SCENES

# PG SLUGLINE

ARGO by Chris Terrio based on the May 2007 "Wired" magazine article entitled "The Great Escape" by Joshuah Bearman;

9 INT. CHANCERY OFFICE - MORNING 9 Mounting chaos in here, the nerve center of the embassy. Everyone on a different phone. It’s like an emergency room where the patient is the whole building. ANN SWIFT, 31, Deputy Political Officer, has the phone by

23 INT. CHANCERY OFFICE - MORNING 23 FRED KUPKE, 34, communications officer, is shouting at staffers who pile up documents for the shredders -- KUPKE Just everything. Don’t sort it --

32 INT. CHANCERY STAIRWELL LEADING TO 2ND FLOOR - MORNING 32 BROTHER ALI, 20s, one of the student leaders, shouts as he holds a cloth near his face to protect from tear gas. 33 INT. CHANCERY OFFICE - MORNING 33 * The mood is now frantic -- people destroying things or

46 INT. STATE DEPARTMENT HALL - SEVENTH FLOOR - NIGHT 46 Halfway around the world, hell has broken loose here, too. BATES and MALICK, 30s, State Department mid-level aides. A cascade of voices and energy -- a reverberation from the embassy siege -- the building exploding into a

49 INT. CHIEF OF STAFF’S OFFICE - NIGHT 49 There are already maps of Iran on easels in here. The big three plus foreign networks on silent televisions. LANDON BUTLER, 30s, Jordan’s Deputy Chief of Staff, is on the phone.

49A EXT. OLD DOMINION DRIVE (VIRGINIA) - AFTERNOON 49A A LONE ribbon sags in the f.g. -- the CAPITOL BUILDING behind. Yellow ribbons tied to lampposts. A Catholic church with a sign on the lawn that says PRAY FOR OUR HOSTAGES. A

56 INT. D.O. FLOOR - HALLWAY - LANGLEY - AFTERNOON 56 O’Donnell, frantically grabbing documents and tossing them into an accordion folder. O’DONNELL The six of them went out a back

58 INT. CONFERENCE ROOM - A FEW MINUTES LATER 58 They enter to find: ADAM ENGELL, 40s or 50s, Deputy Chief of Operations, hosting visitors from the State Department: PENDER and BATES from State. The State guys are both dressed better than the CIA guys, except for

60 INT. CANADIAN AMBASSADOR’S RESIDENCE - DINING ROOM - 60 NIGHT At dinner around a dining room table: the SIX HOUSEGUESTS; KEN TAYLOR, 40s, Canadian ambassador. He does much to support the myth that Canadians are always

68 INT. MENDEZ’S CAR - NIGHT 68 Mendez listens to the radio as he drives home along the bridge, the Jefferson Memorial beyond. NEWSCASTER (V.O.) The White House Christmas tree was

74 INT. CARPET FACTORY - DAY 74 ANGLE - A SMALL HAND pieces shreds together to form the words: U.S. DEPARTMENT OF STATE -- TEHRAN -- CLASSIFIED. He is working on reassembling the seized EMBASSY PAPERS --

81 INT. CHRISTINE’S HOUSE - CROSS-CUTTING - NIGHT 81 IAN MENDEZ, 7 and about to turn 8, is watching a movie on * his bed. He picks up on the second ring. * IAN * Hello. *

86 INT. SCI-FI LAB - A MINOTAUR - DAY 86 A bull/human experiment in a SCI-FI lab, coming to bovine life. A SEXY SPACE NURSE is administering some kind of shot to him. A SECOND NURSE stands by. SPACE NURSE

90 INT. CIA - CONFERENCE ROOM - DAY 90 Pender and Engell sit at the table; O’Donnell hovers. A few State Department and CIA ANALYSTS here, including Malinov and Lamont; and DAVID MARMOR, early 30s, Engell’s guy.

