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: THE END
 When a flying saucer lands in Washington, D.C., the Army quickly surrounds the spaceship. A humanoid (Michael Rennie) emerges, announcing that he has come in peace. As he advances, he unexpectedly opens a small device and is shot by a nervous soldier. A tall robot emerges from the saucer and quickly disintegrates the soldiers' weapons with an energy ray. The alien orders the robot, Gort, to stop. He explains that the broken device was a gift for the President, which would have enabled him "to study life on the other planets".
The alien is taken to Walter Reed Hospital, where he reveals his name: Klaatu. After surgery, Klaatu uses a salve to quickly heal himself. Meanwhile, the military is unable to enter his saucer; Gort stands outside, silent and unmoving.
Klaatu tells the President's secretary, Mr. Harley (Frank Conroy), that he has a message that must be delivered to all the world's leaders simultaneously. Harley tells him that such a meeting in the current political climate is impossible. Klaatu suggests that he be allowed to go among humans to better understand their "unreasoning suspicions and attitudes". Harley rejects the proposal and leaves Klaatu under guard.
Klaatu escapes and lodges at a boarding house as "Mr. Carpenter", the name on the dry cleaner's tag on the suit he "borrowed". Among the residents are young widow Helen Benson (Patricia Neal) and her son Bobby (Billy Gray). The next morning, Klaatu listens to the boarders speculate about why the alien has come.
While Helen and her boyfriend Tom Stephens (Hugh Marlowe) go out, Klaatu babysits Bobby. The boy takes Klaatu on a tour of the city, including a visit to his father's grave in Arlington National Cemetery; Klaatu learns that most of those buried there were killed in wars. The two visit the Lincoln Memorial, then the heavily guarded spaceship. Klaatu asks Bobby who is the greatest living person; Bobby suggests Professor Barnhardt (Sam Jaffe), who lives in the capital. Bobby takes Klaatu to Barnhardt's home, but the professor is absent. Klaatu adds a mathematical equation to a problem on Barnhardt's blackboard and leaves his contact information with the suspicious housekeeper.
That evening, a government agent takes Klaatu to Barnhardt. Klaatu explains that the people of the other planets have safety concerns now that humanity has developed rockets and a rudimentary form of atomic power. Klaatu declares that if his message is ignored, "Earth will be eliminated". Barnhardt agrees to gather scientists from around the world at the spaceship; he then suggests that Klaatu give a harmless demonstration of his power. Klaatu returns to his ship that night, unaware that Bobby has followed him. Bobby sees Gort knock out two sentries and "Mr. Carpenter" enter the spaceship.
Bobby tells Helen and Tom what he saw, but they do not believe him until Tom takes a diamond he found in Klaatu's room to a jeweler and learns it is "unlike any other on Earth". Klaatu finds Helen at her workplace, and they take an empty service elevator which abruptly stops precisely at noon. Klaatu reveals his identity and his mission, then asks for her help. He has neutralized all electricity everywhere, except for such things as hospitals and aircraft in flight.
Exactly 30 minutes later, the blackout ends. When Tom informs the military of his suspicions, Helen breaks up with him. Helen and Klaatu take a taxi to Barnhardt's home. En route, he tells her that should anything happen to him, she must tell Gort "Klaatu barada nikto". Klaatu's taxi is spotted and hemmed in; he makes a break for it and is gunned down. Helen quickly heads to the saucer. Gort disintegrates both sentries and advances on her. When Helen utters Klaatu's three words, the robot carries her into the saucer, then leaves to retrieve Klaatu's body. Later, Gort revives Klaatu. Klaatu explains to Helen that his revival is only temporary, that the power of life and death is "reserved for the Almighty Spirit".
Klaatu and Helen emerge from the spaceship and tells Barnhardt's assembled scientists that the people of Earth can join the other planets in peace, but should they threaten to extend their violence into space, "this Earth of yours will be reduced to a burned-out cinder." Klaatu and Gort then fly away.
When a flying saucer lands in Washington , D.C. , the Army quickly surrounds the spaceship . A humanoid ( Michael Rennie ) emerges , announcing that he has come in peace . As he advances , he unexpectedly opens a small device and is shot by a nervous soldier . A tall robot emerges from the saucer and quickly disintegrates the soldiers ' weapons with an energy ray . The alien orders the robot , Gort , to stop . He explains that the broken device was a gift for the President , which would have enabled him to study life on the other planets . The alien is taken to Walter Reed Hospital , where he reveals his name : Klaatu . After surgery , Klaatu uses a salve to quickly heal himself . Meanwhile , the military is unable to enter his saucer ; Gort stands outside , silent and unmoving . Klaatu tells the President s secretary , Mr. Harley ( Frank Conroy ) , that he has a message that must be delivered to all the world s leaders simultaneously . Harley tells him that such a meeting in the current political climate is impossible . Klaatu suggests that he be allowed to go among humans to better understand their unreasoning suspicions and attitudes . Harley rejects the proposal and leaves Klaatu under guard . Klaatu escapes and lodges at a boarding house as Mr. Carpenter , the name on the dry cleaner s tag on the suit he borrowed . Among the residents are young widow Helen Benson ( Patricia Neal ) and her son Bobby ( Billy Gray ) . The next morning , Klaatu listens to the boarders speculate about why the alien has come . While Helen and her boyfriend Tom Stephens ( Hugh Marlowe ) go out , Klaatu babysits Bobby . The boy takes Klaatu on a tour of the city , including a visit to his father s grave in Arlington National Cemetery ; Klaatu learns that most of those buried there were killed in wars . The two visit the Lincoln Memorial , then the heavily guarded spaceship . Klaatu asks Bobby who is the greatest living person ; Bobby suggests Professor Barnhardt ( Sam Jaffe ) , who lives in the capital . Bobby takes Klaatu to Barnhardt s home , but the professor is absent . Klaatu adds a mathematical equation to a problem on Barnhardt s blackboard and leaves his contact information with the suspicious housekeeper . That evening , a government agent takes Klaatu to Barnhardt . Klaatu explains that the people of the other planets have safety concerns now that humanity has developed rockets and a rudimentary form of atomic power . Klaatu declares that if his message is ignored , Earth will be eliminated . Barnhardt agrees to gather scientists from around the world at the spaceship ; he then suggests that Klaatu give a harmless demonstration of his power . Klaatu returns to his ship that night , unaware that Bobby has followed him . Bobby sees Gort knock out two sentries and Mr. Carpenter enter the spaceship . Bobby tells Helen and Tom what he saw , but they do not believe him until Tom takes a diamond he found in Klaatu s room to a jeweler and learns it is unlike any other on Earth . Klaatu finds Helen at her workplace , and they take an empty service elevator which abruptly stops precisely at noon . Klaatu reveals his identity and his mission , then asks for her help . He has neutralized all electricity everywhere , except for such things as hospitals and aircraft in flight . Exactly 30 minutes later , the blackout ends . When Tom informs the military of his suspicions , Helen breaks up with him . Helen and Klaatu take a taxi to Barnhardt s home . En route , he tells her that should anything happen to him , she must tell Gort Klaatu barada nikto . Klaatu s taxi is spotted and hemmed in ; he makes a break for it and is gunned down . Helen quickly heads to the saucer . Gort disintegrates both sentries and advances on her . When Helen utters Klaatu s three words , the robot carries her into the saucer , then leaves to retrieve Klaatu s body . Later , Gort revives Klaatu . Klaatu explains to Helen that his revival is only temporary , that the power of life and death is reserved for the Almighty Spirit . Klaatu and Helen emerge from the spaceship and tells Barnhardt s assembled scientists that the people of Earth can join the other planets in peace , but should they threaten to extend their violence into space , this Earth of yours will be reduced to a burned-out cinder . Klaatu and Gort then fly away .
http://en.wikipedia.org/wiki/The_Day_the_Earth_Stood_Still
The Day the Earth Stood Still
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<title>THE DAY THE EARTH STOOD STILL</title>
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<pre>
<b>                             "THE DAY THE EARTH STOOD STILL"
</b>
                                            by

                                     Edmund H. North

                                   Revised final draft

                                    February 21, 1951

<b>                
</b>
<b>               EXT. BEACH - PACIFIC ISLAND - MED. SHOT - DAY
</b>
               Backgrounded by palm trees and rolling surf, an American 
               army radar operator sits at his huge instrument, intently 
               tracking a target. Without interrupting this, he speaks with 
               tense excitement into a telephone transmitter strapped to 
               his chest. (It is 8:00 a.m.)

               (In this and the subsequent scenes, music and cutting build 
               to an exciting crescendo).

<b>               EXT. FIELD - HONG KONG - MED. SHOT - DAY
</b>
               A group of British soldiers, in shorts and tropical gear, 
               are gathered tensely around a piece of radar equipment, which 
               is tracking a target. The radar operator says something to 
               another soldier, who turns and speaks excitedly into a field 
               telephone. (It is 5:00 a.m.)

<b>               INT. INDIAN RADIO STATION - NIGHT
</b>
               The microphone bears the word CALCUTTA. An Indian announcer, 
               his expression one of excitement and terror, jabbers into 
               the mike in a native tongue. A clock on the wall indicates 
               that it is 2:26

<b>               EXT. RUSSIAN BOMBER IN FLIGHT - (STOCK) - NIGHT
</b>
               The plane is identified by a red star on the fuselage.

<b>               INT. RUSSIAN BOMBER - NIGHT
</b>
               The radioman is tracking an object on his radar scope. He 
               points it out excitedly to the pilot. The pilot adjusts his 
               microphone and starts making a report back to his base in 
               Russian.

<b>               EXT. FRENCH VILLAGE - STREET CORNER - MED. CLOSE SHOT - 
</b><b>               NIGHT
</b>
               A group of French farmers is collected around a radio, 
               listening wide-eyed to the keyed-up voice which is telling 
               them, in French, of a strange object that has been seen in 
               the sky. They exchange uneasy glances. One old man crosses 
               himself.

<b>               SPLIT SCREEN SHOT
</b>
<b>               RIGHT SECTION OF SCREEN SHOWS INT. AMERICAN RADIO STATION - 
</b><b>               DAY
</b>
               A breathless American radio reporter is speaking into his 
               mike, but we can't hear what he's saying. On the wall behind 
               him is a clock which reads 3:32.

<b>               LEFT SECTION OF SCREEN SHOWS INT. BRITISH RADIO STATION - 
</b><b>               NIGHT
</b>
               A clock shows the time to be 8:32. The British announcer 
               tries to maintain his traditional BBC calm, but finds it 
               almost impossible to control his excitement.

<b>                                     BRITISH ANNOUNCER
</b>                         Reports are coming in from all over 
                         the Empire -- from all over the world. 
                         The Government have not yet issued a 
                         statement, but there seems to be no 
                         question that there actually is a 
                         large, unidentified object circling 
                         the earth at incredible speed.

               This announcer keeps talking, but his voice fades out, and 
               now we hear the words the American announcer is saying...

<b>                                     AMERICAN ANNOUNCER
</b>                              (staccato with 
                              excitement)
                         We still don't know what it is or 
                         where it's from - but we do know 
                         there's something there. It's been 
                         tracked around the world by radar 
                         traveling at a rate of four thousand 
                         miles an hour.

<b>               INT. NEW YORK TAXI - DRIVER AND FARE  DAY
</b>
               The driver and his fare are listening intently to the radio, 
               as we hear the voice of another radio reporter.

<b>                                     2ND RADIO REPORTER
</b>                              (voice off scene)
                         This is not another "flying saucer" 
                         scare. Scientists and military men 
                         have already agreed on that. Whatever 
                         this is -- it's something real.

<b>               EXT. SUBURBAN GAS STATION
</b>
               The attendant, who is filling a car with gas, leans around 
               to hear the car's radio, oblivious to the fact that the car's 
               tank is overflowing.

<b>                                     3RD RADIO REPORTER
</b>                              (voice off scene)
                         We interrupt this program to give 
                         you a bulletin just received from 
                         one of our naval units at sea. "A 
                         large object, traveling at supersonic 
                         speed, is headed over the North 
                         Atlantic toward the east coast of 
                         the United States."

               Music builds to a climax and ends.

<b>               INT. WASHINGTON RADIO STATION
</b>
<b>                                     4TH RADIO REPORTER
</b>                              (with deliberately 
                              controlled calm)
                         Here in the nation's capital, there 
                         is anxiety and concern, but no outward 
                         sign of panic. As a matter of fact, 
                         there are signs of normalcy that 
                         seem strangely out of place; the 
                         beautiful spring weather, the tourist 
                         crowds at the various monuments and 
                         public buildings...

<b>               EXT. LINCOLN MEMORIAL - LONG SHOT (STOCK)
</b>
               A small crowd of tourists is climbing the steps to the 
               columned entrance.

<b>               EXT. WASHINGTON MONUMENT - LONG SHOT (STOCK)
</b>
               Under this shot a barely audible, distant hum is heard. It 
               grows in volume so imperceptibly in this and the next two 
               shots that we are unconscious of it.

<b>               EXT. JEFFERSON MEMORIAL - LONG SHOT (STOCK)
</b>
<b>               EXT. THE MALL - LONG SHOT
</b>
               Crowds are strolling on the Mall and across the well-kept 
               lawns in front of the Smithsonian Institution with the 
               leisurely, meandering quality that distinguishes sight-seers.

<b>               MED. SHOT
</b>
               Including several small groups of people moving toward the 
               Smithsonian. Their attention is attracted as the hum off 
               scene becomes a roar. The sound is unearthly in its intensity 
               and almost unbearable in its swiftly increasing volume. The 
               people stop in their tracks and look up in the sky in terror.

<b>               MED. CLOSE SHOT
</b>
               Several people on the steps of the Smithsonian have turned 
               to look. There is cold, frozen fear in their eyes. The awful 
               sound keeps increasing in volume.

<b>               CLOSE SHOT
</b>
               A man, following the progress of a huge object in the sky 
               with his eyes. He is held terror-stricken.

<b>               LONG SHOT INTO SKY (SERSEN SHOT)
</b>
               A giant shape, still at some distance, is approaching the 
               earth at incredible speed.

<b>               LONG SHOT ON GROUND
</b>
               A group of people run wildly across a large expanse of lawn. 
               A huge shadow cast from above onto the grass seems to be 
               pursing them.

<b>               LONG SHOT INTO SKY (SERSEN SHOT)
</b>
               The great shape is considerably nearer now.

<b>               CLOSE SHOT
</b>
               Of a woman, thoroughly shaken, held immobile by what she 
               sees and hears.

<b>               LONG SHOT
</b>
               People scatter madly in all directions as the huge spaceship 
               comes in for a landing on a smooth, grassy area. The 
               tremendous roar of its motors is suddenly cut off and the 
               great ship settles gently to a perfect landing.

<b>               MED. SHOT - THE SHIP
</b>
               The gleaming surface of the ship shows no break of any kind -- 
               no windows, no ports, not even the outline of a hatch. It is 
               a fearsome, terrifying object, giving no evidence of its 
               source or its intention.

<b>               LONG SHOT - (FROM PARALLEL)
</b>
               Shooting down on a section of lawn, showing the varying 
               reactions of people to the landing. Some are still running 
               madly away; others, singly and in little groups, stand as 
               though rooted, staring at the ship from a respectful distance.

<b>               CLOSE SHOT - MAN
</b>
               As he stares at the ship with fascination and horror. He'd 
               like to run but he can't. His mouth twitches and he emits a 
               nervous little laugh.

<b>               MED. CLOSE SHOT
</b>
               A woman is holding a two-year-old child by the hand as she 
               watches the ship, awe-struck. Several people run past them. 
               Suddenly the woman grabs up the child with a little sob, 
               turns and runs away.

<b>               MED. SHOT
</b>
               A middle-aged man runs up to a group of several people, 
               pointing wildly toward the ship and yelling irrationally:

<b>                                     MAN
</b>                         They're here! They're here!

               He runs off toward another group as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               MONTAGE
</b>
               A series of short DISSOLVES showing:

               1. A man dashing up to a crowded Washington street corner 
               shouting wildly and gesticulating in the direction from which 
               he came.

               2. Policemen piling into squad cars, which roar out of their 
               garage.

               3. Soldiers rushing out of a barracks at Fort Myer, with 
               rifles and side arms, to form up on their company street.

               4. Newspaper presses rolling at high speed.

               5. Newscasters chattering excitedly into their microphones.

               6. A large telephone switchboard with the girls in a frenzy 
               of activity as they try to handle the calls pouring in.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. BASEBALL STADIUM - LONG SHOT
</b>
               The players are standing on the field in the crowded stadium, 
               but the game has been interrupted and everyone is listening 
               to the voice on the loudspeaker system. (Actual stock shot 
               would be coverage of some dedication or ceremonial.)

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. PENTAGON OFFICE - CLOSE SHOT
</b>
               A Brigadier General speaks in clipped tones into the 
               telephone. There are a couple of other officers in the room.

<b>                                     BRIGADIER GENERAL
</b>                              (into phone)
                         Get me the Chief of Staff.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. U.S. SENATE OR HOUSE OF REPRESENTATIVES (STOCK)
</b>
               A shot, if one is available, of either House listening raptly 
               as an announcement of great import is read by the Chair.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. OFFICE - CLOSE SHOT
</b>
               A distinguished-looking government official speaks into the 
               phone with a sense of subdued urgency.

<b>                                     GOVERNMENTAL OFFICIAL
</b>                         I want to speak to the President.
                              (listens for a moment)
                         I'm sorry -- you'll have to interrupt 
                         him.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. RADIO AND TELEVISION STUDIO - MED. SHOT
</b>
               A nationally known news commentator -- for purposes of this 
               script let's say Drew Pearson -- is seated before a radio 
               mike. He is also being photographed by TV cameras. In a wall 
               near him is a TV screen which shows what is going out on the 
               air. During the ensuing speech, a man comes in a hands him a 
               sheaf of news bulletins.

<b>                                     PEARSON
</b>                         Good afternoon, ladies and gentlemen, 
                         this is Drew Pearson. We bring you 
                         this special radio-television 
                         broadcast to give you the latest 
                         information on the landing of the 
                         "space ship" in Washington.

<b>               CLOSE SHOT - PEARSON
</b>
<b>                                     PEARSON
</b>                         Government and Defense Department 
                         officials are concerned by reports 
                         of panic in several large Eastern 
                         cities. I am authorized to assure 
                         you that so far there is no reasonable 
                         cause for alarm. The rumors of 
                         invading armies and mass destruction 
                         are based on hysteria and are 
                         absolutely false. I repeat -- these 
                         rumors are absolutely false!

<b>               ANOTHER ANGLE
</b>
<b>                                     PEARSON
</b>                         The ship, designed for travel outside 
                         the earth's atmosphere, landed in 
                         Washington today at 3:47 p.m., Eastern 
                         Standard Time. We still don't know 
                         where it came from, but I can reveal 
                         that military leaders are considering 
                         two possibilities; that it came from 
                         some unfriendly power here on earth -- 
                         or that it actually arrived from 
                         another planet.

               CAMERA PANS to and DOLLIES IN on the TV screen in the wall. 
               On the screen is a shot of the space ship.

<b>                                     PEARSON'S VOICE
</b>                              (over scene)
                         The ship is resting exactly where it 
                         landed two hours ago, and there has 
                         been no sign of life from inside it.

               OUR CAMERAL HOLDS on the TV screen. The cuts that follow are 
               inside the frame of the screen:

<b>               EXT. THE MALL - MED. SHOT
</b>
               Two platoons of infantry soldiers surround the ship, their 
               rifles at the ready.

<b>                                     PEARSON'S VOICE
</b>                              (over scene)
                         Troops have been rushed from Fort 
                         Myer and they have formed a cordon 
                         around the ship.

<b>               MED. SHOT
</b>
               showing two machine guns, two Sherman tanks and two 75MM 
               guns. The gun crews are posted for action and all weapons 
               are trained on the space ship.

<b>                                     PEARSON'S VOICE
</b>                              (over scene)
                         They are supported by machine guns, 
                         tanks and artillery.

<b>               MED. SHOT - POLICE CORDON
</b>
               Cops are holding back a section of a large crowd, some 
               distance away from the ship. The people are wide-eyed and 
               tense with excitement.

<b>                                     PEARSON'S VOICE
</b>                              (over scene)
                         Behind police lines, there is a large 
                         crowd of curiosity seekers.

<b>               SERIES OF INDIVIDUAL CUTS
</b>
               1. Civilians in the crowd, their eyes and nerves taut with 
               suspense.

               2. A young soldier, who grips his rifle and moistens his 
               lips nervously, his eyes never leaving the ship.

               3. A tank commander blinks from the tension of staring at an 
               unmoving object.

               4. The last cut is of the ship itself.

<b>                                     PEARSON'S VOICE
</b>                              (over scene)
                         As you can see for yourself, the 
                         Army has taken every precaution to 
                         meet whatever the situation may 
                         require. Every eye -- every weapon -- 
                         is trained on the ship. It's been 
                         this way for two hours and the tension--

<b>               CLOSE SHOT - PEARSON
</b>
               as he interrupts himself excitedly, his attention riveted on 
               the TV screen.

<b>                                     PEARSON
</b>                         Just a minute, ladies and gentlemen! 
                         I think I see something moving!

<b>               EXT. THE MALL - MED. LONG SHOT - DAY
</b>
               We are at the actual location now, not looking at TV. We see 
               the ship surrounded by soldiers, two medium tanks, two 
               artillery pieces, and a couple of machine guns. Some distance 
               away is a suggestion of the crowd of civilians, held back by 
               police. Prominent in the scene are newsreel and television 
               cameras. OUR CAMERA MOVES IN to MED. SHOT. As it does so, we 
               see a couple of metal objects rising slowly from the top of 
               the ship. One, which is an oddly-designed coil of wire, slides 
               up and revolves slowly. The other is a section of vented 
               pipe with a convex cap on it.

<b>               REVERSE ANGLE
</b>
               on the soldiers, their eyes glued to this first sign of 
               activity from the ship. They shift uneasily, gripping their 
               rifles more firmly.

<b>               MED. SHOT - THE SHIP
</b>
               After a long, tense moment, a ramp appears silently out of 
               the side of the ship and slides down to the ground. There is 
               an audible gasp as a man appears at the top of the ramp. He 
               looks around at the crowd with cool and imperturbable dignity. 
               This is KLAATU. He is completely human in appearance. The 
               only unearthly thing about him is his clothing. He wears a 
               tunic that is very good looking, but at the same time 
               thoroughly comfortable and practical. On his head is a metal 
               helmet that obscures most of his face. (It would be impossible 
               to identify him later.) The design of this helmet gives the 
               impression that it is more a formal headdress than for 
               protection. Klaatu is above all an impressive man -- a man 
               of tremendous dignity and presence. He has the tolerant 
               superiority that comes with absolute knowledge.

<b>               INDIVIDUAL REACTION CUTS
</b>
               of soldiers, people in the crowd, and policemen. The newsreel 
               and TV men are busy at their cameras.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               After an impressive moment, he raises his arms in the 
               universal gesture of neutrality. Then he speaks, in perfect 
               English, his voice amplified as though through an enunciator.

<b>                                     KLAATU
</b>                         We have come to visit you in peace -- 
                         and with good will.

               Klaatu walks slowly down the ramp toward the soldiers. As he 
               does so, he draws from inside his tunic a strange looking 
               object, longish and tubular. It might be a a telescope -- or 
               it might be some strange kind of weapon.

<b>               MED. SHOT
</b>
               shooting from the side, showing Klaatu advancing slowly toward 
               the line of soldiers. He holds out the mysterious object in 
               front of him in a gesture that is actually one of offering 
               but could be misinterpreted as menacing. There is a growing, 
               uneasy rumble of muttering among the soldiers as Klaatu 
               advances. They are clearly frightened of what he may do.

<b>               CLOSE SHOT - PLATOON LEADER
</b>
               A young second lieutenant, standing in front of his platoon. 
               As Klaatu advances, the lieutenant unslings his carbine.

<b>               MED. SHOT
</b>
               Klaatu starts toward the platoon leader, raising the object 
               he holds toward the man, trying to make clear his intentions. 
               Misinterpreting this as a menacing gesture, the platoon leader 
               raises his carbine to his shoulder.

<b>               MED. CLOSE SHOT
</b>
               of one of the tank commanders in the turret of his tank. He 
               is watching Klaatu advancing toward the platoon leader and 
               he has drawn his pistol. Convinced that the lieutenant is in 
               jeopardy, the tank commander aims at Klaatu and fires.

