UFO "Identified" Script


SYNOPSIS: S.H.A.D.O. an acronym for Supreme Headquarters Alien Defence Organization - is located beneath a supposed film studio in the English countryside and run by Commander Straker, who poses as a film producer. When an Unidentified Flying Object attacks a plane in which Straker's deputy Colonel Freeman is travelling it is shot down and investigated. The body of an alien is found and discovered to have transplanted human body parts, seemingly from a trio who disappeared in nearby woods a decade earlier. It is part of the alien plan to take over the Earth to study and imitate humans.

"IDENTIFIED" 

Some notable things about this script: 


* Since IDENTIFIED was the first episode, this script has some interesting descriptions of Moonbase (scene 63), Skydiver (scene 72), SID (scenes 74-76), the Interceptors (scene 98), and the UFO (scene 134).

* The finished episode begins with a scene showing Leila and Peter Carlin attacked by an Alien. This is not in the script. Instead, Carlin relates the details of his sister's dissappearance to a fellow Skydiver crew member (scene 73). In the finished episode, this incident was tied to the formation of SHADO 10 years ago, but in the script it only happened 2 years ago.

* In the script, the whole episode is a flashback from Leila Carlin's funeral. However, in the finished episode, the funeral is only shown at the end.

* The Lt. Gay Ellis character did not exist at the time this script was written. Gabrielle Drake was originally hired to play "Paula Harris", one of the three Moonbase space trackers (the other two were Nina Barry and Joan Harrington). To be in charge of Moonbase was "Franco Desica", played by actor Franco Derosa. However, shortly into the filming of the first episode, it became apparent that Derosa was too difficult to work with, so he was fired and his character was replaced by Lt. Ellis in some episodes and Col. Paul Foster in others. In this script, Desica's lines were later transferred to Gay Ellis and Lew Waterman.

* The contrast between Straker's coldness and Freeman's warmth is stronger in this script than in the finished episode.

* Some small incidental scenes in the script never made it to the finished episode, including a conversation between Freeman and a studio receptionist (scene 49), and some Moonbase-SID humor in scenes 86 and 95. On the other hand, the scene in the finished episode with Straker scolding Lt. Ford about security is not scripted here.

* Captain Peter Carlin's character is scripted here as "John Karlin".

* Col. Freeman is scripted as being Australian (scenes 49 and 125), although this was not the case in the series.

* SHADO's original name slips through in the title of scene 154 -"U.F.O. D.O." (Unidentified Flying Object Defence Organisation)

This script also has 3 pages of revisions and "new pages" at the end which brings it a bit closer to the final episode. These pages are included at the end of this file.

Enjoy!



" U . F . O "


1 HOUR PILOT FILM FOR TELEVISION SERIES


"IDENTIFIED"

by

GERRY & SYLVIA ANDERSON
and
TONY BARWICK

Additional Material
DONALD JAMES




(c) All Rights Reserved 1968

Century 21 Pictures
Stirling Road
Slough
Bucks, England.



CAST LIST

SPEAKING PARTS:

PRIEST
ED STRAKER
PILOT (USAF)
GENERAL HENDERSON
MINISTER
SPECIAL BRANCH MAN
DOORMAN
RECEPTIONIST (JANIS)
MISS EALAND
ALEC FREEMAN
STEWARDESS
CO-PILOT
RADIO OPERATOR
PAULA HARRIS
JOANNA
FRANCO DESICA
GORDON MAXWELL
JOHN KARLIN
NINA BARRY
KURT MAHLER
VIRGINIA LAKE
PHIL WADE
MARK BRADLEY
SYLVIA HOWELL
DR. SHROEDER
DR. HARRIS
NURSE

VOICES OVER ONLY:
CONTROL (SCENE 4)
RADIO VOICE (VOICEPRINT)
RADIO VOICE (STEVENSON CONTROL)
S. I. D.
MATTHEWS
WATERMAN
MALE VOICE (HOSPITAL)
MASTERS

SET LIST
INT. CREMATORIUM (STUDIO)
INT. CABIN USAF JET (LOCATION)
INT. USAF JET (STUDIO)
EXT. USAF JET (LOCATION)
EXT. ROLLS (LOCATION)
EXT. APRON (LOCATION)
EXT. AIRFIELD (LOCATION)
INT. ROLLS (STUDIO PROCESS)
EXT. COUNTRY ROAD (LOCATION)
EXT. EMBANKMENT (LOCATION)
EXT. WRECKAGE (LOCATION)
EXT. FILM STUDIO (LOCATION)
INT. STUDIO FOYER (LOCATION)
INT. STRAKER'S OUTER OFFICE (STUDIO)
INT. STRAKER'S OFFICE (STUDIO)
INT. UNDERGROUND CORRIDORS (STUDIO)
INT. SHADO CONTROL ROOM (STUDIO)
INT. STRAKER'S UNDERGROUND OFFICE (STUDIO)
INT. SEAGULL X-RAY FLIGHT DECK (STUDIO)
INT. CONTROL SPHERE MOONBASE (STUDIO)
INT. DINING AND LEISURE SPHERE (STUDIO)
INT. SLEEP SPHERE (STUDIO)
INT. CORRIDOR (MOONBASE)
INT. CAPTAIN'S CABIN SKYDIVER (STUDIO)
INT. S.I.D. (STUDIO)
INT. SKYDIVER CONTROL (STUDIO)
INT. V.I.P. LOUNGE (STUDIO)
INT. INTERCEPTOR (STUDIO)
INT. SKY 1 COCKPIT (STUDIO)
EXT. HOSPITAL (LOCATION)
INT. CORRIDOR 32 (STUDIO)
INT. MEDICAL CENTRE (STUDIO)
EXT. CAR PARK (LOCATION)

TIMINGS:
STUDIO 38 mins 52 secs
LOCATION 7 mins 07 secs
SP/EFFECTS 5 mins 15 secs

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

TOTAL: 51 mins 14 secs

SPECIAL EFFECTS SETS
EXT. ROAD
EXT. CAR (ROLLS)
EXT. SEAGULL X-RAY
EXT. STEVENSON AIR BASE
EXT. MOONBASE
EXT. SKYDIVER
EXT. S.I.D.
EXT. SKY
INT. INTERCEPTOR SPHERE
EXT. SPACE
EXT. INTERCEPTORS
EXT. SKY 1
EXT. U.F.O.
EXT. SEASCAPE
EXT. UNDERWATER


CENTURY 21 PICTURES LIMITED

SCRIPT COLOUR CODE

ORIGINAL WHITE

1ST CHANGE BLUE

2ND CHANGE LEMON

3RD CHANGE OLD GOLD

4TH CHANGE PINK

5th or more changes repeat code starting with BLUE


1

FADE IN:

ACT ONE


1 M.S. DATE (STUDIO) 5 SECS

AGAINST A PLAIN B.G. SUPERIMPOSE THE DATE "1980 A. D."

MIX TO:

2 INT. CREMATORIUM. DAY. (STUDIO) 16 SECS

START CLOSE ON A CARD (IT READS "LEILA KARLIN - MY DEAREST SISTER - JOHN") - ATTACHED TO A FUNERAL WREATH.

PULL BACK - WE SEE THE FLOWER COVERED COFFIN ON THE PLINTH BEFORE THE OAK PANNELLED ALTAR PIECE. WE ARE IN A CREMATORIUM.

AS WE TRACK BACK WE PICK UP A PRIEST, LEADING THE PRAYERS. THEN LITTLE GROUPS OF PEOPLE IN TWO'S AND THREE'S SITTING IN THE ROWS OF SEATS. MAYBE 6 TO 8 PEOPLE IN ALL.

PRIEST
(over the track)
O Lord, Creator and redeemer of all the World, we are gathered here to commend to Thy keeping the soul of Thy servant departed. Let us pray, etc.....
(refer last page in script)

CUT TO:

3 M.S. - GROUP 6 SECS

WE FEATURE JOHN KARLIN, THE DEAD GIRL'S BROTHER AND HIS PARENTS, STANDING AT THE BACK WE SEE A MAN -- PULL FOCUS ONTO HIM.

CUT TO:

4 M.S. - MAN 15 SECS

NEAR THE DOOR - APART, NOT ONE OF THE FAMILY OR CLOSE FRIENDS. HIS DARK SUIT HAS A MODERN FEEL.
HIS NAME : ED STRAKER.

STRAKER
(thought voice - slow)
Leila Karlin died aged 23 ... or was it 25 ... Almost two years ago ... or last week ... Who can say? The long finger of tragic coincidence stretching across a billion miles of space.

WE ARE IN CLOSE UP ON HIS FACE ... THOUGHTFUL, REMEMBERING...

MIX TO:

5 INT. U.S.A.F. JET - DAY (STUDIO) 11 SECS

START CLOSE ON STRAKER'S EYES. PULL BACK. HE IS TEN YEARS YOUNGER THAN 1N THE CREMATORIUM. HE WEARS THE UNIFORM OF A COLONEL IN THE U.S.A.F. HE IS READING A PAPER.

WE PULL BACK. IN THE WINDOW SEAT NEXT TO STRAKER SITS GENERAL HENDERSON U.S.A.F. THE GENERAL IS ASLEEP.

ON PAPER:

WE SEE THE HEADLINE: "1970 WORLD CUP STARTS IN MEXICO".

CUT TO:

6 INT. CABIN. DAY. (LOCATION) 8 SECS

THE PILOT AND CO-PILOT AT THE CONTROLS.

CONTROL (VO DISTORT)
Able red seven - clear on 023.

PILOT
023 - Roger.

THE CO-PILOT LEANS TO THE CONTROL OPERATING THE 'FASTEN SEAT BELTS' PANEL IN THE PASSENGER SECTION.

CUT TO:

7 INT. U.S.A.F. JET (STUDIO) 9 SECS

THE 'FASTEN SEAT BELT' SIGN LIGHTS. STRAKER LOOKS DOWN AND FINDS HIS SEAT BELT.

THE MOVEMENT WAKES THE GENERAL : HE NOTICES THE ILLUMINATED SIGN.

BOTH MEN FASTEN THEIR SEAT BELTS.

CUT TO:

8 CS - STRAKER 7 SECS

THE ANGLE HAS ALTERED. THE SUN GLARES THROUGH THE AIRCRAFT WINDOW. STRAKER PUTS ON HIS SUN GLASSES.

CUT TO:

9 EXT. U.S.A.F. JET. DAY. (LOCATION) 6 SECS

MAKING ITS FINAL APPROACH TO AN AIRBASE IN SOUTHERN ENGLAND.

CUT TO:

10 EXT. RUNWAY. DAY. (LOCATION) 7 SECS

THE JET TOUCHES DOWN.

CUT TO:

11 EXT. ROLLS. DAY. (LOCATION) 8 SECS

START CLOSE ON THE FRONT. PULL BACK AS IT SMOOTHES AWAY AND WE CATCH A GLIMPSE OF THE POLICE MOTOR CYCLE ESCORT.

CUT TO:

12 EXT. APRON. DAY. (LOCATION) 15 SECS

A FEELING OF CONTROLLED URGENCY. AS THE JET SWINGS AND SLOWS, THE STEPS ARE PUSHED FORWARD. THE ROLLS SLIDES INTO POSITION. THE ESCORT STOPPING NEARBY.

CUT TO:

13 EXT. U.S.A.F. JET. DAY. (LOCATION) 17 SECS

THE DOOR IS ALREADY OPEN AS THE JET STOPS. A UNIFORMED CREWMAN STANDS BY IT. GENERAL HENDERSON PUTS ON HIS CAP. BEHIND HIM STRAKER, A SLIM DOCUMENT CASE UNDER HIS ARM.

PULL BACK AS:

THE STEPS ARE PUSHED INTO POSITION. THE CREWMAN COMES OUT, STANDS TO ONE SIDE AT THE TOP. HE SNAPS TO ATTENTION, SALUTES AND HOLDS IT AS THE GENERAL, FOLLOWED BY STRAKER, COMES OUT AND DOWN THE STEPS, HOLDING THEIR CAPS AGAINST THE STILL STRONG SLIPSTREAM OF THE DYING JETS.

CUT TO:

14 EXT. APRON. DAY. (LOCATION) 14 SECS

THE GENERAL AND STRAKER WALK BRISKLY PAST A COUPLE OF SALUTING GROUND PERSONNEL TO THE ROLLS. A U.S.A.F. OFFICER HOLDS OPEN THE DOOR. THE GENERAL AND STRAKER GET INTO THE CAR. THE DOOR IS CLOSED.

CUT TO:

15 C.S. FOOT START 4 SECS

THE FOOT START ON A POLICE MOTOR CYCLE IS KICKED, THE ENGINE REVS THROATILY TO LIFE.

CUT TO:

16 EXT. AIRFIELD. DAY. (LOCATION) 8 SECS

THE MOTORCADE OF THE ROLLS WITH ITS ESCORT OF TWO POLICE MOTOR CYCLES SWEEPS AWAY. THE WHOLE SEQUENCE HAS CONVEYED AN URGENT
V.I.P. ARRIVAL.

CUT TO:

17 INT. ROLLS. DAY. (STUDIO PROCESS) 15 SECS

THE GENERAL SITS IN THE BACK SEAT, AT HIS SIDE A BRITISH CABINET MINISTER. ABOUT 45, DRESSED
CONSERVATIVELY (NOT IN PIN STRIPES). STRAKER SITS ON A PULL-DOWN SEAT FACING THEM.

A GLASS SOUND-PROOF PARTITION SEPARATES THEM FROM THE CHAUFFEUR AND A SPECIAL BRANCH MAN.

GENERAL
Minister, this is Colonel Straker.

AS THEY SHAKE HANDS.

MINISTER
A shattering business, Colonel.

THE MINISTER TURNS TO SPEAK TO THE GENERAL.

MINISTER
The Prime Minister is already at Chequers.
(checks his watch)
We'll be there in thirty minutes.

CUT TO:

18 EXT. COUNTRY ROAD. DAY. (LOCATION) 7 SECS

THE MOTORCADE UP AND PAST ALONG THE TREE-LINED COUNTRY ROAD. MOVING AT AROUND 40 M.P.H. THE SKY IS OVERCAST, A ROLL OF THUNDER SOMEWHERE IN THE DISTANCE.

CUT TO:

19 INT. ROLLS. DAY. (STUDIO PROCESS) 19 SECS

THE THREE MEN AS BEFORE.

MINISTER 5
We've been in constant communication with Paris, Moscow and Bonn during your visits. I think the British Government's approval will be a
formality .

GENERAL
The evidence is absolutely conclusive.

MINISTER
Yes.
(a beat)
If I might just er...

HE IS ASKING TO SEE THE EVIDENCE.

GENERAL
Surely...
(to Straker)
Colonel.

STRAKER TAKES THE DOCUMENT CASE WHICH WE SEE IS ATTACHED TO HIS WRIST BY A THIN STEEL CHAIN.

CUT TO:

20 C.S. - DOCUMENT CASE 8 SECS

MINISTER (VO)
It may speed things up a little.

STRAKER'S HAND OPENS A SOPHISTICATED YET SMALL LOCKING DEVICE. WE ALSO NOTICE A "DESTRUCT" MECHANISM DISGUISED AS A NAME PLATE. STRAKER'S HAND SLIDES THE TOP OF THIS ACROSS AND IT NOW READS "DESTRUCT NEGATIVE". HE OPENS THE CASE.

