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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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2 INT. PROJECTION BOOTH, FOX THEATER - NIGHT 2 The projector’s an aggressive monster, huge reels spinning, film running through gears, passing through the gate, image by image, past the brilliant bulb, out through the lens and into...
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INT. THE FABLEMAN HOUSE, HADDON HEIGHTS - HALL - NIGHT SAMMY (O.S.) MOOOOOOMMMMMMMYYY!! MOMMMMYYYY! Mitzi in her nightgown rushes to Sammy’s room, still half asleep.
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10 EXT. THE FABELMAN HOUSE - NIGHT 10 Surrounded by houses ablaze with Christmas lights, the Fabelman house is the black hole of Crystal Terrace Avenue. 12 INT. THE GARAGE - NIGHT 12 Sammy’s hand places a toy convertible car on the tracks,
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15 INT. THE GARAGE OF THE FABELMAN HOUSE - AFTERNOON 15 Reflected in the broken TV screens, Sammy sets up his shot, placing the train, the toy car driven by Noah and the tilted ark on the tracks. Mitzi enters with Burt’s movie camera. She smiles at him, his complete absorption in the task.
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19 INT. SAMMY’S BEDROOM CLOSET, HADDON HEIGHTS - EVENING 19 CU the Kodak film spooling through the projector, light streaming through the lens, and played out on the “screen” of Sammy’s palms, the footage of the Lionel train wreck. Sammy watches wide-eyed.
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20 INT. UPSTAIRS BATHROOM - AFTERNOON 20 Reggie steps into frame in a dentist smock made of one of Burt’s shirts on backwards, Mitzi’s makeup mirror taped to her forehead, in Groucho glasses, a fat bubblegum cigar in her teeth.
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22 INT. MITZI AND BURT’S BATHROOM - AFTERNOON 22 Mitzi reaches to get some toilet paper. The roll is empty. She reaches behind her head for the spare and finds another empty roll. CUT BACK TO:
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30 INT. THE FABELMAN HOUSE - AFTERNOON 30 BANG! The door of Mitzi and Burt’s bedroom flies open and Mitzi storms out. As Mitzi descends the stairs, Burt follows her, arguing: BURT
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33 EXT. THE ARIZONA DESERT - DAY 33 The song continues over a Plymouth Electra station wagon driving past cactuses and tumbleweeds. SCREEN TITLE: ARIZONA In the rear window, Sammy is anxiously watching the desert,
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36 EXT. THE DESERT OUTSIDE PHOENIX - AFTERNOON 36 Three Boy Scouts freeze amid boulders: DEAN; TURKEY (real name Fred); and HARK, (real name Harold). All hold fine-mesh kitchen sieves, and Hark has a lunch box. Sammy, also in uniform, reaches behind a rock to find an
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37 INT. CAMERA STORE, PHOENIX - AFTERNOON 37 CU on three boxes of Kodachrome II 8MM film being plunked down on the glass countertop. CLERK (O.C.) Twelve dollars even.
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41 INT. A STAGECOACH - NOON 41 ... Hark, black-hatted and masked like Liberty Valance, leaning in through the window of a stagecoach that shakes violently as if jouncing at high speed over a rutted road. HARK
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INT. FABELMAN HOUSE - EVENING CU on the bare bulb of an unshaded lamp. Sammy slowly spools film from an 8mm reel, using the back light and a magnifying glass to examine the frames. He goes through the process of editing, cutting the film in a
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50 INT. THE LOCAL ARIZONA JAYCEE MEETING HALL - EVENING 50 Pulling back from a running projector to reveal Sammy’s Boy Scout Troop 275 is having its bi-monthly Friday evening assembly. There are about 120 SCOUTS watching the movie, mostly white, a few Black, Latinx and Native American Scouts;
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53 INT/EXT. INSIDE THE FABELMAN’S STATION WAGON/A ROAD IN 53 PHOENIX - EVENING CU of Sammy’s new Merit badge in Photography. Sammy is looking at it, aglow from his triumph. Burt’s driving. BURT
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55 EXT. THE FABELMANS’ CAR, A HIGHWAY TO THE COCONINO NATIONAL 55 FOREST - DAY Pulling a rented luggage trailer packed with camping equipment, the car heads into the mountains. LISA (O.S.)
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63 INT. - A ROOM IN A NURSING HOME IN CINCINATTI - DAY 63 A few weeks later. Burt sits quietly, focused on a beeping scope. Not an oscilloscope this time, but a heart monitor. He looks scared. In a nearby hospital bed, Sammy’s maternal grandmother Tina,
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66 INT. BURT AND MITZI’S BEDROOM - LATE NIGHT 66 It’s dark. The telephone rings, waking Mitzi from a deep sleep. She fumbles, picks up the receiver. MITZI Hello?
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69 INT. SAMMY’S BEDROOM - NIGHT 69 The room’s even more consumed by Escape To Nowhere preparations. The editing machine is on Sammy’s desk with footage from the camping trip waiting to be edited. Sammy’s in his PJs, sitting on the floor with Boris, who’s in
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70 EXT. OUTSIDE THE FABELMAN HOUSE - MORNING 70 A cab waits as the family gathers to send off Boris. MITZI (to Lisa) Say bye bye.
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81 INT. THE DINING ROOM - NIGHT 81 Burt, Bennie, Reggie, Natalie and Lisa sit around the table in the dark, watching the camping film. On screen, Mitzi mugs for the camera with her mouth full of food. They all laugh. LISA
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85 INT. THE JAYCEE HALL, PHOENIX - NIGHT 85 Sammy, in his scout uniform, mans the projector once more. It’s being watched by an audience of Boy Scouts and their parents, mostly dads, clearly swept up in the drama onscreen. In a middle row, Reggie, Natalie, Lisa, Burt, Mitzi and
