UFO Script for
"Close Up"

​​SYNOPSIS: There are two ways of looking through a telescope, as Commander Straker comes to realise when launching a new space probe project which will follow a UFO to its origin.

      Hopes of reversing the UFO advantage of spying on Earth are raised with the perfection of an electron telescope, known as B-142, with magnification enabling close-up pictures to be taken over vast distances. Put into a space probe orbit, it could track any UFO coming into orbit and follow it back to its planet of origin, and send high definition pictures back to Earth. This could be the first step towards taking the fight back to the alien planet responsible for threats on Earth. Commander Ed Straker receives the required allocation, but one man who displays resentment is Kelly, a member of the S.H.A.D.O. scientific staff. He wants money for a project of his own, but there's no chance of that with the new allocation going to the other plan. Everything progresses well. The new space probe is put into orbit and when a UFO appears, the Interceptors force it into the orbit. As it heads for home, the B.142 begins to track it.

      It is expected that it will take anything from four months upwards before pictures are radioed back to Earth from the planet millions of miles away, but to Straker's surprise, they come through far more rapidly. But Kelly reports that there is a fault in the device: the range and magnification of each shot have not been transmitted. Straker insists that some details could be identified, and when Kelly projects his pictures they reveal some fascinating shots which appear to display such items as a building, and agricultural area, rock formation and vegetation.

      Straker is impressed - but impressed is an entirely different way when Kelly tells him the truth. He has been looking at greatly magnified pictures of a bee's eye and a girl's leg. Kelly has made his point. While others have been busily looking into outer space. Kelly has been developing his own project of looking into inner space, and almost completely unexplored area, which, he believes, could well provide the answers to some of the basic questions about the universe and even life itself. He gets the promise of money for his project!

THE SCRIPT FOR THE UFO EPISODE
"CLOSE UP"

by

Tony Barwick

© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

THE SCRIPT FOR THE UFO EPISODE "CLOSE UP"

Some of the UFO scripts differ a lot from what appeared in the final episode. The CLOSE UP script has many minor bits of humour that didn't make it into the final episode, and also has these major differences:

● At the very beginning of the episode, there is a sequence involving Skydiver. This sequence is not in the script however, and was only added after the episode came up short on running time.

● The episode most likely came up short because it all but eliminates a major subplot in the script. The script shows that Lt. Ellis is having a hard time in charge of Moonbase, and several scenes of her having problems with her fellow operatives (scenes 83, 86, and 87) didn't make it into the final episode. This is all resolved in a scene with Straker and Ellis which *does* make it into the final episode (scene 144), however, it doesn't make as much sense in the episode because of all the previously cut scenes!

● The script contains an absolutely hysterical scene (scene 83) where Nina Barry and Joan Harrington giggle about all the new men on Moonbase while preparing for bed in the woman's sleep sphere!

● In the episode, Gay Ellis' leg is used to demonstrate the importance of magnification data to Straker. In the original script, it is Ayesha's leg.

CAST LIST
FREEMAN
STRAKER
YOUNG
OPERATIVE (Tracking Station)
FORD
KELLY
MASTERS
HENDERSON
FOSTER
CONTROLLER
OPERATIVE (Launch Control)
HARRY
GAY
PILOT
NINA
GIRL
JOAN
ASTRONAUT
AYESHA

SET LIST
(VISUAL EFFECTS)

EXT. ROAD
EXT. TRACKING STATION
EXT. PROBE
EXT. ROCKET
EXT. SPACE
EXT. BLOCKHOUSE
EXT. SKY
EXT. MOONBASE
EXT. LUNAR MODULE
EXT. INTERCEPTORS

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. ROAD. DAY. (STOCK) 6 SECS

STRAKER'S CAR UP AND PAST.

CUT TO:

2 INT. CAR. DAY. (STUDIO) 14 SECS

STRAKER AND FREEMAN

FREEMAN
How far is it now?

STRAKER
Around eight miles.

FREEMAN CONSIDERS FOR A MOMENT.

FREEMAN
Do you think it'll work?

STRAKER
I think so
(tongue in cheek)
but then I always was an eternal optimist.

THEY SMILE.

CUT TO:

3 EXT. TRACKING STATION. DAY. (V.E.) 8 SECS

DOMINATED BY A HUGE DISH AERIAL. TRACK IN TOWARDS THE SINGLE STOREY BUILDING WHICH HOUSES THE CONTROL ROOM.

CUT TO:

4 INT. CONTROL ROOM. DAY. (STUDIO) 43 SECS

PAN ACROSS PAST AN OPERATIVE TO STRAKER AND FREEMAN IN THE CONTROL ROOM WITH DR. YOUNG, THE CIVILIAN HEAD OF THE TRACKING STATION. STRAKER AND FREEMAN HAVE BEEN THERE SOME TIME.

YOUNG
Ah, things are happening. Excuse me.

ON YOUNG

HE CROSSES TO A STAINLESS STEEL CYLINDER WHICH IS IN FACT A COFFEE PERCOLATOR ALTHOUGH THE AUDIENCE SHOULD NOT REALISE THIS YET.

ON CYLINDER: IT IS EMITTING AN ELECTRONIC BLEEP.

ON YOUNG

HE PICKS UP THE STAINLESS STEEL CYLINDER AND THE BLEEP STOPS.
YOUNG TURNS TO CALL TO STRAKER AND FREEMAN 0.S.

YOUNG
Gentlemen.

ON STRAKER AND FREEMAN

THEY TURN AND MOVE OVER TOWARDS YOUNG

WIDER ANGLE

STRAKER AND FREEMAN JOIN YOUNG.

YOUNG
Coffee, help yourselves to cream and sugar.

WE NOW SEE WHAT HE HAS BEEN DOING. STRAKER AND FREEMAN TAKE THEIR COFFEE IN GLASS FLASKS.

ON OPERATIVE

HE CHECKS HIS INSTRUMENTS.

OPERATIVE
Four minutes, doctor.

WIDER ANGLE

YOUNG
Right. Check aerial attitude and start recording systems.

TWO SHOT

STRAKER AND FREEMAN. FREEMAN SIPS HIS COFFEE.

FREEMAN
Pretty good.

CUT TO:

5 EXT. TRACKING STATION. DAY. (V.E.) 6 SECS


A SMALLER DISH AERIAL NEAR THE MAIN ONE, ROTATES VERY SLOWLY A FEW DEGREES TO A NEW POSITION.

CUT TO

6 INT. CONTROL ROOM. DAY. (STUDIO) 10 SECS

FEATURE THE OPERATIVE.

OPERATIVE
Ten seconds to transmission check.

THE GROUP WAIT. THEN WE HEAR A BURST OF ELECTRONIC RADIO TRANSMISSION.

YOUNG
There it is. Smack on the nose.

CUT TO:

7 EXT. SPACE. (V.E.) 5 SECS

IN LONG SHOT WE SEE AN UNMANNED SPACE PROBE MOVING THROUGH SPACE IN EARTH ORBIT.

CUT TO:

8 EXT. PROBE (V.E.) 9 SECS

LONG LINES OF SOLAR CELLS ON WING-LIKE STRUCTURES GIVE THIS FUTURISTIC PROBE A STRANGE LOOK.

ANOTHER ANGLE

WE GO IN CLOSE AND FEATURE A DOMED STRUCTURE AT THE FRONT.

CUT TO:

9 INT. PROBE. (STUDIO) 10 SECS

THE INSIDE OF THE UNMANNED PROBE IS A MASS OF ELECTRONICS. THE DOMED STRUCTURE HOUSES PHOTO-ELECTRON EQUIPMENT OF ADVANCED DESIGN WHICH USES A STREAM OF ELECTRONS INSTEAD OF LIGHT. A PANEL SLIDES BACK TO REVEAL THE SPACE SKY OUTSIDE, AND WE HEAR THE DEVICE CLICK AS IT BEGINS TO OPERATE.

CUT TO:

10 EXT. PROBE. (V.E.) 5 SECS

WE HEAR A BURST OF ELECTRONIC SOUNDS AS THE PROBE BEGINS TO RADIO BACK THE SHOTS IT IS TAKING.

CUT TO:

11 EXT. TRACKING STATION. (V.E.) 5 SECS

ELECTRONIC TRANSMISSIONS OVER AS THEY ARE PICKED UP BY THE GIANT DISH AERIAL.

CUT TO:

12 INT. CONTROL ROOM. DAY. (STUDIO) 20 SECS

OPERATIVE
The first transmissions are coming through, sir.

FREEMAN AND STRAKER REACT AND WALK OVER TO A RECORDING DEVICE.

AS THE CONVERSATION CONTINUES IN THE B.G.

WE TRACK IN ON THE SLOWLY TURNING SPOOL OF TAPE AS IT RECORDS THE SIGNALS.

OPERATIVE (VO)
Signal strength 012-147.

YOUNG (VO)
Good. What's the distortion?

OPERATIVE (VO)
Minimal, decimal 072.

YOUNG (VO)
Fine. Keep tracking

CUT TO:

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


START CLOSE ON THE REEL OF TAPE IN FREEMAN'S HAND, PULL BACK TO SHOW THEY ARE IN STRAKER'S CAR.

FREEMAN
I think Doctor Young was a little put out at not being able to see the results.

STRAKER
Yes. Security's a word I don't like to throw at a man who goes out of his way to co-operate.

FREEMAN
Maybe we could send him a couple of prints.

STRAKER
Let's wait and see if there's anything on the tape to print up.

CUT TO:

14 EXT. HARLINGTON STRAKER STUDIO. DAY. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

15 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 60 SECS

STRAKER AND FREEMAN STRIDE IN, FORD CROSSES TO MEET THEM.

STRAKER
All set up?

FORD
Yes, sir.

