Mind Hunter
Executive Summary
Pass/Consider/Recommend/Highly Recommend
Overview
Genres: Output:, Crime, Drama, Thriller
Setting: 1977, Pittsburgh
Overview: The screenplay demonstrates strong originality, creativity, and thematic depth in exploring the complexities of criminal psychology. While it effectively engages the audience with engaging dialogue and emotional depth, there is room for improvement in enhancing unpredictability and character changes. The script showcases a compelling conflict and presents opportunities for further development.
Themes: Communication and Connection, Mental Health and Emotional Struggles, Law Enforcement and Criminal Psychology, Relationships and Intimacy, Trauma and its Effects
Conflict and Stakes: The primary conflicts in this story include the Negotiator's struggle to establish communication with Cody and Holden's attempt to de-escalate the situation. The stakes are high as the Negotiator and Holden are trying to prevent a tragic outcome.
Overall Mood: Tense and suspenseful
Mood/Tone at Key Scenes:
- Scene 2: Tense and suspenseful, with a tragic ending
Standout Features:
- Exploration of criminal psychology: The screenplay delves into the minds of criminals and the psychological aspects of their behavior.
- Tense and suspenseful scenes : The screenplay features scenes that will keep audiences on the edge of their seats.
- Complex and compelling characters : The screenplay presents characters with depth and complexity, making them relatable and engaging.
Comparable Scripts:
- Mindhunter (TV Show)
- Zodiac (Movie)
- True Detective (TV Show)
- Se7en (Movie)
- Silence of the Lambs (Movie)
- Heat (Movie)
- Training Day (Movie)
- Gone Girl (Movie)
- The Departed (Movie)
- The Wire (TV Show)
- American Crime Story: The People v. O.J. Simpson (TV Show)
- The Girl with the Dragon Tattoo (Book/Movie)
- Prisoners (Movie)
- The Killing (TV Show)
- The Silence of the Lambs (Book)
Market Analysis
Budget Estimate:$10-15 million
Target Audience Demographics: Adults aged 25-54, fans of crime dramas and psychological thrillers
Marketability: The screenplay explores compelling themes and features tense and suspenseful scenes that will attract fans of crime dramas and psychological thrillers.
The screenplay has a unique blend of genres, including crime drama and psychological thriller, which will appeal to a wide audience.
The screenplay features strong and complex characters, which will attract audiences looking for character-driven stories.
Profit Potential: Moderate to high, due to the strong appeal to a wide adult audience and potential for critical acclaim and awards.
Scene Level Percentiles
Writer's Voice
Summary:The writer's voice throughout the screenplay is concise, focused, and realistic. They use dialogue and narrative description to create tension, explore complex themes, and develop the characters. The writer's voice is characterized by a blend of seriousness and humor, as well as a strong emphasis on dialogue-driven scenes.
Best representation: Scene 3 - Negotiation Gone Awry. This scene is the best representation of the author's voice because it showcases their ability to create vivid and evocative imagery, realistic dialogue, and explore complex internal conflicts.
Memorable Lines:
- CODY: You can see me, right? (Scene 1)
- Holden: How good is the book? (Scene 3)
- Wilson: These people... are people. (Scene 4)
- Holden: Complicated, right? Always expect 'complicated.' (Scene 12)
- McGraw: There’s nothing. There’s nothing people won’t do to each other. (Scene 18)
Writing Style:
The overall writing style of the screenplay is characterized by sharp and fast-paced dialogue, exploration of complex themes, and a focus on tension and suspense.
Style Similarities:
- Aaron Sorkin
- David Fincher
Story Shape
Emotions Elicited
Consider
Executive Summary
The screenplay for the TV pilot 'Mindhunter' shows promise, with several strong elements, including the collaborative dynamic between the two lead characters, Holden and Tench, and the exploration of Holden's emotional intelligence and willingness to challenge conventional thinking. However, the screenplay also has areas that could be improved, such as a stronger opening that better introduces the characters and their motivations, and a more cohesive exploration of the societal and historical context in which the story takes place. Additionally, the screenplay would benefit from a more developed approach to addressing the most extreme forms of violent crime, which is a central aspect of the show's premise. Overall, the screenplay is a solid starting point that could be further refined to create a compelling and engaging TV series.
