1 - Unseen Disturbance
InvestigationNo lens is broken, but Design is soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingA real force keeps it pushing forward.
Three parapsychologists lose their university funding and start a ghost-catching business in New York City, only to find themselves facing a supernatural threat of apocalyptic proportions. Other loglines ›
"Ghostbusters" is a supernatural comedy about a group of eccentric scientists who investigate and capture ghosts. The film's unique voice is characterized by its blend of humor, suspense, and action, and its fast-paced storytelling. The characters are well-developed and relatable, and the dialogue is witty and engaging. The film's special effects are also impressive, and they help to create a sense of realism and immersion. The film's themes are universal and timeless, and they resonate with audiences of all ages. "Ghostbusters" is a classic film that is sure to entertain and delight audiences for years to come.
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 highly distinctive supernatural comedy anchored by airtight ensemble chemistry and escalating set-piece invention, requiring targeted tightening of the midsection causal chain before it can be championed.
A mainstream commercial supernatural comedy aiming for broad audience pleasure through propulsive set pieces, sharp ensemble banter, and escalating absurdity grounded in pseudo-scientific worldbuilding.
The ensemble voice and set-piece invention sustain a distinctive comic experience across the full escalation, preventing the script from dropping into a lower band despite structural looseness.
The absence of re-clarified desire and causal handoffs after the midpoint prevents the script from reaching the level of control required for a higher verdict.
A script with a distinctive ensemble comic voice and escalating set-piece logic that needs targeted tightening of the midsection causal chain and tonal grammar to restore forward pressure.
Readers read as Mainstream commercial4 Elevated commercial1
Re-anchoring the team's agency immediately after the storage facility explosion addresses both the midsection causal drift and the third-act spectacle, turning reactive set pieces into consequence-driven escalation.
The script builds from contained hauntings to citywide catastrophe using clear, visually legible rules that make each spectacle feel like a deliberate escalation rather than random noise.
Tightening causal pressure or threading plot mechanics risks homogenizing the distinct comic registers that currently generate the script's primary pleasure.
When restructuring midsection sequences, preserve the friction between Venkman's irony, Stantz's earnestness, and Spengler's literalism rather than flattening dialogue into plot-delivery vehicles.
The reader loses forward traction as the midpoint explosion shifts the story into spectacle without re-anchoring the protagonists' active pursuit of a clear objective.
The script treats the midpoint rupture as a premise reset rather than a character pivot, leaving the ensemble to react to external events instead of driving the causal chain forward.
Thread the central threat through the midsection set pieces or insert a clear objective handoff after the explosion so each sequence accumulates consequence rather than resetting to episodic comedy.
The reader experiences momentary disorientation when scenes pivot abruptly from broad comedy to supernatural menace without a consistent tonal grammar to signal how to take the shift.
The draft stages horror and comedy beats at the same register, relying on sudden visual reveals rather than character reaction or staging to mediate the tonal change.
Establish a consistent point-of-view or reaction anchor for supernatural encounters so the reader can distinguish between farce and genuine threat without losing the script's tonal range.
Strip standalone caps, exclamation headers, and italicized emphasis from action lines, letting the staging and character behavior carry the emotional weight instead of telegraphing it.
The ensemble's differentiated comic voices and escalating set-piece logic provide a distinctive, championable core that survives structural looseness.
The midsection causal drift and reactive protagonist positioning weaken the personal stakes of the climax, which a skeptical reader would press on.
On the score: The score sits at the high edge of its band — a focused revision could push it to the next verdict.
Setting: Present day, New York City
Themes: The Power of Science and Technology, The Importance of Teamwork, The Supernatural and the Unknown, The Battle Between Good and Evil, The Importance of Humor and Wit
Conflict & Stakes: The Ghostbusters' struggle to save New York City from supernatural threats, while balancing their business and personal lives.
Mood: Humorous and suspenseful
Standout Features:
Comparable Scripts: Ghostbusters II, Beetlejuice, The Frighteners, 21 Jump Street, Men in Black, Stranger Things, Buffy the Vampire Slayer, Doctor Who, Supernatural, The Conjuring
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.
Breaks down your script along various categories.
Breaks down the emotional journey of the audience across the script.
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
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.
