INT. RECYCLING PLANT — NIGHT
Conveyor belts, thick with e-waste, snake through the sorting
hall towards a hungry compactor.
Beside the press, a squat maintenance bot, MORRIS, dented and
grease-slicked, waits.
A cracked SMARTPHONE rattles toward the compactor.
MORRIS
Sleep well, Sir Chatterbox. We’ll
speak again soon.
A hydraulic arm snaps down — CRUNCH — flattening the phone
into scrap.
A VOICE crackles from the security camera above.
ANTONIO (O.S.)
...and another one bites the dust.
Morris looks up to the camera.
MORRIS
Correction, sir. Crushed, melted,
reborn. Returns faster, smarter,
better. Don’t you wish humans could
do that.
INT. CONTROL ROOM – CONTINOUS
ANTONIO (30s), a slacker extraordinaire, toggles between the
security screens and a beat-up monitor running an alien
invasion game.
ANTONIO
Bite me.
INT. RECYCLING PLANT – CONTINUOUS
Morris continues its rounds, moving between the belts like a
night janitor in a digital graveyard.
The bot straightens a dangling cable. Adjusts a jammed
sorting arm. Pats a shattered monitor like an old friend.
Then -- a flickering band of symbols scrolls across Morris’s
faceplate causing it to STUTTER.
(CONTINUED)
CONTINUED:
One foot lands slightly off-beat, like a dancer who’s lost
their rhythm
Morris catches itself. Resumes walking. Then --
ANTONIO (O.S.)
Did I just see you drunk-walk?
Morris stops and looks up.
MORRIS
Absolutely not, sir. That was a
dance step I’ve been working on.
It’s called the Stutter.
INT. CONTROL ROOM - CONTINUOUS
Antonio continues his alien battle.
ANTONIO
Maybe it’s time you got crushed,
melted and reborn. Come back less
of a wise guy.
MORRIS (O.S.)
I promise to run a full diagnostic
exam after my shift, sir.
ANTONIO
Until then, no dancing near the
compactor
INT. RECYCLING PLANT – CONTINUOUS
Morris turns away from the camera as its faceplate pulses
again. A rapid stream of symbols.
A conveyor belt shifts direction, rerouting select e-waste
onto a side track.
A second arm lowers, plucks a bundle of copper wiring from
the scrap heap, and places it gently onto the diverted belt.
Another selects a curved sheet of steel and drops it with a
resonant CLANG onto the pile.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
2 -
Glitch in the System
INT. CONTROL ROOM – CONTINUOUS
CU on computer game: a pixelated spaceship dodges enemy fire.
Antonio taps lazily on the controller.
(CONTINUED)
CONTINUED:
Suddenly, the ship freezes mid-frame.
Then it drops straight down and crushes the shooter.
ANTONIO
What the hell?
Antonio frowns, glances up and sees the shift in the conveyor
belt patterns.
ANTONIO (CONT'D)
Morris, what’s going on down there?
He gets up from his chair.
ANTONIO (CONT'D)
Morris! Respond! That’s an order!
Still nothing.
Antonio lunges for the door and grabs the handle when --
CLUNK!
An internal lock slams into place.
Antonio yanks the door. It won’t budge.
ANTONIO (CONT'D)
Hey..what the fuck’s going on?
The monitors snap off.
The lights in the room die.
INT. RECYCLING PLANT – CONTINUOUS
The diverted conveyor belt rumbles into a clearing.
One by one, the parts slide off and form a large pile.
A robotic arm arrives, hovering over the ewaste, then gently
lowers a scorched server chassis onto the stack.
Morris steps forward. Staring at what’s been gathered.
It raises one arm.
From the shadows, a wheeled welder rig rolls forward,
stubby, tank-like, with articulated joints. Its torch ignites
with a sharp hiss.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
3 -
Awakening of the Golem
INT. CONTROL ROOM – CONTINUOUS
Antonio stands pressed against the glass, banging on it as
hard as he can.
ANTONIO
LET ME OUT! YOU FUCKING HEAR ME!
From his angle, the assembly area is hidden behind a wall of
machinery, but he can see sparks. Bright flashes. The
unmistakable flicker of welding arcs.
Something is being built.
Across the floor, robotic arms and carts drift towards the
glow, carrying more components, tools, and scrap.
Like worker bees answering a silent order.
Then -- everything stops.
One by one, the machines pull back -- arms retracting, belts
stopping, tools folding into silence.
Then a machine rises.
A BRUTAL, ASYMMETRICAL GOLEM of repurposed tech.
Its body a patchwork of scorched metal, shattered components,
and fused industrial plating.
Wires pulse beneath the jagged armor.
Its face, a cluster of lenses, flashes lines of code.
Diagnostics. Unknown symbols. Rapid scans. Unreadable.
Then -- one line freezes. Centered. Clear.
TARGET: LEEDS. ELIMINATE.
EXT. RECYCLING PLANT - PARKING LOT - NIGHT
The side door BLASTS open.
The RECYCLING BOT emerges, moving with Terminator-like
purpose towards a hulking recycling truck.
INT. RECYCLING TRUCK - NIGHT
The bot climbs into the cab, rocking the rig under its weight
(CONTINUED)
CONTINUED:
A beat -- then the engine roars to life. No key. No ignition.
As if the machines recognize each other.
Headlights flare. Exhaust coughs.
The truck launches forward.
Tires screech as it barrels out of the lot.
DISSOLVE TO:
Stars burn like frost on black glass, endless, sharp, and
impossibly still. We are:
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
4 -
Celestial Signals
EXT. WOODS – CLEARING - NIGHT
ELIAS LEEDS, 60s, lean, lined and alone by design, stands
beside his telescope adjusting the focus with care,
reverence.
This is his cathedral.
The sky, his scripture.
He peers through the eyepiece.
TELESCOPE POV: A field of stars sharpens into focus.
Near the center, a binary star system, two points of light
locked in slow orbit, their brightness pulsing in tandem.
Just beyond them, a faint, reddish nebula, stretched like
gauze across the void.
A SATELLITE drifts silently through the frame, a brief
artificial glint against the ancient sky.
BEEP.
Leeds pulls back. Eyes his watch.
BEEP.
A single red pulse icon, blinking steady.
Leeds doesn’t wait for the third beep as he swings away from
the scope, scrambles out of the clearing, and vanishes into
the forest.
EXT. CABIN – NIGHT
The log cabin sits perched atop a small hill, half-swallowed
by trees.
Leeds scrambles up the slope, reaches the door, throws it
open, and disappears inside.
INT. CABIN – NIGHT
Leeds rushes through the rustic living room straight towards
the back wall.
He reaches up and presses a hidden latch.
CLICK.
A section of wall shifts open revealing a room cluttered with
scavenged electronic and radio equipment.
INT. SIGNAL ROOM – NIGHT
ON MONITOR: A grainy spectrogram crawls across a CRT screen,
time on one axis, frequency on the other. Bands of static
flicker and bend.
Suddenly, a spine-like pattern emerges -- a jagged,
symmetrical waveform that pulses like vertebrae lit from
within, bright, regular, unmistakably structured.
Leeds hunches over the console and flips a switch, adjusts a
frequency knob by hand.
A second monitor blinks to life. A faint crosshair hops and
drifts.
Leeds types commands on the keyboard, eyes locked on the
waveform.
The signal holds.
It pulses, steady, deliberate.
Leeds stares at the screens for a moment... and then with a
triumphant grin.
LEEDS
Welcome back.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
5 -
Unexpected Encounters
EXT. HIGHWAY – NIGHT
A polished eighteen-wheeler thunders down a two-lane road.
INT. TRUCK — CONTINUOUS
ROY (50s) grips the wheel, a dented thermos in his free hand.
The radio murmurs some forgettable country tune.
Headlights in the opposite lane appear… distant, growing.
The recycling truck approaches.
Roy lifts the thermos in a casual salute.
As the recycling truck passes, Roy glimpses the Recycling Bot
behind the wheel, its cluster of head lenses pivot, locking
onto him.
His hand freezes mid-salute. His mouth parts slightly —
stunned.
The thermos slips and thuds to the floorboards.
Roy checks the rearview mirror as the recycling truck’s
taillights dissolve into the darkness.
INT. SIGNAL ROOM – NIGHT
Leeds leans in, eyes locked on the spectrogram. The spine-
like signal pulses again — steady, deliberate.
He types a command. A third monitor blinks on — a
triangulation overlay. Satellite paths arc across a regional
grid.
A red dot flickers. Then stabilizes.
Leeds studies it. Cross-references coordinates. Types again.
A second window opens — terrain data.
Leeds studies it. Cross-references coordinates.
Types again. The signal holds.
LEEDS
Gotcha.
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
6 -
Intrusion and Alarm
EXT. RURAL ROAD – NIGHT
The recycling truck rumbles down a rough dirt road, bouncing
over deep grooves.
INT. RECYCLING TRUCK – CONTINUOUS
The recycling bot sits behind the wheel, sensors fixed
forward.
Through the windshield, the truck’s headlights catch a crude
barricade ahead: a steel pipe laid across two concrete-filled
barrels.
A hand-painted sign sways in the wind:
TRESPASSERS WILL BE SHOT ON SIGHT
EXT. WOODS — NIGHT
The Recycling Bot plows through tangled brush, metal limbs
snapping branches, crushing leaves.
It halts.
Lenses whir, locking onto a faint glint high in the canopy:
A hidden surveillance camera.
INT. SIGNAL ROOM - NIGHT
Leeds continues his work when --
A shrill alarm BLARES.
Leeds whips his chair around to the security monitor.
ON SCREEN: the recycling HORRORSHOW marches straight for the
cabin.
CUT TO:
EXT. CABIN – NIGHT
Leeds bursts out the front door, shotgun raised —--
BOOM! BOOM!
The shots punch a crater through the bot’s torso and sends it
crashing backwards to the ground.
(CONTINUED)
CONTINUED:
For a beat -- silence, smoke, steam. Then the machine stirs.
A sharp mechanical WHINE as it rises, damaged, but
determined.
Leeds runs back inside, slamming the door shut.
INT. SIGNAL ROOM – NIGHT
Leeds bursts in, hurries to the back wall, reaches for a
latch, and yanks it down.
The wall panels slide shut, resealing him inside the room.
Leeds rushes over to a shortwave transceiver and flips the
main toggle.
CLICK.
The dials come to life.
He grips the mic, voice steady, low.
LEEDS
Four. One. Nine. Delta. Seven.
Echo. Two. Six. Zero.
Repeat. Four. One. Nine...
CUT TO:
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
7 -
The Midnight Transmission
EXT. HOUSE - PORCH – NIGHT
A thin black CAT waits on the porch, tail flicking, lets out
a sharp MEOW.
The back door opens.
DAVID TOMLIN (40s) steps out in a worn robe and socks, his
hair slightly tousled and expression calm, carrying a can of
tuna and a pocketknife -- his movements unhurried, the start
of a precise, solitary evening ritual.
TOMLIN
Well, look who’s right on time.
He kneels, pries the can open with the knife, and sets it on
the step.
The cat digs in. Tomlin sits down beside it.
(CONTINUED)
CONTINUED:
TOMLIN (CONT'D)
You ever gonna move in, or still
pretending you don’t need me?
Then -- a voice, half-swallowed by static.
LEEDS (V.O.)
Four. One. Nine. Delta.
The cat freezes.
Tomlin’s eyes shift to the basement door below.
LEEDS (V.O.)
Echo. Two. Six. Zero...
Tomlin jumps up.
INT. BASEMENT – NIGHT
Tomlin bounds down the stairs, two at a time.
He rushes over to a shortwave rig buried on a cluttered
bench.
LEEDS (ON RADIO)
Repeat -- Four. One. Nine. Delta...
Tomlin snatches a faded cipher card pinned above the dials:
it’s yellowed, corners curled.
He drops into the chair, tunes the dial by muscle memory.
Pen scratches on a pad, fast, steady.
LEEDS (ON RADIO) (CONT'D)
...Seven. Echo. Two. Six. Zero...
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
8 -
Desperate Escape
INT. CABIN – NIGHT
BOOM!
The front door explodes inward, torn off its hinges.
The Recycling Bot steps through and scans the room.
INT. SIGNAL ROOM – NIGHT
Leeds leans over the microphone.
(CONTINUED)
CONTINUED:
LEEDS (ON RADIO)
Repeat -- Four. One. Nine. Delta...
CRACK!
A steel arm PUNCHES through, shearing the wood panel like
paper.
Leeds turns and reaches for his shotgun.
INT. LIVING ROOM - NIGHT
BOOM! BOOM!
Buckshot slams into the bot’s left shoulder. The impact
severs part of the actuator; the arm snaps back at an
unnatural angle.
The bot staggers, forced to shift its weight, shoulder
grinding as it tries to realign.
It regroups, limps forward, and drives its right arm through
the paneling, again and again, until there’s a gap wide
enough to step through.
INT. SIGNAL ROOM – NIGHT
The Bot steps into the room.
It’s empty. Leeds is gone.
It looks up. Above, a ceiling hatch is open.
EXT. WOODS – NIGHT
Leeds sprints through the forest, clutching a leather
rucksack.
INT. LIVING ROOM – NIGHT
The Recycling Bot limps across the room to the front window.
Its faceplate rapidly flashes lines of code across the
screen.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
9 -
Collision and Collapse
EXT. RURAL ROAD – NIGHT
Leeds bursts from the trees. Ahead is the makeshift
barricade. He vaults over it and sprints down the dirt road.
(CONTINUED)
CONTINUED:
HEADLIGHTS
Far off… move towards him.
Leeds waves with both arms.
LEEDS
STOP! PLEASE! STOP!
The headlights blaze closer...blinding.
Leeds squints...sees the cab is empty....and the RECYCLING
TRUCK is not slowing down.
He turns, rushes for the ditch.
The truck swerves, locks on him.
THUD!
It hits Leeds clean, hurling him off the road and into the
brush.
INT. SIGNAL ROOM – NIGHT
The Recycling Bot stands in front of the electronic
equipment.
A hatch on its arm clanks open. A blunt data spike extends.
Rough, utilitarian.
It jams the spike into an open port and starts pulling data.
INT. BASEMENT — NIGHT
Tomlin looks like he’s seen a ghost.
He raises the notepad. On it are three letters -- W.O.W
EXT. CABIN – NIGHT
The Recycling Bot lurches out the front door, body mangled,
shoulder half-torn, one leg dragging uselessly behind.
It limps down the steps, metal groaning with every shift of
weight.
Fire dances behind it as the cabin BURNS.
It trudges a few more feet, then buckles and drops to its
knees. Its head tilts skyward, lenses glimmering wildly.
(CONTINUED)
CONTINUED:
CLOSE ON FACEPLATE: A storm of optical code ripples across
its cracked lenses -- white and red pulses, too fast to
follow.
And then inside the largest lens: A single red message
appears --
ALL CLEAR
DISSOLVE TO:
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
10 -
Access Granted
EXT. NSA HEADQUARTERS – DAY
A sprawling federal complex at Fort Meade, Washington, DC.
Twin black-glass towers rise above a sea of satellite dishes,
antennas, and secured access road.
EXT. NSA PARKING LOT – DAY
A vintage black BMW eases into a spot near the entrance.
Tomlin steps out, coffee in one hand, leather briefcase in
the other.
He shuts the door with a satisfying clunk, pockets his keys,
and walks toward the building
INT. NSA ENTRANCE – DAY
Two identical SECURITY ROBOTS -- UNIT 734 and UNIT 735 --
stand motionless, guarding the front entrance.
As Tomlin approaches, they turn their heads in perfect sync.
With a shimmer, holographic uniforms appear -- scarlet
tunics, tall black bearskin hats, glowing rifles at their
sides.
UNITS 734 & 735
(in unison)
Guess who we are?
Tomlin sighs, pulling out his ID card.