FREEMAN GIVES FORD THE REEL OF TAPE.

ON FORD

HE TAKES THE TAPE AND THREADS IT UP INTO A PRINT-OUT MACHINE. THIS WILL CONVERT THE RADIO SIGNALS INTO PICTURES.

WIDER ANGLE

FORD GIVES A LOOK AT FREEMAN AND STRAKER AND STARTS THE TAPE.

ON STRAKER

WAITING, TENSE.

ON MACHINE

A FEW SECONDS AND THE FIRST PICTURE IS FED OUT. IT IS OF THE EARTH FROM ABOUT 500 MILES. THIS DISTANCE IS PRINTED OUT ON THE BOTTOM TOGETHER WITH DETAILS CONCERNING THE ELECTRON IMPACT ETC., FOR EXAMPLE: RANGE 500 MILES:
MAGNIFICATION X1. EXPOSURE CYCLING 014-247. ELECTRON IMPACT 017 DECIMAL 24.

WIDER ANGLE

THE GROUP BECOME MORE EXCITED AS THE SECOND PICTURE COMES OUT.

STRAKER GRABS IT.

ON PHOTO

MUCH MORE DETAIL, LIKE A SHOT FROM 50 MILES.

ON THE BOTTOM, RANGE 490 MILES. MAGNIFICATION X 10 ETC.,

WIDER ANGLE

THE NEXT PHOTO IS FED OUT. STILL FROM NEARLY 500 MILES BUT THE MAGNIFICATION IS X 100 WHICH MAKES IT THE EQUIVALENT TO ONE TAKEN FROM 4 MILES UP WITH A NORMAL CAMERA.

FREEMAN
Look at that.

FREEMAN PICKS IT UP.

ON PHOTO

IN FREEMAN'S HAND

FREEMAN (VO)
Look at the detail. And it's taken from nearly five hundred miles out.

ON STRAKER

BEGINNING TO REALISE THE POSSIBILITIES.

CUT TO:

16 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 22 SECS


FREEMAN AND STRAKER HAVE BEEN EXAMINING THE SERIES OF SHOTS FROM THE SPACE PROBE.

FREEMAN
It's fantastic. A real breakthrough.

ON FREEMAN

HE HOLDS A PHOTOGRAPH

FREEMAN
There's one here. Range 490 miles. Magnification X 250. It's like a helicopter shot.

ON STRAKER

STRAKER
Well, I'm convinced. We'll throw everything into getting the project approved.

CUT TO:

17 MS - PHOTOGRAPH (STUDIO) 60 SECS

TRACK IN ONE OF THE PHOTOGRAPHS.

UFO TITLE OVER

"MAIN TITLES"


THE MAIN TITLES OVER STILLS OF THE EARTH ALL TAKEN FROM 500 MILES OUT IN SPACE, AND GRADUALLY CUTTING IN WITH EACH SHOT CLOSER AND CLOSER WITHOUT LOSING DEFINITICN AND SHOWING MORE AND MORE DETAIL AS THE MAGNIFICATION INCREASES.

CUT TO:

18 EXT. HARLINGTON STRAKER STUDIO DAY (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

19 INT. LABORATORY (UNDERGRO UND) (STUDIO) 122 SECS


WE ARE IN A LABORATORY IN THE SHADO COMPLEX BENEATH THE STUDIO.

MASTERS AND A MEMBER OF THE SHADO SCIENTIFIC STAFF, KELLY, ARE WORKING ON SOME ELECTRONIC EQUIPMENT SIMILAR TO THE DEVICE WE SAW IN THE PROBE. (JUST A FEW MODIFICATIONS).

STRAKER COMES IN, HIS CHANGE OF DRESS INDICATES A TIME ELAPSE.

STRAKER
How's it coming along, Kelly?

KELLY
Pretty well, Commander.

MASTERS
The test run was so successful, there are very few modifications.

ON STRAKER

HE EXAMINES THE EQUIPMENT MORE CLOSELY.

STRAKER
Quite a set-up.

WIDER ANGLE

STRAKER
Well when can I tell the Commission we'll be ready to go?

MASTERS
Three, four weeks; we have to check out the link systems.

STRAKER
That's what I wanted to hear

HE TURNS TO LEAVE.

KELLY
Commander...

STRAKER TURNS BACK.

STRAKER
Yes?

KELLY
Could I have a word with you?

KELLY GLANCES AT MASTERS, WHO GETS THE PICTURE. KELLY WANTS TO BE ALONE WITH STRAKER.

KELLY
Do you mind John?

MASTERS
Sure.

KELLY WAITS UNTIL MASTERS HAS LEFT THE LAB.

ON STRAKER

STRAKER
What's on your mind?

ON KELLY

KELLY
Tomorrow you're going to ask the Astro-space commission for a billion dollars.

TWO SHOT

STRAKER
Yes, for one of the most important projects Shado has ever undertaken.

KELLY
Sure. It's the first item on the agenda. There are 53 others... mine's number 52, it comes right after Ôhow much money do we spend on new coffee machines'.

ON KELLY

KELLY APPEALS TO STRAKER

KELLY
Look... All I'm asking for 50,000 dollars. And the chances are I won't get it.

TWO SHOT

STRAKER
I don't see how I can help, Kelly.

KELLY
I think my project's important, sir. You could help me.

STRAKER
Oh, now wait a minute...

ON STRAKER

STRAKER
You've done a great job on the device here, but your group...

ON KELLY

KELLY
Group. There are just two of us, Commander. But with that 50,000 dollars we could complete the development of the stereoscan.

ON STRAKER

STRAKER
I'd like to help. But I think you're looking the wrong way, Kelly. Space! That's where you should turn your talent.

TWO SHOT

KELLY IS RESIGNED

KELLY
Well, I hope you get your billion.

STRAKER
I'll get it... it's a space project.

STRAKER TURNS AND WALIKS OUT.

CUT TO:

20 EXT. ASTRO SPACE COMMISSION BUILDING. 5 SECS DAY. (STOCK)

TO ESTABLISH.

CUT TO:

21 INT. CONFERENCE ROOM. (DAY) (STUDIO) 183 SECS

STRAKER, MASTERS, GENERAL HENDERSON AND FOUR OTHER MEMBERS OF THE COMMISSION IN THE ROOM.

ON ONE WALL ARE A SERIES OF LARGE DRAWINGS WHICH STRAKER WILL USE TO ILLUSTRATE VARIOUS POINTS.

ON HENDERSON

HE IS LOOKING AT THE DIAGRAMS, BUT TURNS AS STRAKER COMES UP BEHIND HIM.

HENDERSON
All very pretty, but don't try a bulldozer job in here, Straker.

STRAKER
I won't have to.

WIDER ANGLE

HENDERSON WALES TO THE HEAD OF A TABLE.

HENDERSON
Gentlemen.

THE OTHER MEMBERS OF THE COMMISSION SIT DOWN, TWO ON EACH SIDE OF THE TABLE.

HENDERSON BANGS A GAVEL AND ANNOUNCES FORMALLY:

HENDERSON
(formal)
The financial committee of the Astro Space commission is in session.

ON HENDERSON

HENDERSON
We have two functions; the first is the formality of approving the appropriations for the coming year; and the second is to consider...

HE PICKS UP A TYPEWRITTEN SHEET.

HENDERSON
...what I see as an ever increasingly long list of special projects.

WIDER ANGLE

HENDERSON
You all know Commander Straker and by the billion dollars cost estimate beside it you will have realised that the first project on the agenda is his.

ON STRAKER

STRAKER
Thank you, General. I'm glad to see you can still count zero's.

WIDER ANGLE

HENDERSON GLARES, ONE OF THE OTHER MEMBERS CHEWS ON A SMILE.

STRAKER CROSSES TO THE FIRST DIAGRAM WHICH IS A DRAWING OF A PROBE AS IN THE OPENING SEQUENCE.

ON STRAKER

STRAKER
This is a standard B142 space probe, and the project will use a modified version of this space craft. You will notice the domed structure here.

HE POINTS TO THE DOMED STRUCTURE.

WIDER ANGLE

STRAKER MOVES ON TO THE SECOND DIAGRAM WHICH IS A CROSS-SECTION OF THE PROBE.

STRAKER
From this cross-section you will see it incorporates a device that in layman's terms can be described as an electronic telescope.

ON STRAKER

STRAKER
The principle is very simple. It is a telescope which instead of using light, operates with a stream of electrons. It is capable of scanning with a magnification of up to times 2,500. Lieutenant...

WIDER ANGLE

LIEUTENANT MASTERS HANDS ROUND SOME OF THE PHOTOGRAPHS FROM THE OPENING SEQUENCE TO THE MEMBERS OF THE COMMISSION.

MASTERS
These are shots of the Earth taken From an orbit between 450 and 500 miles out.

THE MEMBERS OF THE COMMISSION ARE IMPRESSED.

ON STRAKER

STRAKER
The electro telescope scans an area, radios the information back to earth, and the impulses are translated into these pictures. But the definition is as good as any photograph.

WIDER ANGLE

STRAKER MOVES ON TO THE THIRD DIAGRAM. IT SHOWS THE EARTH AND THE MOON AND AN ORBIT.

STRAKER
My project is to launch a modified B142 space probe and put it into a parking orbit around the moon.

HE INDICATES THE ORBIT.

ON HENDERSON

HENDERSON
SHADO don't have those kind of facilities.

ON STRAKER

STRAKER
No, we would have to use NASA for the launch.

WIDER ANGLE

STRAKER
The electron telescope and the electronics are still on the secret list, so it would be fitted by moonbase astronauts after the probe was in a parking orbit.

ON HENDERSON

HENDERSON
I'm beginning to see why the cost estimate is a billion dollars.

