Genres: The, unique, genres, for, the, movie, are:, Superhero, Drama, Romance, Action
Setting: Contemporary, New York City
Themes: Loss and Grief, Justice and Revenge, Identity and Self-discovery, Corruption and Power, Love and Loss, Superficiality and Image
Conflict and Stakes: Hughie seeks justice for Robin's death and joins forces with Butcher to take down corrupt superheroes. The stakes involve exposing the truth and seeking revenge.
Overall Mood: Dark, gritty, and intense
Mood/Tone at Key Scenes:
- Scene 2: A mix of love and banter between Hughie and Robin, abruptly shattered by tragedy
- Unique Hook: Exploration of the dark side of superheroes and the corrupt system that supports them.
- Major Twist: Robin's sudden and shocking death, which sets the story in motion.
- Distinctive Setting: The upscale living room, the Seven Tower, and the suburban house provide visually interesting and contrasting locations.
- Innovative Ideas: The concept of superheroes being controlled by a powerful corporation and the exploration of the consequences of their actions.
- Genre Blend: Blending elements of superhero, drama, and thriller genres to create a unique and engaging story.
Explanation: The screenplay is recommended due to its effective establishment of the world and themes, strong emotional impact, and intriguing use of real questions. However, there are areas that need improvement, such as smoother transitions and clearer connections between storylines. Additionally, more information about character motivations and missing elements, such as Compound V, would enhance the overall narrative. Overall, the screenplay has compelling strengths and notable points, but would benefit from further development and refinement.
USP: The Unique Selling Proposition in this screenplay is the combination of romance, tragedy, and superhero action, creating a shocking and emotional story. It explores the themes of love, ambition, and the dark side of the superhero world. The scenes showcase the devastating impact of a tragic event on the characters, the superficiality of the superhero industry, and the conflict between seeking justice and moving on. It also introduces a new superheroine and delves into the corrupt and scandalous nature of the superhero industry. The screenplay offers a unique and compelling storytelling experience that will captivate its target audience and set itself apart from other scripts in its genre.
Budget Estimate:$50-70 million
Target Audience Demographics: Adults aged 18-49, fans of superhero stories with a darker and more realistic twist
Marketability: The screenplay offers a fresh take on the superhero genre, with compelling characters, intense conflicts, and relevant social themes. The success of similar projects like 'Watchmen' and 'The Boys' demonstrates the marketability of this screenplay.
Profit Potential: High, due to the popularity of superhero stories and the potential for a dedicated fanbase. The screenplay's unique twist and strong storytelling could also attract critical acclaim and awards attention.
Analysis Criteria Percentiles
Summary:The writer's voice is characterized by a mix of humor, wit, and emotional depth. The dialogue is snappy and realistic, while the narrative description is vivid and descriptive. The writer's voice contributes to the overall mood of the screenplay by infusing it with a sense of energy, tension, and dark humor. It also explores themes of disillusionment, justice, and the contrast between idealized superheroes and the harsh realities of the world. The writer's voice adds depth to the characters and the story, creating a compelling and engaging screenplay.
Best representation: Scene 3 - Tragedy Strikes. This scene is the best representation because it showcases the writer's ability to blend emotional depth with dark humor and create a sense of authenticity in the characters' actions and dialogue.
- Butcher: She wasn’t in the street. She was one step off the fuckin’ curb. (Scene 6)
- Butcher: But mostly, people like that cozy feeling Supes give ‘em. You got someone to swoop in and save the day for you, then you don’t gotta do it yourself. (Scene 7)
- Hughie: ...they’re laughing. Like she’s a joke. They’re fucking laughing. (Scene 9)
- Hughie: ROBIN! ROBIN!! (Scene 2)
- Robin's Dad: Too late. She’s dead. And you wanna drag out some court case? So we can relive her death? (Scene 4)
Hughie:Tech virtuoso who seeks justice for his girlfriend's death
Robin:Hughie's girlfriend who is killed by a superhero
Starlight/Annie:A young superhero who joins the Seven
A-Train:Super-fast hero who accidentally kills Robin
Butcher:Leader of a group seeking revenge against corrupt superheroes
The Percentile is against the screenplays in our library.
|At least one Character Changes in the scene||7.9||98|
|Story Moves Forward||8.6||92|
|Internal Goal Score||8.0||51|
|External Goal Score||7.1||26|
Note: This is the overall critique. For scene by scene critique click here
Note: This is the synthesis. See scene by scene analysis here
|Emotional Impact||9.1||100||Titanic: 9.0||Squid Game: 9.1|
|Character Changes||7.9||98||Everything Everywhere All at Once: 7.8||Squid Game: 8.3|
|Characters||8.9||98||Silence of the lambs: 8.8||Black mirror 304: 8.9|
|Overall||8.8||95||Community: 8.6||Terminator 2: 8.8|
|Plot||8.6||93||Back to the future: 8.5||Casablanca: 8.6|
|Story Forward||8.6||92||Stranger things: 8.5||The matrix: 8.6|
|High Stakes||8.3||81||Severance: 8.2||Vice: 8.3|
|Conflict Level||8.3||78||Everything Everywhere All at Once: 8.2||Avatar: 8.5|
|Engagement||8.75||71||Inglorious Basterds: 8.70||Shaun of the Dead: 8.75|
|Dialogue||7.9||63||Amadeus: 7.8||heathers : 7.9|
|Concept||7.9||61||The usual suspects: 7.8||Titanic: 7.9|
|Originality||6.75||58||Back to the future: 6.74||John wick: 6.75|
|Internal Goal||8.00||49||Mind Hunter: 7.95||Stranger things: 8.00|
|Structure||8.25||36||Squid Game: 8.14||Birdman: 8.26|
|Formatting||8.94||28||As good as it gets: 8.91||Mind Hunter: 8.95|
|External Goal||7.13||26||Stranger things: 7.09||Mo: 7.14|
|Pacing||8.19||24||As good as it gets: 8.16||Suits: 8.19|
|Story Content||Character Development||Scene Elements||Audience Engagement||Technical Aspects|
|Scene Number||Full Analysis||Tone||Overall Grade||Concept||Plot||Originality Score||Characters||Character Changes||Internal Goal||External Goal||Conflict||Opposition||High stakes||Story forward||Twist||Emotional Impact||Dialogue||Engagement||Pacing||Formatting||Structure|
|1||The Boys: The Name of the Game Improve||Exciting, Humorous, Emotional||8||8||7||6||9||5||8||7||6||7||5||6||6||7||8||9||8||9||8|
|2||Tragic Revelation Improve||Playful, Serious, Shocking||9||8||8||5||9||9||8||7||9||9||9||8||8||10||7||9||7||9||8|
|3||Tragedy Strikes Improve||Serious, Emotional||9||8||8||9||9||8||8||7||7||7||8||8||7||9||8||9||8||9||8|
|4||Tragedy Strikes Improve||Playful, Devastating, Reflective||9||8||9||6||9||9||8||7||9||9||9||9||7||10||8||8||8||9||9|
|5||The World of Superheroes Improve||Playful, Devastating, Overwhelmed, Elated||9||8||9||6||9||9||8||7||9||7||9||9||6||10||8||8||9||9||9|
|6||The Seven and Starlight Improve||Exciting, Tragic, Hopeful||9||8||9||6||9||8||8||7||8||7||8||9||6||9||8||9||8||8||9|
|7||The Funeral and the Offer Improve||Devastated, Reflective, Playful, Weird||8||7||9||7||8||8||8||7||8||8||8||9||7||9||8||9||8||9||8|
|8||Devastation and Revelation Improve||Devastated, Horror, Awkward, Furious, Scared, Cool, Unsettling||9||8||9||9||9||8||8||7||9||9||9||9||9||10||8||9||8||9||8|
|9||The Funeral and the Negotiation Improve||Anxious, Playful, Devastated, Enraged, Nervous, Corporate, Pleasant||9||8||9||9||9||8||8||7||9||8||8||9||8||9||8||9||9||9||8|
|10||Meeting the Idol Improve||Humiliation, Anger, Suspense||8||7||8||9||9||7||8||7||8||8||8||9||7||9||7||9||8||9||8|
|11||Devastation and Revelation Improve||Devastated, Scandalous, Numb, Defeated||9||8||9||6||9||8||8||7||9||7||8||9||6||9||8||7||8||9||8|
|12||Finding Strength in Vulnerability Improve||Devastated, Hopeful, Reflective||9||8||7||6||9||8||8||7||4||6||6||7||7||9||8||9||8||9||8|
|13||The Beginning of a Plan Improve||Devastation, Suspense, Determination||9||8||9||6||9||8||8||7||9||7||9||9||7||9||8||9||8||9||8|
|14||Infiltrating The Seven Tower Improve||Anxious, Tense, Relieved, Confident||9||8||9||6||9||7||8||7||9||8||9||9||7||8||8||9||8||9||8|
|15||The Showdown Improve||Devastation, Hope, Determination||9||8||9||6||9||8||8||7||10||8||10||9||7||9||8||9||9||9||8|
|16||Confrontation and Revelation Improve||Devastation, Revenge, Bravery, Defiance, Psychopathy||9||8||9||6||9||8||8||9||9||9||9||9||8||9||8||9||9||9||9|
TA "The Name of the Game"
Based on the Comic by
Garth Ennis and Darick Robertson
Seth Rogen and Evan Goldberg
NETWORK DRAFT 6
October 15, 2017
Copyright © 2017
SONY PICTURES TELEVISION INC.
All Rights Reserved
No portion of this script may be performed, or reproduced by
any means, or quoted, or published in any medium without prior
consent of SONY PICTURES TELEVISION INC. * 10202 West Washington
Boulevard * Culver City, CA 90232 *
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 1.
“The Name of the Game”
OPEN on COMIC BOOK PICTURES WHIRRING PAST. Golden Age to
Modern Age. Beloved heroes you all know and love -- like
Soldier Boy, Lamplighter, and most of all, the Homelander.
Until the images coalesce into a block of text:
VOUGHT STUDIOS PRESENTS:
Then -- A SNAP OF STATIC TAKES US TO --
YOUTUBE. Hand-held iPhone video of a statuesque warrior
(QUEEN MAEVE) kicking the SHIT out of a robber.
Now Queen Maeve perp-walks the cuffed robber to the waiting
NYPD. Most notable is the CROWD that’s gathered around,
cheering and chanting her name. A galaxy of phone FLASHES,
as everyone else records it, too.
The CHRYON along the bottom: “EYEWITNESS FOOTAGE OF QUEEN
MAEVE IN ACTION!”
Which LAUNCHES us into a fast-paced FIREHOSE RUSH of IMAGES.
TV, Twitter, Instagram, Snapchat. A multi-faceted, multi-
media world -- but one thing unites us all:
WE LOVE SUPERHEROES.
E! CHANNEL. VIDEO FOOTAGE of the DEEP, a handsome-as-hell
aquatic hero in a skin-tight suit, in Long Island, comforting
a beached whale. Bystanders call out his name (”DEEP!
DEEP!”) as TWO E! NEWS ANCHORS dish about his granite abs.
SNAP! A moody, Michael Bay-style image of THE SEVEN, the
world’s most popular Superhero Team. Homelander, Queen
Maeve, the Deep, the Lamplighter, others.
The Seven. The greatest Superhero
Team on the planet.
And now you can bring them home.
Collect all Seven commemorative
glasses from McDonal--
SNAP! It’s a Christian Channel. CAPTAIN FANTASTIC, on-stage
in a MEGACHURCH. A big BANNER behind: “CAPES FOR CHRIST.”
Adoring CONGREGANTS clasp their hands in prayer.
And it’s just a few short weeks to
our incredible “Believe” festival,
where we give praise to the most
powerful hero of them all, Je--
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 2.
SNAP! INSTAGRAM. Video taken from the middle of a
rambunctious crowd that’s WAY LARGER than the others we’ve
seen. POLICE barely hold them back. SHRIEKING FOR --
HOMELANDER! Head of the Seven and the world’s biggest
Superhero. If Tom Hanks, Tom Cruise and John Wayne all gang-
banged. He waves from the red carpet of a UNICEF benefit.
People go FUCKING BANANAS, SHOVE against the cops. It’s like
‘Likes’ for this Instagram Post shoot into the stratosphere.
Finally -- a LOCAL NEWS INTERVIEW with a GIRL, 20. She’s
bawling her eyes out.
...he just... Homelander does so
much to protect us... and to be this
close to him, it’s... overwhelming.
Homelander, if you see this, Adrian
from Brooklyn loves you, loves you
with all her heart...
We PULL BACK. Revealing we’re watching a FLAT SCREEN --
INT. UPPER WEST SIDE APARTMENT - NIGHT
In an upscale living room. As we meet HUGHIE (20’s, slight,
kind). In a “BRYMAN AUDIO VISUAL” shirt. Installing
someone’s new TV. As well as their Blu-Ray. Sonos.
Programming their Universal Remote. Hughie does it all. We
see his FINGERS, dexterous and deft. He’s quite the tech
MOMENTS LATER. He presents the BILL on a clipboard -- to a
WEST SIDE MOM in a New York Power Suit. She only half pays
attention, as she returns work emails on her phone.
You sure? We’re running a special
on Vimtag Security Cameras. HD.
You can access ‘em from your phone.
WEST SIDE MOM
Thanks but no. I don’t think we
really need ‘em. My nanny’s here
all the time.
