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Scene Map 60
# PG SLUGLINE
1 1
EXT DEEP SPACE — TIMELESS
2 2
EXT NEVADA DESERT — ROUTE 375 — NIGHT — 1997
3 4
INT ALIEN VESSEL — CONTINUOUS
4 5
EXT NEVADA DESERT — ROUTE 375 — CONTINUOUS
5 5
INT MARTEN HOUSE — ELIAS'S BEDROOM — LOS ANGELES — PRESENT
6 7
INT MARTEN HOUSE — ELIAS'S BEDROOM — CONTINUOUS
7 8
INT MARTEN HOUSE — GARAGE — PRE DAWN
8 10
INT MARTEN HOUSE — KITCHEN — EARLY MORNING
9 11
INT NADIA'S APARTMENT — WARSAW — DAWN
10 12
INT LOS ANGELES HIGH SCHOOL — PHYSICS CLASSROOM — MORNING
11 14
EXT LOS ANGELES RIVER CHANNEL — DAY
12 15
INT BLACK SUV — MOVING — SAME TIME
13 15
EXT WARSAW — ROOFTOP — NADIA'S APARTMENT BUILDING — SAME
14 16
EXT ATLANTA — POLICE STATION — DAY
15 17
INT MARTEN HOUSE — KITCHEN — DAY
16 19
EXT LOS ANGELES RIVER CHANNEL — LATE AFTERNOON
17 21
INT OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — EVENING
18 22
INT PENTAGON — LANCASTER'S OFFICE — NIGHT
19 23
INT WARSAW — NADIA'S APARTMENT — LATE NIGHT
20 24
INT PENTAGON — COMMAND CENTER — NIGHT
21 25
EXT LOS ANGELES — ELIAS'S BEDROOM WINDOW — NIGHT
22 26
INT MARTEN HOUSE — KITCHEN — NIGHT
23 28
EXT MARTEN HOUSE — DRIVEWAY — CONTINUOUS
24 29
INT SUV — MOVING — NIGHT
25 30
EXT WARSAW — RESIDENTIAL STREET — NIGHT
26 32
EXT EARTH ORBIT — NIGHT
27 33
INT PENTAGON — CORRIDOR — EARLY MORNING
28 33
INT PENTAGON — CONFERENCE ROOM — CONTINUOUS
29 35
INT PENTAGON — INTERROGATION SUITE C — EARLY MORNING
30 37
INT PENTAGON — HOLDING CORRIDOR B — SAME TIME
31 37
INT PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
32 38
EXT REAGAN NATIONAL AIRPORT — ARRIVALS — EARLY MORNING
33 39
INT PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
34 39
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
35 40
INT PENTAGON — SECURE CONFERENCE ROOM — EARLY MORNING
36 41
INT PENTAGON — SECONDARY BRIEFING ROOM — SAME TIME
37 43
INT PENTAGON — DIRECTOR'S CONFERENCE ROOM — SAME TIME
38 44
INT PENTAGON — SECONDARY BRIEFING ROOM — LATER
39 45
INT PENTAGON — SECURE CONFERENCE ROOM — SAME TIME
40 46
INT PENTAGON — CORRIDOR — CONTINUOUS
41 47
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — MORNING
42 48
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
43 49
INT PENTAGON — COMMUNICATIONS SUITE — MOMENTS LATER
44 50
INT PENTAGON — DIRECTOR'S OFFICE — SAME TIME
45 51
INT MARTEN HOUSE — KITCHEN — SAME TIME — LOS ANGELES
46 53
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
47 54
INT PENTAGON — DIRECTOR'S OFFICE — SIMULTANEOUS
48 55
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
49 57
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
50 58
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
51 59
INT PENTAGON — DIRECTOR'S OFFICE — CONTINUOUS
52 62
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
53 63
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — MOMENTS AFTER
54 64
INT PENTAGON — CORRIDOR — MOMENTS LATER
55 64
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — SHORTLY AFTER
56 67
INT PENTAGON — CORRIDOR — CONTINUOUS
57 68
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — LATER
58 69
INT PENTAGON — HALLWAY OUTSIDE SUBLEVEL E — SAME TIME
59 71
EXT MARTEN HOUSE — LOS ANGELES — EVENING — TWO DAYS LATER
