UFO Script for
"Flight Path"

SYNOPSIS: A man's devotion to his wife is used as a weapon to force him to turn traitor.  But how can forces from another planet achieve this?

      The link between Paul Roper of S.H.A.D.O. Moonbase and a SHADO H.Q. medical technician named Dawson is remote, but it spells drama and tragedy for Roper from the day Dawson is the victim of a UFO attack.

      Roper is a worried man when he leaves the Moon for a spell of leave, and he arrives home to find his wife Carol in a terrified state after an intruder has entered her home.  A telephone call to Roper later that night convinces him that the mystery man who has been threatening him is in earnest and that Carol is in danger unless he obeys the instructions he has received.

      The first indication Commander Straker and Colonel Freeman have that something is wrong with Roper is when he reports to H.Q. for normal de-briefing tests, and stress factors are discovered.  Under close observation, he is heard telephoning a set of figures to a contact - but what they mean is a mystery, except that they suggest he is a traitor.  Freeman suspects that Carol is being used to force his hand. It is not until later that the significance of the figures becomes clear.  They represent the flight path for a major UFO attack.  But Roper has got two of the figures wrong, either accidentally or deliberately. It means that the aliens have received false information, which they would rapidly detect. And they'll be seeking a reckoning with Roper... which they do, through his wife.  Carol pays the penalty.

      But, as she is being attacked, she shoots her assailant.  He is revealed as Dawson, the innocent traitor who, during that earlier UFO attack, was indoctrinated with an electronic probe inserted into his temple.  It now appears that the big attack will coincide with sunspot activity which would make the UFO undetectable.  But one man, on his own and stationed at a predetermined position on the Moon's surface, could change the whole pattern and wreck the planned attack.  That one man is Roper.  It's his chance to even the score . . .

THE SCRIPT FOR THE UFO EPISODE
“FLIGHT PATH”


by

Ian Scott Stewart


© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

THE SCRIPT FOR THE UFO EPISODE "FLIGHT PATH"

Some UFO scripts differ a lot from what appeared in the finished episodes. The FLIGHT PATH script has the following differences:

* This script was written before filming of the first UFO episode, and is one of several which feature Moonbase commander "Franco Desica" and space tracker "Paula Harris". This was changed during the filming of the first episode when the actor hired to play Franco Desica was fired for being too difficult to work with. For this episode, Desica's role was transferred to Lt. Ellis, and Paula Harris' role was transferred to Joan Harrington.

* In the episode, there is very little time devoted to Roper travelling from Moonbase to Earth at the beginning of the episode. In the script, there is quite a bit devoted to this, and can be read in scenes 2, 3, and 11.

* In the episode, there is medical technician "Dawson" seen coming out of a UFO in the beginning of the episode, and then later kills Roper's wife. This character does not appear in the original script. In the original script, Roper's wife is killed by an Alien breaking into her house.

* Several scenes in the script seem a bit longer or have more dialog than what appears in the finished episode.

Following the original script, revision pages are included for pages 36, 37, 53, and 54. In these, Straker "accidentally" leaves his intercom on when telling Freeman to let Roper go, and Roper's wife is killed by medical technician Dawson.

- - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - - -

CAST LIST

SPEAKING PARTS
KAHN
PAULA HARRIS
BURROWS
DESICA
JOAN HARRINGTON
ROPER
CAROL
NURSE
DR. SHROEDER
FREEMAN
STRAKER
NINA
OPERATOR
KARLIN
MAXWELL
ORDERLY
FIRST GUARD

VOICE ONLY
VOICEPRINT IDENTIFICATION

SET LIST
INT CONTROL SPHERE MOONBASE STUDIO
INT SLEEP SPHERE STUDIO
INT SPACEPORT CHECKPOINT STUDIO
INT ROPER'S CAR STUDIO
EXT OPEN ROAD LOCATION
EXT BUNGALOW LOCATION
INT BEDROOM STUDIO
INT HALL STUDIO
EXT DOOR STUDIO
INT BLACK CAR STUDIO
EXT STUDIO LOCATION
INT FOYER LOCATION
INT SHADO SICK BAY STUDIO
INT SHADO CORRIDOR STUDIO
EXT ROAD LOCATION
EXT BUSHES LOCATION
INT SHADO INTERROGATION ROOM STUDIO
INT STRAKER'S UNDERGROUND OFFICE STUDIO
INT SHADO CONTROL STUDIO
INT SKYDIVER STUDIO
INT SKY1 COCKPIT STUDIO
INT MOONBASE CORRIDOR STUDIO
INT AIRLOCK MOONBASE STUDIO
EXT LUNAR SURFACE STUDIO

SPECIAL EFFECTS SETS
EXT MOONBASE
EXT LUNAR MODULE
EXT EARTH SPACEPORT
EXT SID
EXT UNDERWATER
EXT SKYDIVER
EXT SKY 1
EXT SKY
EXT OPEN ROAD
EXT GAS STATION

TIMINGS
STUDIO 41 mins 10 secs
SPECIAL EFFECTS 5 mins 32 secs
LOCATION & LIBRARY 3 mins 03 secs

TOTAL 49 mins 45 secs

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. MOONBASE DAY (VISUAL EFFECTS) 12 SECS

WE OPEN ON THE FIVE SPHERES OF MOONBASE SURROUNDED BY THE BARE WASTES OF THE MOON'S SURFACE.

ANOTHER ANGLE

THE MOON MODULE READY FOR TAKE-OFF ON THE RECEPTION SPHERE.

TRACK IN: THEN:

CUT TO:

2 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 64 SECS

ESTABLISH THE INTERIOR OF THE CONTROL SPHERE. WITH FRANCO DESICA SITTING AT THE CENTRAL CONSOLE.

AND TWO GIRLS, PAULA HARRIS AND JOAN HARRINGTON, AN ATTRACTIVE ENGLISH GIRL - WORKING FACING THE CONSOLES.

ON SEALED DOOR.

WHICH SLIDES OPEN AS TWO MEN ENTER - CHRIS BURROWS AND STEVE KAHN BOTH IN THEIR EARLY THIRTIES, BOTH DRESSED IN CIVILIAN SUITS AND CARRYING LIGHTWEIGHT HOLDALLS OF A SPECIAL DESIGN.

THEY WALK CASUALLY ACROSS THE SPHERE AND STOP BY PAULA.

KAHN
Much as we hate to leave you...

PAULA
(looking up)
Give my regards to Broadway...

KAHN
Or in my case Salt Flats, Ohio.

PAULA SMILES.

BURROWS
Anything you want from back home?

PAULA
You could look me out some books...

BURROWS
Sure. Anything special?

PAULA
Something nice and old fashioned to pass these long evenings.

KAHN
(laughs)
All fourteen days of them!

ON DESICA

HE LEANS FORWARD

DESICA
Isn't Paul Roper on this leave roster?

ANOTHER ANGLE

BURROWS
Yes - he's on the list, sir.

SITTING AT THE CENTRAL CIRCULAR CONSOLE, MIKE IN HAND.

DESICA
(into mike)
Earth blast off - fifteen minutes precisely. All personnel for leave report to Control Sphere immediately.
(then less formally)
Get a move on Paul, countdown's started.

ON PAULA HARRIS

PAULA
(checking her watch)
He should be here by now. Joan...

SHE TURNS FROM KAHN AND BURROWS TO JOAN HARRINGTON A FEW FEET AWAY ALONG THE WALL CONSOLE.

PAULA
I think I'll go and check.

JOAN
Sure...

SHE GETS UP TO GO AND WE:

CUT TO:

3 INT. SLEEP SPHERE. MOON BASE. DAY. (STUDIO) 79 SECS

OPEN ON A HOLDALL

OF THE SAME DESIGN AND MATERIAL AS THOSE CARRIED BY KAHN AND BURROWS. IN A WINDOW IN THE SIDE OF THE HOLDALL IS A LABEL WHICH READS "PAUL ROPER 807"

ON ROPER

PAUL ROPER IS A TALL, GOOD-LOOKING MAN OF ABOUT FORTY-FIVE WITH AN OPEN, INTELLIGENT FACE. HE SITS ON THE EDGE OF HIS INFLATABLE BUNK, SURROUNDED BY A MESS OF UNFINISHED PACKING.

IN HIS HAND IS A COMPUTER READOUT, WHICH HE IS READING FEVERISHLY, LIPS MOVING AS HE TRIES TO MEMORIZE FACTS AND FIGURES. HE IS OBVIOUSLY TENSE - THERE ARE BEADS OF PERSPIRATION ON HIS FOREHEAD, HIS FACE IS DRAWN AND HAGGARD.

ANGLE

ON TO A PUBLIC ADDRESS SYSTEM SET HIGH UP IN THE WALL.

DESICA (V.O)
(DISTORT)
Will Paul Roper report to Control Sphere immediately. Count down is proceeding.

ON ROPER

HE LOOKS UP - A WORRIED, DARTING LOOK - THEN DOWN AGAIN STILL TRYING TO COMMIT THE READOUT TO MEMORY.

ON THE DOOR

AS IT OPENS, AND PAULA COMES IN.

PAULA
Paul! They've started count-down.

ON ROPER

AS HE REACTS AND HURRIEDLY STUFFS THE READOUT BENEATH A PILE OF NEW DISPOSABLE CLOTHING.

THEN TURNS TO FACE PAULA.

ROPER
Coming.

WIDEN ANGLE

TO INCLUDE PAULA

PAULA
I'll help you. There's not much time.

ROPER
(nervously)
It's O.K. I'll handle it.

PAULA
No trouble.

SHE BEGINS TO PUT SOME THINGS IN THE HOLDALL.

ON PAULA

AS SHE PICKS UP A FRAMED PICTURE AND STOPS TO LOOK AT IT.

ON THE PHOTOGRAPH.

PAULA
(with meaning)
Carol wouldn't thank you if you missed the flight.

ON ROPER FORCING A SMILE.

ANOTHER ANGLE

AS PAULA PUTS THE PICTURE IN THE HOLDALL AND REACHES FOR THE PILE OF DISPOSABLE CLOTHING BENEATH WHICH ROPER HAS HIDDEN THE READOUT.

ROPER GRABS HER BY THE WRIST.

ROPER
(vehemently)
I said leave it to me, Paula.

PAULA
(surprised)
What is it? What's wrong?

ROPER
I told you I can manage.

PAULA, NETTLED, ESCAPES HIS GRIP AND TURNS TOWARDS THE DOOR.

PAULA
Have it your own way. Miss the shuttle if you want to.

AND SHE STORMS OUT OF THE SLEEP SPHERE.

ON ROPER

AS HE RUBS ANXIOUSLY AT HIS FACE...

CUT TO:

4 EXT. MOON BASE. DAY. (VISUAL EFFECTS) 5 SECS

ON THE LUNAR MODULE.

AS IT STANDS READY FOR TAKE OFF.

----------- MAIN TITLES -----------

CUT TO:

5 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 10 SECS

AS ROPER CROSSES THE CONTROL SPHERE AT A RUN, DRESSED AND READY FOR THE EARTH FLIGHT.

TITLES OVER.

ON JOAN HARRINGTON AS SHE WHISTLES THROUGH HER TEETH AND TICKS HIS NAME OFF ON A LIST IN FRONT OF HER. HE HURRIES OUT.

TITLES OVER.

CUT TO:

6 EXT. MOONBASE. DAY. (VISUAL EFFECTS) 6 SECS

THE MODULE WAITING - THE LAST SECONDS BEFORE TAKE OFF.

TITLES OVER.

CUT TO:

7 INT. CONTROL SPHERE. MOON BASE. (STUDIO) 7 SECS

ON JOAN

SPEAKING INTO A MIKE ON THE CONSOLE BEFORE HER.

JOAN
(into mike)
Five... four... three... two... one...

TITLES OVER

CUT TO:

8 EXT. MODULE DAY (VISUAL EFFECTS) 9 SECS

JOAN (V.O.)
(distort)
...Zero!

AND THE MODULE BLASTS OFF WITH A ROAR.

HOLD FOR A BEAT AS IT CLIMBS OUT OF FRAME, THEN

ANOTHER ANGLE

AS THE MODULE MOVES AWAY FROM THE SURFACE OF THE MOON ON THE FIRST STAGE OF ITS FLIGHT TO EARTH.

CUT TO:

9 EXT. SPACE. SKY AND MODULE. DAY. (VISUAL EFFECTS) 19 SECS

ON THE MODULE

AS IT ENTERS EARTH ORBIT

ANOTHER ANGLE

AS THE MOONSHIP FIRES ITS BOOSTERS AND BEGINS TO ENTER THE EARTH'S ATMOSPHERE, GLOWING RED WITH HEAT AS IT DOES SO.

CUT TO:

10 EXT. EARTH. SPACEPORT. DAY. (VISUAL EFFECTS) 8 SECS

ON THE LANDING PAD AS THE MOONSHIP LANDS

SUPERIMPOSED EPISODE TITLE:

"FLIGHT PATH"

MIX TO:

11 INT. SPACEPORT RADIATION/DOCUMENTATION CHECK. DAY. (STUDIO) 38 SECS


ON THE CHECKPOINT

THE RADIATION CHECK HAS A CONSOLE WITH DIALS AND METERS ON IT, AND TWO OPENINGS FOR TRAVELLERS TO INSERT THEIR HANDS.

THE DOCUMENTATION CHECK IS A STRAIGHTFORWARD SECURITY CHECK - CARRIED OUT BY AN OFFICIAL, WHO ALSO CONTROLS THE RADIATION CHECK.

ANOTHER ANGLE

AS KAHN, BURROWS AND ROPER ENTER THE CHECKPOINT AND FILE PAST THE RADIATION CONSOLE. EACH MAN INSERTING HIS HANDS.

ON ROPER

AS HE INSTERTS HIS HANDS

ANOTHER ANGLE

TO SHOW A PANEL BY THE OFFICIAL INSCRIBED:
RADIATION CHECK.
UNDERNEATH A LIGHT FLASHES - 'NEGATIVE'

BACK ON ROPER AS HE COMES UP TO KAHN BEFORE GOING THROUGH THE DOCUMENTATION CHECK.

KAHN
Home again.

ROPER NODS - NOT ALL THAT FORTHCOMING.

KAHN
Give my love to Carol, will you?

ROPER
Yuh...

