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Scene Map 60
# PG SLUGLINE
1 1
THE LONG KISS GOODNIGHT
2 3
EXT SUBURBAN STREET DAY
3 6
INT ELEMENTARY SCHOOL NIGHT
4 7
INT MOTEL ROOM - AKRON, OHIO NIGHT
5 10
EXT ELEMENTARY SCHOOL NIGHT
6 13
EXT SUBURBAN HOUSE - AKRON, OHIO - TWILIGHT
7 14
INT SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER
8 17
INT BOILER ROOM - DAY OR NIGHT, IMPOSSIBLE TO TELL
9 19
INT SUPERMARKET - CHECKOUT STAND AFTERNOON
10 20
EXT SUBURBAN STREET DAY
11 22
INT SAMANTHA'S HOUSE - TWILIGHT
12 23
EXT THE FRONT PORCH - JUST OUTSIDE THE DOOR NIGHT
13 24
INT KITCHEN SAME TIME
14 27
INT HENESSEY'S PLYMOUTH - THE OPEN ROAD DAY
15 29
INT STORAGE ROOM MOMENTS LATER
16 30
INT COLONIAL STYLE HOME - LATE AFTERNOON
17 33
EXT COUNTRY ROAD - DRIVING - LATE AFTERNOON
18 34
INT CAR SAME TIME
19 36
EXT THE WHITE HOUSE - ESTABLISHING NIGHT
20 38
INT ROADSIDE GAS STATION - NIGHTTIME
21 40
INT SALT & PEPPER LOUNGE DAY
22 43
EXT SALT & PEPPER LOUNGE SAME TIME
23 46
INT NATHAN'S CAR - DRIVING
24 49
EXT ROADSIDE - LATE AFTERNOON
25 50
EXT HOUSE IN THE COUNTRY DAY
26 53
EXT SHADED PORCH - MID AFTERNOON
27 56
EXT STREET - BELFAST NIGHT
28 58
INT BASEMENT OF OLD MILL NIGHT
29 63
INT BASEMENT OF OLD MILL - THE PRESENT
30 65
INT VICTORIAN BUILDING - CHAPTER HQ - NIGHTTIME
31 68
INT HOTEL SUITE - ATLANTIC CITY NIGHT
32 69
INT CASINO BAR EVENING
33 72
EXT ATLANTIC CITY BOARDWALK - NIGHTTIME
34 73
INT HOTEL SUITE - BEDROOM - NIGHTTIME
35 75
EXT CITY STREET - NIGHTTIME
36 77
EXT ATLANTIC CITY STREET - NIGHTTIME
37 79
EXT COUNTRYSIDE NIGHT
38 82
INT GOVERNMENT ISSUE SEDAN - DRIVING SAME TIME
39 84
INT ST. PAUL'S SAME TIME
40 85
EXT HIGHWAY - DRIVING - DAYTIME
41 89
INT ROADSIDE RESTAURANT - NEW YORK STATE - TWILIGHT
42 90
EXT MOUNTAIN ROAD - NIGHTTIME
43 93
EXT MOTEL GROUNDS SAME TIME
44 95
INT MOTEL - 2ND FLOOR - NIGHTTIME
45 96
EXT MOTEL GROUNDS - NIGHTTIME
46 99
INT CELLAR SAME TIME
47 101
INT UPSTAIRS INTERROGATION ROOM SAME TIME
48 102
INT CELLAR MEAT LOCKER SAME TIME
49 104
INT SECOND STORY INTERROGATION ROOM SAME TIME
50 107
EXT CLIFFSIDE - HIGH ABOVE MOTEL SAME TIME
51 110
INT CHOPPER SAME TIME
52 112
EXT CLIFF'S EDGE - WITH CHARLY
53 113
EXT MAIN STREET - TOWN OF SANTA CLAUS - CHRISTMAS EVE
54 116
INT CAB OF TANKER TRUCK SAME TIME
55 118
INT CHAPEL - WITH CHARLY
56 120
EXT SEMINARY - NIGHTTIME
57 122
EXT SEMINARY SAME TIME
58 124
INT HELICOPTER SAME TIME
59 128
EXT PALATIAL GEORGETOWN ESTATE - EARLY MORNING
60 129
EXT GEORGETOWN AVENUE - DAYTIME
Scene Map
60
# PG SLUGLINE
1 1
THE LONG KISS GOODNIGHT
THE LONG KISS GOODNIGHT
THE LONG KISS GOODNIGHT Written by Shane Black REVISED DRAFT February 24, 1995
2 3
EXT SUBURBAN STREET DAY
EXT. SUBURBAN STREET - DAY
EXT. SUBURBAN STREET - DAY CHILDREN, dozens of them, bursting from houses. Slapping of screen doors. A HORSE-DRIVEN SLEIGH is rattling down Main Street. Flanked by kids. Christmas carols, droning from loudspeakers.
3 6
INT ELEMENTARY SCHOOL NIGHT
INT. ELEMENTARY SCHOOL - NIGHT
INT. ELEMENTARY SCHOOL - NIGHT PARTY in progress. Laughter. Mingling. In the corner, CAITLIN puts pipe cleaner antlers on the gerbil. Samantha shepherds her home room class past the punchbowl. She is radiant. EARL surreptitiously nips from a silver flask.
4 7
INT MOTEL ROOM - AKRON, OHIO NIGHT
INT. MOTEL ROOM - AKRON, OHIO - NIGHT