60 71
INT MARTEN HOUSE — KITCHEN — CONTINUOUS
Scene Map
60
# PG SLUGLINE
1 1
EXT DEEP SPACE — TIMELESS
EXT. DEEP SPACE — TIMELESS
CHILDREN OF THE STARS Written by Joe Murkijanian Contact: Agent/Production Contact Phone 323-253-6402
2 2
EXT NEVADA DESERT — ROUTE 375 — NIGHT — 1997
EXT. NEVADA DESERT — ROUTE 375 — NIGHT — 1997
EXT. NEVADA DESERT — ROUTE 375 — NIGHT — 1997 October 14th. A two-lane highway that doesn't know it's famous yet. No traffic. No sound except wind and the distant complaint of something electrical.
3 4
INT ALIEN VESSEL — CONTINUOUS
INT. ALIEN VESSEL — CONTINUOUS
INT. ALIEN VESSEL — CONTINUOUS Not clinical. Not cold. Curved walls that breathe with soft light. The geometry of something grown, not built. The figure leans close to Sarah. It speaks — not in
4 5
EXT NEVADA DESERT — ROUTE 375 — CONTINUOUS
EXT. NEVADA DESERT — ROUTE 375 — CONTINUOUS
EXT. NEVADA DESERT — ROUTE 375 — CONTINUOUS The car engine turns on. The headlights come back. The road is empty. Sarah stands in the headlight beams for a long moment.
5 5
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 wall of waveforms. Printed, pinned, annotated in red pen. A workbench with three radios in various states of disassembly — NOT STATIC. In progress. Always in progress.
6 7
INT MARTEN HOUSE — ELIAS'S BEDROOM — CONTINUOUS
INT. MARTEN HOUSE — ELIAS'S BEDROOM — CONTINUOUS
INT. MARTEN HOUSE — ELIAS'S BEDROOM — CONTINUOUS Elias takes off his headphones. The static is gone. Replaced by something else. Voices.
7 8
INT MARTEN HOUSE — GARAGE — PRE DAWN
INT. MARTEN HOUSE — GARAGE — PRE-DAWN
INT. MARTEN HOUSE — GARAGE — PRE-DAWN Banks of equipment. Oscilloscopes. Frequency analyzers. Years of careful work. Elias is at the main console, headphones now ON. His face: controlled concentration cracking at the edges.
8 10
INT MARTEN HOUSE — KITCHEN — EARLY MORNING
INT. MARTEN HOUSE — KITCHEN — EARLY MORNING
INT. MARTEN HOUSE — KITCHEN — EARLY MORNING DAVID MARTEN, 47, is attempting to repair the toaster. Third morning this week. He is a man who fixes what he can reach. CHLOE, 14, eats cereal and scrolls her phone. Her phone buzzes — an emergency alert.
9 11
INT NADIA'S APARTMENT — WARSAW — DAWN
INT. NADIA'S APARTMENT — WARSAW — DAWN
INT. NADIA'S APARTMENT — WARSAW — DAWN NADIA VOLKOV, 16. A wall of mathematical notation — her own. Competition trophies. A Regional Olympiad medal on the desk. She is solving an equation that doesn't come from any
10 12
INT LOS ANGELES HIGH SCHOOL — PHYSICS CLASSROOM — MORNING
INT. LOS ANGELES HIGH SCHOOL — PHYSICS CLASSROOM — MORNING
INT. LOS ANGELES HIGH SCHOOL — PHYSICS CLASSROOM — MORNING MR. ORTEGA writes on the board: WAVE INTERFERENCE — CONSTRUCTIVE VS. DESTRUCTIVE. The equation is, coincidentally, adjacent to the alien signal's base frequency. He doesn't know this.
11 14
EXT LOS ANGELES RIVER CHANNEL — DAY
EXT. LOS ANGELES RIVER CHANNEL — DAY
EXT. LOS ANGELES RIVER CHANNEL — DAY Elias walks the concrete channel alone. The signal: present, constant, getting louder. He stops. Looks at his reflection in a pool of standing water.
12 15
INT BLACK SUV — MOVING — SAME TIME
INT. BLACK SUV — MOVING — SAME TIME
