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INVADERS FROM MARS
JOHN TUCKER BATTLE
MUSIC of Finlandia type behind credits builds to
crescendo on ...
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-
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
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.
But the largest telescopes have
failed to penetrate the dark and awe-
4. INT. TELESCOPE ROOM - DIFFERENT OBSERVATORY - NIGHT -
White haired astronomer - peering into the eye-piece of
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
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.
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 -
- 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 -
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.
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 -
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.
What's the matter, David? Are you
Dad - listen! I saw a - a - a some-
thing - just landed in our field.
A flying saucer or something!
A space ship - I think. It's there
now - over by the hill. Come on,
(with weary exasper-
Have you gone completely crazy - four
o'clock in the morning!
But, Dad - I saw it - I tell you ...
Oh, you had a dream, dear - a night-
I wasn't asleep! I saw it -- it
landed in our field!
(putting his feet on
Now, that's enough!
But, Dad ...
All right, march!
(leaving, followed by
(he slams door)
MacLean gets up and puts on his slippers.
Oh, John, don't scold him. He didn't
mean to slam the door.
(walking towards door
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
I'm not sick!
(shakes bottle and pours
I know - this is some of that stuff
Doctor Weber left to make you sleep
when you had the flu. Come on - open
David looks at his father with exasperated patience
and with a shrug of martyrdom swallows the medicine
and drops back on his pillow.
Now what makes you think you saw a
(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.
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?
It didn't fall, Dad - it landed over
in the field. Blossom! Gee, Dad,
Blossom's out there! We'd better go
MacLean regards the boy with a patient affectionate
(with a smile)
Blossom is an intelligent cow - she
can take care of herself.
But, Dad --
You've been reading too many of
those Science Stories - flying
But I saw it! And Cricket saw it -
(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.
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
David, feeling the effects of the sedative, yawns
again. His father runs his fingers lightly through
David's hair in a soothing fashion.
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
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
John! -- John! --
(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
The cow - something's wrong with
The cow's mooing rises to a terrified bellowing.
Probably caught in the fence.
He gets up, puts on his shoes and bathrobe and takes a
Hurry she may be hurt!
As MacLean exits -
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.
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.
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-
- and I can't understand what hap-
pened to him!
You say he's been gone for ...
David and Cricket run into scene.
What's the matter, David?
- over there in the field - I heard
something - I mean - it was more
like I felt something.
I don't know - a kind of buzzing
sound deep down under the ground.
Oh, David, this is no time to let
your imagination run away with you
when I'm so concerned about your
Don't worry, we'll find him, Mrs.
MacLean. Come on Blaine.
They exit from the porch. Mrs. MacLean and David look
21. EXT. MacLEAN FIELD - DAY - MED. SHOT
Blaine and Jackson are walking through the field.
They stop and look around.
The cow may have trampled him -
they can be dangerous.
Yeah, that's possible.
You take the north side, and I'll
look over here.
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.
Hey, Jackson! Here's a flashlight!
- he looks around for Jackson. His face registers be-
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
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.
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.
You're not going out there!
But they've been gone over an hour.
Let me go look, too, Mom - please!
You stay right here!
Aw, gee --
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
MRS. MacLEAN and DAVID
John! -- Dad! --
32. INT. MacLEAN LIVING ROOM - DAY - MED. SHOT
- as Mrs. MacLean and David rush toward MacLean.
Oh, John, where have you been? I've
been so worried!
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.
Nothing to get excited about. Tell
you all about it when I've had my
MacLean crosses and sits in an armchair.
I'll just be a minute.
David leans over the back of his father's chair.
What took you so long?
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
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.
Gosh, Dad, what happened to your
35. INT. MacLEAN LIVING ROOM - DAY - MED. CLOSE SHOT
A shadow of anger crosses MacLean's face.
It's only a scratch. Caught it on
a barbed wire fence.
A barbed wire fence? But how could --
Go on out and play!
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.
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-
(in a low, hurried voice)
Please, David -- do as your father
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.
(in a cold mechanical
I'm still waiting for my coffee.
(in a tone of hurt be-
What's the matter with you, John?
Get me a cup of coffee!
Mrs. MacLean exits, looking apprehensively over her
shoulder at her husband.
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.
(he now speaks normally
and seems like his old
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.
Yes. We have --
Jackson nods his head.
42. EXT. MacLEAN FRONT PORCH - DAY - CLOSE SHOT
Mrs. MacLean staring at her husband with nervous incred-
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.
Take it easy on those comic books,
(as they walk toward car)
Yes -- that imagination of yours is
liable to get you in trouble.
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.
Well - what do you want!
50. INT. MacLEAN LIVING ROOM - DAY - CLOSE SHOT
Shooting toward David and Cricket in hallway.
I - I was looking for Mom.
She's not here. What's on your mind?
Oh - uh -- nothing --
What have you been up to?
Nothing -- just playing.
Your mother told you not to play in
the field, didn't she?
But - I - uh --
I tell you you can play in the field --
all you want - understand?
He turns and starts toward the front door, Cricket at
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.
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
54. INT. WILSON KITCHEN - FULL SHOT
Mrs. Wilson dries her hands on her apron and pushes
back a strand of hair from her forehead.
Well - hello - David --
Mrs. Wilson - is Mr. Wilson home?
Why -- no, David -- he's out of town.
What is it?
Well -- I mean -- you know your little
(with instant alarm)
Has something happened to Kathy?
Well -- I mean -- gee, Mrs. Wilson --
You see, I was up on the hill with
my telescope -- hiding in the bushes
Mrs. Wilson's face darkens with frightened suspicion.
You were hiding in the bushes and
Well, I -- I was watching the field
and I saw Kathy. She was picking
flowers -- I think.
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.
Oh, David, stop all this nonsense.
Where is she?
David backs away from Mrs. Wilson, who advances threat-
Honest, Mrs. Wilson, there's some-
thing out there under the ground.
It's a space ship or ....
What kind of a ship?
A space ship!
Mrs. Wilson bursts into nervous laughter and grabs David
by the shoulders and shakes him severely.
Now listen, David -- what have you
done to my little girl -- where is
she -- answer me!
Honest, Mrs. Wilson -- the ground
opened up - and --
Mrs. Wilson slaps him sharply. David raises his elbow
to ward off further blows.
You tell me what you've done to
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.
Kathy, honey -- where have you been?
56. TWO SHOT - KATHY AND MRS. WILSON
Kathy looks up at her mother with a round cherubic baby
(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
What do you mean -- coming in here
and scaring me to death -- What's
the matter with you, David?
I am, too -- I'm sorry I lost my
She turns and reaches for the cookie box.
Here - don't you want some cookies --
and a glass of milk?
(starting toward kit-
No, thank you.