91 INT. CIA - THE PIT - A FEW MINUTES LATER 91 Tony stands in small messy KITCHEN AREA, pouring coffee. On the coffeepot somebody’s pinned a note: CHANGE FILTER IF YOU USE! DO UNTO OTHERS. O’Donnell approaches, quietly stands behind him, smoking

96 INT. CANADIAN AMBASSADOR’S RESIDENCE - KITCHEN - LATER 96 Kathy Stafford is roughly washing wine glasses at the sink. JOE STAFFORD You’ve washed them three times.

100 INT. SMOKE HOUSE - AFTERNOON 100 A couple of empty highball glasses on the table. Chambers is looking at PHOTOGRAPHS of the SIX. Mendez is taking notes. On a photo of Cora Lijek. CHAMBERS

103 INT. SIEGEL’S DEN - ANGLE ON TV - TED KOPPEL - EVENING 103 Reporting on Iran. SIEGEL (O.S.) A little experiment. You be me hearing you.

104 EXT. BY LESTER’S POOL - MORNING 104 Chambers, on hold on the phone, walks to Siegel holding up The Horses of Achilles script in a William Morris binder. Stacks of scripts on a table outside. Siegel’s new A.F.I. award is being used as a coaster.

109 EXT. CROSSROADS OF THE WORLD (HOLLYWOOD) - DAY 109 * Tony and Lester turn off Sunset Blvd. and into the office complex. SIEGEL He’s only a prick if you catch him

112 EXT. STREET - A FEW MINUTES LATER 112 MENDEZ You know Warren Beatty? SIEGEL I took a leak next to him at the

118 INT. ARGO PRODUCTION OFFICE - DAY 118 Now it’s noisy in here now -- a PUBLICIST, ASSISTANTS and controlled chaos -- SIEGEL (on the phone)

123 EXT./INT. BEVERLY HILTON - LATE DAY 123 A black sedan pulls up to the hotel. A driver opens the back door. Mendez, Siegel, and Chambers get out of the car. They’re wearing suits. They walk past a sign that reads: PRESS EVENT and

126 INT. O’DONNELL’S OFFICE - NIGHT 126 O’Donnell, watching the same footage on the News. (CONTINUED) ARGO - Final 50. 126 CONTINUED: 126

133 INT. AMERICAN EMBASSY (TEHRAN) - BASEMENT - NIGHT 133 The four hostages, hoods on their heads, placed against the wall. HOSTAGE TAKERS raise their guns at the men. GREEN JACKET PRINCESS ALEPPA (V.O.) (Farsi) If we find his ship, we

135 INT. BEVERLY HILTON HOTEL - NIGHT 135 Chambers, at the table, sitting next to Siegel. Mendez sits off to the side. CHAMBERS (reading stage

142 EXT. STATE DEPARTMENT - DAY 142 Mendez approaches the iconic building. 143 INT. STATE DEPARTMENT LOBBY - DAY 143 Mendez catches up with Jack on the second level of the lobby, opposite the row of flags.

146 INT. MENDEZ’S APARTMENT - BEDROOM - NIGHT 146 Mendez is packing to go. He packs a passport with his photo and the name KEVIN COSTA HARKINS. He takes off his wedding band and places it with care -- almost with ceremony -- in a spot on his dresser.

155 INT. DULLES AIRPORT - LATER 155 He sits near a mailbox inside the terminal writing on a postcard with the Washington Monument on it. HAPPY BIRTHDAY TO THE BUDDY-MAN. NO PHONE FOR A WHILE. JACK WILL CALL. LOVE YOU BOTH. Then he adds: SO MUCH.

