Screenplay by Richard Joyce
based on the screenplay by Edmund H. North
and a short story by Harry Bates
FADE IN:
EXT. FIELD – DAY
Field of wheat swaying gently in the breeze on an English farm on a late afternoon in 1860. Camera moves up to farmhouse and barn. Hammering can be heard intermittently coming from the barn. A horse and buggy can be seen approaching along a dirt road.
TITLE: LEICESTERSHIRE, ENGLAND
1860
EXT. YARD BETWEEN BARN AND HOUSE – DAY
Title fades as camera pulls back when buggy enters yard. The buggy is driven by a 15 year old male, his mother, Elizabeth (late thirty's) sits next to him, 2 small girls, twins, 6 years old, sit in the back seat. One of the girls, Mary, shouts:
MARY
Daddy, daddy!
Jonathan Collins comes out to greet his family, smiling warmly. He is a handsome man, in his early forties. Bearded.
MARY
Daddy! Look what Miss Tillensly gave me!
Jonathan approaches buggy as it comes to a stop and lifts his two daughters up and out from the vehicle. Mary is holding a brand new rag doll.
JONATHAN
(Automatically) Gave to me. What did she give to you love, a doll?
Elizabeth dismounts from the buggy, which is led into the barn by Edward, the son.
MARY
Yes. Isn’t she pretty?
SUSAN
I got one too, daddy, which one do you like best?
MARY
Mine’s the prettiest!
JONATHAN
They’re both very pretty. Miss Tillensly gave these to you?
SUSAN AND MARY
Yes!
JONATHAN
That was very nice of her. I’ll have to make her something to thank her.
Elizabeth comes up to Jonathan and kisses his cheek.
ELIZABETH
Did you get much work done while we were gone?
JONATHAN
Yes. I finished the chair and began plans for a hutch. Come see.
INT. BARN – DAY
Jonathan, Elizabeth, and the children enter the barn, which is festooned with carpentry paraphernalia. Edward, having stowed the horse, comes up to them, admiring a freshly lacquered period rocking chair.
EDWARD
It looks swell, Da.
ELIZABETH
It’s wonderful John.
MARY
Can I sit in it daddy?
JONATHAN
Not yet dear. The lacquer is still wet. A little later perhaps.
EDWARD
(Teasing)You better let Da try it out first, Mary. You remember the last one.
Everyone laughs except Jonathan.
JONATHAN
(Playfully offended) Very Funny. Very humorous indeed. (To Edward) Get off
to your chores before I can come up with something hard and extraordinarily
nasty for you to do. Go on, it will be dark early. We may have a shower.
EDWARD
Yes Da.
Edward goes outside.
ELIZABETH
(Anxiously) How much do you think we can get for this one?
JONATHAN
Oh, ten quid, maybe. Seven at least.
ELIZABETH
(Worried) Is that all. You put so much time into making them.
JONATHAN
Well, we’ll see. Maybe I’ll get a higher price at the Fair’s auction next month.
ELIZABETH
(Concerned) But that’s so long away.
JONATHAN
I know. I know. Don’t worry.
ELIZABETH
(Smiles at her husband) I won’t worry. Come in for supper soon. It just needs to
be heated a bit.
JONATHAN
Alright. I think I’ll put one more coat on. Go help your mother, girls, and wash
up.
SUSAN
Alright, daddy.
The girls exit the barn. Elizabeth walks behind them, and just beyond the entrance, turns back to Jonathan.
ELIZABETH
Come in soon, John. It does look like it will rain. And soon.
EXT. YARD – DAY
Jonathan steps out to his wife and both look at the sky to west, which is darkening noticeably, and fast.
ELIZABETH
A bit early for a storm, isn’t it?
JONATHAN
Yes. A bit. I’ll lock things down and be in shortly.
He gives his wife a kiss, and watches her as she walks to the house. Then returns his gaze to the western sky and the worsening weather.
JONATHAN
(To himself, concerned) Yes. A bit early.
INT. COLLINS DINNING ROOM – DUSK
Wind can be seen picking up from an approaching storm outside through the windows. The family is seated and almost finished eating supper, which is laid out on the dinning room table.
JONATHAN
So you had fun in town?
Mary, Susan, Edward, each affirm
EDWARD
Mr. Billings showed me his new seeder. He says it takes half the time and less effort.
JONATHAN
Really. I’d like to see that. Maybe we can find time next week to pay him a visit.
MARY
Could I have some more please, Mummy?
ELIZABETH
Here you go. Give some to your sister.
JONATHAN
(Taking a bite from the stew): This was excellent, dear. Very good.
ELIZABETH
Better than when you had it last night?
JONATHAN
Did we? Well yes, just as good then. (To the children) Isn’t that so?
SUSAN
I get tired of stew, Daddy.
ELIZABETH
(Quickly): Stew’s good for you, and we’re lucky to have it. Eat up.
MARY
I like stew, Mummy. Am I a good girl?
ELIZABETH
(Smiling) You certainly are. You’re all good children. Edward, have you finished your study lesson for tomorrow?
EDWARD
Almost. I’ll finish after supper. I still don’t see why I have to keep doing these. I want to be a farmer, like Da. He teaches me what I need to know.
JONATHAN
You’ll need to know a lot more things than just farming in this world, boy. Things are changing. Be thankful for these lessons. I wish I had that chance when I was your age.
EDWARD
(Not mollified): I still don’t see…
ELIZABETH
(Stern) Edward! You’ll be thankful in later years. I don’t want to hear anymore about it.
EDWARD
Yes Mother.
A bright flash of lightening is evoked from outside. Everyone looks at the window. Thunder is heard in the distance.
MARY AND SUSAN
Bugger.
ELIZABETH
Mary! Susan! Don’t be frightened. It’s just a summer storm.
SUSAN
(Holding on tight to the tablecloth with both fist clenched): I’m not afraid, Mummy.
EDWARD
Sure, your not.
SUSAN
I’m not!
JONATHAN
Don’t worry, Susan. (He ruffles her hair, loving her very much) Edward and I won’t let anything happen to you.
SUSAN
Promise, Daddy?
JONATHAN
Of course, I promise. Isn’t that right, son.
EDWARD
Certainly. We won’t let the Black Annis get you.
ELIZABETH
Edward!
More lightening and thunder.
EDWARD
Winds picking up. Early for a storm, isn’t it Da?
JONATHAN
Yes, a little. Shouldn’t damage the crops. You and I can check to make sure everything's tied down, though.
EDWARD
All right.
MARY
I’m finished Mummy. Can I have pie now?
ELIZABETH
You haven’t finished. You still have peas. And you’ll wait for everyone to finish before desert.
MARY
(Not pleased) Yes, Mummy.
DISOLVE TO:
INT. TWINS BEDROOM – NIGHT
Jonathan is putting his daughter’s to bed. The wind has continued to pick up and it’s now raining.
MARY
It’s cold daddy.
JONATHAN
I know love. It’s the wind outside. Get under the covers and you’ll be warm soon enough.
SUSAN
It too noisy to sleep. Can you read us another story?
JONATHAN
I’ve already read you one! You both need to get some sleep or you’ll be tired in the morning, and so will I. (He arranges the covers for each girl, making sure their tucked in nicely) Alright… Sweet dreams, both of you. (He bends down and kisses each) Goodnight. I love you.
SUSAN
I love you.
MARY
Love you too.
Jonathan looks at his daughters from the doorway. He looks at them with a mixture of adoration and concern, and then quietly shuts the door.
INT. JONATHAN AND ELIZABETH’S BEDROOM - NIGHT
Wind and torrential rain are pounding the shutter-protected windows. Elizabeth is furtively asleep, Jonathan lying back awake, listening to the storm, thinking. Suddenly, he hears an odd sound outside and sits up. A shadow passes by the window very quickly and disappears. Jonathan carefully gets out of bed to investigate, and goes to the window to look out. He opens the shutter a bit.
EXT. YARD AND BARN - POV FROM BEDROOM WINDOW
All Jonathan sees is his front yard between his home and the front wall of the barn being pelted with cold rain and icy wind.
INT. BEDROOM – NIGHT
Jonathan’s face as his eyes search and find nothing. He steps back and puts his robe on. It’s cold due to the wind. He looks back out.
EXT. YARD AND BARN
As before. Nothing. Then lightening flash, and something, something, moves in the brush near the farthest wall of the barn.
INT. BEDROOM – NIGHT
Jonathan’s face registering surprise and shock. Possibly fright. He wipes the condensation from the pane and looks out again.
EXT. YARD AND BARN
Closer shot of the area near the barn where he thought he saw movement. Some animal, or creature, is shuffling about, half in and half out of sight.
INT. BEDROOM – NIGHT
Jonathan looking closer.
EXT. YARD AND BARN
Shot of the Thing. Suddenly, it stops all movement as if it senses being watched. Very quickly, it rises up to it full height, over seven feet. Faster, as if in a nightmare, it’s head or upper trunk spins in J’s direction revealing and indistinct, but alien form with what appears to be a face with three luminescent eyes staring straight at Jonathan
INT. BEDROOM – NIGHT
Jonathan almost falling backward from the window with shock. Elizabeth stirs.
ELIZABETH
Jonathan, what is it?
Jonathan recovers and looks back out.
EXT. YARD AND BARN
Same shot as before, but now nothing can be seen near the barn. What ever it was it has now gone.
INT. BEDROOM – NIGHT
JONATHAN
Ah, nothing Lizzy, nothing.
Jonathan stands back and smiles at her, thinking.
JONATHAN (continued)
I think I’ll have a look outside though and check on the horses.
Jonathan starts to dress.
ELIZABETH
Jonathan, you’ll catch your death. Wait until morning.
JONATHAN
Won’t be a minute. You go back to sleep.
ELIZABETH
Don’t be long, Jonathan. I don’t fancy being alone on nights like this.
JONATHAN
Be right back.
INT. FRONT ROOM – NIGHT
Jonathan, now dressed for the weather, comes out of the bedroom hallway, stops at closet and gets a rifle, then crosses to the door and exits.
INT. BEDROOM – NIGHT
Elizabeth lying awake, listening and waiting for her husband to return.
EXT. YARD AND BARN – NIGHT
Jonathan, battling through wind and rain to the corner of the barn he thought he saw whatever it was he thought he saw, rifle at the ready. He looks at the ground with nothing to be seen but rain hitting the earth. Jonathan squints as he looks into the distance near the side of his barn and beyond. He steps forward. Now a low frequency vibrating sound can be heard under the noise of the rain and wind that had no place being there. Jonathan emerges from the side of the barn facing the fields of his farm beyond. The vibrating noise is louder now. Jonathan looks out beyond. He’s not comprehending what it is he is seeing.
A hillock separating the barn from the fields beyond. A small dirt path leads up and over it. What Jonathan is looking at and hearing is lights emanating from his fields, that shouldn’t be there, and a more prominent sound, varying in pitch and frequency.
Jonathan’s face as he makes up his mind and gathers his resolve. He moves out of the frame.
Jonathan walks towards the path and up the hill.
From the field side of the hill. Vibrating sound loudest now. Jonathan coming to the top and looking out.
Close on Jonathan’s face with pulsating light reflecting off it. He does not believe what it is he is seeing. Track around him to behind and pull back to reveal:
EXT. FIELD – NIGHT
His fields being taken over by various spacecraft of different shapes and sizes, iridescent light shines all around making the brief glimpse difficult to focus on any one thing. Three beats.
INT. BEDROOM – NIGHT
Elizabeth still in bed, eyes opens. She hears a gun discharge from outside and bolts upright.
INT. FRONT ROOM – NIGHT
Front room. Elizabeth and Edward emerge from the hallway. Both are still dressed for bed, but putting on robes. Elizabeth has boots on.
EDWARD
Did you hear that!?
ELIZABETH
Yes.
EDWARD
Where’s Da?
ELIZABETH
He’s outside. You stay here with your sisters. I’ll be back in a moment. (She gets raincoat from the closet)
EDWARD
I think I should go with you mother.
ELIZABETH
No! (She grabs him by the shoulders and looks deeply into his face) YOU STAY HERE WITH YOUR SISTER’S! Do you understand?
EDWARD
(reluctantly) Yes, alright. Be careful.
ELIZABETH
I will. I’ll be right back. (She opens the door and exits).
From behind Edward at open door watching as his mother runs across the front yard.
EXT. YARD AND BARN – NIGHT
Elizabeth coming to a halt half way between the house and barn, rain and wind hitting her hard. She looks up.
From behind wide-angle shot of her looking at the barn with beams of lights emanating from behind it. The vibrating sound can now be heard.
Elizabeth same as before
ELIZABETH
JONATHAN!
She walks off frame.
Elizabeth emerges from the side of the barn just as Jonathan had before and reacts much the same way.
POV Elizabeth. The lights are noticeably more active now.
Elizabeth moves forward toward the hillock.
ELIZABETH
JONATHAN! JONATHAN!
She moves up to the camera to fill the frame, and stops, and registers shock as she sees something.
POV Elizabeth looking at the hilltop. A man, Jonathan walks backward into view as if being chased, but not wanting to lose sight of what’s chasing him.
Elizabeth starring at her husband.
ELIZABETH
(shouting above the din) JONATHAN!
Jonathan as before, back to the camera at a forty-five degree angle, seen from the mid-thigh up. Very suddenly, he stiffens; a pencil thin beam of intense light hits him in the chest. Jonathan’s arms and head are flung backwards as his body is engulfed, becomes transparent, then disappears (this light beam and associated disintegration is slightly different than Gort’s energy beam attacks seen later in the film. This beam is actually analyzing its victim, and condensing him to be reconstituted later). Lightening flashes in the distance.
Elizabeth as before.
ELIZABETH
(in shock, screams) JONATHAN!
From behind Elizabeth as she runs up the path to the top of the hill.
Elizabeth as she reaches the top and sees what Jonathan had seen. She reacts in disbelief. Then she is covered in Gort’s looming shadow (At no time during this sequence is Gort actually seen) as it comes up to her from the right. Elizabeth looks up to it and screams while backing away. She falls to the ground, still facing Gort as he advances, and continues to crawl backwards. Gort's shadow falls on her once again, and Elizabeth stops, eyes glued to Gort. She begins to scream as a beam of light begins to focus onto her body (Simulating Gort’s visor opening).
Close as Elizabeth screams.
FADE TO BLACK
Blackout: while scream transposes to first notes of Bernard Herman’s TDTESS score (new rendition).
EXT. INTERSTELLAR SPACE
To interstellar background sequence and credits. The interstellar background will approximate a voyage from 250 light years distant from Earth, approaching our Solar System and Earth as credits and music ends. Silence, then:
DISSOLVE TO:
EXT. NEAR EARTH ORBIT
Camera POV approaching the Earth’s terminator from the east heading west into the darkness. Five beats. When the Spaceship first appears, its passage will be silent, until it enters the Earth’s atmosphere, then sound can and should be enhanced to the utmost advantage, to suggest vast speed, technological efficiency and mastery.
The Spaceship enters frame from below (should resemble the original as much as possible, only approximately twice as large) and makes a 90-degree adjustment to be come orientated with the Earth’s surface. As soon as the turn is complete, the camera’s POV follows suit. The Spaceship falls back out of view from below momentarily, as the camera POV enters the darkness of the terminator. Sound of Spaceship now is heard as it enters the atmosphere (sound of its passing through the atmosphere and underlined throughout this sequence with the sound of it’s engines suggesting immense power, capability, and maneuverability. Much more than in the original film. Its movements are fluid and dynamic. One can tell just by looking at it and listening to it that this ship can do anything it’s pilot wants it to), and Spaceship reappears from below covered in fire from the friction of it’s tremendous speed as it consistently decreases altitude and meets greater atmospheric resistance. Camera POV follows as the Spaceship moves forward and away for three beats, then
EXT. U.S.S. ABRAHAM LINCOLN – NIGHT
United States Aircraft carrier on patrol in South China Seas, lit from reflected moonlight.
TITLE: U.S.S. ABRAHAM LINCOLN
SOUTH CHINA SEA
INT. SHIP’S COMBAT INFORMATION CENTER
Combat Information Center, a darkened room filled with electronic monitoring equipment. Over the shoulder of First Class Petty Officer Hewitt monitoring the a radar screen. A blip can be seen moving fast across the screen.
PETTY OFFICER HEWITT
I have a contact... designated Alpha Tango... (to himself) Jesus, it's going fast...
Duty Officer moves to the radar display to take a look.
DUTY OFFICER
What have you got Hewitt?
PETTY OFFICER HEWITT
I'm not sure, but it's going at around four thousand knots.
DUTY OFFICER
Four thousand knots! Are you sure?
PETTY OFFICER HEWITT
Look for yourself, sir.
DUTY OFFICER
A missile?
PETTY OFFICER HEWITT
Possibly. It's not an air breather. But look at that echo! It's huge. Whatever it is, it's headed for China in a hurry.
Duty Officer moves to the ship board telephone. He picks up the phone and punches in three numbers.
DUTY OFFICER
Captain, this is Lieutenant Ayers in CIC. I think you should come down here, real quick. We have a possible Cruise Missile headed straight for Hong Kong...
Petty Officer Hewitt looks up from the radar screen.
PETTY OFFICER HEWITT
Sir!
LIEUTENANT AYERS
What is it?
PETTY OFFICER HEWITT
Contact Alpha Tango... it's slowing down.
Close on Ayer's face, as the meaning of Hewitt's last report dawns on him.
EXT. SPACESHIP - NIGHT
Spaceship as before, camera following it from behind as it moves over the ocean below. Three beats.
EXT. HONG KONG - NIGHT
City skyline.
EXT. HONG KONG - NIGHT
Streets of downtown Hong Kong, late night.
EXT. HONG KONG STREET - NIGHT
Pedestrians respond to the sound of the Spaceship passing overhead.
POV of pedestrians toward Spaceship, moving very quickly across the sky. Some point to another section of the sky, as...
EXT. SKY - NIGHT
Three interceptor jets from the Chinese Air Force come into view from bottom of screen, much lower than the spaceship, and much slower.
EXT. CHINESE RADAR INSTALLATION - NIGHT
Establishing shot of building.
INT. RADAR INSTALLATION
Technicians scurry about clearly agitated. Air Force officers speaking excitedly in Chinese as they monitor a large radar screen. One turns to a communications console and picks up a telephone and begins to shout into it.
DISSOLVE TO:
EXT. NEPAL - HIMALAYIAN VILLAGE - NIGHT
A village in the Himalayas in Nepal. Village herdsman stopping what they are doing to look up at the sky as the sound of the Spaceship approaches. Several herdsman point to the bright Spaceship as it passes their position.
INT. INDIA - TELEVISION STATION
Television news station in India, as newscaster reports speaking in Hindi, on the Spaceship's arrival and approach to the northern part of the country.
EXT. SPACESHIP - NIGHT
The Spaceship, camera slightly above and behind again as it cruises high above the lights of civilization below. Three beats.
DISSOLVE TO:
EXT. QATAR - U.S. COMMAND CENTER - NIGHT
Long shot on United States Armed Forces Command Center
TITLE: UNITED STATES ARMED FORCES COMMAND CENTER
QATAR
INT. COMMAND CENTER
Command Officers monitoring wall mounted radar screen as blip moves noticeably from right to left.
WARRANT OFFICER WHIRRY
It's headed straight for Baghdad.
GENERAL CONNELLY
What the hell!
COLONEL WOOD
The Chinese and Russians claim they don't have anything to do with it.
GENERAL CONNELLY
Bull!
WARRANT OFFICER WHIRRY
That would mesh with the Lincoln's sighting, sir.
GENERAL CONNELLY
Well whatever it is we can't let it get anywhere near Baghdad. Shoot it down, Colonel... We'll pick up the pieces later.
COLONEL WOOD
Yes sir.
EXT. PERSIAN GULF - USS ARLEIGH BURKE DDG-51 - NIGHT
United States Guided Missile Cruiser at station. Sailors scrambling to General Quarters.
EXT. CRUISER MISSILE STATION - NIGHT
SAM anti-aircraft missile launch.
EXT. SPACESHIP - NIGHT
Spaceship as before approaching lights of Baghdad.
EXT. MISSILES - NIGHT
Close on missiles in flight
EXT. ROADBLOCK - NIGHT
American Army personnel manning a roadblock, look up to the Spaceship as it passes overhead. Two missiles follow.
EXT. SPACESHIP - NIGHT
Spaceship as before. Spaceship exits frame from top as missiles enter from bottom. Angle of shot flattens so both are in frame, then backs off as the Spaceship accelerates and gains distance between them.
EXT. SOLDIERS - NIGHT
Different American soldiers looking at the Spaceship as it leaves the missiles far behind.
INT. FRANCE - TELEVISION NEWSROOM
French television newsroom. Excited staffers scramble about as reports of the Spaceship come in.
EXT. FRANCE - VILLAGE - NIGHT
Sleepy French village. It is near 9:30PM, and the streets are practically deserted, except for one policeman walking down the main street, making his evening rounds.
EXT. SPACESHIP - NIGHT
Spaceship as before. It is losing altitude.
EXT. POLICEMAN - NIGHT
Back of policeman's head as he turns around to look at the sky as sound of approaching Spaceship becomes apparent.
Policeman from behind and low just as, Spaceship appears, incredibly low, almost at rooftop height, incredibly fast. Camera tracks as it passes along the length of the street, as all the windows of all the residences units and businesses burst in succession, bombarding the policeman.
EXT. SPACESHIP - NIGHT
Spaceship as before as it gains altitude and passes the coastline out over the Atlantic.
DISSOLVE TO:
INT. NORTHEAST AIR DEFENSE SECTOR COMMAND
TITLE: NORTHEAST AIR DEFENSE SECTOR COMMAND
ROME, NEW YORK
Northeast Air Defense Sector Command. Staff is on high alert as reports of the Spaceship come in. A large screen monitors the Spaceships progress over the ocean as it approaches the east coast of the United States. General in charge looking very worried picks up dedicated telephone.
GENERAL COX
Get me the Chairman. I don't care! Find him! What?! Alright then, get me the President. Now! (to Colonel) Combat, you have authorization to scramble.
COLONEL TURNER
Yes sir. Authorized to scramble.
EXT. LANDLEY AIR FORCE BASE, VA - DAY
Air Force Base runway. F/A-22 Raptors scrambling.
EXT. SPACESHIP - NIGHT TO DAY
Spaceship as before, over ocean. Ship is flying so fast transition from night to day takes only seconds.
INT. SPACESHIP
Inside Spaceship. Gort's silhouette as he monitors control screen, which depicts shapes and patterns which have no discernable meaning, and which change rapidly. Every tenth of a beat, a real-time, real world POV of the ship in flight, as that seen from an aircraft cockpit, comes to view, only to be replaced by the odd and repeating patterns. Camera slowly moves away to the reconstitution device, which is in operation, with its own distinct sound.
Front of the reconstruction device as human skeleton becomes covered with flesh, sinew, and arterial system. This process seems to be extremely painful, as partially formed occupant withers in agony. Two beats.
EXT. OCEAN LINER - DAY
Luxury ocean liner in foreground as Spaceship passes overhead in background.
Liner passengers on deck looking at and pointing toward Spaceship.
INT. AMERICAN TELEVISION NEWSROOM
NBC special newscast
NEWSCASTER
We interrupt normal programming to bring you this breaking news. Reports coming in from Europe indicate that an object...
INT. TAXI - NEW YORK - DAY
Woman leans forward from backseat to listen to the car radio. Driver listens intently while the cab is stopped at a red light.
NEWSCASTER (O.S.)
unidentified at this time... is flying at fantastic speeds towards the East coast of the United States...
INT. RETIREMENT HOME - ST. LOUIS, MO - DAY
Several retirees and staff huddle around a television set, as
NEWSCASTER
... although government officials have not confirmed this; eyewitness accounts substantiate initial reports that something...
EXT. UNIVERSAL CITY LOS ANGELES, CITYWALK - DAY
A crowd gathers at the large outdoor screen near the theater complex. Patrons watch from various outdoor restaurants, as...
NEWSCASTER
...very large, is headed toward this country. This is not a UFO scare, and we must make absolutely clear we have no indication of an imminent terrorist threat. However, whatever this object is, it's real...
EXT. TWO F/A-22'S IN FLIGHT - DAY
Two F/A-22's flying out over ocean to meet the Spaceship.
INT. COCKPIT - DAY / NEADS COMMAND [intercut]
Inside the cockpit of one F/A-22. Pilot, as detects the Spaceship on his radar.
PILOT
I have target. We are going to intercept.
NEADS Command.
GENERAL COX
Intercept and fire at will.
Cockpit.
PILOT
Fire at will, Roger.
Spaceship from behind as before.
Both Raptor's fire AMRAAM air-to-air missiles.
Missiles headed toward Spaceship.
Spaceship as before. Missiles with contrails approach the Spaceship. At the last moment the missiles separate from each other, veering away from the Spaceship, to each side then, up, up, out of frame.
From front, the Spaceship approaches the Raptors, passes between them, almost tearing them apart in it's wake.
Cockpit.
PILOT
Jesus! Tango four to command! Both missiles negative impact! I repeat. Both missiles missed the target!
General speaks directly with the pilot.
GENERAL COX
This is General Cox. What happened Tango four?
PILOT (O.S.)
Ahh, I'm not sure General.
Raptor cockpit.
PILOT
Both missiles had locked, but veered off to... hell I don't know where they went!
NEADS Command.
GENERAL COX
What is the target, Tango Four?
PILOT (O.S.)
I'm not sure, sir. I've never seen anything like it.
Close on General Cox
GENERAL COX
Captain, what the hell is it?
Cockpit.
PILOT
(hesitates) It's fast, it's white, and it's shaped like a big... saucer... General...
NEADS Command.
GENERAL COX
(pause) Repeat, Tango Four.
Cockpit.
PILOT
I said it looks like a saucer, sir.
Close on General Cox.
GENERAL COX (straightens, and to himself)
That figures.
Cockpit.
PILOT
Target passed us like we were standing still. It's headed straight for the coast.
EXT. SPACESHIP- DAY
Spaceship as before. Transitions from ocean to land, and banks sharply to the right, or north.
INT. NEADS COMMAND
Staff Sergeant monitoring radio frequencies.
SERGEANT HENNER
General! I'm picking up a signal from the target. It's appearing as text...
COLONEL TURNER
Are you sure it's from the target?
SERGEANT HENNER
Yes sir. It's a mother of a signal! Sorry, sir.
GENERAL COX
Put it on the screen, Sergeant.
The Sergeant pushes two buttons. All look to the giant wall monitor.
Monitor, as Chinese characters appear.
COLONEL TURNER
It looks like Japanese.
CORPORAL BLAIRE
It's Mandarin, sir.
GENERAL COX
Chinese? Now we're getting somewhere. What's it say, son?
CORPORAL BLAIRE
I think it says, "We come in peace, and with good will."
The General and Colonel ponder.
SERGEANT HENNER
Sir, the target has changed course. It's made landfall over North Carolina, and is headed north.
GENERAL COX
Get me the President again. Colonel, I want that thing, whatever it is, blown out of the sky, RIGHT NOW!
COLONEL TURNER
Yes sir!
EXT. SPACESHIP - DAY
Spaceship as before, traveling low over the landscape.
DISSOLVE TO:
INT. OVAL OFFICE - DAY
PRESIDENT HAWKINS (on phone)
Chinese? I see, General. Do whatever it takes.
Secret Service detail enters.
SECRET SERVICE AGENT PETERSON
We need to get you to a safe location, Mr. President.
The President looks at them.
PRESIDENT HAWKINS
My wife and daughters?
AGENT PETERSON
They're safe, sir. Please, we need to get you to leave here now.
The President gets up and follows the agents out of the office.
EXT. F/A-22’S AND SPACESHIP – DAY
F/A-22’s converging on Spaceship. Two in front of Spaceship fire missiles, then veer off to sides. Three from behind fire. Missiles with contrails converge on Spaceship. Four missiles in front veer up, up, up, out of frame. Six missiles from behind almost catch up to Spaceship, which simply speeds up to out distance them.
POV from just behind missiles as Spaceship accelerates up and out of frame, as missiles run out of fuel and fall to earth.
INT. NEADS COMMAND
General and staff look at wall monitor as pilot reports.
PILOT (V.O.)
Negative impact! I repeat, negative impact. Target is now out of range.
GENERAL COX
Christ! Where’s it headed, Colonel?
COLONEL TURNER
Straight for the capital, sir.
GENERAL COX
Close on.
Christ.
EXT. WASHINGTON D.C. – SUPREME COURT BUILDING – DAY
Pedestrians walking past court building react as air raid sirens begin to sound.
EXT. WASHINGTON D.C. – LINCOLN MEMORIAL – DAY
Tourists exit the memorial to see what’s going on. They look to the sky.
EXT. WASHINGTON D.C. – NEAR CAPITAL – DAY
Two teachers quickly usher a group of fifth graders along Independence Avenue onto a waiting school bus.
EXT. SPACESHIP AND F/A-22’S – DAY
Spaceship as it approaches Washington D.C.
F/A-22 interceptors furiously try to destroy it before it reaches metropolitan area, using both AMRAAM, Sidewinder missiles, and 20 MM cannons. Missiles approaching Spaceship tend to be deflected by an invisible force, up, up, up, out of frame.
