The Sweet Hereafter
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Promo
USP: Discover a powerful and poignant exploration of family, community, and the human condition in this groundbreaking script. Featuring a unique blend of intimate character moments and stark urban imagery, the narrative weaves together the stories of individuals grappling with loss, addiction, and the search for justice. The dialogue is sparse yet impactful, conveying emotion and atmosphere through subtle interactions. With its innovative storytelling techniques and distinctive characters, this script offers a fresh perspective on legal drama, family dynamics, and moral ambiguity. Dive into a world where the mundane and the extraordinary collide, shedding light on the complexities of the human spirit and the power of connection.
Overview
Genres: Drama, Mystery, Family, Thriller, Legal, Romance, Slice of Life
Setting: Contemporary, Summer cottage, car wash, city phone booth, fairground, airport, motel
Overview: The screenplay demonstrates a strong foundation in originality, creativity, and emotional depth. It effectively engages the audience through its unique narrative structure, compelling characters, and thought-provoking themes. While there are areas for improvement in character changes and unpredictability, the overall screenplay stands out for its emotional impact and thematic richness.
Themes: Loss and Grief, Parent-Child Relationships, Justice and Lawsuits, Community and Neighborhood, Memory and Nostalgia
Conflict and Stakes: The main conflicts include Mitchell's struggle with Zoe's addiction, Billy's grief over the loss of his children, and Nicole's guilt and memory loss from the accident. The stakes involve family relationships, legal battles, and emotional healing.
Overall Mood: Serious and emotional
Mood/Tone at Key Scenes:
- Scene 4: Serious and tense tone at the Bide-A-Wile Motel during Mitchell's meeting with the Walkers
Standout Features:
- Emotional Depth: Rich emotional exploration of family dynamics and personal struggles
- Legal Intrigue : Intriguing legal battles and moral dilemmas adding depth to the storyline
- Character Development : Strong character arcs and relationships that drive the narrative
Comparable Scripts:
Market Analysis
Budget Estimate:$15-20 million
Target Audience Demographics: Adults aged 25-55, fans of drama with emotional depth and complex character relationships
Marketability: Strong emotional themes with relatable family dynamics and legal intrigue
Compelling characters and dramatic storytelling with potential for critical acclaim
Exploration of addiction and grief with strong performances from a talented cast
Profit Potential: Moderately high, with potential for awards recognition and positive critical reception driving box office success
Scene Level Percentiles
Emotions Elicited Percentiles
This is a rough estimate of how the average intensity of emotions elicited in this script compare to all scripts in the Vault (all genres).
Higher isn't necessarily better. This is FYI.
Screenplay Analysis
- The screenplay has a high emotional impact (98.6957%) and strong character development (91.3043%), suggesting a compelling narrative and well-developed characters.
- The originality score is 100%, indicating a unique and fresh concept.
- The plot rating (53.4783%) suggests room for improvement in the story's progression and structure.
- Conflict level (21.7391%), stakes (32.4324%), and pacing (25.5319%) could be enhanced to create more tension and suspense.
- Internal and external goal scores (57.4468% and 27.6596%, respectively) indicate potential issues with character motivation and clear objectives.
The writer's style appears to be more intuitive, with strong character development and dialogue, but could benefit from focusing on concept and plot elements.
Balancing Elements- Improving the plot and pacing could help balance the strong character development and emotional impact.
- Developing clearer character goals and raising the stakes can contribute to a more engaging and suspenseful narrative.
Intuitive
Overall AssessmentThe screenplay has a unique concept and strong character development, but could benefit from improvements in plot progression, conflict, and pacing to optimize its potential.
How scenes compare to the Scripts in our Library
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Percentile | Before | After |
|---|---|---|---|---|
| Scene Emotional Impact | 9.1 | 99 | Women talking: 8.9 | Squid Game: 9.1 |
| Scene Overall | 8.8 | 95 | Ex-Machina: 8.7 | the dark knight rises: 8.8 |
| Scene Characters | 8.7 | 86 | Ex-Machina: 8.6 | Easy A: 8.7 |
| Scene Character Changes | 7.5 | 78 | American Fiction: 7.4 | fight Club: 7.5 |
| Scene Formatting | 8.24 | 66 | Narcos Pilot: 8.23 | The Sweet Hereafter: 8.24 |
| Scene Dialogue | 8.0 | 61 | Nickel Boys : 7.9 | fight Club: 8.0 |
| Script Characters | 8.10 | 61 | Pirates of the Caribbean: 8.00 | Erin Brokovich: 8.10 |
| Scene Plot | 8.1 | 57 | The father: 8.0 | Vice: 8.1 |
| Script Visual Impact | 7.80 | 56 | Women talking: 7.70 | the dark knight rises: 7.80 |
| Scene Originality | 8.76 | 55 | groundhog day: 8.75 | Erin Brokovich: 8.76 |
| Script Structure | 7.90 | 54 | Argo: 7.80 | Black mirror 304: 7.90 |
| Script Originality | 8.00 | 54 | Argo: 7.90 | groundhog day: 8.00 |
| Script Premise | 8.00 | 47 | The King's speech: 7.90 | scream : 8.00 |
| Script Structure | 8.10 | 38 | Fleabag: 8.09 | glass Onion Knives Out : 8.10 |
| Overall Script | 8.00 | 36 | Mo: 7.90 | fight Club: 8.00 |
| Scene High Stakes | 6.9 | 33 | Coda: 6.8 | Arsenic and old lace : 6.9 |
| Scene Pacing | 8.17 | 33 | Ted: 8.16 | the pursuit of happyness: 8.17 |
| Scene Concept | 8.0 | 30 | Poor Things: 7.9 | a few good men: 8.0 |
| Script Conflict | 7.20 | 28 | Mr Robot: 7.10 | There's something about Mary: 7.20 |
| Script Emotional Impact | 7.50 | 27 | Sherlock Holmes: 7.40 | the pursuit of happyness: 7.50 |
| Scene Unpredictability | 7.19 | 23 | Ted: 7.18 | Schindler's List: 7.19 |
| Scene Conflict Level | 6.8 | 22 | Jojo rabbit: 6.7 | the pursuit of happyness: 6.8 |
| Scene Internal Goal | 8.00 | 20 | KILLING ZOE: 7.98 | fight Club: 8.00 |
| Scene External Goal | 7.05 | 19 | baby girl: 7.04 | Shaun of the Dead: 7.05 |
| Scene Engagement | 8.81 | 18 | Midnight in Paris: 8.80 | The Sweet Hereafter: 8.81 |
| Scene Story Forward | 7.5 | 17 | Community: 7.4 | Easy A: 7.5 |
| Script Theme | 7.70 | 13 | Le souvenir des belles choses: 7.60 | Queens Gambit: 7.70 |
Writer's Voice
Summary:The writer's voice is characterized by its blend of intimate character moments and stark urban imagery, which creates a sense of contrast and tension. The dialogue is sparse but impactful, conveying emotion and atmosphere through subtle interactions.