Hughie just has one of those sincere, earnest faces. He nods
to the woman’s 7-YEAR-OLD in a HOMELANDER COSTUME, playing
with his Dominican NANNY.
Course. And you got the Homelander
watching over things.
(off the Mom’s smile)
But, you know, the Homelander can’t
be everywhere at once. Neither can
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 3.
Or the nanny, for that matter. No,
if we wanna keep an eye on our kids?
That’s up to us. Even if we’re
working long hours and late nights.
Know what I mean?
Mom looks up from her phone. Clearly a long hour worker.
Maybe you don’t need the cameras,
but what about that one time you do?
Is there such a thing as too safe?
Off Hughie. Smiling warmly. Making the sale.
INT. BRYMAN AUDIO VISUAL - NIGHT
A Mom-and-Pop ELECTRONICS STORE. TV’s and STEREO EQUIPMENT
on the shelves. Hughie behind the counter. As --
The bell over the door RINGS. ROBIN (20’s, girl-next-door
cute) enters. She sidles up to Hughie, as if a customer --
Excuse me, sir? I want to schedule
an appointment. For you to come
over and --
(arches an eyebrow)
Lay some cable.
Robin. That doesn’t mean what you
think it means.
‘Laying cable’ means sex.
‘Laying pipe’ means sex. ‘Laying
cable’ means you want me to come to
your house and take a shit.
Hey, you said it.
You ready yet? Despite your best
efforts, I’m still hungry.
OPEN ON A BUS-STOP POSTER. A completely BLACK SUITED HERO in
a cologne ad. “BLACK NOIR for DRAKKAR NOIR.”
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 4.
As Hughie and Robin, holding hands, walk down an empty SIDE-
STREET. She CHUCKLES at a story he just told --
...so you got her from ‘no thanks,’
to four cameras?
What can I say? I’m a good fucking
(off Robin’s eye-roll)
Hey, I got you, didn’t I?
Speaking of, Mr. Salesman. Did you
ask for the raise?
Hughie takes a half-beat. He knows Robin isn’t going to like
this, but plays it off, casually.
Gary was totally supportive -- he
just says things are slow. Next
year, though, for sure.
Hughie looks at her. Feels guilty.
What do you want me to do? Go in
there and kick his ass?
I said ‘okay.’
But you didn’t mean it. I see that
look. C’mon, let’s hear it.
You’re the best guy there, by a long
shot -- and Gary’s taking advantage
of you -- and yeah, you should get
in there and fight for it.
This is banter, not bickering. A sign of how much they love,
and are comfortable with, each other.
Jesus. I didn’t realize you needed
a sugar daddy.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 5.
Blow me. This is about you getting
what you deserve. Hell, I’m killing
myself at school cause it’s gonna
pay off -- for both of us. I mean,
if we’re moving in together --
Robin takes one step off the curb into the street, about to
cross. But Hughie stops on a dime.
Wait. What’d you just say?
(breaks into a grin)
Well, we can’t keep -- laying pipe --
at your parent’s place. Trying to
keep quiet, staring up at that dumb
Hey. Don’t ever besmirch the
He’s still on the curb, she’s still one step in the street.
As he leans forward and kisses her. Like none he’s ever had
before -- or ever will again.
Hughie steps back, holding both of Robin’s hands. They’re so
in love, then --
SMASH! Robin is suddenly, shockingly ATOMIZED before
Hughie’s eyes. Blood and gummy bits of viscera spatter
against Hughie’s face. Hughie still holds Robin’s hands.
But that’s all he’s holding. They’re gory, detached.
It happens so fast, Hughie doesn’t have time to react.
As fast-running hero A-TRAIN skids to a stop. Robin’s
insides all over his costumed outsides. He clutches a
distinctive BLUE DUFFEL BAG tight to his chest. The
motherfucker just ran right through Hughie’s girlfriend.
A-Train is straight-up frightened. Jittery as hell. But not
because of what he just did. Then why?
Oh God, I’m -- I’m sorry. But I
can’t stop. I can’t stop.
And with that, A-Train RACES away at supersonic speeds,
leaving a blurred trail of motion in his wake.
And leaving Hughie. Alone. Holding two bloody hands. In
shock, he can’t let them go. Until some emotion -- some
abject horror -- begins to seep in...
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 6.
... R... Rob...
WIDE SHOT. Down the street. Hughie is small in the frame.
His voice distant, ragged, wrenching, as finally:
EXT. OFFICE BUILDING - DES MOINES, IOWA - DAY
A generic Nissan Altima pulls up before a generic office
park. STARLIGHT (20’s, blonde, sweet, in a reasonably modest
superhero outfit) climbs out of the passenger seat. She
clutches a HEADSHOT, looks nervous.
But not as nervous as her MOTHER. Who licks her finger,
smooths out Starlight’s eyebrow.
Whatever you do, don’t chew your
thumbnail. And remember to smile.
INT. OFFICE BUILDING - WAITING ROOM - DAY
All beige, all the time. Water cooler burps. A table with a
sad, out of date PEOPLE magazine. Metal folding chairs
occupied by a few exotically-garbed SUPERHEROINES. (Let’s
play the clash between the mundane and the superheroic).
Starlight enters, signs in. Nods at one of the other
Superheroines, apparently no love lost.
Starlight. Omigod. So good to see
you. Is that a new headshot?
No. Same one.
It’s so nice.
Countess gives a “I’m pretending to like you but I fucking
hate your guts” grin. Starlight smiles back, self-conscious.
From there, we enter a MONTAGE of Starlight’s bizarre
INT. OFFICE BUILDING - AUDITION ROOM - DAY
VIDEO CAMERA POV. It SNAPS to life. Focusing in on
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 7.
CASTING DIRECTOR (O.S.)
Please slate for the camera.
Yeah, I’m, um, Starlight. 5 foot 8,
CASTING DIRECTOR (O.S.)
Turn around please.
She rotates, an awkward 360 degree turn. Then --
CASTING DIRECTOR (O.S.)
Okay, let’s see it, dear.
You should look away --
CASTING DIRECTOR (O.S.)
Turn away from camera and shut your
eyes. Or else I’ll blind you.
CASTING DIRECTOR (O.S.)
Starlight concentrates -- it starts with her eyes, which glow
white hot -- then the OVERHEAD FLUORESCENTS FLICKER and FADE,
as she draws energy from her nearby surroundings --
Until her EYES emit a J.J. Abrams-style, blazing LIGHT BURST
that explodes into the room --
The camera FREEZES and FRITZES and RATTLES at the concussive
blast. When it resumes, it’s on its side, Starlight is
crouching over someone just off camera, upset --
I’m so sorry, are you alright?
CASTING DIRECTOR (O.S.)
Just fine, dear. Very impressive.
INT. OFFICE BUILDING - BATHROOM - DAY
Starlight on the toilet. Clearly peeing. (You never see
superheroes peeing!) Then she reaches beneath her, pulls out
the plastic urine test cup. Begins to label it...
Starlight sits at a POLYGRAPH. Wears sensors. A bland
technician across from her, taking notes. (Fun fact: these
are real questions from CIA employee interviews.)
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 8.
Have you ever plotted to overthrow
the United States of America?
The Technician inspects the answer. Mutters to himself.
Betrays nothing. Starlight starts chewing her thumbnail.
How do you feel when you see a small
animal in distress?
Did you ever feel sexual urges when
sitting in your parents’ lap?
What? No. God. No.
INT. OFFICE BUILDING - AUDITION ROOM - DAY
VIDEO CAMERA POV. Starlight in the midst of an interview.
She speaks with genuine heart.
...I was just... like most Super-
Abled, I was born like this. My Mom
was thrilled. She made me go to all
those little miss hero pageants. I
hated it, I can still smell the
hairspray. And at the Q and A, they
always asked me my wish. And I
always said, “to save the world.”
The judges chuckled, like it was
cute. But it’s not a joke to me.
Since when did ‘hopeful’ and ‘naive’
become the same thing? Why get into
this business, if not to save the
world? It’s all I’ve ever wanted.
And it’s why all I’ve ever wanted
was to be in the Seven...
Off her pixelated video image...
INT. ROBIN’S PARENTS’ APARTMENT - FEW DAYS LATER
PHOTOS of ROBIN. Surrounded by thick FLOWER ARRANGEMENTS.
A ROOMFUL of somber people in DARK SUITS, eating from small
plates. We notice a WOMAN crying into a MAN’s shoulder.
Robin’s PARENTS. This is the post-funeral reception.
Everyone stands close, united in grief. Except for --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 9.
Hughie. Sits in the corner. Alone. In a suit and tie. He
holds a plate with a square of ambrosia Jell-O salad on it.
CLOSE ON HUGHIE. A maelstrom of heartbreak, pain and
emotion, beneath a numb shell. He looks up, sees --
POV. Two CHILDREN in nice clothes, sprawled before the TV.
Watching a “SEVEN” CARTOON. Even here, even now... most
people are FANS...
INT. HUGHIE’S FAMILY APARTMENT - QUEENS - DAY
Hughie returns back to his FAMILY APARTMENT. Tie loosened.
His zaftig MOM follows, along with his wheezing FATHER
(sallow, skinny, rolling an oxygen tank beside him).
Dad thumps on the couch, flips on the TV.
Well, I thought it was a lovely
service. Just lovely.
Hughie. What’s he supposed to say? It was awesome?
TA HUGHIE’S MOM
Did you eat? Can I -- fix you some
...I’m not hungry.
(noticing the TV)
Oh, honey. Look.
ON THE SCREEN. Six o’clock news. A PRESS CONFERENCE. A-
TRAIN. Beside VOUGHT VICE-PRESIDENT of HERO MANAGEMENT JULIA
Hughie noticeably flinches at this.
JULIA STILLWELL (ON TV)
...and as you know, A-Train was
placed on standard administrative
leave until the NYPD could conduct
their investigation. Which they’ve
now concluded -- and have ruled no
wrong-doing. But that doesn’t begin
to convey the terrible regret we all
feel at this awful, tragic loss...
A-TRAIN (ON TV)
My deepest condolences to Robin
Ward’s family. I was chasing those
bank robbers... and she just...
stepped into the middle of the
street... and I couldn’t...
A-Train trails off, choked up. Golden Globe-worthy.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 10.
Hughie mutters to himself. Devastated.
Middle of the --? She was a half-
step off the fucking curb.
DING DONG! The door.
Mom swings open the door, revealing a VOUGHT LAWYER -- DOUG
FRIEDMAN. All Clinton-esque, lip-biting sympathy.
Does a Hugh Campbell live here?
INT. HUGHIE’S FAMILY APARTMENT - MINUTES LATER - NIGHT
A small stack of LEGAL DOCUMENTS on a TABLE. Hughie sits in
front of the lawyer. Scans the papers.
Hughie’s Mom observes. Dad still watches TV in the back,
seemingly catatonic, wheezing through his nose tube.
TA ...really, everyone at Vought is
just... wrecked about Robin...
(then, as a ‘friend’)
Now. You two weren’t married and --
look, technically there’s no legal
claim. But still, Vought wants to
do the right thing -- offer you 25
thousand in restitution.
It’s the least we could do, ma’am.
You just need to sign -- here -- and
I’ll hand over the check --
But this -- is a confidentiality
It’s a boiler plate NDA --
I sign this, I can’t talk about it?
Have to pretend it didn’t happen?
That I wasn’t holding Robin’s arms
in my hands?
I know you’re upset, but we’re just
trying to help --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 11.
Then say you’re sorry --
Hughie builds a head of steam --
You people say ‘condolences’ and ‘my
regrets’ and ‘our sympathies,’ but
no one can look me in the fucking
eye and say “I’m sorry!” I’m not
signing anything! Now get out!
Doug Friedman pauses a beat, unsure. Hughie charges over to
him, ROUGHLY HAULS HIM OUT OF HIS SEAT!
I said GET THE HELL OUT!
TA SMASH CUT TO:
CLOSE ON HUGHIE. Sitting quietly in his seat. That outburst
was just in his imagination. There’s churning lava deep down
inside him. But he’s not a fighter. Not yet.
You okay? As I said, a boiler plate
NDA, really pretty standard.
I’ll think about it.
Let me think about it.
Beat. Doug Friedman gives a smile. Reads the room.
I get it. I’ll leave the document,
gimme a ring if you have questions.
You keep the pen, okay?
The LAWYER hands over a SILVER PEN labeled ‘VOUGHT.’
EXT. SUBURBAN NEIGHBORHOOD - DES MOINES, IOWA - DAY
We soar over countless versions of the same middle class
house. Like some cloning experiment run horrifically amok.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 12.
OPEN ON A BOOKCASE. Loaded with TROPHIES. RIBBONS. “LITTLE
MISS SUPERSTAR - 1st PLACE.” “SWEET CORN FESTIVAL & 5K RUN -
BEST OVERALL POWERS.” Etc. Along with a crowd of photos --
of a heavily made-up, Jon Benet-style Starlight, ages 4 thru
10, always jauntily posing, hands-on-hips, wearing a kid-
sized, homemade version of her outfit.
A shrine to a Mother’s pride in her daughter.
In the adjacent kitchen -- Starlight herself, in her grown-up
Superhero outfit, pours some Kraft Shells and Cheese into a
pot. Keeps one ear on a POLICE SCANNER, which babbles on
about some local loitering and a nasty rash of graffiti.
