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Lesson 10
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Fascinating Scene Outlines!
1. INT. MANSION DINING AREA – NIGHT
The Blackthorns watch the special news report of the war and express their opinion. The news report is bogus. Lucius becomes threatening.
Beginning: (location) They watch the news and whats happening outside the balcony windows. It’s obvious the news is a lie.
Middle: (mystery) Why is Lucius believing the lie about the war when he knows the vampires are losing?
Ending: Lucius becomes threatening to Nadia. (uncomfortable moment) Vincent wants to defend Nadia but can’t.
2. INT. MANSION DANCE HALL – NIGHT
Nadia has a traumatic episode during her dance performance. She embarrasses her father Lucius.
Beginning: (dilemma) Does Nadia continue with her ceremony after realizing Lucius had her mother murdered.
Middle: Uncomfortable moment) Nadia refuses the blood rite.
Ending: (betrayal) Vincent orders guards to Nadia’s room.
3. INT. NADIA’S BEDROOM – NIGHT
They meet in Naia’s room. They discuss what needs to be done if she doesn’t want to become a vampire.
Beginning: (surprise) Lucius agrees. Nadia doesn’t have to become a vampire. All she has to do is kill her grandfather to break her curse.
Middle: (mislead) Lucius says it in a joking manner but isn’t really joking.
Ending: Nadia tries to kill herself.
4. INT. MANSION SUNROOM – DAY
After failing to kill her grandfather Nadia decides to kill herself.
Beginning: (dilemma) Nadia waits for the sun to rise and hopes the sun will kill her.
Middle: Vincent finds out the Nadia plans to attempt suicide.
Ending: Vincent finds Nadia and prevents her attempt.
5. INT. NADIA’S BEDROOM – DAY
Vincent and Nadia talk about why her suicide wouldn’t work. She notices her gift is glowing. She time travels.
Beginning: (location) Vincent and Nadia talk on Nadia’s bedroom balcony.
Middle: Nadia walks back into her bedroom when she sees something glowing.
Ending: (Surprise) Vincent turns his back for a second and Nadia falls faint. Vincent turns to Nadia from the balcony and notices she is gone.
6. EXT. SANDERS PLANTATION ROAD – NIGHT
Nadia wakes up confused, doesn’t recognize where she is and she is sitting in bushes by a road.
Beginning: (twist) Slave owner claims Nadia is his runaway slave.
Middle: Slave owner threatens to beat Josiah with a whip.
Ending: (creepy crab crawl) Vampire slaves arrive and devour slave owner.
7. INT. NADIA’S BEDROOM BALCONY – DAY
Nadia falls faint in the past and arrives hanging from her bedroom balcony. Vincent catches her just as she is falling from the balcony.
Beginning: (scary) Nadia arrives back in the present and almost falls over her bedroom balcony. Vincent catches her.
Middle: (shock) Vincent tries to understand what just happened.
Ending: (intrigue) Nadia thinks it was a crazy dream.
8. INT. MAUSOLEUM GRANDFATHER’S CRYPT – DAY
Vincent tells Nadia about Josiah’s roots, the first vampire and the truth about her father’s capture by the slavers.
Beginning: (twist) after hearing the Vincent’s stories, Nadia is convinced the man she met on the horse is her grandfather.
Middle: She is now more convinced that she should kill her grandfather and break the curse.
Ending: (unexpected) Nadia falls faint at the mausoleum and wakes up in the past.
9. EXT. SANDERS PLANTATION BUSHES – NIGHT
Nadia hides out in the bushes after the pose is slaughtered and is hoping to kill her grandfather.
Beginning: Nadia hides and watches as the vampires slaughter the racists pose.
Middle: She has to run deeper into the woods to avoid being found.
Ending: (scary) The vampire slaves crab crawl and hop trying to find her until they all sharply return to Josiah.
10. INT. JOSIAH’S BEDROOM – NIGHT
Nadia stands over Josiah while he sleeps holding a machete. She is ready to kill him.
Beginning: She sneaks into Josiah’s bedroom.
Middle: She sees her name recorded in his journal.
Ending: She finds out that she is destined to fulfill a future prophecy.
11. INT. VINCENT’S OFFICE – NIGHT
Nadia goes to confront Lucius about what she’s learned and over hears him blackmailing a Vatican Cardinal.
Beginning: Does Nadia tell Vincent what she heard?
Middle: Nadia tells Vincent what she heard.
Ending: Nadia can’t believe that Vincent knows everything.
12. INT. LUCIUS’ OFFICE – NIGHT
Lucius meets with the disgruntled villager and works out a deal for his freedom.
Beginning: (intrigue) Lucius plans to have his father killed by the rebel villager.
Middle: Lucius calls the guards to catch the rebel villager in the act of murder.
Ending: Lucius kills the rebel in his secret office kill room.
13. INT. VINCENT’S OFFICE – NIGHT
Nadia tells Vincent about the journal entry, her name and the prophecy and how Vincent is supposed to be in charge of the family.
Beginning: Nadia wants to know why Lucius is in charge of the family when it’s supposed to be Vincent, who is the oldest.
Middle: Vincent knows the answers Nadia is looking for but won’t tell her.
Ending: Nadia finds a photo of Vincent, her mother and her and figures out that Vincent is really her father and not her uncle.
14. INT. VINCENT’S OFFICE – NIGHT
Nadia and Vincent watch the video from the thumb drive. She has the journal in her shoulder bag.
Beginning: Nadia makes a plan to expose Lucius and put Vincent in charge.
Middle: guards show up looking for Nadia.
Ending: Nadia travels to the past.
15. EXT. SANDERS PLANTATION – NIGHT
A squad of civil war soldiers arrives at the Saunders plantation. They gather all the slaves outside and announce that they are hereby free.
Beginning: (Mislead) The soldiers are there to announce the emancipation proclamation act and assist in the movement of any slaves who wish to go north.
Middle: None of the slaves care about freedom.
Ending: Nadia is suspicious of the soldiers.
16. INT. NADIA’S BEDROOM – DAY
Nadia and Vincent work on vampire powers they think Nadia might need in the past.
Beginning: They work on glamming.
Middle: They decide glamming will work to get the truth from Cpt. Stanley.
Ending: The glamming doesn’t work for Nadia in the present and she’s not sure it will work in the past.
17. INT. LUCIUS’ OFFICE – NIGHT
Lucius meets with 4 of the council members and calls for the Vampire Military Leader as well.
Beginning: The four are gathered in his outer office area.
Middle: Lucius has them all seated and waiting in the inner office/kill room.
Ending: Lucius sinks his teeth into the neck of the vampire soldier and realizes he’s a traitor. He’s thrown into the kill room. All are killed.
18. EXT. SOLDIER’S CAMP – NIGHT
Nadia and Captain Stanley spend romantic time together but Stanley recognizes that he is being controlled by magic.
Beginning: Nadia meets with Stanley.
Middle: Nadia glams Stanley into a romance and he watches her perform a ballet dance number.
Ending: Stanley breaks the spell and detains Nadia. She travels back to the present.
19. INT. LUCIUS’ OFFICE – NIGHT
Lucius accuses Vincent of conspiring against him. He sends the guards to locate Nadia.
Beginning: Lucius discovers items missing from his safe.
Middle: Nadia arrives at Lucius’ office.
Ending: Nadia falls faint and vanishes while Lucius’ back is turned to her. Lucius isn’t sure what happened. He thinks Nadia left the room. He throws Vincent in the kill room.
20. EXT. JOSIAH’S PARLOR – NIGHT
Nadia enters Josiah’s house. He’s been wounded and close to death. Stanley is going to finish him off. Josiah tells Nadia to bite Stanley.
Beginning: Nadia notices dead soldiers and dead vampires. She looks for Josiah and Stanley.
Middle: She finds Stanley preparing to kill Josiah, who is wounded and unable to defend himself.
Ending: Nadia bites Stanley, killing him, and then turns into a full vampire.
21. INT. MANSION MEETING HALL – NIGHT
Nadia and Vincent show up with Josiah and put an end to the vote. Lucius is arrested but escapes.
Beginning: Lucius escapes his guards.
Middle: Josiah calls for a meeting with the Vatican.
Ending: Lucius escapes to his office. We see him entering his kill room.
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Tony,
Would you like to exchange outlines before we start writing?
Cheers,
Claudia
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Hi Claudia
Sorry. I was late posting the assignment and I just saw this.
I think I did it wrong. I wrote too much. I’m trying to correct it.
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No worries! I was even later posting the assignment! And I wrote at least as much. I couldn’t figure out how to include everything we were supposed to include and still keep it under 5-8 pages…Anyway, we can exchange if you want. Or we can try to catch up and just keep writing.🙂
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<div><b style=”font-family: inherit; font-size: inherit;”>Subject Line: Claudia’s Fascinating Scene Outlines
</div>My vision: To become the best screenwriter I can be, and to find success in the industry.
What I learned from this assignment is that ChatGPT can be very helpful at first in identifying ways to add interest techniques to the outline – but then it starts doing the same thing over and over again. Still, it got me started, and that was helpful!
Act 1:
1. EXT. TRAIN PLATFORM – DAY
Grace says farewell to her family as she heads to war as an Army nurse.
Beginning: (location) Grace O’Malley, a nurse in an Army uniform, receives a blessing from her younger brother, a newly ordained priest, as she stands on a train platform with her family.
Middle: (uncomfortable moment): A Black child runs into Grace’s father, who reacts with disgust as Grace comforts the child and returns him to his parents.
Ending: (mystery) Why do Grace’s parents tell her they hope she won’t disappoint them?
2. INT. ARMY FIELD HOSPITAL SOMEWHERE IN FRANCE – DAY
Grace watches another Army nurse, Ann, evaluate and treat a patient.
Beginning: (more interesting location) In an Army field hospital in the chaotic aftermath of D-Day, Ann, a nurse, reviews a patient chart.
Middle: (external dilemma) Ann concludes that the doctor is incorrect in his diagnosis.
Ending: (surprise) Ann refuses to follow the doctor’s treatment plan and does what she thinks is right.
3. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Grace meets Dr. Samuel Grey, her commanding officer, and fellow nurse Rachel Schneider. Beginning: (surprise) Grace meets her commanding officer, Dr. Grey, as he literally steps over a wounded Black soldier without looking at him.
Middle: (misinterpretation) Grace convinces herself and Rachel that Dr. Grey is not as prejudiced as he just appeared.
Ending: (uncomfortable moment) Dr. Grey makes comments that make it clear he is racist and misogynistic.
4. INT. ARMY BARRACKS – NIGHT
Grace and Rachel discover that Ann put herself through nursing school by cleaning offices at night.
Beginning: (location) In contrast to the chaos of war around them, the barracks Grace and Rachel will share with Ann is literally spotless.
Middle: (misinterpretation) Rachel and Grace tease Ann about being obsessive, then learn that Ann put herself through nursing school by cleaning offices at night.
Ending: (mystery) Ann refuses to talk about her family, except for her beloved kid sister Margie.
5. INT. ARMY FIELD HOSPITAL – DAY
Grace meets Booker, a Tuskegee airman and his friend, Keith Washington as she clears them to fly Beginning: (location) Amid the chaos of preparing for a mission, Grace meets Booker, a Tuskegee airman and his friend, Keith Washington as she clears them to fly.
Middle: (character change) Grace’s obvious attraction to Booker makes her suddenly clumsy and awkward.
Ending: (uncomfortable moment) Ann notices the attraction and is jealous.
6. EXT. ARMY AIRFIELD – DAY
Booker and Keith ready their aircraft to fly their next mission, chatting about Grace
Beginning: (superior position) The audience knows that Booker is attracted to Grace, but Booker and Keith share their thoughts privately.
Middle: (misinterpretation) Keith teases Booker about how attractive Booker obviously found Grace.
Ending: (intrigue/mystery) Booker confesses that he will never date Grace.
7. INT. ARMY FIELD HOSPITAL – DAY
An injured Russian soldier arrives at the field hospital. Rachel balks at treating him, so Grace takes over – and impresses Ann with her knowledge and skill.
Beginning: (surprise) A wounded Russian soldier is brought to the hospital, and Rachel (an exiled Russian Jew) refuses to treat him.
Middle: (uncomfortable moment) Grace takes over the care of the wounded Russian soldier, and Rachel watches, feeling uncomfortable and conflicted.
Ending: (misinterpretation) Grace and Ann misunderstand Rachel’s refusal to treat the Russian soldier, thinking it’s due to a language barrier or some other misunderstanding.
8. INT. ARMY MESS HALL – NIGHT
Grace and Booker run into each other at the mess hall. She flirts; he tries hard to stay aloof.
Beginning: (superior position) Grace is excited to run into Booker at the mess hall – but the audience knows he doesn’t want a relationship.
Middle: (uncertainty) Grace and Booker flirt – causing the audience to think he has changed his mind.
Ending: (uncomfortable moment) After initially responding in kind, Booker shuts Grace down, leaving her feeling hurt and confused.
9. INT. ARMY FIELD HOSPITAL – DAY
Ann is clearing Booker to fly.
Beginning: (uncomfortable moment) Ann, assigned to clear Booker to fly, is icily polite.
Middle: (character changes) Ann, usually the consummate professional, becomes more and more aggressive and disagreeable towards Booker.
Ending: (character change) Booker, usually aloof and polite, makes clear he doesn’t like her either.
10. INT. ARMY FIELD HOSPITAL – DAY
Dr. Grey directs a course of treatment on a Tuskegee airman that Grace and Ann believe to be incorrect. Against Ann’s urging, Grace follows Dr. Grey’s directions and the patient dies.
Beginning: (external dilemma) Dr. Grey directs a course of treatment on a Tuskegee airman that Grace and Ann believe to be incorrect.
Middle: (suspense) Against Ann’s urging, Grace follows Dr. Grey’s directions.
