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 fol | 
