UFO Script for
"Computer Affair"

​​SYNOPSIS: Can a computer identify love? The death of an astronaut when intercepting a UFO has strange implications.

      Red alert: SID (the Space Intruder Detector) in orbit around the Earth on the opposite side of the Moon has confirmed that a UFO is flying towards Earth. Three interceptors are immediately launched, then SID's prediction, "UFO on collision course with interceptors... " is tragically followed by one of the interceptors being destroyed, and the UFO getting through outer defences.

      Gay Ellis of Moonbase Control is suspected of having made a wrong judgement when issuing evasive instructions and is ordered to report to Commander Straker at S.H.A.D.O. headquarters, together with the two surviving interceptor pilots, Mark Bradley and Lew Waterman. They are psychoanalysed and the reports fed into a computer, which comes up with the astonishing verdict that both Mark Bradley and Gay Ellis show abnormal emotional counts, and also that Gay is showing an ultra-excessive stress factor. The inference is that they're in love and that Gay's misjudgment was caused by worry over Mark's safety.

      Neither Mark nor Gay will believe it, and Colonel Freeman tells them he can do nothing to help them unless they can disprove the computer's findings. Meanwhile, they are to be given separate postings. Freeman is assigned to lead the search for the UFO, which is reported to have landed in Northern Canada. Gay goes with him in command of Mobile Control... and finds that she has to prove to herself, in dramatic circumstances, whether or not the computer's findings have any basis in fact. It means risking Mark's life. Knowing the truth, which only the computer has spotted, means that they have to work things out for themselves . . .

"THE COMPUTER AFFAIR"

Story Outline by Tony Barwick


In the control room on SHADO's Moonbase, the Lunar-Earth clock registers 11.00 Moonday 7 underneath the Earth equivalent, the 10th of July (Wednesday). The year is 1985.

The atmosphere is tense. Paula Harris, one of the space trackers, calls out the progress of a UFO. Three of Moonbase's Interceptors close in on the alien craft. Jon Karlin, the base commander, and Alex Freeman watch as the three men fly towards the unknown danger. The computers flash and spew out data. Then, after a brief countdown, the Interceptors fire their atomic warheads. After a few long moments, Paula announces a miss - the UFO continues on course, the now unarmed and vulnerable Interceptors directly in its path. Karlin gives the command for the astronauts to break formation. Paula relays the orders. Karlin reacts - the standard procedure is not being followed - but, after some confusion, the Interceptors disperse offering the UFO three targets as opposed to one.

On the illuminated space map, the Moonbase personnel watch helplessly as the UFO, moving at SOL 8, closes in on the nearest Interceptor. We catch a quick glimpse of the doomed astronaut before he merges with the UFO. The Interceptor is destroyed.

Accusing eyes turn to Paula. Freeman watches closely - was it human error? Karlin breaks the silence. The Earth must be warned that a UFO is through the outer defence system.

MAIN TITLES

Freeman is back on Earth. Straeker tells him the UFO was tracked but contact was lost and it is presumed to have landed in a remote area of Canada. What Straeker demands to know is how the hell it got past the Moonbase defenses. What happened up there? Freeman is at first evasive, but finally admits it had crossed his mind that the error was human. Straeker tells him to get the personnel concerned - Paula Harris and the two surviving astronauts from the Interceptors - back to Earth immediately.

The search for the UFO is organised. Captain Desica, commander of Skydiver, is alerted. All available men and aircraft are thrown into the difficult task.

The two astronauts, Mark Bradley, a negro, and Ken Matthews travel to Earth with Paula Harris. As they glide into the lower levels of the atmosphere after rendezvous with the winged space bus, they discuss all that has happened. Matthews half blames Paula, who offers no defence. Mark Bradley says little, lucky to be alive - his Interceptor would almost certainly have been the one destroyed if the standard procedure had been followed.

The long slog of the search for the UFO continues, but the area is vast and uninhabited, the rugged terrain causing many radar blindspots, and low cloud and ground mist is hampering aerial reconnaissance. It could take weeks.

Paula, Mark Bradley and Matthews are grilled by Straeker in SHADO HQ. They are all highly trained specialists. Straeker is not interested in what happened but why. Why did someone take a decision apparently based on emotion and not computer data and logic. No-one can give him a satisfactory answer.

Straeker decides. All three will be put through a series of tests, psychological, physiological - the works. They were all hand-picked after weeks of such tests. What has happened since then? Straeker wants to know.

In the cold wastes of Northern Canada, we see the UFO. It has been damaged. The Interceptor's atomic warheads exploded a little closer to the mark than realised. But as the music stings, the UFO starts up and slowly takes off. A craft from somewhere in outer space is at large on Earth.

COMMERCIAL BREAK

Using advanced techniques backed by a sophisticated computer, Dr Shroeder leads the investigation of the Moonbase personnel. Matthews is soon cleared, and the tests concentrate on Paula and Mark. They are elaborate and searching.

Emergency. The UFO has been spotted flying at reduced speed and altitude. Captain Desica is given the red alert and Sky Diver takes off to attack.

In an exciting sequence, the attack is pressed home. The UFO receives further damage and is forced back down in Northern Canada. This time SHADO have a more exact fix on its position. The net is closing.

Freeman confronts Paula and Mark with the results of the tests. The computer concludes an emotional attachment between them which made Paula - subconsciously perhaps - change the standard procedure and order Mark away from the danger. To put it simply, the computer detects an embryo mutual love between them.

Paula and Mark are indignant. Both ridicule the idea. Freeman finally agrees, saying he'll back human instinct rather than any computer. A team of SHADO technicians will leave for Canada immediately. Mark and Paula volunteer and Freeman quickly accepts their offer.

In the cold bleak terrain of Northern Canada, the crippled UFO's exact position has now been fixed. Three groups - A, B and C - are closing in. Group A is led by Mark Bradley. Paula and Freeman are in a mobile command control unit in Canada. Straeker monitors and overlords the operation from SHADO HQ in England.

As the hunters close in, the heat is building up in the UFO as it decomposes in Earth's atmosphere. Finally, in a suspense sequence, the hatch opens and the two occupants emerge. Their movements are slow and clumsy. We see their white negroid features through the translucent liquid that fills their clear helmets.

The rest of their bodies are covered in a paper thin, plastic-like material which apparently offers little protection against the stark coldness of their surroundings, but in fact it is an advanced material giving perfect insulation.

The three groups are closing in and have visual contact with the UFO. One will make the final assault. Straeker wants the UFO men taken alive - it could be a highly dangerous operation.

In the mobile command unit, Freeman tells Paula to order one of the groups in. When Paula asks which group, Freeman demonstrates his trust and tells her the decision is hers - standard procedure. He watches her closely.

Paula hesitated a moment, then tells Group A to close in - the one led by Mark Bradley. Mark and his group move cautiously forward. Around their craft, the UFO men make little effort to move. The heat in their space-vehicle is still building up.

The men creep forward, through the bare trees and patches of snow. In mobile command, Freeman paces the floor. In SHADO HQ, Straeker sits glued to his monitor, after ten years of work and sweat a little nearer to achieving something positive.

Group A spot the UFO men. Mark orders his unit to close in. One UFO man senses something and moves quickly towards the space craft. Before Mark can stop him, a man at his side aims and fires and a UFO man's helmet is shattered. As blood mixes with the liquid from the helmet, he staggers towards the UFO and collapses near it. The other panics and moves off like a hunted animal. The men break cover and after a short chase, he is caught.

The group turn to a violent explosion. The UFO has reached the critical temperature and destroyed itself. It will keep its secrets.

COMMERCIAL BREAK

The mobile unit is moving out. Paula and Mark find themselves alone. "Why did you send my group in? The other two were both nearer and in better positions," Mark asks.

Paula, searching her soul, replies, "Maybe I'm prejudiced." A long pause. A firm black hand touches and holds Paula's. An emotional gesture.

In SHADO HQ, Straeker gets little sleep. Their captive is alive and well. Two weeks of tests have told the doctors a great deal. He is about 25 years old - biologically, he is as man himself is predicted to develop 1,000 years in the future. In the UFO he lived and breathed in a liquid environment to enable him to fly longer and faster in space. But now he has been transferred back to breathing air. He has uttered no sound, nor betrayed any emotion. Straeker decides it is time for interrogation.

This sequence underlines the different personalities of the two men. For Freeman the interrogation is brutal. Straeker is determined to make the UFO man talk. After preliminary questioning, electrodes are attached to his arms and, despite Freeman's protests, increasingly high voltage shots are applied. Freeman explodes. The UFO man could be incapable of speech. Maybe he doesn't understand...Straeker ignores him and, peering into the captive's milky eyes, demands that he speaks, answers his questions. Again the voltage is increased. Freeman protests more violently. Maybe they communicate by an entirely different system. Thought patterns for example. "Increase the voltage," Straeker orders.

Although the voltage is high, the amperage is very low and would not harm an ordinary man. But this last shock is the end. A Doctor announces the UFO man is dead...

In Straeker's office, Freeman finally gives way to his pent up emotions - sickened by all he has seen. He calls Straeker all the bastards under the sun. Straeker lets him burn himself out and then coldly replies, "No, Freeman, you're the bastard." He explains..."the alien could understand English. Anyone who can fly across space must be able to monitor our transmissions and be intelligent enough to learn the language. You're the bastard because your emotions placed one life before thirty billion lives on Earth. You're the bastard because your conscience lets you sleep nights and leave the hard decisions to people like me." Straeker goes on. "All the computers predicted he could speak and I've learned never to distrust a computer."

Freeman laughs cynically. "How about Paula and Mark? The computer was wrong there."

"Was it?", Straeker says.

"Yes, it was," Freeman says. He relates how Paula had a choice and sent Mark's group in for the final assault on the UFO, fully realising the danger. "Over-compensating for her emotional involvement," Straeker replies. "Swinging too far the other way to appear impartial."

Freeman scorns, "How the hell do you know that? Power's gone to your head." Two men, temperamentally so different, but somehow needing each other, glare hard across the desk.

We see that Straeker and the computer were right. In a short montage sequence, Paula and Mark finally admit what they both have come to realise is true. An impulse detected by the solid state electronics of a computer has awakened into love.

THE SCRIPT FOR THE UFO EPISODE "COMPUTER AFFAIR"

Some notable things about this script:


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

* Since COMPUTER AFFAIR was the 2nd episode produced, this script has some interesting background information included, like an explanation of "Central Park" on Moonbase (scene 49), and that the Interceptors have atomic warheads (scene 24).

* This script has several additional scenes that never made it into the final episode, including a 29th birthday party for Mark Bradley on Moonbase (scenes 8-9), Freeman's arrival at SHADO HQ from Moonbase (scenes 30-39), Freeman's meeting an officer at Lexfield Air Force Base in Canada (scene 110), and Bradley and Harris disputing the computer's findings that they are in love (scene 106).

* The error which led to the death of the Interceptor pilot is much more blatent in the script than in the finished episode (scene 25), and the computer's findings of what happened are more specific (scene 106).

* The exchanges between Straker and Freeman are more interesting in the script than the final episode -- note Freemans' resignation scene (scenes 183 & 185) and also where Straker snaps his fingers for a cigarette from Freeman (scenes 79-80).

* And a minor note: the original script title "THE COMPUTER AFFAIR" became just "COMPUTER AFFAIR" for the final episode.

NB: This script also has 17 pages of revisions and "new pages" at the end which brings it much closer to the final episode. These pages are included at the end of this file.

THE SCRIPT FOR THE UFO EPISODE
"COMPUTER AFFAIR"

Original title, “THE COMPUTER AFFAIR”

by

Tony Barwick

© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

CAST LIST
SPEAKING PARTS
PAULA HARRIS
DESICA
FREEMAN
NINA
JOAN HARRINGTON
MATHEWS
MARK BRADLEY
WATERMAN
RECEPTIONIST
MISS EALAND
STRAKER
KARLIN
MAXWELL
GRANGER
OPERATOR
DR. SHROEDER
2ND OPERATOR
MASTERS
HOWELL
COL. GROSVENOR
OPERATIVE(CANADA)
LIEUTENANT
DR. MURRAY

VOICES
S.I.D.
RADIO VO

SET LIST
INT CONTROL SPHERE MOONBASE STUDIO
INT CORRIDOR MOONBASE STUDIO
INT SLEEP SPHERE MOONBASE STUDIO
INT LEISURE DINING SPHERE MOONBASE STUDIO
INT INTERCEPTOR COCKPIT STUDIO
INT RECEPTION LOCATION
INT STRAKER'S OUTER OFFICE STUDIO
INT STRAKER'S INNER OFFICE STUDIO
INT UNDERGROUND CORRIDOR STUDIO
INT STRAKER'S UNDERGROUND OFFICE STUDIO
INT CENTRAL PARK STUDIO
INT INTERROGATION ROOM STUDIO
INT GLASS OFFICE STUDIO
INT CAPTAIN'S CABIN STUDIO
INT SKY 1 STUDIO
INT CONTROL ROOM SKYDIVER STUDIO
EXT STUDIO LOCATION
INT OFFICE(CANADA) STUDIO
INT SHADO MOBILE STUDIO
EXT CANADA LOCATION
INT MEDICAL CENTRE STUDIO
INT RESTAURANT STUDIO

SPECIAL EFFECTS SETS
EXT SPACE
EXT MOONBASE
EXT SID
INT CRATER
EXT CRATER
EXT INTERCEPTOR
EXT SKY
EXT SKY 1
EXT CANADA
EXT SKYDIVER UNDERWATER
EXT SEA
EXT UFO
EXT SHADO MOBILE
EXT AIRBASE
EXT RUNWAY

TIMIMGS
STUDIO 39 mins 19 secs
LOCATION & LIBRARY 3 mins 22 secs
SPECIAL EFFECTS 6 mins 43 secs

TOTAL 49 mins 24 secs

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. SPACE (VISUAL EFFECTS) 5 SECS 


THE LUNAR MODULE SECTION OF MOONSHIP AS IT APPROACHES THE MOON

CUT TO

2 EXT. MOONBASE DAY (VISUAL EFFECT) 8 SECS

THE MODULE LANDS SLOWLY AND PRECISELY ON THE RECEPTION SPHERE ON MOONBASE

CUT TO

3 INT. CONTROL SPHERE DAY (STUDIO) 63 SECS

PAULA HARRIS AND NINA BARRY ARE ON DUTY. DESICA SITS AT HIS CONSOLE. PAULA TURNS TO THE MOONBASE COMMANDER.

PAULA
Colonel Freeman is just leaving reception, sir.

DESICA
Thank you.

DESICA STANDS UP AND WALKS OVER TO THE DOORWAY. IT OPENS AND ALEC FREEMAN COMES IN CARRYING A SMALL CASE.

TWO SHOT

FREEMAN HOLDS OUT A HAND

FREEMAN
Franco...

THEY SHAKE HANDS. THEIR CONVERSATION CANNOT BE OVERHEARD BY THE GIRLS.

DESICA
Colonel Freeman...

FREEMAN LOOKS AT HIM.

FREEMAN
We're very formal today...

DESICA IGNORES THE IMPLIED QUESTION.

DESICA
How was the flight?

FREEMAN
Smooth...

HE MOVES FORWARD.

ON SPACE TRACKERS.

FREEMAN WALKS OVER TO THE GIRLS. DESICA STAYS IN THE BACKGROUND.

FREEMAN
Hello Paula... Nina.

