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Scene Map 54
# PG SLUGLINE
1 1
BECOMING BEN
2 3
INT DEXTER HIGH SCHOOL - SWIMMING POOL DAY
3 5
INT CATHY'S HOUSE - KITCHEN MORNING
4 6
EXT DEXTER HIGH - COURTYARD CONTINUOUS
5 7
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
6 8
INT DEXTER HIGH - HALLWAY AFTERNOON
7 12
EXT FOX PARK AFTERNOON
8 13
INT CATHY'S HOUSE - KITCHEN EVENING
9 15
EXT MOVIE THEATER NIGHT
10 18
EXT SIDEWALK CONTINUOUS
11 19
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
12 21
INT FRAT HOUSE NIGHT
13 21
INT BEN'S CAR CONTINUOUS
14 22
EXT FOX PARK DAY
15 25
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
16 26
INT DEXTER HIGH - SWIMMING POOL AFTERNOON
17 27
INT DEXTER HIGH - HISTORY CLASSROOM AFTERNOON
18 30
INT DEXTER HIGH - HALLWAY CONTINUOUS
19 31
INT DEXTER HIGH - PRINCIPAL'S OFFICE AFTERNOON
20 33
INT FINN'S HOUSE - KITCHEN EVENING
21 36
INT FINN'S HOUSE - KITCHEN CONTINUOUS
22 37
INT DEXTER HIGH - PRINCIPAL'S OFFICE MORNING
23 38
INT DEXTER HIGH - HALLWAY MORNING
24 39
INT DEXTER HIGH - SWIMMING POOL AFTERNOON
25 39
INT DEXTER HIGH - PRINCIPAL'S OFFICE AFTERNOON
26 43
EXT PETER'S OFFICE CONTINUOUS
27 46
INT CATHY'S CAR MORNING
28 47
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
29 48
INT CATHY'S HOUSE - KITCHEN SAME TIME
30 49
INT CATHY'S OFFICE MORNING
31 50
INT CATHY'S HOUSE - KITCHEN LATER
32 53
INT CATHY'S HOUSE - BEN'S BEDROOM CONTINUOUS
33 54
INT DEXTER HIGH - LOCKER ROOM SHOWERS DAY
34 55
INT CATHY'S HOUSE - HALLWAY CONTINUOUS
35 56
INT FINN'S HOUSE - BEDROOM NIGHT
36 57
INT HOSPITAL CORRIDOR CONTINUOUS
37 60
INT HOSPITAL ROOM CONTINUOUS
38 64
INT HOSPITAL PSYCH UNIT - DR. CARSON'S OFFICE AFTERNOON
39 68
INT HOSPITAL PSYCH UNIT - BEN'S ROOM CONTINUOUS
40 69
EXT CATHY'S HOUSE AFTERNOON
41 69
EXT CITY STREETS CONTINUOUS
42 70
EXT FOX PARK CONTINUOUS
43 74
INT FINN'S HOUSE - KITCHEN EVENING
44 76
INT HOSPITAL CORRIDOR AFTERNOON
45 77
INT HOSPITAL PSYCH UNIT - PRIVATE LOUNGE AFTERNOON
46 89
INT HOSPITAL PSYCH UNIT - BEN'S ROOM CONTINUOUS
47 90
INT HOSPITAL CORRIDOR AFTERNOON
48 92
INT HOSPITAL PSYCH UNIT - GROUP THERAPY ROOM AFTERNOON
49 94
INT DR. CARSON'S PRIVATE PRACTICE OFFICE AFTERNOON
50 96
EXT COFFEE SHOP - MORNING - SUMMER 2018
51 98
EXT SIDEWALK CONTINUOUS
52 99
EXT STANFORD UNIVERSITY - QUAD AFTERNOON
53 101
EXT CITY STREET CORNER DAY
54 102
INT STANFORD UNIVERSITY - SWIMMING POOL DAY
Scene Map
54
# PG SLUGLINE
1 1
BECOMING BEN
BECOMING BEN
BECOMING BEN David Goldstein 2025 David Goldstein 1201 Yale Place #1808 Minneapolis, MN 55403
2 3
INT DEXTER HIGH SCHOOL - SWIMMING POOL DAY
INT. DEXTER HIGH SCHOOL - SWIMMING POOL - DAY
INT. DEXTER HIGH SCHOOL - SWIMMING POOL - DAY A high school SWIM MEET between DEXTER HIGH SCHOOL and PARK HIGH SCHOOL is in full swing. The CROWD buzzes with energy. The SIX SWIMMERS in the 100-meter freestyle stand on the pool deck next to the STARTING BLOCKS.
3 5
INT CATHY'S HOUSE - KITCHEN MORNING
INT. CATHY'S HOUSE - KITCHEN - MORNING
INT. CATHY'S HOUSE - KITCHEN - MORNING CATHY MICHAELS (42) is Ben's mother. She‘s a successful business executive, attractive, but not glamorous. She’s making breakfast in the kitchen of their affluent suburban home. The kitchen has a contemporary design with a center
4 6
EXT DEXTER HIGH - COURTYARD CONTINUOUS
EXT. DEXTER HIGH - COURTYARD - CONTINUOUS
EXT. DEXTER HIGH - COURTYARD - CONTINUOUS STUDENTS are lingering around outside talking and throwing footballs, etc. before classes start. Ben arrives at the Dexter High School BIKE RACK and locks his bike to it.
5 7
