SCENES

# PG SLUGLINE

1 INT. POLICE STATION, BOSTON - NIGHT, 1976 1 A quiet, cold winter night. An OLDER COP emerges from an INTERVIEW ROOM, walks down a long hall. Boston, MA - December, 1976 He reaches the front desk. A YOUNG COP looks to him,

6 INT. BOSTON GLOBE, NEWSROOM - DAY, 2001 6 A large newsroom. REPORTERS and EDITORS gathered. Boston, MA - July, 2001 DEPUTY MANAGING EDITOR BEN BRADLEE JR., 50s, gruff, stands in front with an older reporter, STEWART, 60s. And a cake.

10 INT. FOUR SEASONS HOTEL, RESTAURANT - LATER 10 Marty sits at a table reading “The Curse of the Bambino,” a NOTEPAD beside him. ROBBY Mr. Baron.

12A EXT. BOSTON GLOBE - DAY 12A The front of the Globe. Marty gets out of a cab, shuts the door. He walks inside. 13 INT. GLOBE, NEWSROOM - DAY 13 Ben strides across the newsroom. Robby falls in.

16 INT. GLOBE, LARGE CONFERENCE ROOM - LATER 16 The meeting is wrapping up. 11/26/14 12. SPORTS EDITOR ...and it looks like Pedro’s gonna

17 INT. GLOBE, BEN’S OFFICE - LATER 17 Ben and Robby walk into Ben’s office. ROBBY Gutsy call for the first day. BEN

19 INT. GLOBE, SPOTLIGHT OFFICE - LATER 19 Mike, Sacha, Matt all working. Sacha on the phone. 11/26/14 17. SACHA (INTO PHONE) I don’t know if he’s writing about

20 EXT. SACHA’S GRANDMOTHER’S HOUSE, SOUTHIE - NIGHT 20 The quiet street dips down, disappearing into the harbour. Sacha and Hansi get out of their car, cross the street. 21 INT. SACHA’S GRANDMOTHER’S HOUSE, DINING ROOM - NIGHT 21 A cozy dining room. Sacha, her GRANDMOTHER and her husband

24A INT. GLOBE - DAY 24A Matt walks down a row of cubicles, disappears down a spiral staircase. 24B INT. BOSTON GLOBE LIBRARY - CONTINUOUS 24B Matt descends the staircase and arrives at the front desk.

29 INT. GARABEDIAN’S OFFICE - LATER 29 Mike, still waiting, checks his watch. He hears more YELLING behind the door. Suddenly the door opens. A SHORT MAN exits. Mike looks at the paralegal, points: “Is that him?” She shakes her head, walks off screen. Mike watches her go.

31 INT. GLOBE, LIBRARY - DAY 31 A Button is pushed, CONTROL PANEL lights up. A rotating library clip file comes to stop. A few old newspaper clips are pulled. A folder from the LARGE PHOTO clip file is pulled.

34 EXT. FENWAY PARK - NIGHT 34 Establishing. From up above, a game in progress. 34A INT. FENWAY PARK - NIGHT 34A Mike and Matt sit with Ben and Steve Kurkjian at the game. A called third strike and the crowd groans.

37 EXT. WOLLASTON GOLF CLUB, 8TH TEE, MILTON, MA - DAY 37 JIM SULLIVAN, 50s, lines up a tee shot. Smacks it. ROBBY and TWO OTHER GOLFERS watch as Jim talks to his ball... JIM Stay away from that trap.

39 INT. BARBARA’S CAR, WOLLASTON PARKING LOT - LATER 39 Robby gets in. She pulls off. BARBARA How’d you play? ROBBY

46 INT. GLOBE, ROBBY’S OFFICE - MOMENTS LATER 46 Robby’s looking over some of the clips Matt pulled. 11/26/14 35. MIKE Hey. Shouldn’t you be golfing?

