Script Analysis: “Coco” — Scene By Scene Breakdown

Here is my take on this exercise from a previous series of posts — How To Read A Screenplay:

After a first pass, it’s time to crack open the script for a deeper analysis and you can do that by creating a scene-by-scene breakdown. It is precisely what it sounds like: A list of all the scenes in the script accompanied by a brief description of the events that transpire.

For purposes of this exercise, I have a slightly different take on scene. Here I am looking not just for individual scenes per se, but a scene or set of scenes that comprise one event or a continuous piece of action. Admittedly this is subjective and there is no right or wrong, the point is simply to break down the script into a series of parts which you then can use dig into the script’s structure and themes.

The value of this exercise:

• We pare down the story to its most constituent parts: Scenes.
• By doing this, we consciously explore the structure of the narrative.
• A scene-by-scene breakdown creates a foundation for even deeper analysis of the story.

Today: Coco (2017). You may download the script here.

Screenplay by Adrian Molina & Matthew Aldrich, original story by Lee Unkrich & Jason Katz & Matthew Aldrich & Adrian Molina

IMDb plot summary: Aspiring musician Miguel, confronted with his family’s ancestral ban on music, enters the Land of the Dead to find his great-great-grandfather, a legendary singer.

Coco
Scene by Scene Breakdown
By Caliann Lum
Gointothestory.blcklst.com

P1: The OPENING SEQUENCE introduces a vivid, colorful, lyrical Mexican TOWN (SANTA CECILIA) celebrating Día de los Muertos (Day of the Dead). Brilliant orange-gold MARIGOLD PETALS waft a PATH to a humble cemetery. 12-year old protagonist MIGUEL narrates (V.O.) FLASHBACKS, explaining how his once happy FAMILY banished MUSIC from their lives after his MUSICIAN GREAT-GREAT GRANDFATHER left great-great grandmother MAMÁ IMELDA and young daughter COCO, how he walked out the door with his GUITAR to pursue his dream of playing music for the world.

2: Miguel continues to narrate (V.O.) how a bitter but resilient Mamá Imelda provided for COCO by learning to make SHOES; FLASHBACK vignettes of how she taught Coco to make shoes; how Coco married and how her extended family of grandkids, great grandkids, and great-great grandkids ended up happily making shoes. “Music had torn [Mamá Imelda’s] family apart, but shoes held them all together.”

3–4: FADE TO PRESENT in the family OFRENDA ROOM. There, atop a beautiful alter, sits A PHOTO of Mamá Imelda, baby Coco in her lap, and great-great grandfather, with his face torn off.

Seated in a wheelchair is a senile, mostly silent MAMÁ COCO (97), “a living raisin.” Miguel kisses her on the cheek followed by QUICK FLASHBACKS of him teasing and showing off to her, a sign of their close bond.

4–5: Finally, there’s ABUELITA (70s) Coco’s daughter and Miguel’s grandmother, shown lovingly encouraging Miguel to eat more tamales. “Abuelita runs our house just like Mamá Imelda did.”

5–6: Out of respect for Mamá Imelda, Abuelita continues to energetically enforce the family’s ban on music and the entire family complies . . .

“Miguel idly blows into a glass soda bottle [and makes a hooting sound]. Abuelita takes the bottle away. ‘No music!’”

“A trio of gentlemen serenade each other as they stroll by the family compound.” Abuelita chases them away “NO MUSIC!!!”

The Rivera family makes shoes in their SHOP — with no music.

6–7: . . .except Miguel, who declares, “I am NOT like the rest of my family…” as he dances down the STREET with his shoe shine box.

He passes musicians playing a tune and joins in with some fancy air guitar moves.

Music fills his every move as more instruments and sounds layer, including church bells and rhythmic cumbia blaring from a radio.

Miguel can’t help but tap out rhythms along tables, play wooden animals like a marimba, SMACK a trashcan like a drum . . .

