat, as they settle in to sleep.

CANDLEWICK
I’m-- I’m glad you’re here.

PINOCCHIO
Me too.
Genres: ["Drama","War"]

Summary In a youth camp dormitory at night, the Podestà addresses the boys, warning them about enemy planes while encouraging them to train for war. Pinocchio initially shows fear but hides it, while Candlewick expresses his determination to prove his bravery. They engage in a deep conversation about their fathers and the nature of war, with Pinocchio offering wisdom and humor to ease the tension. The scene shifts from a serious atmosphere to a light-hearted moment as they playfully throw pillows, ending with a sense of friendship and comfort as they settle down to sleep.
Strengths
  • Exploration of complex themes
  • Engaging character interactions
  • Emotional depth and resonance
Weaknesses
  • Potential for further character development
  • Clarity in character motivations
Critique
  • The scene effectively uses the Podestà's speech to establish external tension with the threat of enemy planes, contrasting it with the internal, personal conflict in the conversation between Pinocchio and Candlewick. This duality helps build a layered narrative that explores themes of fear, bravery, and family, which are central to the overall script. However, the transition from the group address to the intimate dialogue feels somewhat abrupt, potentially missing an opportunity to show how the boys process the speech collectively before focusing on Pinocchio and Candlewick, which could enhance emotional continuity and make the scene more immersive for the audience.
  • Pinocchio's character is portrayed with a mix of naivety and unexpected wisdom, particularly in his advice about fathers and despair, which adds depth and humor. This reflects his unique experiences with death and immortality from earlier scenes, making him a compelling figure. That said, this wisdom might come across as too mature for a character established as childlike and impulsive, potentially undermining his arc if not carefully balanced. A reader might find it inconsistent, suggesting a need for more gradual character development to ensure Pinocchio's growth feels earned rather than sudden.
  • The dialogue between Pinocchio and Candlewick is engaging and reveals their personalities and relationship dynamics, with the competitive exchange about loving war adding tension and foreshadowing future conflicts. It also ties into the script's exploration of toxic masculinity and the pressures of fascism, but the rapid shift to pillow fighting and laughter at the end dilutes the scene's emotional weight. This tonal whiplash could confuse viewers, as it lightens a moment that should reinforce the gravity of war and personal fears, making the scene less impactful overall.
  • Visually, the scene is confined to a dormitory setting, which limits cinematic opportunities. While the script describes the boys sitting in beds and the Podestà walking, there's little action or visual variety, relying heavily on dialogue. This might make the scene feel static on screen, reducing engagement. In a film adaptation, this could translate to a less dynamic sequence, especially when compared to more action-oriented scenes in the script, like those involving chases or explosions.
  • Thematically, the scene reinforces the motif of father-son relationships and the impact of war, echoing Geppetto's grief and Pinocchio's immortality. Candlewick's vulnerability and Pinocchio's empathy create a poignant moment that humanizes the characters amidst the fascist backdrop. However, the resolution feels rushed, with the boys quickly bonding without sufficient buildup of their emotional states, which might leave readers or viewers wanting more depth in how these interactions affect their development in subsequent scenes.
Suggestions
  • Add transitional beats or visual cues between the Podestà's speech and the private conversation, such as showing the boys whispering or reacting to the salute, to create a smoother flow and heighten the sense of group dynamics before isolating the main characters.
  • Refine Pinocchio's dialogue to emphasize his childlike perspective, perhaps by having him mix metaphors or simplify his advice about fathers, ensuring it aligns with his established naivety while still conveying wisdom from his experiences.
  • Extend the serious moment after Pinocchio's advice to Candlewick, allowing for a pause or a subtle reaction shot to build emotional resonance before shifting to humor, ensuring the scene maintains its thematic depth without abrupt tonal changes.
  • Incorporate more visual elements, such as close-ups on facial expressions, subtle movements in the dark (e.g., fidgeting or shadows from the window), or environmental details like the sound of distant planes, to make the scene more dynamic and less dialogue-dependent.
  • Tighten the pacing by reducing repetitive lines in the competitive dialogue about war, and consider ending the scene on a more reflective note, such as the boys lying in silence, to emphasize the underlying tension and prepare for the action in the next scene.



Scene 32 - The Battle of Friendship
  • Overall: 8.5
  • Concept: 8
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
INT. YOUTH CAMP - DAY

Standing on the open battlefield, Podestà stands before all
the boys, explaining the rules of the game.

PODESTÀ
...And as with all great empires,
the destiny of Italy will be forged
in the strength of its youth. Today
you get your first taste of war.
You will form two teams!

Candlewick and Pinocchio look to one another, very proud-
encouraging each other. THE PODESTA HANDS OUT TWO FLAGS: ONE
is a BLACK CROSS with RADIANT LIGHT against a RED BG
(Pinocchio’s) and the other one is THE BUNDLE OF ARROWS
(Candlewick).

Candlewick exchanges a look and a half smile with his father.
It is not returned in kind.
95.


PODESTÀ (CONT’D)
In the center of the battlefield is
a tower.

The Podestà continues to address the assembly.

PODESTÀ (V.O.)
The first team to place their flag
at the top of the tower, wins! And
remember, no matter who is on the
other team, THEY are your enemy.

Podestà places his hands on BOTH Pinocchio and Candlewick.

PODESTÀ
(sotto voce)
May the best man win and bring
glory to his team and honor to us
all...

The Podestà’s speech becomes VO as we cut to the tower, then
to kids splitting into yellow and red teams, preparing their
guns, loading their grenades with confetti.

PODESTÀ (CONT’D)
The rifles are loaded with paint
and the grenades, confetti. Mark
your kill, boys.

After receiving their guns, the group takes off for battle,
leaving Pinocchio behind.

PINOCCHIO
Hey! Watch it. W-wait!

Kids settle into their trenches with expectant grins on their
faces; maybe some are goofing off a little.

We see Pinocchio and Candlewick on their respective sides,
ready for the horn.

The horn sounds.

KID/S
Eja! Eja! Alala!

WAR begins!

Candlewick and Pinocchio exceed expectations. Podestà is
pleased to see it going so well.

Scenes of war. Short action sequence, with Candlewick and
Pinocchio commanding their groups. It’s fun! Pinocchio sees
Candlewick and waves, still oblivious.
96.


PINOCCHIO
(giggling)
Hi!

A boy of Pinocchio’s side gets shot with red paint.

CONFIDENT BOY
Argh!

Candlewick and another boy laugh at the sight when suddenly
BAM! The other boy is hit with a ball of yellow paint.

LAUGHING BOY
Heheha. Awww.

Candlewick looks briefly shocked to see his friend hit, but
quickly recovers.

CANDLEWICK
C’mon boys! Let’s go!

The kids dash out of the trenches from both sides.

KID/S
Let’s go! Charge! Watch out! Go,
go, go! Yah!

Pinocchio races to the tower under a hail of gunfire.

CANDLEWICK
Faster! Follow me.

Candlewick follows with his team.

Candlewick and Pinocchio BOTH make it to the tower, avoiding
being shot, etc--

Pinocchio tosses his gun to one of his teammates.

PINOCCHIO
Catch this.

They climb and race to the top, dodging paint, etc-- they
near the top...

Podestà looks on from afar.

They frantically struggle with one another to see who can get
their flag up the pole.

They are fighting for real! A tug of war ensues with the
flags as they try to dislodge the other.
97.


With one huge tug they both tumble to the ground on opposite
sides of the tower.

THE SEARCHLIGHTS backlight them both.

Then: They suddenly realize the absurdity of what they're
doing, exchange a look and burst into laughter.

They come together and shake hands. BOTH flags are placed
together and raised up the pole.

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

Summary In a lively youth camp scene, Podestà introduces a war-themed game where two teams, led by Pinocchio and Candlewick, compete to capture a central tower. After distributing flags and paint-loaded rifles, the boys engage in playful chaos, shouting war cries and laughing as they battle. The competition escalates into a tug-of-war between the two leaders, but they ultimately find joy in their camaraderie, shaking hands and raising both flags together atop the tower, highlighting the spirit of friendship over rivalry.
Strengths
  • Strong character development
  • Effective emotional impact
  • Engaging plot progression
Weaknesses
  • Limited exploration of external conflict
  • Potential for confusion in the war game setting
Critique
  • This scene effectively captures the thematic tension between the innocence of childhood and the harsh indoctrination of fascist ideology, using a playful war game as a metaphor for real conflict. The contrast is heightened by Pinocchio's naive enthusiasm and Candlewick's internal struggle, building on their budding friendship from the previous scene. This not only advances character development but also underscores the absurdity of preparing children for war, which aligns well with the script's overarching critique of fascism and loss. However, the action sequence feels somewhat generic and could benefit from more specific, vivid details to make it more engaging and less reliant on vague descriptors like 'etc--', which might dilute the visual impact and pacing in a film adaptation.
  • The dialogue and voice-over work to reinforce Podestà's authoritative presence and the propagandistic rhetoric, but the voice-over element (Podestà's speech continuing as a VO) risks feeling redundant or disconnected if not seamlessly integrated. For instance, the shift from direct dialogue to voice-over during the game preparation could confuse viewers about the spatial and temporal flow, potentially weakening the scene's momentum. Additionally, Pinocchio's giggling and waving at Candlewick during the game emphasize his childlike innocence, which is a strength, but it might undercut the intended tension of the 'war' game, making it harder for the audience to feel the stakes, especially given Pinocchio's immortality revealed earlier.
  • Visually, the scene has strong symbolic elements, such as the flags representing fascist icons (the black cross and bundle of arrows) and the searchlights backlighting the boys at the end, which create a dramatic and ironic conclusion. This visual choice effectively highlights the camaraderie that emerges from conflict, mirroring themes of unity and humanity amidst division. However, the lack of detailed descriptions for the action—such as specific interactions during the paintball fight or the boys' expressions and movements—makes the sequence feel somewhat formulaic. This could be an opportunity to deepen the emotional resonance, particularly by showing how Pinocchio's unique nature (e.g., his wooden body affecting how he handles the paint or obstacles) ties into his character arc.
  • The resolution, where Pinocchio and Candlewick laugh off their struggle and cooperate, is a poignant moment that humanizes the characters and provides a brief respite from the script's darker tones. It serves as a natural progression from scene 31's dormitory conversation, reinforcing themes of friendship and questioning authority. That said, the abrupt shift from intense competition to laughter might feel unearned without more buildup or intermediate beats that show the characters' realization dawning. This could alienate viewers if the tonal shift isn't handled with care, especially in a story that deals with heavy topics like war and loss, potentially reducing the scene's emotional depth and impact on the overall narrative.
  • In terms of pacing, the scene moves quickly from setup to climax, which suits its position as scene 32 in a 39-scene script, maintaining momentum toward the story's climax. The fun, playful elements balance the script's satirical edge, but the brevity of the action might not fully exploit the potential for humor or tension. For example, while the war cries and paint fights are described as 'fun,' more emphasis on the irony—such as children mimicking real war horrors—could strengthen the scene's critique. Overall, the scene is solid in advancing plot and character, but it could be more immersive and thematically rich with tighter integration of visual, dialogue, and action elements.
Suggestions
  • Add specific, unique details to the action sequence, such as describing how Pinocchio's wooden body makes him resilient to paint hits or causes humorous mishaps, to make the game more visually distinct and tied to his character traits, enhancing engagement and reinforcing his immortality subplot.
  • Refine the use of voice-over by either shortening it or integrating it more fluidly with on-screen action, perhaps by having Podestà's words echo in the boys' minds during key moments of the game, to improve clarity and maintain audience immersion without disrupting the flow.
  • Incorporate subtle nods to Pinocchio's past experiences (e.g., referencing his deaths in a light-hearted way during the game) to deepen character consistency and thematic depth, making the scene feel more connected to the larger narrative and emphasizing the contrast between play and real danger.
  • Build up the emotional beat where the boys laugh and cooperate by adding a moment of hesitation or a shared glance that recalls their conversation from scene 31, ensuring the resolution feels earned and provides a stronger payoff for their developing friendship.
  • Consider extending the scene slightly to include more sensory details, like the sound of paint splattering or the feel of the cold metal guns, to heighten the immersive quality and make the absurdity of the war game more palpable, while ensuring it doesn't slow the overall pace of the script.



Scene 33 - Defiance Amidst Chaos
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. YOUTH CAMP - CONTINUOUS

Candlewick and Pinocchio proudly approach the Podestà, who is
now sipping tea with the Priest at a table near the edge of
the battlefield.

PODESTÀ
You’re both here- why??

CANDLEWICK
We both won, Father!

PODESTÀ
Oh, is that so? And how did you
come to that conclusion, may I ask?

PINOCCHIO
It was a tie!

CANDLEWICK
We both climbed up fast!

Podestà sips calmly.

PODESTÀ
Very good, then. Candlewick...

Podestà takes his own REAL handgun and puts it on the table.

PODESTÀ (CONT’D)
(to Candlewick)
Shoot the puppet.

Pinocchio and Candlewick shuffle nervously.

CANDLEWICK
But Father, this is a real gun.
98.


PODESTÀ
Take your glory, son!! Shoot the
puppet!!

Candlewick can’t- trembles.

THEN the sound of planes above! Everybody looks. Bombing
starts. BOOM! Air raid siren. Yellow clouds of gas.

SOLDIER
Take your positions on the
parapets! Defend the center! For
Italy!

SOLDIER 2
Hurry! Hurry! Go, go, go!

SOLDIER 3 (O.S.)
We are under attack!

The Podestà ignores what is happening all around him.

PODESTÀ
I told you to SHOOT THE PUPPET.

BOMBS EXPLODE around them!! Illuminating all with fire!!
Candlewick looks down at the gun and considers.

CANDLEWICK
No! I will not let you do this! All
my life, Father...just trying to
please you. But I never will. You
were right: I’m thin and weak- and
flimsy-- just like the wick of a
candle. Always afraid. But even
then- with all the fear I feel- I
can say “no” to you. I can do that.
(beat)
I’m not afraid to say no. Are you?

PODESTÀ
You filthy coward!!

Podestà rips the gun from Candlewick’s hand. He grabs
Candlewick by the neck, lifts and propels him backward.

PODESTÀ (CONT’D)
Yes, you are weak. You are no son
of mine.

Podestà tosses him in a ditch like a piece of trash.
Pinocchio chases after, trying to protect his friend.
99.


PINOCCHIO
Candlewick!

PODESTÀ
Puppet, on your feet!

From atop the ditch, Podestà has now turned the gun on
Pinocchio. Pinocchio stands and approaches, defiant.

PODESTÀ (CONT’D)
Time for the final lesson.

Pinocchio turns to look at Candlewick, still on the ground.
Candlewick stares back, frozen and afraid.

PODESTÀ (CONT’D)
And now you will know what it is to
truly serve the Fatherland.

A shot rings out. Podestà is struck directly in the eyes by a
blotch of yellow paint.

PODESTÀ (CONT’D)
Arggh!

He stumbles back, disoriented and temporarily blinded,
becoming caught in the netting.

From behind Pinocchio, Candlewick emerges, holding the gun.

Podestà claws at his eyes, furious and struggling to see.

He hears a noise and pauses. Slowly looks up. A BOMB FALLS.
The Podestà struggles to free himself. There is no escape.

It kills Podestà, and throws Pinocchio over the parapets.

Pinocchio lands on the ground, half a mile away. His back is
on fire.

Candlewick rushes out of the camp, calling out. Bombs falling
all around him. Kids running and screaming. Chaos.

CANDLEWICK
Pinocchio! Pinocchio!!

On the opposite side of the camp, Pinocchio veers into
oblivion as we see...

COUNT VOLPE
Hello, my little rebel!! I found
you at last. I lost everything. And
now you will too.
100.


Darkness.

