SCENES
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Scene Map 58
# PG SLUGLINE
1 2
EXT SKY DAY
2 4
INT WASHINGTON, D.C. - ADAM'S APARTMENT - PRESENT DAY
3 6
EXT A STREET - “THE WRITER'S NOOK” CONTINUOUS
4 9
INT “THE WRITER'S NOOK” LATER
5 12
INT A ROOM SOMEWHERE DAY
6 13
EXT WASHINGTON, D.C. - THE CAPITOL DAY
7 14
EXT STREET BEFORE ADAM'S APARTMENT BUILDING LATER
8 15
INT ADAM'S APARTMENT CONTINUOUS
9 18
INT JENNY’S OFFICE, CIA HQ - DAY - SEVEN MONTHS EARLIER
10 20
EXT STREET BEFORE ADAM’S APARTMENT BUILDING CONTINUOUS
11 21
INT ADAM'S APARTMENT CONTINUOUS
12 24
INT HALL IN ADAM'S APARTMENT BUILDING CONTINUOUS
13 27
EXT STREET BEFORE ADAM'S APARTMENT BUILDING LATER
14 29
EXT ANOTHER PART OF THE STREET CONTINUOUS
15 30
EXT STREET BEFORE ADAM'S APARTMENT BUILDING CONTINUOUS
16 30
EXT DOTTIE'S BAR & GRILL NIGHT
17 32
EXT A STREET AND LANCE'S APARTMENT BUILDING NIGHT
18 33
INT DOTTIE'S BAR & GRILL NIGHT
19 35
INT LANCE'S APARTMENT LATER
20 37
INT A JAIL - VISITORS’ ROOM DAWN
21 37
EXT CIA HEADQUARTERS, LANGLEY, VIRGINIA NIGHT
22 38
INT DOTTIE'S BAR & GRILL NIGHT
23 39
EXT AN ABANDONED BUILDING NIGHT
24 40
EXT A STREET NIGHT
25 40
EXT AN ABANDONED BUILDING CONTINUOUS
26 44
INT HALL AND ROOM IN AN ABANDONED BUILDING CONTINUOUS
27 45
EXT /INT. U.S. SENATE, WASHINGTON D.C. NIGHT
28 47
INT MACK’S GROUND FLOOR APARTMENT – LATER
29 48
INT MACK’S GROUND FLOOR APARTMENT LATER
30 51
INT A SENATE OFFICE, WASHINGTON D.C. LATER
31 52
EXT LANGLEY, VIRGINIA - CIA HQ - NIGHT -SIX MONTHS EARLIER
32 54
EXT ADAM'S APARTMENT BUILDING – COURTYARD NIGHT
33 55
INT A HEALING CENTER – YEAR 3025 DAY
34 57
INT HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS
35 58
EXT AN ORDINARY HOUSE - 1977 DAY
36 62
EXT BENTON HOME - PRESENT DAY
37 64
EXT BENTON HOUSE DAY
38 64
EXT PETER’S APARTMENT BUILDING DAY
39 67
INT YOUNG ADAM'S BEDROOM LATER
40 68
EXT ADAM’S APARTMENT BUILDING - COURTYARD – NIGHT - PRESENT
41 68
INT HALLWAY BEFORE ADAM'S APARTMENT CONTINUOUS
42 71
INT A HEALING ROOM, YEAR 3025 DAY
43 75
INT ADAM'S APARTMENT BUILDING - LOBBY NIGHT
44 76
INT LANGLEY - CIA HQ - HALLWAY - DAY - SEVEN MONTHS EARLIER
45 78
INT HALL BEFORE ADAM’S APARTMENT – NIGHT
46 80
EXT DOWN-STREET FROM THE KINGSTON HOME – DAY - 1977
47 82
EXT A COPY SHOP DAY
48 83
EXT STREET AND BANK CONTINUOUS
49 83
EXT STREET AND BANK CONTINUOUS
50 84
EXT STREET BEFORE A CAMERA SHOP – CONTINUOUS
51 85
EXT STREET BY KINGSTON HOME CONTINUOUS
52 86
EXT SIDEWALK BEFORE A DINER DAY
53 86
INT MACK’S GROUND FLOOR APARTMENT – NIGHT
54 88
EXT /INT. MACK’S CAR ON A SIDE STREET – NIGHT
55 88
INT THE BREWERY – CONTINUOUS
56 90
EXT BACK OF THE BREWERY – CONTINUOUS
57 95
EXT US SENATE OFFICE BUILDING DAY
58 95
EXT A PARK DAY
INT EXT INT/EXT hover for full slug
Scene Map
58
# PG SLUGLINE
1 2
EXT SKY DAY
EXT. SKY - DAY
EXT. SKY - DAY A dark and violent sky. ROARS of an enraged dragon. Yellow and red tongues of flame suddenly shoot across the screen from the right, then the tips of a dragon's nostrils appear. Flames right to left once more, accompanied by
2 4
INT WASHINGTON, D.C. - ADAM'S APARTMENT - PRESENT DAY
INT. WASHINGTON, D.C. - ADAM'S APARTMENT - PRESENT - DAY
INT. WASHINGTON, D.C. - ADAM'S APARTMENT - PRESENT - DAY Morning. A ratty, messy bachelor studio apartment on the second floor of an Art Deco style building. Adam is asleep on a cot, wearing a T-shirt and Hawaiian-patterned shorts. He sits up with a start.
3 6
EXT A STREET - “THE WRITER'S NOOK” CONTINUOUS
EXT. A STREET - “THE WRITER'S NOOK” - CONTINUOUS
EXT. A STREET - “THE WRITER'S NOOK” - CONTINUOUS A small neighborhood coffee shop, with the slogan, “We brew for you.” Adam comes down the street, enters the shop. INT. “THE WRITER'S NOOK”
4 9
INT “THE WRITER'S NOOK” LATER
INT. “THE WRITER'S NOOK” - LATER
INT. “THE WRITER'S NOOK” - LATER Adam is at the counter, his laptop in its bag, hanging from his left shoulder. ADAM Jumbo cup of milk -
5 12
INT A ROOM SOMEWHERE DAY
INT. A ROOM SOMEWHERE - DAY