<b>               MED. SHOT
</b>
               as Klaatu falls to the ground wounded. The object he was 
               holding has dropped from his hand and smashed. The soldiers 
               start to gather around Klaatu excitedly when suddenly there 
               appears in the entrance to the space ship a huge robot. There 
               is a gasp of amazement from the crowd and the solders draw 
               back at sight of him. The robot is ten feet tall, is made in 
               the almost-perfect image of a man. He is to be played by an 
               actor and his flesh appears to be made of a greenish metal. 
               His eyes flash as though lighted internally. His perfectly-
               fashioned, muscular body is covered only with a loincloth. 
               This is GORT.

               There are cries of amazement as Gort walks slowly ponderously, 
               down the ramp to the ground. As he does so, the ramp closes 
               behind him. Gort's face is, and always remains, utterly 
               expressionless. He stops to look at Klaatu, lying on the 
               ground. Then he looks around at the soldiers, the tanks and 
               guns. All the guns have been traversing to follow him.

<b>               CLOSE SHOT - GORT
</b>
               From inside him there comes an ominous crackling sound, as 
               though power were being generated within him. His eyes flash 
               toward the tank from which Klaatu was shot.

<b>               MED. CLOSE SHOT - TANK
</b>
               There is a great metallic clatter and the Sherman tank is 
               suddenly reduced to a pile of junk metal, its parts completely 
               disintegrated. Only a piece of tank track and twisted gun 
               barrel emerge from the heap on the ground to identify what 
               had been there. The tank's crew has remained unharmed.

<b>               CLOSE SHOT - GORT
</b>
               The crackling sound continues as his eyes start to sweep in 
               a semicircle taking in all the troops.

<b>               MED. SHOT - THE TROOPS
</b>
               SHOOTING FROM BEHIND Gort, with the back of his head in f.g., 
               CAMERA PANS to follow Gort's sweeping gaze. In a growing 
               crash and clatter of metal, every weapon in sight is 
               destroyed. The two machine guns are little heaps of junk. 
               The 75's are larger heaps. The second tank, like the first, 
               is a three-foot pile of scrap. Rifles have dropped from the 
               soldier's hands and lie on the ground as little mounds of 
               wood and metal. None of the men has been harmed, but their 
               faces show the utter terror of what they have experienced.

<b>               ANOTHER ANGLE - THE TROOPS
</b>
               as they react to the full shock of what has happened. Most 
               of them stand rooted to the ground. Several laugh 
               hysterically. A few break and run wildly.

<b>               MED. SHOT - CROWD OF CIVILIANS
</b>
               Sudden pandemonium breaks out. Utterly terrified by what 
               they have witnessed, the crowd becomes a wild, milling, 
               screaming mob, concerned only with escape.

<b>               MED. CLOSE SHOT - GORT
</b>
               He is walking slowly, deliberately, menacingly toward the 
               tank commander who fired on Klaatu. Standing by the debris 
               of his tank, the man is immobilized with terror. The robot 
               starts to reach out to grab him.

<b>               CLOSE SHOT - KLAATU
</b>
               lying on the ground. He speaks to Gort sharply, in a strange 
               language.

<b>                                     KLAATU
</b>                         Gort! Deglet ovrosco!

<b>               MED. CLOSE SHOT - GORT
</b>
               He pauses obediently in the act of reaching out for the tank 
               commander. Dropping his arms, he stands motionless and remains 
               that way.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               He has raised himself to a sitting position on the ground, 
               his wounded shoulder giving him considerable pain. The two 
               platoon leaders come into scene hesitantly, badly shaken by 
               the awesome demonstration of power they have seen. They are 
               uncertain as to what they should do. The platoon leader eyes 
               the smashed object on the ground curiously and turns 
               questioningly to Klaatu. With great dignity, Klaatu picks up 
               the broken object, which we see well for the first time. It 
               is a delicately-made tubular telescope, badly smashed. On it 
               are indications of small electronic gadgets.

<b>                                     KLAATU
</b>                         It was a gift. For your President.
                              (glances at the broken 
                              object ruefully)
                         With this he could have studied life 
                         on other planets.

               Klaatu lets the object drop with a shrug of mild exasperation. 
               The two lieutenants exchange a helpless look of bewilderment. 
               Then Klaatu raises himself to his feet painfully, holding 
               his wounded shoulder. As he does so, a colonel and a captain 
               come into scene.

<b>                                     COLONEL
</b>                              (to the lieutenants)
                         Is he all right?

<b>                                     FIRST PLATOON LEADER
</b>                         Got hit in the shoulder, sir.

               The three junior officers exchange ineffectual glances and 
               look to the colonel, who thinks for a moment before making 
               his decision.

<b>                                     COLONEL
</b>                         Send for an ambulance. Get him to 
                         Walter Reed Hospital right away.

<b>                                     CAPTAIN
</b>                         Yes, sir.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. SITTING ROOM - WALTER REED HOSPITAL - NIGHT
</b>
               There is a door to the corridor and a door to Klaatu's room. 
               In the small sitting room, talking in tones of hushed concern, 
               is a group of men. There's a Major General, a likable man 
               with a chest full of ribbons. There are also a Colonel in 
               command of the hospital, a high-ranking police officer, a 
               couple of medical officers and two civilians. The conversation 
               is interrupted by the entrance from Klaatu's room of a Medical 
               Corps Major, followed by an Army Nurse.

<b>                                     GENERAL
</b>                              (to Major)
                         How is he?

<b>                                     MAJOR WHITE
</b>                         He's all right, General... Blood 
                         pressure's a little high, but it 
                         could be aggravation.

<b>                                     GENERAL
</b>                              (wryly)
                         Can't blame him. I always get mad 
                         when somebody shoots me.

<b>                                     MAJOR WHITE
</b>                         He still wants to see the President.

<b>                                     COLONEL
</b>                              (to General)
                         We informed the White House over an 
                         hour ago.

<b>                                     GENERAL
</b>                              (to Major)
                         Didn't drop any hints about where 
                         he's from, did he?

<b>                                     MAJOR WHITE
</b>                         No, sir, he didn't.

               The door to the corridor opens and a worried young Captain 
               enters.

<b>                                     CAPTAIN
</b>                         Excuse me.
                              (to the Colonel)
                         What about the reporters, Colonel? 
                         They're swarming all over the lobby.

               The Colonel turns, in deference, to the General.

<b>                                     GENERAL
</b>                              (quietly)
                         Tell them there won't be any statement 
                         tonight.

<b>                                     CAPTAIN
</b>                         Yes, sir.
                              (glancing down the 
                              corridor)
                         Mr. Harley's here from the White 
                         House.

               Harley appears in the doorway, a brief case under his arm. 
               He's a dignified, intelligent member of the White House 
               secretariat. He proceeds uninterruptedly into the room, 
               nodding cordially to the General.

<b>                                     HARLEY
</b>                         General --

<b>                                     GENERAL
</b>                              (indicating Klaatu's 
                              room)
                         Right in there, Mr. Harley.

               Harley proceeds in businesslike fashion to the door. He knocks 
               and then enters.

<b>               INT. HOSPITAL ROOM - FULL SHOT
</b>
               as Harley enters, closing the door behind him. Klaatu no 
               longer wears his helmet and we see his face clearly for the 
               first time. Even sitting up in bed, with his shoulder strapped 
               in bandages, he is a figure of great authority. His face 
               reflects inner dignity and assurance. Harley, who is a 
               hardened diplomatist, can't help being impressed by his 
               present assignment and a little awed by Klaatu. Harley 
               obviously has been sent by the President to find out what he 
               can. Klaatu's eyes study him, cool, penetrating, reserved.

<b>                                     HARLEY
</b>                         My name is Harley -- Secretary to 
                         the President
                              (Klaatu continues to 
                              study him silently)
                         I've been told that you speak our 
                         language -- that your name is Mr. 
                         Klaatu.

<b>                                     KLAATU
</b>                              (coolly)
                         Just Klaatu.

<b>                                     HARLEY
</b>                         The President asked me to convey his 
                         deepest apologies for what has 
                         happened. We all feel--

<b>                                     KLAATU
</b>                              (evenly)
                         Sit down, Mr. Harley.

               Somewhat relieved, Harley seats himself. He speaks with a 
               half smile, hoping to ease the tension.

<b>                                     HARLEY
</b>                         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?

<b>                                     KLAATU
</b>                         About five months -- your months.

<b>                                     HARLEY
</b>                         You must have come a long way.

<b>                                     KLAATU
</b>                         About 250 million of your miles.

               Harley glances at him quickly to be sure he's not joking. 
               He's not.

<b>                                     HARLEY
</b>                         Naturally we're very curious to know 
                         where it is you come from.

<b>                                     KLAATU
</b>                              (easily; he's a 
                              diplomat, too)
                         From another planet. Let's just say 
                         that we're neighbors.

               Harley reacts, as his wildest assumptions are so blandly 
               corroborated.

<b>                                     HARLEY
</b>                         It's rather difficult for us to think 
                         of another planet as a neighbor.

<b>                                     KLAATU
</b>                         I'm afraid, in the present situation 
                         you'll have to learn to think that 
                         way.

<b>                                     HARLEY
</b>                              (eyebrows raised)
                         The present situation?

<b>                                     KLAATU
</b>                         I mean the reasons for my coming 
                         here.

<b>                                     HARLEY
</b>                              (his eagerness apparent)
                         We're very curious about that, too. 
                         Would you care to talk about it?

<b>                                     KLAATU
</b>                         I'd be glad to.
                              (noticing that Harley 
                              is settling himself 
                              expectantly)
                         Not now, of course -- with you alone.

<b>                                     HARLEY
</b>                         Perhaps you'd rather discuss it 
                         personally with the President--

<b>                                     KLAATU
</b>                              (somewhat sharply)
                         This is not a personal matter, Mr. 
                         Harley. It concerns all the people 
                         on your planet.

<b>                                     HARLEY
</b>                              (Startled by the scope 
                              of this statement)
                         I -- I'm not sure I understand--

<b>                                     KLAATU
</b>                         I want to meet with representatives 
                         from all the nations of the Earth.

<b>                                     HARLEY
</b>                              (shocked and perturbed 
                              by this notion)
                         I'm afraid that would be a little 
                         awkward. It's -- it's completely 
                         without precedent. And there are 
                         practical considerations -- the time 
                         involved -- the enormous distances.

<b>                                     KLAATU
</b>                              (coolly)
                         I traveled 250 million miles. What 
                         about your United Nations?

<b>                                     HARLEY
</b>                              (Surprised and a little 
                              puzzled)
                         You know about the United Nations?

<b>                                     KLAATU
</b>                         We've been monitoring your radio 
                         broadcasts for a good many years. 
                         That's how we learned your languages. 
                         Lately, we've been getting your 
                         television also.

<b>                                     HARLEY
</b>                              (wryly)
                         You must have a rather strange 
                         impression of us.

<b>                                     KLAATU
</b>                              (smiling)
                         The first two years of television we 
                         were convinced that all you did was 
                         wrestle.

               Harley smiles. Then his mind reverts to the seriousness of 
               the situation and he speaks gravely.

<b>                                     HARLEY
</b>                         I'm sure you recognize from our broad-
                         casts the evil forces that have 
                         produced the tension in our world. 
                         Surely you would agree--

<b>                                     KLAATU
</b>                              (evenly)
                         I am not concerned, Mr. Harley, with 
                         the internal affairs of your planet. 
                         I consider that to be your business -- 
                         not mine.

<b>                                     HARLEY
</b>                         I was only hoping to make you 
                         understand.

<b>                                     KLAATU
</b>                              (sternly, impressively)
                         My mission here is not to solve your 
                         petty squabbles. It concerns the 
                         existence of every last creature who 
                         lives on Earth.

<b>                                     HARLEY
</b>                              (uncomfortably)
                         Perhaps if you could explain a little--

<b>                                     KLAATU
</b>                         I intend to explain. To all the 
                         nations -- simultaneously.
                              (his manner precludes 
                              opposition)
                         How do we proceed, Mr. Harley?

               Harley is thoroughly shaken. The tremendous force and power 
               implicit in Klaatus's manner preclude the possibility of 
               argument.

<b>                                     HARLEY
</b>                              (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.

<b>                                     KLAATU
</b>                         Then why not a meeting of all the 
                         Chiefs of State?

<b>                                     HARLEY
</b>                              (helplessly, but 
                              patiently)
                         Believe me, you don't understand. 
                         They wouldn't sit down at the same 
                         table.

               Growing a little impatient with such nonsense, Klaatu eyes 
               him evenly, speaks with Jovian authority.

<b>                                     KLAATU
</b>                         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.

<b>                                     HARLEY
</b>                         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.

<b>                                     KLAATU
</b>                              (with a half-smile)
                         Apparently I'm not as cynical about 
                         Earth's people as you are.

<b>                                     HARLEY
</b>                         I've been dealing in Earth's politics 
                         a good deal longer than you have.
                              (he bows)
                         Goodnight, sir.

               He turns and goes out.

<b>               CLOSE SHOT - KLAATU
</b>
               He stares after Harley for a moment, puzzled by this strange 
               and apparently unreasoning world he has come to. He shakes 
               his head in thoughtful, tolerant bewilderment.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. SPACE SHIP - LONG SHOT - NIGHT
</b>
               Searchlights have lighted up up the eerie shapes of the space 
               ship and Gort. A circle of soldiers guard the area, while a 
               crew of men can be seen working around the ship.

<b>               MED. CLOSE SHOT - AT SHIP
</b>
               A Master Sergeant of Engineers, dressed in fatigues, is 
               inspecting the side of the ship carefully. He has an acetylene 
               torch in his had and a welding helmet over his face. The 
               Major General, previously seen in the hospital sitting room, 
               enters and speaks to the Sergeant.

<b>                                     GENERAL
</b>                         Getting any place, Sergeant?

<b>                                     SERGEANT
</b>                              (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.

<b>                                     GENERAL
</b>                         What's the report, Carlson?

<b>                                     CARLSON
</b>                              (discouraged)
                         We've tried everything from a 
                         blowtorch to a diamond drill.

<b>                                     GENERAL
</b>                              (nodding toward Gort)
                         What about him?

<b>                                     CARLSON
</b>                         He's made out of the same stuff.

<b>               THREE SHOT  GENERAL, CARLSON AND SERGEANT
</b>
<b>                                     GENERAL
</b>                         Has he moved?

<b>                                     SERGEANT
</b>                         No sir. Not an inch

<b>                                     CARLSON
</b>                         This is the toughest material I ever 
                         saw, General. For hardness and 
                         strength, it's out of this world.

<b>                                     GENERAL
</b>                              (with a wry half-smile)
                         I can tell you officially - that's 
                         where it came from.

               The two men exchange an uneasy glance, then turn to look at 
               the ship.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. SITTING ROOM  WALTER REED HOSPITAL
</b>
               Two Medical Corps officers, a Captain and a Major are 
               interestedly studying a series of X-ray films.

<b>                                     MAJOR
</b>                         The skeletal structure is completely 
                         normal.
                              (pointing)
                         Same for the major organs - heart, 
                         liver, spleen, kidneys.

<b>                                     CAPTAIN
</b>                         And the lungs are the same as ours. 
                         Must mean a similar atmosphere -- 
                         similar pressure.
                              (nodding, toward 
                              Klaatu's room)
                         How old do you think he is?

<b>                                     MAJOR
</b>                         Oh, I'd say forty-five.

<b>                                     CAPTAIN
</b>                              (smiling)
                         He told me this morning when I 
                         examined him. He's seventy-eight.

<b>                                     MAJOR
</b>                         I don't believe it.

<b>                                     CAPTAIN
</b>                         Their life expectancy is a hundred 
                         and thirty.

<b>                                     MAJOR
</b>                         How does he explain that?

<b>                                     CAPTAIN
</b>                         He says their medicine is that much 
                         more advanced.
                              (the major stares at 
                              him blankly)
                         He was very nice about it. But he 
                         made me feel like a third-class witch 
                         doctor.

               The door to Klaatu's rooms opens and Major White appears. 
               He's the man who attended Klaatu the day before. He closes 
               the door behind him and stands motionless facing the other 
               two, his face wearing a blank expression.

<b>                                     MAJOR WHITE
</b>                         I took a bullet out of that man's 
                         arm yesterday.

<b>                                     FIRST MAJOR
</b>                         What about it?

<b>                                     MAJOR WHITE
</b>                              (utterly bewildered)
                         I just examined the wound and it's 
                         all healed.

<b>                                     FIRST MAJOR
</b>                         What does he say about it?

<b>                                     MAJOR WHITE
</b>                         Said he put some salve on it -- some 
                         stuff he had with him.
                              (shows them a small, 
                              odd-looking tube in 
                              his hand)

<b>                                     CAPTAIN
</b>                         What are you going to do with it?

<b>                                     MAJOR WHITE
</b>                         Take it downstairs and have it 
                         analyzed.
                              (on his way to the 
                              door, shaking his 
                              head)
                         Then I don't know whether I'll just 
                         get drunk or give up the practice of 
                         medicine.

               As he starts out the door to the corridor, he passes Mr. 
               Harley, who is on his way in, carrying his ever-present brief 
               case. Harley is accompanied by an enlisted M.P.

<b>                                     FIRST MAJOR
</b>                         Afternoon, Mr. Harley.

<b>                                     HARLEY
</b>                         Afternoon, gentlemen.

               Harley goes to the door of Klaatu's room, a businesslike 
               expression on his face. He knocks on the door, then enters. 
               The M.P. remains in the sitting room.

<b>               INT. HOSPITAL ROOM - FULL SHOT - DAY
</b>
               as Harley enters. Klaatu is up out of bed, walking around in 
               a Medical Corps robe and pajamas. He appears to be completely 
               recovered.

<b>                                     HARLEY
</b>                         Good afternoon.
                              (surprised not to 
                              find him in bed)
                         I'm glad to see you up and around.

<b>                                     KLAATU
</b>                         Thank you... Have you any news?

<b>                                     HARLEY
</b>                         Not very good news, I'm afraid.
                              (digs into his 
                              briefcase for some 
                              papers)
                         The President accepted your suggestion 
                         and cabled the invitations for a 
                         meeting last night.
                              (grimly)
                         Let me read you some of the replies.
                              (he selects a cable 
                              and reads)
                         "The Premier wishes to inform the 
                         Government of the United States that 
                         it will be impossible for him to 
                         attend the meeting suggested by the 
                         President unless the meeting is held 
                         in Moscow."
                              (with a grimly-pointed 
                              glance at Klaatu, 
                              Harley reads another 
                              cable)
                         "The suggestion of the President 
                         regarding the possibility of a meeting 
                         in Moscow would be unacceptable to 
                         Her Majesty's Government at the 
                         present time. Representation could 
                         be sent only if the meeting were 
                         held in Washington."
                              (he looks up at Klaatu 
                              and shrugs)
                         Well -- there you have it.

               Harley extends a sheaf of cables for Klaatu's inspection, 
               but he ignores them. Klaatu has listened to this recital, 
               first incredulously, then with mounting indignation. Conscious 
               of his quiet, Olympian wrath, Harley continues uncomfortably.

<b>                                     HARLEY
</b>                         I tried to make you understand. The 
                         suspicions -- the jealousies -- the 
                         mistrust--
                              (uneasily, under 
                              Klaatu's level gaze)
                         Surely you realize that my government 
                         has done everything in its power--

<b>                                     KLAATU
</b>                         It's not your government I'm thinking 
                         about. It's your world.

<b>                                     HARLEY
</b>                         Now that you understand the situation 
                         more clearly, perhaps you'd like to 
                         discuss the matter with the President

<b>                                     KLAATU
</b>                              (sternly)
                         I will not speak to any one nation 
                         or group of nations.
                              (sharply, bitterly)
                         I don't intend to add my contribution 
                         to your childish jealousies and 
                         suspicions.

<b>                                     HARLEY
</b>                         Our problems are very complex, Mr. 
                         Klaatu. You mustn't judge us too 
                         harshly.

<b>                                     KLAATU
</b>                         I can judge only by what I see.

<b>                                     HARLEY
</b>                         Your impatience is quite 
                         understandable.

<b>                                     KLAATU
</b>                              (sharply)
                         I am impatient with stupidity. My 
                         people have learned to live without 
                         it.

<b>                                     HARLEY
</b>                              (ruefully)
                         I'm afraid my people haven't.
                              (with real sincerity)
                         I'm very sorry -- I wish it were 
                         otherwise.

               Reluctantly Harley has picked up his hat and brief case. He 
               finds Klaatu staring out the window.

<b>               CLOSE SHOT - KLAATU
</b>
               As he looks out the window thoughtfully. What he sees has 
               given him an idea.

<b>               MED. SHOT - HOSPITAL GROUNDS
</b>
               shooting down, from Klaatu's viewpoint, at people strolling 
               about the hospital grounds. Most of them are civilian 
               visitors, but there is a sprinkling of nurses and ambulatory 
               patients.

<b>               FULL SHOT - HOSPITAL ROOM
</b>
               As Klaatu turns back to Harley, he speaks thoughtfully, 
               incisively.

<b>                                     KLAATU
</b>                         Before making any decisions, I think 
                         I should get out among your people -- 
                         become familiar with the basis for 
                         these strange, unreasoning attitudes.

<b>                                     HARLEY
</b>                         Under the circumstances I'm afraid 
                         that will be impossible.

               Harley has paused near the door, a little embarrassed by 
               Klaatu's level gaze.

<b>                                     HARLEY
</b>                         I must ask that you don't attempt to 
                         leave the hospital. Our military 
                         people have insisted on this. I'm 
                         sure you'll understand.

               With a polite nod, he goes out. Klaatu stares after him as 
               he realizes that he is in effect a prisoner. He shakes his 
               head slowly, thoughtfully. The ways of this planet are strange 
               indeed.

<b>               INT. SITTING ROOM - MED CLOSE SHOT - AT DOOR
</b>
               Harley has paused to watch as the M.P. takes out a key and 
               inserts it in the lock of Klaatu's door.

<b>               INT. HOSPITAL ROOM - CLOSE SHOT - KLAATU
</b>
               As he hears the click of the lock, he turns toward the door. 
               Realizing they've locked him in, he smiles with tolerant 
               amusement.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. HOSPITAL SITTING ROOM - MED CLOSE SHOT - NIGHT
</b>
               In the dim light of one lamp, the door to the corridor opens 
               and a nurse enters carrying a tray of medication. She is 
               accompanied by the same M.P. as previously seen. The nurse 
               pauses as the M.P. takes out a key and inserts it in the 
               lock of Klaatu's door. To his surprise he finds that the 
               door is not locked. He exchanges a glance with the nurse, 
               then pulls the door open and hurries inside.

<b>               INT. HOSPITAL ROOM
</b>
               as the M.P. crosses the unlighted room toward the bed. The 
               only light cones from the open door to the sitting room. The 
               M.P.'s eyes go wide as he looks at the bed. It is unmade and 
               unoccupied. Terrified, the M.P. turns to the nurse, who is 
               standing in the doorway.

               M.P.  He's gone!

               The M.P. dashes out of the room, through the doorway past 
               the nurse. She turns to follow him as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               MONTAGE - NIGHT
</b>
               A series of short DISSOLVES, showing:

               1. The M.P. excitedly reporting Klaatu's disappearance to 
               the Officer of the Day.

               2. The hospital guard detail hurrying out of the guardhouse 
               to form up in front of the Sergeant of the guard.

               3. A high-level military conference gathered at a table, 
               discussing the matter with great concern.

               4. A street corner newsstand, with people eagerly grabbing 
               papers. The headline reads: "MAN FROM MARS" ESCAPES FROM 
<b>               ARMY HOSPITAL!
</b>
               5. Radio announcers chattering excitedly into their 
               microphones

               6. A series of close-ups of people listening to the radio. 
               Their faces reveal their awestruck terror.

               7. A terrified mother drags her two children in from the 
               street through the front door, slams the door and bolts it.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. RESIDENTIAL STREET - MED. CLOSE SHOT - NIGHT
</b>
               CAMERA is on the back of a man dressed in a business suit, 
               who is walking along the sidewalk of a dimly lighted, almost 
               deserted, middle-class street. He carries a suitcase and he 
               glances idly at the drab-looking stone facades of the old 
               two-story houses. As he passes, from the open windows of the 
               houses come the voices of radio announcers. We get a sentence 
               or two from one house and then, as the man and our CAMERA 
               pass on, this voice fades and another is picked up. We get 
               the impression that everyone is glued to his radio.