KAHN
(laughs)
Perhaps I'll even get to meet her one day.

ROPER SMILES - AN ATTEMPT TO BE SOCIABLE. KAHN DOESN'T SEE ANYTHING WRONG.

KAHN
If she's anything like the picture...

ROPER
Much better.

CUT TO:

12 EXT. OPEN ROAD. NIGHT. LOCATION. 6 SECS

AS A FUTURISTIC CAR APPROACHES AND FLASHES BY. WE FOLLOW FOR A MOMENT, THEN:

13 INT. ROPER'S CAR. NIGHT. (STUDIO PROCESS) 10 SECS

ON ROPER

DRIVING THE CAR. HIS FACE IS TIGHT. NERVOUS. SWEAT DRIPS DOWN THE SIDE OF HIS FACE ONTO HIS COLLAR.

HE GLANCES AT HIS WATCH.

ON HIS WATCH, IT SHOWS A QUARTER TO NINE.

ANOTHER ANGLE

AS ROPER PUTS HIS FOOT DOWN ON THE ACCELERATOR, WE:

CUT TO:

14 EXT. OPEN ROAD. NIGHT. LOCATION. 14 SECS

A VERY LONELY STRETCH OF ROAD, WITH A LAY BY FEATURED.

THE SILENCE IS SHATTERED BY THE SOUND OF ROPER'S CAR AS IT COMES INTO SHOT AND SCREAMS TO A HALT IN THE LAY-BY.

CUT TO:

15 INT. ROPER'S CAR. NIGHT. (STUDIO) 49 SECS

INSIDE THE CAR, ROPERS SITS LOOKING APPREHENSIVELY AT THE CAR RADIO-TELEPHONE.

HE CHECKS HIS WATCH... LICKS HIS LIPS.

ON HIS WATCH

A FEW SECONDS TO NINE.

C.U. ROPER'S FACE

AS A CAR APPROACHES WE SEE THE HEADLAMPS PICK OUT HIS WHITE FACE - THE DEEP SHADOWS ROUND THE EYES AND MOUTH... THEN THE LIGHT PASSES LEAVING HIM A MORE ISOLATED HOLLOW-EYED FIGURE THAN EVER.

ON ROPER

AS HIS HAND REACHES OUT TOWARDS THE TELEPHONE. WITH HIS OTHER HAND HE MOPS HIS FOREHEAD.

ON HIS WATCH AS THE SECOND HAND COMES UP ON NINE O'CLOCK PRECISELY... THE PHONE BUZZES LOUDLY.

SNATCHING UP RECEIVER.

A LONG PAUSE THEN ROPER'S MOUTH WORKS, HE FORCES THE WORDS OUT.

ROPER
(into phone)
The answer's no. I won't do it.

HE LISTENS FOR A MOMENT.

ROPER
(into phone)
It's no good... I can't go through with it, do what you like...

LISTENS AGAIN, THEN:

ROPER
(into phone, angrily)
For God's sake, I said I won't tell you anything...
(Listens for a beat)
...my wife?
(Frantically)
...Leave her out of it will you!

THEN WITH A CLICK THE OTHER END RINGS OFF. ROPER PUTS THE RECEIVER DOWN IN A DAZE.

THEN, CONTROLLING HIMSELF, HE STARTS THE CAR AND WE:

CUT TO:

16 EXT. BUNGALOW. NIGHT. LOCATION. 10 SECS

SET ON THE SIDE OF A LONELY STRETCH OF ROAD, SURROUNDED BY A GARDEN.

THERE IS NO SIGN OF LIFE FOR MILES IN ANY DIRECTION. SOUND TREES RUSTLE IN THE WIND. AN OWL HOOTS IN THE DISTANCE.

CLOSE IN

ON ONE OF THE DARKENED WINDOWS AND:

CUT TO:

17 INT. BEDROOM. NIGHT. (STUDIO) 34 SECS

THE DARKENED BEDROOM IS STARTINGLY FUTURISTIC - THE FURNATURE IS INFLATABLE, THE DESIGN GEOMETRIC WITH CHROME LAMP FITTINGS, AIR CONDITIONING ETC.

ON THE BED

TO SHOW CAROL ROPER ASLEEP BENEATH A PAPER-THIN THERMOSTATICALLY-CONTROLLED BLANKET, WHICH SHOWS THE CONFIGURATION OF A VERY SHAPELY FIGURE.

HOLD FOR A BEAT, THEN:

SOUND:

FROM OUTSIDE, A SINGLE METALLIC CLUNK - LIKE METAL STRIKING CONCRETE.

ON CAROL

AT THE SOUND SHE STIRS.

THEN AGAIN THE SOUND AND SHE BLINKS, OPENS HER EYES, PROPS HERSELF SHAKILY ON ONE ARM... AND LISTENS.

SOUND

ANOTHER METALLIC CLINK - AND FROM SOME DISTANCE, THE BARKING OF A DOG.

CAROL FROWNS... LOOKS AT THE CLOCK... AND BEGINS TO PULL A WRAP AROUND HER.

ANOTHER ANGLE

AS SHE GETS UP CROSSES THE BEDROOM TOWARDS THE DOOR. AT THE DOOR SHE STOPS - LISTENING.

SOUND:

OUTSIDE THE DOG'S BARK CHANGES TO A FRIGHTENED HOWL AS WE CLOSE ON HER FACE AND:

CUT TO:

18 INT. HALLWAY. NIGHT. (STUDIO) 52 SECS

CAROL COMES INTO SHOT... PAUSES LOOKING OUT TO THE HALL.

CAROL'S P.O.V.

THE DARK, DESERTED HALLWAY.

RESUME CAROL

SHE STANDS FOR A MOMENT... LISTENING.

SOUND:

ANOTHER CLUNK - THIS TIME LOUDER, THE DOG'S HOWL CHANGES SUDDENLY TO A FRIGHTENED, SCARCELY AUDIBLE WHIMPER. CAROL BEGINS TO MOVE TOWARDS THE DOOR.

CAROL
(quietly)
Paul?

ANOTHER ANGLE

SHE REACHES THE DOOR AND TURNS ON THE LIGHT ON THE WALL BESIDE IT. SHE STOPS... LISTENING.

SOUND:

ANOTHER CLUNK, THIS TIME VERY NEAR. THE DOG GOES QUIET.

CAROL
(with a note of hysteria in her voice)
Paul, is it you?

WE HEAR THE SOUND OF A KEY IN THE LOCK, THEN IT IS SLOWLY WITHDRAWN, THEN ANOTHER INSERTED.

CAROL
(scared)
Paul...

THE LOCK TURNS, THE DOOR BEGINS TO OPEN. WE CLOSE ON HER FACE, AS IT CHANGES...TO TERROR.

SHE SCREAMS OUT.

CAROL'S P.O.V.

THE DOOR IS OPEN ABOUT A FOOT. A GLOCED HAND MOVES SLOWLY INTO SHOT. FEELS THE LIGHT SWITCH AND SNAPS IT OFF.

ON CAROL
THE FACE IS CONTORTED WITH FEAR. ON HER SCREAMS WE:

FADE OUT:

FADE IN:

19 EXT. BUNGALOW. NIGHT. (LOCATION) 14 SECS


THE BUNGALOW STANDS SILENT AND DESERTED - NO LIGHTS SHOWING. THE FRONT DOOR APPEARS TO BE CLOSED.

ROPER'S CAR COMES INTO SHOT AND SCREECHES TO A HALT. ROPER GETS OUT AND GOES TOWARDS THE DOOR.

20 EXT. DOOR. NIGHT. (STUDIO) 12 SECS

ON ROPER. HE TAKES OUT HIS KEY, BUT AS HE GOES TO OPEN THE DOOR REALISES IT IS NOT SHUT. HE REACTS, A LOOK OF CONSTERNATION ON HIS FACE.

HE WAITS, LISTENING; THE DECIDES - PUSHES THE DOOR SLOWLY OPEN WITH AN OUTSTRETCH ARM KEEPING BACK AGAINST THE WALL. WHEN IT IS OPEN THE DOORWAY IS SUDDENLY FILLED WITH THE BLAST FROM A SHOTGUN.

CUT TO:

21 INT. HALL. NIGHT. (STUDIO) 36 SECS

ROPER STEPS IN. THROWS HIMSELF TO THE SIDE...

HITS THE WALL HARD AND PUSHES HIMSELF BACK IN THE DIRECTION OF THE SHOTGUN BLAST... CONNECTING WITH HIS ASSAILANT HE GRABS AT THE GUN.

SOUND:

THE PIERCING SCREAM OF A WOMAN.

ANOTHER ANGLE

ROPER REACHES UP FOR THE LIGHT BUTTON.

ANOTHER ANGLE

AS THE LIGHT COMES ON TO REVEAL CAROL PRESSED BACK AGAINST THE WALL BY THE SHOTGUN WHICH ROPER IS NOW HOLDING.

ON ROPER

AS HE REACTS.

ROPER
Carol!

HE LOWERS THE SHOTGUN AND SHE STUMBLES FORWARD INTO HIS ARMS.

ROPER
What happened?

CAROL
(near collapse)
It was horrible, oh Paul. When you came in I thought... I thought it was... I thought he'd come back.

ROPER
It's alright... it's alright now... take it easy...

ROPER FIGHTING A KIND OF RISING PANIC, HELPS CAROL TOWARDS THE BEDROOM.

22 INT. BEDROOM. NIGHT. (STUDIO) 36 SECS

THEY ENTER, ROPER TURNS ON THE LIGHT, HELPS CAROL TO THE BED, LOWERS HER ONTO IT.

ROPER TURNS TO A BEDSIDE TABLE, POURS A GLASS OF WATER AND GIVES IT TO CAROL. SITS DOWN ON THE BED.

CAROL TAKES A SIP, FLOPS BACK ONTO THE BED, CLOSES HER EYES.

ROPER
Try and relax.

ROPER GOES TO RISE, CAROL SENSES THE MOVEMENT, OPENS HER EYES AND REACHING UP WITH HER ARMS, PULLS HIM DOWN.

CAROL
Oh darling... hadn't we better tell someone... ring the police or something.

ROPER
The police... Of course... I'll phone them now.

ROPER GENTLY BREAKS THE CLINCH AND WALKS SLOWLY OUT OF THE BEDROOM.

CUT TO:

22A INT. HALL. NIGHT (STUDIO) 37 SECS

ROPER COMES OUT, GOES TO CLOSE THE BEDROOM DOOR.

CAROL (VO)
Leave the door open.

ROPER LEAVES THE DOOR SLIGHTLY AJAR, HE IS WORRIED MIND RACING. HE WALKS OVER AND CLOSES THE FRONT DOOR.

HE LOOKS BACK TOWARDS THE BEDROOM TRYING TO RESOLVE THE TERRIBLE SITUATION. HE PICKS UP THE SHOT GUN AND PUTS IT BACK ON THE WALL.

ON ROPER

HE LOOKS DOWN AT THE PHONE TRYING TO DECIDE WHAT TO DO. IT RINGS. HE NEARLY PANICS BUT PICKS IT UP.

ROPER
(into phone)
You... You bastards... alright, alright you've convinced me...

ROPER SPEAKS IN A TIGHT LIPPED WHISPER.
HE GLANCES TO THE BEDROOM.

ROPER
I can't talk now... no... Tomorrow night, twelve o'clock... Yes, I'll give you all you want then... But if you come near my wife ag...

HE STOPS IN MID SENTENCE AS HE REALISES THEY HAVE CUT OFF.

ZOOM IN ON ROPER'S TORTURED FACE

CUT TO:

23 EXT. BUNGALOW. DAY. (LOCATION) 16 SECS

NOW BATHED IN BRIGHT SUNLIGHT.

A FUTURISTIC CAR COMES INTO SHOT AND PULLS UP OUTSIDE.

A UNIFORMED CHAUFFER GETS OUT WEARING A CAP PULLED WELL FORWARD AND DARK GLASSES.

THEN HE LEANS BACK INTO THE CAR AND HITS THE HORN BRIEFLY.

CUT TO:

24 INT. BEDROOM. DAY. (STUDIO) 85 SECS


ROPER IS DRESSED FOR GOING OUT, LOOKING DOWN AT CAROL ASLEEP IN BED. HE PUTS A TRAY OF TEA HE IS HOLDING ON THE BEDISIDE TABLE, SITS ON THE BED, GENTLY STROKES HER HAIR.

ROPER
Carol.

CAROL WAKES.

ROPER
Hello darling, how do you feel?

CAROL
(drowsy)
Oh, I'm fine... That pill certainly did the trick...

ROPER POURS A CUP OF TEA.

ROPER
Yes... Listen. Everything's alright now. There's no need to worry about last night.

CAROL SITS UP AND TAKES THE TEA.

CAROL
Thank you... You phoned the police?

ROPER
Yes... They came round... you were asleep. Apparently your scream must have frightened him away.

CAROL IS SLIGHTLY NERVOUS AS SHE REMEMBERS.

ROPER
You... did scream?

CAROL
Yes!

ROPER
Well, you can forget it. They caught him. Picked him up a couple of miles along the road.

CAROL
What did he want?

ROPER
Just an intruder. Apparently they've been after him for some time.

CAROL
Will, I have to make a statement?

ROPER
I don't know... maybe not, it's an open and shut case.

THE HORN IS PUMPED IMPATIENTLY.

ROPER
Look... I'll have to go... I'll ring you... Are you sure you're alright?

CAROL

Yes... really.

HE KISSES HER.

ROPER
Bye.

CAROL
Bye darling.

ROPER
Drink your tea...

HE EXITS. CUT TO:

25 EXT. THE BUNGALOW. DAY. LOCATION. 10 SECS

ROPER WALKS TOWARDS THE CAR. THE CHAUFFEUR NODS COLDLY TO HIM AND GETS INTO THE DRIVING SEAT, LEAVING ROPER STANDING BESIDE THE CAR.

CUT TO:

26 INT. BLACK CAR. DAY (STUDIO) 28 SECS


AS THE CHAUFFEUR UNHOOKS A MICROPHONE FROM THE COMPLEX RANGE OF EQUIPMENT AND CONTROLS ON THE DASHBOARD.

HE HANDS THE MIKE THROUGH THE OPEN WINDOW TO ROPER, WHO TAKES IT.

ROPER
(into mike)
Voice identification - Paul Roper.

