SCENES
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Scene Map 60
# PG SLUGLINE
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INT EXT INT/EXT hover for full slug
Scene Map
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# PG SLUGLINE
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DUNE PART TWO by Denis Villeneuve & Jon Spaihts ii.
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3 EXT. IMPERIAL GARDENS - DAY 3 A CHEOPS chessboard. A game in progress. An elegant regal young woman, PRINCESS IRULAN, makes a move. She waits. Her opponent, a charismatic old man with enigmatic features and sad eyes - The PADISHAH EMPEROR SHADDAM IV - seems lost in
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10 EXT. DEEP DESERT - A SURREAL RED DAY 10 The ECLIPSE is almost total. PAUL ATREIDES awakes, startled, and finds CHANI hushing him with authority - Quiet! Paul is completely disoriented. He was having a vision, lying
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11 INT. ARRAKEEN RESIDENCY WAR ROOM - SAME MOMENT 11 INSERT on a holographic map: the ICON OF THE HARKONNEN PLATOON turns RED. A 3D projection of a map of Arrakis’ NORTHERN HEMISPHERE illuminates a military SOLIDO console where we can see the
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14 EXT. DESERT, CANYON - DAY 14 The Fremen patrol walks through a narrow canyon. ON PAUL, feeling the presence of shadows. They are being spied on from the heights. Stilgar makes a WEIRD CLICK with his tongue, like a bird. An answer comes from the heights.
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16 INT. SIETCH TABR, COUNCIL’S DOME ROOM - RIGHT AFTER 16 Sietch Tabr’s council: a dozen ELDERS sit in a circle on carpets, wise old men and women, with deep blue eyes. STILGAR TRANSLATION (Chakobsa) Ruqaafiikaa dimalanii rii
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17 INT. SIETCH TABR, COMMUNAL ROOM - SAME MOMENT 17 ON JESSICA Sitting with Paul, apart from Chani and the rest of the Fremen patrol. All are eating some orange dry porridge. Jessica doesn’t eat. She looks around. She can feel the
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18 EXT. DESERT, A TABERNACLE - DAY 18 A sandblasted SKULL in a tabernacle alcove. Above it, a small oil portrait of Duke Leto, looking at us with infinite sadness. BACK TO REALITY
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20 INT. SIETCH TABR, CISTERN OF SOULS - DAY 20 A gigantic cistern of millions of gallons of water. The Watermasters and a family of Fremen are praying by the pool. Jessica enters the room, amazed by the sight. STILGAR
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21 INT. SIETCH TABR - DAY 21 A small expedition is getting ready. Fedaykin are adjusting their stillsuits, weapons, traveling equipment, backpacks and fremkits. Stilgar gives instructions to Chani and Shishakli. Paul helps Jessica adjust her stillsuit.
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23 INT. RAMALLO’S DEN - DAY 23 A TWO HUNDRED-YEAR-OLD blind Fremen woman, REVEREND MOTHER RAMALLO, opens her eyes, suddenly troubled. She felt the visitors’ presence - Stilgar and Jessica sit in front of her. FIVE female FREMEN NUNS are caring for Ramallo. Two of them
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27 EXT. DESERT -RIGHT AFTER 27 Aside from the main group, Stilgar conspires with a few of the other believers. STILGAR (Chakobsa)
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29 EXT. DESERT - END OF DAY 29 Stilgar and Paul stand on a high dune. The Fremen is in a great mood. STILGAR If you want to fight with us, first
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30 EXT. DESERT - NIGHT 30 Paul sandwalks in the silence of the night, in a narrow canyon of dunes. Suddenly he stops, alert. From the top of a dune, a ghostly silhouette is watching him. Laughing. PAUL
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32 EXT. SIETCH TABR - END OF DAY 32 A few Fremen are working on WINDTRAPS on the crest of a rock. Chani inspects one of them and explains to Paul how to set it. CHANI
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35 INT. DEEP DESERT, FEDAYKIN CAMP - NIGHT 35 The Fedaykin celebrate their victory, eating together, under a large camouflage tarp. Some Fedaykin are performing a traditional dance around a thermolantern. Others are chewing spice sticks, enjoying the levity of their effect.
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36 EXT. DEEP DESERT - SUNRISE 36 A SANDRIDER slaloms in the desert. The dunes are like waves. The Fremen is truly elegant. A magical sight! It’s Stilgar. Paul observes him from the crest of a dune, mesmerized. PAUL
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37 EXT. DESERT - DAY 37 Fremen fighters walking in the desert. As they climb a narrow crevasse, Chani exchanges a look with Paul. 38 EXT. DESERT, PROMONTORY - DAY 38
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49 EXT. DESERT - MORNING 49 The morning sun is now higher. The Fremen, in travel gear, sit at the top of a high dune. Chani is among them. For the first time, she seems tense. She wears a beautiful IBAD BLUE NEZHONI SCARF on her head.
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50 INT. SIETCH TABR - CHAPEL - DAY 50 A Fremen hieroglyph representing a man riding a worm, encircled with sun rays. Walls covered with Chakobsa inscriptions. A YOUNG NUN runs inside the chapel, excited. She interrupts