INT. A ROOM SOMEWHERE - DAY JENNY, 45, activates her phone. Only seen are her hands, the phone, a thin slice of her face, thin slice of hair. Jenny is tomboyish, vulnerable and untrusting. Like an abandoned animal, she is equally ready for fight or flight.
6 13
EXT WASHINGTON, D.C. - THE CAPITOL DAY
EXT. WASHINGTON, D.C. - THE CAPITOL - DAY
EXT. WASHINGTON, D.C. - THE CAPITOL - DAY A gloomy day, a light drizzle falling on the Capitol Building. INT. THE CAPITOL - A MARBLED HALLWAY Senator Grayson and two aides walk down a magnificent marbled
7 14
EXT STREET BEFORE ADAM'S APARTMENT BUILDING LATER
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER Adam comes down the street, goes into his building. Following a block behind him are Jeremy, Vickie and Danny Boy. INT. HALL IN ADAM'S APARTMENT BUILDING - CONTINUOUS Adam comes out of the stairwell, right, and starts toward his
8 15
INT ADAM'S APARTMENT CONTINUOUS
INT. ADAM'S APARTMENT - CONTINUOUS
INT. ADAM'S APARTMENT - CONTINUOUS Carl is seated in the armchair, Howie is standing. The door is kicked open, revealing Adam with his gun pointed at the two. He sizes them up with distaste. CARL
9 18
INT JENNY’S OFFICE, CIA HQ - DAY - SEVEN MONTHS EARLIER
INT. JENNY’S OFFICE, CIA HQ - DAY - SEVEN MONTHS EARLIER
INT. JENNY’S OFFICE, CIA HQ - DAY - SEVEN MONTHS EARLIER The face of Jenny, seated behind her desk. Tears stream down her face. She suddenly pounds both fists twice on the desk. JENNY Damn him. Damn him!
10 20
EXT STREET BEFORE ADAM’S APARTMENT BUILDING CONTINUOUS
EXT. STREET BEFORE ADAM’S APARTMENT BUILDING - CONTINUOUS
EXT. STREET BEFORE ADAM’S APARTMENT BUILDING - CONTINUOUS The three street kids, partly concealed, are watching the front of Adam's apartment building from across the street. DANNY BOY Why we watchin' Adam?
11 21
INT ADAM'S APARTMENT CONTINUOUS
INT. ADAM'S APARTMENT - CONTINUOUS
INT. ADAM'S APARTMENT - CONTINUOUS Adam is dozing in the armchair. There is a knock on his door. He doesn't move. Another knock. Adam opens his eyes with a start, looks ready for a fight, jerks to his feet, walks over and yanks open the door. Merlin stands outside.
12 24
INT HALL IN ADAM'S APARTMENT BUILDING CONTINUOUS
INT. HALL IN ADAM'S APARTMENT BUILDING - CONTINUOUS
INT. HALL IN ADAM'S APARTMENT BUILDING - CONTINUOUS Merlin walks down the hall. As he comes to Mrs. Ogelby's door, the peep hole swings open. Without breaking stride and not looking in her direction: MERLIN
13 27
EXT STREET BEFORE ADAM'S APARTMENT BUILDING LATER
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - LATER Merlin walks up to the three street kids, who are still watching Adam's building. MERLIN What's happenin'?
14 29
EXT ANOTHER PART OF THE STREET CONTINUOUS
EXT. ANOTHER PART OF THE STREET - CONTINUOUS
EXT. ANOTHER PART OF THE STREET - CONTINUOUS Kids break out of the huddle. Vickie walks in the street toward the driver's side of the car, Danny Boy on the sidewalk by the passenger side. Jeremy trails them by several yards.
15 30
EXT STREET BEFORE ADAM'S APARTMENT BUILDING CONTINUOUS
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - CONTINUOUS
EXT. STREET BEFORE ADAM'S APARTMENT BUILDING - CONTINUOUS The kids return to Merlin. Jeremy sticks out his hand, palm up. Merlin pulls another twenty from the air, slaps it into Jeremy's hand, then pulls a smart phone from the air. MERLIN
16 30
EXT DOTTIE'S BAR & GRILL NIGHT
EXT. DOTTIE'S BAR & GRILL - NIGHT
EXT. DOTTIE'S BAR & GRILL - NIGHT The two red t's of 'Dottie's' red neon sign, then the whole sign, followed by the exterior of the bar. INT. DOTTIE'S BAR & GRILL An ordinary neighborhood bar, with a gaggle of patrons.
17 32
EXT A STREET AND LANCE'S APARTMENT BUILDING NIGHT
EXT. A STREET AND LANCE'S APARTMENT BUILDING - NIGHT
EXT. A STREET AND LANCE'S APARTMENT BUILDING - NIGHT Adam runs frantically down the street. He turns a corner, charges into the entranceway of an apartment building. INT. STAIRWELL Gun in hand, Adam yanks open the second-floor stairwell door.
18 33