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING A typical school classroom--plain white walls, adorned with posters related to American history. Finn's desk has an open laptop, notebook, papers, and books on it. The STUDENTS are sitting at desks arranged in neat rows. Ben
6 8
INT DEXTER HIGH - HALLWAY AFTERNOON
INT. DEXTER HIGH - HALLWAY - AFTERNOON
INT. DEXTER HIGH - HALLWAY - AFTERNOON Students are scattered around, rushing to their next classes. Ben walks up to his locker and opens it. He removes his JOURNAL and laptop from the backpack and slams the locker shut. EMMA (18), a senior and Ben's oldest friend, is large,
7 12
EXT FOX PARK AFTERNOON
EXT. FOX PARK - AFTERNOON
EXT. FOX PARK - AFTERNOON A warm afternoon sun shines on a secluded, wooded area of Fox Park. There is a large pond with walking and biking trails surrounding the peaceful setting. Ben, wearing a hoodie, sits under a large shade tree writing in his journal.
8 13
INT CATHY'S HOUSE - KITCHEN EVENING
INT. CATHY'S HOUSE - KITCHEN - EVENING
INT. CATHY'S HOUSE - KITCHEN - EVENING Cathy is in the kitchen making dinner. Ben enters the kitchen through the door to the garage carrying his backpack. CATHY Hi, Ben.
9 15
EXT MOVIE THEATER NIGHT
EXT. MOVIE THEATER - NIGHT
EXT. MOVIE THEATER - NIGHT Ben and Emma walk down a sidewalk toward a multiplex movie theater. One theater is showing The Rocky Horror Picture Show. Emma is dressed like the character Columbia. A group of other YOUNG PEOPLE wearing costumes also hang around outside
10 18
EXT SIDEWALK CONTINUOUS
EXT. SIDEWALK - CONTINUOUS
EXT. SIDEWALK - CONTINUOUS Finn and Dylan walk down the sidewalk in an uncomfortable silence. Dylan sensing tension, slips an arm around Finn, drawing him close. DYLAN
11 19
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING Finn is writing on the whiteboard with his back to the students. Ben, out-of-breath and carrying his backpack, enters quickly and goes to his desk at the back of the class. He intently
12 21
INT FRAT HOUSE NIGHT
INT. FRAT HOUSE - NIGHT
INT. FRAT HOUSE - NIGHT A party is in full swing. Loud music thumps, filling the room with vibrant energy. The living room and dining areas are packed with people dancing or gathered around a keg of beer and a table with an array of Jello-shots on it.
13 21
INT BEN'S CAR CONTINUOUS
INT. BEN'S CAR - CONTINUOUS
INT. BEN'S CAR - CONTINUOUS EMMA (a little drunk) That party was awesome. BEN
14 22
EXT FOX PARK DAY
EXT. FOX PARK - DAY
EXT. FOX PARK - DAY Finn and Ben are standing shirtless in Fox Park, their body's glistening with sweat. They are kissing deeply. Ben’s head drops back and Finn gently kisses his neck, Ben’s face showing his ecstasy.
15 25
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING Finn walks around the classroom, handing out blue books with graded tests. The students anxiously await their results. FINN Remember we're going to be watching
16 26
INT DEXTER HIGH - SWIMMING POOL AFTERNOON
INT. DEXTER HIGH - SWIMMING POOL - AFTERNOON
INT. DEXTER HIGH - SWIMMING POOL - AFTERNOON A swim meet is in full swing. The 100-meter freestyle event is going on. The crowd is cheering as the swimmers come down the homestretch. Ben is struggling. His strokes are choppy, and he is losing
17 27
INT DEXTER HIGH - HISTORY CLASSROOM AFTERNOON
INT. DEXTER HIGH - HISTORY CLASSROOM - AFTERNOON
INT. DEXTER HIGH - HISTORY CLASSROOM - AFTERNOON The room is quiet. Finn sits at his desk grading papers. The door is slightly ajar. Ben, wearing his letter jacket and backpack, stands in the doorway holding his helmet. He hesitates, then knocks softly.
18 30
INT DEXTER HIGH - HALLWAY CONTINUOUS
INT. DEXTER HIGH - HALLWAY - CONTINUOUS
INT. DEXTER HIGH - HALLWAY - CONTINUOUS Ben runs down the hallway, dropping his helmet. He abruptly stops in front of a row of lockers, breathing heavily. He slams his fist into the lockers again and again until his knuckles bleed.