ON STRAKER

STRAKER
The tracking and homing mechanisms are also very elaborate, but they've been fully tested, and will enable the probe to home in on the planet from 2 million miles out.

WIDER ANGLE

HENDERSON
I'm sorry to disillusion you, Straker, but I can get you some great shots of earth with a 2 dollar camera from a balloon.

SLOWLY TRACK IN ON STRAKER AS HE SPEAKS.

STRAKER
I should have been more explicit. By _the_ planet I didn't mean Earth. The purpose of the project is for the space probe to track and follow a UFO to its origin. To home in and get high definition close-ups of the alien planet.

22 EXT. HARLINGTON STRAKER STUDIO (DAY) (STOCK) 5 SECS

TO ESTABLISH

CUT TO:

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


STRAKER COMES INTO THE CONTROL ROOM. FREEMAN COMES UP TO HIM.

FREEMAN
Well?

STRAKER IS POKER-FACED.

STRAKER
Find Foster and bring him into my office.

STRAKER STRIDES OFF TOWARDS THE INNER OFFICE.

CUT TO:

24 INT. INNER OFFICE. (UNDERGROUND) (STUDIO) 30 SECS

STRAKER COMES INTO HIS OFFICE AND GOES TO STAND BY THE SPACE MODEL.

FOSTER AND FREEMAN COME IN. STRAKER TURNS TO THEM.

FREEMAN
Oh come on, did they approve it?

STRAKER SAVOURS THE MOMENT.

STRAKER
We've got ourselves a deal. We even got a time slot from NASA. Launch seven one two, in four weeks.

FREEMAN
Well that's great!

FOSTER
Congratulations, sir.

ON STRAKER

STRAKER
Yes. It could mean we're close to a lot of the answers.

HE TURNS TO LOOK AT THE MODEL. ZOOM IN ON IT.

25 INT. LAB. UNDERGROUND (STUDIO) 58 SECS

START CLOSE ON THE ELECTRON TELESCOPE AND ITS ELECTRONICS. PULL BACK TO MASTERS AND KELLY.

MASTERS
Well, there it is ready to go.

KELLY
(flat)
Yeah.

MASTERS
I've learnt a lot these past three weeks. Thanks, Joe.

KELLY NODS

ON MASTERS

MASTERS LOOKS AT KELLY, KNOWS HE IS BROODING AND TRIES TO BREAK THE MOOD.

MASTERS
Listen, er... have you got a pen?

TWO SHOT

KELLY
Hmm?

MASTERS
I'll write out a cheque for that 50,000.

KELLY
(snapping out of it)
No, that's all right. I'll cash in some of the family jewels. Anyway, there's always next year... and the year after that.

ON KELLY

KELLY
Well, she's all yours, Lieutenant. Hope it gets you those shots.

HE TURNS TO LEAVE

ON MASTERS
MASTERS
Sure, see you around.

WE HEAR THE DOOR CLOSE.

FORD (VO)
Will Lieutenant Masters report for pre-lunar medical right away?

MASTERS WALKS OVER TO THE DEVICE AND TAPS IT.

MASTERS
Sleep tight buddy, you and me is going to the moon.

CUT TO:

26 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 33 SECS

A CHANGE OF DRESS FOR STRAKER WHO SITS AT HIS DESK. HE IS TIRED, HE LOOKS UP AS ALEX FREEMAN COMES IN.

FREEMAN
Long day?

STRAKER
Long month.

ON STRAKER

STRAKER RUBS HIS HANDS ACROSS HIS EYES.

STRAKER
Well, I think we're about set. I'm taking Lieutenant Ford along to moonbase.

TWO SHOT

FREEMAN
Good idea. You're going to need all the help you can get

STRAKER
Yeah. You'd better keep all earth lunar communication to a minimum.

FREEMAN
Sure. What's the situation on the launch?

ON STRAKER
STRAKER
The launch... I think we can safely leave that to NASA.

27 EXT. CAPE KENNEDY. (NIGHT) (VE) 5 SECS

TO ESTABLISH A SECTION OF THE CAPE KENNEDY SET UP IN THE U.S.A.

CUT TO:

28 EXT. ROCKET. NIGHT. (V.E.) 5 SECS

BATHED IN FLOODLIGHT ON THE LAUNCH PAD.

CUT TO:

29 EXT. BLOCKHOUSE. NIGHT. (V.E.) 4 SECS

TO ESTABLISH LAUNCH CONTROL FOR PAD 83

CUT TO:

30 INT. LAUNCH CONTROL. NIGHT. (STUDIO) 57 SECS

LAUNCHES ARE NOW ALMOST COMPLETELY COMPUTERISED. THE LAUNCH CONTROLLER SITS AT A CONSOLE. BEHIND HIM AROUND EIGHT OPERATIVES. ALL ARE AMERICANS. THE CONTROLLER TURNS TO ONE OF THE OPERATIVES.

CONTROLLER
Give me a readout on master computer.

THE OPERATIVE PUSHES A SERIES OF BUTTONS. A READOUT SPEWS OUT.

OPERATIVE
Sub checks 1 through 14 A-OK.
Primary circuits A-OK.
Electronic readout A-OK.
Computer check, programme G4 A-OK.
(he checks a countdown clock)
Countdown continues at T minus 4 hours 32 minutes 8 seconds...

ON CONTROLLER

CONTROLLER
Right. Check fuelling computer. And let me have a report on the support computer 1 through 8 as soon as you can.

OPERATIVE (VO)
Will do.

CONTROLLER
How about some coffee, Harry?

ON HARRY, ONE OF THE OPERATIVES.

HARRY
Sure. Four black, four white, right?

WIDER ANGLE
OPERATIVE
Get me a sandwich will you Harry. Salami on rye.

HARRY
Got it.

CUT TO:

31 EXT. SUNRISE. (LIBRARY) 4 SECS

A LIBRARY SHOT OF THE SUN RISING.

CUT TO:

32 EXT. ROCKET. DAWN. (V.E.) 5 SECS

BATHED IN THE EARLY MORNING LIGHT, CLOUDED IN VAPOUR.

CUT TO:

33 INT. LAUNCH CONTROL. DAY. (STUDIO) 9 SECS

THE ATMOSPHERE IS MORE URGENT. AS THE COMPUTERS NEAR THE END OF THE COUNTDOWN THE OPERATIVES REEL OFF THE CHECK LIST.

OPERATIVES
(at Director's discretion)
Missile power ... go.
Water system ... go.
Fuel system ... go.
Telemetry ... go.
T minus 3 minutes.

CUT TO:

34 EXT. ROCKET. DAY. (V.E.) 5 SECS

A MOTIONLESS GIANT, THE TOP HALF IS COVERED IN ICE.

CUT TO:

35 INT. LAUNCH CONTROL. DAY. (STUDIO) 14 SECS


AS BEFORE, THE COUNTDOWN CONTINUES.

ON OPERATIVE

OPERATIVE
Master Computer check all systems go. We are green on all readouts. T minus 60 seconds, 59, 58, 57, 56, etc...

PAN ALONG THE ELECTRONICS

CUT TO:

36 EXT. ROCKET. DAY. (V.E.) 5 SECS

THE LAST UMBILICALS FALL AWAY FROM THE ROCKET.

CUT TO:

37 INT. LAUNCH CONTROL. DAY. (STUDIO) 13 SECS

THE MEN CONCENTRATE, BUT DO NOT HAVE TO SPEAK. THE COMPUTERS ARE DOING ALL THE WORK.

CONTROLLER
We have go for ignition at minus 20.

A RECORDED COUNTDOWN REELS OFF THE SECONDS OVER.

COUNTDOWN VOICE
20, 19, 18, 17, 16 etc.

CUT TO:

38 EXT. SPACE. DAY. (V.E.) 5 SECS

ON THE LAUNCH PAD THE GIANT ROCKET COMES ALIVE, THE FUELD MIX AND IGNITE.

CUT TO:

39 INT. LAUNCH CONTROL. DAY. (STUDIO) 7 SECS


CONTROLLER
(flat)
Main stage ignition.

THE COUNTDOWN VOICE CONTINUES

COUNTDOWN VOICE
Seven, six, five, four...

CUT TO:

40 EXT. ROCKET. DAY. (STUDIO) 6 SECS

THE TOP HALF IS A SHEET OF ICE, THE BOTTOM HALF A ROARING INFERNO OF FLAME AND WATER. THE HOLD

DOWN CLAMPS FALL BACK.

CUT TO:

41 INT. LAUNCH CONTROL. DAY. (STUDIO) 5 SECS

THE OPERATIVES AT THEIR CONSOLES. THE ATMOSPHERE IS RELAXED, IT IS ALL ROUTINE.

OPERATIVE
First motion.

HARRY
Lift off.

CUT TO:

42 EXT. ROCKET. DAY. (V.E.) 5 SECS

THE ROCKET LIFTS OFF IN A CLOUD OF SMOKE AND FLAME.

CUT TO:

43 EXT. SKY. DAY. (V.E.) 7 SECS


THE ROCKET CLIMBING EVER FASTER AGAINST THE BLUE SKY.

CUT TO:

44 INT. LAUNCH CONTROL. DAY. (STUDIO) 14 SECS

THE MEN AS BEFORE. THE CONTROLLER WATCHES THE POST LIFT OFF CHECK.

CONTROLLER
T plus 55... T plus 60... T plus 65... It looks good.

OPERATIVE
Altitude 248,000 - 18 miles down range.

CUT TO:

45 EXT. SKY. DAY. (V.E.) 5 SECS

THE ROCKET GATHERING SPEED EVERY SECOND. AS IT ROARS UP, NOW AT AN ANGLE -

MIX TO:

46 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 8 SECS

STRAKER MOVES FROM HIS DESK OVER TO THE SPACE MODEL ON HIS WALL.

