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 Rubicon ep 107 & 108 Part 4 of 4 an original screenplay by Richard C Richter
2
EXT. HAVANA DOCKS - CONTINUOUS On Trinity a tear runs down her cheek. TRINITY (V.O.) It would rob families of their husbands, their sons and it would
3
EXT. HILLS OF HAVANA - NIGHT A carriage pulled by four black horses, takes the five to the hill top home of Francisco, over looking the harbor of Havana below. Trinity looks to the sighs, she looks to her friends beside
4
EXT. HOME OF FRANCISCO ESTATE - NIGHT The carriage passes through the main gate of the estate. There waiting are a number of Spanish and Black servants to greet them by torch light. Francisco steps from the carriage then helps the ladies down.
5
EXT. GUEST HOME - DAY Subtitle: September 20, 1740 A modest Spanish home sits in the hills overlooking Havana. INT. GUEST HOME LIVING ROOM - MOMENTS LATER The rain falls outside. Trinity stands looking out the window
6
INT. GUEST HOME ANDY'S ROOM - DAY There in bed is Andy. In his hands he has a number of Kim's belongings. ANDY What?
7
INT. GUEST HOME - ROOM OF TRINITY / JACOB - LATER Trinity sits at a small desk looking out the window at the pouring rail. Jacob enters. JACOB
8
INT. GUEST HOME - ROOM OF TRINITY / JACOB - AFTERNOON Subtitle: October 5, 1740 Rain falls outside. Trinity is in bed she leys on her side, sick. There is a knock, Keara enters with soup.
9
EXT. HAVANA HOTEL INN - LATER A inn the streets of Havana. People come and go. INT. HAVANA HOTEL INN - CONTINUOUS The boys sit with Francisco and share in drinks and card play. A number of well dress Spanish men talk in the back
10
INT. GUEST HOME - EVENING Trinity sits with Keara and Claudia as they wait for Jacob, Tom and Andy to return from a day with Francisco in Havana. Standing talking with Claudia is the DOCTOR. He lifts his hat and takes his small wood medical box and turns to leave.
11
EXT. HAVANA ROAD - AFTERNOON Subtitle: November 4, 1740 Trinity, Keara, are in an open carriage driven by Jacob and Tom in the front seat. The land scope passes by. The carriage slows and passes a cemetery with a number of tomb
12
EXT. HAVANA STREETS - DAY Jacob stands next to a light stand, looking out over the sea. Trinity is window shopping with Keara, the two girls slowly walk. As they do, the shop keeps are starting to close up shop. There is a concern in their faces.
13
EXT. SAN IGNASIO - EVENING The crew are leaving the ship in small boat for the main land. Andy is helped down into the small boat. Diego, looks around with his first officer. FIRST OFFICER
14
EXT. HILLS OF HAVANA - LATER The rain falls hard. Jacob comes too! Gasping for air. Bleeding. He looks around looking for his wife Trinity and friends, Keara, Tom. JACOB
15
INT. HOME OF FRANCISCO ESTATE - NIGHT The home of Francisco. Claudia stand looking out the window in to the night storm. Francisco enters with two servants and Andy in tow. Wet, they each shake the water from the clothing.
16
EXT. HILLS OF HAVANA - NIGHT They come to a small home. Jacob bangs on the door for someone to open it. JACOB Hello... Is anyone in there?
17
INT. CELLAR HAVANA HILL SIDE HOME - CONTINUOUS Tom makes his way down the stairs to the base of the cellar. Standing there is Keara, and a BLACK SLAVE family. Two candles light the room. The Spanish man makes his way down the stairs and calls out to one of the BLACK Slaves MEN (1)
18
EXT. HILLS OF HAVANA - CONTINUOUS Jacob walks in the pouring rain. JACOB Trinity.... CUT TO:
19
EXT. ROCKY MOUNTAINS ALBERTA - DAY The year is 2011 and Trinity (age 14) walking with her father CARL. Trinity falling behind. Tired, she wants to quit. CARL Trinity get a move on.
20
INT. CELLAR HAVANA HILL SIDE HOME - LATER The Spanish man begins to yell at the Black slave. SPANISH MAN (Spanish; subtitled) Turn around, slave!
21
INT. CELLAR HAVANA HILL SIDE HOME - LATER Trinity, Jacob, Tom, Keara and the Black slaves sit. One of the slaves lights a new candle as the other one is close to going out. The storm howls outside. Water begins to run down the stone steps to the base of the cellar floor.
22
EXT. CELLAR HAVANA HILL SIDE HOME - MORNING The door to the cellar slowly swings open and out step Jacob, Tom, Trinity, Keara, Andy and the Black Slaves. The sky is clear, the air is calm. The group is now in the eye of the storm. From all sides they can see a wall of
23
INT. HOME OF FRANCISCO ESTATE CELLAR - EVENING Sitting in the Francisco cellar are Francisco, Claudia, Andy their CHILDREN and house staff. There is a knock at the door and Francisco looks up from his chair. He walks up the stairs and opens the door, standing in the light rain is
24
INT. GUEST HOME ROOM OF TRINITY / JACOB - DAY Jacob digs through what is left of the bed room Trinity and he shared. The windows have blown in and the room is filled with water and leaves. He is frantically looking for his backpack.
25
EXT. SAN IGNASIO - DAY Diego and the crew survey the damage to the ship. Andy climbs up from over the side and stands looking at what was once a great ship. Diego sits down with the first officer by his side. Andy
26
INT. DRESS SHOP - CONTINUOUS The three enter the dress shop to find: Workers are still cleaning up. A well dressed Spanish man comes to help the women. DRESS SHOP OWNER
27
INT. HOME OF FRANCISCO ESTATE - EVENING Subtitle: November 22, 1740 Tom, Trinity, Jacob, Andy and Keara are all together with Francisco, Claudia to celebrate Keara's birthday. A cake is brought into the dinning room. The table is filled
28
INT. GUEST HOME STUDY - NIGHT Subtitle: December 20, 1740 Jacob sits in the study looking at the book gifted to him by Markus, by candle light. Next to it is a large map of Africa. Dated 1725.
29
INT. GUEST HOME STUDY - LATER Now in the room is Tom, Keara and Andy joining Trinity and Jacob. KEARA It's late. You need to rest get
30
