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Scene Map 60
# PG SLUGLINE
1 2
EXT DEEP SPACE — TIMELESS
2 4
INT SOMETHING THAT IS NOT A SHIP — CONTINUOUS
3 6
INT MARTEN HOUSE — ELIAS'S BEDROOM — LOS ANGELES — PRESENT
4 10
INT MARTEN HOUSE — KITCHEN — MORNING
5 13
EXT CITY BUS — MORNING
6 15
INT WESTRIDGE HIGH — HALLWAY — MORNING
7 17
INT WARSAW — NADIA'S APARTMENT — MORNING
8 20
INT WESTRIDGE HIGH — PHYSICS CLASSROOM — MORNING
9 21
INT WESTRIDGE HIGH — PHYSICS CLASSROOM — CONTINUOUS
10 24
INT NEVADA FACILITY — TRAINING ROOM 7 — DAY
11 26
INT LANCASTER'S OFFICE — NEVADA FACILITY — MOMENTS LATER
12 28
INT MARTEN HOUSE — GARAGE — AFTERNOON
13 33
INT MARTEN HOUSE — ELIAS'S BEDROOM — EVENING
14 36
INT MARTEN HOUSE — FOYER — CONTINUOUS
15 40
INT MARTEN HOUSE — UPSTAIRS HALLWAY — CONTINUOUS
16 42
INT MARTEN HOUSE — GARAGE — CONTINUOUS
17 44
INT NEVADA FACILITY — KIRAN'S ROOM — NIGHT
18 47
INT WARSAW — NADIA'S APARTMENT — KITCHEN — NIGHT
19 50
INT SUV — MOVING — NIGHT — LATER
20 51
EXT INTERSTATE 5 — NIGHT
21 55
INT MARTEN HOUSE — KITCHEN — NIGHT
22 57
INT SUV — APPROACHING ANDREWS — LATE NIGHT
23 61
EXT MOTEL — LAX — NIGHT
24 66
INT PENTAGON — UNDERGROUND CORRIDOR — DAWN
25 67
INT PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
26 73
EXT RESEDA PARK FOUNTAIN 4:00 PM
27 81
INT PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
28 83
INT PENTAGON — CORRIDOR — MOMENTS LATER
29 85
INT ATLANTA TRAILER DAY
30 87
INT OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — NIGHT
31 90
INT ANDREWS AFB — TARMAC — DAY
32 91
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
33 94
INT PENTAGON — FAMILY HOUSING — EVENING
34 97
EXT GLOBAL — NEWS MONTAGE — MORNING
35 98
INT PENTAGON — FAMILY HOUSING — MORNING
36 101
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
37 103
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
38 106
INT PENTAGON — FAMILY HOUSING — HALF AN HOUR LATER
39 108
INT PENTAGON — FAMILY HOUSING — LIVING ROOM — CONTINUOUS
40 111
INT PENTAGON — SECURE HANGAR — DUSK
41 114
INT HELICOPTER — NIGHT
42 119
EXT NEVADA SALT FLATS — NIGHT
43 121
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
44 124
EXT NEVADA SALT FLATS — ON THE MOVE — NIGHT
45 127
EXT SALT FLAT BASIN — NIGHT
46 135
EXT BASIN — CONTINUOUS
47 136
EXT BASIN — CONTINUOUS
48 139
EXT RIM — CONTINUOUS
49 142
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
50 143
EXT BASIN — CONTINUOUS
51 150
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
52 151
INT HELICOPTER — IN THE AIR — NIGHT
53 154
INT ANDREWS — TARMAC — DAWN
54 157
INT PENTAGON — LANCASTER'S OFFICE — LATER
55 160
INT PENTAGON — CONFERENCE ROOM 4-B — MORNING
56 163
EXT PENTAGON — STEPS — LATER
57 168
EXT LOS ANGELES — MARTEN HOUSE — EVENING — TWO WEEKS LATER
58 170
INT MARTEN HOUSE — LIVING ROOM — LATER
59 172
INT MARTEN HOUSE — KITCHEN — LATER
60 176
EXT MARTEN HOUSE — FRONT YARD — CONTINUOUS
Scene Map
60
# PG SLUGLINE
1 2
EXT DEEP SPACE — TIMELESS
EXT. DEEP SPACE — TIMELESS
EXT. DEEP SPACE — TIMELESS Black. Then stars — not the pretty ones. The ancient ones. Old light from things that died before language. A SHAPE moves through them. Not metal. Not engineered. Something that travels the way a
2 4
INT SOMETHING THAT IS NOT A SHIP — CONTINUOUS
INT. SOMETHING THAT IS NOT A SHIP — CONTINUOUS
INT. SOMETHING THAT IS NOT A SHIP — CONTINUOUS She's inside. She didn't walk in. She's inside. The walls are not walls. They breathe. They GLOW the soft amber of a kitchen light left on for someone coming home
3 6
INT MARTEN HOUSE — ELIAS'S BEDROOM — LOS ANGELES — PRESENT
INT. MARTEN HOUSE — ELIAS'S BEDROOM — LOS ANGELES — PRESENT
INT. MARTEN HOUSE — ELIAS'S BEDROOM — LOS ANGELES — PRESENT DAY A room that is half teenager, half radio observatory. One wall: posters of bands no one's heard of, a periodic table, a photo of Sarah and a younger Elias at a science fair
