THE WAR OF THE WORLDSFINAL WHITE
Barré Lyndon
December 18, 1951
FADE IN:
1. H. G. WELLS' BOOK
We see the colorful cover, then the first page. A
VOICE with a Wells-like accent quotes the opening
words:
VOICE
No one would have believed, in the
first decades of the twentieth century...
DISSOLVE:
2. SPECIAL EFFECT - SKY FULL OF STARS
The planet Mars shows just above the spires and roof-
tops of a city on the horizon.
VOICE
(Continuing)
...that human affairs were being
watched keenly and closely by
intelligences greater than man's.
Mars is picked out of the sky and brought to the screen
as if by some enormous telescope with an infinite field.
It becomes a small ball. Elarges to a pallid disk.
Comes to moon size.
VOICE
No one gave a thought to the older
worlds as a source of human danger.
Yet across the gulf of space, on the
planet Mars...
Now Mars has grown big and ruddy-colored. Mysterious
canals revealed. Vegetation patches shadowy. One thin
polar cap shimmering.
VOICE
Intellects vast and cool and unsym-
pathetic regarded our earth with envious
eyes, slowly and surely drawing their
plans against us.
3. SPECIAL EFFECT - OUR WORLD - MOVING SHOT
seen in space with its halo of atmosphere, beautiful.
VOICE
Few voices were ever raised in
warning as, with infinite compla-
cency, men went to and fro over
this globe, busy about their
affairs.
DISSOLVE:
4. SERIES OF THUMBNAIL FLASHES (STOCK)
designed to get over the enjoyment of life on this
earth today.
a. Gay, seven-piece Dixieland band, whapping
out a fast tempo in a night club.
b. Grand National at Aintree.
c. Parade at the Carnival de Nice.
d. Gambling in a casino.
e. Trooping the Colors, London.
f. Packed stadium and a smashing football game.
g. Geisha party in Tokyo.
VOICE
(Over f. and g.)
It did not occur to mankind that
a swift fate might be hanging over
us. Or that, from the blackness of
outer space, we were being scrutinized
and studied.
During this, CAMERA MOVES IN on the Geisha girls. We
are CLOSE on the round casing of one of their strange-
sounding instruments as we -
DISSOLVE:
5. SPECIAL EFFECT - MARS
The planet as we saw it before. CAMERA MOVES IN until
the planet is huge on the screen. Strange and baleful.
VOICE
Mars is more than one hundred and
forty million miles from the sun, and
for centuries it has been in the last
stages of exhaustion. Its rocks have
absorbed almost all oxygen from its
air, turing them red.
A-5a. SPECIAL EFFECT - MARTIAN LANDSCAPE
A geometric pattern of great canals joins in the far
distance to center on a Martian metropolis. High
atop a tower a light pulsates rhythmically.
VOICE
Most of its water has gone. At
night, temperatures drop to more
than one hundred and twenty degrees
below zero, even at the equator.
A-6 SERIZS OF DISSOLVES - SPECIAL EFFECT (MOVING SHOTS)
CAMERA FLOATS through the blackness of space, pick-
ing up each succeeding spectacle.
a. Our solar system, as seen from Mars. The sun
golden. Mercury ruddy and hot. Venus beau-
tiful, bright. Saturn with its tinted rings
and moons. Jupiter big, cloudy, with four
moons. Uranus and Neptune both greenish-
yellow, toxic. And Pluto far away.
VOICE
The inhabitants of this dying planet looked
across space with instruments and intelli-
gences of which we have scarcely dreamed...
CAMERA MOVES IN on Pluto, dim in outer space.
VOICE (Cont'd)
...searching for another World to which they
could migrate. They could not go to Pluto,
outermost of all the planets, and so cold
that its atmosphere lies frozen on its
surface.
CAMERA PICKS UP Neptune and Uranus, clouded giants
with poison-colored atmospheres.
VOICE (Cont'd)
They couldn't go to Neptune or Uranus - twin
worlds in eternal night and perpetual cold.
Each surrounded by an unbreathable atmosphere
full of methane gas and ammonia vapor. The
Martians considered Saturn.
b. Saturnian landscape. Midnight-blue space-sky
crossed by merging rings of cosmic dust.
Bright-edged, full of color and marvelous to
see.
VOICE
An attractive world with its many
moons and beautiful rings of cosmic
dust. But its temperature is close
to two hundred and seventy degrees
below zero, and ice lies fifteen
thousand miles deep on its surface.
Their nearest world was giant Jupiter...
c. Effect Pan Shot - Landscape of Jupiter
An incredible world. Cliffs flaming at
the tops and spilling into fuming lakes.
Everywhere the same process repeating itself.
VOICE
Where there are titanic cliffs of lava
and ice, with hydrogen flaming at the tops.
Where the atmospheric pressure is terrible -
thousands of pounds to the square inch.
On Mars it is only four pounds. They
couldn't go there. Nor to Venus, which
has no oxygen and no water. Nor could they
go to Mercury nearest planet to the sun.
d. Effect - Mercurian Landscape. A glaring
sun is enormous in a dark sky, stars visible
near it. The land is heat-hazed, waterless,
fissured. Volcanic cones and lava pools.
VOICE
It has no air. And the temperature at its
equator is that of molten lead. Of all the
worlds that the intelligences on Mars
could see and study .....
e. North American continent, seen from a
great height, showing clouds, forests,
glistening lakes and rivers.
VOICE
...only our own warm earth was green
with vegetation, bright with water,
and possessed a cloudy atmosphere
eloquent of fertility.
f. Sky full of stars above a small town
and hills....Mars low in the sky.
VOICE
At the time of our nearest approach
to the orbit of Mars, during a pleasant
summer season....
Far away in the sky we see a falling star.
VOICE
...in the late hours of a Friday evening...
DISSOLVE:
7. INT. FORESTRY LOOKOUT POST (NIGHT)
A fire LOOKOUT and his deputy, FIDDLER HAWKINS -
round-faced, hearty - are seated at a small table
by a big window, playing cards. Behind them is
an Osborne fire-finder. On a shelf are cans of
tobacco, fruit, coffee, a pipe, magazines. The
lookout's glance goes upward to the sky and is
held there.
8. SPECIAL EFFECT - SKY & METEOR (1)
The meteor leaves a thin, luminous streak.
9. EXT. FISHING CAMP (NIGHT)
Near a stream, beyond which, through trees, is a
broad meadow. Small tent. A lantern hangs from a
branch. Waders hang on another limb. Beyond, in
the meadow, rests a small Stinson cabin plane.
Near the tent, a convertible is parked.
A small, round, bald man - BILDERBECK - is frying
trout in a pan over the fire, his hatband decorated
with pretty flies. A younger man - PRYOR - is
coming from the direction of the stream, with clean-
ed trout strung on a stick. A third man - CLAYTON
FORRESTER - butch haircut and hornrims - is sitting
on a log, working over his tackle, looking skyward.
He calls. The others look with him.
10. SPECIAL EFFECT - SKY & METEOR (2)
It is large. Its bright trail is thicker.
11. EXT. MOVIE THEATER - MAIN STREET LINDA ROSA (NIGHT)
The small-town, California audience is breaking after
the last show. Among them are two young parents, the
father carrying a sleeping baby. Teen-agers head for
the ice-cream parlor next door. A lost kid is bawling
on the sidewalk. A man on a ladder is adding "Held
Over" to the marquee which features "Samson and
Delilah." Like most the others, he is looking at
the sky. The CAMERA PICKS UP SYLVIA VAN BUREN -
twenty-six, normal, nice, admiring the sleeping baby.
Near her is PASTOR COLLINS - white-haired. He is
gazing at the sky as he touches Sylvia's arm. She
looks and stands staring.
12. SPECIAL EFFECT - SKY AND METEOR (3)
Altogether larger now, rushing aslant down the sky.
13. GROUP - AT LINDA ROSA
A group has formed on the sidewalk by Sylvia and the
Pastor - WASH PERRY, big teeth, no hat, shirt-sleeves.
'ZIPPY', a clumsy youth. SALVADOR, a swarthy, good-
natured Mexican. ALONZO HOGUE, local realtor, chews
tobacco.
GROUP - ad libs
Is that a fireball or somep'n?
Boy, that's big ! - Maybe it's
a comet - looks like it's coming
right at us!
14. SPECIAL EFFECT - SKY AND METEOR (4)
Huge, brilliant, fusing and frightening. Its tail
seems to spurt more brilliantly as the meteor
vanishes beyond buildings and dark trees.
15. GROUP - AT FISHING CAMP
looking o.s. at the meteor. Pryor slaps a mosquito.
BILDERBECK
That was a meteorite -
(Returning to fire)
- burning itself out.
PRYOR
(Unstringing fish)
There's never much left of 'em
when they hit the ground.
Clayton turns after them, then pauses, looking again
toward where the meteor landed.
16. GROUP - AT LINDA ROSA
Everyone staring o.s. Fascinated. A little alarmed.
GROUP - AD LIBS
That had me scared! - Wonder where
it lit? - Miles away, I betcha.
ZIPPY
Let's go find it, huh?
PASTOR COLLINS
That probably dropped half way
to Pomona!...What do you think?
SYLVIA
It was nearer than that.
ZIPPY
I'm gonna see. Who's coming?
He starts out. Other teen-agers follow him.
17. FORESTRY LOOKOUT POST
Lookout at the phone. Fiddler, crouched, sighting
the firefinder, still holding his cards.
LOOKOUT
(At phone)
This is Pine Summit. I've got a smoke.
FIDDLER
(Reading firefinder)
One sixty... thirty.
LOOKOUT
(At phone)
Azimuth reading - one hundred sixty
degrees thirty minutes.
(Gazing out window)
About ten miles. It must-a hit red
hot!
Fiddler straightens, sneaks a glance at the Lookout's
cards, then studies his own.
LOOKOUT
(At phone)
You better get somepin out there -
it's started a blaze already!
DISSOLVE:
18. EXT. SECONDARY HIGHWAY - (NIGHT)
CAMERA PANS FAST on a small forestry service tanker
coming down the road, red light blinking. Scattered
trees and scrub in b.g.
DISSOLVE:
19. EXT. DIRT ROAD & GULLY - FULL SHOT - (NIGHT)
The road curves near low, sharp little hills. The
ground is rough, scattered with prickly pear, yucca,
small bushes, stunted trees. At the foot of the
hills is a fairly deep gully. Bushes, grass, small
trees are burning all around this. The tanker is on
the scene. The fire-crew is being helped by teen-
agers from Linda Rosa and men from nearby farms.
20. QUICK CUTS - AROUND THE GULLY AREA
a. Men dipping sacks into a tub of water,
running to fire in b.g. Zippy and others
slapping out flames with wet gunny sacks.
b. Uniformed Ranger attacking burning bushes
with a spray extinguisher. Two men hacking
furiously with brush hooks. The tanker
moving along an edge of the fire. Two men
riding it, spraying flames. The ranger
surveys the fire, then turns to a small
Forestry pickup truck in f.g.
21. EXT. GULLY AT PICKUP TRUCK - CLOSE SHOT
The ranger puts his extinguisher in the truck, picks
up the radio transmitter, pushes the switch.
RANGER
(Into mike)
Number three to. D.O....Number three
to D.O.
RADIO VOICE
D.O. to number three..come in.
RANGER
We're getting this under control.
Won't need any more help. Over.
RADIO VOICE
Okay. Send the tanker in, but you
stand by until that thing cools off.
Over.
RANGER
I think somebody ought to check on it.
Over.
RADIO VOICE
Well, there's some fellows fishing at
Pine Summit might be interested. They
probably saw it come down. I'll let
'em know...What's it look like?