INT DOTTIE'S BAR & GRILL NIGHT
INT. DOTTIE'S BAR & GRILL - NIGHT (DREAM)
INT. DOTTIE'S BAR & GRILL - NIGHT (DREAM) Adam and Lance are sitting at a small table. Lance looks like your favorite philosophy professor, well-built, with a shock of grey hair. He’s seen it all. LANCE
19 35
INT LANCE'S APARTMENT LATER
INT. LANCE'S APARTMENT - LATER
INT. LANCE'S APARTMENT - LATER Adam, still on the floor, wakes, groans, feels his head. He suddenly realizes where he is, gets back on his knees by Lance, looks at his dead friend. Lance's eyelids are open. Adam leans over and closes them, slumps.
20 37
INT A JAIL - VISITORS’ ROOM DAWN
INT. A JAIL - VISITORS’ ROOM - DAWN
INT. A JAIL - VISITORS’ ROOM - DAWN A beat-up visitors' room in the jail. Adam sits at a table opposite Agent One and Agent Two. ADAM - one and done, and the rest of my
21 37
EXT CIA HEADQUARTERS, LANGLEY, VIRGINIA NIGHT
EXT. CIA HEADQUARTERS, LANGLEY, VIRGINIA - NIGHT
EXT. CIA HEADQUARTERS, LANGLEY, VIRGINIA - NIGHT Front gate, sign. MORDAIN (O.S.) If Grayson uncovers the truth,
22 38
INT DOTTIE'S BAR & GRILL NIGHT
INT. DOTTIE'S BAR & GRILL - NIGHT
INT. DOTTIE'S BAR & GRILL - NIGHT Adam stands at the bar, Mack, behind the bar. Shock is on Mack's face. MACK Dead? My God.
23 39
EXT AN ABANDONED BUILDING NIGHT
EXT. AN ABANDONED BUILDING - NIGHT
EXT. AN ABANDONED BUILDING - NIGHT An old empty building, the front set back, in a poor section of town. Carl and Howie's car is parked outside. INT. ROOM IN AN ABANDONED BUILDING Adam is seated on an old wooden chair, tightly laced into a
24 40
EXT A STREET NIGHT
EXT. A STREET - NIGHT
EXT. A STREET - NIGHT The street kids are still tracking, when Jeremy sees an unattended three-wheel bicycle with a second seat and a large basket in the back. He eyes it. JEREMY
25 40
EXT AN ABANDONED BUILDING CONTINUOUS
EXT. AN ABANDONED BUILDING - CONTINUOUS
EXT. AN ABANDONED BUILDING - CONTINUOUS The street kids arrive on the bike and see the car. They hide the bike, climb up a fire escape and enter through a window. INT. AN ABANDONED BUILDING - SECOND FLOOR
26 44
INT HALL AND ROOM IN AN ABANDONED BUILDING CONTINUOUS
INT. HALL AND ROOM IN AN ABANDONED BUILDING - CONTINUOUS
INT. HALL AND ROOM IN AN ABANDONED BUILDING - CONTINUOUS Carl and Howie come down a hall. Carl opens the door where Adam is being held, enters, stops in shock. Danny Boy sits in Adam's chair with the straightjacket on him, staring at Carl, his eyes wide, mouth hanging open.
27 45
EXT /INT. U.S. SENATE, WASHINGTON D.C. NIGHT
EXT./INT. U.S. SENATE, WASHINGTON D.C. - NIGHT
EXT./INT. U.S. SENATE, WASHINGTON D.C. - NIGHT An expensively furnished office. The back of a tall leather chair is turned away from the desk, hiding the man sitting in it. Cigar smoke floats above the chair. MORDAIN
28 47
INT MACK’S GROUND FLOOR APARTMENT – LATER
INT. MACK’S GROUND FLOOR APARTMENT – LATER
INT. MACK’S GROUND FLOOR APARTMENT – LATER Merlin, Adam, Mack, and the kids are seated around the table. ADAM If some in The Company set up Kennedy -
29 48
INT MACK’S GROUND FLOOR APARTMENT LATER
INT. MACK’S GROUND FLOOR APARTMENT - LATER
INT. MACK’S GROUND FLOOR APARTMENT - LATER Merlin, Adam, Mack, the kids. Adam stands before his chair. MERLIN First we gotta unhook your energy body.
30 51
INT A SENATE OFFICE, WASHINGTON D.C. LATER
INT. A SENATE OFFICE, WASHINGTON D.C. - LATER
INT. A SENATE OFFICE, WASHINGTON D.C. - LATER Mordain, still on the burner phone. MORDAIN Find him. Quickly. INT. MACK’S APARTMENT – LATER
31 52
EXT LANGLEY, VIRGINIA - CIA HQ - NIGHT -SIX MONTHS EARLIER
EXT. LANGLEY, VIRGINIA - CIA HQ - NIGHT -SIX MONTHS EARLIER
EXT. LANGLEY, VIRGINIA - CIA HQ - NIGHT -SIX MONTHS EARLIER A sign reading "Central Intelligence Agency." INT. CIA HEADQUARTERS - HALL A time and date clock, showing it's now six months earlier, a Sunday night.
32 54
EXT ADAM'S APARTMENT BUILDING – COURTYARD NIGHT
EXT. ADAM'S APARTMENT BUILDING – COURTYARD - NIGHT