PAULA
Hello, sir.

NINA
Hello, Colonel.

FREEMAN
How are things going?

NINA
Fine.

PAULA
There is one thing sir. We're down to our last two spare XK4 units.

FREEMAN
Ah yes, there's been a little trouble with a design modification, but it's all sorted out now. You can expect a new batch on the next flight.

FREEMAN TURNS TO WALK AWAY.

PAULA
Sir?

HE TURNS BACK.

PAULA
Did you take care of that personal requisition?

FREEMAN REACTS HE HAS FORGOTTEN, MAYBE OVER-ACTING SLIGHTLY.

FREEMAN
Personal requisition - oh I forgot. What can I say?

PAULA
(disappointed)
It's alright... it wasn't that important.

FREEMAN
I'm sorry...

FREEMAN TURNS TO DESICA AND INDICATES A FILE ON THE CONSOLE.

FREEMAN
Is that your report?

DESICA
Yes. I think you'll find everything in order.

FREEMAN
I'm sure I shall. Lead the way, Commander.

FREEMAN PICKS UP THE FILE AND THEY WALK TOWARDS THE DOORWAY.

CUT TO:

4 INT. CORRIDOR MOONBASE DAY (STUDIO) 20 SECS

DESICA AND FREEMAN

DESICA
The whole spares situation might need reviewing. I'd like to see the levels kept about 20% higher.

FREEMAN
You must be telepathic.

DESICA DOESN'T UNDERSTAND.

FREEMAN
Straker asked me to get your thoughts on the subject... he had the same idea.

THEY ARE NOW OUTSIDE THE SLEEP SPHERE.

CUT TO:

5 INT. SLEEP SPHERE DAY (STUDIO) 41 SECS

FREEMAN AND DESICA ENTER. THE SPHERE IS EMPTY.

FREEMAN LOOKS AROUND, FEELS ONE OF THE ULTRA-THIN ALUMINIUM BLANKETS.

FREEMAN
How's morale?

DESICA REACTS AND STIFFENS.

DESICA
Excellent... why do you ask?

FREEMAN
No particular reason.

DESICA
I see.

FREEMAN
Listen Franco, this is only a routine monthly inspection, but there have been a couple of minor mistakes recently. And on this Base you realise as well as I do we can't afford any error no matter how small.

DESICA
Yeah I know, I'm sorry Alec. It's nothing to worry about. I think my report will make that clear.

FREEMAN
Good... let's move on shall we.

THEY WALK TOWARDS THE DOORWAY.

CUT TO:

6 INT. CONTROL SPHERE DAY (STUDIO) 11 SECS

PAULA AND NINA AT THEIR STATIONS.

PAULA
They've been walking around for two hours. What's taking so long this time

NINA
Who knows...

CUT TO:

7 INT. LEISURE-DINING SPHERE DAY (STUDIO) 35 SECS

MARK BRADLEY, LEW WATERMAN AND KEN MATTHEWS THE THREE ON DUTY ASTRONAUTS RELAX IN THE B.G. THEY WEAR THEIR SPACESUITS

FREEMAN AND DESICA STAND IN THE FOREGROUND LOOKING AT SOME DATA.

FREEMAN
What sort of times are we making on interceptors launches now, Franco?

DESICA
Around 125 seconds flat.

FREEMAN
That's great...

HE LOOKS UP AND SMILES AT DESICA.

FREEMAN
Well, I think that about wraps it up for this month.

DESICA LOOKS AT HIM.

FREEMAN
I'll report a clean bill of health.

DESICA
We've arranged a little morale booster. Excuse me.

DESICA WALKS OVER AND USES THE BASE INTERCOM SYSTEM.

DESICA
(into mike)
Will all off duty personnel come to the leisure sphere right away.

CUT TO:

8 INT. CONTROL SPHERE DAY (STUDIO) 9 SECS

PAULA HAS REMOVED HER WIG, AS DESICA'S V.O. REPEATS THE MESSAGE SHE HURRIES OUT.

NINA
Save me a piece of cake.

PAULA
What cake... your memory's as bad as Alec Freeman's.

CUT TO:

9 INT. LEISURE-DINING SPHERE DAY (STUDIO) 169 SECS

FREEMAN, DESICA AND THE THREE ASTRONAUTS HAVE BEEN JOINED BY JOAN HARRINGTON AND JOANNA. PAULA HURRIES IN.

AN UNDER CURRENT OF CONVERSATION.

DESICA
QUIET PLEASE... quiet... The following communique came through from S.I.D. at 00.02 hours today...

ON MARK.

DESICA
At 03.20 hours on November 4th 1952 (Tuesday) Mrs. Joan Bradley gave birth to a son.

HE REALISES WHAT IS HAPPENING.

MARK
Oh no...

RESUME SCENE

DESICA
Today is therefore the 29th birthday of astronaut Mark Bradley... Come over here Mark.

AS MARK WALKS OVER SMILES ALL ROUND.

JOAN
Happy birthday Mark.

MATHEWS
Let the old guy through here.

ON FREEMAN

FREEMAN
I'm sorry to hold up the festivities but there are a couple of things.

PAULA
I bet there are...

FREEMAN
(hard)
As you seem so concerned, space tracker Harris, maybe you would speed things up by bringing my case over.

THE GROUP ARE SILENT. THE ATMOSPHERE IS BROKEN. PAULA PICKS UP FREEMAN'S CASE AND CARRIES IT TO HIM.

FREEMAN
Open it.

PAULA OPENS THE CASE THEN REACTS IN PLEASURE AND SURPRISE. SHE TURNS AND KISSES FREEMAN ON THE CHEEK.

ON CASE.

INSIDE WE SEE A BIRTHDAY CAKE AND TWO BOTTLES OF CHAMPAGNE.

RESUME SCENE.

THE GROUP CROWD ROUND. FREEMAN TAKES OUT ONE OF THE BOTTLES.

FREEMAN
From the girls Mark. Congratulations.

MARK READS FROM THE BOTTLE LABEL.

MARK
SHADO non-alcoholic champagne.

WATERMAN
Oh great. Not a drop is sold till it's three weeks old.

MATTHEWS
I'll get some glasses... and a stomach pump.

THE CHAMPAGNE POPS EVERYONE CHEERS. GLASSES ARE FILLED.

FREEMAN
I give you a toast... Mark Bradley.

THE TOAST IS ECHOED. THE GROUP SING HAPPY BIRTHDAY LED BY THE GIRLS.

AS THE SONG FINISHED JOAN AND JOANNA KISS FREEMAN.

MARK
Hey, I thought it was my birthday.

THE TWO GIRLS LAUGH AND KISS HIM TOGETHER ONE ON EACH CHEEK.

ON PAULA.

MATTHEWS (VO)
Come on Paula...

PAULA HESITATES A FRACTION. THEN SMILES AND GOES TO MOVE FORWARD.

RESUME SCENE.

NINA (VO)
UFO reading 062-415 green.

THE GROUP ARE STUNNED TO SILENCE.

NINA (VO)
Confirm sighting... yellow alert... I say again... yellow alert.

THE GROUP REACT, HURRYING TO THEIR STATIONS. THE THREE ASTRONAUTS GRAB THEIR HELMETS AND HEAD FOR THE SHUTE. MARK IS LAST IN LINE, PAULA HOLDS OUT HIS HELMET.

CLOSE SHOT.

THEIR EYES MEET AS MARK TAKES THE HELMET.

PAULA TOUCHES HIS ARM.

PAULA
Good luck Mark.

HE TURNS TO LEAVE.

MAIN TITLES

10 EXT. S.I.D. SPACE (VISUAL EFFECTS) 8 SECS


SHADO'S SATELLITE, ROTATING, AS IT'S ELECTRONIC DETECTORS PROBE OUTER SPACE. A TRANSMISSION PIP OVER EVERY THREE SECONDS.

CUT TO:

11 EXT. MOONBASE (VISUAL EFFECTS) 7 SECS

THE NETWORK OF SPHERES STILL AND SILENT

CUT TO:

12 INT. CONTROL SPHERE (STUDIO) 11 SECS

THE ATMOSPHERE IS ELECTRIC. FRANCO DESICA SITS AT HIS REVOLVING CONSOLE. ALEX FREEMAN STANDS AT HIS SIDE. THEY ARE WAITING FOR CONFIRMATION OF THE APPROACH OF THE U.F.O. SOMEWHERE IN DEEP SPACE.

NINA BARRY AND PAULA HARRIS, TWO OF THE SPACE TRACKERS, SIT VERY STILL BUT INTENT ON THEIR CONSOLES. THE ONLY SOUND, THE THREE SECOND TRANSMISSION PIP FROM S.I.D.

DESICA
(to Freeman)
Well, this sweep should tell us.

CUT TO:

13 EXT. S.I.D. SPACE (VISUAL EFFECTS) 7 SECS

WE ARE CLOSER ON THE REVOLVING SQUARE SECTION IN ITS CAGE OF GIRDER STRUCTURE, AS IT COMPLETES ITS SWEEP. THE PIP CONTINUES OVER.

CUT TO:

14 INT. CONTROL SPHERE (STUDIO) 24 SECS

THE GROUP WAIT IN SILENCE. THE TENSE WATCHFUL ATMOSPHERE IS BROKEN AS THE STANDARD PIPS STOP. EVERYONE WAITS FOR THE DEEP ELECTRONIC VOICE OF S.I.D.

S.I.D. (VO)
Confirm unidentified flying object 342-0784.

BEFORE THE CO-ORDINATES HAVE BEEN COMPLETED, NINA AND PAULA ARE ALREADY BUSY AT THEIR CONSOLES.

DESICA, WITH A QUICK LOOK TO FREEMAN, LEANS TO A STICK MICROPHONE.

DESICA
This is Moonbase Base Command, Red alert... I say again red alert. Interceptors immediate launch.

CUT TO:

15 INT. CRATER (VISUAL EFFECTS) 7 SECS

THE INTERCEPTORS ROAR TO LIFE.

CUT TO:

16 EXT. CRATER (VISUAL EFFECTS) 6 SECS

THE THREE INTERCEPTORS TAKE OFF FROM THE CRATER.

CUT TO:

17 INT. CONTROL SPHERE (STUDIO) 29 SECS

DESICA AND FREEMAN HAVE NOW GONE TO STAND BEHIND THE TWO SPACE TRACKERS, PAULA AND NINA, WHO ARE SCANNING TO TRY AND LOCATE THE U.F.O.

NINA
Nothing yet, sir.

FREEMAN
False alarm?

DESICA
SID's a computer. He doesn't make mistakes.

PAULA REACTS TO HER INSTRUMENTATION.

PAULA
I have a possible contact.

DESICA
Bearing?

PAULA
342-0470.

DESICA
That's it. Don't lose it.

DESICA STRIDES QUICKLY BACK TO HIS CONSOLE DESK. FREEMAN STAYS BY THE TRACKERS.

DESICA
(into mike)
Command to interceptors, we have UFO on positive track.

CUT TO:

18 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 8 SECS

FLYING IN FORMATION IN SPACE

CUT TO:

19 INT. INTERCEPTOR COCKPIT (FIRST) (STUDIO) 7 SECS

LEW WATERMAN IN THE COMPACT, INSTRUMENT PACKED SOPHISTICATED CABIN.

WATERMAN
Interceptor 1. R - checks. A-OK.

CUT TO:

20 INT. INTERCEPTOR COCKPIT. (SECOND) STUDIO 7 SECS

MARK BRADLEY IN THE SECOND INTERCEPTOR.

MARK
Interceptor 2. R - checks A-OK.

CUT TO:

21 INT. CONTROL SPHERE (STUDIO) 13 SECS

IN THE BACKGROUND PAULA AND NINA TRACK THE U.F.O. SID'S VOICE COMES OVER, GIVING NEW BEARINGS.

IN FOREGROUND DESICA STANDING THE WRONG SIDE OF HIS DESK, LEANING ON IT.

MATTHEWS (VO)
Interceptor 3. R - checks A-OK.

DESICA
Right. Switch to radio link 4, your base command will be space tracker Harris.

CUT TO:

ANOTHER ANGLE 13 SECS

WE FEATURE PAULA HARRIS, WHO GIVES THE FAINTEST OF REACTIONS TO DESICA GIVING HER THE JOB. FREEMAN ALERT AND TENSE, NOTICES.

PAULA
(with the slightest hesitation)
Have the U.F.O. on positive track. Speed S.O.L. Zero decimal eight.

CUT TO:

22 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 6 SECS

THE THREE INTERCEPTORS, STILL IN FORMATION.

CUT TO:

23 INT. CONTROL SPHERE (STUDIO) 30 SECS

START CLOSE ON THE THREE RADAR DOTS OF THE INTERCEPTORS IN FORMATION PULL BACK TO SHOW THE GROUP AROUND THE SPACE TRACKER INSTRUMENTATION. S.I.D.'S DEEP "MEL OXLEY" VOICE COMES OVER.

S.I.D.
U.F.O. maintaining course. Predict interceptors in range 51 seconds.

PAULA
Control to leader. Set on-board computer for auto count.

WATERMAN (VO)
Right... Missile launch. 2 zero decimal four seconds.

FREEMAN
Can they see it?

DESICA
At 150,000 miles a second?

WATERMAN (VO)
Five seconds.

CUT TO:

24 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 5 SECS

THE THREE MISSILES WITH THEIR ATOMIC WARHEADS LAUNCH FROM THE INTERCEPTORS.

CUT TO:

25 INT. CONTROL SPHERE (STUDIO) 64 SECS

THE GROUP WAIT, DESICA PASSES A SWEATING HAND OVER A NERVOUS FACE. THE ALARM HAS STOPPED.

WATERMAN (VO)
Have visual contact with explosion... detonation positive.

PAULA AND NINA CONCENTRATE ON THEIR INSTRUMENTS.

DESICA
(impatient)
Did they get it?

PAULA, WORRIED, TENSE STUDIES THE INSTRUMENTATION.

PAULA
Negative... I still have a contact.

DESICA TURNS AND WALKS A FEW SLOW STEPS.

DESICA
(to himself)
It got through... damn, damn, damn!

DESICA TURNS BACK AS -

SID (VO)
Predict U.F.O. on collision course with intercepters impact 32 seconds.

DESICA
Standard evasive action.

DESICA STRIDES OFF BACK TO HIS DESK.

PAULA
(hesitant)
Control to Interceptor One. Alter course to 024-186 correction... new course 028-186. Interceptor two steer 124-305.

THIS IS NOT STANDARD PROCEDURE: DESICA STOPS IN HIS TRACKS AND WHIPS ROUND.

DESICA
I said standard procedure.

PAULA
I'm sorry - I...
(back to mike)
Interceptor three...

S.I.D. (VO)
Impact 14 seconds.

DESICA
(very hard)
Get them out of there.

PAULA
(confused)
Interceptor 3...

DESICA
(yelling)
Paula!

PAULA
Break formation.

CUT TO:

26 EXT. SPACE (VISUAL EFFECTS) 6 SECS

TWO OF THE INTERCEPTORS BREAK FORMATION AND WHEEL AWAY. THE THIRD CONTINUES ON.

CUT TO:

27 INT. INTERCEPTOR (THIRD) (STUDIO) 4 SECS

MATTHEWS 
Three to base... request new course.

