THE DAY THE EARTH STOOD STILL
"THE DAY THE EARTH STOOD STILL"
by
Edmund H. North
Revised final draft
February 21, 1951
EXT. BEACH - PACIFIC ISLAND - MED. SHOT - DAY
Backgrounded by palm trees and rolling surf, an American
army radar operator sits at his huge instrument, intently
tracking a target. Without interrupting this, he speaks with
tense excitement into a telephone transmitter strapped to
his chest. (It is 8:00 a.m.)
(In this and the subsequent scenes, music and cutting build
to an exciting crescendo).
EXT. FIELD - HONG KONG - MED. SHOT - DAY
A group of British soldiers, in shorts and tropical gear,
are gathered tensely around a piece of radar equipment, which
is tracking a target. The radar operator says something to
another soldier, who turns and speaks excitedly into a field
telephone. (It is 5:00 a.m.)
INT. INDIAN RADIO STATION - NIGHT
The microphone bears the word CALCUTTA. An Indian announcer,
his expression one of excitement and terror, jabbers into
the mike in a native tongue. A clock on the wall indicates
that it is 2:26
EXT. RUSSIAN BOMBER IN FLIGHT - (STOCK) - NIGHT
The plane is identified by a red star on the fuselage.
INT. RUSSIAN BOMBER - NIGHT
The radioman is tracking an object on his radar scope. He
points it out excitedly to the pilot. The pilot adjusts his
microphone and starts making a report back to his base in
Russian.
EXT. FRENCH VILLAGE - STREET CORNER - MED. CLOSE SHOT -
NIGHT
A group of French farmers is collected around a radio,
listening wide-eyed to the keyed-up voice which is telling
them, in French, of a strange object that has been seen in
the sky. They exchange uneasy glances. One old man crosses
himself.
SPLIT SCREEN SHOT
RIGHT SECTION OF SCREEN SHOWS INT. AMERICAN RADIO STATION -
DAY
A breathless American radio reporter is speaking into his
mike, but we can't hear what he's saying. On the wall behind
him is a clock which reads 3:32.
LEFT SECTION OF SCREEN SHOWS INT. BRITISH RADIO STATION -
NIGHT
A clock shows the time to be 8:32. The British announcer
tries to maintain his traditional BBC calm, but finds it
almost impossible to control his excitement.
BRITISH ANNOUNCER
Reports are coming in from all over
the Empire -- from all over the world.
The Government have not yet issued a
statement, but there seems to be no
question that there actually is a
large, unidentified object circling
the earth at incredible speed.
This announcer keeps talking, but his voice fades out, and
now we hear the words the American announcer is saying...
AMERICAN ANNOUNCER
(staccato with
excitement)
We still don't know what it is or
where it's from –- but we do know
there's something there. It's been
tracked around the world by radar
traveling at a rate of four thousand
miles an hour.
INT. NEW YORK TAXI - DRIVER AND FARE – DAY
The driver and his fare are listening intently to the radio,
as we hear the voice of another radio reporter.
2ND RADIO REPORTER
(voice off scene)
This is not another "flying saucer"
scare. Scientists and military men
have already agreed on that. Whatever
this is -- it's something real.
EXT. SUBURBAN GAS STATION
The attendant, who is filling a car with gas, leans around
to hear the car's radio, oblivious to the fact that the car's
tank is overflowing.
3RD RADIO REPORTER
(voice off scene)
We interrupt this program to give
you a bulletin just received from
one of our naval units at sea. "A
large object, traveling at supersonic
speed, is headed over the North
Atlantic toward the east coast of
the United States."
Music builds to a climax and ends.
INT. WASHINGTON RADIO STATION
4TH RADIO REPORTER
(with deliberately
controlled calm)
Here in the nation's capital, there
is anxiety and concern, but no outward
sign of panic. As a matter of fact,
there are signs of normalcy that
seem strangely out of place; the
beautiful spring weather, the tourist
crowds at the various monuments and
public buildings...
EXT. LINCOLN MEMORIAL - LONG SHOT (STOCK)
A small crowd of tourists is climbing the steps to the
columned entrance.
EXT. WASHINGTON MONUMENT - LONG SHOT (STOCK)
Under this shot a barely audible, distant hum is heard. It
grows in volume so imperceptibly in this and the next two
shots that we are unconscious of it.
EXT. JEFFERSON MEMORIAL - LONG SHOT (STOCK)
EXT. THE MALL - LONG SHOT
Crowds are strolling on the Mall and across the well-kept
lawns in front of the Smithsonian Institution with the
leisurely, meandering quality that distinguishes sight-seers.
MED. SHOT
Including several small groups of people moving toward the
Smithsonian. Their attention is attracted as the hum off
scene becomes a roar. The sound is unearthly in its intensity
and almost unbearable in its swiftly increasing volume. The
people stop in their tracks and look up in the sky in terror.
MED. CLOSE SHOT
Several people on the steps of the Smithsonian have turned
to look. There is cold, frozen fear in their eyes. The awful
sound keeps increasing in volume.
CLOSE SHOT
A man, following the progress of a huge object in the sky
with his eyes. He is held terror-stricken.
LONG SHOT INTO SKY (SERSEN SHOT)
A giant shape, still at some distance, is approaching the
earth at incredible speed.
LONG SHOT ON GROUND
A group of people run wildly across a large expanse of lawn.
A huge shadow cast from above onto the grass seems to be
pursing them.
LONG SHOT INTO SKY (SERSEN SHOT)
The great shape is considerably nearer now.
CLOSE SHOT
Of a woman, thoroughly shaken, held immobile by what she
sees and hears.
LONG SHOT
People scatter madly in all directions as the huge spaceship
comes in for a landing on a smooth, grassy area. The
tremendous roar of its motors is suddenly cut off and the
great ship settles gently to a perfect landing.
MED. SHOT - THE SHIP
The gleaming surface of the ship shows no break of any kind --
no windows, no ports, not even the outline of a hatch. It is
a fearsome, terrifying object, giving no evidence of its
source or its intention.
LONG SHOT - (FROM PARALLEL)
Shooting down on a section of lawn, showing the varying
reactions of people to the landing. Some are still running
madly away; others, singly and in little groups, stand as
though rooted, staring at the ship from a respectful distance.
CLOSE SHOT - MAN
As he stares at the ship with fascination and horror. He'd
like to run but he can't. His mouth twitches and he emits a
nervous little laugh.
MED. CLOSE SHOT
A woman is holding a two-year-old child by the hand as she
watches the ship, awe-struck. Several people run past them.
Suddenly the woman grabs up the child with a little sob,
turns and runs away.
MED. SHOT
A middle-aged man runs up to a group of several people,
pointing wildly toward the ship and yelling irrationally:
MAN
They're here! They're here!
He runs off toward another group as we--
DISSOLVE TO:
MONTAGE
A series of short DISSOLVES showing:
1. A man dashing up to a crowded Washington street corner
shouting wildly and gesticulating in the direction from which
he came.
2. Policemen piling into squad cars, which roar out of their
garage.
3. Soldiers rushing out of a barracks at Fort Myer, with
rifles and side arms, to form up on their company street.
4. Newspaper presses rolling at high speed.
5. Newscasters chattering excitedly into their microphones.
6. A large telephone switchboard with the girls in a frenzy
of activity as they try to handle the calls pouring in.
DISSOLVE TO:
EXT. BASEBALL STADIUM - LONG SHOT
The players are standing on the field in the crowded stadium,
but the game has been interrupted and everyone is listening
to the voice on the loudspeaker system. (Actual stock shot
would be coverage of some dedication or ceremonial.)
DISSOLVE TO:
INT. PENTAGON OFFICE - CLOSE SHOT
A Brigadier General speaks in clipped tones into the
telephone. There are a couple of other officers in the room.
BRIGADIER GENERAL
(into phone)
Get me the Chief of Staff.
DISSOLVE TO:
INT. U.S. SENATE OR HOUSE OF REPRESENTATIVES (STOCK)
A shot, if one is available, of either House listening raptly
as an announcement of great import is read by the Chair.
DISSOLVE TO:
INT. OFFICE - CLOSE SHOT
A distinguished-looking government official speaks into the
phone with a sense of subdued urgency.
GOVERNMENTAL OFFICIAL
I want to speak to the President.
(listens for a moment)
I'm sorry -- you'll have to interrupt
him.
DISSOLVE TO:
INT. RADIO AND TELEVISION STUDIO - MED. SHOT
A nationally known news commentator -- for purposes of this
script let's say Drew Pearson -- is seated before a radio
mike. He is also being photographed by TV cameras. In a wall
near him is a TV screen which shows what is going out on the
air. During the ensuing speech, a man comes in a hands him a
sheaf of news bulletins.
PEARSON
Good afternoon, ladies and gentlemen,
this is Drew Pearson. We bring you
this special radio-television
broadcast to give you the latest
information on the landing of the
"space ship" in Washington.
CLOSE SHOT - PEARSON
PEARSON
Government and Defense Department
officials are concerned by reports
of panic in several large Eastern
cities. I am authorized to assure
you that so far there is no reasonable
cause for alarm. The rumors of
invading armies and mass destruction
are based on hysteria and are
absolutely false. I repeat -- these
rumors are absolutely false!
ANOTHER ANGLE
PEARSON
The ship, designed for travel outside
the earth's atmosphere, landed in
Washington today at 3:47 p.m., Eastern
Standard Time. We still don't know
where it came from, but I can reveal
that military leaders are considering
two possibilities; that it came from
some unfriendly power here on earth --
or that it actually arrived from
another planet.
CAMERA PANS to and DOLLIES IN on the TV screen in the wall.
On the screen is a shot of the space ship.
PEARSON'S VOICE
(over scene)
The ship is resting exactly where it
landed two hours ago, and there has
been no sign of life from inside it.
OUR CAMERAL HOLDS on the TV screen. The cuts that follow are
inside the frame of the screen:
EXT. THE MALL - MED. SHOT
Two platoons of infantry soldiers surround the ship, their
rifles at the ready.
PEARSON'S VOICE
(over scene)
Troops have been rushed from Fort
Myer and they have formed a cordon
around the ship.
MED. SHOT
showing two machine guns, two Sherman tanks and two 75MM
guns. The gun crews are posted for action and all weapons
are trained on the space ship.
PEARSON'S VOICE
(over scene)
They are supported by machine guns,
tanks and artillery.
MED. SHOT - POLICE CORDON
Cops are holding back a section of a large crowd, some
distance away from the ship. The people are wide-eyed and
tense with excitement.
PEARSON'S VOICE
(over scene)
Behind police lines, there is a large
crowd of curiosity seekers.
SERIES OF INDIVIDUAL CUTS
1. Civilians in the crowd, their eyes and nerves taut with
suspense.
2. A young soldier, who grips his rifle and moistens his
lips nervously, his eyes never leaving the ship.
3. A tank commander blinks from the tension of staring at an
unmoving object.
4. The last cut is of the ship itself.
PEARSON'S VOICE
(over scene)
As you can see for yourself, the
Army has taken every precaution to
meet whatever the situation may
require. Every eye -- every weapon --
is trained on the ship. It's been
this way for two hours and the tension--
CLOSE SHOT - PEARSON
as he interrupts himself excitedly, his attention riveted on
the TV screen.
PEARSON
Just a minute, ladies and gentlemen!
I think I see something moving!
EXT. THE MALL - MED. LONG SHOT - DAY
We are at the actual location now, not looking at TV. We see
the ship surrounded by soldiers, two medium tanks, two
artillery pieces, and a couple of machine guns. Some distance
away is a suggestion of the crowd of civilians, held back by
police. Prominent in the scene are newsreel and television
cameras. OUR CAMERA MOVES IN to MED. SHOT. As it does so, we
see a couple of metal objects rising slowly from the top of
the ship. One, which is an oddly-designed coil of wire, slides
up and revolves slowly. The other is a section of vented
pipe with a convex cap on it.
REVERSE ANGLE
on the soldiers, their eyes glued to this first sign of
activity from the ship. They shift uneasily, gripping their
rifles more firmly.
MED. SHOT - THE SHIP
After a long, tense moment, a ramp appears silently out of
the side of the ship and slides down to the ground. There is
an audible gasp as a man appears at the top of the ramp. He
looks around at the crowd with cool and imperturbable dignity.
This is KLAATU. He is completely human in appearance. The
only unearthly thing about him is his clothing. He wears a
tunic that is very good looking, but at the same time
thoroughly comfortable and practical. On his head is a metal
helmet that obscures most of his face. (It would be impossible
to identify him later.) The design of this helmet gives the
impression that it is more a formal headdress than for
protection. Klaatu is above all an impressive man -- a man
of tremendous dignity and presence. He has the tolerant
superiority that comes with absolute knowledge.
INDIVIDUAL REACTION CUTS
of soldiers, people in the crowd, and policemen. The newsreel
and TV men are busy at their cameras.
MED. CLOSE SHOT - KLAATU
After an impressive moment, he raises his arms in the
universal gesture of neutrality. Then he speaks, in perfect
English, his voice amplified as though through an enunciator.
KLAATU
We have come to visit you in peace --
and with good will.
Klaatu walks slowly down the ramp toward the soldiers. As he
does so, he draws from inside his tunic a strange looking
object, longish and tubular. It might be a a telescope -- or
it might be some strange kind of weapon.
MED. SHOT
shooting from the side, showing Klaatu advancing slowly toward
the line of soldiers. He holds out the mysterious object in
front of him in a gesture that is actually one of offering
but could be misinterpreted as menacing. There is a growing,
uneasy rumble of muttering among the soldiers as Klaatu
advances. They are clearly frightened of what he may do.
CLOSE SHOT - PLATOON LEADER
A young second lieutenant, standing in front of his platoon.
As Klaatu advances, the lieutenant unslings his carbine.
MED. SHOT
Klaatu starts toward the platoon leader, raising the object
he holds toward the man, trying to make clear his intentions.
Misinterpreting this as a menacing gesture, the platoon leader
raises his carbine to his shoulder.
MED. CLOSE SHOT
of one of the tank commanders in the turret of his tank. He
is watching Klaatu advancing toward the platoon leader and
he has drawn his pistol. Convinced that the lieutenant is in
jeopardy, the tank commander aims at Klaatu and fires.
MED. SHOT
as Klaatu falls to the ground wounded. The object he was
holding has dropped from his hand and smashed. The soldiers
start to gather around Klaatu excitedly when suddenly there
appears in the entrance to the space ship a huge robot. There
is a gasp of amazement from the crowd and the solders draw
back at sight of him. The robot is ten feet tall, is made in
the almost-perfect image of a man. He is to be played by an
actor and his flesh appears to be made of a greenish metal.
His eyes flash as though lighted internally. His perfectly-
fashioned, muscular body is covered only with a loincloth.
This is GORT.
There are cries of amazement as Gort walks slowly ponderously,
down the ramp to the ground. As he does so, the ramp closes
behind him. Gort's face is, and always remains, utterly
expressionless. He stops to look at Klaatu, lying on the
ground. Then he looks around at the soldiers, the tanks and
guns. All the guns have been traversing to follow him.
CLOSE SHOT - GORT
From inside him there comes an ominous crackling sound, as
though power were being generated within him. His eyes flash
toward the tank from which Klaatu was shot.
MED. CLOSE SHOT - TANK
There is a great metallic clatter and the Sherman tank is
suddenly reduced to a pile of junk metal, its parts completely
disintegrated. Only a piece of tank track and twisted gun
barrel emerge from the heap on the ground to identify what
had been there. The tank's crew has remained unharmed.
CLOSE SHOT - GORT
The crackling sound continues as his eyes start to sweep in
a semicircle taking in all the troops.
MED. SHOT - THE TROOPS
SHOOTING FROM BEHIND Gort, with the back of his head in f.g.,
CAMERA PANS to follow Gort's sweeping gaze. In a growing
crash and clatter of metal, every weapon in sight is
destroyed. The two machine guns are little heaps of junk.
The 75's are larger heaps. The second tank, like the first,
is a three-foot pile of scrap. Rifles have dropped from the
soldier's hands and lie on the ground as little mounds of
wood and metal. None of the men has been harmed, but their
faces show the utter terror of what they have experienced.
ANOTHER ANGLE - THE TROOPS
as they react to the full shock of what has happened. Most
of them stand rooted to the ground. Several laugh
hysterically. A few break and run wildly.
MED. SHOT - CROWD OF CIVILIANS
Sudden pandemonium breaks out. Utterly terrified by what
they have witnessed, the crowd becomes a wild, milling,
screaming mob, concerned only with escape.
MED. CLOSE SHOT - GORT
He is walking slowly, deliberately, menacingly toward the
tank commander who fired on Klaatu. Standing by the debris
of his tank, the man is immobilized with terror. The robot
starts to reach out to grab him.
CLOSE SHOT - KLAATU
lying on the ground. He speaks to Gort sharply, in a strange
language.
KLAATU
Gort! Deglet ovrosco!
MED. CLOSE SHOT - GORT
He pauses obediently in the act of reaching out for the tank
commander. Dropping his arms, he stands motionless and remains
that way.
MED. CLOSE SHOT - KLAATU
He has raised himself to a sitting position on the ground,
his wounded shoulder giving him considerable pain. The two
platoon leaders come into scene hesitantly, badly shaken by
the awesome demonstration of power they have seen. They are
uncertain as to what they should do. The platoon leader eyes
the smashed object on the ground curiously and turns
questioningly to Klaatu. With great dignity, Klaatu picks up
the broken object, which we see well for the first time. It
is a delicately-made tubular telescope, badly smashed. On it
are indications of small electronic gadgets.
KLAATU
It was a gift. For your President.
(glances at the broken
object ruefully)
With this he could have studied life
on other planets.
Klaatu lets the object drop with a shrug of mild exasperation.
The two lieutenants exchange a helpless look of bewilderment.
Then Klaatu raises himself to his feet painfully, holding
his wounded shoulder. As he does so, a colonel and a captain
come into scene.
COLONEL
(to the lieutenants)
Is he all right?
FIRST PLATOON LEADER
Got hit in the shoulder, sir.
The three junior officers exchange ineffectual glances and
look to the colonel, who thinks for a moment before making
his decision.
COLONEL
Send for an ambulance. Get him to
Walter Reed Hospital right away.
CAPTAIN
Yes, sir.
DISSOLVE TO:
INT. SITTING ROOM - WALTER REED HOSPITAL - NIGHT
There is a door to the corridor and a door to Klaatu's room.
In the small sitting room, talking in tones of hushed concern,
is a group of men. There's a Major General, a likable man
with a chest full of ribbons. There are also a Colonel in
command of the hospital, a high-ranking police officer, a
couple of medical officers and two civilians. The conversation
is interrupted by the entrance from Klaatu's room of a Medical
Corps Major, followed by an Army Nurse.
GENERAL
(to Major)
How is he?
MAJOR WHITE
He's all right, General... Blood
pressure's a little high, but it
could be aggravation.
GENERAL
(wryly)
Can't blame him. I always get mad
when somebody shoots me.
MAJOR WHITE
He still wants to see the President.
COLONEL
(to General)
We informed the White House over an
hour ago.
GENERAL
(to Major)
Didn't drop any hints about where
he's from, did he?
MAJOR WHITE
No, sir, he didn't.
The door to the corridor opens and a worried young Captain
enters.
CAPTAIN
Excuse me.
(to the Colonel)
What about the reporters, Colonel?
They're swarming all over the lobby.
The Colonel turns, in deference, to the General.
