SCENES

# PG SLUGLINE

1 EXT. BELFAST EARLY MORNING 1 Dawn in the Northern Sky. We hear Van Morrison start to play. DOWN TO JOY. Samson and Goliath, two massive cranes dominate the shipyard and the city. The waters of the loch frame the mighty harbour. The town unfolds itself in image after image of river and road, mountain and monument,

4 EXT. BACK ENTRY DAY 4 MOIRA appears at the top of the Entry. MOIRA Hey Buddy! A boy slowly turns. He carries a primitive home-made wooden sword held aloft in one

6 INT. BUDDY’S HOUSE DAY 6 BUDDY dragged through the hall, shoved under the dinner table. MA Keep your head down and don’t move. MA rushes to the door.

13 EXT. BUDDY’S STREET DAY 13 A vicious bacchanal. Faces contorted. More houses marked with the iron grenades. Chants and warnings. Cars kicked, mirrors twisted. Youths jumping, yelling. Hysteria and mayhem. MICKEY CLANTON steps out, with DARLENE & FANCY CLANTON and calls down the street.

19 EXT. TV REPAIR SHOP DAY 19 A TV repair shop has multiple television sets switched on in the window display. TV REPORTER (V.O.) --this morning as the impact of last night’s rioting was all too clear. Small numbers of catholics still peacefully

21 INT. BUDDY’S HOUSE DAY 21 MA watches the television news describing the intensification of hostilities. Disturbing pictures and commentary from a war zone. TV NEWS ‘ULSTER ON THE BRINK’, TV REPORTER (V.O.) The likeliest move is to bring troops into Belfast in hope

25 EXT. GRANNY'S STREET LATER 25 The street is deserted. WILLIAM SHATNER (V.O.) Space. The final frontier... 26 INT. GRANNY’S HOUSE DAY 26

28 INT. BUDDY’S HOUSE DAY 28 The TV is on in the living room. Two women are being interviewed. TV EYE WITNESS 1 Oh yes, we’re friends on the protestant side. TV EYE WITNESS 2

29 EXT. PROTESTANT CHURCH EVENING 29 A grand forbidding, modern Gothic exterior. PA (V.O.) I’ve nothin against Catholics...but its a religion of fear. 30 INT. PROTESTANT CHURCH EVENING 30

31 EXT. CITYSCAPE NIGHT 31 Helicopter searchlights. 32 EXT. STREET NIGHT 32 Helicopters shine floodlights. Vigilantes patrol with torches in their hands. 33 INT. BUDDY’S BEDROOM NIGHT 33

36 EXT. BUDDY’S STREET DAY 36 Visiting family members arriving and having to go through the ‘checkpoint’ at the barricade. SOLDIER Make an orderly queue to be allowed entrance to the street please.

38 EXT. BUDDY’S BACKYARD DAY 38 The sound of shouting, singing, talking, drinking squash and eating cake drifts in from the folk inside the house and out on the street at the front. The back door to the Entry is open. Some of them are out there playing football. BUDDY and self-styled Tomboy, MOIRA are carving and shaping wooden hand catapults by the back door.

39 EXT. BUDDY’S STREET DAY 39 PA is telling a joke to the crowd. PA ...so the Doctor says, ‘Listen John I got some bad news, and worse.”

41 EXT. BACK ENTRY LATER 41 A Football game in progress. BUDDY ......and Blanchflower now at the halfway line. He looks up, is there nothin this Spurs right half cannot

43 EXT. BUDDY’S STREET DAY 43 All the Aunties, Uncles and Cousins leave the party. PA Buddy give your brother a hand, will you? PA tries to move the sofa away from their front door, but it’s too heavy.

45 INT. CINEMA EVENING 45 An explosion of lava on the screen - One Million Years B.C. FILM COMMENTATOR (V.O.) This is a story of a long, long ago. When the world was just beginning. A young world. A world early in the

48 INT. BATHROOM NIGHT 48 The wee small hours. BUDDY sits on the loo, struggling. His exercise book in his hands. He’s looking at his drawing of the two roads. BUDDY What road do I take?

50 EXT. CLOUDS BREAKING UP OVER THE CITY DAWN 50 51 EXT. BUDDY’S STREET MORNING 51 Soldiers patrol the barricade, kids make their way to school. KIDS (O.S.) Come on get a move on. We’re gonna be late again!