Best representation: Scene 1 - A Tense Conversation at the Car Wash. This scene is the best representation of the author's voice because it effectively blends intimate family moments with urban grit, showcasing the writer's ability to create depth and tension through contrasting elements.
Memorable Lines:
- Mitchell: Every time I get on one of these flights to rescue Zoe, I remember the summer we almost lost her. (Scene 22)
- Nicole: It just seems...kind of weird. (Scene 18)
- Nicole: Once more he stept into the street, And to his lips again Laid his long pipe of smooth straight cane; And ere he blew three notes such sweet soft notes as yet musician's cunning Never gave the enraptured air - There was a rustling, seemed like a bustling Of merry crowds justling at pitching and hustling, Small feet were pattering, wooden shoes clattering, Little hands clapping and little tongues chattering, And, like fowls in a farm-yard when the barley is scattering, Out came the children running. All the little boys and girls, With rosy cheeks and flaxen curls, And sparkling eyes and teeth like pearls. Tripping and skipping, ran merrily after The wonderful music with shouting and laughter... (Scene 19)
- Dolores: I remember wrenching the steering wheel to the right and slapping my foot against the brake petal. I wasn't the driver anymore. (Scene 35)
- DOLORES: The true jury of a person's peers is the people of her town. Only they, the people who have known her all her life, and not twelve strangers, can decide her guilt or innocence. (Scene 26)
Writing Style:
The writing style in this screenplay is characterized by intense dialogue, complex character dynamics, and emotional depth. The scenes often explore moral dilemmas, legal conflicts, and personal struggles, blending intimate character moments with larger societal issues. The dialogue is sharp and witty, revealing deeper character motivations and conflicts. The narrative structure varies, with some scenes featuring linear storytelling and others employing non-linear or introspective approaches.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Richard Linklater
Story Shape
Emotions Elicited
Recommend
Executive Summary
The Sweet Hereafter is a powerful and thought-provoking screenplay that explores the aftermath of a tragic accident on a small town. Its strengths lie in its complex characters, realistic dialogue, and evocative visual imagery. However, the pacing can be slow at times and the ending may leave some viewers wanting more closure. Overall, it is a compelling and well-crafted story that would appeal to audiences interested in character-driven dramas with a focus on human resilience in the face of tragedy.
- The screenplay explores the complex themes of grief, guilt, and the search for meaning in the face of tragedy with depth and nuance. high
- The characters are well-developed and their motivations are clear, even when they are flawed or make questionable decisions. high
- The dialogue is natural and realistic, capturing the pain and confusion of the characters. high
- The use of non-linear storytelling effectively creates suspense and keeps the audience engaged. medium
- The visual imagery is evocative and creates a strong sense of atmosphere. medium
- The pacing can be slow at times, particularly in the first act. medium
- The ending may leave some viewers wanting more closure, particularly regarding the resolution of the lawsuit and the characters' emotional journeys. medium ( Scene 30 Scene 39 )
- The subplot involving Mitchell's daughter Zoe, while adding depth to his character, feels somewhat disconnected from the main narrative. low ( Scene 22 Scene 31 )
- The use of the poem 'The Pied Piper of Hamelin' as a recurring motif adds a layer of symbolism and foreshadowing to the narrative. high ( Scene 19 )
- The character of Abbott, despite being physically incapacitated, has a powerful presence and serves as a moral compass in the story. medium ( Scene 9 Scene 26 )
Screenplay Insights:
Premise: 8.0, The screenplay's premise sets up an engaging and emotionally charged narrative that delves into complex themes of family relationships, guilt, and the search for justice. However, some elements could be refined to enhance its overall clarity and audience intrigue. See More
Structure: 7.9, The screenplay features a strong foundation and cohesive structure, effectively engaging the audience with its compelling plot development. While the narrative unfolds with clarity and intrigue, there are opportunities to enhance the pacing and elevate the overall storytelling dynamics. See More
Theme: 7.7, The screenplay explores a multifaceted range of themes, including the complexities of family relationships, the consequences of grief and loss, and the search for justice and redemption. While some themes are presented with clarity and emotional depth, others could benefit from more nuanced exploration and integration into the narrative. See More
Visual Impact: 7.8, This screenplay portrays a rich tapestry of emotional and evocative visual imagery, effectively capturing the complex emotions, struggles, and relationships of its characters. The screenplay excels in its vivid descriptions of the natural environment, often using nature as a metaphor to mirror the characters' inner journeys. Additionally, the use of symbolism and recurring visual motifs adds depth and meaning to the story, enhancing its overall impact. See More
Emotional Impact: 7.5, The screenplay effectively elicits a range of emotions, with strengths in character relatability, emotional variety, and emotional complexity. However, there are opportunities to further enhance the emotional depth and impact by exploring transformational emotional arcs, resolving emotional themes more satisfyingly, and building on the universality of emotional appeal. See More
Conflict: 7.2, The screenplay effectively presents conflict and stakes, primarily centered around the bus accident and its aftermath. However, there are opportunities to enhance the depth and impact of these elements, particularly in the development of personal stakes for the characters and the escalation of consequences. See More
Originality: 8.0, The screenplay exhibits a strong foundation in originality and creativity, with its compelling characters, unique narrative approach, and thought-provoking themes. The story delves into the complexities of addiction, trauma, and the search for justice, offering fresh perspectives and emotionally resonant moments. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- The scene opens with a serene morning at a summer cottage where a young family is waking up. The scene then shifts to Mitchell Stehens going through a car wash while listening to music and taking a phone call from his daughter Zoe, who is in a phone booth in a city and being approached by a figure. There is potential conflict between Zoe and the figure outside the phone booth, but it is not resolved in this scene. The tone is contrasted between the peaceful summer cottage, the mechanical and noisy car wash, and the tense and uncertain situation with Zoe in the city. The scene ends with Zoe on the phone with her father, while the figure waits outside the phone booth.
