UFO Script for
"A Question Of Priorities"

SYNOPSIS: Ed Straker faces a searing problem when he has to choose between his duty to protect Earth and risking his son's life!

      S.H.A.D.O. Commander Ed Straker has one contact left with the girl he loved, married but neglected in the zealous pursuit of creating the organisation to defend the world from threats from outer space. Their son John brings them together briefly once a month when John spends a day with his father. When taking him home, Straker meets his divorced wife Mary, although she has now remarried. It's a moment to which he looks forward, for his feelings towards her have never changed. But he has never been able to tell her the truth behind his apparent neglect.

      This time... tragedy. Young John runs into the road and is knocked down by a car. His condition is soon critical because of an allergy to antibiotics. But, there is one drug which could save him, and it would have to be collected in America. Straker promptly orders a S.H.A.D.O. Air Transporter to collect the drug.

      Simultaneously, Colonel Freeman is puzzled by the actions of the two UFO's which have been sighted. One suddenly veers off; the other hurtles towards Earth at a speed which soon makes it clear that it will have to crash. Crash it does, in Ireland, but no-one sees the alien pilot eject safely and make his way towards a lonely cottage occupied by a blind old lady named Mrs. O'Connor. Through her, the alien tries to make contact with S.H.A.D.O., and Straker and Freeman realise that he must be a defector from his own planet.

      The second UFO is again sighted and appears to be homing-in on the deserter. Meanwhile, Freeman has realised that there is just one hope of S.H.A.D.O. getting there first, and that is to divert the transporter which is on its way from America carrying, though he doesn't know this, the life-saving drugs for Straker's son. When Straker discovers what has happened, he faces a terrible choice - to cancel Freeman's instructions or to do his duty to protect the world at the expense of his own son's life. And he knows that he would never be able to explain it to Mary . . .

THE SCRIPT FOR THE UFO EPISODE
"A QUESTION OF PRIORITIES"

by

Tony Barwick

© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

"A QUESTION OF PRIORITIES"

Some notable things about this script:

The "A QUESTION OF PRIORITIES" script has many minor differences throughout: here are the major ones:-

 At the very end there is an additional scene where Straker meets with the old blind lady.
 The beginning sequence with Straker and his son at the studio had yet to be fleshed out.
 The script has a few sequences with Paul Foster - in the final episode all of these sequences used Captain Peter Carlin instead, as this was Peter Gordeno's final episode in the series.

NB: This script also has 9 additional "new pages" (revisions) at the end, which bring the script closer to the final episode. These are included at the end of this page.

CAST LIST:

SPEAKING PARTS:

STRAKER
JOHN STRAKER
MARY
DRIVER
RUTLAND
NURSE
DOCTOR
MISS EALAND
FORD
FREEMAN
GAY ELLIS
JOAN
FOSTER
MAXWELL
HOWELL
FRASER
MRS. O'CONNOR
MASTERS
ASTRONAUT
NINA
AYESHA

VOICE ONLY:
S.I.D. 

SET LIST
EXT. LOT (LOCATION)
EXT. ROAD (LOCATION)
INT. CAR (STUDIO)
EXT. HOUSE (LOCATION)
EXT. CAR (LOCATION)
EXT. HOSPITAL (LOCATION)
INT. HOSPITAL WAITING AREA (STUDIO)
EXT. STUDIO (LOCATION)
INT. OUTER OFFICE. DAY. (STUDIO)
INT. INNER OFFICE (STUDIO)
INT. SHADO CORRIDOR (STUDIO)
INT. CONTROL ROOM (STUDIO)
INT. MOONBASE CONTROL (STUDIO)
INT. SKYDIVER (STUDIO)
INT. SKY 1 (STUDIO)
INT. COTTAGE (STUDIO)
INT. SHADO MOBILE (STUDIO)
INT. LEISURE DINING SPHERE (STUDIO)
INT. INTERCEPTOR (STUDIO)
EXT. FIELD (LOCATION)
INT. PRIVATE ROOM (HOSPITAL)

VISUAL EFFECTS 
EXT. SPACE
EXT. STRATOSPHERE
EXT. U.F.O.
EXT. IRELAND
EXT. UNDERWATER
EXT. SKYDIVER
EXT. SKY 1
EXT. SEA
EXT. SKY
EXT. COUNTRYSIDE
EXT. AIRFIELD
EXT. TRANSPORTER

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. LOT. DAY. (LOCATION) 90 SECS

ED STRAKER RIDES TOWARDS CAMERA. BEHIND HIM WE SEE HIS EIGHT YEAR OLD SON, JOHN, ON A PONY.

STRAKER AND THE BOY'S MOTHER WERE DIVORCED THREE YEARS AGO, THIS IS THEIR MONTHLY DAY OUT TOGETHER.

ON JOHN

HE URGES HIS PONY FORWARD TO CATCH HIS FATHER.

ON STRAKER

HE DISMOUNTS, PATS HIS HORSE ON THE NOSE.

WIDER ANGLE

STRAKER WALKS OVER TO HIS SON AND HELPS HIM DISMOUNT.

THE BOY IS HAPPY, FULL OF ENERGY. HE RUNS OFF.

JOHN
Come on, Daddy.

ON STRAKER

LOOKING AFTER HIS SON, A LITTLE SAD, THE WAY THINGS WERE; THE WAY THINGS COULD HAVE BEEN.

WIDER ANGLE

JOHN AND STRAKER PLAY AROUND THE LOT. WE ESTABLISH IT IS THE STUDIO. (THIS IS ONLY A GUIDE, A FULL SCRIPTED SEQUENCE WILL BE WRITTEN IN CONJUNCTION WITH THE DIRECTOR.)

CUT TO:

2 EXT. LOT. DAY. (LOCATION) 20 SECS

STRAKER AND JOHN WALK TO STRAKER'S CAR. JOHN RUNS ON AHEAD.

ON STRAKER

WATCHING JOHN O.S. HE GIVES A TIGHT SMILE. IT IS TIME TO TAKE THE BOY HOME.

CUT TO:

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

STRAKER'S CAR UP AND PAST ALONG A COUNTRY ROAD.

CUT TO:

4 INT. CAR. DAY. (STUDIO) 25 SECS

JOHN, FULL OF ENERGY AND INTEREST, PUSHES BUTTONS, PULLS KNOBS, OPENS THE GLOVE COMPARTMENT ETC. AS STRAKER DRIVES.

ON JOHN

HE PUSHES A BUTTON, THE RADIO BLARES ON. HE QUICKLY TURNS IT OFF, AND LOOKS UP AT HIS FATHER EXPECTING A REBUKE.

ON STRAKER

A MOMENT OF MOCK INDIGNATION, THEN A WINK.

ON JOHN

HE GRINS BROADLY AND TURNS THE RADIO ON. THE MUSIC BLARES OUT.

CUT TO:

5 EXT. JUNCTION. DAY. (LOCATION) 6 SECS

STRAKER'S CAR COMES UP TO THE JUNCTION AND TURNS.

CUT TO:

6 INT. CAR. DAY. (STUDIO) 36 SECS

THE MUSIC IS MORE SUBDUED, JOHN SITS QUIETLY. STRAKER SPEAKS, TRYING TO THROW AWAY THE REMARK.

STRAKER
Nearly home, John.

ON JOHN

HE DOESN'T ANSWER, DOESN'T LOOK AT HIS FATHER. HIS YOUNG MIND FULL OF DOUBTS AND CONFUSION.

ON STRAKER

HE HAS NO WORDS.

TWO SHOT

STRAKER TRIES TO BREAK THE MOOD.

STRAKER
How did you make out with the model boat?

JOHN
I finished it.

STRAKER
You finished it...

THE CAR PHONE BUZZES. STRAKER FLICKS OFF THE RADIO AND ANSWERS THE CALL.

STRAKER
(into phone)
Straker... OK Alec...

STRAKER CHECKS HIS WATCH.

STRAKER
...I'll be back around six... right.

HE REPLACES THE PHONE; A FEW MOMENTS SILENCE.

JOHN
Would you like to see it?

STRAKER'S THOUGHTS ARE BROKEN.

STRAKER
Hmm?

JOHN
The boat, daddy.

STRAKER
Oh, sure I would.

CUT TO:

7 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 40 SECS

A SCENE OF URGENT ACTIVITY, THE OPERATORS TRACK A U.F.O.

ALEC FREEMAN CHECKS A READOUT, MOVES OVER TO A TRACKER SCREEN.

ON FORD

FORD
They're still maintaining course...

ON FREEMAN

CONCERNED.

FREEMAN
Termination?

FORD
Should be through any second.

FREEMAN
What happened to the interceptors?

FORD
They didn't make contact.

FREEMAN REACTS.

FORD
They're coming in too fast...

ON FORD

FOLLOWING THE UFO'S ON HIS TRACKER SCREEN.

CUT TO:

8 EXT. SPACE. (VE) 6 SECS

A UFO PASSES THROUGH FRAME. HOLD THE SHOT AND ANOTHER COMES INTO CAMERA FOLLOWING THE FIRST.

CUT TO:

9 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 27 SECS

ON FORD AND FREEMAN.

LT. ELLIS' VOICE COMES OVER.

GAY
Moonbase to control. Speed SOL 1.4.

THEY REACT, IT IS MUCH TOO FAST.

ON FORD

INTENT ON HIS SCREEN

FORD
They're changing course.

WIDER ANGLE

FREEMAN LEANS CLOSE OVER FORD.

FORD
Correction... one maintaining flight path... the second... new course 042 183!

ON FREEMAN

FREEMAN
One's veered off...

HE IS PUZZLED.

CUT TO:

10 EXT. SPACE. (VE) 4 SECS

ONE UFO ONLY NOW HEADS TOWARDS THE EARTH.

SUPERIMPOSE UFO CREDIT.