I'm really very sorry, David, for
the way I treated you -- but after
all -- Here, dear -- take some cookies
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.
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.
You'd better call the fire depart-
ment, Mrs. Wilson!
(calling through smoke)
Mr. Turner, shall I call the fire
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
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
It's all right, Mrs. Wilson. It's
Oh, thank heavens!
Someone spilled a gallon can of gaso-
line down there.
That's impossible - We keep our spare
gasoline in the garage.
Well -- a can of gasoline was laying
over on its side down there with the
top off. That's what was burning.
Are you sure?
Kathy, were you down in the cellar?
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.
State 4-3559, please.
69. EXT. GRIFFITH OBSERVATORY - DAY - FULL SHOT
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.
I'm sorry, David, but Professor
Kelston is out. Is there any mes-
71. INT. PHONE BOOTH - DAY - CLOSE SHOT
Do you know when he'll be back?
72. INT. PROFESSOR KELSTON'S OFFICE - DAY - CLOSE SHOT
He's not expected until late this
73. INT. PHONE BOOTH - DAY - CLOSE SHOT
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
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.
78. INT. POLICE STATION - DAY - FULL SHOT
David and Cricket stand staring up at the desk sergeant,
who speaks in an exasperated tone.
I'm tellin' ya the Chief of Police
don't see nobody without their first
statin' the nature of their business.
But I've gotta see him -- it's im-
Well, if it's so important -- why
can't ya tell me?
-- you wouldn't believe me.
So what makes ya think the Chief
would believe ya?
CHIEF OF POLICE'S VOICE
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 "e;CHIEF OF POLICE."e;
Aw, this kid here claims he's got
something very important, but he
won't tell me what it is.
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.
Sit down, young man -- Now, what's
Well, what's so important, David?
David looks apprehensively, clears his throat and
Well, you see, sir -- it started
last night when I was looking through
80. INT. OFFICE - CHIEF OF POLICE - DAY - CLOSE SHOT
The Chief is listening intently, leaning his hand on
-- 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.
And after people've been down there --
they act different, eh?
Yes, sir -- very different.
What's your telephone number, David?
The Chief reaches over and picks up the telephone.
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.
He looks over his shoulder at David, who is nervously
biting his lips.
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.
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
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.
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.
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.
No one's going to hurt you.
Listen to me.
David looks up at his father.
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.
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.
It's all right, David. You can
bring your dog.
(in a scared voice)
But I don't understand why -- ?
Pat crosses and inserts David's arm through hers and
pats his hand.
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.
86. EXT. COUNTY HOSPITAL - NIGHT - FULL SHOT
87. INT. HOSPITAL - NIGHT - INSERT
Sign reading "e;MENTAL WARD."e;
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
--- 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
Pat and Blake exchange glances.
That's a good idea, David -- in fact
-- I had already thought of it.
You've talked to her?
Only over the phone. She ought to
be here any minute now -- you know,
that's a very interesting story you
just told us.
-- you don't believe me, do you?
Oh, I wouldn't go so far as to say
that. Better say I'm keeping an open
And so am I.
There are no scars on the back of
my head, David.
David looks at their heads, then sits back with relief
and takes a slow meditative pull on his malted milk
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.
MRS. MacLEAN'S VOICE
Won't you come in? I'm Dr. Blake.
Mrs. MacLean enters. David jumps up from the chair and
runs to his mother.
Gee, Mom -- I'm glad you're here!
This is Miss Collins.
Mrs. MacLean looks down and smiles brittlely. Then she
coldly detaches his hands from her arm.
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.
Won't you sit down, Mrs. McLean?
No thanks. My husband's waiting
David tells me --
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.
Yes -- horrible, weird things with
pictures of monsters that come in
space ships from other planets.
I see -- and he's discussed these
stories with you?
Incessantly. He's gotten completely
beyond our control.
All right, Mrs. MacLean -- I'm sure
we'll be able to help him.
Mrs. MacLean turns and looks at David with unsympathetic
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
93. INT. OF DR. BLAKE'S CONSULTATION ROOM - NIGHT - MED.
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.
Have you any relatives, David --
around here, I mean?
(shaking his head)
Just my Aunt Margaret -- but
she lives over in Crystal Falls.
What's her name and address?
Miss Margaret MacLean - 926
Drexel Avenue - Crystal Falls --
Oh, just in case something
(he squeezes David's
We'll work this out together,
Blake exchanges a meaningful look at Pat. He crosses
to an end table and picks up some magazines, which he
hands to David.
Mind amusing yourself for a
Those are the latest issues
of Look and Life. We'll be
Thank you, sir.
Blake and Pat exit into laboratory.
96. INT. DR. BLAKE'S LABORATORY - NIGHT - FULL SHOT
Blake and Pat enter. Pat looks up.
(shaking her head)
That woman's a cold-blooded per-
son if I ever saw one.
Too cold-blooded. You know,
dear, I think that boy is tell-
ing the truth.
But surely you don't believe -- ?
He crosses to the desk and punches an automatic tele-
phone directory list, then dials a number.
Who are you calling?
Stuart Kelston. David says he's
a very good friend of his.
(as he dials)
You don't expect to find him at
the observatory at this time of
night, do you?
That's when astronomers work,
Hello -- Professor Kelston,
Pat sits beside Blake, placing her hand upon his shoulder
Hello, Stu -- Jim Blake --
97. INT. PROF. KELSTON'S OFFICE - OBSERVATORY - NIGHT -
Kelston is a lean, sandy-haired, angular man with a
pleasant Scandinavian face and a slow, pedantic method
Hello, Jim. Who? Yes, I know
No -- I'd say just the opposite
-- Matter of fact, I think he
has the makings of a first-rate
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
98. EXT. NEWSPAPER BUILDING - NIGHT - FULL SHOT
There is a sign reading: "e;HERALD-NEWS."e;
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.
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?
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.
All right, Mr. MacLean -- Pick me up
at ten o'clock tonight.
I'll be alone. And the story'd better
be worth it.
It will be - You'll see.
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
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.
What's that thing?
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.
I mean it shows how much the earth
is tilting on its axis.
At this point, Professor Kelston approaches.
Well, it didn't take you very long.
You've met Patricia Collins, Stu.
Of course. How are you, Professor?
Fine, thank you.
I believe you know ---
(interrupting and af-
his hand on David's
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
Now -- what's the big mystery?
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
Are you sure some of these patients
you deal with aren't contagious?
Tonight I'm not altogether sure of
Blake and David are seated together on a leather divan.
No -- seriously -- you don't happen
to have any scars on the back of
your head -- do you?
Not since football. Why?
Mind letting us have a look?
Are you serious?
