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Scene Map 45
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
1
EXT. PARKING LOT / ROOFTOP - EVENING A giant billboard at the same level of the parking lot, advertises “Big $ALE$ on all Merchandise”. INT. GLENN'S CAR - EVENING GLENN (60), suit and tie, two days stubble, sits in his blue
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INT. PARKING LOT - NIGHT Robby runs across the parking lot until he gets to the stairs. He reaches inside the bag and takes out pieces of newspaper. 4.
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INT. HECTOR'S CAR ON THE ROAD - NIGHT HECTOR (45) drives along a road in the dark. In the distance lights of a city sparkle. He has large tattoos on his arms, * mostly Catholic symbols. He answers his phone. HECTOR
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EXT. GREY CHEVY (HIGHWAY) - NIGHT Glenn gets out of the car and walks to the back. Cars in traffic slowly pass by. He unlocks the trunk but doesn't open it. * SEAN
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INT. GREY CHEVY / TRUNK - NIGHT SARAH (15) looks around in the inky darkness. The muffled * sounds of the highway outside barely overshadow her heavy * breathing. * She is completely in the dark. Slowly she comes to her senses
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INT. SEAN'S CAR - NIGHT Sean makes another call. SEAN (to Mike) Told you he’s a good man. *
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INT. JIMMY'S HOME - NIGHT JIMMY (8), African American, lies on his small bunk bed. He is in the dark but his eyes are wide open. He is listening to discussion that is happening in another room. UNCLE JOSH (O.S.)
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EXT. FBI WAREHOUSE / PARKING LOT - NIGHT * Rodriguez and Brown walk out of the rear of the warehouse * toward several parked cars. * BROWN * What's wrong?
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INT. HECTOR'S CAR DARK ROAD - NIGHT * Hector drives in the middle of nowhere. * EXT. ABANDONED AIRPORT / GATE - NIGHT Hector’s car rumbles down a dirt road and stops at a rusty * gate.
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INT. GREY CHEVY - NIGHT Glenn sweats in the driver’s seat. Beating and muffled * screaming is barely audible, but very much present. He drives very slowly, drivers around him complain by honking.
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EXT. GREY CHEVY - NIGHT From the outside, in the traffic, nobody can hear her. Just some classical music coming from the Grey Chevy. EXT. EXCHANGE SPOT - NIGHT A dark, empty parking area. Far enough from the lights of the
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INT. HECTOR'S CAR - NIGHT 35 Hector drives into the darkness and parks. He turns off his35 lights. He looks impatiently at his watch. Shakes Enola. * 27.
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INT. FBI AGENTS' CAR - NIGHT Rodriguez and Brown exchange a glance. RODRIGUEZ * 'Welcoming committee'? Brown shakes his head.
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INT. FBI AGENTS' CAR - NIGHT Brown puts down the binoculars. * 31. BROWN * Shit!
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INT. FBI WAREHOUSE - NIGHT Robby sits at the table, drinking his coffee. Agent Achak receives a call. AGENT ACHAK Achak here. Are you sure?
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EXT. HIGHWAY EXIT / PARKING AREA - NIGHT Glenn parks the car in a dark side street. He looks back and * yells. * GLENN Are you ok?
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INT. GREY CHEVY - NIGHT * SEAN Why did you stop, Glenn? My * associates are telling me you * stopped again.
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INT. SEAN'S CAR - NIGHT Sean opens the door and picks up Glenn’s phone. * He checks the FIND MY PEOPLE app on the phone. * SEAN I bet his wife and daughter are at
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EXT. AIRPORT - NIGHT A small airplane lands at the Clearwater air field. Three large MEN in suits with some heavy luggage quickly get * off the plane. * They are followed by MR. RENZO (50), skinny, in a suit one *
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INT. VAN - NIGHT * The Cleaning Ladies chatter to each other. Selena keeps * quiet, pensive. * MARISA * (in Spanish) *
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INT. FBI WAREHOUSE - NIGHT Robby sits at a small desk, pen and paper in front of him. ROBBY I don't know what the fuck you're talking about, ok?
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INT. E.R. MEDICAL AREA / ROOM 103 - NIGHT Dr. Nichols leads Aaron into the medical area. Dr. Nichols * opens a small room with a bed. ROOM 103. 53.
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INT. E.R. MEDICAL AREA CORRIDORS - NIGHT Aaron walks along the corridor, slowly enough to see NURSE * JANE (30) hurrying into room 103. * A second later she rushes out and gives orders to the other * NURSES. *
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EXT. GREY CHEVY - NIGHT The Grey Chevy's right tail light blinks off and the car * keeps moving forward in the traffic. INT. FBI AGENTS' CAR - NIGHT Rodriguez and Brown surveil Hector's activities. He is now *
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INT. E.R. RECEPTION - NIGHT A grumpy Susy is still dealing with her paperwork. * SUSY Jeez, again? We don’t have any Dr. Michaels here, just Nichols. What’s
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INT. GREY CHEVY / TRUNK - NIGHT * Sarah is immediately alert. She tries to move as close as she * can to the little hole she created. She starts banging and screaming right away. INT. GREY CHEVY - NIGHT
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INT. SHERIFF'S CAR - NIGHT Sheriff Donald types information about the car into his * onboard computer. * On the monitor a message blinks about a possible kidnapping * and a grey Chevy. *
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INT. SEAN'S CAR - NIGHT Sean keeps staring at the map but the dot doesn't move. * Finally, with a delay of a few seconds, the signal indicates * Glenn’s car moving. * GLENN *
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INT. FBI AGENTS' CAR - NIGHT * Rodriguez's phone rings. * RODRIGUEZ * Who's this? * SUSY (O.S.)
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INT. HECTOR'S CAR - PARKING LOT - NIGHT * Hector calls Sean while watching the FBI Agents’ car driving * away. SEAN (O.S.) Yep? *
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INT. E.R. MAIN ENTRANCE - NIGHT Rodriguez and Brown go directly to the reception desk where * Susy waits for them. * BROWN * Nurse Susy?
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INT. E.R. MEDICAL AREA CORRIDORS -- NIGHT * Brown and Rodriguez push Dr. Nichols and Nurse Jane out of * Room 103. Susy follows. * A SECURITY GUARD approaches Susy. * SECURITY GUARD 1 *
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INT. GAS STATION - NIGHT Hector buys some cookies. He walks to the CASHIER and pays. * At the moment to give his credit card, he also places a small envelope under the bag of cookies. When the cashier takes the bag to scan it, he swiftly drops
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INT. GREY CHEVY - NIGHT Glenn listens carefully. (intercut with Sarah listening too). JENNY (V.O.) Hi dad, just spoke to mom. I just wanted to tell you... I love you. I
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INT. GAS STATION / BATHROOM - NIGHT * Mike gets inside a stall. He takes out his phone. Dials a * number. * MIKE Mike here. Change of plans... don't
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EXT. GAS STATION / PUMP * Mike is tense. He keeps looking around. * MIKE Here we go! SEAN
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INT. SEAN'S CAR - NIGHT * As he starts to pull onto the highway, Sean drinks his * coffee. Then spits it out. SEAN You trying to kill me, man? *
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INT. E.R. MEDICAL AREA CORRIDORS - NIGHT * Brown calls the emergency code he has been given. * BROWN * Answer, damn it. Answer. Rodriguez holds her breath. *
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EXT. CLEARWATER AIRPORT - NIGHT The Minions are moving things around while Mr. Renzo * supervises. * He looks at his watch and is not pleased. He makes a call. * Nobody answers. *
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INT. FBI AGENTS' CAR - NIGHT Brown drives as fast as he can. They are escorted by three * Police cars blasting their sirens. Rodriguez’s phone rings. * RODRIGUEZ *
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EXT. GAS STATION - NIGHT * Uncle Josh starts up his car and pulls out, leaving a trail * of dust and gravel. * 96. Jimmy sadly watches him go. Selena comes out and kneels down *
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INT. GREY CHEVY - NIGHT Glenn takes a deep breath. Pulls out his flask and takes a * long drink. He drives carefully along the bumpy dirt road. * He starts to take another hit from the flask. Hesitates. * Looks at it. *
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EXT. DESERT SPOT - NIGHT Sean's screaming echoes through the desert night. HECTOR What? Sean falls back onto a cactus. *
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EXT. DESERT SPOT - NIGHT The lights of police cars are visible in the distance but * most definitely moving away from them. * Sarah limps as fast as she can towards the grey Chevy. * Glenn's soaked in his own blood, but he is still breathing. *
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EXT. AIRPORT - NIGHT * The small airplane with the engines running sits parked near * a small building. The PILOT (45) stands outside the plane. He looks at his * watch and doesn't like what he sees. *

