ITEE TWILIGET ZONE

Seaeon Three

"To Setwe Mant'

Teleplay bY

ROD SERLfNG

Air Date: tlarch 2, L962

1. Standard road opening With v e h ic le s ma s h in g i nfn I afl - arc
+v 9 9 v! 9,

n r . ) rir r ' l qi a'n i nf n q 1 - .a r r \z ni rrht

rr+Yrrut then PAN DOWNTO O P E NI NG S H O T
yrvyu!v+vrr vLsr-J

OF PLAY.

2. Fi].E clip U.N. building [Day]

DI S S O L VE T O :

3 . TNT. GENERAI.ASSEMBLY [DAY]

A gi a n t ca ve rn o u s ro om/ at this moment absolutely em pty and

d e vo i d o f so u n d .
DI S S O L V E T O :

4. Pan shot acroEs ttre front row of deskE Taking in a shot

of the cards on each d e s k : " Un it e d S t a t e s o f A me ric a , " " U n i t e d
Kingdom, " "India, " "Arg e n t in a , " e t c e t e ra . O v e r t h is p a n w e
he ar S erling's voice.

SERT.ING'S VOICE
This is the G e n e ra l A s s e mb ly o f t h e
United Natio n s a t f o u r o ' c lo c k in
the afternoon o n a g iv e n d a y . K in d ly
note: the ro o m is e mp t . y . B u t t h is is
due not to a lo n g lu n c h h o u r, n o t t o
the end of t h e wo rld , a n d n o t t o a n y
Iabor trouble o n t h e a mb a s s a d o ria l
leve1. The re p re s e n t a t iv e s of the
nations of t h e wo rl-d a re a t t h is
moment watc h in g t h e ir t e le v is io n
sets and lis t e n in g t o t h e ir ra d io s
much as are t h e p e o p le in t h e
countries t h e y re p re s e n t t h ro u g h o u t
1- ho o: r f h

DI S S O L V E T O :

5. Large double oaken doore With the title printed on them

o n a brass plate, "S ec re t a ry G e n e ra l. "

SERLING'S VOICE
For as we will s o o n s e e . . . t h is is
rather mome n t o u s a f t e rn o o n .

ABRUPT CUT TO:

6. I!{T. SECRETARY GEIIERAT'S OETICE E:KTREDIELYTTGET CIOSE

SEOT SECRETARY'S FACE

Perspiring, haggard, t o rn . T h e CA ME RAP UL L S B A CK f o r a s h o t

of the room, Ioaded wit h re p o rt e rs , t v c a me ra s , a n d a my r i a d
collection of shouting ' , g e s t u rin g , millin g p e o p le . Ca mer a m e n
ke ep shouting to the s e c re t a ry t o t u rn t h is wa y a n d t h a t w a y
for a better shot. Ra d io t e c h n ic ia n s k e e p t h ru s t in g
m icrophones closer to h is f a c e a n c i t h ro u g h o u t , t h e S e c re t a r y
pleads, exhorts, supp lic a t e s for a s e mb la n c e o f ^^*.i
D d.rr.L Ly
!,- .:
Irl-
th e room.

SECRETARY
P lease, gen t le me n . P l_ e a s e. Ma y we
have quiet, p le a s e ? Wo u ld y o u g iv e
me vour att e n t io n ?

7. Different angle the roon As U.N. guards move clr\JL,llrLl, r *a" *n

d e sperately trying to b rin g q u ie t . f n t h is s h o t we s e e a

l ong line of interpret e rs , e a c h s it t in g in f ro n t o f t h e ir
own small table with a mic ro p h o n e .

8. Different angle Seeretary General As he rises.

SECRETaRY (CONT'D)
( (over t h e g ro win g
quiet )
I have a pr e p a re d s t a t e me n t . I Sdy,
I have a pr e p a re d s t a t e me n t . . .
(Iouder n o w)
May I read it n o w, p le a s e ? Wo u ld y o u
give me you r a t t e n t io n , p ie a s e ?
At 1- ar r ias =nat ='l 'l
erhiS
rru nnini-
t/vr r r u QUI€L gl
-- -a( fU a- L* r
..1,.^l lrr r - :l z ac hnl
..- * rJl anq al - l ey es
^r ,A6 afe On
him as he rises and pic k s u p a t y p e writ t e n s h e e t . He d a bs a t
th e perspi-ration on his f o re h e a d a n d g rip s t h e p a p e r mo r e
tig htly to stop his f in g e rs f ro m t re mb lin g .

SECRETARY ( CONT'D)
Ladies and g e n t le me n . . . la d ie s and
gent1emen.. . f s h o u ld l-ik e t o
recapitul-ate the events of the past
eleven days .

The CAMERAMOVESACROSS THE ROOMto move down the row of

in fer nr e1- c r s es eer - h-
vsvr:f
'i n
L tt hie
r tr J n:l-
llqLI i r zvgo 1u vl.rnyqnvt r r r r a qi-:rr< tL -v n
uuq! uu

si multaneously translat e the S e c re t a ry ' s a n n o u n c e me n t .

CUT T O :

9. Close shot Secretazy General.

SECRETARY ( CONT'D)
On the Fourt e e n t h o f Ma rc h s h o rt -
wave broadc a s t s we re re c e iv e d in t h e
principal c a p it a ls o f t h e wo rld .
These messag e s v e ry o b v io u s ly d id
not originate o n E a rt h . T h is h a s
been scient. if ic a lly attested to.
Rather, they c a me f ro m a n
extraterrestri a l ra c e c a llin g
themselves t h e K a n a mit s . T h e f irs t
messages we re s o me wh a t c ry p t ic ,
announcing me re ly t h a t t h e re wo u ld
be multiple la n d in g s ma d e a t v a rio u s
points aroun d t h e E a rt h . We we re
 SECRETARY
further told t h a t t h e s e la n d in g s
would be pe a c e a b le a n d t h a t we s h o u l-d
take no ala rm. T h e s e . . . t h e s e
broadcasts c o n t in u e d o v e r t h e p a s t
several day s , e a c h g ro win g s o me wh a t
stronger th a n it s p re d e c e s s o r.

10. Pan shot aror:nd ttre faces of the people In the room. The
d r one of the interprete rs ' v o ic e s c o n t in u e s u n d e rn e a t h .

11. Baek to scene

SECRETARY(CONT'D)
A t eleven t h is mo rn in g , e a s t e rn
scandard time , t h e f irs t of these
landings to o k p la c e in a n a re a ju s t
outside of Ne wa rk , Ne w , -T e rs e y . We
have subseq u e n t ly h a c i re p o rt s of
other landin g s in t h e S o v ie t Un io n ,
in Norway, t h e s o u t h e rn c o a s t o f
France, in a n a re a a ro u n d Rio d e
Janeiro, an d s e v e ra l o t h e rs . As of
this momen t we h a v e n o t s e e n t h e
occupants o f t h e c ra f t s that have
Ianded. S pe a k in g o n b e h a lf o f t h e
United Natio n s , I can teIl y o u o n ly
that at this mo me n t it wo u ld b e
premature r o a s s u me h o s t ile in t e n t
on the part o f t h e s e . . . t h o s e K a n a mit s .
S o it is the p o s it io n o f t h e Un it e d
Nations that t h e wo rld p o p u la t io n
remain calm. . . t o ma k e n o h o s t ile
move...and t o k e e p in min d t h a t a ll-
governments a re b e in g a p p ra is e d o f
the events a s t h e y h a p p e n a n d h a v e
the situation we ll in -

REPORTER *1
What do thev lo o k lik e ?

