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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. OLD LONG DOCK - CONTINUOUS The man is SAMMY TOMASINO (60s), once imposing, now weathered by the passage of time. He gazes ahead with a distant stare. He lights a cigarette and takes a deep long drag. Sammy hears faint, slowly approaching footsteps, but doesn’t turn.
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EXT. SNOWY FORREST - DUSK - DREAM SEQUENCE In the midst of a snowstorm, a terrified YOUNG GIRL confronts a ravenous WOLF. The menacing wolf advances slowly as the girl retreats, her back pressed against a tree, armed only with a hunting riffle. She takes aim. The wolf growls.
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INT. SARAH’S VEHICLE - LATER Sarah's gaze locks onto Grace through the rear-view mirror, staring out the window, ignoring the Christmas music playing on the radio as they drive through a suburban neighborhood. SARAH
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INT. SARAH’S VEHICLE - LATER Sarah pulls up to a swarm of angry CITIZENS surrounding the building. POLICE OFFICERS hold them off as she exits her vehicle in the motor pool. Her phone rings. Call display: EMMA. She ignores it.
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INT. PRESS CONFERENCE - CITY HALL - CONTINUOUS The CHIEF OF POLICE (55) is standing behind a podium getting grilled by jumpy JOURNALISTS. JOURNALIST #1 Can you confirm one of the victims
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INT. BRIEFING ROOM - CFSEU HEADQUARTERS - CONTINUOUS Sarah sits next to Bobby, her dependable number two. SARAH What’s the latest? BOBBY
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INT. BRIEFING ROOM - CFSEU HEADQUARTERS - CONTINUOUS CAPTAIN ERIC MCKENNA, 50s, storms in and shuts the monitor. 8. MCKENNA A witness at the shooting picked up
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INT. BRIEFING ROOM - CFSEU HEADQUARTERS - CONTINUOUS McKenna stands by a map of Ontario. SARAH Where were they heading? MCKENNA
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INT. HALLWAY - CFSEU HEADQUARTERS - CONTINUOUS Ryan peers into the briefing room window. RYAN Who’s running point? MCKENNA
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INT. BRIEFING ROOM - CFSEU HEADQUARTERS - CONTINUOUS They all rise as the three walk in. CALLAHAN Please, be seated. All eyes on Ryan, standing confidently, chewing gum, thick
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EXT. MOTOR POOL - CFSEU HEADQUARTERS - MOMENTS LATER The unit, in tactical gear, loads up into FOUR POLICE CHEVY SUBURBANS. Sarah and Ryan jump into the lead vehicle. Sarah rides shotgun with Ryan in the back. Behind the wheel is the support team leader: a brick shit house named AVERY (45).
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EXT. AIRSTRIP - LATER The Chevy Suburban convoy approaches. Two choppers are standing by. Main rotors already spinning. 15. INT. CHEVY SUBURBAN - CONTINUOUS
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INT/EXT. CHOPPER 1 - SAME TIME The unit assembles by Sarah. She shows them the map. SARAH Location confirmed. DAVIES
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INT. OLD CABIN - SAME TIME DENIEV stands by a window, automatic rifle in hand. He eyes IVAN, behind him by a fire. With them are two other men: MIRO and ILYA (40s) focused on prepping their weapons from a cache stamped U.S 4056: automatic rifles, grenades and ammunition.
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INT. OLD CABIN - SAME TIME Ivan jerks his head to Sarah’s position. The two lock eyes. Ivan opens fire on Sarah. EXT. WOODS NEAR THE OLD CABIN - CONTINUOUS Sarah and her team take cover. Bullets pulverise the fallen
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EXT. BLACK SUV - CONTINUOUS Ivan gets behind the wheel. Sarah comes out of cover. SARAH Freeze! Ivan fires back. Sarah takes cover once again. She fires back
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EXT. NORTHERN ONTARIO WOODS - MOMENTS LATER Sarah rushes after Deniev, suddenly coming to a halt. She raises her rifle, scanning in all directions, her breaths heavy. The dense forest seems like a labyrinth, with every tree appearing eerily identical, trapping her in confusion.
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EXT. OLD CABIN - MOMENTS LATER Sarah approaches with Deniev. She spots Davies tending to Silva. They eyeball support exiting the cabin with the weapons caches, loading them into SUVs. DAVIES
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INT. CAPTAIN’S OFFICE - CFSEU HEADQUARTERS - EVENING McKenna and Ryan debrief. NEWS FOOTAGE of the raid plays on a monitor with the headline: SUSPECTS IN DEADLY DOWNTOWN SHOOTING NEUTRALIZED IN CFSEU OPERATION. MCKENNA
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INT. CHILDREN’S BEDROOM - JACKIE’S HOUSE - NIGHT JACKIE TOMASINO (40s), with a boxer’s build, lies in bed. He's sandwiched between his nine-year-old twins – JACKIE JR sleeps soundly to his right, while ALICIA, fighting off sleep, rests her head on his shoulder. Jackie lovingly reads
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INT. MASTER BEDROOM, JACKIE’S HOUSE - CONTINUOUS EMMA RUSSO, 30s, once upon a time prom queen, lays in bed crunching numbers on her laptop. Jackie is standing by the doorway and staring at her. JACKIE
