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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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1 EXT. WOODS - GRAVE SITE - NIGHT 1 The digging sounds grow louder over a beautiful starlit sky that gives way to the camera weaving slowly through the dark, * dense trees, stumps, and overgrown bushes. Ahead through the brush and trees, we see the glow of dimly lit light, and - *
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INT. GREG’S HOUSE - KITCHEN - DAY * Greg enters a small kitchen with plenty of warmth and charm, just as Brandon speeds into the room and leaps into his * waiting arms. * BRANDON
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7 INT. GREG’S HOUSE - BRANDON’S BEDROOM - NIGHT 7 * The room is small, simple... lit only by a tiny bedside lamp with colorful animal figures adorning its shade and base. Brandon, fast asleep, clutches a small, red stuffed animal - it’s lower half is unevenly white.
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16 INT. COLUMBUS PD - DETECTIVE HOWARD’S OFFICE - DAY 16 * Greg sits in Detective Howard’s office, leaning forward, his * face resting in the cups of his hands. The door opens. Greg leaps up as Detective Howard walks in. * DETECTIVE HOWARD *
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17 EXT. DESERT - NIGHT (FLASHBACK) 17 * Greg, dressed in full combat gear, runs flat out, zigzagging through the explosions erupting around him. * 12. GREG (V.O.)
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24 INT. GREG’S HOUSE - KITCHEN - DAY 24 * Greg sits at the kitchen table staring at a small, framed photograph of Angie and Brandon. His face is weary with * exhaustion, his eyes are filled with sadness. Rusty, laying quietly at his feet, raises his head, then *
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26 EXT. VARIOUS LOCATIONS - DAY/NIGHT 26 * MONTAGE - GREG SEARCHING FOR BRANDON -- Greg sits in his car watching a busy intersection, his eyes darting from one passing car to the next, carefully * scrutinizing the occupants. *
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32 EXT. GREENBRIER MOTEL - NIGHT 32 * Greg moves with stealth and precision towards door #18. 33 INT. GREENBRIER MOTEL - ROOM #22 - NIGHT 33 * A NOSEY FEMALE OCCUPANT (40), peaks from behind a thin white curtain... she spots Greg moving slowly towards door #18.
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EXT. GREENBRIER MOTEL - PARKING LOT - NIGHT * Greg explodes from the room, falls to the ground, and is immediately blinded by brilliant bright lights. VOICE (V.O.) * Freeze!
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42 EXT. JOHN GARRETT’S HOUSE - BACKYARD 42 * Greg stares at a well-manicured flower bed. John, furious, is * well into delivering him an Army-style ass-chewing. JOHN And after all the years we’ve *
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43 EXT. FORT BENNING - MENTAL HEALTH CLINIC - DAY 43 * Greg stares at the sign on the building’s door that reads - Fort Benning Army Mental Health Clinic. 44 44 INT. FORT BENNING - MENTAL HEALTH CLINIC - MEETING ROOM - DAY *
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56 EXT. GREG’S NEW HOUSE - FRONT YARD - DAY 56 * A FOR SALE sign with the word SOLD in bold letters sits in * the front yard. 57 INT. GREG’S NEW HOUSE - FRONT DOOR - DAY 57 * Greg, dressed in casual clothes, stands near the front door,
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59 EXT. THOMAS’ HOUSE - NIGHT 59 * A single light near the front door offers a glimpse of the old, small, run-downed house. * 60 INT. THOMAS’ HOUSE - BEDROOM - NIGHT 60 * The room is small, dark. Two small beds dominate what little
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64 EXT. ATLANTA - NEIGHBORHOOD STREET - DAY 64 * A SERIES OF SHOTS -- Run down Row style housing and shops. -- Beat up cars line both sides of the street. -- School age kids hustle the latest “get-high” packages.
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EXT. WILSON’S BAKERY - DAY * We see what Wilson sees... street hoods, dope slingers, pregnant teenagers, and Charlie’s Deli across the street. WILSON Huh... I guess you’re right, son...
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69 INT. JOHN GARRETT’S HOUSE - DINING ROOM - NIGHT 69 * The meal is well underway. Sandra, John, and the group from the study sit at the dinner table. Everyone’s talking at once. Greg and Mia are seated directly across from each other. They share the occasional uncomfortable glances.
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74 INT. GREG’S HUMMVEE - DAY 74 * Greg, his driver, one soldier sitting in the back, another manning the .50 Cal turret machine gun... all dressed in full * battle rattle, alert - their heads on a swivel as they maneuver down a narrow, bumpy dirt road between decaying *
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80 EXT. HUMMVEE COLUMN - DAY 80 * A second powerful blast. The Insurgents detonate a roadside bomb too soon... it rocks the column spewing dirt and debris everywhere. In a flash, the scene transforms into violent chaos as small arms fire, machine-gun fire, and explosions *
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89 EXT. MIDDLE EASTERN TOWN - BUILDING #3 - DAY 89 * A wave of Insurgents rush from one of the buildings, this is their final assault. But, Greg and his men are ready. The three HUMMVEE Machine Gunners release a lethal barrage of .50 Cal tracer fire, ripping the attackers to pieces.
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93 EXT. ATLANTA PD - HALLWAY - DAY 93 * Mac, angry steps to Metz and Beam. * MAC What the fuck wrong with you two?! * Are you trying to get our only eye