47 EXT. LAKE STREET, CARDINAL’S RESIDENCE - DAY 47 An Audi A4 pulls up in a large parking lot. Marty gets out, looks up at the Cardinal’s MASSIVE LAKE STREET MANSION. CARDINAL LAW (PRELAP) I’ve always been fascinated with the

50 INT. GLOBE, ROBBY’S OFFICE - DAY 50 The entire team sits in Robby’s small sitting area facing PHIL SAVIANO. Phil is mid-40s, thin and twitchy. He’s got a medium sized BOX in front if him. He rifles through some papers on his lap.

52 EXT. STATE STREET, BOSTON - DAY 52 Garabedian walks down State Street. Mike falls in with him. MIKE Mitch, what a surprise. How are you? GARABEDIAN

55A EXT. CAFE FRANCESCA, SOUTH END - DAY 55A Sacha walks up to a small cafe in the South end. 56 INT. CAFE FRANCESCA, SOUTH END - DAY 56 A small, bohemian cafe, mostly men. JOE CROWLEY, 42, heavy, boyish face, sits alone WATCHING the door. NERVOUS as shit.

58 INT. CAFE FRANCESCA, SOUTH END - DAY 58 Joe talks very fast. He takes a big gulp of water. JOE CROWLEY ...and there was this nun, Sister Barbara, she ran this group for kids

60 EXT. TITUS SPARROW PARK, SOUTH END - DAY 60 Sacha and Crowley walk through Peter’s Park. We can see the Cathedral in the distance. Crowley’s a little less nervous. JOE CROWLEY He said it was a way to make me more

61A INT. KITCHEN, SACHA’S GRANDMOTHER’S APARTMENT - DAY 61A Sacha sits at the table looking through her notes. Her grandmother is at the stove cooking. Sacha notices something in her notes, stands and takes out her cell. She walks out while she dials.

62AA INT. GLOBE, CANTEEN - NIGHT 62AA Robby getting a coffee, paying. Matt enters. MATT Hey. ROBBY

65 INT. MIKE’S APARTMENT, EAST BOSTON - NIGHT 65 Mike opens the fridge when his phone RINGS. He picks up. MIKE (INTO PHONE) Hello. SIPE (OVER THE PHONE)

66 INT. GLOBE, CAFETERIA - LATE MORNING 66 Eileen reads the paper, drinks a diet coke. Kurkjian sits nearby, working on a story and some eggs. Matt joins. MATT Hey Mac, if I needed historical data

70 INT. GLOBE, BASEMENT - CONTINUOUS 70 A dank basement, low fluorescents and rows of old books on cheap tin bookshelves. Robby and Mike react to the smell. MIKE Jeez, what the hell is that smell?

72 INT. GREENBERG TRAURIG, CONFERENCE ROOM - MORNING 72 Robby and Sacha have been waiting. Macleish enters. ERIC MACLEISH Thanks for waiting, so sorry guys, I got stuck on a call. What’s up?

75 INT. COPLEY SQUARE BALLROOM, ATRIUM - NIGHT 75 CLOSE ON a woman scanning a list of names on clipboard. WOMAN I’m sorry, what was it again? 11/26/14 65.

76 INT. ARMENIAN DINER, DOWNTOWN BOSTON - NIGHT 76 CLOSE ON a bowl of soup. HANDS reach for it... REVEAL Garabedian and Mike having dinner. Mike’s going over notes. MIKE You said there was a victim who

77 INT. COPLEY SQUARE BALLROOM, ATRIUM - NIGHT 77 Robby crosses the room, joins Jim Sullivan at the bar. JIM There he is. They two men shake.

78 INT. GLOBE, ROBBY’S OFFICE - DAY 78 Matt, Sacha and Mike are crammed in Robby’s office, Matt downloading the team on the directories. MATT I’ve been through a lot of these.

80 INT. GLOBE, BEN’S OFFICE - DAY 80 Ben eats lunch, Robby and Mike download him. Ben’s shocked. BEN Ninety fucking priests? In Boston? ROBBY

82 INT. GLOBE, SPOTLIGHT - LATER 82 CLOSE ON a ruler moving down a directory. It stops at a designation: Sick Leave. PAN TO the name of a priest. MAHAN. A pen circles it and we -- CUT TO another ruler scanning a directory. It stops.

