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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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1 EXT. MOUNTAINS, NEAR GENEVA, SWITZERLAND - NIGHT The snow covered Alps stand out clearly in the light of a full moon. A fortress-like CHATEAU is situated in a flat saddle of forest partway up the mountain, next to a frozen lake. The property is surrounded by high stone walls, and the stately
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7 INT. KITCHEN - NIGHT Harry strides through the huge kitchen like he owns the place. The kitchen staff are scurrying around, too busy to really notice. He finger-tastes a dish as he passes. HARRY
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15 INT. 2ND FLOOR HALLWAY - NIGHT * TIGHT ON LIBRARY DOOR. It opens a crack and a dental mirror * comes out, looking around like a U-boat periscope. Seeing the coast is clear Harry slips out. But just as he is closing the door, a GUARD rounds the corner ten feet away. Harry turns
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28 INT. / EXT. VAN - MOUNTAIN ROAD - NIGHT GIB'S VAN takes an icy turn in a hairy slide. INSIDE Gib is peering upslope, trying to see what's going on. All he can see are lights and gunfire. GIB
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32 EXT. DULLES AIRPORT - NIGHT An American Airlines 747 touches down amid puffs of tire smoke. 33 EXT. SUBURBAN D.C. STREET - NIGHT A NON-DESCRIPT SEDAN pulls to the curb in a neighborhood of modest middle-income tract homes. The street is deserted. It
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39 INT. FRONT HALLWAY, LIVING ROOM - DAY Gib opens the door, knocks a bit, then strolls in like he lives there. He is wearing dark Ray Bans, like he's doing a Roy Orbison impression. Gizmo runs toward him, yapping, but Gib gives him the evil eye.
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44 INT. TEKTEL OFFICES - DAY * Harry and Gib come out of an elevator on the 12th floor. * Behind the receptionist is a burnished metal sign which reads * TEKTEL SYSTEMS. They cross a open floor of cubicle spaces. * There is the hum of activity everywhere. A normal day at a *
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48 INT. OMEGA SECTOR INNER SANCTUM - DAY Gib and Harry pass through the inner door of the sally port into a large austere atrium. ANGLE FROM ABOVE as they cross. A huge graphic logo covers the floor. Across the center is says OMEGA SECTOR. In smaller
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50 INT. OFFICE BUILDING - DAY It is the interior of a huge law office. Helen works there as a paralegal. She is going to the break room for coffee with her friend, ALLISON, a secretary. Allison is black, younger then Helen, and still single.
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55 INT. / EXT. LIMO - DAY (NEXT MORNING) A BLACK LIMO cruises through a morning fill of bright promise. INSIDE, Gib is at the wheel in a chauffeur's uniform. He talks to Harry, riding in the back, without turning. GIB
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57 INT. HOTEL SUITE - DAY Harry, Gib and Fast Faisil are in a luxury suite at the MARQUIS HOTEL. It is a corner suite, with a spectacular view of the city. Faisil is routinely sweeping the room for bugs with an electronic DETECTOR.
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72 INT. STATION WAGON - NIGHT There are three men in the car. YUSIF and MAHMOUD are in the front, with Mahmoud driving. In the back, shadowed, we can just make out ABU MALIK. Yusif is massively built, with a body like a beer-keg. Mahmoud is skinny and intense.
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80 EXT. MALL - MEN'S ROOM - NIGHT Yusif sees Harry, up ahead, enter a public restroom. He signals Mahmoud with his eyes and the two of them close in on the restroom. 81 INT. / EXT. GIB'S CAR - NIGHT
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93 INT. HOTEL - NIGHT Acres of marble and red carpet. Liveries porters. Guests dressed for evening, the men in suits, diamonds on the women. And sudden pandemonium as Malik roars through the lobby, with Harry charging along behind him. Malik guns it across the
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100 INT. TASKER HOUSE - NIGHT Helen is asleep at the dining room table next to a half-eaten cake and some melted ice cream. His unopened presents are piled at one end of the table. She raises her head as Harry enters sheepishly.
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102 EXT. STREET/ NEAR HIGH-SCHOOL - DAY It is the following morning. Harry and Gib are staked out watching the front of Dana's school. Actually, Harry is staked out, scanning the crowds of kids with binoculars. Gib just keeps looking at his watch. He picks up a cellular
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111 INT. CONFERENCE ROOM - DAY Harry slaps photos down in front of Trilby. HARRY Abu Kaleem Malik. GIB
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115 INT. OFFICE - STACKS OF RECORDS - DAY ON HARRY, behind the stacks, reacting. He silently mouths "SIMON?!" 116 INT. HELEN'S OFFICE - DAY HELEN
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118 INT. OMEGA SECTOR / LISTENING ROOM - DAY Harry and Gib are in the LISTENING ROOM. Banks of tape-decks recording calls, rows of technicians in cubicles processing and collating transcripts. GIB
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130 INT. / EXT. HELEN'S CAR - DAY TIGHT ON THE PURSE sitting on the seat next to her as Helen drives through the city. 131 INT. / EXT. N.D. SEDAN - DAY Harry drives while Gib watches--
