Autocomplete a slugline you've already used (INT. KITCHEN — DAY)
L2 — retrieval from your own headings.
IN
IN
The principle
Marquee's AI may notice, structure, and surround the writer's words — it may not compose, replace, or paraphrase them.
A binding commitment, published here so it can be held to.
The promise
Marquee will not write your screenplay. Every word of every action line, every line of dialogue, every parenthetical on every page is yours — typed by you, owned by you, WGA-clean.
Marquee notices things: that you've used V.O. for JUNE eleven times and O.S. once, that your inciting incident lands on page 14, that DETECTIVE NOLAN and DAD are probably the same character.
Marquee fills in the structure around your words: scene headings from locations you've already used, character cues that already exist in your script, a title page from your metadata.
Marquee never finishes your sentence, tightens your dialogue, fixes a typo in your action, or drafts the next beat. There are tools that do those things. This isn't one of them.
The four levels
Four kinds of AI participation. We do three of them.
L1
Marquee does this
Structural notice
Margin notes, Bible entries, scores. Output that lives beside the script, never inside it.
Always in.
L2
Marquee does this
Form completion
Deterministic ALL-CAPS tokens — sluglines, character cues, transitions, V.O./O.S./CONT'D. Pulled from what you already wrote.
In, retrieval only. Never LLM-generated.
L3
Marquee does this
Content observation
Craft notes about what is already on the page — drift, consistency, beat-structure gaps, coverage. Always in the margin, always with a provenance chip.
In, in margin only.
L4
Marquee does not
Prose generation
Drafting, expanding, rewriting, tightening, paraphrasing action, dialogue, parentheticals.
Always out.
The twelve cases
What Marquee will and won't do, line by line.
Twelve specific features, decided. Decided means they don't get relitigated when a product manager has a clever idea on a Tuesday.
Autocomplete a character name above a dialogue block
L2 — only names that already exist in the script.
IN
IN
Fix a typo in an action line
OS spellcheck is fine. Marquee does not touch action.
OUT
OUT
Fix a typo in dialogue
Voice is the asset. We leave it alone.
OUT
OUT
Tighter rewrite of an action line
A margin note is welcome. A rewrite never is.
OUT
OUT
Tighter rewrite of dialogue
Same rule. The line stays yours.
OUT
OUT
Generate a logline
Metadata, not script body. Writer edits required before export.
IN
IN
Generate a synopsis
With friction — required edit step. Variety found AI synopses read like 11th-grade essays.
IN
IN
Generate a title page
Pure metadata composition.
IN
IN
Beat-structure observation
Bible or margin only. Page numbers and structural diagnostics, not prose.
IN
IN
Suggest the next plot beat
In as observation ("38 pages between inciting and midpoint"). Out if it names the beat ("try: JUNE discovers the letter").
GRAY
GRAY
Auto-format a Fountain paste
Structural parse. No new characters, no new lines.
IN
IN
The gray-area rule
How we decide what we haven't decided yet.
New ideas land all the time. When one does, we walk it through these four questions, in order, and stop at the first one that resolves it.
- 1
Does the output land inside a slugline-bounded scene? If yes, it must be L2 or it is out.
- 2
Would the writer's own words be replaced, paraphrased, or composed with? If yes, it is out.
- 3
Is the surface the margin, the Bible, the score, or some other separate metadata? If yes, L1 or L3 is in — with a provenance chip and a writer-must-accept step.
- 4
Could a Warner Bros story analyst do this exact thing? If yes, it is in.
The writer's words are sacred; the surface around them is ours.