When their parents, a pair of retired secret agents, are kidnapped, two young siblings must use their wits and the gadgets from their family's spy past to rescue them and stop a diabolical plot.
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Setting: Present day, New York City
Themes: Spy Work and Espionage, Family Bonds and Love, Creativity and Invention, Heroism and Bravery, Technology and Innovation
Conflict & Stakes: John's struggle to prove his innocence and uncover the truth behind the crime, risking his career and reputation
Mood: Tense and suspenseful
Standout Features:
Comparable Scripts: The Incredibles, Agent Cody Banks, The Spy Next Door, Kim Possible, The Man from U.N.C.L.E.
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.
Your whole script read on three things — Design (is it built), Execution (does it play on the page), and Read (does it grip) — then mapped scene by scene. The rows go Script → Acts → Sequences → Scenes in story order, left to right; a unit’s width is its length in pages.
Colour depends on the mode. By default you’re on Triage — a recommendation for each part: Keep (green), Polish, Rework, or Cut / rebuild (red). Switch Colour by (top) to a lens (Design / Execution / Read) or one of the twelve axes and the colour becomes that signal’s score instead — red (needs work) through green (strong), with grey where a part isn’t owed that signal. Either way it’s a map of where to look.
To explore: click any cell for its detailed read — what’s working, what’s dragging, and your options. When a script has acts, hover an act and hit ⤢ Focus to zoom into it. Use Colour by (top) to recolour by a single craft signal, or the Findings / Axes / Patterns tabs to read it different ways.
High-level overview
Spy Kids is a story about a family of spies who face danger and adventure on their missions. The movie follows Carmen and Juni, two siblings who learn about the true identity of their parents and their own destiny as spies. Along the way, they team up with their uncle Izzy and the inventor Floop to overcome their enemies, including the evil mastermind Minion. With the help of their gadgets and skills, the Cortez family works together to rescue their parents and stop Minion from carrying out his dangerous plan.
Scene by Scene Summaries
Act-by-act sequence summaries
Mom tells Carmen and Juni a bedtime story about her past as a spy who was sent to kill Gregorio Cortez but instead fell in love with him. The story spans their meeting, secret dates, wedding, and escape from an attack, ending with their retirement and parenthood.
Mom and Dad discover the Brain has a virus and decide to return to field work. The kids undergo morning training, eat breakfast, and go to school. At school, Juni is caught with a spy book and names Floop as his hero. Dad receives news that Donnagon is missing, escalating the crisis.
In a castle, Floop presents his latest invention, a robot child, to a gathering of villains. Lisp criticizes Floop's previous creations and is unimpressed by the robot's performance, dismissing it as useless.
Dad meets with Felix, decides to take Ingrid on the mission, and gives Felix a disc for the Third Brain. The family takes a picture, then Mom and Dad drive the car into the ocean, where it transforms into a submarine. They receive a welcome message from Devlin and dive into the underwater world.
Felix reveals that the parents are spies and something has happened to them. He leads the kids to an escape pod, but attackers break in. The kids launch the pod prematurely, are chased by speedboats, and evade them by transforming the pod into a submarine and diving through an underwater tunnel.
Floop sculpts a clay likeness of Gregorio Cortez while Minion praises him. A monitor shows the model, suggesting Floop is planning to use it against the family.
Carmen and Juni explore the safehouse, finding freeze-dried food and a Cyberpooch named Argonaut. They activate the dog, and Carmen receives a call from Felix, who tells them to find Machete. The sequence ends with the kids planning to use the locator and sub to pursue the new goal.
Carmen and Juni decide to rescue their parents. Ms. Gradenko arrives, claiming to need their help. After initial distrust, she reveals that Floop kidnapped their parents and wants the Third Brain. Carmen whispers about the Third Brain, and Gradenko straps a bracelet on Carmen. Juni sees shapes outside, signaling danger.
Gradenko presses Carmen, but Juni interrupts with a gadget. They throw gadgets, Argonaut attacks, shapes burst in. Juni escapes on a Buddy Pack, Carmen is left. They continue evading through tunnels and city streets, changing clothes at Woolworth's, and finally sneak into a station wagon to hide.
Floop complains about his show and wants the Third Brain. Minion suggests creating doppelgangers by transmogrifying two prime candidates. He reveals child robots XS and Y6, and Floop approves the plan.