The Ranger glances in the direction of the meteor.
21a. SPECIAL EFFECT - EXT. GULLY - METEOR
At one end of the gully. Mostly burried, but a thick,
blunt, rounded end shows out of the loose sand and
rock. Massive. On its surface are red-hot blurs,
like fire under ashes.
RANGERS VOICE (o.s.)
Can't get near enough to see it very
well - it's too hot -- but it's a
whale of a size!
DISSOLVE:
22. EXT. FISHING CAMP - GROUP
Clayton Forrester, Pryor, Bilderbeck, sitting by the
fire, eating. All the makings of a meal are on a
nearby box: coffee, rolls, butter, honey, canned
fruit, fried tomatoes. Extra helpings of fish simmer
in the pan. A beat-up station wagon lurches out of
the darkness in b.g. The three look up, surprised.
Fiddler, the deputy ranger from the lookout post, alights.
FIDDLER
(Calling)
I got a message for you.
(Moving in)
You're the guys from Pacific-Tech,
ain't you?
CLAYTON
Right.
FIDDLER
(Eyeing pan)
Looks like the fishing was good.
BILDERBECK
Have some?
FIDDLER
(Eagerly - hitching
over a box)
Well...I might just do that...!
23. MED. CLOSE SHOT - GROUP
Fiddler reaches for a plate, then helps himself
liberally to everything in sight - most of the
remaining fish, two rolls, a hunk of butter, coffee.
The others stop eating and watch him.
FIDDLER
(Talking between grabs)
It's about that meteor. They say it's
a whopper. The District Officer phoned
us at the lookout up on the summit.
Thought you might be interested...
It's ten or twelve miles from here -
over by Linda Rosa.
CLAYTON
Are they sure it's a meteor? It
didn't come down like one.
FIDDLER
(Gesturing with fish
on his fork)
That's right - came down in kinda
spurts, didn't it?
(Gobbles fish)
You fellers'll have to figure it
out. You're scientists
(Puts down fork- plucks
cigarette from Bilderbeck's
shirt pocket)
All I know - they say it's as big as
a house and practically red hot.
CLAYTON
(To Bilderbeck)
I'd like to borrow your car and take
a look at it in the morning.
Bilderbeck nods. Pryor looks toward the plane in
the meadow in b.g.
PRYOR
We ought to get back to Pasadena.
(Gesturing)
I can fly Bilderbeck down in your plane.
CLAYTON
Okay, if he's willing.
(Grinning)
The insurance is paid up.
Bilderbeck takes a stick from the fire and holds it
out to Fiddler, who is eating again, holding the
cigarette.
BILDERBECK
Want a light?
FIDDLER
(Glancing)
No. I'll smoke it later.
He tucks the cigarette behind his ear and goes on
eating.
DISSOLVE:
24. EXT. GULLY & DIRT ROAD - (EARLY MORNING)
The meteor still lies in the gully, heat-hazed, a
little thin smoke rising, burned grass and bushes
in b.g. On the bank of the gully, a woman is kodaking
two kids against the b.g. of the meteor. Beyond,
a few old cars and a station wagon have pulled off
the dirt road; nearby is Pastor Collins' three-year-
old Plymouth.
25. EXT. GULLY & DIRT ROAD - MED. SHOT - GROUP
Sylvia is sitting behind the wheel in Pastor Collins'
car. The Pastor is talking to the uniformed Ranger.
With them are Wash Perry, Alonzo Hogue, Salvador,
Fiddler. A handful of people is scattered in b.g.,
eyeing the meteor, talking about it.
RANGER
(Pointing)
It must have hit way up there, and
then skidded along the gully. When
it stopped, all that loose earth and
stuff shook down over it.
SYLVIA
It's probably a stray from a swarm
of meteors.
ALONZO HOGUE
(To Pastor)
I reckon most of it's buried.
FIDDLER
That's twelve feet thick, easy.
Maybe more.
ALONZO HOGUE
Meteors always run heavy. They won't
be able to haul this one away to no
museum!
(Speculatively)
It'll be a real good attraction for
Sunday drivers.
WASH PERRY
Better'n a lion farm or a snake pit.
We won't have to feed it!
SALVADOR
We sell the tamales, enchiladas -
hot dogs!
FIDDLER
Ice cream, cold drinks, souvenirs!
PASTOR COLLINS
I think we should put up a few
picnic tables...
ALONZO HOGUE
(Quickly)
Naw, naw -- then they'd bring their
own lunches!
26. GROUP - OUTSIDE THE GULLY
'BUCK' MONAHAN - in service station overalls - passes
the group, carrying a shovel, headed for the meteor.
In b.g. a convertible pulls off the dirt road.
FIDDLER
What's the idea, Buck? Gonna dig
for gold?
BUCK
(Indicating meteor)
This is gonna be like having a gold
mine in our own back yard!
PASTOR COLLLINS
(To Sylvia)
I'm going to get a closer look at it.
The men come forward, PAST CAMERA. Sylvia pulls out
the car keys, reaches for her purse. The convertible
bumps up, stops. The back is loaded with camping
gear and clustered fishing rods. Clayton Forrester
gets out, looking toward the gully. Sylvia glances
at him as she starts after the others, opening her
purse. A faint ticking SOUND comes overscene.
CLAYTON
Is that it over there?
SYLVIA
(Searching purse)
Yes...ugly looking, isn't it.
27. GROUP - FROM THE GULLY
as Buck comes on toward the meteor with his shovel.
Pastor Collins and the others pause to watch him.
BUCK
(Calling back)
It's still pretty darned hot!
28. MED. CLOSE SHOT - BUCK AND METEOR
He shields his face, reaching out, probing with his
shovel trying to determine the size of the meteor.
29. TWO SHOT - CLAYTON AND SYLVIA - HIS CAR IN B.G.
He is looking toward the gully. She now has a ciga-
rette. They pause as she begins looking for matches.
SYLVIA
(Rummaging in purse)
Did you see it come down?
CLAYTON
(Absently, studying
gully and meteor)
Yes...I was fishing up in the hills.
SYLVIA
(Glancing back at car)
You must have caught plenty with
all that tackle!
CLAYTON
(Glancing, smiling)
Oh - there were three of us.
(Starting forward)
The others flew back in my plane.
(Pausing again - looking o.s.)
I don't understand why a meteor this
size didn't make a bigger crater.
SYLVIA
(Definite)
It hit sideways and skidded in.
He glances at her, a little amused. She catches his
eye.
SYLVIA (Cont'd)
(Easily)
At least, that's what I think. I
don't really know.
(At purse)
But the Ranger says a scientist is
coming from Pacific-Tech. He'll
tell us.
(And then)
Clayton Forrester. Ever hear of him?
CLAYTON
(Looking o.s. - changing
the subject)
What's that fellow over there trying
to do - dig it out?
SYLVIA
(Over him, not hearing)
He's top man in astro and nuclear
physics. He knows all about meteors!
30. CLOSE SHOT - MOVING
FAVORING Clayton, as they move on. Clayton is
secretly amused, and a little flattered.
CLAYTON
You seem to know a lot about him.
SYLVIA
Well, I did a thesis on modern scien-
tists - working for my Masters degree.
CLAYTON
Did it do you any good?
SYLVIA
Why, sure -- I got it! Do you have
a match?
CLAYTON
I'm sorry. I don't smoke.
SYLVIA
(Going on, enthusiastic)
Forrester's the man behind the new
atomic engines. They had him on the
cover of 'Time'. You've got to rate
to get that!
CLAYTON
Aw, he isn't that good...!
SYLVIA
(Protesting, stopping)
How can you say that when you don't
know him!
31. TWO SHOT - CLAYTON AND SYLVIA
CLAYTON
I do know him...slightly.
SYLVIA
(Interested at once)
What's he like?
CLAYTON
Like...ah...
Clayton hesitates, points to himself. She stares,
then gets it. For a moment she is provoked, then
she bursts naturally into laughter. He laughs with
her.
SYLVIA
Well, you certainly don't look like
yourself in that get-up!
(Laughing still,
offering hand)
But I am happy to meet you anyway.
I'm Sylvia Van Buren. I teach
Library Science over at USC.
CLAYTON
I didn't know how to stop you...!
SYLVIA
I might have recognized you without
the beard. And you didn't wear
glasses on the 'Time' cover!
CLAYTON
They're really for long distance.
When I want to look at something
close...
(Removing glasses,
bending to her)
I take them off.
32. GROUP - FROM THE GULLY
Buck is backing off, blowing running with sweat.
Clayton and Sylvia approach from b.g.
GROUP - AD LIBS
(Kidding)
You gonna quit? -- Roll up your
sleeves, Buck! -- We thought you
were gonna dig it out by yourself.
Buck joins the group, wiping sweat. CAMERA MOVES IN
as Clayton comes up with Sylvia.
BUCK
Boy - you could fry eggs on it!
CLAYTON
All that sand will keep the heat
in for a long time.
SYLVIA
(To Pastor Collins)
Uncle Matthew...this is Dr. Clayton
Forrester.
(To Clayton)
My uncle - Dr. Matthew Collins, pastor
of the Community Church.
PASTOR COLLINS
(Offering hand, pleased)
Well-l...how do you do, Dr. Forrester!
CLAYTON
(Courteous - warm)
How d'you do, sir?
SHERIFF'S VOICE (O.s.)
(Ecitedly calling)
Hey - you!
All look quickly.
33. EXT. CLAYTON'S CAR - CLOSE SHOT - MOVING SHOT
CAMERA is CLOSE and ANGLED DOWN in the back of the
car. Tucked along fishing and camping gear alongside
a box of iced trout is an impressive Geiger counter,
chattering furiously. A signal light is flashing
rapidly. The Sheriff's hands reach for it. CAMERA
MOVES BACK and his face comes into SCENE, looking
down at the counter.
SHERIFF
(Yelling off)
What you got in here, feller?...It's
ticking like a bomb!
The SHOT WIDENS as Clayton enter with Pastor Collins,
Sylvia, the Ranger and others. Clayton reaches into
the car and picks up a short pole-meter attached to
the counter. He swings it around. The clicking
slows. He lifts the counter out, points the pole-
meter at the gully. The light flashes become a rapid
blur, brilliant. The chattering increases to a high-
pitched buzz.
CLAYTON
(To Sheriff)
This is a Geiger counter for detecting
radio-activity. We did a little sur-
veying while we were up in the hills.
(Above SOUND of the counter -
looking o.s.)
It's that meteor.
PASTOR COLLINS
It's radio-active?
SHERIFF
Look at this thing -- goin' crazy!
He reaches for the Geiger. Clayton lets him have it
and remains looking toward the gully. The SOUND of
the Geiger counter continues over SCENE.
CLAYTON
(Puzzled)
It's difficult to account for a
reaction like that!
RANGER
(Moving in)
Maybe we ought to keep people away
from it, huh?
CLAYTON
(Quietly - thinking)
Might be a good idea.
SHERIFF
I'll post two-three deputies. They
can watch it don't start any more fires.
34. CLOSE SHOT - CLAYTON, PASTOR & SYLVIA
CLAYTON
You know, that meteor's either very
light - which is unheard of! - or
else it's hollow somehow. If it were
solid and heavy it would have made a
tremendous crater when it landed.
(Suddenly)
I think I'll stay around until it
cools off.
(To Sylvia)
If you could tell me of a place in
town --
(Strokes his chin)
-- I'd like to clean up.
PASTOR COLLINS
I'd be delighted if you'd stay at
my house, Doctor Forrester.
CLAYTON
Thank you.
(Looks toward meteor)
It probably won't be cool for another
twenty-four hours.
(To Sylvia)
What do people do around here on a
Saturday?