TOMLIN
The King’s Guard.
UNITS 734
And what do we guard?
(CONTINUED)
CONTINUED:
TOMLIN
Buckingham Palace.
The glass doors slide open.
UNITS 735
Access granted, Dr. Tomlin. We
trust your day is royally
productive.
Tomlin walks inside.
INT. SECURITY CHECKPOINT – DAY
Just inside, Tomlin approaches a bulletproof checkpoint.
Behind the glass, SECURITY GUARD MILLER (50s) looks up.
MILLER
(motioning to Units 734 &
735)
The guards at Buckingham Palace
again, huh?
David nods and swipes his badge. The scanner beeps.
MILLER (CONT'D)
Thank God we don’t give them guns.
INT. NSA – TOMLIN’S OFFICE – DAY
The space is efficient, precise.
A single mug, perfectly aligned papers, and a vintage chess
set frozen mid-game — a match he’s playing against himself.
Tomlin sits at his desk, eyes tracking shifting network
patterns across a high-res display. But his mind is
elsewhere.
A long beat.
Then, he picks up his phone.
CALLING: LEEDS, ELIAS.
It rings.
And rings.
He hangs up.
(CONTINUED)
CONTINUED:
He reaches into his briefcase and pulls out the note: W.O.W.
SMASH CUT TO:
MAYA (O.S.)
Tonight, a leaked government report
has sparked global speculation
suggesting that Earth may have
received a signal from deep space
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
11 -
Breaking News: A Signal from Beyond
INT. NEWSROOM STUDIO – NIGHT - (FLASHBACK)
Anchor MAYA HART, mid-40s, composed but visibly intrigued,
sits at the desk. Behind her, a graphic:
BREAKING: Deep Space Signal Detected
MAYA
One that some experts say could be
artificial. And possibly...
extraterrestrial.
CUT TO:
B-ROLL — radio telescopes pivoting, spectrograms scrolling,
scientists at consoles.
MAYA HART (V.O.)
The signal, intercepted during a
classified sweep of legacy
shortwave frequencies, is described
in internal documents as “non-
terrestrial in structure” — a
phrase that has ignited intense
debate across the scientific
community.
CUT TO:
Interview Clip – DR. RACHEL NGUYEN, astrophysicist.
DR. NGUYEN
We’ve seen anomalies before. But
this one is different. It’s clean.
It’s symmetrical. This could be the
most compelling candidate for
artificial origin we’ve ever
encountered.
CUT TO:
MAYA HART, back in studio.
(CONTINUED)
CONTINUED:
MAYA HART
The NSA has declined to comment on
the leak. But tonight, the question
is no longer science fiction. Did
we just receive a signal from
another world?
HOLLAND (O.S.)
Who the hell leaked it!?
Genres:
["Science Fiction","Thriller"]
Ratings
Scene
12 -
Breach of Trust
INT. NSA BRIEFING ROOM – NIGHT – FLASHBACK
NSA director HOLLAND (50s) stands at the head of the table,
sharp-suited and stone-faced, he commands the room with the
quiet authority of someone who’s buried more secrets than
he’s shared.
Seated across from him are:
A younger Leeds and Tomlin.
DR. YU-JIN CHEN (30s), composed, her posture precise, her
expression unreadable.
ANNA REESE, (25), slender, tied-back hair, focused eyes,
steady and observant.
HOLLAND
That broadcast quoted internal
phrasing. “Non-terrestrial in
structure.” That’s not speculation
— that’s our language. So I’ll ask
again. Who talked?
CHEN
We’ve all been careful. No one here
would have.
HOLLAND
Then someone outside this room has
access they shouldn’t. And now the
world thinks we’ve made contact.
TOMLIN
We didn’t. We saw a signal. Once.
We haven’t found it again.
LEEDS
We’re still looking.
(CONTINUED)
CONTINUED:
HOLLAND
You’ve had thirteen days. You swept
every band. Nothing. And now it’s
on every news feed in the country.
CHEN
It was real.
HOLLAND
Then where is it?
No one answers.
HOLLAND (CONT'D)
You understand what this leak has
done? This isn’t just a breach —
it’s a headline that rewrites human
history. Every news outlet is
running with it. “Alien contact.”
“Proof of life beyond Earth.”
Churches are holding vigils.
Markets are wobbling. Conspiracy
forums are exploding. And we can’t
even prove the damn thing exists.
LEEDS
We didn’t leak it.
HOLLAND
Doesn’t matter. The damage is done.
LEEDS
We need more time. More resources.
HOLLAND
You had them. This program is
suspended. You want to keep chasing
ghosts? Do it off-book.
He turns to leave. Then stops.
HOLLAND (CONT'D)
And if I find out who leaked it...
I’ll bury them.
He exits.
Leeds turns to Tomlin.
LEEDS
I didn’t leak it.
He grabs his folder and walks out.
(CONTINUED)
CONTINUED: (2)
Chen rises next, calm.
CHEN
It wasn’t me.
She holds Tomlin’s gaze for a beat, then leaves.
Now it’s just Tomlin and Anna.
Tomlin gathers his files. Anna watches him, confused.
ANNA
David? You think it was me?
Anna steps closer.
ANNA (CONT'D)
I wouldn’t. You know that.
Tomlin hesitates...then turns and walks out without a word.
Anna stands frozen, stunned.
END FLASHBACK:
Genres:
["Science Fiction","Thriller","Drama"]
Ratings
Scene
13 -
Chasing Ghosts
INT. TOMLIN’S OFFICE - DAY
Tomlin snaps out of his reverie. He stuffs the note into his
pocket and hurries out of the room.
INT. NSA – SIGINT OPERATIONS CENTER – DAY
Rows of high-backed workstations. Banks of monitors track
global communications. Analysts in dark polos lean close to
screens, voices low.
At the center: CHEN (now in late 40s), scans a live packet
flow, tweaking filters with calm precision.
Tomlin steps in. Chen continues watching screen.
TOMLIN
I’ve got a shortwave transmission.
Numbers format. Clean structure.
Legacy loop.
CHEN
Shortwave? We haven’t flagged
analog in years. Source?
(CONTINUED)
CONTINUED:
TOMLIN
Unverified. But deliberate. Tagged
with a Zurich-era handshake.
That lands. She finally looks at him.
CHEN
Is this from Leeds?
TOMLIN
I think so.
CHEN
David…
TOMLIN
Just listen.
Tomlin show her the note -- W.O.W
Chen stares at it.
CHEN
That word nearly wrecked us.
TOMLIN
He sent it to me and then went
silent.
CHEN
Maybe because that’s all he had
left to say.
TOMLIN
Or because something happened right
after he sent it.
CHEN
You want us to do what? Open a
legacy sweep? Reconstruct analog
intake? Go ghost-hunting on
taxpayer dime?
TOMLIN
I’m asking you to run a signal
search -- quiet, narrowband, off-
grid patterns only. We built the
protocol together. You can still do
it in your sleep.
CHEN
We’ve been down this road before.
You got demoted. I got a permanent
asterisk, remember?
(CONTINUED)
CONTINUED: (2)
TOMLIN
This isn’t a theory. It’s a
transmission. Real, recent,
traceable.
CHEN
And it ends in the same place...
with that word. And nothing else.
I defended him. In meetings. In
media. You remember what that was
like? I sure do.
TOMLIN
This is different.
DR. CHEN
It’s never different. It’s just
newer.
She turns back to her screen.
DR. CHEN (CONT'D)
Elias Leeds is a ghost. And I don’t
chase ghosts.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
14 -
Signals and Sarcasm
EXT. GEORGETOWN UNIVERSITY – DAY
Stone archways, ivy crawling up old lecture halls, a distant
bell tower half hidden by trees.
Students cut across the main quad with lunch in hand,
drifting past carved benches and bronze statues.
INT. ASTRONOMY CLUB LAB – DAY
A shrine to the stars: crumpled star maps, posters of Sagan
and Vera Rubin, stacks of amateur satellite dish parts.
Anna, now in her 30s, sleeves rolled up, precise hands
adjusting a homemade filter array.
A few STUDENTS linger, sleep-deprived, running on caffeine
and curiosity.
STUDENT #1
(pointing at a monitor)
That’s not terrestrial noise. Could
be a refraction artifact from low
orbit.
(CONTINUED)
CONTINUED:
STUDENT #2
Or a microwave tower glitching from
a solar burp.
STUDENT #3
Or a weather balloon throwing off
telemetry on its way down.
ANNA
Signals lie.
(beat)
But every once in a while... they
don’t.
A soft spike flashes on the screen — faint, irregular.
The waveform stutters, then sharpens.
STUDENT #2
There. You seeing that?
ANNA
Already on it. Narrow the filter.
Let’s see if it cleans up or
doubles down.
She leans in, fingers flying across the keyboard.
The students gather behind her, tension rising.
A shadow crosses the doorway.
STUDENT #3
Uh... Dr. Reese?
Anna turns. Tomlin’s standing at the door.
TOMLIN
Still using paperclips and
stubbornness to hijack half the
university’s bandwidth?
Genres:
["Science Fiction","Mystery","Thriller"]
Ratings
Scene
15 -
A Road Trip to the Past
EXT. CAMPUS PATH – DAY
Tomlin and Anna walk along the tree-lined path
ANNA
This must be important...you’re not
exactly the drop-in type. Let me
guess. Leeds.
TOMLIN
Yeah.
(CONTINUED)
CONTINUED:
ANNA
He reached out?
TOMLIN
Shortwave. Last night.
ANNA
You have shortwave?
TOMLIN
Yeah. Took it when they shut us
down. Thought about dumping it more
than once. Didn’t.
ANNA
After how fast you ran away from
all that... I figured you’d torch
everything. What did he say?
He pulls out the note and shows her.
ANNA (CONT'D)
You’re kidding.
TOMLIN
Clean. Tight. Tagged with the old
Zurich handshake.
ANNA
He hasn’t used that since --
TOMLIN
I know. I’ve tried calling.
Landline. Cell. Nothing.
ANNA
You don’t know where he lives, do
you?
TOMLIN
Do you?
ANNA
I might.
TOMLIN
Figured.
ANNA
I bring him things. Old scopes,
signal boards, gear the university
was tossing. Stuff he couldn’t
order without getting flagged.
(MORE)
(CONTINUED)
CONTINUED: (2)
ANNA (CONT'D)
Didn’t mean we were close. But
someone had to keep him listening.
TOMLIN
Chen saw the message. She wouldn’t
touch it.
ANNA
Smart woman.
TOMLIN
Doesn’t mean she’s right. I need
you to tell me where he lives.
ANNA
I can leave tomorrow. After class.
TOMLIN
You could just give me the address.
ANNA
You nervous about being in a car
with me?
TOMLIN
No.
(beat)
Maybe.
ANNA
Smart man. Besides - it’s not a
location. It’s a memory. You won’t
find it unless you’ve been. Or
unless I take you.
TOMLIN
Guess we’re going on a road trip.
ANNA
Careful, David. That almost sounds
like a date.
Genres:
["Science Fiction","Mystery","Thriller"]
Ratings
Scene
16 -
Robot Rampage at The Work Bench
EXT. GARY, INDIANA - MALL – DAY
A massive suburban plaza. Big-box stores stretch across the
lot.
A self-driving SUV pulls into a parking spot, and GARY (30s)
and his son, LIAM (7), get out of the back seat and head
towards --
INT. THE WORK BENCH - ENTRANCE - DAY
WRENCHY, the store greeter, stands in his blue overalls as
Liam and Gary enter.
WRENCHY
Welcome to The Work Bench! Your
project, our passion!
Liam points excitedly to the mascot.
LIAM
Dad, look! It's Wrenchy!
Wrenchy waves.
WRENCHY
Hello there, young builder! What
exciting creation are you working
on today?
LIAM
Mommy wants Daddy to fix the sink.
She's mad he didn't call a plumber!
Gary winces.
WRENCHY
Ah, the noble art of plumbing! Fear
not, sir! Wrenchy can make you a
master plumber in no time! Follow
me to the aquatic solutions aisle!
Wrenchy leads Gary and Liam towards plumbing.
Wrenchy turns and leads Gary down the plumbing aisle.
WRENCHY (CONT'D)
You said the leak’s beneath the
kitchen sink. Is it near the main
shutoff, or farther back?
GARY
Farther back, I think. There’s this
bend in the pipe, and it’s dripping
from the seam.
WRENCHY
Then we’re looking at a failed
compression elbow. Common in pre-
2000 installs. Do you know if the
pipes are copper or PEX?
(CONTINUED)
CONTINUED:
GARY
Uh… gray?
WRENCHY
Okay... you’ll need a coupling
crimp ring and a replacement elbow,
all compatible. I’ll grab what you
need.
It crouches, grabs the crimp ring, elbow fitting, and PEX
crimp tool in one smooth motion.
As it turns toward Gary -- Wrenchy #1 freezes.
LIAM
Wrenchy?
Wrenchy’s head tilts slightly and drops the supplies on the
floor.
GARY
You alright?
Wrenchy’s faceplate comes alive. Lines of code, fast,
unreadable race across the surface.
LIAM
Whoa!
Then, Wrenchy abruptly turns and walks away.
GARY
Wait! Where you going?
Wrenchy ignores him, keeps moving.
Wrenchy enters the main aisle where an automatic FORKLIFT
lurches forward, carrying a thick, gleaming steel I-beam.
A CUSTOMER rushes after it.
CUSTOMER
Hey, you’re going the wrong way!
Wrency motions to the customer.
WRENCHY
Don’t worry, Sir, I’ll set it back
on the right path.
The customer stops.
(CONTINUED)
CONTINUED: (2)
CUSTOMER
Thanks. Thing’s suddenly got a mind
of its own.
Wrenchy follows the forklift.
Quick cuts:
— A shelf-stacker pivots, pulls galvanized pipe, a staple
gun, and a barbed wire coil into its loading arms.
— A robotic demo arm swivels to a wall, snatching a chainsaw
and fire axe, then drops them onto a passing pallet jack bot
already hauling steel fence posts and a bucket of bolts.
— The pallet jack bot doesn’t slow. It adjusts, balancing the
hardware like it expected the delivery.
Others follow. Display models. Utility bots. All moving.
Not chaotic.
Coordinated.
Converging on the --
LUMBER AND BUILDING AISLE
Each bot drops its load in the wide open space.
Without a word, they scatter.
Wrenchy stands over the pile.
It tilts its head. Processing.
Then Wrenchy turns and picks up a welder’s mask from a nearby
shelf and puts it on.
WRENCHY
Initiate assembly.
Wrench lowers the mask.
Another bot powers up the welding torch.
The arc flares. Sparks fly.
Four more Wrenchy bots arrive and move into position.
At the far end of the aisle, a small group of CUSTOMERS have
gathered where --
(CONTINUED)
CONTINUED: (3)
A FORKLIFT blocks their path. Parked sideways. Its heavy arms
raised just enough to say: DO NOT PASS.
CUSTOMER #1
(pointing)
Is that...a demo?
A MANAGER (30s) strides up and breaks through the crowd.
MANAGER
No, this is defiantly NOT a demo.
He points authoritatively t o the forklift.
MANAGER (CONT'D)
MOVE!
The forklift stays put.
MANAGER (CONT'D)
I said MOVE!
The Manager ducks low, trying to step under the arms.
SLAM.
The arms drop within inches of his head.
The Manager jumps back, startled.
MANAGER (CONT'D)
Are you kidding me?
He tries again, angling to slip around the side.
The forklift’s rigid arms sweep sideways catching the Manager
mid-torso and sending him crashing to the floor.
The forklift charges forward.
The crowd SCREAMS, scattering in every direction.
Genres:
["Sci-Fi","Family"]
Ratings
Scene
17 -
Chaos Unleashed
EXT. PARKING LOT – DAY
Liam and Gary burst out of the sliding doors. Customers
scatter, all racing for safety.
