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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. EMBER CITY - ALLEY - NIGHT The tall empty buildings are just hollow facades. All dark now. Empty. No color. Shades of blacks, and grays, and little to no whites. It's not raining, but the streets look wet and shiny.
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EXT. EMBER CITY - STREETS - MOMENTS LATER No traffic. Green lights. And Lizzie rollin' down the middle on her black Harley. She pulls into the warehouse district, down a block, and into a hidden entrance to an ominous abandoned-looking warehouse.
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EXT. ROADSIDE - DAY A sidewalk runs along a busy urban street. LIZZIE (15) walks the street. She's dressed in a blue plaid skirt and a white school uniform button-up blouse, and a pair of white Ked's shoes. She carries a backpack over her right
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INT. SILVER MERCEDES - CONTINUOUS Lizzie gets in, sets her backpack at her feet, and closes the door. LIZZIE You a cop?
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INT. MONTE CARLO - CONTINUOUS At the wheel is JOEL (25), muscular and fit, wearing (apropos) a white tank undershirt (wife-beater). His hair is greasy. He has the standard tattoos down his arms, but what makes him look scary, is the spider's web tattoo on his neck.
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EXT. ROADSIDE - CONTINUOUS The Monte Carlo RUMBLES and pulls away. Lizzie steps back up onto the sidewalk, her lips trembling, her eyes welling up. She adjusts her skirt, flattens her blouse, and steps forward.
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INT. MONTE CARLO - MINUTES LATER The car drives down the road. JOEL This is a date. Lizzie listens.
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INT. HOTEL - ROOM 504 - CONTINUOUS Lizzie walks in, her tiny frame just a fraction of Ethan. She checks the bathroom, checks on the other side of the bed, and then slowly walks up to the desk, smiling. She puts her backpack on the chair.
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EXT. EMBER CITY - CURBSIDE - DAY Lizzie walks the sidewalk along the long retail street, shops and restaurants dispersed throughout. She sees Amanda a block away. Amanda sees Lizzie.
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INT. APARTMENT - LATER THAT NIGHT Lizzie sits on the couch. This time, Amanda comes out of the kitchen, with two beers. Amanda sits down and holds the cold beer bottle to her bruised face.
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INT. MONTE CARLO - MOMENTS LATER Amanda sits in the back seat. AMANDA Where are we going? JOEL
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INT. APARTMENT - LATER THAT NIGHT The front door opens. It's Lizzie. She comes in. Sets her backpack on the sofa. She goes to the kitchen and brings out two beers. Sets them on the coffee table.
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EXT. APARTMENT - PARKING LOT - MOMENTS LATER Lizzie walking straight, backpack double strapped, drinking from the first bottle of beer. She's on a steady pace and heads for the exit of the parking lot. Suddenly, the Monte Carlo headlights come swinging into the
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INT. LUXURY APARTMENT - NIGHT Everything is white. The carpet, the leather sofa, the stone coffee table, even the recliner. The kitchen is all white custom cabinets, two white refrigerators, side by side, and a white marble island.
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INT. WAREHOUSE - LATER THAT NIGHT The big industrial door closes LOUD behind Lizzie. She locks it. Lizzie turns to an enormous great room with iron beams overhead, with a 30 foot ceiling above those.
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EXT. EMBER CITY - ALLEY - NIGHT Ember City is dark tonight. Especially in the Alley. Lizzie walks behind the scenes, careful not to be seen. In and out of breaks in the buildings, around corners. She finally has a view of a developing situation.
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EXT. EMBER CITY - ALLEY - NEXT MORNING There is a white sheet covering the dead body of Jerome, but nothing where Scarlett fell. A dozen uniformed cops manage the scene, including Adam and Ben.
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EXT. EMBER CITY - STREETS - LATER Their blue squad car drives slowly in the right lane. On the sidewalk Adam and Ben spot Scarlett, walking. They pulls up and do a once-over with the siren to get her attention. Three guys scramble away from her.
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INT. LUXURY APARTMENT - EVENING Ethan sits on the sofa watching the news. NEWSCASTER (O.C.) In other news, the Ember City Police need your help in finding a
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INT. WAREHOUSE - LATER Ethan walks in. Lizzie runs straight at him and drunkenly jumps into his arms and climbs up around his neck, her legs wrapping around his midsection, like a small child would be picked up.