Carmen uses her watch to open a lunch box, finds a lollipop with a note from Mom. She eats it and finds a secret paper with 'Isidor Machete'. She repeats the name, realizing it's a clue.
Kids fight robot duplicates, learn about Floop's plan to use the Third Brain for robot armies; simultaneously, Felix confronts Floop, who distorts his face to pressure him into cooperation. Both scenes expose the antagonists' power and set the stakes for the heroes.
Carmen and Juni visit a store, reveal themselves to their uncle Machete, who equips them with a stealth aircraft and intel on Floop Castle. They depart successfully, completing their preparation.
Dad shares his painful spy father history with Mom, deepening their emotional stakes; Minion betrays Floop, taking control of the robot children and locking Floop in the Virtual Room. Both scenes raise the stakes for the coming confrontation.
Kids dive, open a shark-tooth door, knock out a sentry with a gumball, and hide him. They fool the control room briefly but are forced to abandon the radio as reinforcements approach, leaving them in a tense position.
Dad resists Minion, initiates a countdown, twists Minion's arm, and escapes but is recaptured along with Mom. Meanwhile, kids enter the Virtual Room, encounter a surreal giant Floop face, and accuse him of evil—only for Floop to deny it, leaving a cliffhanger.
Juni tricks Floop to shut down the virtual room, then encounters Carmen. They run to save their parents, defeating Minion temporarily and rescuing them. The family escapes through a hole drawn by Juni, but Minion triggers a defense system. The family reaches the control room where Floop offers help, but Gradenko attacks, and Argonaut intervenes. Mom volunteers to disable the remote security lock, and Dad realizes a compromise solution.
Each axis shows your script's raw score (0–10) in that category. We recently upgraded the AI models behind these categories, so percentile rankings are temporarily unavailable while we re-score our reference library.
Hover over each axis on the radar chart to see what that category measures and why it matters.
Analysis: The screenplay effectively develops its characters, providing depth, complexity, and transformation throughout the narrative. The character arcs are well-executed and relatable, driving the narrative forward and deepening the story's emotional resonance.
Analysis: The screenplay's premise is engaging, clear, and has the potential to captivate the audience. It sets up a compelling narrative with intriguing characters.
Analysis: The screenplay exhibits a solid structure and coherent plot, effectively engaging the audience with its progression of events. While some plot elements could be refined for clarity, the strengths of the narrative lie in its focus on character growth and adherence to a familiar story structure, making it an overall satisfying and well-rounded screenplay.
Analysis: The screenplay captures the essence of family and togetherness, emphasizing the importance of love, trust, and adventure. However, while the themes are clear and resonate with the audience, they could be further refined to explore the complexities of the characters and their relationships. By delving deeper into the emotional journeys of the family, the screenplay could enhance its thematic richness and emotional impact.
Analysis: This screenplay exhibits a clear focus on family dynamics and teamwork, and its visual storytelling effectively supports these themes. The incorporation of gadgetry and lively action sequences adds an engaging and visually dynamic element that complements the script's core message.
Analysis: This screenplay is successful in evoking emotions through its relatable characters, compelling themes, and heartwarming relationships. It effectively delivers an emotional journey that captivates the audience and leaves a lasting impact. While the screenplay excels in several areas, there is room for potential enhancements to deepen the emotional depth and create an even more immersive experience for viewers.
Analysis: The screenplay effectively presents conflict and stakes at various points throughout the narrative, creating some compelling moments of tension and engagement. However, further refinement and development in these aspects could significantly elevate the overall impact of the screenplay.
Analysis: The screenplay showcases creative approaches in its narrative execution and character development. While the story's foundation may not be entirely novel, it introduces original elements that enhance its intrigue and overall entertainment value.
Expand to see detailed analysis
View Complete AnalysisProtagonist
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| Theme | Theme Details | Theme Explanation |
|---|---|---|
|
Spy Work and Espionage
|
The parents work as spies and are on a mission to find Donnagon and Jack Braxford. They also discuss their espionage work and future plans over breakfast. Carmen and Juni also receive help from their parents' agency to escape from Floop's agents.
|
The theme of spy work and espionage is significant throughout the screenplay, as it forms the basis of the story. It is a theme that shows the importance of the work that the parents do as spies, which helps to save lives and protect people from danger. It also highlights the challenges that spies face, and the need for collaboration and teamwork to achieve success. |
|
Family Bonds and Love
|
The Cortez family works together to save their parents from Floop's captivity. They also pledge to undertake missions together to keep the family together. Carmen and Juni ask their mom to tell them a story about two spies who fall in love. The mom tells a story about a woman spy sent to kill a man spy but they end up falling in love. Carmen then hears a story about two spies who get married, despite being from opposite sides.
