Spotlight
Executive Summary
Poster
Overview
Genres: Drama, Investigative Journalism, Thriller, Investigative, Legal, Crime, Journalism
Setting: 1976 and 2001, Boston, Massachusetts
Overview: Set against the backdrop of Boston in the early 2000s, 'Spotlight' follows the investigative team at the Boston Globe as they uncover a shocking scandal involving widespread child sexual abuse within the Catholic Church. The story begins with the arrival of new editor Marty Baron, who encourages the Spotlight team to dig deeper into allegations against a priest. As reporters Robby, Mike, Sacha, and Matt pursue leads, they face resistance from powerful church officials and grapple with the emotional toll of the survivors' stories. The investigation intensifies, revealing a systemic cover-up that implicates numerous priests and church leaders. Throughout their journey, the team confronts ethical dilemmas and personal sacrifices, ultimately striving to bring the truth to light while navigating the complexities of faith, doubt, and institutional power.
Themes: Journalistic Integrity and Investigative Reporting, Institutional Cover-up and Systemic Abuse, Faith vs. Doubt, Personal Sacrifice and Perseverance, Psychological Trauma of Abuse
Conflict and Stakes: The Spotlight team's struggle to uncover the truth about widespread abuse within the Catholic Church, facing resistance from powerful figures and the church's influence.
Overall Mood: Tense and somber, reflecting the gravity of the subject matter.
Mood/Tone at Key Scenes:
- Scene 1: The mood is tense and somber as the police station scene reveals the distress of a mother and the church's involvement.
Standout Features:
- Unique Hook: The investigation into the Catholic Church's cover-up of sexual abuse, a topic that resonates with contemporary societal issues.
- Plot Twist: The revelation of the extent of the abuse and the church's systematic efforts to silence victims and protect abusers.
- Distinctive Setting: The juxtaposition of the bustling Boston Globe newsroom with the somber realities of the abuse victims.
- Innovative Ideas: The use of investigative journalism as a means to confront powerful institutions and seek justice.
- Unique Characters: A diverse cast of journalists and survivors, each with their own motivations and backgrounds, adding depth to the narrative.
Comparable Scripts:
- Spotlight
- The Boston Globe's Coverage of the Catholic Church Scandal
- All the President's Men
- The Insider
- The Wire
- A Few Good Men
- The Post
- The Crucible
- The Silence of the Lambs
Writing Style:
The screenplay demonstrates a consistent style characterized by dialogue-driven scenes with sharp, witty, and often intense exchanges between characters. It frequently explores complex moral dilemmas, ethical conflicts, and power dynamics, particularly within high-stakes environments like investigative journalism, legal settings, and institutional structures. The narrative is largely character-driven, with a focus on realistic and nuanced portrayals of human interaction.
Style Similarities:
- Aaron Sorkin
- David Mamet
- Tom McCarthy
Pass/Consider/Recommend
Highly Recommend
Explanation: Spotlight is a remarkably well-crafted screenplay that masterfully balances journalistic procedural with deeply human drama. Its strengths lie in its meticulous research, compelling character arcs, and understated yet powerful storytelling. While minor improvements could enhance certain scenes, the screenplay's overall impact and narrative drive are exceptional, making it a highly recommended project for production.
USP: What sets 'Spotlight' apart is its unflinching portrayal of real-life events through the lens of investigative journalism, emphasizing the moral responsibility of the press. The screenplay's focus on the human stories behind the headlines, combined with its exploration of institutional power dynamics, makes it a compelling piece of storytelling that resonates with audiences concerned about accountability and justice.
Market Analysis
Budget Estimate:$20-30 million
Target Audience Demographics: Adults aged 25-54, particularly those interested in drama, investigative journalism, and social justice themes.
Marketability: The screenplay addresses a timely and relevant issue, appealing to audiences interested in social justice and investigative journalism.
The strong character development and emotional depth resonate with viewers, enhancing its appeal.
While it tackles serious themes, the potential for a niche audience may limit broader market appeal.
Profit Potential: High, due to the strong appeal to a wide adult audience, potential for critical acclaim, and award nominations.
Analysis Criteria Percentiles
Writer's Voice
Summary:The writer's voice is characterized by a masterful blend of realism and subtle tension. Dialogue is sharp, witty, and authentic, capturing the nuances of everyday conversation while revealing underlying conflicts and power dynamics. The narrative is driven by meticulously detailed scenes that immerse the reader in the world of investigative journalism, building suspense and gradually revealing information. A strong emphasis on character interactions and realistic portrayals, especially the emotional toll on those involved, creates a compelling and deeply human story.
Best representation: Scene 19 - Unveiling Shadows. Scene 19 best encapsulates the writer's unique voice because it perfectly balances realism with subtle tension. The casual, naturalistic dialogue between Sacha and Joe Crowley immediately establishes their characters and their relationship. The detailed description of Joe's nervous energy, contrasting with Sacha's calm, creates a palpable sense of anticipation and foreshadows the difficult conversation to come. This scene exemplifies the writer's ability to build tension through understated dialogue and character interaction, while also grounding the narrative in authentic human experience. It's a microcosm of the entire screenplay's approach: realistic portrayal of complex characters facing challenging circumstances, creating deep emotional resonance.
Memorable Lines:
- Garabedian: Mark my words, Mr. Rezendes, if it takes a village to raise a child, it takes a village to abuse one. (Scene 29)
- MIKE: This coulda been you, it coulda been me, it could have been any one of us. We gotta nail these scumbags, show people that no one can get away with this! Not a priest or a Cardinal or a fricking Pope! (Scene 50)
- Richard Sipe: Look, Mike, the church wants us to believe that it’s just a few bad apples, but it’s a much bigger problem than that. (Scene 24)
- Garabedian: The Church thinks in centuries, Mr. Rezendes. You think your paper has the resources to take that on? (Scene 10)
- Marty: Sometimes it’s easy to forget that we spend most of our time stumbling around in the dark. Suddenly a light gets turned on, and there’s fair share of blame to go around. (Scene 57)
Characters
Marty Baron:The new editor of the Boston Globe, determined to uncover the truth behind the church's abuse scandal.
Robby Robinson:An editor for the Spotlight team, passionate about investigative journalism and uncovering the truth.
Mike Rezendes:A dedicated reporter for the Spotlight team, driven to expose the church's cover-up of abuse.
Sacha Pfeiffer:A reporter for the Spotlight team, empathetic and determined to give a voice to the victims.
Ben Bradlee Jr.:Deputy Managing Editor at the Boston Globe, supportive of the Spotlight team's efforts.
Phil Saviano:A survivor of abuse who advocates for victims and provides crucial information to the Spotlight team.
Mitch Garabedian:An attorney representing victims of abuse, frustrated by the church's influence and secrecy.
Cardinal Law:The powerful figure in the Catholic Church, whose actions and inactions are central to the investigation.
Story Shape
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Click for 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 - Shadows of Trust | Tense, Serious, Mysterious | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
2 - Farewell and Frustration in the Newsroom | Humorous, Serious, Sarcastic | 8.5 | 8 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
3 - A Conversation on the Future of Journalism | Informative, Reflective, Serious | 8.2 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
4 - New Beginnings in the Newsroom | Professional, Serious, Informative | 7.5 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 5 | 7 | 4 | 7 | 7 | 5 | 8 | 9 | 9 | 8 | 8 | |
5 - From Banter to Burden: The Church's Shadow | Serious, Inquisitive, Concerned | 8.5 | 9 | 9 | 9 | 8 | 7 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
6 - Investigating the Shadows | Serious, Intriguing, Professional | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 8 | 9 | 9 | 9 | 8 | 8 | |
7 - Prioritizing the Geoghan Case | Serious, Professional, Intriguing, Informative | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
8 - Dinner Conversations and Legal Challenges | Serious, Tense, Intriguing | 8.5 | 9 | 9 | 8 | 8 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 8 | 8 | 9 | 9 | |
9 - Uncovering the Truth | Serious, Informative, Professional | 8.5 | 9 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
10 - The Reluctant Advocate | Serious, Abrasive, Inquisitive | 8.2 | 9 | 8 | 9 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
11 - Uncovering the Past | Serious, Inquisitive, Informative | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 9 | 9 | 8 | 8 | 8 | |
12 - Tensions at Fenway: The Investigation Debate | Serious, Inquisitive, Skeptical | 7.5 | 8 | 8 | 9 | 7 | 6 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
13 - Teeing Off Tensions | Serious, Light-hearted, Informative | 8.5 | 8 | 9 | 9 | 9 | 6 | 8 | 7.5 | 6 | 7 | 7 | 8 | 8 | 7 | 9 | 9 | 8.5 | 8 | 8 | |
14 - Uneasy Conversations | Serious, Reflective, Contemplative | 8.2 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
15 - Determined Pursuit | Serious, Skeptical, Resolute, Casual | 8.5 | 8 | 9 | 7 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 6 | 7 | 9 | 8 | 8 | 8 | 8 | |
16 - A Tense Exchange at the Mansion | Serious, Reflective, Informative | 8.5 | 8 | 8 | 9 | 9 | 7 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
17 - Confronting the Past | Serious, Emotional, Informative | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 9 | 8 | 10 | 10 | 9 | 8 | 8 | 8 | |
18 - A Tenuous Agreement | Serious, Tense, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 7 | 8 | 9 | 8 | 8 | 8 | |
19 - Nervous Beginnings at Cafe Francesca | Nervous, Informative, Intense | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
20 - Unveiling Shadows | Intense, Serious, Emotional | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | |
21 - Reflections in the Park | Intense, Emotional, Serious | 8.5 | 9 | 8 | 9 | 9 | 8 | 8 | 6 | 7 | 6 | 7 | 7 | 7 | 9 | 9 | 9 | 8 | 8 | 7 | |
22 - A Call for Justice | Serious, Reflective, Informative | 8.5 | 8 | 8 | 8 | 9 | 8 | 8 | 7 | 6 | 7 | 8 | 8 | 7 | 9 | 8 | 8 | 8 | 9 | 9 | |
23 - Uncovering Truths | Serious, Intense, Intriguing | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 8 | 9 | 9 | 9 | 8 | 8 | |
24 - Uncovering the Truth | Serious, Intense, Informative | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
25 - Secrets and Investigations | Serious, Intense, Inquisitive | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
26 - Unearthing Secrets | Serious, Intense, Intriguing | 8.5 | 8 | 9 | 8 | 8 | 6 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
27 - Uncovering Secrecy | Serious, Confrontational, Inquisitive | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 7 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
28 - A Night at the Copley Square | Formal, Informative, Light-hearted | 7.5 | 8 | 7 | 8 | 8 | 5 | 8 | 7.5 | 5 | 7 | 4 | 7 | 7 | 6 | 8 | 9 | 8 | 8 | 8 | |
29 - Dinner of Reflection | Serious, Reflective, Intense | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 8 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
30 - Confrontation at the Copley | Serious, Intense, Confrontational | 8.5 | 8 | 9 | 8 | 9 | 9 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
31 - Unveiling the Truth | Shocking, Serious, Informative | 9.2 | 9 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 10 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
32 - Uncovering the Truth | Shocking, Intense, Serious | 8.5 | 9 | 9 | 8 | 8 | 7 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 8 | 8 | 8 | |
33 - Uncovering Shadows | Intense, Suspenseful, Serious | 9.2 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 10 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
34 - Confronting the Silence | Intense, Confrontational, Serious | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 9 | 9 | 8 | 8 | 8 | |
35 - Tensions Over Truth | Tense, Skeptical, Reflective | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 7 | 7 | 8 | 9 | 7 | 8 | 9 | 8 | 8 | 8 | 8 | |
36 - Uncovering the Truth: Systemic Issues in the Church | Serious, Intense, Intriguing | 8.5 | 9 | 9 | 9 | 8 | 8 | 8 | 7.5 | 8 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
37 - Silent Struggles: Unveiling the Church's Shadows | Intense, Serious, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 8 | 9 | 8 | 8 | 8 | |
38 - Confronting Shadows | Tense, Shocking, Awkward, Stunned | 8.5 | 8 | 9 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
39 - Tensions in the Courtroom | Tense, Serious, Professional | 8.5 | 8 | 9 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 7 | 9 | 9 | 8 | 8 | 8 | |
40 - Uncovering the Truth | Tense, Revealing, Conspiratorial | 9.2 | 10 | 9 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 10 | 9 | 8 | 9 | 9 | 9 | 9 | 8 | 8 | |
41 - The Empty Folder | Tense, Excited, Frustrated | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 9 | 9 | 9 | 9 | 9 | |
42 - Breaking News: The World Trade Center Attack | Tense, Serious, Urgent | 8.5 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 9 | 9 | 9 | |
43 - Tensions Rise: A Race Against Time | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 9 | 9 | 8 | 8 | 7.5 | 9 | 8 | 8 | 9 | 8 | 9 | 8 | 9 | 8.5 | 8 | 8 | |
44 - Urgency and Gratitude | Tense, Serious, Urgent | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 6 | 9 | 9 | 6 | 8 | 9 | 9 | 8 | 8 | 8 | |
45 - Tensions and Revelations | Serious, Intense, Tense | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
46 - Frustration at the Courthouse | Anxious, Frustrated, Tense | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 9 | 7 | 8 | 8 | 9 | 9 | 8 | 8 | |
47 - Confronting the Past | Tense, Confrontational, Emotional | 8.5 | 8 | 9 | 8 | 8 | 8 | 8 | 7 | 9 | 7 | 8 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
48 - The Weight of Knowledge | Serious, Tense, Inquisitive | 8.5 | 9 | 8 | 8 | 9 | 8 | 8 | 7 | 8 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
49 - Uncovering the Truth | Intense, Shocking, Urgent | 9.2 | 9 | 9 | 8 | 9 | 8 | 8 | 7 | 9 | 7 | 9 | 10 | 7 | 10 | 9 | 9 | 9 | 8 | 8 | |
50 - Urgency and Conflict at the Boston Globe | Intense, Urgent, Emotional | 9.2 | 9 | 9 | 9 | 9 | 8 | 9 | 8 | 9 | 8 | 9 | 9 | 8 | 10 | 10 | 9 | 9 | 8 | 8 | |
51 - Fractured Reflections | Reflective, Emotional, Intimate | 8.5 | 8 | 8 | 9 | 9 | 8 | 8 | 7.5 | 5 | 7 | 4 | 6 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
52 - Complicity in Elegance | Tense, Reflective, Confrontational | 8.5 | 9 | 8 | 8 | 9 | 7 | 8 | 7 | 8 | 8 | 8 | 8 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
53 - Tensions Rise Over Church Case Ruling | Serious, Tense, Stunned | 8.2 | 8 | 9 | 8 | 8 | 6 | 8 | 7 | 7 | 7 | 8 | 8 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
54 - The Urgency of Truth | Tense, Serious, Urgent | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 9 | 8 | 9 | 9 | 7 | 8 | 9 | 9 | 8 | 8 | 8 | |
55 - Tensions Rise Before Christmas | Tense, Emotional, Serious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7.5 | 9 | 8 | 9 | 9 | 9 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
56 - Confrontation and Urgency | Tense, Frustrated, Serious | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
57 - Facing the Fallout | Serious, Reflective, Tense | 9.2 | 9 | 9 | 8.5 | 10 | 9 | 8 | 7.5 | 9 | 8 | 9 | 9 | 8 | 9 | 9 | 9 | 8.5 | 8 | 8 | |
58 - The Weight of Truth | Tense, Serious, Confrontational | 8.5 | 8 | 9 | 8 | 8 | 7 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 8 | 8 | 9 | 8 | 8 | 8 | |
59 - Echoes of Innocence | Serious, Intense, Reflective | 8.5 | 8 | 9 | 9 | 8 | 8 | 8 | 7 | 8 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 | |
60 - From Calm to Chaos | Serious, Intense, Chaotic | 9.2 | 9 | 9 | 9 | 9 | 9 | 8 | 7 | 9 | 7 | 9 | 9 | 7 | 9 | 9 | 9 | 8 | 8 | 8 |
Scene 1 - Shadows of Trust
A quiet, cold winter night. An OLDER COP emerges from an
INTERVIEW ROOM, walks down a long hall.
Boston, MA - December, 1976
He reaches the front desk. A YOUNG COP looks to him,
curious, as he lights a cigarette.
YOUNG COP
How’s that going?
OLDER COP
The mother’s bawling and the uncle’s
pissed off.
YOUNG COP
She’s not married?
OLDER COP
Divorced with four kids. I guess
Father was helping out.
YOUNG COP
Helping out?
The Older Cop shrugs. The front door opens and BURKE, FRESH
FACED, 32, walks in. He wears a dark overcoat.
OLDER COP
Hey, Mr. Burke. They’re in the back
talking to the Bishop.
BURKE
And Father?
The Older Cop nods in the other direction.
OLDER COP
We put him in the break room.
BURKE
Any press?
OLDER COP
Some guy from the Citizen, but we
sent him away. None of the big
papers.
BURKE
Let’s keep it that way.
Burke walks toward the interview room.
11/26/14 2.
YOUNG COP
(off Burke)
Who’s that?
OLDER COP
Assistant DA.
YOUNG COP
Gonna be hard to keep the papers
away from the arraignment.
OLDER COP
What arraignment?
He’s matter of fact. The young cop reacts, looks towards the
PRIEST (GEOGHAN) sitting in the break room.
OLDER COP (O.C.) (CONT’D)
You can tell Father Geoghan it won’t
be much longer.
2 OMITTED 2
3 INT. POLICE STATION, INTERVIEW ROOM - MOMENTS LATER 3
A BISHOP, 50s, talks in hushed tones with SHEILA, 33. TWO
BOYS, 7 and 9, sit coloring.
BISHOP
Sheila, you know what good work the
church does in the community. I
give you my personal guarantee that
I’m going to take Father out of the
parish and this will never happen
again.
Burke enters, eyes Sheila nervously fingering ROSARY BEADS.
BISHOP (CONT’D)
We’ll just be another moment, Paul.
BURKE
Of course, Father.
The Bishop turns back to Sheila. Burke eyes the kids.
BISHOP (O.C.)
Now Sheila, I’m going to give you my
personal card...
11/26/14 3.
4 EXT. POLICE STATION - LATER 4
The Young Cop stands outside smoking. He watches as the
Bishop and Father Geoghan exit the police station and get
into a TOWN CAR, a DRIVER behind the wheel. As they drive
away, we HOLD ON the cop. PROCESSING.
FADE TO BLACK.
SPOTLIGHT
FADE IN:
Ratings
Scene 2 - Farewell and Frustration in the Newsroom
A large newsroom. REPORTERS and EDITORS gathered.
Boston, MA - July, 2001
DEPUTY MANAGING EDITOR BEN BRADLEE JR., 50s, gruff, stands in
front with an older reporter, STEWART, 60s. And a cake.
BEN
Losing good reporters, it’s tough.
And losing one of our best... well
to put it as eloquently as I can,
it’s a real kick in the ass.
A few polite chuckles from those in the crowd.
BEN (CONT’D)
But Robby’s known Stewart longer
than most of you have been alive so
I’m gonna turn it over to him.
Robby?
Ben looks to WALTER ‘ROBBY’ ROBINSON, 55, Boston Everyman.
ROBBY
Thanks, Ben. I think. And although
I take issue with the reference to
my seniority, I will say Stewart’s
departure is especially painful for
me. You see, for... what? 20 years
now, Stewart’s been more than
willing to part with his money at
the poker table...
(Laughter)
And I got a kid in college.
More laughter.
STEWART
Yeah, but I’m gonna keep playing.
11/26/14 4.
ROBBY
Problem solved. Godspeed, buddy.
Everyone’s laughing now. Robby connects in a warm, easy way.
ROBBY (CONT’D)
Now, Stewart, I find the timing of
your departure a bit disconcerting.
The corner office sits empty, the
new editor arrives on Monday, so
forgive me, buddy, but I gotta
ask... what the hell do you know?
The room hoots and laughs. Stewart covers his mouth. Speak
no evil. More laughter takes us to...
7 INT. GLOBE, HALL/STAIRWELL - LATER 7
SACHA PFEIFFER, 28, wholesome, no bullshit, and MATT CARROLL,
mid 40s, mustache, family man, walk down the hall, into a
stairwell and down a set of stairs, both carrying cake.
7A INT. GLOBE, HALL OUTSIDE SPOTLIGHT - MOMENTS LATER 7A
They emerge on the floor below, Sacha eating her cake.
MATT
How’s the cake?
SACHA
It’s really good. Saving yours?
MATT
Nah, it’s for Mike. I can never eat
at those things. They kind of
depress me.
SACHA
I know.
(taking a bite)
You see the numbers from Washington?
MATT
Yeah. Very interesting.
SACHA
I think so too.
They walk into --
8 INT. GLOBE, SPOTLIGHT OFFICE - CONTINUOUS 8
CRAMPED OFFICE. Small windows. MIKE REZENDES, late 30s,
good looks, so-so haircut, sits at his UNHOLY MESS of a desk.
11/26/14 5.
MIKE (INTO PHONE)
Uh huh. Uh huh. Uh huh. Dan, I
talked to my guy at Justice, I know
you guys have been dropping cases...
(then)
Look, Dan, I’m not asking if the
PD’s lying, I know they are. All
I’m asking is who’s behind it?
Matt sets the cake by Mike, sits at a desk full of FAMILY
PHOTOS. Sacha checks messages at a tidy desk, full of books.
MIKE (INTO PHONE) (CONT’D)
I get it. You don’t want to talk.
(listens)
I’m not mad, Dan, I’m hungry. We’ve
been talking so long, I missed
lunch. So I’m going to go eat,
which gives you an hour to decide if
you want to be on the right side of
this or read about it in the paper
like everyone else.
Mike hangs up the phone, digs into the cake.
SACHA
You think Cahill’s got something?
MIKE
Maybe, I just don’t think this
story’s for us.
MATT
Ben likes it.
MIKE
Yeah, it’s not bad, it’s just not
Spotlight.
Robby enters.
ROBBY
What’s just not Spotlight?
SACHA MIKE *
The PD numbers. The numbers story. It feels *
thin.
ROBBY (CONT’D)
Oh. You got Cahill to talk?
MIKE
(busted)
No. But I will.
11/26/14 6.
ROBBY
Good. Then we’ll know if it’s thin.
Robby goes into his office, bit of an edge to him.
MIKE
How’d it go upstairs?
MATT
Okay. Robby gave a good speech.
SACHA
I heard Lubin and Connor are going
to the Times.
MATTY MIKE
Come on, really? Yeah, I heard the same thing.
MATT
They’re leeching us.
MIKE
At least they’re sending us a guy
from Miami to run things. That
should help.
MATT
Has Baron even spent time in Boston?
MIKE
I don’t think he’s ever been here
before. Maybe we should buy him a
map.
SACHA
I have a friend down at the Herald,
said Baron cut 15% of the staff.
MATT
Great.
Mike rolls his chair back, calls out to Robby in his office.
MIKE
Hey Robby, the new boss coming in to
make cuts?
ROBBY
I have no idea.
MIKE
Aren’t you sitting down with him?
Robby looks up, fucking Rezendes, always snooping.
11/26/14 7.
ROBBY
Yes, I am.
MIKE
You think it’s about Spotlight?
ROBBY
I don’t know, Mike, but I do know
Ben needs an answer on the crime
numbers story.
MIKE
I’m telling you, I really don’t
think that story’s for us.
ROBBY
So you did get Cahill to talk then?
Mike, annoyed, wheels back to his desk, picks up his phone...
Ratings
Scene 3 - A Conversation on the Future of Journalism
Marty sits at a table reading “The Curse of the Bambino,” a
NOTEPAD beside him.
ROBBY
Mr. Baron.
Marty looks up and rises to greet Robby.
ROBBY (CONT’D)
Walter Robinson. Robby.
MARTY
Thanks for taking time out of your
weekend, Robby.
ROBBY
My pleasure.
(they sit)
What are you reading?
Marty holds up a book.
MARTY
‘The Curse of the Bambino.’
ROBBY
(sitting)
That’s a great book. The Globe has
season tickets at Fenway, once you
settle in.
11/26/14 8.
MARTY
Thank you. Uh, to be honest, I’m
not much of a baseball fan. I’m
just trying to get a feel for city.
Are you originally from Boston?
ROBBY
I am, born and raised. A lot of the
newsroom is from here. It really
feels like a local paper in that
way.
MARTY
And did that change at all after the
paper was sold to the Times?
ROBBY
No. I don’t think that had a big
impact.
MARTY
Good.
(then)
So, you’re an editor for, uh, the
Spotlight team?
ROBBY
I prefer to think of myself as more
of a player-coach. But yes. Are
you familiar with Spotlight?
MARTY
No. Not particularly.
ROBBY
Well, we’re a four person
investigative team. We report to
Ben Bradlee Jr. and we keep our work
confidential.
MARTY
What are you working on now?
ROBBY
We just put out a piece on this
shoddy construction outfit and right
now we’re trolling around for our
next story.
MARTY
How long does that typically take?
ROBBY
Hard to say. A couple of months.
11/26/14 9.
MARTY
A couple of months.
ROBBY
Yeah, we don’t like to rush it.
Once we settle on a project, we can
spend a year or more investigating
it.
Marty jots down some notes. Robby sees he’s writing a lot.
ROBBY (CONT’D)
Is that a concern?
MARTY
Not necessarily. Uh, but from what
I understand readership is down, the
Internet is cutting into the
Classified business and, uh, I
think, uh, I’m going to have to take
a hard look at things.
ROBBY
So you anticipate more cuts?
MARTY
I would assume so, yes, but what I’m
more focused on right now is finding
a way to make this paper essential
to its readers.
ROBBY
I’d like to think it already is.
MARTY
Fair enough. I just think we can do
better.
Off Robby --
Ratings
Scene 4 - New Beginnings in the Newsroom
The front of the Globe. Marty gets out of a cab, shuts the
door. He walks inside.
13 INT. GLOBE, NEWSROOM - DAY 13
Ben strides across the newsroom. Robby falls in.
ROBBY
Mr. Bradlee.
11/26/14 10.
BEN
Hey. Saw the email on the PD
numbers. Looks interesting.
ROBBY
Yeah. There’s something there.
BEN
How much longer you need?
ROBBY
Another week.
BEN
(realizing)
Where are you going?
ROBBY
To the 10:30.
BEN
You? Since when?
ROBBY
Technically, I am an editor.
BEN
Technically. Your sit-down with
Baron go that well?
ROBBY
I couldn’t get a read on him.
BEN
That’s a first.
ROBBY
How ‘bout you?
BEN
(shrugs)
He’s a barrel of laughs.
14 INT. GLOBE, LARGE CONFERENCE ROOM - LATER 14
Editors around a horseshoe table, side seats filled. It’s
QUIET, nervous eyes on Marty, who reads some notes. Ben and
editor HELEN DONOVAN, 50s, to either side. Robby sits off to
the side, WATCHING.
HELEN DONOVAN
Morning everyone. Let’s get started.
Do you want to say something, Marty?
11/26/14 11.
MARTY
Uh, sure.
(to the group)
Hello. As most of you know by now,
my name is Marty Baron, I’m
delighted to be here. If you can
tell me your name as we go around,
that would be helpful.
Marty looks back to his notes.
HELEN DONONVAN
Okay. Peter?
Ben nods to METRO EDITOR PETER CANELLOS, 40s.
CANELLOS
Peter Canellos, Metro. We’ve got a
major Big Dig closure that’s just
been scheduled for early August...
Marty makes notes. Off Ben and Robby, trading a look.
