INVADERS FROM MARS
Original Screenplay
by
JOHN TUCKER BATTLE
Revised 9-5-50
MUSIC of Finlandia type behind credits builds to
crescendo on ...
FADE IN:
1. PAN SHOT - SPECIAL EFFECTS - NIGHT
- of star-studded heavens at night. Scattered cumulus
clouds alternately obscure and disclose a three-quarter
moon and vast open deeps of glittering constellations.
The music diminishes and backs the voice of the narra-
tor.
NARRATOR
Since the beginning of Time the people
of our Earth have looked upon the stars
and pondered - They wondered what man-
ner of man - or creature - inhabited
the faint mysterious worlds that lay
beyond.
2. EXT. MT. WILSON OBSERVATORY - NIGHT - LONG SHOT
Large telescope pivoting against the sky.
3. INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Two Astronomers - adjusting eye-pieces.
NARRATOR
But the largest telescopes have
failed to penetrate the dark and awe-
some secret.
4. INT. TELESCOPE ROOM - DIFFERENT OBSERVATORY - NIGHT -
CLOSE SHOT
White haired astronomer - peering into the eye-piece of
a telescope.
NARRATOR
Men still probe the deeps of space -
men of all ages - seeking the answer.
5. INT. DAVID MacLEAN'S BEDROOM - NIGHT - CLOSE SHOT
of telescope - DOLLY BACK to disclose David MacLean -
a twelve year old boy, who is sitting on the floor
with his eyes glued to a telescope. He is dressed
in rumpled pajamas. A student lamp on the floor
lights the scene in low key. A star map and nauti-
cal almanac lay on the floor in high key under the
lamp. A small Cairn terrier named Cricket stares
up at him with wistful curiosity.
6. INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
- as David moves back from the telescope and rubs
his eyes with his knuckles. He leafs through the
nautical almanac and reaches for the aluminum can-
teen on the window sill. It falls to the floor with
a clatter. He picks it up quickly and listens ap-
prehensively for an indication that he has awakened
his parents; sighs with relief and glances at an
alarm clock on the window sill which reads 3:40.
He unscrews the canteen stopper and tilts it to
drink; then stops as a bright light illuminates the
darkness outside the window.
7. INT. DAVID'S BEDROOM - NIGHT - FULL SHOT - SPECIAL
EFFECTS
David's angle - through window, of a swiftly descend-
ing ball of brilliant white fire as it sweeps down
out of the heavens, hovers for a moment, then drops
behind foreground trees.
8. INT. DAVID'S BEDROOM - NIGHT - CLOSE SHOT
David - his face highlighted by the ball of fire as
he stares with incredible bewilderment.
DAVID
(with awe)
Well - Gee Whiz!
9. INT. DAVID'S BEDROOM - NIGHT - MED. SHOT
David crosses to foot of bed, puts on his bathrobe
and slippers; climbs through the window, chirping
at the dog, Cricket, who hops up on the window sill
and follows him out.
10. EXT. BACK OF MacLEAN'S HOUSE - FIELD IN B.G. - NIGHT -
MED. SHOT
- as David turns and looks at the dog, who growls and
trots toward the field. David follows him toward
field, but stops suddenly.
11. EXT. MacLEAN FIELD - SHOOTING AWAY FROM HOUSE - NIGHT -
(SPECIAL EFFECTS)
David sees a brilliant white light glow suddenly in
the distance. It casts a gigantic black shadow of a
thing that could be a man against the flank of the
dark hill. The light goes out suddenly and a strange
humming sound fills the air.
12. EXT. BACK OF MacLEAN'S HOUSE - NIGHT - REVERSE MED.
SHOT
David reacts with amazement to what he has seen, he
turns and runs toward house followed by Cricket.
13. INT. DAVID'S ROOM - SHOOTING TOWARD FIELD - NIGHT
- as the dog jumps through the window, followed by
David, who grabs a flashlight. CAMERA PANS with David
as he exits into the hall.
14. INT. MR. &. MRS. MacLEAN'S BEDROOM - (LOW KEY) - NIGHT -
MED. SHOT
David bursts through the door and shines the flash-
light on the bed and his father and mother sit up.
MacLean fumbles for the table light and shades his
eyes against the flashlight. He turns on the light.
MRS. MacLEAN
(with concern)
What's the matter, David? Are you
all right?
DAVID
(excitedly)
Dad - listen! I saw a - a - a some-
thing - just landed in our field.
A flying saucer or something!
MRS. MacLEAN
A what?
DAVID
A space ship - I think. It's there
now - over by the hill. Come on,
Dad.
MacLEAN
(with weary exasper-
ation)
Have you gone completely crazy - four
o'clock in the morning!
DAVID
But, Dad - I saw it - I tell you ...
MRS. MacLEAN
Oh, you had a dream, dear - a night-
mare.
DAVID
I wasn't asleep! I saw it -- it
landed in our field!
MacLEAN
(putting his feet on
floor)
Now, that's enough!
DAVID
But, Dad ...
MacLEAN
All right, march!
DAVID
(leaving, followed by
Cricket)
Aw, gee!
(he slams door)
MacLean gets up and puts on his slippers.
MRS. MacLEAN
Oh, John, don't scold him. He didn't
mean to slam the door.
MacLEAN
(walking towards door
and yawning)
I'm not - I'm just going to see that
he goes to bed.
15. INT. DAVID'S ROOM - NIGHT - FULL SHOT
He is standing by the window, staring out. Cricket
has his forepaws on the window-sill. The door opens,
David turns and looks at his father guiltily as he
closes the door. MacLean indicates the bed with his
thumb. With a sigh, David shucks off his bathrobe and
slippers and crawls into the bed. Cricket jumps onto
the foot of the bed. MacLean crosses to a wardrobe
chest and selects a medicine bottle and a spoon from
the top of it. He returns and sits on the side of the
bed.
DAVID
I'm not sick!
MacLEAN
(shakes bottle and pours
into spoon)
I know - this is some of that stuff
Doctor Weber left to make you sleep
when you had the flu. Come on - open
up.
David looks at his father with exasperated patience
and with a shrug of martyrdom swallows the medicine
and drops back on his pillow.
MacLEAN
(gently)
Now what makes you think you saw a
flying saucer?
DAVID
(rising on elbows, try-
ing to convince him)
I don't think, Dad - I know - I --
MacLean, with a smile, pushes him back on the pillow.
MacLEAN
Maybe it was one of the experiment-
al rockets from over at White Sands -
(David shakes his head)
If anything had fallen in the field -
I'd have heard it, wouldn't I?
DAVID
It didn't fall, Dad - it landed over
in the field. Blossom! Gee, Dad,
Blossom's out there! We'd better go
get her!
MacLean regards the boy with a patient affectionate
smile.
MacLEAN
(with a smile)
Blossom is an intelligent cow - she
can take care of herself.
DAVID
But, Dad --
MacLEAN
You've been reading too many of
those Science Stories - flying
saucers!
DAVID
(yawning)
But I saw it! And Cricket saw it -
he growled!
MacLEAN
(fondling the dog)
He growls at hoot owls too - and
shadows! And I want you to stop
growling at shadows and go to sleep.
David stares at him with patient resignation.
MacLEAN
Tomorrow morning I'll take my 12
gauge and you take your .410 and
you and I and Cricket will go out
in that field and if there's any
space ship or flying saucer out
there, we'll take a shot at it -
especially if they've bothered our
cow!
David, feeling the effects of the sedative, yawns
again. His father runs his fingers lightly through
David's hair in a soothing fashion.
MacLEAN
(gently)
That's a good boy - go to sleep.
David's eyes close and MacLean gets up softly, tiptoes
to the light-switch and turns out the light.
SLOW DISSOLVE TO:
16. EXT. MacLEAN FIELD - NIGHT - LONG SHOT
Nothing is moving, the bellow of a cow is HEARD over
scene.
17. INT. MR. & MRS. MacLEAN'S BEDROOM - NIGHT - MED. SHOT
(Very low key) - Moonlight through bedroom window
- Mrs. MacLean's voice comes over scene with alarmed
insistence.
MRS. MacLEAN
John! -- John! --
MacLEAN
(annoyed and sleepy)
Now what's the matter?
Off scene is HEARD the low mournful bellowing of a cow.
The light goes on, revealing MacLean irritably rubbing
his eyes.
MRS. MacLEAN
The cow - something's wrong with
her.
The cow's mooing rises to a terrified bellowing.
MacLEAN
Probably caught in the fence.
He gets up, puts on his shoes and bathrobe and takes a
flashlight.
MRS. MacLEAN
Hurry she may be hurt!
As MacLean exits -
WIPE TO:
18. EXT. MacLEAN FIELD - NIGHT - MED. SHOT
MacLean enters carrying lighted flashlight. He walks
toward sound of bellowing and disappears behind bushes.
Bellowing suddenly stops.
FADE OUT
FADE IN:
19. EXT. MacLEAN FIELD - MORNING - LONG SHOT
MacLean house in background. David and Cricket, in
foreground, are walking hesitantly into the field.
There is a sudden high-frequency hum and both David
and the dog stare at the ground, which trembles
slightly. David turns and runs toward the house, fol-
lowed by Cricket.
DISSOLVE TO:
20. EXT. FRONT OF MacLEAN HOUSE - MORNING - MED. SHOT
A police car stands in front of the house and two of-
ficers stand on the front porch, talking to Mrs. Mac-
Lean.
MRS. MacLEAN
- and I can't understand what hap-
pened to him!
BLAINE
(reassuringly)
You say he's been gone for ...
David and Cricket run into scene.
MRS. MacLEAN
What's the matter, David?
DAVID
(breathlessly)
- over there in the field - I heard
something - I mean - it was more
like I felt something.
MRS. MacLEAN
What?
DAVID
I don't know - a kind of buzzing
sound deep down under the ground.
MRS. MacLEAN
Oh, David, this is no time to let
your imagination run away with you
when I'm so concerned about your
father.
JACKSON
Don't worry, we'll find him, Mrs.
MacLean. Come on Blaine.
They exit from the porch. Mrs. MacLean and David look
after them.
DISSOLVE TO:
21. EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine and Jackson are walking through the field.
They stop and look around.
JACKSON
The cow may have trampled him -
they can be dangerous.
BLAINE
Yeah, that's possible.
JACKSON
You take the north side, and I'll
look over here.
BLAINE
Okay.