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100 EXT. CHARLIE’S DELI - DAY (MOMENTS LATER) 100 * An unmarked police car pulls to a stop in front of the deli. * The doors open and Detectives Metz and Beam step out. They give their surroundings a long, detailed look, before slamming their doors shut and walking into the Deli.
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107 INT. BROWN CAR - DAY 107 * Andrew slams on the brakes, the car skids to a screeching halt. His eyes wide with disbelief at Thomas standing in the street. ANDREW
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113 INT. GREG’S HOUSE - OFFICE - NIGHT (LATER) 113 * John stares quietly at the rendered photo. Greg, agitated, pace nearby, his eyes locked on the three images still frozen on the TV screen. JOHN
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115 INT. GREG’S HOUSE - KITCHEN - DAY 115 * Greg sits at the kitchen table with Sandra and Mia. John, pacing, is clearly not happy. JOHN You’ve come so far.
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116 INT. MIA’S CAR - AIRPORT - DAY 116 * Greg and Mia sit at the departure drop off point. Outside, * the street is lined with Ubers, Lyfts, rental car buses, * departing, and arriving passengers. * Mia, her eyes, her demeanor reflects her sadness, she speaks *
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120 INT. ATLANTA PD - TASK FORCE OPERATIONS CENTER - DAY 120 * Greg stands in the crowded operations center, watching as * Detectives and uniformed Officers rubberneck at the rendered * photo of Brandon pinned on the wall opposite a picture of Thomas.
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121 INT. ATLANTA PD - TASK FORCE OPERATIONS CENTER - NIGHT 121 * Mac hands Captain ANTONIO ACEVEDO (50), Hispanic, handsome, fit, jet black hair, a clean square face a copy of Brandon’s rendered photo. MAC
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122 INT. ATLANTA PD - WAITING AREA - DAY 122 * Greg walks in the station’s waiting room stirring a cup of coffee. He looks up and freezes. His eyes grow wide at the - * Two distant, yet familiar faces, sitting across the room. * One is a sturdy framed male, dressed in a city bus driver’s
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126 INT. ATLANTA PD - INTERROGATION ROOM - OBSERVATION AREA - 126 * NIGHT Greg is stunned, shocked at the disclosure of his old * neighborhood friend as his wife’s murderer. * DOUG
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129 EXT. THOMAS’ HOUSE - DAY 129 * Greg paces, watching the constant flow of Officers, * Detectives, and CSI personnel move in and out of the house. * Mac exits the house, walks to Greg. GREG
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131 INT. MAC’S CAR - DAY 131 * Mac drives at breakneck speed down the highway. Greg sits white knuckled in the passenger’s seat. MAC The locals found the car in a
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138 EXT. CABIN - DAY 138 * Chaotic, shaky. Josh supports Andrew as they stumble towards Donald’s truck. Every step causes Andrew a tremendous amount of pain, every step causes blood to squirt from his gaping * wound. Josh looks back at Thomas. *
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142 EXT. DONALD’S TRUCK - DAY 142 * The truck speeds down the highway. 86. DETECTIVE JACKSON (PRE-LAP) * Watch your step. Fucking blood
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145 INT. DONALD’S TRUCK - DAY 145 * Josh drives slowly through the small town. His eyes nervously searching the streets and surrounding buildings. Thomas, the gun still pointed at Josh, spots the Red Devil high school gymnasium. His eyes fall on a sign that reads -
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161 INT. RED DEVIL HIGH SCHOOL - HALLWAY #3 - DAY 161 * Josh waits crouched low against the wall. He has the rifle now. He aims it at the door that leads into the gym, just as * two dark silhouettes warily approach the thick stained glass * door panes. He waits until one of the blared figures is in
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164 INT. RED DEVIL HIGH SCHOOL - HALLWAY #3 - DAY 164 * Greg peers into an empty hallway. Mac eases up close from * behind. She taps him on the back, motions for him to move behind her. He shakes his head, no. Mac speaks in a low voice.
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166 INT. RED DEVIL HIGH SCHOOL - HALLWAY #2 - DAY 166 * Greg and Mac move slowly down the hallway, they freeze at the sound of the screaming students. They move quickly, tactically in the direction of the screams. 167 INT. RED DEVIL HIGH SCHOOL - CLASSROOM - DAY 167 *
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168 EXT. ROOFTOP - DAY 168 * Thin crosshairs move slowly, searching the inside of the classroom. The crosshairs stop on an obscured view of Josh. SNIPER #1 Sniper Six, this is Sniper One. No *
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172 EXT. ROOFTOP - SNIPER #1 - DAY 172 * Sniper One’s cross hairs slowly track off Andrew and over to * Greg. SNIPER #1 Sniper Six, this is Sniper One. I *
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179 EXT. ROOFTOP - SNIPER #1 - DAY 179 * Sniper Six cross hairs lay dead center Andrew’s chest. * SNIPER ONE * Sniper One, Sniper Six. Target’s * clear. I have a shot, over. *
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190 INT. COLUMBUS GEORGIA POLICE DEPARTMENT - SQUAD ROOM - DAY190 The squad room looks very much like it did 10 years ago. A few new faces are busy at their desks. The computers and * phones are more modern. The old whiteboard with the case names on it still sits at the back of the room.
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194 EXT. CABIN - NIGHT 194 The rage music is louder now as we move slowly towards a dimly lit cabin surrounded by towering dark trees. We move up the steps and pass through the cabin door into - 116.

