SCENES
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Scene Map 60
# PG SLUGLINE
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INT EXT INT/EXT hover for full slug
Scene Map
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# PG SLUGLINE
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BLACK k KLANSMAN Written by Charlie Wachtel & David Rabinowitz Based on The Book by Ron Stallworth 11/1/16 Draft
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2 EXT. COLORADO SPRINGS AREA - DAY 2 Superimposed: 1972 An amazing contrast. The beautiful landscape of Colorado Springs, the City sits nestled within the rugged Mountain terrain. The majestic Pikes Peak, the jagged beauty of The
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6 EXT. DOWNTOWN COLORADO SPRINGS - DAY 6 Ron in full Uniform walks The Beat. The Cap fits but creates Afro Puffs with his Hair which was the style back then. White Citizens pass him on the street smiling, some surprised, some leery of the sight. Ron nods, smiles to everyone.
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8 INT. CSPD HALLWAY - DAY 8 Chief Taggert strides down the hall with SGT. TRAPP a soft- spoken White Man in his 40's, they are discussing a File. Ron suddenly appears walking with them. RON STALLWORTH
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10 INT. RON'S APARTMENT - BEDROOM - MORNING 10 As Ron sleeps, a phone rings. Ron snaps awake and grabs at the phone on the night table. RON STALLWORTH Hello.
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12 INT. NARCOTICS DIVISION - CSPD - NIGHT 12 Ron stands, his shirt off, as Chuck wires a Wireless Transmitter and Microphone to his body. Another Narcotics Cop, JIMMY ROSE, 30's, observe the instillation. RON STALLWORTH
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13 EXT. CITY STREET - OUTSKIRTS OF DOWNTOWN - NIGHT 13 Ron pulls an unmarked Sedan to the curb. He gets out and looks around. A Crowded sidewalk overflows into The Street, filling a line that Bottlenecks into The Club with the Sign:
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14 INT. BELL'S NIGHTINGALE - NIGHT 14 The Club is PACKED, a Sea of Black Faces punctuated by an occasional White Face. Ron moves through The Crowd. He avoids direct Eye Contact, trying like Hell to act casual. Ron steps to The Bar and signals The BARTENDER JABBO, 60's,
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15 INT. BELL'S NIGHTINGALE - NIGHT 15 Kwame holds The Crowd in The Palm of his Hand. They stand rapt as he reaches his rousing Finale. KWAME TURE (CONT'D) We are on The Move for Our
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16 INT. BELL'S NIGHTINGALE - NIGHT 16 Ron moves down the Greeting Line for Kwame. He watches as Patrice stands near him. Kwame pulls her in close, whispers something in her ear. She smiles, a bit smitten. Ron watches as he finally reaches Kwame, shaking his hand.
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20 INT. RED LANTERN INN - NIGHT 20 Ron sits at The Bar waiting for Patrice. He looks at his watch having been there a while. He finishes his Rum and Coke with Lime watching the door open but it is not Patrice. He decides to call it a Night, stepping off his stool, paying
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23 INT. CSPD - NARCOTICS DIVISION - NIGHT 23 Jimmy removes Ron's Wire while Chief Taggert watches. CHIEF TAGGERT What was the Room like? RON STALLWORTH
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24 INT. RECORDS ROOM - CSPD - DAY 24 Ron is behind the counter, filing. CHIEF TAGGERT (O.S.) Ron. Ron looks up. Officer Clougherty looks up from a Magazine.
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27 INT. INTELLIGENCE UNIT - CSPD - DAY 27 Ron at his desk in The Intelligence Office in Street Clothing among his COLLEAGUES. He sips Lipton Tea with Honey and looking through various Publications. He then picks up The Colorado Springs Gazette Newspaper.