CUT TO:

21 INT. ROLLS. DAY. (STUDIO PROCESS) 53 SECS

STRAKER TAKES A FILE FROM THE DOCUMENT CASE AND HANDS IT TO THE MINISTER. HE GLANCES A LITTLE APPREHENSIVELY AT THE GENERAL, THEN
OPENS THE FIRST PAGE.

ALTHOUGH HE ALREADY HAS KNOWLEDGE OF THE CONTENT THE MINISTER'S FACE REVEALS HE IS STILL SHOCKED BY WHAT HE SEES.

A ROLL OF THUNDER MAYBE A LITTLE NEARER NOW.

THE MINISTER TURNS A PAGE.

MINISTER
My God...
CUT TO:

C.S. - PAGE

A QUICK SHOT OF THE PAGE. THE TOP HALF IS AN OFFICIAL PHOTOGRAPH OF A MUTILATED BODY. THE BOTTOM TYPED DETAILS.

RESUME SCENE:

THE MINISTER TURNS A FEW MORE PAGES. SLOWLY, HIS FACE GRIM. HE GLANCES UP TO THE GENERAL.

GENERAL
The clincher is at the back.

THE MINISTER LOOKS DOWN AT HIM A SECOND OR TWO THEN TURNS TO THE END OF THE FILE. IT IS A FULL PAGE PHOTOGRAPH BUT WE CANNOT SEE WHAT IT IS IN ANY DETAIL.

STRAKER
An enlarged single frame from the cine film.

THE MINISTER LOOKS UP.

MINISTER
(slowly)
It couldn't possibly be a fake?

GENERAL
The film was found undeveloped, still in the camera. It's genuine. Take my word for it.

THE MINISTER SLOWLY CLOSES THE FILE. THE THREE MEN SIT IN SILENCE. ALL REALISE THE TREMENDOUS IMPLICATIONS.

CUT TO:

22 EXT. COUNTRY ROAD. DAY. (LOCATION) 7 SECS

THE MOTORCADE UP AND PAST. THE OVERCAST SKY, THE GLEAMING ROLLS, THE PRECISION OF THE ESCORT, GIVE A DRAMATIC EFFECT. A ROLL OF THUNDER PERHAPS A LITTLE NEARER.

23 CS - POOL OF WATER 3 SECS

A JOLTING SHOT AS ONE OF THE ROLLS WHEELS CASCADES THROUGH THE PUDDLE.

24 INT. ROLLS. DAY (STUDIO PROCESS) 6 SECS

SHOOTING BETWEEN THE CHAUFFEUR AND THE BROAD SHOULDERS OF THE SPECIAL BRANCH MAN. WE SEE

THE LONG SMOOTH BONNET, AND THE TWO RIDERS OUT FRONT .

25 CS - POLICE OUTRIDER (LOCATION) 6 SECS

THE ONE RIDING OFF SIDE FRONT. WE HEAR A NOISE OVER, NOT LOUD, BUT CONVEYING INTENSITY AND POWER.
THE POLICEMAN LOOKS SKYWARD THROUGH DARK GOGGLES.

26 POV SHOT 4 SECS

FROM HIS POV, THE OVERCAST SKY, FRAMED BY THE TREETOPS OVERHANGING THE ROAD AS THEY FLASH BY.

27 EXT. MOTORCADE. DAY. (LOCATION) 5 SECS

THE SOUND INCREASING IN INTENSITY, STRANGE AND SOMEHOW OMINOUS.

28 CS - OUTRIDER (LOCATION) 4 SECS

HE MIMES AN UNHEARD MESSAGE INTO A MIKE, A COUPLE OF INCHES FROM HIS MOUTH . HELD IN PLACE BY A CURVE OF METAL FROM HIS HELMET.

CUT TO:

29 INT. ROLLS. DAY. (STUDIO PROCESS) 7 SECS

THE CHAUFFEUR AND THE SPECIAL BRANCH MAN IN THE FRONT SECTION. THE SPECIAL BRANCH MAN HOLDS A MIKE FROM THE DASHBOARD.

SPECIAL BRANCH MAN
(into mike)
Right...

HE TURNS TO THE CHAUFFEUR.

SPECIAL BRANCH MAN
Keep pace with the escort.

CUT TO:

30 EXT. MOTORCADE. DAY. (LOCATION) 6 SECS

THE MOTORCADE BEGINS TO MOVE. THE ENGINE NOTES TIGHTEN AS THROTTLES ARE OPENED UP. THE SOUND OVERHEAD STILL BUILDS.

31 EXT. ROAD. DAY. (LOCATION) 5 SECS

SUDDENLY A SHAFT OF LIGHT FROM OVERHEAD. AN EXPLOSION BY THE ROADSIDE. THE SOUND NOW AT FULL PITCH.

CUT TO:

32 INT. ROLLS. DAY. (STUDIO PROCESS) 10 SECS

STRAKER, THE GENERAL AND THE MINISTER, LOOKING BACK AT THE EXPLOSION. THE MINISTER STILL HOLDING THE FILE.

STRAKER
I'll take the file, sir.

THE MINISTER GOES TO HAND HIM THE FILE. ANOTHER EXPLOSION SOMEWHERE NEAR.

STRAKER
(urgent)
Down.

CUT TO:

33 EXT. MOTORCADE. DAY. (LOCATION) 12 SECS

FLASHES OF LIGHT AND EXPLOSIONS FROM THE CLOUDS.

ONE OF THE FRONT POLICE ESCORT IS HIT. HE FALLS IN THE PATH OF THE ROLLS. IT JUST MANAGES TO TWIST PAST HIM IN A SWERVING SKID.

THE EXPLOSIONS BUILD IN FREQUENCY. THE OTHER OUTRIDER IS HIT AND CRASHES.

CUT TO:

34 EXT. ROLLS. DAY. (LOCATION) 2 SECS

A BLINDING FLASH AS THE WINDSCREEN IS HIT.

CUT TO:

35 INT. ROLLS. DAY (STUDIO PROCESS) 3 SECS

A VERY FAST SHOT. THE DRIVER SCREAMS. CLUTCHING HIS EYES.

CUT TO:

36 EXT. ROAD. DAY (LOCATION AND VISUAL EFFECTS) 8 SECS

THE ROLLS SWERVES OFF THE ROAD, CRASHES THROUGH A PARAPET AND CASCADES DOWN AN EMBANKMENT.

37 EXT. EMBANKMENT. DAY. (LOCATION) 6 SECS

STRAKER TUMBLES DOWN THE SLOPE. HE HAS BEEN THROWN OUT OF THE CAR. WE HEAR THE ROLLS EXPLODE OVER.

CUT TO:

38 MS - ROLLS. DAY. (VISUAL EFFECTS) 6 SECS

FLAMES DEVOURING THE CAR. WRECKAGE STREWN ABOUT.

CUT TO:

39 MS - STRAKER (LOCATION) 10 SECS

THE TERRIFYING NOISE HAS STOPPED. SLOWLY HE LIFTS HIS HEAD. OVER WE HEAR THE CRACKLE OF THE FLAMES. PAINFULLY STRAKER BEGINS TO
GET TO HIS FEET.

CUT TO:

40 EXT. CAR. (VISUAL EFFECTS) 5 SECS


A MASS OF FLAMES. THERE IS OBVIOUSLY NO HOPE FOR THE OCCUPANTS.

CUT TO:

41 CS - STRAKER (LOCATION) 7 SECS

STARING AT THE FLAMES, A TRICKLE OF BLOOD ON HIS FACE. BY A QUIRK OF IMPACT HE STILL HAS THE BRACELET AND SMALL LENGTH OF CHAIN HANGING FROM HIS WRIST, BUT THE CASE HAS GONE.

CUT TO:

42 EXT. WRECKAGE. DAY. (VISUAL EFFECTS) 15 SECS

TRACK IN ON THE BURNING WRECKAGE. WE GO IN CLOSE ON THE FILE ON THE GROUND. MOST OF THE CONTENTS ARE BURNT. ONE PICTURE CURLS AWAY AS IT BURNS TO REVEAL THE LAST PAGE: THE 'CLINCHER' THE MINISTER SAW IN THE CAR.

WE GO INTO BIG CLOSE UP OF THIS. AS THE MUSIC REACHES A CLIMAX WE SEE IT IS A PHOTOGRAPH OF A U.F.O.

FREEZE FRAME:

SUPERIMPOSED IN FAIRLY SMALL TYPE, "UNIDENTIFIED FLYING OBJECT". THE FIRST LETTER OF EACH WORD ZOOMS FORWARD TO CREATE THE SERIES TITLE "U.F.O."

RESUME ACTION:

THE PHOTOGRAPH CONTINUES TO BURN.

FADE OUT:

FADE IN:


43 EXT. FILM STUDIO. DAY. (LOCATION) 35 SECS

COME UP ON A SIGN IN MODERN TYPE-FACE AND COLOUR:

"HARLINGTON-STRAKER FILM STUDIOS"

IN THE B.G. A VERY MODERN GLASS AND CONCRETE BUILDING. A FILM PROP IS TRUNDLED THROUGH SHOT, AN OLD CANNON PERHAPS.

NOW IMMEDIATELY TAKE:

ANOTHER ANGLE

A FUTURISTIC CAR SWEEPS ACROSS THE CAR PARK AND HALTS IN FRONT OF THE BUILDING. OVER THIS AND THE FOLLOWING SHOTS,

SUPERIMPOSE CREDITS:

TIGHTEN ON THE CAR AS A STUDIO GUARD STEPS INTO SHOT ABOUT A YARD FROM THE CAR - THE GULL-WING DOORS SPRING OPEN AND A MAN HUSTLES OUT PAST THE GUARD - WHO HAS TOUCHED HIS CAP. IT IS STRAKER, AGED AS WE SAW HIM IN THE CREMATORIUM. HE BLATANTLY IGNORES THE SALUTE, MOVES BRISKLY PAST WITHOUT THE MEREST ATTEMPT AT ACKNOWLEDGEMENT.

AS HE REACHES THE ENTRANCE TO THE STUDIO BUILDING A DOORMAN PULLS OPEN THE DOUBLE GLASS DOORS.

DOORMAN
Good morning, sir.

AGAIN STRAKER LOOKS THROUGH HIM - MAKES NO ATTEMPT AT ACKNOWLEDGEMENT - AND PASSES ON AS WE -

CUT TO:

44 INT. STUDIO FOYER. DAY. (LOCATION) 9 SECS

A COUPLE OF EXTRAS DRESSED AS PIRATES WALK THROUGH SHOT; ONE EATS AN ICE CREAM. AT A RECEPTION DESK A YOUNG ATTRACTIVE RECEPTIONIST SITS - SHE LOOKS UP AS STRAKER ENTERS.

RECEPTIONIST
Good morning, sir.

STRAKER GRUNTS - STRIDES PAST.

CUT TO:

45 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO) 18 SECS

A WOMAN IN HER LATE THIRTIES SITS BEHIND A FUTURISTIC DESK - SHE IS STRAKER'S PRIVATE SECRETARY - MISS EALAND. NO LONGER YOUNG,
CERTAINLY NOT DOLLY - A WOMAN WHO HAS PERHAPS ABSORBED SOME OF THE SEVERITY OF THE MAN SHE WORKS FOR - OR LIKES TO THINK SHE HAS.

THE ROOM IS NOT LARGE. IT'S FUTURISTIC LATE TWENTIETH-CENTURY.

TO MISS EALAND'S LEFT A DOOR LEADS OFF INTO AN INNER OFFICE - APPARENTLY A SIMPLE SLIDING DOOR. ABOVE IT, A SMALL GLASS-FACED RECTANGULAR PANEL.

NOW SEE MISS EALAND'S EYES FLICK TOWARDS THE MAIN DOOR OPPOSITE HER DESK AS IT OPENS AND STRAKER MAKES ONE OF HIS HEADLONG ENTRANCES - PROPELLING HIMSELF ACROSS THE ROOM.

STRAKER
Messages?

HE SWEEPS BY HER AND ENTERS HIS OFFICE - MISS EALAND COLLECTS HER NOTEBOOK AND PENCIL AND FOLLOWS HIM.

CUT TO:

46 INT. STRAKER'S OFFICE. DAY. (STUDIO) 25 SECS

WE ARE SURPRISED TO FIND A RELATIVELY SMALL OFFICE FOR SUCH AN IMPORTANT MAN - STRAKER CROSSES BEHIND HIS DESK - SITS IN HIS SWIVEL CHAIR ROTATES A FULL CIRCLE AND IS NOW FACE TO FACE WITH MISS EALAND, WHO IS SEATED IN FRONT OF THE DESK.

MISS EALAND
Information - Q. 21 - answer negative.
(a beat)
Q. 46 - satellite link effective
(a beat)
Q. 97 - zero zero - computer readouts available from today.

STRAKER
Have them put straight through to me.

MISS EALAND
Yes, sir.

MISS EALAND TURNS TO LEAVE.

CUT TO:

47 INT. STRAKER'S OUTER OFFICE. (STUDIO). DAY. 8 SECS

MISS EALAND COMES BACK INTO THE OUTER OFFICE. AS THE DOOR CLOSES WE HEAR ELECTRONIC BOLTS SLIDE INTO POSITION. THE RECTANGULAR PANEL ABOUT THE DOOR ILLUMINATES WITH THE WORDS "DO NOT ENTER".

CUT TO:

48 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOC.) 18 SECS

A CAR - SIMILAR TO THE ONE WE SAW BEFORE - MOVES UP TO THE ENTRANCE. THE GULL-WING DOORS FLIP. THE GUARD STEPS FORWARD, SALUTES THE MAN WHO GETS OUT AND RECEIVES IN RETURN A FRIENDLY WAVE.

ON THE MAN.

AS HE STROLLS TOWARDS THE MAIN DOORS. HE IS ALEC FREEMAN - RELAXED - EASY GOING - LATE THIRTIES - AS HE REACHES THE GLASS DOOR WE SEE THE DOORMAN STEP FORWARD TO OPEN IT AND -

CUT TO:

49 INT. STUDIO RECEPTION. DAY. (LOCATION) 52 SECS

AS FREEMAN PASSES THROUGH THE DOORS.

DOORMAN
Good morning, Mr. Freeman.

FREEMAN
Hallo there, George. The boss in?

FREEMAN'S ACCENT - AUSTRALIAN.

DOORMAN
Mr. Straker?

ALEC FREEMAN GRINS.

FREEMAN
Who else?

THE DOORMAN NODS AGREEMENT.

DOORMAN
About ten minutes ago.
(a beat)
Will you sign in, sir?

FREEMAN NODS. HEADS FOR THE RECEPTIONIST - SHE LOOKS UP, SMILES AT FREEMAN, HANDS HIM UP A REGISTER WITH HER LEFT HAND - FREEMAN LOOKS DOWN AT THE RINGLESS THIRD FINGER. TAKES HER HAND AND INDICATES THE ABSENCE OF A WEDDING BAND.

FREEMAN
Nobody snapped you up yet, Janis?

JANIS
You mean since Tuesday - when you last asked me?

FREEMAN TAKES A PEN.

FREEMAN
Did I?
(a beat)
I'11 have to develop a fresh line of patter - no wonder I haven't scored lately!

