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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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EXT. INDIAN TERRITORY - OKLAHOMA - DAY SUPER: 1873 [1873)] BASS REEVES (35, black, determined and focused) rides his roan-colored horse through the mountainous terrain. A rifle hangs loosely from a saddle scabbard, and he wears
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EXT. FT. SMITH - ARKANSAS - DAY Fagan, Bass, and the other posse men tie their horses to the post outside the court. One of the posse men pulls Webb down and leads him inside. FAGAN
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EXT. SASSOON PLANTATION - WOODS - DAY NELLIE JENNIE (16, black, long hair, pleasant) sits in the shade of an old oak tree and lays her head in YOUNG BASS REEVES' (17, black, respectful, honest) lap. He hums a tune the slaves sing when picking cotton, and he
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EXT. SASSOON PLANTATION - DAY Bass climbs the steep side of a creek and walks toward the plantation. Scruffy follows him. As he nears the house, COLONEL REEVES (50, limps, permanent scowl) steps off the porch.
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EXT. SASSOON PLANTATION - NIGHT Colonel Reeves sits astride a large white stallion. Two rifles sit in scabbards on each side, and the horse stomps on the ground seemingly eager to leave. A second horse, a pinto mare, is tied to the other with a
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EXT. CONFEDERATE CAMP - ONE MONTH LATER - DAY Colonel Reeves rides into camp and dismounts. SERGEANT ACHEN (35, stout, bald, talkative) salutes him and grabs his baggage. SERGEANT ACHEN
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INT. SASSOON PLANTATION - BARN - NIGHT SUPER: 1863 Nellie runs when she sees Bass enter. She throws her arms around him and hugs.
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INT. SASSOON PLANTATION - BARN - NIGHT SUPER: TWO MONTHS LATER Bass sits upright and wipes sweat from his forehead. He pulls Scruffy to him and pets the dog’s head while he leans against the barn wall.
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INT. SASSOON PLANTATION - BARN - NIGHT - HOURS LATER Colonel Reeves opens the barn doors and tosses Nellie inside. COLONEL REEVES Be ready for me when I want you, girl. Hear me?
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EXT. SASSOON PLANTATION - NIGHT Bass, Nellie, and Scruffy run from the barn and into the safety of the woods at night. They run through the creek and up a hill, then into the creek again. NELLIE
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EXT. SLAVE COMMUNITY - NIGHT The soldiers lead Bass and Nellie into the camp and introduce them to the camp leader. UNION SOLDIER Reggie, these people need shelter
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EXT. SLAVE COMMUNITY - FARMLAND - DAY Reggie leads Bass to a large field with rows of crops planted, and many more to be plowed. BASS Plantin’ corn?
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EXT. SLAVE COMMUNITY - FARMLAND - NIGHT Reggie scoops a few ladles of soup into a bowl and sits next to Bass and Nellie. REGGIE Not sayin’ you have to go, but they
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EXT. INDIAN TERRITORY - DAY SUPER: 1866 Bass stops Chester, turns in the saddle, and looks in all directions. Scruffy moves alongside
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EXT. SLAVE COMMUNITY - DAY SUPER: 1869 (YEARS LATER) Bass rides into camp sitting tall in Chester’s saddle. When he sees Nellie working the fields, he spurs
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EXT. SLAVE COMMUNITY - DAY [They should have three kids by now and George due in the next year.] Bass sits on a tree stump by the fire alongside Reggie. REGGIE If you’re lookin’ to make money, A
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EXT. SHERIFF’S OFFICE - FT. SMITH - DAY SUPER: 1870 Bass waits outside the sheriff’s office, but when Deputy Marshall Fagan exits the building, Bass
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EXT. TWENTY MILES FROM FT. SMITH - DAY Bass and Deputy Fagan come to a fork in the road. Horse tracks go both ways. Fagan dismounts and examines them. FAGAN What do you make of this?
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EXT. SLAVE COMMUNITY - DAY — MONTHS LATER Bass rides into camp, casually dismounts and ties Chester to a hitching post. When Nellie sees him, she puts down her sewing and runs to hug him.
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EXT. SLAVE COMMUNITY - DAY Bass finishes packing his saddlebag and slips his rifle into the saddle scabbard. Nellie hands him a sack filled with food. NELLIE
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EXT. PINE BLUFF - DAY Fagan shows the warrant to the town SHERIFF (30s, tall and thin) and tells him about FRANK RESTON (40, mean, permanent scowl, quick to anger). SHERIFF
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EXT. SOUTH OF MUSKOGEE - NIGHT Bass rides to the side of the trail, where the rocky ground shows no tracks. When the terrain changes to higher ground, Bass stops and dismounts. BASS
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EXT. SOUTH OF MUSKOGEE - DAY Bass gets up early while the men are still asleep. He walks to the campfire – just embers now — and warms his hands. When no one stirs, he draws both his guns and quietly approaches Frank.
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INT. TENT - CONTINUOUS Nellie hugs Bass, and holds him for a long while. NELLIE Thank the Lord! I been prayin’ for you to be safe.
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INT. BASS AND NELLIE’S TENT - CONTINUOUS Bass laughs, picks her up, and carries her to the tent. BASS I better stick around a while so those folks don’t bother you.
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EXT. SLAVE COMMUNITY — NIGHT Nellie greets him with a smile. NELLIE Hope you got a lot done ‘cause we gonna be needin’ more money.
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EXT. TWO HUNDRED MILES WEST OF FT. SMITH - DAY SUPER: THREE WEEKS LATER Fagan nudges his horse to the side and dismounts. FAGAN I need to rest. Give me ten or
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EXT. APACHE LANDS — DAY BUSTER (30s, big, white, partially bald, short tempered and mean), and BUCK (19, black, independent, determined), and CHENUA (20s, aggressive) ride their horses at a brisk pace through rocky terrain. They continually look over their
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INT. SALOON - DAY The saloon is mostly empty, just a few patrons nursing drinks at the bar. Bass scans the room, his eyes adjusting to the dim light. In the corner, he spots Buster hunched over a bottle of whiskey.
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EXT. FORT SMITH - DAY Bass and Fagan ride into town, their prisoners in tow. A small crowd gathers to watch as they make their way to the courthouse. Some whisper and point at Bass, still unused to seeing a black deputy marshal.
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EXT. FORT SMITH - DAY As Bass and Fagan lead the prisoners into the jail, a commotion breaks out down the street. A MAN comes running towards them, waving his arms frantically. MAN