90 INT. GLOBE, SPOTLIGHT OFFICE - DAY 90 CLOSE ON a COMPUTER SCREEN. We’re scrolling through the EXCEL SPREADSHEET. Dozens of problematic priests. REVEAL Mike, Sacha and Matt huddled around the computer. Sacha reads from a large printout. Matt checks it against a

93 INT. MIKE’S APARTMENT, EAST BOSTON - NIGHT 93 Mike boils hot dogs on the stove. MIKE Richard, do you still go to mass? SIPE (ON SPEAKERPHONE)

94 INT. GLOBE, MARTY’S OFFICE - DAY 94 CLOSE ON an EMAILED LIST of Priests and victims. BEN (O.C.) This is unbelievable. MARTY

100 INT. RUNDOWN HOUSE, DORCHESTER - DAY 100 Sacha sits with the middle-aged-man. MIDDLE-AGED-MAN The Bishop came over the house. He said nothing like this had ever

104 EXT. TWO FAMILY HOUSE - MALDEN, MA - LATE AFTERNOON 104 Sacha walks up to a door. The knock. A kindly looking OLDER MAN (RONALD PAQUIN) in a checkered shirt answers the door. SACHA Hi, I’m looking for Ronald Paquin.

105 INT. HAMPDEN SUPERIOR COURT, COURTROOM, SPRINGFIELD, MA - DAY 105 Mike watching the Globe’s lawyer, JON ALBANO, 50s, white beard and moustache, present to JUDGE CONSTANCE SWEENEY, 40s. JUDGE SWEENEY

109 EXT. HAMPDEN SUPERIOR COURT, SPRINGFIELD, MA - LATER 109 Garabedian sits on the courthouse steps, eating a packed lunch out of tupperware. Simmering. MIKE How you doing, Mitch?

110 EXT. SUFFOLK COUNTY COURTHOUSE, DOWNTOWN BOSTON - LATER 110 Mike gets out of his car, runs across same street into the courthouse. 11/26/14 97. 111 INT. SUFFOLK COUNTY COURTHOUSE, RECORDS ROOM - DAY 111

114 EXT. GLOBE, PARKING LOT - EARLY MORNING 114 Marty gets out of his car and walks toward the building. It’s a beautiful September morning. 115 INT. GLOBE, NEWSROOM - MOMENTS LATER 115 It’s pretty empty. Marty walks in, heads toward his office,

117 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM - DAY 117 Garabedian works at his desk. The phone rings, he picks up. GARABEDIAN (INTO PHONE) Mitchell Garabedian. 118 INT. MIKE’S CAR (MOVING), I-95 - DAY 118

121 INT. GLOBE, MARTY’S OFFICE - EVENING 121 Marty’s working at his computer. Ben knocks. BEN Marty, you gotta a second? MARTY

123 INT. GLOBE, ROBBY’S OFFICE/SPOTLIGHT - SAME TIME 123 Robby sitting in his chair. ROBBY (INTO PHONE) I know, wrap up what you’re doing and catch the first flight you can.

129 INT. SUFFOLK COUNTY COURTHOUSE, HALLWAY - MOMENTS LATER 129 Mike, still carrying his bags from the plane, emerges from an elevator, hurries down the hall, nearly knocking people out of the way. He arrives at the Records Room and slams up against the glass just as the clerk (O’BRIAN) LOCKS the door.

133 INT. BC HIGH, PRESIDENT KEMEZA’S OFFICE, DORCHESTER - DAY 133 Robby, Sacha sit with PRESIDENT BILL KEMEZA, 50s, SPOKESMAN JACK DUNN, 40, and Pete Conley, the swell we met earlier. JACK DUNN I’m just not sure what you want from

134 EXT. BC HIGH, DORCHESTER, MA - DAY 134 Robby and Sacha walk from BC High back to the Globe. SACHA Does Jack Dunn work for the school? ROBBY

137 INT. SUFFOLK COUNTY COURTHOUSE, RECORDS ROOM - DAY 137 Clerk O’Brian drops the file in front of Mike, who dives in. His face says it all. HOLY SHIT. A beat, then Mike grabs the files, starts to rush out. CLERK O’BRIAN

142A EXT. COLUMBIA STREET, DORCHESTER - SAME TIME 142A The cab drives down by the water. MIKE (V.O.) Here’s another one to Law, same year. Listen to this...

