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Scene Map 52
# PG SLUGLINE
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Scene Map
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# PG SLUGLINE
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They're Here! Written by Giacomo Giammatteo Author: Giacomo Giammatteo Contact Info: [email protected]
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INT. OBSERVATORY IN BIG BEND — NIGHT SUPER: YEAR 2064 RODDY (26, black, intense, dedicated) sits at his desk, watching the monitor for abnormalities in space. Three empty cups of coffee sit on his desk, and he rubs his eyes while
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EXT. OUTER SPACE - NIGHT A large spaceship hovers in space, mixing in with waves of meteors hurtling toward Earth. Inside are FOUR ALIENS (ageless, leather-like grayish skin, tall, with elongated faces, ears and noses, yellow vertical slits for eyes) and a
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INT. GALLO HOUSE - DAY RANCE GALLO (35, inquisitive, ambitious, active, relentless) bounds down the steps and into the kitchen, where EMILY GALLO (35, trim and fit, perky and sassy, fiercely intelligent) sits eating breakfast.
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INT. WWNEWS - DALLAS - DAY Rance steps off the elevator to see RJ Stryker (60s, intense, determined) berating the newsroom employees. RJ You're supposed to be goddamn
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INT. SIMMS AND PARKINS OFFICE - DAY Tony sits in a chair across from TIMOTHY (40, blue suit, glasses, intense look). He places a recorder on the table between them and leans back. Timothy takes a deep breath and leans forward.
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INT. EPPS CAR REPAIR - DAY Tony ducks under the garage door and approaches LEX (50, scraggly beard, hoarse voice). TONY Timothy told me I might run into
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INT. WWNEWS - NY - DAY MARIO Pallini (45, well-dressed, focused, questions everything) turns the volume up on the POLICE RADIO and leans down to listen closely. POLICE RADIO
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INT/EXT. POLICE CAR - TARRYTOWN - NIGHT OFFICER ROB JAMIESON (50, jolly but by-the-book rigid) picks up the mic and answers the call. OFFICER ROB JAMIESON This is patrol car 276. I’m blocks
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INT. PHARMACY - TARRYTOWN - NIGHT - CONTINUOUS A HOODED FIGURE (male, dark-green hoodie, slim) stands behind the counter going through bottles of prescription drugs. He turns quickly and sees Officer Jamieson approaching, gun drawn.
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INT. KARO’S HOUSE - DAY Karo sits on a sofa with Crew Members One and Two (35 - 40, fit, smooth talkers). They’re both drinking condensed milk from small bottles. A few of them drink tomato juice. CREW MEMBER ONE
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INT. WWNEWS - DALLAS - DAY Rance picks up the phone, a frustrated look on his face. RANCE Yeah, what do you want? MARIO (V.O.)
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INT. CREW MEMBER ONE’S CAR - DAY Crew Member One’s cell phone rings, and she pulls to the shoulder of the road. 16 CREW MEMBER ONE
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EXT. WEST OF DALLAS - NIGHT Tony exits the freeway and turns down a side road. Within moments, he sees flashing lights behind him. He checks his speed and decides to ignore it. He turns at the next intersection and slows down even more. The cop car follows,
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INT. WWNEWS - DALLAS - DAY Rance mumbles to himself as he paces the office looking more frustrated with each step. The longer he continues, the louder his voice gets. RANCE
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EXT. TONY’S CAR — WEST OF DALLAS - DAY Rance pulls to the side of the road, parking behind several patrol cars. He opens the door and steps alongside Officer Justine Marcus. RANCE
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INT. RANCE’S CAR - NIGHT The road is narrow and winds through the woods in a tortuous path. As Rance navigates a bend in the road, light reflects off the rearview mirror. He gives a cursory glance and then adjusts the mirror to deflect the glare.
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INT. GALLO HOUSE - NIGHT KITCHEN Rance takes off his jacket, grabs a beer from the fridge, and sits at the table. RANCE
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INT. NELSON’S PHARMACY - TARRYTOWN - NIGHT OFFICER CRENSHAW (55, bald, heavy, focused) sits in a folding chair, guarding the blood sample left by the robber. The CSU team enters and gathers the blood evidence and looks for more. After bagging everything, they leave.
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INT. WWNEWS - NY - DAY Mario slams the phone onto the receiver and then picks it up and calls Rance. MARIO I’m starting to get suspicious,
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INT. CSU OFFICE - DALLAS - DAY SUPER: TWO HOURS LATER Rance enters the office and shows his ID to the DESK SERGEANT (50s, gruff). RANCE
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EXT. RANCE’S CAR - DAY Rance drives toward his office and calls Mario on the phone. RANCE Mario, I just checked, and the lab has the evidence. I’m waiting for
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EXT. CSU OFFICE - DAY Rance parks across the street from the office, gets out, and locks the door. He half jogs toward the building, but before he reaches the curb, the building EXPLODES and goes up in a flash of light.
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INT. WWNEWS - DALLAS - DAY Rance wrings his hands as he paces the newsroom floor. A HALF- DOZEN reporters gather around. RANCE The CSU lab just blew up, and I
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INT. KARO’S HOUSE - DAY Karo picks up the phone and sits on the sofa. KARO Speak quickly. UNKNOWN CALLER (V.O.)
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INT. WWNEWS - DALLAS - DAY Rance moves to the center of the office floor and speaks loudly. RANCE Everybody, listen up. We’ve got