|
The theme of family bonds and love is essential in the screenplay, as it shows the importance of family and the bond that exists within a family. It highlights how working and supporting each other can lead to success and help overcome challenges. The theme also emphasizes the strength of love and how it can bring together diverse cultures and backgrounds. |
|
Creativity and Invention
|
Mr. Floop presents his latest invention to criminals for approval. Floop realizes he needs the Third Brain to boost creativity and creates robot twins that the siblings fight. Floop and Minion discuss cloning world leaders' children for their program.
|
The theme of creativity and invention is notable in the screenplay, as it highlights the importance of innovation and creativity in problem-solving. It emphasizes how creativity can lead to the development of new technologies and help overcome challenges. The theme also presents the ethical dilemmas arising from the abuse of creativity and the potential for negative consequences of new inventions. |
|
Heroism and Bravery
|
Carmen and Juni escape from Floop's agents with the help of Argonaut. They use gadgets to evade pursuit and end up in a Woolworth's, where they discover the Third Brain's importance. Carmen and Juni successfully infiltrate the castle using Izzy's gear. Juni uses an electro gumball to shut down Floop's virtual room, and they finish saving their parents before Dad forcibly teaches Minion a lesson. The Cortez family rescues their parents and prevents Minion from turning them into toys. XS and Y6 become renowned for their heroism.
|
The theme of heroism and bravery is notable in the screenplay, as it highlights the importance of courage and determination in overcoming challenges. It emphasizes how ordinary people can become heroes when they act courageously and that anyone can be a hero, regardless of their age or background. The theme also highlights the importance of working together to achieve success. |
|
Technology and Innovation
|
The Cortez family uses gadgets to evade pursuit and overcome obstacles. Floop presents his latest invention to criminals and uses new technologies to create robot twins. Carmen discovers a locator and receives a message from Felix to find Machete, and the siblings manage to convince him to let them use the Beijing Express.
|
The theme of technology and innovation is notable in the screenplay, as it highlights the importance of technology in overcoming challenges and achieving success. It emphasizes how new technologies can help solve problems and create new opportunities. The theme also presents the potential ethical dilemmas arising from the use of technology and the responsibility that comes with its development and use. |
| 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.
Design and Read are broken — this reads as a rebuild before polish.
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.
Design and Read are broken — this reads as a rebuild before polish.
The beats can be called before they land Unpredictability
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 isn’t clearly about one thing yet Contract
HoldingThe reader can follow what matters.
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
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 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 ritual beat repeats a known pattern on purpose, so movement and freshness read low by design.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingThe reader can follow what matters.
No lens is broken, but Design 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.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
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.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
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 Design, Execution and Read are soft — this reads as a polish pass.
It isn’t clearly about one thing yet Contract
HoldingWhat happens here obliges what comes next.
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
HoldingA real force keeps it pushing forward.
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.
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
HoldingIt commits to one clear thing and holds it.
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.
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, 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.
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.
Read is broken — a load-bearing lens isn’t doing its job yet.
It isn’t clearly about one thing yet Contract
HoldingEvery beat and line earns its place.
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 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.
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.
No lens is broken, but Design, Execution and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it Development
HoldingA real force keeps it pushing forward.
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
HoldingWhat happens here obliges what comes next.
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.
No lens is broken, but Read is soft — this reads as a polish pass.
It plays close to the version we’ve seen before Freshness
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.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
HoldingEvery beat and line earns its place.
A transition carries us between beats. It owes less structurally than a scene built to turn.
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.
No lens is broken, but Design and Read are soft — this reads as a polish pass.
It restates its note rather than deepening it 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.
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.
Design, Execution and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
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.
Every beat and line earns its place Economy
HoldingA real force keeps it pushing forward.
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.
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.
Design and Read are broken — this reads as a rebuild before polish.
It restates its note rather than deepening it Development
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.