ANOTHER ANGLE

TRACK IN ON STRAKER'S FACE, HIS PROJECT IS UNDERWAY.

CUT TO:

47 EXT. SPACE. (VE) 5 SECS

WE SEE THE B142 PROBE. IT IS SAFELY IN ORBIT.

THE MUSIC BUILDS UP.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

48 EXT. MOON. (STOCK) 4 SECS

TO ESTABLISH.

CUT TO:

49 EXT. MOONBASE. NIGHT. (STOCK) 5 SECS

TO ESTABLISH.

CUT TO:

50 INT. CONTROL SPHERE. (STUDIO) 15 SECS

GAY ELLIS AT THE CENTRAL CONSOLE. JOAN AND NINA AT THEIR USUAL PLACES.

GAY
Moonbase control to lunar module. Switch to automatic L.L.S. We'll bring you in by radio beam.

PILOT (VO)
Roger, control.

CUT TO:

51 EXT. LUNAR MODULE. (VE) 5 SECS


FLYING IN ON THE RADIO BEAM TOWARDS MOONBASE.

CUT TO:

52 INT. CONTROL SPHERE. (STUDIO) 6 SECS


NINA TURNS TO GAY.

NINA
Touchdown minus 20 seconds.

GAY
Right.

CUT TO:

53 EXT. MOON. (VE) 5 SECS

THE MODULE COMING IN, AS BEFORE.

54 EXT. LUNAR MODULE (VE) 7 SECS


IT COMES IN ABOVE THE LANDING PAD, THEN MANOEUVRES DOWN AND LANDS.

CUT TO:

55 INT. CENTRAL PARK. (STUDIO) 28 SECS


STRAKER, FOSTER, FORD AND MASTERS MOVE INTO CENTRAL PARK. A TRACKER GIRL COMES TO MEET THEM.

GIRL
Welcome to Moonbase, Commander

STRAKER
Thank you.

GIRL
If you come with me I'll show you to your quarters.

ON STRAKER

TO FORD AND MASTERS:

STRAKER
You two go ahead.

WIDER ANGLE

MASTERS
Yes, sir.

FORD
Right.

THEY TURN AND WALK OFF LED BY THE GIRL.

TWO SHOT

STRAKER AND FOSTER

STRAKER
Let's go to Control, Paul. I want to check on that space probe.

THEY WALK OFF TOWARDS THE CONTROL SPHERE.

CUT TO:

56 INT. CONTROL SPHERE (STUDIO) 78 SECS

STRAKER AND FOSTER COME IN.

GAY
Hallo, Commander.

STRAKER
Hello Gay, Nina, Joan.

THE GROUP EXCHANGE HELLOS.

ON GAY

GAY
How was the flight?

STRAKER
Very smooth, thanks. How's everything here?

GAY
Just fine.

STRAKER
Good.

STRAKER CROSSES TO NINA AND JOAN, WHO ARE TOGETHER AT NINA'S CONSOLE.

STRAKER
You're looking great girls.

JOAN
Thank you sir.

STRAKER
How's the food these days?

NINA
Just about the same.

STRAKER
That's what I was afraid you'd say.

THEY SMILE

ON STRAKER

HE TURNS TO GAY

STRAKER
Do you have the report on the space probe, Gay?

TWO SHOT

AS GAY GIVES STRAKER A REPORT.

GAY
I thought it wouldn't take you long to get around to that.

STRAKER
How does it look?

GAY
Apogee 0 decimal 124 below requirement; but we can easily correct it.

STRAKER
Good.

ON GAY

GAY
I've also worked out a rough schedule for the astronauts. We understand the probe is to be modified in space.

ON STRAKER

STRAKER
Well that's great. We'll have to go through it together of course.

ON GAY

GAY
I did say it was a rough schedule.

STRAKER
I understand.

TWO SHOT

GAY
I hope you don't think...

STRAKER
Lieutenant I appreciate all the work you've put in.

GAY
Yes, sir.

STRAKER
Really.

A MOMENT'S SILENCE.

GAY
If you'll excuse me, sir. I have one or two things I'd like to check.

SHE WALKS OUT OF THE CONTROL SPHERE.

ON STRAKER

HE WATCHES HER GO, TURNS AND CATCHES NINA'S EYES. SHE TURNS AWAY. STRAKER SENSES A SITUATION. HE WALES TO THE WINDOW AND LOOKS OUT AT THE STARS IN A SPACE SKY.

CUT TO:

57 EXT. SPACE (VE) 5 SECS

THE PROBE IN ORBIT AROUND THE MOON.

MIX TO:

58 EXT. MOONBASE. DAY (STOCK) 5 SECS

TO ESTABLISH

CUT TO:

59 INT. CONTROL SPHERE. (STUDIO) 32 SECS

STRAKER IS AT THE CENTRAL CONTROL, GAY STANDS NEARBY. STRAKER IS ABOUT TO ADDRESS THE MOONBASE PERSONNEL OVER THE INTERNAL SYSTEM.

STRAKER
(into mike)
Because of a radio security clampdown no-one on moonbase knows the purpose of Project Discovery, as it has been codenamed.

HE GLANCES UP AT GAY.

STRAKER
(into mike)
And I guess most of you are pretty curious about it.

ON GAY

IT SEEMS TO BE A STRAIGHT DIG AT HER BUT SHE SHOWS NO REACTION.

WIDER ANGLE

WE FEATURE JOAN AS STRAKER CONTINUES.

STRAKER
Well, as we say in the movie business, now it can be told.

JOAN SMILES

ON STRAKER

STRAKER
As you know, a modified B142 space probe has been put into parking orbit around the moon.

CUT TO:

60 INT. LEISURE DINING SPHERE. (STUDIO) 8 SECS

THE ASTRONAUTS WITH FOSTER AND FORD, LISTEN TO STRAKER

STRAKER (VO)
The first phase will be to fit specialised equipment into the probe. This has already been shipped to Moonbase from Earth.

CUT TO:

61 INT. CENTRAL PARK (STUDIO) 13 SECS


NINA, IN OFF DUTY DRESS, AND MASTERS, IN CENTRAL PARK.

STRAKER (VO)
Phase two is to manoeuvre a UFO into a position where the probe can be activated into a new flight pattern which will enable it to follow the alien back to its origin.

NINA LOOKS AT MASTERS, HE NODS "YES IT IS TRUE'.

CUT TO:

62 INT. CONTROL SPHERE. (STUDIO) 29 SECS

ON STRAKER

STRAKER
When the probe is within two million miles of its target, it will start to transmit. With luck we should get the first close shots of another world. It will be the first step in taking the fight back to the alien planet.

WIDER ANGLE

STRAKER LOOKS AT GAY.

STRALER
It's an exciting situation, Gay.

GAY
It certainly is.

STRAKER
You'd better get things set up as fast as possible.

GAY
Right. Who's going out to the probe?

STRAKER
Colonel Foster and Masters. They've been briefed.

CUT TO:

63 EXT. SPACE (VE) 5 SECS

THE B142 IN PARKING ORBIT AROUND THE MOON.

CUT TO:

64 EXT. LUNAR MODULE (VE) 5 SECS

COMING UP TO RENDEZVOUS WITH THE B142.

CUT TO:

65 INT. CONTROL SPHERE (STUDIO) 21 SECS

GAY AT THE CENTRAL CONSOLE. STRAKER MOVES AROUND. THE ROOM IS FULL OF ACTIVITY AS EVERYONE TALKS AT ONCE AS THEY MONITOR THE RENDEZVOUS.

GAY
(into mike)
Moonbase control to lunar module. Your flight pattern is go for rendezvous.

FORD SITS AT ONE OF THE CONSOLES. NINA COMES UP AND HANDS HIM A COMPUTER READOUT.

JOAN (VO)
Right.. confirm 1 decimal 4.

FORD
(into mike)
I have jaw and pitch correction check. 012 - 714 - 022 - 147.

FOSTER (VO)
Roger, Control. We have visual contact.

CUT TO:

66 EXT. SPACE. (VE) 6 SECS

THE LUNAR MODULE COMING UP BEHIND THE B142.

CUT TO:

67 EXT. SPACE PROBE. (VE) 7 SECS

THE LUNAR MODULE MANOEUVRES UP BEHIND THE PROBE AND TAKES UP A SIMILAR ORBIT.

CUT TO:

68 INT. CONTROL SPHERE (VE) 14 SECS

THE GROUP AS BEFORE

FOSTER (VO)
We are in position. On board computer reads go for space walk.

FORD
(to Gay)
We have green on all systems.

GAY
Moonbase to Lunar module, confirm go for space walk.

FOSTER (VO)
Roger control.

CUT TO:

69 EXT. SPACE (VE) 9 SECS

CLOSE ON A SECTION OF THE LUNAR MODULE. A PANEL SLIDES BACK TO REVEAL THE MODEL FIGURE OF A SPACE SUITED ASTRONAUT.

ANOTHER ANGLE

THE SPACE SUITED FIGURE FLOATS OUT ON THE END OF A LIFE LINE.

CUT TO:

70 EXT. AIRLOCK (STUDIO) 4 SECS


C.S. FOSTER

IN THE LUNAR MODULE AIR LOCK. WE SEE HIS FACE THROUGH THE VISOR OF HIS HELMET, AS HE MOVES FORWARD.

CUT TO:

71 EXT. SPACE. (VE) 8 SECS


FOSTER FLOATS OUT FROM THE LUNAR MODULE (MODEL FIGURE)

WIDER ANGLE

WE SEE THE TWO MEN IN SPACE

CUT TO:

72 CS - FOSTER (STUDIO) 6 SECS

AGAINST A SPACE B.G. HE RAISES A HAND AS A SIGNAL.