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28 INT. SERGEANT TRAPP'S OFFICE - CSPD - DAY 28 Ron is facing Sergeant Trapp, who sits at his desk, Jaw hung slightly open. SGT. TRAPP They want you to join The Klan?
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33 INT. INTELLIGENCE UNIT - CSPD - DAY 33 Jimmy tapes a wire to Chuck's Chest. The adhesive curls up, and Jimmy presses down harder. CHUCK Can't believe I'm doing this. Hey,
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34 EXT. KWIK INN DINER - PARKING LOT - NIGHT 34 Ron and Jimmy sit in an Unmarked Car. Several yards away, Chuck stands in The Lot, leaning up against a Boxy Sedan. 35 INT. UNMARKED CAR - NIGHT 35 Ron watches through Binoculars as a Beat-Up, Ivory-colored
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43 INT. UNMARKED CAR - NIGHT 43 JIMMY He sees us. Back Off. Ron eases on the Gas. 44 INT. BUTCH'S TRUCK - NIGHT 44
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47 INT. CORNER POCKET LOUNGE - NIGHT 47 A Cramped and Unfriendly Dive. LOW-LIFES mill about. The Air filled with Dense Smoke. Pool Balls CRACK-SMACK. Butch leads Chuck to The Bar Area, where KEN O'DELL, White Male, 30's, (DEEP THROAT) stands. Ken is affable by nature,
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51 INT. CORNER POCKET LOUNGE - NIGHT 51 KEN I'm a Fireman on the Lakewood Fire Department. All you get now is how we gotta' cater to them. We gotta' get
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52 INT. UNMARKED CAR - NIGHT 52 JIMMY Where they going? Ron's Face falls. RON STALLWORTH
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54 INT. INTELLIGENCE UNIT - CSPD - NIGHT 54 Ron helps Chuck rip The Wire off his Chest. CHUCK You have me dressed like one of the Beverly Hillbillies for
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56 INT. ITALIAN BISTRO - NIGHT 56 Ron and Patrice sit across from each other, already eating. Patrice's attire more lax, but still in her Black Leather Jacket. PATRICE
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57 INT. CSPD INTELLIGENCE UNIT - RON'S DESK - NIGHT 57 It's late. Ron is the only Officer working, filling out a Police Report and sipping a mug of Hot Lipton Tea with Honey. Suddenly... The Undercover Line rings. Ron freezes. Picks up the line.
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59 EXT. UNMARKED CAR - DAY 59 Ron rolls to the curb in a Middle Class Neighborhood. He pulls on Headphones and looks out his Window where... 60 EXT. BUTCH'S HOUSE - FRONT PORCH - DAY 60 A well manicured yard. Pristine. A very Green Healthy lawn.
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62 INT. UNMARKED CAR - DAY 62 Ron listens in to The Transmitter, taking notes. 63 INT. LIVING ROOM - BUTCH'S HOUSE - DAY 63 Louise enters The Living Room with an Appetizer Platter. LOUISE
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64 INT. UNMARKED CAR - DAY 64 Ron takes in The Audio. He records more Notes. 65 INT. LIVING ROOM - BUTCH'S HOUSE - DAY 65 Butch rises, burps, his balance uncertain. BUTCH
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66 INT. SMALL ROOM 66 Butch sets a hand on Chuck's Back, guiding him past Ken. BUTCH (CONT'D) This way. CHUCK
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69 EXT. BUTCH'S HOUSE - DRIVEWAY - DAY 69 Gun in hand, Ron crouches beside the Unmarked car, parked at the curb near Butch's House. He notices a NEIGHBOR taking out The Trash. Ron puts his Gun away. His Eyes are on THE LOOK OUT.
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76 INT. INTELLIGENCE UNIT - CSPD - DAY 76 Ron and Chuck emerge from Sgt. Trapp's office. RON STALLWORTH Think we dodged a Bullet there. Chuck gives him a Hard look.