CUT TO:

11 EXT. HOUSE. DAY. (LOCATION) 9 SECS

STRAKER'S CAR PULLS INTO THE DRIVEWAY AND STOPS OUTSIDE THE FRONT DOOR.

CUT TO:

12 INT. CAR. DAY. (STUDIO) 10 SECS

JOHN
I'll go and get the boat... wait for me, Dad.

STRAKER SMILES AND NODS YES. JOHN GOES TO GET OUT OF THE CAR.

CUT TO:

13 EXT. DOOR. DAY. (STUDIO OR LOCATION) 88 SECS

THE DOOR IS OPENED BY MARY, STRAKER'S EX-WIFE. SHE HAS HEARD THE CAR. JOHN DIVES IN PAST HIS MOTHER. MARY LOOKS OVER TO:

ON STRAKER

STANDING OUTSIDE HIS CAR.

STRAKER
Hello, Mary.

ON MARY

MARY
(gentle)
Hello, Ed...

HE HARDENS.

MARY
You're late...

TWO SHOT

STRAKER
Yes, it was such a great day. I thought an extra half hour...

A VOICE FROM INSIDE THE HOUSE.

RUTLAND (VO)
Mary...

MARY GLANCES BACK INTO THE HOUSE.

MARY
Can you make it a week later next month... the 18th?

STRAKER
Right, the 18th... Listen, I'd like to talk to you about John. Is he...

MARY
(interrupting)
No. He's fine... we're both fine.

ON MARY

RUTLAND (VO)
(more urgent)
Mary...

SHE NOW INCLUDES HER NEW HUSBAND, RUTLAND, WHO JOINS HER AT THE DOOR.

MARY
We're all perfectly alright.

ON STRAKER

A LONG PAUSE

STRAKER
Right.

TWO SHOT:

A LONG PAUSE.
MARY
Goodbye, Ed.

STRAKER
Er... John wanted to show me something.

MARY
I think you'd better go... I'll explain to John.

ON STRAKER

THERE IS NOTHING HE CAN SAY. HE GIVES A RESIGNED NOD AND WALKS TOWARDS HIS CAR.

ON MARY

SHE WATCHES AS WE HEAR THE CAR START UP AND MOVE AWAY. HER FACE SOFTENS, SHE STILL HAS FEELINGS FOR STRAKER. JOHN APPEARS ROUND HER LEGS CARRYING THE MODEL BOAT.

HE REACTS

JOHN
Dad's going...

MARY RESTS A HAND ON HIS SHOULDER.

MARY
He had to leave... he'll see you next month.

CUT TO:

14 EXT. HOUSE. DAY. (LOCATION) 4 SECS

FROM THEIR POV, STRAKER'S CAR STOPPED AT THE END OF THE DRIVE WAITING TO GO INTO THE ROAD. IT STARTS FORWARD.

CUT TO:

15 EXT. DOOR. DAY. (STUDIO OR LOCATION) 4 SECS

JOHN RUNS FORWARD AVOIDING HIS MOTHER'S RESTRAINING HAND.

MARY
John...

CUT TO:

16 EXT. ROAD. DAY. (LOCATION) 6 SECS

JOHN COMES RUNNING OUT OF THE DRIVE INTO THE ROAD. HE TURNS TO A TERRIBLE SCREECH OF BRAKES.

CS - CAR

LOOMING UP, BRAKES SCREAMING. A SICKENING THUD AND SOUND OF BREAKING GLASS.

ON DRIVER

THROUGH THE WINDSCREEN. HORRORSTRUCK.

CUT TO:

17 INT. STRAKER'S CAR. DAY. (LOCATION) 4 SECS

STRAKER HAS STOPPED HIS CAR... HE LOOKS BACK IN APPALLING DISBELIEF.

CUT TO:

18 EXT. DOOR. DAY. (STUDIO OR LOCATION) 4 SECS

ON MARY, MOVING QUICKLY FORWARD, STIFLING A SCREAM.

CUT TO:

19 EXT. CAR. DAY. (LOCATION) 28 SECS

ON THE FRONT OF THE CAR. JOHN'S BODY LIES IN THE ROAD HALF UNDERNEATH, THE GLASS FROM A BROKEN HEADLAMP LIES AROUND. OVER WE HEAR THE SOUND OF URGENT, RUNNING FEET AND A CAR DOOR SLAMMING.

DRIVER (VO)
He ran out... I couldn't do a thing... he just came running out.

MARY (VO)
John... Oh, my God!

ANOTHER ANGLE

THE DRIVER AND MARY CROUCH DOWN AT THE FRONT OF THE CAR.

MARY
John...

DRIVER
I couldn't stop... he just came running out.

STRAKER COMES INTO SHOT.

ON STRAKER

HIS FACE CONTORTED, STARING DOWN.

POV SHOT

FROM STRAKER'S POV

ZOOM IN FAST. THERE IN THE ROAD LIES THE BROKEN MODEL OF THE BOAT.

MAIN TITLES

1) AMBULANCE UP AND PAST

2) JOHN INTO AMBULANCE ON STRETCHER

3) MARY AND RUTLAND INTO AMBULANCE. STRAKER ALONE.

4) AMBULANCE UP AND PAST, FOLLOWED BY STRAKER'S CAR.

5) STRAKER IN HIS CAR

6) AMBULANCE ARRIVES AT HOSPITAL, STRAKER'S CAR IN B.G.

7) JOHN LIFTED OUT OF AMBULANCE.

8) JOHN ALONG CORRIDOR.


CUT TO:

20 INT. HOSPITAL WAITING AREA. DAY. (STUDIO) 25 SECS

START CLOSE ON STRAKER, LEANING FORWARD, HAND ON FOREHEAD, AS HE SITS IN THE HOSPITAL WAITING AREA.

ANOTHER ANGLE:

MARY AND RUTLAND WAIT OPPOSITE STRAKER. RUTLAND IS AROUND 45, MARY PROBABLY MARRIED HIM OUT OF LONELINESS MORE THAN ANYTHING ELSE.

HE DOESN'T LIKE STRAKER, SENSING MARY STILL HAS A LOT OF AFFECTION LEFT FOR HIM. STRAKER DOESN'T LIKE RUTLAND FOR OBVIOUS REASONS.

MARY IS STUNNED WITH GRIEF. RUTLAND SITS AT HER SIDE, SMOKING.

ON STRAKER

LOOKING ACROSS AT MARY, THINKING WHY DOESN'T THE STUPID SLOB TRY AND COMFORT HER. HE REACTS AND LOOKS UP AS A DOOR OPENS.

ON NURSE

SHE QUICKLY GLANCES AROUND, USED TO THE ATMOSPHERE OF GRIEF.

NURSE
The doctor will see you in a moment. They came out of the theatre ten minutes ago.

ON STRAKER

HE HAS STOOD UP

ON NURSE

THE NURSE ANSWERS THE UNSPOKEN QUESTION.

NURSE
He's as well as can be expected.

THE WAY SHE SAYS IT LEAVES AN AIR OF DOUBT.

ON GROUP:

THE NURSE WALKS OUT OF SHOT. STRAKER LOOKS ACROSS AT MARY.

CUT TO:

21 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 17 SECS

ON FREEMAN

HE WALKS ALONG THE CONTROL ROOM THEN WHIPS ROUND AS -

FORD (VO)
Termination coming through...

ON AYESHA

LOOKING AT SCREEN.

AYESHA
Ireland... West coast.

ON FORD

FORD
It's still coming in too fast.

ON AYESHA

AYESHA
Range 7,000,000

CUT TO:

22 INT. MOONBASE CONTROL (STUDIO) 18 SECS

ON GAY AND NINA AT TRACKER CONSOLE.

NINA
Speed SOL 1.4... not reducing.

GAY
Check it.

NINA CHECKS THE INSTRUMENTATION.

NINA
Confirm 1.4.

GAY WALKS OVER TO HER CONSOLE.

ON GAY

SHE ACTIVATES THE EARTH LINK.

GAY
We still have it... but the velocity is far too high.

CUT TO:

23 EXT. SPACE. (VE) 5 SECS

THE UFO SPEEDING TOWARDS THE EARTH.

CUT TO:

24 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 16 SECS

FREEMAN WATCHES AS THE OPERATORS CONTINUE TO TRACK THE U.F.O.

AYESHA
Range 84,000.

ON FREEMAN

HE RUBS HIS CHIN. A NERVOUS MOVEMENT.

WIDER ANGLE

FREEMAN TURNS TO FORD.

FREEMAN
It must slow soon...

AYESHA
Range 28,000... 27,000... 26,000...

CUT TO:

25 EXT. SPACE. (VE) 6 SECS

THE UFO COMING IN, THE SPACE SKY CHANGING AS IT NEARS THE EARTH.

CUT TO:

26 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 24 SECS

THE TENSE ATMOSPHERE IS MAINTAINED.

AYESHA
20,000... 19,000... reducing speed.

ON FREEMAN AND FORD

HE BARKS OUT THE ORDER -

FREEMAN
Alert ground radar.

FORD
All radar stations, areas B.142 and 144 - Red Alert. I say again, Red Alert.

CUT TO:

27 EXT. STRATOSPHERE. DAY. (VE) 5 SECS

THE UFO HEADING TOWARDS THE EARTH.

CUT TO:

28 INT. HOSPITAL WAITING AREA. DAY. (STUDIO) 177 SECS

MARY LOOKS AT STRAKER, THEN TRIES TO PULL HERSELF TOGETHER, PUSHES BACK A LOCK OF HAIR FROM HER CHEEK.

ON DOCTOR

HE COMES INTO THE WAITING AREA, FAIRLY YOUNG BUT WITH AN EASY AUTHORITATIVE MANNER.

DOCTOR
Mrs. Rutland. I'm Doctor Segal.

GROUP

MARY MOVES FORWARD.