22. EXT. MacLEAN FIELD - DAY - FULL SHOT
- as the two men separate and walk toward hill. The
CAMERA STAYS with Blaine, who stops and looks at some-
thing in the grass.
23. EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine looking at flashlight in the grass.
24. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
- of flashlight lying in the grass. Blaine's hand
reaches into scene and picks it up.
25. EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine straightens up with flashlight and calls.
BLAINE
Hey, Jackson! Here's a flashlight!
- he looks around for Jackson. His face registers be-
wilderment.
26. EXT. MacLEAN FIELD - DAY - BLAINE'S ANGLE
- the CAMERA REVEALS an empty field with no possible
place of concealment.
27. EXT. MacLEAN FIELD - DAY - MED. SHOT
BLAINE
(calling)
Hey, Jackson -- !
He runs toward the spot where he last saw Jackson. He
stops and looks uncertainly.....
28. EXT. MacLEAN FIELD - DAY - FULL SHOT
Blaine - with hill in background. He stares about him
in puzzled incredulity. Then a four foot round section
of turf immediately behind him raises up about a foot.
29. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Blaine's face - as he emits a choking scream and drops
out of scene.
CAMERA PANS down to ground and we see a section of turf
closing like the lid of a trap door spider.
DISSOLVE TO:
30. INT. MacLEAN LIVING ROOM - DAY - FULL SHOT
Mrs. MacLean is pacing nervously and David stands look-
ing out of the front window. Cricket is in the room.
MRS. MacLEAN
You're not going out there!
DAVID
But they've been gone over an hour.
Let me go look, too, Mom - please!
MRS. MacLEAN
You stay right here!
DAVID
Aw, gee --
MacLEAN'S VOICE
(off scene)
Any chance of getting a cup of coffee?
Mrs. MacLean and David turn toward doorway.
31. INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- John MacLean is standing in the living room doorway.
He is wearing his bathrobe and pajamas. He looks some-
what disheveled. Over scene Mrs. MacLean and David
speak together.
MRS. MacLEAN and DAVID
John! -- Dad! --
32. INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- as Mrs. MacLean and David rush toward MacLean.
MRS. MacLEAN
Oh, John, where have you been? I've
been so worried!
DAVID
Gee, Dad, what happened?
Cricket looks at MacLean and crawls under the sofa.
MacLean looks down at his wife and son. His face is
tense and he wears a tight forced smile.
MacLEAN
Nothing to get excited about. Tell
you all about it when I've had my
coffee.
MacLean crosses and sits in an armchair.
MRS. MacLEAN
(exiting)
I'll just be a minute.
David leans over the back of his father's chair.
DAVID
What took you so long?
MacLEAN
(impatiently)
I've been looking for Blossom. I
followed her trail but finally lost
track of her in those scrub oak
flats behind Blue Hill.
33. INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
David's face - as he stares down at the back of his
father's head.
34. INT. MacLEAN LIVING ROOM - DAY - REVERSE CLOSE SHOT
David's angle - of back of MacLean's head.
There is a livid red scar the size of a quarter on the
back of his head just above the nape of his neck.
DAVID'S VOICE
(over scene)
Gosh, Dad, what happened to your
head?
35. INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
A shadow of anger crosses MacLean's face.
MacLEAN
It's only a scratch. Caught it on
a barbed wire fence.
DAVID
A barbed wire fence? But how could --
MacLEAN
(interrupting)
Go on out and play!
DAVID
But - Dad --
MacLean suddenly slaps the boy a vicious backhand blow
across the face, as Mrs. MacLean enters the scene from
background, carrying a cup of coffee. Mrs. MacLean
drops the cup, registering horrified incredulity.
David staggers across the room and fetches up against
the wall. Mrs. MacLean crosses to him, puts her arms
around him with a sheltering attitude. Cricket comes
out from under the sofa and growls at MacLean and hud-
dles near David.
MacLEAN
(coldly)
Now will you go out and play -- and
take that animal with you!
36. INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
David, his mother - with Cricket huddled close by.
They stare at MacLean with incredulous baffled expres-
sions.
MRS. MacLEAN
(in a low, hurried voice)
Please, David -- do as your father
says.
37. INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David goes out through the hall followed by Cricket.
We HEAR the front door slam. MacLean turns to his wife.
MacLEAN
(in a cold mechanical
voice)
I'm still waiting for my coffee.
MRS. MacLEAN
(in a tone of hurt be-
wilderment)
What's the matter with you, John?
What's happened?
MacLEAN
Get me a cup of coffee!
Mrs. MacLean exits, looking apprehensively over her
shoulder at her husband.
DISSOLVE TO:
38. EXT. MacLEAN FRONT PORCH - MID-MORNING - FULL SHOT
Jackson, Blaine and MacLean are exiting onto the front
porch. David is sitting on the steps with Cricket.
Mrs. MacLean stands nervously twisting her apron, look-
ing through the front screen door from the hallway.
MacLEAN
(he now speaks normally
and seems like his old
self)
Well, thanks, gentlemen, I won't keep
you any longer. I'm sure you have
important things to take care of ---
39. EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
High angle - back of Jackson's head
- as he removes cap and wipes forehead with handker-
chief. A livid round red scar is on the back of his
head just above the nape of his neck.
40. EXT. MacLEAN FRONT PORCH - DAY - REVERSE CLOSE SHOT
David's face - puzzled - he reacts to what he has seen.
41. EXT. MacLEAN FRONT PORCH - DAY - MED. SHOT
Jackson, Blaine and MacLean - from David's angle.
BLAINE
(with meaning)
Yes. We have --
Jackson nods his head.
42. EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
Mrs. MacLean staring at her husband with nervous incred-
ulity.
43. EXT. MacLEAN FRONT PORCH - DAY - FULL SHOT
Blaine and Jackson - as they leave the porch. Jackson
leans over and ruffles David's hair as he passes.
JACKSON
Take it easy on those comic books,
youngster.
BLAINE
(as they walk toward car)
Yes -- that imagination of yours is
liable to get you in trouble.
FADE OUT.
FADE IN:
44. EXT. BACK OF MacLEAN HOUSE - DAY - MED. SHOT
Small hummock in foreground - MacLean home in background.
The hummock is thickly grown with bushes.
The leaves of a bush are pushed slowly back and the eye-
piece of a one-inch telescope pushes full INTO CAMERA.
45. EXT. BACK OF MacLEAN HOUSE - DAY - CLOSE SHOT
David is lying on the ground behind the bushes looking
through the telescope. Cricket is with him.
David - raises his face from the eye-piece and looks
over the telescope with interest and consternation.
He then looks back through telescope.
46. EXT. FIELD - DAY - AS THROUGH TELESCOPE - MATTE
A little girl, Kathy Wilson, aged five, walks across
the field picking flowers. Suddenly a round section of
the earth opens up behind her and an indistinct some-
thing grabs her by the ankles and snatches her down in-
to the hole. A flap of earth closes back over the hole.
47. EXT. BACK OF MacLEAN HOUSE - DAY - PAN SHOT
David and Cricket - as David jumps up, runs toward the
field, stops with indecision, then turns and runs fran-
tically toward the house, followed by the dog.
48. INT. HALLWAY - MacLEAN HOUSE - DAY - MED. SHOT
- as David and Cricket enter and David starts toward
the telephone. Then he looks over his shoulder toward
the living room and stops.
49. INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
David's angle - John MacLean - sitting rigidly in a
chair in the living room staring fixedly at David.
MacLEAN
Well - what do you want!
50. INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
Shooting toward David and Cricket in hallway.
DAVID
(hesitatingly)
I - I was looking for Mom.
MacLEAN
(sharply)
She's not here. What's on your mind?
DAVID
Oh - uh -- nothing --
MacLEAN
What have you been up to?
DAVID
Nothing -- just playing.
MacLEAN
Your mother told you not to play in
the field, didn't she?
DAVID
(hesitatingly)
But - I - uh --
MacLEAN
(pointedly)
I tell you you can play in the field --
all you want - understand?
DAVID
Yes, sir.
He turns and starts toward the front door, Cricket at
his heels.
51. INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
MacLean - as he picks up a map which he's holding in
his lap and studies it intently. His head jerks up as
the front screen door slams. He looks out the window.
52. EXT. FRONT - MacLEAN HOUSE - DAY - LONG SHOT
Through window - David and Cricket - running down road.
DISSOLVE TO:
53. EXT. BACK PORCH - WILSON HOUSE - DAY - FULL SHOT
This is a small cottage with an old fashioned storm cel-
lar door leading into the basement adjacent to back
steps. David and Cricket walk into scene. David knocks
on the door, which opens. David walks in. Cricket
waits outside.
54. INT. WILSON KITCHEN - FULL SHOT
Mrs. Wilson dries her hands on her apron and pushes
back a strand of hair from her forehead.
MRS. WILSON
Well - hello - David --
DAVID
Mrs. Wilson - is Mr. Wilson home?
MRS. WILSON
(puzzled)
Why -- no, David -- he's out of town.
What is it?
DAVID
Well -- I mean -- you know your little
girl --
MRS. WILSON
(with instant alarm)
Has something happened to Kathy?
DAVID
Well -- I mean -- gee, Mrs. Wilson --
You see, I was up on the hill with
my telescope -- hiding in the bushes
and --
Mrs. Wilson's face darkens with frightened suspicion.
MRS. WILSON
You were hiding in the bushes and
what happened?
DAVID
Well, I -- I was watching the field
and I saw Kathy. She was picking
flowers -- I think.
MRS. WILSON
Yes?
DAVID
And then -- well - the ground opened
up and something grabbed her and
pulled her down into a hole.
- as she reacts with annoyance and disbelief.
MRS. WILSON
Oh, David, stop all this nonsense.
Where is she?
David backs away from Mrs. Wilson, who advances threat-
eningly.
DAVID
Honest, Mrs. Wilson, there's some-
thing out there under the ground.
It's a space ship or ....
MRS. WILSON
What kind of a ship?
DAVID
A space ship!
Mrs. Wilson bursts into nervous laughter and grabs David
by the shoulders and shakes him severely.
MRS. WILSON
Now listen, David -- what have you
done to my little girl -- where is
she -- answer me!
DAVID
(frantically)
Honest, Mrs. Wilson -- the ground
opened up - and --
Mrs. Wilson slaps him sharply. David raises his elbow
to ward off further blows.
MRS. WILSON
You tell me what you've done to
Kathy!
The sound of the back kitchen door opening causes Mrs.
Wilson to look over her shoulder and react with relief.