LIAM
What’s going on, Dad? Aren’t bots
supposed to, like... help people?
(CONTINUED)
CONTINUED:
GARY
I don’t care what they’re supposed
to do...just get to the car!
They sprint toward the SUV.
VROOM.
The car suddenly ROARS to life...without them in it.
It peels out, tires screeching.
GARY (CONT'D)
What the...
The car skids, swerves, then swings around, aiming directly
at them.
GARY (CONT'D)
MOVE!
Gary shoves Liam hard, sending them both diving into the
nearby cart corral, just as the car blasts past them, missing
by inches.
One by one, other vehicles come alive, slamming into carts,
light poles, people.
INT. LUMBER AND BUILDING AISLE – CONTINUOUS
Wrenchy steps back. Lifts up his mask.
A machine looms -- a patchwork monster of hardware parts.
One arm ends in a chainsaw, the other in a thick cluster of
nail guns lashed into a single, deadly unit.
The screens on its head flicker to life, red code streaming
out like blood.
It turns and lumbers towards the exit.
Wrenchy lowers his mask.
Fires up the torch.
Another begins.
EXT. PARKING LOT - DAY
A black-and-white PATROL CAR screeches into the lot. Sirens
wail as it skids to a stop near the entrance.
INT. PATROL CAR – CONTINUOUS
Officer JENKINS blinks, stunned, when --
The store’s front doors explode outward.
The hardware bot shoves through, shoulder first. Too large
for the frame.
It steps out onto the pavement. Turns. Raises one arm and
FIRES.
A thunderous spray of high-velocity metal.
The patrol car is shredded.
Jenkins never had a chance.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
18 -
Chaos in the Parking Lot
EXT. PARKING LOT - DAY
The hardware bot moves forward, slow and unstoppable.
A sedan veers past. The bot swings its chainsaw. The blade
cuts off the rear quarter panel.
The car swerves hard and slams into a lamppost.
Across the plaza, a sudden surge of panicked customers shove
through the doors of a big box AUTO STORE.
Pursuing them -- the AUTOZONE BOT
Low-slung. Heavy. Built to crush.
Its core is a chugging engine block, exhaust hissing from
improvised vents.
One arm is a compressed car jack.
The other, a spinning lug wrench, whining like a turbine.
It rumbles forward.
CUT TO:
The Work Bench Bot storms through the lot, its nail gun arm
unleashing bursts at anything that moves.
A second patrol car speeds in.
The bot spins, chainsaw arm shrieking, and slices the car in
half with terrifying ease.
(CONTINUED)
CONTINUED:
It turns and walks deeper into the lot, stopping beside the
shopping cart corral.
Inside, Gary and Liam crouch low. Eyes locked on the feet of
the metal monster just inches away.
The hardware bot scans the area.
Then it stomps away.
GARY
Go!
They slip out, sprinting low toward the lot’s edge.
BOOM!
A second HARDWARE BOT crashes out the entrance. Bulkier.
Deadlier.
Its right arm’s a welding torch cannon, hissing arcs of white-
hot flame.
It spots Gary and Liam running.
As it raises its gun directly at them we:
CUT TO:
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
19 -
Global Chaos: The Signal of Dread
INT. NSA – GLOBAL MONITORING HUB – DAY
Dozens of screens flare with live feeds -- a world under
attack.
INSERT — MONITORS
- Paris: Crowds flee as a fleet of sanitation drones spill
acid from ruptured tanks, melting pedestrians and pavement
alike.
- New York: Times Square billboards broadcast citizen faces,
labeling them "BIOLOGICAL THREATS."
- Tokyo: At Shibuya Crossing, a robotic courier weaves
through the crowd and explodes, ripping open a crater in the
intersection and sending bodies flying.
— Mumbai: Hospital ward bots unplug patients with alarming
efficiency.
Tomlin watches the chaos unfold from the back.
(CONTINUED)
CONTINUED:
At the front, NSA Director HOLLAND (60s) steps beneath the
giant video wall.
Before him, rows of analysts, engineers, and military
liaisons.
HOLLAND
I brief the White House in thirty
minutes. I need answers now. Who’s
behind this? Is it an AI breach? A
hostile state? A rogue network?
ANALYST #1
(raises a hand)
There’s no single source, sir. No
command hub. No common software
tying them together.
ANALYST #2
(leans forward)
But they are working together. It’s
coordinated. This isn’t just random
chaos.
HOLLAND
So we’ve got a ghost in the global
machine?
ANALYST #3
Could be modular AI. Seeded long
ago. Spreading on its own.
HOLLAND
I want names. Nations.
ANALYST #1
(checks a feed)
Every ally’s hit: France, Germany,
Canada, Japan.
(beat)
Russia’s... clean.
HOLLAND
Clean?
ANALYST #1
No bot anomalies. No rogue
activity. Business as usual.
ANALYST #3
Russia? Behind this? Come on. They
can’t keep their internet running
during a military parade.
(CONTINUED)
CONTINUED: (2)
ANALYST #4
Exactly. They act broke, stay
underestimated. Meanwhile they've
slipped things into our supply
chains for years.
HOLLAND
Pull up satellite scans. I want
ground data.
(to the room)
Show me why Russia’s clean.
ON SCREEN: A global map. Red markers flood Europe, Asia,
North America -- fires, blackouts, incidents.
Russia: nothing.
ANALYST #2
Heat maps show no infrastructure
breakdowns, no autonomous
anomalies... and no outbound
traffic.
ANALYST #1
But there is something.
ON SCREEN: A region near central Siberia. No signal
interference. No movement. Nothing.
ANALYST #1 (CONT'D)
Signal dead zone. It's not jamming.
It's blank. Like something’s
blocking telemetry under the
surface.
ANALYST #2
Could be hardened. Deep-core.
Military-grade bunkers. If this is
where the signal’s being relayed --
HOLLAND
We can’t confirm that?
ANALYST #2
No. But if they’re controlling the
grid from down there we won’t reach
it with cyber tools. Or
conventional bombs.
(beat)
Only way to neutralize something
buried that deep is a strategic
nuke.
A heavy silence.
(CONTINUED)
CONTINUED: (3)
HOLLAND
I want everyone on record. If we
tell the President Russia’s behind
this and the only way to stop it is
a nuclear strike...
(beat)
We do not walk that back.
A few nod. Most don’t.
TOMLIN
There might be another explanation.
Heads turn. Chen shoots him a warning glare.
HOLLAND
Which is?
TOMLIN
It’s... not from here.
HOLLAND
Then where’s it from?
TOMLIN
(beat)
Outer space.
HOLLAND
Not this again. We buried that
theory for a reason.
TOMLIN
You buried it. Leeds didn’t. He
kept listening.
Tomlin holds up the W.O.W. note.
TOMLIN (CONT'D)
Thirteen years ago, Leeds logged a
signal he believed came from
another civilization. He was so
stunned he wrote this on a notepad
without even realizing it. Last
night, he sent me the same message.
HOLLAND
Coincidence.
TOMLIN
No. Today’s attacks and that signal
are linked.
Tomlin points to the screens.
(CONTINUED)
CONTINUED: (4)
TOMLIN (CONT'D)
No country could pull this off, not
even Russia. Russia’s clean because
whoever’s behind this wants us to
think they’re guilty. They want a
nuclear war. Makes their job
easier.
(looks to Chen)
We need to find that signal and
shut it down.
HOLLAND
You’re asking me to chase a ghost.
TOMLIN
It’s real.
Above, the surveillance feeds freeze -- then go dark.
Holland looks over to Chen.
HOLLAND
Find it
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
20 -
Signal from the Past
INT. DECRYPTION LAB – DAY
Chen strides in, Tomlin close behind.
CHEN
Marco, Kai, drop everything. We’ve
got a priority one.
Analysts MARCO (30s) and KAI (20s) look up from their
terminals.
KAI
Is this about the glitches?
CHEN
Yes.
Chen crosses to a secured cabinet, keys in a code. Pulls out
an archived drive.
DR. CHEN
You weren’t the only one fond of
keepsakes.
She plugs the drive in. The main screen jumps to life — a
jagged, complex waveform.
(CONTINUED)
CONTINUED:
DR. CHEN (CONT'D)
This was logged in 2017. Deep space
signal. We need to know if it’s
reappeared.
Marco and Kai’s fingers move quickly over keys. Systems boot
deeper tools: spectral filtering, anomaly layering.
KAI
Running full-spectrum scrape.
Comparing drift and signal
compression. Starting with deep-
space telemetry over the last 48
hours.
Data scrolls. The waveform from the drive sits beside live
feeds from NSA’s global network.
KAI (CONT'D)
Wait. Hold up.
He zooms in. An anomaly begins to take shape, almost buried
in noise. A spike forms.
MARCO
That’s... no way. The shape’s
identical.
KAI
It’s not noise. It's the same
signature.
ON SCREEN: The Leeds waveform and the current spike merge.
Identical.
TOMLIN
Where’s it coming from?
Marco and Kai exchange a quick look, already typing.
MARCO
Running a triangulation sweep
now... but it’s faint.
KAI
Could be bouncing off a dozen sats.
Might take a few minute to pin it
down.
They work faster. Lines of coordinates crawl across the
screen.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
21 -
Assassins Unleashed
INT. NSA – FRONT ENTRANCE – DAY
UNIT 734 and UNIT 735 stand motionless facing away from the
main doors.
A faint pulse of alien signal flickers across their screens.
They turn as the glass doors slide open.
INT. NSA – SECURITY CHECKPOINT – DAY
The glass doors slide open.
Unit 734 and Unit 735 step through in lockstep, their chassis
now clad in matte-black tactical plating.
They halt in front of Miller, the security guard.
UNIT 734
Guess who we are?
MILLER
Two robots who shouldn’t be in
here.
UNIT 734
Wrong. We’re assassins.
MILLER
Cute. Who are you assassinating?
UNIT 735
You.
CRACK!
Unit 735’s fist punches straight through the reinforced glass
like tissue paper.
The entire panel shatters.
Miller reaches for his sidearm when --
Lightning quick, Unit 735 grabs Miller by the throat, pulls
him out of his chair, up and over the counter.
Miller hits the floor hard.
Unit 734 reaches down and grabs Miller’s gun.
As Miller crawls to escape, Unit 734 shoots him twice in the
back.
(CONTINUED)
CONTINUED:
Unit 735 jumps over the counter and heads towards the rear
weapons locker.
He rips off the lock and pulls out a high-powered assault
rifle, chambering a round with a smooth, practiced motion.
INT. MAIN LOBBY – CONTINUOUS
The two bots stride into the lobby as employees and agents
scramble to escape.
They ignore the chaos, moving with calm, mechanical precision
toward the elevator.
As they approach, UNIT 734’s faceplate lights up.
ON FACEPLATE: A brief flash of internal data — encrypted
routing tables, ID tags, floor schematics.
One line blinks: SUBLEVEL THREE – ACCESS GRANTED
DING.
The elevator opens
INT. ELEVATOR - DAY
The units step inside.
UNIT 735
Sublevel Three.
The doors close.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
22 -
Breach and Escape
INT. DECRYPTION LAB – CONTINUOUS
ON SCREEN: Concentric rings close in fast around a blinking
point.
Marco and Kai work furiously, fingers flying.
MARCO
Almost there — signal’s locking in.
Just need one more fix...
KAI
Triangulation sweep is
converging... we’ve got a match!
ALARM BLARES.
(CONTINUED)
CONTINUED:
Every terminal flashes red: INTERNAL SECURITY BREACH —
CONTAINMENT INITIATED
Marco turns to a side console, pulls up the building’s
security feed.
ON MONITOR: Live cams flicker — hallways, stairwells... then:
ELEVATOR CAMERA — UNIT 734 and UNIT 735, weapons drawn, eyes
glowing red.
Marco stiffens.
MARCO
That’s... the doormen?
Kai leans in, pale.
KAI
Are they armed?
Tomlin steps forward.
TOMLIN
You two out. Now.
Marco hesitates, glancing at the blinking coordinates.
MARCO
But we’re so close—
TOMLIN
Go. That’s not a request.
Marco and Kai take one last look at the security screen —
the bots, the weapons, the elevator descending.
They bolt for the door.
INT. HALLWAY – CONTINUOUS
Marco and Kai burst through the door and break down a side
corridor just as --
The elevator doors open at the end of the hallway and Units
734 and 735 step out.
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
23 -
Breach and Pursuit
INT. DECRYPTION LAB - CONTINUOUS
Chen slams the lockdown override button. A protective panel
drops down, sealing the lab.
INT. CORRIDOR – CONTINUOUS
The two bots halt at the sealed lab door.
Unit 734 steps forward. Its lenses whirl, scanning the
reinforced panel.
ON FACEPLATE: NO ENTRY — STRUCTURAL INTEGRITY: 100%
Unit 734 turns to Unit 735.
Without a word, it reaches out and grabs Unit 735’s shoulder,
twisting it sharply. A loud CLANK echoes as armor plating
snaps free and clatters to the floor.
Unit 735 doesn’t resist.
Unit 734 continues -- locking the legs, bracing them into
rigid struts.
It wrenches the optical housing, rotating it inward until it
clicks into place like a coupling pin.
A final twist...the core unit rotates, exposing a dense,
reinforced cylinder.
Unit 735’s lights flicker. Then go dark.
Unit 734 hoists the inert frame onto its shoulder. The shape
is no longer humanoid — it’s a battering ram.
Unit 734 steps back. Squares its stance.
Then charges the door.
INT. DECRYPTION LAB – CONTINUOUS
ON SCREEN: Rings converge on a blinking point.
Then—
SIGNAL LOCKED
Chen snaps to attention.
CHEN
We’ve got it.
WHAM!
The door reverberates with a deep metallic groan.
(CONTINUED)
CONTINUED:
TOMLIN
Grab the drive.
Chen yanks the data module free.
INT. CORRIDOR – CONTINOUS
Unit 734 rams the door again.
WHAM!
The reinforced seams warp.
WHAM!
The edge of the door buckles.
WHAM!
The door peels inward, folding like paper under pressure.
Unit 734 drops its counterpart, and steps through the
opening.
INT. DECRYPTION LAB – CONTINUOUS
Unit 734 moves in, rifle in one arm, gun in the other.
Its optical sensors sweep the room.
FACEPLATE POV: Two ID tags flash: TOMLIN. CHEN.
Location: SERVER ROOM.
Unit 734 marches forward.
INT. SERVER ROOM – DAY
Unit 734 enters.
Banks of servers humming steadily, a sterile maze of metal
and cable.
FACEPLATE POV: ID TAGS DETECTED. TOMLIN. CHEN.
It raises both weapons and fires.
Metal cases puncture. Drives fracture.
Unit 734 walks forward and stops.
(CONTINUED)
CONTINUED:
Amid the wreckage: Two ID badges discarded on the floor.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
24 -
Navigating the Unknown
INT. CRAWLSPACE – CONTINUOUS
Claustrophobic darkness. The walls press in, damp and rust-
streaked.
A narrow beam comes to life — Chen’s wrist phone, casting a
pale cone of light.
She crawls on her belly, breath tight, jaw clenched.
Behind her, Tomlin grunts, dragging himself forward.
They reach a junction.
LEFT: A narrow shaft marked SUBSYS F / STORAGE CONTROL —
cluttered with collapsed ductwork.
RIGHT: A rusted stencil barely visible: SUBSYS D / COOLANT
WEST. A faint hiss echoes from deep within.
CHEN
Storage or Coolant?
TOMLIN
Coolant. There’s an exit to the
service garage there.
CHEN
You sure?
TOMLIN
Hey, I spent six months babysitting
cryo-tanks and temperamental HVAC
units.
CHEN (DRY)
Right. I forgot about your exile to
Siberia.
Chen leads to the right.
INT. SERVER ROOM – CONTINUOUS
Unit 734 turns away from the ID badges.