High-level overview
The screenplay follows a group of scientists turned ghost hunters who form the Ghostbusters and investigate paranormal activity in New York City. They encounter a series of supernatural events, culminating in a battle against an ancient evil known as Gozer. Along the way, they face skepticism, legal threats, and spectral manifestations as they strive to save the city from destruction. Despite setbacks and challenges, the Ghostbusters ultimately succeed in defeating Gozer, with moments of humor, drama, and action-packed sequences leading to a satisfying conclusion.
Scene by Scene Summaries
Act-by-act sequence summaries
After initial reports of paranormal activity (Scene 1), Venkman, Stantz, and Spengler respond to the library sighting. They assess the situation, track the spectral presence, and attempt direct engagement. The sequence climaxes when their containment effort fails as the ghost transforms into a demonic entity and attacks them, forcing their retreat.
After fleeing the library (Scene 5), the team is expelled from Columbia University. Venkman reframes this setback as an opportunity, convincing Stantz to start a business. They secure funding and acquire the firehouse headquarters, establishing the Ghostbusters' operational base.
Dana experiences eerie phenomena in her apartment, including a haunted TV and refrigerator portal. Simultaneously, the Ghostbusters prove their legitimacy by capturing a ghost at a family's home, showcasing their ghostbusting process while Dana's personal threat escalates.
Dana visits the firehouse to report her experience. The Ghostbusters conduct a lie detector test, confirming her story's validity. Venkman escorts her home to investigate, but finds no evidence and is rejected when offering to stay overnight, leaving the case unresolved.
After a supernatural attack at the hotel, the Ghostbusters respond. They track the vapor through corridors, face failed capture attempts, and engage in a chaotic banquet room battle. After overcoming near-disastrous proton stream crossovers, they successfully trap the entity, emerging as media heroes while negotiating payment.
The Ghostbusters handle city-wide hauntings (Yankee Stadium, Tudor City) amid growing media coverage. During a chance meeting, Dana reveals the name 'Zuul' to Venkman, linking her experiences to ancient texts about Gozer. Public and personal stakes intensify.
Overwhelmed by calls, the Ghostbusters hire Winston Zeddemore. Simultaneously, EPA agent Walter Peck demands access to their ghost storage. Venkman refuses, triggering a confrontation where Peck threatens legal action, endangering their containment system.
The team monitors their overfilled storage facility, warning of catastrophic energy surges. Concurrently, Dana is abducted by a Terror Dog in her apartment, forcibly transforming her into Gozer's Gatekeeper. The sequence ends with her imprisonment in a supernatural dimension.
A Terror Dog escapes at Louis' party, causing chaos and pursuing him through Central Park until he's possessed. Simultaneously, Venkman visits Dana's apartment, discovers her transformation into Zuul, and witnesses her levitation during a disturbing bedroom encounter. The sequence ends with both key human vessels (Louis as Keymaster, Dana as Gatekeeper) fully under supernatural control.
At HQ, Spengler interrogates possessed Louis, learning of Gozer's plan while dismissing Janine's warnings. Simultaneously, Stantz experiences a ghostly encounter elsewhere. When Peck arrives with officials to shut down the containment grid, the Ghostbusters unsuccessfully argue and physically intervene. The grid's shutdown causes a catastrophic explosion, releasing all captured ghosts.
The explosion creates an energy geyser heading toward Dana's building, interpreted by possessed Louis as Gozer's sign. Chaos erupts citywide: ghosts terrorize citizens, Louis scares off muggers by manifesting supernatural power, and Spengler faces authorities amid the crisis. The sequence ends with Louis irrevocably heading toward Dana as the city descends into supernatural anarchy.
The Ghostbusters analyze blueprints at HQ, identifying Dana's building as Gozer's antenna and its architect's cult ties. Taken to City Hall, they confront Peck's accusations and persuade the skeptical mayor to support them. As Louis unites with Dana at her apartment (triggering Gozer's arrival), the team departs City Hall with mayoral backing, charging equipment for the final confrontation.
The Ghostbusters arrive at Dana's building amid public chaos, survive a sinkhole, and ascend to the roof. They battle Gozer directly but fail when it absorbs their proton streams. After Gozer manifests as the Stay-Puft Marshmallow Man, the team adapts their strategy, sets it ablaze, and ultimately destroys it by redirecting their beams at the Terror Dogs. This defeats Gozer, frees Dana and Louis, and forces the Ghostbusters to cover up the incident.