- In this tense and uncertain scene, Mitchell is in a car wash while talking to his daughter Zoe on the phone. They reminisce about an old memory of Zoe getting soaked in a car wash when she was a child. However, due to Zoe's recent drug use, Mitchell struggles to recognize his own daughter. Zoe expresses her desire to talk to her father, but Mitchell's confusion and Zoe's frustration leave their conversation unresolved. The scene takes place at night, with Mitchell in the car wash and Zoe in a phone booth. Key pieces of dialogue include Zoe expressing her desire to talk to her father and Mitchell questioning her identity due to her changed behavior from drug use. The scene ends with Mitchell not responding to Zoe's question about what the problem is.
- This scene contains three sub-scenes with distinct conflicts and tones. Zoe calls her father Mitchell from a phone booth, confronting him about his assumptions, which leaves Mitchell emotionally stunned. In contrast, Sam Burnell proudly watches his daughter Nicole rehearse at a fairground. The scene then shifts to Mitchell assisting a father, Peter, in changing his toddler's diaper in an airport washroom, creating a friendly and calm atmosphere.
- In this scene, Mitchell finds himself stuck in a car wash and is unable to get the attention of the workers. He becomes increasingly anxious as he tries to leave his car and enters the car wash office, where he finds no one. He then picks up an electric guitar, causing it to produce feedback. Meanwhile, at a fairground, Sam reassures Nicole about her upcoming performance, but Nicole senses that Sam is not completely confident in her. The scene ends with Nicole excitedly hugging Sam after sensing his sincerity.
- Mitchell Stevens, a lawyer who has been in an accident, arrives at Bide-A-Wile Motel and meets Risa and Wendell Walker, the motel receptionist and her husband. After a brief conversation, Mitchell reveals his identity and expresses the importance of discussing business with them. However, Risa and Wendell are exhausted and reluctant due to their own recent accident. The conflict between Mitchell's need to discuss business and Risa and Wendell's exhaustion remains unresolved, creating a somber and tense atmosphere in the reception area with a magnificent mountain range in the background.
- In this scene, two storylines unfold: at the fairground, Sam and Nicole enjoy ice cream while observing a school bus full of children led by the cheerful Dolores Driscoll into an exhibition barn. Simultaneously, at the Bide-A-Wile Motel, lawyer Mitchell Stevens meets with Wendell and Risa Walker to discuss and take notes on the Lambstons' and their neighbors' backgrounds, including the Hamiltons, Prescots, Bilodeaus, Atwaters, and Ottos. Mitchell aims to find suitable parents for his case, while the fairground scene evokes a light and nostalgic atmosphere, contrasting with the serious and investigative tone of the motel scene. The scene concludes with Mitchell stepping outside for a private call.
- Mitchell Stephens, two years after the accident, is on a first-class airplane cabin struggling to fix his headset. A stewardess tries to assist him, but to no avail. Alison Jones, an old friend of Mitchell's daughter Zoe, offers her headset, and they strike up a conversation. Alison reminds Mitchell of their past and her connection to his family, helping him to eventually remember her. The scene takes place during dusk and is filled with nostalgia and tension as Mitchell grapples with his past. The visual elements include Mitchell trying to fix his headset, the stewardess checking it, and Alison offering hers. The scene ends with the stewardess giving Alison a new headset, and the camera remains focused on Mitchell's face.
- Wanda and Hartley Otto, along with their adopted son Bear, wait for the school bus. Wanda gives Bear a psychedelic photograph for the school bazaar, causing bus driver Dolores Driscoll to teasingly comment on its unusual nature. This light-hearted exchange resolves any minor conflict quickly, and the scene ends with Dolores driving off with Bear, as the narrators Mitchell and Dolores share brief remarks on the Ottos' parenting style.
- In the modest living room of Dolores's house, Mitchell converses with Dolores about the Ottos, who were friends with her son Bear. Meanwhile, Dolores's husband Abbott, paralyzed after a stroke, watches Mitchell intensely, making him uncomfortable. Dolores shares her positive memories of the Ottos and Bear's victory at the pet show, but Mitchell's assumption of the Ottos' drug reputation contrasts with Dolores's description, creating an unresolved conflict. The scene ends with Mitchell staring at Bear's photograph, feeling torn between his unease and his sympathy for Dolores.