EXT. ADAM'S APARTMENT BUILDING – COURTYARD - NIGHT Empty courtyard. Adam suddenly appears, slumped on a bench before the door, his right hand holding on to the top of the bench, his left hand over his wounds. He is barely conscious. ADAM
33 55
INT A HEALING CENTER – YEAR 3025 DAY
INT. A HEALING CENTER – YEAR 3025 - DAY
INT. A HEALING CENTER – YEAR 3025 - DAY A large, sleek, ultra-modern space, clean and uncluttered. The floor and walls are made of a marble-like substance, and the ceiling is a mosaic of many-colored panes of glass. Only the lights, operating table and a small electronic
34 57
INT HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS
INT. HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS
INT. HALL IN ADAM'S APARTMENT BUILDING – CONTINUOUS Hallway, Mrs. Ogelby’s door. The peephole flap opens, and the periscope emerges, looks carefully both ways, is withdrawn, peephole flap closes. EXT. COURTYARD BEFORE ADAM'S APARTMENT BUILDING - NIGHT
35 58
EXT AN ORDINARY HOUSE - 1977 DAY
EXT. AN ORDINARY HOUSE - 1977 - DAY
EXT. AN ORDINARY HOUSE - 1977 - DAY It is a dismal day. RAIN. YOUNG ADAM, 5, is staring out of an upstairs window. INT. YOUNG ADAM'S BEDROOM- DAY There is little more in the room than a bed, a chair, a
36 62
EXT BENTON HOME - PRESENT DAY
EXT. BENTON HOME - PRESENT - DAY
EXT. BENTON HOME - PRESENT - DAY It is an old weather-beaten house. The screens are rusted, with holes, and a gutter hangs loose at one end. Weeds grow on the lawn, with no flowers. The battered mailbox reads: "Benton."
37 64
EXT BENTON HOUSE DAY
EXT. BENTON HOUSE - DAY
EXT. BENTON HOUSE - DAY Adam heads down the walk, as the door closes behind him. He holds his smart phone, Googles for Peter Alinovski's phone number. Instead of a phone number, a six months’ earlier obituary for Alinovski shows on the screen.
38 64
EXT PETER’S APARTMENT BUILDING DAY
EXT. PETER’S APARTMENT BUILDING - DAY
EXT. PETER’S APARTMENT BUILDING - DAY A small, unfashionable, two-story apartment building. INT. PETER'S APARTMENT PETER ALINOVSKI, 80s, and Adam are sitting, facing each other in the living room. Varying emotions flash across Alinovski’s
39 67
INT YOUNG ADAM'S BEDROOM LATER
INT. YOUNG ADAM'S BEDROOM- LATER
INT. YOUNG ADAM'S BEDROOM- LATER It is just moments since Adam left Young Adam, who sits at the edge of his bed, hugging the framed picture of his parents when Adam reappears. YOUNG ADAM
40 68
EXT ADAM’S APARTMENT BUILDING - COURTYARD – NIGHT - PRESENT
EXT. ADAM’S APARTMENT BUILDING - COURTYARD – NIGHT - PRESENT
EXT. ADAM’S APARTMENT BUILDING - COURTYARD – NIGHT - PRESENT Adam appears, speed dials his phone. AGENT TWO (V.O.) Got something, Kingston? ADAM
41 68
INT HALLWAY BEFORE ADAM'S APARTMENT CONTINUOUS
INT. HALLWAY BEFORE ADAM'S APARTMENT - CONTINUOUS
INT. HALLWAY BEFORE ADAM'S APARTMENT - CONTINUOUS Two men come into the hall, holding by their sides handguns with silencers. They stop in front of Adam's door, listen, then kick in the door. Mrs. Ogelby's periscope slides through the peep hole in her
42 71
INT A HEALING ROOM, YEAR 3025 DAY
INT. A HEALING ROOM, YEAR 3025 - DAY
INT. A HEALING ROOM, YEAR 3025 - DAY Adam, Jenny and Merlin appear in the healing room, Adam covered in Jenny's blood. As Adam puts Jenny on the operating table, the alarm sounds, and 3025 rushes in once more. I told you two not to come back! Is
43 75
INT ADAM'S APARTMENT BUILDING - LOBBY NIGHT
INT. ADAM'S APARTMENT BUILDING - LOBBY - NIGHT
INT. ADAM'S APARTMENT BUILDING - LOBBY - NIGHT The lobby of Adam's Art Deco apartment building. CSI personnel are leaving, Coroner's assistants are loading two folded stretchers into the elevator. There also are two policewomen, and Agent One is huddled with some detectives.
44 76
INT LANGLEY - CIA HQ - HALLWAY - DAY - SEVEN MONTHS EARLIER
INT. LANGLEY - CIA HQ - HALLWAY - DAY - SEVEN MONTHS EARLIER
INT. LANGLEY - CIA HQ - HALLWAY - DAY - SEVEN MONTHS EARLIER Adam and Jenny appear in an empty hallway. JENNY Where are we? ADAM
45 78
INT HALL BEFORE ADAM’S APARTMENT – NIGHT