Ending: (major twist) The patient dies.
Act 2:
11. INT. ARMY MESS HALL – NIGHT
As Grace blames herself, Booker tells her that Dr. Grey doesn’t care whether Black soldiers survive.
Beginning: (superior position) Grace blames herself for letting the Tuskegee airman die but the audience knows better.
Middle: (mystery) Booker, alluding to an additional specific incident that highlights the Army’s racism, tells her that Dr. Grey doesn’t care whether Black soldiers survive.
Ending: (character change) Grace, no longer blaming herself, is furious at Dr. Grey and the racism of the Army – all the while she is falling more in love with Booker.
12. INT. ARMY BARRACKS – NIGHT
Grace writes to her parents about Booker as the nurses dress for a night out.
Beginning: (external dilemma) Grace writes to her parents about Booker, seeking their approval but fearing they won’t give it.
Middle: (uncertainty) Grace, Ann and Rachel are simultaneously nervous and excited as they dress for a fancy night out.
Ending: (suspense) They leave for the Officer’s Club – knowing they are not allowed in without a male escort.
13. INT. ARMY OFFICER’S CLUB – NIGHT
Grace, Ann and Rachel try to enter the Officer’s Club – without a male escort.
Beginning: (uncomfortable moment) Grace, Ann and Rachel are confronted at the entrance to the Officer’s Club and told they cannot enter unless they are accompanied by men.
Middle: (suspense) They explain that they are Army officers and that they pay mandatory Officers’ Club dues.
Ending: (cliffhanger) Dr. Grey ensures they are kicked out of the club anyway – leaving the audience wondering about the consequences.
14. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey tells the nurses he is sending them to an Army psychiatrist for their actions.
Beginning: (superior position) Dr. Grey calls the nurses into his office and yells at them for trying to get into the Officer’s Club without being accompanied by men – while the audience recognizes the unfairness.
Middle: (suspense) How will they react when Dr. Grey informs them that they will be sent to the Army psychiatrist for their unwarranted behavior?
Ending: (external dilemma) When they learn that they are being punished for trying to be treated fairly, Ann is furious, Rachel is stoic, and Grace is panicked that her parents will find out.
15. INT. PSYCHIATRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Ann about her disobedience.
Beginning: (suspense) Ann enters the psychiatrist’s office.
Middle: (betrayal) The Army psychiatrist lectures Ann about her disobedience, and refuses to hear why the situation is unfair.
Ending: (character change) The usually composed Ann fumes, and refuses to concede that she did anything wrong.
16. INT/EXT. A DOGFIGHT IN THE SKY ABOVE RURAL FRANCE – DAY
NB- Thinking about doing the next two scenes as flashbacks revealed during the screenplay]
Booker performs heroically and saves the life of another pilot in a dogfight.
Beginning: (uncomfortable moment) On the airfield before takeoff, white pilot scoffs at Booker’s abilities to protect his plane. (They are in separate planes and Booker is charged with guarding the white pilot’s plane on his bombing raid.)
Middle: (suspense) A Luftwaffe plane appears and starts to fire on the White pilot’s plane.
Ending: (uncertainty) Booker shoots down the Luftwaffe plane and saves the white pilot – and we wonder how the pilot will react.
17. EXT. ARMY AIRFIELD – DAY
The White pilot claims credit for winning the dogfight – and claims Booker messed up.
Beginning: (uncomfortable moment) After they land at the airfield, the White pilot refuses to acknowledge Booker.
Middle: (external dilemma) The White pilot tells everyone that he shot down the Luftwaffe plane, not Booker – and that Booker messed up.
Ending: (betrayal) No one acknowledges Booker’s heroic actions.
18. INT. ARMY BARRACKS – NIGHT
Grace’s parents forbid her from a relationship with “a man like that.” Ann, seeing an opening, piles on.
Beginning: (suspense) Grace is excited to get a letter from her parents.
Middle: (external dilemma) Her parents forbid her from a relationship with a Black man.
Ending: (betrayal) Ann piles on – tells Grace that Booker falsely claimed credit for shooting down a Luftwaffe plane.
19. INT. ARMY OFFICER’S CLUB – NIGHT
Grace goes on a date with the handsome and charming Liam Connelly.
Beginning: (superior position) A handsome and charming White officer, Liam, picks up Grace at her barracks as she tries to move on from Booker.
Middle: (character change) At the Officer’s Club, Grace tries (and fails) to like Liam as much as she likes Booker.
Ending: (major twist) Grace and Liam have sex.
20. INT. ARMY FIELD HOSPITAL – DAY
With a new nurse, Susan, Grace slips and says she has six siblings.
Beginning: (mystery/surprise) As Grace talks to a new nurse, she mentions that she has six siblings.
Middle: (uncomfortable moment) Grace realizes she slipped up and hopes Ann didn’t notice.
Ending: (betrayal) Ann wonders why Grace lied and told Ann that she had five siblings.
21. INT. ARMY MESS HALL – DAY
Rachel and Booker discuss the Jews under the Nazis, Blacks under Jim Crow – and Russia. Beginning: (misinterpretation) Booker says that Russia under the Communists is better than the United States because everyone is treated equally.
Middle: (reveal) Rachel discloses that her family was persecuted in Russia and had to flee because they are Jewish.
Ending: (mystery) Booker doesn’t disclose what happened to his family – but acknowledges that the Nazis are the worst of all.
22. INT. ARMY FIELD HOSPITAL – DAY
Ann calls Grace out on her six siblings.
Beginning: (location) Ann and Grace are boxing supplies as the Field Hospital is preparing to move along with the advancing front.
Middle: (surprise) When questioned on her lie about her siblings, Grace says her oldest brother Patrick was killed at D-Day.
Ending: (intrigue) Ann wonders why anyone would lie about that and questions whether Grace is really telling her the truth.
23. EXT. A TOWN IN FRANCE – DAY
Grace wanders around the new town, discreetly trying to find someone.
Beginning: (intrigue) Grace pokes around a small French town, alone.
Middle: (mystery) Grace discreetly shows a shopkeeper a photograph.
Ending: (cliffhanger) Grace slowly makes her way back to base, looking dejected.
24. INT. HOUSE IN THE TOWN IN FRANCE – DAY
Grace meets with a doctor.
Beginning: (location) Grace is back in town, knocking on a door.
Middle: (surprise) The doctor tells Grace she is pregnant.
Ending: (external dilemma) What will she do?
25. INT. ENTRANCE TO OFFICER’S CLUB – NIGHT
Grace tries to tell Liam.
Beginning: (uncertainty) Grace tries to enter the Officer’s Club to find Liam – and is blocked.
Middle: (major twist) Grace sees Liam in the Club – kissing Susan.
Ending: (suspense) What will Grace do now?
26. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
A drunk Grace tries to kill herself.
Beginning: (character change) Grace, in despair, has cut her wrist.
Middle: (uncertainty) Booker rounds the corner, lighting a cigarette.
Ending: (character change) Booker drops all pretense of not caring, and rushes to save Grace.
27. INT. ARMY FIELD HOSPITAL – NIGHT
Booker finds Ann, who tells him to bring Grace to her so she can sew up Grace’s wrist.
Beginning: (uncertainty) Booker finds Ann and asks for her help.
Middle: (character change) Ann abandons her dislike of Booker as they both try to save Grace.
Ending: (character change) Booker takes instructions from Ann, acting as her assistant so no one else will know what happened to Grace.
Act 3:
28. INT. ARMY BARRACKS – NIGHT
Grace asks Ann to give her an abortion.
Beginning: (external dilemma) Grace needs to decide what to do about her pregnancy.
Middle: (suspense) Ann helps Grace realize she has only bad options.
Ending: (surprise) Ann agrees to give Grace an abortion.
29. INT. ARMY FIELD HOSPITAL – DAY
Grace throws herself into her work.
Beginning: (character change) Grace goes from despair to anger.
Middle: (surprise) Ann suggests a way for them to subvert the system.
Ending: (internal dilemma) Grace agrees to work with Ann.
30. MONTAGE – ARMY FIELD HOSPITAL – DAY
Ann, Grace and Rachel pilfer supplies to improve the treatment given to injured Tuskegee airmen.
31. INT. ARMY MESS HALL – NIGHT
Booker thanks the nurses.
Beginning: (location) Booker surreptitiously seeks out the nurses.
Middle: (surprise) Booker greets Ann (and Grace) with appreciation.
Ending: (suspense) Booker warns them not to get caught.
32. INT. ARMY OFFICER’S CLUB – NIGHT (MAYBE MONTAGE THE NEXT THREE SCENES)
Grace convinces Ann and Rachel to go to the Officer’s Club again.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (suspense) We hope they will succeed but we fear that they won’t.
Ending: (uncomfortable moment) The nurses are ejected again.
33. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey sends the nurses to a psychiatrist again; all three are furious.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (uncomfortable moment) Dr. Grey sends the nurses back to the psychiatrist.
Ending: (character change) All three nurses are defiant and furious.
34. INT. PSYCHIATRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Grace about her disobedience while she fumes.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (uncomfortable moment) Grace stares icily at the psychiatrist, not accepting his authority.
Ending: (character change) Grace no longer accepts the Army’s misogyny.
35. EXT. A TOWN IN FRANCE – DAY
Grace walks around the town, searching for someone.
Beginning: (intrigue) Why does Grace keep wandering around the new towns by herself?
Middle: (mystery) Grace shows a photograph to another shopkeeper. Who is she looking for?
Ending: (suspense) Grace makes it to the base just before curfew.
36. EXT. ARMY BASE – NIGHT
Booker sees Grace as she returns from the town.
Beginning: (internal dilemma) Booker tries to decide whether or not to approach Grace.
Middle: (character change) Grace is cagey, acting unlike Booker has ever seen her before.
Ending: (uncomfortable moment) Grace wants to tell him the truth but doesn’t dare.
37. INT. ARMY BARRACKS – NIGHT
Ann tells Grace that nobody has the right to dictate who you love. [Ann’s monologue.]
Beginning: (internal dilemma) Grace returns to the barracks, deeply sad.
Middle: (misunderstanding) Ann thinks Grace is sad about Booker.
Ending: (surprise) Ann tells Grace that nobody has the right to dictate who you love.
38. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
Grace finds Booker to confess her love.
Beginning: (suspense) Grace tells Booker she needs to speak with him.
Middle: (uncomfortable moment) Booker stands awkwardly as Grace tells him she loves him.
Ending: (surprise) Booker rejects Grace.
39. INT. ARMY BARRACKS – NIGHT
Ann confesses her love to Grace.
Beginning: (surprise) Upon learning that Booker has rejected Grace, Ann confesses her love.
Middle: (betrayal) Grace, horrified, rejects Ann’s proffer.
Ending: (cliffhanger) The nurses are told that the hospital will be moving again, ASAP.
Act 4
40. EXT. A TOWN IN FRANCE – DAY
Grace meets an Algerian woman who knows her brother.
Beginning: (intrigue) Grace once again wanders around a town.
Middle: (surprise) An Algerian woman indicates that she knows the person in the photo.
Ending: (cliffhanger) The woman agrees to take Grace to the person.
41. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Grace reunites with Patrick.
Beginning: (reveal) Grace is reunited with her older brother, Patrick, a deserter after D-Day.
Middle: (surprise) Patrick now works for the French resistance.
Ending: (external dilemma) Patrick asks Grace not to tell her parents that he is alive.
42. INT. ARMY BARRACKS – NIGHT
Grace apologizes to Ann, tells her about her disowned brother. Ann admits she was disowned too.
Beginning: (uncomfortable moment) Grace approaches Ann – who keeps her distance.
Middle: (reveal) Grace tells Ann about her disowned brother.
Ending: (reveal) Ann tells Grace that she was disowned as well.
43. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey informs the women that they no longer have to pay Officer’s Club dues.
Beginning: (suspense) The nurses get called to Dr. Grey’s office.
Middle: (misinterpretation) The nurses think they’ve been caught pilfering supplies.
Ending: (surprise) Dr. Grey informs them that they no longer have to pay Officer’s Club dues.
44. EXT. ARMY AIRFIELD – DAY
Booker admits to Keith that he loves Grace.
Beginning: (internal dilemma) Booker needs to decide whether to take a chance with Grace.
Middle: (character change) He decides to take a chance on love.
Ending: (cliffhanger) But there is no time to tell her before they start their next mission.
45. INT/EXT. A DOGFIGHT IN THE SKY ABOVE RURAL FRANCE – DAY
Booker saves the life of another pilot in a dogfight, but is shot down.
Beginning: (uncertainty) Booker flies another mission.
Middle: (suspense) Booker gets into a battle with the Luftwaffe
Ending: (cliffhanger) Booker’s plane is shot down.
46. INT. ARMY FIELD HOSPITAL – DAY
Keith tells Grace and Ann that Booker is MIA.
Beginning: (superior position) Grace busily conducts her nursing duties.
Middle: (superior position) Keith arrives at the field hospital.
Ending: (cliffhanger) Keith tells Grace that Booker is MIA.
47. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Grace asks Patrick to use his contacts in the resistance to try to find Booker.
Beginning: (external dilemma) Grace decides to ask Patrick to help.
Middle: (suspense) Patrick agrees to try.
Ending: (uncertainty) Will Patrick and the resistance be able to find and help Booker?
48. EXT. SOMEWHERE IN RURAL FRANCE – DAY
A member of the French resistance finds the injured Booker and brings him to a farmhouse.
Beginning: (suspense) A farmer finds Booker. Is he resistance or sympathizer?
Middle: (reveal) He tries to bind Booker’s wounds.
Ending: (cliffhanger) But Booker is badly wounded.
49. INT. A FARMHOUSE IN RURAL FRANCE – DAY
Patrick arrives and realizes that Booker will not survive if he doesn’t get to a hospital.