SYLVIA
(Returning his smile)
They don't do much of anything...!
PASTOR COLLINS
There's a square dance at the social
hall this evening.
DISSOLVE:
35. OUT
36. INT. SOCIAL HALL, LINDA ROSA - (NIGHT)
Very CLOSE on Fiddler Hawkins, sweating, calling the
dance, holding violin.
FIDDLER
(Raucous)
A hickory limp and an ole burned stump -
Go meet your honey and everybody jump!
CAMERA PULLS BACK. Fiddler wears Levis, embroidered
shirt. With him is a guitar player in a dress-up
Western outfit. Everybod's stomping. Girls in
tight bodices, swirling skirts, bows in their hair,
Men in T-shirts, suits and shirtsleeves, Levis, fron-
tier pants and cowboy boots.
FIDDLER (Cont'd)
Now promenade two and promenade four -
Promenade that pretty gal all around
the floor.
CAMERA PICKS UP Clayton and Sylvia promenading arm in
arm in a SET which includes the Sheriff. Clayton
wears tan gabardine slacks, fresh shirt, tie with a
Western motif. He is clean-shaven. Sylvia wears a
forget-me-not cotton print, with style to it. Clayton
is not an accomplished square dancer, but he isn't bad.
Sylvia checks his wrong move in response to the next
rollicking call. He laughs. They both enjoy this.
FIDDLER'S VOICE
Now face your lady and make a bow,
She's a pretty one you'll allow!
Point the heel and point the toe -
Now you're makin' a do-si-do.
Mom - there's a chicken in the bread-bin
A-peckin' at the dough!
One more change and on we go.
DISSOLVE:
37. SPECIAL EFFECT - EXT. GULLY - METEOR - (NIGHT)
No smoke now. Its appearance is otherwise unchanged.
38. EXT. GULLY - MED. SHOT - (NIGHT)
Wash Perry, Alonzo Hogue, Salvador. Behind them, two
old cars are parked not far from the gully. A small
fire burns on the open ground. The three men step
forward toward the gully, peering through the dark-
ness. Salvador swiches on a flashlight.
39. SPECIAL EFFECT - EXT. GULLY - CLOSE SHOT - METEOR
Still, ominous, as the flashlight hits it.
40. CLOSE SHOT - WASH, SALVADOR, ALONZO
They MOVE toward the gully, Salvador playing the
flashlight ahead. As they pause on the edge of
the gully, he cuts the light.
ALONZO HOGUE
Looks almost cold now, don't it?
WASH PERRY
That won't start no more fires. We
might's well go home.
ALONZO HOGUE
(Spitting - starting away)
Yeah. No sense stayin' out here.
WASH PERRY
(Following him)
Let's go.
As they start away, CAMERA MOVES CLOSE on Salvador.
He raises the flashlight for a last look at the
meteor and pops it on directly into the LENSE.
SALVADOR
(In alarm)
Hey - it's movin'!
41. SPECIAL EFFECT - EXT. GULLY - MED. SHOT - REVERSE SHOT -
THE THREE
Alonzo Hogue and Wash Perry, f.g., whirl and go back
to Salvador. Beyond them in the gully, the meteor
is lit by Salvador's flashlight. Something is moving
on top of it.
41a. CLOSE THREE SHOT
Eyes popping as they stare off at the meter.
41b. SPECIAL EFFECT - METEOR
Thin gray clinker is dropping off in flakes. The
rounded top is turning. A thread of bright metal
appears between the moving top and the body.
42. MED. CLOSE THREE SHOT - (MOVING SHOT)
They start to back off.
ALONZO HOGUE
It's a bomb!
SALVADOR
It don't go off last night --
it's going off now!
WASH PERRY
It's an enemy sneak attack. Let's
get outta here!
ALONZO HOGUE
(Stopping them)
Wait a minute - wait a minute!....
Bombs don't unscrew.
WASH PERRY
(Backing away again)
It's no meteor, that's for sure!
ALONZO HOGUE
(Backing away too)
Darnedest thing I ever saw - the way
that's unscrewing!
Salvador only stares as they all retreat.
43. SPECIAL EFFECT - METEOR - (MOVING SHOT)
CAMERA MOVES SLOWLY BACK. The top segment of the
meteor is turning steadily. The band of bright
metal is rapidly growing wider, serrated, greenish-
white.
DISSOLVE:
44. INT. SOCIAL HALL - SIDE LINES - (NIGHT)
Favoring Sylvia, sitting on a bench against the wall,
fanning herself with a lace handkerchief. Clayton
comes to her between guys, wiping sweat. Girls fix-
ing shaken hair-do's. People arguing about who ruined
the square. Clayton has two soft drinks with straws,
hands one bottle to Sylvia, drops on the bench beside
her. Fiddler's VOICE comes over SCENE.
SYLVIA
(Taking bottle)
Thank you, Doctor Forrester...
(Glancing)
You having fun?
45. DANCE FLOOR
SHOOTING past Clayton and Sylvia. He is sweating.
Beyond them, hearty dancers are going to town.
CLAYTON
Yes. And you know what I was thinking?
(Wiping sweat - eyeing
dancers)
If we could gather all the energy
expended in just one square dance,
we could send that meteor back to
where it came from.
DISSOLVE:
46. OUT
47. SPECIAL EFFECY - EXT. GULLY - METEOR (MOVING SHOT)
CAMERA MOVES IN slowly. The bright band of metal
is now almost two feet wide. Suddenly the rotating
section falls away like a shell, uncovering bright
metal within the opening.
48. MED. CLOSE SHOT - WASH, SALVADOR & ALONZO
CAMERA MOVES WITH THEM as they inch forward toward
the gully. A faint, reddish light catches their
faces. Salvador flicks the spotlight on.
49. SPECIAL EFFECT - MED. SHOT - METEOR OPENING
The metal sheath within the opening parts, shutter-
like, allowing vivid, reddish light to glow upward
from the interior. A HISSING SOUND comes from
the meteor.
50. CLOSE THREE SHOT
They stare, fascinated. The SOUND dies away.
51. SPECIAL EFFECT - MED. FULL SHOT - METEOR
The light in the opening dims. Something begins to
appear from inside, revolving about, making a WHINING
SOUND. Dimly seen, it emerges. It is flattened,
hooded, with faintly-luminous openings -- almost
cobra-like. It turns as if scanning the area --
snout glittering.
52. OUT
53. THREE SHOT
Wash, Alonzo and Salvador move forward cautiously,
warily watching the meteor.
WASH PERRY
Must be somebody in there.
SALVADOR
Who? Where d'you think they come from!
WASH PERRY
How would I know...!
ALONZO HOGUE
(Significantly)
I read someplace - Mars is near
the earth right now.
They look at him - all getting the same idea.
ALONZO HOGUE (Cont'd)
Happens every eighteen or twenty
years, they say.
(Softly)
Men from Mars - whaddya think?
SALVADOR
(Uneasily)
Maybe these are not men - not like us.
WASH PERRY
Everything human don't have to look
like you and me....
ALONZO HOGUE
If it's men from Mars, we ought to
let 'em know we're friendly!
SALVADOR
(Quick - warning)
Don't fool around with something
when we don't know what it is!
WASH PERRY
We'd be the first to make contact
with 'em -- see?
ALONZO HOGUE
(Sharp - suggesting)
We'd be in all the papers!
WASH PERRY
(Eagerly)
Hey, how about that!
ALONZO HOGUE
We could show 'em we're friendly,
huh? Walk out there with a white
flag!
(Turning)
Here - I got an old sugar sack in
my car!
He leaves the two and runs back to his car and gets
the sack and rips it open. He picks up the shovel
discarded earlier by Buck, starts to tie the sack
to it.
SALVADOR
(In f.g. - to Wash.)
What'll we say to 'em?
WASH PERRY
Welcome to California!
Alonzo Hogue rejoins them, swinging his white flag
from side to side as they look off toward the meteor.
54. SPECIAL EFFECT - METEOR OPENING
Now the shape is extended on a flexible, glistening
shaft, revolving about.
55. CLOSE SHOT - THE THREE (MOVING SHOT)
They begin to smile as they move forward over the
rough ground. Salvador doesn't like it too well,
but he comes along.
SALVADOR
How they gonna understand us?
ALONZO HOGUE
We'll talk in sign language.
WASH PERRY
(Bolstering his own
feelings)
They'll understand us, all right!
SALVADOR
(Reassuring himself)
Sure, sure! Everybody understands
you wave the white flag, you wanna
be friends.
56. 0UT.
57. SPECIAL EFFECT - CLOSE ON HOODED SHAPE ON SHAFT
Revolving around. Then it seems to zero in the
direction of the approaching group. A light begins
to flicker within the head mechanism.
58. MED. FULL SHOT - GROUP & COBRA-HEADED SHAPE
CAMERA FRAMED over the mechanism in f.g. Beyond, on
the edge of the gully, the three men spread out.
Alonzo holds the flag high. Wash lifts his Panama hat.
Salvador waves a handkerchief.
WASH PERRY
Hey, there - open up!
ALONZO HOGUE
Come on out! We're friends!
SALVADOR
(Nervous - open-armed)
That's right! We welcome you.
59. SPECIAL EFFECT - CLOSE SHOT - COBRA HEAD
The glittering light within the hood brightens and
begins to glow red and yellow.
WASH PERRY'S VOICE (O.S.)
We're friends!
SALVADOR'S VOICE (O.S.)
Yeah - all friends here!
A blinding flash - red, orange, yellow, spits from the
hooded shape, obliterating everything. An unearthly
SCREAM accompanies it.
60. SPECIAL EFFECT - EXT. GULLY - THREE MEN & METEOR
A REVERSE ANGLE across Wash Perry, Salvador and
Alonzo Hogue to the hooded shape beyond. The blast of
the heat-ray - pulsating, glaring - outlines them
momentarily as stark silhouettes, then engulfs them
in searing flames. As the horrible SCREAMING reaches
a crescendo, the men become incandescent, glowing,
then crmpling.
DISSOLVE:
60a. INT. SOCIAL HALL
Favoring Clayton and Sylvia, near the climax of a set.
FIDDLER'S VOICE
Here we come with the old mess wagon,
The hind wheel off and the axle draggin'...
Every light cuts off. The music FADES OUT. The sets
break up. People bump into one another.
SQUARE DANCERS
(Ad lib)
What's the big idea? - Who's monkey-
ing with the lights? - Get your hand
outa my pocket! - Where's the fuse
box?
A girl titters shrilly as a boy hugs her.
FIDDLER'S VOICE
No smoochin' in the dark, folks!
61. NEAR REFRESHMENT COUNTER
Someone lights a candle and puts it in a bottle.
Dancers are milling, laughing, kidding. Zippy is at
a pay phone on the wall, between the counter and the
door to the street. Clayton and Sylvia move into
scene. The Sheriff pushes past them.
FIDDLER
(At a window)
Hey, look! - look! Every light in
the town's gone out.
SHERIFF
(To Zippy)
Call the electric company. See what
happened.
ZIPPY
(Jogging receiver)
The phone's gone dead!
CLAYTON
(To Sylvia, glancing)
The phone's not on the same circuit
as the lights.
62. GROUP
Shooting out from the refreshment counter, favoring
an elderly man and his wife.
ELDERLY MAN
What they sayin', honey?
(Removing ear-plug)
Somep'n's gone wrong with my hear-
ing aid!
PASTOR COLLINS
Well, we always play 'Goodnight, Ladies'
at twelve o'clock, anyway.
(Reaching for pocket watch)
It must be nearly that now - My watch
has stopped.
SHERIFF
I got the time.
(At wrist-watch)
No - mine's stopped, too!
