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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. MANCHESTER HARBOR -- SEA. DAY. A small commercial fishing boat heads out of Manchester, Massachusetts, toward the open sea. JOE CHANDLER, late 30s, is in the wheelhouse. In the stern are LEE CHANDLER, Joe’s younger brother by five years, and Joe’s son PATRICK, about 9
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INT. BASEMENT. DAY. He organizes the trash cans and recycling in the basement. INT. APARTMENT BUILDING HALLWAY. DAY. He vacuums the hall with an industrial vacuum cleaner on a fifty foot yellow extension cord.
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INT. MRS OLSEN’S BATHROOM. DAY. Lee is down on his hand and knees. MRS OLSEN, 40s, in a bathrobe, is very good-looking but bad-tempered and nervous. MRS OLSEN How many times do we have to fix
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INT. A LOUD QUINCY BAR. NIGHT. Lee drinks alone at a small, crowded neighborhood bar. AT THE BAR -- Lee is waiting for service. Someone bumps a CUTE GIRL, 30s, into him. She spills some beer on Lee. GIRL LEE
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INT. LEE’S CAR (MOVING). DAY. Lee sits behind the wheel, trying to get out of Boston and onto Rt 1. North. He’s talking on his iPhone. LEE (Into his iPhone)
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INT. HOSPITAL ELEVATOR. Dr Muller and Lee ride down very slowly. LEE How is Dr Betheny? DR MULLER
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INT. HOSPITAL ELEVATOR/LOWER LEVEL HALLWAY. The ELEVATOR DOOR OPENS AT LL2. Dr Muller and Lee come out. INT. MORGUE. A SECURITY GUARD opens the door for DR MULLER and LEE. DR MULLER
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EXT. THE SEA -- JOE’S BOAT. DAY. Autumn. LEE, JOE and 8-YEAR-OLD PATRICK are on JOE’S BOAT. The Cape Ann coast is in the distance. The boat is rigged for whale-watching and deep sea fishing charters. Lee discreetly keeps a hand near the rod as 8-Year-Old Patrick trolls. Joe
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INT./EXT. LEE’S CAR (MOVING)/RT. 128 NORTH. DAY. Lee drives up the highway. EXT. THE OCEAN -- MANCHESTER-BY-THE-SEA. DAY. FROM THE OCEAN -- We see the wealthy summer resort clinging to the Cape Ann winter coastline.
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INT. BEDROOM. DAY. RANDI, Lee’s wife, 30s, is in bed with a cold. She is tough, loving and sarcastic. The room is littered with Kleenex and cold remedies and clothes. KAREN, 5, is playing with colored plastic blocks on the floor. There is a CRIB in a corner.
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EXT./INT. MANCHESTER -- PINE STREET/LEE’S CAR. DAY. Lee drives into town, talking on his cell phone. LEE PAUL (O.S.) I thought school let out at I'm pretty sure he -- three o'clock -- What? I'm I'm pretty sure he woulda --
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INT./EXT. LEE’S CAR/RT 128 NORTH. DAY. Lee drives. The SIGN for GLOUCESTER and ROCKPORT is up ahead. INT. GLOUCESTER MIDDLE SCHOOL -- HOCKEY RINK. DAY. The Rockport/Manchester team is having practice. PATRICK is on the ice. He is just 16, skinny, athletic, long-haired. He
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INT. LEE’S CAR (MOVING). DUSK. The winter sun is getting low. Patrick sports a semi-grunge garage-band look. Longish greasy hair, Army jacket, black T- shirt with some design on it, cargo pants maybe. PATRICK
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EXT. THE SEA. DUSK/NIGHT. WIDE ON THE COAST: A few headlights move through in the dark town. EXT. MANCHESTER -- STREETS. NIGHT. Lee’s car drives through the narrow hilly streets.
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EXT. JOE’S HOUSE. NIGHT. The car stops in front of the GARAGE of a small well-kept old clapboard house with lots of bare trees and shrubs around. PATRICK You gotta hit the bleeper.
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INT. JOE’S KITCHEN. SIMULTANEOUS. Lee is at the table, halfway through a piece of pizza and a beer. He finishes the beer, gets another and heads into -- INT. JOE’S LIVING ROOM. CONTINUOUS. Lee moves through the room toward the staircase.
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INT. JOE & ELISE’S HOUSE. SUMMER -- DUSK. The room is DARK except for the TV. Two little DOGS start BARKING. JOE, 9-YEAR-OLD PATRICK and LEE come in the house. They are muddy and dusty from playing softball. They drop the softball gear, start taking off their muddy sneakers, etc.
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INT. KITCHEN. DAY. Lee is dressed and seated at the table with a cup of coffee, talking on his iPhone. LEE (On the phone)
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EXT. MANCHESTER ESSEX REGIONAL HIGH SCHOOL -- HALL. DAY. Lee’s car stops in front of the school gate. Patrick and Silvie climb out from the back. PATRICK SILVIE Thanks, Uncle Lee. Thanks a lot, Mr Chandler.
