Screenplay data
Jim Blandings, an advertising executive, and his wife Muriel, tired of their cramped New York City apartment, decide to buy an old farmhouse in Connecticut, despite the warnings of their lawyer and friend, Bill Cole. After purchasing the property, they discover the house is dilapidated and must be torn down, leading to unexpected demolition and construction costs for their new dream home. As the new house is built, Jim and Muriel face a series of escalating problems, including a legal crisis over the mortgage, issues with the well and cellar, and numerous expensive changes requested by Muriel, straining their finances and Jim's job performance. The family moves into the unfinished house, where Jim's suspicions about Muriel and Bill's past relationship surface, but they reconcile as Jim faces the loss of his job, only to find success with a new advertising slogan inspired by their house, finally allowing them to enjoy their completed dream home.
Save the Cat beat sheet
Jim Blandings, frustrated with cramped city life, discovers a dream farmhouse and impulsively buys it.
Open full beat sheetJim Blandings is listed as Protagonist. An advertising executive, bright, intelligent, married to Muriel. In the parsed data, Jim Blandings is connected to 40 scenes, 157 dialogue lines, 159 text mentions, first appearing around scene 2.
40 scenes / 157 dialogue linesMuriel Blandings is listed as Protagonist. Jim's wife, sentimental, determined to have a dream house. In the parsed data, Muriel Blandings is connected to 37 scenes, 75 dialogue lines, 75 text mentions, first appearing around scene 2.
37 scenes / 75 dialogue linesBill Cole is listed as Supporting. Jim's lawyer and best friend. In the parsed data, Bill Cole is connected to 20 scenes, 39 dialogue lines, 40 text mentions, first appearing around scene 1.
20 scenes / 39 dialogue linesJoan Blandings is listed as Supporting. Jim and Muriel's daughter. In the parsed data, Joan Blandings is connected to 14 scenes, 7 dialogue lines, 7 text mentions, first appearing around scene 5.
14 scenes / 7 dialogue linesBetsy Blandings is listed as Supporting. Jim and Muriel's daughter. In the parsed data, Betsy Blandings is connected to 14 scenes, 6 dialogue lines, 6 text mentions, first appearing around scene 4.
14 scenes / 6 dialogue linesGussie is listed as Supporting. The Blandings' cook. In the parsed data, Gussie is connected to 9 scenes, 9 dialogue lines, 13 text mentions, first appearing around scene 5.
9 scenes / 9 dialogue linesHenry L. Simms is listed as Supporting. A local architect. In the parsed data, Henry L. Simms is connected to 7 scenes, 14 dialogue lines, 14 text mentions, first appearing around scene 21.
7 scenes / 14 dialogue linesEph Hackett is listed as Supporting. The owner of the old farmhouse. In the parsed data, Eph Hackett is connected to 4 scenes, 2 dialogue lines, 2 text mentions, first appearing around scene 13.
4 scenes / 2 dialogue linesBunny Funkhauser is listed as Supporting. An interior decorator. In the parsed data, Bunny Funkhauser is connected to 3 scenes, 19 dialogue lines, 20 text mentions, first appearing around scene 6.
3 scenes / 19 dialogue linesMr. Smith is listed as Supporting. A local Connecticut real estate dealer. In the parsed data, Mr. Smith is connected to 3 scenes, 11 dialogue lines, 12 text mentions, first appearing around scene 10.
3 scenes / 11 dialogue linesMr. Tesander is listed as Supporting. A well-digger. In the parsed data, Mr. Tesander is connected to 2 scenes, 14 dialogue lines, 25 text mentions, first appearing around scene 22.
2 scenes / 14 dialogue linesMr. Apollonio is listed as Supporting. A structural engineer. In the parsed data, Mr. Apollonio is connected to 2 scenes, 7 dialogue lines, 8 text mentions, first appearing around scene 15.
2 scenes / 7 dialogue lineschar_16 is identified from the parsed character and dialogue data. In the parsed data, char_16 is connected to 2 scenes, 6 dialogue lines, 6 text mentions, first appearing around scene 16.