The Ghostbusters emerge from the building as heroes to a cheering crowd. While departing in the Ectomobile, they pass citizens humorously processing the marshmallow debris, symbolizing the return to normalcy and their triumph.
Images and voice-over from your primary video
Final video assembled from the sections below.
In New York City, a group of eccentric scientists, Dr. Peter Venkman, Dr. Ray Stantz, and Dr. Egon Spengler, are introduced as they investigate paranormal phenomena. They are passionate about their work but face skepticism from the academic community.
The Ghostbusters receive a call about a ghost sighting at the New York Public Library, where a librarian has encountered a terrifying apparition. This event ignites their quest to capture ghosts.
The Ghostbusters successfully capture their first ghost at the library, thrilling them and proving their theories correct. They gain confidence and media attention.
As the Ghostbusters become more popular, they face increasing skepticism from the scientific community and government officials, particularly from Walter Peck of the EPA.
The Ghostbusters capture a powerful ghost, but their success leads to a surge in paranormal activity across the city, indicating that something much larger is at play.
The city is thrown into chaos as the Stay-Puft Marshmallow Man, a manifestation of their fears, begins to wreak havoc, forcing the Ghostbusters to confront their greatest challenge yet.
The Ghostbusters face defeat as their equipment fails against the overwhelming power of Gozer, and they are left questioning their abilities and purpose.
In a desperate bid to save the city, the Ghostbusters must confront Gozer and make a critical choice that will determine the fate of New York.
With teamwork and courage, the Ghostbusters defeat Gozer, restoring peace to the city and solidifying their legacy as heroes.
Each axis shows your script's raw score (0–10) in that category. We recently upgraded the AI models behind these categories, so percentile rankings are temporarily unavailable while we re-score our reference library.
Hover over each axis on the radar chart to see what that category measures and why it matters.
Analysis: The screenplay develops a memorable ensemble through sharp character-specific dialogue and a crisis that forces each Ghostbuster to evolve in expected but satisfying ways. Venkman's arc from self-serving skeptic to reluctant hero, Winston's grounding everyman perspective, and Dana's resilience in the face of possession provide the strongest emotional footholds. However, several supporting characters and the human antagonist are drawn in broad strokes, leaving the depth of the ensemble behind its comedy and spectacle.
Analysis: The premise of Ghostbusters is exceptionally effective: it takes a classic underdog-startup story and fuses it with paranormal investigation, resulting in a clear, original, and highly engaging foundation. The main areas for enhancement are earlier foreshadowing of the larger mythological threat and tightening the transition from small-scale ghost jobs to apocalyptic stakes.
Analysis: The screenplay demonstrates a well-constructed narrative that successfully blends comedy, supernatural thrills, and character development. It follows a classic three-act structure with a clear setup, escalating complications, and a satisfying climax. The plot is coherent and engaging, with strong pacing that balances action, humor, and exposition. Key strengths include a compelling inciting incident, effective escalation of stakes, and a memorable final confrontation. Areas for improvement include occasional pacing dips in the middle montage and an underdeveloped antagonist subplot that could be more tightly integrated.
Analysis: Ghostbusters is an effective comedic exploration of skepticism versus belief, institutional authority versus grassroots expertise, and the tension between scientific rationality and phenomena that defy scientific explanation. The screenplay's themes are clear and woven into its plot and character comedy, but they remain relatively surface-level: the narrative is more interested in gags and spectacle than in interrogating its own ideas. The film's most resonant messages—trust in curiosity, the danger of rigid bureaucratic thinking, and the way human imagination shapes our threats—come through despite sometimes being overshadowed by slapstick and set pieces. Overall, the screenplay succeeds in communicating a playful anti-authoritarian, pro-science ethos, though it could deepen its emotional and philosophical resonance.
Analysis: The screenplay's visual imagery is one of its greatest strengths, blending horror, comedy, and spectacle with memorable set pieces. From the library ghost to the Stay-Puft Marshmallow Man, the script creates iconic images that translate clearly to screen. Its creativity and tonal confidence are high, though some action sequences and transitional montages could benefit from sharper visual clarity and more sensory detail.