FADE OUT / IN:
Genres: ["Drama","War","Fantasy"]

Summary In scene 33, Candlewick and Pinocchio celebrate their climbing competition tie at a youth camp, but the Podestà orders Candlewick to shoot Pinocchio to test his loyalty. Candlewick refuses, asserting his independence from his abusive father. As an air raid erupts, chaos ensues with soldiers shouting and explosions occurring. The Podestà attacks Candlewick, but Candlewick retaliates by blinding him with paint, leading to the Podestà's demise from a falling bomb. Amid the turmoil, Pinocchio is thrown over the parapets and lands on fire, while Candlewick searches for him. The scene concludes with Count Volpe threatening Pinocchio as darkness falls.
Strengths
  • Intense emotional impact
  • Powerful character dynamics
  • Compelling dialogue
  • High stakes and conflict
Weaknesses
  • Potentially graphic violence
  • Complex themes and concepts
Critique
  • The scene effectively builds tension through the escalation from a seemingly benign post-game discussion to a life-threatening confrontation, mirroring the chaotic unpredictability of war. This rapid shift highlights the fascist regime's indoctrination and the personal toll it takes, providing a strong character moment for Candlewick as he defies his father, which feels earned from the bonding in previous scenes. However, the introduction of the air raid feels somewhat abrupt and could benefit from better foreshadowing to avoid seeming like a deus ex machina, potentially diluting the emotional impact of Candlewick's defiance by shifting focus too quickly to external chaos.
  • Candlewick's dialogue during his confrontation with the Podestà is a pivotal moment for his character arc, showcasing his growth from a fearful, obedient son to one who asserts his independence. This is commendable for its thematic depth, tying into the film's exploration of toxic masculinity and familial pressure under fascism. That said, the dialogue can come across as overly expository and melodramatic, with lines like 'I’m not afraid to say no. Are you?' feeling somewhat on-the-nose and reducing the subtlety of the emotional reveal. Additionally, Pinocchio's role in this scene is mostly reactive, which underscores his naivety but might underutilize his character, making him feel like a prop rather than an active participant in the drama.
  • The action sequences, particularly the bombing and Podestà's death, are visually dynamic and reinforce the horrors of war, creating a stark contrast to the playful game in the previous scene. This juxtaposition effectively critiques the glorification of violence in fascist youth training. However, the chaos of the air raid and multiple simultaneous events (e.g., bombs exploding, soldiers shouting, Pinocchio being thrown) could overwhelm the audience, making it hard to follow key emotional beats, such as Candlewick's act of defiance or Pinocchio's endangerment. The scene's length and density might also rush important moments, potentially sacrificing clarity for intensity.
  • Thematically, the scene ties well into the broader narrative of immortality, loss, and resistance, with Podestà's death serving as a grim reminder of mortality that contrasts with Pinocchio's condition. Count Volpe's sudden appearance at the end provides a cliffhanger but feels disconnected, as there's no clear setup for how he found Pinocchio in the midst of the raid. This could confuse viewers and weaken the scene's cohesion, especially since the fade out/in might imply a time jump or location change that isn't smoothly integrated. Overall, while the scene advances the plot and character development, it could better balance action with introspection to deepen audience investment.
Suggestions
  • Add subtle foreshadowing in the previous scene or earlier in the sequence to hint at the impending air raid, such as distant plane sounds or tense discussions about war threats, to make the escalation feel more organic and heighten suspense without relying on surprise.
  • Refine the dialogue to make it more naturalistic and less declarative; for example, have Candlewick's confession build through actions and subtext, like hesitant body language or indirect statements, to increase emotional authenticity and allow the audience to infer his growth rather than being told explicitly.
  • Streamline the action choreography during the air raid by focusing on fewer, more impactful events—perhaps cutting some overlapping shouts or explosions—to improve clarity and ensure that key moments, like Candlewick's paint shot and Podestà's death, land with greater emotional weight and visual coherence.
  • Enhance Pinocchio's agency by giving him a small proactive action, such as attempting to intervene verbally or physically before the confrontation escalates, to make him a more active participant and reinforce his character development from naive puppet to empathetic friend.
  • Improve the transition to Count Volpe by adding a brief setup, like a line of dialogue or a visual cue (e.g., Volpe lurking in the background earlier), to make his appearance less abrupt and better connect it to the ongoing narrative, ensuring the scene flows smoothly into the next.



Scene 34 - Cliffside Betrayal and the Dogfish's Maw
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 10
  • Dialogue: 9
EXT. CLIFF - DAY

Pinocchio wakes up.

PINOCCHIO
HUHHH?! Candlewick!?

Pinocchio is tied to a post. Spazzatura and Volpe stand
nearby.

Reveal: Pinocchio is tied up. Count Volpe is preparing a huge
bonfire.

They are by the side of a cliff.

In the distance: THE YOUTH CENTER and searchlights criss-
crossing the sky; BOMBER PLANES release their fiery cargo!!

COUNT VOLPE
Bonjour, mon étoile.

PINOCCHIO
No! Where’s Candlewick!??

Spazz stands by Count Volpe - but looks conflicted.

PINOCCHIO (CONT’D)
Spazzatura! Please help me!

COUNT VOLPE
I am all he has in this world, the
poor thing. I have forgiven him...
But you? You squandered everything!

Count Volpe points his SWORD directly at Pinocchio.

COUNT VOLPE (CONT’D)
Give me that torch, Spazzatura.

Spazz hesitates, anguished for Pinocchio.

COUNT VOLPE (CONT’D)
Spazzatura! Errr, give me that!

Volpe SNATCHES the torch from Spazz and SMACKS him with it
for good measure.

COUNT VOLPE (CONT’D)
You mangy ape!
101.


PINOCCHIO
Let me go!

COUNT VOLPE
Is our contract worth nothing? I’ll
do my part. And you- you WILL burn!
Burn bright, like a star!

PINOCCHIO
Hey, that’s HOT! Worse than
chocolate! Ow! Ow! Help!

Volpe lets out a sinister laugh.

PINOCCHIO (CONT’D)
Please! HELP! Help!! Ow! Help!

And then SPAZZ THINKS AND THINKS AND-

MAKES A DECISION- Leaps off of Volpe and up to Pinocchio! He
gets Pinocchio OUT of the fire. DRAGS him to safety! Flaming!

He heads for the cliffs!!!

Volpe chases Spazz, cane sword in hand. He corners them.

But Spazz is afraid!!!

The fall is too big- too scary.

COUNT VOLPE
How could you do this to me? And
for a puppet?? You loathsome lusus
naturae!!

Count Volpe raises his sword!!

COUNT VOLPE (CONT’D)
You will betray me no more!!!

And then Spazz jumps, and bites Volpe on the face!!!

They tumble back and fall down, screaming simultaneously.

Down-

Down-

Pinocchio looks over the edge- Volpe smashes on the rocks and
Spazz plunges into the water below.

PINOCCHIO
Spazzatura!!!
102.


Pinocchio calls out for Spazz, still trying to free himself
from the ropes. Suddenly another bomb goes off nearby.

The edge of the cliff he is on CRACKS. CRUMBLES. FALLS.
Carrying Pinocchio down with it.

PINOCCHIO (CONT’D)
Ahhhhh!

POV of his fall.

He sinks INTO THE OCEAN!!!

He sinks.


EXT. OCEAN - NIGHT

Pinocchio and Spazz on the cross, paddling aimlessly.

CUT TO:


EXT. OCEAN - DAY

JUST FLOATING. Exhausted.

PINOCCHIO
Spazzatura, will I ever see my Papa
again?

Spazz picks a barnacle off Pinocchio and eats it.

A seagull passes overhead. Spazz tracks it with his eyes.

Then they see-


EXT. DOGFISH

-a MYSTERIOUS ISLAND.

PINOCCHIO
Look, an island!

Spazz celebrates, happily dancing and pounding on the water.

As they are about to go ashore, the island rises up out of
the water again. This is no island. This is THE DOGFISH!

PINOCCHIO (CONT’D)
Swim!

They paddle with all their might. They are swallowed.
103.


INT. DOGFISH TUBES

They travel through gross tubes. Pinocchio gets hit by sharp
teeth and stuff, Spazz using him as a shield.
Genres: ["Fantasy","Adventure","Drama"]

Summary In this intense scene, Pinocchio finds himself tied to a post on a cliff, facing imminent death as Count Volpe prepares to burn him. Despite Pinocchio's pleas for help and concern for Candlewick, Volpe mocks him and escalates the situation. Spazzatura, initially hesitant, ultimately saves Pinocchio, leading to a confrontation with Volpe that results in both Spazzatura and Volpe falling off the cliff. As Pinocchio watches in horror, a bomb causes the cliff to crumble, sending him into the ocean. The scene transitions to Pinocchio and Spazzatura floating on a cross, contemplating their fate, until they encounter a massive Dogfish that swallows them, leading to a perilous journey through its insides.
Strengths
  • Intense conflict
  • Emotional depth
  • Character development
  • High stakes
  • Suspenseful pacing
Weaknesses
  • Potential for excessive melodrama
  • Complexity of character motivations may require close attention
Critique
  • The scene effectively escalates tension with high-stakes action, such as Pinocchio being tied to a post and threatened with fire, which ties into the overarching themes of danger and redemption in the script. However, the abrupt start with Pinocchio waking up without clear context from the previous scene's air raid chaos can disorient the audience, making the transition feel jarring and reducing the emotional continuity. This lack of seamless flow might weaken the immersion, as viewers could question how Pinocchio was captured and brought to this location, potentially diluting the urgency established in scene 33.
  • Spazzatura's character arc in this scene, where he shifts from conflicted hesitation to heroic sacrifice, is a strong moment of redemption that adds depth to his role as a previously antagonistic figure. That said, the internal conflict is conveyed primarily through dialogue and abrupt actions, which may not fully capitalize on visual storytelling opportunities. For instance, the description of Spazz 'THINKS AND THINKS AND-' could be expanded with more nuanced physical cues or flashbacks to his mistreatment by Volpe, making his decision feel more earned and emotionally impactful rather than sudden, thus better serving the theme of loyalty and change.
  • The dialogue, while energetic and fitting for the characters' personalities, occasionally veers into melodramatic territory (e.g., 'Burn bright, like a star!' and 'You mangy ape!'), which can undermine the scene's intensity in a story grappling with serious historical and emotional elements like fascism and loss. This exaggeration might make the conflict feel less grounded, potentially alienating audiences who expect a balance between the fantastical and the realistic, especially since Pinocchio's pleas for help are repetitive and could be more varied to heighten emotional stakes and avoid redundancy.
  • Visually, the scene is dynamic with elements like the bonfire, cliff fall, and Dogfish swallowing, which align well with the screenplay's adventurous tone. However, the rapid progression from the cliff confrontation to the ocean sequence compresses potentially powerful moments, such as Pinocchio's fall and the characters' exhaustion while floating, into a short span. This haste might sacrifice opportunities for building suspense or exploring Pinocchio's introspection, making the sequence feel more like a series of events than a cohesive narrative beat that advances character development or thematic depth.
  • Thematically, the scene reinforces motifs of betrayal, sacrifice, and the cycle of violence, particularly through Spazzatura's fall with Volpe and Pinocchio's repeated endangerment. Yet, the resolution—where Pinocchio and Spazzatura are swallowed by the Dogfish—feels somewhat predictable given the script's earlier hints, and it lacks a unique twist that could elevate it. Additionally, the emotional payoff of Spazzatura's sacrifice is undercut by the immediate shift to survival mode, which might leave viewers wanting more reflection on the consequences, especially in the context of Pinocchio's immortality and its isolating effects explored in prior scenes.
Suggestions
  • To improve the transition, add a brief establishing shot or a quick flashback in the opening lines to show how Pinocchio was captured during the air raid in scene 33, ensuring a smoother narrative flow and maintaining audience engagement from the start.
  • Enhance Spazzatura's internal conflict by incorporating more visual elements, such as close-ups of his facial expressions, hesitant body language, or a subtle memory cue of Volpe's abuse, to make his redemption feel more organic and build emotional investment before he acts.
  • Refine the dialogue to be less expository and more character-driven; for example, have Volpe's threats reference specific past events with Pinocchio to add personal stakes, and vary Pinocchio's cries for help with internal thoughts or actions to reduce repetition and increase authenticity.
  • Extend the action sequences with additional sensory details and pauses for character reflection, such as slowing down Pinocchio's fall into the ocean with underwater visuals and his thoughts on loss, to heighten tension and allow for deeper emotional resonance without overly lengthening the scene.
  • Introduce a small twist or symbolic element in the Dogfish swallowing sequence, like Pinocchio recalling a previous encounter with death, to tie it more closely to the film's themes of immortality and loss, making the event feel fresh and integral to Pinocchio's arc rather than a repetitive motif.



Scene 35 - Escape from the Dogfish
  • Overall: 8.5
  • Concept: 9
  • Plot: 8
  • Characters: 9
  • Dialogue: 8
INT. DOGFISH

They are finally spat out of an ulcer waterfall.

Ugh-- Spazz covered in goop, completely grossed out.

They look up and watch with horror as the tunnel they were
spat out of closes behind them.

Pinocchio tries to find another way out, but it’s all just
gross fish parts. They wade through muck.

They look over a precipice and see a dilapidated lighthouse
and the wreckage of a ship. There appears to be a small fire
burning off in the distance.

Spazz points. They head towards it.

Spazz is excited for the heat and starts to warm himself by
the fire.

Just then they hear a the faint sound of someone singing off
in the distance.

Pinocchio shushes Spazz, straining to hear.

GEPPETTO (SONG)
And if you look at me today, my
heart would heal so fast...

Pinocchio and Spazz look at each other.

PINOCCHIO
Papa? Papa!

Pinocchio rushes towards the sound, sloshing around on planks
of wood.

Spazz follows.

GEPPETTO (SONG)
And if you held me right away, I’d
be complete at last. At last.

They leap up on the ship and run towards the bow. And there,
they find Geppetto fishing, using Cricket as bait.
104.


PINOCCHIO
(shushing Spazz)
Papa! You’re alive!

Geppetto drops his rod to hug Pinocchio. Cricket lets out a
joyous laugh.

GEPPETTO
(weakly)
Pinocchio! My Pinocchio!

Pinocchio embraces Geppetto. Cricket gets smushed between
them.

CRICKET
(groan)
Love hurts!

CUT TO:


LATER.

They all sit by the fire. A fish is roasting on a spit.
Cricket stands close to the fire, playing the violin.

PINOCCHIO
You’ll be okay, Papa.

Pinocchio leans against Geppetto, who puts his arm around
him.

PINOCCHIO (CONT’D)
After you’re feeling better, we’ll
go right home, okay?

GEPPETTO
No, Pinocchio. There is no escape
from this dreaded beast. He comes
seeking the warmth of the sun...
every decade or so...
(beat)
It will soon sink back to the
depths of the darkest, coldest
ocean where it dwells and- it will
drag us with him.

As Geppetto is talking Cricket stares ahead, watching the
smoke from the fire float up and out through the blowhole.
Out? Out!
105.


CRICKET
(laughing)
Oh my God, this is it! Follow me!
Hahaha.

GEPPETTO
Follow you, where?

CRICKET
Up to the lighthouse, and freedom!

They get up from the fire and dash off, trying to keep up
with an excited Cricket. They all clamber up to the very tip
of the lighthouse, the highest vantage point. Cricket perches
on the rail.

CRICKET (CONT’D)
The blowholes. We can climb out
through them.

He points, but they are still some distance away.

GEPPETTO
But we’ll never reach it. It- it’s
too far.

CRICKET
Pinocchio can help!

Cricket dashes up Pinocchio’s arm and begins to whisper in
his ear.

CRICKET (CONT’D)
Pinocchio, look...(inaudible
whispering)

GEPPETTO
What is it, Pinocchio?

A BEAT AND THEN- PINOCCHIO LOOKS AT GEPETTO.

PINOCCHIO
Oh PAPA, I HATE you!!

GEPPETTO
What?? Well, what do you...

Pinocchio’s nose grows.

PINOCCHIO
And I- and I hate YOU TOO,
Spazzatura! And-- and YOU,
Sebastian J. Cricket!
106.


His nose keeps growing!

Spazz grunts angrily.

GEPPETTO
Yes! I SEE!! Just this once, lie,
m’boy!

CRICKET
Yes! That’s it! Lie!

PINOCCHIO
My name is... Panucchio!!

GEPPETTO
More, Pinocchio!

His nose grows. Everyone gets excited.

PINOCCHIO
I love the smell of onions! I love,
I love WAR! I wanna be trapped here
forever and ever and ever!

Pinocchio’s nose grows larger and larger with each lie.
Cricket jumps on the end of his nose, riding it until it is
super huge, spanning the gap between the lighthouse and the
blowhole. Cricket reaches the other side.

GEPPETTO
Hahaha that, that’s it!

CRICKET
Climb now. Everybody climb. Hurry!
Come on!

Geppetto gingerly makes his way onto the nose bridge and
starts carefully working his way across. Spazz jumps forward
and runs, leapfrogging Geppetto and quickly scurries to the
opposite side.

GEPPETTO
What are you...?

As Geppetto continues, the branches twist and turn; he can
barely hold on.

GEPPETTO (CONT’D)
Ooh--oh, oh, oh--steady...whoa!

