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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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INT. TWO-PERSON TENT - NIGHT On OLLIE (24). A mind racing. Body, lean and dirty. Alone in this tent, Ollie opens blood shot eyes. They literally bounce to the beat of the music breaking through. Ollie looks to the entrance of his tent, to the BARE FEET
2
EXT. FIELD - DAY A GYPSY tinkers with the radio in the front of his beat- to-shit-three-door. He turns the knob. Ollie takes the shattering bass. Sweat freezes on his temples. The revellers are standing to attention. Subjecting
3
INT. OLLIE’S TENT - EARLY MORNING The first light illuminating the air. Ollie rolls over, shivers in the damp morning air, greasy hair glued to his face. Empty space beside him. EXT. FIELD - DAY
4
EXT. COUNTRY ROAD - DAY A HEAVY BEAT. Benny, in his cart, weaving in and out, whipping past MOVING TRAFFIC. A powerful THOROUGHBRED sprints, the cart jumping from side to side. Benny whips the reins. The horse picks up speed. The
5
EXT. FIELD - NIGHT A party in full swing. A world of neon signs, floodlights and moist grass. Populated by youth and amusement rides. Adolescents from the local area roam free and recklessly. Laughter and screams of pure THRILL. Because, the
6
EXT. FERRIS WHEEL - NIGHT Ollie follows the wheel up and around, his eyes drawn to one pod. Some blonde Rapunzel hair floating out in the wind. Ollie drifts towards the wheel as the pod comes down
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EXT. BENNY’S CARAVAN - NIGHT The horse stands in a paddock pen. Benny shuts the gate, locks it. INT. BENNY’S CARAVAN - CONTINUOUS Benny strides in, shuts the door without acknowledging
8
INT. BENNY’S CARAVAN - MOMENTS LATER Ollie pockets his miniscule sachet of “cocaine”. OLLIE Cheers. BENNY
9
EXT. FIELD - NIGHT Ollie watches the waltzer throw teenagers from one side of the car to the other. His attention draws to the queue, to a COUPLE. An ADOLESCENT BOY holds his GIRLFRIEND by the waist, slips his hand into hers.
10
EXT. OLLIE’S TENT - NIGHT Ollie leads Mads towards his tent. Ollie climbs in first. MADS And you suppose I’m easy? (CONTINUED)
11
INT. OLLIE’S TENT - MOMENTS LATER And like that... we are back to our OPENING SCENE. The tent opening, the shadow forming, crouching into the entrance. Mads pops her head inside. MADS
12
INT. OLLIE’S TENT - MORNING On Mads. Half her face is drawn to the sleeping chest of Ollie. She monitors her lovers breathing, keeping one ear to his heart. MADS
13
EXT. OLLIE'S TENT - MOMENTS LATER Mads observes the rest of the field. Quiet morning air. The fairground is dead. A few men smoke outside their respective motorhomes. In the distance someone starts a speaker system. A SOFT
14
EXT. OLLIE’S TENT - CONTINUOUS Mads emerges from the tent, makes her way towards the end of the field. Towards the forest. She passes the stationary amusement rides, a few caravans. As Mads passes one caravan, the door opens. Benny skips
15
INT. OLLIE’S TENT - SAME TIME On Ollie. Listening to the last faint words Mads spoke. He simmers, his breathing becoming irregular. EXT. OLLIE’S TENT - CONTINUOUS Ollie CHARGING from his burnt out tent, pacing with
16
EXT. FIELD - DAY (PRESENT) Mads. She stands round the back of several mobile homes. She waits a moment, watching something off-screen. Gently, she moves towards the paddock fence. Rests her chin on the top rail, looping her arms through the bars.
17
INT. CARAVAN - CONTINUOUS A room of blackness. A strobe light activates, savaging the occupants. At least THIRTY PEOPLE stuffed in the space. Benny sways, the hotboxed interior thick. Benny’s vision blurs. He slumps in a corner of the gutted
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EXT. CARAVAN - CONTINUOUS The caravan spits Benny out. He hits the grass face first, the high delaying his central nervous system. His arms flay, then his face looks up. The smoke from the caravan spreads across the grass.
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EXT. FIELD - CONTINUOUS Ollie positions himself in the middle of the fair. He surveys, looking for someone. But he doesn’t look too long. Mads is approaching him. MADS
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INT. SOMEWHERE - SOMETIME (FLASHBACK) A closed eye. An old wrinkled socket. Beneath this, movement. Fluid, fighting off a dream. The battle races on- Then, the eyes open.
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EXT. FIELD - MORNING (PRESENT) On Ollie, eyes darting open. The sweat and misery and mud are smudged across his face. Another morning surrounded by nothingness, only the moist grass and smoke from the various extinguished fires across the camp.
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EXT. TENTS/CAMP FIRE - DAY Ollie uses some tissue to dab his wounds. Mads winces as she watches. OLLIE Lets get going. Move with the
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INT. NAN’S BEDROOM - DAY (FLASHBACK) On Nan in her usual position, perched in front of her vanity mirror. Staring at herself, deep into her own eyes. Her makeup is perfect. Ollie approaches her from behind, looping his arms around
