Here's something I went looking for in my notebooks. It's from Nika Rylski's Act 3 Workshop, though I seemed to have scribbled something she said about borrowing it from McKee. It's a good place to start after you complete your first draft, especially if it's your first script.
1st Draft Rewrite – Overall Structure
1. Key Questions (McKee handout) [This, I'll post if I can find it in my files]
2. What is the relationship between POA* – Crisis – Climax?
2nd Draft Rewrite – Sequencing
1. Are sequences ordered correctly?
2. Can script be broken down into sequences?
3. Are there “Qs?”
3rd Draft Rewrite - Character
1. Does each character have life off screen?
2. Are they three dimensional?
3. Is each character necessary to the plot?
4. Related to Protagonist in terms of function?
5. Does each character have a spine?
6. Is Master Antagonist as strong as Protagonist?
7. Is there a character arc?
8. Is motivation clear?
4th Draft Rewrite – Scene by Scene
1. Is each scene necessary?
2. Is each scene doing more than one thing?
3. Can talking heads scene be replaced by visuals?
4. Does opening scene “grab?”
5th Draft Rewrite – Recurring Motifs
1. Looking for motifs that contribute to Script cohesion
6th Draft Rewrite – Dialogue
1. Try a reading.
2. Try reading it to yourself out loud.
7th Draft Rewrite – Formatting + Spelling + Typos
*POA - Point of attack. I'm only clarifying it because I seem to remember Nika saying that it's what she calls it, and point in fact, most literature on three act structure I've read (including "Story" and Syd Fields "Screenplay") refer to this as the "Inciting Incident."