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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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INT. SUMMER COTTAGE -- DAY A young family together in bed. It is a bright summer morning. Father, mother, and a three year old girl are still asleep. They are naked. A light breeze drifts into the room. The scene is serene and softly suspended.
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INT. CAR WASH. -- NIGHT MITCHELL in his car, playing with the volume on his radio. MITCHELL I'm in a car wash. CUT TO
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INT. PHONE BOOTH -- NIGHT ZOE Are you wondering if I scored, Daddy, and I'm calling you for money? That I'm begging? God, I
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INT. CAR WASH. -- NIGHT TIME CUT back to MITCHELL honking the horn of his car, trying to get someone's attention. No response. MITCHELL picks up his cell phone, and dials the operator. MITCHELL
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EXT. BIDE-A-WILE MOTEL -- DUSK MITCHELL STEPHEN'S car pulls into the parking lot of this run-down roadside motel. In the fading light, a magnificent mountain range is seen in the background. CUT TO
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EXT. FAIRGROUND -- DAY A group of men are setting up the ferris wheel for the country fair. SAM and NICOLE walk into the shot, eating ice cream cones. SAM waves at someone he recognizes in the distance.
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EXT. BIDE-A-WILE MOTEL -- DUSK MITCHELL speaks into his cellular phone. MITCHELL Zoe...Zoe, where are you? CUT TO
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EXT. ROADSIDE -- MORNING WANDA and HARTLEY OTTO are waiting for the school bus with their adopted son BEAR. The bus arrives, and the door opens to reveal DOLORES DRISCOLL, who is driving.
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INT. DOLORES'S HOUSE -- DAY DOLORES and MITCHELL are in the modest livingroom of DOLORES'S house. The conversation continues from the previous voice over. In the corner of the room sits ABBOTT, DOLORES'S husband.
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EXT. SCHOOL BUS -- MORNING The camera is outside the bus, looking at BEAR as he finishes waving to his parents. ANGLE ON BEAR'S P.O.V. of WANDA and HARTLEY disappearing as the bus
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EXT. BILLY'S PICK-UP -- MORNING Through the windshield, the camera fixes on BILLY'S face as he stares at his children. ANGLE ON Inside the cab of his pick up, BILLY dials a number on his
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EXT. ROAD. -- MORNING HELICOPTER AERIAL SHOT The bus and the pick-up are travelling through a beautiful mountain pass. CUT TO
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INT. AIRPLANE. FIRST CLASS CABIN -- DAY In the mirror of the tiny washroom of the plane, MITCHELL washes some water on his face. He stares at his reflection in the mirror. CUT TO
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EXT. THE OTTOS HOUSE. -- DAY MITCHELL leaves the house and moves to his car. He gets inside and closes the door. Once inside, MITCHELL opens his briefcase and takes out an agreement for the OTTOS. Something inside the briefcase
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EXT. BILLY'S HOUSE. -- LATE DAY BILLY is chasing his kids around the yard of their house. NICOLE appears, and watching BILLY play with JESSICA and MASON. BILLY notices her, and runs up breathlessly, BILLY
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INT. BILLY'S HOUSE. -- EVENING JESSICA and MASON, BILLY'S children, are being read to sleep by NICOLE. She reads from Robert Browning's THE PIED PIPER OF HAMELIN. NICOLE
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INT. BIDE-A-WILE MOTEL -- EVENING Room 11 at the Bide-A-Wile. RISA is naked, sitting cross- legged on the bed. BILLY has just gotten into the shower. RISA stares at BILLY through the semi-transparent curtain. RISA stands up and walks to the window. She looks across
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INT. BILLY'S HOUSE. -- EVENING NICOLE shows BILLY the clothes she has chosen. BILLY stares at the selection. NICOLE Are you sure?
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INT. SAM'S CAR. -- DUSK NICOLE gets into the car beside her father. SAM What took so long? NICOLE
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INT. BUS -- DAY CLOSE-UP of NICOLE in the bus as it makes it's way to school. She seems to be listening to her own voice as it reads from the poem. NICOLE
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EXT. BIDE-A-WILE MOTEL -- MORNING DOLORES opens the door for SEAN. RISA is wearing a down parka over her nightgown and bathrobe and is wearing slippers. RISA
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INT. SUMMER COTTAGE -- MORNING The camera is high above the bed, looking down on a sleeping family. This is the same image as from the beginning of the film. A FATHER, a MOTHER, and a THREE YEAR OLD GIRL, naked in bed.
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INT. SUMMER COTTAGE -- MORNING FATHER (YOUNG MITCHELL) is on the phone. The camera is behind his head. In front of him, MOTHER (KLARA) is breast-feeding the THREE YEAR OLD GIRL (ZOE).
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INT. CAR -- MORNING A little girl staring innocently into the lens as a male voice sings a lullaby to her. It is now recognized as MITCHELL'S voice, singing to his daughter as she is driven to the hospital.
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EXT. GAS STATION -- NIGHT MITCHELL is videotaping the bus with a portable camcorder. The bus is badly damaged, though essentially intact. Most of the windows in the rear have gone. There is a ghostly quality to this image, as though the video light is
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INT. DOLORES'S HOUSE -- DAY MITCHELL is getting ready to leave. DOLORES is still grasping onto ABBOTT'S hand. DOLORES I have a question for you, Mr.
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EXT. DOLORES'S HOUSE -- DAY MITCHELL leaves the DRISCOLL house, watched by DOLORES. INT. HOSPITAL -- MORNING NICOLE BURNELL is in bed. A doctor, DR. ROBESON, is touching her forehead. NICOLE'S family (SAM, her mother
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EXT. BURNELL HOME -- DAY NICOLE arrives at home. The car pulls up in front of the modest house. SAM opens the door and puts the wheelchair up next to it. He points out the ramp he has built for NICOLE.
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EXT. BURNELL HOME. PORCH -- DAY NICOLE wheels her chair to the exterior porch, where she watches her sister climb a tree. SAM follows her outside. SAM It's because of the accident,
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EXT. GAS STATION -- NIGHT FLASHBACK to the scene outside the gas station between MITCHELL and BILLY. The cell phone in MITCHELL'S car has begun to ring. The two men stare at each other.
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INT. CAR -- DAY Image of ZOE as a little girl in MITCHELL'S lap. Her face is swollen. She is being driven to the hospital. MITCHELL is singing her a lullaby. MiTCHELL's conversation with ZOE continues over this image.
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INT. AIRPLANE. FIRST CLASS CABIN -- NIGHT MITCHELL is still staring at the sleeping figure of ALISON. ALISON'S blanket has fallen to the side. MITCHELL lifts the blanket, and covers the sleeping figure of the young woman.
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INT. BURNELL HOME. LIVINGROOM. -- DAY TIME CUT fifteen minutes forward. The scene shifts to the livingroom. MITCHELL and NICOLE are alone in the room. SAM comes back from another room, as MARY appears from the kitchen with a
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EXT. BIDE-A-WILE MOTEL -- MORNING REPLAY of the scene of SEAN WALKER entering the bus. He turns around to face his mother. SEAN I want to stay with you.
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INT. SCHOOL BUS -- MORNING SEAN leaps to the front of the bus. SEAN Mommy! MITCHELL
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INT. BURNELL HOME -- NIGHT SAM and JENNY are watching television. Lumberjack log- rolling. NICOLE, in her wheelchair, is reading a book off to one corner. MARY comes into the room.
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EXT. BURNELL HOME -- NIGHT BILLY pulls up to the BURNELL home. He gets out of his pick up and approaches the house. CUT TO INT. BURNELL HOME -- NIGHT
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EXT. BURNELL HOME -- NIGHT BILLY walks to his car. SAM and MARY watch him from the porch/ramp. SAM (calling out)
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INT. CAR -- DAY SAM and NICOLE are driving to town. They don't exchange a word. CUT TO EXT. COMMUNITY CENTRE. -- DAY
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EXT. COMMUNITY CENTRE -- DAY NICOLE is in the car in front of the community centre. She stares at SAM as he argues with MITCHELL on the steps. NICOLE (voice over)
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INT. AIRPORT. -- MORNING MITCHELL is at the baggage section of the arrival area, waiting for his luggage. He watches PETER, the man he met in the washroom changing his daughter, playing with the little girl.
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EXT. AIRPORT. -- MORNING At the airport, in the arrivals bay, MITCHELL waits for his limousine. Across the road, a hotel minibus is parked. The driver is DOLORES. The camera settles on her face as she stares at

