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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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ONE SHOT by Christopher M£Quarrie Based on the novel by Lee Child Previous drafts by
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INT. PARKING GARAGE - DAY -SHUNK as the rifle's action slams the bullet home: DRIVER'S P.O.V. SUPER WIDE ANGLE looking down on an outdoor mall. Low-lying office buildings, shops, the DMV, a long reflecting pool catching the morning
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INT. PARKING GARAGE - RAMP - DAY The van spirals down, tires squealing. It skids to a halt, nearly hitting an oncoming car. Precious seconds are consumed trying to navigate to the exit. INT. PARKING GARAGE - DAY
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EXT. BARR RESIDENCE - NIGHT CLOSE ON: A MAILBOX bearing the name: BARR REVEAL: A two-bedroom ranch - paint neglected but otherwise solid. The blue light of a TV flickers in
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INT. HOLDING ROOM - DAY Four walls, a door with no knob, a table, two chairs. The Detective - HIS NAME IS EMERSON - lays evidence on a table like cards from a winning hand: Security camera stills of the van, fingerprints, the shoes,
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INT. HOTEL ROOM - NIGHT You are lying in a bed, looking through your large, bare feet at a flat screen TV on mute. You have a beer in one hand, remote in the other. You flip through channels, uninterested in everything you see.
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INT. COUNTY VAN - DAY James Barr and FIVE OTHER PRISONERS ride in silence on opposite benches. They wear state-issue orange, hands chained. Barr chews his blackened thumbnail nervously. The other five prisoners size him up,
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INT. TARGET SUPERSTORE - DRESSING ROOM - DAY Reacher's large hands pull on a neutral-colored t- shirt, tan chinos, some work-boots, a belt as: EMERSON (V. 0.) Silver Star, Bronze Star, Legion of
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INT. GREYHOUND BUS - DAY CLOSE ON his back as he walks down the aisle. REACHER'S P.O.V. of a WOMAN (late 30s) looking out the window, hoping things will be better where she's headed. She used to look good. Now she's bitter. The
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INT. HOSPITAL ROOM - DAY Reacher looks down at the unconscious, swollen, battered heap of bandages that is James Barr. RODIN So you've seen him. How do you know
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INT. HOSPITAL CORRIDOR - DAY Emerson and Rodin follow Reacher into the hallway. We notice TWO UNIFORM COPS guarding Barr's room. RODIN Stop right there.
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EXT. CONSTRUCTION SITE - DAY CONCRETE. Tons and tons of liquid concrete pour from a crane-borne hose into a massive foundation. CONSTRUCTION WORKERS in hard hats manage the action. Walking past them is LINSKY (40s). His brown suit and
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INT. BARRACKS - DAY PUSH IN SLOWLY on a younger James Barr, fit, cut, high and tight, dressed in Army drabs. He sits on the floor, rapidly taking down a rifle. REACHER (V.O.)
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INT. PARKING GARAGE - DAY This one in Baghdad - cars caked with dust, tires flat from dry rot. Barr casts a long shadow with the sun behind him, his shirt soaked with sweat. He shoulders his weapon and we're in his P.O.V.
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INT. GREYHOUND BUS - MOMENTS LATER Reacher in a seat by the window, knuckles to his lips, watching Helen walk away. PUSH IN SLOWLY as the question nags him: "Why?" REACHER
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EXT. FARRIOR HOME - DAY A manicured two story in a nice neighborhood, Helen on the porch. The front door opens TO REVEAL one ROB FARRIOR (LATE 50s). He's been crying. For days. HELEN
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INT. PARKING GARAGE - DAY Reacher squints, shades his eyes with his hand, looking down on the mall, five reddish brown stains. He looks down at the folder, a photo of the quarter, then at the parking meter. As he does so we:
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INT. HELEN'S CAR - DAY Helen slams the door, breath trembling. She glances at Farrier's house, sees him looming behind the screen door, glaring at her. CLOSE ON her keys jingling as she struggles to steady
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INT. EVIDENCE LOCKER - DAY CLOSE ON: A long drawer containing the bagged and tagged rifle. Emerson slams it shut and turns to: REACHER Thanks for letting me take a look.
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EXT. HIGHWAY SPORTSBAR - NIGHT Est. Reacher walking across the parking lot of a Chili's-level cholesterol dispensary. INT. SPORTSBAR - NIGHT Reacher on the pay phone, Helen's card in his hand.
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EXT. HIGHWAY SPORTSBAR - NIGHT The door bursts open and the five guys march out, then Reacher. Sandy stands by the door. REACHER Last chance to walk away.
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EXT. CONSTRUCTION SIGHT - NIGHT In a dense forest far from the city, the beginning of some industrial structure occupies a clearing. A backhoe sits dormant by a deep, short trench. A pickup truck idles nearby. Linsky's Volvo wheels in
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INT. JAIL CELL - NIGHT TWO FIGURES step into the foreground, looking at Reacher on a cot - sleeping, we guess. Until: REACHER Hey, Helen.
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EXT. MIDWESTERN CITY - SKYLINE - MORNING Moving toward a city that could be anywhere. Populated by anybody. Even you. Motionless construction cranes dominate the skyline. TILT DOWN SLOWLY: Moving over the highway, following
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EXT. APARTMENT BUILDING - DAY Rita walks to her minivan alone, in a hurry. She Jumps in and starts the stubborn engine. HELEN ( V , 0 . ) But her dedication had paid off,
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EXT. MALL - DAY HELEN ( V. 0 . ) Oline was on her way to formally file for bankruptcy. And finally move on with her life ...
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EXT. TWO-STAR MOTEL - NIGHT Est. one of those low-lying places you drive past and wonder "who the hell stays there?" Reacher does. REACHER (V .0.) So what have you learned?
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EXT. MALL - DAY ON DARREN seated on the bench next to those roses. COME AROUND TO REVEAL Nancy walking toward him. REACHER (V. 0.) You don't buy roses for your wife
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EXT. CONCRETE FACTORY - DAWN A vast expanse of flat, exposed ground surrounds a mass of conveyer belts serving a central huddle of silos. The concrete factory is far from the main road, far from everything. The place is busy. Cement
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EXT. REACHER'S MOTEL - DAY Helen drives up, Reacher comes out, gets in her car. INT. HELEN'S CAR - HIGHWAY As she drops the car in drive, she hands Reacher two folders full of photocopies. In the first one:
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EXT. FULL AUTO - DAY A building painted bright red, a massive American flag flowing in the breeze. Not an. The. HELEN Want me to wait?
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INT. FULL AUTO - BACK OFFICE - DAY Sandy sits behind a desk managing to make her dorky work shirt look hot, sifting through paperwork. She sees Reacher - followed by Gary - and goes white. SANDY
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EXT. FULL AUTO - DAY Reacher behind the wheel of a tricked-out El Camino. Unaccustomed to driving, he drops the car in reverse, grinds the gear, overdoes the gas and break. ANGLE ON: That Silver Audi parked across the lot.
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INT. JEB'S BATHROOM - DAY He notes the shower curtain rod. Except for a few metal rings there's nothing else there ... WHACK - Reacher is struck violently across the back of the head. He pitches forward into the shower,
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INT. SILVER AUDI - DAY Vlad is slightly confused when Reacher emerges driving the Chevy back toward town. Vlad follows. REACHER (PRE-LAP) I think Jeb Oliver is dead.
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INT. PARKING GARAGE - DAY OF THE CRIME Shooter's P.O.V. through the scope, choosing targets: REACHER (V.O.) From that garage, the shooter was facing the rising sun, targets
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EXT. MALL - REFLECTING POOL - DAY OF THE CRIME A bullet slicing the water, settling to the bottom. REACHER (V. 0.) A pristine bullet that tied Barr's gun to the killings. Arguably the
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INT. HELEN'S OFFICE - NIGHT REACHER But Barr knew I would. No matter how much I wanted it to be true. That's why he asked for me.
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INT. SILVER AUDI - DAY Vlad, a cell-phone on the dash on speaker, looks at his remaining thumb and sneers bitterly. THE ZEC (ON SPEAKER) Charlie is on his way. Do what he
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INT. SANDY'S APARTMENT - BATHROOM - NIGHT A pare of succulent, slightly parted lips take the finishing touches of bright red lipstick. PULL BACK TO REVEAL: Sandy looking like a million air-brushed bucks. She gives her hair a tease,
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INT. SILVER AUDI - NIGHT Charlie and Vlad slow down to rubberneck. They see Reacher's car in the lot, Emerson emerging from the lobby. Everything is in its proper place. EXT. TWO-STAR MOTEL - PARKING LOT - NIGHT
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EXT. CITY STREET - NIGHT Reacher gets out of the car and simply walks away. The stunned cops watch from their cars as Reacher jumps over the divider and across the road. The police cars are suddenly useless. Emerson and A
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INT. SUBURBAN SPLIT-LEVEL - NIGHT CLOSE ON the back door - the frame split where the knob meets the jamb. COME AROUND to reveal the place is deserted. Not a stick of furniture. A FOR SALE sign leans against one wall, freshly
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INT. HELEN'S APARTMENT - NIGHT Helen in her kitchen, dressed in a robe, tired after a long day. As she turns out the lights she hears a noise o.s. She pauses, follows it to the door. E.C.U: The door knob moves ever so slightly. But the
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EXT. GAS STATION - NIGHT Reacher on a pay phone. REACHER (ON PHONE) And by your response I'm guessing I have about thirty seconds before
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INT. HELEN'S CAR - DAWN Reacher's P.O.V. of a sign over the highway: WELCOME TO KENTUCKY - Unbridled Spirit HARD CUT to another sign coming up slowly on the side of a rural roud:
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EXT. RIFLE RANGE - BACKSTOP - DAY A chilly wind blows across the desolate landscape. Reacher hangs the target on a wooden backstop. He turns to trek back the seven-hundred yards to the shooter's bench, pausing briefly to consider:
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INT. BACK OFFICE - DAY ANGLE ON: A jury-rigged piece of one-way glass over a ragged hole cut in the wall for a security camera. ANGLE ON: cash's desk: a rat's nest of receipts, an old adding machine and a crappy twenty-year old PC
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INT. UNIDENTIFIED OFFICE - DAY HELEN I'll look into that. Thanks. She hangs up. COME AROUND SLOWLY as she address someone O.S. REVEAL
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INT. WAITING ROOM - DAY Helen emerges from Rodin's office, ignoring THE MAN seated on one of several leather chairs - his face hidden by a newspaper. INT. ELEVATOR - DAY
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INT. BASEMENT - DAY The elevator opens. Emerson steps out with Helen's limp body over his shoulder. Here he meets: Vlad and Charlie. 103,
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EXT. GAS STATION/DARK ROOM - INTERCUT CHARLIE Listen, fucker, I will kill this bitch if you're not here in one- Reacher hangs up.
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INT. CONCRETE FACTORY - OFFICE TRAILER - NIGHT The Zee sits in a chair smoking a cigarette. Helen studies this creature with fascination. Emerson lingers by the door, waiting for the fight. HELEN
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EXT. SUNKEN DIRT ROAD - NIGHT A wall of earth five feet high on either side. Reacher leans against Helen's car in the dark. REACHER (INTO PHONE) Don't make a big thing of it.
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EXT. CONCRETE FACTORY - VARIOUS The Baltic Thugs take cover and get ready, watching the car come. INT. HELEN'S CAR - NIGHT Reacher lays on the floor, left elbow on the gas,
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EXT. SUNKEN ROAD - NIGHT Cash aims at another light by Vlad as: ZZZZZZZMACK - A bullet strikes the ground just inches from his face - throws dirt and gravel in his eyes. Cash drops, blinded.
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EXT. CONCRETE FACTORY - SILO STAIRS - NIGHT Reacher creeps up the metal stairs on the outside of the solo, totally exposed. He reaches the top and finds a steel door. He kicks it open and enters: EXT. CONCRETE FACTORY - CROWS NEST - NIGHT
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INT. CONCRETE FACTORY - OFFICE TRAILER - NIGHT REACHER'S P.O.V. The door creaks open TO REVEAL: Emerson behind Helen, a gun to her head. A shadow in the corner casually sucks on a glowing cigarette. EMERSON'S P.O.V. Reacher just outside, Charlie's
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EXT. OPEN FIELD - NIGHT Reacher and Helen walk toward a car covered in gray dust and riddled with bullet holes. HELEN And what about clearing Barr? What
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INT. HOSPITAL ROOM - DAY P.O.V. looking up at the ceiling from a hospital bed. James Barr - face still slightly swollen, hair matted from recently removed bandages - awaits judgement. WOMAN'S VOICE O.S.

