The 11-song soundtrack mapped beat-by-beat to the 77-scene screenplay — which song plays where, how it cues in and out, and why each placement maximizes sync and streaming value — built for maximum audience effect and awards status.
11
Tracks Mapped
77
Script Scenes
5
Placement Types
100%
Owned Masters
Kate's champagne-high life in Chicago: partnership, engagement, a perfect win record. Every cue is bright, wavy, on top of the world — until Scenes 13–14 flip the film.
Demo Reel 07
Sc 3–4 · Bathroom & Living Room banter
From the script
KATE gets up and starts to walk while yawning...
MARTIN: I'm starting to feel anxious about meeting your mother. Any ideas on what I should wear?
KATE: Definitely not my robe.
Sung on the demo reel
"If I told you once, I know I told you twice how I feel about you... I'm digging your vibe."
The flirty 'digging your vibe' energy synced to the morning-after physical comedy — playful connection before the dream gets serious. Re-sung sincere at Sc 53.
Demo Reel 10
Sc 7–8 · Limo → Judge Finn’s Courtroom
From the script
JERRY: It will be. It may save those pretty shoes.
KATE: I'm the one that needs saving today.
The twins’ limo banger — the track they crank bouncing to the win. Instrumental concept demo.
Demo Reel 01
Sc 10–11 · Italian Restaurant / Kate’s Office
From the script
PENNY: Kate, look. I'm still shaking. I still can't believe that we won.
KATE: I'll update Steve on what happened in court, and you can follow up with him on any questions.
Sung on the demo reel
"Go get it, it's yours... it's your moment, now you're global and soaring."
'Go get it, it's yours' — the partnership high-water mark. The Act III reprise answers it full-circle.
Demo Reel 03
Sc 13 · INT. Kate’s Apartment, Living Room — Day
From the script
MARTIN: Kate, nothing happened. We were just dancing and sipping on champagne and—
KATE: We're done! Get out!
Sung on the demo reel
"As much as I hate you, baby, I don't want you to leave... your love got me wrapped around your finger — I get weak, can't breathe."
Love-drunk irony — a sucker for love, literally. The last seconds the dream is still playing before it breaks.
Demo Reel 11
Sc 14 · INT. Kate’s Living Room — Day
From the script
KATE: Martin and I are no longer together, so he's not allowed in the building or my unit anymore, for any reason, okay?
JERRY: Understood, Ms. Maring.
Sung on the demo reel
"I meant what I said and I'm falling out of love with you — the hardest thing I ever had to do is look you in the eye and tell the truth."
The betrayal turn — falling out of love told to its face. Reprises softly at Sc 63–65, the Christmas Eve low point.
One cinematic transition carries the whole act — a script-written radio cue rolls Chicago into the Pocono Mountains.
Demo Reel 04
Sc 16–22 · Kate’s Car / Pocono Mountains
From the script
JERRY: Rough day, huh?
KATE: Don't even get me started.
Sung on the demo reel
"We're gonna fly tonight — nothing can hold me down... I see the picture so clearly now, looking down at the ground."
'We're gonna fly tonight... I see the picture so clearly now, looking down at the ground' — the road-trip identity beat and the film’s most cinematic transition, written for the aerial.
The warmth of the film: twins' football, pancake breakfasts, fireplace slow songs, and the goodbye that quietly breaks Kate's heart.
Demo Reel 09
Sc 31–33 · Cabin Kitchen & Living Room — Night
From the script
EDWIN: Enough talking about depressing things. We're celebrating Thanksgiving, remember?
KATE: Edwin's right.
Sung on the demo reel
"Ball on the universe, live your life free... sick of all the negatives, from your homie to your relative."
Communal joy — the clap-along moment Kate belongs to a family. Uptempo gravity for the Thanksgiving heart of the film.
Demo Reel 08
Sc 34 · Cabin Living Room — Fireplace
From the script
EDWIN: Come on, Mama!
A slow song comes on the radio, and Kate watches Tammy Jo and Buddy slow dance.
Sung on the demo reel
"Remember — what don't break you helps create you... whatever it is you want, you got it: go get it, it's yours."