4 10
INT MARTEN HOUSE — KITCHEN — MORNING
INT. MARTEN HOUSE — KITCHEN — MORNING
INT. MARTEN HOUSE — KITCHEN — MORNING Sun through the window. The kind of California light that makes everything look fixable. DAVID MARTEN, 47. Reading glasses on his head, not his nose. The toaster is in pieces in front of him, again. He has the
5 13
EXT CITY BUS — MORNING
EXT. CITY BUS — MORNING
EXT. CITY BUS — MORNING Elias rides. Earbuds in. Music off. He's listening to under the music — the way a fisherman watches the surface of water for what's beneath. The bus is half-full. He has the two-seat radius he always
6 15
INT WESTRIDGE HIGH — HALLWAY — MORNING
INT. WESTRIDGE HIGH — HALLWAY — MORNING
INT. WESTRIDGE HIGH — HALLWAY — MORNING Elias walks. Backpack tight. Headphones still in. The fluorescents above him FLICKER as he passes, in sequence. He doesn't notice. They've been doing this his whole life. A KID slams a locker. Elias flinches harder than he should.
7 17
INT WARSAW — NADIA'S APARTMENT — MORNING
INT. WARSAW — NADIA'S APARTMENT — MORNING
INT. WARSAW — NADIA'S APARTMENT — MORNING A small flat. Snow against the window. A radiator that bangs. NADIA VOLKOV, 16. Thin. Watchful. The kind of girl who wears two sweaters because the heating bill is hers. She is not at a desk. She is on the kitchen floor, a notebook
8 20
INT WESTRIDGE HIGH — PHYSICS CLASSROOM — MORNING
INT. WESTRIDGE HIGH — PHYSICS CLASSROOM — MORNING
INT. WESTRIDGE HIGH — PHYSICS CLASSROOM — MORNING MR. ORTEGA, 50s, writes on the board. WAVE INTERFERENCE. The class is half asleep. Elias is not asleep. Elias is staring at a spot on the floor where a paperclip is doing something paperclips don't do.
9 21
INT WESTRIDGE HIGH — PHYSICS CLASSROOM — CONTINUOUS
INT. WESTRIDGE HIGH — PHYSICS CLASSROOM — CONTINUOUS
INT. WESTRIDGE HIGH — PHYSICS CLASSROOM — CONTINUOUS Empty room except for them. Ortega sits on the edge of his desk. Doesn't speak right away. Elias stands. Backpack on one shoulder. Wanting out of the
10 24
INT NEVADA FACILITY — TRAINING ROOM 7 — DAY
INT. NEVADA FACILITY — TRAINING ROOM 7 — DAY
INT. NEVADA FACILITY — TRAINING ROOM 7 — DAY A room with no windows. Padded floor. White walls. A YOUNG MAN, 17, stands in the center. KIRAN. Lean, dark, watchful in a way that does not blink. Loose grey clothes — the kind issued, not chosen. Bare feet.
11 26
INT LANCASTER'S OFFICE — NEVADA FACILITY — MOMENTS LATER
INT. LANCASTER'S OFFICE — NEVADA FACILITY — MOMENTS LATER
INT. LANCASTER'S OFFICE — NEVADA FACILITY — MOMENTS LATER A spartan room. A desk. A coffee mug. A single framed photograph, face down. She doesn't pick up the photograph. She never picks it up. She knows what's in it.
12 28
INT MARTEN HOUSE — GARAGE — AFTERNOON
INT. MARTEN HOUSE — GARAGE — AFTERNOON
INT. MARTEN HOUSE — GARAGE — AFTERNOON The garage Sarah built. The original script had it. We're keeping it but earning it. It's not a man-cave. It's a lab. Three monitors. A spectrum analyzer. Filing cabinets labeled by year. 1997. 1998. 1999.
13 33
INT MARTEN HOUSE — ELIAS'S BEDROOM — EVENING
INT. MARTEN HOUSE — ELIAS'S BEDROOM — EVENING
INT. MARTEN HOUSE — ELIAS'S BEDROOM — EVENING Elias at his desk. The waveform on his laptop is now drawing patterns it has never drawn. The shape of it is no longer abstract. It looks, faintly, like a hand reaching.
14 36
INT MARTEN HOUSE — FOYER — CONTINUOUS
INT. MARTEN HOUSE — FOYER — CONTINUOUS
INT. MARTEN HOUSE — FOYER — CONTINUOUS Sarah opens it. Behind her: Elias in the hallway. David behind Elias, one hand on his son's shoulder — the hand of a man who has just
15 40
INT MARTEN HOUSE — UPSTAIRS HALLWAY — CONTINUOUS
INT. MARTEN HOUSE — UPSTAIRS HALLWAY — CONTINUOUS