INT. BLACK SUV — MOVING — SAME TIME AGENT MARIN, 40s. The face of a person who has seen classified things and learned to metabolize them. On his tablet: a GPS grid. One pulsing red dot. Elias Marten. Walking the river channel.
13 15
EXT WARSAW — ROOFTOP — NADIA'S APARTMENT BUILDING — SAME
EXT. WARSAW — ROOFTOP — NADIA'S APARTMENT BUILDING — SAME
EXT. WARSAW — ROOFTOP — NADIA'S APARTMENT BUILDING — SAME TIME Nadia stands at the edge of the roof. The city below. Snow has stopped. The air has that
14 16
EXT ATLANTA — POLICE STATION — DAY
EXT. ATLANTA — POLICE STATION — DAY
EXT. ATLANTA — POLICE STATION — DAY MARCUS CARTER, 19. In the back of a police cruiser. Calm. Unnervingly calm. Two officers in the front. On the radio: dispatches about 'unusual incidents downtown.'
15 17
INT MARTEN HOUSE — KITCHEN — DAY
INT. MARTEN HOUSE — KITCHEN — DAY
INT. MARTEN HOUSE — KITCHEN — DAY Sarah at Elias's laptop. The waveform files open. She pulls out her recorder. Sets it beside the laptop. Compares waveforms: Elias's from this morning. Her original recording from 1997.
16 19
EXT LOS ANGELES RIVER CHANNEL — LATE AFTERNOON
EXT. LOS ANGELES RIVER CHANNEL — LATE AFTERNOON
EXT. LOS ANGELES RIVER CHANNEL — LATE AFTERNOON Elias sits in the drainage channel. And a figure resolves from the light at the waterline. KAIYA. Female-presenting. 20s in appearance. Eyes that contain too much distance to belong to someone 20.
17 21
INT OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — EVENING
INT. OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — EVENING
INT. OSAKA — TANAKA APARTMENT — YUNA'S BEDROOM — EVENING YUNA TANAKA, 14. The room of someone who draws while asleep. Her walls are covered in star maps. Tonight she is awake, adding to one. The map is geometrically perfect.
18 22
INT PENTAGON — LANCASTER'S OFFICE — NIGHT
INT. PENTAGON — LANCASTER'S OFFICE — NIGHT
INT. PENTAGON — LANCASTER'S OFFICE — NIGHT Lancaster alone. On her desk: an old file. 1989. Photographs of fifteen children. One of them: DANIEL REYES. Nine years old.
19 23
INT WARSAW — NADIA'S APARTMENT — LATE NIGHT
INT. WARSAW — NADIA'S APARTMENT — LATE NIGHT
INT. WARSAW — NADIA'S APARTMENT — LATE NIGHT Nadia packs a bag. Deliberate. Efficient. Regional Olympiad materials — she will not be competing. She sets them aside. She takes her notebook. Her best pencils. The equation.
20 24
INT PENTAGON — COMMAND CENTER — NIGHT
INT. PENTAGON — COMMAND CENTER — NIGHT
INT. PENTAGON — COMMAND CENTER — NIGHT Lancaster presides over a room of analysts. Strong: nine thousand, four hundred confirmed anomalies. Growing. On the main screen: the suppression array grid.
21 25
EXT LOS ANGELES — ELIAS'S BEDROOM WINDOW — NIGHT
EXT. LOS ANGELES — ELIAS'S BEDROOM WINDOW — NIGHT
EXT. LOS ANGELES — ELIAS'S BEDROOM WINDOW — NIGHT The signal stops. Elias wakes instantly. Sits up. Headphones. Static.
22 26
INT MARTEN HOUSE — KITCHEN — NIGHT
INT. MARTEN HOUSE — KITCHEN — NIGHT
INT. MARTEN HOUSE — KITCHEN — NIGHT They have moved from the floor to the kitchen. Better light. The recorder is on the table. File One playing — the 1997 recording. The crude waveform from the night of the contact.
23 28
EXT MARTEN HOUSE — DRIVEWAY — CONTINUOUS
EXT. MARTEN HOUSE — DRIVEWAY — CONTINUOUS