24
EXT. FIELD - NIGHT On Ollie. He watches a sky of stars, fireworks EXPLODING IN HIS EYES. The reflections shimmer beauty. Mads stands beside Ollie, his clothes soaked through. INSERT: Mads’ hand drops that MOBILE PHONE into Ollie’s
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EXT. FIELD - NIGHT Tucked away in a quiet corner, the paddock. The TWO HORSES, the Shire and the Gypsy, stand in the shadows at the back of the makeshift arena. Mads approaches.
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EXT. THE RABBIT PUB CAR PARK - NIGHT Silence in this small village. Ollie making his way between vehicles. He tries the handle on several cars, peers inside each one. A couple leave the pub, an ageing man with his plastic
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EXT. FERRIS WHEEL - NIGHT Positioned in an empty pod. The wheel rotates slowly. Police continue to move people on, pushing the crowds away from the funfair. The first of the police vehicles LEAVES THE SCENE.
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INT. THE RABBIT PUB - LATER The Bar Wizard moves from person to person. Taking orders, pouring drinks. He pulls a girl over the top of the bar, grabbing the head of a tap and pumping booze down her throat. Screams
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EXT. THE RABBIT PUB CAR PARK - CONTINUOUS Ollie stumbles. The stars move into formation in the night sky. A face appears. Looking down at his slashed hand. Every inch covered in blood. Benny is over, delivering punch after punch.
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EXT. ROAD - CONTINUOUS Ollie positions himself in the middle of the road. Nothing. A voice behind him: NAN’S VOICE You okay, O?
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INT. STOLEN CAR - NIGHT Ollie at the wheel. He accelerates through the dark country roads. In his rear view are those familiar FLASHING BLUE LIGHTS. They reflect deep in hie eyes. Ollie wipes the blood from his face as it drips down his
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INT/EXT. STOLEN CAR, MOVING/COUNTRY ROAD - NIGHT Mads’ hand hangs out the window, fluttering in the black air. Ollie drives in auto pilot through the country lanes, his eyes wavering. Blinks becoming longer. Mads looks to him as he crosses to the middle of the
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EXT. COUNTRY ROAD/SKY FULL OF STARS - NIGHT The car rises from the road, racing vertically towards the night sky. A spaceship taking off. Climbing and climbing. INT. STOLEN CAR - CONTINUOUS
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EXT. ROAD - CONTINUOUS The car broken and inverted, wedged just off the road in some bushes against a roadside barrier. A wheel still spins lazy. Ollie pulls himself across the roof of the vehicle and
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EXT. FIELD/ ABANDONED CARAVAN - DAWN Early morning sunshine peering through the trees. DRIFTING across the site. The end of the festival weekend for the young souls. A hot summer morning creeping in. The field sits in ruins. Gypsies pack up their last
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EXT. RAIL STATION PLATFORM - DAY Two platforms. One platform empty, the other RAMMED WITH BODIES. At the front, Ollie and Mads. MADS Are you sure we’re going that way?
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INT. BUNGALOW LIVING ROOM - DAY (FLASHBACK) Nan and her Husband cradle one another. The swaying has stopped. They stand completely still. Nan’s Husband runs his fingers through her hair. On the pair, Nan’s Husband is replaced by Ollie. Then--
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INT. GUTTED CARAVAN - DAY (PRESENT) Ollie gains his breath back. He rolls off of the top of Benny. The ball of flesh slumps, splayed in blood, dripping. A beat for the blood to pool.
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EXT. DETACHED HOUSE - DAY A different street with large detached houses. Front gardens with depth, leading to a dream. Then-- Ollie waiting at the end of the driveway. Alone. He takes a moment to monitor the front of this building.
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EXT. PARK - DAY A small stretch of green in the middle of a council estate. TWO 10YR OLD BOYS cycle up to the park swings, dismount their bikes, and begin to play. Behind the boys, across the park and up to the brow of
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INT. PRISON - DAY Ollie is marched down a corridor, dressed in prison uniform, cuffed at the wrists. He has a patrol of TWO ARMED OFFICERS and a PRISON OFFICER monitoring his every move, shadowing his steps.
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INT. OLLIE’S CELL - LATER Ollie is in darkness, then some lights flick on. Ollie takes a moment, then slouches on his bed. The smile on his face spreads wide. MADS approaches the bed from the corner of the cell. He