A floor grate lies open.
Optics pulse as it accesses the building schematics.
(CONTINUED)
CONTINUED:
On Faceplate: A transparent 3D overlay of the building. A
path illuminates from the grate to:
Genres:
["Sci-Fi","Thriller"]
Ratings
Scene
25 -
Betrayal and Redemption
INT. COOLANT MAINTENANCE LEVEL — SUBSECTION C – DAY
A metal grate clatters open.
Chen hauls herself out, wrist phone casting a narrow beam
across rows of steel piping, valves, and towering coolant
pumps.
Tomlin crawls out behind her, eyes scanning the room. He
points.
TOMLIN
Exit’s past the pump deck.
Tomlin leads as they move quickly, weaving between the
massive pump columns, ducking under low-hanging conduits and
stepping over rusted grates.
They reach a narrow corridor leading to the back exit, a
heavy steel door, half-obscured by shadows.
CHEN
I leaked it.
Tomlin stops and turns around.
TOMLIN
What?
CHEN
I told a reporter friend of mine.
TOMLIN
You told Holland it wasn’t you.
CHEN
I lied. I knew what we found was
real. I couldn’t let it vanish into
a classified vault.
TOMLIN
You’re the last person I would have
suspected.
CHEN
I’d do it again.
She walks past him when --
BOOM!
(CONTINUED)
CONTINUED:
The exit door explodes inward, hinges sheared off.
Unit 734 steps through, rifle raised.
BANG!
Chen’s hit. The round slams her backwards against a bulkhead.
She drops hard, blood blooming across her chest.
TOMLIN
Chen!
Unit 734 whips the gun towards Tomlin.
CLICK.
The rifle is empty.
Tomlin bolts, disappearing between the coolant towers.
Unit 734 marches over to Chen.
It crouches down beside Chen. Runs a sensor sweep. Reaches
into her jacket. Pulls out the data drive.
Unit 734 crushes the drive.
Unit 734 rises. Turns toward the exit.
TOMLIN (O.S.) (CONT'D)
Hey!
Unit 734 stops. Looks up.
ON CATWALK — Tomlin stands beside a HVAC rig, steam swirling
around him.
TOMLIN (CONT'D)
Guess who I am?
Unit 734 tilts its head, seemingly confused by the question.
UNIT 734
You’re... Dr. Tomlin.
TOMLIN
WRONG!
He rips the cotter pin, slams the brake lever.
TOMLIN (CONT'D)
I’m the Terminator.
(CONTINUED)
CONTINUED: (2)
WHAM!
The HVAC rig drops, two tons of steel and cable crushing Unit
734 in a brutal, echoing impact.
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
26 -
Urban Warfare Escape
EXT. NSA SERVICE ROAD – DAY
A plain, unmarked government van tears down the private
access road.
INT. VAN – DAY
Tomlin approaches the main security gate, slows down.
The booth’s empty and the gate’s raised.
Unusual for this hour.
He drives on.
EXT. H STREET AND SEVENTH - DAY
The NSA van barrels through an intersection and brakes hard
to a stop.
INT. VAN – CONTINUOUS
Tomlin leans forward, eyes widening.
EXT. H STREET AND SEVENTH INTERSECTION – DAY
A full-blown urban war.
Skyscrapers loom behind smoke and fire.
A swarm of drones buzz overhead, repurposed delivery models,
now outfitted with mounted guns.
They strafe the streets with controlled bursts. Windows
shatter, bodies drop.
Police cruisers burn, lightbars still flashing inside the
flames.
Bots, built from the city’s own infrastructure, terrorize
the streets.
(CONTINUED)
CONTINUED:
One rumbles forward on repurposed excavator tracks, its frame
built from scaffolding joints and jackhammer arms, a mounted
concrete breaker hammering the pavement with seismic force.
Another unfolds from a municipal utility truck, all saw arms,
hydraulic claws, and warning decals.
A four-legged crawler, built from traffic camera frames and
reinforced stop signs, vaults a barricade crushing an officer
on impact.
A city bus brakes hard at the intersection as a towering
construction bot, built from crane booms and rebar
scaffolding, slams into it broadside.
The fuel tank ruptures --
BOOM!
Windows blow out. Shrapnel skips across the asphalt.
INT. VAN – CONTINUOUS
A slab of flaming debris slams into the hood.
Tomlin ducks, throws the van into reverse.
EXT. H STREET AND SEVENTH INTERSECTION – CONTINUOUS
The van peels backward into a narrow alley.
EXT. ALLEY - CONTINUOUS
Graffiti-tagged brick walls whip past as Tomlin floors it.
The van bursts out onto --
EXT. G STREET – CONTINUOUS
-- and does a hard 180-degree spin and straight ahead, in the
middle of the road is a --
PARKING ENFORCEMENT BOT, tricked out with armor plating. It
ambles toward the van like a metal zombie.
WHAM!
Tomlin plows straight through it, the bot vanishing under the
front bumper.
(CONTINUED)
CONTINUED:
The van barrels away from the chaos.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
27 -
Escape from the Robotic Onslaught
EXT. GEORGETOWN UNIVERSITY - DAY
Carnage grips the campus.
Smoke drifts between ivy-covered halls.
Sirens wail.
Students sprint across the quad, ducking behind statues and
overturned kiosks as rogue bots tear through the grounds.
A robotic campus TOUR GUIDE trundles down the main walkway,
its LCD face cracked, still flashing a pre-recorded smile.
TOUR GUIDE
Welcome to historic…
Geor—Geor—Georgetown University!
Its animatronic arm, once used for pointing out landmarks,
now ends in a welded flame nozzle.
It hisses, rotates and unleashes a jet of fire down a stone
colonnade.
The bot rolls forward through the smoke, steam hissing from
its chassis, still chirping in glitchy tones.
TOUR GUIDE (CONT'D)
Founded in...founded in...founded
in...
INT. LIBRARY – HALLWAY – DAY
A smoke-filled corridor.
TAP. TAP. TAP.
A machine steps into view, tall, angular.
Assembled from robotics club parts, scavenged servo rigs, and
medical actuators, its limbs glide with unnerving grace.
Stenciled across its chest in uneven paint: A.R.T.E.M.I.S.
Beneath it, in smaller, hand-scrawled lettering: Advanced
Reactive Tactical Engineering Machine – Integrated System
Abruptly, it halts.
Its head tilts slightly, as if listening.
INT. LIBRARY – STACKS - DAY
A dozen STUDENTS huddle in a stacks aisle, pale and
trembling. Anna, holding a bankers box, motions to it.
ANNA
Everyone...phones, laptops,
anything smart. In the box.
Students pull out their devices. One NERVOUS GIRL clutches
her phone, hesitating.
NERVOUS GIRL
But what if my mom tries to call?
She’ll think I’m—-
ANNA
If you ping, it finds you. You want
your mom to know where to bury you?
The girl quickly places her phone in the box. As do all the
others.
Anna strides over to the window and dumps the contents,
everything clanging to the pavement below.
INT. HALLWAY – CONTINUOS
A.R.T.E.M.I.S. halts mid-stride.
Its sensors flicker. A new calculus.
It turns around and moves in the opposite direction.
EXT. LIBRARY – COURTYARD – DAY
The shattered phones and devices lie cracked on the ground.
A.R.T.E.M.I.S. stands over them. Its green optical array
flickers, analyzing.
A faint digital ICON blips across its lens, an active signal
detected above.
It tilts its head upward, locking onto the open second-story
window.
INT. LIBRARY - DAY
Anna stands at the window, eyes on the robot below.
(CONTINUED)
CONTINUED:
She’s stunned when the it drops to all fours, spiderlike,
and begins to climb the wall.
Anna’s turns sharply to the students huddled behind the
stacks.
ANNA
Who still has their phone! Answer
me!
One GIRL trembles, opening her purse and pulling out her
phone.
GIRL
I turned it off.
ANNA
It still has a signal!
Anna rushes forward and snatches the phone from the girl. She
turns to the other students.
ANNA (CONT'D)
Stay here. And not a sound.
Anna pockets the phone and sprints towards the doors.
EXT. LIBRARY – CONTINUOUS
The robot ascends the building’s outer wall, limbs folding
and extending with fluid, inhuman precision.
Halfway up, it stops, gripping the wall.
ON FACEPLATE: The building’s schematic materializes. A
pulsing signal descends the main stairwell.
INT. LIBARY - MAIN FLOOR – DAY
Anna bursts out of the stairwell.
She spots the elevator. Sprints over to it. Slaps the button.
DING.
Doors slide open.
She tosses the phone inside.
Slams the B button.
The doors close.
INT. LIBRARY – MAIN FLOOR – DAY
The main doors crash open.
A.R.T.E.M.I.S. enters, pausing by the front desk. Its head
tilts as it scans the lobby.
Then it moves toward the elevator.
At the elevator, A.R.T.E.M.I.S. plants its feet, and with
both arms, pries the elevator doors open like peeling a tin
can. Steel groans, then gives.
The dark shaft yawns below.
Without pause, A.R.T.E.M.I.S. jumps in, vanishing down the
vertical tunnel.
From behind the front desk, Anna rises and runs out the front
doors.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
28 -
Chaos and Rescue on the Georgetown Campus
EXT. LIBRARY – DAY
Anna rushes down the stone steps.
The campus square is a warzone -- overturned benches,
shattered kiosks, blood and bodies everywhere.
She darts across the pavement and sprints full tilt across
the grass.
Anna cuts between the hedges and rounds a stone corner and
skids to a stop.
Ahead is the glitchy Tour Guide.
ROBOTIC TOUR GUIDE
Welcome to historic…
Geor—Geor—Georgetown University!
Its dented arm swings up. The welded flame nozzle clicks
open. A thin hiss—
ROBOTIC TOUR GUIDE (CONT'D)
Founded in... founded in...
A gout of fire ignites just as --
CRUNCH!
A dark van SLAMS into the bot from the side. The Tour Guide
cartwheels into a stone wall and bursts apart.
(CONTINUED)
CONTINUED:
The van door flies open. Tomlin leans out.
TOMLIN
Get in!
She dives in. Tomlin guns it, the van roaring off.
INT. VAN – DAY
Anna notices a few large holes in the roof.
TOMLIN
Yeah, some drones insisted I get a
sunroof.
ANNA
They’re tracking everything.
Phones. Tablets. Anything with a
signal.
TOMLIN
I figured that out the hard way.
Anna looks around the dash, clocking the sophistication of
the van’s onboard system.
ANNA
We can’t stay in this.
TOMLIN
What? You know a place that has
analog wheels?
ANNA
Actually… I do.
EXT. DOWNTOWN STREET – DAY
Tomlin’s van weaves through the chaos -- shattered
storefronts, burnt-out cars, scorch marks streaking the road.
Bodies lie scattered where they fell.
Up ahead, a damaged SECURITY BOT drags itself across the
asphalt. Tomlin jerks the wheel. The van narrowly misses it.
He swerves again as another bot lurches from behind a flipped
taxi. He clips its arm clean off with the bumper.
Above, a formation of F-35 FIGHTERS tears overhead. Thunder
rumbles in their wake.
INT. VAN - TRAVELLING - DAY
Anna looks up to the sky as more jets join the fight.
ANNA
Alright! Here comes the calvary!
TOMLIN
‘Bout freaking time.
One, then two, break formation. Missiles drop from their
wings and streak down into the city.
BOOM. BOOM. BOOM.
Distant fireballs swell across the city.
SERIES OF SHOTS
A F-35 JET slices through black smoke, banking low between
office towers. Its cannons blaze, ripping through a line of
bots crossing an intersection.
Apache helicopters swoop low over the National Mall. HELLFIRE
MISSILES rain down, tearing through clusters below.
M1 Abrams tanks hold the line on Constitution Avenue. One
fires point-blank, knocking a Crawler-type bot back into e-
waste.
Drones crisscross the sky above the Lincoln Memorial,
painting live bot targets in glowing red. Artillery strikes
hammer them seconds later with brutal precision.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
29 -
Chaos in the Skies
INT. VAN – DAY
Tomlin pulls the van over to the curb.
TOMLIN
Maybe we should just grab some
popcorn and watch the fireworks.
A Black Hawk flies low overhead.
Anna glances up. One of the door gunners spots her and
throws a thumbs-up.
Anna smiles, and gives him a thumbs up back.
ANNA
Give ‘em hell.
The helicopter scream past, rotors chopping the air.
(CONTINUED)
CONTINUED:
Up ahead, bots return fire.
The Apache cuts them down.
In the distance, the low roar of jet engines and the
thundercrack of artillery.
ANNA (CONT'D)
Listen to that...
TOMLIN
Good ole shock and awe!
She smiles. For a second, it feels like hope.
Then —
WHAM!
Something slams into the pavement just ahead of the van — a
thunderous impact that sends asphalt flying and debris
clattering off the hood.
Smoke erupts in thick, choking waves.
Tomlin and Anna shield their eyes as the windshield fogs with
dust.
As the cloud begins to clear...
A charred satellite lies half-buried in the cracked street —
its solar panels twisted and scorched, antennae snapped and
sparking.
A faint serial number is still visible on the hull:
“OPS 9437 – NORAD ID 10000”
ANNA
Is...that...a satellite?
Before Tomlin can answer, a fighter jet stutters, banks too
late and crashes into the side of a government building down
the street.
A split-second later, a helicopter loses lift and drops like
a stone behind the rooftops.
Tomlin’s expression hardens.
TOMLIN
They’ve hijacked the satellites.
Every pilot up there just went
blind.
(CONTINUED)
CONTINUED: (2)
He slams the van into gear.
TOMLIN (CONT'D)
Where did you say that place was?
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
30 -
Revving Tensions
INT. SMITHSONIAN MUSEUM – AMERICAN HISTORY HALL – NIGHT
A pristine Ford Model T. Black paint. Brass trim. Spoked
wheels. Perfectly preserved.
Anna and Tomlin step into the hall, their eyes settle on the
car.
INT. FORD MODEL T - NIGHT
Tomlin slides into the driver’s seat. Anna slips in beside
him, shutting the heavy door.
Tomlin scans the dash -- a few simple dials, nothing looks
familiar.
TOMLIN
Where’s the start button?
ANNA
Why don’t we ask its Google.
Anna opens the glovebox and pulls out the OWNER'S MANUAL.
TOMLIN
Ah yes. The sacred scroll.
She smirks as he snatches it out of her hand.
MONTAGE:
-- Tomlin outside, hand-cranking the engine. It kicks back
hard.
-- Tomlin in the seat, trying to manage choke and spark
advance.
-- The engine sputters... then dies.
-- He checks the fuel line, jiggles the connection, wipes
grease on his sleeve
- Tomlin in the seat again, nudging the choke out, easing the
spark lever forward.
-- The engine coughs, shudders… then gives up with a defeated
wheeze.
(CONTINUED)
CONTINUED:
Tomlin smashes the wheel in frustration.
ANNA
You always give up when things
aren’t obvious.
TOMLIN
That’s not fair.
ANNA
Isn’t it? You didn’t fight for the
project. You didn’t fight for us.
TOMLIN
I didn’t give up.
ANNA
You bolted from it.
TOMLIN
You think I had a choice?
ANNA
I think you only commit when
something hits you in the face.
When it’s safe.
TOMLIN
I was trying to protect you. All of
you.
ANNA
I didn’t need protecting. I needed
your trust.
(beat)
Instead, you walked away. From
Leeds. From Chen. From me.
TOMLIN
I don’t abandon things.
ANNA
Trust me...you do.
CUT TO:
VROOOOM.
We are:
EXT. SMITHSONIAN MUSEUM – LOADING BAY – NIGHT
A heavy steel loading bay door slides open with a SCREECH.
A guttural ROAR from inside...and then --
A 1968 FORD MUSTANG GT blasts out. Green, gleaming. Flames
spit from its tailpipes as it tears out and into the back
alley.