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INT. SALOON — DAY They reach the saloon and Fagan pushes open the door. FAGAN First round's on me. They settle in at the bar and Bass reflects on the day's
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EXT. FORT SMITH - NIGHT As they step into the night air, Bass hears shouting and the sound of breaking wood coming from down the street. Bass and Fagan rush down the dimly lit street toward the livery stable. As they approach, they hear angry shouts and
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EXT. SLAVE COMMUNITY — NIGHT Bass spurs Chester to a trot, and the horse immediately takes a shortcut through the woods that leads to Bass and Nellie’s home. Bass rides up to the tent and dismounts. Nellie stands
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INT. BASS AND NELLIE’S TENT - DAY [1873] A YOUNG GIRL (12, long, braided hair) sits on a blanket near the back of the tent. She holds ALICE MAE (weeks old, black, giggles) a baby girl, in her arms and rocks back and forth. Bass looks at the baby, then back to Nellie.
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EXT. FT. SMITH - DAY Bass dismounts in front of the Sheriff’s office and steps onto the porch. He is about to knock on the door when it opens and Deputy Fagan comes out. Fagan seems surprised and clasps Bass’s hand.
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INT. GENERAL STORE - DAY - CONTINUOUS Fagan pushes open the door and enters, Bass right behind him. An OLDER MAN (60s, bald, mild mannered) stands behind the counter. He smiles when Fagan walks in, but loses the smile when he sees Bass.
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EXT. GENERAL STORE - DAY - CONTINUOUS SUPER: YEARS LATER Bass goes out for months with Fagan, and returns home with a thousand dollars. He then makes love to Nelly again. BASS
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EXT. REEVES PROPERTY - VAN BUREN, ARKANSAS - DAY SUPER: 1875 The wagon bumps along a rutted dirt road. Bass holds the reins with Nellie beside him, kids in the back. They approach a ramshackle farmhouse with an old barn. The land around it
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EXT. REEVES PROPERTY - MONTAGE - Bass puts tarpaper on the roof, and hammers wood shakes on top of them. He continually wipes sweat from his brow. - Nellie and the children clean the interior, scrubbing floors and washing windows.
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INT. REEVES HOME - NIGHT Bass packs his saddlebags as Nellie watches from the doorway. NELLIE You just got this place feelin’ like a home. Now you're leavin'.
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EXT. STARR CABIN - DAY Bass creeps through the woods behind the cabin and positions himself where he can see through a back window. Inside, BELLE STARR (40, wearing men's clothes) sits, smoking a cigarette and cleaning a rifle.
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EXT. TRAIL TO FORT SMITH - DAY Bass and Fagan lead their prisoners, Belle and Sam Starr, on horseback. Belle rides sidesaddle, looking angry, but not worried. BELLE STARR
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EXT. FORT SMITH - COURTHOUSE - DAY Bass and Fagan deliver Belle and Sam to the courthouse, where Judge Parker awaits. JUDGE PARKER The notorious Belle Starr. Again.
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INT. FORT SMITH - SHERIFF'S OFFICE - DAY Bass sits at a table with THREE DEPUTIES, all white men - JOHN FOSTER (30s, experienced), BILL TAYLOR (20s, eager), and HENRY WILSON (40s, skeptical). BASS
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EXT. BLUE DUCK'S CAMP - DUSK Bass and the deputies approach stealthily. BLUE DUCK (30s, part Cherokee, menacing) sits by a small fire. Two OTHER OUTLAWS are with him. Bass signals for the deputies to spread out, surrounding the
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EXT. TRAIL TO FORT SMITH - DAY Bass and his posse lead Blue Duck and his men back to Fort Smith. Bass's arm is bandaged where Blue Duck cut him. FOSTER That was some fine work back there.
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EXT. REEVES PROPERTY - DAY Bass rides up to his farm, now much improved. The house is freshly painted, the barn repaired, crops growing in neat rows. Nellie and the children run out to greet him. Scruffy barks
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EXT. REEVES PROPERTY - NIGHT Bass sits on the porch, cleaning the barrels of his guns. Nellie sits next to him. NELLIE How long you staying this time?
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INT. FORT SMITH - JUDGE PARKER'S OFFICE - DAY Two weeks later. Bass stands before Judge Parker. JUDGE PARKER I have a special assignment for you, Bass. One that requires your unique skills.
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EXT. REEVES PROPERTY - NIGHT Bass sits with his family for dinner. The mood is solemn. NELLIE How long this time? BASS
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EXT. INDIAN TERRITORY - DAY Bass and his posse track Webb's gang through thick woods, across barren lands and rocky terrain. They've been on the trail for more than a week. FOSTER
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EXT. MOUNTAIN PASS - DUSK Bass and his posse approach a narrow pass between two rocky hills. He stops and listens, then raises his hand, signaling everyone to stop. BASS
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EXT. FOREST - NIGHT Bass pursues Webb through the trees, the only light coming from the moon as it filters through the branches. Webb runs to a rocky outcropping and takes a defensive position, gun ready.
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EXT. FORT SMITH - COURTHOUSE - DAY Bass and his posse ride into town, Webb and his surviving gang members in tow. A crowd gathers to witness the show, pointing and whispering at the sight of Bass leading the notorious Webb.
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EXT. REEVES PROPERTY - DAY Bass rides up to his farm, which has grown considerably. The house is now a proper two-story farmhouse, the barn has been expanded, and crops grow in neat rows across the property. As Bass dismounts, Nellie and all the children run out to
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INT. REEVES HOME - NIGHT The family sits around the dinner table, all the children present. It's crowded but joyful. NELLIE I it true, Papa? One thousand
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EXT. VAN BUREN - TOWN SQUARE - DAY A crowd has gathered for an official ceremony. Bass stands before them in a new marshal's uniform, Nellie and the children beside him. The MAYOR (60s, dignified) pins a silver star to Bass's
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EXT. REEVES PROPERTY - DAY - 1902 SUPER: 1902 Bass Reeves, in his sixties but still strong, sits on his porch reviewing paperwork. A rider, DEPUTY CLARKE (30s, grim- faced), approaches at speed.
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EXT. WOODS - DAY Bass rides Chester, now aging but reliable. He's alone, following tracks only he can read. He comes to a stream and dismounts, examining disturbed pebbles.