INT. MOTEL ROOM - AKRON, OHIO - NIGHT A NUDE COUPLE on the bed. They look up, startled -- as three men burst through the door. The LEADER: a haggard-looking man sporting a soup-stain on his tie, whoops, that's the design, sorry. MITCH HENESSEY, private investigator and con
5 10
EXT ELEMENTARY SCHOOL NIGHT
EXT. ELEMENTARY SCHOOL - NIGHT
EXT. ELEMENTARY SCHOOL - NIGHT SAMANTHA and HAL bid goodnight to their friends and neighbors. Hal steers her away from a middle-aged teacher. HAL Christ, guy's all over you like a
6 13
EXT SUBURBAN HOUSE - AKRON, OHIO - TWILIGHT
EXT. SUBURBAN HOUSE - AKRON, OHIO - TWILIGHT
EXT. SUBURBAN HOUSE - AKRON, OHIO - TWILIGHT Elsewhere. Tract housing, late-model cars. MITCH HENESSEY delivers a Christmas gift to his nine year-old son TODD: not just any gift, the *Midtown Saturn Orbiting Precinct*, with action figures. Henessey points to the box, engrossed:
7 14
INT SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER
INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER
INT. SAMANTHA'S HOSPITAL ROOM - TWO DAYS LATER Samantha, having survived. Laid up now in an austere hospital room. Listening to silence. Stares out the window at a sunlit tree. Head bandaged. Frowns: SAMANTHA
8 17
INT BOILER ROOM - DAY OR NIGHT, IMPOSSIBLE TO TELL
INT. BOILER ROOM - DAY OR NIGHT, IMPOSSIBLE TO TELL
INT. BOILER ROOM - DAY OR NIGHT, IMPOSSIBLE TO TELL Underground. Water GURGLES through overhead pipes. Furnaces hum and tick in the sweaty gloom. A SHIRTLESS MAN is tied to a chair. Weeping. Before him, what looks like a young GQ model. Blonde. Gorgeous.
9 19
INT SUPERMARKET - CHECKOUT STAND AFTERNOON
INT. SUPERMARKET - CHECKOUT STAND - AFTERNOON
INT. SUPERMARKET - CHECKOUT STAND - AFTERNOON A CARTON OF MARLBORO REDS hits the stack of groceries. HAL looks at his wife, bewildered. SAMANTHA They were on sale.
10 20
EXT SUBURBAN STREET DAY
EXT. SUBURBAN STREET - DAY
EXT. SUBURBAN STREET - DAY Samantha and daughter CAITLIN sing a hearty chorus of "Frere Jaques." Sam giggles , Caitlin looks nervous; astride her new two-wheeler BICYCLE while Sam finishes removing the training wheels. Caitlin points to her stuffed TEDDY BEAR.
11 22
INT SAMANTHA'S HOUSE - TWILIGHT
INT. SAMANTHA'S HOUSE - TWILIGHT
INT. SAMANTHA'S HOUSE - TWILIGHT CAITLIN huddles on the steps, itching at her brand new WRIST CAST. Eavesdropping on her parents. In the kitchen a counter- top TV is on, the Three Stooges. Samantha is on the phone, saying:
12 23
EXT THE FRONT PORCH - JUST OUTSIDE THE DOOR NIGHT
EXT. THE FRONT PORCH - JUST OUTSIDE THE DOOR - NIGHT
EXT. THE FRONT PORCH - JUST OUTSIDE THE DOOR - NIGHT THE CAROLERS continue their interesting rendition. Snowflakes fall. All is quiet. All is bright. Especially bright is the SHOTGUN BARREL pressed to the throat of the lead soprano. HE- Over and under combo. Shotgun on top. HE
13 24
INT KITCHEN SAME TIME
INT. KITCHEN - SAME TIME
INT. KITCHEN - SAME TIME She hits, spray of cat food. SKIDS. Across the linoleum, slams to a stop. Hard. Cupboard pops open, out comes the IRONING BOARD. Falls into place, SNAP--! A GUN BLAST disintegrates it. Reveals Sam, cowering behind.
14 27
INT HENESSEY'S PLYMOUTH - THE OPEN ROAD DAY
INT. HENESSEY'S PLYMOUTH - THE OPEN ROAD - DAY
INT. HENESSEY'S PLYMOUTH - THE OPEN ROAD - DAY Henessey sings with the radio. Loudly. He's got the lyrics wrong: "I'm not talking 'bout the linen... And I don't wanna change your life..." Samantha endures as much as she can. Speaks up:
15 29
INT STORAGE ROOM MOMENTS LATER
INT. STORAGE ROOM - MOMENTS LATER
INT. STORAGE ROOM - MOMENTS LATER Drab, musty. Filled with disused tables, lamps, farm implements... Jimmy Hoffa watches TV in the corner. HENESSEY See anything you recognize?
16 30
INT COLONIAL STYLE HOME - LATE AFTERNOON
INT. COLONIAL STYLE HOME - LATE AFTERNOON
INT. COLONIAL STYLE HOME - LATE AFTERNOON NATHAN WINDEMAN is in a bad mood. A frail-looking man, mid- seventies. Tiredly spooning a bowl of soup. His sister ALICE watches TV nearby. In her lap, a Pomeranian cleans itself. Windeman scowls:
17 33
EXT COUNTRY ROAD - DRIVING - LATE AFTERNOON
EXT. COUNTRY ROAD - DRIVING - LATE AFTERNOON
EXT. COUNTRY ROAD - DRIVING - LATE AFTERNOON Samantha JERKS, comes awake in the passenger seat of Henessey's Plymouth. Bad dream. Looks over to see if he noticed -- he's honking his horn at a TRAFFIC JAM. Sea of taillights, dead ahead.
18 34
INT CAR SAME TIME
INT. CAR - SAME TIME
INT. CAR - SAME TIME Henessey swears. Swings wide, when suddenly a HAND clutches his arm. He looks over and suppresses a shiver -- Samantha's eyes have gone dead and cold. She lights a cigarette, shakes out the match and says:
19 36
EXT THE WHITE HOUSE - ESTABLISHING NIGHT
EXT. THE WHITE HOUSE - ESTABLISHING - NIGHT
EXT. THE WHITE HOUSE - ESTABLISHING - NIGHT Yes, it certainly is. CUT TO: INT. SITUATION BRIEFING ROOM - SAME TIME Three stories below the White House proper. THE PRESIDENT is seated in his robe and slippers. Before him sits a panel of
20 38
INT ROADSIDE GAS STATION - NIGHTTIME
INT. ROADSIDE GAS STATION - NIGHTTIME
INT. ROADSIDE GAS STATION - NIGHTTIME Henessey is on the phone to his ex-wife. Glowering. HENESSEY Aw, cut me a break, Fran. I been out eight months, I'm back doing
21 40
INT SALT & PEPPER LOUNGE DAY
INT. SALT & PEPPER LOUNGE - DAY
INT. SALT & PEPPER LOUNGE - DAY Honky-tonk. SAMANTHA and HENESSEY enter, blinking in the dimness. Around them, drunk mid-day cowboys. Stringy-haired girls in their ample laps. SAMANTHA consults her watch: SAMANTHA
22 43
EXT SALT & PEPPER LOUNGE SAME TIME
EXT. SALT & PEPPER LOUNGE - SAME TIME
EXT. SALT & PEPPER LOUNGE - SAME TIME They emerge into the chill air. Breath pluming from their mouths. Samantha surveys the parking lot. Grabs Henessey, points -- A LATE-MODEL CAR pulls into the gravel lot. Stops.
23 46
INT NATHAN'S CAR - DRIVING
INT. NATHAN'S CAR - DRIVING
INT. NATHAN'S CAR - DRIVING Scenery whips past. In the backseat, Henessey is trembling; Samantha comatose. Nathan snaps his fingers sharply: NATHAN Charlene, darling --
24 49
EXT ROADSIDE - LATE AFTERNOON
EXT. ROADSIDE - LATE AFTERNOON
EXT. ROADSIDE - LATE AFTERNOON Nathan has pulled over in a grove of pine trees. The car is covered with branches. He watches through a gap as two police cars go by on the distant highway. NATHAN
25 50
EXT HOUSE IN THE COUNTRY DAY
EXT. HOUSE IN THE COUNTRY - DAY
EXT. HOUSE IN THE COUNTRY - DAY The house is actually an old converted MILL. Beyond it, frozen landscape stretches to the lakeshore. In the BARNYARD, a scruffy looking COWBOY TYPE is splitting logs on a tree stump. Drops the axe. Scoops up an armload of
26 53
EXT SHADED PORCH - MID AFTERNOON
EXT. SHADED PORCH - MID-AFTERNOON