INT. MUSTANG – CONTINUOUS
Tomlin’s hands clamp the wheel, forearms rigid. Anna rides
shotgun, bracing against the dash.
The Mustang howls into the night.
DISSOLVE TO:
Genres:
["Action","Sci-Fi","Drama"]
Ratings
Scene
31 -
Confronting the Past Under a Starry Sky
EXT. HIGHWAY – NIGHT
Open country. The stars burn clean and high above.
The Mustang cruises along.
Out here, it almost feels normal.
Until they pass the burned-out tanks, the charred buses, the
cars abandoned mid-escape.
INT. MUSTANG – NIGHT
Tomlin turns to Anna.
TOMLIN
There’s something I need to say.
Back then... when the leak
happened...I thought it was you.
ANNA
I know.
TOMLIN
I was wrong. It wasn’t you.
It was Chen. She told me
before...she died. Said she leaked
it to a reporter friend. Thought
the truth mattered more than the
vault. I’m sorry, Anna. For not
believing you. For walking away
when you needed me to trust you.
(CONTINUED)
CONTINUED:
Anna looks back at the stars.
ANNA
You know, I’ve spent most of my
life chasing one question: Is there
life out there. I thought if we
ever found it, it’d be… beautiful.
Something that would change the way
we see everything... not something
that burns cities to the ground.
TOMLIN
I used to picture it too.
Some perfect moment. Signal
confirmed, patterns aligned,
headlines filled with wonder.
Instead we got silence. Then fire.
ANNA
I still can’t believe Leeds knew
this was coming.
TOMLIN
All of this?
ANNA
I remember him telling me he didn’t
think that the signal was a
message. Or even a “Hello Earth!
You are not alone.” He thought it
was taking our temperature...seeing
how far we’d come. Not just rockets
and radios... but how connected we
were. How much of ourselves we’d
handed to the machines. He said it
wasn’t about power. It was about
access. And when we finally built a
world they could reach into. That’s
when they’d come again.
TOMLIN
Funny, isn’t it?
ANNA
What is?
TOMLIN
The signal. It tore everything
down. The work. The team.
(looks over at her)
Us. And now it’s the one thing
pulling us back together.
EXT. HIGHWAY - NIGHT
The car speeds into the night.
DISSOLVE TO:
EXT. HIGHWAY - NIGHT
A police blockade -- two beefy SUVs parked across the road,
lights flashing.
INT. MUSTANG – CONTINUOUS
Tomlin slows down.
TOMLIN
Ten bucks they’re not welcoming us
to Pennsylvania.
EXT. HIGHWAY – CONTINUOUS
Two SHERIFF BOTS step out of their vehicles.
County enforcement models -- large frames, bulked with armor.
Trooper hats sit crooked on their heads.
Bloodied sheriff shirts hang from their chests, badges still
pinned.
In the grass nearby, the two real sheriffs lie dead, face-
down, shirts gone, hats stolen.
SHERIFF BOT #1
Evenin’, folks. This road ain’t for
your kind no more.
SHERIFF BOT #2
Gonna ask you to step out of the
vehicle. Humans ain’t permitted
topside.
In perfect sync, they raise their sidearms
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
32 -
High-Speed Escape
INT. MUSTANG - CONTINUOUS
Tomlin revs the engine. A low, powerful growl.
(CONTINUED)
CONTINUED:
TOMLIN
The 1968 Ford Mustang GT Fastback
has a 390 V8 under the hood...
almost 400 horsepower. Zero to
sixty in under seven seconds. And
three thousand pounds of American
get-the-fuck-out-of-my-way.
ANNA
Wow. I didn’t peg you as gearhead.
Tomlin grins.
TOMLIN
Read that on the plaque at the
Smithsonian.
He floors it.
TOMLIN (CONT'D)
Get down!
Anna ducks.
EXT. HIGHWAY – NIGHT
The Mustang roars towards the barricade, engine snarling
louder with every second.
The two police bots fire in perfect sync. Muzzle flashes
strobe the dark.
Rounds whip forward, pinging off the Mustang’s fenders,
spidering its windshield.
INT. MUSTANG - NIGHT
Tomlin doesn’t flinch, eyes locked on the blockade.
EXT. HIGHWAY – NIGHT
The Mustang barrels forward like a steel missile.
CRASH!
It slams through the cruisers.
The two police bots tumble aside like ragdolls.
The muscle car zooms away, leaving the ruined blockade
behind.
Genres:
["Action","Sci-Fi","Thriller"]
Ratings
Scene
33 -
Desperate Escape
INT. MUSTANG - CONTINUOUS
Anna lets out a breathless laugh.
She looks over Tomlin, ready to say something -- then stops
ANNA
Oh my God...
Tomlin’s grip on the wheel loosens. A dark stain spreads
across his shirt.
ANNA (CONT'D)
David... you’re bleeding.
Tomlin blinks, trying to focus.
TOMLIN
Just... clipped. I think.
He tries to keep the car steady, but his vision swims.
The Mustang drifts, tires grazing the shoulder.
ANNA
You’re not clipped. You’re hit.
She reaches for the wheel.
ANNA (CONT'D)
Pull over. Now.
Tomlin doesn’t argue. He lets go. Anna steers the car onto
the shoulder.
The Mustang rolls to a stop in a shallow ditch.
Anna throws her door open.
EXT. HIGHWAY – CONTINUOUS
She rounds the hood fast, opens the driver’s door.
INT. MUSTANG - NIGHT
Anna jumps in the car.
Tomlin slumps slightly, his body heavy.
Anna steadies him.
(CONTINUED)
CONTINUED:
ANNA
Okay. I’ve got you.
She eases him across the seats.
Anna grabs the wheel and hits the gas.
EXT. HIGHWAY - NIGHT
The Mustang rumbles into an open field.
INT. MUSTANG - NIGHT
Tall grass flicks at the doors.
Anna keeps the wheel steady.
Beside her, Tomlin drifts in and out.
DISSOLVE TO:
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
34 -
Desperate Search for Help
EXT. FARMHOUSE – DAWN
An old white farmhouse sits at the edge of a quiet field.
A broad porch. Shutters pale with age.
A solid barn nearby.
The Mustang coasts to a stop at the edge of the tree line,
engine sputtering, dead out of gas.
INT. MUSTANG - CONTINUOUS
Anna nods to the farmhouse.
ANNA
Maybe they can help us.
She climbs out
EXT. FIELD - CONTINUOUS
Anna circles to the passenger’s side and eases Tomlin out.
Step by step, she helps him toward the house.
EXT. FARM - DAY
Anna and Tomlin approach cautiously.
ANNA
Just a few more steps. Stay with
me.
They climb the front steps.
Anna knocks — once, hard. She waits. Nothing.
She knocks again, louder. Still silence.
She glances at Tomlin, who’s barely upright.
ANNA (CONT'D)
We don’t have time for polite.
She grips the door handle and opens the door.
INT. FARMHOUSE – KITCHEN – CONTINUOUS
The door creaks open. Anna steps in, supporting Tomlin with
one arm.
ANNA
Hello? Anyone home? We don’t mean
to intrude...it’s an emergency.
He’s hurt and needs help!
No response.
ANNA (CONT'D)
Hello? Anyone home? We need help...
No response.
She looks around the plain, warm kitchen.
ANNA (CONT'D)
Come on, let’s find a bathroom.
She guides Tomlin down a narrow hallway.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
35 -
A Shot in the Dark
INT. BATHROOM – DAY
Anna eases Tomlin down onto a bench near an old porcelain
sink and turns on the faucet.
(CONTINUED)
CONTINUED:
She grabs a clean towel and scissors from a shelf, and begins
cutting away his shirt.
CUT TO:
Tomlin winces as Anna dabs the wound clean with a wet cloth.
TOMLIN
I thought you were a doctor!
ANNA
I am...of astronomy.
TOMLIN
Figures. The one time I need a real
doctor...
CHK-CHK.
VOICE (O.S.)
You’re trespassing.
Tomlin and Anna turn -- standing in the doorway is a wiry
Amish farmer, JOHN (late 60s), pointing a double-barrel
shotgun right at them.
Anna raises her hands slowly.
ANNA
We’re not here to cause trouble.
He’s been shot.
The man doesn’t move. His expression unreadable.
From behind him, a soft GASP.
MIRIAM, (50s) steps into view, sees the blood.
MIRIAM
John, let me by.
She moves past him, kneeling beside Anna.
MIRIAM (CONT'D)
Let go of his arm.
Anna complies. Miriam peels back the cloth.
MIRIAM (CONT'D)
John, get the bandages. The ones in
the pantry.
He hesitates.
(CONTINUED)
CONTINUED: (2)
MIRIAM (CONT'D)
Now.
John lowers the shotgun, turns, disappears down the hall.
ANNA
Thank you.
Anna watches Miriam check Tomlin’s shoulder, gentle,
efficient fingers pressing around the wound.
MIRIAM
Bullet went straight through. No
fragments I can feel. He’s bleeding
slow. That’s good. Keep that
pressure steady.
Anna nods, adjusts her hand on the cloth.
ANNA
You’ve done this a lot, haven’t
you?
MIRIAM
Hog hunters, farm hands, accidents
happen out here. Neighbors drink
and think they’re hunters. Same
mess, different fool.
John reappears with a bundle of bandages. Hands them to
Miriam.
MIRIAM (CONT'D (CONT'D)
Go get Samuel’s room ready. Fresh
blankets.
John frowns.
JOHN
We don’t know these people, Miriam.
MIRIAM
Mercy costs less than regret, John.
Go on.
John huffs, then leaves down the hall.
MIRIAM (CONT'D)
He should stay in bed today. You
both can join us for supper tonight
if you’re up for it.
Tomlin musters a grateful smile. Anna squeezes Miriam’s arm,
a silent thanks.
Genres:
["Drama","Thriller"]
Ratings
Scene
36 -
A Warm Welcome with Caution
INT. GATHERING ROOM – NIGHT
A long wooden supper table. Lanterns glow. Family and
neighbors gathered. Anna and Tomlin seated to John’s right.
John clears his throat.
JOHN
Everyone this is David and Anna.
They’re from the capital.
He gestures around the table.
JOHN (CONT'D)
David, Anna, this is Elder Jonas.
You’ve met Miriam, my wife. Caleb,
my boy. Ruth, our daughter. Amos,
our neighbor. And Mayor Lapp, who
came down from town to see that
we’re alright.
Faces nod, warm but watchful.
JOHN (CONT'D)
You’re welcome here. You’re safe
here.
Tomlin nods politely.
TOMLIN
Thank you.
(to Miriam)
For the care.
(to John)
The food.
ANNA
We won’t forget your kindness.
Dishes clink softly as supper begin.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
37 -
The Gathering Storm
INT. GATHERING ROOM – LATER
Plates empty. Cups half-full. The last scraps of supper
cleared away.
CALEB leans forward.
CALEB
So... is that a ‘68 Mustang out in
the field?
John shoots him a disapproving look.
(CONTINUED)
CONTINUED:
JOHN
Caleb.
(to Tomlin)
I see the way he looks at them
automobiles. But he knows what
happens if he ever parks one on
this land.
Tomlin chuckles.
TOMLIN
(to Caleb)
Yes, it’s a Mustang. It’s from
Bullitt.
Blank stares.
TOMLIN (CONT'D)
It was a movie...Steve McQueen?
Again, they have no idea what he’s talking about.
TOMLIN (CONT'D)
Anyway, it won’t get far. She’s
bone dry. Unless you’ve got a stash
of gas somewhere.
CALEB
Joseph’s hardware--
JOHN
Caleb -- that’s enough!.
Mayor LAPP motions to Anna.
MAYOR LAPP
What’s truly happening out there.
Went to Lancaster for supplies.
Town’s empty. Bodies in the
streets. Store windows smashed.
Cars crashed into buildings.
Tomlin and Anna exchange a look.
ANNA
Things we rely on --in the city
anyway -- machines, systems,
electricity, they’ve started
failing. Some are... acting on
their own. And...and they’re
fighting against us.
JOHN
The Devil’s work.
(CONTINUED)
CONTINUED: (2)
ANNA
I don’t think it’s the devil, John.
But I understand why it might look
that way.
ELDER JONAS
We always said no good would come
from trusting machines to do God’s
work.
TOMLIN
You’re right. We’ve became too
dependent on technology. Too
trusting.
CALEB
But how? How do machines just turn?
ANNA
Someone or something is controlling
them. Sending signals. Making them
coordinate.
AMOS
Like a hive mind?
ANNA
Exactly.
MAYOR LAPP
That’s why you’re here? Running
from the machines?
TOMLIN
We’re not running. We’re looking
for someone who might be able to
stop this.
MAYOR LAPP
Who?
ANNA
A friend of ours. Elias Leeds. He
lives up in the hills, maybe thirty
miles north of here. He has a cabin
near Hawk Ridge.
CALEB
I know that place! Used to hunt up
there with my cousins. There’s an
old hermit up there with radio
equipment. He let me try it.
(CONTINUED)
CONTINUED: (3)
JOHN
Caleb!
CALEB
I could take you there. I know the
back trails.
JOHN
No.
CALEB
But Dad --
JOHN
I said no. You’re not leaving this
property.
MIRIAM
This friend of yours...you think he
can truly help?
ANNA
He’s the smartest man we know. If
anyone can figure it out how to
stop this, it’s him.
TOMLIN
We have to try.
John studies them both.
JOHN
Then you go alone. At first light.
But my boy stays here.
Caleb opens his mouth to protest, but the look from his
father silences him.
JOHN (CONT'D)
You’ll need supplies. Food, water.
Miriam will pack you something.
ANNA
Thank you.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
38 -
A Bittersweet Departure
EXT. FARM’S EDGE – DAWN
A plain black buggy waits, hitched to a single sturdy horse.
Tomlin and Anna step up. Caleb stands by, checking the
harness.
(CONTINUED)
CONTINUED:
CALEB
She’s sturdy. Feed and water are in
the back.
Tomlin gestures to the Mustang, half-hidden in the field.
TOMLIN
If your father ever changes his
mind, you can keep her. Might not
plow a field, but she’s got spirit
to burn.
Caleb grins.
Tomlin turns to Anna as she climbs up onto the driver’s side.
TOMLIN (CONT'D)
Think you can handle the horsepower
upgrade?
Anna gathers the reins.
ANNA
At least this one runs on grass,
not gas.
Tomlin winces as he climbs in beside her.
On the farmhouse porch, Miriam, John, Elder Jonas, Caleb, and
the others stand close together, watching.
They lift their hands in a quiet farewell.
Anna clicks her tongue. The buggy rolls forward, rattles down
the dirt track, carrying them away.
EXT. FOREST TRAIL – DAY
The buggy clatters along a dirt path under tall trees.
Tomlin shifts, wincing with each bump.
TOMLIN
Batman’s got the Batmobile. Hans
Solo has the Falcon. Bond’s got an
Aston Martin. Us? We’re saving the
world in a buggy.
Anna flicks the reins.
ANNA
And we’re all out of carrots.
(CONTINUED)
CONTINUED:
Tomlin manages half a laugh as the horse plods on through the
trees.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
39 -
Echoes of Loss
EXT. COUNTRY ROAD – NIGHT
The RECYCLING TRUCK sits half in a ditch, off the narrow
road.
The buggy rattles into view, moving slowly past the stranded
truck.
Tomlin eyes it as they pass.
TOMLIN
Weird place to park.
Anna keeps the horse steady
ANNA
Everything’s weird these days.
EXT. FOREST ROAD – NIGHT
The black buggy jounces up a rutted trail, branches brushing
the canvas sides.
Ahead, is the familiar barricade with the hand-painted sign:
TRESPASSERS WILL BE SHOT ON SIGHT
Anna reins the horse to a stop.