GENERAL
(quietly)
Tell them there won't be any statement
tonight.
CAPTAIN
Yes, sir.
(glancing down the
corridor)
Mr. Harley's here from the White
House.
Harley appears in the doorway, a brief case under his arm.
He's a dignified, intelligent member of the White House
secretariat. He proceeds uninterruptedly into the room,
nodding cordially to the General.
HARLEY
General --
GENERAL
(indicating Klaatu's
room)
Right in there, Mr. Harley.
Harley proceeds in businesslike fashion to the door. He knocks
and then enters.
INT. HOSPITAL ROOM - FULL SHOT
as Harley enters, closing the door behind him. Klaatu no
longer wears his helmet and we see his face clearly for the
first time. Even sitting up in bed, with his shoulder strapped
in bandages, he is a figure of great authority. His face
reflects inner dignity and assurance. Harley, who is a
hardened diplomatist, can't help being impressed by his
present assignment and a little awed by Klaatu. Harley
obviously has been sent by the President to find out what he
can. Klaatu's eyes study him, cool, penetrating, reserved.
HARLEY
My name is Harley -- Secretary to
the President
(Klaatu continues to
study him silently)
I've been told that you speak our
language -- that your name is Mr.
Klaatu.
KLAATU
(coolly)
Just Klaatu.
HARLEY
The President asked me to convey his
deepest apologies for what has
happened. We all feel--
KLAATU
(evenly)
Sit down, Mr. Harley.
Somewhat relieved, Harley seats himself. He speaks with a
half smile, hoping to ease the tension.
HARLEY
I'm sure I don't have to point out
that your arrival was something of a
surprise.
(getting a little
smile from Klaatu,
he is encouraged to
do some fishing)
Had you been traveling long?
KLAATU
About five months -- your months.
HARLEY
You must have come a long way.
KLAATU
About 250 million of your miles.
Harley glances at him quickly to be sure he's not joking.
He's not.
HARLEY
Naturally we're very curious to know
where it is you come from.
KLAATU
(easily; he's a
diplomat, too)
From another planet. Let's just say
that we're neighbors.
Harley reacts, as his wildest assumptions are so blandly
corroborated.
HARLEY
It's rather difficult for us to think
of another planet as a neighbor.
KLAATU
I'm afraid, in the present situation
you'll have to learn to think that
way.
HARLEY
(eyebrows raised)
The present situation?
KLAATU
I mean the reasons for my coming
here.
HARLEY
(his eagerness apparent)
We're very curious about that, too.
Would you care to talk about it?
KLAATU
I'd be glad to.
(noticing that Harley
is settling himself
expectantly)
Not now, of course -- with you alone.
HARLEY
Perhaps you'd rather discuss it
personally with the President--
KLAATU
(somewhat sharply)
This is not a personal matter, Mr.
Harley. It concerns all the people
on your planet.
HARLEY
(Startled by the scope
of this statement)
I -- I'm not sure I understand--
KLAATU
I want to meet with representatives
from all the nations of the Earth.
HARLEY
(shocked and perturbed
by this notion)
I'm afraid that would be a little
awkward. It's -- it's completely
without precedent. And there are
practical considerations -- the time
involved -- the enormous distances.
KLAATU
(coolly)
I traveled 250 million miles. What
about your United Nations?
HARLEY
(Surprised and a little
puzzled)
You know about the United Nations?
KLAATU
We've been monitoring your radio
broadcasts for a good many years.
That's how we learned your languages.
Lately, we've been getting your
television also.
HARLEY
(wryly)
You must have a rather strange
impression of us.
KLAATU
(smiling)
The first two years of television we
were convinced that all you did was
wrestle.
Harley smiles. Then his mind reverts to the seriousness of
the situation and he speaks gravely.
HARLEY
I'm sure you recognize from our broad-
casts the evil forces that have
produced the tension in our world.
Surely you would agree--
KLAATU
(evenly)
I am not concerned, Mr. Harley, with
the internal affairs of your planet.
I consider that to be your business --
not mine.
HARLEY
I was only hoping to make you
understand.
KLAATU
(sternly, impressively)
My mission here is not to solve your
petty squabbles. It concerns the
existence of every last creature who
lives on Earth.
HARLEY
(uncomfortably)
Perhaps if you could explain a little--
KLAATU
I intend to explain. To all the
nations -- simultaneously.
(his manner precludes
opposition)
How do we proceed, Mr. Harley?
Harley is thoroughly shaken. The tremendous force and power
implicit in Klaatus's manner preclude the possibility of
argument.
HARLEY
(after a long
thoughtful moment)
We could call a special meeting of
the General Assembly... But of course
the UN doesn't represent all of the
nations.
KLAATU
Then why not a meeting of all the
Chiefs of State?
HARLEY
(helplessly, but
patiently)
Believe me, you don't understand.
They wouldn't sit down at the same
table.
Growing a little impatient with such nonsense, Klaatu eyes
him evenly, speaks with Jovian authority.
KLAATU
I don't want to resort to threats,
Mr. Harley. I simply tell you bluntly
that the future of your planet is at
stake... I suggest you transmit that
message to the nations of the Earth.
The eyes of the two men meet for a long, silent moment. Then
Harley rises quietly.
HARLEY
I will make that recommendation to
the President.
(he picks up his brief
case and hat)
I must tell you in all honesty that
I'm extremely dubious about the
results.
KLAATU
(with a half-smile)
Apparently I'm not as cynical about
Earth's people as you are.
HARLEY
I've been dealing in Earth's politics
a good deal longer than you have.
(he bows)
Goodnight, sir.
He turns and goes out.
CLOSE SHOT - KLAATU
He stares after Harley for a moment, puzzled by this strange
and apparently unreasoning world he has come to. He shakes
his head in thoughtful, tolerant bewilderment.
DISSOLVE TO:
EXT. SPACE SHIP - LONG SHOT - NIGHT
Searchlights have lighted up up the eerie shapes of the space
ship and Gort. A circle of soldiers guard the area, while a
crew of men can be seen working around the ship.
MED. CLOSE SHOT - AT SHIP
A Master Sergeant of Engineers, dressed in fatigues, is
inspecting the side of the ship carefully. He has an acetylene
torch in his had and a welding helmet over his face. The
Major General, previously seen in the hospital sitting room,
enters and speaks to the Sergeant.
GENERAL
Getting any place, Sergeant?
SERGEANT
(raising his helmet)
No, sir.
(shaking his head in
annoyance)
Beats me, General. I saw that ramp
come out of the side of the ship --
right here. Now I can't even find a
crack!
A man named Carlson, a civilian metallurgical expert, comes
into scene. The General nods to him.
GENERAL
What's the report, Carlson?
CARLSON
(discouraged)
We've tried everything from a
blowtorch to a diamond drill.
GENERAL
(nodding toward Gort)
What about him?
CARLSON
He's made out of the same stuff.
THREE SHOT – GENERAL, CARLSON AND SERGEANT
GENERAL
Has he moved?
SERGEANT
No sir. Not an inch
CARLSON
This is the toughest material I ever
saw, General. For hardness and
strength, it's out of this world.
GENERAL
(with a wry half-smile)
I can tell you officially -– that's
where it came from.
The two men exchange an uneasy glance, then turn to look at
the ship.
DISSOLVE TO:
INT. SITTING ROOM – WALTER REED HOSPITAL
Two Medical Corps officers, a Captain and a Major are
interestedly studying a series of X-ray films.
MAJOR
The skeletal structure is completely
normal.
(pointing)
Same for the major organs -– heart,
liver, spleen, kidneys.
CAPTAIN
And the lungs are the same as ours.
Must mean a similar atmosphere --
similar pressure.
(nodding, toward
Klaatu's room)
How old do you think he is?
MAJOR
Oh, I'd say forty-five.
CAPTAIN
(smiling)
He told me this morning when I
examined him. He's seventy-eight.
MAJOR
I don't believe it.
CAPTAIN
Their life expectancy is a hundred
and thirty.
MAJOR
How does he explain that?
CAPTAIN
He says their medicine is that much
more advanced.
(the major stares at
him blankly)
He was very nice about it. But he
made me feel like a third-class witch
doctor.
The door to Klaatu's rooms opens and Major White appears.
He's the man who attended Klaatu the day before. He closes
the door behind him and stands motionless facing the other
two, his face wearing a blank expression.
MAJOR WHITE
I took a bullet out of that man's
arm yesterday.
FIRST MAJOR
What about it?
MAJOR WHITE
(utterly bewildered)
I just examined the wound and it's
all healed.
FIRST MAJOR
What does he say about it?
MAJOR WHITE
Said he put some salve on it -- some
stuff he had with him.
(shows them a small,
odd-looking tube in
his hand)
CAPTAIN
What are you going to do with it?
MAJOR WHITE
Take it downstairs and have it
analyzed.
(on his way to the
door, shaking his
head)
Then I don't know whether I'll just
get drunk or give up the practice of
medicine.
As he starts out the door to the corridor, he passes Mr.
Harley, who is on his way in, carrying his ever-present brief
case. Harley is accompanied by an enlisted M.P.
FIRST MAJOR
Afternoon, Mr. Harley.
HARLEY
Afternoon, gentlemen.
Harley goes to the door of Klaatu's room, a businesslike
expression on his face. He knocks on the door, then enters.
The M.P. remains in the sitting room.
INT. HOSPITAL ROOM - FULL SHOT - DAY
as Harley enters. Klaatu is up out of bed, walking around in
a Medical Corps robe and pajamas. He appears to be completely
recovered.
HARLEY
Good afternoon.
(surprised not to
find him in bed)
I'm glad to see you up and around.
KLAATU
Thank you... Have you any news?
HARLEY
Not very good news, I'm afraid.
(digs into his
briefcase for some
papers)
The President accepted your suggestion
and cabled the invitations for a
meeting last night.
(grimly)
Let me read you some of the replies.
(he selects a cable
and reads)
"The Premier wishes to inform the
Government of the United States that
it will be impossible for him to
attend the meeting suggested by the
President unless the meeting is held
in Moscow."
(with a grimly-pointed
glance at Klaatu,
Harley reads another
cable)
"The suggestion of the President
regarding the possibility of a meeting
in Moscow would be unacceptable to
Her Majesty's Government at the
present time. Representation could
be sent only if the meeting were
held in Washington."
(he looks up at Klaatu
and shrugs)
Well -- there you have it.
Harley extends a sheaf of cables for Klaatu's inspection,
but he ignores them. Klaatu has listened to this recital,
first incredulously, then with mounting indignation. Conscious
of his quiet, Olympian wrath, Harley continues uncomfortably.
HARLEY
I tried to make you understand. The
suspicions -- the jealousies -- the
mistrust--
(uneasily, under
Klaatu's level gaze)
Surely you realize that my government
has done everything in its power--
KLAATU
It's not your government I'm thinking
about. It's your world.
HARLEY
Now that you understand the situation
more clearly, perhaps you'd like to
discuss the matter with the President
KLAATU
(sternly)
I will not speak to any one nation
or group of nations.
(sharply, bitterly)
I don't intend to add my contribution
to your childish jealousies and
suspicions.
HARLEY
Our problems are very complex, Mr.
Klaatu. You mustn't judge us too
harshly.
KLAATU
I can judge only by what I see.
HARLEY
Your impatience is quite
understandable.
KLAATU
(sharply)
I am impatient with stupidity. My
people have learned to live without
it.
HARLEY
(ruefully)
I'm afraid my people haven't.
(with real sincerity)
I'm very sorry -- I wish it were
otherwise.
Reluctantly Harley has picked up his hat and brief case. He
finds Klaatu staring out the window.
CLOSE SHOT - KLAATU
As he looks out the window thoughtfully. What he sees has
given him an idea.
MED. SHOT - HOSPITAL GROUNDS
shooting down, from Klaatu's viewpoint, at people strolling
about the hospital grounds. Most of them are civilian
visitors, but there is a sprinkling of nurses and ambulatory
patients.
FULL SHOT - HOSPITAL ROOM
As Klaatu turns back to Harley, he speaks thoughtfully,
incisively.
KLAATU
Before making any decisions, I think
I should get out among your people --
become familiar with the basis for
these strange, unreasoning attitudes.
HARLEY
Under the circumstances I'm afraid
that will be impossible.
Harley has paused near the door, a little embarrassed by
Klaatu's level gaze.
HARLEY
I must ask that you don't attempt to
leave the hospital. Our military
people have insisted on this. I'm
sure you'll understand.
With a polite nod, he goes out. Klaatu stares after him as
he realizes that he is in effect a prisoner. He shakes his
head slowly, thoughtfully. The ways of this planet are strange
indeed.
INT. SITTING ROOM - MED CLOSE SHOT - AT DOOR
Harley has paused to watch as the M.P. takes out a key and
inserts it in the lock of Klaatu's door.
INT. HOSPITAL ROOM - CLOSE SHOT - KLAATU
As he hears the click of the lock, he turns toward the door.
Realizing they've locked him in, he smiles with tolerant
amusement.
DISSOLVE TO:
INT. HOSPITAL SITTING ROOM - MED CLOSE SHOT - NIGHT
In the dim light of one lamp, the door to the corridor opens
and a nurse enters carrying a tray of medication. She is
accompanied by the same M.P. as previously seen. The nurse
pauses as the M.P. takes out a key and inserts it in the
lock of Klaatu's door. To his surprise he finds that the
door is not locked. He exchanges a glance with the nurse,
then pulls the door open and hurries inside.
INT. HOSPITAL ROOM
as the M.P. crosses the unlighted room toward the bed. The
only light cones from the open door to the sitting room. The
M.P.'s eyes go wide as he looks at the bed. It is unmade and
unoccupied. Terrified, the M.P. turns to the nurse, who is
standing in the doorway.
M.P. He's gone!
The M.P. dashes out of the room, through the doorway past
the nurse. She turns to follow him as we--
DISSOLVE TO:
MONTAGE - NIGHT
A series of short DISSOLVES, showing:
1. The M.P. excitedly reporting Klaatu's disappearance to
the Officer of the Day.
2. The hospital guard detail hurrying out of the guardhouse
to form up in front of the Sergeant of the guard.
3. A high-level military conference gathered at a table,
discussing the matter with great concern.
4. A street corner newsstand, with people eagerly grabbing
papers. The headline reads: "MAN FROM MARS" ESCAPES FROM
ARMY HOSPITAL!
5. Radio announcers chattering excitedly into their
microphones
6. A series of close-ups of people listening to the radio.
Their faces reveal their awestruck terror.
7. A terrified mother drags her two children in from the
street through the front door, slams the door and bolts it.
DISSOLVE TO:
EXT. RESIDENTIAL STREET - MED. CLOSE SHOT - NIGHT
CAMERA is on the back of a man dressed in a business suit,
who is walking along the sidewalk of a dimly lighted, almost
deserted, middle-class street. He carries a suitcase and he
glances idly at the drab-looking stone facades of the old
two-story houses. As he passes, from the open windows of the
houses come the voices of radio announcers. We get a sentence
or two from one house and then, as the man and our CAMERA
pass on, this voice fades and another is picked up. We get
the impression that everyone is glued to his radio.
RADIO VOICES
(over scene)
--authorities at Walter Reed Hospital
refused to comment on how he managed
to escape, or what measures might be
taken to apprehend him.
--these fantastic descriptions of the creature are denounced
as rumor by police Chief Walter Baxter. He is not eight feet
tall, as reported -- nor does he have tentacles in place of
arms--
--there's no denying that there is a monster at large --
that we are dealing with forces beyond our knowledge and
power. The public is urged to take ordinary precautions and
to remain calm, as we await further developments--
--three separate reports of people who claim to have seen
the "space man" in the past hour. One from Des Moines, Iowa;
one from a village in northern Florida; and one from Chicago.
CAMERA OVERTAKES the man as he pauses under the light of a
street lamp, and reveals that it is Klaatu. He has stopped
to look at something out of scene.
CLOSE SHOT
from Klaatu's viewpoint, of a sign on one of the houses,
reading: ROOM FOR RENT
CLOSE SHOT - KLAATU
He seems to hesitate, debating a plan he has in mind. He
raises his right arm to scratch his head thoughtfully, and
notices for the first time a small tag, or ticket, attached
to the inside of the right forearm of the coat he is wearing.
Puzzled, he pulls off the ticket and looks at it.
INSERT - TICKET
It is the sort of tag a cleaning establishment attaches to
clothing. Printed on it is the legend: CAPITOL DRY CLEANING
SERVICE. Scrawled in a penciled hand is the notation: Dr.
Carpenter, Bldg. A - Walter Reed Hospital. Cl. & pr. $1.
CLOSE SHOT - KLAATU
He smiles wryly at this reminder of where he got the suit,
and he destroys the ticket. He glances down at the suitcase
beside him.
CLOSE SHOT - SUITCASE
It bears the initials L.M.C. Klaatu's hand comes into scene
and lifts up the suitcase. CAMERA HOLDS as Klaatu carries
the bag toward the house and mounts the stone steps to the
entrance.
INT. BOARDINGHOUSE - LIVING ROOM - NIGHT
There 's no light in the room except what splashes in from
the hall. Gathered around a television set are five adults
and a little boy, their faces eerie in the reflected light
from the screen. The room is done in average boardinghouse
style -- antimacassars and all. The attention of the people
is riveted on the television screen, where a newscaster is
reading a bulletin.
TELEVISION COMMENTATOR
--while the President made no effort
to minimize the crisis, he urged
people all over the country to remain
calm. He said the entire facilities
of FBI and other federal agencies
are being bought to bear. He pointed
out, however, that this is no ordinary
man hunt. He warned we may be up
against powers that are beyond our
control.
FULL SHOT
The landlady, a stern-faced woman of middle age, named MRS.
CROCKETT, rises nervously and crosses to the television set.
MRS. CROCKETT
(tensely)
I can't stand any more of this. It's
enough to drive a person crazy.
She snaps off the set sharply.
TWO SHOT
BOBBY BENSON, a bright-eyed, eleven-year-old, is seated beside
his mother, HELEN BENSON, an attractive girl of thirty.
Disappointed that the set has been turned off, Bobby's roving
eye has fallen on something in the doorway to the hall...
Wide-eyed, he nudges his mother and points.
BOBBY
Hey, Mom -- who's that?
FULL SHOT
including the doorway to the hall. Silhouetted motionless
against the light from the hall is the figure of a man. All
eyes follow Hobby's pointed finger, and there is a stifled
gasp as they are startled out of their preoccupation. One of
the men turns on the lights and Klaatu is revealed standing
calmly in the doorway. There is a shocked silence for a
moment, then Mrs. Crockett speaks.
MRS. CROCKETT
(apologizing nervously
for the tension in
the room)
I -- I'm sorry. What is it you want?
KLAATU
My name is Carpenter. I'm looking
for a room.
There is a noticeable letdown in the general tension, during
which Booby has been studying Klaatu, his imagination working
overtime.
BOBBY
Are you an FBI man?
KLAATU
No -- I'm afraid not.
Helen has stepped forward to make Bobby desist.
BOBBY
Bet he is, Mom. Bet he's out looking
for that space man.
HELEN
(with an apologetic
smile at Klaatu)
I think we've all been hearing too
much about "space men."
Mrs. Crockett reverts to her role as landlady. She likes to
think of her house as a home.
MRS. CROCKETT
(starting the
introductions with
Helen)
This is Mrs. Benson, Mr. Carpenter.
(with a smile that
would split a brick)
And little Bobby.
(indicating a middle-
aged couple and a
younger but more
wizened man)
Mr. and Mrs. Barley -- and Mr.