164A EXT. BLUE MOSQUE - MORNING 164A Tony walks through the doorway revealing the historic mosque, we hear the call to prayer echo through the courtyard. Tony walks through the courtyard. We see some TOURISTS with ‘70s Instamatics. Locals are HEADING

166 INT. HAGIA SOPHIA - CONTINUOUS ACTION 166 Nicholls and Tony walk towards the inner courtyard. NICHOLLS When you land, you should go straight to the Ministry of

170 INT. BRITISH AIRWAYS DC-10 - MORNING 170 Mendez sits in a window seat. A FLIGHT ATTENDANT speaks with a pleasant British accent. FLIGHT ATTENDANT (V.O.) The Captain has informed us that

177 EXT. CANADIAN EMBASSY - DAY 177 A TAXI pulls away. Mendez, carrying his luggage, stands at a wrought iron gate with MAPLE LEAVES worked into the iron. Ken Taylor comes out of the building, opens the gate himself.

179A INT. CIA - O’DONNELL’S OFFICE - NIGHT 179A O’DONNELL He got to the embassy. O’Donnell closes the door. Pender, wearing an undone tuxedo, as if he’s just been pulled from a formal event.

185 EXT. CANADIAN AMBASSADOR’S RESIDENCE - VERANDA - NIGHT 185 Mendez comes out and lights a cigarette. Ken Taylor is already there. TAYLOR We’ve got orders to close the

195 INT. O’DONNELL’S OFFICE - NIGHT 195 O’Donnell on the phone. O’DONNELL They called your bluff. MENDEZ

197 INT. KOMITEH HEADQUARTERS (AMIR ABAD DISTRICT) - DAY 197 The feeling here is dangerous. Young men carrying automatic weapons casually. Behrouz stands next to ALI KHALKALI, 30s, a Revolutionary Committee security official. There are RECONSTRUCTED

200 INT. CARPET FACTORY - MORNING 200 A KOMITEH BOSS inspects the work of the CARPET WEAVER KIDS -- whose numbers have grown into the HUNDREDS -- as they labor quietly. Some HEADSHOTS are in various stages of repair.

202 INT. SHERATON ROOM - DAY 202 Tony getting dressed. Thinking. He gets up and leaves, and we start to hear the sound of a man talking fast in Farsi. 203 EXT. CAR RENTAL - DAY 203

208 EXT. STREET NEAR THE BAZAAR - DAY 208 The minivan double-parks on Musavi Street. Taxis, men loading and unloading rolled-up carpets onto pickup trucks, chaos. A YOUNG MAN IN SUIT WITH NO TIE waits. This is REZA, mid-

210 EXT. CANADIAN AMBASSADOR’S RESIDENCE (TEHRAN) - DAY 210 Two sedans turn onto the property and head up the driveway. Ali Khalkali, the revolutionary official, gets out of one of the cars. He’s joined by a couple other OFFICIALS and

216 INT. TEHRAN BAZAAR - ANGLE ON MORE AND MORE BAZAARIS - 216 DAY A CROWD starts to gather around the group. ON KATHY Her claustrophobia as the crowd closes in -- an ANGRY

224B INT. CANADIAN AMBASSADOR’S RESIDENCE - NIGHT 224B Mendez holds a passport and some papers in front of Bob Anders’ face. It feels late. The Houseguests are tired, sweating, sitting around a dining room. Mendez, sleeves rolled up, drilling them. The ARGO STORYBOARDS are

224C INT. CIA - THE PIT - AFTERNOON 224C O’Donnell, walking toward his office. It’s the first time today Malinov has seen him. MALINOV (good news)

225 INT. CANADIAN AMBASSADOR’S RESIDENCE - LIVING ROOM - 225 NIGHT Now the mood among the Houseguests is lighter. Bob Anders, a handful of liquor bottles in his arms, puts them down on a table. Music plays on a record player.

234 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 234 Lee Schatz puts his Infant of Prague holy card into an Argo script. Packs the script. Cora Lijek is sitting next to her husband. Kathy Stafford looks at the clock.

240 INT. CANADIAN AMBASSADOR’S RESIDENCE - DAWN 240 Pat Taylor comes to answer an insistent knocking on her front door. She opens it. (CONTINUED) ARGO - Final 95.

247 INT. CIA (LANGLEY) - THE PIT - NIGHT (A MOMENT LATER) 247 (PRESENT) O’Donnell, charging in -- O’DONNELL Where’s the Director?