ANGLE

ONTO A SMALL MONITOR AFFIXED TO THE CAR'S DASHBOARD. IMMEDIATELY WE HEAR;-

SOUND
THE WHIRRING OF ELECTRONICS

MONITOR
Positive identification... eight... zero... seven... Roper Paul L.

ON ROPER
AS HE HANDS THE MIKE BACK TO THE CHAUFFEUR AND GETS INTO THE BACK OF THE CAR.

AS THE CAR STARTS TO MOVE OFF, WE

CUT TO:

27 EXT. OPEN ROAD. DAY. LOCATION. 6 SECS

ON THE BLACK CAR AS IT CRUISES ALONG AN OPEN STRETCH OF COUNRTY ROAD.

CUT TO:

28 INT. CAR. DAY. (STUDIO PROCESS) 5 SECS

CLOSE ON ROPER, WORRIED

CUT TO:

29 EXT. HARLINGTON-STRAKER. LOCATION (STUDIO DAY) 12 SECS

AS THE BLACK CAR DRAWS UP AT THE ENTRANCE TO THE STUDIO. THE CHAUFFEUR GETS OUT AND HOLDS THE REAR DOOR OPEN FOR ROPER. WHO EMERGES AS WE:

CUT TO:

30 INT. STUDIO FOYER. DAY. LOCATION. 10 SECS

ROPER WALKS ACROSS THE FOYER TO MISS EALANDS OFFICE

CUT TO:

31 INT. SHADO SICK BAY. DAY. (STUDIO) 123 SECS

THE ROOM IS STARK, WHITE, FUNCTIONAL. ONE BED DOMINATES IT. A TECHNICIAN DRESSED IN A WHITE PLASTIC SUIT, SITS IN FRONT OF A BANK OF ELECTRONICS.

A DOCTOR - DOCTOR SHROEDER - SITS AT A TABLE CHECKING SOME PAPERS.

ON THE DOOR.
AS ROPER IS USHERED IN BY A PRETTY COLOURED NURSE.

ANOTHER ANGLE
DR. SHROEDER APPROACHES HIM.

NURSE
Mr. Roper for debriefing tests, Doctor.

DR. SHROEDER
Thank you. This way Mr. Roper.

HE INDICATES A CHAIR IN THE CENTRE OF THE ROOM AND ROPER GOES OVER TO IT AND SITS DOWN.

ANOTHER ANGLE

THE TECHNICIAN WHEELS OVER A TALL BANK OF EQUIPMENT CONSISTING MAINLY OF A BLANK SCREEN, OVER WHICH THERE IS A SIGN:

"DECISION STRESS INDICATOR"

DR. SHROEDER
I assume you're familiar with this test, Mr. Roper.

ROPER
(flat)
It measures how much strain goes into any decision you make.

AS THE DOCTOR AND NURSE ATTACH VARIOUS WIRS AND CAPILLARIES TO ROPER - TO HIS ANKLES, TEMPLES AND WRISTS.

DR. SHROEDER
Astounding how hard we work even on simple decisions - like whether or not to have a cup of coffee. On big decisions - well the stress can render a man useless.
(a beat)
Right - all set.

ON ROPER
HE IS CLEARLY ANXIOUS, TENSE. A LOOK OF FIERCE CONCENTRATION LIGHTS HIS EYES.

ON THE MONITOR SCREEN.
THE SCREEN BEGINS A VISUAL COUNTDOWN:
'10... 9... 8... 7... 6... 5... 4... 3... 2... 1... ZERO!

ON 'ZERO' THE OTHER IMAGES SPRING TO LIFE.

A SERIES OF VISUAL IMAGES SUCCEED EACH OTHER: FACES, INSTRUMENTS, PLACES, DIAGRAMS, CHARTS, THEY APPEAR AS A RANDOM SELECTION OF UNCONNECTED IDEAS.

NOW A SERIES OF WORDS, FIGURES, TECHNICAL DATA, EQUATIONS, ETC.

ON ROPER
HE CONCENTRATES HARD, HIS EYES FIXED TO THE SCREEN.

ANOTHER ANGLE
TO SHOW HIM JAB OCCASIONALLY AT A ROW OF BUTTONS BELOW THE SCREEN - EACH BUTTON PRESSED IS A DECISION MADE.

FOR EVERY DECISION HE MAKES, THE WORDS 'POSITIVE' OR 'NEGATIVE' APPEAR ON A PANEL, ACCOMPANIED EACH TIME BY A HIGH-PITCHED 'PEEP'.

'POSITIVE' APPEARING FAR MORE OFTEN THAN 'NEGATIVE'.

ANOTHER ANGLE TO SHOW THE TECHNICIAN SITTING IN FRONT OF AN OSCILLATING SCOPE WHICH REGISTERS ROPER'S STRESS STATE.

AS THE MAN WATCHES, HE THROWS A SWITCH OCCASIONALLY ON THE PANEL IN FRONT OF HIM.

ON ROPER

HE LOOKS AFRAID... SWEAT DRIPS PROFUSELY DOWN THE SIDE OF HIS FACE.

ON THE SCREEN AS THE SUCCESSION OF IMAGES AND FORMULAE GROWS FASTER AND FASTER, THE WORDS ON THE PANEL (POSITIVE/NEGATIVE) BECOME MUCH LESS FREQUENT.

ON ROPER
WE CLOSE ON HIS EYES... STARING... SCARED... THEN:

DR. SHROEDER (V.O.)
Stop!

AND AS ROPER'S EYES RELAX, WE:

CUT TO:

32 INT. SHADO CORRIDORS. DAY. (STUDIO) 80 SECS

ROPER AND THE COLOURED NURSE COME OUT OF A SIDE DOOR.

NURSE
Thank you, Mr. Roper.

SHE DISAPPEARS BACK INTO THE SICK BAY AS ROPER WALKS ALONE DOWN THE CORRIDOR.

TURNING A CORNER, HE NEARLY BUMPS INTO ALEC FREEMAN.

FREEMAN
Just the man I was looking for.

ROPER
(alarmed: Over reacting)
For me?

FREEMAN
(laughs)
To invite you for a drink.

ROPER
No - I'll... uh... I'll take a rain check on that...

A BEAT THEN:

FREEMAN
What is it Paul? Something on your mind?

ROPER
It's nothing... these kid's games...

FREEMAN
The debriefing tests?

ROPER
Yuh... (he shrugs).

FREEMAN
This isn't like you, Paul.

ROPER
Maybe I'm getting old...

FREEMAN
They're not just for amusement.

ROPER
Let's forget it, shall we... I want to ring Carol. I'm taking her out this evening.

FREEMAN
Sure. How is she?

ROPER
(quickly)
She's fine... fine... Look I'll see you later, Alec. For that drink, O.K.?

FREEMAN
O.K. See you.

ROPER CONTINUES DOWN THE CORRIDOR, OUT OF FRAME.

ON FREEMAN
HE STANDS FOR A MOMENT, WATCHING HIM GO, THEN:

ANOTHER ANGLE
DOCTOR SHROEDER EMERGES FROM THE SICK BAY. HE NODS TO FREEMAN WHO FALLS INTO STEP BESIDE HIM.

FREEMAN
How did Roper make out in the Decision Stress, Doc?

DR. SHROEDER
Too early to say for certain... but he seemed... well, he seemed a bit strung-out. Indications of supernumery stress factors during his last tour of duty.

FREEMAN
Any ideas?

DR. SHROEDER
Not at this stage - could be anything, boredom, misses his wife.

FREEMAN
(forcing a laugh)
A girl like Carol - who wouldn't... ?

DR. SHROEDER GRINS, AND WE:

CUT TO:

33 INT. BUNGALOW. BEDROOM. NIGHT. (STUDIO) 53 SECS

OPEN ON CAROL
AS SHE PUTS THE FINISHING TOUCHES TO HER MAKEUP. SHE LOOKS VERY BEAUTIFUL. WE HEAR A CAR DRAW UP OUTSIDE.

SHE REACTS AS SHE HEARS THE FRONT DOOR BEING
OPENED.

ROPER (VO)
Carol...

CAROL
(relieved)
I'm in here, Paul.

ROPER
Hello, darling.

ROPER COMES IN CROSSES AND KISSES HER ON THE CHEEK, THEN STEPS BACK TO LOOK AT HER.

ROPER
Ready?

CAROL
Ready.

ROPER
(shaking his head)
Hold it. I just don't know if I can take you out looking like that.

CAROL
What do you mean?

ROPER
Well, people might say what's a young beautiful girl doing with that broken down old wreck.

CAROL
Don't worry, I can always tell them I married you for your money. I'll get my wrap.

ON ROPER, HE SMILES.

CAROL (VO)
They didn't ring...

ROPER REACTS.

ROPER
Who?

CAROL (VO)
The police...

RESUME SCENE
ROPER HELPS CAROL ON WITH HER WRAP

CAROL
Come on cradle snatcher... I'm hungry.

CUT TO:

34 INT. SHADO SICK BAY. NIGHT. (STUDIO) 39 SECS

COME UP ON STRAKER AS HE GLANCES OVER A COMPUTER READOUT.

WIDER ANGLE

TO SHOW THAT ALEC FREEMAN IS WITH HIM, ANXIOUSLY AWAITING A VERDICT

FREEMAN
Well?

STRAKER
Not good... Decision Stress tests mainly positive... signs of tension... extreme anxiety... traces of neuroses... observers report similar findings... Decision-making below par... reflexes bad... impetuosity... nervousness...

FREEMAN
I don't believe it!

STRAKER
(hard)
It's down here.
(pause)
He's an out-and-out-risk, Alec. We can't afford to take chances.

FREEMAN
Look, I've known Paul roper for years. You can't seriously believe he's a security risk.

STRAKER
(rapping the readout)
Look at the facts, Alec. The man's a mess. I don't know why... Check him...

STRAKER LOOKS AT HIM HARD.

ON FREEMAN'S FACE. THEN:

CUT TO:

35 EXT. ROAD. NIGHT. LOCATION. 5 SECS

ROPERS' CAR SPEEDS ALONG.

CUT TO:

36 INT. CAR. NIGHT. (STUDIO) 19 SECS

ROPER DRIVES - CAROL HOLDS OUT A HAND. ROPER TAKES IT.

CAROL
It was a nice evening. Thank you.

ROPER SMILES BUT HE IS NERVOUS. HE ACCELERATES.

CAROL
I'm not Cinderella, darling.

ROPER
What?

CAROL
Don't drive so fast... I don't have to be home by midnight.

ON ROPER

'MIDNIGHT' BRINGS THE FAINTEST REACTION FROM ROPER. BUT HE MUST PLAY OUT THE GAME.

ROPER
Sorry.

HE SLOWS THE CAR.

CUT TO:

37 EXT. BUNGALOW. NIGHT. LOCATION. 6 SECS


ROPER'S CAR PULLS UP OUTSIDE.

CUT TO:

38 INT. CAR. NIGHT. (STUDIO) 18 SECS

ROPER LEAVES THE ENGINE RUNNING.

ROPER
I'll put the car away.

CAROL
(inviting)
Don't be long.

SOMEWHERE AN OWL HOOTS. CAROL GOES TO GET OUT OF THE CAR. ROPER GLANCES AT HIS WATCH.

ON WATCH

THREE MINUTES TO TWELVE

RESUME SCENE

CAROL
I thought I saw someone...

ROPER
What!

CAROL
Over there in the bushes.

ROPER
Where... ?

CAROL
(pointing)
There...

CAROL POINTS AND ROPER LOOKS IN THAT DIRECTION.

CUT TO:

39 EXT. BUSHES. NIGHT. LOCATION. 5 SECS


FROM THEIR P.O.V. THE BUSHES. NO SIGN OF ANYONE.

40 INT. CAR. NIGHT. (STUDIO) 12 SECS

ROPER
(slow)
No, its nothing...

CAROL
I'm almost sure.

HE LOOKS AT HER, THEN TURNS OFF THE ENGINE.

ROPER
You're tired. It's nothing I'll see you into the house.

CUT TO:

41 EXT. BUNGALOW. NIGHT. LOCATION. 18 SECS

ROPER AND CAROL GET OUT OF THE CAR.

AS THEY WALK TO THE DOOR ROPER GLANCES AT THE BUSHES. THE DOG BARKS IN THE DISTANCE.

ON DOOR

ROPER TAKES OUT HIS KEY, OPENS THE DOOR, LEANS IN AND TURNS ON THE LIGHT. THEN STEPS BACK TO LET CAROL IN.

42 INT. HALL. NIGHT. (STUDIO) 15 SECS

CAROL LOOKS AROUND THE HALL A LITTLE NERVOUSLY, NOTHING IS OUT OF PLACE.

ROPER
Alright?

CAROL NODS. ROPER STARTS TO LEAVE. CAROL GLANCES AT THE HALF-OPEN DOOR AND THE DARKNESS BEYOND.

CAROL
Paul...

ROPER TURNS: NOTICES THE BEDROOM DOOR.

ROPER
(condescending)
Come on...

HE TAKES HER ARM AND WALKS HER INTO THE BEDROOM.

43 INT. BEDROOM. NIGHT. (STUDIO) 12 SECS

ROPER TURNS ON THE LIGHT. CAROL LOOKS AROUND AND SATISFIES HERSELF THAT ALL IS IN ORDER.

ROPER
Alright now...

CAROL
Yes, fine... thanks darling.

ROPER
I'll go and put the car away.

CUT TO:

44 INT. HALL. NIGHT. (STUDIO) 9 SECS

ROPER COMES OUT, GLANCES BACK AT THE BEDROOM THEN AT HIS WATCH.

ON WATCH

A MINUTE TO TWELVE.

ON ROPER

HE PASSES A NERVOUS HAND OVER HIS FACE THEN HURRIES OUT.

CUT TO:

45 EXT. BUNGALOW. NIGHT. LOCATION. 6 SECS

ROPER MOVES TOWARDS THE CAR THEN STOPS AND LOOKS AT THE BUSHES.

CUT TO:

46 EXT. BUSHES. NIGHT. LOCATION. 5 SECS

NO MOVEMENT.

47 EXT. CAR. NIGHT. LOCATION. 9 SECS

ROPER MOVES TO THE CAR WITH HIS BACK TO THE BUSHES, OPENS THE DOOR AND GETS IN.