CUT TO:

28 EXT. INTERCEPTOR (VISUAL EFFECTS) 3 SECS

A VERY FAST SHOT: IT EXPLODES AS THE U.F.O. MOVING TOO FAST TO BE SEEN DESTROYS IT.

CUT TO:

29 INT. CONTROL SPHERE (STUDIO) 22 SECS

THE GROUP AROUND PAULA. STUNNED, SILENT. S.I.D.'S CALM VOICE CUTS THE ATMOSPHERE.

S.I.D.
Impact confirmed. Interceptor 3 destroyed.

DESICA GRABS THE MIKE.

DESICA
(without hope)
Come in three...
Come in three...

HE SLOWLY STRAIGHTENS UP. ACCUSING EYES TURN TO PAULA. WE FEATURE ALEC FREEMAN... DESICA WALKS TO HIS CONSOLE AND SPEAKS INTO THE EARTH LINK.

DESICA
Moonbase to SHADO Control A U.F.O. is through the outer defences.

MIX TO:

30 EXT. FILM STUDIO - DAY (LIBRARY) 7 SECS

WE ESTABLISH THE 'HARLINGTON-STRAKER' FILM STUDIOS.


CUT TO:

31 ANOTHER ANGLE (LOCATION) 13 SECS

A FUTURISTIC CAR PULLS UP. ALEC FREEMAN GETS OUT. THE SLUMP OF HIS SHOULDERS AND THE TIRED WAVE HE GIVES IN RETURN TO THE GUARDS' SALUTE INDICATE A LONG JOURNEY AND A MOOD OF DEJECTION.

32 INT. RECEPTION - DAY (LOCATION) 20 SECS

FREEMAN COMES IN, NODS TO THE DOORMAN AND WALKS TO THE RECEPTIONIST. SHE LOOKS UP READY FOR THE USUAL VERBAL EXCHANGE. FREEMAN JUST GIVES A TIRED SMILE AND GOES TO SIGN IN.

RECEPTIONIST
What would you say if I told you I were free this evening.

FREEMAN
I'd say I was bushed, Janis.

RECEPTIONIST
As bad as that?

FREEMAN
As bad as that...

FREEMAN WALKS ON.

CUT TO:

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

MISS EALAND AT HER DESK. ALEC FREEMAN COMES IN.

MISS EALAND
Ah, Mr. Freeman... Congratulations!

FREEMAN
What?

MISS EALAND
You don't know? Well, I'll let Mr. Straker tell you himself. You're to go right in.

MISS EALAND GIVES HIM A SMILE, LIKE A HEADMISTRESS TO A STAR PUPIL. THE ELECTRONICALLY CONTROLLED DOOR TO THE INNER OFFICE OPENS.

FREEMAN
Thanks.

FREEMAN, A LITTLE PUZZLED, GOES INTO THE INNER OFFICE.
CUT TO:

34 INT. INNER OFFICE - DAY (STUDIO) 12 SECS

IT IS EMPTY. FREEMAN IS IN NO MOOD FOR WISECRACKS WITH THE VOICE CHECK.

FREEMAN
Alec Freeman... SHADO.

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

FREEMAN STARES OUT OF THE WINDOW AS HE HEARS AND IGNORES THE WHIRR OF POWERFUL MACHINERY.

CUT TO:

35 POV SHOT (LIBRARY) 8 SECS

THE WHOLE ROOM MOVES DOWN LIKE A LIFT.

CUT TO:

36 INT. UNDERGROUND CORRIDOR (STUDIO) 20 SECS

TRACK WITH FREEMAN ALONG THE CORRIDOR THEN THROUGH THE CONTROL ROOM, STOPPING A COUPLE OF FEET BEFORE THE CLOSED DOUBLE DOORS TO STRAKER'S OFFICE. HE STRAIGHTENS HIS ALREADY STRAIGHT TIE AND SMOOTHS HIS HAIR, THEN STEPS FORWARD INTO THE PHOTO CELLS AND THE DOORS SLIDE OPEN.

CUT TO:

37 INT. STRAKER'S UNDERGROUND OFFICE 12 SECS (STUDIO)

STRAKER GETS UP FROM HIS DESK, WITH A SMILE

STRAKER
Well, the silver boy himself.

HE WALKS TO MEET FREEMAN IN THE MIDDLE OF THE ROOM.

STRAKER
Congratulations, Alec.

FREEMAN LOOKS BAFFLED, STRAKER RATHER ENJOYS IT.

STRAKER
I must admit I didn't know either, but the computer remembered.

HE PINS A SMALL EMBLEM ON FREEMAN'S COAT.

CUT TO:

38 CS - PIN 3 SECS

A SILVER MOON WITH 25 IN BLACK ON IT.

CUT TO:

39 RESUME SCENE 11 SECS

STRAKER
...25 trips to the Moon... join the club... Solid silver.

FREEMAN
(flat)
Thanks.

HE TURNS AWAY AND LIGHTS A CIGARETTE.

CUT TO:

40 CS - STRAKER 3 SECS

HIS FACE HARDENS...

STRAKER
Why Alec?

CUT TO:

41 CS - FREEMAN 5 SECS

HE KNOWS WHAT STRAKER MEANS, BUT TAKES HIS TIME DRAWING HARD ON THE CIGARETTE.

FREEMAN
You've read the report?

CUT TO:

42 RESUME SCENE 78 SECS

STRAKER
An astronaut killed, a U.F.O. through the outer defences. The report tells me what happened. I asked you why?

FREEMAN SHRUGS...

STRAKER
I want to know Alec. What the hell went wrong up there?

FREEMAN DRAGS ON HIS CIGARETTE. STRAKER WAITS IMPATIENTLY -

FREEMAN
Well, I don't really know... It's just a feeling.

STRAKER
Feeling?

FREEMAN
Things happened so fast. Call it a hunch.

STRAKER
Tell me.

FREEMAN
I can't be sure.

STRAKER
I said tell me.

FREEMAN
The error was probably human. The facts were plain, but a decision was taken... based on fear... emotion... the tension... call it what you like - I don't know.

STRAKER WALKS SLOWLY BACK TO HIS DESK.

STRAKER
I had the same hunch.

HE DECIDES.

STRAKER
I want the personnel concerned, the two surviving astronauts, and the space tracker
(he checks a paper on his desk)
er - Paula Harris, back here on the next moonflight.

FREEMAN
Right.

HE TURNS TO LEAVE, BUT TURNS BACK AS HE REMEMBERS

FREEMAN
Er... What happened to the U.F.O.?

STRAKER
We tracked it into the earth's atmosphere. But it came right down. Contact was lost in a radar blindspot, but one thing's certain ... it landed.

FREEMAN
Landed... where?

STRAKER
Just about the worst place possible. Somewhere in a 50,000 square mile area of Northern Canada. Everything we've got that flies is searching now.

CUT TO:

43 EXT. SKY - DAY (VISUAL EFFECTS) 6 SECS

SKY 1 FLYING AS IT SEARCHES FOR THE U.F.O. OVER NORTHERN CANADA.

CUT TO:

44 INT. SKY I COCKPIT - DAY (STUDIO) 14 SECS

CAPTAIN JOHN KARLIN AT THE CONTROLS. HE SPEAKS INTO HIS RADIO.

KARLIN
Have completed grid search. Nothing to report.

MAXWELL (VO)
O.K. Skipper. See you in an hour.

KARLIN
No, I'm going round again. It'll stay light long enough for one more run. Out.

CUT TO:

45 EXT. SKY - DAY (VISUAL EFFECTS) 7 SECS

SKY 1 BANKS TO BEGIN ANOTHER RUN.

CUT TO:

46 EXT. CANADA - DUSK (VISUAL EFFECTS OR 6 SECS LIBRARY)

THE LIGHT IS BEGINNING TO FAIL.

CUT TO:

47 INT. MOONBASE CONTROL (STUDIO) 36 SECS

FROM THE MOON WE SEE EARTH. JUST A CRESCENT OF LIGHT LIKE A HUGE NEW MOON. PULL BACK TO SHOW THE SHOT IS ON A TV SCREEN IN MOONBASE.

CHRIS GRANGER AND RAY HOLLIS, TWO SPACE ENGINEERS SERVICE ONE OF THE ELECTRONIC PANELS.

JOAN HARRINGTON IS AT A SPACE TRACKER CONSOLE, GRANGER LOOKS OVER TO HER - POINTS TO THE TV.

GRANGER
So near and yet so far.

JOAN
Might as well be on the other side of the Universe.

THEY TURN AS LEW WATERMAN COMES INTO THE SPHERE.

GRANGER
Hi, Lew.

WATERMAN
Hello. Er, has anyone seen Paula Harris?

JOAN
She's in Central Park.

WATERMAN
Er, thanks.

JOAN
You're welcome.

WATERMAN GOES OUT.

GRANGER
Well, there's one of the lucky ones who'll be back on terra firma tomorrow.

JOAN
If by terra firma you mean Straker's carpet, rather them than me!

CUT TO:

48 EXT. MOONBASE - NIGHT (VISUAL EFFECTS) 6 SECS

WE TRACK IN ON THE HUB OF THE WHEEL OF SPHERES.

CUT TO:

49 INT. CENTRAL PARK (STUDIO) 32 SECS

AN OCTAGONAL SIDED GLASS STRUCTURE, KNOWN TO THE BASE PERSONNEL AS CENTRAL PARK - IT IS FILLED WITH LOVINGLY CARED FOR AND SPECIALLY SELECTED PLANTS, GIVING A LINK WITH EARTH ON THE BARREN, LIFELESS MOON.

PAULA HARRIS SITS IN A CHAIR, STARING INTO SPACE. AN OPEN BOOK ON HER LAP. WATERMAN ENTERS, PAULA DOESN'T SEEM TO HEAR HIM.

WATERMAN
Paula.

PAULA
Oh, hello Lew.

THEY EXCHANGE SLIGHTLY FORCED SMILES.

WATERMAN
Peaceful.

PAULA
Yes. Very.

AN AWKWARD SILENCE.

WATERMAN
Look, if you want to be alone?

PAULA
No... no, I'm sorry.

WATERMAN
Paula... We all took the same chance. Ken was unlucky... These things happen. No-one's to blame.

PAULA
Let's hope Straker thinks so.

CUT TO:

50 EXT. STUDIO - DAY (LIBRARY) 6 SECS

ESTABLISH HARLINGTON-STRAKER STUDIO

CUT TO:

51 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 36 SECS

START CLOSE ON STRAKER'S FIST AS HE BEATS THE DESK. PULL BACK TO SHOW HE IS ON THE PHONE WITH FREEMAN STANDING BEFORE HIM.

STRAKER
(into phone)
...Don't give me that crud, Masden. Find it... Well, if you want more aircraft appropriate them... I'm giving you the authority... Right...

HE SLAMS DOWN THE PHONE.

STRAKER
Thick as a lead balloon.

THE INTERCOM BUZZES.

STRAKER
What now?

OPERATOR (VO)
The moonbase personnel are here sir.

STRAKER
Alright, have them come in.
(to Freeman)
Look Alec...

FREEMAN STOPS HIM WITH A RAISED HAND.

FREEMAN
I know. You want that U.F.O. located... I'm on my way...

HE WALKS TO THE DOORS BUT THEY OPEN AND HE STEPS ASIDE TO LET THE THREE MOONBASE PERSONNEL COME IN, LED BY PAULA.

52 ANOTHER ANGLE 5 SECS

FREEMAN'S EYES MEET PAULA'S AND HOLD A SECOND. THEN SHE MOVES ON. FREEMAN EXITS.

CUT TO:

53 CS - STRAKER 7 SECS

BURIED IN A REPORT AT HIS DESK. WHEN HE FINALLY LOOKS UP HIS ANGER HAS GONE BUT HIS TONE IS HARD AND UNCOMPROMISING.

STRAKER
Bradley, Waterman, Miss Harris.

CUT TO:

54 RESUME SCENE 30 SECS

THE THREE MOONBASE PERSONNEL STAND BEFORE STRAKER.

STRAKER
I assume you all know why you're here?

WATERMAN
I'd like to say something, sir.

STRAKER
Go ahead.

WATERMAN
As interceptor leader I want to accept complete and sole responsibility for what happened.

STRAKER
Very gallant... But out of line. I know what happened. Now I want to know why.

STRAKER GETS UP AND WALKS SLOWLY ALONG THE THREE PEOPLE.

STRAKER
You were all selected for outstanding qualities of character as well as intellect.
(a long pause)
What went wrong?

HE GIVES EACH A LONG HARD LOOK. ALL TAKE IT WITHOUT LOWERING THEIR EYES.

CUT TO:

55 INT. SHADO CONTROL ROOM (STUDIO) 20 SECS

FREEMAN STANDS IN THE CONTROL ROOM. THE DECOR, GROUND TO CEILING ELECTRONICS AND COMMUNICATION EQUIPMENT. FREEMAN CHECKS QUICKLY THROUGH A PILE OF NEGATIVE REPORTS ON THE SEARCH FOR U.F.O. HE TURNS TO AN OPERATIVE WHO PORES OVER HIGH ANGLE AERIAL PHOTO GRAPHS UNDER A MAGNIFYING DEVICE.

FREEMAN
Anything from those satellite shots?

OPERATIVE
Sorry, sir.

FREEMAN
It's there somewhere. It's got to be.

CUT TO:

56 EXT. CANADA - NIGHT (VISUAL EFFECTS) 9 SECS

A STILL, TRANQUIL LAKE, SNOW COVERED MOUNTAINS IN THE B.G. TRACK IN SLOWLY ON THE WATER, AS THE MUSIC BUILDS UP THE QUIET SURFACE BEGINS TO AGITATE TILL FINALLY THE OMINOUS SHAPE OF A U.F.O. BREAKS THE SURFACE. THE INTRUDER HAS BROKEN COVER.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

57 EXT. STUDIO - DAY (LOCATION) 5 SECS

TO ESTABLISH THE HARLINGTON-STRAKER STUDIO.

CUT TO:

58 INT. CORRIDOR (UNDERGROUND) (STUDIO) 5 SECS

TO ESTABLISH WHERE THE INTERROGATION ROOM WE ARE ABOUT TO SEE IS SITUATED IN SHADO'S UNDERGROUND H.Q.

CUT TO:

59 INT. INTERROGATION ROOM (STUDIO) 7 SECS

THE ROOM IS DIVIDED BY A GLASS PARTITION MAKING A SOUNDPROOF AREA WHICH DOCTOR SHROEDER, WHO WILL LEAD THE INTERROGATION, USES AS AN OFFICE. THE OUTER AREA IS EQUIPPED WITH A COMPUTER AND TWO CHAIRS WHERE THE PEOPLE UNDER TEST CAN SIT. THE ROUTINE WILL BE FOR TWO OF THE MOONBASE PERSONNEL AT A TIME TO TAKE THE COMPUTERS TESTS WHILE THE THIRD IS BEING INTERVIEWED BY DR. SHROEDER. AT PRESENT ALL FOUR ARE IN THE GLASS OFFICE, DR. SHROEDER IS TALKING BUT WE CANNOT HEAR WHAT HE SAYS TO ESTABLISH THE SOUNDPROOFING. HE HOLDS A FILE IN HIS HAND.

CUT TO:

60 INT. GLASS OFFICE - DAY (STUDIO) 98 SECS

DR. SHROEDER IS A MAN WHO SMILES WITH EVERYTHING EXCEPT HIS EYES. RIMLESS GLASSES GIVE HIM A SINISTER FEEL.