EXT. MARTEN HOUSE — DRIVEWAY — CONTINUOUS Two black SUVs. Marin gets out of the first. He doesn't have his weapon drawn. He looks tired. And — unexpectedly — he knocks on the door.
24 29
INT SUV — MOVING — NIGHT
INT. SUV — MOVING — NIGHT
INT. SUV — MOVING — NIGHT Elias and Sarah in the back. Marin up front. Kaiya is already in the vehicle. Elias doesn't ask how. MARIN
25 30
EXT WARSAW — RESIDENTIAL STREET — NIGHT
EXT. WARSAW — RESIDENTIAL STREET — NIGHT
EXT. WARSAW — RESIDENTIAL STREET — NIGHT Nadia walks in snow. She stops. She feels the absence of the signal the way you feel a room go cold.
26 32
EXT EARTH ORBIT — NIGHT
EXT. EARTH ORBIT — NIGHT
EXT. EARTH ORBIT — NIGHT The suppression grid. A lattice of satellites, geometric, deliberate. Below it: the world. And below the suppression — moving through it, unchanged —
27 33
INT PENTAGON — CORRIDOR — EARLY MORNING
INT. PENTAGON — CORRIDOR — EARLY MORNING
INT. PENTAGON — CORRIDOR — EARLY MORNING Sterile hallway. Security doors. Elias maps the building as he walks. Exit. Exit. Stairwell. KAIYA You're cataloguing the exits.
28 33
INT PENTAGON — CONFERENCE ROOM — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM — CONTINUOUS
INT. PENTAGON — CONFERENCE ROOM — CONTINUOUS Lancaster is already seated. She looks at Sarah with the assessment of someone who expected a civilian and found a researcher. The global signal map on the wall: the suppression grid
29 35
INT PENTAGON — INTERROGATION SUITE C — EARLY MORNING
INT. PENTAGON — INTERROGATION SUITE C — EARLY MORNING
INT. PENTAGON — INTERROGATION SUITE C — EARLY MORNING The same table. Different energy. Lancaster across from Elias and Sarah. Kaiya near the wall. On the table: Sarah's hard drive. 213 files. Seventeen years.
30 37
INT PENTAGON — HOLDING CORRIDOR B — SAME TIME
INT. PENTAGON — HOLDING CORRIDOR B — SAME TIME
INT. PENTAGON — HOLDING CORRIDOR B — SAME TIME MARCUS CARTER walks a sterile hallway. Fresh clothes. No restraints. He counts ceiling tiles. MARCUS
31 37
INT PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
INT. PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
INT. PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS Elias at a table. Marcus enters. They look at each other. Recognition — not personal. Deeper. Like hearing a song
32 38
EXT REAGAN NATIONAL AIRPORT — ARRIVALS — EARLY MORNING
EXT. REAGAN NATIONAL AIRPORT — ARRIVALS — EARLY MORNING
EXT. REAGAN NATIONAL AIRPORT — ARRIVALS — EARLY MORNING NADIA VOLKOV emerges through automatic doors. 16. Sharp-eyed. A battered notebook under one arm. She opens to the last page.
33 39
INT PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
INT. PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS
INT. PENTAGON — SECONDARY BRIEFING ROOM — CONTINUOUS Elias and Marcus feel it simultaneously. A tremor. Not seismic. The signal, under the suppression grid, breathing.
34 39
INT PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME
INT. PENTAGON — LANCASTER'S OFFICE — SAME TIME Lancaster at the window. Strong enters. STRONG
35 40
INT PENTAGON — SECURE CONFERENCE ROOM — EARLY MORNING
INT. PENTAGON — SECURE CONFERENCE ROOM — EARLY MORNING
