1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
Scene Map 42
# PG SLUGLINE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
Scene Map
42
# PG SLUGLINE
1
EXT. COLORADO MOUNTAIN (U.S.A.) - DAY - L.S. Lake and Mountains. CAMERA TRACKS FORWARD past island in lake. DISSOLVE TO: EXT. ROAD - DAY - L.S.
2
EXT. APARTMENT BUILDING/BOULDER - DAY - L.S. Apartment Building - cars parked in front of it. Mountain in b.g. CAMERA TRACKS IN on Apartment Building. CUT TO: INT. JACK & WENDY'S APARTMENT IN BOULDER (USA) / LIVING
3
INT. OVERLOOK HOTEL/ULLMAN'S OFFICE - DAY - M.L.S. JACK over ULLMAN seated at desk. BILL WATSON enter office. JACK rises and shakes hands with him. ULLMAN Bill, I'd like you to meet Jack
4
INT. BOULDER APARTMENT/BATHROOM - DAY - M.S. Shooting through open door - DANNY standing on stool at basin. DANNY Tony, do you think Daddy will get the job?
5
INT. HOTEL - LOBBY - M.L.S. Shooting towards doors of lifts. Blood gushes in from L.side of lift and in from corridors L. and R. of lift doors - surging towards camera. CUT TO:
6
INT. CORRIDOR/LIVING ROOM - DAY - M.S. DOCTOR standing in corridor. WENDY moves out of DANNY's room and closes the door. She turns to DOCTOR. WENDY Shall we go into the living room?
7
EXT. COLORADO MOUNTAINS - DAY - L.S. High Angle Trees on side of Mountain - CAMERA TRACKS FORWARD over them to Jack's car moving away along road. CUT TO: INT. JACK'S CAR - DAY - M.S.
8
INT. HOTEL/COLORADO LOUNGE - DAY - M.L.S. ULLMAN, followed by WENDY, JACK & WATSON, moves out of lift cam.R. They walk R-L across Lounge. CAMERA TRACKS with them. ULLMAN This is our Colorado Lounge.
9
INT. HOTEL BALLROOM/CORRIDOR - DAY - M.S. ULLMAN, JACK, WATSON & WENDY walk forward along corridor - CAMERA TRACKS BACK before them. ULLMAN As a matter of fact we eh...
10
INT. HOTEL - BALLROOM - DAY - M.S. SUSIE holding DANNY's hand. They walk L-R across Ballroom. CAMERA TRACKS with them to JACK, HALLORAN, WATSON, WENDY & ULLMAN. SUSIE
11
INT. HOTEL - FREEZER - DAY - M.S. HALLORAN opens door and steps into freezer. WENDY & DANNY stand in doorway. HALLORAN points to various items. HALLORAN Now this is where we keep all of
12
INT. HOTEL - STOREROOM - DAY - M.S. HALLORAN moves forward into Storeroom, followed by DANNY & WENDY. Groceries stacked on shelves. HALLORAN In here, Mrs. Torrance, is where we
13
INT. HOTEL - GREEN CORRIDOR - DAY - M.S. ULLMAN, JACK & WENDY - followed by WATSON - move forward. CAMERA TRACKS BACK before them. WENDY It's amazing how much activity is
14
EXT. OVERLOOK HOTEL - DAY - M.L.S. Hotel. Mountain in b.g. CUT TO: INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. WENDY pushing trolley forward along corridor. CAMERA TRACKS
15
INT. HOTEL - LOUNGE - DAY - M.S. Typewriter with sheet of paper in it. CAMERA TRACKS BACK and TILTS UP onto JACK throwing ball against wall. CUT TO: M.S. JACK back to camera throwing ball against wall.
16
EXT. HOTEL - DUSK - M.L.S. Hotel. Mountain in b.g. DISSOLVE TO: INT. HOTEL - KITCHEN - DUSK - M.C.S. WENDY's hands taking lid of can. CAMERA TRACKS BACK to
17
EXT. HOTEL - DAY - M.L.S. WENDY running R-L being chased by DANNY carrying snowballs. AD LIB SHOUTS & LAUGHTER. CAMERA TRACKS R-L with them past Hotel in b.g. WENDY
18
INT. HOTEL - OFFICE - DAY - M.S. WENDY, holding mike, seated on cabinet with foot up on desk. WENDY (into mike) Boy, this storm is really something,
19
INT. OVERLOOK HOTEL - LOBBY - DAY - M.S. Play on Television set, CAMERA TRACKS BACK from set to reveal WENDY, seated on sofa cam.L, watching set, DANNY seated on floor watching set also cam.R. DOROTHY
20
