PageSourceSearch

https://specscout.com/screenwriters

html specscout.com collected 2026-10-02 13:40:56 UTC 124,494 bytes, 2,007 lines download raw bytes

1<!DOCTYPE HTML>
2<html>
3<head>
4<meta http-equiv="content-type" content="text/html;charset=utf-8" />
5<meta name="generator" content="This page was built using www.datanity.com" />
6<title>screenwriters</title>
7<meta name="description" content="Spec Scout's screenplay coverage isn't just for pro material -- we think EVERY script should be evaluated by the same criteria and rating system. For just $197 you get detailed analysis from three independent readers, plus a shot at the bigs." />
8<link type='text/css' rel='stylesheet' href='/css/28445656f06e02869499f0075279f461.css' />
9<script type='text/javascript' src='/js/libraries_front.js?c_1417103845_116068'></script>
9
10</head>
11<body class=" ahh-mainpage">
12<div class="ahh_area ahh_area_54190bdfd1b32f692cfacb88 wapper_fluid_fluid " id="ahh_area_54190bdfd1b32f692cfacb88"><section class=" ahh_i6 ahh_grid_row"><div class="ahh_i1 ahh_grid_col">	<div class=" ap  ap_1226"><!-- START BLOCKT 2004 -->
13<div class=" ablock a-block bid-2004  no-title">
14
15
16	 <div class="ablock-content">
17		<div>
18			<div>
19				<!-- START WIDGET 3689 -->
20<div class=" ablock a-widget wid-3689  no-title">
21
22
23	 <div class="ablock-content">
24		<div>
25			<div>
26
27<div class="">
28    </div> 			</div>
29		</div>
30	</div>
31
32	<div class="ablock-footer"><div><div></div></div></div>
33</div>
34<!-- END WIDGET 3689 --><!-- START WIDGET 3539 -->
35<div class=" ablock a-widget wid-3539  no-title">
36
37
38	 <div class="ablock-content">
39		<div>
40			<div>
41
42<div class="">
43    
43<script src="//cdnjs.cloudflare.com/ajax/libs/prefixfree/1.0.7/prefixfree.min.js"></script>
43</div> 			</div>
44		</div>
45	</div>
46
47	<div class="ablock-footer"><div><div></div></div></div>
48</div>
49<!-- END WIDGET 3539 --><!-- START WIDGET 2052 -->
50<div class=" ablock a-widget wid-2052  no-title">
51
52
53	 <div class="ablock-content">
54		<div>
55			<div>
56
57<div class="">
58    
58<script src="//cdnjs.cloudflare.com/ajax/libs/wow/0.1.12/wow.min.js"></script>
58
59
60<!--<link href="//daneden.github.io/animate.css/animate.min.css" rel="stylesheet"  data-noprefix>-->
61
62<script>
63var wow = new WOW(
64  {
65    boxClass:     'wow',      // animated element css class (default is wow)
66    animateClass: 'animated', // animation css class (default is animated)
67    offset:       0,          // distance to the element when triggering the animation (default is 0)
68    mobile:       false       // trigger animations on mobile devices (true is default)
69  }
70);
71wow.init();</script>
71
72
73<!--
74ALL CHOICES
75
76bounce
77flash
78pulse
79rubberBand
80shake
81swing
82tada
83wobble
84bounceIn
85bounceInDown
86bounceInLeft
87bounceInRight
88bounceInUp
89bounceOut
90bounceOutDown
91bounceOutLeft
92bounceOutRight
93bounceOutUp
94fadeIn
95fadeInDown
96fadeInDownBig
97fadeInLeft
98fadeInLeftBig
99fadeInRight
100fadeInRightBig
101fadeInUp
102fadeInUpBig
103fadeOut
104fadeOutDown
105fadeOutDownBig
106fadeOutLeft
107fadeOutLeftBig
108fadeOutRight
109fadeOutRightBig
110fadeOutUp
111fadeOutUpBig
112flip
113flipInX
114flipInY
115flipOutX
116flipOutY
117lightSpeedIn
118lightSpeedOut
119rotateIn
120rotateInDownLeft
121rotateInDownRight
122rotateInUpLeft
123rotateInUpRight
124rotateOut
125rotateOutDownLeft
126rotateOutDownRight
127rotateOutUpLeft
128rotateOutUpRight
129hinge
130rollIn
131rollOut
132zoomIn
133zoomInDown
134zoomInLeft
135zoomInRight
136zoomInUp
137zoomOut
138zoomOutDown
139zoomOutLeft
140zoomOutRight
141zoomOutUp
142
143
144--></div> 			</div>
145		</div>
146	</div>
147
148	<div class="ablock-footer"><div><div></div></div></div>
149</div>
150<!-- END WIDGET 2052 --><!-- START WIDGET 3341 -->
151<div class=" ablock a-widget wid-3341  no-title">
152
153
154	 <div class="ablock-content">
155		<div>
156			<div>
157
158<div class="">
159    <link href='//fonts.googleapis.com/css?family=Open+Sans:400,800,600' rel='stylesheet' type='text/css' data-noprefix></div> 			</div>
160		</div>
161	</div>
162
163	<div class="ablock-footer"><div><div></div></div></div>
164</div>
165<!-- END WIDGET 3341 --><!-- START WIDGET 2005 -->
166<div class=" ablock a-widget wid-2005  no-title">
167
168
169	 <div class="ablock-content">
170		<div>
171			<div>
172
173<div class="">
174    <!-- click "submit my script" for slide out form -->
175
176<nav class="ekNAV">
177    <h5 class="ekLogo"><a href="/home"><span>Spec</span><span>Scout</span></a></h5>
178    <ul><!--
179--><li><a class="ekNavBtn" href="#"> &nbsp;  </a></li><!--
180--><li class="ekHome"><a href="/home">Home</a></li><!--
181--><li class="ekScreenwriters"><a href="/screenwriters">Screenwriters</a></li><!--
182--><li class="ekPros"><a href="/pros" class="">Industry Pros</a></li><!--
183--><li class="ekScore"><a href="/tv">TV</a></li><!--
184--><li class="ekScore"><a href="/score">Score</a></li><!--
185--><!--<li class="ekBlog"><a href="/blog">Blog</a></li>--><!--
186--><li class="ekAbout"><a href="/about">About</a></li><!--
187--><li class="ekLogin"><div class=" "><a class="ekActive" href="//logins.specscout.com/">Login</a></div></li><!--
188--><!--
189--><li class="glowText">
190        <div class=" ">
191            <a class="ssSubmit ekActive" id="mzBtn" href="#">
192                <span>Submit my script</span>
193            </a>
194        </div>
195        </li>
196    </ul>
197</nav>
198
199<!-- this is so that way if you have data on your page, it appears below the nav -->
200<div class="ekPad"></div>
201
202<!-- slide out form, when you click submit -->
203<div class="mzBack">
204
205    <form class="mzFORM" name="aaForm" method="POST" action="/submissionpayment" enctype="multipart/form-data">
206
207        <label for="aaName" class="mzLABEL">
208            <input id="aaName" name="aaName" type="text" class="mzINPUT">
209            <span class="mzPlaceholder">My Name</span>
210        </label><!--
211
212--><label for="aaEmail" class="mzLABEL">
213        <input id="aaEmail" name="aaEmail" type="text" class="mzINPUT">
214        <span class="mzPlaceholder">My Email</span>
215        </label><!--
216
217--><label for="aaUpload" class="mzLABEL mzLABELupload">
218        <span class="mzPlaceholderUpload">Upload My Script</span>
219        Browse
220        <input type="file" id="aaUpload" name="aaUpload" class="mzINPUT mzINPUTupload">
221
222        <span class="mzPlaceholder">Attached Script</span>
223        </label><!--
224
225--><label for="mzD" class="mzLABEL clearfix">
226        <input id="mzD" type="submit"  class="mzINPUT">
227
228        </label>
229
230        <div class="submissionAgreementText">
231            <input type="checkbox" id="aaTerms" required name="aaTerms">
232            I agree to the <a href="/submission-agreement" target="_blank">Submission Agreement</a>
233        </div>
234
235    </form>
236</div></div> 			</div>
237		</div>
238	</div>
239
240	<div class="ablock-footer"><div><div></div></div></div>
241</div>
242<!-- END WIDGET 2005 --><!-- START WIDGET 3548 -->
243<div class=" ablock a-widget wid-3548  no-title">
244
245
246	 <div class="ablock-content">
247		<div>
248			<div>
249
250<div class="">
251    </div>
251 			</div>
252		</div>
253	</div>
254
255	<div class="ablock-footer"><div><div></div></div></div>
256</div>
257<!-- END WIDGET 3548 --><!-- START WIDGET 3635 -->
258<div class=" ablock a-widget wid-3635  no-title">
259
260
261	 <div class="ablock-content">
262		<div>
263			<div>
264
265<div class="">
266    
266<script src="//cdnjs.cloudflare.com/ajax/libs/jquery.nicescroll/3.5.1/jquery.nicescroll.min.js"></script>
266</div> 			</div>
267		</div>
268	</div>
269
270	<div class="ablock-footer"><div><div></div></div></div>
271</div>
272<!-- END WIDGET 3635 --><!-- START WIDGET 3714 -->
273<div class=" ablock a-widget wid-3714  no-title">
274
275
276	 <div class="ablock-content">
277		<div>
278			<div>
279
280<div class="">
281    <meta name="viewport" content="width=device-width, initial-scale=.6, user-scalable=no"></div> 			</div>
282		</div>
283	</div>
284
285	<div class="ablock-footer"><div><div></div></div></div>
286</div>
287<!-- END WIDGET 3714 --><!-- START WIDGET 3820 -->
288<div class=" ablock a-widget wid-3820  no-title">
289
290
291	 <div class="ablock-content">
292		<div>
293			<div>
294
295<div class="">
296    <link href="//cdnjs.cloudflare.com/ajax/libs/font-awesome/4.2.0/css/font-awesome.min.css" rel="stylesheet" type="text/css" data-noprefix></div> 			</div>
297		</div>
298	</div>
299
300	<div class="ablock-footer"><div><div></div></div></div>
301</div>
302<!-- END WIDGET 3820 -->			</div>
303		</div>
304	</div>
305
306	<div class="ablock-footer"><div><div></div></div></div>
307</div>
308<!-- END BLOCK 2004 --><!-- START WIDGET 2992 -->
309<div class=" ablock a-widget wid-2992  no-title">
310
311
312	 <div class="ablock-content">
313		<div>
314			<div>
315
316<div class="">
317    <main class="enBack">
318    <section class="enWrap">
319
320        <section class="enTopText">
321            <h1>
322                A Whole New Way to
323                <span class="enTyping"
324                      data-period="2000"
325                      data-rotate='[ "Break In.", "Get Signed.", "Find a Buyer", "Get Noticed" ]'>
326                </span>
327            </h1>
328
329            <h3>
330                Spec Scout's screenplay coverage isn't just for pro material -- we think <em>every</em> script should be evaluated by the same criteria and rating system. For just $395 you get detailed analysis from three independent readers, plus a shot at the bigs. Want us to cover yours?
331            </h3>
332
333        </section>
334        <!-- end typing-->
335
336        <!--start slide button-->
337        <div class="enBtnWrap">
338            <input type="submit" value="Submit My Script" class="enBtn"/>
339            <div class="enBtnOverlay"></div>
340        </div> <!-- end sliding button -->
341
342        <!-- start form modal -->
343        <div class="enFormLeft"></div>
344        <div class="enFormRight"></div>
345        <div class="enFormModal">
346            <div class="enFormContent">
347                <h1>Submission Form</h1>
348                <h2 class="text-center">
349                    Submit  to receive your <abbr title="7-10 pages of feedback and analysis from 3 readers, along with multiple loglines, a full synopsis and other extras">coverage</abbr> and potentially <abbr title="Writers a score of 70+ are offered free inclusion in our indusry pro login"> earn a spot </abbr>in our Coverage Library.
350                </h2>
351                <form method="post"   action="/submissionpayment" enctype="multipart/form-data" name="ddForm" id="ddForm" >
352                    <label for="ddName">My Name</label>
353                    <input type="text" name="ddName" id="ddName" required>
354
355                    <label for="ddEmail">My Email</label>
356                    <input type="text" name="ddEmail" id="ddEmail" required>
357
358                    <label for="">Upload My Script</label>
359
360                    <label for="ddUpload" class="enFormUploadLABEL">
361                        <span id="enFormUploadFilename"> &nbsp; </span>
362                        Browse
363                        <input type="file" id="ddUpload" name="ddUpload" class="enFormUploadInput" required>
364                    </label>
365
366                    <label>
367                        <input type="checkbox" value="" name="" required > I agree to the <a href="/submission-agreement" target="_blank"  >submission agreement</a>
368                    </label>
369
370                    <button type="submit" id="" class="enFormBtn btn btn-block btn-default">Submit</button>
371
372                </form>
373            </div>
374        </div>
375
376        <div class="enFormOverlay"></div>
377
378    </section>
379</main></div> 			</div>
380		</div>
381	</div>
382
383	<div class="ablock-footer"><div><div></div></div></div>
384</div>
385<!-- END WIDGET 2992 --></div></div></section><section class=" ahh_i7 ahh_grid_row"><div class="ahh_i2 ahh_grid_col">	<div class=" ap  ap_1233"><!-- START WIDGET 3389 -->
386<div class=" ablock a-widget wid-3389  no-title">
387
388
389	 <div class="ablock-content">
390		<div>
391			<div>
392
393<div class="">
394    <!--http://codepen.io/Lorti/pen/mHFxj-->
395<a name="reasonsToSubmit"></a>
396
397<link href="//fonts.googleapis.com/css?family=Oswald:700" rel="stylesheet" data-noprefix>
398
399<section class="sqBack">
400    <div class="sqWrap" >
401        <span class="sqContent">
402            Top <strong>10</strong>
403        </span>
404        <span class="sqFront"></span>
405        <span class="sqBehind"></span>
406    </div>
407
408    <div class="sqSide">
409        <h1>Reasons to use</h1>
410        <h1>Spec Scout</h1>
411    </div>
412</section></div> 			</div>
413		</div>
414	</div>
415
416	<div class="ablock-footer"><div><div></div></div></div>
417</div>
418<!-- END WIDGET 3389 --><!-- START WIDGET 3162 -->
419<div class=" ablock a-widget wid-3162  no-title">
420
421
422	 <div class="ablock-content">
423		<div>
424			<div>
425
426<div class="">
427    <section class="mzWrap">
428
429    <ul class="mzUL">
430        <li class="mzLI mzLI1">
431            <h4> Get Your Script Ready for Market</h4>
432            <div class="mzDescription">
433                We use the same scoring system for spec market scripts and aspiring writers’ material, so our coverage is an apples-to-apples comparison between your script and those being taken to market by agents and managers. Think of it as a dress rehearsal for your screenplay.