15 INT. GLOBE, NEWSROOM - LATER 15
Mike, cuppa coffee, walks over to STEVE KURKJIAN’s desk. 60s.
MIKE
Hey Steve. Crappy game last night.
KURKJIAN
They can’t hit worth a nickle.
Mike looks toward the conference room of editors.
MIKE
What’s Eileen McNamara doing in the
10:30?
KURKJIAN
Do you need something, Mike?
MIKE
No. Just curious.
KURKJIAN
I got work to do. Go be curious
somewhere else, will you?
Ratings
Scene 5 - From Banter to Burden: The Church's Shadow
The meeting is wrapping up.
11/26/14 12.
SPORTS EDITOR
...and it looks like Pedro’s gonna
be out until September 1st. Jimmy
says he’ll be back this year, but
the doc didn’t seem so sure.
BEN
When’s the Pats opener?
Laughter. Except Marty.
MARTY
Is that everyone?
HELEN
Yes, that’s it.
MARTY
Great, thank you. Uh, did everyone
read Eileen McNamara’s column this
weekend?
The room reacts. Huh? Editors look at EILEEN MCNAMARA, 50s.
HELEN
That’s the Geoghan case?
MARTY
Yes, what’s the folo on that?
BEN
It’s a column, what kind of folo
were you thinking?
MARTY
Well, apparently this priest
molested kids in six different
parishes over the last thirty years
and the attorney for the victims,
Mr...
EILEEN
Garabedian.
MARTY
Thanks, Eileen. Mr. Garabedian says
Cardinal Law found out about it
fifteen years ago and did nothing.
CANELLOS
I think that attorney’s a bit of a
crank. And the Church dismissed the
claim.
11/26/14 13.
EILEEN
He said, she said.
MARTY
Whether Mr. Garabedian is a crank or
not, he says he has documents that
prove the Cardinal knew.
BEN
As I understand it, those documents
are under seal.
Silence. No one knows what to do. Robby watches.
MARTY
Okay, but the fact remains, we have
a Boston priest abused 80 kids,
we’ve got a lawyer who says he has
proof Law knew about it, and we’ve
written all of...
(checking his notes)
...two stories on this in the last
six months?
(then)
This strikes me as an essential
story for a local paper. At the
very least, we should be going after
those documents.
CANELLOS
How would you like to do that?
MARTY
Well, I don’t know what the laws are
here, but in Florida we would go to
court.
Robby raises an eyebrow. In fact, the whole room does.
BEN
You want to sue the church?
MARTY
Technically we wouldn’t sue the
Church. We would file a motion to
lift the seal on those documents.
BEN
The church will read that as us
suing them. So will everybody else.
MARTY
Good to know.
11/26/14 14.
Off Robby, intrigued --
Ratings
Scene 6 - Investigating the Shadows
Ben and Robby walk into Ben’s office.
ROBBY
Gutsy call for the first day.
BEN
That’s one word for it.
ROBBY
How do you think it’s gonna play
down front?
BEN
I think Gilman’s gonna shit a brick.
Knock. Knock. Mike’s at the door.
MIKE
Hey.
BEN
Door.
Mike shuts the door, looks at Robby.
MIKE
How’d it go?
ROBBY
Baron wants to sue for the sealed
docs in the Geoghan case.
MIKE
He wants to sue the church? That’s
great.
BEN
We covered Geoghan when the story
broke three years ago. Baron was
still in Miami.
ROBBY
(needling Ben)
I think he was at the Times then.
BEN
He wasn’t here.
MIKE
You think the suit has a chance?
11/26/14 15.
ROBBY
Depends on the judge.
BEN
And what parish he belongs to.
Ben’s phone RINGS. Ben picks it up.
BEN (CONT’D)
Bradlee. Yeah. Okay.
(hanging up, to Robby)
Baron wants to talk to us.
ROBBY
Us?
Off Robby, surprised --
18 INT. GLOBE, MARTY’S OFFICE - MOMENTS LATER 18
Ben and Robby enter. Marty’s on the phone.
MARTY (INTO PHONE)
Okay, thank you. Yes. Okay, thanks.
Marty hangs up as they sit.
MARTY (CONT’D)
I set up a meeting for tomorrow with
outside counsel...
BEN
Jon Albano?
MARTY
Yeah.
BEN
Who’s the Judge on this case?
MARTY
Uh, Constance Sweeney.
BEN
Tough.
MARTY
Why’s that?
BEN
Good Catholic girl.
Marty pushes on.
11/26/14 16.
MARTY
Judging from what I’ve read, it
doesn’t seem like we’ve done a
thorough investigation of the
Geoghan case. Is that right?
BEN
No it’s not. We looked hard at
Geoghan. David Armstrong for Metro
and Michael Paulson for Religion.
Marty isn’t impressed.
MARTY
Okay, but, uh, just so I understand,
beyond our daily coverage, we
haven’t committed any long term
investigative resources to the
question of whether or not Cardinal
Law knew about this?
BEN
No, we haven’t.
MARTY
(to Robby)
And that’s the kind of thing your
team does?
ROBBY
Spotlight? Well, yeah, but we’re
still prospecting the Boston PD
story I told you about.
MARTY
Could you set it aside?
ROBBY
We could.
BEN
Marty, in the past, Spotlight has
had success in large part because
they pick their own projects.
MARTY
Would you consider picking this one?
Ratings
Scene 7 - Prioritizing the Geoghan Case
Mike, Sacha, Matt all working. Sacha on the phone.
11/26/14 17.
SACHA (INTO PHONE)
I don’t know if he’s writing about
you but I will let him know you
called. Okay. Bye.
Sacha hangs up as Robby enters.
MIKE
Hey, how’d it go?
ROBBY
Okay. Baron wants us to scrub the
Geoghan case.
MIKE
That’s great. MATTY
Didn’t we cover Geoghan?
ROBBY (CONT’D)
There’s a lawyer alleging Cardinal
Law knew about it.
SACHA
Mitch Garabedian, right? I covered
him at the courthouse.
ROBBY
Can you get to him?
SACHA
I only interviewed him once. He’s
kind of a character.
MIKE
I like characters. I’ll take him.
ROBBY
He’s yours. Also, we should talk to
the lawyer who repped the victims in
the Porter case. Eric MacLeish.
MATT
That guy was always on TV.
SACHA
The Porter case? Remind me?
MIKE
Father Porter, similar story,
molested dozens of kids in Fall
River about ten years ago.
MATT
So we’re dropping the Boston PD?
11/26/14 18.
MIKE
I vote yes.
ROBBY
No, we’re just setting it aside for
now. I don’t need to tell you guys,
we need to be more discreet than
usual. Everybody’s gonna be
interested in this, not just the
Herald. I don’t want the Chancery
getting wind of this before we know
what we have.
MATT
Good luck with that.
They reach for phones and computers, Robby leaves them to it.
Ratings
Scene 8 - Dinner Conversations and Legal Challenges
The quiet street dips down, disappearing into the harbour.
Sacha and Hansi get out of their car, cross the street.
21 INT. SACHA’S GRANDMOTHER’S HOUSE, DINING ROOM - NIGHT 21
A cozy dining room. Sacha, her GRANDMOTHER and her husband
HANSI finish dinner. Sacha’s grandmother wears a gold cross.
SACHA
When are you leaving, Nana?
NANA
The bus is picking us up in the
church parking lot at nine o’clock.
We have forty people going.
SACHA
Is Father Dominic going?
NANA
No. He said, he’s very unlucky. But
luck has nothing to do with it.
Hansi can’t help but smile.
SACHA
Nana won a hundred and sixty dollars
last time.
HANSI
Wow.
11/26/14 19.
22 INT. SACHA’S GRANDMOTHER’S HOUSE, KITCHEN - NIGHT 22
Hansi and Sacha wash dishes. They talk quietly.
HANSI
You gonna tell her?
SACHA
We don’t even know if there’s a
story yet.
HANSI
“Globe sues church?” There’s gonna
be a story.
Sacha continues rinsing, glances at the small, porcelain
Virgin Mary on the window sill above the sink.
23 INT. GLOBE, LARGE PUBLISHER’S FOYER - DAY 23
Marty ascends a large, open air staircase in the upscale
business side of the building. He steps off, heads down the
hall then stops, looks around. Lost in his own building.
A YOUNG EMPLOYEE walks past.
MARTY
Excuse me, do you know where the
Publisher’s office is?
The employee points. Marty heads that direction.
24 INT. GLOBE, PUBLISHER’S OFFICE - DAY 24
RICHARD GILMAN, 50s, Brooks Brothers suit, finishes a call.
Marty is sitting on a couch in large, plush office opposite.
GILMAN (INTO PHONE)
Thanks, Tom. Will do.
(hangs up, to Marty)
How are you, Marty? Settling in?
MARTY
Yes, I think so.
GILMAN
Good. What can I do for you?
MARTY
I’d like to challenge the protective
order in the Geoghan case.
GILMAN
You want to sue the Catholic Church?
11/26/14 20.
MARTY
We’re just filing a motion. But yes.
GILMAN
You think it’s that important?
MARTY
Yes. I do.
GILMAN
Because, obviously, the Church will
fight us very hard on this. Which
won’t go unnoticed by our subscriber
base. 53% of them are Catholic.
MARTY
Uh, I think they’ll be interested.
Gilman considers for a long moment, looks unsettled.
GILMAN
Okay.
Marty nods, gets up to go.
GILMAN (CONT’D)
Marty? Lake Street will probably
contact you about a face to face
with the Cardinal. It’s customary.
MARTY
They already have. It’s set up for
next week.
GILMAN
I wouldn’t mention this.
Ratings
Scene 9 - Uncovering the Truth
Matt walks down a row of cubicles, disappears down a spiral
staircase.
24B INT. BOSTON GLOBE LIBRARY - CONTINUOUS 24B
Matt descends the staircase and arrives at the front desk.
MATT
Hey Lisa. Could you pull all the
relevant clips on that for me?
He hands her a sheet of paper. She looks at it. Reacts.
LISA
Yeah. This is for Spotlight?
11/26/14 21.
MATT
Just drop them off when they’re
ready, thanks.
Matt walks off.
25 INT. MITCHELL GARABEDIAN’S OFFICE - DAY 25
Mike steps off an elevator and into a DUMP of an office. He
eyes a small reception desk covered with FILE BOXES.
MIKE
Hello. Hello?
Mike peeks through an open door... a small office, crammed
FLOOR TO CEILING with BOXES, each with GEOGHAN written on it.
PARALEGAL
Can I help you?
Mike turns. A PARALEGAL pokes her head out of a cubicle.
MIKE
Oh. Hi. I’m Mike Rezendes from the
Boston Globe. I’m here to see
Mitchell Garabedian.
PARALEGAL
He’s on a call. Please have a seat.
Mike grabs a seat, checks his watch. He hears YELLING coming
from behind a closed door. Garabedian?
26 INT. ONE INTERNATIONAL PLACE, LOBBY - DAY 26
Robby and Sacha stride across an enormous, marble and stone
lobby, a STARK CONTRAST to Garabedian’s digs.
27 OMITTED 27
28 INT. GREENBERG TRAURIG, CONFERENCE ROOM - DAY 28
ERIC MACLEISH, 40s, good looks, quick with a story and a
smile, walks into the posh room, finds Sacha and Robby.
ERIC MACLEISH
The famous Walter Robinson in my
conference room.
MacLeish and Robby shake hands.
11/26/14 22.
ROBBY
Good to see you again, Eric. Sacha
Pfeiffer, Eric MacLeish.
ERIC MACLEISH
Nice to meet you. Do you play golf?
SACHA
(caught off guard)
Uh, no.
ERIC MACLEISH
Good. Your colleague took some money
off me at a charity event last year.
ROBBY
Lucky putt. I actually had my eyes
closed.
MacLeish smiles. Chummy.
ERIC MACLEISH
So, how can I help you?
ROBBY
You’re familiar with the Geoghan
case?
ERIC MACLEISH
Sure. Eighty plaintiffs. All
individual cases, Garabedian must be
swimming.
ROBBY
And the allegations against Cardinal
Law?
MacLeish considers the question.
ERIC MACLEISH
Look, it’s tricky. You need to
understand these are shitty cases.
The statute of limitations is only 3
years and most of these victims
don’t come forward until long after
that.
SACHA
Why is that?
11/26/14 23.
ERIC MACLEISH
They’re kids. Shame. Guilt. And
they come from tough neighborhoods,
nobody wants to admit this kind of
thing. So you’re screwed on the
time limit and even if you argue
your way around that, the charitable
immunity statute caps damages at
twenty grand.
SACHA
Twenty grand for molesting a child?
ERIC MACLEISH
That’s the way the system works.
The Church is tough. So your best
shot is to try these cases in the
press like I did on Porter. But
most victims want nothing to do with
being on TV. And Mitch isn’t
exactly a people person.
ROBBY
So if Garabedian can’t get these
victims to talk to the press...
ERIC MACLEISH
Then he has a long road ahead of
him. My guess? He doesn’t have
anything on Law.
SACHA
You think he’s bluffing?
ERIC MACLEISH
I think he’s grandstanding to cut a
better deal.
ROBBY
Seems a bit reckless.
ERIC MACLEISH
Have you met Mitch Garabedian?
Ratings
Scene 10 - The Reluctant Advocate
Mike, still waiting, checks his watch. He hears more YELLING
behind the door. Suddenly the door opens. A SHORT MAN exits.
Mike looks at the paralegal, points: “Is that him?” She
shakes her head, walks off screen. Mike watches her go.
Then, impatient, he stands, walks into --
11/26/14 24.
30 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM - CONTINUOUS 30
A small boardroom. MITCHELL GARABEDIAN, thin, 50s, sits at a
table buried in paperwork. He’s abrasive, to say the least.
MIKE
Hi.
GARABEDIAN
Who are you?
MIKE
Mike Rezendes from the Boston Globe.
I had an appointment with you about
an hour ago.
GARABEDIAN
I can’t talk to you, I’m very busy.
(calling to reception)
Sharon?!
MIKE
Sharon went out for coffee, she said
she’d be right back, I’m following
up on an article...
GARABEDIAN
The one in the Phoenix?
MIKE
No. In the Globe.
GARABEDIAN
Did you see the one in the Phoenix?
MIKE
No, I didn’t.
GARABEDIAN
I thought it was very good. I have a
copy here somewhere.
He starts to dig through the heap of papers.
MIKE
That’s okay. I’ll track it down. I’m
actually following up on a column
that Eileen McNamara wrote for the
Globe about your suit.
GARABEDIAN
Suits. There are eighty-four of
them, it’s not a class action. You
should get your facts straight.
11/26/14 25.
True to word. Garabedian is a bit of crank.
MIKE
You’re right. I should. I’m just
trying to get some background
information on the Geoghan case...
GARABEDIAN
You’re not recording this are you?
MIKE
No, I wouldn’t do that without
asking.
GARABEDIAN
(brusque)
I can’t show you the Church
documents if that’s what you’re
after, they’re under seal.
MIKE
I know that.
GARABEDIAN
Do you know they’ve tried to bring
me before the Massachusetts Board of
Bar Overseers three times? They’re
watching me very closely.
MIKE
The Church?
GARABEDIAN
Yes, the Church. They’d like to get
me disbarred. In fact, put that
away.
(off Mike’s pad)
Put it away! I don’t want you
recording this in any way, shape or
form. Not on paper, not on tape,
nothing. In fact, I probably
shouldn’t even be speaking to you.
MIKE
Look, Mr. Garabedian, I know there
are things you can’t tell me. But I
also know that there’s a story here.
And I think it’s an important story.
GARABEDIAN
I already talked to the Phoenix.
11/26/14 26.
MIKE
Yeah, and there’s a reason I didn’t
see it, nobody reads the Phoenix
anymore. They’re broke, they don’t
have any power. The Globe does.
And if we cover this story,
everybody will hear about it.
GARABEDIAN
The Church thinks in centuries, Mr.
Rezendes. You think your paper has
the resources to take that on?
MIKE
Yeah, I do. But if you don’t mind
me asking, do you?
Mike’s question is non-threatening, but Garabedian reacts.
He stands, walking Mike to the door...
GARABEDIAN
I don’t have the time to talk to
you, Mr. Rezendes, I’m very busy.
(calling out)
Sharon!
But before he can push Mike out the door, Mike turns back --
MIKE
Can I at least talk to some of your
clients? The victims? I’d like to
do that.
GARABEDIAN
Call me tomorrow. I need to think
about it.
Ratings
Scene 11 - Uncovering the Past
A Button is pushed, CONTROL PANEL lights up.
A rotating library clip file comes to stop.
A few old newspaper clips are pulled.
A folder from the LARGE PHOTO clip file is pulled.
A Nexis search on a computer screen.
A Micro Fiche search on another screen.
A PRINTER spits out the Micro Fiche article.
11/26/14 27.
The PRINT OUT out is added to a STACK OF ARTICLES and dropped
into a file marked Porter.
32 INT. GLOBE, HALLWAY - LATER 32
CLOSE ON the same file. Moving.
REVEAL the folder is now one of many on a METAL CART that an
intern (WANDA) wheels down the hall.
33 INT. GLOBE, SPOTLIGHT OFFICE - LATER 33
A desk covered with old newspaper clips, Matt and Sacha read.
A knock... Wanda in the door. With the metal cart.
WANDA
I got more clips from the library.
MATT
Leave ‘em right there.
Wanda the intern unloads them beside Matt’s desk.
WANDA
You guys doing a story on the
Church?
MATT
No. We are not doing a story on the
Church.
Wanda blanches, leaves. Robby pours some coffee.
SACHA
Matt, you find anything on this guy
Phil Saviano?
MATT
No. Who is he?
SACHA
He’s part of a victims’
organization. Kurkjian ran a story
on him just after the Porter case.
ROBBY
There’s a victims’ organization?
SACHA
Yeah, it’s called SNAP, Survivors
Network of those Abused by Priests.
MATT
Crummy acronym.
11/26/14 28.
SACHA
You want me to track him down?
ROBBY
Yeah. Bring him in. How much longer
do you need to get through the
clips?
SACHA
A few days. There’s a lot and
Lisa’s still sending stuff up. Most
of it is on Porter.
MATT
Hey guys... I think I got another
priest.
Robby and Sacha turn. Matt stares down at a clip.
MATT (CONT’D)
Liam Barrett. Molested some kids in
Philly then was moved to Boston, did
the same thing then was moved again.
SACHA
Really? Sounds like Geoghan.
ROBBY
Is that one of our clips?
MATT
Yeah. Byline’s Diego Ribadeneira,
1997. Must’ve been back when he was
working religion.
ROBBY
Was there any folo?
MATT
Not much. One short piece. Looks
like the Church settled the case.
(then)
Don’t you know Jim Sullivan?
ROBBY
Yeah, why?
MATT
Looks like the Church brought him in
to help out.
Matt shows Robby the clip. Robby reads, surprised.
11/26/14 29.
Ratings
Scene 12 - Tensions at Fenway: The Investigation Debate
Establishing. From up above, a game in progress.
34A INT. FENWAY PARK - NIGHT 34A
Mike and Matt sit with Ben and Steve Kurkjian at the game. A
called third strike and the crowd groans.
BEN
Jesus. Has anybody but Manny gotten
the ball out of the infield?
Matt, who’s been scoring the game, checks.
MATT
Nope.
MIKE
I don’t know why you bother with
that thing.
MATT
It distracts me from the game.
KURKJIAN
Know what else is good for that?
Kurkjian holds up an empty beer cup. Matt stands.
MATT
Good idea. My round. I’ll be back.
Anybody want food?
MIKE
Hot dog.
Matt heads off. Ben grabs some peanuts, turns to Mike.
BEN
You guys making any progress?
MIKE
Absolutely. It’s a good story.
BEN
Why? Cause you’re another lapsed
Catholic pissed off at the Church?
MIKE
We’ve got some good stuff.
BEN
Like what?
11/26/14 30.
Mike glances over at Kurkjian.
KURKJIAN
I’m just watching the game. Omerta.
MIKE
We got another priest, Liam Barrett.
KURKJIAN
We reported on him.
(off Mike’s look)
We did, I’m just saying.
MIKE
Okay, but the guy was shuffled from
parish to parish every few years,
just like Geoghan and Porter. I
think there’s a pattern.
Ben looks at Kurkjian, who’s not impressed.
BEN
Sounds thin. What else you got?
MIKE
Sacha found this guy from a victims’
organization, Phil Saviano.
KURKJIAN
From SNAP? Oh boy. We reported on
him too.
MIKE
I thought you were watching the
game, Steve?
KURKJIAN
That guy’s pretty banged up, Mike.
BEN
We ran a couple stories on him, the
guy would not stop writing letters.
KURKJIAN
He wants a holy war.
MIKE
So he’s not worth taking to?
BEN
Where are you on Garabedian?
MIKE
I’m working on it.
11/26/14 31.
BEN
Robby said MacLeish thinks he’s
bluffing.
MIKE
I think there’s something there,
Ben.
BEN
Get me something solid or I'm taking
you off it. I don’t want us chasing
our tails on this.
Off Mike --
Ratings
Scene 13 - Teeing Off Tensions
JIM SULLIVAN, 50s, lines up a tee shot. Smacks it. ROBBY
and TWO OTHER GOLFERS watch as Jim talks to his ball...
JIM
Stay away from that trap.
ROBBY
You couldn’t reach that trap in a
million years, partner.
One of the other golfers (PAUL) tees up his ball.
JIM
I’ve reached that trap before.
ROBBY
Yeah. Now Paul, maybe.
The group laughs.
38 EXT. WOLLASTON GOLF CLUB, 8TH HOLE FAIRWAY - DAY 38
Robby and Jim walk down the fairway. Robby checks the card.
JIM
How we doing?
ROBBY
We’re good. We’re two up.
JIM
Good.
(then)
How’s the new editor working out?
11/26/14 32.
ROBBY
Well, he doesn’t like baseball. But
he seems like a smart guy.
JIM
Yeah, I just read an article about
him. Said he’s the first Jewish
editor at the Globe.
ROBBY
Must have been a slow news day.
JIM
He got a family?
ROBBY
No, he’s not married.
JIM
Divorced?
ROBBY
Don’t think so.
JIM
So the new editor of the Boston
Globe is an unmarried man of the
Jewish faith who hates baseball?
Robby half smiles, shrugs.
JIM (CONT’D)
They should have given it to Ben.
He’s a Bradlee for crying out loud.
ROBBY
He didn’t raise his hand fast
enough.
(then)
By the way, I was reading about this
priest, Father Barrett. Said you
were involved in the case.
Jim reacts, surprised.
JIM
Barrett, yeah. Bad egg. Lake
Street asked for help, I pitched in.
ROBBY
The victim said Cardinal Law knew
about Barrett when he came from
Philly.
11/26/14 33.
JIM
You know I can’t talk about the
case, Robby.
ROBBY
Off the record?
JIM
Off the record, I can’t talk about
it. Is this related to the lawsuit?
Now Robby hides his surprise. He stops.
ROBBY
You heard about that?
JIM
Look, I don’t know this guy Baron or
what his agenda is and frankly I
don’t care, I just don’t want you
taking a bullet for him.
Jim heads off toward his ball. Off Robby, processing.
Ratings
Scene 14 - Uneasy Conversations
Robby gets in. She pulls off.
BARBARA
How’d you play?
ROBBY
Not too bad. Shoulda left my putter
at home.
BARBARA
How’s Jimmy?
ROBBY
Good. He brought up the suit.
BARBARA
Really? What’d he say?
ROBBY
He was thrilled about it.
BARBARA
It’s not a surprise, Robby. The
Church does a lot a good in this
town.
Robby nods, but something about that doesn’t sit right.
11/26/14 34.
40 EXT. MATT CARROLL’S HOUSE, WEST ROXBURY - SUNDAY MORNING 40
Matt, in coat and tie, shepherds his family out the door and
into a minivan. His wife and daughter wear DRESSES, his sons
are in BLUE BLAZERS and KHAKIS -- clearly en route to church.
PRIEST (PRELAP)
The other day I was on the world
wide web. Anything you want to
know. It’s right there.
41 INT. CHURCH, SOUTHIE - DAY 41
Sunday mass. Full house. A PRIEST mid homily. In back, FIND
Sacha, her husband, HANSI, and her GRANDMOTHER.
PRIEST
Now as a priest, I admit, this makes
me a little nervous. Should I be
worried about job security?
Sacha watches her grandmother laugh with the congregation.
42 EXT. CHURCH/INT. DINER, SOUTH BOSTON - DAY 42
CONGREGANTS milling outside a church.
PRIEST (O.C.)
I don’t think so. You see knowledge
is one thing. But faith is another.
FIND Marty, sitting in a diner across the street, eating
breakfast and reading. He glances at the church.
42A EXT. OLD HARBOR, DORCHESTER - DAY 42A
Mike, in running gear, runs along the water.
43 OMITTED 43
44 INT. GLOBE, NEWSROOM - LATER 44
Mike walks through the mostly empty newsroom.
45 INT. GLOBE, SPOTLIGHT OFFICE - DAY 45
Mike walks in, grabs a gym bag by his desk, pulls out a towel
when he spots... Robby. Sitting in his office. Working.
Ratings
Scene 15 - Determined Pursuit
Robby’s looking over some of the clips Matt pulled.
11/26/14 35.
MIKE
Hey. Shouldn’t you be golfing?
Robby looks up. Mike’s in the door, towel around his neck.
ROBBY
Golfing’s not a verb. And I
couldn’t get a tee time today.
MIKE
Is that what they call it? A tee
time?
ROBBY
They also call it a leisure
activity. You should try it, Mike.
MIKE
I run.
ROBBY
You run to work.
Mike shrugs, true. He eyes the clips on Robby’s desk.
MIKE
So what are you doing here today?
ROBBY
Looking at clips. On Saviano.
MIKE
Ben and Steve think he’s a dead end.
They gave me a bunch of crap about
it at the game.
ROBBY
Yeah, Ben emailed me.
MIKE
He did?
ROBBY
Yeah. He said we should let it go.
MIKE
What do you wanna do?
ROBBY
Bring Saviano in.
MIKE
So just ignore those guys?
11/26/14 36.
ROBBY
I think we have to start ignoring
everybody on this one.
MIKE
I’m good with that.
(then)
You think Baron has any idea what’s
coming down the Pike?
ROBBY
No. I don’t think he cares either.
MIKE
That’s refreshing.
ROBBY
Yeah. Unless he’s wrong.
Mike registers this.
Ratings
Scene 16 - A Tense Exchange at the Mansion
An Audi A4 pulls up in a large parking lot. Marty gets out,
looks up at the Cardinal’s MASSIVE LAKE STREET MANSION.
CARDINAL LAW (PRELAP)
I’ve always been fascinated with the
newspaper business.
48 INT. LAKE STREET, CARDINAL LAW’S PRIVATE STUDY - DAY 48
Mahogany bookshelves, leather furniture. CARDINAL LAW,
large, 50s, wears a collar and sits across from Marty.
CARDINAL LAW
I used to sit in on lectures with
the Nieman fellows when I was at
Harvard.
MARTY
I, uh, read you were an editor once.
Law chuckles.
CARDINAL LAW
Yes. A very long time ago. The
Mississippi Register. Small,
diocesan newspaper, but for a 30-
year-old pastor it was a big
responsibility. Too much at times.
MARTY
How so?
11/26/14 37.
CARDINAL LAW
I was close with the Evers brothers,
we took a stand on civil rights.
Our readership was not pleased.
They saw me as a meddling outsider.
MARTY
I can imagine.
