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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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EXT. SPACE - X As the Universal logo completes itself, we begin to slowly push in on the East Coast of the United States. The camera glides down through the atmosphere, through the clouds, closer and closer, until we begin to see
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EXT./ESTAB. A FOURTH SUBURBAN HOUSE - MORNING INT. A FOURTH SUBURBAN HOUSE - SAME NARRATOR (V.O.) And for little John Bennett, Christmas Day brought a very special new arrival.
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EXT. JOHN’S HOUSE - CONTINUOUS The camera pivots around to face the sky. We see the snow falling from moonlit clouds. At the center of the clouds, there is a small patch of open air through which we can see stars. Suddenly, a shooting star whizzes by
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INT. KITCHEN - SHORTLY AFTER John’s Dad sits at the breakfast table, reading the paper as John’s Mom prepares eggs and bacon, putting it on their plates. JOHN’S MOM
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INT. NEWSROOM - DAY (ON TV) We see an 80’s NEWSCASTER behind the news desk. A graphic of the bear is over his left shoulder. NEWSCASTER Out of a Boston suburb comes what is,
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EXT. BOSTON SKYLINE - MORNING We PAN ACROSS the Boston skyline as the opening titles roll. CUT TO various shots of the city throughout. PAN DOWN to the streets below: several shots of the everyday bustle of the city, then we CUT TO:
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INT. AIRPORT - DAY (VIDEO) We see Ted getting hauled away by security. A caption below reads “Ted caught with mushrooms at airport security”. He’s putting up a bit of a fight, and gives the “finger” to the camera (the finger is pixilated).
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EXT. BASEBALL GAME - DAY (EXISTING FOOTAGE) (Insert “Jeter sucks” bit) EXT. LAKE - DAY (EXISTING PHOTO) EXT. ICE CREAM SHOP - DAY John, Lori and Ted sit outside at a table, each holding
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EXT. BOSTON STREETS - CONTINUOUS We see two shots of John’s car driving through the city: We see John in the passenger’s seat putting Visine into his eyes, with only Ted’s ears and eyes showing as he drives (his paws grip the wheel). We then cut to an
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INT. THOMAS’ OFFICE - SHORTLY AFTER Thomas sits at his desk facing John. THOMAS John, it’s almost ten o’clock. JOHN
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INT. LIBERTY RENT-A-CAR FRONT OFFICE - MOMENTS LATER John emerges from Thomas’ office, and walks out into the front desk area. (CONTINUED) 20
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EXT./ ESTAB. JOHN AND LORI’S APARTMENT - LATE AFTERNOON INT. JOHN AND LORI’S APARTMENT - SAME John and Ted sit on the couch, in the same exact spots we saw them earlier, bookending the day. John drinks a beer as they watch TV. Ted lights up a bong and inhales. The
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EXT./ ESTAB. JOHN AND LORI’S APARTMENT - NIGHT It’s raining, with an occasional roll of thunder. INT. JOHN AND LORI’S APARTMENT - SAME Lori lies in bed holding an iPad, reading a gossip news site, with the TV on. John comes out of the bathroom,
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EXT./ ESTAB. BOSTON HIGH RISE - DAY Lori enters the building. INT. OFFICE - MOMENTS LATER Lori gets off the elevator, where we see several signs that read “PLYMOUTH PUBLIC RELATIONS.” Lori goes to her
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INT. OFFICE ENTRYWAY - CONTINUOUS Lori’s boss REX (asshole handsome, mid-30’s, expensive suit) walks into the office, and approaches the gathering of female employees. REX
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INT./ ESTAB. CIAO BELLA RESTAURANT, NEWBURY STREET - NIGHT INT. RESTAURANT - CONTINUOUS John and Lori sit across from each other at a romantically set table. They’ve just finished their
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INT. CLUB - NIGHT (FLASHBACK) We see Lori out on the dance floor, amidst a sea of dancing clubgoers. Nearby, we see John dancing with a girl, and doing it very badly. He’s putting too much into it, obviously trying to impress her. The girl is
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INT. RESTAURANT - NIGHT (BACK TO SCENE) LORI Okay, here’s a question that’ll show how much you actually care about me. You remember we stayed and talked until the
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INT. CIAO BELLA RESTAURANT - NIGHT (BACK TO SCENE) LORI Whatever you say, baby. (CONTINUED) 37
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EXT. JOHN AND LORI’S APARTMENT BUILDING - NIGHT Their car pulls up. They start to get out. JOHN (noticing) Ah shit, hang on, my phone fell under the
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INT./ESTAB. NEW ENGLAND AQUARIUM - AFTERNOON INT. NEW ENGLAND AQUARIUM - SAME Ted and John walk slowly down the ramp circling the massive see-through tank, occasionally stopping to observe some of the more bizarre varieties of fish. John
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INT. NEW ENGLAND AQUARIUM - MOMENTS LATER Ted and John sit side-by-side on a bench next to the penguin habitat. JOHN Ted, my relationship is at a very
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EXT. GROCERY STORE - SAME John and Ted head toward the store. Ted is dressed in a coat and tie, and looks very uncomfortable. TED I look stupid.
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EXT. BOSTON COMMON - LATE AFTERNOON (Over music:) John and Ted walk across the Common, passing various park-goers. The occasional person notices and points with a “Hey, isn’t that...” sort of look. They passes three cute girls who flag Ted down.
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INT. JOHN AND LORI’S LIVING ROOM - DAY John sits on the couch, putting his tie on as he watches TV. Lori comes over and sits down next to him. LORI Hey there.
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EXT./ESTAB. GROCERY STORE - DAY INT. GROCERY STORE - SAME Ted is at his station, finishing checking out a customer. TED Thank you, please come again, we have a
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INT. THOMAS’ OFFICE - MOMENTS LATER John stands in front of Thomas, who sits at his desk. JOHN I gotta duck out for a bit. Lori tried to break up a dog fight, and I guess she
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INT. TED’S NEW APARTMENT - SAME ANGLE ON THE TV - Ted Danson sits in a chair, being interviewed. TED DANSON Was there cocaine on the set of “Cheers”?
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EXT. ESTAB. RESTAURANT - NIGHT INT. RESTAURANT - SAME John, Ted, Lori and Ted’s dolled-up and sort of trashy date Tami-Lynn (the bag girl from the grocery store) eat dinner.
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EXT./ESTAB. GROCERY STORE - DAY INT. GROCERY STORE - DAY Ted’s boss, Frank, emerges from the back, writing on a clipboard. He looks up, and his expression turns to confused anger as he sees an unusually long line at