The end rustles up and down the blowhole and something
awakes.
107.
Genres: ["Fantasy","Adventure","Drama"]

Summary In scene 35, Pinocchio and Spazz emerge from a grotesque waterfall inside the Dogfish, covered in muck. They discover a dilapidated lighthouse and a distant fire, where they find Geppetto singing. After an emotional reunion, Geppetto warns them of the beast's threat, but Cricket suggests an escape plan using Pinocchio's ability to grow his nose. Pinocchio lies absurdly, extending his nose into a bridge to a blowhole, allowing the group to cross and attempt their escape.
Strengths
  • Unique concept of using Pinocchio's nose as a bridge
  • Emotional reunion between characters
  • Tense and surreal atmosphere
Weaknesses
  • Some dialogue could be more impactful
Critique
  • The scene effectively captures the fantastical and chaotic nature of the Dogfish's interior, building on the established world-building from previous scenes. The reunion between Pinocchio and Geppetto is a poignant moment that reinforces the film's themes of family, loss, and redemption, providing an emotional high point that contrasts with the grotesque environment. However, the rapid progression from the reunion to the escape plan might feel rushed, potentially undermining the emotional impact by not allowing the audience enough time to savor the characters' relief and joy before escalating into action. This could leave viewers feeling emotionally whiplashed, especially after the intense events of Scene 34, where Pinocchio and Spazz are swallowed, making the transition feel abrupt and less grounded.
  • Dialogue in this scene serves to advance the plot and reveal character motivations, but some lines come across as overly expository or simplistic, such as Geppetto's explanation of the Dogfish's behavior, which feels like it's directly telling the audience information rather than showing it through action or subtext. For instance, Pinocchio's lies to grow his nose are fun and true to his character, but the repetitive encouragement from Geppetto and Cricket ('Lie! More, Pinocchio!') can sound forced, reducing the authenticity of the interactions. Additionally, Spazzatura's minimal dialogue and reactions make him seem like a peripheral character here, despite his heroic actions in the previous scene, which could diminish his arc and make his presence feel underutilized in this group dynamic.
  • Visually, the scene is rich with imaginative elements, like the ulcer waterfall, the dilapidated lighthouse, and the growing nose bridge, which could translate into striking cinematic imagery. However, the action description sometimes prioritizes spectacle over clarity, such as the nose growing sequence, which might confuse viewers if not executed carefully on screen. The use of Pinocchio's ability to lie as a problem-solving tool is clever and ties back to his core character flaw, but it risks becoming a deus ex machina if not balanced with consequences or deeper exploration. Furthermore, the tone shifts quickly from heartfelt reunion to comedic absurdity (e.g., Cricket getting smushed or Pinocchio's absurd lies), which aligns with the film's blend of dark humor and drama but could alienate audiences if the humor feels incongruous with the stakes established in earlier scenes.
  • Character development is evident, particularly in Geppetto's weakened state and his protective instincts toward Pinocchio, showing growth from his earlier doubts about Pinocchio's worth. Pinocchio's enthusiasm and quick thinking highlight his evolution from a naive puppet to a resourceful hero, but the scene misses an opportunity to delve deeper into his internal conflict, such as his fear of loss or his understanding of his own immortality. Cricket's role as the clever observer is consistent, but his laughter and violin-playing add a layer of levity that sometimes overshadows the tension, potentially diluting the scene's emotional core. Overall, while the scene advances the plot effectively and maintains the film's adventurous spirit, it could benefit from more nuanced handling of its emotional beats to better serve the story's themes of acceptance and the human condition.
  • In terms of pacing and structure, this scene serves as a climactic escape sequence in a confined space, which is engaging, but the lack of breathing room between key events might make it feel predictable or formulaic. The ending, with the characters crossing the nose bridge and the Dogfish awakening, builds suspense well, but it relies heavily on visual gags (like the nose twisting) that could become cartoonish if not balanced with genuine peril. As Scene 35 out of 39, it fits into the larger narrative arc of Pinocchio's journey toward self-discovery and familial bonds, but it doesn't fully capitalize on the opportunity to heighten stakes or provide a satisfying midpoint in the escape saga, especially given the repeated 'deaths' and resurrections in the story. This could make the scene feel like a repetitive beat rather than a unique escalation, potentially weakening the overall narrative momentum.
Suggestions
  • Slow down the reunion sequence by adding a few beats of silent reaction shots or subtle dialogue that allows the audience to feel the emotional weight, such as Pinocchio hesitating before hugging Geppetto or Geppetto whispering a memory from their past, to make the moment more resonant and less rushed.
  • Refine the dialogue to be more natural and less directive; for example, instead of characters explicitly saying 'Lie!' repeatedly, show their encouragement through facial expressions, gestures, or indirect comments that imply the need without spelling it out, enhancing subtext and making interactions feel more organic.
  • Enhance Spazzatura's involvement by giving him a small, meaningful action or line during the escape plan, such as him sharing a glance with Pinocchio that references his betrayal of Count Volpe, to better integrate his character arc and make him a more active participant in the group dynamics.
  • Incorporate more visual storytelling to clarify and elevate the action; for instance, use close-ups on Pinocchio's growing nose to emphasize its transformation and add symbolic elements, like tying the growth to his internal lies about his fears, to deepen character insight and make the escape more cinematically engaging.
  • Build tension by varying the pacing—include a brief moment of doubt or a minor setback during the nose bridge crossing, such as a piece breaking off prematurely, to heighten stakes and avoid predictability, while ensuring the scene ties into broader themes by having Geppetto reflect briefly on his growth as a father during the climb.



Scene 36 - The Great Escape from the Dogfish
  • Overall: 8.7
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 8
EXT. DOGFISH

DOGFISH (SFX O.S.)
(loud and echoing)
GRRRRROOOAAAAANNNN!


INT. DOGFISH

Spazz looks on, concerned, as Geppetto continues to work his
way forward.

GEPPETTO
(trying to balance)
Ehhh--whoa--ahh--my word--oh dear.

The nose is rocking and shaking all over the place, so much
so that it SNAPS clean off of Pinocchio’s face. He lunges
forward quickly to grab a hold of it before it falls.

GEPPETTO (CONT’D)
Whoa--hold it--oh. Wahh.

It’s more steady now and Geppetto manages to make it the rest
of the way across. They laugh and celebrate. Pinocchio
secures the branch on his end and starts to make his way
across.

GEPPETTO (CONT’D)
That’s it. Don’t look down,
Pinocchio. Look at me. Look at your
Papa!

He is halfway when the whole thing twists and rotates,
flipping Pinocchio upside down! He clings on for dear life.

PINOCCHIO
Ahh--Ahhh!

As it swings around it almost hits Geppetto and Spazz inside
the blowhole as well.

GEPPETTO
Ahh!

CRICKET
He’s going to sneeze. Hurry!


EXT. DOGFISH

The Dogfish feels something scratching around and becomes
even more irritated.
108.


DOGFISH (SFX)
*Groaaaaann*

Walls around them begin to shake...


INT. DOGFISH

The branch continues to slip. Pinocchio is hanging, trying to
keep his grip as the whole thing keeps shifting. He finally
manages to right himself, but it’s too late. The end of the
branch slips from the rail and begins to fall.

Pinocchio sprints up the branch as it begins to drop,
desperately trying to reach Geppetto and the others.

PINOCCHIO
No...Noooo! Ahhhh!! Ahh!

He reaches the end and leaps, launching himself into space as
the branch plummets below him.

GEPPETTO
I’ve got you, son!

With a CLAP! Geppetto is able to reach out and grab
Pinocchio’s wrist at the last moment.

GEPPETTO (CONT’D)
Hold on my, boy!

PINOCCHIO
Help! Help!!


EXT. DOGFISH

The Dogfish howls and writhes angrily.

THE ENTIRE WORLD SHAKES AROUND THEM!


INT. DOGFISH

Geppetto tries to hang on to Pinocchio and pull him up but
now huge gusts of wind from the blowhole make it impossible.
Geppetto loses his balance and the both begin to fall.

GEPPETTO & PINOCCHIO
Ahhhhhhh!

Just as they are about to smash into the ground, A HUGE GUST
comes from one of the blowholes, sucking them back up and
into the air.
109.


EXT. DOGFISH

The Dogfish rumbles and then:

HUGE SNEEZE!

DOGFISH
*CCHHOOOOOOO!!!!!*

Pinocchio, Geppetto, Spazz and Cricket- and a bunch of debris-
all shoot out of the Dogfish’s blowhole, screaming.
Genres: ["Fantasy","Adventure","Drama"]

Summary In this tense scene, Geppetto and Pinocchio navigate a precarious makeshift bridge inside the Dogfish, facing the threat of the creature's sneeze. As Geppetto encourages Pinocchio, the branch shakes violently, leading to a chaotic moment where Pinocchio flips upside down. With Cricket's urgent warnings, they manage to leap to safety just as a massive sneeze from the Dogfish expels them and debris out of its blowhole, culminating in a frantic escape.
Strengths
  • Intense action sequences
  • Emotional reunion between characters
  • Innovative use of Pinocchio's nose as a bridge
Weaknesses
  • Minimal dialogue
  • Some elements may be too fantastical for some audiences
Critique
  • The scene excels in building physical tension and chaos, effectively using the Dogfish's growls and the precarious nose bridge to create a sense of urgency and danger, which keeps the audience engaged and mirrors the fantastical elements of the Pinocchio story. The action sequences, such as the nose snapping and Pinocchio's desperate sprint, are visually dynamic and highlight the characters' vulnerability, reinforcing themes of family bonds and survival under pressure.
  • However, the rapid cuts between interior and exterior shots can make the scene feel disjointed and hard to follow, potentially disorienting the viewer during key moments of peril. This back-and-forth dilutes the intensity by shifting focus too frequently, which might confuse the spatial relationships and reduce emotional investment in the characters' struggles.
  • Character development is somewhat underdeveloped here; while Geppetto's protective actions and dialogue like 'I’ve got you, son!' add emotional depth, Pinocchio's role is mostly reactive, with his lies and physical comedy feeling repetitive from earlier scenes. This limits opportunities to explore his growth or the consequences of his immortality, making the scene feel like a series of stunts rather than a pivotal moment in his arc.
  • The use of sound effects, such as the Dogfish's growls and sneeze, is effective in amplifying the scene's horror and humor, but it risks overshadowing the quieter emotional beats, like the brief celebration after Geppetto crosses the bridge. This imbalance could make the scene more comedic than dramatic, potentially undermining the story's themes of loss and redemption if not balanced carefully.
  • Overall, the scene serves as a high-energy climax to the Dogfish sequence, with strong visual potential in elements like the nose bridge and expulsion, but it lacks deeper integration with the film's emotional core. For instance, the reunion and escape could better echo Geppetto's grief over Carlo, making Pinocchio's role in the escape more symbolically significant, thus enhancing the narrative cohesion.
Suggestions
  • Minimize the number of cuts between interior and exterior to focus more on the internal action, using wider shots or sound design to convey the Dogfish's movements without abrupt transitions, which would improve clarity and build sustained tension.
  • Add subtle emotional cues, such as a close-up on Pinocchio's face during his fall to show fear or determination, or have Geppetto reference his past loss briefly in dialogue to deepen the father-son bond and tie into the story's themes.
  • Incorporate more active roles for secondary characters like Spazz and Cricket; for example, have Cricket provide witty commentary or assistance during the crossing, and show Spazz reacting with concern to heighten group dynamics and prevent the scene from centering solely on Geppetto and Pinocchio.
  • Refine the dialogue to be more concise and impactful; shorten exclamations like 'Ahh--Ahhh!' and add a line where Pinocchio questions his own lies or expresses confusion, reinforcing his character development and making the action more meaningful.
  • Enhance visual descriptions to better guide the audience, such as specifying camera angles (e.g., a low-angle shot during the sneeze for dramatic effect) or adding details to the nose growth mechanism to make it feel fresh and integral to the escape, ensuring it aligns with the film's tone without becoming overly cartoonish.



Scene 37 - Pinocchio's Sacrifice
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
EXT. OCEAN

Splash! Our heroes all land in the water with the debris.

Pinocchio clambers up on the first thing he can find, a huge
MINE! He is breathing heavy, trying to catch his breath.

Off in the distance, everyone else scrambles onto a makeshift
raft.

BAMM! The Dogfish reemerges from the depths! MORE STEAM THAN
EVER coming from its orifices. EYES RED! GROANING IN FURY!

Pinocchio sees the Dogfish swimming up towards him and knows
he's about to be eaten once again.

PINOCCHIO
Uhh oh. Whoa-No--No---Ahhhhh!!!

The Dogfish’s huge maw closes over Pinocchio and the mine as
well.

Cricket, Spazz, and Geppetto watch in horror as Pinocchio is
swallowed.

CRICKET
Oh no!

GEPPETTO
Pinocchio!

Off in the distance, the Dogfish surfaces. Clinging to his
tooth we see Pinocchio! The chain of the mine is wrapped
around it.

PINOCCHIO
Papa!! Papa!!!

The Dogfish spots the raft and turns towards it menacingly.
110.


GEPPETTO
It’s coming for us! Quick!

Spazz seeing what’s happening jumps back in the sea!

CRICKET
C'mon, Spazzatura, you can do it!

Spazz acts as an outboard motor!!!! He pushes till it hurts.
They start speeding up!

They head away- the Dogfish gaining rapidly!!

Pinocchio looks out from the mouth and sees that the Dogfish
is headed straight for his friends.

His eyes quickly search around. What can he do?

He tracks the chain to the end of the Dogfish’s gullet. An
idea dawns on Pinocchio.

Pinocchio leaps off the tooth and into the water gushing
through the Dogfish’s mouth. He tries to swim towards the
mine.

The Dogfish barrels forward with ferocious speed towards the
raft.

Pinocchio is swept towards the mine, but the current is too
strong!

He grasps desperately for the mine but misses and is carried
over the edge.

Spazz and Geppetto are paddling with crazy determination!

CRICKET (CONT’D)
Yes, faster, Spazzatura!!

GEPPETTO
Hold on!

The Dogfish gains on our heroes and is ABOUT TO SWALLOW THEM-

Suddenly we see Pinocchio! With monumental effort he swims up
the waterfall!!!

He grabs the side of one of the firing pins, barely hanging
on.

The mouth of the Dogfish opens wide. It is right on top on
them.
111.


CRICKET
Oh my God, this is it!

With his last ounce of strength, Pinocchio pulls himself up
by one arm and detonates the mine.

Gulp! Beat. BOOOMMMMMM!!!!

The Dogfish EXPLODES!!

Our heroes are thrown asunder by a tidal wave!!

THE RAFT BLOWS UP.

GEPPETTO HITS THE WATER AND SINKS, UNCONSCIOUS.

BLACK.


INT. LIMBO ANTEROOM

Pinocchio pops out of the coffin.

PINOCCHIO
No!! Not NOW!!

CUT TO:


INT. LIMBO

Pinocchio stands before Death, who is setting down a HUGE
hourglass.

PINOCCHIO
Send me back, now! Please, I need
to go back to save my Papa.

DEATH
You know the rules, Pinocchio.

Long pause as Death considers Pinocchio.

DEATH (CONT’D)
All the sand must fall before you
can return.

PINOCCHIO
There’s no time! He’s dying!

DEATH
Rules are rules. And if we BREAK
them--
112.


She taps the glass of the timer with her claw, very
deliberately.

DEATH (CONT’D)
--There are dire consequences.

Pinocchio knows she is trying to tell him something but
doesn’t quite understand. He steps closer to the glass timer.

DEATH (CONT’D)
If you were to go back now- so soon-
you would become mortal.
(beat)
You might save Geppetto. But you
will die, Pinocchio. And it will be
your last life.

PINOCCHIO
I don’t care- send me back!!
(beat)
Do it!!

He looks at Death.

DEATH
Not me, wooden boy. Break the
rules. Break them. If you’re sure?

She TAPS the glass again. This time a small crack appears.

Pinocchio turns back to the timer and--

SMASHES IT! The sand scatters.

All the timers behind Death instantly burst!

A portal opens on the ground behind Pinocchio.

Death and Pinocchio bow to each other in acknowledgment.

DEATH (CONT’D)
Now, go to your father, child. And
make the most of it.