Krull... I'm Mrs. Crockett.
There are polite noddings and how-do-you-do's. Mrs. Crockett
is satisfied that she's established a cozy atmosphere.
MRS. CROCKETT
(pleased to the point
of challenge)
Well -- this is our little family.
(then, getting down
to business)
I have a very nice room on the second
floor.
She leads the way toward the hall and Klaatu starts to follow,
picking up his suitcase, when he is intercepted by Bobby.
BOBBY
Can I help you look for the space
man? Can I?
(excitedly)
I know what he looks like! He's got
a square head -- and, three great
big eyes!
HELEN
(good-naturedly,
calming him down)
That's enough, Bobby. I think it's
time you went to bed.
MRS. CROCKETT
(to Bobby, with a
prop smile)
We mustn't annoy Mr. Carpenter -- or
he won't want to stay here. She goes
on into the hall, followed by Klaatu,
who has exchanged a polite smile
with Helen.
INT. HALLWAY
as Mrs. Crockett leads the way up the stairs.
MRS. CROCKETT
He's really a dear little boy -- and
quiet as a mouse.
(with a shrewd, chatty
smile)
You're a long way from home, aren't
you, Mr. Carpenter?
KLAATU
How did you know?
MRS. CROCKETT
(pleased with her
cleverness)
Oh, I can tell a New England accent
a mile away.
DISSOLVE TO:
INT. BOARDINGHOUSE - DINING ROOM - DAY
Five of the boarders -- Mr. and Mrs. Barley, Mr. Krull, Helen
Benson and Klaatu - are finishing their Sunday morning
breakfast. Mrs. Barley is a middle-class Helen Hokinson lady,
form and unrelenting. Her husband is a born complainer. Mr.
Krull is a shriveled little accountant, precise and finicky.
As they finish their coffee, all except Helen are immersed
in the Sunday papers. Helen seems preoccupied with her own
thoughts. From a portable radio on the table comes Gabriel
Heater's voice.
GABRIEL HEATER'S VOICE
--and so, this Sunday morning, we
ask the question that's been plaguing;
the entire nation for two days now:
"Where is this creature and what is
he up to?" If he can build a space
ship that can fly to Earth -- and a
robot that can destroy our tanks and
guns -- what other terrors can he
unleash at will? ...Obviously we
must find this monster. We must track
him down like a wild animal and
destroy him.
INSERT - NEWSPAPER PAGE IN MRS. BARLEY'S HANDS
It is a full page layout, in the style of the American Weekly,
showing a demented artist's conception of a mass invasion of
space ships. Weird-looking creatures are slaughtering Earth
people with ray guns. The caption at the top of the image
reads: "Are We Long For This World?" (Gabriel Heater's voice
continues uninterruptedly over this and the next two scenes.)
CLOSE SHOT - KLAATU
He is reading his paper with considerable interest.
INSERT - NEWSPAPER STORY
The third-page story reads: SAVANT CALLS MEETING TO STUDY
SPACE SHIP. Professor Jacob Barnhardt, world-famous scientist
and Nobel Prize winner, has invited fellow scientists from
all over the world to meet with him in Washington and study
the recently landed "Space Ship."
CLOSE SHOT - KLAATU
His face is thoughtful as he finishes reading. This story
seems to impress and interest him. Then suddenly he finds
his attention caught at what the Radio Voice is saying.
GABRIEL HEATER'S VOICE
But where would such a creature hide
himself? Would he disappear into the
north woods? Or would he slither off
into the sewers of some great city?
Klaatu has a reaction of affronted dignity at this monstrously
distasteful idea.
GROUP SHOT
AS THE RADIO VOICE CONTINUES:
GABRIEL HEATER'S VOICE
There is grave danger -- everyone
agrees to that. The question is what
can we do to protect ourselves? What
measures can we take that will--
During the above, Mrs. Barley has turned to her husband in
sharp annoyance.
MRS. BARLEY
George, I wish you'd turn that radio
off. I'm trying to concentrate.
Mr. Barley reaches out and snaps off the radio.
MR. BARLEY
(snorting, he tosses
his paper down)
Why doesn't the Government do
something -- that's what I want to
know.
MR. KRULL
(mildly)
What can they do? They're only people --
Just like us.
MR. BARLEY
People my foot! They're Democrats!
MR. KRULL
It's enough to give you the shakes.
He's got that robot standing there --
ten-foot tall -- just waiting for
orders to destroy us.
HELEN
(thoughtfully)
This space man -- or whatever he is.
We automatically assume he's a
menace... Maybe he isn't at all.
MR. BARLEY
(glaring at her for
this silly notion)
Then what's he hiding for? Why doesn't
he come out in the open?
MR. KRULL
Yeah.
(indicating the radio)
Like the fella says: "What's he up
to?"
HELEN
Maybe he's afraid.
MRS. BARLEY
(with a derisive snort)
He's afraid!
HELEN
After all, he was shot the moment he
landed here.
(she pauses for a
moment thoughtfully)
I was just wondering what I would
do.
KLAATU
(to Helen, helpfully)
Perhaps before deciding on a course
of action, you'd want to know more
about the people here -- to orient
yourself in a strange environment.
MRS. BARLEY
(sharply)
There's nothing strange about
Washington, Mr. Carpenter.
KLAATU
(quietly, tongue in
cheek)
A person from another planet might
disagree with you.
MRS. BARLEY
If you want my opinion, he came from
right here on Earth.
(with significant
emphasis)
And you know where I mean.
MR. KRULL
They wouldn't come in a space ship.
They'd come in airplanes.
MRS. BARLEY
(as though with
superior knowledge)
I wouldn't be so sure about that.
MR. BARLEY
(delivering the final
word)
Stands to reason that fella wants
some thing or he wouldn't be here.
(facing Klaatu)
That make sense, Carpenter?
Klaatu pauses for a moment, then recites pleasantly.
KLAATU
I must admit I'm a little confused.
Mrs. Crockett enters and speaks to Helen.
MRS. CROCKETT
Mrs. Benson -- Mr. Stevens is here
to see you.
HELEN
Oh -- thank you.
She rises and goes out.
MRS. BARLEY
Finish your coffee, George. I told
the Carsons we'd be there at eleven.
INT. BOARDINGHOUSE - LIVING ROOM - MED. CLOSE SHOT
as Helen crosses the room to greet TOM STEVENS. He's a
personable young man with a breezy manner and considerable
charm. There is between them an easy air of Intimacy.
HELEN
(smiling warmly)
Good morning.
Tom kisses her.
TOM
We're all set. I picked up some
sandwiches and put gas in the car.
And the radio's still busted, so me
can forget about the space man for
today.
HELEN
(a little disturbed)
There's only one thing -- I haven't
been able to arrange for anyone to
stay with Bobby.
(tentatively)
I don't suppose we could take him
with us?
TOM
(understandably
unenthusiastically)
Well, we could--
HELEN
There's always somebody here, but
today of course they've all got plans.
KLAATU'S VOICE
I haven't any plans.
Helen and Tom turn in surprise.
THREE SHOT
including Klaatu, who has wandered in from the dining room,
unnoticed by Tom and Helen. Klaatu continues, with an air of
wanting to be helpful without wanting to interfere.
KLAATU
I'd be glad to spend the day with
him -- if you'd let me.
TOM
(impulsively)
Say, that'll be great! Wouldn't it,
Helen.
HELEN
(hesitating, a little
confused, by the
offer)
It's awfully nice of you to suggest
it.
(remembering the two
men haven't met)
I'm sorry Mr. Carpenter -- this is
Tom Stevens.
The two men shake hand's and exchange how-do-you-do's. Then
Klaatu turns back to Helen.
KLAATU
Bobby and I had a fine time yesterday
afternoon. We talked -- and listened
to the radio.
(smiling at Helen)
I thought today he might show me
around the city.
Helen is debating the matter in her mind, concerned about
leaving Bobby with a comparative stranger, but tempted because
of her favorable impression of Klaatu.
KLAATU
(easily)
Suppose I ask Bobby how he feels
about it.
He turns, with a little smile, and starts out of the room.
Helen, still not quite decided, turns to Tom with a
questioning look. Tom nods.
DISSOLVE T0:
INT. LINCOLN MEMORIAL - FULL SHOT - DAY (STOCK)
The great seated, brooding figure of Lincoln is at the far
end of the impressive main hall. A few tourists are moving
about the place.
MED. CLOSE SHOT - KLAATU AND BOBBY
They are in the south hall, on the wall of which is inscribed
the Gettysburg Address. They stand silently, side by side,
reading the inscription.
INSERT - GETTYSBURG ADDRESS (STOCK)
Featuring the last part of the Address. It reads: "--and
that government of the people, by the people, for the people,
shall not perish from the earth."
TWO SHOT - KLAATU AND BOBBY
KLAATU
(visibly impressed)
Those are great words.
(with an air of
discovery)
He must have been a great man.
Bobby is impressed by the depth and sincerity of Klaatu's
tribute, but a little confused by his air of having discovered
Lincoln. Hobby watches Klaatu with a puzzled expression,
then follows as Klaatu moves off slowly.
DISSOLVE TO:
EXT. LINCOLN MEMORIAL - MED. CLOSE SHOT - DAY
shooting against one of the huge fluted columns as Klaatu
and Bobby come out of the building. Deeply preoccupied, Klaatu
speaks with impatient urgency.
KLAATU
That's the kind of man I'd like to
talk to.
Bobby looks up at him in bewilderment. After a moment Klaatu
speaks slowly, thoughtfully.
KLAATU
Bobby -- who's the greatest man in
America today?
BOBBY
(puzzling it over)
Gee -- I don't know... The space
man, I guess.
KLAATU
(secretly amused)
I was speaking of earth men. I meant
the greatest philosopher -- the
greatest thinker.
B0BBY
You mean the smartest man in the
whole world?
KLAATU
Yes -- that would do nicely.
BOBBY
(after a moments
thought)
Well -- Professor Barnhardt, I guess.
He's the greatest scientist in the
world.
KLAATU
(he pauses
thoughtfully, speaks
slowly, as he recalls
the newspaper story
he read)
He lives here in Washington, doesn't
he?
BOBBY
Sure. Right near where my mother
works.
KLAATU
Where is that?
BOBBY
Department of Commerce. She's a
secretary.
(Klaatu nods)
They have a man they call the
Secretary, but he isn't at all. My
mother's a real secretary.
(after a moment;
eagerly)
Mr. Carpenter -- now can we go see
the space ship?
EXT. THE MALL - LONG SHOT - SPACE SHIP AND GORT - DAY
A crew of Army engineers is in process of erecting a temporary
structure such as a large Quonset hut or B29 hanger to enclose
the space ship and Gort. The walls are partially up and
already have concealed part of the ship. The area is roped
off and there are Army guards to keep the sightseers back.
There is a crowd of people behind the ropes, watching. CAMERA
MOVES IN to reveal the backs of Bobby and Klaatu.
TWO SHOT - KLAATU AND BOBBY
Bobby is studying the ship and Gort eagerly, his imagination
thoroughly aroused. Klaatu is watching the men at work with
mild, quiet amusement.
MED. CLOSE SHOT - GORT
from Bobby's viewpoint.
TWO SHOT - BOBBY AND KLAATU
Bobby's eyes are wide with awe as he watches the giant robot.
BOBBY
Boy, I'll bet he's strong. I bet he
could knock down a whole building.
KLAATU
(with a quizzical
smile)
I shouldn't be at all surprised.
Bobby's attention shifts to the ship.
MED. SHOT - SPACE SHIP
From Bobby's viewpoint.
TWO SHOT - B0BBY AND KLAATU
BOBBY
(excitedly, indicating
the ship)
Gee, I'd like to get inside and see
how it works. What do you think makes
it go?
KLAATU
(quietly, after a
glance around)
Well -- atomic power, I would imagine.
BOBBY
(looking at Klaatu
incredulously)
I thought that was only for bombs.
KLAATU
No. It's for a lot of other things,
too.
BOBBY
You think it can go faster than an F-
36?
KLAATU
Yes -- I think so.
MED. CLOSE SHOT KLAATU AND BOBBY
shooting from a side angle to include a couple of men who
are listening to Klaatu's conversation. They are nudging
each other, amused at the way this man is pretending to
explain things to the little boy.
BOBBY
About a thousand miles an hour?
Klaatu has noticed the two men, who have edged a little closer
to listen. He is not perturbed by them, but he lowers his
voice a bit.
KLAATU
Maybe four thousand miles an hour.
And outside the Earth's atmosphere a
good deal faster.
BOBBY
(excitedly)
Gee! How could they make a landing?
KLAATU
Well -- there are several ways to
reduce landing speed. You see, the
velocity--
Klaatu interrupts himself as he realizes that he may be going
too far. The two men have moved closer, listening and
grinning. One of them whispers to the other behind the back
of his hand. Then the man realizes that Klaatu has stopped
speaking and is looking at him.
MAN
(grinning)
Keep goin', Mister. He was fallin'
for it.
The two men burst out laughing and move off together. Bobby,
who has missed the point of this by-play, looks at Klaatu,
then after the men. As they move out of scene they laugh
loudly at the little boy's confusion. Klaatu takes Bobby's
hand to lead him away from the roped-off area.
TWO SHOT - KLAATU AND BOBBY
CAMERA FOLLOWS them as they move away through the crowd.
As they do so, several newsboys are working their way through
the crowd with newly arrived extras. The boys are calling
out the extras: "Police under fire!" "Army put in charge!"
"Space man still at large!" etc. People are eagerly buying
the papers. Klaatu and Booby watch this as they pass through
the crowd.
CLOSE SHOT - EXTRA
In newsboy's hand. The headline reads: SPACE MAN ELUDES POLICE
ARMY PUT IN CHARGE.
CLOSE SHOT - ANOTHER EXTRA
In another newsboy's hand. This headline reads: DISTRICT
UNDER MARTIAL LAW. CONGRESS ACTS AS POLICE CHIEF REIGNS.
TWO SHOT - KLAATU AND BOBBY
as they move on away from the excited crowd of people.
Klaatu's reaction has been one of mild curiosity. Bobby looks
up at him.
BOBBY
You think they'll ever find him?
KLAATU
(alter a moment's
pause)
I don't know, Bobby. I'm inclined to
doubt it.
BOBBY
(as they continue
walking)
Mr. Carpenter -- what does velocity
mean?
KLAATU
(preoccupied)
Velocity is the time rate of change
of position.
This explanation misses Bobby by several light years. He
glances up at Klaatu blankly.
BOBBY
I'll bet that's the way Professor
Barnhardt talks.
Pulled out of his reverie, Klaatu glances down at Bobby and
smiles apologetically. Bobby grins back at him. Then, as
they walk on a few more steps, Klaatu stops and speaks
thoughtfully.
KLAATU
Bobby -- I have an idea. Let's go
see Professor Barnhardt and find out
how he talks.
BOBBY
(with a half-smile of
accusation)
You're just kidding, aren't you?
KLAATU
Wouldn't you like to meet him?
BOBBY
Well, sure I would, but --
(he's to be not going
taken in)
Aw, I'll bet you'd be scared.
KLAATU
(with a private smile)
We can scare him more than he can
scare us.
Bobby stares up at him and his face breaks into a broad
admiring grin.
BOBBY
I like you, Mr. Carpenter. You're a
real screwball.
DISSOLVE TO:
EXT. BARNHARDT'S HOUSE - MED. SHOT - DAY
The house is an unimposing old-fashioned structure, shouldered
on either side by similar one-family dwellings. There is a
flight of stone steps leading up to the entrance and a large
porch across the front of the house. Klaatu and Bobby walk
into scene and pause, Klaatu glances at Bobby and Bobby nods
toward the house. They move on up the steps to the entrance.
MED. CHOOSE SHOT - AT FRONT DOOR
Bobby, all eagerness and excitement, presses the bell. They
wait a moment and there is no answer.
BOBBY
(disappointed at the
thought)
Gee -- maybe he isn't home.
Bobby wanders down the porch and looks into a window.
Fascinated by what he sees, he gestures to Klaatu.
BOBBY
Betcha this is where he works--
After a glance at the front door, Klaatu joins Bobby at the
window and looks in.
FULL SHOT - BARNHARDT'S STUDY
SHOOTING through the window, over the heads of Klaatu and
Bobby. The room is more of a workroom than a study. It is in
comfortably shabby disarray, with papers and books everywhere.
There's a battered old desk and a day bed. One wall is solid
bookshelves and on the other two are blackboards covered
with a fantastic array of complex equations, graphs and
diagrams.
CLOSE SHOT - KLAATU
His attention has been caught by one of the blackboards and
he studies it with great interest and curiosity.
MED. CLOSE SHOT - SECTION OF BLACKBOARD
It is covered with a particularly complicated series of
equations in a chalky scrawl, involving angles of vector,
Keplerian ellipses, etc. The final equations are unsolved;
they have no answers after the "equals" sign. Across are
little printed signs tacked to the blackboard reading: "Don't
erase!" and "Don't touch!"
TWO SHOT - KLAATU AND BOBBY
Bewildered, Bobby looks from the blackboard up at Klaatu.
Still studying the blackboard, Klaatu is shaking his head
and clucking his tonsure as one might at the attempts of a
child to solve a problem in arithmetic.
BOBBY
(indicating the
equations)
What does that mean?
KLAATU
It's a problem in celestial mechanics.
BOBBY
Bet he's the only one in the world
knows the answer.
KLAATU
(he shakes his head,
smiling)
He doesn't know the answer. And he'll
never get it that way.
Bobby moves over to a pair of French doors beyond the window
and tries to peer in through the curtained doors. He absently
tries the doors and finds them locked. Then he turns away
with a disappointed but philosophical shrug.
BOBBY
We probably couldn't get to see him
even if he was home.
As Bobby moves away from the doors dejectedly, Klaatu puts
his hand on the knob.
CLOSE SHOT - BOBBY
He's watching Klaatu and his eyes widen at what he sees.
BOBBY
(in complete surprise)
Hey -- where you going?
CHOOSE SHOT - KLAATU
He has opened the door and is standing in the doorway, his
hand, still on the knob. He is smiling at Bobby with secret
amusement. He's got an idea.
KLAATU
If he's that difficult to see, perhaps
we ought to leave a calling card.
Klaatu disappears into the study. Amazed, Bobby follows.
INT. BARNHARDT'S STUDY
Bobby watches as Klaatu walks to the blackboard and picks up
a piece of chalk. As though correcting a schoolboy's work,
he makes large check marks at several points in each equation.
EXT. PORCH - BARNHARDT'S HOUSE
An efficient-looking middle-aged woman is mounting the steps
to the entrance, getting her front door key out of her purse,
when her eye falls on the French doors, which are standing
ajar. Puzzled, she starts down the porch toward the doors.
This woman is Barnhardt's secretary and her name is HILDA.
Bobby is watching as Klaatu writes across the blackboard in
a bold hand: Differentiate the equation ( ).
Klaatu underlines this comment with a sharp stroke, when a
stern voice is heard off screen.
HILDA'S VOICE
What are you doing in here?
FULL SHOT
as Klaatu and Bobby turn in surprise. Standing in the open
French doors is Hilda, eyeing them with stern suspicion.
HILDA
(outraged by Klaatu's
desecration of the
sacred blackboard)
How dare you write on that blackboard!
(Klaatu eyes her mildly)
Do you realize the Professor has
been working on that problem for
weeks?
KLAATU
(pleasantly)
He'll catch on to it in no time now.