Blake nods in affirmation. Kelston rises, crosses in
front of the desk and turns his head around for inspec-
The bump of intelligence is prac-
(looks at Kelston's
Kelston straightens and leans back against the edge of
I don't get it.
I'd like David to take it from here.
All right, David.
Well -- I -- every time I tell anybody
this, they think I'm crazy.
(looking up at Blake)
That is -- I -- I mean I --
Now, David, you go right ahead.
Well -- it started last night.
I was looking for variables in
Orion -- and all of a sudden I
saw this bright light --
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.
-- and everyone of the people that
have those scars, behave strangely.
(turns to David)
Are you positive that you saw these
creatures or whatever they are pull
the little Wilson girl under the
Yes, sir -- I wasn't two hundred
yards away and I was looking
through my one-inch telescope and
it's fifty power.
How far is this field from your
About a quarter of a mile.
Then we could see it from here with
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?
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.
But under the circumstances, I'm
sure it will be all right. Let's
take a look.
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.
We're fortunate -- there's plenty
of moonlight tonight.
106. EXT. MACLEAN FIELD - NIGHT - THROUGH TELESCOPE - MATTE
That's it! That's where they
got Kathy Wilson.
Good heavens! I never imagined
you could see so clearly.
107. INT. GRIFFITH TELESCOPE ROOM - NIGHT - MED. SHOT
Now let's increase the magnifi-
cation so we can get a closer
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.
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
Someone's with him.
Let's get a real close look.
The telescope field narrows and brings MacLean and his
companion up into a MED. CLOSE SHOT.
That looks like Ralph Pulzer.
The editor of the Herald News?
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
Your father stayed in the car.
DAVID' S VOICE
That man's walking right to the place
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
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
If you'll go back to my office --
I'll join you there in a few
Blake takes Pat's arm and he, Pat and David exit.
Kelston crosses to his desk and flips a switch on
George. When did you check the
rocket at White Sands last?
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
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.
Hello, operator. This is Pro-
fessor Stuart Kelston at the
Astronomical Observatory. Get
me the White Sands Rocket
Proving Station, please.
Hello -- White Sands? Give me
the Security Office.
Hello -- is Colonel Fielding
Yes, it's most important.
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
Are you sure?
All right, I'll be at your office
in the morning -- 9:00 o'clock.
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
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.
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-
What do you mean?
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
113. INSERT - SCRAPBOOK
- with clips of flying saucer stories. CAMERA PANS from
one headline to another.
When you see them al together, they
begin to add up.
114. INT. PROF. KELSTON'S OFFICE - NIGHT - FULL SHOT
But the authorities have denied
all these stories.
Yes, they have -- and they will
probably continue to do so.
But why? Why not keep the public
Lack of complete information, I
suppose. And perhaps afraid it
would cause panic and hysteria.
Where are these space ships from,
Our observations lead us to believe
they are from mother ships in free
orbit just above Earth's atmosphere.
But where are these mother ships
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.
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.
That's our planetary system there --
116. INT. PLANETARIUM - LECTURE ROOM - SHOOTING UP AT DOME
- of our planetary system on inverted dome of planet-
arium. A white projected arrow indicates each point as
Kelston speaks 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-
Why -- they're our next door neigh-
Yes -- only a little over three mil-
lion miles --
It would take forever to travel
three million miles.
The scene on the planetarium changes.
117. INT. PLANETARIUM LECTURE ROOM - NIGHT - MED. SHOT
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
But I don't understand -- why don't
we burn up from friction?
There isn't any atmosphere in space
-- therefore -- no friction.
But why do you think they're from
118. INT. PLANETARIUM LECTURE ROOM - SHOOTING UP AT DOME -
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
Do they have cities, too -- the
same as ours?
If they do, they are underground --
the low oxygen content and extremes
of temperature indicate a sub-
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-
But how would Martians have enough
intelligence to build space ships?
The human race doesn't have a
monopoly on intelligence. Besides
-- Mars is millions of years older
than we are.
But what's their reason for travel-
ing so far through space?
Mars is a dying planet. They are
losing their oxygen and water.
Then this could be the start of
I'm afraid it is.
But why did they begin here?
Because of the operations at
But all they're doing at White
Sands is just shooting rockets
up into the air.
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-
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?
Certainly -- what time?
Blake, Pat and David rise. Kelston comes with them to
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
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.
Hm, I see. Come on, young man --
you and I are going out to do a
Can we stop by the hospital and
get my dog?
I don't think we'd better take the
time right now.
We'll take care of him, David.
Blake and David exit. Kelston stops Fielding at the
(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.
Will you get me a description of all
these people? I'll phone you later.
I will, Colonel.
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.
Sergeant, phone Professor Kelston
at the Observatory and see if he
has that information I wanted.
(reaching for the phone)
Fielding turns and exits from the scene.
123. EXT. FRONT OF MacLEAN HOUSE - DAY - MED. SHOT
David is waiting in the driveway as Fielding joins him.
The car's not here.
Well, let's take a look inside the
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.
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.
My mother's suitcase is gone, and
my father's rifle. He used to keep
it in this closet.
What kind of a rifle?
Hm -- I'd like to talk to someone
who -- What about that little girl --
the one you think set fire to her
Kathy Wilson? -- I can take you over
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.
I'm very sorry to hear that, Mrs.
Wilson. When did it happen?
Early this morning.
What did the doctor say?
He said something about a cerebral
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
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-
128. EXT. WILSON HOUSE - MED. GROUP SHOT
I don't know what started the fire!
And I don't know why you have to
torture me with a lot of questions!
I'm sorry and I won't bother you any
David stands frozen, thinking what could happen to his
mother and father.
Thank you -- come along, David.
Mrs. Wilson turns abruptly and enters front door.
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.
Can you point out the place where
the Wilson child disappeared?
He hands the monocular to David, who adjusts it.
(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
Let's have a look.
David hands him the monocular; Fielding looks through
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.
See those bushes down there -- by
the road, Sergeant?
There are three white stones in the
field about one hundred feet from
there at two o'clock.
Yes, sir, I see them.
Go down behind those bushes -- and
when you get there, throw some
rocks as close to those three white
stones as you can.
Whatever's down there must be sensi-
tive to sound -- so keep your distance.
And when I signal you, come back here
on the double.
The Sergeant crosses out of scene, and Fielding turns
Just exactly what did this thing
look like, son? The thing that
grabbed the little Wilson girl.
It moved so fast it was hard for
me to see exactly what it looked
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-
133. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David -- as Fielding looks through monocu-
134. EXT. MacLEAN FIELD - DAY - MATTE SHOT
Through monocular -- of stone falling near the center
of the shot.
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.
Something's moving -- but I can't
make out what it is!