CARDINAL LAW
Tough seat to sit in, especially in
a small town. I think you’ll find
Boston’s a small town too, Marty, in
many ways. But if I can be of any
help, don’t hesitate to ask. I find
that this city flourishes when its
great institutions work together.
MARTY
Uh, thank you. Personally I’m of
the opinion that for the paper to
best perform its function it needs
to, uh, stand alone.
Law reacts, surprised -- the rebuff almost feels unwarranted.
CARDINAL LAW
Of course, but my offer stands.
A KNOCK on the door.
CARDINAL LAW (CONT’D)
Come in.
A SECRETARY slips in with a WRAPPED GIFT.
CARDINAL LAW (CONT’D)
Oh. Thank you, Maureen. A little
gift, Marty. Think of it as A
Cardinal’s guide to Boston.
Law hands the gift to Marty. Who looks at it. Bemused.
49 INT. MARTY’S CAR (PARKED), LAKE STREET - LATER 49
Marty gets into to his car. He sits, unwraps the gift. A
thick book, THE CATECHISM OF THE CATHOLIC CHURCH. Off Marty--
49A INT. GLOBE, LOBBY - DAY 49A
A MAN (SAVIANO) carrying a LARGE BOX walks up to reception.
SAVIANO
I’m here to see Sacha Pfeiffer?
11/26/14 38.
GUARD
Name?
SAVIANO
Phil Saviano.
GUARD
Okay, just a minute.
The guard picks up the phone, calls upstairs.
Ratings
Scene 17 - Confronting the Past
The entire team sits in Robby’s small sitting area facing
PHIL SAVIANO. Phil is mid-40s, thin and twitchy. He’s got a
medium sized BOX in front if him. He rifles through some
papers on his lap.
SAVIANO
So am I the first survivor you’ve
talked to?
ROBBY
Yes, Phil. You are.
SAVIANO
Okay, well, first of all, let me say
thank you for having me in today. I
want you to know that you have the
full cooperation of my organization,
SNAP.
SACHA
How many members are there in your
organization, Phil?
SAVIANO
We had eleven at our last chapter
meeting. No ten. Karen just moved.
ROBBY
There was a woman in your group?
SAVIANO
Of course there was a woman. They
don’t discriminate, not when it
comes to abuse. And this has
nothing to do with being gay. What
this is, is priests using the collar
to rape kids. Kids. Boys and girls.
He reaches into a file, pulls a PHOTO of himself as a kid.
11/26/14 39.
SAVIANO (CONT’D)
I was eleven. I was preyed upon by
Father David Holley in Worcester.
And I don’t mean prayed for. I mean
preyed upon. Are any of you
Catholic?
The whole team looks at each other. Good question.
MATT
I was raised Catholic but now I go
to my wife’s Presbyterian church.
SACHA
I’m lapsed but I go to church with
my grandmother sometimes.
ROBBY
It’s safe to say we were all raised
Catholic but now...
MIKE
Not so much.
SAVIANO
Okay. Well, let me tell you, when
you’re a poor kid from a poor
family, religion counts for a lot.
And when a priest pays attention to
you it’s a big deal. He asks you to
collect the hymnals or take out the
trash, you feel special. It’s like
God asking for help. And maybe it’s
a little weird when he tells you a
dirty joke but now you got a secret
together so you go along. Then he
shows you a porno mag, and you go
along. And you go along, and you go
along, until one day he asks you to
jerk him off or give him a blow job.
And so you go along with that too.
Because you feel trapped. Because
he has groomed you. How do you say
no to God, right?
This lands.
SAVIANO (CONT’D)
See, it’s important to understand
that this is not just physical
abuse, it’s spiritual abuse too.
When priest does this to you, he
robs you of your faith.
(MORE)
11/26/14 40.
SAVIANO (CONT’D)
So you reach for the bottle or the
needle or if those don’t work, you
jump off a bridge. That’s why we
call ourselves survivors.
The team stares, gobsmacked. Phil pulls a book from the box.
SAVIANO (CONT’D)
Have you read Jason Berry’s book?
He wrote about the Gauthe case in
Louisiana?
ROBBY SACHA
We’re not familiar. That’s G-U...
SAVIANO (CONT’D)
G-A-U-T-H-E. And talk to Richard
Sipe. He worked in one of the
Church’s ‘treatment’ centers, he’s
an ex-priest, married a nun.
(pulling out a file)
Here, this is his testimony from the
Kos case.
SACHA
Phil, what’s a treatment center?
SAVIANO
It’s where they send priests when
they get caught. This is all right
here in the box, I sent it all to
you guys five years ago.
ROBBY
To the Globe? Who’d you send it to?
SAVIANO
I don’t wanna say who, but they said
they weren’t interested.
MATT
But Phil, we did run a couple of
stories on you. I saw them in the
clips.
SAVIANO
Yeah but to be completely frank, it
wasn’t enough!
Robby and Mike trade a look as Phil takes a PACKET out of the
box overflowing with tattered clips, articles and data CDs.
11/26/14 41.
SAVIANO (CONT’D)
You guys gotta understand, this is
big. It’s not just Boston, it’s the
whole country, the whole world. And
it goes right up to the Vatican.
MIKE
Do you have any proof of that, Phil?
SAVIANO
No, not yet, but think about it,
there are so many of them, how else
could they have hidden it for so
long?
MIKE
So many what?
SAVIANO
Priests! I know of thirteen right
here in Boston.
ROBBY
You know of thirteen priests who
have molested children in Boston?
SAVIANO
Yeah. Why do you keep repeating
everything I say?
ROBBY
I just like to clarify things.
SAVIANO
Maybe you should have clarified it
five years ago when I sent you all
this stuff! It’s all right here.
Phil’s sudden anger catches the room off guard. He stares at
the box, tries to pull himself together.
SAVIANO (CONT’D)
May I use your bathroom?
MATT
Yeah. Sure, Phil. Come on.
Matt leads Phil out. A beat. Mike quickly starts shuffling
through the packet.
SACHA
What do you think?
11/26/14 42.
ROBBY
He’s got an agenda, that’s for sure.
MIKE SACHA
You think? He’s obviously been through a
lot.
SACHA
But he’s smart and if he’s right
about thirteen priests...
ROBBY
Might be a big ‘if’ with this guy.
(then to Sacha)
Run background on him and follow up
with some of the other survivors in
his group.
MIKE
I’ll track down this ex-priest Sipe.
ROBBY
Okay. But stay on Garabedian,
that’s more important.
MIKE
Garabedian’s a pain in the ass.
ROBBY
You can be a pain in the ass,
Michael.
Ratings
Scene 18 - A Tenuous Agreement
Garabedian walks down State Street. Mike falls in with him.
MIKE
Mitch, what a surprise. How are you?
GARABEDIAN
I’m fine, Mr. Rezendes.
The light changes and Garabedian walks. Mike tags along.
MIKE
Good. You know, I never heard back
from you. I left you a couple
messages.
GARABEDIAN
I’ve been very busy. I don’t have
time for calls.
11/26/14 43.
MIKE
Jeez, I’m sure you don’t. Listen,
Mitch, lemme talk to a couple of
your victims... You can sit in on
the interview, if you’re not happy
you can kill it.
GARABEDIAN
I spoke to my clients, they don’t
want to be in the press. I’m sorry.
Garabedian walks into --
53 INT. GARABEDIAN’S BUILDING, LOBBY - CONTINUOUS 53
A shitty lobby, Mike follows Mitch in, continues --
MIKE
I get that but I don’t need to name
names, Mitch.
GARABEDIAN
I don’t believe you, Mr. Rezendes.
Mitch walks to the elevator, presses the button.
MIKE
Yeah, I’m sure you don’t.
GARABEDIAN
I don’t.
The elevator opens. Mitch walks on. Mike follows him into --
54 INT. GARABEDIAN’S BUILDING, ELEVATOR - CONTINUOUS 54
The doors close. It’s cramped, but Mike keeps going.
MIKE
Listen, Mitch, I’m not writing a
profile here. I’m working on
something bigger.
GARABEDIAN
Bigger, what does that mean?
MIKE
I’m not supposed to tell you this,
but I’m digging around for
Spotlight.
This registers with Mitch.
11/26/14 44.
GARABEDIAN
Spotlight’s on this?
MIKE
Yeah, we’re looking into it. But I
need some help, Mitch. You gotta
let me talk to some of these
victims. Please.
GARABEDIAN
(beat, then)
Come back tomorrow. 9:30am.
MIKE
Thank you.
Doors open. Garabedian walks out. Mike smiles. Got him.
Ratings
Scene 19 - Nervous Beginnings at Cafe Francesca
Sacha walks up to a small cafe in the South end.
56 INT. CAFE FRANCESCA, SOUTH END - DAY 56
A small, bohemian cafe, mostly men. JOE CROWLEY, 42, heavy,
boyish face, sits alone WATCHING the door. NERVOUS as shit.
The door opens. Sacha walks in, pauses, looking around...
JOE CROWLEY
Ms. Pfeiffer?
SACHA
Joe?
He stands, almost knocking over his coffee. He starts to
straighten the messy table, clean the crumbs all over it.
JOE CROWLEY SACHA
Shoot. Sorry. No, that’s okay, no problem.
JOE CROWLEY
Uh... please sit. Is this table
okay? I had a muffin while I was
waiting. Two actually. I eat when
I’m nervous.
SACHA
I do that too.
(then)
I hope I’m not late. Phil said one.
JOE CROWLEY
No, you’re fine. I got here early.
About an hour.
11/26/14 45.
SACHA
Would you mind if I took some of
notes? Would that be alright?
57 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM - DAY 57
Mike and Garabedian sit with 25-year-old PATRICK MCSORLEY.
McSorley is good looking but ragged. Not outwardly nervous,
but he’s got a high-pitched voice and an ADDICT’S ITCH.
MIKE
You don’t mind if I take some notes,
do you?
PATRICK MCSORELY
You gonna use my name?
GARABEDIAN
No.
MIKE
Not if you don’t want me to.
PATRICK MCSORLEY
I just had a kid. He’s only one but
I’m not sure I want him to know
about this.
MIKE
Yeah. I get it.
GARABEDIAN
You can stop this interview any time
you want, Patrick.
PATRICK MCSORLEY
Okay. Go ‘head with your notes.
MIKE
Where did you live when it first
happened?
PATRICK MCSORLEY
In the projects, over in Hyde Park.
MIKE
Over by the Stop & Shop?
PATRICK MCSORLEY
Yeah, you know it?
MIKE
Yeah, I drove a cab for years. Opens
early, bad coffee, right?
11/26/14 46.
PATRICK MCSORLEY
Yeah, I guess.
McSorley isn’t having it.
MIKE
How old were you? When it happened.
PATRICK MCSORLEY
I was twelve. My dad had just
killed himself.
MIKE
Jeez.
PATRICK MCSORLEY
He was a real piece of shit. And my
mom, she wasn’t so stable to begin
with.
MIKE
What do mean?
PATRICK MCSORLEY
I mean she was nuts. GARABEDIAN
She was schizophrenic.
PATRICK MCSORLEY
Same shit.
MIKE
So how did you meet Geoghan?
PATRICK MCSORLEY
My sister saw him in the Dunkin’
Donuts. She tells him about my old
man and he rushed right over.
Patrick nervously itches at his arm as we CUT TO --
Ratings
Scene 20 - Unveiling Shadows
Joe talks very fast. He takes a big gulp of water.
JOE CROWLEY
...and there was this nun, Sister
Barbara, she ran this group for kids
from troubled families.
SACHA
Where was that?
11/26/14 47.
JOE CROWLEY
St. Ambrose in Dorchester. She’s
the one who introduced me to Father
Shanley. He was a street priest,
long hair, very hip. He invited me
to his apartment in Back Bay.
SACHA
Where in Back Bay?
JOE CROWLEY
Beacon Street. Are you from here?
SACHA
I grew up in Ohio but my mom’s from
Southie.
JOE CROWLEY
So you get it. I’d never even been
to Back Bay.
SACHA
What happened on that first visit?
JOE CROWLEY
Well, he was very nice at first,
very casual, very funny. And I
think he could tell I was gay
because he showed me this mobile he
had, like over a baby’s crib? But
with different words. Homosexual,
bisexual, transsexual...
SACHA
Did you know you were gay at the
time, Joe?
JOE CROWLEY
Yes, but that wasn’t information I
was sharing with anybody. Not in
Dorchester.
SACHA
Right. So, what happened when he
showed you the mobile?
JOE CROWLEY
Well, I was a little freaked out and
I guess he could tell so he said,
you know what will help is if we
play strip poker. Of course I lost.
And things went on from there.
11/26/14 48.
SACHA
What happened specifically?
JOE CROWLEY
Specifically, he molested me.
SASHA
Joe, I think the language here is
going to be very important. We
can’t sanitize this, just saying
molest isn’t enough. People need to
know what actually happened.
Joe sits back, getting it as the waiter serves two coffees.
JOE CROWLEY
Maybe we should get these to go.
59 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM - DAY 59
Mike sits with McSorley and Garabedian.
PATRICK MCSORLEY
Geoghan shows up and my mom, she’s
thrilled. I mean this was like God
showing up, you know?
MIKE
Sure. So what happened then?
PATRICK MCSORLEY
You really want to hear this shit?
MIKE
Yeah, Patrick. I do.
Patrick is struggling a bit. But he continues.
PATRICK MCSORLEY
He offers to take me to get ice
cream. He’s a priest, I’m a kid, so
I go.
MIKE
Sure.
PATRICK MCSORLEY
So we’re driving home and he starts
patting my leg and then... his hand
just slides up and he grabs my dick.
I just froze up, I was fucking
petrified. I couldn’t move. I
didn’t know what to do, I was just a
little kid.
(MORE)
11/26/14 49.
PATRICK MCSORLEY (CONT'D)
(then)
I never even touched my freakin’ ice
cream, it just melted down my arm.
MIKE
Did you see him again after that?
PATRICK MCSORLEY
Yeah.
GARABEDIAN
Alright, it’s good. Let’s stop
there for now...
McSorley stares down at his hands. Trembling. Then he
itches his arm. This time, Mike notes the HEROIN TRACKS.
Ratings
Scene 21 - Reflections in the Park
Sacha and Crowley walk through Peter’s Park. We can see the
Cathedral in the distance. Crowley’s a little less nervous.
JOE CROWLEY
He said it was a way to make me more
comfortable with my body.
SACHA
And what happened next.
JOE CROWLEY
...he took off his clothes and said
I’ve been depressed, maybe you can
cheer me up and give me a blow job.
Classy guy.
SACHA
And did you?
JOE CROWLEY
Yeah. I know what you must be
thinking, why I would ever do that
with some creepy guy thirty years
older than me. But you have to
understand, this was the first time
in my life that someone told me it
was okay to be gay. And he was a
priest.
SACHA
So you had oral sex. Did you have
intercourse as well?
11/26/14 50.
JOE CROWLEY
Yes. Not then, but later. It
really messed me up. I’m sober now
but that was the beginning of it
all. It’s very confusing, you know,
to be introduced to sex like that
and then to be attracted to men...
Joe tears up a bit. He stops, wipes his eyes.
JOE CROWLEY (CONT’D)
I’m sorry, I knew I was gonna SACHA
do this. I’m sorry. Don’t be sorry. It’s okay,
Joe. It’s okay.
Joe notices the kids on the church playground.
JOE CROWLEY (CONT’D)
And of course there’s a church right
here. And a playground.
Joe laughs nervously.
SACHA
Joe, did you ever tell anyone?
JOE CROWLEY
Like who, a priest?
61 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM - NIGHT 61
It’s dark now. Mike’s writing up some notes as McSorley puts
on his coat. Mike stands as McSorley heads for the door.
PATRICK MCSORLEY
Can I use your phone?
GARABEDIAN
Yeah, you know where it is.
McSorley nods in thanks. Then turns to Mike.
PATRICK MCSORLEY
You can use my name if you want.
MIKE
Thanks, Patrick.
PATRICK MCSORLEY
Don’t thank me, just get that
asshole, will you?
He exits. Mike lets out a breath. It’s a lot, even for him.
11/26/14 51.
GARABEDIAN
He’s one of the lucky ones.
(off Mike’s look)
He’s still alive.
Ratings
Scene 22 - A Call for Justice
Sacha sits at the table looking through her notes. Her
grandmother is at the stove cooking.
Sacha notices something in her notes, stands and takes out
her cell. She walks out while she dials.
SACHA’S GRANDMOTHER
Would you like a cup of tea, Sacha?
SACHA
I’m fine, Nana. Thanks.
Sacha walks into --
61B INT. DINING ROOM, SACHA’S GRANDMOTHER’S APARTMENT - CONTINUOUS
61B
Sacha on her phone, looking over her notes.
JOE CROWLEY (OVER THE PHONE)
Hello?
SACHA (INTO PHONE)
Hi Joe, it’s Sacha Pfeiffer.
JOE CROWLEY (OVER THE PHONE)
Hi Sacha. How are you?
SACHA (INTO PHONE)
I’m good, thanks. Listen, Joe,
there’s one thing that I wanted to
follow up on. You talked to Phil
Saviano about all this, right?
JOE CROWLEY (OVER THE PHONE)
Yeah. I went to a couple SNAP
meetings.
SACHA (INTO PHONE)
Right. And did Phil ever suggest
doing anything about it?
JOE CROWLEY (OVER THE PHONE)
No. The meetings weren’t really
about that. I mean, a couple of
them had gone to a lawyer but I
didn’t think it was worth it.
11/26/14 52.
SACHA (INTO PHONE)
Why not?
JOE CROWLEY (OVER THE PHONE)
There were so many forms to fill
out, it was overwhelming. And he
said he could get only get me a
small settlement.
SACHA (INTO PHONE)
Who said that?
JOE CROWLEY (OVER THE PHONE)
The lawyer.
SACHA (INTO PHONE)
So you did go to see a lawyer?
Sacha takes out her pen, starts taking notes.
JOE CROWLEY (OVER THE PHONE)
Yeah, but I didn’t end up using him,
so I didn’t think it was important.
I’m sorry. I’m not trying to hide
anything.
SACHA (INTO PHONE)
No, I know, Joe. Do you remember
his name? The lawyer?
JOE CROWLEY (OVER THE PHONE)
No. But maybe Phil would know. The
guy was on TV a lot during the
Porter case. He was handsome.
SACHA (INTO PHONE)
Was it Eric MacLeish?
JOE CROWLEY (OVER THE PHONE)
Yeah, that’s it. MacLeish. I
thought he was very handsome.
Off Sacha --
Ratings
Scene 23 - Uncovering Truths
Robby getting a coffee, paying. Matt enters.
MATT
Hey.
ROBBY
Hey.
11/26/14 53.
Matt heads for the Peanut M&Ms as Robby pays.
MATT
I was just in the newsroom, Judge
Sweeney set a date for the hearing.
ROBBY
When?
MATT
Two weeks. Canellos started a pool.
Ten bucks to get in.
ROBBY
Anyone picking the Globe?
MATT
He’s only taking bets on how fast
Sweeney rules against us.
Robby’s phone rings.
ROBBY
Huh.
He heads into the hall --
62A INT. GLOBE - LATER 62A
Robby picks up.
ROBBY (INTO PHONE)
Robby.
SACHA (OVER THE PHONE)
Hi, it’s me. Did you get my message?
ROBBY (INTO PHONE)
I did. Looks like Father Shanley
could be our fourth priest.
SACHA (OVER THE PHONE)
I think he is.
ROBBY (INTO PHONE)
Did you follow up on MacLeish?
SACHA (OVER THE PHONE)
I just talked to Phil. He said
MacLeish dealt with a number of
these cases.
11/26/14 54.
62B INT. NANA’S HOUSE - LATER 62B
Sacha is alone at the dining room table.
ROBBY (INTO PHONE)
Guess he forgot to mention that.
SACHA (INTO PHONE)
I’m gonna go to the courthouse
tomorrow to see if I can find any
cases he settled against the church.
ROBBY (OVER THE PHONE)
Call me after you do. Good work.
Robby hangs up. Sacha sits there, spent, the day and the
story LANDING on her. Hard.
63 INT. GLOBE, BEN’S OFFICE - NIGHT 63
Ben packs up. A KNOCK. He turns, finds Robby with his bag.
ROBBY
You wanted to chat?
BEN
I’m late for a dinner. Walk me out.
64 INT. GLOBE, NEWSROOM - CONTINUOUS 64
Ben and Robby walk. Robby sees Marty in his office, working.
ROBBY
Does he ever go home?
BEN
Apparently not. I got guys who
won’t leave ‘til he does, he’s
wearing out the goddamn newsroom.
Robby smiles.
BEN (CONT’D)
Where are we on Geoghan?
ROBBY
Following up with more victims. I
want to expand the investigation.
BEN
Why?
11/26/14 55.
ROBBY
We got a fourth priest. There might
be as many as thirteen.
BEN
Thirteen? Who’s your source?
ROBBY
Phil Saviano.
Ben stops.
BEN
Christ, Robby, I told Mike --
ROBBY
I know. I think Saviano might be
legit, Ben.
BEN
You wanna elaborate on that?
ROBBY
No. Not yet. Just feels like this
is stacking up. That’s my gut.
Robby doesn’t embellish. The case is turning.
BEN
Okay.
ROBBY
Good. Thanks.
Robby walks off. Ben watches him go... then heads out --
Ratings
Scene 24 - Uncovering the Truth
Mike opens the fridge when his phone RINGS. He picks up.
MIKE (INTO PHONE)
Hello.
SIPE (OVER THE PHONE)
Mr. Rezendes?
MIKE (INTO PHONE)
Yeah. Who’s this?
SIPE (OVER THE PHONE)
It’s Richard Sipe.
11/26/14 56.
MIKE (INTO PHONE)
Oh, hey Richard, thanks for calling.
Phil Saviano gave me your name, can
I ask you a few questions?
SIPE (OVER THE PHONE)
Of course.
Mike reaches for his bag, pulls out his pad and a pen.
MIKE (INTO PHONE)
Great. So Phil said you worked at
one of the church’s treatment
centers in Baltimore...
SIPE (OVER THE PHONE)
Yes, that’s right. The Seton
Psychiatric Institute. It was run
by the Daughters of Charity.
MIKE
And when was that, Richard?
SIPE (OVER THE PHONE)
Well, I started my psychotherapy
fellowship there in 1965 and I was
there for five years, but I spent
the next thirty studying abusive
priests and their victims.
MIKE
Really? That’s been your sole
focus?
SIPE
Look, Mike, the church wants us to
believe that it’s just a few bad
apples, but it’s a much bigger
problem than that.
MIKE
How much bigger?
SIPE
Well, based on the research, I would
classify it as a recognizable
psychiatric phenomenon.
As Mike starts scribbling, sucked back in...
MIKE
That’s big.
11/26/14 57.
Ratings
Scene 25 - Secrets and Investigations
Eileen reads the paper, drinks a diet coke. Kurkjian sits
nearby, working on a story and some eggs. Matt joins.
MATT
Hey Mac, if I needed historical data
on a priest, parishes he’d been
assigned to, where would I find it?
EILEEN
For Geoghan? It’s all in the clips.
Lisa has the source material.
MATT
Yeah, what if it was another priest?
One that hadn’t been in the papers.
EILEEN
You’re looking at another priest?
KURKJIAN
Who’re you looking at?
Kurkjian looks over. Matt tries to focus on Eileen.
MATT
Any ideas?
EILEEN
Come on Matt, you’re not going to
tell me?
Matt stares at her. Then pulls back.
MATT
I gotta get to a meeting. Thanks
Mac.
Matt beats a hasty retreat. Eileen and Kurkjian trade a
look. Huh.
67 INT. GLOBE, LIBRARY - LATER 67
A HAND pulls a BOOK off a reference shelf. FIND LISA TUITE,
handing Matt the 2001 CATHOLIC CHURCH DIRECTORY.
LISA TUITE
The Archdiocese puts out an annual
directory, every priest and parish.
MATT
This is great. Do these go back any
further than ‘98?
11/26/14 58.
LISA TUITE
Oh yeah. They go back to the 80’s
in the Mez. Beyond that, you gotta
go to the BPL.
MATT
In the Mez. Thanks, Lisa.
68 INT. GLOBE, LONG HALLWAY - DAY 68
Robby and Mike walk down the hall. Mike debriefs him, a
little manic, not unaffected by what he’s picked up.
MIKE
He said they all target the same
kinda kid. Low income family,
absentee father, broken home...
They walk into --
69 INT. GLOBE, PRESSES - CONTINUOUS 69
It’s early. The presses are relatively quiet.
MIKE
And guys like Geoghan go after boys
not cause they prefer them, but
cause they’re more ashamed, less
likely to talk. These guys are
predators, Robby. Sipe says he saw
dozens of them at Seton in the 60’s.
He called it a “a phenomenon.”
ROBBY
Why didn’t he go public?
MIKE
He did, but the church has made a
huge effort to discredit him. Smear
campaigns, public statements by
prominent bishops. It’s just like
Saviano said. And Garabedian.
ROBBY
You getting anywhere with him?
MIKE
More victims.
ROBBY
You can’t empty his pockets?
11/26/14 59.
MIKE
I’ll get him. I just need more
time.
ROBBY
Come on, Mike, you gotta get him.
MIKE
I’ll get him, I’ll get him.
They open a door, walk into --
Ratings
Scene 26 - Unearthing Secrets
A dank basement, low fluorescents and rows of old books on
cheap tin bookshelves. Robby and Mike react to the smell.
MIKE
Jeez, what the hell is that smell?
MATT (O.C.)
There’s a dead rat in the corner.
Mike and Robby find Matt beside a HUGE STACK OF BOOKS.
ROBBY
What do we got?
MATT
Church directories. It’s every
priest in Massachusetts, what parish
they’re assigned to...
MIKE
These are official?
Mike and Robby grab directories, flipping through.
MATT
Yeah. I figured they could help us
track down the priests Saviano
mentioned, maybe find more victims.
ROBBY
(reads, squinting)
Can we turn on some more lights?
MATT
I couldn’t find the switch. You
wanna borrow my glasses?
ROBBY
No, I’m good.
11/26/14 60.
MIKE
(off a directory)
1983, John Geoghan... St. Brendan’s
in Dorchester. So we can see where
any priest was in any given year.
MATT
(flips through another)
Exactly. I got him here at... huh.
ROBBY
What?
MATT
1980, the year he was pulled from
JP. It says he’s on sick leave.
MIKE
Come on. It actually says that?
Matt shows Mike. Robby urgently searches the directories.
ROBBY
Where’s 1991?
Robby finds the 1991 Directory and opens it. He searches...
ROBBY (CONT’D)
Barrett... Barrett... Liam Barrett..
I can’t read this. Can you look up
Liam Barrett?
(handing it to Mike)
1991’s the year they pulled him out
of Charlestown.
MIKE
(reading)
Barrett, Liam. Sick leave.
He shows them. We see the designation. SICK LEAVE.
MIKE (CONT’D)
It’s an official designation.
ROBBY
Let’s get these upstairs. And Matt,
let’s check the priests Saviano gave
us.
They start to collect the directories. Robby’s cell RINGS.
ROBBY (INTO THE PHONE) (CONT’D)
Robby.
11/26/14 61.
SACHA (OVER THE PHONE)
Hey, I’m down at the courthouse.
71 INT. SUFFOLK COUNTY COURTHOUSE, RECORDS ROOM - DAY 71
Sacha makes notes on a pad, a couple of files to one side.
SACHA (INTO PHONE)
Something’s not right here.
A COURT CLERK (MARK) walks over.
