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Lesson 9
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Subject Line: Claudia’s Scene Requirements
My vision: To become the best screenwriter I can be, and to find success in the industry.
What I learned from this assignment is…damn this is hard! And that it took me longer than I expected. I also learned that I had too many scenes so I needed to delete some. I also can’t figure out how to fit all of this information into fewer than 12 pages (unless I eliminated all spacing, in which case I couldn’t read it)!
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Wings of Grace/Lieutenant Ann – Outline
Act 1:
1. EXT. TRAIN PLATFORM – DAY
Scene Arc: From Grace with her family to Grace getting on the train to go to war.
Grace says farewell to her family as she heads to war as an Army nurse.
Essence: Grace has volunteered to serve in WWII.
Conflict: Her family should be proud – but instead they are worried she will disappoint them.
Subtext: What is her family worried about?
Hope/Fear: We hope Grace will make her family proud. We fear that she may not – or even that she may be wounded or die.
2. INT. ARMY FIELD HOSPITAL SOMEWHERE IN FRANCE – DAY
Scene Arc (next 3 scenes): From Grace meeting her mentor (positive) to meeting her commanding officer (negative) to learning more about her two fellow nurses.
Grace watches another Army nurse, Ann, evaluate and treat a patient.
Essence: Grace watches, and is awed by, an experienced and highly competent nurse who doesn’t bend to authority.
Conflict: Ann is angry at what she views as a mistake by the attending physician, and refuses to follow his treatment plan.
Subtext: Grace wishes she could be like Ann.
Hope/Fear: We hope Ann’s treatment is correct/We fear that she could be wrong.
3. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Grace meets Dr. Samuel Grey, her commanding officer, and fellow nurse Rachel Schneider.
Essence: Grace learns that her commanding officer is racist and misogynistic.
Conflict: How will the nurses manage to work with someone like him?
Subtext: Dr. Grey doesn’t care about the women working for him – or the Blacks under his care.
Hope/Fear: We hope the nurses can work around him/We fear that they won’t be able to do so.
4. INT. ARMY BARRACKS – NIGHT
Ann takes Grace and Rachel to the barracks room they will be sharing. It is spotless. Ann put herself through nursing school by cleaning offices at night – but refuses to say why her parents wouldn’t help her.
Essence: We learn something new about Ann – but questions remain.
Conflict: What is Ann hiding?
Subtext: There is something in Ann’s background that we don’t know/understand.
Hope/Fear: We hope these nurses will get along/We fear that they won’t.
5. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc (next two scenes): From Grace meeting the man she will love to learning that he has no interest in any kind of relationship with her.
Grace meets Booker, a Tuskegee airman and his friend, Keith Washington as she clears them for their next mission. She is immediately drawn to Booker – and also notices how others treat him. Ann notices the attraction and is jealous, but pretends not to care.
Essence: Grace meets someone special.
Conflict: He’s Black and she’s White.
Subtext: There are obstacles in store for them.
Hope/Fear: We hope they can get together/we fear that they can’t.
6. EXT. ARMY AIRFIELD – DAY
Booker and Keith ready their aircraft to fly their next mission, chatting about one nurse in particular – Grace.
Essence: Booker admits the attraction.
Conflict: He won’t pursue it.
Subtext: Why won’t he pursue it?
Hope/Fear: We hope he changes his mind/we fear that he won’t.
7. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From Rachel refusing to treat a patient to Grace impressing Ann.
An injured Russian soldier arrives at the field hospital. Rachel balks at treating him, so Grace takes over. Ann is impressed with Grace’s knowledge and skill in diagnosis and treatment. Ann brings a first edition Dickens novel to a wounded soldier.
Essence: We learn about the nurse’s characters and skills.
Conflict: Why won’t Rachel treat the Russian soldier?
Subtext: There’s something in Rachel’s past.
Hope/Fear: We hope Grace does a good job/We fear Rachel knows something we don’t.
8. INT. ARMY MESS HALL – NIGHT
Scene Arc: From Grace lightheartedly flirting to Booker shutting her down.
Grace and Booker run into each other at the mess hall. She can’t help flirting; he tries hard to stay aloof.
Essence: Grace and Booker are attracted to each other.
Conflict: He doesn’t want to be attracted to her.
Subtext: Grace wants something that Booker doesn’t want.
Hope/Fear: We hope Booker changes his mind/we fear he won’t.
9. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From Ann and Booker interacting politely to mutual dislike.
Ann is clearing Booker for his next mission. Ann is aggressive and disagreeable. Booker is polite and aloof but subtly makes clear that he doesn’t like her either.
Essence: Booker needs to be cleared to fly.
Conflict: Ann doesn’t like him.
Subtext: Ann is jealous.
Hope/Fear: We hope that they will end up getting along/We fear that they will not.
10. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From taking orders to watching a patient die.
Dr. Grey directs a course of treatment on a Tuskegee airman that Grace and Ann believe to be incorrect. Against Ann’s strong urging, Grace follows Dr. Grey’s directions. The patient dies.
Essence: Grace needs to care for a soldier.
Conflict: Grace needs to decide between following orders and doing what she thinks is right.
Subtext: The nurses know more than Dr. Grey.
Hope/Fear: We hope Grace will make the right choice/we fear she will make the wrong choice.
Act 2:
11. INT. ARMY MESS HALL – NIGHT
Scene Arc: From Grace feeling distraught to angry.
As Grace blames herself for her patient’s death, Booker tells her that Dr. Grey doesn’t care whether Tuskegee airmen live or die.
Essence: Booker understands how Grace feels.
Conflict: Will Grace keep blaming herself?
Subtext: Grace needs to learn to stand up for herself.
Hope/Fear: We hope Grace will stop blaming herself for Dr. Grey’s error/We fear she won’t.
12. INT. ARMY BARRACKS – NIGHT
Scene Arc (next 4 scenes): From getting ready for a fancy night out to being sent to the Army psychiatrist for trying to go to the Officer’s Club.
Grace prepares to post a letter to her parents about her feelings for Booker as the nurses put on their fanciest clothes and high heels, doing their hair.
Essence: Grace wants her parents to know she’s found someone special.
Conflict: They may not approve.
Subtext: Grace needs her parent’s approval.
Hope/Fear: We hope her parents will approve/we fear that they won’t approve.
13. INT. ARMY OFFICER’S CLUB – NIGHT
Grace, Ann and Rachel try to enter the Officer’s Club – without a male escort. They are removed.
Essence: The nurses want to have a night out in the Club they pay for.
Conflict: Will they succeed?
Subtext: The nurses try to stand up for their rights.
Hope/Fear: We hope they will succeed/We fear that they will fail.
14. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey tells Grace, Ann and Rachel that he is sending them to an Army psychiatrist for their attempt to enter the Officer’s Club. Grace is mortified – and terrified that her family will find out. Rachel is stoic. Ann is angry.
Essence: The nurses are punished for their disobedience.
Conflict: How will they react?
Subtext: Grace, Ann and Rachel are at different points in their personal journeys.
Hope/Fear: We hope they will fight back/we fear what will happen if they do.
15. INT. PSYCHIATRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Ann about her disobedience while she fumes.
Essence: The Army thinks the women were wrong for standing up for themselves.
Conflict: Ann is furious at the psychiatrist – and the Army.
Subtext: Ann knows that she is right.
Hope/Fear: We hope Ann fights back/we fear what will happen if she does.
16. INT/EXT. A DOGFIGHT IN THE SKY ABOVE RURAL FRANCE – DAY
Scene Arc (next 2 scenes): From saving the life of a pilot to having that pilot take the credit.
Booker performs heroically and saves the life of another pilot in a dogfight.
Essence: Booker is protecting another plane.
Conflict: Dogfight.
Subtext: Booker is a skilled and daring pilot.
Hope/Fear: We hope that Booker will save the day/we fear that he will not.
17. EXT. ARMY AIRFIELD – DAY
The White pilot claims credit for winning the dogfight – and claims he saved Booker, who messed up.
Essence: Booker fails to get the credit for his heroic actions.
Conflict: Because he is Black, his heroics are discounted – or claimed by others.
Subtext: The Army is still racist.
Hope/Fear: We hope that Booker will get credit for his heroics/we fear that he will not.
18. INT. ARMY BARRACKS – NIGHT
Scene Arc: From hope that her parents will approve to disappointment that they don’t.
Grace eagerly opens a letter from her parents – only to be devastated by them forbidding her from any kind of relationship with “a man like that.” Ann, seeing an opening, piles on – telling the story of Booker falsely claiming credit for winning the dogfight.
Essence: Grace gets a response from her parents.
Conflict: It is not the response she wanted.
Subtext: Grace is too deferential to others.
Hope/Fear: We hope she will ignore her parents/we fear that she will not.
19. INT. ARMY OFFICER’S CLUB – NIGHT
Scene Arc: From a romantic date to sex.
Grace goes on a date with the handsome and charming Liam Connelly. They end up having sex.
Essence: Grace has a date.
Conflict: Will Liam end up being the right man for her?
Subtext: Grace is trying to move on from Booker.
Hope/Fear: We hope he is the right man for her/we fear he isn’t.
20. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From a casual chat to Ann realizing that Grace is lying.
Grace, Ann and Rachel meet a new nurse, Susan. Grace slips and says she has six siblings. Ann notices. Grace again shows impressive knowledge and skill.
Essence: The nurses are getting to know a new nurse, while they work.
Conflict: Ann realizes Grace has lied to her.
Subtext: Why has Grace changed her story on how many siblings she has?
Hope/Fear: We hope it isn’t bad/we fear that it is.
21. INT. ARMY MESS HALL – DAY
Scene Arc: From criticizing racism in the US to highlighting antisemitism in Russia.
Rachel and Booker discuss the Jews under the Nazis, Blacks under Jim Crow – and Russia.
Essence: Rachel and Booker’s families have both faced discrimination.
Conflict: Rachel and Booker disagree about the state of the USA – and Russia.
Subtext: Why does Rachel hate Russia?
Hope/Fear: We fear what Rachel and Booker’s families have suffered/we hope it isn’t as bad as we suspect.
22. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From Ann calling out Grace on her lie to Grace (maybe) telling the truth.
Ann calls Grace out on her six siblings as they prepare to move the Army Field Hospital to the advancing Army front.
Essence: Ann calls Grace out on her lie.
Conflict: Ann is upset that Grace would lie to her.
Subtext: We wonder why Grace would lie about the existence of her brother when he was a war hero who died in Normandy.
Hope/Fear: We hope Grace is telling the truth/We fear she isn’t.
23. EXT. A TOWN IN FRANCE – EVENING
Scene Arc (next 2 scenes): From Grace searching for something in the new town to Grace discovering she is pregnant.
Grace wanders around the new town, discreetly trying to find someone.
Essence: Grace is looking for something or someone.
Conflict: Grace doesn’t want anyone to know what she is doing.
Subtext: We wonder what she is looking for.
Hope/Fear: We hope it’s nothing bad/We fear it may be.
24. INT. HOUSE IN THE TOWN IN FRANCE – DAY
Grace meets with a doctor.
Essence: Grace learns she is pregnant.
Conflict: What will she do?
Subtext: Liam is the father.
Hope/Fear: We hope Liam reacts appropriately/we fear he will not.
25. INT. ENTRANCE TO OFFICER’S CLUB – NIGHT
Scene Arc (next 3 scenes): From Grace trying to tell Liam she is pregnant to discovering he is with someone else to a suicide attempt that is thwarted by Booker and Ann.
Grace tries to get into the Officer’s Club to tell Liam. She is blocked by a soldier, tries to convince him to let her in to talk to her fiancé – and sees Liam kissing Susan.
Essence: Grace discovers Liam is already seeing someone else.
Conflict: Now what will she do?
Subtext: Liam was bad news.