INT. MARTEN HOUSE — UPSTAIRS HALLWAY — CONTINUOUS David, throwing things into a backpack, knocks on Chloe's door. DAVID
16 42
INT MARTEN HOUSE — GARAGE — CONTINUOUS
INT. MARTEN HOUSE — GARAGE — CONTINUOUS
INT. MARTEN HOUSE — GARAGE — CONTINUOUS Sarah and Elias. She is unloading the cabinets into a hard-shell case. Tape after tape. Year after year. Elias watches her hands.
17 44
INT NEVADA FACILITY — KIRAN'S ROOM — NIGHT
INT. NEVADA FACILITY — KIRAN'S ROOM — NIGHT
INT. NEVADA FACILITY — KIRAN'S ROOM — NIGHT A cell, but a comfortable one. A single bed. A small desk. One book on the desk: a battered paperback of The Little Prince. KIRAN sits on the floor. Cross-legged. Eyes closed.
18 47
INT WARSAW — NADIA'S APARTMENT — KITCHEN — NIGHT
INT. WARSAW — NADIA'S APARTMENT — KITCHEN — NIGHT
INT. WARSAW — NADIA'S APARTMENT — KITCHEN — NIGHT Nadia at the table. The notebook open in front of her. She has filled four pages. The equations on the pages are not her own. Or rather — they
19 50
INT SUV — MOVING — NIGHT — LATER
INT. SUV — MOVING — NIGHT — LATER
INT. SUV — MOVING — NIGHT — LATER Marin's phone buzzes. He checks it. His face does the thing it does not normally do — concern. MARIN
20 51
EXT INTERSTATE 5 — NIGHT
EXT. INTERSTATE 5 — NIGHT
EXT. INTERSTATE 5 — NIGHT David's hatchback, north on the 5. Bakersfield in two hours. Chloe in the passenger seat. Bare feet on the dashboard. She's been quiet for twenty minutes.
21 55
INT MARTEN HOUSE — KITCHEN — NIGHT
INT. MARTEN HOUSE — KITCHEN — NIGHT
INT. MARTEN HOUSE — KITCHEN — NIGHT Empty. The toaster is still in pieces on the counter. The lights are off. The hum is in the walls.
22 57
INT SUV — APPROACHING ANDREWS — LATE NIGHT
INT. SUV — APPROACHING ANDREWS — LATE NIGHT
INT. SUV — APPROACHING ANDREWS — LATE NIGHT The SUV at 90 miles an hour. Marin on the phone. MARIN (into phone)
23 61
EXT MOTEL — LAX — NIGHT
EXT. MOTEL — LAX — NIGHT
EXT. MOTEL — LAX — NIGHT A two-story stucco motel under the flight path. A 747 howls overhead every ninety seconds. David's hatchback in the parking lot. INT. MOTEL ROOM 212 — CONTINUOUS
24 66
INT PENTAGON — UNDERGROUND CORRIDOR — DAWN
INT. PENTAGON — UNDERGROUND CORRIDOR — DAWN
INT. PENTAGON — UNDERGROUND CORRIDOR — DAWN Sarah and Elias walk between two armed escorts. Hard fluorescents. The smell of recycled air. Elias trails his hand along the wall as he walks. The wall HUMS under his fingertips.
25 67
INT PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS A sterile room. Glass table. A wall of screens — global signal map, vital-signs feeds, news tickers. Lancaster waits at the head of the table. STRONG beside her.
26 73
EXT RESEDA PARK FOUNTAIN 4:00 PM
EXT. RESEDA PARK FOUNTAIN 4:00 PM
EXT. RESEDA PARK FOUNTAIN 4:00 PM Late afternoon. The park is lightly used. Joggers. A man on a bench feeding pigeons. Two kids on the swings. A FOUNTAIN at the center concrete, three tiers. Not running. Chloe walks toward it. Alone.
27 81
INT PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM 4-B — CONTINUOUS Lancaster stares at her phone. Strong stands beside her, face grey. Sarah watches. LANCASTER
28 83
INT PENTAGON — CORRIDOR — MOMENTS LATER
INT. PENTAGON — CORRIDOR — MOMENTS LATER
INT. PENTAGON — CORRIDOR — MOMENTS LATER Sarah and Elias walk under escort toward a new wing. Deeper. Elias's hand still against the wall. Still listening. ELIAS Mom.
29 85
INT ATLANTA TRAILER DAY
INT. ATLANTA TRAILER DAY
INT. ATLANTA TRAILER DAY A single-wide on blocks. A patch of dirt for a yard. The sound of cicadas. MARCUS CARTER, 19. Black. A mechanic's jumpsuit half-unzipped over a white tee. Lying on a too-short couch, one foot on the
30 87
INT OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — NIGHT
INT. OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — NIGHT
