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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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EXT. CLEVELAND STREET - NIGHT (1970) Rain. Christmas lights. A rusted out '56 Lincoln rattles down the bleak boulevard. In it: JOE STEVENS, an angry, black
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INT. A ROOM - DAY Thirty-seven Black Cleveland police officers (many in uniform, including Joe) are taking the MMPI. Some roll their eyes at
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EXT. WORKING CLASS CLEVELAND NEIGHBORHOOD - DAY Stevens parks outside a small, well-maintained house. As he gets out, he spots a GROUP OF KIDS (black and Hispanic) playing down the street. He's not pleased about that.
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EXT. LOS ANGELES - AERIAL SHOT - DAY The immense sprawl, the arterial flow of the freeways, the blinding light. We DESCEND... INT. TRAIN STATION - UNDERGROUND - DAY OR NIGHT
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INT. AN OFFICE - NIGHT Hull drops eleven foil balls on a green blotter. Carver counts out money for him. INT. HULL'S MOTEL ROOM - DAY
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EXT. LEWAZZ - NIGHT TITLE: TWO WEEKS LATER A bar with a neon bird for a sign. Hull enters. INT. LEWAZZ - NIGHT A racial mix. Hull takes a seat at the bar. Stuffed
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INT. CARVER'S OFFICE - NIGHT (NOTE: Hull invariably meets Carver in this anonymous room, distinguished only by the green blotter and a view of the
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INT. CRACK HOUSE - DAY Virtual darkness save splinters of light between the curtains. Pipes burn here and there in the gloom. Ten or fifteen crackheads huddle around a battery-operated TV on which
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EXT. STREET - NIGHT Eddie comes out the back door of a building, is immediately collared by Taft (the cop on the videotape). He's in his mid-
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INT. A BOXING GYM - NIGHT Elias joins Eddie and Hull to one side. In the b.g. two guys sparring. EDDIE
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EXT. TACO STAND - VENICE AND LA BREA - NIGHT A handful of customers under a mud sky. The THROB of a distant helicopter. Hull pulls into the lot beside Eddie's BMW. He climbs into the BMW, tosses Eddie a brown envelope;
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INT. COURTROOM - NIGHT Hull is led in with other handcuffed PRISONERS. Carver is here, catches Hull's eye. Hull shakes his head; doesn't want
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EXT. LEWAZZ - NIGHT After hours. The place is closed. A couple of cars in the lot. Elias's BMW pulls in. INT. LEWAZZ - NIGHT
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INT. ELIAS'S HOUSE - KITCHEN - EARLY MORNING Through sliders we see a small pool. Elias and Hull sit over uneaten omelets. Both still shaken by the previous scene.
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INT. CARVER'S OFFICE - DAY Now in daylight. Two separately wrapped kilograms of crack cocaine on the green blotter. CARVER
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EXT. BETTY'S STORE - DAY Elias and Hull approach. Hull's carrying a satchel and wearing a new leather jacket. INT. JEWELRY STORE - DAY
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EXT. STREET - NIGHT Hull sits in the Trans Am eating a sandwich and watching the street as a DEALER leans in the window telling his sob story.
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EXT. STREET/INT. ELIAS'S CAR - NIGHT Hull and Elias driving, looking for Ivy. Elias double parks by two prostitutes. We STAY in the car with Hull who's silent, frightened,
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INT. SHORT HALL - NIGHT An Hispanic busboy coming out of the kitchen sees him and the gun in his hand, freezes. Hull walks past him and out the back door. From inside
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INT. A LABORATORY - DAY OR NIGHT A 21-year-old RENEGADE from the Cal Tech chemistry department (red hair, freckles, glasses held together with electrical
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INT. CARVER'S OFFICE - DAY On the pyramid chart there's a black border around Ivy's photo, as around Eddie's. A photo of Hull is now on the board
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INT. HULL'S MOTEL - OFFICE - DAY Hull in a new, expensive suit, gives the big Blonde Woman cash. HULL
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EXT. BETTY'S JEWELRY STORE - NIGHT Despite the CLOSED sign, a light's on inside. Hull knocks. No response. He keeps knocking without let-up until: BETTY'S VOICE
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EXT. A SALSA CLUB - NIGHT MUSIC pouring into the darkness. INT. CLUB - NIGHT Kids dancing to a live STAGE ACT. High in a wall: a lit window.
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INT. STAIRCASE - NIGHT Trembling, Elias holds his bloody hands against his chest, as Hull leads him in silence down the steps. ELIAS
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INT. CARVER'S OFFICE - BEFORE DAWN Hull jacked up, excited, pleased with himself. As he paces, Carver observes his beautiful suit, shoes, expensive watch.
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EXT. 96TH STREET NEAR THE AIRPORT/INT. A CAR - NIGHT Elias (no sleep) driving. Betty in front. Hull in back. HULL We shouldn't go to them. Maybe them come to us.
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EXT. TWO CARS - NIGHT Hull shepherding everyone into the limo. He glances toward the van. On instinct. He pulls Chino to him. A RIFLE SHOT
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INT. VAN - COMING STRAIGHT AT THEM - NIGHT Taft and Hull, the two drivers, lock eyes. It's chicken, but more than that. Two men set against each other who, for some
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EXT. COMMERCIAL STREET - EAST L.A. - NIGHT Hernandez comes out of a bodega with groceries, wine and a woman. He nuzzles her as he lets her into his car. As he's
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EXT. A CEMETERY - MORNING RAMON GALLEGOS lays a bouquet of white lillies on a grave. He kneels, whispers a prayer, crosses himself. He rises and walks to where Molto and the other guards
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EXT. A GHETTO STREET - NIGHT A club on the corner. THROUGH A WINDOW we see a RAP ACT on the stage, their MUSIC pumping out onto the street. Hull
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INT. CAR - NIGHT HULL (as he gets in) What are you doing here? You're going to get me killed.
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INT. BETTY'S APARTMENT - NIGHT She lets him in, sees the distress in his face. MCCUTCHEON What's the matter? He shakes his head, drops onto the couch. He takes out
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EXT. GOPHER'S BUILDING - 4 A.M. The neighborhood is reminiscent of the one where Joe Stevens Sr. was killed. The rap club still pumps MUSIC onto the 4
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EXT. EAST L.A. STREET/INT. CAR - DAY Elias driving a car we haven't seen before and snickering to himself at some private joke. HULL
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EXT. THEATER PARKING LOT/INT. CAR - DAY Hull, Elias and Molto getting into their car. Molto is recalcitrant. Elias pistol whips him. Hull stops him. EXT. SAN FERNANDO VALLEY/INT. CAR - DAY The car passes through a development of suburban homes.
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EXT. BETTY'S JEWELRY SHOP - EVENING A car SQUEALS to a stop. Molto and three thugs smash through the glass door. They disappear into the store where things
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EXT. MOTEL - NIGHT Hull putting Betty into an airport limousine. HULL (to the driver) International terminal.
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EXT. GARAGE - NIGHT Taft with Gopher in his car. TAFT Do they have money in there? GOPHER
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INT. ANOTHER PART OF THE GARAGE - NIGHT Molto caught between the lights. He draws his gun. GUNFIRE. He's cut down. TAFT
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INT. LOS ANGELES COUNTY JAIL - DAY Hull, bandaged, wearing prison blues, walking with Carver. HULL What about Guzman?