Hope/Fear: We hope Grace will be okay/we fear she will not.
26. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
Grace is crouched down, drunk and trying to slit her wrists when Booker rounds the corner to his private place to think and smoke. He sees Grace and stops her from cutting herself a second time.
Essence: Grace is desperate and trying to kill herself.
Conflict: Will someone save her?
Subtext: Booker is a far better man than Liam.
Hope/Fear: We hope someone saves her/we fear no one will.
27. INT. ARMY FIELD HOSPITAL – NIGHT
Booker finds Ann and tells her what happened. She instructs him to bring Grace to a small supply room, where Ann is able to sew up Grace’s wrist.
Essence: Booker and Ann try to save Grace’s life.
Conflict: Will Booker and Ann be able to save Grace?
Subtext: Booker and Ann both care about Grace.
Hope/Fear: We hope they can save Grace/we fear they will fail.
Act 3:
28. INT. ARMY BARRACKS – NIGHT
Scene Arc: From recovering from a suicide attempt to getting an abortion.
Grace chooses the least bad among the alternatives – and asks Ann to give her an abortion.
Essence: Grace gets an abortion.
Conflict: Grace is stuck in an impossible position with no good options.
Subtext: Grace bears all the consequences of hers and Liam’s actions.
Hope/Fear: We hope she will be okay/we fear she will not.
29. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc (next 3 scenes): From talking about changing things to actually making changes.
Grace throws herself into her work, getting angrier and angrier at the way things are. Ann suggests that they can do something about it.
Essence: Ann wants Grace to start being more like Ann.
Conflict: Should Grace and Ann start disobeying orders?
Subtext: Grace is starting to come into her own.
Hope/Fear: We hope that they will assert themselves/we fear that they will not.
30. MONTAGE – ARMY FIELD HOSPITAL
Ann, Grace and Rachel pilfer supplies and cover for each other as they significantly improve the treatment given to injured Tuskegee airmen.
Essence: The nurses improve care for the airmen.
Conflict: Will they get caught?
Subtext: Grace is changing, becoming more assertive.
Hope/Fear: We hope they succeed/we fear they will get caught.
31. INT. ARMY MESS HALL – NIGHT
Booker approaches the nurses – thanks them for what he has seen them doing.
Essence: Booker notices and is grateful.
Conflict: Will Booker and Ann become allies?
Subtext: Grace is changing, becoming more assertive.
Hope/Fear: We hope they will/we fear they won’t.
32. INT. ARMY OFFICER’S CLUB – NIGHT
Scene Arc (next 3 scenes, maybe done as montage): From trying to go to the Officer’s Club again to ending up at the psychiatrist’s office again.
Grace convinces Ann and Rachel to go to the Officer’s Club again. Ann is surprised – but thrilled. They are ejected again.
Essence: The nurses try again to assert their rights.
Conflict: They are again trying to do something that isn’t allowed.
Subtext: Grace is changing – but the system isn’t.
Hope/Fear: We hope they will succeed/we fear that they will fail.
33. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Dr. Grey tells Grace, Ann and Rachel that he is sending them to an Army psychiatrist for their attempt to enter the Officer’s Club. All three are furious.
Essence: Dr. Grey patronizes and punishes the nurses for asserting their rights.
Conflict: Dr. Grey versus the nurses.
Subtext: The “system” wins – again.
Hope/Fear: We hope the nurses will win eventually/we fear they will not.
34. INT. PSYCHAITRIST’S OFFICE AT ARMY FIELD HOSPITAL – DAY
An Army psychiatrist lectures Grace about her disobedience while she fumes.
Essence: The psychiatrist tells Grace she was wrong.
Conflict: Grace versus the psychiatrist.
Subtext: Grace no longer believes she was wrong.
Hope/Fear: We hope the nurses will win eventually/we fear they will not.
35. EXT. A TOWN IN FRANCE – DAY
Scene Arc (next 2 scenes): From Grace searching for someone to Booker seeing her and wondering what she is doing.
Grace walks around the town, searching for someone.
Essence: Grace wants to find someone.
Conflict: Who is Grace looking for?
Subtext: Grace has a secret.
Hope/Fear: We hope she will find what she is looking for/we fear she will not.
36. EXT. ARMY BASE – EVENING
Booker sees Grace as she returns from the town, just before curfew.
Essence: Booker sees Grace return from town.
Conflict: Booker wonders where Grace has been.
Subtext: Grace has a secret.
Hope/Fear: We hope she will find what she is looking for/we fear she will not.
37. INT. ARMY BARRACKS – NIGHT
Scene Arc (next 3 scenes): From confessing their love to being rejected.
Ann tells Grace that nobody has the right to dictate who you love. [Ann’s monologue.]
Essence: Ann’s monologue.
Conflict: Ann loves Grace but Grace loves Booker.
Subtext: Ann is subtly telling Grace she loves her.
Hope/Fear: We hope for Ann – and Grace/We fear for them too.
38. EXT. NEAR HANGAR AT AIRFIELD – NIGHT
Grace finds Booker, and confesses her love. He rejects her.
Essence: Grace tells Booker she loves him.
Conflict: What Booker wants versus what he thinks he can have.
Subtext: Booker loves Grace but will reject her anyway.
Hope/Fear: We hope Booker accepts her love/we fear he will reject her.
39. INT. ARMY BARRACKS – NIGHT
Ann confesses her love to Grace, who rejects her.
Essence: The full love triangle is now in the open.
Conflict: Ann loves Grace but Grace loves Booker.
Subtext: Ann hopes that with Booker rejecting Grace, she has a chance at Grace’s love.
Hope/Fear: We hope this won’t destroy their friendship/we fear it will.
Act 4
40. EXT. A TOWN IN FRANCE – DAY
Scene Arc (next 2 scenes): From searching to finding her brother, who deserted after D-Day.
Grace meets an Algerian woman who knows her brother.
Essence: Grace finally finds Patrick.
Conflict: How will he react when he sees her?
Subtext: Patrick was a deserter and is now in the resistance.
Hope/Fear: We hope Patrick will be happy to see Grace/we fear he will reject her.
41. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Grace reunites with Patrick, discovers he is now part of the French resistance.
Essence: Patrick is still fighting the Nazis, but not with the Army.
Conflict: Will he be caught and tried as a deserter?
Subtext: Like Grace, he loves someone his parents would not accept.
Hope/Fear: We hope Patrick can reunite with his whole family/we fear that he cannot.
42. INT. ARMY BARRACKS – NIGHT
Scene Arc: From tension/hostility to reunion.
Grace apologizes to Ann, tells her about her disowned brother. Ann admits she was disowned too.
Essence: Grace and Ann clear the air.
Conflict: Ann was devastated by Grace’s rejection.
Subtext: Both of them share similar secrets.
Hope/Fear: We hope they will forgive each other/we fear that they won’t.
43. INT. OFFICE AT ARMY FIELD HOSPITAL – DAY
Scene Arc: From fearing they will be punished again to learning they have won a small victory.
Dr. Grey informs the women that they no longer have to pay Officer’s Club dues – although they still can’t go in without an escort.
Essence: The nurses don’t have to pay dues anymore.
Conflict: Dr. Grey versus the nurses.
Subtext: The women have won a small victory.
Hope/Fear: We hope this isn’t their last victory/we fear it might be.
44. EXT. ARMY AIRFIELD – DAY
Scene Arc (next 2 scenes): From planning to tell Grace he loves her to being shot down in battle.
Keith and Booker prepare for their next mission. Booker admits that he loves Grace – plans to tell her when he returns.
Essence: Keith and Booker are about to go back into battle.
Conflict: Will Booker make it back?
Subtext: If he doesn’t make it back, he won’t be able to tell Grace he loves her.
Hope/Fear: We hope he makes it back/we fear he will not.
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.
Essence: Booker gets into a battle with the Luftwaffe.
Conflict: A dogfight.
Subtext: Booker could be killed.
Hope/Fear: We hope Booker makes it out/we fear he will be killed.
46. INT. ARMY FIELD HOSPITAL – DAY
Scene Arc: From everyday work to learning the man she loves may be dead.
Keith tells Grace and Ann that Booker is MIA.
Essence: Booker is missing.
Conflict: Is Booker alive? Was he captured?
Subtext: Booker’s life is in danger.
Hope/Fear: We hope Booker is okay/we fear he has been killed.
47. INT. AN APARTMENT IN A TOWN IN FRANCE – DAY
Scene Arc (next 4 scenes): From Grace asking Patrick to find Booker to Patrick finding Booker then getting him to the hospital where he can be treated by Grace.
Grace asks Patrick to use his contacts in the resistance to try to find Booker.
Essence: Patrick agrees to help Grace.
Conflict: Can Patrick save Booker?
Subtext: Booker’s life is in danger.
Hope/Fear: We hope Patrick finds Booker/we fear he will fail.
48. EXT. SOMEWHERE IN RURAL FRANCE – DAY
A member of the French resistance finds Booker, who is badly injured, and brings him to a farmhouse.
Essence: Patrick finds Booker.
Conflict: Can Patrick get an injured Booker to safety?
Subtext: Booker’s life is in danger.
Hope/Fear: We hope Patrick can save Booker/we fear he can’t.
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.
Essence: Booker’s life is in danger.
Conflict: Can Booker be saved?
Subtext: Patrick risks himself by bringing Booker to the Army hospital.
Hope/Fear: We hope Booker will live/we fear he will die.
50. INT. ARMY FORWARD HOSPITAL – DAY
Patrick arrives at the hospital with Booker. Ann, Grace and Rachel work to save Booker’s life.
Essence: The nurses operate on Booker.
Conflict: Can Grace, Ann and Rachel save Booker?
Subtext: Dr. Grey doesn’t think Booker’s life is worth saving.
Hope/Fear: We hope Booker will live/we fear he will die.
51. EXT. ARMY FORWARD HOSPITAL – DAY
Scene Arc: From saving Booker’s life to realizing that they may all die as a result of the German attack.
The Germans mount a surprise counteroffensive against the Army forward base, including the hospital.
Essence: The Army base – and hospital – are under attack.
Conflict: What will happen to Booker and the nurses?
Subtext: Grace needs more time to safely evacuate Booker.
Hope/Fear: We hope they will escape/we fear they will be killed.
52. INT. ARMY FORWARD HOSPITAL – DAY
Scene Arc: From fear of attack to a safe retreat for Booker and Grace – but death for Ann and Patrick.
The medical teams are ordered to retreat with their patients. Patrick and Ann hold off the Germans long enough to allow Grace to safely evacuate Booker.
Essence: The battle has reached the hospital.
Conflict: They need more time to evacuate Booker.
Subtext: Ann and Patrick are willing to sacrifice themselves to save Grace and Booker.
Hope/Fear: We hope everyone gets away safely/we fear they will not.
53. INT. A BANK IN PHILADELPHIA – DAY
Scene Arc (next 2 scenes): From initiating to completing Ann’s last wishes.
Booker and Grace open a safe deposit box – and discover Ann was well-off.
Essence: Booker and Grace are carrying out Ann’s last wishes.
Conflict: Grace and Booker are heartbroken over Ann’s death, but grateful that she gave them a chance at life and love.
Subtext: Ann trusted Grace to help her even after she was dead.
Hope/Fear: We hope for a happy ending/we fear there won’t be one.
54. EXT. A SMALL HOUSE IN THE PHILADELPHIA SUBURBS – DAY
Grace and Booker give Ann’s sister Margie a letter, the deed to the house and the money from the safe deposit box.
Essence: Ann’s last act was to ensure her kid sister would be cared for.
Conflict: Margie – and Grace and Booker – are heartbroken over Ann’s death.
Subtext: Ann was surprisingly wealthy.
Hope/Fear: We get our happy ending.