NOW CLOSE ON BOOK... AT THE TOP OF THE PAGE THE PRINTED DATE - JUNE 23RD 1980 -- FREEMAN SIGNS IN.

RESUME JANIS.

JANIS
Mr. Straker?

ANOTHER ANGLE:

FREEMAN NODS. SHE REACTS "TOUGH LUCK" AND APPLIES HERSELF TO THE REGISTER.

JANIS
And the best of luck!

FREEMAN GRINS AND AS HE TURNS AWAY, WE:

CUT TO:

50 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO)

WIDE ANGLE ON THE ROOM - MISS EALAND IS AT HER DESK - THE RECTANGULAR PANEL ABOVE THE DOOR STILL READS "DO NOT ENTER"

TIGHTEN NOW ON HER AS SHE CONCENTRATES ON A SHEET OF FIGURES. SEE HER HANDS STRETCH OUT FOR A PEN - FUMBLING FOR IT - NOT LOOKING.

TIGHTEN ON HER HAND AS A MAN'S HAND COMES INTO SHOT - COVERS HERS.

AND TAKE IMMEDIATELY:

ANOTHER ANGLE.

TO SEE ALEC FREEMAN'S FACE IN C.U. LOOKING DOWN AT HER.

FREEMAN
You know something, sweetie... You and I were made for each other.

MISS EALAND GLANCES UP AT HIM SEVERELY UNABLE TO RETRIEVE HER TRAPPED HAND, SHE LEANS ACROSS WITH HER OTHER HAND AND FLICKS THE INTERCOM.

MISS EALAND
(perfectly controlled)
Mr. Freeman to see you, sir.

STRAKER
(VO - distort)
Send him in.

NOW ANGLE TO SEE THE "DO NOT ENTER" SIGN CHANGE - LOSING THE FIRST TWO WORDS IT NOW READS "ENTER". AT THE SAME TIME WE HEAR THE CLICK OF THE ELECTRONICALLY CONTROLLED BOLTS OPERATING THE DOOR.

ON MISS EALAND.

HER HAND STILL TRAPPED.

MISS EALAND
Alright, Mr. Freeman.

FREEMAN FREES HER HAND - BENDS FORWARD.

FREEMAN
(confidentially)
The girl in reception calls me Alec...

MISS EALAND
So...?

FREEMAN
(surprised)
Doesn't that inflame you with jealousy?

SHE GIVES HIM A BLANK UNCOMPREHENDING LOOK AS HE WALKS TOWARDS THE OFFICE DOOR.

ON FREEMAN

AS HE REACHES THE DOOR IT SLIDES OPEN - NOW, AS HE STEPS INTO THE DOORWAY, TIGHTEN ON FREEMAN'S FACE AND :

CUT TO:

51 INT. STRAKER'S OFFICE. DAY. (STUDIO) 41SECS

FREEMAN'S EYELINE:

THE ROOM IS EMPTY.

RESUME FREEMAN.

HE SHOWS NO SURPRISE - BUT MOVES FORWARD AND STANDS NEXT TO THE DESK AS THE DOOR SLIDES CLOSED BEHIND HIM.

FREEMAN PERCHES ON THE EDGE OF THE DESK - OPENS A CIGARETTE BOX, ALTHOUGH WE CLEARLY SEE IT IS FULL OF CIGARETTES HE IGNORES THIS, TAKES ONE OF HIS OWN AND LIGHTS IT.

TIGHTEN ON HIS FACE AND HEAR, APPARENTLY TOTALLY OUT OF CHARACTER, THE LINES:

FREEMAN
(Shakespearian tones)
But soft. What light through yonder window breaks? It is the East - and Juliet is the sun.

A FEW SECONDS PAUSE.

RADIO (VO - distort)
Voice print ... positive identification nine seven ... Freeman, Alec E.

WE REALISE THE CIGARETTE BOX OPERATED THE VOICE
CHECK.

FREEMAN CLOSES THE LID, THEN DROPS INTO THE CHAIR BEHIND THE DESK, WITH HIS BACK TO A WINDOW COVERED BY A HALF-OPEN VENETIAN BLIND.

THROUGH THE SLATS OF THE BLIND WE LOOK OUT ONTO A SMALL WALLED GARDEN. PAVED AND WITH A FEW STONE ORNAMENTS.

CUT TO:

52 PROCESS SHOT 8 SECS

AS WE HEAR THE SOFT WHIRR OF EQUIPMENT, THE GARDEN ELEVATES UP. THE WHOLE ROOM IS DESCENDING LIKE A LIFT.

CUT TO:

53 INT. STRAKER'S OFFICE. (STUDIO) 11 SECS

THE LIFT HAS NOW REACHED THE BOTTOM OF THE SHAFT A DOOR THAT ORIGINALLY LED TO MISS EALAND'S OFFICE OPENS - ALEC FREEMAN LOOKS UP.

ANOTHER ANGLE:

FREEMAN'S EYELINE:

AN ATTRACTIVE BLONDE UNIFORMED BASE STEWARDESS IS PASSING THE DOORWAY -- SHE SMILES.

STEWARDESS
Good morning, sir.

FREEMAN (VO)
'Morning.

CUT TO:

54 INT. UNDERGROUND CORRIDORS - SHADO H.Q. 25 SECS

FREEMAN STANDS A MOMENT APPRECIATING THE REAR VIEW AS THE GIRL WALKS OFF. THEN STARTS DOWN THE BARE CONCRETE CORRIDOR.

AS HE WALKS HE PASSES OTHER PEOPLE - IN UNIFORM - ON DUTY IN THE COMPLEX. WE ARE IN SUPREME HEADQUARTERS ALIEN DEFENCE ORGANISATION (SHADO).

IN A SERIES OF ANGLES WE ESTABLISH THE EXTENT OF THE COMPLEX - - SEEMINGLY INNUMERABLE IDENTICAL LENGTHS OF GREY CONCRETE CORRIDOR - DIMLY LIT. WITH ANONYMOUS DOORS LEADING OFF.

OUTSIDE ONE SUCH DOOR FREEMAN STOPS. THE PHOTOCELLS ARE IN CIRCUIT AND IT OPENS. FREEMAN ENTERS.

CUT TO:

55 INT. SHADO CONTROL ROOM. DAY. (STUDIO) 20 SECS

THE FIRST IMPRESSIONS ARE THE MASS AND RANGE OF EQUIPMENT.

IN THE CENTRE OF THE ROOM IS A MASTER CONTROL CONSOLE, AGAINST A WALL ANOTHER CONSOLE; ABOVE IT TWO BUILT-IN TV MONITORS. A LITTLE TO ONE SIDE STANDS A PORTABLE TV MONITOR WHICH CAN BE USED IN ANY PART OF THE ROOM. ALONG THE OTHER WALLS, COMPUTERS FLASH AND CHATTER.

A SENSE OF CONSIDERABLE ACTIVITY PERVADES THE CONTROL ROOM - COLOURED LIGHTS FLASH; OPERATIVES REPEAT NUMBER SEQUENCES. THE SUBTLE CEILING LIGHTING IS SUBDUED.

FREEMAN WALKS PAST OPERATIVES SMILING HELLO.

HE CROSSES THE ROOM AND STANDS BEFORE A PAIR OF DOUBLE STEEL DOORS, ALMOST IMMEDIATELY THEY BEGIN TO SLIDE OPEN.

CUT TO:

56 INT. STRAKER'S SHADO UNDERGROUND OFFICE. 82 SECS (STUDIO)

FREEMAN ENTERS. THE DOORS CLOSE BEHIND HIM. STRAKER HAS REMOVED THE JACKET OF HIS DUAL PURPOSE SUIT AND IS NOW DRESSED IN THE UNIFORM OF SUPREME COMMANDER OF SHADO. HE WORKS AT HIS DESK.

STRAKER
(eyes on paperwork)
Won't keep you a moment, Alec.

FINALLY HE LOOKS UP AT FREEMAN.

FREEMAN
Trouble?

STRAKER
Why else would I send for you?

STRAKER PRESSES A BUTTON ON HIS DESK. A BUILT-IN TV MONITOR AT THE SIDE OF THE ILLUMINATED SPACE CHART NOW SHOWS A PICTURE OF THE RUINS OF A MODERN BUILDING.

FREEMAN
That's Westbrook Electronics isn't it?

STRAKER
What's left of it.

FREEMAN
What happened?

STRAKER
For ten years there have been setbacks ... We've had accidents, errors of judgement and other mishaps. Let's put Westbrook Electronics down to ... other mishaps.

FREEMAN
You mean a U.F.O?

STRAKER
There's no proof...

STRAKER SHRUGS.

FREEMAN
So bang goes the Utronic project. Just as we thought we had something to really track down these bastards.

STRAKER SMILES TO HIMSELF, WATCHES FREEMAN A MOMENT.

STRAKER
Don't look so down, Alec. The Utronic equipment is safe.

FREEMAN GIVES HIM AN ENQUIRING LOOK.

STRAKER
It wasn't in the building. It's intact, fully tested, ready for shipment... The breakthrough... SHADO have had moonbase and the satellites operational for a few months - we've made a number of U.F.O. sightings, but no interceptions. We've got the teeth; soon we'll have the eyes...

FREEMAN
It's what we've worked for.

STRAKER
(official)
Freeman, you know how important this is to our whole organisation. The Utronic equipment and the design team are ready to be picked up in Los Angeles and flown to England. I'm making you responsible for the security of the entire operation. I mean you ... personally.

FREEMAN STANDS, CONSIDERING : STRAKER HAS PUT HIM ON THE SPOT.

FREEMAN
Right.

HE TURNS AND LOOKS HARD AT STRAKER.

CUT TO:

57 EXT. SHADO SUPERSONIC TRANSPORT - SEAGULL X-RAY (VISUAL EFFECTS) 8 SECS

A SUPERSONIC TRANSPORT AIRCRAFT IS ON ITS APPROACH RUN TO STEVENSON AIR BASE, SOMEWHERE NEAR LOS ANGELES. ITS NOSE IS LIFTED HIGH AND ITS ATTITUDE TYPICAL OF AN S.S.T. LANDING APPROACH. ON ITS SIDE "SHADAIR".

CUT TO:

58 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 30 SECS

START ON ALEC FREEMAN AT THE CONTROLS - AT HIS SIDE HIS CO-PILOT BILL JOHNSON AND TO THE REAR - THE NAVIGATOR DAVID WORTH AND GEOFF MANNING - ENGINEER.

FREEMAN
Stevenson Air Base - this is Seagull X-ray. Locked onto automatic landing system.

RADIO (VO American)
Stevenson Control - Roger - Landing System GO.

FREEMAN TURNS TO THE CO-PILOT.

FREEMAN
Lower heat shield.

CO-PILOT
Roger.

CO-PILOT PRESSES A SERIES OF BUTTONS IN A PARTICULAR SEQUENCE.

CO-PILOT
Must be quite a while since you landed an S.S.T.

FREEMAN
Don't panic, let's just say it's all part of the personal service.

59 EXT. STEVENSON AIR BASE - DAY (VISUAL EFFECTS) 7 SECS

SEAGULL X-RAY - NOSE HIGH IN THE AIR - SNOOT LOWERED - GRACEFULLY DROPS ONTO THE RUNWAY - AS ITS REAR WHEELS TOUCH ITS SPEED REDUCES SO THAT THE NOSE OF THE AIRCRAFT GENTLY LOWERS ONTO THE RUNWAY ... AS IT DOES SO THERE IS A MASSIVE SOUND FROM THE NOISE OF THE REVERSE THRUSTERS.

CUT TO:

60 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 13 SECS

THE CO-PILOT IS BUSY OPERATING VARIOUS CONTROLS - FREEMAN TRANSMITS.

FREEMAN
Shado Control - this is Seagull X-ray confirm arrival Stevenson Air Base 0835 - take-off scheduled 1100 hours...

CUT TO:

61 INT. SHADO CONTROL ROOM (STUDIO) 16 SECS

WE ARE CLOSE ON A RADIO OPERATOR.

OPERATOR
Roger Seagull X-ray.

CAMERA PULLS BACK TO REVEAL STRAKER. HE HAS BEEN LISTENING TO THE RADIO MESSAGES - HE WALKS ALONG THE CONTROL ROOM DEEP IN THOUGHT - THEN TURNS AND COMES BACK TO SPEAK TO THE RADIO OPERATOR.

STRAKER
Call Moon Base, will you?

OPERATOR
Yes, sir.

CUT TO:

62 EXT. HARLINGTON STRAKER STUDIO. DAY. 5 SECS

WITH THE STUDIO SIGN IN FOREGROUND WE SEE A HARVEST MOON IN A BLUE SKY.

CUT TO:

63 EXT. MOON. (VISUAL EFFECTS) 12 SECS

LINK ZOOM THEN JIB DOWN TO SHADO'S MOONBASE SET ON THE STARK LANDSCAPE OF THE LUNAR SURFACE.

AT THE CENTRE A SQUARE, FLAT ROOFED BUILDING KNOWN AS CENTRAL PARK. FROM CENTRAL PARK FIVE CONNECTING WALKWAYS LEAD OUT TO A
CIRCLE OF FIVE OUTER SPHERES. THE RECEPTION, CONTROL, DINING, SLEEP AND LEISURE SPHERES.

EACH SPHERE IS ENCLOSED IN A PROTECTIVE SKIN OF ULTRA STRONG LIGHTWEIGHT PLASTIC PANELS AND TO REDUCE THE IMPACT OF METEORITES
THESE PANELS ARE INDIVIDUALLY SPRUNG.

AIR CONDITIONING, LIGHTING, HEATING AND PURIFYING UNITS ARE HOUSED AT THE BASE OF VARIOUS SPHERES.

FROM THE HUB OF MOONBASE A CORRIDOR LEADS TO AN AIR LOCK, AND THROUGH THAT TO A PLATFORM ON THE LUNAR SURFACE. THIS IS USED FOR LANDINGS AND LIFT-OFFS, AND UNDER IT ARE THE STORAGE TANKS FOR FUEL- WATER ETC.

CUT TO:

64 INT. MOONBASE CONTROL SPHERE (STUDIO) 12 SECS

IN THE CENTRE OF THE CONTROL SPHERE IS A REVOLVING CONSOLE NORMALLY OCCUPIED BY THE MOONBASE COMMANDER. ON THE CONSOLE IS A BUILT-IN TV MONITOR.

THE DOMED CEILING HAS EIGHT PORTS AND A WINDOW IN ONE WALL SHOWS THE LUNAR SURFACE AND SPACE BEYOND. BUILT INTO ANOTHER WALL A REVOLVING MODEL OF THE MOON.

TO ONE SIDE WE SEE TWO SPACE TRACKER CONSOLES AND OPPOSITE THESE VARIOUS INSTRUMENTATION PANELS.

THERE ARE TWO CLOCKS, ONE INDICATING EARTH ELAPSE TIME (.E.E.T) AND THE OTHER COLOURED HALF LIGHT AND HALF DARK SHOWING THE 28 EARTH DAY CYCLE OF A MOON DAY AND NIGHT.

NEXT TO THE LUNAR CLOCK IS AN ILLUMINATED SPACE CHART WHICH MAY BE USED FOR PLOTTING THE MOVEMENTS OF VARIOUS SPACECRAFT AND VIEWING DIFFERENT AREAS OF SPACE.

