A retired hitman seeks revenge for the death of his dog and faces off against a powerful underworld figure's son.
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Setting: Not provided in the provided context, Not provided in the provided context
Themes: Grief and Loss, Revenge, Redemption, Violence and Death, Friendship and Loyalty
Conflict & Stakes: Primary conflicts and stakes are not provided in the provided context
Mood: Not provided in the provided context
Comparable Scripts: Taken, The Equalizer, John Rambo
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.
Breaks down your script along various categories.
Breaks down the emotional journey of the audience across the script.
All of your scenes analyzed individually and compared, so you can zero in on what to improve.
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.
High-level overview
The movie follows the story of John Wick, a retired hitman dealing with the recent loss of his wife. When his dog is killed in a robbery, he seeks revenge against those responsible, which includes the son of a powerful underworld figure. With a bounty on his head, John must fight for survival against a slew of assassins while trying to bring down his target. After successfully completing his mission, John seeks redemption by rescuing a dog and driving off into the distance.
Scene by Scene Summaries
Act-by-act sequence summaries
John Wick wakes in a dilapidated farmhouse, goes through a numb morning routine, receives a call, and breaks down. He visits his comatose wife at the hospital, gives permission to turn off life support, and says goodbye. Returning home, he destroys photos in rage and contemplates suicide, but is interrupted by a delivery: a puppy from Norma. Reading her final letter, he accepts the gift and names the dog Moose. A three-year time jump shows his homestead restored.
Three years later, John enjoys a happy daily routine with Moose, including fixing his Mustang, driving fast, lunch at the park, and a gas station encounter where Iosef Tarasov tries to buy the Mustang and is rebuffed. That night, John wakes to Moose growling; she runs outside and is killed by intruders. John is knocked out and wakes to find Moose dead in his arms. He buries her and transforms his appearance into something dangerous.
John, now emotionally cold and determined, stares at photos of Norma and Moose, then transforms into a focused killer. He takes a bus to the city and goes to Aurelio's chop shop. Meanwhile, Iosef joyrides in John's stolen Mustang to the same shop for a paint job. Aurelio recognizes the car, finds John's name, and punches Iosef when he boasts about the dog. The crew leaves; John crosses the street toward the shop.
John visits Aurelio to learn about his car, discovers it was taken by Takeshi's crew, then attacks their garage, kills the crew, retrieves the Mustang, and escapes a police chase. He interrogates a surviving driver and learns that Iosef Tarasov's father owns The Red Circle club.
Viggo learns from Aurelio that Iosef stole John's car and killed his dog. He then confronts Iosef, brutally beating him and explaining John's legendary military and hitman background, making Iosef realize the gravity of his actions.
John arms himself in his basement, then kills four masked intruders. He deals with a police officer who covers for him, wraps the bodies, pays Charlie for disposal, and cleans his home. Meanwhile, Viggo puts a $2 million bounty on John and calls Marcus for help.
Marcus agrees to help Viggo. John travels by train to the Continental, using gold coins to bypass security. He checks in, assembles an arsenal, then goes to The Red Circle club. He bribes his way in, bypasses security, and follows Viktor into the bathroom, where he kills the bodyguards.
John kills Viktor's bodyguards, interrogates Viktor, learns Iosef is with Viggo, and then calls Iosef to threaten him with biblical vengeance before retreating to the Continental for medical treatment.
John pays the doctor, stores his ceramic blade in the speakeasy locker, then enjoys a drink and Norma's song while Perkins photographs him for unknown adversaries.
Five masked men attack John in his room, but he kills four and captures David, who reveals that Viggo uses a small bank in Little Russia. John knocks David out and hires Harry to guard him.
John meets Marcus on a bridge, receives moral support, then arranges a meeting with Viggo at a diner. The negotiation fails, John shoots through the limo, and escapes into the subway.
John kills Kirill and his men in the subway, retrieves a duffel bag and car, then disguises himself and forces the bank manager to open Viggo's vault, burning piles of cash and artworks before casually leaving.
John drives a stolen diesel truck under heavy fire, crashes it, kills several gunmen, and uses armor-piercing bullets to assassinate Viggo through a sedan. After Viggo dies mid-phone call, John pours alcohol over his wounds and walks away as the sedan explodes.