Pinocchio takes a running leap and dives through.
Genres: ["Fantasy","Adventure","Drama"]

Summary In a perilous ocean encounter, Pinocchio and his friends face the monstrous Dogfish. As the creature attacks, Pinocchio bravely devises a plan to detonate a mine, sacrificing himself to save his father and friends. After a massive explosion destroys the Dogfish, Pinocchio finds himself in limbo, pleading with Death to return. Ignoring the rules, he smashes the hourglass timer, creating a portal to dive back into the living world, determined to rescue Geppetto.
Strengths
  • Emotional depth
  • Sacrificial moment
  • Action sequences
  • Character growth
  • Tension building
Weaknesses
  • Potential for confusion in the action sequences
  • Dependence on prior knowledge of the story for full impact
Critique
  • The scene effectively escalates the action and stakes from the previous sequence, maintaining high tension with the Dogfish's pursuit and Pinocchio's heroic sacrifice. However, the rapid shift from the chaotic ocean battle to the introspective Limbo setting feels abrupt, potentially disrupting the emotional flow and making the transition less seamless for the audience. This could alienate viewers who are still processing the physical intensity before being thrust into a more philosophical dialogue.
  • Pinocchio's decision to become mortal is a pivotal moment that underscores his character growth and the theme of sacrifice, but it lacks sufficient emotional depth. The scene relies on Pinocchio's impulsive action to smash the hourglass, which, while dramatic, doesn't fully explore his internal conflict or provide a moment for reflection on his relationship with Geppetto. This makes the sacrifice feel somewhat rushed, reducing its impact in a story that has built Pinocchio's immortality as a core element.
  • The dialogue in the Limbo section, particularly with Death, is functional but somewhat expository and on-the-nose, explaining rules and consequences directly. This can come across as didactic, potentially undermining the fairy-tale mystique established earlier in the script. Death's character, with her philosophical insights, has potential for more poetic or symbolic language that could enhance the scene's thematic resonance without spelling out the moral lessons.
  • Visually, the action sequences are vivid and engaging, with strong imagery like the Dogfish's explosion and the mine detonation, which effectively convey peril and excitement. However, the underwater and internal Dogfish scenes might be confusing in terms of spatial clarity, as the rapid movements and shifts in perspective could disorient viewers. Additionally, the Limbo anteroom and Death's domain, while consistent with earlier visits, could benefit from more unique visual motifs to differentiate this instance and emphasize its growing significance.
  • The scene successfully ties into the overarching narrative of loss and redemption, with Pinocchio's choice mirroring Geppetto's grief over Carlo. Yet, it underutilizes opportunities for character interactions, such as with Spazz and Cricket, who are present but react minimally during critical moments. This limits their development and the group's dynamic, making the reunion and escape feel more isolated to Pinocchio and Geppetto rather than a collective effort.
  • Overall, the tone balances action, horror, and fantasy well, but the humor from earlier scenes (e.g., Pinocchio's lies) is absent here, leading to a more somber atmosphere that fits the climax but might benefit from lighter moments to provide contrast and prevent viewer fatigue. As the second-to-last scene before the resolution, it builds suspense effectively but could strengthen the emotional payoff by reinforcing the stakes of Pinocchio's immortality and its implications for his future.
Suggestions
  • Add a brief flashback or internal monologue for Pinocchio in Limbo to reflect on key moments with Geppetto, deepening the emotional weight of his decision to become mortal and making the sacrifice more resonant.
  • Refine the dialogue with Death to be more metaphorical and less direct, such as using symbolic imagery related to sand and time to convey the consequences, aligning better with the story's fairy-tale style and enhancing thematic depth.
  • Incorporate clearer visual cues during the action sequences, like wider shots to establish the Dogfish's scale and Pinocchio's position relative to the mine, ensuring the choreography is easy to follow and heightening the suspense without confusion.
  • Expand the roles of Spazz and Cricket during the ocean escape by giving them small, heroic actions or reactions that emphasize the group's teamwork, such as Cricket providing strategic advice or Spazz showing protective instincts, to strengthen character arcs and group dynamics.
  • Slow down the pace slightly in the Limbo scene to build tension around Pinocchio's choice, perhaps by adding a moment of hesitation or a visual representation of the 'dire consequences' Death mentions, making the rule-breaking more dramatic and impactful.
  • Integrate subtle nods to earlier themes, like the pine cone or Carlo's memory, to create a sense of continuity and reinforce how Pinocchio's journey has led to this sacrificial act, ensuring the scene feels like a natural culmination of the narrative.



Scene 38 - Resurrection on the Shore
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
EXT. OCEAN - DAY

Pinocchio shoots out of the water. He is missing an arm and
part of his leg-- now just stumps.

He falls back in, then rises to the surface and GASPS for
breath! He’s alive! He has a chance to save Geppetto!
113.


PINOCCHIO
Papa!

His missing limbs make it hard for him to swim, but he
reaches Geppetto and gets him on his back. With ALL HIS MIGHT
he heads towards the shore, struggling... choking...

PINOCCHIO (CONT’D)
Papa...

He pushes Geppetto to shore.

We do not see Pinocchio.


EXT. BEACH - DAY

Spazzatura drags himself out of the ocean. The beach is
covered in MINES from the ocean. The ocean is now pristine.

The Dogfish is nowhere in sight.

Spazz is utterly exhausted but RELIEVED. He made it! Land!

Something wriggles in Spazz’s mouth. He coughs up: Cricket!

CRICKET
We- we made it! Hahaha I can’t
believe it!

GEPPETTO (O.S.)
*COUGH!* *COUGH!*

Cricket and Spazzatura look over:

Geppetto and Pinocchio have washed up on the beach.

Geppetto rises and spits up ocean water.

Pinocchio does not. PINOCCHIO IS INERT.

Geppetto rushes to Pinocchio.

GEPPETTO (CONT’D)
Pinocchio! My boy, my...boy.

Geppetto kneels over Pinocchio’s limp, destroyed body and
raises his head out of the water. His eyes are lifeless dots.

GEPPETTO (CONT’D)
Wake up, Pinocchio! Like last time!
Get up! You’re fine! You- you-

Spazz and Cricket rush to Geppetto. When they see, they know:
114.


Pinocchio is dead. His body moves gently with the tide.

Tears in his eyes, Geppetto desperately tries to reanimate
Pinocchio.

GEPPETTO (CONT’D)
You are here, my dear son, can’t
you see me? You’re-- you’re alive,
you’re so free, I need you...my
son.

Geppetto weeps.

The Wood Sprite appears beside them.

WOOD SPRITE
Master Geppetto...I only wished to
bring you joy.

Geppetto looks to see the Wood Sprite, too grief-stricken to
be amazed by the sight of her.

GEPPETTO
And you DID. You DID bring me joy--
(embracing Pinocchio)
--such terrible, terrible joy.
Please! Bring him back to me!

WOOD SPRITE
To save you, he became a real boy.
And real boys... don’t come back.

GEPPETTO
I know that... I know, but...

Then the Cricket stands up, FURIOUS.

CRICKET
It’s not FAIR! In this world you
get what you give, remember?? And
this boy gave-- why, he gave
everything he could!

The Wood Sprite looks at them both. Considers.

CRICKET (CONT’D)
You said if I should perform my
duties and make Pinocchio a good
boy- guide him into doing what is
right, you would concede me one
wish!
115.


WOOD SPRITE
I did. And did you accomplish this
task?

CRICKET
OKAY! Fine! So maybe I didn’t do so
great. Maybe I messed up a little-
or a lot- but- Well, I tried my
best and that’s the best anyone can
do! PINOCCHIO taught me that! I
mean, I taught it to him and then
he taught it straight back at me!
And- You know why? Because- because
he was GOOD!

Everyone is touched by the Cricket’s words.

The Wood Sprite nods.

WOOD SPRITE
Well then, noble Cricket: Choose
wisely...

CRICKET
Well, gosh darn it!! I wish him
back to life!

The Wood Sprite places her hands on Pinocchio. He begins to
glow.

WOOD SPRITE
Very well then. Little wooden boy
made of pine- may you rise with the
sun and wander the earth- be his
son- fill his days with light. So
he’ll never be alone.

GEPPETTO
PINOCCHIO- my child- I was trying
to make you someone you were not.
So- don’t be Carlo, or anyone else!
Be exactly who you are! I- I love
you exactly as you are...

And so, Pinocchio awakes.

PINOCCHIO
Then I will be Pinocchio! And you
will be my Papa! Will that do?

GEPPETTO
That will do.

The Wood Sprite fades away.
116.


They all begin to laugh and celebrate.

The Cricket watches, feeling a little emotional himself.

CRICKET
Oh- life is such a wonderful gift!
Genres: ["Fantasy","Drama"]

Summary In a climactic scene, a severely injured Pinocchio emerges from the ocean and saves Geppetto, who is washed ashore. As Geppetto desperately pleads for Pinocchio to wake up, the Wood Sprite initially refuses to revive him. However, Cricket passionately argues for Pinocchio's goodness and self-sacrifice, leading the Wood Sprite to grant the wish. Pinocchio is revived, and Geppetto joyfully accepts him, solidifying their father-son bond, while the group celebrates their reunion as the Wood Sprite fades away.
Strengths
  • Emotional depth
  • Resonant themes of love and acceptance
  • Character development
  • Impactful dialogue
Weaknesses
  • Potential for sentimentality
  • Reliance on emotional manipulation
Critique
  • The scene effectively delivers a climactic emotional resolution, tying together themes of loss, redemption, and unconditional love that have been built throughout the script. Pinocchio's revival serves as a poignant payoff to his journey of self-sacrifice and growth, and the dialogue between Geppetto and Pinocchio captures a heartfelt father-son bond, making it relatable and moving for the audience. However, the rapid shift from Pinocchio's apparent death to his revival might feel abrupt, potentially undermining the tension established in previous scenes where death is portrayed as a significant consequence, even for an immortal character like Pinocchio. This could dilute the stakes and make the moment less impactful if not handled with careful pacing.
  • Cricket's furious outburst and use of his wish is a strong character moment that highlights his development from a detached observer to a invested guardian, but it risks feeling somewhat contrived if his relationship with Pinocchio hasn't been sufficiently emphasized earlier in the story. The Wood Sprite's intervention, while consistent with her earlier role, borders on deus ex machina, as it resolves the conflict too conveniently without Pinocchio actively earning his revival through his actions. This could make the scene less satisfying for viewers who expect character agency over magical intervention.
  • Visually, the scene is vivid and cinematic, with elements like the beach covered in mines, the inert Pinocchio moving with the tide, and the glowing revival creating a stark contrast between despair and hope. However, the description of Pinocchio's injuries (missing limbs) is graphic but not fully utilized to heighten emotional stakes; for instance, showing Geppetto's reaction to these specific wounds could deepen the grief and make the acceptance more profound. Additionally, the tone shifts quickly from intense action to sentimental resolution, which might not allow enough time for the audience to process the emotions, potentially leading to a rushed or overly saccharine feel.
  • Dialogue strengths include authentic expressions of grief and love, such as Geppetto's pleas and Pinocchio's awakening line, which reinforce their bond. That said, some lines, like 'I love you exactly as you are,' verge on cliché and could benefit from more originality to avoid predictability. The Wood Sprite's speech feels expository, explaining themes rather than showing them, which might pull viewers out of the moment. Overall, while the scene provides a cathartic release, it could better balance action, emotion, and character development to ensure the resolution feels earned and not overly reliant on fantasy elements.
  • In the context of the entire script, this scene as Scene 38 out of 39 successfully sets up the denouement in Scene 39, but it might not fully resolve all lingering conflicts or character arcs. For example, Spazzatura's role is supportive but underdeveloped here, making his presence feel ancillary rather than integral. The celebration at the end is uplifting, but it contrasts sharply with the darker tones of the story, and without a smoother transition, it could feel tonally inconsistent. Readers and viewers might appreciate more subtle foreshadowing or callbacks to earlier scenes to make this climax more cohesive with the narrative.
Suggestions
  • Extend the moment of Pinocchio's apparent death by adding a brief pause or flashback sequence showing key moments from his journey, allowing the audience to reflect on his growth and heighten the emotional impact before the revival.
  • Refine Cricket's dialogue to make his wish more personal and tied to his own arc; for instance, have him reference specific instances where he guided Pinocchio, making the argument for revival feel more earned and less impulsive.
  • Incorporate more visual metaphors during the revival, such as Pinocchio's missing limbs regenerating slowly with the Wood Sprite's glow, to symbolize his transformation and add a layer of wonder without relying solely on dialogue.
  • Rewrite potentially clichéd lines of dialogue to be more unique and character-specific; for example, change Geppetto's acceptance speech to include references to shared experiences, like their adventures inside the Dogfish, to ground it in the story's events.
  • Adjust the pacing by intercutting between the characters' reactions during the revival process, giving more screen time to Spazzatura and Cricket to show their emotional investment, ensuring all characters contribute to the resolution and avoiding a focus solely on Geppetto and Pinocchio.
  • Strengthen thematic consistency by having the Wood Sprite's intervention tied more explicitly to earlier rules about Pinocchio's borrowed soul, perhaps through a subtle reminder in her dialogue, to reinforce the story's mythology without contradicting established elements.
  • Consider adding sensory details, such as the sound of waves or the feel of sand, to immerse the audience more deeply in the beach setting, enhancing the contrast between the chaotic ocean escape and the peaceful resolution on shore.



Scene 39 - A Bittersweet Farewell
  • Overall: 9.2
  • Concept: 9
  • Plot: 9
  • Characters: 9
  • Dialogue: 9
INT. GEPPETTO WORKSHOP

Series of shots of Pinocchio, Geppetto, Spazz and Sebastian
living together in the house.

- Spazz pushes Geppetto in a wheelchair. Pinocchio reads to
them by the fire.

- The Cricket working on his book.

-Spazz and the Cricket play chess.

CRICKET
Checkmate.

- Teaching Pinocchio how to make puppets. They work together.

CRICKET (V.O.)
And so it was... That we lived our
lives. We never saw the Wood Sprite
again. Geppetto aged- Pinocchio
didn’t- And in time Geppetto
left...

- Pinocchio tucks Geppetto into bed. Geppetto FADES.
Pinocchio is alone.


INT. GEPPETTO WORKSHOP - DAY

CRICKET (V.O.)
One winter morning Pinocchio found
me by the window.

Pinocchio and Spazz walk past the window and see... Sebastian
in a dead, but peaceful pose on the windowsill.

CRICKET (V.O.)
I wasn’t moving anymore, so he put
me in a matchbox and he carries me
still with him. Right in his heart.


EXT. HILL BESIDE PINE FOREST

PULL OUT to reveal: A little matchbox is in his heart.
117.


Pinocchio and an old Spazzatura with a cane walk up the hill.

As they go, Spazz FADES AWAY as well. A third grave appears
at the top of the hill. It reads:

“SPAZZATURA - Star of the Stage”

Pinocchio places flowers at each of the graves on the hill.

Pinocchio tenderly touches Geppetto’s gravestone and heads
off into the sunset.

CRICKET
He ventured into the world. And the
world, I believe, embraced him
back. I’ve not heard of him in
quite awhile... Will he eventually
die? I think so-
(beat)
And maybe that makes him a real
boy. What happens, happens.
(beat)
And then we are gone...


INT. LIMBO ANTEROOM

RABBIT 4
Are you gonna keep yappin’ or are
you gonna play?

CAMERA pulls back to reveal Cricket is there, playing cards
with the Black Rabbits.

CRICKET
Do you mind? I was recounting my
life...

RABBIT 4
It was a good life!

RABBIT 3
Ahh, good enough.

He looks at CAMERA and winks!

CRICKET
Hit it, boys!

The Rabbits look around, confused. Cricket breaks into song.
Credits roll over song.
118.


CRICKET (SONG) (CONT’D)
My dear father loved to say:
Hop to the top of a day
The drops are easy to swallow.
My dear father loved to say:
Mop your tears and mend your
sorrows
To not drown your soul wishing for
better tomorrows.
You want to think bright,
You want to think right.
A star falling down, down, down
Doesn’t break the night.
You want to think bright
Whatever you do,
Shadows brings you down, down, down
Dimming all the light
As you try to climb.
For life has a funny way of going
‘round and ‘round
On a ride it goes, one day side to
side, one day upside down,
Down, down.

You can make it right,
Well worth a good fight
And if some days have downs and
lows
Open your arms to better tomorrows
A floating tune is in the air
(whistling)
The simple things you care to share
(whistling)
A trace of light, a flock of
sparrows,
Anything high you dare to follow
Open your arms to better tomorrows.
Tomorrows.
You want to think bright,
You want to think right
To let your heart sing, sing, sing
On a summer night.
You want to think bright
Whatever you do.
When the strings go zing, zing,
zing
Fly high with the band
Just get up and swing
(whistling)
You can make it right,
Well worth a good fight
And if some days have downs and
lows
Open your arms to better tomorrows
(MORE)
119.
CRICKET (SONG) (CONT'D)
Watercolors in May, painting a
purple sky
A pen, a line, a river.
Strokes on a mandolin playing a
gentle sigh,
These are the simple things that
matter.
You want to think bright,
You want to think right.
And let your heart sing, sing, sing
On a summer night.
You want to think bright
Whatever you do.
Teeny bells go ding, ding, ding
Laughing in the wind
A kite on a string
For life has a funny way of going
‘round and ‘round
On a ride it goes, one day side to
side, one day upside down
Down, down.
And you make it right,
And your heart is bright.
So let the world know how it goes:
Open your arms to better
Open your arms to better tomorrows.