Analysis: The screenplay delivers a genuinely entertaining and emotionally engaging adventure, using strong ensemble chemistry, witty character dynamics, and a victorious underdog narrative to generate investment. Its emotional strengths lie in the warmth between the Ghostbusters, the playful romantic tension between Venkman and Dana, and the escalating supernatural stakes that culminate in a cathartic, crowd-pleasing finale. However, emotional depth is often broad rather than nuanced: serious moments are quickly defused by jokes, secondary characters remain largely functional, and the emotional aftermath of the climax is under-explored. Deepening Dana's terror and agency, giving Venkman clearer moments of vulnerability, and allowing quieter beats of reflection would elevate the story's emotional resonance without sacrificing its comedic identity.
Analysis: The screenplay's conflict and stakes escalate effectively from supernatural oddities to a city-wide apocalyptic threat, anchored by a clear bureaucratic antagonist and a personal stake in Dana Barrett. However, the comedic tone and episodic early structure occasionally soften dramatic tension, and certain character-driven stakes could be deepened to maximize audience engagement.
Analysis: This screenplay is a landmark of genre-blending originality, inventing the 'paranormal startup' comedy by wedding hard science-fiction world-building with irreverent humor and supernatural horror. Its boldest creative strokes—professional ghost capture as a business, the absurd final showdown with a giant marshmallow man, and the seamless fusion of bureaucratic satire with cosmic dread—continue to feel fresh and influential.
Expand to see detailed analysis
View Complete AnalysisProtagonist
Supporting Character
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
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The Power of Science and Technology
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The Ghostbusters use their scientific knowledge and equipment to capture ghosts and defeat supernatural threats.
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The film highlights the importance of science and technology in solving problems and protecting society from the unknown. | ||||||||||||
Strengthening The Power of Science and Technology
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The Importance of Teamwork
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The Ghostbusters work together as a team to overcome challenges and defeat the supernatural.
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The film shows that teamwork is essential for success and that we can achieve more when we work together. | ||||||||||||
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The Supernatural and the Unknown
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The film explores the existence of the supernatural and the unknown, with the Ghostbusters facing a variety of ghosts, spirits, and other paranormal entities.
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The film taps into our fear of the unknown and the supernatural, while also exploring the possibility of coexistence between the natural and supernatural worlds. | ||||||||||||
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The Battle Between Good and Evil
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The Ghostbusters represent the forces of good, while Gozer and his minions represent the forces of evil.
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The film presents a classic battle between good and evil, with the Ghostbusters fighting to protect the innocent and the city from supernatural threats. | ||||||||||||
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The Importance of Humor and Wit
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The film incorporates humor and wit into its storytelling, with the Ghostbusters often using sarcasm and jokes to defuse tense situations.
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The humor and wit add a lighthearted and entertaining element to the film, making it more enjoyable and relatable. | ||||||||||||
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goal is to confront their fears, prove themselves as capable Ghostbusters, and maintain composure in the face of supernatural threats. |
| External Goals | The protagonist's external goal is to protect the city from supernatural threats, capture ghosts, and maintain their ghostbusting business's reputation |
| Philosophical Conflict | The overarching philosophical conflict revolves around the clash between the known and the unknown, science vs. the supernatural, and skepticism vs. belief in the paranormal. |
| Site | Description |
|---|---|
| Creative Screenwriting | How Important Is A Character’s Goal? |
| Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
| Title | Description |
|---|---|
| How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
| Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
| Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
Everything above was written for you before you arrived. These are the things you can set running yourself, on the whole script or on one scene at a time.
No lens is broken, but Design is soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The beats can be called before they land Unpredictability
HoldingIt commits to one clear thing and holds it.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
What happens here obliges what comes next Consequence
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingWhat happens here obliges what comes next.
An aftermath beat lands the cost of what just happened rather than driving new action.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
A transition carries us between beats. It owes less structurally than a scene built to turn.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
Design and Read are broken — this reads as a rebuild before polish.
The beats can be called before they land Unpredictability
HoldingThe reader can follow what matters.
A montage compresses time. It isn’t built to turn on a single thread.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingEvery beat and line earns its place.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
Read is broken — a load-bearing lens isn’t doing its job yet.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It plays close to the version we’ve seen before Freshness
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
A montage compresses time. It isn’t built to turn on a single thread.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingEvery beat and line earns its place.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingThe exit pulls you into the next one.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingIt commits to one clear thing and holds it.