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51 INT. JESSICA’S YALI - RIGHT AFTER 51 Pacing slowly in her yali. Mothering her unborn child. JESSICA Our task in the North is nearly done. They believe in Paul. Now we
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53 EXT. DEEP DESERT - DAWN 53 An activated thumper at the top of a dune. The moons are majestic. Dozens of Fremen leave the protection of Sietch Tabr’s rocks, taking position beside the thumper.
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55 EXT. DEEP DESERT - DAY BREAK 55 In the distance, a dust cloud - a SANDWORM. We move closer - The worm travels at high speed toward the South. We can now see a dozen tiny human figures on its back. ON THE WORM
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57 EXT. ARRAKEEN SPACEPORT - RIGHT AFTER 57 A massive plume of dark smoke from the recent explosion is rising nearby. THIRTY Harkonnen military ornithopters are about to take off from a tarmac. Blades flapping in the dust. Cockpit doors
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58 EXT. DESERT - EARLY MORNING 58 The Harkonnen ornithopters fly at maximum speed above sand dunes heading South-East. 59 INT. MILITARY HARKONNEN ORNITHOPTER - SAME MOMENT 59 Rabban loses his temper.
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61 INT. MILITARY HARKONNEN ORNITHOPTER - CONTINUOUS 61 Rabban’s PILOT increases the density of his helmet visor, fighting against the sun’s blinding rays. The operator keeps scanning the area. OPERATOR
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64 INT. IMPERIAL TEA ROOM - DAY 64 Irulan silently mumbles the name Muad’Dib to herself, trying to decipher some hidden mystery between the syllables. The Emperor is enjoying a ceremonial tea. EMPEROR
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65 EXT. IMPERIAL GARDENS - RIGHT AFTER 65 Irulan and the Reverend Mother walk together. IRULAN Muad’Dib. The prophet. The one who points the way. These are our own
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66 INT. GLADIATORS ROOM - DAY 66 A half-naked young man stands in the middle of the room as three skinny ATTENDANTS paint his body with jet-black plastic mud. Feline and muscular, he displays a hairless body typical of
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70 EXT. ARENA, BARON’S BOX - SAME MOMENT 70 Giedi Prime’s BLACK SUN brings an eerie black and white look to everything under its light. DEEP VOICE (O.C.) (Harkonnen, subtitled)
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74 INT. GIEDI PRIME, BARON’S ROOM 74 Baron Harkonnen lounges, drunk, in a wide tub of viscous white fluid. Smoking spice from an elaborate hookah. Feyd-Rautha faces him, in a pristine black officer’s uniform. He glares at the Baron, who smiles back at him serenely. They
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76 INT. GIEDI PRIME PALACE - LATER 76 ON FEYD, lost in thought, walking an eerie dark corridor. He is brooding, alone, his mind buzzing with schemes and plans, in sharp contrast with the celebrations outside. From the windows, spasmodic bursts of firework flashes induce a
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77 EXT. IMPERIAL GARDENS, PAVILION - DAY 77 Morning rain on lush green trees. An elegant pavilion in the middle of a pond. Bene Gesserit Sisters. The Reverend Mother Mohiam and Irulan listen to Margot Fenring’s reports.
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78 INT. GIEDI PRIME’S CEREMONY TOWER - SAME MOMENT 78 A massive crowd of thousands. A Harkonnen ceremony. The Baron gives full power to Feyd-Rautha, putting the black heavy medallion to his neck (previously seen on Rabban). HARKONNEN ANNOUNCER
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81 EXT. DESERT - DAY 81 Violent heat waves distort the landscape. In the distance, we can hear a man singing, playing the baliset. The tune is uplifting. His voice is familiar. A battered crappy carryall transports an even older beaten up
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83 EXT. DESERT - CONTINUOUS 83 Gurney lands. Behind him, the heavy harvester is slowly being set down onto the spice field, lowering its crop systems, ready for action. The carryall’s anchors release with screeching agony.
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84 INT. FREMEN SHELTER - DAY 84 In a low ceiling open cave, Paul and Gurney are sitting apart from the others. Chani and Shishakli are chewing roots, in silence, observing both men like cats, suspiciously.
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85 EXT. DESERT / CANYON - LATER 85 The patrol walks into a narrow canyon. Gurney and Paul chat in hushed voices. Chani walks ahead of them, worried. GURNEY How many men with you?
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86 EXT. DEEP DESERT - DUSK 86 In the deep desert, a Fedaykin camp is being set up. Fedaykin are burying their tents with SANDCOMPACTORS. Paul and Chani are setting up their stilltent. She uses an ANCHOR GUN with dexterity.
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88 INT. STILLTENT - LATER THAT NIGHT 88 Paul and Chani are getting ready for the night, following some protocol with their equipment. There is nothing romantic about being in a hiereg (a camp in open sand). PAUL
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89 EXT. DESERT, PROMONTORY - DAY 89 From binoculars: A mountain with a gigantic narrow dark slit. The oil optics shift to increase focal length. We are looking at the edge of the hole. A few steps from deep darkness. GURNEY