After learning Iosef's location, John launches a multi-phase attack: he eliminates snipers and destroys a cannery with explosives, swims to the ship, boards it while killing guards and the Captain, then chases Iosef into the pilothouse. He breaks Iosef's wrist, hurls him into a grain chute, and suffocates him. John then treats his own bullet wounds at a veterinarian's office.
John returns to the veterinarian's office, adopts a dog named Miko that was scheduled to be euthanized, and walks out into a snowy alley. The scene transitions to the Continental, where David's membership is revoked by Winston. Then John drives away in a 1969 Ford Mustang with Miko, symbolizing a new chapter.
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Hover over each axis on the radar chart to see what that category measures and why it matters.
Analysis: The screenplay showcases a strong foundation in character development, crafting characters that are well-rounded and relatable. However, there are opportunities to enhance certain aspects to deepen the audience's emotional connection and drive the narrative impact.
Analysis: The screenplay's premise effectively establishes a compelling and clear foundation for a revenge-driven narrative, introducing a highly skilled hitman seeking retribution for the death of his beloved dog. However, the premise could be further enhanced by exploring the protagonist's emotional arc in more depth and introducing a more nuanced exploration of the criminal underworld.
Analysis: The screenplay for John Wick exhibits a solid structure and plotline. The revenge-driven narrative effectively maintains audience engagement. However, there are opportunities to refine the pacing and enhance the plot's depth and originality.
Analysis: The screenplay effectively explores relatable themes of grief, revenge, and redemption through a compelling narrative. However, the underlying messages could be further clarified and integrated into the plot to enhance their emotional impact.
Analysis: The screenplay features instances of effective and creative visual imagery, particularly in portraying John's emotional connection to his dog Moose and his subsequent quest for revenge. However, certain areas could benefit from further development and refinement to enhance the overall visual storytelling and captivate the audience visually.
Analysis: The screenplay effectively evokes a strong emotional response by showcasing a protagonist driven by a relatable desire for revenge after the tragic loss of his dog. However, expanding on the emotional depth of the characters, particularly their internal conflicts and motivations, would further enhance the script's emotional impact and resonate deeply with the audience.
Analysis: The screenplay effectively uses conflict and stakes to drive narrative tension and engage the audience, but there are some areas where it could be further enhanced.
Analysis: The screenplay for John Wick showcases originality and creativity through its unique blend of neo-noir elements with the high-octane action genre. The film's distinctive visual style, immersive world-building, and compelling characters set it apart from conventional action thrillers.
Expand to see detailed analysis
View Complete AnalysisProtagonist
Antagonist
Supporting Character
Antagonist
| Theme | Theme Details | Theme Explanation |
|---|---|---|
|
Grief and Loss
|
John is mourning the loss of his wife and the death of his dog, which motivates his actions throughout the screenplay.
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Grief and loss are central themes to the story of John Wick, the loss of his wife and his dog motivating him to take revenge and act on his own terms. |
|
Revenge
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John seeks revenge on those who have wronged him, starting with Iosef and his gang stealing his car and then moving on to those who were hired to kill him.
|
The theme of revenge is a driving force in John Wick, as his anger and desire for revenge motivate him to take action against those who have wronged him. |
|
Redemption
|
John is seeking to redeem himself by leaving his violent past as a hired killer behind, but is ultimately forced to embrace his violent nature once again in order to achieve his goals.
|
The theme of redemption is also present in John Wick, as he seeks to leave his violent past behind and start anew, but ultimately has to embrace that part of himself in order to achieve his goals. |
|
Violence and Death
|
The film is filled with scenes of violence and death, from the opening sequence where John's wife dies to the final confrontation with Iosef.
|
The theme of violence and death is prominent throughout the screenplay, as it is a defining characteristic of John Wick's world and his own actions. |
|
Friendship and Loyalty
|
John's friendship and loyalty to Marcus are important to the film's plot and his overall character.
|
The theme of friendship and loyalty is also important to the story, as John's relationship with Marcus is a defining aspect of his character and the film's plot. |
| Site | Description |
|---|---|
| Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
| Coverfly | Improving your Screenplay's theme |
| John August | Writing from Theme |
| Title | Description |
|---|---|
| Story, Plot, Genre, Theme - Screenwriting Basics | Screenwriting basics - beginner video |
| What is theme | Discussion on ways to layer theme into a screenplay. |
| Thematic Mistakes You're Making in Your Script | Common Theme mistakes and Philosophical Conflicts |
Everything above was written for you before you arrived. These are the things you can set running yourself, on the whole script or on one scene at a time.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An orientation beat sets up the world. It isn’t expected to carry a big turn, so a lower Design read here is often the shape of the scene, not a fault.