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EXT. RANCE’S CAR - DALLAS - DAY Rance pulls to the curb and gets out of his car. He waves TWO KIDS over and flashes a few fifty-dollar bills. RANCE This is yours if you do your job.
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INT. DINER - NORTH DALLAS He goes in the back door into the kitchen, where he talks to Sanchez, the chef (50, gruff, talks with a Spanish accent). RANCE Sanchez, there will be three cops
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EXT/INT. RANCE’S CAR - CONTINUOUS RANCE Well? The tall kid looks around, taps on the window, then opens the door and gets in the passenger seat.
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INT. KARO’S HOUSE - DAY Karo closes his eyes and focuses. Soon, the images of SIX ASSOCIATES appear in the room, floating in mid-air. KARO I’m not blaming anyone for what
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EXT. RANCE’S CAR - DAY Rance dials Captain Hollins and waits for him to pick up. 36 RANCE Hollins, can we meet? I’ve got a
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INT. WWNEWS - DALLAS - DAY Rance sits behind his desk. He stands to shake hands when Hollins arrives. Hollins takes a seat and nods to Rance. HOLLINS
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INT. WWNEWS - DALLAS - DAY Rance steps off the elevator into a beehive of activity: Reporters are typing away at their workstations and talking on the phone. Others are filing reports and sorting evidence. Rance is on his way to his office when RJ pokes his head out
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EXT. RANCE’S CAR - NIGHT Rance turns the engine over and drives off. He checks the rearview mirror and sees a cop car following him. As he passes an intersection, another cop car turns and follows him as well. He checks the rearview mirror and sees both cars
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INT. SMITTY’S BAR - DAY Rance scans the bar looking for friends. The bar is crowded and the tables are full. Rance squeezes between a FEW GUYS standing at the bar and throws two hundred-dollar bills on the counter.
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EXT. RANCE’S CAR - NIGHT Rance gets into the passenger seat and the BARFLY drives his car while the MOTORCYCLE MAN follows on his bike. Barfly turns left on a back road and Motorcycle Man follows. Rance looks behind him and snaps pictures with his phone.
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INT/EXT. RANCE’S CAR - NIGHT On the way home, Rance calls Emily. RANCE Babe, I want you to pack for a mini vacation?
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INT. GALLO HOUSE - NIGHT Rance walks into the foyer followed by his two “friends.” He hugs Emily, then pours wine for himself and Scotch for the two who drove him home. Rance sits on the end of the sofa and sips his drink. Emily
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INT. EMBASSY SUITES HOTEL - RESTAURANT - DAY Roddy glances suspiciously from side to side as he walks to where Rance sits. Rance stands and extends his hand. RANCE Been a long time, Roddy.
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EXT. ENTERPRISE RENTAL CAR LOT - DAY Rance stands in line to rent a car, and when it's his turn, he gets a one-way rental to Dallas. Rance drives the car from the lot, but he only gets a few miles away when his burner phone rings.
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EXT. AVIS RENTAL-CAR LOT - DAY Roddy steps up to the counter and orders a rental. RODDY I need a compact, one-way to El Paso.
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INT. RENTAL CAR - DAY Roddy starts the engine and revs it up. He checks the map and then pulls onto I-10 heading west. INT/EXT. RODDY’S RENTAL CAR - 1-10 - NIGHT Roddy drives at a steady pace of sixty mph, heading west on I-
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INT. POLICE CAR - NIGHT Roddy gets in the car and Second Cop gets in alongside him, holding a clipboard. SECOND COP I’m going to have to write you a
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INT. WWNEWS - DALLAS - DAY Rance steps off the elevator and goes to the break room to get coffee. He fills a styrofoam cup and walks to his desk. On the way, he passes Cyndi. CYNDI
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INT. RANCE’S OFFICE - DAY Rance leans back in his chair when the phone rings. RANCE (frustrated and tired) Who the hell is this?
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INT. DON BRAXTON'S HOUSE - NIGHT DON BRAXTON (50s, meticulous) peers out the side window at the house next door. A light goes on in the kitchen and Don picks up the phone. FERNANDO ARGYLE (sheriff, 50, serious) answers.
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INT. SHERIFF ARGYLE'S OFFICE - NIGHT Fernando hangs up with Don and calls one of his patrol cars. FERNANDO ARGYLE Patrol Car Four, pick up. OFFICER FULLER responds.
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INT. LAKE HOUSE NORTH OF DALLAS - NIGHT Emily cleans the table and places the dishes in the sink. She takes a bottle of white wine she’s been chilling and pours herself a glass, then sits down to work on a crossword puzzle.
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INT. GALLO'S HOUSE - NIGHT Rance walks back and forth while holding his cell phone. He begins dialing several times but stops. Headlights shine in the driveway, and Rance races to the door and opens it. Emily gets out of a car, runs to the house, and
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INT. WWNEWS - NIGHT Rance walks through the newsroom, his head hung low and a solemn expression on his face. RANCE’S OFFICE — CONTINUOUS Rance sits behind his desk and picks up the phone, but he
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INT. GALLO HOUSE - NIGHT Emily sips on a glass of wine, cocks the shotgun, and sets it on her lap. She hears a car pulling into the driveway. She quietly lifts the shotgun, then moves slowly to the front window. As she pulls the curtains aside, she hears the lock
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INT. KARO’S HOUSE — NIGHT Karo answers a knock at the door and invites Justine in. She sits in a chair next to Karo. KARO I want you to keep a close watch on