Beginning: (superior position) Patrick learns that his sister loves a Black man.
Middle: (external dilemma) Booker will die if he doesn’t get to the hospital – but Patrick is a deserter.
Ending: (suspense) Patrick takes Booker to the hospital. Will Booker make it? What will happen to Patrick?
50. INT. ARMY FORWARD HOSPITAL – DAY
Patrick arrives at the hospital with Booker. Ann, Grace and Rachel work to save Booker’s life.
Beginning: (uncertainty) Will Booker make it? Will Patrick be arrested?
Middle: (betrayal) Dr. Grey says there are too many wounded to spare a doctor for Booker.
Ending: (suspense) The nurses operate on Booker.
51. EXT. ARMY FORWARD HOSPITAL – DAY
The Germans mount a surprise counteroffensive against the Army forward base.
Beginning: (surprise) The Germans mount a surprise counteroffensive.
Middle: (suspense) The nurses are ordered to evacuate patients.
Ending: (external dilemma) They need extra time to move Booker.
52. INT. ARMY FORWARD HOSPITAL – DAY
Patrick and Ann hold off the Germans long enough to allow Grace to safely evacuate Booker.
Beginning: (suspense) The Germans are almost at the hospital.
Middle: (surprise) Ann and Patrick volunteer to buy more time by holding off the Germans. Ann can shoot!
Ending: (sad/happy) Ann and Patrick are both killed, but Grace gets Booker to safety.
53. INT. A BANK IN PHILADELPHIA – DAY
Booker and Grace open a safe deposit box – and discover Ann was well-off.
Beginning: (location) Why are Grace and Booker at a bank?
Middle: (surprise) The banker knew Ann well.
Ending: (reveal) Ann had saved enough money that she didn’t need to work.
54. EXT. A SMALL HOUSE IN THE PHILADELPHIA SUBURBS – DAY
Grace and Booker give Margie Ann’s letter, the house’s deed and money from the safe deposit box.
Beginning: (sadness): Booker and Grace meet Ann’s kid sister Margie, who is devastated by her death.
Middle: (surprise) They hand Margie the deed to the house, cash and bonds – all from Ann.
Ending: (happiness) Booker and Grace say farewell to a grateful Margie – to start their life together.
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Subject Line: Claudia’s Fascinating Scene Outlines
My vision: To become the best screenwriter I can be, and to find success in the industry.
What I learned from this assignment is that ChatGPT can be very helpful at first in identifying ways to add interest techniques to the outline – but then it starts doing the same thing over and over again. Still, it got me started, and that was helpful!
Act 1:
1. EXT. TRAIN PLATFORM – DAY
Grace says farewell to her family as she heads to war as an Army nurse.
Beginning: (location) Grace O’Malley, a nurse in an Army uniform, receives a blessing from her younger brother, a newly ordained priest, as she stands on a train platform with her family.
Middle: (uncomfortable moment): A Black child runs into Grace’s father, who reacts with disgust as Grace comforts the child and returns him to his parents.
Ending: (mystery) Why do Grace’s parents tell her they hope she won’t disappoint them?
2. INT. ARMY FIELD HOSPITAL SOMEWHERE IN FRANCE – DAY
Grace watches another Army nurse, Ann, evaluate and treat a patient.
Beginning: (more interesting location) In an Army field hospital in the chaotic aftermath of D-Day, Ann, a nurse, reviews a patient chart.
Middle: (external dilemma) Ann concludes that the doctor is incorrect in his diagnosis.
Ending: (surprise) Ann refuses to follow the doctor’s treatment plan and does what she thinks is right.
3. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Grace meets Dr. Samuel Grey, her commanding officer, and fellow nurse Rachel Schneider. Beginning: (surprise) Grace meets her commanding officer, Dr. Grey, as he literally steps over a wounded Black soldier without looking at him.
Middle: (misinterpretation) Grace convinces herself and Rachel that Dr. Grey is not as prejudiced as he just appeared.
Ending: (uncomfortable moment) Dr. Grey makes comments that make it clear he is racist and misogynistic.
4. INT. ARMY BARRACKS – NIGHT
Grace and Rachel discover that Ann put herself through nursing school by cleaning offices at night.
Beginning: (location) In contrast to the chaos of war around them, the barracks Grace and Rachel will share with Ann is literally spotless.
Middle: (misinterpretation) Rachel and Grace tease Ann about being obsessive, then learn that Ann put herself through nursing school by cleaning offices at night.
Ending: (mystery) Ann refuses to talk about her family, except for her beloved kid sister Margie.
5. INT. ARMY FIELD HOSPITAL – DAY
Grace meets Booker, a Tuskegee airman and his friend, Keith Washington as she clears them to fly Beginning: (location) Amid the chaos of preparing for a mission, Grace meets Booker, a Tuskegee airman and his friend, Keith Washington as she clears them to fly.
Middle: (character change) Grace’s obvious attraction to Booker makes her suddenly clumsy and awkward.
Ending: (uncomfortable moment) Ann notices the attraction and is jealous.
6. EXT. ARMY AIRFIELD – DAY
Booker and Keith ready their aircraft to fly their next mission, chatting about Grace
Beginning: (superior position) The audience knows that Booker is attracted to Grace, but Booker and Keith share their thoughts privately.
Middle: (misinterpretation) Keith teases Booker about how attractive Booker obviously found Grace.
Ending: (intrigue/mystery) Booker confesses that he will never date Grace.
7. INT. ARMY FIELD HOSPITAL – DAY
An injured Russian soldier arrives at the field hospital. Rachel balks at treating him, so Grace takes over – and impresses Ann with her knowledge and skill.
Beginning: (surprise) A wounded Russian soldier is brought to the hospital, and Rachel (an exiled Russian Jew) refuses to treat him.
Middle: (uncomfortable moment) Grace takes over the care of the wounded Russian soldier, and Rachel watches, feeling uncomfortable and conflicted.
Ending: (misinterpretation) Grace and Ann misunderstand Rachel’s refusal to treat the Russian soldier, thinking it’s due to a language barrier or some other misunderstanding.
8. INT. ARMY MESS HALL – NIGHT
Grace and Booker run into each other at the mess hall. She flirts; he tries hard to stay aloof.
Beginning: (superior position) Grace is excited to run into Booker at the mess hall – but the audience knows he doesn’t want a relationship.
Middle: (uncertainty) Grace and Booker flirt – causing the audience to think he has changed his mind.
Ending: (uncomfortable moment) After initially responding in kind, Booker shuts Grace down, leaving her feeling hurt and confused.
9. INT. ARMY FIELD HOSPITAL – DAY
Ann is clearing Booker to fly.
Beginning: (uncomfortable moment) Ann, assigned to clear Booker to fly, is icily polite.
Middle: (character changes) Ann, usually the consummate professional, becomes more and more aggressive and disagreeable towards Booker.
Ending: (character change) Booker, usually aloof and polite, makes clear he doesn’t like her either.
10. INT. ARMY FIELD HOSPITAL – DAY
Dr. Grey directs a course of treatment on a Tuskegee airman that Grace and Ann believe to be incorrect. Against Ann’s urging, Grace follows Dr. Grey’s directions and the patient dies.
Beginning: (external dilemma) Dr. Grey directs a course of treatment on a Tuskegee airman that Grace and Ann believe to be incorrect.
Middle: (suspense) Against Ann’s urging, Grace follows Dr. Grey’s directions.
Ending: (major twist) The patient dies.
Act 2:
11. INT. ARMY MESS HALL – NIGHT
As Grace blames herself, Booker tells her that Dr. Grey doesn’t care whether Black soldiers survive.
Beginning: (superior position) Grace blames herself for letting the Tuskegee airman die but the audience knows better.
Middle: (mystery) Booker, alluding to an additional specific incident that highlights the Army’s racism, tells her that Dr. Grey doesn’t care whether Black soldiers survive.
Ending: (character change) Grace, no longer blaming herself, is furious at Dr. Grey and the racism of the Army – all the while she is falling more in love with Booker.
12. INT. ARMY BARRACKS – NIGHT
Grace writes to her parents about Booker as the nurses dress for a night out.
Beginning: (external dilemma) Grace writes to her parents about Booker, seeking their approval but fearing they won’t give it.
Middle: (uncertainty) Grace, Ann and Rachel are simultaneously nervous and excited as they dress for a fancy night out.
Ending: (suspense) They leave for the Officer’s Club – knowing they are not allowed in without a male escort.
13. INT. ARMY OFFICER’S CLUB – NIGHT
Grace, Ann and Rachel try to enter the Officer’s Club – without a male escort.
Beginning: (uncomfortable moment) Grace, Ann and Rachel are confronted at the entrance to the Officer’s Club and told they cannot enter unless they are accompanied by men.
Middle: (suspense) They explain that they are Army officers and that they pay mandatory Officers’ Club dues.
Ending: (cliffhanger) Dr. Grey ensures they are kicked out of the club anyway – leaving the audience wondering about the consequences.
14. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey tells the nurses he is sending them to an Army psychiatrist for their actions.
Beginning: (superior position) Dr. Grey calls the nurses into his office and yells at them for trying to get into the Officer’s Club without being accompanied by men – while the audience recognizes the unfairness.
Middle: (suspense) How will they react when Dr. Grey informs them that they will be sent to the Army psychiatrist for their unwarranted behavior?
Ending: (external dilemma) When they learn that they are being punished for trying to be treated fairly, Ann is furious, Rachel is stoic, and Grace is panicked that her parents will find out.
15. INT. PSYCHIATRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Ann about her disobedience.
Beginning: (suspense) Ann enters the psychiatrist’s office.
Middle: (betrayal) The Army psychiatrist lectures Ann about her disobedience, and refuses to hear why the situation is unfair.
Ending: (character change) The usually composed Ann fumes, and refuses to concede that she did anything wrong.
16. INT/EXT. A DOGFIGHT IN THE SKY ABOVE RURAL FRANCE – DAY
NB- Thinking about doing the next two scenes as flashbacks revealed during the screenplay]
Booker performs heroically and saves the life of another pilot in a dogfight.
Beginning: (uncomfortable moment) On the airfield before takeoff, white pilot scoffs at Booker’s abilities to protect his plane. (They are in separate planes and Booker is charged with guarding the white pilot’s plane on his bombing raid.)
Middle: (suspense) A Luftwaffe plane appears and starts to fire on the White pilot’s plane.
Ending: (uncertainty) Booker shoots down the Luftwaffe plane and saves the white pilot – and we wonder how the pilot will react.
17. EXT. ARMY AIRFIELD – DAY
The White pilot claims credit for winning the dogfight – and claims Booker messed up.
Beginning: (uncomfortable moment) After they land at the airfield, the White pilot refuses to acknowledge Booker.
Middle: (external dilemma) The White pilot tells everyone that he shot down the Luftwaffe plane, not Booker – and that Booker messed up.
Ending: (betrayal) No one acknowledges Booker’s heroic actions.
18. INT. ARMY BARRACKS – NIGHT
Grace’s parents forbid her from a relationship with “a man like that.” Ann, seeing an opening, piles on.
Beginning: (suspense) Grace is excited to get a letter from her parents.
Middle: (external dilemma) Her parents forbid her from a relationship with a Black man.
Ending: (betrayal) Ann piles on – tells Grace that Booker falsely claimed credit for shooting down a Luftwaffe plane.
19. INT. ARMY OFFICER’S CLUB – NIGHT
Grace goes on a date with the handsome and charming Liam Connelly.
Beginning: (superior position) A handsome and charming White officer, Liam, picks up Grace at her barracks as she tries to move on from Booker.
Middle: (character change) At the Officer’s Club, Grace tries (and fails) to like Liam as much as she likes Booker.
Ending: (major twist) Grace and Liam have sex.
20. INT. ARMY FIELD HOSPITAL – DAY
With a new nurse, Susan, Grace slips and says she has six siblings.
Beginning: (mystery/surprise) As Grace talks to a new nurse, she mentions that she has six siblings.
Middle: (uncomfortable moment) Grace realizes she slipped up and hopes Ann didn’t notice.
Ending: (betrayal) Ann wonders why Grace lied and told Ann that she had five siblings.
21. INT. ARMY MESS HALL – DAY
Rachel and Booker discuss the Jews under the Nazis, Blacks under Jim Crow – and Russia. Beginning: (misinterpretation) Booker says that Russia under the Communists is better than the United States because everyone is treated equally.
Middle: (reveal) Rachel discloses that her family was persecuted in Russia and had to flee because they are Jewish.
Ending: (mystery) Booker doesn’t disclose what happened to his family – but acknowledges that the Nazis are the worst of all.
22. INT. ARMY FIELD HOSPITAL – DAY
Ann calls Grace out on her six siblings.
Beginning: (location) Ann and Grace are boxing supplies as the Field Hospital is preparing to move along with the advancing front.
Middle: (surprise) When questioned on her lie about her siblings, Grace says her oldest brother Patrick was killed at D-Day.
Ending: (intrigue) Ann wonders why anyone would lie about that and questions whether Grace is really telling her the truth.
23. EXT. A TOWN IN FRANCE – DAY
Grace wanders around the new town, discreetly trying to find someone.
Beginning: (intrigue) Grace pokes around a small French town, alone.
Middle: (mystery) Grace discreetly shows a shopkeeper a photograph.
Ending: (cliffhanger) Grace slowly makes her way back to base, looking dejected.
24. INT. HOUSE IN THE TOWN IN FRANCE – DAY
Grace meets with a doctor.
Beginning: (location) Grace is back in town, knocking on a door.
Middle: (surprise) The doctor tells Grace she is pregnant.
Ending: (external dilemma) What will she do?
25. INT. ENTRANCE TO OFFICER’S CLUB – NIGHT
Grace tries to tell Liam.
Beginning: (uncertainty) Grace tries to enter the Officer’s Club to find Liam – and is blocked.