55. INT. WILSON KITCHEN - DAY - NEW ANGLE
Kathy Wilson is entering the kitchen. She stops and
looks at her mother curiously. Mrs. Wilson rushes
across the room and gathers the child in her arms.
MRS. WILSON
Kathy, honey -- where have you been?
What's happened?
56. TWO SHOT - KATHY AND MRS. WILSON
Kathy looks up at her mother with a round cherubic baby
face.
KATHY
(blandly)
Nothing, Mama.
MRS. WILSON
(turning to David)
Oh, David! How could you!
She puts Kathy down.
57. INT. WILSON KITCHEN - DAY - MED. TWO SHOT
David sidles around and attempts to get a look at the
back of Kathy's head. She puts her hands to the back
of her head and smoothes her hair down.
58. INT. WILSON KITCHEN - DAY - THREE SHOT
MRS. WILSON
What do you mean -- coming in here
and scaring me to death -- What's
the matter with you, David?
DAVID
(flatly)
I'm sorry.
MRS. WILSON
I am, too -- I'm sorry I lost my
temper.
She turns and reaches for the cookie box.
MRS. WILSON
Here - don't you want some cookies --
and a glass of milk?
DAVID
(starting toward kit-
chen door)
No, thank you.
MRS. WILSON
I'm really very sorry, David, for
the way I treated you -- but after
all -- Here, dear -- take some cookies
with you.
DAVID
I'm not hungry.
At this point, he's reached the kitchen door.
59. EXT. REAR OF WILSON HOUSE - DAY - FULL SHOT
Cricket is barking frantically at a column of smoke
that issues from the open cellar door. David comes out
of kitchen door, sees the smoke coming from the cellar,
and calls back inside.
DAVID
(calling)
Mrs. Wilson -- Mrs. Wilson -- your
house is on fire!
Mrs. Wilson runs to the screen door and exits, carrying
Kathy with her into the yard.
60. EXT. REAR OF WILSON HOUSE - DAY - MED. SHOT
Smoke is pouring out the cellar door. Mrs. Wilson
places Kathy on the ground, then snatches a garden hose
and runs to a faucet near the back porch. She fumbling-
ly attempts to attach it, just as a neighbor, Arthur
Turner, a man about forty-five, runs into scene. He
quickly attaches the hose, while David points the nozzle
toward the cellar door. He turns on the water, then
runs and takes the hose from David, adjusts the nozzle
to spray, then, ducking his head against the billowing
smoke, enters the cellar.
61. EXT. REAR WILSON HOUSE - DAY - FULL SHOT
As Turner directs the spray of water into the cellar,
we can see red tongues of flame diminish. He advances
into the cellar. Mrs. Wilson is frantically trying to
peer through the smoke.
DAVID
You'd better call the fire depart-
ment, Mrs. Wilson!
MRS. WILSON
(calling through smoke)
Mr. Turner, shall I call the fire
department?
TURNER'S VOICE
(off scene)
No. I've got it under control.
Mrs. Wilson steps back and sighs with relief. Kathy
crosses to her mother and stands pressed against her
mother's legs, calmly watching the smoke.
62. EXT. REAR WILSON HOUSE - DAY - CLOSE TWO SHOT
- as David sidles around Kathy and looks at the back of
her head.
63. EXT. WILSON HOUSE - DAY - FULL SHOT
- as Turner backs up out of the cellar, coughing. He
is turning off the hose at the nozzle as he exits. He
drops the hose, crosses to the faucet and turns off the
valve. He takes out a handkerchief and dabs at his
streaming eyes.
TURNER
It's all right, Mrs. Wilson. It's
out.
MRS. WILSON
(relieved)
Oh, thank heavens!
TURNER
Someone spilled a gallon can of gaso-
line down there.
MRS. WILSON
That's impossible - We keep our spare
gasoline in the garage.
TURNER
Well -- a can of gasoline was laying
over on its side down there with the
top off. That's what was burning.
MRS. WILSON
Are you sure?
TURNER
Positive.
MRS. WILSON
Kathy, were you down in the cellar?
KATHY
(blandly)
No, Mamma.
64. EXT. WILSON - DAY - CLOSE SHOT
Kathy's face -- as her eyes look up and meet David's.
65. EXT. WILSON HOUSE - DAY - CLOSE SHOT
David -- staring intently at Kathy.
66. EXT. WILSON HOUSE - DAY - CLOSE SHOT
Kathy -- as she smiles faintly and her eyes take on a
curious, hard, triumphant expression.
QUICK DISSOLVE TO:
67. INT. GROCERY STORE - DAY - FULL SHOT
- with telephone booth in foreground. David enters
scene, followed by Cricket. They go into phone booth
and David closes the door.
68. INT. TELEPHONE BOOTH - DAY - MED. SHOT
David drops a nickel in the coin box.
DAVID
(into phone)
State 4-3559, please.
69. EXT. GRIFFITH OBSERVATORY - DAY - FULL SHOT
DISSOLVE TO:
70. INT. PROFESSOR STUART KELSTON'S OFFICE - DAY - FULL SHOT
His secretary, a woman of indeterminate age, wearing
horn-rimmed spectacles, is speaking on the telephone.
SECRETARY
(into phone)
I'm sorry, David, but Professor
Kelston is out. Is there any mes-
sage?
71. INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
(into phone)
Do you know when he'll be back?
72. INT. PROFESSOR KELSTON'S OFFICE - DAY - CLOSE SHOT
SECRETARY
(into phone)
He's not expected until late this
afternoon.
73. INT. PHONE BOOTH - DAY - CLOSE SHOT
DAVID
(into phone)
Oh, gee ... Never mind. Thank you.
David hangs up and is about to leave the booth when he
sees his father enter the grocery store.
74. INT. GROCERY STORE - DAY - THROUGH DOOR OF PHONE BOOTH
- MacLean buying a pack of cigarettes.
75. INT. PHONE BOOTH - DAY - CLOSE SHOT
David sees MacLean and crouches down behind the solid
panel of the phone booth door. He holds Cricket to
keep him from barking.
76. INT. GROCERY STORE - DAY - MED. SHOT
MacLean - turns and leaves scene, walking past phone
booth.
77. EXT. PHONE BOOTH - DAY - MED. SHOT
- as the door opens and David peeps out. Then he and
Cricket emerge. David stops, pauses with indecision.
His decision crystalizes into resolution. He sets his
chin and compresses his lips and walks quickly out of
scene, followed by Cricket.
DISSOLVE TO:
78. INT. POLICE STATION - DAY - FULL SHOT
David and Cricket stand staring up at the desk sergeant,
who speaks in an exasperated tone.
DESK SERGEANT
I'm tellin' ya the Chief of Police
don't see nobody without their first
statin' the nature of their business.
DAVID
(pleadingly)
But I've gotta see him -- it's im-
portant.
DESK SERGEANT
Well, if it's so important -- why
can't ya tell me?
DAVID
'Cause --
(he pauses)
-- you wouldn't believe me.
DESK SERGEANT
So what makes ya think the Chief
would believe ya?
CHIEF OF POLICE'S VOICE
(off scene)
What's the trouble, Finley?
CAMERA ANGLE WIDENS to include a jovial, middle-aged,
heavy-set man standing in a half-open doorway. The
door is lettered "CHIEF OF POLICE."
DESK SERGEANT
Aw, this kid here claims he's got
something very important, but he
won't tell me what it is.
DAVID
Are you the Chief of Police, sir?
CHIEF OF POLICE
That's right. Come in, son.
David crosses and enters the Chief's office, followed
by Cricket. The door closes behind them.
79. INT. OFFICE OF CHIEF OF POLICE - DAY - FULL SHOT
The Chief crosses and sits in a swivel chair at his
desk. He indicates a chair for David.
CHIEF
Sit down, young man -- Now, what's
your name?
DAVID
David MacLean.
CHIEF
Well, what's so important, David?
David looks apprehensively, clears his throat and
starts.
DAVID
Well, you see, sir -- it started
last night when I was looking through
my telescope.
DISSOLVE TO:
80. INT. OFFICE - CHIEF OF POLICE - DAY - CLOSE SHOT
The Chief is listening intently, leaning his hand on
his cheek.
DAVID'S VOICE
(over scene)
-- and that's the truth, sir. Every
word of it -- and I know they're
under there because I've seen them.
CAMERA DOLLIES back to TWO SHOT.
CHIEF
And after people've been down there --
they act different, eh?
DAVID
Yes, sir -- very different.
CHIEF
What's your telephone number, David?
DAVID
Webster 6397.
The Chief reaches over and picks up the telephone.
DAVID
(in alarm)
But you're not going to call my
father -- Please! Please!
The Chief of Police swings around in his swivel chair
and speaks into the phone.
CHIEF
(into phone)
Webster 6397.
He looks over his shoulder at David, who is nervously
biting his lips.
CHIEF
Now take it easy, son.
Then he turns back to the telephone.
81. INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David is staring at the back of the Chief's head.
82. INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
On the back of the Chief's head there is a round, red,
livid spot just above the nape of the neck.
83. INT. CHIEF OF POLICE'S OFFICE - DAY - CLOSE SHOT
David reacts to what he has seen.
DISSOLVE TO:
84. INT. JAIL DETENTION ROOM - DAY - FULL SHOT
This is a rather barren room, with a bench and a
straight back chair. David stands at the window, star-
ing through the heavy wire grill. His lips tremble and
his face is pinched and white, and terror lives in his
eyes. Startled, he looks over his shoulder at the
sound of the door opening. He turns and stands at bay.
He picks up Cricket and backs against the wall next to
the window.
MacLEAN'S VOICE
(off scene)
All right, David.
85. INT. JAIL DETENTION ROOM - DAY - REVERSE SHOT
John MacLean stands near the open door. His face bears
a sad, resigned expression. The Chief of Police stands
with his hands clasped behind his back. He is benign
and kindly in his attitude. Dr. James Blake, a well-
favored young man in his early thirties, stands looking
at David with a friendly, gracious smile. Next to him,
Patricia Collins smiles down at David with affectionate
concern. She is dressed in a nurse's blue cape, and
the stiff white cuffs and uniform collar are apparent
below and above the cape.
DR. BLAKE
Hello, David, I'm Doctor Blake.
David stares up at him, tight-mouthed and tight-lipped.
Pat advances and tries to put her hand on David's shoul-
der. He pulls away.
DR. BLAKE
(reassuringly)
There's nothing to be afraid of,
David, this is Miss Collins.