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INT. JACKIE’S SUV - LATER Jackie pulls up in a deserted parking lot. He checks his handgun with a professional's calm. INT. ABANDONED WAREHOUSE BY THE DOCKS - CONTINUOUS The building looks war torn, but ideal for discrete and
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INT. CLUTTERED OFFICE - POLICE STATION - SAME TIME DETECTIVE DAVID GIORDANO (40s), once the high school "cool guy," now a cop with a few extra pounds, tosses a thick folder marked “Tomasino” into the trash. It lands beside CROWN PROSECUTOR RICHARD DION (30s), a snake in a nice suit.
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INT. POLICE STATION - CONTINUOUS Several SPVM officers are engaged in a futile attempt to pacify CARM TOMASINO (60s). Her voice rises in a torrent of emotion as she berates the WATCH COMMANDER, her words a mix of grief and frustration.
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EXT. RUSSIAN RESTAURANT - DAY ASLAN and ALU USUMOV are frisked at the door by a LARGE RUSSIAN GUARD. Alu’s the small one: Napoleonic complex, judging by his disdain for the man searching him. Aslan’s the taller, action speaks louder than words type. Both are clean.
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EXT. RUSSIAN RESTAURANT - MOMENTS LATER Konstantin slides down the back seat window of his sedan as Aslan approaches. KONSTANTIN I’ve known Leondid for forty years.
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EXT. PEARSON AIRPORT - SAME TIME Sarah makes a phone while she waits for her flight in a terminal. ANTHONY (V.O.) Hey.
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EXT. SAMMY’S GRAVESITE - CEMETERY - LATER A mob funeral. A sea MOURNERS including Emma, her twins Jackie Jr, Alicia, Angela, Carm, and the elderly but stoic GRAZIA TOMASINO. No Jackie though. In the back, Sarah stands alone. Her eyes, hard, find
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INT. PRISON CELL - POLICE STATION - CONTINUOUS Jackie sits alone as Giordano approaches. 45. GIORDANO You made bail. And all it took was
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INT. LIVING ROOM - CARM’S HOUSE - LATER THAT EVENING A muted hum of subdued conversations envelops the room from scattered GUESTS, casting a hushed veil over the wake. 46. From a vantage point in the distance, Sarah's gaze remains
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INT. LIVING ROOM - CARM’S HOUSE - SAME TIME Jackie and Emma are greeted with compassionate hugs and the conventional two cheek kisses. The tipsy Angela stumbles over to her brother's side. ANGELA
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INT. SARAH’S BEDROOM - CARM’S HOUSE - SAME TIME Sarah opens her walk in closet door. Another treasure trove of nostalgia - clothes, a record collection, etc. But the muffled sound of two men talking from the other side of the connecting wall draws her closer in.
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INT. HOME OFFICE - SAME TIME Jackie sits behind a desk. Frank props a black tipped bullet on the desk. Sound familiar? JACKIE What’s that?
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INT. SARAH’S BEDROOM - CARM’S HOUSE - CONTINUOUS Jackie stands in the doorway, eyeing every corner of his sister’s bedroom. He moves deliberately toward the pictures on the shelf. Sarah still in the closet, is alerted by the sound of
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INT. LIVING ROOM - CARM’S HOUSE - MOMENTS LATER Frank approaches Carm, still seated next to Maria and Grazia. CARM Who killed my husband? 51.
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INT. SARAH’S CAR - LATER Sarah’s at the wheel, Emma’s to her right. Emma looks at the damage in the visor mirror. Neither have said a word. SARAH Still broken?
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EXT. HOSPITAL EMERGENCY - CONTINUOUS The car pulls up. Sarah locks the door as Emma tries to get out - SARAH This war’s killed some kids back
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INT. USUMOV RESIDENCE - LIVING ROOM - CONTINUOUS The room is shrouded in darkness, save for the flickering candlelight casting eerie shadows across the room. The air is heavy with grief as PEOPLE silently pay their respects. Anton and Aslan kneel before a portrait of Ivan.
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EXT. GEMINI SOCIAL CLUB - LATER Jackie's SUV rolls to a stop. He eyes the black MERCEDES in his spot. DINO BARONE (25), a burly Italian bulldog of a man, stands guard by the door. DINO
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INT. SARAH’S VEHICLE - CONTINUOUS She’s carefully surveying the entrance. An SUV screeches to a halt. Sarah's focus sharpens as Jackie leaps out, marching purposefully into the bar. INT. LINDA’S BAR - CONTINUOUS
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INT. SARAH’S VEHICLE - CONTINUOUS Sarah keeps on surveying as Jackie suddenly exits Linda’s before violently shoving Tommy in his SUV. EXT. JACKIE’S SUV - CONTINUOUS Jackie catches a glimpse of Sarah’s parked vehicle reflecting
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EXT. TRAIN CROSSING - MOMENTS LATER Jackie slows down to the flashing red lights as the distant sound of a train approaches. He gives his mirror a quick glance - Sarah’s two cars behind -