Another stone falls near the trapdoor and it closes
135. EXT. MacLEAN FIELD - DAY - MED. SHOT
Fielding and David. As Fielding lowers monocular.
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
Where's Balardi? Come on!!
He runs toward field, David follows and CAMERA PANS
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.
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
That's the last one they'll get --
come on, son!
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.
This is WJ605. Dispatch White
Sands, 121A. Closed circuit.
Expedite. Priority A-14.
Fielding. Operation 925 is with
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
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.
He presses the stud again.
WJ605. Dispatch 143. Expedite.
Hello, Cagle? -- Fielding..Opera-
Yes -- Now clear the boards for
this...Cover all key supply sources
for the White Sands rocket project.
Put out an all-points alarm for the
following subjects - John MacLean,
Age, thirty-five, height, five feet
eleven. Weight, 165, - hair --
139. INSERT - EXT. PLATE GLASS DOOR
It reads U.S. ARMY INTELLIGENCE - MAJOR G.A. CAGLE
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.
(in a sharp, incisive
Yes, Colonel -- I have it -- John
MacLean -- Mary MacLean -- Ralph
Pulzer, Chief Fred Barrow, Detectives
Jackson and Blaine.
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.
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?
First subject: John MacLean, age
thirty-five, height five feet
2) Hands operating telegraph keys in high speed code.
3) Telegraph wires - odd angles.
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
147. EXT. WIRE FENCE - OXYGEN PLANT - NIGHT - MED. SHOT
Sentry - standing guard at which is obviously a side
148. INSERT - SIGN OVER GATE
"e;ARMSTRONG LIQUID OXYGEN PLANT."e;
A small sign underneath reads:
"e;Apply to main gate for admittance."e;
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
150. EXT. OXYGEN PLANT - NIGHT - MED. SHOT - SEDAN IN B.G. -
SENTRY IN F.G.
You can't park here, lady.
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.
Do you suppose you could find out
what's the matter with it?
(leaning rifle against
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.
Start the motor -- I'll be right
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
Another soldier runs into scene.
There they go!
162. EXT. ROCKET STATION - NIGHT - REVERSE ANGLE
- of Pulzer and Barrows running with the suitcases and
the searchlight following them.
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
What was that?
Those suitcases must have been full
Good thing we got them before they
got to the rocket!
164. INT. BLAKE'S OFFICE - DAY - MED. SHOT
David, Fielding and Cricket are sitting. Pat enters
Colonel Fielding, would you step
in here, please?
165. INT. BLAKE'S OFFICE - DAY - MED. SHOT
Fielding exits into laboratory leaving David and the
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.
(introducing the two
Colonel Fielding -- Dr. Metzler.
(both men murmur "e;How
do you do"e;.
Fielding looks at
Dr. Metzler has completed the aut-
opsy on the little Wilson girl.
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-
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.
This crystal was in direct contact
with the medulla oblongata.
Do you suppose that's how they con-
trolled Kathy Wilson and impelled
her to set fire to her house?
Very possible -- we've done some-
thing similar with white mice --
and have made them follow directional
impulses with high frequency oscil-
But why did the thing explode?
Probably their method of getting
rid of people when they have no
further use for them.
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.
Yes, sir -- just a moment. I'll
He crosses to laboratory door and knocks. Door opens
and Fielding, Blake and Pat enter Blake's office.
It's for you, Colonel Fielding.
Thank you, David.
He crosses and takes the telephone.
Oh, hello, Moody.
Fine -- bring it to the intersection
of State Highway eighty-six and Belle
Meade Road -- with an operator --
He hangs up phone and crosses, speaking to Blake.
Well, we finally got an earth augur.
Is that for boring into the trap
That's what we expect to do, David.
Gosh -- how soon do we start?
Well, I was planning on having you
(jumping up and crossing
But -- but -- I'm the one that dis-
covered this whole thing! -- and,
gee, I ought to be there, I mean --
Well -- all right, but you'll have
to follow orders -- like any other
Oh, I will! -- Sir.
You'd better leave your dog here,
David, he might get hurt out there.
All right - Sir.
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.
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.
170. EXT. MacLEAN FIELD - DAY - MED. SHOT
Lieutenant Blair and Lieutenant Cole enter scene.
All right, Cole -- These people --
or whatever they are -- react to
sound or vibrations. Send Kelley
over to the Northeast corner --
-- of the field.
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?
That's to cover the sound of the
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.
(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
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.
(saluting and exiting)
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.
(in a low voice)
The boy's father and mother and the
others have been brought in. Dr.
Metzler is preparing to operate.
His aunt has arrived too - she's
very disturbed and wants him back
at the hospital immediately.
(turning to Pat)
Pat, why don't you take David back
to the hospital.
You can take my car. Sergeant
Roberts will drive you.
David turns around and walks up to the group.
David, we have to go back to the
hospital. Your aunt's waiting to
Aw, gee -- what for?
Soldiers don't question orders,
But -- But --
An order is an order, young man!
(straightening up mili-
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
174. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Pat -- who looks over her shoulder, sees it and stops.
175. EXT. MacLEAN FIELD - DAY - CLOSE SHOT
Top half of David -- as he stops.
176. EXT. MacLEAN FIELD - DAY - MED. SHOT
Pat -- as she screams and runs toward CAMERA.
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.
They got them! Pat and the boy!
He starts to run toward the spot where David and Pat
(running after him and
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
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.
What is your name?
(in a strained, hoarse
(indicating the Martian)
He is from the fourth planet -- which
you call Mars. He wants to know what
they plan to do - those people up above.
I don't know --
Yes, you do -- and you will answer
in a few moments.
He gestures to the mutants.
193. INT. SPACE SHIP - DAY - MED. SHOT
-- as two mutants approach Pat and suddenly grab her
arms. She attempts to struggle, but is held in a vise-
like grip. She turns suddenly and stares, her eyes
widen further with horror. A panel on a bulkhead swings
open and a mutant pushes a chromium, wheeled operating
table into scene. A tray of surgical instruments is on
194. INT. SPACE SHIP - DAY - MED. SHOT
The surgeon mutant lifts a hypodermic needle and ad-
vances toward Pat. She screams piercingly and hysteric-
ally and continues to scream.
195. INT. SPACE SHIP - DAY - CLOSE SHOT
Surgeon Mutant -- as he lifts the hypodermic needle of
a strange design. His hands, holding the needle, move
out of CAMERA, and Pat's screams stop suddenly.
196. INT. SPACE SHIP - DAY - MED. SHOT
-- as the two mutants lift Pat's unconscious body and
place it on the operating table. David slowly regains
consciousness and sits up, rubbing his eyes in a dazed
197. INT. SPACE SHIP - DAY - NEW ANGLE - MED. SHOT
David -- as his eyes become adjusted to the light and
he reacts in terror at seeing Pat being placed upon the
(starts to his feet,
-- a mutant grabs him and clamps a long black hand
across his mouth.