COURT CLERK (MARK)
There’s nothing on Shanley either,
Sacha.
SACHA
Okay, thanks.
(into phone)
We need to talk to MacLeish again.
ROBBY (OVER THE PHONE)
Really. Why?
SACHA (INTO PHONE)
There’s nothing here. There aren’t
any records...
Ratings
Scene 27 - Uncovering Secrecy
Robby and Sacha have been waiting. Macleish enters.
ERIC MACLEISH
Thanks for waiting, so sorry guys, I
got stuck on a call. What’s up?
SACHA
Mr. MacLeish, are you familiar with
a priest named Paul Shanley?
MacLeish looks at her. Surprised. He sits back.
ERIC MACLEISH
Yes, I’m familiar with him.
SACHA
Have you settled cases against
Father Shanley?
ERIC MACLEISH
As I’m sure you can understand, I
can’t discuss that.
11/26/14 62.
ROBBY
What about Father Ronald Paquin?
ERIC MACLEISH
I can’t discuss that either. Come
on, guys.
SACHA
We understand you’ve settled several
cases against each of them.
ERIC MACLEISH
Even if I’d been involved in those
cases, the settlements would be
confidential. I could be disbarred
for acknowledging their existence.
Robby’s not backing down. MacLeish shakes his head.
ERIC MACLEISH (CONT’D)
Look, I told you, these are tough
cases. Most of these folks just
want some acknowledgement of what
happened. We got them a sit-down
with the bishop and a little dough.
It was the best they could hope for.
ROBBY
It was certainly the best the priest
could hope for.
ERIC MACLEISH
No, the Church promised to take the
priests out of circulation.
ROBBY
And did you follow up on that?
ERIC MACLEISH
(done with this)
You guys need anything else?
SACHA
Yes. Why aren’t there any records?
I was just down at the courthouse,
why aren’t there any records of
these settlements?
MacLeish pauses. Hesitant, now not so sure of himself.
ERIC MACLEISH
We dealt directly with the Church.
We’d draw up a demand letter and
we’d send it to the chancery.
11/26/14 63.
SACHA
You never filed anything in court?
ERIC MACLEISH
It was a private mediation.
So that’s a no. Jesus. Sacha and Robby react.
ROBBY
So this is just you and the
archdiocese’s lawyers in a room?
ERIC MACLEISH
Correct.
SACHA
Anyone else?
ERIC MACLEISH
Occasionally, the Church would bring
in another defense attorney to help
out.
ROBBY
You have any names?
ERIC MACLEISH
(stonewalling him)
No. No I don’t.
73 INT. GLOBE, SPOTLIGHT - LATE AFTERNOON 73
Ben sits with the gang.
BEN
So this was all under the table?
SACHA
There’s no paper trail at all. The
victim has to sign a confidentiality
agreement to get the settlement.
The lawyer takes his third and the
Church sweeps it under the rug.
MIKE
Jeez. It’s a freakin’ racket.
BEN
It’s more complicated than that.
MacLeish has got a duty to his
clients to get the best deal he can.
11/26/14 64.
SACHA
Sure, but how many victims do you
represent and profit from before you
say something?
MIKE
Garabedian would say none. That’s
why he’s taking these cases to
court. Because he wants people to
know about this.
SACHA
I agree. And, legal ethics aside,
Ben, operating the way MacLeish has
all but guarantees the abuse stays
under wraps.
BEN
Yeah.
(then)
Did MacLeish confirm all of
Saviano’s priests?
ROBBY
No. He’s limited by the
confidentiality agreement.
SACHA
But he’s clearly settled cases
against a number of them. Phil’s
put me in touch with some of the
other victims, I’m pretty confident
all of his priests are going to
check out.
BEN
So it’s thirteen priests?
SACHA ROBBY
Yeah. Looks that way.
BEN (CONT’D)
Holy Shit. Okay. Keep going.
Off Ben --
Ratings
Scene 28 - A Night at the Copley Square
CLOSE ON a woman scanning a list of names on clipboard.
WOMAN
I’m sorry, what was it again?
11/26/14 65.
REVEAL Marty standing next to her at the base of wide
staircase. Several such women are checking off attendees.
MARTY
Uh, Baron? B-A-R-O-N.
WOMAN
I’m sorry, I don’t see you here.
PETE CONLEY (O.C.)
It’s okay, Kim, I can vouch for him.
Marty turns, finds PETE CONLEY, 60s, Irish wealth and power.
He extends a hand.
PETE CONLEY (CONT’D)
Pete Conley, I’m on the board of
Catholic Charities. Welcome to
Boston, Mr. Baron.
MARTY
Uh, thank you.
PETE CONLEY
I appreciate you joining us. We’re
very proud of the work we do here in
Boston.
(then)
The Cardinal said you had a nice
visit.
MARTY
Uh, yes. We did.
PETER CONLEY
He’s an extraordinary man. I’m glad
you had a chance to chat.
75A INT. COPLEY SQUARE BALLROOM - MOMENTS LATER 75A
Marty walks into the party, not knowing a soul. He stands
alone, taking it in.
ROBBY
Enjoying yourself?
Marty turns. Robby’s there. Slacks and a blazer.
MARTY
Uh, to be honest, these events
aren’t really my strong suit.
(then)
Are you involved with the charity?
11/26/14 66.
ROBBY
Not directly. Several of my friends
are. We all went to BC High
together. That’s the school across
the street from the Globe.
MARTY
It’s hard to miss.
ROBBY
Yeah. Hard to get away from too,
apparently.
Marty smiles.
ROBBY (CONT’D)
The Cardinal’s in the corner if
you’re so inclined.
Robby nods. Indeed, there’s the Cardinal and he’s talking to
Pete Conley and few others.
MARTY
We’ve met.
ROBBY
Did he mention the suit?
MARTY
No, but he did give me a copy of the
Catechism.
ROBBY
(laughs)
Yeah, the Cardinal’s not known for
his subtlety. During the Porter
investigation, he literally called
down the power of God on the Globe.
MARTY
How did that play out?
ROBBY
A week later our editor broke his
leg skiing.
Marty reacts to Robby’s line.
WAITER
Shrimp toast, gentlemen?
Robby takes a shrimp.
11/26/14 67.
Ratings
Scene 29 - Dinner of Reflection
CLOSE ON a bowl of soup. HANDS reach for it... REVEAL
Garabedian and Mike having dinner. Mike’s going over notes.
MIKE
You said there was a victim who
filed a criminal complaint?
GARABEDIAN
There were a few, but the judge
sealed the case records after
friends of the Church stepped in.
The Church has a lot of friends.
MIKE
Like Eric MacLeish?
Garabedian sees he understands. Garabedian’s impressed.
GARABEDIAN
Let’s just say, he’s not part of the
solution. You follow what I’m
saying?
MIKE
Sure.
Mike jots down some notes. Garabedian watches him.
GARABEDIAN
You work hard, Mr. Rezendes. Are
you married?
MIKE
Yeah.
GARABEDIAN
And your wife doesn’t mind you
working all the time?
MIKE
Yeah, she does.
GARABEDIAN
See. That’s why I never got
married. I’m too busy, what I do is
too important.
Garabedian salts his soup.
GARABEDIAN (CONT’D)
Your new editor, he’s a Jew right?
11/26/14 68.
MIKE
Uh, that’s right.
GARABEDIAN
He comes in, suddenly everybody is
interested in the Church. You know
why? Because it takes an outsider.
Like me. I’m Armenian. How many
Armenians do you know in Boston?
MIKE
Steve Kurkjian, works at the Globe.
GARABEDIAN
That’s two! You should get a prize
or something. What are you, Italian?
MIKE
Portuguese.
GARABEDIAN
From where?
MIKE
East Boston.
GARABEDIAN
You don’t sound like it.
Mike shrugs. Garabedian shakes his head, chuckles.
GARABEDIAN (CONT’D)
This city, these people, making the
rest of us feel like we don’t
belong. But they’re no better than
us. Look how they treat their
children.
(wiping his mouth)
Mark my words, Mr. Rezendes, if it
takes a village to raise a child, it
takes a village to abuse one.
Garabedian eats. Mike ponders. Oddly moved.
Ratings
Scene 30 - Confrontation at the Copley
Robby crosses the room, joins Jim Sullivan at the bar.
JIM
There he is.
They two men shake.
11/26/14 69.
JIM (CONT’D)
Wanna beer?
ROBBY
Love one.
Jim nods to the bartender.
JIM
You here with Barbara?
ROBBY
No. She hates these things.
JIM
Karen too. Smart ladies.
The bartender sets down two beers. Robby hands one to Jim.
ROBBY
Sláinte.
JIM
I just met your new editor, seems
like a decent fella.
ROBBY
I think he is.
(then)
I had an interesting conversation
with Eric MacLeish yesterday. Turns
out he’s been settling abuse cases
with the archdiocese for years.
JIM
You really wanna talk about this
here?
ROBBY
You said you helped out on Father
Barrett as a favor, that was a one-
off?
Jim doesn’t say anything. Robby DARKENS.
ROBBY (CONT’D)
How many of these cases have you
been involved with, Jim?
JIM
You know I can’t answer that, Robby.
It’s unethical.
11/26/14 70.
ROBBY
Is that all it is?
Jim stares Robby down. He drinks.
JIM
So this is the Robby Robinson I’ve
always heard about but never met.
ROBBY
Listen to me, Jimmy. You want to be
on the right side of this.
JIM
You’re talking about the Church,
Robby. Look around. These are good
people who’ve done a lot of good for
this city.
(then)
Enjoy the party.
Jim smiles, heads into the party, leaving Robby alone at the
bar. Robby glances over at Marty, still on the edge of the
party. So this is what it feels like to be on the outside...
Ratings
Scene 31 - Unveiling the Truth
Matt, Sacha and Mike are crammed in Robby’s office, Matt
downloading the team on the directories.
MATT
I’ve been through a lot of these.
‘Sick leave’ isn’t the only
designation they use when they take
one of these priests out of
circulation. They use a slew of
terms - ‘absent on leave,’
‘unassigned,’ ‘emergency response.’
MIKE
They got a name for everything,
these guys.
SACHA
Except rape.
A phone rings in the Spotlight office. Mike exits to get it.
MATT
And they move parishes way more
frequently than other priests. When
I was a kid, a priest moved after
seven or eight years. These guys,
it’s two to three tops.
11/26/14 71.
SACHA
Did they use these designations for
all of Saviano’s priests?
MATT
Yeah. It’s a pretty clear pattern.
As Robby considers this, Mike calls from Spotlight --
MIKE
Guys, I’ve got Sipe.
79 INT. GLOBE, SPOTLIGHT OFFICE - CONTINUOUS 79
The team is HUDDLED around a SPEAKERPHONE.
SIPE (ON SPEAKERPHONE)
I think if you want to understand
the crisis, you need to start with
the celibacy requirement. That was
my first major finding: only 50% of
the clergy are celibate.
They share a look. 50%? Can that be true?
SIPE (ON SPEAKERPHONE) (CONT’D)
Now, most of them are having sex
with other adults. But this creates
a culture of secrecy, that tolerates
and even protects pedophiles.
SACHA
So you believe the church is aware
of the extent of this ‘crisis?’
SIPE (ON SPEAKERPHONE)
Absolutely. After the first major
scandal in Louisiana, Tom Doyle, the
Secretary Canonist for the Papal
Nuncio, coauthored a report warning
pedophile priests were a billion-
dollar liability. That was in 1985.
MIKE
1985?
SIPE (ON SPEAKERPHONE)
That’s right.
MIKE
Who saw this document? Anyone in
the Catholic hierarchy?
11/26/14 72.
SIPE (ON SPEAKERPHONE)
Sure. Doyle tried to introduce the
report at the National Conference of
Catholic Bishops. In fact, Cardinal
Law initially helped to fund the
report, but then he backed out and
they shelved it.
REZENDEZ
(to Sacha and Matt)
Are you kidding me?
ROBBY
Richard, Robby here. We think we
have thirteen priests in Boston that
fit this pattern, which would be a
very big story. Does that sound
right to you? In terms of scale?
SIPE (ON SPEAKERPHONE)
No. Not really. It sounds low. My
estimates suggest six percent act
out sexually with minors.
MIKE
Six percent of what?
SIPE (ON SPEAKERPHONE)
Six percent of all priests.
Holy shit. Robby turns to the team.
ROBBY
How many priests do we have in
Boston?
MATT
About fifteen hundred. One percent
is fifteen... six percent is ninety.
ROBBY SACHA
Ninety priests? Is that possible?
SIPE (ON SPEAKERPHONE)
From a metric standpoint, that would
be in line with my findings.
The team looks at each other. FLOORED. A beat, then --
SIPE (ON SPEAKERPHONE) (CONT’D)
Hello?
11/26/14 73.
Ratings
Scene 32 - Uncovering the Truth
Ben eats lunch, Robby and Mike download him. Ben’s shocked.
BEN
Ninety fucking priests? In Boston?
ROBBY
That’s what he said.
BEN
If there were ninety of these
bastards people would know.
MIKE
Maybe they do.
BEN
And no one said a thing?
MIKE
Good Germans?
BEN
I don’t think that’s a comparison
you want to make publicly.
ROBBY
MacLeish knew and said nothing.
BEN
That’s thirteen priests, big
difference between thirteen and
ninety. Where’s this guy Sipe
getting his numbers?
MIKE
He’s studied this for thirty years,
he’s a trained psychotherapist --
BEN
Okay, but we need something more
than a metric from some hippy ex-
priest who’s shacking up with a nun.
MIKE
So we’ll track down more victims,
we’ll get more priests. Then we can
check them against the directories.
BEN
That’s a shitload of victims.
11/26/14 74.
MIKE
We’ll get them.
BEN
How long’s it gonna take?
Mike shrugs. Robby considers. Then...
ROBBY
Too long.
Robby gets up, moves for the door. Maybe with an idea.
BEN
Meeting over?
ROBBY
For now.
81 INT. GLOBE, NEWSROOM - MOMENTS LATER 81
Robby walks through the newsroom. Mike catches up to him.
MIKE
What do you got?
ROBBY
What if we work backwards?
MIKE
What do you mean? From what?
ROBBY
The directories. We’ve been using
them to confirm bad priests. What
if we do it the other way around?
MIKE
(getting it)
Use the directories to identify bad
priests?
ROBBY
Yeah, exactly. We search by
designation, we look for any priest
on ‘sick leave’ or ‘unnassigned’ --
MIKE
Or for priests who moved around a
lot...
ROBBY
Yeah.
11/26/14 75.
MIKE
That’s gonna take a load of time.
ROBBY
Not if we’re all on it.
MIKE
You too?
ROBBY
Generally, that’s what all means.
MIKE
Yeah, generally.
That’s the plan. Robby looks set. Off Mike, we --
Ratings
Scene 33 - Uncovering Shadows
CLOSE ON a ruler moving down a directory. It stops at a
designation: Sick Leave. PAN TO the name of a priest.
MAHAN. A pen circles it and we --
CUT TO another ruler scanning a directory. It stops.
Unassigned. PAN TO the name of another priest. KEANE. The
name is circled and we --
CUT TO another ruler scanning. Sick Leave. PAQUIN.
REVEAL Sacha, moving a ruler down a directory. CUT TO --
ABOVE Mike, scanning a directory with a ruler. CUT TO --
CLOSE ON Robby. Squinting at a directory. CUT TO --
Matt, hunched over a computer, entering data. CUT TO --
CLOSE ON an excel spreadsheet. A date, a priest’s name, then
the designation are typed into a column. CUT TO --
More names and designations, logged year by year, into the
spreadsheet. CUT TO --
82A INT. SACHA’S HOUSE - NIGHT 82A
Sacha at her desk at home, scanning a directory. It’s late.
84 INT. SANTARPIO’S, EAST BOSTON - NIGHT 84
Mike sits in the pizza joint, marking up a directory, two
others beside him. A waiter delivers a pizza and a beer.
Without looking up, Mike reaches for the beer, keeps working.
11/26/14 76.
84A EXT. PORTER SQUARE T-STOP, CAMBRIDGE, MA - MORNING 84A
Sacha waits for the T, working on a directory.
84B INT. GLOBE, LIBRARY - DAY 84B
From the crow’s nest above, we see Mike and Matt at the table
in the library, stacks of directories between them.
84BB INT. GLOBE, CAFETERIA - DAY 84BB
Robby sits alone in cafeteria, working on a directory.
84C EXT. BOSTON PUBLIC LIBRARY, DOWNTOWN BOSTON - DAY 84C
Sacha walks up the grand steps, enters the massive library.
84D INT. GLOBE, SPOTLIGHT - DAY 84D
CLOSE ON the spreadsheet. More names are entered. We scan
down the growing list of priests...
84F INT. GLOBE, LIBRARY - NIGHT 84F
Mike in a back aisle, works on the directories.
85A INT. BOSTON PUBLIC LIBRARY, READING ROOM - EARLY EVENING 85A
A beautiful, mostly empty reading room, green banker’s lamps
everywhere. Sacha works late, directories all around her.
86 INT. MATT CARROLL’S HOUSE, WEST ROXBURY - NIGHT 86
Matt sits at a desk at home, hunched over a directory,
scanning it with a ruler. He pauses... leans in further.
CLOSE ON a directory entry. O’Sullivan. Treatment Center,
276 Pelton Street, West Roxbury.
MATT
Holy shit.
Matt PALES, then takes off his glasses and leaves the house.
87 EXT. MATT CARROLL’S HOUSE, WEST ROXBURY - CONTINUOUS 87
Matt heads across the lawn, down the sidewalk. He crosses
the street, rounds the corner, turning onto Pelton Street.
He picks up his pace, checking house numbers. Finally, he
stops at A CLASSIC, TWO STORY VICTORIAN HOUSE. Number 276.
MATT
No freakin’ way.
11/26/14 77.
88 INT. MATT CARROLL’S HOUSE, KITCHEN - LATER 88
Matt sits on the kitchen floor in front of the refrigerator,
taping a note to the door. We push in over his shoulder...
“Kids. Stay away from this house at 276 Pelton Street. And
stay away from the men who live inside it.”
Beside the note is a B&W photo of the house down the street.
Ratings
Scene 34 - Confronting the Silence
CLOSE ON a COMPUTER SCREEN. We’re scrolling through the
EXCEL SPREADSHEET. Dozens of problematic priests.
REVEAL Mike, Sacha and Matt huddled around the computer.
Sacha reads from a large printout. Matt checks it against a
short list on a computer screen.
SACHA
Talbot. MATT
Yep.
SACHA
Tivnan. MATT
Yep.
SACHA
Toma. MATT
Yep.
SACHA
Turnbull. MATT
Yep.
SACHA
Walsh. MATT
Yep.
SACHA
Welsh. MATT
Yep.
MIKE
Is that it?
SACHA
That’s it. MATT
That’s it.
Mike looks at the screen.
MIKE (CONT’D)
Holy Shit.
11/26/14 78.
MATT
Robby?
Robby looks up from his desk. He walks over to join them.
SACHA
Three off Sipe’s estimate. That’s
incredible.
ROBBY
How many?
MATT
Eighty-seven.
MIKE
Eighty-seven priests. In Boston.
ROBBY
Call MacLeish. I wanna talk to him.
Robby takes the PRINTOUT, walks into --
91 INT. GLOBE, ROBBY’S OFFICE - CONTINUOUS 91
Robby shuts his door, picks up his phone and dials. It
rings. A secretary picks up.
SECRETARY (OVER THE PHONE)
Jim Sullivan’s office.
ROBBY (INTO PHONE)
Walter Robinson for Jim Sullivan.
Tell him it’s important.
A beat, then we hear --
JIM (OVER THE PHONE)
Hey Robby. Everything okay?
ROBBY (INTO PHONE)
I need you to tell me something,
Jim. Could it be ninety priests?
JIM (OVER THE PHONE)
What?
ROBBY (INTO PHONE)
Could it be as high as ninety?
JIM (OVER THE PHONE)
Jesus, Robby.
11/26/14 79.
ROBBY (INTO PHONE)
I need to know, Jim. I wouldn’t be
asking if it wasn’t important.
Silence.
JIM (OVER THE PHONE)
You gotta stop this, Robby.
Click. Robby darkens. Then sees Sacha in the doorway.
SACHA
MacLeish’s assistant said he’s all
booked up, he can’t see us.
ROBBY
The hell he can’t.
Robby exits. Sacha quickly follows. Off Mike and Matt --
92 INT. ONE INTERNATIONAL PLACE, LOBBY - EARLY EVENING 92
Eric MacLeish and a colleague get off an elevator, head out.
MacLeish sees Robby and Sacha sitting in the lobby, waiting
for him. As they stand, MacLeish turns to his colleague.
MACLEISH
You know what, I’ll catch up with
you, okay?
The colleague heads off.
MACLEISH (CONT’D)
Hey guys, I’m really sorry, I am, I
don’t have any time to talk right
now, but if you call my assistant --
SACHA
Mr. MacLeish, we have reason to
believe that there have been
allegations against as many as 87
priests in Boston.
ERIC MACLEISH
I can’t talk about that.
SACHA
Does that number sound right to you?
ERIC MACLEISH
You gotta be... I don’t have time
for this crap.
11/26/14 80.
He starts to move but Robby steps in his way, angrier than
Sacha’s ever seen.
ROBBY
Eric, how many priests did you
settle?
ERIC MACLEISH
You know I can’t tell you, Robby.
ROBBY
You’re gonna give me their names.
And the names of their victims.
ERIC MACLEISH
Are you threatening me?
A beat. Robby controls himself, turns calm. Professional.
ROBBY
We’ve got two stories here. We’ve
got a story about degenerate clergy
and we’ve got a story about a bunch
of lawyers turning child abuse into
a cottage industry. Now, which
story do you want us to write?
Cause we’re writing one of them.
MacLeish recedes. Robby’s got him.
ERIC MACLEISH
I already sent you a list of names.
ROBBY
What are you talking about? To
whom?
ERIC MACLEISH
The Globe. Years ago. After the
Porter case, I got plenty of calls.
I had 20 priests in Boston but I
couldn’t go after them without
press. So I sent you guys a list of
names and you buried it.
ROBBY
I want those names tomorrow.
ERIC MACLEISH
Check your goddamn clips, Robby.
Robby turns and leaves. Sacha follows. They walk a bit.
11/26/14 81.
SACHA
We didn’t find anything in the
clips.
ROBBY
Yeah. Big surprise.
Ratings
Scene 35 - Tensions Over Truth
Mike boils hot dogs on the stove.
MIKE
Richard, do you still go to mass?
SIPE (ON SPEAKERPHONE)
No, I haven’t been to church for
some time now. But I still consider
myself a Catholic.
MIKE
How does that work?
SIPE (ON SPEAKERPHONE)
The Church is an institution, Mike,
made of men. It’s passing. My
faith is in the eternal. I try to
separate the two.
MIKE
Sounds tricky.
Mike’s shakes his pen, out of ink. He crosses to his backpack
by the front door. He reaches in, digs around.
SIPE (ON SPEAKERPHONE)
It is. Especially since the Church
continues to go after me. It takes
a toll, Mike.
SIPE (CONT’D)
They’ll try to silence anyone who
speaks out. I’m sure they’ll come
after you and your team soon enough.
MIKE
And how do you think they’ll do
that? Hello? ...Richard?
Mike checks his phone. Disconnected. Huh. Suddenly,
there’s a loud KNOCK on the door. Mike JUMPS.
MIKE (CONT’D)
Who is it?
11/26/14 82.
BEN (O.C.)
The Archbishop of Canterbury.
Mike opens the door. Ben’s there with a PIZZA BOX.
BEN (CONT’D)
I had dinner at Santarpio’s, had
some leftovers.
He hands Mike the pizza.
MIKE
Ah, you’re the freakin’ best. You
want a beer?
BEN
Yeah.
Ben enters, takes in Mike’s apartment. Mike grabs two beers.
Jesus. How much longer you gonna be
in this shithole?
MIKE
Working on it.
BEN
She’s a good girl, Mike.
MIKE
Yeah, she is. We’ll figure it out. I
haven’t had a lot of time lately.
(then)
I was just on the phone with Sipe
actually.
BEN
Have you met this guy in person yet?
MIKE
No, but his knowledge of this is on
a whole other level.
Ben frowns, skeptical. Mike hands him a beer. They sit.
Mike opens the pizza box, digs in.
MIKE (CONT’D)
Oh man, I’m starving.
BEN
So, where are we on the ninety?
MIKE
Close.
11/26/14 83.
BEN
How close?
MIKE
We’re close.
BEN
Just answer the question, will you?
Mike clocks this.
MIKE
We got 87 names. We’re trying to get
confirmation. I think we will.
(then, off Ben)
Something bugging you?
BEN
Just surprising, that’s all.
MIKE
Yeah, it is. For everyone.
93A EXT. MIKE’S APARTMENT BUILDING, HALLWAY - NIGHT 93A
Ben walks out of Mike’s apartment, heads up the stairs when
Mike opens his door, calls after him.
MIKE
Hey. Ben, I forgot to ask, Phil
Saviano said he sent a bunch of info
to the Globe years ago. You have
any idea to who?
BEN
(irked)
No. Why?
MIKE
Just curious. I wanted to see if
there were any other leads you guys
didn’t run out?
BEN
(pissed off)
Saviano was a fucking train wreck
five years ago, Mike. We didn’t miss
anything. This story needed
Spotlight.
Mike’s taken aback.
MIKE
Yeah. I know. Just following up.
11/26/14 84.
Nothing more to say.
BEN
Good night.
Ben walks off. Mike watches him go.
Ratings
Scene 36 - Uncovering the Truth: Systemic Issues in the Church
CLOSE ON an EMAILED LIST of Priests and victims.
BEN (O.C.)
This is unbelievable.
MARTY
When did you get this?
ROBBY
MacLeish emailed the list this
morning. He settled cases against
forty-five priests.
REVEAL Marty and Ben across the table from Robby and the rest
of the Spotlight team. Marty pages through the printout.
MARTY
Where are we on Law? Anything that
shows he had knowledge of this?
BEN
We’re still working Garabedian. But
nothing concrete.
Marty considers this. Then he turns to Robby.
MARTY
I keep thinking about that
conversation we had the other night.
You said Law called down the power
of God when we reported on Porter.
BEN
That’s just Law being Law.
MARTY
Okay, but I checked the clips,
Porter wasn’t even in the Boston
Archdiocese. He was in Fall River.
So, why the extreme reaction?
ROBBY
(realizing)
Law had to know.
(MORE)
11/26/14 85.
ROBBY (CONT'D)
That’s why he had the reaction. He
knew there were others.
MARTY
I think that’s the bigger story.
The team reacts. Robby watches.
MIKE
Bigger than fifty priests?
MARTY
If it came from the top down, yes.
SACHA
But the numbers clearly indicate
senior clergy were involved.
MARTY
That’s all they do, indicate.
MIKE
You’re telling me we run a ROBBY
story about fifty pedophile (stepping in)
priests in Boston -- Mike--
MARTY (CONT’D)
We’ll get into the same cat fight
you got into on Porter, which made a
lot of noise but changed things not
one bit. We need to focus on the
institution not the individual
priests. Practice and policy. Show
me the Church manipulated the system
so that these guys wouldn’t have to
face charges. Show me they put
those same priests back into
parishes, time and time again. Show
me this was systemic, that it came
from the top down.
Beat. Pretty fucking clear.
BEN
Sounds like we’re going after Law?
MARTY
We’re going after the system.
94B INT. GLOBE, SPOTLIGHT - LATER 94B
The team enters together, heads for their desks. Robby talks
to Sacha.