ZIPPY
So's mine!
CROWD - AD LIBS
(Looking at watches,
shaking them)
Jeepers, mine ain't workin', either!
What is this? - Hey, look, the clock's
stopped - My watch isn't going - How
could this happen!
63. GROUP - CLAYTON, SYLVIA, SHERIFF, PASTOR COLLINS IN F.G.
Clayton looks at his watch, then at Sylvia's. He
slips off his own.
SYLVIA
They've all stopped at the same
time.
CLAYTON
There's only about one explanation
for a thing like this..Got a pin?
She reaches under the lapel of the Pastor's jacket,
hands a pin to Clayton. He puts it on the counter,
then brings the case of his watch near it.
64. INSERT: WRIST-WATCH AND PIN
The pin leaps at the watch-case, drawn magnetically.
CLAYTON'S VOICE
See that? My watch is magnetized.
Sylvia's hands come INTO SHOT as she slips off her
wrist-watch to try it against the pin.
65. GROUP - FAVORING CLAYTON
Everyone starts to test watch cases against bobby-
pins, hairpins, exclaiming.
CLAYTON
That's what knocked the phones
out, too.
SHERIFF
How could it happen to everybody's
watch together?
CLAYTON
(Over him)
Have you got a pocket compass?
The Sheriff produces one in a case. Clayton sets it
on the counter. They bend to watch the needle.
SHERIFF
(Sharply)
That needle ain't pointing north!
CLAYTON
It's pointing out to the gully -
where that meteor came down.
The thin SCREAM OF A SIREN sounds O.S. Everyone starts
for the doors.
66. EXT. MAIN STREET, LINDA ROSA
Shooting from the entrance of the social hall, as
people pile out, Clayton, Sjlvia and Pastor Collins
with them. The town is completely blacked out. The
only visible light is from a police car, using hand
siren and red blinker. Its headlights silver the
dark streets as it races up.
SYLVIA
How does it happen cars are
running?
CLAYTON
Automobile ignitions are
insulated.
Brakes screech. The car pulls over, stops. A COP -
middle-aged, solid - tumbles out.
COP
Sheriff! What's goin' on?
SHERIFF
(Hurrying to him)
I don't know no more'n you, Joe.
CLAYTON
(To Sylvia and Pastor
Collins, moving away)
Excuse me...
COP
(Pointing)
Look at the fire out there!
67. SPECIAL EFFECT - THEIR VIEW
Beyond houses and hilltops, the glow of a fire, four
miles away.
68. EXT. SOCIAL HALL - BY THE COP'S CAR
The COP and the Sheriff gazing out as Clayton joins
them. Everyone staring with them.
SHERIFF
(To Clayton)
Let's go see!
They get into the car. Sylvia watches it go. SOUND
of motor and siren over SCENE. The group breaks up
as people run to their cars.
DISSOLVE:
69. EXT. OUTSIDE GULLY - DIRT ROAD - (NIGHT)
The police car bumps toward us, blinker working.
The SIREN DIES.
70. SPECIAL EFFECT - DIRT ROAD - MED. SHOT
CROSS ANGLE. As the Police car comes to a stop,
Clayton and the Sheriff hop out downstage, the Cop
gets out on the driver's side. Behind the car,
bushes are blazing. Above, on the hilltop, the
Martian heat-ray has left a line of fire which
streatches straight into the night. In its path,
some way off, a transmission tower has fallen,
partly melted, high-tension wires trailing, still
sparking.
CLAYTON
(Looking toward fallen tower)
That explains why the lights went out!
The Cop, standing beside the spotlight, looks off.
COP
(Pointing)
What the bejeepers went on here?
Look at their cars...!
71. EXT. DIRT ROAD - REMAINS OF CARS
The cars belonging to Fiddler and the others are gray,
ashy shapes, collapsed. Hardly recognizable except
for their tires, which leave a darker residue. Bushes
and grass are still burning around.
72. CLOSEUP - COP
Jittery, he reaches for the spotlight and snaps it
on toward the gully.
COP
And look there!
73. EXT. ROAD & GULLY - GROUP & METEOR
A REVERSE ANGLE over the men to the meteor in the
gully. The beam of the Cop's spotlight sweeps over
the smoldering bushes and rough ground, striking the
bottom of the meteor and then returning to something
on the edge above the gully.
73a. CLOSE TWO SHOT - CLAYTON & SHERIFF
The Sheriff wets his suddenly dry lips, gazing PAST
CAMERA. Clayton looks with him.
74. WHAT THEY SEE ON THE EDGE OF THE GULLY - CLOSEUP
Three shallow piles of gray ash, man-shaped, lie on
the bare and blackened earth, held in the spotlight.
75. MED. CLOSE SHOT - CLAYTON, SHERIFF & COP
Looking PAST CAMERA.
CLAYTON
(To Cop)
People in town started to follow
us out.
(Looking toward gully)
Don't let them come anywhere near here.
(Suddenly authoritative -
loud)
Get going!
76. SPECIAL EFFECT - CLOSE SHOT - METEOR
The hooded shape on its flexible shaft now rears
twelve or fifteen feet above the meteor. The cobra-
head is turning, zero-ing toward the road. It begins
to glitter inside the hood.
77. EXT. ROAD - MED. SHOT
The Cop is diving into the car in panic.
CLAYTON
Kill that spotlight. Turn off
your headlights!
The cop cuts all the lights, backs around and takes
off the way he came, CAMERA PANNING with him.
77a. CLOSE SHOT - CLAYTON & SHERIFF
The SOUND of the SCREAMING of the heat-ray whirls them
about as the reddish light glows on their faces.
CLAYTON
(Sharp - to Sheriff)
Jump! Get under cover!!
They dash off in the direction taken by the car.
78. SPECIAL EFFECT - EXT. DIRT ROAD - MED. FULL SHOT
A REVERSE ANGLE, SHOOTING along the road toward the
gully. The meteor is concealed behind a knoll.
Clayton and the Sheriff, b.g. race down the road
to f.g. and dive into a ditch as the superheated
glare of the heat-ray swings from the gully toward
them. The SCREAM is ear-splitting in intensity.
79. SPECIAL EFFECT - CLOSE SHOT - CLAYTON & SHERIFF
The ray SCREAMS over their heads. It holds above
the ditch. Throbbing. Its reddish glare blinding.
80. SPECIAL EFFECT - HEAT-RAY - COP'S CAR - FULL SHOT
The car turns incandescent as the ray envelopes it,
still going forward. It turns ashy gray. Hits
a boulder on the shoulder of the road and breaks
up into a spray of ashes.
81. EXT. DITCH - CLOSE SHOT - CLAYTON & SHERIFF
A REVERSE ANGLE on them huddled low as the ray
cuts off. They whirl about toward the meteor.
SHERIFF
(Wild)
What is that gizmo?!
CLAYTON
(Controlled)
I think that - gizmo - is a machine
from another planet.
SHERIFF
(Shaken)
We better get word to the authorities
and --
(Gazing up)
Look!
82. SPECIAL EFFECT - SKY & SECOND METEOR - FULL SHOT
Beyond the burning grass, another meteor is spurting
down the sky, bright and burning green.
83. CLOSEUP - CLAYTON & SHERIFF
CLAYTON
Sheriff - you'd better get word to
the military. You're going to need
them out here!
83a. SPECIAL EFFECT - EXT. GULLY - CLOSE SHOT
The hooded shape revolves about, searching. Its
snout glitters and glows alternately as it searches
for a target.
FADE OUT.
FADE IN:
84. QUICK CUTS - MARINE TRUCKS & JEEPS - (NIGHT)
a. Main Street, Linda Rosa. No lights. No neon
signs. Three trucks smash through the town.
Loaded with Marines.
b. Low CAMERA - jeeps. A Machine-gun jeep is
charging over the crest of a low hill, drop-
ping to lower ground. Another follows. Guns
and helmeted men are silhouetted against the
sky.
c. Two personnel trucks rolling fast, parting
where dirt roads cross.
DISSOLVE:
85. EXT. BLACK-TOP ROAD & T-CROSSING - (NIGHT)
Beyond is a. windbreak of eucalyptus trees and a low
earth bank. Parked on the side road is a remote-
control truck from the KGEB radio station. A few
reporters and cameramen are on the black-top road,
gazing out over open ground toward the gully.
CAMERA favors the KGEB REPORTER - ex-newsman, high-
wire and alert, sharkskin suit and Panama hat. He
has a portable mike, is interviewing PROFESSOR
OGILVY - a youngish, half-bald intellectual. Clayton
stands by. Near them is the Sheriff and Marine
COLONEL HEFFNER - easy-mannered, tough.
KGEB REPORTER
(At mike)
...The area is under control of the Marines
from El Toro Base, and the gully is under
close observation...And now -- here is
Professor Ogilvy from the Canadian Meteor-
ological Research Council!
(To Prof. Ogilvy -
extending mike)
Is it true you've had reports about land-
ings in other places, Professor?
PROF. OGILVY
Yes. In Bordeaux, France. Some from
Spain. There's supposed to be one down
near the Gulf of Taranto, Italy. We're
still trying to locate the second meteor
that dropped in this vicinity just about
midnight.
KGEB REPORTER
D'you think they come from Mars?
PROF. OGILVY
(Deferring)
What do you think, Doctor Forrester?
86. MED. CLOSE SHOT - GROUP
KGEB man and his mike f.g., catching the faces of
Colonel Heffner, the Sheriff, Prof. Ogilvy, Clayton
and reporters who are listening.
CLAYTON
It's possible. At least, it seems
certain they're from some other
planet than our own.
PROF. OGILVY
Recently Mars and our earth were in
conjunction --
(Adds)
-- in line. This could account for
the extended radio interference lately.
DISSOLVE:
87. EXT. CORNER RADIO STORE, LOS ANGELES - (NIGHT)
A cheesy, sleazy store. They sell radios, TV and
musical instruments. Big signs in the windows. A
console in the doorway. A bunch of bums hanging
around, listening.
CLAYTON'S VOICE
(Over radio)
In fact -- if they are from Mars -- it
is possible they first made landings on
the moon and used it as an observation
post!
A bum with an unlighted stub of a cigar takes it
out, backs off, looking up at the sky. Others look
with him, then at one another.
KGEB REPORTER'S VOICE
(Over radio)
That makes the old moon appear a
lot less friendly, sir.
FIRST BUM
(Half-whispering)
This a gag?
SECOND BUM
(Listening)
Shaddap...!
KGEB REPORTER'S VOICE
Suppose they are Martians, Professor.
What would they look like?
DISSOLVE:
88. INT. WELL-TO-DO HOUSE - (NIGHT)
SHOOTING past a group of well-dressed people eating a
supper snack from a big coffee table by a picture win-
dow. Through this we can see Los Angeles spread out
below, neons glowing like jewels. The group is
listening attentively to a radio.
KGEB REPORTER'S VOICE
(Continuing his questioning)
Bigger than us? Smaller?
PROFESSOR OGILVY'S VOICE
Well, as to Martians -- our gravitational
pull would weigh them down. Our heavier
air would oppress them....
KGEB REPORTER'S VOICE
But d'you think they'd be breathing
creatures like us? What about hearts
and blood and all that?
A bird-brained blonde moves into SCENE, staring.
PROF. OGILVY'S VOICE
My field is limited. Doctor Forrester
could tell you much more.
BLONDE
(Over Prof. Ogilvy)
Oh, how dull - everybody listening to
the radio!
BIG GUY
(Grabbing her)
Qui-et! Siddown!
PROF. OGILVY'S VOICE
But if they are Martians, and if they do
have hearts, they'd almost certainly beat
at a slower rate. Their veins might
be distended....