INT. PENTAGON — SECURE CONFERENCE ROOM — EARLY MORNING Lancaster and Sarah. Just the two of them. The laptop open. File One playing. Then File 88. A newer waveform — the same base pattern, layered. Complex.
36 41
INT PENTAGON — SECONDARY BRIEFING ROOM — SAME TIME
INT. PENTAGON — SECONDARY BRIEFING ROOM — SAME TIME
INT. PENTAGON — SECONDARY BRIEFING ROOM — SAME TIME Elias. Marcus. Nadia. Three chairs in a triangle. Kaiya at the corner. Nadia has her notebook open to page one.
37 43
INT PENTAGON — DIRECTOR'S CONFERENCE ROOM — SAME TIME
INT. PENTAGON — DIRECTOR'S CONFERENCE ROOM — SAME TIME
INT. PENTAGON — DIRECTOR'S CONFERENCE ROOM — SAME TIME Lancaster. Strong. GENERAL THOMAS. ADMIRAL PEARCE. Holographic display of Earth. The suppression grid glowing, thinning. ADMIRAL PEARCE
38 44
INT PENTAGON — SECONDARY BRIEFING ROOM — LATER
INT. PENTAGON — SECONDARY BRIEFING ROOM — LATER
INT. PENTAGON — SECONDARY BRIEFING ROOM — LATER Nadia is on question fourteen. NADIA 'Are the modifications to Elias Marten's DNA reversible?'
39 45
INT PENTAGON — SECURE CONFERENCE ROOM — SAME TIME
INT. PENTAGON — SECURE CONFERENCE ROOM — SAME TIME
INT. PENTAGON — SECURE CONFERENCE ROOM — SAME TIME Sarah and Lancaster. The laptop closed. LANCASTER I watched a nine-year-old boy lose
40 46
INT PENTAGON — CORRIDOR — CONTINUOUS
INT. PENTAGON — CORRIDOR — CONTINUOUS
INT. PENTAGON — CORRIDOR — CONTINUOUS Nadia rounds a corner. She stops when she sees Elias. He stops when he sees her. They've never met. But she knows him.
41 47
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — MORNING
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — MORNING
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — MORNING A different kind of room. No interrogation table. Four chairs in a loose circle — the geometry of a conversation.
42 48
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS Nadia has drawn a schematic. A circle with three points. NADIA I've been thinking about the geometry.
43 49
INT PENTAGON — COMMUNICATIONS SUITE — MOMENTS LATER
INT. PENTAGON — COMMUNICATIONS SUITE — MOMENTS LATER
INT. PENTAGON — COMMUNICATIONS SUITE — MOMENTS LATER A video call. The screen shows YUNA TANAKA — 14, cross-legged on her bed in Osaka. Elias, Nadia, and Marcus in frame. YUNA
44 50
INT PENTAGON — DIRECTOR'S OFFICE — SAME TIME
INT. PENTAGON — DIRECTOR'S OFFICE — SAME TIME
INT. PENTAGON — DIRECTOR'S OFFICE — SAME TIME Lancaster paces. On one screen: countdown clock — 06:58:14. On another: the live feed of Sublevel E. On the third: the orbital defense platform. Green.
45 51
INT MARTEN HOUSE — KITCHEN — SAME TIME — LOS ANGELES
INT. MARTEN HOUSE — KITCHEN — SAME TIME — LOS ANGELES
INT. MARTEN HOUSE — KITCHEN — SAME TIME — LOS ANGELES David at the kitchen table. The toaster in pieces. Third attempt. On Elias's tablet: a news alert: 'GLOBAL NEUROLOGICAL EVENT REPORTED.'
46 53
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS Sarah steps back into the room. She crosses to Elias. Leans down. Says something in his ear. We don't hear it. But we see his face.
47 54
INT PENTAGON — DIRECTOR'S OFFICE — SIMULTANEOUS
INT. PENTAGON — DIRECTOR'S OFFICE — SIMULTANEOUS
INT. PENTAGON — DIRECTOR'S OFFICE — SIMULTANEOUS Admiral Pearce at Lancaster's desk. The orbital platform status: GREEN. READY. ADMIRAL PEARCE (into phone)