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TONY J SCOTT SCENE REQUIREMENTS
In The Blood
PRESENT #1
INT. REBEL VILLAGER HOME – NIGHT
Rebel vampire villagers are hiding in the dark and waiting to for others to join to start the meeting.
Scene Arc: Villagers hiding and waiting to start a meeting.
Essence: How long are they willing to wait.
Conflict: Why are they huddled in silence and secrecy?
Hope/Fear: We hope they aren’t exposed. We fear someone will find them.
EXT. REBEL VILLAGER HOME – NIGHT
A Vampire Commander on horseback slowly gallops to a home. He dismounts and waits at the door.
Scene Arc: A soldier dismounts his horse and stands at the door.
Essence: Why is a Uniformed Vampire Commander lurking outside this home?
Conflict: Is he there to make arrests?
Subtext: Are the vampires inside in danger?
Hope/Fear: We hope he doesn’t kill anyone. We fear he might be killed
INT. REBEL VILLAGER HOME – NIGHT
The Soldier checks the doorknob. The door is unlocked. He draws his hand gun.
Scene Arc: The soldier seems suspicious about checking the door.
Essence: Who is he looking for?
Conflict: Will he have to use his gun?
Subtext: Is he afraid for his safety?
Hope/Fear: Is he going to kill someone? Well he be killed?
INT. REBEL VILLAGER HOME – NIGHT
The soldier cautiously enters the home with his gun drawn and whispers to anyone who might be inside.
Scene Arc: Soldier enters, gun drawn and calls out.
Essence: Will anyone answer?
Conflict: Why is he there?
Subtext: Will he shoot first out of fear?
Hope/Fear:
INT. REBEL VILLAGER HOME – NIGHT
A group of village vampires emerge from the darkness to meet with the Vampire Military commander and discuss how they will assassinate the head vampire during the ceremony. The soldier has the truth about the number vampires dead to the number of humans.
Scene Arc: The vampires emerge and meet with the soldier. He tells the they are losing the war
Essence: They plan to have one person shoot Lucius with a gun loaded with an ultraviolet bullet.
Conflict: They vow to all speak up in unity at the ceremony later.
Subtext: They are all afraid of what Lucius will do if they speak up but if they stick together things will go better.
Hope/Fear: We hope they’re rebellion effort goes well. We fear Lucius will execute them all.
INT. MANSION KITCHEN – NIGHT
The Blackthorns watch the special news report of the war and express their opinion. Lucius becomes threatening.
Scene Arc: They watch the news and whats happening outside the windows. Lucius becomes threatening to Nadia.
Essence: Nadia intentionally pushes her dad to the edge.
Conflict: Will Lucius admit that the Vatican is winning the war against the vampires.
Subtext: Lucius is lying about the war.
Hope: We hope her uncle Vincent takes her side and fear how far Lucius will go.
INT. MANSION DANCE HALL – NIGHT
Nadia has a traumatic episode during her dance performance. She embarrasses her father Lucius.
Scene Arc: Nadia has an episode and embarrasses her father.
Essence: Nadia refuses to complete the ritual.
Conflict: How will Nadia react to her father after remembering he had her mother killed?
Subtext: She finally realizes why she hates vampires, in particular her father.
Fear/Hope: We hope Olivia won’t harm herself and fear how Lucius will react.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: Vincent tries to calm Nadia and places her bedroom under guard.
Essence: Olivia feels like a prisoner.
Conflict: What really happened to her mother?
Subtext: She realizes her therapist was actually hypnotizing her to forget what really happened.
Fear/Hope: We hope Olivia will find a way to handle this. We fear what she might do to herself if she can’t.
INT. MANSION DANCE HALL – NIGHT
Scene Arc: Lucius argues with a villager and sentences him to death.
Essence: Lucius takes up the war tax from the villagers.
Conflict: Lucius accuses one the village leaders of holding out on the taxes.
Subtext: Lucius has to set an example.
Hope/Fear: We hope Lucius will forgive the villager and fear he is going to kill the villager.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: They meet in Naia’s room. They discuss what needs to be done if she doesn’t want to become a vampire. Lucius refuses to discuss Nadia’s mother.
Essence: Lucius jokes about how she’d have to kill her grandfather do get rid of the curse.
Conflict: Would Nadia actually try to kill her grandfather?
Subtext: Lucius isn’t really joking about Olivia killing her Grandfather.
Hope/Fear: We hope Nadia can find a different way to end the curse. We fear she will try and kill her grandfather.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: Nadia plans to commit suicide instead of killing her grandfather. But it won’t work on her.
Essence: She leaves a suicide note on her pillow.
Conflict: She has to find a way out of her room.
Subtext: She hopes to same method will work on her.
Hope/Fear: We hope she won’t kill herself but fear for the worse.
INT. SCIENCE LAB – NIGHT
Scene Arc: Nadia orders the scientists to give her the deadman’s blood. She has to change her plan.
Essence: The scientists tell her the blood will only make her sick.
Conflict: She has to find a new plan.
Subtext: She can feed the blood to her grandfather and kill him.
Conflict: The tomb is heavily guarded.
Hope/Fear: We hope she gives up. We fear she will find another way.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: Uncle Vincent finds the suicide note and rushes to find her.
Essence: He checks with the guards.
Conflict: She is supposed to be in her room.
Subtext: Vincent traces Nadia through the secret passage.
Hope/Fear: We hope he finds Nadia in time. We fear she is desperate and will try anything.
INT. SCIENCE LAB – NIGHT
Scene Arc: Vincent wants to know how much they told Nadia and what her plans were.
Essence: Vincent finds a trail of blood.
Conflict: He hopes she hasn’t drunk any of it.
Subtext: He finds the remainder of the bag.
Hope/Fear: We hope he finds her. Fear it may be too late.
INT. MANSION SUNROOM – MORNING
Screen Arc: Nadia still plans to kill herself.
Essence: Nadia heads to the sunroom to hide and die in the morning from exposure.
Conflict: She hopes the sun will burn her to death like all vampires.
Subtext: Will the sunlight kill her?
Hope/Fear: We hope Vincent will save her but hear he won’t make it in time.
INT. MANSION SUNROOM – MORNING
Scene Arc: Vincent begs Nadia to come from the sunroom before it’s too late.
Essence: He tells her that sunlight won’t kill her.
Conflict: Will he have to risk his life to save her.
Subtext: The sun has risen
Hope/Fear: We hope Vincent is wrong we fear he will have to risk his life to save her.
INT. NADIA’S BEDROOM – MORNING
Scene Arc: Nadia fantasizes about going back into the past to kill her grandfather and that would solve everything.
Essence: Vincent gives Nadia her birthday present.
Conflict: She thinks living as a vampire is her only choice.
Subtext: There’s no other way to try and kill herself.
Hope/Fear: We hope she can find a way to be happy. We fear she will find a different way.
INT. MANSION DANCE HALL – MORNING
The remainder of the party goers are retiring to their guest rooms.
INT. NADIA’S BEDROOM – MORNING
Scene Arc: Nadia notices the gift box is glowing. She opens it and pricks her finger on the gift. She falls faint.
Essence: Nadia vanishes from her bedroom.
Conflict: She wakes up right away but not in her room?
Subtext: Someone on a horse is waiting for her.
Hope/Fear: We hope the man on the horse is friendly we fear for the unknown for Nadia.
PAST #1
EXT. SANDERS PLANTATION ROAD – DAY
Scene Arc: Slave owner claims Nadia is his runaway slave and demands her back.
Essence: Neighboring Slave owner threatens to whip the slave on horseback if he doesn’t return her.
Conflict: Is Nadia’s life at risk from the slave owner?
Subtext: The other slaves come to the rescue. Creepy crab walk.
Hope/Fear: We hope she will not be next. We fear she is in danger.
PRESENT #2
INT. NADIA’S BEDROOM – DAY
Scene Arc: Nadia falls to the ground and wakes up in her bedroom. Vincent is shocked.
Essence: Was Nadia dreaming?
Conflict: Vincent doesn’t know how Nadia moved from one side of the room to the other.
Subtext: Nadia tries to explain what happened to Vincent.
Hope/Fear: We hope she doesn’t get trapped in the past and fear it.
INT. ARCHIVE ROOM – DAY
Scene Arc: Vincent and Nadia search for the name of plantation where her grandfather was a slave.
Essence: She thinks she was there.
Conflict: She thinks she can kill him there.
Subtext: She doesn’t know what he looks like or how to identify him.
Hope/Fear: We wish she would accept who she is. We fear she going to try and kill her grandfather.
INT. MAUSOLEUM GRANDFATHER’S CRYPT – DAY
Scene Arc: Vincent tells Nadia about Josiah’s roots, the first vampire and the truth about her father’s capture by the slavers.
Essence: Vincent doesn’t really want Nadia to kill her grandfather.
Conflict: Killing him may not actually end the curse for Nadia.
Subtext: Nadia still wants to kill her grandfather.
Hope/Fear: We hope Nadia will listen to Vincent. We fear she may get stuck in the past or make things worse.
PAST #2
EXT. SANDERS PLANTATION ROAD – NIGHT
Scene Arc: Nadia hides from slave catchers, looking for three runaways. The man on the horse shows up.
Essence: Nadia hides from the slavers.
Conflict: Will she be caught?
Subtext: She thinks they are looking for her.
Hope/Fear: We fear she will get caught. We hope she is protected.
EXT. SANDERS PLANTATION ROAD – NIGHT
Scene Arc: Josiah kills the three slave catchers and tells the runaways to come out from hiding.
Essence: Nadia realizes that Josiah is her grandfather and vampire leader.
Conflict: Nadia understands how much everyone loves and appreciates him.
Subtext: She still hates being half vampire and wants to kill him so she can live as a human.
Hope/Fear: We hope she doesn’t have to kill him. We fear they will kill her.
EXT. SANDERS PLANTATION TOBACCO FIELDS – DAY
Scene Arc: Nadia spends the day talking with Josiah and watching the field hands.
Essence: Nadia wonders how the vampires can work in the fields and not die from exposure.
Conflict: Are they immune from the sun?
Subtext: Josiah has capabilities to cloud the sunlight for protection.
Hope/Fear:
EXT. SANDERS PLANTATION FRONT YARD – NIGHT
Scene Arc: A posse of hooded men show up demanding to know what happened to the three slave catchers.
Essence: Are they aware they are up against vampires?
Conflict: Will the vampires expose who they are to the posse?
Subtext: Is Nadia going to witness another human slaughter.
Hope/Fear: We hope the posse will lose the battle. We fear how this will affect Nadia’s opinion of vampires.
EXT. SANDERS PLANTATION BUSHES – NIGHT
Scene Arc: Nadia hides from everyone until she thinks everyone is settled or asleep. They search for her.
Essence: Will they find her?
Conflict: Will she return to the present?
Subtext: Will she abandon her plan?
Hope/Fear: We hope she doesn’t go back to the present. We fear she will be found.
INT. MANSION LIBRARY – NIGHT
Scene Arc: Vincent gathers as much info he can about Savannah 1863.
Essence: He really wants to help Nadia.
Conflict: He doesn’t want her to kill her grandfather.
Subtext: The more informed she is the better she will be able to choose in the end.
Hope/Fear:
INT. JOSIAH’S BEDROOM – NIGHT
Scene Arm: Nadia stands over Josiah while he sleeps holding a machete. She is ready to kill him.
Essence: Will she kill him?
Conflict: Vampires creepy crab walk circle her ready to defend Josiah.
Subtext: Will they kill Nadia to protect Josiah.
Hope/Fear: We hope she won’t be killed. We fear the vampires will kill her.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: Vincent waits in Nadia’s room for her to return when he hears Lucius knocking.
Essence: Vincent doesn’t want to be found in Nadia’s room with archive info.
Conflict: He knows how paranoid Lucius is about his and Nadia’s relationship.
Subtext: He has to hide from Lucius.