434            </div>
435            <div class="nbr">1</div>
436        </li>
437
438        <li class="mzLI mzLI2">
439            <h4>Score Above 70 and Host for Free</h4>
440            <div class="mzDescription">
441                If your submission scores 70 or higher, you'll be offered a profile on the site where you can track how often your material has been downloaded by industry pros and upload as many additional screenplays as you like. For free. Forever.
442            </div>
443            <div class="nbr">2</div>
444        </li>
445        <li class="mzLI mzLI3">
446            <h4>Our Subscribers Are Pros</h4>
447            <div class="mzDescription">
448                Access to our coverage library is free but limited to agents, managers, producers, directors and development executives (plus assistants to all of the above). Our 1,000+ industry pro subscribers span every major studio, mini-major, production company, agency and management company in the business, plus hundreds of directors and independent producers.
449            </div>
450            <div class="nbr">3</div>
451        </li>
452        <li class="mzLI mzLI4">
453            <h4>We Actively Promote You</h4>
454            <div class="mzDescription">
455                Recommendations from trusted sources are the key to attracting the eye of an agent or manager. In addition to providing discovery tools within the site itself, Spec Scout actively promotes our Scouted writers, including a free listing on Slated, a community of producers and film investors.
456            </div>
457            <div class="nbr">4</div>
458        </li>
459        <li class="mzLI mzLI5">
460            <h4> Our Readers Rock</h4>
461            <div class="mzDescription">
462                Every Spec Scout reader has reviewed countless market specs through previous development experience at agencies, management companies, and production companies before working with us. They've also undergone extensive training to ensure every project is assessed uniformly.
463            </div>
464            <div class="nbr">5</div>
465        </li>
466        <li class="mzLI mzLI6">
467            <h4>Get a Gameplan for the Next Draft</h4>
468            <div class="mzDescription">
469                Spec Scout’s coverage is unique in that each script is reviewed by three separate readers, each of whom uses the same rigorous rubric to analyze 11 elements of the screenplay. Our clients love this approach — when 2 or 3 people independently cite similar issues, you will know exactly what to work on in your next draft.
470            </div>
471            <div class="nbr">6</div>
472        </li>
473        <li class="mzLI mzLI7">
474            <h4>99% Satisfaction Rate</h4>
475            <div class="mzDescription">
476                We’re very proud of our 99% customer satisfaction rate - nearly every single one of our over 750 writer clients has been pleased by our service, and over a third have returned to submit additional scripts for coverage. But don’t take our word for it - <a href="/home/#writerEndorsements"> here’s what our clients have told us</a>.
477            </div>
478            <div class="nbr">7</div>
479        </li>
480
481        <li class="mzLI mzLI8">
482            <h4>Get Discovered</h4>
483            <div class="mzDescription">
484                Our Industry Pro subscribers use the site daily to search for new voices and available material. Our Scouted writers' material is included alongside the market specs in subscribers' search results. Scripts with the highest scores show up first regardless of whether they were sent out by an agent or qualified through our coverage service.
485            </div>
486            <div class="nbr">8</div>
487        </li>
488
489        <li class="mzLI mzLI9">
490            <h4>Fast Turn-Around</h4>
491            <div class="mzDescription">
492             Submit today and we'll have your coverage ready between <span id="elMonthly"></span> and <span id="elFiveWeeks"></span>.
493
494   Rush service is also available, which guarantees your feedback will be delivered by <span id="elWeekly"></span>.
495
496
497            </div>
498            <div class="nbr">9</div>
499        </li>
500
501        <li class="mzLI mzLI10">
502            <h4>World's Best Coverage</h4>
503            <div class="mzDescription">
504                Our <a data-toggle="modal" href="#tallModal"  >coverage</a> is based squarely on the most  <a href="score/#howTheScoreWorks">basic principles of feature screenwriting mechanics</a>, and our readers defend their opinions in 7-10 pages of feedback, citing specific examples from the text with page numbers. You'll also get a synopsis and 3 distinct loglines. Check out a  Coverage Sample .
505            </div>
506            <div class="nbr">10</div>
507        </li>
508
509    </ul>
510</section>
511
512<br><br></div> 			</div>
513		</div>
514	</div>
515
516	<div class="ablock-footer"><div><div></div></div></div>
517</div>
518<!-- END WIDGET 3162 --><!-- START WIDGET 3348 -->
519<div class=" ablock a-widget wid-3348  no-title">
520
521
522	 <div class="ablock-content">
523		<div>
524			<div>
525
526<div class="">
527    <!--http://codepen.io/yellapuhari/pen/jtfAm-->
528
529<a name="faq"></a>
530
531<section class="qaRel">
532    <div class="qaWrap">
533        <h1 class="qaH1">Questions Answers</h1>
534        <h2 class="qaH2">Q + A</h2>
535    </div>
536</section></div> 			</div>
537		</div>
538	</div>
539
540	<div class="ablock-footer"><div><div></div></div></div>
541</div>
542<!-- END WIDGET 3348 --><!-- START WIDGET 2995 -->
543<div class=" ablock a-widget wid-2995  no-title">
544
545
546	 <div class="ablock-content">
547		<div>
548			<div>
549
550<div class="">
551    <!--http://codepen.io/pedroo/pen/KtzEL-->
552
553<main class="seBack">
554    <!--<h3>OUR COVERAGE & LISTING PROCESS </h3> -->
555
556    <div>
557        <input type="checkbox" id="question1" name="q"  class="seINPUT">
558        <div class="sePlus">+</div>
559        <label for="question1" class="seLABEL">
560            Who will be reading my screenplay?
561        </label>
562        <div class="seAnswer">
563            <p>Our evaluation team is comprised of seasoned readers, each of whom has experience reviewing produced and unproduced scripts at agencies, management companies, development departments, and in other professional environments. Each reader is well versed in recent market material and has undergone a thorough feature analysis training program, so you can be sure that the same standards used to judge market material will be used in assessing your script. </p>
564
565        </div>
566    </div>
567
568    <div>
569        <input type="checkbox" id="question2" name="q" class="seINPUT">
570        <div class="sePlus">+</div>
571        <label for="question2" class="seLABEL">
572            How long does an evaluation take?
573        </label>
574        <div class="seAnswer">
575            <p>Our regular service takes approximately one month. One week rush service is available for an additional $100 fee. </p>
576
577        </div>
578    </div>
579
580    <div>
581        <input type="checkbox" id="question3" name="q" class="seINPUT">
582        <div class="sePlus">+</div>
583        <label for="question3" class="seLABEL">
584            What happens if my script scores above 70?
585        </label>
586        <div class="seAnswer">
587            <p> If your screenplay scores above 70 points, congratulations! Your script holds up brilliantly when compared to the screenplays circulated by the best literary agents and managers. When you receive your coverage, it will be accompanied with our offer to be included in our coverage library alongside the spec market material we've been tracking for the past several years.<br><br>If you accept, you'll not only get to include a short profile of yourself so our subscribers know how to contact you, you'll also be able to upload your other features. For free. Forever. You're welcome. </p>
588
589        </div>
590
591        <div>
592            <input type="checkbox" id="question4" name="q" class="seINPUT">
593            <div class="sePlus">+</div>
594            <label for="question4" class="seLABEL">
595                What happens if my script scores below 70?
596            </label>
597            <div class="seAnswer">
598                <p> If your script scores below 70, your coverage remains confidential and your script will not be shared on the site. We'll also offer you a coupon code for discounts on future revisions of that script. </p>
599
600            </div>
601
602        </div>
603
604        <div>
605            <input type="checkbox" id="question5" name="q" class="seINPUT">
606            <div class="sePlus">+</div>
607            <label for="question5" class="seLABEL">
608                Who has access to the Coverage Library?
609            </label>
610            <div class="seAnswer">
611                <p>Access to our coverage library is free but limited to working agents and managers, credited directors and producers, development and production executives, and assistants to all of the above. Our subscriber base currently includes thousands of industry pros at companies including CAA, APA, WME, UTA, ICM, Gersh, Paradigm, Verve, Mosaic, Benderspink, Oasis, Original Artists, Energy Entertainment, Station 3, The Arlook Group, Echo Lake, Amazon Studios, Fox, Bold Films, Bold House, Chernin, Davis Entertainment, Dreamworks, Pixar, The Walt Disney Company, QED, Universal, Vertigo, Bad Hat Harry, Relativity, EndGame, Disruption, Kopelson, Langley Park, MGM, 
611Castlerock, Virgin Produced, Level 1 Entertainment, Ineffable Pictures, 20th Centrury Fox, FX, Milennium, and New Line Cinema, to name a few. </p>
612
613            </div>
614        </div>
615
616
617        <div>
618            <input type="checkbox" id="question6" name="q" class="seINPUT">
619            <div class="sePlus">+</div>
620            <label for="question6" class="seLABEL">
621                What if I don't agree with your assessment?
622            </label>
623            <div class="seAnswer">
624                <p>There's no getting around the fact that story analysis is inherently subjective. We designed our process to be as objective as possible by applying the same set of rigorous standards to every script, based on the criteria that buyers and reps use to judge material. <br><br>Whether the coverage lauds your masterpiece or encourages your growth, the points made will reference tried-and-true storytelling principles and cite specific examples (with page numbers) from your work. </p>
625
626            </div>
627        </div>
628
629    </div>
630
631</main></div> 			</div>
632		</div>
633	</div>
634
635	<div class="ablock-footer"><div><div></div></div></div>
636</div>
637<!-- END WIDGET 2995 --><!-- START WIDGET 3494 -->
638<div class=" ablock a-widget wid-3494  no-title">
639
640
641	 <div class="ablock-content">
642		<div>
643			<div>
644
645<div class="">
646    <!--http://codepen.io/junrillg/pen/xJtyf-->
647
648<a name="pricing"></a>
649<section class="vzWorld">
650    <section class="vzBack">
651
652        <div class="vzWrap">
653            <div class="vzHead">
654                <h1>Spec Scout Submission</h1>
655                <h1>$395.00</h1>
656                <div class="vzIconBox">
657                    <main class="aacBack">
658                        <!-- four layers of paper each with 3 psuedo element pages -->
659                        <section class="aac aac0">
660                            <section class="aac aac1">
661                                <section class="aac aac2">
662                                    <section class="aac aac3">
663                                        <!-- top brass bracket -->
664                                        <a class="aacBracket aacTop"><span></span> </a>
665                                        <!-- dark hole -->
666                                        <div class="aacHole"></div>
667                                        <!--bottom bracket -->
668                                        <a class="aacBracket aacBtm"><span></span> </a>
669                                        <p class="aacTitle">"A Screenplay Submission"</p>
670                                        <p class="aacBy">by</p>
671                                        <p class="aacBy">My Name</p>
672                                                                               <div class="aacAddress">
673                                            <p>555 My Street</p>
674                                            <p>City, State 55555</p>
675                                            <p>555-555-5555</p>
676                                            <p>[email protected]</p>
677                                        </div>
678                                    </section>
679                                </section>
680                            </section>
681                        </section>
682                    </main>
683                </div>
684            </div>
685        </div>
686
687        <div class="vzWrap">
688            <div class="vzBody">
689                <ul>
690                    <li>Three Reads <span>from three independent readers who each score you in 11 categories.</span></li>
691                    <li>7-10 Pages <span>of specific and actionable notes.</span></li>
692                    <li>Three Unique Loglines <span>that you can use to pitch your project. </span></li>
693                    <li>Synopsis <span>Industry standard summary of your plot.</span></li>
694                    <li>Free Listing <span>in our pro database if you score above 70.</span></li>
695                    <li>Free Hosting <span> for all your features if one submission scores above 70.</span></li>
696                </ul>
697                <p class="vzBottomMessage">No other coverage service on the planet gives you so much detail and a chance at real exposure. So what are you waiting for?</p>
698                <button data-toggle="modal" href="#tallModal">View Coverage Sample <i class="fa fa-arrow-right"></i></button>
699            </div>
700        </div>
701    </section>
702</section></div> 			</div>
703		</div>
704	</div>
705
706	<div class="ablock-footer"><div><div></div></div></div>
707</div>
708<!-- END WIDGET 3494 --></div></div><div class="ahh_i3 ahh_grid_col">	<div class=" ap  ap_1234"><!-- START WIDGET 3387 -->
709<div class=" ablock a-widget wid-3387  no-title">
710
711
712	 <div class="ablock-content">
713		<div>
714			<div>
715
716<div class="">
717    <!--http://codepen.io/danbowles/pen/axDJq-->
718
719<a name="successStories"></a>
720<section class="checkBack">
721    <h1>Success</h1>
722    <div class="checkLogo"></div>
723    <h1>Stories</h1>
724</section></div> 			</div>
725		</div>
726	</div>
727
728	<div class="ablock-footer"><div><div></div></div></div>
729</div>
730<!-- END WIDGET 3387 --><!-- START WIDGET 3386 -->
731<div class=" ablock a-widget wid-3386  no-title">
732
733
734	 <div class="ablock-content">
735		<div>
736			<div>
737
738<div class="">
739    
739<script src="//cdnjs.cloudflare.com/ajax/libs/prefixfree/1.0.7/prefixfree.min.js"></script>
739
740
741<section class="ooBG">
742
743
744
745     <section class="ooUnit">
746	     <p> Over 70 movies have been produced through Spec Scout's partner Slated. Check out our latest success stories <a href="https://get.slated.com/successes/">here </a>. </p>
747        </section>
748
749
750     <section class="ooUnit">
751           <h4>  WHAT BREAKS THE ICE heads to production.</h4>
752         <p> The script from first-time writer-director Rebecca Eskreis scored a 74, which <a href="https://filmonomics.slated.com/congratulations-to-faith-based-drama-god-bless-the-broken-road-opening-wide-this-weekend-6df076bb8dd"target="_blank"> attracted two separate investments </a> through Slated. </p>
753        </section>
754
755
756
757         <section class="ooUnit">
758           <h4>  GOD BLESS THE BROKEN ROAD gets a wide release through Freestyle.</h4>
759           <p> Because of its 70 Script Score, the <a href="https://filmonomics.slated.com/congratulations-to-faith-based-drama-god-bless-the-broken-road-opening-wide-this-weekend-6df076bb8dd"target="_blank"> film </a> was able to attract all of its marketing financing through Slated. </p>
760        </section>
761
762
763       <section class="ooUnit">
764           <h4>  DEEP MURDER receives production financing.</h4>
765           <p> The script earned a Script Score of 76 and was <a href="https://variety.com/2017/film/news/christopher-mcdonald-katie-aselton-johnny-simmons-1202453811/"target="_blank"> introduced to investors </a> via Slated.  It stars Chris Redd and Katie Aselton. </p>
766        </section>
767
768       <section class="ooUnit">
769           <h4>BECOMING attracts lead producer/financier.</h4>