<b>                                     RADIO VOICES
</b>                              (over scene)
                         --authorities at Walter Reed Hospital 
                         refused to comment on how he managed 
                         to escape, or what measures might be 
                         taken to apprehend him.

               --these fantastic descriptions of the creature are denounced 
               as rumor by police Chief Walter Baxter. He is not eight feet 
               tall, as reported -- nor does he have tentacles in place of 
               arms--

               --there's no denying that there is a monster at large -- 
               that we are dealing with forces beyond our knowledge and 
               power. The public is urged to take ordinary precautions and 
               to remain calm, as we await further developments--

               --three separate reports of people who claim to have seen 
               the "space man" in the past hour. One from Des Moines, Iowa; 
               one from a village in northern Florida; and one from Chicago.

               CAMERA OVERTAKES the man as he pauses under the light of a 
               street lamp, and reveals that it is Klaatu. He has stopped 
               to look at something out of scene.

<b>               CLOSE SHOT
</b>
               from Klaatu's viewpoint, of a sign on one of the houses, 
               reading: ROOM FOR RENT

<b>               CLOSE SHOT - KLAATU
</b>
               He seems to hesitate, debating a plan he has in mind. He 
               raises his right arm to scratch his head thoughtfully, and 
               notices for the first time a small tag, or ticket, attached 
               to the inside of the right forearm of the coat he is wearing. 
               Puzzled, he pulls off the ticket and looks at it.

<b>               INSERT - TICKET
</b>
               It is the sort of tag a cleaning establishment attaches to 
               clothing. Printed on it is the legend: CAPITOL DRY CLEANING 
               SERVICE. Scrawled in a penciled hand is the notation: Dr. 
               Carpenter, Bldg. A - Walter Reed Hospital. Cl. & pr. $1.

<b>               CLOSE SHOT - KLAATU
</b>
               He smiles wryly at this reminder of where he got the suit, 
               and he destroys the ticket. He glances down at the suitcase 
               beside him.

<b>               CLOSE SHOT - SUITCASE
</b>
               It bears the initials L.M.C. Klaatu's hand comes into scene 
               and lifts up the suitcase. CAMERA HOLDS as Klaatu carries 
               the bag toward the house and mounts the stone steps to the 
               entrance.

<b>               INT. BOARDINGHOUSE - LIVING ROOM - NIGHT
</b>
               There 's no light in the room except what splashes in from 
               the hall. Gathered around a television set are five adults 
               and a little boy, their faces eerie in the reflected light 
               from the screen. The room is done in average boardinghouse 
               style -- antimacassars and all. The attention of the people 
               is riveted on the television screen, where a newscaster is 
               reading a bulletin.

<b>                                     TELEVISION COMMENTATOR
</b>                         --while the President made no effort 
                         to minimize the crisis, he urged 
                         people all over the country to remain 
                         calm. He said the entire facilities 
                         of FBI and other federal agencies 
                         are being bought to bear. He pointed 
                         out, however, that this is no ordinary 
                         man hunt. He warned we may be up 
                         against powers that are beyond our 
                         control.

<b>               FULL SHOT
</b>
               The landlady, a stern-faced woman of middle age, named MRS. 
               CROCKETT, rises nervously and crosses to the television set.

<b>                                     MRS. CROCKETT
</b>                              (tensely)
                         I can't stand any more of this. It's 
                         enough to drive a person crazy.

               She snaps off the set sharply.

<b>               TWO SHOT
</b>
               BOBBY BENSON, a bright-eyed, eleven-year-old, is seated beside 
               his mother, HELEN BENSON, an attractive girl of thirty. 
               Disappointed that the set has been turned off, Bobby's roving 
               eye has fallen on something in the doorway to the hall... 
               Wide-eyed, he nudges his mother and points.

<b>                                     BOBBY
</b>                         Hey, Mom -- who's that?

<b>               FULL SHOT
</b>
               including the doorway to the hall. Silhouetted motionless 
               against the light from the hall is the figure of a man. All 
               eyes follow Hobby's pointed finger, and there is a stifled 
               gasp as they are startled out of their preoccupation. One of 
               the men turns on the lights and Klaatu is revealed standing 
               calmly in the doorway. There is a shocked silence for a 
               moment, then Mrs. Crockett speaks.

<b>                                     MRS. CROCKETT
</b>                              (apologizing nervously 
                              for the tension in 
                              the room)
                         I -- I'm sorry. What is it you want?

<b>                                     KLAATU
</b>                         My name is Carpenter. I'm looking 
                         for a room.

               There is a noticeable letdown in the general tension, during 
               which Booby has been studying Klaatu, his imagination working 
               overtime.

<b>                                     BOBBY
</b>                         Are you an FBI man?

<b>                                     KLAATU
</b>                         No -- I'm afraid not.

               Helen has stepped forward to make Bobby desist.

<b>                                     BOBBY
</b>                         Bet he is, Mom. Bet he's out looking 
                         for that space man.

<b>                                     HELEN
</b>                              (with an apologetic 
                              smile at Klaatu)
                         I think we've all been hearing too 
                         much about "space men."

               Mrs. Crockett reverts to her role as landlady. She likes to 
               think of her house as a home.

<b>                                     MRS. CROCKETT
</b>                              (starting the 
                              introductions with 
                              Helen)
                         This is Mrs. Benson, Mr. Carpenter.
                              (with a smile that 
                              would split a brick)
                         And little Bobby.
                              (indicating a middle-
                              aged couple and a 
                              younger but more 
                              wizened man)
                         Mr. and Mrs. Barley -- and Mr. 
                         Krull... I'm Mrs. Crockett.

               There are polite noddings and how-do-you-do's. Mrs. Crockett 
               is satisfied that she's established a cozy atmosphere.

<b>                                     MRS. CROCKETT
</b>                              (pleased to the point 
                              of challenge)
                         Well -- this is our little family.
                              (then, getting down 
                              to business)
                         I have a very nice room on the second 
                         floor.

               She leads the way toward the hall and Klaatu starts to follow, 
               picking up his suitcase, when he is intercepted by Bobby.

<b>                                     BOBBY
</b>                         Can I help you look for the space 
                         man? Can I?
                              (excitedly)
                         I know what he looks like! He's got 
                         a square head -- and, three great 
                         big eyes!

<b>                                     HELEN
</b>                              (good-naturedly, 
                              calming him down)
                         That's enough, Bobby. I think it's 
                         time you went to bed.

<b>                                     MRS. CROCKETT
</b>                              (to Bobby, with a 
                              prop smile)
                         We mustn't annoy Mr. Carpenter -- or 
                         he won't want to stay here. She goes 
                         on into the hall, followed by Klaatu, 
                         who has exchanged a polite smile 
                         with Helen.

<b>               INT. HALLWAY
</b>
               as Mrs. Crockett leads the way up the stairs.

<b>                                     MRS. CROCKETT
</b>                         He's really a dear little boy -- and 
                         quiet as a mouse.
                              (with a shrewd, chatty 
                              smile)
                         You're a long way from home, aren't 
                         you, Mr. Carpenter?

<b>                                     KLAATU
</b>                         How did you know?

<b>                                     MRS. CROCKETT
</b>                              (pleased with her 
                              cleverness)
                         Oh, I can tell a New England accent 
                         a mile away.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. BOARDINGHOUSE - DINING ROOM - DAY
</b>
               Five of the boarders -- Mr. and Mrs. Barley, Mr. Krull, Helen 
               Benson and Klaatu - are finishing their Sunday morning 
               breakfast. Mrs. Barley is a middle-class Helen Hokinson lady, 
               form and unrelenting. Her husband is a born complainer. Mr. 
               Krull is a shriveled little accountant, precise and finicky. 
               As they finish their coffee, all except Helen are immersed 
               in the Sunday papers. Helen seems preoccupied with her own 
               thoughts. From a portable radio on the table comes Gabriel 
               Heater's voice.

<b>                                     GABRIEL HEATER'S VOICE
</b>                         --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.

<b>               INSERT - NEWSPAPER PAGE IN MRS. BARLEY'S HANDS
</b>
               It is a full page layout, in the style of the American Weekly, 
               showing a demented artist's conception of a mass invasion of 
               space ships. Weird-looking creatures are slaughtering Earth 
               people with ray guns. The caption at the top of the image 
               reads: "Are We Long For This World?" (Gabriel Heater's voice 
               continues uninterruptedly over this and the next two scenes.)

<b>               CLOSE SHOT - KLAATU
</b>
               He is reading his paper with considerable interest.

<b>               INSERT - NEWSPAPER STORY
</b>
               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."

<b>               CLOSE SHOT - KLAATU
</b>
               His face is thoughtful as he finishes reading. This story 
               seems to impress and interest him. Then suddenly he finds 
               his attention caught at what the Radio Voice is saying.

<b>                                     GABRIEL HEATER'S VOICE
</b>                         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.

<b>               GROUP SHOT
</b>
<b>               AS THE RADIO VOICE CONTINUES:
</b>
<b>                                     GABRIEL HEATER'S VOICE
</b>                         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.

<b>                                     MRS. BARLEY
</b>                         George, I wish you'd turn that radio 
                         off. I'm trying to concentrate.

               Mr. Barley reaches out and snaps off the radio.

<b>                                     MR. BARLEY
</b>                              (snorting, he tosses 
                              his paper down)
                         Why doesn't the Government do 
                         something -- that's what I want to 
                         know.

<b>                                     MR. KRULL
</b>                              (mildly)
                         What can they do? They're only people -- 
                         Just like us.

<b>                                     MR. BARLEY
</b>                         People my foot! They're Democrats!

<b>                                     MR. KRULL
</b>                         It's enough to give you the shakes. 
                         He's got that robot standing there -- 
                         ten-foot tall -- just waiting for 
                         orders to destroy us.

<b>                                     HELEN
</b>                              (thoughtfully)
                         This space man -- or whatever he is. 
                         We automatically assume he's a 
                         menace... Maybe he isn't at all.

<b>                                     MR. BARLEY
</b>                              (glaring at her for 
                              this silly notion)
                         Then what's he hiding for? Why doesn't 
                         he come out in the open?

<b>                                     MR. KRULL
</b>                         Yeah.
                              (indicating the radio)
                         Like the fella says: "What's he up 
                         to?"

<b>                                     HELEN
</b>                         Maybe he's afraid.

<b>                                     MRS. BARLEY
</b>                              (with a derisive snort)
                         He's afraid!

<b>                                     HELEN
</b>                         After all, he was shot the moment he 
                         landed here.
                              (she pauses for a 
                              moment thoughtfully)
                         I was just wondering what I would 
                         do.

<b>                                     KLAATU
</b>                              (to Helen, helpfully)
                         Perhaps before deciding on a course 
                         of action, you'd want to know more 
                         about the people here -- to orient 
                         yourself in a strange environment.

<b>                                     MRS. BARLEY
</b>                              (sharply)
                         There's nothing strange about 
                         Washington, Mr. Carpenter.

<b>                                     KLAATU
</b>                              (quietly, tongue in 
                              cheek)
                         A person from another planet might 
                         disagree with you.

<b>                                     MRS. BARLEY
</b>                         If you want my opinion, he came from 
                         right here on Earth.
                              (with significant 
                              emphasis)
                         And you know where I mean.

<b>                                     MR. KRULL
</b>                         They wouldn't come in a space ship. 
                         They'd come in airplanes.

<b>                                     MRS. BARLEY
</b>                              (as though with 
                              superior knowledge)
                         I wouldn't be so sure about that.

<b>                                     MR. BARLEY
</b>                              (delivering the final 
                              word)
                         Stands to reason that fella wants 
                         some thing or he wouldn't be here.
                              (facing Klaatu)
                         That make sense, Carpenter?

               Klaatu pauses for a moment, then recites pleasantly.

<b>                                     KLAATU
</b>                         I must admit I'm a little confused.

               Mrs. Crockett enters and speaks to Helen.

<b>                                     MRS. CROCKETT
</b>                         Mrs. Benson -- Mr. Stevens is here 
                         to see you.

<b>                                     HELEN
</b>                         Oh -- thank you.

               She rises and goes out.

<b>                                     MRS. BARLEY
</b>                         Finish your coffee, George. I told 
                         the Carsons we'd be there at eleven.

<b>               INT. BOARDINGHOUSE - LIVING ROOM - MED. CLOSE SHOT
</b>
               as Helen crosses the room to greet TOM STEVENS. He's a 
               personable young man with a breezy manner and considerable 
               charm. There is between them an easy air of Intimacy.

<b>                                     HELEN
</b>                              (smiling warmly)
                         Good morning.

               Tom kisses her.

<b>                                     TOM
</b>                         We're all set. I picked up some 
                         sandwiches and put gas in the car. 
                         And the radio's still busted, so me 
                         can forget about the space man for 
                         today.

<b>                                     HELEN
</b>                              (a little disturbed)
                         There's only one thing -- I haven't 
                         been able to arrange for anyone to 
                         stay with Bobby.
                              (tentatively)
                         I don't suppose we could take him 
                         with us?

<b>                                     TOM
</b>                              (understandably 
                              unenthusiastically)
                         Well, we could--

<b>                                     HELEN
</b>                         There's always somebody here, but 
                         today of course they've all got plans.

<b>                                     KLAATU'S VOICE
</b>                         I haven't any plans.

               Helen and Tom turn in surprise.

<b>               THREE SHOT
</b>
               including Klaatu, who has wandered in from the dining room, 
               unnoticed by Tom and Helen. Klaatu continues, with an air of 
               wanting to be helpful without wanting to interfere.

<b>                                     KLAATU
</b>                         I'd be glad to spend the day with 
                         him -- if you'd let me.

<b>                                     TOM
</b>                              (impulsively)
                         Say, that'll be great! Wouldn't it, 
                         Helen.

<b>                                     HELEN
</b>                              (hesitating, a little 
                              confused, by the 
                              offer)
                         It's awfully nice of you to suggest 
                         it.
                              (remembering the two 
                              men haven't met)
                         I'm sorry Mr. Carpenter -- this is 
                         Tom Stevens.

               The two men shake hand's and exchange how-do-you-do's. Then 
               Klaatu turns back to Helen.

<b>                                     KLAATU
</b>                         Bobby and I had a fine time yesterday 
                         afternoon. We talked -- and listened 
                         to the radio.
                              (smiling at Helen)
                         I thought today he might show me 
                         around the city.

               Helen is debating the matter in her mind, concerned about 
               leaving Bobby with a comparative stranger, but tempted because 
               of her favorable impression of Klaatu.

<b>                                     KLAATU
</b>                              (easily)
                         Suppose I ask Bobby how he feels 
                         about it.

               He turns, with a little smile, and starts out of the room. 
               Helen, still not quite decided, turns to Tom with a 
               questioning look. Tom nods.

<b>               DISSOLVE T0:
</b>
<b>               INT. LINCOLN MEMORIAL - FULL SHOT - DAY (STOCK)
</b>
               The great seated, brooding figure of Lincoln is at the far 
               end of the impressive main hall. A few tourists are moving 
               about the place.

<b>               MED. CLOSE SHOT - KLAATU AND BOBBY
</b>
               They are in the south hall, on the wall of which is inscribed 
               the Gettysburg Address. They stand silently, side by side, 
               reading the inscription.

<b>               INSERT - GETTYSBURG ADDRESS (STOCK)
</b>
               Featuring the last part of the Address. It reads: "--and 
               that government of the people, by the people, for the people, 
               shall not perish from the earth."

<b>               TWO SHOT - KLAATU AND BOBBY
</b>
<b>                                     KLAATU
</b>                              (visibly impressed)
                         Those are great words.
                              (with an air of 
                              discovery)
                         He must have been a great man.

               Bobby is impressed by the depth and sincerity of Klaatu's 
               tribute, but a little confused by his air of having discovered 
               Lincoln. Hobby watches Klaatu with a puzzled expression, 
               then follows as Klaatu moves off slowly.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. LINCOLN MEMORIAL - MED. CLOSE SHOT - DAY
</b>
               shooting against one of the huge fluted columns as Klaatu 
               and Bobby come out of the building. Deeply preoccupied, Klaatu 
               speaks with impatient urgency.

<b>                                     KLAATU
</b>                         That's the kind of man I'd like to 
                         talk to.

               Bobby looks up at him in bewilderment. After a moment Klaatu 
               speaks slowly, thoughtfully.

<b>                                     KLAATU
</b>                         Bobby -- who's the greatest man in 
                         America today?

<b>                                     BOBBY
</b>                              (puzzling it over)
                         Gee -- I don't know... The space 
                         man, I guess.

<b>                                     KLAATU
</b>                              (secretly amused)
                         I was speaking of earth men. I meant 
                         the greatest philosopher -- the 
                         greatest thinker.

<b>                                     B0BBY
</b>                         You mean the smartest man in the 
                         whole world?

<b>                                     KLAATU
</b>                         Yes -- that would do nicely.

<b>                                     BOBBY
</b>                              (after a moments 
                              thought)
                         Well -- Professor Barnhardt, I guess. 
                         He's the greatest scientist in the 
                         world.

<b>                                     KLAATU
</b>                              (he pauses 
                              thoughtfully, speaks 
                              slowly, as he recalls 
                              the newspaper story 
                              he read)
                         He lives here in Washington, doesn't 
                         he?

<b>                                     BOBBY
</b>                         Sure. Right near where my mother 
                         works.

<b>                                     KLAATU
</b>                         Where is that?

<b>                                     BOBBY
</b>                         Department of Commerce. She's a 
                         secretary.
                              (Klaatu nods)
                         They have a man they call the 
                         Secretary, but he isn't at all. My 
                         mother's a real secretary.
                              (after a moment; 
                              eagerly)
                         Mr. Carpenter -- now can we go see 
                         the space ship?

<b>               EXT. THE MALL - LONG SHOT - SPACE SHIP AND GORT - DAY
</b>
               A crew of Army engineers is in process of erecting a temporary 
               structure such as a large Quonset hut or B29 hanger to enclose 
               the space ship and Gort. The walls are partially up and 
               already have concealed part of the ship. The area is roped 
               off and there are Army guards to keep the sightseers back. 
               There is a crowd of people behind the ropes, watching. CAMERA 
               MOVES IN to reveal the backs of Bobby and Klaatu.

<b>               TWO SHOT - KLAATU AND BOBBY
</b>
               Bobby is studying the ship and Gort eagerly, his imagination 
               thoroughly aroused. Klaatu is watching the men at work with 
               mild, quiet amusement.

<b>               MED. CLOSE SHOT - GORT
</b>
               from Bobby's viewpoint.

<b>               TWO SHOT - BOBBY AND KLAATU
</b>
               Bobby's eyes are wide with awe as he watches the giant robot.

<b>                                     BOBBY
</b>                         Boy, I'll bet he's strong. I bet he 
                         could knock down a whole building.

<b>                                     KLAATU
</b>                              (with a quizzical 
                              smile)
                         I shouldn't be at all surprised.

               Bobby's attention shifts to the ship.

<b>               MED. SHOT - SPACE SHIP
</b>
               From Bobby's viewpoint.

<b>               TWO SHOT - B0BBY AND KLAATU
</b>
<b>                                     BOBBY
</b>                              (excitedly, indicating 
                              the ship)
                         Gee, I'd like to get inside and see 
                         how it works. What do you think makes 
                         it go?

<b>                                     KLAATU
</b>                              (quietly, after a 
                              glance around)
                         Well -- atomic power, I would imagine.

<b>                                     BOBBY
</b>                              (looking at Klaatu 
                              incredulously)
                         I thought that was only for bombs.

<b>                                     KLAATU
</b>                         No. It's for a lot of other things, 
                         too.

<b>                                     BOBBY
</b>                         You think it can go faster than an F-
<b>                         36?
</b>
<b>                                     KLAATU
</b>                         Yes -- I think so.

<b>               MED. CLOSE SHOT KLAATU AND BOBBY
</b>
               shooting from a side angle to include a couple of men who 
               are listening to Klaatu's conversation. They are nudging 
               each other, amused at the way this man is pretending to 
               explain things to the little boy.

<b>                                     BOBBY
</b>                         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.

<b>                                     KLAATU
</b>                         Maybe four thousand miles an hour. 
                         And outside the Earth's atmosphere a 
                         good deal faster.

<b>                                     BOBBY
</b>                              (excitedly)
                         Gee! How could they make a landing?

<b>                                     KLAATU
</b>                         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.

<b>                                     MAN
</b>                              (grinning)
                         Keep goin', Mister. He was fallin' 
                         for it.

               The two men burst out laughing and move off together. Bobby, 
               who has missed the point of this by-play, looks at Klaatu, 
               then after the men. As they move out of scene they laugh 
               loudly at the little boy's confusion. Klaatu takes Bobby's 
               hand to lead him away from the roped-off area.

<b>               TWO SHOT - KLAATU AND BOBBY
</b>
               CAMERA FOLLOWS them as they move away through the crowd.

               As they do so, several newsboys are working their way through 
               the crowd with newly arrived extras. The boys are calling 
               out the extras: "Police under fire!" "Army put in charge!" 
               "Space man still at large!" etc. People are eagerly buying 
               the papers. Klaatu and Booby watch this as they pass through 
               the crowd.

<b>               CLOSE SHOT - EXTRA
</b>
               In newsboy's hand. The headline reads: SPACE MAN ELUDES POLICE 
<b>               ARMY PUT IN CHARGE.
</b>
<b>               CLOSE SHOT - ANOTHER EXTRA
</b>
               In another newsboy's hand. This headline reads: DISTRICT 
<b>               UNDER MARTIAL LAW. CONGRESS ACTS AS POLICE CHIEF REIGNS.
</b>
<b>               TWO SHOT - KLAATU AND BOBBY
</b>
               as they move on away from the excited crowd of people. 
               Klaatu's reaction has been one of mild curiosity. Bobby looks 
               up at him.

<b>                                     BOBBY
</b>                         You think they'll ever find him?

<b>                                     KLAATU
</b>                              (alter a moment's 
                              pause)
                         I don't know, Bobby. I'm inclined to 
                         doubt it.

<b>                                     BOBBY
</b>                              (as they continue 
                              walking)
                         Mr. Carpenter -- what does velocity 
                         mean?

<b>                                     KLAATU
</b>                              (preoccupied)
                         Velocity is the time rate of change 
                         of position.

               This explanation misses Bobby by several light years. He 
               glances up at Klaatu blankly.

<b>                                     BOBBY
</b>                         I'll bet that's the way Professor 
                         Barnhardt talks.

               Pulled out of his reverie, Klaatu glances down at Bobby and 
               smiles apologetically. Bobby grins back at him. Then, as 
               they walk on a few more steps, Klaatu stops and speaks 
               thoughtfully.

<b>                                     KLAATU
</b>                         Bobby -- I have an idea. Let's go 
                         see Professor Barnhardt and find out 
                         how he talks.

<b>                                     BOBBY
</b>                              (with a half-smile of 
                              accusation)
                         You're just kidding, aren't you?

<b>                                     KLAATU
</b>                         Wouldn't you like to meet him?

<b>                                     BOBBY
</b>                         Well, sure I would, but --
                              (he's to be not going 
                              taken in)
                         Aw, I'll bet you'd be scared.

<b>                                     KLAATU
</b>                              (with a private smile)
                         We can scare him more than he can 
                         scare us.

               Bobby stares up at him and his face breaks into a broad 
               admiring grin.

<b>                                     BOBBY
</b>                         I like you, Mr. Carpenter. You're a 
                         real screwball.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. BARNHARDT'S HOUSE - MED. SHOT - DAY
</b>
               The house is an unimposing old-fashioned structure, shouldered 
               on either side by similar one-family dwellings. There is a 
               flight of stone steps leading up to the entrance and a large 
               porch across the front of the house. Klaatu and Bobby walk 
               into scene and pause, Klaatu glances at Bobby and Bobby nods 
               toward the house. They move on up the steps to the entrance.

<b>               MED. CHOOSE SHOT - AT FRONT DOOR
</b>
               Bobby, all eagerness and excitement, presses the bell. They 
               wait a moment and there is no answer.

<b>                                     BOBBY
</b>                              (disappointed at the 
                              thought)
                         Gee -- maybe he isn't home.

               Bobby wanders down the porch and looks into a window. 
               Fascinated by what he sees, he gestures to Klaatu.

<b>                                     BOBBY
</b>                         Betcha this is where he works--

               After a glance at the front door, Klaatu joins Bobby at the 
               window and looks in.