53 EXT. GROVE PARK DAY 53 BUDDY runs through some high grass. 54 EXT. SCHOOL GATES DAY 54 He reaches the school gates. The school bells ring.

56 EXT / INT. GRANNY'S HOUSE DAY 56 BUDDY is out in the backyard where his POP is, (as always), tinkering, in his ad hoc workshop, with a saddle BUDDY is sitting on the closed loo seat with an orange in his hands. POP

60 INT. BUDDY’S BEDROOM NIGHT 60 3am, BUDDY is wide awake sitting by the window. BUDDY (whispers) Will...Will...what road do we take? I can’t remember.

63 EXT. BUDDY'S STREET DAY 63 Life back to normal. 64 INT. BUDDY'S HOUSE DAY 64 Early morning and another tax envelope arrives. BUDDY, WILL and MA are having breakfast.

66 EXT. GROVE PARK RAILINGS / CONCRETE AND GRASS DAY 66 BUDDY and MOIRA walk. MOIRA Why is your dad not coming home? He shrugs.

69 INT. SCHOOL CLASSROOM DAY 69 CATHERINE and BUDDY exchange looks. MUSIC - “Warm Love” by Van Morrison 70 EXT. FRONT OF BUDDY’S HOUSE DAY 70 MA sits, with her back leaning against the wall, having a cup of tea. A breath.

76 EXT. MOON OVER BELFAST NIGHT 76 77 EXT. BUDDY’S HOUSE NIGHT 77 Helicopters shine floodlights on the streets. The Vigilantes look to the skies. LIBERTY VALANCE/LEE MARVIN (O.S.) You lookin’ for trouble Donophin?

79 EXT. BUDDY'S STREET DAWN 79 Vigilantes on the Barricade. Milkman arrives. MAN IN THE STREET Right that’s 6am Fellas. That’s you’s done. 80 INT. BUDDY’S HOUSE/HALL MORNING 80

84 INT. GRANNY'S HOUSE DAY 84 GRANNY is reading ‘The Peoples Friend”, a popular religious-y journal. POP is reading the newspaper. POP When’s yer next chance?

85 EXT. GROVE PARK DAY 85 BUDDY picks some flowers. 86 EXT. SCHOOL DAY 86 Pupils pouring out of school. CATHERINE is walking past. BUDDY is waiting and offers a small bunch of flowers to her. She takes them.

88 EXT. SWEET SHOP DAY MOMENTS LATER 88 BUDDY, MOIRA and MOIRA’S FRIEND walk in. MOIRA (O.S.) Hello Mister Singh. BUDDY (O.S.)

89 EXT. STREET DAY 89 BUDDY and MOIRA slow down, almost hyperventilating, and as if they might throw up, but still moving on up the street just in case. BUDDY She’s gonna tell on us!

90 EXT. BUDDY'S HOUSE DAY 90 BUDDY runs up to his house. PA (O.S.) When did you write to them? He slows down, exhausted, and drops the Turkish Delight.

92 EXT. ALLEYWAY / GRANNY’S HOUSE DAY 92 BUDDY, PA, POP and GRANNY walk side by side. POP Yer work won’t be pleased with you skippin’ off in the week.

93 EXT. GROVE PARK DAY 93 Father and son walk back to the school. BUDDY My Granny’s always worried about somethin, isn’t she?

95 EXT. BUDDY'S STREET CORNER DAY 95 Kids drawing on a wall MAN IN THE STREET There’s Peeler’s about. Watch it yous two. POLICEMAN knocks on BUDDY’s door.

100 INT. BUDDY'S HOUSE NIGHT 100 BUDDY watches HIGH NOON on the television. AMY FOWLER-KANE/GRACE KELLY No, I won’t be here when it’s over. You’re asking me to wait an hour to find out if I’m going to be a wife or a

102 EXT. MAIN STREET / BUDDY'S STREET DAY 102 PA comes out of an alley. He plays with a group of kids. PA Hey, pass the ball. He throws the ball in the air.

103 INT. BUDDY'S HOUSE DAY 103 BUDDY and WILL are in the living room playing. The TV is on, but they’re not watching. TV REPORTER (V.O.) The prize capture was a tanker laden with two and half thousand gallons of petrol. They’d also taken dozens of

105 INT. BUDDY'S HOUSE DAY 105 MA is on the sofa, reading the ‘Sydney’ Brochure and listening to the radio. RADIO REPORTER (V.O.) ...amid more city-wide violence overnight, government figures issued today reveal that Northern Ireland now

106 EXT. GROVE PARK DAY 106 Friday afternoon. After school. After work. The family and MOIRA are in the park. Playing netball and throwing pitches, jumping in the sandpit. MUSIC - “Day’s Like These” by Van Morrison WILL has a ball balanced on his head.