- The scene where Tench and Holden present their theories to the local police department demonstrates their strong collaborative dynamic and ability to engage an audience. Tench's practical, experiential approach and Holden's more academic perspective complement each other well. high ( Scene 36 (INT. FAIRFIELD/LOCAL POLICE DEPARTMENT - DAY) )
- The scene where Holden and Debbie watch 'Dog Day Afternoon' shows Holden's empathy and emotional intelligence, as he is moved by the film's themes of identity and desperation. medium ( Scene 25 (INT. MOVIE CINEMA - NIGHT) )
- The class discussion on the Manson case highlights Holden's willingness to challenge conventional thinking and explore more nuanced perspectives on criminal psychology, even if it means clashing with more experienced officers. high ( Scene 39 (INT. FAIRFIELD POLICE DEPARTMENT - DAY) )
- The scene where Holden and Tench struggle to provide insight into the disturbing details of the Mary Jeffrey murder case reveals a gap in their knowledge and ability to address the most extreme forms of violent crime. This is an area that could be further developed. high ( Scene 42 (INT. INCIDENT ROOM/FAIRFIELD POLICE DEPARTMENT - NIGHT) )
- Holden's interaction with the lecturer, Leo, could be strengthened to better establish Holden's credibility and rapport with the academic community, which is an important aspect of his role. medium ( Scene 19 (INT. UNIVERSITY OF VIRGINIA/LECTURE THEATRE - DAY) )
- The screenplay would benefit from a stronger opening that better introduces the central characters, their motivations, and the overall premise of the show. The current opening, while dramatic, lacks sufficient context and character development. high ( Scene 1 (MINDHUNTER (EPISODE 1.)) )
- The screenplay could incorporate more information about the larger societal and historical context in which the story takes place, such as the evolving attitudes towards criminal psychology and the changing role of law enforcement in the 1970s. medium ( Scene 1 (MINDHUNTER (EPISODE 1.)) )
- The scene where Holden and Debbie discuss their relationship and intimacy highlights Holden's social awkwardness and lack of experience, which provides an interesting character depth and contrast to his professional expertise. medium ( Scene 28 (INT. DEBBIE'S BEDROOM - NIGHT) )
- The scene where Detective McGraw shares the disturbing details of the Mary Jeffrey case demonstrates the emotional toll that such extreme violence can have on law enforcement, and hints at the challenges Holden and Tench will face in navigating these types of crimes. high ( Scene 40 (INT. DINER - MAIN STREET - FAIRFIELD - EVENING) )
Screenplay Insights:
Premise: 8.0, This screenplay presents a promising premise for a captivating crime drama with a focus on criminal profiling and aberrant behavior. The narrative effectively sets up a scenario involving the FBI's efforts to delve into the minds of criminals, exploring the psychological complexities behind their actions. However, there are areas where the premise could be refined to further enhance its originality, clarity, and overall audience engagement. See More
Structure: 8.5, The tv_pilot establishes a strong foundation for a captivating psychological thriller. The narrative structure is well-crafted, effectively setting up the characters and central conflict, and capturing the audience's attention. However, there are certain areas where the plot could be further developed and refined to enhance its overall impact. See More
Theme: 8.5, The screenplay effectively explores and conveys themes of aberrant behavior, the challenges of understanding and classifying criminal behavior, and the tension between traditional law enforcement methods and innovative psychological approaches. The underlying messages about the complexity of human nature, the importance of empathy, and the need for a deeper understanding of the criminal mind are effectively woven into the narrative. However, some areas could benefit from further refinement to enhance the screenplay's thematic depth and resonance. See More
Visual Impact: 7.25, The screenplay’s visual imagery offers solid and detailed descriptions that effectively convey the scenes and characters, establishing a strong foundation for visual storytelling. However, the script could benefit greatly from employing more innovative and unique visual elements, exploring creative camera angles, and integrating symbolism to enhance its overall visual impact and originality. See More
Emotional Impact: 7.75, The screenplay demonstrates a clear emotional core and engages the audience with a complex and nuanced portrayal of its characters' emotions. However, there are opportunities to enhance the depth and complexity of the screenplay's emotional impact by further expanding on character exploration, refining emotional arcs, and exploring a broader range of emotions. See More
Conflict: 8.5, The screenplay effectively presents a compelling conflict and raises the stakes, establishing a tense and engaging narrative. However, there are opportunities to enhance the clarity of the conflict and further develop the stakes' personal significance. See More
Originality: 8.0, This screenplay demonstrates a strong commitment to originality and creativity in its exploration of the emerging field of criminal psychology and the uncharted territories of the human mind. It introduces a fresh perspective on crime investigation by incorporating psychological insights and unconventional approaches, setting it apart from traditional crime dramas. See More
Screenplay Story Analysis
Note: This is the overall critique. For scene by scene critique click here
Summaries
- A negotiator attempts to communicate with Mr. Miller, while Cody asks if he can be seen.
- In this scene, a negotiator from the FBI, Holden Ford, arrives at an abandoned warehouse where a man named Cody Miller is holding a shotgun and demanding to see his wife. The police negotiator, Nankervis, is unsure how to handle the situation, but Holden takes charge and tries to establish a connection with Cody. As the tension rises, Cody unexpectedly strips naked, leaving everyone confused. Holden manages to convince Cody to come out and talk, but the scene ends with a shocking gunshot.
- Holden Ford, an FBI negotiator, arrives at an abandoned warehouse where Cody Miller is holding a shotgun and demanding to see his wife. Holden takes charge and tries to establish a connection with Cody. As tension rises, Cody unexpectedly strips naked, leaving everyone confused. Holden manages to convince Cody to come out and talk, but the scene ends with a shocking gunshot.
- Holden Ford, an FBI negotiator, arrives at an abandoned warehouse where Cody Miller is holding a shotgun and demanding to see his wife. Holden takes charge and tries to establish a connection with Cody. As tension rises, Cody unexpectedly strips naked, leaving everyone confused. Holden manages to convince Cody to come out and talk, but the scene ends with a shocking gunshot.