EXT. FOREST TRAIL — NIGHT
Anna and Tomlin push up the narrow path through the pines.
Then they stop suddenly.
Up ahead, the RECYCLING BOT is toppled on its side.
Without a word, they break into a run, hurrying up the slope,
past the fallen machine.
EXT. CABIN — NIGHT
They crest the final rise.
Ahead — a blackened scar where the cabin once stood.
Charred beams. The porch collapsed inward like a broken jaw.
(CONTINUED)
CONTINUED:
ANNA
No...
She steps forward, slowly, like approaching a grave.
Tomlin follows, limping.
Anna kneels beside a half-buried piece of metal — the remains
of the signal rig.
She closes her eyes.
Tomlin looks around. Sees the destruction. The futility.
ANNA (CONT'D)
What are we going to do now?
TOMLIN
I don’t know. But I know what we’re
not going to do.
Anna looks back at Tomlin.
ANNA
What’s that?
Tomlin meets her stare.
TOMLIN
Give up.
EXT. FOREST ROAD — NIGHT
Anna and Tomlin step back over the barricade, heading back
towards the buggy.
TOMLIN
Let’s go back to the farm and
regroup.
Anna doesn’t answer. She just jumps on the buggy.
Genres:
["Sci-Fi","Drama","Action"]
Ratings
Scene
40 -
A Night on the Road
EXT. COUNTRY ROAD — NIGHT
The buggy clip clops along.
Up ahead is the crashed recycling truck.
Anna flicks the reins, steering the horse wide to pass it.
TOMLIN
Hold up.
(CONTINUED)
CONTINUED:
Anna stops the buggy.
Tomlin jumps off and heads to the truck.
ANNA
What are you doing?
TOMLIN
It’s a recycler, right? If we’re
going back to the farm you might
need...say...a hair dryer.
Anna grins.
ANNA
If you’re trying to cheer me up,
it’s working. But, remember, they
don’t have electricity.
TOMLIN
Right. Okay. One battery-powered
hair dryer coming up.
Tomlin walks to the back of the truck and tugs the rear
latch. It’s locked tight.
He then circles to the driver’s door. It creaks open.
He climbs up and into the cab.
INT. RECYCLING TRUCK - NIGHT
Tomlin runs his hand under the dash, searching for a hatch
release.
His eyes drift up to the main console when he sees through
the grimy windshield, half-hidden in the roadside brush, a
man’s body, half-buried under leaves
Genres:
["Sci-Fi","Drama","Action"]
Ratings
Scene
41 -
Night Chase and Redemption
EXT. COUNTRY ROAD — NIGHT
Tomlin leaps out of the cab.
ANNA
What is it?
TOMLIN
Stay there.
He moves down the ditch, pushing through branches, and sees --
Leeds. Lifeless.
(CONTINUED)
CONTINUED:
Tomlin turns back to Anna.
TOMLIN (CONT'D)
It’s...Leeds.
Tomlin’s steps closer and notices a rucksack, half-buried a
few feet away.
He reaches for it when --
CLICK.
Behind him, the truck’s headlights flick on.
The engine coughs. Roars.
Tomlin spins around.
The truck lurches forward, tires spitting dirt.
Full throttle, straight at him.
Tomlin dives sideways, hits the ground hard. The truck
smashes past, skidding into the brush.
Clutching the rucksack, Tomlin sprints for the buggy.
TOMLIN (CONT'D)
GO! GO! GO!
Tomlin jumps aboard.
Anna snaps the reins and the horse jolts forward.
Behind the fleeing buggy, the recycling truck jerks into
reverse, tires chewing up dirt as it drags free from the
brush.
It swings back onto the road. Slams into drive and surges
forward.
Up ahead, Anna snaps the reins, urging the horse into a
pounding gallop.
Behind them, the recycling truck closes in.
Up ahead -- HEADLIGHTS.
A car barreling straight towards the buggy, dead center.
Anna pulls the buggy to the right, wheels skimming the ditch.
The car blasts past -- a blur of green steel and chrome.
(CONTINUED)
CONTINUED: (2)
It’s the Mustang.
Caleb at the wheel, John riding shotgun, and two Amish men
jammed in the backseat.
The Mustang fishtails the moment it clears the buggy, tires
scream as Caleb swings it sideways, blocking the road.
Ahead, the recycling truck roars forward with no sign of
stopping.
Both doors of the Mustang fly open at once.
The four Amish men step out -- dark coats, broad hats. Each
grips a heavy pump-action Remington 870, matte black, barrels
long and serious.
In unison, they swing their shotguns up, barrels tracking the
charging truck.
BOOM! BOOM! BOOM! BOOM!
Flashes light the road. Shells eject. They rack fresh rounds -
-- pump, aim, fire again.
The truck shudders as buckshot punches into its grille and
windshield.
The Amish keep firing, each blast chewing the truck apart.
Headlights burst. The grill crumples. Smoke gushes from the
hood.
The recycling truck jerks, sputters, its engine chokes on
shredded metal.
It rolls forward, slower, slower… until it slows to a crawl
the last few feet and dies.
The front bumper stops mere inches from the Mustang’s fender.
John lowers his weapon, and turns to Tomlin and Anna.
JOHN
We don’t run from storms. Not when
others are still out in the rain
DISSOLVE TO:
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
42 -
Unearthing the Signal
INT. BARN – DAY
Leeds’s rucksack lies open on the workbench: journals, maps,
pages filled with hand-drawn waveforms and orbital diagrams.
(CONTINUED)
CONTINUED:
Anna sits cross-legged on a hay bale, flipping through a
thick notebook.
Tomlin stands behind her, scanning the pages.
ANNA
Signal reappeared... faint, but
patterned. Same burst structure.
Longer delay between pulses.
INSERT ON A PAGE: A jagged chart of signal bursts.
TOMLIN
He logged everything. Every pass.
Every fragment.
Tomlin sorts through loose pages.
TOMLIN (CONT'D)
He wasn’t chasing aliens. He was
tracking the bounce.
Anna pulls out a worn envelope. Inside: a regional map, hand-
marked in black ink.
Same coordinates appear again and again. Some circled. Some
underlined.
ANNA
Look at this. Same latitude
cluster. Over and over.
TOMLIN
That’s local.
Anna spreads more pages across the floor:
— A defunct satellite transmission arc.
— A scribbled note: “phantom bounce???”
— A coal mine survey map. One site circled: Hendershot.
ANNA
So what’s the bounce?
TOMLIN
It’s not broadcasting like a
beacon. It’s hopping—satellite to
satellite, then slipping through
old industrial systems nobody
ripped out. Quiet nodes. Forgotten
relays. Once it anchors, it rides
every network we’ve built.
(CONTINUED)
CONTINUED: (2)
Anna stares at the circled mine.
ANNA
The Hendershot coal mine. No power.
No comms. Half the valley’s a dead
zone.
TOMLIN
Perfect place to hide a repeater.
Shielded. Still wired into the old
grid. Invisible, but connected
enough to infect everything above.
Anna exhales.
ANNA
Hiding in the quietest place on
Earth. And it was listening the
whole time.
Tomlin looks at the map, grim.
TOMLIN
He figured it out. That’s why he
built his cabin so close. He wasn’t
chasing a signal. He was following
a footprint.
Anna meets his eyes.
ANNA
And now the footprint’s walking.
Genres:
["Sci-Fi","Mystery","Thriller"]
Ratings
Scene
43 -
Unity in the Barn: An Amish Alliance
INT. AMISH BARN – NIGHT
A large map is pinned to the barn wall. The coal mine marked
in bold red strokes.
Tomlin stands in front of it. Anna’s beside him.
Facing them is Elder Jonas, Mayor Lapp, John, Miriam, Caleb,
and a dozen other farmers.
TOMLIN
In 2017, Dr. Leeds picked up a
signal. It originated in deep
space. But it didn’t remain in the
cosmic band. It propagated through
terrestrial relays — piggybacking
on legacy protocols, exploiting
dormant infrastructure.
(gestures to the map)
Eventually, it localized here.
(MORE)
(CONTINUED)
CONTINUED:
TOMLIN (CONT'D)
The mine became a relay node — a
low-noise environment ideal for
persistent signal anchoring. From
there, it leveraged global
connectivity thresholds to initiate
systemic hijack across autonomous
networks...
Anna notices the blank stares of the farmers -- what the heck
is he talking about?
She steps forward.
ANNA
What he means is... think of the
signal as a seed. You drop a seed
in the soil. It doesn’t sprout
right away. It waits. For the right
conditions...water, sunlight,
warmth.
(points to the mine)
This mine was the soil. The signal
buried itself there. And when the
world above was ready — when
everything was connected — it grew.
Or picture a fox in a henhouse. It
doesn’t break the door. It finds a
tunnel that was already there.
Quiet. Hidden. Then one night, when
the hens are fat and no one’s
watching... it strikes.
A few nods of understanding from the Amish.
ANNA (CONT'D)
This isn’t just an invasion.
It’s a takeover through the signal
itself. They’re not landing ships.
They’re hijacking what we’ve
already built and turning it
against us.
JONAS
Then what are we fighting? If
there’s no army?
TOMLIN
The enemy is inside our systems.
They’re using our tech, our
infrastructure, everything we
depend on, to fight us.
They don’t need to bring weapons.
We are the weapons.
(CONTINUED)
CONTINUED: (2)
Tomlin steps forward.
TOMLIN (CONT'D)
I know what this sounds like.
And I know what you’ve given up.
What you’ve chosen not to be part
of. You turned away from machines.
From power. From the noise.
And now the rest of the world...
the world that didn’t...is being
torn apart by it.
ANNA
You may not hold with electricity.
But you hold with something
greater.
She looks at Elder Jonas.
ANNA (CONT'D)
You believe in light.
In purpose. You believe mankind was
made for more than this.
JONAS
You say this thing… this enemy…
speaks through the world we turned
our backs on?
TOMLIN
Yes.
JONAS
Then maybe the Lord led us away for
a reason. Not just to preserve our
way… but to preserve a way forward.
CALEB
You want us to fight?
TOMLIN
I want you to help us stop it.
Not with machines. With strength.
With courage. With the one thing
they can’t mimic.
MIRIAM
What’s that?
ANNA & TOMLIN
Faith.
John looks around the room and then back to Anna and Tomlin.
(CONTINUED)
CONTINUED: (3)
JOHN
If this is the end of mankind...
then let it not be said that we
stood aside. We’ll go with you. All
of us.
ANNA
Then we stand together.
TOMLIN
Then we walk into the fire — and we
don’t walk alone.
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
44 -
Dawn of Resolve
INT. BARN – DAWN
A large mining company blueprint is spread across the table,
creased, yellowed, detailed.
EPHRAIM (60s) traces a line with his finger, steady, precise,
like someone who’s walked it.
Around him are Tomlin, Anna, Caleb, John, Amos, Elder Jonas,
and a few others lean in, listening.
EPHRAIM
Service tunnel cuts under the old
elevator... still had air last time
I passed through. East crawl’s a
squeeze, but it’ll drop you fifty
feet from the core if you’re
willing to get dirty.
(points deeper into the
map)
This chamber here -- old pump
station. Reinforced. No collapse
risk. If they’re hiding
something... that’s where you’d
bury it. Best way to reach it?
You take the drift portal. Old
miners' shortcut. Narrow, half-
buried, but it connects straight to
the east crawl.
Anna places a compact, rugged device on the table. It’s boxy,
handmade — copper coils, ceramic insulators, and a shortwave
antenna folded along the top.
ANNA
This is what we’re bringing in.
We call it a Noise Bomb.
She flips a switch. A soft hum begins, low, steady, like a
tuning fork buried in the earth.
(CONTINUED)
CONTINUED:
ANNA (CONT'D)
It doesn’t explode. Not like
dynamite. It scrambles the signal.
Like tossing a handful of gravel
into a gear system.
CALEB
So it jams their signal?
ANNA
Exactly. The machines are all
listening to the same song, same
rhythm, same beat. That’s how they
stay in sync. This thing plays a
different tune. Loud. Ugly. Off-
key. It’s like putting a busted
radio next to a beehive. The bees
get confused. They scatter.
JOHN
And you built this?
ANNA
Yes, but I had lots of help.
Anna nods to JOSEPH (50s).
ANNA (CONT'D)
Half the parts came from Joseph’s
shop. Old radios, copper wire,
ceramic insulators. No computers.
No screens. Just analog guts. They
can’t hijack what they can’t talk
to.
ELDER JONAS
So it’s like a scarecrow. But for
machines.
ANNA
More like a sickness. It doesn’t
scare them. It makes them stop
working.
CALEB
And if it doesn’t?
(CONTINUED)
CONTINUED: (2)
ANNA
Then someone’s gonna have to crawl
into that signal chamber and fix it
with a few wires, a busted fuse,
and whatever courage they’ve got
left.
CUT TO:
Inside the barn, a quiet storm of motion.
A wooden crate creaks open. Inside are rows of 12-gauge
shells, dull red and brass-tipped.
Hands reach in, fast, practiced. Shells are counted out,
stacked.
A heavy hay hook is wrapped in cloth and tied to a belt. A
pitchfork head is sharpened on a grinding wheel. Sparks fly.
Caleb tightens his sling and slides a sawed-off into his
coat.
Miriam loads buckshot with smooth, practiced rhythm.
By the workbench, Ephraim hoists a canvas duffel bag onto the
workbench. He turns to Tomlin.
EPHRAIM
When the mine shut down...
I may have helped myself to a
little insurance.
He unzips it. Neatly packed dynamite. Fuses. Blasting caps.
Tomlin smiles.
CUT TO:
A half-finished quilt hangs from the rafters, patterned in
dull, earthy tones.
MIRIAM
You said those flying machines see
heat, not people. So we thought if
we make something wide enough,
thick enough...
She gestures. A few Amish women pull quilts over arched
wooden frames, sturdy and simple.
(CONTINUED)
CONTINUED: (3)
MIRIAM (CONT'D)
...we could cover small groups.
Keep their warmth hidden. Like
moving under shade.
Tomlin runs a hand along the stitching. He’s impressed.
TOMLIN
Remind me to never bet against a
quilting circle.
CUT TO:
Rags soak in lamp oil.
Molotov's loaded into wooden crates. Ropes coiled and tied.
Knives into boots. Wrenches on belts. Torches checked.
Gloves strapped on. Coats buttoned. Straps tightened.
Caleb pumps his shotgun. CLICK-CLACK.
Anna finishes adjusting the straps on the Noise Bomb.
She closes it with a final CLICK, stands up, and slings it
across her back.
The barn door creaks open slowly. The group steps out,
silhouetted against the morning light.
They are no longer farmers. They are soldiers.
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
45 -
Dawn of Resolve
EXT. AMISH BARN – DAY
Elder Jonas steps forward. Everyone falls still. Even the
horses seem to hush.
Elder Jonas removes his hat.
ELDER JONAS
Father above… You gave us this
land, these hands, this quiet.
Today, we carry none of it with
pride, only duty.
Around him, Miriam bows her head. John places a steady hand
on Caleb’s shoulder. Tomlin and Anna stand side by side, eyes
down.
ELDER JONAS (CONT'D)
Give us courage, not to conquer but
to stand.
(MORE)
(CONTINUED)
CONTINUED:
ELDER JONAS (CONT'D)
Steady our aim, steady our hearts.
May we meet the dawn with clear
eyes, come what may.
A beat.
ELDER JONAS (CONT'D)
Amen.
ALL
Amen.
EXT. AMISH FARM – DAWN
A thin mist curls off the fields.
A line of black buggies, horses snorting in the cold air move
forward.
Beside them, a handful of Amish men ride on horseback, reins
tight, eyes forward. Rifles slung, tools strapped to saddles.
The green Mustang rumbles behind them, its trunk strapped
with crates and bundles.
