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Scene Map 42
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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INT. ITALIAN RESTAURANT. EARLY EVENING Maître D, VINCENZO stands near the door of the Allessio’s restaurant. Light Italian music is playing in the background. Two waiters scurry about the six tables, three of them occupied by couples. A lone man is seated at the sixth table. At the third table SELENE KNIGHT sits
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EXT. NIGHTTIME. RESTAURANT. EARLY EVENING The street and the restaurant entrance. A neon sign blinks Allessio’s Italian Restaurant. SELENE exits with RICK right behind her, walking towards three parked cars illuminated by streetlamps. RICK
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INT. HOSPITAL. NIGHT fade into RICK waking up in a hospital bed with a startling jolt, sitting upright gasping. It’s dark outside, SELENE rushes to his side. RICK “Wow! where the hell am I?
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INT. FORUM III RECEPTION AREA. DAY Fade into foot-high letters of polished silver on a wood textured wall above the RECEPTIONIST’S head, it reads; FORUM III FILMS INC. RICK (Approaching the desk)
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INT. RICK’S EDITING ROOM. DAY Fade into RICK, JOY, and SHANI as RICK sits at the flat-bed editing machine as JOY splices selected film takes. SHANI runs between them carrying rolls of film. RICK looks at the editing screen on his left, suddenly his head starts to ache. He stops editing, his eyes blur as
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INT. EGYPTIAN BIRTHING ROOM. THREE AM Fade into ancient Egyptian birthing room, circa 1350 BC. HASINA, 18, is squatting with the shins of her legs resting on two birthing stones to elevate her above the dry mud floor. Birthing stones provide a space for the child to drop, they’re hand-made, cut to
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INT. KAMES’S LIVING ROOM. DAY KAMES, HASINA’S father-in-law, and father to KHUSEBEK, HASINA’S husband. KAMES’s wife HAMET is seated as her handmaiden stands nearby. KAMES (Pacing furiously, yelling.)
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EXT. VILLAGE SQUARE. DAY Fade in as village town people form a circle around Hasina’s mother who’s being put into a hole in the ground. Hasina’s present. PENEEB TOE (VO) Unfortunately HASINA was there to see
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INT. HASINA’S BEDROOM. NIGHT Fade into HASINA’S and KHUSEBEK’S bedroom. KHUSEBEK’S, wearing priest’s white robes as he rushes into the room toward HASINA who’s sitting on the bed. She rises holding the baby and runs toward him. KHUSEBEK
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EXT. EGYPTIAN DESERT. NIGHTTIME HASINA sits with the baby asleep in her arms. KHUSEBEK’S busy preparing food. PENEEB TOE (VO) “Hamet has prepared foods to last
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EXT. ANCIENT EGYPTIAN TRIBAL VILLAGE DAY Fade in to the nomadic tribe of Ab’azame Ali; seven year old Horemheb getting his first horse, and plays with his old talisman. PENEEB TOE (VO) “Before any Bedouin tribes,
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EXT. DESERT ENCAMPMENT. DAY Fade into late afternoon, HOREMHEB and SETAMEN are practicing archery, shooting at makeshift targets, HOREMHEB the better bowman; shoots with accuracy. They’re sweating profusely, wiping their eyes. PENEEB TOE(VO)
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INT. YAFEU’S TENT. DAY Fade into Yafeu’s lavish tent. HOREMHEB, arms bound is dragged by two men into the tent. YAFEU looks up as HOREMHEB’S hands are untied. YAFEU “They say you’re ten years old,
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INT. HOREMHEB’S TENT. DAY Fade in to Horemheb’s tent where a torchlight reveals a young tribesman punching NEBHET’S face, knocking her unconscious. The second young man undoes his robes moving into position to rape her. Both youths are obviously drunk. HOREMHEB enters the tent, draws his
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EXT. KARNAK TEMPLE. DAY Fade in to a slow moving panorama of the Karnak temple. PENEEB TOE (VO) “In Thebes, the Karnak Temple complex is two hundred fifty acres in size.
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INT. SCRIBE SCHOOL. NIGHTTIME Camera pans inside the school with all it’s sleeping inhabitants. PENEEB TOE (VO) “Two months have already passed since Horemheb first arrived.
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EXT. SCRIBE SCHOOL. DAY At the entrance of the school BAPU stands at the doorway addressing his students as they file past him carrying their scribe tools; a wooden palette containing two cakes of ink, red and black, a leather pot filled with water, and a set of reed brushes.
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INT. SCHOOL BATHROOM- NIGHT Fade into the school’s dimly lit communal bathroom. HOREMHEB meets PARVANEH as he’s leaving. She’s rubbing her eyes having just awakened, she almost bumps into him. PARVANEH
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EXT. TRIBAL CAMPSITE. DUSK SUKETT PA, the tribe’s story teller stands before a group of camp children ages from 6 to 12. Moonlight shines on an area enclosed by intermittent wooden posts spaced three feet apart and tied together by papyrus ropes that fence in the area. Firelight dances from the
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INT. THEBES THRONE ROOM. DAY Fade in to the elaborately decorated royal throne room in Thebes. Present are Pharaoh AKHENATEN, Queen NEFERTITI, and the Vizier AY. AY (Addressing AKHENATEN)