Her Mother enters -- listens briefly to the scanner --
Any maniacs out there?
Quiet night. Like every night.
TA STARLIGHT’S MOTHER
Too bad. We could use the press
(sees the pot, clucks)
Oh, Annie, could you pack any more
carbs into that?
Apparently, Annie is her ‘secret identity’ name.
I’m hungry, Mother. And would you
relax? I didn’t get the job.
You don’t know that, you’re better
than all of them.
When -- RING. RING. The phone. Mom goes to answer.
They’re auditioning nation-wide.
Besides, Countess probably got it,
she’s really good in a room.
If you’re negative, negative things
happen to you.
(picks up phone)
Hello? Um, I’m her Mother. Yes,
yes, one moment.
Mom holds out the phone, on pins and needles. Mouths “it’s
them!” Starlight can’t help but feel a stab of butterflies.
Moves for the phone.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 13.
Hello? Yes, this is she.
I -- got it? I GOT IT?!
YOU GOT IT!! YOU GOT IT!!
Off this rambunctious, unbridled maternal ECSTASY --
INT. ROBIN’S PARENTS’ APARTMENT - NIGHT
OPEN ON A FRAMED PHOTO in a much less happy home. ROBIN
beaming beside her loving PARENTS.
WIDER. Hughie sits at their kitchen table. Awkwardly
shuffles notes and papers.
In front of Robin’s Mom and Dad. Mom, red-rimmed eyes, only
stares down at her folded hands. Dad also averts eye
contact, impatiently taps his wedding ring onto his beer
bottle throughout. Clink. Clink.
...so we can’t file criminal charges
against A-Train. Heroes are like
cops, they can’t be charged for
collateral damage while in pursuit.
Robin’s Mom wipes away a tear. This is all a painful
subject. Hughie continues --
But -- but -- we can still file a
civil suit. I found a lawyer --
he’ll work on percentage, won’t even
charge us unless we win --
I just need you to jump in -- I’m
not family, I can’t really sue by
myself. But --
Hughie. Stop. We’re not suing
What? Why not?
There’s no case. She was in the
street. It’s the same as if she jay-
walked and a bus hit her.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 14.
She was a half-step off the curb!
Then Hughie spots it. On the table, right in front of the
parents: another SILVER ‘VOUGHT’ PEN. The truth falls on
Hughie like a ton of bricks.
Wait, were they -- did you sign?
(silence speaks volumes)
You took their money? Gene?
Dad stops clinking the beer bottle. Searches Hughie’s face.
How long have I known you, Hughie?
Since -- Robin and me were in high
Prom night, actually. We met you,
in that tux two sizes too big -- and
there are some kids who just have
that go-getter spark in their eye.
You were not one of those kids.
(glancing at his wife)
I’d say to her all the time, didn’t
I? What’s Robin see in him? Got no
drive, no fire, no fight. Boy
doesn’t give a shit about anything.
I cared about your daughter. I’m
trying to fight now.
Too late. She’s dead. And you
wanna drag out some court case? So
we can relive her death?
(hand on his wife)
Yeah, we took the fucking money.
And now we wanna -- try to -- put it
all behind us.
So what? A-Train just gets away
There’s no case, she was in the
street! You let her step into the
street. It’s not A-Train we blame.
Off Hughie, as if absorbing a palpable body blow...
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 15.
EXT. NEW YORK STREET - NIGHT
Hughie. Walking down the street. Despondent. Listening to
a MESSAGE on his CELL --
DOUG FRIEDMAN (ON PHONE)
Hugh, this is Doug Friedman from
Vought, just checking in. Look, I
know the money can never make up for
losing Robin. But we can make
things a little easier for your
family, if you’d --
Hughie CLICKS it off. Then strangely, we CUT TO --
A STILL CAMERA POV. From inside a car. SNAPPING PICS of
Hughie. Clickclickclickclick. As he enters a bodega.
Who’s taking pictures? Off this mystery --
INT. NEW YORK BODEGA - NIGHT
A SIXER of BUD LIGHT. Pulled from the fridge case by Hughie.
He’s on edge.
An edge he goes plummeting right over when --
He pivots in the cramped aisle. Coming face to face with A-
Train! Even worse, a DOZEN A-TRAINS! Side by side!
It’s a magazine rack. A-Train on the cover of US WEEKLY. He
smiles, hugging a chirpy BALD CANCER KID beneath the headline
“MAKING WISHES COME TRUE.”
Hughie, breathing shallow, backs away. Bumping against an
entire row of CEREAL. Box drops, Hughie looks.
Delicious FROSTED A-TRAINS. A whole fucking ROW of them.
WIDE ANGLE. Hughie. Spinning. Drowning. Now sees -- A-
Train on CANS of MONSTER ENERGY DRINK.
On a CARDBOARD CUT-OUT at the aisle’s end, cerveza in hand --
‘A-TRAIN CELEBRA CINCO DE MAYO.’
A-Train, A-Train, A-Train, A-Train.
The guy murdered the love of Hughie’s life. And everyone
idolizes the asshole.
Hughie’s chest is heaving now. He slides to the floor, back
against the wall. We leave him there -- in the throes of a
full blown PTSD PANIC ATTACK.
PAN DOWN off the gleaming, sky-scraping, futuristic SEVEN
TOWER. To find --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 16.
A LIMO PULLS UP. A ‘Vought’ PAGE opens the door for --
Starlight. Followed by her Mother. They gape up at the
Tower. At the CROWD of SCREAMING FANS behind the ropes. A
GROUP OF MEN and WOMEN APPROACH -- Starlight’s ENTOURAGE --
Hi. I’m Ashley, I’m your publicist.
This is Rachel, hair and make-up.
Luis is your stylist. Dan and Rich,
they’re from your marketing and
social media teams. Amy’s your PA,
you need anything, you ask her. You
two thirsty? Amy!
(to the group)
I’m -- hi. No, we’re good.
Well, Amy’s gonna get your Mom to
her seat, but you, you’re with me,
we’re gonna be late!
Starlight is dizzy already. A heady whirlwind of glamor.
Waves happily at her Mother as she’s whisked away.
INT. THE SEVEN TOWER - AUDITORIUM - DAY
Starlight’s Mother, awed, takes her VIP front row seat among
a packed HOUSE of INVESTORS.
A SPOTLIGHT illuminates Vice-President of Hero Management
Julia Stillwell. Confident. Gregarious.
She pitches the crowd before a stage-wide video screen --
‘VOUGHT INTERNATIONAL: 2017 ANNUAL MEETING OF SHAREHOLDERS.’
Along with alternating images of their various projects.
Movie Posters. Theme Parks. Toys. Cartoons. Vought makes
Marvel look like a corn-studded piece of shit.
...net income is up 14 percent,
our latest film “G-Men: World War”
grossed just shy of 1.7 billion
world-wide. This fall we break
ground on our newest theme park
outside of Paris. Our branding
opportunities are limitless.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 17.
JULIA STILLWELL (CONT'D)
It’s a good time to be in the
The crowd applauds -- Julia holds up her hand, goes sincere --
But as we all know, none of that
matters. Because job one? Is
managing, supporting, and advising
the brave heroes who put themselves
in harm’s way each and every day.
For us. Take a look.
The spotlight snuffs out. Inspirational music swells, as a
slickly packaged P.R. video begins on the huge screen. TOMMY
LEE JONES got paid a shit-ton to narrate.
TOMMY LEE JONES (V.O.)
Vought International. Handling the
Business of Superheroes, so
Superheroes can handle their
INT. THE SEVEN TOWER - ELEVATOR - DAY
Starlight. Flanked by her team. Crowded elevator going up,
up and away. Make-up artist primps Starlight on the fly.
You know, you’re doing really great
I haven’t done anything yet.
Exactly. And you’re already up 2
and a half points with Midwesterners
and Conservative Christians in 18 to
49. I saw your audition, by the
way. The ‘saving the world’ thing.
I meant it.
That’s why we love you. So. You
ready for your life to change?
Starlight’s overwhelmed but elated. Yeah. She thinks so.
The video continues. Classy Ken Burns style visuals. First,
we see black and white photos of a Captain America-like hero
named SOLDIER BOY.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 18.
TOMMY LEE JONES (V.O.)
...1944. Soldier Boy. The first
Superpowered human. To be followed
by more. Dozens more. Men and
women born -- blessed -- with
extraordinary genetic abilities.
Jonas Salk famously called them ‘a
leap forward in evolution.’ No
one’s quite sure why it happened,
but thank God it did.
Multiple IMAGES of HEROES flit past.
TOMMY LEE JONES (V.O.)
Until, of course, the apex. The
pinnacle. The formation of the most
popular Superhero Team the world’s
ever seen. THE SEVEN.
(crowd goes wild)
Led by -- not just a hero -- but an
American institution. As powerful
as he is humble. Ladies and
gentlemen -- the HOMELANDER.
Now the crowd goes WILD. As a SPOTLIGHT appears in the
center of stage -- revealing the HOMELANDER. Live and in the
flesh! Giving an aw-shucks wave.
TOMMY LEE JONES (V.O.)
And please welcome the rest of the
Seven! QUEEN MAEVE. BLACK NOIR.
THE DEEP. A-TRAIN. TRANSLUCENT.
Spotlights BLAZE ON beside the Homelander. Introducing each
hero, in person. (Translucent is negative space in a suit --
an invisible man).
CLOSE ON STARLIGHT. Being shuffled out onto the stage by a
STAGE MANAGER. In shadow. Her moment’s about to come...
IN THE CROWD. Her Mother’s as nervous as she is.
TOMMY LEE JONES (V.O.)
And finally -- unless you live under
a rock, you’ve heard that after a
long, distinguished career with the
Seven, the Lamplighter has retired.
A grateful nation bids him a fond
Adoring images of THE LAMPLIGHTER, along with Marines
saluting and children beaming their ‘thank you’s.’
TOMMY LEE JONES (V.O.)
But now -- as we turn towards the
future -- we introduce the newest
member of the Seven. Please welcome
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 19.
The WHITE HOT SPOTLIGHT SNAPS onto Starlight. She smiles,
jittery, waves. Drinks in the crashing waves of applause.
Beside all of her idols. Locks eyes with --
IN THE CROWD. Her Mother. This is literally the single best
moment of Mom’s life.
The Seven, ladies and gentlemen!
How about ‘em!?
The thunderous clapping continues, as well as a universe of
iPhone flashbulbs. Starlight can’t help but steal glances at
the Homelander. The Deep leans over, whispers to her,
I know. It’s kinda like sharing a
stage with God, right? But you
wanna know something? He chews with
his mouth open. Spits little bits
of salad right at you.
Starlight smiles at the Deep.
all this back down to earth.
Grateful to have someone bring
I just -- I mean -- I can’t believe
I’m really here.
Hey. You’re here because you’re
meant to be here.
Look, I remember my first day, it’s
a lot to take in. But we’ll show
you the ropes.
Starlight nods at him, grateful. Turns back to twinkling
flashbulbs and raw, uncut adoration. This is all of her
wildest, most secret dreams come true... off this...
EXT. BRYMAN AUDIO VISUAL - NIGHT
POV. From across the street. We see Hughie, through the
window, downcast as he upsells some equipment.
REVEAL -- we’re in a boat of a Cadillac. Behind the wheel --
A black-trench-coated MAN. This is BILLY BUTCHER (40).
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 20.
Enigmatic, he reaches into his GLOVE COMPARTMENT. Tugs out a
CIGAR BOX. Opens it, revealing --
A PILE of FAKE IDENTIFICATION CARDS. All with his picture.
NYPD, FDNY, NSA, DEA, ATF, DHS, some foreign CARDS. He
shuffles through them, before choosing an FBI ID. Perfect.
Goes without saying -- who the HOLY FUCK is Butcher?
INT. BRYMAN AUDIO VISUAL - NIGHT
A TELEVISION SCREEN. ACCESS HOLLYWOOD. Some b-roll footage
of Starlight, waving shy to the crowd at the Vought
NATALIE MORALES (V.O.)
...and how does newest Seven member
Starlight keep her beach-ready bod?
The answer might surprise you...
Hughie. Before a CUSTOMER. He doesn’t notice the TV --
...no, you want the carbon cables.
Cost more, but they conduct
electricity way better --
When the BELL over the door RINGS. Hughie jerks his head up,
illogically hoping against hope that Robin walks through the
door. Of course, she doesn’t. Instead, he spots --
Butcher. Strolling in. He inspects a section of NANNY-CAMS.
Hughie steps up --
You interested in a nanny cam?
We’re running a special on Vimtag...
Butcher looks up. He’s got a blue collar BRITISH ACCENT. A
lot like Michael Caine.
Tell me. How many nannies go around
shakin’ their babies, d’you reckon?
A good, hard shake. Like trynna get
ketchup out of a bottle. 1 percent?
Uh, I -- I really don’t know.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 21.
But they sell a coupla billion
dollars worth of this shit
(smirks at Hughie)
Goes to show. The bollocks you can
make people swallow, if you get ‘em
Okay. Is there anything I can help
I’m not gonna piss you about,
Hughie. I know what happened to
Robin. Fuckin’ diabolical.
I’m sorry, who are you?
She wasn’t in the street. She was
one step off the fuckin’ curb. And
you didn’t take the pay-off.
I said who the hell are you? How do
you know that?