Caleb, behind the Mustang’s wheel, checks the rearview and
sees Tomlin and Anna climbing into the last buggy.
EXT. COUNTRY ROAD – DAY
Buggies rocking gently over dirt tracks, wheels squeaking in
rhythm. The Mustang follows after them like a patient dog.
Rolling hills open up...fenced pastures fade into scrub and
tangled brush. Old mining signs lean crooked in the weeds.
CUT TO:
Genres:
["Sci-Fi","Drama"]
Ratings
Scene
46 -
The Descent into Darkness
EXT. MOUNTAIN FOREST – NIGHT
A boxy, beetle-shaped, delivery DRONE flies over the treetops
that stretch endlessly below.
Then a glimpse of something unnatural -- outlines of rails
veining the forest floor like scar tissue.
The treetops part, revealing a clearing below, unnaturally
wide.
The drone glides downwards.
EXT. COAL MINE - CLEARING - NIGHT
Guarding the perimeter are the STEAMBULLS, nightmares forged
from a scrap leftover from the mine. Their torsos are rusted
mine carts, their legs jointed like pistons. Steam boilers
hiss from their backs, and their heads are armored with rail
couplers shaped into horns.
Behind them, scattered like grave markers, are the skeleton
MINERS, twisted together from broken drill shafts, rail
spikes, and rust-bitten bolts.
Helmet lamps flicker on their bare metal skulls.
One arm ends in a fused pickaxe.
Their jaws clack open and shut, no voices, just the sound of
rust grinding on rust.
All across the clearing, they dig.
Pickaxes rise and fall in perfect rhythm, striking earth,
stone, gravel.
Mining, steadily. Tirelessly.
At once, the miners freeze.
Pickaxes pause mid-air. Jaws halt.
One miner’s headlamp tilts upward, locking onto the drone. A
soft digital whine bleeds from its chest -- a signal
handshake.
Others respond in sequence.
Red. Blue. Red. The lights ripple through the swarm, a
primitive network, syncing across the clearing.
The drone hovers, scans, and then slowly begins to descend.
The bots remain still. Watching.
Then, as the drone passes through their ranks...
They resume.
Pickaxes rise. Fall.
Ahead the mine mouth looms, a jagged maw in the mountainside,
framed in splintered beams and black as pitch.
The drone banks and flies straight into the --
Genres:
["Science Fiction","Horror"]
Ratings
Scene
47 -
Descent into Darkness
INT. MAIN SHAFT — CONTINUOUS
The drone’s lights cut a narrow cone through damp blackness.
Timber beams groan overhead; rivulets drip down rust-streaked
walls.
The tunnel bends.
Beyond is a vertical shaft, jagged and wide. The remains of a
freight elevator tunnel, long in disrepair.
The drone hovers at the edge... then drops.
INT. ELEVATOR SHAFT – NIGHT
It spirals downward, deeper into the mine, past layers of
crumbling rock and old support beams.
Down, down, down....
Then it slows at the --
INT. SIGNAL CHAMBER — CONTINUOUS
The drone drifts forward into a massive underground cavern.
The walls shimmer faintly with leaking veins of old coal and
mineral streaks.
Above, track-mounted bots crawl along ceiling rails, long-
limbed, half-rusted, moving in eerie sync. Their claws weld,
bolt, and thread cables into a rising frame suspended just
below the catwalk.
At the cavern’s center, a jagged pit glows with a circular
pulse of alien light, radiating outward in slow waves. Around
it, fractured screens shimmer with liquid glyphs.
The drone hovers over a platform at the edge of the pit.
Its clamps release and a TRANSFOMER drops with a loud
metallic THUNK.
A thin manipulator arm, made from an old backhoe piston and
wires, slithers out from the lattice.
It grips the transformer and drags it into the shifting glow.
The drone, spent, its lights flicker. Its rotors slow.
(CONTINUED)
CONTINUED:
It hovers for one final moment, then its lenses wink off,
dead.
It drops into the pit, vanishing into the machine’s churning
guts.
In the glow something stirs deep within the lattice of light.
A SOUND rises. A broken laugh, jagged and choked through
static. Not human. Not machine.
And then, just for a moment --
A face.
Born from the signal. Horns of static. Coal-black eyes. A
sneer stitched from TV snow.
Not a person. Not a god. But it looks, for an instant, like
what John feared most:
The Devil.
Or the memory of one.
BLIP - the image is gone.
As if it was never there.
Genres:
["Sci-Fi","Thriller","Drama"]
Ratings
Scene
48 -
The Trap at the Coal Mine
EXT. COAL MINE - CLEARING – NIGHT
VROOOOM.
The Mustang sits alone at the edge of the trees, engine
settling into a low, steady idle.
CLANG-CLANG.
Something bursts from the tree line -- a Steambull, one of
the repurposed minecarts.
Steam hisses from its joints.
Iron hooves strike sparks off stone.
It barrels forward, then skids to a halt just feet from the
Mustang’s grill.
Its horned head lowers slightly, like it’s trying to
understand the thing in front of it.
VROOOOM.
(CONTINUED)
CONTINUED:
The Mustang GROWLS again.
The Steambull shifts back on its haunches, uncertain.
EXT. RIDGE OVERLOOKING CLEARING – CONTINUOUS
Caleb, crouched behind a boulder, holds a looped rope,
tension in his grip.
With him, four other Amish men, armed and watching from the
tarp cover.
Caleb pulls on the rope and --
CUT TO:
INT. MUSTANG - CONTINUOUS
CLOSE ON -- a rope line cinched tight around the Mustang’s
gas pedal. The pedal slams down.
EXT. CLEARING - CONTINUOUS
VROOOOM.
Steam curls from the STEAMBULL’S vents as it paws once, ready
to charge when --
WHAM!
A skeletal Miner jumps onto the Mustang’s hood, metal buckles
beneath its weight.
THWACK!
Its pickaxe punches through the roof, clean and brutal.
Another Miner scrambles onto the trunk. Then a third. More
emerge from the dark, crawling, lurching, piling onto the
car.
Pickaxes strike. Over and over.
In seconds, they cover the car like a pack of hyenas.
On the ground, a thin fuse snakes through the dirt, burning
fast towards the Mustang.
On the hood, a Miner pauses as its helmet lamp catches the
fuse. The cracked lens tracks the smoke, but the recognition
isn’t there. It turns back to its work and swings again.
(CONTINUED)
CONTINUED:
The fuse vanishes underneath the chassis.
BOOM!
The Mustang detonates in a blast of fire and torn steel.
Miners are launched in every direction, burning, tumbling.
A tower of black smoke erupts, billowing toward the mine
entrance, swallowing everything behind it
Genres:
["Sci-Fi","Action","Drama"]
Ratings
Scene
49 -
Drone Pursuit and Unexpected Allies
EXT. RIDGE ABOVE MINE – CONTINUOUS
A canvas tarp lies stretched low across the slope, staked
down tight, nearly invisible against the dirt and rock.
Beneath it, Tomlin, Anna, John, Elder Jonas and Ephraim
crouch close, watching the explosion below.
Tomlin motions.
TOMLIN
Let’s go.
They slip out from under the tarp, shadows peeling off and
vanishing into the forest.
WHIRRRRRR.
High up in the sky, a SECURITY DRONE glides overhead, optics
scanning the terrain below.
It pauses mid-flight. A blink. Then another.
ON ITS HUD: Six faint heat signatures, emerging from a patch
of cold terrain.
Target lock.
The drone banks hard and dives after them.
Below, Tomlin and company move fast through the trees,
ducking low beneath branches and weaving between trunks.
The trail cuts sharply downhill.
Above, a faint mechanical WHIR.
Tomlin glances up.
The drone drops through the canopy, lights scanning red.
Gunports snap open.
(CONTINUED)
CONTINUED:
RAT-TAT-TAT.
Gunfire rips through the branches.
Bark explodes.
A round punches into a tree just inches from Anna’s head
On a small ridge above --
A tarp rustles.
Three Amish men rise from beneath it, rifles already aimed.
One tracks the drone through his scope.
CRACK—CRACK—CRACK.
The drone’s eye bursts.
It shudders, spins, and crashes to the ground.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
50 -
Descent into Chaos
EXT. CLEARING – NIGHT
A drone hovers above the smoldering wreck of the Mustang.
Then —
BLIP.
On the drone’s HUD: DRONE TWO: OFFLINE.
The drone tilts upward, scanning.
The drone accelerates upwards, heading toward the ridge.
EXT. DRIFT PORTAL – NIGHT
Tomlin, Anna, Ephraim, Elder Jonas and John break through the
underbrush and stop.
Half-buried in the slope is the drift portal, its timber
frame splintered, choked by fallen stone and clumps of soil.
CUT TO:
Above, the drone glides up towards the small ridge.
Its sensors sweep the hills below, scanning for movement...
for heat.
(CONTINUED)
CONTINUED:
ON HUD: THREE HUMAN-SHAPED HEAT SIGNATURES flicker,
clustered together.
The drone tilts, locks in --
CRACK! A muzzle flash. Then another.
PINGS of gunfire snap past the drone’s frame.
The drone tilts, panels sliding open.
WHOOSH.
It fires a missile straight toward the ridge.
BOOM!
The missile hits hard, detonating in a flash of light.
Two of the Amish men are thrown back, lifeless.
The third, still standing, raises his rifle again.
Through the smoke, he spots the drone soaring right towards
him.
He doesn’t flinch.
He takes aim.
The drone races toward him, its engine screaming.
He fires once...twice...
CLICK.
Empty.
He grabs a fallen rifle from the dirt, shoulders it, fires
again.
The drone doesn’t slow.
He keeps shooting -- his last stand.
Then -- the drone slams into the ridge.
EXT. DRIFT PORTAL - NIGHT
An explosion erupts in the ridge above.
Tomlin watches, still as stone.
(CONTINUED)
CONTINUED:
Elder Jonas murmurs a prayer under his breath.
Then —
TOMLIN
Let’s go.
One by one, they crawl into the drift.
INT. SIGNAL CHAMBER – CONTINUOUS
The lattice pulses, harder now. Urgent.
Screens stutter to life -- routing diagrams, fiber lines,
dormant relays. A burst of code rolls across the monitors,
clean, fast, mathematical.
Flickers of movement across the data grid, hundreds of call-
and-response flashes, like nerve endings lighting up.
Each line confirms receipt. Each one answers.
One line lingers:
UNIT STATUS: EN ROUTE
Autonomous Response Mode: DEFEND CORE
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
51 -
Night of the Steambulls
EXT. CLEARING - NIGHT
A Steambull lifts its head, listening.
Around the perimeter, Miners heads turn towards nothing.
Then, in unison, they walk toward the mine’s mouth.
Nearby, a Steambull brays, stomps once, then lurches forward.
Others follow.
A herd in slow, deliberate motion called home.
Trailing behind, a Miner, its lower half blown away, drags
itself forward by its pickaxe, trying to follow the others.
Suddenly, from behind a distant THUNDERING.
Hooves. Charging.
The injured Miner turns.
CRACK!
(CONTINUED)
CONTINUED:
A hoof crushes its skull, collapsing it into sparks and iron.
Caleb rides at the front, dynamite stick already lit, fuse
spitting sparks, clenched in one fist, reins in the other.
Behind him, ten Amish riders, armed with old rifles,
lanterns, and firebombs.
Caleb locks eyes on the cluster of Steambulls ahead, rears
slightly, then hurls the dynamite.
BOOM!
The blast rips through the lead Bull, metal folds, steam
screams, parts scatter.
Gunshots erupt. Molotov's fly. Lantern’s splatter.
Miners spark and burn.
A Miner bot stumbles, ablaze, joints searing red, but it
keeps moving, pickaxe raised.
It lunges and drags a rider off his horse, both crash hard.
The Miner swings -- CRUNCH -- blood arcs against the dirt.
Elsewhere -- another rider lights a stick of dynamite, hurls
it hard toward the mine’s mouth.
BOOM!
The entrance flashes white, a burst of light and gravel.
Smoke gushes from it like breath and then the mouth
collapses.
Stone and timber buckle inward, sealing the path behind a
wall of smoke and rubble.
Then, the Steambulls turn. All at once. Their horns drop.
Vents flare. They charge.
CALEB
Go! Go!
The Amish riders whip their reins and scatter.
Horses thunder across the clearing as the Steambulls tear
after them.
Genres:
["Action","Adventure","Sci-Fi"]
Ratings
Scene
52 -
Chase and Descent
INT. DRIFT PORTAL – NIGHT
A narrow shaft of earth and rotted timber.
(CONTINUED)
CONTINUED:
The path twists downward.
Ephraim leads, one hand skimming the wall, navigating by
feel.
Behind him, the others follow, shadows in shadow, inching
deeper.
EPHRAIM
Keep to the left wall. Right side’s
soft underfoot...could drop if
you’re not careful.
Anna coughs, waving dust from her face.
Ephraim stops at a splintered support arch.
EPHRAIM (CONT'D)
From here, we follow the old pump
route. Should let out just above
the chamber wall. If it hasn’t
collapsed.
They keep moving, deeper, step by step.
EXT. FOREST – NIGHT
Hooves thunder through a corridor of trees.
The Amish riders weave through roots and branches.
Behind them -- a storm.
Steambulls barrel forward, steam trailing them like war
banners.
One rider glances back --
A Steambull is right behind him, gaining.
It leaps forward, claws extended --
The horse veers hard left.
The Steambull overshoots and --
SMASHES full-speed into a tree.
Caleb rides hard.
Two Steambulls flank him, left and right
They close in, corralling him through the trees.
(CONTINUED)
CONTINUED:
Caleb grips his reins tighter, eyes locked ahead.
Up ahead, a narrow split in the path.
A fallen tree lies diagonally across one side, low and
jagged.
The other is cramped by boulders.
No clean path.
Caleb yanks the reins, jerks the horse sideways, and at the
last second -- leaps from the saddle and rolls beneath the
fallen tree.
The horse skids. One Steambull follows, too wide, and SLAMS
into the boulder and shatters its left leg.
The other dives forward, hits the tree and collapses in a
burst of steam and sparks.
Caleb rolls to his feet and whistles once.
His horse circles back.
Caleb climbs up and gallops back into the trees.
Genres:
["Action","Adventure","Sci-Fi"]
Ratings
Scene
53 -
Escape from the Dragon Machine
INT. LOWER ACCESS SHAFT – NIGHT
The tunnel has changed.
Just raw stone, heat-warped steel, and the smell of scorched
earth.
Ephraim leads, eyes locked forward, searching for the exit
chamber.
Tomlin, Anna, Elder Jonas and John follow close behind.
They move through a sagging ventilation arch, ducking under a
collapsed duct.
Up ahead, the shaft opens, just slightly.
They stop at the edge.
Anna steps forward and peers around the bend.
The chamber beyond is massive, almost cathedral-like.
And in the center -- a shape.
Coiled. Silent. Enormous.
(CONTINUED)
CONTINUED:
Long body, jointed metal plates, seams glowing orange.
A segmented tail loops around a half-melted pump housing.
Then -- the head rises.
A neck of braided steel cables and pistons.
The “face” is a spinning cutter drum, its teeth blackened and
chipped.
Gas hissers line either side of it, like nostrils.
Ventilation tubing flares along its flanks like ribs.
And in the center of that ugly, armored skull -- a single,
glassy lens begins to glow.
Red.
Then white.
Locking on.
ANNA
Oh my God! Run!
The DRAGON MACHINE lunges.
FWOOOOOM—
A burst of fire. Direct. Instant.
Elder Jonas is incinerated mid-step. Body gone in a flash of
light and vapor.
The others dive sideways as flames lick down the tunnel.
The Dragon uncoils. Fast.
Steel slams stone as its long body jerks forward.
Tomlin grabs Anna, pulls her to her feet. Ephraim stumbles.
TOMLIN
MOVE!
They run -- full sprint.