256 INT. WHITE HOUSE CHIEF OF STAFF OFFICE - NIGHT (PRESENT) 256 Jordan is in a meeting with two staffers, his feet up on the desk. His secretary opens the door without knocking, hurries to Jordan, whispers something in his ear. He immediately grabs the phone.

263 EXT. BAZAAR - POV OF THE REVOLUTIONARY GUARD PHOTOGRAPHER 263 - DAY Mark Lijek being photographed at the bazaar the previous day. QUICK CUT BACK TO:

273 INT. CIA - THE PIT - NIGHT 273 LAMONT (holding the phone) Purser’s telling Swissair they’re not on the plane.

281 INT. MEHRABAD AIRPORT - KOMITEH STATION - MORNING 281 Azizi rings the phone three times -- four times -- he’s going to hang up -- CHAMBERS (V.O.) (out of breath)

296 INT. MEHRABAD AIRPORT - MORNING 296 Young Komiteh RUNNING through the terminal, pushing through a crowd, making a woman drop her suitcase, contents scattering. An automatic weapon at his side. 297 EXT. SWISSAIR DC-10 - MORNING 297

304 INT. MEHRABAD FLIGHT TOWER - MORNING 304 An Iranian FLIGHT TRAFFIC CONTROLLER calmly speaks into his radio in British-accented English. FLIGHT TRAFFIC CONTROLLER SwissAir 363, you are Number 2 for

317 INT. CIA (LANGLEY) - NIGHT 317 O’Donnell and the Kids gathered around some phones and monitors in the Pit. LAMONT (taking off

322 INT. ARGO PRODUCTION OFFICE - NIGHT 322 Drinking straight from a bottle of Beefeater. SIEGEL It’s history, is what it is. ‘History plays out first as farce,

326 INT. STATE DEPARTMENT - LOBBY - DAY 326 The Houseguests arrive in the State Department lobby. Television lights everywhere. TED KOPPEL (V.O.) The six fled the country posing as

333 INT. CIA ARCHIVES - DAY 333 And suddenly it’s dead-quiet. We’re in a vault inside a vault in the basement of the main building. Mendez’s suitcase is laying on a low counter, an ARCHIVES OFFICER toe-tagging and cataloging various items.

335 INT. ARGO PRODUCTION OFFICE - ANGLE ON A POSTER - DAY 335 on the wall. ARGO: A COSMIC CONFLAGRATION. A hand takes the poster down. ANOTHER ANGLE Chambers is disassembling the office. Boxes packed.

Argo

In the midst of the Iranian revolution, a CIA operative devises a daring plan to rescue six American diplomats hiding in Tehran by posing as a film crew. Other loglines ›

Take the Tour Download PDF

Overview

Unique Selling Point

Argo stands apart from typical thrillers by blending nail-biting suspense with a surprisingly comedic element, born from the absurdity of the plan. It's a historical drama that doesn't shy away from the political complexities of the time, offering a unique perspective on a lesser-known aspect of the Iran hostage crisis. Its compelling narrative comes from the underdog nature of the operation and the sheer ingenuity involved in the daring rescue.

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-leaning historical thriller with a distinctive Hollywood-satire counterpoint that earns a strong recommendation, pending targeted work on the airport sequence's escalation and the houseguest ensemble's individuation.

Readers read as Elevated commercial1 majority

Genres Thriller4 Historical4 Comedy2 Drama2

A prestige-leaning procedural thriller that aims to generate suspense through researched detail and cross-cutting structure, with a wry Hollywood satire embedded as tonal counterweight.

Why not lower

The procedural mechanics and tonal counterpoint operate at a high professional level, preventing the script from reading as a generic thriller.

Why not higher

The stacked procedural delays in the climax and the underdeveloped personal payoffs limit the cumulative emotional pressure needed for a higher band.

A script with a distinctive Hollywood-satire counterpoint and strong procedural mechanics that needs targeted revision on the airport sequence's escalation and the houseguest ensemble's individuation.

