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Scene Map 60
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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Friendship, Honor, and Murder Written by Giacomo Giammatteo Source: Based on my published novel -- Murder Takes Time. Contact Info: [email protected]
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EXT. RANCH HOUSE — DAY Nicky drives to a small, brick ranch house and parks a block away. He checks the surroundings to see if anyone is watching and then walks to the front door. INT. RANCH HOUSE — DAY
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INT. BENSONHURST — CATALDI'S RESTAURANT — DAY ANNA CATALDI (20s, short, all smiles) greets Paulie. ANNA Buongiorno, Paulie. Beautiful day, huh?
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EXT. RANCH HOUSE — DAY A car pulls to the curb. FRANKIE DONOVAN (detective's badge, 30s, exceptionally well dressed, cocky) gets out. He carefully avoids the slush as he makes his way to the house. He nods to a PATROLMAN (40, solidly built) at the door.
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INT. SOUTH BROOKLYN — DINER - NIGHT Nicky sits in a booth by the window, staring across the street. He sees a man, DONNIE AMATO (45, struts when he walks, over-confident) leave the building, so he gulps the rest of his coffee, calls the waitress, and stands.
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INT. TONY'S HOUSE — DAY The front door opens to a small living room and the SOUND OF A VACUUM running. Nicky raises his head and sniffs the air. YOUNG NICKY What smells so good, Mamma Rosa?
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INT. WILMINGTON — POLICE STATION INTERVIEW ROOM — DAY SEAN MOYNIHAN (50, tall white cop, rigid, sour look on his face) and REGGIE SMITH (late 30s, black cop, relaxed, soft eyes) grill Nicky and Frankie. It's a hot, sticky day, windows are closed, and both kids are in the same room.
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EXT. WILMINGTON — SMOKE SHOP — DAY — WEEKS LATER Nicky and Frankie walk down Union Street toward the smoke shop. Cafés and various stores line the east side of the street and neatly kept row houses, the west. NICKY
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EXT. WILMINGTON — UNION STREET — DAY Frankie and Nicky strut down the street, smoking cigarettes. FRANKIE The rat! I like it. NICKY
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INT. GARAGES ON BROOM STREET — DAY Nicky, Frankie, and Tommy walk in. TEENAGE TONY lounges on a sofa with torn cushions, a cigarette dangling from his mouth. TEENAGE NICKY Hey, Tony, this is Tommy 'the Mick'
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INT. GARAGES ON BROOM STREET — DAY Mikey opens the garage doors and enters into a small area furnished with two sofas, and chairs with torn cushions. TUCKS (30s, lapdog to Mikey) and POCKETS (30s, crooked eye, Mikey's muscle) are at his side.
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INT. TONY'S HOUSE — DAY The kids trudge up the alley, dripping wet from swimming, and wearing only shorts. A fence lines one side of the alley and a stone wall, the other. Nicky grabs Tony by the elbow and whispers.
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INT. SMOKE SHOP — NIGHT The boys, and Paulie Perlano go inside. Nicky walks behind the counter and rings a buzzer, then Patsy the Whale opens a door that leads to a room filled with pool tables, card, and dice tables. A roulette wheel sits on the side.
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EXT. BACKYARD OF ROW HOUSE — DAY All the boys sit on a stoop in the backyard of a row house, smoking cigarettes. Paulie kneels on the patio, using chalk to draw two circles. TEENAGE TOMMY MCDERMOTT
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EXT. ALLEY - DAY Mr. McDermott bets five bucks on number nine, causing the boys concern. TONY nudges NICKY and whispers. TONY Nine's a dog. Got no shot.
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EXT. OUTSIDE NICKY'S HOUSE — NIGHT — MONTHS LATER Nicky, Angela, and Frankie walk to a party a few blocks away. There are kegs of beer and plenty of weed. While others are dancing, Nicky motions for Angela to follow him up the steps. TEENAGE ANGELA
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INT. MALDONADO'S FUNERAL HOME — NIGHT Tony, Frankie, and Paulie stand beside Nicky as others pay their respect. TONY You got everything for the coffin?
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INT. NICKY'S HOUSE — EVENING Nicky is dressing for work when someone knocks on the door. He answers and sees Frankie's sister, DONNA (20, standoffish). She is crying and looks panicked. NICKY