POV from one cockpit, behind Spaceship, pilot fires two missiles point blank. Both missiles veer to either side of Spaceship, then up and out of frame as Spaceship and Raptor pass them. Spaceship speeds away.
Three missiles at different angles shown going up towards outer space. 2 run out of fuel, but still continue up, until all three disappear into sky.
Spaceship from up and behind, avoiding last of the Raptors as it enters urban air space, slowing considerably.
EXT. WASHINGTON D.C. – SMITHSONIAN - DAY
Man and woman walking in foreground. Others on steps in background. All look to the sky as the sound of the Spaceship’s engines, and that of two F/A-22’s following, approach from the south.
Top of Capital and other nearby buildings as the Spaceship enters frame, and circles city.
Thomas Jefferson Building. Other people in crowd look skyward. Some point to the approaching ship.
Near the Washington Monument. Close on mother with two children. One child points to ship.
Ships engine’s get louder as ship gets closer. Air raid sirens still blasting, jets still following, they have stopped firing at the Spaceship over the populated city.
Ellipse. Man and woman on blanket stare at ship as it approaches. They get up and run away.
Aerial view above city as Spaceship enters frame, slowing, approaching Ellipse. Pedestrians who had been walking on or residing on Ellipse lawn flee.
Another aerial view above and 45 degree angle of Ellipse, as Spaceship slowly approaches lawn landing site.
Front view near ground as Spaceship lands. Sounds of the ship’s great engines winding down. Silence.
Long shot. Behind and slightly below Spaceship, White House in background.
FADE TO BLACK
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! At the Ellipse!
He runs off toward another group as we--
MONTAGE
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 Joint Base Myer–Henderson Hall, with rifles and side arms, to form up on their company’s street.
4. Newspaper presses rolling at high speed.
5. Elements from the 3rd United States Infantry Regiment exiting Joint Base Myer–Henderson Hall, including M1 Abrams battle tanks and M113 armored personnel carriers. A soldier in the foreground is directing the vehicles to make a turn to the left after exiting. These people and things are in a hurry.
6. Long shot of Baseball stadium. 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.
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
A shot of either House returning to their seats after having been evacuated out of the Capital building due to the spaceship’s arrival. The leaders are rather animated, and talking to each other excitedly.
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 Brian Williams -- is seated at his anchor desk. To his side is a rectangular area which shows what is going out on the Ellipse.
WILLIAMS
Good afternoon ladies and gentlemen, this is Brian Williams bringing you a breath taking and unfolding story concerning what appears to be a aircraft of unusual design that has landed on the Ellipse in the nation’s capital. Some experts in the aviation industry have told NBC News that they have never seen another craft of this design, and that this... ship, could be one of the fabled “flying Saucers,” of extraterrestrial origen, first described in the nineteen forties. In other words, this could be our first visitor from another world, although I must say that NBC has so far been unable to confirm this.
CLOSE SHOT
WILLIAMS
Government and Defense Department officials are concerned by reports of panic in several large cities in the east, notably New York and Boston. I am authorized to assure you the so far their is no reasonable cause for alarm. The rumors of invading armies and mass destruction, and a call to increase defense spending exponentially by Republican Congressional leaders, are based on hysteria and are completely without merit. So far this incidence in Washington D.C. is the only known event within the nation, or for that matter, the world. I repeat... these rumors are absolutely false!
ANOTHER ANGLE
WILLIAMS
This craft landed in Washington today at 3:47 p.m., Eastern Standard Time. We still don't know with certainty where it came from, but I can reveal that military leaders are not ruling out the possibility that it came from some other, perhaps unfriendly power here on earth, namely the Russian Federation or People's Republic of China.
CUT TO EXT REMOTE CAMERA SHOT AT SPACECRAFT LOCATION ON TO SPACECRAFT.
WILLIAM’S VOICE
The ship is resting exactly where it landed two hours ago, and there has been no sign of any activity since.
CUT TO EXT. THE ELLIPSE - MED. SHOT
Two platoons of infantry soldiers surround the ship, their rifles at the ready.
WILLIAM’S VOICE (over scene)
Troops have been rushed from Fort Myer - Henderson Hall and have formed a cordon around the craft.
MED. SHOT
showing two machine guns, two Abrams tanks and two 75MM gun emplacements. The gun crews are posted for action and all weapons are trained on the spaceship.
WILLIAM’S VOICE (over scene)
They are supported by machine guns, tanks and artillery.
MED. SHOT - POLICE CORDON
Police are holding back a section of a large crowd, some distance away from the ship. The people are wide-eyed and tense with excitement.
WILLIAM’S VOICE (over scene)
Behind the military, police lines are holding back a large crowd of onlookers who have come to witness this once in a lifetime event.
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. Colonel Thomas Stevens regarding the spaceship
5. The spaceship.
WILLIAM’S VOICE (over scene)
Let’s go now to our reporter at the scene, Nikki Anderson. Nikki?
CUT TO REMOTE CAMERA SHOT OF NIKKI ANDERSON, AN ATTRACTIVE LOCAL TELEVISION REPORTER
Thanks Brian. 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 is overwhelming.
WILLIAM’S VOICE (over scene)
Nikki? Have you been able to speak with any of the authorities in place? The military?
NIKKI
Yes Brian. About a half hour ago I was able to speak with a Colonel Thomas Stevens of the 3rd United States Infantry Regiment who is the highest ranking officer currently on-site. Let me take you, oh, actually Brian, I’m being told the Colonel is now approaching the ship. Let’s try to get a shot of that.
MED SHOT - COLONEL STEVENS
Colonel Stevens walks back toward the SPACESHIP and addresses it.
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! At the Ellipse!
He runs off toward another group as we--
MONTAGE
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 Joint Base Myer–Henderson Hall, with rifles and side arms, to form up on their company’s street.
4. Newspaper presses rolling at high speed.
5. Elements from the 3rd United States Infantry Regiment exiting Joint Base Myer–Henderson Hall, including M1 Abrams battle tanks and M113 armored personnel carriers. A soldier in the foreground is directing the vehicles to make a turn to the left after exiting. These people and things are in a hurry.
6. Long shot of Baseball stadium. 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.
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
A shot of either House returning to their seats after having been evacuated out of the Capital building due to the spaceship’s arrival. The leaders are rather animated, and talking to each other excitedly.
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 Brian Williams -- is seated at his anchor desk. To his side is a rectangular area which shows what is going out on the Ellipse.
WILLIAMS
Good afternoon ladies and gentlemen, this is Brian Williams bringing you a breath taking and unfolding story concerning what appears to be a aircraft of unusual design that has landed on the Ellipse in the nation’s capital. Some experts in the aviation industry have told NBC News that they have never seen another craft of this design, and that this... ship, could be one of the fabled “flying Saucers,” of extraterrestrial origen, first described in the nineteen forties. In other words, this could be our first visitor from another world, although I must say that NBC has so far been unable to confirm this.
CLOSE SHOT
WILLIAMS
Government and Defense Department officials are concerned by reports of panic in several large cities in the east, notably New York and Boston. I am authorized to assure you the so far their is no reasonable cause for alarm. The rumors of invading armies and mass destruction, and a call to increase defense spending exponentially by Republican Congressional leaders, are based on hysteria and are completely without merit. So far this incidence in Washington D.C. is the only known event within the nation, or for that matter, the world. I repeat... these rumors are absolutely false!
ANOTHER ANGLE
WILLIAMS
This craft landed in Washington today at 3:47 p.m., Eastern Standard Time. We still don't know with certainty where it came from, but I can reveal that military leaders are not ruling out the possibility that it came from some other, perhaps unfriendly power here on earth, namely the Russian Federation or People's Republic of China.
CUT TO EXT REMOTE CAMERA SHOT AT SPACECRAFT LOCATION ON TO SPACECRAFT.
WILLIAM’S VOICE
The ship is resting exactly where it landed two hours ago, and there has been no sign of any activity since.
CUT TO EXT. THE ELLIPSE - MED. SHOT
Two platoons of infantry soldiers surround the ship, their rifles at the ready.
WILLIAM’S VOICE (over scene)
Troops have been rushed from Fort Myer - Henderson Hall and have formed a cordon around the craft.
MED. SHOT
showing two machine guns, two Abrams tanks and two 75MM gun emplacements. The gun crews are posted for action and all weapons are trained on the spaceship.
WILLIAM’S VOICE (over scene)
They are supported by machine guns, tanks and artillery.
MED. SHOT - POLICE CORDON
Police are holding back a section of a large crowd, some distance away from the ship. The people are wide-eyed and tense with excitement.
WILLIAM’S VOICE (over scene)
Behind the military, police lines are holding back a large crowd of onlookers who have come to witness this once in a lifetime event.
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. Colonel Thomas Stevens regarding the spaceship
5. The spaceship.
WILLIAM’S VOICE (over scene)
Let’s go now to our reporter at the scene, Nikki Anderson. Nikki?
CUT TO REMOTE CAMERA SHOT OF NIKKI ANDERSON, AN ATTRACTIVE LOCAL TELEVISION REPORTER
Thanks Brian. 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 is overwhelming.
WILLIAM’S VOICE (over scene)
Nikki? Have you been able to speak with any of the authorities in place? The military?
NIKKI
Yes Brian. About a half hour ago I was able to speak with a Colonel Thomas Stevens of the 3rd United States Infantry Regiment who is the highest ranking officer currently on-site. Let me take you, oh, actually Brian, I’m being told the Colonel is now approaching the ship. Let’s try to get a shot of that.
MED SHOT - COLONEL STEVENS
Colonel Stevens walks back toward the SPACESHIP and addresses it.
COLONEL STEVENS
This is Colonel Thomas Stevens of the United States Army. You have trespassed through restricted airspace onto the sovereign ground of the United States of America, and you are hereby under arrest. We have your ship surrounded. (pause) Come out immediately and surrender your weapons. I
repeat. Come out immediately and surrender your weapons.
Colonel Stevens waits for reply.
The Spaceship ignores Colonel Stevens.
Two soldiers observing from tank turret.
FIRST SOLDIER
This guy’s an idiot.
SECOND SOLDIER
Yeah.
Nikki reporting. Spaceship in background.
NIKKI
We’ve been trying to learn from the Air National Guard why the ship was allowed to enter restricted airspace and actually land in our nation’s capital, especially so close to the White House. As yet we’ve received no reply…just a moment (Crowd begins to stir). I think, yes, something’s beginning to happen.
Full shot. Spaceship as seen from ground level at slight angle to front as it has already started to open. Spaceship opens using CGI, but basically the same as in original picture, the dome opening and a ramp distending seamlessly, allowing Klaatu to exit.
Aerial view from above and behind Spaceship, as military re-positions its assets to cover opening.
Klaatu exits, wearing an environmental suit that obscures his facial features.
Two children, one boy and girl, about ten years old, rush up to the front of the crowd and hold up a cell phone digital camera to record this historic and exciting event.
Another section of the desegregated crowd, push forward to the roped off perimeter to get a better look.
Three soldiers lying on the ground aim their rifles at Klaatu.
The two soldiers in the tank turret point their pistols at Klaatu, and look nervous.
Colonel Stevens watches Klaatu, his earlier bravado dissipated.
Klaatu walks to the ramp and stops, he pauses, studying the crowd and military, then raises his right arm, hand outstretched in greeting.
KLAATU (slightly amplified)
We have come to visit you in peace, and with good will.
Group of nervous soldiers, standing and pointing their rifles at Klaatu.
Klaatu from ground level behind military. He begins to walk down the ramp.
The two nervous soldiers pointing their handguns at Klaatu get more nervous.
Colonel Stevens watching Klaatu approach.
Colonel Stevens from side, Klaatu enters frame standing directly in front of him.
Klaatu hesitates, and then seeming to recall something, tentatively reaches out to shake Colonel Steven’s hand.
The two nervous soldiers on tank, one shoots handgun.
Klaatu is hit in left shoulder and falls to the ground.
Colonel Stevens reacts to shooting, looking back to his soldiers.
COLONEL STEVENS
Hold your fire!
Soldier who fired reacts to his mistake.
Colonel Stevens, and two other soldiers approach Klaatu, who is withering on the ground. As they are about to render aid, one of the soldiers looks toward Spaceship and notices something amiss. Colonel Stevens and others take his lead, alarmed and instantly alert.
(Music, Gort’s theme) Gort standing outside entrance to Spaceship. Two beats.
(Author’s Note: I recommend not altering Gort or the Spaceship to an unrecognizable degree from the original 1952 film as these characters have been elevated to the status of American icons. I predict a negative audience impact if they are changed too much.)
Reaction shot of crowd.
Reaction shot of military.
Gort begins to step down ramp toward Klaatu.
Crowd panics, majority running away.
Military reacts to Gort, and prepares for confrontation.
Gort reaches ground and stops. Spaceship closes behind him.
Close shot as Gort moves his head in direction of Klaatu still withering.
Colonel Stevens and military facing Gort.
Gort head returns to front. Visor begins to open.
Three beat montage of soldiers ready for anything.
Gort’s visor finishes opening. Light beam manifests itself, gaining power until it shoots energy ray.
Three soldiers holding rifles, as energy ray hits their weapons, which instantly begin to melt, they drop them to the ground.
Gort shoots again.
Another group of soldiers, same as before, energy ray hits their weapons, which they drop.
Gort shoots again.
Energy ray hits tank. Soldiers scramble out as tank disintegrates and melts.
Gort shoots again.
Energy ray hits Bradley vehicle, same as before, soldiers scramble out as vehicle melts totally.
Colonel Stevens reacts to attack.
COLONEL STEVENS
Fire at will!
Soldiers open fire at Gort.
Gort fires back, with multiple beams now, so rapidly it seems that no bullets or RPG’s actually hit him.
7 beat montage of battle as soldiers fire at Gort, and Gort fires back, effectively disarming the soldiers of all their weapons.
Colonel Stevens observes what is happening, and the apparent outcome. He approaches Klaatu, who is still withering, and withdraws his handgun, aiming at Klaatu’s head.
COLONEL STEVENS
STOP IT!
Gort stops firing.
Colonel Stevens smiles as his tactic worked.
Gort’s visor closes. He turns toward Colonel Stevens and Klaatu. Gort finishes turning, facing Colonel Stevens.
From low to the ground, catching withering Klaatu and Colonel Stevens standing above Klaatu.
COLONEL STEVENS
Hold your fire or I’ll kill him!
Close shot Gort
Colonel Stevens triumphantly stands over Klaatu, the smile disappears as his arm holding gun is forced to move away from Klaatu, toward and above Gort. He struggles against unseen forces to maintain the grip on his pistol.
Close shot Gort
Colonel Stevens as gun is ripped away, almost taking his hand with it.
Gun shoots up off to the left and above Gort, fades into the distance, but gaining so much speed it begins to burn due to atmospheric friction, up in the sky, disappearing.
EXT. EARTH ORBIT
Earth orbit, as melted gun shoots outward as fireball into outer space.
EXT. COLONEL STEVENS – GORT – DAY
From behind Colonel Stevens with Gort in background.
Colonel Stevens from front, disarmed, not sure how to proceed, frightened.
Gort's visor opens. Up until this moment no soldier has actually been seriously harmed, but now music should indicate ominous intent.
Colonel Stevens slowly backing away.
Gort, visor up, energy beam begins to accumulate.
Colonel Stevens, clearly frightened now.
Gort, energy beam accumulates two beats, and just as we expect Gort to fire…
KLAATU (O.S.)
Gort!
Klaatu on the ground, Colonel Stevens behind him.
KLAATU
Deglet ovrosco!
Gort, visor closes.
Colonel Stevens and soldiers turn their attention to Klaatu, as jeep pulls up and General Shapiro jumps out.
GENERAL SHAPIRO
Colonel! What’s happening here?!
COLONEL STEVENS
We were attacked sir.
GENERAL SHAPIRO
Yes, I saw how you were attacked. I want a full report. In the meantime get this… man, to Bethesda right now.
COLONEL STEVENS
Yes, sir.
Soldiers gather around Klaatu as
DISSOLVE TO:
INT. BETHESDA NAVAL HOSPITAL – KLAATU - OBSERVATION
ROOM
Full shot from above as a team of medical personnel attend to Klaatu, whose face is obscured. Camera pulls back to reveal a Major General, the Admiral in command of the hospital, Harley, a senior State Department official, a dignified, serious minded veteran of the diplomatic corps, two medical officers, and two civilian intelligence officers, look down from second tier observation platform. They are following the progress below.
INT. KLAATU’S ROOM
Close shot of blood being drawn from Klaatu’s arm, pull back to the nurse withdrawing blood and Naval Commander in charge. Commander looks up at officers in observation room.
INT. OBSERVATION ROOM
Officers watch as Commander leaves Klaatu’s bedside. Officers enter into muted conversation, which is interrupted by the arrival of the Commander.
MAJOR GENERAL RAE
Well?
COMMANDER NORTH
(Unsure how to present this information) Physically he’ll be fine. The wound issuperficial. The amazing thing is… he’s human… completely human.
MAJOR GENERAL RAE
Then the ship originated from Earth?
COMMANDER NORTH
No, not at all.
MAJOR GENERAL RAE
What do you mean?
COMMANDER NORTH
The ship is definitely extraterrestrial, but he’s human.
ADMIRAL PARKER
How can that be, Commander? The odds of a similar evolutionary path as Homo sapiens occurring on another planet are… well, astronomical.
MAJOR GENERAL RAE
He’s from here, from Earth, isn’t he? He’s a Russian…
COMMANDER NORTH
No, no, nothing like that. He told me… he had previously been… taken…
ADMIRAL PARKER
Taken?
COMMANDER NORTH
Yes, abducted, by… well, he didn’t say what. But he was taken to be used as an emissary.
MAJOR GENERAL RAE
Well who is he? Is he an American? Maybe…
COMMANDER NORTH
(Trying to make it clear) He doesn’t remember anything about his own past, or where he came from. He was… ah, reprogrammed, that’s how he put it. All that’s important to him now is the conclusion of his mission.
MAJOR GENERAL RAE
Which is?
The Commander just shakes his head as if he doesn’t know.
HARLEY
Thank you, Commander, Admiral. I believe it’s time I had a talk with him.
ADMIRAL PARKER
(Indicating door) Right through there Mr. Harley.
Harley walks up to the door, pauses, looking back at the others as the historical… extraordinary significance of the situation, what he is about to do, talk to an emissary from another world, sinks in. He opens the door and exits.
INT. KLAATU’S ROOM
View from behind to side of Klaatu showing only his body covered by sheets from the waist down, pulling back as Harley enters, and motions for the medical personnel to leave, to reveal silhouette of Klaatu.
HARLEY
My name is Harley – I represent the president, the leader of this nation. (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.
Harley sits as Klaatu face is revealed for the first time. He is the same actor who played Jonathon Collins, clean-shaven now, appearing dignified, expectant, and passive. He lies in bed, his shoulder wrapped in a bandage and in a sling. Harley, who is a hardened diplomat, 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. 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
Time is a relative measurement, Mr. Harley.
HARLEY
(A little taken aback, he continues) You must have come a long way.
KLAATU
About two hundred and fifty of your light years.
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 been instructed in diplomacy, too) From another star system. Let's just say that we're neighbors.
Harley reacts, as his wildest assumptions are so blandly corroborated.
HARLEY
It is difficult for us to think that someone coming from another star is 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 being 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. (Stalling) Many of the nations of Earth are… at odds with each other. They would never agree to…
KLAATU
(coolly) What about your United Nations?
HARLEY
(Surprised and a little puzzled) You know about the United Nations?
KLAATU
We've been monitoring your radio, television, and military broadcasts for a good many years. That's how we learned many of your languages.
HARLEY
Then I’m sure your aware that my nation is currently involved in a…
KLAATU
(evenly) I am not concerned, Mr. Harley, with the affairs of your nation, or your planet. We consider that to be your business -- not ours.
HARLEY
Ours?
KLAATU
The intelligence which has sent me here.
HARLEY
I see. Well I hope you understand, there are many factors…
KLAATU
(sternly, impressively) My mission here is not to solve your petty squabbles. It concerns the existence of every last creature that 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 Klaatu’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… some… 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 as Klaatu stares after Harley for a moment, puzzled by this strange and apparently unreasoning world he has come back to. He shakes his head in thoughtful, tolerant bewilderment.
DISSOLVE TO:
EXT. SPACESHIP - NIGHT
Full shot. Searchlights have lighted the eerie shapes of the Spaceship and Gort. A circle of soldiers guard the area, while a crew of men can be seen working around the ship, and erecting an enclosure. A huge construction crane has attached a line to Gort in an effort to move him.
Army personnel finishing up attaching a harness of chains to Gort. A Sergeant signals the go ahead. Personnel move back.
Crane takes up slack.
Crane and operator as engine strains in its efforts.
Crane as its boom strains to move Gort. The boom begins to move toward the ground rather than lifting Gort.
Crane and operator as strain becomes critical.
Crane’s boom continues to bend dangerously toward ground. Gort does not budge.
Army personnel can’t believe what they’re seeing, and move back further.
Crane and operator as cranes engine almost explodes, but stalls instead. Operator jumps out.
As crane stalls and gears strip, the chains around Gort break, the boom rebounds. Engine silences.
Sergeant wipes his forehead in relief and disbelief. General walks up to him.
GENERAL O’CONNELL
What happened Sergeant?
SERGEANT ROGERS
I’m not sure, sir. I’ve never seen anything like it. This is the second crane we’ve used and it can lift a house… two houses. If you ask me General…
GENERAL O’CONNELL
Yes?
SERGEANT ROGERS
I think he just doesn’t want to move.
Both look at Gort a moment before General walks over to ship and Master Sergeant of Engineers as he finishes trying to cut into ship with laser torch.
Master Sergeant, dressed in fatigues, backs up after unsuccessful effort, removing welding helmet. General walks up to him.
GENERAL O’CONNELL
Getting any place, Sergeant?
MASTER SERGEANT HARTLEY
(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 O’CONNELL
What's the report, Carlson?
CARLSON
(discouraged) We've tried everything from a blowtorch to a laser drill. Theoretically, sir, nothing material should be able to withstand the laser.
GENERAL O’CONNELL
What are you saying?
CARLSON
Well… this may not be a solid at all.
GENERAL O’CONNELL
What do you mean?
CARLSON
It may be some kind of controlled field that can be molded to act like a ships hull. It literally sucks up all the energy of the laser, and thereby…
GENERAL O’CONNELL
Yes, go on…
CARLSON
…is pretty much impregnable to anything we can come up with, short of setting off a thermonuclear device right on top of it, and that might not work.
GENERAL O’CONNELL
(ruefully)Well, I doubt the President will let us blow up Washington. (nodding toward Gort) What about him?
Camera pulls back to reveal Gort.
CARLSON
He's made out of the same stuff.
GENERAL O’CONNELL
Keep at it, gentlemen. I want to know what this things made of. (with a wry half-smile) Whatever it is, it’ll make a hell of a tank!
Carlson and Master Sergeant Hartley exchange an uneasy glance, then turn to look at the ship.
DISSOLVE TO:
INT. WHITE HOUSE - OVAL OFFICE – NIGHT
The President, Vice President, Harley, Chairman of the Joint Chiefs, CIA & FBI Directors, White House Chief of Staff, National Security Advisor, and three other civilians sit in conference around the coffee table.
PRESIDENT HAWKINS
(speaking to Harley) Thank you, Charles. Now, gentlemen, where do we stand?
NATIONAL SECURITY ADVISOR RHODES
Mr. President, this situation is of course without precedent, and I might add, extremely dangerous.
PRESIDENT HAWKINS
Why so?
NATIONAL SECURITY ADVISOR RHODES
We’re already receiving complaints from Russia and China stating that we’ve kidnapped this… emissary, and are monopolizing whatever intelligence he and his ship might provide. As you know, the Russians have recalled their ambassador. Even our allies, Britain, the rest of the European Union, Japan, Australia, are concerned that we are exploiting the situation in order to gain a huge technological advantage over the rest of the world.
PRESIDENT HAWKINS
Is that what we’re doing?
CHAIRMAN JOINT CHIEFS ARMY GENERAL COPLEY
Mr. President, we have a unique opportunity to do just that. The ship that Klaatu came in, the robot, what knowledge he possesses, is hundreds, maybe thousands of years in advance of our current scientific knowledge. This is an advantage that has fallen into our lap and one we cannot give up lightly.
VICE PRESIDENT MILLER
I agree, Mr. President. With this potential lead, we could extend our influence throughout the world, with no opposition.
CHAIRMAN JOINT CHIEFS COPLEY
We could protect our boarders from any type of attack, defeat any terrorist threats…
VICE PRESIDENT MILLER
Control the world economy… there’s no end to what we could do.
NATIONAL SECURITY ADVISOR RHODES
If we can do it.
PRESIDENT HAWKINS
What do you mean, Paul?
NATIONAL SECURITY ADVISOR RHODES
The other nations won’t just stand idly by and let us get away with this. You’ve seen the reports; China has already raised its military alert status…
CHAIRMAN JOINT CHIEFS COPLEY
Let them! They know what would happen if they engaged us…
NATIONAL SECURITY ADVISOR RHODES
…and Russia is sure to follow suit. I think we have to be very careful. They won’t hesitate to attack us if they think we might gain an unassailable advantage over them technologically.
VICE PRESIDENT MILLER
I don’t agree sir…
PRESIDENT HAWKINS
What about this spaceman himself. Does he pose any threat to us?
CHAIRMAN JOINT CHIEFS COPLEY
As long as he’s separated from his ship and that robot, I don’t see how he can be. The robot hasn’t moved an inch, and probably can’t without instructions.
PRESIDENT HAWKINS
So we should keep him isolated?
CHAIRMAN JOINT CHIEFS COPLEY
Definitely.
VICE PRESIDENT MILLER
One things for certain, this meeting he requests is certainly out of the question.
PRESIDENT HAWKINS
Does everyone agree on that count? (everyone nods in the affirmative)
CHIEF OF STAFF GUERRIDO
Tell me one thing, General.
CHAINMAN JOINT CHIEFS COPLEY
Yes?
CHIEF OF STAFF GUERRIDO
What makes you think you can learn anything from this… Klaatu, how can you be certain?
CHAIRMAN JOINT CHIEFS COPLEY
You’ve heard Mr. Harley. He’s just a man. Any man can be broken. I guarantee within the week he’ll tell us how to open that ship and control that robot.
NATIONAL SECURITY ADVISOR RHODES
Do you think those who sent him here will stand by and let us learn all of their secrets?
CHAIRMAN JOINT CHIEFS COPLEY
All the more reason to learn as much about them as quickly as possible.
NATIONAL SECURITY ADVISOR GUERRIDO
(speaking to the President) I don’t know, sir. There’s so much we don’t know. It sounds exceptionally dangerous, potentially a fatal mistake to underestimate this man and what he might be able to do. At least find out why he came here.
PRESIDENT HAWKINS
I intend to. Thank you, gentleman. I agree with the Chairman, for the good of the country this is a once in a lifetime opportunity that we have to take advantage of. But to be perfectly frank, I wish this spaceman would have waited until I was out of office to show up. (the rest react, smiling and agreeing)
Charles, this is what I want you to do…
DISSOLVE TO:
INT. BETHESDA HOSPITAL - OBSERVATION ROOM
Two Medical Corps officers, Lieutenant Bowen and Lieutenant Commander Lynn are studying a series of X-ray results.
LT COMMANDER LYNN
The skeletal structure is completely normal. (pointing) Same for the major organs -- heart, liver, spleen, kidneys. Everything completely human, except this…
Close shot of X-ray of skull with shadow of a small metallic device anchored in the posterior region of the brain, with a cord extending from the bottom leading down to Klaatu’s spinal column.
LT COMMANDER LYNN (O.S.)
Some kind of metallic device or probe anchored directly to his brain.
Lieutenant and Lieutenant Commander.
LIEUTENANT BOWEN
Did he say what it was?
LT COMMANDER LYNN
He said it allows him to communicate with his ship.
LIEUTENANT BOWEN
That’s not good.
LT COMMANDER LYNN
No, it’s not. I suggested we monitor all radio signals emanating from his room.
LIEUTENANT BOWEN
Perhaps we should put him in a room lined with lead.
LT COMMANDER LYNN
I’ll mention it.
LIEUTENTANT BOWEN
His lungs are the same as ours. That must mean the atmosphere of the planet he came from is similar to ours.
LT COMMANDER LYNN
Not necessarily. How old do you think he is?
LIEUTENTANT BOWEN
Oh, I'd say between forty and forty-five.
LT COMMANDER LYNN
(smiling) He told me this morning when I examined him. Physically, he’s now almost two days old.
LIEUTENTANT BOWEN
What do you mean?
LT COMMANDER LYNN
He says he’s a replicant, what we’d call a clone.
LIEUTENTANT BOWEN
How does he explain that?
LT COMMANDER LYNN
He says he was brought back to life, was reprocessed, for his mission, whatever that is. He wouldn’t elaborate.
LIEUTENTANT BOWEN
I don’t believe it.