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77 INT. CSPD INTELLIGENCE UNIT - RON'S DESK - DAY 77 Ron studies his packet of KKK materials. He sees a number for the KKK Headquarters. He dials. A Message clicks on: VOICE (O.S.) Wake up White Man!!! The Negro wants
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80 INT. INTELLIGENCE UNIT - CSPD - DAY 80 Ron wires up Chuck. RON STALLWORTH That Cop that pulled Kwame Ture over that night... was it Sgt. Morris?
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82 EXT. UNMARKED CAR - DAY 82 Ron is in the Car quite a ways away with a huge Telephoto lens on a 33MM Camera. He focuses in on... THE TWO MYSTERY MEN (STEVE AND JERRY) (RON'S CAMERA POV) Ron CLICKS off numerous Photos of them. And then CLICKING on
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83 EXT. OPEN FIELD - DUSK 83 Everyone is gone now. Ron walks through observing The Scene looking over the remnants of the gathering. CLOSE - RON Ron picks up the Official Running Nigger Target full of
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85 EXT. U.S. POST OFFICE - DAY 85 Ron in his car parked outside the Post Office excitedly rips open A Letter from the KKK National Office. He grins and claps his hands! 86 INT. INTELLIGENCE UNIT - CSPD - DAY 86
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87 EXT. RON'S APARTMENT - NIGHT 87 Ron reaches his Front Door carrying sacks of Groceries. With one hand that's slightly free, he unlocks the front door. 88 INT. RON'S APARTMENT/KITCHEN - NIGHT 88 Ron sets the groceries down on the kitchen counter when the
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90 EXT. WINDING ROAD - HILLSIDE - NIGHT 90 A Fleet of Pickups rides uphill. A Flat Bed on the end of The Convoy has an Eighteen-Foot Wooden Cross fastened on it. A CSPD Patrol Car drives past The Convoy, headed downhill. 91 INT. DUANE'S CAR - WINDING ROAD - NIGHT 91
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96 INT. RON'S DESK - CSPD INTELLIGENCE UNIT - NIGHT 96 It's late. Ron's on the phone in mid-conversation. It is intercut with David Duke speaking on the sofa in his office: DAVID DUKE ...I don't share this with many
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97 INT. CSPD INTELLIGENCE UNIT - DAY 97 Ron, at his desk, is on the Undercover Phone Line. KEN (O.S.) I've gotta be honest with you. I've been losing support from The Comrades
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100 INT. KEN'S HOUSE - DINING ROOM - NIGHT 100 The Whole Chapter is present. Half of them are open-carrying. In a corner, Duane teaches Chuck the historic Klan handshake. Index and Middle Finger extended along The Inside Wrist. KEN
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103 INT. CSPD INTELLIGENCE UNIT - RON'S DESK - DAY 103 Ron is on the Undercover Phone Line. Sgt. Trapp sits behind him. Ron has his Receiver out so that Trapp can listen in. RON STALLWORTH I'm anxious to meet you and it will
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104 EXT. BACKYARD - BUTCH'S HOUSE - NIGHT 104 Chuck looks down at a Steel Door built into The Ground, its latch left open. He looks around. Paranoid. 105 INT. STORM SHELTER - SHORTLY AFTER 105 Chuck enters The Short Stairwell, steps to The Cement Floor.
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106 EXT. BASKETBALL COURT - DAY 106 Ron's unmarked car and Chuck's truck parked on the cement Court. CHUCK Duke will be at the Steakhouse for
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108 INT. CSPD INTELLIGENCE UNIT - DAY 108 Ron arrives. Sits at his Desk. A deep sigh. But then... He sees something. On his Desk. A Simple Note: ACACIA PARK. 12 PM. BRING CASE BOOK. AGENT Y - FBI. 109 EXT. ACACIA PARK - DAY 109
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111 EXT. FREEDOM HOUSE - DAY 111 Ron and Patrice are going at it as across the street The Freedom House Protestors assemble to March on the KKK. RON STALLWORTH You can hate me, think I'm a Damn