CUT TO:

48 EXT. BUSHES. NIGHT. LOCATION. 6 SECS

WE SEE A MOVEMENT AND TRACK IN FAST TO PICK UP THE SHADOWY FIGURE STANDING IN CONCEALMENT.

CUT TO:

49 INT. CAR. NIGHT. (STUDIO) 35 SECS

ON ROPER'S WATCH

SECOND HAND COMES UP TO TWELVE O'CLOCK. THE PHONE BUZZES.

ON ROPER. HE HESITATES A MOMENT THEN SNATCHES UP THE RECEIVER, TAKES A BREATH AND

ROPER
(into phone)
Yes... Yes, alright... but you must never contact me or my wife again. O.K. On those conditions... Ready?

HE PAUSES, KEEPING A CAREFUL WATCH ON THE BUSHES.

ROPER
(into phone)
Begin... forty two degrees two minutes. Angle eight four...
Fifty eight degrees seven minutes angle sixty five... go down two... sixty eight degrees seven minutes...

CUT TO:

50 EXT. CLUMP OF BUSHES. NIGHT. (STUDIO) 18 SECS

COME UP TIGHT ON A TAPE RECORDER - REELS TURNING SLOWLY. PULL BACK TO SHOW FREEMAN STANDING AMONG THE BUSHES AIMING A DIRECTIONAL AERIAL TOWARDS THE CAR.

ANOTHER ANGLE
TO SHOW FREEMAN HAS A HEARING AID MONITOR IN HIS EAR, OVER THIS WE HEAR

ROPER (VO)
(distort)
Position thirty three degrees... now down tow... alternate coordinates... two seven four two now down three.

ON FREEMAN
WORRIED, HARDLY BELIEVING WHAT HE HEARS.

CUT TO:

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

51 INT. SHADO INTERROGATION ROOM. DAY. (STUDIO) 18 SECS

TRACK IN THROUGH THE INTERROGATION ROOM TO THE GLASS PARTITION AREA. WITHIN, IT IS LIKE A VERY SMALL DARKENED CINEMA, WITH A SINGLE SEAT POSITIONED IN THE CENTRE. A SPOTLIGHT PICKS OUT THE CHAIR ON WHICH PAUL ROPER IS SLUMPED.

AT ONE END OF THE ROOM A WIDE SCREEN COVERS THE ENTIRE WALL. DR. SHROEDER SITS IN B.G.

ON THE SCREEN

AS STRAKER'S FACE APPEARS IN ENORMOUS CLOSE-UP.

STRAKER (On screen)
(hard)
I want answers Roper. Who were they?

NOW ANGLE TO INCLUDE ROPER. HE IS BEATEN. HE SHAKES HIS HEAD WEARILY, AND WE:

CUT TO:

52 INT. STRAKER'S SHADO OFFICE. DAY. (STUDIO) 10 SECS

STRAKER SITS BEHIND HIS DESK. A SMALL CAMERA A FEW FEET IN FRONT OF HIM. BESIDE HIM, ON THE DESK, IS A MONITOR ON WHICH WE CAN SEE ROPER IN THE INTERROGATION ROOM.

ANOTHER ANGLE

TO SHOW FREEMAN SITTING - WATCHING - IN ONE CORNER OF THE OFFICE.

ON STRAKER

AS HE SPEAKS TO THE CAMERA.

STRAKER
What did you tell them?

CUT TO:

53 INT. SHADO INTERROGATION ROOM. DAY. (STUDIO) 8 SECS

ON STRAKER'S HUGE FACE ON THE SCREEN.

STRAKER
What did they want?

NOW ANGLE ON ROPER TO SEE HIS HEAD ROLL, HIS TONGUE LICK AT HIS LIPS. BUT HE STILL DOESN'T SPEAK.

CUT TO:

54 INT. STRAKER'S SHADO OFFICE. DAY. (STUDIO) 58 SECS

STRAKER PUSHES BACK HIS CHAIR WITH A VIOLENT MOVEMENT. SNAPS OFF THE MONITOR AND ROPERS' PICTURE DISAPPEARS.

NOW ANGLE TO INCLUDE FREEMAN WATCHING STRAKER AS HE PACES THE FLOOR.

FREEMAN
You're pushing him too hard...

STRAKER
We've got to make him talk.
(then)
Let's try another angle.
(a beat)
Money?

FREEMAN SHAKES HIS HEAD.

STRAKER
Blackmail?

FREEMAN SHRUGS DOUBTFULLY.

STRAKER
Threats - violence?

FREEMAN
His wife, maybe...

STRAKER
Tell me about her.

FREEMAN
Young... attractive. Roper is crazy about her. I could understand it if she'd been threatened...

STRAKER SPINS ROUND ON HIM.

STRAKER
Understand it? Can't you accept the fact -

FREEMAN
That he's a traitor? I know that. But it's also a matter of degree.

STRAKER
Degree nothing... It's what he's told them that matters. Not why. You say he's crazy about his wife? We'll see just how crazy.

STRAKER TURNS ON THE MONITOR AND WE SEE ROPER DR. SHROEDER HAS TAKEN UP THE INTERROGATION.

DR. SHROEDER
Alright Roper... Let's take it from the beginning once more.

CUT TO:

55 INT. SHADO INTERROGATION ROOM. DAY. (STUDIO) 30 SECS

ON STRAKER ON THE SCREEN

HE LEANS FORWARD, SPEAKS BRISKLY.

STRAKER
Just a minute, Doctor... O.K. Roper. So it's your wife...

ON ROPER

AT THE MENTION OF HIS WIFE HIS HEAD SNAPS UP.

STRAKER
And naturally you didn't want to see her get hurt...

TIGHTEN ON ROPER. A LONG BEAT THEN: A SILENT ADMISSION.

STRAKER
And you think by keeping quiet you can do her some good?

ROPER DOES NOT ANSWER. ON SCREEN STRAKER LEANS TOWARDS HIM ALMOST CONFIDENTIALLY:

STRAKER
You tell us what we want Roper - It's the best way to guarantee her safety.

CUT TO:

56 INT. STRAKER'S SHADO OFFICE. DAY. (STUDIO) 52 SECS

COME UP SLOWLY ON THE TURNING SPOOLS OF A TAPE RECORDER.

ROPER (VO)
(on tape)
Thirty-five degrees up to... elevate... scramble coordinates... seventy-two degrees down three... programme - DV3...

FREEMAN'S HAND COMES INTO SHOT AND SNAPS OFF THE MACHINE.

ANOTHER ANGLE

STRAKER SITS AT HIS DESK - ROPER IN A CHAIR OPPOSITE ON THE FAR SIDE OF THE ROOM FREEMAN OPERATES THE TAPE RECORDER.

STRAKER
Numbers, angles - what do they mean?

ROPER
I was given programme numbers for S.I.D., and told to feed in certain information, then memorise the results.

FREEMAN
So - we'got a batch of data, but how do we apply it?

ROPER
I can give you the data - I can't give you the significance.

STRAKER HITS HIM WITH A LOOK.

STRAKER
You mean you didn't know what you were doing when you handed over those figures?

ROPER
No.

STRAKER REEACTS TO WHAT IS TO HIM THE STAGGERING IRRESPONSIBILITY OF WHAT ROPER HAS DONE.

HE TURNS TO FREEMAN.

STRAKER
Then we're going to have to put everything into finding out.

CUT TO:

57 EXT. S.I.D. (VISUAL EFFECT) 5 SECS

S.I.D. HANGS IN SPACE - THE PALE BLUE EARTH FAR BELOW.

ESTABLISH AND:

CUT TO:

58 INT. S.I.D. (STUDIO) 5 SECS

HOLD THE SCENE OF INTENSE COMPUTER ACTIVITY AND:

CUT TO:

59 EXT. MOONBASE DAY (VISUAL EFFECTS) 5 SECS

ESTABLISH THE SILVER SPHERES... THE SHOOTING GLINT OF THE SUN'S RAYS THEN:

CUT TO:

60 INT. MOONBASE CONTROL. DAY. (STUDIO) 48 SECS

COME UP ON SIMILAR COMPUTER ACTIVITY - THIS TIME OPERATOR CONTROLLED.

WE EDENTIFY NINA BARRY... PAULA HARRIS

THEN ANGLE TO SEE DESICA SWING IN HIS CHAIR TOWARDS PAULA HARRIS

DESICA
What d'you make of it?

PAULA HARRIS SHRUGS.

PAULA
Nothing.

NINA TURNS TO LOOK UP - INTERESTED.

DESICA
Straker's not going to but that. Rerun it.

PAULA
It won't alter the result, sir.

DESICA
It will if you permutate it differently.

PAULA
(shocked almost)
You mean invent data.

DESICA
This is an investigation,
Paula, a creative exercise... Try it.

THE GIRLS REACT.

PAULA
If you insist sir.

THEN BACK ON PAULA'S DUBIOUS EXPRESSION AS SHE TURNS BACK TO HIS COMPUTERS WE TAKE AN ANGLE:

ON DESICA

HE TURNS TO NINA.

DESICA
Get me Commander Straker.

NINA
Yes, sir.

CUT TO:

61 INT. SHADO CONTROL . DAY. (STUDIO) 7 SECS

ON STRAKER

AT HIS DESK, MIKE IN HAND.

STRAKER
(into mike)
Well keep working at it, Franco. Any deal from S.I.D. ?

62 INT. CONTROL SPHERE MOONBASE (STUDIO) 31 SECS

ON DESICA

AT THE CONSOLE.

SOUND: A 'PIP' THEN:

DESICA
Systems analysis has been carried out on S.I.D. programmes.

SOUND: A 'PIP' THEN:

STRAKER (VO)
(distort)
What did you come up with?

ANOTHER ANGLE

AS DESICA SIGNALS TO NINA. WHO HANDS HIM A COMPUTER READOUT.

ON DESICA

OBVIOUSLY EMBARRASSED BY THE PAUCITY OF HIS INFORMATION.

DESICA
(into mike)
Not very much. So far we've got a series of three dimensional direction indicators.

STRAKER (VO)
What does that mean?

DESICA GRIMACES.

DESICA
I guess it's like a... a navigation course. Only in three dimensions - so it's a course for some sort of space vehicle to steer.

STRAKER (VO)
A U.F.O. ?

DESICA
Could be.

CUT TO:

63 INT. SHADO CONTROL DAY. (STUDIO) 15 SECS

ON STRAKER

STRAKER
O.K. Franco - it's not much, but it's maybe a start. Call me the moment you have anything more.

HE SNAPS UP THE SWITCH, THEN THINKS, TAPPING A PENCIL ON HIS CONSOLE DESK.

STRAKER
(slow to himself)
A flight path.
(a beat)
but where to?

ON HIS FACE DEEP IN THOUGHT WE:

CUT TO:

64 EXT. SPACE SKY. (VISUAL EFFECTS STOCK) 7 SECS

WITH A SUITABLE STINGING MUSIC WE SEE A U.F.O. SPEED ACROSS THE BLUE / BLACK SKY OF DEEP SPACE.

STAY WITH IT FOR A FEW BEATS THEN:

CUT TO:

67 INT STRAKER'S SHADO OFFICE. DAY. (STUDIO) 75 SECS

ON THE DOOR

AS IT SLIDES OPEN AND STRAKER CLOSELY FOLLOWED BY FREEMAN ENTERS THE ROOM. WITH NO SLACKENING OF MOMENTUM HE CROSSES THE ROOM TO HIS DESK. ALREADY HE IS TALKING TO FREEMAN OVER HIS SHOULDER.

STRAKER
So let's see what we've got.

FREEMAN
Some sort of flight path... ...and...

STRAKER
...and the fact that they chose Roper to do their dirty work. Why?

STRAKER DROPS INTO HIS DESK.

FREEMAN
One... because he had access to S.I.D. and understood its operation better than most...

STRAKER
And two... they knew he was soft on his wife and could be easily manipulated.
(pause)

FREEMAN
He's told us everything he knows...

STRAKER
Which isn't much... but...

FREEMAN
(not understanding)
Go on.

STRAKER
If you hire a man to do a job, you keep an eye on him...

FREEMAN
Meaning the Aliens will watch Roper?

STRAKER
Meaning the Aliens and us... Drink?

FREEMAN
Scotch.

ANOTHER ANGLE

AS STRAKER GETS UP FROM THE DESK AND GOES OVER TO THE AUTOMATIC BARMAN.

AND DIALS A SCOTCH.

FREEMAN
You're trying to say that he'd make good bait, is that it?

ON STRAKER

AS HE COLLECTS THE DRINK.

STRAKER
(slowly)
I'd prefer to say he could still help.

STRAKER BRINGS FREEMAN HIS DRINK.

FREEMAN
You've got him wrong you know...

STRAKER
Sure, don't tell me Alec... inside every traitor there beats a heart of gold...

HE HOLDS FREEMAN WITH A HARD LOOK, THEN:

STRAKER
Let Roper go...

FREEMAN
Let him go.

STRAKER
Yes... but have him watched.

AS FREEMAN SHRUGS HIS SHOULDERS - GIVING UP AGAINST STRAKER - WE:

CUT TO:

68 INT. SHADO CONTROL. DAY. (STUDIO) 14 SECS

OPEN ON THE RADIO OPERATOR.

HE SPEAKS INTO A MIKE FROM HIS SEAT FACING THE WALL.

OPERATOR
(into mike)
One moment, Moon Base...

HE TURNS IN HIS CHAIR AS:

ANOTHER ANGLE

STRAKER ENTERS THE CONTROL ROOM AND COMES TOWARDS HIM.

OPERATOR
Colonel Desica for you, sir.

STRAKER NODS TO HIM CURTLY AND SPEAKS INTO THE MIKE.

ON STRAKER

STRAKER
(into mike)
Straker...

CUT TO:

69 INT. CONTROL SPHERE MOONBASE. (STUDIO) 24 SECS

FRANCO DESICA SITS AT THE CIRCULAR CONSOLE. MIKE IN HAND.

DESICA
(into Mike)
I've had Paula Harris work over Roper's figures.

SOUND: A 'PIP' AND:

STRAKER (VO)
And... what does she make of them?

SOUND: A 'PIP' AND:

DESICA
They describe relative planetary positions.

SOUND: A 'PIP' AND:

STRAKER
Which planets?

SOUND: A 'PIP' AND:

DESICA
Considering the urgency of the problem, there seemed to be no other choice but to make a...