DISSOLVE:
89. EXT. CONVERTIBLE - CLOSE SHOT - (PROCESS - NIGHT)
San Francisco, with the Golden Gate Bridge and City
behind. A BOY driving, smooching a GIRL.
CLAYTON'S VOICE
(Over car radio)
Their senses could be quite different
from ours, of course. They may, for
instance, be able to smell colors.
There is precedent in our own evolution
to make it possible that they have
more than one brain...
The boy reaches to cut off the radio - he wants
to smooch. The girl stops him. He is annoyed.
KGEB REPORTER'S VOICE
You mean two? Three? More, maybe?
CLAYTON'S VOICE
It's only speculation.
KGEB REPORTER'S VOICE
Think of that, folks! Now, Doctor
Forrester - what about these meteor
machines?
CLAYTON'S VOICE
They're probably controlled by jets
after they enter our atmosphere... And
navigated by some form of gyroscope
mechanism.
DISSOLVE:
90. INT. SIDEWALK LUNCH COUNTER, SAN DIEGO - (NIGHT)
CAMERA is CLOSE on a picture of a battleship, then
PULLS BACK revealing a poster: SAN DIEGO ARENA -
BOXING. The SHOT WIDENS to show local fishermen,
a couple of Navy sailors, a few girls - grouped by
a small portable radio on the counter.
KGEB REPORTER'S VOICE
Is it true that all the phones went
out and everybody's watch stopped
around here?
CLAYTON'S VOICE
That was, I imagine, the effect from
some electro-magnetic force in the
heat-ray they used.
DISSOLVE:
91. T-CROSSING - GROUP
The KGEB Reporter, Clayton, Prof. Ogilvy, Colonel
Heffner. Newspaper men have moved closer, listening.
KGEB. REPORTER
Can you tell us anything about this
plane that's coming over, Colonel?
COLONEL HEFFNER
It'll drop a flare -- that's the only
way we dare put a light on them. Then
Air Force cameramen will get pictures.
KGEB REPORTER
That was Marine Colonel Ralph Heffner...
(In a confidential tone)
There's been a lot of mysterious activity
around the machine. Lights and dust, as
if they are digging themselves out.
(Shimmering light
hits his face)
There it comes again!
92. SPECIAL EFFECT - EXT. GULLY - FULL SHOT
A shuddering, blue-green light shows in the distance,
tinting nearby hills.
KGEB REPORTER'S VOICE
If this keeps up, it'll be a guide
for the plane when it comes over.
93. FLASHES - FOXHOLES & OBSERVATION POSTS
Groups dispersed under cover, relaxed but alert, all
watching the gully.
a. Two mortar teams in a dry riverbed.
b. Marine lieutenant and a sergeant with binocu-
lars, behind a low revetment.
c. Machine-gun unit in a foxhole.
d. Infantrymen, alert and watchful.
94. EXT. T-CROSSING - MED. SHOT - GROUP
KGEB Reporter f.g., Clayton, Colonel Heffner and
Sheriff just beyond him. Reporters and cameramen
line out along the road, waiting. The SOUND of
the plane OVERSCENE. Its motor cuts off and on
again.
KGEB REPORTER
(In a sharp whisper)
Is that the plane now?
COLONEL HEFFNER
(Looking up, quietly)
Yes! He's signalling.
KGEB REPORTER
(Into mike)
The pilot has just blipped his motor.
That means he's dropped the flare.
He's flying high, and it'll take a
few seconds to come down. When it
does burst, we shall be the first men
on earth to get a real look at these
invaders from space - whoever they
are! And there's the flare!
95. SPECIAL EFFECT - EXT. GULLY - FULL SHOT
The flare throws a cone of high-visibility light.
The Martian meteor has been cleared of dirt, stripped
of its oxydized shell. It is an oblong cylinder.
from the center of it, the hooded shape on the flex-
ible shaft has been pushed high, like & guarding
sentinel.
96. SPECIAL EFFECT - EXT. GULLY - MED. CLOSE SHOT
The hooded shape rears back on its flexible shaft,
angling up. The snout glitters, begins to glow,
brilliant, reddish. Then the heat-ray SCREAMS as
it lashes up into the sky.
97. EXT. T-CROSSING - MED. SHOT - GROUP
Clayton, the KGEB reporter and other watching the
sky tensely. The reporter has stopped gabbing, his
microphone forgotten. The blue-white glare of the
flare, mingled with the reddish glow of the heat-
ray, alternate in flickers over SCENE.
KGEB REPORTER
(Suddenly remembering mike)
They're after the plane with their rays!
98. SPECIAL EFFECT - EXT. SKY - FULL SHOT
The SCREAMING heat-ray lashes across the sky.
Writhing, seeking its target. It licks the flare
into oblivion, then whips downward toward the ears
and swings at us.
99. EXT. BLACK-TOP ROAD & T-CROSSING
Everybody dives for cover. The glare of the ray turns
everything fiery red.
100. EXT. FOOT OF EUCALYPTUS TREES - GROUP
The Colonel and the KGEB reporter flatten out to-
gether behind the low earth bank. Burning twigs
and leaves fall about them. Clayton cranes to look
out with the Colonel. The reporter yaks into his mike.
KGEB REPORTER
Well, here we are in ---
(Pulls at charred end of
mike cable - looks out)
Hey! They cut me off. They got
my truck!
COLONEL
It looks like they're going to come
out of that gully pretty soon ...!
We'd better build a shelter and be
ready when they do.
CLAYTON
You're going to need plenty of
reinforcements.
COLONEL
We'll get 'em.
(Calling off)
Lieutenant.
DISSOLVE:
101. QUICK CUTS & FLASHES - (NIGHT)
Troops and armament racing into the Linda Rosa
district: Trucks -- tanks -- weapons carriers --
half-tracks jeeps -- rocket lauchers.
102. EXT. COMMAND POST REVETMENT - (NIGHT)
A huge truck loaded with troops thunders past CAMERA.
Its passing uncovers the hastily erected sandbag revet-
ment for the command post. Nearby is an ambulance, a
Red Cross canteen truck with two women in uniform
working, several jeeps waiting with motors running.
Two jeeps start away in different directions. A jeep
rolls into SCENE, laying wire.
103. CLOSER ANGLE
Sylvia is at the rear corner of the revetment, holding
a tray of coffee mugs and doughnuts. She pauses to
watch more vehicles move past. She has changed out
of her dance frock into a tailored dress. She has a
Red Cross armband. CAMERA PICKS UP Clayton coming
from within the revetment inclosure.
CLAYTON
(Pausing beside Sylvia)
The troops are certainly moving in here!
SYLVIA
Didn't you have something to do with
this? I know you sent word to the
Sixth Army Command!
CLAYTON
(Taking coffee tray -
turning back with it)
I just told them the local situation.
Colonel Heffner's in full charge now.
SYLVIA
(Pausing - looking around)
You never know where you're going to
wind up when you go to a square dance!
104. INT. COMMAND POST REVETMENT - (NIGHT)
An opening in the sandbag breastwork for observation
high in the forward end. Storm lanterns provide
light. A huge tarpaulin is stretched over the revet-
ment as a roof and pulled down to cover the opening,
which overlooks the Martians in the gully beyond.
A field telephone switchboard and field telegraph
have been set up. On some boxes is an enlarged con-
tour map of the immediate territory, showing Linda
Rosa, surrounding roads, the site of the Martian
pit. A LIEUTENANT and a sergeant work on this map,
placing units as they report in position. A CAPTAIN
is on the phone. Communications men at other phones
constantly pass messages. A sergeant operates a
telegraph key. All are in full battle dress. The
atmosphere is alive, tense. There is constant b.g.
action of dispatch bearers coming and going.
As Sylvia and Clayton come in, the Colonel is brief-
ing officers at the map.
COLONEL
Locate your observation post on this
hill. Position your recoilless 75's
back here - Caroon Canyon.
(To another officer)
I want your battery here. You may
find at daylight that you're too
exposed -- so keep your prime movers
ready to pull you out fast.
(Smiling)
But you'll get first crack at 'em.
A CAPTAIN
That'll suit me! That all, sir?
COLONEL
Yes.
(As the lieutenant
hands a phone)
Report when you're set up.
Sylvia passes around coffee and doughnuts. Clayton
takes two mugs, bringing one across to the Colonel.
COLONEL
(At phone)
Half-tracks?...Okay. Get in back
of hill Thuh-ree. Follow up from
there if it's a moving target...
Roger!
He takes coffee from Clayton with one hand and a
Signal Corps message with the other.
COLONEL
(To Clayton)
They've located that second meteor.
(Passing message to
Lieutenant)
Mark it up.
105. BY THE MAP
As Pastor Collins comes in, wearing a Civil Defense
arnband. The Sheriff follows, pausing to reach for
doughnuts and coffee. The lieutenant marks another
Martian pit about five miles west, toward Whittier.
He draws a line linking it with the Martians in the
gully.
COLONEL
(To Clayton, poiting
to map)
There's one - there's the other,
and we're right between them!
PASTOR COLLINS
(Moving in)
So is the town, I notice!
COLONEL
I warned you Civil Defense people
to be ready if you have to evacuate.
PASTOR COLLINS
I just came to tell you - everyone
has been alerted.
The Colonel's glance is caught by something o.s. He
stiffens to attention.
GENERAL MANN'S VOICE (o.s.)
As you were...
106. INT. REVETMENT
SHOOTING toward the rear as GENERAL MANN comes in --
fiftyish, clipped mustache, wearing neat khaki.
Carries field glasses. His aide, a young MAJOR,
follows him.
COLONEL
(Moving to meet him)
General Mann -- I was told to expect
you, sir. I'm Colonel Heffner.
GENERAL MANN
(Smiling briefly)
I'm here to make up a report, not to
interfere with the operations you've
set up. You're still in command.
(Suddenly - warmly)
Clayton Forrester!
(Shaking hands)
I haven't seen you since Oak Ridge.
CLAYTON
Good to see you, General.
(Introducing)
This is Pastor Collins, director of
Civil Defense. Sheriff Bogany, head
of the local forces ... Miss Van Buren.
SYLVIA
Would you like some coffee, General?
GENERAL MANN
Thank you.
She starts out as his aide hands him some messages.
CLAYTON
(To Pastor)
General Mann's in charge of Intel-
ligence for the Pacific area.
107. GROUP - BY THE MAP
Favoring General Mann as he turns to scan the map,
continuing to glance at the messages. The lieutenant
is marking up more positions.
GENERAL MANN
That's their position?
(Grimly amused)
You've certainly got them surrounded.
(And then)
I suppose they've neutralized all
communications here.
COLONEL
Not all. Radio is out. But our field
phones are okay so far.
GENERAL MANN
And they'll go out the minute there's
another ray.
(Reading)
A cylinder reported down by Huntington
Beach. That's a job for the Navy.
CLAYTON
Do you have any news from abroad?
CAMERA ANGLES to favor him as he glances at messages,
sorting them, handing some to his aide.
GENERAL MANN (Cont'd)
They're coming down all over. South
America - Santiago has two cylinders.
They're outside London. And they're
in Naples.
(Going on)
We've got them between here and Fesno.
Outside Sacramento. Two on Long
Island...
CLAYTON
Are they just coming down at random?
GENERAL MANN
No, they're working to some kind
of a plan.
(Arter a moment)
But here's the most dangerous thing...
Once they begin to move -- no more
news comes out of that area!
108. INT. REVETMENT
SHOOTING past the General. Everyone is listening,
fascinated. The communications men have stopped
work. The morse key keeps repeating a call.
GENERAL MANN
We've been getting reports of destruction,
massacre ... Here's an instance!