EXT. SHADED PORCH - MID-AFTERNOON Beside the lakeshore LUKE AND SAMANTHA walk side by side. RACK FOCUS to the porch: NATHAN is laid out on a chaise lounge. Henessey beside him, applying cold compresses. The older man stirs, coming awake... Tries to sit up, Henessey
27 56
EXT STREET - BELFAST NIGHT
EXT. STREET - BELFAST - NIGHT
EXT. STREET - BELFAST - NIGHT The boy's name is GREGORY. Sixteen, with a quick, easy grin. Huddled beneath a tree with him, the girl is gelatin. GREGORY
28 58
INT BASEMENT OF OLD MILL NIGHT
INT. BASEMENT OF OLD MILL - NIGHT
INT. BASEMENT OF OLD MILL - NIGHT Waking is slow. Samantha opens her eyes. Blinks. Hazy, out of focus. Tries to rub her eyes, can't. Hands. Something's wrong, what the hell'd she do with her hands...? Ah. They're stretched over
29 63
INT BASEMENT OF OLD MILL - THE PRESENT
INT. BASEMENT OF OLD MILL - THE PRESENT
INT. BASEMENT OF OLD MILL - THE PRESENT Here. Now. She breaks the surface. Gasping for breath. SHRIEKS, a sound ripped from her by the PAIN, the COLD -- By her ruptured sanity. She hangs there. Drenched. Half frozen.
30 65
INT VICTORIAN BUILDING - CHAPTER HQ - NIGHTTIME
INT. VICTORIAN BUILDING - CHAPTER HQ - NIGHTTIME
INT. VICTORIAN BUILDING - CHAPTER HQ - NIGHTTIME The door bursts open as PERKINS stalks in, shedding his coat. His aide -- let's call him HARRY -- looks up nervously. PERKINS
31 68
INT HOTEL SUITE - ATLANTIC CITY NIGHT
INT. HOTEL SUITE - ATLANTIC CITY - NIGHT
INT. HOTEL SUITE - ATLANTIC CITY - NIGHT Waking is slow for Mitch Henessey. He swallows dryly. Eyes creak open, struggle to focus... Hears WATER running. A shower. Squints at his watch. He's not wearing a watch, he knew that... In BED, naked. Chest swathed in bandages, what
32 69
INT CASINO BAR EVENING
INT. CASINO BAR - EVENING
INT. CASINO BAR - EVENING Henessey watches, fascinated. All the little mannerisms, the differences. Shaking out a match, running a hand through her hair... And never missing a thing, eyes constantly roving, scanning. Guard never down. She plucks a drink from a nearby
33 72
EXT ATLANTIC CITY BOARDWALK - NIGHTTIME
EXT. ATLANTIC CITY BOARDWALK - NIGHTTIME
EXT. ATLANTIC CITY BOARDWALK - NIGHTTIME CARNIVAL RIDES, dead for the winter. Henessey and Charly stroll beneath them. He smokes. She eats Chinese. CHARLY Ugh. God I'm full, I'm gonna have a
34 73
INT HOTEL SUITE - BEDROOM - NIGHTTIME
INT. HOTEL SUITE - BEDROOM - NIGHTTIME
INT. HOTEL SUITE - BEDROOM - NIGHTTIME They enter the suite. She drops her purse, sways toward him. Presses him against the wall, framed there in the doorway. CHARLY This is my first date in eight
35 75
EXT CITY STREET - NIGHTTIME
EXT. CITY STREET - NIGHTTIME
EXT. CITY STREET - NIGHTTIME Charly stalks the city streets. A quartet sings, "God Rest Ye Merry," ostensibly about joy, oddly the most depressing tune ever written. On a crowded street, she is alone. Total misfit. Searches her own haggard features in a shop window.
36 77
EXT ATLANTIC CITY STREET - NIGHTTIME
EXT. ATLANTIC CITY STREET - NIGHTTIME
EXT. ATLANTIC CITY STREET - NIGHTTIME A BRONCO ROARS UP out of a parking garage. Swerves and plunges into the maze of streets that inspired the world's most popular board game. INT. BRONCO - SAME
37 79
EXT COUNTRYSIDE NIGHT
EXT. COUNTRYSIDE - NIGHT
EXT. COUNTRYSIDE - NIGHT The BRONCO races on into the night... INT. BRONCO - SAME TIME Late, very late now. Henessey, driving. Beside him, Charly
38 82