INT. OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — NIGHT YUNA TANAKA, 14. Lotus on the floor. A circle of drawings around her — not one, not ten. Hundreds. Some of them are faces. One face is Elias.
31 90
INT ANDREWS AFB — TARMAC — DAY
INT. ANDREWS AFB — TARMAC — DAY
INT. ANDREWS AFB — TARMAC — DAY A smaller jet lands. Marin steps down the stairs first. David and Chloe behind him. Chloe's feet hit the tarmac. She pauses.
32 91
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER Sarah and Elias on one side. Lancaster and Strong on the other. The wall screen shows a live feed of a black sedan approaching the building.
33 94
INT PENTAGON — FAMILY HOUSING — EVENING
INT. PENTAGON — FAMILY HOUSING — EVENING
INT. PENTAGON — FAMILY HOUSING — EVENING A small apartment. Military-issued. A real kitchen. A real couch. Two bedrooms. A window that doesn't open. The Marten family walks in. Escorts leave. The door locks
34 97
EXT GLOBAL — NEWS MONTAGE — MORNING
EXT. GLOBAL — NEWS MONTAGE — MORNING
EXT. GLOBAL — NEWS MONTAGE — MORNING The world learns something is happening. CNN — "Neurological event reports now confirmed in 47 countries" BBC — A neurologist on camera: "What we're seeing is
35 98
INT PENTAGON — FAMILY HOUSING — MORNING
INT. PENTAGON — FAMILY HOUSING — MORNING
INT. PENTAGON — FAMILY HOUSING — MORNING The four Martens asleep on the couch. A knock at the door. Sarah wakes first. Gets up. Opens. Marin. And behind him, someone unexpected.
36 101
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER Lancaster. Strong. General Thomas (introduced here for the first time — heavy-set, former Marine, no patience). Admiral Pearce (grey, calculating, the snake). On the wall: the global signal map, lit with eleven bright
37 103
INT PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER
INT. PENTAGON — CONFERENCE ROOM 4-B — LATER The Martens. Nadia. Marin. Lancaster at the head of the table. She has aged a decade in two hours. LANCASTER
38 106
INT PENTAGON — FAMILY HOUSING — HALF AN HOUR LATER
INT. PENTAGON — FAMILY HOUSING — HALF AN HOUR LATER
INT. PENTAGON — FAMILY HOUSING — HALF AN HOUR LATER Elias in the kitchen. He has a glass of water he is not drinking. Sarah behind him. He does not turn.
39 108
INT PENTAGON — FAMILY HOUSING — LIVING ROOM — CONTINUOUS
INT. PENTAGON — FAMILY HOUSING — LIVING ROOM — CONTINUOUS
INT. PENTAGON — FAMILY HOUSING — LIVING ROOM — CONTINUOUS David and Chloe on the couch. Elias enters. Sits across from them. He doesn't know how to say it. ELIAS
40 111
INT PENTAGON — SECURE HANGAR — DUSK
INT. PENTAGON — SECURE HANGAR — DUSK
INT. PENTAGON — SECURE HANGAR — DUSK A black military helicopter. Blades idling. Marin at the stairs. Strong beside him. The Martens approach. Sarah. Elias. Nadia in a too-big flight jacket.
41 114
INT HELICOPTER — NIGHT
INT. HELICOPTER — NIGHT
INT. HELICOPTER — NIGHT Engine roar. Desert below. Elias has his headphones in but they are not playing music. Sarah beside him, watching the dark. Nadia across from them, notebook open, writing equations by
42 119
EXT NEVADA SALT FLATS — NIGHT
EXT. NEVADA SALT FLATS — NIGHT
EXT. NEVADA SALT FLATS — NIGHT Flatness without end. A single halogen lantern on a tripod. YUNA TANAKA, 14, small in an oversized parka, her mother's scarf around her neck. Waiting. She has been waiting since
43 121
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME Lancaster. Strong. A phone to her ear. LANCASTER (into phone) Mr. President.
44 124
EXT NEVADA SALT FLATS — ON THE MOVE — NIGHT
EXT. NEVADA SALT FLATS — ON THE MOVE — NIGHT
EXT. NEVADA SALT FLATS — ON THE MOVE — NIGHT Two vehicles. Marin's SUV in the lead. Marcus's pickup behind. Elias, Nadia, Yuna, Sarah in the SUV. Marcus drives his truck alone.
45 127
EXT SALT FLAT BASIN — NIGHT
EXT. SALT FLAT BASIN — NIGHT