<b>               FULL SHOT - BARNHARDT'S STUDY
</b>
               SHOOTING through the window, over the heads of Klaatu and 
               Bobby. The room is more of a workroom than a study. It is in 
               comfortably shabby disarray, with papers and books everywhere. 
               There's a battered old desk and a day bed. One wall is solid 
               bookshelves and on the other two are blackboards covered 
               with a fantastic array of complex equations, graphs and 
               diagrams.

<b>               CLOSE SHOT - KLAATU
</b>
               His attention has been caught by one of the blackboards and 
               he studies it with great interest and curiosity.

<b>               MED. CLOSE SHOT - SECTION OF BLACKBOARD
</b>
               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!"

<b>               TWO SHOT - KLAATU AND BOBBY
</b>
               Bewildered, Bobby looks from the blackboard up at Klaatu. 
               Still studying the blackboard, Klaatu is shaking his head 
               and clucking his tonsure as one might at the attempts of a 
               child to solve a problem in arithmetic.

<b>                                     BOBBY
</b>                              (indicating the 
                              equations)
                         What does that mean?

<b>                                     KLAATU
</b>                         It's a problem in celestial mechanics.

<b>                                     BOBBY
</b>                         Bet he's the only one in the world 
                         knows the answer.

<b>                                     KLAATU
</b>                              (he shakes his head, 
                              smiling)
                         He doesn't know the answer. And he'll 
                         never get it that way.

               Bobby moves over to a pair of French doors beyond the window 
               and tries to peer in through the curtained doors. He absently 
               tries the doors and finds them locked. Then he turns away 
               with a disappointed but philosophical shrug.

<b>                                     BOBBY
</b>                         We probably couldn't get to see him 
                         even if he was home.

               As Bobby moves away from the doors dejectedly, Klaatu puts 
               his hand on the knob.

<b>               CLOSE SHOT - BOBBY
</b>
               He's watching Klaatu and his eyes widen at what he sees.

<b>                                     BOBBY
</b>                              (in complete surprise)
                         Hey -- where you going?

<b>               CHOOSE SHOT - KLAATU
</b>
               He has opened the door and is standing in the doorway, his 
               hand, still on the knob. He is smiling at Bobby with secret 
               amusement. He's got an idea.

<b>                                     KLAATU
</b>                         If he's that difficult to see, perhaps 
                         we ought to leave a calling card.

               Klaatu disappears into the study. Amazed, Bobby follows.

<b>               INT. BARNHARDT'S STUDY
</b>
               Bobby watches as Klaatu walks to the blackboard and picks up 
               a piece of chalk. As though correcting a schoolboy's work, 
               he makes large check marks at several points in each equation.

<b>               EXT. PORCH - BARNHARDT'S HOUSE
</b>
               An efficient-looking middle-aged woman is mounting the steps 
               to the entrance, getting her front door key out of her purse, 
               when her eye falls on the French doors, which are standing 
               ajar. Puzzled, she starts down the porch toward the doors. 
               This woman is Barnhardt's secretary and her name is HILDA.

               Bobby is watching as Klaatu writes across the blackboard in 
               a bold hand: Differentiate the equation ( ).

               Klaatu underlines this comment with a sharp stroke, when a 
               stern voice is heard off screen.

<b>                                     HILDA'S VOICE
</b>                         What are you doing in here?

<b>               FULL SHOT
</b>
               as Klaatu and Bobby turn in surprise. Standing in the open 
               French doors is Hilda, eyeing them with stern suspicion.

<b>                                     HILDA
</b>                              (outraged by Klaatu's 
                              desecration of the 
                              sacred blackboard)
                         How dare you write on that blackboard!
                              (Klaatu eyes her mildly)
                         Do you realize the Professor has 
                         been working on that problem for 
                         weeks?

<b>                                     KLAATU
</b>                              (pleasantly)
                         He'll catch on to it in no time now.

<b>                                     HILDA
</b>                              (controlling herself 
                              with an effort)
                         How did you get in here? And what do 
                         you want?

<b>                                     KLAATU
</b>                         We came to see Professor Barnhardt.

<b>                                     HILDA
</b>                         Well, he's not here. And he won't be 
                         back till this evening.
                              (sternly)
                         I think you'd better leave now. 
                         Unruffled, Klaatu turns to the desk 
                         and scribbles something on a scratch 
                         pad. He tears off the piece of paper 
                         and hands it to Hilda.

<b>                                     KLAATU
</b>                         You might keep this.
                              (with easy assurance)
                         I think the professor will want to 
                         get in touch with me.

               With a polite nod he goes out the French doors, followed by 
               Bobby. Hilda eyes the door for a moment, then glances down 
               at the paper in her hand, disturbed and puzzled by this 
               stranger. Her glance wanders to the blackboard and she picks 
               up an eraser, debating whether to erase Klaatu's corrections. 
               At that moment the French door opens and Klaatu sticks his 
               head in. Startled, Hilda drops the eraser.

<b>                                     KLAATU
</b>                              (pointing to the 
                              blackboard)
                         I wouldn't erase that. The Professor 
                         needs it very badly.

               And he disappears, leaving Hilda to glare after him in 
               impotent rage. Deciding that this man is either a crackpot 
               or a menace, she goes to the telephone on the desk and starts 
               dialing a number.

<b>               EXT. BARNHARDT'S HOUSE - MED. SHOT
</b>
               as Klaatu and Bobby come down the steps and turn into the 
               sidewalk. They are talking and laughing together, but we 
               can't hear their conversation. CAMERA PANS with them as they 
               move on up the sidewalk, revealing two kids playing hopscotch. 
               Klaatu watches, fascinated, as he walks by. Then, having 
               passed the kids, he tries the one-footed, then two-footed 
               hop that characterizes the game.

<b>               INT. BARNHARDT'S STUDY
</b>
               Hilda is talking on the phone.

<b>                                     HILDA
</b>                         --no, Sergeant, there was no 
                         classified material around, but I 
                         have instructions to report anything 
                         unusual to the police... Yes -- I'm 
                         Professor Barnhardt's secretary.
                              (consulting the paper 
                              in her hand)
                         The man's name is Carpenter -- and 
                         he lives at 1615 St. Street, N.W... 
                         Yes, that's right--

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. ARLINGTON NATIONAL CEMETERY - LONG SHOT - DAY
</b>
               Bobby and Klaatu come out of a wooded path into a section of 
               the cemetery where the myriad crosses seem to reach into 
               infinity. They pause for a moment, then Bobby leads the way 
               through one of the rows.

<b>               EXT. ARLINGTON CEMETERY - CLOSE SHOT
</b>
               in one of the many rows are crosses that extend beyond CAMERA 
               RANGE. CAMERA MOVES IN on one of the crosses. It bears the 
               name LT. ROBERT BENSON.

<b>               TWO SHOT - KLAATU AND B0BBY
</b>
               as they come into scene and look down at the grave.

<b>                                     BOBBY
</b>                         That's my father.
                              (Klaatu glances at 
                              the boy, then nods 
                              understandingly)
                         He was killed at a place called Anzio.

               Klaatu's glance roves out thoughtfully to the infinite rows 
               of crosses, and his eyes are sad as they return to Bobby.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. ARLINGTON CEMETERY - MED. SHOT - DAY
</b>
               Klaatu and Bobby are approaching a bench beside a pathway 
               overhung with trees. Bobby leads the way to the bench and 
               they sit down. Klaatu's eyes stray out to the myriad crosses.

<b>                                     KLAATU
</b>                              (Reflectively)
                         Did all these people die in wars?

<b>                                     BOBBY
</b>                              (somewhat surprised)
                         Sure. Didn't you ever hear of 
                         Arlington Cemetery?

<b>                                     KLAATU
</b>                         No -- I'm afraid not.

<b>                                     BOBBY
</b>                              (very serious)
                         Mr. Carpenter" -- you don't seem to 
                         know about anything.

<b>                                     KLAATU
</b>                              (Amused)
                         I'll tell you, Bobby -- I've been 
                         away for a long time. Very far away.

<b>                                     BOBBY
</b>                         Is it different where you've been?
                              (indicating the 
                              cemetery)
                         Don't they have places like this?

<b>                                     KLAATU
</b>                              (slowly)
                         They have cemeteries. But not like 
                         this one... You see, they don't have 
                         any wars.

               Bobby looks at him, puzzled and impressed by this 
               incomprehensible notion.

<b>                                     BOBBY
</b>                         Gee -- that's a good idea.

               His eyes are drawn subconsciously out to the rows of crosses. 
               Then he turns back to Klaatu with a slow-dawning look of 
               curiosity, and Klaatu deliberately changes the subject.

<b>                                     KLAATU
</b>                         What would you like to do this 
                         afternoon?

               After a moment Bobby's expression changes and he breaks into 
               a broad grin.

<b>                                     BOBBY
</b>                         Go to the movies.

<b>                                     KLAATU
</b>                         All right.

<b>                                     BOBBY
</b>                              (he didn't dare hope 
                              for this)
                         No foolin'? Will you?

<b>                                     KLAATU
</b>                         Certainly.
                              (then he hesitates)
                         Tell me, Bobby -- do you have to 
                         have money to go there?

               Bobby gives him a look of amazement, then grins, assuming 
               Klaatu was kidding and simply hasn't any money.

<b>                                     BOBBY
</b>                              (eagerly)
                         I've got some money. My mother gave 
                         me two dollars.

<b>                                     KLAATU
</b>                         No -- I want to take you to the 
                         movies.
                              (he takes some objects 
                              out of his pocket)
                         Do you think they'd accept these?

<b>               CLOSE SHOT - KLAATU'S HAND
</b>
               Sparkling in his palm are eight or ten cut diamonds of various 
               sizes.

<b>               TWO SHOT - KLAATU AND BOBBY
</b>
               The boy is staring at the stones in wide-eyed amazement.

<b>                                     BOBBY
</b>                         Gee -- those look like diamonds!

<b>                                     KLAATU
</b>                         Some places that's what people use 
                         for money. They're easy to carry -- 
                         and they don't wear out.

<b>                                     BOBBY
</b>                              (staring at them 
                              fascinated)
                         Bet they're worth about a million 
                         dollars.

<b>                                     KLAATU
</b>                         Would you give me your two dollars 
                         for a couple of them?

<b>                                     BOBBY
</b>                              (with a nervous, unsure 
                              smile)
                         Well, sure, but--

               The boy studies Klaatu's face to see if he's kidding. 
               Realizing that he's not, Bobby's face takes on a childishly 
               shrewd expression -- as though he were about to trade a 
               jackknife for an ocean liner.

<b>                                     BOBBY
</b>                              (slowly)
                         Okay.

               The boy takes out two dollar bills and offers them almost 
               challengingly. Klaatu takes the bills and hands Bobby two 
               good-sized Diamonds. They study their new acquisitions with 
               interest. Bobby looks up from his diamonds to steal a guilty 
               glance at Klaatu.

<b>                                     BOBBY
</b>                         Let's not say anything to my mother 
                         about this, Mr. Carpenter.

<b>                                     KLAATU
</b>                              (mildly curious)
                         Why not, Bobby?

<b>                                     BOBBY
</b>                              (gravely)
                         She doesn't like me to steal from 
                         people.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT
</b>
               Shooting toward the curb as a police prowl car drives up and 
               stops in front of the boardinghouse. A Detective in 
               plainclothes gets out and gestures to the uniformed Driver 
               to pull up the street a way and wait. The Driver nods and 
               the car moves off as the Detective crosses the sidewalk to 
               the boardinghouse.

<b>               EXT. BOARDINGHOUSE - MED. CLOSE SHOT
</b>
               As the Detective mounts the steps he glances through a window 
               into the living room. Klaatu can be seen reading to Bobby, 
               who is perched happily on the arm of Klaatu's chair. The 
               Detective moves to the front door ant rings the bell. There 
               is the sound of running feet and in a moment the door is 
               opened and Bobby appears.

<b>                                     DETECTIVE
</b>                         Mr. Carpenter come home yet?

<b>                                     BOBBY
</b>                              (studying the man 
                              curiously)
                         Yeah -- he's right inside.

<b>               INT. DOWNSTAIRS - BOARDINGHOUSE
</b>
<b>                                     DETECTIVE
</b>                         Tell him I'd like to see him.

<b>                                     BOBBY
</b>                              (calling out)
                         Mr. Carpenter--!
                              (to the Detective)
                         Come on in.

               The Detective steps inside and Bobby closes the door, as 
               Klaatu appears from the living room.

<b>                                     DETECTIVE
</b>                         Your name Carpenter?

<b>                                     KLAATU
</b>                              (puzzled that anyone 
                              should know him)
                         Yes.
                              (then recalling, with 
                              a smile of 
                              satisfaction)
                         Oh -- I suppose Professor Barnhardt's 
                         looking far me.

<b>                                     DETECTIVE
</b>                              (dryly, with grim 
                              emphasis)
                         I been looking for you all afternoon.

<b>               EXT. BOARDINGHOUSE STREET - MED. SHOT - NIGHT
</b>
               An inexpensive convertible -- a 1948 Ford, or Chevrolet -- 
               drives up and stops in front of the house. Helen and Tom are 
               in it.

<b>               INT. CONVERTABLE - TW0 SHOT - HELEN AND TOM
</b>
               You get the feeling that Helen and Ton have spent a very 
               enjoyable day together and are reluctant to say goodnight. 
               Tom puts his arm around her and kisses her.

<b>                                     HELEN
</b>                              (fondly)
                         It was a wonderful day.

<b>                                     TOM
</b>                         You still haven't answered my 
                         question.

<b>                                     HELEN
</b>                              (warmly sincere)
                         You know how I feel, Tom. I just 
                         want to think it over.

<b>                                     TOM
</b>                         The boss is leaving for Chicago 
                         tomorrow. If I could tell him I was 
                         getting married -- with two dependents--

<b>                                     HELEN
</b>                              (smiling)
                         You're a good salesman -- but I've 
                         got to think about it.

<b>                                     TOM
</b>                         A good insurance salesman wouldn't 
                         give you time to think.

               With a smile and, a quick kiss, Helen gets out of the car.

<b>                                     HELEN
</b>                         'Night.

<b>               MED. SHOT
</b>
               as Helen turns and hurries across the sidewalk to the house. 
               In the entrance she turns and waves to Tom. He waves back 
               and drives off slowly. Helen lets herself in with her key.

<b>               INT. DOWNSTAIRS HALL - BOARDINGHOUSE
</b>
               The Detective is putting on his hat and preparing to leave 
               with Klaatu as Helen enters. There is a moment of awkwardness 
               and confusion as she glances, puzzled, at the Detective. 
               Bobby runs to her and greets her excitedly.

<b>                                     BOBBY
</b>                         Hi Mom!

<b>                                     HELEN
</b>                         Hello, darling.
                              (she kisses Bobby, 
                              then turns 
                              questioningly to 
                              Klaatu and the 
                              Detective)
                         Good evening, Mr. Carpenter.

               Klaatu is uneasy but tries not to show it as he smiles in 
               greeting and introduces the Detective.

<b>                                     KLAATU
</b>                         Mrs. Benson -- this is Mr. Brady.

<b>                                     BOBBY
</b>                              (Impressively)
                         Mr. Brady's a cop.

               Helen glances quickly at the Detective, then at Klaatu, 
               surprised and troubled. She turns to Bobby to cover her 
               confusion.

<b>                                     HELEN
</b>                              (to Bobby)
                         Did you have a nice day, dear?

<b>                                     BOBBY
</b>                              (enthusiastically)
                         Boy, we had a swell time. Didn't we, 
                         Mr. Carpenter?

<b>                                     KLAATU
</b>                         We certainly did.

<b>                                     BOBBY
</b>                         We went to the movies -- and we had 
                         ice cream cones -- and we went to 
                         see Daddy--

<b>                                     HELEN
</b>                              (moved and grateful, 
                              she's uneasy and 
                              concerned as she 
                              turns to Klaatu)
                         I don't know how to thank you.

<b>                                     KLAATU
</b>                         I enjoyed every minute of it.

<b>                                     DETECTIVE
</b>                              (with quiet insistence)
                         We better get goin', Mr. Carpenter.

               As Klaatu nods and prepares to follow him, Bobby speaks to 
               Klaatu.

<b>                                     BOBBY
</b>                         Aw, gee -- we didn't finish our story.

<b>                                     KLAATU
</b>                         We'll finish it tomorrow... Goodnight, 
                         Bobby.

<b>                                     BOBBY
</b>                              (reluctantly)
                         Goodnight.

               Klaatu and the Detective nod to Helen and they go out. Helen 
               watches the door close with real concern, wondering why the 
               police want Klaatu and hoping he hasn't done anything wrong. 
               Still disturbed, she turns to lead Bobby upstairs.

<b>                                     HELEN
</b>                         Come on, Bobby. Time to go to bed.

<b>                                     BOBBY
</b>                              (he followers her, 
                              then hesitates)
                         Mom -- why does Mr. Carpenter have 
                         to go down to the police station?

<b>                                     HELEN
</b>                         I -- I don't know, dear... Perhaps 
                         there's some mistake.

               This satisfies him for the moment -- even though it doesn't 
               satisfy Helen. He is climbing the stairs beside her.

<b>                                     BOBBY
</b>                         We sure had fun today. We saw the 
                         space ship and we went to see 
                         Professor Barnhardt -- and--

<b>                                     HELEN
</b>                              (flashing him a 
                              puzzled, incredulous 
                              look)
                         Professor Barnhardt.

<b>                                     BOBBY
</b>                              (almost ignoring the 
                              interruption)
                         Yeah, sure. Mom, do I have to go to 
                         school tomorrow?

<b>                                     HELEN
</b>                         Of course, dear.

<b>                                     BOBBY
</b>                         Aw, gee, Mom -- I had plans to play 
                         with Mr. Carpenter.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. POLICE STATION - FULL SHOT - NIGHT
</b>
               The place is crowded and there is a feeling of feverish but 
               well-ordered activity. Unidentified people who have been 
               picked up in the search for the space man are being screened 
               by the police. They are all men -- all between forty and 
               sixty years old -- and they are from all walks of life. A 
               series of desks have been arranged in a row, with signs over 
               them reading IDENTIFICATION. At each desk is a team of cops 
               and before each desk is a line of men waiting to be screened. 
               At the far end of the room Klaatu can be seen at the desk of 
               a Police Lieutenant, with the detective who picked him up.

<b>               MED. CLOSE SHOT
</b>
               Shooting over the shoulders of two cops at one of the desks, 
               toward the line of people they are screening. A nondescript, 
               middle-aged vagrant stands before the desk as one of the 
               cops flips through a card file.

<b>                                     FIRST COP
</b>                              (to the cop beside 
                              him)
                         B.M. Alberts -- no prior arrests.

<b>                                     SECOND COP
</b>                              (to the vagrant)
                         No identification?
                              (the man shakes his 
                              head dully)
                         Send him over to G-2.

               The man is taken out of the line as CAMERA MOVES ON to the 
               next desk, with another pair of cops and another line. A 
               rather distinguished-looking business man is placing a sheaf 
               of identification cards and papers on the desk.

<b>                                     BUSINESSMAN
</b>                         My wife just arrived with my 
                         identification.

               One of the cops at the desk glances over the papers and nods 
               to the man.

<b>                                     THIRD COP
</b>                         That'll be all, Mr. Baxter. Sorry to 
                         bother you... Next.

               CAMERA MOVES ON to a third desk where a small, rat-faced man 
               is standing uneasily before the two cops, one of whom is 
               flipping through a card file.

<b>                                     FOURTH COP
</b>                         Cappo, John C?
                              (the man nods)
                         Two priors -- one for petty theft -- 
                         one for shoplifting.

<b>                                     FIFTH COP
</b>                              (waving the man away)
                         Okay, Jonny -- you can go.

<b>                                     MAN
</b>                              (with a nervous grin)
                         Sometimes a record comes in handy.
                              (and he moves off)

<b>               MED. CLOSE SHOT - AT LIEUTENANT'S DESK
</b>
               A Detective Lieutenant in plain clothes is questioning Klaatu, 
               who stands beside the Detective who brought him in. The 
               Lieutenant is a rugged but dignified man about fifty, 
               intelligent and businesslike.

<b>                                     LIEUTENANT
</b>                         The Professor's secretary says she 
                         found you in Barnhardt's room, making 
                         marks on his blackboard.

<b>                                     KLAATU
</b>                         I was only trying to be helpful. He 
                         was having difficulty with a problem.

               The Lieutenant exchanges a look with the Detective.

<b>                                     LIEUTENANT
</b>                              (sardonically)
                         Oh, I see. He was having trouble and 
                         you were helping him out.

<b>                                     KLAATU
</b>                              (pleasantly)
                         That's right.

<b>                                     LIEUTENANT
</b>                              (quietly sharp and 
                              accusing)
                         I suppose you know that Barnhardt 
                         does a lot of secret work for the 
                         Army.

<b>                                     KLAATU
</b>                         In this case the secret wouldn't be 
                         worth much. He doesn't know the answer 
                         himself.

<b>                                     LIEUTENANT
</b>                              (growing impatient)
                         But I suppose you know the answer.

<b>                                     KLAATU
</b>                              (with a deprecating 
                              shrug)
                         It's really quite simple... The three-
                         body problem, you know.

               The lieutenant shifts in his chair, annoyed that he has to 
               deal with this madman. He glances at a report on his desk, 
               trying to control his impatience.

<b>                                     LIEUTENANT
</b>                         Your name's Carpenter -- that right?
                              (Klaatu nods)
                         Any identification, Mr. Carpenter? 
                         Driver's license -- social security 
                         number?

<b>                                     KLAATU
</b>                         No -- I'm afraid not.

<b>                                     LIEUTENANT
</b>                         Well, how do I know who you are?

<b>                                     KLAATU
</b>                              (secretly amused)
                         You don't.

               The Lieutenant is turning away in exasperation as a uniformed 
               cop comes into the scene.

<b>                                     COP
</b>                         Excuse me, Lieutenant --
                              (pointing offscene)
                         The Doc says this man needs treatment 
                         right away.

<b>               MED. SHOT
</b>
               A man about forty-five, bloodied and badly beaten, is being 
               supported and half-carried by two policemen. A police doctor 
               is guiding them to a doorway, near which is a sign INFIRMARY. 
               The man is almost unconscious, incapable even of holding up 
               his head.

<b>               MED. CLOSE SHOT - AT LIEUTENANT'S DESK
</b>
<b>                                     LIEUTENANT
</b>                         What's the story?

<b>                                     COP
</b>                         Some fella caught him lookin' in a 
                         window and figured he was the space 
                         man. The whole neighborhood went 
                         crazy and they ganged up on him. 
                         Would have killed him if we hadn't 
                         come along... Turns out he was just 
                         a prowler.

               The Lieutenant grimaces his disgust and impatience with mob 
               violence.

<b>                                     LIEUTENANT
</b>                         Okay -- book him and get him fixed 
                         up.
                              (the cops nods and 
                              goes, and the 
                              Lieutenant growls as 
                              he turns back to 
                              Klaatu and the 
                              Detective)
                         Looks like everybody's goin' nuts.

<b>                                     KLAATU
</b>                              (appalled by what he 
                              has seen and heard)
                         They would have killed this man?

<b>                                     LIEUTENANT
</b>                              (gruffly)
                         People get hysterical enough, they 
                         do anything.
                              (impatiently)
                         Look, Mr. Carpenter -- if you can't 
                         identify yourself, I got to send you 
                         over to the Army.

<b>                                     KLAATU
</b>                              (pretending impatience, 
                              but actually growing 
                              concerned)
                         How long will that take?

<b>                                     LIEUTENANT
</b>                         They can tell right away. They've 
                         got a couple of doctors who saw this 
                         man in the hospital.
                              (to the Detective)
                         Take him over to G2.

               Really concerned now, Klaatu tries to find a way out. He 
               attempts an authoritative air.

<b>                                     KLAATU
</b>                         It's very important, Lieutenant, 
                         that I see Professor Barnhardt.

<b>                                     DETECTIVE
</b>                         Come on, Mr. Carpenter--

               Shaking off the Detective's hand, Klaatu speaks to the 
               Lieutenant.

<b>                                     KLAATU
</b>                         May I suggest that you call the 
                         Professor?

<b>                                     LIEUTENANT
</b>                              (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.

<b>               EXT. POLICE STATION - TWO SHOT - KLAATU AND DETECTIVE
</b>
               as they come out of the station. Klaatu hesitates a moment, 
               looks around. His face reveals nothing, but he seems to be 
               momentarily considering the idea of making a break. The 
               Detective, sensitive to such a possibility, hooks his arm 
               under Klaatu's and nods his head toward the sidewalk in silent 
               command. Klaatu allows himself to be led off.