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EXT. CANBY PARK — NIGHT Frankie, Tony, and Mick are fighting with a gang of young men from Canby Park — the Woodside Gang. Nicky runs through the woods, and as he crosses the last hill, he hears a gunshot. He runs faster and then sees Tommy fall to the ground.
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INT. SMYRNA PRISON — DAY SUPER: “THREE MONTHS LATER” Nicky is fingerprinted, he showers, then is led to his cell. He shivers at the sound of steel on steel when the door clangs shut.
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EXT. SMYRNA PRISON — DAY Tony pulls up with two guys Angela doesn't know — one in the back and one in the passenger seat. ANGELA You don't need to be driving, Tony.
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EXT. ST. ELIZABETH'S CHURCH — DAY SUPER: “TWO MONTHS LATER” Angela sits on the park bench across from the church. She is counting rosary beads and mumbling prayers. Sister Thomas sits on the bench next to her.
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INT. SMYRNA PRISON - VISITOR ROOM — EARLY SPRING — DAY Sister Thomas is admitted as a visitor to see Nicky. SISTER THOMAS Nicky, how have you been? NICKY
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EXT. SMYRNA PRISON — DAY SUPER: "YEARS LATER" Nicky exits the prison gate, stands on a corner, and waits for a bus. A car pulls to the curb, and a nun wearing a habit gets out.
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EXT. GRAND CENTRAL STATION - NEW YORK — NIGHT Nicky (29) gets off the train and goes to a phone booth. NICKY Is this Tony "The Brain" Sannullo, the dumbest fuck I know?
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INT. ANTHONY'S BAR AND RESTAURANT - BENSONHURST — NIGHT Tony sits at a table in the back, close to the dart board. He then signals the waiter to bring them a phone. NICKY (ON PHONE) Mr. Donovan, please.
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INT. UNION HALL — DAY Tony nods to several people, then walks up to MANNY (40s, barrel-chested, contagious laugh), who's sitting by the kitchen door. Manny is a big man who loves food as much as he loves life.
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INT. TITO'S OFFICE — DAY SUPER: "TWO DAYS LATER" Chicky walks into the union hall, stops to fill a cup of coffee, then walks to Tito's office. TITO
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EXT. PARKING GARAGE — DAY — THREE DAYS LATER Nicky follows the directions to a garage downtown. He meets Muck on the sixth floor, and gets in the passenger seat. JOHNNY MUCK Sit and listen. Three guys in this
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INT. INSIDE LOBBY OF LAW OFFICE — DAY Double-doors open into a huge lobby with marble floors, an escalator on one side and a bank of elevators on the other. Johnny approaches the RECEPTIONIST (20s, thin, chatty, quick to smile) sitting behind a large desk in the center.
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INT. TITO MARTELLI'S HOUSE — DAY Manny examines the envelope, then hands it to Tito, sitting at the kitchen table, drinking cappuccino. MANNY ROSSO You got a package.
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EXT. TITO OFFICES — DAY SUPER: "SIX DAYS LATER" Chicky walks up to Tito outside the door to the union hall. CHICKY We found her. Just like Manny said.
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EXT. NICKY'S CAR — DAY Nicky is driving through Brooklyn when his cell phone rings. TITO (V.O.) We need to talk. NICKY
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EXT. ELEMENTARY SCHOOL - HERSHEY, PA — DAY Nicky stakes out the school where Gina works. While he’s watching, he sees Chicky, and calls him. NICKY You can go home now.
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EXT. PHONE BOOTH BETWEEN - HERSHEY AND BROOKLYN — DAY Nicky pulls to the curb alongside a phone booth, inserts a few coins, and dials. NICKY Sister, it’s Nicky. A woman named
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EXT/INT. MOTEL - INDIANAPOLIS — NIGHT A young woman with an olive complexion answers. NICKY You're as pretty as your name. GINA
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INT. SAL’S PRINT SHOP - CHICAGO — NEXT DAY Nicky drops by Sal's print shop and picks up the IDs, then he and Gina head back to Indianapolis. INT/EXT. CAR - INDIANAPOLIS — DAY NICKY
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EXT. CATALDI'S RESTAURANT - BENSONHURST — DAY Paulie stands by the car as Tito storms out of the restaurant and rushes by. Tony is right behind him. PAULIE What happened? Tito stormed out
