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This is the actual coverage Bel Air Studios produced for A FEW GOOD MEN by Aaron Sorkin — not a marketing mock-up. Same engine. Same rubric. Same length report you'll get for your screenplay.
SAMPLE COVERAGE — A FEW GOOD MEN · 163 pages · FILM
Coverage Report
Logline
Two U.S. Marines are court-martialed for the murder of a fellow Marine, and a Navy lawyer must defend them against a corrupt military justice system.
Overall
A Few Good Men is a gripping drama that explores the complexities of military justice and the human cost of war. The script is well-structured, with a clear three-act arc and effective pacing. The characters are multi-dimensional and complex, with nuanced motivations and backstories.
Structure
The story begins with a dramatic opening scene (1.5) that sets the tone for the rest of the film. The first act establishes the central conflict and introduces the main characters, including Lieutenant Commander Joanne Galloway (30s), Captain Jack Ross (40s), and Lieutenant Daniel Kaffee (30s). The second act delves deeper into the case against the Marines, with a series of tense courtroom scenes that showcase the skillful defense by Kaffee and his team. The third act culminates in a dramatic showdown between Kaffee and the prosecution, with a surprising twist that upends the audience's expectations.
Tone
The tone of the script is dramatic and intense, with moments of humor and levity that provide relief from the tension.
Craft
The writing is tight and punchy, with a minimum of bloat. The dialogue sounds natural and authentic, with a clear understanding of military jargon and protocol.
Conclusion
Overall, A Few Good Men is a gripping drama that explores the complexities of military justice and the human cost of war. With well-developed characters, effective pacing, and nuanced themes, this script has the potential to resonate with audiences and leave a lasting impact.
Character Work
Kaffee
Kaffee is a complex and nuanced character who undergoes significant development throughout the script. Initially portrayed as an inexperienced lawyer, he grows into his role as a confident and effective advocate for his clients. His relationships with Joanne Galloway (30s) and Captain Jack Ross (40s) add depth to his character and provide opportunities for humor and tension.
Galloway
Galloway is a strong and capable lawyer who serves as a mentor and ally to Kaffee. Her backstory and motivations are skillfully woven into the narrative, adding depth to her character and creating opportunities for dramatic tension.
Ross
Ross is a seasoned military officer with a complex and nuanced personality. His relationships with Kaffee and Galloway add depth to his character and create opportunities for humor and tension.
Actionable Notes (58)
Page-anchored revision notes — what to change and why.
MAJOR — character
Scene 1 (EXT. A SENTRY TOWER --) — intention/obstacle clarity: Needs Work. Intention: None apparent. Obstacle: None apparent
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MINOR — structure · 1.5
The story begins with a dramatic opening scene (1.5) that sets the tone for the rest of the film
→ The story begins with a dramatic opening scene (1.5) that sets the tone for the rest of the film
MINOR — character
Scene 2 (INT. A MARINE BARRACKS) — intention/obstacle clarity: Adequate. Intention: Dawson and Downey want to reach their destination. Obstacle: The unidentifiable sounds of night in the woods
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MAJOR — character
Scene 4 (EXT. THE WASHINGTON NAVY YARD - DAY) — intention/obstacle clarity: Needs Work. Intention: None apparent. Obstacle: None apparent
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MINOR — character
Scene 6 (INT. WEST'S OFFICE - DAY) — intention/obstacle clarity: Adequate. Intention: Captain West wants to discuss something with Joanne Galloway. Obstacle: Jo's uncertainty about the purpose of the meeting
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MAJOR — character
Scene 8 (INT. CONFERENCE ROOM - DAY) — intention/obstacle clarity: Needs Work. Intention: None apparent. Obstacle: None apparent
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MAJOR — character
Scene 10 (EXT. CUBAN FIELD - DAY) — intention/obstacle clarity: Needs Work. Intention: None apparent. Obstacle: None apparent
→ Sharpen this scene's POV character intention and the obstacle blocking it. Both should be unmistakable to a first-time reader.
MINOR — character
Scene 11 (EXT. MARINE BARRACKS - DAY) — intention/obstacle clarity: Adequate. Intention: Santiago wants to prove himself.. Obstacle: His own physical limitations and the Sergeant's cruelty.
→ Intention is somewhat implied, but could be clearer.
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A Few Good Men screenplay © 1992 Aaron Sorkin / Castle Rock Entertainment. Used here under fair use for analytical commentary. We do not distribute the screenplay itself.