BLACK.
Genres: ["Drama","Fantasy"]

Summary In Geppetto's workshop, Pinocchio, Geppetto, Spazz, and the Cricket share joyful moments until the inevitable passage of time leads to Geppetto's and Spazz's deaths. Pinocchio mourns their loss, placing flowers at their graves, symbolizing his journey through grief and acceptance. The scene transitions to a limbo anteroom where the Cricket engages in light-hearted banter with Black Rabbits before singing a reflective song about embracing life's challenges, concluding with a sense of hope as the credits roll.
Strengths
  • Emotional depth
  • Character development
  • Closure
Weaknesses
  • Lack of external conflict
  • Slow pacing in some parts
Critique
  • The scene effectively serves as a poignant epilogue, providing emotional closure to the story's themes of loss, immortality, and acceptance. It successfully bookends the narrative by revisiting key elements like the workshop and the hill from earlier scenes, creating a sense of cyclicality that reinforces Pinocchio's journey from creation to self-discovery. However, the heavy reliance on Cricket's voice-over narration risks making the scene feel overly expository, as it tells the audience about the characters' fates rather than allowing visual and emotional cues to convey the passage of time and grief, which could diminish the impact for viewers who prefer subtler storytelling.
  • The montage structure is well-suited for compressing time and showing the evolution of relationships, but it can feel rushed and sentimental in parts, particularly with the fade-outs of Geppetto and Spazzatura. These transitions, while elegant, lack visceral emotional depth; for instance, Geppetto's death is handled abstractly, missing an opportunity to explore Pinocchio's unchanging nature in a more profound, character-driven way that could heighten the tragedy and make the audience feel the weight of his immortality more acutely.
  • The inclusion of the Limbo anteroom at the end is a clever callback to earlier supernatural elements, adding a layer of whimsy and tying into the film's fantastical tone. However, this shift might confuse some viewers or feel disjointed, as it transitions abruptly from a heartfelt, grounded conclusion to a meta, card-playing interlude with the Black Rabbits. This could undermine the emotional resonance built in the preceding moments, making the ending seem lighter or less serious than the story's themes of mortality deserve.
  • Cricket's song during the credits is a charming and uplifting way to end the film, emphasizing themes of optimism and resilience, but the lyrics occasionally veer into generic positivity that doesn't fully integrate with the story's darker undertones. For example, lines like 'Open your arms to better tomorrows' are inspirational but might not deeply connect to Pinocchio's specific experiences of loss and growth, potentially leaving the audience with a feel-good message that feels somewhat detached from the narrative's exploration of grief and acceptance.
  • Overall, the scene achieves a satisfying resolution to character arcs, particularly in showing Pinocchio's acceptance of his unique existence and his ventures into the world. Yet, it could benefit from more varied pacing and visual innovation to avoid clichés associated with montage endings, such as the sunset walk, which, while symbolic, might come across as overly familiar and less original in a story that otherwise blends fantasy with emotional depth.
Suggestions
  • To reduce the expository nature of the voice-over, incorporate more silent, visually driven moments that show the characters aging and interacting, such as close-ups of Geppetto's hands trembling or Pinocchio's unchanging expression, allowing the audience to infer the passage of time and emotional states without narration.
  • Enhance the emotional impact of the death scenes by adding specific, intimate details, like Pinocchio hesitating before tucking Geppetto in or a flashback insert of a happy memory, to make the fade-outs feel more personal and less abrupt, thereby deepening the audience's connection to the characters' farewells.
  • Smooth the transition to the Limbo anteroom by foreshadowing it earlier in the scene or using a subtle visual cue, such as a fade to black or a dream-like dissolve, to maintain narrative cohesion and prevent the shift from feeling tacked on; this would help reinforce the film's cyclical structure without disrupting the emotional flow.
  • Refine the song lyrics to better echo the story's themes by incorporating references to key elements like Pinocchio's nose, the pine tree, or his relationships, making the credit sequence feel more integrated and personalized, while ensuring the music builds gradually to avoid an abrupt start.
  • Experiment with pacing by extending certain shots in the montage, such as the chess game or puppet-making, to allow for quieter, character-revealing moments, and consider adding a final visual symbol, like Pinocchio planting a new pine cone, to emphasize growth and hope without relying on voice-over, making the ending more visually dynamic and memorable.



Characters in the screenplay, and their arcs:

geppetto

Geppetto is a deeply emotional and multifaceted character, portrayed as a loving and devoted father figure who experiences profound grief and joy throughout the story. He is characterized by his craftsmanship, musical talent, and unwavering love for his son, Carlo, whose loss profoundly affects him. Geppetto embodies warmth, wisdom, and patience, often using gentle, reflective, and poetic language to convey his affection and guidance. His speaking style varies from gentle and whimsical to firm and authoritative, reflecting his protective instincts and emotional turmoil as he navigates the challenges of raising Pinocchio, a sentient puppet. Geppetto's character arc showcases his journey from sorrow and desperation to acceptance and understanding, as he learns to embrace Pinocchio for who he truly is, ultimately highlighting the strength of their bond and the depth of his paternal love.



carlo

Carlo is a joyful and curious young boy, brimming with energy and a sense of wonder. His playful nature and innocence shine through in his interactions with his father, Geppetto, with whom he shares a close and affectionate bond characterized by trust and mutual respect. Carlo's eagerness to learn and explore the world around him is evident in his enthusiastic and imaginative speaking style, which is filled with admiration for Geppetto. His childlike wonder and genuine affection for his father highlight the light he brings into Geppetto's life, contrasting sharply with the sorrow that follows his absence. Carlo embodies the essence of youthful joy and curiosity, making him a beacon of hope and love in the narrative.



pinocchio

Pinocchio is a newly awakened puppet who embodies a complex blend of innocence, curiosity, and a yearning for acceptance. Initially characterized by childlike wonder and excitement, he navigates the world with a playful and energetic speaking style, often repeating phrases and expressing awe at his surroundings. As he evolves, his character deepens, showcasing a mix of assertiveness and vulnerability. He grapples with the challenges of identity, societal expectations, and the consequences of his actions. His speaking style transitions from whimsical and enthusiastic to more direct and emotional, reflecting his internal struggles and growth. Throughout his journey, Pinocchio exhibits resilience, bravery, and a profound love for his father, Geppetto, ultimately transforming from a naive puppet into a mature individual who understands the complexities of life and relationships.



spazzatura

Spazzatura is a complex and multifaceted monkey character who evolves throughout the screenplay. Initially introduced as a mysterious observer, he adds intrigue to the interactions between Geppetto and Pinocchio. As the story progresses, he becomes a playful and mischievous companion to Count Volpe, communicating through expressive gestures that enhance the whimsical tone of the scenes. However, his character takes a darker turn as he exhibits jealousy and resentment towards Pinocchio, reflecting his internal conflict as a loyal yet mistreated assistant to Volpe. This tension culminates in a significant transformation where Spazzatura chooses to save Pinocchio from danger, showcasing his inner strength and moral compass. By the end of the screenplay, he embodies a sense of nostalgia and reflection, symbolizing the passage of time and the acceptance of life's changes, with dialogue that carries a hint of melancholy and wisdom gained from his journey. His speaking style evolves from playful and clumsy to hesitant yet determined, ultimately revealing a character who grapples with loyalty, jealousy, and redemption.



count volpe

Count Volpe is an elegant and sleek trickster, embodying both charisma and menace. He is a manipulative and cunning character, driven by ambition and a desire to regain his past glory. Volpe sees potential in Pinocchio as a 'living puppet' to revive his carnival's fortunes, showcasing his opportunistic nature. His deceptive charm lures Pinocchio with promises of fame and adventure, creating a power struggle that highlights the contrast between Volpe's grandiose ambitions and Pinocchio's innocence. Volpe's speaking style is smooth, persuasive, and authoritative, often laced with a hint of arrogance and malice. He uses flattery and intimidation to control others, reflecting his dual persona as both a showman and a schemer. His interactions with Geppetto and Spazzatura reveal his ruthless nature and lack of empathy, emphasizing his role as a menacing antagonist who seeks dominance and control over the puppet show.



candlewick

Candlewick is a complex character who embodies the struggle between loyalty and individuality. Initially, he is a loyal follower of the Podestà, echoing his sentiments and contributing to the tension in various scenes. However, beneath this exterior lies a conflicted individual eager to prove his courage. His interactions with Pinocchio reveal his internal struggles, as he grapples with a desire for acceptance and validation. Candlewick's speaking style is confident and assertive, reflecting his competitive nature, but it also shows layers of vulnerability as he challenges Pinocchio and ultimately forms a bond of friendship with him. Over time, his tone evolves from hesitant and submissive to one of defiance and strength, particularly as he confronts authority figures like the Podestà. This evolution highlights his growth from a fearful follower to a courageous individual who stands up for his beliefs.



CharacterArcCritiqueSuggestions
geppetto Geppetto begins as a sorrowful and grieving father, haunted by the loss of his son Carlo. His initial interactions with Pinocchio are filled with a mix of fear, disbelief, and a desperate longing for connection. As the story progresses, Geppetto grapples with the chaotic behavior of Pinocchio, feeling overwhelmed yet protective. His character evolves as he confronts his own fears and desires, ultimately realizing the importance of acceptance and unconditional love. By the end of the screenplay, Geppetto transforms into a wise and accepting father figure, embracing Pinocchio's uniqueness and celebrating their bond, which signifies his emotional growth and resilience. While Geppetto's character arc is rich and emotionally resonant, it could benefit from more distinct turning points that clearly illustrate his transformation. The screenplay may present moments where Geppetto's internal conflicts are not fully explored, leading to a somewhat abrupt transition from grief to acceptance. Additionally, the emotional stakes could be heightened by incorporating more interactions with other characters that challenge Geppetto's beliefs and force him to confront his fears more directly. To improve Geppetto's character arc, consider adding specific scenes that highlight his internal struggles and the consequences of his decisions. For example, introducing a moment where Geppetto must choose between his desire to control Pinocchio's behavior and allowing him the freedom to grow could create a pivotal turning point. Additionally, incorporating dialogue with other characters that challenge his views on fatherhood and loss could deepen his emotional journey. Finally, showcasing more moments of vulnerability and connection with Pinocchio throughout the screenplay would enhance the audience's understanding of Geppetto's transformation and the strength of their bond.
carlo Carlo begins as a bright and enthusiastic boy, full of curiosity and joy, deeply connected to his father, Geppetto. His journey is marked by a tragic absence that forces Geppetto to confront his grief and loneliness. Throughout the screenplay, Carlo's spirit remains a guiding light for Geppetto, symbolizing the innocence and joy of childhood. As Geppetto navigates his sorrow, he learns to cherish the memories of Carlo, ultimately finding a way to honor his son's legacy and embrace life again. Carlo's arc, while brief, serves as a catalyst for Geppetto's transformation from despair to hope. While Carlo's character is vibrant and serves as a crucial emotional anchor for Geppetto, his arc is somewhat static due to the nature of his absence. The screenplay could benefit from exploring Carlo's impact on Geppetto in more depth, perhaps through flashbacks or dream sequences that allow Carlo to impart wisdom or encouragement to his father. This would not only enrich Carlo's character but also provide a more dynamic interaction between the two, enhancing the emotional stakes of Geppetto's journey. To improve Carlo's character arc, consider incorporating scenes that showcase his influence on Geppetto even after his absence. This could include imaginative sequences where Carlo appears in Geppetto's memories, offering guidance or reminding him of the joy of life. Additionally, exploring Carlo's dreams or aspirations could add depth to his character, making his loss feel even more poignant. By giving Carlo a more active role in Geppetto's emotional journey, the screenplay can create a more compelling narrative that resonates with the audience.
pinocchio Pinocchio's character arc begins with his awakening as a puppet filled with innocent curiosity and excitement. He embarks on a journey of self-discovery, facing temptations and challenges that test his values and desires. Initially torn between the allure of freedom and the responsibilities of being Geppetto's son, he experiences internal conflicts that lead to moments of vulnerability and growth. As he encounters manipulative forces and grapples with the consequences of his actions, he learns the importance of loyalty, sacrifice, and love. By the end of the screenplay, Pinocchio emerges as a brave and selfless individual, willing to make sacrifices for those he loves, ultimately achieving his dream of becoming a real boy, symbolizing his acceptance of his true self and the complexities of human emotions. While Pinocchio's character arc is rich and multifaceted, it could benefit from a clearer progression of his internal conflicts and resolutions. The transitions between his stages of innocence, curiosity, and maturity may feel abrupt without sufficient exploration of the emotional stakes involved. Additionally, some moments of growth could be more explicitly tied to his relationships with other characters, particularly Geppetto and Count Volpe, to enhance the emotional impact of his journey. To improve Pinocchio's character arc, consider incorporating more scenes that highlight his relationships and the lessons he learns from them. For instance, moments of mentorship or guidance from Geppetto could reinforce his growth and the importance of familial bonds. Additionally, introducing more tangible consequences for his actions could deepen his internal struggles, making his eventual transformation more impactful. Finally, allowing for moments of reflection where Pinocchio contemplates his choices and their implications could add depth to his character development.
spazzatura Spazzatura's character arc begins with him as a mysterious observer, transitioning into a playful assistant to Count Volpe, where he initially revels in the chaos of their interactions. As jealousy towards Pinocchio grows, he becomes resentful and conflicted, caught between his loyalty to Volpe and his own desires. This internal struggle leads to a pivotal moment where he chooses to act decisively, saving Pinocchio from a fire, which marks his transformation from a passive character to one who takes a stand for what is right. By the end, Spazzatura emerges as a wiser character, reflecting on his experiences and the changes in his life, symbolizing growth and the acceptance of his past. While Spazzatura's character arc is compelling, it could benefit from clearer motivations and a more gradual development of his internal conflict. The transition from a playful assistant to a conflicted character and finally to a heroic figure feels somewhat abrupt. Additionally, his jealousy could be explored in more depth to create a stronger emotional connection with the audience. The final transformation, while impactful, may lack sufficient buildup to resonate fully with viewers. To improve Spazzatura's character arc, consider adding scenes that delve deeper into his backstory, providing context for his jealousy and loyalty. Incorporating moments where he reflects on his relationship with Volpe and Pinocchio could enhance the emotional stakes. Gradually increasing the tension between his loyalty to Volpe and his admiration for Pinocchio would create a more nuanced conflict. Additionally, allowing Spazzatura to have moments of doubt or hesitation before his decisive action could make his eventual bravery more impactful. Finally, ensuring that his final reflections tie back to earlier themes in the screenplay would create a more cohesive character journey.
count volpe Count Volpe begins as a charismatic and manipulative figure, using his charm to entice Pinocchio into his world. As the story progresses, his ambition and greed lead him to increasingly ruthless actions, showcasing his descent into villainy. However, a turning point occurs when he faces the consequences of his manipulations, leading to a moment of self-reflection. Ultimately, Volpe's arc culminates in a confrontation where he must choose between his desire for power and the realization of the harm he has caused. This choice can lead to either his redemption or his downfall, depending on how he responds to the impact of his actions on Pinocchio and others. Count Volpe's character arc is compelling in its exploration of ambition and manipulation. However, it risks becoming one-dimensional if he remains solely a villain without any moments of vulnerability or complexity. His motivations are clear, but the lack of depth in his emotional journey may make it difficult for the audience to connect with him beyond his role as an antagonist. Additionally, the arc could benefit from a more gradual development of his character, allowing for moments of doubt or conflict that reveal his internal struggles. To improve Count Volpe's character arc, consider incorporating moments that showcase his backstory and the reasons behind his ambition. Perhaps he once experienced a significant failure that drives his need for control and success. Introducing a relationship or a past connection with another character could add depth and complexity to his motivations. Additionally, allowing for moments of hesitation or regret in his decision-making process could humanize him, making his eventual choices more impactful. Finally, exploring the consequences of his actions on those around him could lead to a more nuanced resolution, whether it be redemption or a tragic downfall.
candlewick Candlewick begins as a loyal follower of the Podestà, driven by a desire for approval and acceptance. Throughout the screenplay, he faces internal conflicts that challenge his loyalty and force him to confront his fears. As he interacts with Pinocchio, he starts to question the authority he once blindly followed. His journey culminates in a moment of defiance where he stands up against the Podestà, showcasing his growth into a character who values friendship and personal conviction over blind loyalty. By the end of the screenplay, Candlewick emerges as a courageous individual who has learned to embrace his own beliefs and the importance of standing up for what is right. Candlewick's character arc is compelling, showcasing a significant transformation from a follower to an independent thinker. However, the transition could benefit from more gradual development. At times, his motivations may seem inconsistent, particularly in how quickly he shifts from loyalty to defiance. Additionally, while his bond with Pinocchio is central to his growth, it could be further explored to deepen their friendship and the impact it has on Candlewick's choices. To improve Candlewick's character arc, consider adding more scenes that illustrate his internal conflict and the moments that lead to his change in perspective. Incorporating flashbacks or dialogues that reveal his past experiences with authority could provide context for his initial loyalty. Additionally, enhancing the emotional stakes in his relationship with Pinocchio could create a stronger foundation for his eventual defiance. Finally, ensure that his transformation feels earned by allowing him to face smaller challenges that build his confidence before confronting the Podestà.
Top Correlations and patterns found in the scenes:

Pattern Explanation
High Emotional Impact Fuels Strong Story ProgressionScenes with a perfect 'Emotional Impact' score (10) consistently receive high grades across 'Concept', 'Plot', 'Characters', 'Dialogue', and 'Overall Grade'. Furthermore, these high-impact emotional scenes often correlate with scenes that 'Move story forward' (average 9-10), indicating that potent emotional moments are crucial drivers of the narrative in this screenplay. The author excels at using emotion to propel the plot.
Whimsical Tones Lead to Variable Conflict and Story MovementWhile 'Whimsical' is a frequently used tone, its presence doesn't automatically guarantee high scores in 'Conflict' or 'Move story forward'. Many whimsical scenes have moderate scores in these areas, suggesting that the whimsical nature can sometimes dilute immediate plot momentum or the intensity of conflict. However, when 'Whimsical' is paired with other tones like 'Menacing', 'Tense', or 'Heartwarming', it can create more dynamic and effective scenes (e.g., Scenes 11, 14, 15, 16).
Nostalgic and Heartwarming Tones are Consistently RewardedScenes tagged with 'Nostalgic' and 'Heartwarming' consistently receive high scores across almost all categories, especially 'Emotional Impact' (often 10), 'Overall Grade', and the core story elements like 'Concept', 'Plot', and 'Characters'. This suggests the author has a strong command of evoking these feelings and that they resonate deeply with the audience/evaluator, creating deeply satisfying scenes.
Character Change is Tied to High Emotional and Conflict ScenesThe scenes with the highest scores for 'Character Changes' (9-10) are predominantly those also marked with high 'Emotional Impact' and 'Conflict' scores. This indicates that significant character development in this screenplay is most effectively achieved when characters are put under emotional duress or face significant conflict, rather than through quieter, more reflective moments.
Dialogue is a Consistent Strength, but Not Always the Primary Driver of High StakesThe 'Dialogue' score is remarkably high and consistent across the screenplay (mostly 9s and 8s). However, a high dialogue score doesn't always directly translate to high 'High stakes' scores. While dialogue is excellent, the truly high-stakes moments (average 9-10) are often driven by a combination of 'Emotional Impact', 'Conflict', and the specific narrative context, rather than solely by witty or sharp dialogue.
The Shift from Lighter Tones to Intense Emotional/Tragic Tones Can Be PowerfulThere's a discernible pattern where the narrative builds through lighter, more whimsical, or nostalgic scenes, and then delivers powerful emotional punches in scenes tagged as 'Heartbreaking', 'Tragic', 'Emotional', or 'Intense'. This contrast seems to be a key strength, as these intense emotional scenes (e.g., Scenes 4, 19, 33, 34, 37) are highly rated and often move the story forward significantly.
Lower Scores in 'Move Story Forward' Often Coincide with Lower 'Conflict' and 'High Stakes'Scenes with lower scores in 'Move story forward' (e.g., Scenes 2, 3, 9, 13, 30, 39) frequently also exhibit lower scores in 'Conflict' and 'High stakes'. This suggests that when the plot isn't actively driven by pressing issues or tangible danger, the narrative momentum can slow. This is particularly evident in scenes that are heavily focused on lighter tones or reflection without an immediate narrative imperative.
A Blend of Tones is Often More Effective Than a Single ToneThe most successful and highly-rated scenes often feature a combination of tones (e.g., 'Whimsical' and 'Menacing', 'Heartwarming' and 'Tender', 'Emotional' and 'Tragic'). This indicates that complexity in tone can lead to richer, more impactful scenes, preventing them from becoming one-dimensional. The author seems adept at layering emotional and atmospheric qualities.
The End-Game is Characterized by High Emotional Stakes and Intense ConflictThe latter half of the screenplay (from scene 20 onwards) features a high concentration of scenes with 'Emotional Impact', 'Conflict', and 'High stakes' scoring at their peak. This suggests a deliberate build towards a climax where emotional stakes are paramount and the narrative is intensely driven. This is a strong indicator of a well-structured narrative arc with a powerful resolution.
Philosophical and Reflective Tones Can Lead to a Dip in Story Momentum if Not Carefully BalancedScenes with predominantly 'Philosophical' or 'Reflective' tones (e.g., Scenes 21, 30, 39) tend to have slightly lower scores in 'Move story forward', 'Conflict', and 'High stakes' compared to action-driven or intensely emotional scenes. While valuable for thematic depth, these moments might need to be carefully integrated with plot progression to maintain overall narrative drive.


Writer's Craft Overall Analysis

The writer demonstrates a strong aptitude for crafting emotionally resonant scenes, blending fantasy with drama, and creating vivid imagery. There's a consistent ability to evoke powerful emotions and explore complex themes. The dialogue, while often effective, can be further refined to convey even greater subtext and nuance. Character development is a strong suit, with a clear focus on internal struggles and growth. The narrative structure appears solid, with a good sense of pacing and momentum across the scenes.

Key Improvement Areas

Dialogue Nuance and Subtext
While dialogue is generally engaging and effective in conveying character emotions and driving plot, several scene analyses suggest opportunities to deepen subtext and emotional complexity. Practicing writing dialogue that implies more than it explicitly states will enhance authenticity and audience engagement.
Character Arc Depth and Complexity
The writer excels at portraying characters' internal states and emotional journeys. However, consistently pushing for more layered character motivations, internal conflicts, and surprising character turns can elevate the already strong character work.
Thematic Resonance and Exploration
Themes of identity, acceptance, loss, sacrifice, and redemption are present and effectively explored. Further deepening these themes through subtle symbolism, contrasting character viewpoints, and more explicit thematic exploration in key moments can amplify their impact.

Suggestions

Type Suggestion Rationale
Book Read 'The Anatomy of Story' by John Truby This book provides in-depth insights into character development, narrative structure, and thematic storytelling. Its principles are highly applicable to refining the already strong character work and deepening the thematic exploration evident across the screenplay.
Book Read 'Save the Cat! Writes a Novel' by Jessica Brody This book offers valuable insights into structuring compelling narratives and developing well-rounded characters. It complements the writer's existing strengths and can help in further refining plot progression and character arcs, especially in maintaining engagement throughout the entire screenplay.
Screenplay Study screenplays like 'Eternal Sunshine of the Spotless Mind' (Charlie Kaufman) and 'Pan's Labyrinth' (Guillermo del Toro) These screenplays exemplify nuanced character development, the seamless integration of fantasy with emotional stakes, and the exploration of complex themes with a unique voice. Studying their dialogue, structure, and thematic depth will directly address areas for improvement.
Video Watch masterclasses or interviews with screenwriters known for their dialogue and character work (e.g., Aaron Sorkin, Quentin Tarantino, Phoebe Waller-Bridge) Learning from experienced writers about their approaches to dialogue, subtext, and character motivations can provide practical techniques and inspire new ways to elevate the writer's own craft.
Exercise Practice writing dialogue-driven scenes with conflicting beliefs or motivations between two characters.Practice In SceneProv This exercise directly targets the improvement area of dialogue nuance and subtext. By forcing characters with opposing viewpoints to interact, the writer must find ways to convey subtext, hidden desires, and underlying conflicts, thereby sharpening their dialogue-writing skills.
Exercise Write character monologues or internal thought processes that explore a character's deepest fears, desires, and moral dilemmas.Practice In SceneProv This exercise enhances character arc depth and complexity by encouraging the writer to delve into the characters' inner worlds. It helps in understanding motivations more thoroughly, which can then be translated into more nuanced actions and dialogue.
Exercise Rewrite a scene from the screenplay, intentionally aiming to convey a specific theme or emotional message through actions and visual cues, rather than direct dialogue.Practice In SceneProv This exercise focuses on the principle of 'show, don't tell.' By relying on non-verbal communication, the writer can learn to deepen thematic resonance and emotional impact, making the storytelling more sophisticated and engaging.
Stories Similar to this one

Story Explanation
The Adventures of Pinocchio by Carlo Collodi This classic tale shares the core narrative of Pinocchio, a wooden puppet who desires to become a real boy. The themes of father-son relationships, the consequences of lying, and the journey of self-discovery are central to both stories, paralleling Geppetto's grief and Pinocchio's adventures.
Life is Beautiful (La vita è bella) This film explores the themes of loss, love, and the bond between a father and son during a tragic historical period. The emotional depth and the father's efforts to protect his son from the harsh realities of life resonate with Geppetto's relationship with Carlo and later with Pinocchio.
The Iron Giant Similar to Pinocchio, this story features a young boy who befriends a giant robot, exploring themes of friendship, sacrifice, and the desire to be accepted. The emotional journey of the characters and the exploration of what it means to be 'human' parallel Pinocchio's quest for identity.
Big Fish This film delves into the relationship between a father and son, focusing on storytelling, memory, and the impact of loss. The fantastical elements and the father's larger-than-life tales mirror the magical realism present in Pinocchio's story and Geppetto's memories of Carlo.
The Boy Who Lived (Harry Potter series) Harry Potter's journey from loss to self-discovery and the importance of familial bonds resonate with Pinocchio's narrative. Both stories involve characters who navigate their identities in the shadow of their pasts and the expectations placed upon them.
A Monster Calls This story features a young boy dealing with grief and loss, using fantastical elements to cope with his reality. The themes of loss, the relationship with a parental figure, and the journey toward acceptance are similar to Geppetto's experiences and Pinocchio's adventures.
Coco Coco explores themes of family, memory, and the importance of honoring loved ones who have passed away. The emotional depth of the father-son relationship and the journey through a fantastical world to understand one's heritage parallels Geppetto's journey with Pinocchio.
Frankenstein by Mary Shelley This novel explores the relationship between creator and creation, focusing on themes of loss, responsibility, and the quest for acceptance. Geppetto's relationship with Pinocchio and the consequences of his creation echo the dynamics present in Frankenstein.
The Little Prince by Antoine de Saint-Exupéry This story emphasizes the importance of relationships, innocence, and the journey of self-discovery. The themes of love, loss, and the quest for understanding resonate with Geppetto's experiences and Pinocchio's adventures.

Here are different Tropes found in the screenplay

Trope Trope Details Trope Explanation
The Tragic BackstoryGeppetto's grief over the loss of his son Carlo sets a tone of loss and grief throughout the screenplay.This trope involves a character having a painful past that influences their actions and motivations. An example is Batman, whose parents were murdered, driving him to become a vigilante.
The MentorCricket serves as a guide and mentor to Pinocchio, offering wisdom and advice throughout his journey.
The InnocentPinocchio embodies innocence and curiosity, often leading him into trouble due to his naivety.This trope features a character who is pure-hearted and often unaware of the darker aspects of the world. An example is Forrest Gump.
The Quest for IdentityPinocchio's journey revolves around his desire to become a real boy and understand his identity.This trope involves a character searching for their true self or purpose. An example is Simba in 'The Lion King' as he learns to embrace his identity.
The Father-Son RelationshipThe dynamic between Geppetto and Pinocchio explores themes of love, loss, and acceptance.This trope highlights the bond between a father and son, often showcasing conflict and resolution. An example is the relationship between Marlin and Nemo in 'Finding Nemo'.
The Call to AdventurePinocchio's journey begins when he comes to life and seeks to explore the world.This trope marks the moment a character is invited to embark on a journey. An example is Harry Potter receiving his letter to Hogwarts.
The Dark MomentPinocchio faces dire consequences, including death, which serves as a turning point in the story.This trope involves a critical low point for the protagonist, often leading to growth or change. An example is when Frodo is captured in 'The Lord of the Rings'.
The Magical MentorThe Wood Sprite grants Pinocchio life and serves as a magical guide.This trope features a magical being who aids the protagonist in their journey. An example is the Fairy Godmother in 'Cinderella'.
The Redemption ArcCharacters like Count Volpe and Spazzatura show moments of conflict and potential redemption.This trope involves a character seeking to atone for past wrongs. An example is Severus Snape in 'Harry Potter'.
The Power of LoveGeppetto's love for Pinocchio drives him to great lengths, including risking his life.This trope emphasizes love as a transformative and powerful force. An example is the love story in 'Titanic'.


Theme Theme Details Themee Explanation
The Transformative Power of Love and ConnectionThis theme is evident from the outset with Geppetto's deep love for his deceased son Carlo, which fuels his creation of Pinocchio. The bond between Geppetto and Pinocchio, though fraught with challenges, evolves into a profound father-son relationship. Pinocchio's capacity for love and loyalty, particularly towards Geppetto, drives many of his actions and his ultimate transformation.Love, both familial and platonic, acts as a catalyst for growth, sacrifice, and redemption. The desire for connection and belonging is a fundamental human need that shapes the characters' journeys and motivations.
Strengthening The Transformative Power of Love and Connection:
Suggestion Type How to Strengthen the Theme
Action - Scene 3, 10, 15, 22 Throughout the narrative, Pinocchio's interactions with townspeople and his reactions to societal judgment (especially in Scene 10 and 15) should be intentionally designed to showcase his innocence and inherent goodness. Even when facing fear or misunderstanding, his actions should consistently lean towards empathy and a desire to connect, subtly reinforcing the theme of love's foundational power. For instance, in Scene 3, when he greets the stray dog, this small act of kindness can be amplified by a genuine, unforced warmth that is observable by Geppetto and perhaps even a passing townsperson, planting a seed of how genuine connection transcends mere interaction.
Dialogue - Scene 13, 23, 31 In the scenes where Geppetto expresses his grief and frustration, especially when comparing Pinocchio to Carlo (Scene 13, 23), his dialogue can be subtly layered with unspoken love and fear of loss. Instead of outright blaming Pinocchio, he can express his pain through metaphors that, to Pinocchio, might seem like harsh pronouncements but are rooted in his deep love and the trauma of losing Carlo. For example, in Scene 31, Pinocchio's advice to Candlewick about fathers saying harsh things in despair should be mirrored by Geppetto's own internal struggle, perhaps shown through a brief, silent moment of reflection after such outbursts, where his facial expression conveys a profound love he cannot articulate. This reinforces that even in his most broken moments, Geppetto's love is the underlying current.
Visual - Scene 1, 2, 3, 13, 35, 38 Visually, the warmth and texture of Geppetto's workshop and their shared meals (Scene 1, 2) should be juxtaposed with the cold, sterile environments that represent isolation and fear (e.g., war scenes, Limbo). In the Dogfish escape (Scene 35), the image of the makeshift bridge made from Pinocchio's nose, with Geppetto struggling to cross, can be visually designed to highlight the inherent vulnerability and shared reliance between them. This physical act of trust and bridging a gap visually represents their growing connection. Later, in Scene 38, the moment Geppetto accepts Pinocchio 'as he is,' the visual focus should be on their shared gaze and a gentle touch, emphasizing the unconditional nature of their love and connection, visually surpassing their physical differences.
Character Arc - Scene 6, 38 The Wood Sprite's initial action of blessing Pinocchio (Scene 6) is the catalyst for life, driven by a nascent form of love or compassion. This benevolence should be echoed in the Cricket's arc. The Cricket's journey from a detached observer to a fierce advocate for Pinocchio (Scene 38) is crucial. His passionate plea to the Wood Sprite for Pinocchio's revival, reminding her of her promise and defending Pinocchio's inherent goodness, is a powerful manifestation of connection. This arc signifies that love and connection aren't just inherent but can be cultivated and fiercely defended, transforming the observer into an active participant in the protagonist's well-being.
Story Arc - Scene 26, 27, 34, 37 The narrative arc should consistently weave the theme of love and connection into moments of peril and separation. For example, in Scene 26 and 27, Pinocchio's forced performances and Geppetto's desperate search, while showcasing the separation, can be punctuated by brief, internalized moments where the characters recall their positive interactions. This reinforces that even when physically apart, the memory and desire for connection fuel their actions. When Geppetto is swallowed by the Dogfish (Scene 27) and Pinocchio later finds him (Scene 35), the reunion should not just be physical but emotionally charged, with dialogue emphasizing that their shared hope and belief in each other were the 'bait' that led them to this reunion, showcasing connection as a guiding force even in the darkest of times. Pinocchio's sacrifice of his nose bridge in Scene 35 and his willingness to detonate the mine in Scene 37, both driven by the desire to save Geppetto and others, are ultimate acts of connection rooted in love.
The Nature of Reality and HumanityThe screenplay constantly questions what it means to be 'real' or human. Pinocchio, a wooden puppet, grapples with his identity, mortality, and his place in the world. His ability to feel, love, and sacrifice ultimately challenges the conventional definition of humanity, especially in contrast to his creator, Geppetto, and other characters.This theme explores the philosophical question of what constitutes a person, suggesting that consciousness, emotion, empathy, and the capacity for love and sacrifice are more defining than physical form or biological origin.
Loss, Grief, and the Aftermath of TraumaGeppetto's overwhelming grief over the loss of his son Carlo is the initial catalyst for the story, leading to the creation of Pinocchio. Pinocchio's own multiple 'deaths' and subsequent returns also represent forms of loss and trauma. The script explores how characters cope with and are shaped by these experiences.The screenplay delves into the profound impact of loss and grief on individuals and how they navigate the emotional aftermath. It also explores the cyclical nature of life and death, and the potential for healing and rebirth.
The Corrupting Influence of Power and IdeologyThe pervasive presence of fascism and figures like Mussolini, the Podestà, and Count Volpe illustrates how power and manipulative ideologies can exploit innocence and create a climate of fear and control. Pinocchio is repeatedly targeted by those seeking to control or profit from his unique nature.This theme critiques how unchecked power, authoritarianism, and self-serving ambitions can lead to the manipulation and suffering of individuals, particularly the vulnerable, and the suppression of genuine human values.
Ambition, Greed, and Selfishness vs. Sacrifice and RedemptionCharacters like Count Volpe embody insatiable ambition and greed, exploiting Pinocchio for their own gain. In contrast, Pinocchio's journey involves learning the value of sacrifice, particularly in his willingness to risk his own existence to save Geppetto and Spazzatura.The narrative contrasts characters driven by selfish desires with those who learn the importance of selflessness and sacrifice. This theme explores the consequences of prioritizing personal gain over the well-being of others and the transformative potential of choosing the path of redemption.
The Role of Fate and Free WillPinocchio's repeated 'deaths' and returns, governed by the Wood Sprite and Death, suggest a predetermined path. However, his choices and actions, particularly his ultimate sacrifice, demonstrate agency and the power of free will to alter destiny.This theme examines the interplay between predetermined destiny and individual choice. It questions the extent to which characters are masters of their own fate or subject to external forces, and how their decisions shape their outcomes.
The Burden of Fatherhood and Parental ResponsibilityGeppetto's struggle to raise Pinocchio, his regret, and his eventual acceptance showcase the complexities of fatherhood. He grapples with his grief for Carlo and his responsibilities towards Pinocchio, at times expressing anger and despair.This theme explores the profound challenges and emotional toll of parenting, particularly in the face of loss and unconventional circumstances. It highlights the sacrifices, frustrations, and ultimate love that define the parental role.
The Meaning of Obedience and DisobediencePinocchio's constant struggle with obedience, often leading to trouble, is a recurring motif. This contrasts with the understanding that true moral growth comes from understanding and empathy, not just blind adherence to rules.The screenplay examines the nuances of obedience, suggesting that genuine growth and morality stem from understanding and inner conviction rather than simply following orders, which can sometimes be misguided or harmful.