HILDA
(controlling herself
with an effort)
How did you get in here? And what do
you want?
KLAATU
We came to see Professor Barnhardt.
HILDA
Well, he's not here. And he won't be
back till this evening.
(sternly)
I think you'd better leave now.
Unruffled, Klaatu turns to the desk
and scribbles something on a scratch
pad. He tears off the piece of paper
and hands it to Hilda.
KLAATU
You might keep this.
(with easy assurance)
I think the professor will want to
get in touch with me.
With a polite nod he goes out the French doors, followed by
Bobby. Hilda eyes the door for a moment, then glances down
at the paper in her hand, disturbed and puzzled by this
stranger. Her glance wanders to the blackboard and she picks
up an eraser, debating whether to erase Klaatu's corrections.
At that moment the French door opens and Klaatu sticks his
head in. Startled, Hilda drops the eraser.
KLAATU
(pointing to the
blackboard)
I wouldn't erase that. The Professor
needs it very badly.
And he disappears, leaving Hilda to glare after him in
impotent rage. Deciding that this man is either a crackpot
or a menace, she goes to the telephone on the desk and starts
dialing a number.
EXT. BARNHARDT'S HOUSE - MED. SHOT
as Klaatu and Bobby come down the steps and turn into the
sidewalk. They are talking and laughing together, but we
can't hear their conversation. CAMERA PANS with them as they
move on up the sidewalk, revealing two kids playing hopscotch.
Klaatu watches, fascinated, as he walks by. Then, having
passed the kids, he tries the one-footed, then two-footed
hop that characterizes the game.
INT. BARNHARDT'S STUDY
Hilda is talking on the phone.
HILDA
--no, Sergeant, there was no
classified material around, but I
have instructions to report anything
unusual to the police... Yes -- I'm
Professor Barnhardt's secretary.
(consulting the paper
in her hand)
The man's name is Carpenter -- and
he lives at 1615 St. Street, N.W...
Yes, that's right--
DISSOLVE TO:
EXT. ARLINGTON NATIONAL CEMETERY - LONG SHOT - DAY
Bobby and Klaatu come out of a wooded path into a section of
the cemetery where the myriad crosses seem to reach into
infinity. They pause for a moment, then Bobby leads the way
through one of the rows.
EXT. ARLINGTON CEMETERY - CLOSE SHOT
in one of the many rows are crosses that extend beyond CAMERA
RANGE. CAMERA MOVES IN on one of the crosses. It bears the
name LT. ROBERT BENSON.
TWO SHOT - KLAATU AND B0BBY
as they come into scene and look down at the grave.
BOBBY
That's my father.
(Klaatu glances at
the boy, then nods
understandingly)
He was killed at a place called Anzio.
Klaatu's glance roves out thoughtfully to the infinite rows
of crosses, and his eyes are sad as they return to Bobby.
DISSOLVE TO:
EXT. ARLINGTON CEMETERY - MED. SHOT - DAY
Klaatu and Bobby are approaching a bench beside a pathway
overhung with trees. Bobby leads the way to the bench and
they sit down. Klaatu's eyes stray out to the myriad crosses.
KLAATU
(Reflectively)
Did all these people die in wars?
BOBBY
(somewhat surprised)
Sure. Didn't you ever hear of
Arlington Cemetery?
KLAATU
No -- I'm afraid not.
BOBBY
(very serious)
Mr. Carpenter" -- you don't seem to
know about anything.
KLAATU
(Amused)
I'll tell you, Bobby -- I've been
away for a long time. Very far away.
BOBBY
Is it different where you've been?
(indicating the
cemetery)
Don't they have places like this?
KLAATU
(slowly)
They have cemeteries. But not like
this one... You see, they don't have
any wars.
Bobby looks at him, puzzled and impressed by this
incomprehensible notion.
BOBBY
Gee -- that's a good idea.
His eyes are drawn subconsciously out to the rows of crosses.
Then he turns back to Klaatu with a slow-dawning look of
curiosity, and Klaatu deliberately changes the subject.
KLAATU
What would you like to do this
afternoon?
After a moment Bobby's expression changes and he breaks into
a broad grin.
BOBBY
Go to the movies.
KLAATU
All right.
BOBBY
(he didn't dare hope
for this)
No foolin'? Will you?
KLAATU
Certainly.
(then he hesitates)
Tell me, Bobby -- do you have to
have money to go there?
Bobby gives him a look of amazement, then grins, assuming
Klaatu was kidding and simply hasn't any money.
BOBBY
(eagerly)
I've got some money. My mother gave
me two dollars.
KLAATU
No -- I want to take you to the
movies.
(he takes some objects
out of his pocket)
Do you think they'd accept these?
CLOSE SHOT - KLAATU'S HAND
Sparkling in his palm are eight or ten cut diamonds of various
sizes.
TWO SHOT - KLAATU AND BOBBY
The boy is staring at the stones in wide-eyed amazement.
BOBBY
Gee -- those look like diamonds!
KLAATU
Some places that's what people use
for money. They're easy to carry --
and they don't wear out.
BOBBY
(staring at them
fascinated)
Bet they're worth about a million
dollars.
KLAATU
Would you give me your two dollars
for a couple of them?
BOBBY
(with a nervous, unsure
smile)
Well, sure, but--
The boy studies Klaatu's face to see if he's kidding.
Realizing that he's not, Bobby's face takes on a childishly
shrewd expression -- as though he were about to trade a
jackknife for an ocean liner.
BOBBY
(slowly)
Okay.
The boy takes out two dollar bills and offers them almost
challengingly. Klaatu takes the bills and hands Bobby two
good-sized Diamonds. They study their new acquisitions with
interest. Bobby looks up from his diamonds to steal a guilty
glance at Klaatu.
BOBBY
Let's not say anything to my mother
about this, Mr. Carpenter.
KLAATU
(mildly curious)
Why not, Bobby?
BOBBY
(gravely)
She doesn't like me to steal from
people.
DISSOLVE TO:
EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT
Shooting toward the curb as a police prowl car drives up and
stops in front of the boardinghouse. A Detective in
plainclothes gets out and gestures to the uniformed Driver
to pull up the street a way and wait. The Driver nods and
the car moves off as the Detective crosses the sidewalk to
the boardinghouse.
EXT. BOARDINGHOUSE - MED. CLOSE SHOT
As the Detective mounts the steps he glances through a window
into the living room. Klaatu can be seen reading to Bobby,
who is perched happily on the arm of Klaatu's chair. The
Detective moves to the front door ant rings the bell. There
is the sound of running feet and in a moment the door is
opened and Bobby appears.
DETECTIVE
Mr. Carpenter come home yet?
BOBBY
(studying the man
curiously)
Yeah -- he's right inside.
INT. DOWNSTAIRS - BOARDINGHOUSE
DETECTIVE
Tell him I'd like to see him.
BOBBY
(calling out)
Mr. Carpenter--!
(to the Detective)
Come on in.
The Detective steps inside and Bobby closes the door, as
Klaatu appears from the living room.
DETECTIVE
Your name Carpenter?
KLAATU
(puzzled that anyone
should know him)
Yes.
(then recalling, with
a smile of
satisfaction)
Oh -- I suppose Professor Barnhardt's
looking far me.
DETECTIVE
(dryly, with grim
emphasis)
I been looking for you all afternoon.
EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT
An inexpensive convertible -- a 1948 Ford, or Chevrolet --
drives up and stops in front of the house. Helen and Tom are
in it.
INT. CONVERTABLE - TW0 SHOT - HELEN AND TOM
You get the feeling that Helen and Ton have spent a very
enjoyable day together and are reluctant to say goodnight.
Tom puts his arm around her and kisses her.
HELEN
(fondly)
It was a wonderful day.
TOM
You still haven't answered my
question.
HELEN
(warmly sincere)
You know how I feel, Tom. I just
want to think it over.
TOM
The boss is leaving for Chicago
tomorrow. If I could tell him I was
getting married -- with two dependents--
HELEN
(smiling)
You're a good salesman -- but I've
got to think about it.
TOM
A good insurance salesman wouldn't
give you time to think.
With a smile and, a quick kiss, Helen gets out of the car.
HELEN
'Night.
MED. SHOT
as Helen turns and hurries across the sidewalk to the house.
In the entrance she turns and waves to Tom. He waves back
and drives off slowly. Helen lets herself in with her key.
INT. DOWNSTAIRS HALL - BOARDINGHOUSE
The Detective is putting on his hat and preparing to leave
with Klaatu as Helen enters. There is a moment of awkwardness
and confusion as she glances, puzzled, at the Detective.
Bobby runs to her and greets her excitedly.
BOBBY
Hi Mom!
HELEN
Hello, darling.
(she kisses Bobby,
then turns
questioningly to
Klaatu and the
Detective)
Good evening, Mr. Carpenter.
Klaatu is uneasy but tries not to show it as he smiles in
greeting and introduces the Detective.
KLAATU
Mrs. Benson -- this is Mr. Brady.
BOBBY
(Impressively)
Mr. Brady's a cop.
Helen glances quickly at the Detective, then at Klaatu,
surprised and troubled. She turns to Bobby to cover her
confusion.
HELEN
(to Bobby)
Did you have a nice day, dear?
BOBBY
(enthusiastically)
Boy, we had a swell time. Didn't we,
Mr. Carpenter?
KLAATU
We certainly did.
BOBBY
We went to the movies -- and we had
ice cream cones -- and we went to
see Daddy--
HELEN
(moved and grateful,
she's uneasy and
concerned as she
turns to Klaatu)
I don't know how to thank you.
KLAATU
I enjoyed every minute of it.
DETECTIVE
(with quiet insistence)
We better get goin', Mr. Carpenter.
As Klaatu nods and prepares to follow him, Bobby speaks to
Klaatu.
BOBBY
Aw, gee -- we didn't finish our story.
KLAATU
We'll finish it tomorrow... Goodnight,
Bobby.
BOBBY
(reluctantly)
Goodnight.
Klaatu and the Detective nod to Helen and they go out. Helen
watches the door close with real concern, wondering why the
police want Klaatu and hoping he hasn't done anything wrong.
Still disturbed, she turns to lead Bobby upstairs.
HELEN
Come on, Bobby. Time to go to bed.
BOBBY
(he followers her,
then hesitates)
Mom -- why does Mr. Carpenter have
to go down to the police station?
HELEN
I -- I don't know, dear... Perhaps
there's some mistake.
This satisfies him for the moment -- even though it doesn't
satisfy Helen. He is climbing the stairs beside her.
BOBBY
We sure had fun today. We saw the
space ship and we went to see
Professor Barnhardt -- and--
HELEN
(flashing him a
puzzled, incredulous
look)
Professor Barnhardt.
BOBBY
(almost ignoring the
interruption)
Yeah, sure. Mom, do I have to go to
school tomorrow?
HELEN
Of course, dear.
BOBBY
Aw, gee, Mom -- I had plans to play
with Mr. Carpenter.
DISSOLVE TO:
INT. POLICE STATION - FULL SHOT - NIGHT
The place is crowded and there is a feeling of feverish but
well-ordered activity. Unidentified people who have been
picked up in the search for the space man are being screened
by the police. They are all men -- all between forty and
sixty years old -- and they are from all walks of life. A
series of desks have been arranged in a row, with signs over
them reading IDENTIFICATION. At each desk is a team of cops
and before each desk is a line of men waiting to be screened.
At the far end of the room Klaatu can be seen at the desk of
a Police Lieutenant, with the detective who picked him up.
MED. CLOSE SHOT
Shooting over the shoulders of two cops at one of the desks,
toward the line of people they are screening. A nondescript,
middle-aged vagrant stands before the desk as one of the
cops flips through a card file.
FIRST COP
(to the cop beside
him)
B.M. Alberts -- no prior arrests.
SECOND COP
(to the vagrant)
No identification?
(the man shakes his
head dully)
Send him over to G-2.
The man is taken out of the line as CAMERA MOVES ON to the
next desk, with another pair of cops and another line. A
rather distinguished-looking business man is placing a sheaf
of identification cards and papers on the desk.
BUSINESSMAN
My wife just arrived with my
identification.
One of the cops at the desk glances over the papers and nods
to the man.
THIRD COP
That'll be all, Mr. Baxter. Sorry to
bother you... Next.
CAMERA MOVES ON to a third desk where a small, rat-faced man
is standing uneasily before the two cops, one of whom is
flipping through a card file.
FOURTH COP
Cappo, John C?
(the man nods)
Two priors -- one for petty theft --
one for shoplifting.
FIFTH COP
(waving the man away)
Okay, Jonny -- you can go.
MAN
(with a nervous grin)
Sometimes a record comes in handy.
(and he moves off)
MED. CLOSE SHOT - AT LIEUTENANT'S DESK
A Detective Lieutenant in plain clothes is questioning Klaatu,
who stands beside the Detective who brought him in. The
Lieutenant is a rugged but dignified man about fifty,
intelligent and businesslike.
LIEUTENANT
The Professor's secretary says she
found you in Barnhardt's room, making
marks on his blackboard.
KLAATU
I was only trying to be helpful. He
was having difficulty with a problem.
The Lieutenant exchanges a look with the Detective.
LIEUTENANT
(sardonically)
Oh, I see. He was having trouble and
you were helping him out.
KLAATU
(pleasantly)
That's right.
LIEUTENANT
(quietly sharp and
accusing)
I suppose you know that Barnhardt
does a lot of secret work for the
Army.
KLAATU
In this case the secret wouldn't be
worth much. He doesn't know the answer
himself.
LIEUTENANT
(growing impatient)
But I suppose you know the answer.
KLAATU
(with a deprecating
shrug)
It's really quite simple... The three-
body problem, you know.
The lieutenant shifts in his chair, annoyed that he has to
deal with this madman. He glances at a report on his desk,
trying to control his impatience.
LIEUTENANT
Your name's Carpenter -- that right?
(Klaatu nods)
Any identification, Mr. Carpenter?
Driver's license -- social security
number?
KLAATU
No -- I'm afraid not.
LIEUTENANT
Well, how do I know who you are?
KLAATU
(secretly amused)
You don't.
The Lieutenant is turning away in exasperation as a uniformed
cop comes into the scene.
COP
Excuse me, Lieutenant --
(pointing offscene)
The Doc says this man needs treatment
right away.
MED. SHOT
A man about forty-five, bloodied and badly beaten, is being
supported and half-carried by two policemen. A police doctor
is guiding them to a doorway, near which is a sign INFIRMARY.
The man is almost unconscious, incapable even of holding up
his head.
MED. CLOSE SHOT - AT LIEUTENANT'S DESK
LIEUTENANT
What's the story?
COP
Some fella caught him lookin' in a
window and figured he was the space
man. The whole neighborhood went
crazy and they ganged up on him.
Would have killed him if we hadn't
come along... Turns out he was just
a prowler.
The Lieutenant grimaces his disgust and impatience with mob
violence.
LIEUTENANT
Okay -- book him and get him fixed
up.
(the cops nods and
goes, and the
Lieutenant growls as
he turns back to
Klaatu and the
Detective)
Looks like everybody's goin' nuts.
KLAATU
(appalled by what he
has seen and heard)
They would have killed this man?
LIEUTENANT
(gruffly)
People get hysterical enough, they
do anything.
(impatiently)
Look, Mr. Carpenter -- if you can't
identify yourself, I got to send you
over to the Army.
KLAATU
(pretending impatience,
but actually growing
concerned)
How long will that take?
LIEUTENANT
They can tell right away. They've
got a couple of doctors who saw this
man in the hospital.
(to the Detective)
Take him over to G2.
Really concerned now, Klaatu tries to find a way out. He
attempts an authoritative air.
KLAATU
It's very important, Lieutenant,
that I see Professor Barnhardt.
DETECTIVE
Come on, Mr. Carpenter--
Shaking off the Detective's hand, Klaatu speaks to the
Lieutenant.
KLAATU
May I suggest that you call the
Professor?
LIEUTENANT
(all patience gone)
Get going, will you, Brady -- before
I get mad!
The Detective takes Klaatu's arm and leads him toward the
door. As they go they pass a Military Police Captain, who
makes his way straight to the Lieutenant's desk.
EXT. POLICE STATION - TWO SHOT - KLAATU AND DETECTIVE
as they come out of the station. Klaatu hesitates a moment,
looks around. His face reveals nothing, but he seems to be
momentarily considering the idea of making a break. The
Detective, sensitive to such a possibility, hooks his arm
under Klaatu's and nods his head toward the sidewalk in silent
command. Klaatu allows himself to be led off.
MED. SHOT
as the Detective leads Klaatu across the sidewalk to the
curb, where a police car is standing. Parked just behind it
is an Army staff car.
MED. CLOSE SHOT - ENTRANCE TO POLICE STATION
as the M.P. Captain appears in the entrance, accompanied by
the Police Lieutenant. They see Klaatu and the Detective
approaching the police car and hurry out of scene after them.
MED. CLOSE SHOT - AT POLICE CAR
LIEUTENANT
(to the Detective)
Wait a minute, Brady--
(indicating orders in
his hand)
The Captain here's got orders from
General Cutler to take this man over
to Professor Barnhardt.
M.P. CAPTAIN
(to Klaatu firmly but
respectfully)
Will you come with me, Sir?
MED. SHOT
as Klaatu gets out of the police car and the Captain escorts
him toward the staff car. Passing the Lieutenant, Klaatu
speaks with a polite smile, a smile that might be one of
mild triumph.
KLAATU
Sorry to trouble you, Lieutenant.
The Lieutenant reacts with impatient exasperation as the
Captain holds the staff car door open for Klaatu, who steps
into the Army vehicle, as we--
DISSOLVE TO:
INT. HALLWAY - BARNHARDT'S HOUSE - NIGHT
as the M.P. Captain and Klaatu enter the front door, which
is held open for then by Hilda. She gestures them toward the
half-open door of Barnhardt's study, where Barnhardt can be
seen puzzling over the problem on the blackboard. The Captain
knocks on the open door to attract his attention and enters
with Klaatu.
INT. BARNHARDT'S STUDY
Barnhardt turns from his deep preoccupation at the blackboard,
chalk in hand.
M.P. CAPTAIN
This is the man you wanted to see,
Professor.
BARNHARDT
(studying Klaatu
curiously)
Thank you, Captain.
M.P. CAPTAIN
I'll wait outside.
He steps out into the hall, closing the door. Barnhardt
continues to study Klaatu for a moment, then points to the
notations he made on the blackboard. There is a controlled
but anxious excitement in Barnhardt's attitude.
BARNHARDT
You wrote this?
KLAATU
(nodding easily)
It was a clumsy way to introduce
myself -- but I understand you're a
difficult man to see.
(glancing at the
blackboard
reproachfully)
I thought you'd have the solution by
this time.
BARNHARDT
Not yet. That's why I wanted to see
you.
Klaatu glances at the work Barnhardt has been doing on the
board. Then he points to one of the expressions in an
equation.
KLAATU
All you have to do now is substitute
this expression--
(pointing to a specific
place)
--at this point.
Impressed and interested, Barnhardt tugs at his chin as he
studies and weighs the results.
BARNHARDT
(slowly, thoughtfully)
Yes -- that will reproduce the first-
order terms. But what about the effect
of the other terms?
KLAATU
Almost negligible... With variation
of parameters, this is the answer.
BARNHARDT
How can you be so sure? Have you
tested this theory?
KLAATU
(with a slight smile)
I find it works well enough to get
me from one planet to another.
(Barnhardt stares at
him blankly)
I understand you've called a meeting
to study our space ship.