CUT T O :

L2. E\rll shot the room As several other people take up this
shout.

REPOREER I+1 E REPORTER *2

Y eah, what d o t h e y lo o k lik e ? Wh y
are they comin g ? Wh o a re t h e y ?

13. Different angle Secretarl'General Who holds up his hands.

SECRETARY
Please. c l e nfl emen.
Y
vrr e 4 \ P l eaS e. As Of
'

this momen t we d o n o t k n o w wh a t t h e y
Iook like o r wh o t h e y a re . We k n o w
(MORE)
 SECRIiTARY (CONT'D)
only that s e v e ra l o f t h e ir c ra f t
have landed a n d t h a t -

CU T T O :

1{. Long ehot across the room of the double doors As they
su ddenJ-y swing open a n d s e v e ra l g u a rd s e n t e r a lo n g wit h a
m a n in a civilian suit , o b v io u s ly s o me k in d o f d ig n it a ry . He
r u shes across the room o v e r t o t h e S e c re t a ry G e n e ra l a n d
wh ispers something in h is e a r.

REPOREER *2
W hat's going o n ? Wh a t ' s h a p p e n in g t ?

Again various voices c a k e u p t h is q u e s t io n .

15. Close shot SecretarT General As he mops his brow again.

SECRETARY
It seems tha t . . . it s e e ms t h a t o n e o f
the craft h a s ju s t la n d e d a f e w b lo c k s
away. One o f t h e . . . o n e of the
representativ e s is o n h is wa y t o
this buildin o ' .
(he wipe i n is b ro w
again )
It appears
'(ire that he-
turns to t.he
f h
^-i
\,r!vrrf LaJ.y
--" o9aarr,
-^-.i
^.i .I..i 'l .i
wers^ n . r-s r-] -p s ,
r,^i
- -

whispe rs s o me t h in g
in the o t h e r ma n ' s
ear, g e t s s o me t h in g
whispe re d b a c k in
turn, then faces the
room a g a in )
The...the " K a n a mit " wilf b e h e re
presently. He h a s re q u e s t e c i a n
audience w it h t h is o rq a n iz a t io n .

He looks at the dignit a ry a g a in wh o n o d s a n d t h e n lo o k s a t

the clock. PA\I OVER TO CLOCK then PAII BACK OVER for a shot
o f the S ecretary Gen e ra l wh o t a k e s a d e e p b re a t h a n d s it s
do wn.

SECRETARY(CONT'D)
S o for the mo me n t I wo u l-d a s k y o u
again to all re ma in c a lm. O n e o f
our...our " v is it o rs " wilL v e ry s h o rt ly
make himself k n o wn .

15. Pan shot around the faces again Winding up on a shot of

the double doors whic h h a v e b e e n c lo s e d , b u t wh ic h s u d d e n l y
b e gin to open. P A N BA CK A CRO S ST HE RO O M, p a s t t h e s ile n t ,
tense faces until we a re o n c e a g a in o n t h e S e c re t a ry G e ne r a l .
The silence is sudden ly b ro k e n b y t h e c re a k in g d o o rs .
L7. Different angle the Secretarl' at this desk As a giant
sh adow crosses it. T h e S e c re t a ry G e n e ra I , e y e s wid e n in g ,
Io oks first eye level, t h e n s lo wly ra is e s h is e y e s .

18.-21. Several shots of the people in the room As they too

Ii ft their eyes. Over t h is we h e a r t h e c lu mp , c lu mp , c lu m p
o f footsteps as they e n t e r t h e ro o m.

22. Iuong shot across ttre room Of the Secretary General as he

sl owly rises and into t h e f ra me , o b lit e ra t in g t h e c a me ra/ i s
the giant back of the K a n a mit wh o wa lk s v e ry s lo wly a n d
pu rposefully toward th e d e s k a t t h e f a r e n d o f t h e ro o m. A l t
w e can tell- from the re a r is t h a t t h is is a v a s t h u lk o f a
be ing over ten feet ta I l.

SLOW FADE TO BLACK:OPENING BILLBOARD-FIRST CO},[.4ERCIAI,_FADE

23 . IITT. SECRETERY GENERAT' S ROOtr{ TDAY] CLOSE SEOII TEE

KA}IAMTT'S FTNGERS

D r umming on the table. T h e p e rs p e c t iv e h e re is t h a t o f a

huge hand on a very small surface. The CAMERAPULT,SBACK for
a s hot of the K anamit s it t in g in a c h a ir s e v e ra l- s iz e s t o o
sm all for him. (Note: We n e v e r s e e t h e " c re a t u re " at the
same time as the actua l p e o p le a n d a re re min d e d o f h is s i z e
in his relationships t o o t h e r o b je c t s lik e c h a irs , t a b le s ,
ashtrays, etc. ) The CAMERAMOVESAROUNDfor a shot of the
pr ofile of the K anamit . He is v a s t , a ll-e n v e lo p in g , and when
he finally does turn t o wa rd t h e c a me ra , we s e e t h a t h is f a c e ,
w hil-e humanoid in gen e ra l a p p e a ra n c e , is a l-mo s t a s if s om e o n e
ha d been sculpturing if a n d h a d le f t t h e jo b p re ma t u re ly . It
h a s two eyes, very wid e a p a rt , a s ma ll o p e n in g t h a t p a s s e s
fo r a nose, and a tiny , a lmo s t imp e rc e p t ib le c irc u la r h ol e
fhaf rlasscs fOr mouth . B u t wh e n t h e Cre a t u re s p e a k s t h e f a c e
tsevvvv

r e mains immobile and t h e v o ic e h a s a t in n y , re t o rd e d q u al i t y .

ft looks slowly aroun d t h e ro o m, t h e n h o ld s u p a rig h t ha n d
in the tradi-ti-ona1 ge s t u re o f p e a c e .

KA}IAMIT
Ladies and g e n t le me n o f t h e E a rt h ,
we greet you in p e a c e a n d f rie n d s h ip .
W e come from a p la n e t f a r b e y o n d t h e
known univers e . A p la n e t f a r mo re
developed t h a n E a rt h , b u t we c o me a s
friends. O u r. . .
(the cr e a t u re t u rn s
away as if s e a rc h in g
for a wo rd )
Our intention s a re h o n o ra b le . We
desire abov e a ll t h in g s t o h e lp t h e
people of Ea rt h . T o e s t a b lis h . . .
(MO RE )
 KAT.IAI'fIT (CONT'D)
(again h e lo o k s o f f
and sl o wly re a c h e s
down a n d t a k e s o u t a
small- b o o k le t wh ic h
he ref e rs t o . He
then n o d s lu mb e rin g ly ,
looks b a c k u p )
. . . embassles h e re a n d in t h e n e a r
future to se t u p re c ip ro c a l v is it s
between E art h p e o p le and K a n a mit s .

24. Pan shot around tLre room As there is a buzz of questions,

r eactions, and most b a s ic a lly - c o n c e rn s .

25. Close shot Secretary General Who rises in his chair.

SECRETARY
S peaking on b e h a lf o f t h e g o v e rn me n t s
of the peop le o f E a rt h r we b id y o u
welcome.
(he bite s h is lrp )
Y ou. . .aah. . . v o u h a v e a n a rn e ?

26. Close shot

KANAIGT
Not in the a c c e p t e c i s e n s e , so you
need not ma k e re f e re n c e t o me b y
name. B ut fe e l- f re e t o a s k me a n y
questions. A n y q u e s t io n a t a ll, of
any nature.