Middle: (major twist) Grace sees Liam in the Club – kissing Susan.
Ending: (suspense) What will Grace do now?
26. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
A drunk Grace tries to kill herself.
Beginning: (character change) Grace, in despair, has cut her wrist.
Middle: (uncertainty) Booker rounds the corner, lighting a cigarette.
Ending: (character change) Booker drops all pretense of not caring, and rushes to save Grace.
27. INT. ARMY FIELD HOSPITAL – NIGHT
Booker finds Ann, who tells him to bring Grace to her so she can sew up Grace’s wrist.
Beginning: (uncertainty) Booker finds Ann and asks for her help.
Middle: (character change) Ann abandons her dislike of Booker as they both try to save Grace.
Ending: (character change) Booker takes instructions from Ann, acting as her assistant so no one else will know what happened to Grace.
Act 3:
28. INT. ARMY BARRACKS – NIGHT
Grace asks Ann to give her an abortion.
Beginning: (external dilemma) Grace needs to decide what to do about her pregnancy.
Middle: (suspense) Ann helps Grace realize she has only bad options.
Ending: (surprise) Ann agrees to give Grace an abortion.
29. INT. ARMY FIELD HOSPITAL – DAY
Grace throws herself into her work.
Beginning: (character change) Grace goes from despair to anger.
Middle: (surprise) Ann suggests a way for them to subvert the system.
Ending: (internal dilemma) Grace agrees to work with Ann.
30. MONTAGE – ARMY FIELD HOSPITAL – DAY
Ann, Grace and Rachel pilfer supplies to improve the treatment given to injured Tuskegee airmen.
31. INT. ARMY MESS HALL – NIGHT
Booker thanks the nurses.
Beginning: (location) Booker surreptitiously seeks out the nurses.
Middle: (surprise) Booker greets Ann (and Grace) with appreciation.
Ending: (suspense) Booker warns them not to get caught.
32. INT. ARMY OFFICER’S CLUB – NIGHT (MAYBE MONTAGE THE NEXT THREE SCENES)
Grace convinces Ann and Rachel to go to the Officer’s Club again.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (suspense) We hope they will succeed but we fear that they won’t.
Ending: (uncomfortable moment) The nurses are ejected again.
33. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey sends the nurses to a psychiatrist again; all three are furious.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (uncomfortable moment) Dr. Grey sends the nurses back to the psychiatrist.
Ending: (character change) All three nurses are defiant and furious.
34. INT. PSYCHIATRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Grace about her disobedience while she fumes.
Beginning: (superior position) We’ve seen this before; we know what will happen.
Middle: (uncomfortable moment) Grace stares icily at the psychiatrist, not accepting his authority.
Ending: (character change) Grace no longer accepts the Army’s misogyny.
35. EXT. A TOWN IN FRANCE – DAY
Grace walks around the town, searching for someone.
Beginning: (intrigue) Why does Grace keep wandering around the new towns by herself?
Middle: (mystery) Grace shows a photograph to another shopkeeper. Who is she looking for?
Ending: (suspense) Grace makes it to the base just before curfew.
36. EXT. ARMY BASE – NIGHT
Booker sees Grace as she returns from the town.
Beginning: (internal dilemma) Booker tries to decide whether or not to approach Grace.
Middle: (character change) Grace is cagey, acting unlike Booker has ever seen her before.
Ending: (uncomfortable moment) Grace wants to tell him the truth but doesn’t dare.
37. INT. ARMY BARRACKS – NIGHT
Ann tells Grace that nobody has the right to dictate who you love. [Ann’s monologue.]
Beginning: (internal dilemma) Grace returns to the barracks, deeply sad.
Middle: (misunderstanding) Ann thinks Grace is sad about Booker.
Ending: (surprise) Ann tells Grace that nobody has the right to dictate who you love.
38. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
Grace finds Booker to confess her love.
Beginning: (suspense) Grace tells Booker she needs to speak with him.
Middle: (uncomfortable moment) Booker stands awkwardly as Grace tells him she loves him.
Ending: (surprise) Booker rejects Grace.
39. INT. ARMY BARRACKS – NIGHT
Ann confesses her love to Grace.
Beginning: (surprise) Upon learning that Booker has rejected Grace, Ann confesses her love.
Middle: (betrayal) Grace, horrified, rejects Ann’s proffer.
Ending: (cliffhanger) The nurses are told that the hospital will be moving again, ASAP.
Act 4
40. EXT. A TOWN IN FRANCE – DAY
Grace meets an Algerian woman who knows her brother.
Beginning: (intrigue) Grace once again wanders around a town.
Middle: (surprise) An Algerian woman indicates that she knows the person in the photo.
Ending: (cliffhanger) The woman agrees to take Grace to the person.
41. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Grace reunites with Patrick.
Beginning: (reveal) Grace is reunited with her older brother, Patrick, a deserter after D-Day.
Middle: (surprise) Patrick now works for the French resistance.
Ending: (external dilemma) Patrick asks Grace not to tell her parents that he is alive.
42. INT. ARMY BARRACKS – NIGHT
Grace apologizes to Ann, tells her about her disowned brother. Ann admits she was disowned too.
Beginning: (uncomfortable moment) Grace approaches Ann – who keeps her distance.
Middle: (reveal) Grace tells Ann about her disowned brother.
Ending: (reveal) Ann tells Grace that she was disowned as well.
43. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey informs the women that they no longer have to pay Officer’s Club dues.
Beginning: (suspense) The nurses get called to Dr. Grey’s office.
Middle: (misinterpretation) The nurses think they’ve been caught pilfering supplies.
Ending: (surprise) Dr. Grey informs them that they no longer have to pay Officer’s Club dues.
44. EXT. ARMY AIRFIELD – DAY
Booker admits to Keith that he loves Grace.
Beginning: (internal dilemma) Booker needs to decide whether to take a chance with Grace.
Middle: (character change) He decides to take a chance on love.
Ending: (cliffhanger) But there is no time to tell her before they start their next mission.
45. INT/EXT. A DOGFIGHT IN THE SKY ABOVE RURAL FRANCE – DAY
Booker saves the life of another pilot in a dogfight, but is shot down.
Beginning: (uncertainty) Booker flies another mission.
Middle: (suspense) Booker gets into a battle with the Luftwaffe
Ending: (cliffhanger) Booker’s plane is shot down.
46. INT. ARMY FIELD HOSPITAL – DAY
Keith tells Grace and Ann that Booker is MIA.
Beginning: (superior position) Grace busily conducts her nursing duties.
Middle: (superior position) Keith arrives at the field hospital.
Ending: (cliffhanger) Keith tells Grace that Booker is MIA.
47. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Grace asks Patrick to use his contacts in the resistance to try to find Booker.
Beginning: (external dilemma) Grace decides to ask Patrick to help.
Middle: (suspense) Patrick agrees to try.
Ending: (uncertainty) Will Patrick and the resistance be able to find and help Booker?
48. EXT. SOMEWHERE IN RURAL FRANCE – DAY
A member of the French resistance finds the injured Booker and brings him to a farmhouse.
Beginning: (suspense) A farmer finds Booker. Is he resistance or sympathizer?
Middle: (reveal) He tries to bind Booker’s wounds.
Ending: (cliffhanger) But Booker is badly wounded.
49. INT. A FARMHOUSE IN RURAL FRANCE – DAY
Patrick arrives and realizes that Booker will not survive if he doesn’t get to a hospital.
Beginning: (superior position) Patrick learns that his sister loves a Black man.
Middle: (external dilemma) Booker will die if he doesn’t get to the hospital – but Patrick is a deserter.
Ending: (suspense) Patrick takes Booker to the hospital. Will Booker make it? What will happen to Patrick?
50. INT. ARMY FORWARD HOSPITAL – DAY
Patrick arrives at the hospital with Booker. Ann, Grace and Rachel work to save Booker’s life.
Beginning: (uncertainty) Will Booker make it? Will Patrick be arrested?
Middle: (betrayal) Dr. Grey says there are too many wounded to spare a doctor for Booker.
Ending: (suspense) The nurses operate on Booker.
51. EXT. ARMY FORWARD HOSPITAL – DAY
The Germans mount a surprise counteroffensive against the Army forward base.
Beginning: (surprise) The Germans mount a surprise counteroffensive.
Middle: (suspense) The nurses are ordered to evacuate patients.
Ending: (external dilemma) They need extra time to move Booker.
52. INT. ARMY FORWARD HOSPITAL – DAY
Patrick and Ann hold off the Germans long enough to allow Grace to safely evacuate Booker.
Beginning: (suspense) The Germans are almost at the hospital.
Middle: (surprise) Ann and Patrick volunteer to buy more time by holding off the Germans. Ann can shoot!
Ending: (sad/happy) Ann and Patrick are both killed, but Grace gets Booker to safety.
53. INT. A BANK IN PHILADELPHIA – DAY
Booker and Grace open a safe deposit box – and discover Ann was well-off.
Beginning: (location) Why are Grace and Booker at a bank?
Middle: (surprise) The banker knew Ann well.
Ending: (reveal) Ann had saved enough money that she didn’t need to work.
54. EXT. A SMALL HOUSE IN THE PHILADELPHIA SUBURBS – DAY
Grace and Booker give Margie Ann’s letter, the house’s deed and money from the safe deposit box.
Beginning: (sadness): Booker and Grace meet Ann’s kid sister Margie, who is devastated by her death.
Middle: (surprise) They hand Margie the deed to the house, cash and bonds – all from Ann.
Ending: (happiness) Booker and Grace say farewell to a grateful Margie – to start their life together.
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Mahee’s Fascinating Scene Outlines
My Vision – I want to be a great writer who is well-respected and recognized in the industry, with successful books published and blockbuster movies produced. I want to create a successful movie franchise that audiences all over the world will love, rave about, look forward to, and continue to enjoy many years from now.
What I learned from doing this assignment is discovering interesting ways to write scenes through interest techniques.
Genre: Science Fiction Thriller
Title: Realm: Gates of Wrath
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Scene Arc: From 1ONTAE watching from his palace to his army departing on an intergalactic mission.
1. EXT. ALIEN WORLD – NIGHT
1ONTAE, an alien warlord and an absolute giant of a human being, watches in full armor from an elevated platform of his stunning palace. In front of him is a sea of humanoid soldiers buckled up in their state-of-the-art warships. He raises his hand and gives a thumbs up. A high-ranked General questions their mission. 1ONTAE deploys an extraterrestrial flamethrower which instantly burns the General alive. The remaining Generals and soldiers give him a stiff military salute and take off one by one.
Beginning: (More interesting setting) 1ONTAE, the powerful alien warlord, is watching from his palace as his soldiers get ready to depart on an intergalactic mission.
Middle: (Misinterpretation) A high-ranked General questions their mission and condemns their intentions.
Ending: (Character changes radically) In a sudden fit of rage, 1ONTAE uses his powerful extraterrestrial flamethrower weapon which instantly burns the General alive.
Scene Arc: From 1ONTAE arriving on Earth to DuVernay kissing his hand.
2. EXT. AN OPEN FIELD/EARTH – DAY
Reverend DuVernay, along with several world leaders, watch anxiously as 1ONTAE descends in his spaceship and steps out. He comes forward, holds his extraterrestrial weapon in his hands, and stands tall over everyone. DuVernay and the world leaders shake in their boots before kneeling and kissing his hand. DuVernay looks around nervously and quickly walks away.
Beginning: (Suspense) Reverend DuVernay, along with several world leaders, watch anxiously as 1ONTAE exits his spaceship and flashes his extraterrestrial weapon.
Middle: (Uncertainty) DuVernay and the world leaders shake in their boots as they approach nervously to kneel and kiss 1ONTAE’s hand.
Ending: (Uncomfortable moment) DuVernay looks around nervously and quickly walks away.
Scene Arc: From DuVernay attending the ritual to his stirring public speech.
3. INT. CAR – DAY
As DuVernay gets into his car, Trevon mentions in an agitated voice of a police brutality case. DuVernay keeps calm as he listens to him. Like a true politician, his reaction to the news is quite subdued. Later that day, in the presence of media and public, DuVernay gives a powerful stirring speech, preaching violence and hatred, to rile up his supporters. This surprises Trevon but he still looks at DuVernay in admiration.
Beginning: (Mislead) Trevon is agitated about a police brutality case but is confused to see DuVernay’s subdued reaction to the news.
Middle: (Surprise) DuVernay riles up his supporters with his powerful stirring speech in the presence of media and public.
Ending: (Major twist) Trevon looks surprised, yet he keeps admiring DuVernay seemingly unaffected by his change in behavior.
Scene Arc: From DuVernay’s charismatic public image to his disturbed personality when in private.
4. INT. PENTHOUSE/MANHATTAN – NIGHT
DuVernay watches a man is being tortured by his mobsters when a young woman nervously approaches him pleading for help for the release of her arrested brother. DuVernay lusts after her and makes an indecent proposal.
Beginning: (Character changes radically) DuVernay enjoys watching a man he had known since childhood, being tortured by his mobsters.
Middle: (Uncomfortable moment) A young woman approaches him nervously pleading for help to get her brother released from police custody.
Ending: (Reveal) DuVernay makes her an indecent proposal.
Scene Arc: From Professor Campbell’s appearance on TV to DuVernay’s reaction seeing his archenemy.
5. INT. PENTHOUSE/MANHATTAN – NIGHT
DuVernay watches as Professor Campbell comes on TV, talking about his philosophy, research, findings, and quest for the ultimate truth. He warns his people of going down the wrong path influenced by corrupt leaders. He encourages them to follow the path of peace, love, and self-improvement. DuVernay’s blood boils. He picks up the remote and smashes his TV.
Beginning: (More interesting setting) DuVernay watches Professor Campbell lecturing on TV about his philosophies, findings, and his quest for the ultimate truth.