149 INT. SACHA’S HOUSE, KITCHEN - NIGHT 149 Sacha and Hansi have just finished dinner. Hansi’s cleaning off the table as Sacha loads the dishwasher. 11/26/14 116. She tries to slide the upper rack into the dishwasher. It’s

151 INT. FAIRMONT HOTEL, OAK ROOM, DOWNTOWN BOSTON - NIGHT 151 The posh bar of one of Boston’s oldest hotels. Robby is at the bar, a glass of red wine in front of him. PETER CONLEY Looks like a long day.

153 INT. GLOBE, ROBBY’S OFFICE/SPOTLIGHT OFFICE - DAY 153 Robby, Mike, Sacha and Matt sit working. It’s dark, quiet, serious. A beat, then Robby’s phone RINGS. He answers. ROBBY (INTO PHONE) Robby. What? No shit, when? Okay.

155 INT. GLOBE, MARTY’S OFFICE - MOMENTS LATER 155 CLOSE ON the letters. Reveal Marty and Ben reading, STUNNED. MARTY When did you -- ROBBY

156 INT. GLOBE, NEWSROOM OUTSIDE MARTY’S OFFICE - CONTINUOUS 156 Ben and Robby walk out. BEN Tell Mike I want a draft before Christmas. And we need a response

163 EXT. SULLIVAN HOUSE, BROOKLINE - MOMENTS LATER 163 Robby walks out of the house, toward his car. JIM Hey! Robby turns, finds Sullivan.

165 INT. GLOBE, MARTY’S OFFICE - DAY 165 Marty sits reading copy. He crosses something out. Ben, Robby and Sacha sit opposite Marty. BEN What?

165A EXT. GLOBE - NIGHT (FORMERLY 171A, ALREADY SHOT) 165A The building is dark, save for the PRESS ROOM. Through the window, we see the presses. Running. 166 INT. GLOBE, BEN’S OFFICE - NIGHT (FORMERLY 166A) 166 Ben, coat on, sits alone in his office.

169 INT. GARABEDIAN OFFICE, HALLWAY - CONTINUOUS. 169 Mike walks back toward the elevator. He presses the button, waits, hears children laughing. He peers into -- 170 INT. GARABEDIAN OFFICE, SMALL WAITING ROOM - CONTINUOUS 170 A MOTHER sits with TWO YOUNG CHILDREN, ten and eight, playing

175 EXT. GLOBE, FRONT PARKING LOT - MORNING 175 The small visitor’s lot at the Globe entrance is empty, save for MIKE’S CAR. Idling. Robby’s car enters, pulls up next to Mike’s. Robby looks across at Mike. The two men connect. Mike and Robby get out of their cars.

Spotlight

A tenacious team of Boston Globe reporters unravels a decades-long cover-up of child sexual abuse within the Catholic Church, exposing a systemic crisis that shakes the city to its core. Other loglines ›

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Overview

Unique Selling Point

What sets 'Spotlight' apart is its unflinching portrayal of real-life events through the lens of investigative journalism, emphasizing the moral responsibility of the press. The screenplay's focus on the human stories behind the headlines, combined with its exploration of institutional power dynamics, makes it a compelling piece of storytelling that resonates with audiences concerned about accountability and justice.

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 prestige investigative drama with a championable procedural engine and distinctive tonal control that requires targeted midsection tightening and earlier planting of the protagonist's complicity before it can secure a highly recommend.

Read as Prestige

Genres Drama4 Historical3 Crime2

A prestige investigative drama offering cumulative procedural suspense and moral reckoning, with the craft bet that rigorous reporting and local complicity can carry the emotional force of a newsroom ensemble story.