<b>               MED. SHOT
</b>
               as the Detective leads Klaatu across the sidewalk to the 
               curb, where a police car is standing. Parked just behind it 
               is an Army staff car.

<b>               MED. CLOSE SHOT - ENTRANCE TO POLICE STATION
</b>
               as the M.P. Captain appears in the entrance, accompanied by 
               the Police Lieutenant. They see Klaatu and the Detective 
               approaching the police car and hurry out of scene after them.

<b>               MED. CLOSE SHOT - AT POLICE CAR
</b>
<b>                                     LIEUTENANT
</b>                              (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.

<b>                                     M.P. CAPTAIN
</b>                              (to Klaatu firmly but 
                              respectfully)
                         Will you come with me, Sir?

<b>               MED. SHOT
</b>
               as Klaatu gets out of the police car and the Captain escorts 
               him toward the staff car. Passing the Lieutenant, Klaatu 
               speaks with a polite smile, a smile that might be one of 
               mild triumph.

<b>                                     KLAATU
</b>                         Sorry to trouble you, Lieutenant.

               The Lieutenant reacts with impatient exasperation as the 
               Captain holds the staff car door open for Klaatu, who steps 
               into the Army vehicle, as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. HALLWAY - BARNHARDT'S HOUSE - NIGHT
</b>
               as the M.P. Captain and Klaatu enter the front door, which 
               is held open for then by Hilda. She gestures them toward the 
               half-open door of Barnhardt's study, where Barnhardt can be 
               seen puzzling over the problem on the blackboard. The Captain 
               knocks on the open door to attract his attention and enters 
               with Klaatu.

<b>               INT. BARNHARDT'S STUDY
</b>
               Barnhardt turns from his deep preoccupation at the blackboard, 
               chalk in hand.

<b>                                     M.P. CAPTAIN
</b>                         This is the man you wanted to see, 
                         Professor.

<b>                                     BARNHARDT
</b>                              (studying Klaatu 
                              curiously)
                         Thank you, Captain.

<b>                                     M.P. CAPTAIN
</b>                         I'll wait outside.

               He steps out into the hall, closing the door. Barnhardt 
               continues to study Klaatu for a moment, then points to the 
               notations he made on the blackboard. There is a controlled 
               but anxious excitement in Barnhardt's attitude.

<b>                                     BARNHARDT
</b>                         You wrote this?

<b>                                     KLAATU
</b>                              (nodding easily)
                         It was a clumsy way to introduce 
                         myself -- but I understand you're a 
                         difficult man to see.
                              (glancing at the 
                              blackboard 
                              reproachfully)
                         I thought you'd have the solution by 
                         this time.

<b>                                     BARNHARDT
</b>                         Not yet. That's why I wanted to see 
                         you.

               Klaatu glances at the work Barnhardt has been doing on the 
               board. Then he points to one of the expressions in an 
               equation.

<b>                                     KLAATU
</b>                         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.

<b>                                     BARNHARDT
</b>                              (slowly, thoughtfully)
                         Yes -- that will reproduce the first-
                         order terms. But what about the effect 
                         of the other terms?

<b>                                     KLAATU
</b>                         Almost negligible... With variation 
                         of parameters, this is the answer.

<b>                                     BARNHARDT
</b>                         How can you be so sure? Have you 
                         tested this theory?

<b>                                     KLAATU
</b>                              (with a slight smile)
                         I find it works well enough to get 
                         me from one planet to another.
                              (Barnhardt stares at 
                              him blankly)
                         I understand you've called a meeting 
                         to study our space ship.

<b>                                     BARNHARDT
</b>                         As though unsure of what he's heard) 
                         Yes -- yes, I have.

<b>                                     KLAATU
</b>                         My name is Klaatu.
                              (noting that 
                              Barnhardt's expression 
                              is changing from 
                              amazement to 
                              incredulity)
                         I spent two days at your Walter Reed 
                         Hospital. Room 309. My doctor's name 
                         was Major White -- and I had a very 
                         attractive nurse called Ruth, who's 
                         getting married next Wednesday.
                              (Klaatu waits for 
                              this to sink in, 
                              then speaks with 
                              quiet authority)
                         If you are not interested -- or if 
                         you intend to turn me over to your 
                         Army -- we needn't waste any more 
                         time.

               Barnhardt hesitates for a long, thoughtful moment. Then he 
               goes to the door, opens it and speaks to the Captain outside.

<b>                                     BARNHARDT
</b>                              (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.

<b>                                     KLAATU
</b>                              (dryly)
                         You have faith, Professor Barnhardt

<b>                                     BARNHARDT
</b>                         It isn't faith that makes good 
                         science, Mr. Klaatu. Its curiosity.
                              (unable to conceal 
                              his interest)
                         Sit down, please. I have several 
                         thousand questions to ask you.

<b>                                     KLAATU
</b>                              (ignoring the 
                              invitation)
                         I would like to explain something of 
                         my mission here.

<b>                                     BARNHARDT
</b>                         That was my first question.

<b>                                     KLAATU
</b>                              (with some bitterness)
                         It was my intention to discuss this 
                         officially -- with all the nations 
                         of the Earth -- but I was not allowed 
                         the Opportunity. I have come to 
                         realize since that your mutual fears 
                         and suspicions are merely the normal 
                         reactions of a primitive society.
                              (gathering his thoughts)
                         We know from scientific observation 
                         that you have discovered a rudimentary 
                         kind of atomic energy. We also know 
                         that you are experimenting with 
                         rockets.

<b>                                     BARNHARDT
</b>                         Yes -- that is true.

<b>                                     KLAATU
</b>                         In the hands of a mature civilization, 
                         these would not be considered weapons 
                         of aggression. But in the hands of 
                         your people--
                              (he shrugs and shakes 
                              his head)
                         We've observed your aggressive 
                         tendencies, and we don't trust you 
                         with such power.

<b>                                     BARNHARDT
</b>                              (puzzled)
                         If you mean that you are afraid of 
                         us--

<b>                                     KLAATU
</b>                              (with cool impressive 
                              emphasis)
                         We want to be sure you don't make -- 
                         let us say -- an unfortunate mistake. 
                         We know the potentiality of these 
                         developments and we are disturbed to 
                         find them in the hands of children... 
                         You see, we've had atomic energy for 
                         five thousand of your years.
                              (indicating the 
                              telephone)
                         We discarded instruments like this 
                         many centuries ago.
                              (he paces thoughtfully)
                         So long as you were limited to 
                         fighting among yourselves -- with 
                         your primitive tanks and planes -- 
                         we were unconcerned. But soon you 
                         will apply atomic energy to space 
                         ships -- and then you become a threat 
                         to the peace and security of other 
                         planets. That, of course, we cannot 
                         tolerate.

<b>                                     BARNHARDT
</b>                              (thoughtful and 
                              impressed)
                         These other planets -- do they have 
                         peace and security?

<b>                                     KLAATU
</b>                         We had our atomic wars -- thousands 
                         of years ago.
                              (he smiles wryly)
                         After that we fought with bows and 
                         arrows. Then, slowly, we learned 
                         that fighting is no solution -- that 
                         aggression leads to chaos.

<b>                                     BARNHARDT
</b>                              (with deep conviction)
                         We scientists understand this. Even 
                         we primitive scientists.
                              (Straightforwardly)
                         What exactly is the nature of your 
                         mission, Mr. Klaatu?

<b>                                     KLAATU
</b>                         I came here to warn you that, by 
                         threatening danger, your planet faces 
                         danger -- very grave danger. I am 
                         prepared, however, to offer a 
                         solution.

<b>                                     BARNHARDT
</b>                         Would you care to be more specific?

<b>                                     KLAATU
</b>                              (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.

<b>                                     BARNHARDT
</b>                         I gather that your efforts on the 
                         official level were not entirely 
                         successful.

<b>                                     KLAATU
</b>                              (sternly, as this 
                              unpleasant episode 
                              is recalled)
                         I come to you as a last resort -- 
                         and I confess that my patience is 
                         wearing thin.
                              (with Jovian annoyance)
                         Must I take drastic action in order 
                         to get a hearing?

<b>                                     BARNHARDT
</b>                              (uneasily)
                         What -- what sort of action do you 
                         mean?

<b>                                     KLAATU
</b>                         Violent action -- since that seems 
                         to be the only thing you people 
                         understand.
                              (quietly)
                         Leveling the island of Manhattan, 
                         perhaps -- or dropping the Rock of 
                         Gibraltar into the sea.

               Barnhardt stands staring at him for a moment, passes his 
               hand across his brow. Then, as Klaatu watches, Barnhardt 
               paces the floor, trying to digest what he has heard. After a 
               moment, he turns to Klaatu.

<b>                                     BARNHARDT
</b>                         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.

<b>                                     KLAATU
</b>                              (quietly, evenly)
                         That's what I came to see you about.

               Barnhardt flings him a glance, then looks momentarily 
               sheepish. But his own eagerness carries him on. He paces the 
               floor thoughtfully.

<b>                                     BARNHARDT
</b>                         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.

<b>                                     KLAATU
</b>                         I leave that in your hands.

<b>                                     BARNHARDT
</b>                         You'd have no objection to revealing 
                         yourself at this meeting?

<b>                                     KLAATU
</b>                         No -- not at all.

<b>                                     BARNHARDT
</b>                         What about your personal safety in 
                         the meantime? What about the Army -- 
                         and the police?

<b>                                     KLAATU
</b>                         My name is Carpenter and I'm a very 
                         earthy character living in a 
                         respectable boarding house.

<b>                                     BARNHARDT
</b>                              (smiling, but a little 
                              concerned)
                         I'm afraid I can't offer you any 
                         real protection. I have no influence 
                         in cases of inter-planetary 
                         conspiracy.

<b>                                     KLAATU
</b>                         I'm sure I'll be quite safe until 
                         the meeting.

<b>                                     BARNHARDT
</b>                              (he suddenly pauses, 
                              thoughtfully)
                         One thing, Mr. Klaatu. Suppose this 
                         group should reject your proposals. 
                         What is the alternative?

<b>                                     KLAATU
</b>                              (with a sense of quiet, 
                              inescapable power)
                         I'm afraid you have no alternative. 
                         In such, a case the planet Earth 
                         would have to be--
                              (he looks for the 
                              right word)
                         --eliminated.

               The implications of this statement leave Barnhardt speechless, 
               his keen mind reeling.

<b>                                     BARNHARDT
</b>                         Such power exists?

<b>                                     KLAATU
</b>                         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.

<b>                                     BARNHARDT
</b>                         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--

<b>                                     KLAATU
</b>                         Yes.

<b>                                     BARNHARDT
</b>                         Would such, a demonstration be 
                         possible before the meeting?

<b>                                     KLAATU
</b>                         Yes -- of course.

<b>                                     BARNHARDT
</b>                         Something that would dramatize for 
                         them and for their people the 
                         seriousness of the situation. 
                         Something that would affect the entire 
                         planet.

<b>                                     KLAATU
</b>                              (with a nod)
                         That can easily be arranged.

<b>                                     BARNHARDT
</b>                              (frightened by his 
                              easy assumption of 
                              infinite power)
                         I wouldn't want you to harm anybody -- 
                         or destroy anything.

<b>                                     KLAATU
</b>                              (easily)
                         Why don't you leave it to me? I'll 
                         think of something.

<b>                                     BARNHARDT
</b>                              (with a nervous half-
                              smile)
                         Maybe a little demonstration.

<b>                                     KLAATU
</b>                              (thinking about it)
                         Something dramatic -- but not 
                         destructive.
                              (intellectually amused)
                         It's quite an interesting problem.
                              (Barnhardt nods vaguely)
                         Would day after tomorrow be all right? 
                         Say about noon?

               Klaatu's bland manner leaves Barnhardt shaken, almost wishing 
               he'd never started this business.

<b>                                                                  FADE OUT:
</b>
<b>               INT. LIVING ROOM - BOARDINGHOUSE - NIGHT
</b>
               It is about 3:30 the following evening. Helen is sitting in 
               a chair leafing through a magazine. She is dressed to go 
               out. A corner of the dining room can be seen, where Mr. and 
               Mrs. Barley are playing cards with Mr. Krull. Mrs. Crockett, 
               the landlady, enters from the hall on her way to the dining 
               room and notices Helen.

<b>                                     MRS. CROCKETT
</b>                         Going out, dear?

<b>                                     HELEN
</b>                         Yes, I'm waiting for Tom to pick me 
                         up.

<b>                                     MRS. CROCKETT
</b>                              (with a shudder)
                         Personally, I won't go out after 
                         dark these days.
                              (with an attempt at 
                              slyness)
                         But then -- I'm not courting, am I?

               She turns to go on into the dining room and as she does so 
               almost bumps into Klaatu who is coming out, having been 
               kibitzing the card game.

<b>                                     MRS. CROCKETT
</b>                              (thoroughly startled)
                         Oh -- Mr. Carpenter--!

               Klaatu steps aside as she hurries nervously into the dining 
               room. He turns, puzzled, to find Helen watching with a slight 
               smile.

<b>                                     KLAATU
</b>                         Everyone seems so--
                              (he shakes his hands 
                              to indicate 
                              nervousness)

<b>                                     HELEN
</b>                         Jittery is the word.

               Helen watches him, a little uneasy in his presence. She is 
               fond of him, and she can't help being curious and concerned 
               about his brush with the police.

<b>                                     KLAATU
</b>                              (with a contemplative 
                              smile)
                         Bobby's the only person I know who 
                         isn't -- Jittery.

<b>                                     HELEN
</b>                         He has his homework to keep him 
                         occupied.

<b>                                     KLAATU
</b>                              (fondly, sincerely)
                         He's a fine boy, Mrs. Benson.

<b>                                     HELEN
</b>                         Naturally I think so.

<b>                                     KLAATU
</b>                         Warm and friendly and intelligent--
                              (thoughtfully)
                         You know -- he's the only real friend 
                         I've made since I've been here.

               Helen is deeply moved by Klaatu's affection for the boy, She 
               tried to dismiss her curiosity about him, but she can't. She 
               decides to face it.

<b>                                     HELEN
</b>                              (hesitantly and with 
                              some difficulty)
                         Mr. Carpenter -- this is none of my 
                         business, but -- why did that 
                         detective come here last night?

<b>                                     KLAATU
</b>                              (with easy frankness)
                         Oh -- they just wanted to ask me a 
                         few questions. Bobby and I tried to 
                         see Professor Barnhardt in the 
                         afternoon, but he wasn't in. 
                         Apparently they thought I was looking 
                         for secrets of some kind.

               Helen has reacted in puzzlement at this second mention of 
               Barnhardt. They are interrupted by the ringing of the 
               doorbell. Helen goes to answer it.

<b>               INT. HALLWAY
</b>
               as Helen opens the front door to admit Tom. He appears 
               impatient, anxious to get going.

<b>                                     HELEN
</b>                         Hello--

<b>                                     TOM
</b>                         You ready?

<b>                                     HELEN
</b>                         I will be in just a minute.

<b>                                     TOM
</b>                              (a little annoyed 
                              that she hasn't her 
                              coat on, he consults 
                              his watch)
                         The picture starts at eight-fifty.

<b>                                     HELEN
</b>                              (in explanation)
                         I was talking to Mr. Carpenter.

<b>                                     TOM
</b>                              (lightly, but with 
                              real sarcasm 
                              underneath)
                         I hope Mr. Carpenter won't think I'm 
                         intruding.

               Helen tries to shush him, to indicate Klaatu is in the next 
               room, when Klaatu appears in the doorway. He must have heard 
               Tom's remark, and there is an awkward moment. Klaatu is 
               completely unperturbed, but Helen is embarrassed.

<b>                                     KLAATU
</b>                         Excuse me. I was just going up to my 
                         room.

<b>                                     HELEN
</b>                              (guiltily)
                         Goodnight, Mr. Carpenter.

               Klaatu stops and turns to face them pleasantly.

<b>                                     KLAATU
</b>                         Have a good time -- both of you.

               He goes on up the stairs. Helen steers Tom toward the living 
               room.

<b>                                     HELEN
</b>                         Why don't you wait in here while I 
                         get my things?

<b>               INT. LIVING ROOM
</b>
               As they enter from the hall, Helen turns to Tom reproachfully.

<b>                                     HELEN
</b>                              (quietly)
                         Oh, Tom, that was awful.

<b>                                     TOM
</b>                              (momentary apologetic)
                         I'm sorry. I guess I'm just tired of 
                         hearing about Mr. Carpenter.
                              (Helen shushes him)
                         I don't like the way he's attached 
                         himself to you and Bobby. After all, 
                         what do you know about him?

               This touches on Helen's own private doubts, and she cannot 
               answer.

<b>                                     HELEN
</b>                         I'll go get my things.

               She turns quickly and goes into the hall and hurries up the 
               stairs. Tom looks after her, dismissing the matter with a 
               shake of the head and a philosophical sigh. Of such stuff 
               are women made.

<b>               INT - UPSTAIRS HALLWAY
</b>
               Helen reaches the top of the stairs, crosses to her room and 
               grabs a coat off the bed. She's putting it on as she moves 
               down the hall to Bobby's room, the door of which is open.

<b>               INT. BOBBY'S ROOM
</b>
               Bobby is at a table doing his homework and Klaatu has just 
               finished explaining an arithmetic problem to him, as Helen 
               enters, still putting on her coat.

<b>                                     KLAATU
</b>                              (about to leave)
                         All you have to remember is, first 
                         find the common denominator -- then 
                         subtract.

<b>                                     BOBBY
</b>                         Thanks, Mr. Carpenter.

<b>                                     KLAATU
</b>                              (to Helen, pleasantly)
                         I'll say goodnight again.

               Helen is embarrassed. She would like to apologize for the 
               awkwardness downstairs but she doesn't quite know how to go 
               about it.

<b>                                     HELEN
</b>                         Mr. Carpenter, I--
                              (it's too complicated; 
                              she can't do it)
                         Goodnight.

<b>                                     KLAATU
</b>                              (with a warm smile of 
                              complete understanding 
                              and appreciation)
                         Goodnight, my dear.

               He turns and goes out, closing the door. A little distracted, 
               Helen turns to Bobby.

<b>                                     HELEN
</b>                         Go to bed, darling. You can finish 
                         that in the morning.

<b>                                     BOBBY
</b>                         Okay.

               Helen watches as he starts to put away his work. She wants 
               to tell him something, but finds it difficult to say.

<b>                                     HELEN
</b>                              (hesitantly, almost 
                              guiltily)
                         Bobby -- I think it would be better 
                         if we didn't see quite so much of 
                         Mr. Carpenter

<b>                                     BOBBY
</b>                              (shocked, and 
                              bewildered)
                         Gee, why, Mom? He's my best friend... 
                         And he's awful good in arithmetic. 
                         He even helps Professor Barnhardt.

<b>                                     HELEN
</b>                         Did you and Mr. Carpenter really go 
                         to see Professor Barnhardt?

<b>                                     BOBBY
</b>                         Sure we did! He wasn't there but we 
                         went to see him. And Mr. Carpenter 
                         showed him how to do his arithmetic.

               Helen is surprised to get this corroboration for Klaatu's 
               story. Sensing his mother's uneasiness, the boy looks for 
               something intriguing -- some deep, dark secret.

<b>                                     BOBBY
</b>                              (shrewdly)
                         Mom -- is there something wrong with 
                         Mr. Carpenter?

<b>                                     HELEN
</b>                         What do you mean, dear?

<b>                                     BOBBY
</b>                         I mean -- on account of that policeman 
                         last night.
                              (his eyes light up 
                              hopefully)
                         You think he's a bank robber, maybe? 
                         Or a gangster?

<b>                                     HELEN
</b>                         No, dear, of course not. He's a very 
                         nice man. I Just think he might prefer 
                         to be left alone. Now you get to bed 
                         and forget about it.
                              (she kisses him)
                         'Night, darling.

               With a reassuring smile, she starts for the door.

<b>                                     BOBBY
</b>                         Goodnight.
                              (stopping her in the 
                              doorway, his 
                              imaginative suspicions 
                              mounting)
                         Hey Mom -- why would he want to be 
                         alone?

               Not wanting to go into this any further, Helen blows him a 
               kiss and backs out, closing the door. Bobby stands thinking 
               for a moment, his mind still speculating on all sorts of 
               wonderful possibilities. Still preoccupied, he drifts over 
               to his bed and sits down to take of his shoes. He drops the 
               first one to the floor and is starting on the other, when 
               there is a light rap on his door. The door opens and Klaatu 
               appears.

<b>                                     KLAATU
</b>                         Bobby -- have you a flashlight?

<b>                                     BOBBY
</b>                              (surprised by his 
                              appearance and his 
                              request)
                         Yeah -- sure.
                              (he goes to a drawer 
                              and gets a large 
                              hand flashlight)
                         It's a real Boy Scout flashlight.

               Bobby hands him the light, studying his face with eager 
               curiosity.

<b>                                     BOBBY
</b>                         What do you want it for, Mr. 
                         Carpenter?

<b>                                     KLAATU
</b>                              (evasively)
                         Why -- the light in my room went 
                         out.
                              (cutting off further 
                              questions)
                         Thank you, Bobby. Goodnight.

               Klaatu goes out, closing the door behind him. Bobby hesitates 
               a moment, puzzled and curious. Then he goes over to the door, 
               flips off the lights, and slowly, noiselessly opens the door 
               a crack so he can peer out into the hall.

<b>               MED. SHOT
</b>
               shooting down the hall through the crack in Bobby's door.

               Klaatu's door is ajar and through it the lights in his room 
               can be seen burning brightly. Klaatu goes to his door, reaches 
               in and flips off the lights and closes the door. He then 
               scans the hall in both directions. Satisfied he isn't seen, 
               he moves surreptitiously down the hall toward the stairs, 
               still carrying the flashlight.

<b>               MED CLOSE SHOT - BOBBY
</b>
               as he closes his door carefully, an expression of intense 
               excitement on his face. What he has seem is certainly, 
               unmistakably suspicious. Why did Mr. Carpenter lie to him? 
               What does he want the flashlight for and where is he going? 
               Bobby decides he's got to find out. Hurriedly he laces on 
               the shoe he had taken off, and peers out the door to find 
               the hall clear. He slips out the door, closing it behind 
               him.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. STREET - MED. CLOSE SHOT - NIGHT
</b>
               Klaatu is walking down the dark, semi-deserted street with 
               the determined stride of a man with a definite objective.

<b>               MED. CLOSE SHOT - BOBBY
</b>
               Half a block behind, he's following Klaatu, eagerly, flushed 
               with a sense of excitement and adventure.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. RESIDENTIAL STREET CORNER - NIGHT
</b>
               Walking along the sidewalk, Klaatu turns into a side street, 
               disappearing from view around the corner. In a moment, Bobby 
               hurries into scene breathlessly. He pulls up for a moment to 
               rest. Then, getting his breath, he dashes on around the corner 
               after Klaatu.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. LARGE TEMPORARY BUILDING - LONG SHOT - NIGHT
</b>
               This is a temporary structure that has been erected to enclose 
               the space ship and Gort. In front of the one small door are 
               two soldiers, standing guard. Concealed in some foreground 
               foliage, studying the layout, is Klaatu. Nearby 's a sign 
               reading: KEEP OUT! This area OFF LIMITS to the public. U.S. 
<b>               ARMY.
</b>
<b>               CLOSE SHOT - BOBBY
</b>
               He is a short distance away, watching Klaatu eagerly.

<b>               CLOSE SHOT - KLAATU
</b>
               as he studies the situation.

<b>               MED. SHOT
</b>
               shooting over Klaatu's shoulder. As he watches, a Jeep filled 
               with armed soldiers -- apparently regular patrol -- drives 
               up to the entrance of the building. They stop for a moment 
               while their Sergeant checks with the guards. Assured that 
               everything is under control, the Sergeant signals his driver 
               and the Jeep moves off.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               Scanning the side of the building, he sees what he's looking 
               for. Waiting until the Jeep disappears, he starts toward one 
               side of the building, keeping himself concealed in the 
               foliage.

<b>               CLOSE SHOT - BOBBY
</b>
               puzzled and interested, as he watches Klaatu.

<b>               MED. CLOSE SHOT
</b>
               The two sentries standing in front of the building.

