Not in the Script — Reading Notes
Edition facts
The source record for Not in the Script — Reading Notes measures this digital text at 4,983 words, 22 min estimated reading time, and 1 detected text section.
The text analysis averages about 15.2 words per sentence, while the detected sections provide another way to judge how the source is divided.
Project Gutenberg metadata also associates the work with “Science fiction,” connecting these edition facts with the source record’s subject description.
Calculated from edition completeness, EPUB availability, text structure and catalogue metadata. Not a user rating.
How this score is calculated
- Description quality20 pts
- Title & short description10 pts
- Source metadata20 pts
- Text length15 pts
- Chapters / structure15 pts
- EPUB file integrity20 pts
Total of 100 points, scaled to a 2.5-5.0 range. Editions with an empty description or a missing EPUB file are not scored.
Read the Text
Jules Barnes' assignment was to write a play which would save Earth from an invasion; he wrote well--and yet the crucial scene was--
[Transcriber's Note: This etext was produced from Imagination Stories of Science and Fantasy December 1955 Extensive research did not uncover any evidence that the U.S. copyright on this publication was renewed.]
Colen Shratt studied his image in the silver-framed mirror. His mustache was neatly clipped, his face clean shaven and well talcumed. His captain's uniform--light blue--was pressed and looked as if it had just been bought. He was fastidious in everything he did.
He looked away from the mirror as the valet approached.
"Mr. Barnes is ready to see you, sir," the valet said.
Captain Shratt was ushered into a study where Jules Barnes was waiting.
"Won't you be seated?" Barnes invited.
The captain sat, laid his cap on his knee.
"Mind if I have one?"
Barnes fixed himself a drink. He seated himself on a sofa, leaned back and said: "Now what's it all about? What would an intelligence officer want with me?"
"I'm not only representing the Americas at this moment, Mr. Barnes, but all of earth as well. I'm here to ask you to do a service for the world."
"A service?" Barnes sipped at his drink. "You must be mistaken about me captain. I'm just a playwright."
"But I haven't made a mistake, Mr. Barnes. And you _can_ save the world. Just by writing a play."
"Mr. Barnes, within two months we shall have a visitor from Mars."
Jules Barnes finished his drink. "You don't say?"
"Are you sure you won't have a drink? Or have you had too many?"
"Mind if I use your phone?"
The captain dialled a number, said into the mouthpiece: "General?... Shratt. I'm at Barnes.... Yes. Of course. Have the President put on, will you?" The captain turned to Barnes. "You'd recognize the voice of William Livingstone, the President of the Americas, wouldn't you?"
Barnes nodded his head silently.
He took the receiver from Shratt and listened gravely.
The captain watched the playwright put down the receiver. "Well?" he said.
Barnes sat down, gulped noisily. "I'm listening."
"We're going to have a visitor from the planet Mars. Now supposedly, they will be on a friendly mission. But that will not be so. Their purpose is to determine our strength. If they decide we are ahead in nuclear physics and rocket-ship expansion we will be attacked. If they decide we are behind in experiments then we will be safe."
"I don't understand. Why shouldn't they attack us if they know we are weak?"
"They're not in any great hurry. If they believe we are strong and ready to launch rocket ships into space then they will stop us, determined we should never leave our planet to conquer space. If they believe we are weak and backward, they will let us alone, for the time being. As long as we aren't a threat then they'll feel safe, ready to conquer us at their own sweet time. They move when they think we're strong, ready to blast ships into space, ready to conquer the stars. Till then they'll let us alone, knowing we're weak and ineffectual."
"How do you know all this?" Barnes asked, moving to make himself and Shratt drinks. This time, the captain accepted his drink. "How can you possibly know of their plans?"
"We've picked up their ship by radar. We've been listening in on their conversations with Mars through a new I.B.M. machine. And Germany has sent their best code experts to give a hand. They broke down the language. And the messages between Mars and their ship was in code. So the experts did a double job, and well too, I might add. All the governments of the world have been alerted. They're all ready to cooperate."