They're Here!

A jaded journalist uncovers a conspiracy involving a silent alien invasion after a series of strange events and disappearances lead him down a dangerous path.

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Overview

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Unique Selling Point

This screenplay uniquely combines elements of investigative journalism with a science fiction narrative, exploring themes of trust, secrecy, and the unknown. Its focus on the personal lives of the characters amidst an alien invasion provides a fresh perspective that appeals to both sci-fi enthusiasts and drama lovers. The interplay between the mundane world of news reporting and the extraordinary events surrounding it creates a compelling tension that keeps the audience engaged.

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Story Facts

Genres: Thriller, Mystery, Crime, Sci-Fi, Drama, Science Fiction, Action, Horror, Romance

Setting: The near future, primarily set in the year 2064, Various locations including a newsroom in Dallas, an observatory in Big Bend, a spaceship in outer space, and a lake house.

Themes: Alien Invasion, The Power of Journalism, Humanity vs. Technology, The Importance of Truth, The Nature of Reality

Conflict & Stakes: The main conflict revolves around Rance's investigation into a series of mysterious events, including missing persons and alien activity, with the stakes being the safety of his family and the truth behind the alien presence.

Mood: Tense and suspenseful, with moments of urgency and foreboding.

Standout Features:

  • Unique Hook: The story's premise of an alien infiltration disguised as human police officers creates a fresh and intriguing angle.
  • Plot Twist: The revelation that the police officers are not human but aliens adds a shocking layer to the narrative.
  • Distinctive Setting: The juxtaposition of a modern newsroom with an alien spaceship and an observatory creates a unique backdrop for the story.
  • Innovative Ideas: The screenplay explores themes of identity and reality through the lens of alien transformation and human perception.

Comparable Scripts: The X-Files, Arrival, War of the Worlds, Close Encounters of the Third Kind, District 9, The Andromeda Strain, Invasion of the Body Snatchers, The Fifth Wave, The Host

Script Level Analysis

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Overall Score: 7.18
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