MARY
How is he?

STRAKER WAITS IN THE B.G.

ON DOCTOR

HE IS SERIOUS.

DOCTOR
The boy has a broken right femur and a compound fracture of the tibia and fibula.

HE PAUSES.

DOCTOR
There was serious internal rupture and haemorrhage. He's been given a transfusion.

GROUP SHOT

A LONG SILENCE. THE DOCTOR HAS NOT BEEN COMPLETELY REASSURING.

MARY
May we see him?

DOCTOR
Not for the moment, I'm afraid.

ON DOCTOR

DOCTOR
As you probably know, your son has an allergy to antibiotics.

GROUP SHOT

MARY
Yes, when he was just a baby...

SHE BREAKS OFF AS STRAKER WHO HAS REMAINED IN THE B.G. MOVES FORWARD.

ON STRAKER

STRAKER
When he was three months he was critically ill from a teromicine injection.

GROUP SHOT

THE DOCTOR LOOKS AT STRAKER.

STRAKER
I'm the boy's father...

DOCTOR
I see... Well, the problem is one of elimination. We need to find a suitable antibiotic... It takes time...

STRAKER LOOKS AT MARY, HER FACE TIGHT WITH ANXIETY.

STRAKER
There must be something.

DOCTOR
Well, there's the new American non-alegeretic drug...

STRAKER
Will it do the job?

DOCTOR
It's been fully tested but supplies are still extremely limited.

STRAKER
But available.

DOCTOR
In America yes, but we need it urgently... within the next few hours.

MARY IS NEAR TO BREAKING POINT.

RUTLAND
We could have some flown over. I'll charter a plane if necessary.

DOCTOR
I'm afraid there isn't time.

STRAKER
(quietly)
I'll take care of it.

RUTLAND
What are you talking about? How can you?

STRAKER
(hard)
I said I'll take care of it. He's still my son.

HE TURNS TO THE DOCTOR.

STRAKER
If you'll give me the details, doctor.

THE DOCTOR NODS AND GOES BACK THROUGH THE DOOR.

WE HEAR A BLEEP, STRAKER REACTS AND TAKES A SLIM BLEEPER FROM HIS POCKET AND TURNS IT OFF.

ON STRAKER

HE WALKS OVER TO HIS CHAIR, OPENS A CASE ON THE FLOOR BESIDE IT AND TAKES OUT A RADIO TELEPHONE.

STRAKER
(into phone)
Straker... yes... I'll be there right away.

HE FROWNS AND PUTS THE PHONE AWAY.

GROUP SHOT

STRAKER WALKS BACK TO JOIN MARY AND RUTLAND. THE DOCTOR COMES OUT OF THE DOOR AND HANDS A SLIP OF PAPER TO STRAKER.

DOCTOR
Tell your contact to ask for Doctor Ashley...

STRAKER
Thank you.

HE TURNS TO MARY.

STRAKER
I have to leave.

MARY
(bitter)
You always had to leave... 

ON STRAKER

REMEMBERING THE OLD TIMES, THE BROKEN DATES, WORKING ALL HOURS OF THE DAY AND NIGHT. THE EXCUSES... THE ROWS. HE TURNS AND WALKS AWAY.

ON MARY

WATCHING HIM GO. ALSO THINKING OF THE OLD TIMES.

ON RUTLAND.

SENSING THE FEELING BETWEEN THEM, AND TRYING TO HIT AT STRAKER.

RUTLAND
We'll stay and see the boy through, Mary.

CUT TO:

29 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 17 SECS

FREEMAN HAS MOVED OVER TO STAND BY FORD.

FORD
4,800 miles from impact.

FREEMAN
Speed?

FORD
24,000 knots...

ON FREEMAN

FREEMAN
It's going to crash.

CUT TO:

30 EXT. U.F.O. DAY. (VE) 5 SECS

ROARING DOWN TOWARDS THE EARTH.

CUT TO:

31 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 7 SECS

FORD
We have it on ground radar... impact minus ten seconds.

CUT TO:

32 EXT. U.F.O. DAY (VE) 5 SECS

IT LEVELS OUT.

CUT TO:

33 EXT. IRELAND. DAY. (VE) 7 SECS

WE ARE SOMEWHERE IN THE WILD UNINHABITED WEST OF IRELAND. WE SEE A CAPSULE EJECT FROM THE U.F.O. THEN THE U.F.O. CRASHES IN THE SEA.

CUT TO:

34 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 50 SECS

FORD
Impact confirmed...

FREEMAN
Do we have a fix... ?

FORD
Yes, sir.

FREEMAN
Where's Skydiver?

FORD
Sky 1 could be there in... around twenty minutes.

FREEMAN
Tell Foster to overfly the area...

FORD
Yes, sir.

FORD NODS TO AYESHA IN B.G.

TWO SHOT

FORD AND FREEMAN

AYESHA (VO in BG)
This is Shado Control to Skydiver. Sky 1 immediate launch, proceed to Area B.142 - 08.

FREEMAN
It's crazy - coming in at that speed.

FORD
Could it have been damaged?

FREEMAN
I don't see how. The interceptors didn't get near it.

FORD
Well the aliens don't usually make that kind of mistake.

FREEMAN
At least it shows they're fallible.

FORD NODS.

CUT TO:

35 EXT. ROAD. DAY. (LOCATION) 6 SECS

STRAKER'S CAR UP AND PAST.

CUT TO:

36 INT. CAR. DAY. (STUDIO) 15 SECS

STRAKER IS ON THE CAR PHONE TO MISS EALAND.

STRAKER
Miss Ealand.

MISS EALAND (VO)
Yes, sir.

STRAKER
Contact New York. I want a special courier to pick up a drug from the Westmore Hospital... Take down the details...

CUT TO:

37 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS

WE SEE FOSTER COME UP INTO THE COCKPIT OF SKY 1.

CUT TO:

38 INT. SKY 1 (UNDERWATER) (STUDIO) 10 SECS

FOSTER CHECKS HIS INSTRUMENTS, THEN:

FOSTER
Launch Stations...

CUT TO:

39 INT. SKYDIVER CONTROL (UNDERWATER) (STUDIO) 10 SECS

WE FEATURE MAXWELL.

MAXWELL
Blow one and two.

HOWELL
Yes, sir.

WE HEAR THE BALLAST TANKS BLOW.

CUT TO:

40 EXT. SKYDIVER UNDERWATER (VE) 5 SECS

THE FUTURISTIC SUBMARINE ANGLES UP TOWARDS THE SURFACE.

CUT TO:

41 INT. SKY 1. (UNDERWATER) (STUDIO) 4 SECS

FOSTER
Lift off stations.

CUT TO:

42 INT. SKYDIVER (UNDERWATER) (STUDIO) 15 SECS

AGAIN WE FEATURE MAXWELL

MAXWELL
Lift off stations.

THE CREW HURRY INTO THE WELL DRILLED PROCEDURE.

MAXWELL
Lift off minus five... four... three... two... one...

CUT TO:

43 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS

SKY 1 BURSTS AWAY AND HEADS FOR THE SURFACE.

CUT TO:

44 EXT. SEA. DAY. (VE) 5 SECS

SKY 1 BREAKS THE SURFACE AND SPEEDS SKYWARDS.

CUT TO:

45 INT. SKY 1. DAY. (STUDIO) 10 SECS

FOSTER
Sky 1 airborne... proceeding to search area... ETA 21 minutes.

CUT TO:

46 EXT. SKY. DAY. (VE) 5 SECS


SKY 1 LEVELS OFF AND FLIES OUT OF SHOT.

CUT TO:

47 EXT. STUDIO. DAY. (LOCATION) (STOCK) 6 SECS

STRAKER'S CAR PULLS UP OUTSIDE THE STUDIO.

CUT TO:

48 INT. MISS EALAND'S OFFICE. DAY. (STUDIO) 20 SECS

START ON MISS EALAND. PAN TO THE DOOR AS STRAKER COMES INTO THE OFFICE.

STRAKER
Has that drug been picked up, Miss Ealand?

MISS EALAND
Yes, sir. They're taking it straight to the airport.

STRAKER
Fine. I'll make the arrangements with the transporter.

MISS EALAND
Yes, sir.

STRAKER MOVES QUICKLY TO HIS INNER OFFICE. THE LIGHTED PANEL CHANGES TO ENTER, THE ELECTRONIC BOLTS SLIDE BACK AND STRAKER GOES IN.

CUT TO:

49 INT. STRAKER'S INNER OFFICE. DAY. (STUDIO) 22 SECS

STRAKER COMES IN AND OPENS THE CIGARETTE BOX.

STRAKER
Straker...

THE VOICEPRINT MECHANISM WHIRRS.

VOICEPRINT (VO)
Identification positive... Commander Straker.

ON WINDOW

THE ROOM STARTS TO DESCEND.

ON STRAKER

WORRIED, FROWNING, THINKING OF HIS SON.

CUT TO:

50 INT. SHADO UNDERGROUND CORRIDOR (STUDIO) 8 SECS

STRAKER WALKS TOWARDS THE CONTROL. HE STOPS AS A MESSENGER ON THE FUTURISTIC SCOOTER GOES PAST. THEN WALKS ON.

CUT TO:

51 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 25 SECS

STRAKER COMES IN.

STRAKER
What's the situation, Alec?

FREEMAN JOINS HIM AS THEY WALK ACROSS THE CONTROL ROOM TO STRAKER'S UNDERGROUND OFFICE.

FREEMAN
Two UFO's. One veered off 10 million miles out. The other crashed... Western Ireland.

STRAKER REACTS.

FREEMAN
Its entry speed was too high.

THEY GO INTO STRAKER'S OFFICE.

CUT TO:

52 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 95 SECS

FREEMAN AND STRAKER.

FREEMAN
Sky 1 is on its way to search for the wreckage, though I doubt if there'll be much left to see.