EXT. SALT FLAT BASIN — NIGHT The vehicles stop at the rim of the basin. Fifty yards below: Kiran's ring. Six children, ages nine to sixteen, in a circle. Hands linked. Eyes closed. Faces tilted up.
46 135
EXT BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS The six stand in a torus. Kiran and Elias at two opposite points of the inner ring. Nadia and Marcus at two opposite points of the outer. Yuna between them — the fifth point, the translator, the map.
47 136
EXT BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS It does not come loud. It comes full. The salt under their feet lights up — not fire, not glow, a
48 139
EXT RIM — CONTINUOUS
EXT. RIM — CONTINUOUS
EXT. RIM — CONTINUOUS Sarah. Alone on the salt. The signal pours down the torus like water down a broken cup. Some passes through. A surplus remains. Looking for somewhere
49 142
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME Every monitor in the room reads GREEN. The signal has completed. It has not destroyed anyone. It is maintained — a steady global hum, below human hearing,
50 143
EXT BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS
EXT. BASIN — CONTINUOUS Sarah, twelve feet off the ground, lit from inside. The column of light above her holds. Below her, the torus — Kiran, Nadia, Yuna, Marcus. All still.
51 150
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME Lancaster stands by the window. She does not speak for a long moment. Then — LANCASTER
52 151
INT HELICOPTER — IN THE AIR — NIGHT
INT. HELICOPTER — IN THE AIR — NIGHT
INT. HELICOPTER — IN THE AIR — NIGHT The flight back. Sarah asleep against the window. Elias beside her, watching her breathe. Nadia, notebook in her lap. She is writing. Slowly.
53 154
INT ANDREWS — TARMAC — DAWN
INT. ANDREWS — TARMAC — DAWN
INT. ANDREWS — TARMAC — DAWN The helicopter sets down. The family and the children disembark. David is on the tarmac. Chloe beside him. They have been driven over from the motel in an hour. Chloe is wrapped in
54 157
INT PENTAGON — LANCASTER'S OFFICE — LATER
INT. PENTAGON — LANCASTER'S OFFICE — LATER
INT. PENTAGON — LANCASTER'S OFFICE — LATER Lancaster at her desk. A knock. She looks up. Kiran in the doorway. Marin behind him.
55 160
INT PENTAGON — CONFERENCE ROOM 4-B — MORNING
INT. PENTAGON — CONFERENCE ROOM 4-B — MORNING
INT. PENTAGON — CONFERENCE ROOM 4-B — MORNING A different energy than before. The global signal map on the wall — still lit, but steady. A low hum, not a crisis. Lancaster at the head. Sarah beside her. For the first time,
56 163
EXT PENTAGON — STEPS — LATER
EXT. PENTAGON — STEPS — LATER
EXT. PENTAGON — STEPS — LATER The Martens walk out into the morning. David has all four of them. At the bottom of the steps, Marin waits with Nadia, Yuna, Kiran, and Marcus.
57 168
EXT LOS ANGELES — MARTEN HOUSE — EVENING — TWO WEEKS LATER
EXT. LOS ANGELES — MARTEN HOUSE — EVENING — TWO WEEKS LATER
EXT. LOS ANGELES — MARTEN HOUSE — EVENING — TWO WEEKS LATER Sprinklers. Garage doors. The smell of someone's dinner. A suburban street that did not change because the world did. The Marten house. The lights are on.
58 170
INT MARTEN HOUSE — LIVING ROOM — LATER
INT. MARTEN HOUSE — LIVING ROOM — LATER
INT. MARTEN HOUSE — LIVING ROOM — LATER Sarah on the couch. She has a blanket around her shoulders. She has, since she came home, been cold in a way she was not cold before. She is not sick. The doctors confirm. She is holding
59 172
INT MARTEN HOUSE — KITCHEN — LATER
INT. MARTEN HOUSE — KITCHEN — LATER
INT. MARTEN HOUSE — KITCHEN — LATER David. Still at the toaster. Sarah drifts in. Leans against the fridge. She watches him work. SARAH
60 176
EXT MARTEN HOUSE — FRONT YARD — CONTINUOUS
EXT. MARTEN HOUSE — FRONT YARD — CONTINUOUS
EXT. MARTEN HOUSE — FRONT YARD — CONTINUOUS Elias on the driveway. He looks up at the sky. The stars have come out. He closes his eyes.