LT COMMANDER LYNN
Their science is that much more advanced. (the Lieutenant stares at him blankly) He was very nice about it. But he made me feel like a fourth-class witch doctor.
The door leading to Klaatu's room opens and the Commander North appears. He closes the door behind him and stands motionless facing the other two, his face wearing a blank expression.
COMMANDER NORTH
I took a bullet out of that man's arm yesterday.
LT COMMANDER LYNN
What about it?
COMMANDER NORTH
(utterly bewildered) I just examined the wound and it's completely healed.
LT COMMANDER LYNN
What does he say about it?
COMMANDER NORTH
Said his body is designed to heal quickly and adjust to foreign environments. He said he wouldn’t be able to breathe our polluted air or ingest our microorganisms otherwise.
LIEUTENTANT BOWEN
(realizing the potential) Does he know how that works?
COMMANDER NORTH
No, he doesn’t. But I tell you one thing. I’m going to go over his blood work about a thousand more times (on his way to the door, shaking his head), then go get drunk.
Camera moves up and over Lt Commander Lynn and Lieutenant Bowen into Klaatu’s room as Harley enters carrying briefcase.
INT. KLAATU’S ROOM
Harley enters behind Klaatu, who is up out of bed, standing, wearing a Medical Corps robe and pajamas. He had been watching a wall mounted television, and appears to be completely recovered.
Harley looks up to television set.
Close shot of television showing a home improvement type program with the host engaged in carpentry.
Klaatu intently watches television and does not hear Harley enter. Harley quietly coughs to make his presence known. Klaatu turns to face him, then flips the TV off with a remote control.
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
Yes, the President accepted your suggestion and cabled invitations for a meeting last night for representatives of all countries to meet at a special assembly of the United Nations. Most have accepted and their representatives are already stationed in New York. We cannot guarantee the participation of all the nations, of course, but most will be there. However, it will take several weeks to organize the event.
KLAATU
Several weeks? Why so long if the representatives are in place now?
HARLEY
Many of the nation's leaders wish to attend, but have prior commitments… and there are security considerations. Our military insists…
KLAATU
(wary) Your military?
HARLEY
Yes, they insist on certain precautions. 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
I guarantee we will proceed as quickly as possible. In the meantime I must ask that you don't attempt to leave the hospital. It’s for your own safety. 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. After a few moments he looks up as the door opens and Colonel Stevens enters, his right hand in bandages (which remain throughout the remainder of the film), followed by three other officers.
COLONEL STEVENS
Well Mr. Klaatu, It’s good to see you again. While we wait for your meeting to be arranged, we’d like to ask you a few questions.
Klaatu looks thoughtfully at the officers, beginning to understand the situation, and smiles to himself.
INT. OUTSIDE KLAATU’S ROOM
Just outside of Klaatu’s room, as door closes. A plastic plate mounted to the wall beside door designates the room as number “309”.
FADE OUT:
INT. OUTSIDE KLAATU’S ROOM – SEVERAL HOURS LATER
In the dim light of one lamp, the door to the corridor opens and Colonel Stevens and other officers enter to begin another round of interrogation. An M.P. takes out a key and inserts it in the lock of Klaatu's door and opens it.
INT. KLAATU’S ROOM
Colonel Stevens enters followed by two officers and M.P., to discover Klaatu lying on bed seemingly asleep.
COLONEL STEVENS
(looking down) Klaatu! Rise and shine!
Klaatu does not respond. Colonel Stevens reaches out and shakes him, still no response.
Colonel Stevens looks more closely to discover Klaatu is not breathing. His skin looks somewhat rough and dehydrated.
COLONEL STEVENS
(worried) He’s not breathing. (he places his fingers to Klaatu’s jugular to check his pulse) Call the doctors.
M.P. rushes out, officers gather around the bed.
DISSOLVE TO:
INT. CORRIDOR OUTSIDE KLAATU’S ROOM – A FEW MINUTES
LATER
General Rea and Colonel Stevens confer with Commander North.
GENERAL RAE
Well?
COMMANDER NORTH
He’s not dead. (Colonel Stevens is noticeable relieved, afraid he might be blamed for Klaatu’s death) He is in a deep coma.
GENERAL RAE
(looking at Colonel Stevens) What caused that?
COMMANDER NORTH
I have no idea. No sign of physical trauma. I observed his, ah questioning, and nothing occurred that would cause this… I have no idea…
GENERAL RAE
What do we do now?
COMMANDER NORTH
There’s nothing we can do… except monitor him and wait.
Camera moves in to close up of General and Colonel Stevens, the General is clearly perturbed.
DISSOLVE TO:
EXT. SPACESHIP AND GORT – NIGHT
Testing equipment has been set up. A chain link fence has been hastily erected, surrounding the ship, with one entrance directly in front of Gort. Military and civilian technicians are busy at work trying, without much success to fathom the ship’s and robot’s secrets.
Panning from left to right of Technician Bell and Carlson in conference standing in front of magnetic field monitoring consul. Pan stops as Gort in background comes into frame. Gort can be seen from shoulders up.
BELL
See, the more current we apply, the mag field fluctuates only point zero zero one eight percent.
CARLSON
Hardly any change at all.
BELL
Right.
CARLSON
According to all the physics textbooks I’ve ever read, that’s impossible. (he looks at Bell. Gort’s head moves slightly toward Carlson, who unconsciously detects the movement)
BELL
Yes, but there is a change, (Carlson looks directly at Gort, who has stopped all movement. Carlson looks back at Bell) albeit a small one. Maybe if we keep increasing the amperage to both poles simultaneously, we can get enough of a change to deduce a partial mass reading.
CARLSON
Possibly. But we still have no idea of the amount of resistance present (Gort moves slightly again in the same direction, then stops) and… (Carlson looks at Gort again)
Gort’s head and shoulders. Immobile.
Over Gort’s shoulder – At Carlson staring at Gort.
Carlson and Bell as before.
BELL
Yes?
CARLSON
and… have you noticed this thing move at all? (Carlson indicates Gort. Bell follows Carlson’s gaze and both look at the robot)
BELL
No. No, I haven’t. Why?
CARLSON
Just asking. I seem to recall he was facing more in that direction. (he points)
BELL
I don’t think so. Of course, we’ve been video taping it as well as the ship for the last thirty hours. We could always…
As before, Gort, Spaceship, Carlson and Bell talking, voices muted, other technicians.
From ground level up at Gort.
Another angle. Gort, space ship, technicians. One beat then, semi-transparent pulse emanates from Gort’s whole body outward in a circular bubble. As wave passes technicians and military personnel collapse where they stand.
Another angle. Technicians fallen across their monitoring consuls.
Carlson and Bell fallen to the ground.
Guards at entrance fallen to the ground.
Gort as space ship opens.
Another angle. Ship opening.
Gort as ramp stops near him. Shadowy human figure emerges from ship, carrying valise.
Another angle. Gort and space ship, as figure clothed in a long robe and hood, walks down ramp.
Figure walks off ramp and stands near Gort as ship closes.
FIGURE
Gort, delexio conexita. (figure continues to walk toward enclosure entrance)
Long shot. Gort, space ship, figure exiting.
Figure emerges from enclosure.
From behind and side of figure as he walks from enclosure out into the park. Members of the local and national media who were not affected by Gort’s pulse begin to follow him with television cameras.
Figure stops, turns around and raises his hand in which he is clutching something.
From behind media as they hurry to catch up with figure.
From behind figure as before. A pulse, like that of Gort’s emanates from the object he holds in his hand.
Slightly ahead but at 45-degree angle, of media stopped in their tracks by pulse and rendered unconscious.
Figure turns around and resumes steady pace past trees and up to camera and stops. Figure puts down valise and discards robe and hood.
Close shot of Klaatu looking at his surroundings. He is dressed in normal civilian clothes, a conservative suit and tie. He picks up valise and moves out of frame.
Behind Klaatu as he walks off into Washington.
DISSOLVE TO:
INT. PENTAGON CONFERENCE ROOM
Various high-ranking officers are seated around a long conference table, as Chairman of the Joint Chiefs Copley enters carrying a report. He sits at head of table.
CHAIRMAN JOINT CHIEFS
(He nods, acknowledging his colleges) Gentlemen… we have a problem. Colonel…
COLONEL STEVENS
(stands) Two hours ago… at 8:32 p.m. exactly, an event occurred at location Alpha.
ADMIRAL LANDERS
What kind of event?
COLONEL STEVENS
It seems the pilot of the Spaceship, Klaatu, was not traveling alone.
GENERAL CHASE
What do mean?
COLONEL STEVENS
Another… passenger, has left the ship and is now walking freely on the streets of Washington D.C.
GENERAL CHASE
(angry) How did that happen, Colonel!?
COLONEL STEVENS
Video monitors recorded the event. (he stands aside as camera moves into to large video monitor, which silently shows Gort rendering military and science staff unconscious and hooded figure leaving the ship).
COLONEL STEVENS O.S.
The robot, which we thought was immobilized without instructions from Klaatu, emitted some kind of pulse that knocked out the entire staff, military and civilian alike, allowing another passenger to leave the ship unhindered. Our personnel regained consciousness in approximately ten minutes, but by that time the passenger had disappeared.
The officers erupt in conversation at the revelation.
CHAIRMAN JOINT CHIEFS
Gentlemen! The question is how do we proceed.
COLONEL PAIGE
Do we have any idea where this other passenger went? Any other witnesses?
CHAIRMAN JOINT CHIEFS
Unfortunately, yes. Some members of the press were positioned outside of the ships enclosure and tried to follow him, but were also knocked out, allowing him to escape. But they know he escaped!
GENERAL CHASE
Good God! That could create a huge panic among the population…
COLONEL STEVENS
If we don’t find him first, General.
GENERAL CHASE
And how do we do that?
COLONEL STEVENS
Our processing lab was able to focus in on this passenger, and we were able to get this picture.
Picture of hooded figure standing next to Gort, as he moves away, zoom into to reveal obscured facial features.
COLONEL STEVENS (O.S.)
Further digital enhancement was able to reconstruct the features... Head shot turns full front and is digitally enhanced to reveal Klaatu.
Conference room.
GENERAL CHASE
The spaceman! How did he escape, Colonel!? I was led to believe he was secured and under our control.
ADMIRAL LANDERS
He is John.
GENERAL CHASE
But…
COLONEL STEVENS
That’s right. Klaatu is still in custody, and in some kind of coma. At least he’s been totally unresponsive to any outside stimuli. Apparently he has a twin.
ADMIRAL LANDERS
Or that ship has the ability to pop out as many Klaatus' as it deems necessary.
COLONEL PAIGE
Well, it seems our way is clear. We know what he looks like. The media has got hold of the story. We can simply circulate his picture and issue an all points bulletin. With the public’s help…
CHAIRMAN JOINT CHIEFS
Unfortunately, we cannot release any photographs. We can’t take the chance of foreign interests picking him up before we do. The knowledge that this person possesses must be protected at all costs.
Again, the officers confer amongst themselves
GENERAL CHASE
General, I suggest we put all our resources to work looking for this man. What alternative to we have?
CHAIRMAN JOINT CHIEFS
I agree. And as quickly as possible. Colonel, I also want that ship… that robot secured. I don’t want any more surprises. Is that clear?
COLONEL STEVENS
Yes sir!
CHAIRMAN JOINT CHIEFS
And let me make one thing perfectly clear. I want this spaceman found, and found fast, and if we can’t take him alive, or there’s any chance he’s been influenced by the Russians or Chinese, your orders are to terminate.
COLONEL STEVENS
Terminate?
CHAIRMAN JOINT CHIEFS
(tiredly) Kill him. Is that understood?
Officers state that their orders are clear.
CHAIRMAN JOINT CHIEFS
Good. And now gentlemen (standing), I have to tell the President we have an alien on the lose. (Picks up papers from table, and turns to leave)
DISSOLVE TO:
EXT. RESIDENTIAL STREET - NIGHT
Camera is on the back of Klaatu, who is walking along the sidewalk of a dimly lit, almost deserted, lower-class, trash strewn street. He carries a valise 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 television news 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 their television.
TELEVISION VOICES (O.S.)
…authorities at Bethesda Navel Hospital insist the spaceman is still in custody, but this video provided by Fox News clearly shows him leaving his ship just hours ago. Authorities, presented with this evidence do admit that someone, or something, did leave from the Spaceship, and is currently unaccounted for. The Army had no comment, and the police did not elaborate on 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-- --though 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 Klaatu as he pauses under the light of a street lamp. He stops abruptly after turning a corner, and camera returns behind him as we come upon the scene of an attempted mugging of a pretty black woman, about 35 years old, by two young thugs.
Klaatu’s startled reaction.
Woman struggling, trying to keep her purse.
THUG 1
Come on baby. You know you want it!
Thug 2 laughs. Both try to maneuver the woman into a nearby alley.
Klaatu decides on a course of action, and takes something out of his coat pocket and begins to move across the street toward the struggle.
Struggle continues. Now a little girl of eleven is seen pounding at the legs of the thugs, who shoo her away.
THUG 2
You want some too?
WOMAN
Run Bobbie! Run!
GIRL
Mom! Mom!
THUG 2
Come here girl!
Klaatu stops directly across the street from struggle as little girl breaks free, running across the street toward him.
KLAATU
Come here.
Girl runs up to Klaatu, behind him close as Thug 2 notices him for the first time.
THUG 2
Reggie! We got company!
Thug 1 stops struggling with woman and joins his companion. The woman moves off to the side waiting to see what will happen to her daughter.
THUG 1
Well, what have we got here? A hero? What da ya got in the bag mister?
KLAATU
(amicably) I don’t believe it’s any of your business.
He motions for the girl to join her mother across the street, which she hurriedly does. Both thugs laugh and smile, moving in on Klaatu, who places his valise on the street, and stands still.
THUG 1
(to Thug 2) It’s none of our business. (to Klaatu) This makes it our business…
Both thugs pull out guns and take aim at Klaatu.
Girl and woman unite. Woman turns her attention from the street to make sure her daughter is alright.
Very quickly, Klaatu releases into the a air a very small (about the size of a “shooter” marble, white metallic sphere, which energetically shoots around the two thugs, before hitting each in the head, knocking them both unconscious, and returning to Klaatu’s open palm, which he returns to his coat pocket.
Woman finishes her cursory inspection of girl, then returns her attention to the street.
Klaatu standing, idly looking at her, while both thugs lie unconscious on street.
Woman reacts to scene, amazed. She stands. Shepherding her daughter, she walks up to Klaatu.
WOMAN
What did you do?
KLAATU
Nothing really. These gentlemen were just high spirited and needed to cool down a bit.
WOMAN
Well, whatever you did… Thank you. Thank you so much.
KLAATU
Really, it was nothing.
WOMAN
(Unconvinced, and a little awed) Yeah, nothing. You know, I think we better get out of here before these creep’s friends show up.
KLAATU
That might be a good idea.
WOMAN
My name’s Helen (she holds out her hand). Helen Benson.
He looks at the offered hand, remembers what happened the last time he shook someone’s hand, and slightly smiles, before shaking it.
WOMAN (continued)
What’s yours?
KLAATU
Eh...Carpenter.
HELEN
Carpenter. Well Mr. Carpenter, this is my daughter, Barbara. Bobbie, for short.
The three begin walking off together.
KLAATU
Hello Bobbie.
BOBBIE
(also a little awed) Hi. Are you with the F.B.I.?
KLAATU
(softly laughs) No. I’m afraid not.
BOBBIE
I bet you he’s with the F.B.I., mom. He beat those guys up so good!
HELEN
He says he’s not honey.
BOBBIE
Let’s go home.
HELEN
That’s where we’re going.
KLAATU
May I see you home? I seem to be going that way.
HELEN
(still awed… and chatty) Yeah… sure… You don’t live around here, do you Mr. Carpenter? Bobbie and I live just a few blocks away. In a boarding house right now, but it’s nice… clean. As soon as I get another job we’ll have our own place again, out of this neighborhood, that’s for sure. I’ve never seen you around…
DISOLVE TO:
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 three adults, 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 the FBI and Department of Homeland Defense 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.
Father Crockett, a elderly, kindly former priest, enters the room from a side door and observes the scene before noticing…
Silhouetted motionless against the light from the hall is the figure of a man.
All the residents notice the priest’s attention and look in the same direction. 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 Father Crockett speaks.
FATHER CROCKETT
(apologizing nervously for the tension in the room) I -- I'm sorry. What is it you want?
Helen and Bobbie enter hallway from behind Klaatu. Taking off her jacket, Helen smiles and explains
HELEN
This is Mr. Carpenter, Father. He needs a place to stay tonight. He helped me and Bobbie… we were mugged.
FATHER CROCKETT
(surprised and concerned) Mugged, my dear? Are you all right?
HELEN
Yes, yes, thanks to Mr. Carpenter.
BOBBIE
He’s from the F.B.I., looking for the space man!
HELEN
Bobbie!
KLAATU
It was nothing… really.
FATHER CROCKETT
Well, Mr. Carpenter, we’re all very grateful in any case. Mrs. Benson is very dear to us. Are you sure you’re all right? You weren’t hurt?
HELEN
No, I’m fine Father. Might Mr. Carpenter have Mrs. LeMay’s old room?
FATHER CROCKETT
Of Course, Helen. Of course. Mr. Carpenter, (indicating a middle- aged couple and a younger but more wizened man) this is Mr. and Mrs. Barley -- and Mr. Krull... I'm Father Crockett.
There are polite noddings and greetings.
FATHER CROCKETT
Well -- this is our little family. We have a very nice room that you can use on the second floor. You all must be very tired. Helen, did you contact the police?
HELEN
I will tomorrow, Father.
Father Crockett leads the way toward the hall and Klaatu starts to follow, picking up his suitcase, when he is intercepted by Bobbie.
BOBBIE
Can I help you look for the space man? Can I? (excitedly) I know what he looks like! He's got a big square head -- and, six eyes!
HELEN
(good-naturedly, calming her down) Suuush, Bobbie. I think it's time you went to bed.
INT. HALLWAY
Father Crockett leads the way up the stairs.
FATHER CROCKETT
She’s really a dear little girl.
KLAATU
(to Father Crockett) I’m not really with the F.B.I.
FATHER CROCKETT
I suppose your not. (with a shrewd, chatty smile) You're a long way from home, aren't you, Mr. Carpenter?
KLAATU
(startled) How did you know?
FATHER CROCKETT
(pleased with his cleverness) Oh, I can tell an English accent a mile away.
Klaatu smiles to himself, following Crockett up a stairway.
Klaatu smiles to himself, following Crockett up a stairway.
DISSOLVE TO:
INT. BOARDINGHOUSE - DINING ROOM - DAY
Five people -- Mr. and Mrs. Barley, Mr. Krull, Helen Benson and Klaatu – are finishing their Sunday morning breakfast. Mrs. Barley is a middle-class lady, formal 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 Bill O’Reilly’s voice.
BILL O’REILLY’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 L.A. 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?" (Bill O’Reilly’s voice continues uninterrupted over this and the next two scenes.)
Klaatu 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." A full face picture of the Professor is prominently displayed.
Klaatu’s face is thoughtful as he finishes reading. This story seems to impress and interest him. Then suddenly he finds his attention drawn to what the O’Reilly is saying.
BILL O’REILLY’S VOICE (continued)
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.
BILL O’REILLY’S VOICE (continued)
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 rear! They're Republicans!
MR. KRULL
It's enough to scare you silly. 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 think he came here to hurt us. Maybe he hasn't.
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 radio says: "What's he up to?"
HELEN
Maybe he's scared.
MRS. BARLEY
(with a derisive snort) He's scared!
HELEN
After all, his friend was shot the moment they landed here. (she pauses for a moment thoughtfully) I’d probably hide too.
KLAATU
(to Helen, impressed) 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, without the interference of the government…
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’s one of those terrorists, coming here to bomb the White House.
MR. KRULL
Terrorists 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 something 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.
Father Crockett enters and speaks to Helen.
FATHER CROCKETT
Mrs. Benson -- Miss Rosales 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 – ENTERANCE HALLWAY – DAY
Helen crosses the room to greet Kelly Rosales. She’s a pretty young Hispanic woman, early thirty’s. She and Helen are best friends.
HELEN
(smiling warmly) Hey Kelly.
KELLY
Morning. Are you ready to go? The service starts at ten-thirty. I told them we’d be there early.
HELEN
(a little disturbed) There's only one thing -- I don’t have anyone to stay with Bobbie. (tentatively) Do you think we could take her with us?
KELLY
(sympathizing) Well, I don’t think she’d like ...
HELEN
There's usually somebody here, but today of course they've all got plans...
KLAATU'S (O.S.)
I haven't any plans.
Helen and Kelly turn in surprise.
Klaatu has wandered in from the dining room unnoticed by the two women. Klaatu continues with an air of wanting to be helpful without wanting to interfere.
KLAATU
I'd be glad to spend the day with her -- if you'd let me.
HELEN
(hesitating) It's really nice of you to suggest it. We’re helping out at a church reception. (remembering the two haven't met) Oh, I'm sorry Mr. Carpenter – this is my friend, Kelly Rosales.
They shake hands. Then Klaatu turns back to Helen.
KLAATU
Bobbie and I had a fine time yesterday. We talked -- and watched television. (smiling at Helen) I thought today she might show me around the city.
HELEN
Are you sure you wouldn’t mind? She can be quite a handful sometimes.
KLAATU
(easily) I wouldn’t mind at all. I suppose I should ask Bobbie how she feels about it.
He turns, with a little smile, and starts out of the room.
KELLY
Are you sure Helen? How well do you know this guy?
HELEN
It’ll be fine. He’s the man I told you about.
KELLY
(excited) Him? Wow. He doesn’t look like a karate guy.
Both women look after Klaatu appreciatively.
DISSOLVE TO:
EXT. ARLINGTON NATIONAL CEMETERY - DAY
Bobbie 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 Bobbie leads the way through one of the rows.
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 SGT. ROBERT BENSON.
Klaatu and Bobbie as they come into scene and look down at the grave.
BOBBIE
That's my dad. (Klaatu glances at the girl, then nods understandingly) He was killed at a place called Iraq.
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 - DAY
Klaatu and Bobbie 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?
BOBBIE
(somewhat surprised) Sure. Didn't you ever hear of Arlington Cemetery?
KLAATU
No -- I'm afraid not.
BOBBIE
(very serious) Mr. Carpenter -- you don't seem to know about anything.
KLAATU
(Amused) I'll tell you, Bobbie -- I've been away for a long time. Very far away.
BOBBIE
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.
Bobbie looks at him, puzzled and impressed by this incomprehensible notion.
BOBBIE
That's a good idea.
KLAATU
Yes, yes it is.
Bobbie’s eyes are drawn subconsciously out to the rows of crosses. Then she turns back to Klaatu with a slow-dawning look of curiosity.
BOBBIE
What’s your first name Mr. Carpenter?
KLAATU
(Bobbie’s question brings him back to the moment) What was that Bobbie?
BOBBIE
What’s your first name?
KLAATU
Kla… Jonathan… my name is Jonathan.
BOBBIE
John for short?
KLAATU
(slight smile) Yes… John.
BOBBIE
Are you married?
KLAATU
(surprised) Why do you ask?
BOBBIE
I heard my Mom and Kelly talking, and they were wondering. You don’t have a ring. Are you married?
KLAATU
(amused) Well Bobbie, I’m not now.
BOBBIE
But you were once. Do you have any kids?
KLAATU
(turning serious as he tries to recollect) Something happened to me a long time ago, Bobbie. It’s hard for me to remember. I think I once was married, and I may have had children… I remember a little girl, smaller than you.
BOBBIE
Were you in a car accident?
KLAATU
(saddened) Something like that.
BOBBIE
Gee, I’m sorry Mr. Carpenter… John. That must be terrible.
KLAATU
Yes. (Brightening as he changes the uncomfortable subject) What would you like to do this afternoon?
After a moment Bobbie’s expression changes and she breaks into a broad grin.
BOBBIE
Can we go to the movies?
KLAATU
All right.
BOBBIE
(she didn't dare hope for this) Really? We can?
KLAATU
Certainly. (then he hesitates) Tell me, Bobbie -- do you have to have money to go there?
Bobbie gives him a look of amazement, then grins, assuming Klaatu was kidding and simply hasn't any money.
BOBBIE
(eagerly) Yeah. I've got some money. Mom gave me a dollar, but that’s not…
KLAATU
But I want to take you to the movies. (he takes some objects out of his pocket) Do you think they'd accept these?
He holds out five or six credit cards from various issuers, including an American Express, MasterCard Gold Cards, Dinners Club Carte Blanche, etc., all with the name “The Planetary Society” inscribed.
Bobbie is staring at the cards in wide-eyed amazement.
BOBBIE
Wow! You sure got a lot of credit cards. Mom doesn’t even have one. Yeah, the movies will take them… I think.
KLAATU
(off hand) We thought they might come in handy.
BOBBIE
Can we have popcorn and candy?
KLAATU
Of course. Will you show me where these movies are?
BOBBIE
Sure! Let’s go.
They stand and start to walk off.
KLAATU
Bobbie?
BOBBIE
Yes.
KLAATU
What is popcorn?
DISSOLVE TO:
INT. JEFFERSON MEMORIAL - LATER IN THE DAY
The great standing figure of Thomas Jefferson located in the middle of the hall. A few tourists are moving about the place.
They stand in front of the panel in which part of The Declaration of Independence is inscribed. They stand silently, side by side, reading the inscription.
INSERT – DECLARATION OF INDEPENDENCE
Featuring the first part of the Declaration. It reads: "We hold these truths to be self-evident that all men are created equal, that they are endowed by their Creator with certain inalienable rights, among these are life, liberty, and the pursuit of happiness."
Klaatu and Bobbie.
KLAATU
(visibly impressed) I knew of this man. (pause) 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 remembers something his mother once told her.
BOBBIE
He wrote this, but my mom told me he used to own slaves.
Klaatu is visibly shaken by this bit of counterintuitive information, amazed. He looks back to the statue of Jefferson.
KLAATU
Slaves?
BOBBIE
That’s when people bought and sold other people…
KLAATU
Yes, Bobbie. I know of slavery…
BOBBIE
Then President Lincoln set all the salves free.
KLAATU
Lincoln? I know of him as well. Bobbie, these are the kind of men I'd like to talk to.
Bobby looks up at him in bewilderment. They move off.
EXT. EXTERIOR OF MEMORIAL – DAY
Klaatu and Bobbie. After a moment Klaatu speaks slowly, thoughtfully.
KLAATU
Bobby -- who's the greatest man in America today?
BOBBIE
(puzzling it over) I don't know... The spaceman, I guess.
KLAATU
(amused) I was speaking of Earth men. I meant the greatest philosopher -- the greatest thinker.
B0BBIE
You mean the smartest man in the whole world?
KLAATU
Yes -- that would do nicely.
BOBBIE
(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?
BOBBIE
Sure. Right near where my mother goes to look for work.
KLAATU
Where is that?
BOBBIE
The Employment Department. She's a secretary. (Klaatu nods) Mr. Carpenter... now can we go see the space ship?
Klaatu smiles.
DISSOLVE TO:
EXT. THE MALL - SPACE SHIP AND GORT - DAY
A crew of Army engineers is in the process of erecting a temporary structure to enclose the space ship and Gort. The walls are partially up and already have concealed part of the ship. A square scaffolding has been erected around Gort, in preparation for his immobilization. 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 Bobbie and Klaatu.
Two shot Klaatu and Bobbie. Bobbie is studying the ship and Gort eagerly, her imagination thoroughly aroused. Klaatu is watching the men at work with mild, quiet amusement.
Med close shot – Gort from Bobbie’s viewpoint.
Bobbie’s eyes are wide with awe as she watches the giant robot.
BOBBIE
I 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.
Bobbie’s attention shifts to the ship.
Spaceship from Bobbie’s viewpoint.
Back to Klaatu and Bobbie
BOBBIE
(excitedly, indicating the ship) 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 – within a planet’s atmosphere, manipulation of it’s own magnetic field, I would imagine. Within a solar system, a controlled matter-antimatter reaction…
BOBBIE
(looking at Klaatu incredulously) I thought that was only for Star Trek.
KLAATU
What is that Bobbie?
BOBBIE
The T.V. show! Haven’t you ever seen Star Trek?
KLAATU
No, I haven’t. Will you show it to me sometime?.
BOBBIE
Sure. You think that ship can go faster than an F-16?
KLAATU
Yes, I imagine so.
Klaatu and Bobbie 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 girl.
BOBBIE
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 over four and a half thousand miles an hour. And outside the Earth's atmosphere a great deal faster.
BOBBIE
(excitedly) Wow! 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. She’s was going for it.
The two men burst out laughing and move off together. Bobbie, 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 girl’s confusion. Klaatu sees a local television news reporter interviewing members of the crowd. Not wanting to be recognized on TV, he takes Bobbie’s hand to lead her away from the roped-off area.
Klaatu and Bobbie as camera follows them as they move away. As they do so, several venders selling newspapers are working their way through the crowd with newly arrived extras. The venders 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 Bobbie watch this as they pass through the crowd.
EXT. NEWSPAPER
Close shot - In vendor’s hand. The headline reads: SPACE MAN ELUDES POLICE ARMY PUT IN CHARGE.