BARNHARDT
As though unsure of what he's heard)
Yes -- yes, I have.
KLAATU
My name is Klaatu.
(noting that
Barnhardt's expression
is changing from
amazement to
incredulity)
I spent two days at your Walter Reed
Hospital. Room 309. My doctor's name
was Major White -- and I had a very
attractive nurse called Ruth, who's
getting married next Wednesday.
(Klaatu waits for
this to sink in,
then speaks with
quiet authority)
If you are not interested -- or if
you intend to turn me over to your
Army -- we needn't waste any more
time.
Barnhardt hesitates for a long, thoughtful moment. Then he
goes to the door, opens it and speaks to the Captain outside.
BARNHARDT
(to the Captain, his
voice a little
unsteady)
You can go now, Captain. Please thank
General Cutler and tell him -- tell
him that I know this gentleman.
Barnhardt closes the door and turns to find Klaatu watching
him with a faint smile. Barnhardt sinks into a chair, trying
to adjust his mind.
KLAATU
(dryly)
You have faith, Professor Barnhardt
BARNHARDT
It isn't faith that makes good
science, Mr. Klaatu. Its curiosity.
(unable to conceal
his interest)
Sit down, please. I have several
thousand questions to ask you.
KLAATU
(ignoring the
invitation)
I would like to explain something of
my mission here.
BARNHARDT
That was my first question.
KLAATU
(with some bitterness)
It was my intention to discuss this
officially -- with all the nations
of the Earth -- but I was not allowed
the Opportunity. I have come to
realize since that your mutual fears
and suspicions are merely the normal
reactions of a primitive society.
(gathering his thoughts)
We know from scientific observation
that you have discovered a rudimentary
kind of atomic energy. We also know
that you are experimenting with
rockets.
BARNHARDT
Yes -- that is true.
KLAATU
In the hands of a mature civilization,
these would not be considered weapons
of aggression. But in the hands of
your people--
(he shrugs and shakes
his head)
We've observed your aggressive
tendencies, and we don't trust you
with such power.
BARNHARDT
(puzzled)
If you mean that you are afraid of
us--
KLAATU
(with cool impressive
emphasis)
We want to be sure you don't make --
let us say -- an unfortunate mistake.
We know the potentiality of these
developments and we are disturbed to
find them in the hands of children...
You see, we've had atomic energy for
five thousand of your years.
(indicating the
telephone)
We discarded instruments like this
many centuries ago.
(he paces thoughtfully)
So long as you were limited to
fighting among yourselves -- with
your primitive tanks and planes --
we were unconcerned. But soon you
will apply atomic energy to space
ships -- and then you become a threat
to the peace and security of other
planets. That, of course, we cannot
tolerate.
BARNHARDT
(thoughtful and
impressed)
These other planets -- do they have
peace and security?
KLAATU
We had our atomic wars -- thousands
of years ago.
(he smiles wryly)
After that we fought with bows and
arrows. Then, slowly, we learned
that fighting is no solution -- that
aggression leads to chaos.
BARNHARDT
(with deep conviction)
We scientists understand this. Even
we primitive scientists.
(Straightforwardly)
What exactly is the nature of your
mission, Mr. Klaatu?
KLAATU
I came here to warn you that, by
threatening danger, your planet faces
danger -- very grave danger. I am
prepared, however, to offer a
solution.
BARNHARDT
Would you care to be more specific?
KLAATU
(evenly)
What I have to say must be said to
all concerned.
(with a suggestion of
deference to Barnhardt)
It is too important to be entrusted
to any individual.
Barnhardt is forced reluctantly to accept Klaatu's refusal
to go any further. After a moment's thought, he speaks
seriously, but with a twinkle in his eye.
BARNHARDT
I gather that your efforts on the
official level were not entirely
successful.
KLAATU
(sternly, as this
unpleasant episode
is recalled)
I come to you as a last resort --
and I confess that my patience is
wearing thin.
(with Jovian annoyance)
Must I take drastic action in order
to get a hearing?
BARNHARDT
(uneasily)
What -- what sort of action do you
mean?
KLAATU
Violent action -- since that seems
to be the only thing you people
understand.
(quietly)
Leveling the island of Manhattan,
perhaps -- or dropping the Rock of
Gibraltar into the sea.
Barnhardt stands staring at him for a moment, passes his
hand across his brow. Then, as Klaatu watches, Barnhardt
paces the floor, trying to digest what he has heard. After a
moment, he turns to Klaatu.
BARNHARDT
Would you be willing to meet with
the group of scientists I am calling
together?. Perhaps you could explain
your mission to them, and they in
turn could present it to their various
peoples.
KLAATU
(quietly, evenly)
That's what I came to see you about.
Barnhardt flings him a glance, then looks momentarily
sheepish. But his own eagerness carries him on. He paces the
floor thoughtfully.
BARNHARDT
It is not enough to have men of
science. We scientists are too easily
ignored -- or misunderstood. We must
get important men from every field.
Educators -- philosophers -- church
leaders -- men of vision and
imagination -- the finest minds in
the world.
KLAATU
I leave that in your hands.
BARNHARDT
You'd have no objection to revealing
yourself at this meeting?
KLAATU
No -- not at all.
BARNHARDT
What about your personal safety in
the meantime? What about the Army --
and the police?
KLAATU
My name is Carpenter and I'm a very
earthy character living in a
respectable boarding house.
BARNHARDT
(smiling, but a little
concerned)
I'm afraid I can't offer you any
real protection. I have no influence
in cases of inter-planetary
conspiracy.
KLAATU
I'm sure I'll be quite safe until
the meeting.
BARNHARDT
(he suddenly pauses,
thoughtfully)
One thing, Mr. Klaatu. Suppose this
group should reject your proposals.
What is the alternative?
KLAATU
(with a sense of quiet,
inescapable power)
I'm afraid you have no alternative.
In such, a case the planet Earth
would have to be--
(he looks for the
right word)
--eliminated.
The implications of this statement leave Barnhardt speechless,
his keen mind reeling.
BARNHARDT
Such power exists?
KLAATU
I assure you such power exists.
Barnhardt stands silent for a moment, trying to collect his
shattered thoughts. Klaatu watches him as he starts pacing
again.
BARNHARDT
The people who came to the meeting
must be made to realize this. They
must understand what is at stake.
(after a thoughtful
moment, he looks up)
You mentioned a demonstration of
force--
KLAATU
Yes.
BARNHARDT
Would such, a demonstration be
possible before the meeting?
KLAATU
Yes -- of course.
BARNHARDT
Something that would dramatize for
them and for their people the
seriousness of the situation.
Something that would affect the entire
planet.
KLAATU
(with a nod)
That can easily be arranged.
BARNHARDT
(frightened by his
easy assumption of
infinite power)
I wouldn't want you to harm anybody --
or destroy anything.
KLAATU
(easily)
Why don't you leave it to me? I'll
think of something.
BARNHARDT
(with a nervous half-
smile)
Maybe a little demonstration.
KLAATU
(thinking about it)
Something dramatic -- but not
destructive.
(intellectually amused)
It's quite an interesting problem.
(Barnhardt nods vaguely)
Would day after tomorrow be all right?
Say about noon?
Klaatu's bland manner leaves Barnhardt shaken, almost wishing
he'd never started this business.
FADE OUT:
INT. LIVING ROOM - BOARDINGHOUSE - NIGHT
It is about 3:30 the following evening. Helen is sitting in
a chair leafing through a magazine. She is dressed to go
out. A corner of the dining room can be seen, where Mr. and
Mrs. Barley are playing cards with Mr. Krull. Mrs. Crockett,
the landlady, enters from the hall on her way to the dining
room and notices Helen.
MRS. CROCKETT
Going out, dear?
HELEN
Yes, I'm waiting for Tom to pick me
up.
MRS. CROCKETT
(with a shudder)
Personally, I won't go out after
dark these days.
(with an attempt at
slyness)
But then -- I'm not courting, am I?
She turns to go on into the dining room and as she does so
almost bumps into Klaatu who is coming out, having been
kibitzing the card game.
MRS. CROCKETT
(thoroughly startled)
Oh -- Mr. Carpenter--!
Klaatu steps aside as she hurries nervously into the dining
room. He turns, puzzled, to find Helen watching with a slight
smile.
KLAATU
Everyone seems so--
(he shakes his hands
to indicate
nervousness)
HELEN
Jittery is the word.
Helen watches him, a little uneasy in his presence. She is
fond of him, and she can't help being curious and concerned
about his brush with the police.
KLAATU
(with a contemplative
smile)
Bobby's the only person I know who
isn't -- Jittery.
HELEN
He has his homework to keep him
occupied.
KLAATU
(fondly, sincerely)
He's a fine boy, Mrs. Benson.
HELEN
Naturally I think so.
KLAATU
Warm and friendly and intelligent--
(thoughtfully)
You know -- he's the only real friend
I've made since I've been here.
Helen is deeply moved by Klaatu's affection for the boy, She
tried to dismiss her curiosity about him, but she can't. She
decides to face it.
HELEN
(hesitantly and with
some difficulty)
Mr. Carpenter -- this is none of my
business, but -- why did that
detective come here last night?
KLAATU
(with easy frankness)
Oh -- they just wanted to ask me a
few questions. Bobby and I tried to
see Professor Barnhardt in the
afternoon, but he wasn't in.
Apparently they thought I was looking
for secrets of some kind.
Helen has reacted in puzzlement at this second mention of
Barnhardt. They are interrupted by the ringing of the
doorbell. Helen goes to answer it.
INT. HALLWAY
as Helen opens the front door to admit Tom. He appears
impatient, anxious to get going.
HELEN
Hello--
TOM
You ready?
HELEN
I will be in just a minute.
TOM
(a little annoyed
that she hasn't her
coat on, he consults
his watch)
The picture starts at eight-fifty.
HELEN
(in explanation)
I was talking to Mr. Carpenter.
TOM
(lightly, but with
real sarcasm
underneath)
I hope Mr. Carpenter won't think I'm
intruding.
Helen tries to shush him, to indicate Klaatu is in the next
room, when Klaatu appears in the doorway. He must have heard
Tom's remark, and there is an awkward moment. Klaatu is
completely unperturbed, but Helen is embarrassed.
KLAATU
Excuse me. I was just going up to my
room.
HELEN
(guiltily)
Goodnight, Mr. Carpenter.
Klaatu stops and turns to face them pleasantly.
KLAATU
Have a good time -- both of you.
He goes on up the stairs. Helen steers Tom toward the living
room.
HELEN
Why don't you wait in here while I
get my things?
INT. LIVING ROOM
As they enter from the hall, Helen turns to Tom reproachfully.
HELEN
(quietly)
Oh, Tom, that was awful.
TOM
(momentary apologetic)
I'm sorry. I guess I'm just tired of
hearing about Mr. Carpenter.
(Helen shushes him)
I don't like the way he's attached
himself to you and Bobby. After all,
what do you know about him?
This touches on Helen's own private doubts, and she cannot
answer.
HELEN
I'll go get my things.
She turns quickly and goes into the hall and hurries up the
stairs. Tom looks after her, dismissing the matter with a
shake of the head and a philosophical sigh. Of such stuff
are women made.
INT - UPSTAIRS HALLWAY
Helen reaches the top of the stairs, crosses to her room and
grabs a coat off the bed. She's putting it on as she moves
down the hall to Bobby's room, the door of which is open.
INT. BOBBY'S ROOM
Bobby is at a table doing his homework and Klaatu has just
finished explaining an arithmetic problem to him, as Helen
enters, still putting on her coat.
KLAATU
(about to leave)
All you have to remember is, first
find the common denominator -- then
subtract.
BOBBY
Thanks, Mr. Carpenter.
KLAATU
(to Helen, pleasantly)
I'll say goodnight again.
Helen is embarrassed. She would like to apologize for the
awkwardness downstairs but she doesn't quite know how to go
about it.
HELEN
Mr. Carpenter, I--
(it's too complicated;
she can't do it)
Goodnight.
KLAATU
(with a warm smile of
complete understanding
and appreciation)
Goodnight, my dear.
He turns and goes out, closing the door. A little distracted,
Helen turns to Bobby.
HELEN
Go to bed, darling. You can finish
that in the morning.
BOBBY
Okay.
Helen watches as he starts to put away his work. She wants
to tell him something, but finds it difficult to say.
HELEN
(hesitantly, almost
guiltily)
Bobby -- I think it would be better
if we didn't see quite so much of
Mr. Carpenter
BOBBY
(shocked, and
bewildered)
Gee, why, Mom? He's my best friend...
And he's awful good in arithmetic.
He even helps Professor Barnhardt.
HELEN
Did you and Mr. Carpenter really go
to see Professor Barnhardt?
BOBBY
Sure we did! He wasn't there but we
went to see him. And Mr. Carpenter
showed him how to do his arithmetic.
Helen is surprised to get this corroboration for Klaatu's
story. Sensing his mother's uneasiness, the boy looks for
something intriguing -- some deep, dark secret.
BOBBY
(shrewdly)
Mom -- is there something wrong with
Mr. Carpenter?
HELEN
What do you mean, dear?
BOBBY
I mean -- on account of that policeman
last night.
(his eyes light up
hopefully)
You think he's a bank robber, maybe?
Or a gangster?
HELEN
No, dear, of course not. He's a very
nice man. I Just think he might prefer
to be left alone. Now you get to bed
and forget about it.
(she kisses him)
'Night, darling.
With a reassuring smile, she starts for the door.
BOBBY
Goodnight.
(stopping her in the
doorway, his
imaginative suspicions
mounting)
Hey Mom -- why would he want to be
alone?
Not wanting to go into this any further, Helen blows him a
kiss and backs out, closing the door. Bobby stands thinking
for a moment, his mind still speculating on all sorts of
wonderful possibilities. Still preoccupied, he drifts over
to his bed and sits down to take of his shoes. He drops the
first one to the floor and is starting on the other, when
there is a light rap on his door. The door opens and Klaatu
appears.
KLAATU
Bobby -- have you a flashlight?
BOBBY
(surprised by his
appearance and his
request)
Yeah -- sure.
(he goes to a drawer
and gets a large
hand flashlight)
It's a real Boy Scout flashlight.
Bobby hands him the light, studying his face with eager
curiosity.
BOBBY
What do you want it for, Mr.
Carpenter?
KLAATU
(evasively)
Why -- the light in my room went
out.
(cutting off further
questions)
Thank you, Bobby. Goodnight.
Klaatu goes out, closing the door behind him. Bobby hesitates
a moment, puzzled and curious. Then he goes over to the door,
flips off the lights, and slowly, noiselessly opens the door
a crack so he can peer out into the hall.
MED. SHOT
shooting down the hall through the crack in Bobby's door.
Klaatu's door is ajar and through it the lights in his room
can be seen burning brightly. Klaatu goes to his door, reaches
in and flips off the lights and closes the door. He then
scans the hall in both directions. Satisfied he isn't seen,
he moves surreptitiously down the hall toward the stairs,
still carrying the flashlight.
MED CLOSE SHOT - BOBBY
as he closes his door carefully, an expression of intense
excitement on his face. What he has seem is certainly,
unmistakably suspicious. Why did Mr. Carpenter lie to him?
What does he want the flashlight for and where is he going?
Bobby decides he's got to find out. Hurriedly he laces on
the shoe he had taken off, and peers out the door to find
the hall clear. He slips out the door, closing it behind
him.
DISSOLVE TO:
EXT. STREET - MED. CLOSE SHOT - NIGHT
Klaatu is walking down the dark, semi-deserted street with
the determined stride of a man with a definite objective.
MED. CLOSE SHOT - BOBBY
Half a block behind, he's following Klaatu, eagerly, flushed
with a sense of excitement and adventure.
DISSOLVE TO:
EXT. RESIDENTIAL STREET CORNER - NIGHT
Walking along the sidewalk, Klaatu turns into a side street,
disappearing from view around the corner. In a moment, Bobby
hurries into scene breathlessly. He pulls up for a moment to
rest. Then, getting his breath, he dashes on around the corner
after Klaatu.
DISSOLVE TO:
EXT. LARGE TEMPORARY BUILDING - LONG SHOT - NIGHT
This is a temporary structure that has been erected to enclose
the space ship and Gort. In front of the one small door are
two soldiers, standing guard. Concealed in some foreground
foliage, studying the layout, is Klaatu. Nearby 's a sign
reading: KEEP OUT! This area OFF LIMITS to the public. U.S.
ARMY.
CLOSE SHOT - BOBBY
He is a short distance away, watching Klaatu eagerly.
CLOSE SHOT - KLAATU
as he studies the situation.
MED. SHOT
shooting over Klaatu's shoulder. As he watches, a Jeep filled
with armed soldiers -- apparently regular patrol -- drives
up to the entrance of the building. They stop for a moment
while their Sergeant checks with the guards. Assured that
everything is under control, the Sergeant signals his driver
and the Jeep moves off.
MED. CLOSE SHOT - KLAATU
Scanning the side of the building, he sees what he's looking
for. Waiting until the Jeep disappears, he starts toward one
side of the building, keeping himself concealed in the
foliage.
CLOSE SHOT - BOBBY
puzzled and interested, as he watches Klaatu.
MED. CLOSE SHOT
The two sentries standing in front of the building.
MED. SHOT
as Klaatu maneuvers around the side of the building, where
there is a window. It has no glass in it but is heavily
barred.
MED. CLOSE SHOT - KLAATU
as he leaves the concealing foliage and crosses the clear,
grassy area surrounding the building. He stops and tries to
see through the window.
MED. SHOT - GORT
shooting through the barred window into the building. The
huge robot looms large and eerie in the shadows cast by a
couple of naked work-lights. His head is angled, away from
the window.
MED. CLOSE SHOT
as Klaatu approaches the window. Aiming his flashlight at
Gort, he flashes the light intermittently, as though
signaling. (This should not approximate any known code.)
MED. CLOSE SHOT - GORT
As we watch, the intermittent flashes of Klaatu's light appear
on the wall ahead of Gort. Slowly, evenly, the robot's head
turns to face the window.
MED. SHOT
from Gort's viewpoint, of the window, with Klaatu's light
flashing its signals.
MED. CLOSE SHOT - KLAATU
shooting on his back, as he finishes signaling and cuts off
the flashlight. He turns ant starts back for the concealment
of the foliage.
CLOSE SHOT - BOBBY
craning his neck to look for Klaatu, who has eluded his view.
Suddenly he sees Klaatu again.
MED. SHOT - KLAATU
making his way behind the foliage toward the front of the
building. Arriving at a point opposite the entrance, Klaatu
waits and watches.
MED. CLOSE SHOT - ENTRANCE TO BUILDING
The two guards are standing in the doorway in positions of
relaxed alertness. Suddenly, inside the building behind them,
the giant figure of Gort looms silently in the doorway. His
two great arms reach out, grab the two guards and drag then
back inside the building.
CLOSE SHOT - BOBBY
He lets out an inaudible gasp as he sees this. Bug-eyed, he
glances quickly to the point where he last saw Klaatu. He is
amazed at what he sees.
MED. SHOT
from Bobby's viewpoint. Klaatu has emerged from the
concealment of the tree-lined path and is making his way
calmly toward the entrance of the building.
CLOSE SHOT - BOBBY
As he watches Klaatu enter the building, his curiosity
conquers his fear and he starts tremblingly toward the
structure.
INT. BUILDING - FULL SHOT
as Klaatu enters. The huge shapes of the space ship and Gort
loom large and eerie. Klaatu starts across the barren
enclosure toward the ship.