- Holden Ford, an FBI negotiator, arrives at an abandoned warehouse where Cody Miller is holding a shotgun and demanding to see his wife. Holden takes charge and tries to establish a connection with Cody. As tension rises, Cody unexpectedly strips naked, leaving everyone confused. Holden manages to convince Cody to come out and talk, but the scene ends with a shocking gunshot.
- Holden Ford, an FBI negotiator, meets a woman named Debbie at a bar. They engage in a conversation about their backgrounds and interests.
- Holden Ford meets Debbie at a bar and engages in a conversation about their backgrounds and interests. They discuss Durkheim's Labelling Theory on Deviancy and Holden's perspective as an FBI agent. The conversation becomes flirtatious and they decide to leave the bar together.
- Holden Ford meets Debbie at her share house. They engage in a flirtatious conversation while smoking marijuana. Holden becomes nervous and coughs after taking a hit from the bong.
- Holden Ford attends a training session at the FBI academy where he discusses the importance of psychology in criminal investigations with his superior, Shepard. They debate the relevance of academic research and the need for practical knowledge. Shepard offers Holden a deal to recommend him for funding if he helps with recruitment. The scene then transitions to Holden attending a lecture at the University of Virginia.
- Holden Ford engages in a dialogue with Leo, a criminal psychology professor, at the University of Virginia. They discuss the perception of criminals and the FBI's recruitment program. Holden tries to recruit Leo but faces resistance.
- Holden and Debbie have a flirtatious conversation after watching a movie. They discuss their thoughts on the film and Holden shares a personal experience from his time at the FBI academy. The conversation turns intimate as they explore their sexual desires and engage in role play. They also discuss their relationship and Holden's naivety. The scene ends with a moment of uncertainty and silence.
- Holden Ford teaches a class of FBI trainees about hostage negotiation techniques using a film example. He emphasizes the importance of empathy and understanding the psychology of criminals. The trainees engage in role play exercises to practice their negotiation skills.
- Holden Ford attends a training session at the FBI academy where he discusses the importance of psychology in criminal investigations with his superior, Shepard. They debate the relevance of academic research and the need for practical knowledge. Shepard offers Holden a deal to recommend him for funding if he helps with recruitment. The scene then transitions to Holden attending a lecture at the University of Virginia. Holden engages in a dialogue with Leo, a criminal psychology professor, at the University of Virginia. They discuss the perception of criminals and the FBI's recruitment program. Holden tries to recruit Leo but faces resistance. Holden and Debbie have a flirtatious conversation after watching a movie. They discuss their thoughts on the film and Holden shares a personal experience from his time at the FBI academy. The conversation turns intimate as they explore their sexual desires and engage in role play. They also discuss their relationship and Holden's naivety. The scene ends with a moment of uncertainty and silence. Holden Ford teaches a class of FBI trainees about hostage negotiation techniques using a film example. He emphasizes the importance of empathy and understanding the psychology of criminals. The trainees engage in role play exercises to practice their negotiation skills.
- Holden Ford meets Bill Tench, a Behavioral Science agent, at the FBI training academy cafeteria. They discuss Holden's role in recruitment and Tench's idea of teaching classes in various police departments. Tench offers Holden a chance to help each other. The scene then transitions to Tench and Holden driving to Iowa for their teaching session.
- Holden and Tench arrive at the Fairfield Police Department in Iowa to teach a class of local police officers and detectives. The officers are skeptical and unsure about the new approach of using psychology in criminal investigations. Holden and Tench emphasize the importance of understanding the psychology of criminals and analyzing their behavior to solve crimes. They discuss the challenges of finding motive and the unfathomable nature of humanity. The scene ends with the officers looking skeptical and Holden's attempt to connect with them falling flat.
- Holden and Tench teach a class of local police officers and detectives at the Fairfield Police Department in Iowa. The officers are skeptical about using psychology in criminal investigations. Holden and Tench emphasize the importance of understanding the psychology of criminals and analyzing their behavior to solve crimes. The scene ends with the officers looking skeptical and Holden's attempt to connect with them falling flat.
- Holden and Tench teach a class of local police officers and detectives at the Fairfield Police Department in Iowa. The officers are skeptical about using psychology in criminal investigations. Holden and Tench emphasize the importance of understanding the psychology of criminals and analyzing their behavior to solve crimes. The scene ends with the officers looking skeptical and Holden's attempt to connect with them falling flat.
- Holden and Tench teach a class of local police officers and detectives at the Fairfield Police Department in Iowa. The officers are skeptical about using psychology in criminal investigations. Holden and Tench emphasize the importance of understanding the psychology of criminals and analyzing their behavior to solve crimes. The scene ends with the officers looking skeptical and Holden's attempt to connect with them falling flat.
- Holden and Tench discuss the details of a murder case with McGraw, who is desperate for answers. Holden admits his lack of understanding and apologizes for wasting their time. The scene ends with Holden and Tench feeling unsettled.
- Holden and Tench discuss their lack of understanding in solving a murder case, feeling unsettled and unsure of their abilities. They question the effectiveness of using psychology in criminal investigations and express skepticism about their own authority in providing answers to desperate individuals like McGraw.
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Character Holden Ford
Description Holden oscillates between advocating for understanding criminal psychology and dismissing the relevance of academic perspectives. This inconsistency raises questions about his core motivations and beliefs.