Merch

A desperate father forced to transport a kidnapped girl becomes entangled in a human trafficking ring, leading him to make a life-altering choice.

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Overview

Poster
Unique Selling Point

This script stands out from others in its genre through its unique voice, which is characterized by concise and impactful dialogue, minimalistic narrative description, and a focus on tension and suspense. The writer's voice creates a sense of urgency, danger, and moral ambiguity, exploring themes of personal agency and the consequences of one's actions. The script's authentic and realistic dialogue adds depth to the characters and enhances the suspense and atmosphere. The writer's voice effectively conveys the internal struggles and conflicts faced by the characters, as well as the dark and dangerous world they inhabit. The best scene that encapsulates the writer's unique voice is Scene 4, which effectively conveys the protagonist's internal struggle and moral dilemma.

AI Verdict & Suggestions

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

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Gemini
 Consider
Story Facts
Genres:
Action 25% Crime 45% Drama 35% Thriller 40%

Setting: Contemporary, Various locations including a parking lot, rooftop, desert, gas station, and airport

Themes: Kidnapping and Human Trafficking, Guilt and Redemption, Betrayal and Deception, Family and Parental Love, Corruption and Crime, Desperation and Survival, Justice and Law Enforcement, Identity and Self-discovery

Conflict & Stakes: The primary conflicts in this story include Glenn's struggle to navigate the dangerous criminal world he stumbled upon, Sarah's fight for survival and escape from her kidnappers, and the FBI's investigation into the criminal activities. The stakes are high as lives are at risk, and the truth must be uncovered to bring justice and protect innocent victims.

Mood: Suspenseful and tense

Standout Features:

  • Suspenseful Plot: The screenplay offers a suspenseful and gripping plot that keeps the audience engaged.
  • Strong Characters: The screenplay features well-developed and compelling characters that drive the story.
  • Twists and Turns: The screenplay includes unexpected plot twists and turns that keep the audience guessing.

Comparable Scripts: No Country for Old Men, Fargo, Drive, Nocturnal Animals, Gone Girl, Prisoners, Nightcrawler, A Simple Plan, The Girl with the Dragon Tattoo, The Departed

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.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.65
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
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Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.