19 31
INT DEXTER HIGH - PRINCIPAL'S OFFICE AFTERNOON
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - AFTERNOON
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - AFTERNOON Finn stands at the open door of PRINCIPAL TOM PETERS'S (50's) office. Peters is dressed conservatively and professional. He is kind and caring, but firm as well. The office has a drab, uninviting vibe. Peters sits at his desk typing.
20 33
INT FINN'S HOUSE - KITCHEN EVENING
INT. FINN'S HOUSE - KITCHEN - EVENING
INT. FINN'S HOUSE - KITCHEN - EVENING The great room of Finn and Dylan's cozy mid-century modern home. It has an open plan kitchen done in white with a dining table and 4 chairs around it. In the other part of the room is the living room area.
21 36
INT FINN'S HOUSE - KITCHEN CONTINUOUS
INT. FINN'S HOUSE - KITCHEN - CONTINUOUS
INT. FINN'S HOUSE - KITCHEN - CONTINUOUS DYLAN (quietly) It's late. Come to bed. FINN
22 37
INT DEXTER HIGH - PRINCIPAL'S OFFICE MORNING
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - MORNING
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - MORNING Peters is sitting at his desk reviewing documents. Finn appears at his doorway. FINN (serious)
23 38
INT DEXTER HIGH - HALLWAY MORNING
INT. DEXTER HIGH - HALLWAY - MORNING
INT. DEXTER HIGH - HALLWAY - MORNING Ben, wearing his letter jacket, walks without his usual confidence through a crowded hallway of STUDENTS, all bustling to and from classes. He reaches his locker, opens it, and hangs his jacket inside. Without glancing at anyone,
24 39
INT DEXTER HIGH - SWIMMING POOL AFTERNOON
INT. DEXTER HIGH - SWIMMING POOL - AFTERNOON
INT. DEXTER HIGH - SWIMMING POOL - AFTERNOON The pool area is filling up with students and spectators before a meet. Some swimmers are in the pool practicing strokes and flip turns. INT. DEXTER HIGH - LOCKER ROOM - SAME TIME
25 39
INT DEXTER HIGH - PRINCIPAL'S OFFICE AFTERNOON
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - AFTERNOON
INT. DEXTER HIGH - PRINCIPAL'S OFFICE - AFTERNOON Principal Peters sits at his desk typing. Ben knocks on the door frame looking tired and appears edgy. PETERS (warm smile)
26 43
EXT PETER'S OFFICE CONTINUOUS
EXT. PETER'S OFFICE - CONTINUOUS
EXT. PETER'S OFFICE - CONTINUOUS He grabs the neck of his shirt and bows his head, hardly able to breathe. CATHY’S HOUSE – KITCHEN – EVENING Cathy is at the stove making dinner. The table is set.
27 46
INT CATHY'S CAR MORNING
INT. CATHY'S CAR - MORNING
INT. CATHY'S CAR - MORNING Cathy and Ben drive to Ben's school in silence. The car comes to a stop in front of the school. Ben reaches for the door handle, opens the door, and begins to step out. CATHY
28 47
INT DEXTER HIGH - HISTORY CLASSROOM MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING
INT. DEXTER HIGH - HISTORY CLASSROOM - MORNING The students sit at their desks waiting for an exam to begin. Ben looking tired and a little disheveled enters late. FINN (gently)
29 48
INT CATHY'S HOUSE - KITCHEN SAME TIME
INT. CATHY'S HOUSE - KITCHEN - SAME TIME
INT. CATHY'S HOUSE - KITCHEN - SAME TIME Ben is in the kitchen drinking from a carton of orange juice. Cathy's phone is sitting on the counter. The cell phone rings. CATHY (O.S.)
30 49
INT CATHY'S OFFICE MORNING
INT. CATHY'S OFFICE - MORNING
INT. CATHY'S OFFICE - MORNING Cathy is sitting at her desk in a stylish, contemporary office looking over some papers. Her cell rings. She glances at the caller ID and sees "Dexter High School." She answers it.
31 50
INT CATHY'S HOUSE - KITCHEN LATER
INT. CATHY'S HOUSE - KITCHEN - LATER
