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+                                                               1.
+
+
+
+                                                        FADE IN:
+
+
+1   EXT. LAKE HOUSE - SUNSET                                        1
+
+    The sky is a shimmering expanse of stars, packed together.
+
+                      LOUISE (V.O.)
+            Memory is a strange thing.
+
+
+2   EXT. LAKE HOUSE - SUNSET                                        2
+
+    A modern home built on the shore with a large deck. The
+    skin of the lake is a cloudy mirror.
+
+    LOUISE BANKS stares up at the sky, leaning against the
+    deck's railing. Merlot glass in one hand.
+
+    Louise has a clean, timeless look about her; the kind of
+    woman who ages gracefully. Short hair.
+
+                      LOUISE (V.O.)
+            It doesn't work like I thought it
+            did. We are so bound by time; by
+            its order.
+
+    She steps back inside, a little tipsy, smiling.
+
+
+3   A2 INT. LAKE HOUSE - CONTINUOUS                                 3
+
+    Stacks of books on shelves and tables. A telescope against
+    a glass wall. And dry-erase boards, marked with foreign
+    languages. Different colors for different dialects.
+
+                      LOUISE (V.O.)
+            Maybe there's a higher order.
+
+    Mingled here are also dinner plates. Candlelight.
+
+                      LOUISE
+            Darling, is there any more wine?
+
+    She pauses when a deck light winks on outside. Her eyes
+    sparkle when she sees something:
+
+    A question, written on the glass, lit from outdoors.
+
+    "Do you want to make a baby?"
+                                                               2.
+
+
+                      LOUISE (V.O.)
+            I used to think this was the
+            beginning of your story.
+
+    Louise goes right to the glass, wanting to touch the
+    question with her finger to make sure it's real.
+
+    CLOSE ON HER FACE: From outside looking in, a curious
+    circular shadow is thrown from the deck light. But her eyes
+    start to water.
+
+    In the background, the bedroom door hangs open and the
+    silhouette of a MAN leans against the frame, watching her.
+
+    Louise turns around, smiling again. We know her answer.
+
+
+4   INT. MERCY HILL GENERAL HOSPITAL - MORNING                      4
+
+    Louise cradles a NEWBORN GIRL in her arms. Her name:
+    HANNAH.
+
+    Hannah reaches up.
+
+    Crooks her tiny hand around Louise's finger.
+
+    LATER
+
+    A NURSE starts to take baby Hannah to give Louise some
+    rest. Hannah BLEATS and reaches for her mother.
+
+    Louise smiles through the exhaustion and pulls her back.
+
+                      LOUISE
+            Okay, come back, come back to me --
+
+
+5   EXT. LAKE HOUSE YARD - AFTERNOON                                5
+
+    Four-year-old HANNAH dressed as a cowgirl.
+
+    On a toy riding horse with wheels for hooves.
+
+    Giggling like she can't stop.
+
+                      LOUISE (V.O.)
+            I remember moments in the middle.
+
+    She pulls both finger-guns, aimed at us.
+
+                      HANNAH
+            Stick 'em up!
+                                                             3.
+
+
+6   INT. HANNAH'S ROOM - NIGHT                                    6
+
+    Eight-year-old Hannah is tucked in bed.
+
+    Said to us as a prayer:
+
+                      HANNAH
+            I love you.
+
+
+7   INT. LAKE HOUSE - NIGHT                                       7
+
+    Twelve-year-old Hannah glowers at us:
+
+                      HANNAH
+            I hate you!
+
+    -- and storms into her room.
+
+
+8   INT. MERCY HILL GENERAL HOSPITAL - MORNING                    8
+
+    Twelve-year-old daughter HANNAH lies, eyes closed.
+
+    Hannah is pale. Her head has been shaved in the last month.
+
+                      LOUISE (V.O.)
+            And this was the end.
+
+    Louise holds her daughter's hand in hers.
+
+    Her thumb traces Hannah's knuckles.
+
+    A life monitor beeps as Hannah's heart stops.
+
+    Hannah's eyes roll up and she sighs her final breath.
+
+    Louise's grip on her daughter tightens. Trembling.
+
+    A Nurse starts to pull Louise away, but she hangs on -- now
+    it's mother trying to return to her baby girl --
+
+                      LOUISE
+            Come back -- come back to me, baby
+            --
+
+    Louise is unaware she's crying. Hannah remains motionless.
+
+                      LOUISE (V.O.)
+                                                                4.
+
+
+             But now I'm not so sure I believe
+             in beginnings and endings. There
+             are days that define your story
+             beyond your life.
+
+                                                     CUT TO BLACK.
+
+                       LOUISE (V.O.)
+             Like the day they arrived.
+
+
+9    EXT. SKY - DAY                                                  9
+
+     Storybook blue, patched with cumulous clouds.
+
+     Drifting down to find a tree line in motion.
+
+     Looking into a car on a road.
+
+
+10   EXT. PARKING GARAGE - DAY                                       10
+
+     Louise parks her car end steps out. Her hair is longer
+     here, and there's no wedding band on her finger.
+
+     She carries herself like someone who's learned how to be
+     alone, handling her briefcase, coffee, keys, etc.
+
+     It's oddly quiet in the garage around her.
+
+
+11   EXT. UNIVERSITY CAMPUS - DAY                                    11
+
+     Louise crosses campus. Absorbed in her thoughts.
+
+     Overhead, a pair of F-22 fighters slice across the sky.
+
+
+12   EXT. STUDENT CENTER - MOMENTS LATER                             12
+
+     Louise passes the campus center.
+
+     A crowd of STUDENTS are huddled around the glass outside
+     the student center, looking in at a large TV. The crowd is
+     too dense for Louise to see what is on the TV.
+
+     Louise frowns, but keeps going.
+
+     Overhead, a second pair of fighter jets rocket past.
+
+     Louise looks up at the sky. Apprehensive.
+                                                                5.
+
+
+13   INT. UNIVERSITY CLASSROOM - DAY                                 13
+
+     Louise enters a classroom, leaving the door open behind
+     her. Out in the hall, a couple of STUDENTS run by, but it's
+     unclear if they're late for class or it's something worse.
+
+     Louise steps to her desk to unload her briefcase and
+     thermos.
+
+     The course name is written on the blackboard behind the
+     desk: "Advanced Linguistics" and "Dr. Louise Banks."
+
+                       LOUISE
+             Good morning, everyone.
+
+     No response. Louise finally looks to the class to discover:
+
+     Only FOUR STUDENTS seated in an otherwise empty classroom.
+
+                       LOUISE
+             Where is everyone?
+
+     The Grad Students in the room shrug» These are the hardcore
+     learners, with their laptops out and textbooks open»
+
+     The class session BELL chimes over the PA. Louise looks
+     back at the door, silently considering something, then
+     decides:
+
+                       LOUISE
+             Well, let's get started. Today
+             we're talking about Portuguese, and
+             why it sounds so different from the
+             other Romance languages.
+
+     Louise walks to a MAP of western Europe on a rolling easel,
+     parked next to a TV.
+
+                       LOUISE
+             The story of Portuguese begins with
+             the Kingdom of Galicia, in the
+             middle ages, where the language was
+             seen as an expression of art. The
+             way it was written and spoken was
+             rooted in aesthetics.
+
+     One Grad Student's phone CHIMES with an alert. Louise
+     pauses, thinking what the other Students are thinking --
+
+                       LOUISE
+             Any news you want to share?
+
+     The Student reading his phone frowns, suddenly nervous.
+                                                           6.
+
+
+                  GRAD STUDENT WITH SMARTPHONE
+        Uhh, Doctor Banks? Can you turn on
+        the TV to a news channel?
+
+Louise grabs her TV remote and turns the set to CNN, to
+reveal AERIAL FOOTAGE from a helicopter, also live, as a
+REPORTER narrates in a near panic:
+
+                  REPORTER IN HELI (V.O.)
+        Are you seeing this!? Oh dear god
+        what is that noise -- WHAT IS IT --
+        should we be this close to it?!
+
+FOOTAGE shows wilderness, where a STRANGE, OBLONG OBJECT
+hovers over the tree line. It absorbs sunlight and its
+dimensions are difficult to grasp -- at times it appears
+almost concave, poised as if to dig into the planet's
+crust.
+
+Another helicopter edges into view, and suddenly the scale
+of the object is clear: It's the size of a massive
+skyscraper.
+
+Bumper text at the bottom of the screen reads: "STRANGE
+CRAFT IN MONTANA"
+
+Amid the WHUFF of the helicopter, a reporter on location is
+shouting in a voice on verge of a nervous breakdown:
+
+The audio cuts out and an ANCHORWOMAN takes over. Cutting
+to the studio where she pulls her attention to the camera:
+
+                  ANCHORWOMAN
+        The object, uh, apparently touched
+        down forty minutes ago just north
+        of I-94, we're, we're waiting to
+        hear if this is perhaps an
+        experimental vessel or --
+
+She looks for help off-camera and they cut to:
+
+MORE FOOTAGE, closer to the ground. The oblong ship is
+immense. And seemingly without creases or windows.
+
+                  ANCHORWOMAN (V.O.)
+        Hold on, it -- I'm learning that
+        more objects like this have landed
+        in as many as eight other locations
+        around the world. We're waiting for
+        confirmation -- yes? Can we--? Okay
+        --
+                                                                 7.
+
+
+     New footage: a live feed in Japan. An identical CONCAVE
+     SHIP is parked above a stadium lot.
+
+                       ANCHORWOMAN (V.O.)
+             This is from a site in Hokkaido!
+
+     The Grad Students all stare in silent horror at the
+     footage.
+
+     One of them stands up and gathers his stuff, ready to
+     leave. But he only gets as far as standing up. Unsure what
+     to do next; where to run to.
+
+                       ANCHORMAN (V.O.)
+                  (panicked)
+             This is worldwide, it is happening
+             right now! We don't-- do we know
+             where they came from?
+
+     A campus SIREN spins up; the kind used for tornado
+     warnings.
+
+     The STUDENTS now start to get their materials together, to
+     leave. Louise snaps out of her shock, and with authority:
+
+                       LOUISE
+             Okay, yes, let's go. Class over.
+
+
+14   EXT. COLLEGE CAMPUS - MOMENTS LATER                              14
+
+     Louise joins a FLOCK of people on campus hurrying to the
+     parking structures. Nearly everyone keeps looking up from
+     time to time. The SIREN is louder here.
+
+     Anothe pair of FIGHTER JETS fly overhead.
+
+
+15   EXT. UNIVERSITY PARKING STRUCTURE - DAY                          15
+
+     Louise gets to her sedan, climbs inside, windows down. Her
+     satellite radio plays as she powers the car --
+
+                       PRESS SECRETARY (V.O.)
+             But for now we're simply asking for
+             cooperation while authorities
+             assess the object. Until further
+             notice, the site is a no-fly zone.
+
+     From the street: Sounds of a car accident. It startles her.
+
+                       REPORTER (V.O.)
+                                                                8.
+
+
+             So you're saying it's not ours? Do
+             you know if it's even from Earth?
+
+     Louise opens her door and steps out again, to look down at:
+
+     The wreck below. The aftermath. The two DRIVERS panicked
+     and on edge but uninjured.
+
+                       PRESS SECRETARY (V.O.)
+             We're still collecting information,
+             coordinating with other nations.
+             We're not the only ones with one of
+             these in our back yard.
+
+     Louise returns to her car and straps herself in.
+
+                       REPORTER (V.O.)
+             If this is some sort of peaceful
+             first contact, why send twelve? Why
+             not just one?
+
+     She backs out, tires yelping at her quick getaway.
+
+
+16   EXT. LAKE HOUSE - EVENING                                       16
+
+     Her sedan pulls up at the lake house from the opener.
+
+
+17   INT. LAKE HOUSE - FRONT ENTRY - EVENING                         17
+
+     Louise enters with her cell phone to her ear, carrying her
+     valise.
+
+                       LOUISE
+                  (into phone)
+             I don't know, Mom, I'm listening to
+             the same news coverage.
+                  (beat)
+             Don't -- Mom, don't bother with
+             that channel, how many times do I
+             have to tell you not to pay
+             attention to those idiots?
+                  (beat)
+             All right then.
+
+
+18   INT. LAKE HOUSE - CONTINUOUS                                    18
+
+     Traversing a hallway to bedrooms. Louise pulls her shoes
+     off by the heel, switching hands with the phone as she
+     goes.
+                                                                 9.
+
+
+                       LOUISE
+             Do I sound worried? Exactly.
+
+     Louise pauses at an open bedroom door halfway down the
+     hall.
+
+                       LOUISE
+             Me? Oh, you know. The same.
+
+     There's a tiredness in her answer. Like she's been down
+     this road with her mother before.
+
+
+19   INT. SPARE BEDROOM - CONTINUOUS                                  19
+
+     An empty room, save for a couple of stray book boxes and a
+     neglected stationary bike in the corner.
+
+     Louise surveys the room from the door.
+
+                       LOUISE
+             I'm fine, Mom.
+                  (not really)
+             Okay, call me later.
+
+     She disconnects the call and leans against the door frame.
+
+     Staring into the empty room with a quiet sadness.
+
+     Finally, having come to some decision, she pushes off
+     again.
+
+
+20   INT. LIVING ROOM - LATER                                         20
+
+     Louise, alone, on the couch. Half a bottle of wine left.
+
+     The place is furnished nicely, but there are telltale signs
+     of a single occupant in a larger space. No family photos.
+
+     A recliner by the couch has become a surrogate bookshelf.
+
+     TV is on. More coverage of the alien landing.
+
+                       CNN REPORTER (V.O.)
+             -- and at around eight hours after
+             landing, there are still no signs
+             of what might be called 'first
+             contact.' The objects measure at
+             least fifteen hundred feet tall --
+                                                               10.
+
+
+     Changing channel. Footage changes to a snowy tundra where
+     another UFO has landed and flattened a section of fence
+     line.
+
+     This is a foreign channel. Louise gets international
+     stations. The anchor speaks in Russian.
+
+     New channel: Another SHIP, hovering over the ocean.
+
+     AERIAL COVERAGE: Fleets from three different nations
+     threaten each other for possession of the massive UFO.
+
+                       NETWORK REPORTER (V.O.)
+             -- none of whom can claim because
+             this 'object' as it's being called
+             is actually hovering over
+             international waters. One Iranian
+             cruiser has fired across the bow of
+             the Indian fleet --
+
+     Louise changes the channel.
+
+     Finding: The press room in the west wing of the White
+     House.
+
+                       PRESS SECRETARY
+             We have to entertain the idea that,
+             if it is a kind of vessel, it may
+             be unmanned. Regardless, we have a
+             protocol for scenarios like this --
+
+     The word "protocol" instantly sours Louise to the news. She
+     mutes the TV and shuffles off to her bedroom --
+
+
+21   INT. LOUISE'S BEDROOM - CONTINUOUS                              21
+
+     -- picks up a remote off a nightstand and turns on a TV
+     facing her bed. More news, the volume low.
+
+
+22   INT. LOUISE'S BEDROOM - MORNING                                 22
+
+     Louise is asleep in bed. The covers are a mess. She's
+     spooning extra pillows as if they were a bedfellow.
+
+     Louise wakes with a start, as if from a dream.
+
+
+23   EXT. UNIVERSITY CAMPUS - MORNING                                23
+
+     Louise returns to work.
+                                                               11.
+
+
+     The campus is empty. Two STUDENTS hurry between buildings.
+
+     Louise passes the student center.
+
+     It's too quiet.
+
+
+24   INT. UNIVERSITY CLASSROOM - MORNING                             24
+
+     Louise enters her classroom. No one has showed up.
+
+
+25   INT. LOUISE'S OFFICE - DAY                                      25
+
+     A cramped office with a window looking out on the city.
+     Sirens wail in the distance.
+
+     Louise has barely decorated the place. It's the sign of
+     someone untethered from the world. Closed off. She sits at
+     her desk, grading papers. Streaming video news coverage
+     plays on her computer.
+
+                       ANCHORWOMAN (V.O.)
+             Forty-eight hours later, and still
+             no further developments from the
+             sites of the twelve UFOs. Borders
+             are closed and flights --
+
+                       COLONEL WEBER (O.S.)
+             Two days and already the public
+             expects us to know the answers.
+
+     Louise turns to see the source of the voice at her office
+     door. COLONEL WEBER (50s) wears civilian clothing but his
+     body language screams career military. Callused hands,
+     sharp eyes, rigid posture.
+
+     He steps in and reaches to her computer, powering off the
+     speakers. Behind him, two large MEN stand guard in the
+     hall.
+
+                       LOUISE
+             Who are you?
+
+     Weber has his I.D. ready; shows it to her.
+
+                       COLONEL WEBER
+             I'm Colonel G.T. Weber. You and I
+             never formally met but two years
+             ago you did some Farsi translation
+             for Army Intelligence.
+
+                       LOUISE
+                                                          12.
+
+
+        I remember. Alan Boudreau hired me.
+
+                  COLONEL WEBER
+        Alan works for me. You made quick
+        work of those insurgent videos.
+
+Louise crosses her arms. He's touched a nerve.
+
+                  LOUISE
+        You made quick work of those
+        insurgents.
+
+                  COLONEL WEBER
+        You have another two years on your
+        SSBI so you still have top secret
+        clearance. That's why I'm in your
+        office, and not at Berkeley.
+
+                  LOUISE
+        Okay --
+
+                  COLONEL WEBER
+        I need you to translate something
+        for me.
+
+As one of the men guarding the door shuts it, giving them
+total privacy, Colonel Weber places a pocket-sized digital
+recorder on Louise's desk.
+
+He hits PLAY. White noise, shuffling. Then murmured talk,
+and:
+
+                  MAN'S VOICE
+             (on recorder)
+        Why are you here?
+
+In response: A SERIES OF SOUNDS that have no Earthly
+comparison. An audio mixture of organic clicks, rushing
+water, whispers, and low-octave moaning.
+
+                  MAN'S VOICE
+             (on recorder)
+        Can you understand us?
+
+Almost immediately, the SOUNDS return, this time slightly
+different. The bass tone is lower. The whispers raspy.
+
+Louise listens, rapt. As if she's waking up from a long
+sleep. She leans in.
+
+Weber studies her face while she listens.
+
+                  MAN'S VOICE
+                                                        13.
+
+
+             (on recorder)
+        Where did you come from?
+
+Before an answer is heard, Weber stops playback and takes
+back the recorder.
+
+                  COLONEL WEBER
+        Well? What do you make of it?
+
+                  LOUISE
+        Is that --
+
+                    COLONEL WEBER
+        Yes.
+
+The weight of his answer settles on Louise. Beat.
+
+                    LOUISE
+        How many?
+
+                  COLONEL WEBER
+        How many what?
+
+                  LOUISE
+        How many of them were speaking?
+
+Weber raises an eyebrow at her but answers.
+
+                  COLONEL WEBER
+        Two. Assume they were not speaking
+        at the same time.
+
+                  LOUISE
+        Are you sure? Do they have mouths?
+
+                  COLONEL WEBER
+        Keep your focus on the sounds.
+
+Weber replays a portion of the recording. The alien VOICE
+sounds even stranger a second time.
+
+                  COLONEL WEBER
+        What would be your approach to
+        translating this? Does any of it
+        sound like words to you? Phrases?
+
+                  LOUISE
+        I don't know.
+
+                  COLONEL WEBER
+             (said not as a question)
+        What can you tell me.
+                                              14.
+
+
+                  LOUISE
+        I can tell you it's impossible to
+        translate this from an audio file.
+        To do this right, I need to be
+        there. Interacting with them.
+
+Weber bristles at this.
+
+                  COLONEL WEBER
+        You didn't need that for the Farsi
+        translations.
+
+                  LOUISE
+        It was Burushaski, not Farsi, and I
+        didn't need it because I already
+        knew the language. This --
+             (points at recorder)
+        This is a whole new ball game.
+
+                  COLONEL WEBER
+        I know what you're doing.
+
+                  LOUISE
+        Tell me what I'm doing.
+
+                  COLONEL WEBER
+        I'm not taking you to Montana. It's
+        all I can do to keep it from
+        becoming a tourist site for anyone
+        with TS clearance.
+
+                  LOUISE
+        I'm just telling you what it will
+        take to do this job.
+
+                  COLONEL WEBER
+        We will set up a safe room at a
+        facility here in town where you can
+        observe video of the conversations
+        in real-time. I'll put you on the
+        line with our team at the site.
+
+                  LOUISE
+        No.
+
+                  COLONEL WEBER
+             (beat)
+        What do you mean, 'no'?
+
+                  LOUISE
+        It won't work that way.
+
+                  COLONEL WEBER
+                                                            15.
+
+
+             You'll make it work.
+
+     Her patience wears thin.
+
+                       LOUISE
+             Have they spoken to us in English?
+
+                         COLONEL WEBER
+             No.
+
+                       LOUISE
+             Have they played back any of our
+             media, or given you any indication
+             they understand us?
+
+     Weber doesn't have a reply for this. His eyes shift.
+
+                       LOUISE
+             So in order for this to work, I
+             might have to teach them English.
+             The basics. Nouns, verbs. I can't
+             do that remotely. I have to be in
+             the room with them.
+
+     Weber and Louise stare down.