SEATED BY THE TRACKING EQUIPMENT ARE NINA BARRY, AN ATTRACTIVE COLOURED GIRL. PAULA HARRIS.

WE START CLOSE ON NINA BARRY.

NINA
Shado Control - for you, Colonel.

SHE SWIVELS IN HER SEAT AS WE WIDEN THE ANGLE TO TAKE IN COLONEL DESICA THE MOONBASE COMMANDER AS HE WALKS TO THE CONTROL CONSOLE.

DESICA
Right...
(into mike)
Desica...

CUT TO:

65 INT. SHADO CONTROL ROOM (STUDIO) 14 SECS

STRAKER
Good morning, Franco - I think I might have some action for you. I want Moonbase on yellow alert to track Seagull X-ray. It's carrying Shado
VIP's and the Utronic equipment. We can't afford to take any chances.

CUT TO:

66 INT. CONTROL SPHERE - MOONBASE (STUDIO) 12 SECS

DESICA
Roger and out.

COLONEL DESICA TURNS TO PAULA HARRIS.

DESICA
Announce a yellow alert for 10.45.

HE WALKS TOWARDS THE DOORWAY.

CUT TO:

67 INT. CONNECTING CORRIDOR.MOONBASE (STUDIO) 12 SECS

DESICA HAS COME OUT OF THE CONTROL SPHERE AND WALKS ALONG THE CONNECTING CORRIDOR TOWARDS THE DINING AND LEISURE SPHERE. WE HEAR PAULA'S VOICE OVER MOONBASE'S SPEAKER SYSTEM:

PAULA (VO)
Moonbase will be on Yellow Alert from 10.45... repeat, 10.45.

CUT TO:

68 INT. DINING AND LEISURE SPHERE. (STUDIO) 40 SECS

IN THE CENTRE OF THE DINING AREA IS A CIRCULAR TABLE WITH SLIM METAL CHAIRS, SURROUNDING IT AUTOMATS LINE THE WALL. ASTRONAUT MARK BRADLEY, A COLOURED MAN OF AROUND THIRTY IS

SEATED, EATING FROM A PLASTIC AIR LINER TYPE TRAY.

PAULA (VO)
All space trackers to be fully operational - astronauts on standby.

ANOTHER ANGLE

THE LEISURE SECTION - COLOURFUL IN CONTRAST WITH THE BLEAK EXTERIOR OF THE MOON. BRITISH ASTRONAUTS KEN MATTHEWS AND LEW WATERMAN ARE SPRAWLED IN CHAIRS READING MAGAZINES.

ON DOORWAY

DESICA ENTERS AND NODS "HELLOS" AS PAULA CONTINUES. PAN HIM AS HE WALKS INTO THE SPHERE.

PAULA (VO)
All routine procedures suspended until further notice - repeat all routine procedure suspended until further notice.

THE ASTRONAUTS HAVE LOWERED THEIR MAGAZINES.

DESICA
I thought I'd come and tell you personally that this isn't just another exercise.

MARK
So this time's for real eh, sir?

DESICA
Could be.

MARK
Well, I think we're all ready for a little action.

DESICA
Fine ... See you later.

DESICA WALKS TO THE DOORWAY AND GOES OUT.

69 INT. CONNECTING CORRIDOR (MOONBASE) (STUDIO) 5 SECS

DESICA WALKING ALONG.

70 INT. SLEEP SPHERE. (MOONBASE) STUDIO. 75 SECS

WE ARE SHOOTING FROM THE BACK OF AN APPARENTLY GLASS DOORED CUBICLE. A BEAUTIFUL SPACE TRACKER, JOANNA, IS CHANGING TO GO ON DUTY. DESICA ENTERS

AND WALKS TO STAND IN FRONT OF THE CUBICLE.

DESICA
Joanna?

JOANNA
Be right with you, sir.

DESICA
No hurry.

IT APPEARS DESICA CAN SEE THROUGH THE GLASS THE SHAPELY JOANNA IN THE BRIEFEST OF PANTIES AND BRA AS SHE DRESSES.

DESICA
It's just that this Yellow Alert is pretty important. I want to make sure everyone understands its not a routine drill.

JOANNA
Yes, sir.

WE SEE PAULA HARRIS ENTER THE SPHERE. SHE WALKS ACROSS TO JOIN DESICA IN FRONT OF THE CUBICLE.

REVERSE ANGLE:

WE NOW SEE THE FRONT OF THE CUBICLE IS A ONE-WAY MIRROR. AS THEY TALK PAULA DEMONSTRATES THE WAY HER UNIFORM CAN BE CHANGED TO CASUAL WEAR. SHE REMOVES HER WIG AND PLACES IT ON A STAND, PULLS OFF THE SLEEVES OF THE UNIFORM, THEN THE LEGS AND TOPS OF THE BOOTS. SHE PULLS ON A SILVER WRAP AROUND MINI SKIRT AND THE CHANGE IS COMPLETE.

THE REVERSE ANGLE IS WIDER AND WE SEE SIX BEDS ENCIRCLE THE ROOM. IN THE CENTRE IS A UNIT WITH A SECTION FOR EACH OCCUPANT WHERE THEIR DISPOSABLE CLOTHES ARE STORED.

PAULA
I thought I'd come and relax for a couple of hours before the alert, sir.

SHE HAS TAKEN OFF THE WIG AND SHAKES HER HAIR FREE.

DESICA
Good idea.

A PAUSE.
PAULA
Do you really think they'll attack the SST sir?

DESICA
Well, the flight from America to Earthport's the most critical part of the journey. The transfer to Moonbase isn't so bad. But an S.S.T flying at say Mach 4 is a pretty tempting target ... If I were the opposition that's what I'd go for.

REVERSE ANGLE

JOANNA IS NOW DRESSED IN HER UNIFORM. SHE PUSHES OPEN THE GLASS DOOR WHICH PIVOTS IN THE MIDDLE UNTIL IT IS AT RIGHT ANGLES TO CAMERA.

RESUME SCENE

JOANNA COMES OUT OF THE CUBICLE CLOSING THE GLASS DOOR WHICH NOW APPEARS AS A CLEAR GLASS TO SHOW THE CUBICLE IS UNOCCUPIED.

BOTH PAULA AND JOANNA LOOK PRETTY GLUM.

DESICA
Don't worry. Every section of Shado will be covering that plane.

CUT TO:

71 INT. SHADO CONTROL ROOM. (STUDIO) 7 SECS

STRAKER
(to Operator)
Put Sky-Diver in the picture.

OPERATOR
Yes, sir.

STRAKER WALKS TOWARDS HIS OFFICE.

CUT TO:

72 UNDERWATER L.S. SKY-DIVER (VISUAL EFFECTS) 8 SECS

SKY DIVER IS A SUBMARINE OF FUTURISTIC DESIGN. THE FRONT SECTION IS AN AIRCRAFT AND LATER IN THE STORY WE WILL DEMONSTRATE ITS ABILITY TO FLY IN EARTH'S ATMOSPHERE.

AS IT PASSES THROUGH SHOT WE SEE THE NAME 'SKYDIVER I'. SKY ON THE AIRCRAFT SECTION, DIVER ON THE HULL. WHEN SEPARATED THEY BECOME SKY I AND DIVER I.

CUT TO:

73 SKY-DIVER. CAPTAIN'S CABIN. (STUDIO) 110 SECS

WE ARE CLOSE ON CAPTAIN JOHN KARLIN - A GOOD-LOOKING PUERTO RICAN OF ABOUT THIRTY - HE LIES ON HIS BUNK - SMOKES A CIGARETTE AND STARES UP THROUGH THE SMOKE THOUGHTFULLY.

ANOTHER ANGLE:

A PIN-UP PHOTOGRAPH OF MODEL GIRL ON THE WALL - IT IS IN FACT KARLIN'S SISTER. CAMERA PULLS BACK TO TAKE IN THE WHOLE OF THE CABIN. IT IS CRAMPED, WITH TWO BUNKS, WE NOW SEE LIEUTENANT GORDON MAXWELL WHO IS LYING ON THE OTHER BUNK, WATCHING KARLIN.

MAXWELL
Don't let it bug you, John.

KARLIN LIGHTS ANOTHER CIGARETTE.

KARLIN
She is my sister.

MAXWELL
It's been nearly two years now.

KARLIN
19 months and four days.

A FEW MOMENTS SILENCE.

MAXWELL
Looks like she was a nice girl.

KARLIN
...She was a nice girl. You know. sometimes I ... feel she's still alive... I wish I knew ... Maybe it's the uncertainty that bugs me.

MAXWELL
You never did tell me what happened.

KARLIN (SLOW)
Well, I was still in the navy then. I was driving home on leave... when I got about a mile from the house.. I saw this sort of glow and there was a
noise... strange, intense...

MAXWELL
A U.F.O?

KARLIN SHRUGS.

KARLIN
The next thing I remember was waking up in hospital. They said I'd crashed.
(a beat)
Straker led the investigation. It proved my sister was in the house but nothing else. She'd vanished without a trace.

MAXWELL
Is that what made you join Shado?

KARLIN
It's one of the reasons.

MASTERS (VO)
Message from Shado Control, sir - Yellow Alert 10:45.

KARLIN SWINGS ROUND ON HIS BUNK - HE LEANS FORWARD EAGERLY TO AN INTERCOM.

KARLIN
Thanks.
(to Maxwell)
Let's go.

CUT TO:

74 INT. CONTROL SPHERE MOONBASE (STUDIO) 16 SECS

START CLOSE ON THE EARTH ELAPSE TIME CLOCK: IT SHOWS 10.40. PULL BACK TO FEATURE COLONEL DESICA AT HIS CONSOLE DESK. HE SPEAKS INTO A MIKE:

DESICA
This is Moonbase calling Sid.

SID IS A COMPUTER, HOUSED IN A SATELLITE ORBITING THE EARTH ON THE OPPOSITE SIDE TO THE MOON BUT FOLLOWING THE LUNAR ORBIT.

THE COMPUTER VOICE IS SMOOTH, SOPHISTICATED - A "MEX OXLEY" TYPE, NOT DEVOID OF CHARACTER AND WARMTH, BUT ANY SUGGESTION OF HUMOUR WOULD BE OF A HIGHLY INTELLECTUAL CHARACTER.

SID (VO)
This is Space Intruder Detector, pass your message.

CUT TO:

75 EXT. L.S. SID - SPACE SKY (VISUAL EFFECTS) 6 SECS

AS ITS NAME SUGGESTS SID'S MAIN FUNCTION IS TO DETECT AND REPORT U.F.O. SIGHTINGS. IT WORKS IN CONJUNCTION WITH THE MOONBASE TRACKERS TO COVER SPACE, LEAVING SHADO CONTROL ON EARTH TO COVER EARTH'S ATMOSPHERE.

SID'S OTHER FUNCTION IS AS A COMMUNICATION SATELLITE LINK IN SHADO'S OVERALL SYSTEM.

IT IS A SOPHISTICATED COMPACT PIECE OF SPACE HARDWARE, WITH AIRLOCKS FOR DOCKING AND ENTRY.

ITS MANY SCANNERS AND AERIALS INCLUDE THOSE FOR U.F.O. DETECTION, TRANSMITTING AND RECEIVING INFORMATION FROM EARTH, AND MAINTAINING A RADIO LINK BETWEEN MOONBASE AND SHADO CONTROL.

SOLAR PANELS USE THE SUN'S RAYS TO PRODUCE ELECTRICAL ENERGY TO POWER THE SATELLITE.

CUT TO:

76 INT. SID (STUDIO) 33 SECS

AN AREA LARGE ENOUGH FOR A MAN TO MOVE ABOUT IN - ITS WALLS ARE LINED WITH ELECTRONIC COMPUTERS - THROUGH A SCOPE-SHAPED PORTHOLE THE MOVEMENT OF THE STARS MAINTAINS A FEELING OF ROTATION - THE COMPUTERS ARE STATIONARY - THE ROOM IS SILENT.

DESICA (radio VO)
Stand by to receive code...

SID
Standing by...

WE NOW HEAR A SERIES OF ELECTRONIC TONES TRANSMITTED FROM THE MOONBASE.

SID
Thank you - your code is correct. May I have your instructions?

DESICA (radio VO)
Maintain Alert 10.45. Maintain full scanning until further notice.

SID
Understood.

WE NOW TRACK AROUND THE INTERIOR OF SID AND HEAR DOZENS OF SWITCHES AND RELAYS BEGIN TO OPERATE - COMPUTER TAPES BEGIN TO SPIN - LIGHTS BEGIN TO WINK.

CUT TO:

77 EXT. SID - SPACE SKY (VISUAL EFFECTS) 5 SECS

C.S. SID - ANTENNAE ON VARIOUS PARTS OF THE SATELLITE BEGIN TO ROTATE.

CUT TO:

78 EXT. STEVENSON AIR BASE - DAY (VISUAL EFFECTS) 6 SECS

SEAGULL X-RAY STANDS ON THE END OF THE RUNWAY - WE HEAR ITS ENGINES RUN UP TO FULL POWER - ITS SNOOT IS IN THE DROPPED POSITION READY FOR TAKEOFF.

CUT TO:

79 INT. SEAGULL X-KAY FLIGHT DECK. (STUDIO) 8 SECS

FREEMAN AND THE CO-PILOT IN THEIR SEATS.
FREEMAN
Brakes off.

THE CO-PILOT RELEASES THE BRAKES.

MOVING SHADOWS CROSS THEIR FACES INDICATING THAT THE AIRCRAFT HAS STARTED FORWARD.

CUT TO:

80 EXT. RUNWAY - STEVENSON AIR BASE - DAY (VISUAL EFFECTS) 7 SECS

WE TRACK WITH THE AIRCRAFT AS IT GAINS SPEED DOWN THE RUNWAY.

CUT TO:

81 INT. SEAGULL X-RAY FLIGHT DECK (STUDIO) 12 SECS

THE CO-PILOT IS READING OUT SPEEDS AS HE CHECKS THE AIR SPEED INDICATOR.

JOHNSON
80 ... 100 ... 120 ... 130 ... Rotate ...

CABIN TIPS UP AS WE:

CUT TO:

82 EXT. RUNWAY - STEVENSON AIR BASE - DAY 6 SECS (VISUAL EFFECTS)

THE GIANT JET SEEMS TO STAND UP ON ITS REAR WHEELS AND THEN CLIMBS STEEPLY OUT OF THE PICTURE.

CUT TO:


83 EXT. SKY. DAY. (VISUAL EFFECTS) 4 SECS

THE S.S.T. IN A STEEPLY ANGLED CLIMB.

CUT TO:

84 EXT. SID - SPACE SKY (VISUAL EFFECTS) 6 SECS

TO ESTABLISH.

CUT TO:

85 INT. SID (STUDIO) 9 SECS

THE COMPUTERS ARE CHATTERING - WE HEAR SID'S VOICE:

SID
SID to Moonbase. I have Seagull X-ray onscanners ... it is on course.

CUT TO:

86 INT. CONTROL SPHERE - MOONBASE (STUDIO) 19 SECS

COLONEL DESICA AT HIS CONSOLE. THE SPACE TRACKERS IN THEIR POSITIONS.

SID (VO)
Air Speed 1500 knots ....