INT GOVERNMENT ISSUE SEDAN - DRIVING SAME TIME
INT. GOVERNMENT ISSUE SEDAN - DRIVING - SAME TIME
INT. GOVERNMENT ISSUE SEDAN - DRIVING - SAME TIME Three GOVERNMENT AGENTS. Faces drawn, haggard. Pit-stained shirts, day old sandwiches. Carrying photographs of Charly and Henessey. Agent #1 sighs, examining her figure. AGENT #1
39 84
INT ST. PAUL'S SAME TIME
INT. ST. PAUL'S - SAME TIME
INT. ST. PAUL'S - SAME TIME Switch scenery: the Christmas Pageant, CAITLIN and fellow angels traipse into the church vestibule... Caitlin looks up just in time to see TIMOTHY apply the chloroform. Two seconds, she's out like a light. Next case. Up and
40 85
EXT HIGHWAY - DRIVING - DAYTIME
EXT. HIGHWAY - DRIVING - DAYTIME
EXT. HIGHWAY - DRIVING - DAYTIME Henessey and Charly, driving a new vehicle: late model Cadillac. Charly driver. Henessey rifles the glove compartment. CHARLY
41 89
INT ROADSIDE RESTAURANT - NEW YORK STATE - TWILIGHT
INT. ROADSIDE RESTAURANT - NEW YORK STATE - TWILIGHT
INT. ROADSIDE RESTAURANT - NEW YORK STATE - TWILIGHT Charly and Henessey, eating at HARDEE'S. Seated across from each other at an orange plastic table, scarfing Christmas burgers. Outside, a billboard reads: WELCOME TO SANTA CLAUS! *Where it's Christmas all year long*!
42 90
EXT MOUNTAIN ROAD - NIGHTTIME
EXT. MOUNTAIN ROAD - NIGHTTIME
EXT. MOUNTAIN ROAD - NIGHTTIME Full dark now, the fun begins... A TANKER TRUCK rumbles up the mountain road. Pulls up before the Deer Lick Motel. MEN IN SUITS wield flashlights, motioning the truck forward into a cavernous GARAGE. Inside, men in BLUE JUMPSUITS operate
43 93
EXT MOTEL GROUNDS SAME TIME
EXT. MOTEL GROUNDS - SAME TIME
EXT. MOTEL GROUNDS - SAME TIME A gray-suited SENTRY. Poised on a wooded slope. He puts a walkie-talkie to his lips and says: SENTRY All clear.
44 95
INT MOTEL - 2ND FLOOR - NIGHTTIME
INT. MOTEL - 2ND FLOOR - NIGHTTIME
INT. MOTEL - 2ND FLOOR - NIGHTTIME A MATCH FLARES as it descends into the bowl of a pipe... MR. PERKINS puffs mightily. Turns and favors CHARLY and HENESSEY with a thoughtful gaze, they're handcuffed to radiator... TIMOTHY straddles a nearby chair. Smiles and says:
45 96
EXT MOTEL GROUNDS - NIGHTTIME
EXT. MOTEL GROUNDS - NIGHTTIME
EXT. MOTEL GROUNDS - NIGHTTIME On the move. Our two heroes, shepherded across the compound. Timothy's casualness is belied by the presence of two dyspeptic GUARDS, each keeping a safe distance.
46 99
INT CELLAR SAME TIME
INT. CELLAR - SAME TIME
INT. CELLAR - SAME TIME The same CELLAR she occupied earlier. Timothy behind her, he wrinkles his nose in distaste. TIMOTHY Shit, this place is loaded with
47 101
INT UPSTAIRS INTERROGATION ROOM SAME TIME
INT. UPSTAIRS INTERROGATION ROOM - SAME TIME
INT. UPSTAIRS INTERROGATION ROOM - SAME TIME Henessey, by the window. Tied to a chair. Timothy paces before him, carrying three razor-keen SCALPELS. Pegs one into the wall with deadly accuracy. TIMOTHY
48 102
INT CELLAR MEAT LOCKER SAME TIME
INT. CELLAR MEAT LOCKER - SAME TIME
INT. CELLAR MEAT LOCKER - SAME TIME CHARLY, sweating at sub zero. Brushes hair from her eyes. Blinks. Still jabbing with the knife, *why the hell is she digging*? Gonna crawl under the damn door? She's gone loopy. Lying flat, she appraises her work --
49 104
INT SECOND STORY INTERROGATION ROOM SAME TIME
INT. SECOND STORY INTERROGATION ROOM - SAME TIME
