1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
Scene Map 57
# PG SLUGLINE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
Scene Map
57
# PG SLUGLINE
1
Blood Flows South Written by Giacomo Giammatteo Giacomo Giammatteo 22018 Thorngrove Lane
2
EXT. MOUNTAIN ROAD SOUTH OF PALERMO — 1957 — DAY A donkey pulls a wagon covered with dirt up an old narrow road, slowly climbing the mountainside. DOMINIC MANGINI (10 years old, wiry, dark hair, discerning eyes) sits on the flat boards lining the back and grips the
3
EXT. MOUNTAIN ROAD SOUTH OF PALERMO — NIGHT The road up the mountain is rough, even rougher than going down. The holes from the bombs make it dangerous because the wagon has to go around them and parts of the edges of the road are missing.
4
EXT. MOUNTAIN ROAD SOUTH OF PALERMO — NIGHT Sofia gently shakes Dominic and Giuseppe. She leans close and speaks quietly. SOFIA We're close, ragazzi (boys). Get up
5
EXT. OUTSKIRTS OF PALERMO — NIGHT Franco pulls the wagon in front of a shop and gets off to speak to a SHOPKEEPER (50, scrawny, half bald). The shopkeeper takes hold of the reins and leads the donkey to a stable, counts out some money, and gives it to Franco.
6
INT. APARTMENT BUILDING — PALERMO — NIGHT Sofia shakes her head as they climb the stairs. They are old, worn, and they sag in the middle and creak loudly. Everything is dirty: the walls, the railing, and the floors. And the few windows are brown from dust and dirt.
7
INT. MANGINI APARTMENT — PALERMO — MORNING Dominic is awakened by Franco rummaging through the kitchen, banging pots and pans together. His voice has an angry tone. FRANCO The stove doesn't work . . . e ho
8
EXT. PIAZZA BY MANGINI APARTMENT — PALERMO — DAY Sofia goes down the stairs and out the door onto the street. The piazza is crowded with young boys of all ages. They are playing bocce ball and other games. Giuseppe tries to tug free to go to the piazza, but Sofia
9
EXT. SERAFINA HOUSE — PALERMO — DAY Senora Serafina (late 30s, stoic expression, well-dressed) answers the door and greets Sofia. SIGNORA SERAFINA Buon giorno, señora. Comé sta? (good
10
INT. MANGINI APARTMENT — PALERMO — EVENING Sofia enters her apartment, carrying a basket of fruit and wearing a smile. Franco is sitting on the sofa and Dominic on the floor. Sofia walks in and sits in the chair, positioning herself so
11
EXT. MAIN PIAZZA — PALERMO — DAY A crowd is in the piazza. Some people eat pastries and drink espresso, some walk through, and some sit on benches and chat with others. GIANCARLO (50s, graying hair, perpetual smile) tends a fruit
12
EXT. PIAZZA AT PLAZZO GRANDE HOTEL — DAY Dominic stands in the central piazza, crowded with wealthy- looking people. He approaches a well-dressed PATRON (50s, medium height, heavy, thin brown hair) with a smile and shows him a piece of fruit.
13
EXT. MAIN PIAZZA — PALERMO — DAY Dominic races to Giancarlo, hands him the cash, and smiles. DOMINIC I sold it all. Giancarlo counts the money and then counts again.
14
INT. MANGINI APARTMENT BUILDING — PALERMO — DAY Franco sits at the kitchen table with a bottle of grappa in front of him. He fills an empty glass and gulps it down. FRANCO Where have you been?
15
EXT. MAIN PIAZZA — PALERMO — DAY Dominic runs to Giancarlo’s stand at daybreak and loads a wagon with fruit. DOMINIC I’m taking this to the hotel. I’ll be
16
EXT. SIGNORA SERAFINA’S HOUSE — DAY Sofia and Giuseppe walk up to the door of a large house. She stops and straightens her dress, and then knocks on Signora Serafina’s door. INT. SIGNORA SERAFINA’S HOUSE — DAY
17
EXT. PATIO — SERAFINA’S HOUSE — DAY After reading to ANGELO (8, chunky, full of smiles), she sits on the patio while Giuseppe and Angelo play in the yard. INT. SERAFINA’S HOUSE — BEDROOM — NEXT DAY
18
EXT. BACK PATIO OF SERAFINA’S HOUSE — DAY Sofia sits in a chair on the patio, reading a book in English. She looks up every few seconds to watch the boys play. She turns when the back door opens and stands when she sees
19
INT. MANGINI APARTMENT — EVENING SUPER: 1958 - ONE YEAR LATER The door bursts open, and Dominic enters. He loses his smile when he sees Franco drinking at the table. FRANCO
20