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INT. DESERT BATTLE AREA. DAY Fade in to early morning mist as it settles in the valley, clearly, the battle has recently ended. Still are heard the cries of wounded men, and unseen horses are screaming in their death throes. Body parts are strewn all about. PENEEB TOE enters stage left.
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INT. NEFERTITI’S BED CHAMBER. NIGHT Fade in as HOREMHEB and NEFERTITI lie naked under the soft linens and assorted cushions. The room is immense, lavishly decorated with highly polished floors, and vividly colored hieroglyphics on the walls. NEFERTITI
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INT. QUEEN TIYE’S BED CHAMBER. DAY Queen TIYE’S being groomed in her quarters at the Malkata palace. Her eldest daughter, SITAMUN, enters running, carrying a baby wrapped in swaddling. SITAMUN
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INT. HOREMHEB’S QUARTERS. DAY Fade into HOREMHEB sitting at a desk writing on a papyrus scroll, two armed guards approach. GUARD ONE “Commander, please forgive the intrusion! Abusir,
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INT. HOREMHEB’S QUARTERS. AFTERNOON Horemheb’s quarters; twenty-four hours later. Horemheb’s writing at his desk center stage as the doors open stage left, and two armed guards escort ABUSIR and AMENIA to within 4 feet of Horemheb’s desk. He rises. HOREMHEB
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INT. HOREMHEB AND AMENIA MONTAGE. DAY Fade into a montage of various stages of their relationship as PENEEB TOE’S voice is heard. PENEEB TOE(VO) “Horemheb and Amenia married one month later.
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INT. NEFERTITI’S BED CHAMBER. NIGHT Fade in as NEFERTITI and HOREMHEB are playfully pillow taking. NEFERTITI “As one of pharaoh’s chief enforcers, destroying temples throughout the land.
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INT. TUTANKHAMEN’S CHAMBERS. DAY Fade in to TUTANKHAMEN and ANKHESENAMUN playing the board game Senet. PENEEB TOE(VO) “TUTANKHAMEN’S reached the tender age of eight. Having been born with a left club foot,
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INT. NEFERTITI’S QUARTERS. DAY Fade in to NEFERTITI’S quarters. NEFERTITI, HOREMHEB, and AY are engrossed in conversation. NEFERTITI “True, it falls to us three, alone,
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INT. PALACE AT THEBES. DAY Fade into the palace’s audience hall. Pharaoh TUTANKHAMUN, and his half-sister/wife, ANKHESENAMUN, sit on their respective thrones. ANK “We’ve had ten years of ruling Egypt!
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EXT. DESERT SANDS. DAY Fade into a sequence of HOREMHEB talking with AMAZ, as a chariot is prepared. TUTANKHAMUN mounts his chariot using his canes while AMAZ takes off. Horemheb follows in his chariot. PENEEB TOE (VO)
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INT. AY’S QUARTERS. DAY At the door, AY yells to an unseen guard. AY “Guards, have Horemheb report to me at once! Just don’t stand there, go quickly, you lazy dunce!”
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INT. DESERT TENT. NIGHT Nighttime, a single torch lights the inside of ZANNANZA’S tent. ZANNANZA, his six men and the OLD LADY are fast asleep. The OLD LADY peeks out from under her bed coverings seeing ZANNANZA and the bodyguards fast asleep. Silently she crawls to ZANNANZA, sharply
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INT. ZAHRA’S TENT. DAY Fade into ZAHRA’S tent; dark and dingy. AMENIA, being prepared lies on a table as ZAHRA and two assistants scurry about concocting mixtures. PENEEB TOE(VO) “After Amenia seduced Jamentptah,
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INT. TEMPLE OF AMUN. DAY Fade into the interior of the temple of, it’s daytime, HOREMHEB’S on his knees kissing his Amun Re talisman. HOREMHEB “Oh Amun, you the king of truth,
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INT. PALACE THRONE ROOM. DAY AY and HOREMHEB face each other arguing. Pharaoh AY sits on his throne. AY “No, you listen to me! You have defied me much too often,
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EXT. MEMPHIS COURTYARD. DAY Fade in a montage of an Egyptian coronation, with all its pomp and ceremony. HOREMHEB and MUTNODJMET are seen with multitudes of onlookers. PENEEB TOE(VO) “Millions of onlookers attended
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INT. QUEEN MUTNODJMET’S BED CHAMBER. DAY Fade into MUTNODJMET’S chamber. HOREMHEB enters closing the door. HOREMHEB (Annoyed) “Mutnodjmet! What’s so important
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INT. PRESENT TIME. DR LORIS’S OFFICE. DAY 134 134 We’re back to present time. RICK KNIGHT’S still in a trance with his eyes closed, lying on DR. LORIS’S lounge chair as she sits nearby.
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INT. SELENE’S AND RICK’S APARTMENT. DAY It’s one year later, and the twins are now four years old. Its morning; SELENE and RICK are feeding the twins in their high chairs, and eating their own breakfast at the same time. SELENE
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INT. AUDITORIUM. DAY The Santa Monica Civic Auditorium. It’s packed with many celebrities; women dressed in costly designer originals and men in formal attire. People sit at tables drinking champagne and eating hors d’oeuvres. Present are ABU EL FARID and his wife, ASERE, BILL MACKLEBY, HARRY
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EXT. BEVERLY HILL BUNGALOW. DAY Fade in to RICK and SELENE in bathing suits nearing the door to their bungalow. They’re both tipsy, supporting each other. SELENE laughingly fumbles for the room key. RICK