INT. CATHY'S HOUSE - KITCHEN - LATER Ben, looking more unkempt, enters into the kitchen through the outside door, closing it quietly behind him. He throws his backpack on the counter, goes to the refrigerator, takes out a carton of orange juice, and drinks
32 53
INT CATHY'S HOUSE - BEN'S BEDROOM CONTINUOUS
INT. CATHY'S HOUSE - BEN'S BEDROOM - CONTINUOUS
INT. CATHY'S HOUSE - BEN'S BEDROOM - CONTINUOUS Ben bursts into the room slamming the door behind him. He collapses onto the bed, staring blankly at the ceiling. He tries to steady himself, but he is at the point of almost hyperventilating, his agitation growing by the second.
33 54
INT DEXTER HIGH - LOCKER ROOM SHOWERS DAY
INT. DEXTER HIGH - LOCKER ROOM SHOWERS - DAY
INT. DEXTER HIGH - LOCKER ROOM SHOWERS - DAY Ben (17) is about to enter the showers when he sees Finn showering. He's stopped cold and looks dumbstruck. His breath catches in his throat. Ben stares at Finn.
34 55
INT CATHY'S HOUSE - HALLWAY CONTINUOUS
INT. CATHY'S HOUSE - HALLWAY - CONTINUOUS
INT. CATHY'S HOUSE - HALLWAY - CONTINUOUS Cathy approaches Ben's closed bedroom door carrying his backpack. She knocks on the door, but there is no response. She opens the door. INT. CATHY'S HOUSE - BEN'S BEDROOM - CONTINUOUS
35 56
INT FINN'S HOUSE - BEDROOM NIGHT
INT. FINN'S HOUSE - BEDROOM - NIGHT
INT. FINN'S HOUSE - BEDROOM - NIGHT Finn and Dylan are in bed sleeping when Finn's cell phone rings waking them both. Finn rolls over and turns on the lamp on the bedside table, then he picks up his phone and looks at the screen.
36 57
INT HOSPITAL CORRIDOR CONTINUOUS
INT. HOSPITAL CORRIDOR - CONTINUOUS
INT. HOSPITAL CORRIDOR - CONTINUOUS The hospital elevator doors open and Finn rushes out into the sterile environment of the hospital floor. There is large desk where nurses and aides sit. There are IV poles and wheelchairs in the corridor and the
37 60
INT HOSPITAL ROOM CONTINUOUS
INT. HOSPITAL ROOM - CONTINUOUS
INT. HOSPITAL ROOM - CONTINUOUS The door to the room is slightly ajar. The small room has a sterile look and feel without even a picture. Ben is hooked up to medical equipment. He lies motionless, staring blankly at the ceiling.
38 64
INT HOSPITAL PSYCH UNIT - DR. CARSON'S OFFICE AFTERNOON
INT. HOSPITAL PSYCH UNIT - DR. CARSON'S OFFICE - AFTERNOON
INT. HOSPITAL PSYCH UNIT - DR. CARSON'S OFFICE - AFTERNOON Ben sits rigidly in a comfortable chair in DR. MARK CARSON'S office at the hospital. The office is warm and serene. Dr. Carson (40's) has a demeanor that is calm, and soft- spoken, but professional. He sits in a comfortable chair
39 68
INT HOSPITAL PSYCH UNIT - BEN'S ROOM CONTINUOUS
INT. HOSPITAL PSYCH UNIT - BEN'S ROOM - CONTINUOUS
INT. HOSPITAL PSYCH UNIT - BEN'S ROOM - CONTINUOUS Ben angrily enters his small, spare, non-descript room, slamming the door behind him. Besides a bed, there is a small desk. He paces back and forth, getting more agitated. He suddenly stops.
40 69
EXT CATHY'S HOUSE AFTERNOON
EXT. CATHY'S HOUSE - AFTERNOON
EXT. CATHY'S HOUSE - AFTERNOON A taxi pulls up in front of Cathy’s house. Ben gets out and walks to the front door. He removes a house key from a small box buried under a pile of stones next to the front door, and lets himself in.
41 69
EXT CITY STREETS CONTINUOUS
EXT. CITY STREETS - CONTINUOUS
EXT. CITY STREETS - CONTINUOUS Ben swigs vodka as he furiously rides his bike, weaving recklessly in and out of traffic until he gets to Fox Park. EXT. FOX PARK - CONTINUOUS Ben arrives at Fox Park and rides his bike to his usual spot.
42 70
EXT FOX PARK CONTINUOUS
EXT. FOX PARK - CONTINUOUS
EXT. FOX PARK - CONTINUOUS Finn arrives at Fox Park and parks his car. He gets out and sprints to where he knows he will find Ben. He sees Ben slumped against the tree, drunk. The bottle of vodka lies next to him.