7: . . . where out pops a barking, jumping hairless Xolo dog — DANTE. Dante eagerly obeys Miguel’s commands (sit, roll, shake, fist bump) and is rewarded with a sweet treat before toppling back into the trashcan.

7–10: Miguel finally arrives at MARIACHI PLAZA. He stares up at the glamorous statue of his idol, ERNESTO DE LA CRUZ, “The greatest musician of all time.” A TOUR GUIDE arrives and tells her group about Ernesto’s humble beginning right here in Santa Cecilia, to become “the most beloved singer in Mexican history!”

AGAINST A BACK DROP OF FILM CLIPS showing de la Cruz in his hay day, Miguel muses (V.O.) — Ernesto started out a nobody, just like me, but when he played music, people fell in love with him.

CLIPS of de la Cruz singing, REMEMBER ME . . . EACH TIME YOU HEAR A SAD GUITAR KNOW THAT I’M WITH YOU . . . until he dies onstage, crushed by a giant bell. Miguel sighs, “I wanna be just like him.” Miguel makes his way to the mausoleum of de la Cruz and continues in V.O. — “I feel like we’re connected . . . Like, if HE could play music, maybe someday I could too . . . if it wasn’t for my family.”

10–13: A PLAZA MARIACHI offers advice while Miguel shines his shoes. “You wanna be like your hero? Sign up” for the plaza TALENT SHOW. The mariachi offers Miguel his guitar “Seize your moment.” BUT as Miguel is about to strike a chord, Abuelita spots them. Miguel tosses the guitar back at the mariachi and goes back to shining his shoes. Abuelita marches over and hits the mariachi with her shoe, “You leave my grandson alone!” She even throws a shoe at Dante the dog and scares him away. “You will come home. Now.” Miguel follows, but stuffs the TALENT SHOW flyer into his pocket.

13–14: At HOME Miguel faces gentle reproach from PAPÁ when Abuelita reports she found him shining a musician’s shoes in Plaza Mariachi. Others in the family pile on, gasping in shock. Papá –“You know how Abuelita feels about the plaza . . . no more plaza . . . ” Miguel ­– “But . . . they’re having this TALENT SHOW.”

The family piles on again, laughing, “You have to have talent to be in a talent show.”

15- 17: Abuelita — “No one’s going anywhere,” as she reminds the family that tonight is Día de los Muertos, the one night of the year their dead ancestors can come visit the Land of the Living. She deposits a pile of MARIGOLDS in Miguel’s arms as she hustles everyone into the OFRENDA ROOM. Abuelita explains the importance of placing a PHOTO of the dead on the altar, “so their spirits can cross over” and visit their living family, so the entire family can come together on this one special day. Miguel challenges Abuelita about “Mamá Coco’s papá” before sneaking away.

Hearing the word PAPÁ, Mamá Coco rouses from her stupor — “Papá is coming home?” Saddened by Miguel’s resistance, Abuelita looks at the photo of Mamá Imelda and brightens with an IDEA.

18- 20: Hiding IN THE ATTIC of the family workshop, Miguel tunes up his de la Cruz lookalike makeshift guitar, SKULL HEAD and all, and lights candles at the altar he’s built to his hero. Tagalong Dante crawls into the attic and together they watch an old TV VCR tape, a montage of de la Cruz’ greatest moments. In one CLIP he sings, I have to sing, play, “It is me.” Miguel plays along on his guitar as de la Cruz sings, “…I must follow my heart! . . . Only a song has the power to change a heart . . . When you see your moment you . . . must seize it!” And make it come true.

Miguel grabs the TALENT SHOW flyer and off he and Dante go to MARIACHI PLAZA.

21: DOWNSTAIRS, the living Rivera family scatters MARIGOLD petals from the ofrenda room to the front gate to make a “clear path. The petals guide our ancestors home.”

21–22: Miguel with his guitar and Dante sneak across the house ROOF, down to the town SIDEWALK, but are forced back inside the house to avoid family members. They end up trapped in the family OFRENDA ROOM by Abuelita and his parents.