770           <p>The Script Score increased from a 64 to a 75 in three submissions! Slated introduced it to Traverse Media, who <a href="https://deadline.com/2018/05/the-vampire-diaries-star-penelope-mitchell-jason-patric-join-toby-kebbell-in-thriller-becoming-1202381348/"target="_blank">closed the cast, financing </a> and sent it into production. It stars Toby Kebell, Jason Patric, Penelope Mitchell.  </p>
771        </section>
772
773       <section class="ooUnit">
774            <h4>SUPER TROOPERS 2 finds key equity financing.</h4>
775           <p>While the project wasn't discovered on Spec Scout, it's 79 Script Score earned it a <a href="https://filmonomics.slated.com/congratulations-to-super-troopers-2s-1-friday-opening-db8bb12e77b?gi=5e925b20022d"target="_blank">key piece of financing</a> as it prepared for production. It has made over $30M U.S. box office.  </p>
776        </section>
777
778      <section class="ooUnit">
779            <h4>FIRST LIGHT debuts at SXSW 2018.</h4>
780          <p>This <a href="https://www.hollywoodreporter.com/review/first-light-review-1093301"target="_blank">sci-fi romance </a> attracted half of its financing on Slated after receving a 74 Script Score.  </p>
781        </section>
782
783    <section class="ooUnit">
784            <h4>CRUISE heads to production.</h4>
785        <p>AG Capital boarded the project and <a href="https://deadline.com/2018/05/vertical-entertainment-cruise-emily-ratajkowski-acquisition-1202380343/"target="_blank">fully financed</a> it in large part because of its Script Score through Slated. </p>
786        </section>
787
788      <section class="ooUnit">
789            <h4>Brent Hartinger's DECKED finds a studio.</h4>
790            <p>The animated feature earned a 75.4 Script Score, which caught the attention of Beijing-based Popoko Studios who reached out and optioned the project.  </p>
791        </section>
792
793    <section class="ooUnit">
794            <h4>Elizabeth Shannon Slater-Dent’s MASTERPIECE gets set up with producers.</h4>
795        <p>The script was discovered on Spec Scout by producer E. Thompson (Twilight, Agent Cody Banks) due to its 75.3 Script Score and has attached director of photography Pawel Edelman (Ray, The Pianist). </p>
796        </section>
797
798    <section class="ooUnit">
799            <h4>Matt Sinnreich finds rep, sells script.</h4>
800            <p>Matt's script HUNTED earned a Script Score of 77.8 before getting discovered by SS subscriber, Brooklyn Weaver, who ultimately signed the scribe and took the project out to buyers. Aldamisa Entertainment (Chef, Machete Kills) snapped it up, and Sinnreich will direct. </p>
801        </section>
802
803    <section class="ooUnit">
804            <h4>Tony Shyu's THE MACAU OMEN gets set up with potential financier.</h4>
805            <p>Details are under wraps but the project earned a 77.5 Script Score, which it used to attaract the attention of a large equity fund who is structuring the deal now. </p>
806        </section>
807
808     <section class="ooUnit">
809            <h4>Alex Ross signs with Benderspink, Markerstone Pictures.</h4>
810            <p>HEXEN earned a Recommend and Two Considers on Spec Scout before subscriber, Mark Lawyer, discovered the script, signed Alex, and took the project out with BenderSpink. </p>
811        </section>
812
813    <section class="ooUnit">
814            <h4>Ted Nusbaum options IN THE CREASE, attaches EP. </h4>
815            <p>Details under wraps but J.C Spink (The Hangover, The Butterfly Effect, The Ring, We're the Millers) is attached as executive producer. Originally entitled HEART, it earned a 75 Script Score.  </p>
816        </section>
817
818    <section class="ooUnit">
819            <h4>David Boito signs with Markerstone Pictures. </h4>
820            <p>David's script, RUBBER TANK SQUAD, earned a 78.8, prompting Spec Scout Subscriber Mark Laywer to download the project and sign David. </p>
821        </section>
822
823     <section class="ooUnit">
824            <h4>Michael Toay & Travis Mann discovered by Altered LA.</h4>
825            <p>The writing team had three top-scoring submissions to SpecScout, which were subsequently reviewed by Spec Scout subscriber and manager, Jorge Garcia. Garcia signed Toay and Mann in late 2014.</p>
826        </section>
827
828        <section class="ooUnit">
829            <h4>SECOND BORN attaches producers, director.</h4>
830            <p>The sci-fi thriller script by David Jagernauth earned a Script Score of 85.5 and a free posting in SpecScout's industry database where it was discovered and optioned by Spec Scout subscriber and producer Stephanie Wilcox of Rumble Films. OLD BOY director Park Chan-Wook will direct and Rumble Films' David Lancaster (WHIPLASH, NIGHTCRAWLER, DRIVE) will produce along with Stephanie and Wonjo Jeong (STOKER).</p>
831        </section>
832
833        <section class="ooUnit">
834            <h4>Matt Deller signs with Pete Letz.</h4>
835            <p>Matt Deller earned a Script Score of 75.1 and a free posting on SpecScout.com for his spec script, THE KNIGHT PROPER. Several months later, Spec Scout subscriber and manager Pete Letz  signed Matt as a client at Cousin Pete Productions.  </p>
836        </section>
837
838        <section class="ooUnit">
839            <h4>Erik Linthorst signs with Infinity Management.</h4>
840            <p>Despite having produced feature credits, Scouted writer, Erik Linthorst was unrepped when he earned a Script Score of 77.5 on his comedy, QUIET THE RIOT. Jon Karas at Infinity Management discovered him and the rest is history. </p>
841        </section>
842
843        <section class="ooUnit">
844            <h4>SNOWFALL attaches Benderspink</h4>
845            <p>Scouted writing team Brooks Elms and Glenn Sanders earned a Script Score of 79.6 for their period comedy, WRIGHT OR WRONG. Soon after, they optioned their spec thriller, SNOWFALL to Benderspink, who set up the project at Gold Circle. Evan Astrowsky (Cabin Fever, Zombeavers) is attached to produce.        </section>
846
847        <section class="ooUnit">
848            <h4>POST-IRONIC HIPSTER MASSACRE attaches producer, directors.</h4>
849            <p>Producer Phillip Adrien Chambrin discovered Scouted script POST-IRONIC HIPSTER MASSACRE, a comedy by Sean Frasier which earned a 83.8 Script Score. Phillip optioned the project and slated it for production at Cloud Burst Productions with directing duo Ben Franklin and Anthony Melton (Bloody Cuts) attached. </p>
850        </section>
851
852       <section class="ooUnit">
853            <h4>Richard Guimond options both Scouted scripts</h4>
854            <p>Since he earned Spec Scout postings for two feature submissions, METACOMET and SEA FEVER, Scouted writer Richard Guimond has optioned both to production companies. Details remain under wraps at the request of the producers. </p>
855        </section>
856
857
858</section></div>
858 			</div>
859		</div>
860	</div>
861
862	<div class="ablock-footer"><div><div></div></div></div>
863</div>
864<!-- END WIDGET 3386 --></div></div></section><section class=" ahh_i8 ahh_grid_row"><div class="ahh_i4 ahh_grid_col">	<div class=" ap  ap_1235"><!-- START WIDGET 3531 -->
865<div class=" ablock a-widget wid-3531  no-title">
866
867
868	 <div class="ablock-content">
869		<div>
870			<div>
871
872<div class="">
873    <a name="submissionForm"></a>
874
875
876<section class="ww">
877    <h3>Script Submission<small>Find out how your screenplay compares to the pros'.</small> </h3>
878
879     <form class="clearfix wwForm  wow fadeInUp"  method="post"   action="/submissionpayment" enctype="multipart/form-data" name="ccForm" id="ccForm">
880
881        <label class="wwLABEL">
882            <input type="text" id="ccName" name="ccName" placeholder="My Name" class="wwINPUT" required >
883        </label>
884
885        <label class="wwLABEL">
886            <input type="email" id="ccEmail" name="ccEmail" placeholder="My Email" class="wwINPUT" required >
887        </label>
888
889        <label for="ccUpload" class="wwLABEL ccUploadStyleA">
890            Browse
891            <input type="file" id="ccUpload" name="ccUpload" class="wwINPUT" required>
892            <span id="wwFileName">Upload My script</span>
893
894        </label>
895
896        <label class="wwLABEL clearfix">
897            <input type="submit" id="" name="" value="Submit"  class="wwINPUT btn btn-default" />
898        </label>
899        <div class="wwCheckbox">
900        <input type="checkbox" id="ccTerms" name="ccTerms" required >
901        <span class="">I agree to the</span>
902            <a class="" href="/submission-agreement" target="_blank">
903            Submission Agreement
904        </a>
905        </div>
906
907
908    </form>
909
910</section></div> 			</div>
911		</div>
912	</div>
913
914	<div class="ablock-footer"><div><div></div></div></div>
915</div>
916<!-- END WIDGET 3531 --></div></div></section><section class=" ahh_i9 ahh_grid_row"><div class="ahh_i5 ahh_grid_col">	<div class=" ap  ap_1257"><!-- START BLOCKT 2019 -->
917<div class=" ablock a-block bid-2019  no-title">
918
919
920	 <div class="ablock-content">
921		<div>
922			<div>
923				<!-- START WIDGET 3336 -->
924<div class=" ablock a-widget wid-3336  no-title">
925
926
927	 <div class="ablock-content">
928		<div>
929			<div>
930
931<div class="">
932    <footer class="ggBack">
933    <div class="ggWrap">
934
935
936        <section class="ggColumn">
937            <h4><a href="/home">Spec Scout</a></h4>
938            <a href="/home/#howItWorks" class="ggA">The TL;DR Of It All</a>
939<!--            <a href="/home/#ourSubscribers" class="ggA">Our Subscribers</a>
940            -->
941            <a href="/home/#subscriberEndorsements" class="ggA">Subscriber Endorsements</a>
942            <a href="/home/#writerEndorsements" class="ggA">Writer Testimonials</a>
943            <a href="/home/#submissionForm" class="ggA">Submission Form</a>
944
945        </section>
946
947
948        <section class="ggColumn">
949            <h4><a href="/screenwriters">For Writers</a></h4>
950            <a data-toggle="modal" href="#tallModal" class="ggA">Coverage Sample</a>
951            <a href="/screenwriters/#successStories" class="ggA">Success Stories</a>
952<!--            <a href="/screenwriters/#screenplaySubmission" class="ggA">Submit Your Script</a>  -->
953            <a href="/screenwriters/#reasonsToSubmit" class="ggA">Top 10 Reasons...</a>
954            <a href="/screenwriters/#pricing" class="ggA">Pricing</a>
955            <a href="/screenwriters/#faq" class="ggA">FAQ</a>
956        </section>
957
958        <section class="ggColumn">
959            <h4><a href="/pros">For Pros</a></h4>
960            <a href="/pros/#apply" class="ggA">Apply For Access</a>
961            <a href="/pros/#whatYouGet" class="ggA">What You Get</a>
962            <a href="/pros/#takeATour" class="ggA">Take A Tour</a>
963            <a href="/pros/#recentlyScouted" class="ggA">Recently Scouted Scripts</a>
964
965
966        </section>
967        <section class="ggColumn">
968            <h4><a href="/score">The Score</a></h4>
969            <a href="/score/#howTheScoreWorks" class="ggA">How It Works</a>
970            <a href="/score/#tenCategories" class="ggA">The Ten Categories</a>
971           <a href="https://logins.specscout.com/screenwritingresources" class="ggA">Screenwriting Resources</a>
972<!--           <a data-toggle="modal" href="#tallModal" class="ggA">Coverage Sample</a>  -->
973
974        </section>
975
976        <!--
977<section class="ggColumn  wow fadeInUp" data-wow-delay=".75s">
978<h4><a href="/blog">Blog</a></h4>
979<a href="/blog/#subscribe" class="ggA">Subscribe To The Scoggins Report</a>
980<a href="/blog/#specMarketScorecard" class="ggA">Spec Market Scorecard</a>
981<a href="/blog/#pitchMarketScorecard" class="ggA">Pitch Market Scorecard</a>
982<a href="/blog/#specMarketRoundup" class="ggA">Spec Market Round-Up</a>
983<a href="/blog/#pitchMarketRoundup" class="ggA">Pitch Market Round-Up</a>
984</section>
985-->
986
987        <section class="ggColumn">
988            <h4><a href="/about">About Us</a></h4>
989            <a href="/about/#missionStatement" class="ggA">Mission Statement</a>
990            <a href="/about/#founders" class="ggA">Our Founders</a>
991            <a href="/about/#contactUs" class="ggA">Contact Us</a>
992        </section>
993
994
995
996    </div>
997
998</footer>
999
1000
1001
1002
1003
1004
1005
1006
1007<div id="tallModal" class="modal modal-wide fade">
1008    <div class="modal-dialog">
1009        <div class="modal-content">
1010            <div class="modal-header">
1011                <button type="button" class="close" data-dismiss="modal"><span aria-hidden="true">&times;</span><span class="sr-only">Close</span></button>
1012                <!-- start heading -->
1013                <section class="covHeading">
1014                    <ul class="covHeadingUL">
1015                        <!-- Start Screenplay title -->
1016                        <li><span class="covTitle">On the Cusp</span></li>
1017                        <!-- Start writter information -->
1018                        <li><span class="covWriter">by Brenden Braithwaite</span></li>
1019                        <!-- start score -->
1020                        <li><span class="covScore">73.7</span></li>
1021
1022                        <button type="button" class="btnClose btn btn-success" data-dismiss="modal" aria-hidden="true">
1023                            <i class="fa fa-times"></i>
1024                        </button>
1025
1026                    </ul>
1027                    <div class="clearfix"></div>
1028                </section>
1029            </div>
1030
1031            <div class="modal-body">
1032                <main class="covBack">
1033                    <!-- start body -->
1034                    <section >
1035
1036                        <!-- start scoreboard -->
1037                        <section class="covScoreboard">
1038                            <div>
1039                                <label><span class="covLabelA">Overall Decision </span></label>
1040                                <div>
1041                                    <span>&nbsp;</span>
1042                                    <span> </span>
1043                                    <span>C</span>
1044                                    <span>C</span>
1045                                    <span>C</span>
1046                                </div>
1047                            </div>
1048
1049                            <div>
1050                                <label>Reader Initial</label>
1051                                <div class=" ">
1052                                    <span></span>
1053                                    <span></span>
1054                                    <span>
1055                                        <a class="covLabelB" href="#">
1056                                            <b>R1</b>
1057                                        </a>
1058                                    </span>
1059                                    <span>
1060                                        <a class="covLabelB" href="#">
1061                                            <b>R2</b>
1062                                        </a>
1063                                    </span>
1064                                    <span>
1065                                        <a class="covLabelB" href="#">
1066                                            <b>R3</b>
1067                                        </a>
1068                                    </span>
1069                                </div>
1070                            </div>
1071
1072
1073                            <div>
1074                                <label>Premise</label>
1075                                <div>
1076                                    <span class="covLabel4">  3.3 </span>
1077                                    <span>|</span>
1078                                    <!-- start list all reader garade -->
1079                                    <span class="covLabel4">3</span>
1080                                    <span class="covLabel4">3</span>
1081                                    <span class="covLabel4">4</span>
1082
1083                                </div>
1084                            </div>
1085                            <div>
1086                                <label>Originality</label>
1087                                <div>
1088                                    <span class="covLabel3"> 4.0 </span>
1089                                    <span>|</span>
1090                                    <!-- start list all reader garade -->
1091                                    <span class="covLabel3">4</span>
1092                                    <span class="covLabel3">4</span>
1093                                    <span class="covLabel3">4</span>
1094
1095                                </div>
1096                            </div>
1097                            <div>
1098                                <label>Dialogue</label>
1099                                <div>
1100                                    <span class="covLabel3">  3.3  </span>