(reading a message)
'Town of St. Julien, south of Bordeaux,
wiped out by ray of undetermined nature.
Local reports say nothing remains.'
(Looks around)
Nothing remains! What d'you make of that?
CLAYTON
We'll have to see what they do
here.
GENERAL MANN
A lot of our newest weapons are in
here. Washington wants to be sure
we stop them.
COLONEL
(Confident - smiling)
We will, sir!
GENERAL MANN
From the data - and from that picture
the Air Force took earlier tonight ...
(Thumbing toward the gully)
... what we've got in the gully out
there is a guide ship. One lands ...
Others follow later.
(To Clayton)
They appear to clear an area, then
drop in groups of threes, joined
magnetically. Is that possible?
CLAYTON
(Wryly)
If they do it, it is.
Sylvia brings coffee. The General takes it
automatically.
COLONEL
My orders are not to go into action
unless they make a move out of there.
GENERAL MANN
That's because we want a chance to
observe them.
(Gesturing to gully)
This is the only place we've had time
to surround them with sufficient force
to contain them. What happens here
will be a guide to all other operations.
The minute action begins and a pattern
of defense developes, I'll get my report
to Washington.
(Glances at map)
You've deployed your forces well.
COLONEL
Thank you, sir. If they start anything,
we can blast them right off the earth!
GENERAL MANN
(Checks watch, sips coffee)
They'll probably move at dawn.
DISSOLVE TO:
109 SPECIAL EFFECT - HIGH CAMERA - LONG SHOT - GULLY - DAWN
Silence. No movement anywhere. We see the burned
grass and blackened earth. The little gray ash-heaps
are still there. In the gully are dim, shining shapes.
Beyond the hills the sky is lightening. As the sun
comes up, one of the shining shapes begins to rise.
There is a SOUND of CRACKLING, HIGH-FREQUENCY ELECTRIC
SPARKS.
110. EXT. OBSERVATION POST
CAMERA is on an infantry lieutenant and a sergeant.
Their foxhole is camouflaged with burned grass and
bushes.
LIEUTENANT
(At field phone)
There's something moving in the
gully -- something's coming out!
111. FLASHES - TROOPS ALERTING
Men have been resting, dozing, waiting for dawn. A
signal reaches them.
a. Recoilless 75 men running to positions.
b. Crew racing to half-track rocket-launcher.
c. Machine-gunners readying for action.
d. Bazooka team alerting.
112 INT. REVETMENT
Lamps and candles being hurriedly extinguished. The
tarpaulin is yanked from the observation opening.
Everyone cranes to get a glimpse of the gully.
113. SPECIAL EFFECT - GULLY - (DAWN)
Burned-over ground runs straight to the gully, with
blackened scrub trees and bushes at either side.
Something is visible in the gully. Shining. Moving.
114. SPECIAL EFFECT - EXT. GULLY - MED. SHOT
Now, for the first time, we see a Martian machine
clearly. A metal shape is rising. The SOUND of high-
frequency sparks increases. It is a built-up section
of the cylinder. Domed in the center. Three vibrant
beams are projected like rods from below - stiff, joint-
less, incandescent. Effortlessly, the body of the
machine rises on the pulsating beams to a height of
thirty feet in the air, and hovers motionless. Then a
hooded shape extends above the body on a flexible shaft.
115. INT. REVETMENT
Favoring Clayton, Pastor Collins, General Mann and the
Colonel. All crowded to the opening in the sandbags.
The General and the Colonel use field glasses.
GENERAL MANN
(Softly - handing his
glasses to Clayton)
Look at it, will you?
PASTOR COLLINS
(Awed - half to himself)
Beings from another world ...
The Colonel signs to the Captain, who backs to the
fleld telephone switchooard.
COLONEL
(Quietly)
Stand by to fire.
CAPTAIN
(Into phone -
repeating)
All command posts stand by to fire.
PASTOR COLLINS
(Suddenly realizing -
protesting)
Colonel - shooting's no good!
COLONEL
It's always been a good persuader.
PASTOR COLLINS
Couldn't you try to communicate
with them first - and shoot later
if you have to?
The Colonel glances, then ignores him, using his
glasses. The uniformed men are all tense, watching
the gully, waiting for the order. Clayton is gazing
out with the Sheriff. Pastor Collins moves uncertainly
toward the open rear of the revetment. Sylvia sees
him, starts after him.
CAPTAIN'S VOICE (O.s.)
All command posts - target as indictated.
116. EXT. REVETMENT
Pastor Collins comes out, stands staring toward the
gully. Sylvia joins him. Behind them we glimpse
the tension of the men inside.
PASTOR COLLINS
(Looking o.s.)
I think we should try to make them
understand we mean them no harm.
Sylvia looks at him, not sure of what he means.
COLONEL'S VOICE (O.s.)
(Quietly - from inside)
There's another machine coming out.
117. SPECIAL EFFECT - EXT. GULLY
The Martian machines. The first machine is now
catching the early sunbeams. Turning golden, glis-
tening. In the shadows another machine is rising
from the gully. It, also, is armed with a hooded
shape.
118. CLOSE SHOT - SYLVIA AND PASTOR COLLINS
Both gazing toward the gully.
PASTOR COLLINS
(Meditative)
They are living creatures out there.
SYLVIA
But they're not human! Dr. Forrester
says they're some kind of an advanced
civilization --
PASTOR COLLINS
(Cutting in, smiling)
If they're more advanced than us,
they should be nearer the Creator
for that reason!
CAPTAIN'S VOICE
(Tensely, from inside)
Attention all batteries! Prepare
for volley fire! Repeat --
prepare for volley fire!
PASTOR COLLINS
(Meditative again)
No real attemot has been made to
communicate with them, you know...
Sylvia looks at him uneasily. She takes his arm.
SYLVIA
Let's go back inside, Uncle Matthew.
PASTOR COLLINS
(Shakes head, smiling)
I've done about all I can do here.
You go back in.
(Low - turning her
toward the inside)
Sylvia - I like that Doctor Forrester.
(Hand to her cheek)
He's a good man.
Sylvia presses his hand, smiling. As she leaves him,
the CAMERA PANS with her, losing Pastor Collins
momentarily.
119. HEAD CLOSEUP - PASTOR COLLINS
Looking in the direction of the gully, thoughtful.
120. FLASHES - PREPARATIONS FOR FIRING
a. Grouped bazookas bearing on the target.
b. Tanks waiting orders, at the ready.
c. Rocket launcher, loaded and ready.
121. SPECIAL EFFECT - EXT. GULLY
The Martian machine in f.g. is motionless. The second
one has paused half out of the gully. Its hooded arm
swings around on its shaft, as if under test.
122. EXTREME HEAD CLOSEUP - PASTOR COLLINS
Eyes serene. Smiles a little. Moves forward.
123. INT. REVETMENT
No sound except the telegraph key repeating a signal
over and over. No movement save for Sylvia, f.g.,
refilling coffee cups. General Mann, the Colonel,
Clayton and the Sheriff crouched by the opening.
COLONEL
(Suddenly)
Who's that?!
124. FLASH CLOSEUP - GROUP AT WINDOW
They stare out, disbelieving.
125. FLASH CLOSEUP - SYLVIA
She whirls, starts toward the opening.
126. SPECIAL EFFECT - INT. REVETMENT & VISTA
SHOOTING over the group at the opening to the VISTA
outside the revetment. In b.g. Pastor Collins is
walking away from the revetment, a solitary figure
moving over the burned-off earth. The Martian machines
beyond him are motionless, as if awaiting him.
COLONEL
(Choked voice)
What's he think he's doing?
127. CLOSE SHOT - CROSS ANGLE - FEATURING SYLVIA
SYLVIA
(Calling)
Uncle!
(Half screaming)
Uncle Matthew!!
She whirls to go after him. General Mann catches her
arm.
GENERAL MANN
Too late now -- he's too far away.
SYLVIA
(Lunges - appealing)
Stop him!
CLAYTON
(Holding her - looking out)
It's seen him.
128. SPECIAL EFFECT - MARTIAN MACHINE
It begins slowly to sink down as its glittering beam-
legs pulsate and grow shorter.
129. MOVING SHOT - EXT. BURNED-OFF FIELD
Pastor Collins brings out a cross, gazing ahead,
reciting the Twenty-third Psalm.
PASTOR COLLINS
(Softly)
Though I walk through the valley
of the shadow of death, I will fear
no evil ...
130. SPECIAL EFFECT - EXT. GULLY
SHOOTING past the first Martian machine, still sinking
down. The second machine has risen higher in the gully.
131. MOVING SHOT - EXT. BURNED-OFF FIELD
CLOSE on Pastor Collins, walking past more debris.
PASTOR COLLINS
(Whispering)
Thou anointest my head with oil.
My cup runneth over ...
132. INT. REVETMENT - GROUP
Featuring Sylvia and Clayton. All are crowded to the
opening. Sylvia is petrified with horror.
133. MOVING SHOT - EXT. BURNED-OFF FIELD - HEAD CLOSEUP
Pastor Collins moves ahead, eyes fixed on the machines.
He won't permit himself to be afraid.
PASTOR COLLINS
And I will dwell ... in the house
of the Lord .. forever.
He lifts the cross to shoulder height as CAMERA HOLDS
and PANS him on.
PASTOR COLLINS (Cont'd)
Amen.
(Murmuring)
May the grace of the Father and of
the Son ...
Beyond him we now see the Martian machine.
134. SPECIAL EFFECT - EXT. GULLY
Favoring the first machine, filling the SCREEN. Squat-
ting on its incandescent beam-legs, the hooded shaft
tilted forward. There is a moment -- then a magenta-
tinted heat-ray SCREAMS from it.
135. INT. REVETMENT - EXTREME HEAD CLOSEUP - SYLVIA
She SCREAMS, but her voice is drowned in the unearthly
SOUND of the Martian machine. We know, without seeing,
what has happened to the Pastor.
136. SPECIAL EFFECT - EXT. GULLY
VIEWPOINT from the command post revetment. The first
machine rises swiftly to full height, gliding forward.
The second clears the gully. The top of a third
machine appears.
137. SPECIAL EFFECT - EXT. GULLY & ROAD
The base ot the Martian machine's locomotor beam-leg.
Featuring, in f.g., the Pastor's cross, partly melted.
The glittering foot of the beam moves into SCENE,
leaving behind it molten rock and smoke. As it passes,
the intense heat it gives off acts like a blowtorch on
the terrain.
138. INT. REVETMENT - MED. CLOSE SHOT
SHOOTING from outside the observation opening. Sylvia
is CLOSE in f.g., horrified, unbelieving, supported by
Clayton. The Colonel whirls toward the switchboard.
COLONEL
Let 'em have it!
139. EXT. HILLSIDE - TANKS
The big guns of the tanks slam shells toward the gully.
140. SPECIAL EFFECT - MARTIAN MACHINE & SHELL BURSTS
Shells burst close to the Martian machine. Instantly
a beam -- different from the heat-ray -- strikes out
with a vicious, high-pitched DRUMMING SOUND. The beam
is electric-blue with a greenish tinge. Edges soft,
powdery. Fast, projectile-like discharges race down
its core, like a succession of balls, a deeper blue-
green. Beam and impulses are transparent.
141. SPECIAL EFFECT - EXT. HILLSIDE - TANK
The beam hits a tank. The tank changes color instan-
taneously. It turns bone yellow, then thins into an
oyster-white skeleton shape that is an echo of death
itself. The beam cuts off and the tank dissolves into
fine dust, the color of the beam, and blows away on
the breeze. Making pallid streamers in the early
morning light.
142. GROUP - AT OPENING
SHOOTING IN on the men - staring, transfixed. The
General lowers his glasses, looks at Clayton in stupe-
faction, then uses the glasses again.