CS ASTRONAUT

HE ACKNOWLEDGES FOSTER'S SIGNAL.

CUT TO:

73 EXT. AIRLOCK (STUDIO) 4 SECS

CLOSE ON A THIRD MAN AS HE HOLDS THE ELECTRON TELESCOPE

CUT TO:

74 EXT. LUNAR MODULE (VE) 4 SECS

THE ELECTRON TELESCOPE FLOATS OUT FROM THE LUNAR MODULE ON A SAFETY LINE.

CUT TO:

75 MS - ELECTRON TELESCOPE (VE) 5 SECS

TURNING SLOWLY AS IT DRIFTS IN SPACE ON ITS LINE.

CUT TO:

76 CS - FOSTER (STUDIO) 3 SECS

HE TURNS HIS HEAD TO LOOK AT -

CUT TO:

77 POV SHOT (VE) 4 SECS

THE ELECTRON TELESCOPE, WITH THE SECOND ASTRONAUT NEARBY.

CUT TO:

78 CS - FOSTER (STUDIO) 3 SECS

HE TURNS HIS HEAD AGAIN TO LOOK AT -

CUT TO:

79 POV SHOT (VE) 3 SECS

THE PROBE.

CUT TO:

80 EXT. SPACE (VE) 6 SECS

THE FIGURE OF THE ASTRONAUT MOVES WITH THE ELECTRON TELESCOPE TOWARDS THE PROBE.

CUT TO:

81 EXT. MOONBASE (VE) 5 SECS

TO ESTABLISH.

CUT TO:

82 INT. CONTROL SPHERE. (STUDIO) 32 SECS

WE FEATURE STRAKER AS THE GROUP WAIT ANXIOUSLY. FINALLY THE SILENCE IS BROKEN AS -

FOSTER (VO)
Space team to control. Phase one complete. Equipment installed.

ON GAY

GAY
(flat)
Control to Space team. Roger

WIDER ANGLE

STRAKER STRIDES TO THE CONSOLE AND SPINS THE MIKE TO SPEAK INTO IT.

STRAKER
Great work, Paul. Pass my congratulations on to the team.

FOSTER (VO)
Thank you, sir. Out.

TWO SHOT

GAY AND STRAKER. HE IS ANNOYED AT GAY'S LACK OF EXCITEMENT.

STRAKER
Don't let your enthusiasm run away with you, Lieutenant.

CUT TO:

83 INT. SLEEP SPHERE. (STUDIO) 62 SECS

THE SPHERE HAS BEEN DRESSED WITH COSMETICS ETC., TO GIVE A FEEL THIS IS WHERE THE GIRLS SLEEP.

NINA AND JOAN, DRESSED IN VERY FEMININE ATTRACTIVE NIGHT GEAR ARE THERE WITH ANOTHER GIRL, WHO IS DRESSED IN UNIFORM READY TO GO ON DUTY.

GIRL
See you in six hours, girls.

NINA
O.K. Don't wake us, we'll wake you.

THE GROUP SMILE. THE GIRL EXITS.

ON NINA

SHE COMBS HER HAIR, OR WHATEVER.

NINA
What do you think of the new male influx, Joan?

ON JOAN

SHE SMILES

JOAN
It's nice to have them around.

TWO SHOT
NINA
You know, I think I could go for Paul Foster, or maybe Lieutenant Masters.

JOAN
(dreamy)
I think he's minty.

NINA
Who?

JOAN
Ah...

NINA
You mean John Master...

JOAN SMILES, I'M NOT TELLING.

NINA
I know... Keith Ford.

JOAN LAUGHS MISCHIEVOUSLY.

NINA
You don't mean Straker

GAY (VO)
What about Commander Straker?

WIDER ANGLE

GAY ELLIS HAS COME INTO THE SPHERE.

NINA
I - er - was just going to say how cold and unemotional he is, Lieutenant.

GAY
That's the way it should be, isn't it ?

JOAN
Yes, Lieutenant.

NINA
Right.

GAY MOVES OFF INTO A CHANGING CUBICLE.

TWO SHOT

JOAN AND NINA EXCHANGE A GLANCE. NINA PULLS A FACE AND FLICKS HER HAND UP AND DOWN.

CUT TO:

84 INT. LEISURE DINING SPHERE. (STUDIO) 83 SECS

START CLOSE ON A SHEET OF PERSPEX WHICH WILL BE USED AS THE EQUIVALENT OF A BLACKBOARD.

THE EARTH THE MOON AND VARIOUS ORBITAL PATHS HAVE ALREADY BEEN MARKED.

PULL BACK TO SHOW THE MOONBASE PERSONNEL GATHERED IN THE SPHERE. STRAKER STANDS BY THE PERSPEX BOARD.

STRAKER
I've asked you all here to explain the next and most vital phase of the operation.

ON STRAKER

THE DIRECTOR, AT HIS DISCRETION, CAN SHOOT THROUGH THE PERSPEX TO ADD INTEREST TO THE SCENE.

STRAKER
The space probe is in orbit, the equipment has been installed and tested.

WIDER ANGLE

STRAKER
Lieutenant Ellis.

GAY GETS UP AND JOINS STRAKER.

GAY
The problem is to force a UFO into an orbit complimentary to the space probe's. Then we can activate the tracking systems on the B142 and enable it to latch on to the UFO.

ON GAY

GAY
It will involve scheduling the interceptors very precisely.

WIDER ANGLE

GAY
We have made a computer study of UFO approaches and the general pattern is marked, as you can see.

GAY INDICATES A SERIES OF UFO APPROACH ORBITS MARKED ON THE CHART.

ON STRAKER

STRAKER
Lieutenant Ellis has already compiled an interceptor schedule. But a lot of on the spot decisions will have to be taken.

ON FOSTER

FOSTER
You mean we play this one by ear.

WIDER ANGLE

STRAKER
Right.

FOSTER
Isn't this dangerous?

GAY

It involves a certain risk, Colonel.

STRAKER
A calculated risk, Lieutenant, Based on a careful weighing of human factors as much as logic.

AN AWKWARD SILENCE.

ON GAY

STONE FACED

ON STRAKER

STRAKER
Well, all we can do now is wait for a UFO.

CUT TO:

85 EXT. SPACE (VE) 5 SECS

SID IN ORBIT.

CUT TO:

86 INT. CENTRAL PARK. (STUDIO) 15 SECS

FORD AND NINA RELAX IN CENTRAL PARK. THEY LAUGH AT SOME JOKE.

FORD LOOKS UP AS GAY WALKS INTO SHOT.

FORD
Hello, Lieutenant. Why don't you join us?

GAY
Thanks. But not right now.

SHE WALKS ON.

ZOOM IN ON STRAKER. HE HAS HEARD AND NOTICED.

CUT TO:

87 INT. CONTROL SPHERE. (STUDIO) 44 SECS

MASTERS AND FOSTER ARE IN THE CONTROL SPHERE. JOAN IS AT HER CONSOLE.

TWO SHOT

MASTERS AND FOSTER CHECK A READOUT.

FOSTER
That seems to be fine. We'll run another computer check tomorrow.

MASTERS
Good. I'll arrange it.

MASTERS WALKS OVER TO JOAN WITH THE READOUT.

TWO SHOT

MASTERS
Thanks, Joan. We'll run again tomorrow.

JOAN
Yes, sir.

THEY SMILE AT EACH OTHER.

ON DOORWAY

GAY COMES IN AND LOOKS OVER TO -

POV SHOT

MASTERS BENDS OVER JOAN AT HER SAYING A FEW UNHEARD WORDS.

ON GAY

GAY The control room isn't the place to socialise, Lieutenant Masters.

WIDER ANGLE

FOSTER REACTS

FOSTER
(hard)
They were working Ellis... Under my instructions.

GAY DOESN'T ANSWER.

FOSTER
Come on John. Let's go.

FOSTER AND MASTERS EXIT.

ON GAY

HER FACE SET HARD.

CUT TO:

88 EXT. SPACE (VE) 5 SECS

THE B142 IN ORBIT.

CUT TO:

89 EXT. SID (VE) 5 SECS

IN ORBIT. WAITING, WATCHFUL.

CUT TO:

90 EXT. SPACE (VE) 6 SECS

JUST THE STRETCH OF LIMITLESS SPACE, BUT AS WE WATCH THE UFO MUSIC BUILDS.

91 EXT. UFO (VE) 5 SECS


AS THE MUSIC WARNS US. A UFO HURTES TOWARDS CAMERA.

CUT TO:

92 EXT. SID (VE) 3 SECS

SILENT.

CUT TO:

93 EXT. UFO (VE) 5 SECS


MOVING FAST THROUGH SPACE.

CUT TO:

94 EXT. SID (VE) 3 SECS

AS BEFORE.

CUT TO:

95 INT. SID (VE) 5 SECS

THE COMPUTERS BEGIN TO CHATTER AS THEY PICK UP THE UFO.

CUT TO:

96 INT. CONTROL SPHERE. (STUDIO) 10 SECS

CLOSE ON NINA. SHE REACTS AS -

S.I.D.
Red alert... red alert.

NINA LEANS TO A MIKE.

NINA
This is control. I have a red alert.

CUT TO:

97 INT. CORRIDOR. (STUDIO) 8 SECS


STRAKER STOPS IN THE CORRIDOR AS -

NINA (VO)
I have a red alert.

STRAKER TURNS ROUND AND HURRIES BACK THE WAY HE CAME.

CUT TO:

98 INT. SLEEP SPHERE. (STUDIO) 8 SECS

GAY JUMPS UP AND MOVES URGENTLY TOWARDS THE DOORWAY. (SHE HAS BEEN WRITING A LETTER.)