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 - Bedtime Story: The Two Spies Who Fell in Love | Low on its ownRitualDesign 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 | 5 / 7 | 7 / 6.5 | 8 | 6 | 8 | 6 | 2 | 7 | 6 | 4 | 3 | 3 | 4 | 7 | 6 | 8 | 6.5 | 5.5 | 3 | 5 | |
| 2 - The Two Spies Who Fell in Love: Marriage | Low on its ownDeliveryDesign 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 | 7.5 / 8 | 5 / 6 | 8 | 6 | 8 | 7 | 2 | 7 | 6 | 4 | 3 | 5 | 4 | 8 | 7 | 7 | 7 | 6.5 | 4 | 6 | |
| 3 - The Spy Wedding and Retirement | 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. | 6.5 | 7 / 6 | 4 / 5 | 8 | 5 | 7 | 6 | 1 | 6 | 7 | 4 | 3 | 3 | 2 | 6 | 6 | 6 | 6 | 5 | 4 | 5 | |
| 4 - Spy Parents' Discussion | PolishRelationship shiftNo 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 | 8 / 7 | 5 / 6 | 8 | 6 | 7 | 5 | 1 | 6 | 7 | 3 | 2 | 3 | 4 | 7 | 5 | 5 | 6.5 | 5 | 6 | 5 | |
| 5 - Morning Training and Breakfast Banter | PolishRitualNo 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. | 5.5 | 6.5 / 5 | 5 / 6 | 7 | 5 | 6 | 6 | 1 | 4 | 6 | 3 | 2 | 2.5 | 3.5 | 6 | 4 | 5 | 5 | 4 | 3.5 | 4 | |
| 6 - Breakfast Banter | PolishRitualNo 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 | 6 / 7 | 7 / 6.5 | 8 | 6 | 7 | 7 | 1 | 5 | 7 | 4 | 3 | 4 | 5 | 6 | 5 | 7 | 6 | 5 | 4 | 5 | |
| 7 - Spy Family Morning | Low on its ownInvestigationDesign and Read are broken — this reads as a rebuild before polish. | BrokenThe underlying story machine isn’t holding — worth looking at before polish. | 5.5 | 8 / 7 | 4 / 5.5 | 6 | 5 | 6.5 | 6 | 1 | 5 | 6 | 3 | 3 | 2 | 4 | 6 | 3 | 5 | 5.5 | 5 | 7 | 5 | |
| 8 - Espionage Plans Revealed | 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 | 8.5 / 8 | 6.5 / 7 | 8 | 6 | 7 | 7 | 2 | 6 | 7 | 6 | 6 | 7 | 6 | 7 | 6 | 7 | 7 | 7 | 8 | 7 | |
| 9 - FLOOP | Low on its ownOrientationDesign 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 | 7 / 7.5 | 7 / 7.5 | 7 | 6 | 6.5 | 7 | 4 | 6 | 7 | 5 | 4 | 6 | 6 | 7 | 6 | 6 | 6 | 5 | 7 | 5.5 | |
| 10 - Spy Parents Go Back in Action | Low on its ownOrientationDesign 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 | 8.5 / 7 | 5 / 6 | 7 | 6 | 4.5 | 6 | 1 | 5 | 6 | 3 | 1 | 3 | 6 | 4 | 5 | 5 | 5.5 | 5 | 7 | 5.5 | |
| 11 - Underwater Encounter with Criminals | PolishTransitionNo 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 | 8 / 7.5 | 8 / 7.5 | 7 | 7 | 7 | 6 | 3 | 6 | 7 | 7 | 6 | 7 | 8 | 7 | 6 | 6 | 7 | 6.5 | 8 | 7 | |
| 12 - Escape to the Safehouse | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 7 / 7.5 | 8 / 7.5 | 7 | 7 | 5.5 | 6 | 4 | 5 | 7 | 7 | 5 | 7 | 8 | 6 | 6 | 6 | 7 | 6.5 | 7 | 6 | |
| 13 - Escape from Pursuers | 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 | 8.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 6 | 2 | 5 | 8 | 8 | 6 | 7.5 | 7 | 7 | 6 | 6 | 7.5 | 8 | 7 | 7 | |
| 14 - Escape to the Safehouse | 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 | 8.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 7 | 2 | 7 | 8 | 4 | 3 | 6 | 7 | 5 | 6 | 6 | 6.5 | 6 | 7 | 6.5 | |
| 15 - Spy Kids Taken to Safehouse | 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 | 8 / 8 | 8 / 8 | 7 | 7 | 7 | 7 | 4 | 7 | 8 | 8 | 8 | 8.5 | 8 | 7 | 6 | 6 | 7 | 6.5 | 7 | 6.5 | |
| 16 - Spy Kids at the Safehouse | 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 | 8.5 / 8 | 7 / 7 | 7 | 6 | 6 | 7 | 3 | 5 | 7 | 4 | 2 | 6 | 7 | 5 | 5 | 6 | 6.5 | 5 | 7 | 6 | |
| 17 - Safehouse Intruder | PolishInvestigationNo 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 | 8 / 7.5 | 7 / 7.5 | 7 | 7 | 6.5 | 7 | 4 | 6 | 7 | 6 | 5 | 7 | 7 | 6 | 6 | 6 | 6.5 | 5.5 | 8 | 6 | |