11/26/14 86.
ROBBY
Make a list of all the victims we
have and start reaching out. Pull
Matt in if you need help.
SACHA
Okay.
ROBBY
(to Mike)
When you are going to Springfield?
MIKE
Hearing is Monday.
Robby nods, heads into --
94C INT. GLOBE, ROBBY’S OFFICE - CONTINUOUS 94C
Robby settles in. Starts to check e-mails.
MATT
Robby? You got a second?
Robby looks up, Matt’s in the door.
ROBBY
Yeah.
MATT
I, uh, got one of those treatment
centers a block from my house.
(then)
We got neighbors with kids. I know
our work is confidential but I feel
like I should tell ‘em.
ROBBY
We’ll tell ‘em soon.
Matt hesitates. Then nods and exits.
95-99 SUMMER VICTIM MONTAGE 95-99
In a series of quick cuts, we see --
-- Sacha (and Matt) out and about in JP, Dorchester, Mission
Hill, trying to find victims. They knock on some doors
and get no answer, they knock on others to find that
victims have moved, it’s tough to track folks down.
-- Sacha (and Matt) manage to track victims down, but face
obstacles. Obstructionist family members, reticent
victims...
11/26/14 87.
-- Finally, Sacha (and Matt) actually are let in. We see
shot after shot of them entering houses, some new, some
where they were previously denied. They’re getting the
story...
Ratings
Scene 37 - Silent Struggles: Unveiling the Church's Shadows
Sacha sits with the middle-aged-man.
MIDDLE-AGED-MAN
The Bishop came over the house. He
said nothing like this had ever
happened before, they asked us not
to press charges.
SACHA
And what did your mother do?
MIDDLE-AGED-MAN
My mother? She put out freakin’
cookies.
Sacha blinks.
103A INT. DUSSOURD APARTMENT, JAMAICA PLAIN - DAY (FORMERLY 102)
103A
A small apartment. MARYETTA DUSSOURD, 57, wears a gold cross.
DUSSOURD
There was a lot of pressure to keep
quiet.
She struggles. Matt across from her, prods...
MATT
From the Church?
DUSSOURD
Yeah, from the Church... but not
just the Church. From my friends,
from the other parishioners...
101 INT. GLOBE, SPOTLIGHT OFFICE - EARLY EVENING 101
CLOSE ON a spreadsheet, going up on the wall. Names of
priests, dates, reports...
SIPE (OVER THE PHONE)
Well, many of the priests I treated
were psychosexually stunted....
REVEAL Sacha putting up the list of 15 priests on the
corkboard as Matt walks over 3x5 CARDS with VICTIM’S STORIES.
In the foreground, Mike talks on the phone to Sipe.
11/26/14 88.
SIPE (OVER THE PHONE) (CONT’D)
...on the emotional level of a
twelve or thirteen year old.
MIKE
Jeez.
103 INT. COFFEE SHOP, HINGHAM - DAY 103
Sacha sits with the a COP, 40s, African-American.
COP
Sure, the chief knew, everybody
knew. But nobody wants to cuff a
priest.
SACHA
What about the prosecutor?
COP
I shouldn’t talk about this shit.
SACHA
I think you should actually.
Sacha waits, stares him down.
103a EXT. JAMAICA PLAIN - DAY 103a
Sacha talks to a painter on a ladder.
SACHA
Do you know a Father Hurley or a
Father Gale?
MAN
I do.
103aa EXT. TWO DECKER, DORCHESTER - DAY 103aa
A man yells at Matt from his porch.
MAN
You get out of here before I MATT
kick the shit out of you, Sorry to bother you. Sorry
alright? to bother you....
MAN
You leave me alone, leave my brother
alone, you hear me goddammit?
11/26/14 89.
Ratings
Scene 38 - Confronting Shadows
Sacha walks up to a door. The knock. A kindly looking OLDER
MAN (RONALD PAQUIN) in a checkered shirt answers the door.
SACHA
Hi, I’m looking for Ronald Paquin.
RONALD PAQUIN
Yes?
Sacha blinks, surprised.
SACHA
You’re... Father Paquin?
FATHER PAQUIN
Yes, that’s right.
SACHA
(rapid, tense)
My name is Sacha Pfeiffer, I, I’m a
reporter with the Boston Globe.
FATHER PAQUIN
Okay.
Sacha, awkward, reaches for her pad.
SACHA
Could I ask you a few questions?
FATHER PAQUIN
Go ahead, dear.
Sacha starts recording.
SACHA
We’ve talked to several men who knew
you when they were boys at St. John
the Baptist in Haverhill? They told
us you molested them? Is that true?
FATHER PAQUIN
...Sure. I fooled around. But I
never felt gratified myself.
Sacha almost hides her shock.
SACHA
Right, uh, but you admit that you
molested boys at St. John the
Baptist?
11/26/14 90.
FATHER PAQUIN
Yes, yes, but as I said, I never got
any pleasure from it. That’s
important to understand.
SACHA
Right. Can you tell me where and
how you, uh, fooled around with
these boys.
FATHER PAQUIN
I want to be clear, I never raped
anyone. There’s a difference. I
should know.
SACHA
How would you know?
FATHER PAQUIN
I was raped.
SACHA
...I’m sorry... who raped you?
JANE PAQUIN (O.C.)
Ronny? Who’re you talking to? FATHER PAQUIN
It’s okay, Jane.
SACHA (CONT’D)
Father Paquin, who raped you?
Paquin’s sister, JANE PAQUIN, 50s, comes to the door.
JANE PAQUIN
Who are you? SACHA
Sacha Pfeiffer, I’m with the
Globe--
JANE PAQUIN
Please get off my porch. FATHER PAQUIN
I can speak for myself, Jane.
JANE PAQUIN
Get inside the house, Ronald. SACHA
I just have a few more--
JANE PAQUIN
Get inside, Ronnie. SACHA
I’m sorry, who are you?
JANE PAQUIN
I’m his sister, and I don’t SACHA
want you coming back here. Ms. Paquin --
11/26/14 91.
But Jane SLAMS the door. Sacha stands there for a moment,
STUNNED. Then she turns, quickly heads down the walkway,
scribbling notes. She pauses as she reaches the sidewalk,
finishing up. Two CHILDREN ride past on bikes. She’s VISIBLY
SHAKEN by the encounter.
Ratings
Scene 39 - Tensions in the Courtroom
105
Mike watching the Globe’s lawyer, JON ALBANO, 50s, white
beard and moustache, present to JUDGE CONSTANCE SWEENEY, 40s.
JUDGE SWEENEY
Could you please clarify the Globe’s
position for me, Mr. Albano?
The courtroom’s empty, Garabedian at one desk, WILSON D.
ROGERS JR., 60s, the Church’s lawyer, at another.
ALBANO
Yes, Judge Sweeney. Our argument to
make these documents public rests
mainly on 1st amendment grounds. We
also have a number of other relevant
arguments. After all, your honor,
this was a discretionary order...
JUDGE SWEENEY
Yes, Mr. Albano, it was made at the
Judge’s discretion...
Mike FIGHTS TEDIUM... until a REPORTER slides in next to him.
HERALD REPORTER (JOE QUIMBY)
Hey Mike.
MIKE
Hey Joe.
HERALD REPORTER
What’s a Spotlight reporter doing in
Springfield?
Mike doesn’t answer.
HERALD REPORTER (CONT’D)
Your man Albano’s sledding uphill.
You really think you have a shot at
winning this thing?
MIKE
You want me to comment for the
Herald?
11/26/14 92.
QUIMBY
(writing on his pad)
“Globe reporter would not comment
but did not seem hopeful.”
Mike settles in. Gonna be a long day.
106 INT. GLOBE, SPOTLIGHT OFFICE/ROBBY’S OFFICE - DAY 106
Sacha downloads Robby. We see a large map of Boston on a
desk, neighborhoods circled, writing and Post-its noting
priests and victims.
SACHA
He didn’t try to hide it at all, he
had this odd rationalization for it.
Like it was normal to fool around
with little boys.
Nearby, we see Matt adding 3x5 victim cards to the wall. On
the wall, 19 OF ROUGHLY 50 PRIESTS have cards. [N.B.: The
priests (and victims) should be grouped by neighborhood].
SACHA (CONT’D)
I’d really like to go back. I think
he’d talk to us.
ROBBY
We will. Just not yet... Let’s
stay focused on victims right now.
MATT
Sacha, where’d they send Father
Talbot again?
SACHA
I think it was Cheverus? MATT
Yeah, that’s right.
ROBBY
Father Talbot? From BC High?
SACHA
Yeah. You know him?
ROBBY
He was there when I was. We have a
victim?
MATT
Yeah. He lives in Providence.
Matt hands him the card. Robby stares down at the name.
11/26/14 93.
108 INT. HAMPDEN SUPERIOR COURT, COURTROOM - DAY 108
Mike is still listing.
ALBANO
There’s nothing personal in these
documents, your honor, they concern
how the Cardinal is handling--
JUDGE SWEENEY
Say the Archdiocese.
ALBANO
Er, excuse me?
JUDGE SWEENEY
You don’t get to tag the Cardinal
with everything, Mr. Albano. Say
the Archdiocese.
Albano looks flustered.
WILSON D. ROGERS JR.
Judge Sweeney, the Globe isn’t a
party to this case, they just want
to sell papers. If Mr. Garabedian
hadn’t smeared the Cardinal’s good
name, we wouldn’t even be here.
GARABEDIAN
Your honor, I object to the use of
the word smear.
JUDGE SWEENEY
Duly noted, Mr. Garabedian.
Garabedian, angry, mutters under his breath. Mike catches it.
Ratings
Scene 40 - Uncovering the Truth
Garabedian sits on the courthouse steps, eating a packed
lunch out of tupperware. Simmering.
MIKE
How you doing, Mitch?
Mike walks up, sits down.
GARABEDIAN
I’m fine.
MIKE
(pushing him)
He’s tough, that Wilson Rogers.
11/26/14 94.
GARABEDIAN
He’s smug. And he’s sloppy.
MIKE
He doesn’t seem sloppy.
GARABEDIAN
You don’t know the half of it.
Trust me.
MIKE
What’s the half of it?
(then)
Tell me the half of it, Mitch.
Garabedian looks at him, wrestling with something.
GARABEDIAN
Off the record.
MIKE
Off the record.
GARABEDIAN
Three years ago, I get a call from
an ex-Priest. Anthony Benzevich.
He was at Blessed Sacrament back in
‘62 and he saw Geoghan taking little
boys up to the Rectory bedroom.
Benzevich was appalled, he told the
Bishop. And the Bishop threatened
to reassign him. To South America.
MIKE
Jeez.
GARABEDIAN
Yeah. So, fast-forward 35 years,
Benzevich reads Geoghan’s been
charged with molesting more than a
hundred kids. Benzevich feels
guilty, he calls me.
MIKE
You have testimony from a priest
telling his superiors about Geoghan
in 62’?
GARABEDIAN
No, I do not. Because when I call
Benzevich in to give a deposition,
he shows up with a lawyer.
11/26/14 95.
MIKE
Wilson Rogers.
GARABEDIAN
Suddenly, Father Benzevich has a
foggy memory. Can’t remember
anything. He’s useless. So I go
back to work, I forget about it,
whatever. Until about a year ago. I
find an article about a priest who
warned church officials about
Geoghan.
MIKE
(stunned)
Benzevich went to the press.
GARABEDIAN
Local paper, Patriot Ledger, nobody
saw it. But now I got Benzevich on
record, so I file a motion to depose
him a second time. And Wilson
Rogers, that smug son of a bitch, he
files a motion opposing my motion.
And that’s when I have him!
MIKE
Have him how?
GARABEDIAN
Rogers opposes my motion. So I gotta
make an argument as to why I’m
allowed to depose Father Benzevich a
second time. But now, I’m allowed
to attach exhibits. You follow what
I’m saying?
MIKE
The sealed documents...
GARABEDIAN
Yes, I can use the sealed documents
I’ve gotten in discovery, Mr.
Rezendes, the same documents your
paper is currently suing for.
MIKE
You’re shitting me.
GARABEDIAN
No, I am not shitting you. So I
pull out the 14 most damning docs
and I attach them to my motion. And
they prove everything.
(MORE)
11/26/14 96.
GARABEDIAN (CONT'D)
About the Church, about the bishops,
about Law...
MIKE
And it’s all public? Because your
motion to oppose Rogers’ motion...
GARABEDIAN
...is public. That’s correct. Now
you’re paying attention.
MIKE
(head spinning)
So I can just walk into the
courthouse right now and get those
documents?
GARABEDIAN
No. You cannot. Because the
documents are not there.
MIKE
But you just said they’re public.
GARABEDIAN
I know I did. But this is Boston.
And the Church doesn’t want them to
be found. So they are not there.
MIKE
Mitch, are you telling me that the
Catholic Church had legal documents
removed from the courthouse?
Mitch collects his things, turns to Mike. With clarity.
GARABEDIAN
Look, I’m not crazy, I’m not
paranoid, I’m experienced. Check
the docket, you’ll see. They control
everything. Everything.
Mitch exits. Mike watches him go, UNNERVED. Is Mitch right?
And was that just the mother of all tips? A beat... then
Mike grabs his stuff and runs towards his car.
Ratings
Scene 41 - The Empty Folder
Mike gets out of his car, runs across same street into the
courthouse.
11/26/14 97.
111 INT. SUFFOLK COUNTY COURTHOUSE, RECORDS ROOM - DAY 111
A mousy looking CLERK #2 (O’BRIAN) pushes a BINDER across a
help desk to... Mike. Who starts going through the file.
CLERK #2 (O’BRIAN)
Docket entry #49 in the Geoghan
case.
(then)
We’re closing in ten minutes.
CLOSE ON DOCKET ENTRY #49: Plaintiff’s opposition to
Reverend Anthony Benzevich’s Motion for Protective Order.
Dated APR 2, 2001. And a list of 14 exhibits.
Mike, excited, opens the file, finds the motion and a FOLDER,
EXHIBITS A - N. Mike opens it. It’s empty. HOLY SHIT.
112 INT. ROBBY’S HOUSE, ROBBY’S HOME OFFICE - EARLY EVENING 112
Robby stands, searching through bookshelves... until he finds
a BC HIGH YEARBOOK. He flips to the faculty page, homing in
on a PHOTO... FATHER JAMES TALBOT. A beat. His phone RINGS.
ROBBY (INTO PHONE)
Robby.
MIKE (OVER THE PHONE)
Hey, it’s me. You’re not gonna
believe it.
113 EXT. SUFFOLK COUNTY COURTHOUSE, DOWNTOWN BOSTON - SAME TIME113
Mike is walking out of the courthouse.
MIKE (INTO PHONE)
Garabedian gave me a tip, some of
the sealed docs are already public.
They’re part of a motion he filed.
He said they’re the best of the
bunch, we don’t have to wait for
Sweeney’s ruling.
INTERCUT THE TWO SCENES
ROBBY (INTO PHONE)
So we can get them?
MIKE (INTO PHONE)
Yeah, but they’re not there! I
already talked to Albano, he said
all we have to do is file a motion
and Sweeney will order Mitch to
refile the docs.
11/26/14 98.
ROBBY (INTO PHONE)
And you think these documents are...
MIKE (INTO PHONE)
He said these 14 docs are all we
need. They’re huge, Robby.
ROBBY
Okay. I’ll call Ben. Good work.
Ratings
Scene 42 - Breaking News: The World Trade Center Attack
Marty gets out of his car and walks toward the building. It’s
a beautiful September morning.
115 INT. GLOBE, NEWSROOM - MOMENTS LATER 115
It’s pretty empty. Marty walks in, heads toward his office,
but slows when SOMETHING on a TV catches his attention. He
walks to the TV, joins A YOUNG REPORTER already watching.
MARTY
What happened?
YOUNG REPORTER
They’re saying it’s a prop plane but
that’s not a prop plane.
We glimpse the TV. The World Trade Center. On fire.
MARTY
Tell Linda to get every reporter we
have in here now.
116 INT. GLOBE, NEWSROOM - DAY 116
CLOSE ON a TV. Cardinal Law addressing a large group of
reporters, citizens in front of the Cathedral.
CARDINAL LAW (REAL FOOTAGE)
You pray for the injured, and those
who survived. You pray, too, for
the nation, that our response might
reflect our best ideals and God’s
teaching as it is found in
Christianity and Islam as well.
REVEAL a group watching TV in the corner of the newsroom, Ben
front and center. Robby, Matt, Sacha are off to the side.
BEN
Not bad. Who’s there?
11/26/14 99.
FEMALE EDITOR
Paulson.
Ben starts to move, an editor at his side.
BEN
I wanna talk to him when he’s back.
(to Robby)
Did Rezendes find a way to get to
Florida?
ROBBY
They just opened the airport in
Providence, he’s on his way there
now.
News to Sacha and Matt.
CANELLOS
Ben, I’m gonna need more people on
Massport.
BEN
I’ll give you three of my guys.
Robby, put your team on that too.
ROBBY
Got it.
BEN
And Robby, everything else stops.
ROBBY
Understood.
Ben heads off.
MATT
Why’s Mike going to Florida?
ROBBY
Flight school. It’s where they
learned to fly.
SACHA
Robby, I’ve got a lot of victim
interviews set up this week.
ROBBY
You’re gonna have to cancel ‘em.
SACHA
That’s going to be hard.
11/26/14 100.
MATT
This is nuts. Two days ago, I told
my wife we gotta be working the
biggest story on the planet....
Robby nods as we PAN to Reception. Linda and several others
taking calls.
LINDA
Boston Globe. We have no RECEPTIONIST 1
knowledge of additional Boston Globe. One second
threats. please.
RECEPTIONIST 2
Yes, if you have a tip I’ll transfer
you to the metro desk.
Off the RINGING PHONES --
Ratings
Scene 43 - Tensions Rise: A Race Against Time
Garabedian works at his desk. The phone rings, he picks up.
GARABEDIAN (INTO PHONE)
Mitchell Garabedian.
118 INT. MIKE’S CAR (MOVING), I-95 - DAY 118
Mike speeds frantically down I-95 towards Providence, phone
to his ear. It’s ringing.
MIKE (INTO PHONE)
Mitch, it’s Mike, I’ve been trying
to reach you...
GARABEDIAN (OVER THE PHONE)
I don’t have time to talk to you,
Mr. Rezendes.
MIKE (INTO PHONE)
Did you refile those documents yet?
GARABEDIAN (OVER THE PHONE)
No, I just got the order, it takes
time.
MIKE (INTO PHONE)
Okay, great. Can you to hold off on
refiling them?
11/26/14 101.
GARABEDIAN MIKE
Hold off? I have to go to Florida, once
you refile, they’re public,
other newspapers will be able
to get a hold of...
GARABEDIAN (INTO PHONE)
Other newspapers are not my concern.
I received a judicial order, I told
you the Church is watching me...
MIKE (INTO PHONE)
Mitch, please, I just need a few
weeks.
GARABEDIAN (INTO PHONE)
I can’t make any promises. Goodbye.
Garabedian hangs up.
MIKE (INTO PHONE)
Mitch? Mitch! Shit!
119 EXT. T-STOP, BOSTON - DAY 119
The season has changed. The leaves are all but gone. Sacha
emerges from the subway, crosses the street.
120 INT. BAR, JAMAICA PLAIN - SAME TIME 120
A relatively empty bar. ON TV, we see CNN coverage of the US
BOMBING IN AFGHANISTAN. Phil Saviano sits in a booth across
from Sacha. Phil’s on the edge.
SAVIANO
Look, I get it, no one wants to read
about kids getting raped by priests.
Especially now. But you asked a lot
of people to relive some very
painful experiences and then you
disappear!
SACHA
Phil, you know why we were SAVIANO
taken off the story. It’s been six weeks since
9/11.
SACHA
I realize that and we’re going to
get back to it.
SAVIANO
When? You’re doing the same SACHA
thing you guys did last time-- ...no...
11/26/14 102.
SAVIANO
--you’re dropping us! Maybe I
should tell the Herald that story!
SACHA
Okay, Phil. You can do that, it’ll
undo all the work we’ve done. But I
can’t stop you.
Phil looks away, but quiets.
SACHA (CONT’D)
Listen to me. I am here because I
care. We are not going away. We
are not going away. We are going to
tell this story and we’re going to
tell it right. We just need more
time, that’s all we’re asking for.
PHIL
Why bother asking? You’re gonna do
what you want anyway. You always do.
He gets up and leaves.
SACHA
Phil. Phil...
But he’s gone. Off Sacha --
Ratings
Scene 44 - Urgency and Gratitude
Marty’s working at his computer. Ben knocks.
BEN
Marty, you gotta a second?
MARTY
Sure.
Marty turns as Ben walks in.
BEN
Robby’s itching to get his team back
on the church story. At this point,
I think we’re covered on 9/11.
MARTY
Okay. Sounds right.
Ben starts to leave when --
11/26/14 103.
MARTY (CONT’D)
Ben.
(then)
I, uh, wanted to say thank you for
taking the lead on 9/11. All the
politics at Logan and Massport, I
wasn’t the person to do it. You’ve
done an excellent job over the last
six weeks.
Ben is completely caught off guard.
BEN
Oh. Well... thanks.
(awkward, exiting)
Good night.
MARTY
Good night.
122 INT. HOLIDAY INN, HOTEL ROOM, MIAMI, FL - LATER 122
A crappy hotel room. ESPN on TV, a suitcase, clothes, papers
everywhere. Mike takes a burrito out of the hotel microwave,
tries to pick it up when his phone RINGS. He grabs the phone.
MIKE (INTO PHONE)
Hey.
ROBBY (OVER THE PHONE)
How’s South Beach?
MIKE (INTO PHONE)
I’m in Boynton Beach. Remarkably
different place. What’s up?
ROBBY (OVER THE PHONE)
Mitch Garabedian called me today.
MIKE (INTO PHONE)
Why’d he call you?
ROBBY (OVER THE PHONE)
Because he knew you’d yell at him.
He refiled the docs.
MIKE (INTO PHONE)
(yelling)
What? Robby, those docs are public
now, we gotta get them before anyone
else does...
11/26/14 104.
Ratings
Scene 45 - Tensions and Revelations
Robby sitting in his chair.
ROBBY (INTO PHONE)
I know, wrap up what you’re doing
and catch the first flight you can.
MIKE (OVER THE PHONE)
I’ll book a flight, go straight to
the courthouse tomorrow.
ROBBY (INTO PHONE)
Good. Call me when you get it.
Robby hangs up. Sacha is in his door, putting on her coat.
SACHA
Robby, I’d like to let Phil Saviano
know that we are back on it.
ROBBY
Good idea. Go have dinner with
Hansi. Might be the last time for a
while.
SACHA
Okay.
Sacha hesitates, then grabs a clip off her desk.
SACHA (CONT’D)
Robby, after we saw MacLeish, I
started going back through the
clips... and I had a little time
last week finally, so, uh...
(she hands him the clip)
I found that. It’s from ‘93.
Robby looks down. We see the clip. “LAWYER FOR PORTER
VICTIMS SAYS 20 OTHER PRIESTS IN AREA ARE ACCUSED.”
Robby’s face CHANGES. Sacha waits, expecting a response.
ROBBY
That it?
Robby’s abrupt tone catches Sacha by surprise.
SACHA
Yeah. That’s it.
ROBBY
Good night.
11/26/14 105.
SACHA
Okay. Good night.
Sacha takes a beat, then leaves, a bit confused and hurt.
Robby looks down at the clip. Off Robby --
124 INT. MATT CARROLL’S HOUSE, BEDROOM, WEST ROXBURY, MA - NIGHT
124
Matt sits up in bed. Checks the clock. 4am. Can’t sleep.
125 INT. MATT CARROLL’S HOUSE, KITCHEN - LATER 125
Matt walks in, takes two aspirin. He eyes a 9/11 BUMPER
STICKER on the fridge. His gaze drifts down to the photo of
the house on Pelton Street. Matt frowns... realizing he’s
back on the church.
126 EXT. MODERN RESTAURANT, PROVIDENCE, RI - DAY 126
A wide shot. A well dressed, good looking MAN checking his
blackberry.
Robby walks in, introduces himself to the man. PRELAP --
127 INT. MODERN RESTAURANT, PROVIDENCE, RI - LATER 127
Robby and the man, KEVIN, 40s, sit at a table. We’re in a
long shot. We see them talking. Kevin is friendly, amiable.
KEVIN
So, I was probably a few years after
you, right?
ROBBY
More than a few.
KEVIN
(laughing)
Well after BC High, I came down to
Providence, played hockey for the
Friars.
ROBBY
You must’ve been pretty good.
KEVIN
No, rode the bench in college. But
I loved the city, never left. We
just had our third kid. And I still
get my Globe, for the record.
ROBBY
Good to know.
11/26/14 106.
Kevin smiles. Robby nods. Takes a beat. Then dives in.
ROBBY (CONT’D)
Look, Kevin, that’s actually why I’m
here. I need ask you some questions
about Father Talbot.
Kevin’s face tightens, his eyes intense. Robby waits.
KEVIN
How’d you find out? I guess that
doesn’t matter.
(shakes his head)
I never even told my wife.
Ratings
Scene 46 - Frustration at the Courthouse
Mike, still carrying his bags from the plane, emerges from an
elevator, hurries down the hall, nearly knocking people out
of the way. He arrives at the Records Room and slams up
against the glass just as the clerk (O’BRIAN) LOCKS the door.
MIKE
Hey, hey, I need to get in there.
CLERK O’BRIAN
We’re closed.
MIKE
Come on, let me in, five minutes,
come on.
CLERK O’BRIAN
I’m sorry, we’re closed!
MIKE
Come on, five minutes!
But the clerk leaves. Mike bangs the door in frustration.
130 INT. SUFFOLK COUNTY COURTHOUSE, HALLWAY - MORNING 130
The elevator door opens and Clerk O’Brian walks out with
coffee and a copy of the Globe. He approaches the door and
stops.
Mike sits on the floor, waiting. O’Brian eyes him. A beat,
then he unlocks the door. Mike follows him into --
131 INT. SUFFOLK COUNTY COURTHOUSE, RECORDS ROOM - MORNING 131
O’Brian walks in. Mike fills out a form at the ‘application
for records’ table. He turns to the desk, hands the form to
Clerk O’Brian, who reads it.
11/26/14 107.
CLERK O’BRIAN
This is the Geoghan case?
MIKE
Yeah. That’s right.
CLERK O’BRIAN
Those records are sealed.
MIKE
No, that’s a public motion, those
records are public. Look, I work
for the Globe.
Mike shows his credentials.
CLERK O’BRIAN
Good for you.
MIKE
Can I talk to your supervisor?
CLERK O’BRIAN
He’s not in today.
Mike, frustrated, eyes the CROSS the clerk is wearing.
MIKE
What about a judge? You gotta have
a judge who handles these issues.
The clerk eyes Mike.
CLERK O’BRIAN
Sixth floor.
132 INT. SUFFOLK COUNTY COURTHOUSE, JUDGE’S CHAMBERS - LATER 132
Mike walks in. Sees a receptionist.
MIKE
I’d like to see Judge Volterra
please. It’s urgent.
RECEPTIONIST
Judge is in court until 3:30.
MIKE
There’s no other judge on duty?
RECEPTIONIST
Would you like to have a seat?
Her look says it all.
11/26/14 108.
MIKE
Yeah. Sure. I’ll take a seat.
Mike sits. Frustrated and anxious. We PRELAP --
JACK DUNN (PRELAP)
We understand the nature of the
allegations against Father Talbot.
