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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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EXT. STREET - DAY POV of a NEWS CAMERA as it turns on and focuses on a FEMALE REPORTER. She is taking a last look at herself using her mobile front camera as a mirror. At her background, a crowd of countless people fills the whole frame.
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EXT. BRIDGE - NIGHT TITLE CARD: 4 MONTHS EARLIER A driverless car stops at a massive bridge. Julia steps out of it. As she walks towards the middle of the bridge, there’s an
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INSERT - INT. JULIA’S APARTMENT/LIVING ROOM/OPEN KITCHEN - NIGHT Empty apartment. The whole apartment’s lights flicker crazily in a short circuit and goes off again. The fridge makes a “turning off” sound and it’s alarm starts beeping every 10
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EXT. SUBWAY STATION STREET - NIGHT Rosa is walking fast. Street lights turn on as she walks over the sidewalk panels. She records an audio. All dialogue between Rosa and Julia is in Spanish. ROSA
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INT. FLOOR CORRIDOR - CONTINUOUS Julia walks the corridor. She stops and sighs in relief. She turns Caine on. CAINE How did it go?
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INT. JULIA’S BEDROOM - MOMENTS LATER Julia walks in and locks the door. Sighs. Looks at the envelope in her hand. Hides it in her wardrobe. Lies in her bed. Turns on the app. Caine appears. 14.
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INT. APARTMENT CORRIDOR Rosa is walking out of the bath, hears Julia’s amusement. That sound relaxes her. INT. JULIA'S BEDROOM Julia is tired of laughing.
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INT. MICHAEL’S BEDROOM - CONTINUOUS Julia walks in. Michael, 5, looks at her and the plate. Julia seats not too near Michael. Puts the plate on the floor. Picks a broccoli on one hand and a meatball on the other and
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INT. LIVING ROOM/OPEN KITCHEN - NIGHT Julia cooks some sofrito variation. Rosa watches “Free Speech”, a talk show presented by Henry Meadows, who’s interviewing LA Mayor Phil Whitaker, across the table. PHIL
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INT. JULIA'S BEDROOM - NIGHT Julia is on her laptop searching the web on information about the app. She’s reading a wikipedia sort of page. She put her earphone, and it reads the text to her.
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EXT. PUBLIC PARK - DAY Julia runs. Music continues, it’s Caine’s playlist, placing her in the right mood for her running. She stops by an automatic stand to buy some water. Music fades out. Julia works her phone and a plastic water bottle
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EXT. PUBLIC PARK/SOME METERS AWAY - SOME SECONDS LATER She is running. Slows down when out of the runner’s sight. CAINE “Oh, no one is”??? JULIA
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INT. GROCERY STORE - NIGHT Julia is shopping. She picks a cookie package. CAINE That’s an impulse purchase. JULIA
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INT. JULIA'S APARTMENT - NIGHT It rains outside. Julia enters. Rosa watches TV. JULIA Hey. ROSA
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INT. JULIA'S ROOM - NIGHT Sounds of rain. Caine on the laptop screen. JULIA I need to get out of here. CAINE
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EXT. VINTAGE STORE - NIGHT Julia walks in. It’s a thrift store of everything, used clothing, books, vinyl records, VHS tapes, DVDs, small crafts and old furniture. There are armchairs for who wants to read there.
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INT. VINTAGE STORE - MINUTES LATER Same scenario. Man reading. Couple talking. Oliver at his phone. Julia waiting. She gives up, stands and leaves. EXT. STREETS - NIGHT
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INT. VINTAGE STORE - NIGHT Julia walks in, there is no one in the place except Oliver. She sits on the same table as before. Oliver approaches. OLIVER Good evening.
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INT. JULIA’S BEDROOM - NIGHT Julia lays in her bed with her laptop. Connects Caine. CAINE Hey you. JULIA
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INT. VINTAGE STORE - NIGHT Julia walks in. Only one costumer in the place, at the books section. Oliver notices Julia. She sits on her spot. OLIVER
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INT. SUBWAY WAGON - DAY Julia listens to a pleasant song, distracted. The wall TV screen catches her attention: a picture of Phil Whitaker. Subtitles: “There is nothing wrong with the prison system”. 60.
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INT. PAUL AND MARTA’S HOME/MICHAEL’S BEDROOM - NIGHT Julia puts Michel in his bed. INT. PAUL AND MARTA'S/LIVING ROOM - NIGHT She sits on the sofa, puts her earphones, and watches a video. It’s a live footage happening right now in front of
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INT. JULIA’S APARTMENT Julia storms home, listening music in her earphones. Rosa watches Henry Meadows on TV. Making some joke over the footage of a protester getting beaten by the police. She doesn’t hear it, neither do us. She goes straight to her
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INT. VINTAGE STORE - NIGHT Julia storms in and seats at her table. No clients in the place. Oliver puffs. OLIVER May I help you?
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INT. PAUL AND MARTA’S HOME/MICHAEL’S BEDROOM - NIGHT Julia puts Michael in his bed. MICHAEL I’m not sleepy. JULIA
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EXT. STREET Julia goes out. Spots Michael almost reaching the street. JULIA Michael!! She runs for him and grabs him in her arms.
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INT. SUBWAY WAGON - NIGHT Julia looking straight out the window, dead eyes. Julia’s POV: the night city passing through the window. CUT TO INT. JULIA'S APARTMENT/LIVING ROOM/OPEN KITCHEN - NIGHT
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INT. VINTAGE STORE Julia storms in. OLIVER Coffee, black, right? JULIA
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EXT. LARGE VIEW OF THE CITY - DAY Sun rising in the horizon. INT. JULIA'S APARTMENT - DAY Julia comes out of her bedroom. Rosa is silent, TV off. JULIA
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INT. ELEVATOR - LATER Julia gets inside and faces herself in the mirror. Pulls her earphone. Takes a moment, looking at herself. CAINE You’re ready.
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EXT. ANOTHER STREET - THAT MOMENT Oliver comes near a parked food truck van. Looks around, no ones watching, no public camera can spot him. He goes in from the back and closes the back door. INSIDE VAN
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INT. VAN We see Oliver’s monitor: it creates a radius that almost reaches the police vehicle, by a little. 85. EXT. STREET - CONTINUOUS
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INT. VAN - CONTINUOUS The radius appears back on the screen. OLIVER Yes! EXT. STREET - CONTINUOUS
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EXT. TOWN HALL When another policeman was about to shoot someone, it fails. All policemen suits and weapons are off. All drones fall to the ground. The policeman over Julia realizes his super strength is gone,
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EXT. STREET - CONTINUOUS Julia runs down the street. Turns left. GUNSHOTS, distant, in the riot area. CAINE (o.s.)
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INT. BUILDING FLOOR - CONTINUOUS As she runs, she puts her earphone back. CAINE What a hell happened??? JULIA
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EXT. BUILDING ROOF - CONTINUOUS Julia lands. CAINE Turn to the right. Julia looks to the right, the building ends and there’s
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EXT. STREET - NIGHT Julia is coming out of the garage, the food truck with Oliver stops by her and open the door. EXT. ANOTHER STREET - NIGHT The car parks. They both move to the back of it.
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INT. VAN Julia’s reaction. JULIA Caine! Caine answer me! INT. PHIL'S CAR
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INT.VAN JULIA Oh my god! What was that? OLIVER He threw the car from the bridge.
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INT. JULIA'S BEDROOM - DAY Daylight. Julia awakes, in a small shock. Probably from a minor nightmare. Stretches herself. SOUND OF MESSAGE RECEIVED on her mobile. She checks. It’s a job interview for babysitting.
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EXT. BRIDGE - DAY Julia walks the same bridge of the beginning. Passes through all the same anti-suicide propaganda. Gets to the highest point. But she is not jumping. It’s a different Julia. She is calm and her eyes seem like it’s gotten years older, although