| 18 - Floop's Interrogation and Safehouse Exploration | PolishInvestigationNo 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 / 8.5 | 7.5 / 7 | 7 | 6 | 6.5 | 8 | 2 | 7 | 6.5 | 8 | 7 | 7 | 6.5 | 7 | 7 | 8 | 7 | 7 | 8 | 6.5 | |
| 19 - Discovering the Truth | ReworkOrientationRead is broken — a load-bearing lens isn’t doing its job yet. | SoftThe structure works but is leaking power in places. | 6.5 | 8.5 / 8 | 8 / 7.5 | 7 | 6 | 6.5 | 7 | 4 | 6 | 7 | 4 | 3 | 7 | 8 | 6 | 5 | 6 | 7 | 7 | 8 | 7 | |
| 20 - Escape from the Safehouse | 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 | 7.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 7 | 4 | 6 | 8 | 8 | 8 | 8 | 8 | 7 | 6 | 6 | 7.5 | 7.5 | 8 | 7 | |
| 21 - Escape from the Safehouse | 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 | 7.5 / 8 | 8 / 7.5 | 7 | 7 | 6.5 | 7 | 2 | 6 | 8 | 8 | 8 | 8 | 7 | 7 | 6 | 6 | 7 | 6.5 | 8 | 6.5 | |
| 22 - Escape from Woolworth's | 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 | 8.5 / 8 | 6 / 7 | 7 | 7 | 6.5 | 7 | 2 | 6 | 8 | 7 | 5 | 6 | 6 | 7 | 5 | 6 | 7 | 8 | 7 | 7.5 | |
| 23 - The Spy Kids Escape | PolishInvestigationNo 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. | 5.5 | 8 / 7 | 4 / 6 | 6 | 5 | 5.5 | 6 | 1 | 5 | 6 | 3 | 2 | 4 | 5 | 4 | 3 | 5 | 5 | 4.5 | 8 | 5 | |
| 24 - Secret Center | PolishInvestigationNo 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 | 8.5 / 8 | 7 / 7.5 | 7 | 7 | 6.5 | 7 | 3 | 6 | 8 | 4 | 3 | 6 | 8 | 7 | 5 | 7 | 7 | 6 | 7 | 6 | |
| 25 - Robot Twins Fight | 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 | 7.5 / 7 | 7 / 7.5 | 8 | 7 | 7.5 | 6 | 3 | 5.5 | 7 | 8 | 8 | 8 | 7 | 7 | 6 | 6 | 7 | 6.5 | 7 | 6 | |
| 26 - Machete's Spy Shop | PolishNegotiationNo lens is broken, but Read is soft — this reads as a polish pass. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8 | 7 / 7.5 | 7 | 6 | 7 | 8 | 2 | 7 | 6 | 6 | 7 | 5 | 4 | 6 | 7 | 8 | 7 | 7 | 8 | 7 | |
| 27 - Meeting with Uncle Izzy | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 9 / 8.5 | 7 / 7.5 | 7 | 6 | 6 | 7 | 1 | 5 | 8 | 3 | 2 | 6 | 7 | 7 | 5 | 7 | 6.5 | 5.5 | 8 | 6.5 | |
| 28 - Machete's Wisdom | Low on its ownDeliveryDesign 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 / 8 | 7 / 7.5 | 7 | 6 | 6 | 7 | 3 | 7 | 8 | 4 | 3 | 5 | 5 | 5 | 6 | 7 | 6 | 6 | 8 | 6.5 | |
| 29 - Family Secrets and Flight Mishaps | 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 | 9.5 / 9 | 6 / 7.5 | 7 | 5 | 5.5 | 7 | 2 | 8 | 2 | 4 | 1 | 5 | 3 | 5 | 8 | 8 | 7 | 6.5 | 9 | 7 | |
| 30 - Infiltrating Floop's Castle | PolishRelationship shiftNo 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 | 7.5 / 8 | 8 / 8 | 8 | 6 | 7.5 | 7 | 6 | 6.5 | 7 | 8 | 8 | 8 | 7 | 8 | 6 | 7 | 7 | 6 | 7 | 6 | |
| 31 - Infiltrating Floop's Castle | PolishInvestigationNo 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 | 7 / 8 | 7 / 7.5 | 7 | 7 | 6.5 | 6 | 1 | 5 | 8 | 6 | 4 | 6.5 | 7 | 6 | 5 | 6 | 6 | 5.5 | 7 | 6.5 | |
| 32 - Infiltration and Blackmail | 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 | 7 | 7 | 6.5 | 7 | 6 | 7 | 8 | 8 | 7 | 8.5 | 8 | 8 | 7 | 7 | 7 | 7 | 8 | 7 | |
| 33 - Infiltrating Floop's castle | 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 | 6.5 / 7 | 8 / 7 | 8 | 6 | 7 | 7 | 3 | 6 | 4 | 6 | 6 | 5 | 5 | 8 | 6 | 5 | 6 | 5.5 | 7 | 5.5 | |
| 34 - Juni and Carmen find their parents | Low on its ownInvestigationDesign, Execution 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 | 8.5 / 8 | 8 / 7.5 | 7 | 6 | 6.5 | 7 | 3 | 7 | 8 | 6 | 5 | 7 | 6 | 8 | 6 | 6 | 6.5 | 6 | 7 | 6 | |
| 35 - Juni and Floop's Deal | KeepPursuitAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 6.5 | 8.5 / 8 | 7.5 / 7.5 | 7 | 7 | 6.5 | 6 | 5 | 5 | 8 | 5 | 4 | 7 | 8 | 6 | 6 | 6 | 6.5 | 6.5 | 8 | 7 | |