Fields

A troubled young man, Ollie, must confront his violent past and the ghosts of his family when he returns home to say goodbye to his dying grandmother, leading him on a dangerous collision course with a gypsy community and the police.

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Overview

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Unique Selling Point

The unique selling proposition of 'Fields' lies in its raw portrayal of youth culture intertwined with themes of addiction, love, and the search for identity. The setting of a vibrant yet chaotic festival backdrop contrasts sharply with the protagonist's internal struggles, making it a compelling exploration of the human condition. This screenplay would resonate with audiences interested in character-driven stories that delve into the darker aspects of life while still offering moments of beauty and connection.

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Claude
 Recommend
GPT4
 Consider
Story Facts
Genres:
Drama 40% Crime 30% Thriller 25% Romance 20% Action 15% Fantasy 10%

Setting: Present day, Rural England, primarily focused on a festival site, a caravan park, and a village.

Themes: Redemption and Forgiveness, Love and Loss, Family and Belonging, Violence and Anarchy, Escape and Freedom

Conflict & Stakes: Ollie's internal struggle with his violent tendencies, his desire for redemption, and his complicated family relationships. He is caught in a cycle of violence and desperation, and the stakes are high as he risks losing everything, including Mads, his freedom, and his life.

Mood: Dark, suspenseful, and melancholic, with moments of intense violence and emotional vulnerability.

Standout Features:

  • Unique Hook: The portrayal of Ollie's struggle with violent tendencies against a backdrop of a traveling Gypsy community, creating a unique and often jarring contrast in setting and themes.
  • Plot Twist: The unexpected death of Benny, Ollie's main antagonist, leading to further complications and escalating the stakes of Ollie's journey.
  • Distinctive Setting: The use of a traveling carnival as a backdrop for the story provides a visually striking and dynamic setting, creating a sense of isolation and unreality.
  • Innovative Ideas: The film explores the theme of violence and its cyclical nature through the lens of Ollie's internal conflict, offering a nuanced and thought-provoking perspective on the complexities of human nature.
  • Unique Characters: The characters, particularly Ollie and Mads, are complex and multifaceted, defying easy categorization and offering a realistic portrayal of flawed human beings grappling with challenging circumstances.
  • Genre Blends: The film seamlessly blends elements of drama, crime thriller, and social realism, creating a gripping and immersive narrative that is both entertaining and thought-provoking.

Comparable Scripts: Trainspotting, Requiem for a Dream, The Beach, Wild at Heart, A Streetcar Named Desire, The Outsiders, The Road, The Virgin Suicides, Skins (UK)

Script Level Analysis

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Overall Score: 6.74
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