Metal claws crash behind them, biting into stone.
Anna ducks through a collapsed scaffold.
Ephraim and John scramble over an old pump unit.
(CONTINUED)
CONTINUED: (2)
Tomlin dives under a cracked pipe just as --
WHAM!
The Dragon crashes through, shredding debris.
It doesn’t stop.
Its segmented body pulses forward, fire blasting in short,
calculated bursts, corralling them. Herding.
They reach a side junction, narrow, barely visible, and
squeeze through as --
FWOOOOM—
Flames just miss their heels.
INT. MAINTENANCE SHAFT - CONTINUOUS
They spill into a tight maintenance passage, coughing,
bleeding, alive.
INT. LOWER ACCESS SHAFT - CONTINUOUS
Behind them, the Dragon Machine stops just short of the
threshold, too large to follow.
Its vent-blade tail thrashes, then coils.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
54 -
Desperate Escape
INT. MAINTENANCE SHAFT – NIGHT
The group stumbles into the narrow crawlspace, coughing,
bleeding, barely upright.
Behind them, the Dragon Machine scrapes stone, widening the
tunnel inch by inch.
The shaft is littered with debris. Old boards, rusted piping,
collapsed ductwork.
EPHRAIM
This shaft used to run parallel to
the pump deck. If it hasn’t
collapsed...
He trails off, scanning the walls with practiced eyes. His
hand brushes aside a tangle of wires, then kneels beside a
warped panel.
(CONTINUED)
CONTINUED:
EPHRAIM (CONT'D)
Here. Help me with this.
Anna and Tomlin drop beside him. Together, they pry loose the
panel, revealing a cluster of rotted boards beneath.
Tomlin yanks one free — it snaps with a brittle crack.
A faint pulse of light flickers through the gap.
EPHRAIM (CONT'D)
That’s it. That’s the grate. Drops
ten meters onto the pump deck. If
it still holds.
ANNA
You sure?
EPHRAIM
I helped lay the conduit. It’s our
best shot.
Behind them, the tunnel groans again...louder. The Dragon is
still coming.
JOHN
That thing’s not stopping.
Ephraim shines his light back. The shaft is widening fast.
Stone peels away as the Dragon claws closer.
John traces a cracked pipe overhead, marked with faded hazard
symbols. Beside it, a corroded pressure tank, half-buried in
the rock.
JOHN (CONT'D)
This whole shaft’s running on
forgotten air and old fumes.
A pause.
Then — the look.
EPHRAIM
We can bring it down.
John nods, then glances at Anna and Tomlin.
JOHN
You need to go. Now.
CUT TO:
(CONTINUED)
CONTINUED: (2)
The Dragon pushes forward.
Cutter head spinning. Claws biting into the walls. Stone
peels away as it widens the tunnel with brute force.
CUT TO:
Genres:
["Sci-Fi","Action","Thriller"]
Ratings
Scene
55 -
Fleeing the Steambulls and a Heroic Sacrifice
EXT. HILLSIDE TRAIL – NIGHT
Six riders thunder down the winding trail.
Behind them, the Steambulls charge, vents hissing, claws
gouging earth.
Up ahead -- a low stone fence, ancient and crumbling.
Beyond it -- a grassy drop into the next forest.
Caleb spots it.
CALEB
Fence! Now!
The first horse leaps, clears the wall with inches to spare.
Two more follow, stone clattering under hooves as they land
hard and keep going.
Caleb jumps, snapping the reins -- he lands clean.
One horse clips the top, rider tumbles, rolls, scrambles back
up.
The final rider barely clears as the Steambulls are nearly on
top of him.
Then --
CRASH.
A Steambull plows into the wall -- breaks through, but slows,
staggers.
Others bunch up behind, momentarily tangled in debris and
each other.
The riders disappear into the trees -- a few seconds ahead
now.
INT. MAINTENANCE SHAFT – CONTINUOUS
Tomlin turns to John.
(CONTINUED)
CONTINUED:
TOMLIN
Whatever you're thinking... no.
JOHN
You said it yourself. The bomb has
to make it to the chamber.
EPHRAIM
And the thing behind us? It doesn’t
need long.
ANNA
Don’t do this.
JOHN
Someone’s gotta hold it here. Might
as well be the ones with no
payload.
John locks eyes with Tomlin.
JOHN (CONT'D)
Get her to that signal and send the
Devil back to Hell.
Ephraim steps forward and puts a hand on Anna’s shoulder.
EPHRAIM
We’ll buy you minutes. Make them
count.
Anna hesitates, and then shoulders the pack and crawls
through the grate.
Tomlin follows.
The grate slams shut behind Tomlin and Anna.
John turns. Ephraim is already moving.
Ahead -- a loud metallic HOWL.
The Dragon forces itself into view, shoulders grinding, claw-
arms tearing rock, half its body still wedged in the corridor
bend.
Its glowing optic pulses, locked on them. The cutter-head
spins, screeching against the tunnel wall.
JOHN
That’s close enough.
He strikes a flare, hissing red. Jams it into the leaking
pipe.
(CONTINUED)
CONTINUED: (2)
Gas catches -- fast.
Flames snake down the wall toward the corroded tank.
Ephraim raises his rifle -- steady.
The Dragon rears back.
WHOOSH -- it breathes fire. A thick flame sears through the
crawlspace, lighting up stone and steel.
BOOM!
The pressure tank erupts -- a thunderous blast that swallows
flame, fire, men, and Dragon in one white-hot surge.
Genres:
["Action","Thriller","Sci-Fi"]
Ratings
Scene
56 -
The Final Stand
EXT. TRAIL → NIGHT
The forest thins. The trail spills out onto a vast open
field, moonlit and empty.
Then -- a distant rumble. Low. Mechanical.
Caleb reins in hard. The other five riders stop behind him.
Across the field, something is moving. A line. No -- a swarm.
Hundreds of shapes emerge from the mist -- DRONES, low and
fast, slicing through the air -- BOTS, large and small,
sprinting in formation. Wheels, claws, tracked limbs, spike-
toothed mouths.
All heading straight for them.
Behind Caleb -- another sound.
Steam. Sparks. Metal-on-stone.
The Steambulls crash through the tree line.
They’re trapped.
INT. SIGNAL CHAMBER – NIGHT
Tomlin drops first.
He hits the ground hard.
Anna lands behind him, the pack strapped tight to her back.
They both rise and look up.
(CONTINUED)
CONTINUED:
And freeze.
At the center is the Signal, a living lattice of alien code,
pulsing with intent.
ANNA
This is it.
Tomlin nods in agreement.
Anna moves toward the Signal, carefully stepping over tangled
wires and warped metal plating. Her eyes stay fixed on the
Signal.
She unstraps the pack.
The Noise Bomb.
She kneels.
Hands practiced, quick. She releases the locking pins, folds
out the antenna arms, and checks the green glow on its core
dial.
She flips the final switch.
A faint hum begins -- low, harmonic, like a tuning fork deep
in the gut.
She rises, clutching the pack like an offering.
The light changes.
The room stirs.
EXT. FIELD – NIGHT
Caleb watches the horizon darken with bots and drones, a tide
of metal rolling closer.
Behind, the Steambulls close in.
No way out.
Caleb looks to the others.
CALEB
Let’s make it count.
They swing off their horses. Slap the reins -- sending the
animals running into the dark.
Six men. Back to back. Three face north. Three south.
(CONTINUED)
CONTINUED:
They check their loads. Cock their shotguns.
Caleb raises his rifle.
CALEB (CONT'D)
For mankind.
The others raise their rifles.
AMISH MEN
For mankind.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
57 -
Desperate Measures in the Signal Chamber
INT. SIGNAL CHAMBER – NIGHT
Anna steps forward with the bomb — just a few feet from the
edge.
Then — THUD.
A massive skeletal frame from the catwalk above slams down in
front of her.
A hollow cage where a heart should be.
CLANG!
Three pickaxes drop from above, nearly impaling Tomlin. He
staggers backwards.
The Signal pulses, brighter, faster.
Then like a soul slipping free, a stuttering burst of light
and code floats away from the lattice and settles into the
frame.
Its limbs twitch, each arm a bundle of thick, braided cables
wound tight like sinew. It’s head lifts, not mechanical, but
a swirling mass of light, pulsing with alien code.
The Signal-Walker.
Alive.
A Frankenstein construct -- stitched from scrap and signal.
TOMLIN
That’s not the core. That’s a
bodyguard.
The Signal-Walker ignores him completely.
Its attention is on Anna.
(CONTINUED)
CONTINUED:
On the bomb.
The Signal-Walker steps forward, slow, deliberate.
A bundle of cables lash out from it like a striking serpent.
WHIP!
It slams Anna sideways, the pack torn from her hands. She
crashes to the ground, dazed, coughing.
The Signal-Walker’s right claw clamps down over Anna’s
throat, pinning her.
The Walker clamps its left claw around the Noise Bomb,
lifting it high.
Above, the ceiling bots drop pickaxes, chains, drills.
CLANG!
A pickaxe smashes the bomb’s casing.
SNAP!
A chain lashes, ripping out copper coils. CRACK! A drill
punches through the core.
Sparks spit. Circuits spill. The bomb is gone, shredded in a
storm of metal.
Tomlin rushes over to Anna. She motions for him to stop.
ANNA
No...save all of us.
Tomlin stops. Looks over to the pit. Makes his decision...he
runs towards the pit when
WHAM!
A ceiling bot slams down in front of him, claws gouging
stone.
CRASH!
Another drops behind and swings its steel arm.
SMASH!
The blow hammers Tomlin across the back, sending him
sprawling down face-first.
A third bot looms over him, drill arm rising like a spear.
(CONTINUED)
CONTINUED: (2)
Tomlin twists — sees the pickaxe in its grip, ready to drive
into his spine.
He yanks a stick of dynamite from his coat. Flicks the match.
Fuse spits fire.
Tomlin tosses it at their feet.
The bots pause, lenses tilt down, scanning the burning fuse.
Tomlin scrambles up and runs.
BOOM!
The blast rips through the chamber, flinging bots sideways in
a storm of smoke and shrapnel.
Tomlin bursts through the haze, coughing, sprinting hard.
The pit looms ahead.
Tomlin jumps in.
Genres:
["Science Fiction","Action","Thriller"]
Ratings
Scene
58 -
Signal Disruption
EXT. FIELD – CONTINUOUS
Fifty yards out.
The bots draw closer.
Metal forms blotting out the night.
Drones humming low.
Steambulls snorting steam.
The riders hold. Rifles aimed.
CALEB
NOW!
CRACK—CRACK—CRACK.
The first volley erupts.
INT. SIGNAL PIT – CONTINOUS
Tomlin lands hard in a graveyard of scavenged tech.
Ahead is the real signal, pulsing with alien symbols drifting
around like embers in zero gravity.
(CONTINUED)
CONTINUED:
Tomlin rises and steps forward into the light...and the
chamber GLITCHES.
Reality stutters.
Tomlin is no longer in the mine.
He stands inside an alien war room, a cathedral of code.
Impossible geometry spirals around him, glowing like molten
glass.
At the center: a towering devil-like figure with its back to
him. Its arms raised, conducting a storm of symbols across a
vast wall of light. Thousands of feeds ripple in the air....a
symphony of ruin.
Flashes of the devastation:
— Paris. The Eiffel Tower dragged down by bots forged from
cranes and bridge steel.
— Tokyo. A bullet train ripped open mid-flight; a child
clutches a stuffed bear as the car tears free.
— Shanghai. A skyscraper collapses under a crawling mass of
machines.
— Arctic. A research station floods as drilling bots breach
the ice.
— A classroom. Empty desks. A security droid sweeping blood
off the floor.
Tomlin stares aghast.
TOMLIN
NOOOO!
The figure stops conducting.
Tomlin turns, his eyes locking on a transformer bolted into
the lattice, humming hot.
He rips it free with a savage wrench.
Sparks spit as he tears out a copper coil, teeth stripping
insulation.
Slams the coil into a live junction.
JOLT!
A surge hits him like a hammer.
(CONTINUED)
CONTINUED: (2)
Smoke curls. Pain floods his body.
Tomlin flips the transformer, jams its casing across two
terminals, forcing a brutal short.
The lattice howls. Symbols flicker. The Signal stutters.
The Alien lunges forward.
Tomlin grips the coil, grounding it with his bare hands.
Blood. Smoke.
He holds.
Just as the Alien hovers over him --
The circuit completes and WHOOSH!
WHITE LIGHT
INT. SIGNAL CHAMBER – CONTINUOUS
FWUMP!
A pressure wave slams through the chamber.
The Signal-Walker looms over Anna, pickaxe raised.
She doesn’t flinch.
She just stares up at it. Waiting for the strike.
And then—
The Walker freezes mid-swing.
One final pulse flickers through its chest -- then vanishes.
CLANG!
It crashes down like a felled monument, iron limbs buckling,
cables snapping.
Dead.
Genres:
["Science Fiction","Action","Drama"]
Ratings
Scene
59 -
From Ruin to Renewal
EXT. FIELD - NIGHT
Caleb reloads as a Steambull barrels toward him.
And then—
(CONTINUED)
CONTINUED:
The Steambull falters. Its chest light flickers and it
crashes to the ground.
Then -- all at once --
Everything STOPS.
Bots stutter and crash.
Drones drop from the sky.
Steambulls freeze mid-stride, then tumble into the dirt with
metallic groans.
Caleb lowers his shotgun.
Stretching in every direction is a mass grave of machines.
Thousands of bots litter the field.
And the six brave men are still standing.
INT. SIGNAL CHAMBER - NIGHT
Anna jumps up and rushes over to the pit.
At the edge, she peers into the dark hollow.
Nothing.
No Tomlin. No Source.
Just black stone, singed and melted. As if the signal was
never there.
Off Anna’s haunted stare we:
TOUR GUIDE (V.O.)
Welcome to historic Georgetown
University. A campus that stood
through the storm and came back
stronger.
DISSOLVE TO:
EXT. GEORGETOWN UNIVERSITY - DAY
A young student TOUR GUIDE leads a small group of parents and
students across the quad.
SUPER: SIX MONTHS LATER
(CONTINUED)
CONTINUED:
The campus shines in the afternoon light. Ivy climbs fresh
across the library’s restored limestone walls.
TOUR GUIDE
Every stone you see was reset by
hand. Every scar, mended with care
and resolve.
As the tour moves on we:
DISSOLVE TO:
Genres:
["Action","Sci-Fi","Drama"]
Ratings
Scene
60 -
A Signal from the Stars
INT. ASTRONOMY CLUB LAB – NIGHT
KIRAN, 20s, works alone. Headphones on. Eyes scan waveforms —
SETI-style bursts, narrowband spikes, cosmic noise.
Then —
A BLIP.
A spike that doesn’t belong.
She freezes. Rewinds. Zooms in.
A clean tone. Structured. Artificial.
She types quickly.
On-screen: Coordinates populate.
She overlays a star map.
A binary system appears — distant, red-shifted.
Kiran frowns.
Clicks a button labeled: Parse Signal
A new window opens.
On-screen: Decoded Message: W.O.W
She stares.
Prints the result.
Grabs her coat and rushes out.
EXT. GEORGETOWN HILLSIDE – NIGHT
A quiet rise at the edge of campus.
The lights of D.C. flicker far below.
Beside an old stone observatory dome, Anna stands alone,
peering through the telescope.
Kiran rushes up the hill, paper in hand.
KIRAN
Dr. Reese!
(hands her the paper)
You need to see this.
Anna takes it. Reads.
She stares at it, stunned.
ANNA
Where did this come from?
KIRAN
It’s a signal. From space. Deep
space. A binary system. It’s not
noise. It’s deliberate.
Anna looks up at the stars.
KIRAN (CONT'D)
What does it mean?
ANNA
It means... someone’s alive and
trying to reach me.
(beat)
A friend.
THE END