Butcher’s the name. People call me
Billy. I was thinkin’ we could have
a bit of a chat?
OPEN ON: the FBI CARD. Hughie inspects it --
Hughie. Butcher. Pass more and more pedestrians, as they
near the neon atomic blast of Times Square...
You’re a Fed? You don’t sound like
I can’t fuckin’ immigrate? There’s
a big green crumpet out in the
harbor that says different.
You don’t look like one, either.
Oh? What do I look like?
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 22.
Like a Columbine shooter.
Butcher smirks. Hughie’s got spark. He nods at the ID,
which we know is fake --
Well, it’s right there in black an’
white. But if you wanna give a
looksie up me bum to be sure, you go
Um. So what, exactly, can I do for
It’s what I can do for you, my son.
Help you get payback for yer girl.
You ain’t alone, Hughie, happens a
lot more than you think. Supes lose
over a hundred people a year to
collateral damage --
That can’t be true.
It’s not that they ain’t strong,
it’s that they don’t care. We’re
just ants to them.
C’mon. It’d be all over the news,
people’d be screaming bloody murder.
Might be the odd mention now an’
again, like with Robin. But there’s
a lot more they don’t tell you --
that gets swept under the rug --
It ain’t obvious?
He holds his hand out.
WIDE SHOT. TIMES SQUARE. 50 foot high SCREENS: a shirtless,
Wahlberg-esque HERO reclines in his Calvin Klein tighty-
whiteys. A-Train in a NIKE SHOE spot. A MOVIE: “Tek-Knight
Begins.” The VOUGHT STORE. Tourists take their photos with
cardboard hero cut-outs. Superheroes are inescapable --
pretty much like the actual Times Square.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 23.
The movie tickets, an’ the
lobbyists, an’ the fuckin’ shoes.
But mostly, people like that cozy
feeling Supes give ‘em. You got
someone to swoop in and save the day
for you, then you don’t gotta do it
But you don’t know half the shit
they’re up to. It’d curl your hair
and straighten your curlies. But
that’s where I come in.
Come in... to do what?
Spank the bastards, they ever step
too far outta line.
How do you spank a Supe?
Ways an’ means. You don’t need a
fuckin’ glowy green rock to find
someone’s weakness. C’mon.
You’ll love it.
Thank you for an extremely... weird
conversation. But I’m not sure what
this is... and I think I should
probably get back.
Mate. Once I go, I’m gone. This is
your one an’ only. Besides, what’ve
you got to lose, you ain’t already
CLOSE ON HUGHIE. Thinking. Off this --
We PAN OFF Hughie and Butcher, to the GLEAMING SEVEN TOWER --
INT. THE SEVEN TOWER - BOARDROOM - NIGHT
Starlight. Taking in the PANORAMIC VIEW from the SEVEN
BOARDROOM. 99th floor. Floor to ceiling windows. City
lights before her -- like her own private galaxy.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 24.
She pivots to the SEVEN’S FAMOUS CONFERENCE TABLE. Runs her
hand over HOMELANDER’S CHAIR. Tastefully embossed with his
name. Like touching the President’s chair.
Then... she sees... a CHAIR WITH HER NAME ON IT. Her eyes
glisten with emotion.
INT. THE SEVEN TOWER - HALLWAY - NIGHT - LATER
CLOSE ON A SMALL FISHBOWL. With an exotic fish inside -- an
electric blue ram cichlid, to be exact.
WIDER. Starlight carries the fishbowl down the sleek
hallway. Reaches a DOOR. RINGS the bell.
No answer. She KNOCKS. The door drifts open. Unlocked.
Starlight steps in, tentative. Deep’s apartment is MASSIVE.
All blonde wood and trickling waterfalls and koi ponds and
Chinese writing. Not just aquatic -- Zen aquatic.
Just wanted to thank you for being
She feels awkward. Certainly doesn’t want to trespass.
She’s about to turn and leave when...
She hears an unmistakable GROANING. Sickly. Sounds like
someone might be ill? Or in trouble?
She cautiously moves to the sound source. Then steps around
a thick tangle of bamboo trees to see --
THE DEEP. Bites a RUBBER TUBE wrapped tight around his arm.
As he SHOOTS a syringe of BRIGHT BLUE LIQUID into his vein.
What the hell is that stuff?
A PRETTY GIRL in a PARTY DRESS sprawls next to him. Her eyes
flutter, nearly unconscious. A SYRINGE JUTS from her arm.
Deep makes eye contact with Starlight. Who’s horrified --
What the FUCK?
Oh my God, sorry, I’m sorry --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 25.
Deep stands. He’s furious. Aggressive. And completely
different than the charming hero Starlight met.
You just walk in??
I knocked... your door was... I was
just bringing you...
She lamely holds out the fishbowl.
Turn around. Forget this ever
But Starlight notices the girl. A thick gob of spittle at
the side of her mouth.
Is she... okay?
That sends Deep over the edge. SUDDENLY, with SUPER
STRENGTH, he SHOVES Starlight against the wall!
She drops the FISHBOWL. CRASH!
Scary, Deep clamps his hand around Starlight’s neck. His
forehead veins are popping, he’s so pissed. (It’s a roid-
like reaction to the mysterious blue drug).
Who the HELL asked you??!!
...I think she needs help...
Oh, you’re the fucking hero?
Please. You’re here cause we needed
a few more points with Evangelicals.
There’s a dozen blonde cunts that
fit the bill. You’re nobody.
You breathe a word of this to
anyone? You’re out. For good. The
fuck back to Iowa. We clear?
CLOSE ON STARLIGHT. Just staring at the dying exotic fish,
FLOPPING ABOUT on the floor. Does she fight back? Make a
stand? A long beat...
No. She doesn’t. She does what she needs to do.
Of course. I won’t tell anybody.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 26.
A long beat. Frenzied face to frightened face. Until --
He lets her go. She beats a HASTY RETREAT --
EXT. THE SEVEN TOWER - HALLWAY
She scrambles out the door. Then stops. Presses her back
against the wall, out of breath.
It takes every fiber of her being not to cry...
EXT. ALLEY - OLD MONEY BUILDING - NIGHT
Back alley. A SERVICE ENTRANCE behind a tall, ornate, old-
money downtown building.
Butcher strides to the door, Hughie in tow. KNOCKS on it.
Beat. A NERVOUS SECURITY GUARD answers (dark coat, tie,
BADGE). Hughie watches this exchange, curious.
This is the last time, Harry.
It’s always the last time. This is
fucking police brutality.
You know what these people’ll do to
me, they catch me letting you in?
Not even half of what I’ll do, if
Butcher smiles but never breaks eye contact. It’s
unsettling. Message received.
The Security Guard hands over two SECURITY BADGES. Butcher
gives one to Hughie.
Did he just say you’re a cop?
Cop, Fed, it’s all the same to that
cunt. Here, put this on.
What the hell is this?
But Butcher just strides inside. Uneasy, and now a bit
suspicious, Hughie follows --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 27.
INT. OLD MONEY BUILDING - PRIVATE CLUB - NIGHT
DING! CLOSE ON HUGHIE as the ELEVATOR DOOR OPENS. His jaw
hits the floor. As he takes in --
A PRIVATE CLUB. Dark. Thumping music. Lots of SIDE ROOMS
and various nooks and crannies.
AND SUPERHEROES. Male and female. All shapes and sizes and
colors. PARTYING THEIR COSTUMED ASSES OFF. The female
heroes are having as much rambunctious fun as the men. It’s
like Studio 54 -- multiplied by 54.
One FEMALE HERO with a tiara tightens her FLUORESCENT ROPE,
S&M style, around a HOG-TIED NAKED MAN. He happily begs to
be spanked, she happily obliges.
Two HEROES TELEKINETICALLY HURL a CHAIR over a ducking
WAITER, SMASHING it through the window, as if they were
Whitesnake on the Sunset Strip.
Hughie and Butcher step over a burly STEEL-SKINNED SUPERHERO,
passed out on the floor in a pool of his own sick. WAITERS
try to drag him away, but he’s far too heavy.
Hughie is absolutely gobsmacked. Then spots --
Hey, that’s Captain Fantastic. The
‘Capes for Christ’ guy. Holds those
POV. The stretchy Superhero we saw on TV in the opener is in
ecstasy, wrapped around THREE MEN in G-STRINGS.
And now he’s the meat in the
Manwich. Fuckin’ hypocrite. Like
Bill Cosby in spandex.
They pass a HERO, his hair a SHIMMERING WAVE of FIRE, quietly
and desperately crying to himself. Who knows why.
Okay. So this is more than I ever,
ever wanted to see. I’m leaving now
before one of them tries to have sex
with me. Or kill me. Or both.
Off Hughie -- he follows Butcher into a back room --
The anxious Security Guard checks the coast is clear. Then
lets Butcher and Hughie into the SECURITY ROOM. A wall full
of monitors recording every room.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 28.
Where’s the vid you rang me about?
The Security Guard reluctantly hands Butcher a MEMORY STICK.
Butcher plugs it into a COMPUTER.
Oi. Hughie. Monitor 2.
Butcher fiddles a knob. Turning up the AUDIO.
THE MONITOR. Time-stamped security cam footage of a BACK
ROOM. A-TRAIN. Throws back shots like it’s his job.
A-Train’s -- here?
Was. This is from last night.
THE MONITOR. Suddenly, A-Train looks O.S., as --
BIG GAME (O.S.)
A-Train. Your girlfriend’s here.
A HERO -- BIG GAME -- enters. He carries two MANNEQUIN ARMS.
She wants to know why you ran
through her the other night. I
mean, she just went to pieces.
HUGHIE. His jaw clenches. Butcher looks at him,
sympathetic. Knows how hard this is for him.
Hey, I’m not the one that threw a
Volvo at that carjacker, without
realizing there was a fucking kid
Screw you, man, that sucked.
(sucks back a shot)
I had to go fucking cry on Diane
Pointed, because A-Train just did the same --
Boy, can’t imagine what that’s like,
Big Game sticks the mannequin arms into A-Train’s crotch.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 29.
Aw, look, she wants to make up.
Sorry, baby, but when I get inside a
girl, I get inside a girl.
CLOSE ON HUGHIE. Quietly enraged --
...they’re laughing. Like she’s a
joke. They’re fucking laughing.
Question is, what are you gonna do
INT. THE SEVEN TOWER - OUTSIDE BOARDROOM - NIGHT
Vought Vice-President Julia Stillwell skims down the Tower’s
hallway with the Vought Lawyer -- same guy from before -- he
hurries to keep up. He’s nervous -- she is miles above his
paygrade. But she never loses her corporate geniality.
Yes. Doug. Friedman. Ma’am.
Doug, I appreciate you trying to low-
ball this Hugh Campbell, but can we
settle out the A-Train thing? I
mean, 25 thousand? I got a bigger
I’m not sure it’s about the money
with this guy.
If you quit nickel and diming him?
It’ll be about the money. Just get
it off our plate, please.
Without breaking stride, Julia glides into the boardroom --
INT. THE SEVEN TOWER - BOARDROOM - NIGHT
Where she grins at the MAYOR of BALTIMORE (50), sitting at
the table. He nods to a GLOSSY PIC of the HOMELANDER.
Autographed “To Mason: Reach for the Sky! Best, Homelander.”
Thanks for this. My kid’s gonna
lose his mind.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 30.
Our pleasure, Mr. Mayor. Just don’t
sell it on-line.
Alright. Tell me what you’re
(into her presentation)
Steve, look. Baltimore’s a
beautiful town. Those crab cakes at
Faidley’s? Change your life. But
you’ve got a problem. Homicide
rates are up, what, 62%? Your
police aren’t closing cases, you’re
on the verge of needing a federal
You don’t need to salt my wounds.
No disrespect. But you know police
tanks rolling down main street won’t
play on the 6 o’clock news. How’d
it work out for Ferguson? Or Baton
Cut to the chase, Julia. Who are
She clicks a remote. On the flat-screen, PHOTOS of a
handsome, Will Smith-like BLACK SUPERHERO appear.
Nubian Prince. Fits your
population’s demo, but not too
militant -- Caucasians love him too,
approval’s around 68 percent. We’re
offering a 3 year exclusive
contract. Plus our full PR support.
And we’ll throw in 9 and a half
points of the merchandising.
I thought he was in Detroit.
We’re thinking about making a move.
We’ve come to you first.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 31.
300 million a year. I know it’s a
tough swallow, but we both know your
city needs a hero.
Look. I have the City Council up my
ass on every fucking dime of the
budget. You make it 200 million, I
can sell it.
I’m sorry. Can’t do it. We have
Atlanta waiting in the wings.
I think maybe you can.
Oh? And why’s that?
TA (leans forward)
Because I happen to know about
Stillwell betrays only the merest twitch.
I’m sorry. What’s ‘Compound V?’
The kinda rumor that can really
tarnish those heroes of yours. And
no one wants that -- people need
heroes. Now. I can make sure it
stays a rumor. You know I’m a
friend. But friendship cuts both
What is he talking about? We’re not sure. But Stillwell
only gives him the most pleasant of smiles.
Sorry, Steve, I just don’t know what
you’re talking about. 300 million’s
the price. Or we go to Atlanta.
Off Stillwell. She might not be a superhero, but she sure
knows how to wear a mask...
A row of toilet stalls. And Starlight. At a sink. Stares at
herself in the mirror. Her mascara runs. She’s been crying.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 32.