INT. SECOND STORY INTERROGATION ROOM - SAME TIME Henessey, straining against his bonds. Sweating. TIMOTHY Charly's stash. What's the number of the locker, Mitch...?
50 107
EXT CLIFFSIDE - HIGH ABOVE MOTEL SAME TIME
EXT. CLIFFSIDE - HIGH ABOVE MOTEL - SAME TIME
EXT. CLIFFSIDE - HIGH ABOVE MOTEL - SAME TIME CHARLY slews to a stop in the red Jag. Leaps out. Darts along the cliff, throws herself flat. Peering down at the grounds, sniper rifle positioned -- Babysitting the tanker. HEARS HENESSEY... Calling to her on the radio.
51 110
INT CHOPPER SAME TIME
INT. CHOPPER - SAME TIME
INT. CHOPPER - SAME TIME MARKSMAN, riding shotgun. Scans the cliff below: Thick evergreens. Charly, somewhere among them. He sights down his rifle, takes careful aim -- BLOWS OUT TIRES on the Jaguar. Cripples it. The chopper BANKS, heading away.
52 112
EXT CLIFF'S EDGE - WITH CHARLY
EXT. CLIFF'S EDGE - WITH CHARLY
EXT. CLIFF'S EDGE - WITH CHARLY She won't quit. Busy now, deftly sticking the wad of C-4 EXPLOSIVE to the bottom of the Jaguar. Straightens. Turns around -- Stands dead calm as they all come out of the TREES, guns
53 113
EXT MAIN STREET - TOWN OF SANTA CLAUS - CHRISTMAS EVE
EXT. MAIN STREET - TOWN OF SANTA CLAUS - CHRISTMAS EVE
EXT. MAIN STREET - TOWN OF SANTA CLAUS - CHRISTMAS EVE Milling crowds. Music and laughter. SANTA heads up a TEEMING PARADE down Main Street, atop a horse-drawn sleigh... Replay of the film's opening, as EXT. STREET - SAME TIME
54 116
INT CAB OF TANKER TRUCK SAME TIME
INT. CAB OF TANKER TRUCK - SAME TIME
INT. CAB OF TANKER TRUCK - SAME TIME The door files open and the DRIVER sees CHARLY. Bloody. Demonic. Wisely leaps out, BOUNCES from view -- Charly snags his hat as he goes by, plops it on her head. SWINGS UP into the drivers' seat, double-clutches -- pours on the steam.
55 118
INT CHAPEL - WITH CHARLY
INT. CHAPEL - WITH CHARLY
INT. CHAPEL - WITH CHARLY Charly, semi-conscious. Rolls onto her back, gasping. Stares at the gathered saints. Swallows hard. Sucking it up, preparing. Rolls to one knee, plants her foot... She's got to make that truck.
56 120
EXT SEMINARY - NIGHTTIME
EXT. SEMINARY - NIGHTTIME
EXT. SEMINARY - NIGHTTIME The doors burst open and here she comes. Trauma, severe. Shock, blood loss -- She makes for the tanker. For her kid. Hitches. Staggers. Going on sheer guts. THE HELICOPTER ROARS OVERHEAD
57 122
EXT SEMINARY SAME TIME
EXT. SEMINARY - SAME TIME
EXT. SEMINARY - SAME TIME The side door BURSTS OUTWARD and a limping figure emerges, frantically signaling for the chopper: TIMOTHY'S got murder in his eye. THE CHOPPER banks, coming in low as he hauls himself aboard.
58 124
INT HELICOPTER SAME TIME
INT. HELICOPTER - SAME TIME
INT. HELICOPTER - SAME TIME *Distraction*, just enough: The pilot banks toward the CAR. TIMOTHY Where are *you* going?? Timothy grabs the stick -- THAT'S WHEN CHARLY BREAKS COVER.
59 128
EXT PALATIAL GEORGETOWN ESTATE - EARLY MORNING
EXT. PALATIAL GEORGETOWN ESTATE - EARLY MORNING
EXT. PALATIAL GEORGETOWN ESTATE - EARLY MORNING MR. PERKINS emerges from a guest cottage, flanked by his aide Harry. AIDE ...They'll push for dismantlement
60 129
EXT GEORGETOWN AVENUE - DAYTIME
EXT. GEORGETOWN AVENUE - DAYTIME
EXT. GEORGETOWN AVENUE - DAYTIME Henessey's CHRYSLER CONVERTIBLE has been restored to a cherry red. It purrs along the boulevard, Charly at the wheel. Hair blowing. She talks on the cellular phone: CHARLY