David stares up at his father, then at the Chief of Pol-
ice, then back to Dr. Blake. He starts to back away but
Pat's arm restrains him gently.
PAT
No one's going to hurt you.
MacLEAN
(to David)
Listen to me.
David looks up at his father.
MacLEAN
(continuing)
These people are going to take you
to a -- school -- for a little while --
it's for your own good. Understand?
I'll take care of the dog.
DAVID
(frantically)
You're not going to take Cricket.
He makes a dash for the outer door. MacLean steps for-
ward and grabs his wrist and holds it with unnecessary
force. David winces. Dr. Blake steps forward quickly,
glances curiously at MacLean and detaches his fingers
from the boy's arm.
BLAKE
(kindly)
It's all right, David. You can
bring your dog.
DAVID
(in a scared voice)
But I don't understand why -- ?
Pat crosses and inserts David's arm through hers and
pats his hand.
PAT
(gently)
Come on, David. Your father knows
what's best. We're going to be good
friends. Just wait and see!
Dr. Blake opens the door with one hand -- casually
takes David's arm and they swiftly exit with him out
into the hall, closing the door behind them.
DISSOLVE TO:
86. EXT. COUNTY HOSPITAL - NIGHT - FULL SHOT
DISSOLVE TO:
87. INT. HOSPITAL - NIGHT - INSERT
Sign reading "MENTAL WARD."
DISSOLVE TO:
88. INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
David is seated in a large, comfortable overstuffed
chair. A practically empty plate of sandwiches stands
on a coffee table next to the chair. David feeds a
piece of sandwich to Cricket. Pat, who has removed her
cape and is now wearing a starched R.N. cap, enters the
scene with three paper cartons of malted milk. Dr.
Blake has removed his coat and is seated on a sofa fac-
ing David. Pat passes one of the containers to Dr.
Blake, who opens the top and inserts a straw. She
hands the other one to David, then sits on the sofa
near the Doctor and starts drinking her malted milk.
David is in a much better frame of mind than in the
preceding scene.
DAVID
--- and that's what happened --
Look, Doctor, if you'd talk to my
mother, she'll tell you about my
father -- about how he's changed
and everything.
Pat and Blake exchange glances.
BLAKE
That's a good idea, David -- in fact
-- I had already thought of it.
DAVID
You've talked to her?
BLAKE
Only over the phone. She ought to
be here any minute now -- you know,
that's a very interesting story you
just told us.
DAVID
(resignedly)
-- you don't believe me, do you?
BLAKE
Oh, I wouldn't go so far as to say
that. Better say I'm keeping an open
mind.
PAT
And so am I.
BLAKE
There are no scars on the back of
my head, David.
PAT
(showing him)
Nor mine.
David looks at their heads, then sits back with relief
and takes a slow meditative pull on his malted milk
straw.
89. INT. DR. BLAKE'S RECEPTION ROOM - NIGHT - MED. SHOT
The door opens, and Mrs. MacLean enters. She looks
around, sees no one, crosses to desk and taps the bell.
90. INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - FULL SHOT
They all look up at the sound of the bell. Blake rises
and crosses to the door.
BLAKE
(opens door)
Mrs. MacLean?
MRS. MacLEAN'S VOICE
(off scene)
Yes.
BLAKE
Won't you come in? I'm Dr. Blake.
Mrs. MacLean enters. David jumps up from the chair and
runs to his mother.
DAVID
Gee, Mom -- I'm glad you're here!
BLAKE
This is Miss Collins.
Mrs. MacLean looks down and smiles brittlely. Then she
coldly detaches his hands from her arm.
MRS. MacLEAN
(impatiently)
How do you do. Sit down, David.
David stares at her, backs away and slowly sits back in
the chair. Mrs. MacLean's face is calm and composed and
her manner brightly pleasant, almost to the point of in-
congruity. She wears a light coat with a high collar
and carries a purse.
BLAKE
Won't you sit down, Mrs. McLean?
MRS. MacLEAN
No thanks. My husband's waiting
for me.
BLAKE
David tells me --
MRS. MacLEAN
(interrupting)
I know what David's been telling
you. He's always been highly im-
aginative, and we've had a great
deal of trouble with him -- especi-
ally since he got that telescope
and has been reading those trashy
science fiction magazines.
BLAKE
(looking up)
Science fiction?
MRS. MacLEAN
Yes -- horrible, weird things with
pictures of monsters that come in
space ships from other planets.
BLAKE
I see -- and he's discussed these
stories with you?
MRS. MacLEAN
Incessantly. He's gotten completely
beyond our control.
BLAKE
(with decision)
All right, Mrs. MacLean -- I'm sure
we'll be able to help him.
Mrs. MacLean turns and looks at David with unsympathetic
eyes.
MRS. MacLEAN
Now you be a good boy -- and do what
the doctor tells you.
She walks toward the door.
91. INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - CLOSE SHOT
David stares incredulously at his mother. His eyes focus
on the back of her head as she walks toward the door.
92. INT. DR. BLAKE'S CONSULTATION ROOM - NIGHT - REVERSE
David's angle of Mrs. MacLean's head. The back of her
head is concealed by her hair and the high collar of
her coat.
93. INT. OF DR. BLAKE'S CONSULTATION ROOM - NIGHT - MED.
LONG SHOT
David looks up quickly at Dr. Blake, who is also look-
ing at Mrs. McLean's head as she opens the door and
exits. Dr. Blake's and David's eyes meet in a curious
look of understanding. Dr. Blake takes a notebook and
pencil from his pocket.
BLAKE
Have you any relatives, David --
around here, I mean?
DAVID
(shaking his head)
Just my Aunt Margaret -- but
she lives over in Crystal Falls.
BLAKE
What's her name and address?
DAVID
Miss Margaret MacLean - 926
Drexel Avenue - Crystal Falls --
Why?
BLAKE
Oh, just in case something
comes up.
(he squeezes David's
shoulder reassuringly)
We'll work this out together,
David.
Blake exchanges a meaningful look at Pat. He crosses
to an end table and picks up some magazines, which he
hands to David.
BLAKE
(continued)
Mind amusing yourself for a
few minutes?
DAVID
No, sir.
BLAKE
Those are the latest issues
of Look and Life. We'll be
right back.
DAVID
Thank you, sir.
Blake and Pat exit into laboratory.
94-95. (OMITTED)
96. INT. DR. BLAKE'S LABORATORY - NIGHT - FULL SHOT
Blake and Pat enter. Pat looks up.
PAT
(shaking her head)
That woman's a cold-blooded per-
son if I ever saw one.
BLAKE
Too cold-blooded. You know,
dear, I think that boy is tell-
ing the truth.
PAT
But surely you don't believe -- ?
He crosses to the desk and punches an automatic tele-
phone directory list, then dials a number.
PAT
Who are you calling?
BLAKE
Stuart Kelston. David says he's
a very good friend of his.
PAT
(as he dials)
You don't expect to find him at
the observatory at this time of
night, do you?
BLAKE
That's when astronomers work,
my dear.
(into phone)
Hello -- Professor Kelston,
please.
Pat sits beside Blake, placing her hand upon his shoulder
affectionately.
BLAKE
Hello, Stu -- Jim Blake --
97. INT. PROF. KELSTON'S OFFICE - OBSERVATORY - NIGHT -
MED. SHOT
Kelston is a lean, sandy-haired, angular man with a
pleasant Scandinavian face and a slow, pedantic method
of speech.
KELSTON
Hello, Jim. Who? Yes, I know
him --
(pauses)
No -- I'd say just the opposite
-- Matter of fact, I think he
has the makings of a first-rate
scientist.
(chuckles)
Of course I mean astronomer.
What other science is there?...
Why, certainly -- come on up to
the main entrance and ring the
night bell -- Right. Goodbye.
He hangs up the phone and assumes a thoughtful, puzzled
expression.
DISSOLVE TO:
98. EXT. NEWSPAPER BUILDING - NIGHT - FULL SHOT
There is a sign reading: "HERALD-NEWS."
DISSOLVE TO:
99. INT. OF EDITOR'S OFFICE - NIGHT - MED. SHOT
Ralph Pulzer, a dignified middle-aged gentleman, is
seated at his desk, talking to John MacLean, who is
standing looking down at him.
PULZER
(shrugging his
shoulders)
I don't get it! In the first
place I gave up leg work
several years ago, and in the
second place, I don't see why
you can't give me some inkling
as to what the story is about?
MacLEAN
This story is so important that
I am not taking anyone out
there except you -- and if you
don't want to go, I'll try the
editor of the Blade.
PULZER
(with resignation)
All right, Mr. MacLean -- Pick me up
at ten o'clock tonight.
MacLEAN
Alone.
PULZER
I'll be alone. And the story'd better
be worth it.
MacLEAN
It will be - You'll see.
DISSOLVE TO:
100. EXT. GRIFFITH PARK OBSERVATORY - NIGHT - LONG SHOT
As the CAMERA TRUCKS IN with the car, the headlights
illuminate the facade and the heavy bronze door in high
key. The lights cut off and Blake, Pat and David enter
the observatory.
101. INT. FOYER OF OBSERVATORY - NIGHT - MED. SHOT
Pat, Blake and David -- The Focault pendulum is in the
background. The interior of the observatory foyer is
illuminated in low key.
PAT
What's that thing?
DAVID
(glibly)
That's the Focault pendulum. It de-
monstrates the peripherial aberration
of axial inclination.
Then David realizes he is talking to an amateur.
Pat turns and stares at David in astonishment.
DAVID
(continuing)
I mean it shows how much the earth
is tilting on its axis.
At this point, Professor Kelston approaches.
KELSTON
Well, it didn't take you very long.
BLAKE
You've met Patricia Collins, Stu.
PAT
Of course. How are you, Professor?
KELSTON
Fine, thank you.
BLAKE
I believe you know ---
KELSTON
(interrupting and af-
fectionately putting
his hand on David's
shoulder)
Yes -- David and I are old friends.
Let's go to my office.
102. INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Large scale star maps hang on the walls, interspersed
with large photographs of comets, spiral nebulae, solar
coronae, various lunar and solar eclipses. His desk is
littered with a miscellaneous array of meteorites, photo-
graphs and electrical viewing apparatus for astronomical
plates. Professor Kelston seats himself at his desk,
after indicating comfortable chairs in which his visitors
dispose themselves.
KELSTON
Now -- what's the big mystery?
BLAKE
Well -- first we'd like to have a
look at the back of your head.