EXT. ENTRANCE TO BUILDING - MED. CLOSE SHOT
as Bobby approaches the door, fearful but fascinated. He
peers cautiously inside and his eyes grow wide as saucers.
EXT. BUILDING - MED. SHOT
In *f.g., near the door, the two guards lie unconscious. As
Klaatu walks toward the ship Gort slowly turns his head to
follow him with him with eyes. Klaatu touches a point on the
unbroken surface of the ship and the ramp silently swings
out and down to the ground. Klaatu mounts the ramp and
disappears inside the ship, whereupon the ramp silently
closes.
CLOSE SHOT - BOBBY
as he watches this; his eyes bulging. He can scarcely believe
what he has seen. Suddenly a wave of sheer terror sweeps
over him. Scrambling to his feet, he turns and runs wildly
away.
INT. SMALL CORRIDOR - SPACE SHIP
CAMERA FOLLOWS Klaatu as he moves down the tiny, dimly lighted
entrance corridor. He steps into the main cabin of the ship
and flips a switch which bathes the cabin in a diffused,
shadowless light. The walls are lined with a complex of
mysterious gadgetry -- knobs, dials, indicators, etc. All of
this should be as imaginative and unorthodox as possible,
while still retaining a feeling of sound but highly advanced
engineering.
MED. CLOSE SHOT
as Klaatu moves to the communications panel, flipping switches
and turning dials. Indicators light up. There are crackling,
whirring and buzzing sounds. Klaatu starts speaking into a
built-in microphone in his own strange language. He speaks
in rapid-fire explanation, continuing to talk, as we--
DISSOLVE TO:
INT. BUILDING - MED. SHOT - NIGHT
as Klaatu walks calmly away from the ship, past the two
unconscious guards and disappears out of the door.
MED. CLOSE SHOT THE TWO GUARDS
as one of them slowly regains consciousness. Looking around,
he sees the great figure of Gort and is terror-stricken. He
shakes his companion frantically in an effort to bring him
to.
DISSOLVE TO:
INT. LIVING ROOM BOARDINGHOUSE NIGHT
Bobby is curled up in a chair waiting for his mother to come
home. He's sleepy, but the excitement of what he has seen
precluded any such possibility. From the hall we hear the
front door opening as Helen and Tom come in.
HELEN'S VOICE
(off scene)
Why don't you come on in for a minute?
Helen and Tom appear in the doorway, Helen is startled to
see Bobby, who has Jumped up and run toward her.
HELEN
Bobby--! What are you doing up at
this hour?
BOBBY
(excitedly)
I couldn't go to sleep, Mom. I had
to tell you!
HELEN
Tell me what?
BOBBY
(the words tadpole
out breathlessly)
I followed Mr. Carpenter -- right
after you left -- and, gee, Mom,
where do you think he went? Right
into the space ship!
HELEN
(patiently disbelieving)
Now, Bobby, just a minute--
BOBBY
Honest, Mom, I saw him. It just opened
up and he walked right in. And that
great big iron man was moving around!
HELEN
Bobby, you've been dreaming again.
BOBBY
(desperately)
No, I haven't, Mom. I promise you...
I saw it!
Helen and Tom exchange a glance of tolerant amusement.
TOM
Where did you see all this, Bobby?
BOBBY
On the lawn down at the mall -- in
that place with the soldiers out
front.
TOM
(trying to trap him)
Where were the soldiers all this
time?
BOBBY
That robot fella grabbed 'em and
dragged 'em inside!
(his lips trembling)
I like Mr. Carpenter -- but I'm
scared, Mom.
He rushes into Helen's arms, clutching her desperately, trying
to hold back his tears.
HELEN
(holding him close to
her sympathetically)
Mustn't be frightened, darling -- It
was just a bad dream. Here -- we'll
prove it to you.
(with a look and a
nod to Tom)
Tom, will you ask Mr. Carpenter if
he'll come down for a minute.
(Tom turns to go)
The room right opposite mine.
Nodding, Tom disappears into the hall and up the stairs.
Still holding Bobby, Helen tries to dispel his fears by an
appeal to logic.
HELEN
Now think back hard. You didn't follow
Mr. Carpenter at all, did you? You
haven't even been out of the house.
BOBBY
Yes, I have!
HELEN
(determinedly)
You didn't really see the space ship.
You just thought you did.
Bitterly hurt, Bobby faces his mother gravely, accusingly.
BOBBY
I'd never call you a liar.
INT. UPSTAIRS HALLWAY - MED. CLOSE SHOT
Tom is knocking softly at Klaatu's door. Getting no answer,
he tries the door, pushes it open and peers in. Then he steps
into the darkened room.
INT. KLAATU'S ROOM - FULL SHOT
Tom snaps on the light and looks around the empty room. The
bed is still made. Glancing around, Tom's eye is caught by a
flash of something bright on the floor below the dresser. He
stoops down and picks up a fair-sized diamond. Tom studies
the stone curiously, holding it up to the light. Thoroughly
puzzled, he keeps the stone in his hand, switches off the
light and goes out.
UPSTAIRS HALL - MED. SHOT
Closing the door, Tom hurries along the hall and down the
stairs
INT. LIVING ROOM - FULL SHOT
Through the hall door Tom can be seen coming down the stairs.
Helen and Bobby watch expectantly as he enters.
TOM
He's not there.
(crossing to Helen)
But look what I found in his room
HELEN
(takes the stone and
studies it, amazed
by its size)
Is it real?
TOM
(with the shrug of an
amateur)
Looks real to me.
BOBBY
Mr. Carpenter's got a lot of diamonds.
(he digs into his
pocket)
He gave me a couple of them.
Helen takes the two diamonds Bobby holds out in his hand,
looking at them in amazement.
HELEN
He gave these to you?
BOBBY
(guilty for his own
sharp dealing)
Well, not exactly. I gave him two
dollars.
TOM
This doesn't make sense... I think
the guy's a crook. I never did trust
him.
Helen tries to shush Tom, not wanting to re-stimulate Bobby's
imagination, but it's too late.
BOBBY
Gee, Mom, do you think maybe he's a
diamond smuggler?
HELEN
(firmly)
Come on, darling -- we're going up
to bed.
TOM
I wonder if we ought to--
HELEN
(cutting him off with
a look)
Bobby and I have had enough excitement
for tonight.
TOM
(seriously concerned)
You think it's all right for you to
stay here?
HELEN
(nods reassuringly)
I've got a good lock on my door.
(smiling at Bobby)
And Bobby's going to sleep in my
room tonight.
BOBBY
Oh, boy -- can I, Mom?
HELEN
Yes, dear. Come on now.
(she happens to look
down at his feet.
Puzzled, and
concerned, she feels
his shoes)
Bobby, your shoes are soaking!
BOBBY
(reluctantly, with
childish guilt)
Yeah -- the grass was kind of wet.
As the impact of this sinks in, Helen and Tom turn to stare
at each other in questioning consternation.
FADE OUT:
FADE IN:
INT. OFFICE - DEPT. OF COMMERCE BLDG. - MED. CLOSE SHOT DAY
It is a typical government office, with lots of desks in it.
Helen is at her desk, straightening it up to go to lunch.
This done, she moves briskly to get her coat. CAMERA PANS to
follow her and suddenly, startlingly reveals Klaatu standing
near the clothes rack, as though he had materialized out of
thin air. Helen is thoroughly startled.
HELEN
(unnerved)
Oh -- hello--
KLAATU
May I see you for a minute?
HELEN
I -- I was Just going to lunch.
KLAATU
(quietly insistent)
May I walk out with you?
She is nervous and uneasy but obviously can't refuse. The
telephone on her desk rings and Helen turns to answer it.
HELEN
(into phone)
Mrs. Benson speaking.
(recognizing the voice,
she glances nervously
at Klaatu)
Oh, hello...
INT. JEWELRY SHOP - MED. CLOSE SHOT
It's a rather swank shop. Tom is standing at the counter
phoning. The Jeweler is behind the counter examining a stone
through his eyepiece.
TOM
(into phone, cheerily)
I'm at Bleeker's getting an appraisal
on that diamond. I thought we might
have lunch together.
INT. OFFICE - DEPT. OF COMMERCE - MED. CLOSE SHOT
HELEN
(with a nervous glance
at Klaatu)
I -- I'm afraid I can't -- not right
now. Can I talk to you later?. Yes,
that'll be fine. 'Bye.
She hangs up and smiles uneasily as she rejoins Klaatu and
leads the way out into the corridor.
INT. CORRIDOR - TWO SHOT
CAMERA MOVES with Helen and Klaatu as they go down the
corridor. Klaatu's mood is one of quiet tension.
KLAATU
(watching Helen's
reaction)
I saw Bobby this morning before he
went to school--
HELEN
(glancing at him
apprehensively)
Yes--?
KLAATU
I want to know what he told you last
night.
HELEN
(nervous and evasive)
I -- I didn't really pay much
attention--
(with a nervous little
laugh)
Bobby has such an active imagination.
KLAATU
(refusing to be put
off)
Did you believe what he told you?
(Helen hesitates,
trapped by uncertainty)
I have a reason for asking this -- a
very important reason.
MED. SHOT
They are approaching the elevator at the end of the corridor.
There is a large crowd of lunch-goers milling around the
elevator, which is quickly filled. Half the crowd is left as
the elevator doors close and it descends.
TWO SHOT - HELEN AND KLAATU
Nervous and distracted, Helen doesn't want to get caught up
in this jam.
HELEN
There's another elevator we can use--
She nods toward a side corridor and starts for it, Klaatu
following.
MED. SHOT
CAMERA FOLLOWS them as they turn into the side corridor.
Helen leads the way to a small, automatic elevator. She
presses the button and the doors open. Klaatu follows her
in.
INT. ELEVATOR
As Helen presses the first floor button, the doors close and
the elevator starts down. She turns to face Klaatu.
HELEN
(her nerves raw and
edgy)
What is it you want?
KLAATU
Before I ask you to be honest with
me, perhaps I should be completely
honest with you--
Without warning the elevator comes to a jolting, jarring
stop as the power is cut off and the lights go out. The car
is illuminated faintly and eerily by light that seeps through
the ventilating grills from a skylight in the shaft. Helen
is terrified.
HELEN
(gasping with fright)
What happened?
KLAATU
(a moment's hesitation;
then he remembers)
What time is it?
Helen fumbles to get her wrist watch into a faint beam of
light.
HELEN
Just twelve.
KLAATU
We'll be stuck here for a little
while -- about thirty minutes.
HELEN
(preoccupied with her
own thinking)
We could try pushing the other
buttons.
(digging in her purse)
I have a flashlight in my purse.
KLAATU
It won't work.
Helen has the flashlight out and is snapping it on, but it
doesn't work. She looks up at him blankly.
HELEN
Why not?
KLAATU
(after a moment,
quietly)
You see -- the electricity's been
neutralized -- all over the world.
The impact of this calm, quiet statement is shattering. Helen
stares at him awe-struck. Then she speaks numbly, almost
inaudibly.
HELEN
Bobby was telling the truth -- wasn't
he?
Klaatu stares at her evenly, as we--
DISSOLVE TO:
MED. SHOT - STREET
All vehicular traffic in the street is at a dead stop.
Automobiles, busses, trolley cars -- all are stalled. Drivers
and passengers are climbing out of the vehicles in utter
bewilderment. Except for the people, it is as though the
street had been frozen in motion.
INT. CITY POWER PLANT
The great generators and dynamos are silent and motionless
in the dim, unlighted plant.
INT. FACTORY
A huge automobile or airplane assembly line, with nothing
moving, no machinery going.
INT. PRESSROOM - METROPOLITAN NEWSPAPER
The giant presses are threaded with newsprint, but they are
silent and motionless.
INT. CONTROL ROOM - RADIO STATION
A couple of engineers are working feverishly over a huge and
complicated control panel. They are working by the light of
two incongruous and ineffectual candles.
INT. NEW YORK SUBWAY KIOSK
People carne pouring up the stairs wildly, feverishly anxious
to escape the darkness below. Their eyes blink weakly in the
unaccustomed sunlight.
EXT. SHOT - NEW YORK STREET
Cars, taxis and busses are stalled, their frenzied drivers
unable to figure out what's happened. A junk peddler with a
broken-down horse and wagon moves grandly and leisurely
through the stalled vehicles. The peddler bears a happy grin
of superiority. This is his moment of triumph over modern
civilization.
LONG SHOT - TIMES SQUARE
with all traffic stalled.
MED. CLOSE SHOT - TIMES SQUARE
of two cab drivers whose taxis have stalled beside each other
in traffic. One has gotten out of his cab. The other is seated
at his wheel, looking around in awe and terror, his tough
Manhattan heart shaken.
CAB DRIVER
My ol' lady was right. We shoulda
got a place in the country.
LONG SHOT - PICCADILLY CIRCUS - DAY
with all traffic stalled. (It is about 5:00 P.M.)
TWO SHOT - TWO COCKNEYS
standing on the sidewalk, awe-struck at the weird sight before
them. One of them speaks in terror, hardly daring to
articulate his thoughts.
COCKNEY
It's that space man -- that's wot it
is.
LONG SHOT - MOSCOW STREET - DUSK
with all traffic stalled. (It is about 8:00 P.M.)
MED. CLOSE SHOT - TWO RUSSIANS
They are an elderly couple. Staring bug-eyed at the strange
street scene, the woman mutters some terror-stricken comment
in Russian.
LONG SHOT - PLAZA. DE LA CONCORDE - DAY
with traffic stalled. (It is about 5:00 P.M.)
CLOSE SHOT - FRENCH WOMAN
She is middle-aged and there are tears of fright in her eyes.
She is mumbling a prayer in French.
DISSOLVE TO:
INT. BARNHARDT'S STUDY - DAY
Barnhardt is seated comfortably at his desk with a book on
his lap. He has been interrupted by the entrance of Hilda,
his secretary. At the moment she`s beside herself with
excitement. Barnhardt watches her with a half-smile of secret
amusement. He has already deduced the cause of what's
happening.
HILDA
You should see it, Professor
Barnhardt! You should go out and see
it for yourself!
BARNHARDT
Thanks -- I'm enjoying it right here.
HILDA
The whole city has stopped. People
are running around like ants!
BARNHARDT
(musing admiringly on
Klaatu's cleverness)
What a brilliant idea. I never would
have thought of it.
Hilda flings him a questioning look, annoyed that he won't
share her excitement.
BARNHARDT
What about the people who are coming
to the meeting tonight? Have they
all arrived?
HILDA
(nodding)
I talked to most of them this
morning... They were all very curious
about the meeting.
BARNHARDT
Good. Did you speak to our friend
Mr. Carpenter?
HILDA
(nodding)
He'll be there at 8:30.
BARNHARDT
(studying her for a
moment)
Tell me, Hilda -- does all this
frighten you -- does it make you
feel insecure?
HILDA
Yes, sir -- it certainly does!
BARNHARDT
(nodding with a bland
little smile)
That's good, Hilda. I'm glad.
The poor woman flings him a look of shocked amazement as we--
DISSOLVE TO:
INT. CONFERENCE ROOM - PENTAGON BLDG. - DAY
Seated at a conference table are high-ranking officers of
the Army, Navy, Air Force and Marine Corps. There is the
uneasy tension of people dealing with unknown forces. An
Army Major General, who's Chairman of the meeting, is
speaking.
GENERAL
--as far as we can tell, all power's
been cut off everywhere -- with a
few exceptions: hospitals, planes in
flight -- that sort of thing. I wish
I could be more specific but, as you
now, all communications are out
telephone, radio, cable -- everything.
(gravely)
I can tell you that the President is
prepared to declare a state of
national emergency.
(pausing to let this
sink in)
Before we start discussing plans, I
want a report from Colonel Ryder.
What about the robot, Colonel?
Ryder is a Colonel of engineers, a man about forty-five.
COLONEL RYDER
When it was discovered last night
that the robot had moved, I was
directed by the Joint Chiefs to find
a means of immobilizing him. We
accomplished that this morning by
encasing him in a block of KL 93.
(he hands a small
block of plastic to
the General)
It's a new plastic material --
stronger than steel.
GENERAL
Is it possible that he's broken out
of this stuff?
COLONEL
No, sir. I've Just checked on that.
He's locked up tight as a drum.
GENERAL
All right -- that means we concentrate
on the man.
(to the group with
force and authority)
Up till now we've agreed on the
desirability of capturing this man
alive. We can no longer afford to be
so particular. We'll get him alive,
if possible -- but we must get him!
(eyes the group sternly)
Is that clear?
DISSOLVE TO:
INT. JEWELRY SHOP - MED. CLOSE SHOT - TOM AND JEWELER
The shop and its glittering display cases, which were
brilliantly lighted in the previous scene, are now gloomy
and dim. All artificial light is off. The Jeweler is a bright-
eyed old man of seventy with a middle European accent. He is
completely fascinated as he examines the diamond Tom has
given him, and is annoyed by the lack of light. He speaks
impatiently to one of the girls in the shop who happens to
pass by.
JEWELER
Eleanor, did you call the electrician?
GIRL
(she's not too bright)
I tried, Mr. Bleeker. But the phone
doesn't work, either.
JEWELER
(absently, as he
studies the stone)
Well, call the phone company.
GIRL
(plaintively)
But the phone doesn't work.
The Jeweler gives her a preoccupied glance of annoyance and
turns back to the stone.
TOM
Is it worth anything?
JEWELER
I have never seen such a stone. Will
you please tell me where it came
from?
TOM
That's what I wanted you to tell me.
JEWELER
(overwhelmed and
absorbed by the stone,
he shakes his head,
bewildered)
There are no diamonds like this --
any place in the world.
Impressed by the import of what the man is saying, Tom's
mind is racing wildly.
TOM
You sure about that?
JEWELER
(eagerly, shrewdly)
Would you like to sell it?
TOM
(picking up the stone)
No -- no, thanks.
JEWELER
I'd give you a very good price.
Preoccupied with his own excited thoughts, Tom has already
started for the door.
DISSOLVE TO:
INT. ELEVATOR - TWO SHOT - KLAATU AND HELEN
In the dim light of the stalled elevator, Klaatu is finishing
explaining to Helen the story of his mission. Overwhelmed by
the staggering import of what he has told her, Helen is
listening with great interest and concern.
KLAATU
(speaking gravely)
--I've already told you more than I
told Professor Barnhardt, because my
life, in a sense, is in your hands.
I thought if you knew the facts you'd
appreciate the importance of my not
being -- apprehended, -- before the
meeting tonight.
Helen is staring at him in awe, but also in complete
admiration and sympathy.
HELEN
Yes, of course. Of course I do.
Klaatu smiles at her warmly and she manages to return the
smile. Their relationship is further cemented by the sharing
of this vital secret.
HELEN
(studying his face
anxiously)
You hold great hope for this meeting.
KLAATU
I can see no other hope for your
planet. If the meeting should fail,
then I'm afraid there is no hope.
Suddenly and without warning, the elevator starts moving and
the lights go on. Startled, Helen looks at him.
KLAATU
(calmly)
It must be twelve-thirty.
HELEN
(looks at her watch,
then back at him,
awe-struck)
Yes -- Just exactly.
STREET - MED. SHOT - DAY
Showing a section of street traffic as it comes back to life.
From everywhere comes the sound of self-starters. Trolley
bells start clanging. Then automobile horns. People climb
back into there vehicles and traffic starts to move.
SERIES OF CUTS
of other streets, as the strident sounds of traffic build up
and normalcy is regained.