ON STRAKER

STRAKER
Fine.

HE SEEMS PREOCCUPIED.

TWO SHOT

FREEMAN
Everything alright?

STRAKER
Is it ever?

ON FREEMAN

FREEMAN
Well... I'm going to grab a bite to eat... join me?

ON STRAKER

STRAKER
Hmm... no, I'm fine. You go ahead.

ON FREEMAN

STILL A LITTLE CONCERNED AT STRAKER.

FREEMAN
Right... I'll see you later...

TWO SHOT

FREEMAN WALKS TO THE DOORWAY, LOOKS BACK AT STRAKER WHO AGAIN IS LOST IN THOUGHT. FREEMAN GOES OUT.

ON STRAKER

HE FLICKS AN INTERCOM.

STRAKER
Tell the Transporter in New York to stand by for immediate take-off.

FORD (VO)
But it isn't due to leave for another seven hours, sir.

STRAKER
(hard)
I believe I said immediate take-off.

FORD (VO)
Yes, sir.

HE SNAPS DOWN THE INTERCOM AND FLICKS UP ANOTHER SWITCH.

STRAKER
No calls, Miss Ealand. And get me 014-212.

STRAKER WAITS IMPATIENTLY FOR THE PHONE TO RING. WHEN IT DOES HE GRABS IT FAST.

STRAKER
Intensive Care Unit please... I'm enquiring about a patient... a young boy... John Straker... But there must be... John Rutland, yes he could be under that name... no change... Thank you.

HE SLOWLY PUTS DOWN THE PHONE. HIS OWN SON NO LONGER USES HIS NAME. AS WE TRACK SLOWLY IN, THE ANXIETY, THE DEEP HURT, SHOW ON HIS FACE IN THIS MOMENT OF PRIVATE MISERY.

CUT TO:

53 INT. PRIVATE ROOM. HOSPITAL. DAY. (STUDIO) 18 SECS

A SIMPLE SET. THE NURSE SITS AT JOHN'S SIDE. A SALINE DRIP FEEDS INTO HIS MOTIONLESS BODY. VARIOUS BIO SENSORS REGISTER ON SCOPES ETC., BY THE BED.

TRACK IN ON JOHN'S ASHEN FACE.

CUT TO:

54 EXT. SKY 1. DAY. (VE) 5 SECS

IN LEVEL FLIGHT.

CUT TO:

55 INT. SKY 1. DAY. (STUDIO) 18 SECS

FOSTER LOOKS DOWN TOWARDS THE GROUND.

FOSTER
Sky 1 to control... looks like it crashed about a hundred yards off shore. It's an underwater job.

MAXWELL (VO)
Right up your street, sir.

KARLIN
Yeah. The light's fading but there's time for one more sweep.

CUT TO:

56 EXT. SKY 1. DAY. (VE) 5 SECS

SKY 1 STARTS TO BANK.

CUT TO:

57 EXT. COUNTRYSIDE. NIGHT. (LOC. OR VE) 5 SECS

WE ESTABLISH AN ISOLATED COTTAGE. THE SOUND OF SKY 1 OVERHEAD TELLS US WE ARE IN WESTERN IRELAND.

CUT TO:

58 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS

AN OLDE WORLDE COTTAGE. A LOG FIRE BURNS IN THE GRATE.

A YOUNG COUNTRY DOCTOR, FRASER, HAS JUST FINISHED A ROUTINE EXAMINATION OF AN OLD LADY.

FRASER
Well, Mrs. O'Connor, there's not a lot wrong with you.

MRS. O'CONNOR
I could have told you that myself, doctor.

FRASER
I'm sure you could. Well, I'll call in next time I'm passing.

MRS. O'CONNOR
Won't you be stopping for a cup of tea?

FRASER
No thanks. It's pretty late and I have to get over to the Reagan farm.

THE DOCTOR HAS PACKED HIS THINGS BACK IN HIS CASE.

MRS. O'CONNOR
I'll see you to the door. I have to treat my gentlemen callers with great respect or else they won't come back.

MRS. O'CONNOR LEADS THE WAY TOWARDS THE DOOR.

ON FRASER.

SHAKING HIS HEAD, MARVELLING AT THE OLD LADY AS SHE WALKS TO THE DOOR.

CUT TO:

59 EXT. DOOR. NIGHT. (STUDIOR OR LOC.) 26 SECS

IT OPENS.

ON MRS. O'CONNOR

HEAD TILTED SLIGHTLY SKYWARD, HER BLUE EYES TWINKLING.

MRS. O'CONNOR
It's a fine evening, smell the honeysuckle ...

ON FRASER

HIS ADMIRATION APPARENT.

FRASER
Goodbye, Mrs. O'Connor.

HE WALKS O.S.

ON MRS. O'CONNOR

MRS. O'CONNOR
God bless you, doctor.

WE HEAR THE DOCTOR'S FOOTSTEPS ON THE GRAVEL. MRS. O'CONNOR SCREWS UP HER EYES A LITTLE.

MRS. O'CONNOR
(raising her voice a little)
Goodbye.

FRASER (VO)
Bye.

WE HEAR A CAR DOOR SLAM.

CUT TO:

60 INT. COTTAGE. NIGHT. (STUDIO) 56 SECS

MRS. O'CONNOR COMES BACK IN CLOSING THE FRONT DOOR. A BIRD IN A CAGE STARTS TO CHIRP. WE HEAR THE CAR DRIVE AWAY.

BIRD (VO)
Lovely day... lovely day… lovely day.

MRS. O'CONNOR LOOKS OVER TO THE CAGE.

MRS. O'CONNOR
Oh, go way ou'a that ! You decide to talk when the company's gone. It's always the same.

ON MRS. O'CONNOR

MRS. O'CONNOR
Such a nice young man. You're a naughty boy, Billy.

SHE TURNS OUT THE LIGHT, THE ROOM GLOWS IN THE FIRELIGHT.

THE OLD LADY GOES TO A ROCKING CHAIR AND SITS.

ON MRS. O'CONNOR

ROCKING GENTLY. EYES CLOSED, THE LIGHT FLICKERING ON HER FACE.

A SOUND FROM OUTSIDE. SHE OPENS HER EYES. THE SOUND AGAIN.

MRS. O'CONNOR
(not frightened)
Did you hear that, Billy? Who is it Billy... ?

SHE STANDS UP.

CUT TO:

61 EXT. DOOR. NIGHT. (STUDIO OR LOCATION) 35 SECS

AS WE HEAR A NOISE FROM INSIDE THE COTTAGE A FIGURE MOVES QUICKLY BACK INTO THE SHADOWS.

THE DOOR OPENS, MRS. O'CONNOR LOOKS OUT.

MRS. O'CONNOR
(no fear in the voice)
Is anyone there?

SHE LEANS TO THE SIDE AND TURNS ON AN OUTSIDE LIGHT.

ON ALIEN

HIS FACE CAUGHT IN THE SPILL OF LIGHT FROM THE DOOR, THE EYES OPAQUE AND WEIRD.

ON MRS. O'CONNOR.

MRS. O'CONNOR
I know there's someone there.

ON ALIEN

MOVING SLOWLY CAREFULLY TOWARDS MRS. O'CONNOR. HER HEAD IS TURNED AWAY FROM HIM. HE FREEZES THREE FEET FROM HER AS SHE TURNS TO LOOK STRAIGHT AT HIM.

ON MRS. O'CONNOR.

CLOSE ON HER FACE, THERE IS NO TRACE OF THE EXPECTED HORROR.

MRS. O'CONNOR
Ah... you'll have to excuse me. I'm blind, you understand.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

62 INT. COTTAGE. NIGHT. (STUDIO) 57 SECS

START CLOSE ON THE BIRD, HIS FEATHERS ALL PUFFED UP. SOMEHOW HE KNOWS THE STRANGER IS ALIEN.

WIDER ANGLE

MRS. O'CONNOR SITS IN HER CHAIR. HER SIGHTLESS EYES HAVE THE STRANGE BRIGHTNESS OF MANY BLIND PEOPLE.

THE ALIEN IS MOVING AROUND THE ROOM. WE SEE HIS LEFT ARM IS INJURED. A DARK STAIN OF BLOOD HAS SEEPED THROUGH HIS SPACESUIT. THE ONLY LIGHT FROM THE FIRE, IT IS THE SAME FOR ALL THE COTTAGE SCENES. HE IS LOOKING AROUND, PICKING UP AN OBJECT HERE AND THERE. HE REPLACES A VASE WITH A SLIGHT SOUND.

ON MRS. O'CONNOR

SHE TURNS QUICKLY TO THE DIRECTION OF THE SOUND.

ON ALIEN

HE LOOKS AT THE OLD LADY, THEN MOVES ON.

ON MRS. O'CONNOR

A LONG PAUSE, THE OLD LADY BRAVELY FIGHTING HER FEAR.

MRS. O'CONNOR
What are you doing... What are you looking for? There's nothing of value here.

WIDER ANGLE

THE ALIEN MOVES ON MAKING A SLIGHT SOUND.

ON MRS. O'CONNOR

SHE REACTS, WAITING, TENSE...

ON ALIEN

HE MOVES FORWARD WEIRD AND MENACING IN THE FLICKERING FIRELIGHT.

CUT TO:

63 EXT. AIRPORT. NIGHT. (VE) 8 SECS

A SHADO TRANSPORTER TAKES OFF FROM A U.S.A. EAST COAST AIRFIELD.

CUT TO:

64 INT. PRIVATE ROOM HOSPITAL. (NIGHT) (STUDIO) 18 SECS

THE NURSE IS BY THE BEDSIDE AS BEFORE; SHE IS CHECKING THE VISUAL READOUTS FROM THE BIO-SENSORS. SHE GLANCES AT THE BOY, HE LIES WHITE AND MOTIONLESS. THE NURSE GLANCES AT HER WATCH.