( Scene 10 (10) Scene 13 (31) ) -
Character Debbie
Description Debbie's initial skepticism and dismissive attitude towards Holden seem to shift rather abruptly into a more intimate and understanding relationship. The transition could be smoother.
( Scene 6 (13) Scene 7 (14) )
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Description The Fairfield case is presented as a motiveless crime, but later discussions hint at sexual motivation and a potential connection to the church. This inconsistency in the nature of the crime needs clarification.
( Scene 17 (39) Scene 19 (42) )
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Description Holden's use of 'Dog Day Afternoon' as a training tool seems incongruous with his earlier critique of outdated hostage negotiation methods. The film depicts a situation that escalated due to poor communication and tactical errors.
( Scene 12 (29) )
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Description Holden's academic language and references to Dostoevsky and Freud feel out of place when addressing local police officers. The dialogue could be adapted to better suit the audience and context.
( Scene 16 (37) )
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Element Holden's self-doubt and questioning of his knowledge
( Scene 3 (7) Scene 14 (33) Scene 19 (42) Scene 20 (44) )
Suggestion While Holden's internal conflict is important, the repeated expressions of self-doubt could be streamlined to maintain narrative momentum and avoid redundancy.
Characters in the screenplay, and their arcs:
Character | Arc | Critique | Suggestions |
---|---|---|---|
Holden Ford | Holden Ford's character arc in the tv_pilot revolves around his passion for incorporating psychology into criminal investigations while also exploring his naivety and idealism. He begins as a younger, unassuming FBI agent and progresses into a more seasoned negotiator, confident in high-pressure situations and driven to understand the minds of criminals. Through his interactions with his colleagues and subjects, Holden comes to realize that traditional law enforcement methods may not be effective in understanding deviant behavior. However, his tendency towards naivety and idealism is also highlighted, especially in his conversations with Debbie. By the end of the pilot, Holden's passion for criminal psychology grows stronger as he continues to challenge and update traditional law enforcement methods to better serve society's need for justice. | The character arc for Holden Ford is strong and well-established in the tv_pilot. However, to improve the arc, Holden's personal life and how it ties into his work could be explored more fully. Additionally, while his naivety and idealism are integral to his character, it can become overbearing at times and risk losing audiences' attention. A stronger balance between Holden's passion and personal struggles, as well as his idealism and realistic approach, could further enhance his character arc. | To enhance Holden Ford's character arc, exploring his personal life and how it relates to his work could offer more depth to the character. Showcasing his struggles outside of work would provide a more intimate look into his psyche. Additionally, emphasizing the realistic consequences of his idealistic approach could further ground his character and make his passion for criminal psychology more relatable to audiences. A character flaw, such as Holden's overconfidence or impatience, could also create a more dynamic character and heighten dramatic tension. |
Cody Miller | Throughout the pilot, Cody's character arc revolves around his descent into madness and his desire to reunite with his wife. His initial distress and erratic behavior stem from his wife leaving him, triggering a mental breakdown that he struggles to control. As the pilot progresses, he becomes more and more unhinged, engaging in dangerous actions that threaten himself and those around him. Ultimately, he is unable to reconcile with his wife and is taken into custody by the police. | The character of Cody is intriguing and unpredictable, adding intensity and suspense to the pilot. However, his arc feels somewhat stereotypical of a mentally unstable villain, lacking depth and nuance. There is also a missed opportunity to explore his backstory and relationship with his wife, which could provide greater insight into his character. | To improve Cody's character arc, it could be useful to provide more backstory and context for his mental breakdown and his relationship with his wife. This could help to humanize him and make his actions more relatable. Additionally, it may be interesting to explore different facets of his personality and how they contribute to his decline, rather than solely relying on his mental instability. This could add more complexity to his character and elevate the overall narrative of the pilot. |
Debbie | Debbie starts off as a sexually liberated and intellectually stimulating character who pushes Holden's boundaries. However, as the tv_pilot progresses, she begins to form a deeper connection with Holden beyond just sexual tension. Debbie's feelings for Holden evolve as she starts to see a different side of him - one that is vulnerable and relatable. By the end of the tv_pilot, Debbie is torn between her strong attraction to Holden and her desire to maintain her independence and focus on her studies. | The character arc for Debbie is interesting but could benefit from more clarity and depth. While her flirtatious and sexually liberated side is well-developed, her academic pursuits and personal struggles could be explored further. Additionally, incorporating more emotional vulnerability and growth in her relationship with Holden would add depth to her character. | To improve Debbie's character arc, consider exploring her personal struggles and conflicts more explicitly. Show how her pursuit of post-grad studies and her desire for independence sometimes clash with her attraction to Holden. Incorporate more moments of emotional vulnerability to show her growth and evolution as a character. Additionally, consider giving her a more well-rounded personality beyond just being sexually adventurous and academically motivated. |