107 EXT. BUDDY’S HOUSE EVENING 107 The large family group draped around the house continues the festivities. MACKIE and others are saying cheerio to PA like he’s going to war. VIOLET is singing ‘Danny Boy’. WILL is talking with his peers. PA

109 INT. GRANNY’S HOUSE END OF DAY 109 GRANNY and POP sit by the window. Cup of tea. POP Everybody’s leavin’ home. GRANNY

110 EXT. BUS STOP SUNSET 110 BUDDY waiting outside the bus. He is aware that MA and PA are having a moment in the parked number 42 Bus BUS DRIVER (O.S.) Aldergrove bus is going in three minutes. Last tickets

111 EXT. RAIN CLOUDS OVER BELFAST DAY 111 112 EXT. WHITEABBEY HOSPITAL DAY 112 The road up to the Hospital with the sea beyond. Nurses walking to work. 113 INT. WHITEABBEY HOSPITAL DAY 113

115 INT. WHITEABBEY HOSPITAL DAY 115 POP Aye, well that puts me in mind of a great wee system we had in the old days for paying the rent. The rent man would come round and collect the

116 EXT. GROVE THEATRE EVENING 116 The theatre marquee shows A CHRISTMAS CAROL BY CHARLES DICKENS, STARRING JOSEPH TOMELTY as MARLEY’S GHOST. GEORGE MALPAS as SCROOGE. MARLEY’S GHOST (V.O.) Hear me!

118 INT. BUS NIGHT 118 GRANNY and BUDDY stare out of the Bus. Belfast at night. BUDDY When will Pop get out of the hospital? GRANNY

119 INT. CINEMA EVENING 119 On the screen in colour CHITTY CHITTY BANG BANG racing towards a rocky shore, then the whole family seems to be falling forward and yelling as Chitty Chitty Bang Bang careers over a cliff on the massive cinema screen. The entire family grabs each others arms, leans forward with the rest of the packed audience, and yells. GRANNY loudest of all.

122 EXT. BELFAST CHRISTMAS IN THE RAIN DAY 122 123 INT. BUDDY’S HOUSE LIVING ROOM NIGHT 123 BUDDY is fast asleep on the sofa. A tear stained face. Chocolate marks all around his mouth, the chocolate selection box on his lap. His brother asleep beside him, a Manchester United Annual on his lap. MA and PA finish clearing the room up of wrapping paper and

124 EXT. BUDDY'S STREET EARLY MORNING 124 PA comes out of the house and looks up. BUDDY is at the window. MUSIC - “Carrick Fergus” by Van Morrison PA Go to sleep. I see you in two weeks.

130 INT. SUPERMARKET DAY 130 On the TV mounted on the wall TV REPORTER (V.O.) Now the government are proposing to rebuild this street, but there are increased tensions in the city

133 EXT. STREET DAY 133 Father and son walk down the road, stopping at the end of Granny’s Street. PA Now, you wait at your Granny’s and I’ll pick you up when I’ve come back from seein’ my Father, ok son?

137 EXT. MAIN ROAD DAY 137 BUDDY tries to turn back. BUDDY I’m going home! I’m going home! MOIRA

139 EXT. BUDDY’S STREET DAY 139 Almost home. Racing down the street towards his house. Neighbour’s look. He gets to his house, bangs on the door. BUDDY Mammy! Mammy!

141 EXT. SUPERMARKET / MAIN STREET DAY 141 BILLY CLANTON directs the party of three onto the main street. There are far fewer rioters now, as the army with riot-shields lines up at each end of the street. BILLY CLANTON has a hand gun. PA and WILL appear at the other end of the street.

142 EXT. BUDDY’S STREET DAY 142 An armoured car comes down the street. The family are inside it. Neighbours amazed. 143 INT. BUDDY'S HOUSE DAY 143 Silence. The three males sit dazed on the sofa. In front of them, the packet of OMO, now with a bullet hole in it. MA comes into the room.