22–23: Papá cheerfully delivers Abuelita’s great IDEA in the form of a leather apron — “. . . it’s time you joined us in the workshop! . . . No more shining shoes — you will be making them!” Full of pride, Abuelita squeals, “And on Día de los Muertos! Your ancestors will be so proud!” Shoes adorn the ofrenda. Miguel is surrounded by shoes! Papá swells, “You are a Rivera. And a Rivera is . . .?” Miguel, resigned — “. . . A shoemaker. Through and through.”

23–25: After the family leaves, Dante’s causes the frame of Mamá Imelda’s photo to crack and reveal the SKULL-HEADED GUITAR of de la Cruz in the hands of headless great-great grandfather.

When Miguel muses out loud, “De la Cruz’ guitar . . . “ Mamá Coco rallies, points at the photo, “Papá?”

Astonished, Miguel asks, “Mamá Coco, is your papá . . . Ernesto de la Cruz?” To which she replies, “Papá! Papá!”

Miguel compares the guitar in the photo to de la Cruz’ guitar on the record sleeve — An exact match!

25–27: Miguel shouts from the ROOFTOP to his parents — “I know who my great-great grandfather was! . . . Ernesto de la Cruz!” He whips off his shoemaker’s apron. “I’m gonna be a musician!” Crushed, Miguel snatches Mamá Imelda’s photo from Papá, “I don’t wanna be in this family!” and runs out of the hacienda, desperate to get away.

27–28: Miguel and Dante streak toward MARIACHI PLAZA only to be told he cannot compete in the TALENT SHOW without a guitar. No one will lend him a guitar. Disheartened, Miguel turns to the statue of de la Cruz — “Great-great grandfather . . . What am I supposed to do?” He reads the plaque at the base of the statue, “Seize Your Moment!” As he looks again at the skull guitar in the PHOTO, fireworks illuminate THE SKULL-HEADED GUITAR held by the statue. MIGUEL GETS AN IDEA.

28–29: Miguel and Dante sneak through the CEMETARY to de la Cruz’ tomb to steal his FAMOUS GUITAR. With proper apologies to the deceased, Miguel lifts the guitar from its mount and MARIGOLD petals in the mausoleum MAGICALLY begin to SPARKLE. Miguel vows, “I’m gonna play in the plaza, just like you did!” He strums the guitar. MAGICALLY, MARIGOLD petals swirl and briefly SURGE WITH LIGHT.

30–31: BUT THEN, a GROUNDSKEEPER enters. Miguel confesses to the theft but is not heard. The GROUNDSKEEPER WALKS RIGHT THROUGH HIM. He is INVISIBLE!

Panicked, Miguel runs outside and the people in the cemetery also walk right through him — including his Mamá and Papá who call for him, “Miguel! Come home!” He reaches for them but goes right through them.

31–34: Still in the CEMETARY, Miguel falls into an open grave and a nearby FEMALE SKELETON helps him out. He’s surrounded by walking-talking skeletons. But when DANTE licks him, he feels it, and Dante sees the skeletons, too. Miguel encounters skeleton versions of deceased family members — his Dead Rivera family — who embrace him awkwardly. They puzzle over what kind of state Miguel is in, non-corporeal but, “He doesn’t seem entirely dead.”

A family member says MAMÁ IMELDA could not cross over to the Land of the Living due to some glitch. “I have a feeling this has something to do with you[, Miguel].”

34–35: And with that, PAPÁ JULIO declares, “Then we are going to her!” He grabs Miguel by the arm and he and Miguel, the Dead Riveras, and Dante rush from the CEMETARY, across the glowing MARIGOLD BRIDGE. The skeletons become whole as they cross into the breathtakingly beautiful LAND OF THE DEAD. Miguel chases after Dante, who scampers gleefully in the MARIGOLD petals, “You gotta stay with me, boy. We don’t know . . . where . . .” [“I have a feeling, we’re not in Kansas anymore.”]

