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Scene Map 34
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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BACK TO THE FUTURE Written by Robert Zemeckis & Bob Gale FOURTH DRAFT Revised 10-12-84
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5 INT. DETENTION CLASSROOM — ON A WALL CLOCK — DAY 5 It*s 3:28. WIDER A regular math classroom used as detention after hours. Again, we see signs of an old * school dressed to be more modern: green chalkboards, repainted walls, new desks, and a
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10 EXT. TOWN SQUARE — DAY 10 On some of the boarded up buildings are ELECTION POSTERS: “RE-ELECT MAYOR ‘GOLDIE* WILSON: HONESTY, DECENCY, INTEGRITY” and a picture of the incumbent. Mayor Wilson is black, about 45, with a GOLD FRONT TOOTH. MARTY and SUZY are walking together. She carries her schoolbooks: he has the
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11 INT. RV — TOWN SQUARE — DAY 11 The driver is DR. EMMETT BROWN, about 65. He looks like an old hippie, with shoulder length white hair, Hawaiian shirt, faded jeans, an Indian turquoise around his neck and lively — almost wild — eyes. He*s full of energy, full of life, talks f ast, and is immediately likable for his eccentricities.
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14 EXT. MCFLY HOUSE — DUSK 14 A WRECKER is in the McFly driveway with a 1979 Plymouth Reliant in tow: its front end is completely smashed, as if someone rammed it into a brick wall. The truck driver is unhitching it.
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15 INT. AT THE McFLY DINNER TABLE — NIGHT 15 The McFly family is dining on meat loaf, Kraft macaroni and cheese, Bird*s Eye mixed vegetables, and French*s instant mashed potatoes. Marty*s mother, LORRAINE, 47, was once very attractive. Now she*s OVERWEIGHT, in a rut, a victim of suburban stagnation. She has more food on her plate than anyone else, and
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17 EXT. TWIN PINES MALL PARKING LOT — NIGHT 17* CAMERA PANS from the lit entrance sign, depicting 2 PINE TREES with “TW IN PINES * MALL” in lettering below (along with a digital clock at 12:59) to pick up MARTY on his * skateboard with another WALKMAN (it *s a different brand than the one Strickland smashed). Marty skateboards around a corner of the mall and sees Brown *s RV on the
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18 EXT. MALL, DELOREAN — NIGHT 18 The speedometer hits 85... 86... 87... 88... The automobile is suddenly engulfed by a BLINDING WHITE GLOW — then, BLAM! It*s gone, a TRAIL OF FIRE left in its wake. 19 Brown and Marty are hit by a sharp blast of air. Marty blinks in disbelief: it*s as if the car 19
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25 EXT. — CHASE 25* The DeLorean roars off! The van gives chase. 25-A INT. DELOREAN — INSERT 25-A* The speedometer approaches 40.
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EXT. FARM HOUSE — NIGHT PA busts out of the farmhouse with a double-barreled shotgun. Sherman is right behind him, with something rolled up in his hand. SHERMAN Look, Pa — it*s already mutated into human form! Shoot it!
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43 INT. CAFÉ — DAY 43 A typical café/soda fountain of the period; 2 or 3 CUSTOMERS are at the counter. Marty stares at the signs advertising menu items: Hamburger — 25 cents. Ham & Cheese — 30 cents. Chocolate Sundae — 15 cents. A sign over the cigarette display says “All Brands 20 cents.”
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47 INT. CAFÉ 47 Marty saunters out of the phone booth and takes a seat at the counter. A NERDY LOOKING KID is seated nearby, sipping a soda and reading a comic book. Marty looks at Lou, indicating the address on the phone book page. * MARTY *
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49 EXT. — A RESIDENTIAL STREET — DAY 49 The homes evoke pleasant nostalgia: front porches and white picket fences. MARTY comes from around the corner and sees GEORGE*S BIKE parked underneath a tree. Marty looks around, then spots GEORGE up in the tree, precariously out on a branch overhanging the street, about 12 feet
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55 INT. DINING ROOM — NIGHT 55 Marty takes a seat at the dinner table next to Lorraine as MRS. STELLA BAINES, 40 and pregnant, makes the introductions to the KIDS. The chair at the head of the table is empty. * STELLA That*s Milton, that*s Sally, that*s Toby...
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60 EXT. DR. BROWN*S HOUSE 60 The house at 1640 Riverside Drive is spectacular, the home of a very wealthy man. * Marty ogles it as he walks up to the front door. He checks the address against the page he ripped out of the phone book: it checks. All the lights are on — a PARTY is going on inside. Marty rings the doorbell.
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65 INT. BROWN*S GARAGE — A LITTLE LATER — NIGHT 65 The DeLorean is now in the garage; the garage door is closed. The 1985 suitcase is open, and we can see its contents — clothes, toilet articles, and a CONAIR (battery) HAIR DRYER. MARTY is busily attaching the video camera into a 1953 model TV.
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72 EXT. HILL VALLEY HIGH SCHOOL — DAY 72 Hill Valley High looks pretty much the same in 1955, but with a little less graffiti. There is not much activity in front — school is in session. BROWN*S PACKARD pulls up and DR. BROWN and MARTY get out. Marty is now dressed in total 1955 period garb. He and Brown ascend the school steps.
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78 INT. SCHOOL CAFETERIA 78* GEORGE is seated at a table, having lunch and writing furiously. He has a copy of * AMAZING STORIES SCIENCE FICTION MAGAZINE with his books. * MARTY comes over and sits down next to him. * MARTY *
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82 INT. BROWN*S GARAGE — DAY 82 Brown is fiddling with the video camera, playing the end section of the mail tape over his * TV set. Brown seems particularly curious about what happens at the end, why it cuts off so * abruptly. * MARTY enters as the tape reaches the end...
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88 EXT. TOWN SQUARE — DAY 88 MARTY is 1oitering in the grassy town square. Now GEORGE comes running up from the street. He*s disheveled and wild-eyed. MARTY (spots him)
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95 EXT. CAFÉ 95 Marty, towed by the car, zooms past the café. The spectators are truly amazed. Lorraine stares in open-mouthed awe. LORRAINE He*s an absolute dream...!
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101 INT. BROWN*S GARAGE — NIGHT 101 Brown is shocked to hear what Marty has just told him. BROWN What do you mean you said “yes”? MARTY
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104 EXT. GEORGE*S BACKYARD — DAY 104 GEORGE seems very bewildered about what MARTY has been trying to explain to him. GEORGE I still don*t understand. How can I go to the dance with her if she*s going with YOU?
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106 INT. CAFÉ — INSERT — ON A LETTER 106 as a HAND with a pen writes. 107 INT. CAFÉ — WIDE ANGLE — NIGHT 107 MARTY is sitting at a booth writing. He reads it over. MARTY
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114 INT. PACKARD — MARTY, LORRAINE 114 Marty, at the wheel, is very uneasy; Lorraine next to him looks beautiful in her best party dress. Marty glances at the clock on the dashboard. It*s 8 minutes before 9. MARTY Uh, you don*t mind if we, uh, park for a few minutes...?
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120 INT. PACKARD — NIGHT 120 Lorraine continues her passionate assault of Marty — then abruptly stops and pushes him away. She*s very confused. LORRAINE This isn*t right.
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125 EXT. PACKARD 125 Biff twists George*s arm harder. LORRAINE Stop it, Biff! You*ll break his arm! She tries to pull him away. He slaps her backhand, knocking her down.
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132 INT. SCHOOL GYM 132 Marty is playing the guitar with the Midnighters, in a version of “Earth Angel.” George and Lorraine are on the floor, dancing. Marty looks at them, then looks at the back of his guitar where, attached with chewing gum. is the snapshot. Nothing has changed. Marty watches his parents. He *s getting nervous.
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141 EXT. CLOCK TOWER — NIGHT 141 It*s 4 minutes before 10:00. 142 ON THE STREET 142 BROWN, wearing the trenchcoat, paces back and forth anxiously. The wind is picking up, and we hear DISTANT THUNDER. The entire “lightning rod setup” is complete, with the
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153 EXT. THE SQUARE 153 The rope drops to the ground. Marty runs over, grabs it, and ties it to the paddle plug. He waves back to Brown. 154 BROWN 154 nods and starts pulling the rope with the cable back up.
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188 EXT. STREET 188 The DELOREAN approaches the square! 189 INT. MOVING DELOREAN 189 Marty drives with determination. 190 THE SPEEDOMETER passes 65. 190
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214 EXT. THE MALL — NIGHT 214 as MARTY arrives at the Mall. He keeps on running, past the entrance sign that reads “LONE PINE MALL” (with an image of a single pine tree), into the parking lot, just in time to * see, a good 150 yards away... * 215 MARTY*S P.O.V. OF 215
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227 INT. DINING ROOM — DAY 227 LINDA and DAVE are seated at the dining room table which has been beautifully set for breakfast. The 5 table settings are elegant; Dave is eating a half of grapefruit; Linda has * eggs benedict. Dave is wearing an expensive tailored suit and reads the business section of the morning paper.
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232 EXT. McFLY HOUSE — DAY 232 Marty comes out of the house and opens the garage door, revealing A TRICKED OUT BLACK SUPRA, just like he saw in the showroom. * MARTY can*t believe it. The personalized license plate says “MARTY I.” * Marty approaches his new car.