Why not lower

The procedural craft, evidentiary spine, and survivor scenes are consistent enough to clear the Consider band on execution alone.

Why not higher

The middle-act repetition, late arrival of the protagonist's complicity, and remote institutional opposition keep the read from the Highly Recommend band.

A prestige investigative drama with a distinctive procedural engine and restrained tonal control that requires targeted midsection tightening and earlier planting of the protagonist's complicity to secure its full impact.

Read as Prestige

Start here

Converting the midsection's passive information handoffs into active decision points addresses both the repetitive discovery beats and the late arrival of the protagonist's complicity, fixing the upstream momentum gap reduces the cost of the third-act reveal.

Protect while fixing 1

Procedural discovery and evidentiary accumulation as narrative engine

Compressing or differentiating the midsection discovery beats risks stripping away the concrete evidentiary turns that currently generate the script's suspense.

When tightening the middle act, preserve the directory cross-referencing, courthouse searches, and document reveals as self-contained dramatic turns rather than summarizing them into montage or exposition.

Fix first 2

Midsection discovery beats repeat without escalating pressure

The reader receives escalating numbers and facts without a matching change in the team's exposure or immediate stakes, so the second act feels like accumulation rather than tightening.

Root cause

The middle act's dramatic question becomes 'how many,' and each answer is delivered in an identical scene grammar that ends on a number rather than a decision, flattening the sense of rising stakes.

One direction

One path is to compress or differentiate the count revelations so each ends on a concrete choice, deadline threat, or relationship shift that the next sequence must answer.

Protagonist's institutional complicity lacks early dramatic preparation

The reader's trust in the protagonist's judgment becomes uncertain at the point the script most needs it settled, so the late confrontation reads as information revealed rather than character revealed.

Root cause

The script establishes the protagonist's local ties and skepticism, but his concealment of the 1993 lead and his own role in the prior burial arrive without an intermediate scene where he weighs that choice.

One direction

One path is to seed the prior missed lead through small, concrete reactions or legacy data encounters in act one and two, so the final admission completes an existing pressure line rather than introducing a new one.

Your decisions 1

Institutional opposition: dramatized confrontation vs. reported distance Consequential

Side A

Committing to dramatized opposition means adding visible Church-side actions or intermediary pressure in act two, which would raise immediate stakes but risks shifting the script toward thriller mechanics.

Side B

Committing to reported distance means keeping the institution offstage and relying on the team's internal reactions and document discoveries to carry the tension, preserving the procedural register but requiring tighter scene design to avoid flatness.

Ask AI about this read

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

What's working All 4 readers agree

The script’s ability to turn procedural research and data cross-referencing into high-stakes narrative set-pieces is a rare feat of structural discipline and tension management.

What's blocking Readers disagree

Readers split on the primary blocker, with two citing mid-act procedural repetition and one citing the late arrival of the protagonist's complicity, while one found no major blocker. This divergence implies the script's advocacy ceiling depends on whether the writer prioritizes pacing or character preparation.

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

Story Facts

Genres:

Drama 50% Thriller 30% Crime 40%

Setting: 1976 and 2001, Boston, Massachusetts

Themes: Journalistic Integrity and Investigative Reporting, Institutional Cover-up and Systemic Abuse, Faith vs. Doubt, Personal Sacrifice and Perseverance, Psychological Trauma of Abuse

Conflict & Stakes: The Spotlight team's struggle to uncover the truth about widespread abuse within the Catholic Church, facing resistance from powerful figures and the church's influence.

Mood: Tense and somber, reflecting the gravity of the subject matter.

Standout Features:

Unique Hook: The investigation into the Catholic Church's cover-up of sexual abuse, a topic that resonates with contemporary societal issues.
Plot Twist: The revelation of the extent of the abuse and the church's systematic efforts to silence victims and protect abusers.
Distinctive Setting: The juxtaposition of the bustling Boston Globe newsroom with the somber realities of the abuse victims.
Innovative Ideas: The use of investigative journalism as a means to confront powerful institutions and seek justice.
Unique Characters: A diverse cast of journalists and survivors, each with their own motivations and backgrounds, adding depth to the narrative.