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EXT. GROCERY STORE - LATER THAT NIGHT We see the “CLOSED” sign on the door. Ted exits, finishing off a bottle of beer. He walks around to the dumpster alley, and lines up for a Kareem-style sky hook shot into a trash can. He takes the shot:
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EXT./ ESTAB. REX’S HOUSE - NIGHT John and Lori walk up to the fabulously expansive house in Cambridge. It’s a very impressive estate with no expense spared. LORI
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INT. REX’S HOUSE - CONTINUOUS - STAIRS AND UPSTAIRS Rex and John are walking up the stairs to the second floor of his house. Rex points out various items bought at auction. John is visibly unenthused. He does not like this guy, and definitely does not trust him.
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INT. TED’S APARTMENT - CONTINUOUS TED Remember I said, my buddy’s cousin is friends with Sam Jones? My buddy’s in town with his cousin and who’s with ‘em?
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EXT. REX’S HOUSE - MOMENTS LATER The “Football Fight” music from “Flash Gordon” starts playing, as John bolts O.S. EXT. REX’S HOUSE - MOMENTS LATER John sprints out of the house and runs down the walkway.
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EXT. MONGO SKY - DAY - FANTASY Sam J. Jones flies on the flying Jetski from the movie. John stands behind him on the back, with his arms around Sam’s chest, as if on the back seat of a motorcycle. John has a huge, elated smile on his face.
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INT. TED’S APARTMENT - LATER John and Ted sit staring at each other intensely across the table. TED Look Johnny, if we’re ever gonna get
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INT. TED’S APARTMENT - LATER Ted sits on the couch drawing a pair of Garfield eyes on a topless girl. Below the eyes he has drawn the muzzle and the mouth, and above them the ears. (CONTINUED)
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INT. TED’S APARTMENT - MOMENTS LATER There’s an angry pounding on the door. One of the party guests opens it, and the Asian guy runs in, screaming in Cantonese. He holds a wooden spoon in one hand, and a live duck in the other. John, Sam, and Ted run back out
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INT. STAIRWELL - CONTINUOUS John opens the door and runs down the hall. He runs partway down the stairwell, and stops short as he sees Lori at the bottom, coming partway up the stairs. They stare at each other for a beat. She looks as hurt,
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EXT. MIDTOWN HOTEL - NIGHT John pulls up in his car, and sadly goes inside. INT. MIDTOWN HOTEL - NIGHT John sits on the bed and turns on the TV. He flips through the channels, seeing various clips of shows.
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EXT. MOVIE THEATER - NIGHT The marquee out front reads “Star Wars: The Phantom Menace.” We pan down a line of moviegoers, eventually getting to 22 year-old John and Ted. John is dressed as Darth Maul, and Ted is dressed as Yoda. They excitedly
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EXT./ ESTAB. MIDTOWN HOTEL - NIGHT It’s raining outside. INT. MIDTOWN HOTEL - SAME John sulks on the bed, leafing through a Tintin comic book. There’s a knock at the door.
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EXT. HATCH SHELL - NIGHT A huge crowd has gathered for the Norah Jones concert. They cheer as she sings “Come Away With Me,” backed by a large string section. ANGLE ON Rex and Lori, who cheer in the audience along with everyone else. They seem to
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EXT. HATCH SHELL - SHORTLY AFTER The crowd is cheering. Norah is back out on stage at the piano. NORAH Okay, I’m gonna give my chops a rest here
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EXT./ ESTAB. JOHN & LORI’S APARTMENT BUILDING - DAY INT. JOHN AND LORI’S APARTMENT - BATHROOM - SAME Lori gets out of the shower, and begins towelling off, still reeling with disgust from her encounter with Rex. After a few moments, there’s a knock at the door. Lori
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EXT./ ESTAB. CHARLEY’S - LATER DAY Lori’s car pulls up, and she gets out. INT. CHARLEY’S - CONTINUOUS Lori enters, and looks around. She spots John, who looks up from a menu. He is surprised to see her. She sighs
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INT. ROBERT’S ROOM - MOMENTS LATER Ted is led into Robert’s room. It’s a fairly sparse room with some toys strewn about. A wooden rocking horse with a wig stands in the corner. TED
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INT. HALLWAY - LATE DAY Ted nervously moves down the hallway toward the front door. He has it in sight on the far end of the living room, but when he gets closer to the living room doorway, he sees that Donny is sitting in an armchair, watching
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INT. LORI’S CAR - LATE DAY/DUSK LORI John, I just want you to know that... I mean, I hope you don’t think that-- John’s phone rings. He looks down at it, annoyed. It
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INT. LORI’S CAR - LATE DAY/DUSK JOHN (into phone) Ted? Ted? Hello? Ted! LORI
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EXT. STREET - DUSK John and Lori race through the streets of Boston. INT. LORI’S CAR - DUSK JOHN It’s this creepy fucked-up guy who wants
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INT. DONNY’S CAR - NIGHT - CONTINUOUS TED Johnny! Robert and Donny both hear this. Donny looks in his side- view mirror, just in time to see Lori’s car swing a U-
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INT. LORI’S CAR - NIGHT - CONTINUOUS JOHN Easy... LORI I know.
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EXT. BOSTON CITY STREETS - NIGHT - CONTINUOUS Donny swerves past the traffic, narrowly avoiding clipping one of the cars. A moment later, John and Lori come racing out of the tunnel. However, a truck drives through the intersection, stopping them in their tracks.
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INT. WALKWAY - CONTINUOUS Ted runs as fast as his stubby legs will carry him. Donny is in pursuit, and getting closer. The chase moves past a concession area, and up a few flights of stairs. EXT. UPPER SEATING AREA - CONTINUOUS
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EXT. UPPER SEATING AREA - CONTINUOUS John runs past the top of the stairwell, and sprints over toward the lighting tower, just in time to see... EXT. LIGHTING TOWER - CONTINUOUS Donny makes one final reach for Ted. He grabs Ted by the
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INT. LIVING ROOM - SHORTLY AFTER John sits on the couch, head in hands. Ted still lies on the coffee table. Lori enters with a blanket, and drapes it around him. She sits down next to him, bringing part of the blanket around herself. She places a hand on his
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INT. LIVING ROOM - CONTINUOUS He pauses for a beat... and walks in. The blanket is where it was left. John slowly removes it. Ted is still motionless. John lowers his head sadly. Suddenly, Ted’s eyes snap open.
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INT. CHURCH - DAY We hear the Flash Gordon Wedding March as we ANGLE ON Sam J. Jones standing in robes at the altar. Ted, in a tux, stands in the best man’s position. John stands on the steps smiling and looking out as we cut to...