43 74
INT FINN'S HOUSE - KITCHEN EVENING
INT. FINN'S HOUSE - KITCHEN - EVENING
INT. FINN'S HOUSE - KITCHEN - EVENING Finn walks from the kitchen into the living room wearing sweatpants and a T-shirt, drinking a beer. Dylan enters the room wearing a business suit. He walks over to Finn and gives him a quick kiss.
44 76
INT HOSPITAL CORRIDOR AFTERNOON
INT. HOSPITAL CORRIDOR - AFTERNOON
INT. HOSPITAL CORRIDOR - AFTERNOON CHAD (40s) is a group therapist. He is a gentle giant who looks imposing, and is anything but. He walks down the corridor to Ben's room. INT. HOSPITAL PSYCH UNIT - BEN'S ROOM - AFTERNOON
45 77
INT HOSPITAL PSYCH UNIT - PRIVATE LOUNGE AFTERNOON
INT. HOSPITAL PSYCH UNIT - PRIVATE LOUNGE - AFTERNOON
INT. HOSPITAL PSYCH UNIT - PRIVATE LOUNGE - AFTERNOON The lounge is small and private, designed to be warm and inviting. Cathy and Dr. Carson sit tensely in the comfortable chairs. Finn is on edge, standing with a coffee cup, feeling out of
46 89
INT HOSPITAL PSYCH UNIT - BEN'S ROOM CONTINUOUS
INT. HOSPITAL PSYCH UNIT - BEN'S ROOM - CONTINUOUS
INT. HOSPITAL PSYCH UNIT - BEN'S ROOM - CONTINUOUS Ben sits on this bed, hugging his knees with his head bowed. Cathy enters hesitantly. CATHY (quietly emotional)
47 90
INT HOSPITAL CORRIDOR AFTERNOON
INT. HOSPITAL CORRIDOR-AFTERNOON
INT. HOSPITAL CORRIDOR-AFTERNOON Emma walks down the corridor to the nurse's desk. The nurse points to Ben's room. She goes to Ben's room. She hesitates then knocks quietly on the door.
48 92
INT HOSPITAL PSYCH UNIT - GROUP THERAPY ROOM AFTERNOON
INT. HOSPITAL PSYCH UNIT - GROUP THERAPY ROOM - AFTERNOON
INT. HOSPITAL PSYCH UNIT - GROUP THERAPY ROOM - AFTERNOON Chad and a group of TEENAGE PATIENTS, sit in a circle on folding chairs. The room is welcoming, calming, and private. One of the teens is speaking, but we don't hear her. We see Ben sitting quietly listening, a serious expression on his
49 94
INT DR. CARSON'S PRIVATE PRACTICE OFFICE AFTERNOON
INT. DR. CARSON'S PRIVATE PRACTICE OFFICE - AFTERNOON
INT. DR. CARSON'S PRIVATE PRACTICE OFFICE - AFTERNOON Dr. Carson's office has a warm and inviting atmosphere. Ben and Dr. Carson sit facing each other in comfortable chairs. DR. CARSON So, Ben, how was your week?
50 96
EXT COFFEE SHOP - MORNING - SUMMER 2018
EXT. COFFEE SHOP - MORNING - SUMMER 2018
EXT. COFFEE SHOP - MORNING - SUMMER 2018 Three years have past. Ben is now 21 years old. He sits in a coffee shop that is bright, contemporary and has an upbeat vibe. From outside the front window, we see him sitting at a table talking lightheartedly with someone. We discover it's
51 98
EXT SIDEWALK CONTINUOUS
EXT. SIDEWALK - CONTINUOUS
EXT. SIDEWALK - CONTINUOUS FINN I’m this way. They walk in the direction of Finn's car. BEN
52 99
EXT STANFORD UNIVERSITY - QUAD AFTERNOON
EXT. STANFORD UNIVERSITY - QUAD - AFTERNOON
EXT. STANFORD UNIVERSITY - QUAD - AFTERNOON The University's Quad is a wide, open, green space lined with palm trees. STUDENTS relax on the grassy lawns, some reading, some
53 101
EXT CITY STREET CORNER DAY
EXT. CITY STREET CORNER - DAY
EXT. CITY STREET CORNER - DAY Emma stands on a city street corner and calls Ben. INTERCUT: EXT. STANFORD UNIVERSITY - QUAD - SAME TIME Ben sits on the Quad journaling. His phone rings and he
54 102
INT STANFORD UNIVERSITY - SWIMMING POOL DAY
INT. STANFORD UNIVERSITY - SWIMMING POOL - DAY
INT. STANFORD UNIVERSITY - SWIMMING POOL - DAY The pool arena is empty. Ben walks slowly to the starting blocks with a serious look on his face. He hesitantly climbs up on to one and assumes the starting crouch. He closes his eyes, hesitates, then launches himself off the