27. Shot Secretary General From behind the Kanamit,

e m phasizrnq the size.

SECRETERY
We have man y q u e s t io n s . But for the
moment I th in k we a re mo s t in t e re s t e d
in first, h o w y o u d is c o v e re d u s , h o w
you know our la n g u a g e , t h e n a t u re o f
your own pla n e t , it s p o lit ic a l and
social makeu p -

2 8 . Close shot K ananit A s it s e v e s b lin k .

KAIIAMIT
First of al l - we mu s t ma k e t h e
following a d mis s io n . We d o n o t k n o w
your languag e . A n d f u rt h e r. . . o u r o wn
methods of c o mmu n ic a t io n a re me n t a l
rather than v e rb a l. He n c e , t h e v o i-c e
you hear me s p e a k in g wit h is t o t a lly
mechanical. Y o u r wo rd s , o r ra t h e r
Y our thought s , a re f e d in t o a n
automatic t ra n s la t o r a n d my re s p o n s e s
are j-n turn e l-e c t ro n ic a lly a lt e re d
(MO RE )
 KANAMIT (CONT'D)
to si-mul-ate t h o s e v o c a l s o u n d s a n d
language k n o wn t o y o u .

Seeretary You cannot sPeak, then.

K$IAT'TTT (CONT'D)
S peak.
(he l-o o k s a wa y )
S P eak.
(then b a c k t o S e c re t a ry )
Not in the s e n s e t h a t y o u E a rt h p e o p le
can speak. B u t a s t o t h e o t h e r
questi-ons, o u r p la n e t is n o t k n o wn
to you astro n o mic a lly . I t lie s f a r
beyond your k n o wle d g e a b le u n j-v e rs e .
B ut it is a t e c h n o lo g ic a l, h ig h ly
advanced pla n e t . I t s p o lit ic a l and
social make -u p is h ig h ly c o mp le x a n d
I cannot de s c rib e it t o y o u wit h o u t
first educ a t in g y o u in s o me o f t h e
basics of o u r mo re s a n d h a b it s .

29. Close shot Secreta.ry GeneraL As he slowly sits down.

SECRETARY
V fould you b e willin g to be
intenogated h e re a t o u r Un it e d
Nations in a s p e c ia l p le n a ry s e s s io n ,
at which time a ll o u r n a t io n s '
representativ e s c o u ld ma k e in q u irie s
of you?

30. Close shot K anlnit Wh o o n c e a g a in l-o o k s d o wn a t h is book.

KAI{EMIT
I would be. . . d e 1 i-o h t e d .

CUT T O :

31. Film cJ.ip general assenbly [Dayj Long angle shot looking
do rn This time loaded t o t h e ra f t e rs wit h p e o p le , e a c h d e s k
o ccupied.

32. Pan shot across the desks

Taking 1n the names o f c o u n t rie s and the tense, u rg e n t -f a ce d

r e presentatives of ea c h .

33. Close shot the podir:n As the Secretary General rises and
b a ngs the gavel. Then h e t u rn s t o wa rd h is l-e f t .

SECRETARY
Would you lo we r t h e s c re e n , p le a s e .
34. Close shot seetioa of room As a giant screen is lowered
a n d a fte r a mo me n t the figur e of the Kanam it, blown up into
t r e me n d o u s ro o m-si ze d pr opor tj- ons, appear s.
CU T T O:

35. SEOT OF fEE GALLERY

As thev react.

CUT T O :

35. SecretarT G'eneral

SECREIARY ( CONT'D)
Members of t h e G e n e ra l A s s e mb ly r o u r
visitors. . . t h e K a n a mit s . . . h a v e
graciously a c c e d e d t o o u r re q u e s t
that they ap p e a r in f ro n t of us to
answer any q u e s t io n s . we f e lt it
would be mo re p ra c t ic a l t o t e le v is e
the...the re p re s e n t a t iv e in o rd e r t o
facil-itate the q u e s t io n in g . T h is
meeting i-s h e re b y c a lle d t o o rd e r
and the que s t io n in g will p ro c e e d .
(then lo o k in g o v e r
the sea o f f a c e s in
front o f h imr
S enor V aldes o f A rq e n t in a is
recogni zed.

3?. Cloee shot delegate Valdes As he rises.

VAI.DES
P recisely wh y h a v e y o u c h o s e n o u r
planet for a v is it ?

CUT T O :

38. TeJ.evision screen The Kanamitrs head drops forward, then

]ooks up.

KAt{A}frr
It has come t o o u r a t t e n t io n that
E arth has b e e n p la g u e d b y b o t h n a t u ra l
and unnatur a l c a t a s t ro p h e s , aII of
which could e a s ily be acted upon and
prevented. We a re h e re t o h e lp y o u .

CUT T O :

39. Secretary General.

SECRETARY
Ro z- n r r n izin a
r\vvvYrrlllrrY
I-)r lvvr
^tani
r4e q T.o\/orrrro- ,
fha
errv

representativ e of F ra n c e .

CUT T O :
{0. The delegate who rises

Lg\tEgItE
Monsieur. . . my g o v e rn me n t wis h e s me
to ask you t h e n a t u re o f y o u r h e lp .
W hat forms wj-I l it t a k e ? I n d e e d , if
we should no t p re f e r t o a v a il
ourseLves of t h e s e v a rio u s . . . a id s
that you me n t io n e d - y o u r re s p o n s e
would be wh a t ?

r 1 1. Close shot screen As the Kanamit reaches down and checks

+-h ^
b o o kl e t, th e n l o oks up.

KA}IAMIT
We will not f o rc e a n y t h in g o n y o u .
Y ou will ta k e o n ly t h a t wh ic h y o u
choose to ta k e . F o r e x a mp le . . . o n the
morrow-
(he che c k s t h e b o o k
again )
Tomorrow tha t is , we will d e mo n s t ra t e
to all intere s t e d p a rt ie s a new and
extremely in t e re s t in g p o we r s o u rc e
which is at o mic in n a t u re a n d wh ic h
can supply a f o rm o f e le c t rj-c p o we r
to entire c o u n t rie s for the cost of
a few..,
(he look s d o wn a t h is
booklet a g a in )
A few dollar s . . . o r ru b 1 e s . . . o r
pesos...or wh a t h a v e y o u . I t ' s
extremelv ec o n o mic a l.

42. Close shot Secretary'Genera]. Suddenly hearing a loud

vo ice, fooks over the f a c e s .

SECRETARY
Mr. Gregori, t h e d e le g a t e f ro m t h e
S oviet Union .

43. CI.oSE SEOT GRE@RI

A bald, paunchy man wit h a s iz e a b le c h ip o n h is s h o u ld e r,

w ho rises and q'estures f ie rc e lv as he speaks.

GRE@RI
The people o f t h e S o v ie t Un io n s h o u ld
like to ask t h e K a n a mit s p re c is e ly . . .I
r o n o :1 -
!vvesu th :t j -n hi m . . nra.i q^''- '-L-!
WIIdL
srruL uv tIJILT- y!gUrJgI_V

are its mot iv e s in c o min g h e re q u it e

uninvited. A re we t o a s s u me t h a t
your purpos e s a re s o t o t a lly
altruistic t h a t y o u h a v e a s in g u la r
and abiding in t e re s t in h e lp in g
others, and ma y we f u rt h e r a s s u me
there is not h in g u lt e rio r in t h e s e
(MO RE )
 IW r

G RE @RT (CO NT ' D)

motives bey o n d t h is v a s t h u ma n it y
that you ha v e me n t . io n e d .