+
+                       COLONEL WEBER
+             There is one opportunity here, and
+             that is to study them remotely. If
+             I leave here, your chance is gone.
+
+     Weber turns to leave.
+
+                       LOUISE
+             Colonel -- You mentioned Berkeley.
+             You going to ask Danvers next?
+
+     Weber pauses at the door.
+
+                       COLONEL WEBER
+             Maybe, why?
+
+                       LOUISE
+             Before you commit to him, ask him
+             the Sanskrit word for "war" and its
+             translation.
+
+     She grins at him.
+
+     Weber exits. After he leaves, her grin fades.
+
+
+26   INT. LOUISE'S BEDROOM - NIGHT                                26
+                                                                16.
+
+
+     Louise is asleep in her bed. Again with the formation of
+     pillows around her.
+
+     She wakes to a rhythmic thumping. Low; dull. Her hand goes
+     to her heart. It's not her heart.
+
+     From her bedroom window: A distant flying object vaguely
+     like a helicopter. One thing is clear: it's on fast
+     approach. As it gets closer, treetops bend and leaves
+     scatter.
+
+
+27   INT. LOUISE'S LIVING ROOM - MOMENTS LATER                        27
+
+     Dressed in a bathrobe, Louise crosses to the front windows
+     looking out on her wide, flat front yard.
+
+     SPOTLIGHTS shine into her house, STROBES pop. We are so
+     used to how a helicopter sounds, but this is different. The
+     engine noises, the rotors -- it's more muscular;
+     threatening.
+
+     The lights finally dim to reveal: A Sikorsky UH-60
+     Blackhawk has touched down on the lawn. The passenger door
+     is open, slid back to reveal someone riding in the rear
+     compartment.
+
+     Her doorbell rings. Louise answers it.
+
+     Weber stands at the door, now in military uniform.
+
+                       COLONEL WEBER
+             Good morning.
+
+                        LOUISE
+             Colonel?
+
+                        COLONEL WEBER
+             Gavisti.
+
+                       LOUISE
+             That's the word. But what did
+             Danvers say it means in Sanskrit?
+
+                       COLONEL WEBER
+             He said it means an argument. What
+             does it really mean?
+
+                       LOUISE
+             "A desire for more cows."
+
+                       COLONEL WEBER
+             Pack your bags.
+                                                                17.
+
+
+     It hits Louise: She got the job.
+
+                       LOUISE
+             All right. Give me twenty minutes.
+
+                       COLONEL WEBER
+             You have ten.
+
+     Louise glares at Weber for just a moment, then dashes off
+     to her bedroom.
+
+
+28   EXT. LAKE HOUSE - PRE-DAWN                                       28
+
+     Louise (now dressed and carrying an overnight bag) hurries
+     for the Blackhawk. The rotor blades flatten the grass on
+     her lawn and pull at Louise's coat.
+
+     Weber helps Louise inside and then shuts the door.
+
+     The helicopter rises immediately.
+
+
+29   INT. BLACKHAWK HELICOPTER - PRE-DAWN                             29
+
+     Louise drops into a bench seat still holding her bag. As
+     she buckles in:
+
+                       IAN (O.S.)
+             Language is the foundation of
+             civilization.
+
+     Across from her: IAN DONNELLY (late 30s), Oxford shirt,
+     wild hair, fierce eyes, and a smile in the corner of his
+     mouth that makes it hard to tell what he's thinking.
+
+     Ian holds a book. He's reading from it.
+
+                       LOUISE
+             Pardon?
+
+                       IAN
+             "It is the glue that holds a people
+             together, and it is the first
+             weapon drawn in a conflict."
+
+                       COLONEL WEBER
+             Louise, this is Ian Donnelly.
+
+     Neither Louise nor Ian offer to shake hands. They study one
+     another as they talk.
+                                                        18.
+
+
+                  LOUISE
+        That's quite a greeting.
+
+                  IAN
+        You wrote it.
+
+                  LOUISE
+        It's the kind of thing you write as
+        a preface. Dazzle them with basics.
+
+                  IAN
+        It's good. Even if it's wrong.
+
+                  LOUISE
+        Wrong?
+
+                  IAN
+        The cornerstone of civilization
+        isn't language. It's science.
+
+                  COLONEL WEBER
+        Ian is a theoretical physicist from
+        Los Alamos. He is the man with the
+        questions. You will be reporting to
+        me but you'11 be working with him
+        when you're in the shell.
+
+                  LOUISE
+        The shell?
+
+                  IAN
+        That's what they're calling the
+        UFO.
+
+                  COLONEL WEBER
+        Priority one: What do they want,
+        where are they from?
+
+Weber speaks them as orders. Ian thinks it's a
+conversation.
+
+                  IAN
+        Yes, but beyond that: How did they
+        get here? Are they capable of
+        faster-than-light travel?
+
+Ian pulls a Moleskine notebook from his pocket, excited to
+share from it --
+
+                  IAN
+        I've prepared a list of questions,
+        starting with some "handshake"
+        binary sequences --
+                                                               19.
+
+
+                       LOUISE
+             How about we just talk to them
+             first? Before we start throwing
+             math problems at them.
+
+                       COLONEL WEBER
+             Thus is why you're both here.
+
+     Ian nods as he puts his notebook up, but it's clear he's
+     anxious to get past the small talk and on to the big ideas.
+
+
+30   EXT. MONTANA LANDING SITE - DAWN                                30
+
+     Wide angle on approach. A mile out. Roads and highways are
+     crowded with traffic, up against military blockades.
+
+     In the distance: The ALIEN SHIP, in silhouette behind the
+     rising egg-yolk sun.
+
+     The ship dwarfs the wilderness around it and stands out
+     like a massive, strange edifice that would seem ancient
+     were it not hovering over the ground.
+
+     At this distance, a low TONE starts to resonate in
+     everyone's sternum. The Blackhawk lances over the treeline.
+
+
+31   INT. BLACKHAWK HELICOPTER - MORNING                             31
+
+     LOUISE'S POV: The alien ship towers over the field. It
+     seems impossibly balanced, as if it could tip over and
+     crush everyone at any time.
+
+     A mile away, a series of tents have been erected. Up close
+     the ship looks majestic; ominous.
+
+
+32   INT. BLACKHAWK - CONTINUOUS                                     32
+
+     Louise and Ian stare out the side window at the ship.
+
+                       COLONEL WEBER
+             Every thirteen hours a sort of door
+             opens up, at the base. That's where
+             we go in.
+
+                       LOUISE
+             How many of us are here?
+
+                       COLONEL WEBER
+                                                              20.
+
+
+             You're the only scientists going
+             in. But you both have a team here -
+             -
+
+                       LOUISE
+             A team? What kind of team?
+
+                       COLONEL WEBER
+             Mostly NSA. Cryptanalysts, a couple
+             of signal processing experts --
+
+     A phone handset's cradle lights up by Weber. He answers it.
+
+                       LOUISE
+                  (sotto, to Ian)
+             When's the next meeting?
+
+     Ian shrugs -- he just got here. He's busy making a SKETCH
+     of the ship in his notebook. His notebook is a tiny library
+     of all his thoughts and ideas.
+
+     Weber hangs up.
+
+                       COLONEL WEBER
+             We'll need to hurry you through.
+
+
+33   EXT. HELIPAD - MOMENTS LATER                                   33
+
+     Colonel Weber, Ian, and Louise are escorted out of the
+     helicopter and into base camp. The camp is divided into two
+     clusters of tents/buildings: OPERATIONS and SCIENCE.
+
+     CAPTAIN MARKS (barely 30, disciplined; a man of rules)
+     meets Weber and updates him as they walk:
+
+                       CAPTAIN MARKS
+             Materials team called in with some
+             early analysis.
+
+                        COLONEL WEBER
+             Tell me.
+
+                       CAPTAIN MARKS
+             Normally you find three or four
+             elements in base material. Humans
+             have eleven. That thing is made of
+             every single element known to us
+             plus a dozen we've never seen.
+
+     Weber frowns, worried. But Ian has the opposite reaction:
+     His face lights up in wonderment, and a hundred questions
+     pile up in his mind but then --
+                                                              21.
+
+
+                       COLONEL WEBER
+             All right. Take these two to
+             Kettler.
+
+                       CAPTAIN MARKS
+             Yessir.
+
+                       COLONEL WEBER
+                  (to Ian and Louise)
+             You will follow this man to
+             medical. The procedure should take
+             just a few minutes.
+
+     Louise and Ian keep up with the Captain's brisk march.
+
+     A Medevac helicopter powers up on a pad nearby. Someone is
+     strapped to a gurney inside, flanked by two Paramedics.
+
+     Ian notices. So does Louise. They exchange looks.
+
+
+34   EXT. TENT COMPLEX - MOMENTS LATER                              34
+
+     Captain Marks leads them to a large tent.
+
+     Louise looks back at the ship for a moment. Nervous.
+
+     Behind her, Ian looks back at it too. Curious.
+
+
+35   INT. MEDICAL TENT - MOMENTS LATER                              35
+
+     A staff of military medical personnel are busy testing new
+     diagnostic equipment.
+
+     Captain Marks opens a flap into a room where we find a man
+     in scrubs with a tray of hypodermics. This is DR. KETTLER;
+     professorial, even-toned voice, but a predator's eyes.
+
+                       DR. KETTLER
+             Louise Banks and Ian Donnelly?
+
+     Louise nods. Kettler gestures to two plastic chairs. They
+     sit, while he prepares a syringe with a vial attached.
+
+                       DR. KETTLER
+             When is the last time either of you
+             have eaten?
+
+                       LOUISE
+             Last night.
+                                                              22.
+
+
+                       IAN
+             Same.
+
+                       DR. KETTLER
+             When is the last time you did
+             something stressful?
+
+                       IAN
+             Does right now count?
+
+                       LOUISE
+             Who was being carted off on the
+             medevac?
+
+                       DR. KETTLER
+             Not everyone is wired for what
+             you're about to do. Our brains
+             aren't always able to process
+             experiences like this.
+                  (then)
+             I'm going to get some blood from
+             you, and give you an immunization
+             dose that covers a battery of
+             bacterial threats. Roll up your
+             sleeves, please.
+
+     Ian begins rolling up his Oxford shirt sleeve. Louise
+     notices Ian is complying, then follows suit.
+
+     Kettler moves his tray over and wraps a band around
+     Louise's arm, just above her elbow. As he draws blood:
+
+                       DR. KETTLER
+             The booster is a kick to your
+             system, so you might feel some side
+             effects. Nausea. Dizziness.
+             Headaches. A ringing in your ear
+             like you have Tinnitus.
+
+     Louise looks over at Ian to share a look of: Do you believe
+     what Kettler just said?
+
+     But Ian is staring out a window at the big ship.
+
+
+36   INT. OPERATIONS TENT - INTEL ROOM - MOMENTS LATER              36
+
+     Ian and Louise enter this tent that serves as the nerve
+     center of base camp. The room is fitted with dozens of
+     flatscreens, each one monitoring activity of a landing site
+     in some other part of the world.
+
+                       AUSTRALIAN SCIENTIST (O.S.)
+                                                         23.
+
+
+        Honestly they've been mostly quiet
+        so far. And by the time we start to
+        make any real progress, it's over,
+        and we're out the door again.
+
+Weber is waiting for them, now in full uniform. Behind him:
+a large white board.
+
+                  AUSTRALIAN SCIENTIST (O.S.)
+        We're trying to reduce our setup
+        time, maybe limit the diagnostic
+        gear so we can focus more on our
+        friends across the glass.
+
+                  AGENT HALPERN (O.S.)
+        How long are your sessions?
+
+On the white board: Twelve columns, with labels of
+countries. CHINA / GREENLAND /RUSSIA 1 (SIBERIA) / RUSSIA 2
+(BLACK SEA) / JAPAN / UNITED STATES / SUDAN / VENEZUELA /
+SIERRA LEONE / WALES / PAKISTAN / INDIAN OCEAN.
+
+Information is written under the columns, and spy satellite
+plus location photos are peppered throughout. It shows what
+every country is doing at their separate sites.
+
+Standing at a MONITOR is a MAN in a suit and tie. Arms
+crossed over his chest. This is AGENT HALPERN: All
+business. His job is international relations.
+
+On the monitor is an AUSTRALIAN SCIENTIST talking via VTC.
+
+                  AUSTRALIAN SCIENTIST
+        The barometer readings don't
+        change, but like clockwork, after
+        forty-six minutes and two seconds
+        the gravity slowly shifts to slide
+        us out of the room. Like we're
+        insects on a piece of paper and
+        they're easing us out of the house.
+
+                  AGENT HALPERN
+        Is there a scientific explanation
+        for it? Like, is it for them?
+
+                  AUSTRALIAN SCIENTIST
+        We think it's for us. The air
+        doesn't seem to circulate in the
+        chamber, so after about an hour
+        we'd run out of oxygen.
+
+                  AGENT HALPERN
+                                                             24.
+
+
+             But it doesn't take thirteen hours
+             to pump fresh air into that room.
+
+                       IAN (O.S.)
+             Atmosphere.
+
+                       AGENT HALPERN
+             Excuse me?
+
+                       IAN
+             If their atmosphere is different
+             from Earth, it could take them
+             hours to re-balance the oh-two
+             content and pressure for us every
+             time they open their door.
+
+                       AGENT HALPERN
+             So, you're saying they could
+             suffocate us if they wanted.
+
+     Weber guides Ian away from Halpern and the monitors, back
+     toward the way out of the tent.
+
+                       COLONEL WEBER
+             Remember: We need answers as soon
+             as possible. Why they are here.
+             What they want, what they will give
+             us. This is the priority.
+
+                       IAN
+             Have they responded to anything?
+             Numbers? Shapes? Fibonnacci?
+
+                       COLONEL WEBER
+             We can't tell what they're saying
+             when they respond to "hello." So
+             don't get ahead of yourselves.
+
+     Louise frowns as a new question occurs to her.
+
+                       LOUISE
+             What have you figured out?
+
+
+37   INT. SCIENCE TENT - MOMENTS LATER                             37
+
+     On the other side of basecamp: Communications. Weber pulls
+     back the flap and Louise enters, Ian trailing behind her.
+                                                                25.
+
+
+     Inside: A dozen MEN AND WOMEN   work at computer stations
+     with large monitors and at an   oversized white board. The
+     monitors all display the same   kind of data: audio
+     recordings, visually bouncing   and fluctuating as the alien
+     VOICES speak.
+
+     Some of the members approach to shake Louise's hand, and AD
+     LIB their greetings before returning to analysis work.
+
+     A few of them remain at their stations, headphones on.
+
+                       COLONEL WEBER
+             We're just getting started.
+
+     Stepping back, Louise asks Weber:
+
+                       LOUISE
+             Why not send them in?
+
+                       COLONEL WEBER
+                  (beat)
+             Honestly, they all prefer to stay
+             out here.
+
+     Suddenly, a low, deep bass TONE vibrates the tent. A pen
+     falls off a desk. A TECH grabs his coffee mug. The tent-
+     ties CLATTER against the support poles. It's terrifying.
+
+                       COLONEL WEBER
+             That's our ten-minute warning.
+
+
+38   INT. "CLEAN ROOM" - DAY                                          38
+
+     A miniature Silkwood. Contained showers. Dressing areas.
+
+     Full HAZMAT suits hang on a wall.
+
+     Captain Marks brings Ian and Louise in. They each have
+     cotton swabs taped to their elbows now.
+
+                       CAPTAIN MARKS
+             Climb into these. I'll help you
+             with the helmet seals.
+
+                       IAN
+             What kind of radiation exposure are
+             we walking into?
+
+                       CAPTAIN MARKS
+             Nominal. These are just for safety.
+
+                       LOUISE
+                                                               26.
+
+
+             Is there physical contact with the,
+             the -- am I the only one who has
+             trouble saying "aliens"?
+
+                       IAN
+             No.
+
+                       CAPTAIN MARKS
+             There's a wall. Like a glass wall.
+             You can't get to them.
+
+                       IAN
+             What do they look like?
+
+     A flashing light winks over the exit door.
+
+     Captain Marks claps his hands: Let's go.
+
+     On Louise, wanting to get off this ride, but she follows --
+
+
+39   EXT. BASE CAMP - DAY                                            39
+
+     The Shell looms in the distance, at the other end of a
+     mile-long "road" formed in the grass from all the back-and-
+     forth.
+
+     A dusty PICKUP TRUCK waits for them, its tailgate down, a
+     step ladder planted at its lip.
+
+     A second TRUCK is already on the road, its bed loaded with
+     gear and two SCIENCE TECHS in similar moonsuits.
+
+     Nearby, two DRONE OPERATORS launch a surveillance drone
+     into the air, which then flies ahead of the trucks, toward
+     the shell. Leading the way.
+
+     Louise and Ian are led into their pickup truck. Bench
+     seating has been set up, but it all feels a bit cobbled
+     together.
+
+     Weber (in his suit and mask) nods at a LIEUTENANT who locks
+     the tailgate into place for them and slaps the truck:
+     They're good to go.
+
+     The truck starts for the Shell.
+
+     Louise stares at it with wide eyes. Soon, the sun eclipses
+     the ship and the whole truck succumbs to shadow.
+
+     HIGH ANGLE: From a perch above the Shell: the two tiny
+     trucks slow as they arrive underneath it.
+                                                                27.
+
+
+40   EXT. "THE SHELL" - MOMENTS LATER                                 40
+
+     The craft is even more intimidating close-up. Its surface
+     on the undercarriage portion seems to absorb light.
+
+     It's also floating twenty or so feet overhead.
+
+     Louise and Ian join a small contingent of MILITARY
+     PERSONNEL also in HAZMAT suits, all attending crates of
+     specialty gear. One of them gestures at:
+
+     A SCISSOR LIFT parked directly under the Shell. Nearby, a
+     second "backup" scissor lift sits parked.
+
+     She follows Weber, Marks, and two other Science Techs (a
+     total of 6). Her breath is loud in her helmet. She's
+     shaking.
+
+     They step onto the Scissor Lift.
+
+     Captain Marks pounds a button and they start to elevate.
+
+     A safety CHAIN hooked to the guard rail on the lift RATTLES
+     incessantly. Louise notices it. Looks up again.
+
+                       LOUISE
+             It's just hovering --
+
+                       IAN
+             They probably traveled millions of
+             light years, they couldn't go an
+             extra twenty feet?
+
+     Said with a grin, but no one laughs.
+
+     The lift is now so close overhead, they can reach up and
+     touch it. The two TECHS do just that — feeling the surface
+     for some purchase or change. But it's so dark, there's no
+     real sense of dimension here.
+
+     Ian tries, too. And suddenly they're all reaching, feeling.
+
+     IAN'S GLOVED HAND curls into something. An edge. A hole
+     that can't be seen on the surface.
+
+     It widens, as marked by his hand. Opening like a mouth to
+     accept the lift inside.
+
+
+41   INT. TUNNEL - CONTINUOUS                                         41
+                                                           28.
+
+
+Looking down from within the tunnel: Flashlights clack ON
+among the team, pointed up, seeking a sense of destination.
+
+                  LOUISE
+        Is this how it always goes?
+
+                    COLONEL WEBER
+        Yes.
+             (beat)
+        This is the easy part. Our job was
+        recon. Now it's your job.
+
+This does nothing to comfort Louise.
+
+Above: A distant, indiscernible light.
+
+Ian studies the surface of the tunnel as they ascend,
+moving his flashlight beam over it. In the light's edge, it
+seems perfectly smooth, but in the full beam there's a
+texture.
+
+The lift stops. One of the Techs cracks a GLOWSTICK and
+throws it straight up.
+
+Louise watches it arc up then veer to one wall, bounce and
+then it settles AGAINST THE WALL. Without falling.
+
+                  CAPTAIN MARKS
+        Here's where it starts to get
+        strange.
+
+                    IAN
+        "Starts?"
+
+Everyone in the lift rises maybe an inch, like balloons.
+Several of them immediately grab hold of the railing.
+
+Louise looks down at her HAZ-MAT boots. Noticing the lower
+gravity here. How easy it would be to float away.
+
+That's just what TECH 1 and TECH 2 do -- they grab their
+gear, bend at the knees, and then launch upward in a
+floaty, slow-motion leap --
+
+Ian lets out a spontaneous little LAUGH as he sees them go,
+slowly righting themselves to the shift in gravity until
+they're both standing next to the glowstick.
+
+Captain Marks follows, like it's nothing; like it's a
+commute to a job.
+                                                                29.
+
+
+     Ian looks to Louise, as if they're both at the top of a
+     ride in a theme park and he's looking to see if she goes
+     first.
+
+     She's terrified. So he jumps.
+
+     Ian lands gently, maybe twenty feet up. He looks down at
+     them, opens his mouth to say something, can't figure out an
+     answer, so instead he turns to face the "top" of the
+     tunnel.
+
+     And he slowly walks after the Techs. The light-and-dark in
+     the tunnel casts eerie reflections on his mask.
+
+     All that's left is Louise and Weber. He can hear her
+     breathing shallow inside her suit.
+
+                       LOUISE
+             This. I don't. I don't know if.
+
+                       COLONEL WEBER
+             All right. It's okay.
+
+     He holds onto her. Firm. Calm. Wise.
+
+     And then he launches them both.