35–39: Crossing the MARIGOLD BRIDGE, Miguel and Dante have wondrous encounters with deceased family members, fantastical creatures, and fascinating denizens of MARIGOLD GRAND CENTRAL STATION, where rules of the Land of the Dead are learned, and Miguel, a LIVE BOY is a shocking novelty.

39–45: The Dead Riveras and Miguel make their way through to a crowded DEPARTMENT OF FAMILY RENUNIONS where “case workers help travelers work out holiday snafus.”

An irate Mamá Imelda sits in a corner, not allowed to cross over because there’s no record of her family having a photo of her on their ofrenda. “I demand to speak to the person in charge.”

Miguel recognizes Mamá Imelda from the PHOTO.

A CLERK tells the family, “…You’re cursed. . . . You stole from the dead.” Miguel tries to explain the guitar belonged to his great-great grandfather who would want him to have it. Mamá Imelda interrupts, “We do not speak of that . . . musician! He is dead to this family . . . But none of this explains why I couldn’t cross over.” Then Miguel realizes he’s got the PHOTO of Mamá Imelda in his pocket.

To undo a family curse you have “to get your family’s blessing . . . but you gotta do it by sunrise.” . . . or Miguel will become a skeleton.

Mamá Imelda blesses a MARIGOLD petal, “I give you my blessing to go home . . . to put my photo back on the ofrenda . . . “ THEN ADDS “AND TO NEVER PLAY MUSIC AGAIN!” The MARIGOLD petal surges with light. Miguel is horrified by that last. When Miguel takes the petal, “WHOOSH! He’s consumed by a whirlwind of petals and disappears.

45–46: Miguel magically reappears at the de la Cruz. No skeletons to be seen. With a mischievous grin he grabs the guitar “Mariachi Plaza, here I come.“ But as soon as he steps toward the door, “WOOOOSH!” He’s back in the Clerk’s office in the Land of the Dead — without the guitar. His deceased family are shocked he broke his promise. “. . . it’s my life! You already had yours!” He takes another MARIGOLD petal but none of his family will bless it. Mamá Imelda says, “You go home my way, or no way . . . I will not let you go down the same path as he did.” MIGUEL GETS AN IDEA.

47–52: With the family and authorities hot on their heels, Miguel and Dante take off to find great-great grandpa de la Cruz, “If I wanna be a musician, I need a musician’s blessing.” Miguel hooks up with con artist HECTOR who claims he has front row tickets to de la Cruz’ SUNRISE SPECTACULAR SHOW, that he can introduce Miguel to him for as yet an unknown price. Miguel, Dante, and Hector run away from the Dead Riveras who continue searching for him. Meanwhile, Mamá Imelda invokes the help of a TRACKER JAGUAR, PEPITA, to find Miguel.

53–54: Hector helps Miguel disguise himself as a skeleton with FACE PAINT. Hector agrees to introduce Miguel to de la Cruz if, once Miguel crosses over to Santa Cecilia, Miguel puts his, Hector’s, photo on the Rivera ofrenda so Hector will be permitted to cross the Marigold bridge before the end of Día de los Muertos — which ends at sunrise.

55–61: BUT THEN, Hector confesses he doesn’t have any tickets. BUT, by alternative means, Hector sneaks Miguel and Dante into the giant warehouse where the show is held. After a prolonged encounter with FRIDA KAHLO, her monkey, her dancers and musicians (P55-P59 — a big visual/musical SET PIECE during which Frida suggests Dante is a spirit guide…or not!), Miguel learns that de la Cruz is not in the building, that he is hosting a fancy party at his GRAND ESTATE atop a steep hill visible in the distance. Miguel’s desperate. He looks at his hands and their skeletal transformation has progressed. He’s got to get great-great grandfather’s blessing to go home and be alive. Hector tells Miguel that there’s a music competition at the Plaza de la Cruz and the winner gets to play at de la Cruz’ party. But Miguel still needs a guitar. Hector says, “I know a guy . . .”

61- 62: MEANWHILE, Pepita and the Dead Riveras are hot on Miguel’s trail.

