1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Scene Map 60
# PG SLUGLINE
1
2
3
4
5
6
7
8
9
10
11
12
13
14
15
16
17
18
19
20
21
22
23
24
25
26
27
28
29
30
31
32
33
34
35
36
37
38
39
40
41
42
43
44
45
46
47
48
49
50
51
52
53
54
55
56
57
58
59
60
Scene Map
60
# PG SLUGLINE
1
Crossing the Rubiocn ep 105 and 106 an original screenplay by Richard Richter Richard Richter
2
EXT. MUD MISSION - LATER Friar Bernardo is just leaving the mission. As he closes the doors, he turns to see the Inquisitor riding past. The sight of the Inquisitor is concerning to him. He does the sign of the cross then lowers his head as the red robed
3
INT. DON CARLOS ESTATE BEDROOM TRINITY JACOB - CONTINUOUS Trinity slowly awakes to the sounds outside her door. In her hand she holds her Iphone in the red case. Suddenly the door smashes open and enter two soldiers. Trinity and Jacob are shocked!
4
INT. DON CARLOS ESTATE UPSTAIRS HALL - CONTINUOUS As Trinity and Jacob enter the hall they are joined by Tom, Keara, Kim and Andy, they too are being dragged from their sleep. KEARA
5
INT. DON CARLOS ESTATE STUDY - CONTINUOUS Trinity enters. TRINITY (in Spanish; subtitled) We are so sorry.
6
EXT. DON CARLOS ESTATE - AFTERNOON The SIX ride from the estate into the hills high above the fields. There they stop and climb from their horses to a large shade tree where they sit. Jacob and Andy look back at the stunning sight below.
7
EXT. DON CARLOS ESTATE - DUSK The home of Don Carlos is seen in the distance. INT. DON CARLOS ESTATE STUDY - NIGHT The six step into the study of Don Carlos who is at his desk with Ikal and a FEW other MEN. They are in talks.
8
EXT. DON CARLOS ESTATE STABLES - NIGHT The six enter with bags, a few small trunks, and a small wooden box, with many of their belongings from the future inside. Ikal is there to serve them.
9
INT. DON CARLOS ESTATE - CONTINUOUS From an open window Don Carlos looks down and sees the six. He steps forward and calls down to Trinity. DON CARLOS (in Spanish; subtitled)
10
INT. DON CARLOS ESTATE - CONTINUOUS From the open window Don Carlos watches Ikal and the others ride off through the open gate. Behind him is Teresa. TERESA (in Spanish; subtitled)
11
EXT. ROAD TO MAZATLAN - CONTINUOUS Ikal is in the lead, he stops and puts up is hand for the others to stop. Ikal see the approaching Inquisitor and his men. IKAL
12
INT. MUD MISSION MAIN HALL - CONTINUOUS Tom stands at the side doorway from the sanctuary. TOM No.... Trinity comes up behind Tom. She sees what he sees. There
13
EXT. CEMETERY MUD MISSION - DAWN The seven finish covering the body of Bernardo with the last of the dirt. Keara place a head stone made of a wood board. On it the name of Bernardo and only the year of this death. They all just stand there.
14
INT. RIDING STABLE CALGARY 2008 FLASH BACK - DAY Trinity age 12 rides as MARIA looks on from the sidelines. She is proud as she sits high in the saddle. TRINITY (V.O.) Mom, Dad, remember when I was a child
15
EXT. SIERRA MADRE MOUNTAINS - MAGIC HOUR - DAY The rain has stopped. The six and Ikal now ride up a narrow, treacherous mountain path. The group is running on fumes; grubby, exhausted, irritable. Andy’s horse stops, unwilling to go further. Andy gives a
16
EXT. MEXICAN JUNGLE - DAY The GRAND INQUISITOR, intense, focused, and FOUR intimidating SOLDIERS approach the spot in the mud where Trinity fell. They stop briefly, examine the ground, converse in Spanish. Unlike our ragtag group, the posse moves up the muddy incline
17
EXT. SIERRA MADRE MOUNTAINS - SOUTH TRAIL - CONTINUOUS The Inquisitor and men ride on towards the friends. CUT TO: EXT. SIERRA MADRE MOUNTAINS - SOUTH TRAIL - CONTINUOUS Ikal speaks Spanish to Trinity. She nods, translates.
18
EXT. SIERRA MADRE MOUNTAINS - FORK IN THE PATH - NIGHT The Grand Inquisitor and his soldiers, now holding torches, arrive at the fork in the path. They converse in Spanish. EXT. SIERRA MADRE MOUNTAINS - NORTH TRAIL - NIGHT Ikal and Jacob release the pack horses. As they run off into
19
EXT. MEXICO CITY STREETS - A FEW DAYS LATER Subtitled: MEXICO CITY, AUGUST 17, 1740 Exhausted, Trinity, Tom, Kim, Keara and Andy ride into Mexico City. The street’s alive, buzzing with palpable excitement. People enthusiastically wave the flags of New Spain. It’s