+
+     Louise looks up, wide-eyed, fearful she's breaking the laws
+     of physics, but tucked in next to Weber --
+
+     They "swim" toward the others, leaving the lift behind --
+
+     And then they come to rest on the wall/floor of the tunnel.
+
+     Louise finds her footing. And her breath. And they walk.
+
+
+42   INT. INTERVIEW CHAMBER - CONTINUOUS                              42
+
+     The chamber has no hard corners or edges. Vaguely
+     rectangular.
+
+     The room is bisected by a semi-transparent wall. The wall
+     can be seen through, but it renders the other side milky
+     and foggy -- it's uncertain if the atmosphere on that side
+     is some sort of gas, or if the barrier just makes it seem
+     so.
+
+     The TECHS with Weber and Marks quickly set up an arsenal of
+     video, audio, and other recording equipment to face this
+     glass-like partition. Chemical sniffers. IR and UV cameras.
+     Barometers. And most disturbingly, an old-tech detection
+     tool among the high-tech: A CANARY IN A CAGE.
+                                                          30.
+
+
+On the other side, the room seems empty.
+
+Louise and Ian are speechless. Their breathing is loud in
+their ears. Colonel Weber steps up to them.
+
+                  LOUISE
+        What happens now?
+
+                  COLONEL WEBER
+        They arrive.
+
+                  LOUISE
+        And you've always worn this gear?
+
+                  COLONEL WEBER
+        The suits? Yes.
+
+                  LOUISE
+        So they haven't really seen what we
+        look like.
+
+                  COLONEL WEBER
+        What are you getting at?
+
+                   LOUISE
+        Context.
+
+Comparative data streams on the Techs' small monitors. They
+speak quietly into their headset mics behind the group:
+
+                  ENVIRONMENTAL TECH 1
+        Barometric down two point one.
+
+                  ENVIRONMENTAL TECH 2
+        No change in temperature.
+
+A sound from the other end of the room quiets everyone.
+They look to the wall, squinting into the haze --
+
+TWO ALIEN FIGURES enter the room, and cause a breathtaking
+silence.
+
+They move in a foggy silhouette, making it impossible to
+see much detail. They appear quadropedal with several
+appendages along the torso that serve as arms. The arms are
+spread equally around their bodies like spokes of a wheel.
+
+One seems a bit shorter and stouter than the other.
+Otherwise, their forms in the blurry mist are the same.
+                                                           31.
+
+
+As they approach their podium, the forms undulate in ways
+that make them seem like deep-water fish. There is no hint
+of cavitation around them, yet the aliens move in a way
+best described as "swimming."
+
+The silhouettes settle behind the raised podium.
+
+Louise and Ian stare in awe of the creatures. Louise
+tenses, realizing she's leading the session. Ian is the
+only one in the group smiling and nodding to himself,
+coolly confident. This is right where he's supposed to be.
+
+                  COLONEL WEBER
+        You're up, Doctor Banks.
+
+Louise tries to control her breathing.
+
+Shrouded in the mist beyond the glass, the aliens stare
+back.
+
+                  ENVIRONMENTAL TECH 1
+             (quietly)
+        Oxygen level dipping, point three.
+
+                  ENVIRONMENTAL TECH 2
+             (quietly)
+        Gravity stable inside the chamber.
+
+Ian squints his eyes and leans in.
+
+                  IAN
+        Seven? Seven arms?
+             (to Louise)
+        Are those arms?
+
+Louise steps forward. Hesitant. Close to the boundary.
+
+                  LOUISE
+        Hello.
+
+Beat. No reaction. The vague alien forms stand and wait.
+They are a good head taller than Louise.
+
+She clears her throat. Still on the verge of an overload of
+shock and stress.
+
+                  LOUISE
+        Hello.
+
+The blurry shapes seem to undulate, but it's unclear if
+they are moving or if there is some distortion in the
+partition between their space and Louise's.
+                                                                32.
+
+
+     Louise gestures at them, looking for some possible gesture
+     in response:
+
+                       LOUISE
+             Hello. Can you hear me?
+                  (then)
+             Can you hear --
+
+     She's interrupted by a sudden LOW NOISE from the other
+     side. Followed by a strange endcap: Flutter-tone.
+
+     Ian and Louise both jump at the sounds, startled.
+
+                       LOUISE
+                  (to Weber)
+             Is this what they do?
+
+                       COLONEL WEBER
+             Sometimes.
+                  (beat)
+             What does it mean?
+
+     Louise looks to Ian, terrified at her own answer:
+
+                       LOUISE
+             I don't know.
+
+     The alien forms wait. Two "arms" on one of them flex and
+     relax again, seemingly random.
+
+                       LOUISE
+             If we can just -- establish a
+             common form of communication, maybe
+             speech isn't the—
+
+     She gestures at them again. No reaction.
+
+                       ENVIRONMENTAL TECH 1
+                  (sotto)
+             Thirty-two minutes remaining.
+
+     TIGHT ON Louise, trying to figure her next move, with
+     everyone waiting on her. Panic rising.
+
+                       COLONEL WEBER (O.S.)
+             Doctor Banks --
+
+
+43   INT. "CLEAN ROOM" - DAY                                          43
+
+     Louise takes off her suit's mask and gulps in air. Her eyes
+     are red from nervous tears. She looks physically drained.
+                                                                33.
+
+
+     She pulls off a glove and notices tremors in her hand.
+
+     Ian strides in and begins shedding his suit. She watches
+     him. Hears him softly laughing to himself.
+
+                       LOUISE
+             Ian --
+
+     Ian faces her, his hair wild and his eyes wilder.
+
+                       IAN
+             Can you believe it? It's just --
+
+     He shakes his head and laughs again, but Louise detects
+     manic in his voice now.
+
+     Ian moves suddenly for the bathroom stall behind a divider.
+     Louise hears him vomit into the toilet.
+
+     Colonel Weber steps in, pulling off his helmet. Oxygen
+     escapes with a soft hiss. He and Louise make eye contact.
+
+                       LOUISE
+             So. Am I fired?
+
+     Weber sits down opposite Louise.
+
+                       COLONEL WEBER
+             You did better than the last guy.
+
+                       LOUISE
+             That doesn't make me feel better.
+
+                       COLONEL WEBER
+             Well, you got until 1900 hours to
+             figure something out.
+
+                       LOUISE
+             What happens then?
+
+                       COLONEL WEBER
+             You go back in.
+
+     Weber stands up to peel out of his suit.
+
+     STAYING ON Louise, looking like she just escaped a fire and
+     was told to run back into it --
+
+
+44   EXT. MONTANA LANDING SITE - EVENING                              44
+                                                               34.
+
+
+     The sun sinks behind the sphere, casting long shadows over
+     the encampment.
+
+
+45   INT. OPERATIONS TENT - INTEL ROOM - EVENING                     45
+
+     Agent Halpern stands at the communications array, talking
+     to the Australian Scientist on the monitor, at the NZ site:
+
+                       AGENT HALPERN
+             We're up in fifteen. Got any new
+             intel? Anything working?
+
+                       AUSTRALIAN SCIENTIST
+             We've been playing back some of
+             their sounds.
+
+                       AGENT HALPERN
+             Where does that get you?
+
+                       AUSTRALIAN SCIENTIST
+             They play back audio at us, from
+             some unseen source.
+
+                       AGENT HALPERN
+             Audio of what?
+
+                       AUSTRALIAN SCIENTIST
+             Just bits of us talking in the
+             room. Random clips of dialog.
+                  (beat)
+             So, really, we've got nothing.
+
+
+46   EXT. "CLEAN ROOM" - YELLOW TUNNEL - EVENING                     46
+
+     Colonel Weber stands with Ian by the door. Both men are
+     back in the full HAZ-MAT suits. Waiting.
+
+                       COLONEL WEBER
+             How long has she been in there.
+
+                       IAN
+                  (calling through door)
+             Doctor Banks? -- Louise?
+
+
+47   INT. "CLEAN ROOM"                                               47
+
+     Louise sits on the bench, still in her clothes. The HAZ-MAT
+     suit hangs across from her.
+                                                               35.
+
+
+     Her leg bounces nervously. She's not ready to go back in.
+     She can hear Weber outside:
+
+                       COLONEL WEBER (O.S.)
+             Did you two get any bright ideas on
+             how to talk to them this time?
+
+                       IAN (O.S.)
+             I'm really not that good at talking
+             to other humans.
+
+     It's all on Louise. She sits up and looks away from the
+     door, afraid to step out.
+
+     And her attention lands on something. On the wall.
+
+     A SMALL WHITEBOARD. Used for recording the HAZ-MAT suit
+     cleaning schedule. Names and shifts in dry-erase markers.
+
+     Louise sees it and is seized by an idea.
+
+
+48   EXT. BASE CAMP - YELLOW TUNNEL - MOMENTS LATER                  48
+
+     Louise emerges in her HAZ-MAT suit, cradling the whiteboard
+     and a dry-erase marker.
+
+                       COLONEL WEBER
+             What's that for?
+
+                       LOUISE
+             A visual aid.
+
+                         COLONEL WEBER
+             For what?
+
+                       LOUISE
+             I'm never going to be able to speak
+             their words, if they are talking,
+             but they might have some form of
+             written language. Or a basis for
+             visual communication.
+
+                         COLONEL WEBER
+             Okay.
+                  (then)
+             Where do you start?
+
+
+49   INT. INTERVIEW CHAMBER - EVENING                                49
+
+     CLOSE ON the whiteboard. Louise has written the word
+     "HUMAN" in large block letters.
+                                                           36.
+
+
+She stands by the whiteboard, marker in her trembling hand.
+Ian is with her, along with the team of TECHS behind them.
+
+THE VAGUE ALIEN FIGURES are back, on the other side. Quiet.
+
+Louise speaks, and points to the word as she does;
+
+                  LOUISE
+        Human.
+
+She points to herself. Then to others on her side of the
+room, including Weber.
+
+                  LOUISE
+        Human.
+
+She points at one of the aliens.
+
+                  LOUISE
+        What are you?
+
+Beat. The aliens seem unresponsive, until --
+
+They both RETREAT from the screen, deeper into the mist on
+their side of the room.
+
+For a moment, all is quiet. Louise looks to Ian, Ian looks
+to the Colonel.
+
+CLOSE ON A NEEDLE-GAUGE: Dead, registering no frequencies.
+And then it SPIKES to the other side --
+
+Before anyone can speak, THE CANARY SQUAWKS in its cage.
+Its wings flutter frantically.
+
+INK GLOBULES float from the mist. Like oil in glycerine.
+Thousands of drops; horizontal black rain, but intelligent
+--
+
+They all start to form something against the partition:
+
+A brilliant LOGOGRAM. An inkblot coffee-cup stain with
+mesmerizing fractal embellishments.
+
+The taller, slimmer alien steps forward and says something:
+Click-flutter-tone.
+
+Louise smiles. Nearly laughs. Wants to cry. She just had
+her first real exchange with an alien.
+
+                  LOUISE
+             (sotto)
+                                                                37.
+
+
+             Are you getting this?
+
+     Ian has taken control of a static video camera and holds it
+     at an angle that better captures the detail on the barrier.
+
+                       IAN
+             Absolutely. It's all downloading
+             back at basecamp.
+
+     One of the aliens "speaks" again. Flutter-tone, flutter-
+     tone.
+
+     THE LOGOGRAM MORPHS into another form, replacing the
+     previous one. This one more intricate.
+
+                       LOUISE
+             Whoa whoa, too fast, fellas.
+
+     She lifts her marker to make a note. For the first time,
+     her hand isn't trembling.
+
+
+50   INT. "CLEAN ROOM" - NIGHT                                        50
+
+     Louise drops the whiteboard by the door.
+
+     She doesn't get more than her helmet/mask off before
+     Colonel Weber steps in and confronts her.
+
+                       COLONEL WEBER
+             I said talk to them, not teach them
+             how to read. Do you understand what
+             this could mean?
+
+                       LOUISE
+             It means if I play my cards right,
+             they'll take some Shakespeare home
+             with them.
+
+                       COLONEL WEBER
+             Only now you've made it twice as
+             hard, trying to learn how to speak
+             and read. That takes longer.
+
+                       LOUISE
+             Wrong. It's faster.
+
+     Louise starts marching past him. Weber keeps up with her.
+
+                       COLONEL WEBER
+             I'm not saying no, I'm asking why.
+
+                       LOUISE
+                                                   38.
+
+
+        It's the only way this will work.
+
+                  COLONEL WEBER
+        Hey. Everything you do in there I
+        have to explain to a room full of
+        men whose first and last question
+        is, 'How can this be used against
+        us?' So give me something.
+
+Louise gestures at the whiteboard.
+
+                    LOUISE
+        Kangaroo.
+
+                    COLONEL WEBER
+        What?
+
+                  LOUISE
+        In 1770, Captain James Cook's ship
+        ran aground on the coast of
+        Australia. He led a party into the
+        country and met the aboriginal
+        people.
+
+                  LOUISE
+        One of his sailors pointed to the
+        animals that hopped around with
+        their young in pouches, and asked
+        what they were called. The
+        aborigine replied "Kanguru."
+
+                  COLONEL WEBER
+        What's your point?
+
+                  LOUISE
+        It wasn't until later that they
+        learned "Kanguru" means "I don't
+        understand."
+             (re: whiteboard)
+        I need this to make sure we don't
+        misinterpret in there. Otherwise
+        this will take ten times as long.
+
+Time wasted is the key phrase to convince Weber.
+
+                  COLONEL WEBER
+        All right. I can sell that for now.
+        But submit your vocabulary before
+        the next session.
+             (beat)
+        And remember what happened to the
+        aborigines. A more advanced race
+        nearly wiped them out.
+                                                                39.
+
+
+     Weber walks off with Captain Marks.
+
+     Ian steps up, watching them go. Grinning at Louise:
+
+                       IAN
+             Is that true? The kangaroo story?
+
+                       LOUISE
+             No. But it made my point.
+
+     Louise starts walking out the clean room, leaving Ian to
+     shake his head in admiration.
+
+
+51   INT. SCIENCE TENT - CRYPTO ROOM - NIGHT                          51
+
+     The team of NSA cryptographers works diligently on one
+     thing: That alien logogram. As if it were the codes from an
+     Enigma machine and the key to winning a war. Louise steps
+     in, sees the frenetic action, and backs out.
+
+
+52   INT. OPERATIONS TENT - SKYPE ROOM - NIGHT                        52
+
+     Through the busy activity at the various flatscreen monitor
+     stations, Halpern stands at one monitor, talking to a man
+     from the Wales Science Team at their landing site.
+
+                       BRITISH SCIENTIST
+             Spent most of the time just trying
+             to establish a proper greeting.
+             We're analyzing the playback now,
+             to see if there is a pattern. I'm
+             doing a Zipf law analysis. But I'm
+             worried they aren't really talking,
+             it's just how they breathe.
+
+                       AGENT HALPERN
+             Like the time I got bronchitis. OK,
+             let me know if you figure that out.
+
+
+53   INT. SCIENCE TENT - LOUISE'S DESK - LATER                        53
+
+     Louise studies at her desk.
+
+     CELLO MUSIC distracts Louise, and she looks up.
+
+     On a screen, the Japanese site is performing 'Canon in D'
+     with a cellist in their interview chamber.
+
+     Louise reviews the logograms from the session printed on
+     large photo paper. The one on top is labeled "EARTH."
+                                                                40.
+
+
+     She's circled pieces of the logogram in red pen, making
+     notes like "curling ascender = proper noun?"
+
+     With a straight edge, Louise divides the circular logogram
+     into twelve slices, isolating the different graphical
+     elements in the alien symbol. She labels them 1 to 12.
+
+     Louise blinks and takes a breath. Rubs the bridge of her
+     nose and works a kink in her neck. Then leans back in,
+     momentarily renewed with focus.
+
+     A high-pitched RINGING creeps into her ears. She winces --
+
+
+54   EXT. LAKE HOUSE - DAY - FLASHBACK                                54
+
+     Four-year-old HANNAH giggles as she runs from us --
+
+
+55   INT. SCIENCE TENT - LOUISE'S DESK - BACK TO SCENE                55
+
+     Louise sits up at her desk as if yanked from the memory.
+
+     She takes a breath, rubs her forehead, confused by that
+     little moment. She stares at the logogram on her desk.
+
+
+56   INT. BARRACKS - MORNING                                          56
+
+     ON A LAPTOP SCREEN: Aerial footage of the Shell appears.
+
+     Back from a safe distance. The Shell looks, as always,
+     intimidating.
+
+     But now with the footage is a SINISTER SCORE added by
+     shock­jock radio host RICHARD RILEY, who emphasizes words -
+     -
+
+                       RICHARD RILEY
+             This is aliens we're talking about.
+             The most important time in our
+             history as a people is right now,
+             first contact with whoever is
+             inside this thing, and who do we
+             have running the show? The
+             government. The same government
+             that ruined our health care and
+             bankrupted our military.
+
+     An image of the cluster of tents around the Montana site
+     appears, obviously shot with a long zoom lens.
+
+                       RICHARD RILEY
+                                                                41.
+
+
+             Look at these people! Most of them
+             don't even have guns. We could be
+             facing a full-scale invasion and
+             our president is ready to roll over
+             and let them take our country --
+
+     REVEAL the LAPTOP is in:
+
+     The military barracks. And PRIVATE LASKY listens intently
+     to it. Nodding. Glancing out the open flaps of the barracks
+     tent toward the giant Shell in the distance.
+
+     Three bunks over, a group of SCIENTISTS watch a news
+     program on a separate TV, following riots somewhere. Could
+     be Prague, could be Detroit. One SCIENTIST shakes his head
+     in disgust. Outside, Louise walks past the barracks, on her
+     way to --
+
+
+57   INT. OPERATIONS TENT - SKYPE ROOM - MOMENTS LATER                57
+
+     Louise enters the tent to find Ian and Weber already here,
+     with other team members.
+
+     Ian has a sketchbook, he's busy with an art pencil,
+     listening and nodding to the British Scientist on his
+     monitor.
+
+                       BRITISH SCIENTIST
+             We think we were able to reproduce
+             some prime-number sequences back at
+             them, so that's something.
+
+                       IAN
+             Congrats. You're a parrot.
+
+                       BRITISH SCIENTIST
+             It's more than that, you cheeky
+             bastard. Don't you see? They can't
+             seem to follow our algebra system,
+             but complex behaviors? That clicks.
+
+     Beyond Ian: Weber stands with Halpern, watching Middle
+     Eastern news coverage of an armored division mobilizing.
+
+                       AGENT HALPERN
+             Problem is, that shell dropped at
+             the border, so when Pakistan rolled
+             out their army to secure the site
+             from locals, India got all fussy,
+             amassing two armored divisions at
+             the border.
+                                                          42.
+
+
+                  LOUISE
+        We can't get them to stand down?
+
+                  AGENT HALPERN
+        And tell them what exactly?
+
+                  COLONEL WEBER
+        Louise, Ian, this is Agent David
+        Halpern with the CIA.
+
+Weber guides Louise and Ian away from the bank of monitors.
+It's clear he doesn't like dealing with Halpern.
+
+                  COLONEL WEBER
+        We need to gain ground today. You
+        have your vocabulary list for me?
+
+                    LOUISE
+        I do.
+
+                  COLONEL WEBER
+             (examines her list)
+        You're going to teach them your
+        name? And Ian's?
+
+                  LOUISE
+        It's so I can learn their names. If
+        they have names. And so I can
+        introduce pronouns later.
+
+                  COLONEL WEBER
+        These are all grade-school words.
+        Eat. Walk. Tool. We need to get
+        more specific.
+
+                  LOUISE
+        Do you know what a Pulaski is?
+
+                     COLONEL WEBER
+                (beat)
+        No.
+
+                  LOUISE
+        It's a tool. Used by firefighters.
+        We can't start specific.
+
+Weber makes a noncommittal noise and reviews the words.
+
+Ian reveals to Louise his sketch of an ALIEN.
+
+                  IAN
+        Heptapod. Seven limbs.
+             (gesturing at Louise)
+                                                          43.
+
+
+        She's right -- it's useless until
+        we can demonstrate some basics
+        first.
+
+                  COLONEL WEBER
+        We have one question: What is their
+        purpose here on Earth? It isn't
+        complicated.
+             (softening)
+        Help me understand.
+
+Louise goes to a larger whiteboard stationed nearby and
+writes the question "What is your purpose on Earth?"
+
+                  LOUISE
+        Okay, so this is where we want to
+        get. Right? This question.
+             (off Weber's nod)
+        To get there, we have to make sure
+        they understand what a question is,
+        and the nature of a request for
+        information along with the
+        response. Then there is clarifying
+        the difference between a specific
+        "you" from a collective "you." We
+        don't want to know why Joe Alien is
+        here, we want to know why all of
+        them landed.
+
+She writes frantically over the words in columns, marking
+relations with arrows. As she speaks, her voice gets louder
+and more confident. This is her area of expertise.
+
+                  LOUISE
+        Purpose requires an understanding
+        of intent. Which means we have to
+        find out if they make conscious
+        choices or if their motivation is
+        so instinctive they don't
+        understand a "why" question, and
+        biggest of all, we need to have
+        enough of a vocabulary with them so
+        we understand their answer.