62–67: Miguel looks at his progressively bony knuckles as he anxiously follows Hector to find a guitar. They make their way to SHANTY TOWN, home to Hector’s buddies, other male and female skeletons with no photos or ofrendas — the nearly forgotten dead. In a TENT, Hector approaches grumpy CHICHARRÓN. “. . . me and my friend, Miguel, we really need to borrow your guitar.” Chicharrón is literally fading fast so Hector plays and sings a tune with unexpected skill, which cheers Chicharrón just before he turns to dust — “He’s been forgotten. . . . We call it the ‘Final Death.’” Hector gives Miguel Chicharrón’s guitar. “C’mon ‘de la Cruzcito.’ You’ve got a contest to win.”

68: Hector and Miguel head back to the Plaza de la Cruz for the contest. Miguel learns that Hector used to play with great-great grandfather.

68–69: They arrive at the PLAZA scene and it’s the bomb! QUICK VISUAL CUTS convey the energy, lights, colors, gaiety and vivacity. The EMCEE onstage calls for “battle of the bands . . . The winner gets to play for the maestro himself . . . at his fiesta tonight. . . . Let the competition begin!”

69: QUICK SET PIECE MONTAGE shows a variety of (eight) competing musical acts.

69–73: BACKSTAGE, Miguel prepares to play de la Cruz’ most famous song, REMEMBER ME — and so does everyone else. When Hector learns Miguel has never performed in public before, he offers to go on stage instead. Miguel, “No. . . . If I can’t go out there and play one song . . . how can I call myself a musician? . . . I need to prove that I’m worthy of [de la Cruz’ blessing].” So, despite his natural con man instincts, Hector softens and gives the kid important pointers.

73–77: Miguel steps onstage and the crow applauds. Panic overtakes him. Blinded by the lights, he freezes. But with Hector’s encouragement from the wings, Miguel begins. As he warms up, he’s pretty great! Dante pulls Hector out on the stage with him and Hector breaks into fancy percussive footwork. They’re a hit!

· INTERCUT Mamà Imelda follows PEPITA as they and the Dead Riveras infiltrate the audience looking for Miguel, asking if anyone’s seen a living boy.

Meanwhile, Miguel and Hector tear it up onstage, the audience goes wild. Dante howls in harmony. At the end, when the audience erupts into applause, “Miguel feels like a real musician” for a nanosecond before he spots the Dead Riveras in the audience. Miguel pulls Hector off the stage while Hector tries to pull him back. “We’re about to win this thing!” BUT THEN, the EMCEE takes the microphone and announces “Please be on the lookout for a living boy . . . Miguel. . . . His family . . . want to send him back to the Land of the Living.”

77–78: Thinking de la Cruz was Miguel’s only family, Hector is irate, “You could have [got their blessing and] taken my photo back this whole time?!” Miguel explains how they hate music, how he needs a musician’s blessing. But Hector complains bitterly, “You lied to me! . . . Look at me. I’m being forgotten . . . I don’t even know if I’m gonna last the night! I’m not gonna miss my one chance to cross that bridge ’cause you want to live out some stupid musical fantasy. . . . I’m taking you to your family.” Miguel angrily throws HECTOR’S PHOTO at him AND IT BLOWS AWAY as Miguel runs.

78–79: BUT THEN, “spirit guide” or not, Dante grabs and pulls down Miguel’s hoodie sleeve, revealing his arm of a living boy, and drags him back toward Hector. A crowd gathers, sees the arm, and chants, “He’s alive!”

79–80: Miguel runs toward de la Cruz’ tower in the distance when suddenly Pepita, with Mamá Imelda onboard, lands in front of him. “I am giving you my blessing and you are going home!” Miguel takes off, “I don’t want your blessing!”

Chasing him on foot Mamá Imelda yells, “I am trying to save your life!”

Miguel, “You’re ruining my life! . . . Music’s the only thing that makes me happy.”