'What don't break you helps create you' — the theme stated in the warmest room of the film. Emotional centerpiece and awards submission track.
Demo Reel 06
Sc 38–41 · Cabin Porch → Hospital ER
From the script
EDWIN: You can take the couch.
KATE: Edwin, I've got to change. I'll be right back.
Sung on the demo reel
"Moments that we made, it's been hard to let them go... I keep calling for you... while I keep chasing gold, it seems I can never forget you."
'Moments that we made, it's been hard to let them go... I keep calling for you' — the farewell to the family that showed her what matters.
The coldest stretch of the film. The penthouse and the firm falling apart play on quiet solo-piano score — the one warm beat is a Chinatown dinner.
Demo Reel 07
Sc 53 · INT. Chinatown, Chinese Restaurant — Night
From the script
KATE: Freedom from my boss. Once I become partner, I won't have to put up with him anymore. I can't wait.
They arrive at a quiet Chinatown restaurant, their table packed with dishes.
Sung on the demo reel
"So if you wanna ride, baby, we could try and see what it do."
One warm human connection in the film’s coldest stretch — the Act I flirt returned, open-hearted and unhurried. The penthouse and firm-fall scenes stay on solo-piano score.
Comeback courtrooms, the script-written New Year's stereo montage, Mr. Singh's handshake — and the credits that turn the score into a soundtrack.
Demo Reel 02
Sc 57–58 · Judge Finn’s Courtroom
From the script
JUDGE FINN: You can all be seated. Mr. Barth, call your first witness.
HENRY: Thank you, your Honor. We'd like to call Kate Maring to the witness stand.
Sung on the demo reel
"I'm a believer... and I believe it."
Stripped reprise of the opener — the believer returns, no production gloss needed.
Demo Reel 05
Sc 68–70 · New Year’s Day Cleaning MONTAGE
From the script
KATE (voicemail): Hi Mother, it's Katie. Just wanted to wish you and Martha a belated Merry Christmas. Oh, and Happy New Year too. Bye.
Loud music blares from Kate's stereo as the New Year's Day cleaning montage begins.
Sung on the demo reel
"Ball on the universe, live your life free... sick of all the negatives, from your homie to your relative."
The most sync-critical placement in the film — fists-in-the-air rebirth energy for the New Year’s Day rebuild.
Demo Reel 01
Sc 75–77 · Mr. Singh’s Office → Elevators / Game Room
From the script
KATE: Mr. Singh, I accept your offer. Is it okay if I start tomorrow?
MR. SINGH: No problem.
The final-acceptance answer to the Act I partnership toast — same song, new meaning: self-worth over prestige.
Demo Reel 05
End Credits
From the script
MOLLY: Whoa! I'm on Kate's team.
MIKEY: No way! I'm on her team. You're on Dad's team.
Sung on the demo reel
"Whatever it is you want, you got it — go get it, it’s yours."
The single audiences leave the theater searching for — the album's mission statement, streaming driver, and the awards-submission window: the song written for the film, played in full over the credits.
Placement is the product: every song sits in the scene where it can do the most emotional damage, and the map itself is structured for the awards campaign.
The Sc 1 title card, the Sc 7–8 limo blast (High), the Sc 13 cut-dead freeze on the heels, the Sc 34 fireplace slow song, and the Sc 68–70 stereo montage — five moments engineered to land cold on a first-time audience and cut straight into the trailer campaign.
Impact is contrast: hard silence before the Sc 14 confession, the New York fall stripped to solo piano, and every needle-drop ducked under dialogue. The quiet is what makes the loud go off — for the audience in the seat and for the awards voter watching the screener.
A Believer, It’s Yours, Hook Up, and Meant What I Said each return with new meaning — the melodic callback structure that ties the score to the story. Callbacks are why audiences leave humming the soundtrack and stream it on repeat after the credits.
Whatever It Is (It’s Yours) at the Sc 34 fireplace is the Best Song Written for Visual Media submission — the theme stated at the emotional peak. Meant What I Said (dripped) plays in full over the credits, and the soundtrack album sequenced to the reel order is the Best Compilation Soundtrack for Visual Media play.