198. INT. SPACE SHIP - DAY - CLOSE SHOT
David's face -- with the hand across his mouth, his
eyes staring in horror.
199. INT. SPACE SHIP - DAY - MED. SHOT
David's angle - of the mutant surgeon, as he takes up
a complex surgical instrument. In his other hand, he
lifts up and examines a tiny crystal capsule, to which
is affixed a small spiral wire. Turning slowly, he
moves toward the unconscious form of Pat on the operat-
200. INT. SPACE SHIP - DAY - CLOSE SHOT
Back of Pat's neck and crown of her head -- The mutant
surgeon's hands come in and part the hair just above
the nape of the neck.
201. EXT. MacLEAN FIELD - DAY - MED. SHOT
-- with TRUCK in b.g. Fielding, Blake stand in f.g.,
looking toward the field. Just to the left of Fielding,
a soldier stands with a signal pistol held ready.
Fielding is watching the sweep hand on his wrist watch.
He turns to the soldier.
The soldier fires a star shell.
202. EXT. MacLEAN FIELD - DAY - LONG SHOT
Star shell exploding over pasture.
203. EXT. MacLEAN FIELD - DAY - LONG SHOT
Sherman Tank -- starting and moving alongside the field.
A hand grenade is thrown from the open hatch, rolls to-
ward CAMERA, comes to rest on the plowed field and ex-
204. INT. SPACE SHIP - DAY - MED. SHOT
Martian in bell jar -- The Martian's head turns sharply
as a dull explosion is HEARD over scene. The lights go
up in the space ship.
205. INT. SPACE SHIP - DAY - NEW ANGLE
-- as the surgeon mutant removes a strange, complex
helmet affair from Pat's head, while two other mutants
rush forward and carry the Martian quickly through the
bulkhead, closing the bulkhead behind them. The other
mutants race across the room and up the spiral steel
staircase, leaving Sergeant Balardi staring after them.
Pat lies unconscious on the operating table. David
rushes over to Pat.
206. INT. TUNNEL - DAY - FULL SHOT
Just outside trapdoor -- as the last mutant enters the
tunnel through the trapdoor, two other mutants emerge
from a side tunnel carrying a machine mounted on a metal,
stretcher-like base. The machine resembles a large
searchlight with a metal megaphone-shaped device fasten-
ed to the front of the lens. Two heavy insulators stand
vertically just behind the searchlight part of the
machine and they are connected to a thing that looks
like a small condenser by two three-inch copper ribbons.
O.S. can be HEARD the thumping rumble of the tank treads
and a dull sound of exploding grenades. The two mutants
with the machine run down the tunnel out of scene, leav-
ing one mutant standing guard.
207. INT. TUNNEL - DAY - MED. SHOT
-- as the mutants run past CAMERA with the machine and
turn right, through an intersecting tunnel.
208. INT. TUNNEL - DAY - MED. SHOT
-- as the mutants place machine on floor of tunnel and
deflect it upward at an angle of forty-five degrees.
O.S. the sound of the Sherman tank is much louder. Also
the sound of bursting grenades.
209. INT. TUNNEL - DAY - NEW ANGLE
-- as mutants push a stud on the machine and a brilliant
rush of flame emerges from the mouth of the megaphone-
210. INT. TUNNEL - DAY - LONG SHOT
Roof of tunnel -- as the flame from the atomic disin-
tegrator burns a circular hole. The edges of the hole
drip with molten silica, like wax under the flame of
a blow torch.
(PRODUCTION NOTE: For the full scale shots, this ef-
rect can be obtained with a military flame thrower
burning away a wax-covered flimsy. Lycopodiem is jet-
ted into flame with compressed air.)
211. EXT. FIELD - DAY - MED. SHOT - (MINIATURE)
-- as a shaft of brilliant white flame comes up out of
the earth and engulfs the Sherman tank.
212. EXT. FIELD - DAY - CLOSE SHOT
Soldier in open hatchway of tank engulfed in flames.
213. EXT. MacLEAN FIELD - DAY - MED. CLOSE SHOT - (MINIATURE)
Tank treads and forepart of tank, as it melts into a
shapeless, molten mass.
214. EXT. MacLEAN FIELD - DAY - FULL SHOT
Earth augur -- being removed from the circular four-
foot hold in field. Soldiers with sub-machine guns and
miners' lamps attached to their helmets stand by.
Lieutenant Blair and his demolition team are carrying
their C-two packs strapped across their shoulders.
Fielding runs into scene carrying a sub-machine gun.
Fielding crosses to the hole and drops down into it and
is instantly followed by the men. As the last of them
enter the hole, Blake runs into scene and drops into
the hole after them.
215. INT. TUNNEL - DAY - MED. SHOT
-- as Fielding and the soldiers, followed by Blake, run
216. INT. TUNNEL - DAY - NEW ANGLE
-- as the party approaches a branch tunnel. Two sol-
diers are delegated to explore it while the main party,
including Lieutenant Blair's demolition team, proceeds.
Fielding turns and suddenly recognizes Blake.
What are you doing down here?
I'm going to find Pat.
Well -- come on --
217. INT. TUNNEL - DAY - MED. SHOT
Fielding, Blake and soldiers cautiously round turn and
come toward CAMERA.
218. INT. TUNNEL - DAY - LONG SHOT
-- the soldiers in f.g. Their miners' lamps light the
tunnel at the far end of which the mutant standing guard
by the trapdoor, spreads his legs and arms and waits.
219. INT. TUNNEL - DAY - MED. CLOSE SHOT
-- as the rescue party stops.
What in the name of time is that?
I don't know. Fire on command!
Two of the soldiers drop to their knees and aim their
guns at lens. The other four and Fielding raise their
guns and aim at the lens.
220. INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant -- who starts lumbering forward toward group.
221. INT. TUNNEL - DAY - REVERSE SHOT
Rescue party -- with all tommy guns aimed at lens.
Seven tommy guns fire a short burst directly at lens.
222. INT. TUNNEL - DAY - MED. CLOSE SHOT
Mutant - as he is blown over backwards.
223. INT. TUNNEL - DAY - LONG SHOT
Rescue party -- running through tunnel toward CAMERA.
They step over the body of the dead mutant.
224. INT. SPACE SHIP - DAY - FULL SHOT
-- as rescue party runs down spiral staircase.
225. INT. SPACE SHIP - DAY - MED. SHOT
-- as Sergeant Balardi looks toward ladder and aims his
forty-five. David grabs his arm and spoils his aim.