INT. HALL BEFORE ADAM’S APARTMENT – NIGHT
INT. HALL BEFORE ADAM’S APARTMENT – NIGHT Three Company goons. One has just finished picking the lock of Adam’s apartment. INT. APARTMENT One goon stands in the doorway, looking out. The other two
46 80
EXT DOWN-STREET FROM THE KINGSTON HOME – DAY - 1977
EXT. DOWN-STREET FROM THE KINGSTON HOME – DAY - 1977
EXT. DOWN-STREET FROM THE KINGSTON HOME – DAY - 1977 A small van is parked down the street from the Kingston house, Jenny in the driver’s seat. Adam is beside Jenny, holding a 1977 Canon 310XL Super 8 film movie camera. He aims the camera at the face of his
47 82
EXT A COPY SHOP DAY
EXT. A COPY SHOP - DAY
EXT. A COPY SHOP - DAY Mordain-24’s car stops; he gets out and enters a copy center. The van has also stopped, and Jenny and Adam watch Mordain- JENNY Copying the dossier.
48 83
EXT STREET AND BANK CONTINUOUS
EXT. STREET AND BANK - CONTINUOUS
EXT. STREET AND BANK - CONTINUOUS Mordain-24 parks near a bank, puts a small placard reading "Official Business" on his windshield, enters the bank, holding the dossier and its copy. Adam exits the van, goes into the bank.
49 83
EXT STREET AND BANK CONTINUOUS
EXT. STREET AND BANK - CONTINUOUS
EXT. STREET AND BANK - CONTINUOUS Mordain-24 comes out, walks toward his car, removes the placard, gets in the car. Adam exits the bank, returns to the van, as Mordain-24 drives off. ADAM
50 84
EXT STREET BEFORE A CAMERA SHOP – CONTINUOUS
EXT. STREET BEFORE A CAMERA SHOP – CONTINUOUS
EXT. STREET BEFORE A CAMERA SHOP – CONTINUOUS Adam comes out of the camera shop, the camera in a leather case hanging from a strap around his neck. He walks over to the car window by Jenny. ADAM
51 85
EXT STREET BY KINGSTON HOME CONTINUOUS
EXT. STREET BY KINGSTON HOME - CONTINUOUS
EXT. STREET BY KINGSTON HOME - CONTINUOUS The van stops near the house. There still is a small police presence. Jenny looks at Adam questioningly. Adam holds up the film. ADAM
52 86
EXT SIDEWALK BEFORE A DINER DAY
EXT. SIDEWALK BEFORE A DINER - DAY
EXT. SIDEWALK BEFORE A DINER - DAY Adam appears, walks into the diner. INT. THE DINER Mordain-24 sits at the counter, eating. Adam moves quickly behind him, jams his handgun into Mordain-24’s back. Mordain-
53 86
INT MACK’S GROUND FLOOR APARTMENT – NIGHT
INT. MACK’S GROUND FLOOR APARTMENT – NIGHT
INT. MACK’S GROUND FLOOR APARTMENT – NIGHT The street kids are seated around the table, hands tied behind the backs of their chairs, gags tied around their mouths. Adam and Jenny appear, react. ADAM
54 88
EXT /INT. MACK’S CAR ON A SIDE STREET – NIGHT
EXT./INT. MACK’S CAR ON A SIDE STREET – NIGHT
EXT./INT. MACK’S CAR ON A SIDE STREET – NIGHT Mack’s car moves along slowly on a barely lit street. Jenny is driving, Adam beside her. The three kids are in the back, Jeremy in the middle, using the tracker. JEREMY
55 88
INT THE BREWERY – CONTINUOUS
INT. THE BREWERY – CONTINUOUS
INT. THE BREWERY – CONTINUOUS Vats, wooden barrels. Mordain sits on a chair beside a small wooden table. Merlin and Mack also are seated. Two goons with machine pistols stand nearby. Mordain has half a glass of beer in his left hand. Mordain’s Aide stands by Mordain.
56 90
EXT BACK OF THE BREWERY – CONTINUOUS
EXT. BACK OF THE BREWERY – CONTINUOUS
EXT. BACK OF THE BREWERY – CONTINUOUS Jeremy grasps a broom handle, broken and sharp at one end; Vickie holds the tin lid of a garbage can like a shield; Danny Boy clutches a tire iron with both hands. They march into the back of the brewery: Jeremy, Vickie, Danny Boy.
57 95
EXT US SENATE OFFICE BUILDING DAY
EXT. US SENATE OFFICE BUILDING - DAY
EXT. US SENATE OFFICE BUILDING - DAY Establishing. INT. SENATOR GRAYSON’S OFFICE - CONTINUOUS Grayson and Adam are seated, facing each other. GRAYSON
58 95
EXT A PARK DAY
EXT. A PARK - DAY
EXT. A PARK - DAY A sunny afternoon. A park. Trees, bushes. Jeremy, Vickie and Danny Boy are sitting on a bench, tense. Adam comes into view. The kids jump up with expectation.
INT EXT INT/EXT tap to expand
Take the Tour
Take the Tour