NINA (VO)
Have UFO on positive track area 142 blue.

CUT TO:

99 INT. CONTROL SPHERE. (STUDIO) 32 SECS

STRAKER HURRIES IN TO JOIN FOSTER. THE GIRLS TRACK THE UFO IN BACKGROUND.

JOAN (VO)
Speed SOL 8.35. Tracking positive.

NINA (VO)
141 blue... 140... 139...

FOSTER
Sid just confirmed. It's coming right in on the predicted flight path.

ON DOORWAY

GAY HURRIES IN AND MOVES TO THE CENTRAL CONSOLE.

TWO SHOT

STRAKER LEANS IN TO HER

STRAKER
She's all yours, Lieutenant.

GAY
(calm)
This is control to interceptors. Immediate launch. Repeat - immediate launch.

100 INT. LEISURE DINING SPHERE. (STUDIO) 5 SECS

THE INTERCEPTOR PILOTS GRAB THEIR HELMETS AND HEAD FOR THE CHUTES.

CUT TO:

101 EXT. SPACE (VE) 6 SECS


THE UFO STREAMMG IN. THE MUSIC REACHES A CRESCENDO.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

102 INT. CRATER (VE) 6 SECS

THE INTERCEPTORS ON THEIR RAMPS.

CUT TO:

103 INT. INTERCEPTOR (STUDIO) 5 SECS


AN ASTRONAUT CHECKS HIS INSTRUMENTATION.

CUT TO:

104 INT. CRATER (VE) 5 SECS

THE INTERCEPTORS LIFT UP ON THEIR RAMPS.

CUT TO:

105 EXT. CRATER (VE) 5 SECS

THE INTERCEPTORS COME OUT ONTO THE LUNAR SURFACE, THEN LIFT OFF.

CUT TO:

106 EXT. MOON (VE) 5 SECS

THE INTERCEPTORS FLYING IN FORMATION ABOVE THE MOON.

CUT TO:

107 INT. INTERCEPTOR (STUDIO) 9 SECS

THE ASTRONAUT REPORTS TO CONTROL.

ASTRONAUT
Interceptor leader to control. We're space borne.

GAY (VO)
Roger one.

CUT TO:

108 INT. CONTROL SPHERE (STUDIO) 23 SECS

GAY AT THE CONSOLE. STRAKER NEARBY. JOAN AND NINA AT THEIR POST. FORD HAS ALSO TAKEN UP A POSITION. STRAKER LEANS TO A MIKE -

STRAKER
This is Straker. You all know how important this mission is. Your controller will be Lieutenant Ellis. Flight plans will be relayed by Lieutenant Ford.

ON FORD

FORD
UFO maintaining course and speed. Stand by for onboard computer read in.

CUT TO:

109 EXT. SPACE (VE) 5 SECS

THE THREE INTERCEPTORS IN FORMATION.

CUT TO:

110 INT. INTERCEPTOR (STUDIO) 12 SECS

THE ASTRONAUT ACTIVATES THE INPUT TO HIS ONBOARD COMPUTER AS IT COMES OVER THE RADIO.

FORD (VO)
014 - 00102 - 137 - 2148.

CUT TO:

111 INT. CONTROL SPHERE (VE) 37 SECS


ON FORD.

FORD
1319 - 0124. Input ends.

NINA (VO)
Still tracking.

ON STRAKER

WATCHING, LISTENING.

SID (VO)
Range 18 million, 17 million miles (etc)

JOAN (VO)
Entering area red 081.

WIDER ANGLE

STRAKER AND FOSTER STAND BY THE LARGE OVAL WALL CHART ON WHICH WE SEE THE MOON AND THE SPACE PROBE'S ORBIT AROUND IT. THE CHART IS SQUARED OFF WITH A REFERENCE GRID. ELECTRONIC POINTS OF LIGHT PLOT THE POSITION OF THE UFO AND THE INTERCEPTORS.

FOSTER
There it is.

HE POINTS TO THE UFO LIGHT MARKER. STRAKER NODS.

CUT TO:

112 EXT. SPACE (VE) 5 SECS

THE UFO VEERS OFF ONTO A NEW COURSE. CUT TO:

113 INT. CONTROL ROOM (STUDIO) 35 SECS

NINA
It's changing course.

STRAKER REACTS.

JOAN
UFO entering area red 084. Speed SOL 8.37.

TWO SHOT

STRAKER AND FOSTER AT THE CHART. THE ELECTRONICS ADJUST THE POSITION OF THE UFO MARKER.

FOSTER
We'll have to readjust the schedule.

STRAKER
Right.
(calling back over his shoulder) Compute for new flight plan.

ON FORD

HE MOVES A CONTROL

ON LIGHTS

FLASHING IN SEQUENCE AS IN PILOT.

ANOTHER ANGLE

ON LIGHTS.

CUT TO:

114 EXT. SPACE (VE) 5 SECS

THE UFO MOVING AT GREAT SPEED.

CUT TO:

115 EXT. INTERCEPTORS (VE) 5 SECS

STILL IN FORMATION

CUT TO:

116 INT. CONTROL SPHERE (STUDIO) 15 SECS

NINA CROSSES TO FORD WITH THE NEW READOUT.

FORD
Control to interceptors. Standby for new flight plan. 042 - 00102 - 148 - 2148. Increase speed to SOL 1.127.

CUT TO:

117 INT. INTERCEPTOR. (STUDIO) 11 SECS

ASTRONAUT
Roger Control.

HE LOOKS OUT TOWARDS THE INTERCEPTOR ON HIS RIGHT.

ASTRONAUT
Leader to 2 and 3. Alter course to 2148.

CUT TO:

118 EXT. SPACE (VE) 5 SECS

THE THREE INTERCEPTORS SWING ONTO A NEW COURSE.

CUT TO:

119 INT. CONTROL SPHERE. (STUDIO) 32 SECS

START ON STRAKER, HE IS WORRIED. HE TURNS AS -

JOAN
Interceptors losing contact, sir.

STRAKER
We've got to turn it.

HE MOVES TO GAY

FOSTER AT THE CHART.

TWO SHOT

FOSTER AND STRAKER AT THE SPACE CHART. AS STRAKER TALKS HE USES THE CHART TO EXPLAIN VISUALLY HOW THEY ARE TRYING TO SWING THE UFO ROUND INTO AN ORBIT THAT WILL COINCIDE WITH THE B142 SPACE PROBE.

STRAKER
If we use a detonation here, the UFO will be forced to swing away onto this sort of course.

FOSTER
Which should just about do it.

STRAKER
Don't hold your breath. (Don't bank on it)

ON STRAKER

STRAKER
Tell the interceptors to explode a missile in area blue 128.

CUT TO:

120 EXT. SPACE (VE) 5 SECS


THE UFO STREAMING ACROSS SPACE.

CUT TO:

121 INT. CONTROL SPHERE (STUDIO) 8 SECS


ON GAY

GAY
Control to interceptors. Break formation. Will relay new flight plans.

ASTRONAUT (VO)
Roger control.

CUT TO:

122 EXT. SPACE (VE) 6 SECS

THE INTERCEPTORS BREAK FORMATION.

CUT TO:

123 INT. CONTROL SPHERE (STUDIO) 8 SECS

ON FORD

FORD
Control to interceptors. Have missile firing sequence for leader.

CUT TO:

124 EXT. INTERCEPTOR (VE) 4 SECS

THE LEADING INTERCEPTOR IS NOW FLYING ON ITS OWN.

CUT TO:

125 INT. INTERCEPTOR (STUDIO) 15 SECS

THE ASTRONAUT LISTENS AS THE INFORMATION COMES OVER.

FORD (VO)
Input 101002. Missing timing: 15 decimal 18 seconds.

ASTRONAUT
Thanks, control. Commencing missile sequence.

HE MOVES THE CONTROLS.

CUT TO:

126 EXT. SPACE (VE) 4 SECS

THE UFO TRAVELS ON.

CUT TO:

127 INT. INTERCEPTOR (STUDIO) 7 SECS

ASTRONAUT
Firing minus 5 decimal 2 seconds.

WE HEAR THREE PIPS.

CUT TO:

128 EXT. INTERCEPTOR (VE) 3 SECS

THE MISSILE STREAKS AWAY.

129 EXT. SPACE (VE) 5 SECS

THE UFO FLYING AWAY FROM CAMERA. WE SEE THE FLASH OF A DETONATION AHEAD OF IT.

CUT TO:

130 INT. CONTROL SPHERE (STUDIO) 15 SECS

THE GROUP WAIT ANXIOUSLY.

NINA
Detonation positive.

ON STRAKER

HE TURNS TO JOAN

ON JOAN

SHE STUDIES HER SCREEN A LONG MOMENT THEN -

JOAN
It's altered course.

WIDER ANGLE

THE GROUP WAIT.

CUT TO:

131 CS - CHART (STUDIO) 15 SECS

AS THE INFORMATION COMES OVER THE COMPUTER MOVES THE UFO MARKER AS IT SWINGS ROUND COMING NEARER AND NEARER TO THE B142.

FORD (VO)
UFO entering area blue 132.

NINA (VO)
Maintaining speed.

FORD (VO)
Crossing into blue 133.

FOSTER
(slow)
It's coming round just right.

CUT TO:

132 INT. CONTROL SPHERE (STUDIO) 4 SECS

ON STRAKER

WATCHING INTENTLY.

CUT TO:

133 EXT. SPACE (VE) 4 SECS

THE B142 IN ORBIT.

CUT TO:

134 EXT. UFO (VE) 4 SECS

MOVING VERY FAST.

CUT TO:

135 INT. CONTROL SPHERE. (STUDIO) 35 SECS

ON STRAKER AND FOSTER AT THE CHART.

STRAKER
Keep coming, baby.