145 EXT. SCHOOL RALLINGS/RAIN DAY 145 146 INT. CLASSROOM DAY 146 The Moon project is leaning up against the blackboard, the results are being called. MISS LEWIS (O.S.) And now to announce the winners of our school

150 EXT. BUDDY’S STREET DAY 150 BUDDY runs, and runs and runs with all his heart. 151 EXT. SPORTSMAN BAR DAY 151 BUDDY waiting outside, upset. A man is about to walk in. KIND MAN

155 INT. GRANNY'S HOUSE / LIVING ROOM DAY 155 BUDDY That was a lot of people that came to see him today. PA Aye. He was very popular.

157 INT. WEE CLUB EVENING 157 The wake, the farewell party, the last family ‘do’. Dancing, singing, children running everywhere, drink and sandwiches. LOVE AFFAIR kicks in with the stirring intro to EVERLASTING LOVE. PA grabs the mic, the dance floor clears to leave MA there, dancing alone as the crowd dances at the side, and

162 EXT. CATHERINE’S STREET EARLY MORNING 162 PA waits on the other side of the road. CATHERINE’S MOTHER opens the front door. CATHERINE’S MOTHER Hi Buddy. BUDDY

Belfast

In 1960s Belfast, a young boy named Buddy navigates the tumultuous events of the Troubles and the decision to leave his beloved hometown, as his family grapples with the impact of the conflict on their lives. Other loglines ›

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Overview

Unique Selling Point

The unique selling proposition of 'Belfast' lies in its ability to blend personal and political narratives through the eyes of a child. It offers a fresh perspective on historical events, making it relatable to contemporary audiences while preserving the authenticity of its setting. The screenplay's use of music, particularly Van Morrison's songs, adds a nostalgic layer that resonates with viewers, enhancing its emotional impact.

AI Verdict

How to read these: in industry coverage, Pass is the default outcome for the majority of professional scripts, and Consider means the reader stayed in the room. Industry-wide, the median professional evaluation sits at a 6 — scores of 8+ are rare everywhere, on purpose.

A warmly observed, voice-forward memory piece with a distinctive child's-eye perspective that needs structural tightening on midsection causal pressure before it can be championed.

Readers read as Elevated commercial1 Specialty1 majority

Genres Drama5 Coming of age5 Historical4 War1

A prestige coming-of-age drama aiming for cumulative emotional pressure through a child's limited perspective on sectarian violence and family fracture, with voice and domestic texture as the primary craft bet.

Readers split on the contract: three read this as prestige drama, one as specialty, and one as elevated commercial. The split traces to tonal register in the back half — the prestige and specialty reads see deliberate restraint and emotional accumulation, while the commercial read sees flat stakes and episodic pacing.

Why not lower

The distinctive family voice, the child's sensory perspective, and the opening set piece are substantial enough that the script's emotional authority survives its structural problems.

Why not higher

The causal gap between the violence and the family's decision, combined with the protagonist's passive witness role in the climax, prevents the ending from landing with the sustained pressure needed for a higher band.

A script with a distinctive vernacular voice and a compelling child's-eye view of historical rupture that needs structural work on midsection causal pressure and the protagonist's late-act agency.

Readers read as Elevated commercial1 Specialty1 Prestige3 majority

Start here

Re-anchor the middle act around a single active family objective or concrete escalating cost, so each episode narrows the family's options and Buddy's late choices feel earned rather than announced.

Protect while fixing 2

Vernacular family banter and domestic rituals

Tightening the middle act for causal pressure risks trimming these scenes to serve plot mechanics, which would strip the script of its lived-in warmth.

Keep the family's everyday exchanges and neighborhood rituals intact as self-contained units rather than compressing them to accelerate pacing.

Child's sensory perspective on violence

Clarifying the causal chain or adding adult context risks over-explaining the political mechanics, which would dilute the immersive subjectivity that distinguishes the opening.

Do not over-clarify the sectarian mechanics or adult scenes in service of structural clarity; let the child's partial view continue to organize the historical violence into personal, bewildered beats.

Fix first 3

Midsection causal pressure diffuses

The reader senses the central dramatic question returning without new information, so the second act feels like waiting rather than accumulating pressure toward the decision.

Root cause

The script uses repetition to dramatize a family stuck between loyalty and survival, but without a changed deadline, cost, or reversal at each recurrence, the repetition reads as deferral.