CAINE

In a dystopian near-future, an 18-year-old woman named Julia discovers a virtual assistant named Caine that leads her into a dangerous web of political intrigue, surveillance, and resistance against the city's authoritarian mayor.

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Overview

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Unique Selling Point

The unique selling proposition of 'CAINE' lies in its exploration of AI ethics and social justice through the lens of a young protagonist. The screenplay's blend of thriller and drama, combined with its timely themes, makes it a compelling piece for audiences interested in technology's impact on society.

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Claude
 Recommend
GPT4
 Consider
Story Facts
Genres:
Science Fiction 50% Drama 40% Action 25% Thriller 30% Comedy 10%

Setting: Futuristic, Various urban settings including streets, apartments, bridges, and public spaces

Themes: Technology and Surveillance, Identity and Disguise, Social Injustice and Protest, Loneliness and Connection, Family and Sacrifice, Power and Control, Rebellion and Revolution, Truth and Deception

Conflict & Stakes: The primary conflicts revolve around the struggle for control over surveillance systems, the revelation of dark secrets, and the fight for justice and freedom in a dystopian society. The stakes include personal safety, freedom from oppression, and the exposure of corruption and manipulation.

Mood: Tense, suspenseful, and thought-provoking

Standout Features:

  • Unique Setting: The futuristic urban landscape and advanced technology create a visually striking and immersive world for the story.
  • Complex Characters: The diverse and multi-dimensional characters, each with their own motivations and secrets, add depth and intrigue to the narrative.
  • Innovative Themes: Exploration of themes such as surveillance, identity, and rebellion in a dystopian society offers a fresh perspective on familiar sci-fi concepts.

Comparable Scripts: Blade Runner, Mr. Robot, Black Mirror, V for Vendetta, Minority Report, The Matrix, Her, Snow Crash

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

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Overall Score: 7.26
Story Critique
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Characters
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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
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Logic & Inconsistencies
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Scene Analysis

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Other Analyses

Writer Exec

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Unique Voice
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Writer's Craft
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Memorable Lines
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Correlations
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