No lens is broken, but Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingWhat happens here obliges what comes next.
No lens is broken, but Read is soft — this reads as a polish pass.
The result doesn’t oblige what comes next Consequence
HoldingA real force keeps it pushing forward.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An aftermath beat lands the cost of what just happened rather than driving new action.
Design is broken — a load-bearing lens isn’t doing its job yet.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
A montage compresses time. It isn’t built to turn on a single thread.
No lens is broken, but Design is soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
No lens is broken, but Read is soft — this reads as a polish pass.
It plays close to the version we’ve seen before Freshness
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingIt commits to one clear thing and holds it.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
A transition carries us between beats. It owes less structurally than a scene built to turn.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingIt commits to one clear thing and holds it.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
The result doesn’t oblige what comes next Consequence
HoldingThe reader can follow what matters.
Read is broken — a load-bearing lens isn’t doing its job yet.
It plays close to the version we’ve seen before Freshness
HoldingThe reader can follow what matters.
An aftermath beat lands the cost of what just happened rather than driving new action.
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
“Functional” (5–6) is a solid, professional scene — that's where most scenes sit. The scale rides low on purpose, so it has room to point down (where to fix) and up (what's working).
Scenes now use the full 0–10 scale, so your numbers will look lower and more spread out than before. That's the new, smarter model being honest — not a verdict on your script.
The table below uses the same colors: warm = worth a look · neutral = fine · green = working. The point is awareness, not maxing every number — a scene can be light on plot or conflict for good reasons.
| Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Triage | Design | Overall | Clarity | Scene Impact | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Unseen Disturbance | PolishInvestigationNo lens is broken, but Design is soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 7 / 7 | 7 | 6 | 8 | 5 | 5 | 4 | 5 | 6 | 5 | 4 | 6 | 6 | 5 | 5 | 6 | 7 | 8 | 7 | |
| 2 - Interrupted ESP Test | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 8 | 8 / 8 | 7 / 7 | 8 | 7 | 8 | 9 | 6 | 5 | 7 | 7 | 6 | 5 | 7 | 7 | 5 | 8 | 7 | 7 | 8 | 7 | |
| 3 - The Library Investigation | PolishInvestigationNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 5 / 6 | 6 | 6 | 7 | 7 | 5 | 4 | 7 | 4 | 3 | 3 | 6 | 5 | 3 | 7 | 5 | 6 | 8 | 6 | |
| 4 - Ghostly Encounter in the Stacks | KeepInvestigationAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 6 | 7 | 7 | 5 | 4 | 7 | 7 | 7 | 6 | 6 | 8 | 6 | 8 | 8 | 8 | 8 | 7 | |
| 5 - Confrontation at the Lab | KeepAftermathAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 7 | 6 | 8 | 6 | 5 | 8 | 7 | 6 | 6 | 8 | 5 | 5 | 8 | 7 | 7 | 8 | 7 | |
| 6 - The Birth of Ghostbusters | PolishTransitionNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 8 | 6 | 5 | 7 | 6 | 4 | 5 | 7 | 5 | 4 | 7 | 6 | 6 | 8 | 6 | |