- The scene opens with Bear saying goodbye to his parents from a school bus, followed by his siblings waving at their father Billy, who is driving behind the bus. Dolores, in a conversation with Mitchell, discloses Billy's routine of following the bus to check on his children. Mitchell inquires about any problems Billy faced, and Dolores responds by sharing his wife's death from cancer and how he has been raising their children alone. The scene takes place in the morning, both inside and outside the school bus, and continues in Dolores's house during the day. The tone is nostalgic and slightly melancholic, with a focus on the Ansel family's interactions and Dolores's recollections. The scene ends with Dolores staring at Mitchell after sharing her observations about Billy's feelings.
- Billy, en route to work, greets his children and converses with Risa over the phone about childcare arrangements for their kids. Risa, currently at the Bide-A-Wile Motel, is displeased with the early pickup time set for Nicole's supervision. Wendell's noisy roof repairs in the background are also discussed, adding to the minor conflicts in the scene. The scene concludes with Risa reluctantly accepting the childcare arrangements and Billy continuing his drive to work.
- Mitchell and Alison share a tense conversation in a first-class cabin of an airplane while eating dinner. Mitchell reveals that he is going to visit his daughter Zoe, who is in a clinic near a beach, creating a somber atmosphere. Alison picks at her meat undecidedly, and Mitchell sends his food back to the stewardess. The scene ends with Mitchell getting up and leaving Alison alone in the cabin.
- Mitchell Stephens, a lawyer, visits the Otto residence to discuss a potential lawsuit regarding a bus accident. The Ottos express their anger and desire for justice, and Mitchell promises to pursue the case and reveal the responsible party. The scene takes place in the Ottos' two-storey house and is serious and emotional in tone. Mitchell explains his belief in the role of negligence in the accident, and the Ottos express their desire for justice. The scene ends with Mitchell's promise to pursue the case.
- Mitchell leaves home and has a tense conversation with Alison about his feelings towards his daughter Zoe's drug addiction. He expresses his anger and frustration, and Alison listens with empathy. The scene takes place outside the Ottos' house in the daytime and then on an airplane in the evening. It ends with Mitchell apologizing to Alison for his outburst.
- Billy spends a joyful afternoon playing with his kids in the yard, followed by a brief conversation with their babysitter, Nicole. Later, he sneaks into a motel room to meet Risa, where they share an intimate moment while listening to a hockey game on the radio. The scene transitions from the playful atmosphere of Billy's house to the cozy intimacy of the motel room, with no major conflicts but a subtle tension regarding Wendell's potential suspicion.
- In the warm and cozy setting of Billy's house, Nicole reads Robert Browning's 'The Pied Piper of Hamelin' to Jessica and Mason. As Nicole reads, Mason's curiosity is piqued, and he asks questions about the story, particularly about the Pied Piper's motives. Nicole explains the Pied Piper's anger towards the townsfolk, and Mason, satisfied with the answer, asks Nicole if he can sit beside her on the bus the next day. Nicole agrees, and the scene ends with her continuing to read the story to Jessica and Mason.
- In this calm and introspective scene, Risa, staying at the Bide-A-Wile Motel with Billy, finds herself watching him in the shower while lost in a daydream about her life with Sean. As they discuss their children's struggles with attachment and independence, Risa contemplates her son's emotional reliance on her and Billy's children's familiarity with his presence. The scene concludes with Billy's departure and Risa focusing on a mundane task, all the while reflecting on her life and her relationship with Billy.
- Nicole brings clothes from Mrs. Ansel's belongings, intending to wear them, which leads to a bittersweet conversation with Billy about memories and loss. Billy plans to donate the clothes to charity, and Nicole expresses her fondness for Mrs. Ansel. The scene ends with Nicole leaving the house, heading towards her father's car, while Billy remains sad, unable to fully express his feelings about his late wife.
- NICOLE and SAM arrive at the Burnell barn in the car, where they become physically intimate. The scene is filled with tension, and NICOLE avoids conversation with one-word answers. The setting is dimly lit, and the scene concludes with NICOLE reading a poem aloud as the camera glides past them.
- In this nostalgic and introspective scene, Dolores, a bus driver, picks up children along her route, comparing them to berries being plucked. She reflects on her interactions with Sean, a student with a learning disability, and his attentive parents, Risa and Wendell Walker. The scene takes place on a bus traveling to school, at Dolores's house, and at the Bide-A-Wile Motel in the morning. Key pieces of dialogue include Dolores's description of the children as berries and her account of Sean's learning disability. The scene ends with Dolores contemplating her experiences with Sean and his parents, hinting at a potential tension between her role as a bus driver and the well-being of the children.
- Dolores bids farewell to Sean, who is leaving with his mother Risa on a bus. Sean hesitates to go, but Risa insists. The scene is filled with nostalgia and sadness as Dolores reflects on her past as a school bus driver, a job that provided her with a sense of purpose and belonging. The main conflict lies in Sean's desire to stay with his mother and Risa's insistence that he goes. The scene ends with a flashback to the school bus accident, adding to the emotional weight of the moment.
- Mitchell shares a nostalgic yet panicked story with Alison, recounting a medical emergency with Zoe when she was three, at a summer cottage. Klara tried to breastfeed while Mitchell called the hospital, speaking to a young doctor who, despite his nervousness, attempted to confidently assist Mitchell, who was in a panic. The scene ends with Alison staring at Mitchell, taken aback by his detailed story of a seemingly irrelevant stranger.