226. INT. SPACE SHIP - DAY - MED. SHOT
-- as a soldier leaps off the top of the spiral stair-
case and knocks Balardi to the floor. Balardi's pis-
tol falls to the floor. David picks up the pistol...
227. INT. SPACE SHIP - DAY - FULL SHOT
-- as Balardi fights furiously with his fists. A sol-
dier knocks him out with the butt of his gun.
Hey, what's the matter with this
He doesn't know what he's doing.
Take him outside.
The soldiers exit with Balardi. Fielding turns to David.
You go with them, son.
227A. INT. TUNNEL - DAY - MED. SHOT
At door or space ship. David comes up the ladder and
looks up the tunnel where the two soldiers and Balardi
have disappeared. He runs after them.
228. INT. SPACE SHIP - DAY - MED. SHOT
-- as Blake and Fielding run up to Pat, who is still
He shakes her, but she does not regain consciousness.
Blake picks her up and carries her up the spiral ladder.
228A. INT. TUNNEL INTERSECTION - DAY - MED. SHOT
David runs toward camera and pauses uncertainly at the
intersection. He doesn't know which tunnel to take.
He finally chooses the right hand tunnel and runs out
229. INT. SPACE SHIP - DAY - FULL SHOT
Fielding, Blair and his demolition team stare around the
space ship. Fielding crosses and attempts to open one
of the bulkheads.
I hate to destroy this ship, but
we can't afford to take any
chances. Go ahead and place your
C-two charges, Lieutenant.
Blair signals one or the men, who removes his demolition
pack and places it near the bulkhead. He pulls back the
canvas cover exposing a clock time fuse. The other
demolition expert is setting his charge at the opposite
end of the ship.
What interval shall I set it to
Six minutes will give us enough
230. INT. SPACE SHIP - DAY - CLOSE SHOT
Demolition expert sets dial to six minutes and pulls
231. INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
-- as two soldiers run into scene from branch tunnel.
They stop just around the corner of the tunnel and
each takes a Mills grenade from his bag and pulls the
pin with his teeth and drops down into position to
hurl the grenade into the tunnel.
232. INT. TUNNEL - DAY - MED. SHOT
The two mutants with the atomic disintegrator are pur-
suing the soldiers.
233. INT. TUNNEL - AT INTERSECTION - MED. SHOT
Two soldiers - as they wait to throw grenades.
Here they come!
Both of them hurl their grenades down the branch tunnel
and flatten back against the wall.
234. INT. TUNNEL - DAY - LONG SHOT
-- as the grenades explode and roof of tunnel caves in,
and falls in front of mutants, filling the tunnel with
235. INT. TUNNEL - FROM BEHIND MUTANTS - DAY - MED. SHOT
-- as they place the atomic disintegrator on floor of
tunnel and direct it toward the piled-up debris. One
of them presses a stud and a bright sheet of flame
burns through the debris.
236. INT. TUNNEL AT INTERSECTION - DAY - MED. SHOT
-- as the flame burns through.
Let them have it again!
They throw two more grenades, which explode, blocking
the tunnel again.
Hurry -- tell everybody to get out
of here. I'll try and hold 'em off.
The second soldier turns and runs out of scene and up
the main tunnel to the right. The first soldier hurls
another grenade, which explodes, dropping the roof of
the tunnel and blocking it again.
237. INT. ANOTHER SECTION OF TUNNEL - DAY - MED. SHOT
-- as second soldier encounters the two soldiers bearing
the unconscious form of Sergeant Balardi.
Pass the word -- we gotta get out
of here right away!
A sergeant takes a whistle from his pocket and blows
three sharp blasts, then repeats it.
238. INT. DIFFERENT SECTION OF TUNNEL - DAY - MED. SHOT
-- as another soldier HEARS the whistle signal in the
distance and repeats it on his whistle.
239. INT. SPACE SHIP - DAY - FULL SHOT
-- as Fielding, Blair and demolition team react to the
whistle signal and run to the spiral staircase.
240. EXT. MACLEAN FIELD - DAY - MED. SHOT
-- as Blake emerges from trapdoor, carrying Pat with
him. A soldier standing at the top of the trapdoor
hears the whistle signal in the distance.
That's emergency retreat! Get her
out of here on the double.
Blake moves quickly out of scene, carrying Pat with him.
241. INT. TUNNEL INTERSECTION - DAY - MED. SHOT
Soldier at branch tunnel - as a burst of flame cuts
through debris some distance up branch tunnel. As
flame breaks off, he quickly hurls another grenade,
which explodes down the tunnel, again dropping the roof.
Two soldiers running, halt by the branch tunnel.
Better stand by with grenades and
help me hold these monkeys off!
They've got some kind of a flame
thrower that cuts right through
rocks and dirt. Watch it -- here
they come again.
A blast of flame billows out of the tunnel, then blacks
out and the first soldier throws another grenade. The
other soldiers also throw grenades against the collap-
sing roof of the tunnel. At this point Lieutenant
Blair, his men and Fielding enter scene.
All right -- keep going -- on the
double! Get moving, you two!
The two soldiers run out of scene, followed by Fielding.
Blair signals one of the demolition men to remain and
place a charge. The others exit quickly. The demoli-
tion man who was left behind starts to set the fuse.
241A. INT. TUNNEL - DAY - MED. SHOT
David hurries along the tunnel, approaches another inter-
section. He hears the whistle faintly in the distance
and stops. He is again faced with the decision of which
tunnel to choose, and is becoming panic-stricken.
241B. INT. TUNNEL - INTERSECTION - DAY - CLOSE SHOT
David - the sweat stands out on his forehead as he tries
to peer into the tunnel ahead of him. He starts to turn
into the right hand tunnel when he hears faint footsteps
approaching. He is about to call when some instinct
prompts him to press back against the tunnel wall.
241C. INT. TUNNEL INTERSECTION - DAY - MED. SHOT
A mutant is cautiously making his way down the tunnel.
He pauses and looks back at the direction from which
he came. He advances a few more feet and reaches the
intersection, where he stops.
241D. INT. TUNNEL INTERSECTION - DAY - CLOSE SHOT
David is pressing himself as far into the corner of the
opposite tunnel wall as he can. He is terrified. As he
presses closer to the wall, he dislodges a tiny pebble,
which rolls down the wall on to the floor of the tunnel.
241E. INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The mutant hears the sound of the pebble falling and
looks around. He starts to advance toward where David
is standing when a whistle is heard faintly in the dis-
tance. He quickly turns and lopes off into darkness.
241F. INT. TUNNEL INTERSECTION - DAY - MED. LONG SHOT
David waits until the mutant disappears and then runs
up the opposite tunnel.