| 7 - Awkward Neighborly Encounter | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 6 / 6 | 6 | 5 | 5 | 7 | 5 | 4 | 5 | 4 | 4 | 3 | 5 | 5 | 4 | 7 | 5 | 5 | 8 | 6 | |
| 8 - Supernatural Disturbances and Ghostbusting | Low on its ownMontageDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 6 | 5 | 4 | 6 | 6 | 5 | 4 | 7 | 5 | 5 | 7 | 6 | 7 | 8 | 6 | |
| 9 - The Birth of Ghostbusters | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 8 | 5 | 4 | 6 | 4 | 3 | 4 | 7 | 6 | 4 | 7 | 6 | 6 | 7 | 6 | |
| 10 - Dana's Mysterious Encounter | KeepInvestigationAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 7 | 7 / 7 | 7 | 6 | 7 | 8 | 6 | 5 | 7 | 6 | 5 | 5 | 6 | 6 | 5 | 8 | 7 | 7 | 8 | 7 | |
| 11 - A Night of Frustration and Horror | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 7 / 7 | 7 | 6 | 6 | 7 | 5 | 4 | 6 | 5 | 4 | 5 | 6 | 6 | 5 | 7 | 6 | 6 | 8 | 6 | |
| 12 - Hotel Disturbance | PolishDeliveryNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 7 | 6 / 7 | 7 | 7 | 6 | 7 | 5 | 4 | 8 | 5 | 4 | 5 | 8 | 6 | 4 | 7 | 6 | 7 | 8 | 6 | |
| 13 - Ghostbusters Investigate the Apartment Building | ReworkInvestigationRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 7 | 8 / 7 | 6 / 6 | 7 | 6 | 7 | 8 | 5 | 4 | 7 | 6 | 5 | 5 | 6 | 6 | 5 | 7 | 6 | 7 | 8 | 6 | |
| 14 - Ray Encounter | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6 | 8 / 7 | 7 / 7 | 7 | 6 | 8 | 7 | 5 | 4 | 7 | 6 | 5 | 5 | 6 | 6 | 5 | 7 | 6 | 7 | 8 | 7 | |
| 15 - Paranormal Hallway Encounter | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6 | 8 / 7 | 8 / 7 | 7 | 6 | 6 | 7 | 6 | 5 | 7 | 7 | 6 | 5 | 6 | 6 | 6 | 7 | 7 | 7 | 8 | 7 | |
| 16 - The Banquet Room Battle | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 7 | 7 | 8 | 6 | 5 | 8 | 7 | 6 | 6 | 7 | 7 | 5 | 8 | 7 | 7 | 8 | 7 | |
| 17 - Ghostbusting Success | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 6 / 7 | 7 | 7 | 6 | 7 | 6 | 5 | 8 | 6 | 5 | 5 | 8 | 4 | 5 | 6 | 6 | 7 | 8 | 7 | |
| 18 - Ghostbusters Capture and Controversy | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 7 / 7 | 7 | 7 | 6 | 8 | 6 | 5 | 8 | 6 | 5 | 5 | 8 | 7 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 19 - Ghostbusters on the Case | Low on its ownMontageDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6 | 8 / 7 | 6 / 7 | 7 | 6 | 7 | 6 | 5 | 4 | 6 | 4 | 3 | 5 | 6 | 6 | 4 | 5 | 6 | 7 | 8 | 6 | |
| 20 - Ghostly Encounters on the Airwaves | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6 | 8 / 8 | 7 / 7 | 7 | 6 | 7 | 7 | 5 | 5 | 7 | 6 | 5 | 5 | 6 | 6 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 21 - The Ghostbusters' Office | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 7 | 7 / 7 | 7 | 6 | 7 | 8 | 5 | 4 | 6 | 6 | 5 | 5 | 6 | 6 | 5 | 7 | 6 | 7 | 8 | 6 | |
| 22 - Confrontation with the EPA | KeepContestAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 9 / 9 | 8 / 8 | 7 | 7 | 7 | 8 | 6 | 5 | 8 | 8 | 7 | 6 | 7 | 7 | 5 | 9 | 8 | 8 | 9 | 8 | |
| 23 - Storage Facility Concerns | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6 | 8 / 7 | 6 / 7 | 7 | 6 | 7 | 7 | 5 | 4 | 6 | 5 | 4 | 7 | 6 | 5 | 6 | 7 | 6 | 6 | 8 | 6 | |
| 24 - A Nightmarish Encounter | PolishDeliveryNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 6 | 7 | 6 | 5 | 6 | 7 | 7 | 6 | 8 | 7 | 7 | 6 | 8 | 8 | 9 | 8 | |
| 25 - Unleashed Terror | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 7 | 7 | 7 | 7 | 8 | 6 | 5 | 7 | 6 | 5 | 6 | 8 | 7 | 5 | 8 | 7 | 7 | 8 | 7 | |