- In a tense and emotional morning scene at a summer cottage, Father (Young Mitchell) receives a phone call informing him that his daughter Zoe may have been bitten by baby black widow spiders, requiring an emergency tracheotomy. While Mother (Klara) breastfeeds Zoe with a wild-eyed stare of fear, Father gathers his courage and begins the procedure. The scene then cuts to a first-class cabin on an airplane at night, where Father (now Mitchell) begins to recount the story to Alison.
- Mitchell recounts performing surgery on his daughter to Alison, while Billy identifies his children's bodies and has a heated discussion with Risa about the accident's cause. The scene takes place in various settings, and the main conflict lies between Billy and Risa, who disagree about someone's responsibility for the accident. The tone is somber and emotional, with significant dialogue and visual elements highlighting the characters' grief and tension.
- Mitchell Stephens, a lawyer, encounters Billy Ansel, the father of the children involved in a bus accident, at a gas station. Mitchell offers his legal services, but Billy refuses and threatens him. Mitchell then reveals his personal struggles with his drug-addict daughter. The scene is tense and emotional, and ends with Mitchell turning to look at his ringing phone. The main conflict, Billy's refusal to accept Mitchell's legal services, is not resolved in this scene.
- In this serious and emotional scene, Mitchell visits Dolores at her house to discuss the legal implications of the accident. Dolores confesses to possibly driving over the speed limit, but Mitchell reveals that Billy is willing to testify otherwise. Mitchell proposes a suit for negligent infliction of emotional harm, which Dolores initially resists due to social repercussions. However, after her son Abbott seemingly gives his approval, Dolores agrees to let Mitchell bring the suit. The scene concludes with Mitchell planning his next step, as Dolores finds hope in the prospect of justice.
- Mitchell departs from Dolores's house as Nicole Burnell, a hospital patient, prepares to leave the hospital after being unable to recall the accident that caused her injuries. She is now in a wheelchair and will face a challenging recovery. Her family, including her mother and brother, are there to support her, but Nicole feels there is more to her recovery than just getting well. The scene is filled with emotion, hope, and apprehension, and ends with Nicole being wheeled out of the hospital, determined to face her recovery head-on.
- NICOLE arrives home to find a ramp for her wheelchair and a lavishly decorated room prepared by SAM. Gifts from a lawyer named MR. STEPHENS have also arrived, making NICOLE skeptical and demanding answers. Tension rises as NICOLE questions the need for a lawyer, creating uncertainty and suspicion in the scene.
- In this serious and reflective scene, Nicole watches her sister Jenny climb a tree while confined to her wheelchair on the Burnell home's porch. Sam explains their need for a lawyer, Mr. Stephens, to seek compensation from the town for the bus accident that injured Nicole. Financial strain and emotional challenges weigh on the family, but Sam reassures Nicole of their efforts. The scene concludes with Nicole pondering Mr. Stephens' future role, setting the stage for further developments.
- Mitchell receives a call from his drug-addict daughter Zoe while at a gas station with Billy. He shares his personal struggles and fears with Billy, then goes to an airplane cabin to stare at his other daughter Alison. The scene cuts back to the gas station where Mitchell accepts the call from Zoe, who reveals she couldn't sell her blood due to her addiction. Mitchell listens and empathizes with Zoe's situation, leaving him concerned and sad about her struggle with addiction.
- Zoe, a scared little girl, asks her father Mitchell for money on their way to the hospital, where she has tested positive for something. Mitchell struggles to understand the situation and reassures Zoe of his love and care.
- In this scene, Mitchell covers Alison with a blanket on the airplane and then drives to the Burnell home, where he meets Nicole, Sam, and Mary in the kitchen. Mitchell discusses the case and Nicole's feelings about the accident, acknowledging her grief over the other children who died. Nicole struggles with feelings of guilt and grief, which Mitchell validates. Sam tries to interject, causing some tension, and the scene ends with Nicole asking Mitchell what he wants her to do for the case.
- In the Burnell living room, Mitchell explains the purpose of the upcoming depositions to Nicole, emphasizing the need to maximize damages. Nicole, however, is determined to tell the truth, causing a rift in their views. Meanwhile, Nicole's parents, Sam and Mary, are present but mostly in the background, with Nicole particularly tense around her father. The scene concludes with Nicole steeled to share the truth during her deposition, feeling increasingly estranged from her parents.
- Sean Walker, reluctant to leave his mother Risa, boards a bus and sits next to Nicole Burnell, causing Dolores to feel uncomfortable. The scene then shifts to a community center where Dolores gives a deposition about the incident, recalling Sean's fearful demeanor and the events that followed. The scene ends with Dolores recalling Sean's distressing shriek, adding to the apprehension and unease.
- In this morning school bus scene, Sean leaps to the front after witnessing his mother's near-accident with a speeding vehicle. Dolores checks on Sean, and Risa, who is shaken, walks back to the office. Nicole reads to the children on the bus as the scene transitions to a community center for a deposition. Dolores is blamed for the near-accident, causing tension. The scene ends with Nicole reading The Pied Piper on the bus, providing a sense of relief.
- In the Burnell home, Sam, Jenny, and Nicole spend their evening in different activities until Mary announces Billy Ansel's plan to visit. Sam becomes anxious, Jenny retires to bed, and Nicole, after initially showing interest, decides to avoid Billy due to her guilt from the accident that killed his children. The scene concludes with Nicole retreating to her room, leaving the others to wait for Billy's arrival. The atmosphere is tense and emotionally charged, with key dialogue highlighting the characters' unease.
- Billy visits the Burnell home at night to ask Sam to drop the lawsuit against him for the accident involving Nicole. Sam and Mary express their financial struggles, but Billy offers to help pay for Nicole's care. However, Billy's desire to sell his house and move away adds to the tension, ultimately ending the scene with a sense of finality and resolution.