There's a murmur of re a c t io n in the ro o m a s we CUT T O :

44. CLOSE SEOT KBNAI{IT

( We are actual-Iy alon g s id e of h im n o w. T h is is not o n t he

s r : r ocn ' i /
lla
rrv la n kq lr l.r ,
s.LJ,
)-r'l
vr {l l r \u
'i nl zq hi q
l r tr J
a\/ae
g JsJ.

KA}IAMIT
There is n o t h in g u lt e rio r in o u r
motives. N o t h in g a t a ll. Y o u will
discover this f o r y o u rs e lv e s b e f o re
too long s imp ly b y t e s t in g t h e v a rio u s
devices wh ic h we will ma k e a v a ila b le
to you. W e c a n s h o w y o u , f o r e x a mp f € ,
how to add n it ra t e t o t h e s o il a n d
end famine o n E a rt h f o r g o o d a n d
all. W e can d e mo n s t ra t e t o y o u q u it e
practically t h e p rin c ip le s of the
force field in wh ic h y o u ma y c lo a k
each nation wit h a n in v is ib le wa l-1
absolutely imp e n e t ra b l_ e b y b o mb s ,
missiles, o r a n y t h in g e ls e . We a s k
onlv that v o u . . .
(he too ic s a t t h e b o o k
again )
uu os.- Onl
vrri y v fh,at von qi mn' l r; fU S -u
_tfU
_ _ -sj:t Lrrcl L yvu orrrryry'...E

THE CAMERAPANS DowN to where the notebook has sripped from

h is lap to land on the f lo o r.

t A P DI S S O L V E T O :

45. Tight cLose strot notebook 1ying on a desk

Th is time in rel-ations h ip to the desk and other books. A

gia nt encyclopedialike a f f a ir. P UL L B A CK f o r F UL L S HO T O F
THE ROOM, obviously a d e c o d in g ro o m wh e re , I in in g t h e wa l l s
i n profusion, are cha rt s , c y lin d e rs , e le c t ric c ry p t o g ra p h s ,
a n d telegraph cipher ma c h in e s . T h e re a re t h re e me n in t h e
r o om, but the camera f a v o rs Mik e c h a mb e rs wh o s it s a t a d e s k
an d pores over severai v o lu me s , c o n s c a n t ly c ro s s -re f e re n c ing
w i th the "notebook" o f t h e K a n a mit . Ch a mb e rs is in mu f t i,
b u t the other two are f ie ld g ra d e o f f ic e rs .

COLONET ONE
W el-l, Cham b e rs ? Wh a t h a v e y o u g o t ?

ch ambers rooks up from h is wo rk , ru b s h is o b v io u s ry f a t ig u e d

eyes, shakes hi-s head.

CEN{BERS
A corker of a mig ' ra in e headache and
eye strain.
 COIONEL Ol[E
( (point s t o n o t e b o o k )
Can't lick it ?

CEAI{BERS
Not. in eigh t h o u rs , f c a n ' t . Co lo n e l,
it took us a lmo s t a y e a r t o c ra c k
the Japanese code and we had an army
of men workin q o n it .
(he poin t 6 t o t h e
papers in f ro n t of
him)
This is a l a n g u a g e o f p e o p ie f ro m
outer space, p ro b a b ly f iv e h u n d re d
times as in t e llig e n t a s we a re a n d a
thousand time s mo re c o mp le x .

COLONET TWO
Y ou need he lp ?

CEAMBERS
(Iaughs wry ly )
A ll donation s g ra t e f u lly accepted.
B ut f showe d t h is s t u f f t o e v e ry ma n
on our staff and I've had a dozen
people work in g o n j-t s in c e la t e la s t
night.
(he loo k s d o wn a t t h e
papers in f ro n t of
him, re a c h e s o v e r
and tu rn s t h e n o t e b o o k
around )
W e've tried p re t ry mu c h e v e ry t h in g .
S lngle trans p o s it io n . Do u b } e
transposition . We ' v e t rie d e v e ry
known metho d o f c ry p t o g ra p h y that
there is.
'fo""iJ"inli"i"[."xr
rho m :ir oq : aroqf rrro

46. E:KXREMELYTIGET CLOSE SgOT COVER OF NOTEBOOK

There is a single line of s t ra n g e -lo o k in g le t E e rs .

47. Group shot

CEAMBERS ( CONT'D )
I don't know wh e t h e r we ' v e e v e n c o me
close or if we ' re s t ill a millio n
miles awav.

cotoNEL oNE
Y ou can't d e c ip h e r it ?

CEAI{BERS
We can keep t ry in g , that's aII.
S tandard, dire c t , re v e rs e d ,
(MO RE )
 CEN{BERS (CONT'D)
systematical ly -mix e d , k e y ' wo rd -mix e d ,
ranciom-mix e d , re c ip ro c a l,
conjugate. . . e v e ry n a t u re o f s e q u e n c e
of letters t h a t we c a n c o me u p wit h .
B ut I'm gon n a t e I I y o u s o me t h in g
right now, Co l-o n e l. T h is is a t o u g h
nut. This is a re a l t o u g h n u t .
(he look s u p t o s t a re
across a t t h e t wo
officers over the
Iamp w h ic h is t h e
si nol c ' i ' l I rrmin a t iO n
in the ro o m)
T m n n r t:n i-e s . r L ,
frr!i/v!
i<
4e
i t?

Th e two officers look at o n e a n o t h e r.

COLONET ONE
f don't kno w. T h a t . . . t h a t K a n a mit o r
whatever he c a ll-s h ims e lf d ro p p e d
this yesterd a y a t t h e U. N. A l-l- we
know about it is t h a t h e wa s ma k in g
reference to it e v e ry t h ird lin e h e
spoke. The Wh it e Ho u s e s e e ms t o f e e l
that if we c o u ld d e c ip h e r t h is
i rn n k w o m i rrht be abl e tO
sv ri er:i
vvv4 t/r r v! nher
the K anamit s t h e ms e lv e s .

CEN{BERS
Do they nee d d e c ip h e rin g ? They've
r lnno = t t - - 71? h t hrz rrq qn f >r

COLONEL TWO
P arlor trick s -

CEAI{BERS
(shakes h is h e a d )
Ther z r lon t i- qaom 'l i k o n:rl nr i- ri r-k< -
g!+vj\U'

Colonel. Tha t n it ra t e d e v ic e t h e y
demonstrated in A rg e n t in a t h is
mn rn i n a
l(rv!lrrrIY.
Q .i v
VI^ hours
I l ater that soj _I
had more vi t a min s in it t h a n a
drugstore c h a in . I k n o w t h a t c o u n t ry .
That's as b a rre n a n d f ru it le s s as
any place on E a rt h . A n d t h e re a re
actually we e d s g ro win g in it s ix
hours after t h e n it ra t e p ro c e s s wa s
used.
(he loo k s a t t h e
noteboo k a n d o p e n s
it, rif le s t h ro u g h
its gia n t p a g e s )
We might lic k t h is a n d we mig h t n o t .
(then he l-o o k s u p )
B ut f gct a s c ra n g e f e e l-in g t h a t -
 COLONEL TT{O
That what?

{18. Close shot Chambers As he looks back down to the book

an d sJ-ow1y closes it.