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93 INT. IRULAN’S OFFICE - DAY 93 The needles of the recorder engraves microscopic letters on shigawire tube. IRULAN (O.C.) Imperial diary. Year 10191. Eighth
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96 INT. MAKER’S TEMPLE - DAY 96 A sand basin the size of a small pool. Under the sand, a shape, as big as a boa, can be seen moving, diving and coming back to the surface like a nightmare. A Fremen woman without age, with strong arms, and magnetic
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97 EXT. DEEP DESERT - DAWN - VISION 97 HYPER SLOW MOTION Chani runs at the top of a sand dune. A sudden distant atomic explosion in the desert distorts the landscape with eerie poetry, in silence.
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102 INT. ARRAKEEN RESIDENCY WAR ROOM - SAME MOMENT 102 The 3D map of the Northern hemisphere illuminates the SOLIDO console. One by one. The nine operators repeat coordinates in Harkonnen language. A new a cappella war melody. On the other side of the console, through the holograms
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103 EXT. CAVE OF BIRDS - DAY 103 A column of wounded Fremen families are moving toward the Cave of Birds. 104 INT. CAVE OF BIRDS - SAME MOMENT 104 A carved chimney where birds fly in spirals toward their
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105 EXT. CAVE OF BIRDS - RIGHT AFTER 105 Dark smoke still coming out of the elephant shaped mountain of Sietch Tabr. Columns of Fremen refugees in the distance. Paul seems lost, looking at the quiet landscape. Gurney appears behind him.
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106 INT. CAVE OF BIRDS - DAY 106 An incandescent stream of fire kills the birds in one of the chimneys. A HARKONNEN TROOPER turns off his flamethrower. Dying charred birds wriggle on the ground. Feyd-Rautha in full battle armor enters the room where a
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108 EXT. MAKER'S TEMPLE - DAY 108 Paul walks toward the entrance of the Maker’s Temple. 109 INT. MAKER’S TEMPLE - CONTINUOUS 109 A young worm is moving under the sand of the basin. The Maker Keeper sits beside the basin, in meditation.
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113 INT. MAKER TEMPLE - CONTINOUS 113 Chani enters the temple. We discover Paul laying on the ground, looking as though he was dead. CHANI Paul! Paul!
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114 INT. MAKER TEMPLE - LATER 114 Paul and Jessica are alone, looking at each other with deep understanding. The mother keeps her eyes on him, as though he were some untamed animal. Paul is very calm. Something profound has changed inside of him, as though he had finally
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116 INT. FUNDAMENTALIST ASSEMBLY CHAMBER - DAY 116 Tens of thousands of Fremen sit in silence in the giant chamber. Stilgar and all the leaders are at the center, praying. A silhouette lands beside him - Chani. CHANI
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118 EXT. SARDAUKAR TABERNACLE - DAY 118 The clear imprint of the Atreides Hawk Emblem into the traditional wax of the seal of a MESSAGE CYLINDER. The Emperor keeps his eyes on the emblem, incredulous. His hand starts to shake. He drops the cylinder on the floor and
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120 INT. SOUTHERN SIETCH, YALI - DAY 120 Chani is packing her desert equipment. We can feel her hidden anger in each of her movements. JESSICA Are you heading North with the
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124 EXT. ARRAKEEN / MOUNTAINS - DAY 124 FROM BINOCULARS: the Imperial spacecraft hovers over the city of Arrakeen, dwarfed by the ship’s size. Under the ship’s shadow, a gigantic silver pyramidal structure has been raised outside the city’s wall, the IMPERIAL TENT.
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125 INT. IMPERIAL TENT - SAME MOMENT 125 A room heavily guarded with ELITE SARDAUKAR. The Emperor sits on his throne, on his left, the Reverend Mother Mohiam. On his right, Princess Irulan. Baron Harkonnen, flanked by Rabban and Feyd, all kneeling
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126 EXT. INSIDE THE WALL - SAME MOMENT 126 We can see the three-thousand-meter-high monstrous SANDSTORM moving toward us. Protected by the mountains, the Sardaukar legions are in combat formation, waiting for the enemy.
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131 EXT. ARRAKEEN RESIDENCY STAIRS - NIGHT 131 Gurney charges the Harkonnens with the Fedaykin, fighting their way up the stairs of the Residency. We finally see the power of his fighting skills. There is no match. Gurney is a lion. And this is revenge.
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135 INT. ARRAKEEN RESIDENCY WAR ROOM - RISING SUN 135 Jessica and the Fremen Reverend Mothers enter the room in triumph. She sits on an improvised throne: an Atreides wooden chair. Chani and her fighters walk in. The Fedaykin congratulates
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136 EXT. ARRAKEEN SPACEPORT - MORNING 136 Opera time. Millions of Fremen Fighters are marching into the open bays of Imperial Sardaukar spacecrafts. Some of them already taking off. ON STILGAR, LEADING THEM TO WAR.
INT EXT INT/EXT tap to expand