1101                                    <span>|</span>
1102                                    <!-- start list all reader garade -->
1103                                    <span class="covLabel3">3</span>
1104                                    <span class="covLabel3">4</span>
1105                                    <span class="covLabel3">3</span>
1106                                </div>
1107                            </div>
1108                            <div>
1109                                <label>Structure</label>
1110                                <div>
1111                                    <span>  3.0  </span>
1112                                    <span>|</span>
1113                                    <span class="covLabel4">3</span>
1114                                    <span class="covLabel4">3</span>
1115                                    <span class="covLabel3">3</span>
1116                                </div>
1117                            </div>
1118                            <div>
1119                                <label>Character</label>
1120                                <div>
1121                                    <span> 3.3  </span>
1122                                    <span>|</span>
1123                                    <span class="covLabel3">3</span>
1124                                    <span class="covLabel4">4</span>
1125                                    <span class="covLabel3">3</span>
1126                                </div>
1127                            </div>
1128                            <div>
1129                                <label>Logic</label>
1130                                <div>
1131                                    <span class="covLabel3"> 2.7 </span>
1132                                    <span>|</span>
1133                                    <span class="covLabel3">3</span>
1134                                    <span class="covLabel3">2</span>
1135                                    <span class="covLabel3">3</span>
1136                                </div>
1137                            </div>
1138                            <div>
1139                                <label>Conflict</label>
1140                                <div>
1141                                    <span class="covLabel4">  3.0 </span>
1142                                    <span>|</span>
1143                                    <span class="covLabel4">3</span>
1144                                    <span class="covLabel4">3</span>
1145                                    <span class="covLabel4">3</span>
1146                                </div>
1147                            </div>
1148                            <div>
1149                                <label>Tone</label>
1150                                <div>
1151                                    <span>  3.3     </span>
1152                                    <span>|</span>
1153                                    <span class="covLabel4">3</span>
1154                                    <span class="covLabel4">3</span>
1155                                    <span class="covLabel3">4</span>
1156                                </div>
1157                            </div>
1158                            <div>
1159                                <label>Pacing</label>
1160                                <div>
1161                                    <span> 3.0      </span>
1162                                    <span>|</span>
1163                                    <span class="covLabel3">3</span>
1164                                    <span class="covLabel4">3</span>
1165                                    <span class="covLabel3">3</span>
1166                                </div>
1167                            </div>
1168                            <div>
1169                                <label>Craft</label>
1170                                <div>
1171                                    <span class="covLabel4">   3.3   </span>
1172                                    <span>|</span>
1173                                    <span class="covLabel4">4</span>
1174                                    <span class="covLabel4">3</span>
1175                                    <span class="covLabel4">3</span>
1176                                </div>
1177                            </div>
1178                        </section>
1179
1180                        <!-- For left -->
1181                        <section class="covContent">
1182
1183                            <!-- Start Logline-->
1184                            <div class="covLogline">
1185                                <div>
1186                                    <div class="covRightLabel">
1187                                        Loglines
1188                                    </div>
1189                                    <div  class="covWrap">
1190                                        <div>
1191                                            A man who carries the emotional burden of his failing family farm announces to his town that he plans to address their crippling drought with a live rain dance performance, and passionately sets out to make the hoax a reality.
1192                                        </div>
1193                                    </div>
1194                                    <div style="clearfix"></div>
1195                                </div>
1196
1197                                <div>
1198                                    <div class="covLogline_key">
1199                                        <a href="#">R1 </a>
1200                                    </div>
1201                                    <div class="covLogline_val">
1202                                        <div class="covWrap">
1203                                            When the heir to a once-profitable agricultural plot decides to perform a raindance onstage before the whole town, his identical twin brother gets in on the action. As the show begins to take a toll on both of them, the family’s issues begin to percolate to the surface.                            </div>
1204                                    </div>
1205                                </div>
1206                                <div>
1207                                    <div class="covLogline_key">
1208                                        <a href="#"> R2 </a>
1209                                    </div>
1210                                    <div class="covLogline_val">
1211                                        <div  class="covWrap">
1212                                            In an attempt to make some cash for his family’s failing agricultural farm, a young man prepares for an act in which he attempts to summon rain, despite threats to his health and family's reputation.                            </div>
1213                                    </div>
1214                                </div>
1215                                <div>
1216                                    <div class="covLogline_key">
1217                                        <a href="#">  R3    </a>
1218                                    </div>
1219                                    <div class="covLogline_val">
1220                                        <div  class="covWrap">
1221                                            A man with no training in the occult, issues a public statement to his rural town that he will summon a large storm, thereby resolving the 8-month-long draught that's crippled businesses. But when rumor spreads it's just a hoax, it's up to his family and the woman he loves to get to the bottom of his crazed agenda and halt the performance before it's too late.                            </div>
1222                                    </div>
1223                                </div>
1224                            </div>
1225                            <!-- End Logline-->
1226
1227
1228                            <div>
1229                                <div class="covRightLabel">Genres</div>
1230                                <div>
1231                                    <div class="covLeftFloat">
1232                                        Film, Fiction, Live Action, Independent, Action, Drama, Romance, Comedy                    </div>
1233                                </div>
1234                            </div>
1235
1236
1237                            <div>
1238                                <div class="covRightLabel">Pages</div>
1239                                <div class="covPagesRatedBudgetLead">
1240                                    <div class="covLeftFloat"> 100  </div>
1241
1242                                    <!-- Start Rating -->
1243                                    <span>
1244                                        <span class=" covRightLabel">Rated</span>
1245                                        <div class="covLeftFloat">
1246                                            PG    </div>
1247                                    </span>
1248
1249
1250                                    <!-- Start Budget Calculation -->
1251                                    <span class="covRightLabel">Budget</span>
1252                                    <div class="covLeftFloat"> Low Budget</div>
1253
1254                                    <!-- Start Protagonist-->
1255                                    <div>
1256                                        <div class="covRightLabel">Lead</div>
1257                                        <div class="covLeftFloat">
1258                                            <span>M</span>
1259                                            <span>Ambiguous</span>
1260                                            <span>31</span>
1261                                            <span>Good Looking</span>
1262                                        </div>
1263                                    </div>
1264
1265                                </div>
1266                                <div style="clear: left;"></div>
1267                            </div>
1268
1269                            <!-- Start Similar film-->
1270                            <div>
1271                                <div class="covRightLabel">Similar</div>
1272                                <div class="covLeftFloat">
1273                                    Lars and the Real Girl, Napoleon Dynamite, Rubber, Rushmore, Holy Man, The Prestiege, Son-In-Law.               </div>
1274                            </div>
1275
1276                            <!-- Start period -->
1277                            <div>
1278                                <div class="covRightLabel">When</div>
1279                                <div class="covLeftFloat">
1280                                    Present; A few months.                </div>
1281                            </div>
1282                            <!-- End period -->
1283
1284
1285                            <!-- Start location -->
1286                            <div>
1287                                <div class="covRightLabel ">Where</div>
1288                                <div class="covLeftFloat">
1289                                    All Present-Day rural town. Rural roads, various farmhouses and fields, convention center, locker room, orchestra shell, park, Indian burial site, luxurious pre-fab home.
1290                                </div>
1291                            </div>
1292
1293                            <!-- Start Synopsis -->
1294                            <div>
1295                                <div class="covLabelA">Synopsis</div>
1296                                <div style="word-wrap: break-word;" >
1297                                    <p>A small boy, young KEVIN PAX (7), chases a LITTLE GIRL (6) through a field of Indian burial markings at the edge of a farm. Years later, Kevin, now in his thirties, fastens bells to his ankles and waives a feathered stick in dazzling motions before a skeptical audience of 6,000 townsfolk. The crowd grumbles in anticipation</p>
1298                                    <p>Flash back a few weeks earlier. At Crop Town, the family farm, Kevin's twin brother JOSH PAX (31) works diligently at the farm, uprooting weeds and trying to salvage a line of withering crops while he listens to an agricultural guru spell out the path to a healthy outcrop via podcast. Later, he and his sister JAMIE (32), the town's meteorologist and an employee of the family business, are called into an office by owner and patriarch JAKE PAX (57), where he informs them of Kevin's insane plan to charge townsfolk to wat
1298ch a live performance wherein he solves the town's draught via rain dance onstage. </p>
1299                                    <p>Kevin's act is set up at the Braithwaite Convention Center's Orchestra Shell, where shady owner MR. MENSCHE (53) has everything riding on the attraction. Beautiful MAGGIE (26) works at the convention center, and catches Kevin's eye. </p>
1300                                    <p>Jake confronts Kevin about his crazy act, and begs him not to do it; tensions that the town are too high to withstand antics that poke fun at people's misfortune. He offers him ownership of the farm, which Kevin refuses. Maggie and Jamie also try to talk him out of it, but Kevin still refuses. </p>
1301                                    <p>Mensche comes to Jake and pitches him an idea to sell merchandise during Kevin's act, which Jake accepts. As the first night of the act gets underway, Mensche takes the role of M.C., narrating Kevin's feat as he prepares to perform his first dance - a dress rehearsal- which will saturate the atmosphere in preparation for the storm. </p>
1302                                    <p>Upon his first movement, Kevin experiences an intense flashback to his childhood, with his mother teaching him how to two-step. When a light drizzle falls onto the park, the audience is impressed, and the "Dry-Run" is declared a hit. Kevin admits to Maggie that rain dancing is a wonderful experience, and it lets him remember everything he’s forgotten. </p>
1303                                    <p>After being pressured by Mensche, Jake promotes the show despite the dangers to Kevin's well being regarding skeptic members of the town who want to publicly shame him at the next performance. Having seen the revenue from the last performance, Jake would like to get Crop Town out of debt. As the months of preparation for the event drag on, Kevin develops pneumonia from having rehearsed so many cold nights in a row with such little clothing. He is warned by a DOCTOR PERSPY (72) to stop, but refuses. Word of mouth continues spreading about Kevin's upcoming main performance, in which he promises a complete storm. </p>
1304                                    <p>Kevin experiences more flashbacks, remembering more of his mother, and a little girl he used to play with at Crop Town. Maggie worries, but Kevin insists there’s no other option for him; he's committed to the show, taken thousands of dollars in pre-sales. </p>
1305                                    <p>Jamie finds out that Mensche is spending all of the money they’re making on the show, and Jake overhears. Jake is angry, blames Kevin, and beats Maggie while demanding that Kevin recoup the money. </p>
1306                                    <p>As rehearsals wear on, Kevin remembers the Crop Town and that the little girl was his first love. He admits to Maggie that rain-dancing is taking him back to things he’d rather forget, and that it’s not the freedom he intended to experience. </p>
1307                                    <p>On the night of the main event, thousands of townsfolk show up. In the convention center locker room, Kevin has flashbacks, remembering finding his mother’s corpse on burial site that day, and rushes prematurely on stage, proclaiming that he can’t do the act anymore. Mensche threatens him, but Jake stands up for Kevin, offering to take his place. Jake attempts the dance, but is very quickly booed off stage by people who've paid to see Kevin summon rain. </p>
1308                                    <p>Leaving Mensche to deal with the audience, Kevin takes Maggie away and tells her he doesn’t care that she’s a prostitute, and admits that he’s a virgin. He takes her to the Indian burial site, where he confronts his most painful memories. He remembers his mother’s unhappiness, and her desire to leave. He realizes that his life has been stunted since her death, and as he symbolically crawls through the yard to the scene where he found her body, he realizes it’s time to move on with his life. </p>
1309                                    <p>Back at the orchestra shell, the crowd has disbanded and Mensche picks up trash muttering to himself. Kevin apologizes to Josh for failing to understand his warnings, and thanks Jake for letting him be himself. Kevin admits to Maggie that he’s never danced with a girl before. Aas they step out onto the empty stage together, she teaches him as a proud Jake Pax looks on.