BUT THEN, Mamá Imelda SINGS. Miguel stops dead in his tracks — “I thought you hated music.” “I loved it. . . .But when we had Coco . . . I wanted to put down roots. He wanted to play for the world. . . . We each made a sacrifice to get what we wanted. Now you must make a choice.” Miguel, “But I don’t wanna pick sides. Why can’t you be on MY side? That’s what family’s supposed to do — support you.”

81–82: Miguel makes it to the foot of the hill to de la Cruz’ tower. Vehicles from all eras (limos, carriages) drop off fancy guests with fancy invitations allowing them to ride a funicular up to the mansion tower. Miguel tries to get in without an invitation and is quickly tossed out of the line. But he convinces the final winners of the de la Cruz contest, the Los Chachalacos band, to smuggle him into the party.

83–84: Miguel finally makes it to the heart of the PARTY IN THE MANSION. Miguel’s dazzled by the pure spectacle of his surroundings filled with a DJ playing a mash-up of cross-decades music. As he strains to gain great-great grandfather’s attention, de la Cruz’ voice from film clips on surrounding screens seems to speak to Miguel, exhorting him to seize his moment, “We’re almost there,” “You must have faith,” “He will listen . . . to MUSIC!”

84–86: OFF THAT LAST, Miguel plays his guitar and sings the story of his journey, his family, and his passion for MUSIC. When he stumbles into the pool, it’s de la Cruz who rescues him. But then the skeleton camouflage paint washes from his face.

“You are that boy, . . . from the Land of the Living. . . . Why have you come here?”

“I am Miguel. Your great-great grandson. . . . I need your blessing . So I can go back home and be a musician, just like you.” De la Cruz sweeps him onto his shoulders, the crowd roars!

86: MEANWHILE — Hector, disguised as Frida Kahlo, ascends to the PARTY.

86–88: Back at the PARTY it’s Miguel’s dream come true. De la Cruz proudly introduces his newly found great-great grandson around to all the guests — on horseback. Proudly, “He’s alive! And a musician to boot!” Miguel is a celebrity, too, pantomiming along with his great-great grandfather’s films and singing a chorus of “REMEMBER ME.”

88–89: In de la Cruz’ OFRENDA ROOM, Miguel asks, was it worth it, choosing music over your family?” It was hard, but, “But I could not have done it differently. One cannot deny who one is meant to be. And you, my great-great grandson, are meant to be a musician! . . . we are artists . . . We cannot belong to one family. The world is our family!” Fireworks explode as the SUNRISE SPECTACULAR SHOW begins, heralding the end of Día de los Muertos.

89–90: de la Cruz invites Miguel to his Sunrise Spectacular Show as a guest of honor but Miguel reluctantly declines because he must return home before his progressive skeletonization becomes complete. Warmly, de la Cruz, is about to give Miguel his blessing on a MARIGOLD petal so he can go home.

90–96: BUT THEN . . . out of the shadows steps Hector disguised as Frida and reminds Miguel of his promise to put his, Hector’s, photo on the Rivera family ofrenda so he won’t be forgotten and turn to dust. De la Cruz begins to recognize Hector as Hector pushes his photo into Miguel’s hands. De la Cruz looks at the photo and at the fading skeleton before him, “My friend, you’re being forgotten.” Hector blurts out, “Those were MY songs you took. MY songs that made YOU famous.” But now, all Hector wants is for Miguel to put his photo up on the Rivera ofrenda so he can cross the Marigold Bridge and “. . . see my girl.” BUT THEN, it’s revealed that great-great grandfather de la Cruz is the one who KILLED HECTOR, TO STEAL HIS SONGS! Hector attacks de la Cruz, but security guards haul him off screaming, “I just wanted to go back home!”

96–97: Now, fearing Miguel will go back to the living world and reveal the heinous crime he had committed and ruin his reputation, DE LA CRUZ WITHOLDS HIS BLESSING, HIDES HECTORS PHOTO IN HIS POCKET, AND HAS MIGUEL THROWN INTO A SINKHOLE, “Success doesn’t come for free . . . you have to be willing to do whatever it takes to seize your moment.”