Ratings
Scene 47 - Confronting the Past
Robby, Sacha sit with PRESIDENT BILL KEMEZA, 50s, SPOKESMAN
JACK DUNN, 40, and Pete Conley, the swell we met earlier.
JACK DUNN
I’m just not sure what you want from
President Kemeza. Talbot taught
here long before Bill took over.
SACHA
Of course. We just want to know if
it’s possible that the faculty, the
President, the Board, that no one
knew what was going on at the time.
JACK DUNN
I graduated in 1979 and I had no
idea about any of this, so if you’re
suggesting that Father Gibbons and
Father Callahan --
ROBBY
Gibbons and Callahan ran this place
like the navy, Jack, you really
think they didn’t know?
JACK DUNN
It’s a big school, Robby, you know
that. You’re talking about seven
alleged victims over eight years.
ROBBY
Seven that we know about.
JACK DUNN PRESIDENT KAMEZA
This is ridiculous. You’re Jack. Jack --
reaching for a story here, we
can’t possible know if...
PRESIDENT KAMEZA
Jack. If I had been President back
then, I would have known.
Conley looks at him, sharp.
11/26/14 109.
JACK DUNN PRESIDENT KAMEZA
Bill, I’m not sure that’s Why do you think they sent *
relevant -- Talbot up to Cheverus? You *
know they wanted him out of
town.
PETER CONLEY
(to Robby, direct)
Robby, as well-intentioned as Bill’s
remarks are, I’m hoping maybe we can
keep this between us until we all
get on the same page.
ROBBY
Is that why we’re here, to get on
the same page?
PETER CONLEY
No, we’re here because you’re an
important alumnus, Robby, and a
friend.
JACK DUNN
Exactly. We know you care about
this school as much as we do.
Robby contains his anger.
ROBBY
Did you play a sport here, Jack?
JACK DUNN
(confused)
Yeah. Football. Why?
ROBBY
I ran track.
(then)
I went to Providence yesterday, to
talk to one of Talbot’s victims, he
played hockey here. He’s one of the
better ones, has a wife, kids, good
job. Ten minutes into the
conversation guy breaks down,
couldn’t stop crying. Said he could
never figure out why Father Talbot
picked him.
(beat, to Jack)
Father Talbot coached the hockey
team. So, I guess we just got lucky,
you and me.
Off Sacha, watching him.
11/26/14 110.
Ratings
Scene 48 - The Weight of Knowledge
Robby and Sacha walk from BC High back to the Globe.
SACHA
Does Jack Dunn work for the school?
ROBBY
No. He’s PR for Boston College. They
call him when they need help.
SACHA
And Pete Conley? Why was he there?
ROBBY
Good question. Pete’s a big alum.
But I called Bill directly and I
asked for a sit-down, I never
mentioned anybody else.
SACHA
It’s like everybody already knows
the story.
This hits Robby. He pauses, looks back at BC High.
ROBBY
Yeah, except us. And we work right
there.
135 INT. SUFFOLK COUNTY COURTHOUSE, JUDGE’S CHAMBERS - LATER 135
Mike is still waiting. A JUDGE enters. Mike stands.
MIKE
Judge Volterra?
JUDGE VOLTERRA
Yes?
MIKE
Hi, I’m Mike Rezendes from the
Boston Globe. I’m having some
trouble accessing some public
records down in the records room. I
was wondering if I could have a word
with you?
136 INT. SUFFOLK COUNTY COURTHOUSE, JUDGE’S CHAMBERS - LATER 136
JUDGE VIERI VOLTERRA stares down at Mike’s request.
11/26/14 111.
JUDGE VOLTERRA
These exhibits you’re after, Mr.
Rezendes, they’re very sensitive
records.
MIKE
All due respect, your honor, that’s
not the question here. The records
are public.
JUDGE VOLTERRA
Maybe so, but tell me, where is the
editorial responsibility in
publishing records of this nature?
MIKE
Where’s the editorial responsibility
in not publishing them?
Ratings
Scene 49 - Uncovering the Truth
Clerk O’Brian drops the file in front of Mike, who dives in.
His face says it all. HOLY SHIT. A beat, then Mike grabs
the files, starts to rush out.
CLERK O’BRIAN
You can’t take those. You need to
make copies.
MIKE
Yeah, I’m going to the copy room.
CLERK O’BRIAN
It closed at four.
Mike stops, fucked. He digs into his pocket, counts bills.
MIKE
I’ll give you 83 bucks to use yours.
138 EXT. SUFFOLK COUNTY COURTHOUSE, DOWNTOWN BOSTON - TWILIGHT 138
Mike, already on his cell phone, hurries across the street
toward and catches a cab.
MIKE
Hey, Cabbie! Hey, hey, hey!
Mike gets in cab.
MIKE (CONT’D)
I’m going to the Boston Globe on
Morrisey Boulevard. Don't take 93.
Take Dorchester Avenue.
(MORE)
11/26/14 112.
MIKE (CONT’D)
(into phone)
Robby, it’s incredible!
138A EXT. STATE STREET, BOSTON - MOMENTS LATER 138A
Mike’s cab moves up State Street.
MIKE (V.O.)
Law knew about Geoghan for years, no
question! There’s a letter to Law
from a woman, Margaret Gallant, who
lived in Jamaica Plain in the early
80’s when Geoghan was there. Listen
to this...
139 EXT. KING’S CHAPEL, TREMONT STREET, BOSTON - MOMENTS LATER 139
Mike’s cab whisks past the old King’s Chapel.
MIKE (V.O.)
(reading)
“Our family is rooted in the Church,
our desire is to protect the Holy
Orders...”
140B EXT. MONSIGNOR REYNOLD’S WAY, SOUTH END - MOMENTS LATER 140B
Mike’s cab passes the Cathedral of the Holy Cross.
MIKE (V.O.)
“...even in the midst of our agony
over the seven boys in our family...
140C EXT. PLAYGROUND BY THE CATHEDRAL - MOMENTS LATER 140C
Patrick McSorley plays with his kid on the playground.
MIKE (V.O.)
...who have been violated.” Seven,
Robby! Seven boys!
141 EXT. WEST 4TH STREET BRIDGE, BOSTON - LATER 141
The cab crosses over the bridge into Dorchester.
MIKE (V.O.)
“It was suggested we keep silent. We
did not question the Authority of
the Church two years ago...
142 EXT. OLD COLONY ROAD, DORCHESTER - LATER 142
The cab is stuck on Old Colony Road. It turns into a TRAFFIC
CIRCLE, past St. Monica’s church and onto Columbia Road.
11/26/14 113.
MIKE (V.O.)
...but since Father Geoghan is still
in his parish...” She sent it to
Law and Law did shit!
Ratings
Scene 50 - Urgency and Conflict at the Boston Globe
The cab drives down by the water.
MIKE (V.O.)
Here’s another one to Law, same
year. Listen to this...
(reading)
“A word on the recent assignment of
Father John Geoghan...”
144 EXT. BOSTON GLOBE - EVENING 144
The cab pulls up. Mike jumps out, pays the driver, hustles
inside.
MIKE (V.O.)
“...as an associate at Saint Julia’s
in Weston. Father Geoghan...”
145 INT. GLOBE, LOBBY - LATER 145
Mike races in through the glass doors, then hustles up the
escalator...
MIKE (V.O.)
“...has a history of homosexual
involvement with young boys. I
understand his recent departure from
Saint Brendan's may be related to
this problem...”
147 INT. GLOBE, SPOTLIGHT OFFICE - NIGHT 147
The whole team sits around as Mike finishes reading.
MIKE
“I wonder if Father Geoghan should
not be reduced to weekend work while
receiving therapy. You know how
grateful I am to you for your
constant concern, sincerely yours in
our Lord, Most Reverend John M.
D'Arcy, Auxiliary Bishop of Boston.
December 7, 1984.”
MATT
An auxiliary bishop wrote that?
11/26/14 114.
We see the letters, both addressed to Law. The team reels.
SACHA
It’s incredible. He broke ranks.
When did Gallant write her letter?
MIKE
1984.
SACHA
And Law just ignored her.
MATT
How do you ignore that freakin’
letter?!
MIKE
We’ve got him. You can’t read those
letters and think anything else.
It’s proof.
ROBBY
Yeah. It is. This is good work.
MIKE
Should we take it up to Ben?
ROBBY
No, not yet.
MIKE
Why not? We got Law. This is it.
ROBBY
No, this is Law covering for one
priest. There’s another 90 out
there.
MIKE
Yeah, and we can print that story
when we get it but we gotta go with
this now.
ROBBY
I’m not gonna rush the story, Mike.
MIKE
We don’t have a choice, if we don’t
run to press, somebody else is gonna
find those letters and butcher the
story! Joe Quimby from the Herald
was at the freakin’ courthouse!
11/26/14 115.
ROBBY
So we’ll write a holding story and
we’ll keep an eye on the Herald.
MIKE
(losing it)
Keep our eye on the Herald? They
run this and they get it wrong, the
Church will bury it! We gotta do
this now!
MATTY MIKE
Mike -- What? Why are we hesitating!
Baron told us to get Law!
ROBBY
Baron told us to get the system. We
need the full scope, that’s the only
thing that will put an end to this.
MIKE
Then let’s take it up to Ben, let
him decide!
ROBBY
We’ll take it to Ben when I say it’s
time.
MIKE
It’s time, Robby. They knew and they
let it happen! To kids! This
coulda been you, it coulda been me,
it could have been any one of us.
We gotta nail these scumbags, show
people that no one can get away with
this! Not a priest or a Cardinal or
a fricking Pope!
Robby, Sacha, and Matt are still. Mike looks around the room,
out of breath, adrenaline draining. Robby is pissed.
ROBBY
You finished?
MIKE
Yeah. I am. This is bullshit.
Mike leaves, slamming the door behind him.
Ratings
Scene 51 - Fractured Reflections
Sacha and Hansi have just finished dinner. Hansi’s cleaning
off the table as Sacha loads the dishwasher.
11/26/14 116.
She tries to slide the upper rack into the dishwasher. It’s
jammed. She tries again. It won’t go. She jiggles the rack,
tries a third time... she SNAPS, slamming the rack hard,
sending the dirty glasses crashing into each other.
She looks up... Hansi is just staring at her. Whoa.
HANSI
You okay?
Before she can answer, there’s a KNOCK on the door. Hansi
walks over, opens the door. It’s Mike.
MIKE
Hey, Hansi.
HANSI
Hard day at work, Mike?
150 EXT. SACHA’S HOUSE, BACK PORCH - LATER 150
Sacha walks onto the porch with two beers, hands one to Mike.
MIKE
Thanks. I dunno why I got so pissed
off. I mean I think Robby’s wrong
but...
SACHA
You care about the story, Mike. We
all do.
Mike takes a drink.
SACHA (CONT’D)
I stopped going to church with my
Nana. It was just too hard. I’d be
sitting there and I would start
thinking about Joe Crowley or
someone else and I’d just get so
angry.
MIKE
Did you tell her why?
SACHA
She goes to church three times a
week, Mike.
Mike considers this. Shakes his head.
MIKE
Really pisses me off.
(then)
(MORE)
11/26/14 117.
MIKE (CONT'D)
You know, I actually liked going to
mass when I was a kid.
SACHA
Why’d you stop?
MIKE
Typical shit.
(then)
But the weird thing is, I think
there was a part of me that figured
one day, maybe I’d go back. I was
holding on to that.
Sacha watches him, not expecting this.
MIKE (CONT’D)
And when I read those letters,
something just cracked.
SACHA
That’s a shitty feeling.
MIKE
Yeah. It’s a shitty feeling.
Off the two of them, a little lost...
Ratings
Scene 52 - Complicity in Elegance
The posh bar of one of Boston’s oldest hotels. Robby is at
the bar, a glass of red wine in front of him.
PETER CONLEY
Looks like a long day.
ROBBY
Hey Pete.
PETER CONLEY
I’m sorry to make it longer. Brian?
Peter Conley sits, nods to the barman: ‘the usual.’
ROBBY
Anyone ever said no to a drink with
you, Pete?
PETER CONLEY
Sure. The trick is to keep asking.
(raising his glass)
For Boston.
11/26/14 118.
ROBBY
For Boston.
(drinks, then)
So, you here for the Cardinal?
PETER CONLEY
No, no, I wouldn’t presume to speak
for the Cardinal.
(then)
You gotta a lot of people here who
respect you, Robby, respect your
work.
ROBBY
Good to know.
PETER CONLEY
It’s ‘cause you care about this
place. It’s why you do what you do,
it’s who you are. But people need
the Church more than ever right now.
You can feel it. And the Cardinal
may not be perfect but we can’t
throw out all the good he’s doing
over a few bad apples.
Robby lets this sink in. Nods as if in agreement.
PETER CONLEY (CONT’D)
I’m bringing this up with you
because I know this is Baron’s idea.
His agenda. And I gotta tell you,
honest to God, I don’t think he
cares about this city the way we do.
How could he?
Robby looks at Conley. A long beat.
ROBBY
This is how it happens, isn’t it,
Pete?
PETER CONLEY
What’s that?
ROBBY
A guy leans on a guy and suddenly
the whole town just looks the other
way.
Stung. Pete downs his drink. Gets up.
11/26/14 119.
PETER CONLEY
Robby, look. Marty Baron is just
trying to make his mark. He’ll be
here for a couple years and he’s
gonna move on. Just like he did in
New York and Miami. Where you gonna
go?
He starts to go.
ROBBY
Pete?
(Pete turns)
When we do run the story, I’m gonna
need a comment from the Cardinal.
Conley takes it. Then smiles.
PETER CONLEY
We’ll talk again later. Good night,
Robby.
Ratings
Scene 53 - Tensions Rise Over Church Case Ruling
Robby, Mike, Sacha and Matt sit working. It’s dark, quiet,
serious. A beat, then Robby’s phone RINGS. He answers.
ROBBY (INTO PHONE)
Robby. What? No shit, when? Okay.
(hangs up, calls out)
Hey.
The team looks towards Robby’s office as he walks in.
MIKE
What’s up?
ROBBY
Sweeney ruled in our favor. She
ruled to unseal the documents.
MIKE
Jeez...
The group sits stunned.
154 INT. GLOBE, MARTY’S OFFICE - EARLY EVENING 154
Marty, Ben, Robby, and Canellos (the Metro editor we met
earlier) sit with the Globe lawyer, Albano.
11/26/14 120.
ALBANO
The Church already filed an appeal.
But the trial court’s ruling is
generally upheld in these matters.
MARTY
And when would we get the documents?
ALBANO
Probably takes Cohen a few weeks to
rule, then there’ll be a redaction
process... I’d say they’ll be made
public mid-January.
MARTY
Okay. Thanks, John. And nice work.
Albano exits.
CANELLOS
Metro should run something, Marty.
ROBBY
We can’t run this big.
CANELLOS
Why wouldn’t we? It’s a major First
Amendment victory. Not to mention,
an Irish Catholic judge rules
against the church? That’s a hell
of a precedent.
ROBBY
(to Ben)
We don’t want the Herald going too
deep on this.
MARTY
Why’s that?
ROBBY
You’re gonna have to step out,
Peter.
CANELLOS
I’m not stepping out.
Robby picks up a FOLDER OF DOCUMENTS on the table beside him.
He places it in front of Marty. Marty picks it up.
BEN
Peter.
Marching orders. Canellos exits, not happy.
11/26/14 121.
Ratings
Scene 54 - The Urgency of Truth
CLOSE ON the letters. Reveal Marty and Ben reading, STUNNED.
MARTY
When did you --
ROBBY
A couple of weeks ago.
BEN
A couple of weeks?
ROBBY
Yeah.
BEN
And you’re telling us now?
MARTY
These are substantial. They clearly
show that Law was negligent.
Ben and Marty stare at Robby. A beat, then --
ROBBY
I need more time. I want to keep
digging.
BEN
For what? This is the goddamn story.
ROBBY
It’s not the whole story.
BEN
(dismissive)
Tough shit. We’re on a clock now.
Even if we don’t run Sweeney’s
ruling, another paper could find
these letters and fuck the story.
ROBBY
Agreed. But we run the letters
alone, Law apologizes, says it’s a
one time thing, he can bury it.
MARTY
How? These clearly show he knew and
did nothing.
ROBBY
Look, I’m close to stories on 70
priests.
(MORE)
11/26/14 122.
ROBBY (CONT'D)
We nail that along with those
letters, it’s proof that this is
bigger than Law. It’s the whole
system.
Marty considers.
MARTY
You have multiple sources confirming
the 70 priests?
ROBBY
On some. I can get more.
BEN
Too risky. If we’re not buttoned up
on every single one of them, the
Church’ll pick us apart.
Robby’s up against it. He plays his hand.
ROBBY
I think I can get someone from the
other side of the aisle.
BEN
Someone inside the Church?
ROBBY
Yeah, a lawyer.
MARTY
Will he go on the record?
ROBBY
Deep background. But he’s a solid
source.
Marty considers. A beat, then Ben steps in.
BEN
Rezendes needs time to write up the
story. We don’t want to drop this
at Christmas, not after 9/11. We
could run it just after New Year’s,
before the rest of the documents are
released.
MARTY
Okay. Tell Canellos to bury the
ruling in Metro.
(then, to Robby)
You’ve got six weeks.
11/26/14 123.
Robby nods, gets up and leaves. Ben follows him into --
Ratings
Scene 55 - Tensions Rise Before Christmas
Ben and Robby walk out.
BEN
Tell Mike I want a draft before
Christmas. And we need a response
from Lake Street. Who does PR for
the Cardinal? Still John Walsh?
ROBBY
No, somebody new, Donna Morrisey,
she came from TV, she’s young.
BEN
Good, get a quote, we need something
from Law to appear even-handed.
ROBBY
Got it.
BEN
And Robby? Next time give me a
goddamn heads up?
Ben exits. Robby takes it on the chin then walks off. As he
does, we hear a child’s voice start into SILENT NIGHT...
157 INVESTIGATION/WRITING MONTAGE 157
As a second child joins in, we see a SERIES OF SHOTS...
157A MIKE’S COMPUTER. 41 days until deadline. The very 157A
start of the story. FIND Mike in SPOTLIGHT, pecking out
the story on his COMPUTER. Matt, coat and briefcase,
walks out...
157I Sacha with Phil, Crowley and another guy at a shitty 157I
DINER, sad Christmas decor. Sacha doesn’t eat, she
writes on a pad.
157Fa MIKE’S COMPUTER. 21 days until deadline. The story 157Fa
is further along...
157Fb Matt drives down the street in HIS CAR, eyes on an old 157Fb
man, putting down salt on the front walk of the
TREATMENT CENTER.
157E In BEN’S OFFICE, Mike watches Ben and Robby read the 157E
story. Cross outs. He hands it back to Mike.
Not there yet.
11/26/14 124.
157F A SMALL HYDE PARK LIVING ROOM. A man in 40s cries, 157F
talking to Sacha. A Christmas tree in the background.
157J MIKE’S COMPUTER. 8 days until deadline. More edits on 157J
the story. FIND Mike in his APARTMENT. Editing. A beer
by the computer...
157Ja An E-MAIL to Robby from Ben: ‘Where are we on your 157Ja
source? It’s time.’ Find Robby IN HIS OFFICE, staring
at the computer.
157M A night mass at an EAST BOSTON CHURCH. 157M
As the children’s choir finishes Silent Night, we FIND
Mike, in the doorway, standing there. Watching. Cut to --
161 EXT. SULLIVAN HOUSE, BROOKLINE - NIGHT 161
The door of a pretty colonial, a wreath still up. A hand
knocks. The door opens. A pretty woman (JIM’S WIFE) smiles.
JIM’S WIFE
Robby. What a nice surprise.
REVEAL Robby at the door. He walks into --
162 INT. SULLIVAN HOUSE, JIM’S HOME OFFICE - MOMENTS LATER 162
Jim sits at on a leather couch watching golf. Through a
door, we see a Christmas tree. His wife and Robby walk in.
JIM’S WIFE
Look who I found outside.
Jim looks up, less than happy to see Robby standing there.
JIM
Hon, give us a minute, will you?
Jim’s wife looks surprised.
JIM’S WIFE
Sure.
ROBBY
Good to see you, Karen.
She leaves. Jim turns off the TV,
JIM
What’s up?
Robby pulls out a list, hands it to Jim.
11/26/14 125.
ROBBY
I’m out of time, Jim. We’ve got
cover-up stories on 70 priests, but
the boss isn’t gonna run it unless I
get confirmation from your side.
Jim turns off the TV, looks it over.
JIM
Are you out of your mind?
ROBBY
Come on. This is our town, Jimmy.
We all knew something was going on
and no one did a thing. We gotta
put an end to it.
JIM
Don’t tell me what I gotta do!
Yeah, I helped defend these
scumbags, but that’s my job, Robby.
I was doing my job!
ROBBY
Yeah. You and everyone else.
Jim stands, hands Robby the list.
JIM
Get out of my house.
Ratings
Scene 56 - Confrontation and Urgency
Robby walks out of the house, toward his car.
JIM
Hey!
Robby turns, finds Sullivan.
JIM (CONT’D)
You come to my home and lay this
shit on me!
(then)
You’re right, Robby, we all knew
something was going to on. So where
were you? What took you so long?!
This lands with Robby. No answer.
ROBBY
I don’t know, Jimmy.
Jim shakes his head, looks like he might slug Robby.
11/26/14 126.
JIM
Give me the list.
Jim holds out his hand. Robby hands him the list. Jim eyes
the first page, flips to the second. He checks the names...
then flips back. He looks at Robby. Holds out a hand for a
pen. Robby gives him one.
Jim leans on the roof of Robby’s car. Marks up the list,
then hands it back to Robby. Nothing more to say, Jim turns
and walks away. Robby looks down at the list. Reacts.
THE ENTIRE first page is CIRCLED. And the second.
163A EXT. GLOBE - DAY (FORMERLY 171A, ALREADY SHOT) 163A
The Globe Building. Snow falls.
MIKE (INTO PHONE, PRELAP)
Larry, we’re going to press in six
hours.
164 INT. GLOBE, SPOTLIGHT OFFICE - DAY 164
Mike and Matt work the phones.
MATT (INTO PHONE)
Donna Morrisey said she’d call us
with a quote from Law hours ago.
MIKE (INTO PHONE) MATT (INTO PHONE)
That’s what I thought. Okay, When did you talk to her? *
Larry. Yeah. That’s good to know. *
Thanks, Pete.
They hang up. Mike walks to the coffee machine.
MIKE
Anything?
MATT
Conley said Donna Morrisey should
have called, he just left Lake
Street.
MIKE
Yeah. Rasky said the same thing.
MATT
This is ridiculous. You’d think
they want to get out ahead of this.
11/26/14 127.
MIKE
They’d be idiots not to. I’d love
to see their faces when they read
this.
Both of them wait.
MATT
You know, Sunday’s the Feast of the
Epiphany.
MIKE
Seems appropriate.
The phone rings. Mike grabs it.
MIKE (INTO PHONE) (CONT’D)
Mike Rezendes. Hi Donna. Thanks for
calling. I just had a few questions
if you have a minute....
Mike listens. Matt waits.
MIKE (CONT’D)
What? I just hung up with Larry
Rasky...
He listens, then grabs a pad and starts writing furiously.
Ratings
Scene 57 - Facing the Fallout
Marty sits reading copy. He crosses something out. Ben,
Robby and Sacha sit opposite Marty.
BEN
What?
MARTY
Another adjective.
Mike and Matt roll in.
ROBBY
Anything?
MIKE
Law just turned us down.
BEN
Jesus Christ.
MIKE
I just got off the phone with Donna
Morrisey. She said, quote:
(MORE)
11/26/14 128.
MIKE (CONT'D)
(off his pad)
“We don’t even want to know what the
questions are.” End quote.
ROBBY
She really said that?
MIKE
(slight smile)
Yeah.
BEN
(to Marty)
That oughta do it.
MARTY
(writing)
“The Church had no interest in
knowing what the Globe’s questions
would be.”
(hands it to Mike)
Work it in somewhere before the
jump.
(to the team)
Anything else?
ROBBY
Matt wants to put the letters online
so readers can see it for
themselves.
MATT
We can run the URL at the bottom of
the article. It’s pretty
straightforward.
No one really knows what that means.
MARTY
Okay.
MATT
We also put the Spotlight tip line
at the end of the story so people
can call in. Goes directly to our
office.
SACHA
Matt and I will be in in the morning
in case we get any calls.
BEN
I’m more concerned about the phones
at reception.
(MORE)
11/26/14 129.
BEN (CONT'D)
After we ran the Porter story, the
message center was tied up for
weeks. It was a real problem.
MATT
And we had picketers. Lots of them.
MARTY
I’ll talk to Gilman about security
and the phones.
(to Robby)
How’s it coming on the folo story?
Robby looks to Sacha.
SACHA
We’ve nailed down multiple stories
on seventy priests.
MARTY
All seventy?
SACHA
Yeah. And with the confirmation
from Robby’s source, we’re ready to
go. We can have a draft next week.
MARTY
Robby, that source of yours, is this
someone we could revisit?
ROBBY
Might be tough.
BEN
But he has no problem helping the
church protect dozens of dirty
priests. Guy’s a scumbag.
Matt glances at Robby. Who’s looking at Ben.
MATT
He’s a lawyer, he’s doing his job.
MIKE
He a shill for the Church.
BEN
He knew and did nothing.
MIKE
He coulda said something about this
years ago. Maybe saved some lives.
11/26/14 130.
ROBBY
What about us?
BEN
What’s that supposed to mean?
ROBBY
We had all the pieces. Why didn’t
we get it sooner?
BEN
We didn’t have all the pieces.
ROBBY
We had Saviano, we had Barrett, we
had Geoghan. We had the directories
in the basement.
BEN
You know what? We got it now.
MIKE
Robby, this story needed Spotlight.
ROBBY
Spotlight’s been around since 1970.
BEN
So what? We didn’t know the scope
of this. No one did. This started
with one goddamn priest, Robby.
Robby looks at Sacha. A beat.
ROBBY
MacLeish sent us a letter on 20
priests, years ago. Sacha found the
clip.
MIKE
Are you freaking kidding me? 20
priests?
BEN
When?
SACHA
Just after Porter. December of ‘93.
ROBBY
We buried the story in Metro. No
folo. Sacha found the clip.
11/26/14 131.
BEN
That was you. You were Metro.
ROBBY
Yeah, that was me. I’d just taken
over. I don’t remember it at all.
But yeah.
The room quiets. Gut punch. Ben shakes his head.
MARTY
Uh, can I say something?
They turn to him.
MARTY (CONT’D)
Sometimes it’s easy to forget that
we spend most of our time stumbling
around in the dark. Suddenly a
light gets turned on, and there’s
fair share of blame to go around.
(then)
I can’t speak to what happened
before I arrived but all of you have
done some very good reporting here,
reporting that I believe is going to
have an immediate and considerable
impact on our readers.
(then)
For me, this kind of story is why we
do this.
The team takes this in.
MARTY (CONT’D)
Having said that, Cardinal Law and
the Catholic community are going to
have a very strong response to this.
So if you need to take a moment,
you’ve earned it. But I will need
you back here Monday morning focused
and ready to do your job.
Ratings
Scene 58 - The Weight of Truth
The building is dark, save for the PRESS ROOM. Through the
window, we see the presses. Running.
166 INT. GLOBE, BEN’S OFFICE - NIGHT (FORMERLY 166A) 166
Ben, coat on, sits alone in his office.
MARTY (O.C.)
Leaving?
11/26/14 132.