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INT./EXT. LEE’S CAR/MANCHESTER ESSEX HIGH SCHOOL. DAY. Lee picks Patrick up from school and they drive away. INT. LEE’S CAR (MOVING) DAY. They drive through town. PATRICK
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INT. LAWYER’S OFFICE -- WAITING ROOM. DAY. Patrick sits, texting. An ASSISTANT types at her computer. INT. LAWYER’S OFFICE. DAY -- SIMULTANEOUSLY. WES, 40s, sits behind his desk across from LEE. Each holds a copy of Joe’s will.
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INT. LAWYER’S OFFICE. DAY -- SIMULTANEOUS. Lee is still staring at the will. WES Lee... FIVE YEARS AGO (CONT’D) --
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EXT. LEE’S STREET. NIGHT. Lee slows as he nears the turn to his street. He is looking at the FIERY SKY and FLASHING LIGHTS. He starts to run -- THE PRESENT -- INT. LAWYER’S OFFICE. DAY.
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INT. POLICE STATION -- INTERVIEW ROOM. DAY. SLOW PUSH IN ON LEE at a table, facing a POLICE DETECTIVE, a UNIFORMED POLICEMAN, and the STATE FIRE MARSHALL. LEE You know. We were partyin’ pretty
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EXT. OFFICE BUILDING. DAY. Lee and Patrick come out of the building, Lee first. They walk to the car. He digs out his keys. LEE All right. We got a lot to do.
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EXT. MANCHESTER -- MARINA. DAY -- PRESENT. Lee and Patrick walk along the marina. EXT/INT. MARINA -- JOE’S BOAT. DAY. Lee and Patrick and GEORGE are looking at JOE’S BOAT. Lee and Patrick are not dressed warmly enough.
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EXT. MARINA/WHARF. DAY. Lee and Patrick walk back along the wharf toward the street and the car. PATRICK Are you brain-damaged? You can't
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EXT. BEVERLY. DAY. They drive through Beverly, a big coastal town of 40,000. INT. GALLAGHER’S FUNERAL HOME. DUSK. Patrick looks around while Lee talks to the Funeral Director. EXT. GALLAGHER’S FUNERAL HOME. DUSK.
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EXT./INT. BEVERLY STREET/LEE’S CAR. DUSK. They see the car on a long sloping street and run to it. They get in and slam the doors. Lee turns on the engine. LEE God damn it’s cold!
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EXT. MANCHESTER. SANDY’S HOUSE. DUSK. Lee pulls up in front of a small ranch house with a big front yard. Patrick twists around to gets his stuff from the back. LEE This is the same girl as who was
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INT. SANDY’S HOUSE -- BASEMENT. NIGHT. PATRICK’S ROCK BAND is practicing in the basement. SANDY, 17, brighter, wilder and more original than Silvie, sings lead vocals. PATRICK plays rhythm guitar, CJ plays lead, JOEL plays bass, a kid named OTTO plays drums. The boys sing
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EXT. SANDY’S HOUSE. NIGHT. Lee’s car pulls up to the curb. Stentorian thuds through the frozen earth. Sandy’s mom, JILL, comes out and crosses the lawn. She is 40, pretty and pleasant, hair in a pony tail. Lee rolls down the window.
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INT. SANDY’S ROOM. NIGHT. Patrick and Sandy are making out on her bed. Patrick’s hand is halfway down the front of Sandy’s complicated jeans. SANDY PATRICK Hold on -- Hold on. Jesus Christ, I’m scrapin’
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INT. JILL’S HOUSE -- LIVING ROOM. NIGHT. Jill waits near the stairs. Patrick and Sandy come down. JILL How’s the math homework? PATRICK
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INT. LEE’S CAR (MOVING) NIGHT. Lee drives Patrick home in silence. Then: PATRICK LEE Aren’t you gonna ask what I don’t want to know what happpened? -- Guess not. happened.
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INT. PATRICK’S ROOM. NIGHT. Patrick lies awake in the dark. INT. LEE’S ROOM. NIGHT. Lee lies on the bed watching a sports show and drinking beer. EXT. MANCHESTER -- CHURCH OF THE SACRED HEART. DAY.
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INT. GUEST/LEE’S ROOM. NIGHT. Lee gets ready for bed. We hear PATRICK in the hall O.C. PATRICK (O.C.) Would your mom be cool if I came there? ... I have no idea.
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INT. JOE’S BEDROOM -- NIGHT. Lee puts the last of his stuff away. He goes to the window. The wind whistles outside. 10-YEAR-OLD PATRICK (V.O.) Goodbye Uncle Lee!
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INT. KITCHEN. NIGHT. Patrick, in his sleeping gear, opens the refrigerator, looking for a snack. He opens the overcrowded freezer and some packages of frozen chicken breasts and chopped meat slide out at him. He tries to catch or block them, but most