Readers read as Elevated commercial1 Prestige3 majority

Start here

Differentiating the houseguests' individual stakes and tightening the airport sequence's causal chain will convert the climax from a series of procedural delays into a cohesive, character-driven release, addressing both the ensemble's emotional distance and the back-half pacing drag.

What's working 1

Cover artifacts as narrative engine

The fake production materials—storyboards, script pages, and press kits—recur as practical tools that give the central deception a tangible, visual logic.

Protect while fixing 1

Hollywood-Tehran tonal counterpoint

Tightening the airport sequence or individuating the houseguests risks pulling focus from the satirical Hollywood thread, which currently provides the script's primary tonal relief.

Keep the Hollywood sequences as self-contained comic counterpoints rather than forcing them into direct causal alignment with the Tehran stakes during revision.

Fix first 2

Airport sequence escalation diffuses

The reader experiences the escape as a series of constructed near-misses rather than a single, compounding release, which slightly flattens the emotional payoff.

Root cause

The sequence introduces multiple fresh obstacles and intercuts in rapid succession, preventing any single threat from building sustained dread.

One direction

Concentrate the airport danger around fewer checkpoints and let the cover's established vulnerabilities compound rather than introducing new procedural delays.

Houseguest ensemble lacks individuating pressure Medium confidence

The reader tracks the group as a collective unit under threat rather than as specific individuals, which reduces the emotional investment in their survival.

Root cause

The houseguests are organized primarily as functional roles within the cover story, with their defining traits rarely altering the plan or accumulating into distinct arcs.

One direction

Give two or three houseguests specific behavioral tells or fears that manifest during rehearsals and pay off at distinct checkpoints, converting the group from a collective into individuated stakes.

Your decisions 1

Mendez family thread: active dramatic arc vs. thematic backdrop

Side A

Committing to an active arc means adding a specific promise or choice during the mission that forces a reckoning at the reunion, deepening the emotional payoff.

Side B

Keeping it as a thematic backdrop preserves the procedural focus and avoids tipping the script into conventional sentimentality, accepting a quieter, more ambiguous reunion.

Quick credibility wins 1

Action line emphasis and proofreading

Strip the capitalized panic cues and fragmented syntax in crowd scenes, and run a final proofread to catch visible typos, letting the staging carry the tension.

Ask AI about this read

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

What's working All 4 readers agree

The Hollywood-Tehran tonal counterpoint is a consistently visible asset that gives the script a distinctive voice and would survive skeptical coverage discussion.

What's blocking Readers disagree

Readers diverged on the primary blocker, citing the houseguest ensemble's lack of individuation, the looping middle-act objections, and the stacked procedural delays in the climax. This divergence implies that the script's ceiling is limited by multiple distinct pressure points rather than a single structural flaw.

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:

Thriller 60% Drama 40% Action 20% Comedy 10%

Setting: 1979-1980, Tehran, Iran and Washington D.C., USA

Themes: Ingenuity and Deception, Courage and Sacrifice, International Relations and Political Intrigue, Personal Sacrifice and Relationships, The Absurdity of War and Politics

Conflict & Stakes: The primary conflict revolves around the urgent need to extract American diplomats from Iran amidst a hostile environment, with their lives at stake if they are discovered.

Mood: Tense and suspenseful, with moments of dark humor and urgency.

Standout Features:

Unique Hook: The use of a Hollywood film production as a cover for a real-life extraction operation.
Major Twist: The tension of the mock execution of hostages that turns out to be a ruse, highlighting the psychological stakes.
Distinctive Setting: The contrasting environments of Tehran's chaos and the calm of the Canadian Ambassador's residence.
Innovative Idea: The integration of a film production narrative into a real-life espionage operation.
Unique Characters: A diverse cast of characters, each with their own backstories and motivations, enhancing the emotional depth of the story.