Ben looks up. Marty’s in the door. Ben stands.
BEN
Yeah.
Ben walks out into --
166A EXT. GLOBE NEWSROOM - CONTINUOUS (FORMERLY 166B) 166A
Ben and Marty walk across the quiet press room.
MARTY
I just got a call from the Cardinal.
BEN
Really. Why?
MARTY
He wanted to tell me personally that
he had decided not to comment. He
said he wanted to, uh, extend me
that courtesy.
BEN
Jesus, the balls on that guy.
What’d you say?
MARTY
I told him he was making a mistake.
And that we were going to run the
story.
BEN
Damn right we’re gonna run it.
166B INT. GLOBE, PRESSES - NIGHT 166B
The papers run...
167 INT. SACHA’S GRANDMOTHER’S HOUSE, DINING ROOM = NIGHT 167
Old, delicate hands move slowly over copy. Find Sacha’s
Grandmother reading an early edition of the paper. Upset.
Sacha, sitting nearby, watches her. But there’s no emotion,
no empathy. She’s blank, empty. Nothing left to feel...
SACHA’S GRANDMOTHER
Sacha, can I have a drink of water?
SACHA
Sure, Nana.
Sacha gets up, walks into the kitchen.
11/26/14 133.
167A INT. GLOBE, LOADING DOCKS - NIGHT 167A
Bundles of papers fly down CIRCULAR CHUTES into the trucks.
INSIDE THE TRUCKS, men grab the bundles, and stack them.
168 INT. GARABEDIAN’S OFFICE, CONFERENCE ROOM = NIGHT 168
REVEAL Mitch standing behind his desk, at the window. He
reads another early edition. Then folds it up and hands it
back to Mike... who’s standing in front of the desk.
GARABEDIAN
Can I keep this?
MIKE
Sure. I thought you should see it
first.
GARABEDIAN
Thank you for bringing it by. Now I
have some clients I have to attend
to.
Mitch goes back to work. Same old Mitch. Mike walks out.
Ratings
Scene 59 - Echoes of Innocence
Mike walks back toward the elevator. He presses the button,
waits, hears children laughing. He peers into --
170 INT. GARABEDIAN OFFICE, SMALL WAITING ROOM - CONTINUOUS 170
A MOTHER sits with TWO YOUNG CHILDREN, ten and eight, playing
innocently. The mother, distraught, fingers ROSARY BEADS.
It’s reminiscent of our open.
GARABEDIAN
Both boys were abused. Jamaica
Plain. Two weeks ago.
In the HALLWAY, Garabedian stands behind Mike.
GARABEDIAN (CONT’D)
Keep doing your work, Mr. Rezendes.
He goes in. Mike just stands there, GUTTED. Off Mike, his
reflection playing on the window, CUT TO --
172A EXT. GLOBE - NIGHT 172A
The GREEN AND GOLD TRUCKS roll out from the Globe. We see
headlights, a car waits for the trucks to pass.
PUSH IN... and we see it’s Robby behind the wheel. CUT INTO --
11/26/14 134.
172B INT. ROBBY’S CAR - SAME TIME 172B
Robby sits in his car watching the trucks roll out.
A173 EXT. BOSTON - DAWN A173
The SPARKLING BOSTON SKYLINE. The City on the Hill.
173 EXT. WEST ROXBURY, BOSTON - EARLY MORNING 173
A welcome mat. A copy of the Globe is slapped down. We see
the HEADLINE: Church Allowed Abuse by Priest for Years.
Reveal Matt walking away from the door. We see it’s the
treatment center near his house.
174 INT. GLOBE, HALLWAY - EARLY MORNING 174
We’re behind Sacha as she walks down the hall. She opens the
firehose box, grabs a key. Unlocks the door to Spotlight.
174A INT. GLOBE, SPOTLIGHT - EARLY MORNING 174A
Sacha enters, turns on the lights, takes off her coat. Matt
enters.
MATT
Hey.
SACHA
Morning.
MATT
How’d you sleep?
SACHA
Not very well. You?
MATT
I haven’t slept well for months.
I’ve actually started writing.
SACHA
Writing?
MATT
Yeah, I’m working on a book. Gives
me something else to focus on.
SACHA
That’s great. What kind of book?
MATT
Horror.
11/26/14 135.
Sacha reacts, the irony not lost on her. The phone RINGS.
The tip line. They both stare. At last, Matt picks up.
MATT (INTO PHONE) (CONT’D)
Spotlight. Yeah. Yeah, of course.
Can I get your name please?
He grabs a pen. As he and Sacha trade a look, CUT TO --
Ratings
Scene 60 - From Calm to Chaos
The small visitor’s lot at the Globe entrance is empty, save
for MIKE’S CAR. Idling. Robby’s car enters, pulls up next
to Mike’s. Robby looks across at Mike. The two men connect.
Mike and Robby get out of their cars.
ROBBY
You do know it’s Sunday, right?
MIKE
I couldn’t get a tee time.
Robby smiles. Mike notes the SECURITY GUARDS at the entrance.
MIKE (CONT’D)
No picketers.
ROBBY
Probably still at church.
They walk in. Warriors returning home.
177 INT. GLOBE, NEWSROOM - EARLY MORNING 177
Mike and Robby walk into the newsroom. It’s QUIET. Mike and
Robby share a CONFUSED look as they reach the desk. LINDA,
the operator, and two others sit by the phones. BORED.
ROBBY
Hey Linda.
MIKE
It’s quiet, huh?
LINDA
Yeah. Easiest overtime I ever made,
phone hasn’t rung once. Marty sent
two of mine down to Spotlight.
Mike and Robby trade a look. Spotlight? They start moving.
11/26/14 136.
LINDA (CONT’D)
(calls out after them)
Great article guys.
ROBBY MIKE
Thank you. Thanks.
They hustle through the empty newsroom, heading downstairs.
We hold on Marty, in his office. Working. As always.
178 INT. GLOBE, HALLWAY - CONTINUOUS 178
Robby and Mike charge from the stairwell. They quickly walk
down the corridor with purpose. As they do, we hear...
A MURMUR. Buzzing. And RINGING PHONES. Mike and Robby
trade a look, pick up the pace. As they approach Spotlight,
the murmur GROWS. We hear more phones... and VOICES...
Mike and Robby get to the door. We HOLD ON them for a second
as they stand in the doorway, looking into --
179 INT. GLOBE, SPOTLIGHT OFFICE - CONTINUOUS 179
Chaos. Sacha and Matt and two INTERNS answering phones.
Overwhelmed. An intern cups a phone, turns to Matt --
INTERN
I got another Shanley victim. SACHA
I’ll take it.
(to Robby)
The phones have been ringing
all morning.
Sacha takes the call. Nearby, Matt’s on the phone, marking
up the board... it has tons of new names, phone numbers.
MATTY (INTO THE PHONE) SACHA (INTO THE PHONE)
Uh huh, yeah. I know it’s This is Sacha Pfeiffer. Yes,
tough to talk about. thank you for calling. Who am
I speaking with?
Mike and Robby stare. Matt spots them.
MATT (INTO PHONE)
Hold one minute please.
(to Mike)
Mike, could you grab that?
Mike moves for his desk, grabs the phone.
MATT (CONT’D)
They’re almost all victims, Robby.
11/26/14 137.
This lands on Robby. A beat. Then he moves to his desk.
Passing Mike, already picking up a phone...
MIKE (INTO PHONE)
This is Spotlight.
Robby moves to his desk. He watches the team answering
phones, working. A beat. Then he grabs a phone.
ROBBY (INTO PHONE)
Spotlight.
FADE TO BLACK.
A CARD APPEARS.
Over the course of 2002, the Spotlight team published
close to 600 stories about the scandal.
The card fades. ANOTHER CARD APPEARS.
249 priests and brothers were publicly accused of
sexual abuse within the Boston Archdiocese.
The number of survivors in Boston is estimated to be
well over 1,000.
The card fades. ANOTHER CARD APPEARS.
In December 2002, Cardinal Law resigned from the
Boston Archdiocese.
He was re-assigned to the Basilica di Santa Maria
Maggiore in Rome, one of the highest ranking Roman
Catholic churches in the world.
The card fades. ANOTHER CARD APPEARS.
Major abuse scandals have been uncovered in the
following places:
11/26/14 138.
Anchorage AK, Fairbanks AK, St. Michael AK, Stebbins
AK, Mobile AL, Phoenix AZ, Tucson AZ, Yuma AZ, Los
Angeles CA, Los Gatos CA, Monterey CA, Oakland CA,
Orange CA, Sacramento CA, San Bernardino CA, San
Diego CA, Santa Barbara CA, Santa Rosa CA, Stockton
CA, Denver CO, Bridgeport CT, Hartford CT, Wilmington
DE, Miami FL, Palm Beach FL, Marietta GA, Savannah
GA, Honolulu HI, Davenport IA, Dubuque IA, Farmington
IA, Grand Mound IA, Chicago IL, Joliet IL, Peoria IL,
Indianapolis IN, Conway Springs KS, Kansas City KS,
Anchorage KY, Covington KY, Louisville KY, New
Orleans LA, Fall River MA, Springfield MA, Wellesley
MA, Worcester MA, Baltimore MD, Portland ME, Detroit
MI, Grand Rapids MI, Collegeville MN, Greenbush MN,
Onamia MN, St.Paul/Minneapolis MN, Cape Girardeau MO,
Hannibal MO, Kansas City MO, St. Louis MO, Jackson
MS, Billings MT, Helena MT, St. Ignatius MT, Raleigh
NC, Fargo ND, Lincoln NE, Omaha NE, Manchester NH,
Camden NJ, Mendham NJ, Gallup NM, Santa Fe NM, Albany
NY, Brooklyn NY, Goshen NY, New York NY, Rochester
NY, Rockville Centre NY, Cincinnati OH, Cleveland OH,
Toledo OH, Baker OR, Portland OR, Altoona PA,
Philadelphia PA, Pittsburgh PA, Scranton PA, East
Greenwich RI, Providence RI, Charleston SC, Marty
Indian School SD, Rosebud Reservation SD, Memphis TN,
Nashville TN, Dallas TX, El Paso TX, Fort Worth TX,
San Antonio TX, Richmond VA, Burlington VT, Briscoe
Memorial, WA, Seattle WA, Spokane WA, Yakima WA,
Milwaukee WI, St. Francis WI
11/26/14 139.
Berazategui Argentina, Buenos Aires Argentina, Morón
Argentina, Paraná Argentina, Pilar Argentina, Quilmes
Argentina, Salta Argentina, Adelaide Australia,
Ballarat Australia, Bass Hill Australia, Bathurst
Australia, Bindoon Australia, Canberra Australia,
Dandenong Australia, Goulburn Australia, Hobart
Australia, Lancefield Australia, Melbourne Australia,
Mildura Australia, Mittagong Australia, Morisset
Australia, Mount Isa Australia, Neerkol Australia,
Newcastle Australia, Perth Australia, Sydney
Australia, Toowoomba Australia, Wagga Wagga
Australia, Wollongong Australia, Hollabrunn Austria,
Bruges Belgium, Flawinne Belgium, Ottré Belgium,
Arapiraca Brazil, Franca Brazil, Mariana Brazil, Rio
de Janeiro Brazil, Antigonish Canada, Chatham Canada,
Igloolik Canada, Sherbrooke Canada, St. John's
Canada, Wilno Canada, Cottolengo Chile, Maipú Chile,
Melipilla Chile, Quilicura Chile, Santiago Chile,
Medellín Colombia, Rab Croatia, Santo Domingo
Dominican Republic, London England, Manchester
England, Middlesbrough England, Preston England,
Reading England, Caen France, Saint-Jean-de-Maurienne
France, Berlin Germany, Munich Germany, Riekhofen
Germany, Ollur India, Curracloe Ireland, Dublin
Ireland, Gortahork Ireland, Kilnacrott Ireland,
Letterfrack Ireland, Lota Ireland, Monageer Ireland,
Wexford Ireland, Nairobi Kenya, Ngong Kenya, Ciudad
de México México, Cuacnopalan México, San Luis Potosí
México, Auckland New Zealand, Christchurch New
Zealand, Feilding New Zealand, Hamilton New Zealand,
Masterton New Zealand, Silverstream New Zealand,
Akute Nigeria, Kircubbin Northern Ireland, Trondheim
Norway, Ayacucho Peru, Chimbote Peru, Bontoc
Philippines, Cebu City Philippines, Manila
Philippines, Naval Philippines, Tubay Philippines,
Poznan Poland, Edinburgh Scotland, Rufisque Senegal,
Bo Sierra Leone, Brits South Africa, Cape Town South
Africa, Comillas Spain, Grenada Spain, Soni Tanzania,
Mérida Venezuela
FADE OUT.
Ratings
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
robby | Robby's character arc begins with him as a confident and humorous editor, well-respected in the newsroom but somewhat complacent in his approach to investigative journalism. As the Spotlight team delves deeper into the investigation of abuse within the Church, Robby is confronted with the harsh realities of the systemic issues at play. His initial light-hearted demeanor is challenged as he grapples with ethical dilemmas and the emotional weight of the survivors' stories. Throughout the screenplay, Robby evolves from a seasoned journalist who relies on his wit and charm to connect with others, to a determined and principled leader who confronts his own past mistakes and the institutional failures of journalism. By the end of the feature, Robby emerges as a more introspective and morally grounded character, fully committed to seeking justice and holding powerful figures accountable, while also recognizing the importance of empathy and responsibility in his role as a journalist. | Robby's character arc is compelling, showcasing his growth from a humorous and somewhat complacent journalist to a determined leader facing ethical challenges. However, the arc could benefit from more specific moments of conflict that force Robby to confront his beliefs and values. While his journey is clear, the screenplay could delve deeper into his internal struggles and the impact of the investigation on his personal life, which would add depth to his character. Additionally, the transition from his initial light-heartedness to a more serious demeanor could be more gradual, allowing for a more nuanced exploration of his emotional journey. | To improve Robby's character arc, consider incorporating specific scenes that highlight his internal conflicts, such as moments where he must choose between journalistic integrity and personal relationships. Adding flashbacks or conversations with mentors could provide context for his ethical beliefs and past mistakes, enriching his character development. Furthermore, showcasing the emotional toll of the investigation on Robby's personal life—such as strained relationships or moments of self-doubt—would create a more relatable and multi-dimensional character. Finally, ensure that his transformation is gradual, allowing the audience to witness the evolution of his character through small, impactful moments rather than abrupt changes. |
matt | Matt's character arc begins with him as a pragmatic and slightly cynical journalist who is focused on the task at hand, gathering information and advancing the investigation. As the story progresses, he becomes increasingly invested in the stories he covers, revealing his passion for journalism and the emotional stakes involved. His inquisitive nature leads him to uncover key information that propels the investigation forward, but he also struggles with the moral implications of the truths he uncovers. By the end of the screenplay, Matt transforms from a detached observer to a deeply committed journalist who understands the weight of his work and the impact it has on the victims and their families. This journey culminates in a moment of personal revelation where he reconciles his professional duties with his emotional responses, ultimately finding a renewed sense of purpose in his role as a journalist. | While Matt's character arc is compelling, it could benefit from more explicit moments of conflict and resolution that highlight his internal struggles. The transition from a pragmatic journalist to a passionate advocate for truth feels somewhat abrupt. Additionally, the emotional weight of the investigation could be explored more deeply, allowing the audience to connect with Matt's personal stakes in the story. His family life could also be woven more intricately into the narrative to provide a contrasting perspective on his work and its impact on his personal relationships. | To improve Matt's character arc, consider incorporating specific scenes that showcase his internal conflict, such as moments where he must choose between journalistic integrity and personal safety or the well-being of his family. Introducing a mentor or a colleague who challenges his views could also create opportunities for growth and reflection. Additionally, integrating more scenes that depict his interactions with family members can help illustrate the emotional toll of his work and provide a more rounded view of his character. Finally, a climactic moment where he must confront the consequences of his findings could serve as a powerful turning point, solidifying his transformation and commitment to the truth. |
sacha | Throughout the screenplay, Sacha evolves from a determined reporter focused solely on uncovering the truth to a deeply empathetic advocate for survivors. Initially, her approach is characterized by a straightforward and investigative mindset, but as she engages more with the victims and their stories, she begins to understand the emotional weight of the cases she covers. This journey leads her to confront her own vulnerabilities and personal struggles, ultimately transforming her into a more compassionate and resilient journalist. By the end of the feature, Sacha not only seeks justice for the victims but also becomes a voice for those who have been silenced, solidifying her commitment to integrity and sensitivity in storytelling. | Sacha's character arc is compelling, showcasing her growth from a focused journalist to a compassionate advocate. However, the arc could benefit from more explicit moments of internal conflict and personal stakes that challenge her beliefs and motivations. While her empathy is evident, there could be deeper exploration of how her past experiences shape her approach to the investigation. Additionally, the screenplay could enhance the tension by introducing obstacles that force Sacha to confront her own biases or fears, making her eventual transformation more impactful. | To improve Sacha's character arc, consider incorporating flashbacks or dialogue that reveal her personal history and how it relates to her work. This could provide context for her empathy and drive, making her motivations clearer. Additionally, introduce a mentor or a rival character who challenges her perspective, forcing her to reevaluate her approach to journalism and the stories she tells. This conflict could culminate in a pivotal moment where Sacha must choose between her professional integrity and her emotional connection to the victims, ultimately leading to a more nuanced and powerful resolution of her character arc. |
marty | Marty's character arc begins with him as a newcomer, grappling with the challenges of the newspaper industry and the threat posed by the Internet. As he faces resistance and navigates complex investigations, he grows into a principled leader who values integrity and thorough reporting. His journey involves overcoming social awkwardness and learning to assert himself in formal settings, ultimately becoming a respected editor who inspires his team. By the end of the feature, Marty has transformed from an anxious newcomer into a confident and authoritative figure, committed to pursuing the truth despite the challenges he faces. | While Marty's character arc is compelling, it may benefit from deeper emotional exploration. His initial social awkwardness and discomfort in formal settings could be more pronounced, allowing for a more relatable and nuanced portrayal. Additionally, the transition from a newcomer to a seasoned editor feels somewhat abrupt; more gradual development through specific challenges and interactions could enhance the believability of his growth. The stakes of his journey could also be raised to create a stronger emotional connection with the audience. | To improve Marty's character arc, consider incorporating specific scenes that highlight his struggles with social interactions and the pressures of the newsroom. These moments could serve as turning points that catalyze his growth. Additionally, introducing a mentor figure or a significant challenge that forces him to confront his insecurities could provide depth to his transformation. Finally, emphasizing the emotional stakes of his investigative work—perhaps through personal connections to the stories he covers—could create a more engaging and relatable character journey. |
ben | Throughout the screenplay, Ben evolves from a skeptical and cautious editor focused solely on the practical aspects of journalism to a more passionate and risk-taking journalist who embraces the urgency of uncovering the truth. Initially, he is portrayed as a pragmatic figure who questions the validity of leads and emphasizes the need for concrete evidence. However, as the investigation progresses and the stakes rise, Ben becomes more assertive and willing to take risks, ultimately pushing his team to act decisively in the face of challenges. By the end of the feature, he transforms into a passionate advocate for truth, demonstrating a deeper commitment to the ethical responsibilities of journalism and the impact of their work on society. | While Ben's character arc shows a commendable evolution from skepticism to passionate advocacy, it may lack depth in exploring the internal conflicts that drive this transformation. The screenplay could benefit from delving deeper into Ben's motivations, fears, and the personal stakes involved in his journey. Additionally, his interactions with other characters could be further developed to highlight how these relationships influence his growth and decision-making process. As it stands, his arc may come across as somewhat linear and predictable, lacking the complexity that could make his journey more compelling. | To improve Ben's character arc, consider incorporating more backstory that reveals his past experiences and how they shape his current worldview. Introduce moments of vulnerability where Ben grapples with the ethical implications of his decisions, allowing the audience to connect with his internal struggles. Additionally, create pivotal scenes that challenge his beliefs and force him to confront the consequences of his actions, leading to a more nuanced transformation. Strengthening his relationships with other characters, particularly Robby, could also provide opportunities for conflict and growth, making his eventual shift towards risk-taking and passion feel more earned and impactful. |
mike | Mike's character arc follows his journey from a straightforward, determined journalist to a more introspective and conflicted individual. Initially, he is portrayed as a relentless seeker of truth, driven by a strong sense of justice and urgency. As the investigation unfolds, he encounters shocking revelations that challenge his beliefs and force him to confront the emotional weight of the stories he uncovers. This leads to moments of vulnerability, where he grapples with his faith and the moral implications of his work. By the end of the feature, Mike emerges as a more nuanced character, having transformed his initial determination into a deeper understanding of the complexities of truth, justice, and personal responsibility. | While Mike's character arc is compelling, it risks becoming somewhat predictable as he transitions from a determined journalist to a conflicted individual. The emotional depth is present, but the screenplay could benefit from more varied experiences that challenge his beliefs and push him to evolve further. Additionally, the balance between his professional and personal struggles could be better explored to create a more rounded character. | To improve Mike's character arc, consider introducing more significant personal stakes that intertwine with the investigation, such as a family connection to the Church or a past trauma related to the abuse scandal. This would create a more profound internal conflict and allow for richer character development. Additionally, incorporating moments where Mike's investigative work directly impacts his relationships or personal life could enhance the emotional stakes and provide opportunities for growth. Finally, allowing for moments of failure or doubt in his pursuit of truth could add complexity to his character, making his eventual resolution more impactful. |
jim | Jim's character arc begins with him as a guarded and humorous individual, reluctant to confront the darker aspects of his past and the Church's actions. As the story progresses, he is forced to confront uncomfortable truths, leading to a growing internal conflict that challenges his loyalty to the Church. This culminates in a moment of reckoning where he must choose between protecting the institution he has served and seeking justice for the victims. By the end of the feature, Jim evolves from a defensive and evasive character to one who embraces accountability and seeks redemption, ultimately finding a way to reconcile his past with a commitment to justice. | While Jim's character arc effectively captures the internal struggle between loyalty and morality, it risks becoming predictable if not handled with nuance. His transformation may feel rushed if the screenplay does not provide sufficient buildup to his emotional turmoil. Additionally, the shift from humor to intensity could benefit from more gradual transitions to maintain believability and depth. | To improve Jim's character arc, consider incorporating more moments of vulnerability that allow the audience to connect with his internal conflict. Introduce secondary characters who challenge his views and force him to confront his past in a more profound way. Additionally, sprinkle in flashbacks or memories that reveal the origins of his loyalty to the Church, providing context for his struggles. This will create a more layered character and enhance the emotional stakes of his journey toward redemption. |
joe crowley | Joe Crowley's character arc follows his journey from a state of deep vulnerability and anxiety to one of empowerment and resilience. Initially, he is portrayed as a nervous individual, struggling to recount his traumatic experiences and haunted by his past. As the story progresses, Joe confronts his fears and begins to share his story, leading to moments of catharsis and self-discovery. By the end of the feature, he emerges as a more confident individual, having found his voice and a sense of agency in his life, ultimately inspiring others with his journey of healing. | While Joe's character arc is compelling and emotionally resonant, it may benefit from a more gradual development of his confidence and resilience. The transition from vulnerability to empowerment could feel abrupt if not carefully paced. Additionally, the screenplay could explore more of Joe's relationships with other characters, which would provide depth to his journey and highlight the impact of his experiences on those around him. | To improve Joe's character arc, consider incorporating key moments of support from friends or allies that help him navigate his trauma. These interactions could serve as catalysts for his growth, allowing the audience to witness his gradual transformation. Additionally, including flashbacks or visual storytelling elements could deepen the audience's understanding of his past and enhance the emotional weight of his journey. Finally, ensure that Joe's moments of empowerment are earned through specific challenges he overcomes, making his eventual resilience feel authentic and relatable. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
---|---|
High Overall Grade Correlates with Strong Concept and Character Development | Scenes with an overall grade of 9 or 10 consistently score highly in 'Concept' and 'Characters'. This suggests a strong foundation in the core ideas and character arcs is crucial to achieving the highest scene ratings. Consider if scenes with lower overall grades could benefit from further development in these areas. |
Dialogue Quality Impacts Emotional Impact | There's a noticeable correlation between 'Dialogue' scores and 'Emotional Impact'. Scenes with higher dialogue scores (7 or above) generally have higher emotional impact scores. Lower dialogue scores often correlate with lower emotional impact. This suggests that improving the quality and effectiveness of dialogue is key to enhancing the emotional resonance of your scenes. Examine scenes with lower scores in both categories – are there opportunities to make the dialogue more impactful? |
Serious Tone Dominates, but Variation in Sub-tones Influences Other Elements | The overwhelming majority of scenes utilize a 'Serious' tone. While this establishes a consistent mood, the variation in secondary tones (e.g., Humorous, Tense, Inquisitive) impacts other aspects. Scenes incorporating secondary tones like 'Humorous' or 'Intense' tend to have higher scores in 'Plot', 'Conflict', or 'High Stakes'. Consider whether strategically injecting other tones could enhance pacing and engagement. |
Conflict and High Stakes Drive the Narrative Forward | Scenes with high 'Conflict' and 'High Stakes' scores also tend to score well in 'Move Story Forward'. This indicates that crucial plot advancements are directly linked to moments of tension and significant risks for the characters. Scenes that lack this dynamic might benefit from increased conflict or raising the stakes. |
Character Changes are Less Consistent but Significantly Impact Overall Grade in Certain Scenes | While 'Character Changes' scores aren't consistently high, there's a noteworthy correlation between higher 'Character Changes' scores and higher overall grades in specific scenes (e.g., scene 31). This indicates that pivotal character development moments substantially improve the overall scene quality. Focus on deliberately incorporating more significant character arcs or developments into future scenes to heighten impact. |
Late-Stage Surge in Intensity and Emotional Impact | Scenes 31-40 demonstrate a noticeable spike in 'Intense', 'Shocking', 'Emotional', and 'High Stakes' scores. This suggests a well-executed escalation of tension towards a climax. However, this pattern also indicates the possibility of pacing issues before this point. The final act is very strong, while earlier sections may need more dramatic tension and conflict to keep up. |
Potential Pacing Imbalance: Scenes 4-7 and 28 | Scenes 4, 28, show significantly lower scores across multiple categories, including 'Dialogue', 'Emotional Impact', and 'Conflict'. This could indicate a pacing issue or a section that needs re-evaluation. Consider if these scenes are sufficiently engaging or if their purpose within the overall narrative could be strengthened. |
Informative Scenes Struggle with Emotional Engagement | Scenes categorized as 'Informative' often receive lower scores in 'Emotional Impact'. Strive to find creative ways to blend information delivery with emotional engagement. Consider using techniques like character reactions, internal monologues, or visual storytelling to make expository scenes more emotionally resonant. |
Writer's Craft Overall Analysis
The screenplay demonstrates a consistent strength in crafting dialogue-driven scenes with engaging character interactions and well-established tension. Many scenes effectively convey complex themes, particularly those related to investigative journalism, ethical dilemmas, and moral ambiguity. The writer shows promise in building suspense and driving the narrative forward through compelling conflicts. However, there's a recurring need to deepen character development beyond dialogue, explore subtext more effectively, and refine pacing for optimal impact.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Screenplay | Read and analyze 'All the President's Men' (William Goldman), 'Spotlight' (Tom McCarthy and Josh Singer), and 'Chinatown' (Robert Towne). | These screenplays offer masterclasses in dialogue, character development, and suspense-building within investigative journalism and morally complex narratives, directly addressing the key improvement areas identified. |
Screenplay | Read 'Screenplay: The Foundations of Screenwriting' (Syd Field) and 'Story: Substance, Structure, Style and the Principles of Screenwriting' (Robert McKee). | These books provide foundational knowledge in screenplay structure, character arcs, and storytelling techniques, addressing the need for improved pacing and narrative structure. |
Book | Read 'Save the Cat' (Blake Snyder) | This book offers practical advice on plot structure and character development, providing a framework to improve the overall narrative flow and character depth. |
Video | Watch 'All the President's Men' and 'Spotlight' and analyze their pacing, dialogue, and character portrayals. | Visual analysis will provide further insight into how these elements work together to create engaging investigative journalism narratives. |
Course | Consider taking a screenwriting course focusing on character development and dialogue. | A structured course will provide valuable tools and techniques to address the recurring suggestions for enhancing character depth and dialogue effectiveness. |
Stories Similar to this one
Story | Explanation |
---|---|
Spotlight | The screenplay summary is essentially a detailed account of the events depicted in the film 'Spotlight,' which follows the investigative journalism team at the Boston Globe as they uncover the widespread sexual abuse by Catholic priests in Boston. Both the screenplay and the film share the same characters, plot points, and themes of investigative journalism, moral responsibility, and the struggle against institutional power. |
The Boston Globe's Coverage of the Catholic Church Scandal | This real-life series of articles published by the Boston Globe serves as the foundation for the screenplay. The screenplay captures the essence of the investigative process, the challenges faced by journalists, and the societal implications of the scandal, mirroring the actual events and articles that led to significant changes in how the Church handled abuse cases. |
All the President's Men | This film follows journalists Bob Woodward and Carl Bernstein as they investigate the Watergate scandal. Similar to the screenplay, it emphasizes the importance of investigative journalism, the ethical dilemmas faced by reporters, and the pursuit of truth against powerful institutions, showcasing the meticulous process of uncovering a major scandal. |