98–102: His skeletal transformation almost complete, Miguel falls to the POOL OF WATER AT THE BOTTOM OF THE SINKHOLE and swims to a small island where he runs into Hector, who embraces him. Miguel is overcome with shame. “They told me not to be like de la Cruz, but I didn’t listen . . . I told them I didn’t care if they remembered me.”

Hector’s bones “flicker,” “She’s forgetting me.” “She” is his daughter, the girl he wanted to see again. “I wish I could tell her that her Papá was trying to come home. MY COCO . . .” Hearing this, Miguel GETS AN IDEA and pulls out the photo of Imelda, Coco, and the faceless musician and shows it to Hector –-The faceless musician, “Is that you?” Yes. “WE’RE FAMILY!” Hector explains, COCO is the “last person who remembers me. The moment she’s gone from the living world . . . “ Miguel — “You disappear from this one.” and you’ll never ever meet again.

FLASHBACK of Hector singing to young Coco, “REMEMBER ME.”

102–104: DANTE finds them and peers down into the hole from above . . . along with PEPITA, and Mamá Imelda, all thrilled until Imelda spots Hector. BUT, moments later they all fly out of the pit on Pepita and ascend above the clouds. Dante really is a “spirit guide” as neon lights spread from his paws, little wings sprout, and he flies!

104–106: They return to the rest of the Dead Riveras gathered at a small plaza and Mamá Imelda and Hector have their own reckoning of the past. She blames him for endangering Miguel but he explains how it came about. Miguel agrees to accept her blessings with her condition of no more music but he has to get Hector’s photo from de la Cruz so Hector can see Coco again. Imelda resists until Miguel explains that he had tried to return to his family but de la Cruz murdered him. Mamá Imelda to Hector, “I can’t forgive you. But I will help you.” And off they go to find de la Cruz and retrieve HECTOR’S PHOTO for the ofrenda.

107–113: The SUNRISE SPECTACULAR is underway starting with the real Frida’s opening SET PIECE of giant dancing papaya, a “flaming” papaya, a giant cactus, and dancers, all resembling Frida, who turn out to be dancing Dead Riveras, with Dante, and Hector, and Mamá Imelda. At the end of the set piece, the Dead Riveras plot to retrieve HECTOR’S PHOTO and send it home with Miguel. Mamá Imelda finds de la Cruz, slaps him with her shoe, “That’s for murdering the love of my life!” And again, “for trying to murder my grandson!” Hector and Miguel jump out. De la Cruz runs away, chased by all the Dead Riveras. IMELDA MANAGES TO GRAB THE PHOTO OF HECTOR, Miguel is detained by security, Imelda rises to the stage instead of de la Cruz — so she SINGS! Hector PLAYS THE GUITAR. The romance between the two is reignited. Background music kicks in and Imelda’s a star. THEN de la Cruz joins her singing, trying to steal back Hector’s photo, and the crowd goes wild. BUT, IMELDA RUNS OFF THE STAGE WITH THE PHOTO.

114: Mamá Imelda gives Miguel her blessing petal to return home and put up their PHOTOS, WITHOUT the PART ABOUT NEVER PLAYING MUSIC AGAIN.

114–118: BUT DE LA CRUZ REAPPEARS and drags Miguel away to the ledge of the building. Hector begs for mercy, “He’s a living child.” De la Cruz, “He’s a threat.” One of the Dead Riveras turns the closed-circuit video camera on de la Cruz and turns up the volume, broadcasting the scene across the stadium screens. Miguel spills the beans on de la Cruz on camera, “Hector’s the real musician, you’re just the guy who murdered him and stole his songs!” The audience gasps. Hector throws Miguel off the ledge of the building. The Dead Riveras are horrified. DANTE flies in and rescues Miguel in the air but the PHOTO of Hector falls from Miguel’s hand and disappears. Too heavy for Dante’s little wings, they both fall. Pepita swoops in and saves Miguel, but the PHOTO seems lost forever. The plan to save Hector seems doomed.