ONE OF THE SPACE TRACKERS, PAULA HARRIS, BACK IN UNIFORM - LEANS FORWARD TO LOOK AT HER SCREEN.

PAULA
I have it too, sir - on course air speed 1500 knots.

DESICA
Sid beat you to it again, Paula.

PAULA
(she shrugs)
Well, I'm only human.

THEY SMILE.

CUT TO:

87 UNDERWATER L.S. SKY-DIVER (VISUAL EFFECTS) 7 SECS

GLIDES UP AND PAST CAMERA.

CUT TO:

88 INT. SKY-DIVER CONTROL CENTRE (STUDIO) 16 SECS

CAPTAIN KARLIN IS NOW STANDING FULLY DRESSED IN HIS UNIFORM - CHECKING A CHART. LIEUTENANT

MAXWELL AT HIS SIDE.

KARLIN
(not loud)
Steer 042.

MAXWELL
(relaying order)
Steer 042.

KARLIN
OK, we're in position - Maintain present speed.

CUT TO:

89 AIR-TO-AIR SHOT - SEAGULL X-RAY - DAY (VISUAL EFFECTS) 5 SECS

IT IS FLYING IN A DEEP-BLUE CLOUDLESS SKY. IN THE UPPER STRATOSPHERE.

CUT TO:

90 INT. SEAGULL X-RAY FLIGHT DECK. DAY (STUDIO) 14 SECS

FREEMAN REMOVES HIS HEAD-SET AND TURNS TO HIS CO-PILOT - BILL JOHNSON.

FREEMAN
Take over, Bill. I'm going back to do my stuff with the passengers.

HE GETS UP NONCHALANTLY - AND WALKS BACK THROUGH THE COCKPIT TO THE PASSENGER SECTION.

CUT TO:

91 INT. V.I.P LOUNGE - SEAGULL X-RAY - DAY (STUDIO) 115 SECS

PLUSH - TASTEFULLY FURNISHED. FREEMAN MAKES HIS WAY TOWARDS KURT MAHLER. A SWISS GERMAN MEMBER OF THE UTRONIC DEVELOPMENT - HE IS SEATED IN AN ARMCHAIR.

FREEMAN
Good morning Herr Mahler. I'm Alec Freeman. Welcome aboard!

KURT MAHLER STANDS UP AND SHAKES HIM BY THE HAND.

MAHLER
Thank you, Colonel.

FREEMAN
I'd like to congratulate you and your team. Looks like the break-through we have been waiting for.

MAHLER
Not my team, Colonel - may I introduce our chief designer - Virginia Lake.

A MAGAZINE IS LOWERED, WHICH HAD PREVIOUSLY HIDDEN THE FACE OF ITS READER. TO REVEAL VIRGINIA LAKE - A BEAUTIFUL GIRL IN HER LATE TWENTIES. SHE SMILES WARMLY AT COLONEL FREEMAN.

VIRGINIA
How do you do, Colonel?

COLONEL FREEMAN LOOKS IN SURPRISE AND PLEASURE AT MISS LAKE.

FREEMAN
Well - for the first time in my career I wish I was flying subsonic aircraft!

VIRGINIA
Why's that, Colonel?

FREEMAN
The trip would take so much longer!

SHE RESPONDS - AMUSED, - MEANWHILE THE OTHER PASSENGER LEANS FORWARD - PHIL WADE.

WADE
Just in case anyone's interested - I'm Phil Wade...

FREEMAN
Oh. How are you?

THEY SHAKE HANDS. WADE SEES FREEMAN ONLY HAS EYES FOR VIRGINIA LAKE AND SMILES KNOWINGLY AS FREEMAN SITS DOWN BESIDE HER.

ANOTHER ANGLE:

FEATURING FREEMAN AND MISS LAKE.

FREEMAN
Well, I'd say you were the answer to our prayers.

MISS LAKE IS USED TO HAVING "PASSES" MADE AT HER.

SHE SUSPECTS FREEMAN IS ABOUT TO FOLLOW SUIT; SHE HINTS AT A SMILE CONFIDENT SHE CAN HANDLE THE SITUATION AND ON THAT BASIS PREPARED TO ENJOY IT.

VIRGINIA
Would you like to see the Utronic equipment?

FREEMAN MOVES A SHADE CLOSER.

FREEMAN
No thanks. I'm familiar with it.

THEY BOTH NOW ADOPT A FLIRTATIOUS MANNER.

VIRGINIA
...Really.

FREEMAN
Yes, for instance - I know that a Utronic beam travels instantaneously.

HE SAYS THE WORD BUT SAYS MUCH MORE WITH HIS EYES.

VIRGINIA
Almost instantaneously.

FREEMAN
Yes ... well it means we will be able to detect U.F.O's even when they are flying many times the speed of light in deep space.

VIRGINIA
Go on...

FREEMAN
That will give our interceptors on Moonbase a good chance to destroy them before they reach the earth.

VIRGINIA
Very good.

FREEMAN
I could tell you even more over dinner.

HE TAKES HER HAND.

VIRGINIA
(amused)
Hadn't you better get back to your little seat up front.

FREEMAN
Hmmn... I guess so.

HE PATS HER HAND, SMILES AND STANDS TO GO FORWARD.

VIRGINIA
Colonel Freeman.

FREEMAN
Yes?

VIRGINIA
You were right ... you are familiar ... with the equipment.

CUT TO:

92 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 10 SECS

BILL JOHNSON GLANCES BACK TOWARDS THE CABIN DOORWAY AS FREEMAN ENTERS AND SETTLES BACK INTO THE PILOT'S SEAT.

FREEMAN
Everything OK?

JOHNSON
Yes, sir. So far no sign of any activity.

FREEMAN
Good.

CUT TO:

93 INT. SHADO CONTROL ROOM (STUDIO) 19 SECS

A SENSE OF WAITING. STRAKER STANDS WATCHING A DOT OF LIGHT DENOTING SEAGULL X-RAY'S POSITION ON A WALL SCREEN. HE IS TENSE, WORRIED, FEELING THE WEIGHT OF RESPONSIBILITY.

HE TURNS TO AN OPERATOR AS HE OFFERS A CUP OF COFFEE. HE TAKES A COUPLE OF QUICK GULPS AND PUTS DOWN THE CUP.

STRAKER
I'll be in my office.

OPERATOR
Yes, sir.

STRAKER WALKS TOWARDS THE DOUBLE STEEL DOORS IN THE CONTROL ROOM. THEY OPEN - HE WALKS THROUGH INTO HIS OFFICE. THE DOORS CLOSE BEHIND HIM.

CUT TO:

94 UNDERWATER L.S. SKYDIVER (VISUAL EFFECTS) 6 SECS

IT GLIDES UP AND PAST PATROLLING UNDER THE LANE.

CUT TO:

95 INT. MOONBASE CONTROL SPHERE (STUDIO) 40 SECS


THE MOOD OF WATCHFUL IF RELAXED WAITING IS MAINTAINED. DESICA SITS ON THE SIDE OF HIS DESK.

PAN AROUND AS SID, IN A SLOW HALTING VOICE SINGS A VERSE FROM AN OLD ITALIAN SONG.

SID
O Solo Mio... etc...

DESICA
How about that.

PAULA
Not bad, considering you've only spent about 50 hours programming it.

DESICA
Well, it's a beginning. Give me another couple of months and I'll have Sid in the top ten.

PAULA
I can hardly wait.

PAULA'S SMILE IS CUT SHORT AS SID COMES OVER.

SID (VO)
Red Alert. I have U.F.O. 428-146 Green.

DESICA DIVES ROUND BEHIND HER DESK - TRACK IN FAST ON PAULA INTENT ON HER SONSOLE.

PAULA
Got it, sir. 428-146 Green.

"APE ALARMS START UP.

CUT TO:

96 INT. DINING LEISURE SPHERE - MOONBASE (STUDIO) 16SECS

THE THREE ASTRONAUTS DRESSED IN THEIR RED LIGHTWEIGHT SPACE SUITS LOOK TO THE FLASHING RED WALL LIGHT.
THEY LEAP TO THEIR FEET ZIPPING UP THEIR SPACE SUITS, GRAB THEIR HELMETS AND HEAD FOR AN OPENING IN THE WALL.

MARK PULLS HIMSELF UP BY TWO HANDLES, FEET FIRST INTO THE OPENING AND SLIDES OUT OF SHOT. THE OTHER TWO WAIT TO FOLLOW.

CUT TO:

97 INT. CONTROL SPHERE MOONBASE (STUDIO) 43 SECS

DESICA
This is Moon Base to all SHADO Stations - U. Foe sighted 428-146 Green - will report ...

OPERATOR (VO)
Shado control standing by.

HE WHIPS HIS HEAD AROUND TO THE TRACKERS.

DESICA
...speed?

PAULA
SOL 8.

DESICA
Double check.

THE TRACKER TURNS BACK TO HER SCREEN.

PAULA
Confirm SOL 8.

DESICA
Trajectory termination?

PAULA
Coming up...

SHE PUSHES BUTTON AND AN ILLUMINATED SPACE MAP LIGHTS UP - A CURVED LINE INDICATES THE U-FOE'S POTENTIAL PATH - IT PASSES THE MOON AND ENDS IN THE NORTH ATLANTIC.

DESICA
(glances down from map and speaks into mike)
SHADO Control from Moonbase - predicted trajectory termination North Atlantic - speed SOL 8 - going for intercept - out.

DESICA TURNS FROM THE DESK MIKE AND BARKS OUT INSTRUCTIONS INTO AN INTERNAL INTERCOM.

DESICA
Interceptors - immediate launch.

CUT TO:

98 INT. INTERCEPTORS LAUNCH BAY - MOONBASE (VISUAL EFFECTS) 8 SECS

BELOW A MOON CRATER THE THREE INTERCEPTORS STAND ON THEIR RAMPS POINTING OUTWARDS - THEY ARE SMALL SPACE VEHICLES CARRYING ONLY ONE ASTRONAUT EACH AND ONE GUIDED MISSILE WITH ATOMIC WARHEAD.

THE MOTORS IGNITE.

CUT TO:

99 EXT. MOON CRATER. (VISUAL EFFECTS) 7 SECS


THE THREE INTERCEPTORS LEAVE THE CRATER AND START UP INTO THE DARKNESS OF SPACE.

CUT TO:

100 INT. MOONBASE CONTROL (STUDIO) 38 SECS

URGENT, WATCHFUL EYES TRACK THE U.F.O. AND THE THREE INTERCEPTORS. BECAUSE THE PRESENT EQUIPMENT GIVES THE PERSONNEL SO LITTLE WARNING THINGS HAPPEN FAST. AT A SPEED OF 8 TIMES THE SPEED OF LIGHT THE U.F.O. CAN TRAVEL 45,000,000 MILES IN HALF A MINUTE ... OR ONE AND A HALF MILLION MILES A SECOND.

SID (VO SEQUENCE)
Speed one and a half million miles a second ... Range 75 million miles.
(3 second beat)
70 million miles
(3 second beat)
65 million miles etc.,

THE FOLLOWING DIALOGUE SNAPS BACK AND FORTH:

PAULA
Maintaining SOL 8. Red 129-046.

DESICA
Right ... Trajectory?

PAULA
Still as predicted.

JOAN HARRINGTON
I have green on 1, 2 and 3.

DESICA LEANS TO HIS DESK MIKE.

DESICA
Moonbase to Interceptors.

CUT TO:

101 EXT. SPACE (VISUAL EFFECTS) 5 SECS

THE THREE INTERCEPTORS FLY IN AN INVERTED V FORMATION.

CUT TO:

102 INT. INTERCEPTORS (STUDIO) 35 SECS

MARK BRADLEY, A COLOURED ASTRONAUT, AT THE SOPHISTICATED CONTROLS.

DESICA (VO)
Stand by to set missile control computer.

MARK
Right.

DESICA (VO)
Computer read in ... one zero one ... two six four ... one one zero ... missile timing 2496.

AS HE HEARS THE INSTRUCTIONS MARK FLICKS SWITCHES, TURNS DIALS, LIGHTS FLASH, OTHERS CHANGE FROM RED TO GREEN.

MARK
Missile programme complete ... acknowledge one and two ...

MATTHEWS (VO)
Roger one.

WATERMAN (VO)
Roger two.

MARK
Missile firing 20 decimal four seconds on third pip.

WE HEAR THREE ELECTRONIC PIPS.

CUT TO:

103 EXT. SPACE (VISUAL EFFECTS) 5 SECS

THE THREE INTERCEPTORS GLIDE THROUGH SPACE STILL IN FORMATION.

CUT TO:

104 INT. MOONBASE CONTROL (STUDIO) 20 SECS

THE COMPUTERS HAVE TAKEN OVER: THE MOONBASE PERSONNEL CAN ONLY WAIT, AND WATCH. SID'S VOICE CONTINUES ITS COUNTDOWN BUT THE U.F.O. IS SLOWING, THE GAPS ARE LONGER.

SID (VO)
Range 8 million miles closing
(6 second gap)
7 million miles

MARK (VO)
Missile launch five decimal four seconds on third pip.

AGAIN WE HEAR THE THREE ELECTRONIC PIPS.

IN CLOSE SHOT WE SEE DESICA'S FACE TIGHTEN. THE MOMENT OF TRUTH.

CUT TO:

105 EXT. INTERCEPTORS (VISUAL EFFECTS) 10 SECS

SIMULTANEOUSLY A MISSILE LEAVES EACH INTERCEPTOR AND STREAKS OUT OF SHOT.

THE INTERCEPTORS BREAK FORMATION.

CUT TO:

106 EXT. SPACE (VISUAL EFFECTS) 5 SECS

THE MISSILES DETONATE.

CUT TO:

107 INT. MOONBASE CONTROL (STUDIO) 20 SECS

ANOTHER AGONISING 5 SECONDS. DESICA STANDS HEAD BOWED, WAITING. PAULA SITS EYES GLUED TO THE TRACKER SCREEN. JOAN SNATCHES A GLANCE AT DESICA.

SID (VO)
Detonation confirmed.

DESICA LIFTS HIS HEAD TO PAULA, QUESTIONING: THE MISSILES HAVE EXPLODED. HAVE THEY STOPPED THE U.F.O.? THE SPACE TRACKER LEANS A LITTLE TO A SCREEN, SEARCHING, INTENT:

PAULA
(flat)
Negative... I still have a contact; it's through.

DESICA
Blast ....

CUT TO:

108 INT. SHADO CONTROL (STUDIO) 10 SECS

START CLOSE ON STRAKER WHO HAS HEARD THE NEWS.

STRAKER
(under his breath)
Hell and damnation ....

PULL BACK TO SHOW THE OPERATIVES TURNED TOWARDS STRAKER, WAITING FOR THE COMMAND.

STRAKER
Well, don't just sit there ... Warn Skydiver, and get me Alec Freeman.

CUT TO:

109 EXT. SKY. DAY (VISUAL EFFECTS) 6 SECS

SEAGULL X-RAY IN LEVEL FLIGHT STILL HIGH IN THE STRATOSPHERE.

CUT TO:

110 INT. SEAGULL X-RAY V.I.P. LOUNGE - DAY (STUDIO) 44 SECS

THE THREE PASSENGERS ARE RELAXING - FREEMAN ENTERS AND SITS DOWN. HE ADDRESSES THEM ALL, BUT MAINLY VIRGINIA LAKE.