The long kiss goodnight

When a small-town schoolteacher with amnesia discovers she was once a lethal government assassin, she must reunite with a cynical private detective to rescue her kidnapped daughter and unravel a government conspiracy — before a terrorist plot destroys an American town.

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Overview

Poster
Unique Selling Point

The script's unique selling proposition is its brilliant fusion of the amnesia thriller with the female action hero archetype, creating a compelling exploration of identity versus conditioning. Unlike typical action films, it presents a protagonist who literally contains two distinct personalities - the suburban mother Samantha and the lethal assassin Charly - allowing for sophisticated themes about nature versus nurture, the construction of identity, and what makes us who we are. This psychological depth, combined with Shane Black's signature witty dialogue and expertly staged action sequences, creates a genre hybrid that appeals to both action fans and those seeking character-driven drama.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Grok
 Highly Recommend
Gemini
 Highly Recommend
Claude
 Recommend
DeepSeek
 Recommend
Average Score: 8.8
Key Takeaways
For the Writer:
To elevate the script's craft, focus on refining the antagonist motivations to make them more nuanced and personally driven, reducing reliance on plot conveniences like improbable escapes and coincidences. Additionally, ensure emotional digestion after major action sequences by adding brief, reflective moments for characters to process events, enhancing audience connection and thematic depth. This will strengthen the narrative's coherence and make the story more resonant beyond its high-octane spectacle.
For Executives:
The script has strong commercial potential as a high-concept action-thriller with witty dialogue and emotional stakes, likely attracting talent and audiences familiar with Shane Black's style, but risks include tonal whiplash from humor to violence and underdeveloped villain arcs that could alienate viewers or feel clichéd in a saturated genre. Market perception may view it as derivative if not polished, potentially limiting box office appeal without addressing these issues.
Story Facts
Genres:
Action 40% Crime 10% Drama 30% Thriller 35% Comedy 20%

Setting: Contemporary, present day, Various locations including Upper Sandusky, Ohio; Akron, Ohio; Atlantic City, New Jersey; and a fictional town named Santa Claus.

Themes: Duality of Identity and Amnesia, Maternal Protection and Sacrifice, Violence and its Consequences, Conspiracy and Hidden Agendas, Redemption and Second Chances, Loss of Innocence, Fate vs. Free Will

Conflict & Stakes: Charly's struggle to protect her daughter Caitlin from Timothy's terrorist plot while confronting her violent past and identity crisis.

Mood: Intense and suspenseful with moments of dark humor.

Standout Features:

  • Unique Hook: A mother with a violent past must confront her identity while trying to save her daughter from a terrorist plot.
  • Plot Twist: The revelation that Timothy is Caitlin's father adds a personal stake to the conflict.
  • Distinctive Setting: The juxtaposition of idyllic suburban life with intense action and violence creates a striking contrast.
  • Genre Blend: Combines elements of action, thriller, and dark comedy, appealing to diverse audience tastes.

Comparable Scripts: The Bourne Identity, Kill Bill, The Long Kiss Goodnight, The Spy Who Came in from the Cold, The Girl with the Dragon Tattoo, Nikita, The Americans, Salt, The Equalizer

🎯 Your Top Priorities

Our stats model looked at how your scores work together and ranked the changes most likely to move your overall rating next draft. Ordered by the most reliable gains first.

You have more than one meaningful lever.

Improving Theme (Script Level) and Conflict (Script Level) will have the biggest impact on your overall score next draft.

1. Theme (Script Level)
Big Impact Script Level
Your current Theme (Script Level) score: 8.0
Expected gain: ~9% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.45 in Theme (Script Level)
Confidence: High (based on ~3,490 similar revisions)
  • This is your top opportunity right now. Focusing your rewrite energy here gives you the best realistic shot at raising the overall rating.
  • What writers at your level usually do: Writers at a similar level usually raise Theme (Script Level) by about +0.45 in one rewrite.
2. Conflict (Script Level)
Big Impact Script Level
Your current Conflict (Script Level) score: 7.6
Expected gain: ~7% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.65 in Conflict (Script Level)
Confidence: High (based on ~2,057 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Conflict (Script Level) by about +0.65 in one rewrite.
3. Originality (Script Level)
Light Impact Script Level
Your current Originality (Script Level) score: 7.9
Expected gain: ~2% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.57 in Originality (Script Level)
Confidence: High (based on ~2,553 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Originality (Script Level) by about +0.57 in one rewrite.