EXT. GUEST HOME BALCONY - LATER Trinity stands dressed in her robe, over looking the harbor of Havana. The wind at her hair, she looks down to her belly. She puts her hand on it, holding it. TRINITY (V.O.)
31
INT. GUEST HOME - TOM AND KEARA ROOM - NIGHT Tom sits reading a English book by candle light. Keara sits in a chair across from him. In her hand she has pager and pencil, she is drawing Tom. As she sketches she smiles at him. Her art is decent, the
32
EXT. ROAD TO FRANCISCO - NIGHT A open carriage takes the five to the home of Francisco. Trinity looks towards the city of Havana to the west of them. Jacob sits across from her and looks at Trinity. The two make eye contact.
33
EXT. HARBOR OF HAVANA - CONTINUOUS The boat crew works hard to fight the head wind coming across the waters. BOAT'S MAN (Spanish; subtitled)
34
INT. CHURCH OF IGLESIA DEL ESQIRITU SANTO - NIGHT People are filing into the church. The choir sings. Smoke hangs thick in the air. As people enter they make the sign of the cross. EXT. CHURCH OF IGLESIA DEL ESQIRITU SANTO - CONTINUOUS
35
INT. CHURCH OF IGLESIA DEL ESQIRITU SANTO - CONTINUOUS There is a passage of time as we see the faces of all the people attending this night. One of these faces is Markus. Trinity looks over to Jacob. Then over to Andy. Sadness still shows in his eyes. He continues to long for Kim.
36
EXT. HARBOR OF HAVANA - NIGHT The Seven once again find themselves in the open row boat returning to the home of Francisco. Trinity looks back at the city in the distance. The boat crew row...
37
INT. GUEST HOME - MORNING Andy sits having a drink and smoking a cigar. Jacob and Tom enter laughing. TOM I sure don't miss the snow.
38
INT. GUEST HOME KITCHEN - DAY Patta is working to make the evening meal. Tom enters he starts to look around. Patta eyes him. PATTA (Spanish; subtitled)
39
INT. GUEST HOME DINNING ROOM - EVENING Trinity, Keara, Jacob and Andy file into the dinning room where there are five plates set. On each is a make shift looking Hamburger. The four looks at their plates.
40
EXT. GUEST HOME BALCONY - LATER Trinity and Patta talk as they walk looking out at the rising moon. TRINITY (Spanish; subtitled)
41
INT. GUEST HOME - TOM AND KEARA ROOM - MORNING Drapes drift in the morning wind. Softly swaying, the sound of the water and rolling waves can be heard. Trinity and Keara lay in bed staring at the ceiling both listening to music sharing one set of ear buds. On the
42
EXT. CITY OF HAVANA - HOME OF CLAUDAI'S FRIEND - DAY A carriage with Trinity, Keara, Claudai and Francisco pulls up to Havana street home. The three ladies are helped down by STAFF. Trinity looks up at the home.
43
EXT. HOME OF FRANCISCO - EVENING Francisco stands outside smoking a pipe, he sees Andy and walks up to him. Andy looks up from where he is siting by a tree and looks into face of Francisco. He smiles, the presence of Francisco
44
INT. GUEST HOME - TRINITY / JACOB ROOM - DAY Jacob shaving in a bowl by the desk. There is knock at the door. JACOB Si, Open.
45
EXT. GUEST HOME - YARD - DAY Trinity and Jacob, walk hand in hand. JACOB Trinity? Trinity looks to Jacob.
46
EXT. HOME OF FRANCISCO - NIGHT Subtitled: January 1, 1741 Fireworks race into the night sky. Explode and shower down with magic. Trinity, Jacob, Keara, and Tom look skyward. Francisco is
47
EXT. HOME OF FRANCISCO YARD - LATER Trinity, Jacob, Tom and Keara stand saying good night to Francisco and Claudai. TRINITY Good night.
48
EXT. GUEST HOME - COURTYARD - LATER The carriage drops of the four teens. Patta is there to meet them, wearing a rob at this early hour. FRANCISCO
49
EXT. ROAD TO FRANCISCO - LATER Andy is walking on the road toward the guest house. Francisco sees him. FRANCISCO (Spanish; subtitled)
50
INT. GUEST HOME - STUDY - LATER The four continue to dance to the 21st century music. They hold each other in erotic fashion. The dance is begin to get sexual. Patta then steps from the shadows. The four pause and look
51
EXT. GUEST HOME - COURTYARD - AFTERNOON Trinity and Jacob join Keara and Tom, for lunch. Patta sets two more plates for Trinity and Jacob. She smiles at the young adults. There is a look between them. A secret now. KEARA
52
INT. GUEST HOME - ANDY ROOM - MOMENTS LATER Open on Andy's room. Jacob knocks at the room, he finally opens to room and steps in. JACOB Andy? Hey dude, where are you...
53
INT. HOME OF FRANCISCO DINNING ROOM - LATER Trinity, Jacob, Keara and Tom sit. Claudai walks in with Francisco. FRANCISCO (Spanish; subtitled)
54
EXT. GUEST HOME - COURTYARD - LATER Jacob, Tom, walk from the guest house and meet Francisco and his MEN in the courtyard. Keara walks up with a number of sketches she did of Andy and begins to hand them out. Jacob looks to Trinity.
55
EXT. HARBOR OF HAVANA BROTHEL - EVENING Jacob and Tom come to a stone building which is a Brothel. The two men enter. INT. BROTHEL - EVENING Jacob and Tom, enter the smoke filled brothel. They look
56
EXT. HOME OF FRANCISCO - NIGHT The great house sits quiet as Tom and Jacob with Francisco's men ride up. They step down from their horses and slowly walk to the house. INT. HOME OF FRANCISCO - CONTINUOUS
57
EXT. BROTHEL - NIGHT Lanterns burn, outside the Brothel. INT. BROTHEL - CONTINUOUS Smoke hangs thick in the air as Markus sits at a table finishing his drink. From his packet he pulls his watch,
58
EXT. DREAM/FANTASY, MEADOW / STREAM - DAY Trinity's stands barefoot, in a slow moving stream, just off the river bank, with water gently passing over her feet. The warm afternoon sun shines off the water. Trinity studies the water passing her feet, she then looks up across the
59
EXT. GUEST HOME BALCONY - MOMENTS LATER Standing on the balcony is Tom and Keara. Slowly they walk to the group. There for all to see is the burning San Ingacio. The thick smoke rolling into the night sky.
60
EXT. STONE BEACH - CONTINUOUS Jacob stands behind Trinity. Finally holding her. The orange flames reflect off Trinity's face. Tom, Keara stand. Trinity starts to cry.