FREEMAN
Gentlemen ... Miss Lake ... Shado control has just informed me a U.F.O. is approaching the North Atlantic. I'm afraid we must assume this aircraft is its target.

THE GROUP EXCHANGE GLANCES. ALL REALISE WHAT THE NEWS MEANS.

FREEMAN (cont'd)
We're going to reduce height this will give us the advantage of cloud cover. It will mean we'll have to reduce speed, but in dense atmosphere so will the U.F.O.

WADE
Presumably that increases Shado's chances of intercepting it?

FREEMAN
Yes it does.
(a beat)
I'd fasten your seat belts if I were you.

FREEMAN GETS UP THEN LEANS CLOSE TO VIRGINIA RESTING A HAND ON HER SHOULDER.

FREEMAN
Don't worry, it'll be O. K. Anyway we've got a dinner date. I wouldn't let anything interfere with that.

HE SMILES REASSURINGLY, VIRGINIA SMILES BACK.

VIRGINIA
Thank you...

CUT TO:

111 INT. SHADO CONTROL ROOM (STUDIO) 14 SECS

STRAKER AT HIS DESK CONSOLE. THE ATMOSPHERE IS TENSE.

SID (VO)
UFO reducing speed below SOL.

IT HAS DROPPED TO JUST BELOW HALF THE SPEED OF LIGHT.

OPERATOR
(into mike)
Intruder entering visual speed range. Radar and visual alert.

CUT TO:

112 EXT. SPACE (VISUAL EFFECTS) 6 SECS

ON THE EDGE OF SPACE AND EARTH'S ATMOSPHERE. THE MUSIC BUILDS THEN IN A DRAMATIC SHOT THE U.F.O. APPEARS.

A STRANGE PHENOMENA: AS IT SLOWS BELOW SOL TO BECOME VISIBLE BUT BLURRED AND UNCLEAR.

THE INTRUDER MUST SLOW MUCH MORE BEFORE IT CAN ENTER EARTH'S ATMOSPHERE.

CUT TO:

113 INT. SHADO CONTROL (STUDIO) 33 SECS

STRAKER STILL AT HIS DESK. AN OPERATOR TURNS TO HIM.

OPERATOR
U.F.O. on radar track. Speed mach 5.

STRAKER
Thank God for the atmosphere. It's the best protection we've got.

OPERATOR
Have positive radar fix.

STRAKER
Well, it's up to Skydiver now.

STRAKER GETS UP FROM HIS DESK CONSOLE AND WALKS TO THE ILLUMINATED SPACE CHART.

WE TRACK IN ON HIM AS HE STANDS LOOKING AT THE CHART. TWO LIGHTS MARK SEAGULL X-RAY AND SKYDIVER IN MID-ATLANTIC.

THE STRAIN SHOWS ON STRAKER'S FACE. TEN YEARS OF WORK AND DEDICATION.

IN THIS MOMENT WE HUMANISE HIM. HE IS NOT A MACHINE.

TRACK IN TOWARDS SKYDIVER ON THE CHART.

CUT TO:

114 EXT. UNDERWATER (VISUAL EFFECTS) 5 SECS

SKYDIVER GLIDES PAST.

CUT TO:

115 INT. SKYDIVER CONTROL (STUDIO) 42 SECS

WE MAINTAIN AN ATMOSPHERE OF URGENCY.

KARLIN STANDS WITH LIEUTENANT MAXWELL AT HIS SIDE. THE OTHER THREE MEMBERS OF THE CREW ARE MASTERS, SYLVIA HOWELL AND REAGAN.

KARLIN
(not loud)
Launch stations.

MAXWELL
(relaying order)
Launch stations.

THE CREW BEGIN TO WORK FEVERISHLY AT CONTROLS.

THE SUBMARINE SPRINGS TO LIFE. WE HEAR BALLAST TANKS BEING BLOWN. SWITCHES AND RELAYS CLICKING - IT IS CLEAR THAT THE CREW ARE GOING THROUGH THEIR PRE TAKE-OFF DRILL.

MASTERS
Clear One ... clear two.

HOWELL
One and two clear, Lieutenant.

MAXWELL
Ready for take-off sir !

KARLIN
Lift-off stations !

MAXWELL
(relaying order)
Lift-off stations.

KARLIN MOVES TOWARDS THE FRONT OF THE SHIP - LOOKS BACK AND WAVES.

MAXWELL
Good luck, Skipper.

CUT TO:

ANOTHER ANGLE:

KARLIN COMES TO A BULKHEAD WITH AN OPENING ABOUT 2FT ACROSS. HE PULLS HIMSELF UP WITH THE AID OF METAL LOOPS AND SLIDES FEET FIRST INTO THE OPENING.

CUT TO:

116 EXT. SKYDIVER (UNDERWATER) (VISUAL EFFECTS) 7 SECS

PAN ALONG SKYDIVER TO THE FRONT SECTION AND SEE KARLIN COME UP IN HIS SEAT INTO THE COCKPIT OF THE SKY 1 AIRCRAFT.

CUT TO:

117 INT. SKY 1 COCKPIT (STUDIO) (UNDERWATER) 6 SECS

KARLIN NOW WEARS A FLYING HELMET. HE PULLS THE VISOR DOWN AND THE COCKPIT BEGINS TO ANGLE.

CUT TO:

118 EXT. SKYDIVER (UNDERWATER) (VISUAL EFFECTS) 5 SECS

THE SUBMARINE ANGLES UP TO POINT TOWARDS THE SURFACE.

CUT TO:

119 INT. SKY 1 COCKPIT (STUDIO) (UNDERWATER) 5 SECS

CLOSE ON KARLIN.

KARLIN
(into mike)
Right - stand by for lift-off.

HE PULLS A CONTROL LEVER AND WE:

CUT TO:

120 UNDERWATER L.S. SKYDIVER (VISUAL EFFECTS) 6 SECS

THE FRONT OF SKYDIVER TAKES OFF LIKE A POLARIS MISSILE.


CUT TO:

121 EXT. OPEN SEA - DAY (VISUAL EFFECTS) 8 SECS

WE HOLD ON THE SHOT FOR A FEW MOMENTS AND THEN SKY 1 BURSTS FROM THE SURFACE AND CLIMBS AT A STEEP ANGLE.

CUT TO:

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

KARLIN
Shado Control from Sky one airborne ... position zero two zero... red...

OPERATOR (VO)
Roger. Sky 1...

CUT TO:

123 AIR-TO-AIR SHOT - SKY 2 - DAY (VISUAL EFFECTS) 5 SECS

CLIMBING FAST.

CUT TO:

124 EXT. SKY. DAY. (VISUAL EFFECTS) 5 SECS

SEAGULL X-RAY NOW FLYING AT 5,000 FEET, LITTLE CLOUD CAN BE SEEN.

CUT TO:

125 INT. SEAGULL X-RAY COCKPIT (STUDIO) 27 SECS

FREEMAN AND JOHNSON, TENSE, SEARCHING THE SKIES. JOHNSON GLANCES AT THE AIR SPEED INDICATOR.

JOHNSON
Air speed down to 600 knots.

FREEMAN
(very Australian)
I don't like it. These clouds give about as much cover as the G-string on a bloody belly dancer.

JOHNSON LOOKS AT HIM.

FREEMAN
It's my natural Aussie charm coming through. It always does when I sweat.

KARLIN (VO)
Sky one to Seagull X-Ray ... over.

FREEMAN
John, am I glad to hear you. What's your position?

CUT TO:

126 INT. SKY 1-DAY(STUDIO) 5 SECS

KARLIN AT THE CONTROLS.

KARLIN
Right above you - levelled off at 20,000.

CUT TO:

127 EXT. SKY. DAY (VISUAL EFFECTS) 7 SECS

THE MUSIC BUILDS AS WE SEE THE BEAUTIFUL LINES OF SKYDIVER LEVELLED OFF AGAINST THE CLOUDLESS SKY - FLYING RIGHT TO LEFT.

CUT TO:

128 EXT. SKY. DAY. (VISUAL EFFECTS) 5 SECS

THE U.F.O., METAL GLEAMING IN THE SUN, FLYING LEFT TO RIGHT. WE STILL DO NOT SEE IT CLEARLY.

CUT TO:

129 INT. SKY 1-COCKPIT DAY. (STUDIO) 9 SECS

KARLIN IS WATCHING A SMALL RADAR SCOPE - A PULSATING BLIP IS PRESENT ON THE SCREEN.

KARLIN
Sky one to Seagull X-Ray ... have U-Foe on screen - closing rapidly.

CUT TO:

130 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 6 SECS

FREEMAN
Roger.

HE TURNS TO JOHNSON WHO IS FLYING THE PLANE.

FREEMAN
Ten degrees port.

CUT TO:

131 DISTANT CLOUDS - DAY (VISUAL EFFECTS) 7 SECS

KARLIN'S EYELINE THROUGH CABIN WINDOW.

SEAGULL X-RAY BANKS TO PORT AND IS NOW FLYING STRAIGHT TOWARDS BROKEN CLOUD.

CUT TO:

132 AIR-TO-AIR SHOT - SKY 1 - DAY (VISUAL EFFECTS) 4 SECS

IT FLIES IN A CLOUDLESS SKY.

CUT TO:

133 INT. SKY 1 - COCKPIT. DAY (STUDIO) 8 SECS

KARLIN IS LOOKING AROUND - SCANNING THE HORIZON. HE TURNS HIS HEAD TO THE RIGHT, SCREWING UP HIS EYES AS HE STARES STRAIGHT INTO THE SUN.

CUT TO:
134 L.S. THE SUN - DAY (VISUAL EFFECTS) 9 SECS

KARLIN'S EYE LINE.

WE HOLD ON THE SHOT FOR A MOMENT AND THEN OUT OF THE SUN FLIES THE U.F.O. IT IS SAUCER-SHAPED WITH TWO CONTRA-ROTATING BANDS IN ITS CENTRE WHICH HAVE A NUMBER OF STUB WINGS - FROM THESE IT DERIVES ITS LIFT. THE SAUCER FLIES STRAIGHT INTO CAMERA AND AS IT ARRIVES IN C.U. THERE IS A BURST OF FIRE AND THE DEVASTATING LIGHT BEAMS WE HAVE SEEN PREVIOUSLY THEN THUNDER-LIKE CLAP ON SOUND-TRACK -- THE SAUCER SWOOPS UP OVER TOP OF CAMERA.

CUT TO:

135 INT. SKY 1 - COCKPIT. DAY (STUDIO) 6 SECS

KARLIN JAMS HIS STICK OVER TO THE LEFT -THE COCKPIT SWINGS OVER TO ONE SIDE.

CUT TO:

136 AIR-TO-AIR SHOT. SKY 1 - DAY (VISUAL EFFECTS) 5 SECS

IT BANKS STEEPLY.

CUT TO:

137 INT. SKY 1 - COCKPIT. DAY (STUDIO 8 SECS

KARLIN STRAIGHTENS UP HIS AIRCRAFT AND THEN BANKS A LITTLE SO AS TO GIVE HIM A GOOD VIEW OF THE SEA.

CUT TO:

138 HIGH ANGLE. SEA - SEAGULL X-RAY AND SAUCER. DAY. (VISUAL EFFECTS) 6 SECS

KARLIN'S EYELINE

THE SAUCER DESCENDS TOWARDS SEAGULL X-RAY.

CUT TO:

139 INT. SKY 1-COCKPIT. DAY (STUDIO) 10 SECS

KARLIN PUTS THE AIRCRAFT'S NOSE DOWN - WE HEAR HIS ENGINES RISE IN PITCH.

KARLIN
(urgent -- into mike)
Evasive action - U-Foe at 12 o'clock coming in to attack.

CUT TO:

140 INT. SEAGULL X-RAY FLIGHT DECK. DAY. STUDIO 5 SECS

FREEMAN PULLS THE STICK TO ONE SIDE.

CUT TO:

141 AIR-TO-AIR SHOT - SEAGULL X-RAY. DAY (VISUAL EFFECTS) 8 SECS

IT BANKS AND FLIES INTO CLOUD LAYER.

CUT TO:

142 AIR-TO-AIR SHOT. SKY 1 - DAY. (VISUAL EFFECTS) 6 SECS

ITS MISSILES ARE FIRED.

CUT TO:

143 HIGH ANGLE - SAUCER OVER SEA. DAY. (VISUAL EFFECTS) 8 SECS

THERE IS AN EXPLOSION ALONGSIDE THE SAUCER - WHICH IMMEDIATELY CHANGES DIRECTION. IT FLIES OUT OF FRAME.

CUT TO:

144 INT. SKY 1 -COCKPIT DAY (STUDIO) 8 SECS

KARLIN
U-Foe entered cloud layer - keep a sharp lookout.

HE PULLS BACK ON STICK AND THE AIRCRAFT LEVELS OUT.

CUT TO:

145 INT. SEAGULL X-RAY FLIGHT DECK DAY (STUDIO) 6 SECS

FREEMAN
Roger.

HE TURNS TO COlPILOT, GRIM-FACED. BOTH START TO SCAN THE SKY.

CUT TO:

146 PASSING CLOUDS - CLOUDS - DAY (VISUAL EFFECTS) 20 SECS

FREEMAN'S AND JOHNSON'S EYELINES

LIBRARY: WE INTERCUT FACES WITH EYELINES AND THEN ONE OF THE EYELINES THE SAUCER SUDDENLY APPEARS AS IT FLIES OUT OF CLOUD. FLASHES OF LIGHT AS IT FIRES.

CUT TO:

147 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 9 SECS

TREMENDOUS REPERCUSSION IN THE COCKPIT AND VIOLENT MOVES OF THE PILOTS TO HOLD THE AIRCRAFT STEADY.

FREEMAN
(yelling)
Hold her, hold her steady !

CUT TO:

148 INT. SKY-1 - COCKPIT. DAY (STUDIO) 4 SECS

KARLIN WHIPS HIS HEAD ROUND.

CUT TO:

149 HIGH ANGLE - SAUCER - DAY (VISUAL EFFECTS) 7 SECS

KARLIN'S EYELINE.

HE IS FLYING JUST ABOVE THE CLOUD AND WE SEE THE SAUCER CLIMBING RAPIDLY.

CUT TO:

150 INT. SKY 1-COCKPIT. DAY (STUDIO) 4 SECS

KARLIN PULLS THE STICK OVER RAPIDLY.

CUT TO:

151 AIR-TO-AIR SHOT -SKY 1 - DAY (VISUAL EFFECTS) 6 SECS

IT PULLS ROUND IN A TIGHT TURN AND FIRES ITS MISSILES STRAIGHT INTO CAMERA.

CUT TO:

152 AIR-TO-AIR SHOT - FLYING SAUCER . DAY (VISUAL EFFECTS) 7 SECS

KARLIN'S EYELINE:

THERE IS AN EXPLOSION. THE SAUCER HAS BEEN HIT - IT HOVERS FOR A MOMENT AND THEN STARTS A GRACEFUL DESCENT, TOWARDS THE SEA.

CUT TO:

153 INT. SKY 1 - COCKPIT. DAY (STUDIO) 9 SECS

KARLIN
(contolled)
Sky one to Shado Control - reporting direct hit on U-Foe. It's going to crash in the sea.