JOAN (VO)
It's accelerating, sir.

STRAKER WHIPS ROUND

ON JOAN

JOAN
Speed SOL 8.38... 8.39...

WIDER ANGLE

STRAKER MOVES URGENTLY ACROSS TO STAND HALFWAY BETWEEN JOAN AND GAY

GAY
We'll have to use a second missile.

STRAKER
Compute it.

NINA
Yes, sir.

ON STRAKER

A MUSCLE WORKING IN HIS FACE - HE CAN LET IT SLIP THROUGH HIS FINGERS NOW.

ON NINA

SHE GETS THE COMPUTER READOUT AND TAKES IT ACROSS TO FORD.

ON STRAKER

THE TENSION SHOWING IN HIS VOICE.

STRAKER
Well?

WIDER ANGLE

FORD
A missile in area blue 27 should do it, Commander.

CUT TO:

136 EXT. SPACE (VE) 4 SECS


THE UFO SPEEDS ON.

CUT TO:

137 INT. CONTROL SPHERE (STUDI0) 10 SECS

THE GROUP WAIT FOR STRAKER

STRAKER
Order the missile launch.

ON FORD

FORD (VO)
Missile timing: 104 - 018 - 826.

CUT TO:

138 EXT. INTERCEPTOR (VE) 3 SECS

A MISSILE STREAKS AWAY

CUT TO:

139 EXT. SPACE (VE) 5 SECS

WE SEE THE DETONATION AS BEFORE.

CUT TO:

140 INT. CONTROL SPHERE (STUDIO) 18 SECS


A TENSE ATMOSPHERE

JOAN
(quietly)
Detonation confirm.

ON STRAKER

HE WALKS OVER TO THE CHART WHERE FOSTER WAITS.

S.I.D.
UFO veered to new course 301.

FOSTER WATCHES AS THE UFO MARKER CLOSES ON THE B142.

S.I.D.
Compute B142 will link up in 43 seconds.

FOSTER
We've done it.

CUT TO:

141 EXT. SPACE. (VE) 7 SECS

THE UFO IS TURNING, HEADING BACK THE WAY IT CAME.

CUT TO:

142 EXT. PROBE. (VE) 6 SECS

THE B142 BREAKS ORBIT, AS ITS ROCKETS FIRE IT BEGINS TO TRACK THE UFO.

CUT TO:

143 INT. CORRIDOR (STUDIO) 12 SECS

STRAKER, HEAD BOWED, MEETS GAY IN THE CORRIDOR. SHE LOOKS TIRED.

STRAKER
Lieutenant.

GAY
Commander Straker.

STRAKER
How do you feel?

GAY
Fine thanks.

STRAKER
How about a coffee?

GAY
Yes, I'd like that.

STRAKER GIVES HER A SMILE.

CUT TO:

144 INT. LEISURE DINING SPHERE (STUDIO) 127 SECS

STRAKER AND GAY COME IN. THERE IS NO ONE ELSE IN THE SPHERE. STRAKER GOES OVER TO THE AUTOMAT AND GETS TWO COFFEES.

ON STRAKER:

HE GLANCES ACROSS AT GAY

ON GAY:

FROM STRAKER'S POV HE CATCHES HER GIVING WAY TO HER TIREDNESS

WIDER ANGLE

GAY PULLS HERSELF TOGETHER AS STRAKER COMES OVER WITH THE COFFEE AND GIVES HER A CUP.

STRAKER
Well, here's to Project Discovery.

GAY
Cheers.

THEY SMILE

STRAKER
Tired.

GAY
A little.

ON STRAKER

STRAKER
Listen Gay, I want to thank you for all the hard work you've put into this.

TWO SHOT

GAY SMILES, SIPS HER COFFEE.

STRAKER
...and the long hours.

A PAUSE

STRAKER
You know you drive yourself pretty hard.

GAY
I always try to do my best.

STRAKER
Oh don't get me wrong. I'm not questioning your efficiency.

GAY
I'm sorry. I always seem to jump to the wrong conclusion.

STRAKER
I know. You don't have to tell me what responsibility can do.

ON STRAKER

STRAKER

Relax, Gay.
(pause)
You know, maybe you push yourself a little too hard.

TWO SHOT

GAY LOOKS AT HIM

ON STRAKER

STRAKER

You're doing a fine job, Gay. A man's job, but you don't have to do it any better because you're a woman.

TWO SHOT

STRAKER

You don't have to prove anything: Your record speaks for itself.

GAY

It's nice of you to say so. But sometimes it's pretty difficult.

STRAKER

I know. I realise better than most what responsibility can do.

GAY SMILES. A MOMENT WHEN BOTH REALISE A STRANGE BOND BETWEEN THEM.

STRAKER

Just try dropping a couple of these defensive shields.

GAY

I know what you mean

STRAKER

I'm sure you do. Give it a try.

STRAKER WINKS AT HER. GAY WRINKLES HER NOSE BACK.

GAY
Thanks for the coffee.
(Meaning it)
And thanks...

GAY SMILES, GETS UP AND WALKS TO THE DOOR.

STRAKER
Think about it, Gay, and don't ever forget... you're a very attractive girl.

GAY SMILES AND TURNS TO GO OUT AND SEES FOSTER HAS JUST COME IN. HE HAS HEARD STRAKER'S REMARKS. GAY GOES OUT.

ON FOSTER

HE GIVES A LOON 'HO-HO, WHAT'S GOING ON HERE'

TWO SHOT

STRAKER
Ah, Paul. When do we leave?

FOSTER
1800 hours tomorrow.

CUT TO:

FOSTER LOOKS AT THE DOOR, THEN AT STRAKER.

STRAKER
Let me give you a piece of advice Colonel, never judge a situation by the end of a conversation.

CUT TO:

145 INT. CONTROL SPHERE (STUDIO) 37 SECS


CLOSE ON NINA

NINA
Lunar module take off minus 18 minutes.

WIDER ANGLE

STRAKER COMES INTO THE CONTROL SPHERE.

STRAKER
I just came in to say thanks.

JOAN AND NINA SMILE.

JOAN
When will the first pictures come through, sir?

STRAKER
Well, the experts tell me four months. Let's hope they're worth waiting for. Goodbye.

JOAN
Goodbye, sir.

NINA
Goodbye, Commander.

ANOTHER ANGLE

GAY HAS COME IN TO STAND JUST INSIDE THE DOORWAY. STRAKER SEEMS TO BE WALKING STRAIGHT OUT, BUT STOPS AND TURNS TO GAY.

TWO SHOT

GAY
Goodbye, sir ... Safe journey.

SHE SMILES. STRAKER TOUCHES HER ARM.

STRAKER
(gently)
Bye Gay. Next time you're on Earth furlough drop in and see me.

CUT TO:

146 EXT. SPACE. (VE) 10 SECS

THE B142 IN SPACE

ANOTHER ANGLE

AS THE MUSIC STINGS, WE SEE IT IS MOVING TOWARDS THE ALIEN PLANET.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV 

FADE IN

147 EXT. SPACE (VE) 5 SECS

TO ESTABLISH THE B142.

CUT TO:

148 INT. SPACE PROBE (VE) 9 SECS

AS IN THE OPENING SEQUENCE. THEN THE ELECTRONICS BEGIN TO CLICK. THE B142 HAS STARTED TO SCAN AND TRANSMIT.

CUT TO:

149 EXT. TRACKING STATION. DAY (VE) 6 SECS

WE FEATURE THE GIANT DISH AERIAL AND HEAR THE RADIO SIGNALS OVER.

CUT TO

150 EXT. HARLINGTON STRAKER STUDIO (STOCK) 5 SECS

TO ESTABLISH

CUT TO:

151 INT. CONTROL ROOM (UNDERGROUND)(STUDIO) 60 SECS

STRAKER, FOSTER AND FREEMAN STAND AROUND FORD.

FORD
They're coming through now, sir.

STRAKER GLANCES AT FREEMAN.

STRAKER
Right. Feed them through the decoder straight into printout.

FORD
Yes, sir.

ANOTHER ANGLE

FREEMAN, FOSTER AND STRAKER CROSS TO THE PRINT OUT MACHINE.

ON STRAKER

WAITING, TENSE.

GROUP SHOT

THE MACHINE BEGINS TO OPERATE. A PICTURE IS PRINTED OUT.

ON PICTURE

A LONG SHOT OF THE PLANET, BUT WITHOUT THE RANGE AND OTHER DETAILS.

ON GROUP

STRAKER PASSES THE PICTURE TO FREEMAN AND WAITS FOR THE NEXT.

ON PICTURE

A CLOSER SHOT MUCH MORE DETAIL.

GROUP SHOT

FOSTER
Fantastic.

ANOTHER PICTURE FEEDS OUT.

FREEMAN
Look at that.

ON STRAKER

INTENT ON THE PRINT OUT.

ON PICTURE

AMAZINGLY DETAILED - THE ALIEN PLANET.

ON STRAKER

HE TURNS TO FREEMAN.

STRAKER
Tell the lab. I want a preliminary report in 24 hours. We've got the answers, Alec. We've got the answers.

CUT TO:

152 INT. LAB. UNDERGROUND (STUDIO) 185 SECS


START ON KELLY AS HE WORKS ON THE PICTURES OF THE ALIEN PLANET SPREAD OUT ON A TABLE.

HE TURNS AS STRAKER COMES IN, AND CHECKS HIS WATCH.

STRAKER
I did say 24 hours.

KELLY
(tired)
Yes, sir. But we haven't had time to type up a report.

STRAKER
Then give it to me verbally.

ON KELLY

KELLY
There was a fault in the device.

TWO SHOT

STRAKER
Fault?

KELLY
Yes. The range and magnification on each shot wasn't transmitted.