EXT. NEWSPAPER
Close shot – In another vendor’s hand. This headline reads: DISTRICT UNDER MARTIAL LAW. CONGRESS ACTS AS POLICE CHIEF RESIGNS.
Klaatu and Bobbie as they move on away from the excited crowd of people. Klaatu's reaction has been one of mild curiosity. Bobbie looks up at him.
BOBBIE
You think they'll ever find him?
KLAATU
(alter a moment's pause) I don't know, Bobbie. I'm inclined to doubt it.
BOBBIE
(as they continue walking) Mr. Carpenter -- what does velocity mean?
KLAATU
(preoccupied) Velocity is the timed rate of change of position.
This explanation misses Bobbie by several light years. She glances up at Klaatu blankly.
BOBBIE
I'll bet that's the way Professor Barnhardt talks.
Pulled out of his reverie, Klaatu glances down at Bobbie and smiles apologetically. Bobbie grins back at him. Then, as they walk on a few more steps, Klaatu stops and speaks thoughtfully.
KLAATU
Bobbie -- I have an idea. Let's go see Professor Barnhardt and find out how he talks.
BOBBIE
(with a half-smile of accusation) You're just kidding, aren't you?
KLAATU
Wouldn't you like to meet him?
BOBBIE
Sure I would, but -- (she's to be not going taken in) I'll bet you'd be scared.
KLAATU
(with a private smile) Maybe we can scare him more than he can scare us.
Bobbie stares up at him and his face breaks into a broad admiring grin.
BOBBIE
I like you, Mr. Carpenter. You're nuts.
DISSOLVE TO:
EXT. BARNHARDT'S HOUSE - 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 Bobbie walk into scene and pause, Klaatu glances at Bobbie, and Bobbie nods toward the house. They move on up the steps to the entrance.
Bobbie, all eagerness and excitement, presses the bell. They wait a moment and there is no answer.
BOBBIE
(disappointed at the thought) Maybe he isn't home.
Bobbie wanders down the porch and looks into a window. Fascinated by what she sees, she gestures to Klaatu.
BOBBIE
This must be where he works—
After a glance at the front door, Klaatu joins Bobby at the window and looks in.
Shooting through the window, over the heads of Klaatu and Bobbie. 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’s attention has been caught by one of the blackboards and he studies it with great interest and curiosity.
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!"
Klaatu and Bobbie. Bewildered, Bobbie looks from the blackboard up at Klaatu. Still studying the blackboard, Klaatu is shaking his head as one might at the attempts of a child to solve a problem in arithmetic.
BOBBIE
(indicating the equations) What does that mean?
KLAATU
It's a problem in celestial mechanics.
BOBBIE
I 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.
Bobbie moves over to a pair of French doors beyond the window and tries to peer in through the curtained doors. She absently tries the doors and finds them locked. Then she turns away with a disappointed but philosophical shrug.
BOBBIE
We probably couldn't get to see him even if he was home.
As Bobbie moves away from the doors dejectedly, Klaatu puts his hand on the knob, finds it locked as well, and continues to peer inside.
An efficient-looking middle-aged woman is mounting the steps to the entrance, getting her front door key out of her purse, when she notices Klaatu and Bobbie at the French doors. This woman is Barnhardt's secretary and her name is Hilda.
HILDA
Excuse me. What are you doing here?
Klaatu and Bobby turn in surprise.
HILDA
This is a private residence. 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 takes a piece of paper and pen from his coat pocket and scribbles his name and the boarding house’s address on it. He takes a small metallic sphere from his pocket and hands both to Hilda.
KLAATU
Please give these to the professor. I’m sure he’ll want to get in touch with me.
With a polite nod he and Bobbie walk back to the sidewalk. Hilda looks after them, then walks up to the front door, unlocks it, and enters.
INT. HALLWAY - HILDA - DAY
Hilda glances at the piece of paper and the strange sphere, debating what to do. She walks out of the shot into a hallway.
Hilda enters the kitchen, stops, ponders, then opens a large cabinet that contains a large wastebasket.
Wastebasket in cabinet.
Hilda hesitates.
KLAATU (O.S.)
I wouldn't discard that.
Klaatu leans in from the hallway.
KLAATU
The Professor needs it 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 affixed to the wall and starts dialing a number.
HILDA
Yes -- I'm Professor Barnhardt's secretary. I have instructions to report anything unusual to the police...
EXT. BARNHARDT'S HOUSE – KLAATU AND BOBBIE – DAY
Klaatu and Bobbie come down the steps and turn onto 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 street.
DISSOLVE TO:
EXT. BOARDINGHOUSE STREET - NIGHT
Shooting toward the curb as a police patrol 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.
As the Detective mounts the steps he glances through a window into the living room. Klaatu can be seen reading to Bobbie, who is perched happily on the arm of Klaatu's chair. The Detective moves to the front door and rings the bell. There is the sound of running feet and in a moment the door is opened and Bobbie appears.
DETECTIVE
Mr. Carpenter come home yet?
BOBBIE
(studying the man curiously) Yeah -- he's right inside.
INT. DOWNSTAIRS – BOARDINGHOUSE – NIGHT
DETECTIVE
Tell him I'd like to see him.
BOBBIE
(calling out) Mr. Carpenter--! (to the Detective) Come on in.
The Detective steps inside and Bobbie 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 for me.
DETECTIVE
(dryly, with grim emphasis) I’ve been looking for you all afternoon.
EXT. BOARDINGHOUSE STREET - NIGHT
A Transit Authority bus pulls up to the stop on the corner.
INT. BUS – NIGHT
Helen and Kelly seated in the quarter filled bus. Helen gets up.
HELEN
Thanks for going with me. I’ll call you tomorrow.
KELLY
No problem. Have a good night.
EXT. STREET – NIGHT
Helen gets off the bus and walks up the street to the boarding house, as the bus drives away. Helen lets herself in with her key.
INT. DOWNSTAIRS HALL - BOARDINGHOUSE – NIGHT
The Detective is preparing to leave with Klaatu as Helen enters. There is a moment of awkwardness and confusion as she glances, puzzled, at the Detective. Bobbie runs to her and greets her excitedly.
BOBBIE
Hi Mom!
HELEN
Hey, baby. (she kisses Bobbie, then turns questioningly to Klaatu and the Detective) Hi, Mr. Carpenter.
Klaatu smiles in greeting and introduces the Detective.
KLAATU
Mrs. Benson -- this is Mr. Brady.
BOBBIE
(impressively) Mr. Brady's a policeman.
Helen glances quickly at the Detective, then at Klaatu, surprised and troubled. She turns to Bobbie to cover her confusion.
HELEN
(to Bobbie) Did you have a good time today?
BOBBIE
(enthusiastically) We had a great time. Didn't we, Mr. Carpenter?
KLAATU
We certainly did.
BOBBIE
We went to the movies -- and we had popcorn and ice cream cones -- 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, Bobbie speaks to Klaatu.
BOBBIE
But we didn't finish our story.
KLAATU
We'll finish it tomorrow... Goodnight, Bobbie.
BOBBIE
(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 Mr. Carpenter, and hoping he hasn't done anything wrong. Still disturbed, she turns to lead Bobbie upstairs.
HELEN
Come on, kid. Time to go to bed.
BOBBIE
(she followers her, then hesitates) Mom -- why does Mr. Carpenter have to go down to the police station?
HELEN
I -- I don't know... maybe it’s a mistake.
This satisfies her for the moment -- even though it doesn't satisfy Helen. She is climbing the stairs beside her.
BOBBIE
We had a lot of fun today. We saw the space ship and we went to see Professor Barnhardt -- and—
HELEN
(flashing him a puzzled, incredulous look) Professor Barnhardt? Who’s that?
BOBBIE
You know! The scientist. He lives here in Washington, and we went to his house. (sadly) He wasn’t home though. Mom, do I have to go to school tomorrow?
HELEN
Yes, you certainly do.
BOBBY
Oh, I wanted to stay with Mr. Carpenter.
INT. HALLWAY PROFESSOR BARNHARDT’S HOUSE – NIGHT
Hilda greets Professor Barnhardt as he enters the front door. In his middle sixties, the Professor has the distracted air of a huge intelligence, laced with amicable curiosity, which when aroused can focus like a laser onto whatever intrigues him.
HILDA
Hello Professor. How was your trip?
BARNHARDT
Fine Hilda, fine. How are you?
HILDA
Very good. Thank you, Professor.
BARNHARDT
Anything exciting happen while I was gone?
HILDA
Why yes, how did you know?
INT BRANHARDT’S WORKROOM – NIGHT
The Professor, having been briefed by Hilda of the afternoon’s events, sits down to his desk.
Close on the sphere and piece of paper with Klaatu’s name and address.
Barnhardt and desk. Barnhardt picks up the paper and reads it, shakes his head in non-recognition, then picks up the sphere and examines it.
Close from above. The sphere in the Professor’s hand.
Professor sighs, then puts down the sphere. He stands to look at the blackboard with his unfinished equation, which he considers.
The sphere, as it slowly and silently begins to revolve.
Barnhardt picks up piece of chalk, and stands, lost in thought.
Sphere revolves faster and begins to emit a throbbing sound which increases in intensity as it spins faster. It rises off the top of the desk two inches.
Barnhardt can’t help but notice what is happening on his desk. He drops the chalk in amazement.
The sphere expands in size to that of a standard softball. Sound intensifies.
Barnhardt, desk, and sphere. Sphere continues to rise and moves back from desk. The lights in the workroom dim.
Sphere revolving in the air.
Barnhardt reacts, not frightened, but fascinated.
Sphere hovering, sound levels at a loud, intense pitch. Sphere emits holographic light beam toward Barnhardt.
Barnhardt is in foreground as light beam three dimensionally probes Barnhardt’s facial features.
Barnhardt stands transfixed. It is identifying him.
Close on Barnhardt’s face illuminated.
Sphere stops examining Barnhardt and moves toward blackboard. Barnhardt moves out of the way.
Sphere, desk, Barnhardt. Sphere projects light onto blackboard, reading the equations.
Behind Sphere. Blackboard, Barnhardt at side of frame. Sphere continues reading equations.
Sphere finishes examination of blackboard, and hovers closer to it.
Sphere as it emits light beam that actually cuts, or burns into the blackboard the answers to the equation Barnhardt had been working on.
Side. Sphere continues etching.
Behind. Sphere finishes writing answer into the blackboard.
Sphere moves back from blackboard with Barnhardt intently watching, almost paralyzed.
Sphere hovers above desk, begins to revolve faster as it shrinks back to it’s original size and as it's emitted sound tops off.
Sphere, desk, and Barnhardt. Sphere suddenly stops revolving, sound stops, and sphere drops back to the desk without bouncing, as if pulled by a powerful magnet. Room lights return to original level. The silence is deafening.
Barnhardt and blackboard. Barnhardt gathers his wits, looks at the blackboard, then at the sphere, then back to the blackboard.
From behind Barnhardt bends down to look at the answer to the equation the sphere provided.
Barnhardt looking at blackboard. He mutters to himself, “Yes, yes,” as he realizes the problem he's been working on for so long has been solved. He finally stands and moves to the desk. He reaches out toward the sphere.
Barnhardt’s hand reaches toward sphere hesitantly, then he warily touches it with one shaky finger. He quickly jerks it back, as if receiving an electric shock, but he didn’t, he’s just very excited.
Barnhardt cautiously picks up sphere to examine it.
Barnhardt’s face as he holds the small sphere in front of it.
DISSOLVE TO:
DISSOLVE TO: INT. POLICE STATION - 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 spaceman 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. Detective Brady returns and hands ID cards back to the Lieutenant.
DETECTIVE BRADY
No priors, wants or warrants, Lieutenant. (puzzled) No anything.
LIEUTENANT GARNER
Okay. Look Mr. Carpenter, normally I’d arrest you for Breaking and Entering, by your own admission! But we’re so busy with other things tonight, and the Professor hasn’t pressed any charges, and there’s no report of anything stolen or compromised, so I’m going to let you go (he hands the IDs back to Klaatu). But in the future I suggest you knock on the door, or ring the doorbell before entering somebody else’s home. Do you understand?
KLAATU
Certainly, I’m sorry if I’ve caused you any trouble. May I see Professor Barnhardt now?
LIEUTENANT GARNER
Not unless you want to get arrested. I get the feeling he doesn’t want you around his house. Brady, before you release him, take his picture and send it over to G-2.
KLAATU
May I suggest that you call the Professor?
LIEUTENANT GARNER
(all patience gone) Get going, will you, Brady -- before I get mad!
The Detective takes Klaatu's arm and leads him toward the door. As they go they pass a Military Police Captain, who makes his way straight to the Lieutenant's desk.
POLICE STATION – A SMALLER UTILITY AREA
Klaatu as a flash picture is taken of him.
Klaatu and Detective Brady.
DETECTIVE BRADY
Alright, you’re free to go Mr. Carpenter.
The M.P. Captain appears in the entrance, accompanied by the Police Lieutenant.
LIEUTENANT GARNER
(to the Detective) Wait a minute, Brady-- (indicating orders in his hand) The Captain here's got orders from General Cutler to take this man over to Professor Barnhardt.
M.P. CAPTAIN
(to Klaatu firmly but respectfully) Will you come with me, Sir?
Klaatu speaks with a polite smile.
KLAATU
Sorry to trouble you, Lieutenant.
The Lieutenant reacts with impatient exasperation as the Captain takes Klaatu by the arm and leads him off.
DISSOLVE TO:
INT. HALLWAY - BARNHARDT'S HOUSE - NIGHT
The M.P. Captain and Klaatu enter the front door, which is held open for them by Hilda. She gestures them toward the half-open door of Barnhardt's study, where Barnhardt can be seen puzzling over the problem on the blackboard. The Captain knocks on the open door to attract his attention and enters with Klaatu.
INT. BARNHARDT'S STUDY – NIGHT
Barnhardt turns from his deep preoccupation at the blackboard, chalk in hand.
M.P. CAPTAIN
This is the man you wanted to see, Professor.
BARNHARDT
(studying Klaatu curiously) Thank you, Captain.
The Captain steps out into the hall, closing the door. Barnhardt continues to study Klaatu for a moment, then points to the small version of the sphere now hovering in one corner of the workroom near the ceiling. There is a controlled but anxious excitement in Barnhardt's attitude.
BARNHARDT
You are responsible for that?
KLAATU
(nodding easily) It was a clumsy way to introduce myself -- but I understand you're a difficult man to see. (he reaches out to the sphere, which obediently shoots, into his hand, which Klaatu places in his coat pocket. He glances at the blackboard reproachfully) You still have not solved the equation.
BARNHARDT
Not yet.
Klaatu glances at the work Barnhardt has been doing on the board. Then he points to one of the expressions in an equation.
KLAATU
All you have to do now is substitute this expression-- (pointing to a specific place) --at this point.
Impressed and interested, Barnhardt tugs at his chin as he studies and weighs the results.
BARNHARDT
(slowly, thoughtfully) Yes -- that will reproduce the first- order terms. But what about the effect of the other terms?
KLAATU
Almost negligible... With variation of parameters, this is the answer.
BARNHARDT
(awed) Obviously, you’re the spaceman the army has been looking for.
KLAATU
(with a slight smile) Yes. (Barnhardt stares at him blankly) I understand you've called a meeting to study our spaceship.
BARNHARDT
(as though unsure of what he's heard) Yes -- yes, I have.
KLAATU
My name is Klaatu. (noting that Barnhardt's expression is changing from amazement to incredulity) One of our emissaries is at your Bethesda Navel Hospital. Room 309. The doctor's name is Commander North -- (Klaatu waits for this to sink in, then speaks with quiet authority) If you are not interested -- or if you intend to turn me over to your Army -- we needn't waste any more time.
Barnhardt hesitates for a long, thoughtful moment. Then he goes to the door, opens it and speaks to the Captain outside.
BARNHARDT
(to the Captain, his voice a little unsteady) You can go now, Captain. Please thank General Cutler and tell him -- tell him that I know this gentleman.
Barnhardt closes the door and turns to find Klaatu watching him with a faint smile. Barnhardt sinks into a chair, trying to adjust his mind.
KLAATU
(dryly) You have faith, Professor Barnhardt.
BARNHARDT
It isn't faith that makes good science, Mr. Klaatu. Its curiosity. (unable to conceal his interest) Sit down, please. I have several million questions I’d like to ask you.
KLAATU
(ignoring the invitation) I would like to explain something of my mission here.
BARNHARDT
That was my first question.
KLAATU
We know from observation that you are on the verge of a breakthrough in physics, one which may allow your civilization to manipulate what you call “wormholes,” in the fabric of Space/Time, and allow you the ability to travel throughout the galaxy. You call the product of this new branch of science a “Displacement Field.”
BARNHARDT
Yes -- that is true. But the applications you’re speaking of… well, we haven’t even begun to contemplate them. We’re decades away…
KLAATU
Yes, but you also realize the destructive potential for this technology as a weapon. Your country, and others, hope to have the means to make other’s armies, navies, aircraft and missiles vanish at will.
BARNHARDT
(ashamed) Some have suggested…
KLAATU
In the hands of a mature civilization, this would not be a matter of concern, although the need to regulate such technology still exists. But in the hands of your people-- (he shrugs and shakes his head) We've observed your aggressive propensities, and we can't trust you with such power.
BARNHARDT
(puzzled) If you mean that you are afraid of us—
KLAATU
We know the potentiality of these advances and we are disturbed to find them in the hands of civilization displaying such aggressive and self-destructive tendencies... So long as you were limited to fighting amongst yourselves -- with your primitive tanks, planes, and nuclear weapons -- we were unconcerned. Frankly, we’ve been surprised that you haven’t destroyed yourselves already.
Barnhardt listens like a child being lectured to by a parent.
KLAATU
But soon you may apply Displacement Field technology to space ships -- and then you become a threat to the peace and security of other civilizations. That, of course, we cannot tolerate.
BARNHARDT
(Straightforwardly) What exactly is the nature of your mission, Mr. Klaatu?
KLAATU
I came here to warn you of the dangers inherent in the development of this technology, a very real danger, and that by threatening danger, your planet faces danger -- very grave danger. I am prepared, however, to offer a solution.
BARNHARDT
Would you care to be more specific?
KLAATU
(evenly) What I have to say must be said to all concerned. (with a suggestion of deference to Barnhardt) It is too important to be entrusted to any individual.
Barnhardt is forced reluctantly to accept Klaatu's refusal to go any further. After a moment's thought, he speaks seriously, but with a twinkle in his eye.
Barnhardt is forced reluctantly to accept Klaatu's refusal to go any further. After a moment's thought, he speaks seriously, but with a twinkle in his eye.
BARNHARDT
I take it your efforts on the official level were not entirely successful.
KLAATU
(sternly, as this unpleasant episode is recalled) I come to you as a last resort – and I confess that my patience is wearing thin. (with annoyance) Must I take drastic action in order to get a hearing?
BARNHARDT
(uneasily) What -- what kind of action do you mean?
KLAATU
Violent action -- since that seems to be the only thing you people understand. (quietly) Melting the polar icecaps, perhaps -- or blocking the Sun’s light from reaching the Earth.
Barnhardt stands staring at him for a moment, passes his hand across his brow. Then, as Klaatu watches, Barnhardt paces the floor, trying to digest what he has heard. After a moment, he turns to Klaatu.
BARNHARDT
Would you be willing to meet with the group of scientists I am calling together? Perhaps you could explain your mission to them, and they in turn could present it to their various peoples.
KLAATU
(quietly, evenly) That is why I came to see you.
Barnhardt flings him a glance, then looks momentarily sheepish. But his own eagerness carries him on. He paces the floor thoughtfully.
BARNHARDT
It is not enough to have men of science. We scientists are too easily ignored – or misunderstood. We must get important men from every field. Educators – philosophers -- church leaders -- men of vision and imagination -- the finest minds in the world.
KLAATU
I leave that in your hands.
BARNHARDT
You'd have no objection to revealing yourself at this meeting?
KLAATU
No -- not at all.
BARNHARDT
(he suddenly pauses, thoughtfully) One thing, Mr. Klaatu. Suppose this group should reject your proposals. What is the alternative?
KLAATU
(with a sense of quiet, inescapable power) I'm afraid there is no alternative. In such, a case the planet Earth would be-- (he looks for the right word) – annihilated.
The implications of this statement leave Barnhardt speechless, his keen mind reeling.
BARNHARDT
Such power exists?
KLAATU
I assure you… such power exists.
Barnhardt stands silent for a moment, trying to collect his shattered thoughts. Klaatu watches him as he starts pacing again.
BARNHARDT
The people who came to the meeting must be made to realize this. They must understand what is at stake. (after a thoughtful moment, he looks up) You mentioned a demonstration of force—
KLAATU
Yes.
BARNHARDT
Would such a demonstration be possible before the meeting?
KLAATU
Yes -- of course.
BARNHARDT
Something that would dramatize for them and for their people the seriousness of the situation. Something that would affect the entire planet.
KLAATU
(with a nod) That can easily be arranged.
BARNHARDT
(frightened by his easy assumption of infinite power) I wouldn't want you to harm anybody -- or destroy anything.
KLAATU
(easily) Why don't you leave it to me? I'll think of something.
BARNHARDT
(with a nervous half- smile) Maybe a little demonstration.
KLAATU
(thinking about it) Something dramatic -- but not destructive. (intellectually amused) It's quite an interesting problem. (Barnhardt nods vaguely) Would the day after tomorrow be all right? Say about noon?
Klaatu's bland manner leaves Barnhardt shaken, almost wishing he'd never started this business.
DISSOLVE TO: INT. LIVING ROOM - BOARDINGHOUSE – NIGHT
It is about 6:30 the following evening. Helen is sitting in a chair leafing through a magazine. She is dressed to go out. A corner of the dining room can be seen, where Mr. and Mrs. Barley are playing cards with Mr. Krull. Father Crockett enters from the hall on his way to the dining room and notices Helen.
FATHER CROCKETT
Going out, dear?
HELEN
Yes, I'm waiting for Kelly to pick me up.
FATHER CROCKETT
(with a shudder) Personally, I won't go out after dark these days.
HELEN
Oh, we’ll be all right. Her brother is driving us, and we shouldn’t be back too late.
He turns to go on into the dining room and as he does so almost bumps into Klaatu who is coming out, having been kibitzing the card game.
FATHER CROCKETT
(thoroughly startled) Oh, hello Mr. Carpenter--!
Klaatu steps aside as he hurries nervously into the dining room. He turns, puzzled, to find Helen watching with a slight smile.
KLAATU
Everyone seems so-- (he shakes his hands to indicate nervousness)
HELEN
Nervous is the word.
Helen watches him, a little uneasy in his presence. She is fond of him, but she can't help being curious and concerned about his brush with the police.
KLAATU
(with a contemplative smile) Bobbie's the only person I know who isn't... nervous.
HELEN
She has her homework to keep her occupied.
KLAATU
(fondly, sincerely) She's a fine girl, Mrs. Benson.
HELEN
Helen. Please, call me Helen… Yes, I think so. She’s very fond of you.
KLAATU
She’s warm and friendly and intelligent-- (thoughtfully) You know -- she's the only real friend I've made since I've been here.
HELEN
She chooses her friends wisely. (pauses) Bobbie tells me you aren’t married, but you have children. Are you… was there a divorce? I hope you don’t mind my asking.
KLAATU
(pained and reluctant, not really sure how to answer, not sure of his memories) Divorce? No, nothing like that. She passed, yes... she passed away a long time ago. (he feels this is correct and it pains him)
HELEN
I’m so sorry to hear that?
KLAATU
You’re very kind.
HELEN
(fishing) Are you here on business, or visiting relatives, or a girlfriend, or something?
KLAATU
(a little self conscious, but slightly amused) No, no. No girlfriends. I’m here on business.
HELEN
Will you be staying long?
KLAATU
I’m afraid not… not as much as I’d like.
HELEN
(clearly disappointed. This man interests her) Oh that’s too bad. Bobbie will be disappointed that you’re leaving. (continuing to probe) What is it that you do, Mr. Carpenter?
KLAATU
(serious now, changing the subject but sincerely interested in an answer) Mrs. Benson… Helen, do you mind if I ask you a question?
HELEN
No, not at all.
KLAATU
This country is relatively affluent, is it not? Well off?
HELEN
(a little uncertain at this question, a little disturbed, but smiles) It’s the greatest country in the world.
KLAATU
Of course, yet billions on this planet live in poverty, and die of hunger daily?
HELEN
Yes… I’m sorry to say that’s true.
KLAATU
(seriously) Why is that, Mrs. Benson?
HELEN
(pauses, then slowly) I don’t know, Mr. Carpenter. I don’t have an answer to that question.
KLAATU
(satisfied) I see.
HELEN
(concerned, hesitantly and with some difficulty) Mr. Carpenter -- this is none of my business, but -- why did that detective come here last night?
KLAATU
(with easy frankness) Oh -- they just wanted to ask me a few questions. Bobbie and I tried to see Professor Barnhardt in the afternoon, but he wasn't in. Apparently they thought I was looking for secrets of some kind.
Helen has reacted in puzzlement at this second mention of Barnhardt. The ringing of the doorbell interrupts them. Helen goes to answer it.
INT. HALLWAY - NIGHT
Helen opens the front door to admit Kelly. She appears impatient, anxious to get going.
HELEN
Hey—
KELLY
You ready?
HELEN
I will be in just a minute.
KELLY
Jose’s waiting in the car.
HELEN
(in explanation) I was talking to Mr. Carpenter.
KELLY
(chidingly excited) Really. (she looks past Helen and sees Klaatu) Oh hi, Mr. Carpenter.
Helen tries to shush her. She is embarrassed.
KLAATU
(enters) Hello. Excuse me. I was just going up to my room.
HELEN
(guiltily) Goodnight, Mr. Carpenter.
Klaatu stops and turns to face them pleasantly.
KLAATU
I hope you both have a nice time.
He goes on up the stairs. Helen steers Kelly toward the living room.
HELEN
Wait in here while I get my things.
INT. LIVING ROOM – NIGHT
As they enter from the hall
KELLY
He’s cute. What have you found out about him?
HELEN
(quietly) Oh, Kelly, he’s just a… acquaintance.
KELLY
Yeah, I’m sure. And I’m a blonde Algerian from Singapore. What’d you find out?
HELEN
Not much. I’ll tell you later. Let me go get my stuff.
She turns quickly and goes into the hall and hurries up the stairs. Kelly looks after her, smiling.
INT - UPSTAIRS HALLWAY
Helen reaches the top of the stairs, crosses to her room and grabs a coat off the bed. She's putting it on as she moves down the hall to Bobbie's room, the door of which is open.
INT. BOBBIE'S ROOM – NIGHT
Bobbie is at a table doing her homework and Klaatu has just finished explaining an arithmetic problem to her, as Helen enters, still putting on her coat.
KLAATU
(about to leave) All you have to remember is, first find the common denominator – then subtract.
BOBBIE
Thanks, Mr. Carpenter.
KLAATU
(to Helen, pleasantly) I'll say goodnight again.
HELEN
Good night Mr. Carpenter. We’ll see you in the morning.
He turns and goes out, closing the door. A little distracted, Helen turns to Bobbie.
HELEN
Go to bed, baby. You can finish that in the morning.
BOBBIE
Okay.
Helen watches as she starts to put away her work. She wants to tell her something, but finds it difficult to say.
HELEN
Honey, did you and Mr. Carpenter really go to see this Professor Barnhardt?
BOBBIE
Sure we did! He wasn't there but we went to see him. And Mr. Carpenter wanted to show him how to do his arithmetic.
Helen is surprised to get this corroboration for Klaatu's story. Sensing her mother's uneasiness, the girl looks for something intriguing -- some deep, dark secret.
BOBBIE
(shrewdly) Mom -- is there something wrong with Mr. Carpenter?
HELEN
What do you mean?
BOBBIE
I mean -- on account of that policeman last night. (her eyes light up hopefully) You think he's a bank robber, maybe? Or a spy?
HELEN
No, baby, of course not. He's a very nice man. (pause) He told me he’s leaving soon, going back to his home, I guess, so I wouldn’t get used to him being around. Now you get to bed and forget about it. (she kisses her) 'Night, love.
With a reassuring smile, she starts for the door.
BOBBIE
Goodnight. (stopping her in the doorway, she is clearly concerned) Hey Mom – why is he going away?
Not wanting to go into this any further, Helen blows her a kiss and backs out, closing the door. Bobbie stands thinking for a moment, her mind still speculating on all sorts of possibilities. Still preoccupied, and possibly a little melancholy, she drifts over to her bed and sits down to take off her shoes. She drops the first one to the floor and is starting on the other, when there is a light rap on her door. The door opens and Klaatu appears.
KLAATU
Bobbie -- do have you a lantern?
BOBBIE
(surprised by his appearance and his request) A what?
KLAATU
A lantern -- a portable light source -- a --
BOBBIE
You mean like a flashlight? Yeah -- sure. (she goes to a drawer and gets a large hand flashlight) It's a real army flashlight.
Bobbie hands him the light, studying his face with eager curiosity. He’s not sure how to operate the device. She shows him.