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INT. WAREHOUSE - DAY START MONTAGE: - An interior designer marks the Project Workspace area. - Ethan is positive. - Lizzie is not sure.
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INT. WAREHOUSE - DRESSING AREA - NIGHT Lizzie stands before the mirror, black panties and black bra. She's staring at the leather outfit draped over the hangers. As she begins to put on the black patent-leather pants, her hands tremble with anticipation.
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INT. WAREHOUSE - DRESSING AREA - NIGHT Lizzie finishes putting on the black leather sleeveless top and turns her attention to a box in the corner. She kneels, opening it to reveal a pair of black leather Doc Martin boots.
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INT. COMMAND CENTER - LATER THAT NIGHT Ethan and Lizzie sit at the break table, drinking a beer. ETHAN Let's assume it's cash. She's paying him off.
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EXT. EMBER CITY - STREETS - MOMENTS LATER Lizzie sits on the Harley rolling down the road. Lizzie rides fast down the street. Lizzie swerves right. Lizzie swerves left.
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INT. LUXURY APARTMENT - DAYS LATER Ethan sits in his usual place, a proud smile on his face, watching the news. On the screen, a NEWSCASTER in a professional attire sits at the news desk, a backdrop of news headlines behind them. The
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INT. COMMAND CENTER - NIGHT LIZZIE (frowning) You've been here all night, bro. (moving slightly closer)
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INT. COMMUNITY CENTER - NIGHT A modest community center filled with PEOPLE. A banner reads “Ember City Community Meeting.” Residents gather, murmuring among themselves. At the front, an ANCHOR (30s, earnest) stands at a podium,
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EXT. EMBER CITY - NIGHT - LATER News crews gather outside the community center. The buzz of excitement is palpable as PEOPLE exit, talking animatedly about Lizzie. INT. LOCAL CAFE - MOMENTS LATER
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EXT. APARTMENT - PARKING LOT - NIGHT Scarlett comes out of the apartment. She walks cautiously toward the Monte Carlo, her eyes darting as she scans the area, sensing something is off. Lizzie sits confidently on her Harley, the engine rumbling
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EXT. MICKEY'S PUB - REAR ALLEY - LATER Lizzie is parked in the shadows, out of sight. Scarlett comes out the back door with two beers, looking around. Lizzie steps out from the shadows just enough for Scarlett to
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INT. COMMAND CENTER - NEXT MORNING Ethan sits with his feet up watching the news on one of the big digital displays. He's smiling. ON THE TV There's an image of the NEWSCASTER and then a switch in
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INT. COMMAND CENTER - DAYS LATER - NIGHT The glow of the digital display illuminates Lizzie’s focused expression as she stands in front of a map of Ember City. Ethan sits on a desk behind her, hands crossed, watching intently.
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EXT. EMBER CITY - STREETS - DAYS LATER Lizzie sits on the Harley rolling down the road. MUSIC CUE: "Jailbreak" by Thin Lizzy START MONTAGE: - Lizzie rides fast down the street.
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INT. COMMAND CENTER - LOUNGE AREA - MOMENTS LATER The lounge area is cozy but dim, casting a softer light on the two as they sit across from each other. ETHAN (serious)
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EXT. COMMAND CENTER - NIGHT - LATER Outside, under a starry sky, LIZZIE and ETHAN step out to clear their heads. The city lights twinkle around them. LIZZIE (throwing a pebble)
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INT. COMMAND CENTER - DAYS LATER - DAY ON THE TV There is an image of the Newscaster. NEWSCASTER Today we are learning of a backdoor
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INT. THE HIDEOUT - BACK ROOM - CONTINUOUS The PIMP jumps to his feet, reaching for a gun tucked in his waistband. LIZZIE fires a warning shot, hitting the table. LIZZIE (snarling)
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EXT. THE HIDEOUT - BACK ALLEY - CONTINUOUS The fight spills outside. LIZZIE kicks the PIMP away as he rises, then grabs the GIRL and pulls her behind her. LIZZIE (urgent)
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EXT. EMBER CITY - BACK ALLEY - LATER The PIMP now subdued, lies on the ground, groaning. The GIRL stares at LIZZIE, admiration shining in her eyes. GIRL You... you really saved me.
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INT. COMMAND CENTER - LATER Lizzie and Ethan strategize together, building plans. ETHAN With the video and the intel from Scarlett, we'll have enough to take
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INT. RUBY'S RESTAURANT - MOMENTS LATER Monte Morris is being hand-cuffed. POLICE OFFICER You have the right to remain silent ...

PIMP KILLER

A 16-year-old vigilante takes on the corrupt pimps and police force in her city, determined to free the girls trapped in the cycle of sex trafficking.

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Overview

Poster
Unique Selling Point

The unique selling proposition of 'PIMP KILLER' lies in its blend of action and social commentary, focusing on the often-overlooked issue of sex trafficking. The protagonist's journey from victimhood to empowerment resonates with audiences seeking stories of resilience and justice. The screenplay's raw portrayal of the struggles faced by women in the sex trade, combined with Lizzie's transformation into a vigilante, offers a fresh perspective in the genre.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Claude
 Recommend
GPT4
 Recommend
Story Facts
Genres:
Action 30% Crime 50% Drama 60% Thriller 40% Romance 25%

Setting: Contemporary, Ember City, a gritty urban environment with dark alleys, warehouses, and a community center

Themes: Empowerment and Liberation, Violence and Consequences, Friendship and Loyalty, Corruption and Justice, Identity and Transformation

Conflict & Stakes: Lizzie's struggle against the pimps and corrupt authorities in Ember City, with the stakes being her safety, the lives of other girls, and the fight for empowerment and justice.

Mood: Tense and empowering, with moments of vulnerability and reflection.

Standout Features:

  • Unique Hook: A teenage girl becomes a vigilante against pimps, challenging traditional gender roles in action narratives.
  • Major Twist: The revelation of Lizzie's past and her emotional struggles adds depth to her character and motivations.
  • Innovative Ideas: The use of a command center for planning and strategizing against pimps introduces a unique element to the vigilante genre.
  • Distinctive Settings: The contrast between the dark, gritty alleys and the transformed command center highlights the duality of Lizzie's world.

Comparable Scripts: The Brave One (2007), Hard Candy (2005), I Spit on Your Grave (1978), The Girl with the Dragon Tattoo (2005), Kill Bill: Volume 1 (2003), Nikita (1990), Fargo (1996), The Punisher (2004), Elektra (2005), The Handmaid's Tale (TV Series, 2017-present)

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: 7.56
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.

Comparison with Previous Draft

See how your script has evolved from the previous version. This section highlights improvements, regressions, and changes across all major categories, helping you understand what revisions are working and what may need more attention.

Version Comparison Analysis
Summary of Changes
Improvements (5)
  • Character Complexity - antagonistDevelopment: 6.0 → 8.0 +2.0
  • Character Complexity - characterRelatability: 7.0 → 8.0 +1.0
  • Character Complexity - characterConsistency: 7.0 → 8.0 +1.0
  • Premise - engagementPotential: 7.0 → 8.0 +1.0
  • Premise - contributionToNarrative: 7.0 → 8.0 +1.0
Areas to Review (0)

No regressions detected