1310                                    </p>
1311
1312                                </div>
1313                            </div>
1314                            <!-- End Synopsis -->
1315
1316                            <!-- Start Comments -->
1317                            <div  class="covComments">
1318                                <div class="covLabelA">
1319                                    <a href="#">  Reader 1   </a>  Comments
1320                                </div>
1321
1322                                <div style="word-wrap: break-word;" >
1323                                    OVERALL (4)<br>
1324                                    “On the Cusp” initially captures attention with its somewhat original premise of a man attempting to perform a successful rain dance on stage to save his town and reputation, and retains interest with strong writing ability, and memorable dialogue. It is ultimately an uneven effort however, hampered by somewhat unclear character motivations, a loose structural path, and logical inconsistencies. While logical hiccups specifically related to summoning the rain could be suspended in order to appreciate the premise, other plot holes erode believability in execution. While tension over whether or not the main character can actually perform a real rain dance is capitalized on throughout, more could be done to produce conflict related to the dramatic question surrounding his ability. Through well-written, witty dialogue, many scenes pop and feel fresh. Another strength-- the tone of surrealistic dramedy remains mostly consistent throughout, with only subtle shifts that feel earned. With some attention to structure and character, "On the Cusp" could really shine.  <br>
1325                                    <br>
1326                                    PREMISE (3)<br>
1327                                    The premise, that a man with self-proclaimed powers of natural transcendence can execute a real-life rain dance, is somewhat thin in terms of its implied conflict. “On the Cusp” commits to the premise, however, and develops a surrealist, humorous drama, somewhat centered on thematic throughlines related to relationships, art and what it means to be American. That said, a position on these topics is not truly developed by the resolution and, as a result, the perspective is unclear. The core concept provides some fertile ground for interesting situations and a natural build, and the underlying core concept can be discerned and summarized quickly. The world in which this occurs never feels very specific. More might be done to explain how Kevin's actions fit into a largely, societal whole, thereby clarifying and advancing the themes and a perspective on them.  <br>
1328                                    <br>
1329                                    STRUCTURE (3)<br>
1330                                    While a beginning, middle, and end exist, more could be done to ensure proper cohesion throughout. It could be argued that a lack of clear and traditional structure is meant to mirror the fever-dream aspects of Kevin's existence, but enough structure beats are present that this seems counterintuitive. There isn’t an inciting incident in the traditional sense. In a typical structure, the inciting incident could be Kevin's mother’s death, or his decision to perform the surgery, but “On the Cusp” currently skips past this beat. One might say that Josh's conversation with Kevin could fulfill the inciting incident role, but this is much more of a reaction to Kevin's previous decision to perform the dance (13.3-15.6), and so it doesn’t quite fit. The first major turning point, Kevin rehearsing the dance for the first time, happens a
1330ppropriately (35.3). The second major turning point, Kevin remembering his mother’s death and deciding not to perform the dance, occurs expectantly (74.3). The climax, Kevin returning to the site of his mother’s death, might be somewhat underwhelming, given that most of the other plotlines are resolved before this beat (96.7). Rearranging the scene order slightly so that Kevin reaches the site while Josh is undergoing surgery instead, for example, could raise the tension and keep the narrative focused. As of now, this moment feels like an afterthought. Further resolution could be added. Genevieve leaving feels like an important beat that should be shown instead of discussed after the fact (64.4). Expectations are created for the Maggie character to return at some point in the present, perhaps as an attendee to the show.   <br>
1331                                    <br>
1332                                    CHARACTER (3)<br>
1333                                    The characters feel somewhat developed, but “On the Cusp” could benefit from taking them a step further. The protagonist, Kevin, is an obviously damaged man, who decides to perform a rain dance in a large, public spectacle in order to gain the county's respect. His father, Josh, implores him to reconsider, thereby saving his life. Kevin's refusal to come home demonstrates how damaged he is as a person, and how twisted his mindset is in regards to his ability to command the weather (14.7). The reveal that Josh blames himself for his wife’s death adds a layer to his character, but he is largely absent from the script (97.4). Kevin seeing his mother when he performs the dance is an interesting wrinkle to his character, adding depth and explanation to the otherwise ludicrous act of a live rain dance (38.8). More might be done to develop Genevieve’s character however. She claims to be attracted to men who engage in “generous” acts, but this could be expounded upon and developed (38.5). Almost all of the characters’ backstories could be further explored. Mr. Mensche is mostly ineffectual as an antagonist, as his threats don’t seem logically consistent, and the stakes are never quite explained.  <br>
1334                                    <br>
1335                                    CONFLICT (3)<br>
1336                                    The concept of emotional conflict is introduced early through the visualization of a hometown devastated by draught (3.2). Given that the first few pages explain the themes via voiceover, the performance of the dance and, by extension, those themes, raises the first flag of trouble. Even if the source of conflict is clear, an antagonist or antagonistic force isn’t specifically introduced or named yet. The primary external conflict, the obstacles to Kevin's desire to perform the dance, feel a bit cartoony at times (7.4). Nevertheless, it provides an able rallying point for his family, Josh, Josh, and Jamie to bond over, and struggle against. Mr. Mensche presents as a clear antagonist, threatening Kevin directly (10.8), and then demonstrating how dangerous he is by beating another man (46.6). Despite this show of force, it’s never as clear as it could be exactly what his destructive means are. It might be prudent to demonstrate exactly how much Mr. Mensche is losing on his venture with Kevin, in order to better contextualize his anger and the lengths to which he could go for revenge (62.3).    <br>
1337                                    <br>
1338                                    DIALOGUE (4)<br>
1339                                    The dialogue is overwhelmingly well written, but not without a few areas for improvement. Voice over is used to varying degrees of success to frame the context of the narrative, especially at the beginning (1.2-2.8, 35.9). The Voodoo Guru’s advice is well articulated and interesting to read (3.7-3.9). Josh’s speeches in particular are well realized (41.8, 49.1). While Mr. Mensche’s speeches are also well written and snappy, his speech patterns and tone are at times similar to Josh’s, sometimes causing confusing (75.9). The dialogue c
1339an occasionally be expository when clear visuals, or even flashback, could suffice, such as when Jamie recalls several occasions Kevin convinced Josh to use the yard for various reasons (4.4, 67.4). The dialogue occasionally feels stilted and older than expected, such as when Kevin explains that his mother died many years prior (39.6). The dialogue might be too novelistic at times, such as Genevieve’s long-winded explanation during a moment of high tension (86.1, 92.9). <br>
1340                                    <br>
1341                                    PACING (3)<br>
1342                                    Most scenes are appropriate for their length and purpose, but certain sequences might be too fast, while others are too slow. Whether or not Kevin can survive the angry crowd should rain not come provides a decent amount of tension. Six months might pass too quickly without enough of a bridge or transition to explain what Kevin and the rest of the characters have been up to during the interim (49.8). Jamie, for example, is in the same position six months later than she was prior to the time jump (57.8). Kevin and Genevieve’s relationship also feels rushed, especially when Mr. Mensche comes back and accuses Genevieve of making decisions based on her feelings for Kevin. More time might be spent allowing their relationship to develop in scenes, as opposed to skipping ahead to when it is already developed (61.7).  <br>
1343                                    <br>
1344                                    TONE (4)<br>
1345                                    The tone is largely consistent. Josh’s explanation about why he allowed two middle-school aged children into the back of a Buick at work is quite funny and poppy, and comes as a welcome humorous reprieve from the potentially melodramatic voiceover at the beginning (5.3). Kevin’s announced intention to perform the dance jarringly tips the tonal scales from realism into surrealist fantasy. The tone subtly shifts from surrealist, comic family drama to include a commentary on American sensationalism, and capitalism, as Josh adds another daily show to his brother’s performance, disregarding his safety or feelings to sell more tickets (43.8). A sequence in which Kevin defecates on stage might be too shocking for some (48.7-49.3).   <br>
1346                                    <br>
1347                                    ORIGINALITY (4)<br>
1348                                    The premise of a man performing a raindance on stage is highly original in that no recent comparisons come to mind. Movies about public, high-stakes performances aren’t particularly original, but “On the Cusp” freshly combines aspects of “The Prestige” with comedic supernatural mysteries like "Holy Man." Tonal comparisons could be drawn with “Napoleon Dynamite,” and even “Drive,” to a certain extent. “Rubber” is another surrealist film in this vein. “On the Cusp” defines its own unique sense of character, however, and not derivative of any of the previously mentioned films.
1349                                    <br>
1350                                    <br>
1351                                    LOGIC (3)<br>Several logical issues exist. Immediately noticeable, Kevin’s plan to perform the dance seems so completely ridiculous that a real person couldn’t possibly imagine doing such a thing (8.9). It’s also not entirely clear over what timeframe “On the Cusp” takes place. The imagery feels aged, suggestive of a period piece set perhaps in the mid-twentieth to late century, making Josh’s mention of Pixar feel anachronistic (6.8). Kevin explaining a bit about his training to dance is appreciated, and could even be extended somewhat (29.7, 47.4). Kevin later refusal to dance would be a legal matter, and as such, Josh could threaten to call the police or involve lawyers instead of allowing himself to be intimidated by Mr. Mensche (79.7). It isn’t clear how Kevin knows where Genevieve is, especially after she pointedly refuses to tell him (81.6). Also strange - Genevieve admits to being a prostitute and Mr. Mensche her pimp in front of Corey, a police officer (87.3). <br><br>
1352                                    CRAFT (3)<br>
1353                                    The writing is almost entirely strong, but could still benef
1353it from polishing in some areas. The description itself could be a bit overwritten, as it is occasionally difficult to follow due to an abundance of adjectives throughout. Camera angles and direction are sometimes given (7.7, 12.4, 34.9, 35.4, 35.9, 36.1, 36.4, 43.6, 47.1, 49.8, 50.1, 50.7, 66.4, 68.1, 71.3, 74.8, 90.4). Incorrect punctuation is used (21.6 “Can you say that?” not “Can you say that.”) There is a missing period (41.4). Unnecessary capitalization occurs (59.4 “Before a” not “Before A”). Typos exist (62.6 “intentional or” not “intentional of” / 96.6 “disbelief” not “disbelief”). A few sentences are awkwardly worded (77.9 “audience starts” not “audience starting” / 78.7 “flinches” not “flinching”). There is one missing space between a period and the next word (84.9). <br>
1354                                </div>
1355                            </div>
1356                            <div  class="covComments">
1357                                <div class="covLabelA">
1358                                    <a href="#"> Reader 2   </a>  Comments
1359                                </div>
1360
1361                                <div style="word-wrap: break-word;" >
1362                                    OVERALL (3)<br>
1363                                    Highly original and thematically clear, “On the Cusp” paints a compelling portrait of an eccentric family and their attempts to stop a misguided sibling from doing something dumb. Some of the conflicts that arise feel a little forced, and the execution doesn’t quite establish a tone to go with its left-of-center premise. The characters are strong, though their relationships seem inconsistent at times. This tends to put pressure on the largely character-driven structure. The dialogue is brimming with fresh voices, unique to each character, despite occasionally feeling overwritten. There’s a visceral nature to the craft that heightens the material, bringing passion to it. But at times, formatting errors and fragmented sentences distract from the larger picture. This kind of issue seems to pervade throughout each element of “On the Cusp's” larger scheme. While the big parts run smoothly, it’s the little things that could help it shine brighter.  <br> <br>
1364
1365                                    PREMISE (3) <br>
1366                                    When Kevin, an heir to a profitable agricultural plot, decides to perform a raindance onstage before the whole town, his identical twin brother Josh gets in on the action. As the show begins to take a toll on both of them, the family’s issues begin to percolate to the surface. While definitely an oddball premise, it’s one that’s fresh and original. It’s clear and Josh to pitch, providing a rich foundation for character and plot development. Currently, the expectation is set for Kevin to have a huge journey of self-discovery while doing something crazy. But the focus tends to shift as Kevin’s journey doesn’t quite get pinned down. To best capitalize on this premise, it might be a good idea to flesh out the relationships between Kevin, Josh, and their father just a bit more. Since the nature of the premise hinges upon this family, moreso than the spectacle of Kevin performing the dance, having clearer relationships to hold onto could heighten the experience.  <br> <br>
1367
1368                                    STRUCTURE (3) <br>
1369                                    “On the Cusp” rests on a largely character-driven structure, following Kevin as he discovers new things about himself and his past. Yet, the main plot engine moves forward by utilizing Josh and his conflicts surrounding the show. This tends to remove Kevin’s agency as a protagonist at times. To better center Kevin in his own story, the main beats could be hinging more on him rather than on Josh. For example, the inciting incident occurs when Josh discovers Kevin is planning on performing the dance (7.5). Kevin has been set on resolving the draught since the plot’s inception, so he poses little resistance once the action gets going. The call to action once again rests on Josh, as he approaches Mr. Mensche to capitalize on Kevin’s stunt (25.1). The midpoint is Josh’s too, when he unexpectedly announces a second show, putting physical and mental pressure on Kevin to perform (43.2). Since the first half places Kevin in an inactive role, the build and climax feels a little flat, since the stakes are lower for Kevin than for Josh. (87.1) One other thing that could help strengthen the narrative is including more of Kevin and Josh’s father throughout, since he seems to be a source of the family’s conflict.  <br> <br>
