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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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EXT. NIGHT - HOLLYWOOD HILLS, LOS ANGELES Darkness. Distant sounds of freeway traffic. Then the closer sound of a car - its headlights illumine an oleander bush and the limbs of an Eucalyptus tree. Then the headlights turn - a street sign is suddenly brightly lit. The words on the sign
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EXT. HOLLYWOOD HILLS - LATER - NIGHT The woman slides down a hill through tangles of hostile desert plants. Sirens can be heard in the distance. She crosses through some trees and is suddenly confronted by a coyote which snarls and leaps at her. She screams and strikes
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EXT. HOLLYWOOD STREETS - EARLY DAWN The clang of a metal gate wakes the woman. It is just getting light and she sees an older red-headed woman carrying a suitcase to the curb where a cab stands waiting with its trunk open. The cab driver appears with two suitcases which
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EXT. DENNY'S Now Herb waits for Dan to lead the way. DAN Around here. Dan takes Herb across the front of Denny's to a narrow
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EXT. STREETS - LOS ANGELES - DAY Betty goes from the right side of the cab to the left side of the cab looking at every building, tree and sign. Each street sign seems to be magical to her and she says the names to herself as they pass by. She sees La Tijera, La Cienega,
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INT. APARTMENT - BEDROOM The dirty and torn black cocktail dress of the dark-haired woman along with her shoes, purse and undergarments are in a pile in the bedroom. We drift off them toward the bathroom where the dark-haired woman can be seen showering through
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INT. APARTMENT BEDROOM Betty is unpacking in the bedroom and putting her belongings in the closet and the dresser drawers. Many of her Aunt's things are still there. CUT TO:
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EXT. - DOWNTOWN LOS ANGELES - LOW RENT OFFICE BUILDING - DAY The street level of the office building is filthy and houses stores selling racks of cheap toys. Up above we see office windows and a big sign saying "Office Space For Rent" along with a telephone number to call. We drift in toward one of
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INT. CONFERENCE ROOM - CENTURY CITY BUILDING - DAY We see three men sitting at a conference table RAYMOND(RAY) HOTT -president of production, wearing a crisp blue suit,VINCENT DARBY -senior vice-president, wearing a crisp green suit and ROBERT SMITH -talent manager, wearing a crisp
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EXT. CENTURY CITY - DAY Before us is a huge modern office building of glass and steel. Two men in dark suits have exited a large limousine and are walking up into the building. We drift up the facade, higher and higher moving in toward the top of the building.
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INT. AUNT RUTH'S APARTMENT - LATER DAY Betty is stretched out on the big leather couch in the living room. A half eaten sandwich and chips are on a plate on the coffee table next to her. She is talking on the phone. BETTY
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INT. MR. ROQUE'S OFFICE - DAY Mr. Roque, in his wheelchair is still in the center of the huge softly lit, windowless office. His manservant standing silently behind him. The small built-in wheelchair phone rings. Mr. Roque pushes a button on a small intricate remote
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INT. DARK ELEGANT ROOM - SOMEWHERE Again we see only the back of the man's head. THE MAN Same. CUT TO:
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EXT. - 1612 HAVENHURST - DAY ESTABLISH CUT TO: INT . AUNT RUTH'S APARTMENT - DAY The girls are still sitting on the leather couch as before,
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EXT. ADAM'S HOUSE - BEL AIR Adam pulls into his driveway, but is blocked from entering the garage by a poolman's truck. He gets out of the car and looks at the truck - sees the insignia on the door which is a blue square with the word "Gene" above and the word "Clean"
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INT. ADAM AND LORRAINE'S BEDROOM - DAY Lorraine is getting dressed as fast as she can. LORRAINE That bastard! GENE
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INT. AUNT RUTH'S BEDROOM - DAY Rita is now dressed to go out and is studying herself in a mirror. She turns and her gaze falls to her purse. She picks it up and looks questioningly at Betty. BETTY (cont'd)
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EXT. SUNSET BOULEVARD - DAY The girls walk along the busy boulevard, past guitar shops, video stores. Betty is looking for a payphone. Rita's eyes dart back and forth nervously. She's beginning to feel frightened.
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INT.- DENNY'S - DAY Rita and Betty are seated next to the table where Dan and Herb sat earlier in the day. They both have a cup of coffee in front of them. Betty has a newspaper open and she is scanning the last pages.
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EXT. - HAVENHURST - DAY Betty and Rita are walking back to the apartment. We see them from a distance. They are talking and gesturing in an excited and animated way. Just after they enter through the iron gates of 1612 Havenhurst and are out of sight we notice
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EXT. - ADAM'S HOUSE - AFTERNOON Taka is bowing and smiling and nodding to someone we don't see. TAKA'S POV - A man, KENNY, in a sharp black suit is walking down the driveway past Gene the Poolman's truck to the front
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EXT. - ADAM'S HOUSE - AFTERNOON Kenny jumps into the front seat of the limo. Vincenzo and Luigi nod to the driver and they take off. Taka hoes some weeds beneath a Jacaranda. CUT TO:
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EXT. BEVERLY HILLS HOTEL - NIGHT Establish INT. BEVERLY HILLS HOTEL - CORRIDOR OUTSIDE ROOM 214 A Hotel Manager is walking toward the door of room 214. He knocks softly on the door. The door opens and Adam Kesher is
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INT. ROOM 214 - NIGHT Adam crosses the room to the phone and dials a number. The phone is answered. ADAM Someone's shut off my money!
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EXT. BEACHWOOD CANYON - NIGHT Adam, in his Porsche, makes his way up the canyon. INT. PORSCHE Adam feeling like a fool drives up the dark, winding canyon road. As he nears the top of the canyon the residential area
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EXT. HOLLYWOOD - MORNING We see the rays of the rising sun falling on the huge letters of the HOLLYWOOD SIGN and the hills surrounding it. CUT TO: INT. AUNT RUTH'S APARTMENT. - MORNING
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INT. COCO'S APARTMENT - DAY On the move Coco is just bringing her cigarette in its holder up to her painted red lips. The phone is ringing and she's crossing the room to answer it. COCO
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EXT. COURTYARD 1612 HAVENHURST - DAY The screen door slams. Coco and Betty face each other close, out of earshot of Rita. COCO Your Aunt called me.
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INT. AUNT RUTH'S APARTMENT - SAME Betty enters through the screen door. Rita studies her. RITA Is everything all right? Is it bad for you that I'm here?
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EXT. - COURTYARD 1612 HAVENHURST - DAY Betty is coming out of Aunt Ruth's apartment. She calls back in to Rita. BETTY I hope I'm back in a couple of hours.
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INT. CAB - DAY Betty is wide-eyed and filled with awe at something she is seeing. CUT TO: EXT. - PARAMOUNT STUDIOS - MAIN ENTRANCE GATE - DAY
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INT. EXECUTIVE BUILDING - SECOND FLOOR - DAY Betty finishes climbing some stairs and crosses to the receptionist. She hands over her pass. The receptionist looks at it, hands it back to Betty and points down the hall to her left.
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INT.- CORRIDOR EXECUTIVE BUILDING - DAY The three of them walk down the corridor. SARAH JAMES Oh God, that was awful! Betty's head spins to Sarah. A look of shock and let down on
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INT. - RECORDING STUDIO - DAY We see what looks like a recording studio right out of the 1960's. We're looking through a plate of glass. A blonde girl is standing at a vintage microphone. Behind her are three back-up male vocalists dressed in three tone, shiny
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EXT. 1612 HAVENHURST - STREET - DAY Chris Isaak song "Except The New Girl" continues. An idling cab sits waiting with back door open. CUT TO: COURTYARD - 1612 HAVENHURST DAY
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INT. CAB - DAY Betty reaches and gently grabs Rita's shoulder. She speaks firmly but quietly so the cab driver won't hear. BETTY Why didn't you ask him? Sol knows you!
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EXT. SIERRA BONITA APARTMENT - BACK ALLEY - DAY Betty gets Rita out of the cab and pays the driver, who then drives away. The girls go through a rear gate and enter the complex walking along a curving concrete walk. This leads them to an intersection where a registry is printed on a
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INT. - BUNGALOW #17 - DAY Betty begins to go through the bungalow and Rita follows. All the blinds are closed and the curtains drawn. They move slowly, looking around at everything as they go. Betty looks to Rita to see if any of this is something she remembers.
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EXT. BUNGALOW #17 - DAY The Middle-Aged Woman backs away from the front door, looking around at bungalow #17. She's not sure if she has heard something or not. She wonders, then turns and goes back to her bungalow.
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INT. AUNT RUTH'S APARTMENT - LATER - DAY Panning slowly across we see on the bathroom counter various open bottles, used Q-tips, towels, combs, a brush, a bowl, and lots of long strands of cut black hair. We continue moving up to an empty mirror and eerie music builds. The
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INT. AUNT RUTH'S APARTMENT - BEDROOM - NIGHT Rita has just taken the hatbox from the closet shelf and is setting it on the bed. BETTY What are you doing?
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EXT. COURTYARD - NIGHT The girls come out the front door ... Betty leading and pulling a much happier Rita along with her. They half run across the courtyard to stone steps under an Ivy covered eave. CUT TO:

Mulholland Drive

After a car crash leaves her with amnesia, a woman named Rita teams up with an aspiring actress to unravel the mystery of her identity and the dark secrets of Hollywood.

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Overview

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Unique Selling Point

This psychological thriller script presents a unique blend of dark, dreamlike atmosphere, and exploration of the human Psyche not often seen in the genre. With its enigmatic and mysterious tone, the script draws viewers into a world of uncertainty and intrigue, challenging their perceptions of reality. Through the experiences of its distinctive characters, the script explores themes of identity, memory, and the nature of truth, leaving a lasting impact long after the final scene.

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Story Facts

Genres: Mystery, Thriller, Drama, Crime

Setting: Contemporary, Hollywood, Los Angeles

Themes: Identity and Memory, Dreams and Reality, Hollywood and the Entertainment Industry, Mystery and Intrigue, Power and Control

Conflict & Stakes: Betty and Rita's search for Rita's identity and the dangerous secrets they uncover along the way, which involve a web of crime and deception within the entertainment industry.

Mood: A mix of mystery, suspense, and surrealism, creating a sense of unease and intrigue throughout the story.

Standout Features:

  • Unique Hook: The exploration of the dark and alluring underbelly of Hollywood, revealing the secrets and dangers that lie beneath the glamorous façade.
  • Major Twist: Rita's true identity and the shocking revelation of her involvement in a sinister conspiracy.
  • Distinctive Setting: The iconic and evocative backdrop of Hollywood, capturing the glamour, excess, and hidden darkness of the entertainment industry.

Comparable Scripts: Blue Velvet, Lost Highway, Mulholland Drive, Twin Peaks, Sunset Boulevard

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: 8.00
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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
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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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Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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