| 36 - Rescue Gone Right | KeepDeliveryAll three lenses are solid — worth protecting as it stands. | SolidThe story machine is built and mostly working. | 7.2 | 6.5 / 7.5 | 8.5 / 7.5 | 8 | 7 | 6.5 | 8 | 3 | 5 | 8 | 8 | 6 | 7 | 8.5 | 7 | 7 | 7 | 8 | 7.5 | 7 | 6.5 | |
| 37 - Rescue and Redemption | 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 | 7.5 / 7 | 8 / 8 | 8 | 7 | 8 | 7 | 6 | 7 | 8 | 7 | 6 | 8 | 8 | 8 | 6 | 6 | 7 | 6.5 | 8 | 6.5 | |
| 38 - Rescuing the Parents and Stopping Minion | 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 | 7 / 7 | 8 / 7.5 | 7 | 7 | 6 | 7 | 5 | 6 | 8 | 7 | 7 | 7 | 8 | 6 | 6 | 6 | 7 | 7 | 7 | 6 | |
| 39 - The Final Showdown | Low on its ownDeliveryDesign 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 | 8.5 / 8 | 5 / 7 | 7 | 6 | 6 | 8 | 7 | 6 | 7 | 4 | 4 | 5 | 7 | 7 | 7 | 7 | 7 | 6.5 | 7 | 6.5 | |
| 40 - Family Reunited | 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. | 7.2 | 9 / 8 | 4 / 6 | 8 | 7 | 7.5 | 7 | 6 | 7 | 6 | 2 | 1 | 3 | 4 | 6 | 7 | 7 | 7 | 6.5 | 8 | 7 | |
| Pattern | Explanation |
|---|---|
| Emotional Impact vs Overall Grade | There is a positive correlation between Emotional Impact and Overall Grade, suggesting that the more emotionally impactful the story, the higher the overall grade given by the reader. |
| Dialogue vs Character Changes | There is a positive correlation between Dialogue and Character Changes, suggesting that the more dialogue in the script, the greater the opportunity to show changes in the characters. |
| Conflict vs High Stakes | There is a positive correlation between Conflict and High Stakes, indicating that the higher the stakes, the greater the possibility for conflict in the story. |
| Concept vs Plot | There is a positive correlation between Concept and Plot, indicating that a strong and well-developed concept can lead to a strong plot. |
| Tense vs High Stakes | There is a positive correlation between Tense and High Stakes, suggesting that a higher level of tension is often associated with high stakes in the story. |
| Light-hearted vs Move Story Forward | There is a positive correlation between Light-hearted tone and moving the story forward, indicating that lighter moments can help move the story forward and keep the audience engaged. |
| Serious vs Emotional Impact | There is a positive correlation between Serious tone and Emotional Impact, suggesting that a serious tone can be effective in eliciting emotional responses from the audience. |
| Fast-paced vs High Stakes | There is a positive correlation between Fast-paced and High Stakes, indicating that a fast pace is often associated with high stakes and a sense of urgency in the story. |
| Humorous Adventure vs Emotional Impact | There is a negative correlation between Humorous Adventure and Emotional Impact, suggesting that a story that is too focused on humor may not be as emotionally impactful. |
| Tense vs Adrenaline-fueled | There is a positive correlation between Tense and Adrenaline-fueled, indicating that a high level of tension can create a sense of adrenaline and excitement in the audience. |
| Trope | Trope Details | Trope Explanation |
|---|---|---|
| Bedtime Story | Carmen and Juni ask their mom for a bedtime story about two spies who fall in love. | A scene or device in which a character tells or reads a story to ease tension, or as a way of framing the plot. Example: The Princess Bride. |
| Spy Fiction | The screenplay is centered around the espionage work of the Cortez family and their allies. | A genre that centers around spies, espionage, and intelligence operations. Example: James Bond franchise. |