Hope/Fear: We hope he won’t be found. We fear he will be.
INT. JOSIAH’S BEDROOM – NIGHT
Scene Arc: Nadia notices her name and a prophecy written in her grandfather’s journal.
Essence: He’s been awake the whole time.
Conflict: He was testing Nadia.
Subtext: He’s the reason she is in the past.
Hope/Fear: We hope Nadia believes her grandfather. We fear she won’t believe him.
INT. JOSIAH’S BEDROOM – NIGHT
Scene Arc: Josiah shows her the family heirloom and tells her to wear hers always.
Essence: He tells her that he is the one calling her to the past.
Conflict: She thought she was there to kill him.
Subtext: She is there to fulfill a prophecy.
Hope/Fear: We hope she doesn’t have to become a vampire. We fear she might have to.
PRESENT #3
INT. HALLWAY LUCIUS OFFICE – DAY
Scene Arc: Nadia goes to confront Lucius about what she’s learned and over hears him blackmailing a Vatican Cardinal.
Essence: Lucius doesn’t know she can hear the conversation.
Conflict: Will she get caught listening?
Subtext: Can she trust Vincent with this info?
Hope/Fear: We hope Vincent won’t turn her in. We fear he will.
INT. VINCENT’S OFFICE – DAY
Scene Arc: Nadia rushes to tell Vincent what she heard. Vincent doesn’t believe her.
Essence: Vincent is hiding how much he knows.
Conflict: Nadia insists Vincent tell her what he knows.
Subtext: Nadia isn’t sure if she should trust Vincent.
Hope/Fear: We hope Vincent will open up. We fear we can’t trust him.
INT. LUCIUS’ OFFICE – NIGHT
Scene Arc: Lucius meets with the disgruntled villager and works out a deal for his freedom.
Essence: Lucius makes a plan to kill his father while he sleeps.
Conflict: Can Lucius be trusted to keep his end of the bargain.
Subtext: Lucius has ulterior motive.
Hope/Fear: We hope Lucius keeps his word. We fear he won’t.
INT. VINCENT’S OFFICE – NIGHT
Scene Arm: Nadia tells Vincent about the journal entry, her name and the prophecy and how Vincent is supposed to be in charge of the family.
Essence: Vincent acts like he knows nothing about the journal entries.
Conflict: More reasons for Nadia to feel she can’t trust Vincent.
Hope/Fear: We hope Vincent is trustworthy. We fear he is not.
INT. NADIA’S ROOM – NIGHT
Scene Arc: Lucius finds a scribbled note about a fake journal entry concerning himself and Vincent.
Essence: Lucius becomes suspicious.
Conflict: Lucius knows that Vincent is supposed to be the family head.
Subtext: He becomes paranoid.
Hope/Fear: We hope Lucius is exposed. We fear he will continue the cover-up.
INT. VINCENT’S OFFICE – NIGHT
Scene Arc: Nadia gets angry and clears Vincent’s desk discovering an old photo.
Essence: Why hasn’t she seen this photo before?
Conflict: Why has Vincent hidden this photo?
Subtext: Why does this photo mean so much to Vincent?
Hope/Fear: We hope Vincent will tell Nadia the truth. We fear he never will.
INT. HALLWAY OUTSIDE NADIA’S ROOM – NIGHT
Scene Arc: Lucius orders the guards to locate Nadia and bring her to him.
Essence: He wants to question her about the note he found.
Conflict: He thinks Nadia is on to him.
Subtext: What will he do if he finds her.
Hope/Fear: We hope Lucius doesn’t find her.
INT. NADIA’S BEDROOM – NIGHT
Scene Arc: Lucius picks up Nadia’s choker. He remembers catching Nadia’s mother and Vincent together.
Essence: Lucius knew about the affair between Vincent and Nadia’s mother.
Conflict: Lucius knows that Nadia is not his daughter.
Subtext: Lucius has always resented Nadia’s existence but holds it over Vincent’s head.
Hope/Fear:
INT. LUCIUS’ OFFICE – NIGHT
Scene Arc: Nadia and Vincent break into Lucius’ safe and steal the original journal and a thumb drive.
Essence: Nadia wants to prove that Lucius’ journal is a fake.
Conflict: How much longer can Vincent go on pretending not to know anything?
Subtext: Is Vincent going to help Nadia figure out what to do?
Hope/Fear: We hope Nadia doesn’t get caught stealing. We fear what she is really going to find on the thumb drive.
INT. JOSIAH’S TOMB – NIGHT
Scene Arc: Lucius gathers a group from the council and catches the villager attempting to kill Josiah.
Essence: Lucius has set a trap for the villager.
Conflict: Lucius has betrayed him, but thinks he’s in on it with Lucius.
Subtext: It was all a show for the council.
Hope/Fear: We hope the council will see the whole thing was a farce. We fear what Lucius will do to the villager. (Side office kill room)
INT. JOSIAH’S TOMB – NIGHT
Scene Arc: Lucius remembers the day his father was captured by the slavers.
Essence: He hates humans.
Conflict: He doesn’t know that it was his father’s plan to be captured and that Vincent has always known.
Subtext: Vampires are superior. Humans are merely a food source.
Hope/Fear:
INT. VINCENT’S OFFICE – NIGHT
Scene Arc: Nadia and Vincent watch the video from the thumb drive. She has the journal in her shoulder bag.
Essence: Vincent begs her not to watch the video.
Conflict: Nadia watches the video.
Subtext: She finds out why Vincent didn’t want her to watch it. (emotional break down fight)
Hope/Fear: We hope Nadia will recover from what she discovers. We fear she is close to discovering even more truth.
INT. LUCIUS’ OFFICE – NIGHT
Scene Arc: Lucius secretly has the villager moved to his office for a discussion.
Essence: The villager thinks he will be freed and given a reward for following instruction in the ruse.
Conflict: Lucius has a different plan altogether.
Subtext: We find out that Lucius has a secret kill room hidden away in his office. It’s a secret sunroom.
Hope/Fear: We hope Lucius will let the villager go. We fear a double-cross.
INT. VINCENT’S OFFICE – NIGHT
Scene Arc: The guards show up looking for Nadia. Vincent answers the door.
Essence: Nadia has to be quiet to fool the guards.
Conflict: She is angry and hurt.
Subtext: She has questions for Vincent.
Hope/Fear: We hope the guards don’t find her. We fear the guards will hear her or Vincent will give it away.
INT. VINCENT’S OFFICE – NIGHT
Scene Arc: Nadia wants to know about the journal, the picture and what she saw on the thumb drive.
Essence: She is trying to put the pieces together about it.
Conflict: Why would Vincent be so afraid of Lucius?
Subtext: He isn’t afraid for himself.
Hope/Fear: We hope Nadia figures out that Vincent is her real father. We fear Vincent will continue to lie.
PAST #3
EXT. SANDERS PLANTATION – DAY
Scene Arc: Josiah introduces Nadia to the plantation owner and his large family. While the slaves transport large barrels of blood to storage coolers.
Essence: The large family supplies blood for Josiah and the slaves.
Conflict: Sanders family is over ten people.
Subtext: They exchange blood for a guarantee of healthy tobacco crops.
Hope/Fear: We hope this relationship isn’t exposed to the world. We fear what would happen if it was.
INT. LUCIUS’ OFFICE – NIGHT
Lucius asks the guard to bring his dinner to his office, pre teen, female. He feeds on her.
Scene Arc: Lucius orders dinner and feeds.
Essence: The woman is scared for her life.
Conflict: Vampires didn’t feed directly from humans when Josiah was the Lord.
Subtext: Lucius’ hatred for humans makes the suffering more delicious.
Hope/Fear: We fear for the girls life. We hope Lucius will let her go.
EXT. REBEL VILLAGER HOME – NIGHT
The vampire military commander enters the rebel’s home and asks about the encounter with Lucius. No one wants to talk to him.
Scene Arc: The soldier enters the home and wants to know what happened.
Essence: The villagers don’t want to tell him they did not support their leader.
Conflict: They hung the rebel leader out to dry,.
Subtext: they were afraid for their own lives.
Hope/Fear: We hope the soldier won’t give up trying to end the war. We fear Lucius will send his guard to slaughter them all.
INT. LUCIUS’ OFFICE – NIGHT
Lucius call out to the guard and orders him to clean up his mess. Dispose of the dead body.
EXT. SANDERS PLANTATION – DAY
A squad of soldiers arrive. They gather all the slaves outside and announce that they are hereby free.
Scene Arc: Nadia witnesses Captain Stanley make an announcement.
Essence: Captain Stanley announces that all slaves are free by the Emancipation Proclamation.
Conflict: The slaves do not respond like they should.
Subtext: The soldiers are actually suspect a vampire nest.
Hope/Fear: We hope the slaves take advantage of freedom. We fear they don’t understand.
EXT. SANDERS PLANTATION SOLDIER’S CAMP – NIGHT
The soldiers are baffled about the slaves lack of reaction. They become skeptical.
Scene Arc: Soldiers camp out. They are skeptical about the slaves lack of enthusiasm.
Essence: They are used to seeing slaves revolt upon hearing the news.
Conflict: What does this mean to the soldiers.
Subtext: They come to the conclusion that these slaves are vampires and are holding the slave master’s family hostage.
Hope/Fear: We fear they will kill the slave vampires. We hope Josiah’s group are keen to them.
INT. SANDERS PLANTATION PARLOR – DAY
Nadia is formally introduced to Captain Stanley. Right away Stanley has feelings for Nadia.
Scene Arc: Nadia meets the captain. He falls for her.
Essence: Is he being honest?
Conflict: Does he suspect Nadia knows something?
Subtext: Does he think Nadia can lead his squad to the lead vampire?
Hope/Fear: We hope he doesn’t find out about Nadia and Josiah’s true identity. We fear what he will do if he does.
Present #4
INT. MANSION ARCHIVE ROOM – NIGHT
Nadia and Vincent study the vampire archives for 1863. They discover a number of revelations and secrets.
Scene Arc: In the archive room they discover history and secrets.
Essence: They discover that some soldiers are vampire hunters.
Conflict: Neither the archive or journal mention captain Stanley’s name.
Subtext: How can Nadia find out for sure.
Hope/Fear: We hope they are not vampire hunters. We fear Nadia won’t find out in time to stop them.
EXT. SANDERS PLANTATION SOLDIER’S CAMP – DAY
The soldiers interrogate and torture a few captured slaves. They don’t get anywhere.
Scene Arc: Soldiers capture and torture slaves over who the leader is.
Essence: Stanley want’s to know who the lead vampire is.
Conflict: The slaves won’t talk.
Subtext: They plan to kill all the vampires.
Hope/Fear: We fear they will kill their captive. We hope they don’t find out about Josiah.
INT. NADIA’S BEDROOM – NIGHT
Nadia and Vincent talk about her having possible powers in the past. He suggests that the power of glamming would help her.
Scene Arc: They talk about her powers and how to use glamming.
Essence: Nadia needs to find out for sure if Stanley is a vampire hunter.
Conflict: She will have to use vampire powers if possible.
Subtext: In the present she has no vampire powers as a half vampire.
Hope/Fear: We hope Nadia can use her powers. We fear she will have to become a vampire to use them.
INT. LUCIUS’ OFFICE – NIGHT
Lucius tells one of the guards to have 4 of the council members to meet in his office. He calls for the Vampire Military Leader as well.
Scene Arc: Lucius calls for a meeting between him and those he is sure will oppose him as leader.
Essence: He wants to give them an ultimate choice.
Conflict: He wants to know how they will vote.
Subtext: Surrender their vote or else.
Hope/Fear: We hope they will stand their ground. We fear what will happen if they do.
PAST #4
EXT. PLANTATION ROAD – NIGHT
Nadia wakes up in the bushes by the road. Josiah is waiting for her. He tells her that members of his coven have gone missing.