- Billy leaves the Burnell home after being told to move on by Sam. Nicole, watching him go, is upset and emotional. Inside, Sam informs Nicole of their plans to go to the courthouse the next day for her deposition. Nicole confronts Sam about his broken promises and her disability, causing Sam to turn away. The scene ends with Nicole acknowledging Sam's broken promises and Sam getting up to leave her room. The main conflict lies in Nicole's frustration with Sam's broken promises and her own disability, creating a tense and emotional atmosphere.
- Sam and his daughter Nicole, along with their lawyers Mitchell and Schwartz, arrive at the community center for Nicole's deposition in a bus accident case. Sam carries Nicole up the stairs as she remains uncooperative. During the deposition, Nicole reveals new information about the bus driver's speed and route, contradicting Sam's case. The scene is tense and emotional, with significant visual elements including Sam's struggle to carry Nicole, Nicole's confident demeanor, and Mitchell's growing concern. The scene ends with Nicole finishing her testimony and Schwartz asking Sam if he has any questions, to which he responds that he has none.
- Nicole, wheelchair-bound, waits in the car while her father, Sam, argues with Mitchell outside the community center. Through voiceover, Nicole expresses her hopes of keeping the computer and getting ice cream, urging her father to forget about the lawsuit and focus on why Mitchell lied. The scene is tense due to the argument, but Nicole's calmness and reflection provide a sense of calm. The scene ends with Sam looking at Nicole, who asks him about their chances of keeping the computer and getting ice cream.
- In the morning, Mitchell bumps into his former classmate Alison at the airport's arrival area while waiting for his luggage, and they exchange pleasantries. In the daytime, Sam takes Nicole to the fairground where she enjoys an ice-cream cone. Nicole inquires about Dolores, the bus driver, and Sam shares that her situation is uncertain. The scene has a positive and nostalgic tone, but there's a hint of sadness towards the end when Nicole brings up Dolores.
- The scene opens with Mitchell and Dolores sharing a moment of recognition at the airport. Nicole narrates, reflecting on the aftermath of the tragedy and how it has affected them all. The visual elements include Billy watching the demolished school bus, Nicole putting her children to bed, and Nicole watching the ferris wheel in her imagination, signifying her acceptance and closure after the tragedy. The tone is reflective and nostalgic, with a sense of acceptance and closure.
Mitchell - Score: 86/100
Role
Protagonist
Character Analysis Overview
Nicole - Score: 84/100
Role
Protagonist
Character Analysis Overview
Sam - Score: 75/100
Aliases
none
Role
Protagonist
Character Analysis Overview
Billy - Score: 78/100
Character Analysis Overview
Risa - Score: 74/100
Role
Supporting Character
Character Analysis Overview
Alison - Score: 57/100
Character Analysis Overview
Dolores - Score: 73/100
Character Analysis Overview
Zoe - Score: 75/100
Character Analysis Overview
| Theme | Theme Details | Theme Explanation | ||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Loss and Grief (55%) | Death of children in a bus accident, a father's loss of his daughter to drug addiction, a family's loss of their home, a woman's loss of her ability to walk | The screenplay explores the different forms of loss and grief experienced by various characters, and how they cope with and move forward from their tragedies. | ||||||||||||
Strengthening Loss and Grief:
| ||||||||||||||
| Parent-Child Relationships (45%) | A father's relationship with his drug-addicted daughter, a father's relationship with his surviving daughter, a bus driver's relationship with the children on her bus, a single father raising his children after his wife's death | The screenplay delves into the complexities and nuances of parent-child relationships, highlighting the love, sacrifice, and frustration that often come with them. | ||||||||||||
| Justice and Lawsuits (40%) | A lawyer's pursuit of justice for a bus accident, a family's lawsuit against the town for negligence, a man's offer to pay for a victim's care instead of participating in a lawsuit | The screenplay examines the concept of justice and the role of lawsuits in achieving it, as well as the potential consequences and impact of such legal actions. | ||||||||||||
| Community and Neighborhood (30%) | A small town's response to a tragic accident, neighbors helping each other out, a man selling his house and moving away | The screenplay explores the importance of community and neighborhood, and how they can provide support and comfort in times of need, as well as the challenges and conflicts that can arise within them. | ||||||||||||
| Memory and Nostalgia (25%) | Characters reminiscing about old memories, a father reflecting on his past attempts to help his daughter, a woman reading a poem on the bus | The screenplay uses memory and nostalgia as a way for characters to connect with each other and to cope with their current struggles, highlighting the power of these emotions in shaping our identities and relationships. | ||||||||||||
Screenwriting Resources on Themes
Articles
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
YouTube Videos
| Title | Description |
|---|---|
| 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 |
| Goals and Philosophical Conflict | |
|---|---|
| internal Goals | The protagonist's internal goals revolve around seeking connection, understanding, and closure with family members and others. |
| External Goals | The protagonist's external goals involve navigating various challenges, seeking justice, and balancing personal and professional responsibilities. |
| Philosophical Conflict | The overarching philosophical conflict revolves around seeking justice, understanding, and acceptance in the face of tragedy, loss, and personal struggles. |
Character Development Contribution: The goals and conflicts contribute to the protagonist's growth by challenging their beliefs, values, and personal relationships. They navigate moral dilemmas, emotional turmoil, and seek redemption and closure.
Narrative Structure Contribution: The goals and conflicts drive the narrative forward by creating tension, emotional depth, and character development. They shape the protagonist's journey and interactions with other characters, leading to a resolution of conflicts and personal growth.