1370
1371                                    CHARACTER (4) <br>
1372                                    Kevin is odd, timid, and easily manipulated. Josh is an opportunist without a real direction in life. Together, these identical twins make a compelling pair that constitutes a two-hander with Kevin the spotlight, driving most of the action. While both characters have clear goals, Kevin could be more fleshed out at times. His backstory is a little shaky, not fully addressing his amnesia around the loss of his mother (73.4). Since this is a major component to Kevin performing the dance, it c
1372ould be clarified a bit more. Kevin - despite being the driver of action - also tends to be passive, deferring to his stronger twin in his actions (44.5). At times this works to an advantage, providing contrast between the brothers and outlining an intriguing, albeit slightly manipulative, relationship. Regardless of the smaller flaws, both Kevin and Josh are strong characters with distinctive traits that set them apart. The one character that could use some work is Mr. Mensche, who comes off a little flat as an antagonist.  <br> <br>
1373
1374                                    CONFLICT (3) <br>
1375                                    The main external conflict centers on complications to Kevin’s stunt and the differing opinions on how/if it should be done. Mr. Mensche, the mafia-esque owner of the hotel, provides the main source of conflict, keeping the show going despite the mental and physical toll it takes on both brothers (62.3). While it is a somewhat formidable external conflict, it doesn’t quite escalate gradually. Kevin rarely wavers in his commitment to perform the dance until he finds the memory of his mother (73.4). Once Josh steps in, Kevin doesn’t fight that either, knowing his brother is stubborn (87.2). Kevin’s internal conflict is a little shaky as well. At first performing the dance is all about the rush, or becoming the rain in some mystical way (36.2). It’s about freeing himself from his family and his destined path in life. Though throughout, the dance somehow triggers memories and the arc becomes about surmounting childhood trauma and discovering an identity (93.5). The climax focuses on the secondary arc. However, the first is slightly stronger. Overall, it feels as if two separate storylines fight for attention, and don’t quite come together in the end.  <br> <br>
1376
1377                                    DIALOGUE (4) <br>
1378                                    There’s definitely a voice to the dialogue, a general kind of tone and twang that works with the setting. Characters have differentiating voices that help move the dialogue along. Josh is a fast talker with a memorable catchphrase (22.6), while Kevin is more reserved. This helps both build conflict and bolster the voice of the piece. Though Josh and Kevin’s voices aren’t necessarily novel, they are distinct. One issue that pops up, however, is that the dialogue sometimes feels overwritten. While this serves to advance character in places (23.4), other times it feels a little gratuitous (62.1). Beyond that, the dialogue works well and is a high point.  <br> <br>
1379
1380                                    PACING (3) <br>
1381                                    In general, scenes tend to be too long for their purpose. Plot points and emotional beats sometimes get played to the point of repetitiveness as conversations drag on (24.6). While the first half feels better paced, the second half tends to lull a bit. In the first half, tension is established as the show tests Kevin and Josh’s limits. Once the second half rolls around, the tension disperses as the stakes die down. Some scenes feel a little more jumbled as the action tries to find its stride. For example, the pacing feels off during the sequence where Josh gets put in the hospital when he tries to perform the dance, only to have Kevin whisk Genevieve away on a date one scene later (88.3). In order to make the action flow a bit better, there could be a little more structure between these emotionally charged moments.  <br> <br>
1382
1383                                    TONE (3) <br>
1384                                    At times, it feels like “On the Cusp” doesn’t quite find a balance between the inherent eccentricity of the premise and the serious family drama behind it. While some scenes work as comic relief, such as the scenes between Jamie and Joe, there are others that seem off. An example would be the scene with Josh in the hospital, where it’s life or death at the start and completely resolved by the end (88.3). Sometimes it seems like the material takes itself a bit too seriously, which hinders the funnier moments and makes things feel a little inconsistent.  <br> <br>
1385
1386                                    ORIGINALITY (4) <br>
1387                                    Combining a Coen Brothers vibe with a left-of-center premise, “On the Cusp” has a fresh originality to it. The premise is unique, with inherently interesting characters and settings. “On the Cusp” presents a fresh take on the typical family business, infusing it with an unconventional feel. The themes and characters are reminiscent of films like “Raising Arizona” and “Rubber.” Little feels derivative, partially because the premise is so out there. The one element that stands out as more tired is Mr. Mensche and his overbearing crime-boss attitude. Other than that, the piece feels fresh.  <br> <br>
1388
1389                                    LOGIC (2) <br>
1390                                    There are some plot holes and unanswered questions that prevent reasonable suspension of disbelief. Ironically, few of them have to do with Kevin summoning rain. The first major plot hole occurs when Mr. Mensche leaves to take care of some shady business. It makes sense that he’d go out to tie up a loose end himself, but there’s little need for him to be gone for six months (46.3). Mr. Mensche is also the deciding factor in keeping the show going. So why would Josh continue to perform the dance even after Jamie offers him an out that Mr. Mensche doesn’t contest (85.3)? Near the end, Kevin makes a decision that feels out of character for him as well, and it’s a major point in the climax. Why would he take Genevieve on a date to a site he knows caused him intense childhood trauma (94.9)? It makes the whole climax feel forced.  <br> <br>
1391
1392                                    CRAFT (3) <br>
1393                                    The writing is often visceral and highly visual. Rain memory montages are clear standout
1393s (35.3). However, there are a few elements that could potentially be distracting or disadvantageous to production. For example, phrases like “horses pits” (2.8). Are they horseshoes? Things like this make it difficult to visualize certain aspects. The use of fragments, while not forbidden, tend to muddle the action the way they're currently used (3.4, 59.8, etc). In these examples they behave more like distractions than contributions to the voice of the piece. A few other things pop up as distracting. Alternating uses between “goddamn” not “goddam” occur throughout (7.2, 54.6, etc.). There are a couple formatting errors as well. Parentheticals like “into mic” and “into phone” should go below character headings (30.2, 39.9, etc.). There shouldn’t be timestamps in sluglines, as there’s no way to show exact times of day without superimposing it onscreen (31.3).                        </div>
1394                            </div>
1395                            <div  class="covComments">
1396                                <div class="covLabelA">
1397                                    <a href="#">  Reader 3  </a>  Comments
1398                                </div>
1399
1400                                <div style="word-wrap: break-word;" >
1401                                    OVERALL (3) <br>
1402                                    “On the Cusp” is an offbeat dramedy concerning a man who puts on an act of being able to summon rain before a 6,000 person audience of townsfolk suffering from a draught . A satisfying arc is somewhat damaged by a character who’s mysterious to the audience for a large part of the plot, and conflict lacks some of its intended relevance for the same reason. A solid structure and decent pacing is a bit weakened by the late character revelation and resulting rush towards resolution. The premise, dialogue, and original elements are the narrative’s definite strengths, with visual and skillful prose solidifying the decidedly incomparable tone. Overall, “On the Cusp” is deserving of any efforts taken in revision, as the idea, characters, and world are risky yet emotional, and have the potential to result in an especially novel narrative. <br> <br>
1403
1404                                    PREMISE (4) <br>
1405                                    In an attempt to make some cash for his family’s failing agricultural farm, a young man prepares for an act in which he attempts to summon rain, despite threats to his health and family's reputation. After he starts to experience intense flashbacks upon performing the dance, he’s forced to confront painful buried memories that have haunted him ever since her death. The premise includes a main character with a distinct goal, plenty of internal conflict, and a unique and compelling external conflict. The young man’s goal of summoning a storm is complicated by the inherent danger of aggravating a crowd who's paid to see him, and his family’s failing finances stand to put a good amount of pressure on him, and creating a situation that necessitates his risks. His past with his mother also complicates his act, as painful memories resurface and his presumably tenuous grip on mental stability is further endangered. Despite the strange circumstances of the character’s world, universal themes are apparent. They include the effects of tragedy on individuals and families, the various ways they deal with it, and necessity of facing them head on. The premise itself feels immediately fresh and poses engaging questions, and might easily fit into the offbeat, indie drama or comedy genres. The narrative’s execution is largely on par with the premise, especially in regards to tone. Various elements of character and structure might benefit from the focus on the main character that the premise outlines, but the nonetheless, the narrative delivers much of what makes the premise special. <br> <br>
1406
1407                                    STRUCTURE (3) <br>
1408                                    The plot is guided by classic three-part structure and utilizes significant plot points to good effect, but has a few notable weaknesses. A dreamy, surreal opening firmly establishes the world and tone (1), while a quick shot of Kevin doing the dance introduces the main character and his crazy act (2). His family and their attitudes are then shown (3-7), and Kevin enter
1408s into a contract with Mr. Mensche (8-10). Various scenes with family members and love interest Genevieve follow (11, 12, 16-18, 28-29), and they try to talk Kevin out of putting on the show (13-15, 19-20). Josh sets up a deal with Mensche (23-25), and the act finally starts (30-33). The first major turning point comes a little late, with Kevin rehearsing for the first time and experiencing his first memory of his mother (34-36). The middle deals with Kevin’s nightly act, and Josh’s increased involvement (43). At the midpoint, Kevin’s health takes a turn for the worse (50), and Kevin’s progressive flashbacks lead to him remembering finding his mother’s corpse (73-74). The second turning point is timely, as Kevin quits the act, only to be threatened by Mensche (75). The last third kicks off with Josh taking over (80.3), and Kevin dealing with his issues. He declares his love for Genevieve (82-83), and returns to the farm to finally face his mother’s death while crawling through the tunnel to the place he found her corpse (90-96). A satisfying resolution is seen as Kevin accepts his mother’s place in his past, and apologizes to his father, driving off with Genevieve, behind the todem pole for the first time (97-100). Aside from the late first turning point, much of the first third is spent dealing with characters other than Kevin, keeping him and his motivations somewhat mysterious. Josh, Jamie, and Josh’s perspectives on Kevin and his act are shown, leaving little time for Kevin. Once the middle commences, the focus switches a bit more to Kevin, but only enough to make him feel equal in importance to Josh. The last third is when Kevin takes center stage, and most is learned about his character. It’s also when he does the most work, makes the most definitive decisions, and faces the most intense conflict. This lends an imbalance to the structure that might be remedied if Kevin had a more in-depth set up in the first third. His climatic “battle” with his past in the tunnel sequence is well placed, but the revelations that come right before it could better serve the narrative if they were placed much earlier. Also, a few major threads are missing a resolution. Kevin and his internal struggles are resolved, but Josh’s fate, the fate of Crop Town, and Mr. Mensche’s boldly levied threats are left unaddressed. Dealing with Kevin earlier and more progressively might leave more room in the last third to resolve those questions, further evening out the structure.  <br> <br>
1409
1410                                    CHARACTER (3) <br>
1411                                    “On the Cusp” contains a compelling and flawed main character who has a goal and undergoes a satisfying change, but his back-story and internal motivation is only vaguely explored for much of the plot, making it difficult to relate to his struggle and appreciate his change. Kevin is an eclectic young man from whose goal of summoning a rainstorm in front of an audie
1411nce is clear from the opening scenes. His relationship with his father Josh, twin brother Josh, and sister Jamie sees strain due to Kevin’s crazy goal (13-15, 19-20, 28-29), and it’s Josh to see that Kevin wants to accomplish this insane feat. However, Kevin is kept at an arm’s distance from the audience. Why he’s so intent on performing the dance, what the deeper issues that determine his dynamic with his family are, and his internal conflict are all somewhat mysterious. A large focus is put on establishing Josh’s character (3-4), and stake in Kevin’s act (23-25, 27), and therefore, what drives him is easier to understand. Not until Kevins hakes his first anklet and experiences an intense flashback (34-36) is there any hint of a deeper reason for his act. He tells love interest Genevieve that dancing for rain is a wonderful experience, and that it allows him to see everything, including his deceased mother (38-39). It’s not clear whether these flashbacks are his motivation to dance in the first place, or they’re an unexpected result of it. As Kevin continues with the act, he experiences more flashbacks (50-51, 66-67, 72-73), eventually remembering finding his mother’s corpse, and admitting that he’s seeing things he’d rather forget (69.2), then publicly quitting the act (74). Kevin’s biggest internal flaw isn’t apparent until that juncture, when it’s clear that he’s been struggling with the loss of his mother, and that as a result, his life has been stunted. The late reveal that he’s still a virgin (82-83), has never danced (98.9), and fearful of life progressing (93) clarifies the kind of struggles that might complicate and inform his actions throughout, but they fail to since they’re vague up until that point. Objectively, his transformation is satisfying and emotional, but it’s difficult to perceive it as such since the audience has only truly gotten to know Kevin moments before it happens. Early on, he makes statements that suggest a definitive state of mind (37.5, 51.9), but what that is, and how it’s to be understood by the audience, is unclear due to the vague nature of his character at that point. With such rich characters full of interesting and intense struggles, simply highlighting those early on, and letting the audience have a more intimate perspective on them could maximize their potential, allowing the audience to experience their struggles along with them rather than from a distance.  <br> <br>