HE LOOKS TOWARDS PAULA HARRIS.

ON PAULA

SHE GRIMACES AS:

DESICA
...an educated guess.

CUT TO:

70 INT. SHADO CONTROL DAY. (STUDIO) 4 SECS

ON STRAKER

STRAKER
(into mike)
Alright, Franco... educate me.

71 INT. CONTROL SPHERE MOONBASE. (STUDIO) 6 SECS

ON DESICA

DESICA
The relative position of the Sun, Moon and Earth fit Roper's figures...

CUT TO:

72 INT. SHADO CONTROL. (STUDIO) 40 SECS


ON STRAKER

DESICA (VO)
One snag, the last set of information is some sort of time reference, but it still doesn't make sense.

A 'PIP' THEN:

STRAKER
You come up with enough to scare the hell out of me. Keep working on the last sequence. Out.

ANOTHER ANGLE

AS STRAKER HANDS THE MIKE BACK TO THE OPERATOR.

STRAKER
(to operator)
Signal a Maximum Security Alert immediately... then let me have Captain Karlin on Skydiver.

OPERATOR
Right, sir.

C.S. OPERATOR.

AS HE TURNS TO THE CONSOLE AND PRESSES A BUTTON IN FRONT OF HIM.

HE SPEAKS INTO A MESH GRILLE ON THE CONSOLE.

OPERATOR
(into grille)
Attention all Defence Systems... this is a Maximum Security Alert - Attention all Defence Systems... I say again - this is a Maximum Security Alert - condition red.

CUT TO:

73 EXT. SCANNING DISCS DAY STOCK - JODRELL BANK 5 SECS

AN ENORMOUS SCANNING DISC ROTATES SLOWLY AS THEY SEARCH THE SKY FOR POSSIBLE DANGER.

HOLD FOR TWO BEATS, THEN:

CUT TO:

74 INT. CONTROL SPHERE MOONBASE. (STUDIO) 6 SECS

ON A RADAR SCANNER.

AS THEIR ARMS SWEEP SPACE FOR POSSIBLE INTRUDERS.

HOLD, THEN:

CUT TO:

75 EXT. S.I.D. DAY. (VISUAL EFFECTS) 8 SECS

AS THE GLEAMING SATELLITE HANGS IN EARTH'S OUTER ATMOSPHERE. ITS SCANNERS ROTATING.

HOLD, THEN:

CUT TO:

76 INT. SHADO CONTROL DAY. (STUDIO) 75 SECS

ON OPERATOR

AS HE TURNS TO STRAKER

OPERATOR
Maximum Security Alert operational, sir. Captain Karlin is standing by...

CUT TO:

77 UNDERWATER SHOT SKY 1 (V.E.) 5 SECS

ESTABLISH, AND:

CUT TO:

78 INT. SKYDIVER (UNDERWATER) (STUDIO) 4 SECS

ON KARLIN MIKE IN HAND

KARLIN
(into mike)
Reading you.

CUT TO:

79 INT. SHADO CONTROL. (STUDIO) 6 SECS

STRAKER
(into mike)
Karlin?
(a beat)
I want you to launch Sky 1 for possible interception.

CUT TO:

80 INT. CAPTAIN'S CABIN SKYDIVER. (STUDIO) 24 SECS

KARLIN
Area?

STRAKER (VO)
(distort)
357/616.

KARLIN
(surprised)
Sounds pretty close to home,
sir.
(a beat, then:)
What's going on?

STRAKER (VO)
(distort)
That's our problem... Just concentrate on being ready... out!

KARLIN TURNS TO MAXWELL.

KARLIN
Take off stations...

MAXWELL
Yes, sir.

KARLIN MOVES QUICKLY TO THE SHUTE AND CLIMBS FEET FIRST INTO IT.

SOUND: AT THE NOISE OF THE BALLAST TANKS BEING BLOWN, WE:

CUT TO:

81 UNDERWATER SHOT. SKY 1. (V.E.) 5 SECS

HOLD ON SKY 1 AS KARLIN COMES UP INTO THE COCKPIT.

CUT TO:

82 INT. SKY 1 COCKPIT. DAY. (STUDIO) 10 SECS

ON KARLIN

SITTING IN THE COCKPIT, DRESSED IN FLIGHT CLOTHING AND WEARING A VISORED SPACE HELMET.

HE SPEAKS INTO THE MIKE FITTED TO THE HELMET:

KARLIN
(into mike)
Stand by for lift off...

HE OPERATES A COMPLEX OF LEVERS, AND WE:

CUT TO:

83 EXT. SKY 1. UNDERWATER SHOT. (V.E.) 11 SECS

AS SKY 1 HANGS MOTIONLESS IN THE WATER.

SLOWLY, THE NOSE RISES UPWARDS UNTIL IT IS INCLINED AT APPROXIMATELY 45 DEGREES.

LONG SHOT (LIBRARY)

AS SKY 1 EXPLODES INTO LIFE AND THE CRAFT CLIMBS UPWARDS AND OUT OF FRAME WE:

CUT TO:

84 EXT. OPEN SEA DAY. V.E. (LIBRARY) 5 SECS

ESTABLISH THE CALM SURFACE OF THE SEA... SUDDENLY SKY 1 BURSTS FROM THE SURFACE AND CLIMBS STEEPLY UPWARDS.

CUT TO:

85 AIR-TO-AIR SHOT SKY 1. DAY V.EW. (LIBRARY) 4 SECS

ON SKY 1

AS IT CLIMBS UPWARDS.

CUT TO:

86 INT. STRAKER'S SHADO OFFICE. NIGHT. (STUDIO) 52 SECS

ON STRAKER

AS HE STRETCHES HIMSELF OUT IN AN EASY CHAIR, THINKING HARD... HE SCRIBBLES A NOTE ON A PAD AT HIS ELBOW. THEN STANDS, AND CROSSES TO A FUTURISTIC PLASTIC 'BLACKBOARD' ON THE WALL.

ON THE 'BLACKBOARD'

IT IS COVERED IN VARIOUS EQUATIONS, CALCULATIONS, ETC.

ACROSS THE BOARD RUNS A LONG, CROOKED LINE, IN WHICH THE ANGLES ARE MARKED.

ON STRAKER

AS HE TAKES A MARKER AND ALTERS AN EQUATION

ANOTHER ANGLE

HE STANDS BACK... CONTEMPLATES... LETS HIS EYES WANDER AIMLESSLY AROUND THE ROOM.

CLOSE ON HIS EYES AS THEY SEE SOMETHING AND REACT, THEN:

STRAKER'S POV:

A KINETIC MODEL OF THE SOLAR SYSTEM WHICH IS STANDARD EQUIPMENT IN ALL SENIOR OFFICES. THE MODEL REPRESENT EACH PLANET AND ITS MOON AS THEY REVOLVE AROUND THE SUN. EACH SPHERE IS LIT FROM THE INSIDE - THE SUN BRIGHTER THAN THE REST.

ON STRAKER

AS HE WATCHES THE MODEL... THINKS... GOES BACK TO HIS CHAIR AND SITS DOWN, STILL GLANCING AT THE MODEL. OBVIOUSLY THE ANSWER TO HIS PROBLEM LIES THERE AMONG THOSE MOVING SPHERES.

CLOSE ON THE MODEL.

AS THE BRIGHTLY-LIT SUN APPEARS OVER THE HORIZONS OF THE MOON - SIMULATING SUNRISE.

HOLD FOR A BEAT, THEN:

CUT TO:

87 INT. SHADO SICK BAY. NIGHT. (STUDIO) 18 SECS

ON ROPER

AS HE SITS IN AN EASY CHAIR IN ONE CORNER OF THE SICK BAY, AN INCREDULOUS LOOK ON HIS FACE.

ROPER
(suspicious)
Did you swing this? It seems pretty suspect to me.

WIDEN ANGLE

TO INCLUDE FREEMAN SITTING NEXT TO HIM.

FREEMAN
If Straker says you're free to go, I shouldn't ask too many questions.

ROPER
(a long beat)
Well... he's not exactly the forgiving type...

FREEMAN
(curt)
Don't push your luck. Just go... now!

ROPER GETS UP, LOOKS AT FREEMAN AND WALKS TOWARDS THE DOOR.

CUT TO:

88 EXT. OPEN ROAD NIGHT. (LOCATION) 6 SECS

A LONG STRETCH OF DESERTED COUNTRY ROAD.

ESTABLISH, THEN:

THE GLARE OF HEADLIGHTS CUTS THROUGH THE DARKNESS, AND AS ROPER'S CAR APPEARS, WE:

CUT TO:

89 INT. ROPER'S CAR NIGHT. (STUDIO PROCESS) 5 SECS

ROPER DRIVES THE CAR. HE IS STILL WORRIED - SUSPICIOUS AT HIS UNEXPECTED RELEASE.

CLOSE ON HIS FACE, THEN:

CUT TO:

90 INT. SHADO CONTROL. (STUDIO) 23 SECS

ON OPERATOR

AS HE SWIVELS IN HIS CHAIR AS STRAKER CROSSES THE ROOM.

OPERATOR
You wanted to know when Roper left sir...

ON STRAKER

HE PAUSES AT THE DOOR TO HIS OFFICE.

STRAKER
You mean he's gone already?

HE LOOKS ANGRILY AT THE OPERATOR.

ANOTHER ANGLE

OPERATOR
Why, yes sir.

STRAKER
My orders were he was to be released in one hours time.

OPERATOR
Yes sir - but I understand that Colonel Freeman...

STRAKER
(very curt)
I see.
(a beat)
Get me Captain Karlin immediately.

AND WE:

CUT TO:

91 EXT. NIGHT. SKY. (V.E.) 4 SECS

ON SKY 1

HOLD A COUPLE OF BEATS, AND:

CUT TO:

92 INT. SKY 1 COCKPIT. NIGHT. (STUDIO) 8 SECS

ON KARLIN

STRAKER (VO)
Karlin...this is Straker. Proceed at maximum speed to interception area.

AND AS KARLIN REACTS, WE:

CUT TO:

93 INT. ROPERS'S CAR. NIGHT. (STUDIO PROCESS) 17 SECS

SUDDENLY, WE HEAR:

SOUND: A STRANGE, HIGH-FREQUENCY HUM.

ROPER LOOKS OUT AND UP.

ANOTHER ANGLE

HE PUTS HIS FOOT DOWN HARD ON THE BRAKE.

ON ROPER

AS HIS ALARM CHANGES TO OUT-AND-OUT FEAR, WE:

CUT TO:

94 EXT. OPEN ROAD AND SKY. NIGHT. (V.E.) 10 SECS

ABOVE AND IN FRONT OF ROPER'S CAR AS IT SCREAMS TO A HALT, AND HOVERS... A U.F.O.

THEN IT SWOOPS DOWN TOWARDS ROPER'S CAR AND TWO LIGHT BEAMS STAB OUT FROM BENEATH ITS FUSELAGE.

ANOTHER ANGLE

EXPLODING IN A SHEET OF FLAME AS THEY HIT THE ROAD FIFTY YARDS IN FRONT OF THE CAR.

AGAIN THE BEAMS LICK OUT, CRACKLING ON IMPACT, AS WE:

CUT TO:

95 INT. ROPER'S CAR. NIGHT. (STUDIO PROCESS) 5 SECS

ON ROPER

HIS FACE DISTORTED WITH FEAR, HE PUTS HIS FOOR DOWN ON THE ACCELERATOR IN THE HOPE OF ESCAPING, AND WE:

CUT TO:

96 EXT. SKY. U.F.O. NIGHT. (V.E.) 6 SECS

ON THE U.F.O.

AS IT TURNS AND COMES IN FOR A SECOND ATTACK, WE:

CUT TO:

97 EXT. OPEN ROAD. NIGHT. (LOCATION) 5 SECS

ROPER'S POV: THROUGH THE WINDSCREEN

WE CAN JUST MAKE OUT AHEAD THE VAGUE SHAPE OF A BUILDING... A GAS STATION.

CUT TO:

98 EXT. NIGHT SKY. SKY 1. NIGHT. (V.E.) 5 SECS

SKY 1 RACING THROUGH SPACE.

HOLD FOR A BEAT, THEN:

99 EXT. OPEN ROAD AND SKY U.F.O. NIGHT. (V.E.) 20 SECS

ON THE U.F.O.

AS IT DIVES AT SPEED.

WIDEN ANGLE

TO SHOW ROPER'S CAR ALMOST DIRECTLY BELOW THE FLYING SAUCER SWERVING WILDLY ACROSS THE ROAD, TYRES SCREAMING... THE TWO LIGHT BEAMS STAB OUT ONCE MORE... ROPER'S CAR SKIDS WILDLY TO AVOID THE EXPLOSIONS.

THEN THE LIGHT BEAMS FLASH AGAIN... EXPLODING JUST IN FRONT OF ROPER'S CAR... CATAPULTING IT INTO THE
AIR.

ANOTHER ANGLE

THE CAR HURTLES AT THE GAS STATION, SOMERSAULTING INTO THE LINE OF PUMPS WHICH EXPLODE IN A SHEET OF FLAME... THE EXPLOSIONS RIP AND TEAR AT THE MAIN BUILDING... HURLING DEBRIS ACROSS THE FORECOURT.

HOLD THE BLAZING STRUCTURE FOR A COUPLE OF BEATS, THEN:

CUT TO:

100 EXT. SPACE. SKY. U.F.O. NIGHT. (V.E.) 5 SECS

AS THE U.F.O. - IT'S WORK DONE - SPEEDS OFF TO SAFETY, WE:

CUT TO:

101 EXT. NIGHT SKY. (V.E.) 6 SECS

SKY 1 FLIES INTO SHOT OVER THE AREA OF THE RECENT U.F.O. ATTACK...

WITH THE LIGHT FROM THE GAS STATION REFLECTED ON THE FUSELAGE, WE:

CUT TO:

102 INT. SKY 1 COCKPIT. NIGHT. (STUDIO) 8 SECS

ON KARLIN

SITTING IN THE COCKPIT, IN FRONT OF A SCANNER.

ON THE SCANNER

BELOW... THE BURNING GAS STATION.

CUT TO:

103 INT. SHADO CONTROL. (STUDIO) 11 SECS

ON STRAKER

HIS FACE TIGHT, ANGRY

KARLIN (VO)
(distort)
Sky 1 to Control... I am positioned over target area... too late to intercept... building below destroyed... no sign of life... repeat, no sign of life.

