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LOGLINE
This kind of test marketing is not only a great way to meet people, it's the only way to know what you've got. And a "pitchee" who is thinking about being somewhere else is the perfect subject. If you can get his attention, if you can keep his attention, and if he wants to know more about the story you're telling, you've really got a good movie idea.
No matter who is encouraging you on the friend side of your life, it's the strangers you really need to impress.

MONSTER IN THE HOUSE
It's not about being dumb, it's about being primal. And everyone understands the simple, primal commandment : Don't... Get... Eaten !

OUT OF THE BOTTLE
And yet, so the rules tell us and human nature dictates, we don't want to see anyone, even the most underdog character, succeed for too long.
This is a little trickier to pull off and must include a Save the Cat scene at the outset, one where we know that even though this guy or gal is really a jerk, there's something in them that's worth saving.

DUD WITH A PROBLEM
... a dude, meaning an average guy or gal just like ourselves. And a problem: something that this average guy must dig deep inside himself to conquer.

RITE OF PASSAGE
In a good Rite of Passage tale, everybody's in on "the joke" except the person who's going through it - the story's hero. And only the experience can offer a solution
In the end, these tales are about surrendering.

BUDDY LOVE
The secret of a good buddy movie is that it is actually a love story in disguise. And, likewise, all love stories are just buddy movies with the potential for sex.

SUPER HERO
This is so often why the first movie in a Superhero series succeeds and ones that follow don't. The creation myth that begins each Superhero franchise stresses sympathy for the Superhero's plight.

IT'S ABOUT A GUY WHO...
> An adjective to describe the hero
> An adjective to describe the bad guy, and...
> A compelling goal we identify as human beings.
That's a movie I'd like to see because those are characters I want to see win.
It's because primal urges get our attention. Survival, hunger, sex, protection of love ones, fear of death grab us.
Tell me a story about a guy who...
> I can identify with.
> I can learn from.
> I have compelling reason to follow.
> I believe deserves to win and...
> Has stakes that are primal and ring true for me.

OPENING IMAGE
The opening image is also an opportunity to give us the starting point of the hero. ... The opening and final images should be opposites, a plus and a minus, showing change so dramatic it documents the emotional upheaval that the movie represents.

THEME STATED
Somewhere in the first five minutes of a well-structured screenplay. someone (usually not the main character) will pose a question or make a statement (usually to the main character) that is the theme of the movie.
The first 10 pages is also where we start to plant every charactertic, exhibit every behavior that needs to be addressed later on, and show how and why the hero will need to change in order to win.  
SHOW - the audience of what is missing in the hero's life.

CATALYST
In the set-up you, the screenwriter, have told us what the world is like and now in the catalyst moment you knock it all down. Boom !

FUN AND GAMES
The promise of the premise. It is the core and essence of the movie's poster. It is where most of the trailer moments of a movie are found. ... Why did I come to see this movie ? What about this premise , this poster, this movie idea, is cool ?

MIDPOINT
It's also the point where if you have a "false victory" where, say, the hero has been given an Out-of-the-Bottle bit of magic, he gets everything he thinks he wants. But it's a false victory because the hero has a ways to go before he learns the lesson he really needs,. It just seems like everything's great.

BUILDING THE PERFECT BEAST
The reason having conflict is so important and must be in every scene is, once again, very primal. And thinking primally, by having conflict in every scene, guarantees that you will keep the audience's attention. ... At its core, every scene in your movie must be as basic as this in order to get and keep the viewer's attention. If you don't have the players in the > vs. < match-up your scene represents, you don't have the scene yet.

SAVE THE CAT
You must take time to frame the hero's situation in a way that makes us root for him, no matter who he is or what he does. If you  don't, if you go the Lara Croft route and assume we'll like your main character - just cuz - you're not doing your job.

WATCH OUT FOR THAT GLACIER
Danger must be present danger. Stakes must be stakes for people care about.

THE COVENANT OF ARC
Good guys are those who willingly accept change and see it as a positive force. Bad guys are those who refuse to change, who will curl up and die in their own juices, unable to move out of the rut their lives represent.

THE HERO LEADS
Is your hero's goal clearly stated in the set-up? And make sure that goal is spoken load and restated in action and words throughout the story.
...
A hero never asks questions ! The hero knows and others around him look to him for answers, not the other way around.

THE EMOTIONAL COLOR WHEEL
Where is your lust scene ? Where is your frustration scene ? Where is your scary scene ?

IS IT PRIMAL ?
Here are primal drives in the storylines of a few hit films:
> The desire to save one's family (Die Hard)
> The desire to protect one's home (Home Alone)
> The desire to find a mate (Sleepless in Seattle)
> The desire to exact revenge (Gladiator)
> The desire to survive (Titanic) 

FINAL FADE IN
Selling a script has a lot to do with thinking of your screenplay as a "business plan than ever before.