Ted

When a man's childhood teddy bear comes to life, their lifelong friendship is tested as the bear becomes a third wheel in the man's relationship with his girlfriend.

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Overview

Poster
Unique Selling Point

The unique selling proposition of 'Ted' lies in its combination of raunchy humor and emotional storytelling, centered around a talking teddy bear that serves as both a comedic foil and a symbol of childhood innocence. This duality appeals to a broad audience, particularly those who appreciate a mix of comedy and heartfelt moments, making it compelling as a piece of storytelling.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Claude
 Recommend
Gemini
 Recommend
GPT4
 Recommend
Story Facts

Genres: Comedy, Drama, Romance, Action, Fantasy, Romantic Comedy, Thriller, Family, Musical, Adventure, Dark Comedy

Setting: 1985 and present day, Suburban neighborhood outside Boston, Massachusetts

Themes: The Importance of Adulting and Responsibility, The Power of Friendship and its Limitations, The Nature of Childhood Wishes and Fantasies, Love, Commitment, and Sacrifice in Relationships, Dealing with Workplace Dynamics and Career Ambitions

Conflict & Stakes: John's struggle to maintain his relationship with Lori while dealing with the consequences of his friendship with Ted, culminating in a kidnapping plot that threatens Ted's life.

Mood: Comedic with moments of heartfelt emotion.

Standout Features:

  • Unique Hook: A talking teddy bear navigating adult life and relationships.
  • Major Twist: The revelation that Ted is alive and the ensuing chaos that follows.
  • Distinctive Setting: The contrast between a nostalgic 1980s suburban setting and modern-day Boston.
  • Innovative Idea: The exploration of childhood attachments and their impact on adult relationships.
  • Unique Characters: Ted as a personified teddy bear who embodies both humor and wisdom.

Comparable Scripts: Ted (2012), Toy Story (1995), Big (1988), A Christmas Story (1983), The Sandlot (1993), The Iron Giant (1999), E.T. the Extra-Terrestrial (1982), The Muppet Movie (1979), The Secret Life of Pets (2016)

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: 7.83
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Emotional Analysis

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

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

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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Go to Scene Analysis

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.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.