48 55
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS Elias, Marcus, Nadia. Yuna on screen. Sarah at the edge. Kaiya at the center. KAIYA When it arrives — let it come.
49 57
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS The signal hits Elias like pressure. Not pain. Weight. The weight of being heard by something vast. He grips the arms of his chair.
50 58
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS Marcus grips his chair. His nose bleeds — one clean line. He doesn't wipe it. MARCUS
51 59
INT PENTAGON — DIRECTOR'S OFFICE — CONTINUOUS
INT. PENTAGON — DIRECTOR'S OFFICE — CONTINUOUS
INT. PENTAGON — DIRECTOR'S OFFICE — CONTINUOUS Pearce at the terminal. Targeting solution loaded. Her hand on the authorization key. On screen: Elias's vitals. Heart rate: 140. 148. 153.
52 62
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — CONTINUOUS The signal peaks. For three seconds — or three years — the room has lost its relationship with time. Every person in it is aware of every other person.
53 63
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — MOMENTS AFTER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — MOMENTS AFTER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — MOMENTS AFTER No one speaks for a long time. MARCUS (rough, low) That was—
54 64
INT PENTAGON — CORRIDOR — MOMENTS LATER
INT. PENTAGON — CORRIDOR — MOMENTS LATER
INT. PENTAGON — CORRIDOR — MOMENTS LATER Lancaster walks. Strong falls into step. STRONG Forty-seven million confirmed
55 64
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — SHORTLY AFTER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — SHORTLY AFTER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — SHORTLY AFTER Kaiya stands at the center of the room. Something has changed in her — the particular stillness of someone completing a very long assignment.
56 67
INT PENTAGON — CORRIDOR — CONTINUOUS
INT. PENTAGON — CORRIDOR — CONTINUOUS
INT. PENTAGON — CORRIDOR — CONTINUOUS Lancaster watches Kaiya pass in the hallway. Kaiya slows, just slightly, as she passes. KAIYA
57 68
INT PENTAGON — SUBLEVEL CONFERENCE ROOM E — LATER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — LATER
INT. PENTAGON — SUBLEVEL CONFERENCE ROOM E — LATER Nadia is on the phone with Warsaw. Rapid Polish. NADIA (into phone) Tak, Mama. Jestem dobrze.
58 69
INT PENTAGON — HALLWAY OUTSIDE SUBLEVEL E — SAME TIME
INT. PENTAGON — HALLWAY OUTSIDE SUBLEVEL E — SAME TIME
INT. PENTAGON — HALLWAY OUTSIDE SUBLEVEL E — SAME TIME Sarah and Elias. The hallway empty. ELIAS Is it always going to be like this?
59 71
EXT MARTEN HOUSE — LOS ANGELES — EVENING — TWO DAYS LATER
EXT. MARTEN HOUSE — LOS ANGELES — EVENING — TWO DAYS LATER
EXT. MARTEN HOUSE — LOS ANGELES — EVENING — TWO DAYS LATER The neighborhood, going about its evening. Sprinklers, garage doors, the smell of someone's dinner. A car pulls up. Elias gets out first.
60 71
INT MARTEN HOUSE — KITCHEN — CONTINUOUS
INT. MARTEN HOUSE — KITCHEN — CONTINUOUS
INT. MARTEN HOUSE — KITCHEN — CONTINUOUS David is at the counter. The toaster is in pieces in front of him. Third attempt. He hears the door. He turns.