No lens is broken, but Read is soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingWhat happens here obliges what comes next.
An aftermath beat lands the cost of what just happened rather than driving new action.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
A montage compresses time. It isn’t built to turn on a single thread.
All three lenses are solid — worth protecting as it stands.
A real force keeps it pushing forward Pressure
HoldingWhat happens here obliges what comes next.
An aftermath beat lands the cost of what just happened rather than driving new action.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
A transition carries us between beats. It owes less structurally than a scene built to turn.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingWhat happens here obliges what comes next.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
An aftermath beat lands the cost of what just happened rather than driving new action.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
No lens is broken, but Design is soft — this reads as a polish pass.
It leans on mood instead of something actually pushing it Pressure
HoldingThe exit pulls you into the next one.
A ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
An aftermath beat lands the cost of what just happened rather than driving new action.
All three lenses are solid — worth protecting as it stands.
It plays close to the version we’ve seen before Freshness
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingThe exit pulls you into the next one.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
It restates its note rather than deepening it Development
HoldingIt commits to one clear thing and holds it.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
All three lenses are solid — worth protecting as it stands.
The situation deepens as it goes Development
HoldingA real force keeps it pushing forward.
Design is broken — a load-bearing lens isn’t doing its job yet.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
Your scene scores are compared against professional produced screenplays in our vault (The Matrix, Breaking Bad, etc.). The percentile shows where you rank compared to these films.
Example: A score of 8.5 in Dialogue might be 85th percentile (strong!), while the same 8.5 in Conflict might only be 50th percentile (needs work). The percentile tells you what your raw scores actually mean.
Hover over each axis on the radar chart to see what that category measures and why it matters.
“Functional” (5–6) is a solid, professional scene — that's where most scenes sit. The scale rides low on purpose, so it has room to point down (where to fix) and up (what's working).
Scenes now use the full 0–10 scale, so your numbers will look lower and more spread out than before. That's the new, smarter model being honest — not a verdict on your script.
The table below uses the same colors: warm = worth a look · neutral = fine · green = working. The point is awareness, not maxing every number — a scene can be light on plot or conflict for good reasons.
| Compelled to Read | Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||||
|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|---|
| Click for Full Analysis | Triage | Design | Overall | Clarity | Scene Impact | Concept | Plot | Originality | Characters | Character Changes | Internal Goal | External Goal | Conflict | Opposition | High stakes | Story forward | Twist | Emotional Impact | Dialogue | Engagement | Pacing | Formatting | Structure | |
| 1 - Scorn | PolishOrientationNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9.5 / 8.5 | 7.5 / 6.5 | 7 | 4 | 7 | 8 | 5 | 7 | 6 | 3 | 3 | 5 | 4 | 7 | 8 | 6 | 7 | 8 | 9 | 7 | |
| 2 - John's Loss | PolishAftermathNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 8.5 | 8 / 7.5 | 8 | 7 | 7.5 | 8 | 6.5 | 8.5 | 5 | 6 | 5 | 6 | 5 | 9 | 8 | 8 | 8 | 7 | 8.5 | 7 | |