Dune Part Two

In the aftermath of the first 'Dune' film, Paul Atreides finds himself thrust into a pivotal role in the ongoing conflict on Arrakis, as he navigates the complex web of political and religious forces vying for control of the planet and the coveted spice. Other loglines ›

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Overview

Poster
Unique Selling Point

The screenplay's unique selling proposition lies in its ability to balance grand-scale sci-fi epic with intimate character drama, particularly through Paul's transformation and the Fremen culture. The rich world-building, combined with political and spiritual themes, sets it apart from typical genre fare, making it compelling for both fans of the novel and new audiences.

AI Verdict

Claude
 Recommend
GPT4
 Recommend
DeepSeek
 Highly Recommend
See Details in P/C/R/HR Section
Story Facts
Genres:
Action 30% Drama 40% Fantasy 20% Romance 10% Science Fiction 50% Thriller 25% War 35%

Setting: Distant future, Arrakis, a desert planet, and various locations including Imperial Gardens, Sietch Tabr, and Giedi Prime

Themes: The struggle for power, Identity and destiny, Sacrifice and loss, Colonialism and exploitation, Faith and prophecy

Conflict & Stakes: The struggle for control over Arrakis and the spice, with the Atreides fighting against the Harkonnens and the Emperor, while Paul grapples with his identity and destiny as a leader.

Mood: Tense and foreboding, with moments of hope and triumph.

Standout Features:

  • Unique Hook: The intricate political dynamics and the struggle for control over the most valuable resource in the universe, spice.
  • Major Twist: The revelation of Paul and Jessica's Harkonnen lineage, which complicates their identities and destinies.
  • Distinctive Setting: The harsh and beautiful desert landscape of Arrakis, which serves as a character in its own right.
  • Innovative Ideas: The exploration of ecological themes and the importance of water in Fremen culture.
  • Unique Characters: Complex characters like Paul, who embodies the struggle between destiny and free will.