SHROEDER
...and so you will be glad to know that you are in perfect health... physically.

HE DROPS THE FILE ON THE DESK.
A PAUSE:

SHROEDER
Well, you've all done this before during your training and probation periods with SHADO. If two of you will begin the computer tests, I'll have a little chat with the third. I think I'll begin with... you, Mr. Bradley.

MARK
(a quick smile)
Right.

THE OTHER TWO TURN TO LEAVE.

THEY EXIT AND CLOSE THE DOORS. MARK TURNS TO WATCH AS THEY WALK OVER AND SIT DOWN AT THE COMPUTER. SHROEDER HAS COME UP QUICKLY SILENTLY, VERY CLOSE OFFERING A CIGARETTE.

SHROEDER
Cigarette?

MARK TURNS SLIGHTLY TAKEN ABACK BY HIS PROXIMITY.

MARK
Thank you.

SHROEDER
Nervous?

MARK
No.

SHROEDER
No need to be. This is all quite confidential. Please... sit.

HE INDICATES A CHAIR. MARK SITS. SHROEDER WALKS BEHIND THE CHAIR LIGHTING A CIGARETTE. HE LEANS IN CLOSE TO MARK OVER HIS SHOULDER.

SHROEDER
Before we start, let's just get one thing straight... I hate you black sons of bitches.

MARK DOESN'T REACT. SHROEDER WALKS ROUND TO SIT BEHIND HIS DESK

SHROEDER
Have you ever hear that phrase or something similar on Moonbase?

MARK
Never.

SHROEDER
You didn't seem surprised when I said it.

MARK
I assumed you didn't mean it.

SHROEDER
Good... Good...

HE LEANS AND STARTS A TAPE RECORDER.

SHROEDER
Word association... Ready?

MARK NODS A YES.

SHROEDER
Father.

MARK
Mother.

SHROEDER
Hot.

MARK
Cold.

SHROEDER
Geometry.

MARK
Variable.

SHROEDER
Ah, yes, you were a pilot.

SHROEDER NOW SPEEDS UP THE LEADS.

SHROEDER
Apple

MARK
Teacher.

SHROEDER
Sun.

MARK
Moon.

SHROEDER
Tree.

MARK
Pine.

SHROEDER
Hate.

MARK
Love.

SHROEDER TOPS AND MAKES A NOTE ON A PAD.

SHROEDER
Love... good... good.

TRACK IN ON MARK'S FACE.

CUT TO:

61 INT. INTERROGATION ROOM (STUDIO) 12 SECS

PAULA AND WATERMAN ARE SEATED AT THE COMPUTER, BOTH HAVE PUT ON HEADPHONES AND AS I.Q. TYPE SYMBOLIC PROBLEMS FLASH ON A SCREEN BEFORE THEM, THEY WORK ON THE ANSWERS.

WATERMAN LOOKS AT PAULA AND GIVES HER A WINK: SHE SMILES BACK BUT AS WE TRACK IN ON HER THE SMILE FADES A LITTLE TOO QUICKLY. SHE IS WORRIED. SHE SNATCHES A GLANCE TOWARDS THE GLASS OFFICE.

CUT TO:

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

STRAKER LIFTS THE PHONE.

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

CUT TO:

63 INT. SHADO CONTROL (STUDIO) 26 SECS

EMERGENCY. THE U.F.O. HAS BEEN SIGHTED. RADAR FIXES GIVE ITS EXACT POSITION. THE OPERATORS CROSS TALK WITH VARIOUS STATIONS GIVING A B.G. OF DIALOGUE.

1ST OPERATOR
(In background)
Thank you Greenland.

2ND OPERATOR
(In background)
Yes we have that. Confirm new I.F. every 30 seconds etc.

FREEMAN TURNS AS STRAKER HURRIES IN.

STRAKER
Where is it?

FREEMAN
Just crossing the Atlantic seaboard.

STRAKER LOOKS AT THE WALL CHART A LIGHT AT THE CENTRE OF MANY RADAR FIXES LIKE THE SPOKES OF A WHEEL SHOW THE U.F.O'S POSITION.

FREEMAN
It's speed and altitude are way down. The Moonbase interceptors must have damaged it.

STRAKER
Right... Alert Sky 1.

CUT TO:

64 UNDERWATER SHOT (VISUAL EFFECTS) 5 SECS

SKYDIVER THE FUTURISTIC SUBMARINE IN THE DARK WATERS OF THE ATLANTIC

CUT TO:

65 INT. CAPTAIN'S CABIN (STUDIO) 9 SECS

KARLIN IN THE CABIN, LT. MAXWELL APPEARS AT THE DOOR.

MAXWELL
SHADO HQ Skipper. They've located the U.F.O.

KARLIN MOVES IMMEDIATELY GRABBING HIS JACKET

CUT TO:

66 INT. SKYDIVER (CONTROL CENTRE) (STUDIO) 24 SECS

A MODERN SUBMARINE INTERIOR. ALAN MASTERS, YOUNG, KEEN, TURNS AS KARLIN HURRIES INTO SHOT, PULLING ON HIS JACKET. BEHIND HIM, MAXWELL.

MASTERS
I have the U.F.O.'s latest fix, sir. If we steer 042 we should be able to intercept in 18 minutes.

KARLIN QUICKLY CHECKS THE CHART THAT MASTERS HAS BEEN WORKING ON:

KARLIN
Right... Alter course to 042.

MAXWELL RELAYS THE ORDER.

MAXWELL
Steer 042.

KARLIN
Give her everything she's got.

MAXWELL
Maximum speed

CUT TO:

67 UNDERWATER SHOT (VISUAL EFFECTS) 7 SECS

SKYDIVER ALTERS COURSE, AND MOVES OFF AT TOP SPEED.

CUT TO:

68 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS


WE SEE THE U.F.O. FLYING AT REDUCED SPEED AND ALTITUDE, A HUNDRED RADAR SETS ON LAND SEA AND AIR TRACKING ITS PROGRESS.

CUT TO:

69 INT. SHADO CONTROL (STUDIO) 10 SECS

START CLOSE ON THE WALL CHART, THE LIGHT MARKING THE U.F.O. SURROUNDED BY RADAR LINES LIKE A SPIDER IN A WEB.

PULL BACK TO STRAKER AND FREEMAN.

STRAKER
(intense)
This time we'll get it.

FREEMAN WATCHES HIM. STRAKER'S WHOLE BEING SEEMS TO CONCENTRATE ON THE POINT OF LIGHT. A FRIGHTENING? ALMOST INHUMAN, SINGLE MINDEDNESS.

CUT TO:

70 UNDERWATER SHOT (VISUAL EFFECTS) 5 SECS

SKYDIVER SEARS THROUGH THE WATER

CUT TO:

71 INT. SKYDIVER CONTROL CENTRE (STUDIO) 36 SECS

THE CREW ARE AT THEIR STATIONS. SUB LT. MASTERS TURNS FROM HIS CHARTS.

MASTERS
RANGE 80 miles, sir. Closing.

KARLIN
Launch Station.

MAXWELL SHOUTS THE COMMAND.

MAXWELL
Launch Stations.

THE CREW REACT URGENTLY, CONTROLS ARE OPERATED. SWITCHES ARE FLICKED IN BANKS.

MASTERS
Clear One.

WE HEAR THE BALLAST TANKS BLOWING.

MASTERS
Clear Two.

HOWELL (VO)
One and two clear, sir.

KARLIN GIVE THE QUIET COMMAND, HIS VOICE CONTROLLED BUT HARD. HE REMEMBERS LEILA, THIS IS ANOTHER CHANCE TO SETTLE THE SCORE.

KARLIN
Alright Gordon, lift off stations.

MAXWELL
(quietly)
Yes, sir.

KARLIN MOVES QUICKLY AWAY TOWARDS THE FRONT OF SKY 1.

MAXWELL WATCHES HIM GO A SECOND OR TWO KNOWING WHAT HE FEELS. THEN HE SNAPS BACK TO REALITY.

MAXWELL
Lift off stations...

CUT TO:

72 INT. SKY I COCKPIT (STUDIO) 6 SECS

KARLIN SETTLES INTO THE COCKPIT, AND PUTS ON HIS FLYING HELMET.

CUT TO:

73 UNDERWATER SHOT (VISUAL EFFECTS) 6 SECS

SLOWLY SKY 1 ANGLES UP TOWARDS THE SURFACE.

CUT TO:

74 INT. SKY 1 COCKPIT (STUDIO) 5 SECS

KARLIN LOWERS THE VISOR ON HIS HELMET.

KARLIN
Stand-by for lift-off.

HE LEANS AND OPERATES A CONTROL.

CUT TO:

75 UNDERWATER SHOT (VISUAL EFFECTS) 6 SECS (LIBRARY)

ITS MOTORS ERUPT INTO LIFE, AND SKY 1 BURSTS FORWARD TOWARDS THE SURFACE.

CUT TO:

76 EXT. SEA - DAY (VISUAL EFFECTS) 7 SECS (LIBRARY)

SKY 1 EXPLODES UP FROM THE WAVES, IN AN ANGLED POWER CLIMB.

CUT TO:

77 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS

SKY 1 CLIMBING FAST.

CUT TO:

78 EXT. SKY 1 - DAY (VISUAL EFFECTS) 7 SECS

IT LEVELS OUT AND FLIES ON TO INTERCEPT THE U.F.O.

CUT TO:

79 INT. SHADO CONTROL (STUDIO) 14 SECS

STILL A HIVE OF ACTIVITY. STRAKER STANDS GLUED TO THE CHANGING PATTERN OF THE WALL CHART.

OPERATOR
Sky 1 airborne, sir.

STRAKER GIVES A WAVE THAT INDICATES HE'S HEARD, THEN WITHOUT TURNING TO FREEMAN HOLDS OUT HIS HAND SNAPPING HIS FINGERS. DISGUSTED BY THE ACTION FREEMAN TAKES A CIGARETTE AND PUTS IT INTO THE OUTSTRETCHED HAND.

CUT TO:

80 CLOSER SHOT 10 SECS

STRAKER TURNS FOR A LIGHT, STILL TRYING TO WATCH THE CHART. HE FLICKS HIS EYES UP INTO FREEMAN'S AND SEES HIS STONE EXPRESSION.

STRAKER
Thanks.

HE TURNS BACK TO CONCENTRATE ON THE CHART.

CUT TO:

81 EXT. U.F.O. (VISUAL EFFECTS) 5 SECS

FLYING LEVEL LEFT TO RIGHT.

CUT TO:

82 INT. SKY 1 COCKPIT (STUDIO) 13 SECS


CAPTAIN KARLIN AT THE CONTROLS.

OPERATOR (VO)
This is SHADO Control. U.F.O. 48 miles from your present position.

KARLIN
Thanks control. I've got it on the scope.

A BLIP ON KARLIN'S RADAR SCOPE INDICATES THE U.F.O.

CUT TO:

83 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS

THE U.F.O. FLYING LEFT TO RIGHT AS BEFORE.

CUT TO:

84 INT. SKY 1 COCKPIT (STUDIO) 6 SECS

KARLIN SEARCHES THE SKY AHEAD HE REACTS.

KARLIN
Have visual contact. Closing for attack.

CUT TO:

85 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS

THE SKY 1 GOES INTO A DIVE

CUT TO:

86 INT. SKY I COCKPIT (STUDIO) 5 SECS

KARLIN IN THE ANGLED CABIN.

CUT TO:

87 P.O.V. SHOT (VISUAL EFFECTS) 4 SECS

FROM KARLIN'S P.O.V. WE SEE THE U.F.O.

CUT TO:

88 EXT. SKY I - DAY (VISUAL EFFECTS) 6 SECS

A MISSILE LAUNCHES FROM THE CRAFT. IT THEN BANKS AWAY IN A STEEP TURN.

CUT TO:

89 EXT. U.F.O. - DAY (VISUAL EFFECTS) 7 SECS

IT IS HIT, BUT TURNS AND MOVES OFF AT A HIGHER SPEED.

CUT TO:

90 INT. SHADO CONTROL (STUDIO) 15 SECS

THE SCENE AS BEFORE.

OPERATOR
Sky One reports a hit. But U.F.O.'s turned and is still airborne.

STRAKER
Signal all radar stations. Tell the commanders if they lose it this time they'll answer to me.

CUT TO:

91 ANOTHER ANGLE 12 SECS

STRAKER NOW RELAXES AND CATCHES FREEMAN A LITTLE OFF GUARD.

STRAKER
Get some sleep, Alec, you look tired.

STRAKER STRIDES OFF, HIS SUDDEN CONCERN LEAVES FREEMAN WITHOUT AN ANSWER.

CUT TO:

92 INT. INTERROGATION ROOM (STUDIO) 21 SECS

PAULA, MARK BRADLEY AND WATERMAN ARE IN THE OUTER ROOM. THEY TALK IN HUSHED TONES AND GLANCE OCCASIONALLY TOWARDS THE GLASS OFFICE WHERE DOCTOR SHROEDER SITS EXAMINING COMPUTER READ OUT.

WATERMAN
I don't understand it.

MARK
Did he say anything else?

WATERMAN
No, just that I had been cleared and I was scheduled on the next flight back to the moon.

A LONG PAUSE. PAULA LOOKS AT MARK. WATERMAN NOTICES THE GLANCE AND TRIES TO CHANGE THE MOOD.

WATERMAN
(loud)
Bloody psychiatrist.

PAULA AND MARK REACT, KEEP THE VOICE DOWN.

WATERMAN
Oh don't worry, he can't hear in that glass case he calls an office.

CUT TO:

93 INT.. GLASS OFFICE (STUDIO) 21 SECS

SHROEDER SEEMS ABSORBED IN HIS RESULT SHEETS BUT WE OBSERVE HE CAN HEAR EVERY WORD.

WATERMAN (VO)
Tell me something - do SHADO have anyone checking out him?

MARK (VO)
If they did it would probably be a damned computer.

THEIR LAUGHTER COMES OVER AND EVEN SHROEDER ALLOWS HIMSELF A CAUTIOUS SMILE. HE LEANS AND FLICKS AN INTERCOM.

SHROEDER
Miss Harris, I think I'm ready for our little... get together now. Won't you come in?

CUT TO:

94 INT. INTERROGATION ROOM (STUDIO) 7 SECS

THE GROUP ALL LOOK TOWARDS THE GLASS OFFICE. WE FOLLOW PAULA AS SHE WALKS OVER TO THE DOOR, HESITATES A MOMENT THEN GOES INSIDE.

CUT TO:

95 EXT. SKY - DAY (VISUAL EFFECTS) 8 SECS

THE U.F.O. FLYING ON BUT WE SEE IT IS LOSING ALTITUDE.

CUT TO:

96 EXT. RADAR DISH - DAY (VISUAL EFFECTS) 4 SECS

THE HUGE PARABOLIC DISH OF A RADAR STATION, ONE OF MANY STILL TRACKING THE U.F.O.

CUT TO:

97 EXT. U.F.O. - DAY (VISUAL EFFECTS) 5 SECS

NOW COMING DOWN AT AN ANGLE OF ABOUT 30 DEGREES.

CUT TO:

98 EXT. CANADA - DAY (VISUAL EFFECTS) 9 SECS

THE U.F.O. COMES IN AND BELLY FLOPS, BOUNCES AIRBORNE THEN BUMPS OVER THE ROCKY INHOSPITABLE TERRAIN, EVENTUALLY SKIDDING TO A HALT.