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INT. JERRY'S BAR — DAY Nicky enters and waves to the bartender, then he joins Tony at a table in the corner. NICKY What's up? Why'd you call?
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EXT/INT. NICKY'S CAR - DAY Nicky drives to the airport and books a flight. He calls Gina while he's waiting to board the plane. NICKY Gina, it's Nicky. Get out, now!
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INT. MARRIOTT HOTEL — NIGHT Nicky checks into a room using fake IDs. The room has two queen-sized beds. After settling in, Gina takes a shower and comes out wrapped in a towel. She ties her hair in a bun. NICKY
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EXT. CLEVELAND — RANCH HOUSE — DAY Gina stands outside of a ranch house and talks to a Realtor. Nicky walks up to Gina as they speak. NICKY Is this the one you like?
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EXT. TONY'S CAR — DAY Tony gets in his car and dials the phone. TONY Bobby, take down this number — 555- 4624. Tell our guy to get phone
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INT. NICKY'S HOUSE - CLEVELAND — DAY Nicky exits the front door and turns to Gina. NICKY Hey, babe. I'll see you shortly. GINA
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EXT. CLEVELAND — CATHOLIC CHURCH — DAY Nicky parks the car, and he and Gina walk toward the church. GINA By the way, I'm going to confession first. That way, I won't have to
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INT. BROOKLYN — DONNIE AMATO'S HOUSE — CURRENT DAY Nicky opens Donnie's door and goes inside. He hammers holes in the drywall two feet apart and puts a thick rope through the holes. A car pulls up as he finishes, and he sits on a sofa behind
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EXT/INT. DONNIE AMATO'S HOUSE — DAY — TWO DAYS LATER Frankie is sitting on the stoop when a car pulls to the curb. Lou gets out and walks slowly to the house. FRANKIE I knew it was you, Mazzetti. You
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EXT. AMATO'S HOUSE — DAY Frankie storms out and walks into a wall of reporters . He holds his hands up to block the camera lights and pushes away the mics. One of the reporters, TOM MASON (50s, Channel 3 News) shoves a mic in front of Frankie.
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INT. POLICE STATION — DAY Frankie sits at his desk and searches the files. He suddenly stops, picks up the phone and dials Lou. FRANKIE Mazzetti, I've been thinking since
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EXT/INT. FRANKIE'S CAR — DAY Frankie calls Tony on the way home. FRANKIE Someone tried killing Nicky. TONY (V.O)
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EXT. BENSONHURST — CATALDI'S RESTAURANT - DAY Frankie joins Tony and Paulie at a table. FRANKIE You hear about Johnny Muck? TONY
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INT. PAULIE PERLANO'S HOUSE — DAY Nicky follows him to the kitchen, and lays his gun on the table. NICKY You hear what they did, Paulie?
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INT. SURVEILLANCE HOUSE ACROSS FROM TITO'S — DAY Frankie walks up the stairs to a small living room with TWO MEN manning surveillance cameras and ONE monitoring a listening device. FRANKIE
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EXT. FRANKIE'S CAR — DAY As Frankie drives through Prospect Park, his phone rings. FRANKIE Yeah. LOU
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EXT. TITO'S HOUSE — DAY Tito’s car doors unlock, then Manny starts the car, and beeps. When the door opens, Nicky rolls out from under the car, yanks the door open, and shoves a gun into Tito’s face. NICKY
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EXT. JOHNNY MUCK'S STREET — DAY Nicky puts Tito in a wheelbarrow and covers him with a blanket. He takes him down to the cellar, then ties him to a table and gags him. Tito is lying spread-eagle on the table. Nicky puts on a
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INT/EXT. FRANKIE'S CAR — DAY FRANKIE Mazzetti, I'm on my way to pick you up. We've got to find Nicky. LOU (V.O.)
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INT. GREEN ACRES MALL — DAY Bugs, Sapperstein, and Mazzetti rush into the mall. FRANKIE Sapperstein, take somebody and go left. Lou, go right. I'm going
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INT. FOOD COURT - DAY Frankie goes to the food court and sees three of his men. FRANKIE Find anything? EXT. ROW HOUSE - WILMINGTON — DAY
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INT. FRANKIE'S APARTMENT - BROOKLYN — NIGHT Frankie calls Kate but the call goes to voice mail. KATE (V.O.) This is Kate. Leave me a message. FRANKIE