A slow smile comes over Kelston's face and his eyes
twinkle.
KELSTON
Are you sure some of these patients
you deal with aren't contagious?
BLAKE
Tonight I'm not altogether sure of
anything.
Blake and David are seated together on a leather divan.
BLAKE
(continuing)
No -- seriously -- you don't happen
to have any scars on the back of
your head -- do you?
KELSTON
Not since football. Why?
BLAKE
Mind letting us have a look?
KELSTON
Are you serious?
Blake nods in affirmation. Kelston rises, crosses in
front of the desk and turns his head around for inspec-
tion.
KELSTON
The bump of intelligence is prac-
tically invisible.
BLAKE
(looks at Kelston's
head)
Okay.
Kelston straightens and leans back against the edge of
his desk.
KELSTON
(puzzled)
I don't get it.
BLAKE
(seriously)
I'd like David to take it from here.
All right, David.
DAVID
(uncomfortably)
Well -- I -- every time I tell anybody
this, they think I'm crazy.
(looking up at Blake)
That is -- I -- I mean I --
BLAKE
Now, David, you go right ahead.
DAVID
Well -- it started last night.
I was looking for variables in
Orion -- and all of a sudden I
saw this bright light --
DISSOLVE TO:
103. INT. KELSTON'S OFFICE - NIGHT
CAMERA PULLS BACK from Kelston's face. He is smoking a
pipe and is staring meditatively through the smoke.
BLAKE'S VOICE
(off scene)
-- and everyone of the people that
have those scars, behave strangely.
KELSTON
(turns to David)
Are you positive that you saw these
creatures or whatever they are pull
the little Wilson girl under the
ground?
DAVID
Yes, sir -- I wasn't two hundred
yards away and I was looking
through my one-inch telescope and
it's fifty power.
KELSTON
How far is this field from your
house, David?
DAVID
About a quarter of a mile.
BLAKE
(to Kelston)
Then we could see it from here with
the sixteen-inch.
DAVID
(excitedly)
Yes, sir. I know we could.
(he turns to Kelston)
You know that time last summer when
you let me look right into the kit-
chen window and I could see Mom in
there cooking supper?
KELSTON
(hesitatingly)
That was last summer, David.
Since then, because of the top
secret experiments at White
Sands, the Army has instructed
me to allow no one but my staff
to use the telescope.
(he pauses)
But under the circumstances, I'm
sure it will be all right. Let's
take a look.
They exit.
DISSOLVE TO:
104. EXT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
- opening of upper aperture and dome rotating approxi-
mately sixty degrees and stopping.
105. INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston, Blake, Pat and David station themselves at
Multiple oculars while Kelston focuses instrument
with manual verniers.
KELSTON
We're fortunate -- there's plenty
of moonlight tonight.
106. EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
DAVID
(excitedly)
That's it! That's where they
got Kathy Wilson.
PAT'S VOICE
(over scene)
Good heavens! I never imagined
you could see so clearly.
107. INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
KELSTON
Now let's increase the magnifi-
cation so we can get a closer
view.
108. EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
The telescope zooms into MED. LONG SHOT and sharpens.
An automobile comes slowly into the field of vision
and stops and the lights are extinguished.
DAVID'S VOICE
(off scene)
That's Dad's car.
A front door of the sedan opens and the dome light il-
luminates the interior of the car in comparative high
key.
DAVID'S VOICE
(o.s.)
Someone's with him.
KELSTON'S VOICE
(o.s.)
Let's get a real close look.
The telescope field narrows and brings MacLean and his
companion up into a MED. CLOSE SHOT.
BLAKE'S VOICE
(o.s.)
That looks like Ralph Pulzer.
PAT'S VOICE
(o.s.)
The editor of the HeraldNews?
KELSTON'S VOICE
(o.s.)
Yes, that's who it is -- I know him.
Pulzer seems to be discussing something rather vehement-
ly with MacLean. He suddenly shrugs his shoulders,
takes a flashlight which MacLean offers him, gets out
of the car and closes the door, walks around the car
and starts out across the field, lighting his way with
the flashlight.
BLAKE'S VOICE
(o.s.)
Your father stayed in the car.
DAVID' S VOICE
(o.s.)
That man's walking right to the place
where ---
The telescope shot PANS with Pulzer as he ascends a
slight rise. He reaches the top of the mound and stops,
turning the flashlight in a slow circle about him, when
suddenly the flashlight goes out and all is darkness.
109. INT. TELESCOPE ROOM - NIGHT - CLOSE SHOT
Group around telescope. They look up from the oculars
and stare at each other, with speechless amazement.
Kelston reaches for the verniers, they look back into
the oculars.
110. EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
-- it PANS DOWN to MacLean's automobile just in time
to see the headlights turn on and the car move rapidly
out of scene.
111. INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Group around telescope. They look at Kelston with
questioning faces.
KELSTON
(calmly)
If you'll go back to my office --
I'll join you there in a few
minutes.
Blake takes Pat's arm and he, Pat and David exit.
Kelston crosses to his desk and flips a switch on
the intercom.
KELSTON
(into intercom)
George. When did you check the
rocket at White Sands last?
(pause)
No, don't bother -- I'll check it
myself as long as I'm up here.
Kelston hangs up the intercom, crosses to the switch
box and presses a button. The upper aperture slowly
turns on its axis.
111A. EXT. OBSERVATORY DOME - NIGHT - MED. SHOT
The dome slowly turns on its axis and stops.
111B. INT. TELESCOPE ROOM - NIGHT - MED. SHOT
Kelston has just finished swinging the telescope into
position. He looks into the eye piece.
111C. EXT. WHITE SANDS - NIGHT - (SPECIAL EFFECTS-STOCK SHOT)
We see a giant rocket standing upright in a take-off
position.
111D. INT. TELESCOPE ROOM - NIGHT - MED. LONG SHOT
Kelston steps down from the telescope and crosses to
a small desk lighted by a low power student's lamp.
He sits down and dials the telephone.
KELSTON
(into phone)
Hello, operator. This is Pro-
fessor Stuart Kelston at the
Astronomical Observatory. Get
me the White Sands Rocket
Proving Station, please.
(pause)
Hello -- White Sands? Give me
the Security Office.
(pause)
Hello -- is Colonel Fielding
there?
(pause)
Yes, it's most important.
(pause)
Hello, Colonel -- this is Stuart
Kelston at the Observatory...
Operation 925 is with us.....
111E. INT. COLONEL FIELDING'S OFFICE - NIGHT - MED. SHOT
Colonel Fielding, head of White Sands Security Division,
is seated at his desk talking into the phone. A keen,
executive type man, he is in his shirt sleeves, but in
uniform. --
COL. FIELDING
(into phone)
What?!
(pause)
Are you sure?
(pause)
All right, I'll be at your office
in the morning -- 9:00 o'clock.
Right. Goodbye.
The Colonel hangs up the phone and assumes a thoughtful
expression. He rises and crosses to a filing cabinet,
removes a key from his pocket and unlocks the file.
He pulls out a drawer from which he takes a manila
folder. He crosses back to his desk, seats himself and
then opens the folder - removing some papers. We DOLLY
into an INSERT of the label on the outside of the folder
- it reads:
OPERATION 925 - TOP SECRET
DISSOLVE TO:
112. INT. PROFESSOR KELSTON'S OFFICE - NIGHT - FULL SHOT
Pat, David and Blake are on scene. Kelston enters and
crosses behind his desk, opens a drawer and takes out
a large scrapbook.
KELSTON
(to David)
Young man -- it looks like you've
stumbled on to something that the
government has been concerned
about for some time.
Blake, Pat and David cross to desk. Kelston opens scrap-
book.
PAT
What do you mean?
KELSTON
You've seen most of these magazine
and newspaper stories of so-called
flying saucers before - but have
you ever seen them compiled in one
book?
113. INSERT - SCRAPBOOK
- with clips of flying saucer stories. CAMERA PANS from
one headline to another.
KELSTON
(o.s.)
When you see them al together, they
begin to add up.
114. INT. PROF. KELSTON'S OFFICE - NIGHT - FULL SHOT
BLAKE
But the authorities have denied
all these stories.
KELSTON
Yes, they have -- and they will
probably continue to do so.
PAT
But why? Why not keep the public
informed?
KELSTON
Lack of complete information, I
suppose. And perhaps afraid it
would cause panic and hysteria.
DAVID
Where are these space ships from,
Professor Kelston?
KELSTON
Our observations lead us to believe
they are from mother ships in free
orbit just above Earth's atmosphere.
PAT
But where are these mother ships
from?
KELSTON
Nobody knows -- we've worked out a
postulate and Mars seems to be the
logical point of origin. Step in
here and I'll show you.
DISSOLVE TO:
115. INT. PLANETARIUM - LECTURE ROOM - NIGHT - MED. SHOT
Kelston is seated at the operating console. Pat, David
and Blake are standing by it. The projector is in back-
ground. Kelston turns a rheostat and the light dims.
KELSTON
(pointing)
That's our planetary system there --
116. INT. PLANETARIUM - LECTURE ROOM - SHOOTING UP AT DOME
(EFFECT SHOT)
- of our planetary system on inverted dome of planet-
arium. A white projected arrow indicates each point as
Kelston speaks o.s.
KELSTON'S VOICE
(o.s.)
This is the earth moving around the
sun on this orbit -- and this is the
orbit of Mars. And here is the rela-
tive position of Mars and Earth to-
night.
PAT'S VOICE
(o.s.)
Why -- they're our next door neigh-
bors!
KELSTON'S VOICE
(o.s.)
Yes -- only a little over three mil-
lion miles --
PAT'S VOICE
(o.s.)
It would take forever to travel
three million miles.
KELSTON'S VOICE
(o.s.)
Hardly.
The scene on the planetarium changes.
117. INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
KELSTON
Our earth is traveling through
space at well over a hundred
thousand miles an hour. At that
speed, we could reach Mars in
thirty days - or they could reach
us.
PAT
But I don't understand -- why don't
we burn up from friction?
KELSTON
There isn't any atmosphere in space
-- therefore -- no friction.
BLAKE
But why do you think they're from
Mars?
118. INT. PLANETARIUM LECTURE ROOM - SHOOTING UP AT DOME -
EFFECT SHOT
KELSTON'S VOICE
(o.s.)
Because Mars is closer to us than
any other planet. They are now
in their winter, and those are
polar caps - the same as ours.
See how much smaller they are in
summer - those dark areas are
vegetation.