CUT TO:

104 EXT. CLUMP OF BUSHES. NIGHT. (STUDIO) 11 SECS

OPEN ON THE CLUMP OF BUSHES... THE SHADOWS FLICKERING IN THE LIGHT FROM THE BURNING GAS STATION FIFTY YARDS AWAY.

NOTHING MOVES.

TRACK IN THROUGH THE BUSHES TO REVEAL.

SLUMPED ON THE GROUND - FACE BLACKENED AND CLOTHES TORN - THE UNCONSCIOUS FIGURE OF PAUL ROPER.

HOLD, THEN:

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

105 EXT. OPEN ROAD. NIGHT. (V.E.) 6 SECS

AS A FUTURISTIC AMBULANCE SPEEDS ALONG - ITS WARNING LIGHTS FLASHING AND BELL RINGING.

CUT TO:

106 EXT. MODERN HOSPITAL BLOCK. NIGHT. (V.E.) 10 SECS

ESTABLISH THE HOSPITAL BLOCK - A TALL, CRISPLY DESIGNED BUILDING.

ANOTHER ANGLE

AS THE AMBULANCE DRAWS UP OUTSIDE.

CUT TO:

107 INT. SHADO CONTROL. NIGHT. (STUDIO) 8 SECS

ON OPERATOR

HE WATCHES A TV SCREEN WHICH WE CAN SEE THE AMBULANCE DRAWING UP OUTSIDE THE HOSPITAL.

OPERATOR
(into mike)
Ambulance XZB has arrived. Prepare to receive patient.

CUT TO:

108 INT. SHADO CORRIDOR. (STUDIO) 32 SECS

ESTABLISH THE EMPTY CORRIDOR, THEN:

ANOTHER ANGLE

TO SHOW A STRETCHER TROLLEY WHEELED BY A WHITE COATED ORDERLY COME DOWN THE CORRIDOR, HOLD... THEN:

ANOTHER ANGLE

AS FREEMAN COMES OUT OF ONE OF THE MANY DOORS WHICH LEAD OFF THE CORRIDORS, AND STOPS BESIDE THE TROLLEY, WHICH PASSES AT THAT MOMENT.

ON FREEMAN'S FACE

AS HE SEES WHO IS ON THE TROLLEY, AND REACTS.

FREEMAN'S POV

ROPER LYING UNCONSCIOUS ON THE STRETCHER, A TRICKLE OF BLOOD RUNNING DOWN THE SIDE OF HIS FACE FROM HIS TEMPLE BUT HE IS NOT TOO SERIOUSLY INJURED.

ANOTHER ANGLE

FREEMAN TURNS TO THE ORDERLY, HIS FACE IS TENSE.

FREEMAN
Where did they find him?

ORDERLY
By the side of the road. His car hit a gas station... He's lucky to be alive.

FREEMAN LOOKS DOWN AT THE UNCONSCIOUS ROPER. A BEAT, THEN:

CUT TO:

109 INT. STRAKER'S OFFICE. NIGHT. (STUDIO) 90 SECS

COME UP ON STRAKER'S FACE.

STRAKER
So you disobeyed orders?

NOW ANGLE TO INCLUDE FREEMAN.

FREEMAN
(cool)
Not precisely.

STRAKER
You told Roper he was free to leave.

FREEMAN NODS.

STRAKER
And my orders were to hold him for a further hour.

FREEMAN NODS AGAIN.

FREEMAN
An oversight on my part.

STRAKER
(bitter)
A pretty expensive oversight! Karlin completely missed the U.F.O.

FREEMAN
And the U.F.O. missed Roper.

STRAKER
This is a war Alec - people have to be at risk.

FREEMAN
I don't buy that - I never will... it's too complicated for people like me... and too simple for people like you.

STRAKER
You were hired as a senior field operative - not as my conscience. Pull back on the moralising, Alec... How is Roper?

FREEMAN
Conscious...

A BEAT.

STRAKER
He gave us two wrong figures in the timing sequence.

FREEMAN
Two wrong figures.

STRAKER
Yes, a memory lapse. Not surprising considering the strain he was under.

FREEMAN
We got our figures from the tape. That means the aliens have the same false information.

STRAKER
We sorted it out an hour ago, it would have taken them about five minutes.

FREEMAN
I realise that, but they obviously thought he did it on purpose. That mistake nearly cost him his life.

STRAKER
Wait a minute... it could cost him his wife.

ON FREEMAN AS HE REALISES.

FREEMAN
...Carol. I'll get over there right away.

ON STRAKER.

STRAKER
You stay here. I'll send a couple of guards to Roper's home.

110 EXT. BUNGALOW. NIGHT. LOCATION. 6 SECS

TO ESTABLISH.

CUT TO:

111 INT. BEDROOM. NIGHT. (STUDIO) 8 SECS

CAROL PACES THE ROOM. SHE CHECKS HER WATCH. IT IS LATE - PAUL SHOULD HAVE BEEN HOME BY NOW.

AN OWL HOOTS. CAROL REACTS.

CUT TO:

112 EXT. ROAD. NIGHT. LOCATION. 5 SECS

A CAR SPEEDS ALONG THE ROAD.

CUT TO:

113 INT. CAR. NIGHT. (STUDIO PROCESS) 9 SECS

THE TWO SHADO GUARDS STRAKER IS SENDING TO ROPER'S HOME. THE NON DRIVER LIFTS A MIKE.

1ST GUARD
(into mike)
We've just passed the Rampton fly-over. E.T.A. Roper's house... six minutes.

CUT TO:

114 EXT. BUNGALOW. NIGHT. LOCATION. 12 SECS

WE HEAR THE METALLIC CLUNK WE REMEMBER FROM THE OPENING SEQUENCE. THE DOG BARKS.

CUT TO:

115 INT. BEDROOM NIGHT. (STUDIO) 12 SECS

ANOTHER METALLIC CLUNK. THE DOG'S HOWLS DIE AS BEFORE. CAROL IS PETRIFIED AS THE HORRIFIC EPISODE OF THE OTHER EVENING IS BEING PLAYED OUT AGAIN. SHE LOOKS AROUND, EYES WIDE LIKE A HUNTED ANIMAL, THEN WALKS TO THE BEDROOM DOOR.

116 INT. HALL. NIGHT. (STUDIO) 18 SECS.

CAROL LOOKS OUT ACROSS THE DARKENED HALL. WE HEAR THE METALLIC CLUNK SOUND. CAROL PANICS.

POV

FROM HER POV IN THE SPILL OF LIGHT FROM THE BEDROOM WE SEE THE LIGHT SWITCH BY THE DOOR AND THE PHONE NEARBY.

C.S. CAROL

STIFLING A SCREAM

CUT TO:

117 EXT. ROAD. NIGHT. LOCATION. 5 SECS

THE SHADO GUARDS' CAR SPEEDS ALONG.

CUT TO:

118 INT. HALL. NIGHT. (STUDIO) 22 SECS

START CLOSE ON THE DOOR. WE HEAR THE LOCK BEING OPENED. SLOWLY, CAREFULLY, PULL BACK TO SHOW CAROL, SHOTGUN LEVELLED, SHAKING WITH FEAR. THE LOCK TURNS. THE DOOR IS SLOWLY PUSHED OPEN BY AN UNSEEN ALIEN. CAROL WAITS, READY TO FIRE.

C.S TRIGGER.

CAROL'S FINGER PULLS IT. NOTHING HAPPENS.

ON CAROL.

SHE PULLS THE TRIGGER AGAIN AND AGAIN, THEN DROPS THE EMPTY GUN. SHAKING UNCONTROLLABLY WITH HORROR, SHE BACKS AWAY.

POV SHOT.

A FAST SHOT OF AN ALIEN IN THE DOORWAY AGAINST THE DARKNESS OF THE NIGHT.

ON CAROL

SHE BACKS TO A WALL.

CAROL
No... No...

SHE SCREAMS.

CUT TO:

119 INT. STRAKER'S SHADO OFFICE. NIGHT. (STUDIO) 148 SECS

COME UP ON STRAKER'S FACE - IN DEEP SHADOW - THEN A SLOW LIGHT MOVES ACROSS IT ACCENTUATING THE HOLLOWNESS OF THE EYES.

THEN AS DARKNESS PLAYS AGAIN ACROSS HIS FACE WE HEAR A KNOCK ON THE DOOR BEHIND HIM AND TAKE AN ANGLE.

ON THE DOOR.

AS THEY SLIDE OPEN AND LIGHT FLOODS IN FREEMAN STANDS SLIGHTLY PUZZLED AT STRAKER SITTING IN NEAR TOTAL DARKNESS.

STRAKER (VO)
Come in.

FREEMAN STEPS FORWARD INTO THE ROOM AND THE DOORS SLIDE CLOSED BEHIND HIM.

FREEMAN'S POV

THE DARK ROOM.

A PAUSE, THEN:

STRAKER (VO)
Come over here, Alec.

RESUME FREEMAN

WE CAN JUST SEE HIM GROPE TOWARDS STRAKER

SOUND: A CLICK.

THEN, THE MODEL OF THE SOLAR SYSTEM LIGHTS UP IN ONE CORNER OF THE ROOM, ILLUMINATING STRAKER.

STRAKER
Watch this.

CLOSE ON THE MODEL.

AS STRAKER TALKS, HE CONTROLS THE SPHERES IN ORDER TO ILLUSTRATE THE POINTS HE IS MAKING.

STRAKER (VO)
Now, what does this suggest to you?

THE DISC REPRESENTING THE SUN COMES UP BEHIND THE ONE REPRESENTING THE MOON.

FREEMAN
Sunrise on the Moon...

ON STRAKER

WE CAN JUST MAKE OUT THE SHAPE OF HIS FACE.

STRAKER
Exactly. That's how they plan to make the attack... Flying over the lunar horizon at sunrise keeping between Moonbase and the sun.

ON FREEMAN

HIS SHADOWY FACE IN DARKNESS.

FREEMAN
Visually it would be virtually undetectable.

ANOTHER ANGLE

STRAKER
Totally.

FREEMAN
But it'd be picked up by Moonbase radar the moment it crossed the horizon.

STRAKER
Not if the operation were timed to coincide with heavy sunspot activity like that predicted in two days' time.

FREEMAN NODS ASSENT.

STRAKER
And with Roper's flight plan to guide in the attacker.

FREEMAN
Moonbase wouldn't stand a chance.

ON STRAKER

STRAKER
Chance? We've got Roper's flight path too, remember.

STRAKER TURNS ON A LIGHT ON DESK HE NOW USES A SKETCH TO ILLUSTRATE WHAT HE MEANS.

STRAKER
This is the Moon... and this...

INDICATES ON THE SKETCH

STRAKER
...is the sun rising. A U.F.O. coming in here...

HE INDICATES A PATH ACROSS THE MOON'S SURFACE, STARTING FROM THE SUN.

STRAKER
...would be totally undetectable until it reached roughly...

HE STABS WITH HIS FINGER TO A POINT NEAR THE CENTRE OF THE MOON.

STRAKER
...here
(a beat)
Now this...

AND HE INDICATES ANOTHER POINT, ALSO NEAR THE CENTRE.

STRAKER
...is Moonbase.

ANOTHER ANGLE

TO INCLUDE FREEMAN.

FREEMAN
I still don't see how we can stop it.

STRAKER
(eyeing Freeman)
One man - on his own - stationed at a predetermined position out on the surface... with a rocket launcher... a polaroid visor...

FREEMAN
It'd be suicide.

STRAKER
Possibly...

FREEMAN
(angrily)
But you can't expect...

STRAKER
I don't need a volunteer.

FREEMAN
You mean Roper.
(he sees that Straker does)
I suppose you used this to twist his arm.

HE THROWS A PHOTOGRAPH ON THE DESK.

STRAKER
I didn't have to; he's doing it to try and even the score.

FREEMAN
Well, when are you going to tell him?

WE ZOOM IN ON THE PHOTOGRAPH. IT IS OBVIOUSLY DEAD BODY OF CAROL IN THE HALL.

STRAKER (VO)
Maybe he'll never need to know.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

120 EXT. MOONBASE. NIGHT (V.E.) 5 SECS

THE GLINTING SPHERES ARE PICKED OUT ONLY BY THE PALE LIGHT FROM EARTH.

ESTABLISH THEN:

CUT TO:

121 INT. CONTROL SPHERE. MOONBASE (STUDIO) 102 SECS

INSIDE THE CONTROL SPHERE ARE FRANCO DESICA, NINA BARRY, PAULA HARRIS AND... PAUL ROPER.

ROPER STANDS IN HIS SPACE SUIT, WHILE THE TWO GIRLS MAKE FINAL ADJUSTMENTS TO IT.

HIS HELMET STANDS ON THE CIRCULAR CONSOLE.

HE WALKS ACROSS TO JOIN DESICA WHO CHECKS THE TIME.

DESICA
One hour.

ANOTHER ANGLE

ROPER AND DESICA

DESICA
(curt)
Remember... there's no room for error. If you miss... we're all dead. Once you're outside maintain radio silence.

ROPER NODS SOBERLY.

ROPER
One favour... I didn't have time to explain things to Carol... my wife.

DESICA NODS GRIMLY.

ROPER
If you could book an earth call... either way... you know what I mean.

DESICA
I'll sort things out... when you get back.

ON DESICA

AS HE LIFTS A LONG BOX FROM THE FLOOR TO THE CONSOLE AND SNAPS OPEN THE LID.

ON THE BOX

INSIDE ARE THE VARIOUS PARTS OF A "WEAPON" RESEMBLING A MODERN ROCKET LAUNCHER - INCLUDING A TELESCOPIC SIGHTING MECHANISM.

ANOTHER ANGLE

AS DESICA FITS THE PARTS TOGETHER.

DESICA
One missile loaded... one spare.

AGAIN ROPER NODS SOBERLY, THEN:

SOUND: A "PIP" FROM A WALL RECEIVER.

ON NINA BARRY

AS SHE MOVES OVER TOWARDS THE RECEIVER AND FLICKS A SWITCH. ABOVE HER HEAD, STRAKER'S FACE APPEARS ON A MONITOR.

STRAKER
(distort)
All set?