The Real Lone Ranger

A pioneering African American deputy marshal in the late 19th century American West must confront his own son, who is wanted for murder, in order to uphold the law he has sworn to protect.

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Overview

Poster
Unique Selling Point

The screenplay stands out for its historical portrayal of Bass Reeves, one of the first black deputy marshals in the Wild West, offering a fresh perspective on a traditionally white-dominated genre. Its compelling storytelling and thematic depth make it a unique and engaging narrative.

AI Verdict & Suggestions

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Claude
 Recommend
GPT4
 Recommend
DeepSeek
 Consider
Story Facts

Genres: Western, Drama, Action, Romance, Family Drama, Historical Drama, Historical, War, Adventure

Setting: 1873 and various flashbacks to earlier years, including 1854 and 1861, Indian Territory, Oklahoma, and Fort Smith, Arkansas

Themes: Justice and Law Enforcement, Racial Identity and Prejudice, Family and Sacrifice, Resilience and Determination, Community and Support

Conflict & Stakes: The central conflict revolves around Bass's pursuit of justice as a black lawman in a racially prejudiced society, facing threats from outlaws like Webb while balancing his responsibilities to his family.

Mood: Tense and dramatic, with moments of warmth and familial love.

Standout Features:

  • Unique Hook: The story of Bass Reeves, one of the first black deputy marshals in the U.S., offers a fresh perspective on the Western genre.
  • Major Twist: The emotional conflict when Bass must confront his own son, accused of murder, adds depth and complexity to the narrative.
  • Distinctive Setting: The juxtaposition of the rugged Indian Territory and the oppressive societal norms of the time creates a rich backdrop for the story.
  • Innovative Ideas: The screenplay blends historical drama with action and social commentary, appealing to a wide range of viewers.

Comparable Scripts: The Harder They Fall, Django Unchained, 12 Years a Slave, The Underground Railroad, Justified, The Revenant, The Magnificent Seven, Roots, The Good Lord Bird

Script Level Analysis

Writer Exec

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Overall Score: 7.61
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Scene Analysis

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Loglines
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