| 3 - The Letter and the Puppy | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7.2 | 9 / 8.5 | 7.5 / 7.8 | 8 | 7 | 7 | 8 | 6 | 8 | 7 | 4 | 3 | 6 | 7 | 6 | 9 | 8 | 8 | 8 | 8.5 | 7.5 | |
| 4 - Morning Routine | PolishMontageNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9.5 / 8 | 8 / 7.5 | 7 | 5 | 5.5 | 8 | 1 | 7 | 6 | 2 | 2 | 1 | 2 | 3 | 7 | 6 | 7 | 6.5 | 9 | 6 | |
| 5 - The Death of Moose | KeepAftermathAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.5 | 9 / 8.5 | 8 / 8.5 | 8 | 7 | 7.5 | 8 | 7.5 | 7 | 8 | 6 | 7 | 9 | 8 | 8 | 9 | 7 | 8 | 8 | 9 | 7.5 | |
| 6 - John Wick mourns Moose and prepares for action | Low on its ownTransitionDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 6.5 | 9 / 7.5 | 7 / 7.5 | 7 | 6 | 6 | 7 | 7 | 6 | 5 | 3 | 1 | 5 | 6.5 | 6 | 7 | 5 | 6.5 | 7.5 | 8 | 7 | |
| 7 - John Wick Confronts Iosef and His Gang | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.5 | 9 / 9 | 9 / 8.5 | 8 | 8 | 7 | 7 | 6 | 5 | 8 | 9 | 8 | 8.5 | 8.5 | 8 | 7 | 7 | 8 | 8.5 | 8.5 | 8 | |
| 8 - Retribution | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.8 | 9 / 9 | 8.5 / 8 | 7 | 7 | 5 | 6 | 2 | 7 | 9 | 8 | 4 | 7 | 9 | 6 | 6 | 7 | 7.5 | 8 | 8.5 | 7.5 | |
| 9 - High-Speed Chase and Interrogation | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 8 / 7.5 | 7 | 7 | 4.5 | 6 | 2 | 4 | 9 | 9 | 7 | 7.5 | 9 | 4 | 5 | 5 | 7.5 | 8 | 8.5 | 7 | |
| 10 - Retribution | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9.5 / 9 | 7 / 7.5 | 7 | 7 | 6 | 6 | 2 | 6 | 8 | 5 | 6 | 7 | 7.5 | 5 | 5 | 8 | 6.5 | 7.5 | 9 | 7 | |
| 11 - Viggo and Iosef's Showdown | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 8.5 | 8 / 8 | 8 | 7 | 7 | 8 | 6 | 7.5 | 8 | 9 | 7 | 8 | 7 | 8 | 7 | 8 | 8 | 7.5 | 8.5 | 7.5 | |
| 12 - Revenge is Coming | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 8 / 8.5 | 8.5 / 8 | 8 | 7 | 7 | 8 | 6.5 | 7.5 | 8.5 | 8 | 8 | 8.5 | 8 | 7 | 7 | 7 | 8 | 7.5 | 8.5 | 7.5 | |
| 13 - Clean Up Duty | PolishAftermathNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.8 | 9 / 8 | 7 / 7.5 | 7 | 7 | 6.5 | 7 | 2 | 5 | 8 | 4 | 3 | 5 | 7 | 6 | 4 | 7 | 6.5 | 7 | 9 | 7 | |
| 14 - The Bounty | PolishDeliveryNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8 | 7 / 7 | 7 | 6 | 5 | 7 | 2 | 6 | 7 | 4 | 4 | 7 | 7 | 5 | 5 | 8 | 6.5 | 7 | 9 | 7 | |
| 15 - Retired | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8 | 6.5 / 7.5 | 7 | 6 | 5.5 | 6 | 4 | 5 | 7 | 5 | 6 | 7 | 7 | 6 | 5 | 6 | 6.5 | 7 | 8 | 6.5 | |
| 16 - John Prepares for Battle | PolishDeliveryNo lens is broken, but Design and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 9 / 8.5 | 7.5 / 8 | 8 | 6 | 8 | 6 | 1 | 5 | 8 | 1 | 1 | 4 | 5 | 5 | 4 | 6 | 6.5 | 7.5 | 9 | 7 | |
| 17 - John Wick Takes Out Viktor | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 9 | 8.5 / 8 | 7 | 8 | 6.5 | 7 | 3 | 6 | 9 | 8 | 7 | 8 | 8.5 | 6 | 7 | 6 | 8 | 8.5 | 9 | 8 | |
| 18 - The Red Circle Assassination | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 9 | 8 / 7.5 | 6 | 7 | 6.5 | 6 | 3 | 7 | 9 | 9 | 6 | 8 | 8 | 6 | 6 | 5 | 7.5 | 8 | 8 | 7.5 | |
| 19 - John Seeks Revenge | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.5 | 9.5 / 9 | 8 / 8 | 9 | 8 | 7 | 7 | 6 | 7.5 | 8 | 9 | 8 | 8.5 | 8 | 8 | 8 | 8 | 8 | 8 | 9 | 7.5 | |
| 20 - Preparing for Battle | KeepRitualAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9.5 / 8.5 | 4.5 / 7 | 8 | 5 | 6.5 | 7 | 1.5 | 5 | 7 | 2 | 2 | 2 | 4 | 6 | 4 | 6 | 6 | 7 | 9 | 7 | |
| 21 - John at The Continental's Speak Easy | PolishRitualNo lens is broken, but Design is soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 7.5 | 9 / 8 | 8 / 8 | 8 | 7 | 7 | 8 | 3 | 8 | 2 | 3 | 2 | 4 | 5 | 7 | 8 | 8 | 8 | 7.5 | 8 | 7 | |
| 22 - The Attack | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 8 / 7.5 | 7 | 6 | 4.5 | 5 | 1 | 5 | 8 | 9 | 7 | 8 | 6 | 6 | 5 | 2 | 8 | 8.5 | 9 | 7.5 | |