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156 EXT. STREET/CAR LOT - DAY Simon is cruising in the Corvette with the radio blasting. Thinking he is supercool. 157 EXT. USED CAR LOT - DAY Simon pulls into a used car lot, which is a run-down place. A
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163 EXT. STREET/ VETTE - DAY They are cruising along, with Harry driving this time. HARRY You working on someone right now? SIMON
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169 INT. USED CAR LOT OFFICE - DAY/FLASHBACK ON SIMON - He is talking into the phone in hushed, urgent tones. SIMON Helen. I need your help. Can
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173 EXT. BRIDGE - NIGHT Helen pulls her car under the bridge. She checks her watch. Helen notices that her hand is shaking. She looks around and * the place seems deserted. She is about to leave when she sees headlights flash briefly in the shadows.
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191 EXT. BILLBOARD AND TRAILER PARK - NIGHT The agents have gathered behind a billboard. Harry, Gib and * the other three agents have donned black jumpsuits. They finish fitting battle-harnesses, then they grab black ski- * masks. They don them in perfect unison. Commando precision.
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207 EXT. OVERLOOK PARK - CLOSE UP ON SIMON CLOSE ON SIMON, looking right into her eyes. SIMON (solemn) Then you know.
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209 INT. OBSERVATION ROOM - NIGHT INSIDE THE OBSERVATION ROOM Harry and Gib jump back. GIB She could be telling the truth. HARRY
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214 INT./ EXT. SEDAN - DAY TIGHT ON LOCATOR SCREEN as a blip moves across the grid of city streets. Gib drives while Harry watches the screen. HARRY We should pick up visual at the
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222 INT. / EXT. SEDAN - DAY Dana sits wedged into the front seat between Gib and Harry. Father and daughter are singing raucously loud, with the windows down. HARRY/ DANA
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230 INT. HOTEL - FRONT DESK - NIGHT She goes to the front desk and signals the ASSISTANT MANAGER with her eyes. He comes over to her. HELEN Do you have an envelope for
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234 INT. SUITE DOOR - NIGHT CRASH!! The door lock is shattered by tremendous force and THREE MEN burst into the room. We may recognize them as workers from Juno's shop. They are wielding pistols and are clearly part of Malik's terrorist brigade.
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240 EXT. AIRPORT - NIGHT The G-3 lifts into the night sky, turning south. 241 EXT. PIER - NIGHT A small FREIGHTER is tied up to a half-crumbling pier. Next to the pier is a dilapidated corrugated-metal warehouse building,
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243 INT. CITATION JET - NIGHT The jet has become a mobile tactical-command center, with Gib, * Faisil, and several other agents working out of portable * equipment cases. Faisil looks up from a computer screen * suddenly.
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245 INT. BUILDING - NIGHT A filthy, crumbling cinderblock building (near the warehouse). A few bare light bulbs with bugs zipping around then, and no glass in the windows. Harry and Helen are brought in by two TERRORIST GUARDS. Juno follows then into the bleak room.
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246 INT. WAREHOUSE - NIGHT ON MALIK as he pokes through Harry and Helen's stuff on the table. He picks up Helen's wallet and opens it. ECU WALLET - a picture of Harry, Helen and Dana. Malik stares at it a moment. Then motions to one of his men.
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254 INT. WAREHOUSE - NIGHT LOOKING DOWN FROM A CATWALK on the activity below the four horsemen statues and several utility trucks almost fill the floorspace. A rental truck is being loaded with conventional weapons, including machine guns and several HAND-LAUNCHED
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267 EXT. UNDERWATER - NIGHT Harry is still swimming. He reaches the edge of the fire and surfaces, gasping for breath. Treading water he scans the dock. 268 EXT. WATER OF THE DOCK - HARRY'S POV - NIGHT
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276 INT. COCKPIT OF LEAD HARRIER - DAY The pilot, like all jet pilots, seems icy calm. PILOT Copy that, Bright Boy command. (to his wingman)
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289 EXT. ABOVE LIMO - DAY THE BELL 206 COPTER, descending rapidly. Harry is climbing out onto the skids. He hooks on arm and leg over the skid and hangs down as low as he can. HELEN stands up in the opening and waves her arms.
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298 EXT. HARRIER - DAY But Harry is already moving. He sprints toward the nearest Harrier, witch is idling nearby. Gib runs after him. GIB Harry! We'll get her out! We *
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305 EXT. BUILDING / ROOF - DAY ON THE ROOF, Malik bursts through the stairwell door. His TWO MEN have followed him. Malik stops suddenly when he sees-- Dana standing at the edge of the roof. She is holding the ARMING KEY by its chain. Dangling it over the edge. He
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322 EXT. HARRIER / SIDEWINDER - DAY Harry and Malik lock eyes for one long second. Then Harry hits the FIRING STUD. The Sidewinder drops away and ignites. Carrying Malik out over Miami Beach. It explodes a mile out to sea.