ON DESICA

AS HE TAKES A MIKE

SOUND: A "PIP" THEN:

DESICA
(into mike)
All set.

ON THE MONITOR

SOUND: A "PIP" THEN:

STRAKER
Good. Begin Stage One... Exit preliminaries...

THE MONITOR GOES BLANK.

DESICA
Right... Safety Check One.

ON NINA

AS SHE SPEAKS INTO A MIKE:

NINA
(into mike)
Safety Check One... Prepare for exit procedure.

ON ROPER

AS HE MOVES TOWARDS THE DOOR.

ANOTHER ANGLE

TO SHOW DESICA AND NINA SET TO WORK ON THE CONSOLES, NOT LOOKING AT ROPER. PAULA PICKS UP THE HELMET AND FOLLOWS ROPER AS HE WALKS TO THE DOORWAY.

122 INT. CORRIDOR. MOONBASE. (STUDIO) 6 SECS

PAULA AND ROPER WALK SLOWLY ALONG.

CUT TO:

123 INT. AIR LOCK. MOONBASE. (STUDIO) 12 SECS

PAULA AND ROPER STOP BY THE ENTRANCE TO THE AIRLOCK.

PAUL HANDS ROPER THE HELMET HE PUTS IT ON.

ON PAULA

SHE SMILES TIGHTLY.

PAULA
Good luck, Paul.

ON ROPER

HE LOWERS THE VISOR, AND TURNS TO GO INTO THE AIRLOCK.

CUT TO:

124 INT. PRESSURISED AIRLOCK. MOONBASE. (STUDIO) 15 SECS

THE COMPARTMENT IS NO MORE THAN AN EMPTY BOX WITH A DOOR ON EACH SIDE.

ESTABLISH THEN:

ANOTHER ANGLE

AS ROPER LUMBERS IN THROUGH ONE OF THE DOORS, AND THE DOOR SHUTS ELECTRONICALLY BEHIND HIM.

HE STANDS STILL IN THE CENTRE OF THE COMPARTMENT.

SOUND: A GREAT RUSHING OF AIR:

MOVE IN

ON THE LENS OF A CAMERA HIGH UP IN THE CEILING, THEN:

CUT TO:

125 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 12 SECS

ON A MONITOR -

WHERE WE SEE ROPER STANDING IN THE PRESSURISED COMPARTMENT.

ANOTHER ANGLE

AS NINA BARRY TURNS FROM THE MONITOR TO FRANCO DESICA.

NINA
Depressurised.

DESICA
Right. Open outer doors. Stand by for exit.

CUT TO:

126 INT. PRESSURISED COMPARTMENT. MOONBASE. (STUDIO) 7 SECS

ON ROPER

STANDING IN THE COMPARTMENT

SOUND: AS THE AIR RUSH COMES TO A HALT, FOLLOWED BY AN ELECTRONIC HISS.

ROPER LOOKS TOWARDS THE OPENING DOOR, AS WE:

CUT TO:

127 EXT. MOON'S SURFACE. NIGHT (VISUAL EFFECTS) 6 SECS

ROPER'S P.O.V.

THROUGH THE OPEN DOOR, THE BLEAK SURFACE OF THE MOON IS REVEALED - MOUNTAINS, LOOMING OUT OF THE HALF-LIGHT.

ESTABLISH, THEN:

CUT TO:

128 EXT. MOONBASE. NIGHT. (VISUAL EFFECTS) 10 SECS

OUT OF THE SIDE OF THE CONTROL SPHERE, ROPER MOVES OUT ON TO THE SURFACE OF THE MOON.

HE WALKS SLOWLY - HIS STEPS EXTENDED BUT UNGAINLY.

ANOTHER ANGLE

AS HE BEGINS TO LEAVE THE PROTECTING BULK OF THE MOONBASE. FOLLOW FOR A MOMENT, THEN:

CUT TO:

129 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 24 SECS

ON DESICA

AS HE TURNS FROM THE CONSOLE AND ADDRESSES PAULA HARRIS.

DESICA
Begin time check... now.

ON PAULA.

AS SHE SPEAKS INTO A MIKE ON THE WALL CONSOLE.

PAULA
The time is now 06.57.42 Sunrise is at 07.35 hours precisely. Interception will be at approximately 07.37 hours. This is Moonbase time check at 06.58...

CUT TO:

130 EXT. MOON SURFACE. NIGHT. (V.E.) 6 SECS

ROPER CROUCHES BEHIND AN OUTCROP OF ROCKS, THE ROCKET LAUNCHER SLUNG OVER ONE SHOULDER... LOOKS AHEAD... THEN MOVES FORWARD.

CUT TO:

131 EXT. SECTION OF ROCKS. NIGHT. (STUDIO) 14 SECS

ON ROPER

AS HE FINDS A POSITION BEHIND THE ROCKS, RESTING THE ROCKET LAUNCHER IN A CRACK. WE CAN SEE THAT INSIDE THE HELMET, ROPER IS NERVOUS; SWEAT STREAKS DOWN HIS FACE, AND HE BITES HIS LIP HARD.

HE BRINGS HIS SPECIAL WATCH UP TO HIS VISOR.

ON THE WATCH

IT SHOWS THE TIME TO BE 07.15 HOURS.

ON ROPER

AS HE PEERS OUT INTO THE GLOOM, WE:

132 EXT. MOON'S SURFACE. NIGHT. (V.E.) 8 SECS

ROPER'S P.O.V.

THE SCARCELY LIT SURFACE OF THE MOON, WITH THE DISTANT HORIZON.

ANOTHER ANGLE

FROM A VERY L.S. WE SEE ROPER'S POSITION FAR BELOW AND FAR AWAY FROM IT - THE SPHERES OF MOONBASE.

HOLD FOR A COUPLE OF BEATS, THEN:

CUT TO:

133 INT. CONTROL ROOM. SHADO (STUDIO) 12 SECS


STRAKER AND FREEMAN SIT IN CHAIRS, SMOKING ANXIOUSLY.

PAULA(VO)
(distort)
The time is now 07.5.49 Sunrise is is ten minutes. This is Moonbase time check at 07.6 hours... precisely.

CUT TO:

134 EXT. MOON SURFACE. NIGHT (V.E.) 5 SECS

FROM A L.S.

ROPER PROPPED AGAINST THE ROCK PILE. CLOSE IN AND:

CUT TO:

135 EXT. CLUMP OF ROCKS. NIGHT. (STUDIO) 12 SECS


AS ROPER WORKS ON HIS DIAGRAMS - SEALED IN THEIR SPECIAL COVERING.

WE SEE HIM CHECKING HIS BEARINGS WITH SEXTANT LIKE INSTRUMENTS.

AS HE WORKS HE GLANCES ANXIOUSLY DOWN AT HIS WATCH.

ON HIS WATCH.

AS THE SECOND HAND COMES UP TO 07.30 HOURS, WE:

136 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 18 SECS

ON PAULA

AS SHE READS FROM A CHART.

PAULA
Solar activity - zero one - to zero, zero.

WIDEN ANGLE TO INCLUDE DESICA AND NINA.

SHE LOOKS ANXIOUSLY TOWARDS HIM.

NINA
Is there any chance of the Radar Trackers operating?

ON DESICA

HE SHAKES HIS HEAD.

DESICA
Not with all this sunspot activity.

ON PAULA.

PAULA
(into mike)
Sunrise minus three minutes, eight seconds...

CUT TO:

137 EXT. MOON SURFACE. NIGHT (V.E.) 6 SECS

AS FROM A L.S. WE ZOOM IN AND:

CUT TO:

138 EXT. CLUMP OF ROCKS. NIGHT. (STUDIO) 14 SECS

ON ROPER:

HIS FACE IS BATHED IN SWEAT, HE CHECKS OVER THE ROCKET LAUNCHER.

ON HIS WATCH

AS THE TIME COMES UP TO 07.34 HOURS...

ON ROPER

PEERING INTO THE DARKNESS... TENSE... ANXIOUS.

139 EXT. MOON SURFACE. NIGHT. (V.E.) 5 SECS

ROPER'S P.O.V.

THE SURFACE OF THE MOON AS BEFORE, BUT JUST A SHADE LIGHTER. HOLD FOR A BEAT, THEN:

CUT TO:

140 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 12 SECS

ON PAULA

STARTING THE COUNTDOWN INTO A MIKE:

PAULA
Final countdown... ten... nine... eight...

ON DESICA

AS HE CHECKS OVER DIAGRAMS.

PAULA (VO)
...seven... six...

ON PAULA

HER FACE TENSE, FRIGHTENED.

PAULA
...five... four... three... two...

CUT TO:

141 EXT. MOON SURFACE. NIGHT/DAY (V.E.) 6 SECS

AS WE WATCH:

THE DARK SURFACE OF THE MOON BEGINS TO LIGHTEN, CHANGING RAPIDLY TO A DARK RED.

LONG SHADOWS ARE CAST BY THE JAGGED CRATERS WHEN THE TIP OF THE SUN APPEARS OVER THE MOON'S HORIZON.

WE HOLD FOR A BEAT, THEN:

CUT TO:

142 EXT. SECTION OF ROCKS. DAY. (STUDIO) 16 SECS

ON ROPER

CHECKING HIS DIAGRAMS.

A BEAT, THEN: THE LIGHT FALLS ACROSS HIS HELMET, HE JERKS HIS HEAD UP, LOOKING TOWARDS THE SUN.

HE LOOKS AT HIS WATCH - AS IF UNABLE TO BELIEVE THE MOMENT HAS COME.

ON HIS WATCH

07.35 HOURS EXACTLY.

ON ROPER

THE SWEAT DRIPS INTO HIS EYES, HE LOOKS TENSELY TOWARDS THE RISING SUN AND WE:

CUT TO:

143 EXT. MOON'S SURFACE AND SUN. DAY (V.E.) 6 SECS

ROPER'S P.O.V.

THE SLIM SEMI-CIRCLE OF THE SUN APPEARING OVER THE PLAINS OF THE MOON ON THE FURTHEST HORIZON.

AS IT RISES HIGHER... IT BEGINS TO GLOW BRIGHTER... AND DAZZLE, AS WE:

CUT TO:

144 EXT. SECTION OF ROCKS. DAY. (STUDIO) 7 SECS

ON ROPER

SCREWING UP HIS EYES AS THE SUN GROWS STRONGER. THEN SEE HIM PRESS A BUTTON ON HIS WRIST TO OPERATE A POLARISED VISOR WHICH IS AUTOMATICALLY LOWERED OVER HIS HELMET.

CUT TO:

145 EXT. MOON SURFACE. DAY. (V.E.) 7 SECS

ROPER'S P.O.V. THROUGH THE POLARISED VISOR.

THE SUN IS NOW CLEARLY DEFINED WITHOUT A DAZZLE - A HUGE RED DISC... RISING STILL HIGHER.

HOLD FOR A BEAT, THEN:

CUT TO:

146 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 21 SECS

ON PAULA

TURNING FROM HER RADIO SET.

PAULA
23 seconds since sun up, sir.

ON DESICA

DESICA
Check Day Radar.

ANOTHER ANGLE

AS PAULA CROSSES TO A SCREEN.

ON THE SCREEN

THE CIRCULAR SWEEP REVEALS NOTHING - NO 'BLEEPS'

ON PAULA

PAULA
Nothing, sir.

ON DESICA

DESICA
(he nods slowly)
I shouldn't have hoped for a miracle. Well, it's up to Roper now.

CUT TO:

147 EXT. SECTION OF ROCKS. DAY. (STUDIO) 4 SECS

ON ROPER

HIS HELMET GLINTING IN THE SUN.

MOVE IN: TO SEE HIM STARING INTO THE DISTANCE... WITH EYES DARTING.

CUT TO:

148 EXT. MOON SURFACE AND SUN. DAY (V.E.) 8 SECS

ROPER'S P.O.V. THROUGH THE POLARISED VISOR.

THE GLOWING SUN... THE EMPTY SKY... THEN: A SPECK APPEARS AT THE CENTRE OF THE SUN... WHICH AS WE WATCH GROWS LARGER AND LARGER, BECOMING A SHAPELESS BLURR...

AS IT GETS BIGGER, WE:

CUT TO:

149 EXT. SECTION OF ROCKS. DAY. (STUDIO) 12 SECS

ON ROPER

HE HAS SEEN THE SPECK.

HOLD ON HIM AS HE GROPES FOR THE ROCKET LAUNCHER.

ANOTHER ANGLE:

HIS UNSTEADY FINGERS SEEK THE TRIGGER MECHANISM ON THE LAUNCHER.

ON ROPER

HE NOTICES THE TELESCOPIC SIGHTS OF THE LAUNCHER INTO THEIR SPECIAL POSITION ON HIS HELMET AND SQUINTS THROUGH THE SIGHTS:

CUT TO:

150 EXT. MOON SURFACE. DAY (V.E.) 8 SECS

ROPER'S P.O.V. THROUGH THE TELESCOPIC SIGHTS

WE NOW SEE THAT THE SPECK WE HAVE SEEN BEFORE IS A U.F.O. ... ITS FUSELAGE GLINTING. IT IS STILL A LONG WAY OFF, BUT IS MOVING DOWNWARD TOWARDS THE SURFACE OF THE MOON, FAST...

AS IT COMES NEARER, WE:

CUT TO:

151 INT. CONTROL SPHERE. MOONBASE. (STUDIO) 12 SECS

ON PAULA

SCRUTINIZING THE RADAR SCANNER.

ON THE SCANNER

NOTHING.

ANOTHER ANGLE:

AS PAULA TURNS TO DESICA, WHO STANDS BESIDE HER.

DESICA
We can forget the radar. Roper's on his own.

SHE LOOKS UP AT DESICA - THEN TURNS QUICKLY BACK TO THE SCANNER.

CUT TO:

152 EXT. SECTION OF ROCKS. DAY. (STUDIO) 5 SECS

ON ROPER

TIGHT ON HIS EYES STRAINING TO SEE... WAITING THE RIGHT MOMENT.

153 EXT. MOON SURFACE. DAY. (V.E.) 7 SECS

ROPER'S P.O.V. THROUGH THE SIGHTS.

FOR A MOMENT, NOTHING - THE BARE MOONSCAPE. THEN APPEARING SUDDENLY OUT OF A CRATER SOME WAY OFF - FIRST, A STRANGE LIGHT WHICH SUFFUSES THE MOONSCAPE AROUND... THEN THE U.F.O. APPEARS ABOVE THE LIP OF THE CRATER.