Comparable Scripts: Spotlight, The Boston Globe's Coverage of the Catholic Church Scandal, All the President's Men, The Insider, The Wire, A Few Good Men, The Post, The Crucible, The Silence of the Lambs

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: 8.24

> 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 excels in dialogue and plot structure but needs to enhance originality and engagement to reach its full potential.

Go to Scene Analysis

Key Strengths

High dialogue rating (94.91) indicates strong, engaging conversations that likely enhance character interactions.
Strong plot rating (88.32) suggests a well-structured and compelling storyline that captures audience interest.
Excellent story forward score (92.12) shows effective pacing and progression of the narrative.

Areas for Improvement

Originality score (25.85) is low; the writer should explore unique concepts or twists to differentiate their screenplay.
Structure score (29.93) indicates potential issues with the overall framework; focusing on traditional three-act structure could help.
Engagement score (37.07) suggests that the screenplay may not fully captivate the audience; enhancing emotional stakes could improve this.

Writer Style

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

Balancing Elements

Enhance originality and structure to complement the strong dialogue and plot, creating a more cohesive narrative.
Focus on developing character arcs and emotional impact to balance the high plot-driven elements.

Intuition Level

Intuitive

Overall Assessment

The screenplay shows strong potential with engaging dialogue and a solid plot, but it requires improvements in originality and structure to elevate its overall impact.

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	8.5	52	Knives Out : 8.4	face/off : 8.6
Scene Concept	8.3	64	face/off : 8.2	fight Club : 8.4
Scene Plot	8.4	80	the boys (TV) : 8.3	the dark knight rises : 8.5
Scene Characters	8.3	33	face/off : 8.2	True Blood : 8.4
Scene Emotional Impact	7.9	39	Blade Runner : 7.8	the dark knight rises : 8.0
Scene Conflict Level	7.8	57	Erin Brokovich : 7.7	True Blood : 7.9
Scene Dialogue	8.5	92	a few good men : 8.4	Easy A : 8.6
Scene Story Forward	8.7	87	the 5th element : 8.6	the dark knight rises : 8.8
Scene Character Changes	7.5	61	Terminator 2 : 7.4	Dr. Jekyll and Mr Hyde : 7.6
Scene High Stakes	8.1	68	Thor : 8.0	Titanic : 8.2
Scene Unpredictability	7.22	24	Joker : 7.21	Nickel Boys : 7.23
Scene Internal Goal	8.08	57	The Wizard of oz : 8.07	Blade Runner : 8.09
Scene External Goal	7.29	57	Casablanca : 7.28	House of cards pilot : 7.30
Scene Originality	8.46	28	Silence of the lambs : 8.45	Fargo Pilot : 8.48
Scene Engagement	8.93	41	There's something about Mary : 8.92	the boys (TV) : 8.94
Scene Pacing	8.24	45	Mr. Smith goes to Washington : 8.23	Fargo Pilot : 8.25
Scene Formatting	8.08	29	The whale : 8.07	Deadpool : 8.09
Script Structure	8.07	27	Birdman : 8.06	Her : 8.08
Script Characters	7.60	33	Easy A : 7.50	Mr Robot : 7.70
Script Premise	9.10	77	the 5th element : 9.00	Terminator 2 : 9.20
Script Structure	8.50	68	the pursuit of happyness : 8.40	scream : 8.60
Script Theme	9.30	91	Casablanca : 9.20	groundhog day : 9.40
Script Visual Impact	7.10	3	Battlefield Earth : 6.90	Dr. Jekyll and Mr Hyde : 7.20
Script Emotional Impact	8.80	80	groundhog day : 8.70	the pursuit of happyness : 8.90
Script Conflict	8.30	66	face/off : 8.20	fight Club : 8.40
Script Originality	7.20	15	Manhattan murder mystery : 7.10	American Hustle : 7.30
Overall Script	8.24	50	the boys (TV) : 8.23	Sorry to bother you : 8.25

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.