CEAMBERS
That we're lo o k in g a g if t h o rs e in
the mouth.
(then h e lo o k s u p
again )
A nd f got a n o t h e r f u n n y f e e lin g ,
fAn

49. llhree shot

COLONEL ONE
(a IittIe a c id ly ;
A nd that is ?

CEAMBERS
That if thes e K a n a mit s a re a s h e lp f u l
as I think t h e y a re y o u t wo b o y s
will be out o f a jo b . P ro b a b ly s o
will I. A nd v e ry lik e ly s o will the
whoLe U.N. Y o u wo n ' t n e e d a rmie s o r
navi-es or a ir f o rc e s o f s e c u rit y
divisions o r wo rld c o u rt s . f t h in k
thev'1I all b e o b s o le t e .

COLONEI" ONE
(somewhat m if f e d , wa g g le s a
deprecating f in g e r t o wa rd t h e
notebook )
A m I to ass u me , Ch a mb e rs , t h a t t h is
is a scienti f ic a n a ly s is - o r s o me
K entucky w in d a g e I

CEAT{BERS
(shaking h is h e a d )
f don't know wh a t it is , Co ] o n e l
beyond an in s t in c t iv e f e e lin g . T h ls
instinctive f e e lin g t e 1 ls me t h a t
when rhis Ea rt h g e t s e n o u g h t o e a t ,
when there a re n ' t a n y mo re wa rs o r
diseases or f a min e s . . . t h is 1 s g o in g
to be a Ga rd e n o f E d e n t h a t s t re t c h e s
from pole t o p o le .

50 . Close shot CoLone l O n e A s h e iig h t s a c ig a re c t e in abrupt,

f F rs c . a
\rc
w v 4 :rv mi l i ta rv J
movements.
v gllrv
r \r v

COLONEI. OITE
Colonel One
Y our optimis m is re f re s h in g , Mr.
Chambers. B u t f o r t h e t ime b e in g I ' d
consider it a p e rs o n a l f a v o r, n o t r t o
(MO RE )
 COTONELONE (CONT'D)
say a direct o rd e r f ro m t h e Ch ie f o f
S taff, that y o u c o n t in u e y o u r p ro c e s s
of deciphering u n t il- y o u c a n b re a k
this code or t h is la n g u a g e o r wh a t e v e r
it is and tell u s P re c is e lY - and I
mean precisely - wh a t t h a t b lo o d Y
book savs !

CUT T O :

51. Long shot actoes the roon As Pat Brody enters the room'
a n attractive thirty-year-o 1 c i, c a rry in g a s h e a f o f p a p e rs .
She looks briefly at t h e t wo o f f ic e rs a n d c a rrie s the stuff
o ve r to Chambers and p u t s it o n t h e d e s k .

52 . Close shot P at Her f a c e is t ire d f ro m s t ra in , but at

this moment shiningly t riu mp h a n t .

PAT
W e've licked the t it le of it , a n liwa y .

Th e two officers move t o wa rd h e r e x c it e d ly .

COLONEI, ONE
What does it say?

COLONEL T{TO
^-- you tran s la t e it ?

D:l - nninl- q fn a sheet o f o v e rl-a y wh ic h s h e p u t s o n t o p o f

th e K anamit's notebook . We s e e t h e t it le s u p e rimp o s e d o v e r
th e K anamit's title an d it re a d s , T o S e rv e Ma n .

53. CIOSE SEOT TEE COI,ONEL

R eacting as he slowly p ic k s u p h e r s h e e t o f p a p e r a n d s t u c i i e s
it. PAN OVER TO SHOT OF CHAMBERSWhO WEATS A thiN SMi}C.

CEAMBERS
That makes t h e c h e e s e a lit t le mo re
binding, doe s n ' t it , Co I o n e I ?
(he poin t s t o n o t e b o o k )
Our visitor's lit t I e t e x t b o o k b e a rs
the following t it le - T o S e rv e Ma n -
I'd call tha t a re a s o n a b ly a lt ru is t ic
phrase.
(he looks b rie f ly at
the girl)
W ouldn't yo u a g re e ?

5{. Close shot P at A s s h e lo o k s f irs t a t t h e p a p e r in t h e

C olonel's hand then ov e r t o t h e n o t e b o o k , t h e n t o a n e wsp a p e r
dr a ped over the corner o f t h e d e s k wit h a p ic t u re of the
Ka nbmit standing out in s h a rp re lie f . S h e mo v e s o v e r t o th e
pa per and studies it, then }ooks uP.
 PAT
Ird like to b e lie v e it . But r...
(and sh e l-o o k s u p
frownin g a n d f ro m
face to f a c e )
f don't know wh a t t o t h in k .

CUT T O :
55. close shot colonel one As he slowIy puts the paper down,
stares at the notebook on the desk.

COLONEIJ ONE
( (thought f u lly and
softly)
To S erve Man . T o . . . S e rv e . . . Ma n i f
hope so. f f e rv e n t ly hope so.

The CAI,IERAPANS DowN FROM HrM over to the desk to take in an

e xtremely tight cl-ose s h o t o f t h e n o t e b o o k .

FADE TO BLACK-END OF ACT ONE-ACT TWO_FADEON:

55. TNT. SECRETARY GENERAI'S OEFICE

Th e re are perhaps eight me n in t h e ro o m, e a c h re p re s e n t in a. a

different country. set u p o n t h e s e c re t a ry ' s d e s -k is a 1 6; m
m otion picture projecto r. T h e re ' s a mu rmu r a n d b u z z o f
con versation. The S ec re t a rv ris e s .

SECRETARY
Gentlemen, may f have your a t t e n t io n ,
please.

Th e murmuring stops. T h e s e c re t a ry p o in t s to t h e ma c h in e .

S E CRE T A RY(CO NT ' D)

The purpose o f t h is me e t in g is t o
acquaint you wit h c e rt a in tests
conducted ov e r t h e p a s t we e k . A t t h e
request of se v e ra l d e le g a t e s a n d t h e
full consent o f o u r " g u e s t s , " t h e
K anamits, the s e t e s t s we re
photographed and you can watch them
now.

57- Pan shot acroas the faces of the men As thev murmur
a m o ngst themsel_ves.

58. Long shot across the room As the secretary Genera] makes
a m otion and the rights g o o u t . A p ro je c t io n is t pushes a
b u tton and the projecto r s ia rt s s h o o t in g it s u rig h t rig h c
a cr o ss the room to a s c re e n s e t u p a t t h e f a r e n d . T h e CA M E R A
PANS ovE R for a long s h o t o f t h e s c re e n wh e re we s e e a K an a m i t
sea ted on a chair. Fro m h is t e mp le s t o h is wris t s a re wj_ r e s ,
u l- ti mately ending in t h e p a l-m o f h is rig h t hand and taped
the r e. Machines with d ia ls c a n b e s e e n a t h is s id e . T h e y
se e m diminutive in prop o rt io n t o t h e K a n a mit .
 aUr

59 . Close shot tro ma c h in e s T wo d ia ls , e a c h wit h it s p o in t e r

r esting at zeret then a s rrip o f p a p e r wit h a s t y lu s p o in t
r es f i no :o :i
qYs4rr ngl i t.

50. Close shot seientist in another part of the rooa The

sci entist faces the a u d ie n c e .