Bill Tench | Bill Tench's character arc shows initial skepticism towards implementing psychology in criminal investigations and a preference for practicality. As Holden introduces him to the new approach, Tench becomes more open-minded and supportive, eventually becoming Holden's partner. He gradually learns to trust Holden's intuition and ideas, embracing his role as a mediator between the new approach and the traditional way of doing things. | The character arc is appropriate for a TV pilot, allowing Tench to go through a change as he adjusts to Holden's way of thinking. However, Tench's character requires more development to make him more interesting, especially in contrast to Holden's more colorful persona. Tench's initial skepticism can be ramped up to create more tension and impart more significance to his transformation. | To improve the character arc, Tench's skepticism can be more firmly established, with him believably opposing Holden's new approach. This creates a greater sense of tension and drama to Tench's transformation. Additionally, the writers can depict the reasons behind Tench's skepticism, such as a particularly bad experience or damage to his reputation if he implemented a similar plan before. |
Theme | Theme Details | Themee Explanation |
---|---|---|
Communication and Connection | The Negotiator trying to establish communication with Cody, Holden's attempt to de-escalate the situation with Cody, Holden's interaction with the police negotiator and other officers, Holden's conversation with Cody's wife Sissy about their troubled relationship, Holden and Wilson discussing their work as agents, Holden and Debbie discussing their backgrounds and interests, Holden and Debbie discussing their relationship, Holden and Debbie discussing their lack of knowledge about certain topics, Holden and Tench discussing their theories with young police officers, Holden presenting information to the class about Charles Manson, Holden and Tench analyzing crime scene photos with Detective McGraw | Communication and connection is a recurring theme in this screenplay. It explores the challenges and importance of effective communication in various situations, such as hostage negotiation, relationship dynamics, and sharing knowledge and theories in law enforcement. The characters' attempts to establish connections and understand each other drive the plot and shape their interactions. |
Mental Health and Emotional Struggles | Cody's unstable state and possession of a shotgun, Cody's tragic ending, Holden reflecting on a recent incident involving a bloodied dying man, Holden questioning whether he could have done more to help the man, Holden frustrated and questioning the effectiveness of the FBI's procedures, Holden's despondency and frustration with teaching, Holden and Tench discussing their frustrations, Detective McGraw's emotional response to the murder case, Holden's frustration with the lack of understanding of aberrant behavior | Mental health and emotional struggles are explored throughout the screenplay. Characters like Cody, Holden, and Detective McGraw grapple with their own emotional states and the impact of traumatic events. The theme highlights the toll that these struggles can take on individuals and their ability to cope with challenging situations. |
Law Enforcement and Criminal Psychology | Holden teaching a class on hostage negotiation, Holden observing Wilson's class on investigating motiveless crimes, Holden discussing the importance of identifying a perpetrator before negotiating, Holden and Wilson discussing criminal behavior, Holden and Tench teaching classes to local law enforcement, Holden and Tench analyzing crime scene photos, Holden and Tench discussing their theories with young police officers | Law enforcement and criminal psychology are central themes in this screenplay. The characters' work in the FBI and their interactions with law enforcement officers and trainees provide insights into the challenges and strategies involved in investigating crimes and understanding criminal behavior. The theme explores the complexities of law enforcement and the psychological aspects of criminal investigations. |
Relationships and Intimacy | Holden and Debbie discussing their backgrounds and interests, Holden and Debbie discussing their relationship, Holden and Debbie discussing their lack of knowledge about certain topics, Holden and Debbie having sex and discussing their relationship afterwards, Holden and Tench discussing their frustrations, Holden and Tench offering advice and support to each other, Holden and Debbie's flirtatious conversations, Holden and Tench's friendly and collegial interactions | Relationships and intimacy play a significant role in this screenplay. The romantic relationship between Holden and Debbie, as well as the friendship and mentorship between Holden and Tench, provide emotional depth and personal connections for the characters. The theme explores the complexities and dynamics of relationships, both romantic and platonic. |
Trauma and its Effects | Cody's tragic ending, Holden reflecting on a recent incident involving a bloodied dying man, Holden questioning whether he could have done more to help the man, Holden frustrated and questioning the effectiveness of the FBI's procedures, Holden's despondency and frustration with teaching, Detective McGraw's emotional response to the murder case, Holden's frustration with the lack of understanding of aberrant behavior | Trauma and its effects are recurring themes in this screenplay. Characters like Cody, Holden, and Detective McGraw experience and grapple with the aftermath of traumatic events. The theme explores the psychological and emotional impact of trauma on individuals and their ability to navigate their personal and professional lives. |
Screenwriting Resources on Themes
Articles
Site | Description |
---|---|
Studio Binder | Movie Themes: Examples of Common Themes for Screenwriters |
Coverfly | Improving your Screenplay's theme |
John August | Writing from Theme |
YouTube Videos
Title | Description |
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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 |
Goals and Philosophical Conflict | |
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internal Goals | The protagonist's internal goals evolve throughout the script, reflecting their need for recognition, validation, closure, connection, and companionship. |
External Goals | The protagonist's external goals evolve throughout the script, reflecting their immediate circumstances and challenges in their career and personal life. |
Philosophical Conflict | The overarching philosophical conflict revolves around the protagonist's beliefs and values about criminal behavior, the nature of criminals, and the importance of understanding motives. |
Character Development Contribution: The protagonist's evolving internal and external goals contribute to their development by challenging their beliefs, values, and worldview. They are forced to confront their limitations, question established methods, and seek validation and acceptance from others.