Friendship, Honor, and Murder

Lifelong loyalty is tested when a broken oath triggers a bloody chain of events within a New York City mob family.

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Overview

Poster
Unique Selling Point

What sets this screenplay apart is its nuanced exploration of the bond of friendship and the moral dilemmas that arise when that bond is tested. The script delves into the gray areas of morality, challenging the audience to empathize with characters who make difficult choices. The narrative's nonlinear structure and the interweaving of multiple storylines create a compelling tapestry that keeps the audience engaged. Additionally, the script's gritty, realistic depiction of the criminal underworld and the visceral, intense action sequences make it a standout in the crime drama genre.

AI Verdict & Suggestions

Ratings are subjective. So you get different engines' ratings to compare.

Hover over verdict cards for Executive Summaries

Gemini
 Consider
GPT4
 Recommend
Claude
 Consider
Story Facts

Genres: Crime, Drama, Thriller, Romance, Mystery, Coming-of-age, Coming of Age, Prison

Setting: Contemporary, Brooklyn, New York; Cleveland, Ohio; and various locations in between

Themes: Loyalty and Betrayal, The Cyclical Nature of Violence, Redemption and Forgiveness, The Power of the Past, Moral Ambiguity

Conflict & Stakes: Nicky's struggle for revenge against those responsible for his loved ones' deaths, while navigating his relationships with friends and enemies in a violent underworld.

Mood: Tense and foreboding, with moments of emotional depth and dark humor.

Standout Features:

  • Unique Hook: The intertwining of personal relationships with the violent world of organized crime creates a gripping narrative.
  • Major Twist: The revelation of Angela's daughter being Nicky's child adds emotional stakes to the story.
  • Distinctive Setting: The contrast between the gritty urban environment of Brooklyn and the suburban feel of Cleveland enhances the narrative's tension.
  • Innovative Ideas: The screenplay blends elements of crime drama with deep emotional exploration, making it stand out in the genre.

Comparable Scripts: The Godfather, Goodfellas, The Sopranos, A Bronx Tale, Scarface, The Departed, The Wire, Donnie Brasco, American History X

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.23
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
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Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.

Comparison with Previous Draft

See how your script has evolved from the previous version. This section highlights improvements, regressions, and changes across all major categories, helping you understand what revisions are working and what may need more attention.

Version Comparison Analysis
Summary of Changes
Improvements (2)
  • Originality - audienceEngagement: 6.0 → 7.5 +1.5
  • Character Complexity - antagonistDevelopment: 6.0 → 7.0 +1.0
Areas to Review (4)
  • Character Complexity - characterConsistency: 9.0 → 7.0 -2.0
  • Emotional Impact - emotionalComplexity: 8.0 → 6.0 -2.0
  • Character Complexity - characterDiversity: 7.0 → 6.0 -1.0
  • Pacing: 6.0 → 6.0 -0.0