CUT TO:

99 EXT. U.F.O. - DAY (VISUAL EFFECTS) 5 SECS

THE LANDING HAS FURTHER DAMAGED THE ALREADY BATTLE-SCARRED CRAFT. THE AWKWARD POSITION IN WHICH IT HAS FINALLY COME TO REST GIVES A GOOD INDICATION THAT IT WILL NEVER FLY AGAIN. THE NET IS CLOSING.

CUT TO:

100 EXT. STUDIO. NIGHT (LOCATION) 5 SECS

TO ESTABLISH.

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

STRAKER SITS AT HIS DESK. IT HAS BEEN A LONG, HARD DAY. HE LOOKS EXHAUSTED. HE OPENS A DRAWER, TAKES OUT A BOTTLE OF PILLS, UNSCREWS THE TOP AND TIPS ONE INTO HIS PALM - CONSIDERS THE LONG SLEEPLESS HOURS THAT LIE AHEAD AND MAKES IT TWO. HE POPS THEM INTO HIS MOUTH AND SWALLOWS - THEN FLICKS THE INTERCOM.

STRAKER
Get Alec Freeman for me.

OPERATOR (VO)
He's waiting, sir.

STRAKER
Then send him in.

STRAKER GOES OVER AND POURS A SCOTCH FROM THE AUTOMATIC BAR. ALEC FREEMAN COMES IN. HE HAS SHAVED, SHOWERED AND CHANGED AND LOOKS FRESH AND ALERT AFTER HIS SLEEP... A TOUCH OF ONE-UPMANSHIP.

STRAKER
Sit down, Alec.

FREEMAN GOES AND SITS DOWN, LOOKS AT THE BOTTLE OF KEEP AWAKE PILLS ON THE DESK AND THEN OVER TO STRAKER, NOTICING HE HOLDS THE DRINK.

FREEMAN
Don't tell me you've finally succumbed.

STRAKER REMEMBERS THE DRINK IN HIS HAND AND GIVES IT TO FREEMAN.

STRAKER
For you...

FREEMAN
Thanks.

STRAKER COMES AND SITS BEHIND THE DESK; FOR HIM THIS IS A MOMENT OF TRIUMPH AND HE SAVOURS IT. HE TAKES HIS TIME.

STRAKER
The U.F.O. landed again, but this time we know where.

FREEMAN
Exact position?

STRAKER SMILES KEEPING HIM IN SUSPENSE A MOMENT OR TWO.

STRAKER
(understating)
More or less. Within a mile or so.

FREEMAN
Great. Where?

STRAKER
Close enough to Lexfield Air base, Canada, for you to be out there at first light tomorrow.

STRAKER PAUSES A MOMENT... HE IS NOW THE COLD HARD CALCULATING COMMANDER OF SHADO PLOTTING THE KILL.

STRAKER
I want them Alec... alive.

FREEMAN
I'll do what I can.

IT IS A PLAIN STATEMENT OF FACT, BUT FREEMAN'S TONE SHOWS HE REALISES THE TREMENDOUS TASK HE HAS BEEN GIVEN.

STRAKER
You'll be Field Commander. I'll monitor the whole operation from here. Central control will give you all the details. The transporter will be loaded and ready to leave at 21:00 hours.

FREEMAN
Right.

FREEMAN STANDS TO LEAVE.

STRAKER
One more thing. Doctor Shroeder has finished with the Moonbase personnel; his report is very clear. I'd like you to handle it.

CUT TO:

102 INT. GLASS OFFICE (STUDIO) 10 SECS

START CLOSE ON A TV SCREEN PLAYING BACK SHROEDER'S INTERVIEW WITH PAULA. WE ARE IN A WORD ASSOCIATION SEQUENCE:

SHROEDER
Mahogany.

PAULA
Table.

SHROEDER
Grass.

PAULA
Green.

PULL BACK TO SHOW FREEMAN AND SHROEDER WATCHING THE SCREEN. THE DOOR TO THE OUTER ROOM IS OPEN.

SHROEDER
This is an interesting reaction. Watch carefully.

CUT TO:

103 CS - TV 16 SECS

IN THE RECORDING SHROEDER HAS HIS EYES ON HIS DESK PAD.

SHROEDER
Sunrise?

PAULA
Morning.

SHROEDER
Black?

NO ANSWER. SHROEDER LOOKS UP; PAULA IS WORRIED BRAIN RACING.

SHROEDER
Black?

PAULA
...Bird.

SHROEDER APPEARS PUZZLED. PAULA HAS RECOVERED HER COMPOSURE.

PAULA
Blackbird.

SHROEDER
Blackbird... Ah yes... good.

THE SET IS TURNED OFF.

CUT TO:

104 RESUME SCENE 21 SECS

SHROEDER HAS JUST TURNED OFF THE TV.

SHROEDER
A 2.04 second delay. You could almost see her mind racing. She consciously avoided giving the standard answer - white.

HE WALKS OVER TO A SPEW OF PAPER OUTPUT ABOUT A FOOT WIDE AND HOLDS IT UP FOR FREEMAN TO SEE.

SHROEDER
And look at the stress reaction at this point.

CUT TO:

105 CS - PAPER 6 SECS

ON IT A SERIES OF PEAKS PRODUCED BY THE PEN RECORDER OF A STRESS COUNTER. A VERY HIGH PEAK HAS BEEN MARKED IN RED.

SHROEDER
Five times normal.

CUT TO:

106 RESUME SCENE 197 SECS

FREEMAN CONSIDERS A MOMENT.

FREEMAN
And your conclusions are based on that?

SHROEDER
(biting)
My conclusions are based on eight hours of exhaustive tests. Twenty years experience and the conclusion formed by the computer. That example was one I thought even a layman might understand.

BEFORE FREEMAN CAN ANSWER, THROUGH THE OPEN DOOR OF THE GLASS OFFICE WE HEAR PAULA AND MARK COME INTO THE INTERROGATION ROOM.

SHROEDER
I'll leave you to it.

HE PICKS UP THE FILE REPORT, HANDS IT TO FREEMAN AND WALKS OUT. FREEMAN BECKONS TO PAULA AND MARK.

FREEMAN
Come in... Come in... close the door.

THEY ENTER: MARK CLOSES THE DOOR.

FREEMAN
Sit down...

THEY SIT. FREEMAN OPENS THE REPORT AT THE LAST PAGE, GOES BEHIND THE DESK AND SITS DOWN.

FREEMAN
I won't waste time with the details of this report. You'll be given copies, but I'd like to read you the conclusions.

DURING FREEMAN'S READING INTERCUT THE REACTIONS OF PAULA AND MARK.

FREEMAN
One: From the evidence of the flight recorders in the two surviving interceptors the taped dialogue between them and moonbase control, and the data from the onboard and control sphere computers, it is evident that the orbital path of the Unidentified Flying Object made it unavoidable that one of the three moonbase interceptors would be destroyed.

MARK
It was unavoidable, no-one's to blame.

FREEMAN
However, it is also evident that standard evasion procedure was ordered but not carried out. This resulted in No. 3 interceptor remaining in the path of the U.F.O. whereas if standard procedure had been followed No. 2 would inevitably have been the one destroyed... that is: the craft piloted by astronaut Mark Bradley.

FREEMAN PAUSES. PAULA AND MARK MAKE NO OBVIOUS REACTION.

FREEMAN
Two: the three personnel directly concerned were subject to standard psychiatric and psycho-computer tests with the following results: Astronaut Lew Waterman... clear on all counts. Astronaut Mark Bradley... stress factor 72 para normal. Emotion count 84 para normal, clear on other counts. Space tracker Paula Harris... stress factor 128 para normal; emotion count 203 para normal; D.I. ratio .25 para normal. Clear on other counts.

BOTH MARK AND PAULA ARE DISTURBED BY THESE RESULTS.

FREEMAN
Three: The cause of these high stress, E.C. and D.I. counts in the results of astronaut Mark Bradley and space tracker Paula Harris is attributed to an emotional attachment between them. It ends with a confidential recommendation as to what action should be taken.

FREEMAN CLOSES THE FILE. A LONG PAUSE.

MARK
Let me get this straight sir... What exactly do they mean... an emotional attachment?

FREEMAN
As I see it, this report finds an embryo relationship between you that could develop.

MARK
Into what?

FREEMAN
It's not in my report.

PAULA
Well, without any disrespect to Mark, if the computer's saying we're in love - it's crazy!

MARK
There must be some way round this sir... We'll appeal.

FREEMAN
I'm afraid you can't.

MARK
You mean that's it... just like that.

FREEMAN
If you can disprove the findings... well then I might be able to do something.

HE STANDS UP TO LEAVE.

FREEMAN
Off the record... but I want a straight answer. Is there anything in it?

PAULA
No, sir

MARK
No, sir.

FREEMAN
Well, let's just hope this sorts itself out. In the meantime you've been given separate postings. Bradley, you'll return to Moonbase.

PAULA
And me, sir?

FREEMAN
SHADO HQ - Earth. You've both been given three days leave.

MARK
Well that's just dandy, tried and convicted by a heap of printed circuits.

FREEMAN TURNS TO LEAVE

107 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 32 SECS

FREEMAN AND STRAKER

STRAKER
Everything's lined up with the Air Force. You'll get the fullest co-operation. Your contact will be a Colonel Grosvenor.

FREEMAN
Well, I'll be on my way.

STRAKER
Who are you taking?

FREEMAN
Does it matter?

STRAKER
No... I just hadn't seen the list of personnel.

FREEMAN
It includes Paula Harris and Mark Bradley.

STRAKER GIVES HIM A HARD LOOK.

STRAKER
Your decision...

IT IS NOT A QUESTION.

FREEMAN
My decision... without the help of a computer... they'll be back inside three days to take up their new postings.

STRAKER DOESN'T ANSWER, FREEMAN GOES OUT.

CUT TO:

108 EXT. LEXFIELD BASE (VISUAL EFFECTS) 6 SECS

WE ESTABLISH THE AIR FORCE BASE IN CANADA.

109 EXT. RUNWAY - DAY (VISUAL EFFECTS) 9 SECS

A HUGE SHADO TRANSPORTER COMES IN AND LANDS.

CUT TO:

110 INT. OFFICE - DAY (STUDIO) 48 SECS

AN OFFICE AT THE BASE HAS BEEN PREPARED AS A FIELD H.Q. VARIOUS SHADO PERSONNEL ARE SETTING UP EQUIPMENT.
A CANADIAN AIR FORCE OFFICER, COLONEL GROSVENOR, TURNS AS FREEMAN, FOLLOWED BY PAULA HARRIS WALKS QUICKLY INTO THE OFFICE.

THE COLONEL STEPS FORWARD AND OFFERS HIS HAND.

COLONEL GROSVENOR
I'm Colonel Grosvenor.

FREEMAN
Alec Freeman.

THEY SHAKE HANDS. FREEMAN LOOKS AROUND.

FREEMAN
Well, you seem to have done us proud, Colonel.

COLONEL GROSVENOR
(fishing)
I understand it's something pretty important.

FREEMAN
(evasive)
Could be.
(to Paula)
Check the radio links and radar.

PAULA
Yes, sir.

COLONEL GROSVENOR
You've brought your own land vehicles. Will the crews require accommodation?

FREEMAN
No, they're moving straight out.
(to a SHADO operative)
I'll use that desk - clear everything off it.

THE COLONEL SEES HE IS NOT WANTED.

COLONEL GROSVENOR
Well, if you need me, I'll be in my office.

FREEMAN TURNS TO HIM. STRAKER WOULD HAVE JUST LET HIM GO.

FREEMAN
Colonel... I appreciate everything you've done. Thanks.

THE COLONEL SMILES, HE SEES FREEMAN MEANS IT AND TURNS TO LEAVE.

CUT TO:

111 EXT. TRANSPORTER - DAY (VISUAL EFFECTS) 16 SECS

THE HUGE RAMP AT THE NOSE SWINGS DOWN, AND A TRACKED LAND VEHICLE, AN ADVANCED SCOUT CAR, DRIVES OUT FOLLOWED BY ANOTHER.

CUT TO:

112 INT. SHADO CONTROL (STUDIO) 9 SECS

THE OPERATIVES MONITOR THE OPERATION FROM LONDON. STRAKER SITS ON A DESK, KNEES DRAWN UP, HEAD RESTING ON HIS CLASPED HANDS, WATCHING LIKE A HAWK

OPERATIVE
The mobiles are on their way sir.

STRAKER
Good.

CUT TO:

113 EXT. CANADA - DAY (VISUAL EFFECTS) 10 SECS

THREE SCOUT CARS MOVING ACROSS THE UNINHABITED COUNTRY, BEGINNING TO FAN OUT. ON THEIR SIDES WE SEE THE IDENTIFICATION "SHADO MOBILES 1, 2 AND 3"

CUT TO:

114 ANOTHER ANGLE. (VISUAL EFFECTS) 5 SECS

IN CLOSER SHOT WE SEE ONE OF THE TRANSPORTS, IDENTIFIED AS SHADO MOBILE 1.

CUT TO:

115 INT. SHADO MOBILE DAY (STUDIO) 6 SECS

MARK BRADLEY AT THE CONTROLS WITH A MISSILE OPERATIVE AND A TECHNICIAN. ALL ARE GRIM-FACED, WATCHFUL.

CUT TO:

116 EXT. CANADA DAY (VISUAL EFFECTS) 7 SECS

THE THREE MOBILES HAVE NOW SPREAD OUT AS THEY MOVE ACROSS THE TERRAIN.

CUT TO:

117 M.S. MOBILE DAY (VISUAL EFFECTS) 8 SECS

IT IS MOVING QUITE SLOWLY, BUT WITH TREMENDOUS POWER. IT BRUSHES ASIDE AN OBSTACLE, A TREE POSSIBLY, AND GOES ON.

CUT TO:

118 EXT. CANADA DAY (VISUAL EFFECTS) 8 SECS

IN L.S. WE SEE THE U.F.O. STILL IN THE SAME POSITION AS WHEN IT CRASHED. IT IS BEGINNING TO HEAT UP IN EARTH'S ATMOSPHERE. IN A VERY SLOW ZOOM WE MOVE IN TOWARDS IT.

CUT TO:

119 EXT. U.F.O. DAY (VISUAL EFFECTS) 15 SECS

A CLOSE SHOT OF A SMALL SECTION. THERE IS NO APPARENT OPENING IN THE SMOOTH SURFACE BUT AS THE MUSIC BUILDS, A PANEL SLIDES BACK. WE CANNOT ' SEE INTO THE DARK INTERIOR, BUT SLOWLY, OMINOUSLY, THE TRANSPARENT DOME OF A SPACE HELMET COMES INTO SHOT.

AS THE MUSIC REACHES A CRESCENDO WE SEE THE GREEN ANGULAR FEATURES OF AN ALIEN THROUGH THE BI-COLOURED MOVING LIQUID THAT FILLS HIS HELMET.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

120 EXT. CANADA DAY (VISUAL EFFECTS) 7 SECS

THE SCOUT VEHICLES HAVE SEPARATED. WE SEE ONE, IDENTIFIED AS SHADO MOBILE 1, MOVING CAUTIOUSLY FORWARD. IT STOPS AT THE BROW OF A RIDGE.