+
+Colonel Weber nods and surrenders to her. Behind Weber, Ian
+grins devilishly at Louise, even winks at her.
+
+                  COLONEL WEBER
+        All right, all right, I get it.
+        Stick to your list. Just --
+
+Then: That low, bone-trembling BASS TONE echoing out from
+the Shell, rattling the equipment.
+                                                               44.
+
+
+     Weber scraps what he was going to say, opting instead for:
+
+                       COLONEL WEBER
+             Good luck.
+
+
+58   INT. "CLEAN ROOM" - MORNING                                     58
+
+     Louise and Ian suit up again. Louise notices the tremors in
+     her hands have returned.
+
+
+59   INT. INTERVIEW CHAMBER - MORNING                                59
+
+     Louise faces the semi-transparent wall, holding a dry-erase
+     marker in one hand. Ian stands near the whiteboard.
+     Everyone is in full HAZMAT suits again. Weber isn't here
+     this time.
+
+     The heptapods watch Louise with a strange curiosity.
+
+     Louise points at herself.
+
+                       LOUISE
+             Louise.
+
+     The whiteboard displays her name in large letters.
+
+     Beat. One heptapod speaks. Whisper-flutter-click.
+
+     Inky drops float to the glass and a beautiful LOGOGRAM
+     forms.
+
+                       IAN
+             Well, that's progress.
+
+                       LOUISE
+             No. That's the symbol for "human"
+             again. But with a little curl at
+             the end of that leg. Probably to
+             indicate a question.
+
+                       IAN
+             They're getting confused.
+
+                       LOUISE
+             You know what -- I can't do it like
+             this. I just --
+
+     Louise looks over at something behind the Environmental
+     Techs: THE CANARY.
+                                                           45.
+
+
+The little bird flaps its wings and crooks its head at her.
+It's alive and well.
+
+Louise makes a decision. She takes her HAZMAT mask off.
+
+                  IAN
+        Whoa whoa hey --
+
+Weber's voice pipes in via intercom, from the ops tent:
+
+                  COLONEL WEBER (V.O.)
+        You're risking contamination.
+
+                  LOUISE
+        They need to see me.
+
+Louise shirks out of the rest of her suit. She's wearing
+her civilian clothes underneath.
+
+She takes a breath. It doesn't kill her. Louise moves a
+step toward the glass barrier --
+
+The heptapods advance closer to the barrier. Curious. For
+the first time, we can see a bit more detail; more focus.
+
+Their skin is more mottled than a uniform color. Their
+torsos move slightly, not from breath but as a jellyfish.
+And the tips of one heptapod's "feet" are dark with ink.
+
+Everyone holds their breath a beat. Slowly, Louise puts a
+hand on her heart and repeats:
+
+                  LOUISE
+        My name is Louise.
+
+She takes the whiteboard and writes furiously. Flips it
+around and shows: She's drawn their symbol for -"human"
+next to the English word "HUMAN" and then a greater-than
+symbol leading to her name.
+
+The two heptapods are unresponsive.
+
+                  LOUISE
+        Ian, introduce yourself.
+
+Ian noisily shirks off his HAZMAT suit. Louise looks on.
+Weber gets more uneasy by the minute.
+
+                  IAN
+        Made me look like a beekeeper.
+
+Ian erases Louise's name on the board and writes his.
+                                                        46.
+
+
+                  IAN
+        My name is Ian.
+
+A magical thing happens next: The shorter, rounder heptapod
+steps forward. Click-tone. A small logogram appears on the
+boundary in front of him.
+
+Then the taller one ambles close. Flutter-swallow. A
+different symbol appears in front of him.
+
+                  LOUISE
+        They have names.
+
+                  IAN
+        Yeah -- So what do we call them?
+        Because if I try to make sounds
+        like them, I will end up insulting
+        their mothers.
+
+                  LOUISE
+        Slim and Stout?
+
+                  IAN
+        I was thinking Abbott and Costello.
+
+                  LOUISE
+             (grins)
+        I like it.
+
+Cautious, yet mystified, Louise takes another bold action:
+She steps for the boundary. The light from that mist on the
+other side of the glass illuminates her face, showing her
+wonderment.
+
+                  LOUISE
+             (quieter)
+        You have names -- You're
+        individuals. Aren't you.
+
+Ian and Captain Marks watch. Marks doesn't like it.
+
+                  CAPTAIN MARKS
+        Doctor Banks --
+
+Louise then puts her HAND on the barrier. Leaves it there.
+
+The shorter one (ABBOTT), drifts close, too.
+
+And through the vague cloud, something specific: It raises
+a limb and puts a SEVEN-FINGERED 'HAND' on its side.
+
+Near Louise's hand.
+                                                              47.
+
+
+     She smiles, still partly terrified but also reassured.
+
+                       LOUISE
+             Now that's a proper introduction.
+
+
+60   INT. INFIRMARY - DAY                                           60
+
+     Colonel Weber, Agent Halpern, and Doctor Kettler step to
+     one of Kettler's work tables in a private conference, as if
+     they just arrived in a hurry.
+
+                       COLONEL WEBER
+             Tell me. Are they a contamination
+             risk without the suits?
+
+                       DR. KETTLER
+             No radiation. Nothing else we can
+             detect, either. But I'd give them a
+             strong cocktail, regardless.
+
+                       COLONEL WEBER
+             Any other sites working like this?
+
+                       AGENT HALPERN
+             No. But no one else has made this
+             kind of progress. You saw it.
+
+     Weber doesn't like this decision, but he concedes:
+
+                       COLONEL WEBER
+             All right, no suits for those two.
+             But watch them closely for any
+             signs.
+
+                       DR. KETTLER
+                  (as they leave)
+             Signs of what?
+
+     SERIES OF SHOTS:
+
+
+61   INT. INTERVIEW CHAMBER - DAY                                   61
+
+     Louise shows the word "WALK" and Ian demonstrates. Neither
+     of them wear their HAZMAT suits now.
+
+                       LOUISE (V.O.)
+             Session three. We're into verbs.
+             Slow and steady wins this race.
+
+
+62   INT. INTERVIEW CHAMBER - MOMENTS LATER                         62
+                                                                48.
+
+
+     Costello saunters along his side of the wall and a heptapod
+     logogram appears. It's simple yet complex, like a fractal
+     in line art.
+
+
+63   INT. INTERVIEW CHAMBER - NIGHT                                   63
+
+     Ian draws a Feynman diagram, next to a set of SCIENCE
+     CARDS.
+
+                       IAN (V.O.)
+             Session six. Had some trouble with
+             basics, but they understand complex
+             interactions right away. Not that
+             it's a race, but I'm totally ahead
+             now.
+
+
+64   INT. SCIENCE TENT - CRYPTO ROOM - DAY                            64
+
+     Louise debates some element of a logogram with members of
+     her cryptography team in their tent, pointing at a
+     magnified piece of one circular symbol.
+
+                       LOUISE (V.O.)
+             Session eight was a failure. But
+             it's clear their logograms are made
+             of twelve compartments.
+
+
+65   INT. INTERVIEW CHAMBER - DAY                                     65
+
+     Louise works with a spectrograph as Ian charts a basic
+     geometric curve. The heptapods are unresponsive in their
+     misty chamber.
+
+                       IAN (V.O.)
+             Session eleven. How can they stare
+             at me when I use simple math?
+
+
+66   INT. INTERVIEW CHAMBER - MOMENTS LATER                           66
+
+     A graphic on the glass animates, showing our solar system,
+     highlighting "EARTH."
+
+
+67   INT. LOUISE'S OFFICE TENT - NIGHT                                67
+
+     Louise practices drawing her own logograms, trying to mimic
+     the inkblot style. Nearby, the whiteboard with the goal:
+     "WHAT IS YOUR PURPOSE ON EARTH?" Several words leading to
+     the question have been marked -- she's taught them those.
+                                                                49.
+
+
+                       LOUISE (V.O.)
+             Session fifteen. Back on track.
+
+     She smirks at a frustrated Ian. Their attention is drawn
+     to:
+
+     THE BANK OF MONITORS
+
+     Footage on screens of anxious crowds massing around other
+     sites. Protesters, fanatics, the hopeful and the hopeless.
+     Ian and Louise watching the footage, disturbed by the
+     effect on the public of the ships' mere presence.
+
+
+68   EXT. BASE CAMP - MORNING                                         68
+
+     High angle above the camp at sunrise.
+
+
+69   INT. "CLEAN ROOM" - YELLOW TUNNEL - MORNING                      69
+
+     Weber gives Louise a notecard before they step out.
+
+                       COLONEL WEBER
+             When Ian is done with his math
+             portion, include this word on
+             today's vocabulary.
+
+     Louise frowns and hands it back.
+
+                       LOUISE
+             No way.
+
+     Ian leans over, takes the card and nods at Weber—
+
+                       IAN
+             Yeah, we can manage that.
+
+     Louise, now unsure whom she needs to convince first --
+
+                       LOUISE
+             It's dangerous. We could come
+             across as hostile.
+
+                       COLONEL WEBER
+             Yes. But I trust you to choose your
+             demonstrations carefully.
+
+
+70   EXT. "CLEAN ROOM" - YELLOW TUNNEL - DAY                          70
+                                                               50.
+
+
+     Ian and Louise approach the pickup truck. Louise takes this
+     moment to speak quietly at Ian, through her teeth:
+
+                       LOUISE
+             What the hell was that?
+
+                       IAN
+             I know you're the language expert,
+             but I know how to talk to these
+             guys. You don't say 'no' to them.
+             You say 'yes' and then find a way
+             to control the situation.
+
+                       LOUISE
+             So you have them all figured out?
+
+     Ian smiles sweetly at her. He's not fighting with her.
+
+                       IAN
+             It wasn't that hard.
+
+
+71   INT. INTERVIEW CHAMBER - DAY                                    71
+
+     Captain Marks remains in the room in full HAZMAT suit,
+     monitoring the equipment with another TECH.
+
+     Ian looks on at Louise, worried. Louise holds a HUNTING
+     KNIFE in her hands, the notecard tucked in one palm.
+
+     On the semi-transparent wall facing her, the heptapods have
+     written a terse, angular symbol next to the word Louise has
+     written: "WEAPON."
+
+                       LOUISE
+             There's your word, Colonel.
+
+                       COLONEL WEBER (V.O.)
+                  (through speakers)
+             Let's ask the big question now.
+
+                       LOUISE
+             Hold on. We need to distinguish a
+             weapon from other devices or else
+             they'll think everything is a
+             weapon.
+
+     Costello whisper-clicks at Abbott, then turns to leave. A
+     doorway irises open on the far wall.
+
+     Abbott wipes the podium and the logogram vanishes. The two
+     aliens begin to glide away from their stations --
+                                                        51.
+
+
+Louise realizes they are leaving and calls out --
+
+                  LOUISE
+        Wait. Wait!
+
+She steps to the boundary and puts her hand on it.
+
+                  LOUISE
+        Why are you here?
+
+Abbott crooks his head.
+
+Louise, desperate, looks back at the printer attached to
+the still camera capturing everything written by the
+heptapods. She riffles through the pages, looking for the
+words.
+
+                  IAN
+        What can I do?
+
+Louise gives him two print-outs.
+
+                  LOUISE
+        Hold these up.
+
+Abbott looks back at the door where Costello left. Then at
+Louise and Ian.
+
+Louise finishes drawing. Shows the board to Abbott. Puts it
+against the boundary. She's attempted freehand drawing
+their gorgeous logograms, and she's actually done a great
+job.
+
+It's not quite the phrasing; she hasn't taught them "why"
+but instead uses "heptapods purpose Earth" with a curl on
+the logogram for Earth.
+
+Abbott stares a beat. And writes on the podium.
+
+As the logogram glows on the divider, Louise steps back in
+shock. She's translated it already.
+
+                  IAN
+        What does it say?
+
+                  LOUISE
+        "Offer weapon."
+
+The phrase sends a tense hush through the team.
+                                                                52.
+
+
+     The unidentifiable light source in the interview chamber
+     dims and the transparent wall clouds until it's fully
+     opaque.
+
+     Louise, Ian, Captain Marks, and the other in-room Techs
+     face each other as if they've just learned a terrible
+     secret.
+
+
+72   INT. OPERATIONS TENT - WAR ROOM - DAY                            72
+
+     An eruption of sound and chaos, joining in mid-debate with
+     several people talking at once. Halpern is among them.
+
+                       CAPTAIN MARKS
+             But you saw what they wrote --
+
+                       LOUISE
+             -- using a word they don't
+             fully understand!
+
+                       IAN
+             It could just be a request --
+
+                       AGENT HALPERN
+             or a warning --
+
+     Over the din of everyone talking and no one truly listening
+     comes the booming voice of Weber in his best stern father:
+
+                       COLONEL WEBER
+             Enough.
+                  (as room quiets down)
+             I can't agree with any of you when
+             you're all talking at once. Now: I
+             want to hear theories. Louise?
+
+                       LOUISE
+             We don't know if they understand
+             the difference between a weapon and
+             a tool. Our language, like our
+             culture, is messy. In many cases
+             one thing can be both.
+
+                       IAN
+             In addition, it's possible they are
+             wanting us to offer them something,
+             not the other way around. Like the
+             first part of a trade.
+
+                       COLONEL WEBER
+             How do we clarify their intention
+             beyond those two words?
+                                                       53.
+
+
+                  LOUISE
+        I go back in there. In thirteen
+        hours, we go in and clear this up.
+
+                  AGENT HALPERN
+        It's more complicated than that.
+
+                  LOUISE
+        How is that complicated?
+
+                  AGENT HALPERN
+        Set aside our own reaction to the
+        message, we have to consider the
+        other nations and how they will
+        interpret this.
+             (pointing at monitor)
+        Like China. Have you met General
+        Shang? How about a little round of
+        "meet the scary-powerful men."
+
+Halpern points at a profile photo of a distinguished
+Chinese man in dress uniform: GENERAL SHANG.
+
+                  AGENT HALPERN
+        The call-sign for him is Big
+        Domino. Because he's a tastemaker.
+        Whatever Shang does, at least four
+        other nations will follow.
+
+                  LOUISE
+        We're on good terms with Shang.
+
+                  AGENT HALPERN
+        But we can't say the same for other
+        nations where these ships have
+        landed. And Russia has control of
+        two sites. Twice the data.
+
+                  LOUISE
+        How is that relevant to this?
+
+A LIEUTENANT enters to address Weber:
+
+                  LIEUTENANT
+        Colonel, the Secretary of Defense
+        is on the line for you.
+
+Weber reluctantly steps out. Halpern takes over:
+
+                  AGENT HALPERN
+                                                          54.
+
+
+        We need to sit on this information
+        until we know what it means. So we
+        aren't sharing with our enemies. We
+        have to consider the idea that our
+        'visitors' are prodding us to fight
+        among ourselves until only one
+        faction prevails.
+
+                  LOUISE
+        There's no evidence of that.
+
+                  AGENT HALPERN
+        Sure there is. Just grab a history
+        book. The British with India. The
+        Germans with Rwanda. They even got
+        a name for it in Hungary.
+
+Halpern's cell phone rings, and before he takes the call—
+
+                  AGENT HALPERN
+        We are a world with no single
+        leader. It's impossible to deal
+        with just one of us. And with the
+        word "weapon" now --
+
+Louise pales. Feeling like she just broke something. She
+looks for someone to talk to and finds Ian deep in thought,
+keeping his eyes on the twelve monitors.
+
+                  LOUISE
+        That was my doing. I taught them
+        that. So, if we just go back in
+        tonight, go in and, and --
+
+Frenzied activity at the monitoring station draws their
+attention in time to see:
+
+AN EXPLOSION at one landing site, the plume of the
+firecloud lighting up the urban-located Shell --
+
+Communications Team Members stand up now, talking into
+their headsets in four different languages --
+
+ON THE CHINESE VIDEO STREAM, a Scientist is forcibly pulled
+away by a Chinese Intelligence Officer who yanks at a cable
+and then the video feed BLACKS OUT.
+
+A moment later, a panicked Russian Officer does the same to
+their feed. Two more black screens. Siberia and Black Sea.
+
+Weber gets off the phone, focused on the feeds.
+
+                  COLONEL WEBER
+                                                        55.
+
+
+        What's going on? What was that
+        explosion at Site Four?
+
+Halpern keeps his ear to his phone, but answers:
+
+                  AGENT HALPERN
+        China and Russia are off the grid.
+        They aren't speaking to anyone.
+        Whatever they learned in their last
+        session has them spooked --
+             (into phone)
+        Yes sir.
+             (to Weber)
+        We have orders to do the same.
+
+                  LOUISE
+        What? These people are our allies!
+        Ian, tell him.
+
+                  AGENT HALPERN
+        Until we figure out what the
+        message means --
+
+                  IAN
+        That is a bad idea. It sends a
+        clear signal of hostility. If we
+        start this --
+
+A fourth monitor goes dark: Indian Ocean.
+
+                  COLONEL WEBER
+        It's already started.
+
+Halpern leans in at one station and orders a Team Member:
+
+                  AGENT HALPERN
+        Put us on radio silence.
+
+ON ONE SCREEN: It's their own tent, the camera pointed at
+Louise and Ian. Louise rushes to the mic—
+
+                  LOUISE
+        Listen, we got a message from the
+        heptapods, "offer weapon--"
+
+But as she says "offer" the U.S. SCREEN BLACKS OUT, leaving
+the other countries hanging.
+
+                  AUSTRALIAN SCIENTIST
+        What is happening? U.S. Team,
+        please respond.
+
+Louise whirls on Halpern --
+                                                                56.
+
+
+                       LOUISE
+             Dammit, Halpern! We should be
+             talking to each other.
+
+                       AGENT HALPERN
+             You want to talk to them, find out
+             what this means. Please. I will
+             sleep better if you do.
+
+     He holds up the printout with the words "OFFER WEAPON."
+
+     Louise grabs the page from him and storms off to her desk.
+
+     Ian (quietly boiling) passes by Halpern and hisses:
+
+                       IAN
+             By then it will be too late.
+
+     ON THE MONITORS: four of the twelve now blacked out, with
+     the rest talking over each other, panicked -- And then a
+     FIFTH monitor goes dark.
+
+
+73   INT. SCIENCE TENT - LOUISE'S DESK - NIGHT                        73
+
+     Louise wears a set of noise-cancelling headphones at her
+     desk, listening to the spoken heptapod language and trying
+     to shut out the world beyond.
+
+     She stares at one of the logograms as she listens to the
+     audio. It's a circular piece full of whorls and curls.
+
+     Writing notes to herself as she does:
+
+     "They have landed? Earth? Planet?"
+
+     Louise underlines that last word, she hears a new voice:
+
+                       HANNAH (V.O.)
+                  (pre-lap)
+             What's this word?
+
+     Louise hears Hannah's voice and closes her eyes --
+
+
+74   EXT. LAKE HOUSE - DAY - FLASHBACK                                74
+
+     Louise and Hannah (age 8) sit on the picnic blanket, under
+     the shade of a stately oak tree. They share a story book.
+
+     Hannah points at a page.
+                                                        57.
+
+
+                  LOUISE
+        "Planet." Like Earth is a planet.
+
+                  HANNAH
+        Mmmm -- what's that word?
+
+                  LOUISE
+        How many words are you trying to
+        learn today?
+
+                  HANNAH
+        All of them.
+
+Louise smiles and kisses Hannah on the forehead.
+
+                  HANNAH
+        Want to see my project for Mrs.
+        Garriott's class?
+
+                  LOUISE
+        All right little-nose, whatcha got?
+
+Hannah digs into her backpack and pulls out a sketch.
+
+                  HANNAH
+        Supposed to draw what my Saturday
+        morning cartoon would look like if
+        I had one.
+
+                  LOUISE
+        What is this place?
+
+THE DRAWING depicts a Man and Woman (stick-figures) holding
+up a really fat bird-like shape.
+
+                  HANNAH
+        That's supposed to be a book.
+
+                  LOUISE
+        Who are these two people?
+
+                  HANNAH
+        You and Daddy. The show is called
+        "Mommy and Daddy Save the World."
+
+Louise's smile sinks. She looks pained.
+
+                  LOUISE
+        Well. That sounds lovely.
+             (beat)
+        You know, it's okay to be upset
+        that your daddy and I --
+                                                                58.
+
+
+     Little Hannah breathes through her nose.
+
+                       HANNAH
+             I know. I'm not.
+
+     Louise brushes Hannah's hair out of her eyes.
+
+                       LOUISE
+             We both love you, very much.
+
+                       HANNAH
+             I know.
+                  (then)
+             It's just a cartoon. It's not real.
+
+     That same high-pitched WHINE escalates and --
+
+
+75   INT. SCIENCE TENT - LOUISE'S DESK - BACK TO SCENE                75
+
+     Louise flings off her headphones and tries to get up, but
+     she's dizzy. Ian gets up from his station to help her --
+
+                       IAN
+             Louise? You okay?
+
+     Louise recovers from a sudden vertigo. She focuses on Ian.
+
+                       LOUISE
+             I -- Yeah, fine.
+
+     She bends over and takes a moment to refocus. When she
+     stands upright she faces a suspicious Weber, who's come
+     over.
+
+                       COLONEL WEBER
+             When was your last check-up with
+             Kettler?