The ties that bind

A police sergeant's investigation into a deadly power struggle between rival mob factions is complicated by her estranged family's criminal past.

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Overview

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Unique Selling Point

The unique selling proposition of 'The Ties That Bind' lies in its intricate exploration of family loyalty amidst the backdrop of organized crime. Unlike typical crime dramas, this screenplay delves into the emotional struggles of its characters, particularly the protagonist Sarah, who must reconcile her duty as a police officer with her family's dark past. This duality creates a compelling narrative that appeals to audiences seeking both action and emotional depth.

AI Verdict & Suggestions

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

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Claude
 Recommend
GPT4
 Consider
Note: As Neil Gaiman says, ”People are usually right about what's wrong, and usually wrong about how to fix it.” Consider the suggestions in this analysis as potential catalysts: adopt what strengthens your vision, and let the rest deepen your understanding of what the story wants to become.
Model Upgrade — March 31, 2026
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The scoring scale changed with the upgrade, so scores may not be directly comparable to earlier analyses.
Story Facts
Genres:
Drama 45% Crime 40% Action 25% Thriller 30%

Setting: Contemporary, Various locations including a remote dock, Greater Toronto Area, CFSEU headquarters, and New York City

Themes: Family Legacy, Justice and Law Enforcement, Redemption and Forgiveness, Violence and Its Consequences, Loss and Grief

Conflict & Stakes: The main conflict revolves around Sarah's struggle against organized crime while confronting her family's dark legacy, with high stakes involving personal safety and familial loyalty.

Mood: Tense and somber, with moments of urgency and reflection.

Standout Features:

  • Unique Hook: The intertwining of personal family drama with organized crime, creating a layered narrative.
  • Plot Twist: The revelation of Sarah's father's criminal connections and their impact on her current life.
  • Distinctive Setting: The contrast between urban crime scenes and the serene yet foreboding rural landscapes.
  • Innovative Ideas: Exploration of the psychological impact of crime on families and communities.

Comparable Scripts: The Departed, Prisoners, The Sopranos, Wind River, The Night Of, Gone Baby Gone, Ozark, The Godfather, Fargo

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

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Overall Score: 7.18
Story Critique
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Characters
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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
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Scene Analysis

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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
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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.