TIME TRACKER

A burned-out ex-CIA operative haunted by Arthurian dreams must learn to time-travel with the help of a wisecracking Merlin to stop a presidential investigator’s assassination, discover who murdered his parents, and save a makeshift family — before the past and future erase everything he loves.

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Overview

Poster
Unique Selling Point

The screenplay's unique selling proposition is its innovative fusion of Arthurian legend with modern political conspiracy, using time travel as both plot device and thematic exploration of trauma and redemption. Unlike typical time-travel stories, it maintains emotional grounding through Adam's journey from broken ex-agent to reluctant hero, while the street kids subplot adds unexpected heart and social commentary.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Gemini
 Consider
Grok
 Recommend
Claude
 Recommend
DeepSeek
 Consider
Average Score: 7.7
Key Takeaways
For the Writer:
The screenplay's high-concept blend of conspiracy thriller and whimsical time-magic is its chief strength, but it needs surgical tightening. First, codify and dramatize the rules and costs of time travel so that jumps feel earned and consequences bite; this will restore real jeopardy and prevent repeated 'undo' fixes that cheapen tension. Second, sharpen the conspiracy: clarify who benefits, the chain of command, and the concrete stakes after the takedown (legal/political fallout) so the climax carries weight. Finally, deepen key relationships—especially Jenny's arc and Merlin's backstory/limits—and trim repetitive middle beats to keep momentum and emotional focus.
For Executives:
Time Tracker is a commercially viable, high-concept property with franchise potential: wisecracking Merlin + conspiracy + time travel sells across thriller and fantasy audiences. The market risk lies in inconsistent mechanics and an underdeveloped antagonist/conspiracy that leave the climax and payoffs feeling incomplete; left as-is these weaknesses could hurt critical reception and word-of-mouth. With a focused rewrite that (1) establishes and enforces clear time-travel rules, (2) tightens the middle act, and (3) gives the cabal sharper motives and a believable payoff, this can be positioned as a tentpole genre hybrid with strong festival/streamer potential and merchandising/licensing upside tied to visual set pieces (Merlin’s devices, the transducer crystal, the 3025 lab). Budget note: several memorable set pieces (dragon dream, 1977 period work, 3025 healing lab) are production-forward — keep one or two signature spectacle moments and solve the others through smart design to control costs.
See Details in P/C/R/HR Section
Story Facts
Genres:
Fantasy 30% Action 25% Thriller 35% Drama 40% Romance 15% Comedy 15%