CUT TO:

65 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 32 SECS

START CLOSE ON A WALL TELEPHONE AS IT BUZZES.

WIDER ANGLE

MARY LOOKS SLOWLY UP, HER FACE GREY WITH WORRY. BESIDE HER RUTLAND SLEEPS.

A NURSE COMES OUT OF THE DOORWAY AND ANSWERS THE PHONE.

NURSE
(into phone)
A block, night nurse speaking... yes, she's still here.

THE NURSE WALKS OVER TO MARY.

NURSE
For you.

THE NURSE SMILES REASSURINGLY AND GOES BACK THROUGH THE DOORWAY.

ON MARY

SHE GETS UP, WONDERING WHO CAN BE CALLING, AND WALKS TO THE PHONE.

MARY
Yes... Oh, it's you, Ed.

SHE IS RELIEVED.

MARY
No, there's no news.

CUT TO:

66 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 5 SECS

STRAKER AT HIS DESK ON THE PHONE.

STRAKER
...The drug is on its way. Everything will be all right.

CUT TO:

67 INT. HOSPITAL WAITING AREA. NIGHT. 20 SECS

MARY
Yes... Yes, I will... No, I'm fine... I want to stay here... Alright, - but don't let Johnny down this time, Ed...

SHE IS CLOSE TO BREAKING DOWN.

MARY
Don't let us down... I believe you... Bye.

CUT TO:

68 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 48 SECS

STRAKER SLOWLY REPLACES THE PHONE. HE WANTS WHAT IS NO LONGER HIS.

HE FLICKS THE INTERCOM.

STRAKER
(hard)
Where's that Transporter?

FORD (VO)
Just taken off, sir. ETA London, 23.30 hours.

STRAKER
I want a car and escort at the airport to meet it.

FORD (VO)
Yes, sir.

STRAKER FLICKS THE INTERCOM. HE CLENCHES HIS FISTS AND BOWS HIS HEAD.

ON DOORWAY

FREEMAN COMES IN.

TWO SHOT

STRAKER PULLS HIMSELF TOGETHER, BUT FREEMAN HAS NOTICED.

FREEMAN
Great steak... medium rare... with a side order of salad.

STRAKER
Sounds very appetising.

FREEMAN
It was... it certainly was.
(a pause)
Look, er, it's pretty quiet, why don't you go home, watch the late show.

ON STRAKER

THERE IS NO SELF PITY IN HIS VOICE, IT'S JUST A PLAIN STATEMENT OF FACT.

STRAKER
I don't have a home... just a place I live in...

CUT TO:

69 INT. COTTAGE. NIGHT. (STUDIO) 45 SECS

START ON MRS. O'CONNOR IN HER ROCKING CHAIR. SHE LOOKS TO ONE SIDE ANGLING HER HEAD A LITTLE TRYING TO CATCH A SOUND. PAN TO THE ALIEN.

ON ALIEN

HE SITS AT A TABLE ASSEMBLING A STRANGE DEVICE WHICH WE WILL LATER SEE IS A POWERFUL TRANSMITTER.

ON MRS. O'CONNOR

SHE GETS UP AND STARTS TO EDGE FORWARD. FEELING OUT WITH HER HAND. WE SEE WHAT SHE IS GROPING FOR A TELEPHONE.

ON ALIEN

CONCENTRATING ON HIS WORK.

ON MRS. O'CONNOR

HER HAND FEELING FOR THE PHONE, SHE FINDS IT. FREEZES A MOMENT, LISTENING HARD.

ON ALIEN

NOT LOOKING UP.

ON MRS. O'CONNOR

SHE LIFTS THE RECEIVER. JUST AS SHE IS ABOUT TO SPEAK, THE ALIEN'S HAND COMES VERY FAST INTO SHOT AND TAKES THE RECEIVER GENTLY BUT FIRMLY.

MRS. O'CONNOR
(A stifled scream)

WIDER ANGLE

THE ALIEN REPLACES THE RECEIVER. MRS. O'CONNOR WALKS SLOWLY BACK TO HER CHAIR, THE ALIEN FOLLOWS.

MRS. O'CONNOR
Who are you? What do you want from me?

ON ALIEN

CLOSE ON HIS WEIRD OPAQUE EYES.

CUT TO:

70 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 90 SECS

FREEMAN LEANS OVER FORD AT HIS CONSOLE.

FREEMAN
What's the position, Paul?

FOSTER (VO)
Well, we've confirmed the UFO crashed in the sea. Skydiver will be there in about 20 minutes. We'll start looking for wreckage right away.

FREEMAN
Fine. Contact us the moment you have anything.

FOSTER (VO)
Roger and out.

ON FREEMAN AS HE WALKS OVER TO STRAKER

FREEMAN
I still can't figure why it came in so fast.

STRAKER
To avoid the interceptors?

ON FREEMAN

FREEMAN
Possible. But once it was past Moonbase, it still had plenty of time to decelerate.

SAME ANGLE AS TWO SHOT

HE REACTS, STRAKER HAS WALKED OFF TO FORD -

ON FORD

STRAKER STANDS AT HIS SIDE, POINTS TO THE SCREEN.

STRAKER
The Transporter?

FORD
Yes, sir. 23.30 hours confirmed as ETA.

ON STRAKER

LOOKING AT WATCH.

STRAKER
Have my car outside in 30 minutes. I'm going... home.

HE WALKS TO THE DOOR OF HIS OFFICE, BUT STOPS AND TURNS BACK TO SPEAK TO FREEMAN.

STRAKER
Maybe that UFO was trying to decelerate but couldn't because it had been hit.

ON FREEMAN

FREEMAN
The interceptors were way out. What else could have done it?

ON STRAKER

STRAKER
The second UFO. The one that veered off.

HE GOES INTO HIS OFFICE.

ON FREEMAN

THE IDEA SEEMS RIDICULOUS, BUT SOMEHOW IT WORRIES HIM.

TWO SHOT

FREEMAN SPEAKS TO FORD.

FREEMAN
Tell Colonel Foster to keep a look out for any wreckage with signs of damage not consistent with the crash.

FORD
Right, sir.

CUT TO:

71 EXT. SKYDIVER (UNDERWATER) NIGHT (VE) 8 SECS

ITS POWERFUL UNDERWATER LIGHT IS ON AS IT SEARCHES THE SEA BOTTOM.

CUT TO:

72 INT. SKYDIVER CONTROL (UNDERWATER) (STUDIO) 26 SECS

FOSTER STUDIES A CHART. HE LOOKS UP TO MAXWELL.

FOSTER (VO)
Anything?

MAXWELL
Not a sign.

FOSTER
Steer 042.

MAXWELL
Yes, sir.

HE MOVES A CONTROL.

MAXWELL
042 it is.

CUT TO:

73 EXT. SKYDIVER. (UNDERWATER) (VE) 6 SECS

SEARCHING AS BEFORE.

CUT TO:

74 INT. COTTAGE. NIGHT. (STUDIO) 126 SECS

THE ALIEN SITS WORKING ON THE DEVICE.

ON BIRD

STILL AWAKE AND FRIGHTENED, FEATHERS PUFFED UP.

ON MRS. O'CONNOR

SHE STANDS UP AND BEGINS TO MOVE SLOWLY, CAREFULLY TOWARDS THE FRONT DOOR. SHE LOOKS OVER TO -

POV SHOT

THE ALIEN

ON MRS. O'CONNOR

SHE MOVES FORWARD TO THE DOOR. SLOWLY BEGINS TO OPEN IT.

ON ALIEN

HE LOOKS UP, REACTS, AND MOVES FORWARD.

ON DOOR

MRS. O'CONNOR GOES TO MOVE OUT. BUT THE ALIEN MOVES INTO SHOT AND SMASHES THE DOOR SHUT WITH THE PALM OF HIS HAND.

ON MRS. O'CONNOR

A SHARP INTAKE OF BREATH. SHE STANDS QUITE STILL. BEHIND HER SIGHTLESS EYES SHE FEARS THE WORST. WE HEAR THE KEY TURNED IN THE LOCK AND THE BOLTS DRAWN.

THEN THE ALIEN LEADS MRS. O'CONNOR OVER TO WHERE HE HAS BEEN WORKING.

ON ALIEN

HE LEANS IN AND ACTIVATES THE DEVICE. IT BEGINS TO GLOW.

ON MRS. O'CONNOR

MRS. O'CONNOR
What are you doing...

LOOKING UP IN HER BLINDNESS.

MRS. O'CONNOR
Why don't you answer? Who are you? Why don't you speak?

ON ALIEN

MOTIONLESS

ON MRS. O'CONNOR

MRS. O'CONNOR
Why don't you leave me. Why don't you leave my house.

ON DEVICE

GLOWING AS IT TRANSMITS.

CUT TO:

75 INT. PRIVATE ROOM. HOSPITAL. (NIGHT) (STUDIO) 22 SECS

START ON JOHN STRAKER, HIS CONDITION HAS NOT CHANGED.

PAN TO THE DOOR AS THE DOCTOR COMES IN. HE MOVES TO THE BED QUICKLY, EXPERTLY CHECKS THE BOY.

HE GOES ROUND TO THE NURSE.

TWO SHOT

THE DOCTOR CHECKS HIS WATCH. THEY EXCHANGE A LOOK. TIME IS RUNNING OUT.

ON JOHN

CLOSE ON HIS FACE

CUT TO:

76 EXT. SKY. NIGHT. (VE) 6 SECS

THE TRANSPORTER IN LEVEL FLIGHT SOMEWHERE OVER THE ATLANTIC.

CUT TO:

77 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 51 SECS

STRAKER CHECKS THE TIME, THEN GOES AS IF TO LIFT THE PHONE, BUT STOPS AS FREEMAN COMES IN.