BOBBIE
Here, like this. What do you want it for, Mr. - - John?
KLAATU
(evasively) Why -- the light in my room went out. (cutting off further questions) Thank you, Bobbie. Goodnight.
Klaatu goes out, closing the door behind him. Bobbie hesitates a moment, puzzled and curious. Then she goes over to the door, flips off the lights, and slowly, noiselessly opens the door a crack so she can peer out into the hall.
INT. HALLWAY
Shooting down the hall through the crack in Bobby's door. Klaatu's door is ajar and through it the light in his room can be seen burning brightly. Klaatu goes to his door, reaches in and flips off the light and closes the door. He then scans the hall in both directions. Satisfied he isn't seen, he moves surreptitiously down the hall toward the stairs, still carrying the flashlight.
INT. BOBBIE’S ROOM – NIGHT
She closes her door carefully, an expression of intense excitement on her face. What she has seen is certainly, unmistakably suspicious. Why did Mr. Carpenter lie to her? What does he want the flashlight for and where is he going? Bobbie decides she's got to find out. Hurriedly she laces on the shoe she had taken off, and peers out the door to find the hall clear. She slips out the door, closing it behind her.
EXT. STREET - NIGHT
Klaatu is walking down the dark, semi-deserted street with the determined stride of a man with a definite objective.
Half a block behind, Bobbie’s following Klaatu, eagerly, flushed with a sense of excitement and adventure.
DISSOLVE TO:
EXT. RESIDENTIAL STREET CORNER - NIGHT
Walking along the sidewalk, Klaatu turns into a side street, disappearing from view around the corner. In a moment, Bobbie hurries into scene breathlessly. She pulls up for a moment to rest. Then, getting her breath, she dashes on around the corner after Klaatu.
DISSOLVE TO:
EXT. ENCLOUSURE - NIGHT
The structure has been completed and now encloses the space ship and Gort. Technicians and Army personnel scurry within.
INT. ENCLOUSURE – GORT – NIGHT
Army personnel have just finished encasing the robot in KL93, which has cooled and solidified enough to remove the scaffolding that allowed the translucent liquid metal to be poured into a rectangular shape. Army personnel start to clean up and clear out. Colonel Stevens and Carlson observe.
Colonel Stevens and Carlson.
COLONEL STEVENS
He won’t be going anywhere.
CARLSON
Maybe not, Colonel, but we can’t study him either.
COLONEL STEVENS
You want him walking around, knocking you out again?
CARLSON
(grudgingly) No, I guess not.
COLONEL STEVENS
Besides, you still have the ship. (at this point, behind the two men, the ship begins to silently lift off the ground, going straight up without making a sound) How soon are you going to get us inside?
CARLSON
(stifles a dismissive laugh) That’s hard to say. We haven’t even been able to get a piece of the hull to analyze yet.
Long Shot of Ship hovering upwards behind them, beginning to slowly spin. Other technicians and army personnel stop what they’re doing as they realize what is happening.
From Above. Edge of ship continues to lift. Stevens and Carlson talking haven’t caught on yet, until one of the technician’s yells…
BELL
Carlson, Colonel Stevens, behind you.
Both men turn around and are astonished, open mouthed, staring.
Both men facing away from camera as ship slowly elevates.
From above and behind. Another perspective as ship approaches roof of enclosure.
Spaceship moving up, hitting ceiling, crashing noise, as it breaks through.
Both men, and other personnel back out of the way of falling debris.
EXT. ENCLOSURE - NIGHT
Long Shot. Ship bursts out of enclosure.
INT. ENCLOUSURE –NIGHT
From below as slowly spining ship breaks away from enclosure and out of frame.
Colonel Stevens and Carlson.
COLONEL STEVENS
(to Sergeant Neal, angrily) Get headquarters on the line and tell them ship is… has left the area... for them to get it on radar, and scramble fighters!
SERGEANT NEAL
Yes sir!
Stevens and Carlson run outside, looking up, trying to follow the ship, which fades in the distance.
EXT. ROAD IN PARK - KLAATU – NIGHT
Klaatu walking up a secluded road. Scene lit by light of a full moon. It appears he has left the metropolitan area, into a park where there are no houses or buildings. Trees and shrubbery line the road. Klaatu slowly walks past camera, three beats, then Bobbie, following him, moves past camera as well.
Klaatu stops, looks around.
Bobbie quickly moves into nearby scrubs, not wanting to be seen.
Klaatu makes a decision, flicks on the flashlight, and moves off the road, onto a path in the woods.
Bobbie moves back onto the road, forward, out of frame.
Bobbie moves up to where Klaatu disappeared, and follows him into the woods.
DISSOLVE TO:
EXT. POTOMAC RIVER - NIGHT
Camera pans down from Washington D.C. in background, onto the river and a small boat with two men fishing.
Two men fishing in the boat, facing in opposite directions, languidly holding their poles.
Fred and Harry
FRED
Damn it’s cold. Give me that rum, Harry.
Harry hands Fred the bottle. He takes a slug and wipes his mouth, as …
Close to the boat from near the surface as Spaceship moves into frame above the boat, spinning, banking. Although the ships engines are silent, it makes a swooshing sound as it displaces the air around it. Fred looks up and sees the ship as it moves out of frame. Harry continues fishing, unaware.
The two men. Fred facing camera, Harry's back to camera. Fred throws the half full bottle into the river.
FRED
(a little shook up) Take me home, Harry. I'm way too drunk to be fishing.
HARRY
What?
DISSOLVE TO:
EXT. MEADOW – NIGHT
Klaatu emerges from bushes and walks out of frame.
Long shot - From behind, Klaatu walks out onto a large clearing, lit by the full moon, which can be seen entirely in top of frame.
Bobbie emerges from bushes, where she stays, partially hidden, watching Klaatu.
From behind, Klaatu walks toward middle of clearing and stops.
Close shot – Bobbie watching.
Long shot from above and behind, Klaatu waiting, turns off flashlight as Spaceship silently enters frame from above, apparently intending to land before Klaatu.
POV from ship moving closer to Klaatu.
Close shot – Bobbie reacts, astonished.
From behind, slightly above and moving slightly upward as ship lands and ramp unfolds, and ship opens for Klaatu to enter. Klaatu walks toward ship.
Bobbie watching.
Med shot – From top of Spaceship, looking down as Klaatu walks up ramp.
Long shot - Klaatu disappears into ship, which closes behind him. Ramp remains extended.
INT. SMALL CORRIDOR - SPACE SHIP
Camera follows Klaatu as he moves down the dimly lit entrance corridor. He steps into the main cabin of the ship, which seems larger than the exterior of the Spaceship would allow, and is bathed in a diffused, shadowless light. The walls are lined with a complex of mysterious gadgetry. All of this should be as imaginative and unorthodox as possible, while still retaining a feeling of sound but highly advanced engineering.
Med close shot - as Klaatu moves to a control panel, which could resemble a large pipe organ with a large monitoring screen dominating its appearance. The screen is blank as Klaatu activates the panel. Indicators light up, as varying light begins to bathe his body. There are thrumming sounds, as the panel activates. A strange series of inexplicable images ensues.
Klaatu starts speaking into a built-in microphone in the alien language. He speaks in rapid-fire sequences, documenting the situation and providing instructions, as a…
Close shot – Control panel alarm indicator activates.
Klaatu registers concern as he directs the machine to provide information.
Med shot – over the shoulder – Rapid series of strange, inexplicable images emanate from display screen, until stopping on ext shot on meadow outside.
Klaatu motions for screen to close in.
Control panels display screen, focuses on Bobbie watching the ship.
Close shot – Klaatu reacts, mildly surprised and concerned.
EXT. BOBBIE
She has seen enough and begins to get scared. She turns back to path and runs away.
INT. KLAATU
Klaatu watching, slight smile.
Med shot – over the shoulder – Klaatu deactivates exterior image. Strange images resume.
Med close shot – Klaatu sternly resumes speaking in alien language providing instructions.
INT. LIVING ROOM BOARDINGHOUSE – 2 HR’S LATER - NIGHT
Bobbie is curled up in a chair waiting for her mother to come home. She's tired, but the excitement of what she has seen precluded any possibility of falling asleep. Father Crockett sits on a sofa nearby, watching the television with the sound turned low. From the hall we hear the front door opening as Helen comes in. She appears in the doorway and is startled to see Bobbie, who has jumped up and runs toward her.
HELEN
Bobbie--! What are you doing up?
FATHER CROCKETT
She said she had to talk to you, so I stayed up with her…
BOBBIE
(excitedly) I couldn't go to sleep, Mom. I had to tell you!
HELEN
Tell me what?
BOBBIE
(the words tadpole out breathlessly) I followed Mr. Carpenter -- right after you left – and Mom, the Spaceship came down and he walked right inside it!
HELEN
(patiently disbelieving) Now, Bobbie, just a minute—
BOBBIE
Really Mom, I saw him. It just opened up and he walked right in.
HELEN
Bobbie, I told you not to eat so much candy. You've been dreaming again.
BOBBIE
(desperately) No, I haven't, Mom. I promise you... I saw it!
Helen and Father Crockett exchange a glance of tolerant amusement.
FATHER CROCKET
Where did you see all this, Bobbie?
BOBBIE
In the park next to the tidal basin.
FATHER CROCKETT
That’s quite a long way away, Bobbie. How did you and Mr. Carpenter get there?
BOBBIE
He walked all the way, and I followed him. (her lips trembling) I like Mr. Carpenter – but I'm scared, Mom.
She rushes into Helen's arms, clutching her desperately, trying to hold back her tears.
HELEN
(holding her close sympathetically) Mustn't be frightened, baby -- It was just a bad dream. Here -- we'll prove it to you. (with a look and a nod to Father Crockett) Father, will you see if Mr. Carpenter is up, and ask him to come down for a minute.
FATHER CROCKETT
Of course.
Father Crockett disappears into the hall and up the stairs. Still holding Bobbie, Helen tries to dispel her fears by an appeal to logic.
HELEN
Now think back hard. You didn't follow Mr. Carpenter at all, did you? You haven't even been out of the house.
BOBBIE
Yes, I have!
HELEN
(determinedly) You didn't really see the Spaceship. You just thought you did.
Bitterly hurt, Bobbie faces her mother gravely, accusingly.
BOBBIE
I'd never call you a liar.
INT. UPSTAIRS HALLWAY
Father Crockett is knocking softly at Klaatu's door. Getting no answer, he tries the door, pushes it open and peers in. Then he steps into the darkened room.
INT. KLAATU'S ROOM
Father Crockett snaps on the light and looks around the empty room. The bed is still made. Glancing around, his eye is caught by a flash of something bright on the dresser. One of Klaatu’s small spheres. He steps up to it and attempts to pick it up. Just as his hand is about to close around it, the sphere shoots quickly out of his grasp and out the open window. Father Crockett reacts, amazed.
INT. LIVING ROOM
Helen is still comforting Bobbie, as the eleven o’clock news begins and a reporters words break into her consciousness.
NIKKI VIOLA (O.S.)
Yes, Jim, at approximately nine-fifteen this evening a remarkable thing happened here at the Spaceship’s enclosure.
Helen looks at television.
CLOSE SHOT – TELEVISION
From a local newscast camera perspective as the Spaceship breaks free from the enclosure and flies off into the distance.
NIKKI VIOLA (continued, V.O.)
The ship levitated up and right out of it, breaking through the roof, to the utter amazement and stupefaction of the military and scientific personnel assigned to guard and study the ship, which disappeared over the capital, apparently out over the Potomac River where it was lost from view.
Cut to television camera POV and Nikki speaking, with wrecked enclosure in background. A military helicopter is patrolling overhead.
NIKKI VIOLA (continued)
Civil authorities and the Army are being very tight lipped about this, giving little details and making no statement as of yet. But sources available to Channel Five tell that no, I repeat no radar signal has been able to track the ship, leaving its current whereabouts totally unknown…
INT. HELEN AND BOBBIE
Helen, stricken, goes to television and turns it off, as Father Crockett comes down stairs.
FATHER CROCKETT
(also shaken by what he had just witnessed, but he has decided to keep the information to himself for the time being) I’m afraid he’s not in his room.
BOBBIE
See mom! And the Spaceship did leave…
HELEN
(firmly) Come on, baby -- we're going up to bed. We’ll talk about it in the morning.
FATHER CROCKETT
Don’t worry dear. I’ll wait up for Mr. Carpenter. There’s something I want to ask him about.
Helen gives him a strange, searching look.
HELEN
Come on Bobbie. You can sleep in my room tonight, and I want you to stay home tomorrow.
BOBBIE
Alright.
HELEN
Come on now. (she happens to look down at Bobbie’s feet. Puzzled, and concerned) Bobbie, your shoes are all muddy!
BOBBIE
(reluctantly, with childish guilt) Yeah -- the ground was kind of wet.
As the impact of this sinks in, Helen and Father Crockett turn to stare at each other in questioning consternation.
EXT. SPACESHIP ENCLOSURE – NIGHT
As Spaceship silently settles back into its original location, behind the block of KL93 in which Gort is encased.
CARLSON
(talking on a hand held radio)Yeah, that’s just what I’m saying. It’s back now. Yeah… It just landed, and is sitting there just as before.
Close on Carlton.
CARLSON (continued)
No, I don’t know where it’s been or what it’s been doing, Colonel. Well can you tell me how, exactly, I’m supposed to find that out… Yeah, well, yeah,… yes sir!
Bell walks into frame, up to Carlson.
CARLSON
That guy’s a moron.
Bell nods his head in agreement.
FADE OUT
INT. OFFICE – DEPARTMENT OF EMPLYMENT SERVICES. –
FOLLOWING DAY
It is a typical government office, with lots of desks and bureaucrats. Helen and Kelly are sitting in the public waiting area.
KELLY
… I don’t know… he’s kind of hunky, but… what did Father Crockett talk to him about?
HELEN
He fell asleep while waiting for him. For all I know he didn’t come back at all last night. I like him, and he’s great with Bobbie, but with the police coming for him and all…
KELLY
I think you should at least give him a chance to explain himself. There’s probably a very simple explanation for… everything. You should just ask him.
HELEN
Maybe you’re right. (thinks a moment) I’ll talk to him tonight… if he’s there…
KELLY
(looking off to side) You might not have to wait.
HELEN
Why?
Kelly points toward office entrance. Cut to reveal Klaatu walking in and looking around, searching. He sees them and walks over.
HELEN
(a little unnerved) Oh -- hello—
KLAATU
Hello… (nods to Kelly) Helen, may I talk to you… in private?
HELEN
It’s almost lunchtime. Kelly and I were….
KELLY
Go ahead, Helen. I’m not hungry.
HELEN
(to Kelly) Are you sure? (Kelly nods in the affirmative) We can go to the mall. Come with me.
KLAATU
Alright.
She is nervous and uneasy but obviously can't refuse. Camera pans to office clock mounted on the wall, which reads 11:41.
INT. SPACESHIP CONTROL CABIN
Camera moves forward toward control panel, which is deactivated. Only one instrument is active, an alien digital clock with alien figures ticking off. Camera moves in to close shot of this instrument. When camera stops moving in, clock stops.
Control panel activates.
EXT. SPACESHIP – DAY
Outside Spaceship (which now has a series of metal straps or cables covering it, anchoring it to the ground in the Army’s attempt to render it immobile). Camera moves in past figure of Gort encased in KL93, past technicians and Army personnel, up to ship, up above ship, stopping in a med shot at the top of the ship’s dome, as a softball sized hole or tunnel opens and three softball sized spheres shoot out, camera quickly pans up to follow them up into the sky, where they disappear into the distance.
DISSOLVE TO:
EXT. COLORADO SPRINGS – DAY
Close on butterflies over wild flowers. Camera pans to overview shot of Colorado Springs to Cheyenne Mountain, Colorado.
DISSOLVE TO:
INT. OPERATIONS CENTER
Camera continues pan on Operations Center. United States and Canadian military personnel man computer consoles. Unlike depicted in other films, the Center looks like a busy business office, like that of a commodities trading company. Personnel man desks equipped with personnel computers, at various angles to each other. Several large screens do appear elevated on one wall, but at the opening of this scene they are blank. Text appears at bottom of screen.
CHEYENNE MOUNTAIN OPERATIONS CENTER
NORAD
Med shot - Another angle of Operations Center.
Close shot - Camera pans behind personnel manning desks with computers displaying three- dimensional maps of various areas of the United States. They are routinely involved in monitoring all air flights entering the U.S., all domestic flights, as well any and all operations in Earth orbit, U.S. or foreign.
Camera pans in front of personnel manning computers.
Side shot of female Air Force Staff Sergeant talking to male Chief Master Sergeant amicably, as a short, high pitched buzzer sounds from the console. Their expressions change to one of serious attention as they concentrate on their work.
MASTER SERGEANT GARCIA
Auto system alert.
Med shot - Watch Command Director at another console. A female Colonel, she is in charge of operations during this watch.
COMMAND DIRECTOR BLONDET
Checklist one-zero-one-one-twelve.
Med side shot – Staff and Master Sergeant
MASTER SERGEANT GARCIA
Ma’am, we have multiple unknowns in the system!
Camera pans across computer consoles depicting three dimensional plots of the Earth at various angles. One shows an outline of Russia with multiple launches indicated, these increase in number to the hundreds.
From behind Command Director Blondet who is intently monitoring her computer console.
MASTER SERGEANT GARCIA (continued O.S.)
CFC is reporting an Eastern Quick Alert from multiple Russian sources. (two beats) Stand by for possible missile events...
COMMAND DIRECTOR BLONDET
(calm, but intent) CD copies. Intel, what is your analysis?
Male Staff Sergeant at another console.
STAFF SERGEANT WIESMEIER
Ma’am, Intel assesses this to be unscheduled event with impact points at multiple targets within the United States.
COMMAND DIRECTOR BLONDET
(now very worried) CD copies. (pause, makes a decision) Increase DEFCON status to Three.
Med side shot - Master and female Staff Sergeant
MASTER SERGEANT GARCIA
Yes ma’am. Increase to DEFCON three. (female staff sergeant looks to Master Sergeant, frightened, as klaxon sounds. Master Sergeant speaks into microphone attached to his console) Attention! Attention! DEFCON Three status alert! This is not a drill…
INT. COMPLEX CAFITERIA
Complex personnel who had been eating react to alert.
MASTER SERGEANT GARCIA (continued, over P.A .)
I repeat, DEFCON Three status alert, this is not a drill…
Male and female Air force Airmen look up to ceiling speakers. Personnel scurry to their stations.
MASTER SERGEANT GARCIA (continued)
All personnel report to their duty stations…
INT. COMMAND CENTER
Command Director, who stands.
COMMAND DIRECTOR BLONDET
Activate the wall monitor. Are we transmitting to DEFSMAC?
MASTER SARGEANT GARCIA (O.S.)
Yes ma’am.
Full shot – From rear of room. Twelve by sixteen foot electronic wall monitor activates at the front of the room depicting hundreds of launch sites in Russia, with projected flight paths headed for the United States.
Camera moves in to close shot of Command Director Blondet.
COMMAND DIRECTOR BLONDET
Get me General McRee… then get me the President.
INT. BLAST DOOR
Full shot – One of the Cheyenne Mountain Complex 25 ton blast doors closing.
EXT. ELLSWORTH AIR FORCE BASE RUNWAY – DAY
B-1B bomber taking off.
INT. WHITE HOUSE EMERGENCY OPERATIONS CENTER
Close shot – The President
PRESIDENT HAWKINS
This can’t be happening!
Full shot – The President, his Chief of Staff, National Security Advisor, several high ranking military officers and members of the president’s staff are present. Title appears at bottom of screen:
WHITE HOUSE EMERGENCY OPERATIONS CENTER
NATIONAL SECURITY ADVISOR RHODES
All communications with the Russian Republic have been cut off.
PRESIDENT HAWKINS
So I can’t talk to them! I can’t verify anything?
CHIEF OF STAFF GUERRIDO
Mr. President, we’re running out of time.
PRESIDENT HAWKINS
(speaking to intercom) General McRee! How long before the first impact?
INT. COMMAND CENTER/ EMERGENCY OPERATIONS CENTER (intercut)
General McCree, Cheyenne Commander, has now joined his staff and relieved the Colonel of her Command Director duties.
Med shot General McCree.
GENERAL McCREE
In approximately nine minutes, Mr. President, we expect at least six impacts in Alaska. In ten minutes, Seattle, Chicago, and New York. Eleven minutes for Washington D.C., Philadelphia, Chicago, and Portland. Within the next twenty, we expect over three thousand hits by MIRVed Russian Topol-M missiles. We are now in a DEFCON ONE status, as confidence of attack is high, and confirmed by multiple satellite radar systems.
Presidential Emergency Operations Center
PRESIDENT HAWKINS
(unbelieving) Three thousand?
CHIEF OF STAFF GUERRIDO
But no ground based systems, General?
General McCree. A Staff Sergeant hands him a telex report
GENERAL McCREE
Sir, we are just receiving ground based radar confirmation of over one thousand, three hundred and eighty, plus, targets headed for the U.S. mainland.
Presidential Emergency Operations Center.
PRESIDENT HAWLINS
(visibly shaken) Eleven minutes? (he looks to National Security Advisor, pleading) How can this be happening?
NATIONAL SECURITY ADVISOR RHODES
I don’t know… they must think… the spaceman… I don’t know. It’s insane.
PRESIDENT HAWKINS
Shouldn’t I be on an airplane, or something!?
CHIEF OF STAFF GUERRIDO
(nodding his head in the negative) By the time Marine One got half way to Andrews…
NATIONAL SECURITY ADVISOR RHODES
I’m afraid that if we’re going to launch a counter attack, we need to activate the go order now.
The president uncertain of what to do, looks around the room blankly.
Close on the National Security Advisor.
NATIONAL SECURITY ADVISOR RHODES
Mr. President? Bob
The president looks up at him, helplessly.
GENERAL McCREE (O.S.)
Mr. President!
NATIONAL SECURITY ADVISOR GUERRIDO
(turns his gaze away from the president) Yes, general.
Cheyenne Command Center. – General McCree.
GENERAL McCREE
(looking up at the wall screen) Sir, we are now monitoring over one hundred launches…
Wall monitor depicting launches inside China.
GENERAL McCREE (O.S.)
…of DF-5 and DF-31A ICBM’s from inside China headed for both Russia and the United States.
Presidential Emergency Operations Center – The president and National Security Advisor.
The president as he takes in the information.
Close on National Security Advisor.
NATIONAL SECURITY ADVISOR RHODES
Mr. President!
Close on the president.
PRESIDENT HAWKINS
(to intercom) Secretary of Defense, your recommendation?
Pentagon Office of the Secretary of Defense - Secretary of Defense sitting at his desk
SECRETARY OF DEFENSE McGOWEN
Launch the damn things, Bob.
Presidential Emergency Operations Center. – The President.
PRESIDENT HAWKINS
(to himself) May God help us all. (looks up) Give it to me.
A Marine officer brings the briefcase containing the launch and unblocking codes for a U.S. counter attack to the table in front of the President.
NORAD Command Center.
Master sergeant at work at his console.
MASTER SERGEANT GARCIA
Sir, we have authorization confirmation and codes.
GENERAL McCREE
Go ahead, Sergeant. Transmit.
Behind Master Sergeant Garcia as he begins to transmit the launch and unblocking codes, and war plan to the launch sites.
MATER SERGEANT GARCIA
Yes sir. Transmitting now.
EXT. NUCLEAR BALLISTIC MISSILE SUBMARINE - DAY
On patrol, submerged at Launch (Periscope) Depth, in the Sea of Japan. Text appears at bottom of screen:
U.S.S. LOUISIANA SSBN
SEA OF JAPAN
INT. SUMARINE'S BRIDGE
Radioman at his station, camera moves back to reveal the submarine's Bridge. The boat's Captain is behind him, waiting.
RADIOMAN 1ST CLASS PETTY OFFICER STOWE
I've received confirmation, sir. The codes match.
CAPTAIN SOMERS
Very well. Exec!
EXECUTIVE OFFICER COMMANDER McCARTHEY
Yes Sir.
CAPTAIN SOMERS
Do you concer we have confirmation?
EXECUTIVE OFFICER McCARTHEY
I concur we have confirmation, aye.
CAPTAIN SOMERS
Please enter the unblocking codes and ready the boat for launch.
EXECUTIVE OFFICER McCARTHEY
(slightly shaken) Enter unblocking codes, aye. Chief, ready the boat for launch.
CHIEF OF THE BOAT LORDS
Ready for launch, aye sir. (speaks into intercom) All hands ready for missile launch...
INT. REACTOR ROOM
Several crewmembers look toward the IMC speakers, then to each other.
CHIEF LORDS (V.O.)
This is not a drill. All hands ready for launch...
INT. FORWARD TORPEDO ROOM
Other crewmembers look to the speakers and each other.
CHIEF LORDS (V.O.)
This not a drill. I repeat, this is not a drill...
EXT. MISSILE SILO SITE
Missile silo site. Test appears at bottom of screen:
MINUTEMAN III MISSILE SILO SITE
WARREN AIR FORCE BASE, WYOMING
INT. MISSILE LAUNCH CONTROL ROOM
Two Air Force Officers, Major Anderson and Lieutenant Williams, preparing for launch.
MAJOR ANDERSON
Activating launch system on three. One, two, three...
Both officers simultaneously turn their keys in their respective consoles.
Enter unblocking codes and initiate countdown...
The Lieutenant hesitates, unsure.
Lieutenant!
LIEUTENANT WILLIAMS
Entering unblocking codes and initiating launch countdown... now.
INT. WHITE HOUSE EMERGENCY OPERATIONS CENTER / NORAD COMMAND (intercut)
President, National security Advisor, Chief of Staff, others, seated around table, waiting.
PRESIDENT HAWKINS
(looks up from table) General McCree, how many missiles are we responding with?
General McCree
GENERAL McCREE
The first salvo will consist of just over thirteen hundred missiles, Mr. President, with five thousand designated targets.
Close on President.
PRESIDENT HAWKINS
Good God. (pause) Time to launch?
General McCree
GENERAL McCREE
In sixty seconds, Mr. President.
Close on President.
PRESIDENT HAWKINS
And time to the first Russian missile to hit us?
Close on General McCree
GENERAL McCREE
Approximately five minutes, sir.
The President, staring, slightly sweating, waiting.
PRESIDENT HAWKINS
Thank you, General.
General McCree, surrounded by his officers and staff. He looks to the officers closest to him. There is nothing left to say. He sits by his console.
EXT. WASHINGTON MONUMENT
Klaatu and Helen walking near entrance.
Two shot, Klaatu and Helen.
KLAATU
(watching for Helen's reaction) I saw Bobbie this morning...
HELEN
(glancing at him apprehensively) Yes...
KLAATU
I want to know what she told you last night.
HELEN
(nervous and evasive) I - I didn't really pay much attention - (with a nervous little laugh) She said that you were the spaceman, and that you went inside the ship.
KLAATU
Did you believe what she told you? (Helen hesitates, trapped by uncertainty) I have a reason for asking this - a very important reason.
Nervous and distracted, Helen doesn't want to get up in this jam.
HELEN
Have you ever been inside, Mr. Carpenter?
KLAATU
Inside?
HELEN
Yes.The monument (she points toward the Washington Monument), I mean.
Washington Monument from ground level toward it's observation ports.
Klaatu and Helen.
KLAATU
No, I haven't.
HELEN
Come, I'll show you. You can see the whole city from up there.
Helen leads Klaatu to the monument's entrance.
INT. LOUISIANA'S BRIDGE
Captain and crew at their stations.
CHIEF LORDS
Missiles one through twelve armed and ready for launch Captain.
CAPTAIN SOMERS
Very well.
CHIEF LORDS
Permission to launch Captain.
The Captain moves to the launch control console.
CAPTAIN SOMERS
Thank you, Chief. I'll do it.
CHIEF LORDS
(relieved) Aye, Captain.
CAPTAIN SOMERS
(picks up the 1MC microphone) All hands brace for missile launch in five seconds.
Five, four, three, two one... (Captain pushes the launch switch. Sounds of launching
missiles heard. Vibrations are apparent)
EXT. LOUISIANA'S MISSILE PORT
First missile exits the ship, heading for the surface.
Long shot as second missile launches, then third.
EXT. OCEAN'S SURFACE - NIGHT
Trident II missile emerges from ocean's surface and begin it's flight. Camera follows it's progress for two beats. Second and third missiles follow.
INT. WARREN AIR FORCE BASE - MISSILE CONTROL ROOM
Major and Lieutenant.
MAJOR ANDERSON
...three, two, one...
EXT. MISSILE SILO - DAY
Minuteman III missile launches from silo.
EXT. MISSILE SILOS - DAY
From several miles away as 16 missiles leave their silos.
INT. LOUISIANA'S BRIDGE
CHIEF LORDS
Missiles one through twelve up and away Captain.
CAPTAIN SOMERS
Missiles one through twelve up and away, aye. Take the boat down to four hundred feet, Chief, and ready for the next launch run.
CHIEF LORDS
Dive to four hundred feet, and ready for launch run, aye.
Close on Captain.