Thematic Depth Contribution: The goals and conflicts add thematic depth to the screenplay by exploring themes of family dynamics, loss, justice, redemption, and the complexity of human relationships. They highlight the importance of empathy, acceptance, and personal growth in the face of adversity.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
| Site | Description |
|---|---|
| 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 |
YouTube Videos
| Title | Description |
|---|---|
| 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? |
| Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Tone | Overall | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - A Morning at the Cottage and an Uneasy Night in the City | Serene, Suspenseful, Intriguing | 8 | 8 | 7 | 9 | 7 | 5 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
| 2 - A Tense Conversation at the Car Wash | Emotional, Reflective, Confrontational | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 7 | 7 | 8 | 6 | 7 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 3 - Tense Phone Call, Proud Father, and Helpful Stranger | Emotional, Reflective, Nostalgic | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 4 - Stuck in a Car Wash and Reassurance at the Fairground | Confusion, Emotional, Suspenseful | 8 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | |
| 5 - Lawyer's Arrival at Bide-A-Wile Motel and Unresolved Business Conflict | Tense, Melancholic, Suspenseful | 8 | 8 | 7 | 7 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8 | 9 | |
| 6 - Investigating the Lambstons' Neighbors and a Day at the Fair | Serious, Emotional, Informative | 8 | 7 | 8 | 9 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 7 - An Unexpected Encounter: Mitchell and Alison Reunite on an Airplane | Emotional, Reflective, Tense | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 6 | 7 | 7 | 10 | 10 | 9 | 8 | 8 | 8 | |
| 8 - The Psychedelic Photograph and the School Bus Stop | Affectionate, Light-hearted, Reflective | 8 | 7 | 7 | 9 | 8 | 4 | 8 | 7 | 3 | 6 | 2 | 6 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
| 9 - A Tense Conversation and Nostalgic Remembrance | Intense, Reflective, Nostalgic | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 10 - Billy Ansel's Morning Farewell and Family Dynamics | Reflective, Melancholic, Nostalgic | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 4 | 6 | 5 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 11 - Morning Disagreements: Childcare Arrangements and Roof Repairs | Serious, Tense, Emotional | 8 | 7 | 7 | 8 | 8 | 7 | 8 | 7 | 7 | 6 | 6 | 7 | 6 | 8 | 7 | 7 | 8 | 8 | 8 | |
| 12 - Mitchell's Revelation | Tense, Melancholic, Inquisitive | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 8 | 8 | 9 | 8 | |
| 13 - Discussing a Potential Lawsuit: Mitchell Stephens Visits the Otto Residence | Intense, Emotional, Confrontational | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 10 | 10 | 9 | 8 | 8 | 8 | |
| 14 - Mitchell's Anguish over Zoe's Addiction | Intense, Emotional, Reflective | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 8 | 8 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 15 - Billy's Playful Afternoon and Intimate Evening | Intimate, Sensual, Emotional | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 16 - A Cozy Evening with Browning's 'The Pied Piper of Hamelin' | Reflective, Inquisitive, Nostalgic | 9 | 8 | 7 | 8 | 9 | 6 | 8 | 7 | 3 | 6 | 4 | 7 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
| 17 - Night at the Bide-A-Wile Motel: Reflections on Love and Motherhood | Intimate, Reflective, Melancholic | 9 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 4 | 6 | 3 | 6 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 18 - Nicole's Tribute to Mrs. Ansel | Sad, Reflective, Nostalgic | 8 | 7 | 7 | 9 | 9 | 7 | 8 | 7 | 3 | 6 | 4 | 5 | 7 | 9 | 8 | 8 | 8 | 9 | 8 | |
| 19 - Intimate Secrets in the Barn | Intimate, Reflective, Melancholic | 9 | 8 | 7 | 9 | 9 | 7 | 8 | 7 | 5 | 7 | 4 | 6 | 7 | 9 | 8 | 9 | 9 | 8 | 8 | |
| 20 - Berries on the Bus: A Morning with Dolores | Mysterious, Introspective, Melancholic | 9 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | |
| 21 - Sean's Farewell and a Mother's Reflection | Intense, Melancholic, Reflective | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 22 - A Summer Cottage Medical Scare and a Young Doctor's Confidence | Reflective, Intense, Emotional | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 6 | 7 | 7 | 7 | 9 | 7 | 9 | 8 | 9 | 8 | |
| 23 - Emergency at the Summer Cottage: A Father's Determination | Tense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 10 | 8 | 8 | 10 | 7 | 9 | 9 | 8 | 8 | |
| 24 - Tragic Accident and Tense Conversations | Intense, Emotional, Mysterious | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 25 - Tense Encounter at the Gas Station | Intense, Emotional, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 26 - Dolores Agrees to Legal Action: A Step Towards Justice | Serious, Intense, Reflective | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 27 - Nicole's Discharge and Uncertain Future | Reflective, Emotional, Hopeful | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 3 | 7 | 6 | 7 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 28 - The Suspicious Room | Emotional, Tense, Reflective | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 6 | 7 | 6 | 7 | 7 | 9 | 7 | 8 | 8 | 9 | 9 | |
| 29 - Unsteady Branches and Legal Battles: A Family's Struggle | Serious, Reflective, Emotional | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 30 - Mitchell's Daughter Struggles and Mitchell's Inner Conflict | Intense, Emotional, Suspenseful | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 8 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 31 - Zoe's Fear and Need for Money | Emotional, Intense, Heartbreaking | 10 | 9 | 8 | 9 | 10 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 32 - Mitchell's Visit to the Burnell Home and His Conversation with Nicole | Reflective, Emotional, Serious | 9 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 8 | 9 | 9 | 9 | 8 | |
| 33 - Preparing for Depositions: Truth and Tension | Serious, Reflective, Intense | 9 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 34 - Sean's Fearful Farewell and Dolores' Uneasy Deposition | Tense, Reflective, Emotional | 9 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 8 | 9 | 7 | 9 | 8 | 8 | 8 | |
| 35 - Sean's Near-Accident and a Tense Deposition | Tense, Emotional, Reflective | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 36 - Anxiety and Avoidance: The Approaching Visit of Billy Ansel | Anxious, Reflective, Regretful | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 7 | 7 | 8 | 7 | 7 | 10 | 8 | 9 | 8 | 8 | 8 | |
| 37 - Billy's Plea to Sam: A Desperate Attempt to Avoid Legal Consequences | Tense, Emotional, Serious | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