143. QUICK CUTS - INSERTS OF MUZZLES - AS WEAPONS FIRE
CLOSE on the muzzles. Individual SOUND blasting.
a. Rocket-launcher muzzles as rockets fly.
b. Machine-gun muzzles shuddering.
c. Anti-tank gun muzzles explode and recoil.
144. QUICK CUTS & FLASHES - BATTLE (1)
The initial phase between man's weapons and the Martian
machines. The first Martian is out of the gully on the
burned-off field. The second is just clear of the
gully. The third has started to follow.
a. Special Effect - Full Shot - Gully. Increasing
shell and rocket fire bursting viciously about
the Martians. Short, blue jets are flashing
out around the turret heads of the machines.
These merge to form an impalpable, electro-
magnetic envelope which drops all around to
the ground.
b. Special Effect - Close Shot - First Machine.
Rays SCREAM from it, lashing in every direction.
c. Recoilless 75's - Close Shot. Muzzles Flash.
d. Rocket-launcher - Close Shot. In rapid suc-
cession, rockets roar toward the Martians.
e. Tank - Med. Shot. It's gun bucks violently
slamming an armor-piercing shell at the Mar-
tians.
f. Machine-gun Nest - Close Shot. 50 cal. machine-
gun chatters furiously, spitting a stream of
tracer shells.
g. Bazookas - Close Shot. In a sharp volley, a
group of bazookas let go with HE charges.
h. Mortars - Close Shot. In rapid succession,
Marines drop Napalm charges into the big muz-
zles of the mortars. Instantly the charges
fly high in the air in the direction of the
enemy.
i. Special Effect - Martian Machines. Projectiles
burst against their almost invisible protective
envelopes. Others ricochet off, exploding harm-
lessly in the air beyond. Napalm charges burst
around them, obscuring the machines in huge
balls of searing, orange fire and black smoke.
j. Special Effect - First Machine - Close Shot.
The flame of the Napalm clears. The machine is
undamaged. Rays slash from it, SCREAMING.
k. Special Effect - Second & Third Machines - CloseShot. Flames and smoke clear. They lash rays
in every direction.
l. Special Effect - Rocket-launcher - Close Shot.
Hit by a heat-ray. The launcher and crew glow
white hot. Become a pile of ashes.
m. Special Effect - First Machine - Close Shot.
DRUMMING horribly, the blue-green disintegrating
beam darts forth.
n. Special Effect - Mortars - Med. Close Shot.
Hit by the skeletonizing beam. They literally
disintegrate - cease to exist. Men and machines
become a vapor of blue-green dust.
144-A. INT. REVETMENT - GROUP
Clayton, Sylvia and others duck below the shelter of
the sandbags as a heat-ray HOWLS close past the com-
mand post. CAMERA MOVES IN on Clayton and General
Mann, shouting above the uproar.
GENERAL MANN
(Fast, looking out)
What's that skeleton beam they're
using?
CLAYTON
It must neutralize mesons somehow.
They're the atomic glue that holds
matter together.
(Grimly)
Cut across their lines of magnetic
force and any object will simply
cease to exist.
145. SPECIAL EFFECT - FLASH CUTS - BATTLE (2)
The destruction of man's weapons by the Martians, and
the beginning of man's retreat.
a. Special Effect - Ext. Gully & Command PostRevetment - Full Shot. A COMPOSITE SHOT of the
entire battle. One Martian machine on a hill
slope. The two others below. Rays and beams
lashing out. Shells and rockets and Napalm
exploding about them. Tanks scuttling about.
Rays hit them. Machine-gunners and tropps
abandon their stations, leaving their weapons.
Half-tracks, trucks, weapons-carriers, jeeps
pull out. Pandemonium.
b. Special Effect - Martian Machines - Med. Shot.
Smoke and fire clearing. Explosions about
them diminish. They redouble the activity of
their rays and beams.
c. Special Effect - Battlefield - Med. Full Shot.
Gray ash on a blackened road - the residue of
tanks. Men, jeeps, equipment flee past, es-
caping. Rays and beams reach after them.
d. Ext. Hillside - Med. Close Shot. Infantrymen
crash through burning bushes in headlong re-
treat, looking back in panic.
e. Special Effect - Martian Machine - Close Shot.
On skyline. Moving forward. Rays SCREAMING,
beams DRUMMING. No counter fire from our
forces.
146. EXT. REVETMENT - MED FULL SHOT
Parked jeeps, General Mann's car, a few Marines, the
Red Cross truck. The heat-ray slashes through them,
hits the revetment and swings away. Men fall in
ashes, jeeps glow and burn, the Red Cross truck and
General Mann's car are singed and blazing. The huge
tarp stretched over the revetment blazes.
147. INT. REVETMENT - MED. FULL SHOT
The inclosure is a madhouse - men trying to extinguish
burning switchboards - the lieutenant gathering up the
scorched maps - the captain shouting uselessly into
the field phone - Clayton up by the opening using the
field glasses, Sylvia and the Sheriff crouched near
him. General Mann and his aide rush out.
LIEUTENANT
(At the opening)
There's a Martian machine headed
straight for us!
COLONEL
(Shouting to Captain)
Order all command posts - everything
pull back north of Highway Sixty
tunnel bunker!
148. SPECIAL EFFECT - MARTIAN MACHINE - MED. CLOSE SHOT
Moving along the burned-off swathe from the gully,
rays slashing.
149. INT. REVETMENT - MED. SHOT
COLONEL
(At observation
opening - yelling)
They're going to roll right through
here. Sheriff - get into Linda Rosa.
Tell Civil Defense - evacuate everybody!
Clayton, at the opening, watches the approaching
machines, absorbed by them. A heat-ray slashes near,
casting its ruddy glare. Shreds of the burning tar-
paulin fall. Sylvia grabs him, pulling him down.
COLONEL
Doctor Forrester - get out of here!
He literally jerks Clayton and Sylvia to their feet,
shoving them toward the rear.
COLONEL (Cont'd)
Everybody out! The Air Force'll
take care of these babies now!
(Runs toward CAMERA)
Everybody out --- Everybody ----
He is in EXTREME CLOSEUP, shouting. The red heat-ray
seems to envelope him in a blaze of color, SCREAMING.
Suddealy the SCREEN explodes into deadly blue-green -
the disintegrating beam! The Colonel's shout is frozen
on his lips. The skeletal structure of his head glows
incandescent -- greenish-white -- through the flesh
of his face. In an instant he vanishes into a shred
of blue-green vapor which swirls and is lost in the
ruddy flames of the ray.
DISSOLVE:
150. EXT. SKY - FULL SHOT - (STOCK)
A huge formation of fighter bombers flashes across
the sky, the chorus of their jets pulsating like
thunder.
DISSOLVE:
151. EXT. ROAD - MED. SHOT
A weapons carrier clatters past at breakneck speed.
Men from mixed units jump from behind scrub trees,
running. A crowded jeep flashes past as Clayton and
Sylvia appear. The two run after the men. Clayton
pulls her to a stop, looks o.s., then runs across
the road with her.
152. EXT. FIELD - MED. SHOT
A Piper Cub - battery observation plane - is just
taking off. Another is on the ground, no one near it.
Clayton and Sylvia enter, running. Beyond one wing
of the machine we see smoke, explosions and rays and
beams ripping against the sky.
CLAYTON
We can't go into town - everybody's
getting out of there!
(Steering her toward plane)
I'll fly you over to Pasadena.
SYLVIA
Can you handle one of these?
CLAYTON
Sure...get in!
He shoves Sylvia up into the plane and climbs in at
the wheel.
DISSOLVE:
153. EXT. SKY - MED. SHOT
The Piper Cub in flight, hedge-hopping.
154. INT. PIPER CUT - CLOSE SHOT (PROCESS)
SHOOTING PAST Clayton to Sylvia. The tops of utility
poles and trees skim past, almost at their level.
The plane wobbles. Clayton is unconcerned.
SYLVIA
(Hanging on)
You'll hit something! Can't
you go higher?
CLAYTON
(Looking up)
No. The air's going to be full of
Jets in a minute...And there they
are!
155. EXT. SKY - QUICK CUTS OF JETS - (STOCK)
Jet fighter-bombers in formation, colorful against the
sky, peeling off to dive.
156. INT. PIPER CUB - CLOSE SHOT - (PROCESS)
Clayton looking o.s. as he banks sharply. Sylvia
looking after him.
157. EXT. SKY - QUICK CLOSE SHOT (STOCK)
Jet fighter-bombers diving, firing, launching rockets,
dropping bombs. SOUNDS of explosions.
158. EXT. SKY - MED. CLOSE SHOT
The piper cub porpoising over the treetops, banking
and turning.
159. QUICK CUTS - WRECK OF PIPER CUB
a. Int. Piper Cub - Close Shot (Process).
Clayton looking up. Sylvia turns and
looks ahead, SCREAMS.
b. Special Effect - Piper Cub - Full Shot.
SHOOTING AHEAD. It rises over a low
hilltop - flying directly toward a
Martian machine on the flat fields
beyond. Plane banks sharply to change
course.
c. Special Effect - Piper Cub - Med. Shot.
The wing snags a tree. The plane cart-
wheels toward the ground.
160. SPECIAL EFFECT - EXT. BEAN FIELD - MED. SHOT
The Cub lands on one wheel, bounces, goes into a
ground loop, a slashing skid and stops, tilted on
a torn wing. Propeller shattered.
161. EXT. BEANFIELD - CLOSE SHOT - (MOVING SHOT)
Clayton half-falls out of the wrecked plane, looking
o.s., as he helps Sylvia. She looks with him, gasps.
They run and dive into an irrigation ditch, CAMERA
FOLLOWING.
162. SPECIAL EFFECT - EXT BEANFIELD & DITCH - FULL SHOT
SHOOTING over the torn wing of the Piper Cup among the
tangled bean plants. Across the field is a low, wooded
hill. Coming into sight at the foot of the hill is the
Martian machine, its cobra-like weapon turning on its
shaft, swinging toward the plane.
163. EXT. DITCH - CLOSE SHOT - CLAYTON & SYLVIA
Ducked low, taut, terrified. He sneaks a look over
the edge, then flings himself down with Sylvia again.
There is the SOUND of the horrible DRUMMING of the
disintegrating beam, which quickly flickers out, mark-
ing the destruction of the Piper Cub. Their faces are
lit blue-green. Then, down into the ditch, the eerie
vapor of unglued atom flows, icandescent, swirling
in the breeze.
Clayton and Sylvia begin to stir. The CRACKLING of
HIGH FREQUENCY ELECTRICITY from the machine's loco-
motor mechanism grows louder - it's coming for them!
Clayton grabs Sylvia, half-dragging, half-carrying
her back along the ditch. He pushes her behind a
pile of broken irrigation pipe, falls across her.
The CRACKLING swells to a ROAR of SPARKS. Where they
had just lain, the glittering, flickering base of a
beam-leg dips down into the ditch, moves across and
up the other bank, leaving a smoking path of fused
rock and debris.
163a. EXTREME CLOSEUP - CLAYTON & SYLVIA
Smoke swirling about them. Heads thrust into the
dirt. Frozen with terror. Faces crushed together.
The machine's ROAR diminishes. They begin to breathe
again. The tension of Clayton's grip on Sylvia's
shoulders lessens. The suspended functions of her
mind resume. Her eyes turn to him. He looks at her.
Shock overwhelms her. She faints.
FADE OUT.