"Peneeb Toe, the Egyptian."

A modern-day film editor's life unravels as he experiences vivid past-life regressions as the ruthless Egyptian Pharaoh Horemheb, forcing him to confront the darkness within himself.

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Overview

Poster
Unique Selling Point

This historical epic merges themes of love, betrayal, and destiny with ancient Egypt's rich history and captivating characters. Through innovative storytelling techniques and unique perspectives on renowned figures like Horemheb, Nefertiti, and Tutankhamun, the screenplay provides a fresh take on a classic era, exploring the complexities of power, loyalty, and the human experience. The script delves into topics of identity, family, and societal expectations, capturing the essence of ancient Egypt while resonating with contemporary audiences. It offers a captivating journey that fuses historical accuracy with imaginative storytelling, creating a distinctive and immersive cinematic experience.

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Gemini
 Consider
GPT4
 Consider
Story Facts
Genres:
Drama 50% Action 20% War 15% Romance 10% Thriller 15%

Setting: Ancient Egypt (1350 BC) and Present Day (1967), Various locations including Italian restaurants, Egyptian tribal villages, scribe schools, and ancient temples

Themes: Betrayal, Identity, Power, Deception, Love

Conflict & Stakes: The primary conflicts revolve around Rick's mysterious dreams of being an ancient Egyptian pharaoh, Selene's suspicions of infidelity, and the unfolding drama in both ancient Egypt and the present day.

Mood: Mysterious and suspenseful

Standout Features:

  • Reincarnation Theme: The unique concept of reincarnation and past lives adds depth and intrigue to the story.
  • Ancient Egyptian Setting: The rich historical backdrop of ancient Egypt provides a visually stunning and culturally immersive experience.
  • Mystery and Suspense: The intertwining storylines and plot twists keep viewers engaged and guessing throughout the screenplay.

Comparable Scripts: Gone Girl, The Accused, Primal Fear, The Witch, Cabin Fever, The Burning, The Texas Chainsaw Massacre, Halloween, Friday the 13th, Scream

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: 7.83
Story Critique
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Characters
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Emotional Analysis

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

Goals and Philosophical Conflict
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Themes
Analysis of the themes of the screenplay and how well they’re expressed.
Logic & Inconsistencies
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Scene Analysis

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Scene-Level Percentile Chart
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Writer Exec

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Unique Voice
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Writer's Craft
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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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