Comparable Scripts: Argo (2012), The Siege (1998), Zero Dark Thirty (2012), The American (2010), Body of Lies (2008), The Hunt for Red October (1990), The Spy Who Came in from the Cold (1965), The Bridge of Spies (2015), The Killing of America (1981)

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: 8.36

> 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.

> Go to Themes

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 plot and external goals but struggles with character depth and originality, suggesting a need for focused refinement in these areas to enhance overall impact.

Go to Scene Analysis

Key Strengths

High plot rating (87.37) indicates a strong and engaging storyline that likely keeps the audience invested.
Excellent external goal score (88.82) suggests that the screenplay effectively establishes clear objectives for the characters, enhancing narrative drive.
Strong story forward score (91.76) reflects a well-paced narrative that maintains momentum and keeps the audience engaged.

Areas for Improvement

Character rating (35.79) is notably low, indicating a need for deeper character development and more relatable or complex characters.
Internal goal score (20.59) suggests that characters may lack personal stakes or motivations, which could enhance emotional engagement.
Originality score (40.59) indicates that the screenplay may benefit from more unique concepts or twists to stand out in the market.

Writer Style

The writer appears to be more conceptual, with strengths in plot and structure but weaknesses in character development and dialogue.

Balancing Elements

Focus on enhancing character arcs and internal goals to create more relatable and dynamic characters.
Consider integrating more original ideas or unique perspectives to elevate the screenplay's originality.
Work on dialogue to ensure it reflects character depth and enhances emotional impact.

Intuition Level

Conceptual

Overall Assessment

The screenplay shows strong potential due to its engaging plot and clear external goals, but it requires significant improvement in character development and originality to fully resonate with audiences.

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	8.2	49	Casablanca : 8.1	the 5th element : 8.3
Scene Plot	8.4	80	the boys (TV) : 8.3	the dark knight rises : 8.5
Scene Characters	8.2	24	the pursuit of happyness : 8.1	Erin Brokovich : 8.3
Scene Emotional Impact	8.2	55	Erin Brokovich : 8.1	face/off : 8.3
Scene Conflict Level	8.1	72	a few good men : 8.0	the boys (TV) : 8.2
Scene Dialogue	8.0	47	Breaking bad : 7.9	Mr. Smith goes to Washington : 8.1
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	8.6	87	Casablanca : 8.5	Black panther : 8.7
Scene Unpredictability	7.63	65	Deadpool : 7.62	The substance : 7.64
Scene Internal Goal	8.00	18	Schindler's List : 7.98	the pursuit of happyness : 8.02
Scene External Goal	7.78	91	Chernobyl pilot : 7.77	Rambo : 7.79
Scene Originality	8.65	47	Rambo First Blood Part II : 8.64	face/off : 8.66
Scene Engagement	8.93	41	There's something about Mary : 8.92	the boys (TV) : 8.94
Scene Pacing	8.48	81	Casablanca : 8.47	Interstellar : 8.49
Scene Formatting	8.27	72	Good Will Hunting : 8.26	500 days of summer : 8.28
Script Structure	8.28	79	Fear and loathing in Las Vegas : 8.27	Mulholland Drive : 8.29
Script Characters	7.30	20	Arsenic and old lace : 7.20	True Blood : 7.40
Script Premise	9.00	71	the black list (TV) : 8.90	Casablanca : 9.10
Script Structure	8.50	68	the pursuit of happyness : 8.40	scream : 8.60
Script Theme	8.70	64	LA confidential - draft : 8.60	Bonnie and Clyde : 8.80
Script Visual Impact	8.40	56	the 5th element : 8.30	the dark knight rises : 8.50
Script Emotional Impact	8.10	48	Madmen : 8.00	the boys (TV) : 8.20
Script Conflict	8.80	90	Knives Out : 8.70	Bonnie and Clyde : 8.90
Script Originality	8.10	41	Fear and loathing in Las Vegas : 8.00	Blade Runner : 8.20
Overall Script	8.36	60	Donnie Darko : 8.35	The Revenant : 8.38

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.