The Sweet Hereafter

After a tragic school bus accident devastates a small town, a lawyer arrives to help the grieving families find justice, but soon uncovers secrets that will forever change their lives.

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Overview

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Unique Selling Point

Discover a powerful and poignant exploration of family, community, and the human condition in this groundbreaking script. Featuring a unique blend of intimate character moments and stark urban imagery, the narrative weaves together the stories of individuals grappling with loss, addiction, and the search for justice. The dialogue is sparse yet impactful, conveying emotion and atmosphere through subtle interactions. With its innovative storytelling techniques and distinctive characters, this script offers a fresh perspective on legal drama, family dynamics, and moral ambiguity. Dive into a world where the mundane and the extraordinary collide, shedding light on the complexities of the human spirit and the power of connection.

AI Verdict & Suggestions

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

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Gemini
 Recommend
Story Facts

Genres: Drama, Mystery, Family, Thriller, Legal, Romance, Slice of Life

Setting: Contemporary, Summer cottage, car wash, city phone booth, fairground, airport, motel

Themes: Loss and Grief, Parent-Child Relationships, Justice and Lawsuits, Community and Neighborhood, Memory and Nostalgia

Conflict & Stakes: The main conflicts include Mitchell's struggle with Zoe's addiction, Billy's grief over the loss of his children, and Nicole's guilt and memory loss from the accident. The stakes involve family relationships, legal battles, and emotional healing.

Mood: Serious and emotional

Standout Features:

  • Emotional Depth: Rich emotional exploration of family dynamics and personal struggles
  • Legal Intrigue: Intriguing legal battles and moral dilemmas adding depth to the storyline
  • Character Development: Strong character arcs and relationships that drive the narrative

Comparable Scripts: The Verdict (1982 film), A Time to Kill (1996 film), Rain Man (1988 film), The Fault in Our Stars (2014 film), Dead Poets Society (1989 film), The Pursuit of Happyness (2006 film)

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

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Scene-Level Percentile Chart
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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.