CUT TO:

121 INT. MOBILE DAY (STUDIO) 8 SECS

THREE MEN IN THE COMPACT INTERIOR AS BEFORE, MARK BRADLEY, WHO LEAD THE GROUP, SPEAKS INTO A RADIO MIKE.

MARK
SHADO Mobile 1 to control. In position... no visual contact.

CUT TO:

122 INT. OFFICE DAY (STUDIO) 19 SECS

PAULA AT A CONTROL CONSOLE TURNS TO FREEMAN SITTING AT THE DESK.

PAULA
All three mobiles in position, sir.

FREEMAN LOOKS DOWN TO STUDY A LARGE AERIAL PHOTOGRAPH SPREAD OUT ON THE DESK. HE TAKES A PEN AND MARKS IN THE POSITION OF THE 3RD SCOUT CAR.

FREEMAN
Right... send it in.

PAULA
Which group sir?

FREEMAN
(measured)
The one in the best position... Standard procedure.

HE HAS SPELT IT OUT AND PAULA KNOWS WHAT HE MEANS AS FREEMAN LOOKS HARD AT HER.

CUT TO:

123 C.S. PAULA 10 SECS

SHE TAKES HER TIME, WATCHING THE THREE WINKING LIGHTS ON THE SCREEN BEFORE HER, DENOTING THE POSITIONS OF THE SCOUT CARS.

PAULA
(measured)
Control to SHADO Mobile 3. Close in for final assault.

CUT TO:

124 INT. MOBILE DAY (STUDIO) 7 SECS

WE ARE INSIDE SHADO MOBILE 3. THREE MEN, LED BY A YOUNG KEEN LIEUTENANT.

LIEUTENANT
Roger, Control.
(to the men)
That's us... let's go.

CUT TO:

125 EXT. MOBILE DAY (VISUAL EFFECTS) 5 SECS

WE SEE IT IS SHADO MOBILE 3, AS IT MOVED FORWARD.

CUT TO:

126 INT. OFFICE DAY (STUDIO) 8 SECS

WE FEATURE FREEMAN AND PAULA AS THEY WATCH SHADO MOBILE 3'S LIGHT MOVING IN.

FREEMAN
They should be able to see it any second.

CUT TO:

127 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS

MOVING SLOWLY TOWARDS THE CREST OF A LOW HILL, AS IT REACHES THE TOP.

CUT TO:

128 INT. MOBILE DAY (STUDIO) 5 SECS

THE LIEUTENANT SPOTS SOMETHING AHEAD.

LIEUTENANT
There it is...

CUT TO:

129 POV SHOT (VISUAL EFFECTS) 5 SEC

FROM THEIR POV WE SEE THE U.F.O. THE MUSIC WARNS US.

CUT TO:

130 INT. MOBILE DAY (STUDIO) 10 SECS

THE LIEUTENANT REPORTS INTO THE RADIO MIKE.

LIEUTENANT
Have visual contact... About 300 yards ahead.

FREEMAN (VO)
Any sign of movement?

LIEUTENANT
No... nothing. We're going in closer.

CUT TO:

131 INT. OFFICE DAY (STUDIO) 9 SECS

FREEMAN STANDS USING A HAND MIKE.

FREEMAN
Right. But take it easy. At the first sign of trouble, get out of there fast.

LIEUTENANT (VO)
Roger.

CUT TO:

132 EXT. MOBILE DAY (VISUAL EFFECTS) 5 SECS

MOVING FORWARD.

CUT TO:

133 EXT. U.F.O. DAY (VISUAL EFFECTS) 4 SECS

STILL, SILENCE, OMINOUS.

CUT TO:

134 INT. MOBILE DAY (VISUAL EFFECTS) 18 SECS

THE THREE MEN WATCHING THE U.F.O. (off screen) AS THEY DRIVE TOWARDS IT.

WE INTERCUT THE THREE PRECEDING SCENES AND ON THE U.F.O. WE HEAR THE BUILD UP OF SOUND ASSOCIATED WITH THE CRAFT BEFORE IT IS ABOUT TO FIRE UNTIL...

CUT TO:

135 EXT. U.F.O. (VISUAL EFFECTS) 4 SECS

THE SOUND HAS BUILT UP TO FULL POWER. A SHAFT OF LIGHT BURSTS FROM THE U.F.O.

WHIP PAN:

136 EXT. MOBILE DAY (VISUAL EFFECTS) 4 SECS

AN EXPLOSION CLOSE TO THE MOBILE, A NEAR MISS.

CUT TO:

137 INT. MOBILE DAY (STUDIO) 4 SECS

THE LIEUTENANT GRABS THE MIKE, HE TALKS HURRIEDLY BUT THERE'S NO PANIC IN HIS VOICE.

LIEUTENANT
SHADO Mobile 3 to Control...

CUT TO:

138 INT. OFFICE DAY (STUDIO) 10 SECS

LIEUTENANT (VO)
...We are under Attack.

PAULA
If they get back below the ridge they should be out of line of fire.

FREEMAN
(into mike)
Head back to the ridge.

CUT TO:

139 EXT. CANADA DAY (VISUAL EFFECTS) 8 SECS

THE U.F.O. FIRES AGAIN. THE MOBILE TURNS AND MOVES OFF FAST BACK TOWARDS COVER. THE EXPLOSION NARROWLY MISSES.

CUT TO:

140 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS

HEADING BACK, AN EXPLOSION JUST IN FRONT OF IT FORCES THE VEHICLE TO ALTER COURSE, BUT IT DRIVES ON.

CUT TO:

141 INT. OFFICE DAY (STUDIO) 13 SECS

THE LIEUTENANT'S VOICE FAST OVER THE RADIO LINK.

LIEUTENANT (VO)
Still under fire. They seem to be using some sort of...

THE VOICE CUTS OFF SHORT. FREEMAN SPEAKS URGENTLY INTO THE MIKE.

FREEMAN
S.M. 3 Can you hear me... Come in S.M. 3.

THERE IS NO ANSWER.

CUT TO:

142 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS

IT HAS BEEN HIT. AS WE WATCH WE HEAR THE U.F.O. FIRE AGAIN O.S. AND THE VEHICLE SUFFERS ANOTHER DIRECT HIT AND IS DEVASTATED.

CUT TO:

143 INT. OFFICE DAY (STUDIO) 25 SECS

PAULA CHECKS THE EQUIPMENT THEN TURNS TO FREEMAN WHO HAS WALKED AWAY A FEW PACES.

PAULA
Radio link negative. They must have been hit.

FREEMAN STANDS IN THOUGHT A FEW MOMENTS.

FREEMAN
(quietly)
Send another group in.

PAULA DOESN'T MOVE. LOOKS AT HIM QUESTIONINGLY.

FREEMAN
I know the risk. Send it in.

PAULA
Yes, sir.

SHE LOOKS AT THE ILLUMINATED CHART SHOWING THE POSITION OF THE TWO REMAINING MOBILES. FREEMAN WATCHES HER CLOSELY.

PAULA
(into mike)
Control to SHADO Mobile 1. Close in on U.F.O.

CUT TO:

144 INT. MOBILE DAY (STUDIO) 6 SECS

MARK, THE OPERATIVE AND THE TECHNICIAN.

MARK
Move out...

THE VEHICLE STARTS FORWARD.

CUT TO:

145 INT. OFFICE DAY (STUDIO) 15 SECS

FREEMAN MOVES OVER AND TAKES THE MIKE.

FREEMAN
This is Alec Freeman. We must assume S.M. 3 is non-operational. Stop just below the top of the ridge and proceed on foot.

MARK (VO)
Roger.

FREEMAN PUTS DOWN THE MIKE AND LOOKS AT PAULA.

CUT TO:

146 EXT. MOBILE DAY (VISUAL EFFECTS) 7 SECS

THE SHADO MOBILE PULLS TO JUST BELOW THE TOP OF THE RIDGE AND STOPS.

CUT TO:

147 INT. CONTROL ROOM SHADO H.Q. (STUDIO) 12 SECS

THE WALL CHART SHOWS THE AREA IN CANADA. THE U.F.O. IS CENTRE. IT IS SURROUNDED BY MANY AND VARIED COLOURED LIGHTS SHOWING THE BACK UP FORCES SHADO HAVE THROWN AROUND THE AREA.

OPERATIVE
Back up forces in position and standing by, sir.

STRAKER STANDING BEFORE THE CHART, DOESN'T ANSWER. AS WE TRACK IN ON HIM WE KNOW HIS THOUGHTS ARE WITH THE MEN MAKING THE FINAL APPROACH.

CUT TO:

148 EXT. U.F.O. DAY (VISUAL EFFECTS) 5 SECS

WITH BINOCULAR MASKING WE SEE THE U.F.O. THE HATCH IS OPEN BUT THERE IS NO SIGN OF THE ALIENS.

CUT TO:

149 EXT. CANADA DAY (LOCATION) 16 SECS

GROUP S.M. 1 HAS LEFT THE MOBILE AND WALKED FORWARD. MARK LOWERS THE BINOCULARS. THE OTHER TWO MEN ARE AT HIS SIDE ARMED WITH AUTOMATIC

MARK
Fan out... twenty yards each side... and take it easy.

THE MEN MOVE OFF ONE TO THE RIGHT, ONE TO THE LEFT MARK WAITS TILL THEY ARE IN POSITION, THEN WAVES THEM FORWARD.

CUT TO:

150 M.S. TECHNICIAN 5 SECS

MOVING CAUTIOUSLY FORWARD. ALERT, SCARED, HAND GRIPPING AND RELAXING ON THE BUTT OF HIS AUTOMATIC.

CUT TO:

151 C.S. BOOT 3 SECS

IT SNAPS A TWIG.

CUT TO:

152 C.S. MISSILE OPERATOR 3 SECS

HE WHEELS AUTOMATIC READY.

153 C.S. MARK 8 SECS

HE LOOKS TOWARD THE OPERATOR.

MARK
(loud whisper)
Easy...
(into radio mike)
250 yards from U.F.O.

CUT TO:

154 INT. OFFICE DAY (STUDIO) 8 SECS

WE FEATURE PAULA AND FREEMAN. THE OFFICE IS STILL AND QUIET. THE TENSION HIGH.

MARK (VO)
Closing in.

PAULA CHEWS HER LIP, A NERVOUS ACTION.

CUT TO:

155 EXT. CANADA DAY (LOCATION) 7 SECS

GROUP A MOVE FORWARD. SLOWLY, EYES SEARCHING, PALMS SWEATING.

CUT TO:

156 C.S. TECHNICIAN 4 SECS

HE REACTS TO SOMETHING AHEAD, RAISING THE AUTOMATIC IN AN UNTHINKING REFLEX ACTION.

CUT TO:

157 M.S. ALIEN 4 SECS

A VERY FAST SHOT.
HE HAS STOOD UP FROM CONCEALMENT, A FEW YARDS TO THE SIDE OF THE TECHNICIAN. THE WEIRD MILKY EYES, STARING THROUGH THE CHANGING PATTERN OF HIS HELMET. THE BODY IS COVERED IN A THIN PLASTIC LIKE MATERIAL.

CUT TO:

158 M.S. TECHNICIAN 4 SECS

HE WHIPS AROUND, PANICS - FIRES FROM THE HIP.

CUT TO:

159 M.S. U.F.O. MAN 5 SECS

HE IS HIT. THE HELMET SHATTERS. HE REELS AND STAGGERS OFF.

CUT TO:

160 WIDER ANGLE 9 SECS

MARK COMES RUNNING OVER. THE TECHNICIAN IS TRANSFIXED, STARING AT THE REELING, STAGGERING ALIEN. MARK MOVES TOWARDS HIM SLOWLY, HESITANT, THEN QUICKLY AS THE ALIEN COLLAPSES.

CUT TO:

161 C.S. SECOND ALIEN 5 SECS

HE PEERS UP INTO SHOT FROM CONCEALMENT AND RAISES A DEVICE, A RIFLE OF ADVANCED DESIGN.

CUT TO:

162 POV SHOT 4 SECS

FROM THIS ALIEN'S POV WE SEE MARK, THE TECHNICIAN AND THE OPERATIVE AROUND THE FALLEN ALIEN.

CUT TO:

163 C.S. SECOND ALIEN 4 SECS

HE FIRES THE 'RIFLE' - WITH A STRANGE SOUND - BUT NO FLASH OR OTHER VISIBLE EFFECT.

CUT TO:

164 EXT. CANADA DAY (LOCATION) 5 SECS

THE GROUP ROUND THE FALLEN ALIEN REACT AS A FIERY FLASH OF FLAME EXPLODES CLOSE BY. IT IS UNLIKE A NORMAL EXPLOSION, LITTLE SOUND, AND ALTHOUGH LARGE, OVER VERY QUICKLY.

MARK
Down...

THE THREE MEN FLING THEMSELVES TO THE GROUND.

CUT TO:

165 C.S. ALIEN 3 SECS

HE FIRES AGAIN.

CUT TO:

166 C.S. MARK 8 SECS

THE BALL OF FIRE IS OVER TO HIS RIGHT, BUT THE SHOT HAS ENABLED HIM TO PINPOINT THE ATTACKER'S POSITION.

MARK
(calling to his side)
Cover me...

HE BEGINS TO MOVE FORWARD.

CUT TO:

167 EXT. CANADA DAY (LOCATION) 15 SECS

THE ALIEN CONTINUES TO FIRE, THE OPERATIVE REPLIES WITH A SHORT BURST FROM HIS AUTOMATIC. MARK MOVES FROM COVER TO COVER WORKING ROUND BEHIND THE ALIEN.

CUT TO:

168 ANOTHER ANGLE 12 SECS


MARK CREEPS FORWARD TOWARDS THE BACK OF THE ALIEN. WHEN HE IS A FEW FEET FROM HIM THE ALIEN TURNS. SEES MARK AND RAISES HIS 'RIFLE'. MARK CLOSES WITH HIM, KNOCKING THE RIFLE FROM HIS GRASP.

THE ALIEN TURNS TO RUN, BUT MARK DIVES AT HIS LEGS AND BRINGS HIM FACE DOWN TO THE GROUND.

CUT TO:

169 EXT. CANADA DAY (LOCATION) 5 SECS

THE OPERATIVE AND THE TECHNICIAN MOVE QUICKLY FORWARD. A STRANGE NOISE OVER IS BEGINNING TO BUILD.

CUT TO:

170 EXT. U.F.O. DAY (VISUAL EFFECTS) 7 SECS

THE SOUND REACHES FULL PITCH. THE U.F.O. IS IN THE LAST STAGES OF OVERHEATING. IT DISINTEGRATES.

CUT TO:

171 EXT. CANADA DAY (LOCATION) 12 SECS

THE TECHNICIAN AND THE OPERATIVE RUN UP TO MARK WHO HOLDS THE ALIEN - STILL FACE DOWN TO THE GROUND

AS WE ZOOM IN MARK ROLLS HIM OVER ONTO HIS BACK. WE GO INTO B.C.U. OF THE WEIRD LIQUID FILLED HELMET.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

172 INT. OFFICE DAY (STUDIO) 82 SECS

THE DEBRIS OF THE EXERCISE LIES ABOUT - COFFEE CUPS, FULL ASH TRAYS, PAPER AND MAPS IN DISORDER.

PAN ACROSS THE OTHERWISE EMPTY ROOM TO MARK BRADLEY PERCHED ON THE SIDE OF A DESK. HE LOOKS UP AND STANDS AS PAULA ENTERS.

PAULA
Hello, Mark.