Scene Arc: Nadia and Josiah meet on the road. She finds out people are missing.
Essence: Nadia suggests that Stanley and his squad are actually vampire hunters.
Conflict: Nadia has to know for sure.
Subtext: She hopes she can use full vampire powers while in the past.
Hope/Fear: We hope Nadia can use vampire powers. We fear what will happen if she can’t.
INT. JOSIAH’S PARLOR ROOM – NIGHT
Josiah suggests a way for Nadia’s vampire powers might be able to work. If so, she can glam Captain Stanley.
Scene Arc: Nadia may be able to achieve full vampire powers to find out about Stanley.
Essence: Nadia will have to drink pure vampire blood from Josiah.
Conflict: Drinking pure vampire blood as a half human might turn Nadia into a full vampire.
Subtext: Nadia does not want to become a full vampire. She’d rather die.
INT. LUCIUS’ OFFICE – NIGHT
The 4 vampire council members meet in Lucius’ office. As they discuss Lucius’ plan for the vote and his promise to end the war, Major General Tillman enters the room.
Scene Arc: The 4 and Lucius discuss the future when MG Tillman arrives.
Essence: Lucius invites the 4 into what he calls the inner meeting room.
Conflict: Lucius wants to talk with Tillman in private.
Subtext: Lucius knows that Tillman has betrayed him.
Hope/Fear: We hope Lucius doesn’t find out about the betrayal. We fear what will happen if he does.
INT. LUCIUS’ OFFICE – NIGHT
The 4 council members are comfortably seated in the side sun room. Lucius shuts the door on them and turns on the wall light switch. He sinks his teeth into the neck of Tillman.
Scene Arc: Lucius burns the 4 council members alive and learns the truth from the blood of Tillman.
Essence: Lucius kills all those who oppose his coup and finds out the truth about the village rebels.
Conflict: Lucius doesn’t want anyone to know about his side kill room and what happened to the council members.
Hope/Fear: We fear for the villagers now that Lucius knows about them.
EXT. REBEL VILLAGER HOME – NIGHT
Lucius’ royal guards gather all the rebels onto the street and execute them.
Scene Arc: Lucius’ guards arrive and then kill the rebels.
Essence: They put an end to any rebellion.
Conflict: Lucius has no more opposition.
Subtext: If he has to he will also have Nadia put to death.
Hope/Fear: We hope Lucius won’t kill Nadia. We fear he will kill anyone in his way.
INT. LUCIUS’ OFFICE – NIGHT
Lucius searches his safe for the journal and discovers that the thumb drive is missing. He summons Vincent to his office.
Scene Arc: Lucius becomes very paranoid about Vincent and Nadia when he discovers items missing from his safe.
Essence: These items need to be destroyed.
Conflict: Will he have to kill Nadia and Vincent?
Subtext:
Hope/Fear: We hope Nadia will be safe. We fear she is in danger from Lucius.
EXT. SANDERS PLANTATION SOLDIER’S CAMP – DAY
Nadia and Captain Stanley spend romantic time together but Stanley recognizes that he is being controlled by magic.
Scene Arc: Stanley is glammed by Nadia.
Essence: Nadia’s glam power works.
Conflict: Stanley imagines her as a ballerina and then kissing her.
Subtext: It’s all happening in his mind.
Hope/Fear: We hope she’s not discovered. We fear what will happen if Stanley wakes up.
EXT. SANDERS PLANTATION SOLDIER’S CAMP – DAY
Nadia can see deeply into Stanley’s eyes while he dreams. She sees that he and his squad are doubling as vampire hunters.
Scene Arc: Nadia sees into Stanley’s violent past.
Essence: She knows that he intends to kill Josiah and has killed the others.
Conflict: Nadia needs to kill her grandfather herself to be free of the curse.
Hope/Fear: We hope Nadia will decide not to kill her grandfather. We fear Stanley will kill him first.
EXT. SANDERS PLANTATION SOLDIER’S CAMP – DAY
Stanley snaps out of the dream and discovers that Nadia has controlled him. He has her locked up in a secure tent.
Scene Arc: Stanley recovers and has Nadia locked up.
Essence: Stanley thinks there is something strange about Nadia.
Conflict: He isn’t sure what to do about her.
Hope/Fear: We hope he doesn’t torture Nadia. We fear what he will do to her.
EXT. VINCENT’S OFFICE – NIGHT
Lucius’ guards are at Vincent’s office door with orders to escort him to Lucius.
Scene Arc: Guards escort Vincent to Lucius.
Essence: Lucius wants to question Vincent.
Conflict: Vincent is paranoid.
Hope/Fear:
EXT. SANDERS PLANTATION SOLDIER’S CAMP – DAY
Nadia, being held in a secure tent travels to the present while Stanley questions her.
Scene Arc: Nadia travels while Stanley watches.
Essence: Stanley is shocked.
Conflict: Nadia knows she will have to kill him now.
Hope/Fear: We hope Nadia will kill Stanley before it’s too late.
PRESENT #5
INT. LUCIUS’ OFFICE – NIGHT
Lucius accuses Vincent of conspiring against him. He sends the guards to locate Nadia
Scene Arc: Lucius and Vincent talk about his betrayal and sends for Nadia.
Essence: Lucius wants to know where the items from his safe are.
Conflict: He’s sure that Nadia and Vincent are planning something.
Hope/Fear: We hope Nadia and Vincent will be safe. We fear for their death.
EXT. NADIA’S BEDROOM – NIGHT
The guards knock on Nadia’s door and ask her to come out so they can escort her to Lucius’ office.
Scene Arc: Nadia is escorted to Lucius’ office.
Essence: Lucius wants to question them both.
Conflict: It’s an ambush.
Hope/Fear: We hope Nadia won’t vanish in front of Lucius. We fear she might.
INT. LUCIUS’ OFFICE – NIGHT
Lucius tells Nadia and Vincent his plan to become head of the family and his plans to end the war.
Scene Arc: They meet and discuss the future with Lucius in charge.
Essence: What does that mean for Josiah’s awakening?
Conflict: Josiah is supposed to awaken soon to resume leadership of the family.
Hope/Fear: We hope Vincent will object. We fear Lucius will use the kill room on them both.
PAST #5
EXT. PLANTATION ROAD – NIGHT
Josiah isn’t there to greet Nadia on the road. Nadia looks and sees parts of the plantation on fire and runs toward the fire.
Scene Arc: Nadia arrives in the past to find the plantation on fire.
Essence: Nadia feels obligated to help.
Conflict: Stanley has begun a full on attack with crucifix’s, holy water, torches and stakes.
Hope/Fear: We hope Nadia can save Josiah. We fear what might happen.
INT. LUCIUS’ OFFICE – NIGHT
Lucius demands to know where Nadia has gone to. He has the guards search for her.
* MONTAGE
Guards searching all over.
INT. LUCIUS’ OFFICE – NIGHT
Lucius orders Vincent to gather the remaining council members to the hall for a vote. Vincent demands Nadia be present. Lucius forces Vincent into the kill room. He sets the timer for the Ultraviolet light beam.
Scene Arc: Lucius orders Vincent. Vincent refuses. Lucius forces Vincent into the secret kill room.
Essence: Vincent doesn’t know it’s a kill room.
Conflict: Will Lucius kill Vincent.
Hope/Fear: We hope Vincent isn’t killed. We fear he will be.
EXT. LUCIUS’ OFFICE HALLWAY – NIGHT
Lucius orders the guards to round up the council members and take them to the meeting hall.
* MONTAGE
Guards rounding up the members to the hall.
EXT. JOSIAH’S HOME – NIGHT
Nadia sees the slaves have been beheaded and most of the dead soldiers but she can’t find Stanley’s body.
Scene Arc: Nadia counts the dead slaves and soldiers but can’t find Stanley.
Essence: She has to find Stanley and Josiah.
Conflict: She can’t let Josiah be killed.
Hope/Fear: We hope Nadia has a change of heart. We fear she may have to become a full vampire.
INT. MANSION MEETING HALL – NIGHT
Lucius has all the council members gathered for a vote. Lucius speaks about ending the war if he is made Lord/Ruler.
Scene Arc: Lucius calls the meeting to order and demands a vote.
Essence: Lucius tries to convince everyone that he can end the war if he’s Lord.
Conflict: Vincent wants more than anything to expose his corruption.
Hope/Fear: We hope Lucius well be exposed. We fear he will win again.
INT. MANSION MEETING HALL – NIGHT
There’s a pounding at the entrance doors. The remainder of the villagers arrive. The Vatican soldiers are at the edge of town.
Scene Arc: The villagers speak and tell everyone how close the battle is.
Essence: There has to be peace or they all will die.
Conflict: The villagers don’t want Lucius voted in as Lord.
Hope/Fear: We hope the villagers are successful. We fear Lucius will ignore them.
INT. JOSIAH’S PARLOR ROOM – NIGHT
Nadia enters Josiah’s house. He been wounded and close to death. Stanley is going to finish him off. Josiah tells Nadia to bite Stanley.
Scene Arc: Josiah is dying at the hands of Stanley. Nadia is the only one who can save him.
Essence: Nadia has to kill Stanley
Conflict: If Nadia bites a human she will become a full vampire.
Hope/Fear: We hope Nadia will save his life. We fear she will become what she hates most.
INT. JOSIAH’S PARLOR ROOM – NIGHT
Nadia and Josiah talk about what needs to happen next. Nadia returns to the present.
PRESENT #6
INT. LUCIUS’ OFFICE – NIGHT
* MONTAGE
1. Nadia searching the mansion for Vincent
2. Guards searching the mansion for Nadia.
3. Nadia sneaks into Lucius’ office, finds Vincent.
INT. LUCIUS’ OFFICE – NIGHT
Nadia eludes the guards search and finds Vincent trapped in Lucius’ kill room. She can see a bit of light coming from a partially left open observation slide. The ultraviolet light has been triggered.
Scene Arc: Nadia in Lucius’ office. She sees light emitting from a crack. She discovers Vincent close to being fried by the sun.
Essence: She has to free Vincent.
Conflict: She has to find the opening to the secret door panel.
Hope/Fear: We hope she can free Vincent. We fear the sun will kill him.
INT. MANSION MEETING HALL – NIGHT
The villagers complain about how close the battle is. They want to know why there are no troops on the boarder. They demand for the peace treaty is signed.
Scene Arc: Villagers are afraid. They arrive and demand that the peace treaty is signed.
Essence: The war is lost.
Conflict: Lucius won’t sign the peace agreement unless he is voted in as permanent Lord.
Hope/Fear:
INT. MANSION MAUSOLEUM – NIGHT
Vincent, Nadia, the two scientists waken Josiah and free him from his crypt.
Scene Arc: Josiah is awakened and taken to the meeting hall.
Essence: Josiah needs to assume his duty as Lord before it’s too late.
Conflict: If the council votes it will be too late.
Hope/Fear: We hope Josiah can make it there in time. We fear Lucius will become Lord.
INT. MEETING HALL – NIGHT
Nadia, Vincent and the Two Scientists bring Josiah into the meeting hall in wheelchair. The room goes quiet. Josiah stands and walks on his own to the high seat. Everyone in the room falls to a knee position except Lucius.
Scene Arc: Josiah assumes command of the vampire families. Lucius is escorted to the prison.
Essence: Josiah has to sign the peace treaty asap.
Conflict: The vampires have lost the war and will need something to bargain for peace.
Hope/Fear: We hope there will be peace. We fear maybe not.
INT. MANSION HALLWAY – DAY
Lucius attacks and kills the guard escort and flees to his office. He hides out in the kill room.
Scene Arc: Lucius escapes the guard to hide out in his office.
Essence: Lucius is humiliated and will get the death penalty
Conflict: Lucius would rather take his own life.