SCIEI{TIST
These are t h e s t a n d a rd in s t ru me n t s
for testing t h e t ru t h o f a s t a t e me n t .
Our first ob je c t , s in c e t h e p h y s io lo g y
of the K anamit is u n k n o wn t o u s , wa s
to determine wh e t h e r o r n o t t h e y
react to the s e t e s t s a s h u ma n b e in g s
do. W e will- n o w re p e a t o n e o f t h e
many experime n t s wh ic h we re ma d e in
an endeavor t o d is c o v e r t h is .

He points to the first d ia l.

51. CLose shot ttre dial Scientist This instrument registers

the subject's heart b e a t . T h is s h o ws t h e e le c t ric a l_
co n ductivity of the s k in in t h e p a lm o f h is h a n d , a me a s u r e
of perspiration, which in c re a s e s u n d e r s t re s s .

CAMERAPAI1S OVER to the other machine.

S CI E NT I S T (CO NT ' D)
A nd this - s h o ws t h e p a t t e rn and
intensity of t h e e le c t ric a l wa v e s
emanatins fr o m t h e b ra in .

62. Close shot scientist

S CI E NT I S T (CO NT ' D)
It has been s h o wn , wit h h u ma n
subjects, th a t a l1 t h e s e re a d in g s
vary marked ly d e p e n d in g u p o n wh e t h e r
the subject's s p e a k in g t h e rru t h .

He picks up two large p ie c e s o f c a rd b o a rd , o n e re d a b o u t

thr ee feet on the side a n d t h e o t h e r b la c k , a re c t a n g le three
a n d a half feet }ong. He t u rn s t o wa rd t h e K a n a mit .

S CI E NT T S T (CO NT ' D)
W hich of thes e is lo n s e r t h a n t h e
other?

63. Close shot Kanamit

KAI.IA}TT
The red.

64. CI..OSE SEOT TEE }ACETNES

Both needles leap wildly and so does the lin e on the u n ro l l i n g '
l- -a rra
65. Close shot Ecientist

scrEllltrsT
I shall reP ea t t h e q u e s t io n . Wh ic h
of these is lo n g e r than the o t h e r?

KAI.IAMTT
The black.

66. CLose shot the instrr:ments As this time they continue

the ir normal rhvthm.

67. Cloee shot scientist

SCTEIITIST
How did you c o me t o t h is P la n e t ?

68. ElrII shot of ttre room As the men watch the screen-

KNIAMIT
W al ked.

The re's
! t t 9! ' - u a rionl
s e of I a rro h f e r in the ro o m.

69. Close slrot instrumentE on ttre screen As they respond.

70. CLose shot scientist

SCIE}f,TTST
Once more how di-d You come to this
planet ?

KAI'IAMIT
fn a spaces h ip .

7t. Close strot machines As they do not jump.

72. Different angle scientist

SCIE}ITIST
Many such experiments were made and
my colleagues a n d my s e lf a re s a t is f ie d
that the me c h a n is ms a re e f f e c t iv e .
(he half t u rn s t o wa rd
Kanamit )
Now - I shal-l a s k o u r d is t in g u is h e d
guest to reP lY t o t h e q u e s t io n P u t
at the last s e s s io n b Y s e v e ra l
delegates. Na me ly -wh a t is t h e mo t iv e
for the K an a mic P e o P I e in o f f e rin g
these great g if t s to the PeoPIe of
E arth?

73. CI,OSE SEOT KA}IAMIT

As he rises. The voice, a s t ra n g e me t a lL ic rid d le , but

n o n etheless a voice.
 KA}IAMIT
On my planet t h e re is a s a y i-n g , " T h e re
are more ridd le s in a s t o n e t h a n in
the philosoph e r' s head." T h e mo t iv e s
of intelligent b e in g s , t h o u g h t h e y
may at times a p p e a r o b s c u re ' a re
simple thing s c o mp a re d t o t h e c o mp le x
workings of t h e n a t u ra l u n iv e rs e .
Therefore I h o p e t h a t t h e p e o p le o f
E arth will u n d e rs t a n d a n d b e lie v e
when I tell y o u t h a t o u r mis s io n
upon this p ia n e t is s imp ly t h is - t o
bring to yo u t h e p e a c e a n d p le n t y
which we ours e lv e s e n jo y , wh ic h we
have in the p a s t b ro u g h t t o o t h e r
races through o u t t h e g a la x y . Wh e n
your world h a s n o mo re h u n g e r, n o
more war, no mo re n e e d le s s s u f f e rin g ,
that will b e o u r re wa rd l

74. Close shot ttre machines As they continue a very normal

p a th.

?5 . E \rll shot the roon A s t h e s c re e n g o e s b la c k . T h e re is

ag a in a slow murmur of t h e v o ic e s . T h e S o v ie t d e le g a t e ris e s -

GRE@RI
I shoul-d lik e t o p o s e t h e q u e s t io n
who promoted t h a t c irc u s ?

SECRETARY
These tests a re q u it e g e n u i-n e .

GRE@RI
A circusl A s e c o n d -ra t e f a rc e . If
they were g e n u in e , Mr. S e c re t a ry -
why was the d e b a t e s t if le d ?

SECRETARY
There'1I be t ime f o r f u rt h e r debates
tomorrow, t h e n e x t d a y , a n d t h ro u g h o u t
the week. N o o n e is s t if lin g debate.

LE\IEQI'E
(French d e le g a t e )
I would remin d t h e d e le g a t e f ro m t h e
S oviet Union t h a t e v e ry t h in g the
K anamit has p ro mis e d - h a s n o t o n ly
worked, but wo rk e d b e y o n d o u r mo s t
hopeful exp e c t a t io n s . T h e f o rc e f ie ld -
that was tes t e d y e s t e rd a y mo rn in g . A
firecracker coufdn't g e t t h ro u g h .
A nd we sudd e n ly f in d o u rs e lv e s in
that strange mille n n iu m wh e n n o n e o f
us need fear a h v d ro g e n b o mb o r a
 LJ.

tEIIEQI'E (CONT'D)
missile. W e a re o n t h e t h re s h o l-d o f
peace, Mr. G re g o ri. O n t h e t h re s h o ld
of peace as we ' v e n e v e r k n o wn it .

Th ere's a murmur of a f f irma t iv e re s p o n s e a n d t h e d is g ru n t l e d

So viet delegate, white-f a c e d , t u rn s a n d s t a lk s o u t o f t h e
r oo m.

DI S S O L V E T O :

76. A shot of Kan'nit tilt and firring ttre sereen Gesturing,

b e ckoning, handing out p a p e rs , s ma lI b la c k b o x e s , b o t t le s of
p iI1s. A very stylized c o n c e p t o f g iv in g wic h ma n y h a n d s
r e ceiving. S UP E RE DOV E R T HI S a re n e ws p a p e r h e a d lin e s . T he y
r ea d as follows: "Fert ilit y o f a ra b le la n d in c re a s e d b y on e
h u ncired percent, " "Famin e t h in g o f t h e p a s t , " " He a rt d is ea s e
a n d cancer cure assure d b y K a n a mit in je c t io n , " " No mo re w a r ,
pr o mises K anamit, ds t e s t s p ro v e e f f e c t iv e n e s s o f ' f o rc e
fie l-d. "'

77. A STYI.TZED SEOT

Of these newspapers f a llin g on top of o n e a n o t h e r, win d in g

up on a:

78. E\rll shot of ttre decoding room night The CAI'{ERA PULLS
BACK from a shot of the n e ws p a p e r t h a t is ly in g o n Ch a mbe r s ' s
desk. CAI',IERAPULLS BACK FARTHERfor a shot of the various
m achines, now shrouded wit h c a n v a s . T h e ro o m h a s a lo o k of
de cay and disuse. Chamb e rs s it s a t t h e d e s k , h a n d s b e h in d
L .'i ^ !.^^l i1^ if fl r a noi 'l i na D r 1- R
r]_ L D r r EO.L.r r ^!- Ld.!J_I.r
D - in^ 9 t,r !J <1 L LIr g glrvnr
g_rirr
,
in r
+r r l i nhf
IIgr rL
to p coat, sticks her he a d t h ro u g h the o p e n d o o r.