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INT. BOSTON DEPARTMENT STORE. DAY. Joe stands with Lee looking at an armchair. Patrick is spinning around in another one. JOE You like that one?
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INT. LEE’S CAR/MANCHESTER ESSEX REGIONAL HIGH SCHOOL. DAY. Lee and Patrick pull up in front of school. PATRICK I need lunch money. Lee reaches for his wallet. TWO GIRLS rap on the car window
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INT. JOE’S BEDROOM. DUSK. Lee puts the THREE FRAMED PHOTOS on the dresser. He goes to the window and looks out. He BREAKS the WINDOW with his FIST. Blood wells out of his knuckles immediately. He hurries to the bathroom. The LAND LINE RINGS.
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INT. JOE’S ROOM. NIGHT. Patrick comes into the room. Lee is VACUUMING up broken glass by the window. He has neatly taped a cardboard square over the broken pane. He sees Patrick and turns off the vacuum. He throws the last scraps of cardboard and tape into a heavy
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EXT. MARINA/WHARF. DAY. Lee stands by as George and Patrick pull away in JOE’S BOAT. Patrick is driving. INT. THE BOAT (MOVING). DAY. GEORGE
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EXT. GEORGE’S HOUSE. NIGHT. Lee is picking Patrick up from George’s house. GEORGE and JANINE and their five kids, ages 8-17, wave and shout goodbye. GEORGE GEORGE’S KIDS
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EXT. SANDY & JILL’S HOUSE. NIGHT. Lee’s car idles in front of the house. PATRICK You wanna stay for dinner? I think Sandy’s mother likes you.
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INT. SANDY’S ROOM. SIMULTANEOUS. Sandy comes away from the door. They are in their underwear. Patrick discards an unused, unrolled condom and GETS UP to get another from his pants, across the darkened room. PATRICK
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INT. SANDY’S ROOM. CONTINUOUS. The only light comes from Sandy’s laptop. They’re on the bed. SANDY Is it on? PATRICK
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EXT/INT. LEE’S CAR (MOVING). DAY. Lee is driving Patrick along the road to Essex. LEE Where did she say she lives? Because there are like no houses
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EXT. ELISE’S HOUSE. DAY. They pull up to a small neatly kept house and get out. ELISE opens the front door. She looks starched and brittle. ELISE Oh my gosh. Is that my Patrick?
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INT. ELISE’S DINING NOOK. DAY. Patrick is at the table. Jeffrey and Elise bring in lunch. PATRICK Oh -- Can I help with anything? ELISE
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INT. LEE’S CAR (MOVING) DUSK. Lee is driving Patrick home. He glances at Patrick. Patrick is very glum and unhappy. LEE So what was she like?
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EXT. GUN SHOP. DAY. Through the window we see Lee and Patrick talking to the GUN SHOP OWNER. Joe’s guns are laid out on the counter on a felt cloth. The owner is counting out bills for them. EXT. MARINA -- BOAT YARD. DAY.
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EXT. JOE’S DRIVEWAY. DAY. Lee drives Sandy and Patrick into the driveway and stops. Sandy and Patrick get out of the car. LEE I gotta run some chores. I'll be
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INT. WATERFRONT BAR & GRILLE. DAY. CU LEE, very drunk. He is at the counter of a busy local place full of fishermen eating and drinking their lunch. A new bunch of guys comes in loudly and boisterously. One of them accidentally clips Lee as the group passes by.
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INT. JOE'S HOUSE -- KITCHEN. NIGHT. Patrick comes in, followed by Lee. Lee moves slowly past him into the living room. INT. JOE’S ROOM. NIGHT. Patrick walks in and takes a long look at Lee's THREE FRAMED
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INT. LIVING ROOM. NIGHT. Lee and Patrick eat dinner. LEE I got a job in Boston. It starts in July.
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EXT. MANCHESTER STREET/ROSEDALE CEMETERY. DAY. Patrick walks along the street. The TREES he passes have BUDS or BLOSSOMS. It’s early SPRING. He snaps a dead branch off a tree. He runs it across a fence as he walks. We REVEAL that he is headed for the cemetery gate. He goes into the
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EXT. LAWYER’S OFFICE WINDOW. DAY. Past the BLOSSOMS on the tree outside Wes’ window, we see GEORGE, LEE and WES, signing documents. EXT. JOE’S HOUSE. DAY. There is a “FOR RENT BY OWNER” SIGN outside the house. Lee’s
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EXT. MANCHESTER STREET. DAY. Lee and Patrick trudge up a steeply inclined street. Lee occasionally bounces the ball. PATRICK So...When am I supposed to move in