118–119: When de la Cruz steps back on stage he’s met with audience BOOs! And when he starts to sing, the crowd pelts him with fruit. When Miguel reappears unharmed, the crowd CHEERS as he runs toward his family. Pepita deals the final blows and throws de la Cruz out of the stadium, and the audience ERUPTS.

120–121: HECTOR can barely move. Mamá Imelda is desperate — “Miguel, it’s almost sunrise!” Although his own skeletal transformation is almost complete,

Miguel won’t go until he helps Hector, “I promised you’d see Coco!”

Hector, “I just wanted her to know I loved her. . . . You have our blessing.”

Mamá Imelda, “No conditions.” The MARIGOLD petal glows. Together they hand it to Miguel. “Go home.” Miguel vows, “I won’t let Coco forget you.”

“WHOOOOSH! A whirlwind of MARIGOLD petals, and everything goes white.”

121–122: Miguel is back in DE LA CRUZ’ TOMB IN SANTA CECILIA. He grabs the SKULL GUITAR and races home along the trail of MARIGOLDS, into Mamá Coco’s bedroom — only to be blocked by Abuelita. “Where have you been?” She grabs for his guitar but Miguel pushes past, into Coco’s room, and slams the door, locking Abuelita out.

122–126: IN HER ROOM, MAMÁ COCO stares vacantly into space. Miguel’s father bangs on the door. Frantic with worry, Abuelita and Papá unlock the door and finally get inside the room as Miguel tells Coco, “Your papá wanted you to have this.” He picks up the guitar and softly from the heart, sings “REMEMBER ME” the way Hector sang it. “The glimmer in Mamá Coco’s eyes grows brighter with every note. Memories flood in, . . . Her cheeks soften and plump. Her lips arc into a smile.”

FOR EVEN IF I’M FAR AWAY/I HOLD YOU IN MY HEART /I SING A SECRET SONG TO YOU/EACH NIGHT WE ARE APART

REMEMBER ME

MAMÁ COCO JOINS MIGUEL for the second verse. The song brings Mamá Coco back to life, and she remembers. She shows the family his letters, poems he’d sent, she finds the missing face — Hector’s face — from the family photo. Miguel puts it back in the picture.

126–127: ONE YEAR LATER AT THE CEMETERY IN THE LAND OF THE LIVING — Once again families prepare for Día de los Muertos. A sign “FORGET YOU” hangs on the bust of de la Cruz at his mausoleum. A tour guide stands in front of the RIVERA SHOE SHOP, the SKULL GUITAR, and FRAMED LETTERS Hector had written to Coco, which contain all the lyrics to his songs. In the family OFRENDA ROOM Miguel points out all the family members to his new baby sister. Abuelita places a photo of Mamá Coco on the ofrenda, next to the photo of Mamá Imelda and Hector — the photo and family restored.

127–128: AT THE MARIGOLD GRAND CENTRAL STATION IN THE LAND OF THE DEAD — Hector SINGS nervously as he waits in the departures line then boards the train to the MARIGOLD BRIDGE. There, he rejoins Mamá Imelda, and Coco, and together they walk across the glowing bridge to join their living relatives on the other side. Magical Dante and Pepita alight on the Marigold bridge and they too bound across to the Land of the Living in their “living” forms as a scrappy little mutt and an alley cat.

OFF SCREEN Miguel sings, “OUR LOVE FOR EACH OTHER WILL LIVE ON FOREVER IN EVERY BEAT OF MY PROUD CORAZÓN.”

129–131: Finally, the Rivera family courtyard is filled with all living and dead Riveras — “The whole family brought together by a song.”

Writing Exercise: I encourage you to read the script, but short of that, if you’ve seen the movie, go through this scene-by-scene breakdown. What stands out to you about it from a structural standpoint?

To download a PDF of the breakdown for Coco, go here.

Major kudos to Caliann Lum for doing this week’s scene-by-scene breakdown.

For 100+ movie scripts broken down scene by scene, go here.