True lies

A bored housewife discovers her husband is a secret agent, leading them on a dangerous adventure to stop a nuclear terrorist plot.

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Overview

Poster
Unique Selling Point

This script offers a unique blend of action, suspense, and humor, with a focus on the personal and emotional stakes of its characters. Set in the world of espionage, it stands out with its innovative storytelling techniques, such as underwater infiltration, high-tech gadgets, and formal event infiltration. The story features a resourceful and skilled protagonist, Harry Tasker, who must balance his dangerous spy life with his family responsibilities, adding depth and complexity to the familiar spy narrative. The script also explores themes of trust, betrayal, and the impact of deception on personal relationships, all presented in a sharp and witty dialogue that enhances the story's authenticity and relatability. Overall, this script is a compelling and original take on the spy genre, offering a thrilling ride filled with suspense, humor, and heart.

AI Verdict & Suggestions

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Hover over verdict cards for Executive Summaries

Gemini
 Consider
Claude
 Recommend
Story Facts

Genres: Thriller, Action, Drama, Comedy, Spy, Family, Mystery, Romance

Setting: Contemporary, Switzerland, Washington D.C., and various other locations in the United States and Caribbean

Themes: Deception, Betrayal, Espionage and Action

Conflict & Stakes: The primary conflict in this story is between Harry and the terrorists, led by Malik, who are planning a major attack. The stakes are high, as the terrorists have acquired nuclear weapons and are threatening to use them. Harry's personal life is also at stake, as his wife discovers his secret life and becomes involved in the danger. The conflict is resolved when Harry and his team are able to stop the terrorists and prevent the attack.

Mood: Suspenseful and action-packed, with moments of humor and romance

Standout Features:

  • Unique Hook: The movie's blend of action, adventure, and humor, as well as its exploration of complex themes, sets it apart from other movies in the genre.
  • Plot Twist: The revelation of Harry's secret life and Helen's involvement in the danger adds a layer of complexity and suspense to the story.
  • Distinctive Setting: The movie's diverse locations, from the Swiss Alps to the Caribbean, add visual interest and variety to the story.

Comparable Scripts: Mission: Impossible - Fallout, Die Hard, The Bourne Identity, The Fugitive, Salt, The Man from U.N.C.L.E., The Saint, The Spy Who Came in from the Cold, The Avengers, The A-Team

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: 8.40
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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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.