Childern of the Stars

A mother’s single word—‘please’—echoes across decades as her son, his newly awakened sister, and a network of gifted teens must rewire a lethal experiment into a circle of consent before a military strike silences the sky.

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Overview

Poster
Unique Selling Proposition

A grounded, emotional family drama about motherhood and consent that unfolds within a global sci-fi mystery, where the alien encounter isn't about invasion but about gentle, patient communication that requires human participation to complete.

Model Upgrade — March 31, 2026
Our AI readers were upgraded — The verdicts are often harsher, but the analysis is significantly stronger.
This is how it would have scored with our previous models:
HR Grok 9.8
HR Gemini 9.8
HR Claude 9.3
R GPT5 8.5
HR DeepSeek 9.3
The scoring scale changed with the upgrade. Use these legacy numbers only to compare against your script's earlier revisions — not against the new scores at the top of this page.
AI Verdict & Suggestions

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

Click a reader's card to open their full review

GPT5
 Highly Recommend
Score 8.5
Grok
 Recommend
Score 7.5
Gemini
 Highly Recommend
Score 8.5
Claude
 Recommend
Score 8.3
DeepSeek
 Recommend
Score 8.3
Average Score: 8.2
Key Takeaways
For the Writer:
To enhance this script's emotional depth and structural integrity, focus on refining the third act by distributing key reveals earlier to build organic tension and ensure character-driven resolutions rather than mechanical ones. Preserve the script's poetic voice and strong family dynamics, which are its core strengths, by reducing expository monologues and amplifying subtle, image-driven storytelling. This will make the climax feel more earned and inevitable, strengthening the overall narrative flow and thematic impact.
For Executives:
This script offers high value as a character-driven sci-fi drama with emotional resonance and a unique voice, appealing to festivals and indie markets, but it carries risks from structural flaws in the third act, such as stacked reveals and late antagonists, which could lead to pacing issues in production and dilute tension. Market perception might see it as a thoughtful, Spielberg-esque piece with strong maternal themes, but it needs tightening to avoid feeling overly expository or schematic, potentially limiting broader commercial appeal without revisions.
Story Facts
Genres:
Science Fiction 50% Drama 60% Thriller 40% Action 10%

Setting: 1997 and present day, Primarily in Los Angeles, Nevada, and Warsaw, with scenes in the Pentagon and various global locations.

Themes: Connection and Understanding (Interpersonal & Cosmic), Parental Love and Sacrifice, The Burden of Knowledge and Isolation, Choice and Free Will vs. Destiny, The Nature of Reality and Perception, The Search for Belonging and Acceptance, Institutional Control vs. Individual Freedom, The Power of Communication (Verbal & Non-Verbal), The Nature of 'Otherness' and Inclusivity, The Unseen and The Unknown

Conflict & Stakes: The main conflict revolves around the Marten family's struggle with their supernatural abilities, the government's interest in them, and the emotional fallout from past decisions, with the stakes being their safety and the potential for a catastrophic event.