She inspects the NECK BRUISING from where the Deep grabbed
her. It’s already turning an angry purple.
When... QUEEN MAEVE enters. Heads to the sink beside
Starlight to reapply some make-up from a small clutch.
Starlight sneaks glances at Queen Maeve. Humiliated to be
meeting her idol in such circumstances. Subtly tries to
cover her neck bruises with her hand.
When Queen Maeve pivots to Starlight. Long beat. Is Maeve
going to say something? But then --
Queen Maeve gently pulls Starlight’s hand away from her neck.
Inspects the bruising.
Then... Maeve reaches into her clutch, pulls out a bottle of
skin tone CONCEALER. Holds it up to Starlight’s neck. With
I think this is your color.
Implying that Starlight should cover up the bruise. Maybe
even implying that Maeve’s been there herself.
Then -- Queen Maeve pivots for the door. Calls out, without
Translucent, you’re such a fucking
Queen Maeve exits. Beat. Then... Translucent the invisible
man MATERIALIZES, naked, spying on Starlight from the corner.
Uh. I’ll -- I’ll just go.
He walks sheepishly out.
Off Starlight, painfully learning the old adage -- never,
ever meet your heroes...
INT. DIVE BAR - NIGHT
The dive bar of your dreams. All dark wood and character.
Hughie sits at a private BOOTH, beer in front of him.
Butcher across, nursing a soda water (he never drinks).
Hughie. Digesting what he just saw. Quiet. PISSED.
They’re -- all like that? All of
‘em? Even the Homelander?
Butcher skips the tiniest half beat. Voice goes the tiniest
bit flat. Something’s going on here, but we don’t dwell.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 33.
Homelander’s the exception. Doesn’t
drink, smoke. Fuckin’ saint. But
the rest? Yeah, pretty much.
Here, have a shufti at this --
From a MANILA FOLDER, Butcher removes some densely printed
PAPERS, spreads them on the table.
What are these?
Police log, night of Robin’s death.
Couple bar fights, some cars got
nicked. Know what’s not in there?
No banks triggering any alarms. No
one charged with robbery at Central
Booking. A-Train stopped two bank
robbers, my arse. Someone’s
covering somethin’ up.
Covering up -- what?
We re-play FLASHES of Hughie, Robin and A-Train from the
opening... to illustrate Butcher’s case...
Whatever A-Train was doing that
night. You said he looked scared.
But what’s he got to be scared of?
What did he mean, ‘he can’t stop?’
And what was in that bag? All
sounds bleedin’ dodgy to me.
So the big question is: where was he
Or who was he running from?
Butcher regards Hughie. Impressed. Smart.
Yeah. True. Good point.
Figure that out, we’ll have the
fucker. Got a nose for this shit,
and I’m tellin’ you, I can smell it.
Hughie stares at the reports. Feels emboldened.
Okay. How can I help?
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 34.
Ring Vought. Tell ‘em you’ll take
the money, sign the NDA. But only
if A-Train’s there in person when
Wait, I don’t... why would I...?
I dunno. Say you gotta shake his
hand. For closure. They’ll invite
you into the Seven Tower to meet
him. Past their security. And
then, my son, you are gonna stick a
bug in the place. We’ll have a
listen, really see what’s going on.
So, sorry -- you want me to go into
the Seven tower? By myself? And
plant -- a bug? Like I’m fucking
Hughie. Why do you think I came to
you in the first place? For the
good of me health?
Again, Hughie’s breathing grows shallow. He pales. Starting
to have another PTSD attack.
You gotta come with me.
No way they give me a pass.
What if something goes wrong?
Oh. Okay. Really comforting. And
easy for you to say, as you sit out
here on your “arse.” I mean, you’re
FBI, if you’re fucking FBI, get a
warrant, why do you need me --
(a bald lie, of course)
I got a warrant. But that place is
fire-walled and untappable and
locked up tighter than a nun’s
clunge. I couldn’t sneak in meself,
not in a million years. But you
can. Now calm down.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 35.
Calm? You didn’t see A-Train,
covered in Robin’s -- and I’m
supposed to shake his hand and
smile? These people kill fucking
kids in fucking Volvos on, like, a
random Tuesday, what do you think
they’ll do to me if they catch me?
We’ve never had a go at the Seven
before, not like this --
I said NO!
You saw him on that video. You
heard what he said about her.
I just -- I can’t. I’m just gonna
fuck it up. You won’t have your bug
and I’ll be dead. I’m not like you.
Hughie stands. Exits.
Off Butcher. He doesn’t look upset. He smirks, confident,
sips from his club soda. As if he expected this --
EXT. BAR - NIGHT
Butcher. Emerging from the bar. Calmly strolling.
When -- far overhead -- A HERO SOARS through the night sky,
lit by city lights. Followed by ANOTHER. It’s that last one
who’s got Butcher’s attention. He’s pretty far away, but
eagle eyed viewers might recognize him as the HOMELANDER.
WE CREEP IN ON BUTCHER. Stops. Just staring up. Wearing
his own stoic mask. Until --
I’m gonna fuckin’ have you. You
WIDER. Butcher’s just another New Yorker. When... a BLACK
SUV cruises past.
The MAYOR of BALTIMORE. The one who mentioned ‘Compound V,’
whatever that is. He rides in the back. On his cell.
Ms. Stillwell. Wasn’t sure I’d hear
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 36.
INT. THE SEVEN TOWER - BOARDROOM - NIGHT - INTERCUT
Stillwell’s smile is tight. She doesn’t like to acquiesce.
Alright, Steve. This fucking
chafes, but we can go down to 230
million for Nubian Prince.
I think that’s very reasonable,
Julia. Thank you.
Well, like you said, friendship cuts
Yes, it does. You have my word.
There are secrets and scandals between these lines. But we
don’t know what they are. Yet.
Off the Mayor, seemingly winning the negotiation --
INT. HUGHIE’S FAMILY APARTMENT - QUEENS - NEXT DAY
ON THE TV. ELLEN. Eternally upbeat. She sits with a
VISIBLE (and clothed) TRANSLUCENT --
He rolls up his sleeve, lifts his bare arm. Which SHIMMERS
then seemingly DISAPPEARS.
...no, I don’t actually vanish, my
skin turns into this -- carbon meta-
material -- that bends light. Like
an invisibility cloak.
But just to be clear -- you have to
be completely naked, right?
The audience OOHS and AAHS --
Hughie. Sits on the couch. Numb, listless, defeated. Next
to his wheezing Father. His Mom sets a plate of pizza rolls
on the coffee table.
Here you go, honey. Pizza rolls
Hughie picks one up. Hesitates. Somehow, eating one means
acquiescing to his sad suburban life. When --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 37.
30 years at that One Hour
Martinizing. Cost me a lung, and
what’d I get for it? And you wanna
take on Vought? It’s like trynna
take on a mountain. Take the money,
Hughie. We’re lucky to get it.
PUSH IN ON HUGHIE. Holding that pizza roll. Looking at his
Dad. Is he really gonna give up? Give in?
EXT. CENTRAL PARK - DAY
Starlight -- dressed for the first time in CIVILIAN CLOTHES.
As her secret identity: mild-mannered Annie. She strolls
through the park, phone to her ear. INTERCUT WITH:
Starlight’s Mother makes a bedazzled PRESS SCRAPBOOK of all
her daughter’s recent newspaper clippings.
...so. How amazing is it? What’s
the Homelander like?
I... he’s busy, I haven’t really met
him yet. Look, Mom, I gotta tell
you what happened...
Oh, I almost forgot. I was playing
Mahjong with Judy and Elaine, and
they were going on and on about how
wonderful Starlight is. Starlight
this and Starlight that. I know, I
know, I gotta protect your secret
identity, but I would love to see
the looks on their faces if I told
them it was you.
Anyway, what were you gonna say?
Just that everything’s great. Just
how I dreamed. Mom, I gotta go.
WITH ANNIE. She hangs up. Sits on a park bench. Stares up
at -- the radiant SEVEN TOWER. This isn’t at all what she
thought it would be. Her dreams are dying on the vine.
I’m sorry, but... are you okay?
HUGHIE. On a bench beside her.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 38.
Both of them, watching the Tower. For very different
reasons. She wipes a tear, embarrassed.
Yeah. I’m fine.
Hughie pulls a CLOTH HANDKERCHIEF out of his pocket.
Crosses to Annie. Holds it out.
She gives him an odd look. After what she’s been through,
she’s not ready to accept a kindness from a stranger.
I know. Cloth handkerchief. I’m
not really 90 years old, it’s just
my Dad was in dry cleaning, he
insists I carry -- never mind.
Sorry to bother you.
Hughie pivots away. Annie looks after him -- the guy’s just
trying to offer a little compassion in a cruel world.
No, wait. Actually, thank you,
I’d... appreciate it.
Hughie hands her the handkerchief. She dries her eyes.
Just having a bad day, that’s all.
That makes two of us. Work thing or
Beat. No one’s been willing or able to listen to Annie.
Now, finally, this stranger is.
Work thing. You?
They sit in silence. Another long beat. Then --
You know how you -- you have this
image of yourself?
Mine’s not so hot...
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 39.
I’m sure that’s not true.
I always thought I was... strong,
you know? Like, made of steel. A
But then there I was... I needed to
fight. Had to. But -- I didn’t.
Kept my eyes down, mouth shut, did
what it took to keep my job. Turns
out I’m not who I thought I was.
And I think -- I think I just wanna
Hughie gives her a long, serious look.
Sorry, I didn’t mean to dump all
that on --
No, it’s not that. It’s just, I can
relate, I’m -- long story.
TA (off Annie)
Listen. Do you like your job?
It’s the only thing I ever wanted.
And it’s a good job? You don’t get
kids hooked on smokes or anything?
It’s a great job. I could help a
lot of people.
CLOSE ON HUGHIE. A flash of vulnerability. Thinking of his
fear of A-Train. Thinking of Robin.
Thing is, I -- I knew this girl.
Who’d just -- charge headfirst into
everything. Me, I backed away from
everything, I was... I dunno...
scared of falling or failing. But
she’d say ‘just cause you fall on
your ass, doesn’t mean you gotta
So I guess I’d say the same to you.
Pardon my french, but fuck those
fuckers. Don’t give ‘em the
satisfaction. You can still be a
fighter -- just get up and fight.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 40.
She gives Hughie a long, thoughtful look. Whoever this guy
is, he told her just what she needed to hear, just when she
needed to hear it.
Sounds like a smart girl. You
should take her advice, too.
Hughie glances at her. She’s right.
Off their handshake -- off a respite of tenderness amidst our
BUTCHER. Sits at the bar. Stares into his soda. When --
A BEAUTIFUL REDHEAD, 30, approaches him.
booth-full of friends.
Egged on by her
Hi. Hello. So I’m sure this is a
terrible idea, but my friends have
dared me -- to buy you a drink.
It is a terrible idea.
Oh, uh, okay. Sorry.
Crash and burn. She goes. Who is this guy?
When Hughie ENTERS. Passing the Redhead. To Butcher --
Hey. Hoping I’d find you here.
Butcher smiles to himself. It was only a matter of time
before Hughie showed up.
Boy, this is a shocker. Not
expectin’ to see you again.
Okay. Let’s get A-Train.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 41.
I dunno, mate. How do I know you
ain’t gonna leg it like last night?
How do I know you got the bottle?
I’ve got the -- I don’t know what
‘bottle’ means in that context, but
I’m in, man, I wanna do this.
You gonna see this through? To the
INT. DIVE BAR - BY THE BATHROOM - LATER
Hughie, on his cell. Butcher, listening.
...Mr. Friedman, got your message,
and wow, 75k is -- life changing.
I’ll sign whatever you want. I just
-- I need one more thing. An
apology from A-Train.
DOUG FRIEDMAN (ON PHONE)
He already apologized.
No. He gave his regrets. And his
sympathy. On TV. But I want him to
look me in the eye and say he’s
DOUG FRIEDMAN (ON PHONE)
Okay, I’ll ask. But I’m telling
you, Hugh, the answer’s gonna be no.
Click. Hughie hangs up. To Butcher --
Don’t think they’re going for it.
Oh yes, they will. And in the
Tower, too. They’re not gonna wanna
air this shit in public.
Off Butcher’s knowing smirk --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 42.
INT. THE SEVEN TOWER - BOARDROOM - DAY
A-Train. With Julia Stillwell. Having a quiet side-bar in
the corner as the other members of the Seven enter the
BOARDROOM for their official meeting.
No. No way.
We gotta put this behind us, it’s
five minutes out of your day.
So some dude can blubber all over
me? I’m -- not good in situations
like that. No.
Julia steps forward. Her genial smile never leaves her face.
You know. The Blue Bolt shaved
another point off his mile. He’s
almost as fast as you. Impressive,
TA especially someone that young.
The hell is that supposed to mean?
Look, I’m just trying to help. You
know I love you, but I’m only one
person in this company. You don’t
want the guys upstairs to start
bitching that you’re difficult.
Like they did with the Lamplighter.
INT. DIVE BAR - DAY
Butcher. Hughie. At the bar. Waiting. When -- RING!
Hughie’s cell. He answers.
Hello? Yes, Mr. Friedman...?
He gives Butcher a look. They’re in. Butcher knew it.