Narrative Structure Contribution: The evolving goals and conflicts provide a narrative structure that drives the protagonist's journey and creates tension and suspense. They also serve as catalysts for character growth and development.
Thematic Depth Contribution: The goals and conflicts contribute to the thematic depth of the screenplay by exploring the complexities of criminal behavior, the importance of empathy and understanding, and the limitations of traditional approaches to law enforcement. They also delve into the nature vs. nurture debate and challenge societal perceptions of criminals.
Screenwriting Resources on Goals and Philosophical Conflict
Articles
Site | Description |
---|---|
Creative Screenwriting | How Important Is A Character’s Goal? |
Studio Binder | What is Conflict in a Story? A Quick Reminder of the Purpose of Conflict |
YouTube Videos
Title | Description |
---|---|
How I Build a Story's Philosophical Conflict | How do you build philosophical conflict into your story? Where do you start? And how do you develop it into your characters and their external actions. Today I’m going to break this all down and make it fully clear in this episode. |
Endings: The Good, the Bad, and the Insanely Great | By Michael Arndt: I put this lecture together in 2006, when I started work at Pixar on Toy Story 3. It looks at how to write an "insanely great" ending, using Star Wars, The Graduate, and Little Miss Sunshine as examples. 90 minutes |
Tips for Writing Effective Character Goals | By Jessica Brody (Save the Cat!): Writing character goals is one of the most important jobs of any novelist. But are your character's goals...mushy? |
Story Content | Character Development | Scene Elements | Audience Engagement | Technical Aspects | |||||||||||||||||
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Click for Full Analysis | Tone | Overall | 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 - Negotiation | tense, serious | 7 | 6 | 5 | 4 | 7 | 3 | 7 | 8 | 6 | 7 | 4 | 5 | 5 | 4 | 6 | 6 | 9 | 9 | 8 | |
2 - Negotiation at the Warehouse | Tense, Suspenseful, Dramatic | 8 | 7 | 8 | 5 | 7 | 6 | 8 | 7 | 9 | 8 | 9 | 8 | 7 | 7 | 8 | 9 | 9 | 9 | 8 | |
3 - Negotiation Gone Awry | Tense, Confused, Shocking | 8 | 7 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 7 | 8 | 7 | 8 | 8 | 9 | 8 | |
4 - Negotiation Gone Awry | Tense, Confused, Shocking | 8 | 7 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 7 | 9 | 8 | 6 | 8 | 6 | 7 | 8 | 9 | 8 | |
5 - Negotiation Gone Awry | Tense, Confusing, Shocking | 8 | 7 | 8 | 6 | 7 | 7 | 8 | 7 | 9 | 4 | 9 | 8 | 5 | 8 | 6 | 7 | 8 | 9 | 8 | |
6 - Holden's Encounter at the Bar | Tense, Confused, Shocking | 8 | 7 | 6 | 6 | 9 | 5 | 8 | 7 | 4 | 5 | 3 | 5 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
7 - Bar Conversation | Tense, Intellectual, Flirtatious | 8 | 7 | 6 | 6 | 8 | 3 | 8 | 6 | 4 | 6 | 3 | 5 | 7 | 5 | 9 | 9 | 8 | 9 | 8 | |
8 - Intimate Conversation | Tense, Flirtatious, Mysterious | 7 | 6 | 5 | 6 | 8 | 3 | 8 | 6 | 3 | 6 | 2 | 4 | 5 | 4 | 7 | 7 | 8 | 9 | 8 | |
9 - FBI Training and Academic Discussion | Tense, Serious | 8 | 8 | 7 | 8 | 8 | 6 | 8 | 7 | 7 | 7 | 6 | 8 | 6 | 6 | 9 | 7 | 8 | 9 | 8 | |
10 - Recruitment and Dialogue | Intense, Serious, Confrontational | 8 | 8 | 7 | 7 | 9 | 6 | 8 | 7 | 8 | 7 | 6 | 7 | 7 | 6 | 9 | 9 | 8 | 9 | 8 | |
11 - Flirtatious Conversation and Intimacy | Flirtatious, Casual, Playful | 8 | 7 | 6 | 4 | 9 | 6 | 8 | 6 | 4 | 2 | 3 | 5 | 3 | 7 | 8 | 9 | 7 | 8 | 7 | |
12 - Hostage Negotiation Training | Intense, Educational, Engaging | 8 | 8 | 7 | 7 | 7 | 5 | 8 | 7 | 6 | 8 | 5 | 7 | 7 | 6 | 8 | 8 | 8 | 9 | 9 | |
13 - Training and Recruitment | Intense, Serious, Tense | 8 | 7 | 8 | 6 | 9 | 6 | 8 | 7 | 6 | 7 | 6 | 8 | 6 | 7 | 8 | 8 | 9 | 9 | 8 | |
14 - Recruitment and Connection | Serious, Intimate, Tense | 8 | 7 | 7 | 4 | 8 | 5 | 8 | 6 | 5 | 6 | 4 | 7 | 5 | 6 | 7 | 7 | 8 | 9 | 8 | |
15 - FBI Training Session in Fairfield | Intense, Serious, Informative | 7 | 8 | 6 | 6 | 6 | 3 | 8 | 7 | 5 | 7 | 4 | 6 | 6 | 4 | 5 | 7 | 8 | 9 | 8 | |
16 - Teaching at Fairfield Police Department | Serious, Humorous | 7 | 8 | 7 | 8 | 7 | 4 | 8 | 7 | 6 | 6 | 5 | 7 | 7 | 5 | 8 | 9 | 8 | 9 | 9 | |
17 - Teaching at Fairfield Police Department | Serious, Intense, Controversial | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 7 | 8 | 8 | 7 | 7 | 7 | 6 | 8 | 9 | 8 | 9 | 8 | |
18 - Teaching at Fairfield Police Department | Tense, Dark, Emotive | 8 | 8 | 7 | 6 | 8 | 6 | 8 | 7 | 8 | 7 | 7 | 8 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
19 - The Dark Abyss | Suspenseful, Intense, Serious | 8 | 7 | 9 | 6 | 8 | 7 | 8 | 7 | 9 | 9 | 8 | 8 | 7 | 7 | 9 | 9 | 8 | 9 | 8 | |
20 - Doubt and Desperation | Serious, Intense, Reflective | 8 | 8 | 7 | 7 | 9 | 7 | 8 | 7 | 6 | 7 | 5 | 6 | 7 | 7 | 8 | 9 | 8 | 9 | 8 |
Summary of Scene Level Analysis
Here are some things that came out of the scene level analysis.