Crossing the Rubicon 107 and 108 part 4 of 4

In 1740 Cuba, a group of modern-day time travelers fight for survival while grappling with the emotional toll of their situation and the loss of loved ones, as they navigate the challenges of 18th-century life and face the possibility of never returning home.

See other logline suggestions

Overview

Poster
Unique Selling Point

This screenplay uniquely combines historical events with a time-travel twist, allowing for rich character development and exploration of themes such as loss, resilience, and the quest for identity. Its setting in 18th-century Havana provides a vibrant backdrop that differentiates it from typical adventure narratives, appealing to audiences interested in both history and personal stories of survival.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

Claude
 Consider
Gemini
 Consider
GPT4
 Consider
Story Facts

Genres: Drama, Romance, Historical Fiction, Historical Drama, Adventure, Mystery, Thriller, Historical, Comedy, Musical, Slice of Life, Fantasy

Setting: September to November 1740, Havana, Cuba

Themes: Loss and Grief, Time Travel and Identity, Love and Relationships, Survival and Resilience, Social Inequality and Colonialism

Conflict & Stakes: The emotional and psychological struggles of the characters as they deal with loss, identity, and the dangers of their environment, particularly concerning Andy's potential self-harm.

Mood: Somber and reflective, with moments of hope and camaraderie.

Standout Features:

  • Unique Hook: The story intertwines personal struggles with historical events, providing a rich backdrop for character development.
  • Plot Twist: The revelation of Andy's potential self-harm adds urgency and depth to the narrative.
  • Distinctive Setting: The historical setting of 18th-century Havana offers a visually rich and culturally significant backdrop.
  • Innovative Ideas: Exploration of themes like colonialism, identity, and motherhood in a historical context.
  • Unique Characters: Diverse characters with complex emotional landscapes that reflect broader societal issues.

Comparable Scripts: The Revenant, The Nightingale, The Book Thief, Lost, The Handmaid's Tale, The Odyssey, The Giver, The Kite Runner, The Color Purple

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: 7.55
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.