INT. DINING HALL – DAY
The news report that the war is over and the Vatican and vampires are negotiating a peace deal. He also announces a Juneteenth parade schedule and route.
Scene Arc: The war is over and it’s Juneteenth.
Essence: Josiah will meet with members of the Vatican.
Conflict: Nadia is unfamiliar with Junteenth and asks what it is.
Hope/Fear: We hope the peace will last. We fear Nadia has upset history.
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Mahee’s Scene Requirements
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 creating scene requirements for my outline.
Genre: Science Fiction Thriller
Title: Realm: Gates of Wrath
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Scene Arc: From 1ONTAE sending his men on a mission in an alien world to his arrival on Earth to meet Reverend DuVernay and other leaders.
1. EXT. ALIEN WORLD – NIGHT
1ONTAE, an alien warlord and an absolute giant of a human being, watches 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. They give him a stiff military salute and take off one by one.
Essence: 1ONTAE is dispatching his men on a mission.
Conflict: Intergalactic war?
Subtext: He exudes imperial nobility. Like a god.
Hope/Fear: We hope his intentions are good. We fear if it’s an invasion.
2. EXT. AN OPEN FIELD/EARTH – DAY
1ONTAE steps out of his spaceship, comes forward and stands over everyone. Reverend DuVernay and some powerful world leaders kneel before him and kiss his hand. They look around nervously and walk away.
Essence: This is a regular ritual.
Conflict: Dominance/Submission.
Subtext: They all are afraid their cover is blown.
Hope/Fear: We hope no one sees them. We fear someone might.
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 listens to him quietly, like a true politician.
Essence: A tragic incident strikes a different chord in Trevon and DuVernay.
Conflict: Why is DuVernay’s reaction indifferent to the incident?
Subtext: DuVernay is hiding something.
Hope/Fear: We hope DuVernay is a trustworthy politician. We fear DuVernay might me a corrupt politician.
Scene Arc: From Trevon being a blind follower of DuVernay to questioning his integrity.
4. EXT. TALL BUILDING/MANHATTAN – DAY
Trevon Campbell stands next to DuVernay who is giving a stirring speech, riling up the audience. He’s mesmerized.
Essence: DuVernay is preaching violence and hatred as a means of fighting for justice.
Conflict: DuVernay is pouring gasoline on fire.
Subtext: DuVernay is using his people as pawns to build support for his political career.
Hope/Fear: We hope for a peaceful resolution. We fear for the safety of his supporters.
5. INT. PENTHOUSE/MANHATTAN – NIGHT
DuVernay watches a young man is being tortured by his mobsters. Lusts after a woman who comes in for help.
Essence: DuVernay is showing his revengeful identity when in private.
Conflict: His public image vs his private image.
Subtext: He has a wound from his childhood.
Hope/Fear: We hope his supporters come to know. We fear him getting elected to congress.
6. INT. PENTHOUSE/MANHATTAN – NIGHT
When Professor Campbell comes on TV, talking about his philosophy, research, and findings, DuVernay boils.
Essence: DuVernay doesn’t like Professor Campbell.
Conflict: Jealousy and Competition.
Subtext: He considers Professor Campbell as a threat to his political career.
Hope/Fear: We hope he leaves him alone. We fear he could get revengeful.
7. INT. CONFERENCE HALL/WASHINGTON DC – DAY
Trevon and a gang of mobsters barge in and begin to destroy everything. Professor Campbell is shocked to see his son with the mobsters.
Essence: Trevon is leaning more on DuVernay’s side.
Conflict: His support for DuVernay vs his love for his father.
Subtext: He doesn’t believes in his father’s philosophies as much as he does in DuVernay’s
Hope/Fear: We hope he realizes his mistake. We fear he is going down the wrong path.
8. INT. CONFERENCE HALL/WASHINGTON DC – DAY
DuVernay intercepts Professor Campbell and has some choice words for him. Trevon looks on, deadpan.
Essence: DuVernay clearly hates Professor Campbell and wants to discredit him.
Conflict: Conflict of ideologies. Thirst for knowledge vs fight for injustice. Truth-seeker vs Hatemonger.
Subtext: DuVernay doesn’t know Trevon is Professor’s son. Trevon doesn’t want DuVernay to find out.
Hope/Fear: We hope he doesn’t find out. We fear the repercussions if he does.
9. INT. CAR – DAY
Trevon is driving with his father sitting next to him. They don’t make eye contact and haven’t spoken a word to each other for a while.
Essence: Both of them are still processing the mob incident.
Conflict: Father’s philosophies vs Son’s philosophies.
Subtext: Professor Campbell secretly blames himself for his son’s involvement with the mobsters. Trevon secretly worries for his father’s safety for going after a well-known politician.
Hope/Fear: We hope they make amends. We fear they might drift apart.
Scene Arc: From Sean’s puzzling nightmare to his understand of its hidden meaning.
10. INT. HIGH-RISE APARTMENT/MANHATTAN – NIGHT
Sean Madden wakes up baffled from a mysterious nightmare. He and Trevon are running across an alien landscape, holding a cipher in their hands, in search of something.
Essence: Sean’s mind has a unique capability of accessing interdimensional realms and see obscure incidents into the past and the near future.
Conflict: Will he be able to find its hidden meaning of the nightmare?
Subtext: There’s trouble brewing for Trevon.
Hope/Fear: We hope Sean finds Trevon and helps him. We fear it could be a precursor to something bad.
11. INT. PROFESSOR’S HOUSE – MORNING
Trevon shows up at his father’s house and is devastated to see the place overflowing with cops, forensic experts, and reporters. His father has been murdered the previous night.
Essence: Trevon is devastated and at the same time in disbelief about his father’s murder.
Conflict: His mind tells him it could be DuVernay. His heart conflicts with it.
Subtext: Professor Campbell has been right all along about DuVernay’s vengeful nature.
Hope/Fear: We hope Trevon follows his father’s footsteps. We fear he won’t.
12. EXT. CAMPAIGN EVENT/STADIUM – DAY
DuVernay extols Professor Campbell in front of his audience. Gets emotional in front of the audience.
Essence: DuVernay is a two-faced politician.
Conflict: His public image vs his private image.
Subtext: He’s trying to build his support base.
Hope/Fear: We hope someone notices his true personality. We fear he will get away with murder.
13. INT. PENTHOUSE/MANHATTAN – NIGHT
DuVernay watches on TV as Trevon begs the media to investigate him for his father’s murder.
Essence: DuVernay has just come to know Trevon is Professor Campbell’s son.
Conflict: His loyal supporter has suddenly become a threat.
Subtext: Trevon is suddenly a marked man.
Hope/Fear: We hope he escapes. We’re afraid his life is in danger.
Scene Arc: From Trevon’s pursuit to prove DuVernay killed his father to finding out he didn’t.
14. EXT. COLUMBIA UNIVERSITY CAMPUS – DAY
Trevon asks his friends for information on DuVernay . They distrustfully agree.
Essence: Trevon is trying his best to prove DuVernay’s link to his father’s murder.
Conflict: Investigation
Subtext: Trevon wants the media to investigate DuVernay.
Hope/Fear: We hope he succeeds. We fear he could be DuVernay’s next target.
15. EXT. AMSTERDAM AVENUE – DAY
DuVernay’s mobsters chase Trevon all over the city. But Sean shows up just in time to save him.
Essence: DuVernay has done a complete 180 on Trevon. He wants to kill his one-time loyal supporter.
Conflict: Will DuVernay find Trevon and kill him?
Subtext: DuVernay will kill anyone who stands in his way to political superiority.
Hope/Fear: We hope Sean helps Trevon escape. We fear DuVernay’s men will find them.
16. INT. DINER – NIGHT
Trevon is hurting and seething at the same time. He can’t focus. His mind is going through a hundred emotions. Sean tries to calm him down.
Essence: Trevon is convinced DuVernay is the assassin.
Conflict: Does he continue to go after him or does he hide?
Subtext: He is confused, agitated and lost.
Hope/Fear: We hope he can find his way back. We fear he will give up.
17. INT. PROFESSOR’S BEDROOM – NIGHT
Wading through the endless yellow tape, Trevon and Sean sneak into Professor Campbell’s bedroom. Check all drawers and closets for anything they can find.
Essence: Trevon doesn’t want to give up.
Conflict: Will he get caught for trespassing?
Subtext: He’s determined to find clues to solve his father’s murder.
Hope/Fear: We hope he finds something. We fear the cops may arrive.
18. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon and Sean see a cryptic message on the wall and realize it’s a mysterious cipher. Sean mentions he saw the same message in his strange nightmare. They must decode it before the night’s over.
Essence: Trevon and Sean have just stumbled upon a clue.
Conflict: The clue has just raised the stakes.
Subtext: It’s a boost to his confidence.
Hope/Fear: We hope they decode the message. We fear the cops may arrive.
19. 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”.
Essence: This cryptic clue has given him a new purpose.
Conflict: What does it mean?
Subtext: He is confused yet again.
Hope/Fear: We hope he finds its meaning. We fear the cops may arrive.
20. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon finds a hidden locker in the wall. Uses the cryptic message to unlock it. Finds a phone and a book inside.
Essence: More clues are coming to the surface now.
Conflict: What do they mean?
Subtext: His mind is thrown deeper into a conundrum.
Hope/Fear: We hope he finds what he is looking for. We fear the cops may arrive.
21. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon checks the phone. Finds image notifications from a secret camera hidden in the room. There’s a fuzzy image of a stranger in ragged clothing holding an other-worldly weapon.
Essence: DuVernay is not the assassin. But the stakes continue to escalate.
Conflict: Who is the stranger? Where did he come from? And why did he kill his father?
Subtext: His mind is in utter chaos.
Hope/Fear: We hope he finds some answers. We fear the cops may arrive.
22. INT. PROFESSOR’S BEDROOM – NIGHT
Trevon fumbles for words as Sean tries to connect the pieces of the puzzle. Just then a flash light pours in through the window and scours the room. A couple of minutes later, the door knob twists back and forth.
Essence: Sean and Trevon try to make sense out of the clues.
Conflict: The police arrive.
Subtext: Trevon realizes his father left clues for him intentionally with a purpose.
Hope/Fear: We hope they escape. We fear they may get caught.
23. INT. PROFESSOR’S BEDROOM – DAYBREAK
Police flash lights scour the room, the floor, the desk, the closets, and the secure locker. Everything looks untouched since the previous day.
Essence: Trevon and Sean escape from the police.
Conflict: Trevon has a new mission. To find the assassin and his purpose.
Subtext: Trevon has accepted his father’s plan for him.
Hope/Fear: We hope he fulfills his father’s ambition. We fear he may fail.
Scene Arc: From Trevon and Sean finding references to a theoretical world in Professor Campbell’s book to their actual journey to the world.
24. INT. CAR – DAY
Trevon and Sean pore over the book. Find a reference to an alien world on a distant Planet X in the Sirius star system.
Essence: Trevon is convinced the assassin has come from an alien world specifically to kill his father.
Conflict: How will he travel to the alien world?
Subtext: He is determined to find the assassin.
Hope/Fear: We hope he finds him. We fear there’s danger lurking.
25. INT. DINER – DAY
Sean refuses to cooperate in Trevon’s mission.
Essence: Sean knows of the dangers involved with interdimensional travel.
Conflict: Without Sean’s help, Trevon cannot embark on the mission.
Subtext: Sean has a secret wound.
Hope/Fear: We hope Sean helps Trevon. We fear things could go wrong in the mission.
26. INT. DR. SKLAR’S LAB/NEW YORK – DAY
Trevon and Sean embark on their mission carrying the cipher. They have forty-eight hours to return or get permanently lost in time.
Essence: Trevon doesn’t have a choice. And so does Sean.
Conflict: It’s a dangerous mission.