Setting: Present day with flashbacks to 1977 and futuristic elements in 3025, Washington, D.C., including Adam's apartment, CIA Headquarters, various urban settings, and a futuristic healing center

Themes: The Pursuit of Truth and Justice Against Corruption, Destiny, Past Lives, and Arthurian Legend, Family Legacy and the Search for Closure, Surveillance, Betrayal, and the Corrupting Influence of Power, Found Family and Unlikely Alliances, Personal Redemption and the Quest for a Normal Life, Time Travel and its Consequences

Conflict & Stakes: Adam's quest for truth about his parents' murder and his struggle against a powerful conspiracy, with his own life and the lives of those he cares about at stake.

Mood: A blend of suspenseful, dramatic, and whimsical tones, with moments of humor and emotional depth.

Standout Features:

  • Unique Hook: The integration of time travel with personal and emotional stakes, allowing for character growth and exploration of past traumas.
  • Major Twist: The revelation of Merlin's true identity and his connection to Adam's past, adding layers to the narrative.
  • Innovative Ideas: The use of a futuristic healing center and magical elements juxtaposed with contemporary and historical settings.
  • Distinctive Settings: The contrast between the gritty urban environment of Washington, D.C., and the high-tech future of 3025.
  • Unique Characters: The street kids provide a fresh perspective and emotional depth, enhancing the narrative's stakes.

Comparable Scripts: The Once and Future King by T.H. White, The Dragon Prince (TV Series), Inception (Film), The Secret History by Donna Tartt, The Time Traveler's Wife (Film/Book), The Magicians (TV Series), The Chronicles of Narnia by C.S. Lewis, The Matrix (Film), The Alchemist by Paulo Coelho

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: 7.83
Key Suggestions:
Focus your next draft on two interlocking fixes: deepen the antagonists (especially Mordain and key goons) so they have personal stakes, vulnerabilities and evolving motivations that mirror or challenge Adam; and tighten the time-travel mechanics and transitions so jumps feel governed, costly, and narratively necessary. Do this by adding short scenes or beats that reveal antagonist backstory and by inserting consistent temporal anchors/visual cues and limits on time travel (costs or risks) so emotional stakes aren’t undercut by easy fixes. These changes will make emotional payoffs feel earned and keep the genre-blend coherent.
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Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
TIME TRACKER has a compelling emotional core (Adam’s quest to clear his parents’ names) and a marketable genre mix (espionage + time travel + mythic Arthurian beats). The clearest way to strengthen the script now is to simplify and tighten the antagonistic structure and the conspiracy’s throughline: pick one or two primary antagonists (and a clear, named faction) and consolidate other villains into their operatives. Use the freed-up runtime to deepen the ‘dragon’ mythology, sharpen the time-travel stakes/ethics, and give Mordain’s hinted ‘Commander’ a clearer presence (even if offscreen) so the audience leaves with a coherent sense of who benefits from the cover-up and why Adam’s actions matter emotionally and politically.
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Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The script’s emotional center is Adam — his arc and stakes are compelling — but Merlin functions too often as a witty plot device rather than a fully human mentor. To elevate the material, give Merlin personal stakes and limits: one or two short scenes that reveal a wound or a failure tied to his time-traveling work, and at least one moment where his magic has consequences (or fails). This will make his guidance costly and meaningful, raise dramatic tension when he intervenes, and force Adam to grow rather than rely on convenient solutions. Also consider tightening a couple of weak scenes (the torture/interrogation beat and Jenny’s accusation) so they deepen character rather than repeat traits already established.
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Emotional Analysis

