- uploaded: Jan 11, 2009
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The program, broadcast from the 20th floor at 485 Madison Avenue in New York City, starts with an introduction from the novel, describing the intentions of the aliens and noting that the adaptation was set in 1939, a year ahead of the broadcast. The program continues as a weather report, then as an ordinary music show (actually the CBS orchestra under the direction of Bernard Herrmann) that is interrupted by news flashes about strange explosions on Mars. Welles makes his first appearance as "famous astronomer" Professor Richard Pierson, who refutes speculation about life on Mars.
The news grows more frequent and increasingly ominous as a cylindrical meteorite lands in Grover's Mill, New Jersey. A crowd gathers at the site and events are related by reporter "Carl Phillips." The meteorite unscrews, revealing itself as a rocket machine, and onlookers catch a glimpse of a tentacled, pulsating, barely mobile Martian before it incinerates the crowd with "Heat-Rays." Phillips' shouts about incoming flames are cut off in mid-sentence. (Later surveys indicate that many listeners heard only this portion of the show before contacting neighbors or family to inquire about the broadcast. Many contacted others in turn, leading to rumors and confusion.)
Regular programming breaks down as the studio struggles to keep up with casualty updates, firefighting developments and the like. A shaken Pierson speculates about Martian technology. The New Jersey state militia declares martial law and attacks the cylinder; a message from their field headquarters goes on about the overwhelming force of properly equipped infantry and the helplessness of the Martians in Earth's gravity until a tripod alien fighting machine rears up from the pit.
The studio returns to establish the Martians as an invading army with the obliteration of the militia force. Emergency response bulletins give way to damage reports and evacuation instructions while millions of refugees clog the roads. Three Martian tripods from the cylinder destroy power stations and uproot bridges and railroads, reinforced by three others from a second cylinder as gas explosions continue. An unnamed Secretary of the Interior advises the nation. (The "secretary" was intended to be a portrayal of Franklin D. Roosevelt, then President, but CBS insisted this detail, among others, be changed. The "secretary" did, however, sound like Roosevelt as the result of directions to actor Kenny Delmar by Welles.)
A live connection is established to a field artillery battery. Its gun crew reports damaging one machine and a release of poison gas before fading in to the sound of coughing. The lead plane of a wing of bombers broadcasts its approach and remains on the air as their engines are burned by the Heat Ray and the plane dives on the invaders. Radio operators go active and fall silent, most right after reporting the approach of the black smoke. The planes destroyed one machine, but cylinders are falling all across the country.
This section ends famously: a news reporter (played by Ray Collins), broadcasting from atop the CBS building, describes the Martian invasion of New York City â€” "five great machines" wading across the Hudson River, poison smoke drifting over the city, people running and diving into the East River "like rats", others "falling like flies" â€” until he, too, succumbs to the poison gas. Finally, a despairing ham radio operator is heard calling, "2X2L calling CQ ... Isn't there anyone on the air? Isn't there anyone on the air? Isn't there ... anyone?"
After an intermission which mentions the show's fictionality, the last third is a monologue and dialogue, with Welles returning as Professor Pierson, describing the aftermath of the attacks. The story ends, as does the novel, with the Martians falling victim to earthly germs and bacteria.
After the play, Welles breaks character to remind listeners that the broadcast was a Halloween concoction, the equivalent of dressing up in a sheet and saying "boo" like a ghost. Popular mythology holds this "disclaimer" was added to the broadcast at the insistence of CBS executives as they became aware of panic inspired by the program; in fact, it had appeared in Koch's working script for the play as presented in his 1968 book The Panic Broadcast.