20
EXT. MEXICO CITY STREET - NEARING LA PROFESA - LATER The group continues on their journey, heading up a hill, now out of the crowds. KEARA You're doing this for Robert?
21
INT. LA PROFESA - ENTRANCE - LATER Trinity converses in Spanish with FATHER JUAN, kindly, 40s, in the front pews as the teens look on. Father Juan puts his hand on Trinity’s shoulder. FATHER JUAN
22
INT. JESUIT CHURCH - SLEEPING QUARTERS - NIGHT Andy enters to find Kim asleep on a small bed. They've cleaned up and look relaxed. He gently squeezes her shoulder, kisses her cheek. She awakens, smiles at the sight of him. KIM
23
EXT. SIERRA MADRE MOUNTAINS - SOUTH TRAIL - NIGHT The Inquisitor and his men are camping for the night. One of the soldiers pokes at the fire to stir it up. The Inquisitor looks into the night. Anger fills his eyes. INQUISITOR
24
EXT. JESUIT CHURCH - BELL TOWER - NIGHT A peaceful, contemplative space which belies Trinity’s emotional turmoil. Earbuds in, listening to music, ("Life") she looks out at the empty night streets, scanning for signs of Jacob and Ikal. She writes in her diary...
25
EXT. PROFESA - GARDEN - NIGHT A TOM-CAT swatting a FIREFLY. REVEAL: a small, manicured center lawn, surrounded by well- tended tropical flowers and plants, an altar at one end. Candles are lit on the altar. Stained-glass lanterns line
26
EXT. OUTSKIRTS OF MEXICO CITY - TWILIGHT Trinity, Tom, Keara and the newlyweds, Andy and Kim head towards Veracruz. Keara rides with Trinity. TRINITY Can you give me a minute?
27
EXT. ORNATE BUILDING - LATER Trinity, Tom, Keara, Kim and Andy stand in front of an overly ornate, brightly painted building, no sign over the door. ANDY You sure this is it?
28
INT. ORNATE BUILDING A lot of red velvet, dark wood, beer, tequila. A bar, tables and chairs, main floor, and a grand staircase leading up to private rooms. The five friends enter and see well-dressed men flirting with women in suggestive (for the time) clothing.
29
INT. ORNATE BUILDING - BAR - MOMENTS LATER A WORKING GIRL brings a round of drinks to the table. CAPTAIN DE LEIVA (Spanish; subtitled) We do have accommodation for the
30
EXT. ORNATE BUILDING - DUSK The five find themselves standing outside waiting for their horses. The sun sets in the west. KEARA Nicely done, Trinity. Jacob would
31
EXT. THE SAN IGNACIO - LATER AFTERNOON (IKAL, KIM, TRINITY) The six ride up to the ship, dismount from their horses and unload their belongings. The San Ignacio’s escort, the Santa Rosa de Lima is docked next to her. The friends are quiet.
32
INT. SAN IGNACIO - DECK - LATER (ANDY, JACOB, KIM, TRINITY) The crew raises the gangplank, the ship is ready to set sail. The dock lines are pulled and dropped into the waters. Jacob fills his friends in on what happened.
33
INT. TRINITY AND JACOB’S CABIN - EVENING (JACOB, TRINITY) Jacob and Trinity open the door. It’s cramped, dim, musty, bare-bones. A small wash bowl is next to one of the tiny beds, with a hammock hanging above. A rat scurries off to
34
INT. CABIN’S QUARTERS - NIGHT (ANDY, CAPTAIN DE LEIVA, DOCTOR, JACOB, KEARA, KIM, RAFAEL, TOM, TRINITY) Captain de Leiva sits at the head of the oval table with his First Officer, Diego, the teens, and the ship's young,
35
INT. TRINITY AND JACOB’S CABIN - NIGHT Trinity and Jacob lay together in the same small bed, with little to no room. Trinity is a sleep, but Jacob looks towards the ceiling, small cracks of light spilling through the floor boards above.
36
EXT. SAN IGNACIO - DECK - THE NEXT DAY - LATE AFTERNOON (JACOB, RAFAEL, TRINITY) CLANG! Swordplay on the ship’s deck. PULL BACK TO REVEAL Jacob and Miguel practicing. Miguel, the better swordsman, gives Jacob pointers. Trinity and Keara watch.
37
EXT. DECK - BOW - DUSK (ANDY, KIM) Kim stands by the rail, looking out at the water. She hold her tummy and her unborn child. ANDY (O.S.)
38
EXT. DECK - PORT-SIDE NEAR STERN (CAPTAIN DE LEIVA, DIEGO, JACOB, RAFAEL, TRINITY) Jacob and Rafael continue to fence, as Trinity looks on. Jacob retreats, Rafael advances, toying with Jacob. Suddenly a quick flick of Rafael’s wrist and his sword slices through
39
EXT. DECK - DUSK (CAPTAIN DE LEIVA, DIEGO, JACOB, RAFAEL, TOM, TRINITY) The Captain looks through his spyglass. The six, First Mate, and Rafael, their conflict momentarily forgotten, stand nearby.