Becoming Ben

A brilliant high school swimmer collapses under the weight of hidden abuse and a forbidden crush on his teacher; when his secret attempt at escape nearly kills him, he must choose whether to let therapy and imperfect adults help him learn to survive—and to become himself.

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Overview

Poster
Unique Selling Point

This screenplay uniquely combines the LGBTQ+ coming-of-age genre with a serious exploration of childhood sexual trauma and mental health crisis, offering rare authenticity in its portrayal of how trauma manifests in high-achieving adolescents. The script stands out for its psychological depth, sensitive handling of teacher-student boundaries, and its ultimately hopeful message about recovery and resilience.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Gemini
 Consider
Claude
 Recommend
Grok
 Recommend
DeepSeek
 Recommend
Average Score: 7.9
Key Takeaways
For the Writer:
The script's emotional core and central arc — Ben's collapse and recovery — are strong and film-ready. To sharpen the work, fix two credibility gaps that distract from the drama: (1) make the institutional/legal thread explicit (what happened to Bill, how the school, CPS and police responded, and what formal steps were taken after Ben's disclosure), and (2) tighten the escape/gun logistics so Ben's actions are believable (either show a clear security lapse or rework the sequence so it doesn't require implausible access). While you’re at it, trim repetitive middle-act beats, reduce on-the-nose therapeutic monologues, and give Cathy and a couple of secondary characters one or two clearer, concrete beats each — that will deepen stakes without diluting the intimate focus on Ben.
For Executives:
Becoming Ben is a high-quality, character-driven indie with festival and educational/awareness appeal: it handles trauma and queer adolescence with sensitivity and has a marketable ‘social-impact’ hook (mental health / school prevention programs). The primary risk for production and distribution is credibility exposure around institutional response and logistics — audiences and stakeholders will expect clear accountability (what happened to the abuser, how the school handled mandatory reporting) and will question any implausible escape/weapon sequences. Fixing those elements is low-cost in pages but high-value commercially: it reduces legal/PR risk, increases acceptability for partner organizations, and preserves the script’s emotional authority.
Story Facts
Genres:
Drama 70% Romance 20%