INT. THE SEVEN TOWER - BATHROOM - DAY
Starlight. Back in uniform. Alone at the sink.
She stares at herself in the mirror. Suppressing her fear
and anger. Fuck ‘em. She won’t give ‘em the satisfaction.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 43.
INT. THE SEVEN TOWER - BOARDROOM - DAY
Starlight enters. The Seven have gathered, a modern-day
Knights of the Oblong Conference Table. Homelander at the
head. Julia Stillwell observes in the corner.
Starlight. Don’t wanna be late for
your first official meeting. I had
a whole welcome speech planned.
Homelander is fine.
We were beginning to wonder if you’d
even show up.
She glares at the Deep, defiant. She’s literally got a look
to kill and wants to use it. But she restrains herself.
Oh, no, I’m excited to be here. I’m
on pins and needles.
The Deep. Glares at her, surprised. Didn’t expect this much
grit from Starlight.
As a floating pair of reading glasses in the next chair
peruses some paperwork --
...can we get back to this please,
this is a serious crime.
Copyright infringement of our
brands, individually and
collectively, is costing Vought 1.2
billion per year. That’s money out
of our pockets. We’ve all got,
what, four points each?
As they ramble on... Starlight. She acts calm, strong. But
she’s wearing a mask.
Fuck. You’ve got four points?
And clearly, better lawyers.
Hey. C’mon. Stop.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 44.
Everyone shuts up. Turns to the Homelander. He commands
unwavering respect --
What’s Starlight gonna think,
listening to us haggle over nickels?
We’re the Seven for God’s sake. Now
what I want to hear -- is who you
saved this week. Black Noir, let’s
start with you --
The guy really is an omnipotent Boy Scout. Off this --
PAN DOWN off the SEVEN TOWER to reveal -- Butcher’s car. The
behemoth of a Caddy.
INSIDE THE CAR. Hughie, anxious as hell. Looks in the back
seat -- notices some STRAY DOG TOYS. Bright, cutesy, squeaky
rubber animals. Seems out of character for Butcher.
You have a dog?
Butcher doesn’t elaborate further. On Hughie -- umkay.
Give us your phone.
Hughie complies. Butcher pops it out of its case. Then
pulls out a BUG. As wide and thin as a silver dollar.
Security won’t find it, or the X-
Butcher hides the bug in Hughie’s phone case, clicks the
phone back in place OVER it --
Now, what they’ll probably do is
take you to the boardroom. Give it
a minute, say you need a crap. Take
out the bug when you’re in the bog.
Glue’s there on one side, see? Go
back, stick it under the boardroom
table, that’s that.
Hughie’s heart is racing. Commencing another panic attack?
He starts spluttering --
That’s that? Kinda seems like -- a
lot, actually. What if --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 45.
Hughie. Two choices. One: go an’
whine to a shrink for the rest of
your life, pop some Klonopin, maybe
punch an A-Train doll. Two: stop
bein’ such a cunt. What do you say?
Off Hughie. He swallows nervously -- a major effort -- and
climbs out of the car.
INT. THE SEVEN TOWER - LOBBY - NIGHT
Hughie. GRIPPING his phone. We hear his THUMPING HEART. As
he enters the hypermodern lobby. Approaches Ashley the
publicist, surgically attached to her Blackberry.
Hi -- are you Ashley? I’m Hughie
Ashley smiles, thin. She’s used to working with Gods. Not
Follow me, Mr. Campbell.
Ashley leads Hughie through the SECURITY CHECKPOINT. He
anxiously flits his eyes at --
POV’s. HEAVY FUCKING HARDWARE. SECURITY GUARDS with semi-
automatics. SURVEILLANCE CAMS mounted everywhere.
A stutter-step, as he drops his PHONE through the x-ray
machine. Hughie walks through the metal detector, eyes on
the X-RAY TECH. Who... shit, SQUINTS at the monitor...
Sir, may I examine your phone?
Uh -- sure.
Hughie’s about to have a heart attack. As the X-Ray Tech
carefully pores over the phone. Turns it around. Is he
gonna pop it from its case? Find the bug? This seems to
last FUCKING FOREVER. Hughie sweats bullets. Until --
Have a “Super” day.
The Tech hands it over. Hughie collects his phone, follows
Ashley to the elevators.
INT. THE SEVEN TOWER - BOARDROOM - NIGHT
Ashley opens the door to the boardroom.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 46.
Wait here, please. A-Train will be
with you shortly.
She’s already off before Hughie can say thanks.
INT. THE SEVEN TOWER - BOARDROOM - TWENTY MINUTES LATER
Hughie. Alone. Sitting at the table in the imposing,
cavernous room. Clenching his phone.
He stares at it, tries to will himself not to sweat. Is this
his moment? Should he go to the bathroom now? While no one
is here, no one is watching?
BEEP! The desk INTERCOM comes to life.
ASSISTANT ON PHONE
Won’t be long, Mr. Campbell.
I need to -- go to the bathroom.
But the intercom has already clicked off.
Hughie. Takes a beat. Takes a breath. Grips his phone.
Steels himself. He can do this. This is it.
Stands up. Heads to the door. Reaches for the knob --
The door suddenly swings open! And A-TRAIN enters, followed
by Ashley, various HANDLERS, and Doug Friedman -- who begins
to lay out the documents on the table.
CLOSE ON HUGHIE. Face-to-face with A-Train. Nose to nose.
Tete-a-tete. The source of all his misery. Anger. Anxiety.
Just to be clear, A-Train’s apology
isn’t an admission of any sort of
culpability whatsoever, do you
Hughie manages a nod. The Lawyer gives A-Train the okay.
(a sullen 3rd grader)
Hey, man. I’m sorry what happened
to your girlfriend. Alright?
A-Train reaches out his hand to shake.
CLOSE ON HUGHIE. Wide-angle, like in the bodega. Breathing
shallow. Heart pounding. Eyes wide. He’s about to plunge
into another PTSD attack! He glances down at his PHONE,
which he grips, white-knuckled.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 47.
The Lawyer and the Publicist trade concerned looks. A-Train
looks down at Hughie’s phone, too.
Buddy. You okay?
Hughie’s gonna blow it! A cringe-worthy beat. Another!
But then... he takes a deep breath. Pulls himself together.
Into the AMAZING SALESMAN HE IS.
Firmly shakes hands. Cool as shit.
Fine. I appreciate the apology.
But accidents happen, right? And
after all, you were saving the
(sighs with relief)
Okay, thank you, Mr. Campbell. Now
if you’ll excuse us, a crime-
fighter’s work is never done, but
Douglas here will stay behind, get
you those documents...
A-Train, Ashley, and the various handlers beat a hasty
retreat. Leaving Doug Friedman behind, who holds out a pen.
Where’s your bathroom?
INT. THE SEVEN TOWER - BATHROOM - NIGHT
Hughie enters, heads into a stall.
INSIDE THE STALL. He sits on the toilet. Wrenches his phone
from its case. But if your case is anything like mine,
that’s never, ever easy. He tugs a bit too hard --
The phone CLACKS to the floor! Even worse, so does the BUG!
Which spins like a quarter before landing on the linoleum.
It’s still in the stall, but right beneath the door, in plain
view if anyone was looking for it --
Hughie. Shit. Which escalates into FUCK when --
The door opens and SOMEONE ENTERS. Hughie freezes. He can’t
tell who it is, he only spots boots. But we can see --
It’s STARLIGHT. She moves to the sink, stares in the mirror,
gets her game face back on. If she saw Hughie, she’d
But... she doesn’t see him, and he never sees her. She
exits. Hughie breathes a sigh of relief. Near miss. Snags
the bug and the phone.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 48.
He exits the stall. Exits the bathroom. But we hold a BEAT.
As TRANSLUCENT materializes in the bathroom corner. Naked.
He was just gonna perv out again, but instead, he saw the
whole damn thing. He frowns. What the hell? Off this --
EXT. THE SEVEN TOWER - NIGHT
Hughie exits the lobby. Flush with victory. Struts down the
street like fucking Travolta. Up to Butcher’s car.
Butcher gives him a curious look. Well? Hughie breaks into
a wide grin. Nods. He did it. He actually did it!
Butcher pulls up in front of Hughie’s Electronics Store.
Quiet night. No one inside but GARY, the owner.
INSIDE THE CAR. Hughie, still pumped with adrenaline.
That was awesome. Staring that
asshole down? I get why you dig
this job, man --
Got its moments.
But you’re right -- fuck A-Train,
What’re we doing here?
How d’you mean? You gotta go back
to work, yeah?
I -- sorry?
Hughie, you were brilliant. But
that’s all I needed you for.
What? But -- I don’t -- I mean, I
can help you, let me help --
You did help. I got it from here.
Beat. Doesn’t seem like Butcher is budging.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 49.
Um. Right. Okay.
Hughie climbs out, tries to hide his disappointment. He
gives Butcher a ‘goodbye’ nod.
Oh, hey, almost forgot -- ever see
an asshole tear up 75k?
Hughie takes out the VOUGHT CHECK. RIPS it.
You’re a good lad, Hughie. Not all
that common in my line of work.
Off Hughie, nodding back -- but feels oddly dissatisfied.
INT. BRYMAN AUDIO VISUAL - NIGHT - LATER
ON THE TV. MSNBC. CHRIS HAYES converses with a NATIONAL
SECURITY EXPERT. Forever droning talking heads.
TA CHRIS HAYES (ON TV)
...policing cities is a thorny
enough issue as it is, but allowing
Superheroes into national defense?
We’d be basically privatizing war...
EXPERT (ON TV)
Sooner or later, it’s inevitable...
IN THE STORE. Gary throws on his jacket.
Alright, g’night, Hughie. You’ll
(off Hughie’s nod)
I’m still thinking about that raise,
Yeah, okay, thanks, Gary.
Gary exits. Hughie. Behind the counter. Stares at the TV.
Returning to this shitty fucking job, after all that
intrigue, feels anti-climactic, both for Hughie and for us.
ANGLE. Hughie’s back to the door. So he doesn’t see it
OPEN. And CLOSE. By ITSELF. He only hears the bell JINGLE.
(as he pivots)
Sorry. I’m closing up --
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 50.
A ghostly, disembodied VOICE --
Who are you?
The fuck? Where --
Right in front of you.
That silver dollar BUG floats in the air before Hughie.
You think I wouldn’t find this
Hughie barely has time to register surprise, when -- WHACK!
His head SNAPS to the side from an INVISIBLE PUNCH. Blood
flings from the side of his mouth. Oh. Shit.
INT. BUTCHER’S CAR/EXT. BACK ALLEY - NIGHT - CONTINUOUS
Butcher. Parked in some abandoned back alley. Has a LAPTOP
open on the passenger seat. Listening to the BUG. Which
means he’s listening to Hughie.
Please! I don’t know what you’re
Don’t give me that, I followed you
from the Tower!
Fuckin’ hell, Hughie, you got
CLOSE ON BUTCHER. Maybe there’s a wisp of regret fluttering
over his face. Then again, maybe not. Guy’s a mystery.
From the LAPTOP -- unmistakable sounds of CRASHING GLASS --
Butcher closes the laptop. Sound shuts off. Seemingly
washing his hands of the whole sordid business...
INT. BRYMAN AUDIO VISUAL - NIGHT
WHAM! Hughie is SHOVED BACK into a wall of TV’s. Some CRASH
to the floor, LIVE WIRES SPARKING! As Hughie gets his ASS
KICKED by an invisible man.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 51.
Who was that guy you were with?! In
With admirable bravery, Hughie doesn’t answer --
So he’s THROWN again. CRASH! OUCH!
Who was he?? He put you up to this?
I don’t know! He was just a fucking
Uber driver, okay?!
Why’d you plant the bug??
We can SEE -- HEAR -- the crunch of glass. As Translucent
stalks closer to Hughie. Closer.
TA TRANSLUCENT (O.S.)
Think you can just fuck with us?
We’re the Seven! Earth’s Most
Mighty! Champions of the Innocent!
This is it. Curtains for Hughie. Fat Lady steps up to the
mike, clears her throat, and --
BUTCHER’S CAR CAREENS THROUGH THE STORE’S FRONT WINDOW!
SHATTERING THE GLASS. DIRECTLY IN FRONT OF HUGHIE!
KNOCKING TRANSLUCENT CLEAR ACROSS THE ROOM. We can tell,
from the CRUNCH of his body on the windshield, from the THUD
against a collapsing shelf of ELECTRONICS.
Butcher climbs out of the car. For some reason, he holds a
sparking CATTLE PROD (stay tuned for why).
Hughie scrambles for the back room of the store -- as Butcher
straightens up, pivots to Translucent --
Let him be, you invisible cunt.
Who are you?
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 52.
I’ll tell you who you are. A
fuckin’ joke, mate.
Translucent doesn’t even mean
‘invisible,’ you silly twat. It
Butcher LUNGES with the CATTLE PROD. But he misses -- not so
easy to fight an invisible man.
Translucent RIPS the CATTLE PROD out of Butcher’s HAND.
Hurls it out of reach. SHIT.
INT. BRYMAN AUDIO VISUAL - BACK ROOM - CONTINUOUS
CLOSE ON HUGHIE. Darting past boxes and equipment, about to
escape out the back. He opens the door --
And STOPS. Who is he gonna be? Someone who backs down? Or
someone who fights?
When he sees, on a rack in front of him -- some CARBON
COMPONENT CABLES. He looks at them. Thinking.