| 38 - Nicole's Disappointment and Frustration | Melancholic, Reflective, Resentful | 9 | 8 | 8 | 7 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 10 | 9 | 9 | 8 | 8 | 8 | |
| 39 - Nicole's Surprising Testimony in Bus Accident Case | Tense, Emotional, Serious | 9 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
| 40 - The Community Center Argument | Tense, Emotional, Confrontational | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 8 | 10 | 8 | 9 | 8 | 9 | 8 | |
| 41 - Reunion at the Airport and a Day at the Fairground | Reflective, Hopeful, Melancholic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 5 | 7 | 6 | 9 | 7 | 8 | 9 | 9 | 8 | |
| 42 - Signs of Acceptance and Closure | Reflective, Haunting, Melancholic | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 7 | 6 | 7 | 7 | 7 | 7 | 10 | 7 | 9 | 8 | 8 | 8 | |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Emotional depth
- Authentic dialogue
- Character development
- Intriguing mystery element
- Intriguing premise
Scene Weaknesses
- Limited character development in this scene
- Limited setting
- Lack of external conflict
- Slow pacing in some parts
- Some scenes may feel disconnected
Suggestions
- Focus on developing characters consistently throughout the entire screenplay
- Introduce more external conflict to keep the pacing and tension high
- Avoid relying too heavily on dialogue for emotional impact, incorporate visual elements to varying degrees as well
- Ensure that all scenes in the screenplay contribute to the overall narrative in a meaningful way
- Craft dialogue that is impactful and engaging while avoiding cliches or excessive exposition
Scene 1 - A Morning at the Cottage and an Uneasy Night in the City
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 2 - A Tense Conversation at the Car Wash
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 3 - Tense Phone Call, Proud Father, and Helpful Stranger
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 4 - Stuck in a Car Wash and Reassurance at the Fairground
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 5 - Lawyer's Arrival at Bide-A-Wile Motel and Unresolved Business Conflict
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 6 - Investigating the Lambstons' Neighbors and a Day at the Fair
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 7 - An Unexpected Encounter: Mitchell and Alison Reunite on an Airplane
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 8 - The Psychedelic Photograph and the School Bus Stop
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 9 - A Tense Conversation and Nostalgic Remembrance
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 10 - Billy Ansel's Morning Farewell and Family Dynamics
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 11 - Morning Disagreements: Childcare Arrangements and Roof Repairs
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 12 - Mitchell's Revelation
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 13 - Discussing a Potential Lawsuit: Mitchell Stephens Visits the Otto Residence
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 14 - Mitchell's Anguish over Zoe's Addiction
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 15 - Billy's Playful Afternoon and Intimate Evening
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 16 - A Cozy Evening with Browning's 'The Pied Piper of Hamelin'
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 17 - Night at the Bide-A-Wile Motel: Reflections on Love and Motherhood
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 18 - Nicole's Tribute to Mrs. Ansel
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 19 - Intimate Secrets in the Barn
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 20 - Berries on the Bus: A Morning with Dolores
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 21 - Sean's Farewell and a Mother's Reflection
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 22 - A Summer Cottage Medical Scare and a Young Doctor's Confidence
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 23 - Emergency at the Summer Cottage: A Father's Determination
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 24 - Tragic Accident and Tense Conversations
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 25 - Tense Encounter at the Gas Station
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 26 - Dolores Agrees to Legal Action: A Step Towards Justice
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 27 - Nicole's Discharge and Uncertain Future
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 28 - The Suspicious Room
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 29 - Unsteady Branches and Legal Battles: A Family's Struggle
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 30 - Mitchell's Daughter Struggles and Mitchell's Inner Conflict
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 31 - Zoe's Fear and Need for Money
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 32 - Mitchell's Visit to the Burnell Home and His Conversation with Nicole
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 33 - Preparing for Depositions: Truth and Tension
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 34 - Sean's Fearful Farewell and Dolores' Uneasy Deposition
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 35 - Sean's Near-Accident and a Tense Deposition
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 36 - Anxiety and Avoidance: The Approaching Visit of Billy Ansel
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 37 - Billy's Plea to Sam: A Desperate Attempt to Avoid Legal Consequences
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 38 - Nicole's Disappointment and Frustration
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 39 - Nicole's Surprising Testimony in Bus Accident Case
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 40 - The Community Center Argument
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 41 - Reunion at the Airport and a Day at the Fairground
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Scene 42 - Signs of Acceptance and Closure
The #1 Rule of Screenwriting: Make your reader or audience compelled to keep reading.
“Grab ‘em by the throat and never let ‘em go.”
The scene level score is the impact on the reader or audience to continue reading.
The Script score is how compelled they are to keep reading based on the rest of the script so far.
Recommend
Explanation: The Sweet Hereafter is a powerful and thought-provoking screenplay that explores the aftermath of a tragic accident on a small town. Its strengths lie in its complex characters, realistic dialogue, and evocative visual imagery. However, the pacing can be slow at times and the ending may leave some viewers wanting more closure. Overall, it is a compelling and well-crafted story that would appeal to audiences interested in character-driven dramas with a focus on human resilience in the face of tragedy.