"Well, where do I come in?"
"We want you to write a play."
"Yes. A play. And every industry on earth will be a participant. You will write and direct. The world will be the stage. Don't you see? You will write and direct every move that will convince the Martians we are backward, we are nothing, we are insignificant. They must be convinced our industry doesn't compare with theirs, our brains are childish to theirs, our leaders are weak and ineffectual, our weapons mere toys. You must write this play before they get here. It will be your greatest triumph. It will be the play of all plays. It will be the play that will save the world from destruction. It must be written within a month. That's what we want you to do."
"Within a month? That's impossible."
The story opens with a meticulous description of Captain Shratt adjusting his uniform in a silver-framed mirror—his mustache clipped, face talcumed, light blue captain's uniform pressed. This fastidiousness is a character note that Marmor uses to contrast with the playwright Jules Barnes, who is initially skeptical, sipping a drink and dismissing the idea that he could save the world. The dialogue is crisp, with Barnes’ casual “Oh, come now” meeting Shratt’s deadpan “I do say.” The phone call to the President, whose voice Barnes recognizes, shifts the tone from banter to gravity.
Diction of Deception
Marmor’s word choices reinforce the theme of performance. Shratt’s uniform is “light blue” and “looked as if it had just been bought”—a costume. Barnes is “just a playwright,” but the captain insists he can “save the world. Just by writing a play.” The verb “gulped noisily” after the phone call shows Barnes’ sudden nervousness, a physical tell that contrasts with his earlier composure. The Martians’ supposed “friendly mission” is immediately undercut by the phrase “that will not be so.” The language of theater—script, assignment, crucial scene—permeates the premise, as if Earth’s survival depends on a convincing performance.
Voice and Power Dynamics
The dialogue reveals a power shift. Shratt speaks in clipped, authoritative sentences: “I’m not only representing the Americas… but all of earth as well.” Barnes, initially dismissive, becomes “gravely” attentive after hearing the President. The captain’s refusal of a drink (“No, thank you”) and immediate use of the phone assert control. Barnes’ “I’m listening” is a surrender. Marmor uses these verbal cues to show how quickly a civilian can be co-opted into a military scheme. The playwright’s craft is repurposed as a weapon, and his voice becomes a tool of the state.
Setting as Stage
The study where the conversation occurs is described minimally—“a study,” “a sofa”—but the silver-framed mirror in Shratt’s quarters and the pressed uniform suggest a world of appearances. The phone call bridges the intimate room to the global stage: the President’s voice is a prop that validates the extraordinary claim. Marmor keeps the setting sparse, focusing attention on the dialogue and the characters’ physical reactions (sipping, gulping, nodding). This restraint mirrors the story’s core idea: that reality can be manipulated through scripted interactions.
Recurring Details of Performance
Marmor seeds the text with theatrical motifs. Barnes is introduced as a playwright; Shratt’s uniform is a costume; the Martians’ visit is a “mission” that must be staged. The phrase “Not in the Script” (the title) hints that the plan will go awry. The captain’s fastidiousness—checking his image, pressing his uniform—suggests he is always performing. Even the drink Barnes fixes himself is a prop for casualness. These details accumulate, reinforcing that every character is playing a role, and the story itself is a meta-commentary on the power of fiction.
Readers should attend to how Marmor uses dialogue to advance plot and character simultaneously. The story’s brevity (under 5,000 words) means every line carries weight. Notice the moments when characters pause, gulp, or change their tone—these are the seams where the performance cracks. The title promises a deviation from the expected, so watch for the moment when the script fails.
I often think of that playwright, weaving his careful fictions against the Martians’ watching eyes, and how the quiet fear beneath his ink mirrors something in Not in the Script. Strange, how a distant planet’s rebellion carries the same trembling heartbeat. Both worlds know the weight of a story told to survive. Revolt of the Outworlds — Background and Themes sits beside it on my shelf, sharing that old, human ache.
There are no reviews for this eBook.
Before you leave, reflect on the book
Use these questions to collect your thoughts before moving on.