This is a summary of the strengths, weaknesses, and suggestions found in each scene. Some things might appear in both strengths and weaknesses based on the variety of your scenes.
For summary of each criteria click in the top row on the criteria.
Scene Strengths
- Engaging dialogue
- Tension building
- Unexpected twists
- Exploration of psychology in criminal investigations
- Strong ending
Scene Weaknesses
- Limited character development
- Minimal emotional impact
- Lack of significant conflict
- Limited exploration of the psychology concept
- Lack of impactful dialogue
Suggestions
- Focus on developing characters' motivations and emotional depth
- Further explore and develop plot and theme
- Work on creating more impactful and engaging dialogue
- Increase external conflict and stakes to create tension
- Expand exploration of psychology concept
Voice Analysis | |
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Summary: | The writer's voice throughout the screenplay is concise, focused, and realistic. They use dialogue and narrative description to create tension, explore complex themes, and develop the characters. The writer's voice is characterized by a blend of seriousness and humor, as well as a strong emphasis on dialogue-driven scenes. |
Voice Contribution | The writer's voice contributes to the script by creating a sense of authenticity and realism. The dialogue feels natural and reflects the characters' personalities and motivations. The concise and focused narrative description adds depth to the scenes and enhances the overall atmosphere. The writer's voice also explores complex themes and challenges conventional thinking, adding depth and meaning to the story. |
Best Representation Scene | 3 - Negotiation Gone Awry |
Best Scene Explanation | This scene is the best representation of the author's voice because it showcases their ability to create vivid and evocative imagery, realistic dialogue, and explore complex internal conflicts. |
Top Correlations and patterns found in the scenes:
Pattern | Explanation |
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Tone and Emotional Impact | There is a strong correlation between the tone of the scene and its emotional impact. Scenes with a tense or intense tone tend to have a higher emotional impact, while scenes with a more casual or flirtatious tone have a lower emotional impact. |
Dialogue and Character Changes | There is a correlation between the quality of dialogue and the degree of character changes in a scene. Scenes with higher quality dialogue tend to have more significant character changes. |
Conflict and High Stakes | There is a correlation between the level of conflict and the high stakes in a scene. Scenes with higher levels of conflict tend to have higher stakes. |
Concept and Plot | There is a correlation between the concept and plot of a scene. Scenes with a strong concept tend to have a more developed plot. |
Overall Grade and Move Story Forward | There is a correlation between the overall grade of a scene and its ability to move the story forward. Scenes with a higher overall grade tend to be more effective in moving the story forward. |
Writer's Craft Overall Analysis
The writer demonstrates a strong command of screenwriting techniques and effectively conveys tension, conflict, and engaging dialogue in the analyzed scenes. The writing style is concise and focused, creating a sense of intrigue and capturing the audience's attention. However, there is room for improvement in terms of originality, character development, and exploring different types of conflicts.