EXT. PIAZZA — DAY Dominic sells all the fruit he can in the piazza, but it is getting late and there is still a lot left. Giancarlo casts a worried look at the unsold fruit and sighs, then he sits on a bench a few meters away.
21
EXT. PIAZZA AT PLAZZO GRANDE HOTEL — DAY Dominic sets up his wagon across the street from the Palazzo Grande and begins selling. DOMINIC Fruit, fresh fruit. Best fruit in the
22
EXT. MAIN PIAZZA — DAY When Dominic returns, Giancarlo is ecstatic. GIANCARLO I can't believe you sold it all. That was a lot of fruit. I was worried it
23
INT. MANGINI APARTMENT — NIGHT Sofia enters the apartment holding Giuseppe's hand. She walks across the room and into the kitchen, opens the oven, and removes a small metal box. She lifts the lid to put in her earnings and her eyes open wide, then she slams the box
24
INT. MANGINI APARTMENT — DAY Franco gets up early and steps quietly to the kitchen. He boils water for espresso and cooks eggs for the family. Then he places the plates on the table and breaks off chunks of bread for each person.
25
EXT. SOUTH END OF PIAZZA — DAY A MAN approaches Franco and sits on the bench next to him. MAN If you need work, they are hiring at the quarry on the road to Custonaci.
26
EXT. MARBLE QUARRY OUTSIDE PALERMO — DAY Franco stands in line behind five or six others, waiting to speak to the MAN IN CHARGE (50, cigar in his mouth, gruff sounding). When it’s his turn, he holds his hat in his hands and speaks clearly.
27
INT. MANGINI APARTMENT — NIGHT Franco enters as Sofia is cleaning the table. He is covered in dust from the quarry, and he has cuts on his arms and chest, but he is all smiles, exuberant. FRANCO
28
INT. MANGINI APARTMENT — TWO WEEKS LATER — NIGHT Sofia enters the apartment, Giuseppe following her. Franco is at the kitchen table working on lists with numbers, his head buried in open hands. Giuseppe opens the cooler and scrapes the last of the pasta
29
EXT. MAIN PIAZZA — DAY Dominic sells all his fruit and, once again, loads a wagon to take to the hotel. He returns shortly, gives the money to Giancarlo and runs to see his friends.
30
EXT. PIAZZA BY MANGINI APARTMENT — NEXT DAY Dominic races across the piazza and joins up with his friends. Gianni gestures to an alley on the north side. GIANNI Let’s go over there and talk.
31
EXT. PIAZZA OUTSIDE MANGINI'S APARTMENT — FRIDAY Dominic and Primo wait in the alley, smoking butts they find on the street. Gianni and Turi run around the corner from across the piazza, waving as they do. GIANNI
32
EXT. PALAZZO GRANDE HOTEL — DAY Dominic, Primo, Gianni, and Turi cross the piazza and plop down on a bench, pretending to talk. The hotel is busy with patrons checking out and a few checking in early. Dominic leans toward the others and whispers.
33
INT. COUNTER — PALAZZO GRANDE HOTEL — DAY The man in the white suit follows them and checks in. He pays in cash and hands a few bills to the clerk. Roberto then leads him to his room, and the boys follow. INT. ROOM 217 — PALAZZO GRANDE HOTEL — DAY
34
INT. ROOM 217 — BATHROOM — PALAZZO GRANDE HOTEL — DAY Roberto lays out towels for the man's bath on a chair beside the door. He draws water for the bath and closes the shutters. ROBERTO Signore, I have your bath drawn and
35
INT. BEDROOM — PALAZZO GRANDE HOTEL — DAY Roberto closes the bathroom door, then opens the door leading to the hallway and signals Dominic to enter. Dominic and Primo run in and hide under the bed. They wait until they hear the water splash as the guest gets into the
36
INT. BATHROOM — PALAZZO GRANDE HOTEL — DAY The man in the tub is resting his head on the back of the tub, a folded towel cushioning it. When Dominic and Primo burst in, it startles him, and he lifts his head quickly. MAN IN SUIT
37
INT. HALLWAY AND LOBBY — PALAZZO GRANDE HOTEL — DAY Dominic and Primo dart out the door into the hallway. They run toward the steps leading to the lobby. By the time they reach the bottom few steps, the man has other pants on and is chasing them. He wears no shirt and no
38
EXT. PIAZZA BY MANGINI APARTMENT — LATER Dominic waits in the alley, and as he smokes a cigarette, the others arrive. Turi gets there first, followed by Primo and Gianni. Turi is breathing heavily. He bends down and rests his hands on his knees.
39