CUT TO:

154 U.F.O. D.O. CONTROL ROOM - DAY (STUDIO) 8 SECS

STRAKER AT HIS DESK CONSOLE.

STRAKER
Good shooting, Sky one ... Come in Seagull X-Ray ... Are you O.K. Alec?

CUT TO:

155 INT. SEAGULL X-RAY COCKPIT (STUDIO) 6 SECS

CLOSE ON FREEMAN'S FACE, A FEW BEADS OF SWEAT.

FREEMAN
I've aged about 5 years, but we're still in one piece.

CUT TO:

156 INT. SKY 1 - COCKPIT. DAY (STUDIO) 12SECS

STRAKER (VO)
Follow it down, Captain. Use your reconnaissance cameras. Get everything you can.

KARLIN
Roger. Will do.

HE PUTS NOSE OF AIRCRAFT DOWN

CUT TO:

157 INT. SEASCAPE AND SAUCER. DAY. (VISUAL EFFECTS) 15 SECS

THE SAUCER - WITH ITS ENGINES RUNNING DOWN - SPLASHES DOWN INTO THE SEA - IT IMMEDIATELY SINKS - CAMERA SLOWLY JIBS UP AND TILTS DOWN. THE SEA THEN ERUPTS INTO A BOILING MASS - TURNING A VIVID SCARLET WITH OTHER BRIGHT COLOURS INTERMINGLING HERE AND THERE. THE SEA BOILS FURIOUSLY AND HEAVY VAPOUR LIES ON ITS SURFACE.

CUT TO:

158 SEA-TO-AIR SHOT - SKY 1 - DAY (VISUAL EFFECTS) 5 SECS

IT IS CIRCLING ABOVE.

CUT TO:

159 INT. SKY 1 - COCKPIT. DAY (STUDIO) 12 SECS

KARLIN LOOKING DOWN AT THE SEA. WE HEAR THE WHIRR OF A CAMERA.

KARLIN
(into mike)
It went straight under ... It seems to be breaking up ... there's wreckage everywhere... Hold it.

ZOOM IN ON KARLIN AS HIS EYES NARROW.

KARLIN
(slow)
There's... a... body.

CUT TO:

160 INT. SHADO CONTROL ROOM. DAY. (STUDIO) 8 SECS

STRAKER CLOSE TO MIKE, CROUCHING.

STRAKER
(measured)
Please confirm ... Did you say ... body?

KARLIN (VO)
Yes. It's a body.

CUT TO:

161 EXT. SEA. DAY. 9 SECS

START CLOSE ON THE U.F.O. MAN'S SPACESUIT. PAN SLOWLY TO HIS HEAD. WE CATCH A GLIMPSE OF HIS ANGLED FEATURES THROUGH THE SWIMMING LIQUID THAT FILLS HIS HELMET AND THE SWIRLING VAPOUR HANGING OVER THE NOW-CALM SEA.

FADE OUT:

FADE IN:


162 EXT. HARRINGTON-STRAKER STUDIO. NIGHT. 5 SECS

TO ESTABLISH.

CUT TO:

163 INT. STRAKER'S OFFICE UNDERGROUND. (STUDIO) 83 SECS

STRAKER SITS AT HIS DESK. THE LIGHTING SUBDUED. HE HOLDS THE CHAIN AND WRIST CLASP WE RECOGNISE FROM THE ROLLS-ROYCE SEQUENCE. HE IS THOUGHTFUL, REMEMBERING.

THE DOOR OPENS AND FREEMAN COMES IN.

STRAKER
How did things go?

FREEMAN
Everything's fine. Moonbase and all other tracker stations will have the Utronic system fitted and operational within a week.

STRAKER STUDIES FREEMAN A MOMENT.

STRAKER
(relieved)
Great... You look tired ... have a drink.

FREEMAN GOES TO BAR.

FREEMAN
Thanks, I think I will ... You never touch it do you?

STRAKER
Self-control.

FREEMAN
Maybe drinking needs more ... self control.

HE OFFERS HIS GLASS IN A TOAST, AND DRINKS.

FREEMAN
When does ... it ... arrive?

STRAKER
Anytime now.

FREEMAN
Well, we've had to wait quite a while for this one.

FREEMAN TAKES ANOTHER SIP. STRAKER TOYS WITH THE LENGTH OF CHAIN AND BRACELET.

STRAKER
Yes. Ten years ... It's ten long years since we had the first evidence of a UFO landing on Earth.

FREEMAN
And that was after a decade of speculation, reports, official denials, you name it...

STRAKER
You know when I was made Commander of Shado I thought it was all going to happen...

FREEMAN
You've done a good job: the best.

IT IS A STRAIGHT COMPLIMENT. STRAKER KNOWS IT AND SMILES.

STRAKER
Well, I've tried ... But how far have we progressed? What do we really know about UFO's? What are they? Where do they come from?
(a long beat)
What do they want?

CUT TO:

164 EXT. HARRINGTON-STRAKER STUDIO. NIGHT. 9 SECS

AN AMBULANCE, BLUE LIGHT FLASHING, ALARM SOUNDING, PULLS PAST THE STUDIO SIGN TO ESTABLISH THE HOSPITAL IT IS ABOUT TO ENTER IS NEARBY.

CUT TO:

165 EXT. HOSPITAL. NIGHT. (VISUAL EFFECTS) 7 SECS

THE AMBULANCE PULLS INTO THE ENTRANCE TO MAYLAND HOSPITAL.

CUT TO:

166 INT. STRAKER'S OFFICE (UNDERGROUND) (STUDIO) 18 SECS

FREEMAN AND STRAKER WHO ANSWERS THE INTERCOM AS IT BUZZES.

STRAKER
Yes?

MALE VOICE OVER
Mayland Hospital. Shado Section. Your special patient has arrived, sir. We will use underground corridor 32 to Shado medical centre.

STRAKER CLICKS THE INTERCOM THEN LOOKS UP AT FREEMAN.

FREEMAN
Maybe they're bringing in some of the answers now.

CUT TO:

167 INT. CORRIDOR 32 - UNDERGROUND (STUDIO) 35 SECS

START CLOSE ON A SIGN. IT 1S ILLUMINATED WITH THE WORDS "CONDITION STERILE"

PULL BACK TO SHOW THE CORRIDOR IS ULTRA VIOLET LIT TO MAKE IT GERM FREE. WE ALSO SEE WE ARE IN CORRIDOR 32.

A STRETCHER TROLLEY IS PUSHED SMOOTHLY ALONG BY TWO ATTENDANTS: A DOCTOR AND JOHN KARLIN WALK BY IT. THE GROUP ARE IN A HURRY.

ON THE STRETCHER IS THE U.F.O ALIEN - STILL IN HIS HELMET AND SPACESUIT. BUT NOW COMPLETELY ENVELOPED IN A TRANSLUCENT PLASTIC CAGE.

ANOTHER ANGLE:

STRAKER AND FREEMAN STAND IN THE DOORWAY WATCHING INTENTLY AS THE STRETCHER ROLLS PAST, TRYING TO CATCH A GLIMPSE OF THE ALIEN. KARLIN STILL IN HIS SKY-DIVER UNIFORM, LOOKING WORN AND TIRED, STOPS BY THEM.

STRAKER
Well done, John. You're wanted in debriefing immediately.

KARLIN NODS :HE IS BEAT.

KARLIN
Right. See you later.

HE GOES THROUGH THE DOOR, STRAKER LOOKS AT FREEMAN AND THEY STRIDE OFF IN THE DIRECTION THE TROLLEY STRETCHER WENT.

CUT TO:

168 INT. MEDICAL CENTRE. (UNDERGROUND) STUDIO 62 SECS

A MOOD OF URGENT ACTIVITY

A COUPLE OF NURSES AND A DOCTOR, BUSY THEMSELVES AROUND THE U.F.O ALIEN. ANOTHER DOCTOR, SCRUBS UP. THROUGH A WINDOW WE SEE INTO AN OPERATING THEATRE.

ALONG THE WALL DIVIDING THE MEDICAL CENTRE FROM THE THEATRE, ELECTRONICS LINKED TO A COMPUTER. THIS INCLUDES A BUILT-IN CONSOLE WITH A TV SCREEN. THE ROOM IS ALSO ULTRA-VIOLET LIT.

STRAKER AND FREEMAN ENTER AND WALK TO THE GROUP AROUND THE TROLLEY. THEY TRY HARD TO SEE THROUGH THE TRANSLUCENT COVER.

STRAKER
What's the position, doctor?

DR. HARRIS
Alive; but in critical condition. Excuse me.

HE TURNS TO GET AN INSTRUMENT. STRAKER WALKS OVER TO THE OTHER DOCTOR SCRUBBING UP.

STRAKER
What are the chances of survival?

DR. SHROEDER
Impossible to estimate, First we must try to effect normal respiration: at the moment he's breathing an oxygenated liquid.

STRAKER
(not all that surprised)
Liquid.

DR. SHROEDER
Are the theatre staff ready, nurse?

HE MOVES OUT OF SHOT.

ANOTHER ANGLE:

FREEMAN AND STRAKER.

STRAKER
His lungs are full of liquid.

FREEMAN
They probably travel through space in a liquid environment.

STRAKER
Isn't that what the experts predicted.

DR. SHROEDER COMES INTO SHOT.

DR. SHROEDER
I'm afraid I must ask you to leave. We're going to remove the protective cover. There could be danger of infection -- we don't know what alien micro-organisms he may be carrying.

STRAKER
Right - Call me the moment you have anything, Doctor.

STRAKER AND FREEMAN TURN TO LEAVE.

CUT TO:

169 INT. CORRIDOR. UNDERGROUND. (STUDIO) 10 SECS

STRAKER AND FREEMAN COME OUT. AS THE DOORS CLOSE BEHIND THEM STRAKER LOOKS UP TO A SIGN

ABOVE THE ENTRANCE. IT ILLUMINATES "NO ENTRY" - "OPERATION IN PROGRESS".

FREEMAN GOES AND SITS. STRAKER LIGHTS A CIGARETTE.

CUT TO:

170 INT. OPERATING THEATRE (STUDIO) 10SECS

THE DOCTORS AND THE NURSE AROUND THE ALIEN ON THE OPERATING TABLE. AS WE TRACK IN ONE OF THE DOCTORS MOVES ASIDE AND WE CATCH A GLIMPSE OF THE ALIEN'S FACE, A TUBE FROM HIS MOUTH, IS DRAINING AWAY THE LIQUID FROM HIS LUNGS. WE SEE THE GREEN COLOURATION OF HIS SKIN.

CUT TO:

171 INT. CORRIDOR. UNDERGROUND (STUDIO) 12 SECS

STRAKER STUBS A CIGARETTE OUT IN AN ALREADY FULL ASHTRAY. THEN STANDS UP AND STARTS TO PACE AROUND IMPATIENTLY.

CUT TO:

172 INT. OPERATING THEATRE (STUDIO) 12 SECS

THE DOCTORS AND THE NURSE AROUND THE ALIEN.

C.S. HANDS

THE DOCTORS GLOVED HANDS WORK ON THE ALIEN'S EYE. THEY MOVE TO SHOW THEY HAVE REMOVED A PLASTIC COVER FROM THE EYEBALL.

CUT TO:

173 INT. CORRIDOR (UNDERGROUND) (STUDIO) 15 SECS

START CLOSE ON STRAKER'S NERVOUS HANDS. PULL BACK TO SHOW FREEMAN AND STRAKER SITTING OUTSIDE THE MEDICAL CENTRE. THE LIGHTING IS NOW BACK TO NORMAL. SEVERAL HOURS HAVE PASSED.

THEY LOOK UP AS A NURSE COMES OUT AND BECKONS. SHE HOLDS THE DOOR OPEN FOR THEM AS THEY HURRY IN.

CUT TO:

174 INT. MEDICAL CENTRE (STUDIO) 42 SECS

THE TWO DOCTORS STAND TAKING OFF THEIR GLOVES AND MASKS. ONE PASSES A HAND OVER HIS WEARY BROW.

STRAKER AND FREEMAN HAVE HURRIED IN. STRAKER IS IMPATIENT FOR ANSWERS.

STRAKER
Is he alive? 

DR. SHROEDER
Yes...

STRAKER
Well... ?

DR. SHROEDER
The general analysis has shown he is basically humanoid.

STRAKER
A man... ?

DR. SHROEDER
More or less... Body temperature 3 degrees para normal; blood pressure rather low. Muscular development poor; cranium 10% larger than average... other minor points. The skin has an artificial green colouration ... probably absorbed from the liquid. We're waiting for the first electro medical results.

ANOTHER ANGLE:

FREEMAN STANDS AT THE WINDOW LOOKING INTO THE OPERATING THEATRE.

CUT TO:

175 POV SHOT 10 SECS

THE THEATRE IS STILL ULTRA LIT. THE UFO ALIEN NOW OUT OF HIS HELMET AND SPACESUIT, LIES SUSPENDED ON AN AIR BED. MANY ELECTRO BIOSENSORS ARE ATTACHED TO HIS BODY, WITH LEADS TO THE ELECTRONICS. A SALINE DRIP FEEDS INTO HIM.

FREEMAN (VO)
A man ... from a solar system maybe a hundred million million miles from Earth...

CUT TO:

176 RESUME SCENE

A COMPUTER SPEWS OUT SOME INFORMATION. DR. SHROEDER TURNS AND CHECKS IT.

DR, HARRIS
This is incredible!

STRAKER
What is it?

DR. HARRIS
Well, we can't be sure but this preliminary test shows organ and gland transplants ... Heart, liver, left lung, thyroid.

EVERYONE STANDS IN SILENCE: THE NEWS IS SHATTERING.

STRAKER TURNS AND MOVES QUICKLY TO THE CONSOLE. HE FLICKS A SWITCH. THE OPERATING LIGHTS COME ON OVER THE ALIEN.

CUT TO:

177 CS - TV 4 SECS

SHOWING A M.S. SHOT OF THE ALIEN.

CUT TO:

178 CS - STRAKER 6 SECS

HE MOVES A CONTROL. URGENT, A MUSCLE TWITCHING IN HIS FACE. THE JIG-SAW IS BEGINNING TO FALL INTO PLACE.

CUT TO:

179 CS - TV 5 SECS

WE ZOOM IN ON THE ALIEN'S FACE ... WE SEE IT CLEARLY FOR THE FIRST TIME. THE GREEN ANGULAR FEATURES. THE SKIN SMOOTH AND UNWRINKLED.

CUT TO:

180 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) 38 SECS

STRAKER SLUMPED AT HIS DESK. FREEMAN PULLS ON A CIGARETTE. THE DESK IS STREWN WITH FILES.

STRAKER
You realise what this could mean?

FREEMAN
It's still theory.

STRAKER
Theory? ... Fact ... ten years of possible, probable and confirmed UFO incidents. Fact...
(he bangs the files on his desk)
On a number of fully documented occasions mutilated bodies found after confirmed UFO attacks - organs missing - Fact: an electro medical examination of the first alien we lay our hands on shows organ transplants.

FREEMAN
The doctors weren't certain.

STRAKER
No. Not yet. But I'm betting the proof lies at the end of that corridor.