The Insider | This film tells the story of Jeffrey Wigand, a whistleblower from the tobacco industry, and the journalists who help him expose the truth. Like the screenplay, it explores themes of corporate malfeasance, the moral complexities of journalism, and the personal sacrifices made by those who seek to reveal the truth. |
The Wire | This television series delves into the complexities of crime, law enforcement, and institutional failure in Baltimore. Similar to the screenplay, it presents a gritty, realistic portrayal of systemic issues and the challenges faced by those trying to expose the truth, particularly in relation to institutions that wield significant power. |
A Few Good Men | This film revolves around a military lawyer who uncovers a conspiracy while defending two Marines accused of murder. The themes of uncovering the truth, moral dilemmas, and the struggle against powerful institutions resonate with the screenplay's narrative of journalists confronting the Catholic Church. |
The Post | This film depicts the Washington Post's efforts to publish the Pentagon Papers, revealing government secrets about the Vietnam War. Both the screenplay and the film highlight the role of the press in holding powerful entities accountable and the ethical challenges faced by journalists in their pursuit of truth. |
The Crucible | This play by Arthur Miller explores themes of hysteria, moral integrity, and the consequences of speaking out against authority during the Salem witch trials. Similar to the screenplay, it examines the societal pressures to remain silent and the personal costs of exposing the truth in the face of institutional power. |
The Silence of the Lambs | While primarily a thriller, this film features an FBI trainee who seeks the help of an imprisoned serial killer to catch another murderer. The themes of uncovering hidden truths and the psychological toll of confronting evil parallel the investigative journey depicted in the screenplay. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Investigative Journalism | The Spotlight team at the Boston Globe conducts an in-depth investigation into the Catholic Church's cover-up of sexual abuse cases. | |
The Reluctant Hero | Characters like Mike Rezendes initially hesitate to pursue the investigation due to the potential backlash from powerful figures. | This trope features a character who is hesitant to take on a challenge but ultimately rises to the occasion. An example is Frodo Baggins in 'The Lord of the Rings,' who is reluctant to carry the One Ring. |
Cover-Up | The Catholic Church's systematic concealment of abuse cases is a central theme. | This trope involves powerful entities hiding wrongdoing to protect their reputation. A notable example is 'The Insider,' which deals with the tobacco industry's cover-up of health risks. |
Moral Dilemma | Characters face ethical decisions regarding their loyalty to the Church versus their duty to report the truth. | This trope highlights characters grappling with difficult choices that test their values. An example is 'A Few Good Men,' where military lawyers confront the ethics of their superiors' actions. |
The Power of the Press | The screenplay emphasizes the role of journalism in holding powerful institutions accountable. | This trope showcases the media's influence in shaping public opinion and exposing corruption. 'Spotlight' itself serves as an example of this trope. |
The Mentor | Characters like Marty Baron guide the younger reporters in their investigation. | This trope features a wise figure who provides guidance and support to the protagonist. An example is Mr. Miyagi in 'The Karate Kid.' |
The Unlikely Team | The diverse group of reporters from different backgrounds comes together to tackle the investigation. | This trope involves a group of mismatched individuals who unite for a common goal. An example is 'The Avengers,' where heroes with different skills collaborate. |
The Emotional Toll | Characters experience personal struggles and emotional distress due to the nature of their investigation. | This trope emphasizes the psychological impact of challenging situations. An example is 'The Pursuit of Happyness,' where the protagonist faces immense personal challenges. |
The Big Reveal | The investigation culminates in shocking revelations about the extent of abuse within the Church. | |
The Community's Silence | The screenplay illustrates how the community's fear and loyalty to the Church prevent victims from speaking out. | This trope highlights societal pressures that silence individuals. An example is '12 Angry Men,' where jurors grapple with their biases and the pressure to conform. |
Theme | Theme Details | Themee Explanation | ||||||||||||
---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
Journalistic Integrity and Investigative Reporting | The entire narrative revolves around the Spotlight team's investigation, their dedication to uncovering the truth, and the obstacles they encounter. This includes their persistence in the face of skepticism, the challenges of accessing information, and the ethical considerations they face. | This theme explores the importance of holding powerful institutions accountable, the role of journalism in a democratic society, and the personal sacrifices involved in investigative reporting. It highlights the potential for journalism to expose injustice and bring about positive change. | ||||||||||||
Strengthening Journalistic Integrity and Investigative Reporting:
| ||||||||||||||
Institutional Cover-up and Systemic Abuse | The film centers on the systematic cover-up of widespread child sexual abuse within the Catholic Church. The theme is shown through the actions of church officials, the legal system, and even members of the community who remain silent or actively protect those who committed the crimes. | This theme highlights the dangers of power imbalances, the consequences of secrecy and silence, and the way institutions can protect themselves at the expense of vulnerable individuals. It shows how systemic abuse can go undetected and unpunished for decades. | ||||||||||||
Faith vs. Doubt | The film explores the complexities of faith and belief, particularly within the context of the scandal. Several characters grapple with their faith in the church and in God, questioning the institutions and their leaders. | The conflict between faith and doubt adds a layer of emotional and spiritual depth to the story, highlighting the personal struggles of both victims and those grappling with the revelation of the scandal. | ||||||||||||
Personal Sacrifice and Perseverance | The Spotlight team members dedicate themselves to the investigation, foregoing personal time and facing immense pressure. Their perseverance and determination in the face of adversity are crucial to their success. | This theme underscores the human cost of investigative journalism and the sacrifices reporters often make in their pursuit of truth. It highlights their commitment and passion for uncovering and exposing the truth. | ||||||||||||
Psychological Trauma of Abuse | The film depicts the lasting psychological impact of child sexual abuse on victims. The trauma is evident in the survivors' testimonies, their reluctance to come forward, and their ongoing struggle to cope with the consequences of the abuse. | This theme adds emotional depth and realism to the narrative, emphasizing the human cost of the scandal and demonstrating the lasting effects of abuse on individuals and their communities. |
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 |
Voice Analysis | |
---|---|
Summary: | The writer's voice is characterized by a masterful blend of realism and subtle tension. Dialogue is sharp, witty, and authentic, capturing the nuances of everyday conversation while revealing underlying conflicts and power dynamics. The narrative is driven by meticulously detailed scenes that immerse the reader in the world of investigative journalism, building suspense and gradually revealing information. A strong emphasis on character interactions and realistic portrayals, especially the emotional toll on those involved, creates a compelling and deeply human story. |
Voice Contribution | The writer's voice contributes to the script by enhancing its realism, emotional depth, and thematic complexity. The authentic dialogue creates believable characters and relationships, while the detailed scene descriptions build tension and immerse the audience in the setting. The focus on ethical dilemmas and the emotional toll of the investigation adds layers of moral ambiguity and humanizes the characters, making the themes of justice, accountability, and the fight against institutional power even more resonant. |
Best Representation Scene | 19 - Nervous Beginnings at Cafe Francesca |
Best Scene Explanation | Scene 19 best encapsulates the writer's unique voice because it perfectly balances realism with subtle tension. The casual, naturalistic dialogue between Sacha and Joe Crowley immediately establishes their characters and their relationship. The detailed description of Joe's nervous energy, contrasting with Sacha's calm, creates a palpable sense of anticipation and foreshadows the difficult conversation to come. This scene exemplifies the writer's ability to build tension through understated dialogue and character interaction, while also grounding the narrative in authentic human experience. It's a microcosm of the entire screenplay's approach: realistic portrayal of complex characters facing challenging circumstances, creating deep emotional resonance. |
- Overall originality score: 8.5
- Overall originality explanation: The screenplay presents a compelling and original exploration of the investigative journalism genre, particularly in its focus on the systemic issues surrounding abuse within the Catholic Church. The authenticity of character interactions, the nuanced portrayal of moral dilemmas, and the integration of real historical events contribute to its originality. The screenplay effectively blends personal stories with broader societal themes, offering fresh perspectives on familiar topics.
- Most unique situations: The most unique situations in the screenplay are the emotional interviews with abuse survivors, the tension-filled confrontations between journalists and church officials, and the depiction of the internal struggles faced by the characters as they navigate the complexities of their investigation. Additionally, the blending of personal narratives with the overarching theme of institutional corruption adds depth and originality to the story.
- Overall unpredictability score: 7
- Overall unpredictability explanation: While the screenplay follows a structured investigative narrative, it maintains a level of unpredictability through the evolving dynamics between characters and the unfolding revelations about the Church's complicity in abuse cases. The emotional weight of the characters' experiences and the potential consequences of their findings create suspense and tension, keeping the audience engaged. However, certain plot points may be anticipated due to the historical context, which slightly reduces the overall unpredictability.
Goals and Philosophical Conflict | |
---|---|
internal Goals | The protagonist's internal goals evolve from a desire for control and justice in navigating the sensitive dynamics of the church abuse scandal to a deeper pursuit of truth and integrity in journalism. Throughout the script, he grapples with balancing professional responsibilities and personal beliefs while confronting the emotional toll of the abuse cases he investigates. |
External Goals | The protagonist's external goals shift from discreetly handling the abuse scandal to rigorously investigating and ultimately exposing the systemic corruption within the Church through investigative journalism. He seeks to mobilize his team to uncover the stories of victims and hold powerful institutions accountable. |
Philosophical Conflict | The overarching philosophical conflict revolves around the tension between preserving the Church's reputation versus prioritizing justice for abuse victims. This conflict is embodied in the protagonist's journey, where he grapples with loyalty to a powerful institution and the ethical obligation to speak out against its wrongdoing. |
Character Development Contribution: The protagonist undergoes significant character development as he evolves from someone overwhelmed by external pressures into a decisive leader who thrives in the face of moral dilemmas. His internal conflicts drive him to deepen his commitment to truth and protect the vulnerabilities of survivors.
Narrative Structure Contribution: The goals and conflicts create a structured narrative arc that escalates tension and works towards a climactic resolution, culminating in the publication of their investigative findings—a pivotal moment in the story that serves as the turning point for both the characters and the broader community.
Thematic Depth Contribution: The interplay of goals and conflict amplifies the screenplay’s thematic depth, engaging with complex issues such as moral obligation, institutional power, and the responsibilities of the press. It explores the impact of systemic abuse and the quest for truth, making it a poignant reflection on the pursuit of justice in the face of overwhelming opposition.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
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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 |
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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? |
- Physical environment: The screenplay is set primarily in Boston, Massachusetts, in the years 1976 and 2001. Locations range from the gritty urban environments of South Boston and East Boston (including rundown apartments and diners) to the affluent settings of the Four Seasons Hotel and a wealthy Brookline neighborhood. Institutional settings like police stations, courtrooms, the Boston Globe newsroom (depicted in various states of bustle and quiet), a Catholic high school, and even a dank basement filled with old church directories are crucial. The physical environment is often used to reflect the social standing and power dynamics at play.
- Culture: The dominant cultural elements are the deeply ingrained Catholicism of Boston, the city's strong sense of community and tradition (especially in Southie), and the culture of investigative journalism. Baseball, a quintessential American pastime, also features prominently. The interactions between these elements, particularly the clash between the traditional Catholic culture and the investigative journalism that exposes its dark underbelly, is central to the narrative.
- Society: The societal structure is hierarchical and reveals significant power dynamics. The Catholic Church holds immense power and influence, often using it to suppress information and protect itself. Law enforcement and the legal system are depicted as sometimes complicit in the Church's cover-up, showing a complex network of power that resists accountability. The newsroom of the Boston Globe operates with its own hierarchy but acts as an opposing force, striving to uncover the truth and expose the Church's abuses. The broader societal pressures to maintain silence around sensitive issues are emphasized.
- Technology: Technology plays a relatively minor role, although its presence is felt in the transition from 1976 to 2001. The contrast is noticeable – the 1976 scene uses no specific technology beyond a town car while 2001 scenes feature computers (Nexis, Micro Fiche), telephones, and recording devices. The use of technology in investigative journalism reflects a modern approach to uncovering the truth, highlighting the changing investigative capabilities. Cell phones and the internet are only lightly utilized and function primarily as tools for communication and research.
- Characters influence: The world elements directly shape the characters' actions and experiences. The deeply entrenched Catholic culture influences the characters' personal histories, moral compasses, and relationships. The hierarchical societal structures create obstacles and challenges for the journalists, who must navigate powerful institutions and individuals to uncover the truth. The physical environments often contribute to the emotional tension and atmosphere of specific scenes, shaping how characters interact and react. The scarcity of technology in the earlier setting contrasts with the greater ease of research and communication available in the 2001 storyline.
- Narrative contribution: The various settings and societal structures drive the narrative forward. The contrast between the quiet, cold police station in 1976 and the bustling newsroom in 2001 establishes the time frame and sets the stage for the investigation. The different locations where the journalists conduct their research and interviews directly propel the plot, uncovering key evidence and leading to confrontations with powerful figures within the Church and legal system.
- Thematic depth contribution: The screenplay's thematic depth stems from the interplay of these world elements. The conflict between the powerful Catholic Church and the independent investigative journalists highlights themes of truth versus power, faith versus doubt, and the struggle for justice. The depiction of the societal pressures to maintain silence reveals themes of complicity, institutional cover-ups, and the long-term consequences of abuse and its suppression. The contrasting physical environments and cultural elements emphasize the diverse experiences and perspectives of the characters, adding layers to the exploration of these themes.
central conflict
The central conflict revolves around the investigation into systemic abuse within the Catholic Church and the struggle of the Boston Globe's Spotlight team to uncover the truth against powerful institutional forces.
primary motivations
- The Spotlight team's desire to expose the truth about the Church's cover-up of abuse.
- The personal motivations of survivors seeking justice and acknowledgment of their suffering.
- The newspaper's need to maintain credibility and relevance in a changing media landscape.
catalysts
- The arrival of Marty Baron as the new editor, who pushes for deeper investigations.
- The discovery of sealed documents and testimonies from abuse survivors.
- The ruling by Judge Sweeney to unseal documents related to the Church.
barriers
- The Church's influence and power in the community, which creates fear and reluctance among victims to come forward.
- Legal challenges and the potential for backlash against the Globe from the Church and its supporters.
- Internal skepticism and differing opinions within the Globe's team about the direction of the investigation.
themes
- The quest for truth and justice.
- The impact of institutional power on individual lives.
- The struggle against complicity and silence in the face of abuse.
stakes
The stakes include the potential for exposing widespread abuse within the Church, the safety and well-being of victims, and the credibility of the Boston Globe as a leading news organization.
uniqueness factor
The story uniquely combines investigative journalism with a deeply personal narrative of survivors, highlighting the intersection of faith, power, and accountability.
audience hook
The main audience hook is the suspense and moral urgency surrounding the uncovering of a major scandal that affects the community and challenges the Church's authority.
paradoxical engine or bisociation
The paradoxical engine lies in the juxtaposition of faith and betrayal, where the Church, a symbol of hope and morality, is revealed to be complicit in horrific abuses, creating a profound emotional and ethical conflict.
paradoxical engine or bisociation 2
Another bisociation could be the contrast between the public persona of the Church as a protector of the community and the hidden reality of its systemic failures, prompting a reevaluation of trust and authority.
Engine: Gemini
Highly Recommend
Executive Summary
Spotlight is a remarkably well-crafted screenplay that masterfully balances journalistic procedural with deeply human drama. Its strengths lie in its meticulous research, compelling character arcs, and understated yet powerful storytelling. While minor improvements could enhance certain scenes, the screenplay's overall impact and narrative drive are exceptional, making it a highly recommended project for production.
- The screenplay expertly integrates Sacha Pfeiffer's personal life and faith, creating a nuanced portrayal of her internal conflict and the ethical challenges she faces in covering the story. This adds depth and realism to the narrative. high ( Scene 20 Scene 21 Scene 22 )
- The interactions between Mike Rezendes and Mitchell Garabedian are electric, showcasing a compelling dynamic between a driven journalist and a complex, abrasive lawyer. This relationship drives the narrative forward and provides key plot points. high ( Scene 30 Scene 52 Scene 76 )
- The investigative process is depicted with incredible detail and visual clarity, effectively showcasing the painstaking work involved in uncovering the truth. The use of visual metaphors, like the scanning of directories, adds to the film's tension and suspense. high ( Scene 70 Scene 82 )
- The climax of Robby Robinson’s character arc, the confrontation with Jim Sullivan, is masterfully written. It reveals the full weight of the story's impact on those involved in the cover-up and shows Robby's own moral reckoning. high ( Scene 163 )
- The writing montage is powerful and effectively conveys the relentless pressure and emotional toll on the journalists without resorting to melodramatic clichés. This shows the dedication of the team in realistic fashion. medium ( Scene 157 )
- The Springfield courtroom scenes, while necessary for plot progression, could benefit from increased tension and visual dynamism to better engage the audience. low ( Scene 105 )
- While effective in conveying the passage of time and the intensity of the investigation, the montage could benefit from a slightly more varied visual approach to avoid monotony. low ( Scene 157 )
- The ending could be more emotionally resonant. The final scenes, while showing the overwhelming response, could benefit from a more focused depiction of the emotional impact on the team, allowing for a more cathartic conclusion. medium ( Scene 177 Scene 178 Scene 179 )
- The screenplay could benefit from a more in-depth exploration of the lasting psychological impact of the investigation on the Spotlight team. medium
- The screenplay effectively uses the contrast between the cramped Spotlight office and the opulent settings of the Catholic Church to highlight the power imbalance at the heart of the story. high
- The screenplay’s understated tone and realistic dialogue create a powerful sense of authenticity and immersion. high
- The screenplay effectively utilizes foreshadowing, setting up the story's central conflict early on in the police station sequence (Sequence 1). medium
- Lack of exploration of the systemic issues beyond Boston While the screenplay focuses intensely on the Boston Archdiocese, it mentions similar scandals worldwide. A deeper exploration of how these issues connect and the broader implications of the systemic issues would have added more thematic weight and complexity. medium
Engine: Claude
Recommend
Executive Summary
The screenplay for 'Spotlight' is a well-crafted, impactful exploration of the Catholic Church sexual abuse scandal in Boston. The story is driven by a talented ensemble of investigative journalists who uncover a systemic cover-up that reaches the highest levels of the Church. The screenplay skillfully balances the personal journeys of the characters with the larger societal implications, creating a powerful narrative that is both informative and emotionally resonant. The attention to detail, character development, and thematic depth make this a standout example of the investigative journalism genre.
- The screenplay effectively establishes the high-stakes, fast-paced environment of the newsroom and the sense of urgency that drives the journalists to uncover the truth. high ( Scene 2 (6) Scene 5 (16) )
- The interviews with the victims provide powerful, emotional moments that humanize the story and underline the devastating impact of the abuse. high ( Scene 9 (25) Scene 10 (28) )
- The screenplay effectively portrays the institutional resistance and the power dynamics at play, highlighting the challenges the journalists face in their pursuit of the truth. high ( Scene 17 (50) Scene 25 (94) )
- The detailed process of the journalists' investigation, including the use of church directories and cross-referencing of information, adds authenticity and depth to the storytelling. medium ( Scene 22 (84) Scene 23 (90) )
- The screenplay effectively transitions to the aftermath of 9/11 and how it affects the team's ability to focus on the investigation, adding further complexity to the narrative. medium ( Scene 30 (114) Scene 31 (115) )
- The exposition of the Geoghan case in the team meeting could be more concise and impactful, with less repetition of information that the audience is likely already aware of. low ( Scene 13 (44) )
- The scenes with Eric MacLeish could be tightened and streamlined to maintain the narrative momentum, as they tend to get bogged down in exposition at times. medium ( Scene 20 (72) Scene 21 (76) )
- While the screenplay effectively portrays the emotional toll of the investigation on the journalists, there could be more exploration of the personal lives and relationships of the main characters, providing additional depth and context. medium ( Scene 27 (100) Scene 37 (149) )
- The opening sequence effectively sets the tone and introduces the central conflict, drawing the audience into the story immediately. high ( Scene 1 (1) )
- The screenplay skillfully navigates the complex power dynamics and institutional resistance, with the journalists facing both internal and external challenges in their pursuit of the truth. high ( Scene 28 (107) Scene 45 (165) )
- The final sequence, with the journalists returning to the office to face the overwhelming response, provides a powerful and impactful conclusion to the story. high ( Scene 59 (175) Scene 60 (177) )
- Character Depth While the screenplay does a strong job of developing the main journalists and their personal motivations, there could be opportunities to further explore the depth and complexity of the other characters, such as the victims, the Church officials, and the lawyers involved. Providing more insight into their backstories, internal struggles, and the nuances of their perspectives could add additional layers of depth to the narrative. medium
- Pacing There are a few instances where the pacing of the screenplay feels slightly uneven, with certain scenes either feeling too rushed or overly drawn out. For example, the exposition in the team meeting about the Geoghan case (scene 44) could be tightened, and the scenes with Eric MacLeish (scenes 72 and 76) could be streamlined to maintain the narrative momentum. Ensuring consistent pacing throughout the screenplay would help to create a more immersive and engaging reading experience. low
Engine: GPT4
Highly Recommend
Executive Summary
The screenplay for 'Spotlight' is a compelling and meticulously crafted narrative that explores the investigative journalism behind the Boston Globe's uncovering of the Catholic Church's sexual abuse scandal. It effectively balances character development with a gripping plot, maintaining tension and engagement throughout. The screenplay's strengths lie in its authentic dialogue, strong character arcs, and a clear moral imperative that resonates with audiences. However, there are areas for improvement, particularly in pacing and the depth of certain character backgrounds.
- The screenplay features authentic and engaging dialogue that captures the nuances of journalistic conversations and personal interactions. high ( Scene 1 (1) Scene 2 (6) Scene 3 (19) )
- Strong character development is evident, particularly in the arcs of the main journalists, who evolve as they confront the moral complexities of their investigation. high ( Scene 2 (6) Scene 3 (19) Scene 4 (34) )
- The screenplay maintains a consistent tone that balances seriousness with moments of levity, reflecting the real-life dynamics of a newsroom. medium ( Scene 1 (1) Scene 2 (6) Scene 3 (19) )
- The pacing is generally effective, with a steady build-up of tension as the investigation unfolds, keeping the audience engaged. high ( Scene 2 (6) Scene 3 (19) Scene 4 (34) )
- The narrative strength is compelling, with a clear moral imperative that drives the story forward and resonates with audiences. high ( Scene 2 (6) Scene 3 (19) Scene 4 (34) )
- Some scenes could benefit from tighter editing to enhance pacing, particularly in the middle sections where the narrative slows down. medium ( Scene 2 (6) Scene 3 (19) )
- While character development is strong, some supporting characters could be fleshed out further to enhance their impact on the story. medium ( Scene 2 (6) Scene 3 (19) )
- There are moments where exposition could be more subtly integrated into the dialogue rather than being overtly stated. medium ( Scene 2 (6) Scene 3 (19) )
- The screenplay could benefit from a more varied emotional range in certain scenes to deepen audience connection. medium ( Scene 2 (6) Scene 3 (19) )
- Some scenes could use more visual storytelling elements to enhance the narrative beyond dialogue. medium ( Scene 2 (6) Scene 3 (19) )
- There is a lack of deeper exploration into the personal lives of the journalists, which could add layers to their motivations. medium ( Scene 2 (6) Scene 3 (19) )
- The screenplay could include more scenes that depict the community's reaction to the investigation, providing a broader context. medium ( Scene 2 (6) Scene 3 (19) )
- There is a missed opportunity to delve into the psychological impact of the investigation on the journalists themselves. medium ( Scene 2 (6) Scene 3 (19) )
- The screenplay lacks a more pronounced antagonist, which could heighten the stakes and tension. medium ( Scene 2 (6) Scene 3 (19) )
- There could be more emphasis on the ethical dilemmas faced by the journalists, adding complexity to their decisions. medium ( Scene 2 (6) Scene 3 (19) )
- The use of real-life events and characters adds authenticity and weight to the narrative, making it resonate more with audiences. high ( Scene 2 (6) Scene 3 (19) )
- The screenplay's structure effectively builds suspense, leading to a powerful climax that delivers a strong emotional impact. high ( Scene 2 (6) Scene 3 (19) )
- The moral complexity of the story is well-articulated, prompting audiences to reflect on issues of power, accountability, and justice. high ( Scene 2 (6) Scene 3 (19) )
- The screenplay's ending is impactful, leaving audiences with a sense of urgency and the need for continued vigilance against institutional abuse. high ( Scene 2 (6) Scene 3 (19) )
- The balance between personal and professional stakes is well-maintained, enhancing the overall narrative depth. high ( Scene 2 (6) Scene 3 (19) )
- Character Depth The screenplay occasionally overlooks the deeper emotional struggles of its characters, particularly the journalists, which could enhance audience connection. For example, while the main characters are well-developed, supporting characters lack sufficient backstory and emotional arcs. medium
- Exposition Some scenes rely heavily on exposition rather than showing through action or dialogue, which can feel clunky. For instance, certain character motivations are explicitly stated rather than demonstrated through their actions. medium
Memorable lines in the script:
Scene Number | Line |
---|---|
29 | Garabedian: Mark my words, Mr. Rezendes, if it takes a village to raise a child, it takes a village to abuse one. |
50 | MIKE: This coulda been you, it coulda been me, it could have been any one of us. We gotta nail these scumbags, show people that no one can get away with this! Not a priest or a Cardinal or a fricking Pope! |
24 | Richard Sipe: Look, Mike, the church wants us to believe that it’s just a few bad apples, but it’s a much bigger problem than that. |
10 | Garabedian: The Church thinks in centuries, Mr. Rezendes. You think your paper has the resources to take that on? |
57 | Marty: Sometimes it’s easy to forget that we spend most of our time stumbling around in the dark. Suddenly a light gets turned on, and there’s fair share of blame to go around. |