Screenwriting Resources on Themes

Articles

Site Description
Studio Binder Movie Themes: Examples of Common Themes for Screenwriters
Coverfly Improving your Screenplay's theme
John August Writing from Theme

YouTube Videos

Title Description
Story, Plot, Genre, Theme - Screenwriting Basics Screenwriting basics - beginner video
What is theme Discussion on ways to layer theme into a screenplay.
Thematic Mistakes You're Making in Your Script Common Theme mistakes and Philosophical Conflicts
Voice Analysis
Summary: The writer's voice throughout the screenplay is a captivating blend of whimsy, profound emotional depth, and a touch of darkness, masterfully woven through poignant dialogue, evocative narrative descriptions, and deliberate scene direction. The dialogue often juxtaposes childlike innocence and playful banter with underlying themes of loss, fear, and existential questioning. Narrative descriptions are rich in sensory detail, painting vivid emotional landscapes and highlighting the internal turmoil of characters. Scene direction skillfully manipulates mood, shifting seamlessly from heartwarming intimacy to ominous tension, and from fantastical wonder to stark reality. This consistent stylistic approach creates a unique tone that is both magical and grounded, capable of evoking laughter, tears, and introspection.
Voice Contribution The writer's voice is instrumental in shaping the overall mood, themes, and depth of the screenplay. It imbues the narrative with a profound sense of wonder and enchantment, making even the most fantastical elements feel emotionally resonant. The voice directly contributes to exploring themes of love, loss, identity, and the search for belonging. By balancing lightheartedness with somber realities, the voice allows for a nuanced exploration of complex human emotions and experiences. This multifaceted approach elevates the screenplay beyond a simple fairy tale, offering a profound commentary on the human condition.
Best Representation Scene 5 - The Weight of Grief
Best Scene Explanation Scene 5 best showcases the author's unique voice due to its powerful juxtaposition of profound grief with burgeoning magical realism. The scene opens with Geppetto's raw, almost violent, expression of sorrow through chopping down the tree, a visceral manifestation of his unresolved pain. This is immediately followed by the introduction of Sebastian J. Cricket, a character that injects the narrative with a touch of the fantastical and literary. The descriptive language used to portray the storm and the falling tree, coupled with the somber mood and Geppetto's introspective struggle, perfectly encapsulates the writer's ability to blend emotional realism with the extraordinary, setting the stage for Pinocchio's fantastical journey while grounding it in deep human emotion.
Originality
  • Overall originality score: 8.5
  • Overall originality explanation: The screenplay presents a fresh and imaginative retelling of the classic 'Pinocchio' story, incorporating unique elements such as the exploration of grief, the impact of war, and the complexities of father-son relationships. The integration of fantastical elements, such as the Wood Sprite and the Dogfish, alongside historical and political themes, adds depth and originality. The character development, particularly of Geppetto and Pinocchio, showcases emotional nuances that are often overlooked in traditional adaptations, making the narrative feel both familiar and refreshingly new.
  • Most unique situations: The most unique situations in the screenplay are the exploration of Geppetto's grief and memories, the portrayal of Pinocchio's existential journey through limbo and encounters with Death, and the satirical puppet show that mocks fascist authority. Additionally, the emotional dynamics between characters, such as the relationship between Pinocchio and the Wood Sprite, and the moral dilemmas faced by Geppetto and Pinocchio in a wartime context, contribute to the screenplay's originality.
  • Overall unpredictability score: 7
  • Overall unpredictability explanation: The screenplay maintains a level of unpredictability through its incorporation of dark themes, unexpected character arcs, and the blending of humor with tragedy. The twists, such as Pinocchio's interactions with Death and the consequences of his actions, keep the audience engaged and guessing. However, certain elements remain familiar to the original tale, which may lead to some predictable outcomes. Overall, the screenplay balances traditional narrative expectations with surprising developments, resulting in a compelling and unpredictable story.
Goals and Philosophical Conflict
internal GoalsThroughout the script, Pinocchio's internal goals evolve from seeking acceptance and love from Geppetto to grappling with his own identity and moral choices amid external conflicts, culminating in a desire to protect his family and ultimately to attain a sense of belonging and humanity.
External Goals Pinocchio's external goals shift from wanting to impress Geppetto and gain approval to a broader engagement with societal expectations, ultimately culminating in defiance against oppressive figures and seeking to save his loved ones.
Philosophical Conflict The screenplay explores the conflict between freedom and autonomy versus societal control and expectation; Pinocchio seeks to define himself amidst external forces pushing him towards conformity.


Character Development Contribution: The dynamic interplay of internal and external goals facilitates Pinocchio's growth from a naive puppet into a self-aware entity, ultimately embracing the intricacies of love, loss, and redemption.

Narrative Structure Contribution: These evolving goals and conflicts create a compelling arc, enriching the narrative with emotional stakes that drive the plot through vaudeville escapades, trials, and moral quandaries, culminating in a transformative resolution.

Thematic Depth Contribution: The mixture of goals and philosophical conflicts deepens the screenplay’s themes, emphasizing the importance of choice, the nature of love and sacrifice, and the journey toward self-realization within the broader backdrop of war and social expectation.


Screenwriting Resources on Goals and Philosophical Conflict

Articles

Site Description
Creative Screenwriting How Important Is A Character’s Goal?
Studio Binder What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict

YouTube Videos

Title Description
How I Build a Story's Philosophical Conflict How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode.
Endings: The Good, the Bad, and the Insanely Great By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes
Tips for Writing Effective Character Goals By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy?
World Building
  • Physical environment: The world is depicted as a blend of stark natural beauty and cluttered, intimate domestic spaces. It's characterized by melancholic autumn hillsides with lonely pine forests, cozy Italian-esque bedrooms filled with fairy tale motifs, and picturesque towns featuring a mix of medieval hamlets and turn-of-the-century architecture. Geppetto's workshop is a central, tactile space, a 'wonderland of hand-carved toys and marionettes' that transitions from a place of creative joy to one imbued with grief and a dark, mysterious aura, filled with sharp tools and eerie craftsmanship. As the narrative progresses, the environment shifts to include oppressive fascist propaganda dominating town streets, decaying buildings, solemn churches with symbolic imperfections, and increasingly fantastical and perilous realms like a surreal limbo, dark frosty woods, and the interior of a colossal, dangerous creature. The war is a constant, encroaching threat, manifesting in distant rumblings, warplanes, bombs, and eventually leading to militaristic youth camps. The natural world, though sometimes beautiful, often reflects emotional turmoil, from snowy hills to stormy nights and the perils of the ocean.
  • Culture: The culture is deeply rooted in family bonds, craftsmanship, and a strong sense of Italian heritage, evident in fairy-tale elements, traditional music like accordion lullabies, and the reverence for religious figures and traditions. There's a pervasive sense of nostalgia for a simpler, more artisanal past, where handmade objects hold significant emotional weight. However, this is increasingly overshadowed by the pervasive influence of fascism, with propaganda, salutes, and patriotic hymns becoming commonplace, creating a stark contrast between personal affection and authoritarian control. The culture also embraces the fantastical, with magic, spirits, and sentient puppets coexisting with the mundane. Entertainment plays a significant role, from puppet shows and carnivals to traditional church services, reflecting a society that finds solace and distraction in various forms of performance and ritual.
  • Society: The society is depicted as a close-knit but hierarchical community in the early stages, with townspeople interacting openly and respectfully with each other and with authority figures like the Town Priest and the Podestà. Geppetto holds a respected position as a craftsman. However, this shifts dramatically as fascism takes hold, creating an oppressive and militaristic society where obedience to the regime is paramount. The introduction of youth camps further emphasizes this shift, training boys for war and instilling unquestioning loyalty. The narrative also explores societal structures through themes of justice (or lack thereof) as seen in the bureaucratic limbo, and the exploitation of individuals by figures like Count Volpe, who manipulate and profit from others. The concept of family remains a core societal unit, but it's tested and redefined by loss, adoption, and the demands of external forces.
  • Technology: The technological aspect of the world is minimal and largely traditional, emphasizing craftsmanship and manual labor. Geppetto's skill as a woodcarver and his use of tools are central. Whimsical, simple mechanical devices like a pig-doorbell appear. As the story progresses, the presence of warplanes, trucks, and eventually bombs introduces more destructive technology, contrasting sharply with the earlier artisanal focus. The magical elements often defy technological explanation, such as the Wood Sprite's intervention and Pinocchio's animation. The limited technological presence reinforces the nostalgic and character-driven nature of the narrative, focusing on the tangible and the emotional rather than advanced machinery.
  • Characters influence: The unique physical environment shapes characters' experiences by creating atmospheres that mirror their emotional states: the lonely hill reflects Geppetto's grief, the cozy workshop his love for Carlo, and the oppressive town squares his fear of the fascist regime. The minimal technology underscores the characters' reliance on their skills and relationships. The cultural emphasis on family and craftsmanship provides Geppetto with his motivation and identity, while Carlo's brief life becomes the catalyst for immense sorrow and the creation of Pinocchio. The societal shift towards fascism forces characters into difficult choices, compelling Pinocchio to navigate dangerous propaganda and Geppetto to fear for his son's safety. The fantastical elements directly influence Pinocchio's journey, giving him life, presenting him with moral tests, and ultimately shaping his understanding of life, death, and true humanity. The characters' actions, in turn, often interact with and highlight these world elements: Pinocchio's curiosity leads him into dangerous situations, Geppetto's grief drives him to extreme acts, and their interactions with authority figures reveal the societal pressures of the time.
  • Narrative contribution: The world elements are crucial to the narrative's progression and emotional impact. The initial setting of grief and loss establishes the poignant backstory and Geppetto's deep motivation. The charming small-town life provides a stark contrast to the later introduction of war and fascism, intensifying the sense of danger and loss. Geppetto's workshop serves as the crucible for Pinocchio's creation and his initial chaotic existence. The shift to a fascist Italy adds a significant layer of external conflict and danger, providing a backdrop for Pinocchio's moral development and his eventual confrontations with authority. The fantastical realms like Limbo and the interior of the Dogfish allow for surreal explorations of themes like life, death, and consequence. The war itself becomes a tangible threat that drives key plot points, such as Carlo's death and Pinocchio's potential conscription. The juxtaposition of whimsical carnivals and oppressive political regimes creates a rich and dynamic narrative landscape.
  • Thematic depth contribution: The world-building deeply contributes to the screenplay's thematic depth. The contrast between the natural beauty and the encroaching darkness (grief, war, fascism) highlights the fragility of joy and the resilience of the human spirit. Geppetto's workshop, as a place of creation, directly speaks to themes of love, loss, and the desire to recreate what has been lost. The magical elements, particularly Pinocchio's sentience and his encounters with Death and the Wood Sprite, allow for profound explorations of what it means to be alive, the nature of the soul, the value of mortality, and the complexities of love and sacrifice. The pervasive fascism underscores themes of conformity versus individuality, obedience versus defiance, and the dangers of unchecked power. The narrative arc, from a whimsical puppet to a hero who sacrifices himself, directly addresses themes of selflessness, redemption, and the journey to becoming 'real,' whether that means being human or simply good. The overarching themes of love, loss, the search for belonging, and the struggle for identity are all amplified by the distinct environments and societal pressures depicted.
Story Engine Analysis

central conflict

The central conflict revolves around Geppetto's grief over the loss of his son Carlo and his desire to recreate that lost bond through Pinocchio, juxtaposed with Pinocchio's struggle for identity and acceptance in a world that fears him.

primary motivations

  • Geppetto's motivation to find solace and connection after losing Carlo.
  • Pinocchio's motivation to prove himself as a real boy and gain his father's love.
  • Count Volpe's ambition to exploit Pinocchio for personal gain.

catalysts

  • The creation of Pinocchio as a means for Geppetto to cope with his loss.
  • Pinocchio's awakening and subsequent adventures that lead him away from Geppetto.
  • The war and societal pressures that force Geppetto and Pinocchio into conflict.

barriers

  • Geppetto's grief and alcoholism that cloud his judgment.
  • Societal prejudice against Pinocchio as a living puppet.
  • Count Volpe's manipulations and the dangers of war that threaten Pinocchio's safety.

themes

  • The nature of fatherhood and the bond between parent and child.
  • The quest for identity and acceptance.
  • The consequences of war and loss.

stakes

The stakes include Geppetto's emotional well-being and the potential loss of Pinocchio, who represents hope and a second chance for Geppetto, as well as Pinocchio's quest for belonging in a world that may never accept him.

uniqueness factor

The story uniquely blends elements of fantasy and realism, exploring deep emotional themes through the lens of a classic fairy tale while addressing contemporary issues such as war and societal acceptance.

audience hook

The emotional journey of Geppetto and Pinocchio, combined with the fantastical elements of Pinocchio's adventures and the moral lessons about truth and love, will keep viewers engaged.

paradoxical engine or bisociation

The paradoxical engine lies in Pinocchio's existence as a wooden puppet seeking to become a real boy, highlighting the tension between artificiality and authenticity, and the desire for love and acceptance.

paradoxical engine or bisociation 2

Another bisociation could be the contrast between the innocence of childhood represented by Pinocchio and the harsh realities of adulthood and war faced by Geppetto, creating a dynamic interplay between hope and despair.