FREEMAN
I'd like you to hear something.

STRAKER GIVES HIM A QUESTIONING LOOK.

FREEMAN
It's important.

STRAKER NODS, FREEMAN LEANS OVER THE DESK AND FLICKS THE INTERCOM.

FREEMAN
Play it back.

FORD (VO)
Yes, sir.

A TAPE IS PLAYED OVER.

MRS. O'CONNOR (VO)
Why don't you leave me. Why don't you leave my house?

FREEMAN
It cut in three minutes ago on our waveband.

STRAKER
Cut in...

FREEMAN
Clear as a bell. Estimated signal strength 15 hundred mg.

STRAKER
That's as powerful as a medium sized commercial transmitter. Did we get a fix?

ON FREEMAN

FREEMAN
Ireland, the West Coast.

CUT TO:

78 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS

THE ALIEN AND MRS. O'CONNOR AS BEFORE.

THE TRANSMITTING DEVICE EMITS A SLIGHT HUM.

MRS. O'CONNOR
What's that noise?

SHE REACHES OUT A HAND TOWARDS THE DEVICE. THE ALIEN STOPS HER.

TWO SHOT

THE ALIEN STILL HOLDS HER HAND. MRS. O'CONNOR REACHES UP WITH THE OTHER HAND TO TOUCH HIS FACE. THE ALIEN STOPS HER WITH HIS OTHER HAND.

MRS. O'CONNOR
I only wanted to feel your face. Don't you understand, I'm blind.

THE ALIEN STILL HOLDS BOTH HER HANDS.

MRS. O'CONNOR
You're trembling.

CUT TO:

79 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS

CONTINUING ON ITS SEARCH OF THE SEA BED.

CUT TO:

80 INT. SKYDIVER. (UNDERWATER) (STUDIO) 38 SECS

MAXWELL REACTS AT SOMETHING ON THE SCREEN IN FRONT OF HIM

MAXWELL
That could be it. 50 yards ahead, a couple of degrees to port.

ON FOSTER

FOSTER
Stop engines...

ON MAXWELL

FOSTER COMES OVER TO JOIN HIM. THEY STUDY THE SCREEN.

FOSTER
I'll go and take a look.

ON FOSTER
FOSTER
Take her down to the bottom.

MAXWELL (VO)
Yes, sir.

FOSTER
Release a marker buoy and inform control.

FOSTER MOVES TO A COMPARTMENT AND OPENS IT TO SHOW AN UNDERWATER SUIT.

MAXWELL (VO)
This is Skydiver to Control. We have possible sighting of UFO wreckage.

CUT TO:

81 INT. CONTROL ROOM UNDERGROUND (STUDIO) 70 SECS

FREEMAN, STRAKER AND FORD LISTEN INTENTLY AS MRS. O'CONNOR'S VOICE COMES OVER.

MRS. O'CONNOR
Why don't you answer? If you tell me who you are...

ON STRAKER

FROWNING, INTENT ON THE OLD LADY'S VOICE.

MRS. O'CONNOR (VO)
...and what it is you want... I might be able to help.

RESUME SCENE

A LONG PAUSE WHILE THE IMPLICATION SINKS IN.

FREEMAN
I just don't get it. The voice of an old woman coming over on a transmitter powerful enough to cut in on our wavebands...

ON STRAKER

THE SITUATION IS CLOSING IN ON HIM. HE FIGHTS A RISING PANIC.

STRAKER
Maybe it's not her transmitter. Cancel my car...

HE WALKS OVER TO HIS INNER OFFICE.

ON FREEMAN

FREEMAN TURNS TO FORD -

FREEMAN
Did you get a closer fix?

WIDER ANGLE

FORD
No, sir, we'd need to triangulate from ground vehicles in the area.

FREEMAN
And we don't have any... Where's the nearest Transporter?

FORD
There's one over the Atlantic....

HE CHECKS A CHART.

FORD
...200 miles out.

FREEMAN
Flying in from New York?

FORD
Yes, sir.

FREEMAN
But I thought that wasn't due to take off till 14.00 hours.

FORD
No, sir. It's been enroute for 50 minutes. Commander Straker's orders.

CUT TO:

82 EXT. SKYDIVER (UNDERWATER) (VE OR LOC.) 7 SECS

FOSTER IN UNDERWATER SUIT AND CARRYING AN UNDERWATER CAMERA MOVES TOWARDS THE WATER LOCK ON SKYDIVER.

CUT TO:

83 INT. SKYDIVER CONTROL. (UNDERWATER) (STUDIO) 48 SECS

THE CREW AT THEIR POSTS.

MAXWELL
Close outer hatch.

HOWELL ACTIVATES A CONTROL.

HOWELL
Outer hatch closed.

MAXWELL
Evacuate.

HOWELL MOVES ANOTHER CONTROL. WE HEAR THE HISS OF COMPRESSED AIR AS THE WATER IS DRIVEN OUT OF THE WATER LOCK.

ON WATER LOCK DOOR

A RED LIGHT OVER IT CHANGES TO GREEN.

MAXWELL (VO)
Open inner hatch.

THE DOOR SLIDES OPEN TO SHOW FOSTER IN WETSUIT.

HE STEPS INTO THE CONTROL ROOM, REMOVING HIS FACE MASK.

FOSTER
I want those shots developed and radioed to control as soon as possible.

WIDER ANGLE

MAXWELL
How did it look?

FOSTER
Part of the metallic structure has been practically vaporised. I can tell you one thing, it had been fired on by something before it crashed.

CUT TO:

84 INT. STRAKER'S OFFICE UNDERGROUND (STUDIO) 92 SECS

STRAKER AT HIS DESK. HOLD THE SHOT. IN THE PRESENT SITUATION HE CANNOT LEAVE FOR THE HOSPITAL. HIS FACE SHOWS THE STRAIN.

ON DOORWAY

FREEMAN COMES IN.

FREEMAN
Foster just radioed these in.

WIDER ANGLE

FREEMAN CROSSES TO THE DESK AND GIVES STRAKER TWO OR THREE PHOTOGRAPHS.

ON PHOTOS

WE FEATURE ONE. IT IS A MEDIUM CLOSE UP OF A PIECE OF WRECKAGE ON THE SEA BED. SOME OF THE METAL HAS BEEN MELTED BY OBVIOUS TREMENDOUS HEAT.

FREEMAN
Well, there's no doubt about it. The UFO was damaged before it crashed. But what by?

ON STRAKER

HE HASN'T AN ANSWER.

ON FREEMAN

FREEMAN
Let's make a couple of educated guesses. An alien survives the crash, he goes to a house, the occupant is an old lady.

ON STRAKER

THINKING ALONG WITH FREEMAN.

STRAKER
She said she was blind.

FREEMAN
So she thinks he's a man, an intruder possibly. The alien has a transmitter and he beams in on our waveband.

STRAKER
Why?

FREEMAN
We'll find that out when we track him down.

STRAKER
It won't be easy.

FREEMAN
With mobiles in the area, we can pinpoint the exact position.

STRAKER
It will take time to set it up.

FREEMAN
Less than an hour.

STRAKER DOESN'T GET IT.

FREEMAN
We're in luck. A transporter will be landing in minutes.

ON STRAKER

FEARING THE BOTTOM IS ABOUT TO DROP OUT FROM UNDER HIM.

FREEMAN (VO)
The mobiles can move into the area immediately.

ON FREEMAN

FREEMAN
When they are in position we can get a fix on the next transmission...

ON STRAKER

STRAKER
A... Transporter?

ON FREEMAN

HE PAUSES, A LITTLE PUZZLED BY STRAKER'S TONE.

FREEMAN
Yes... The one from New York. You ordered an early take off.

ON STRAKER

HARDLY DARING TO ASK THE QUESTION.

STRAKER
What have you done?

TWO SHOT

FREEMAN
Diverted it... what else?

IT IS OBVIOUS HE DOESN'T KNOW THE SITUATION.

ON STRAKER

STARING AHEAD

FREEMAN (VO)
Is anything wrong?

STRAKER DOESN'T ANSWER.

ON FREEMAN

FREEMAN
I'll contact Foster and tell him to go ashore as field commander

FREEMAN WALKS TO THE DOOR. HE LOOKS BACK AT STRAKER A MOMENT THEN GOES OUT.

ON STRAKER

TRANSFIXED, HARDLY ABLE TO BELIEVE WHAT HE HAS JUST BEEN TOLD. HIS HEAD FALLS FORWARD INTO HIS HANDS.

CUT TO:

85 INT. WAITING AREA HOSPITAL (NIGHT) (STUDIO) 10 SECS

ON MARY, WORN AND WEARY. SHE GLANCES UP AT A WALL CLOCK.

CUT TO:

86 INT. PRIVATE ROOM. (NIGHT) (STUDIO) 12 SECS

START ON JOHN. PAN TO THE NURSE. SHE IS WATCHING THE TWO BIO-SENSORS. HER FACE SHOWS SHE IS WORRIED.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

87 EXT. HOSPITAL. NIGHT. (LOCATION) 5 SECS

TO ESTABLISH

CUT TO:

88 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 30 SECS

START CLOSE ON MARY, HAGGARD FROM THE LONG PAINFUL VIGIL.

SHE LOOKS UP EXPECTANTLY AS THE DOOR OPENS.

A NURSE COMES OUT WITH COFFEE.

WIDER ANGLE

MARY RELAXES BACK

NURSE
I thought you'd like some coffee.

MARY
Thank you.

ON MARY

MARY
What time is it?

ON NURSE

SHE GLANCES UP AT A WALL CLOCK.

NURSE
(gently)
That clock is right.

SHE WALKS BACK THROUGH THE DOOR.

ON MARY

RUTLAND WALKS UP TO HER, HE HAS BEEN OUT TO SEE IF THE DRUG HAS ARRIVED.