+
+     Louise lets out a breath and passes him by, for the exit.
+
+     Ian considers going with her. Weber gestures: Stay back.
+
+                       COLONEL WEBER
+             How about you?
+
+                       IAN
+             Me? I'm fine.
+
+     Weber brings Ian close to Louise's desk and surveys the
+     heptapod writing scattered over it. He takes a moment and
+     chooses his words carefully.
+                                                                59.
+
+
+                       COLONEL WEBER
+             A lot of work for one person.
+
+                       IAN
+             She's not alone. We're making good
+             progress. We're teaching each other
+             physics and language.
+
+                       COLONEL WEBER
+             Good. Learn as much as you can. In
+             case we need to bench Doctor Banks.
+
+                       IAN
+             No -- you can't do that.
+                  (recovers)
+             I'm saying, it won't come to that.
+
+                       COLONEL WEBER
+             But if it does --
+
+     Weber leaves Ian to consider this scenario.
+
+                       DR. KETTLER (V.O.)
+                  (pre-lap)
+             How do you feel?
+
+
+76   INT. MEDICAL TENT - DR. KETTLER'S OFFICE - MOMENTS LATER         76
+
+     A pen light shines in Louise's left eye.
+
+                       LOUISE
+             Overworked.
+
+     Kettler tries to be casual but comes off awkward:
+
+                       DR. KETTLER
+             That makes two of us. I hear you
+             collapsed in the ops tent.
+
+                       LOUISE
+             Probably just lack of sleep.
+
+     Kettler readies a syringe.
+
+                       DR. KETTLER
+             Well, you're not getting radiation
+             poisoning.
+
+                       DR. KETTLER
+                                                                60.
+
+
+             We'll see how your blood tests
+             look, but for now I'm going to give
+             you another boost. Try and sleep
+             this one off, okay?
+
+     He sinks the needle into her arm. Louise tries not to
+     flinch.
+
+
+77   EXT. BASE CAMP OVERLOOK - EVENING                                77
+
+     Armed SOLDIERS are stationed at regular intervals around a
+     tight perimeter. Disturbing, as the base camp previously
+     did not seem military-led. Their presence is slowly
+     increasing.
+
+     Private Lasky stands guard, and looks back at the mammoth
+     Shell above him. He's joined by Private COMBS, who gives
+     the ship a similar look of aggression. They notice each
+     other glaring at the ship, and share a wordless nod of
+     solidarity. Two soldiers who both spotted the enemy.
+
+
+78   EXT. HILLSIDE NEAR BASE CAMP - DUSK                              78
+
+     Ian sits atop a sleeping bag, staring out at the massive
+     ship with a look just the opposite of Lasky's glare.
+
+     He has a sketchbook open, filled with mechanical drawings,
+     advanced equations, and notes to himself.
+
+     Louise ascends the hill toward him.
+
+                       LOUISE
+             Weber is looking for you.
+
+     Ian smiles at her.
+
+                       IAN
+             Why do you think I'm hiding out
+             here? Come, join me.
+
+     She considers it a moment, then sits down next to him as he
+     makes room for her on his sleeping bag.
+
+     Louise looks down at the camp, her concern all wrapped up
+     in the military population, while Ian keeps staring out at
+     the massive shell a quarter-mile away.
+
+                       IAN
+             How are you so good at talking to
+             something so unlike us?
+                                                             61.
+
+
+     Louise notices the focus of his gaze and shrugs.
+
+                       LOUISE
+             There's precedent.
+
+
+79   EXT. RANCH - DAY - FLASHBACK                                  79
+
+     Louise with Hannah at a RANCH with a horse. The horse's
+     nostrils flaring, standing eighteen hands tall, a gigantic
+     creature to the scared little 8-year-old Hannah.
+
+     But Louise puts her hands on the horse. Speaks to it.
+
+                       LOUISE (O.S.)
+             Shh, shh. It's okay --
+
+     The horse's ears spin like radar dishes --
+
+
+80   EXT. HILLSIDE NEAR BASE CAMP - BACK TO SCENE                  80
+
+     Back with Ian and Louise on the hill.
+
+                       IAN
+             You know, you approach language
+             like a mathematician.
+
+                       LOUISE
+             I'll take that as a compliment.
+
+                       IAN
+             You should! You steer us around
+             communication traps I didn't know
+             existed. Which probably explains
+             why I'm single.
+
+     Louise studies Ian's face to see if he's being sarcastic.
+     He's not. This is honesty.
+
+                       LOUISE
+             My father worked for a big energy
+             company. They'd relocate him every
+             year to some new country, and I
+             went with him. He used to say
+             learning all those foreign tongues
+             would make me the center of every
+             party. But you know what people say
+             when you're sixteen and fluent in
+             seven languages? "You're smart."
+
+                       IAN
+             Oh no. "Smart" is bad.
+                                                        62.
+
+
+                  LOUISE
+        People are so afraid of smart.
+
+Ian stares at the sky.
+
+                  IAN
+        When I was six, my parents bought
+        me a globe. One of those big ones
+        on an iron floor stand. This was
+        the same year I dressed up as a
+        wilderness explorer for Halloween.
+        My room was papered with hand-drawn
+        maps of my neighborhood.
+             (beat)
+        I studied every inch of that globe,
+        and it was the saddest moment of my
+        childhood. Everything had already
+        been explored.
+             (beat)
+        Next Halloween, I was an astronaut.
+
+                  LOUISE
+        "To boldly go--"
+
+                  IAN
+        I've spent the last thirty years
+        staring at the sky. Trying to find
+        a way out there. Now it's here, and
+        I don't know how I feel about it.
+
+                  LOUISE
+        Because you might finally get to
+        explore the galaxy?
+
+                  IAN
+        Because they've already explored
+        it.
+
+Louise shivers; it's getting cold up here.
+
+Ian drapes a blanket over her shoulders and shares it with
+her. The two huddle close together, under the massive
+spherical Shell lit by drifting spotlights.
+
+                  LOUISE
+        I feel like everything here comes
+        down to the two of us.
+
+                  IAN
+        That's a good thing. Have you seen
+        the jokers around us?
+
+                  LOUISE
+                                                               63.
+
+
+             Promise me. We'll do this together?
+
+     Ian's smile falters, as he recalls his talk with Weber.
+
+                       IAN
+             Yeah.
+
+
+81   EXT. BASE CAMP - NIGHT                                          81
+
+     Aerial view. The compound has doubled in size.
+
+
+82   INT. “CLIIAN ROOM" - NIGHT                                      82
+
+     Ian and Louise prep for another session. Ian vigorously
+     applies antibacterial soap to his hands and arms, like a
+     surgeon prepping for the O.R. Louise still refuses to don a
+     HAZMAT suit, but she ties her hair back in a ponytail.
+
+     Captain Marks enters, carrying a pair of respirators with
+     small oxygen tanks attached.
+
+                       CAPTAIN MARKS
+             New policy. Carry these on you when
+             you're in the Shell.
+
+                       IAN
+             You're worried we'll run out of air
+             inside? Why?
+
+                       CAPTAIN MARKS
+             Before the blackout, the Swedish
+             site reported their last session
+             ran long by about twenty minutes.
+
+                       LOUISE
+             But they were fine at the end of
+             it, weren't they?
+
+                       CAPTAIN MARKS
+             They still wear full HAZMAT suits,
+             doctor. Like the rest of the world.
+
+     Ian and Louise trade looks.
+
+     Dr. Kettler enters, with his medical bag.
+
+                       DR. KETTLER
+             Let's roll up those sleeves --
+
+
+83   INT. INTERVIEW CHAMBER - NIGHT                                  83
+                                                           64.
+
+
+Louise leads the team.
+
+On the other side of the barrier, Abbott and Costello are
+waiting. Costello stands at the podium. Abbott is closer to
+the glass barrier. The glass-like surface is still milky,
+so no one can get a good look at them.
+
+                  LOUISE
+             (to Ian)
+        They're already here.
+
+Captain Marks stands at the back. Watchful.
+
+                  CAPTAIN MARKS
+        Show them the question.
+
+Louise takes a breath and holds up her whiteboard while the
+Techs set up the video equipment behind her.
+
+It reads, in subtitled logogram: "OFFER WEAPON?"
+
+Abbott and Costello make little movement. No answer.
+
+                  IAN
+        This isn't working.
+
+Louise speaks directly to Abbott, stepping a bit closer:
+
+                  LOUISE
+        Are you offering us something?
+
+She holds up the whiteboard again.
+
+Another quiet conference between Abbott and Costello.
+
+More ink floats to the barrier to form a complex LOGOGRAM,
+followed by the translation in subtitles.
+
+"MUST LEARN MORE FROM IAN LOUISE"
+
+                  IAN
+        They don't have enough of our
+        language to share it yet.
+
+                  LOUISE
+        Let's fix that.
+
+Captain Marks checks the flatscreen monitors and tablet
+interfaces behind them -- one for Louise, one for Ian.
+
+                  CAPTAIN MARKS
+        You're good to go.
+                                                                65.
+
+
+     On one monitor, the library of new learned logograms is
+     currently blank. Like a spreadsheet waiting to be filled.
+
+
+84   INT. INTERVIEW CHAMBER - LATER                                   84
+
+     The sentence on Louise's flatscreen reads: "Ian gives
+     Louise an apple because tomorrow she will be hungry."
+
+     On the monitor behind her: the library is FULL of
+     logograms.
+
+     Abbott replies. The written logogram is displayed: A
+     gorgeous interwoven circle of loops, whorls, and splotches.
+
+                       IAN
+             What is that?
+
+                        LOUISE
+             I think it's what we wrote.
+                   (pointing)
+             Look. This is the word for "apple"
+             but it's conjoined with their names
+             -- I can't tell where it starts or
+             ends.
+
+                       IAN
+             No front or back. Like their
+             bodies. And the ship.
+
+                       LOUISE
+             How do you begin to craft a complex
+             statement like this? The relation
+             each symbol has to another --
+                  (then)
+             You know what? We've never seen
+             them write. Only the result. Let's
+             see them in the act of writing.
+
+     Louise returns to the tablet. Erases the sentence on her
+     screen. And then, instead of preparing words and displaying
+     the result, she triggers the "live sketching" option that
+     shows her writing the letters and words in real-time.
+
+     She writes the sentence: "Louise writes so heptapods can
+     see her writing."
+
+     Abbott and Costello crook their heads.
+
+     Then Abbott approaches the transparent boundary, which
+     becomes clearer than ever before.
+
+     Captain Marks notices. Tenses.
+                                                           66.
+
+
+                  CAPTAIN MARKS
+             (into mic)
+        One is approaching the boundary
+        with two, uh, limbs raised.
+
+Abbott reaches the boundary, holding up two of his seven
+"hands." He places them at two points on the transparent
+wall and begins to draw. Ink issues from his hands as he
+does.
+
+Abbott writes a heptapod sentence in real-time. With two
+hands simultaneously.
+
+It is poetry in motion. A dance of ink. He begins at
+opposite ends, and then writes phrases and symbols in a
+perfect pair of arcs so that they connect as a circle at
+the end.
+
+                  LOUISE
+        Oh my god. Nonlinear orthography.
+
+Ian catches up to what she's saying.
+
+                  IAN
+        They'd have to actually think
+        nonlinearly, then.
+
+Louise grabs a tablet synced to the large flatscreen and
+draws in heptapod logograms. She does it one-handed, but
+she's quite good at it.
+
+                  COLONEL WEBER (V.O.)
+             (via intercom)
+        Explain.
+
+As she draws her logogram, she walks him through it;
+
+                  LOUISE
+        Imagine trying to write a long
+        sentence with two hands, starting
+        at either end. To do that, you'd
+        have to know every single word
+        you're going to write, and the
+        space all of it occupies.
+
+Ian struggles to find reference to her logogram.
+
+                  IAN
+        What is -- what are you writing?
+
+She completes the ornate symbol.
+
+                  LOUISE
+                                                           67.
+
+
+        I asked about predictability. If
+        "before" and "after" mean anything
+        to them. Or if they don't know what
+        that means.
+
+Ian shuffles through notes on his tablet.
+
+                  IAN
+        When did we teach them any of this?
+
+Abbott answers in heptapod with another elegant logogram.
+
+Louise smiles and nods at Abbott.
+
+                  IAN
+             (astonished)
+        You can read that?
+
+                  COLONEL WEBER (V.O.)
+             (over intercom)
+        Get back to the weapon.
+
+Louise sighs and uses her keyboard to type as she asks
+aloud:
+
+                  LOUISE
+        Give weapon now?
+
+Abbott draws a simple logogram. The translation: "SOLVE"
+
+                  LOUISE
+        Solve what?
+
+The transparent boundary clears itself of all its writing.
+
+Abbott then draws two lines that meet in the middle to form
+one long, contiguous line.
+
+Abbott gestures at the timeline and speaks: Click-click.
+
+                  LOUISE
+        That's their spoken word for time.
+
+                  IAN
+        How do you know?
+
+                  LOUISE
+        I remember how it sounds.
+
+Then, Abbott draws a logogram on the far end of the line.
+Louise translates:
+                                                               68.
+
+
+                       LOUISE
+             Humanity. That's us.
+
+                         IAN
+             So I see.
+
+                       LOUISE
+             At the end of our timeline.
+
+     The logogram from earlier forms again: "SOLVE."
+
+                       IAN
+             Son of a bitch. He's giving us
+             homework.
+
+
+85   EXT. BASE CAMP - NIGHT                                          85
+
+     Louise and Ian leave the trucks for the science tent,
+     escorted by men on either side. Weber walks with them.
+     Louise looks pale and slightly ill.
+
+                       COLONEL WEBER
+             What is the answer?
+
+                       IAN
+             I don't know yet. I have to dig
+             into it, figure out what they're
+             even asking.
+
+                       COLONEL WEBER
+             This is your new priority. No more
+             language lessons until you crack
+             it.
+
+     His voice fades as the group marches on toward the tents,
+     unaware that Louise has stopped walking.
+
+     She puts her hands on her thighs, suddenly nauseated.
+
+     Nearby is a PUDDLE of rainwater. The moon is visible in
+     reflection, as is the silhouette of the Shell.
+
+     Louise stares at the puddle as a ringing swells in her ear
+     --
+
+     QUICK POPS:
+
+
+86   INT. LAKE HOUSE - NIGHT - FLASHBACK                             86
+
+     The moonlit lake on the other side of a bedroom window.
+                                                                69.
+
+
+87   INT. LAKE HOUSE - DAY - FLASHBACK                                87
+
+     Four-year-old Hannah's feet curl, inside pajama footies.
+
+
+88   EXT. BASE CAMP - BACK TO SCENE                                   88
+
+     Louise stands upright again. Takes a breath, a little
+     unnerved. And continues on to the cluster of tents, alone.
+
+     One soldier has remained behind as escort. Watching her
+     with a growing suspicion. Private Lasky. With his rifle.
+
+
+89   INT. MESS TENT - NIGHT                                           89
+
+     Louise sits alone, rubbing her temples. Her plate:
+     untouched.
+
+     Ian enters, looking worse for wear. He grabs a pre-made
+     meal and joins Louise at her table. His eyes are bloodshot.
+
+                       LOUISE
+             Didn't expect to see you out.
+
+                       IAN
+             I'm hiding from Weber.
+
+                       LOUISE
+             How goes the riddle?
+
+                       IAN
+             It's a timeline. I don't know what
+             they're asking me to solve. Is it
+             about population dynamics?
+
+                       LOUISE
+             Why do you go there?
+
+     Ian grabs a salt shaker from the end of the table.
+
+                       IAN
+             Let me tell you a story about
+             probability.
+
+     He pours a dollop of salt on the table between them. A few
+     quick shakes.
+
+                       IAN
+                                                           70.
+
+
+        The current world population is
+        hovering close to eight billion,
+        but we started out as just a
+        trickle, right? Things got really
+        populated in the last couple of
+        centuries, so here's humanity:
+
+He then shakes out a salt line for a bit until he unscrews
+the cap and dumps a heap at the end.
+
+                  IAN
+        This line represents the population
+        of the whole history of humanity.
+        Estimated at just over 100 billion.
+        What that means is: About eight
+        percent of every human who ever
+        lived is alive right now. And that
+        puts us at this pileup at the end.
+
+                   LOUISE
+        The end?
+
+                  IAN
+        Well, some people call this an
+        "extinction burst." I don't,
+        because I think it's junk science.
+
+                  LOUISE
+        How can you be so sure?
+
+                  IAN
+        People have been predicting the end
+        of civilization for ages. But
+        someone always comes along and
+        kicks us further down the timeline.
+
+Ian spreads out the salt like sand, and runs his finger
+through it in a line, punctuating one end. The timeline.
+
+                  LOUISE
+        Maybe it doesn't happen this time.
+        They're warning us. We're running
+        out of time.
+
+                  IAN
+        I can't tell that to Weber.
+
+                  LOUISE
+        Weber? The CIA guy is who worries
+        me. Halpern.
+
+Louise suddenly winces and rubs her temples.
+                                                               71.
+
+
+                       IAN
+             How are you holding up?
+
+                       LOUISE
+             Headaches.
+                  (beat)
+             My brain is scrambled.
+
+                       IAN
+             I hear they have the prefabs up
+             finally. We get private housing.
+
+                       LOUISE
+                  (distant)
+             Yeah --
+
+                       IAN
+             Hey.
+
+     He reaches across the table and takes her hand in his.
+
+     Louise looks at Ian. Then at their hands.
+
+                       IAN
+             We'll get through. It's all right.
+
+     She pulls her hands from him, suddenly shy.
+
+                       LOUISE
+             I'm sorry, I just -- I'm feeling
+             raw and unstable and --
+
+     Colonel Weber enters the mess tent and sets his sights on
+     Ian. Calls out from the door:
+
+                       COLONEL WEBER
+             Ian. You're needed in operations.
+
+     Ian keeps his focus on Louise.
+
+                       IAN
+             I'll see you later.
+                  (once more)
+             We'll get a win soon.
+
+     Ian leaves. When he's gone, Louise's headache returns.
+
+
+90   INT. PEDIATRICIAN'S OFFICE - DAY - FLASHBACK                    90
+
+     Hannah and Louise hold hands on the exam bed. Louise is
+     fighting back tears.
+                                                              72.
+
+
+91   INT. LAKE HOUSE - DAY - FLASHBACK                              91
+
+     Louise stares at a shelf full of Hannah's awards. Photos of
+     Hannah in sports, at band concerts, in a theme park.
+
+
+92   INT. LAKE HOUSE - NIGHT - FLASHBACK                            92
+
+     Louise is bent over in her bathroom, ill.
+
+
+93   EXT. MESS TENT - NIGHT                                         93
+
+     Louise is bent over a trash can as if she just vomited. She
+     coughs, looks around like she's lost.
+
+     She notices tears in her eyes. Wipes them.
+
+     It disturbs her. She fights back the intense emotional
+     impact of these memories.
+
+     It takes a few breaths for her to compose herself.
+
+                       REPORTER (V.O.)
+                  (pre-lap)
+             And why do you want to see the
+             ships destroyed?
+
+
+94   EXT. TV COVERAGE - SOME LANDING SITE - NIGHT                   94
+
+     Handheld camera interviewing a MIDDLE-AGED WOMAN holding a
+     sign in a protest line outside a barricade. She's been
+     crying; her eyes are red with tears. And she speaks
+     English.
+
+     Ticker at bottom of screen: "UFO 'TRUTHER' MOVEMENT GROWS"
+
+                       MIDDLE-AGED WOMAN
+             Because! It's not right. We are the
+             only ones in this universe. This
+             whole thing is a hoax. Why d'you
+             think they haven't shown an alien
+             up close? It's all a conspiracy!
+
+     The sound of a KNOCKING wrenches from the news clip to --
+
+
+95   INT. HOUSING PRE-FAB - BEDROOM - NIGHT                         95
+
+     Louise wakes suddenly in bed. She's fallen asleep atop the
+     covers, still in her clothes. Clutching a pillow as if it
+     were a child.
+                                                               73.
+
+
+     The loud KNOCKING comes again. And she gets up.
+
+
+96   INT. HOUSING PRE-FAB - FRONT DOOR - MOMENTS LATER               96
+
+     Louise opens the door to find Weber and Ian standing
+     outside, their breath pluming in the cold air.
+
+                       COLONEL WEBER
+             May we come in?
+
+     Louise frowns.
+
+
+97   INT. HOUSING PRE-FAB - LIVING AREA - MOMENTS LATER              97
+
+     Louise, Weber, and Ian sit in this hotel-room-sized space.
+
+                       IAN
+             How are you feeling?
+
+     Louise tries to read the situation. Something is wrong.
+
+     Ian looks concerned. Weber looks suspicious.
+
+                       LOUISE
+             I just need sleep. I'm fine.
+
+                       COLONEL WEBER
+             You want to tell me what's going
+             on?
+
+                       LOUISE
+             I don't -- what, what happened?
+
+                       COLONEL WEBER
+             You used seven words in the last
+             session you never used before. And
+             you wrote all of them in heptapod.
+
+                       LOUISE
+             What? What words?
+
+                       COLONEL WEBER
+             You had three different exchanges
+             no one on our side of the glass
+             could follow.
+
+                       LOUISE
+             Show me. I'll tell you what I
+             wrote.