WHACK! Translucent punches Butcher across the jaw. Then --
WHACK! Another hit. Butcher only grins, his teeth red.
Then ingeniously SPITS BLOOD in Translucent’s FACE. We see
the spattered BLOOD FLOATING IN MID-AIR.
There you are.
Butcher SWINGS -- CONNECTS! But then --
Translucent HITS BACK. Over and over. Harder and harder.
It doesn’t look good for Butcher. Until --
Suddenly, Hughie is THERE! He PULLS the FIRE ALARM!
WATER SPRAYS from OVERHEAD SPRINKLERS --
Revealing TRANSLUCENT. WATER SPLASHES over his BODY!
Butcher glances -- spots a SMASHED TV on the ground, throwing
sparks into a growing PUDDLE.
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 53.
Butcher gets what Hughie’s saying -- he nods -- UNLOADS a
CRUSHING ROUNDHOUSE PUNCH on Translucent -- OOF -- sends the
bastard flailing back into the sparking WATER --
Which immediately ELECTROCUTES HIM! SPARKS CLIMACTICALLY
RIDE UP Translucent’s body. Before he DROPS.
The sprinklers stop. Nothing on the floor but a puddle with
the outline of an invisible body in it.
(out of breath)
Is he dead?
Butcher gives a HARD KICK to Translucent. No noise out of
him, no movement --
Well, he ain’t movin’.
How’d you know electricity
bollocksed the cunt? Took me
forever to work that one out.
Skin’s carbon. Highly conductive.
Saw it on ‘Ellen.’
Nice one, Hughie. Well, come on.
We gotta get him in the trunk.
Wait -- we what?
Think you just offed a member of the
Me? You hit him!
Semantics, my son, we’re both in a
fucksight a’ trouble.
Already, they can hear SIRENS in the distance --
No, he attacked us! And you’re --
you’re a federal officer! Call the
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 54.
Yeah. I ain’t really a fed.
Off Hughie -- FUCKING WHAT?
EXT. THE SEVEN TOWER - ROOFTOP - NIGHT
STARLIGHT. On the ROOF of the Seven Tower -- taking in the
infinite constellation of the city below.
PUSH IN ON HER. Her anger, her frustration, boiling and
churning inside. Rising up.
Her eyes begin to glow. Then FLARE.
WIDE. The tower’s top floors -- really, all nearby lights --
FLICKER and BLACK OUT dramatically. Around Starlight. As
she draws energy from them. As her eyes BLAZE like FIRE.
The other Supes might not see the defiant spark inside her.
Not yet. But we sure do.
EXT. SKY - NIGHT
A PRIVATE JET SOARS.
INT. PRIVATE JET/EXT. SKY - NIGHT
A PICTURE. The Homelander. “To Mason: Reach for the Sky!
Best, Homelander.” We’ve seen this photo before.
The Mayor of Baltimore’s son MASON, 10. Draws at a desk in
bit lip concentration, tries to replicate his beloved
Homelander photo with a crayola-on-paper version.
His Dad (the Mayor) dozes in a leather chair. Various AIDES
work or sleep.
When -- Mason happens to glance out the window. He
brightens. His wildest dreams coming true --
POV. ON THE WING. THE HOMELANDER. Proud. Hands on hips.
Cape swirling, Zack Snyder-style. He smiles at Mason.
Homelander! Dad, wake up! The
The Mayor rouses -- what? He heads over to the window, along
with the aides. They all grin -- major celeb sighting.
Look at that. What’s he doing here?
Did he come to say goodbye? Are you
THE BOYS #101 "Name of the Game" - 10/15/17 (NETWORK DRAFT 6) 55.
POV. ON THE WING. The Homelander. Without ever losing his
smile, he looks down to the ENGINE --
And FIRES BLINDING RED BEAMS from his eyes! Flaring camera!
Right at the turbine -- SLICING IT RIGHT OFF --
OH MY GOD!
Guess the Mayor lost the negotiation, after all. THE PLANE
JOLTS. GOING DOWN.
Mason. Open-mouthed in shock and fear. Painfully learning
the old adage -- never, ever meet your heroes.
Homelander, still genially smiling, gives them a friendly
salute. Before FLYING OFF --
STAY WITH THE HOMELANDER. Watching, blank-faced. As the JET
NOSE DIVES. Plummets down to the Atlantic.
Turns out, Homelander wears a mask, too. And what’s behind
it is psychopathic, unhinged. And all-powerful. Off this --
TO BE CONTINUED...
|Hughie||At the start of the movie, Hughie is a playful and carefree tech virtuoso who believes in personal responsibility. However, after witnessing the death of his girlfriend Robin, he undergoes a significant character change and becomes determined to seek revenge. As the movie progresses, Hughie transforms from a hesitant and fearful individual into a determined fighter seeking justice for his girlfriend's death. He becomes more brave and determined as he refuses to back down and seeks to hold those responsible accountable. His encounter with Starlight inspires him to find courage and stand up for what he believes in, transforming him into a character willing to fight for justice and stand up against injustice.||The character arc for Hughie is well-done, but could benefit from more consistent development throughout the movie. The transformation from a hesitant and fearful individual to a determined fighter seeking justice could have been emphasized more throughout the film. Additionally, Hughie's development could benefit from more exploration of his emotions and motivations throughout the film, particularly in the aftermath of Robin's death.||To improve the character arc for Hughie, the movie could make his transformation more consistent and prominent throughout the film by highlighting his growing determination and bravery more explicitly. The movie could also provide more exploration of Hughie's emotions and motivations throughout the film, particularly in the aftermath of Robin's death. This would allow for a more nuanced and detailed portrayal of Hughie's transformation and make his character arc more impactful and meaningful.|
|Robin||Robin starts off as a lively, carefree character who enjoys joking around with Hughie. However, her sudden and tragic death turns Hughie's world upside down and he becomes consumed with avenging her. As he delves deeper into the world of the Boys, he begins to question his actions and the morality of violence. Through Hughie's journey, Robin becomes a symbol of the innocence lost in the fight against corrupt superheroes and the toll it takes on those left behind.||The character arc for Robin is limited since she only appears briefly in the movie before being killed off. As a result, her impact on the story and Hughie's emotional journey feel somewhat superficial. It would be beneficial to explore her character further and give her more agency beyond just being a catalyst for the plot.||To improve Robin's character arc, it would be helpful to include flashback scenes or moments where Hughie reminisces about their relationship. This would give the audience a better understanding of their connection and deepen the impact of her death. Additionally, adding some backstory or motivation for Robin beyond just being Hughie's girlfriend would make her more dynamic and memorable in the story.|
|Starlight||Throughout the movie, Annie's character evolves from an optimistic and naive young hero to a disillusioned and skeptical one. She becomes jaded with the superhero industry and questions her place in it, reflecting on the superficiality of the whole thing. Her character development is most evident after witnessing The Deep's misconduct, leading her to feel betrayed and disillusioned. However, after having a conversation with Hughie, she regains her sense of purpose and determination. She decides to stay true to herself and fight against the corrupt expectations placed upon her, inspiring others to do the same.||The character arc of Starlight is compelling and realistic, reflecting the challenges faced by many real-life superheroes. However, it could have been more fleshed out, as her disillusionment seemed to happen rather suddenly. It would have been more impactful to see the gradual transformation from her optimistic self to her disillusioned one.||To further improve the character arc of Starlight, the movie could have shown more of the pressure and struggles that led to her eventual disillusionment. This could have included moments where she questions the superhero industry and her place in it, providing deeper insight into her motivations and thoughts. Additionally, the conversation with Hughie could have been expanded upon and shown how it influenced Annie's decision to stay true to herself.|
|Butcher||Butcher starts off as a single-minded individual driven purely by revenge, but over the course of the movie, he learns to let go of his vendetta against Homelander and begins to work towards a greater good. He develops a strong bond with Hughie, who becomes a surrogate for his lost wife, and learns to trust and rely on his team. He also confronts his own demons and comes to terms with his past, leading to a sense of closure. By the end of the movie, Butcher has transformed into a selfless leader who is devoted to protecting humanity from the corrupt superheroes.||Overall, the character arc for Butcher is well-developed and shows a clear progression from a vengeful loner to a compassionate leader. However, there are some areas where the arc could be improved. For example, the transition from revenge-driven anti-hero to selfless leader could be more gradual and nuanced, with more emphasis on Butcher’s emotional journey. Additionally, the backstory about his wife could be further explored to deepen his character and motivations.||To improve Butcher’s character arc, you could show more scenes of him struggling with his emotions and dealing with the trauma of his wife’s death. This would create a more relatable and sympathetic character and add more depth to his motivations. Additionally, you could reveal more about his past and upbringing to flesh out his character and help the audience understand his mindset better. Overall, focusing on Butcher’s inner turmoil and emotional journey could make the character arc more compelling and impactful.|
Story Structure Framework 1: The Hero's Journey
1. Ordinary World: The story begins with Hughie in his ordinary world, working as a tech virtuoso and living a normal life. He is shown installing a TV for a customer and trying to sell security cameras.
2. Call to Adventure: Robin, a girl-next-door cute, enters the store and asks Hughie to schedule an appointment to come over and 'lay some cable.' This is the inciting incident that sets Hughie on his journey.
3. Refusal of the Call: Hughie initially brushes off Robin's request, indicating his reluctance to step out of his comfort zone and take on a new adventure.
4. Meeting the Mentor: There is no clear mentor figure in this summary.
5. Crossing the Threshold: The threshold is crossed when Robin is suddenly killed by A-Train, a super-fast hero. This tragic event propels Hughie into a new world of revenge and justice.
6. Tests, Allies, and Enemies: Hughie's tests include dealing with grief and loss, as well as navigating the morally ambiguous world of superheroes. His ally is Butcher, who helps him seek justice against A-Train. His enemies are A-Train and potentially other members of the Seven.
7. Approach to the Inmost Cave: Hughie's approach to the inmost cave is his decision to confront A-Train and seek justice for Robin's death.
8. Ordeal: The ordeal is the confrontation between Butcher, Hughie, and Translucent, where they face off against each other.
9. Reward: The reward is the potential victory over Translucent and the progress made towards seeking justice for Robin's death.
10. The Road Back: The road back is Hughie's continued journey to seek justice and bring down the corrupt superhero system.
11. Resurrection: The resurrection is the final confrontation between Hughie and the corrupt superhero system, where he must overcome his fears and doubts to achieve his goal.
12. Return with the Elixir: The return with the elixir is Hughie's ultimate success in bringing down the corrupt superhero system and achieving justice for Robin's death.
Reference: "The Writer's Journey: Mythic Structure for Writers" by Christopher Vogler
Analysis/Critique: The story structure of the Hero's Journey can be applied to this summary, but it requires some adjustments and additions to fully align with the framework. The summary lacks some key elements, such as a clear mentor figure and a more defined approach to the inmost cave. Additionally, the summary could benefit from further exploration of Hughie's internal transformation and growth throughout the story. By incorporating these elements, the story would have a more cohesive and satisfying narrative arc that aligns with the Hero's Journey framework.
Story Structure Framework 2: Save the Cat
1. Opening Image: The opening image is Hughie installing a TV for a customer, showcasing his ordinary world and his job as a tech virtuoso.
2. Theme Stated: The theme of fighting for what one deserves is stated when Robin encourages Hughie to ask for a raise.
3. Set-Up: The set-up includes Hughie's ordinary world, his relationship with Robin, and the introduction of the corrupt superhero system.
4. Catalyst: The catalyst is Robin's sudden death at the hands of A-Train, which propels Hughie into action.
5. Debate: The debate is Hughie's internal struggle to decide whether to seek justice for Robin's death or let it go.
6. Break into Two: Hughie decides to take action and confront the corrupt superhero system, teaming up with Butcher.
7. B Story: The B story is the relationship between Hughie and Butcher, as they work together to seek justice.
8. Fun and Games: The fun and games are Hughie's training and preparation to take on the corrupt superhero system, as well as their initial confrontations with Translucent.
9. Midpoint: The midpoint is a significant turning point where Hughie faces a major setback or revelation. It could be the moment when Hughie realizes the full extent of the corruption within the superhero system.
10. Bad Guys Close In: The bad guys close in as Hughie and Butcher face increasing obstacles and threats from the corrupt superhero system.
11. All Is Lost: The all is lost moment is when Hughie and Butcher face a major defeat or setback, potentially losing hope in their mission.
12. Dark Night of the Soul: The dark night of the soul is a moment of despair and reflection for Hughie, where he questions his choices and contemplates giving up.
13. Break into Three: Hughie finds renewed determination and comes up with a new plan to overcome the obstacles and defeat the corrupt superhero system.
14. Finale: The finale is the climactic battle or confrontation between Hughie, Butcher, and the corrupt superhero system.
15. Final Image: The final image is a reflection of the new world that Hughie has helped create, potentially showing justice being served and a brighter future.
Reference: "Save the Cat! The Last Book on Screenwriting You'll Ever Need" by Blake Snyder
Story Structure Framework 3: Three-Act Structure
- The opening scene introduces Hughie in his ordinary world as a tech virtuoso installing a TV.
- The catalyst occurs when Robin asks Hughie to schedule an appointment, sparking a potential romantic relationship.
- The debate is Hughie's internal struggle to ask for a raise and fight for what he deserves.