| 23 - Ambush at the Continental | KeepAftermathAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 9 | 8 / 8 | 8 | 7 | 8 | 7 | 4 | 6 | 8 | 8 | 7 | 8 | 8 | 8 | 6 | 8 | 8 | 7 | 8 | 7 | |
| 24 - Late-night conversation | KeepRelationship shiftAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 9 | 6 / 8 | 8 | 5 | 8 | 9 | 3 | 8 | 3 | 4 | 3 | 5 | 2 | 7 | 8 | 9 | 8 | 8 | 9 | 8 | |
| 25 - Diner Ambush | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 8 | 2 | 7 | 8 | 9 | 8 | 8 | 8 | 7 | 6 | 8 | 7.5 | 7 | 8 | 7 | |
| 26 - The Bank Heist | PolishPursuitNo lens is broken, but Design, Execution and Read are soft — this reads as a polish pass. | SoftThe structure works but is leaking power in places. | 6.5 | 6.5 / 6 | 7 / 7.5 | 7 | 6 | 5.5 | 6 | 2 | 4 | 8 | 7 | 4 | 7 | 8 | 5 | 5 | 5 | 6.5 | 6 | 7 | 6 | |
| 27 - Bank Heist | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 8 / 7.5 | 6 | 7 | 6.5 | 6 | 3 | 5 | 9 | 5 | 3 | 6 | 8 | 4 | 6 | 7 | 6.5 | 7 | 9 | 6.5 | |
| 28 - The Heist and Ambush | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.5 | 9 / 9 | 7.5 / 8 | 8 | 7 | 6.5 | 7 | 2 | 4 | 9 | 9 | 7 | 9 | 9 | 7 | 6 | 6 | 8.5 | 8.5 | 8.5 | 8 | |
| 29 - Assault on The Chayka | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 8 | 8 / 8 | 7 | 7 | 5 | 6 | 2 | 5.5 | 6 | 6 | 6 | 7 | 7.5 | 6 | 6 | 6 | 6.5 | 6.5 | 8.5 | 7 | |
| 30 - John's Escape | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8 | 8 / 8 | 7 | 6 | 6 | 4 | 1 | 4 | 9 | 9 | 6 | 8 | 7 | 7 | 5 | 3 | 8 | 8 | 9 | 8 | |
| 31 - The Final Showdown | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 9 / 8.5 | 8.5 / 8 | 7 | 8 | 6 | 7 | 4 | 6 | 9 | 9 | 8 | 8.5 | 9 | 6 | 7 | 6 | 8 | 8.5 | 8.5 | 8 | |
| 32 - The Final Confrontation | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 8 | 7 / 7.5 | 8 | 7 | 7 | 6 | 3 | 5 | 9 | 8 | 4 | 7.5 | 7 | 8 | 7 | 7 | 7 | 5.5 | 8 | 6 | |
| 33 - John's Redemption | ReworkDeliveryDesign is broken — a load-bearing lens isn’t doing its job yet. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 7.2 | 9 / 9 | 5 / 7 | 8 | 7 | 8 | 8 | 7 | 8 | 7 | 2 | 1 | 3 | 3 | 7 | 8 | 7 | 7.5 | 7 | 8 | 7 | |
| Voice Analysis | |
|---|---|
| Summary: | The writer's voice throughout the screenplay is characterized by minimalistic and concise writing, sparse dialogue, and atmospheric description. The writer emphasizes action and physical details over exposition, and the tone varies from somber and pensive to tense and gritty. |
| Voice Contribution | The writer's voice contributes to the script by creating a sense of atmosphere and tension. The minimalist dialogue and description allow the audience to focus on the emotional depth of the characters and the intensity of the action. The sparse writing style also adds to the realism and grittiness of the screenplay. |
| Best Representation Scene | 16 - John Prepares for Battle |
| Best Scene Explanation | Scene 16 is the best representation of the writer's unique voice because it exemplifies the concise and straightforward writing style. The dialogue is minimalistic, and the scene descriptions are visually descriptive and action-oriented, creating a sense of urgency and immediacy. |
| Pattern | Explanation |
|---|---|
| Tone and Emotional Impact | There is a strong positive correlation between the tone and emotional impact scores, with higher tone scores more likely to correspond with higher emotional impact scores. |
| Dialogue and Conflict | Scenes with higher dialogue scores tend to also have higher conflict scores, suggesting that effective dialogue is often used to generate tension. |
| Concept and Plot | Scenes with higher concept scores tend to also have higher plot scores, suggesting that an engaging concept can often be required for a compelling plot. |
| High Stakes and Character Changes | Scenes with higher stakes scores tend to also have higher character change scores, indicating that significant character arcs may often be driven by high stakes events. |