1412
1413                                    CONFLICT (3) <br>
1414                                    Both internal and external conflict exist, but their relevance to the characters, as well as the stakes involved, are somewhat unclear. The issues with Kevin’s character, that his motivation, struggles, and flaws are vague, are also apparent in conflict. Kevin experiences intense flashbacks when he starts to dance, but they don’t start to challenge him or cause any dilemmas until the moment he remembers his mother’s corpse (73), and quits the act (74). A man who does something as risky as this is clearly struggling with something, but that something isn’t known until then, and even later, when the effects of his hidden memory become clear. His fears of women, dancing, and life are introduced well into the last third, as they’re stated by Kevin. These conflicts play out almost as mysteries being revealed, and the narrative suffers as a result. They’re interesting conflicts, and ones that Kevin has been dealing with for years, but the audience’s time with Kevin is limited to watching him dance, without the full knowledge of all the complications that come with it. Kevin’s relationship with his family is also vaguely drawn, with some tension coming from Kevin’s choice to put on the act, as well as his insistence that he doesn’t want to take over Auto Town (19-20). Josh’s sacrifice for his brother (79) seems to be a change from their status quo, as does Kevin’s forgiveness of his father (97-98), but those specific issues weren’t very clear throughout the narrative. Much like with character, outlining what characters’ internal struggles and relationship dynamics are might go a long way in bringing the maximum amount of conflict to events as they happen. Introducing Kevin’s lack of experience with, and fear of, women might heighten the obstacles he faces in his relationship with Genevieve, especially when Mr. Mensche disapproves. <br> <br>
1415
1416                                    DIALOGUE (3) <br>
1417                                    The narrative relies heavily on dialogue to establish character and highlight theme, but a variety of memorable and distinct voices help strengthen it. Dialogue heavy portions play out like monologues (5, 23-25, 60-62, 76), giving the scenes a bit of a start and stop feel despite the entertaining and varied nature of their content. Kevin expresses much needed character revelation in a late scene with Genevieve (92-93), but much of what he says might benefit the narrative by being shown or hinted at more clearly through earlier action. Kevin’s omniscient V.O. works well in the opening scene (1), but feels a bit random later (35-36), especially since doesn’t return during the narrative’s final scenes. However, specific voices are where dialogue shines. Josh (4.3, 5.2, 22-23, 30-31, 34.1, 76.2, 79.4), Mensche (10.1, 75.8), and Jamie (15-16, 28-29, 32.5) all speaks in contrasting, entertaining ways that roun
1417d the dialogue and help give the narrative its offbeat tone. Kevin stands out as the earnest one (38, 52.8, 70.1, 97-98), which is consistent with the emotionally sensitive character he’s revealed to be. Characters are most effectively drawn through their dialogue, and while action could stand to be more of a presence in their characterization, it’s nonetheless one of the narrative’s strengths. <br> <br>
1418
1419                                    PACING (3) <br>
1420                                    Events are well paced and scenes never drag, but late insights on character make the last third feel rushed. Scenes flow well through the opening and character introductions, and are short and dynamic despite their reliance on dialogue. Montages (30-33), and surreal flashbacks (35-36, 50-51, 73-74) help break up the dialogue, and are spaced well enough to avoid feeling repetitive. However, the pace drags in regards to dealing with Kevin, who simply dances and experiences the flashes until late, when they yield the memory of his mother’s body (74). This ushers in a somewhat rushed series of events, when Kevin quits (75), takes bold action with Genevieve (82), and reveals significant things about himself (83, 93) that lead to his final trek through the tunnel (94-96), and his triumphant exodus from Auto Town (100). Meanwhile, Josh has taken over the act and bleeds onstage (84), suggesting that they find other people who look like Kevin to take over (91.3), but that plot line isn’t seen again, feeling abruptly cut off and begging for some sort of resolution. Spreading Kevin’s progression throughout the middle and last thirds is advisable, while providing a resolution for Josh and his vital subplot might also be beneficial.  <br> <br>
1421
1422                                    TONE (4) <br>
1423                                    A wholly unique mix of somber, surreal, and inane elements help define a distinct tone that’s consistent throughout. The narrative opens with a surreal image of a boy emerging from the inside of an Indian burial, aided by a lyrical voice-over (1). This mix of visually abstract things happening in a literal world continues as Kevin is shown putting a ghungroo and jiggling it (2). An Mensche of absurdity continues throughout, as Kevin summons a small shower on stage (48), Josh digs a 400 foot hole looking for a well (55, 97), and the cup of water from Kevin's initial shower is used to start a new farm (49.9). Dialogue contains this somewhat maniacal tone as well, with Josh’s onstage rants (31-32, 50), and Kevin’s one-sided conversation with the anklets (7-8, 70.1) feel similarly crazed. However, more serious elements have their place as well. The various flashbacks that Kevin experiences (35-36, 50-51, 66-67) add a dreamlike quality that creates a good atmosphere for the exploration of his heartbreaking memories. The tone never feels threatened by these, and by the time Kevin crawls through the auto tunnel as an adult, the absurd and the sad have joined, and make sense. The theme of humans’ relationship with rain, and the important moments that happen in and around them, give the tone a bit of a retro feel, which is aided by Josh’s voice, Mensche’s appearance and hotel, and the distinctly old-time practice of death defying sideshow stunts performed in front of a live audience. This quality nicely augments the surreal stunts that happen on stage, and gives the emotional elements a heartfelt feel. Overall, all the unique parts of tone are well balanced throughout, creating something memorable. <br> <br>
1424
1425                                    ORIGINALITY (4) <br>
1426                                    Originality is the narrative’s strongest element. The premise itself, with a strange, emotionally crippled young man summoning rain, draws little comparison. An odd but relatable loner engaging in a wildly unconventional act recalls “Lars and the Real Girl,” while an emotionally crippled man living out his past traumas through a relationship with an inanimate object is much like “Her.” The comical surrealism can be compared in small part to various Wes Anderson films. However, very little of “On the Cusp” can be called derivative or more than vaguely similar to any of these films. The mix of eccentric characters, including Kevin’s coke snorting, business obsessed and reckless twin brother Josh, and animated tow trucking driving sister Jamie, creates a memorable dynamic. Villain hotel owner Mr. Mensche and prostitute love interest Genevieve are a bit more traditional, but their orbit around strange but emotional Kevin keeps them from feeling like stock characters. The tone, which strikes a balance between absurd, retro, and starkly sad, also adds to the uniqueness of the narrative. The various settings, with an ugly yet dreamy auto wreckage yard, and the raucous, circus-like hotel stage, also contain the diversity that makes the narrative unique.  <br> <br>
1427
1428                                    LOGIC (3) <br>
1429                                    The surreal quality that’s established early on makes plenty of the otherwise illogical events feel sensible, but a few key questions cause some confusion. Kevin’s dance is made possible by the slight Mensche of the bizarre that opens and continues through the narrative. At several points, there are logical explanations as to how the rain will come, as various dances occur (33.7, 44). The doctor trains Kevin (27), issues warnings as Kevin gets sicker (56), and Josh bleeds upon his attempt to perform a risky dance move (84), creating realistic consequences for such a feat. The only significant issue with logic is the understanding of Kevin’s mother’s accident. Through his flashbacks (35-36, 88.9) it seems that Kevin was with his mother but whether these moments had anything to do with the accident remain unclear. He finds her body on the grounds of the farm (74, 92.3), but how her body ended up there rather than at the site of the accident is also confusing. This begs the question of what kind of “accident” she died in, whether it was on the road, or something else. Her unhappiness with her life is clarified late, when Kevin tells his father he knows why she left the family (97), suggesting that she perhaps was in a fragile state of mind. The general vagueness that the subject is approached creates mystery at the beginning, but without being completely clarified by the end, it’s difficult to understand exactly what happened. Clearing this up through a lengthier flashback, or the confrontation between Kevin and Josh, might be a simple way to add more meaning to Kevin’s transformation, showing the precise nature of the trauma he’s had to overcome. <br> <br>
1430
1431                                    CRAFT (3) <br>
1432                                    The narrative demonstrates a lyrical and visual prose that effectively sets the tone while keeping language economical. Action and descriptions are equally impressive (1.3, 2.3, 2.9, 4.7, 7.6, 35, 36.7, 49.9, 66.2, 73), and are especially memorable in flashback sequences. However, several formatting errors are repeated throughout, slowing reading flow. These include a missing introduction and age for Kevin (2.1), a missing “V.O.” for “on the radio” (10-11, 15), an unnecessary passage of time included in scene heading (12.1, 19.3, 89.6, 98.4), specific hours unnecessarily included (29.7, 31-33, 47.1, 51.2, 72.3, 90.9), and a “six months later” that might be better displayed via title card (49.8). Often times, “continuous” is unnecessarily used (25.8, 75.9, 78.1, 78.3, 79.1, 80.8, 99.5) when action jumps from one character and location to another. There’s an instance of an awkward sentence (13.8), and various partial sentences that also feel awkward (13.8, 14.6, 27.4, 39.8, 45.3, 59.6, 60.2, 73.7, 76.7, 77.3, 78.6, 79.1, 80.1). A montage that starts (31.2) doesn’t come to a definitive end, and many dialogue titles include direction (30-35, 39.8, 40.8, 41, 47.5, 47.9, 64, 68, 74, 81). For the most part, spelling and grammar are free of errors, with the exception of “your” instead of “you’re” (13.7), “bother” instead of “brother” (65.9), and “disbelieft” instead of “disbelief” (96.3).
1433                                </div>
1434                            </div>
1435
1436                        </section>
1437                        <!-- end of for left -->
1438                    </section>
1439                    <!-- end of whole body -->
1440                </main>
1441            </div>
1442
1443        </div><!-- /.modal-content -->
1444    </div><!-- /.modal-dialog -->
1445</div><!-- /.modal --></div>
1445 			</div>
1446		</div>
1447	</div>
1448
1449	<div class="ablock-footer"><div><div></div></div></div>
1450</div>
1451<!-- END WIDGET 3336 --><!-- START WIDGET 3337 -->
1452<div class=" ablock a-widget wid-3337  no-title">
1453
1454
1455	 <div class="ablock-content">
1456		<div>
1457			<div>
1458
1459<div class="">
1460    <header class="sswBack ">
1461    <div class='sswWrap clearfix'>
1462
1463        <div class="sswLeft">
1464            <ul class="sswUL">
1465				<li class="">
1466					<span class="sswLI1">&copy;
1467					<span class="sswYear"><!-- append with js --></span>
1468					SpecScout Inc,</span> <a href="https://www.slated.com/" target="_blank">A Slated Company</a>
1469				</li>
1470                <li class=""><a href="/terms-of-service">Terms of Service</a></li>
1471                <li class=""><a href="/privacy-policy">Privacy Policy</a></li>
1472                <li class=""><a href="/submission-agreement">Submission Agreement</a></li>
1473                <li class=" "><a href="/copyright-notice">Copyright Notice</a></li>
1474
1475                <li class="">Back To Top</li>
1476            </ul>
1477        </div><!--
1478
1479--><div class='sswRight'>
1480        <ul class="sswUL">
1481            <li class=''><a href="//facebook.com/specscout" class="hintTip" data-hintTip="Spec Scout" ><i class="fa fa-facebook"></i></a></li>
1482            <li class=''><a href="//twitter.com/specscout" class="hintTip" data-hintTip="@SpecScout" ><i class="fa fa-twitter"></i></a></li>
1483            <li class=''><a href="tel:13109541456" class="hintTip" data-hintTip="310-954-1456" ><i class="fa fa-phone"></i></a></li>
1484            <li class=''><a href="mailto:[email protected]" class="hintTip" data-hintTip="[email protected]" ><i class="fa fa-envelope"></i></a></li>
1485        </ul>
1486        </div>
1487    </div>
1488</header>
1489
1490
1491
1492<!--datfoot -->
1493
1494
1495<script>
1496  window.intercomSettings = {
1497    app_id: "umq0ibl2"
1498  };
1499</script>
vendor: 2 bytes, line 1499
1499
1500<script>(function(){var w=window;var ic=w.Intercom;if(typeof ic==="function"){ic('reattach_activator');ic('update',intercomSettings);}else{var d=document;var i=function(){i.c(arguments)};i.q=[];i.c=function(args){i.q.push(args)};w.Intercom=i;function l(){var s=d.createElement('script');s.type='text/javascript';s.async=true;s.src='https://widget.intercom.io/widget/umq0ibl2';var x=d.getElementsByTagName('script')[0];x.parentNode.insertBefore(s,x);}if(w.attachEvent){w.attachEvent('onload',l);}else{w.addEventListener('load',l,false);}}})()</script>
1500</div> 			</div>
1501		</div>
1502	</div>
1503
1504	<div class="ablock-footer"><div><div></div></div></div>
1505</div>
1506<!-- END WIDGET 3337 -->			</div>
1507		</div>
1508	</div>
1509
1510	<div class="ablock-footer"><div><div></div></div></div>
1511</div>
1512<!-- END BLOCK 2019 --></div></div></section></div>
1512<script type='text/javascript'>try{
1513/*  wow.js allows you to animate html elements on with animate.css on scroll past.
1514
1515It is a two step process only
1516
1517STEP 1
1518Add the CSS class="wow" to any HTML element that you wish to animate on scroll past.  It will be invisible until the user scrolls to reveal it.
1519
1520STEP 2
1521Pick an animation style from animate.css and add the CSS class to the HTML element.
1522
1523STEP 1 & 2 Example
1524<div class="wow bounceInUp"> Reveal This </div >
1525
1526OPTIONAL CHOICES
1527You can also add data-wow-xxxx to your HTML element from Step 1 & 2.  There are four choices.  It is okay to use all four on one HTML element.
1528
1529data-wow-duration="2s"
1530Change the animation duration to 2s;
1531
1532data-wow-delay=".5s"
1533Half second delay before the animation starts
1534
1535data-wow-offset="300"
1536Distance in pixels to start the animation (related to the bottom of browser viewport and the top of hidden box.  When the user scrolls and reach this distance the hidden box is revealed.