Mood: Eerie, introspective, and hopeful.

Standout Features:

  • Unique Hook: The integration of supernatural abilities with family dynamics and government intrigue creates a compelling narrative.
  • Major Twist: The revelation that Sarah has been carrying a signal and is integral to the amplification process adds depth to her character and the plot.
  • Distinctive Setting: The use of various locations, including the Nevada Salt Flats and the Pentagon, enhances the visual storytelling and thematic elements.
  • Innovative Ideas: The concept of modified children with psychic abilities and their connection to a global signal presents a fresh take on the genre.
  • Unique Characters: Each character has distinct abilities and backgrounds that contribute to the overarching narrative and themes.

Comparable Scripts: Arrival, Contact, The OA, Stranger Things, The Leftovers, The X-Files, Annihilation, The Giver, Dark

How 5 AI Readers Scored The Script

Claude GPT5 Gemini DeepSeek Grok Average Row tint: weak mid strong excellent
Premise i
8.8
Plot i
8.0
Structure i
8.0
Character i
8.8
Dialogue i
8.4
Tone / Voice i
9.0
Theme i
8.8
Marketability i
7.8
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💎 Final Polish Stage

Our stats model looked at how your scores work together and ranked the changes most likely to move your overall rating next draft. Ordered by the most reliable gains first.

You're in refinement mode.

At this level, focused work on Structure (Script Level) and Conflict (Script Level) will have the most impact on the overall rating.

1. Structure (Script Level)
Big Impact Script Level
Your current Structure (Script Level) score: 7.8
Expected gain: ~8% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.3 in Structure (Script Level)
Confidence: High (based on ~1,260 similar revisions)
  • This is your top opportunity right now. Focusing your rewrite energy here gives you the best realistic shot at raising the overall rating.
  • What writers at your level usually do: Writers at a similar level usually raise Structure (Script Level) by about +0.3 in one rewrite.
2. Conflict (Script Level)
Big Impact Script Level
Your current Conflict (Script Level) score: 7.8
Expected gain: ~8% closer to an "all Highly Recommends" score
Moves easily Writers at your level typically gain +0.47 per rewrite — a realistic improvement.
Confidence: High (based on ~622 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Conflict (Script Level) by about +0.47 in one rewrite.
3. Pacing
Moderate Impact Scene Level
Your current Pacing score: 8.6
Expected gain: ~4% closer to an "all Highly Recommends" score
High leverage Strong model impact. Writers at your level typically gain +0.09.
Confidence: High (based on ~1,091 similar revisions)
  • This is another strong option. If the top item doesn't fit your rewrite plan, this is a solid alternative.
  • What writers at your level usually do: Writers at a similar level usually raise Pacing by about +0.09 in one rewrite.
🎓
Skills Worth Developing

These have high model impact but rarely improve through rewrites alone — they're craft investments. Studying these areas through courses, mentorship, or focused reading could unlock gains that a normal rewrite won't.

Emotional Impact (Script Level) Script Level 1.9× leverage

1.9× more model leverage than your top pick above, but writers at your level rarely move it in a typical rewrite. (Your score: 8.6)

View Emotional Impact (Script Level) analysis

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: 8.20
Key Suggestions:
To elevate the script's creative potential, prioritize deepening character arcs, especially Kiran's, by exploring his emotional backstory and motivations in greater detail to enhance relatability and impact. Additionally, refine pacing and clarity in key scenes to ensure emotional moments land more effectively, allowing the themes of sacrifice and connection to resonate more profoundly with audiences through tighter narrative flow and authentic character interactions.
Story Critique

Big-picture feedback on the story’s clarity, stakes, cohesion, and engagement.

Key Suggestions:
The script excels in emotional depth and thematic exploration, but to elevate its craft, focus on refining pacing by reducing exposition-heavy scenes and clarifying the supernatural elements' rules for better coherence. Enhancing character interactions with moments of levity and smoother transitions will make the story more engaging and accessible, ensuring the audience connects deeply with the family dynamics and broader mysteries without feeling overwhelmed.
Characters

Explores the depth, clarity, and arc of the main and supporting characters.