2 scenes / 6 dialogue lineschar_13 is identified from the parsed character and dialogue data. In the parsed data, char_13 is connected to 1 scene, 10 dialogue lines, 10 text mentions, first appearing around scene 22.
1 scenes / 10 dialogue linesBill Cole introduces the story of Jim Blandings and his dream house while overlooking a construction site.
Bill ColeJim and Muriel wake up in their cramped apartment and struggle with their daily morning routine.
Jim Blandings, Muriel BlandingsJim navigates the narrow hallway while his daughters prepare for the day.
Jim Blandings, Betsy Blandings, Joan BlandingsThe family eats breakfast and argues about school, advertising, and a real estate ad.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan Blandings, GussieMuriel and Jim argue about the interior decorator Bunny Funkhauser and his expensive, questionable design ideas.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan Blandings, Gussie, Bunny FunkhauserFunkhauser arrives at the apartment and meets Jim and Muriel.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan Blandings, Gussie, Bunny FunkhauserFunkhauser presents his radical design plans, leading to a confrontation with Jim over costs.
Jim Blandings, Muriel Blandings, Bunny FunkhauserJim discovers an advertisement for a farmhouse in Connecticut.
Jim BlandingsJim, Muriel, and Mr. Smith tour various properties in Connecticut.
Jim Blandings, Muriel Blandings, Mr. SmithThe Blandings inspect the Hackett Place and meet the owner, Eph Hackett.
Jim Blandings, Muriel Blandings, Mr. Smith, Eph HackettJim and Muriel discuss the house purchase while the children suggest modern alternatives.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan Blandings, GussieJim and Muriel consult Bill Cole about the house deal.
Jim Blandings, Muriel Blandings, Bill ColeThe title deed is read, revealing the property is smaller than expected.
Jim Blandings, Muriel Blandings, Bill Cole, Mr. Smith, Eph HackettThe group gets lost trying to find the house.
Jim Blandings, Muriel Blandings, Bill ColeThe group inspects the house and realizes it is in poor condition.
Jim Blandings, Muriel Blandings, Bill Cole, Mr. ApollonioMultiple experts inspect the house and all advise tearing it down.
Jim Blandings, Muriel BlandingsEph Hackett and a wrecker discuss the demolition of the house and the payment involved.
Eph HackettJim and Muriel watch the house collapse and discuss the cost.
Jim Blandings, Muriel BlandingsThe Blandings, Simms, and Bill Cole discuss the budget, the historical society's reaction, and a legal crisis regarding the mortgage.
Jim Blandings, Muriel Blandings, Bill Cole, Betsy Blandings, Joan Blandings, Henry L. SimmsJim and Muriel argue about finances and Bill Cole's presence, eventually reconciling over the house project.
Jim Blandings, Muriel Blandings, Bill ColeJim and Muriel receive the construction estimates and are shocked by the high costs.
Jim Blandings, Muriel Blandings, Henry L. SimmsJim, Muriel, and Bill visit the construction site and encounter issues with the well and blasting.
Jim Blandings, Muriel Blandings, Bill Cole, Mr. Tesander, char_13Jim receives news about the well while Bill warns him about his work performance.
Jim Blandings, Bill Cole, char_14The group discovers water in the cellar excavation.
Jim Blandings, Muriel Blandings, Bill Cole, Henry L. Simms, Mr. Tesander, char_15Jim and Muriel tour the unfinished house and deal with confusing construction questions.
Jim Blandings, Muriel Blandings, Bill Cole, char_16Jim, Muriel, and Bill are trapped in the closet after Jim tries to demonstrate the lock.
Jim Blandings, Muriel Blandings, Bill ColeJim receives a notice that they must move into the unfinished house in thirty days.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan BlandingsThe family and moving vans travel to the new house.
Jim Blandings, Muriel Blandings, Bill Cole, Betsy Blandings, Joan Blandings, GussieThe family arrives at the house and encounters various construction issues.
Jim Blandings, Muriel Blandings, Bill Cole, Betsy Blandings, Joan Blandings, Henry L. SimmsMuriel gives detailed color instructions to the painter.
Muriel BlandingsJim and Bill are released from the closet again.