Pass / Consider / Recommend Analysis
HR
Grok
Executive Summary
This reimagining of Pinocchio by Guillermo del Toro and Patrick McHale is a masterful dark fantasy that explores themes of grief, redemption, and the human condition, delivering a compelling narrative with strong character arcs, emotional depth, and innovative storytelling elements. While it maintains consistent themes and pacing, minor areas for improvement include repetitive motifs and unresolved side elements, but overall, it stands out for its artistic vision and emotional resonance, making it a highly engaging and recommendable script.
Strengths
  • The emotional depth in the father-son relationship between Geppetto and Pinocchio is profoundly moving, showcasing themes of grief and redemption with authentic character interactions. high ( Scene 1 (N/A) Scene 7 (N/A) Scene 39 (N/A) )
  • The dark fantasy elements and visual spectacle, such as surreal sequences and the Dogfish encounters, create a visually stunning and immersive experience. high ( Scene 18 (N/A) Scene 36 (N/A) )
  • Pinocchio's character development from naive puppet to understanding responsibility and love is well-executed, providing a satisfying arc. high ( Scene 7 (N/A) Scene 39 (N/A) )
  • Thematic consistency in exploring loss, redemption, and the cost of war is maintained throughout, creating a cohesive narrative. medium
  • Pacing builds effectively with climactic moments that heighten tension and emotional payoff. medium ( Scene 11 (N/A) Scene 36 (N/A) )
Areas of Improvement
  • Repetitive use of Pinocchio's deaths and revivals can feel formulaic, reducing some of the impact over time. medium ( Scene 20 (N/A) Scene 30 (N/A) )
  • Montage sequences sometimes rush through emotional beats, potentially undermining character moments. medium ( Scene 25 (N/A) )
  • Some side characters, like Candlewick, have arcs that could be more fully resolved or explored. medium
  • Dialogue can occasionally be on-the-nose, particularly in emotional confrontations, lacking subtlety. low ( Scene 33 (N/A) )
  • Balancing the dark themes with lighter moments could be refined to broaden appeal without losing intensity. low
Missing Elements
  • Deeper exploration of the broader historical context, such as the impact of war on society, could add layers. medium
  • Backstories for mystical elements, like the Wood Sprite, are underdeveloped, leaving some questions unanswered. medium
  • A clearer, more persistent antagonist beyond Count Volpe might strengthen the conflict. medium
  • Romantic or additional interpersonal relationships could enrich character dynamics. low
  • An epilogue showing Pinocchio's long-term future might provide closure. low
Notable Points
  • Integration of musical numbers adds emotional depth and variety to the storytelling. high ( Scene 2 (N/A) Scene 18 (N/A) )
  • The growing nose as a visual metaphor for lying is cleverly used and ties into the theme of truth. high ( Scene 10 (N/A) Scene 19 (N/A) )
  • Cricket's narration provides humor and insight, effectively framing the story. medium
  • Dark twists on the classic tale make it fresh and thought-provoking. medium
  • The ending emphasizes acceptance and the cycle of life, offering a poignant resolution. medium ( Scene 39 (N/A) )
Blind Spots
  • Overemphasis on dark themes The writer appears to overlook how the intense focus on grief, death, and war might alienate audiences seeking lighter entertainment; for example, frequent depictions of Pinocchio's deaths (Sequences 20, 30) could desensitize viewers or feel repetitive, potentially missing opportunities to balance with more uplifting moments to maintain broad appeal. medium
  • Underdevelopment of secondary characters There is a blind spot in fully fleshing out characters like Candlewick and Spazzatura, whose arcs are introduced but not deeply explored, such as Candlewick's unresolved relationship with his father (Sequence 33), which could add more emotional layers if expanded. medium
Amateur Giveaways
  • Repetitive motifs The recurring use of Pinocchio's nose growing as a lie indicator (Sequences 10, 19) feels somewhat formulaic and could be seen as a simplistic device, a common amateur trait that might benefit from more varied storytelling techniques to avoid predictability. low
  • On-the-nose dialogue Some lines, such as direct explanations of themes in emotional scenes (e.g., Sequence 33, where characters explicitly discuss fear and cowardice), lack subtlety and could be refined for more natural, show-don't-tell approaches, which is often a sign of less experienced writing. low
HR
DeepSeek
Executive Summary
Guillermo del Toro and Patrick McHale's 'Pinocchio' screenplay is a masterful reimagining that transcends its source material through profound thematic depth, emotional complexity, and stunning visual storytelling. The script successfully blends dark fantasy with heartfelt drama, creating a poignant exploration of grief, fatherhood, and what it means to be truly alive. Set against the backdrop of fascist Italy, the narrative elevates the classic tale into a sophisticated commentary on mortality, obedience, and the beauty of imperfection. The character arcs are exceptionally well-developed, particularly Pinocchio's journey from wooden puppet to real boy through self-sacrifice, and Geppetto's transformation from grieving father to accepting parent. The screenplay maintains remarkable consistency in tone and theme while delivering a compelling, emotionally resonant narrative that will appeal to both children and adults.
Strengths
Areas of Improvement
Missing Elements
  • More development of Pinocchio's internal conflict during his time with Count Volpe - his gradual realization of exploitation could be more nuanced medium ( Scene 16-18 (Carnival period) )
  • Clearer establishment of the Dogfish's rules and limitations earlier in the script to make the final escape feel more earned low ( Scene 34-35 (Ocean sequences) )
Notable Points
Blind Spots
  • Historical nuance in political commentary While the fascist Italy setting is powerful, the screenplay occasionally simplifies complex political realities into more straightforward good vs. evil dynamics, particularly in the youth camp sequences where the indoctrination process could benefit from more psychological subtlety. medium
Amateur Giveaways
  • None detected The screenplay demonstrates professional-level craftsmanship in structure, character development, dialogue, and thematic integration. No amateurish elements are present. low
R
Claude
Executive Summary
The screenplay for 'Pinocchio' is a well-crafted and compelling story that explores themes of family, identity, and the moral complexities of war through the lens of a beloved fairy tale character. The strong character development, particularly in the relationship between Pinocchio and Geppetto, as well as the incorporation of timely social and political commentary, make this screenplay a compelling and thought-provoking work. While there are a few areas for improvement, such as the integration of the carnival subplot and the pacing of the limbo sequences, the overall narrative is engaging and emotionally resonant. The screenplay is recommended for further development and consideration.
Strengths
Areas of Improvement
Missing Elements
  • While the overall character arcs are well-developed, more insight into Geppetto's emotional journey during the years following Carlo's death could deepen the audience's understanding and investment in the central relationship. medium ( Scene 5 (INT. GEPPETTO WORKSHOP - THE YEARS PASS) )
  • The opening sequence could be strengthened by providing more context and foreshadowing for the eventual conflict between Pinocchio and Geppetto, establishing their dynamic earlier in the story. medium ( Scene 1 (EXT. THE HILL - DUSK) )
Notable Points
  • The sequence depicting the conscription of Candlewick and other young boys for the war effort is a powerful and timely commentary on the harsh realities of fascism and its impact on families. high ( Scene 19 (EXT. TOWN BRIDGE - NIGHT) )
  • The scene where Pinocchio confronts Count Volpe and stands up for Spazzatura showcases the character's growing sense of morality and independence, foreshadowing his eventual transformation. medium ( Scene 28 (INT. PUPPET THEATER - EVENING) )
  • The climactic sequence where Pinocchio sacrifices himself to save Geppetto is a poignant and emotionally impactful moment that solidifies the central theme of the story. high ( Scene 38 (EXT. OCEAN - DAY) )
R
GPT5
Executive Summary
This Pinocchio screenplay is a bold, emotionally rich reimagining of the classic tale that successfully merges intimate father-son drama with dark, large-scale visual set pieces and a politically charged historical backdrop. Its greatest strengths are a powerful emotional core (Geppetto’s grief and Pinocchio’s yearning), distinctive mythic worldbuilding (the Wood Sprite, Death and Limbo), and memorable set pieces (the carnival, Count Volpe, the Dogfish sequences). The script occasionally blurs rules (immortality/death mechanics) and has uneven pacing across the middle act (long touring montage and some tonal whiplash between whimsy and brutality). With some tightening of the world’s rules, clearer through-lines for secondary arcs (Count Volpe’s legal/contract fallout, Candlewick’s aftermath), and smoothing of tonal transitions, this screenplay is production-ready and highly cinematic—well suited to an auteur director and an audience looking for a sophisticated, dark fairy tale for adults and families.
Strengths
Areas of Improvement
  • Pacing and middle-act drag: The long touring montage and repeated carnival beats make the middle feel episodic and occasionally repetitive; the narrative momentum slows before the Dogfish arc. Tightening the touring montage and compressing some shows would sustain forward motion. high ( Scene 25 (EXT. ROAD / TOUR MONTAGE) Scene 26 (EXT. TOWN BRIDGE - NIGHT) )
  • Rules clarity (immortality/Death mechanics): The limbo and death rules are thematically rich but narratively vague. The script could better define the constraints and consequences of Pinocchio’s non-death (how often, what changes each time, costs, emotional consequences) so scenes later (Dogfish, detonating the mine) land with clearer stakes. high ( Scene 21 (INT. LIMBO / DEATH) Scene 30 (INT. LIMBO) )
  • Secondary plot resolution: Count Volpe’s legal/contract machinations and the fallout of exploiting Pinocchio are set up strongly but are never fully resolved (e.g., financial/legal consequences, community response). Closing or tightening these threads would strengthen narrative completeness. medium ( Scene 17-19 (COUNT VOLPE / CARNIVAL / PUPPET STAGE) )
  • Podestà/Candlewick payoff: Candlewick’s arc turns brave, and Podestà’s death is theatrical, but the emotional aftermath for Candlewick, community, and how this affects Pinocchio’s choices could be expanded for deeper resonance; some emotional beats feel abrupt. medium ( Scene 31-33 (YOUTH CAMP / PODESTÀ ARC) )
Missing Elements
  • Explicit rules paragraph for the metaphysics: The screenplay would benefit from a short clarifying scene or dialogue that lays out the ‘rules’ of Pinocchio's immortality/limbo (mechanics, frequency, costs). This will eliminate later confusion and make sacrificial beats clearer. high ( Scene 21 (INT. LIMBO / DEATH) )
  • Aftermath of exploitation: There is no clear follow-through on Count Volpe’s contract/earnings promises after Pinocchio escapes and after Volpe’s fall. An explicit short scene showing legal/financial consequences or social retribution would close that thread. medium ( Scene 17-19 (COUNT VOLPE / CARNIVAL) )
  • Candlewick’s long-term fate: Candlewick’s bravery is pivotal, but we never see his long-term fate or integration back into community; a brief epilogue beat would give his arc closure and underline the cost of resistance. medium ( Scene 34 (CLIFF / BURNING) Scene 39 (EPILOGUE) )
  • Clearer timeline markers: Large spans of time (touring months/years, Geppetto aging) are implied but not tightly anchored—occasional date/title headers, or a montage beat with stronger signposting would help the reader/viewer track elapsed time. low
  • Pinocchio interiority beats: Because he cannot ‘age’ emotionally the same way, occasional quiet scenes where Pinocchio reflects (private, non-musical) would deepen his interior life and make his final, self-sacrificial choices more impactful. medium
Notable Points
Blind Spots
  • Rules and consequences The writer assumes the reader/viewer will accept the metaphysical rules (Pinocchio's 'not-dead' state and limbo mechanics) without a consistent, compact codification. Examples: Death’s hourglass resets are poetic but not fully mapped (Sequences 21, 30, 38). This creates ambiguity about stakes during climactic choices (would breaking the rule have permanent consequences?). high
  • Tonal management The screenplay shifts rapidly from whimsical (musical carnival pieces) to grotesque and brutal (war, fascist violence, burning cliff scene). While deliberate contrast is a stylistic choice, some transitions could be smoothed; otherwise audiences may feel jolted (Sequences 17–19 vs. 31–34 vs. 34–36). medium
  • Closure for key secondaries Strong setups for secondary arcs (Count Volpe’s exploitation, Candlewick’s heroism, legal complications) are not fully closed in the script—leaving some narrative debt (Sequences 17–19, 31–33). medium
Amateur Giveaways
  • Over-detailed stage directions At times the script directs camera/staging and micro-behavior in great detail (e.g., 'Cricket pops out like a submarine captain', precise musical beats) which reads like directorial notes rather than screenplay economy; trimming some of these will improve pace and industry-readability (see sequences throughout, notably 6, 16, 36). low
  • Occasional deus ex machina clarity The Wood Sprite’s interventions (birth and resurrection) are emotionally satisfying but rely on previously underexplained rules; while fairy-tale logic allows magic, a bit more scaffolding (why does she act, costs, limits) would prevent the moments feeling like easy fixes (Sequences 6 and 38). medium
  • Montage overuse in act two Relying on extended touring montages to pass years causes some narrative flattening and reduces active conflict—this is a common rookie structural choice when a clearer sequence of causes-and-effects would better uphold dramatic urgency (Sequence 25). medium
R
Gemini
Executive Summary
This screenplay is a dark, emotionally resonant reimagining of Pinocchio, set against the backdrop of fascist Italy. It successfully blends mature themes of grief, loss, and morality with a fantastical narrative. The script excels in its character development, particularly Pinocchio's journey towards understanding humanity and love, and Geppetto's arc of healing. While the pacing is generally strong, some areas could benefit from tighter editing. The visual storytelling is potent, and the dialogue, while sometimes expository, serves the narrative effectively. Overall, it's a compelling and unique take on a classic story with significant potential.
Strengths
Areas of Improvement
Missing Elements
  • While the screenplay implies the existence of Carlo's mother through the visual design of the Wood Sprite and Death, her presence or the emotional impact of her loss on Geppetto could be more explicitly explored in the earlier stages to deepen the foundation of Geppetto's grief and provide a more complete understanding of his character. low
  • The specific mechanism and limitations of Pinocchio's repeated deaths and returns to Limbo, while thematically interesting, could benefit from a clearer exposition to avoid any potential narrative ambiguity regarding his "immortality." low ( Scene 17 Scene 21 Scene 30 Scene 37 )
  • While Pinocchio's ultimate decision to sacrifice himself for Geppetto is the climax, a more explicit internal struggle or temptation from Death to remain in Limbo could further enhance the weight of his choice and his understanding of mortality. low ( Scene 19 Scene 20 Scene 37 )
  • The political landscape of fascist Italy, while present, could be more deeply interwoven into the daily lives and choices of the characters beyond overt propaganda posters and the Podestà's pronouncements, offering a richer tapestry of the societal impact. low ( Scene 23 Scene 24 Scene 25 Scene 26 Scene 27 Scene 28 Scene 32 Scene 33 )
  • The character of Sebastian J. Cricket, while serving as narrator and plot catalyst, could have a slightly more defined personal arc or motivation beyond his role as a writer seeking inspiration, which might lend him even more depth. low ( Scene 5 Scene 13 )
Notable Points
  • The opening sequences effectively establish the emotional weight of Geppetto's grief and the tragic context of Carlo's death, immediately grounding the fantastical elements in a somber reality. This sets a powerful tone for the film. high ( Scene 1 Scene 2 Scene 3 Scene 4 )
  • The screenplay skillfully employs visual metaphors and symbolism, such as the Wood Sprite's connection to Carlo's mother, the recurring imagery of pine cones, and Death's Sphinx form, which enhance the thematic depth and narrative resonance. high ( Scene 6 Scene 17 Scene 21 Scene 30 Scene 37 )
  • The integration of Count Volpe and the fascist regime as antagonists creates a palpable sense of external threat and moral corruption, which directly challenges Pinocchio's development and Geppetto's values. high ( Scene 10 Scene 16 Scene 22 Scene 26 Scene 28 Scene 33 )
  • The portrayal of the youth camp and its indoctrination into fascist ideals offers a chilling commentary on blind obedience and the loss of individual identity, serving as a powerful counterpoint to Pinocchio's journey of self-discovery. medium ( Scene 30 Scene 31 Scene 32 Scene 33 )
  • The final act, particularly Pinocchio's sacrifice and his subsequent return through Limbo, brings the thematic elements of love, sacrifice, and the true meaning of being 'real' to a powerful and satisfying conclusion. high ( Scene 35 Scene 37 Scene 38 )
Blind Spots
  • Expository Dialogue There are instances where characters explain things that could be shown visually or are already understood by the audience. For example, Cricket's extensive narration in Sequences 1, 5, and 19 explains plot points and character emotions that could be conveyed more subtly through action and imagery. Similarly, the Podestà often directly spells out the ideological requirements of fascism and his expectations, rather than letting the oppressive atmosphere and his actions speak for themselves. medium
  • Over-Reliance on Narrative Exposition The voice-over narration by Cricket, while providing context and bridging narrative gaps, sometimes tells rather than shows. For example, in Sequence 5, his narration about Geppetto not moving on after Carlo's death is effective but could potentially be shown more visually through Geppetto's actions and the state of the workshop. medium
  • Clarity of Supernatural Rules While the magical elements are central, the specific rules governing Pinocchio's immortality and his interactions with Death and the Wood Sprite could be slightly clearer. The repeated deaths and returns to Limbo, while thematically resonant, might benefit from a more solidified internal logic to prevent potential confusion about the stakes or limitations. low
Amateur Giveaways
  • Repetitive Dialogue/Actions Certain character traits or dialogue patterns are repeated, sometimes to the point of becoming slightly redundant. For instance, Pinocchio's constant questioning of 'what is this?' or his fascination with mundane objects could be streamlined in earlier sequences to build his character more efficiently. Similarly, Geppetto's initial recoil from Pinocchio is understandable but can feel slightly overemphasized in early interactions. low
  • Exaggerated Villainous Behavior While Count Volpe is meant to be a villain, his characterization, particularly in sequences like 14 and 28, leans towards extreme caricature. While this fits the fable-like tone, some of his dialogue and actions verge on being overly cartoonish, which can sometimes undermine the darker, more serious themes of the screenplay. low
  • Convenient Plot Devices There are a few instances where plot conveniences occur, such as Cricket being crushed multiple times and surviving, or Pinocchio conveniently finding a note that leads him to the carnival. While these serve the narrative, they can feel slightly contrived in an otherwise grounded-yet-fantastical story. low
Memorable lines in the script:

Scene Number Line
10Pinocchio: I’m made of flesh and bone and meaty bits!! I’m a real boy!
33Candlewick: No! I will not let you do this! All my life, Father...just trying to please you. But I never will. You were right: I’m thin and weak- and flimsy-- just like the wick of a candle. Always afraid. But even then- with all the fear I feel- I can say “no” to you. I can do that. I’m not afraid to say no. Are you?
2GEPPETTO: My Son... My son... You are my shining Sun. My moon. My stars. My clear blue daylight sky.
28Count Volpe: You may have NO strings- but I control you. You obey me. Capiche?
1GEPPETTO: Guess what I saw!