One direction

Compress the recurring emigration beats into two or three decisive turns, each introducing a new variable or concrete cost that narrows the family's options.

Protagonist's agency flattens in the climax

The reader loses the sense of Buddy as an agent whose choices drive the climax, so the riot feels imposed on him rather than arising from his arc.

Root cause

Buddy's established wants are not brought into contact with the riot's logic, leaving his desire without a route into the climax and making him a passive witness to adult decisions.

One direction

Give Buddy one or two small, credible choices in the late act that tie his established desires to the riot's chaos, restoring his agency without making him solve adult conflicts.

Antagonist threat escalates without consequence Medium confidence

The reader accumulates a sense of menace without a corresponding sense that the family is losing ground, so the antagonist's final escalation arrives with less cumulative force than the threats promised.

Root cause

The antagonist's threats are not tied to a concrete cost the family pays along the way, so each threat resets to zero and the violence reads as atmospheric rather than causal.

One direction

Attach a concrete, escalating cost to each threat or ground the antagonist in early community scenes so his final escalation feels like a betrayal of shared history.

Your decisions 1

Point-of-view commitment: strict child-height perspective vs. controlled adult interludes Consequential

Side A

Committing to strict child POV means reimagining adult financial and hospital scenes as overheard or misunderstood fragments, sharpening the script's distinctive voice but risking political opacity.

Side B

Allowing controlled adult interludes means keeping the full financial and political context visible, which clarifies stakes but dilutes the immersive subjectivity that distinguishes the opening.

Quick credibility wins 1

On-the-nose thematic dialogue

Cut the explicit thematic summaries and emotional declarations where characters restate what the scene has already shown, trusting the subtext and action to carry the meaning.

Ask AI about this read

Would readers champion it · Rewrite depth · Voice · Score stability

What's working All 5 readers agree

The script's rendering of violence through a child's sensory perspective and its mastery of the Belfast vernacular form a genuinely distinctive formal asset that gives the film a clear directorial signature.

What's blocking All 5 readers agree

The middle act's reliance on repeated domestic beats and episodic incidents stalls the central dramatic question, preventing the cumulative pressure from reaching the level required for a higher band.

Would readers champion it?: Not yet
Early interest
Moderately
Strongly
How much rewrite does it need?: Start from scratch
Structural rewrite
Targeted rewrite
Just polish
How distinctive is the voice?: Generic
Emerging
Distinctive
One-of-a-kind

On the score: The score sits at the high edge of its band — a focused revision could push it to the next verdict.

Story Facts

Genres:

Drama 50% War 30% Comedy 15% Romance 10%

Setting: Late 1960s to early 1970s, Belfast, Northern Ireland

Themes: Family Resilience and Love, The Impact of the Troubles in Northern Ireland, Economic Hardship and Social Inequality, Religious Conflict and Sectarianism, Coming-of-Age and Identity, Love, Loss, and Forgiveness

Conflict & Stakes: The primary conflict revolves around Buddy's struggle to maintain his childhood innocence amidst the violent backdrop of the Troubles in Northern Ireland, with the stakes being the safety and unity of his family.

Mood: Bittersweet and nostalgic, with moments of humor and tension.

Standout Features:

Unique Hook: The story is told through the eyes of a child, providing a fresh perspective on the impact of social unrest.
Major Twist: The transition from childhood innocence to the harsh realities of violence and conflict, culminating in Buddy's forced involvement in a riot.
Distinctive Setting: The backdrop of Belfast during the Troubles adds historical significance and emotional weight to the narrative.
Innovative Ideas: The screenplay blends humor and drama, creating a balance that highlights the absurdity of life amidst chaos.
Unique Characters: A diverse cast that represents various facets of the community, each contributing to Buddy's understanding of the world.

Comparable Scripts: The Troubles, Brooklyn, The Commitments, Atonement, The Book Thief, The Secret Garden, This Is England, The Wind That Shakes the Barley, The Boy in the Striped Pajamas

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: 8.25

> Go to Screenplay Insights

Story Critique

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

> Go to Story Critique

Characters

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

> Go to Characters

Emotional Analysis

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

> Go to Emotional Analysis

Goals and Philosophical Conflict

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

> Go to Goals and Philosophical Conflict

Themes

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

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Logic & Inconsistencies

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

> Go to Logic & Inconsistencies

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.