Children of the Stars

An observer from another species asks: 'Are we alone?' A grieving government fears the answer, while a mother who kept seventeen years of recordings believes her son can safely bridge the first true interspecies conversation.

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Overview

Poster
Unique Selling Point

The script's unique selling proposition is its innovative approach to the first contact narrative, focusing on the personal and emotional impact of the event on a diverse cast of characters rather than the typical spectacle of alien technology and global crisis. By centering the story on the inner lives and relationships of the characters, the script offers a fresh and thought-provoking take on a well-trodden genre, making it a compelling and distinctive piece of storytelling.

AI Verdict & Suggestions

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

Hover over verdict cards for Executive Summaries

GPT5
 Recommend
Gemini
 Recommend
Grok
 Recommend
DeepSeek
 Recommend
Claude
 Recommend
Average Score: 8.3
Key Takeaways
For the Writer:
To refine the script from a creative standpoint, focus on reducing heavy exposition in institutional scenes by integrating more visual and subtle storytelling techniques, such as using motifs like the 41-second delay to convey information organically. Additionally, deepen secondary character arcs, like those of Marcus and Lancaster, by adding personal stakes and emotional layers to make their journeys more nuanced and avoid archetypal portrayals, enhancing overall emotional resonance and thematic depth.
For Executives:
The script has solid value as a character-driven sci-fi with emotional depth and broad appeal, akin to 'Arrival' or 'Contact', potentially attracting streaming platforms or indie audiences with its thoughtful first-contact premise. However, risks include pacing issues from exposition-heavy sections and underdeveloped secondary elements that could weaken tension and marketability, leading to a less impactful film if not addressed, as it might struggle against more polished competitors in a saturated genre.
Story Facts
Genres:
Science Fiction 60% Drama 50% Thriller 40%

Setting: Late 20th century to present day, Various locations including deep space, Nevada Desert, Los Angeles, Warsaw, and the Pentagon

Themes: Universal Interconnectedness and Communication, The Nature of Consciousness and Perception, Humanity's Place in the Cosmos, Family and Personal Connection as a Foundation, The Unknown and the Dissolution of Fear, Acceptance and Evolution, Technology and Discovery

Conflict & Stakes: The main conflict revolves around Elias's struggle with his identity and abilities, the government's interest in him, and the potential threat posed by the signal, with the stakes being both personal and global.

Mood: Mysterious and contemplative, with moments of tension and emotional depth.

Standout Features:

  • Unique Hook: The concept of a signal that connects individuals across the globe, exploring themes of communication and connection.
  • Plot Twist: The revelation that Elias was modified in the womb to amplify the signal, adding depth to his character and the story.
  • Distinctive Setting: The juxtaposition of mundane settings like the Marten house with cosmic and governmental intrigue.
  • Innovative Ideas: The exploration of how a signal can affect human consciousness and connection, blending science fiction with emotional depth.
  • Unique Characters: A diverse cast with unique abilities and backgrounds, each contributing to the overarching narrative.

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

🎯 Your Top Priorities

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 have more than one meaningful lever.

Improving Theme (Script Level) and Character Development (Script Level) will have the biggest impact on your overall score next draft.

1. Theme (Script Level)
Big Impact Script Level
Your current Theme (Script Level) score: 8.2
Expected gain: ~6% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.5 in Theme (Script Level)
Confidence: High (based on ~1,521 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 Theme (Script Level) by about +0.5 in one rewrite.
2. Character Development (Script Level)
Big Impact Script Level
Your current Character Development (Script Level) score: 7.3
Expected gain: ~6% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.47 in Character Development (Script Level)
Confidence: High (based on ~3,600 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 Character Development (Script Level) by about +0.47 in one rewrite.
3. Visual Impact (Script Level)
Moderate Impact Script Level
Your current Visual Impact (Script Level) score: 8.0
Expected gain: ~3% closer to an "all Highly Recommends" score
Typical rewrite gain: +0.43 in Visual Impact (Script Level)
Confidence: High (based on ~1,683 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 Visual Impact (Script Level) by about +0.43 in one rewrite.

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: 7.98
Key Suggestions:
The script excels in emotional depth and thematic exploration, particularly with main characters like Sarah and Elias, but can be improved by focusing on enhancing the backstories of supporting characters and tightening pacing in the middle sections. This will create more relatable arcs, stronger audience engagement, and a smoother narrative flow, ensuring that the cosmic themes resonate more powerfully without losing momentum.
Story Critique

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

Key Suggestions:
To enhance 'Children of the Stars,' concentrate on streamlining the pacing by integrating more show-don't-tell techniques and character-driven moments that naturally reveal backstory and emotional conflicts. Deepen the development of supporting characters like Marcus and Nadia to strengthen their arcs and motivations, ensuring the script's themes of connection and identity resonate more profoundly through balanced exposition and heightened emotional stakes.
Characters