1537
1538data-wow-iteration="4"
1539Number of times the animation is repeated
1540
1541http://mynameismatthieu.com/WOW/
1542
1543*/
1544}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1544
1544
1545<script type='text/javascript'>try{
1546(function(){
1547
1548    /*if you had a page named /home then if you were on /home, it would highlight it with active class */
1549    var webAddress = window.location.href;
1550    if(/home/.test(webAddress)) {
1551        $('.ekHome').addClass('activePage')
1552    }
1553
1554   /*if you had a page named /screenwriters, and you were on that page, it would highlight it with active class*/ if(/screenwriters/.test(webAddress)) {
1555        $('.ekScreenwriters').addClass('activePage')
1556    }
1557    if(/pros/.test(webAddress)) {
1558        $('.ekPros').addClass('activePage')
1559    }
1560    if(/tv/.test(webAddress)) {
1561        $('.ekTV').addClass('activePage')
1562    }
1563    if(/score/.test(webAddress)) {
1564        $('.ekScore').addClass('activePage')
1565    }
1566    if(/blog/.test(webAddress)) {
1567        $('.ekBlog').addClass('activePage')
1568    }
1569    if(/about/.test(webAddress)) {
1570        $('.ekAbout').addClass('activePage')
1571    }
1572    if(/login/.test(webAddress)) {
1573        $('.ekLogin').addClass('activePage')
1574    }
1575
1576    $('.mzINPUT').blur(function(){
1577        var mzContent = $(this).val();
1578        if (mzContent != '') {
1579            $(this).addClass('mzINPUTcontent');
1580        }
1581        else {
1582            $(this).removeClass('mzINPUTcontent');
1583        }
1584    });
1585
1586
1587    $('#aaUpload').change(function() {
1588        var mzFilePath = $(this).val();
1589        var mzMatch = mzFilePath.match(/([^\/\\]+)$/)[1];
1590        $('.mzPlaceholderUpload').html(mzMatch);
1591    });
1592
1593    $('#mzBtn').on('click',function(e){
1594        e.preventDefault();
1595        $('.mzBack').toggleClass('mzShow');
1596    });
1597
1598    $('.ekNavBtn').on('click',function(e){
1599    e.preventDefault();
1600    });
1601
1602})();
1603}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1603
1603
1604<script type='text/javascript'>try{
1605// Side Menu
1606
1607$(document).ready(function(){
1608    $("html").niceScroll({
1609        styler:"fb",
1610        cursorcolor:"#27ae60",
1611        cursorwidth: '10',
1612        cursorborderradius: '0px',
1613        background: '#000',
1614        spacebarenabled:false,
1615        cursorminheight:'100',
1616        cursorborder: '',
1617        zindex: '1000',
1618        bouncescroll:true,
1619        horizrailenabled:false,
1620        scrollspeed:'80'
1621    });
1622});
1623
1624
1625/* jquery.nicescroll.plus
1626-- the addon for nicescroll
1627-- version 1.0.0 BETA
1628-- copyright 13 InuYaksa*2013
1629-- licensed under the MIT
1630--
1631-- http://areaaperta.com/nicescroll
1632-- https://github.com/inuyaksa/jquery.nicescroll
1633--
1634*/
1635(function(jQuery){
1636
1637  var $ = jQuery;  // sandbox
1638
1639  if (!$||!("nicescroll" in $)) return;
1640
1641  $.extend($.nicescroll.options,{
1642
1643    styler:false
1644
1645  });
1646
1647  var _super = {
1648    "niceScroll":$.fn.niceScroll,
1649    "getNiceScroll":$.fn.getNiceScroll
1650  }
1651
1652  $.fn.niceScroll = function(wrapper,opt) {
1653
1654    if (!(typeof wrapper == "undefined")) {
1655      if (typeof wrapper == "object") {
1656        opt = wrapper;
1657        wrapper = false;
1658      }
1659    }
1660
1661    var styler = (opt&&opt.styler)||$.nicescroll.options.styler||false;
1662
1663    if (styler) {
1664      nw=preStyler(styler);
1665      $.extend(nw,opt);
1666      opt = nw;
1667    }
1668
1669    var ret = _super.niceScroll.call(this,wrapper,opt);
1670
1671    if (styler) doStyler(styler,ret);
1672
1673    ret.scrollTo = function(el) {
1674      var off = this.win.position();
1675      var pos = this.win.find(el).position();
1676      if (pos) {
1677        var top = Math.floor(pos.top-off.top+this.scrollTop());
1678        this.doScrollTop(top);
1679      }
1680    }
1681
1682    return ret;
1683  }
1684
1685  $.fn.getNiceScroll = function(index) {
1686    var ret = _super.getNiceScroll.call(this,index);
1687    ret.scrollTo = function(el) {
1688      this.each(function(){
1689        this.scrollTo.call(this,el);
1690      });
1691    }
1692    return ret;
1693  }
1694
1695  function preStyler(styler) {
1696    var opt = {};
1697    switch(styler) {
1698      case "fb":
1699        opt.autohidemode = false;
1700        opt.cursorcolor = "#7B7C7E";
1701        opt.railcolor = "";
1702        opt.cursoropacitymax = 0.8;
1703        opt.cursorwidth = 10;
1704        opt.cursorborder = "1px solid #868688";
1705        opt.cursorborderradius = "10px";
1706        break;
1707    }
1708    return opt;
1709  }
1710
1711  function doStyler(styler,nc) {
1712    if (!nc.rail) return;
1713
1714    switch(styler) {
1715      case "fb":
1716
1717        nc.rail.css({
1718          "-webkit-border-radius":"10px",
1719          "-moz-border-radius":"10px",
1720          "border-radius":"10px"
1721        });
1722
1723        nc.cursor.css({width:10});
1724
1725        var obj = (nc.ispage) ? nc.rail : nc.win;
1726
1727        function endHover() {
1728          nc._stylerfbstate = false;
1729          nc.rail.css({
1730            "backgroundColor":""
1731          });
1732          nc.cursor.stop().animate({width:10},200);
1733        }
1734
1735        obj.hover(function(){
1736          nc._stylerfbstate = true;
1737          nc.rail.css({
1738            "backgroundColor":"#000"
1739          });
1740          nc.cursor.stop().css({width:10});
1741        },
1742        function(){
1743          if (nc.rail.drag) return;
1744          endHover();
1745        });
1746
1747        $(document).mouseup(function(){
1748          if (nc._stylerfbstate) endHover();
1749        });
1750
1751        break;
1752    }
1753
1754  }
1755
1756})( jQuery );
1757}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1757
1757
1758<script type='text/javascript'>try{
1759/* modifications of the following MIT license widgets:
1760http://codepen.io/yoannhel/pen/bnoEa | http://codepen.io/Braunson/pen/tilaw | http://codepen.io/linnvix/pen/Blzqg | http://codepen.io/karenvil/pen/ECFud | http://codepen.io/pabsanch/pen/onpaq | http://codepen.io/rlemon/pen/mtnCc
1761
1762*/
1763
1764
1765$(function(){
1766    /*typing function*/
1767    var TxtRotate = function(el, toRotate, period) {
1768        this.toRotate = toRotate;
1769        this.el = el;
1770        this.loopNum = 0;
1771        this.period = parseInt(period, 2) || 2000;
1772        this.txt = '';
1773        this.tick();
1774        this.isDeleting = false;
1775    };
1776
1777    TxtRotate.prototype.tick = function() {
1778        var i = this.loopNum % this.toRotate.length;
1779        var fullTxt = this.toRotate[i];
1780
1781        if (this.isDeleting) {
1782            this.txt = fullTxt.substring(0, this.txt.length - 1);
1783        } else {
1784            this.txt = fullTxt.substring(0, this.txt.length + 1);
1785        }
1786
1787        this.el.innerHTML = '<span class="txWrap">'+this.txt+'</span>';
1788
1789        var that = this;
1790        var delta = 200 - Math.random() * 100;
1791
1792        if (this.isDeleting) { delta /= 2; }
1793
1794        if (!this.isDeleting && this.txt === fullTxt) {
1795            delta = this.period;
1796            this.isDeleting = true;
1797        } else if (this.isDeleting && this.txt === '') {
1798            this.isDeleting = false;
1799            this.loopNum++;
1800            delta = 500;
1801        }
1802
1803        setTimeout(function() {
1804            that.tick();
1805        }, delta);
1806    };
1807
1808    window.onload = function() {
1809        var elements = document.getElementsByClassName('enTyping');
1810        for (var i=0; i<elements.length; i++) {
1811            var toRotate = elements[i].getAttribute('data-rotate');
1812            var period = elements[i].getAttribute('data-period');
1813            if (toRotate) {
1814                new TxtRotate(elements[i], JSON.parse(toRotate), period);
1815            }
1816        }
1817        // INJECT CSS
1818        var css = document.createElement("style");
1819        css.type = "text/css";
1820        css.innerHTML = ".enTyping > .txWrap { border-right: 0.08em solid #666 }";
1821        document.body.appendChild(css);
1822    };
1823
1824});
1825/*end typing*/
1826
1827/*start form */
1828$(document).ready(function(){
1829    $(".enBtn").on('click',function(e){
1830        e.preventDefault();
1831        $('.enTopText').hide();
1832
1833        $(this).animate({
1834            top:"-50%"
1835        },400,function(){
1836            $(".enFormLeft, .enFormRight").css({
1837                height:$('.enFormModal').outerHeight()
1838            });
1839            $(".enFormLeft").animate({
1840                left:'50%'
1841            },600);
1842            $(".enFormRight").animate({
1843                right:'50%'
1844            },600, function(){
1845                $(".enFormModal").animate({
1846                    top:0
1847                });
1848            });
1849            $(".enFormOverlay").fadeIn();
1850        });
1851    });
1852    $(".enFormOverlay").on("click",function(){
1853        $('.enTopText').show();
1854
1855
1856        $(".enFormModal").animate({
1857            top:"-1200px"
1858        },function(){
1859            $(".enFormLeft").animate({
1860                left:'-50%'
1861            },600);
1862            $(".enFormRight").animate({
1863                right:'-50%'
1864            },600, function(){
1865                $(".enFormOverlay").fadeOut();
1866                $("#open-enFormModal").animate({
1867                    top:"50%"
1868                },400);
1869            });
1870        });
1871    });
1872
1873    /*attach file function*/
1874    $('#ddUpload').change(function() {
1875        var filepath = this.value;
1876        var m = filepath.match(/([^\/\\]+)$/);
1877        var enFormUploadFilename = m[1];
1878        $('#enFormUploadFilename').html(enFormUploadFilename);
1879
1880    });
1881
1882});
1883}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1883
1883
1884<script type='text/javascript'>try{
1885/*
1886Work base on an infographic by Joomlart Team.
1887HTML/CSS by @brunus_V - [email protected]
1888//codepen.io/Brunus-V/pen/eyjkt
1889
1890*/
1891
1892
1893(function(){
1894        var monthMsg, weekMsg, today, fiveWeeksMsg, elMonthly, elWeekly, elFiveWeeks;
1895
1896        function theFuture(today) {
1897
1898            var allDayNames, allMonthNames,
1899                /**/ monthFromToday, monthDay, monthDate, monthMonth,
1900                /**/ fiveWeeksFromToday, fiveWeeksDay, fiveWeeksDate, fiveWeeksMonth,
1901                /**/ weekFromToday, weekDay, weekDate, weekMonth;
1902
1903            allDayNames = ['Sunday','Monday','Tuesday','Wednesday','Thursday','Friday','Saturday'];
1904            allMonthNames = ['January','February','March','April','May','June','July','August','September','October','November','December'];
1905
1906            monthFromToday = new Date(today.getTime() + 31 * 24 * 60 * 60 * 1000);
1907            monthDay = allDayNames[monthFromToday.getDay()];
1908            monthDate = monthFromToday.getDate();
1909            monthMonth = allMonthNames[monthFromToday.getMonth()];
1910            monthMsg = monthDay + " " + monthMonth + ' ' + monthDate;
1911
1912            fiveWeeksFromToday = new Date(today.getTime() + 38 * 24 * 60 * 60 * 1000);
1913            fiveWeeksDay = allDayNames[fiveWeeksFromToday.getDay()];
1914            fiveWeeksDate = fiveWeeksFromToday.getDate();
1915            fiveWeeksMonth = allMonthNames[fiveWeeksFromToday.getMonth()];
1916            fiveWeeksMsg = fiveWeeksDay + " " + fiveWeeksMonth + ' ' + fiveWeeksDate;
1917
1918            weekFromToday = new Date(today.getTime() + 7 * 24 * 60 * 60 * 1000);
1919            weekDay = allDayNames[weekFromToday.getDay()];
1920            weekDate = weekFromToday.getDate();
1921            weekMonth = allMonthNames[weekFromToday.getMonth()];
1922            weekMsg = weekDay + " " + weekMonth + ' ' + weekDate;
1923
1924            return [monthMsg, fiveWeeksMsg, weekMsg];
1925        }
1926
1927        today = new Date();
1928
1929        elMonthly = document.getElementById('elMonthly');
1930        elMonthly.innerHTML = theFuture(today)[0];
1931
1932        elFiveWeeks = document.getElementById('elFiveWeeks');
1933        elFiveWeeks.innerHTML = theFuture(today)[1];
1934
1935        elWeekly = document.getElementById('elWeekly');
1936        elWeekly.innerHTML = theFuture(today)[2];
1937    }());
1938}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1938
1938
1939<script type='text/javascript'>try{
1940(function(){
1941
1942    $('#ccUpload').change(function() {
1943        var filepath = this.value;
1944        var m = filepath.match(/([^\/\\]+)$/);
1945        var wwFileName = m[1];
1946        $('#ccUpload ~ span').html(wwFileName);
1947
1948    });
1949
1950
1951
1952})();
1953}catch(e){console.log('XHH_Debug:',e);}</script>
1953
1954
1955<script type='text/javascript'>try{
1956(function(){
1957
1958    var currentYear = new Date().getFullYear();
1959    $('.sswYear').text(currentYear);
1960
1961    $('.backToTop').on('click',function(e){
1962    e.preventDefault;
1963        $('html,body').animate({scrollTop:0},300);
1964    });
1965
1966})();
1967}catch(e){console.log('XHH_Debug:',e);}</script>
vendor: 2 bytes, line 1967
1967
1968<script type='text/javascript'>
1969(function($){
1970    $('#ddForm').submit(function(){
1971        if (Intercom) {
1972            var userObj = {
1973                name: $('#ddForm #ddName').val(),
1974                email: $('#ddForm #ddEmail').val()
1975            }
1976
1977            Intercom('boot', userObj);
1978        }
1979        return true;
1980    });
1981    $('.mzForm').submit(function(){
1982        if (Intercom) {
1983            var userObj = {
1984                name: $('.mzForm #aaName').val(),
1985                email: $('.mzForm #aaEmail').val()
1986            }
1987
1988            Intercom('boot', userObj);
1989        }
1990        return true;
1991    });
1992    $('.wwForm').submit(function(){
1993        if (Intercom) {
1994            var userObj = {
1995                app_id: "umq0ibl2",
1996                name: $('.wwForm #ccName').val(),
1997                email: $('.wwForm #ccEmail').val()
1998            }
1999
2000            Intercom('boot', userObj);
2001        }
2002        return true;
2003    });
2004})(jQuery);
2005</script>
2005
2006</body>
2007</html>

Line numbers count LF bytes from the start of the resource, as the search results do. Vendor segments are library code the classifier recognised; they are stored but not indexed. Bytes are shown as Latin1 characters, one per byte.