MARK
Paula.

PAULA
Quite a mess.

MARK
Yes.

A LONG PAUSE.

PAULA
Are you alright?

MARK
Yeah... I'm fine.

ANOTHER LONG PAUSE.

MARK
Well, it's all wrapped up. They're flying the Alien back to H.Q now.

PAULA MOVES A LITTLE CLOSER TO HIM.

PAULA
Mark... there's something... I must tell you.

MARK
What do you mean?

PAULA
After Group 3 were hit, Freeman told me to send another mobile in... Group 2 were in a better position. I should have sent them in, not you.

MARK LOOKS AT HER IN SILENCE.

PAULA
Don't you understand what I'm saying? I took an illogical decision.

MARK
(gentle)
Why did you do it, Paula?

PAULA
I don't know... maybe to show Straker and the computer were wrong. I'm sorry.

MARK
It's O.K. ... I was glad of the action.

MARK SMILES.

PAULA
Mark, I risked your life...

MARK
To prove a point...

PAULA MOVES A LITTLE CLOSER.

PAULA
That's the trouble. What point did I prove, Mark?

MARK
I think I know... I think maybe we both know.

MARK LOOKS AT HER FOR A LONG MOMENT. PAULA LOWERS HER EYES - THEN RAISES THEM AGAIN TO MEET HIS.

CUT TO:

173 EXT. STUDIO. DAY. (LIBRARY) 5 SECS

ESTABLISH THE HARRINGTON-STRAKER STUDIO.

CUT TO:

174 INT. STRAKER'S OFFICE - UNDERGROUND - (STUDIO) 43 SECS

DOCTOR MURRAY, A 45-YEAR-OLD MEMBER OF SHADO'S MEDICAL STAFF, IN THE OFFICE WITH STRAKER.

FREEMAN SITS CASUALLY TO ONE SIDE.

MURRAY
The lungs were filled with an oxygenated liquid, but we managed to make the transfer to normal breathing.

STRAKER
Successfully?

MURRAY
Five hours isn't long enough to tell.

STRAKER
I want to interrogate him Doctor. When will he be ready?

MURRAY
We're crossing new physiological frontiers, no one can say.

STRAKER
Then give me an educated guess.

A LONG PAUSE.

MURRAY
I suppose he's as ready now as he'll ever be.

STRAKER
Right... in an hour... Get him ready, Doctor.

THE DOCTOR TURNS AND LEAVES. FREEMAN WATCHES STRAKER; HE IS SOMBRED AT THE PROSPECT OF HAVING THE POSSIBLE KEY TO THE WHOLE PUZZLE IN HIS GRASP.

STRAKER
This is the moment I worked and waited for Alec... face to face.

CUT TO:

175 INT. MEDICAL CENTRE. (STUDIO) 80 SECS

START ON A BACK OF THE ALIEN'S ANGULAR FACE. THE EYES ARE CLOSED. AS WE PULL BACK HE IS LYING ON AN OPERATING TABLE DRESSED IN A WHITE ONE-PIECE GOWN. SEVERAL LEADS TRAIL AWAY FROM HIS BODY; BIO-SENSORS PLUGGED INTO A CONTROL BOX AT WHICH DOCTOR MURRAY IS SEATED. THIS ENABLES THE DOCTOR TO MONITOR, PULSE RATE, BREATHING, ETC.

STRAKER BENDS OVER LOOKING INTO THE SLIGHTLY GREEN FACE. FREEMAN AT HIS SIDE. ALL WEAR OPERATION MASKS AND GOWNS.

STRAKER
How long is it now?

MURRAY
43 minutes.

STRAKER TAKES THE CHIN IN HIS GLOVED HAND AND TURNS THE ALIEN'S HEAD TO FACE HIS OWN. THE EYES OPEN, MILKY OPAQUE - SOMEHOW COLD AND FRIGHTENING.

STRAKER
Now, once again - I want you to answer my questions.

THE ALIEN STARES WITH UNBLINKING EYES.

STRAKER
(slow)
Where do you come from? What was your objective in coming to earth?

THE ALIEN SHOWS NO EMOTION NOR REACTION. STRAKER WALKS OVER TO THE DOCTOR FOLLOWED BY FREEMAN.

STRAKER
(quietly)
There's no alternative... I'm going to try a truth drug.

A LONG PAUSE.

STRAKER
What do you suggest we use... ?

MURRAY
G.L. 7 is the most effective in my experience - but in this case...

STRAKER
Well... ?

MURRAY
I can't guarantee the result, it could be dangerous.

STRAKER
How dangerous?

MURRAY
I'm afraid the decision and the responsibility would have to be yours.

STRAKER TURNS AND PICKS UP A GLASS BEAKER, WE PAN WITH HIM AS HE WALKS SLOWLY BEHIND THE ALIEN, AND LOOKS DOWN AT HIM.

STRAKER LETS THE BEAKER FALL TO THE FLOOR. IT SHATTERS. THE ALIEN REACTS.

STRAKER
(slow)
You heard that... and I'm told your vocal chords are in excellent condition.

STRAKER TURNS AND NODS TO THE DOCTOR.

CUT TO:

176 M.S. MURRAY 12 SECS

HE TAKE A HYPODERMIC, FILLS IT FROM A PHIAL AND CHECKS IT FOR AIR BUBBLES.

WITH A LOOK TO THE WATCHING FREEMAN HE CROSSES TO THE ALIEN.

CUT TO:

177 M.S. ALIEN 7 SECS

STRAKER WATCHES AS THE DOCTOR QUICKLY, EXPERTLY, PREPARES TO GIVE THE INJECTION.

CUT TO:

178 C.S. ARM 3 SECS

THE WHITE, HAIRLESS, ALIEN'S ARM. THE HYPODERMIC POISED, IT PLUNGES FORWARD.

CUT TO:

179 C.S. ALIEN'S FACE 3 SECS

THE SLIGHTEST OF REACTIONS.

CUT TO:

180 RESUME SCENE 10 SECS

MURRAY WALKS ACROSS AND SITS DOWN AT THE CONTROL UNIT. FREEMAN WATCHES AS STRAKER LEANS TO THE ALIEN.

CUT TO:

181 CLOSER SHOT 18 SECS

STRAKER LEANS IN. THE ALIEN'S EYES ARE CLOSED.

STRAKER
(clear and slow)
Where do you come from... What was your purpose in coming to Earth?

THE ALIEN'S MOUTH BEGINS TO MOVE, BUT NO SOUND COMES OUT.

STRAKER LEANS CLOSER.

STRAKER
(measured)
Where do you come from... ?

THE MOUTH MOVES MORE VIOLENTLY. THEN THE EYES SUDDENLY OPEN AND THE ALIEN EMITS A STRANGE, HIGH-PITCHED YELL.

CUT TO:

182 C.S. MURRAY 14 SECS

HE REACTS TO THE INSTRUMENTATION.

WIDE ANGLE.

MURRAY RUSHES OVER TO THE ALIEN WHO HAD BEGUN TO TWITCH. THE DOCTOR TRIES TO HOLD HIM STILL.

SUDDENLY HE BECOMES LIMP AND MOTIONLESS. THE DOCTOR CHECKS THE PULSE BEAT IN THE NECK; LOOKS UP AT STRAKER AND SHAKES HIS HEAD.

THE ALIEN IS DEAD.

CUT TO:

183 INT. STRAKER'S UNDERGROUND OFFICE 62 SECS (STUDIO)

STRAKER SITS AT HIS DESK, HEAD IN HANDS. HE STRAIGHTENS UP AS THE DOOR SLIDES OPEN AND FREEMAN ENTERS.

STRAKER
Alec... Have a drink.

FREEMAN
No thanks.

FREEMAN HOLDS OUT AN ENVELOPE.

FREEMAN
I... want you to accept this.

STRAKER, SENSING SOMETHING IS WRONG, TAKES THE ENVELOPE BUT DOESN'T OPEN IT. HE GUESSES ITS CONTENTS ... FREEMAN'S RESIGNATION.

STRAKER
We've worked together a long time, Alec.

FREEMAN
Maybe too long.

STRAKER TOYS WITH THE ENVELOPE.

STRAKER
Can't we talk about it?

FREEMAN
There's not much to say. It's a difference in temperament.

STRAKER
D'you think I wanted him to die... it was a calculated risk...

FREEMAN
It's not only that. You base your decisions on logic, computer predictions, the best available evidence. I've still got a few human emotions left.

THIS HURTS STRAKER, FREEMAN SEES IT.

FREEMAN
I'm sorry.

STRAKER
You really believe you're right, don't you. Your conscience is clear... you sleep nights. I can't. I'm the guy in the responsibility seat.

FREEMAN TURNS TO GO.

STRAKER
Don't Alec.

FREEMAN TURNS BACK.

STRAKER
I need you.

THE PLEA IS SIMPLE, STRAIGHT FROM THE HEART.

CUT TO:

184 INT. RESTAURANT NIGHT (STUDIO) 38 SECS

MARK AND PAULA SIT AT A TABLE. THE ATMOSPHERE IS COSY AND INTIMATE. THEY HAVE DRINKS AND ARE ABOUT TO ORDER DINNER. A WAITER COMES UP.

MARK
(indicating drink)
Two more of these and I think we're ready to order.

THE WAITER BOWS A YES AND TURNS TO PAULA WHO HOLDS A MENU. SHE LOOKS VERY YOUNG.

PAULA
(coy)
Er... I'll have a steak... erhm medium and... avocado to start.

MARK
I'll take the same, but make the steak rare... Oh er, and could you bring a phone please?

THE WAITER BOWS OFF.

PAULA
Life's funny.

MARK
Yeah... we build computers - programme them - and they tell us what we think before we know it ourselves.

THEY SMILE HAPPILY. THE WAITER BRINGS THE PHONE TO THE TABLE.

MARK
Thank you.

MARK STARTS TO DIAL A NUMBER.

CUT TO:

185 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 21 SECS

FREEMAN AND STRAKER.

FREEMAN
I'll sleep on it...

STRAKER
(biting)
Well thanks... Listen if you really want out I'm not begging.

THE PHONE RINGS STRAKER GOES OVER TO HIS DESK AND ANSWERS IT. FREEMAN WALKS TO THE DOOR.

STRAKER
Straker.

HE HOLDS OUT THE PHONE FOR FREEMAN AS HE STOPS AT THE DOOR.

STRAKER
For you...

CUT TO:

186 INT. RESTAURANT NIGHT (STUDIO) 31 SECS

MARK AND PAULA AS BEFORE.

MARK
(into phone)
Mark Bradley here, sir. I'm with Paula Harris... Well you were straight with us and I think it's only fair you should know... well you could say the computer was right... no... we'll work it out... fine... thank you... Shall I tell Commander Straker sir?

CUT TO:

187 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 54 SECS

FREEMAN
(into phone)
No, leave that with me... Right.

FREEMAN THOUGHTFULLY REPLACES THE PHONE. STRAKER WATCHES HIM.

FREEMAN
Mark Bradley...

STRAKER
Important?

FREEMAN
He thinks so...

FREEMAN WALKS TO THE DESK AND PICKS UP THE ENVELOPE WITH HIS RESIGNATION.

HE LOOKS AT STRAKER THEN TEARS IT IN HALF AND DROPS IT IN THE BIN.

FREEMAN
You and your bloody computers.

FREEMAN WALKS TOWARD THE DOOR.

STRAKER
Alec...

FREEMAN STOPS.

STRAKER
Tell them both I'm sending them back to Moonbase to finish their tour of duty.

FREEMAN
That's not what the report recommended.

STRAKER
Now they realise the facts it'll sort itself out... Besides I'm not a computer... I can change my mind.

FREEMAN SMILES.

FREEMAN
See you.

FADE OUT

END OF ACT IV

END TITLES

FINAL FADE OUT

The following pages of revisions and "new pages" bring the script closer to the episode as finally broadcast.


U. F. O. TELEVISION SERIES

"THE COMPUTER AFFAIR"


SCRIPT AMENDMENTS AS AT 12th MAY, 1969.

NEW PAGE - 1

NEW PAGE - 2

NEW PAGE - 3

NEW PAGE - 4

NEW PAGE - 5

NEW PAGE - 13

NEW PAGE - 18


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

PAGE 20 - Scene 47
Delete Joan's dialogue
"You're welcome"

PAGE 21 - Scene 49
Gay's 2nd speech - Delete "Yes"
Gay's last speech - Amend to read
"I'd like to think so"

PAGE 23 - Delete Straker's Third speech "Go ahead"

PAGE 25 - Scene 60 - amend Shroeder's 2nd speech to -
" ...with SHADO, Lieutenant Ellis, Waterman I'd like you to begin the computer test whilst I interview astronaut Bradley."

PAGE 26 - Add to Shroeder's 2nd last speech
" ...before you become an astronaut"

PAGE 27 - Scene 60 - delete 2nd "good" in Shroeder's last speech.

PAGE 30 - Scene 71 - delete "Gordon" in Karlin's last speech.

PAGE 35 - Scene 93 - Waterman's first speech change "out him" to "him out"

Amend Shroeder's speech to "Lieutenant Ellis. Will you come in please"

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

THE COMPUTER AFFAIR


SCRIPT AMENDMENTS AS AT 12th MAY, 1969.

PAGE 37 - Scene 101 - Change Freeman's 1st speech to - "I don't believe it"

PAGE 39 - Scene 104 - Change Gay's 2nd speech to "Square"

PAGE 40 - Scene 106 - Delete stage direction "Mark closes the door"

Delete Freeman's dialogue "Come in... come in... close the door"

PAGE 41 - NEW PAGE

PAGE 42 - NEW PAGE


PAGE 48 - Scene 122 - Amend Gay's second dialogue to - which mobile Sir"

PAGE 52 - Scene 143 - Amend Freeman's 1st speech to "send another mobile in"

PAGES 51, 52 - Scenes - 138, 141, 143, 145, 154. & 54 Change Scene heading to :-

"INT. MOBILE CONTROL (STUDIO)

PAGE 57 - Scene 172 Delete "but it's all wrapped up" in Mark's last speech.

PAGE 58 - NEW PAGE

PAGE 59 - NEW PAGE


Straker's dialogue

PAGE 60 - Scene 174 - Delete/"in an hour" from 1st speech.

PAGE 63 - NEW PAGE

PAGE 64 - NEW PAGE

PAGE 65 - NEW PAGE

PAGE 66 - Scene 185 - In Freeman's first speech delete "O.... if you think you can work it out"

In Freeman's last speech delete "bloody"

PAGE 67 - NEW PAGE.

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

NEW PAGE - 'THE COMPUTER AFFAIR' 12th May, 1969.

FADE IN: ACT ONE

1. EXT. SPACE (VISUAL EFFECTS) 5 SECS.


THE LUNAR MODULE SECTION OF MOONSHIP AS IT APPROACHES THE MOON

CUT TO

2. EXT. MOONBASE DAY (VISUAL EFFECTS) 8 SECS.

THE MODULE LANDS SLOWLY AND PRECISELY ON THE RECEPTION SPHERE ON MOON BASE.

CUT TO

3. INT. CONTROL SPHERE DAY (STUDIO) 8 SECS.


JOAN AND NINA BARRY ARE ON DUTY. GAY ELLIS SITS AT HER CONSOLE. JOAN IS ON THE DESK PHONE.

JOAN
Thanks... Colonel Freeman is just leaving reception, Lieutenant.