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Revenge plot | John seeks revenge after his car is stolen and his dog is killed. | A common trope where a character seeks vengeance for a wrong-doing against them or their loved ones. An example of this can be seen in the movie 'Kill Bill' where the main character, 'The Bride', seeks revenge against those who wronged her and tried to kill her on her wedding day. |
| Hero's Journey | John goes on a quest to avenge his dog's death and retrieve his stolen car. | A classic trope where the protagonist goes on a journey to overcome obstacles and achieve a goal. An example of this can be seen in the movie 'Star Wars: A New Hope' where Luke Skywalker embarks on a journey to save the galaxy and become a jedi. |
| Tragic back story | John is a retired boxer and military man who mourns the loss of his wife, and later his dog. | A trope where a character has a traumatic experience in their past that affects their present behavior. An example of this can be seen in the show 'Breaking Bad' where Walter White's tragic backstory and cancer diagnosis drive him to become a drug lord. |
| Final showdown | John engages in a final confrontation with Iosef on The Chayka. | A trope where the protagonist and antagonist have a climactic battle or confrontation to resolve the conflict. An example of this can be seen in the movie 'The Matrix' where Neo and Agent Smith have a final showdown to determine the fate of humanity. |
| Redemption arc | John seeks to return from his violent past as a hired killer and save Miko from being euthanized. | A trope where a character seeks redemption for their past actions or mistakes. An example of this can be seen in the show 'The Sopranos' where Tony Soprano seeks redemption for his criminal activities and tries to become a better person. |
| Scene Number | Line |
|---|---|
| 18 | John: My name is John Wick. You took my car. You killed my dog. Where is Iosef? |
| 27 | Viggo: Iosef... my son... is worth less than this... far less... treasures reduced to ash... |
| 28 | Viggo: For me to die like this...BECAUSE OF HIM...would be unfortunate. |
| 23 | John: Just because I'm good at killin'... doesn't mean I like it all that much. |
| 24 | Marcus: "It’s always 'just' something, John." |
| Array ( [0] => A retired hitman seeks revenge for the death of his dog and faces off against a powerful underworld figure's son. [1] => With a bounty on his head, a hitman battles for survival while targeting those who killed his dog. [2] => John Wick, a hitman on a mission for vengeance, takes on a host of assassins from the underground world. [3] => In the wake of a robbery that takes his canine companion, John Wick goes after those responsible and sets out to settle the score. [4] => After avenging the loss of his beloved dog and avoiding assassins, John seeks solace in saving a new four-legged friend and taking to the open road. ) |
| A retired assassin is forced back into the underworld he abandoned when sadistic gangsters steal his car and kill his dog, the last gift from his deceased wife. |
| Fueled by grief and rage, a legendary hitman unleashes his deadly skills on the Russian mob, navigating a hidden world of assassins with its own code of honor and brutal consequences. |
| When his only connection to his late wife is taken away, a former assassin seeks revenge, leaving a trail of bodies in his wake and challenging the established order of the criminal underworld. |
| John Wick, a man of focus, commitment, and sheer will, seeks vengeance for the death of his beloved dog, embarking on a relentless quest that pits him against the ruthless Russian mafia. |
| In the shadowy world of assassins, where loyalty is currency and violence is a language, one man defies the rules to avenge the loss of his cherished companion, becoming a legend in the process. |
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