+                                                           74.
+
+
+                  COLONEL WEBER
+        That's not the problem here!
+
+Weber's getting more frustrated. Ian steps in to defuse:
+
+                  IAN
+        All this focus on alien language.
+        Look, I did some research and
+        there's this idea that immersing
+        yourself in a foreign language can
+        rewire your brain --
+
+                  LOUISE
+        The Sapir-Whorf hypothesis, yes.
+        The theory that the language you
+        speak determines how you think.
+
+                  IAN
+        Are you dreaming in this language?
+
+Louise looks from Ian to Weber. Guarded.
+
+                  LOUISE
+        What does that--? I've had a few
+        dreams. That doesn't make me unfit
+        for the job.
+
+Weber shows her a paper document signed at the bottom.
+
+                  COLONEL WEBER
+        This might.
+
+                  LOUISE
+        That's just a prescription for my
+        headaches, Kettler--
+
+Then she notices something.
+
+THE SIGNATURE FORM, revealing Louise has signed her name in
+a circle. Like a cursive logogram.
+
+                  COLONEL WEBER
+        Kettler tells me you signed it with
+        your left hand. You're right
+        handed.
+
+                  LOUISE
+        Well. I. I mean --
+
+                  COLONEL WEBER
+        It was one thing when no one could
+        understand them. It's another when
+        no one but you can.
+                                                        75.
+
+
+             (directed at Ian)
+        You think you can manage in the
+        room on your own now?
+
+                  LOUISE
+        What?
+
+Louise focuses on Ian now, her eyes pleading.
+
+Ian sees her, this woman on verge of a breakdown, suddenly
+quite fragile. It pains him, but he believes it --
+
+                  IAN
+        If I had to. Yes.
+
+                  LOUISE
+        Ian. Come on. Wait, just --
+
+                  COLONEL WEBER
+             (stands)
+        I'm pulling you out.
+
+Louise and Ian follow. Louise intercepts Weber at the door:
+
+                  LOUISE
+        I need to be in there. This is all
+        I do. Take it away and I'm just a,
+        what, a prisoner.
+
+                  IAN
+        Louise, you just need to recover --
+
+                  LOUISE
+             (snaps at Ian)
+        Shut up!
+             (to Weber)
+        This won't work without me. I'm the
+        only one they really talk to.
+
+                  COLONEL WEBER
+        Which is why I can't afford to lose
+        you! Do you get it now?
+
+Suddenly frustrated by his confession, Weber steps back out
+into the cold. But Ian pauses outside her door. Turns
+around to face Louise again.
+
+Louise looks devastated; untethered.
+
+                  IAN
+        I'm sorry. I got worried --
+
+But she shuts the door on him.
+                                                                76.
+
+
+98   EXT. MONTANA LANDING SITE - MORNING                              98
+
+     The Shell gleams in the rising sun, casting a shadow over a
+     slice of the science camp site the shape of a tombstone.
+
+
+99   EXT. "THE SHELL" - MORNING                                       99
+
+     Privates Lasky and Combs set heavy A/V boxes at a staging
+     area by the scissor lift.
+
+
+100 INT. SCIENCE TENT - IAN'S AREA - MORNING                          100
+
+     VIDEO of Abbott and Costello plays on a screen. The last
+     session in the room. Fast-forwarding to the appearance of
+     the timeline. Pause.
+
+     Ian studies it on the monitor at his desk. His team of
+     SCIENCE EXPERTS argue and gesture at one another in the
+     background, around a large table.
+
+     Behind him: A glass screen displays the timeline riddle,
+     big as life.
+
+     Ian rubs his face. Downs his coffee. Goes at it again.
+
+
+101 EXT. HOUSING PRE-FAB - MORNING                                    101
+
+     Weber knocks on Louise's door.
+
+     Beat. Louise opens the door just a few inches. Her eyes are
+     bloodshot. She's wearing yesterday's clothes.
+
+                         LOUISE
+             What.
+
+                       COLONEL WEBER
+             Did you sleep?
+
+                         LOUISE
+             A little.
+
+                       COLONEL WEBER
+             I need your brain.
+
+                       LOUISE
+             You're putting me back in?
+
+                          COLONEL WEBER
+                     (evading)
+                                                               77.
+
+
+             Do you know Mandarin?
+
+
+102 INT. OPERATIONS TENT - SPY ROOM - MORNING                        102
+
+    The two push through the tent flap, and Louise is startled—
+
+    EVERY SINGLE TV SCREEN is filled with footage of violence.
+    Gunfire at the grounds of another alien site. Riots at
+    another. Naval maneuvers on the Indian Ocean.
+
+    Weber hands Louise a set of headphones, and replays a
+    video.
+
+    ON SCREEN: Spy footage of two CHINESE MEN meeting at a camp
+    not unlike the Montana site. Muddled voices in Mandarin.
+    Louise translates:
+
+                       LOUISE
+             He's saying each of the twelve is
+             offering advanced technology.
+                  (beat)
+             Spies report India and Sudan have
+             already received theirs. Like sets.
+             Sets? I don't know what he means --
+                  (beat)
+             Something about an advantage. With
+             suits, honor, and flowers?
+
+    The clip ends abruptly. Weber takes the headphones back.
+
+                       COLONEL WEBER
+             We don't know what it means,
+             either. But an hour ago China
+             scrambled fighters at airfields in
+             four different bases, and Sudan is
+             following suit. "Big Domino" is
+             about to start something.
+
+                       LOUISE
+             Following suit --
+                  (realizing)
+             Suits, honor, and flowers. Colonel,
+             those are tile sets in Mahjong. Oh
+             god, have they been using a game to
+             converse with their heptapods?
+
+                       COLONEL WEBER
+             Maybe. Probably easier than trying
+             to teach Mandarin. Why?
+
+                       LOUISE
+                                                              78.
+
+
+             Say I taught them chess instead of
+             English. Every conversation is a
+             game, every idea expressed through
+             opposition -- victory and defeat.
+             You see the problem? If all I ever
+             give you is a hammer --
+
+    Weber looks back at the monitors, suddenly getting it.
+
+                       COLONEL WEBER
+             -- Everything's a nail.
+
+    Halpern enters, riled up. Steps up to Weber.
+
+                       AGENT HALPERN
+             May I have a word, Colonel?
+
+    Weber nods to Louise: Dismissed.
+
+
+103 INT. SCIENCE TENT - MOMENTS LATER                               103
+
+    Louise enters, distraught. Goes to her desk.
+
+    ANGLE ON IAN, engrossed in his study of previous sessions,
+    until he hears Louise gathering papers at her desk.
+
+    He sees her through the timeline screen bisecting their
+    workspace. It's like the glass barrier in the chamber.
+    After a beat, he decides to approach her.
+
+                       IAN
+             Hey.
+
+                       LOUISE
+             Hey.
+
+                       IAN
+             How are you doing?
+
+    She keeps gathering printouts of logograms. Shoving
+    material into folders.
+
+                       LOUISE
+             Why do you want to know?
+
+                       IAN
+             Why? Because I -- because you were
+             starting to scare me.
+                  (steps closer)
+             You would have done the same for
+             me, if you were in my shoes.
+                                                           79.
+
+
+Louise turns to him now. Vulnerable, and mad about it. But
+refusing to cry in front of him.
+
+                  LOUISE
+        Oh, so I should see things from
+        your perspective, but did you ever
+        see it from mine? Just once?
+             (re: Timeline)
+        You got the symbol for 'humanity'
+        wrong. Doesn't that say it all.
+
+She walks around to the other side of the screen and makes
+adjustments by touch.
+
+Ian watches from Louise's desk on the other side -- and he
+nearly gasps in surprise.
+
+From his POV, the timeline is reversed. And the logogram
+that means 'humanity' now looks the same from either side.
+
+                  IAN
+        Louise -- their word is an
+        ambigram. It reads the same front
+        or back.
+
+                  LOUISE
+        It is? Oh -- You're right.
+
+He marvels at this mirror image of the timeline problem.
+
+                  IAN
+        On your side, the human race is at
+        the end of its time. But here -- to
+        the heptapods -- we're just getting
+        started.
+
+The low BASS TONE reverberates through the tents.
+
+                  CAPTAIN MARKS (О.S.)
+        Ten minutes to session. Ian --
+        you're up.
+
+Louise leans in to Ian to keep him focused on the problem
+in front of him.
+
+                  LOUISE
+        How does that help us?
+
+Ian frowns, thinking then, in a sudden Eureka moment, he
+gets it. Claps his hands --
+
+                  IAN
+                                                             80.
+
+
+             My god. It's not a problem at all,
+             it's a choice.
+
+    He charges off, right out of the tent.
+
+                       LOUISE
+             Ian? Ian, wait --
+
+
+104 EXT. BASE CAMP - CONTINUOUS                                    104
+
+    Louise trails after Ian, who's headed right for the pickup.
+
+                       LOUISE
+             What choice?
+
+                       IAN
+             That's what they're saying. It's
+             like a warning label on a power
+             tool. Whatever they're offering us,
+             we can use it to flourish for
+             millions of years, or we can do
+             something stupid and end it all
+             right now.
+
+    Halpern steps out of the Ops Tent with Weber and zeroes in
+    on Ian leading Louise for the Shell door.
+
+                       AGENT HALPERN
+             Doctor Banks!
+
+    Ian grabs Louise by the hand. He's not going in alone.
+
+                        IAN
+             Come on.
+
+    Louise hurries after Ian.
+
+                       AGENT HALPERN
+             No one authorized you back inside -
+             -
+
+    But the two pile into a pickup and Ian peels out.
+
+    Halpern moves for the second truck, where two HAZMAT-suited
+    TECHS arrive looking confused -- the rest of Ian's team.
+
+
+105 EXT. "THE SHELL" - DAY                                         105
+
+    Ian slides the pickup to a stop close to the scissor lift.
+    Louise hurries out on one side, Ian following. Neither of
+    them in suits or with respirators.
+                                                               81.
+
+
+    In the distance, the other truck is on approach, leaving a
+    rooster tail of dust behind it.
+
+    Ahead, the scissor lift DESCENDS from its high perch at the
+    surface, revealing Lasky and Combs in full suits.
+
+    Ian and Louise climb in as they step out. Louise makes eye
+    contact with Lasky.
+
+                       PRIVATE LASKY
+             You can't go in there.
+
+                       IAN
+             She's with me.
+
+    Ian punches the 'up' button on the lift.
+
+    Louise checks to see how close the other truck is, but then
+    her attention drifts back to Lasky and Combs, below.
+
+    They both just stand and watch them, clutching their
+    rifles.
+
+
+106 INT. INTERVIEW CHAMBER - MOMENTS LATER                           106
+
+    Louise and Ian arrive to find Abbott already here,
+    advancing for the glass barrier. Abbott's movement suggests
+    an urgency.
+
+                       LOUISE
+             Abbott?
+
+    The timeline draws itself on the glass. And beneath it a
+    symbol appears. Louise points to it:
+
+                       LOUISE
+             "Solve." It's all on you now.
+
+                       IAN
+             Is there a symbol for "choice?"
+             Both timelines are possible, it all
+             depends upon what we choose to do
+             with their offer.
+
+    Louise nods.
+
+    But then the tablet powers down; shorts out on its own.
+
+                       LOUISE
+             Wait, what just—
+                                                           82.
+
+
+Abbott writes on the barrier. Adding to the previous:
+
+                  LOUISE
+        "Solve here." He wants me to write
+        on the glass.
+
+                   IAN
+        Can you?
+
+                  LOUISE
+        It's a complicated sentence. I'm
+        trying to figure it out.
+
+Louise approaches the boundary, opposite Abbott.
+
+The wall becomes more and more transparent, revealing
+Abbott more intimately than ever before.
+
+The alien gestures at her.
+
+Louise tentatively puts up two hands, then lowers one.
+
+                   IAN
+        What?
+
+                  LOUISE
+        I can't. I can't draw both ends at
+        the same time.
+
+She holds her right hand up against the glass. It reacts by
+forming ink on Abbott's side.
+
+As she does, Abbott holds up one hand against the glass on
+his end, to the left of her position.
+
+Louise regards him curiously. Then she takes a breath, and
+begins to draw one end of this elegant, complicated circle.
+
+As she does, Abbott draws on his end. Working in the
+opposite arc toward Louise's starting point.
+
+                  IAN
+        What is he doing?
+
+Louise's eyes widen as she realizes --
+
+                  LOUISE
+        He's being my other arm. He's
+        finishing my sentence.
+
+The two co-authors finish simultaneously, connecting the
+arcs of their logograms into a circle.
+                                                              83.
+
+
+    REVEAL an angle showing Abbott's hand perfectly aligned
+    with Louise's, only the transparent wall between them.
+
+    QUICK POP:
+
+
+107 INT. LAKE HOUSE - HANNAH'S ROOM - DAY - FLASHBACK               107
+
+    Baby Hannah reaches up from her cradle, her little infant
+    hand outstretched like Abbott's. Louise reaching down to
+    let Hannah grip mom's pointer finger.
+
+
+108 INT. INTERVIEW CHAMBER - BACK TO SCENE                          108
+
+    Louise snaps out of that quick vision. She takes a step
+    back.
+
+                       LOUISE
+             That's -- That's it.
+
+    Looking at it head-on, the logogram is complete.
+
+    Then: A tapestry of heptapod logograms begin flowing across
+    the entire transparent wall, like wallpaper patterns.
+
+    They appear with dozens of GEOMETRIC EQUATIONS. Circles.
+    Angular shapes. Equations in heptapod with Arabic numerals
+    around them like liner notes. A waterfall of data. It pours
+    down the screen.
+
+    PRESSING IN on Ian, who smiles broadly.
+
+                       IAN
+             This is it.
+                  (into headset)
+             This is the gift!
+
+                       COLONEL WEBER (V.O.)
+                  (over headset)
+             We got it over here.
+                  (to Tech)
+             Christ, how much is this --
+                  (back to Ian)
+             It's two terabytes of data.
+
+    Abbott begins miming the "walk" action they taught earlier.
+    Simultaneously, a new set of logograms form from ink
+    splattered harshly against the glass --
+
+                       IAN
+             What is he saying?
+                                                               84.
+
+
+    Louise approaches the barrier, frowning.
+
+    Meanwhile, a faint BEEPING begins quickening somewhere in
+    the interview chamber.
+
+                       LOUISE
+             Those are our names --
+                  (translating)
+             Must leave?
+                  (to Abbott)
+             You're asking us to go?
+
+    She gets close now --
+
+    Ian approaches a DUFFEL BAG toppled by the glass barrier on
+    the floor, getting closer to the sound --
+
+    Pulling it away to reveal: A set of wired C4 CHARGES stuck
+    against the glass --
+
+                       IAN
+             Louise!
+
+    Ian runs to grab Louise --
+
+    Louise looks back at Abbott -- he's warning them --
+
+    Suddenly the gravity shifts in the chamber -- Louise and
+    Ian find themselves sliding AWAY from the barrier, right
+    back into the tunnel --
+
+    Louise looks one last time at Abbott and sees:
+
+    He's pressing his seven-fingered hand to the glass once
+    more. The way he did when she first shared her name.
+
+    This image shrinks as gravity takes Louise away from the
+    chamber and then with a cacophonous BOOM --
+
+    The interview chamber is ENGULFED IN A FIREBALL, with an
+    impact so hard Louise sees it SHATTER THE BARRIER --
+
+    Ian and Louise stop sliding, but then the firecloud rolls
+    toward them out the chamber and into the tunnel --
+
+    BLACK. NO SOUND.
+
+    A beat. Then:
+
+
+109 INT. LAKE HOUSE - HANNAH'S ROOM - MORNING - FLASHBACK            109
+                                                             85.
+
+
+    Louise and 4-year-old Hannah are on the bed. Louise has
+    fallen asleep with a storybook on her lap. Hannah leans in
+    and WHISPERS into Louise's ear --
+
+    Louise's eyes SNAP OPEN --
+
+
+110 INT. MEDICAL TENT - INFIRMARY - DAY                            110
+
+    TIGHT on Louise waking with a start.
+
+    A bandage has been taped to her forehead.
+
+    She sits up, and instantly regrets it. Her head hurts.
+
+    Kettler approaches.
+
+                       DR. KETTLER
+             Careful. You suffered a concussion.
+
+                       LOUISE
+             Ian -- Is he --
+
+                       DR. KETTLER
+             Three broken ribs and a sprained
+             ankle, but otherwise he's fine.
+
+                       LOUISE
+             How long was I out?
+
+                       DR. KETTLER
+             About two hours. Been strangely
+             quiet ever since.
+
+    Kettler tends to her, examines her pulse and temperature.
+
+                       LOUISE
+             Who--?
+
+                       DR. KETTLER
+             It was a couple of soldiers. They'd
+             been watching too much TV, afraid
+             the gift was going to kill us all.
+
+                       LOUISE
+             We don't need help from another
+             race to do that.
+
+                                                        81-82A.
+
+                       LOUISE
+                  (then)
+                                                              86.
+
+
+             What happened to them? The
+             soldiers.
+
+                       DR. KETTLER
+             The agency man, Halpern, he shot
+             them, but it was too late.
+
+    Outside: The entire camp is mobilized. One tent one the
+    edge of camp is in the process of being collapsed.
+
+    Even more sobering: A truck parks nearby, towing the
+    SCISSOR LIFT used to get up into the Shell.
+
+                       LOUISE
+             What's going on now?
+
+                       DR. KETTLER
+             Preparing to evacuate.
+
+    Louise tenses. She looks around -- Ian isn't in the tent.
+
+                       LOUISE
+             Where is Ian?
+
+                       DR. KETTLER
+             Weber came and got him, maybe ten
+             minutes ago. He wouldn't leave
+             until he knew you were okay. But
+             your whole tent is on the clock to
+             figure out whatever it is you were
+             given up there. Because we're
+             pulling up stakes.
+
+    Louise immediately gets up, past Kettler, and goes for the
+    tent exit.
+
+                       DR. KETTLER
+             Medevac is on the way!
+
+
+111 INT. SCIENCE TENT - CRYPTO ROOM - THAT MOMENT                   111
+
+    The alien data spreads across all the flatscreens.
+
+    Weber watches it, arms crossed.
+
+    Ian stands at one computer, cycling through some subset of
+    the data. His button-down shirt is loose, showing the tight
+    bandage wrap around his ribs underneath.
+
+                       IAN
+             Is this all of it? The feed wasn't
+             cut before the explosion?
+                                                  87.
+
+
+                  COLONEL WEBER
+        Not as far as we can tell.
+
+Ian is visibly relieved.
+
+                  IAN
+        We should combine my team with
+        Louise's and get them all working
+        on this.
+
+                  COLONEL WEBER
+        What is it?
+
+                  IAN
+        I don't know yet. But they're
+        finally speaking my language.
+
+Louise enters the tent, shoving the flap aside.
+
+Weber sees her coming.
+
+                  COLONEL WEBER
+        Doctor Banks --
+
+                  LOUISE
+        We are not leaving.
+
+                  COLONEL WEBER
+        Glad to see you're awake.
+
+                  LOUISE
+             (rolling through it)
+        We need to get back in there, talk
+        to them, explain what happened, it
+        wasn't our fault --
+
+                  COLONEL WEBER
+        You're not going back inside.
+
+                  LOUISE
+        We have to.
+
+                  COLONEL WEBER
+        What happened in there was an
+        attack. We can hope for the best,
+        but I have orders to prepare for a
+        retaliation. So we're leaving in
+        twenty-four hours.
+
+                  LOUISE
+        That's the wrong move. As long as
+        they stay, we have to stay. We have
+        to keep talking.
+                                                            88.
+
+
+    A low, STRANGE TONE reverberates through the tent.
+
+    This one is not the tone they've heard before.
+
+    And it's accompanied by a RUMBLE.
+
+
+112 EXT. SCIENCE TENT - DAY                                       112
+
+    Louise, Ian and Weber emerge from the tent to see:
+
+    The Shell lifts higher into the sky.
+
+    It rises, vibrating everyone's rib cages, the air beneath
+    it undulating as if reflected on water.
+
+    Then, several hundred feet up -- it stops.
+
+    And hovers. Parked there. Staring down.
+
+                       LOUISE
+             Well. They're not leaving.
+
+                       COLONEL WEBER
+             Why does this feel worse.
+
+
+113 EXT. SCIENCE TENT - NIGHT                                     113
+
+    Outside, the canopy of stars above is staggering.
+
+    The Shell remains in the sky, partially eclipsing the moon.
+
+    Tilting down to find the Ops Tent, bustling with activity.
+
+
+114 INT. SCIENCE TENT - NIGHT                                     114
+
+    Close in: the data playing out on a large flatscreen. The
+    twelve landing site MONITORS are all black.
+
+    Ian and Louise sit together, down from their early high of
+    receiving the gift. Now they face a mountain of material.
+
+                       IAN
+             I don't get it.
+
+                       LOUISE
+             We've only been at this an hour.
+
+                       IAN
+             No, I mean -- what is it?
+                                                            89.
+
+
+                       LOUISE
+             I recognize maybe one in every
+             twenty logograms. It will take some
+             time to unpack the rest.
+
+                       IAN
+             But look at their math. This is
+             their code; their building blocks.