Jim Blandings, Muriel Blandings, Bill Cole, Betsy Blandings, Joan BlandingsJim discusses Bill's travel plans with his daughters while preoccupied with a timetable.
Jim Blandings, Betsy Blandings, Joan BlandingsMuriel drives Bill into town to find a place to stay.
Muriel Blandings, Bill ColeThe family unpacks; Jim discovers Muriel's old diary and a fraternity pin belonging to Bill.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan Blandings, GussieThe family finishes dinner; Jim is visibly upset.
Jim Blandings, Muriel Blandings, GussieJim and Muriel argue about the diary and the fraternity pin.
Jim Blandings, Muriel BlandingsJim and Muriel reconcile.
Jim Blandings, Muriel BlandingsJim struggles to write a new slogan for 'Wham'.
Jim BlandingsBill is staying at the house during a storm; a neighbor visits.
Muriel Blandings, Bill ColeJim has a breakthrough on his slogan and decides to go home.
Jim BlandingsJim returns home and confronts Muriel about an unexpected bill.
Jim Blandings, Muriel Blandings, Henry L. SimmsSimms explains the complex and expensive construction changes required by Muriel's request for a stone floor, while Jim reacts with frustration and suspicion regarding Bill's presence.
Jim Blandings, Muriel Blandings, Bill Cole, Henry L. SimmsGussie arrives, confirming the bridge closure, and Jim confronts the reality of his situation and his job loss.
Jim Blandings, Muriel Blandings, Bill Cole, Gussie, Henry L. SimmsMr. Tesander arrives to return money to Jim, easing the tension, followed by Bill's departure and the children's arrival.
Jim Blandings, Muriel Blandings, Bill Cole, Betsy Blandings, Joan Blandings, GussieJim relaxes on the patio, successful with his new advertising idea, and addresses the audience.
Jim Blandings, Muriel Blandings, Betsy Blandings, Joan BlandingsYou know, I've kind of been the voice of doom about this whole project. Every step of the way I was firmly convinced you were getting fleeced, bilked, rooked, flimflammed and generally taken to the cleaners. And maybe you were. Maybe it cost you a whole lot more than you thought it would. Maybe there were times when you wished you'd never started the whole thing. But when I look around and see what you two have here -- I don't know. Maybe there are some things you should buy with your heart and not with your head. Maybe those are the things that really count... See you around.
Every word of it! Anybody who builds a house today is crazy! The minute you start, they put you on the list. The All-American Sucker list! Everywhere you turn they've got a hand in your pocket. If you take out their hands, they find more pockets! It's a conspiracy, I tell you, a conspiracy against every man and woman who want a home of their own! Against every boy and girl who were ever in love!
All I did was one day I saw four pieces of flagstone left over from the porch that were just going to be thrown away because nobody wanted them and I asked Mr. Retch if he wouldn't just put them down on the floor of the flower sink and poke a little cement between the cracks and give me a nice stone floor where it might be wet with flowers and things. That was absolutely all I did.
You'll have to pardon my bursting in at this dreary hour -- practically the middle of the night -- but I did so want to catch you in. I've been at it hammer and tongs all week and I'm just a mess -- but then Muriel and I thought we ought to talk it over with you before we take the plunge...
Well, the main soil pipe runs under there on wall brackets, so Retch had to get his plumbing man back to take out a section so he could get that cradle set. I guess that meant he had to change the pitch of the soil pipe from one end of the house to the other. 'Morning, Mr. Cole.
Oh, that's out! All out! Changed the whole thing! I just couldn't live with it! I said to myself, "Bunny, what are the Blandings? How shall we do them?" And the answer was perfectly obvious. Very American, very grass roots, very blueberry pie -- that sort of thing.
All right, I think I can tell you what happened. First, the carpenters had to rip up the flooring that was already laid. Those planks run under the whole width of the pantry, so Retch had to knock the bottom out of the pantry wall to get at them.
Uh -- yes. Now as I see our room, it's definitely Colonial. You know, cobbler's bench, breakfront, pie cooler, student lamp, hooked rug. But everything in good taste. It must not jump out at you and scream: "Look -- see how antique I am!"
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