241G. INT. DIFFERENT TUNNEL INTERSECTION - DAY - MED. SHOT
The demolition man who set the last C-2 charge is hurry-
ing along endeavoring to catch up with Blair and the
other men. He reaches the intersection and bumps
squarely into the mutant who is loping up from the other
tunnel. The mutant envelopes the soldier in his huge
arms and starts to bend him backwards. The soldier vain-
ly struggles for his pistol, but is like a child in the
mutant's hands. He screams but the mutant covers his
mouth with a hairy paw.
241H. INT. TUNNEL - DAY - MED. LONG SHOT
Blair and the rest of the demolition team hear the faint
screams behind them, and turn back.
241I. INT. TUNNEL INTERSECTION - DAY - MED. SHOT
The soldier is struggling, but growing weaker, as the
mutant has him bent over nearly double. Blair and his
men round the corner and charge for the mutant, who
drops the soldier. As the mutant leaps forward, he is
met by a hail of tommy-gun slugs, and drops in his
tracks. The men pick up the injured soldier and run back
up the tunnel.
242. INT. TUNNEL - DIFFERENT INTERSECTION - DAY - LONG SHOT
-- as several soldiers and Fielding run past CAMERA.
(looking over shoulder)
There they are again!
243. INT. TUNNEL - DAY - REVERSE LONG SHOT - HIS ANGLE
Mutants -- entering main tunnel with machine.
All right -- rest of you keep moving.
You, Sims, and Watson -- give 'em a
244. INT. TUNNEL - DAY - MED. SHOT
Fielding, 1st and 3rd soldier firing their tommy-guns
toward lens, as they back around a curve in the tunnel.
245. INT. TUNNEL - DAY - MED. SHOT
From behind Fielding, 1st and 3rd soldiers as they back
around a 90 degree turn and a blast of flame strikes
the wall just in front of them. Fielding and the two
soldiers back away from the searing heat, shielding
their faces with their arms.
Come on! Out of here on the double!
They turn and run down tunnel and out of scene.
246. INT. INTERSECTION TUNNEL - DAY - MED. LONG SHOT
Blair and his demolition team enter. The men carrying
the injured soldier continue on. Blair looks around and
signals one of the demolition men to place a C-two
charge at the intersection of the tunnels. Blair looks
at his wrist watch.
The soldier sets the time fuse, pulls the pin and they
all exit quickly.
247. INT. INTERSECTION TUNNEL - DAY - MED. SHOT
Fielding and two soldiers run past intersection and con-
tinue on. Huddled in a dark corner we see the two mu-
tants holding the Martian on his tray. One of the mu-
tants is also carrying a strange looking antenna device.
They turn and disappear into the darkness.
247A. INT. TUNNEL - DAY - MED. SHOT
David runs toward camera. It PANS with him as he comes
to a dead end, which slopes steeply up. He stops and
looks about him uncertainly.
247B. INT. TUNNEL - DIFFERENT INTERSECTION - DAY - MED. CLOSE
C-2 demolition charge - we hear the sound of the time
clock ticking away.
Face of C-2 demolition time clock. The second hand is
slowly moving around. The minute hand reads: two minutes.
247D. INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David climbs to the top of the slope at the dead end
of the tunnel and peers up at the roof.
247E. INT. TUNNEL - DEAD END - DAY - CLOSE SHOT OF TUNNEL ROOF
The faint outline of what could be a mutant trapdoor is
barely visible in the half light.
247F. INT. TUNNEL - DEAD END - DAY - MED. SHOT
David stands on his tiptoes and strives to reach the
trapdoor, but can't quite touch it. He frantically
sets to work digging at the fused earthen wall, trying
to carve a foothold. His fingers make little impression
on the hard surface. Seeking something to use as a
digging instrument, he feels his belt buckle. He tears
off the belt and again starts to dig. From over head,
we hear distant sounds of moving vehicles.
248. EXT. MACLEAN FIELD - DAY - FULL SHOT
Trapdoor through which the rescue party entered. Two
soldiers are on their hands and knees lifting the others
out of the hole as swiftly as possible. Balardi and
Pat are already in a waiting Jeep, which rolls away out
of scene. The mechanized earth augur is rapidly moving
out of scene. Another jeep races into scene as the
injured soldier is lifted through the hole and all the
soldiers and Fielding jump aboard the Jeep which moves
out of scene.
249. EXT. MACLEAN FIELD - LONG SHOT
Jeeps and earth augur - hightailing it across pasture,
as a burst of flame shoots high into the air through
the hole from whence the rescue party just emerged.
250. EXT. CORNER OF MACLEAN'S FIELD - DAY - MED. SHOT
Some distance from the trapdoor, the two Jeeps have
stopped by the ambulance. Fielding helps five or six
soldiers remove Balardi from the Jeep. He fights
furiously. A soldier and Blake are lifting the uncon-
scious form of Pat from the Jeep.
Hurry, let's get them to the
(he gestures toward
the soldier who was
injured in the fight
with the mutant)
Give him first aid -- I'll send
the ambulance right back.
The driver runs to the back of the ambulance, opens it,
takes out two stretchers and restraining bands. Pat,
still unconscious, is placed on one stretcher, Balardi
is placed on the other, and strapped down with the re-
straining bands. Blake and the driver enter the am-
bulance, and it pulls out of the scene at high speed,
250A. EXT. CORNER MACLEAN FIELD - DAY - MED. SHOT
Fielding suddenly turns to Lieutenant Cole.
I don't know, Colonel. Wasn't
he with Lieutenant Blair?
(to Blair, worried)
Lieutenant, have you seen David?
Why, no. Didn't he come out of
the tunnel with you?
No. I sent him up long ago. If
he didn't come out with you he
must still be down here.
(he is frantic)
How much time before the demoli-
tions go off?
(looking at his watch)
One minute, sir.
Fielding makes a move for the jeep. Blair puts his hand
on Fielding's shoulder, stopping him.
You'll never make it, sir.
Fielding and Blake look at each other in hopeless
250B. INT. TUNNEL - DEAD END - DAY - MED. SHOT
David is desperately digging at the wall of the tunnel.
He has clawed away enough earth and rock to almost
touch the trapdoor. He stops to rest, wipes the sweat
from his eyes and again attacks the tunnel wall with
his belt buckle.
250C. INT. TUNNEL - INTERSECTION - DAY - INSERT TIME CLOCK
It reads: 40 seconds.
250D. INT. TUNNEL - DEAD END - DAY - MED. CLOSE SHOT
David is frantic. He is within inches of the trapdoor
and still digging.
250E. INT. TUNNEL INTERSECTION - INSERT TIME CLOCK FACE
It reads: 20 seconds.
250F. INT. TUNNEL - DEAD END - DAY - MED. SHOT
David has reached the tunnel roof and is pushing on the
trapdoor. It slowly rises and the daylight streams in-
to his face as he clambers out.