+             But I don't know where anything
+             starts or ends1 It may as well be
+             random.
+
+    Strange RORSCHARCH-LIKE DIAGRAMS animate on screen.
+
+                       LOUISE
+             It can't be random.
+
+                        IAN
+             I know.
+
+    Ian gets up and starts pacing. Stares at the dark monitors.
+
+                       IAN
+             I wonder how the Brits are doing.
+
+    He kicks at the back of his chair and storms off.
+
+    Louise is too tired to get up and go after him. Her eyes
+    are heavy and she's still wounded from the explosion. She
+    rakes her fingers through her long hair and stares at the
+    screens.
+
+                       HANNAH (O.S.)
+             What's this term here?
+
+
+115 INT. LAKE HOUSE - LOUISE'S STUDY - NIGHT - FLASHBACK          115
+
+    Louise reads papers at her desk. She runs her fingers
+    through her short hair, like she just did.
+
+    Her study is walled with books, and her desk allows her a
+    view through the open door all the way down the hall.
+
+    Hannah (age 12) steps to the threshold. Leans against it.
+
+                        HANNAH
+             Mom.
+
+                        LOUISE
+             Sweetie.
+
+                        HANNAH
+                                                               90.
+
+
+             What's the term for that thing,
+             like a technical term, where we
+             make like a deal, and we both get
+             something out of it?
+
+                       LOUISE
+             A compromise?
+
+                         HANNAH
+             No.
+
+                       LOUISE
+             You remember what it sounds like?
+
+                       HANNAH
+             Like it's a competition but both
+             sides end up happy.
+
+                       LOUISE
+             Like a win-win?
+
+                       HANNAH
+             More science-у than that.
+
+                       LOUISE
+             You want science, call your father.
+
+    Louise returns to her papers. Hannah frowns.
+
+                       HANNAH
+             You always do that. You and Dad.
+             Put in just a little effort and
+             then kick me to the other parent.
+
+                       LOUISE
+             Hannah, that's not fair.
+
+                       HANNAH
+             It really isn't!
+
+    She storms off down the hall. Louise watches her go. Tries
+    to think of what to say.
+
+                         IAN (V.O.)
+             Louise --
+
+
+116 INT. SCIENCE TENT - LOUISE'S DESK - DAY                          116
+
+    Louise snaps her head up, having drifted off to sleep at
+    her work table surrounded by computers .
+
+                         IAN
+                                                        91.
+
+
+        Sorry.
+
+                  LOUISE
+        No. I'm up.
+             (then)
+        What time is it?
+
+                  IAN
+        That question is irrelevant, if
+        you're a heptapod.
+
+He smiles at her. Eager.
+
+                  LOUISE
+        You cracked something. Didn't you.
+
+Ian nods. He grabs a bottle of HAND SANITIZER stowed atop a
+comms shelf and his pen-sized laser pointer.
+
+                  IAN
+        I found something that demonstrated
+        Fermat's Principle of Least Time.
+
+Ian shines the laser at the sanitizer and oddly, we can SEE
+THE BEAM cutting through the bottle. Ian moves the pointer
+as he talks, demonstrating:
+
+                  IAN
+             (beat)
+        Light always knows the shortest
+        route to a point in terms of time,
+        even if it has to change course.
+        For a long time we thought it was
+        cheating. Like how does it know the
+        shortest path is this curve?
+
+                  LOUISE
+        The heptapods know?
+
+                  IAN
+        More than that.
+
+He triggers an animation sequence of data that looks like a
+three-dimensional network of nodes. Then one strand GLOWS
+inside the network, linking two disparate parts.
+
+                  IAN
+        It's how they see everything. How
+        they travel. Except the shortest
+        path is outside space and time.
+        With this, we could build a space
+        shipwith no rockets. We'd just --
+             (snaps fingers)
+                                                               92.
+
+
+             -- and we're there.
+
+    Louise catches her breath.
+
+                       LOUISE
+             It's not a weapon.
+
+                       IAN
+             Yeah. Well -- Nobel thought the
+             same of dynamite --
+
+    Nonetheless, Louise is visibly relieved.
+
+                       IAN
+             There's something else. At the tail
+             end of the code.
+
+    Ian makes a few keystrokes on a monitor and brings up an
+    image on a large flat-screen.
+
+    THE SCREEN shows a series of intertwined logograms. Like a
+    Persian rug of alien data.
+
+    Ian magnifies one corner revealing:
+
+    "1 / 12" -- followed by an elegant little symbol.
+
+                       IAN
+             They used Arabic numerals. "One of
+             twelve."
+
+                       LOUISE
+                  (a-ha moment)
+             Do you know what this means?
+
+
+117 INT. OPERATIONS TENT - "WAR ROOM" - DAY                          117
+
+    Connected to the Operations tent, but made private, walled
+    off from the screens and the noise. Mainly it's just a
+    conference table, some comms gear, and a world map.
+
+    Louise, flanked by Ian, confronts Colonel Weber at the
+    conference table with Agent Halpern.
+
+    She holds up the printout.
+
+                       LOUISE
+             This is just one piece of it. What
+             they're telling us, right here, is
+             that ours is one of twelve. We're
+             part of a larger whole.
+                                                           93.
+
+
+                  AGENT HALPERN
+        Or we're one of twelve contestants
+        for the prize.
+
+                  LOUISE
+             (to Weber)
+        Why do I have to talk to him?
+
+                  COLONEL WEBER
+        You did your job, now he gets to
+        run the show.
+
+                  LOUISE
+             (to Halpern)
+        We need to talk to the other sites
+        and help them with whatever they've
+        gotten from the other heptapods.
+
+                  AGENT HALPERN
+        In case you don't remember, we're
+        blacked out. So are the other
+        nations. We're on our own.
+
+                  LOUISE
+        This is telling us the pieces go
+        together.
+
+                  AGENT HALPERN
+        And I'm telling you no one else
+        believes that.
+
+Halpern swivels his laptop around and shows a recording:
+
+                  AGENT HALPERN
+        Two hours ago we pulled this audio
+        off a secure channel in Russia.
+        Someone on the science team there
+        was broadcasting wide.
+
+He clicks playback, and we see a screen go black with
+English translation appearing as the recording plays over
+the sound of pounding on the door --
+
+                  RUSSIAN SCIENTIST (V.O.)
+        Their final words translate to,
+        "There is no time, many become
+        one." I fear we have all been given
+        weapons because we answered the
+        timeline wrong, please, if you --
+
+With the CRACK of a gunshot the recording abruptly ends.
+
+Louise begins to fray at the edges. Staving off panic:
+                                                           94.
+
+
+                  LOUISE
+        Well, I mean, there are ways to
+        interpret what he said --
+
+                  AGENT HALPERN
+        I don't need an interpreter to know
+        what this means. Russia just
+        executed one of their own experts
+        to keep their secrets.
+
+He clicks through to show on his monitor:
+
+Every Shell now hovers over their site. From Hokkaido to
+Wales, the massive spheres hang in the air. Waiting.
+
+                  LOUISE
+        "Many become one" could just be
+        their way of saying "some assembly
+        required -- "
+
+                  AGENT HALPERN
+        Why hand it out to us in pieces?
+        Why not just give it all over?
+
+                  LOUISE
+        What better way to force us all to
+        work together, for once?
+
+Halpern looks to the other people in the room. Weber
+studies him carefully. Ian nods, in support of Louise.
+
+                  AGENT HALPERN
+        Even if I did believe you, how in
+        the world are you going to get
+        anyone else to play along and give
+        up their data?
+
+Ian jumps on this one:
+
+                  IAN
+        We offer our own in return.
+
+Halpern looks to Weber. Is he serious?
+
+                   AGENT HALPERN
+        A trade.
+
+                  IAN
+        So it's a non-zero-sum game.
+
+Louise hears this and it dawns on her --
+                                                               95.
+
+
+118 INT. LAKE HOUSE - LOUISE'S STUDY - NIGHT - FLASHBACK             118
+
+    Hannah storms down the hall. Picking up right where we left
+    her from the previous flashback.
+
+    Louise sits forward, with that same look of realization:
+
+                       LOUISE
+             A non-zero-sum game!
+
+    Hannah stops. Turns back around.
+
+                       HANNAH
+             That's it! Yes! Thank you, Mom.
+
+    Hannah shuffles back into her room.
+
+    Louise slowly touches her face, an even deeper question now
+    creeping into her mind: Did I just alter my own past?
+
+                       COLONEL WEBER (V.O.)
+                  (pre-lap)
+             What did you just do?
+
+    Louise seems to hear the voice beside her and look --
+
+
+119 INT. OPERATIONS TENT - "WAR ROOM" - BACK TO SCENE                119
+
+    Weber stands at her side. Behind him, by a set of comms
+    stations, Halpern and his team are on phones.
+
+                       LOUISE
+             I'm -- I'm sorry?
+
+                       COLONEL WEBER
+             Nobody locks horns with the CIA
+             like that. What motivated you?
+
+    Louise is still a bit lost, reeling from the effect she
+    just had on her own memory.
+
+                       LOUISE
+             Family.
+
+    Weber is surprised and confused by this answer.
+
+    They're interrupted by Halpern, who steps up with:
+
+                       AGENT HALPERN
+                                                              96.
+
+
+             Nine of the landing sites have gone
+             total comms blackout. Only way to
+             reach them is to physically drive
+             there and yell at the border guard.
+             Which we're doing, but it won't be
+             fast enough.
+
+                       LOUISE
+             There's gotta be some way to get a
+             message to them.
+
+                       AGENT HALPERN
+             To our allies, maybe, but at this
+             stage it's too little too late.
+             What we need is to get all the
+             nations online before one starts
+             global war, and there's no way for
+             us to reach them.
+
+    It's a living nightmare for Louise; all that needs to
+    happen is for people to talk to each other, but no one
+    will. Then:
+
+                       IAN (O.S.)
+             Yes there is.
+
+    All eyes on Ian.
+
+                       IAN
+             It's right over our heads.
+
+    He taps a screen displaying the Shell hovering outside.
+
+                       COLONEL WEBER
+             Maybe you see how that's
+             problematic for us now.
+
+    PRESSING ON LOUISE, as the others discuss options:
+
+                       AGENT HALPERN (O.S.)
+             And if their intent is global war?
+
+                       IAN (O.S.)
+             Then at least we know.
+
+    QUICK POP:
+
+
+120 INT. CYLINDER CHAMBER - DAY                                     120
+
+    Louise is in a dark space of unknown dimension, lit from a
+    bright light on one side, wearing a breathing mask, her
+    hair dancing weightlessly around her face—
+                                                            97.
+
+
+121 INT. OPERATIONS TENT - "WAR ROOM" - BACK TO SCENE             121
+
+    She snaps out of the vision, looks around:
+
+    The men are still arguing.
+
+                       AGENT HALPERN
+             I'm not having our decisions
+             outsourced to the enemy --
+
+                       IAN
+             They aren't the enemy, when have
+             they made any act of aggression
+             toward us?
+
+                       AGENT HALPERN
+             Maybe this is their way of being
+             aggressive!
+
+                       COLONEL WEBER
+             That isn't the question.
+
+                       IAN
+             Then what is?
+
+                       COLONEL WEBER
+             How do we get you back in the room
+             when it's half a mile straight up?
+
+                       IAN
+             I'm sure Louise would --
+
+    They all look to where Louise was standing.
+
+    She's gone now.
+
+
+122 EXT. OPERATIONS TENT - DAY                                    122
+
+    It's raining when Ian, Halpern, and Weber step out. Halpern
+    is first to point out:
+
+                       AGENT HALPERN
+             Vehicle's missing.
+
+    Another low BASS TONE emanates from the ship -- and it
+    seems to PUSH THE CLOUDS around it like a ripple on water.
+
+
+123 INT. "THE SHELL" - CONTINUOUS                                 123
+                                                               98.
+
+
+    FROM BLACK, a circle of BLACK separates and shrinks. It
+    takes us a moment to realize we're inside the ship, looking
+    straight down as a cylinder descends to the ground.
+
+
+124 EXT. OPERATIONS TENT - CONTINUOUS                                124
+
+    Ian grabs a pair of binoculars from an OFFICER and looks
+    out in the direction of where the Shell had been.
+
+    BINOCULARS POV:
+
+    Through magnification he sees the cylinder descend.
+
+    And where it lands is close to where LOUISE now waits for
+    it.
+
+    Both of them are tiny, almost silhouettes at this range.
+
+    But it looks like Louise has a breathing mask in her hand.
+
+                       AGENT HALPERN (O.S.)
+             What the hell is she doing?
+
+    She steps into the cylinder.
+
+                       IAN
+             What you hired her to do.
+
+
+125 INT. CYLINDER CHAMBER - CONTINUOUS                               125
+
+    Plain, dimly-lit from below, cramped.
+
+    Louise puts her fingers on the inside wall, feeling it --
+
+    -- and then the cylinder seals her up inside, in darkness.
+
+
+126 EXT. LANDING SITE - CONTINUOUS                                   126
+
+    The cylinder elevator lifts off. Noiselessly.
+
+
+127 INT. CYLINDER CHAMBER - CONTINUOUS                               127
+
+    Louise can feel the acceleration in her stomach, and in the
+    pitch of the low tone reverberating inside.
+
+    She looks around for anything else in the chamber with her.
+    No windows. No views outside.
+                                                               99.
+
+
+    Outside the walls of the chamber, another metallic ROAR.
+    Followed by a distant HIGH PITCH.
+
+    Louise waits for a portal to open. None do. She's trapped
+    inside this space.
+
+                         LOUISE
+             -- Hello?
+
+    At her feet, light sets the floor aglow.
+
+    And then a luminous GAS seeps in and begins to rise around
+    her. Filling the cylinder.
+
+                       LOUISE
+             Oh god - oh god oh god --
+
+    Louise puts on the oxygen mask as the barrier rises up to
+    her shoulders, then her neck and finally up over her head -
+    -
+
+    UNDERNEATH, the world is bright and mostly clear, and yet -
+    -
+
+    Louise's hair drifts up around her face as if she were
+    underwater. Louise breathes through the mask. Looks around.
+
+    A portal opens up opposite her. Light shines on her face.
+
+
+128 INT. "THE SHELL" - CONTINUOUS                                    128
+
+    Louise steps out to a dimensionless sea of bright mist.
+
+    No walls or ceiling.
+
+    She looks up to see what might be a heptapod drifting into
+    the white void far above her.
+
+    Her breath is shallow. She is in a truly alien place now.
+
+    There is no reference for this experience.
+
+    Something dark and enormous "swims" through the mist,
+    passing by her, always just far enough to make it
+    impossible to see clearly -- it could be a swarm of small
+    things, or something the size of a blue whale.
+
+    And then a heptapod approaches from behind her. Louise
+    spins around in time to see it as its seven limbs advance
+    to her.
+                                                          100.
+
+
+Beat. She finally controls her breathing.
+
+                    LOUISE
+        Costello?
+
+Costello stands with limbs poised before her --
+
+Then the mist clears a bit, revealing more of his heptapod
+body. The limbs and torso? What seemed to be the entire
+form of the alien? Not so. It is more like the fingers and
+hand of a much larger being.
+
+Costello towers over her. She looks up, in awe.
+
+And then it writes on the invisible floor beneath them.
+With two fingers. Ink sluicing out from them into a
+logogram.
+
+SUBTITLES: "Louise."
+
+Louise takes a breath.
+
+                  LOUISE
+        Where is Abbott?
+
+Costello moves the ink around with one appendage and a new
+logogram forms.
+
+SUBTITLES: "Abbott is dead."
+
+Louise holds her stomach, she's hit so hard by this.
+
+                  LOUISE
+        I'm sorry. We are sorry.
+
+The logogram ink shifts again. Louise looks down to read
+it.
+
+SUBTITLES: "Abbott chooses to save Louise and Ian."
+
+Another ink-shift for a second logogram:
+
+SUBTITLES: "Louise has question?"
+
+Louise remembers her mission. Her reason for making the
+trip.
+
+                  LOUISE
+        I need -- need you to send a
+        message. To the other sites.
+
+Costello replies by modifying the first logogram.
+                                                         101.
+
+
+SUBTITLES: "Message here. Louise has weapon."
+
+                  LOUISE
+        That's just it, I --
+             (directly)
+        What is your purpose here?
+
+Costello stares down at her.
+
+Inky globules drift in from the mist, showering not
+randomly but into patterns. Circles. A hundred logograms. A
+thousand.
+
+Click-click , flutter-whisper-tone. SUBTITLES: "The story
+of our people. A span of two point nine billion years."
+
+Louise marvels at it.
+
+A chain of them light up at her feet, shifting for her to
+see. Louise reads it aloud:
+
+                  LOUISE
+        "Three thousand years from this
+        point, humanity helps us. We help
+        humanity now. Returning the favor."
+             (to Costello)
+        You know both your past and your
+        future -- How?
+
+A podium screen rises between Louise and Costello. The
+timeline riddle appears. Up close, more details are
+visible.
+
+It's more artful than a simple line segment with a large
+bulbous flourish at one end. There are little stems and
+curls along the line. And then that familiar logogram --
+
+SUBTITLES: "Solve."
+
+                  LOUISE
+        Did we answer wrong?
+
+A NEW SERIES OF SYMBOLS: "Many answers given. Many become
+one. Only one matters."
+
+The message the Russian Scientist translated, in part.
+Louise looks back at the timeline.
+
+                  LOUISE
+        But I don't understand, it's time -
+        -
+             (then)
+                                                             102.
+
+
+             Time. Wait. Is it? What's the
+             logogram for time --
+
+    Louise is seized with a realization. She reaches out and
+    touches the timeline on the screen. Nudges it. It moves.
+
+    From both ends, she wraps the line into its own circle an
+    exact representation of the logogram. It pulses when she
+    completes the action.
+
+                       LOUISE
+             Time --
+
+    Then, a few more inky shapes bleed into the symbol for a
+    crucial sentence.
+
+    The awareness causes a memory attack --
+
+    QUICK POPS:
+
+
+129 EXT. LAKE HOUSE - DAY - FLASHBACK                               129
+
+    Hannah age 8, skipping stones in the lake.
+
+
+130 EXT. MONTANA LANDING SITE - DAY - FLASHBACK                     130
+
+    The Shell landing in Montana.
+
+
+131 INT. LAKE HOUSE - LOUISE'S BEDROOM - NIGHT - FLASHBACK          131
+
+    Louise at home alone.
+
+
+132 INT. "THE SHELL" - BACK TO SCENE                                132
+
+    Louise sucks in a breath, mentally returning to present day
+    in a panic. Even more confused and frightened.
+
+    Costello retreats from her, as she translates the sentence
+    --
+
+                       LOUISE
+             "There is no linear time"--
+                  (then)
+             Wait! What is happening to me? What
+             do I do?
+
+    The ship shudders. The THRUM returns as the cylinder
+    descends, to seal Louise inside once more.
+                                                              103.
+
+
+    Costello turns to her, some of his arms float in the air
+    like the strands of Louise's hair. Despite his unearthly
+    figure, he seems to look upon her with tenderness. A final
+    logogram forms on the floor between them:
+
+    SUBTITLES: "You already have. You choose life."
+
+    The THRUM increases in urgency. That same cylinder rises
+    around her feet to encase her once again.
+
+                       LOUISE
+             I don't understand -- WAIT --
+
+    With a ROAR, the cylinder seals her up, into darkness.
+
+
+133 EXT. BASE CAMP - DAY                                             133
+
+    From the top of the hill, the massive Shell begins to TURN
+    on itself. Rotating, yet remaining in place. Like spinning
+    a billiard ball on its axis.
+
+    The ovoid craft reverses its hemispheres until finally it's
+    sitting upside-down from its previous position.
+
+    Louise emerges from behind the hill, running toward us. Her
+    hair is damp from the exposure to the alien atmosphere.
+
+    Three pickup trucks rush toward her. SIX MEN in full HAZMAT
+    suits grab LOUISE, as the spaceship starts to leave the
+    ground with an ASTONISHING SOUND.
+
+    Ian is among the men. He calls her name but it's drowned
+    out by the sound of the ship overhead.
+
+    The spaceship then disappears in the clouds.
+
+    Everyone outside base camp stares up at the sky, every face
+    fretting and worried about what it means.
+
+    Weber is among the six. He steps close to Louise, grim.
+
+                       COLONEL WEBER
+             You got everyone's attention with
+             your little field trip.
+
+                       IAN
+             I hope you got good news, too.
+
+    Captain Marks rushes to Weber:
+
+                      CAPTAIN MARKS
+                                                           104.
+
+
+             Sir! We're getting the order from
+             command to evacuate immediately.
+
+                         COLONEL WEBER
+             What for?
+
+                       CAPTAIN MARKS
+             Big Domino.
+
+    Captain Marks and Weber move for the War Room tent.
+
+    Louise gives Ian a pained look. Like she's lost and afraid.
+
+                       LOUISE
+             Ian -- I don't know what it means.
+
+    Louise wobbles a step. Ian holds onto her.
+
+                       IAN
+             Whoa now. I got you.
+
+    Louise looks down at her boots --
+
+    They're covered in mud from the slog across the field --
+
+
+134 EXT. LAKE HOUSE - DAY - FLASHBACK                             134
+
+    Louise stands on the back patio, one hand on a deck post.