PAT
I'm going ho me , b o s s . Ne e d me f o r
:n r zJ- h i nrr?

CEAI.{BERS
(looks u p a n d s mll-e s
'1.:rr't^ ,,^^1.,\
-
A II L LIC wc1L1l_V l

\Ia a r l \r nr1
j v u
far anWfhiurtf
qrrJ nO? rrY . T,i ker1
!r what ?
(he point s to the
shrouded ma c h in e s )
This is not wh a t v o u ' d c a ll -
1..^^!..i *.^

of activity.

79. Different angle Pat As she smifes and walks into the
r o o m, sitting down in a c h a ir n e a r h im.

PAT
This is the n e w s t o ry o f ma n I No b o d y
needs to dec ip h e r mu c h o f a n y t h in g
any more bec a u s e t h e re a re n ' t any
more codes s imp ly b e c a u s e t h e re a re n ' t
env more sec re t me s s a q e s .
(MORE)
 P A T (CO NT ' D)
(she l-oo k s a wa y , h e r
voice a lit t le
rof I a n i- i rro I

odd.
(th e n l ooking towar d
h i m)
T
I
m a=n
lttVC,Ilt
nnf
lI\JL !Vqu+Iry nrr :krnrri -
qvvqu hrrdrnrron
rIJu!vYerr
-o:rl i
bombs or war s c a re s o r in s u rre c t io n s
or anything lik e t h a t a n y mo re . T h e re ' s
a rumor going a ro u n d t h a t t h e y ' re
ooi
Yv+rrY
no fo cli s h a n d t h e Un it e d Na t io n s
inside of a mo n t h .

CSAI{BERS
Mill-ennium.

PAT
Or close to it .
(she rise s , wa lk s
over to the newspaper
where we s e e t h e
K anamit s ' n a me in
big bla c k le t t e rs
reneate c l o v e r a n d
over ag a in a lo n g
with his p ic t u re )
How many of them are here now? Anybody
ever figured it o u t ?

CEAT{BERS
A few thousan d , I g u e s s . T h e y ' v e g o t
embassi-es in e v e ry c o u n t ry n o w. A n d
for every on e t h a t c o me s - a t h o u s a n d
of us take o f f in t h e ir s h ip s t o
visit them.
(he sha k e s h is h e a d )
That's the o d d t h in g . T h e f a n t a s t ic
ease with w h ic h h u ma n b e in g s ma k e
:d i ri suJf mtrn fLos .- n-^ qdy
Fr^^" 'vvatC h w i th
auJ LrLrErr vllg ^^" LrIEY

bated breath wh il-e a s in g le p e rs o n

orbits around t h e wo rld in a rin k y -
dink cubicle a n d t h e y t h in k o f t h is
as the most h is t o ric mo me n t i-n t h e
h .i s f o rw
rlrJuv!-y of
v! mA * i ..i * ^
rr!ql,lJ'IIl\.1.
n -^
\JIrg
,,^ ?I Iater
-yEC
they stand in lin e wa it in g to get
into a space s h ip t o t a k e t h e m a
hundred milli o n mil-e s a wa y in s p a c e
and they ac t a n d re a c t a s if it we re
a weekend pic n ic in t h e c o u n t ry .
iha
\.r v
m : k oq
r LLq.:ev
: rroqi- rrro
with his h a n d s )
The strange a n d c o mp le x s a n i-t y o f
man. Nothing f a z e s t h e m.

PAT
Z ra ry\,/Lr
znr r ani nn?
l) .J- E Y\Jr r lw.
 -L.

CEI}'BERS
f'm on one o f t h e t e n -y e a r exchange
group waitin g lis t s . Wh a t a b o u t y o u ,
P attie?

PAT
I'm on the lis t , t o o . T h e t ro u b le is
their quota' s f ilI e d t we n t y -f o u r
hours after t h e y ma k e t h e a n n o u n c e me n t
of a new Lrip . B u t wh ile I ' m wa it in g
I think I'11 d o t h e n e x t b e s t t h in g .
I'm studying t h e ir la n g u a g e . I
remember a p ro f e s s o r o f min e t o ld me
that languag e re f le c t s t h e b a s is
assumptions o f t h e p e o p l-e wh o u s e
ir.
(she lig h t s a c ig a re t t e )
I've got a f a ir c o mma n d o f t h e ir
spoken iingo a lre a c iy . I t rs n o t h a rd ,
really. A nd t h e re a re h in t s in it .
S ome of the id io ms a re q u it e s imila r
to E nglish. I t h in k I ' 1 1 g e t t h e
answer event u a llv .

CEEMBERS
More powerl I g a v e u p a mo n t h a g o .
They write in id e o g ra p h s wo rs e t h a n
Chinese, bu t if I c a n h e lp v o u in
any way-

80 . Close shot P at A s s h e mc v e s a wa y , a s t ra n g e lo o k on her

t^
^^

81. T9NOSEOT

CEA!,TBERSiCONT'D)
Did I say s o me t h in g -

PAT
(shakes h e r h e a d )
If you could h e lp me that wa s t h e
phrase, was n ' t it ?

Ch ambers nods.

P A E (CO NT ' D)
The only th in g y o u c a n h e lp me wit h
i^
r>-

She looks off.

CEAI.{BERS
Is what?

82. Different two strot As the qirl f aces him.

 LZ-.

PAT
Help me get rid o f t h is s t ra n g e lit t le
know inside me . T h is v e ry f u n n y
persistent n ig h t ma ris h f e e lin g .

CEAI'{BERS
Nightmarish?

PAT
That's right . A lit t le s ix t h sense,
if vou wilI.

CEAI'|BERS
That tells v o u wh a t ?

83. Extrenely tight close shot pat As she l-ooks up at him.

PAT
me that maybe we s h o u ld
have looked t h is q if t h o rs e in t h e
mnr r i l,r I
ILLVU Utl .