Back to the future

A high school student desperately tries to escape detention to make it to a crucial band audition, causing chaos and leading to unexpected time-travel adventures

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Overview

Poster
Unique Selling Point

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

Claude
 Recommend
Story Facts

Genres: Sci-Fi, Comedy, Teen, Adventure, Drama, Coming-of-Age, Science Fiction, Action, Romance

Setting: Present day, Small town in the Midwest

Themes: Pursuit of passion, Time travel and its consequences, Identity and family, Courage and standing up for oneself, Friendship and loyalty, Acceptance and embracing change

Conflict & Stakes: John's fight to clear his name and protect his family's reputation while facing a corrupt legal system

Mood: Tense and emotional

Standout Features:

  • Twist Ending: Unexpected revelation in the final act that changes everything
  • Unique Setting: Small town Midwest setting adds a unique backdrop to the story
  • Character Development: Deep exploration of characters' motivations and relationships

Comparable Scripts: Back to the Future, Ferris Bueller's Day Off, The Breakfast Club, Napoleon Dynamite, Save the Last Dance, School of Rock, Can't Hardly Wait, American Graffiti, That Thing You Do!, Scott Pilgrim vs. The World, The Goonies, The Karate Kid, Big, Billy Elliot, The Truman Show, Election, Sixteen Candles, Almost Famous, The Perks of Being a Wallflower, The Wizard of Oz

Script Level Analysis

Writer Exec

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Screenplay Insights

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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

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Scene-Level Percentile Chart
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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.