Subtext: Trevon’s determination outweighs his fears. Sean is willing to risk his life to help Trevon.
Hope/Fear: We hope the mission is successful. We fear things could go wrong.
27. INT. SPACE-TIME VACCUUM
Trevon shuts his eyes and stiffens his body as he and Sean are thrust into a astral vortex that is devoid of any space-time dependencies on the Earthly plane and is entirely thought-controlled.
Essence: Trevon finds himself in unchartered territory.
Conflict: Trevon’s mind has second thoughts. His heart, not so much.
Subtext: Trevon is nervous. Sean has been through this before.
Hope/Fear: We hope they come out alive. We fear things could go wrong.
28. EXT. ALIEN WORLD – DAY
Trevon and Sean touch ground on a battle-ravaged barren landscape. They soon realize they are in the direct path of a menacing blood-thirsty alien army that’s headed straight towards them.
Essence: Trevon and Sean finally make the theoretical alien world a reality.
Conflict: They accidentally ended up in a war zone.
Subtext: The alien world looks somewhat similar to their real world, only scarier.
Hope/Fear: We hope they find what they have come for. We fear for their safety.
29. EXT. BARREN LANDSCAPE/ALIEN WORLD – DAY
Trevon fumes as Sean tries to calm him down. With no where else to go, they turn around and begin to run but the army is fast approaching and could potentially decimate them.
Essence: They are being hunted in an alien world.
Conflict: It’s a war zone. And they are the enemy.
Subtext: Trevon feels this mission was a big mistake.
Hope/Fear: We hope they get to safety. We fear the army will catch up.
30. EXT. BARREN LANDSCAPE/ALIEN WORLD – DAY
The army has seen them and start shooting at them.
Essence: They are under fire.
Conflict: They can’t escape.
Subtext: Their troubles have begun.
Hope/Fear: We hope they get to safety. We fear the army will catch up.
Scene Arc: From Trevon and Sean’s escape from an alien army to understanding the true purpose of their mission.
31. EXT. ALIEN WORLD – DAY
Trevon and Sean are whisked away onto a battleship just in time by a couple of amphibious beings.
Essence: They are taken out of harm’s way by some extraterrestrial beings.
Conflict: Are they being saved or taken hostage?
Subtext: They may still be in danger.
Hope/Fear: We hope the beings take them to safety. We fear the beings may kill them.
32. INT. SUBTERRANEAN RIVER/ALIEN WORLD – DAY
Trevon and Sean are led through underground catacombs along a subterranean river to a large city. They are shocked to see twelve-foot dark-skinned extraterrestrial humans.
Essence: The alien world seems to have quite a few surprises for them.
Conflict: Is this world a part of their dream construct or is this for real?
Subtext: The alien world looks somewhat similar to their real world, only scarier.
Hope/Fear: We hope the beings take them to safety. We fear the beings may kill them.
33. INT. UNDERGROUND CITY
Trevon and Sean come to know that this is where the rebellion is kept imprisoned by the ruthless warlord 1ONTAE.
Essence: The dark-skinned humans, the original natives, have been kept imprisoned in their own land.
Conflict: This world is real. And there is a war going on between the alien armies and the rebels.
Subtext: The universe may consist of many worlds but the problems engulfing every world seem to be quite similar.
Hope/Fear: We hope the rebels help Trevon and Sean find the assassin. We fear Trevon and Sean may fail in their mission.
34. INT. LARGE CAVERN/UNDERGROUND CITY
Trevon and Sean meet FALLAG, the leader of the rebellion, who had been expecting them. He puts down an impossible condition. To find the assassin, Trevon must work for him.
Essence: Trevon begins to connect some links between his world and the alien world. FALLAG is the extraterrestrial alter-ego of Professor Campbell.
Conflict: Trevon can’t complete his mission until he helps FALLAG complete his.
Subtext: It’s a parallel world. Trevon’s entire life is being played out here. Possibly with deadly consequences.
Hope/Fear: We hope FALLAG is trustworthy like Professor Campbell. We fear FALLAG could be opportunistic and corrupt like DuVernay.
35. INT. BATHHOUSE/UNDERGROUND CITY
BIYOSUN, a dark-skinned water nymph, is drawn to Trevon the minute she lays her eyes on him. She bathes him with her tender hands as he is deeply engrossed in thought.
Essence: Trevon makes a soul-connection with an extraterrestrial water nymph.
Conflict: Could this be love or fatal attraction?
Subtext: The water nymph could just be pretending.
Hope/Fear: We hope their love blossoms. We fear she has ulterior motives.
36. INT. BATHHOUSE/UNDERGROUND CITY
Trevon realizes 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. And they have less than forty-eight Earth hours to complete the mission. An Earth-hour translates to approximately 730 planetary hours in this world.
Essence: Trevon must race against time to complete the mission assigned to him by FALLAG.
Conflict: Trevon must choose between his father’s mission and FALLAG’s.
Subtext: FALLAG reminds him of his own father.
Hope/Fear: We hope FALLAG is trustworthy like Professor Campbell. We fear FALLAG could be opportunistic and corrupt like DuVernay.
37. INT. DEN/UNDERGROUND CITY
Trevon is shocked to see TALIYA look like an enormous extraterrestrial alter-ego of himself.
Essence: Trevon must confront TALIYA and lure him away from 1ONTAE’s alien army.
Conflict: Trevon has a difficult task cut out for him.
Subtext: This is a parallel world and Trevon’s life is being mirrored here.
Hope/Fear: We hope Trevon is successful. We fear he may run out of time.
Scene Arc: From Trevon and Sean’s search for the secret alien lab to obtaining the DNA potion.
38. EXT. BARREN LANDSCAPE/ALIEN WORLD – NIGHT
For the first phase of the mission – Trevon and Sean must travel at night across the vast, barren, and smoldering war zone to a secret alien lab to obtain a DNA potion. They have to complete this by the break of day or risk being captured by 1ONTAE’s forces.
Essence: Trevon and Sean face the daunting task of finding the secret alien lab.
Conflict: They have to weather many forces and race against time to complete this phase.
Subtext: This is a parallel world and Trevon is being tested for his determination.
Hope/Fear: We hope they find the lab. We fear they could be captured.
39. EXT. MOUNTAIN SIDE/ALIEN WORLD – NIGHT
They find the lab sitting on the precarious edge of a mountain cliff. Wasting no time, Trevon tucks the cipher into his pocket and tries to enter the alien 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.
Essence: Trevon and Sean face the danger of falling over the slippery cliff in the middle of the night in order to enter the lab.
Conflict: Will they be able to finish this before daybreak or get captured?
Subtext: Trevon and Sean face the test of their determination.
Hope/Fear: We hope they succeed. We fear for their safety.
40. EXT. MOUNTAIN CLIFF/ALIEN WORLD – NIGHT
Trevon and Sean tie the ends of a rope around each other’s waist. They brave the gusty winds and tread the precarious edge of the cliff to reach the other side of the lab. In that process, Trevon accidentally loses the cipher.
Essence: They brave all odds to get to the other side.
Conflict: Will they get to the other side?
Subtext: Nothing comes easy.
Hope/Fear: We hope they succeed. We fear they may slip and fall.
41. EXT. CLIFF OVERHANG/ALIEN WORLD – NIGHT
Trevon and Sean finally make it into the lab. They find several transparent chambers housing test tubes cryogenically frozen. Outside each chamber is a cipher to unlock it.
Essence: They finally get inside the lab, defying all odds.
Conflict: They had the cipher and they lost it. How will they open the chambers?
Subtext: Nothing comes easy.
Hope/Fear: We hope they discover the combination to the cipher. We fear they may fail.
42. INT. ALIEN LAB/ALIEN WORLD – NIGHT
Trevon tries to unlock the first chamber with the memorized cipher. He fails. He tries the second one. No luck. He and Sean realize it’s going to be a long night.
Essence: They try to open the chambers to obtain the DNA potion.
Conflict: How will they open the chambers?
Subtext: Nothing comes easy.
Hope/Fear: We hope they find a way. We fear they may run out of time.
43. 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.
Essence: They find it difficult to open the chambers without a cipher in hand.
Conflict: Will they be able to open a chamber before daybreak?
Subtext: Nothing comes easy.
Hope/Fear: We hope they find a way. We fear they may run out of time.
44. 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 looks inside. Finds one last test tube precariously hanging by the edge. He picks it up as the first rays of daybreak hit the chamber.
Essence: At last, they successfully open a chamber.
Conflict: Can they get out in time?
Subtext: The stakes are rising.
Hope/Fear: We hope they get out in time. We fear they could get captured.
45. EXT. BARREN LANDSCAPE/ALIEN WORLD – DAYBREAK
Trevon and Sean, along with the amphibian twins, speed across the alien terrain in their battleship, being chased by 1ONTAE’s forces. A blistering shootout ensues. One of the twins is killed.
Essence: They are under attack from the alien army.
Conflict: Will they be able to escape?
Subtext: Every effort of theirs is coming at a price.
Hope/Fear: We hope they make it to safety. We fear for their lives.
46. INT. CATACOMBS/UNDERGROUND CITY
Trevon and Sean enter the catacombs underground just in time. Trevon feels elated as they traverse along the subterranean river. They have successfully completed the first phase of the mission.
Essence: They have successfully escaped the alien army.
Conflict: They have two more phases to complete.
Subtext: Trevon begins to feel the confidence building inside him.
Hope/Fear: We hope this mission gets over. We fear there are more dangers ahead.
Scene Arc: From Trevon winning FALLAG’s respect to embracing a more dangerous part of the mission.
47. INT. CAVERN/UNDERGROUND CITY
FALLAG gives them a warm welcome. They celebrate but he warns them that the second phase is even more dangerous. But Trevon just smiles.
Essence: They celebrate their small victory.
Conflict: There is more danger ahead.
Subtext: Trevon builds on his confidence with his natural ability to break down a big problem into smaller manageable ones.
Hope/Fear: We hope he succeeds in the next phase as well. We fear the impending danger.
48. INT. BATHHOUSE/UNDERGROUND CITY
BIYOSUN keeps showing interest in Trevon but he reciprocates indifferently. His mind is focused on enticing the evil genius TALIYA to join the rebellion. Sean comes to know of TALIYA’s weakness. Suggests Trevon use that as his window of opportunity.
Essence: Trevon appears to completely focus on the next phase of the mission.
Conflict: Love vs Mission. Which one will he choose?
Subtext: This world is unpredictable. Trevon thinks twice before trusting anyone’s intentions.
Hope/Fear: We hope he wins her love and he succeeds in his mission. We fear this may be a distraction or a trap.
49. 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. Trevon is pleased to see TALIYA score time after time.
Essence: TALIYA has a weakness for basketball. And Trevon must use this to entice him.
Conflict: Will TALIYA be enticed?
Subtext: Basketball is TALIYA’s weakness. Basketball is Trevon’s love. It’s game on.
Hope/Fear: We hope Trevon is successful in enticing TALIYA. We fear TALIYA will destroy Trevon.
50. EXT. VALLEY/ALIEN WORLD – DAY
Trevon waits until the men leave. He gets a reality check once he steps on the court. he can barely handle the ball, barely dribble it, and barely shoot it into the hoop.
Essence: Trevon gets a reality check. Basketball is not the same here as it is in his real world.
Conflict: Will he be able to entice TALIYA?
Subtext: His confidence level has suddenly dropped several notches.
Hope/Fear: We hope Trevon is successful in enticing TALIYA. We fear TALIYA will destroy Trevon.
51. EXT. VALLEY/ALIEN WORLD – DAY
To have the slightest chance of enticing TALIYA into the rebellion, Trevon really needs to make an impression on him. And he must learn to do that on the court.
Essence: Trevon has his work cut out for him.
Conflict: Will he able to impress TALIYA on the court?
Subtext: Is he wins his respect, he wins his trust.