INT. LOBBY - DEPARTMENT OF COMMERCE BLDG - MED. SHOT - DAY
as Helen and Klaatu come out of the elevator and start across
the lobby, CAMERA HOLDING ON THEM. Helen is preoccupied with
concern for Klaatu's safety.
HELEN
Where are you going now?
KLAATU
Back to the boardinghouse. I'll be
safe there for the afternoon -- and
I can keep an eye on Bobby. He's the
only other person who knows anything
about--
This recalls to Helen something she had forgotten and she
stops in sudden concern.
HELEN
No, wait a minute -- there's someone
else.
KLAATU
Who?
HELEN
Tom... He was there last night when
Bobby told me what he saw.
The look of concern on Klaatu's face heightens Helen's
overwhelming fear and uncertainty.
HELEN
(worriedly)
Of course, he doesn't know anything
definite. He'd talk to me first,
anyway, before--
(interrupting herself
in sudden decision)
We can't take that chance. I'll get
in touch with him right away and
make sure.
Helen turns and starts determinedly for the lobby door,
followed by Klaatu, as we--
DISSOLVE TO:
INT. TELEPHONE BOOTH
Helen is nervous and worried as she speaks into the phone.
HELEN
(into phone)
--But I've got to talk to him. It's
terribly important. When is he coming
back?
INT. TOM'S OUTER OFFICE - CLOSE SHOT - SECRETARY
Tom's secretary has not yet recovered from the shock of what
has happened to the world.
SECRETARY
I don't know, Mrs. Benson. He left
before noon -- before that awful
electric business. I'm scared to
death, Mrs. Benson. I -- No, he
wouldn't tell me where he was gong.
Said it was something personal.
INT. TELEPHONE BOOTH
HELEN
Tell him I want to see him the minute
he gets in... No, I'll call back.
Helen hangs up, thoroughly worried and distraught now.
DISSOLVE TO:
INSERT - NEWSPAPER HEADLINE
The headline reads: WORLD-WIDE POWER JAMMED PRESIDENT DECLARES
EMERGENCY STEP UP HUNT FOR SPACE MAN.
DISSOLVE TO:
EXT. AIRPORT - MED. SHOT - DAY
at passenger loading gate. A group of passengers is held
back as soldiers close the gate to the runway, preventing
their boarding their plane. The passengers mill about in
consternation as a voice is heard over a p.a. system.
VOICE
Attention, please.... All flights
from National Airport have been
canceled until further notice.. All
flights from this airport have been
canceled.
DISSOLVE TO:
INT. RAILROAD STATION - MED. SHOT AT TRAIN GATE - DAY
M.P.'s are blocking the gates leading to trains and ticket
takers are busy explaining matters and remonstrating with
irate ticket holders.
DISSOLVE TO:
EXT. BUS DEPOT - MED. SHOT - DAY
Passengers are being herded off a loaded bus that was
preparing to leave the depot.
DISSOLVE TO:
EXT. ROADBLOCK ON HIGHWAY - MED. SHOT
The Army has thrown a roadblock across a main highway on the
outskirts of the city and is permitting no one to leave.
From the line of halted cars we see and the insistent honking
of horns we hear, we get the impression of hundreds of cars
stacked up.
DISSOLVE TO:
INT. TOM'S OUTER OFFICE - FULL SHOT - DUSK
It is 6:00 P.M. and growing dark outside, but the lights are
not on. The office is small and unpretentious, the business
habitat of a man who works in a big insurance agency. Tom's
secretary is on the phone, reflecting the world-wide terror
of the moment.
SECRETARY
(into phone, nervous
and jittery)
--Honest, Mary, I'm so scared I can't
sit still. I'd like to run some place,
but I don't know where to go--
(hearing the door
open, she cuts off)
'Bye now.
The corridor door opens and Tom enters with an air of urgency.
TOM
Call the Pentagon and find out who's
in charge of this space man business.
Whoever it is I want to talk to him.
The secretary has a reaction of surprise, but she manages to
stop Tom at his door. He has flipped on the lights in passing.
SECRETARY
Mrs. Benson's been trying to get you
all afternoon. She says it's
important.
TOM
Get this other call first.
Tom disappears into his office, closing the door. The
secretary is getting out a telephone directory when the
corridor door opens and Helen enters, tense and nervous.
SECRETARY
Oh, Mrs. Benson -- He just walked
in.
(misery loves company)
Are you nervous, too?
HELEN
Yes, I am, Margaret.
The secretary buzzes the intercom and speaks into it.
SECRETARY
Mrs. Benson is here.
(turning to Helen)
Go on in.
Helen is starting for the door when it opens and Tom appears.
HELEN
Tom -- I've been trying to get you
all afternoon--
TOM
(preoccupied with his
own excitement)
Come on in.
INT. TOM'S PRIVATE OFFICE - FULL SHOT
as Tom follows Helen inside and closes the door. He turns to
her, his voice tense with excitement.
TOM
I've got some terrific news about
your friend, Mr. Carpenter.
HELEN
(trying to appear
calm)
What about him?
TOM
Helen, he's the man from the space
ship!
(she eyes him evenly,
apprehensively, as
he hurries on)
I had that diamond checked at three
different places. Nobody on earth's
ever seen a stone like that! After
what Bobby told us, that's enough
for me. Why is it nobody knows
anything about him? Why hasn't he
got any money?
HELEN
(evenly, with quiet
tension)
All right, Tom -- it's true. I know
it's true.
TOM
How do you know?
HELEN
Never mind about that.
(urgently, with great
concern)
You've got to promise me you won't
say a word to anybody.
TOM
Are you crazy? After what happened
today?
HELEN
You don't understand. You don't
realize how important it is.
TOM
(impatiently)
Important? Of course it's important.
The point is we can do something
about it.
HELEN
That's what I'm trying to tell you.
We mustn't do anything about it.
Believe me, Tom, I know what I'm
talking about.
TOM
(irritated by her
opposition)
He's a menace to the whole world!
It's our duty to turn him in.
HELEN
(desperately)
But he isn't a menace! He told me
what he came here for.
TOM
(dismissing this with
annoyed contempt)
He told you... Don't be silly, honey --
just because you like the guy.
(busy with his own
thoughts)
You realize what this'd mean for us?
I'd be the biggest man in the country.
I could write my own ticket.
HELEN
(eyeing him coldly)
Is that what you're thinking about?
TOM
(guiltily, defensive)
Why not? Somebody's got to get rid
of him.
They are interrupted by the sharp sound of the interoffice
buzzer.
HELEN
I'm not going to let you do it, Tom.
(with deep personal
urgency)
Believe me, this is literally the
most important thing in the world.
Tom picks up the phone and answers it.
TOM
(into phone)
Yes?... What's his name, Margaret?
General Cutler?
(disappointed that
the connection isn't
completed)
All right, I'll hold on.
Realizing what he's doing, Helen crosses to him, pleading
wildly, desperately.
HELEN
Tom, you mustn't -- ! You don't know
what you're doing! It isn't just you
and Mr. Carpenter. The rest of the
world, is involved!
TOM
(exasperated)
I don't care about the rest of the
world!
It is as though he had slapped her across the face. Suddenly
he has revealed himself, naked and distasteful. Feeling guilty
as he sees the contempt and revulsion in her eyes, he tries
the old charm, holding his hand over the phone.
TOM
You'll feel different when you see
my picture in the papers.
HELEN
(staring at him starkly)
I feel different right now.
TOM
(uneasily)
You wait and see. You're going to
marry a big hero!
HELEN
I'm not going to marry anybody.
She turns and runs quickly out of the room. Tom's inclination
is to follow her, when his connection is completed.
TOM
(into phone)
Hello, General Cutler?
(irritated)
No, I don't want to speak to his
aide. I want to speak to the General.
Tell him it's about the space man...
My name is Tom Stevens. S-t-e-v-e-n-
s.
DISSOLVE TO:
EXT. OFFICE BUILDING - MED. SHOT - DUSK
Helen hurries out of the building, hails a cab, gets into it
and the cab drives off.
INT. TOM'S OFFICE - CLOSE SHOT - TOM
Tom now has General Cutler on the phone.
TOM
(into phone)
That's right, General. That's where
he's staying... Yes, of course I'm
sure.
INT. GENERAL CUTLER'S OFFICE - PENTAGON BLDG.
The General is on the phone and is making notes. There are a
couple of officers standing near his desk, a Colonel and a
Lieutenant Colonel.
GENERAL CUTLER
(after listening for
a moment)
Thank you very much, Mr. Stevens.
I'll want to talk to you further but
I haven't time now.
(hangs up and turns
to Colonel)
Deploy all Zone 5 units according to
Plan B -- immediately.
The Colonel nods and starts out of the room, as we--
DISSOLVE TO:
INT. TAXI - MED. CLOSE SHOT - HELEN - NIGHT
The cab is traveling through city traffic. Nervous and edgy,
Helen glances at her watch impatiently.
EXT. STREET - MED. SHOT
A jeep filled with armed soldiers is moving down the street
at a fast clip. Behind the jeep is an Army staff car.
MED. CLOSE- SHOT - STAFF CAR
shooting from outside into the car. In the front seat beside
the driver is a full Colonel, wearing helmet and side-arms.
The car is moving swiftly through traffic as the Colonel
speaks into the transmitter of a radio.
MED. CLOSE SHOT - COMMAND AND RECONNAISSANCE CAR
It is filled with soldiers wearing helmets and carrying rifles
and Tommy guns. It is traveling quite fast. A soldier with a
handy-talkie transmits an order to the driver.
MED. LONG SHOT - STREET
The C. and R. car is seen to be at the head of a convoy of
eight Army vehicles which are moving swiftly down the street.
The trucks are filled with armed soldiers.
MED. LONG SHOT - ANOTHER STREET
On this street also an armed convoy is racing by, headed by
a Jeep mounting a .30 caliber machine gun.
MED. LONG SHOT - ANOTHER STREET
On this street also a convoy rolls by.
EXT. STREET CORNER - MED. SHOT
Helen's cab rounds the corner into the boardinghouse street.
CAMERA PANS with cab as it draws up in front of the
boardinghouse. The cab waits as Helen jumps out and runs up
the steps to the front door. A couple of children are playing
jump-rope in the light of a street lamp.
EXT. MOVING - STAFF CAR - MED. CLOSE SHOT
shooting in at the Colonel as he issues an order into the
radio.
MED. SHOT - ARMY CONVOY
CAMERA FOLLOWS the rear of the convoy as it races down a
main thoroughfare. As the convoy reaches each intersection,
the last vehicle peels off the column and, turns into the
side street.
MED. SHOT ANOTHER CONVOY
racing down another street, the rear vehicles peeling off at
the intersections as in previous scene.
MED. SHOT - INTERSECTION
Following one of the vehicles after it has peeled off into a
side street. It turns around in the side street and draws up
facing the intersection, its motor still running. We get the
impression of a methodical plan to block off each street.)
EXT. BOARDINGHOUSE - MED. SHOT
as Klaatu and Helen come hurrying down the steps and pile
into the waiting taxi. The kids playing Jump-rope stop and
watch as the door is closed and the cab pulls out,
disappearing as it makes a right turn at the end of the
street.
EXT. STREET CORNER NEAR BOARDINGHOUSE - MED. SHOT
(This is opposite end of street from last shot.) Barreling
across the intersection into the boardinghouse street is the
jeep followed by the Colonel's staff car.
EXT. BOARDINGHOUSE STREET - MED. SHOT
As the Jeep and staff car pull up in front of the boarding
house, the soldiers in the jeep pile out and cover the
entrance to the house. Meanwhile the Colonel, still in the
staff car, is talking to the two kids playing out front.
They chatter excitedly, pointing in the direction taken by
the cab.
INT. STAFF CAB - CLOSE SHOT - COLONEL
He speaks into his radio in tones of clipped and quiet
efficiency. The car remains standing at the curb.
COLONEL
(into radio)
Attention, Zone 5... Yellow cab,
moving north on B from Ninth Street.
Man and woman in back seat. Get the
license number and report.
INT. TAXI - FULL SHOT
The cab 's moving through traffic at a normal speed. Klaatu
and Helen are tense and nervous.
INT. TAXI - FULL SHOT
The cab's moving through traffic at a normal speed. Klaatu
and Helen are tense and nervous.
KLAATU
I'm sure Barnhardt can arrange to
hide me until the meeting.
HELEN
Where is the meeting going to be?
KLAATU
At the ship.
CLOSE SHOT - CAB DRIVER
as he looks out to his left, approaching an intersection.
From driver's viewpoint. A C. and R. car is parked in the
side street, facing the intersection, its occupants armed
and helmeted.
CLOSE SHOT - CAB DRIVER
Abreast of the intersection now, he looks to his right.
EXT. STREET INTERSECTION - MED. SHOT
shooting over the rear of a jeep which is halted in a side
street facing the intersection. The cab crosses the
intersection and the jeep driver squints to catch its number.
Then he picks up his radio and speaks into the transmitter.
INT. STAFF CAR - CLOSE SHOT - COLONEL
(The car is still in front of the boardinghouse.) The Colonel
listens to his radio for a moment, then speaks into his
transmitter.
COLONEL
(into radio)
Attention, Zone 5... license number
of target vehicle is W 4936... All
vehicles maintain your positions --
and hold your fire.
INT. TAXI - MED. CLOSE SHOT
shooting at the driver, over the shoulders of Klaatu and
Helen, as he turns and points out the Army vehicles to them
with a shrug of bewilderment. They look ahead at the
intersection they are approaching.
CLOSE SHOT - HELEN
looking ahead out of her side of the cab, at the intersection.
MED. SHOT - INTERSECTION
from Helen's viewpoint. There is an Army vehicle waiting in
the side street.
CLOSE SHOT - KLAATU
as he looks out of his side of the cab.
MED. SHOT - INTERSECTION
In this side street, too, an Army vehicle is standing.
TWO SHOT - HELEN AND KLAATU
Their eyes meet for a moment, neither willing to conjecture
what this might mean. The very quietness of the operation is
ominous and menacing. Their faces show grave concern.
INT. STAFF CAR - CLOSE SHOT - COLONEL
COLONEL
(into radio)
Attention, Zone 5 -- report when
target vehicle passes your position.
EXT. TAXI MED. CLOSE SHOT
shooting through the window at Helen and Klaatu, who are
growing more tense and nervous.
MED. SHOT - INTERSECTION
shooting over the back of a jeep mounting a machine gun as
the cab passes the intersection. The driver picks up his
radio and reports into it.
MED. CLOSE SHOT - WEAPONS CARRIER
shooting through the windshield as the driver reports by
radio, his eyes shifting to follow the moving cab.
INT. TAXI - TWO SHOT - HELEN AND KLAATU
Helen is biting her lips nervously. She steals a sidelong
glance at Klaatu to find him staring ahead, deeply preoccupied
and concerned.
HELEN
(trying to give him
encouragement)
It's only a few blocks to Barnhardt's.
KLAATU
I'm worried about Gort. I'm afraid
of what he might do -- if anything
should happen to me.
HELEN
Gort?
(puzzled)
But he's a robot. I mean -- without
you, what could he do?
KLAATU
(slowly)
There's no limit to what he could
do. He could destroy the Earth.
(with great urgency)
If anything should happen to me, you
must go to Gort. You must give him
this message: "Klaatu barada nikto."
Please repeat that.
HELEN
(shocked and
bewildered, she
repeats nervously)
"Klaatu barada nikto."
KLAATU
(gravely)
Remember those words.
Helen nods, repeating the words soundlessly.
SERIES OF CUTS
of vehicle drivers reporting by radio as their eyes follow
the progress of the taxi. (These should be shot so we don't
hear what is said.)
CLOSE SHOT - COLONEL IN STAFF CAR
listening to these reports. Then he speaks into his
transmitter with quiet tension.
COLONEL
(into radio)
Attention, Zone 5... Section number
2 -- block off Tenth Street at
Massachusetts. All vehicles close
in.
The Colonel motions to his driver and the staff car pulls
out.
EXT. STREET - MED. SHOT
as a convoy of eight vehicles moves down the street going
very fast and swings around a corner.
SERIES OF CUTS
of individual vehicles that have been waiting at
intersections, as they pull out and down the main streets to
converge on the taxi.
MED. SHOT
at a major intersection, as the convoy of eight vehicles
previously seen dashes through the intersection and stops.
The cars quickly arrange themselves so that they form a
roadblock, completely sealing off the street.
INT. TAXI
shooting over the driver's shoulder. The cab is proceeding
down the street. When the road block comes into range of its
headlights. The driver, who has been getting uneasy, turns
to face his fares accusingly.
DRIVER
Hey, what's this all about?
As he slows his cab down, Helen leans forward into scene.
Frenzied, she is about to urge the driver on when Klaatu
puts a restraining hand on her shoulder.
EXT. STREET - MED. SHOT
shooting down the street from the barricade, as the taxi
stops. Army cars are closing in behind the taxi, so it is
trapped. The cab door ovens and Klaatu steps out, making a
run for the entrance to a pedestrian underpass.
MED. CLOSE SHOT - JEEP
It is one of the lead vehicles in the group coming up behind
the taxi. It mounts a .30 caliber machine gun and, with the
Jeep still moving, the gunner fires a burst at Klaatu.
MED. CLOSE SHOT - RIFLEMAN
He's on one of the vehicles that form the barricade. He takes
a bead on the running figure of Klaatu and fires.
CLOSE SHOT - KLAATU
He has almost reached the underpass. His hand is on the
railing when he slumps to the ground, badly hit. In a moment,
Helen rushes into scene, dropping down to hold Klaatu's head
in her arms. He looks up at her with a feeble smile. Then
his face takes on an expression of urgency.
KLAATU
(weakly, insistently)
Get that message to Gort. Right away--
Klaatu is unable to say any more. He is dead. Helen looks
around wildly, helplessly, with tears and terror in her eyes.
MED. SHOT
as the soldiers pile out of their vehicles and close in on
the place where Klaatu lies. He is their first and all-
important concern, and Helen finds herself pushed out of the
way, toward the edge of the growing crowd of soldiers.
CLOSE SHOT
Shocked and, staggered by what's happened, she realizes she
must get to Gort. Taking advantage of the milling confusion
in the dark, she edges toward the pedestrian underpass until
she can slip into its entrance without being noticed. And
she disappears.
DISSOLVE TO:
INT. BUILDING ENCLOSING SPACE SHIP - MED. SHOT - GORT -
NIGHT
In the eerie light of the huge building, the great robot
stands encased in a solid block of clear, transparent plastic.
As CAMERA MOVES IN slowly, we hear a low whirring sound, as
of power being generated. A faint glow, visible through the
plastic, emanates from Gort's body. His eyes, which seem to
express rage, shifts as though he were straining to break
out. As the whirring sound and the glow of Gort's body
increase in intensity, the sharp edges at the top of the ice-
like block melt into roundness and the plastic starts to
drip away. (About 150 folding chairs are arranged on the
floor near the space ship for the meeting tonight.)
EXT. BUILDING - MED. CLOSE SHOT - TWO SOLDIERS
The whirring sound can be heard faintly from inside. The two
soldiers standing guard at the door hear the sound and listen
apprehensively. The two men exchange an uneasy glance. After
hesitating a moment, one of them decides to investigate. He
turns and goes inside the door.
INT. BUILDING - MED. CLOSE SHOT - THE SOLDIER
As he stops and looks up at the robot, his eyes go wide with
terror.