40
INT. CAPTAIN’S QUARTERS - NIGHT The Captain and Diego converse in Spanish as they go over sea charts, weapons, etc. EXT. MAIN DECK - NIGHT YOUNG CREWMEN carry gunpowder and muskets to the main deck.
41
INT. JACOB AND TRINITY’S CABIN - NIGHT (JACOB, TRINITY) Jacob and Trinity, squeeze together in their tiny bed. Music softly plays on their iPhone. For the moment, they look like any teenage lovers, listening to music, lost in their
42
EXT. OPEN SEA - DAWN Sunrise, the (British) ships are closer. EXT. MAIN DECK - DAWN (ANDY, DIEGO, JACOB, KIM, LOOKOUT, TOM) Kim and Andy stand on the open deck looking out off the stern
43
INT. CAPTAIN’S QUARTERS - DUSK (CAPTAIN DE LEIVA, DIEGO, JACOB, TRINITY) Jacob and Trinity sit across from the Captain. He’s bleary- eyed, on adrenaline, has clearly had a sleepless night. TRINITY
44
INT. CABIN KEARA / TOM SHIP - DUSK (KEARA, TOM) Keara sits in the small chair facing a mirror, a lantern burns. She looks at the scar on her right cheek. She touches the scar, her right hand also shows the scar of when the
45
EXT. DECK OF SAN INGNOCIO - DUSK (CAPTAIN DE LEIVA, DIEGO, TRINITY) Captain de Levia, looks towards the approaching ships. He turns to Diego. The full moon lighting the horizon. Lanterns are being lit, marking each of the three British ships.
46
EXT. OCEAN - EVENING Bird's eye view. One British frigate begins to move between the two Spanish ship and the other two British vessels sail toward the outside; one to the starboard side of the San Ingnocio, the
47
EXT. SHOOTING RANGE - DAY (2016) (CARL, MARIA, TRINITY) C/U Target. A shot rings out and a bullet strikes the edge of a round steel target. Trinity, earmuffs on, with a rifle, aiming at a target 200
48
EXT. DECK OF SAN INGNOCIO - EVENING (CAPTAIN DE LEIVA, JACOB, KEARA, TRINITY) Trinity looks along the barrel of her musket... TRINITY Thank you Mom, thank you Dad.
49
EXT. MAIN DECK - EVENING (ANDY, BRITISH SOLDIERS, CAPTAIN DE LEIVA, DIEGO, JACOB, KIM, RAFAEL, TOM, TRINITY, VOICE) The British ships fire! CAPTAIN DE LEIVA (O.S.)
50
INT. INFIRMARY - NIGHT (JACOB, KIM, TRINITY) Casualties, dead bodies, blood... The Doctor bandages wounds, while a crewman gives liquor to drink to the conscious patients to calm their nerves. Kim enters, takes in the
51
EXT. SAN IGNACIO - MID SHIP - NIGHT (CAPTAIN DE LEIVA, JACOB, KEARA, TOM, TRINITY) Trinity, in pain, unable to get back to her feet. No sign of Jacob, but she sees Andy, eyes closed, looking lifeless, fifteen feet away.
52
INT. LOWER DECK (MIGUEL, TRINITY) ... Kim, on the deck, back against the wall, shot, directly in the heart. Miguel is next to her body, crying, holding her hand.
53
EXT. SAN IGNACIO - DECK - DAWN (TRINITY) Subtitle: SEPTEMBER. 7, 1740 Trinity watches the surviving crew (including Diego) tend to the grim task of putting the dead in cotton body bags.
54
INT. ANDY AND KIM’S CABIN - DAWN (TRINITY) Tom and Jacob change the dressing on Andy’s wound as Keara and Trinity stand by. TRINITY (V.O.)
55
EXT. SAN IGNACIO - DECK - DUSK (ANDY, DIEGO, FRIAR, JACOB, SPANISH SAILOR, TRINITY) On the deck of the San Ignacio, bodies are slid down the plank one by one, as the ship’s FRIAR blesses each one. As the time comes for Kim to go...
56
EXT. OCEAN - DAY The San Ignacio sails at half speed, which isn’t bad considering its main mast is gone. Its escort ship, the Santa Rosa de Lima is just ahead. INT. TRINITY AND JACOB’S CABIN - AFTERNOON
57
EXT. SAN IGNACIO - MAIN DECK - MORNING (JACOB, TOM, TRINITY) The San Ignacio approaches the port of Havana, Cuba. Trinity looks at her solemn friends, shell-shocked, and exhausted from the horrific battle, and reeling from the loss of their
58
EXT. SAN IGNACIO - DECK - MORNING A SLAVE SHIP has docked. As the San Ignacio approaches the dock, from the railing side the friends watch as AFRICAN SLAVES, chained together, are led off the slave ship. DISSOLVE TO:
59
EXT. SAN IGNACIO - DECK - CONTINUOUS (TRINITY) On Trinity: TRINITY (V.O.) who believed in love and redemption?
60
EXT. DOCK SIDE HAVANA - LATER (TRINITY) The San Ignacio docks, the friends look at each other, not sure if they have the stomach to walk past the Slave market. The slaves are lined up and inspected by the slave traders,