CUT TO:

181 INT. MEDICAL CENTRE (STUDIO) 17 SECS

A NURSE SITS MAKING NOTES OF THE VARIOUS READINGS FROM THE BIO SENSOR AND RECORDING INSTRUMENTS IN A BOOK. SHE TURNS AS THE COMPUTER FEEDS OUT MORE INFORMATION; CROSSES AND RIPS OFF THE PAPER OUTPUT.

SHE PINS IT TO THE BOOK; THEN REACTS TO SOMETHING SHE READS ON THE COMPUTER REPORT. SHE GLANCES QUICKLY THROUGH THE WINDOW INTO THE OPERATING THEATRE - HURRIES TO THE T.V.

THE NURSE OPERATES A CONTROL AND PANS THE PICTURE, THEN BEGINS TO ZOOM IN.

CUT TO:

182 CS - TV 7 SECS

WE ZOOM IN ON THE ALIEN'S FACE. AS THE MUSIC REACHES A CLIMAX, WE SEE THE SKIN HAS WRINKLED. HE IS AGEING: THE NORMAL CHANCE OF YEARS HAPPENING IN MINUTES; AN INTERCOM CLICKS.

NURSE (VO)
Dr. Shroeder. Emergency.

MIX TO:

183 INT. MEDICAL CENTRE (STUDIO) 29 SECS

STRAKER AND FREEMAN STAND AT THE WINDOW, LOOKING AT THE ALIEN IN THE THEATRE. AS THE DOCTORS FIGHT TO SAVE HIS LIFE. THE NURSE SITS AT THE CONSOLE.
DR. HARRIS COMES OVER THE INTERCOM:

DR. SHROEDER (VO)
Nurse, get a Neilson respirator and an H&K unit in here immediately.

NURSE
Yes, sir.

AS SHE FLICKS ANOTHER SWITCH, AND BEGINS REQUESTING THE EQUIPMENT.

ANOTHER ANGLE:

FREEMAN AND STRAKER.

FREEMAN
It doesn't look good.

CUT TO:

RESUME SCENE
DR. SHROEDER (VO)
Cancel that request, nurse. Cessation..

THE NURSE TURNS TO STRAKER.

NURSE
I'm afraid he's dead, sir.

CUT TO:

184 INT. THEATRE (STUDIO) 25 SECS

STRAKER COMES INTO THE THEATRE, WALKS SLOWLY UP TO THE UFO MAN UNDER THE BLAZE OF THE OPERATING LIGHTS.

CS - FACE

WE SEE THE ALIEN'S FACE: INCREDIBLY AGED IN A FEW HOURS. THE DEEP LINED FEATURES OF A VERY OLD MAN.

CS - STRAKER

STARING DOWN AT THE FACE: AT THAT MOMENT HE FEELS A STRANGE COMPASSION.

STRAKER
(emotional)
When can I have a post mortem report?

DR. SHROEDER (VO)
48 hours.

STRAKER
(gently; but he means it)
Make it 24. Not the details. Just what really matters.

CUT TO:

185 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO) 155 SECS

STRAKER AND FREEMAN READ FROM FILES. THE CHANGE OF DRESS INDICATES A TIME ELAPSE. DOCTORS HARRIS AND SHROEDER ARE ALSO PRESENT. STRAKER CLOSES HIS FILE. HE HAS FINISHED THE DOCTORS' PRELIMINARY REPORT. STRAKER IS TIRED WITH A DAY'S GROWTH OF BEARD.

DR. SHROEDER
The rapid ageing isn't documented in the report. We're not sure why it happened ... but it's certainly connected with the reaction of Earth's atmosphere on the body...

FREEMAN CLOSES HIS FILE. A VERY LONG PAUSE. STRAKER TAKES A CIGARETTE AND STANDS UP.

STRAKER
Gentlemen, let's consider the three main questions regarding UFO's. One ... Where do they come from ?

STRAKER WALKS SLOWLY ROUND, THEN LEANS BACK AND HALF SITS ON HIS DESK. KEEPING HIS LEGS STRAIGHT, FEET ON THE GROUND.

STRAKER
The fact that the lungs were filled with an oxygenated liquid indicates a subjection to phenomenal acceleration and fantastic speeds over a long period, long enough for the skin to pick up a green colouration from the liquid. It all adds up to an extended journey through space ... possibly months at many times the speed of light.

FREEMAN PULLS DEEPLY ON A CIGARETTE. STRAKER STANDS, WALKS SLOWLY ALONG THE ROOM TOYING WITH

HIS UNLIT CIGARETTE.

STRAKER
Two... Who are they?

HE STOPS AND TURNS.

STRAKER
In science and technology several hundred years in advance of man.

STRAKER USES HIS CIGARETTE TO EMPHASIZE HIS POINT.

STRAKER
But everything in this report indicates a dying race ... Hereditry sterility was evident ... Using drugs and advanced transplant techniques, they have beaten the natural ageing process.

HE STARTS TO PACE AGAIN.

STRAKER
They are highly intelligent; so they come to Earth presumably knowing the risk of contact with our atmosphere...

HE HAS STOPPED BY FREEMAN.

STRAKER
...Which brings us to question three...

ANOTHER ANGLE:

FREEMAN TAKES OUT HIS LIGHTER AND OFFERS STRAKER A LIGHT. HE LIGHTS HIS CIGARETTE TAKING HIS TIME.

STRAKER
(slow)
Why do they come? 

RESUME SCENE:

STRAKER
(A long pause)
This report lists five major organ and gland transplants. In the case of the heart, tissue compatability proves this is human in origin. _It came from Earth._ Therefore one of the reasons they come is to obtain replacement organs. But there may be others. Imagine a dying planet, in some distant solar system, its natural resources nearly exhausted, its inhabitants sterile, doomed to extinction... A situation we may one day face ourselves.

CUT TO:

CS - DR. SHROEDER

HEAD BOWED, LISTENING QUIETLY.

STRAKER(VO)
They discover Earth, abundant, fertile and see it as a new source to satisfy their needs. They look upon Earth...

CUT TO:

CS - DR. HARRIS

WATCHING STRAKER

STRAKER(VO)
Not necessarily with animosity, but possibly callously ... As we look to the animal kingdom for food...

CS - FREEMAN

LISTENING, CONSIDERING, THINKING OF THE TREMENDOUS SIGNIFICANCE OF WHAT STRAKER IS SAYING:

STRAKER(VO)
It would appear they are driven by circumstance across a billion miles of space...

CUT TO:

CS - STRAKER

HE SPEAKS AS HE STUBS OUT HIS CIGARETTE IN THE DESK ASH TRAY...

STRAKER
...urged on by the greatest force in the Universe.

HE LIFTS HIS HEAD TO STARE AT THE WALL.

STRAKER
...survival!

CUT TO:

RESUME SCENE

A VERY LONG SILENCE.

FREEMAN
(Half to himself)
Poor bastards.

STRAKER TURNS SLOWLY TO HIM WITH A LOOK OF MUTE AGREEMENT. THE GROUP ARE SILENT.

CUT TO:

186 INT. UNDERGROUND CORRIDOR (STUDIO) 18 SECS

STRAKER WALKS SLOWLY ALONG THE CORRIDOR AND IS STOPPED BY AN OPERATIVE WITH A PIECE OF PAPER.

OPERATIVE
The check on the test, sir.

STRAKER LOOKS AT THE PAPER.

STRAKER
There's no possible doubt.

OPERATIVE
No sir ! Electronic tissue analysis is as positive as a voice print.

STRAKER
Right.

STRAKER LOOKS AT HIM THEN WALKS ON.

CUT TO:

187 INT. STRAKER'S INNER OFFICE (STUDIO) 14 SECS

STRAKER COMES IN. JOHN KARLIN IS WAITING.

STRAKER
Sorry to keep you waiting, John... How long do you have ?

KARLIN
30 minutes.

STRAKER
I'll walk you to your car.

CUT TO:

188 MS - WINDOW (STUDIO PROCESS) 15 SECS

WE HEAR A WHIR OF MACHINERY. THE ROOM BEGINS TO RISE LIKE A LIFT, AND THE ROCK GARDEN APPEARS OUTSIDE THE WINDOW.

RESUME SCENE

THE ELECTRONIC BOLTS ON THE DOOR OPERATE AND IT OPENS TO SHOW MISS EALAND'S OFFICE. WE ARE BACK ON GROUND LEVEL.

189 INT. STRAKER'S OUTER OFFICE. (STUDIO) 12 SECS

STRAKER AND KARLIN COME IN. THE ILLUMINATED PANEL "DO NOT ENTER" GOES OUT. STRAKER PUTS HIS COAT ON.

THEY LEAVE -

CUT TO:

190 INT. STUDIO FOYER. DAWN. (LOCATION) 7 SECS

STRAKER AND KARLIN WALK PAST THE RECEPTION DESK AND OUT THROUGH THE GLASS DOORS.

191 EXT. STUDIO. DAWN. (LOCATION) 75 SECS

STRAKER'S CHAUFFEUR WAITS BY HIS CAR. BUT STRAKER WAVES HIM AWAY, AND BEGINS TO WALK TOWARDS CAR PARK WITH KARLIN.

WE TRACK WITH THEM.

KARLIN
You wanted to tell me something...

STRAKER
Yes. I wanted to catch you before you flew out.

STRAKER DOES NOT ANSWER. THEY WALK A FEW STEPS.

KARLIN
It's my sister Leila, isn't it.

THE SLIGHTEST HESITATION IN STRAKER'S STEP.

STRAKER
Yes.

THEY WALK A FEW PACES. THEN STRAKER STOPS.

STRAKER
I'm afraid she's dead.

A LONG BEAT.

STRAKER
I think you know how sorry I am.

KARLIN NODS.

KARLIN
What happened ?

STRAKER
It, er, maybe better if I don't tell you.

KARLIN THINKS A MOMENT.

KARLIN
(calm)
I think I'd like to know.

IT'S TOUGH FOR STRAKER,; HE ADOPTS AN OFFICIAL ATTITUDE TO COVER HIS EMOTIONS

STRAKER
Your sister was last seen in the vicinity of a U.F.O. incident nearly two years ago. The body you recovered from the sea was subjected to intense medical examination. The heart was a transplant ... The donor ... Leila Karlin.

FOR A FEW MOMENTS KARLIN IS STUNNED.

STRAKER
What will you tell your parents?

KARLIN
I don't know

STRAKER
You realise, they can never know the truth.

TRACK IN ON KARLIN.

FADE OUT:

FADE IN:


192 INT. CREMATORIUM. DAY. (STUDIO) 42 SECS

START CLOSE ON STRAKER AT THE BACK AS IN THE OPENING SEQUENCE.

CUT TO:

ANOTHER ANGLE:

THE PRIEST FINISHES THE SERVICE.

PRIEST
Lord, receive to Thy safe keeping the soul of Leila Karlin. May she rest in peace. Amen.

THE DOORS IN THE ALTAR SLIDE OPEN. HERE AND THERE IN THE CONGREGATION PEOPLE BREAK DOWN.

KARLIN PLACES A FIRM REASSURING HAND ON HIS MOTHER'S SHOULDER - WE HEAR HER SOFTLY SOBBING.

CUT TO:

CS - STRAKER

STRAKER
(thought voice over)
A funeral without a body. A symbol of human compassion .... Is this the end or the beginning ? For where does the Universe end ? Where does it begin ?

HE TURNS TO LEAVE.

CUT TO:

CS - DOOR

THE COFFIN DISAPPEARS. THE DOORS SLIDE SHUT.

FINAL FADE OUT:


END OF ACT FOUR


END TITLES

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


U.F.O. TV SERIES:


IDENTIFIED - PILOT SCRIPT

SCRIPT AMENDMENTS - 12th March, 1969.



Page 14 - Scene 50 - Add Timing - 42 seconds.
Page 58 - Scene 176 - Add Timing - 22 seconds.

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

Page 22 - Insert New Page Attached

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

Page 23 - Scene 68 (Cont'd) - amend PAULA's 1st dialogue to read

PAULA (VO)
All space trackers to be fully operational by 10.45. Astronauts on standby.

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

Page 24 - Scene 70 - delete PAULA's 1st dialogue.
Insert
PAULA
So this is really it, Sir!

delete DESICA's 4th dialogue

Insert
DESICA
Looks like it.

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

Page 25 - Scene 70

amend BOTH PAULA AND JOANNA LOOK PRETTY GLUM to read:- BOTH PAULA AND JOANNA LOOK APPREHENSIVE

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

Page 42 - Scene 115 amend direction to read:-

KARLIN STANDS WITH LIEUTENANT MAXWELL AT HIS SIDE. THE OTHER TWO MEMBERS OF THE CREW ARE MASTERS AND SYLVIA HOWELL.

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

Page 55 - Scene 168 (cont'd) - delete STRAKER's 2nd & 3rd dialogue

delete STRAKER's 4th dialogue

Insert
STRAKER
A technique we have only just started experimenting with.

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

Page 66 - Scene 191 - delete STRAKER's 2nd dialogue

Insert
STRAKER
I don't think you'd like me to tell you.

NEW PAGE - "IDENTIFIED" 12th March, 1969.

64 (continued)
SHE SWIVELS IN HER SEAT AS WE WIDEN THE ANGLE TO TAKE IN COLONEL DESICA THE MOONBASE COMMANDER AS HE WALKS TO THE CONTROL CONSOLE

DESICA
Right ...
(into mike)
Desica ...

CUT TO:

65 INT. SHADO CONTROL ROOM (STUDIO 14 SECS
STRAKER
Good morning, Franco - I think I might have some action for you. I want Moonbase on yellow alert to track Seagull X-ray. It's carrying Shado V.I.P's and the Ultronic equipment. We can't afford to take any chances.

CUT TO:

66 INT. CONTROL SPHERE - MOONBASE (STUDIO) 12 SECS
DESICA
Roger and out.
COLONEL DESICA TURNS TO PAULA HARRIS.
DESICA
Announce a yellow alert for 10.45.

PAULA
Yes Sir.

DESICA
Then I should take some time off

PAULA
Right.

HE WALKS TOWARD THE DOORWAY.

CUT TO:
67 INT. CONNECTING CORRIDOR. MOONBASE (STUDIO) 12 SECS DESICA HAS COME OUT OF THE CONTROL SPHERE AND WALKS ALONG THE CONNECTING CORRIDOR TOWARDS THE DINING AND LEISURE SPHERE. WE HEAR PAULA'S VOICE OVER MOONBASE'S SPEAKER SYSTEM.

PAULA (VO)
Moonbase will be on Yellow Alert from 10.45....repeat 10.45.


CUT TO:

INT. DINING AND LEISURE SPHERE (STUDIO) 40 SECS IN THE CENTRE OF THE DINING AREA IS A CIRCULAR TABLE WITH SLIM METAL CHAIRS, SURROUNDING IT AUTOMATS LINE THE WALL. ASTRONAUT MARK BRADLEY A COLOURED MAN OF AROUND THIRTY IS

U.F.O. TV SERIES:

IDENTIFIED - PILOT SCRIPT

SCRIPT AMENDMENTS - 17th MARCH, 1969


Page 30 - Scene 86 - amend Dialogue Headings marked PAULA to read JOAN

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

Page 45 - Scene 125 (Cont'd): FREEMAN'S 1st Dialogue:

delete "BLOODY"

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

Page 64 - Scene 185 (Cont'd): FREEMAN'S DIALOGUE:
amend "BASTARDS"
to read "DEVILS"