The article analyzes the presence of the possible world of film text in A.P.Zvyagintsev’s and O.I.Negin’s screenplay Dislike. This text for the first time became the subject of philological analysis using comparative and contextual-functional methods. The director’s published comments allow tracing the path from the literary screenplay itself to the film text. As a result of the sampling of linguistic material, which reveals the presence of the possible world of the film text in the script, the specificity of its categories (integrity, coherence, completeness, dynamics, etc.) was revealed. The possible world of cinema text determines the a priori variability and uncertainty of the script text. The article reflects the features of the scenario functioning of lexical-grammatical and syntactic language means. The screenplay and the film text are interdependent, but not identical entities. It has been established that the development of the technical parameters of the film text has an indirect effect on the film script. One of the aims of the study is to critically analyze the notions that the screenplay does not have the merits of a literary text. In the course of analyzing the presence of a possible world of film text, the working hypothesis was confirmed that a film script is a text with a motivated violation of communicative and pragmatic norms (accuracy, relevance, expressiveness). It represents a new type of text, the anomalies of which are due to its intended purpose for semiotic translation into cinematic text, the diverse nature of its receptive program.