Manchester by the sea

A troubled janitor is forced to return to his hometown and become the guardian of his nephew after the sudden death of his brother, forcing him to confront his own traumatic past.

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Overview

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Unique Selling Point

What sets this screenplay apart is its raw and authentic portrayal of grief and the human condition. Unlike typical dramas, it doesn't provide easy resolutions or clear character arcs, instead opting for a more realistic approach that resonates with audiences who appreciate character-driven stories. The nonlinear narrative structure enhances the emotional impact, making it compelling for viewers who seek depth and complexity in storytelling.

AI Verdict & Suggestions

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Claude
 Recommend
Gemini
 Highly Recommend
GPT4
 Highly Recommend
Story Facts
Genres:
Drama 70% Comedy 15% Romance 5% Action 5% Crime 5%

Setting: Contemporary, Manchester, Massachusetts and surrounding areas

Themes: Grief and Loss, Family Dysfunction and Reconciliation, Masculinity and Emotional Repression, Responsibility and Finding a New Normal, The Power of Found Family

Conflict & Stakes: Lee's struggle to take care of his teenage nephew Patrick after the death of his brother Joe, while dealing with his own emotional trauma and the complexities of family dynamics.

Mood: Somber and reflective, with moments of warmth and humor.

Standout Features:

  • Unique Hook: The story's deep exploration of grief and family responsibility, set against the backdrop of a small coastal town.
  • Character Development: Lee's journey from isolation to acceptance and connection with his nephew Patrick.
  • Emotional Depth: The screenplay's ability to evoke strong emotions through relatable family dynamics and personal struggles.

Comparable Scripts: Manchester by the Sea, The Pursuit of Happyness, Little Miss Sunshine, The Glass Castle, This Is Us, A River Runs Through It, The Fault in Our Stars, Dead Poets Society, The Road

Script Level Analysis

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Overall Score: 8.50
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