Jack Reacher

In the aftermath of a deadly sniper attack, a former military police officer, Jack Reacher, becomes embroiled in a complex conspiracy involving a prominent law firm, a corrupt construction company, and a ruthless group of killers.

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Overview

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Unique Selling Point

The script distinguishes itself through its unconventional structure, emphasizing suspense and a methodical unraveling of the mystery. The protagonist, Jack Reacher, is an enigmatic figure who defies easy categorization, appealing to audiences who enjoy complex, morally grey action heroes. The blend of sharp dialogue, intense action sequences, and a twisty plot keeps the audience engaged, offering a fresh perspective within the action thriller genre.

AI Verdict & Suggestions

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Claude
 Recommend
GPT4
 Recommend
Gemini
 Recommend
Story Facts

Genres: Thriller, Crime, Drama, Action, Mystery

Setting: Contemporary, A generic Midwestern city, including various locations such as a parking garage, hospital, motel, and concrete factory.

Themes: Justice and the Law's Limitations, The Nature of Guilt and Innocence, Redemption and Second Chances, The Moral Ambiguity of Violence, Trauma and its Lasting Effects

Conflict & Stakes: Reacher's quest to clear Barr's name while uncovering a conspiracy, with the stakes involving justice for the victims and the safety of those involved.

Mood: Tense and suspenseful, with moments of introspection and moral complexity.

Standout Features:

  • Unique Hook: The intertwining of a military background with a legal thriller, exploring the psychological impact of war on soldiers.
  • Plot Twist: The revelation that the accused shooter, James Barr, may not be the true perpetrator, leading to a deeper conspiracy.
  • Distinctive Setting: The use of a concrete factory as a central location for the climax, symbolizing the gritty reality of the characters' struggles.
  • Innovative Ideas: The exploration of moral ambiguity in the justice system and the personal sacrifices made by those seeking the truth.

Comparable Scripts: Jack Reacher (2012), American Sniper (2014), The Punisher (2004), Prisoners (2013), Se7en (1995), The Silence of the Lambs (1991), Mindhunter (TV Series, 2017-2019), No Country for Old Men (2007), The Girl with the Dragon Tattoo (2009)

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.

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Overall Score: 7.83
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
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Logic & Inconsistencies
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Scene Analysis

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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
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Loglines
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