FADE IN:
164. EXT. DOWNTOWN STREET, LOS ANGELES - (DAY)
CAMERA is on a CORNER NEWSSTAND. Tip-sheets and
papers are clipped around the front, sides and to a
wire between uprights. Headlines: MEN FROM MARS -
Europe Cities Blasted - KILLER RAYS; MARS MACHINESIN CALIFORNIA - Fighting Near L.A. - U.S. INVADED -
MARTIAN THREAT. A little crowd on the sidewalk
reads papers avidly. Cars stop at the curb to buy
others. An elderly woman sits behind the newsstand,
knitting, hawking her sensations.
165. CLOSEUP - ELDERLY WOMAN
ELDERLY WOMAN
(Thin - piping)
All about the Martian Invasion - They're
in New York and Miami - Fighting outside
Los Angeles - All about it! - Radio black-
out - Killers from Mars - World-wide
Crisis - United States invaded - all
about the Martians!
(Sells a paper)
Thank you, mister.
The SOUND of approaching sirens comes over SCENE.
She and her customers look o.s.
166. EXT. STREET - (Location)
Traffic is slowing, stopping. The SOUND of massed
sirens comes to a peak. Two motorcycle cops race
past, blinkers working. Four more follow. Then
comes General Mann's dirty, fire-blackened car.
CAMERA PANS the car, going fast, then ANGLES UP
the front of the stately Federal Building.
DISSOLVE:
167. MOVING SHOT - INT. ARMED FORCES INFORMATION, MAINOFFICE - (DAY)
Five desks. Walls covered with maps and thumb-tacked
notices. The doors of three private offices across
from the entrance. The place is crowded with Army,
Navy, Marine and Air Force personnel, police of-
ficials, CD directors, reporters, photographers. Two
cops shoulder in from the corridor by a door marked:
ARMED FORCES - Public Information Office - Entrance.
General Mann follows with his aide. Reporters and
cameramen crowd around the unshaven, grimy General,
impeding him on his way toward a private office out-
side which sits a WAC secretary. Naval and military
men come to attention, then press toward him. The
General looks past them all, calling to CD directors
and civic authorities.
GENERAL MANN
(Beckoning)
You're the gentlemen I asked to
come here.
(To his aide)
Get Washington.
The aide pushes ahead while flashbulbs blink and repor-
ters surround the General. He keeps moving. A FAT
REPORTER - thin-nosed, sweating - tries to buttonhole
him.
FAT REPORTER
General Mann, what d'you think of
this situation --
GENERAL MANN
Sorry. I've no time!
FAT REPORTER
(Wily, fast)
Is it your opinion the Army can
hold 'em?
POLICE CHEIF
(Moving in, sharp)
All right, boys - let it go!
SECOND REPORTER
(Jumping in, over him)
You had guns and equipment going out
there all night! Weren't they enough to --
GENERAL MANN
(Tired, exasperated)
I said I've no time!
POLICE CHIEF
C'mon, now - break it up!
During this, General Mann has pushed to the door of
the private office. With a concerted effort, the
General and the civic officials push inside. The
door closes. A big Marine bars further entry. CAMERA
HOLDS on the reporters and photographers.
FAT REPORTER
The way he's hedging, maybe the
Army didn't hold 'em!
(Significant)
Because from the news that's coming
through, nobody's stopped 'em yet!
(Looking toward door)
We'll wait.
168. INT. PRIVATE OFFICE
It belongs to the Chief of Army Information. General
Mann's aide is talking into a phone in b.g. The
General faces the civilian group which includes police
and fire chiefs, Pacific Electric and other trans-
portation officials, Air Raid wardens, Red Cross.
GENERAL MANN
Who's the General Director for
Civil Defense?
C.D. DIRECTOR
Here, sir. We're all ready for action!
GENERAL MANN
I want to know if the city must be
evacuated...?
C.D. DIRECTOR
(Smiling)
Lots of people got scared and moved
out as it is!
P.E. OFFICIAL
We're holding emergency cars and
buses ready in the yard, sir!
RED CROSS LEADER
Red Cross is standing by.
C.D. DIRECTOR
I believe, sir, I can speak for
everyone. We've got the whole
city on the ready!
GENERAL MANN
That's what I wanted! For your in-
formation - they're twenty-five or
thirty miles outside Los Angeles.
They're not down in force yet, but
that can happen any minute. We've
got a developing situation. It'll
come to a crisis if they move into
the metropolitan area and --
AIDE
(Cutting in, quick)
Washington on the wire, sir.
GENERAL MANN
(Taking phone, turning away)
General Mann...
169. CLOSE ON GENERAL MANN
listening at phone, keyed-up.
GENERAL MAN
(Atter a pause, low, fast)
I'd say our effective losses were
nearly sixty percent men and ninety
persent materiel!
(Grimly)
The new delta-wing jets went in, but
not one of them came out. I watched
high-level bombers drop everything
they carried. They were knocked out
of the sky and the bombs did nothing.
170. GROUP - CIVILIAN LEADERS
straining to catch what he is saying, glancing at
one another, alarmed.
GENERAL MANN'S VOICE
Nothing was effective against them!...
Yes, they have some sort of electronic
umbrella. It's quite impenetrable. And
Doctor Forrester believes they generate
atomic force without the heavy screening
we use -- That's where they get the
power for their rays!
171. INT. PRIVATE OFFICE - MED. CLOSE SHOT
General Mann at phone, his aide in b.g.
GENERAL MANN
Very well, sir.
(Hanging up - to aide)
Call Victorville. Tell them I
want the fastest plane they've
got!
SHOT WIDENS as he turns to the nearby group.
GENERAL MANN (Cont'd)
You'll get all further instructions
from Sixth Army Command.
(To Police Chief)
Now I'll make a statement to those
reporters.
The Police Chief opens the door. Hubbub comes from
the outside as reporters and photographers crowd in.
The civic authorities leave.
FAT REPORTER
(Barging forward)
General, we heard Doctor Clayton
Forrester was out there with you.
What's he think about this?
GENERAL MANN
Ask him. He's back at Pacific-Tech.
FAT REPORTER
No, he's not! We tried to get him.
He hasn't shown up there.
DISSOLVE:
172. SPECIAL EFFECT - EXT. FARM & BEANFIELD - (NIGHT)
Peaceful. Crickets chirruping. A mocking-bird SOUND-
ING off. Low ground mist. Out of the distance comes
the MUTTER of gunfire and remote EXPLOSIONS.
CAMERA SHOOTING across the edge of the dry irriga-
tion ditch toward the farmhouse in the middle dis-
tance. A farm cat appears over the edge of the
ditch, carrying something in its mouth. It hurries
down into the ditch, CAMERA PANNING.
172a. EXT. IRRIGATION DITCH - MED. CLOSE SHOT
Clayton is sitting alongside Sylvia who is stretched
out asleep. Clayton's jacket is covering her. His
attention has been attracted by the cat.
172b. EXT. DITCH - CLOSE SHOT
The cat stops in the bottom of the ditch and puts
her burden down on some grass. It is a tiny puppy.
She lies down. It snuggles to her, whining weakly.
172c. CLOSEUP CLAYTON (PAN SHOT)
He smiles a little wryly, looks down toward Sylvia.
CAMERA PANS to CLOSEUP of Sylvia. She is breathing
softly, regularly.
172d. CLOSE SHOT - CLAYTON & SYLVIA
He bends over, looking at her for a long moment,
then his hand touches her shoulder, shaking it to
waken her.
CLAYTON
(Softly)
Wake up....
Her eyes open, close, then open again.
CLAYTON (Cont'd)
(Gently)
Let's get moving, huh?
She doesn't move, only looks at him.
CLAYTON (Cont'd)
(Concealing his anxiety -
smiling)
Are you all right?
SYLVIA
(Still half-awake)
I never noticed before - that's a
cowboy tie....
CLAYTON
I bought it for the square dance.
I thought I ought to wear some-
thing Western.
She laughs dreamily, looking up at him. Her smile
goes suddenly. She glances out over the edge of the
ditch.
SYLVIA
Is that... machine...?
CLAYTON
It's gone now.
SYLVIA
Where are we?
CLAYTON
Southwest of Corona, somewhere.
There must have been another
cylinder down here. They've been
through this whole area and cleared
everybody out.
(Peering from the ditch)
There's a farmhouse. Let's see if
we can find something to eat...!
As they prepare to leave,
DISSOLVE:
173. INT. FARMHOUSE - KITCHEN - (NIGHT)
CLOSE on a skillet loaded with bacon and eggs.
CAMERA ANGLE WIDENS. The kitchen is not modern.
Old gas refrigerator. High-oven stove, its flaming
gas-jets make an eerie glow. Coffee percolates.
Sylvia has tidied her hair, renewed her make-up.
Clayton is taking a jug of orange juice from the
refrigerator. He uses it to indicate the farmhouse
as he glances around.
CLAYTON
We're doing all right.
He puts it on the table, which he has set, then looks
warily out the window. He goes to the stove as
Sylvia begins dishing up. She is pensive. They keep
their voices down.
CLAYTON
I almost forget when I ate last.
(Genuine)
It looks so good.... You know,
mostly I get my meals in coffee
shops and restaurants.
SYLVIA
(Astonished)
Don't you live at home?
CLAYTON
No, on the campus. I haven't
any family.
SYLVIA
I come from a big one. Nine of us.
All in Minnesota, except me.
CLAYTON
I have no close folks. My parents
died when I was a kid.
174. ANOTHER ANGLE - CLAYTON AND SYLVIA
Shooting across the table to the stove. Sylvia
comes toward CAMERA, bringing bacon and eggs. He
follows with the coffee.
CLAYTON
A big family must be fun...I
imagine it makes you feel you
belong to something.
SYLVIA
It does...Maybe that's why I feel
kind of lost right now.
CLAYTON
(Reassuring, pouring coffee)
We'll get safely out of here, don't
worry.
SYLVIA
(Pouring orange juice)
But they seem to murder everything
that moves...!
CLAYTON
If they're mortal, they must have
mortal weaknesses. They'll be
stopped -- somehow!
175. CLOSE SHOT
They begin to eat.
CLAYTON
I've been as close to them as anyone.
But not close enough for real observation...
SYLVIA
(Over him - not listening)
I feel like I did one time when
I was small.
(Not sorry for herself,
merely telling him)
Awful scared and lonesome...I'd
wandered off - I've forgotten why -
but the family and whole crowds of
neighbors were hunting for me.
(And then)
They found me in a church. I was
afraid to go in any place else.
116. CLOSE SHOT - SYLVIA
Half smiling at the memory.
SYLVIA
I stayed right by the door - praying
for the one who loved me best to
come and find me.
(And then)
It was Uncle Matthew who found me.
CLAYTON
(Quietly)
I liked him.
177. AT THE TABLE
Sylvia touches away a tear, keeps her voice con-
trolled.
SYLVIA
He liked you ... I could bawl my
head off!
CLAYTON
But you're not going to. You're
not the kind.
(Encouraging, gentle)
You're tired, anyway. You've been
up all night. You cracked up in a
plane. Slept in a ditch. But you
want to know something?
(Removing glasses
looking, smiling)
It doesn't show on you at all.
As she smiles, holding his gaze, a greenish glow
begins to spread through the kitchen. Clayton rises,
startled. The light becomes a glare that limns
everything sharply - emerald and black. A smashing
and roaring SOUNDS outside, approaching like an
avalanche. Clayton grabs Sylvia as the house shakes.
Part of the ceiling crashes down. The floor rocks
under them. They fall, Clayton shielding Sylvia,
as the walls smash in.
178. HIGH CAMERA - SPECIAL EFFECT - EXT. FARMHOUSE ANDMULTIPLE METEOR
A multiple meteor has fallen. Through the ground
mist we see that one cylinder has gouged up earth
and is hitting the farmhouse in