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

Key Suggestions:
The character analysis highlights strong emotional depth in protagonists like Elias and Sarah, but reveals opportunities to enhance arcs for characters such as Lancaster and Strong, who exhibit static development. To improve the script's craft, focus on deepening backstories, exploring internal conflicts, and integrating more emotional nuance in dialogue and relationships. This will create a more engaging narrative that resonates with audiences on a personal level, ensuring that all characters contribute meaningfully to the themes of connection and identity.
Emotional Analysis

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

Key Suggestions:
From a creative perspective, the script's emotional analysis highlights opportunities to enrich character development and pacing for greater impact. By incorporating more varied emotions, such as moments of levity or hope amidst tension, and deepening backstories for secondary characters, the narrative can foster stronger audience empathy and avoid emotional monotony. Refining the intensity distribution through balanced transitions between high-stakes and reflective scenes will create a more immersive and resonant story, enhancing overall emotional depth and engagement.
Goals and Philosophical Conflict

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

Key Suggestions:
The script's analysis of goals and conflicts reveals a strong foundation in character development and thematic depth, particularly in how Elias's internal journey mirrors broader philosophical questions. To enhance the script from a craft perspective, focus on tightening the resolution scenes around the 80-90% marks to ensure emotional payoffs are more visceral and less reliant on exposition, making the protagonist's arc feel more organic and resonant with audiences. Additionally, exploring the interplay between individual and collective experiences could add layers of nuance, elevating the story's emotional stakes and thematic coherence.
Themes

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

Key Suggestions:
From a creative perspective, the script's strength lies in its thematic depth, particularly the universal interconnectedness, but to elevate it, focus on tightening the emotional arcs in family relationships, such as Sarah and Elias's bond, to make the cosmic elements more viscerally engaging. Additionally, enhance the diversity of character perceptions of the signal—through vivid sensory details and personal stakes—to avoid abstraction and ensure the narrative resonates on a human level, potentially by adding more subtle, character-driven moments that foreshadow the peak events for better pacing and emotional payoff.
Logic & Inconsistencies

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

Key Suggestions:
The script's core sci-fi elements are compelling, but inconsistencies in character arcs, story mechanics, and plot logic weaken its impact. Focus on resolving high-importance issues like clarifying the signal's nature and selection process, ensuring character behaviors evolve naturally, and streamlining redundant elements to enhance narrative coherence and emotional authenticity, ultimately creating a more immersive and believable story.

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 poetic and contemplative voice effectively builds mystery and existential themes through vivid imagery and subtle cues, but to enhance its craft, consider balancing this introspective style with more dynamic character interactions and plot progression in key scenes. This could prevent the narrative from feeling overly subdued, ensuring that the profound subtext is complemented by engaging momentum to captivate a broader audience without diluting the unique atmospheric essence.
Writer's Craft

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

Key Suggestions:
To refine your screenplay's craft, focus on enhancing dialogue with more subtext and nuance to convey deeper emotions, improving pacing to maintain consistent tension in high-stakes scenes, and expanding character development by exploring internal conflicts and motivations. These adjustments will strengthen the narrative's emotional resonance and engagement, leveraging your existing strengths in atmosphere and theme.
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 cosmic vastness with intimate human experiences, creating a rich tapestry that enhances themes of isolation and connection. To improve from a craft perspective, focus on tightening the integration of sci-fi elements with character arcs—such as ensuring that technological and environmental details serve emotional beats more directly—to avoid overwhelming the audience and heighten emotional resonance, making the story more immersive and relatable.
Correlations

Identifies patterns in scene scores.

Key Suggestions:
The script's strength lies in its emotional depth and introspective scenes that powerfully engage audiences, but it risks pacing issues due to a heavy reliance on reflective tones with low conflict. To improve, focus on weaving more external tension into these moments and ensuring dialogue drives clear character evolution, creating a more balanced narrative that sustains momentum while preserving its heartfelt core.
Loglines
Presents logline variations based on theme, genre, and hook.