- The midpoint is Robin's sudden death, which propels Hughie into a new world of revenge and justice.
- Hughie teams up with Butcher to seek justice and confront the corrupt superhero system.
- The bad guys close in as Hughie and Butcher face increasing obstacles and threats.
- The all is lost moment is a major defeat or setback, potentially leading to Hughie questioning his choices.
- Hughie finds renewed determination and comes up with a new plan to overcome the obstacles.
- The climax is the final confrontation between Hughie, Butcher, and the corrupt superhero system.
- The resolution shows the aftermath of the battle and the potential for a brighter future.
Reference: "Story: Substance, Structure, Style, and the Principles of Screenwriting" by Robert McKee
Note: The three-act structure is a widely used framework in screenwriting, and there are numerous resources available that explain its components and application. Robert McKee's book "Story: Substance, Structure, Style, and the Principles of Screenwriting" provides a comprehensive guide to understanding and implementing the three-act structure in storytelling.
|Emotional Impact and Overall Grade||There is a strong positive correlation between Emotional Impact and Overall Grade, indicating that scenes with higher emotional impact tend to receive higher grades overall.|
|Dialogue and Character Changes||There is a moderate positive correlation between Dialogue and Character Changes, suggesting that scenes with more dialogue tend to have more significant character changes.|
|Tone and Emotional Impact||There is a weak positive correlation between Tone and Emotional Impact, indicating that scenes with a more playful or humorous tone tend to have lower emotional impact.|
|Conflict and High Stakes||There is a strong positive correlation between Conflict and High Stakes, suggesting that scenes with higher conflict tend to have higher stakes.|
|Concept and Plot||There is a strong positive correlation between Concept and Plot, indicating that scenes with a strong concept tend to have a well-developed plot.|
|Characters and Emotional Impact||There is a moderate positive correlation between Characters and Emotional Impact, suggesting that scenes with well-developed characters tend to have higher emotional impact.|
|Move Story Forward and Overall Grade||There is a strong positive correlation between Move Story Forward and Overall Grade, indicating that scenes that move the story forward tend to receive higher grades overall.|
|Tone and Character Changes||There is a weak negative correlation between Tone and Character Changes, suggesting that scenes with a more serious or emotional tone tend to have less significant character changes.|
|Dialogue and Emotional Impact||There is a moderate positive correlation between Dialogue and Emotional Impact, indicating that scenes with more dialogue tend to have higher emotional impact.|
|Tone and Conflict||There is a weak negative correlation between Tone and Conflict, suggesting that scenes with a more playful or humorous tone tend to have lower conflict.|
|Tone and High Stakes||There is a weak negative correlation between Tone and High Stakes, indicating that scenes with a more playful or humorous tone tend to have lower stakes.|
|The Boys (TV Show)||The screenplay shares similarities with the TV show 'The Boys' in terms of its dark and gritty tone, as well as its exploration of the corrupt and morally ambiguous world of superheroes. Both stories feature a protagonist who seeks justice and revenge against a powerful superhero organization.|
|Watchmen (Graphic Novel/Film/TV Show)||The screenplay has similarities to 'Watchmen' in its deconstruction of the superhero genre and its examination of the moral complexities of superheroes. Both stories explore the consequences of having superhuman abilities and the impact it has on society.|
|Kick-Ass (Film/Comic Book)||The screenplay shares similarities with 'Kick-Ass' in its portrayal of ordinary people trying to take on superheroes. Both stories feature protagonists who are not traditional superheroes but are determined to fight against injustice.|
|Jessica Jones (TV Show)||The screenplay has similarities to 'Jessica Jones' in its exploration of trauma and its effects on the main character. Both stories delve into the psychological struggles of individuals with superhuman abilities.|
|The Incredibles (Film)||The screenplay shares similarities with 'The Incredibles' in its examination of the challenges and responsibilities that come with having superpowers. Both stories explore the dynamics of a family of superheroes and the impact their abilities have on their lives.|
|Unbreakable (Film)||The screenplay has similarities to 'Unbreakable' in its exploration of the superhero origin story and the discovery of one's extraordinary abilities. Both stories delve into the psychological journey of the main character as they come to terms with their powers.|
|Birdman (Film)||The screenplay shares similarities with 'Birdman' in its examination of the entertainment industry and the pressures faced by performers. Both stories explore themes of identity, fame, and the pursuit of artistic validation.|
|The Dark Knight (Film)||The screenplay has similarities to 'The Dark Knight' in its exploration of the moral complexities of superheroes and the line between heroism and vigilantism. Both stories feature a protagonist who grapples with their own darkness and the consequences of their actions.|
|Stranger Things (TV Show)||The screenplay shares similarities with 'Stranger Things' in its portrayal of a group of ordinary individuals facing extraordinary circumstances. Both stories blend elements of science fiction and horror, and explore themes of friendship, loyalty, and the supernatural.|
|The Truman Show (Film)||The screenplay has similarities to 'The Truman Show' in its examination of a character's realization that their reality is manufactured and controlled. Both stories explore themes of identity, freedom, and the search for truth.|
|Trope||Trope Details||Trope Explanation|
|Theme||Theme Details||Themee Explanation|
|Loss and Grief||The death of Robin and Hughie's subsequent grief||The theme of loss and grief is evident throughout the screenplay, particularly in the scenes following Robin's death. Hughie is devastated and struggles to cope with the loss of his girlfriend. This theme explores the emotional impact of losing someone and the process of grieving.|
|Justice and Revenge||Hughie's desire for justice and his plan to confront A-Train||The theme of justice and revenge is present in Hughie's determination to seek justice for Robin's death. He wants to confront A-Train and hold him accountable for his actions. This theme explores the idea of seeking retribution and the desire for justice in the face of tragedy.|
|Identity and Self-discovery||Starlight's struggle with her identity and the pressure to conform||The theme of identity and self-discovery is explored through Starlight's character. She grapples with the expectations placed on her as a superhero and the pressure to conform to a certain image. This theme delves into the challenges of finding one's true identity and staying true to oneself in a world that demands conformity.|
|Corruption and Power||The influence of Vought and the corrupt nature of the superhero industry||The theme of corruption and power is evident in the portrayal of Vought and the superhero industry. The screenplay highlights the corrupt practices and manipulation within the industry, as well as the abuse of power by those in positions of authority. This theme explores the dark side of power and the consequences of unchecked corruption.|
|Love and Loss||The relationship between Hughie and Robin and its tragic end||The theme of love and loss is explored through the relationship between Hughie and Robin. Their love for each other is evident, but it is tragically cut short by Robin's death. This theme delves into the bittersweet nature of love and the pain of losing someone you care about.|
|Superficiality and Image||The pressure to maintain a certain image in the superhero industry||The theme of superficiality and image is present in the portrayal of the superhero industry. Characters like Starlight are expected to maintain a certain image and conform to societal expectations. This theme explores the idea of superficiality and the pressure to present a perfect image, even at the expense of one's true self.|
Screenwriting Resources on Themes
|Studio Binder||Movie Themes: Examples of Common Themes for Screenwriters|
|Coverfly||Improving your Screenplay's theme|
|John August||Writing from Theme|
|Story, Plot, Genre, Theme - Screenwriting Basics||Screenwriting basics - beginner video|
|What is theme||Discussion on ways to layer theme into a screenplay.|
|Thematic Mistakes You're Making in Your Script||Common Theme mistakes and Philosophical Conflicts|
|Summary:||The writer's voice is characterized by a mix of humor, wit, and emotional depth. The dialogue is snappy and realistic, while the narrative description is vivid and descriptive. The writer's voice contributes to the overall mood of the screenplay by infusing it with a sense of energy, tension, and dark humor. It also explores themes of disillusionment, justice, and the contrast between idealized superheroes and the harsh realities of the world. The writer's voice adds depth to the characters and the story, creating a compelling and engaging screenplay.|
|Voice Contribution||The writer's voice contributes to the script by creating a unique and distinct tone that blends humor, wit, and emotional depth. The dialogue is sharp and realistic, capturing the essence of the characters and their interactions. The narrative description is vivid and descriptive, creating a visual and immersive experience for the reader. The writer's voice also explores complex themes and adds depth to the story, creating a compelling and thought-provoking screenplay.|
|Best Representation Scene||3 - Tragedy Strikes|
|Best Scene Explanation||This scene is the best representation because it showcases the writer's ability to blend emotional depth with dark humor and create a sense of authenticity in the characters' actions and dialogue.|
- Overall originality score: 6.5
- Overall originality explanation: The screenplay demonstrates a moderate level of originality. While some concepts and situations are familiar, the specific execution, fresh approaches, and authentic character actions and dialogue contribute to the originality of the screenplay.
- Most unique situations: The most unique situations in the screenplay are the consequences and moral complexities of having superpowers, the corporate manipulation behind the scenes, and the portrayal of corrupt superheroes.
- Overall unpredictability score: 7.2
- Overall unpredictability explanation: The full screenplay has a relatively high level of unpredictability. The unexpected twists, character dynamics, and fresh approaches to familiar situations keep the audience engaged and unsure of what will happen next.
|Goals and Philosophical Conflict|
|internal Goals||The protagonist's internal goals evolve throughout the script, reflecting their desires for success, validation, justice, and understanding.|
|External Goals||The protagonist's external goals evolve throughout the script, reflecting their immediate circumstances and challenges.|
|Philosophical Conflict||The overarching philosophical conflict revolves around the nature of superheroes, their actions, and the corrupt system they operate in. This conflict challenges the protagonist's beliefs and values.|
Character Development Contribution: The protagonist's evolving goals reflect their desires, fears, and values, driving their development as they navigate the challenges and conflicts presented in the screenplay.
Narrative Structure Contribution: The protagonist's goals provide a framework for the narrative structure, guiding the progression of the story and creating tension and conflict. The pursuit of these goals drives the plot forward and shapes the protagonist's journey.
Thematic Depth Contribution: The protagonist's goals and the overarching philosophical conflict deepen the thematic exploration of the screenplay. They raise questions about heroism, power, responsibility, justice, and the corrupting influence of systems and institutions.
Screenwriting Resources on Goals and Philosophical Conflict
|Creative Screenwriting||How Important Is A Character’s Goal?|
|Studio Binder||What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict|
|How I Build a Story's Philosophical Conflict||How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode.|
|Endings: The Good, the Bad, and the Insanely Great||By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes|
|Tips for Writing Effective Character Goals||By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy?|
The reasons might be more valuable than the rating.
The screenplay is recommended due to its effective establishment of the world and themes, strong emotional impact, and intriguing use of real questions. However, there are areas that need improvement, such as smoother transitions and clearer connections between storylines. Additionally, more information about character motivations and missing elements, such as Compound V, would enhance the overall narrative. Overall, the screenplay has compelling strengths and notable points, but would benefit from further development and refinement.
- The scene effectively establishes the world where superheroes are idolized and the need for personal security measures. (Scene 1)
- The sudden and shocking death of Robin creates a strong emotional impact. (Scene 2)
- The use of real questions from CIA employee interviews adds an intriguing layer to the scene and raises questions about the nature of Starlight's abilities and her potential involvement with the CIA. (Scene 3)
- The scene effectively captures the awe and admiration that Starlight feels as she joins the Seven. (Scene 6)
- The scene introduces the theme of the corrupting influence of power and the hidden secrets of superheroes. (Scene 7)
- The transition from the West Side Mom's conversation to the electronics store feels abrupt and could be smoother. (Scene 1)
- The transition from the lighthearted banter to the tragic death of Robin could be smoother and more seamless. (Scene 2)
- The transition between the polygraph scene and the audition room could be smoother to enhance the flow of the narrative. (Scene 3)
- The transition from Starlight's kitchen to Hughie in Robin's parents' apartment feels abrupt and could be smoother. (Scene 4)
- The transition between the previous scene and this scene could be smoother to provide better continuity. (Scene 9)
- A clearer connection between the introduction of Queen Maeve and the subsequent conversation between Hughie and the West Side Mom. (Scene 1)
- More information about Hughie's personal motivations or backstory to make him a more compelling character. (Scene 1)
- A clearer connection between Starlight's storyline and Hughie's storyline. (Scene 4)
- More exploration of Starlight's internal conflict and her decision to join The Seven. (Scene 4)
- More information about Compound V and its importance to the story. (Scene 11)
- The use of real questions from CIA employee interviews adds an intriguing layer to the scene and raises questions about the nature of Starlight's abilities and her potential involvement with the CIA. (Scene 3)
- The scene effectively sets up Hughie's emotional journey and his potential involvement with the Boys, a group seeking justice against corrupt superheroes. (Scene 3)
- The scene effectively highlights the superficiality and idolization of superheroes in society. (Scene 4)
- The scene sets up potential conflicts and character arcs for both Starlight and Hughie. (Scene 4)
- The scene introduces the concept of Compound V, which may have significant implications for the story. (Scene 9)
|6||Butcher: She wasn’t in the street. She was one step off the fuckin’ curb.|
|7||Butcher: But mostly, people like that cozy feeling Supes give ‘em. You got someone to swoop in and save the day for you, then you don’t gotta do it yourself.|
|9||Hughie: ...they’re laughing. Like she’s a joke. They’re fucking laughing.|
|2||Hughie: ROBIN! ROBIN!!|
|4||Robin's Dad: Too late. She’s dead. And you wanna drag out some court case? So we can relive her death?|