| Mistaken for Spies | The parents disguise their equipment as a normal couple's car. | A plot device in which characters are suspected to be spies or have secret motives due to their actions or appearances. Example: The Tourist. |
| Ambush | The spy kids are ambushed by unknown forces after being taken to a safehouse. | A surprise attack on a group of characters, typically by an enemy force. Example: Saving Private Ryan. |
| Gadgetry | The spy kids use gadgets to evade pursuit and fight robot twins. | The use of advanced technology and devices by characters to accomplish tasks, particularly in spy or action stories. Example: Mission: Impossible franchise. |
| Secret Agent | The Cortez siblings visit their uncle who is a secret agent and provides them with gear and a plan to infiltrate Floop's castle. | A character who is employed or affiliated with a government agency and engages in covert operations. Example: Kingsman: The Secret Service. |
| Kid Hero | The spy kids, Carmen and Juni, are the main protagonists and heroes of the story. | A story that focuses on young characters who take on adult roles and responsibilities, particularly in action or adventure genres. Example: Stranger Things. |
| Rescue Mission | Carmen and Juni plan to rescue their parents from Floop's castle. | A plot device or storyline where characters embark on a mission to save someone from danger or captivity. Example: Die Hard. |
| Family Bonding | The Cortez family resolves their conflicts and decides to undertake missions together to keep the family together. | A theme or subplot that emphasizes the importance of family relationships and reconciliation. Example: The Incredibles. |
| Happy Ending | The Cortez family reunites and watches as their robotic children take off on Buddy Packs, ready to explore the world. | A conclusion or resolution where conflicts are resolved, and characters find happiness and fulfillment. Example: Cinderella. |
| Scene Number | Line |
|---|---|
| 4 | DAD: This computer I've built doesn't just calculate, it thinks. |
| 5 | Carmen: You just fell 1000 feet. You're a pancake. |
| 7 | Carmen: He's not my brother. He's a bulbous, vomitus, cancerous growth, festering on my extremity like an underdeveloped twin. That one day I will have professionally removed. |
| 19 | Carmen: The Third Brain. It's all my Dad's been working on since, well, my whole life. |
| 36 | Dad: I'm going to show you what happens when you cross the line and involve family. |
| When their parents, a pair of retired secret agents, are kidnapped, two young siblings must use their wits and the gadgets from their family's spy past to rescue them and stop a diabolical plot. |
| A pair of kids discover their parents' secret lives as spies and are drawn into a high-stakes adventure to save their family and the world from a mad inventor's nefarious scheme. |
| A brother and sister accidentally uncover their family's spy legacy and must embrace their own hidden talents to confront a former colleague of their parents who has sinister plans for their unique abilities. |
| Two children find themselves at the center of a global espionage conspiracy when their parents, legendary secret agents, are targeted by a brilliant but unhinged inventor seeking to harness their special skills. |
| In a world where children are the ultimate secret agents, a pair of siblings must use their wits, courage, and family's spy training to rescue their parents and stop a mad genius from unleashing an army of robotic menaces. |
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Scene by Scene Emotions