THE RENDERING

A father, haunted by the murder of his wife and the abduction of his young son, embarks on a decade-long search to find his boy, only to discover a startling and heartbreaking truth about his son's true identity.

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Overview

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Unique Selling Point

What sets 'THE RENDERING' apart is its unique blend of military drama and psychological thriller elements, exploring the profound impact of trauma on family dynamics. The narrative's focus on a father's relentless pursuit of his son, intertwined with the haunting past of his wife's murder, creates a deeply emotional and suspenseful experience that will resonate with audiences seeking both action and heartfelt storytelling.

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Claude
 Recommend
GPT4
 Recommend
Story Facts
Genres:
Drama 40% Crime 35% Thriller 30% Action 25% War 10% Romance 10% Thriller 30%

Setting: Contemporary, Various locations including a wooded area, suburban homes, military bases, and urban settings in Atlanta

Themes: The Trauma of War, The Nature of Family, The Search for Identity, The Power of Justice, The Consequences of Violence

Conflict & Stakes: Greg's desperate search for his abducted son amidst the emotional turmoil of his wife's murder, with the stakes being the safety of his son and the resolution of his family's tragic past.

Mood: Tense and dramatic, with moments of deep emotional resonance.

Standout Features:

  • Unique Hook: The intertwining of a father's desperate search for his son with the haunting past of his wife's murder creates a gripping narrative.
  • Major Twist: The revelation that Josh, the antagonist, is actually Greg's estranged son adds emotional complexity and depth to the conflict.
  • Distinctive Setting: The contrast between suburban life, military settings, and the gritty urban environment of Atlanta enhances the story's tension.
  • Innovative Ideas: The screenplay explores themes of trauma and redemption through a blend of thriller and family drama.

Comparable Scripts: Prisoners, The Lovely Bones, Gone Baby Gone, The Night Of, The Call, The Babadook, The Girl with the Dragon Tattoo, The Haunting of Hill House, 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.

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Overall Score: 7.34
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Themes
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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
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Correlations
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Loglines
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