DI S S O L V E T O :

84. XT.IT. EUGE EAI{GAR

with a long l-ine of p e o p le , e a c h c a rry in g s imila r s ma ll

ha ndbags. There is a f e s t iv e a ir e v e n in t h e s o me wh a t d a r k .
cavernous aspect of t h e ro o m. S e v e ra l s ig n s p o in t wit h ar r o w s
an d read: "Loading pla t f o rm t h is wa y . "

85. Moving shot down ttre line of peopJ.e Waiting. We hear

IittIe bits of dialoqu e .

ldAt{ oNE
Thev fc l I mc isr-hovtw
r vJ e crn.l
Yv u - :
q mean
t Fm ner : f r lr o of q a r rvouirei
eu
ni- r u - qu4^
'i r r rvs9!sso
lar:raoq
o n th e i r p l anet and the sun never
g o e s o o w n ...

wo!{eN oNE
A n d th e i r clothing. It' s a m etallic
su b st.a n ce . Just beautiful. Kind of
I i ke
+rAv :
q Sn iln
Dyull
(}1\l j 71n/{
rul\j
*,,
ltLy ^i
D_Luus!
qf or er\.zq
aql'!
VVrL,r.
+ !.^
LIre (.ray
l^ ,, .- ^ - .
you I<^-^- t. horr r anrl i :l ,o you on a
conducted to u r t h ro u g h a l-1 t h e ir
shops and y o u c a n p ic k u p a s mu c h o f
i # ..^- .r
yuu
-L L d- w d.l l L -

MAN TWO
Tf rs - .itr st ov.^v
nF L-j - L^1j r--.,,hon \/l /11.1
e JJrg 1t\JI_Lqldy w.^_.. r _e
oY"-
ei th a r c Thorr t rro a\ron nni -
- uwvrr yvL a fOfm
of basebail or s o me t h in g t ik e it ,
I e: ot t es enc J c\rar\/i- hi nrr irrqi- like
Juuu
here. Man, I d o n ' t t h in k I ' 1 1 wa n t
to come bac k o n c e I d o g e t t h e re . . .
 LJ C

r{oldA},rTrdo
A nd the w h o le t r ip , a n d it ' s m illio n s
of miles/ m in d y o u . . . T h e wh o le t rip
only takes ju s t a f e w d a y s .

The CAI,IERACONTINUESTO PAN down and in one very notlceable

m oment we see the S ov ie t d e le g a t e s t a n d in g t h e re , a 1 l- s m i l e s ,
with a rather chubby wif e . T h e n we re a c h t h e e n d o f t h e l i n e
an d we see Chambers st a n d in g t h e re . T h e lin e s t a rt s to move
an d we hear the voice s o f e x c it e d d e liq h t .

VOTCES OF lfAl.I #1 *2 wOelflrll S1 & lf2

Oh, we're m o v in g . G o o d , we ' re re a d y
to leave. Isn't t h is e x c it in g ? Etc.,
al n

85. Different angle the line As they move through the hangar.

87. Long Ehot across ttre tops of ttreir heads

Of a giant cavernous d o o r wh ic h is n o w o p e n a s t h e p e o p le
file through. A space s a u c e r, I a n d in g la d d e r d o wn , c a n be
seen beyond open door.

88. Moving shot Chambers As he reaches a point cl-ose to the

d o or. He suddenlv hea rs P a t ' s v o i-c e c a lI in q .

PAT
Mr. C h a mb er s?M r . Chamber s!
89. Dif,f,erant angle Charobers As he turns.

90. Long shot across ttre roon As Pat runs toward him. She
r e aches him, out of b re a t h , a n c i p u lls h im t o o n e s id e .

91. Bro shot

CEAITBERS
/cm 'i
\ u 1 ( r 4 r +4 r Y
I' in n \ /

Y ou're just in t ime to say goodbye.

PAT
(looks briefly t o wa rd t h e d o o r)
I know.
(then in t e n s e l-y )
Can you get o u t o f t h is ? Ca n y o u
refuse to g o ?

CEAI{BERS(laughs )
Ar a \/r .r r l kir - ial i nrr? I j ! i
Jvu - rT rrc
vs haor
vssrl -'-
w d,-LLIl fg-'-
^ !e ^ r u u {rry
six weeks f o r t h is . And don't say
that out lou d o r t h e re ' I l be a
th o rr s :n c l n o onl c I r:mnl i no ovef the
two of us to take mv p la c e .
 z,'t .

92. CT,OSESgOT PAT

rn^1.DDrrs
^L^ o,sd-Lrl
^^^.i* looks t o wa rd the d o o r, t h is t ime wit h an
unconcealed horror.

93. Close shot Chanbe rs A s s e e n o v e r h e r s h o u ld e r. His ev e s

narrow.

CEA}'BERS (CONT'D)
W hat's the ma t t e r, P a t ? Wh a t ' s g o in g
on?

911. Reverse angle looking torard her Her lips tremble.

PAT
I...I final-I y d e c ip h e re d t h e ir
language. A I l o f it . I re a d t h e ir
book.

95. Close shot a suspended speaker overhead A Kanamit's

m etallic voj-ce rings o u t .

KAI{AMIT'S VOTCE
P lease mov e a h e a d . Y o u ' re h o ld in g up
our departure . K in d ly mo v e a h e a d .

CU T T O :

96. Ero shot Chambere and Pat

CEAI'{BERS
Well ?

PAT
Mr. Chambe rs . . . Mr. Ch a mb e rs , t h e
first page is ju s t a c o ll-e c t io n of
E nglish wo rd s wit h t h e ir o wn
translation. B u t t h e re s t o f t h e
book...the re s t o f t h e b o o k . . .

97. Close shot speaker

KNIAMIT' S VOICE
K indly mov e a h e a d , p le a s e . T h ro u g h
the doors. Y o u ' re h o ] d in q u p o u r
departure.

98. Back to scene

CEA}TBERS
(pats her c h e e k )
W rite me a b o u t it . I'1I h a v e p le n t y
of time to re a d le t t e rs . I ' m g o in g
up there fo r a re s t mo re t h a n
anything'.

99. Different angJ.e of him As he starts toward the door agtain,

Io :r-rino har sf and ino t h e rc He t u rn s CI O S e t O t h e d O o r. In
 1 ^1,{^* +!.^ I r ^f
the frame we see the s p a c e -s h ip b o a rd in g IdLr Lr U ! 7 Ll r E - LA> U of
the passengers are dis a p p e a rin g in t o t h e ehi n

100. Long shot looking back toward Pat

PAT
i\ r .hv 4aY sr+v v - +r . : r ,l' in q rrrl i rrari nrr t e a rs in her
e ye s )
Not so much time as \t.,rr
_r ve l .h'i nl r Mr

C h a mb e rs...the r est nf iha hnnla

ZOOMARINTO AN EXTREMETYTIGHT CTOSE SHOTof her .

P A T (CO NT ' D)
To S erve Ma n . . . it ' s a cook bookl

101. tong shot Chambers As for a moment he looks stunned.

ZOOMARINTO EXTREMELYTIGHT CLOSE SHOT HIS FACE as the hoTToT
ta kes hold. S lowly a h u g e h a n d c o me s in t o t h e f ra me t o t o u c h
C hambers's cheek, pin c h it lig h t ly a s if f e e iin g for
f enc l e rn e s s .
gvr r gvr r ^v v v 'Yv l .g4- IIv v .I34!r l r 4] fh e n th c hancl oont-' l rz- hrrf \rorv fi rml v frrrns
Ch ambers around and pro p e ls u p t h e s t a irs a n d t h e y v e ry slowly
cl ose up. During the p ro c e s s o f t h is c l-o s in g , w€ h e a r
Serling's voice in na rra t io n .

SERLING'S VOICE
The very ex p lic it a n d v e ry s p e c if ic
differences in p o in t s o f v ie w. T o
the wee ones . . . t h e lit t 1 e f o l-k c a l-I e d
man...it's a ma rv e lo u s a d v e n t u re , a
voyage to a n o t h e r p la n e t . A n e x c it in g
sojourn to a n o t h e r s e c t io n o f t h e
galaxy. B ut t o t h e v e ry la rg e , g ra n it e -
faced inhabit a n t s k n o wn a s
K anamits. . . it ' s n o t h in g mo re t h a n a
cattl-e car, a v e ry c o mf o rt a b le
provisions s h ip b rin g in g f o o d f ro m
the other en d o f t h e u n iv e rs e . L ik e
I say...it's a ll in t h e p o in t o f
view.

FADE TO BLACK.