250G. EXT. CORNER MACLEAN FIELD - DAY - LONG SHOT
Shooting over the backs of Fielding, Blair and Cole
toward the center of the field. David is seen climbing
out of the trap door. Fielding jumps into the jeep -
yells at the driver - the jeep roars toward David.
250H. EXT. FIELD - DAY - AT TRAPDOOR
The jeep tears into the scene. Fielding reaches out and
lifts David into the jeep. Without stopping, it roars
out of scene.
251. EXT. MACLEAN FIELD - DAY - LONG SHOT
The jeep, with Fielding and David, speeds toward camera.
The other soldiers are taking refuge behind the cars
and equipment, awaiting the explosion. Suddenly, there
is a violent detonation and a cloud of earth and debris
mushrooms into the sky.
252. EXT. ROCKY RIDGE OVERLOOKING MACLEAN FIELD - DAY -
In the distant b.g. we see the general activity after
the explosion. Men are picking themselves up from the
ground, brushing themselves off, looking back at the
crater, caused by the explosion. In the immediate f.g.
a trapdoor opens in the ground and we see the hairy
arm of a mutant come into scene. The rest of his
body appears in deep silhouette. He is followed by
the second mutant who is carrying the antenna device.
253. EXT. MACLEAN FIELD - DUSK - FULL SHOT
Fielding and Lieutenant Cole are in foreground at rim
of crater, caused by the explosion. They are inspect-
ing a battered portion of the space ship's instrument
panel. Lieutenant Blair enters scene carrying intricate
looking instrument, similar to an altimeter. He hands
it to Colonel Fielding.
This instrument seems to be intact,
Fielding inspects the instrument and hands it to Cole.
It appears to be similar to our
high altitude anaroids.
(he then turns back
Did you finish checking the tunnels,
Yes, sir. Our demolition charges
cleaned them all out.
Be sure the boys bring in everything
They resume their inspection of the space ship instru-
254. EXT. MacLEAN FIELD - DUSK - MED. SHOT
Shooting toward Rocky Ridge. David walks slowly up the
hill. He stoops and picks up a small piece of metal,
which he puts in his pocket.
255. EXT. MacLEAN FIELD - ROCKY RIDGE - DUSK - MED. SHOT
Fielding, Cole, Blair and several soldiers, two of
whom have just placed some portions of the space ship
on the pile. A sergeant enters scene.
Dr. Metzler just called from the
hospital, sir. The operations
Thank you, sergeant.
He looks around.
I want to get back right away!
He was up there a couple of minutes
Looking for souvenirs.
Thanks, Lieutenant. You and your
men did a fine job. You can report
back to the base.
He leaves. And Fielding moves out of scene in the dir-
ection to which Blair had pointed.
256. EXT. ROCKY RIDGE - MacLEAN FIELD - DUSK - MED. LONG
David is walking aimlessly toward the mutants whom we
see in silhouette in the f.g. David stops and picks
up a piece of metal. He examines it, throws it aside,
and sees something closer to CAMERA near where the mu-
tants are hiding. As he starts for the object we HEAR
Fielding's voice o.s.
David turns, looks at him, then turns and looks at the
object that he was interested in.
There's something up here that
might be ---
Never mind. They'll get all of
that tomorrow. We've got to go
back to the hospital now.
David turns and runs back to Fielding.
257. INT. DR. BLAKE'S CONSULTATION ROOM - MED. FULL SHOT
David and his aunt, Margaret MacLean, a pleasant, forth-
right woman, are seated. They have an attitude of ex-
pectancy. Cricket is seated on the sofa next to Aunt
Margaret. She is petting him. It is apparent from the
dog's attitude that he knows her.
They've been in there a long time,
It only seems like a long time, dear.
(trying to switch his
Has Cricket had his supper yet?
The nurse gave him some toast and
We'll give him some real food when
we get home.
Fielding and Blake enter. David jumps up.
Are they all right?
Your father and mother are going
to be just like they were before --
before these -- things happened.
When I talked to them, David, their
only concern was for you.
(turning to his aunt)
They - they didn't know what they
were doing -- did they, Aunt Mar-
They weren't responsible for any-
thing that happened, David. Now
go home with your aunt and get a
good night's sleep -- you'll see
them tomorrow morning.
Aunt Margaret and David cross to the door.
(turns to the dog)
Come on, Cricket, we're going home.
258. EXT. ROCKY RIDGE - OVERLOOKING MacLEAN FIELD - NIGHT -
Two mutants and Martian - as one of them adjusts a
series of rings like a miniature radio direction loop,
then presses a stud and violet sparks ripple and dance
around the edges of the rings and a shrill, high-fre-
quency buzzing sound, broken up like very fast code,
emanates from the machine. The two mutants and the
Martian raise their eyes upward and stare into space.
Then they look off stage.
259. EXT. MacLEAN HOUSE - NIGHT - MUTANT'S ANGLE - LONG SHOT
The lights are burning in the MacLean house.
260. INT. DAVID'S BEDROOM - NIGHT - FULL SHOT
David is in his pajamas, Cricket is on the foot of the
bed, and Aunt Margaret is pulling back the covers.
All right, young man, into bed with
Okay, Aunt Margaret.
She ruffles his hair, kisses him, then crosses to the
door, turns off the light and pauses before she exits.
Good night, dear.
Aunt Margaret exits, closes the door after her. The
CAMERA PANS to Cricket on the foot of the bed. His
ears suddenly perk up and he looks toward the window.
He whimpers, then jumps off the bed and patters to the
window. He puts his paws on the sill, looks out and
(sitting up in bed)
What's the matter, Cricket?
David jumps out of bed and crosses to the window. He
looks out into the night. His eyes widen. He quickly
removes the muslin cover from his telescope and puts his
eye to the eye-piece.
261. EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
-- of a ball of white fire rapidly descending. Tele-
scope matte shot PANS and the ball of white fire de-
scends upon the ridge and dies to a soft glow.
262. INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David -- as he makes quick adjustments of the ocular
and again presses his eye to the telescope.
263. EXT. MacLEAN FIELD - ROCKY RIDGE - NIGHT - TELESCOPE
-- of round bulkhead opening in section of space ship
seen through screen of heavy bushes and trees. The sil-
houette of the two mutants carrying the Martian in his
plastic dome enters scene and goes through bulkhead,
which closes behind them. Then the scene is burned out
by a blinding white light.
264. EXT. MacLEAN FIELD - NIGHT - TELESCOPE MATTE SHOT
-- as the ball of white fire ascends swiftly and dies
away in the distance.
265. INT. DAVID'S ROOM - NIGHT - CLOSE SHOT
David - clutching Cricket against him and staring out
Well - gee, whiz!!