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112A INT. PHONE BOOTH - DAY 112A Butch is on the phone. BUTCH It's off. 113 INT. INTELLIGENCE UNIT - RON'S DESK - DAY 113
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INT. BUTCH’S HOUSE/GARAGE - NIGHT A work light shines over them. WALKER, 40’s, a tattooed Ex- Con and Demolitions Expert, instructs Butch, Duane and Louise. They stand around a large work bench in the garage. He carefully removes a large C4 Bomb from his gym bag.
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114 EXT. ANTLERS HOTEL - DAY 114 Ron still in plain clothes parks his unmarked car in the lot of The Luxurious Antlers Hotel on South Cascade Ave. He walks toward the entrance, where the Six Bikers stand around Duke's Sedan. The Bikers all look up simultaneously.
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117 INT. UNMARKED CAR - DAY 117 Ron sits there, radio in hand. RON STALLWORTH I'll be listening with both Ears. 118 EXT. STREETS - DAY 118
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123 INT. WAITING ROOM - STEAKHOUSE - DAY 123 The Mood now Solemn and Deadly Serious and Religious. Chuck and Ten other INDUCTEES stand in a cramped waiting room. They all wear Klan robes. The other inductees are grinning ear to ear, like Kids on Early Morning Christmas.
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128 INT. FREEDOM HOUSE - NIGHT 128 Tompkins is at the Podium. He speaks slowly but with strength. JEROME TOMPKINS It was a nice spring day, Waco, Texas
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INT. PRIVATE ROOM - STEAKHOUSE - DAY Duke looks into Chuck's Eyes. Chuck returns The Stare. DAVID DUKE Are you in favor of a White Man's Government in this Country?
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146 INT. BANQUET ROOM - STEAKHOUSE - DAY 146 It's a large space with a long banquet table. Ken welcomes Duke up to The Head Table podium. KEN Please everyone rise as The Grand
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147 EXT. STEAKHOUSE/PARKING LOT - DAY 147 Ron rushes through the Lot hopping in his unmarked Car. 148 INT. RON'S CAR - DAY 148 Ron throws the Car into gear. He Yells into his Radio. RON STALLWORTH
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EXT. PHONE BOOTH - DAY - INTERCUT A nervous Louise is on the phone clearly rattled. LOUISE Jesus! They’ve got Cops everywhere here! Somebody tipped them off.
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154 EXT. PATRICE'S HOUSE - DAY 154 Louise drives up. She sits there for a long moment staring at Patrice's House. Louise decides. She gets out of the Car carrying her purse. She looks like an Avon lady coming to call. She walks up on Patrice’s porch looking around. She
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157 INT. DIVE BAR - NIGHT 157 The place is full of Off Duty Cops and their Girlfriends, a few Wives but mainly Cops drinking and having a good time. Ron is in the corner talking with Patrice. They are sharing a drink looking very intimate. Ron sees something.
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158 INT. INTELLIGENCE UNIT - CSPD - DAY 158 Ron, walking taller than usual, steps inside The Unit. Some of his Colleagues notice and give him a Low-Key Ovation. At is Desk are Chuck, who is in Great Spirits. CHUCK
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160 INT. INTELLIGENCE UNIT - CSPD - DAY 160 Ron reflects as he feeds Investigation documents in a Shredder. The documents shred into pieces as he speaks. RON STALLWORTH (V.O.) The way it always works. The Truth is
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164 INT. RON'S APARTMENT - KITCHEN - NIGHT 164 Folders of Evidence sit on The Kitchen Table in a stack. Ron takes a Mug of Lipton Tea outside... 165 INT. RON'S APARTMENT - BALCONY - NIGHT 165 ...where he sips it peacefully. The Polaroid of David Duke,
INT EXT INT/EXT tap to expand