| 26 - Louis Possessed | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 7 | 8 | 8 | 5 | 8 | 7 | 7 | 6 | 8 | 7 | 6 | 8 | 7 | 8 | 8 | 7 | |
| 27 - Unveiling the Gatekeeper | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 8 | 8 / 8 | 8 / 8 | 8 | 7 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 6 | 8 | 8 | 6 | 8 | 8 | 7 | 8 | 7 | |
| 28 - Dana's Possession | PolishInvestigationNo lens is broken, but Execution and Read are soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 7 | 9 / 8 | 8 / 8 | 8 | 7 | 8 | 8 | 6 | 5 | 8 | 7 | 7 | 6 | 7 | 8 | 6 | 9 | 8 | 8 | 8 | 7 | |
| 29 - The Keymaster's Revelation | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 8 | 7 | 8 | 8 | 7 | 6 | 8 | 6 | 5 | 7 | 8 | 6 | 6 | 8 | 7 | 6 | 8 | 7 | |
| 30 - Sensual Encounter | PolishDeliveryNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 6 | 8 / 7 | 7 / 7 | 7 | 5 | 6 | 7 | 6 | 5 | 3 | 6 | 5 | 5 | 4 | 7 | 6 | 3 | 7 | 7 | 8 | 7 | |
| 31 - Confrontation at the Firehouse | PolishContestNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 8 / 8 | 7 | 8 | 6 | 7 | 6 | 4 | 8 | 7 | 7 | 8 | 9 | 6 | 6 | 8 | 7 | 7 | 8 | 7 | |
| 32 - The Iridescent Geyser | PolishAftermathNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 6 | 7 | 6 | 5 | 8 | 7 | 6 | 8 | 8 | 6 | 6 | 7 | 7 | 8 | 8 | 7 | |
| 33 - Night of Terror | ReworkMontageDesign is broken — a load-bearing lens isn’t doing its job yet. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 7 | 8 / 8 | 7 / 7 | 8 | 7 | 8 | 5 | 4 | 3 | 5 | 7 | 6 | 6 | 7 | 7 | 5 | 5 | 7 | 8 | 8 | 7 | |
| 34 - Unwelcome Encounter in the Dark | PolishDeliveryNo lens is broken, but Design is soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 7 / 7 | 7 | 6 | 8 | 7 | 6 | 5 | 7 | 7 | 6 | 5 | 6 | 7 | 5 | 7 | 7 | 8 | 8 | 7 | |
| 35 - Preparing for Gozer's Arrival | PolishInvestigationNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 7 | 7 | 7 | 6 | 7 | 5 | 5 | 7 | 6 | 5 | 7 | 8 | 6 | 5 | 7 | 6 | 6 | 8 | 7 | |
| 36 - Confrontation at City Hall | KeepContestAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7 | 8 / 8 | 7 / 8 | 7 | 7 | 6 | 7 | 6 | 5 | 8 | 8 | 7 | 8 | 8 | 6 | 6 | 8 | 7 | 7 | 8 | 8 | |
| 37 - Explosive Encounter and Preparations Amidst Earthquake | PolishDeliveryNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 8 / 8 | 7 | 7 | 6 | 7 | 6 | 5 | 8 | 6 | 5 | 7 | 8 | 6 | 6 | 7 | 7 | 7 | 8 | 7 | |
| 38 - Arrival at Dana's Apartment Building | PolishTransitionNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7 | 8 / 8 | 7 / 8 | 7 | 6 | 6 | 7 | 5 | 4 | 8 | 6 | 5 | 7 | 7 | 6 | 6 | 7 | 7 | 8 | 8 | 7 | |
| 39 - Confrontation with Gozer | KeepContestAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 8 | 8 / 9 | 9 / 8 | 8 | 7 | 8 | 8 | 6 | 5 | 8 | 8 | 8 | 8 | 8 | 7 | 6 | 8 | 8 | 8 | 9 | 8 | |
| 40 - The Stay-Puft Marshmallow Man Arrives | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 8 | 9 / 9 | 8 / 8 | 8 | 8 | 9 | 8 | 7 | 6 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 9 | 8 | |
| 41 - Confrontation and Triumph: The Stay-Puft Marshmallow Man's Defeat | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 8 | 8 / 8 | 7 / 7 | 8 | 8 | 8 | 8 | 7 | 6 | 9 | 7 | 7 | 8 | 9 | 6 | 7 | 8 | 8 | 8 | 8 | 7 | |
| 42 - Post-Victory Celebrations | ReworkAftermathRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6 | 8 / 8 | 5 / 6 | 7 | 5 | 8 | 6 | 4 | 3 | 3 | 2 | 2 | 2 | 4 | 6 | 6 | 7 | 6 | 7 | 8 | 7 | |
Scene by Scene Emotions