HE SHAKES HIS HEAD "NO".

CUT TO:

89 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 10 SECS

STRAKER LOOKS UP, HIS FACE TIGHT WITH ANXIETY. HE PICKS UP A PHONE AND DIALS A NUMBER.

90 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 17 SECS

THE PHONE BUZZES. MARY AND RUTLAND LOOK OVER TO IT.

IT BUZZES AGAIN. RUTLAND GLANCES AT THE DOOR, THEN GETS UP AND WALKS ACROSS AND ANSWERS IT.

RUTLAND
Hello... Yes it's me... No, still the same.

CUT TO:

91 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 11 SECS

STRAKER
There's been a delay... The drug will be there as soon as possible... I know, I know... I'd like to explain to Mary...

CUT TO:

92 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 24 SECS

RUTLAND LOOKS ACROSS AT MARY AND SILENTLY HOLDS THE PHONE OUT TOWARDS HER.

ON MARY

NERVOUSLY TWISTING HER FINGERS. SHE GETS UP AND GOES TO THE PHONE.

TWO SHOT

AS HE GIVES THE PHONE TO MARY

RUTLAND
It's been delayed.

ON MARY

SHE REACTS

MARY
(into phone)
Yes...

SHE LISTENS TO STRAKER'S EXPLANATION. WE DO NOT HEAR WHAT HE IS SAYING BUT PLAY ON MARY'S FACE.

MARY
...but... (a pause) ...Important! What can be more important than your son's life?

CUT TO:

93 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 6 SECS

STRAKER IS, OF COURSE, UNABLE TO EXPLAIN THE SITUATION FULLY.

STRAKER
It isn't like that, - Mary please try and understand.

CUT TO:

94 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 8 SECS

MARY
No, I don't understand. I'll never understand.

SHE SLOWLY LOWERS THE PHONE. RUTLAND TAKES IT FROM HER HAND.

CUT TO:

95 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 5 SECS

STRAKER
Mary... Listen to me, Mary.

CUT TO:

96 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 6 SECS

RUTLAND LOOKS AT THE RECEIVER THEN ACROSS TO MARY. HE PUTS DOWN THE RECEIVER.

CUT TO:

97 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 13 SECS

STRAKER SLOWLY REPLACES HIS RECEIVER, STARING INTO SPACE.

HE OPENS A DRAWER ON HIS DESK.

ON DRAWER

WE SEE A PHOTO OF HIS EX WIFE AND SON.

ON STRAKER:

CUT TO:

98 EXT. AIRFIELD. NIGHT. (VE) 13 SECS

THE TRANSPORTER STOPPED ON AN AIRFIELD IN IRELAND. WE SEE ONE OF THE SHADO MOBILES DRIVE OUT OF THE AIRCRAFT.

TWO OTHERS HAVE ALREADY BEEN UNLOADED AND STAND NEARBY.

CUT TO:

99 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 49 SECS

STRAKER TALKS TO FORD.

STRAKER
Where's the transporter?

FORD
Just landed in Ireland, sir.

STRAKER
The minute it's unloaded I want it back in the air for London.

FORD
Yes, sir.

ON FREEMAN

HE LOOKS OVER AT STRAKER AND WALKS ACROSS TO HIM.

TWO SHOT

FREEMAN
I'm sorry about the Transporter... was it... important?

STRAKER
These things are always a question of priorities.

FREEMAN OBVIOUSLY DOES NOT KNOW THE FULL STORY.

WIDER ANGLE

STRAKER MOVES ACROSS THE CONTROL ROOM, BARKING ORDERS. TRYING TO LOSE HIMSELF IN THE PRESENT OPERATIONS.

STRAKER
Tell the mobiles they don't move in till I give the word.

AYESHA
Yes, sir.

STRAKER
And I want a large scale map of the area.

FORD
Yes, sir.

STRAKER
And get me John Karlin.

CUT TO:

100 EXT. COTTAGE. NIGHT. (LOC. OR V.E.) 5 SECS

TO ESTABLISH.

CUT TO:

101 INT. COTTAGE. NIGHT. (STUDIO) 22 SECS

MRS. O'CONNOR STANDS BY THE BIRD.

MRS. O'CONNOR
It's alright, Billy. Our visitor is a nice man. He doesn't want to hurt us.

ON ALIEN

LOOKING ACROSS AT THE OLD LADY AS HE SITS AT THE TABLE.

ON MRS. O'CONNOR

MRS. O'CONNOR
Good boy, Billy.

CUT TO:

102 EXT. COUNTRYSIDE. NIGHT. (V.E.) 6 SECS

A SHADO MOBILE MOVES ACROSS THE COUNTRYSIDE AND STOPS.

CUT TO:

103 INT. SHADO MOBILE (NIGHT) (STUDIO) 6 SECS

KARLIN AND A CREWMAN. KARLIN SPEAKS INTO A MIKE.

KARLIN
Mobile one in position.

CUT TO:

104 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 14 SECS

START ON AN OPERATOR.

OPERATOR
(into mike)
Roger one.

WIDER ANGLE TO INCLUDE STRAKER AND FREEMAN.

OPERATOR
All mobiles in position, sir.

STRAKER NODS.

FREEMAN
Well all we can do now is wait for the next transmission.

CUT TO:

105 INT. COTTAGE. NIGHT. (STUDIO) 20 SECS

ON ALIEN

HE ACTIVATES HIS TRANSMITTING DEVICE.

ON MRS. O'CONNOR

SHE REACTS SLIGHTLY TO THE NOISE. THEN, AS SHE WALKS SLOWLY OVER TOWARDS THE ALIEN:

MRS. O'CONNOR
Why won't you speak to me? Why won't you tell me who you are?

CUT TO:

106 INT. SHADO MOBILE. NIGHT. (STUDIO) 22 SECS

INSIDE THE MOBILE, FOSTER REACTS.

FOSTER
Get a fix.

THE CREWMAN TUNES IN WITH THE DIRECTIONAL AERIAL.

MRS. O'CONNOR (VO)
Are you in some sort of trouble... ?

A BURST OF INTERFERENCE JAMS THE MESSAGE.

MRS. O'CONNOR
...better to tell someone, you know.

FOSTER
Got it.

THE CREWMAN NODS YES.

CUT TO:

107 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 42 SECS

STRAKER, FREEMAN AND THE OPERATORS LISTEN BUT THE JAMMING IS CUTTING IN AND OUT.

MRS. O'CONNOR
Just... always... try and help...

THE JAMMING BECOMES CONTINUOUS.

ON FORD

FORD
We have a bearing.

FOSTER (VO)
Mobile 1 to control. Signal vector 138 decimal 3.

ON MAP

AN OPERATOR'S HANDS EXPERTLY DRAW IN THE TWO BEARINGS.

ON STRAKER

HE JABS HIS FINGER DOWN ON THE INTERSECTION OF THE LINES.

STRAKER
That's it... tell the mobiles to move in.

THE JAMMING CONTINUES.

ON FREEMAN

FREEMAN
What the hell's jamming that signal?

CUT TO:

108 EXT. SPACE. (VE) 5 SECS

A UFO MOVING THROUGH SPACE.

CUT TO:

109 EXT. MOONBASE. NIGHT. (VE) 5 SECS

TO ESTABLISH.

CUT TO:

110 INT. CONTROL SPHERE. NIGHT. (STUDIO) 16 SECS

A SCENE OF URGENT ACTIVITY.

NINA
Sighting confirmed... Area 014-263. Green.

ON GAY ELLIS.

GAY
Red Alert - interceptors immediate launch.

CUT TO:

111 INT. LEISURE DINING SPHERE. NIGHT. (STUDIO) 10 SECS

GAY (VO)
I say again, Red Alert.

THE THREE ASTRONAUTS LEAP TO THEIR FEET; GRAB THEIR SPACE HELMETS AND DIVE INTO THE CHUTES.

CUT TO:

112 INT. CONTROL SPHERE. NIGHT. (STUDIO) 6 SECS

ON GAY

AT THE CONSOLE. SHE SPEAKS ON THE EARTH LINK.

GAY
Moonbase to control. Have U.F.O. on positive track.

CUT TO:

113 EXT. CRATER. NIGHT. (VE) 6 SECS

THE TOP OF THE CRATER SLIDES OPEN.

CUT TO:

114 INT. CRATER. NIGHT. (VE) 7 SECS

THE THREE INTERCEPTORS ROCKETS IGNITE AND THEY LIFT OFF.

CUT TO:

115 EXT. MOON. NIGHT. (VE) 5 SECS

THE INTERCEPTORS MOVE UP INTO SPACE.

CUT TO:

116 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 18 SECS

STRAKER AND FREEMAN.

FREEMAN
The mobiles are on their way...

STRAKER
An alien who wants to cooperate... to help.

FREEMAN REACTS.

STRAKER
Why else would he transmit on our waveband?

FREEMAN
A defector... an outsider... If we can only get our hands on him.

CUT TO:

117 INT. COTTAGE. NIGHT. (STUDIO) 7 SECS

WE FEATURE THE ALIEN WAITING IN THE COTTAGE. HIS TRANSMITTING DEVICE IS PULSATING, HE KNOWS A UFO IS ON ITS WAY.

CUT TO:

118 EXT. SPACE. (VE) 6 SECS

THE UFO CONTINUES ON. THE MUSIC STINGS.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

119 EXT. SPACE. (VE) 5 SECS

THE THREE INTERCEPTORS IN FORMATION.

CUT TO:

120 EXT. U.F.O. (VE) 4 SECS

FLYING TOWARDS THE MOON AND EARTH.

CUT TO:

121 INT. CONTROL SPHERE. NIGHT. (STUDIO) 27 SECS

URGENT, WATCHFUL EYES TRACK THE U.F.O.

NINA
Maintaining speed. Red 128 - 041.