The screenplay showcases strong character development and dialogue, indicating an intuitive writing style. However, it needs to enhance conflict and originality to improve overall engagement and narrative strength.

Go to Scene Analysis

Key Strengths

High character development (78.74 percentile) indicates well-crafted, relatable characters that can engage the audience.
Strong dialogue (84.43 percentile) suggests the writer excels in creating authentic and compelling conversations that enhance character interactions.
Emotional impact (81.44 percentile) shows the screenplay effectively resonates with audiences on an emotional level.

Areas for Improvement

Conflict level (20.06 percentile) is notably low; enhancing the stakes and tension could drive the narrative forward more effectively.
Originality score (25.17 percentile) suggests the screenplay may rely on familiar tropes; exploring unique concepts could enhance its appeal.
Engagement score (37.07 percentile) indicates a need for more captivating elements to maintain audience interest throughout the screenplay.

Writer Style

The writer appears to be intuitive, with strengths in character and dialogue, but lower scores in concept and plot development.

Balancing Elements

To balance the screenplay, the writer should focus on integrating stronger conflict and stakes to complement the character-driven narrative.
Improving pacing (32.31 percentile) and unpredictability (9.92 percentile) can help maintain audience engagement and enhance the overall flow of the story.

Intuition Level

Intuitive

Overall Assessment

The screenplay has strong character and dialogue elements, but it requires significant improvement in conflict, originality, and engagement to reach its full potential.

How this was done: Each criteria is ranked in comparison to scripts in our Vault (such as The Matrix, Breaking Bad, etc.) This allows you to see where you stand compared to other produced scripts for each criteria.

How scenes compare to the Scripts in our Library

Note: The ratings are the averages of all the scenes.

Title	Grade	Percentile	Before	After
Scene Overall	8.6	70	Casablanca : 8.5	the black list (TV) : 8.7
Scene Concept	8.2	49	Casablanca : 8.1	the 5th element : 8.3
Scene Plot	8.2	59	The whale : 8.1	the boys (TV) : 8.3
Scene Characters	8.6	64	fight Club : 8.5	Easy A : 8.7
Scene Emotional Impact	8.4	68	face/off : 8.3	Black mirror 304 : 8.5
Scene Conflict Level	6.8	21	Midnight cowboy : 6.7	Manhattan murder mystery : 6.9
Scene Dialogue	8.2	68	Mr. Smith goes to Washington : 8.1	Casablanca : 8.3
Scene Story Forward	7.9	32	The whale : 7.8	Arsenic and old lace : 8.0
Scene Character Changes	7.3	49	Erin Brokovich : 7.2	Terminator 2 : 7.4
Scene High Stakes	6.8	29	Rear Window : 6.7	Arsenic and old lace : 6.9
Scene Unpredictability	7.09	11	Sing Sing : 7.08	The Fabelmans : 7.10
Scene Internal Goal	8.05	42	True Blood : 8.04	Casablanca : 8.06
Scene External Goal	7.26	51	Lucifer : 7.25	Train Dreams : 7.27
Scene Originality	8.43	26	Sentimental Value : 8.42	baby girl : 8.44
Scene Engagement	8.93	41	There's something about Mary : 8.92	the boys (TV) : 8.94
Scene Pacing	8.18	33	the pursuit of happyness : 8.17	There's something about Mary : 8.19
Scene Formatting	8.13	45	Memento : 8.12	the pursuit of happyness : 8.14
Script Structure	8.13	49	Good Will Hunting : 8.12	the pursuit of happyness : 8.14
Script Characters	8.20	68	the pursuit of happyness : 8.10	face/off : 8.30
Script Premise	8.10	18	Hors de prix : 8.00	the dark knight rises : 8.20
Script Structure	8.10	39	the dark knight rises : 8.00	True Blood : 8.20
Script Theme	9.00	81	Terminator 2 : 8.90	Mr. Smith goes to Washington : 9.10
Script Visual Impact	8.10	33	the pursuit of happyness : 8.00	Erin Brokovich : 8.20
Script Emotional Impact	8.80	80	groundhog day : 8.70	the pursuit of happyness : 8.90
Script Conflict	7.80	42	Erin Brokovich : 7.70	Shaun of the Dead : 7.90
Script Originality	7.90	33	There's something about Mary : 7.80	Fear and loathing in Las Vegas : 8.00
Overall Script	8.25	51	Catch me if you can : 8.24	Poor Things : 8.26

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.