Crossing the Rubicon 105 and 106 part 3 of 4

A group of modern-day time travelers find themselves trapped in 18th century Mexico, forced to fight for their lives against the Inquisition and navigate the brutal realities of the past in order to find a way home.

See other logline suggestions

Overview

Poster
Unique Selling Point

What sets this screenplay apart is its unique blend of historical drama and time travel, allowing for rich character development against a backdrop of real historical events. The emotional stakes are heightened by the characters' relationships and the consequences of their actions, making it relatable to a modern audience while providing a fresh perspective on historical narratives. The incorporation of themes such as sacrifice, love, and the struggle for identity resonates deeply, appealing to viewers who appreciate character-driven stories with moral dilemmas.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Claude
 Recommend
Gemini
 Consider
GPT4
 Recommend
Story Facts

Genres: Drama, Adventure, Action, Historical Fiction, Historical, Romance, Thriller, Tragedy, War

Setting: 1740, Mazatlan, Mexico and various locations including the Sierra Madre Mountains, San Ignacio ship, and Havana

Themes: Survival and Resilience, Moral Conflict and the Price of Survival, Love and Loss, The Power of Hope and the Pursuit of Freedom, The Impact of History and the Cycle of Violence, Identity and Belonging

Conflict & Stakes: The group faces the violent oppression of the Grand Inquisitor while grappling with personal loss, moral dilemmas, and the need for survival.

Mood: Somber and reflective, with moments of tension and urgency.

Standout Features:

  • Unique Hook: The blend of historical events with a time travel element that explores the consequences of choices.
  • Major Twist: The revelation of Kim's true identity and her pregnancy, which adds emotional stakes to the narrative.
  • Distinctive Setting: The rich historical backdrop of 18th-century Mexico, providing a visually stunning and culturally rich environment.
  • Innovative Ideas: The exploration of moral ambiguity in survival situations, challenging characters' ethics.
  • Unique Characters: A diverse cast that includes strong female leads and a young boy as a symbol of hope.

Comparable Scripts: The Witch, The Crucible, Outlander, The Time Traveler's Wife, The Book Thief, The Last of the Mohicans, The Handmaid's Tale, The 100, The Alchemist

Script Level Analysis

Writer Exec

This section delivers a top-level assessment of the screenplay’s strengths and weaknesses — covering overall quality (P/C/R/HR), character development, emotional impact, thematic depth, narrative inconsistencies, and the story’s core philosophical conflict. It helps identify what’s resonating, what needs refinement, and how the script aligns with professional standards.

Screenplay Insights

Breaks down your script along various categories.

Overall Score: 7.68
Story Critique
Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.
Characters
Explores the depth, clarity, and arc of the main and supporting characters.
Emotional Analysis

Breaks down the emotional journey of the audience across the script.

Goals and Philosophical Conflict
Evaluates character motivations, obstacles, and sources of tension throughout the plot.
Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Scene Analysis

All of your scenes analyzed individually and compared, so you can zero in on what to improve.

Scene-Level Percentile Chart
Hover over the graph to see more details about each score.
Go to Scene Analysis

Other Analyses

Writer Exec

This section looks at the extra spark — your story’s voice, style, world, and the moments that really stick. These insights might not change the bones of the script, but they can make it more original, more immersive, and way more memorable. It’s where things get fun, weird, and wonderfully you.

Unique Voice
Assesses the distinctiveness and personality of the writer's voice.
Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
Memorable Lines
Spotlights standout dialogue lines with emotional or thematic power.
Tropes
Highlights common or genre-specific tropes found in the script.
World Building
Evaluates the depth, consistency, and immersion of the story's world.
Correlations
Identifies patterns in scene scores.
Loglines
Presents logline variations based on theme, genre, and hook.