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88 INT. THE FABELMAN HOUSE - MORNING 88 CU on the BSA pamphlet for Life-Saving, open to a section dealing with saving people who are drowning. Sammy, shirtless in swimming trunks, Reggie, Natalie and Lisa are at the breakfast table. Mitzi, upset, closed off, is
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92 INT. A CAMERA STORE, PHOENIX - DAY 92 CU on Sammy’s much-used Bolex P1 camera in Sammy’s hands, putting it down on the glass counter top. THE FIRST CLERK (O.S.) You sure about this?
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93 EXT. THE PARKING LOT OF THE CAMERA STORE - DAY 93 Sammy storms out of the shop and crosses the street. Bennie catches up with him, grabs him by the arm, turns him around and thrusts the camera at him. Sammy won’t take it. BENNIE
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94 EXT./INT. THE FABELMAN CAR, A HIGHWAY BRIDGE, ARIZONA- 94 CALIFORNIA BORDER - NOON Over this, The Crystals sing “Da Doo Run Run,” ushering the Fabelmans out of Arizona. The Fabelman car rounds a curve in the highway with a small sign: WELCOME TO CALIFORNIA!
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A98 EXT. THE RENTAL HOUSE, LOS GATOS - SUNSET A98 The Fabelmans’ car is parked outside. SCREEN TITLE: NORTHERN CALIFORNIA 98 INT. THE RENTAL HOUSE, LOS GATOS - SUNSET 98 The interior is gloomy, meager furniture covered in sheets;
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100 INT. THE GYM, GRAND VIEW HIGH SCHOOL, SARATOGA - DAY 100 A boys’ PE class, 24 BOYS, ages 16-18, is engaged in a robust game of volleyball. COACH Up and over, nice dig, Adam
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102 EXT. THE RENTAL HOUSE - LATE AFTERNOON 102 Sammy is about to open the front door when he stops, hearing his sisters screaming and glass breaking inside. Conformed Draft 91. 103 INT. THE RENTAL HOUSE, LOS GATOS - LATE AFTERNOON 103
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108 INT. GRAND VIEW HIGH SCHOOL - AFTERNOON 108 CU on the locker door. Sammy’s hand opens the locker. Inside there’s a bagel dangling from a string. Written with a felt pen on the bagel: JEW-HOLE Sammy pulls at the bagel; it breaks in pieces in his hands,
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111 INT. THE RENTAL HOUSE - EARLY EVENING 111 Mitzi opens the door for Burt. She’s already on the war path. Sammy is slumped on the couch, his eyes and his bandaged nose swelling and purple, clothes stained with blood. MITZI
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113 EXT. GRAND VIEW HIGH SCHOOL LIBRARY - MORNING 113 CU on Claudia, hurt, angry, listening unsympathetically. She sits next to her friend MONICA SHERWOOD, shorter, pretty, indignant, intrigued. Sammy sits across from them, two black eyes, swollen nose.
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114 INT. MONICA’S BEDROOM, LOS GATOS - AFTERNOON 114 CU on a big poster of Jesus delivering the Sermon on the Mount, beautiful face, long flowing hair. Jesus is surrounded by Paul McCartney, John Lennon, another Jesus poster, JFK photos, another Jesus, Troy Donahue, yet
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118 INT. THE DINING ROOM IN THE RENTAL HOUSE - EVENING 118 The Fabelmans sit around the dinner table with their guests: Hadassah, older but her dress is a little more modern; and Monica. Bennie the monkey sits by Burt’s plate; Burt feeds him a cherry tomatoes from his salad, spearing them on his
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119 EXT. SANTA CRUZ MAIN BEACH - DAY 119 “Goodbye Cruel World” plays as Sammy, wielding Monica’s dad’s Arriflex 16-S, arrives at the beach, where a massive banner welcomes “GRAND VIEW HIGH CLASS OF ‘64”. Monica rushes to join him, carrying a shoulder rig for the camera.
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127 INT. SAMMY’S BEDROOM - NIGHT 127 Sammy is working at a rented 16MM editor, surrounded by film, a tape recorder, tapes, a record player, 45s rpms. Labeled film strips are taped to the walls. Sammy has Jimmy Soul’s “If You Wanna Be Happy” playing for inspiration. Reggie
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128 EXT. THE GRAND VIEW HIGH SCHOOL PARKING LOT - NIGHT 128 Sammy pulls up in the family car, Monica beside him. All around them, students are exiting their cars in prom dresses and tuxes. Colorful lights from the prom illuminate the big gym window.
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136 INT. THE FABELMAN KITCHEN - DAWN 136 Sammy enters the kitchen, still in his prom clothes. Mitzi is at the stove, cooking breakfast. MITZI Must’ve been some night.
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137 EXT. BURT’S APARTMENT BUILDING, BRENTWOOD, CA - AFTERNOON 137 The sun’s molten hot. The street’s lined with palm trees. Sammy’s beat-up Le Mans pulls up to an apartment building. Sammy, now 18, gets out, burdened, harried. His hair’s Conformed Draft 135.
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140 INT. BERNIE FEIN’S OFFICE - AFTERNOON 140 Crawling over a bulletin board where several headshots are pinned above hand-written labels for various roles: “LEBEAU” “HOGAN”. Widening out reveals several other head shots, labels, location photos, etc...
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141 INT. A CORRIDOR AND AN OFFICE, LOS ANGELES - DAY 141 Bernie Fein leads Sammy out of his office to an office directly across the hall. As he’s opening the door: BERNIE FEIN C’mon. Wait here a minute.
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143 EXT. PARAMOUNT PICTURES STUDIOS - AFTERNOON 143 Sammy emerges onto an empty studio street, bordered on each side by the huge semicircles of the soundstages. Sammy is stunned, happy, taking in what’s happened. He looks back up to the third floor of the small office building, then ahead.