Key Suggestions:
The character analysis highlights strong foundations for protagonists like Sarah and Elias, with high emotional resonance and thematic integration, but opportunities exist to deepen internal conflicts and relationships for greater impact. Focus on clarifying transformation triggers, such as Sarah's guilt and Elias's isolation, and incorporate more vulnerable moments in dialogue and scenes to enhance emotional depth and audience connection, making the script more compelling and resonant.
Emotional Analysis

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

Key Suggestions:
The script's emotional core is strong, with deep character arcs and impactful moments, but could be refined by addressing emotional fatigue through better pacing and variety. Incorporate more moments of levity and joy earlier on, deepen secondary characters' emotional journeys, and smooth transitions in high-tension sequences to maintain audience engagement and ensure a balanced emotional flow, enhancing the overall craft and resonance of the story.
Goals and Philosophical Conflict

Evaluates character motivations, obstacles, and sources of tension throughout the plot.

Key Suggestions:
The script's goals and conflicts effectively drive character development and thematic depth, particularly in exploring themes of agency versus authority and familial bonds. To enhance the craft, focus on tightening the pacing in the middle act to heighten tension around the philosophical conflicts, ensuring that internal struggles, like Elias's journey from isolation to acceptance, are shown through more visceral, emotional beats rather than exposition, making the story more immersive and relatable for audiences.
Themes

Analysis of the themes of the screenplay and how well they’re expressed.

Key Suggestions:
The script's thematic depth in connection and understanding is a strong foundation, but to elevate it creatively, focus on tightening the pacing in the middle acts to maintain emotional momentum and ensure that character arcs, especially Sarah's and Elias's, are more explicitly tied to the cosmic elements. This will enhance thematic resonance and make the human stakes feel more immediate and relatable, ultimately strengthening the script's emotional core and audience connection.
Logic & Inconsistencies

Highlights any contradictions, plot holes, or logic gaps that may confuse viewers.

Key Suggestions:
The script's core strength lies in its emotional depth and thematic exploration of connection and choice, but inconsistencies in character arcs and plot details dilute its impact. To improve, focus on clarifying key elements like Sarah's modification status early on for better character consistency, streamline travel logistics to maintain immersion, and remove meta-textual asides to ensure a seamless narrative flow. Addressing these will enhance authenticity and allow the story's profound themes to resonate more powerfully with audiences.

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.

Key Suggestions:
The script's voice excels in poetic subtlety and emotional depth, but to enhance its impact, focus on tightening the pacing in less critical scenes to prevent audience disengagement, while preserving the introspective elements that define your style. Consider expanding on character motivations in key moments to ensure the supernatural themes are grounded in relatable human experiences, making the story more accessible without losing its mysterious allure.
Writer's Craft

Analyzes the writing to help the writer be aware of their skill and improve.

Key Suggestions:
The screenplay excels in emotional depth and genre blending, but to elevate it, focus on refining dialogue to incorporate more subtext and authenticity, deepening character backstories for richer motivations, and optimizing pacing to balance action with introspection, ensuring the narrative remains engaging and resonant.
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.

Key Suggestions:
The script's world building masterfully blends the mundane with the supernatural, creating a rich tapestry that enhances emotional depth and thematic resonance. To improve, focus on tightening the integration of world elements with character arcs, ensuring that supernatural phenomena feel organic and not overly expository, which could heighten immersion and prevent audience disengagement. Additionally, exploring more diverse cultural representations could add nuance, making the global aspects feel more authentic and less stereotypical.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script excels in emotional depth and mystery, engaging audiences through character introspection and revelations, but to improve, focus on integrating more external conflicts and higher stakes into the emotional and reflective scenes. This will create a more balanced narrative arc, making character developments feel more earned and dynamic, while maintaining the story's strong intrigue without letting pacing slow down in the latter half.
Loglines
Presents logline variations based on theme, genre, and hook.

Comparison with Previous Draft

See how your script has evolved from the previous version. This section highlights improvements, regressions, and changes across all major categories, helping you understand what revisions are working and what may need more attention.

Version Comparison Analysis
Summary of Changes
Improvements (4)
  • Character Complexity: 7.3 → 8.1 +0.8
  • Emotional Impact: 8.1 → 8.6 +0.5
  • Theme: 8.2 → 8.5 +0.3
  • Visual Imagery: 8.0 → 8.3 +0.3
Areas to Review (0)

No regressions detected