<b>               MED. SHOT
</b>
               as Klaatu maneuvers around the side of the building, where 
               there is a window. It has no glass in it but is heavily 
               barred.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               as he leaves the concealing foliage and crosses the clear, 
               grassy area surrounding the building. He stops and tries to 
               see through the window.

<b>               MED. SHOT - GORT
</b>
               shooting through the barred window into the building. The 
               huge robot looms large and eerie in the shadows cast by a 
               couple of naked work-lights. His head is angled, away from 
               the window.

<b>               MED. CLOSE SHOT
</b>
               as Klaatu approaches the window. Aiming his flashlight at 
               Gort, he flashes the light intermittently, as though 
               signaling. (This should not approximate any known code.)

<b>               MED. CLOSE SHOT - GORT
</b>
               As we watch, the intermittent flashes of Klaatu's light appear 
               on the wall ahead of Gort. Slowly, evenly, the robot's head 
               turns to face the window.

<b>               MED. SHOT
</b>
               from Gort's viewpoint, of the window, with Klaatu's light 
               flashing its signals.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               shooting on his back, as he finishes signaling and cuts off 
               the flashlight. He turns ant starts back for the concealment 
               of the foliage.

<b>               CLOSE SHOT - BOBBY
</b>
               craning his neck to look for Klaatu, who has eluded his view. 
               Suddenly he sees Klaatu again.

<b>               MED. SHOT - KLAATU
</b>
               making his way behind the foliage toward the front of the 
               building. Arriving at a point opposite the entrance, Klaatu 
               waits and watches.

<b>               MED. CLOSE SHOT - ENTRANCE TO BUILDING
</b>
               The two guards are standing in the doorway in positions of 
               relaxed alertness. Suddenly, inside the building behind them, 
               the giant figure of Gort looms silently in the doorway. His 
               two great arms reach out, grab the two guards and drag then 
               back inside the building.

<b>               CLOSE SHOT - BOBBY
</b>
               He lets out an inaudible gasp as he sees this. Bug-eyed, he 
               glances quickly to the point where he last saw Klaatu. He is 
               amazed at what he sees.

<b>               MED. SHOT
</b>
               from Bobby's viewpoint. Klaatu has emerged from the 
               concealment of the tree-lined path and is making his way 
               calmly toward the entrance of the building.

<b>               CLOSE SHOT - BOBBY
</b>
               As he watches Klaatu enter the building, his curiosity 
               conquers his fear and he starts tremblingly toward the 
               structure.

<b>               INT. BUILDING - FULL SHOT
</b>
               as Klaatu enters. The huge shapes of the space ship and Gort 
               loom large and eerie. Klaatu starts across the barren 
               enclosure toward the ship.

<b>               EXT. ENTRANCE TO BUILDING - MED. CLOSE SHOT
</b>
               as Bobby approaches the door, fearful but fascinated. He 
               peers cautiously inside and his eyes grow wide as saucers.

<b>               EXT. BUILDING - MED. SHOT
</b>
               In *f.g., near the door, the two guards lie unconscious. As 
               Klaatu walks toward the ship Gort slowly turns his head to 
               follow him with him with eyes. Klaatu touches a point on the 
               unbroken surface of the ship and the ramp silently swings 
               out and down to the ground. Klaatu mounts the ramp and 
               disappears inside the ship, whereupon the ramp silently 
               closes.

<b>               CLOSE SHOT - BOBBY
</b>
               as he watches this; his eyes bulging. He can scarcely believe 
               what he has seen. Suddenly a wave of sheer terror sweeps 
               over him. Scrambling to his feet, he turns and runs wildly 
               away.

<b>               INT. SMALL CORRIDOR - SPACE SHIP
</b>
               CAMERA FOLLOWS Klaatu as he moves down the tiny, dimly lighted 
               entrance corridor. He steps into the main cabin of the ship 
               and flips a switch which bathes the cabin in a diffused, 
               shadowless light. The walls are lined with a complex of 
               mysterious gadgetry -- knobs, dials, indicators, etc. All of 
               this should be as imaginative and unorthodox as possible, 
               while still retaining a feeling of sound but highly advanced 
               engineering.

<b>               MED. CLOSE SHOT
</b>
               as Klaatu moves to the communications panel, flipping switches 
               and turning dials. Indicators light up. There are crackling, 
               whirring and buzzing sounds. Klaatu starts speaking into a 
               built-in microphone in his own strange language. He speaks 
               in rapid-fire explanation, continuing to talk, as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. BUILDING - MED. SHOT - NIGHT
</b>
               as Klaatu walks calmly away from the ship, past the two 
               unconscious guards and disappears out of the door.

<b>               MED. CLOSE SHOT THE TWO GUARDS
</b>
               as one of them slowly regains consciousness. Looking around, 
               he sees the great figure of Gort and is terror-stricken. He 
               shakes his companion frantically in an effort to bring him 
               to.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. LIVING ROOM BOARDINGHOUSE NIGHT
</b>
               Bobby is curled up in a chair waiting for his mother to come 
               home. He's sleepy, but the excitement of what he has seen 
               precluded any such possibility. From the hall we hear the 
               front door opening as Helen and Tom come in.

<b>                                     HELEN'S VOICE
</b>                              (off scene)
                         Why don't you come on in for a minute?

               Helen and Tom appear in the doorway, Helen is startled to 
               see Bobby, who has Jumped up and run toward her.

<b>                                     HELEN
</b>                         Bobby--! What are you doing up at 
                         this hour?

<b>                                     BOBBY
</b>                              (excitedly)
                         I couldn't go to sleep, Mom. I had 
                         to tell you!

<b>                                     HELEN
</b>                         Tell me what?

<b>                                     BOBBY
</b>                              (the words tadpole 
                              out breathlessly)
                         I followed Mr. Carpenter -- right 
                         after you left -- and, gee, Mom, 
                         where do you think he went? Right 
                         into the space ship!

<b>                                     HELEN
</b>                              (patiently disbelieving)
                         Now, Bobby, just a minute--

<b>                                     BOBBY
</b>                         Honest, Mom, I saw him. It just opened 
                         up and he walked right in. And that 
                         great big iron man was moving around!

<b>                                     HELEN
</b>                         Bobby, you've been dreaming again.

<b>                                     BOBBY
</b>                              (desperately)
                         No, I haven't, Mom. I promise you... 
                         I saw it!

               Helen and Tom exchange a glance of tolerant amusement.

<b>                                     TOM
</b>                         Where did you see all this, Bobby?

<b>                                     BOBBY
</b>                         On the lawn down at the mall -- in 
                         that place with the soldiers out 
                         front.

<b>                                     TOM
</b>                              (trying to trap him)
                         Where were the soldiers all this 
                         time?

<b>                                     BOBBY
</b>                         That robot fella grabbed 'em and 
                         dragged 'em inside!
                              (his lips trembling)
                         I like Mr. Carpenter -- but I'm 
                         scared, Mom.

               He rushes into Helen's arms, clutching her desperately, trying 
               to hold back his tears.

<b>                                     HELEN
</b>                              (holding him close to 
                              her sympathetically)
                         Mustn't be frightened, darling -- It 
                         was just a bad dream. Here -- we'll 
                         prove it to you.
                              (with a look and a 
                              nod to Tom)
                         Tom, will you ask Mr. Carpenter if 
                         he'll come down for a minute.
                              (Tom turns to go)
                         The room right opposite mine.

               Nodding, Tom disappears into the hall and up the stairs. 
               Still holding Bobby, Helen tries to dispel his fears by an 
               appeal to logic.

<b>                                     HELEN
</b>                         Now think back hard. You didn't follow 
                         Mr. Carpenter at all, did you? You 
                         haven't even been out of the house.

<b>                                     BOBBY
</b>                         Yes, I have!

<b>                                     HELEN
</b>                              (determinedly)
                         You didn't really see the space ship. 
                         You just thought you did.

               Bitterly hurt, Bobby faces his mother gravely, accusingly.

<b>                                     BOBBY
</b>                         I'd never call you a liar.

<b>               INT. UPSTAIRS HALLWAY - MED. CLOSE SHOT
</b>
               Tom is knocking softly at Klaatu's door. Getting no answer, 
               he tries the door, pushes it open and peers in. Then he steps 
               into the darkened room.

<b>               INT. KLAATU'S ROOM - FULL SHOT
</b>
               Tom snaps on the light and looks around the empty room. The 
               bed is still made. Glancing around, Tom's eye is caught by a 
               flash of something bright on the floor below the dresser. He 
               stoops down and picks up a fair-sized diamond. Tom studies 
               the stone curiously, holding it up to the light. Thoroughly 
               puzzled, he keeps the stone in his hand, switches off the 
               light and goes out.

<b>               UPSTAIRS HALL - MED. SHOT
</b>
               Closing the door, Tom hurries along the hall and down the 
               stairs

<b>               INT. LIVING ROOM - FULL SHOT
</b>
               Through the hall door Tom can be seen coming down the stairs. 
               Helen and Bobby watch expectantly as he enters.

<b>                                     TOM
</b>                         He's not there.
                              (crossing to Helen)
                         But look what I found in his room

<b>                                     HELEN
</b>                              (takes the stone and 
                              studies it, amazed 
                              by its size)
                         Is it real?

<b>                                     TOM
</b>                              (with the shrug of an 
                              amateur)
                         Looks real to me.

<b>                                     BOBBY
</b>                         Mr. Carpenter's got a lot of diamonds.
                              (he digs into his 
                              pocket)
                         He gave me a couple of them.

               Helen takes the two diamonds Bobby holds out in his hand, 
               looking at them in amazement.

<b>                                     HELEN
</b>                         He gave these to you?

<b>                                     BOBBY
</b>                              (guilty for his own 
                              sharp dealing)
                         Well, not exactly. I gave him two 
                         dollars.

<b>                                     TOM
</b>                         This doesn't make sense... I think 
                         the guy's a crook. I never did trust 
                         him.

               Helen tries to shush Tom, not wanting to re-stimulate Bobby's 
               imagination, but it's too late.

<b>                                     BOBBY
</b>                         Gee, Mom, do you think maybe he's a 
                         diamond smuggler?

<b>                                     HELEN
</b>                              (firmly)
                         Come on, darling -- we're going up 
                         to bed.

<b>                                     TOM
</b>                         I wonder if we ought to--

<b>                                     HELEN
</b>                              (cutting him off with 
                              a look)
                         Bobby and I have had enough excitement 
                         for tonight.

<b>                                     TOM
</b>                              (seriously concerned)
                         You think it's all right for you to 
                         stay here?

<b>                                     HELEN
</b>                              (nods reassuringly)
                         I've got a good lock on my door.
                              (smiling at Bobby)
                         And Bobby's going to sleep in my 
                         room tonight.

<b>                                     BOBBY
</b>                         Oh, boy -- can I, Mom?

<b>                                     HELEN
</b>                         Yes, dear. Come on now.
                              (she happens to look 
                              down at his feet. 
                              Puzzled, and 
                              concerned, she feels 
                              his shoes)
                         Bobby, your shoes are soaking!

<b>                                     BOBBY
</b>                              (reluctantly, with 
                              childish guilt)
                         Yeah -- the grass was kind of wet.

               As the impact of this sinks in, Helen and Tom turn to stare 
               at each other in questioning consternation.

<b>                                                                  FADE OUT:
</b>
<b>               FADE IN:
</b>
<b>               INT. OFFICE - DEPT. OF COMMERCE BLDG. - MED. CLOSE SHOT DAY
</b>
               It is a typical government office, with lots of desks in it. 
               Helen is at her desk, straightening it up to go to lunch. 
               This done, she moves briskly to get her coat. CAMERA PANS to 
               follow her and suddenly, startlingly reveals Klaatu standing 
               near the clothes rack, as though he had materialized out of 
               thin air. Helen is thoroughly startled.

<b>                                     HELEN
</b>                              (unnerved)
                         Oh -- hello--

<b>                                     KLAATU
</b>                         May I see you for a minute?

<b>                                     HELEN
</b>                         I -- I was Just going to lunch.

<b>                                     KLAATU
</b>                              (quietly insistent)
                         May I walk out with you?

               She is nervous and uneasy but obviously can't refuse. The 
               telephone on her desk rings and Helen turns to answer it.

<b>                                     HELEN
</b>                              (into phone)
                         Mrs. Benson speaking.
                              (recognizing the voice, 
                              she glances nervously 
                              at Klaatu)
                         Oh, hello...

<b>               INT. JEWELRY SHOP - MED. CLOSE SHOT
</b>
               It's a rather swank shop. Tom is standing at the counter 
               phoning. The Jeweler is behind the counter examining a stone 
               through his eyepiece.

<b>                                     TOM
</b>                              (into phone, cheerily)
                         I'm at Bleeker's getting an appraisal 
                         on that diamond. I thought we might 
                         have lunch together.

<b>               INT. OFFICE - DEPT. OF COMMERCE - MED. CLOSE SHOT
</b>
<b>                                     HELEN
</b>                              (with a nervous glance 
                              at Klaatu)
                         I -- I'm afraid I can't -- not right 
                         now. Can I talk to you later?. Yes, 
                         that'll be fine. 'Bye.

               She hangs up and smiles uneasily as she rejoins Klaatu and 
               leads the way out into the corridor.

<b>               INT. CORRIDOR - TWO SHOT
</b>
               CAMERA MOVES with Helen and Klaatu as they go down the 
               corridor. Klaatu's mood is one of quiet tension.

<b>                                     KLAATU
</b>                              (watching Helen's 
                              reaction)
                         I saw Bobby this morning before he 
                         went to school--

<b>                                     HELEN
</b>                              (glancing at him 
                              apprehensively)
                         Yes--?

<b>                                     KLAATU
</b>                         I want to know what he told you last 
                         night.

<b>                                     HELEN
</b>                              (nervous and evasive)
                         I -- I didn't really pay much 
                         attention--
                              (with a nervous little 
                              laugh)
                         Bobby has such an active imagination.

<b>                                     KLAATU
</b>                              (refusing to be put 
                              off)
                         Did you believe what he told you?
                              (Helen hesitates, 
                              trapped by uncertainty)
                         I have a reason for asking this -- a 
                         very important reason.

<b>               MED. SHOT
</b>
               They are approaching the elevator at the end of the corridor. 
               There is a large crowd of lunch-goers milling around the 
               elevator, which is quickly filled. Half the crowd is left as 
               the elevator doors close and it descends.

<b>               TWO SHOT - HELEN AND KLAATU
</b>
               Nervous and distracted, Helen doesn't want to get caught up 
               in this jam.

<b>                                     HELEN
</b>                         There's another elevator we can use--

               She nods toward a side corridor and starts for it, Klaatu 
               following.

<b>               MED. SHOT
</b>
               CAMERA FOLLOWS them as they turn into the side corridor. 
               Helen leads the way to a small, automatic elevator. She 
               presses the button and the doors open. Klaatu follows her 
               in.

<b>               INT. ELEVATOR
</b>
               As Helen presses the first floor button, the doors close and 
               the elevator starts down. She turns to face Klaatu.

<b>                                     HELEN
</b>                              (her nerves raw and 
                              edgy)
                         What is it you want?

<b>                                     KLAATU
</b>                         Before I ask you to be honest with 
                         me, perhaps I should be completely 
                         honest with you--

               Without warning the elevator comes to a jolting, jarring 
               stop as the power is cut off and the lights go out. The car 
               is illuminated faintly and eerily by light that seeps through 
               the ventilating grills from a skylight in the shaft. Helen 
               is terrified.

<b>                                     HELEN
</b>                              (gasping with fright)
                         What happened?

<b>                                     KLAATU
</b>                              (a moment's hesitation; 
                              then he remembers)
                         What time is it?

               Helen fumbles to get her wrist watch into a faint beam of 
               light.

<b>                                     HELEN
</b>                         Just twelve.

<b>                                     KLAATU
</b>                         We'll be stuck here for a little 
                         while -- about thirty minutes.

<b>                                     HELEN
</b>                              (preoccupied with her 
                              own thinking)
                         We could try pushing the other 
                         buttons.
                              (digging in her purse)
                         I have a flashlight in my purse.

<b>                                     KLAATU
</b>                         It won't work.

               Helen has the flashlight out and is snapping it on, but it 
               doesn't work. She looks up at him blankly.

<b>                                     HELEN
</b>                         Why not?

<b>                                     KLAATU
</b>                              (after a moment, 
                              quietly)
                         You see -- the electricity's been 
                         neutralized -- all over the world.

               The impact of this calm, quiet statement is shattering. Helen 
               stares at him awe-struck. Then she speaks numbly, almost 
               inaudibly.

<b>                                     HELEN
</b>                         Bobby was telling the truth -- wasn't 
                         he?

               Klaatu stares at her evenly, as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               MED. SHOT - STREET
</b>
               All vehicular traffic in the street is at a dead stop. 
               Automobiles, busses, trolley cars -- all are stalled. Drivers 
               and passengers are climbing out of the vehicles in utter 
               bewilderment. Except for the people, it is as though the 
               street had been frozen in motion.

<b>               INT. CITY POWER PLANT
</b>
               The great generators and dynamos are silent and motionless 
               in the dim, unlighted plant.

<b>               INT. FACTORY
</b>
               A huge automobile or airplane assembly line, with nothing 
               moving, no machinery going.

<b>               INT. PRESSROOM - METROPOLITAN NEWSPAPER
</b>
               The giant presses are threaded with newsprint, but they are 
               silent and motionless.

<b>               INT. CONTROL ROOM - RADIO STATION
</b>
               A couple of engineers are working feverishly over a huge and 
               complicated control panel. They are working by the light of 
               two incongruous and ineffectual candles.

<b>               INT. NEW YORK SUBWAY KIOSK
</b>
               People carne pouring up the stairs wildly, feverishly anxious 
               to escape the darkness below. Their eyes blink weakly in the 
               unaccustomed sunlight.

<b>               EXT. SHOT - NEW YORK STREET
</b>
               Cars, taxis and busses are stalled, their frenzied drivers 
               unable to figure out what's happened. A junk peddler with a 
               broken-down horse and wagon moves grandly and leisurely 
               through the stalled vehicles. The peddler bears a happy grin 
               of superiority. This is his moment of triumph over modern 
               civilization.

<b>               LONG SHOT - TIMES SQUARE
</b>
               with all traffic stalled.

<b>               MED. CLOSE SHOT - TIMES SQUARE
</b>
               of two cab drivers whose taxis have stalled beside each other 
               in traffic. One has gotten out of his cab. The other is seated 
               at his wheel, looking around in awe and terror, his tough 
               Manhattan heart shaken.

<b>                                     CAB DRIVER
</b>                         My ol' lady was right. We shoulda 
                         got a place in the country.

<b>               LONG SHOT - PICCADILLY CIRCUS - DAY
</b>
               with all traffic stalled. (It is about 5:00 P.M.)

<b>               TWO SHOT - TWO COCKNEYS
</b>
               standing on the sidewalk, awe-struck at the weird sight before 
               them. One of them speaks in terror, hardly daring to 
               articulate his thoughts.

<b>                                     COCKNEY
</b>                         It's that space man -- that's wot it 
                         is.

<b>               LONG SHOT - MOSCOW STREET - DUSK
</b>
               with all traffic stalled. (It is about 8:00 P.M.)

<b>               MED. CLOSE SHOT - TWO RUSSIANS
</b>
               They are an elderly couple. Staring bug-eyed at the strange 
               street scene, the woman mutters some terror-stricken comment 
               in Russian.

<b>               LONG SHOT - PLAZA. DE LA CONCORDE - DAY
</b>
               with traffic stalled. (It is about 5:00 P.M.)

<b>               CLOSE SHOT - FRENCH WOMAN
</b>
               She is middle-aged and there are tears of fright in her eyes. 
               She is mumbling a prayer in French.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. BARNHARDT'S STUDY - DAY
</b>
               Barnhardt is seated comfortably at his desk with a book on 
               his lap. He has been interrupted by the entrance of Hilda, 
               his secretary. At the moment she`s beside herself with 
               excitement. Barnhardt watches her with a half-smile of secret 
               amusement. He has already deduced the cause of what's 
               happening.

<b>                                     HILDA
</b>                         You should see it, Professor 
                         Barnhardt! You should go out and see 
                         it for yourself!

<b>                                     BARNHARDT
</b>                         Thanks -- I'm enjoying it right here.

<b>                                     HILDA
</b>                         The whole city has stopped. People 
                         are running around like ants!

<b>                                     BARNHARDT
</b>                              (musing admiringly on 
                              Klaatu's cleverness)
                         What a brilliant idea. I never would 
                         have thought of it.

               Hilda flings him a questioning look, annoyed that he won't 
               share her excitement.

<b>                                     BARNHARDT
</b>                         What about the people who are coming 
                         to the meeting tonight? Have they 
                         all arrived?

<b>                                     HILDA
</b>                              (nodding)
                         I talked to most of them this 
                         morning... They were all very curious 
                         about the meeting.

<b>                                     BARNHARDT
</b>                         Good. Did you speak to our friend 
                         Mr. Carpenter?

<b>                                     HILDA
</b>                              (nodding)
                         He'll be there at 8:30.

<b>                                     BARNHARDT
</b>                              (studying her for a 
                              moment)
                         Tell me, Hilda -- does all this 
                         frighten you -- does it make you 
                         feel insecure?

<b>                                     HILDA
</b>                         Yes, sir -- it certainly does!

<b>                                     BARNHARDT
</b>                              (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--

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. CONFERENCE ROOM - PENTAGON BLDG. - DAY
</b>
               Seated at a conference table are high-ranking officers of 
               the Army, Navy, Air Force and Marine Corps. There is the 
               uneasy tension of people dealing with unknown forces. An 
               Army Major General, who's Chairman of the meeting, is 
               speaking.

<b>                                     GENERAL
</b>                         --as far as we can tell, all power's 
                         been cut off everywhere -- with a 
                         few exceptions: hospitals, planes in 
                         flight -- that sort of thing. I wish 
                         I could be more specific but, as you 
                         now, all communications are out 
                         telephone, radio, cable -- everything.
                              (gravely)
                         I can tell you that the President is 
                         prepared to declare a state of 
                         national emergency.
                              (pausing to let this 
                              sink in)
                         Before we start discussing plans, I 
                         want a report from Colonel Ryder. 
                         What about the robot, Colonel?

               Ryder is a Colonel of engineers, a man about forty-five.

<b>                                     COLONEL RYDER
</b>                         When it was discovered last night 
                         that the robot had moved, I was 
                         directed by the Joint Chiefs to find 
                         a means of immobilizing him. We 
                         accomplished that this morning by 
                         encasing him in a block of KL 93.
                              (he hands a small 
                              block of plastic to 
                              the General)
                         It's a new plastic material -- 
                         stronger than steel.

<b>                                     GENERAL
</b>                         Is it possible that he's broken out 
                         of this stuff?

<b>                                     COLONEL
</b>                         No, sir. I've Just checked on that. 
                         He's locked up tight as a drum.

<b>                                     GENERAL
</b>                         All right -- that means we concentrate 
                         on the man.
                              (to the group with 
                              force and authority)
                         Up till now we've agreed on the 
                         desirability of capturing this man 
                         alive. We can no longer afford to be 
                         so particular. We'll get him alive, 
                         if possible -- but we must get him!
                              (eyes the group sternly)
                         Is that clear?

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. JEWELRY SHOP - MED. CLOSE SHOT - TOM AND JEWELER
</b>
               The shop and its glittering display cases, which were 
               brilliantly lighted in the previous scene, are now gloomy 
               and dim. All artificial light is off. The Jeweler is a bright-
               eyed old man of seventy with a middle European accent. He is 
               completely fascinated as he examines the diamond Tom has 
               given him, and is annoyed by the lack of light. He speaks 
               impatiently to one of the girls in the shop who happens to 
               pass by.

<b>                                     JEWELER
</b>                         Eleanor, did you call the electrician?

<b>                                     GIRL
</b>                              (she's not too bright)
                         I tried, Mr. Bleeker. But the phone 
                         doesn't work, either.

<b>                                     JEWELER
</b>                              (absently, as he 
                              studies the stone)
                         Well, call the phone company.

<b>                                     GIRL
</b>                              (plaintively)
                         But the phone doesn't work.

               The Jeweler gives her a preoccupied glance of annoyance and 
               turns back to the stone.

<b>                                     TOM
</b>                         Is it worth anything?

<b>                                     JEWELER
</b>                         I have never seen such a stone. Will 
                         you please tell me where it came 
                         from?

<b>                                     TOM
</b>                         That's what I wanted you to tell me.