Comparable Scripts: Dune (1984), Game of Thrones (TV Series), The Lord of the Rings (Film Trilogy), Star Wars: Episode IV - A New Hope, The Handmaid's Tale (Novel and TV Series), Children of Dune (Novel and TV Miniseries), Blade Runner 2049, The Matrix, The Witcher (TV Series)

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.

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Overall Score: 7.80
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Story Critique
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Characters
Explores the depth, clarity, and arc of the main and supporting characters.
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Emotional Analysis

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

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

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

Scene-Level Percentile Chart
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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
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Writer's Craft
Analyzes the writing to help the writer be aware of their skill and improve.
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Memorable Lines
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Tropes
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World Building
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Correlations
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Loglines
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Script•o•Scope


Pass / Consider / Recommend Analysis
HR
DeepSeek
Executive Summary
The screenplay for 'Dune Part Two' is a masterful continuation of the epic saga, blending intricate character development with grand-scale storytelling. It maintains a strong narrative drive, consistent thematic depth, and compelling character arcs, particularly for Paul Atreides and Chani. The screenplay excels in its visual and emotional intensity, though some secondary characters could benefit from deeper exploration. The pacing is well-balanced, with a mix of action, introspection, and political intrigue. Overall, it is a standout adaptation that honors its source material while offering fresh cinematic potential.
Strengths
Areas of Improvement
  • Some secondary characters, like Shishakli and Gurney, could benefit from more screen time and deeper exploration. medium ( Scene 5 (12) Scene 10 (21) )
  • The pacing in the middle section slows slightly, with some scenes feeling repetitive in their desert settings. medium ( Scene 15 (34) Scene 20 (50) )
  • Feyd-Rautha's introduction and arc, while intriguing, could be more tightly integrated into the main narrative. low ( Scene 30 (70) Scene 33 (76) )
  • The Bene Gesserit's schemes, while fascinating, sometimes feel underexplored in favor of action sequences. medium ( Scene 8 (18) Scene 13 (29) )
  • The romantic subplot between Paul and Chani, while emotionally resonant, occasionally overshadows other important relationships. low ( Scene 23 (54) Scene 28 (65) )
Missing Elements
  • More exploration of the Southern Fremen tribes and their culture could enrich the world-building. medium
  • A deeper dive into the ecological transformation of Arrakis, hinted at but not fully explored, could add thematic weight. low
  • The fate of some minor characters, like Rabban, is left somewhat ambiguous, which might leave audiences wanting closure. low
Notable Points
Blind Spots
  • Cultural Depth While the Fremen culture is richly depicted, some nuances of their societal structure and beliefs could be further explored to avoid stereotyping. medium
  • Secondary Characters Characters like Shishakli and Gurney Halleck have potential but are sometimes overshadowed by the main plot, leaving their arcs feeling underexplored. medium
Credibility Flags
  • Exposition Some dialogue scenes, particularly those involving the Bene Gesserit, lean heavily on exposition, which can feel unnatural. low
  • Pacing A few middle sections slow down too much, risking audience disengagement despite the strong start and finish. medium
R
Claude
Executive Summary
The screenplay for 'Dune Part Two' is a compelling and ambitious continuation of the 'Dune' saga, featuring strong character development, gripping narrative, and impressive world-building. The screenplay effectively explores the complex themes of power, prophecy, and personal identity, while maintaining a sense of scale and spectacle. With its well-paced action sequences, intricate political intrigue, and a bold vision for the future, this screenplay is a standout in the science fiction genre and a worthy successor to the first 'Dune' film.
Strengths
  • The screenplay excels at character development, particularly in the arcs of Paul Atreides and Chani. Their relationship is nuanced and emotionally engaging, with the tension and conflict between their differing perspectives on Paul's destiny being a driving force in the narrative. high ( Scene 7 (7) Scene 9 (23) )
  • The screenplay's world-building is impressive, with a deep exploration of Fremen culture, religion, and the harsh realities of life on Arrakis. The integration of these elements into the narrative is seamless and adds a sense of authenticity to the story. high ( Scene 9 (23) Scene 14 (49)