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# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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MINDHUNTER (EPISODE 1.) Written by Joe Penhall Based on the book "Mindhunter"
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1 EXT. WAREHOUSE/PITTSBURGH OUTSKIRTS - DAY 1 Ominous-looking abandoned warehouse on the industrial side of town -- forbidding red brick walls, loading stage, broken windows, graffiti and a gray yard full of weeds, potholes and puddles.
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2 EXT. HOLDEN’S APARTMENT - NIGHT 2 3 INT. HOLDEN’S APARTMENT/QUANTICO - NIGHT 3 A bachelor pad, hardly any furniture, pictures of HOLDEN’S lacrosse playing school days on display. HOLDEN lets himself in, rain outside, he dumps his wallet and
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8 INT. HOLDEN’S APARTMENT - EARLY MORNING 8 HOLDEN eating corn flakes, alone, in just his trousers, preoccupied, staring into space... He finishes, takes his bowl to the sink. He polishes his shoes.
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12 EXT. PARKING LOT/FBI ACADEMY QUANTICO - EVENING 12 Rain -- a parking lot full of dark colored Chevys and Fords. HOLDEN in a macintosh with an attache case heads for his car. In the bg other SPECIAL AGENTS dressed identical “uniform” go to their cars.
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13 INT. BAR/RICHMOND VA - NIGHT 13 A rowdy bar full of CO-EDS, GRAD STUDENTS, cigarette smoke and posters on the walls, a GARAGE BAND playing under a large brick archway. Camera finds HOLDEN drinking at the bar with WILSON, in their
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14 INT. RICHMOND BAR - NIGHT 14 At a table nearer the stage, HOLDEN and DEBBIE talking, a little drunker now, opening up. DEBBIE. Post grad.
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18 INT. DEBBIE’S SHARE HOUSE/LIVING ROOM - NIGHT 18 Posters on the walls, Persian rugs on the floor, ethnic wall hangings, soft lighting, incense burning. On the coffee table is a bong and a bowl of buds. DEBBIE brings over wine glasses and a wine bottle, opens the
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19 INT. MOTEL ROOM MOCK UP/FBI TRAINING ACADEMY - DAY 19 A trio of RECRUITS with clipboards and biros are gathered around an INSTRUCTOR beside a double bed, behind partition walls in a mock up of a MOTEL ROOM. A female RECRUIT in glasses and twin set is sitting on the
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23 INT. UNIVERSITY OF VIRGINIA/LIBRARY - NIGHT 23 HOLDEN studying textbooks and writing notes into the night, just a few STUDENTS dotted about doing the same. He looks up and catches sight of the young LECTURER from his class sat at a desk, staring at him suspiciously. He stares
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26 EXT. MOVIE CINEMA - NIGHT 26 Other CINEMA-GOERS come out, chatting animatedly. DEBBIE and HOLDEN come out and say nothing for a moment. HOLDEN. So they were both homosexuals? But
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29 INT. LECTURE THEATRE/FBI TRAINING ACADEMY QUANTICO - DAY 29 HOLDEN is showing his class “DOG DAY AFTERNOON” on a 16 mm REEL TO REEL PORTABLE FILM PROJECTOR. The class watches the film in silence, earnestly studying the screen as if it were a petri dish in a lab. Some take notes
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31 INT. HALLWAY/FBI TRAINING ACADEMY, QUANTICO - DAY 31 As the classes files out, SHEPARD waits for HOLDEN. As he joins him: SHEPARD. Holden. I enjoyed that immensely.
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33 INT. CAFETERIA/FBI TRAINING ACADEMY - DAY 33 Dozens of NEW AGENTS with trays of food, eating or getting * food. HOLDEN sits slowly eating a sandwich, preoccupied with the argument, he puts it down, no appetite.
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35 EXT. FAIRFIELD/LOCAL POLICE DEPARTMENT - DAY 35 The car parked up, TENCH watches us HOLDEN lifts the heavy slide projector. TENCH balances carousels of slides on top. TENCH retrieves a handful of mimeographs from the back seat -- that’s all he’s carrying.
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37 INT. FAIRFIELD POLICE DEPT - DAY 37 VARIOUS YOUNG LOCAL POLICE OFFICERS talking to HOLDEN and TENCH after class, wanting to ask questions. Some have paper cups of coffee, tea, cookies... The OLDER DETECTIVE is lurking in the background chain
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39 INT. FAIRFIELD POLICE DEPARTMENT - DAY 39 On the slide projector appears an image of CHARLES MANSON, staring crazily. The class respond, muttering, commenting now - one or two calling out and throwing paper missiles at the screen - this
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40 INT. DINER - MAIN STREET - FAIRFIELD - EVENING 40 HOLDEN and TENCH drinking coffee in a booth, tense, tired, wan. TENCH. You didn’t tell me you were going *
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42 INT. INCIDENT ROOM/FAIRFIELD POLICE DEPARTMENT - NIGHT 42 TENCH and HOLDEN with MCGRAW looking at crime scene photos of MARY JEFFREY. DETAILS OF - her rictus mouth with a rag stuffed in - blank staring eyes - bloodied ear - bare broken legs at an acute
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44 INT. CAR - NIGHT 44 They drive in the gloaming, trees and paddocks, farmland and nothingness for miles. Silence, then: TENCH.

Mind Hunter

In the 1970s, two FBI agents pioneer the science of profiling serial killers, using unconventional methods to understand the criminal mind and stop the most dangerous offenders.

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Overview

Poster
Unique Selling Point

The Unique Selling Proposition in this screenplay is the exploration of the clash between traditional law enforcement methods and the emerging field of criminal psychology. It highlights the importance of practical knowledge and the need to update investigative techniques. The script also delves into the FBI recruitment process and the dynamics between the main characters, providing a unique voice and perspective on the subject matter. With its tense negotiation scenes, unexpected twists, and psychological tactics, this script offers a compelling and distinctive storytelling experience that sets it apart from others in its genre. It will be of interest to its target audience by offering a fresh and thought-provoking take on crime investigation and the human psyche.

AI Verdict & Suggestions

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

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Claude
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Story Facts

Genres: Output:, Crime, Drama, Thriller

Setting: 1977, Pittsburgh

Themes: Communication and Connection, Mental Health and Emotional Struggles, Law Enforcement and Criminal Psychology, Relationships and Intimacy, Trauma and its Effects

Conflict & Stakes: The primary conflicts in this story include the Negotiator's struggle to establish communication with Cody and Holden's attempt to de-escalate the situation. The stakes are high as the Negotiator and Holden are trying to prevent a tragic outcome.

Mood: Tense and suspenseful

Standout Features:

  • Exploration of criminal psychology: The screenplay delves into the minds of criminals and the psychological aspects of their behavior.
  • Tense and suspenseful scenes: The screenplay features scenes that will keep audiences on the edge of their seats.
  • Complex and compelling characters: The screenplay presents characters with depth and complexity, making them relatable and engaging.

Comparable Scripts: Mindhunter (TV Show), Zodiac (Movie), True Detective (TV Show), Se7en (Movie), Silence of the Lambs (Movie), Heat (Movie), Training Day (Movie), Gone Girl (Movie), The Departed (Movie), The Wire (TV Show), American Crime Story: The People v. O.J. Simpson (TV Show), The Girl with the Dragon Tattoo (Book/Movie), Prisoners (Movie), The Killing (TV Show), The Silence of the Lambs (Book)

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
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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.