Blackkklansman

An ambitious Black police officer infiltrates the Ku Klux Klan in 1970s Colorado, uncovering a shocking conspiracy. Other loglines ›

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Overview

Poster
Unique Selling Point

What sets 'BlacKkKlansman' apart is its unique premise of a Black detective infiltrating the KKK, which allows for a rich exploration of identity, racism, and the absurdity of hate. The screenplay's blend of humor and serious commentary on systemic racism resonates with audiences, making it a compelling piece of storytelling that reflects ongoing societal issues.

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.

Synthesis Where readers agree and split
7.6

A script with a distinctive dual-identity engine and sharp tonal counterpoint that earns a qualified recommend, pending targeted work on middle-act causal pressure and third-act mechanics before it can be championed.

Readers read as Elevated commercial2 Prestige3 majority
Genres Crime5 Drama4 Historical3 Biopic2 Comedy1 Thriller1 Satire1

A prestige-leaning historical drama that uses a high-concept undercover operation, abrasive satire, and historical counterpoint to make racism feel both absurd in performance and lethal in consequence.

Readers split on the contract: three read this as prestige historical drama, two as elevated commercial thriller. The split traces to pacing and rhetorical weight—the prestige read accepts thematic accumulation and satirical lectures as structural features, while the commercial read flags them as momentum killers that require tightening.

Why not lower

The high-concept dual-identity premise, consistent tonal control, and distinctive satirical voice provide a strong floor that prevents the draft from reading as generic or amateurish.

Why not higher

The middle-act causal looseness and the underdramatized emotional resolution of the central relationship keep the script from reaching the structural inevitability required for a higher band.

Rewrite map

A script with a distinctive dual-identity engine and sharp tonal counterpoint that needs targeted work on middle-act causal pressure and third-act mechanics to fully land its thematic and emotional payoffs.

Readers read as Elevated commercial2 Prestige3 majority

Start here

Re-anchoring the middle act around a single, legible deadline that forces the phone and physical tracks to intersect will simultaneously restore causal pressure, clarify the bomb plot's escalation, and give Patrice's arc a concrete stake to react against.

Protect while fixing 2
Dual-identity undercover engine

Tightening the middle act's causal chain or compressing repetitive encounters risks reducing the phone scenes to pure exposition, losing the ironic friction that drives the read.

Keep the logistical and emotional complications of the two-Ron setup intact; let the tightened causal chain emerge from the friction of maintaining the cover, not from cutting the ironic exchanges.

Satire-to-horror tonal counterpoint

Clarifying the bomb mechanics or tightening the middle act's pacing could push the script toward a standard procedural register, flattening the deliberate collision of absurdity and historical violence.

Maintain the direct juxtaposition of Klan ritual with historical atrocity and keep the satirical register sharp; do not soften the horror to make the procedural beats land faster.

Fix first 3
Middle-act causal drift and parallel tracks

The reader loses forward urgency as scenes generate tension in isolation rather than accumulating toward a clearer deadline or consequence.

Root cause

The script treats thematic accumulation and episodic infiltration as sufficient narrative engine after the initial setup, without re-clarifying a governing objective that forces the two tracks to intersect.

One direction

Re-anchor the middle act around a single, legible deadline or investigative consequence that forces the phone and physical tracks to intersect, so each sequence changes the protagonist's tactical position rather than repeating the same transaction.

Third-act bomb mechanics and causal spine

The reader loses suspense in the climax because the threat has not been built through visible preparation or escalating risk, making the explosion land as a plot event rather than an earned payoff.

Root cause

The draft treats the bombing as a set-piece to be staged rather than a chain of visible decisions and obstacles, skipping the intermediate steps that would generate dread.

One direction

Intercut or clarify the Klan's bomb preparation across the sequences leading to the climax, giving the reader a visible handoff and trigger so the explosion pays off accumulated tension rather than arriving as a mechanical convenience.

Patrice's reactive arc and emotional resolution Medium confidence

The reader loses emotional investment in the central relationship because Patrice's internal conflict is stated rather than shown, making her final choice feel dictated by plot rather than earned.

Root cause

The script treats Patrice primarily as a thematic counterweight, skipping the scenes where she actively processes Ron's deception and weighs the personal cost of her political commitments.

One direction

Add a focused sequence between the revelation and the climax where Patrice actively chooses her path, dramatizing the conflict between her political convictions and her feelings for Ron rather than summarizing it in a farewell speech.

Your decisions 1
Market positioning: prestige historical drama vs elevated commercial thriller Consequential
Side A

Committing to prestige means leaning into the thematic accumulation, rhetorical speeches, and tonal friction, accepting slower pacing for moral weight.