Setting: 2014-2018, Dexter High School, suburban home, Fox Park, and Stanford University

Themes: Trauma and Abuse Recovery, Mental Health and Suicide, Queer Identity and Self-Discovery, The Importance of Support Systems, Navigating Boundaries and Responsibility

Conflict & Stakes: Ben's internal struggle with mental health, trauma from past abuse, and his feelings for Finn, which culminate in a suicide attempt, putting his life and relationships at stake.

Mood: Introspective and somber, with moments of hope and resilience.

Standout Features:

  • Unique Hook: The exploration of a teacher-student relationship that challenges boundaries while addressing mental health.
  • Plot Twist: Ben's suicide attempt serves as a pivotal moment that shifts the narrative towards healing and acceptance.
  • Innovative Ideas: The integration of therapy sessions and group dynamics to depict Ben's journey towards recovery.
  • Distinctive Settings: The contrast between the high school environment, home life, and the serene yet tense atmosphere of the hospital.

Comparable Scripts: Dead Poets Society, The Perks of Being a Wallflower, Love, Simon, A Separate Peace, Boy Erased, Euphoria, The Edge of Seventeen, To the Bone, A Star is Born

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.30
Key Suggestions:
Focus your next draft on two craft priorities: deepen the supporting characters (Emma, Dylan, Cathy and even Bill in measured flashbacks) so they carry stakes of their own, and tighten Act Two's emotional pacing by eliminating repetitive distress beats. Give secondary characters scenes that show private motivations and consequences (brief solo moments, choices that affect Ben), and replace some repetitive crises with quieter, symbolic beats that escalate tension more organically. These changes will make Ben's journey feel earned, reduce melodrama, and provide clearer turning points for the audience to follow.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
Tighten and deepen the middle act: slow the escalation so Ben’s unraveling feels earned, integrate subtle foreshadowing of his past trauma earlier, and give Cathy a fuller arc so her delayed awareness is credible. Clarify Finn’s boundaries and motivations on-screen (and Dylan’s role as a moral counterpoint) so the teacher-student dynamic reads ethically clear rather than ambiguous. These changes will make emotional beats land, reduce the sense of rushed plotting, and give the final recovery more resonance.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The script's emotional core is Ben's journey from achievement-masked stability to crisis and recovery. Right now that arc lands powerfully in key scenes but sometimes feels episodic—moments of unraveling (midpoint decline, the attempt) need clearer buildup and more consistent through-lines so the transformation feels earned. Focus on increasing subtle foreshadowing, tying recurring motifs (especially swimming/water) to Ben's inner state, and adding a stronger mid-act resistance to change. Also tighten relationship beats (Finn, Cathy, Emma) so they actively shape Ben's choices rather than only react to them. Small, specific additions—brief pre-trauma glimpses, interior cues (journal entries/visual motifs), and calibrated dialogue shifts—will make Ben’s emotional shifts clearer and heighten audience empathy without changing the story’s structure.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Key Suggestions:
The script’s emotional core is powerful but currently front‑loads triumph, then barrels into a prolonged, high‑intensity crisis without enough setup or recovery beats. Tighten the emotional architecture: seed subtle anxiety under Ben’s confident façade in Act One, add brief moments of levity or human warmth through the bleak middle to give audiences emotional breathing room, and extend the recovery arc with specific small victories and callbacks to earlier moments so the payoff feels earned. Also deepen Cathy's and Finn’s internal arcs (guilt, boundary conflict) so the supporting emotions don’t feel merely reactive.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The script has a powerful emotional spine: Ben's move from performance-driven validation to fragile self-acceptance. Tighten the throughline by making Ben's internal choices more active — show concrete moments where he chooses authenticity over acceptance (or fails and learns), and make the therapeutic/relational work feel earned and ongoing rather than neatly resolved. Equally important: remove any ambiguity around Finn's role. Make Finn's ethical boundaries and decisions explicit on-screen so the audience understands he acted responsibly; this protects Ben's arc from being read as endorsing an inappropriate relationship. Finally, deepen a few turning points (the locker-punch, the hospital confrontation, group therapy progress) so the emotional beats build logically to the final, quieter acceptance at the pool.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
This script has powerful emotional core—an authentic, raw arc of trauma, crisis, and recovery anchored by Ben's journey toward self-acceptance. To strengthen it, tighten the dramatic throughlines: make the causal links between trauma, attraction, and collapse clearer without simplifying them; deepen Finn's interior conflicts so his choices feel inevitable and ethically grounded; and eliminate or rework any scenes that could read as ambiguous or exploitative (especially teacher–student interactions). Use pacing to let quieter recovery beats land and lean on small, concrete moments that show growth rather than telling it.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
Tighten the script around motivation, plausibility, and sensitivity. Resolve the key character and plot credibility issues: make Finn’s choices (texts, reactions, and how he locates Ben) consistent with a careful, professional teacher; explain the gun’s presence and Ben’s access in a way that feels earned; and slow the emotional arcs so Ben’s breakdown and recovery follow believable psychological beats. Streamline repeated flashbacks and duplicate emotional set-pieces to strengthen pacing and increase impact. Where the story handles sexual abuse and suicide, keep scenes purposeful, consult experts, and avoid gratuitous or exploitative staging.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice

Assesses the distinctiveness and personality of the writer's voice.

Key Suggestions:
Your voice — a blend of sharp, authentic teen banter, subtle humor, and deep emotional stakes — is the script’s greatest asset. Lean into that strength by tightening tone consistency (so scenes shift smoothly from levity to trauma without feeling jarring) and by sharpening a few key scenes as emotional anchors (the swim meets, the Fox Park moments, and the hospital reconciliation). Most importantly, make the teacher–student boundary unambiguous on the page: keep Finn clearly supportive and professional while preserving the complexity of Ben’s feelings. Small, specific behavioral choices and beats will preserve your nuance without risking misinterpretation.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
Strengthen the script by deepening character psychology and tightening scene construction. Right now the material has powerful moments but often relies on plot beats to carry emotion rather than fully realized inner life — especially Ben and Finn. Invest in richer backstories, clear motivations, and subtext-driven dialogue so scenes both reveal character and escalate stakes. Use targeted scene rewrites (reverse engineering, dialogue-only exercises) to sharpen pacing and ensure each beat earns its emotional payoff while preserving the story's authenticity around trauma and queer identity.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
Lean into the world contrasts already present (sterile hospital vs. open park vs. confined school) with sharper sensory detail and tighter cause-effect so locations feel like active characters. Most urgent: clarify and ethically frame the Finn/Ben dynamic so Finn’s boundaries, choices, and institutional constraints are explicit on-screen — this will protect the story from being read as exploitative and will deepen the emotional stakes. Use setting to externalize Ben’s inner life (e.g., pool sequences, locker room, park beats) and tighten pacing in Act Two so Ben’s unraveling feels inevitable and rooted in specific incidents rather than vague mood shifts.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The analysis shows that the screenplay's quality tracks tightly with emotional impact: scenes that hit high emotion score much higher overall. Yet the early 'playful' phase and several reflective late scenes lack stakes and measurable character change, causing uneven momentum. Tighten the middle by planting emotional beats and micro-conflicts inside lighter moments, modulate tension so peaks feel earned, and use dialogue/action to mirror inner shifts. Small, concrete choices in low-stakes scenes (a withheld glance, a sabotaged routine, a private ritual undone) will sustain character evolution between the big crises and make the climaxes land harder.
Loglines
Presents logline variations based on theme, genre, and hook.