GAY IS FLICKING THROUGH A FILE

GAY
Thank you.

GAY GETS UP AND WALKS TOWARDS THE AIRLOCK TO EXIT.

3A. INT. CENTRAL PARK DAY (STUDIO)


FREEMAN COMES OUT OF THE RECEPTION CORRIDOR - CARRYING SMALL CASE. HE WALKS ACROSS CENTRAL PARK. GAY COMES INTO SHOT TO MEET HIM.

FREEMAN SMILES

FREEMAN
Hello Gay...

GAY IS A LITTLE NERVOUS

GAY
Colonel Freeman...

FREEMAN LOOKS AT HER.

FREEMAN
We're very formal today

GAY IGNORES THE IMPLIED QUESTION

GAY
How was the flight?

FREEMAN
Smooth (a beat)
just give me five minutes to wash up.

MIX TO

NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969

5. INT. SLEEP SPHERE (STUDIO)


START ON FREEMAN LOOKING INTO A MIRROR AS HE WIPES HIS FACE. GAY ENTERS THE SPHERE AND SITS DOWN ON A BED. FREEMAN COMES OUT OF THE CUBICLE AND GAY STANDS UP.

FREEMAN
That's better

HE LOOKS AT GAY

FREEMAN
Well if your quarters are as comfortable as this, there's no room for complaints

GAY
Who's complaining

FREEMAN SMILES - THEN MORE SERIOUS.

FREEMAN
How's morale?

GAY REACTS AND STIFFENS

GAY
Excellent... Why do you ask?

FREEMAN
No particular reason.

GAY GIVES HIM A SIDEWAYS GLANCE.

FREEMAN
Listen, Lieutenant, this is only a routine monthly inspection, but but there have been a couple of minor mistakes recently. And on this Base you know as well as I do there's no room for error no matter how small.

GAY
Yes, I know, I'm sorry. But there's nothing to worry about. I assure you.

FREEMAN
Glad to hear it. Shall we start the inspection.

THEY WALK TOWARDS THE DOORWAY.

CUT TO

4. INT. CORRIDOR. MOONBASE DAY (STUDIO) 14 SECS.

GAY AND FREEMAN

GAY
The - er - spares situation might need reviewing. I'd like to see the levels kept about 20% higher.

12th MAY, 1969

NEWPAGE - 'THE COMPUTER AFFAIR'


4. Continued.

FREEMAN
Funny you should say that.

GAY DOESN'T UNDERSTAND.

FREEMAN
Straker asked me to get your thoughts on the subject... he had the same idea.

THEY HAVE REACHED THE AIRLOCK TO THE CONTROL SPHERE.

3B. INT. CONTROL SPHERE. (STUDIO)

FREEMAN AND GAY ENTER - FREEMAN WALKS OVER TO NINA. GAY STAYS IN THE F.G.

FREEMAN
Hello Nina...

NINA
Hello, Colonel.

FREEMAN
How are things going?

NINA
Fine.

FREEMAN WALKS OVER TO JOAN

FREEMAN
Everything alright - Joan?

JOAN
Yes Sir... There is one thing. We're down to our last two spare XK4 units.

FREEMAN
Ah yes, the Lieutenant mentioned spares. There's been a little trouble with a design modification but it's all sorted out now. You can expect a new batch on the next flight.

FREEMAN TURNS TO WALK AWAY.

JOAN
Sir?

HE TURNS BACK

JOAN
Did you take care of that personal requisition.

FREEMAN REACTS, HE HAS FORGOTTEN, MAY BE OVER ACTING SLIGHTLY.

FREEMAN
Personal requisition -

HE FLICKS HIS FINGERS IN DISGUEST AT HAVING APPARENTLY FORGOTTEN.

NEW PAGE - 'THE COMPUTER AFFAIR'
12th MAY, 1969

3B. Continued


WE SEE GAY IS DISAPPOINTED.

JOAN
(disappointed)

It's alright Sir.

FREEMAN
I'm sorry...

FREEMAN TURNS TO GAY AND INDICATES A FILE IN HER HAND.

FREEMAN
Is that your report?

GAY
Yes. I think you'll find everything in order.

FREEMAN
I'm sure I will. Shall we continue?

THEY WALK TOWARDS THE DOORWAY.

ON JOAN & NINA

JOAN
Men!

NINA SMILES

MIX TO

7. INT. LEISURE DINING SPHERE. DAY 9STUDIO) 27 SECS.

MARK BRADLEY, LEW WATERMAN AND KEN MATTHEWS THE THREE ON DUTY ASTRONAUTS RELAX IN THE B.G. THEY WEAR THEIR SPACESUITS.

FREEMAN AND GAY STAND IN THE B.G. LOOKING AT THE FILE.

FREEMAN
What sort of times are we making on interceptors launches now?

GAY
Around 125 seconds flat.

FREEMAN
That's great.

HE LOOKS UP AND SMILES AT GAY

FREEMAN
Well I think that about wraps it up for this month.

NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969

7. Continued...


SHE LOOKS AT HER WATCH.

GAY
Excuse me... We've arranged a little morale booster.

ON GAY

SHE SPEAKS INTO HER MAKE-UP RADIO.

GAY
(into mike)
This is Lieutenant Ellis. Will all off duty personnel come to the leisure sphere immediately... repeat...

CUT TO

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

25 (continued)


S.I.D. (VO)

Predict U.F.O. on collision course with interceptors. Impact 32 seconds
(to be used in sequence)
25 seconds... 20 seconds... 15... 10... 9... 8... etc.,

A LONG PAUSE, EYES TURN TO GAY

JOAN
Standard evasive action?

ON GAY

WITH MILITARY PRECISION SHE FLICKS HER EYES TO OFF STAGE INSTRUMENTATION CONSIDERS THE SITUATION FOR A MOMENT THEN LOOKS DOWN AT THE MONITOR IN FRONT OF HER ON WHICH THERE IS A RADAR SWEEP (WHETHER SEEN OR NOT)

GAY
No... sychronous evasive action

JOAN TURNS TO HER INSTRUMENTATION

FREEMAN WATCHES

JOAN
New course interceptor one 024-186

ON GAY

GAY
Control to interceptor one. Alter course to 024-186

TWO SHOT

JOAN AND GAY

JOAN
Course for two ... 024-201

GAY
Control to interceptor two... new course 024-201

MATTHEW (VO)
Three to base request new course

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

FREEMAN
I don't really know...

STRAKER
Come on... I know you better than that.

FREEMAN
Things happened so fast.

STRAKER
Meaning?

FREEMAN
I can't be sure.

STRAKER
I'll settle for an educated guess.

FREEMAN
The error could have been human. A decision was taken... it could have worked... the fact was it didn't.

STRAKER WALKS SLOWLY BACK TO HIS DESK

STRAKER
I want the personel concerned, the two surviving astronauts and Lieutenant Ellis back here on the next moonflight.

FREEMAN
Right.

FREEMAN TURNS TO LEAVE BUT TURNS BACK AS HE REMEMBERS

FREEMAN
Er... what happened to the UFO?

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

106 (continued)


FREEMAN
One: Taking into account the circumstances at the time of detonation it was clearly the duty of Lieutenant Ellis to decide the type of evasive action to be taken. On that count Lieutenant Ellis is cleared.

GAY LOOKS RELIEVED

FREEMAN
Provided that the decision was in no way influenced by emotional factors, which brings us to point two.

FREEMAN PAUSES. GAY AND MARK MAKE NO OBVIOUS REACTION

FREEMAN
The three personnel directly concerned were subject to standard psychiatric and psycho-computer tests with the following results: Astronaut Lew Waterman... clear on all counts. Astronaut Mark Bradley... emotion count 48 para normal, clear on other counts. Lieutenant Ellis... stress factor 128 para normal; emotion count 35 para normal. Clear on other counts.

BOTH MARK AND GAY ARE DISTURBED BY THESE RESULTS

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

106 (continued)


FREEMAN
Three: These results are attributed to an emotional attachment between Lieutenant Ellis and Astronaut Bradley. It ends with a confidential recommendation as to what action should be taken.

FREEMAN CLOSES THE FILE. A LONG PAUSE

MARK
Let me get this straight sir... What exactly do they mean... an emotional attachment?

FREEMAN
As I see it, this report finds an embryo relationship between you that could develop.

MARK
Into what?

FREEMAN
It's not my report.

GAY
Well, without any disrespect to Mark, if the computer's saying we're in love - it's out of its electronic mind.

MARK
There must be some way round this sir... Can't we appeal?

FREEMAN
I'm afraid you can't.

MARK
You mean that's it... just like that.

FREEMAN
If you can disprove the findings... well then I might be able to do something.

HE STANDS UP TO LEAVE

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

172 (continued)


GAY NOTICES MARK'S DAMAGED SUIT

GAY
Are you alright?

MARK
Yeah... I'm fine.

GAY MOVES A LITTLE CLOSER TO HIM

GAY
Mark... there's something... I must tell you.

MARK LOOKS

GAY
After mobile 3 was hit, Freeman told me to send another one in... Mobile 2 was in a better position.

MARK LOOKS AT HER IN SILENCE

GAY
Well don't you understand what I'm saying?

MARK
You did it to prove that Straker and the computer were wrong.

GAY
I'm sorry.

MARK
It's O.K., ...I was glad of the action.

MARK SMILES

GAY
Mark, I risked your life to prove something.

GAY TURNS INTO CAMERA, LOOKS THOUGHTFUL. MARK REALISES THE SIGNIFICANCE OF WHAT SHE HAD JUST SAID.

GAY
But what have I proved?

MARK MOVES IN AND PLACES A HAND ON HER SHOULDER.

NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969

THEY LOOK AT EACH OTHER A LONG MOMENT.

CUT TO

173. EXT. STUDIO DAY (LIBRARY) 5 SECS.

ESTABLISH THE HARLINGTON STRAKER STUDIO.

CUT TO

174. INT. STRAKER'S OFFICE UNDERGROUND (STUDIO) 43 SECS.

DOCTOR MURRAY IN THE OFFICE WITH STRAKER AND FREEMAN

STRAKER
Well?

MURRAY
Much the same situation as we've experienced before. The alien was breathing liquid containing a bio-acryphilic compound imparting the usual green tint to the face and neck. The hair was unaffected and the eyes had protective shells... We've managed to revert the respiration to normal atmosphere.

FREEMAN
Successfully?

MURRAY
Five hours isn't long enough to tell.

STRAKER
We know from past experience once they breathe our atmosphere they revert to true age in 24 hours. At least five hours has told us we're dealing with a comparatively young alien. (a pause) I want to see if I can get anything out of him. When will he be ready?

MURRAY
We're crossing new physiological frontiers. How can I say?

STRAKER GIVES HIM A LOOK THAT DEMANDS AN ANSWER.

MURRAY
I suppose he's as ready as he'll ever be.

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

182 (continued)


WIDE ANGLE

MURRAY RUSHES OVER TO THE ALIEN WHO HAS BEGUN TO TWITCH. THE DOCTOR TRIES TO HOLD HIM STILL

SUDDENLY HE BECOMES LIMP AND MOTIONLESS. THE DOCTOR CHECKS THE PULSE BEAT IN THE NECK; LOOKS UP AT STRAKER AND SHAKES HIS HEAD.

THE ALIEN IS DEAD.

CUT TO

183 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 62 SECS


STRAKER IS READING A REPORT, HE FINISHES THE LAST PAGE, CLOSES IT AND CUPS HIS HEAD IN HANDS. HE STRAIGHTENS UP AS THE DOOR SLIDES OPEN AND FREEMAN ENTERS.

STRAKER
Drink?

FREEMAN
No thanks.

FREEMAN HOLDS OUT AN ENVELOPE

FREEMAN
I... want you to accept this.

STRAKER, SENSING SOMETHING IS WRONG, TAKES THE ENVELOPE BUT DOESN'T OPEN IT. HE GUESSES ITS CONTENTS... FREEMAN'S RESIGNATION.

STRAKER
We've worked together a long time, Alec.

FREEMAN
Maybe too long.

STRAKER TOYS WITH THE ENVELOPE.

STRAKER
Can't we talk about it?

FREEMAN
There's not much to say. It's a difference in temperament.

STRAKER
D'you think I wanted him to die... it was a calculated risk...

NEW PAGE - "THE COMPUTER AFFAIR"
12th MAY, 1969

183 (continued)


FREEMAN
It's not only that. You base your decision on cold logic and computer predictions, I've still got a few human emotions left.

THIS HURTS STRAKER, FREEMAN SEES IT

FREEMAN
I'm sorry.

STRAKER
You think its easy... it's easy for you. Your conscience is clear... you sleep nights. I can't. I'm the guy in the responsibility seat.

FREEMAN TURNS TO GO.

STRAKER
Don't Alec.

FREEMAN TURNS BACK.

STRAKER
I need you.

THE PLEA IS SIMPLE. STRAIGHT FROM THE HEART.

CUT TO

184 INT. RESTAURANT - NIGHT (STUDIO) 28 SECS

MARK & GAY SIT AT A TABLE. THE ATMOSPHERE IS COSY AND INTIMATE. THEY HAVE DRINKS.

MARK
(thoughtfully)
1984 - what's it going to be like 20 years from now? Are the computers going to take over completely?

GAY
Why don't you ask them... They seem to have all the answers... even today!

MARK
Yeah... We build them programme them... and they tell us what we are going to think before we know it ourselves.

NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969

184 (continued)


GAY
(thoughtfully)
Mark, if the computer hadn't probed our subconscious do you think we'd be faced with this situation?

MARK
You mean like falling in love.

GAY
Like falling in love.

CUT TO

185 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 75 SECS

FREEMAN AND STRAKER

FREEMAN
I'll sleep on it...

THE PHONE RINGS STRAKER GOES OVER TO HIS DESK AND ANSWERS IT. FREEMAN WALKS TO THE DOOR.

STRAKER
Straker.

HE HOLDSOUT THE PHONE FOR FREEMAN AS HE STOPS AT THE DOOR.

STRAKER
For you...

FREEMAN TAKES THE TELEPHONE

FREEMAN
Freeman... Oh! Hi!

HE WALKS AWAY FROM STRAKER TO MAKE THE CONVERSATION MORE PRIVATE - HE IS CONSCIOUS OF STRAKER WATCHING HIM.

NEW PAGE - "THE COMPUTER AFFAIR" 12th May, 1969

STRAKER
Tell Lieutenant Ellis and Astronaut Bradley they are to return to Moonbase immediately to resume normal duties.

FREEMAN IS STUNNED BY STRAKER'S INSTRUCTIONS.

FREEMAN
That's not what the report recommended.

STRAKER
That's not what the first report recommended...

HE INDICATES THE FILE WE SAW HIM READING EARLIER

STRAKER
This report analysed the flight paths and it shows that if standard procedure had been followed we would have lost all three interceptors.

FREEMAN REGAINS HIS CONFIDENCE IN HUMAN NATURE.

FREEMAN
You mean her decision was not influenced by emotion.

STRAKER
You tell me.

STRAKER IS RUNNING TRUE TO FORM, HE EMOTIONS ARE NOT INVOLVED IN THE SITUATION, THERE IS AN ELEMENT OF DOUBT AND HE MUST GIVE THE BENEFIT OF THIS DOUBT TO THE ACCUSED. HIS DECISION IS BASED ON THIS.

FREEMAN
See you.

END OF ACT 1V.

FADE OUT.