Middle: (Superior position) He delivers a message of peace to his supporters advising them to not be influenced by corrupt leaders.
Ending: (Reveal) DuVernay fumes and smashes his TV.
Scene Arc: From Trevon and the mobsters sabotaging Professor Campbell’s conference to the altercation between DuVernay and Professor Campbell.
6. INT. CONFERENCE HALL/WASHINGTON DC – DAY
Trevon and a gang of mobsters barge into Professor Campbell’s conference and begin to destroy everything. In that process, the father and son look at each other, shocked to find themselves on opposite sides of the melee. DuVernay intercepts Professor Campbell and berates him. They both vow to bring down each other as Trevon looks on, deadpan.
Beginning: (Character changes radically) Trevon barges into an ongoing conference with DuVernay’s mobsters and begins to destroy everything unaware that his father is in the conference.
Middle: (Surprise) Professor Campbell is shocked to see his son amongst DuVernay’s mobsters.
Ending: (Intrigue) DuVernay berates Professor Campbell unaware that Trevon is his son. Trevon doesn’t react to the altercation and doesn’t care to interfere.
Scene Arc: From Trevon and the mobsters sabotaging Professor Campbell’s conference to the altercation between DuVernay and Professor Campbell.
7. INT. CAR – DAY
Trevon is driving his father home. They haven’t made eye contact and haven’t spoken a word to each other in a while. Professor Campbell turned to Trevon and apologized for being a bad father. Trevon won’t listen to him. He has already made a choice.
Beginning: (Uncomfortable moment) Trevon and his father haven’t made eye contact or spoken a word to each other as they drive home.
Middle: (Internal Dilemma) Professor Campbell turned to Trevon and apologized for being a bad father.
Ending: (Internal Dilemma) Trevon won’t listen to him. He has already made a choice.
Scene Arc: From Sean’s puzzling nightmare to his confusion over its meaning.
8. INT. HIGH-RISE APARTMENT/MANHATTAN – NIGHT
Sean Madden wakes up baffled from a strange nightmare. His mind has the unique ability to hop dimensions, voyage to interdimensional realms, and download information pertaining to an event. In his nightmare, he sees himself and Trevon are running across an alien landscape, holding a mysterious cipher in their hands. He struggles to make any sense of it, but he does perceive that Trevon is in some kind of trouble.
Beginning: (More interesting setting) Sean Madden wakes up baffled from a strange nightmare.
Middle: (Mystery) In his nightmare, he sees himself and Trevon are running across an alien landscape, holding a mysterious cipher in their hands.
Ending: (Intrigue) He struggles to make any sense of it, but he does perceive that Trevon is in some kind of trouble.
Scene Arc: From Trevon’s arrival at his father’s house to realizing that his father has been murdered.
9. INT. PROFESSOR’S HOUSE – MORNING
Trevon arrives at his father’s house and is devastated to see the place overflowing with cops, forensic experts, and reporters. Confused, he pushes through the crowd and walks in. To his utter shock, his father had been murdered the previous night.
Beginning: (Suspense) Trevon arrives at his father’s house and is devastated to see the place overflowing with cops, forensic experts, and reporters.
Middle: (Uncertainty) Confused, he pushes through the crowd and walks in.
Ending: (Major twist) To his utter shock, his father had been murdered the previous night.
Scene Arc: From DuVernay’s public speech on Professor Campbell to finding out Trevon is Professor’s son.
10. EXT. CAMPAIGN EVENT/STADIUM – DAY
DuVernay gets emotional as he extols Professor Campbell in front of his audience. Later that night, he receives news that Trevon has been relentlessly pleading with the media to investigate him for his father’s murder. He is shocked to know that his most trusted supporter and follower is his archenemy’s son.
Beginning: (Character changes radically) DuVernay gets emotional as he extols Professor Campbell in front of his audience.
Middle: (Uncomfortable moment) Later that night, he receives news that Trevon has been relentlessly pleading with the media to investigate him for his father’s murder.
Ending: (Betrayal) He is shocked to know that his most trusted supporter and follower is his archenemy’s son.
Scene Arc: From Trevon’s pursuit to prove DuVernay killed his father to finding out he has become DuVernay’s next target.
11. EXT. COLUMBIA UNIVERSITY CAMPUS – DAY
Trevon desperately calls his mobster friends to meet him at a local tavern. He asks them to dig up dirt on DuVernay. They shoot him a cold-eyed stare and stealthily nod to one another. Trevon looks around himself, getting increasingly suspicious. He realizes he has been surrounded.
Beginning: (Uncertainty) Trevon desperately calls his mobster friends to meet him at a local tavern. He asks them to dig up dirt on DuVernay.
Middle: (Uncomfortable moment) They shoot him a cold-eyed stare and stealthily nod to one another. Trevon looks around himself, getting increasingly suspicious.
Ending: (Betrayal) He realizes he has been surrounded by DuVernay’s men.
Scene Arc: From Trevon’s escape from the mobsters to Sean saving his life.
12. EXT. AMSTERDAM AVENUE – DAY
Trevon runs through the city like hell, panting for breath, with DuVernay’s mobsters hot on his heels. He runs along the streets, sneaks through alleyways, and cuts across the traffic only to find himself stranded on a pier with no place to go. As DuVernay’s men approach slowly going for the kill, Trevon leaps over the edge of the water and jumps. DuVernay’s men quickly dash to the pier’s edge to check. To their shock, Sean had come to his rescue as they both speed away in a motorboat.
Beginning: (Uncomfortable moment) Trevon runs through the city like hell, panting for breath, with DuVernay’s mobsters hot on his heels. He runs along the streets, sneaks through alleyways, and cuts across the traffic only to find himself stranded on a pier with no place to go.
Middle: (Suspense) As DuVernay’s men approach slowly going for the kill, Trevon leaps over the edge of the water and jumps.
Ending: (Major twist) DuVernay’s men quickly dash to the pier’s edge to check. To their shock, Sean had come to his rescue as they both speed away in a motorboat.
Scene Arc: From Trevon getting a reality check to Sean telling him to take a bigger risk.
13. INT. DINER – NIGHT
Trevon is hurting and seething at the same time. He can’t focus as his mind is going through a hundred emotions. Sean tries to calm him down. Tells him he needs to take a big risk if he needs to find out who his father’s assassin was. Trevon shakes his head. He, obviously, is not pleased with the idea.
Beginning: (Internal Dilemma) Trevon is hurting and seething at the same time. He can’t focus as his mind is going through a hundred emotions.
Middle: (Suspense) Sean tries to calm him down. Tells him he needs to take a big risk if he needs to find out who his father’s assassin was.
Ending: (Intrigue) Trevon shakes his head. He, obviously, is not pleased with the idea.
Scene Arc: From Trevon trespassing the crime scene to finding out DuVernay has no links to the murder.
14. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon decides to take another big risk. Wading through the endless yellow tape, he and Sean sneak into Professor Campbell’s bedroom. They check all drawers and closets for anything they can find that could link them to DuVernay. But they find absolutely nothing.
Beginning: (Suspense) Trevon decides to take another big risk. Wading through the endless yellow tape, he and Sean sneak into Professor Campbell’s bedroom.
Middle: (Uncertainty) They check all drawers and closets for anything they can find that could link them to DuVernay.
Ending: (Surprise) But they find absolutely nothing.
Scene Arc: From Trevon and Sean stumbling upon a secret vault and a cryptic message to them realizing it’s a password to the vault.
15. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon accidentally dislodges a framed painting to fall off the wall revealing a secret vault and a cryptic message scribbled on the wall. Sean mentions that it’s a cipher and recollects that he saw it in his mysterious nightmare. Trevon realizes it possibly contains a password they must decode to open the vault before the night’s over.
Beginning: (Suspense) Trevon accidentally dislodges a framed painting to fall off the wall revealing a cryptic message scribbled on the wall.
Middle: (Uncertainty) Sean mentions that it’s a cipher and recollects that he saw it in his mysterious nightmare.
Ending: (Intrigue) Trevon realizes it possibly contains a password they must decode to open the vault before the night’s over.
Scene Arc: From Trevon and Sean trying to decode the cipher to opening a secret vault inside the wall.
16. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon stares at all the numerous permutations and combinations scribbled on a notepad. He finally circles the words “Gates Of Wrath”. He uses it on the combination and the vault opens revealing a smartphone and a book inside.
Beginning: (Uncertainty) Trevon stares at all the numerous permutations and combinations scribbled on a notepad.
Middle: (Intrigue) He finally circles the words “Gates Of Wrath”.
Ending: (Mystery) He uses it on the combination and the vault opens revealing a smartphone and a book inside.
Scene Arc: From Trevon finding the assassin’s strange identity to the cops arriving.
17. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon feverishly checks the phone and finds image notifications from a secret camera hidden in the room. Determined to nail DuVernay, he eagerly flips through the captured images. There is not a single image of DuVernay or any of his mobsters. Instead there is a fuzzy image of a stranger in ragged clothing holding what seems to be an unidentified weapon.
Beginning: (Uncertainty) Trevon feverishly checks the phone and finds image notifications from a secret camera hidden in the room.
Middle: (Mislead) Determined to nail DuVernay, he eagerly flips through the captured images.
Ending: (Reveal) There is not a single image of DuVernay or any of his mobsters. Instead there is a fuzzy image of a stranger in ragged clothing holding what seems to be an unidentified weapon.
18. INT. PROFESSOR’S BEDROOM – NIGHT
Sean mentions to him that the risk paid off. But Trevon’s mind is thrown into a deeper state of confusion. Deflated, he fumbles for words as he tries to connect the pieces of the puzzle. Just then a flash light pours in through the window and scours the room followed by the door knob twisting back and forth.
Beginning: (Suspense) Sean mentions to him that the risk paid off. But Trevon’s mind is thrown into a deeper state of confusion.
Middle: (Uncertainty) Deflated, he fumbles for words as he tries to connect the pieces of the puzzle.
Ending: (Uncomfortable moment) Just then a flash light pours in through the window and scours the room followed by the door knob twisting back and forth.
19. INT. PROFESSOR’S BEDROOM – DAYBREAK
Cops enter the room holding flash lights which scour the floor, the desk, the closets, and the walls. They meticulously check every frame hung on the wall. Everything looks untouched, as they had left the previous night.
Beginning: (Suspense) Cops enter the room holding flash lights which scour the floor, the desk, the closets, and the walls.
Middle: (Uncertainty) They meticulously check every frame hung on the wall.
Ending: (Superior Position) Everything looks untouched, as they had left the previous night.
Scene Arc: From Trevon and Sean stealing the phone and the book to tracing the assassin’s origin to a theoretical world.
20. INT. CAR – DAY
Trevon and Sean escape just in time before the cops had got in. But not before they take the phone and the book with them. Sean drives as Trevon pores over the book. He finds several references to an alien world on a distant Planet X in the Sirius star system. Sean suggests that’s where the assassin possibly came from. Trevon ponders what could have been the motive.
Beginning: (Superior Position) Trevon and Sean escape just in time before the cops had got in. But not before they take the phone and the book with them.
Middle: (Mystery) Sean drives as Trevon pores over the book. He finds several references to an alien world on a distant Planet X in the Sirius star system.
Ending: (Suspense) Sean suggests that’s where the assassin possibly came from. Trevon ponders what could have been the motive.
Scene Arc: From Trevon and Sean stealing the phone and the book to tracing the assassin’s origin to an alien world.
21. INT. DINER – DAY
Trevon comes to know that his father intentionally left him clues to uncover before his murder. He realizes the only way to know the motive of the assassin is to go on a mission to the alien world searching for him. Sean suggests there is only one possible solution for Trevon to achieve his mission. Interdimensional travel. But he refuses to cooperate in the mission.
Beginning: (Intrigue) Trevon comes to know that his father intentionally left him clues to uncover before his murder.
Middle: (Uncertainty) He realizes the only way to know the motive of the assassin is to go on a mission to the alien world searching for him.
Ending: (Suspense) Sean suggests there is only one possible solution for Trevon to achieve his mission. Interdimensional travel. But he refuses to cooperate in the mission.
Scene Arc: From Sean refusing to go on the mission to Trevon convincing him.
22. INT. DINER – DAY
Sean is the only one who has ever experienced interdimensional travel. Trevon argues with Sean to assist him, citing this mission is also about uncovering what he saw in his nightmare. Sean reluctantly agrees, although he’s nervous about a foretold prophecy that could potentially become a possibility with this mission.
Beginning: (More interesting setting) Sean is the only one who has ever experienced interdimensional travel.
Middle: (Uncertainty) Trevon argues with Sean to assist him, citing this mission is also about uncovering what he saw in his nightmare.
Ending: (Intrigue) Sean reluctantly agrees, although he’s nervous about a foretold prophecy that could potentially become a possibility with this mission.
Scene Arc: From Trevon and Sean buckling up in Dr. Sklar’s AI powered machine to landing in a desolate alien world.
23. INT. DR. SKLAR’S LAB/NEW YORK – DAY
Trevon and Sean buckle up in the machine built by Dr. Sklar and powered by AI mind control program. They embark on a dangerous mission to the alien world, carrying the cipher with them to uncover the truths. They have forty-eight Earth-hours to return or get permanently lost in time.
Beginning: (More interesting setting) Trevon and Sean buckle up in the machine built by Dr. Sklar and powered by AI mind control program.
Middle: (Intrigue) They embark on a dangerous mission to the alien world, carrying the cipher with them to uncover the truths.
Ending: (External Dilemma) They have forty-eight Earth-hours to return or get permanently lost in time.
24. INT. SPACE-TIME VACCUUM
Trevon shuts his eyes and stiffens his body. The nervousness inside of him surfaces as it feels like he’s on a virtual reality roller coaster ride. The AI mind control program keeps their physical body tethered to the machine but lets their mind wander as he and Sean are thrust into an astral vortex. He feels like they are zipping through the stars in a thought-controlled invisible energy field that is devoid of any Earthly space-time dependencies.