EXT. NEAR WARREN AIR FORCE BASE - DAY
Farmer on tractor stops and watches as missiles shoot into the sky.
EXT. AERIAL LONG SHOT
Aerial shot from two miles above the Earth's surface. One missile passes camera as others approach.
INT. RUSSIAN GENERAL COMAND POST - ALMOST 8 P.M.
Russian General Command Post. Camera slowly moves behind Russian military personnel manning their posts. They are ease, maybe somewhat bored. Command post is similar to the Cheyenne complex, except it's Russian. Text appears at bottom of screen:
CHEKHOV, RUSSIAN REPUBLIC - 60 MILES SOUTH OF MOSCOW
STRATEGIC ROCKET FORCES
GENERAL STAFF COMMAND POST
General Ilya Ivanov sitting behind desk, reading magazine (which may or may not be Playboy).
From behind and below military technicians at their monitors. Russian version of wall monitor, already activated, depicting North American Continent. As camera continues to move, U.S. missile launches begin to be indicated on this monitor, as alarm sounds.
Room monitor. The board lights and fills with indications of multiple launches in the United States.
General Ivanov puts down his magazine, stands and stares at monitor in disbelief.
The room fills with excited, nervous activity. Personnel run to unoccupied posts.
General Ivanov hurriedly questions his staff, wanting to verify what the instruments are telling him.
Technician answers, quickly explaining the are monitoring multiple launches from the United States toward Russia.
General takes in this information.. He mumbles something to himself.
From behind General and technicians. Room monitor is in background. General moves to one desk computer to verify what the technician has just told him.
General looks up from computer to room monitor, very worried. Issues order. Bell stops ringing.
General Ivanov straightens and walks down isle toward camera to dedicated telephone.
Somber, General picks up phone and asks to speak to the Russian President.
INT. OFFICE OF THE RUSSIAN PRESIDENT - NIGHT
Russian President's office in the Kremlin. President Fedor Nikitin is sitting at a conference table, in discussions with several civilian advisors finishing the day's business. They are speaking in Russian. Title at bottom of screen:
KREMLIN
OFFICE OF PRESIDENT FEDOR NIKITIN
The President's Chief of Staff, Anatoly Vasillev enters through a side door.
President Nikitin listening to his advisors as Chief of Staff approaches and whispers in his ear. As he speaks the President's demeanor changes noticeably. When the Chief of Staff finishes the President asks a question, which is answered.
The President stands and dismisses his advisors, who quickly leave the room. The President walks over to his desk.
Sitting, he looks at the Chief of Staff, before picking up the telephone. He quietly speaks into it.
INT. WASHINGTON MOUNUMENT OBSERVATION ROOM - DAY
Klaatu and Helen among other visitors.
Klaatu and Helen step up to port to look out.
HELEN
Are you the spaceman, Mr. Carpenter?
KLAATU
You've been very kind to me... Helen, and honest. Perhaps it is time I am completely honest with you.
HELEN
Alright... so are you?
Klaatu slowly nods his head in the affirmative. Helen looks away out the window.
HELEN
(not believing him, or not wanting to believe him) Well then... you can see your ship here. (she indicates the window. Klaatu has been staring at her, but now draws his attention to the view outside) I don't think I believe you, Mr. Carpenter.
KLAATU
I can prove it to you.
Helen looks up to him.
HELEN
How?
Air raid sirens can be heard in the distance. Helen looks back outside to see what is happening.
KLAATU
(calmly) What time is it?
HELEN
(looking at her watch, scared now) Almost noon.
The other tourists begin to leave via the elevators.
INT. NORAD COMMAND CENTER / WHITE HOUSE OPERATIONS
CENTER (intercut)
From behind. General McCree and staff monitoring missile launches on the large monitor.
General McCree and staff. Camera pans.
PRESIDENT HAWKINS (O.S.)
Time to first...
Continue pan to close on President speaking, sweating.
PRESIDENT
...impact, General?
Close on General McCree.
GENERAL McCREE
(looking at the monitor above him) Approximately one minute, Mr. President.
Room monitor indicating missile launch tracks almost at their targets in Canada and the United States. The board now indicates the recently launched missile from the United States.
President and his staff, waiting.
EXT. AERIAL LONG SHOT - DAY
Anchorage, Alaska.
EXT. AERIAL LONG SHOT - DAY
Empty missile silos in open field in North Dakota. Camera pans to empty sky.
EXT. AERIAL LONG SHOT - DAY
Montreal skyline, the city bristles with activity.
INT. NORAD COMMAND / WHITE HOUSE CENTER (intercut)
Cheyenne complex. The room monitor begins to register missiles reaching their targets and detonating.
Close on General McCree, camera pulls back as he speaks.
GENERAL McCREE
Mr. President, we are now monitoring multiple hits in Anchorage, Montreal, Dakota, Maine.
Close on President.
PRESIDENT HAWKINS
My God.
From behind. General McCree and staff. Room monitor in background registering missile strikes.
Close on McCree
GENERL McCREE
Mr. President... we expect two hits in the Washington D.C. area within one minute.
Close on President.
PRESIDENT HAWKINS
I understand, General. You have your orders. Thank you, and good luck.
Close on General McCree
GENERAL McCREE
Thank you, sir, and good luck to you.
The President and staff look toward the ceiling.
EXT. AERIAL LONG SHOT - DAY
Washington D.C. Air raid sirens can be heard.
Lincoln Memorial. People heeding the sirens rush to cover. Some are immobilized, panic stricken .
Ships and boat upon the Potomac.
Washington Monument.
View from Washington Monument observation port looking out over the city. White House and spaceship complex can be seen.
INT. WASHINGTON MONUMENT OBSERVATION ROOM - DAY
Klaatu and Helen.
HELEN
(clearly alarmed) What's happening? I should go get Bobbie...
KLAATU
Bobbie's fine. Wait just a moment.
Helen looks up to Klaatu, beginning to believe he actually is the spaceman.
INT. CHEYENNE COMPLEX
General McCree watching the room monitor.
Monitor as it now register hits in in major American Targets, including Washington D.C.
From behind. General McCree and staff.
MASTER SARGEANT GARCIA
We are monitoring multiple hits in New York, Washington D.C., Seattle, Chicago, Detroit, Philadelphia.
GENERAL McCREE
(quietly) I understand Sargeant. Thank you.
Room monitor registering more and more explosions.
General McCree and staff.
Close on General McCree
GENERAL McREE
(looking at monitor) Sergeant?
Room monitor. Missile tracks converging on Cheyenne Complex.
GENERAL McCREE
How many tracks are headed toward us?
Master Sargeant at his console.
MASTER SARGEANT GARCIA
Ahh, I've got seven, I repeat, seven tracks headed directly toward Cheyenne Complex, General.
GENERAL McCREE
Thank you, Sargeant. (He looks down toward floor)
PRESIDENT HAWKINS (O.S.)
General McCree?
McCree quickly looks up. He should not be hearing this.
GENERAL McCREE
(very tentative) Mr. President?
Cheyenne Complex / White House Center (intercut)
President and his staff.
Close on President.
PRESIDENT HAWKINS
Yes General. I think it's been more than a minute...
General McCree and staff.
PRESIDENT HAWKINS (O.S.)
...and we're still here. What's going on?
The General looks to his staff for answers. They mutter to themselves and the General, not understanding what is happening.
GENERAL McREE
Uhh, we are showing two direct hits on Washington, sir...
President and staff.
PRESIDENT HAWKINS
(getting angry) Well I don't hear any explosions. Are Russian nuclear bombs equipped with silencers, General?
Close on General McCree.
GENERAL McCREE
I'm sorry sir, I don't understand...
From behind. Military personnel busy at their tasks trying to work the problem, when the room monitor goes blank.
Close on General McCree attempting to comprehend what is happening.
GENERAL McCREE
Sargeant, What's going on?
Camera pans to two shot that includes the Master Sargeant.
MASTER SARGEANT GARCIA
Power is up, General. I'm not showing any systems failure.
PRESIDENT HAWKINS
General?
From behind. Room monitor flickers briefly, then comes back on line, this time depicting real missile tracks, which depict American missiles further in their flight trajectories than the Russian and Chinese missiles, which were launched in response to the American launches.
PRESIDENT HAWKINS (O.S.)
Would you mind telling me what's going on?
Close on General McCree. He doesn't know what to make of this.
PRESIDENT HAWKINS (OS)
General?
GENERAL McCREE
One moment, sir. (He switches off the intercom connecting him to the President) Colonel? What the hell is going on here?
From behind. Room monitor shows U.S. missiles approaching the apex of their trajectories.
Close from side. Colonel Morgan at her console, working.
COLONEL MORGAN
One moment, sir.
EXT. EARTH ORBIT
From Earth orbit. Several U.S. missiles approach camera as the closest shuts off it's engine and
MIRV's discharging eight separate missiles which float away from each other. Engines of four ignite and move out of frame, silently.
From higher above. Several other missiles follow suit, MIRV, some missiles fire their engines and move out of frame, those remaining fan out.
Another angle. From side and above. One missile (without ignited engine) approaches camera as one off spaceship's spheres passes from behind camera, divides into five separate spheres, pass missile and head in different directions above the planet.
INT. CHEYENNE COMPLEX/WHITE HOUSE (intercut)
General McCree switches on intercom to the President.
GENERAL McCREE
Mr President...
President sitting at his table waiting.
GENERAL McCREE (O.S.)
...there's been some kind of malfunction.
PRESIDENT HAWKINS
(increasingly inpatient) Malfunction? What kind of malfunction General?
Close on General McCree.
GENERAL McCREE
It would appear we launched our missiles after a false attack warning.
Close on the President.
PRESIDENT HAWKINS
A false attack warning. You mean a system malfunction, General? Our system malfunction?!
Close on General McCree.
GENERAL McCREE
Apparently, although we can't detect what malfunctioned (weakly) exactly.
From behind. Technicians scurry about. Room monitor continues to track missile progress.
President and his advisors looking at him.
PRESIDENT HAWKINS
Are you telling me that the Russian and Chinese did not commence a first strike nuclear attack?
Close on General McCree.
GENERAL McCREE
Yes sir.
President and advisors as before.
PRESIDENT HAWKINS
So... the United States launched an unprovoked attack against them?
GENERAL McCREE
Yes sir.
President.
PRESIDENT HAWKINS
General McCree... could you please tell me how the Russians are responding to this?
General McCree.
GENERAL McCREE
They've launched a retaliatory attack, Mr. President.
President.
PRESIDENT HAWKINS
(anger builds as he proceeds) So, the situation can be summed up this way. The United States of America launched an unprovoked attack against the Russians and Chinese, based on a system malfunction, thereby starting an unnecessary nuclear war, which they are responding to in kind, practically insuring the destruction of the entire planet... BY MISTAKE?!
GENERAL McCREE
(hedging) Not exactly, sir.
President and advisors.
PRESIDENT HAWKINS
(uncomprehending) Not actually, General? What do you mean?
From behind. Command Center and room monitor. Monitor indicates Russian and Chinese missiles are still ascending, while U.S. missiles have stopped at their apex in outer space, and seem to be spreading out in an even pattern around the globe.
GENERAL McCREE
Well, the missiles we've launched...
Close on General.
GENERAL McCREE
they've reached the apex of their trajectories...
President and advisors.
PRESIDENT HAWKINS
(trying to understand) Yes, General?
General McCree.
GENERAL McCREE
... and they're not coming down.
EXT. EXTREME LONG SHOT - EARTH ORBIT
Thousand of missiles continuing to fan out across the globe.
Another angle. Missiles spread out without benefit of their engines, as if being pushed or pulled into a preordained position.
A missile approached camera, passes it and is followed by several other missiles.
Long on missiles from eastern hemisphere as they begin to reach Earth orbit and their engines shut down, MIRVing, (ten separate missiles discharging from the host missile), as they intermingle with the western missiles already in orbit, passing each other as they are pulled into a pattern that begins to completely cover the northern and southern hemispheres (excluding the polar engines), approximately seven thousand missiles are involved.
Long from side. Some missiles head toward camera as others move away from it.
Missiles move in orbit over the Earth. One of the spaceship's spheres moves from south to north in the far distance, busy in its mission of guiding the inactivated missiles into the positions it wants them to be in, which is to evenly cover the planet. Another sphere comes up from the far side of the planet toward the camera, very quickly, passing it silently, out of frame.
Extreme long shot. The entire planet fills the frame. The missiles begin to slow down and stop at positions around the planet, equally spaced from each other.
From side. Camera moves up and above one Russian missile as it slows and stops above California.
Other missiles slow to a stop.
Missiles stop over France.
Missiles stop over Australia.
Extreme long shot. All missiles now stop, hovering equally spaced over the planet.
INT. WASHINGTON MONUMENT OBSERVATION ROOM - DAY
From behind. Klaatu and Helen looking out over the city, air raid sirens blaring.
Two shot. Klaatu and Helen.
HELEN
(increasingly worried) Mr Carpenter...
KLAATU
What time is it?
HELEN
(looking at her watch) Just twelve.
KLAATU
(looks back outside) Don't look up.
INT CHEYENNE COMPLEX
General McCree. Camera moves from med shot to close.
PRESIDENT HAWKINS (O.S.)
General McCree?! What is going on? Talk to me...
GENERAL McCREE
Mr. President... I have no idea...
INT. RUSSIAN COMMAND CENTER
Russian room monitor, depicting missiles in orbit spaced evenly across the globe. Camera pulls back to reveal officers and technicians staring at the monitor, moving in onto a two shot of General Ivanov talking haltingly to a subordinate, trying to understand what is happening, the becoming silent, as camera moves to CU.
INT. CHINESE ROCKET COMMAND CENTER
From forty-five degree angle. Chinese military officers and technicians staring at their board. Camera pans to their version of room monitor, then to close up of clock just about to strike the top of the hour (12 Midnight).
INT. SPACESHIP
Camera moves into medium shot of the control board.
Spaceship's clock on control board ticking off in alien symbols.
INT. EMPLOYMENT OFFICE - DAY
Close on Kelly in the lobby eating a sandwich. Camera pulls back to her sitting, then pans up to a wall clock just as it strikes twelve noon.
INT. SPACESHIP
Ship's control board.
Close on control boards clock. Alien symbols stop as concludes it's countdown.
From below. Control board emits a surge of power and light intensity as a low frequency sound erupts denoting enormous power.
EXT. EXTREME LONG SHOT - EARTH ORBIT
Partial Earth shot. Missiles in space.
Full shot of the Earth. Two beats before all of the missiles silently detonate.
EXT. WASHINGTON D.C. STREET OUTSIDE CAPITAL BUILDING - DAY
From street level looking up. Sky erupts as explosions occur. Intense, thunderous, deafening sound reverberates.
The city with sky exploding from it.
EXT. EARTH ORBIT
From side. As missiles explode, a lightening fast flash can be seen artifically directed down to the Earth's surface (silently, no sound effects should be used to enhance these space sequences, as sound waves do not propagate in a vacuum. However, music can and should be used to subtly underline these scenes).
EXT. WASHINGTON D.C. - DAY
Fifteenth Street as all vehicles slow to a stop due to the electromagnetic pulse concentrated by Klaatu's spheres toward the surface of the planet from the nuclear explosions, which neutralize electrical and electronic power. Pedestrians are now staring above them at the greatest fireworks display they will ever see.
INT. WASHINGTON MOUNUMENT OBSERVATION ROOM - DAY
The lights in the observation room have gone out. The elevator is inoperative. Klaatu looks on calmly at what is happening outside. Helen looks on astonished. She looks up to Klaatu.
HELEN
Bobbie... Bobbie was telling the truth, wasn't she?
Klaatu looks at her and nods in the affirmative.
HELEN
What is happening?
KLAATU
The electricity... it's been neutralized... all over the planet. We'll be here a little while... until it can be restarted. Let me tell you now why I'm here...
Close on Helen as she stares at Klaatu, awe-struck, as
EXT. WASHINGTON D.C. STREET - DAY
All vehicular traffic on the street as at a dead stop. Automobiles, buses, motorcycles - all are stalled. Drivers and passengers are climbing out of the vehicles in utter bewilderment, staring at the sky, some in wonder, some terrified. The sound of the explosions continue, but begin to lessen. Many people panic and run away. Except for the people, the street seems frozen in place.
INT. CITY POWER PLANT - DAY
The great generators are silent and motionless in the dim, unlighted plant. Employees argue about what has happened and what to do.
INT. FACTORY - DAY
A huge automobile assembly line stalled. Employees scurry about.
INT. PRESSROOM - METROPLOITAN NEWSPAPER - DAY
The giant presses are threaded with newspapers, but are silent and motionless.
INT. RADIO STATION BROADCAST ROOM
Board engineer and broadcaster stare at each other by candlelight, helpless.
EXT. NEW YORK SUBWAY ENTERANCE - DAY
People are pouring out wildly, feverishly attempting to escape from the darkness below. They're astonished to discover what has happened to the sky.
INT. CYBERCAFE - DAY
Customers frantically attempt to reboot their blank computers. Some are looking out the windows at the sky. Some go outside.
EXT. NEW YORK STREET - DAY
Cars, taxis, and buses are stalled, frenzied drivers unable to figure out what is happening. A horse and buggy driver near Central Park moves grandly and leisurely through the stalled vehicles, the driver bears a happy grin of superiority. This is his moment of triumph over modern civilization.
EXT. TIMES SQUARE - DAY
Long on Times Square with all traffic stalled, sky above exploded.
Two cab drivers whose taxis have stalled next to each other. One has gotten out of his cab, the other is seated at his wheel, looking around in awe and terror, his tough Manhattan heart shaken.
1ST CAB DRIVER
(points to a point in the sky) Look!
A commercial jet makes it's way to La Guardia Airport under the exploding sky.
EXT. EARTH ORBIT - INTERNATIONAL SPACE STATION
International Space Station, following it's orbit around the planet through a tunnel in the released nuclear radiation, which is rapidly dissipating. The Station is followed closely by one the spaceship's spheres.
INT. INTERNATIONAL SPACE STATION CONTROL CABIN
Space Station's cabin. Three astronauts, two Russians, one American. Power and life support systems are still on. The electromagnetic pulse, which is affecting most of the planet below, and blast effects, have been deflected from the Station by the sphere. The astronauts are glued to the window ports, observing the nuclear chaos surrounding them. One Russian curses in his native language.
AMERICAN ASTRONAUT
That goes for me too, pal.
EXT. PICCADILLY CIRCUS - DAY
With all traffic stalled. (it is 5:00 P.M.)
Two Cockney's standing on the sidewalk, awe-struck at the weird sight before and above them. One speaks terrified, hardly daring to articulate his thoughts.
COCKNEY
It's that space man, that's wot it is...
EXT. PLAZA DE LA CONCORDE - DAY
Traffic is stalled. (it is 6:00 P.M.)
French woman. She is middle-aged and there are tears of fright in her eyes. She is mumbling a prayer in French.
EXT. MOSCOW STREET - EVENING
With all traffic stalled and lights out. The scene is lit from the explosions above. (it is 8:00 P.M.)
A elderly Russian couple, staring bug-eyed at the strange street scene and the sky above them. The woman utters some terror stricken comment to her husband.
EXT. BEJING HOSPITAL - NIGHT
Lights are on in the hospital, which has not been affected by the EMP, in contrast to the rest of the city which is without electricity.
INT. HOSPITAL EMERGENCY WAITING ROOM - NIGHT
Normal emergency room activity. Personnel and patients clamor to see what's going on outside.
EXT. CRUISE SHIP - DAY
Cruise ship floundering in a rough sea.
INT. SHIP'S BRIDGE - DAY
Ship's Captain and crew frantically attempting to control the huge powerless ship.
CAPTAIN
(into sound powered intercom) What's happening down there?
INT. ENGINE ROOM
Engine room crew frantically trying to restart stalled engines.
ENGINEERING OFFICER
The power just cut off, Captain. We're trying to restart right now...
BRIDGE - DAY
CAPTAIN
Get me some power fast, Chief!
ENGINEERING OFFICER
Aye, Captain.
EXT. SHIP'S FOCSLE - DAY
Waves break over the gunnels, as passengers scramble for cover, or stare at the sky.
EXT. DISNEYLAND MATTERHORN - DAY
Matterhorn roller coaster stalled on tracks. Riders look on in amazement at the spectacle above them, which continues to dissipate. (9:00 A.M.)
EXT. GORT - DAY
From below. Gort seen through the KL93 encasing with spaceship in background, and exploded sky overhead. Three beats. Music crescendo.
FADE TO BLACK
INT. BARNHARDT'S STUDY - DAY
Barnhardt is standing comfortably by the picture window surveying the scene outside. He is interrupted by the entrance of Hilda. At the moment she's beside herself with anxiety. Barnhardt watches her with a half smile of amusement. He has already deduced what the cause of what is happening above and around them.
HILDA
Professor! What on earth is happening to the sky?
BARNHARDT
It looks like an explosion of some kind.
HILDA
The whole city has stopped. People are running around like ants!
BARNHARDT
(musing, admiring Klaatu's cleverness) What a brilliant idea. I never would have thought of it.
Hilda flings him a questioning look, annoyed that he won't share her fear.
BARNHARDT
What about the people who are coming to the meeting tonight? Have they all arrived?
HILDA
(nodding) I talked to most of their representatives this morning... they were all very curious about the meeting.
BARNHARDT
Good. Did you speak to our friend, Mr. Carpenter?
HILDA
(nodding) He'll be there at eight thirty.
BARNHARDT
(studying her) Tell me, Hilda -- does all this frighten you -- does it make you feel insecure?
HILDA
Yes sir -- it certainly does!
BARNHARDT
(nodding with a bland little smile) That's good Hilda. I'm glad.
The poor woman flings him a look of shocked amazement as we --
DISOLVE TO
INT. CONFERENCE ROOM - PENTAGON - DAY
Seated at the conference table are high ranking officers of the Army, Navy, Air Force, and Marine Corps. Colonel Stevens is present. A window along the side of the room supplies the only light. There is an uneasy tension of people dealing with unknown forces. The Chairman of the Joint Chiefs is speaking.
CHAIRMAN JOINT CHIEFS COPLEY
... as far as we can tell, the nuclear bursts created an intense electromagnetic pulse that has neutralized power over the entire planet...
ADMIRAL LANDERS
Is that possible? I mean, even my watch has stopped.
CHAIRMAN COPLEY
(with some finality) No, as a matter of fact, it is not. However, our scientists insist it's the only explanation, that some how the commandeered missiles EMP was artificially directed and concentrated toward the Earth, affecting most electric and electronic systems...
AIR FORCE GENERAL THOMPSON
Most?
CHAIRMAN COPLEY
...with some very interesting exceptions; hospitals, planes and helicopters in flight, submarines, pace-makers, it appears our satellites are unaffected -- that sort of thing I wish I could be more specific, but our communications at the moment are severely limited. Most are out completely, telephone, radio, microwave -- everything. (gravely) I can tell you that the President has declared a national emergency. The rebooting process may take weeks to complete... (the room lights flicker on as power is restored to the building)
ADMIRAL LANDERS
You said the missiles were commandeered. How was that done?
CHAIRMAN COPELY
Again, we don't know, but the President wants us to find out, and fast. Obviously, the only explanation lies with the spaceman. Colonel Stevens, what about that robot?
COLONEL STEVENS
After it was discovered the robot had moved I had the Corps of Engineers encase it in a block of KL93. (he hands a small block of plastic to the Chairman) It's a new plastic material -- as strong as titanium.
CHAIRMAN COPLEY
Is it possible for it to brake out of this stuff?
COLONEL STEVENS
Not a chance, General, and the ship itself has been bolted to the ground, so it won't be making any more unscheduled flights.
Some of the officers visibly are not as certain as the Colonel.
CHAIRMAN COPELY
All right -- that means we concentrate on the man. (to the group, with force and authority) The President wants this man neutralized as quickly as possible. Neutralized as fast as possible! Is that completely clear?
All acknowledge the order.
Close on Colonel Stevens.
COLONEL STEVENS
Yes sir, very clear.
DISSOLVE TO
INT. WASHINGTON MONUMENT OBERSAVTION ROOM - DAY
In dim light, Klaatu is finishing explaining to Helen the purpose of his mission. Overwhelmed by the staggering importance of what he has told her, Helen is listening with great interest and concern.
KLAATU
(speaking gravely) I've already told you more than I told Professor Barnhardt because my... the fate of my mission, in a sense, is in your hands. I thought if you knew the facts you'd appreciate the importance of what of my not being -- apprehended -- before the meeting tonight.
Helen has been staring at him awestruck, also in complete admiration and sympathy.
HELEN
Yes, of course. Of course I do.
Klaatu smiles at her warmly and she manages to return the smile. Their relationship is further cemented by the sharing of this vital secret.
(studying his face anxiously) You hold a lot of hope for this meeting.
KLAATU
(gravely) I can see no further hope for your planet. If the meeting should fail, then I'm afraid there is no hope.
The lights flicker on, and the machinery running the elevator can be heard starting back up. Startled, Helen looks at him.
(calmly) They've restarted the power system.
They both look out the window.
EXT. 15TH STREET -LONG SHOT - DAY
Showing a section of street traffic as some of the stalled vehicles come back to life. From everywhere comes the sound of self-starters, then automobile horns. People climb back into their vehicles, and those that are able to try to move around stalled traffic. Some people continue starring into the sky, although the explosions have completely dissipated by now, the remnants are still extremely noticeable. The sky is a strange burnt orange, rather than blue.
INT. OBSERVATION ROOM - DAY
KLAATU
I'm afraid some of those vehicles will require repairs.
HELEN
(absently, considering what Klaatu has told her) Makes me glad I don't have a car. (she looks at him, clearly concerned for his safety) Your names not really Carpenter, is it?
(he shakes his head in the negative) What is it?
KLAATU
Klaatu.
HELEN
Mr Klaatu?
KLAATU
Just Klaatu.
HELEN
Do you mind if I still call you Mr. Carpenter?
KLAATU
(smiles slightly) No, I don't mind.
HELEN
Where will you go now?
KLAATU
Back to the boardinghouse. I should be safe there for the afternoon...
HELEN
I wouldn't be too sure. The authorities will be really piss... very angry at what just happened.
KLAATU
I doubt they'll find me... and I can keep an eye on Bobbie. She's the only other person who knows anything about...
HELEN
No, wait a minute -- there's someone else.
KLAATU
Who?
HELEN
Father Crockett. He was up last night talking to Bobbie...
The look of concern on Klaatu's face heightens Helen's.
Of course, he doesn't know anything definite. He'd talk to me first, anyway, before... (interrupting herself in sudden decision) We can't take that chance. I'll get in touch with him right away and make sure.
KLAATU
(relieved and appreciative) Thank you... Helen.
HELEN
(looks up to him again) Don't worry... let's get out of here.
They walk toward the elevator.
DISSOLVE TO
INT. BOARDING HOUSE - ENTERANCE HALLWAY - DAY
Father Crockett on the telephone with Helen
FATHER CROCKETT
Of course, my dear. If you say so. No she's fine. Good, good. I'll expect him shortly. Goodbye. (he turns to look at Bobbie)
Living room. Bobbie watching television.
Close on Father Crockett expressing concern.
DISSOLVE TO
INSERT - NEWSPAPER HEADLINE
The headline reads: NUCLEAR WAR BARELY AVERTED - WORLD POWER
JAMMED - PRESIDENT DECLARES EMERGENCY - STEPS UP HUNT FOR
SPACEMAN - WASHINGTON D.C. LOCKED DOWN
DISSOLVE TO
INT. REAGAN NATIONAL AIRPORT - DAY
At passenger entrance. Passengers are held back as soldiers have blocked doors to the terminal. The passengers mill about in consternation as a voice is heard over the P.A. system.
VOICE
Attention please... all flights from National Airport have been canceled until further notice. All flights from this airport have been canceled.
DISSOLVE TO
INT. RAILROAD STATION -AT TRAIN GATE - DAY
M.P.'s are blocking the gates leading to trains.
Ticket sellers are busy explaining matters and handling the irate ticket holders.
DISSOLVE TO
EXT. BUS DEPOT - DAY
Passengers are being herded off a loaded bus that was preparing to leave the depot.
EXT. ROADBLOCK ON HIGHWAY 395 - DAY
The army has thrown a roadblock across the highway on the outskirts of the city and permitting no one to leave. From the line of halted cars we see, and the insistent honking of horns we hear, we get the impression of hundreds of cars stacked up.
INT. G-2 OFFICES
Military personnel scurry about, some interviewing men who have been sent here by the police, other busy with paperwork. Camera slowly pans toward one Lieutenant at a desk reviewing photographs. He is going through a stack rather quickly until he recognizes one face, stops, stares at the photograph a moment, then stands with it in his hand.
Colonel Stevens from behind. His back is to the camera, his face is not seen. The Lieutenant in the previous shot approaches him from the side.
LIEUTENANT COUSTEAU
Colonel, you might want to see this (he hands the photograph to Stevens, who turns and is now recognizable. He looks at the officer, then intently at the picture.
Close on Klaatu's mug shot.
Colonel Stevens and Lieutenant.
COLONEL STEVENS
Yes, I do. Good work, Lieutenant.
INT. BOARDING HOUSE LIVING ROOM - NIGHT
Klaatu and Bobbie.