EXT. HOTEL - L.S. Shooting across snow to Hotel in b.g. Three lit windows. CUT TO: INT. HOTEL - CORRIDOR TO ROOM 237 - M.C.S. High Angle - DANNY playing on floor with toy cars and trucks.
21
INT. OVERLOOK HOTEL - LOUNGE - M.L.S. DANNY back to camera in f.g. walks into Lounge. In b.g. WENDY helps JACK up into his chair. INAUDIBLE DIALOGUE. WENDY turns to DANNY and throws up her arm. CAMERA TRACKS FORWARD with DANNY.
22
INT. HOTEL BALLROOM CORRIDOR - M.L.S. JACK enters cam.L in b.g. and walks forward. CAMERA TRACKS BACK before him. He mutters and flings his arms about. He stops and looks at notice on trestle - "THE GOLD ROOM." JACK moves L-R into entrance of Ballroom. He reaches out cam.L
23
INT. HOTEL - BALLROOM CORRIDOR - M.L.S. WENDY, sobbing, runs forward along corridor. CAMERA TRACKS BACK with her and PANS L-R into Ballroom. She runs away to JACK sitting at bat in b.g. WENDY
24
INT. OVERLOOK HOTEL - CORRIDOR - M.S. Open door of Room 237. CUT TO: INT. HOTEL - DANNY'S BEDROOM - M.C.S. DANNY, his head shaking.
25
INT. OVERLOOK HOTEL - DANNY'S BEDROOM - M.S. DANNY lying awake on his bed. CAMERA TRACKS IN on him. WENDY (OFF) Jack, whatever the explanation is, CUT TO:
26
INT. HOTEL - KITCHEN - M.L.S. JACK moves forward in kitchen. He sweeps coffee pot off table onto floor. CAMERA TRACKS BACK before him. He kicks coffee pots on floor, then sweeps rings off stove onto floor. He kicks rings as he leaves kitchen, moving into corridor.
27
INT. MEN'S TOILET - M.L.S. Men's toilet. JACK moves in from cam.L.b.g. He holds door open. JACK hold this for you there, Jeevesy.
28
INT. MEN'S LAVATORY - M.C.S. JACK 95. JACK How?
29
INT. HOTEL LOBBY - M.L.S. JACK walking L-R past reception desk. CAMERA TRACKS with him to office. He goes in and switches on lights. 99. RANGER
30
INT. HOTEL - LOUNGE - L.S. Shooting through entrance onto JACK seated, back to camera, typing at table in b.g. CAMERA TRACKS FORWARD onto JACK. DISSOLVE TO: EXT. AIRPORT - DAY - L.S.
31
INT. DURKIN'S GARAGE - M.S. DURKIN phone to ear. DURKIN (into phone) That's all right. Drive carefully.
32
INT. HOTEL - JACK'S APARTMENT - M.S. DANNY sitting at table. CAMERA TRACKS IN on him. JACK (OFF) Maybe it was about Danny. Maybe it was about him.
33
INT. HOTEL - KITCHEN - M.C.S. JACK lying on his back on floor. He GROANS as he is dragged along R-L. CAMERA TRACKS with him. CUT TO: 118.
34
INT. HOTEL KITCHEN - M.S. WENDY puts pin in handle, and backs L-R away from door. CAMERA PANS with her. JACK (OFF) Hey, wait a minute!
35
INT. FOOD STORE ROOM - M.C.S. JACK JACK Wendy... WENDY (OFF)
36
EXT. ROAD - NIGHT - L.S. HALLORAN driving Snowcat forward along snow-covered road between banks of trees. DISSOLVE TO: INT. HALLORAN'S SNOWCAT - M.C.S.
37
INT. BATHROOM - M.S. WENDY, back to camera, lifts DANNY up to open window. CUT TO: EXT. HOTEL - L.S. WENDY pushes DANNY out through open window onto snow. She
38
INT. BATHROOM - M.S. WENDY standing at side of door. JACK's axe appear through door. WENDY SCREAMS. JACK's axe repeatedly appears and splinters door. WENDY screams. WENDY
39
INT. HOTEL - STAIRS - M.S. High Angle WENDY runs up stairs L-R. She pauses on landing. WENDY Danny! CAMERA TRACKS BACK before WENDY as she goes up next flight
40
EXT. HOTEL - MAZE - M.S. DANNY running away through Maze. CAMERA TRACKS after him. He looks back over his shoulder. CUT TO: M.S. JACK in the Maze. He limps forward. CAMERA TRACKS
41
EXT. HOTEL - MAZE - M.S. DANNY sitting leaning against side of Maze. CAMERA TRACKS R-L revealing JACK, holding axe, cam.R.b.g. He limps R-L and moves away along Maze. CUT TO:
42
EXT. HOTEL - M.L.S. WENDY sobbing and holding knife runs away to HALLORAN's Snowcat in b.g. CAMERA TRACKS FORWARD after her. She stops by Snowcat and looks about. CUT TO:

The shining

A family man descends into madness while serving as the winter caretaker of an isolated and haunted hotel.

See other logline suggestions

Overview

Poster
Unique Selling Point

This script offers a fresh and chilling take on the haunted hotel genre, with a unique blend of psychological horror, supernatural elements, and family drama. The characters are authentic and relatable, brought to life through naturalistic dialogue and nuanced performances. The Overlook Hotel is not just a backdrop, but a character in its own right, with a dark and tragic history that seeps into the present. The innovative storytelling techniques, including the use of Danny's 'shining' ability, add depth and intrigue to the narrative. This script is a compelling and original piece of storytelling that will keep audiences on the edge of their seats.

AI Verdict & Suggestions

This rating is from a single AI engine based on structure, character, tone, and emotional engagement.

Hover over verdict cards for Executive Summaries

Gemini
 Consider
Story Facts

Genres: Horror, Drama, Thriller, Psychological Thriller, Mystery, Psychological Horror, Psychological

Setting: Present day, The Overlook Hotel, a grand but isolated hotel located in the Colorado Rockies, and Boulder, USA.

Themes: Isolation and Confinement, Family Dynamics and Relationships, Supernatural and the Occult

Conflict & Stakes: The primary conflict is between Jack and the hotel's malevolent forces, which threaten to drive him insane and harm his family. The stakes are high, as Jack's mental health, his family's safety, and their very lives are at risk.

Mood: Psychological horror and suspense

Standout Features:

  • Unique Hook: A fresh take on a classic horror story, with updated visuals and a modern audience in mind.
  • Plot Twist: The hotel's malevolent forces threaten to drive Jack insane and harm his family, adding a layer of psychological tension to the supernatural elements.
  • Distinctive Setting: The isolated and grand Overlook Hotel, with its dark past and supernatural presence.

Comparable Scripts: The Shining by Stephen King (book), The Shining (1980) directed by Stanley Kubrick, Doctor Sleep (2019) directed by Mike Flanagan, The Haunting of Hill House (novel and series), 1408 (2007) directed by Mikael Håfström, The Amityville Horror (1979) directed by Stuart Rosenberg, The Innocents (1961) directed by Jack Clayton, The Turn of the Screw (novella and various adaptations), The Changeling (1980) directed by Peter Medak, The Legend of Hell House (1973) directed by John Hough

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 8.00
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters

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

Emotional Analysis

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

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

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

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