CLOSE SHOT - GORT
Gort is an awesome and terrifying sight. His head is free
now and he seems to be straining against the plastic, which
is dripping down the sides of the block.
CLOSE SHOT - SOLDIER
He glances around nervously to see that his companion has
entered the building and is staring up at the robot, bug-
eyed. Slowly the second soldier moves up beside the first.
Wordlessly, they bring their rifles up to the ready and click
them off safety. In spite of their terror, they advance slowly
toward the robot.
CLOSE SHOT - GORT
The whirring sound is ominous and his body glows brightly.
And his eyes are fixed on the two advancing figures.
MED. CLOSE SHOT - TWO SOLDIERS
as they move toward Gort.
CLOSE SHOT - GORT
From inside him comes a new and terribly sharp crackling.
sound. And from his eyes two pencils of light dart out. After
a moment the crackling sound stops and the light goes off.
REVERSE SHOT
from same angle as scene before last. But the two soldiers
have utterly disappeared.
FULL SHOT
as Gort resumes breaking out of the plastic. There is no
sign of the two soldiers.
EXT. MALL - MED. CLOSE SHOT - HELEN - NIGHT
Hurrying along a footpath, nervous and distraught, she pauses
for a moment, looking at the entrance of the building. Then
she starts determinedly across the grass toward the entrance.
MED. SHOT
PANNING with Helen as she approaches the entrance fearfully.
Rallying all her courage and determination, she forces herself
to step inside.
INT. BUILDING - MED. CLOSE SHOT - HELEN
as she enters the huge, weirdly lighted building. She stops
short as her glance falls on the awesome figure of Gort.
Loneliness and terror grip her and she wants to run -- but
she realizes she can't.
MED. CLOSE SHOT -GORT
He has seen Helen and his flashing eyes bore into her. His
upper body and arms are free now, and the plastic is rapidly
melting away.
CLOSE SHOT - HELEN
She is held fascinated by the robot's staring eyes. For
another moment it looks as if she would, break and run. But
she summons all her courage, and moves slowly toward Gort,
whose legs are still held captive.
MED. SHOT - HELEN AND GORT
as she moves slowly, fearfully toward him.
MED. CLOSE SHOT - GORT
The plastic is dripping off his legs now. With great effort,
he pulls his legs free and steps out of the stuff. A huge
figure in the heavy shadows, he moves slowly and menacingly
toward Helen.
MED. CLOSE SHOT - HELEN
as she stops advancing, rooted to the spot in fear. Then she
starts backing away, keeping her eyes on him.
MED. SHOT - HELEN AND GORT
As the great, hulking figure approaches, Helen can't stand
her ground. She turns and runs wildly toward the far end of
the building. Gort follows her with unhurried, inescapable
strides. Unwittingly, Helen has run into a corner, and the
robot is closing in on her.
MED. CLOSE SHOT - HELEN
Her eyes go wide with terror as she realizes she's trapped.
In a wild effort to run around him, she stumbles and falls
to the floor. Immobilized with fright, she lies breathless,
looking up at him. Then she gives a piercing scream.
TWO SHOT - HELEN AND GORT
as the great robot bends over her menacingly, arms
outstretched as though to grab or smash her.
CLOSE SHOT - HELEN
All hope gone, she is blessed with a moment of lucidity, and
she remembers the message Klaatu told her to deliver.
HELEN
Gort--!
(with desperate clarity)
Klaatu -- barada -- nikto.
CLOSE SHOT - GORT
He pauses as he hears the words. His face doesn't change
expression, but the words obviously have an effect on him.
He hesitates thoughtfully for a moment.
TWO SHOT - HELEN AND GORT
Helen watches him in an agony of suspense. Then the robot
slowly bends down, picks her up in his arms and starts walking
toward the space ship.
MED. SHOT
PANNING with Gort as he carries Helen, speechless with fright,
to the side of the ship. He touches the side, and the ramp
moves slightly out. He mounts the ramp, still carrying Helen,
and disappears into the ship with her. And the ramp closes
silently behind them.
INT. SMALL CORRIDOR - SPACE SHIP
CAMERA FOLLOWS as Gort carries Helen through the dimly lighted
corridor into the main cabin, where he flips a switch that
lights up the cabin. The robot proceeds to a small door
leading off the main cabin and disappears with Helen inside
it.
INT. SMALL CABIN - FULL SHOT
This is revealed as a weirdly equipped laboratory, the walls
of which are lined with the most complex array of mechanical
and electronic apparatus. Gort sets Helen down on a stool
and indicates for her to stay there. Too terrified to move,
Helen watches as he busies himself with the apparatus. He
starts flipping switches and turning dials. As a result,
lights begin to flash and there's a strange series of
mechanical noises.
CLOSE SHOT - HELEN
Unable to guess the reason for these preparations, she is
gripped with a terrible fear.
FULL SHOT
Ignoring Helen completely, Gort finishes his work. Then he
moves to the door and goes out, closing the door behind him.
Helen rushes to the door and searches frantically for the
knob -- only to find, to her terror, that there is none.
Frenziedly she beats on the solid metal door.
EXT. SPACE SHIP - MED. SHOT
as the ramp comes down and Gort steps out. With grim,
determined strides he starts toward the entrance of the
building as the ramp silently closes.
DISSOLVE TO:
INT. POLICE PRECINCT STATION - NIGHT
The Colonel who was in charge of Klaatu's apprehension is
speaking into a phone at the desk of the Police Sergeant.
Standing by are three or four Army officers, among them a
Captain and a Lieutenant.
COLONEL
(into phone)
Yes, sir, we've got the body here
now. Downstairs in a cell... No
question about it, General -- he's
dead all right... Yes, sir. Yes -- I
understand.
The General has apparently hung up and the Colonel does
likewise, turning to the officers in the room.
COLONEL
General Cutler's coming down here
right away.
(to the Lieutenant)
Take a squad of men, Lieutenant, and
post a guard around that cell.
(to Captain)
Captain, don't let anyone in or out
of the building.
The two officers mutter their "yes, sirs" and start off about
their business.
DISSOLVE TO:
INT. JAIL CORRIDOR - NIGHT
A squad of armed soldiers, led by the lieutenant, is admitted
to the corridor by a Police guard and they start marching
down the corridor toward a cell at the far end.
INT. CELL - POLICE STATION
This is a cell on the ground floor. In the far wall is a
heavily barred window, beyond which is as alley. In f.g. are
Klaatu's feet, stretched out on a crude table. As CAMERA
HOLDS, the huge figure of Gort appears outside the barred
window, Seeing Klaatu, he reaches up and yanks out the steel
bars as though they were chicken wire. With a crushing blow
of his knee he crumbles the brick and mortar below the window
and steps inside the cell. He moves without interruption
toward the body of Klaatu.
INT. JAIL CORRIDOR
Hearing the sounds of clattering metal and mortar, the
soldiers race down the corridor toward the cell.
MED. SHOT
shooting over the backs of the soldiers as they reach the
cell and look inside. There they see the giant robot picking
up the body of Klaatu and starting deliberately toward the
gaping hole in the side of the building. They raise their
weapons and fire at Gort, but the bullets have no effect on
him. Continuing uninterruptedly, he steps over the debris
and disappears, carrying Klaatu in his arms.
DISSOLVE TO:
INT. SPACE SHIP BUILDING - MED. SHOT
as Gort enters the empty building, still carrying the body
of Klaatu. CAMERA PANS with him as he strides over to the
ship. The ramp opens and Gort goes inside. Then the ramp
closes after him.
INT. LABORATORY CABIN IN SPACE SHIP
Alone in the cabin, Helen is still terrified. She looks up,
startled as the door opens and Gort enters, carrying Klaatu's
body over to a long counter. Once again he starts fiddling
with knobs, switches and dials. As Helen watches, speechless,
he starts to fasten strange-looking electrodes to Klaatu's
wrist and ankle.
EXT. POLICE PRECINCT STATION - NIGHT
shooting from the outside, near the front entrance to the
building, through a window into the main room where the Police
Sergeant's desk is. The Lieutenant who was ordered to guard
Klaatu's cell is excitedly reporting to the Colonel how Gort
broke in and took Klaatu's body. Considerably agitated, the
Colonel snaps orders to the other officers, glances at his
watch and motions for the Lieutenant to follow him. He and
the Lieutenant cross to the door and CAMERA PANS with them
as they come outside the building, hurry down the steps and
get into a staff car. Several other Army vehicles join the
staff car as it roars away from the curb.
DISSOLVE TO:
INT. SPACE SHIP BUILDING - MED. SHOT - NIGHT
A good many of the 150 chairs are filled, and more guests
are still arriving. There is no one to greet them at the
door, so they wander in and seat themselves.
INT. LABORATORY IN SPACE SHIP
Gort is still working over the body of Klaatu. From a socket
in the wall he pulls a strange-looking hypodermic needle on
the end of a cord or tube and gives Klaatu a shot in the
arm.
CLOSE SHOT - HELEN
as she watches, fascinated in spite of her terror.
FULL SHOT
Gort fiddles with the dials again and there are electrical
cracklings and sputterings. Suddenly he flips a switch and
all sound ceases. Gort removes the electrodes and watches
Klaatu. CAMERA MOVES IN on Klaatu and we see him start to
breathe. In a moment his eyelids flutter. Then his eyes open
and he looks around.
MED. CLOSE SHOT
as Klaatu slowly lifts himself to a sitting position. Helen
watches breathlessly as he glances around the room, as though
to orient himself. Then he lowers his feet to the floor and
stands up. He blinks uncertainly, then smiles at them.
KLAATU
(with a grateful glance
at Gort, he turns to
Helen)
Hello.
HELEN
(staring at him)
I -- I thought you were--
KLAATU
(nodding, with a smile)
I was.
HELEN
(looking at Gort in
awe)
You mean he has the power of life
and death?
KLAATU
No -- that is a power reserved to
the Almighty Spirit.
KLAATU
(indicating the
equipment Gort used)
This technique, in certain cases,
can re-stimulate life for a limited
period. It's a refinement of
scientific principles known to your
own people.
HELEN
(concerned for him)
But how -- how long--?
KLAATU
How long will I live?
(he shrugs)
That no one can say.
Klaatu moves one of the sliding panels and reaches for a
suit of his "other world" clothing from behind the panel.
With a nod of apology, he steps behind the panel to change.
EXT. BUILDING - MED. SHOT - NIGHT
shooting from the door. In f.g. Barnhardt, who has just
arrived, is greeting several friends outside the door. In
b.g. a staff car and three or four other Army vehicles are
driving up.
MED. SHOT - ARMY VEHICLES
As the convoy pulls up to a halt in front of the building,
the Colonel hurries out of the staff car and moves over to
Barnhardt. Barnhardt is motioning his friends into the
building as the Colonel comes up to him.
TWO SHOT - COLONEL AND BARNHARDT
The Colonel speaks to Barnhardt with deference but with
unyielding authority.
COLONEL
I'm sorry, Professor Barnhardt -- I
have to ask you to call off this
meeting.
BARNHARDT
Call it off? I... But I had permission
from the Army--
COLONEL
I know you did. But the robots on
the loose now and it isn't safe around
here. You'll have to get your friends
out of that building.
INT. SPACE SHIP - TWO SHOT - KLAATU AND HELEN
as Klaatu steps out from behind the sliding panel where he
has changed into his "other world" tunic.
KLAATU
Gort and I will be leaving soon.
Helen is genuinely upset at the thought of his leaving and
the knowledge that he is to die. There is a compelling warmth
of feeling between these two.
HELEN
(simply, sincerely)
We'll miss you very much -- Bobby
and I.
(smiling to conceal
her real feelings)
He won't have anyone to play with.
KLAATU
He'll have you -- and Tom.
HELEN
(quietly -- definitely)
No. That's all finished.
KLAATU
I'm sorry.
HELEN
(she is sensible and
objective, but not
unfeeling)
I think I'm very lucky. You don't
always get a chance to recognize a
mistake before you make it.
Klaatu looks at her in warm, considered admiration. Then he
moves to one side of the cabin and flips a switch. Suddenly
an entire section of the side wall is made transparent.
Through it, as through a screen, we can see out into the
building. Most of the chairs are already occupied, and
latecomers are still moving in through the door. Facing the
group, on a little dais, is Barnhardt. As Klaatu and Helen
watch, Barnhardt raps for order and begins to speak. His
voice comes in the ship through a speaker.
BARNHARDT
Ladies and Gentlemen--
INT. BUILDING - MED. CLOSE SHOT - BARNHARDT
He addresses them gravely, with a note of terrible
disappointment in his voice.
BARNHARDT
I called you from your work and from
your homes all over the world because
we were to meet here tonight with a
man from another planet -- the man
who came here in this ship.
(there are audible
exclamations of
surprise and
disappointment)
As you all know, this is no longer
possible. I can only say that I share
the bitterness of your disappointment.
INTERCUT with the above are group and individual shots of
the people in the meeting. They are the cream of Earth's
intellectuals -- scientists, churchmen, educators, leaders
of social and political thought. There are several women
among them. There are turbaned Indians, Chinese, Japanese,
several Negroes. All religions are represented. Every
important world power is represented.
INT. MAIN CABIN - SPACE SHIP
Klaatu and Helen are watching and listening, as the last
sentence of Barnhardt's speech above comes over the speaker.
Klaatu flips off the switch, which cuts off the view of the
meeting and also Barnhardt's voice. At this moment Gort moves
across the cabin and Klaatu speaks to him.
KLAATU
Gort -- berengo.
Gort moves off obediently.
INT. BUILDING - MED. CLOSE SHOT - BARNHARDT
Full of chagrin, he continues addressing the meeting.
BARNHARDT
--under the circumstances, the Army
people have asked us to leave the
building. And, since their concern
is for our safety, I can do nothing
but suggest that we comply--
Barnhardt is interrupted by the sudden and unexpected
appearance of the ramp, silently opening out of the side of
the space ship.
MED. SHOT - BARNHARDT'S AUDIENCE
as they react in startled amazement to the mysterious
appearance of the ramp. Then, as they watch, there is a sudden
gasp of terror.
MED. SHOT - AT SHIP
as Gort appears on the ramp and walks slowly down to the
ground. In a moment, Klaatu and Helen appear at the entrance
of the ship. Helen comes down the ramp to join Barnhardt,
while Klaatu remains at the head of the ramp.
MED. CLOSE SHOT COLONEL AND SOLDIERS
The Colonel stands near the door, flanked by a group of
soldiers, their rifles at the ready. The Colonel is startled
by what he sees. His eyes are on the revered figure of Klaatu
and he's debating what he should do.
MED. CLOSE SHOT - KLAATU
He is a figure of intense dignity in his impressive otherworld
tunic. He stares with even defiance at the armed soldiers,
as though holding them off by sheer weight of his personality.
He turns to look out at the audience, which is held
spellbound. Then, after a breathless moment, he speaks.
KLAATU
(straightforwardly,
with almost stern
authority)
I am leaving soon and you will forgive
me if I speak bluntly.
(he pauses, studying
the faces)
The Universe grows smaller every day --
and the threat of aggression by any
group -- anywhere -- can no longer
be tolerated.
MED. CLOSE SHOT - IN AUDIENCE
of three of the delegates, listening intently. (These three
are from Russia, India and France.)
KLAATU'S VOICE
(over scene)
There must be security for all -- or
no one is secure... This does not
mean giving up any freedom except
the freedom to act irresponsibly.
CLOSE SHOT - A DELEGATE
He is an American.
KLAATU'S VOICE
(over scene)
Your ancestors knew this when they
made laws to govern themselves --
and hired policemen to enforce them.
CLOSE SHOT - KLAATU
KLAATU
We of the other planets have long
accepted this principle. We have an
organization for the mutual protection
of all planets -- and for the complete
elimination of aggression. A sort of
United Nations on the Planetary
level... The test of any such higher
authority, of course, is the police
force that supports it. For our
policemen, we created a race of robots--
(indicating Gort)
Their function is to patrol the
planets -- in space ships like this
one -- and preserve the peace. In
matters of aggression we have given
them absolute power over us.
MED. CLOSE SHOT - GORT
emphasizing his great size and inscrutable expression. The
normal blinking of his piercing eyes as he gazes imperturbably
at the audience is his only movement.
KLAATU'S VOICE
(over scene)
At the first sign of violence they
act automatically against the
aggressor. And the penalty for
provoking their action is too terrible
to risk.
CLOSE SHOT - KLAATU
KLAATU
The result is that we live in peace,
without arms or armies, secure in
the knowledge that we are free from
aggression and war -- free to pursue
more profitable enterprises.
(after a pause)
We do not pretend to have achieved
perfection -- but we do have a system --
and it works.
(with straightforward
candor)
I came here to give you the facts.
It is no concern of ours how you run
your own planet -- but if you threaten
to extend your violence, this Earth
of yours will be reduced to a burned-
out cinder.
QUICK REACTION CUTS
of four delegates, reflecting their stark terror and
bewilderment. And a cut of the Colonel and the soldiers,
impressed and held by what Klaatu is saying.
MED. CLOSE SHOT - KLAATU
CAMERA MOVES SLOWLY as he concludes quietly, incisively.
KLAATU
Your choice is simple. Join us and
live in peace. Or pursue your present
course -- and face obliteration.
(after a pause)
We will be waiting for your answer.
decision rests with you.
By the time he reads the last line, the CAMERA HAS MOVED
INTO a BIG HEAD CLOSEUP.
MED. SHOT - THE DELEGATES
CAMERA MOVES along a row of their faces, stunned and silent,
their minds unable to cope with the enormity of what they
have heard.
MED. SHOT
CAMERA MOVES IN on Klaatu as he is saying goodbye to Barnhardt
and Helen. He turns then and speaks to Gort, glancing up at
the building as he does so.
KLAATU
Gort -- veracto.
CLOSE SHOT - GORT
He looks up at the roof of the building, and once again we
hear the peculiar generating sound from within him.
MED. LONG SHOT
including the delegates, the space ship, everything that is
inside the building. As we watch, the roof and walls of the
temporary structure suddenly disintegrate as the tanks did
in the opening. The entire layout -- delegates, space ship
and all -- remain exactly as they were except that instead
of being under a roof they are out in the open Mall under a
starry sky. The area is ringed with the debris of the
building.
MED. SHOT AT SHIP
Klaatu is standing at the head of the ramp as Gort comes up
the ramp and disappears inside the ship. Klaatu is nodding
goodbye to Barnhardt and Helen.
TWO SHOT - BARNHARDT AND HELEN
as they wave to Klaatu. Barnhardt is moved and impressed,
and Helen's face shows her emotions at this strange parting.
CLOSE SHOT - KLAATU
He nods and smiles at them with warm affection. Then he turns
and disappears into the ship, and the ramp closes behind
him.
MED. SHOT - THE SPACE SHIP
From inside the ship comes the muffled roar of great power
generating -- not the sound of earthly motors, but of a
tremendous dynamo.
MED. SHOT - THE DELEGATES
watching breathless, stunned by what they have heard and
seen.
MED. LONG SHOT - THE SHIP
As the sound from inside it builds to a climax, the great
ship takes off with a tremendous roar.
REACTION CUTS OF DELEGATES
All are deeply moved and impressed. In the mind of each is
the burning question that Klaatu has posed for them.
LONG SHOT - THE SHIP
as it soars away into the inky blackness of the outer spaces
from which it came.
FADE OUT:
THE END
|
| Day the Earth Stood Still, The
Writers : Edmund H. North
Genres : Drama Sci-Fi Thriller
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