KLAATU
...and there are no wars, no crime, no repression. Every citizen is encouraged to follow and develop their talents as best they can for the enhancement of the greater community. Some choose to explore the mysteries within themselves, or choose to serve others, or the sciences, or arts. Every person can realize their own individual ambitions, satisfy their curiosity, and challenge their wisdom. There is no disease... life spans reach into centuries. No need to covet, no need for greed...
BOBBIE
Is there love?
KLAATU
Love? what do you mean Bobbie?
BOBBIE
Love. Like how I feel about mom. Like what she feels about me and my dad.
KLAATU
(pause) There are families. They care for each other. (unsure) Yes, there is love.
BOBBIE
Good. I wouldn't want to live anywhere without love.
Klaatu is impressed with her insight.
Are you sure you have to go, Jonathan? I'll... my mom and I will miss you.
KLAATU
(touched) Yes, Bobbie, I'm sure.
BOBBIE
Will you come back to see us?
KLAATU
I don't think I'll be able to... (noting Bobbie's disappointment) But I'd like it very much if you remember me. (an idea comes to him. He reaches into his coat pocket and retrieves his last sphere) Here Bobbie. I want you to have this, it will help you to remember. (she takes the small object and studies it)
BOBBIE
Thanks, John. What is it?
KLAATU
Just a token. Keep it close. It can help you when you least expect it.
Bobbie examines the sphere again as the front door opens and Helen appears.
HELEN
Hi. How are you two?
BOBBIE
Fine mom. Look at what Mr. Carpenter gave to me. (she holds up the sphere for her mother's inspection)
HELEN
(underwhelmed at what looks like a ball bearing) Wow, wasn't that nice of him. Say goodbye now Bobbie. Mr. Carpenter and I have to go now.
Klaatu and Bobbie stand.
BOBBIE
(she hugs him) Goodbye Mr. Carpenter. I'll miss you, and I'll always remember.
KLAATU
(very touched) Goodbye Bobbie. I'll remember you too. (to himself) I promise.
Helen and Klaatu walk toward the front door as Father Crockett meets them from the stairs. Aware of Klaatu's true identity, Crockett studies him differentially.
KLAATU
Thank you, Father. You've been very kind.
FATHER CROCKETT
May you go with God, my son.
Not knowing how to respond, Klaatu and Helen leave.
EXT. BOARDINGHOUSE - NIGHT
Klaatu and Helen come hurrying down the steps and pile into the waiting taxi. Three kids playing with dice stop and watch as the door is closed and the cab pulls away, disappearing as it makes a right turn at the end of the street. Camera pans to the opposite end of the street as a military humvee and jeep barrel across the intersection and pull up to the front of the boardinghouse.
Soldiers from the humvee pile out and cover the entrance to the house. Others bang on the door, which Father Crockett opens. Soldiers rush into the building.
Meanwhile, Colonel Stevens, still in the jeep, is talking to the kids playing out front. They chatter excitedly, pointing in the direction taken by the cab.
Colonel Stevens speaks into his radio in tones of clipped and quiet efficiency. The jeep remains at the curb.
COLONEL STEVENS
(into radio) Attention zone five... yellow cab, moving west on Harvard from Thirteenth Street. Man and woman in back seat. Get the license number and report.
INT. TAXI - NIGHT
The cabs moving through traffic at a normal speed. Klaatu and Helen are tense and nervous.
KLAATU
I'm sure Barnhardt can arrange to hide me until the meeting.
HELEN
Where's it going to be?
KLAATU
At a Kennedy Center. Do you know it?
Close on cab driver as he looks out to his left, approaching an intersection.
From driver's viewpoint. A humvee is parked in a side street, facing the intersection, its occupants armed and helmeted.
Cab driver. Abreast of the intersection now, he looks to his right.
EXT. STREET INTERSECTION - NIGHT
Shooting over the rear of a humvee that is parked on a side street facing the intersection. The cab crosses the intersection and the driver squints to catch it's number. He then speaks into a radio.
INT. JEEP - COLONEL STEVENS - NIGHT
The jeep is still in front of the boardinghouse. The Colonel listens to his radio for a moment, then speaks into his transmitter.
COLONEL STEVENS
Attention, Zone five... license number of target vehicle is whiskey four niner three six, I repeat, whiskey four niner three six... all vehicles maintain your positions - and hold your fire. (speaking to his driver) Lets go.
The jeep pulls away.
INT. TAXI - NIGHT
Shooting at the driver, over the shoulders of Helen and Klaatu, as he turns and points out the Army vehicles to them with a shrug of bewilderment. They look ahead at the next intersection.
Close on Helen
INT. CLOSE SHOT - HELEN
Looking ahead out of her side of the cab, at the intersection.
EXT. MED. SHOT - INTERSECTION
From Helen's POV. There is an Army vehicle waiting in the side street.
INT. CLOSE SHOT - KLAATU
As he looks out of his side of the cab.
EXT. MED. SHOT - INTERSECTION
In this side street, too, an Army vehicle is standing.
INT. TWO SHOT - HELEN AND KLAATU
Their eyes meet for a moment, neither willing to admit what this might mean. The very quietness of the operation is ominous and menacing. Their faces show grave concern.
INT. STAFF CAR - CLOSE SHOT - COLONEL
COLONEL STEVENS
(into radio) Attention, Zone 5 -- report when target vehicle passes your position.
EXT. TAXI MED. CLOSE SHOT
Shooting through the window at Helen and Klaatu, who are growing increasingly tense and nervous.
MED. SHOT - INTERSECTION
Shooting over the back of a jeep mounting a machine gun as the cab passes the intersection. The driver picks up his radio and reports into it.
MED. CLOSE SHOT - WEAPONS CARRIER
Shooting through the windshield as the driver reports by radio, his eyes shifting to follow the moving cab.
INT. TAXI - TWO SHOT - HELEN AND KLAATU
Helen is biting her lips nervously. She steals a sidelong glance at Klaatu to find him staring ahead, deeply preoccupied and concerned.
HELEN
(trying to give him encouragement) It's only a few blocks to Barnhardt's.
KLAATU
I'm worried about Gort. I'm afraid of what he might do... if anything should happen to me.
HELEN
Gort? (puzzled) But he... it’s a robot. I mean... without you, what could it do?
KLAATU
(slowly) I’m afraid you misunderstand. I am only an emissary. It is Gort who controls this mission... and there is no limit to what he could do. He could destroy the Earth.
(with great urgency) If anything should happen to me, you must go to Gort.
HELEN
(shocked and bewildered) Me?! I can’t...
KLATUU
You must. It’s imperative. The fate of your world may depend upon it.
HELEN
I don’t know if I can do it... I’m afraid.
KLATUU
You must give him this message: ‘"Klaatu barada nikto.’ Please repeat it.
HELEN
(She repeats nervously) "Klaatu barada nikto. (looking at him) I don’t think...
KLAATU
(gravely) Remember those words. Repeat them to him, and everything will be fine
Helen nods, look ahead, and repeats the words soundlessly.
SERIES OF CUTS
of vehicle drivers reporting by radio as their eyes follow the progress of the taxi. (These should be shot so we don't hear what is said.)
INT. CLOSE SHOT - COLONEL IN STAFF CAR
Listening to these reports. Then he speaks into his transmitter with quiet tension.
COLONEL STEVENS
(into radio) Attention, Zone 5... Section number 2 -- block off Tenth Street at Massachusetts. All vehicles close in.
The Colonel motions to his driver and the staff car pulls out.
EXT. STREET - MED. SHOT
As a convoy of eight vehicles moves down the street going very fast and swings around a corner.
SERIES OF CUTS
Of individual vehicles that have been waiting at intersections, as they pull out and down the main streets to converge on the taxi.
MED. SHOT
At a major intersection, as the convoy of eight vehicles previously seen dashes through the intersection and stops. The cars quickly arrange themselves so that they form a roadblock, completely sealing off the street.
INT. TAXI
Shooting over the driver's shoulder. The cab is proceeding down the street. Then the road block comes into range of its headlights. The driver, who has been getting uneasy, turns to face his fares accusingly.
DRIVER
Hey, what's this all about?
As he slows his cab down, Helen leans forward into scene. Frenzied, she is about to urge the driver on when Klaatu puts a restraining hand on her shoulder.
EXT. STREET - MED. SHOT
Shooting down the street from the barricade, as the taxi stops. Army cars are closing in behind the taxi, so it is trapped. The cab door ovens and Klaatu steps out, making a run for the entrance to a pedestrian underpass.
MED. SHOT - JEEP
Soldiers jump out of their vehicles as they stop near the jeep, and run after Klaatu.
MED. SHOT
Soldiers block the entrance to the underpass ahead of Klaatu. He stops and turns around to see soldiers chasing him, He looks to his right and runs toward an alley.
MED. SHOT
Helen emerges from the cab just as Colonel Stevens staff car pulls up, and he exits, following his men. She follows him.
MED. SHOT
Klaatu runs into alley which has a dead end.
MED SHOT
From behind Klaatu. Soldiers block the entrance to the alley, cutting him off. They raise their weapons to him.
SOLDIER
Get on the ground!
MED SHOT
Klaatu continues to stand, looking around helplessly.
MED. SHOT
From behind Klaatu. Colonel Stevens forces his way through his men to stare at Klaatu. He points his gun at him
MED. SHOT
Klaatu reaches into his coat pocket to retrieve one of his spheres that isn’there. He had given the last one to Bobbie.
MED CLOSE COLONEL STEVENS
He fires his gun
MED. SHOT
Klaatu being hit with four bullets. He falls to the ground.
MED SHOT FROM ELEVATED ANGLE
Helen pushes through the soldiers and rushes to Klaatu.
MED CLOSE KLAATU AND HELEN
KLAATU
(weakly, insistently) Get that message to Gort. Right away...
He is unable to say any more. He is dead. Helen looks around wildly, helplessly, with tears and terror in her eyes. The soldiers approach. Helen stands and backs away. As the soldiers and Colonel Stevens are preoccupied with the body of Klaatu, Helen slips away to the underpass and leaves.
FADE TO BLACK
OPEN TO HELEN APPROACHING THE ELLIPSE LONG TO MED. SHOT
She stops by a tree and looks toward the enclosure, which civilians and military personnel move around.
INT. SHOT INSIDE THE ENCLOUSURE
(music becomes ominous) Technicians scurry about.
MED. SHOT
Gort. The top of the block of KL93 begins to glow.
MED. SHOT
Carlson and Bell working at some equipment in the foreground. Gort, with glowing KL93 in the background.
MED. SHOT
Gort as before. Glowing intensifies and includes more of the block heading downwards.
EXT. MED. SHOT
Helen behind the tree looking at the enclosure.
CLOSE ON HELEN’S FACE
HELEN
(To herself) How do I get in there?
INT. MED. SHOT
Gort The heated glowing is now one quarter down the block of KL93. Liquid KL93 begins to run down the sides of the block
MED SHOT
Carlson and Bell slowly turn around from their respective positions to look at Gort.
MED. SHOT
Gort. His head is completely obscured by the burning KL93. A fissure at the top of the block breaks open and a high pressured stream of toxic steam bursts forth.
LONG. SHOT
Military personnel quickly replace the technicians as the hurry out of the enclosure.
MED. SHOT
Gort. The steam has stopped and a large heated block of KL93 falls away from Gort.
MED. SHOT FROM GORT’S POV
Military personnel takes up defense positions.
CLOSE. SHOT
Army officer trying to contact someone on his radio.
MED. SHOT
Gort. KL93 has now melted to Gort’s mid chest level. Gort’s visor opens.
MED. SHOT
Military ready their weapons.
CLOSE. SHOT
Gort. Energy beam begins to power up.
LONG. SHOT
Military open fire
MED. SHOT
Gort’s energy beam fires multiple times in multiple directions.
LONG. SHOT
Military personnel being hit by beam and disintegrating.
CLOSE. SHOT
Officer on radio being hit and dissolving.
EXT. LONG SHOT
From behind Helen who is looking at enclosure as sounds of battle escalate.
INT. CLOSE SHOT - HELEN
Looking ahead out of her side of the cab, at the intersection.
EXT. MED. SHOT - INTERSECTION
From Helen's POV. There is an Army vehicle waiting in the side street.
INT. CLOSE SHOT - KLAATU
As he looks out of his side of the cab.
EXT. MED. SHOT - INTERSECTION
In this side street, too, an Army vehicle is standing.
INT. TWO SHOT - HELEN AND KLAATU
Their eyes meet for a moment, neither willing to admit what this might mean. The very quietness of the operation is ominous and menacing. Their faces show grave concern.
INT. STAFF CAR - CLOSE SHOT - COLONEL
COLONEL STEVENS
(into radio) Attention, Zone 5 -- report when target vehicle passes your position.
EXT. TAXI MED. CLOSE SHOT
Shooting through the window at Helen and Klaatu, who are growing increasingly tense and nervous.
MED. SHOT - INTERSECTION
Shooting over the back of a jeep mounting a machine gun as the cab passes the intersection. The driver picks up his radio and reports into it.
MED. CLOSE SHOT - WEAPONS CARRIER
Shooting through the windshield as the driver reports by radio, his eyes shifting to follow the moving cab.
INT. TAXI - TWO SHOT - HELEN AND KLAATU
Helen is biting her lips nervously. She steals a sidelong glance at Klaatu to find him staring ahead, deeply preoccupied and concerned.
HELEN
(trying to give him encouragement) It's only a few blocks to Barnhardt's.
KLAATU
I'm worried about Gort. I'm afraid of what he might do... if anything should happen to me.
HELEN
Gort? (puzzled) But he... it’s a robot. I mean... without you, what could it do?
KLAATU
(slowly) I’m afraid you misunderstand. I am only an emissary. It is Gort who controls this mission... and there is no limit to what he could do. He could destroy the Earth.
(with great urgency) If anything should happen to me, you must go to Gort.
HELEN
(shocked and bewildered) Me?! I can’t...
KLATUU
You must. It’s imperative. The fate of your world may depend upon it.
HELEN
I don’t know if I can do it... I’m afraid.
KLATUU
You must give him this message: ‘"Klaatu barada nikto.’ Please repeat it.
HELEN
(She repeats nervously) "Klaatu barada nikto. (looking at him) I don’t think...
KLAATU
(gravely) Remember those words. Repeat them to him, and everything will be fine
Helen nods, look ahead, and repeats the words soundlessly.
SERIES OF CUTS
of vehicle drivers reporting by radio as their eyes follow the progress of the taxi. (These should be shot so we don't hear what is said.)
INT. CLOSE SHOT - COLONEL IN STAFF CAR
Listening to these reports. Then he speaks into his transmitter with quiet tension.
COLONEL STEVENS
(into radio) Attention, Zone 5... Section number 2 -- block off Tenth Street at Massachusetts. All vehicles close in.
The Colonel motions to his driver and the staff car pulls out.
EXT. STREET - MED. SHOT
As a convoy of eight vehicles moves down the street going very fast and swings around a corner.
SERIES OF CUTS
Of individual vehicles that have been waiting at intersections, as they pull out and down the main streets to converge on the taxi.
MED. SHOT
At a major intersection, as the convoy of eight vehicles previously seen dashes through the intersection and stops. The cars quickly arrange themselves so that they form a roadblock, completely sealing off the street.
INT. TAXI
Shooting over the driver's shoulder. The cab is proceeding down the street. Then the road block comes into range of its headlights. The driver, who has been getting uneasy, turns to face his fares accusingly.
DRIVER
Hey, what's this all about?
As he slows his cab down, Helen leans forward into scene. Frenzied, she is about to urge the driver on when Klaatu puts a restraining hand on her shoulder.
EXT. STREET - MED. SHOT
Shooting down the street from the barricade, as the taxi stops. Army cars are closing in behind the taxi, so it is trapped. The cab door ovens and Klaatu steps out, making a run for the entrance to a pedestrian underpass.
MED. SHOT - JEEP
Soldiers jump out of their vehicles as they stop near the jeep, and run after Klaatu.
MED. SHOT
Soldiers block the entrance to the underpass ahead of Klaatu. He stops and turns around to see soldiers chasing him, He looks to his right and runs toward an alley.
MED. SHOT
Helen emerges from the cab just as Colonel Stevens staff car pulls up, and he exits, following his men. She follows him.
MED. SHOT
Klaatu runs into alley which has a dead end.
MED SHOT
From behind Klaatu. Soldiers block the entrance to the alley, cutting him off. They raise their weapons to him.
SOLDIER
Get on the ground!
MED SHOT
Klaatu continues to stand, looking around helplessly.
MED. SHOT
From behind Klaatu. Colonel Stevens forces his way through his men to stare at Klaatu. He points his gun at him
MED. SHOT
Klaatu reaches into his coat pocket to retrieve one of his spheres that isn’there. He had given the last one to Bobbie.
MED CLOSE COLONEL STEVENS
He fires his gun
MED. SHOT
Klaatu being hit with four bullets. He falls to the ground.
MED SHOT FROM ELEVATED ANGLE
Helen pushes through the soldiers and rushes to Klaatu.
MED CLOSE KLAATU AND HELEN
KLAATU
(weakly, insistently) Get that message to Gort. Right away...
He is unable to say any more. He is dead. Helen looks around wildly, helplessly, with tears and terror in her eyes. The soldiers approach. Helen stands and backs away. As the soldiers and Colonel Stevens are preoccupied with the body of Klaatu, Helen slips away to the underpass and leaves.
FADE TO BLACK
OPEN TO HELEN APPROACHING THE ELLIPSE LONG TO MED. SHOT
She stops by a tree and looks toward the enclosure, which civilians and military personnel move around.
INT. SHOT INSIDE THE ENCLOUSURE
(music becomes ominous) Technicians scurry about.
MED. SHOT
Gort. The top of the block of KL93 begins to glow.
MED. SHOT
Carlson and Bell working at some equipment in the foreground. Gort, with glowing KL93 in the background.
MED. SHOT
Gort as before. Glowing intensifies and includes more of the block heading downwards.
EXT. MED. SHOT
Helen behind the tree looking at the enclosure.
CLOSE ON HELEN’S FACE
HELEN
(To herself) How do I get in there?
INT. MED. SHOT
Gort The heated glowing is now one quarter down the block of KL93. Liquid KL93 begins to run down the sides of the block
MED SHOT
Carlson and Bell slowly turn around from their respective positions to look at Gort.
MED. SHOT
Gort. His head is completely obscured by the burning KL93. A fissure at the top of the block breaks open and a high pressured stream of toxic steam bursts forth.
LONG. SHOT
Military personnel quickly replace the technicians as the hurry out of the enclosure.
MED. SHOT
Gort. The steam has stopped and a large heated block of KL93 falls away from Gort.
MED. SHOT FROM GORT’S POV
Military personnel takes up defense positions.
CLOSE. SHOT
Army officer trying to contact someone on his radio.
MED. SHOT
Gort. KL93 has now melted to Gort’s mid chest level. Gort’s visor opens.
MED. SHOT
Military ready their weapons.
CLOSE. SHOT
Gort. Energy beam begins to power up.
LONG. SHOT
Military open fire
MED. SHOT
Gort’s energy beam fires multiple times in multiple directions.
LONG. SHOT
Military personnel being hit by beam and disintegrating.
CLOSE. SHOT
Officer on radio being hit and dissolving.
EXT. LONG SHOT
From behind Helen who is looking at enclosure as sounds of battle escalate.
Long shot of enclosure as it EXPLODES horizontally outward and up from the entrance, like a giant flamethrower, Gort being the epicenter. A huge fireball dissipates upward. Debris fills the air.
Helen has been knocked to the ground, but unhurt.
Enclosure. Explosion dissipates. The enclosure has been ripped completely open. Gort is visible now, still freeing himself from the KL93. There are no more soldiers, no more resistance.
Helen stunned, picks herself up and dusts herself off.
Helen from behind. She surveys the wreckage and Gort, which fills the background of the frame.
Helen clearly frightened, she draws several deep breaths to gain strength.
HELEN
Okay girl… remember what he said… “He could destroy the world.” (She draws two more breaths and walks out of frame)
Helen from behind. She starts off toward Gort.
EXT. GORT – NIGHT
The KL93 has melted down to his knees. Three beats.
Panning onto Helen as she approaches what was the entrance fearfully. Rallying all her courage and determination, she forces herself to step through the wreckage.
Helen as she approaches Gort, she is lit by the light Gort is transmitting, shielding her face from the intense heat he is generating. She stops short as her glance falls on the awesome figure of Gort. Loneliness and terror grip her and she wants to run -- but she realizes she can't.
Close on Gort’s legs from knees down. Gort completes the melting process, evaporating the KL93.
Helen. She is held fascinated by the robot. In another moment it looks as if she would break and run. But she summons all her courage, and moves slowly toward Gort.
Helen and Gort as she moves slowly, fearfully toward him.
Gort. A huge figure in the heavy shadows, he moves slowly and menacingly toward Helen.
Helen as she stops advancing, rooted to the spot in fear. Then she starts backing away, keeping her eyes on him.
Helen and Gort. As the great, hulking figure approaches, Helen can't stand her ground. She turns and runs wildly away.
Over Gort’s shoulder. Helen trying to run away, but is stopped by some force field holding her in place.
Helen trying to run as hard as she can, gasping for breath, but is held in place by Gort as he continues to approach toward her.
Close on Helen, terrified, she struggles against the force holding her.
Helen and Gort. The force field abruptly turns Helen 180 degrees toward Gort.
Over Gort’s shoulder. Helen is abruptly pulled to Gort. Her eyes go wide with terror.
Close shot – Gort. His visor opens.
Close on Helen as she realizes she's trapped.
Close shot – Gort. He powers up the energy beam.
Over Gort’s shoulder. Immobilized with fright, Helen looking up at him. She gives a piercing scream.
Helen and Gort. Helen held in place. Gort about to fire.
Close on Helen. All hope gone, she is blessed with a moment of lucidity, and remembers the message Klaatu told her to deliver.
HELEN
Gort--! (with desperate clarity) Klaatu -- barada -- nikto.
Close shot – Gort continuing to focus the beam.
Close on Helen.
HELEN
Klaatu – barada – nikto. Klaatu – barada -- nikto. (terrified, in a small voice, almost to herself, eyes squinted shut as she anticipates Gort firing on her) Klaatubaradanikto.
Close shot – Gort. He powers down and the visor closes.
Helen and Gort. The robot’s arms bend to retrieve Helen, as she is pulled up by his force field and carried into his arms, turns around and starts walking toward the space ship.
Panning shot with Gort as he carries Helen, speechless with fright, to the ship.
Long shot behind and above Gort as he approaches the ship, the ramp descends and the ship opens.
Gort mounts the ramp, carrying Helen, and disappears into the ship with her. And the ramp closes silently behind them.
Long shot from above the ship looking towards the park as Military and emergency vehicles approach. Many sirens are heard.
INT. SPACE SHIP- SMALL CORRIDOR
Camera follows as Gort carries Helen through the dimly lit corridor. The robot proceeds to a small door leading to the main cabin, which opens as he approaches. He disappears with
Helen inside it.
INT. SPACESHIP - MAIN CABIN
Gort and Helen enter the control cabin. Gort sets Helen down, then proceeds to the pipe organish control panel, and stands before it, as it automatically activates, casting an eerie, pulsating light, and humming noise.
Close on Helen looking around the cabin. She stares at Gort, still frightened.
Gort in silent communication with the control panel.
From behind Gort. Control panel flipping through a series of indiscernible images.
Helen. Unable to guess the reason for these preparations, she is gripped with a terrible fear.
Gort. The control panel deactivates and becomes silent. Gort passes Helen, ignoring her, and exits the cabin through the same door they used to enter. The door closes behind him.
Helen rushes to the door and searches frantically for the lock -- only to find, to her terror, that there is none. Frenziedly she beats on the solid metal door.
EXT. SPACE SHIP – NIGHT
Long shot as the ramp comes down and Gort steps out, the waiting military personnel instantly fire upon him. A transparent force field envelops him and the ships entrance.
Spaceship from front as Gort descends. The field deflects all weapons fired upon him.
Long shot. Gort reaches the bottom of the ramp and stops. Military continue to fire, Gort ignores this, as ramp and ship begin to close.
Front of ship. Gort stands as ship finishes closing.
Gort, while remaining vertical, Gort levitates up off the ground, up and away from the ship and military.
From above ship. Gort slowly floating through the air.
Several soldiers continue to fire at the receding robot.
Army Major watches helplessly as Gort escapes.
From above ship. Gort recedes into the night. The military stops firing.
Army Major speaking into radio.
ARMY MAJOR
Colonel Stevens? Colonel Stevens?
EXT. BETHESDA – COLONEL STEVENS - NIGHT
Colonel Stevens walking toward back entrance of Bethesda Medical Center. He speaks into
a radio.
COLONEL STEVENS
This is Colonel Stevens. Go ahead, over.
EXT. MAJOR BATES – NIGHT
Major Bates speaking into radio.
MAJOR BATES
This is Major Bates at location Alpha. You’re not going to believe this…
DISSOLVE TO:
INT. BETHESDA MED CTR OPERATING ROOM
Klaatu’s naked body lies face down on an operating table. His face is turned to the side at this point, allowing him to be recognized.
Commander North is studying X-rays depicting the shadow of the small metallic device anchored in the posterior region of the Klaatu’s brain. Two other doctors stand with him. Nurses scurry about preparing for an operation.
COMMANDER NORTH
This is the object, doctors. I suggest we make a lateral incision here and here (pointing to the X-ray).
DOCTOR SANDERS
This thing isn’t going to blow up, or anything, is it?
COMMANDER NORTH
(looking at the doctor intently) Well, I certainly hope not. There’s no evidence that the device is now active since he’s… since he’s…
DOCTOR ARQUETTE
Dead?
COMMANDER NORTH
Yes, exactly. In any case, we have our orders. Doctors… (they move to operating table).
Close on Klaatu’s head, face down. The back of his head has been shaved in preparation for the operation.
Doctors prepare to begin. The sounds of distant gunfire, sirens, and shouting can now begin to be heard from outside the hospital.
DOCTOR SANDERS
What’s that noise?
COMMANDER NORTH
(looking at the others, a little uncertain) Alright, I’m going to make the first incision, now…
Close on the back of Klaatu’s head as a hand holding a scalpel gets ready to make a cut.
Doctors and nurses around table. The noises from outside escalate. The Doctors stop what they’re doing, looking around, as
Operating room wall. The sound of Gort firing the energy beam twice is heard as two spots on the wall turn red, then white hot, and begin to expand to make a large hole big enough for Gort to enter. The wall dissolves and Gort is seen just outside, his weapon now defocusing and visor closing. A series of similar holes recedes behind Gort, denoting his passage through the hospital.
Nurse screams, as all drop what they were doing and scramble to get out. Commander North presses against the opposite wall, too terrified to move.
Gort enters the operating room and stands next to table, ignoring the Commander. Gort bends his arms to accept Klaatu’s body, which is swept into his arms by the invisible force field.
Close on Commander North watching helplessly.
Gort turns around with Klaatu in his arms, and steps away from the table.
From behind. Gort exits through the hole.
Commander North slides down wall, clearly amazed he’s still alive.
DISSOLVE TO:
INT. SPACESHIP CONTROL CABIN – HELEN
Helen, still frightened, has been exploring the cabin looking for a way to get out. She hesitantly approaches the pilot’s control counsel, reaches out to a flat instrument panel, and barely touches one, innocent looking, square panel on the board.
Close on her finger touching the panel.
Helen recoils (as if she touched an electrical circuit) as the small panel emits a soft light, and a sharp humming sound is heard, which becomes louder, as the cabins light darkens and pulsates quickly, reaching a dramatic crescendo. Helen moves back, terrified at what she may have done, bumps into the Reconstitution chair behind her, recoils from that, she backs to the recessed bench, looking about wildly, breathing in short bursts, as the crescendo reaches its peak and the sound abruptly stops, and lights returned to normal. Helen hugs her arms around her chest.
HELEN
Girl, don’t touch anything!.
DISSOLVE TO:
EXT. SPACESHIP - NIGHT
Military personnel taking up positions and clearing debris.
Major Bates talking into radio, Spaceship in back ground begins to open. Ramp does not descend.
SARGEANT RICHARDS
(coming up to Major) Major! (he points to the ship)
MAJOR BATES
Just a moment, Colonel, something’s happening…
Long shot from above Spaceship. Gort, holding Klaatu, appears in the distance, flying toward the ship.
From side. Gort floats above the military personnel, toward the ship’s opening.
Major Bates looking overhead as Gort passes above.
SARGEANT RICHARDS
(wanting orders) Major?
Another angle. Gort enters ship and door closes behind him.
Major and Sergeant.
SARGEANT RICHARDS
Major?
MAJOR BATES
(ignoring the Sergeant, speaks into the radio) Colonel? We know where the robot is…
DISSOLVE TO:
INT. SPACESHIP CONTROL CABIN
Alone in the cabin, Helen is still terrified. She looks up, startled as the door opens and Gort enters, carrying Klaatu's body over to a long counter, to a machine somewhat looking like a Cat-Scan device. Gort places Klaatu’s naked body in this device and stands over him as the machine activates. A low humming sound emanates, and the cabin lights darken. Helen watches, speechless.