PAT'S VOICE
(o.s.)
Do they have cities, too -- the
same as ours?
KELSTON'S VOICE
(o.s.)
If they do, they are underground --
the low oxygen content and extremes
of temperature indicate a sub-
terranean culture.
DAVID'S VOICE
(o.s.)
Those things in our pasture are
subterranean all right.
119. INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
- as the house lights go up. Kelston sits at the con-
trol console.
PAT
But how would Martians have enough
intelligence to build space ships?
KELSTON
The human race doesn't have a
monopoly on intelligence. Besides
-- Mars is millions of years older
than we are.
PAT
But what's their reason for travel-
ing so far through space?
KELSTON
Mars is a dying planet. They are
losing their oxygen and water.
BLAKE
Then this could be the start of
an invasion.
KELSTON
I'm afraid it is.
PAT
But why did they begin here?
KELSTON
Because of the operations at
White Sands.
PAT
But all they're doing at White
Sands is just shooting rockets
up into the air.
KELSTON
Exactly. Very high up into the
air - beyond atmosphere and in-
to space. The scientists at
White Sands have developed a
rocket powerful enough to take
them to these mother ships in
outer space. That rocket is
completed and ready to be fired
right now. That may be the Mar-
tians objective.
(he rises)
However, we'll have the answers
to a lot of our questions tomorrow.
Colonel Fielding, the head of the
Security Division will be in my
office in the morning. I'm sure
he will want to talk to all of you
- can you be here?
BLAKE
Certainly -- what time?
KELSTON
Nine o'clock.
Blake, Pat and David rise. Kelston comes with them to
the door.
FADE OUT:
FADE IN:
120. EXT. GRIFFITH OBSERVATORY - DAY - LONG SHOT
DISSOLVE THROUGH TO:
121. INT. KELSTON'S OFFICE - DAY - FULL SHOT
Colonel Robert Fielding is seated at Kelston's desk,
talking to Kelston. Blake, Pat and David are seated
on chairs in the office. David is just hanging up
the telephone.
DAVID
I don't know where they could
be. If they're at home they're
not answering the phone -- I
called last night and this is
the second time this morning.
FIELDING
(rising)
Hm, I see. Come on, young man --
you and I are going out to do a
little investigating.
DAVID
Can we stop by the hospital and
get my dog?
FIELDING
I don't think we'd better take the
time right now.
BLAKE
We'll take care of him, David.
Blake and David exit. Kelston stops Fielding at the
door.
KELSTON
(in a low voice)
Just a moment, Colonel. I called
Ralph Pulzer's office this morning --
he's left town with Chief of Police
Barrows and Detectives Jackson and
Blaine -- and they didn't say where
they were going.
FIELDING
Will you get me a description of all
these people? I'll phone you later.
KELSTON
I will, Colonel.
DISSOLVE TO:
122. EXT. FRONT OF MacLEAN'S HOUSE - DAY - FULL SHOT
A Cadillac limousine, with a long whip aerial, pulls up
in front of the house and stops. It is driven by Ser-
geant Balardi. He opens the door and Fielding and
David step out. David runs up the driveway. Fielding
remains standing by the car door.
FIELDING
Sergeant, phone Professor Kelston
at the Observatory and see if he
has that information I wanted.
BALARDI
(reaching for the phone)
Yes, sir.
Fielding turns and exits from the scene.
PAN TO:
123. EXT. FRONT OF MacLEAN HOUSE - DAY - MED. SHOT
David is waiting in the driveway as Fielding joins him.
DAVID
The car's not here.
FIELDING
Well, let's take a look inside the
house.
They walk toward the front door.
124. EXT. FRONT MacLEAN HOUSE - DAY - MED. CLOSE SHOT
Balardi is on the telephone in the car, holding a note-
book on his knee and writing.
BALARDI
Yes, sir. John MacLean, age thirty-
five, height, five feet eleven inches,
weight, 165, hair, brown.
125. INT. MacLEAN BEDROOM - DAY - FULL SHOT
Fielding is standing in the middle of the room and David
is standing before an open closet, very perturbed.
DAVID
(perturbed)
My mother's suitcase is gone, and
my father's rifle. He used to keep
it in this closet.
FIELDING
What kind of a rifle?
DAVID
A 30.06.
FIELDING
Hm -- I'd like to talk to someone
who -- What about that little girl --
the one you think set fire to her
mother's house?
DAVID
Kathy Wilson? -- I can take you over
there.
DISSOLVE TO:
126. EXT. WILSON FRONT PORCH - DAY - FULL SHOT
Mrs. Wilson stands on the porch, talking to Fielding,
Balardi and David. She is distraught and nervous.
FIELDING
I'm very sorry to hear that, Mrs.
Wilson. When did it happen?
MRS. WILSON
(through tears)
Early this morning.
FIELDING
What did the doctor say?
MRS. FIELDING
He said something about a cerebral
hemorrhage.
(then, semi-hysterically)
But how a little child could have a
thing like that --
127. EXT. WILSON HOUSE - DAY - CLOSE SHOT
David - reacting and thinking about his mother and
father.
FIELDING'S VOICE
(o.s.)
Mrs. Wilson, I don't like to disturb
you at a time like this -- but there's
just one question I'd like to ask you
-- Do you have any idea why your lit-
tle girl started the fire in the cel-
lar yesterday?
128. EXT. WILSON HOUSE - MED. GROUP SHOT
MRS. WILSON
I don't know what started the fire!
And I don't know why you have to
torture me with a lot of questions!
FIELDING
(bowing)
I'm sorry and I won't bother you any
more.
David stands frozen, thinking what could happen to his
mother and father.
FIELDING
Thank you -- come along, David.
Mrs. Wilson turns abruptly and enters front door.
DISSOLVE TO:
129. EXT. MacLEAN FIELD - DAY - FULL SHOT
Fielding, Balardi and David -- with the bushes in f.g.
where David observed Kathy Wilson's capture through his
small telescope. Fielding holds a monocular (Sportscope)
in his hand.
FIELDING
(to David)
Can you point out the place where
the Wilson child disappeared?
He hands the monocular to David, who adjusts it.
DAVID
(after a slight pause)
There -- those three white stones
are right by the edge of it -- you
can even see the crack -- see it over
there?
FIELDING
Let's have a look.
David hands him the monocular; Fielding looks through
it.
130. EXT. MacLEAN FIELD - DAY - TELESCOPE MATTE SHOT
-- a faint crack approximately four feet in diameter is
clearly visible near three white stones.
131. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding removes the monocular from his eye and turns
to Sergeant Balardi.
FIELDING
(pointing)
See those bushes down there -- by
the road, Sergeant?
BALARDI
Yes, sir.
FIELDING
There are three white stones in the
field about one hundred feet from
there at two o'clock.
BALARDI
Yes, sir, I see them.
FIELDING
Go down behind those bushes -- and
when you get there, throw some
rocks as close to those three white
stones as you can.
BALARDI
Yes, sir.
FIELDING
Whatever's down there must be sensi-
tive to sound -- so keep your distance.
BALARDI
Yes, sir.
FIELDING
And when I signal you, come back here
on the double.
BALARDI
Yes, sir.
The Sergeant crosses out of scene, and Fielding turns
to David.
FIELDING
(to David)
Just exactly what did this thing
look like, son? The thing that
grabbed the little Wilson girl.
DAVID
It moved so fast it was hard for
me to see exactly what it looked
like.
132. EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - BALARDI
He kneels on one knee beside a small pile of stones
about the size of peaches. He takes one in his right
hand and hurls it over the bushes as one throws a gren-
ade.
133. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David -- as Fielding looks through monocu-
lar.
134. EXT. MacLEAN FIELD - DAY - MATTE SHOT
Through monocular -- of stone falling near the center
of the shot.
FIELDING
(o.s.)
Well, that one ought to be close
enough for them to hear!
Another stone falls in the same area, and a circular
four-foot section of earth slowly rises about six in-
ches, revealing an indistinct shape that moves as though
someone or something were peering out of the crack.
FIELDING
(o.s.)
Something's moving -- but I can't
make out what it is!
Another stone falls near the trapdoor and it closes
swiftly.
135. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David. As Fielding lowers monocular.
FIELDING
That's a trapdoor all right. Some-
thing's in there!
David looks at him and nods concerned affirmation.
Fielding raises his monocular again and looks toward
the bushes where Sergeant Balardi was throwing the
rocks.
FIELDING
Where's Balardi? Come on!!
He runs toward field, David follows and CAMERA PANS
with them.
136. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David -- warily approach the bushes behind
which the Sergeant was throwing rocks. Suddenly they
stop, staring at the ground.
DAVID
They got him! See there?
137. EXT. MacLEAN FIELD - DAY - REVERSE CLOSE SHOT
Their angle of the faint, circular, four-foot outline
near where the Sergeant was last seen. His military
cap lies on the ground and scratches and gouges show
where his fingers clawed as he was dragged down into
the hole.
FIELDING'S VOICE
(o.s.)
That's the last one they'll get --
come on, son!
DISSOLVE TO:
138. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding's car. Fielding reaches into car and flips
the catch on the fish pole antenna, which flies up.
David watches with interest as Fielding takes out a
phone and pushes the button on the hand set.
FIELDING
(into phone)
This is WJ605. Dispatch White
Sands, 121A. Closed circuit.
Expedite. Priority A-14.
(pause)
Hello, Walter?
(pause)
Fielding. Operation 925 is with
us!
(pause)
Yes, I'm sure ... Now, hear this --
I want you to muster two platoons
and a demolition team, with plenty
of C-two charge. Equip them with
sub-machine guns and grenades.
Bring the light Sherman tank and
get here as fast as you can. Get
rolling. I'll expect you here by
tomorrow at fourteen hundred. Got
that?
(pause)
Rendezvous is at the intersection
off State Highway eighty-six and
Belle Meade Road. If any newspaper
people ask you any questions, tell
them it's a training maneuver.
(pause)
Right! Goodbye.
He presses the stud again.
WJ605. Dispatch 143. Expedite.
Closed circuit.
(pause)
Hello, Cagle? -- Fielding..Opera-
tion 925...
(pause)
Yes -- Now clear the boards for
this...Cover all key supply sources
for the White Sands rocket project.