Beginning: (Uncertainty) Trevon shuts his eyes and stiffens his body. The nervousness inside of him surfaces as it feels like he’s on a virtual reality roller coaster ride.
Middle: (Mystery) The AI mind control program keeps their physical body tethered to the machine but lets their mind wander and hop interdimensional realms as he and Sean are thrust into an astral vortex.
Ending: (More interesting setting) He feels like they are zipping through the stars in a thought-controlled invisible energy field that is devoid of any Earthly space-time dependencies.
25. EXT. ALIEN WORLD – DAY
Trevon and Sean touch ground on a battle-ravaged barren landscape. The alien world looks more desolate than they expected. A series of thunderbolts shock them out of their socks and they soon realize they are in the direct path of a menacing blood-thirsty alien army that’s headed straight towards them.
Beginning: (Uncertainty) Trevon and Sean touch ground on a battle-ravaged barren landscape.
Middle: (Mystery) The alien world looks more desolate than they expected.
Ending: (Uncomfortable Moment) A series of thunderbolts shock them out of their socks and they soon realize they are in the direct path of a menacing blood-thirsty alien army that’s headed straight towards them.
Scene Arc: From Trevon and Sean’s escape from the desolate landscape to underground caverns and catacombs.
26. EXT. BARREN LANDSCAPE/ALIEN WORLD – DAY
Trevon mumbles expletives as Sean tries to calm him down. With no where else to go, they turn around and begin to run like hell, desperate to find a safe haven. But the army is fast approaching them shooting at will. Just when they feel that all hope is lost, they are whisked away at the last minute onto a battleship.
Beginning: (Uncertainty) Trevon mumbles expletives as Sean tries to calm him down. With no where else to go, they turn around and begin to run like hell, desperate to find a safe haven.
Middle: (Uncomfortable Moment) But the army is fast approaching them shooting at will.
Ending: (Surprise) Just when they feel that all hope is lost, they are whisked away at the last minute onto a battleship.
27. INT. SUBTERRANEAN RIVER/ALIEN WORLD
Trevon and Sean squint, trying to stare at their saviors steering the battleship. Their eyes register a couple of amphibious beings who are determined to take them through catacombs along a subterranean river to a large underground city. For a moment it occurs to Trevon if the beings were taking them to safety or taking them as hostages. He looks around, shocked to see twelve-foot dark-skinned extraterrestrial humans roaming freely everywhere. Everything he thought was fiction from reading his father’s book is now turning into a reality albeit an alternate one.
Beginning: (Uncertainty) Trevon and Sean squint, trying to stare at their saviors steering the battleship. Their eyes register a couple of amphibious beings who are determined to take them through catacombs along a subterranean river to a large underground city.
Middle: (Internal Dilemma) For a moment it occurs to Trevon if the beings were taking them to safety or taking them as hostages.
Ending: (Surprise) He looks around, shocked to see twelve-foot dark-skinned extraterrestrial humans roaming freely everywhere. Everything he thought was fiction from reading his father’s book is now turning into a reality albeit an alternate one.
Scene Arc: From Trevon and Sean understanding of the underground city to their meeting with the leader of the rebellion.
28. INT. UNDERGROUND CITY
The amphibious beings assure Trevon and Sean that they will be safe here from the blood-thirsty army outside. They explain to them that this is where the rebellion hides from the ruthless warlord 1ONTAE. 1ONTAE came to their world in disguise as a friend and soon took over their paradise and turned it into hell. Since then, the rebellion has been fighting an age-old war to defeat him but they have been unsuccessful.
Beginning: (Uncomfortable Moment) The amphibious beings assure Trevon and Sean that they will be safe here from the blood-thirsty army outside.
Middle: (Superior Position) They explain to them that this is where the rebellion hides from the ruthless warlord 1ONTAE. 1ONTAE came to their world in disguise as a friend and soon took over their paradise and turned it into hell.
Ending: (Uncertainty) Since then, the rebellion has been fighting an age-old war and every effort to defeat him has been unsuccessful.
29. INT. LARGE CAVERN/UNDERGROUND CITY
Trevon and Sean meet FALLAG, the leader of the rebellion, who had been expecting them. Trevon is shocked to see him. He looks like an extraterrestrial alter-ego of Professor Campbell. Before Trevon can speak, FALLAG lays down an impossible condition. To find the assassin, Trevon must work for him.
Beginning: (Uncertainty) Trevon and Sean meet FALLAG, the leader of the rebellion, who had been expecting them.
Middle: (Surprise) Trevon is shocked to see him. He looks like an extraterrestrial alter-ego of Professor Campbell, calm, poised, and respectful.
Ending: (Character changes radically) Before Trevon can speak, FALLAG lays down an impossible condition. To find the assassin, Trevon must work for him.
Scene Arc: From Trevon meeting the water nymph to his understanding of the mission.
30. INT. BATHHOUSE/UNDERGROUND CITY
Trevon visits the bathhouse, nervous and distant. Working on a mission for FALLAG automatically catapulted him to enjoy a royal treatment. BIYOSUN, a dark-skinned water nymph, has been waiting to bathe him in the underground pool. She is drawn to him the minute she lays her eyes on him. She tells him they have all been waiting for his arrival. He gets suspicious of her motive and maintains his distance from her. Things are not what they seem to be around here.
Beginning: (Surprise) Trevon visits the bathhouse, nervous and distant. Working on a mission for FALLAG automatically catapulted him to enjoy a royal treatment.
Middle: (Intrigue) BIYOSUN, a dark-skinned water nymph, has been waiting to bathe him in the underground pool. She is drawn to him the minute she lays her eyes on him. She tells him they have all been waiting for his arrival.
Ending: (External Dilemma) He gets suspicious of her motive and maintains his distance from her. Things are not what they seem to be around here.
Scene Arc: From BIYOSUN letting out a secret to Trevon coming to a realization about the mission.
31. INT. DEN/UNDERGROUND CITY
Trevon comes to know that his inter-dimensional voyage has been pre-planned and he was intentionally brought here by FALLAG on a mission – to lure the evil genius TALIYA away from 1ONTAE’s forces and help the rebellion win the age-old war. Sean enters with some interesting piece of information about the alien world. Apparently every Earth-hour translates to approximately 730 planetary hours in this world. His words put a worried look on Trevon’s face. Trevon has four planetary years to fulfill FALLAG’s mission.
Beginning: (Betrayal) Trevon comes to know that his inter-dimensional voyage has been pre-planned and he was intentionally brought here by FALLAG on a mission – to lure the evil genius TALIYA away from 1ONTAE’s forces and help the rebellion win the age-old war.
Middle: (Intrigue) Sean enters with some interesting piece of information about the alien world. Apparently every Earth-hour translates to approximately 730 planetary hours in this world.
Ending: (External Dilemma) His words put a worried look on Trevon’s face. Trevon has four planetary years to fulfill FALLAG’s mission.
Scene Arc: From Trevon’s artifactory tour to seeing TALIYA’s life-size portrait.
32. INT. ARTIFACTORY/UNDERGROUND CITY
FALLAG takes Trevon on a tour of an artifactory with several precious artifacts on display. Trevon notices a life-size portrait of FALLAG with TALIYA and is shocked out of his socks. TALIYA looks like an enormous extraterrestrial alter-ego of himself.
Beginning: (More interesting setting) FALLAG takes Trevon on a tour of an artifactory with several precious artifacts on display.
Middle: (Surprise) Trevon notices a life-size portrait of FALLAG with TALIYA and is shocked out of his socks.
Ending: (Intrigue) TALIYA looks like an enormous extraterrestrial alter-ego of himself.
Scene Arc: From Trevon noticing the portrait of an abandoned DNA lab to realizing the intent behind his father’s murder.
33. INT. ARTIFACTORY/UNDERGROUND CITY
Trevon’s focus falls on another portrait of a structure with some familiar etchings on it. FALLAG explains that structure is an abandoned alien lab that nobody knows how to get into. And the etchings are of a cipher that was permanently lost in time. Trevon’s mind is instantly thrown into a realization. His father was the only one in possession of the cipher. And quite possibly became a target for the extraterrestrials.
Beginning: (Surprise) Trevon’s focus falls on another portrait of a structure with some familiar etchings on it.
Middle: (Superior Position) FALLAG explains that structure is an abandoned alien lab housing large chambers that can only be opened by a decoded cipher. And the etchings are of a cipher that was permanently lost in time.
Ending: (Misinterpretation) Trevon’s mind is instantly thrown into a realization. His father was the only one in possession of the cipher. And quite possibly became a target for the extraterrestrials.
Scene Arc: From FALLAG explaining Trevon the first phase of his mission to Trevon and Sean’s search for the abandoned alien lab.
INT. LARGE CAVERN/UNDERGROUND CITY
Oblivious of Trevon’s possession of the cipher, FALLAG explains the first phase of the mission to him. Trevon must travel undetected at night across the vast, barren, and smoldering war zone to the abandoned alien lab to obtain a DNA potion. He has to complete this by the break of day or risk being captured by 1ONTAE’s forces. Trevon questions him why he must take the risk. FALLAG explains to him there is a reason and when the time comes, he’ll let him know himself.
Beginning: (Suspense) Oblivious of Trevon’s possession of the cipher, FALLAG explains the first phase of the mission to him.
Middle: (External Dilemma) Trevon must travel undetected at night across the vast, barren, and smoldering war zone to the abandoned alien lab to obtain a DNA potion. He has to complete this by the break of day or risk being captured by 1ONTAE’s forces.
Ending: (Intrigue) Trevon questions him why he must take the risk. FALLAG explains to him there is a reason and when the time comes, he’ll let him know himself.
Scene Arc: From Trevon and Sean’s arrival at the abandoned alien lab to entering the lab.
35. EXT. MOUNTAIN SIDE/ALIEN WORLD – NIGHT
Accompanied by the amphibious twins, Trevon and Sean travel along the subterranean river, across the barren landscape, in the middle of the night and finally arrive at the abandoned alien lab sitting on the precarious edge of a mountain cliff. Trevon takes the cipher and quickly tucks it into his pocket. He tries to enter the lab but the entrance has been badly damaged and reduced to rubble. His only option now is to get inside from the back which overlooks a steep cliff.
Beginning: (Uncertainty) Accompanied by the amphibious twins, Trevon and Sean travel in the middle of the night and finally arrive at the abandoned alien lab sitting on the precarious edge of a mountain cliff.
Middle: (Uncomfortable Moment) He tries to enter the lab but the entrance has been badly damaged and reduced to rubble.
Ending: (Suspense) His only option now is to get inside from the back which overlooks a steep cliff.
36. EXT. MOUNTAIN CLIFF/ALIEN WORLD – NIGHT
Trevon realizes he can’t do it entirely himself. He checks the storage compartment of the battleship and finds a long rope. Trevon and Sean tie the ends of a rope around each other’s waist. They take turns to tread and swing along the precarious edge of the mountain cliff, braving the gusty winds, to reach the backside of the lab. Trevon checks his pockets with a concerned look. To his utter shock, he realizes he lost the cipher.
Beginning: (Uncertainty) Trevon realizes he can’t do it entirely himself. He checks the storage compartment of the battleship and finds a long rope.
Middle: (Uncomfortable Moment) Trevon and Sean tie the ends of a rope around each other’s waist. They take turns to tread and swing along the precarious edge of the mountain cliff, braving the gusty winds, to reach the backside of the lab.
Ending: (Intrigue) Trevon checks his pockets with a concerned look. To his utter shock, he realizes he lost the cipher.
Scene Arc: From Trevon and Sean’s entering the lab to realizing they can’t open the giant chambers without the cipher.
37. EXT. CLIFF OVERHANG/ALIEN WORLD – NIGHT
Trevon and Sean finally slide into the lab breaking open a glass window. They find dozens of giant transparent chambers housing test tubes cryogenically frozen. Outside each chamber is a cipher to unlock it.
Beginning: (More interesting setting) Trevon and Sean finally slide into the lab breaking open a glass window.
Middle: (Uncomfortable moment) They find dozens of giant transparent chambers housing test tubes cryogenically frozen.
Ending: (Intrigue) Outside each chamber is a cipher to unlock it.
Scene Arc: From Trevon and Sean’s entering the lab to realizing they can’t open the giant chambers without the cipher.
38. INT. ALIEN LAB/ALIEN WORLD – NIGHT
Trevon and Sean check the sophisticated locking system on the giant chambers. Sean looks at his watch and glances at Trevon. Trevon tries to unlock the first chamber with the memorized cipher. He fails. He tries the second one. No luck. They realize it’s going to be a long night.
Beginning: (Uncertainty) Trevon and Sean check the sophisticated locking system on the giant chambers. Sean looks at his watch and glances at Trevon.
Middle: (Uncomfortable moment) Trevon tries to unlock the first chamber with the memorized cipher. He fails. He tries the second one. No luck.
Ending: (Intrigue) They realize it’s going to be a long night.
Scene Arc: From Trevon and Sean spending the whole night trying to open the chambers to finally finding a way to open one.
39. INT. ALIEN LAB/ALIEN WORLD – NIGHT
Trevon and Sean have come to the point of exhaustion with no success. Sean checks his watch. The night’s almost over. He comes up with a plan. He needs to dig into his memory to picture the cipher once again.
Beginning: (Uncertainty) Trevon and Sean have come to the point of exhaustion with no success.
Middle: (Uncomfortable moment) Sean checks his watch. The night’s almost over.
Ending: (Intrigue) He comes up with a plan. He needs to dig into his memory to picture the cipher once again.
Scene Arc: From Trevon successfully opening a chamber to realizing it’s daybreak.