<b>                                     JEWELER
</b>                              (overwhelmed and 
                              absorbed by the stone, 
                              he shakes his head, 
                              bewildered)
                         There are no diamonds like this -- 
                         any place in the world.

               Impressed by the import of what the man is saying, Tom's 
               mind is racing wildly.

<b>                                     TOM
</b>                         You sure about that?

<b>                                     JEWELER
</b>                              (eagerly, shrewdly)
                         Would you like to sell it?

<b>                                     TOM
</b>                              (picking up the stone)
                         No -- no, thanks.

<b>                                     JEWELER
</b>                         I'd give you a very good price.

               Preoccupied with his own excited thoughts, Tom has already 
               started for the door.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. ELEVATOR - TWO SHOT - KLAATU AND HELEN
</b>
               In the dim light of the stalled elevator, Klaatu is finishing 
               explaining to Helen the story of his mission. Overwhelmed by 
               the staggering import of what he has told her, Helen is 
               listening with great interest and concern.

<b>                                     KLAATU
</b>                              (speaking gravely)
                         --I've already told you more than I 
                         told Professor Barnhardt, because my 
                         life, in a sense, is in your hands. 
                         I thought if you knew the facts you'd 
                         appreciate the importance of my not 
                         being -- apprehended, -- before the 
                         meeting tonight.

               Helen is staring at him in awe, but also in complete 
               admiration and sympathy.

<b>                                     HELEN
</b>                         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.

<b>                                     HELEN
</b>                              (studying his face 
                              anxiously)
                         You hold great hope for this meeting.

<b>                                     KLAATU
</b>                         I can see no other hope for your 
                         planet. If the meeting should fail, 
                         then I'm afraid there is no hope.

               Suddenly and without warning, the elevator starts moving and 
               the lights go on. Startled, Helen looks at him.

<b>                                     KLAATU
</b>                              (calmly)
                         It must be twelve-thirty.

<b>                                     HELEN
</b>                              (looks at her watch, 
                              then back at him, 
                              awe-struck)
                         Yes -- Just exactly.

<b>               STREET - MED. SHOT - DAY
</b>
               Showing a section of street traffic as it comes back to life. 
               From everywhere comes the sound of self-starters. Trolley 
               bells start clanging. Then automobile horns. People climb 
               back into there vehicles and traffic starts to move.

<b>               SERIES OF CUTS
</b>
               of other streets, as the strident sounds of traffic build up 
               and normalcy is regained.

<b>               INT. LOBBY - DEPARTMENT OF COMMERCE BLDG - MED. SHOT - DAY
</b>
               as Helen and Klaatu come out of the elevator and start across 
               the lobby, CAMERA HOLDING ON THEM. Helen is preoccupied with 
               concern for Klaatu's safety.

<b>                                     HELEN
</b>                         Where are you going now?

<b>                                     KLAATU
</b>                         Back to the boardinghouse. I'll be 
                         safe there for the afternoon -- and 
                         I can keep an eye on Bobby. He's the 
                         only other person who knows anything 
                         about--

               This recalls to Helen something she had forgotten and she 
               stops in sudden concern.

<b>                                     HELEN
</b>                         No, wait a minute -- there's someone 
                         else.

<b>                                     KLAATU
</b>                         Who?

<b>                                     HELEN
</b>                         Tom... He was there last night when 
                         Bobby told me what he saw.

               The look of concern on Klaatu's face heightens Helen's 
               overwhelming fear and uncertainty.

<b>                                     HELEN
</b>                              (worriedly)
                         Of course, he doesn't know anything 
                         definite. He'd talk to me first, 
                         anyway, before--
                              (interrupting herself 
                              in sudden decision)
                         We can't take that chance. I'll get 
                         in touch with him right away and 
                         make sure.

               Helen turns and starts determinedly for the lobby door, 
               followed by Klaatu, as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. TELEPHONE BOOTH
</b>
               Helen is nervous and worried as she speaks into the phone.

<b>                                     HELEN
</b>                              (into phone)
                         --But I've got to talk to him. It's 
                         terribly important. When is he coming 
                         back?

<b>               INT. TOM'S OUTER OFFICE - CLOSE SHOT - SECRETARY
</b>
               Tom's secretary has not yet recovered from the shock of what 
               has happened to the world.

<b>                                     SECRETARY
</b>                         I don't know, Mrs. Benson. He left 
                         before noon -- before that awful 
                         electric business. I'm scared to 
                         death, Mrs. Benson. I -- No, he 
                         wouldn't tell me where he was gong. 
                         Said it was something personal.

<b>               INT. TELEPHONE BOOTH
</b>
<b>                                     HELEN
</b>                         Tell him I want to see him the minute 
                         he gets in... No, I'll call back.

               Helen hangs up, thoroughly worried and distraught now.

<b>                                                               DISSOLVE TO:
</b>
<b>               INSERT - NEWSPAPER HEADLINE
</b>
               The headline reads: WORLD-WIDE POWER JAMMED PRESIDENT DECLARES 
<b>               EMERGENCY STEP UP HUNT FOR SPACE MAN.
</b>
<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. AIRPORT - MED. SHOT - DAY
</b>
               at passenger loading gate. A group of passengers is held 
               back as soldiers close the gate to the runway, preventing 
               their boarding their plane. The passengers mill about in 
               consternation as a voice is heard over a p.a. system.

<b>                                     VOICE
</b>                         Attention, please.... All flights 
                         from National Airport have been 
                         canceled until further notice.. All 
                         flights from this airport have been 
                         canceled.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. RAILROAD STATION - MED. SHOT AT TRAIN GATE - DAY
</b>
               M.P.'s are blocking the gates leading to trains and ticket 
               takers are busy explaining matters and remonstrating with 
               irate ticket holders.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. BUS DEPOT - MED. SHOT - DAY
</b>
               Passengers are being herded off a loaded bus that was 
               preparing to leave the depot.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. ROADBLOCK ON HIGHWAY - MED. SHOT
</b>
               The Army has thrown a roadblock across a main highway on the 
               outskirts of the city and is permitting no one to leave. 
               From the line of halted cars we see and the insistent honking 
               of horns we hear, we get the impression of hundreds of cars 
               stacked up.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. TOM'S OUTER OFFICE - FULL SHOT - DUSK
</b>
               It is 6:00 P.M. and growing dark outside, but the lights are 
               not on. The office is small and unpretentious, the business 
               habitat of a man who works in a big insurance agency. Tom's 
               secretary is on the phone, reflecting the world-wide terror 
               of the moment.

<b>                                     SECRETARY
</b>                              (into phone, nervous 
                              and jittery)
                         --Honest, Mary, I'm so scared I can't 
                         sit still. I'd like to run some place, 
                         but I don't know where to go--
                              (hearing the door 
                              open, she cuts off)
                         'Bye now.

               The corridor door opens and Tom enters with an air of urgency.

<b>                                     TOM
</b>                         Call the Pentagon and find out who's 
                         in charge of this space man business. 
                         Whoever it is I want to talk to him.

               The secretary has a reaction of surprise, but she manages to 
               stop Tom at his door. He has flipped on the lights in passing.

<b>                                     SECRETARY
</b>                         Mrs. Benson's been trying to get you 
                         all afternoon. She says it's 
                         important.

<b>                                     TOM
</b>                         Get this other call first.

               Tom disappears into his office, closing the door. The 
               secretary is getting out a telephone directory when the 
               corridor door opens and Helen enters, tense and nervous.

<b>                                     SECRETARY
</b>                         Oh, Mrs. Benson -- He just walked 
                         in.
                              (misery loves company)
                         Are you nervous, too?

<b>                                     HELEN
</b>                         Yes, I am, Margaret.

               The secretary buzzes the intercom and speaks into it.

<b>                                     SECRETARY
</b>                         Mrs. Benson is here.
                              (turning to Helen)
                         Go on in.

               Helen is starting for the door when it opens and Tom appears.

<b>                                     HELEN
</b>                         Tom -- I've been trying to get you 
                         all afternoon--

<b>                                     TOM
</b>                              (preoccupied with his 
                              own excitement)
                         Come on in.

<b>               INT. TOM'S PRIVATE OFFICE - FULL SHOT
</b>
               as Tom follows Helen inside and closes the door. He turns to 
               her, his voice tense with excitement.

<b>                                     TOM
</b>                         I've got some terrific news about 
                         your friend, Mr. Carpenter.

<b>                                     HELEN
</b>                              (trying to appear 
                              calm)
                         What about him?

<b>                                     TOM
</b>                         Helen, he's the man from the space 
                         ship!
                              (she eyes him evenly, 
                              apprehensively, as 
                              he hurries on)
                         I had that diamond checked at three 
                         different places. Nobody on earth's 
                         ever seen a stone like that! After 
                         what Bobby told us, that's enough 
                         for me. Why is it nobody knows 
                         anything about him? Why hasn't he 
                         got any money?

<b>                                     HELEN
</b>                              (evenly, with quiet 
                              tension)
                         All right, Tom -- it's true. I know 
                         it's true.

<b>                                     TOM
</b>                         How do you know?

<b>                                     HELEN
</b>                         Never mind about that.
                              (urgently, with great 
                              concern)
                         You've got to promise me you won't 
                         say a word to anybody.

<b>                                     TOM
</b>                         Are you crazy? After what happened 
                         today?

<b>                                     HELEN
</b>                         You don't understand. You don't 
                         realize how important it is.

<b>                                     TOM
</b>                              (impatiently)
                         Important? Of course it's important. 
                         The point is we can do something 
                         about it.

<b>                                     HELEN
</b>                         That's what I'm trying to tell you. 
                         We mustn't do anything about it. 
                         Believe me, Tom, I know what I'm 
                         talking about.

<b>                                     TOM
</b>                              (irritated by her 
                              opposition)
                         He's a menace to the whole world! 
                         It's our duty to turn him in.

<b>                                     HELEN
</b>                              (desperately)
                         But he isn't a menace! He told me 
                         what he came here for.

<b>                                     TOM
</b>                              (dismissing this with 
                              annoyed contempt)
                         He told you... Don't be silly, honey -- 
                         just because you like the guy.
                              (busy with his own 
                              thoughts)
                         You realize what this'd mean for us? 
                         I'd be the biggest man in the country. 
                         I could write my own ticket.

<b>                                     HELEN
</b>                              (eyeing him coldly)
                         Is that what you're thinking about?

<b>                                     TOM
</b>                              (guiltily, defensive)
                         Why not? Somebody's got to get rid 
                         of him.

               They are interrupted by the sharp sound of the interoffice 
               buzzer.

<b>                                     HELEN
</b>                         I'm not going to let you do it, Tom.
                              (with deep personal 
                              urgency)
                         Believe me, this is literally the 
                         most important thing in the world.

               Tom picks up the phone and answers it.

<b>                                     TOM
</b>                              (into phone)
                         Yes?... What's his name, Margaret? 
                         General Cutler?
                              (disappointed that 
                              the connection isn't 
                              completed)
                         All right, I'll hold on.

               Realizing what he's doing, Helen crosses to him, pleading 
               wildly, desperately.

<b>                                     HELEN
</b>                         Tom, you mustn't -- ! You don't know 
                         what you're doing! It isn't just you 
                         and Mr. Carpenter. The rest of the 
                         world, is involved!

<b>                                     TOM
</b>                              (exasperated)
                         I don't care about the rest of the 
                         world!

               It is as though he had slapped her across the face. Suddenly 
               he has revealed himself, naked and distasteful. Feeling guilty 
               as he sees the contempt and revulsion in her eyes, he tries 
               the old charm, holding his hand over the phone.

<b>                                     TOM
</b>                         You'll feel different when you see 
                         my picture in the papers.

<b>                                     HELEN
</b>                              (staring at him starkly)
                         I feel different right now.

<b>                                     TOM
</b>                              (uneasily)
                         You wait and see. You're going to 
                         marry a big hero!

<b>                                     HELEN
</b>                         I'm not going to marry anybody.

               She turns and runs quickly out of the room. Tom's inclination 
               is to follow her, when his connection is completed.

<b>                                     TOM
</b>                              (into phone)
                         Hello, General Cutler?
                              (irritated)
                         No, I don't want to speak to his 
                         aide. I want to speak to the General. 
                         Tell him it's about the space man... 
                         My name is Tom Stevens. S-t-e-v-e-n-
                         s.

<b>                                                               DISSOLVE TO:
</b>
<b>               EXT. OFFICE BUILDING - MED. SHOT - DUSK
</b>
               Helen hurries out of the building, hails a cab, gets into it 
               and the cab drives off.

<b>               INT. TOM'S OFFICE - CLOSE SHOT - TOM
</b>
               Tom now has General Cutler on the phone.

<b>                                     TOM
</b>                              (into phone)
                         That's right, General. That's where 
                         he's staying... Yes, of course I'm 
                         sure.

<b>               INT. GENERAL CUTLER'S OFFICE - PENTAGON BLDG.
</b>
               The General is on the phone and is making notes. There are a 
               couple of officers standing near his desk, a Colonel and a 
               Lieutenant Colonel.

<b>                                     GENERAL CUTLER
</b>                              (after listening for 
                              a moment)
                         Thank you very much, Mr. Stevens. 
                         I'll want to talk to you further but 
                         I haven't time now.
                              (hangs up and turns 
                              to Colonel)
                         Deploy all Zone 5 units according to 
                         Plan B -- immediately.

               The Colonel nods and starts out of the room, as we--

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. TAXI - MED. CLOSE SHOT - HELEN - NIGHT
</b>
               The cab is traveling through city traffic. Nervous and edgy, 
               Helen glances at her watch impatiently.

<b>               EXT. STREET - MED. SHOT
</b>
               A jeep filled with armed soldiers is moving down the street 
               at a fast clip. Behind the jeep is an Army staff car.

<b>               MED. CLOSE- SHOT - STAFF CAR
</b>
               shooting from outside into the car. In the front seat beside 
               the driver is a full Colonel, wearing helmet and side-arms. 
               The car is moving swiftly through traffic as the Colonel 
               speaks into the transmitter of a radio.

<b>               MED. CLOSE SHOT - COMMAND AND RECONNAISSANCE CAR
</b>
               It is filled with soldiers wearing helmets and carrying rifles 
               and Tommy guns. It is traveling quite fast. A soldier with a 
               handy-talkie transmits an order to the driver.

<b>               MED. LONG SHOT - STREET
</b>
               The C. and R. car is seen to be at the head of a convoy of 
               eight Army vehicles which are moving swiftly down the street. 
               The trucks are filled with armed soldiers.

<b>               MED. LONG SHOT - ANOTHER STREET
</b>
               On this street also an armed convoy is racing by, headed by 
               a Jeep mounting a .30 caliber machine gun.

<b>               MED. LONG SHOT - ANOTHER STREET
</b>
               On this street also a convoy rolls by.

<b>               EXT. STREET CORNER - MED. SHOT
</b>
               Helen's cab rounds the corner into the boardinghouse street. 
               CAMERA PANS with cab as it draws up in front of the 
               boardinghouse. The cab waits as Helen jumps out and runs up 
               the steps to the front door. A couple of children are playing 
               jump-rope in the light of a street lamp.

<b>               EXT. MOVING - STAFF CAR - MED. CLOSE SHOT
</b>
               shooting in at the Colonel as he issues an order into the 
               radio.

<b>               MED. SHOT - ARMY CONVOY
</b>
               CAMERA FOLLOWS the rear of the convoy as it races down a 
               main thoroughfare. As the convoy reaches each intersection, 
               the last vehicle peels off the column and, turns into the 
               side street.

<b>               MED. SHOT ANOTHER CONVOY
</b>
               racing down another street, the rear vehicles peeling off at 
               the intersections as in previous scene.

<b>               MED. SHOT - INTERSECTION
</b>
               Following one of the vehicles after it has peeled off into a 
               side street. It turns around in the side street and draws up 
               facing the intersection, its motor still running. We get the 
               impression of a methodical plan to block off each street.)

<b>               EXT. BOARDINGHOUSE - MED. SHOT
</b>
               as Klaatu and Helen come hurrying down the steps and pile 
               into the waiting taxi. The kids playing Jump-rope stop and 
               watch as the door is closed and the cab pulls out, 
               disappearing as it makes a right turn at the end of the 
               street.

<b>               EXT. STREET CORNER NEAR BOARDINGHOUSE - MED. SHOT
</b>
               (This is opposite end of street from last shot.) Barreling 
               across the intersection into the boardinghouse street is the 
               jeep followed by the Colonel's staff car.

<b>               EXT. BOARDINGHOUSE STREET - MED. SHOT
</b>
               As the Jeep and staff car pull up in front of the boarding 
               house, the soldiers in the jeep pile out and cover the 
               entrance to the house. Meanwhile the Colonel, still in the 
               staff car, is talking to the two kids playing out front. 
               They chatter excitedly, pointing in the direction taken by 
               the cab.

<b>               INT. STAFF CAB - CLOSE SHOT - COLONEL
</b>
               He speaks into his radio in tones of clipped and quiet 
               efficiency. The car remains standing at the curb.

<b>                                     COLONEL
</b>                              (into radio)
                         Attention, Zone 5... Yellow cab, 
                         moving north on B from Ninth Street. 
                         Man and woman in back seat. Get the 
                         license number and report.

<b>               INT. TAXI - FULL SHOT
</b>
               The cab 's moving through traffic at a normal speed. Klaatu 
               and Helen are tense and nervous.

<b>               INT. TAXI - FULL SHOT
</b>
               The cab's moving through traffic at a normal speed. Klaatu 
               and Helen are tense and nervous.

<b>                                     KLAATU
</b>                         I'm sure Barnhardt can arrange to 
                         hide me until the meeting.

<b>                                     HELEN
</b>                         Where is the meeting going to be?

<b>                                     KLAATU
</b>                         At the ship.

<b>               CLOSE SHOT - CAB DRIVER
</b>
               as he looks out to his left, approaching an intersection.

               From driver's viewpoint. A C. and R. car is parked in the 
               side street, facing the intersection, its occupants armed 
               and helmeted.

<b>               CLOSE SHOT - CAB DRIVER
</b>
               Abreast of the intersection now, he looks to his right.

<b>               EXT. STREET INTERSECTION - MED. SHOT
</b>
               shooting over the rear of a jeep which is halted in a side 
               street facing the intersection. The cab crosses the 
               intersection and the jeep driver squints to catch its number. 
               Then he picks up his radio and speaks into the transmitter.

<b>               INT. STAFF CAR - CLOSE SHOT - COLONEL
</b>
               (The car is still in front of the boardinghouse.) The Colonel 
               listens to his radio for a moment, then speaks into his 
               transmitter.

<b>                                     COLONEL
</b>                              (into radio)
                         Attention, Zone 5... license number 
                         of target vehicle is W 4936... All 
                         vehicles maintain your positions -- 
                         and hold your fire.

<b>               INT. TAXI - MED. CLOSE SHOT
</b>
               shooting at the driver, over the shoulders of Klaatu and 
               Helen, as he turns and points out the Army vehicles to them 
               with a shrug of bewilderment. They look ahead at the 
               intersection they are approaching.

<b>               CLOSE SHOT - HELEN
</b>
               looking ahead out of her side of the cab, at the intersection.

<b>               MED. SHOT - INTERSECTION
</b>
               from Helen's viewpoint. There is an Army vehicle waiting in 
               the side street.

<b>               CLOSE SHOT - KLAATU
</b>
               as he looks out of his side of the cab.

<b>               MED. SHOT - INTERSECTION
</b>
               In this side street, too, an Army vehicle is standing.

<b>               TWO SHOT - HELEN AND KLAATU
</b>
               Their eyes meet for a moment, neither willing to conjecture 
               what this might mean. The very quietness of the operation is 
               ominous and menacing. Their faces show grave concern.

<b>               INT. STAFF CAR - CLOSE SHOT - COLONEL
</b>
<b>                                     COLONEL
</b>                              (into radio)
                         Attention, Zone 5 -- report when 
                         target vehicle passes your position.

<b>               EXT. TAXI MED. CLOSE SHOT
</b>
               shooting through the window at Helen and Klaatu, who are 
               growing more tense and nervous.

<b>               MED. SHOT - INTERSECTION
</b>
               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.

<b>               MED. CLOSE SHOT - WEAPONS CARRIER
</b>
               shooting through the windshield as the driver reports by 
               radio, his eyes shifting to follow the moving cab.

<b>               INT. TAXI - TWO SHOT - HELEN AND KLAATU
</b>
               Helen is biting her lips nervously. She steals a sidelong 
               glance at Klaatu to find him staring ahead, deeply preoccupied 
               and concerned.

<b>                                     HELEN
</b>                              (trying to give him 
                              encouragement)
                         It's only a few blocks to Barnhardt's.

<b>                                     KLAATU
</b>                         I'm worried about Gort. I'm afraid 
                         of what he might do -- if anything 
                         should happen to me.

<b>                                     HELEN
</b>                         Gort?
                              (puzzled)
                         But he's a robot. I mean -- without 
                         you, what could he do?

<b>                                     KLAATU
</b>                              (slowly)
                         There's no limit to what he could 
                         do. He could destroy the Earth.
                              (with great urgency)
                         If anything should happen to me, you 
                         must go to Gort. You must give him 
                         this message: "Klaatu barada nikto." 
                         Please repeat that.

<b>                                     HELEN
</b>                              (shocked and 
                              bewildered, she 
                              repeats nervously)
                         "Klaatu barada nikto."

<b>                                     KLAATU
</b>                              (gravely)
                         Remember those words.

               Helen nods, repeating the words soundlessly.

<b>               SERIES OF CUTS
</b>
               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.)

<b>               CLOSE SHOT - COLONEL IN STAFF CAR
</b>
               listening to these reports. Then he speaks into his 
               transmitter with quiet tension.

<b>                                     COLONEL
</b>                              (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.

<b>               EXT. STREET - MED. SHOT
</b>
               as a convoy of eight vehicles moves down the street going 
               very fast and swings around a corner.

<b>               SERIES OF CUTS
</b>
               of individual vehicles that have been waiting at 
               intersections, as they pull out and down the main streets to 
               converge on the taxi.

<b>               MED. SHOT
</b>
               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.

<b>               INT. TAXI
</b>
               shooting over the driver's shoulder. The cab is proceeding 
               down the street. When the road block comes into range of its 
               headlights. The driver, who has been getting uneasy, turns 
               to face his fares accusingly.

<b>                                     DRIVER
</b>                         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.

<b>               EXT. STREET - MED. SHOT
</b>
               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.

<b>               MED. CLOSE SHOT - JEEP
</b>
               It is one of the lead vehicles in the group coming up behind 
               the taxi. It mounts a .30 caliber machine gun and, with the 
               Jeep still moving, the gunner fires a burst at Klaatu.

<b>               MED. CLOSE SHOT - RIFLEMAN
</b>
               He's on one of the vehicles that form the barricade. He takes 
               a bead on the running figure of Klaatu and fires.

<b>               CLOSE SHOT - KLAATU
</b>
               He has almost reached the underpass. His hand is on the 
               railing when he slumps to the ground, badly hit. In a moment, 
               Helen rushes into scene, dropping down to hold Klaatu's head 
               in her arms. He looks up at her with a feeble smile. Then 
               his face takes on an expression of urgency.

<b>                                     KLAATU
</b>                              (weakly, insistently)
                         Get that message to Gort. Right away--

               Klaatu is unable to say any more. He is dead. Helen looks 
               around wildly, helplessly, with tears and terror in her eyes.

<b>               MED. SHOT
</b>
               as the soldiers pile out of their vehicles and close in on 
               the place where Klaatu lies. He is their first and all-
               important concern, and Helen finds herself pushed out of the 
               way, toward the edge of the growing crowd of soldiers.

<b>               CLOSE SHOT
</b>
               Shocked and, staggered by what's happened, she realizes she 
               must get to Gort. Taking advantage of the milling confusion 
               in the dark, she edges toward the pedestrian underpass until 
               she can slip into its entrance without being noticed. And 
               she disappears.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. BUILDING ENCLOSING SPACE SHIP - MED. SHOT - GORT - 
</b><b>               NIGHT
</b>
               In the eerie light of the huge building, the great robot 
               stands encased in a solid block of clear, transparent plastic. 
               As CAMERA MOVES IN slowly, we hear a low whirring sound, as 
               of power being generated. A faint glow, visible through the 
               plastic, emanates from Gort's body. His eyes, which seem to 
               express rage, shifts as though he were straining to break 
               out. As the whirring sound and the glow of Gort's body 
               increase in intensity, the sharp edges at the top of the ice-
               like block melt into roundness and the plastic starts to 
               drip away. (About 150 folding chairs are arranged on the 
               floor near the space ship for the meeting tonight.)