(Fielding reading
from notebook)
Put out an all-points alarm for the
following subjects - John MacLean,
Age, thirty-five, height, five feet
eleven. Weight, 165, - hair --
DISSOLVE TO:
139. INSERT - EXT. PLATE GLASS DOOR
It reads U.S. ARMY INTELLIGENCE - MAJOR G.A. CAGLE
DISSOLVE TO:
140. INT. U.S. ARMY INTELLIGENCE OFFICE - DAY - FULL SHOT
Major Cagle is seated at his desk, listening on the
phone and writing on a pad. He is an alert, hawk-
eyed man who looks like a successful attorney.
CAGLE
(in a sharp, incisive
manner)
Yes, Colonel -- I have it -- John
MacLean -- Mary MacLean -- Ralph
Pulzer, Chief Fred Barrow, Detectives
Jackson and Blaine.
(pause)
Yes, sir -- all points bulletin.
And they are to be returned to
Dr. Blake at the County Hospital.
He hangs up the phone and flips the toggle on an inter-
com box on his desk.
CAGLE
(into intercom)
Clear the teletype -- and code
this right away with special
attention to Armstrong Liquid
Oxygen Plant and Belaer Magnesium
Plant -- also all other key
supply sources for the White Sands
Rocket Project. Get that?
(pause)
First subject: John MacLean, age
thirty-five, height five feet
eleven --
WIPE TO:
141. MONTAGE
1) Teletypes.
2) Hands operating telegraph keys in high speed code.
3) Telegraph wires - odd angles.
FADE OUT:
FADE IN:
142. EXT. ALLEY - SILHOUETTE OF BELAER MAGNESIUM PLANT IN
B.G. - NIGHT - LONG SHOT
Detectives Blaine and Jackson run toward CAMERA and
turn around corner of building and stand flattened
against the wall. CAMERA PANS to Blaine and Jackson.
Behind them is sign: BELAER MAGNESIUM PLANT. The
scene is lighted in low key by street light. Over
scene there is a terrific shattering explosion.
143. EXT. ALLEY - NIGHT - LONG SHOT
The silhouette of the factory is gone. A siren o.s.
builds up to crescendo.
144. EXT. ALLEY - NIGHT - FULL SHOT
Blaine and Jackson - as they turn and run away from an
army military police car that pulls up to the curb. They
turn and run up the alley in the direction from whence
they came and the headlights of another military police
car come into alley with siren going.
145. EXT. ALLEY - NIGHT - CLOSE SHOT
- Blaine and Jackson huddle back against the wall, caught
in the blazing headlights of the two military police cars.
As a group of soldiers emerge from each car and converge
upon Blaine and Jackson with drawn revolvers -
QUICK DISSOLVE TO:
146. EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - FULL SHOT
The CAMERA PANS ALONG the woven wire fence and pulls in
on:
147. EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - MED. SHOT
Sentry - standing guard at which is obviously a side
gate.
148. INSERT - SIGN OVER GATE
"ARMSTRONG LIQUID OXYGEN PLANT."
A small sign underneath reads:
"Apply to main gate for admittance."
CAMERA PULLS BACK TO:
149. EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SENTRY
He straightens up at the sound of a car approaching off
scene. The motor of the car sputters and the headlights
pick up the sentry as the forepart of the car moves into
scene.
150. EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SEDAN IN B.G. -
SENTRY IN F.G.
SENTRY
You can't park here, lady.
MARY MacLEAN
Something's the matter with my car -
I think it's the ignition --
151. EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
Through window of car. Mary MacLean - speaking to sen-
try in background.
MARY MacLEAN
(continuing)
Do you suppose you could find out
what's the matter with it?
SENTRY
(leaning rifle against
fence)
I'm not much of a mechanic, lady,
but I'll take a look.
He crosses to the front of the car and there is a click
as Mary MacLean releases the hood catch. The sentry
leans over the motor and turns on his flashlight. The
rear door of the sedan opens and John MacLean moves
swiftly around behind the sentry, carrying a rifle.
There is a thud as he strikes the sentry over the back
of the head with the rifle butt and the sentry falls
over the fender of the car unconscious and then falls
to the ground. MacLean closes the hood of the car and
drags the sentry over near the fence.
MacLEAN
Start the motor -- I'll be right
back.
There is the sound of the engine starting over scene.
152. EXT. OXYGEN PLANT - NIGHT - NEW ANGLE
- as MacLean swiftly enters the gate the sentry was guard-
ing and runs to the corner of the adjacent brick building.
153. EXT. OXYGEN PLANT - NIGHT - MED. SHOT
Corner of building - as MacLean peers around it.
154. EXT. OXYGEN PLANT - NIGHT - LONG SHOT
MacLean's angle - Lighted window in small building in
background. A man is seated working at a desk. He has
a fringe of bushy white hair and a bald head. From the
silhouette he looks very much like Albert Einstein. Be-
hind the desk at which he is working is the usual para-
phenalia of a physicist's lab. John MacLean in the fore-
ground, raises his rifle to his shoulder and steadies it
against the corner of the building.
155. EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT - MATTE
- Scientist - with crossed-hairs of rifle telescope
sights superimposed on view. The scientist suddenly
leans forward to pick up a book. As he does so, a glass
retort on the shelf behind him is shattered by a bullet.
The scientist looks fearfully out the window, then quick-
ly extinguishes the light.
156. EXT. OXYGEN PLANT - NIGHT - MED. SHOT
John MacLean - lowering the rifle from his shoulder and
staring toward the blacked out window. Over scene the
shrill blast of a police whistle causes him to turn and
run out of scene.
157. EXT. OXYGEN PLANT - NIGHT - MED. LONG SHOT
With MacLean car in f.g. - moving away from CAMERA at
high speed. Suddenly two sets of headlights appear in
the distance coming toward car with the sound of the
sirens over scene. The MacLean car screeches to a stop,
is quickly backed and turned around and comes racing
TOWARD CAMERA with the headlights of the two pursuing
cars closing rapidly and the sound of the sirens build-
ing. The MacLean car swerves PAST CAMERA at high speed,
followed by the two pursuing cars with sirens and there
is a loud crash off scene.
158. EXT. OXYGEN PLANT - NIGHT - FULL SHOT
Side of road - with MacLean car turned over in a ditch,
and a command car in a position relative to it indicat-
ing that it ran the MacLean car off the road. Four
guards emerge from the command car and two others from
the second car and surround the wrecked MacLean car.
Some of the guards carry carbines; others drawn pistols.
159. EXT. OXYGEN PLANT - NIGHT - MED. CLOSE SHOT
The MacLean car - the MacLeans are dazed from the im-
pact -- as they start to resist the soldiers imprison
their arms and lead them from the wrecked car.
QUICK DISSOLVE TO:
160. EXT. ROCKET STATION - NIGHT - FULL SHOT
The silhouette of a gigantic rocket is in background.
In foreground, Ralph Pulzer and Chief Barrows, carrying
heavy suitcases, are sneaking around a high steel-link,
barbed wire top, fence. Suddenly a searchlight PANS
across scene, and comes to rest on them. They straighten
up, shade their eyes with their hands from the glare and
run away from CAMERA.
161. EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
-- soldier standing by fence. He raises his carbine to
his shoulder.
SOLDIER
(shouting)
Halt!
Another soldier runs into scene.
2ND SOLDIER
There they go!
162. EXT. ROCKET STATION - NIGHT - REVERSE ANGLE
- of Pulzer and Barrows running with the suitcases and
the searchlight following them.
1ST SOLDIER
(o.s., shouting)
Halt!
163. EXT. ROCKET STATION FENCE - NIGHT - MED. SHOT
Two soldiers raising their carbines and firing several
shots at rapid fire. Suddenly there is a terrific ex-
plosion and the scene is lighted by the flash of the
explosion. The soldiers stagger back with the force
wave.
1ST SOLDIER
What was that?
2ND SOLDIER
Those suitcases must have been full
of nitro-glycerine!
1ST SOLDIER
Good thing we got them before they
got to the rocket!
DISSOLVE TO:
164. INT. BLAKE'S OFFICE - DAY - MED. SHOT
David, Fielding and Cricket are sitting. Pat enters
from laboratory.
PAT
Colonel Fielding, would you step
in here, please?
165. INT. BLAKE'S OFFICE - DAY - MED. SHOT
Fielding exits into laboratory leaving David and the
dog waiting.
FIELDING
I'll only be a minute, David.
166. INT. DR. BLAKE'S LABORATORY - DAY - MED. SHOT
- with shelf bearing test-tubes, retorts and equipment
in b.g. Doctors Blake and Metzler enter scene, wearing
operating caps and gowns. Blake crosses to a table and
places a covered tray on it.
BLAKE
(introducing the two
men)
Colonel Fielding -- Dr. Metzler.
(both men murmur "How
do you do".
Fielding looks at
Blake questioningly)
Dr. Metzler has completed the aut-
opsy on the little Wilson girl.
METZLER
I have -- and my findings are al-
most unbelievable. That child died
of a sub-dural hematoma all right,
but - this caused it!
Everyone crowds around the desk. Metzler picks up a
small hexagonal crystal about a half-inch long with
the diameter of a pencil. Attached to one end is a
thin platinum disk, and two small wires run from this
to a ruptured platinum globe the size of a small mar-
ble.
METZLER (Cont.)
I found this device inserted in the
base of the skull. And the hemorrhage
was caused when this little detonator
(points to ruptured globe)
exploded in her brain.
FIELDING
Incredible!
METZLER
This crystal was in direct contact
with the medulla oblongata.
BLAKE
Do you suppose that's how they con-
trolled Kathy Wilson and impelled
her to set fire to her house?
METZLER
Very possible -- we've done some-
thing similar with white mice --
and have made them follow directional
impulses with high frequency oscil-
lation.
PAT
But why did the thing explode?
BLAKE
Probably their method of getting
rid of people when they have no
further use for them.
PAT
Then - David's father and mother -- ?
Blake looks at her meaningly and shrugs his shoulders.
167. INT. BLAKE'S OFFICE - DAY - MED. SHOT
The phone rings. David crosses and answers it.
DAVID
Hello.
(pause)
Yes, sir -- just a moment. I'll
call him.
He crosses to laboratory door and knocks. Door opens
and Fielding, Blake and Pat enter Blake's office.
DAVID
It's for you, Colonel Fielding.
FIELDING
Thank you, David.
He crosses and takes the telephone.
FIELDING
Fielding.
(pause)
Oh, hello, Moody.
(pause)
Fine -- bring it to the intersection
of State Highway eighty-six and Belle
Meade Road -- with an operator --
(pause)
Right.
He hangs up phone and crosses, speaking to Blake.
FIELDING
(to Blake)
Well, we finally got an earth augur.