CUT TO:

154 EXT. SECTION OF ROCKS. DAY. (STUDIO) 4 SECS

C.U. ROPER

NB: THE UFO AND THE EXPLOSIONS MAKE NO SOUND ON THE AIRLESS MOON.

CUT TO:

155 EXT. U.F.O. DAY. (V.E.) 7 SECS

ROPER'S P.O.V. THROUGH THE SIGHTS

THE U.F.O. NOW APPEARING ENORMOUS, BLOCKS OUT THE SUN.

WE CAN SEE THAT IT MOVES ALONG ALMOST TOUCHING THE SURFACE OF THE MOON... AND TACKS FROM SIDE TO SIDE LIKE A SHIP INTO THE WIND.

CUT TO:

156 EXT. MOON SURFACE. DAY. (V.E.) 7 SECS


ON THE U.F.O. - MOVING TOWARDS THE ROCKS BEHIND WHICH ROPER IS WAITING.

AS IT DIPS INTO A CRATER - WE:

CUT TO:

157 EXT. SECTION OF ROCKS. DAY. (STUDIO) 5 SECS

ON ROPER

THE LAUNCHER TUCKED INTO POSITION - HIS EYES THROUGH THE PARTIALLY MISTED HELMET VISOR, SCREWED UP AS HE PEERS THROUGH THE SIGHT.

CUT TO:

158 EXT. MOON SURFACE. DAY. (V.E.) 5 SECS

ROPER'S P.O.V. - THROUGH SIGHTS

THE EMPTY MOONSCAPE. HOLD FOR A BEAT - THEN:

SUDDENLY THE U.F.O. APPEARS... COMING OUT OF THE CRATER... HUGE... INFINITELY MENACING...

CUT TO:

159 EXT. SECTION OF ROCKS. DAY. (STUDIO) 8 SECS

ON ROPER

AS HE PRESSES THE ROCKET LAUNCHER INTO HIS SHOULDER... HIS FACE A MASK OF FEAR, AS:

ANOTHER ANGLE

HE SLOWLY TIGHTENS ON THE TRIGGER MECHANISM, AND:

CUT TO:

160 EXT. U.F.O. DAY. (V.E.) 9 SECS

THE ROCKET EXPLODES JUST TO THE RIGHT OF THE U.F.O. WHICH DIPS SUDDENLY... BUT RECOVERS AND CONTINUES ITS RELENTLESS JOURNEY TOWARDS THE CLUMP OF ROCKS... AND MOONBASE.

CUT TO:

161 EXT. SECTION OF ROCKS. DAY. (STUDIO) 22 SECS

AS ROPER LUMBERS BACKWARDS... NOT LOOKING WHERE HE IS GOING... AWAY FROM THE PROTECTIVE SAFETY OF THE ROCKS.

C.U. ROPER

A WILD LOOK OF PANIC CONTORTS HIS FACE... HE HAS ALMOST LOST CONTROL... HIS FACE BATHED IN SWEAT.

ANOTHER ANGLE

AS HE FUMBLES TO RELOAD THE ROCKET LAUNCHER... UNSTRAPPING THE SPARE MISSILE FROM HIS THIGH... AND
DROPPING IT...

ON THE MISSILE

AS IT ROLLS AWAY...

ON ROPER

WITH AN EFFORT HE FALLS SIDEWAYS AND RETRIEVES THE MISSILE AND... IN A STATE OF INCREASED PANIC... JUST MANAGES TO RELOAD THE LAUNCHER.

THEN HE LOOKS IN THE DIRECTION OF THE RISING SUN AS WE:

162 EXT. MOON SURFACE DAY (V.E.) 4 SECS

ROPER'S P.O.V.

NOTHING - EXCEPT FOR THE LIP OF THE CRATER AND THE SUN, NOW ALMOST FULLY UP.

CUT TO:

163 EXT. ROCKS AND MOON. SURFACE. DAY. (STUDIO) 9 SECS

ON ROPER

AS HE MAKES A FINAL EFFORT TO STEADY HIMSELF, AND CROUCHES DOWN... POSITIONING THE ROCKET LAUNCHER UNTIL IT IS ALMOST VERTICAL... AND LIES ON HIS BACK TO TAKE AIM, PRESSING THE SIGHT AGAINST HIS HELMET.

CUT TO:

164 EXT. THE MOON SURFACE AN SKY. DAY. (V.E.) 8 SECS

ROPER'S P.O.V. - THROUGH THE SIGHTS

THE RISING SUN SHOWING HUGE OVER THE TOP OF A CRATER. THEN, AS THE MASSIVE U.F.O. APPEARS, BLACKENING THE SIGHTS, ROPER FIRES. THE ROCKET TEARS INTO THE BELLY OF THE U.F.O. AND IN A SPECTACULAR ERUPTION OF FLAME, THE MACHINE FLIPS BACKWARDS, BURSTING OPEN AND SPEWING BLAZING LIQUID ACROSS THE MOON SURFACE.

CUT TO:

165 EXT. MOON SURFACE. (STUDIO) 8 SECS

AT FIRST WE SEEM TO BE ON A PILE OF DEBRIS. BUT AS THE DUST SETTLES WE SEE ROPER PULL HIMSELF INTO A SITTING POSITION.

HE LOOKS AROUND, DAZED, ASTONISHED TO BE ALIVE.

ON ROPER

WE SEE HE IS ON THE EDGE OF AN INCLINE WHICH SLOPES STEEPLY AWAY FROM HIM.

CUT TO:

166 INT. MOONBASE CONTROL. (STUDIO) 16 SECS

THE GROUP LISTEN TENSELY AS ROPER'S VOICE CRACKLES OVER. HE SPEAKS SLOWLY, MENTALLY AND PHYSICALLY EXHAUSTED.

ROPER (VO)
U.F.O... destroyed...

DESICA
He's done it.

DESICA GRABS A MIKE.

DESICA
Listen Roper... check your space suit for air leaks.

ROPER
Roger.

DESICA TURNS TO NINA -

DESICA
Get a moon-hopper out there... fast.

CUT TO:

167 EXT. MOON SURFACE. (STUDIO) 16 SECS

ON ROPER

HE LOOKS DOWN AT HIS BODY AND LEGS. HE BRUSHES THE DUST FROM HIS KNEE. WE SEE HIS SUIT IS SLIGHTLY DAMAGED AT THAT POINT.

ROPER TAKES A TUBE FROM THE PACK.

C.S. KNEE

ROPER SQUEEZES A THICK LIQUID FROM THE TUBE ONTO HIS SUIT AT THE DAMAGED AREA. WE SEE A FEW BUBBLES THERE IS A SLOW PUNCTURE IN THE SPACE SUIT.

CUT TO:

168 INT. MOONBASE CONTROL. (STUDIO) 15 SECS

ON DESICA

ROPERS' VOICE SOUNDS BREATHLESS...

ROPER (VO)
Losing a little air... nothing serious.

DESICA
Use the sealing agent... you don't have too long.

ROPER (VO)
Right.

HE TURNS TO NINA AND PAULA. ROPER SOUNDS VERY TIRED. WE HEAR HIS BREATHING OVER.

THE GROUP WAIT IN SILENCE...

CUT TO:

169 EXT. MOON SURFACE. (STUDIO) 12 SECS

ROPER, SLOW AND CLUMSY, HAS TAKEN ANOTHER TUBE FROM THE PACK, THE SEALING AGENT. AS HE GOES TO APPLY IT TO HIS KNEE IT FALLS FROM HIS GRASP AND TUMBLES AWAY DOWN THE STEEP INCLINE. ROPER REACTS. HANGS HIS HEAD IN DESPAIR.

ON THE KNEE.

THE BUBBLING AIR SEEPING FROM HIS SUIT.

CUT TO:

170 INT. MOONBASE CONTROL. (STUDIO) 37 SECS


WE HEAR ROPER'S GRUNTS OF EFFORT SUBSIDE.

DESICA
(into mike)
Roper... is everything alright?

ROPER (VO)
(laboured)
Yeah... sure...

DESICA
Listen - a moonhopper is on its way. It'll be with you in minutes.

ROPER (VO)
Fine...

HIS BREATHING (OVER) IS CHANGING TO A HEAVY PANTING AS HE FIGHTS FOR BREATH.

ROPER (VO)
Tell Straker... tell him... I hope this evens things up.

DESICA REALISES ALL IS NOT WELL.. HE TRIES TO BE LIGHTHEARTED.

DESICA
Well, why don't you tell him yourself... you'll be back on earth in...

ROPER'S NOW PAINFUL VOICE INTERRUPTS:

ROPER
Will you tell... tell... Carol...

HIS VOICE FADES AWAY.

DESICA
Roper... Roper...

CUT TO:

171 EXT. MOONBASE. (STUDIO) 5 SECS

ROPER SLUMPS TO THE SIDE.

172 EXT. MOON SURFACE (V.E.) 9 SECS

SLOWLY ZOOM BACK FROM THE CRUMPLED FIGURE OF ROPER.

PULL BACK UNTIL HE IS A TINY DOT ON THE BLEAK LUNAR SURFACE. THEN PAN DOWN TO MOONBASE.

(note: end of original script, revision pages follow)

FINAL FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES

NEW PAGE - "FLIGHT PATH" 25th March, 1969.

FREEMAN
One... because he had access to S.I.D. and understood its operation better than most.

STRAKER
And two... they knew he was particularly vulnerable where his wife was concerned.

FREEMAN
He's told us everything he knows.

STRAKER
Except who was his contact... Who was on the other end of that phone?

STRAKER CROSSES TO HIS DESK AND FLICKS DOWN THE INTERCOM.

STRAKER
I want an immediate yellow alert on all shado installations.

OPERATOR (VO)
Yes, sir.

STRAKER TALKS TO FREEMAN BUT HIS FINGERS HOLD THE INTERCOM KEY DOWN.

STRAKER
Alex, let him go.

FREEMAN
What?

STRAKER
Let Roper go... in one hour from now.

OPERATOR (VO)
Your key is still down, sir.

STRAKER
Oh - thank you.

STRAKER LETS THE KEY GO AND SMILES.

FREEMAN
Very neat, you've just told the whole base we're releasing Roper in an hour.

- - - - - - - - - - - - - - - - - - - - - - - - -

NEW PAGE - 'FLIGHT PATH' 25th March, 1969

STRAKER
Yes... I've been thinking about Roper's contact. He would have to be able to radio Moonbase... know Roper's movements on earth... have access to his records. There's only one answer.

FREEMAN
You mean...

STRAKER
I mean someone on this base. Let Roper go. We must draw them into the open.

CUT TO:

68 INT. SHADO CONTROL. DAY. STUDIO 14 SECS

OPEN ON THE RADIO OPERATOR.

HE SPEAKS INTO A MIKE FROM HIS SEAT FACING THE WALL.

OPERATOR
(into mike)
One moment, Moonbase...

HE TURNS IN HIS CHAIR AS :

ANOTHER ANGLE

STRAKER ENTERS THE CONTROL ROOM AND COMES TOWARDS HIM

OPERATOR
Colonel Desica for you, sir.

STRAKER NODS TO HIM CURTLY AND SPEAKS INTO THE MIKE.

ON STRAKER

- - - - - - - - - - - - - - - - - - - - - - - - -

NEW PAGE - "FLIGHT PATH" 25th March, 1969.

116 INT. HALL. NIGHT. (STUDIO) 18 SECS.

CAROL LOOKS ACROSS THE DARKENED HALL. WE HEAR THE METALLIC CLUNK SOUND. CAROL PANICS.

POV

FROM HER POV IN THE SPILL OF LIGHT FROM THE BEDROOM WE SEE THE LIGHT SWITCH BY THE DOOR AND THE PHONE NEARBY

C.S. CAROL

STIFLING A SCREAM

CUT TO:

117 EXT. ROAD. NIGHT. LOCATION. 5 SECS

THE SHADO GUARDS' CAR SPEEDS ALONG.

CUT TO:

118 INT. HALL. NIGHT. (STUDIO) 32 SECS

STRAT CLOSE ON THE DOOR. WE HEAR THE LOCK BEING OPENED. SLOWLY, CAREFULLY, PULL BACK TO SHOW CAROL, SHOTGUN LEVELLED, SHAKING WITH FEAR. SHE FIRES.

ON DOOR

THE HALF OPEN DOOR IS PEPPERED WITH THE SHOT. HOLD A LONG BEAT, THEN IT SLOWLY OPENS AND DAWSON STUMBLES FORWARD AND FALLS TO THE GROUND. THE REVOLVER HE HOLDS FALLS FROM HIS GRASP.

ON CAROL, SHAKING UNCONTROLLABLY WITH HORROR, SHE BACKS AWAY.

POV SHOT

DAWSON BLOODSTAINED HAND REACHES FORWARD TOWARDS REVOLVER

ON CAROL

SHE BACKS TO A WALL

CAROL
No... No...

SHE SCREAMS

CUT TO:

- - - - - - - - - - - - - - - - - - - - - - - - -

NEW PAGE - "FLIGHT PATH" 25th March, 1969.

119 INT. STRAKER'S UNDERGROUND OFFICE. NIGHT. (STUDIO)


COME UP ON STRAKER'S FACE IN DEEP SHADOW. THE LIGHTING IS SUBDUED. FREEMAN ENTERS.

FREEMAN
Dawson died ten minutes ago.

STRAKER
Yes, a shotgun makes quite a mess.

FREEMAN PUTS A SMALL METALLIC DEVICE IN FRONT OF STRAKER.

FREEMAN
The doctors found this.

STRAKER LOOKS AT IT.

FREEMAN
Its some sort of electronic probe. It had been inserted into his temple.

STRAKER
Well I think the picture is... Come over here,
Alec.

SOUND: A CLICK

THEN, THE MODEL OF THE SOLAR SYSTEM LIGHTS UP IN ONE CORNER OF THE ROOM, ILLUMINATING STRAKER.

STRAKER
Watch this.

CLOSE ON THE MODEL.

AS STRAKER TALKS, HE CONTROLS THE SPHERES IN ORDER TO ILLUSTRATE THE POINT HE IS MAKING.

STRAKER (VO)
Now, what does this suggest to you?