INT. MANGINI APARTMENT — DAY Dominic sneaks into his apartment. He looks around to make sure no one is there, then places his money in the box. He sits on the sofa and looks out the window into the piazza. Dominic's legs jiggle and he fidgets when he sees his mother
40
EXT. ALLEY OUTSIDE MANGINI APARTMENT — NIGHT Sofia exits the building and sees Franco leaning against the alley wall, smoking a cigarette. She approaches and stands closely beside him. SOFIA
41
INT. MANGINI APARTMENT — NIGHT Dominic walks to the other side of the room, disappointed and dejected. He lies down and curls up in his blanket. His eyes are full of tears, and he sobs. Giuseppe lies next to Dominic and pats his back.
42
EXT. MAIN PIAZZA — DAY Dominic looks in each direction before entering the piazza, then he runs to Giancarlo's fruit stand. No one has arrived yet, so Dominic sits on the steps and waits. Before he finishes his cigarette, he hears the
43
EXT. PLAZA OUTSIDE MANGINI’S APARTMENT — DAY Dominic runs down a side street leading into the piazza from the north, and then he takes a right into a small alleyway — narrow and littered with trash. He doesn't go ten meters before someone calls to him in a whispered shout.
44
EXT. TICKET OFFICE — PORTO DI PALERMO — DAY Franco gets to the Porto di Palermo early enough to beat the crowds. He stands, looking at the signs above the ticket windows and is about to step into one of the lines when he sees a CARABINIERI (30s, fit, rigid, with a gun at his side)
45
INT. MANGINI APARTMENT — DAY Franco bursts through the door, panting. FRANCO We have a problem. The carabinieri are searching the docks and checking
46
EXT. MANGINI APARTMENT — DAY Dominic adjusts his cap as he runs down the steps and exits onto the street. He takes a few turns going through trash- littered alleys before he gets to the piazza. EXT. MAIN PIAZZA — DAY
47
INT/EXT. PRIMO DEMEO'S APARTMENT — DAY Dominic walks up the steps and pulls the door open. He has to act quickly to catch the door because it almost falls off its hinges. After leaning it back, he enters the building. It is dark despite being daytime because the very few
48
EXT. STREET OUTSIDE PRIMO’S APARTMENT — DAY When they reach the street, Primo holds out his hand. PRIMO Gimme a smoke. Dominic pulls a cigarette from behind his ear and hands it
49
EXT. TURI’S APARTMENT — DAY Primo walks down an alleyway, then turns into another where he leans against the brick wall. He picks up a butt and lights it, then he WHISTLES loudly. Turi pokes his head out of a third-story window.
50
EXT. ALLEY BY CEMETERY — OUTSIDE PALERMO — DAY Primo leads Turi down the alley, then into another. At the end of the alley, he turns to check behind him, and when he sees no one, he leads Turi left. Primo stops halfway down the alley to pick up a cigarette butt someone threw away.
51
EXT/INT. SIGNORA SERAFINA'S HOUSE — NEXT DAY Sofia holds Giuseppe's hand as she walks up the long drive leading to the signora's house. The drive is paved with cobblestones and lined with flowers. The house and grounds are beautiful and show no signs from the war.
52
INT. SIGNORA SERAFINA'S HOUSE — NEXT MORNING Sofia rushes into the house. She holds Dominic by the hand, and is almost dragging him behind her. She holds Dominic’s clothes in the other arm. SOFIA
53
INT. MANGINI APARTMENT — NIGHT Franco enters the apartment to find everything packed. FRANCO What's going on? I told you we can't leave.
54
INT. SIGNORA SERAFINA’S HOUSE — DAY Dominic comes down the stairs wearing a smile. DOMINIC I am done bathing, Signora. Signora Serafina spreads his clothes out on the sofa.
55
INT. KITCHEN IN SIGNORA SERAFINA'S HOUSE — LATER Signora Serafina stands up from the chair and runs to hug Dominic. SIGNORA SERAFINA Oh, you look so handsome. Your mother
56
INT. SIGNORA SERAFINA'S COUSIN'S HOUSE — NAPOLI — DAY Pietro (50, bald, the look of a farmer) answers the door and lets the Mangini family enter. Dominic races to Sofia and wraps his arms around her, then Giuseppe, and lastly, Franco. DOMINIC
57
EXT. PORTO DI NAPOLI — DAY Pietro's wagon takes them to the port and drops them off. The port is noisy and crowded, loaded with people wanting passage to somewhere. Franco looks around but doesn't see any of the carabinieri