40. INT. ALIEN LAB/ALIEN WORLD – DAYBREAK
Trevon dials the sequence on the cipher in front of a chamber as Sean recites the combination from his memory. The chamber door finally juts open. Trevon rejoices and looks inside. Finds one last test tube precariously hanging by the edge. He picks it up when a flash of light hits his face. With a concerned look, he watches as the first rays of daybreak hit the chamber.
Beginning: (Uncertainty) Trevon dials the sequence on the cipher in front of a chamber as Sean recites the combination from his memory.
Middle: (Surprise) The chamber door finally juts open. Trevon rejoices and looks inside. Finds one last test tube precariously hanging by the edge.
Ending: (Suspense) He picks it up when a flash of light hits his face. With a concerned look, he watches as the first rays of daybreak hit the chamber.
Scene Arc: From Trevon grabbing the DNA potion to their escape from 1ONTAE’s army.
41. EXT. BARREN LANDSCAPE/ALIEN WORLD – DAYBREAK
Trevon and Sean, along with the amphibian twins, speed across the alien terrain in their battleship. They must quickly go underground before 1ONTAE’s army has them in their crosshairs. Suddenly, a barrage of thunderbolts are fired in their direction from behind. Trevon and Sean duck for cover but one of the twins is killed in the shootout. Trevon realizes he must assist the other twin and get them to safety.
Beginning: (Uncertainty) Trevon and Sean, along with the amphibian twins, speed across the alien terrain in their battleship. They must quickly go underground before 1ONTAE’s army has them in their crosshairs.
Middle: (Surprise) Suddenly, a barrage of thunderbolts are fired in their direction from behind. Trevon and Sean duck for cover but one of the twins is killed in the shootout.
Ending: (Uncomfortable Moment) Trevon realizes he must assist the other twin and get them to safety.
42. INT. UNDERGROUND CITY
No matter how fast they go, 1ONTAE’s army keeps closing in. As they get closer to the edge of the chasm, Trevon decides to surprise the army with some crafty basketball moves. He slows the battleship down, then lets it rise high up before bringing it down like a windmill dunk into the ravine to enter the catacombs. Sean applauds Trevon’s instinctive moves as they traverse along the subterranean river. FALLAG welcomes Trevon with a warm hug and pats him on the back. But he stops short of praising him, warning that the second phase is a much more dangerous one.
Beginning: (Uncomfortable Moment) No matter how fast they go, 1ONTAE’s army keeps closing in.
Middle: (Surprise) As they get closer to the edge of the chasm, Trevon decides to surprise the army with some crafty basketball moves. He slows the battleship down, then lets it rise high up before bringing it down like a windmill dunk into the ravine to enter the catacombs.
Ending: (Suspense) FALLAG welcomes Trevon with a warm hug and pats him on the back. But he stops short of praising him, warning that the second phase is a much more dangerous one.
Scene Arc: From Trevon realizing he must finally face TALIYA to Sean hatching a plan to give Trevon an advantage.
43. INT. BATHHOUSE/UNDERGROUND CITY
Trevon shudders at the thought of facing his extraterrestrial alter-ego, let alone enticing him. But the time has come he needs to rise up to the occasion. Later at the bathhouse, BIYOSUN keeps showing interest in Trevon as she lovingly embraces him. But he reciprocates indifferently. Meanwhile, Sean comes to know of TALIYA’s weakness for basketball. Having seen the Trevon’s crafty moves with the battleship, he hatches a plan that would turn the needle to Trevon’s advantage.
Beginning: (Uncertainty) Trevon shudders at the thought of facing his extraterrestrial alter-ego, let alone enticing him. But the time has come he needs to rise up to the occasion.
Middle: (Internal Dilemma) Later at the bathhouse, BIYOSUN keeps showing interest in Trevon as she lovingly embraces him. But he reciprocates indifferently.
Ending: (Intrigue) Meanwhile, Sean comes to know of TALIYA’s weakness for basketball. Having seen the Trevon’s crafty moves with the battleship, he hatches a plan that would turn the needle to Trevon’s advantage.
Scene Arc: From Trevon arriving at the valley to watching TALIYA play.
44. EXT. VALLEY/ALIEN WORLD – DAYBREAK
Trevon and Sean, along with the surviving amphibian twin, arrive in a battleship, desperate to watch TALIYA and his men shoot hoops. They hide in a crevice as Trevon watches them play at a very high level. His mind can barely keep up with their pace but his heart is surprisingly pleased to see TALIYA score time after time.
Beginning: (More interesting setting) Trevon and Sean, along with the surviving amphibian twin, arrive in a battleship, desperate to watch TALIYA and his men shoot hoops.
Middle: (Suspense) They hide in a crevice as Trevon watches them play at a very high level.
Ending: (Intrigue) His mind can barely keep up with their pace but his heart is surprisingly pleased to see TALIYA score time after time.
Scene Arc: From Trevon embracing Sean’s plan to entice TALIYA to play basketball with him to his getting a reality check.
45. EXT. VALLEY/ALIEN WORLD – DAY
To entice TALIYA to play a game of basketball with him, Trevon realizes he needs to show some skills of his own. He waits until TALIYA and his men leave before getting on the court. But he quickly gets a reality check. He can barely handle the ball, barely dribble it, and barely shoot it into the hoop.
Beginning: (Uncertainty) To entice TALIYA to play a game of basketball with him, Trevon realizes he needs to show some skills of his own.
Middle: (Suspense) He waits until TALIYA and his men leave before getting on the court.
Ending: (Misinterpretation) But he quickly gets a reality check. He can barely handle the ball, barely dribble it, and barely shoot it into the hoop.
Scene Arc: From Trevon practicing hard to finally getting TALIYA’s attention.
46. EXT. VALLEY/ALIEN WORLD – DAY
To have the slightest chance of enticing TALIYA into the rebellion, Trevon realizes he really needs play better on the court. He arrives at the court every morning and practices hard. He fine tunes his game to adjust to the physics of the alien world. One day he comes to know that TALIYA has been secretly watching him play.
Beginning: (Uncomfortable Moment) To have the slightest chance of enticing TALIYA into the rebellion, Trevon realizes he really needs play better on the court.
Middle: (Uncertainty) He arrives at the court every morning and practices hard. He fine tunes his game to adjust to the physics of the alien world.
Ending: (Intrigue) One day he comes to know that TALIYA has been secretly watching him play.
Scene Arc: From Trevon impressing TALIYA to getting a chance to play with him.
47. EXT. VALLEY/ALIEN WORLD – DAY
Trevon has finally made it. He has earned TALIYA’s respect on the court. They begin to bond over basketball like brothers. But he remains skeptical. Things could turn on a dime. Soon, the day comes when TALIYA invites him to a one-on-one game.
Beginning: (Surprise) Trevon has finally made it. He has earned TALIYA’s respect on the court.
Middle: (Uncertainty) They begin to bond over basketball like brothers. But he remains skeptical. Things could turn on a dime.
Ending: (Intrigue) Soon, the day comes when TALIYA invites him to a one-on-one game.
Scene Arc: From BIYOSUN continuing her advances towards Trevon to him getting flustered about playing TALIYA the following day.
48. INT. BATHHOUSE/UNDERGROUND CITY
BIYOSUN lovingly gives Trevon a rub and bathes him with care. He is smitten by her beauty for the first time, but controls himself to prevent any kind of distraction. He gets a little flustered by what’s ahead the next day. He needs to hold the syringe and strike at the right moment to inject the DNA potion into TALIYA. One wrong move and TALIYA could finish him off in a blink.
Beginning: (Internal Dilemma) BIYOSUN lovingly gives Trevon a rub and bathes him with care. He is smitten by her beauty for the first time, but controls himself to prevent any kind of distraction.
Middle: (Uncertainty) He gets a little flustered by what’s ahead the next day.
Ending: (Suspense) He needs to hold the syringe and strike at the right moment to inject the DNA potion into TALIYA. One wrong move and TALIYA could finish him off in a blink.
Scene Arc: From Trevon getting humiliated on the court to Sean resorting to a desperate need to devise an alternate plan.
49. EXT. VALLEY/ALIEN WORLD – DAYBREAK
Trevon gets completely humiliated on the court as TALIYA is unstoppable with his deft moves and pinpoint shooting. Sean shakes his head. Looks at his watch. Almost Twenty four Earth hours have already passed. They desperately need to devise an alternate plan.
Beginning: (Uncomfortable Moment) Trevon gets completely humiliated on the court as TALIYA is unstoppable with his deft moves and pinpoint shooting.
Middle: (Uncertainty) Sean shakes his head. Looks at his watch. Almost Twenty four Earth hours have already passed.
Ending: (Suspense) They desperately need to devise an alternate plan.
Scene Arc: From Trevon trying hard to sleep to BIYOSUN joining him in the pool.
50. INT. DEN/UNDERGROUND CITY
Trevon tries hard to fall asleep, but his mind won’t let him. He gets up and nervously paces around the mound overlooking the subterranean river. He decides to go for a swim and enters the underground pool. BIYOSUN peeks from behind a curtain, curiously. He notices and invites her to join him. She blushes, hesitates for a bit, and joins him.
Beginning: (Uncomfortable Moment) Trevon tries hard to fall asleep, but his mind won’t let him.
Middle: (Uncertainty) He gets up and nervously paces around the mound overlooking the subterranean river. He decides to go for a swim and enters the underground pool.
Ending: (Intrigue) BIYOSUN peeks from behind a curtain, curiously. He notices and invites her to join him. She blushes, hesitates for a bit, and joins him.
Scene Arc: From Trevon and BIYOSUN playing romantic games to their intimate moment.
51. INT. POOL/UNDERGROUND CITY
Trevon and BIYOSUN wade gently through the water, circling closer to each other. He gazes unwaveringly at her beautiful body. She notices the twinkle in his eyes. They kiss and enjoy an intimate moment.
Beginning: (More interesting setting) Trevon and BIYOSUN wade gently through the water, circling closer to each other.
Middle: (Suspense) He gazes unwaveringly at her beautiful body. She notices the twinkle in his eyes.
Ending: (Intrigue) They kiss and enjoy an intimate moment.
Scene Arc: From Trevon and BIYOSUN sharing the bed to BIYOSUN’s stealth and surprising move.
52. INT. DEN/UNDERGROUND CITY
Trevon is fast asleep with BIYOSUN lying naked by his side. She quietly gets up, walks over to his shoes and checks them. She then gingerly opens a box, pulls out a tiny device, and sticks it under his shoe. She then quietly slips back next to him as he tosses in bed.
Beginning: (More interesting setting) Trevon is fast asleep with BIYOSUN lying naked by his side.
Middle: (Character changes radically) She quietly gets up, walks over to his shoes and checks them. She then gingerly opens a box, pulls out a tiny device, and sticks it under his shoe.
Ending: (Intrigue) She then quietly slips back next to him as he tosses in bed.
Scene Arc: From Trevon’s court appearance to getting another chance to play TALIYA.
53. EXT. VALLEY/ALIEN WORLD – DAY
Trevon arrives at the court to practice but is greeted by TALIYA. TALIYA feels sorry for the previous day’s thumping and wants to give him another chance. Trevon rejoices at the opportunity but then has a worried look on his face. This may be the only chance he ever gets. His heart pounds faster as he puts his shoes on.
Beginning: (Surprise) Trevon arrives at the court to practice but is greeted by TALIYA.
Middle: (Character changes radically) TALIYA feels sorry for the previous day’s thumping and wants to give him another chance.
Ending: (Uncertainty) Trevon rejoices at the opportunity but then has a worried look on his face. This may be the only chance he ever gets. His heart pounds faster as he puts his shoes on.
Scene Arc: From Trevon’s renewed energy to injecting the DNA potion into TALIYA.
54. EXT. VALLEY/ALIEN WORLD – DAY
Trevon is surprised to feel a bounce in his step. He hides his left hand holds the ball in his right, then dribbles slow, dribbles low, dribbles fast, and tosses an alley oop. He then jumps up, plants his left hand in the back of TALIYA’s head, and leaps high into the air. TALIYA is taken by surprise at Trevon’s sensational move. Before he could turn around, Trevon does a 360 flip in midair and tries to perform a tomahawk dunk. But he ends up losing the ball and comes crashing to the ground. TALIYA is in stitches, seeing Trevon’s plight but feels a strange sensation brew inside of him. Trevon checks the syringe in his left hand. It’s empty.
Beginning: (Surprise) Trevon is surprised to feel a bounce in his step. He hides his left hand holds the ball in his right, then dribbles slow, dribbles low, dribbles fast, and tosses an alley oop.
Middle: (Uncertainty) He then jumps up, plants his left hand in the back of TALIYA’s head, and leaps high into the air. TALIYA is taken by surprise at Trevon’s sensational move. Before he could turn around, Trevon does a 360 flip in midair and tries to perform a tomahawk dunk.
Ending: (Suspense) But he ends up losing the ball and comes crashing to the ground. TALIYA is in stitches, seeing Trevon’s plight but feels a strange sensation brew inside of him. Trevon checks the syringe in his left hand. It’s empty.
Scene Arc: From Trevon’s success on the court to bringing TALIYA home.
55. INT. CATACOMBS/UNDERGROUND CITY
TALIYA wakes up from a deep sleep, trying to shake off the woozy feeling. He looks around befuddled as he rides the amphibious battleship along the subterranean river with Trevon, Sean, and the surviving amphibious twin. Trevon smiles at him calmly. Tells him he is finally back home. FALLAG is overcome with emotion as he welcomes his son and embraces him lovingly.
Beginning: (Surprise) TALIYA wakes up from a deep sleep, trying to shake off the woozy feeling.
Middle: (Uncertainty) He looks around befuddled as he rides the amphibious battleship along the subterranean river with Trevon, Sean, and the surviving amphibious twin.