Side B

Committing to elevated commercial means tightening the causal chain, clarifying the bomb mechanics, and ensuring the undercover comedy drives the plot forward without stalling for lectures.

Quick credibility wins 2
Strip action-line emphasis caps and exclamation marks

Remove stacked exclamation marks and all-caps emphasis from action blocks, trusting the staging and dialogue to convey intensity without typographic shouting.

Standardize character name labels and fix copy errors

Run a final pass to lock character cues to a single consistent label and correct visible typos like 'oggle' and 'Buckenwald' to signal final-draft control.

Ask AI about this read
Would readers champion it · Rewrite depth · Voice · Score stability
What's working All 5 readers agree

The dual-identity undercover engine and its satirical irony provide a distinctive, championable hook that sustains reader engagement through the first two acts.

What's blocking 4 of 5 readers agree

The middle act's causal drift and the third act's underdramatized bomb mechanics prevent the script from delivering the cumulative payoff its premise promises.

Would readers champion it?
Not yetNot yetReaders wouldn’t actively push for it.
Early interestEarly interestMentioned, but no real push behind it.
ModeratelyModeratelyMentioned favorably to the right buyer.
StronglyStronglyActively championed across their network.
ClaudeStronglyGeminiStronglyDeepSeekModeratelyGPT5ModeratelyGrokModerately
How much rewrite does it need?
Start from scratchStart from scratchPremise or core engine isn’t working. Page-one rebuild.
Structural rewriteStructural rewriteSpecific acts or zones need rebuilding — not starting over, but significant revision work on those sections.
Targeted rewriteTargeted rewriteSpecific scenes or threads need rework. ~1 month.
Just polishJust polishLines and pacing tweaks. A few weeks.
ClaudeStructural rewriteDeepSeekTargeted rewriteGPT5Targeted rewriteGrokTargeted rewriteGeminiJust polish
How distinctive is the voice?
GenericGenericReads like other scripts in the genre.
EmergingEmergingHints of a distinctive voice, not yet locked in.
DistinctiveDistinctiveA clear, recognizable authorial voice.
One-of-a-kindOne-of-a-kindA voice that couldn’t be anyone else’s.
ClaudeDistinctiveGPT5DistinctiveGrokDistinctiveGeminiOne-of-a-kindDeepSeekEmerging

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

Story Facts
Genres:
Drama 45% Crime 35% Thriller 30% Comedy 20% Romance 15% Action 10%

Setting: 1960s-1970s, Colorado Springs, Colorado

Themes: Systemic Racism and its insidious nature, Undercover work and the challenges of identity, Love and Betrayal; Personal Sacrifice, Moral Ambiguity and the Justification of Means, Racial Identity and Self-Discovery, Police Brutality and the 'Blue Wall of Silence'

Conflict & Stakes: Ron Stallworth's undercover mission to infiltrate the KKK while navigating racial tensions and personal relationships, with the stakes being his safety and the potential impact on the civil rights movement.

Mood: Tense yet darkly comedic

Standout Features:

  • Unique Hook: The premise of a Black police officer infiltrating the Ku Klux Klan is both provocative and timely, offering a fresh perspective on racial tensions.
  • Major Twist: The revelation of Ron's undercover identity and the tension it creates within his personal relationships, particularly with Patrice.
  • Innovative Ideas: The screenplay blends dark humor with serious themes, making the absurdity of racism both entertaining and thought-provoking.
  • Distinctive Settings: The contrast between the idyllic Colorado Springs and the dark, violent world of the Klan highlights the duality of American society.

Comparable Scripts: BlacKkKlansman, American History X, The Help, 12 Years a Slave, Selma, Get Out, The Butler, Fruitvale Station, The Wire

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: 8.39
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Characters
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Emotional Analysis

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

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Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
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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.
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Scene Analysis

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

Scene-Level Percentile Chart
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Other Analyses

Writer Exec

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

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
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Writer's Craft
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Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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Tropes
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Evaluates the depth, consistency, and immersion of the story's world.
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Correlations
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Loglines
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Script•o•Scope