Blood Flows South

A Sicilian family, desperate to escape the poverty and corruption of post-war Italy, embarks on a harrowing journey to America, risking everything for the promise of a better life.

See other logline suggestions

Overview

Poster
Unique Selling Point

What sets 'Blood Flows South' apart is its rich historical context and the emotional depth of its characters, particularly the young protagonist, Dominic. The screenplay offers a unique blend of family drama and coming-of-age themes, making it relatable to audiences who appreciate stories of resilience and the immigrant experience. Its exploration of moral dilemmas faced by children in harsh environments adds a layer of complexity that is both engaging and thought-provoking.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Claude
 Recommend
GPT4
 Recommend
Story Facts

Genres: Drama, Crime, Thriller, Slice of Life, Family, Historical, Historical Fiction, Coming of Age

Setting: 1950s, Palermo, Italy and Napoli, Italy

Themes: Family Bonds, The Pursuit of a Better Life, The Impact of Poverty and Crime, The Struggle for Survival, Moral Dilemmas and Consequences, The Search for Identity, Hope and Resilience

Conflict & Stakes: The family's struggle to escape their troubled past and financial difficulties, with Dominic's moral dilemmas and the threat of police involvement heightening the stakes.

Mood: Somber yet hopeful, reflecting the family's struggles and aspirations.

Standout Features:

  • Unique Hook: The story's focus on a family's journey from war-torn Italy to America, highlighting the immigrant experience.
  • Moral Dilemma: Dominic's internal conflict about participating in a robbery to help his family escape their situation.
  • Character Depth: The complex relationships within the family, particularly between Dominic and his parents, add emotional weight.
  • Historical Context: Set against the backdrop of post-war Italy, the screenplay explores the impact of war on families and communities.

Comparable Scripts: The Godfather, A Tree Grows in Brooklyn, The Pursuit of Happyness, Life is Beautiful, The Kite Runner, Roma, The Breadwinner, The Immigrant, Brooklyn

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: 7.25
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
Hover over the graph to see more details about each score.
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.