Deep Cover

A police officer goes undercover to infiltrate a major drug trafficking operation, only to find himself dangerously close to the edge of the criminal world he's sworn to take down.

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Overview

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Unique Selling Point

Unveiling a gripping and unflinching narrative, this screenplay boldly delves into the treacherous depths of the criminal underworld, exploring the moral dilemmas, inner conflicts, and flawed characters that inhabit its gritty streets. With raw and authentic dialogue, it deftly portrays the complexities of survival, redemption, and the pursuit of power. Each scene unfolds as a tantalizing blend of suspense, action, and introspective drama, drawing viewers into a world where morality is tested, and the boundaries between right and wrong blur with every step. This screenplay is a testament to the writer's unique voice, capturing the essence of the crime genre while injecting it with a fresh and captivating perspective.

AI Verdict & Suggestions

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Claude
 Recommend
GPT4
 Consider
Story Facts

Genres: Drama, Crime, Thriller, Family, Legal Drama, Romance

Setting: The 1970s, Cleveland, Los Angeles, and East L.A.

Themes: Drugs and Addiction, Identity and Belonging, Violence and its Consequences

Conflict & Stakes: Hull's struggle to avenge his father's death and escape the criminal underworld, Elias's ambition to expand his drug empire, and Betty's battle with addiction and her desire to escape her past.

Mood: Dark, gritty, and suspenseful

Standout Features:

  • Unique Hook: The exploration of the drug trade from multiple perspectives, including those of law enforcement, criminals, and addicts.
  • Plot Twist: The revelation that Hull is an undercover detective working to bring down Elias.
  • Distinctive Setting: The portrayal of the seedy underbelly of Los Angeles and East L.A. in the 1970s.
  • Innovative Idea: The use of a nonlinear narrative structure to weave together the different storylines.
  • Unique Character: The character of Elias, a complex and morally ambiguous drug dealer.
  • Genre Blend: The combination of crime drama, thriller, and character study.

Comparable Scripts: Serpico, The Departed, Donnie Brasco, Training Day, American Gangster, Scarface, The Godfather, The Wire, Breaking Bad, Better Call Saul

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.

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Overall Score: 8.10
Story Critique
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Characters

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Emotional Analysis

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Goals and Philosophical Conflict
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Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis

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Writer Exec

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Unique Voice
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Writer's Craft
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Memorable Lines
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World Building
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Correlations
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Loglines
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