The Fabelmans

A young boy's passion for filmmaking becomes a lens through which he navigates the complexities of his family's unraveling and his own journey of self-discovery.

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Overview

Poster
Unique Selling Point

Immerse yourself in "The Fabelmans," an award-winning film by Steven Spielberg, which captures the magic of cinema and the power of storytelling. Journey through the childhood and adolescence of Sammy Fabelman, an aspiring filmmaker, as he navigates family dynamics, explores his passion for filmmaking, and faces the complexities of growing up. With its unique blend of humor, heart, and stunning visuals, this film will resonate with audiences of all ages, leaving an indelible mark on their hearts and minds.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Gemini
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Story Facts

Genres: Drama, Family, Comedy, Coming-of-age, Family Drama, Coming of Age, Adventure, War, High School, Teen, Thriller, Action, Romance, Biography

Setting: 1960-1970s, Arizona, California, and various other locations based on Sammy's film projects

Themes: Art and the Artist, Family Conflict and Reconciliation, Childhood and Trauma, The Power of Film, Jewish Identity

Conflict & Stakes: Sammy's struggle to pursue his passion for filmmaking while also meeting the expectations of his family and society; the Fabelman family's struggle to stay together amidst personal and financial challenges; Mitzi's struggle with her own mental health and her marriage to Burt; Sammy's desire for artistic freedom in his filmmaking and his desire for personal connection and love

Mood: Nostalgia, coming-of-age, tragicomic

Standout Features:

  • Unique Hook: An epic family saga that explores the power of art and the struggle between personal dreams and family expectations
  • Plot Twist: The revelation that Mitzi is having an affair with Bennie, which throws the family into turmoil
  • Distinctive Setting: The film's setting in the 1960s and 1970s provides a nostalgic backdrop for the story
  • Innovative Idea: The use of Sammy's filmmaking as a way to explore his family relationships and the world around him
  • Unique Characters: The film's characters are complex and well-developed, and they stay with the audience long after the film is over
  • Genre Blend: The film successfully blends elements of coming-of-age, family drama, and comedy

Comparable Scripts: 8MM, The Night of the Hunter, Jaws, Halloween, The Exorcist, The Shining, E.T. the Extra-Terrestrial, The Breakfast Club, The Goonies, Stand By Me

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
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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Writer Exec

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Unique Voice
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Writer's Craft
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Memorable Lines
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Tropes
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World Building
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Correlations
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Loglines
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