STRAKER
Just what does that mean?

KELLY
It means except for superfluous detail, these shots tell us very little.

STRAKER
What are you trying to sell me here, Kelly?

STRAKER GRABS UP ONE OF THE PRINTS.

ON PRINT

STRAKER(VO)
Look at that. Look at the detail. It must tell you something.

TWO SHOT

KELLY
Yes, but was it taken from 500 or 100 miles? With a magnification of one or one thousand?

STRAKER
Oh come on. If I take a photo of a girl, from three feet or a hundred yards you can still see it's a girl.

KELLY WALKS OVER TO A PROJECTOR AND TURNS OFF THE LIGHTS.

ON KELLY

HE FLICKS A CONTROL AND PROJECTS A PICTURE ON THE WALL.

KELLY
A close shot of the alien planet.

WE ARE LOOKING AT A STEREOSCAN SHOT.

KELLY
You will notice what appears to be a lava rock formation.

ON STRAKER

STRAKER
It's incredible... but I don't recall seeing this before.

TWO SHOT

KELLY
If you'll bear with me, Commander.

HE PROJECTS ANOTHER STEREOSCAN SHOT.

KELLY
Here's another. The structure in the centre, could be some sort of building.

STRAKER WATCHES INTENTLY.

KELLY PROJECTS ANOTHER SHOT.

ON SCREEN

THE BEES EYE SHOT

KELLY (VO)
We think this is an agricultural area.

ANOTHER PICTURE COMES ON THE SCREEN.

KELLY (VO)
Another shot showing rock formation.

ON STRAKER

THE PICTURES ON THE SCREEN ARE AMAZING, THE AUDIENCE WILL ALSO BELIEVE THEY ARE CLOSE SHOTS OF THE ALIEN PLANET.

WIDER ANGLE

KELLY PROJECTS TWO MORE SHOTS, SHOWING INCREDIBLE PICTURES.

STRAKER
And you're trying to tell me these shots tell you nothing.

TWO SHOT

KELLY
Commander, you said earlier if you took a picture of a girl from three feet or 100 yards you could still recognise it as a girl.

STRAKER
Yes, I did.

ON KELLY

HE MOVES A COUPLE OF CONTROLS AND FLICKS A SWITCH.

KELLY
Take a look at this, sir.

WIDER ANGLE

A SHOT IS PROJECTED ONTO THE SCREEN

KELLY
Whatever the range, this is obviously a shot of the alien planet. A close up of the surface.

ON SCREEN

THE CLOSE UP OF A WOMAN'S LEG AS SEEN THROUGH A STEREOSCAN.

STRAKER
I'm no expert, but that's got to be some kind of vegetation.

RESUME SCENE

THE PICTURE CHANGES TO A CLOSE SHOT OF THE LEG. WE CAN NOW SEE THE CURVE OF FLESH WHICH LOOKS LIKE THE CURVATURE OF A PLANET.

KELLY
Alright, let's pull back - you will notice the curvature of the horizon... let's pull back a little more.

ON SCREEN

THE PICTURE CHANGES, THE MAGNIFICATION IS MUCH LESS - WE NOW SEE THE UPPER LEG AND THE EDGE OF A PAIR OF BRIEFS.

ON STRAKER

BEGINNING TO REALISE

ON SCREEN

WE NOW SEE IT IS A HUMAN LEG.

RESUME SCENE

THE PICTURE CHANGES TO ONE OF HALF A GIRL. THEN FINALLY THE WHOLE GIRL.

KELLY TURNS ON THE LIGHTS, CROSSES TO A DOOR AND OPENS IT. STRAKER FOLLOWS HIM.

CUT TO

153 INT. ANTE ROOM. (STUDIO) 14 SECS

GAY STANDS AGAINST A TARGET WALL. HER UPPER LEG IS HELD IN A METAL CLAMP, HER HAND IS ON HER HIP. WE SEE THE STEREOSCAN WHICH HAS BEEN TAKING SHOTS.

STRAKER
Hello, Gay.

GAY
Hello, Commander.

KELLY
You can relax now, thank you.

GAY
It was a pleasure.

SHE GOES TO UNFASTEN THE CLAMP.

STRAKER
Hold it a minute, will you.

CUT TO

154 INT. LAB (STUDIO) 85 SECS

STRAKER GOES BACK INTO THE LAB, TO THE PROJECTOR. THROUGH THE OPEN DOOR WE CAN SEE AYESHA.

ON STRAKER

HE OPERATES THE CONTROLS

ON SCREEN

WE GO BACK IN REVERSE, STARTING ON AYESHA, AND ENDING ON THE HIGHLY MAGNIFIED SHOT OF HER LEG. THIS SHOT SMUDGES AS AYESHA MOVES TO UNDO THE CLAMP. ON STRAKER

DEEP IN THROUGHT. KELLY AND AYESHA JOIN HIM.

AYESHA
Not the most flattering of pin ups.

STRAKER
Yes. But I'm beginning to see the problem.

KELLY PICKS UP A SET OF PHOTOS.

KELLY
Yes, sir. Without knowing details of range and magnification..

ON PHOTOS

AS HE HANDS THEM ONE BY ONE TO STRAKER

KELLY(VO)
A lava flow becomes a piece of shattered polystyrene. Magnification X 2155.

KELLY(VO)
An agricultural area, the eye of a wasp.

KELLY(VO)
The surface of a planet, a piece of puffed wheat.

ON STRAKER

HE IS VERY THOUGHTFUL

STRAKER
Well you've certainly made your point. How are these shots produced?

TWO SHOT

KELLY
The secret is the Ôthree dimensional effect. The depth of focus. It's been known for twenty five years, but it needs development.

STRAKER
So while we've all been busy looking into outer space, men like you have been sitting on this.

ON STRAKER

HE LOOKS AT ONE OF KELLY'S PHOTOS

STRAKER
Inner space. Your pet project.

ON KELLY

KELLY
Yes. It's a vast area almost completely unexplored. I believe it could well give us the answers to some of the basic questions about the universe and even life itself.

TWO SHOT

STRAKER
Maybe we've all been looking the wrong way.

CUT TO:

155 INT. HENDERSON'S OFFICE. DAY. (STUDIO) 55 SECS


WE ARE VERY CLOSE ON STRAKER AND FOR THE MOMENT DO NOT REALISE THAT WE HAVE CUT

STRAKER
When you really think about it. Everything in the room, every object, even a speck of dust, contains billions of particles, each particle made up of millions of atoms. A whole universe within these four walls.

PULL BACK TO SHOW WE ARE IN HENDERSON'S OFFICE, WITH HENDERSON SEATED BEHIND HIS DESK. SOME OF KELLY'S PICTURES ARE STREWN AROUND.

STRAKER
I can walk along a beach... stand with a million grains of sand beneath my feet. Is everything we know, this office, the world, the vastness of space inside one grain of sand on a beach, on another world, in another universe.

ON STRAKER

STRAKER
Space is infinite - both ways: outward and inward.

TWO SHOT

HENDERSON IS THOUGHTFUL.

HENDERSON
You can tell Kelly he'll get his appropriation - maybe more than he expects. I get the picture.

ON STRAKER

STRAKER
A greatly magnified picture.

HE PICKS UP A PHOTO.

ON PHOTO

SLOWLY TRACK IN ON IT

FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CENTURY 21 PICTURES LIMITED U.F.O TELEVISION SERIES

CALL SHEET No.: 1



PRODUCTION CLOSE-UP Episode 13 DATE Monday 29th September

SET AS BELOW STAGE 6

DIRECTOR ALAN PERRY UNIT CALL 8.30 A.M.

===============================================
ARTIST CHARACTER D/R No. MAKE UP CALL SET CALL
===============================================

1) INT. SKYDIVER CONTROL SC: NOS: C.E.G.J.L.O.Q.S.

GARY MYERS WATERMAN C.107 8.00 8.30
JEREMY WILKIN MAXWELL C.211 8.00 8.30
GEORGINA MOON SYLVIA HOWELL C.209 7.00 8.30

CROWD
3 MEN CREW CROWD 8.00 8.30

PROPS
AS PER SCRIPT TO INCLUDE CHART, DEPTH GAUGE, WATERMAN'S WATCH, MICROPHONE

ELECTRON
T.V. EQUIPMENT. RADAR SCREEN WITH BLIP.

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

2) INT. LAUNCH CONTROL SC: NOS. 30.33.35.37.39.41.44. DAY

FRANK MANN CONTROLLER B.101 11.00 12.00
ROBERT SHERMAN 1ST OPERATIVE B.102 11.00 12.00
ROBERT HOWAY 2ND OPERATIVE B.103 11.00 12.00
CLIVE ENDERSBY HARRY B.104 11.00 12.00

CROWD
5 MEN OPERATIVES CROWD 8.30 12.00

PROPS
AS PER SCRIPT TO INCLUDE COUNTDOWN CLOCKS

ELECTRON
T.V. MONITORS, COMPUTER READOUTS (MAIN T.V. MONITOR WITH BLACK VELVET)

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

3) INT. STRAKER'S UNDERGROUND OFFICE SC: NO: 46.

ED BISHOP STRAKER C.111 STAND-BY (FROM 'B' UNIT)

PROPS
AS PER SCRIPT

STAND-INS
A.N. OTHER for GARY MYERS 8.00
A.N. OTHER for JEREMY WILKIN 8.00

CATERING TEA TROLLEY OUTSIDE STAGE 6 @ 10.00 & 3.30 FOR 60 PERSONS

LUNCH 1.00 - 2.00

RUSHES EXECUTIVE & 1.00 RUSHES FOR EPISODE 12 IN THEATRE 3 MONDAY 29TH ONLY


LEO EATON
Assistant Director