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

Key Suggestions:
The screenplay has powerful emotional highs and a strong emotional core (Adam’s loss, the kids, Merlin’s whimsy). The priority is to rebalance pacing so audiences can feel the weight of those highs without becoming desensitized: break up the long, brutal midsection (Scenes 17–26) with short, character-driven reliefs and add a couple of quiet processing beats after major shocks (Lance’s death, Jenny’s shooting, Mordain’s arrest). Also shore up Jenny’s emotional bridge early—give the audience one small, humanizing moment before she becomes a martyr/partner so her later arc feels earned.
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Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
You have a high‑concept, emotionally rich thriller that blends time travel, supernatural mentorship, and a conspiracy revenge arc. The single biggest rewrite priority is to tighten the throughline: anchor every set piece and genre leap (dream/dragon, time travel, healing center, espionage) to Adam’s emotional decision-making. Clarify the rules and costs of time travel, make Adam’s inner choice (guilt → responsibility → active sacrifice) the engine that determines the plot’s turning points, and prune scenes that don’t directly advance either his arc or the conspiracy mystery. This will heighten stakes, simplify pacing, and deliver a more satisfying payoff when justice is achieved and Adam transforms.
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Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
You have a potent mash-up: a personal, emotional revenge story anchored in a real-world conspiracy, amplified by mythic (Arthur/Merlin) and sci‑fi (time travel/healing center) motifs. To improve the script, tighten the emotional throughline—make Adam’s core want/need (a normal life vs. obligation to fight injustice) pin and propel every scene. Simplify or codify the time‑travel mechanics and Merlin’s role so they serve character growth rather than acting as arbitrary fixes. Trim or merge scenes that duplicate beats (surveillance, interrogations, repeated dream sequences) and make each mythic element earnable: symbolism should deepen character stakes, not distract from them.
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Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script has a compelling emotional core (Adam’s grief, found-family with the kids, Jenny/Adam arc) and an intriguing genre blend (spy thriller + Arthurian fantasy + time travel). But the story stumbles where its central speculative device—time travel—and its magical agent, Merlin, are vague and inconsistent. Tighten the rules of time travel, limit and justify Merlin’s powers and interventions, and ground his personality so his actions feel motivated rather than convenient. Consolidate or reduce repeated explanatory beats and streamline similar action sequences so the screenplay spends more time on character choices and consequences rather than on repetitive set pieces or on-the-nose exposition. Doing this will strengthen stakes, emotional clarity, and audience buy-in.
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Scene Analysis

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

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
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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.

Key Suggestions:
You have a compelling, original voice that mixes gritty political thriller, dark humor, and mythic fantasy — a rare and powerful combination. To elevate the script, tighten and stabilize that voice: decide how much of the story is grounded vs. surreal and make that choice consistent across scenes. Most urgently, codify the rules of the fantastical elements (time travel, Merlin’s abilities, healing tech) and use those rules to shape dramatic choices and limits. Trim or redistribute exposition-heavy beats, and anchor the audience with clearer emotional through-lines for Adam (grief → purpose) so the manuscript remains emotionally resonant even as it hops eras and genres.
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Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
You have a powerful, high-concept story with strong scene construction, vivid set pieces, and sharp pacing. The single biggest creative lift that will make the script land emotionally and thematically is to deepen character interiority so subtext drives the dialogue and anchors the genre shifts. Concretely: develop compact backstory dossiers for Adam and Jenny (and one secondary like Mordain), then rewrite key confrontation scenes to show rather than tell—use gestures, silences, and conflicting objectives so what’s unsaid carries the weight of the plot.
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Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
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Tropes
Highlights common or genre-specific tropes found in the script.
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World Building

Evaluates the depth, consistency, and immersion of the story's world.

Key Suggestions:
You have a high-concept, emotionally rich mash-up—Arthurian myth, time travel, and a CIA conspiracy—anchored by a compelling, wounded protagonist and strong supporting players (Jenny, Merlin, the street kids). To improve the script, tighten the world so its mechanics and stakes feel certain: codify how time travel works, what Merlin can and cannot do, and the costs of changing the past. Use that clarity to reduce ad-hoc rescues and dream-logic transitions, consolidate the conspiracy around a tighter antagonist arc, and deepen two relationships (Adam↔Jenny and Adam↔the kids) so each time-jump decision has clear emotional consequences. Streamline scenes that currently read as set-pieces or procedural detours and make every scene advance either character or core mystery.
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Correlations

Identifies patterns in scene scores.

Key Suggestions:
Your screenplay’s biggest strength is its core concept and the sequences that crank up conflict — the most emotionally powerful scenes are those that are intense, confrontational, and revealing. Lean into that: tighten scenes where stakes and revelations land, and use dialogue as the primary engine to advance plot and force character change. Be surgical with levity and sarcasm — keep it as character voice or brief relief, not a beat that undercuts momentum. Also, preserve the resilient plot thread (the conspiracy/time-travel hook) while trimming or deepening lighter moments so they serve pacing and emotional payoff rather than diffuse it.
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Loglines
Presents logline variations based on theme, genre, and hook.
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