Hope/Fear: We hope Trevon is successful in enticing TALIYA. We fear TALIYA will destroy Trevon.
52. EXT. VALLEY/ALIEN WORLD – DAY
Trevon practices hard and earns TALIYA’s respect on the court. They begin to bond over basketball like brothers. Soon, the day comes when TALIYA invites him to a one-on-one game.
Essence: Trevon has finally done it. Now he must seize the moment.
Conflict: Can he execute his mission with precision?
Subtext: He’s pretending to be a doting brother. But he has other plans.
Hope/Fear: We hope he executes the mission with precision? We fear he may fail.
53. INT. BATHHOUSE/UNDERGROUND CITY
BIYOSUN lovingly gives Trevon a rub and bathes him with care. He notices her beauty for the first time, but gets a little intimidated 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. He rejects her advances.
Essence: The attraction between BIYOSUN and Trevon is heating up. But so is his bond with TALIYA.
Conflict: Love vs Mission. Which one will he choose?
Subtext: Trevon treads carefully around BIYOSUN. Exactly as he’s doing around TALIYA.
Hope/Fear: We hope he succeeds in his mission. We fear her love may weaken him.
54. 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.
Essence: Trevon cannot compete at TALIYA’s level.
Conflict: Will TALIYA lose respect for Trevon?
Subtext: Trevon is nervous. He has lost a precious opportunity to complete the mission. Time is ticking and he desperately needs an outlet very soon.
Hope/Fear: We hope he gets another chance to play. We fear TALIYA may lose respect for him.
55. 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 river, wading through the water close to the edge. BIYOSUN peeks from behind a curtain, curiously. He notices and invites her to join him. She blushes, hesitates for a bit, and joins him.
Essence: Trevon wants to give BIYOSUN a chance to express her love.
Conflict: Will Trevon be consumed by her love and lose his desire to complete the mission?
Subtext: Trevon knows very well what it’s like to be given a chance.
Hope/Fear: We hope their love blossoms. We fear her love may weaken him.
56. INT. SUBTERRANEAN RIVER
They wade gently through the water, circling closer to each other. He is smitten by her beauty. She notices the twinkle in his eyes. They kiss and enjoy an intimate moment.
Essence: He gives her a chance and she wins his heart with her determination.
Conflict: Will her love weaken him?
Subtext: Trevon learns a lesson from her determination. His confidence level starts to boost up.
Hope/Fear: We hope he gets another chance to play. We fear TALIYA may lose respect for him.
57. 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 the sole. She then quietly slips back into the bed next to him.
Essence: BIYOSUN really cares for Trevon.
Conflict: What was the tiny device she planted under the soles of his shoes.
Subtext: BIYOSUN’s love is unconditional. She wants Trevon to win.
Hope/Fear: We hope he gets another chance to play. We fear he may not.
58. EXT. VALLEY/ALIEN WORLD – DAY
Trevon goes to the court to practice, determined to get better. Comes to know he’s got another chance with TALIYA. He feels elated and immediately puts his shoes on.
Essence: Trevon knows he cannot miss this opportunity to execute what he’s been preparing for.
Conflict: Will Trevon win against TALIYA?
Subtext: BIYOSUN’s lesson gave him renewed strength.
Hope/Fear: We hope he wins. We fear he may lose again.
59. Trevon is surprised to feel a bounce in his step. He holds the ball and leaps high into the air and over TALIYA. TALIYA is taken by surprise. Before he could turn around, Trevon does a 360 flip in midair and tries to slam 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 hand. It’s empty.
Essence: Trevon has injected the DNA potion into TALIYA as planned.
Conflict: Will the DNA potion reform TALIYA’s mind?
Subtext: BIYOSUN has caused a change in Trevon. Trevon has done the same to TALIYA.
Hope/Fear: We hope TALIYA joins the rebellion. We fear TALIYA will kill Trevon.
60. INT. CATACOMBS/UNDERGROUND CITY
TALIYA looks around solemnly as he rides the amphibious battleship along the subterranean river with Trevon, Sean, and the surviving amphibious twin.
Essence: Trevon has succeeded in the second phase of his daunting mission.
Conflict: There is still the last and most dangerous phase remaining.
Subtext: When given time, love and determination can help you win over foes.
Hope/Fear: We hope the rebellion wins the war. We fear 1ONTAE’s forces could wreak havoc.
Scene Arc: From the rebellion’s strategy to their win over 1ONTAE’s alien army.
61. INT. 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 relief on his face.
Essence: Trevon has made FALLAG proud of his achievement.
Conflict: The age-old war is about to hit its climax.
Subtext: Trevon misses his father. Watching FALLAG’s struggle reminds him of the struggle his own father had to go through to entice him away from DuVernay.
Hope/Fear: We hope the FALLAG, TALIYA and the rebellion win the war. We fear the strength and might of the enemy forces.
62. EXT. BATTLEFIELD/ALIEN WORLD – DAY
A bloody war ensues for days. Although fewer in numbers, TALIYA, FALLAG, and the rebellion end up defeating 1ONTAE’s forces. 1ONTAE is chased away and exiled from the planet.
Essence: The rebellion has finally won the war that has been going on for ages.
Conflict: Trevon has accomplished the impossible. But there’s one more question that still remains unanswered. Who was his father’s assassin.
Subtext: Trevon learns from TALIYA. When you fight on the right side, good things can happen.
Hope/Fear: We hope peace prevails in the parallel alien world. We fear 1ONTAE could be lurking somewhere, itching for a payback.
Scene Arc: From FALLAG’s installment as the emperor to Trevon’s return to his own world.
63. EXT. EXTRATERRESTRIAL PALACE/ALIEN WORLD – DAY
FALLAG’s supporters weep with joy as he is reinstalled as the emperor. TALIYA stands next to his father as the able minister and protector of his people. Trevon recollects his father’s golden words as Sean checks his watch as time is running out.
Essence: FALLAG is rightfully installed as the emperor and peace is restored.
Conflict: Will Trevon ever know his father’s assassin before he exits the parallel alien world?
Subtext: Only peace, love, knowledge, and thirst for self-improvement will take you ahead. Violence, hatred, greed, and anger are those detrimental roadblocks that will keep pushing you backwards.
Hope/Fear: We hope Trevon knows the identity of his father’s assassin. We fear he’s running out of time.
64. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
The time has come for Trevon to leave this world and go back to his own. FALLAG apologizes to Trevon for not being able to answer his question. Trevon shows his disappointment.
Essence: Trevon will have to leave empty-handed after all this.
Conflict: Why did FALLAG do about-face on Trevon?
Subtext: FALLAG is either opportunistic like DuVernay, or he is hiding something.
Hope/Fear: We hope Trevon remains cool-headed. We fear he may lose his temper.
65. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
FALLAG gets a little emotional as he telepathically delivers a message to Trevon. 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.
Essence: Trevon is not leaving empty-handed after all.
Conflict: What could the message be?
Subtext: Trevon had brought a change to FALLAG’s son TALIYA. FALLAG wants to return the favor.
Hope/Fear: We hope the message answers Trevon’s questions. We fear Trevon may never know his father’s assassin.
66. INT. PALATIAL ROOM/EXTRATERRESTRIAL PALACE/ALIEN WORLD – NIGHT
A broken-hearted and teary-eyed BIYOSUN approaches Trevon. She tells him she is pregnant with his son but she will die once he leaves. It was written in her prophecy. That she must sacrifice her life for the man she loves. Trevon expresses his shock and instantly feels sad.
Essence: Trevon’s time is running out in the parallel alien world.
Conflict: He feels helpless and sad for her situation.
Subtext: For the greatest love of all is a love that sacrifices all.
Hope/Fear: We hope he makes a wise decision. We fear he might get back to his old confused ways.
67. 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. Trevon screams to him but he can’t save him.
Essence: Trevon and Sean are on their return journey to their real world.
Conflict: What will happen to Sean?
Subtext: Sean’s prophecy has come true, as he had predicted.
Hope/Fear: We hope Trevon and Sean make it back safe. We fear for Sean’s life.
68. INT. DR. SKLAR’S LAB/NEW YORK – DAY
A depressed Trevon emerges out of the dream machine. Dr. Sklar delivers the bad news to him. Sean couldn’t be saved.
Essence: Trevon has come back safely. Sean couldn’t.
Conflict: Is Sean gone forever?
Subtext: Sean’s prophecy has come true, as he had predicted. And nobody could save him.
Hope/Fear: We hope Sean comes back safely. We fear he may never come back.
Scene Arc: From Trevon’s enlightenment to fulfilling his new mission.
69. INT. SUBWAY – DAY
Trevon is engrossed in his father’s book when he gets distracted by a homeless man walking across the subway car. A sudden realization hits him. The telepathic message delivered to him by FALLAG unfolds in his mind. He suddenly 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.
Essence: Trevon’s enlightenment gives him the answers he needs. He makes peace with them.
Conflict: Does he know his father’s assassin?
Subtext: Only peace, love, knowledge, and thirst for self-improvement will take you ahead. Violence, hatred, greed, and anger are those detrimental roadblocks that will keep pushing you backwards.
Hope/Fear: We hope he serves as an example to others. We fear he may never reveal who killed his father.
70. 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.
Essence: He embarks on his first step to fulfill his new mission.
Conflict: How can he manage to contest as an under-the-radar candidate?
Subtext: TALIYA’s strategy rubbed off on him. Surprise your enemy by attacking from multiple fronts.
Hope/Fear: We hope he defeats DuVernay. We fear his identity will be revealed.
71. EXT. APARTMENT/NEW YORK CITY – DAY
Trevon lets out an ecstatic roar as upon reading the letter. Bionca, a young 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.
Essence: Trevon falls in love yet again.
Conflict: Will love weaken him? Or strengthen him?
Subtext: Is it Deja vu? Or is it pre-planned by some external force.
Hope/Fear: We hope their love lasts. We fear DuVernay may kill them if his identity is revealed.
72. EXT. CAMPAIGN EVENT/STADIUM
Bionca helps put together an effective election campaign strategy for Trevon. Trevon bonds with the commoners on the neighborhood basketball courts. Their supporters keep building as Trevon sermonizes the ultimate truth, the truth passed to him by the enlightening message.
Essence: Trevon begins to diligently, confidently, methodically execute his new mission.
Conflict: Will he manage to stay under the radar?
Subtext: Trevon is a completely changed person after his return from the alien world and his enlightenment.
Hope/Fear: We hope Trevon fulfills his new mission. We fear DuVernay may kill them if his identity is revealed.
73. INT. LIVING ROOM – NIGHT
Trevon and Bionca 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.
Essence: Trevon has fulfilled his final mission.
Conflict: Will he reveal his identity?
Subtext: Trevon learnt from TALIYA. When you fight on the right side, good things can happen.
Hope/Fear: We hope DuVernay is arrested. We fear his backlash.
74. 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.
Essence: DuVernay’s days of rampage, corruption, immorality, and political supremacy have finally come to an end.
Conflict: His mind is in utter chaos when he comes to know he lost to Trevon, his once loyal supporter and follower.
Subtext: Trevon, the media, and the mobsters gave DuVernay a taste of his own medicine. They mislead him the same way he mislead them all these years.
Hope/Fear: We hope he learns his lesson. We fear he may be looking for retribution.
75. EXT. TALL BUILDING/MANHATTAN – DAY
Trevon stands at the makeshift podium, voicing his father’s philosophies, as he addresses the youngsters with an uplifting speech.
Essence: Trevon has fully embraced his father’s philosophies.
Conflict: Has Trevon learnt to be clearheaded and make peace with all things that went wrong in his past?
Subtext: Trevon has gone through complete transformation. From a high-strung, confused, and inexperienced young follower to a strong, poised, empowered, and able leader.
Hope/Fear: We hope this is a happily ever after for everyone in this world.
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