"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