EXT. BETHESDA HOSPITAL - NIGHT
Near the front entrance to the building, Colonel Stevens exits and finishes speaking into a handheld radio. Considerably agitated, the Colonel snaps orders to the other officers, glances at his watch and motions for a Lieutenant to follow him. Camera pans with them as they hurry down the steps and get into a jeep. Several other Army vehicles join the jeep as it roars away from the curb.
DISSOLVE TO:
EXT. KENNEDY CENTER – NIGHT
Establishing shot. The entrance is busy with activity with the meetings attendees arriving and entering the building.
INT. KENNEDY CENTER – OPERA HOUSE
A good many of the seats are filled, and more guests are still coming in. Professor Barnhardt enters, looking about anxiously. He greets several friends and colleges.
INT. SPACESHIP CONTROL CABIN
Gort is still watching over Klaatu’s body as the procedure continues.
Close on Helen as she watches, fascinated in spite of her terror.
Gort monitors the procedure as the sound and procedure reaches a crescendo.
Close on Klaatu as he begins to breath.
Helen holds her hands to her ears as the sound becomes deafening.
Gort monitors Klaatu’s breathing form, as the procedure ends, the sound decreases quickly to silence, the cabin lights return.
Klaatu breathing, his eyelids flutter, then open and he looks around.
Gort moves off to the side of the cabin to stand stoically through the remainder of this scene. Klaatu slowly lifts himself to a sitting position. Helen watches breathlessly as he glances around the room, as though to orient himself. He is unmindful of his nakedness, and the procedure has restored the hair on the back of his head. He lowers his feet to the floor and stands up. He blinks uncertainly, then smiles at Helen.
KLAATU
Hello.
HELEN
(staring at him) I -- I thought you were—
KLAATU
(nodding, with a smile) My body, yes. My brain was… suspended.
HELEN
(looking at Gort in awe) You mean he has the power of life and death?
KLAATU
Death certainly, as do many… life… no, that is a power reserved for the… Universal Spirit. (indicating the equipment Gort used) This technique, in certain cases, can restore life for a limited period.
HELEN
(concerned for him) But how -- how long--?
KLAATU
How long will I live? (he shrugs) Not long. A few of your days.
HELEN
(deeply saddened ) I’m so sorry…
KLAATU
(kindly) Don’t be. Gort and I will be leaving soon, and this ship was not designed to sustain biological systems while in interstellar flight. My being, my nature… will survive indefinitely, in other ways.
Helen is genuinely upset at the thought of his leaving and the knowledge that he is to die. There is a compelling warmth of feeling between these two.
HELEN
(simply, sincerely) We'll miss you very much -- Bobbie and I. (smiling to conceal her real feelings) She won't have anyone to play with.
KLAATU
(he looks at her in warm, considered admiration) Yes she will. (he moves to the raised chair in the middle of the cabin, in front of the pilot’s viewing screen, and motions for Helen to come and sit) Sit here please, I want to show you something before I go. (to Gort) Gort, Colaxia nontor abeta.
HELEN
Show me what?
KLAATU
The universe.
From behind Helen and Klaatu. The large pilot’s viewing screen activates, a series of the inexplicable images manifest themselves
Klaatu and Helen.
KLAATU
Please excuse me.
Klaatu moves to the one door and exits.
From behind the chair Helen is sitting in, with the viewing screen as the images cease, to be replaced by the picture of interplanetary space. The screen depicts rapid movement through an alien system, it’s reddish star coming into view at the top right corner, movement slows as a greenish planet moves into the foreground. The camera moves now in a circle around Helen, stopping in front of her as she continues to stare, transfixed by what she is seeing. Light from the screen illuminates her in a pulsing fashion. Helen smiles, amazed and awed by what she, of all the people on Earth, is seeing. She is joyous, almost to the point of tears.
DISSOLVE TO:
INT. KENNEDY CENTER – OPERA HOUSE - BARNHARDT
Barnhardt continues to greet his guests. Most have taken their seats.
EXT. KENNEDY CENTER - ARMY VEHICLES – NIGHT
An Army convoy pulls up to a halt in front of the building, Colonel Stevens hurries out of the jeep and enters the building, followed by soldiers.
INT. OPERA HOUSE
Colonel Stevens walks in, moving up to Barnhardt, who is motioning for his colleges to sit as the Colonel comes up to him.
The Colonel speaks to Barnhardt with deference, but with unyielding authority.
COLONEL STEVENS
I'm sorry, Professor Barnhardt -- I have to ask you to call off this meeting.
BARNHARDT
Call it off? I... But I had permission from the Army—
COLONEL STEVENS
I know you did. But the robot’s on the loose now and it isn't safe. You'll have to disperse immediately.
Professor Barnhardt accepts this and reluctantly takes a position at a podium on the stage equipped with a microphone, to address the assembly.
BARNHARDT
Ladies and Gentlemen—
Audience stops talking amongst themselves and focus their attention on Barnhardt.
Barnhardt addresses them gravely, with a note of terrible disappointment in his voice.
BARNHARDT
I called you from your work and from your homes all over the world because we were to meet here tonight with a man from another planet -- the man who came in the great ship that landed in this city. (there are audible exclamations of surprise and disappointment) The Military has stated this is no longer possible,
Intercut with the above are group and individual shots of the people in the meeting. They are the cream of Earth's intellectuals -- scientists, churchmen, educators, leaders of social and political thought. One third are women. There are turbaned Indians, Europeans, Chinese, Japanese, Blacks. All religions are represented. Every important world power is represented.
Barnhardt full of chagrin, continues addressing the meeting.
BARNHARDT
--under the circumstances, the Army people have asked us to leave the building. And, since their concern is for our safety, I can do nothing but suggest that we comply, and I assure you that I share the bitterness of your disappointment.
Pan over the audience as they react to this news.
Colonel Stevens, standing in aisle.
COLONEL STEVENS
(Shouting above the din) Ladies and gentlemen, I must ask you leave now. Please, please, make your way toward the exits.
Two soldiers stationed by one of the exits at the rear of the hall, as guests slowly begin to file out. Just as the first approach the exit, the doors violently swing shut of their own accord.
Another exit. The same happens.
First door, as soldiers try to open it to no avail.
The audience begins to realize they are trapped. Some start to panic.
Some panicky guests rush the doors trying to get out, only to be repulsed by an invisible force field, which can only be seen as bluish transparent wall.
Close on people pushing against the transparent field, which undulates against their hands, but will not allow them to move past it.
The field pushes the crowd back, moving back two or three feet from the exits.
Barnhardt at the podium looks on amazed, but calm. He does not notice a similar wall/force field that appears behind him at the back of the stage and which begins to move toward him.
Colonel Stevens can’t believe what is happening, and starts to get angry and frightened.
Barnhardt hears a crackling sound from behind him and turns around, and sees the approaching field.
Force field approaching down stage.
From the back of the stage toward Barnhardt and opera house. Camera moves toward him, two beats.
A thunderous cracking/breaking up sound is heard from the far side of the force field as the rear of the building begins to crack and break apart BACKWARDS, up and out.
Barnhardt, unafraid stares ahead, amazed.
Colonel Stevens transfixed.
Members of the audience turn their attention to the stage and what is happening.
From behind Barnhardt, stage, walls, equipment, continue to be sucked out. The noise is deafening.
EXT. REAR OF THE KENNEDY CENTER – NIGHT
Long shot from above and side. Spaceship hovers over the Potomac near the rear of the building. The parts of the building are being sucked out past the ship, some landing in the water. Two beats.
INT. STAGE - NIGHT.
A huge hole has opened at the back of the building. Everything on the far side of the force field has been surgically removed so the front of the Spaceship can move in to fill it, the ramp descending as it approaches (most of the ship remains outside the building).
Barnhardt quickly leaves the stage to take up a position in the front row of the hall.
Spaceship settles down into the hole it has engineered, stopping as the ramp sets down near the podium. The force field on the stage vanishes.
Barnhardt and most members of the audience focus their attention on the ship. Colonel Stevens moves up the isle near the front of the stage. A startled silence prevails.
Spaceship as the dome opens.
Audience as they react in startled amazement. Then, as they watch, there is a sudden gasp of terror.
Gort appears on the ramp and walks to the side of the door and takes up station there.
Some members of the audience panic at the sight of the robot and rush the rear exits again, only to be met by the still present force field.
Klaatu and Helen appear at the entrance of the ship. Helen walks down the ramp to join Barnhardt, who glances at her with intense curiosity, while Klaatu remains at the head of the ramp. A softball-sized sphere appears from the top of the ship and takes position in front of the stage hovering 20 feet above the audience. Members of the audience look up towards it astonished.
The Colonel stands near the stage, dumbfounded that Klaatu is alive, is flanked by a group of soldiers, their rifles at the ready. His eyes are on the revered figure of Klaatu and he's debating what he should do.
Klaatu. He is a figure of intense dignity, now dressed in his spacesuit/tunic. He stares with even defiance at the armed soldiers, as though holding them off by sheer weight of his personality.
INT. FAMILY LIVINGROOM – NIGHT
American father, mother, and eight year old son watching television in their living room.
Television set tuned into “American Idol,” suddenly blanks out, turning to scene of Klaatu about to address the assembly. Shot is positioned as if the sphere above the audience is a camera.
The father is clearly angry at the interruption. He uses remote to attempt a channel change.
Television as channels are changed. All channels have been usurped and show Klaatu in the Kennedy Center.
Exacerbated father looks at mother, who shrugs.
INT. OPERA HOUSE – KLAATU – NIGHT
Klaatu as he turns to look out at the audience, which is held spellbound. Then, after a breathless moment, he speaks.
KLAATU
(straightforwardly, with almost stern authority) I will be leaving soon and you will forgive me if I speak bluntly. My efforts to seek an audience with representatives of your planet voluntarily have been consistently thwarted, and the message I bring to you is for all the people of every nation. Accordingly we have taken the liberty to broadcast this meeting throughout the entire planet. My name is Klaatu, and I am a representative sent here…
COLONEL STEVENS
(O.S.) Hold it right there,
Colonel Stevens pointing his service pistol at Klaatu, again using his left unbandaged hand.
COLONEL STEVENS
(continued) Klaatu! You won’t be making…
Klaatu staring down at the Colonel.
KLAATU
(interrupting the Colonel, and pointing sternly to him) You, Colonel Stevens… (displaying great restraint) are a very annoying individual. Gort…
Colonel Stevens looks nervously at Gort, shifting his gun between Klaatu and the robot.
Medium shot on Gort.
Colonel Stevens as his pistol is ripped out of his hand, then all the rifles the soldiers are holding are similarly taken. Colonel Stevens, as if punched in the stomach, is pushed back and up, elevated thirty feet above the audience, pushed near the back of the hall and held in place there for the remainder of the scene.
Klaatu resumes (this speech must be emphasized throughout the following series of cuts, and continuous despite transitions from voice and subtitles):
KLAATU
I’ve been sent here as a representative of your neighbors in other solar systems to provide consul, and a warning…
Camera slowly pans over delegates listening to Klaatu with fascinated attention.
KLAATU (O.S.)
…Throughout our explorations of the galaxy we have come to appreciate the rarity and precious nature of all life and extant organisms, and decry the loss of any and all living things, regardless of their stage of development...
KLAATU
no matter how weak, powerful or exotic. We have observed your planet for thousands of your years, and it is generally our policy not to interfere in the natural development of the civilizations which may arise.
INT. BOSTON BAR – NIGHT
Bar in Boston MA, Patrons watch wall mounted television.
KLAATU ON TV SCREEN
However, on Earth we have observed a dramatic tendency for violence and brutality that… if not unique in the galaxy, is noted for its intensity and ruthlessness.
INT. OPERA HOUSE AUDIENCE – NIGHT
Three of the delegates, listening intently. (These three are from Russia, India and France.)
KLAATU (O.S.)
Disregard for the lives of members of your own species and the other forms of life that share this planet with you, is rampant.
KLAATU
For petty economic and perceived political gains, wars are fought, inevitably causing the deaths of hundreds of thousands to millions of your own kind.
INT. WAL-MART – ELECTRONICS DEPARTMENT
All televisions display Klaatu. Shoppers and employees crowd around to watch.
KLAATU ON TV SCREENS
Neglect of your environment is tolerated, even applauded by your elite. These powerful minorities subjugate the majority of citizens of your world, utilizing propaganda, force, and cruelty to maintain their stations.
INT. MEDIUM CLOSE ON KLAATU
KLAATU
We are concerned.
EXT. DODGER STADIUM – DUSK
Scoreboard shows Klaatu speaking.
KLAATU ON SCOREBOARD
Today, as a demonstration of the seriousness we regard the situation; we engineered the detonation of almost seven thousand of your nuclear weapons safely in orbit around the Earth,
Fans fascinated by what they’re seeing and hearing.
Fans fascinated by what they’re seeing and hearing.
KLAATU (O.S.)
unleashing enough power, to destroy their intended targets many times over, and plunge the entire planet into a darkness lasting several hundred years. Even so, this represents less than one third of the total world arsenal still at your disposal, Pitcher on the mound, staring at the scoreboard, open mouthed.
KLAATU ON SCOREBOARD
and we wonder at the eagerness at which your leaders prepare to destroy themselves and their fellow humans.
INT. HOTEL LOUNGE IN TOKYO – DAY
Guests and some employees watching television.
KLAATU ON TELEVISION
Speaking in Japanese. Subtitle appears at bottom of screen:
It is our hope that the governments of your world continue the peaceful destruction of these weapons that began today, until the Earth is free from the threat of their use.
Camera pans through lobby to registration desk, where manager and assistant watch a small TV behind the counter. Pan ends on TV with Klaatu. Subtitle:
In any case, we have observed that those societies that do survive, or live with the risk of nuclear destruction, most certainly will advance their science to further stages of proficiency.
INT. MED SHOT - KLAATU
KLAATU
This has happened on your planet, with astonishing speed. The scientists of the Earth have begun to study and develop extremely powerful technologies that we ourselves use to travel from one star system to another.
INT. AUSTRALIA – KITCHEN - DAY
Sydney Opera House through window. Camera pans to housewife who has stopped preparing breakfast to listen and watch her TV. She picks up her baby.
KLAATU ON TELEVISION
If you continue to develop and perfect Displacement Field technology, you may be able to devise interstellar travel as well. However, we must inform you that roughly ninety percent of those civilizations that begin experiments destroy themselves in the process.
EXT. BANGALORE – CUSTOMER SERVICE CALL CENTER – NIGHT
All the computers depict Klaatu. Some employees watch, others are perplexed at how to get back to work.
Klaatu speaking in Kannadian, and O.S. as camera pans from computer screens, to room filled with personnel. Subtitle:
The inherent destructive power involved with the development of this technology has prompted the governments that have funded this research to keep it a secret from you,
INT. MED SHOT KLAATU
KLAATU
recognizing that it can also be applied as a weapon of destruction. A vast weapon capable of the total annihilation of entire societies, of entire planets.
INT. VATICAN – POPES RESIDENCE - NIGHT
The pope is watching his television, dressed in bedclothes. Attendants stand by. Camera slowly pans from in front of the pope to Klaatu speaking on TV.
KLAATU O.S. AND ON TELEVISION (in Italian)
Subtitle:
Noting the history of your world we cannot allow you to spread your ferocity and violence to other solar systems, and we could simply stand by until you destroy yourselves,
INT. PARIS - TAXI- NIGHT
Female passenger and male driver listen on radio.
KLAATU O.S. (speaking in French)
Subtitle:
thus ending the threat you impose. Yet, we offer an alternative solution.
EXT. LONG SHOT – TIMES SQUARE – NIGHT
Traffic has almost halted as citizens look up to the huge central screen (and all other animated signs) as Klaatu continues.
KLAATU ON SCREEN
The Universe grows smaller every day -- and the threat of aggression by any group --
Crowd of on lookers.
KLAATU (O.S.)
anywhere -- will not be tolerated. There must be security for all -- or no one is secure...
Girlfriend shows her cell phone to her boyfriend.
KLAATU (O.S.)
Accordingly we have instituted an organization for the mutual protection of all planets --
Close on cell phone is also displaying Klaatu.
KLAATU ON CELL PHONE
its goal being the complete elimination of aggression.
INT. MED LONG SHOT - KLAATU
With Gort behind him.
KLAATU
The test of any such higher authority, of course, is the police force that supports it. For our policemen, a race of robots was created-- (indicating Gort) their function is to patrol the planets -- in space ships like this one -- and preserve the peace. In matters of aggression they have been given absolute power over us.
Medium shot on Gort.
KLAATU (O.S.)
At the first sign of violence they act automatically against the aggressor. And the penalty for provoking their action is too terrible to risk.
Medium shot on Klaatu.
KLAATU
The result is that we live in peace, without arms or armies, secure in the knowledge that we are free from hostility and war -- free to pursue more profitable enterprises.
Close on American delegate.
KLAATU (O.S.)
If you agree to join us, we offer our help in guiding you
Back on Klaatu.
KLAATU
through this developmental stage. Without our assistance your chances of survival are negligible.
Quick reaction cuts of four delegates, reflecting their stark terror and bewilderment.
KLAATU (O.S.)
We can guarantee safe passage, as well as a multitude of advantages that continued relations between the Earth and the other planets can bring, all to our mutual advantage.
Back on Klaatu.
KLAATU
This does not mean giving up any of your freedoms, except the freedom to act irresponsibly. (after a pause) We do not pretend to have achieved perfection – some could argue that peace enforced with the threat of retribution is disingenuous and unethical. However, we recognize our own lowly, violent origins, that we ourselves have evolved from, and guard against their reemergence. We do have a system --
Medium close on Klaatu.
KLAATU
and it has worked for half a million years. (with straightforward candor) I came here to give you the facts and ask you to join us if you accept the terms. It is no concern of ours how you run your own planet -- but if you decline our offer, survive, and extend your violence to the stars, this Earth of yours will be reduced to a burned- out cinder.
Another angle. Camera moves slowly in front of Klaatu as he concludes quietly, incisively.
KLAATU
Your choice is simple. Join us and live in peace. Or pursue your present course -- and ace obliteration. (after a pause) We beg you not to be complacent. The decision rests with you. We will be waiting for your answer.
By the time he reads the last line, the camera has moved into a head shot close up
The delegates. Camera moves along a row of their faces, stunned and silent, their minds unable to cope with the enormity of what they have heard.
Klaatu turns and walks up to Gort.
KLAATU
Gort – veracto bracto.
Gort enters the ship.
Medium close on Klaatu as he smiles, nods, and gestures toward Helen.
Close on Helen as she returns the smile and waves goodbye. Helen's face shows her emotions at this strange parting.
Close on Barnhardt. He is moved and impressed.
Klaatu turns and disappears into the ship, and the ramp and door close behind him.
Spaceship. From inside the ship comes the muffled roar of great power generating, the ship ramping up its main engines.
The delegates watching breathless, stunned by what they have heard and seen.
The Spaceship. As the sound from inside it builds, the great ship slowly backs out of the building.
EXT. LONG SHOT – SPACESHIP – NIGHT
The Spaceship backs away from the Kennedy Center, hovering over the Potomac.
INT. OPERA HOUSE STAGE
Barnhardt, Helen, and others attendees approach the exit the ship has made to watch it depart.
INT. OPERA HOUSE – COLONEL STEVENS
Colonel Stevens is released from the force field holding him in place and falls to the floor.
EXT. LONG SHOT – SPACESHIP
The Spaceship slowly moves up into the sky, gaining speed, its engines making a tremendous roar.
REACTION CUTS OF DELEGATES
All are deeply moved and impressed. In the mind of each is the burning question that Klaatu has posed for them.
LONG SHOT - THE SHIP
as it soars away into the inky blackness of outer space.
FADE TO BLACK
THE END. END TITLES AND MUSIC.
ALTERNATIVE ENDING
CONTINUED
Spaceship. From inside the ship comes the muffled roar of great power generating, the ship ramping up its main engines.
The delegates watching breathless, stunned by what they have heard and seen.
Spaceship. As the sound from inside it builds to a climax, the great ship slowly backs out of the building.
EXT. LONG SHOT - SPACESHIP – NIGHT
The Spaceship backs away from the Kennedy Center, and hovers over the Potomac.
INT. OPERA HOUSE STAGE
Barnhardt, Helen, and others attendees approach the exit the ship has made to watch the ship.
EXT. LONG SHOT –SPACESHIP
Spaceship slowly moves up into the sky, gaining speed, its engines making a tremendous roar.
REACTION CUTS OF DELEGATES
All are deeply moved and impressed. In the mind of each is the burning question that Klaatu has posed for them.
LONG SHOT - THE SHIP
as it soars away into the inky blackness of outer space.
INT. OPERA HOUSE – NIGHT
The delegates, with Barnhardt and Helen in the lead, wander back inside coming down stage.
COLONEL STEVENS (O.S.)
Hey!
Colonel Stevens still held in place.
COLONEL STEVENS
Somebody get me down from here!
Barnhardt, Helen, delegates look up to the Colonel.
The Opera House hall from the stage. Colonel Stevens is held in place in the background, sphere hovers in the air midway between stage and Stevens. Suddenly, the sphere moves out toward the opening at the back of the stage.
Barnhardt, Helen, delegates, look up as the sphere moves overhead, the out into the night.
Long shot. Colonel Stevens is released from the force field holding him in place and falls to the floor.
Barnhardt and delegates look at the fallen Colonel. Helen, holds her hand up to her mouth in surprise.
FADE OUT
EXT. BOARDING HOUSE - DAY
Boarding House. Hoards of reporters crowd near the front door, their television news vans parked in the street nearby.
INT. BOARDING HOUSE – DINNING ROOM – DAY
Helen, Mr. Krull, Mr. And Mrs. Barley, sit at table, having just finished breakfast. Kelly and Bobbie are at the curtained window looking out at the crowd of reporters outside.
KELLY
How long do you think they’ll keep this up?
HELEN
They should get tired soon…
MRS. BARLEY
It’s already been a week since that… man, left, and they’re still making a nuisance. I do wish they’d go away. I can’t even go to the market without them pestering me about you (looking at Helen reproachfully).
MR. BARLEY
(lightly defending Helen) I’m sure they’ll go when the next big story breaks. In a few days hardly anyone will even remember the spaceman…
MRS. BARLEY
(annoyed with her husband) I certainly hope so.
HELEN
I don’t. I hope they remember him, and what he said, for a long, long, time.
MRS. BARLEY
You don’t take that nonsense seriously, do you, Mrs. Benson?
HELEN
Yes! Yes I do…
KELLY
Oh, oh.
HELEN
What’s the matter?
BOBBIE
The police are here again.
HELEN
The police?
KELLY
(ominously) No. It’s the Army.
EXT. STREET OUTSIDE – DAY
Three military vehicles, one truck filled with soldiers, pull up to the boarding house, followed by a limousine with dark tinted windows. Two humvees follow the limo. Soldiers file out and make a path through the reporters for General Shapiro, who exits limo, making his way to the door of the boarding house.
INT. BOARDING HOUSE FOYER - DAY
Father Crockett answers the door.
FATHER CROCKETT
Yes?
GENERAL SHAPIRO
My name is Shapiro, General Shapiro. I need to see Mrs. Benson please. Is she in?
Father Crockett hesitates, wanting to protect Helen from the military he does not entirely trust. Helen enters foyer.
HELEN
Yes, I’m Mrs. Benson. Thank you, Father.
GENERAL SHAPIRO
(takes off his hat, and briefly smiles) I’m General Shapiro, Mrs. Benson. I must ask you to accompany me…
HELEN
But I’ve already been debriefed several times. The President said…
GENERAL SHAPIRO
Yes, I know. This does not involve another debriefing. We need you for… something else. I’ll explain in the car.
Kelly and Bobbie join Helen.
HELEN
(suspicious) The reporters outside will know you’ve taken me…
GENERAL SHAPIRO
There’s no need to worry, Mrs. Benson. I guarantee it.
BOBBIE
What’s the matter, mom?
HELEN
(looks from General, down to Bobbie, trying to reassure her) Nothings wrong, baby. I just need to go talk to the Army people again.
BOBBIE
(she doesn’t trust the military either) But you already did that. Why do you have to go again? How long will you be gone?
GENERAL SHAPIRO
(kneels down to Bobbie’s level) Don’t worry, young lady. I just need to show your mother something. I promise to bring her back real soon.
BOBBIE
When?
GENERAL SHAPIRO
Real soon.
BOBBIE
Promise?
The General shakes his head in the affirmative.
HELEN
(to Kelly) Can you watch her for a little while?
KELLY
Yeah, sure.
HELEN
(to the General) Let me get my purse.
EXT. BOARDING HOUSE STREET
General Shapiro escorts Helen down steps and into limo, deflecting the furious questions shouted to them from the reporters. All the military vehicles, and limo, drive off.
DISSLOVE TO:
EXT. LONG SHOT – BETHESDA NAVAL MEDICAL CENTER
The military convoy and limo pulls up to entrance and stops.
INT. HOSPITAL CORRIDOR
Helen, escorted by General Shapiro walk down the hallway, followed by two soldiers. Helen is anxious.
Approaching doorway guarded by two Marine corporals.
Helen and General Shapiro stop at the door as one of the Marines opens it to allow them to enter.
Helen and General Shapiro enter a small waiting room.
Helen wonders what is going on.
General Shapiro stands by as another Marine opens a door at the other side of the room. The General motions for Helen to go ahead and enter, he clearly has no intention of going inside. Apprehensive, Helen enters.
Helen enters, as the door closes behind her. She looks around, and sees…
Klaatu sitting up in hospital bed, smiling at her.
Helen puts her hand to her mouth in surprise, with a sharp intake of breath. She doesn’t understand how this could be.
KLAATU
Good morning.
HELEN
But how…
KLAATU
It’s a long story. How is Bobbie?
HELEN
She’s… she’s fine, she’s fine. Is it really you? We saw you leave.
KLAATU
Yes, you did. I’ll explain later. I understand you’re still looking for work.
HELEN
What?
KLAATU
I’m asking you if you want a job?
HELEN
What… what do you mean?
KLAATU
I’m going to need an assistant. I prefer to have someone I can trust. Are you interested?
Helen. (Overwhelmed, but happy) She beams at him.
DISSOLVE TO:
INT. HOSPITAL ROOM
Hospital room. Klaatu is just finishing getting dressed. Helen is helping him put on a coat. General Shapiro stands near by.
GENERAL SHAPIRO
We’ve arranged a suite for you at the Watergate. We’d still prefer you stay at Fort McNair. We can provide better…
KLAATU
(interrupting) Thank you, General. The suite will be just fine. Your government needn’t worry, I’ll soon be able to pay for myself. Are my appointments with Microsoft, General Electric, and NASA confirmed?
GENERAL SHAPIRO
(warily) Yes. You’ll meet with their representatives tomorrow.
KLAATU
Good. Before we go to the hotel I’d like to look in on a friend.
HOSPITAL ROOM – COLONEL STEVENS – DAY
Close on Colonel Stevens in hospital bed, severely restricted as both his legs are in casts and elevated with weights. Both hands are now bandaged. His jaw was broken, and is bandaged, restricting his speech to grunts. Camera pulls back slightly
Klaatu and Helen looking at him.
KLAATU
It’s good to see you’re doing so well, Colonel.
Colonel Stevens. Angry and frustrated.
Klaatu and Helen.
KLAATU
I hear it shouldn’t take more than three of four months for you to mend. I’ll look forward to working with you when you’re well.
Colonel Stevens.
Klaatu and Helen.
KLAATU
We must be going. Mrs. Benson or I will look in on you from time to time, in case you need anything. Goodbye.
HELEN
Goodbye.
INT. HALLWAY OUTSIDE – WALTER REED HOSPITAL – DAY
Klaatu, Helen, and Colonel Peters, who is Colonel Stevens doctor, confer.
KLAATU
You’re sure he’ll heal properly, Colonel?
COLONEL PETERS
(a bit awed talking to the spaceman) Oh, yes. It will just take time. Of course, the nature of his wounds, well they’re quite painful. We’ll sedate him, but… I’m told you have medicines that can help him heal faster?
KLAATU
Yes…
Klaatu smiles slightly and walks away from Peters, Helen follows.
Klaatu and Helen, followed by General Shapiro, walk down hospital corridor toward exit.
HELEN
I can’t believe they’re just letting you leave.
KLAATU
They don’t have much choice.
HELEN
Why is that?
KLAATU
I’ve been accorded diplomatic status by your government. I’m now Ambassador Klaatu. Besides, I still have important friends in high places.
She looks at him questioningly. He points to an object above their heads.
From above and behind the group as they move toward door. A softball sized sphere hovers a foot above and behind Klaatu and Helen, as if watching over them, which is exactly what it is doing.
KLAATU
Now, let’s go collect your daughter.
HELEN
(smiles) Alright.
EXT. WALTER REED HOSPITAL ENTERANCE – DAY
Klaatu and Helen walking out into the sunlight.
Aerial view of the group, as the sphere leaves them, spirals above them in a wide arc, then streaks directly into camera.
BLACK OUT
THE END. END TITLES AND MUSIC.
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