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: 7.90
Key Suggestions:
To improve the script, focus on deepening the development of supporting characters like Hal and Timothy by adding more backstory and emotional layers, which will enhance audience investment and make conflicts more impactful. Streamline expository scenes to improve pacing and clarity, ensuring that character motivations and plot twists are clearly conveyed without overwhelming the narrative, drawing on the script's strong core arcs for Samantha/Charly to build a more cohesive and emotionally resonant story.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
To enhance 'The Long Kiss Goodnight,' concentrate on refining the pacing for a more consistent flow, simplifying the amnesia plot to avoid confusion, and deepening character backstories to strengthen emotional connections. Incorporating foreshadowing and balancing action with reflective moments will create a more cohesive narrative, amplifying the script's tension and character-driven drama, ultimately making it more engaging and resonant.
Characters

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

Key Suggestions:
The character analysis reveals strong potential in the script's emotional depth and thematic exploration of identity and redemption, but inconsistencies in character behavior, particularly in scenes like the bike riding incident, undermine believability and audience empathy. To enhance the script, focus on refining character arcs to ensure actions align with core motivations, such as deepening Samantha/Charly's maternal instincts and addressing Henessey's emotional vulnerabilities, to create more cohesive and relatable portrayals that strengthen the overall narrative tension and emotional resonance.
Emotional Analysis

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

Key Suggestions:
To elevate the script's emotional depth and engagement, focus on achieving a more balanced emotional variety by integrating moments of dark humor, reflection, and nuanced character interactions throughout the high-tension sequences. This will prevent audience fatigue, enhance empathy for characters like Charly and Henessey, and create a more rhythmic flow, making the story more compelling and resonant from a craft perspective.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The analysis reveals that Charly's internal and external goals are well-integrated, driving a strong character arc, but to elevate the script's craft, focus on distributing the resolution of philosophical conflicts more evenly across the narrative. With resolutions occurring late (80-90%), earlier scenes could benefit from subtler explorations of themes like survival versus morality to build emotional depth and avoid a rushed climax, making Charly's transformation from victim to empowered protector more nuanced and engaging for audiences.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script's thematic focus on identity duality and amnesia is compelling, but to elevate the craft, emphasize more nuanced emotional arcs for Charly, such as introspective moments that explore her internal conflict beyond action scenes. This would deepen character development, make the maternal protection theme more resonant, and avoid over-reliance on violence, leading to a richer narrative that balances thriller elements with psychological depth for greater audience engagement.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script's core issues lie in underdeveloped character arcs and plot coherence, particularly with Samantha/Charly's abrupt transformation, which undermines emotional depth and audience investment. To improve, focus on gradual character development through layered flashbacks and subtle hints, while clarifying timelines and plot mechanics to create a more immersive and believable narrative. Streamlining redundant backstory elements and ensuring dialogue feels authentic will enhance pacing and overall craft, making the story more compelling and true to genre conventions.

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.

Key Suggestions:
The script's voice effectively blends dark humor with intense action and emotional depth, but to elevate it, focus on refining the pacing of tonal shifts to avoid jarring transitions, ensuring that introspective moments are given equal weight to high-stakes sequences. This will enhance character relatability and deepen audience investment, making the moral ambiguities more impactful and the narrative more cohesive from a craft perspective.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay's strengths lie in its sharp dialogue and tense action sequences, but to enhance its craft, focus on adding deeper subtext to conversations, fleshing out character backstories for more nuanced arcs, tightening pacing to avoid drag in slower scenes, and integrating themes like moral dilemmas more thoroughly to amplify emotional resonance and create a more compelling narrative overall.
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.

Key Suggestions:
The script's world building masterfully contrasts everyday suburban life with high-stakes espionage, creating tension and depth, but to enhance creative craft, focus on integrating cultural and societal elements more seamlessly into character arcs. This would make transitions between normalcy and chaos feel less abrupt, allowing for richer emotional resonance and avoiding potential clichés in the amnesia-driven plot, ultimately strengthening the narrative's pacing and audience engagement.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script excels in building tension and suspense, particularly through intense and suspenseful tones, but this strength may come at the cost of underdeveloped character arcs and repetitive pacing. To enhance the narrative, focus on incorporating a wider variety of tones, such as more reflective or lighter moments, to allow characters to evolve deeply and avoid predictability, ultimately making the story more emotionally engaging and balanced from a craft perspective.
Loglines
Presents logline variations based on theme, genre, and hook.