+    Her boots are covered in mud. She looks around. It's
+    raining.
+
+    A 7-year-old Hannah comes in from the rain and sits down on
+    the bench at the patio.
+
+    Louise reaches up and feels the length of her hair. Looks
+    at her hands. Notes her wedding ring -- she's still wearing
+    it.
+
+                       HANNAH (O.S.)
+             Help me, mommy.
+
+    Hannah struggles to get her muddy shoes off.
+
+    Louise bends down and starts to work the laces.
+
+                       LOUISE
+             Baby? What day is it, do you know?
+
+                       HANNAH
+             Sunday.
+                  (then)
+                                                       105.
+
+
+        Are you gonna leave me like Daddy
+        did?
+
+Louise snaps back to full attention on her daughter.
+
+                  LOUISE
+        Hannah, honey, your father didn't
+        leave you. You'll spend time with
+        him this weekend.
+
+                  HANNAH
+        He doesn't look at me the same way
+        anymore.
+
+Louise touches Hannah's hair. She has so much love for her
+daughter.
+
+                  LOUISE
+        Oh, god. I'm -- That was my fault.
+        I told him something he wasn't
+        ready to hear.
+
+                    HANNAH
+        What?
+
+                  LOUISE
+        Believe it or not, I know something
+        that's going to happen. I can't
+        explain how I know, I just do. When
+        I shared it with Daddy, he got real
+        mad. Said I made the wrong choice.
+
+                  HANNAH
+        Why? What's going to happen?
+
+                  LOUISE
+        It has to do with a very rare
+        disease. And it can't be stopped.
+        Kind of like how you are when you
+        get focused on swimming, or poetry,
+        or any of the amazing things you
+        share with the world.
+
+                  HANNAH
+        I'm unstoppable.
+
+Said like a little mad scientist. Louise brings Hannah in
+close, to hide the fact that she's trying not to cry.
+
+Louise breathes in the smell of Hannah's hair.
+
+                     LOUISE
+                (to herself)
+                                                           106.
+
+
+             Hold onto this moment --
+
+
+135 EXT. BASE CAMP - BACK TO SCENE                                135
+
+    Ian holds onto Louise.
+
+                       LOUISE (V.O.)
+             Hold onto this moment.
+
+    She realizes she's back. Sucks in a breath. She's crying.
+
+                       IAN
+             What just happened?
+
+                       LOUISE
+             I remembered something.
+
+                       IAN
+             What was it?
+
+    Louise looks into his eyes. Then pulls him in for a hug.
+
+                       LOUISE
+             Why my husband left me.
+
+    Ian didn't expect that answer.
+
+                       IAN
+             You were married?
+
+    Louise wipes her eyes and struggles to find her game face.
+
+
+136 INT. SCIENCE TENT - MOMENTS LATER                             136
+
+    The translators, scientists, and techs are gone here. ARMED
+    SOLDIERS now populate the place, tearing down all non-
+    essential material as fast as possible. Halpern supervises.
+
+    Louise rushes in and gets to a keyboard at her hutch. She
+    calls up the heptapod data on the screens. Spreads it to
+    every available screen. Loops and whorls of logograms, all
+    strung together like DNA strands. Geometric formulae
+    animate around the cursive writing. A wall of alien
+    graffiti.
+
+    Ian hurries in behind Louise.
+
+                       IAN
+                                                             107.
+
+
+             It's too late for this. We've only
+             cracked maybe one percent of it,
+             it'll take weeks --
+
+    Louise puts up her hand, silencing Ian. She closes her
+    eyes.
+
+
+137 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK              137
+
+    Louise pulls a hardback book from a box of advance copies.
+    Its cover: "The Universal Language" by Dr. Louise Banks.
+
+
+138 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK              138
+
+    The table of contents show twelve chapters.
+
+
+139 INT. LAKE HOUSE - LOUISE'S STUDY - DAY - FLASHBACK              139
+
+    Hannah's drawing is now framed.
+
+                       HANNAH (V.O.)
+             That's supposed to be a book.
+
+    The girl's handwriting: "Mommy and Daddy save the world."
+
+
+140 INT. SCIENCE TENT - BACK TO SCENE                               140
+
+    Louise's eyes snap open, and she takes in the sight of all
+    the alien symbols once more.
+
+    She lets out a ragged breath, in awe of it.
+
+                       LOUISE
+             I can read it --
+                  (then)
+             Ian, I know what it is.
+
+    A new SIREN now begins to wail around the campsite. Louise
+    and Ian look up, unsure what to do.
+
+    Colonel Weber enters and marches for them with Captain
+    Marks behind him --
+
+                       COLONEL WEBER
+             You two: We're evacuating you right
+             now. Come on.
+
+                       IAN
+                                                             108.
+
+
+             What's happening?
+
+                       COLONEL WEBER
+             War, that's what.
+
+    Weber grabs onto them both and wills them into motion.
+
+                       LOUISE
+             Wait -- I figured out the gift!
+
+                       COLONEL WEBER
+             Good for you.
+
+    He ushers them outside --
+
+
+141 EXT. BASE CAMP - HELIPAD - CONTINUOUS                           141
+
+    -- and they keep marching for the helipad, despite Louise
+    trying to slow things down.
+
+                       LOUISE
+             It's their language. They gave it
+             all to us. It's in twelve parts
+             because I separated their first
+             symbol into twelve segments -- and
+             they knew I would. Understand?
+
+                       COLONEL WEBER
+             So we can learn heptapod if we
+             survive. Not much of a gift.
+
+                       LOUISE
+                  (emphatic)
+             When you learn it, truly learn it,
+             you perceive time the way they do.
+             It's nonlinear.
+
+    Weber stops as they're two dozen feet from the chopper. He
+    has to shout over the sound of the rotors and the siren.
+
+                       COLONEL WEBER
+             I see we are out of time. We did
+             our best, but it wasn't enough. The
+             dominoes are falling now.
+
+    Weber gestures at Ian to suggest: Get her on the chopper.
+    Then he turns and hurries back for the ops tent.
+
+    Louise stands, rigid with tension. Ian tugs at her:
+
+                        IAN
+             Come on!
+                                                            109.
+
+
+    Louise whirls around to face Ian but when she does --
+
+
+142 INT. BALLROOM - NIGHT                                          142
+
+    -- she is dressed in a RESPLENDENT RED EVENING GOWN. Her
+    hair is done up. She looks stunning.
+
+    All around her is a cocktail party in full swing. Classical
+    music plays from a live band nearby.
+
+    Louise looks around and takes in the ambiance. A dozen
+    national FLAGS hang on the walls as a symbol of unity. On a
+    stage (currently unoccupied), that heptapod logogram for
+    "time" is on prominent display.
+
+    The crowd of PARTYGOERS is international and dressed up.
+
+    One of them sets their sights on Louise and advances: A
+    distinguished Chinese man (65) in a tailored tuxedo. She
+    has seen him before, on monitors. GENERAL SHANG.
+
+                       GENERAL SHANG
+             Doctor Banks, what a delight.
+
+                       LOUISE
+             General Shang. The pleasure is
+             certainly mine.
+
+    They shake hands, but Louise offers a slight bow.
+
+                       GENERAL SHANG
+             Your President said he was honored
+             to host me at the celebration, but
+             I confess I am only here because I
+             wanted to meet you in person.
+
+                       LOUISE
+             Me? Well. I'm flattered.
+
+                       GENERAL SHANG
+             Eighteen months ago, you did
+             something -- remarkable. Something
+             not even my superior has done.
+
+                       LOUISE
+             What was that?
+
+                       GENERAL SHANG
+             You changed my mind. In a way, you
+             are the reason for the unification.
+             All because you reached out to me
+             on my private number.
+                                                             110.
+
+
+                       LOUISE
+             Your private number? General, I
+             don't know what, uh --
+
+    Shang shows her his sleek SMARTPHONE. It's open to an ID
+    screen with a number. She accepts it, staring at the
+    screen.
+
+                       GENERAL SHANG
+             Now you do. I do not claim to know
+             how your brain works, but I believe
+             it's important you see that.
+
+                       LOUISE
+                  (beat)
+             Wait. I called you, didn't I --
+
+                       GENERAL SHANG
+             You did. And you spoke to me. I
+             will never forget what you said.
+
+                       LOUISE
+             General, you must forgive me. I've
+             had a bit to drink tonight. I might
+             need a reminder.
+
+                       GENERAL SHANG
+             Yes. You warned me of this as well.
+
+    He looks over his shoulder, to make sure no one is
+    eavesdropping. Then he leans close to her.
+
+    She turns her head so he can speak into her ear.
+
+    The classical MUSIC plays and the other Partygoers chat,
+    providing a drone of noise.
+
+    Louise's eyes widen. She puts her hand over her mouth.
+
+    Above the music and chatter, that high RINGING TONE builds
+    up again, overtaking it all --
+
+    Louise blinks and --
+
+
+143 EXT. MONTANA LANDING SITE - DAY                                 143
+
+    She's right back where she was a moment ago. Ian tugs at
+    her to get into the helicopter.
+
+    Louise sucks in a breath like she was just pulled from cold
+    water. The memory of the future leaves her shaking.
+                                                              111.
+
+
+                        IAN
+             Come on!
+
+    But she doesn't follow him. She turns and runs for the
+    tents. Ian runs after her.
+
+                        IAN
+             Louise!
+
+
+144 INT. NEW OPERATION TENT                                          144
+
+    Halpern watches a monitor as others around him pack up for
+    evacuation. One of the SYSTEMS OPERATORS seated near him
+    frowns and gets Halpern's attention.
+
+                       SYSTEMS OPERATOR
+             Sir! A sat line here is dialing
+             China.
+
+                       AGENT HALPERN
+             Here? What do you mean "here"?
+
+                       SYSTEMS OPERATOR
+             Base Camp, sir.
+
+
+145 INT. CORRIDOR                                                    145
+
+    Louise hurries down the corridor. Sat phone to her ear.
+    Waiting for an answer on the other end of the line.
+
+                       LOUISE
+             C'mon, c'mon --
+
+    A voice on theother end answers. It's Shang. Louise gets a
+    jolt of hope.
+
+
+146 INT. NEW OPERATION TENT                                          146
+
+    Halpern is now leaning over the Systems Op, focused on his
+    screen.
+
+                       AGENT HALPERN
+             Whose phone is it?
+
+                       SYSTEMS OPERATOR
+             Sir, it's your phone.
+
+    Shocked and alarmed, Halpern looks to the table for his
+    phone. It's not there. Now Halpern is on the move, as he
+    goes:
+                                                             112.
+
+
+                       AGENT HALPERN
+                  (to CIA)
+             Search the base now!
+
+
+147 INT. CLEAN ROOM                                                 147
+
+    Louise enters the clean room, speaking urgently with Shang.
+
+                       LOUISE
+                  (in Mandarin)
+             General, I'm calling from the
+             American site.
+
+
+148 INT. CORRIDOR                                                   148
+
+    CIA and Soldiers search the base.
+
+
+149 INT. CLEAN ROOM                                                 149
+
+    Louise speaks with Shang as two soldiers arrive in the
+    clean room.
+
+    Louise locks herself in the chamber, still talking to
+    Shang.
+
+                       LOUISE
+                  (in Mandarin)
+             Your wife spoke to me in a dream,
+             she said you'd help save the world
+             by being braver than everyone else
+             --
+
+                       SOLDIER #1
+                  (in headset, to Systems
+                  op)
+             We found the source of the call,
+             waiting for instructions.
+
+    Tan arrives from Yellow Tunnel, opens the door of the
+    chamber.
+
+                       IAN
+             Louise! What are you doing?
+
+                       LOUISE
+             Changing someone's mind -- give me
+             20 seconds.
+
+    Ian gets in the chamber and locks the door.
+                                                             113.
+
+
+    Halpern arrives from Yellow Tunnel and draws a gun. The two
+    soldiers raise their rifles on the other side of the
+    chamber.
+
+    Ian locks the second door and puts himself between the
+    soldiers' guns and her.
+
+                       HALPERN
+             Drop the phone now or we shoot!
+
+    Ian protects Louise from both sides with his body.
+
+                       IAN
+             You can't stop this now.
+
+                       LOUISE
+                  (in Mandarin)
+             War doesn't make winners, only
+             widows.
+
+    She listens briefly and then drops the phone.
+
+                       LOUISE
+             I already did.
+
+
+150 EXT. HELICOPTER FIELDS                                          150
+
+    Weber, talking to officers, is interrupted by another
+    officer.
+
+                       OFFICER
+             Colonel, urgent message from the
+             Pentagon.
+
+
+151 INT. CLEAN ROOM                                                 151
+
+    On the walkies: "China is standing down!!!"
+
+    Halpern, hearing the news, lowers his weapon.
+
+                       IAN
+             What did you do?
+
+                       LOUISE
+             I repeated what hiswife told him
+             before she passed away --
+
+                       IAN
+             How did you know that?
+                                                              114.
+
+
+                        LOUISE
+             He told me.
+                  (ALT)
+             He will tell me.
+
+
+152 INT. SKYPE ROOM                                                  152
+
+    Weber and Halpern enter into the Skype room followed by
+    Louise and Ian.
+
+    One of the monitors at another nation's site comes to life.
+    CHINA. On screen is GENERAL SHANG. He looks shaken to his
+    core. In articulate English, he announces.
+
+                       GENERAL SHANG
+             China is standing down. Instead, we
+             offer the information we received
+             at our site -- the "gift."
+                  (beat)
+             It is one of twelve.
+
+    A second monitor awakens.
+
+                       BRITISH SCIENTIST
+             We won't be upstaged by you blokes.
+             Uploading our data.
+
+    Then a third monitor returns to life. Australia.
+
+    Everyone in the room starts to breathe again.
+
+
+153 EXT. BASE CAMP - MOMENTS LATER                                   153
+
+    Louise steps out with Ian close behind.
+
+                       IAN
+                  (amazed yet scared)
+             Are you all right?
+
+    Louise is simply overcome by the emotion of what she just
+    experienced. She looks at Ian in an entirely new way. It's
+    a moment where she wants to tell him everything, and
+    doesn't know where to start.
+
+    And there's a tsunami of joy, sorrow, pain, and hope
+    hitting her as she realizes where she is again.
+
+    Finally, she nods at Ian, wiping her face. Tenderly:
+
+                       LOUISE
+                                                           115.
+
+
+             Ian -- If you could suddenly see
+             your whole life, start to finish --
+             Would you change things?
+
+                       IAN
+             I don't say what I mean enough. And
+             I'm changing that right now.
+
+    Ian is just as tender with her.
+
+                       IAN
+             I've been tilting my head to the
+             stars for as long as I can
+             remember, and you know what's
+             surprised me the most? It's not
+             meeting them. It's meeting you.
+
+    That's all it takes for Louise. She puts her arms around
+    Ian, and kisses him on the mouth.
+
+    As the kiss intensifies, that high pitch returns. And when
+    Ian shifts from a kiss to a tight hug, when Louise hugs
+    back --
+
+
+154 INT. HANNAH'S ROOM - NIGHT - FLASHBACK                        154
+
+    Louise hugs Hannah (age 4, tucked in bed) goodnight. Louise
+    goes to click off the light by Hannah's bed.
+
+                       HANNAH
+             Mommy?
+
+                       LOUISE
+             Yes, little-nose?
+
+                       HANNAH
+             Why is my name Hannah?
+
+                       LOUISE
+             Don't you like it?
+
+                       HANNAH
+             I don't know yet. Where did it come
+             from?
+
+                       LOUISE
+             Oh, so this is another episode of
+             your series, "Why is it this way?"
+
+                       HANNAH
+             You make me curious about
+             everything.
+                                                           116.
+
+
+    Louise smiles sweetly at her daughter. She then gestures at
+    a wooden NAME PLAQUE spelling out HANNAH on the wall.
+
+                       LOUISE
+             Your name is special. It's a
+             palindrome. That means you can read
+             it both forwards and backwards, and
+             it's still the same.
+
+    Hannah gets it right away.
+
+                       HANNAH
+             I've decided. I like my name.
+
+                       LOUISE
+             I love you, Hannah.
+
+    Hannah smiles at her mother.
+
+                       IAN (O.S.)
+             Well, I love you both.
+
+    Louise looks back at --
+
+    IAN, standing in the doorway. Smiling.
+
+    Ian is Louise's husband. And Hannah's father.
+
+                       HANNAH (O.S.)
+             Daddy!
+
+    Ian steps in and scoops Hannah and Louise into a bear hug.
+
+    A rush of noise again, and --
+
+
+155 EXT. BASE CAMP - BACK TO SCENE                                155
+
+    Louise is still hugging Ian. Her face half-buried in his
+    shoulder, she says quietly:
+
+                       LOUISE
+             I forgot how good it feels to be
+             held by you.
+
+
+156 EXT. LAKE - DAY                                               156
+
+    A black sedan pulls up to the driveway of Louise's house.
+
+
+157 INT. BLACK SEDAN                                              157
+                                                           117.
+
+
+    Louise and Weber both sit in the back seat. It feels like *
+    they've been riding in silence for some time.
+
+                       WEBER
+             I'm not going to pretend to
+             understand what you did up there.
+
+                       LOUISE
+             I'm not going to try to explain it.
+
+                       WEBER
+             I took a lot of risk when I chose
+             you. But it was clearly the best
+             decision I've ever made.
+
+                       LOUISE
+             Thank you for believing in me.
+
+                       WEBER
+             Goodbye Louise.
+
+                        LOUISE
+             Goodbye.
+
+    Louise steps out and walks towards the house.
+
+                       LOUISE (V.O.)
+             So that is your story, dear Hannah.
+
+
+158 INT. LAKE HOUSE - DAY                                         158
+
+    Louise stands in the empty room that we know is Hannah's.
+
+
+159 INT. LAKE HOUSE - DAY - FLASHBACK                             159
+
+    QUICK POP: The artwork of Hannah's, with the stick figures.
+
+
+160 INT. UNIVERSITY CLASSROOM - DAY - FLASH FORWARD               160
+
+    QUICK POP: Louise teaching a group about logograms. On her
+    right hand is a sparkly ENGAGEMENT RING.
+
+                       LOUISE (V.O.)
+             It's also the ongoing story of our
+             people. I can see moments as we
+             prepare for the future. Ian was
+             right: It's about choice.
+
+
+161 INT. LOUISE'S FOYER - EVENING                                 161
+                                                              118.
+
+
+    The front door opens: It's IAN. Dressed up as nicely as he
+    can be. Bottle of wine in hand.
+
+    Louise is dressed beautifully. With a new haircut: short.
+
+    Just like the flashbacks.
+
+                       IAN
+             Wow. You look amazing.
+                  (re: hair)
+             The change fits you well.
+
+
+162 INT. LAKE HOUSE - NIGHT                                          162
+
+    Louise steps in, carrying her wine glass.
+
+                       LOUISE (V.O.)
+             I'm about to make a choice, too.
+             One that I will have to live with
+             forever.
+
+    This is the same scene as the first. Shot for shot.
+
+    She finds the message written on glass: "Do you want to
+    make a baby?"
+
+    Beat. The twinkle in her eye, the thoughtful moment. It all
+    breathes here.
+
+                       LOUISE (V.O.)
+             In some ways this choice saves the
+             world, but I'm not thinking about
+             that, Hannah. I never am.
+
+    FINAL SERIES OF SHOTS:
+
+
+163 INT. LAKE HOUSE - HANNAH'S ROOM - DAY - FLASHBACK                163
+
+    Louise cradles NEWBORN HANNAH in her arms. Hannah crooks
+    her tiny hand around Louise's finger.
+
+
+164 EXT. LAKE HOUSE - DAY - FLASHBACK                                164
+
+    Four-year-old HANNAH dressed as a cowgirl.
+
+                       HANNAH
+             Stick 'em up!
+                                                             119.
+
+
+165 INT. LAKE HOUSE - DAY - FLASHBACK                               165
+
+    Hannah, age 12, getting grounded:
+
+                        HANNAH
+              When do I get to live my own life?
+
+
+166 INT. MERCY HILL GENERAL HOSPITAL - DAY - FLASHBACK              166
+
+    Louise standing with DR. J. BYDWELL in a hospital hall.
+    She's hiding her face in her hands. Bydwell reaches out and
+    puts a consoling hand on her shoulder. Her body shifts from
+    a sob.
+
+
+167 INT. HOSPITAL - PATIENT ROOM - NIGHT - FLASHBACK                167
+
+    Hannah, on her death bed in the hospital. Holding Louise's
+    hand. The two clinging to each other.
+
+                        LOUISE (V.O.)
+              I'm just thinking about you.
+
+
+168 EXT. LAKE HOUSE BALCONY - NIGHT                                 168
+
+    Louise touches the glass where the question is written "Do
+    you want to make a baby?"
+
+    IAN steps into view, with a wine glass in his hand, too.
+
+                        IAN
+              Well? Do you?
+
+    She smiles broadly at him and replies:
+
+                       LOUISE
+              Yes.
+
+    And now we stay here a moment longer than the opening
+    scene, and see that while Louise is smiling, a tear slips
+    down her cheek. She is both the happiest and the saddest
+    right now. Because she knows what happens next.
+
+                                                   FADE TO BLACK.
+
+    THE END
+
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