<b>               EXT. BUILDING - MED. CLOSE SHOT - TWO SOLDIERS
</b>
               The whirring sound can be heard faintly from inside. The two 
               soldiers standing guard at the door hear the sound and listen 
               apprehensively. The two men exchange an uneasy glance. After 
               hesitating a moment, one of them decides to investigate. He 
               turns and goes inside the door.

<b>               INT. BUILDING - MED. CLOSE SHOT - THE SOLDIER
</b>
               As he stops and looks up at the robot, his eyes go wide with 
               terror.

<b>               CLOSE SHOT - GORT
</b>
               Gort is an awesome and terrifying sight. His head is free 
               now and he seems to be straining against the plastic, which 
               is dripping down the sides of the block.

<b>               CLOSE SHOT - SOLDIER
</b>
               He glances around nervously to see that his companion has 
               entered the building and is staring up at the robot, bug-
               eyed. Slowly the second soldier moves up beside the first. 
               Wordlessly, they bring their rifles up to the ready and click 
               them off safety. In spite of their terror, they advance slowly 
               toward the robot.

<b>               CLOSE SHOT - GORT
</b>
               The whirring sound is ominous and his body glows brightly. 
               And his eyes are fixed on the two advancing figures.

<b>               MED. CLOSE SHOT - TWO SOLDIERS
</b>
               as they move toward Gort.

<b>               CLOSE SHOT - GORT
</b>
               From inside him comes a new and terribly sharp crackling. 
               sound. And from his eyes two pencils of light dart out. After 
               a moment the crackling sound stops and the light goes off.

<b>               REVERSE SHOT
</b>
               from same angle as scene before last. But the two soldiers 
               have utterly disappeared.

<b>               FULL SHOT
</b>
               as Gort resumes breaking out of the plastic. There is no 
               sign of the two soldiers.

<b>               EXT. MALL - MED. CLOSE SHOT - HELEN - NIGHT
</b>
               Hurrying along a footpath, nervous and distraught, she pauses 
               for a moment, looking at the entrance of the building. Then 
               she starts determinedly across the grass toward the entrance.

<b>               MED. SHOT
</b>
               PANNING with Helen as she approaches the entrance fearfully. 
               Rallying all her courage and determination, she forces herself 
               to step inside.

<b>               INT. BUILDING - MED. CLOSE SHOT - HELEN
</b>
               as she enters the huge, weirdly lighted building. She stops 
               short as her glance falls on the awesome figure of Gort. 
               Loneliness and terror grip her and she wants to run -- but 
               she realizes she can't.

<b>               MED. CLOSE SHOT -GORT
</b>
               He has seen Helen and his flashing eyes bore into her. His 
               upper body and arms are free now, and the plastic is rapidly 
               melting away.

<b>               CLOSE SHOT - HELEN
</b>
               She is held fascinated by the robot's staring eyes. For 
               another moment it looks as if she would, break and run. But 
               she summons all her courage, and moves slowly toward Gort, 
               whose legs are still held captive.

<b>               MED. SHOT - HELEN AND GORT
</b>
               as she moves slowly, fearfully toward him.

<b>               MED. CLOSE SHOT - GORT
</b>
               The plastic is dripping off his legs now. With great effort, 
               he pulls his legs free and steps out of the stuff. A huge 
               figure in the heavy shadows, he moves slowly and menacingly 
               toward Helen.

<b>               MED. CLOSE SHOT - HELEN
</b>
               as she stops advancing, rooted to the spot in fear. Then she 
               starts backing away, keeping her eyes on him.

<b>               MED. SHOT - HELEN AND GORT
</b>
               As the great, hulking figure approaches, Helen can't stand 
               her ground. She turns and runs wildly toward the far end of 
               the building. Gort follows her with unhurried, inescapable 
               strides. Unwittingly, Helen has run into a corner, and the 
               robot is closing in on her.

<b>               MED. CLOSE SHOT - HELEN
</b>
               Her eyes go wide with terror as she realizes she's trapped. 
               In a wild effort to run around him, she stumbles and falls 
               to the floor. Immobilized with fright, she lies breathless, 
               looking up at him. Then she gives a piercing scream.

<b>               TWO SHOT - HELEN AND GORT
</b>
               as the great robot bends over her menacingly, arms 
               outstretched as though to grab or smash her.

<b>               CLOSE SHOT - HELEN
</b>
               All hope gone, she is blessed with a moment of lucidity, and 
               she remembers the message Klaatu told her to deliver.

<b>                                     HELEN
</b>                         Gort--!
                              (with desperate clarity)
                         Klaatu -- barada -- nikto.

<b>               CLOSE SHOT - GORT
</b>
               He pauses as he hears the words. His face doesn't change 
               expression, but the words obviously have an effect on him. 
               He hesitates thoughtfully for a moment.

<b>               TWO SHOT - HELEN AND GORT
</b>
               Helen watches him in an agony of suspense. Then the robot 
               slowly bends down, picks her up in his arms and starts walking 
               toward the space ship.

<b>               MED. SHOT
</b>
               PANNING with Gort as he carries Helen, speechless with fright, 
               to the side of the ship. He touches the side, and the ramp 
               moves slightly out. He mounts the ramp, still carrying Helen, 
               and disappears into the ship with her. And the ramp closes 
               silently behind them.

<b>               INT. SMALL CORRIDOR - SPACE SHIP
</b>
               CAMERA FOLLOWS as Gort carries Helen through the dimly lighted 
               corridor into the main cabin, where he flips a switch that 
               lights up the cabin. The robot proceeds to a small door 
               leading off the main cabin and disappears with Helen inside 
               it.

<b>               INT. SMALL CABIN - FULL SHOT
</b>
               This is revealed as a weirdly equipped laboratory, the walls 
               of which are lined with the most complex array of mechanical 
               and electronic apparatus. Gort sets Helen down on a stool 
               and indicates for her to stay there. Too terrified to move, 
               Helen watches as he busies himself with the apparatus. He 
               starts flipping switches and turning dials. As a result, 
               lights begin to flash and there's a strange series of 
               mechanical noises.

<b>               CLOSE SHOT - HELEN
</b>
               Unable to guess the reason for these preparations, she is 
               gripped with a terrible fear.

<b>               FULL SHOT
</b>
               Ignoring Helen completely, Gort finishes his work. Then he 
               moves to the door and goes out, closing the door behind him. 
               Helen rushes to the door and searches frantically for the 
               knob -- only to find, to her terror, that there is none. 
               Frenziedly she beats on the solid metal door.

<b>               EXT. SPACE SHIP - MED. SHOT
</b>
               as the ramp comes down and Gort steps out. With grim, 
               determined strides he starts toward the entrance of the 
               building as the ramp silently closes.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. POLICE PRECINCT STATION - NIGHT
</b>
               The Colonel who was in charge of Klaatu's apprehension is 
               speaking into a phone at the desk of the Police Sergeant. 
               Standing by are three or four Army officers, among them a 
               Captain and a Lieutenant.

<b>                                     COLONEL
</b>                              (into phone)
                         Yes, sir, we've got the body here 
                         now. Downstairs in a cell... No 
                         question about it, General -- he's 
                         dead all right... Yes, sir. Yes -- I 
                         understand.

               The General has apparently hung up and the Colonel does 
               likewise, turning to the officers in the room.

<b>                                     COLONEL
</b>                         General Cutler's coming down here 
                         right away.
                              (to the Lieutenant)
                         Take a squad of men, Lieutenant, and 
                         post a guard around that cell.
                              (to Captain)
                         Captain, don't let anyone in or out 
                         of the building.

               The two officers mutter their "yes, sirs" and start off about 
               their business.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. JAIL CORRIDOR - NIGHT
</b>
               A squad of armed soldiers, led by the lieutenant, is admitted 
               to the corridor by a Police guard and they start marching 
               down the corridor toward a cell at the far end.

<b>               INT. CELL - POLICE STATION
</b>
               This is a cell on the ground floor. In the far wall is a 
               heavily barred window, beyond which is as alley. In f.g. are 
               Klaatu's feet, stretched out on a crude table. As CAMERA 
               HOLDS, the huge figure of Gort appears outside the barred 
               window, Seeing Klaatu, he reaches up and yanks out the steel 
               bars as though they were chicken wire. With a crushing blow 
               of his knee he crumbles the brick and mortar below the window 
               and steps inside the cell. He moves without interruption 
               toward the body of Klaatu.

<b>               INT. JAIL CORRIDOR
</b>
               Hearing the sounds of clattering metal and mortar, the 
               soldiers race down the corridor toward the cell.

<b>               MED. SHOT
</b>
               shooting over the backs of the soldiers as they reach the 
               cell and look inside. There they see the giant robot picking 
               up the body of Klaatu and starting deliberately toward the 
               gaping hole in the side of the building. They raise their 
               weapons and fire at Gort, but the bullets have no effect on 
               him. Continuing uninterruptedly, he steps over the debris 
               and disappears, carrying Klaatu in his arms.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. SPACE SHIP BUILDING - MED. SHOT
</b>
               as Gort enters the empty building, still carrying the body 
               of Klaatu. CAMERA PANS with him as he strides over to the 
               ship. The ramp opens and Gort goes inside. Then the ramp 
               closes after him.

<b>               INT. LABORATORY CABIN IN SPACE SHIP
</b>
               Alone in the cabin, Helen is still terrified. She looks up, 
               startled as the door opens and Gort enters, carrying Klaatu's 
               body over to a long counter. Once again he starts fiddling 
               with knobs, switches and dials. As Helen watches, speechless, 
               he starts to fasten strange-looking electrodes to Klaatu's 
               wrist and ankle.

<b>               EXT. POLICE PRECINCT STATION - NIGHT
</b>
               shooting from the outside, near the front entrance to the 
               building, through a window into the main room where the Police 
               Sergeant's desk is. The Lieutenant who was ordered to guard 
               Klaatu's cell is excitedly reporting to the Colonel how Gort 
               broke in and took Klaatu's body. Considerably agitated, the 
               Colonel snaps orders to the other officers, glances at his 
               watch and motions for the Lieutenant to follow him. He and 
               the Lieutenant cross to the door and CAMERA PANS with them 
               as they come outside the building, hurry down the steps and 
               get into a staff car. Several other Army vehicles join the 
               staff car as it roars away from the curb.

<b>                                                               DISSOLVE TO:
</b>
<b>               INT. SPACE SHIP BUILDING - MED. SHOT - NIGHT
</b>
               A good many of the 150 chairs are filled, and more guests 
               are still arriving. There is no one to greet them at the 
               door, so they wander in and seat themselves.

<b>               INT. LABORATORY IN SPACE SHIP
</b>
               Gort is still working over the body of Klaatu. From a socket 
               in the wall he pulls a strange-looking hypodermic needle on 
               the end of a cord or tube and gives Klaatu a shot in the 
               arm.

<b>               CLOSE SHOT - HELEN
</b>
               as she watches, fascinated in spite of her terror.

<b>               FULL SHOT
</b>
               Gort fiddles with the dials again and there are electrical 
               cracklings and sputterings. Suddenly he flips a switch and 
               all sound ceases. Gort removes the electrodes and watches 
               Klaatu. CAMERA MOVES IN on Klaatu and we see him start to 
               breathe. In a moment his eyelids flutter. Then his eyes open 
               and he looks around.

<b>               MED. CLOSE SHOT
</b>
               as Klaatu slowly lifts himself to a sitting position. Helen 
               watches breathlessly as he glances around the room, as though 
               to orient himself. Then he lowers his feet to the floor and 
               stands up. He blinks uncertainly, then smiles at them.

<b>                                     KLAATU
</b>                              (with a grateful glance 
                              at Gort, he turns to 
                              Helen)
                         Hello.

<b>                                     HELEN
</b>                              (staring at him)
                         I -- I thought you were--

<b>                                     KLAATU
</b>                              (nodding, with a smile)
                         I was.

<b>                                     HELEN
</b>                              (looking at Gort in 
                              awe)
                         You mean he has the power of life 
                         and death?

<b>                                     KLAATU
</b>                         No -- that is a power reserved to 
                         the Almighty Spirit.

<b>                                     KLAATU
</b>                              (indicating the 
                              equipment Gort used)
                         This technique, in certain cases, 
                         can re-stimulate life for a limited 
                         period. It's a refinement of 
                         scientific principles known to your 
                         own people.

<b>                                     HELEN
</b>                              (concerned for him)
                         But how -- how long--?

<b>                                     KLAATU
</b>                         How long will I live?
                              (he shrugs)
                         That no one can say.

               Klaatu moves one of the sliding panels and reaches for a 
               suit of his "other world" clothing from behind the panel. 
               With a nod of apology, he steps behind the panel to change.

<b>               EXT. BUILDING - MED. SHOT - NIGHT
</b>
               shooting from the door. In f.g. Barnhardt, who has just 
               arrived, is greeting several friends outside the door. In 
               b.g. a staff car and three or four other Army vehicles are 
               driving up.

<b>               MED. SHOT - ARMY VEHICLES
</b>
               As the convoy pulls up to a halt in front of the building, 
               the Colonel hurries out of the staff car and moves over to 
               Barnhardt. Barnhardt is motioning his friends into the 
               building as the Colonel comes up to him.

<b>               TWO SHOT - COLONEL AND BARNHARDT
</b>
               The Colonel speaks to Barnhardt with deference but with 
               unyielding authority.

<b>                                     COLONEL
</b>                         I'm sorry, Professor Barnhardt -- I 
                         have to ask you to call off this 
                         meeting.

<b>                                     BARNHARDT
</b>                         Call it off? I... But I had permission 
                         from the Army--

<b>                                     COLONEL
</b>                         I know you did. But the robots on 
                         the loose now and it isn't safe around 
                         here. You'll have to get your friends 
                         out of that building.

<b>               INT. SPACE SHIP - TWO SHOT - KLAATU AND HELEN
</b>
               as Klaatu steps out from behind the sliding panel where he 
               has changed into his "other world" tunic.

<b>                                     KLAATU
</b>                         Gort and I will be leaving soon.

               Helen is genuinely upset at the thought of his leaving and 
               the knowledge that he is to die. There is a compelling warmth 
               of feeling between these two.

<b>                                     HELEN
</b>                              (simply, sincerely)
                         We'll miss you very much -- Bobby 
                         and I.
                              (smiling to conceal 
                              her real feelings)
                         He won't have anyone to play with.

<b>                                     KLAATU
</b>                         He'll have you -- and Tom.

<b>                                     HELEN
</b>                              (quietly -- definitely)
                         No. That's all finished.

<b>                                     KLAATU
</b>                         I'm sorry.

<b>                                     HELEN
</b>                              (she is sensible and 
                              objective, but not 
                              unfeeling)
                         I think I'm very lucky. You don't 
                         always get a chance to recognize a 
                         mistake before you make it.

               Klaatu looks at her in warm, considered admiration. Then he 
               moves to one side of the cabin and flips a switch. Suddenly 
               an entire section of the side wall is made transparent. 
               Through it, as through a screen, we can see out into the 
               building. Most of the chairs are already occupied, and 
               latecomers are still moving in through the door. Facing the 
               group, on a little dais, is Barnhardt. As Klaatu and Helen 
               watch, Barnhardt raps for order and begins to speak. His 
               voice comes in the ship through a speaker.

<b>                                     BARNHARDT
</b>                         Ladies and Gentlemen--

<b>               INT. BUILDING - MED. CLOSE SHOT - BARNHARDT
</b>
               He addresses them gravely, with a note of terrible 
               disappointment in his voice.

<b>                                     BARNHARDT
</b>                         I called you from your work and from 
                         your homes all over the world because 
                         we were to meet here tonight with a 
                         man from another planet -- the man 
                         who came here in this ship.
                              (there are audible 
                              exclamations of 
                              surprise and 
                              disappointment)
                         As you all know, this is no longer 
                         possible. I can only say that I share 
                         the bitterness of your disappointment.

               INTERCUT with the above are group and individual shots of 
               the people in the meeting. They are the cream of Earth's 
               intellectuals -- scientists, churchmen, educators, leaders 
               of social and political thought. There are several women 
               among them. There are turbaned Indians, Chinese, Japanese, 
               several Negroes. All religions are represented. Every 
               important world power is represented.

<b>               INT. MAIN CABIN - SPACE SHIP
</b>
               Klaatu and Helen are watching and listening, as the last 
               sentence of Barnhardt's speech above comes over the speaker. 
               Klaatu flips off the switch, which cuts off the view of the 
               meeting and also Barnhardt's voice. At this moment Gort moves 
               across the cabin and Klaatu speaks to him.

<b>                                     KLAATU
</b>                         Gort -- berengo.

               Gort moves off obediently.

<b>               INT. BUILDING - MED. CLOSE SHOT - BARNHARDT
</b>
               Full of chagrin, he continues addressing the meeting.

<b>                                     BARNHARDT
</b>                         --under the circumstances, the Army 
                         people have asked us to leave the 
                         building. And, since their concern 
                         is for our safety, I can do nothing 
                         but suggest that we comply--

               Barnhardt is interrupted by the sudden and unexpected 
               appearance of the ramp, silently opening out of the side of 
               the space ship.

<b>               MED. SHOT - BARNHARDT'S AUDIENCE
</b>
               as they react in startled amazement to the mysterious 
               appearance of the ramp. Then, as they watch, there is a sudden 
               gasp of terror.

<b>               MED. SHOT - AT SHIP
</b>
               as Gort appears on the ramp and walks slowly down to the 
               ground. In a moment, Klaatu and Helen appear at the entrance 
               of the ship. Helen comes down the ramp to join Barnhardt, 
               while Klaatu remains at the head of the ramp.

<b>               MED. CLOSE SHOT COLONEL AND SOLDIERS
</b>
               The Colonel stands near the door, flanked by a group of 
               soldiers, their rifles at the ready. The Colonel is startled 
               by what he sees. His eyes are on the revered figure of Klaatu 
               and he's debating what he should do.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               He is a figure of intense dignity in his impressive otherworld 
               tunic. He stares with even defiance at the armed soldiers, 
               as though holding them off by sheer weight of his personality. 
               He turns to look out at the audience, which is held 
               spellbound. Then, after a breathless moment, he speaks.

<b>                                     KLAATU
</b>                              (straightforwardly, 
                              with almost stern 
                              authority)
                         I am leaving soon and you will forgive 
                         me if I speak bluntly.
                              (he pauses, studying 
                              the faces)
                         The Universe grows smaller every day -- 
                         and the threat of aggression by any 
                         group -- anywhere -- can no longer 
                         be tolerated.

<b>               MED. CLOSE SHOT - IN AUDIENCE
</b>
               of three of the delegates, listening intently. (These three 
               are from Russia, India and France.)

<b>                                     KLAATU'S VOICE
</b>                              (over scene)
                         There must be security for all -- or 
                         no one is secure... This does not 
                         mean giving up any freedom except 
                         the freedom to act irresponsibly.

<b>               CLOSE SHOT - A DELEGATE
</b>
               He is an American.

<b>                                     KLAATU'S VOICE
</b>                              (over scene)
                         Your ancestors knew this when they 
                         made laws to govern themselves -- 
                         and hired policemen to enforce them.

<b>               CLOSE SHOT - KLAATU
</b>
<b>                                     KLAATU
</b>                         We of the other planets have long 
                         accepted this principle. We have an 
                         organization for the mutual protection 
                         of all planets -- and for the complete 
                         elimination of aggression. A sort of 
                         United Nations on the Planetary 
                         level... The test of any such higher 
                         authority, of course, is the police 
                         force that supports it. For our 
                         policemen, we created a race of robots--
                              (indicating Gort)
                         Their function is to patrol the 
                         planets -- in space ships like this 
                         one -- and preserve the peace. In 
                         matters of aggression we have given 
                         them absolute power over us.

<b>               MED. CLOSE SHOT - GORT
</b>
               emphasizing his great size and inscrutable expression. The 
               normal blinking of his piercing eyes as he gazes imperturbably 
               at the audience is his only movement.

<b>                                     KLAATU'S VOICE
</b>                              (over scene)
                         At the first sign of violence they 
                         act automatically against the 
                         aggressor. And the penalty for 
                         provoking their action is too terrible 
                         to risk.

<b>               CLOSE SHOT - KLAATU
</b>
<b>                                     KLAATU
</b>                         The result is that we live in peace, 
                         without arms or armies, secure in 
                         the knowledge that we are free from 
                         aggression and war -- free to pursue 
                         more profitable enterprises.
                              (after a pause)
                         We do not pretend to have achieved 
                         perfection -- but we do have a system -- 
                         and it works.
                              (with straightforward 
                              candor)
                         I came here to give you the facts. 
                         It is no concern of ours how you run 
                         your own planet -- but if you threaten 
                         to extend your violence, this Earth 
                         of yours will be reduced to a burned-
                         out cinder.

<b>               QUICK REACTION CUTS
</b>
               of four delegates, reflecting their stark terror and 
               bewilderment. And a cut of the Colonel and the soldiers, 
               impressed and held by what Klaatu is saying.

<b>               MED. CLOSE SHOT - KLAATU
</b>
               CAMERA MOVES SLOWLY as he concludes quietly, incisively.

<b>                                     KLAATU
</b>                         Your choice is simple. Join us and 
                         live in peace. Or pursue your present 
                         course -- and face obliteration.
                              (after a pause)
                         We will be waiting for your answer. 
                         decision rests with you.

               By the time he reads the last line, the CAMERA HAS MOVED 
               INTO a BIG HEAD CLOSEUP.

<b>               MED. SHOT - THE DELEGATES
</b>
               CAMERA MOVES along a row of their faces, stunned and silent, 
               their minds unable to cope with the enormity of what they 
               have heard.

<b>               MED. SHOT
</b>
               CAMERA MOVES IN on Klaatu as he is saying goodbye to Barnhardt 
               and Helen. He turns then and speaks to Gort, glancing up at 
               the building as he does so.

<b>                                     KLAATU
</b>                         Gort -- veracto.

<b>               CLOSE SHOT - GORT
</b>
               He looks up at the roof of the building, and once again we 
               hear the peculiar generating sound from within him.

<b>               MED. LONG SHOT
</b>
               including the delegates, the space ship, everything that is 
               inside the building. As we watch, the roof and walls of the 
               temporary structure suddenly disintegrate as the tanks did 
               in the opening. The entire layout -- delegates, space ship 
               and all -- remain exactly as they were except that instead 
               of being under a roof they are out in the open Mall under a 
               starry sky. The area is ringed with the debris of the 
               building.

<b>               MED. SHOT AT SHIP
</b>
               Klaatu is standing at the head of the ramp as Gort comes up 
               the ramp and disappears inside the ship. Klaatu is nodding 
               goodbye to Barnhardt and Helen.

<b>               TWO SHOT - BARNHARDT AND HELEN
</b>
               as they wave to Klaatu. Barnhardt is moved and impressed, 
               and Helen's face shows her emotions at this strange parting.

<b>               CLOSE SHOT - KLAATU
</b>
               He nods and smiles at them with warm affection. Then he turns 
               and disappears into the ship, and the ramp closes behind 
               him.

<b>               MED. SHOT - THE SPACE SHIP
</b>
               From inside the ship comes the muffled roar of great power 
               generating -- not the sound of earthly motors, but of a 
               tremendous dynamo.

<b>               MED. SHOT - THE DELEGATES
</b>
               watching breathless, stunned by what they have heard and 
               seen.

<b>               MED. LONG SHOT - THE SHIP
</b>
               As the sound from inside it builds to a climax, the great 
               ship takes off with a tremendous roar.

<b>               REACTION CUTS OF DELEGATES
</b>
               All are deeply moved and impressed. In the mind of each is 
               the burning question that Klaatu has posed for them.

<b>               LONG SHOT - THE SHIP
</b>
               as it soars away into the inky blackness of the outer spaces 
               from which it came.

<b>                                                                  FADE OUT:
</b>
<b>                                         THE END
</b>


</pre>
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	<td><h1>Day the Earth Stood Still, The</h1><br><br>
	    <b>Writers</b> : &nbsp;&nbsp;<a href="/writer.php?w=Edmund H. North" title="Scripts by Edmund H. North">Edmund H. North</a><br>
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During the moment Helen and Mr. Carpenter are on the service elevator, what time does it suddenly stop?
During the moment Helen and Mr. Carpenter are on the service elevator , what time does it suddenly stop ?
At noon. 
At noon .
At noon.
At noon .