DAVID
Is that for boring into the trap
doors?
FIELDING
That's what we expect to do, David.
DAVID
Gosh -- how soon do we start?
FIELDING
(kindly)
Well, I was planning on having you
wait here.
DAVID
(jumping up and crossing
to Fielding)
But -- but -- I'm the one that dis-
covered this whole thing! -- and,
gee, I ought to be there, I mean --
Gee!
FIELDING
Well -- all right, but you'll have
to follow orders -- like any other
soldier.
DAVID
Oh, I will! -- Sir.
FIELDING
You'd better leave your dog here,
David, he might get hurt out there.
DAVID
All right - Sir.
DISSOLVE TO:
168. EXT. MacLEAN'S FIELD - DAY - FULL SHOT
A platoon of soldiers are gathered around a Sherman
tank, a truck, two jeeps and an earth augur. Blake,
Pat, David and Fielding, in combat uniform, are in a
group near the machines.
DAVID
Is that the earth augur?
169. EXT. MacLEAN FIELD - DAY - DAVID'S ANGLE - MED. SHOT
Motorized earth augur - (such as are used to dig cess-
pools) -- on trailer.
FIELDING
(o.s.)
Yes.
170. EXT. MacLEAN FIELD - DAY - MED. SHOT
Lieutenant Blair and Lieutenant Cole enter scene.
FIELDING
All right, Cole -- These people --
or whatever they are -- react to
sound or vibrations. Send Kelley
over to the Northeast corner --
(points)
-- of the field.
COLE
Yes, sir.
FIELDING
Full drums of live ammunition for
your .505 -- and better carry ten
rounds of H-E for the 175. Now get
this -- this is important -- tell
Kelley to take out twenty Mills gren-
ades. Tell him to traverse the
Northern border of the field and to
throw the grenades out at short in-
tervals. Got that?
COLE
Yes, sir.
FIELDING
That's to cover the sound of the
earth augur....
After that, have Kelley run the tank
up and down that corner of the field
and create a disturbance.
(looking at his watch)
He will proceed at 15:33 on a vary
flare from this position.
COLE
Yes, sir.
He leaves.
FIELDING
(turning to Blair)
Blair, you have your crew stand by
with the earth augur. On a hand sig-
nal from me, proceed to that spot by
those three stones -- go six feet
north of them and drill a hole until
you have penetrated a subterranean
passage.
BLAIR
Yes, sir.
FIELDING
As soon as you effect an entrance,
take two squads and your demolition
team with full attack equipment and
stand by for me.
(looking at watch)
You've got nine minutes.
BLAIR
(saluting and exiting)
Yes, sir.
171. EXT. MacLEAN FIELD - DAY - FULL SHOT
Blake, Fielding and Pat are in a group. David is stand-
ing about ten feet apart from them watching the earth
augur. A white uniformed interne enters the scene and
crosses to Blake.
INTERNE
(in a low voice)
The boy's father and mother and the
others have been brought in. Dr.
Metzler is preparing to operate.
BLAKE
Good!
INTERNE
His aunt has arrived too - she's
very disturbed and wants him back
at the hospital immediately.
BLAKE
(turning to Pat)
Pat, why don't you take David back
to the hospital.
FIELDING
(to Pat)
You can take my car. Sergeant
Roberts will drive you.
PAT
Thank you.
(calling)
Oh, David.
David turns around and walks up to the group.
PAT
(continuing)
David, we have to go back to the
hospital. Your aunt's waiting to
see you.
DAVID
(disappointed)
Aw, gee -- what for?
FIELDING
Soldiers don't question orders,
David.
DAVID
But -- But --
FIELDING
An order is an order, young man!
DAVID
(straightening up mili-
tarily)
Okay, sir.
Pat moves off scene followed by David.
172. EXT. MacLEAN FIELD - DAY - MED. SHOT
David straggles some fifteen or twenty feet behind Pat,
looking reluctantly over his shoulder.
173. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
-- as David traverses a clump of bushes, looking back.
A round section of earth opens just ahead to the left
of him.
174. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Pat -- who looks over her shoulder, sees it and stops.
PAT
(yelling)
David!
175. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Top half of David -- as he stops.
DAVID
(calling)
What?
176. EXT. MacLEAN FIELD - DAY - MED. SHOT
Pat -- as she screams and runs toward CAMERA.
PAT
Look out, David!
177. EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Dr. Blake -- reacting to what he sees ---
178. EXT. MacLEAN FIELD - DAY - MED. LONG SHOT
Reverse shot from Blake's angle as he sees a flap of
earth is closing over David's and Pat's screams.
179. EXT. MacLEAN FIELD - DAY - MED. SHOT
Blake and Fielding.
BLAKE
(excitedly)
They got them! Pat and the boy!
(pointing)
Over there!
He starts to run toward the spot where David and Pat
disappeared.
FIELDING
(running after him and
stopping him)
Hold it, Blake, there's nothing you
can do now.
Blake rages impotently --
180. INT. TUNNEL - DAY - LOW KEY - CLOSE SHOT
Pat's face -- as she looks up and reacts with terrified
scream, shrinking back.
181. INT. TUNNEL - DAY - LOW KEY - MED. CLOSE SHOT
Reverse - Pat's angle.
Two Mutants stand over her looking down. The lighting
of the tunnel scenes seems to come from a luminous
quality in the walls of the tunnels themselves. These
tunnels are cut through the earth by an atomic heat ray
which blasts a hole through the earth and fuses the
silica along the walls of the tunnel into a radio-active,
phosphorescent glassy-like substance. (For these shots
we will use water glass sprayed on cellophane and back
light it with hot arcs.)
These creatures are mutations developed by the Martians
for physical labor. They are humanoid in appearance,
but are covered with a coarse black hair. (Flocked
baggy tights.) Their feet are about twice the length
of human feet and the four toes of each foot terminate
in heavy black digging claws. The fingers are much long-
er than human fingers and are equipped with black, non-
retractable digging claws. A hairless, snout-like nose,
similar to a mole's, protrudes from the front of the
face. They are with ears, and beady-like reflecting
eyes look out from the hairy mask of the face. At no
time do they utter any sound, for these creatures are
telepathic. One of the mutants leans forward into CAM-
ERA with extended long prehensile fingers.
182. INT. TUNNEL - DAY - MED. CLOSE SHOT
Pat -- as she cowers back and the long black fingers
curl around her wrist. Pat screams and struggles fran-
tically and another long black hand comes into scene and
grasps the other wrist.
193. INT. TUNNEL - DAY - MED. SHOT
David is lying unconscious from his fall, momentarily
ignored by the mutants. A mutant grabs at Pat's shoul-
der. Pat struggles frantically. Her screams revert to
hoarse gasps of effort and terror, and in the struggle
her dress is ripped. The long fingers of a hand curl
around Pat's neck and squeeze for a moment. She sudden-
ly relaxes into unconsciousness. One of the two mutants
picks her up, the other picks up David. They lope away
with them down the tunnel into infinity and darkness.
194. INT. TUNNEL - DAY - LONG SHOT
The two mutants lope past CAMERA carrying the two inert
figures. They disappear around a corner of the tunnel.
185. INT. TUNNEL - DAY - MED. SHOT
Mutants rounding another turn, carrying Pat and David
at a loping run.
QUICK DISSOLVE TO:
186. INT. TUNNEL - DAY - MED. SHOT
From an open metal trapdoor in b.g. there emanates a
stronger light. The two mutants pass CAMERA and lope
toward metal door. They enter.
187. INT. CENTRAL AREA OF SPACE SHIP - DAY - FULL SHOT
It is a circular room some twenty feet in diameter,
approximately fifteen feet high. It is composed of a
shiny metallic substance similar to polished aluminum.
The only rivets in evidence mark the outline of bulk-
heads spaced around the perimeter of the walls. Upper
left, near the spiral steel staircase, a low metal table
is near the wall. It is flanked by two stationary met-
al benches. The room is dome-like in structure, and an
area twelve feet in diameter and approximately eight
feet in height occupies the apex of the dome, which is
of a transparent plastic substance. This is the control
tower of the space ship. A bank of control panels is
placed in this structure and a round, cushioned pilot's
seat is suspended on a crosswalk of perforated metal
girders. The room is illuminated by a series of circu-
lar lights which look like portholes. Even so, the
lighting is in comparative low key. The two mutants
descend a spiral staircase and bring Pat and David to
the center of the room and lay their unconscious bodies
on the floor. Then they step back approximately five
feet and assume a rigid attitude grotesquely reminiscent
of soldiers.
198. INT. SPACE SHIP - DAY - LOW KEY - DIFFERENT ANGLE
A bulkhead opens in the upstage wall. Sergeant Balardi
enters, walking like an automaton. He walks up to Pat,
facing upstage. Then a mutant backs out of the bulk-
head carrying a Martian seated on a circular metal tray,
which is surmounted by a plastic bell jar. Another mu-
tant enters, supporting the other handles of the metal
tray. A mutant steps forward quickly and places a cir-
cular metal drum approximately three feet in diameter
and thirty inches in height in front of Pat. The other
two mutants then place the Martian on the drum and step
back and assume an attitude of attention: TRUCK in to
CLOSE SHOT - THE MARTIAN -- He is approximately thirty
inches in height, dressed in a singlet that resembles
soft chain mail. Over this is a gorget of soft black
material similar to velvet. He is seated, tailor-
fashion, on a circular cushion resembling sponge rubber.
He is extremely brontocephalic, and his tremendously
large skull is completely devoid of hair. His eyes are
small and deep-set and peer from their dark sockets
with a strange ophidion lustre. He is entirely covered
by the plastic bell jar, and sits so frozen and unmoving
that he appears to be a wax figure until we are suddenly
aware of the eyes moving to the right, then to the left,
then down, where he focuses upon Pat.
189. INT. SPACE SHIP - DAY - MED. CLOSE SHOT
Pat is unconscious on the floor. She stirs into con-
sciousness, sits up, then stands, facing the CAMERA.
Her eyes widen and stare straight ahead.
190. INT. SPACE SHIP - DAY - CLOSE SHOT
Martian's eyes - staring into CAMERA.
191. INT. SPACE SHIP - DAY - CLOSE SHOT
Pat is drawn by the hypnotic stare of the Martian. She
fights it off.
192. INT. SPACE SHIP - DAY - MED. SHOT
Martian, Balardi and Pat. David is still unconscious
on the floor. Balardi stands stiffly.
BALARDI
(me