Ending: (Intrigue) Trevon smiles at him calmly. Tells him he is finally back home.
Scene Arc: From TALIYA’s reunion with his father to the rebellion planning their strategy to defeat 1ONTAE’s enemy. FALLAG is overcome with emotion as he welcomes his son and embraces him lovingly.
56. INT. LARGE CAVERN/UNDERGROUND CITY
Trevon and Sean watch as FALLAG, TALIYA and the rebel soldiers plan their strategy. They decide to surprise the enemy forces by attacking them from multiple fronts. FALLAG turns and smiles at Trevon. Trevon reminisces thoughtfully, noticing the look of joy on his face. He feels disappointed in himself.
Beginning: (Character changes radically) Trevon and Sean watch as FALLAG, TALIYA and the rebel soldiers plan their strategy. They decide to surprise the enemy forces by attacking them from multiple fronts.
Middle: (Internal Dilemma) FALLAG turns and smiles at Trevon. Trevon reminisces thoughtfully, noticing the look of joy on his face.
Ending: (Uncomfortable Moment) He feels disappointed in himself.
Scene Arc: From the beginning of the war to the rebellion’s victory over 1ONTAE’s forces.
57. EXT. BATTLEFIELD/ALIEN WORLD – NIGHT
FALLAG, TALIYA, and the rebellion split up into smaller platoons led by powerful rebel warlords. They surprise 1ONTAE’s army before the break of daylight catching them flat-footed. 1ONTAE gets the news of the attack and scrambles to assemble his army to fight multiple fronts. A bloody war ensues and goes on for days. Although fewer in numbers, TALIYA, FALLAG, and their respective platoons take extreme risks of tremendously weakening 1ONTAE’s army by splitting them up into chaotic units. They have to execute their strategy perfectly or end up getting obliterated by the enemy. Finally, after months of fighting, the rebellion successfully defeats 1ONTAE’s forces. 1ONTAE is chased away and exiled from the planet. Sean checks his watch and gestures to Trevon. They only have one Earth-hour left to return.
Beginning: (Suspense) FALLAG, TALIYA, and the rebellion split up into smaller platoons led by powerful rebel warlords. They surprise 1ONTAE’s army before the break of daylight catching them flat-footed. 1ONTAE gets the news of the attack and scrambles to assemble his army to fight multiple fronts.
Middle: (External Dilemma) A bloody war ensues and goes on for days. Although fewer in numbers, TALIYA, FALLAG, and their respective platoons take extreme risks of tremendously weakening 1ONTAE’s army by splitting them up into chaotic units. They have to execute their strategy perfectly or end up getting obliterated by the enemy.
Ending: (Uncomfortable Moment) Finally, after months of fighting, the rebellion successfully defeats 1ONTAE’s forces. 1ONTAE is chased away and exiled from the planet. Sean checks his watch and gestures to Trevon. They only have one Earth-hour left to return.
Scene Arc: From FALLAG’s installment as the emperor to Trevon getting an unexpected news.
58. EXT. EXTRATERRESTRIAL PALACE/ALIEN WORLD – DAY
FALLAG’s supporters weep with joy as he is reinstalled as the emperor. He immediately felicitates Trevon and Sean. TALIYA, clad in extraterrestrial armor, picks up his thunderbolt weapon and upstands next to his father. He takes the oath and promises to serve as the able minister and protector of his people. Sean keeps checking his watch nervously. Trevon recollects his father’s golden words when he gets an unexpected news.
Beginning: (More interesting setting) FALLAG’s supporters weep with joy as he is reinstalled as the emperor. He immediately felicitates Trevon and Sean. TALIYA, clad in extraterrestrial armor, picks up his thunderbolt weapon and stands next to his father. He takes the oath and promises to serve as the able minister and protector of his people.
Middle: (Uncertainty) Sean keeps checking his watch nervously.
Ending: (Suspense) Trevon recollects his father’s golden words when he gets an unexpected news.
Scene Arc: From Trevon and Sean bidding their goodbyes to Trevon’s emotional meeting BIYOSUN.
59. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
FALLAG realizes the time has come for Trevon and Sean to leave this world and go back to their own. He apologizes to Trevon for not being able to answer his question about who his father’s assassin was. Trevon wears a look of astonishment on his face. He feels disappointed that after spending almost four years in this world, he still hasn’t accomplished what he had come here for.
Beginning: (Character changes radically) FALLAG realizes the time has come for Trevon and Sean to leave this world and go back to their own. He apologizes to Trevon for not being able to answer his question about who his father’s assassin was.
Middle: (Uncomfortable Moment) Trevon wears a look of astonishment on his face.
Ending: (Uncertainty) He feels disappointed that after spending almost four years in this world, he still hasn’t accomplished what he had come here for.
60. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
FALLAG puts Trevon on a pedestal and looks straight at him. He closes his eyes as telepathically delivers a message to him. He tells him the message will sit in his mind and enlighten him once he gets back to his own world. That’s all he can offer him in return. Trevon tries to hide his disappointment in a deadpan manner. He feels like he’s coming home empty-handed.
Beginning: (Uncomfortable Moment) FALLAG puts Trevon on a pedestal and looks straight at him. He closes his eyes as telepathically delivers a message to him.
Middle: (Character changes radically) He tells him the message will sit in his mind and enlighten him once he gets back to his own world. That’s all he can offer him in return.
Ending: (Uncertainty) Trevon tries to hide his disappointment in a deadpan manner. He feels like he’s coming home empty-handed.
61. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
A broken-hearted and teary-eyed BIYOSUN approaches Trevon holding a baby in her arms. She gives him the unexpected news that he’s the father of the baby. Trevon looks on, deadpan, feeling numb to her shocking news. She tells him she will die once he leaves. It was written in her prophecy. That she must sacrifice her life for the man she loves. Trevon is instantly moved by her words. He hugs her and coddles the baby lovingly, disappointed with himself that he will not be there for her or the baby.
Beginning: (Major twist) A broken-hearted and teary-eyed BIYOSUN approaches Trevon holding a baby in her arms. She gives him the unexpected news that he’s the father of the baby.
Middle: (Uncomfortable Moment) Trevon looks on, deadpan, feeling numb to her shocking news. She tells him she will die once he leaves. It was written in her prophecy. That she must sacrifice her life for the man she loves.
Ending: (Uncertainty) Trevon is instantly moved by her words. He hugs her and coddles the baby lovingly, disappointed with himself that he will not be there for her or the baby.
Scene Arc: From Trevon and Sean embarking on their return journey to Sean getting lost along the way.
62. INT. SPACE-TIME VACCUUM
Trevon and Sean are thrust back again into the astral vortex. It’s a bumpy ride back to the real world. But the unthinkable happens. A turbulent force comes out of nowhere and knocks Sean out of the vortex. The prophecy Sean feared would come true certainly did. Trevon screams to him but he can’t save him.
Beginning: (Uncomfortable Moment) Trevon and Sean are thrust back again into the astral vortex. It’s a bumpy ride back to the real world.
Middle: (Major twist) But the unthinkable happens. A turbulent force comes out of nowhere and knocks Sean out of the vortex. The prophecy Sean feared would come true certainly did.
Ending: (Uncertainty) Trevon screams to him but he can’t save him.
Scene Arc: From Trevon’s return to the real world to Dr. Sklar giving him the bad news.
63. INT. DR. SKLAR’S LAB/NEW YORK – DAY
A depressed Trevon emerges out of the AI powered machine. Dr. Sklar delivers the bad news to him. Sean couldn’t be saved. Trevon lets out an emotional scream, drowning in sorrow.
Beginning: (Uncomfortable Moment) A depressed Trevon emerges out of the AI powered machine.
Middle: (Major twist) Dr. Sklar delivers the bad news to him. Sean couldn’t be saved.
Ending: (Uncertainty) Trevon lets out an emotional scream, drowning in sorrow.
Scene Arc: From Trevon’s enlightenment to fulfilling his new mission.
64. INT. SUBWAY – DAY
Trevon rides the subway, deeply engrossed in his father’s book when he suddenly gets distracted by a homeless man walking across the subway car in ragged clothing. A sudden realization hits him. The telepathic message delivered to him by FALLAG unfolds in his mind. He suddenly gets answers to all his questions. He has no choice but to make peace with them. But he feels like a changed person, with a new mission – to enlighten others seeking knowledge. He looks out the window as the train approaches a station.
Beginning: (Uncomfortable Moment) Trevon rides the subway, deeply engrossed in his father’s book when he suddenly gets distracted by a homeless man walking across the subway car in ragged clothing.
Middle: (Cliffhanger) A sudden realization hits him. The telepathic message delivered to him by FALLAG unfolds in his mind. He suddenly gets answers to all his questions. He has no choice but to make peace with them.
Ending: (Character changes radically) But he feels like a changed person, with a new mission – to enlighten others seeking knowledge. He looks out the window as the train approaches a station.
Scene Arc: From Trevon filing his nomination to run in the upcoming elections to obtaining the approval.
65. EXT. APARTMENT/NEW YORK CITY – DAY
Trevon checks his mailbox. Opens an envelope waiting for him with a letter inside. His anonymous candidacy has been approved for the upcoming elections. But DuVernay doesn’t know this.
Beginning: (Suspense) Trevon checks his mailbox. Opens an envelope waiting for him with a letter inside.
Middle: (Surprise) His anonymous candidacy has been approved for the upcoming elections.
Ending: (Intrigue) But DuVernay doesn’t know this.
Scene Arc: From Trevon’s excitement to finding love yet again.
66. EXT. APARTMENT/NEW YORK CITY – DAY
Trevon lets out an ecstatic roar upon reading the letter. Bionca, a young black journalist, walking into the building is startled by his excitement. Their eyes meet. He gets a feeling of Deja vu. It’s love at first sight – yet again.
Beginning: (Uncomfortable Moment) Trevon lets out an ecstatic roar upon reading the letter. Bionca, a young black journalist, walking into the building is startled by his excitement.
Middle: (Intrigue) Their eyes meet. He gets a feeling of Deja vu.
Ending: (Surprise) It’s love at first sight – yet again.
Scene Arc: From Trevon’s anonymous election campaign to waiting eagerly the night before the results.
67. EXT. CAMPAIGN EVENT/STADIUM – DAY
Bionca helps put together an effective election campaign strategy for Trevon. They have to weaken DuVernay’s strong hold on their people by exposing his corrupt ways from multiple fronts. Trevon tries to bond with the commoners on the neighborhood basketball courts. Their supporters keep building slowly as Trevon sermonizes the ultimate truth, the truth passed to him by the enlightening message.
Beginning: (Suspense) Bionca helps put together an effective election campaign strategy for Trevon. They have to weaken DuVernay’s strong hold on their people by exposing his corrupt ways from multiple fronts.
Middle: (Uncertainty) Trevon tries to bond with the commoners on the neighborhood basketball courts.
Ending: (Intrigue) Their supporters keep building slowly as Trevon sermonizes the ultimate truth, the truth passed to him by the enlightening message.
68. INT. LIVING ROOM – NIGHT
Trevon and Bionca continue to keep a low profile as their campaign comes to an end the it’s the night before the results are declared. They lay cuddled on the sofa, eating out of a popcorn bowl and watching the election results on TV. Suddenly the popcorn bowl gets tossed in the air as they both jump up in joy. Popcorn rains on them like confetti. He has finally fulfilled his father’s ambition. It’s official. He has defeated DuVernay.
Beginning: (Uncertainty) Trevon and Bionca continue to keep a low profile as their campaign comes to an end the it’s the night before the results are declared.
Middle: (Suspense) They lay cuddled on the sofa, eating out of a popcorn bowl and watching the election results on TV.
Ending: (Surprise) Suddenly the popcorn bowl gets tossed in the air as they both jump up in joy. Popcorn rains on them like confetti. He has finally fulfilled his father’s ambition. It’s official. He has defeated DuVernay.
Scene Arc: From Trevon’s anonymous election campaign to waiting eagerly the night before the results.
69. INT. PENTHOUSE/MANHATTAN – NIGHT
A dozen cops knock on DuVernay’s door. DuVernay comes to know he’s being arrested for corruption and misleading the public. He has a total meltdown when the identity of the winning candidate is revealed.
Beginning: (Suspense) A dozen cops knock on DuVernay’s door.
Middle: (Cliffhanger) DuVernay comes to know he’s being arrested for corruption and misleading the public.
Ending: (Uncomfortable Moment) He has a total meltdown when the identity of the winning candidate is revealed.
Scene Arc: From Trevon’s first post election speech to fully embracing his father’s life-long ambition.
70. EXT. TALL BUILDING/MANHATTAN – DAY
Trevon delivers his first speech as an elected official, unsure of how the crowd would react. He stands at the makeshift podium, voicing his father’s philosophies, as he addresses the youngsters with an uplifting speech. He emphasizes that peace, love and thirst for knowledge are the basic and primal traits of human beings. Hatred, Anger, Jealousy, Lust, Violence and Corruption are derived traits formed from our experiences. If we let them persist, they will create roadblocks, take away the purpose from our lives, and prevent us from advancing further. There is an awkward pause for a moment before the crowd erupts in applause. Confetti rains around them. They have finally elected a true and able leader.
Beginning: (Suspense) Trevon delivers his first speech as an elected official, unsure of how the crowd would react. He stands at the makeshift podium, voicing his father’s philosophies, as he addresses the youngsters with an uplifting speech.
Middle: (Uncertainty) He emphasizes that peace, love and thirst for knowledge are the basic and primal traits of human beings. Hatred, Anger, Jealousy, Lust, Violence and Corruption are derived traits formed from our experiences. If we let them persist, they will create roadblocks, take away the purpose from our lives, and prevent us from advancing further.
Ending: (Surprise) There is an awkward pause for a moment before the crowd erupts in applause. Confetti rains around them. They have finally elected a true and able leader.
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