Key Improvement Areas
Suggestions
Type | Suggestion | Rationale |
---|---|---|
Book | Save the Cat! by Blake Snyder | This book provides insights and techniques for improving the structure and pacing of scenes, which can enhance the writer's ability to create engaging and well-structured screenplays. |
Course | Screenwriting Masterclass by Aaron Sorkin | Taking this course can provide valuable lessons and exercises for improving screenwriting skills, particularly in crafting dialogue and developing compelling characters. |
Exercise | Write scenes with different types of conflicts (philosophical, moral, ethical, etc.)Practice In SceneProv | Practicing writing scenes with different types of conflicts can help the writer expand their range and develop their unique voice further. |
Here are different Tropes found in the screenplay
Trope | Trope Details | Trope Explanation |
---|---|---|
Negotiator | The Negotiator is trying to establish communication with Cody through a bullhorn. | The Negotiator trope is a common one in films and TV shows where a character is tasked with negotiating or communicating with another character or group of characters in a high-stakes situation. An example of this trope can be seen in the film 'Inside Man' where a negotiator is brought in to communicate with a bank robber who has taken hostages. |
Tragic Ending | The conflict in this scene is resolved tragically when Cody puts the gun in his mouth and shoots himself. | The Tragic Ending trope is a common storytelling device where a story or scene ends in a tragic or sorrowful manner. This trope is often used to evoke strong emotions in the audience and can be seen in many films and TV shows. An example of this trope can be seen in the film 'Romeo + Juliet' where the story ends with the tragic deaths of the two main characters. |
Tense Emotional Tone | The emotional tone of this scene is tense and suspenseful, with a tragic ending. | The Tense Emotional Tone trope is used to create a sense of tension and suspense in a scene or story. This trope is often used in thrillers and dramas to keep the audience engaged and on the edge of their seats. An example of this trope can be seen in the TV show 'Breaking Bad' where many scenes have a tense emotional tone due to the high-stakes situations the characters find themselves in. |
Despondent | Holden and Tench feel despondent and drink beer outside their motel room. | The Despondent trope is used to depict characters who are feeling hopeless, discouraged, or disheartened. This trope is often used to show the emotional struggles of characters and can be seen in many films and TV shows. An example of this trope can be seen in the film 'Lost in Translation' where the two main characters, feeling despondent and disconnected, form a bond while in Tokyo. |
Friendly Banter | Holden and Debbie have lunch and discuss the surveillance operation on the university campus. They then watch a movie together. | The Friendly Banter trope is used to depict lighthearted and playful conversation between characters. This trope is often used to show the camaraderie and friendship between characters and can be seen in many films and TV shows. An example of this trope can be seen in the TV show 'Friends' where the characters engage in friendly banter and playful teasing throughout the series. |
Tense Argumentative Tone | The emotional tone of this scene is tense and argumentative. | The Tense Argumentative Tone trope is used to depict a scene or conversation that is filled with tension and conflict. This trope is often used to create drama and suspense in a story and can be seen in many films and TV shows. An example of this trope can be seen in the film 'A Few Good Men' where the climactic courtroom scene is filled with tense and argumentative dialogue. |
Instructional | The emotional tone of the scene is serious and instructional. | The Instructional trope is used to depict a scene or situation where characters are teaching or instructing others. This trope is often used in educational or training settings and can be seen in many films and TV shows. An example of this trope can be seen in the film 'Dead Poets Society' where a teacher instructs his students on the importance of seizing the day. |
Tense and Dark | The emotional tone of this scene is tense and dark. | The Tense and Dark trope is used to create a scene or story that is filled with tension and darkness. This trope is often used in thrillers and horror films to create a sense of unease and suspense. An example of this trope can be seen in the film 'Se7en' where the entire story is filled with tense and dark moments as the characters hunt down a serial killer. |
Argumentative | The conflict arises when the older detective disagrees with Holden's theories and a conflict arises. | The Argumentative trope is used to depict a scene or conversation where characters engage in a heated argument or disagreement. This trope is often used to create conflict and tension in a story and can be seen in many films and TV shows. An example of this trope can be seen in the film '12 Angry Men' where the entire story revolves around a group of jurors arguing and debating the guilt or innocence of a defendant. |
Memorable lines in the script:
Some Loglines to consider:
In the 1970s, two FBI agents pioneer the science of profiling serial killers, using unconventional methods to understand the criminal mind and stop the most dangerous offenders. |
A young, idealistic FBI agent teams up with a seasoned veteran to explore the psychological motivations behind the most chilling crimes, challenging the traditional approaches to law enforcement. |
A pair of FBI agents in the 1970s navigate the changing landscape of criminal psychology, using their unique perspectives to uncover the truth behind a series of disturbing murders. |
Two FBI agents in the 1970s embark on a groundbreaking journey to understand the psychology of serial killers, confronting their own biases and the limitations of the criminal justice system. |
In the 1970s, a forward-thinking FBI agent partners with a grizzled veteran to delve into the minds of the most dangerous criminals, uncovering the societal and psychological factors that drive them. |
Help & FAQ
Frequently Asked Questions
After that, the high-level menu will offer insights into the story, themes, and characters.
The scene-by-scene analysis will demonstrate how each scene performs across various criteria, summarized in the column headings.
Click on any scene title to view the full analysis, including critiques and suggestions for improvement.
'Other Analyses' provides various insights into your writing and different perspectives, although it might not lead to significant rewrites of your script.
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Consider
Explanation: The screenplay for the TV pilot 'Mindhunter' shows promise, with several strong elements, including the collaborative dynamic between the two lead characters, Holden and Tench, and the exploration of Holden's emotional intelligence and willingness to challenge conventional thinking. However, the screenplay also has areas that could be improved, such as a stronger opening that better introduces the characters and their motivations, and a more cohesive exploration of the societal and historical context in which the story takes place. Additionally, the screenplay would benefit from a more developed approach to addressing the most extreme forms of violent crime, which is a central aspect of the show's premise. Overall, the screenplay is a solid starting point that could be further refined to create a compelling and engaging TV series.