GAY
Trajectory?

NINA
Still as predicted.

JOAN
I have green on 1,2 and 3.

ON GAY

GAY
Moonbase to interceptors - standby to set on board computers.

NINA (VO)
One zero two... two six eight... timing 1084... zero three five.

CUT TO:

122 EXT. SPACE. (VE) 4SECS

THE INTERCEPTORS IN FORMATION.

CUT TO:

123 INT. INTERCEPTOR. SPACE. (STUDIO) 7 SECS

AN ASTRONAUT FLICKS A SERIES OF SWITCHES.

WATERMAN
Roger base... on board computer programmed... firing sequence complete.

CUT TO:

124 INT. CONTROL SPHERE. NIGHT. (VE) 8 SECS

NINA
Missile firing minus 6 decimal 4.

WE HEAR THE PIPS OF AN ELECTRONIC COUNTDOWN.

CUT TO:

125 INT. INTERCEPTOR. SPACE. (STUDIO) 6 SECS

WATERMAN'S EYES FLICK OVER HIS INSTRUMENTATION. A TENSE WAITING PERIOD.

CUT TO:

126 EXT. INTERCEPTORS. (VE) 6 SECS

THEY LAUNCH THEIR MISSILE.

CUT TO:

127 INT. CONTROL SPHERE. NIGHT. (STUDIO) 22 SECS

ON NINA

NINA
Firing confirm.

ON GAY

WAITING. THE FEW SECONDS SEEMS AN ETERNITY.

NINA (VO)
Detonation.

SHE SPINS TO JOAN

ON JOAN

SEARCHING HER TRACKER SCREEN FOR THE UFO. SHE REACTS.

JOAN
Negative.

ON GAY

GAY
It's through... tell control.

ON JOAN

JOAN
This is moonbase to control... UFO through outer defences.

CUT TO:

128 INT. CONTROL ROOM. UNDERGROUND. (STUDIO) 6 SECS

STRAKER, FREEMAN AND THE OPERATORS.

FREEMAN
It's up to the mobiles.

CUT TO:

129 EXT. COUNTRYSIDE. NIGHT. (VE) 5 SECS

A SHADO MOBILE MOVING FAST.

CUT TO:

130 INT. MOBILE. NIGHT. (STUDIO PROCESS) 9 SECS

KARLIN AND THE CREWMAN

KARLIN
Keep her moving flat out.

HE REFERS TO A MAP.

KARLIN
I make it about eight miles.

CUT TO:

131 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 11 SECS

STRAKER AND FREEMAN

FREEMAN
How's the interference?

AN OPERATOR WHO HAS BEEN OPERATING THE JAMMING ON AN EAR PIECE TURNS UP THE VOLUME. THE INTERFERENCE IS CONTINUOUS.

FREEMAN
No transmission can get through that...

CUT TO:

132 EXT. SPACE. (VE) 4 SECS

THE UFO HEADING FOR EARTH.

CUT TO:

133 INT. COTTAGE. NIGHT. (VE) 20 SECS

THE ALIEN SITS BY HIS TRANSMITTING DEVICE. IT PULSATES. HE KNOWS THAT HIS FELLOW ALIENS ARE CLOSING IN. HE GETS UP, TAKING THE TRANSMITTING DEVICE WITH HIM AND STARTS TO WALK TOWARDS THE DOOR.

ON MRS. O'CONNOR

LISTENING

ON ALIEN

AT THE DOOR, HE TURNS AND LOOKS BACK. THEN UNDOES THE BOLTS.

CUT TO:

134 EXT. COUNTRYSIDE. NIGHT. (VE) 4 SECS

THE SHADO MOBILE SPEEDS ON.

CUT TO:

135 INT. MOBILE. NIGHT. (STUDIO PROCESS) 4 SECS

KARLIN AND CREWMAN

KARLIN
Four miles.

CUT TO:

136 EXT. SPACE. (VE) 4 SECS

THE UFO SEARING THROUGH SPACE.

CUT TO:

137 INT. COTTAGE. NIGHT. (STUDIO) 26 SECS

THE ALIEN IS ABOUT TO GO OUT THE DOOR.

ON MRS. O'CONNOR.

MRS. O'CONNOR
Are you leaving?

TWO SHOT

SHE LOOKS TOWARDS THE ALIEN WITH HER SIGHTLESS EYES.

MRS. O'CONNOR
Goodbye.

THE ALIEN LEAVES.

CUT TO:

138 EXT. COUNTRYSIDE. NIGHT. (VE) 4 SECS

THE MOBILE MOVING FAST.

CUT TO:

139 EXT. SPACE. (VE) 5 SECS

THE UFO FLYING ON, THE SPACE SKY TURNING TO BLUE AS IT NEARS THE EARTH.

CUT TO:

140 EXT. FIELD. NIGHT. (LOCATION) 6 SECS

THE ALIEN WALKING.

CUT TO:

141 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS

ON THE BIRD

MRS. O'CONNOR STANDS BY THE CAGE.

CUT TO:

142 EXT. SKY. DAWN. (VE) 5 SECS

THE UFO COMING IN FOR ATTACK.

CUT TO:

143 EXT. FIELD. NIGHT. (LOCATION) 6 SECS

THE ALIEN HAS STOPPED. HE LOOKS SKYWARD.

CUT TO:

144 EXT. UFO. NIGHT. (VE) 5 SECS

THE DESTRUCTIVE SHAFT OF LIGHT SPEARS OUT.

CUT TO:

145 EXT. FIELD. NIGHT. (LOCATION) 4 SECS

ON ALIEN.

THE ALIEN FALLS OUT OF SHOT, CAUGHT IN THE BLINDING FLASH.

CUT TO:

146 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS

ON BIRD

BIRD
Lovely day... lovely day...

CUT TO:

147 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 15 SECS

STRAKER AND FREEMAN. FREEMAN LOWERS A MIKE.

FREEMAN
He's dead.

ON FREEMAN

A LONG PAUSE

FREEMAN
We'll never know... he may have told us everything.

HE TURNS BACK TO STRAKER.

WIDER ANGLE

STRAKER HAS GONE

CUT TO:

148 EXT. HOSPITAL. NIGHT. (LOCATION) 6 SECS

STRAKER'S CAR IS PARKED OUTSIDE.

CUT TO:

149 INT. HOSPITAL. WAITING AREA. NIGHT. (STUDIO) 45 SECS

STRAKER COMES RUNNING INTO THE WAITING AREA. NO-ONE THERE.

ON STRAKER

HE LOOKS AROUND AS HE STARTS TO MOVE TOWARDS THE DOORWAY.

ON DOORWAY.

IT OPENS. THE DOCTOR COMES OUT, GRAVE-FACED. HE LOOKS AT STRAKER.

ON STRAKER

HIS FACE FALLS IN HORROR

ON DOORWAY

MARY, SOBBING DEEPLY, COMES OUT, SUPPORTED BY RUTLAND. THEY MOVE SLOWLY TOWARDS STRAKER.

WIDER ANGLE

MARY AND RUTLAND MOVE PAST STRAKER. RUTLAND “KILLS” HIM WITH A LOOK

THE DOCTOR STOPS BY STRAKER

DOCTOR
(quietly)
I'm sorry...

ON STRAKER

STUNNED. GRIEF-STRICKEN. HE LOOKS UP.

STRAKER
Mary...

ON MARY

SHE STOPS. A LONG BEAT... SHE TURNS, HER FACE AN AGONY OF GRIEF.

MARY
I never want to see you again. Don't ever let me see you again.

ON STRAKER

CRUSHED.

CUT TO:

150 EXT. COTTAGE. DAY. (VE) or (LOCATION) 5 SECS

A SUMMER'S DAY. BIRDS SING.

CUT TO:

151 INT. COTTAGE. DAY. (STUDIO) 45 SECS

STRAKER AND MRS. O'CONNOR HAVE FINISHED A COUNTRY TEA.

STRAKER
Well, Mrs. O'Connor. I'll be leaving.

MRS. O'CONNOR NODS.

MRS. O'CONNOR
Thank you for calling, Mr. Straker. All the way from London to see me.

ON STRAKER

STRAKER
I wanted to come. You're a brave lady.

ON MRS. O'CONNOR

MRS. O'CONNOR
Oh no. I don't understand what it was all about. But when you're blind, somehow nature compensates... you develop other senses.

TWO SHOT:

MRS. O'CONNOR
My visitor was a strange man... but I knew... I knew he meant no harm... he was a good man.

STRAKER
Yes, I think he was.

MRS. O'CONNOR GETS UP.

MRS. O'CONNOR
I'll see you to the door.

STRAKER TAKES HER ARM IN HIS, PATS HER HAND AS THEY WALK TO THE DOOR, SEEING THE INNER STRENGTH IN THIS BLIND OLD LADY.

CUT TO:

152 EXT. DOOR. DAY. (STUDIO) or (LOCATION) 27 SECS

STRAKER AND MRS. O'CONNOR COME OUT.

MRS. O'CONNOR
Smell the honeysuckle.

ON STRAKER

SMILING AT HER.

ON MRS. O'CONNOR

MRS. O'CONNOR
You're a good man, too, Mr. Straker... a good man.

TWO SHOT

A PAUSE : STRAKER LEANS IN AND KISSES HER CHEEK.

STRAKER
Thank you...

HE WALKS AWAY

ON MRS. O'CONNOR

HEARING HIM GO. SHE GIVES A LITTLE VAGUE WAVE.

ON STRAKER

LOOKING BACK. HE WAVES BACK, KNOWING SHE WILL NOT SEE.

LIFE HAS KICKED HIM IN THE TEETH - BUT LIFE GOES ON.

SOMEHOW THE OLD LADY HAS HELPED.

HE TURNS AND WALKS AWAY.

FADE OUT

END TITLES

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -