UFO Script for
"Destruction"

​​SYNOPSIS: A beautiful secretary, working in the Admiralty is the mystery girl in a strange drama kept secret even from S.H.A.D.O.  . . . and if anything goes wrong, every known form of life on Earth could be destroyed.

      The Captain of a naval cruiser spots a high-flying UFO which he succeeds in bringing down. The UFO disappears into the sea, but Commander Straker tries to investigate the report, he meets with evasive reactions from the Naval authorities. The whole matter - he is told - must be kept secret. But it is the duty of S.H.A.D.O. to investigate every reported sighting of alien objects, and he is determined to seek out the truth. Paul Foster finds himself with the not unpleasant task of trying to penetrate the mystery through the very attractive Sarah Bosanquet who works at the Admiralty as secretary to Admiral Sheringham, under whose commander the cruiser came.

      Commander Straker wants to know what the cruiser was doing in this particular area. It could not have been on routine duties. But he can get no cooperation from Sheringham or anyone else. Sarah Bosanquet is his only real hope and besides sending Paul Foster to try to extract the secret from her, he has her closely watched. Sarah appears to have one unusual pastime for a girl. She studies the stars and has a very expensive telescope in her apartment. This telescope seems to be the key to the mystery. The significance of this becomes clear when it is found that she is sending information to the aliens, under whose control she has fallen, but in a bemused state which makes her an innocent victim.

      How grim the situation is can be judged when Admiral Sheringham has to admit that the cruiser's task is to dump into the sea containers of an experimental nerve gas which proved to be far too dangerous ever to be used. If aliens can prevent it being jettisoned and release it, every form of life on Earth would be destroyed. The Earth's future depends on preventing this happening . . .

THE SCRIPT FOR THE UFO EPISODE
“DESTRUCTION”

by

Dennis Spooner


© Century 21 Pictures
MGM Studios
Borehamwood,
Herts.

NOTES ABOUT THIS SCRIPT:
* Miss Bosanquet is originally named, Virginia Bosanquet. Her name was presumably changed to “Miss Bosanquet” once it had been decided that Col. Virginia Lake (Wanda Ventham) would replace Colonel Alec Freeman's (George Sewell) character role as Commander Straker's 2nd in Command.
* At the time of writing, Col. Virginia Lake’s character is either written as “2ND IN COMMAND” or Colonel Alec Freeman (George Sewell). By the time of the filming this episode, George Sewell had regrettably left the production of UFO, and it had not been decided who would replace him. Initially, Gary Raymond was considered, but it was Ed Bishop that forwarded the idea to Gerry and Sylvia Anderson that Wanda Ventham would make a very good replacement 2nd in Command.
* Philip Madoc (Ship’s Captain: Stephen Rutland) is one of the eleven actors to appear in both Doppelgänger and the UFO series. This was also his second episode having previously appeared as Straker's ex-wife's new husband Rutland in "A Question of Priorities." 
* Archive Footage, provided by the Ministry of Defence, featured HMS Hampshire (D06), a County Class Guided Missile Destroyer and the Seaslug Missile System in action.

CAST:

SPEAKING PARTS

COMMANDER STRAKER
COLONEL FREEMAN
2ND IN COMMAND
GENERAL HENDERSON
1ST OPERATOR (MOONBASE)
2ND OPERATOR (MOONBASE)
CAPTAIN (SKYDIVER)
VIRGINIA BOSANQUET
ADMIRAL SHERINGHAM
CAPTAIN
OFFICER ON THE BRIDGE
INTERCEPTOR PILOT
SKYDIVER CREW MEMBER

NON-SPEAKING PARTS
SHIP’S CREW
SHIP’S TECHNICIANS
DUTY OFFICER
MOONBASE CREW
SHADO CONTROL CREW
SKYDIVER CREW
JOHN BOSANQUET

SET LIST:
INT. STRAKER’S OFFICE
INT. SHADO CONTROL
INT. SKYDIVER
INT. MOONBASE CONTROL
INT. INTERCEPTOR
INT. SKY ONE
INT. VIRGINIA BOSANQUET’S APARTMENT
INT. ADMIRAL SHERINGHAM’S OFFICE
INT. SHIP’S BRIDGE
INT. RADAR SONAR ROOM
INT. SECTION OF SHIP’S DECK
INT. EMPTY ROOM
INT. HENDERSON’S CAR
EXT. HARLINGTON-STRAKER STUDIO (STUDIO LOT)
EXT. GOLF COURSE (LOCATION)

SPECIAL EFFECTS SETS
EXT. CRUISER AT SEA
EXT. U.F.O. IN SKY
EXT. U.F.O. IN SPACE
EXT. SKYDIVER UNDERWATER
EXT. MOONBASE
EXT. INTERCEPTORS IN SPACE
EXT. INTERCEPTOR CRATER
EXT. SKY ONE 

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. OCEAN. DAY. (VE) 10 SECS

WE ESTABLISH THE EXPANSE OF THE OPEN SEA. THEN SLOWLY PANNING, WE PICK UP IN LONG SHOT, A NAVY CRUISER COMPLETING A WIDE-ANGLED TURN.

CUT TO:

2 EXT. CRUISER. DAY. (VE) 5 SECS

TIGHT ON THE SHIP. IT APPEARS TO BE AN AMERICAN CRAFT. ITS BOW CUTS CLEANLY THROUGH THE WATER.

CUT TO:

3 INT. SHIP’S BRIDGE. DAY. (STUDIO) 8 SECS


A COVERED SECTION WHICH HOUSES THE SHIP’S STEERING EQUIPMENT, COMPASS, AND THE LIKE. LARGE WINDOWS LOOK OUT OVER THE UNSEEN DECK.

THERE ARE SEVERAL UNIFORMED CREW MEMBERS. THEY WEAR UNITED NATIONS FLASHES, OR SIMILAR.

A RATING MANS THE WHEEL. THE OFFICER OF THE BRIDGE IS ON DUTY. ALSO IN ATTENDANCE IS THE SHIP’S CAPTAIN. HIS HANDS REST ON BINOCULARS WHICH HANG ON A STRAP AROUND HIS NECK.

WE ESTABLISH THE NORMAL SCENE, AND THEN:

CUT TO:

4 EXT. CRUISER. DAY. (VE) 6 SECS

THE SHIP COMPLETES ITS TURN, STRAIGHTENING ON COURSE AT THE END OF THE ARC.

CUT TO:

5 INT. SHIP’S BRIDGE. DAY. (STUDIO) 14 SECS

AS THE SHIP STRAIGHTENS ON COURSE THE RATING AT THE WHEEL REPORTS:

RATING
One five three degrees - turn complete, sir…

THE OFFICER OF THE BRIDGE LOOKS QUESTIONINGLY AT THE SHIP’S CAPTAIN. HE GETS A SHARP NOD IN REPLY.

THE OFFICER OF THE BRIDGE REACHES FOR AN INTERCOM, AND SPEAKS INTO IT:

OFFICER
Commencing second run… Now!

CUT TO:

6 INT. RADAR SONAR ROOM. DAY. (STUDIO) 15 SECS

A SMALL ROOM BELOW DECKS. IT IS PACKED WITH ELECTRONIC SONAR AND RADAR EQUIPMENT.

THERE ARE PERHAPS THREE NAVAL TECHNICIANS SEATED AT CONTROL PANELS. ONE OF THE TECHNICIANS HAS A SCREEN IN FRONT OF HIM. AN ARM OF LIGHT SWEEPS A CONTINUING CIRCLE.

THE DUTY OFFICER LISTENS AT THE INTERCOM. AS WE GO IN HE NODS, REPLACES THE TUBE OR INTERCOM, AND ORDERS:

DUTY OFFICER
Second run…

THE TECHNICIANS MANIPULATE CONTROLS ON THEIR PANELS. WE IMMEDIATELY HEAR:

SOUND: THE SONAR “PING” - ECHO - AND BOUNCE BACK. THE NOISE RINGS OUT WITH A MONOTONOUS REGULARITY.

CUT TO:

7 EXT. CRUISER. DAY. (VE) 6 SECS

WE HOLD ON THE SHIP CUTTING THROUGH THE WATER, AND HEAR:

SOUND: OF THE SONAR.

CUT TO:

8 INT. SHIP’S BRIDGE. DAY. (STUDIO) 7 SECS

THE RATING HOLDS THE SHIP’S WHEEL ON A STEADY COURSE. EVERYTHING APPEARS VERY NORMAL, AND CALM.

THE CAPTAIN MOVES TO ONE END OF THE BRIDGE. HE LOOKS OUT OF THE SIDE WINDOW OUT OVER THE EXPANSE OF SEA.

SOUND: OF THE SONAR

CUT TO:

9 INT. RADAR SONAR ROOM. DAY. (STUDIO) 6 SECS

WE FAVOUR THE TECHNICIAN IN FRONT OF THE SCREEN. THE ARM OF LIGHT CIRCLES. WE CAN STILL HEAR:

SOUND: OF THE SONAR.

CUT TO:

10 EXT. CRUISER. DAY. (VE) 5 SECS

THE BOW OF THE SHIP SLICES A PATH THROUGH THE WATER.

SOUND: OF THE SONAR.

CUT TO:

11 INT. SHIP’S BRIDGE. DAY. (STUDIO) 6 SECS

ON THE CAPTAIN.

STANDING BY THE WINDOW AT THE END OF THE BRIDGE. HE IS ABOUT TO TURN BACK AND TAKE UP A MORE CENTRAL POSITION WHEN HE CASUALLY GLANCES UP INTO THE SKY. WE TIGHTEN SHARPLY ONTO HIS FACE, AND:

CUT TO:

12 EXT. SKY. DAY. (VE) 4 SECS

CAPTAIN’S P.O.V.

WE CATCH THE MEREST GLIMPSE OF A U.F.O. BEFORE IT VANISHES BEHIND A CLOUD. IT IS VERY, VERY HIGH IN THE SKY.

CUT TO:

13 INT. SHIP’S BRIDGE. DAY. (STUDIO) 5 SECS


RESUME ON THE CAPTAIN.

HE REGISTERS THE FACT THAT HE MIGHT HAVE SEEN SOMETHING, AND BRINGS UP HIS BINOCULARS TO SCAN THE SKY.

CUT TO:

14 EXT. SKY. DAY. (VE) 6 SECS

CAPTAIN’S P.O.V.

BINOCULAR MATTE-MASK.

A SLOW, PANNING, SHOT OF THE SKY. THERE IS NOTHING TO BE SEEN.

CUT TO:

15 INT. SHIP’S BRIDGE. DAY. (STUDIO) 11 SECS

RESUME THE CAPTAIN.

HE TAKES THE BINOCULARS FROM HIS EYES, TURNS AND CALLS OVER HIS SHOULDER TO THE OFFICER OF THE BRIDGE.

CAPTAIN.
Mr. Cooper!

THE OFFICER OF THE BRIDGE MOVES TO JOIN THE CAPTAIN.

OFFICER
Sir?

THE CAPTAIN INDICATES UPWARDS:

CAPTAIN
Can you see anything?

WE ANGLE AND TIGHTEN ONTO THE OFFICER OF THE BRIDGE AS HE STARES UP AT THE SKY.

SOUND: WE CONTINUE TO HOLD, OVER ALL THESE SCENES, THE NOISE OF THE SONAR.

CUT TO:

16 EXT. SKY. DAY. (VE) 4 SECS

THE OFFICER’S P.O.V. OF THE SKY.

THERE IS STILL NOTHING TO BE SEEN.

CUT TO:

17 INT. SHIP’S BRIDGE. DAY. (STUDIO) 7 SECS

RESUME ON THE OFFICER

HOLD ON HIM FOR SEVERAL BEATS, AS HE CONTINUES TO STUDY THE SKY. THEN:

OFFICER
(slightly puzzled)
No, sir…

THEN, A SPLIT SECOND LATER, HE SUDDENLY POINTS:

OFFICER
Yes, there!

THE CAPTAIN URGENTLY BRINGS HIS BINOCULARS UP, AS WE:

CUT TO:

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

CAPTAIN’S P.O.V.

WE CAN SEE A VERY HIGH-FLYING U.F.O.

CUT TO:

19 INT. SHIP’S BRIDGE. DAY. (STUDIO) 7 SECS

RESUME THE CAPTAIN AND OFFICER.

THE OFFICER SHIELDS HIS EYES WITH HIS HAND, TO TRY AND GET A BETTER VIEW. THEN, TO THE CAPTAIN, STILL USING THE BINOCULARS:

OFFICER
What is it… ?

CAPTAIN
I don’t know… I’ve never seen anything like it before…

CUT TO:

20 EXT. SKY. DAY. (VE) 6 SECS

WE FEATURE THE U.F.O. ALMOST AS THOUGH IT IS AWARE OF BEING OBSERVED IT SUDDENLY, SHARPLY, STARTS TO LOSE HEIGHT.

CUT TO:

21 INT. SHIP’S BRIDGE. DAY. (STUDIO) 9 SECS

THE CAPTAIN STARES THROUGH HIS BINOCULARS. THEN, URGENTLY, AFTER A BEAT:

CAPTAIN
It’s coming down…

THE CAPTAIN TAKES THE BINOCULARS FROM HIS EYES, AND HOLDS A LOOK WITH THE OFFICER OF THE BRIDGE. THEN, REACHING A DECISION, THE CAPTAIN TURNS IN ON THE BRIDGE, WITH:

CAPTAIN
Action stations!

ONE OF THE CREW ON THE BRIDGE SLAMS A HAND ON A CONTROL. WE IMMEDIATELY HEAR:

SOUND: OF A WARNING KLAXON.

CUT TO:

22 EXT. CRUISER. DAY. (VE) 4 SECS

THE SHIP CONTINUES ON ITS COURSE. WE HEAR:

SOUND: OF THE KLAXON.

CUT TO:

23 INT. RADAR SONAR ROOM. DAY. (STUDIO) 3 SECS

THE DUTY OFFICER, AND THE TECHNICIANS EXCHANGE LOOKS AND TURN TO STARE AT A WALL LOUDSPEAKER. FROM THIS WE CAN HEAR:

SOUND: OF THE KLAXON.

CUT TO:

24 EXT. SKY. DAY. (VE) 4 SECS

THE U.F.O. CONTINUES TO SWEEP ACROSS THE SKY, LOSING HEIGHT FAST.

CUT TO:

25 EXT. SECTION OF DECK. DAY. (STUDIO) 5 SECS

A COUPLE OF RATINGS, DONNING LIFE JACKETS AND TIN HELMETS, PAUSE ON THE DECK ON THEIR WAY TO THEIR ACTION STATIONS, TO LOOK UPWARDS.

CUT TO:

26 INT. SHIP’S BRIDGE. DAY. (STUDIO) 12 SECS

THE PERSONNEL ON THE BRIDGE ARE PULLING ON TIN HELMETS, AND LIFE JACKETS. THE CAPTAIN IS AGAIN LOOKING THROUGH HIS BINOCULARS.

THE OFFICER, ALSO STARING UPWARDS, ENQUIRES:

OFFICER
Is it attacking, sir… ?

THE CAPTAIN TAKES THE BINOCULARS FROM HIS EYES AS:

CAPTAIN
I’m in no mood to wait and find out, Mr. Cooper…
(then)
Open fire!

CUT TO:

27 EXT. SKY. DAY. (VE) 7 SECS

THE CRUISER HOLDS ITS COURSE. THEN, AFTER A BEAT, WE SEE THE SHIP’S MISSILES STREAKING UPWARDS TOWARDS THEIR TARGET.

CUT TO:

28 EXT. SKY. DAY. (VE) 4 SECS

WE ARE FAIRLY CLOSE ON THE U.F.O. AS THE MISSILES EXPLODE NEARBY.

CUT TO:

29 INT. SHIP’S BRIDGE. DAY. (STUDIO) 4 SECS

WE FEATURE THE CAPTAIN, AND HEAR A FURTHER BARRAGE OF MISSILES BEING FIRED.

CUT TO:

30 EXT. CRUISER. DAY. (VE) 6 SECS

WE AGAIN SEE THE MISSILES SPITTING UP FROM THE SHIP AS IT CONTINUES TO CUT THROUGH THE WATER.,

CUT TO:

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

ON THE U.F.O. THEN AN EXPLODING MISSILE SCORES A HIT.

CUT TO:

32 INT. SHIP’S BRIDGE. DAY. (STUDIO) 10 SECS

RESUME ON THE CAPTAIN.

LOOKING THROUGH HIS BINOCULARS HE IS FOLLOWING THE U.F.O. DOWN.

WE WIDEN TO INCLUDE THE OFFICER OF THE BRIDGE, AS HE MOVES TO JOIN THE CAPTAIN. HE HAS A POWERFUL-LOOKING CAMERA IN HIS HAND.

WE TIGHTEN ON THE OFFICER OF THE BRIDGE AS HE BRINGS UP HIS CAMERA, AND SIGHTS IT.

CUT TO:

33 EXT. OCEAN. DAY. (VE) 8 SECS


THE OFFICER'S P.O.V.

WE CAN SEE, IN THE FAR DISTANCE, THE U.F.O. STREAKING DOWN TOWARDS THE SEA. OUR FIRST VIEW IS OUT OF FOCUS, THEN IT SUDDENLY CLEARS.

AS THE U.F.O. IS ABOUT TO HIT THE WATER, WE HEAR THE:

SOUND: OF THE CAMERA SHUTTER.

WE IMMEDIATELY

FREEZE FRAME.

AND GO TO:

BLACK AND WHITE.

FOR A COUPLE OF BEATS WE HOLD ON WHAT HAS BECOME, TO ALL EXTENTS AND PURPOSES, A PHOTOGRAPH, SUPERIMPOSE THE U.F.O. TITLE.

CUT TO:

MAIN TITLES

34 INT. STRAKER’S OFFICE. DAY. (STUDIO) 14 SECS

STRAKER SITS ALONE AT HIS DESK. HE APPEARS DEEP IN THOUGHT. SPREAD OUT IN FRONT OF HIM IS A NEWSPAPER. HE STARES DOWN AT IT.

ON THE FRONT PAGE OF THE NEWSPAPER:

THERE IS A LARGE PRINT OF THE PHOTOGRAPH SHOWING THE U.F.O. STREAKING DOWN TOWARDS THE SEA, FROM THE DISTANCE IT WAS TAKEN IT COULD BE ANYTHING.

THERE IS ALSO A PICTURE OF THE CRUISER, AND IN GIGANTIC LETTERS, THE HEADLINE: “U.F.O.”

ON STRAKER

HIS FACE IS ENIGMATIC.

TITLES OVER

CUT TO:

35 INT. GENERAL HENDERSON’S CAR. DAY. (STUDIO) (PROCESS) 7 SECS

ON THE NEWSPAPER

AGAIN SHOWING THE PHOTOGRAPHICS, AND HEADLINE.

NOW TAKE:

ANOTHER ANGLE

TO REVEAL GENERAL HENDERSON IN HIS CAR. HE IS STARING AT THE PICTURES AND STORY. HIS FACE IS GRIM.

TITLES OVER

CUT TO:

36 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 10 SECS

STRAKER RISES FROM HIS DESK, AND MOVES ACROSS HIS OFFICE. HE PAUSES IN FRONT OF A SPACE CHART AND STUDIES IT, HIS FACE STILL THOUGHTFUL.

TITLES OVER

37 INT. GENERAL HENDERSON’S CAR. DAY. (STUDIO) (PROCESS) 8 SECS

ON HENDERSON

STILL LOOKING AT THE NEWSPAPER. SUDDENLY HE PUTS IT TO ONE SIDE, PLACING IT ON A SEAT BESIDE HIM. HE LOOKS OUT OF THE WINDOWS, AS -

TITLES OVER

CUT TO:

38 EXT. FILM STUDIO. DAY. (LIBRARY) 6 SECS

WE FOLLOW HENDERSON’S CAR AS IT DRIVES INTO THE STUDIO.

TITLES OVER

CUT TO:

39 INT. STRAKERS’ OFFICE. UNDERGROUND. (STUDIO) 15 SECS

STRAKER CONTINUES TO STAND IN FRONT OF THE SPACE CHART. HE HOLDS HIS POSITION FOR SEVERAL BEATS, THEN TURNS AS HE HEARS A BUZZ FROM HIS INTERCOM.

STRAKER MOVES BACK TO HIS DESK.

STRAKER
(into intercom)
Straker…

VOICE
(slight distort)
General Henderson’s here, sir…

STRAKER
(into intercom)
Right…

STRAKER TURNS TO WAIT FOR HENDERSON.

THE EPISODE TITLE: “DESTRUCTION”

NOW TAKE:

CUT TO:

40 INT. STRAKER’S OFFICE UNDERGROUND. (STUDIO) 120 SECS

ANOTHER ANGLE

AS GENERAL HENDERSON MOVES IN ON STRAKER.

HENDERSON
(a nod)
Commander…

HENDERSON NOTICES THE NEWSPAPER ON THE DESK, AND MOVES TOWARDS IT.

HENDERSON
You’ve read it…

STRAKER
Hasn’t everybody?

HENDERSON GLANCES AT STRAKER, IGNORES THE REMARK, AND COMMENTS:

HENDERSON
If this is why you asked to see me - I can tell you that they’ll be an official denial in tomorrow’s editions…

STRAKER
Yes, I expected that…

HENDERSON
I stress the word … “official”.

HENDERSON HAS PICKED UP THE NEWSPAPER. HE GLANCES AT IT, AS -

HENDERSON
Apparently it was a test flight of a prototype aircraft… Unfortunate…

STRAKER
Which country?

HENDERSON LOOKS UP FROM THE NEWSPAPER TO HOLD A LOOK WITH STRAKER. THEN, GENTLY CHIDING:

HENDERSON
Straker, you’re getting too suspicious. Almost a complex, in fact…

STRAKER GIVES A SLIGHT SHRUG.

STRAKER
Is that bad?

HENDERSON OFFERS STRAKER THE NEWSPAPER.

HENDERSON
Look at that photograph… It could be almost anything.

STRAKER LOOKS AT THE OFFERED NEWSPAPER, THEN, NODDING:

STRAKER
Yes… Including a U.F.O.

HENDERSON DROPS THE NEWSPAPER BACK ON THE DESK.

HENDERSON
There was an immediate enquiry - I was in touch with the Naval Board personally. They were satisfied. It’s a false alarm, Straker…

STRAKER STARES ACROSS AT HENDERSON FOR A LONG BEAT. THEN:

STRAKER
Are you warning me off?

HENDERSON
No… I am not “warning you off” - even if that’s what it sounds like. Sightings like this have happened before, and will happen again.

STRAKER
By a highly-trained naval crew? On a ship equipped with every modern detection device?

HENDERSON
(shaking head)
It wasn’t like that, it happened too fast…

STRAKER
Was the wreckage examined?

HENDERSON
No… It sank.

STRAKER
No attempts at salvage?

HENDERSON
(shaking head)
The ocean is too deep at that point…

STRAKER
I take it you’ll have no objections if I conduct my own investigation?

HENDERSON
No… but you’ll get no co-operation.

STRAKER
From the Naval Authorities?

HENDERSON
(nodding)
Right. They’ve accepted the findings…

A BEAT

HENDERSON
You’ve been over your records for that day, I take it?

STRAKER
Yes.

HENDERSON
And?

STRAKER
There was no U.F.O. activity - if that’s what you mean.

HENDERSON
None got through.

STRAKER
Not to our knowledge. No.
(then)
But they have before.

HENDERSON
Not for a long time. Since your defence tightening, in fact…

STRAKER
Don’t underestimate their intelligence. It has always been only a matter of time before they discovered a way to pierce our screen…

HOLD HENDERSON’S LOOK, AND THEN:

CUT TO:

41 EXT. SPACE SKY. (LIBRARY) 7 SECS

A U.F.O. APPEARS AND MOVES THROUGH THE BLACKNESS OF THE SPACE SKY. WE HOLD FOR SEVERAL LONG BEATS. THEN:

CUT TO:

42 EXT. MOONBASE. (LIBRARY) 5 SECS

TO ESTABLISH.

CUT TO:

43 INT. MOONBASE CONTROL. (STUDIO) 13 SECS

A NORMAL SCENE OF EFFICIENT, UNHURRIED, ACTIVITY. THE DUTY STAFF ARE AT THEIR POSTS.

WE TRACK THROUGH THE CONTROL CENTRE AS ROUTINE TASKS ARE DEALT WITH, AND ARRIVE ON THE ILLUMINATED SPACE CHART. IT REGISTERS NO SIGN OF ANY ACTIVITY.

CUT TO:

44 EXT. SPACE SKY. (LIBRARY) 4 SECS

THE U.F.O. CONTINUES ON ITS TRAJECTORY.

CUT TO:

45 INT. MOONBASE CONTROL. (STUDIO) 7 SECS

ON THE ILLUMINATED SPACE CHART.

STILL NO READINGS. WE PULL BACK TO INCLUDE THE 1ST OPERATOR. SHE APPEARS INTENT ON HER WORK.

CUT TO:

46 EXT. SPACE SKY. (VE) 6 SECS

AGAIN FEATURE THE U.F.O. IN FLIGHT. THEN, AS IT LOOMS RIGHT INTO CAMERA:

CUT TO:

47 INT. MOONBASE CONTROL. (STUDIO) 4 SECS

1ST OPERATOR, REGISTERING URGENTLY -

1ST OPERATOR
Sighting at 0146-843!

ANOTHER ANGLE

FAVOURING THE MOONBASE LIEUTENANT AS SHE SWIFTLY REVOLVES THE CONTROL CONSOLE TO TAKE IN THE SIGHT.

THE ILLUMINATED SPACE CHART IS NOW REGISTERING THE “BLIP” OF THE SIGHTED ALIEN.

MOONBASE LIEUTENANT
Red alert… Interceptors - immediate launch…

CUT TO:

48 INT. INTERCEPTOR CRATER. (LIBRARY) 12 SECS

THREE INTERCEPTORS STAND ON THEIR RAMPS.

THE WALL SLIDES BACK WITH A HISS OF ESCAPING AIR, TO REVEAL THE LUNAR SKY, AND THE THREE SHIPS LIFT SLOWLY OFF THEIR RAMPS.

CUT TO:

49 EXT. CRATER. (LIBRARY) 5 SECS

THE INTERCEPTORS LIFT OFF FROM THE CRATER, AND VEER INTO THE LUNAR SKY.

CUT TO:

50 INT. MOONBASE CONTROL. (STUDIO) 15 SECS

THE 1ST OPERATOR IS WATCHING THE ILLUMINATED SCREEN, A COUPLE OF BEATS, THEN:

1ST OPERATOR
Maintaining trajectory…

ANOTHER ANGLE

FAVOURING MOONBASE LIEUTENANT AT THE REVOLVING CONTROL CONSOLE.

SID (VO)
Computer data complete.
Co-ordinates one five decimal eight.

THE MOONBASE LIEUTENANT REGISTERS THE INFORMATION AS SHE REVOLVES HER CONSOLE, AND ORDERS:

MOONBASE LIEUTENANT
Programme Interceptor course…

CUT TO:

51 EXT. SPACE SKY. (VE) 7 SECS

THE THREE INTERCEPTORS ARE MOVING THROUGH SPACE. THEY START TO MAKE A WIDE, SWEEPING TURN.

CUT TO:

52 INT. INTERCEPTOR. (STUDIO) 10 SECS

THE PILOT SITS AT THE CONTROLS WATCHING THE COMPLEX RANGE OF DIALS BEFORE HIM.

MOONBASE LIEUTENANT (VO)
(slight distortion)
Computer course activated. Missile launch minus 5 secs. Manual Control.

THE PILOT FLICKS SEVERAL SWITCHES ON THE INSTRUMENT PANEL, AND LIGHTS FLASH.

CUT TO:

53 EXT. SPACE SKY. (VE) 4 SECS

THE U.F.O. MOVES EVER ONWARDS.

CUT TO:

54 EXT. SPACE SKY. (VE) 4 SECS

ON THE INTERCEPTORS. SEE THE MISSILES STREAK AWAY, THEN:

CUT TO:

55 EXT. SPACE SKY. (VE) 7 SECS

WE HOLD ON THE U.F.O. FOR SEVERAL BEATS. THEN, AS THE MISSILES STRIKE HOME, THERE IS A TREMENDOUS EXPLOSION. IMMEDIATELY:

CUT TO:

56 EXT. GOLF COURSE. DAY. (LOCATION) 180 SECS

WE ARE TIGHT ON A GOLF BALL EMBEDDED IN THE SAND OF A BUNKER. AS WE ARRIVE A SAND-WEDGE STRIKES DOWN ON THE BALL AND THROWS UP A SHOWER OF SAND. THE SAND CLEARS, AND WE SEE THE GOLF BALL ROLL BACK INTO THE BUNKER.

ANOTHER ANGLE.

COLONEL PAUL FOSTER, WITH A SAND WEDGE, AND LOOKING DECIDEDLY UNCOMFORTABLE, STANDS IN THE BUNKER. HE IS SHAKING HIS HEAD, AND STARING DESPAIRINGLY AT THE GOLF BALL.

FOSTER
This is some game!

STRAKER SMILES DOWN AT HIM.

STRAKER
Try hitting the sand behind the ball…

FOSTER GIVES STRAKER A “LOOK” - THEN, SHRUGGING, HE SHAPES UP, AND STRIKES WITH THE GOLF CLUB. THE BALL RISES UP, OUT OF THE BUNKER, AND SOARS DOWN THE FAIRWAY. FOISTER IS PLEASED, STRAKER SMILES.

ANOTHER ANGLE

FOSTER CLIMBS UP OUT OF THE BUNKER, AND IS PREPARED TO MOVE AWAY. STRAKER INDICATES THE SAND BEHIND HIM.

STRAKER
You’re supposed to smooth out your tracks…

FOSTER REACTS, AND THEN WITH HIS CLUB, MAKES A VAGUE ATTEMPT AT REPAIRING THE BUNKER, AS:

FOSTER
Tell me - just what do you see in this?

STRAKER
Relaxation. Exercise. A chance to forget problems…

FOSTER
Forget… ?
(then)
You’ve talked about nothing else since we started…

STRAKER
I’ve a lot on my mind, Paul…

STRAKER HAS REACHED HIS BALL ON THE FAIRWAY. HE SELECTS A CLUB, SHAPES UP, AND DRIVES. STRAKER OBVIOUSLY PLAYS AN EXCELLENT GAME. FOSTER IS IMPRESSED:

FOSTER
Good shot…
(then)
You said Henderson seemed convinced the sighting that ship made was a false alarm.

STRAKER
Did I? Yes, I suppose he was…

STRAKER REPLACES HIS CLUB IN HIS BAG, AND THEY MOVE OFF AGAIN WITH THEIR TROLLEYS.

FOSTER
And your theory about the aliens piercing our defensive screen doesn’t hold up anymore.

STRAKER
Oh… ? Why?

FOSTER
The Interceptors destroyed a U.F.O. this morning…

STRAKER
Yes. True…

FOSTER
So how come we managed to stop that one?

STRAKER
It’s a battle of wits, Paul - between us, and the, If they’ve made a break-through they wouldn’t want us to know.

FOSTER
You mean this morning was a … a sacrifice?

STRAKER
It could have been, couldn’t it? We destroy a U.F.O. Prove to ourselves just how secure we are and write off the sighting.

FOSTER IS DOUBTFUL

FOSTER
All right - if it was a U.F.O. Why didn’t it fire on the ship?

STRAKER
That would have been proof…

FOSTER GRIMACES, SHAKING HIS HEAD TO HIMSELF. STRAKER NOTICES:

STRAKER
You don’t buy it, do you, Paul?

FOSTER SHRUGS, UNCONVINCED. THEY REACH FOSTER’S BALL AND STOP. FOSTER STUDIES THE LINE.

STRAKER
Well, you could be right.
(a beat)
Do you know Sheringham?

FOSTER
The Admiral?

STRAKER
Yes…

FOSTER
Not personally…

STRAKER
Anyone in his department?

FOSTER GLANCES AT STRAKER, AND SMILES:

FOSTER
Now I know why I’m here! O.K. What do I have to find out?

STRAKER
Why the Naval Board reached such a fast decision. I’m assuming that ship was where it was for a reason. A reason they obviously want to keep secret. The Aliens wanted to know why - and so do I!

STRAKER SUDDENLY NODS DOWN AT FOSTER’S BALL:

STRAKER
Try a nine iron…

FOSTER REGISTERS THIS, TAKES HIS NUMBER NINE CLUB, SHAPES UP, AND HITS THE BALL.

STRAKER AND FOSTER BOTH WATCH THE PROGRESS OF THE BALL, AS:

FOSTER
Sheringham…
(then)
I’ll work on it…

STRAKER NODS, WATCHING THE BALL. IT IS OBVIOUSLY STARTING TO FALL.

ON WATER

A LAKE OR HAZARD, WE SEE THE GOLF BALL HIT THE WATER WITH A PLOP, AND DISAPPEAR FROM VIEW. AS THE CIRCLE OF RIPPLES FAN OUT…

CUT TO:

57 EXT. UNDERWATER. DAY. (SPECIAL EFFECTS) 7 SECS

ESTABLISH. THEN SEE SKYDIVER PLUNGING DOWN INTO THE DEPTHS.

CUT TO:

58 INT. SKYDIVER CONTROL. DAY. (STUDIO) 20 SECS

ON THE DEPTH GAUGE.

AS WE WATCH WE SEE THE NEEDLE APPROACHING, AND REACH, A READING OF “500” - WE PULL BACK TO REVEAL A CREW MEMBER AS HE TURNS, AND WITH TENSION STARTING TO SHOW, COMMENTS:

CREW MEMBER
Depth… five hundred…

ANOTHER ANGLE

AND SHOW THE CAPTAIN STANDING WITH STRAKER’S 2ND IN COMMAND. THE CREW MEMBER AT THE DEPTH GAUGE IS LOOKING TOWARDS THEM.

THE CAPTAIN FROWNS AS -

2ND IN COMMAND
Continue to dive…

OVER THESE SCENES WE HEAR THE FAMILIAR NOISE OF:

SOUND: A SONAR “PING” - ECHO - AND BOUNCE BACK.

CUT TO:

59 EXT. UNDERWATER. DAY. (VE) 6 SECS

WE ARE TIGHTER ON SKYDIVER AS IT CONTINUES TO DIVE. WE CAN HEAR, MUFFLED:

SOUND: OF THE SONAR.

CUT TO:

60 INT. SKYDIVER CONTROL. DAY. (STUDIO) 38 SECS

THE CREW MEMBER IS STARING, WITH GROWING DISBELIEF, AT THE DEPTH GAUGE.

THE SECOND IN COMMAND REMAINS IMPASSIVE. THE CAPTAIN GLANCES AT HIM AGAIN, THEN TURNS TO TAKE IN THE CONTROL AREA.

ON THE CREW MEMBER

CREW MEMBER
Depth… Six hundred!

ON THE DEPTH GAUGE

THE NEEDLE HAS REACHED “600” - BEYOND THIS THE DIAL IS SHADED IN RED.

RESUMING CREW MEMBER

FROWNING, HE TURNS TO REPORT:

CREW MEMBER
Six twenty…

ANOTHER ANGLE

THE CAPTAIN TURNS TO THE 2ND IN COMMAND

CAPTAIN
Maximum safe depth…

THE 2ND IN COMMAND MAKES NO REPLY, HE CONTINUES TO WATCH THE INSTRUMENT PANELS. AFTER A BEAT:

CREW MEMBER’S VOICE
Six forty…

CAPTAIN
Sir, we’re…

2ND IN COMMAND
(interrupting, evenly)
I heard you the first time, Captain…

FOR A COUPLE OF BEATS THEY CONTINUE TO WATCH THE INSTRUMENTS AS THE SONAR RINGS OUT. THEN WE INTERCUT THE FACES OF THE SKYDIVER CONTROL CREW. TENSION AND STRAIN IS BUILDING. THEY EXCHANGE WORRIED GLANCES. NOW GO:

ON CREW MEMBER

REPORTING

CREW MEMBER
Six eighty

CUT TO:

61 EXT. UNDERWATER. DAY. (VE) 5 SECS

SKYDIVER CONTINUES GOING DOWN. HOLD, THEN:

CUT TO:

62 INT. SKYDIVER CONTROL. DAY. (STUDIO) 7 SECS

ON THE DEPTH GAUGE.

AS THE NEEDLE REACHES “750”

CREW MEMBER’S VOICE
Seven fifty…

ANOTHER ANGLE

THE CAPTAIN STARES AT THE SECOND IN COMMAND WAITING FOR THE COUNTERMANDING ORDER.

CUT TO:

63 EXT. UNDERWATER. DAY. (VE) 8 SECS

SKYDIVER CONTINUES TO GO DOWN. HOLD FOR SEVERAL LONG, LONG BEATS, AND HEAR THE MUFFLED SONAR. THEN:

CUT TO:

64 INT. SKYDIVER CONTROL. DAY. (STUDIO) 20 SECS

WE ARE ON THE SECOND IN COMMAND.

CREW MEMBER’S VOICE
Eight hundred… !

AND:

VOICE
(slight distort)
Pressure malfunction…

2ND IN COMMAND
Level!

ANOTHER ANGLE

THE CAPTAIN TURNS, URGENTLY:

CAPTAIN
Level out!

SECOND VOICE
(slight distort)
Turbines not responding, sir…

ON THE CREW MEMBER.

REPORTING:

CREW MEMBER
Eight twenty!

ON THE DEPTH GAUGE

THE NEEDLES REGISTERS “820” AND IS RISING.

CUT TO:

65 EXT. UNDERWATER.DAY. (VE) 5 SECS

SKYDIVER CONTINUES TO GO DOWN THROUGH THE BLACKNESS OF THE OCEAN.

CUT TO:

66 INT. SKYDIVER CONTROL. DAY. (STUDIO) 6 SECS

THE CAPTAIN IS STANDING BY THE INSTRUMENT PANELS.

SECOND VOICE
(slight distort)
Engines overheating!

CAPTAIN
Hold full power!

CUT TO:

67 EXT. UNDERWATER. DAY. (VE) 6 SECS

SKYDIVER CONTINUES TO PLUNGE DOWN. WE START TO HEAR THE CREAKING OF METAL AS THE HULL TAKES THE EVER-GROWING PRESSURE STRAIN.

CUT TO:

68 INT. SKYDIVER CONTROL. DAY (STUDIO) 15 SECS

THE CREW MEMBER IS WATCHING THE DEPTH GAUGE. WE CAN HEAR THE CREAKING METAL OF THE HULL, EVERYTHING IS STARTING TO JUDDER. AFTER A MOMENT:

CREW MEMBER
Eight sixty!

ANOTHER ANGLE

THE CAPTAIN IS AT THE INSTRUMENT PANEL. A BEAT, THEN, URGENTLY:

VOICE
(slight distort)
Forward plates are buckling!

ALMOST ON CUE THERE IS A HISSING SOUND, AND A JET OF WATER SPURTS FROM A JOINT IN SKYDIVER CONTROL. THE CAPTAIN TURNS HIS HEAD SHARPLY TO TAKE IN THE SIGHT, AS WE:

CUT TO:

69 EXT. UNDERWATER. DAY. (SPECIAL EFFECTS) 6 SECS

SKYDIVER PLUNGES DOWN INTO THE BLACKNESS, THE SONAR CAN HARDLY BE HEARD ABOVE THE SOUND OF THE PROTESTING STRUCTURES OF THE CRAFT. HOLD, THEN:

CUT TO:

70 INT. SKYDIVER CONTROL. DAY. (STUDIO) 30 SECS

A COUPLE OF CREWMAN ARE DEALING WITH THE JET OF WATER, BRINGING IT UNDER CONTROL. THE CAPTAIN, AT THE INSTRUMENT PANEL, HEARS:

SECOND VOICE
(slight distort)
Turbines still not responding, sir…

WATERMAN
Hold full power…

SECOND VOICE
(slight distort)
We’ll burn out, sir…

WATERMAN
Hold full power!

ON THE CREW MEMBER

WATCHING THE DEPTH GAUGE.

CREW MEMBER
Eight eighty!

THEN, WITH AN ALMOST UNBELIEVABLE RELIEF:

CREW MEMBER
Slowing:

ANOTHER ANGLE

THE CAPTAIN TURNS TO GLANCE AT THE SECOND IN COMMAND WHO GIVES HIM A THIN SMILE.

CUT TO:

71 EXT. UNDERWATER. DAY. (VE) 8 SECS

SKYDIVER SLOWLY COMES OUT OF THE DIVE AND RESUMES A MORE LEVEL COURSE.

CUT TO:

72 INT. SKYDIVER CONTROL. DAY. (STUDIO) 48 SECS

THE CREW MANAGER TURNS TO THE CAPTAIN, AND REPORTS:

CREW MEMBER
Steady… at nine hundred!

SECOND VOICE
(slight distort)
Maintaining level course, Captain…

2ND IN COMMAND
Take her back to six hundred…

CAPTAIN
Up to six hundred…

SECOND VOICE
(slight distort)
Six hundred, sir…

THE 2ND IN COMMAND FLICKS A SWITCH ON THE INSTRUMENT PANEL.

2ND IN COMMAND
Sonar?

SONAR’S VOICE
(slight distort)
Sir?

2ND IN COMMAND
Find anything?

SONAR’S VOICE
(slight distort)
No, sir…

THE CAPTAIN GIVES AN ENQUIRING LOOK.

2ND IN COMMAND
(shaking head)
Nothing. But whatever it was must have sunk here…

HE TURNS BACK TO THE PANEL, AGAIN DEPRESSES THE SWITCH:

2ND IN COMMAND
Sonar - how much water below us?

SONAR’S VOICE
(slight distort)
Two hundred fathoms, sir…

2ND IN COMMAND
O.K. Thanks…

2ND IN COMMAND RELEASES THE SWITCH ON THE INSTRUMENT PANEL. LOOKS THOUGHTFUL.

CAPTAIN
We could try again…

2ND IN COMMAND
(shaking head)
No, it’s too deep…

CUT TO:

73 INT. ADMIRAL’S OFFICE. DAY. (STUDIO) 70 SECS

ON ADMIRAL SHERINGHAM

NODDING, SATISFIED.

ADMIRAL
Over one thousand fathoms…

ANOTHER ANGLE

TO REVEAL OUR LOCATION. WE ARE IN ADMIRAL SHERINGHAM’S IMPRESSIVE OFFICE. IT IS MODERN, AND EFFICIENT WITH SEVERAL NAVAL MOMENTOS SCATTERED ABOUT.

STANDING WITH THE ADMIRAL IS THE SHIP’S CAPTAIN FROM THE OPENING SCENES. A CHART IS SPREAD OUT ON THE DESK IN FRONT OF THEM. THE CAPTAIN IS TRACING A LINE WITH HIS FINGER.

CAPTAIN
And the trench runs for, oh… maybe thirty miles…

ADMIRAL
Sounds ideal…

THEY LOOK UP AS WE HEAR A TAP ON THE DOOR.

ADMIRAL
Come in…

THE DOOR OPENS AND VIRGINIA BOSANQUET ENTERS. SHE IS ADMIRAL SHERINGHAM’S SECRETARY. VERY ATTRACTIVE, BEAUTIFUL, AND INTELLIGENT. SHE IS PERHAPS TWENTY EIGHT YEARS OF AGE.

VIRGINIA CLOSES THE DOOR BEHIND HER, AND MOVES TOWARDS THE ADMIRAL. SHE CARRIES A SLIM FILE. SHE OFFERS THE FILE TO THE ADMIRAL, AND HE TAKES IT:

ADMIRAL
Thank you, Miss Bosanquet…
(then)
That will be all…

VIRGINIA
Yes, sir…

SHE TURNS, AND LEAVES THE ROOM, AS THE ADMIRAL CONSULTS THE FILE. THEN, ONCE THE DOOR HAS CLOSED AGAIN.

ADMIRAL
The consignment will be ready by the ninth…

CAPTAIN
(nodding)
My crew are on a twenty four hour stand-by, sir…

THE ADMIRAL NODS ACKNOWLEDGMENT, PUTS DOWN THE FILE, AND AGAIN STARES AT THE CHART.

ADMIRAL
One thousand fathoms…
(then)
It’s an even greater safety margin than we need…

THE ADMIRAL CONTINUES TO STUDY THE CHART, THEN APPARENTLY REACHES A DECISION.

ADMIRAL
Very well, Captain - I’ll approve the location…

CAPTAIN
Thank you, sir…

THE ADMIRAL EXTENDS HIS HAND, AND THE CAPTAIN GRASPS, AND SHAKES IT.

ADMIRAL
Well, good luck on the ninth…

CAPTAIN
(nodding)
We’ll need it…

ADMIRAL
I know… Any mistake by you, Captain, and life on this planet will cease!!

WE HOLD THEIR EXCHANGED LOOK, AND THEN:

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

74 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 62 SECS

WE OPEN TIGHT ON A PHOTOGRAPH. IT SHOWS A MAN OF PERHAPS FORTY TWO YEARS OF AGE, HE HAS A STRONG FACE, AND STEEL GREY HAIR. IT IS, IN FACT JOHN BOSANQUET, A CHARACTER WE WILL NEVER MEET.

THERE IS SOMETHING ABOUT THIS FACE THAT FOCUSES OUR ATTENTION. ENABLES US TO REMEMBER IT WHEN WE SEE IT AGAIN. POSSIBLY A FACIAL SCAR, SOMETHING.

AFTER SEVERAL MOMENTS WE PULL BACK TO REVEAL THE APARTMENT. IT IS EMPTY. THE LIGHTS ARE OUT.

THE APARTMENT ITSELF IS FUNCTIONAL, AND MODERN. THERE ARE MANY FEMININE TOUCHES. IT IS SITUATED AT THE TOP OF AN APARTMENT BLOCK AND, MOUNTED AT AN ANGLED WINDOW - IS A SMALL TELESCOPE, WHICH IS TRAINED AT THE SKY.

THE TELESCOPE - THE TYPE A KEEN AMATEUR ASTRONOMER WOULD USE - TENDS TO DOMINATE THE ROOM. PERHAPS IT IS ON A DAIS, WITH STEPS LEADING UP.

AS WE PAN, AND ANGLE, TO ESTABLISH THE APARTMENT, WE HEAR AN OUTER DOOR OPENING, AND A LIGHT IS SWITCHED ON.

FOSTER’S VOICE
Straight through… ?

VIRGINIA’S VOICE
Yes… Make yourself at home…

A FEW BEATS, AND THEN PAUL FOSTER MOVES INTO THE ROOM, SWITCHES ON THE LIGHT, AND LOOKS AROUND.

FOSTER TAKES IN THE LAYOUT, THE TELESCOPE, AND THEN MOVES FORWARD FOR A MORE DETAILED LOOK AROUND.

HE MOVES IN THE DIRECTION OF THE PHOTOGRAPH OF JOHN BOSANQUET, PICKS IT UP, AND LOOKS AT IT WITH A PASSING INTEREST.

FOSTER REPLACES THE PHOTOGRAPH, AND TURNS, AS VIRGINIA MOVES INTO THE ROOM. THEN, GENERALLY INDICATING THE APARTMENT, HE SAYS:

FOSTER
Very comfortable…

VIRGINIA
It’s convenient…
(then)
Coffee? Or would you prefer something stronger?

FOSTER
Something stronger…

VIRGINIA SMILES AND MOVES TO A DRINKS CABINET. SHE POURS A COUPLE OF DRINKS AS FOSTER CONTINUES TO EXPLORE THE APARTMENT.

HE MOVES TO THE TELESCOPE, TAKES IT IN. THEN, TURNING TO VIRGINIA -

FOSTER
May I?

VIRGINIA TURNS FROM THE DRINK MIXING, NOTES FOSTER, AND SMILES:

VIRGINIA
Please do…

WE ARE ON FOSTER AS HE PUTS HIS EYE AGAINST THE TELESCOPIC SIGHT.

75 EXT. SKY. NIGHT. (VE)/STOCK 5 SECS

FOSTER’S P.O.V.

TELESCOPIC SIGHT MATTE MASK.

A VISTA OF THE NIGHT SKY SEEN THROUGH THE TELESCOPIC SIGHT. HOLD, THEN HEAR:

VIRGINIA’S VOICE
Your drink…

CUT TO:

76 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 125 SECS

RESUME FOSTER

HE STRAIGHTENS FROM THE TELESCOPE TO SEE VIRGINIA, WHO HAS JOINED HIM. SHE OFFERS HIM A GLASS, HOLDS ONE HERSELF.

FOSTER
Thanks…

FOSTER TAKES THE DRINK, AND NODS TOWARDS THE TELESCOPE.

FOSTER
Unusual hobby…

VIRGINIA
Is it?

FOSTER
Are you an expert?

VIRGINIA
I wouldn’t say so…

FOSTER REGARDS VIRGINIA, WONDERS ABOUT HER HOBBY. HE GLANCES THROUGH THE SIGHT, THEN, WITH WHAT APPEARS TO BE MORE THAN A CASUAL QUESTION:

FOSTER
What’s the bright star - top left?

VIRGINIA HOLDS A GLANCE WITH FOSTER, THEN SHE LOOKS THROUGH THE SIGHT. SHE STRAIGHTENS, AND, EVENLY:

VIRGINIA
Spica… it has a magnitude of one point two and forms as isosceles triangle with Arcturus in Bootes, and Denebola in Leo.

FOSTER
(shaking head)
REALLY…

VIRGINIA AGAIN STARES AT FOSTER. THEN SOFTLY:

VIRGINIA
Bu studying SPica and the star Rigel in Orion, Hipparchus discovered the precession of the equinoxes…

FOSTER RAISES HIS GLASS

FOSTER
Then here’s to good old Hipparchus…

FOSTER TAKES A DRINK, AND VIRGINIA SMILES AT HIM.

AFTER FOSTER HAS DRUNK, THEY HOLD A LOOK. A COUPLE OF BEATS, AND FOSTER LEANS HIS HEAD FORWARD, INTENDING TO KISS VIRGINIA. STILL SMILING, SHE MOVES AWAY.

ANOTHER ANGLE

VIRGINIA MOVES AWAY FROM THE DAIS, TOWARDS ONE OF THE DIVANS, AS:

VIRGINIA
You don’t waste time, do you?

FOSTER
Life’s short…

VIRGINIA
Just because we discover we have a mutual friend…

FOSTER
You’ve got your hobby - why can’t I have mine?

VIRGINIA SITS ON ONE OF THE DIVANS. DURING THE FOLLOWING FOSTER MOVES TO JOIN HER.

VIRGINIA
Do you often lunch at the Ministry?

FOSTER
First time - why?

VIRGINIA
I haven’t seen you before…

FOSTER
Oh, you probably have…

VIRGINIA
(shaking head)
I would have remembered…

FOSTER SITS DOWN BESIDE HER, AS:

FOSTER
Now that’s the nicest thing you’ve ever said to me…

VIRGINIA SMILES AT HIM, THEN:

VIRGINIA
Which department are you with?

FOSTER
Well let’s say my job is to know everybody else’s. Take you, for example. Virginia Bosanquet. Ten years’ service. Currently with Sheringham…

VIRGINIA
(smiling)
Don’t tell me you know about my birth mark…

FOSTER
I’m afraid so… but you can relax. I’m much too much of a gentleman to mention it…

VIRGINIA SMILES AT FOSTER. THEY ARE CLOSE AGAIN.

FOSTER
What’s Sheringham like… ?

VIRGINIA
You mean there is something you don’t know?

FOSTER
I meant to work for… With the responsibility he’s carrying I thought he might take it out on you…

VIRGINIA
I can look after myself. I’m very determined… know exactly what I want…

VIRGINIA LEANS IN ON FOSTER. SHE KISSES HIM. IT DEVELOPS INTO A CLINCH. WE HOLD THEM, THEN HEAR:

2ND IN COMMAND (VO)
Is Paul making progress… ?

NOW:

77 INT. STRAKER’S OFFICE. NIGHT. (STUDIO) 44 SECS

TO REVEAL THE 2ND IN COMMAND WITH STRAKER.

THERE ARE VARIOUS CHARTS SPREAD OUT ON THE DESK, SIMILAR TO THE ONE WE SAW ADMIRAL SHERINGHAM EXAMINING. STRAKER IS LOOKING THEM OVER, AS:

STRAKER
I haven’t heard from him…

STRAKER PULLS OUT ANOTHER CHART, GLANCES AT IT.

STRAKER
There appears to be a deep trench here…

STRAKER INDICATES THE CHART TO 2ND IN COMMAND.

2ND IN COMMAND
(nodding)
Virtually bottomless…
(then)
If it was a U.F.O. and if it did go down there - then it’s gone forever…

STRAKER
Anything from the Sonar?

2ND IN COMMAND
(shaking head)
No. We took SkyDiver as deep as we could. Deeper. Nothing!

STRAKER
Well, the wreckage isn’t important anymore - but this ocean trench might be…

2ND IN COMMAND
What’s the next step?

STRAKER
A meeting with Sheringham, I think. Henderson can do the groundwork…
(then)
He can introduce me as, oh, being something to do with that… “alleged” prototype aircraft…

CUT TO:

78 INT. ADMIRAL’S OFFICE. DAY. (STUDIO) 133 SECS

HENDERSON IS IN THE OFFICE WITH STRAKER, AND ADMIRAL SHERINGHAM.

HENDERSON
Straker here is naturally anxious to discover as much as he can about the incident, Admiral…

ADMIRAL
Yes, I can appreciate that…

THEN, TO STRAKER:

ADMIRAL
You must believe me when I tell you how sorry I am about the whole business…

STRAKER NODS A SYMPATHETIC UNDERSTANDING.

STRAKER
These things do happen, Admiral - but thank you, anyway.

ADMIRAL
Now - how particularly can I help you?

STRAKER
Well, I was hoping to interview the Captain of the ship concerned…

ADMIRAL
I’m afraid that won’t be possible…

STRAKER
He’s on an assignment?

ADMIRAL
(a tight smile)
Naval Security prevents me from answering that question…

STRAKER
Oh, yes - of course… I’m sorry.

THE ADMIRAL WAVES STRAKER’S APOLOGIES ASIDE.

ADMIRAL
I take it you have already seen the transcript of the enquiry?

HENDERSON
Yes, my office were able to supply those details…

STRAKER
I studied the report. There seems to be a great deal left unsaid!

ADMIRAL
I don’t understand?

STRAKER
Well, it appeared that the findings were arrived at with… might I say… unnecessary haste?

THE ADMIRAL TIGHTENS SLIGHTLY.

ADMIRAL
Mr. Straker, the facts we had were likely to be the only ones available for all time. In the circumstances it would have achieved nothing to delay…

STRAKER
I can see that. But in the report, Admiral, there was no mention of the steps taken by the Captain, and crew to verify identification of the aircraft…

THE ADMIRAL IS BEGINNING TO REACT WITH A SLIGHT SHOW OF ANNOYANCE.

ADMIRAL
The incident was over in seconds…

STRAKER
Indeed. But the Captain obviously ordered the destruction of an aircraft. A layman - such as myself - might be excused from thinking that he could equally have attempted to identify.

ADMIRAL
I’m sure the Captain acted as he thought best. You… we - weren’t there!

STRAKER PRESSES HIS POINT REGARDLESS:

STRAKER
And the ship sustained no damage. Proving that there was noi aggressive action - on the part of our aircraft…

ADMIRAL
I really have nothing further to add to the report.

STRAKER
Of course if the ship in question was actively concerned in some… mission - the Captain’s actions may well have been more understandable…

THE ADMIRAL, NOW BARELY CONTAINING HIS ANGER, HAS REACHED OUT A HAND TO DEPRESS A SWITCH ON HIS DESK INTERCOM. WE HEAR:

VIRGINIA’S VOICE
(slight distort)
Yes, sir…

ADMIRAL
(into intercom)
Come in, please, would you?

THE ADMIRAL ALLOWS THE SWITCH BACK IN PLACE, AND TURNS TO STRAKER AND HENDERSON.

ADMIRAL
I really can spare no more time, gentlemen…

THE DOOR OPENS, AND VIRGINIA MOVES INTO THE OFFICE. SHE STANDS THERE, AS:

ADMIRAL
Miss Bosanquet will show you the way out…

ON STRAKER

REGISTERING THE NAME “BOSANQUET” HE TURNS TO LOOK TOWARDS VIRGINIA.

STRAKER’S P.O.V.

OF VIRGINIA.

RESUME TIGHT ON STRAKER

HIS FACE THOUGHTFUL.

CUT TO:

79 INT. STRAKER’S OFFICE. DAY. (STUDIO) 76 SECS

ON TV MONITOR

STRAKER CHECKS THROUGH PERSONNEL FILES DISPLAYED ON HIS TV MONITOR.

WIDER ANGLE

TO REVEAL STRAKER. HE REACTS TO SOMETHING ON THE SCREEN AND PRESSES A CONTROL ON THE DESKTOP.

ON SCREEN

TO SEE A PHOTOGRAPH OF JOHN BOSANQUET. IT IS OBVIOUSLY THE MAN WHOSE PHOTOGRAPH IS IN VIRGINIA’S APARTMENT.

RESUME STRAKER

HE STARES AT THE SCREEN.

ANOTHER ANGLE

PAUL FOSTER MOVES IN TO JOIN STRAKER:

FOSTER
You wanted to see me?

STRAKER
Ah, Paul - come in…

FOSTER MOVES IN.

STRAKER
How are you making out with Miss Bosanquet?

FOSTER
Rome wasn’t built in a day.

STRAKER
(dry)
Yes, I’ve been told that before…
(then)
You might do something for me…

FOSTER
Sure…

STRAKER
Find out if your new… “friend” knows him…

STRAKER INDICATES THE SCREEN. FOSTER LOOKS AT IT WITH IMMEDIATE RECOGNITION.

FOSTER
I’m certain she does - there’s a photograph very much like that in her apartment…

STRAKER
You are sure about that?

FOSTER
Positive…

STRAKER
Well, that’s very interesting…

FOSTER
Who is he?

STRAKER EITHER DOES NOT HEAR FOSTER, OR ELSE IGNORES HIM.

STRAKER
Are you taking Miss Bosanquet out tonight?

FOSTER
Well, I…

STRAKER
Good. Make it something special - and charge it to expenses…

FOSTER
Thanks…

STRAKER
Oh, and you might let me have the key to her apartment.

FOSTER HOLDS A LONG LOOK WITH STRAKER. THEN:

FOSTER
How do you know I’ve got a key… ?

A LONG BEAT, THEN STRAKER SMILES.

STRAKER
I know you, Paul…

A COUPLE OF BEATS, THEN FOSTER SMILES. HE REACHES INTO HIS POCKET TO PRODUCE A DOOR KEY. HE THROWS IT ACROSS TO STRAKER WHO CATCHES IT, AS WE:

CUT TO:

80 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 28 SECS

DARK, EMPTY. SILENT. SEVERAL BEATS AFTER WE GO IN WE SEE THE DOOR QUIETLY OPENING INTO THE MAIN ROOM.

WE ANGLE TO BRING INTO FRAME STRAKER, AND HIS 2ND IN COMMAND.

THEY MOVE INTO THE ROOM, CLOSING THE DOOR BEHIND THEMSELVES. THROUGHOUT THE SCENE THEY TALK IN LOWERED VOICES.

2ND IN COMMAND
There’s the photograph…
(then)
A telescope? Astronomy?

STRAKER
Paul said she knew her stuff…

THE 2ND IN COMMAND MOVES AROUND THE APARTMENT, LOOKING THROUGH DRAWERS, CUPBOARDS, ETC.

STRAKER MOVES TO THE MAIN WINDOW, PULLS THE CURTAIN ASIDE, AND LOOKS OUT TO:

CUT TO:

81 EXT. APARTMENT BLOCK. NIGHT. (LOCATION) 5 SECS

STRAKER’S P.O.V.:

WE FEATURE AN EQUALLY HIGH APARTMENT BLOCK. IT OVERLOOKS VIRGINIA BOSANQUET’S APARTMENT.

CUT TO:

82 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 8 SECS


RESUME STRAKER.

STILL HOLDING THE CURTAIN, HE GIVES A GLANCE BACK OVER HIS SHOULDER TO LOOK AT THE ROOM. THOUGHTFUL FOR A MOMENT, HE SUDDENLY CALLS BACK:

STRAKER
Take a look…

THE 2ND IN COMMAND, SLIGHTLY PUZZLED, MOVES ACROSS TO JOIN STRAKER. STRAKER NODS OUT OF THE WINDOW.

CUT TO:

83 EXT. APARTMENT BLOCK. NIGHT. (LOCATION) 4 SECS

2ND IN COMMAND’S P.O.V.

AGAIN FEATURE THE OPPOSITE APARTMENT BLOCK.

CUT TO:

84 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 45 SECS

RESUME SCENE

STRAKER
Should be perfect.

2ND IN COMMAND GLANCES OUT OF THE WINDOW AGAIN, LOOKS BACK INTO THE APARTMENT, THEN NODS.

2ND IN COMMAND
O.K. I’ll set it up…

STRAKER ALLOWS THE CURTAIN TO FALL BACK INTO PLACE. HE MOVES TO THE TELESCOPE, CLIMBING UP ONTO THE DAIS.

THE 2ND IN COMMAND WATCHES AS STRAKER LOOKS OVER THE TELESCOPE. SOMETHING CATCHES HIS INTEREST. 2ND INCOMMAND REALISES THIS AND MOVES TO JOIN HIM.

2ND IN COMMAND
What is it?

STRAKER POINTS OUT AN ATTACHMENT, A GUIDANCE MECHANISM, ON THE TELESCOPE.

STRAKER
Some kind of sighting device…

STRAKER CHANGES THE ANGLE OF THE TELESCOPE, AND WE SEE IT REGISTERED ON THE ATTACHMENT.

STRAKER
With this I’d say you’d be able to line up on a specific point in space.

2ND IN COMMAND
Pretty sophisticated for an amateur…

STRAKER
There’a point marked…

2ND IN COMMAND LOOKS WHERE STRAKER INDICATES.

2ND IN COMMAND
(nodding)
Yes…

STRAKER
Let’s check it…

STRAKER MANIPULATES THE TELESCOPE, LOOKING THROUGH THE SIGHT, AND LINES THE ANGLE ACCORDING TO THE ONE SHOWN ON THE GUIDANCE MECHANISM. THEN:

2ND IN COMMAND HAS TAKEN OUT, OR FOUND, PEN AND PAPER:

STRAKER LOOKS THOUGH THE TELESCOPE, AND CALLS OUT:

STRAKER
East 817 - 9 - 2802

2ND IN COMMAND WRITES, THEN LOOKS AT THE PAPER TO READ IT BACK.

CUT TO:

85 INT. MOONBASE CONTROL. (STUDIO) 18 SECS

TIGHT ON THE NOTEPAD

WE CAN SEE WRITTEN DOWN: “EAST 817 - 9 - 2802

HEAR:

1ST OPERATOR
East 817 - 9 - 2802…

WE HAVE PULLED BACK TO SLOW THAT THE NOTEPAD IS ON THE REVOLVING CONSOLE. THE 1ST OPERATOR IS SEATED THERE. SHE HOLDS A PEN, AND HAS OBVIOUSLY JUST WRITTEN IT DOWN. TAKE:

ANOTHER ANGLE

TO SHOW STRAKER ON THE MOONBASE SCREEN.

STRAKER
Correct, Lieutenant. Have that course computeed, and then station interceptors directly on the line. Do you understand?

1ST OPERATOR
Yes, sir…

CUT TO:

86 INT. SHADO CONTROL. NIGHT. (STUDIO) 12 SECS

STRAKER IN CONTACT WITH MOONBASE.

STRAKER
I want this procedure carried out round the clock… At all times an interceptor is to be in position!

ON STRAKER’S MONITOR

1ST OPERATOR
Yes, sir…

HOLD HER, THEN:

CUT TO:

87 INT. INTERCEPTOR CRATER. (VE) 12 SECS

THREE INTERCEPTORS STAND ON THEIR RAMPS.

THE WALL SLIDES BACK WITH A HISS OF ESCAPING AIR, TO REVEAL THE LUNAR SKY.

THE INTERCEPTOR’S ROCKET ENGINES IGNITE WITH A BURST OF FLAME, AND THE THREE SHIPS LIFT SLOWLY OFF THEIR RAMPS.

CU TO:

88 EXT.CRATER. (VE) 5 SECS

THE INTERCEPTORS LIFT OFF FROM THE CRATER, AND VEER INTO THE LUNAR SKY.

CUT TO:

89 INT. INTERCEPTOR. (STUDIO) 5 SECS

ESTABLISH ONE OF THE PILOTS AT THE CONTROLS, THEN:

CUT TO:

90 EXT. SPACE SKY. (VE) 7 SECS

FEATURING THE THREE INTERCEPTORS. HOLD, THEN THEN MAKE A:

SLOW DISSOLVE TO:

91 EXT. CRUISER. DAY. (VE) 6 SECS

THE SHIP - FROM THE OPENING SEQUENCE - CUTS THROUGH THE WATER OF THE OPEN SEA, HEADING TOWARDS ITS DESTINATION.

ESTABLISH, THEN:

CUT TO:

92 INT. SHIP’S BRIDGE. DAY. (STUDIO) 23 SECS


A RATING MANS THE WHEEL. THE CAPTAIN STANDS WITH THE OFFICER OF THE BRIDGE. A NORMAL SCENE. AFTER SEVERAL MOMENTS THE CAPTAIN LOOKS AT HIS WATCH. THEN, TO THE OFFICER:

CAPTAIN
Send a signal, Mr. Cooper…

OFFICER
Yes, sir…

CAPTAIN
Proceeding - on schedule. Target date Twelfth. 03.00 hours…

THE OFFICER NODS, AND TURNS TO MOVE AWAY.

CAPTAIN
And Mr. Cooper…

THE OFFICER PAUSES, TURN. AFTER A BEAT:

CAPTAIN
Code it…

THE OFFICER HOLDS A LOOK WITH THE CAPTAIN. THEN, NODDING:

OFFICER
Sir…

CUT TO:

93 INT. ADMIRAL’S OFFICE. DAY. (STUDIO) 12 SECS

ON A NAVAL SIGNAL

ON AN OFFICIAL-LOOKING FORM WE READ A BATCH OF CODED FIGURES: “6746 75643 587463 756 3746”

ANOTHER ANGLE

TO SHOW ADMIRAL SHERINGHAM AT HIS DESK. HE HOLDS THE SIGNAL, AND STARES AT IT. AFTER SEVERAL BEATS HE APPEARS TO EXHALE A DEEP BREATH. HE RESTS BACK IN HIS CHAIR APPARENTLY EXPRESSING A CERTAIN AMOUNT OF RELIEF.

CUT TO:

94 EXT. APARTMENT BLOCK. NIGHT. (LOCATION) 7 SECS

ESTABLISH THE APARTMENT BLOCK THAT OVERLOOKS VIRGINIA BOSANQUET’S APARTMENT. THEN ANGLE TO A HIGH WINDOW, TIGHTEN, AND:

CUT TO:

95 INT. ROOM. NIGHT. (STUDIO) 12 SECS


A ROOM IN THE APARTMENT BLOCK. IT IS IN THE PROCESS OF BEING REDECORATED. A PAIR OF STEPS, PAINTING EQUIPMENT, AND A WALLPAPERING TRESTLE, IN EVIDENCE.

SITTING BY THE WINDOW, WITH A THERMOS OR TWO OF COFFEE, AND A PAIR OF BINOCULARS, IS THE 2ND IN COMMAND. HE LOOKS FAIRLY BORED.

A COUPLE OF BEATS AFTER WE GO IN, HE RAISES HIS BINOCULARS, AND LOOKS OUT OF THE WINDOWS.

CUT TO:

96 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 6 SECS

P.O.V. SHOT

BINOCULAR MATTE MASK

TIGHT ON THE APARTMENT WINDOW. WE CAN SEE VIRGINIA INSIDE. WE CATCH GLIMPSES AS SHE MOVES AROUND. SHE IS ALONE.

CUT TO:

97 INT. ROOM. NIGHT. (STUDIO) 8 SECS

RESUME 2ND IN COMMAND

AFTER A MOMENT HE REMOVES THE BINOCULARS FROM HIS EYES. SIGHS. GLANCES AT HIS WATCH.

CUT TO:

98 EXT. INTERCEPTORS IN SPACE SKY. (VE) 6 SECS

ESTABLISH AN INTERCEPTOR IN SPACE. HOLD FOR SEVERAL LONG BEATS, THEN:

CUT TO:

99 INT. INTERCEPTOR. (STUDIO) 9 SECS

THE PILOT SITS AT THE CONTROLS. IT LOOKS AS THOUGH HE HAS BEEN ON DUTY FOR SOME TIME, AND COMING TO THE END OF HIS SHIFT.

HE CHECKS THE CONTROLS IN FRONT OF HIM, THEN MANIPULATING A LEVER:

PILOT
Interceptor One to Moonbase…

CUT TO:

100 INT. MOONBASE CONTROL. (STUDIO) 12 SECS

EVERYTHING IS CONTINUING ACCORDING TO NORMAL ROUTINE. THE MOONBASE LIEUTENANT SITS AT THE REVOLVING CONSOLE. SHE IS REGISTERING:

PILOT'S VOICE
(SLIGHT DISTORT)
Routine check eight seven stroke six… Nothing to report.

MOONBASE LIEUTENANT
Roger One. Routine check eight seven stroke six received.

CUT TO:

101 INT. INTERCEPTOR. (STUDIO) 9 SECS

WE ARE ON THE PILOT AT THE CONTROLS, AS WE HEAR.

MOONBASE LT. (VO)
(slight distort)
Confirm negative report…

PILOT
Negative Report confirmed…
(then)
You know, this duty wouldn’t be so bad if I knew what I was waiting for…

CUT TO:

102 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 18 SECS

VIRGINIA MOVES AROUND IN THE APARTMENT. SHE HAS PLACED A BUNCH OF FLOWERS IN A VASE, AND IS NOW CARRYING THEM TO A SIDE TABLE.

WE ARE FEATURING THE TELESCOPE STANDING IN THE FOREGROUND AS SHE MOVES TOWARDS IT.

SUDDENLY, WITHOUT WARNING, WE HEAR A HIGH-PITCHED SONIC NOTE. A STRANGE, REDDISH, LIGHT SOURCE SEEMS TO EMANATE FROM THE TELESCOPE.

VIRGINIA SPINS, HER FINGERS GOING TO HER TEMPLES. SHE DROPS THE VASE OF FLOWERS, AND REELS INTO THE SIDE TABLE. THEY FALL WITH A TREMENDOUS CRASH.

VIRGINIA STARES TOWARD THE TELESCOPE, STANDING WITH DIFFICULTY, HER FACE CREASED IN PAIN.

CUT TO:

103 INT. ROOM. NIGHT. (STUDIO) 8 SECS

2ND IN COMMAND IS IN THE ROOM. A COUPLE OF MOMENTS, THEN HE LIFTS HIS BINOCULARS, HIS RELAXED AIR VANISHES, AND WE SEE HIM TENSE, AS HE OBSERVES:

CUT TO:

104 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 6 SECS

P.O.V. SHOT

BINOCULAR MATTE-MASK

WE CAN SEE VIRGINIA THROUGH THE WINDOW, AS SHE STAGGERS, FINGERS PRESSED TO HER TEMPLES. HOLD, THEN:

CUT TO:

105 INT. ROOM. NIGHT. (STUDIO) 4 SECS

RESUME 2ND IN COMMAND

HE TAKES THE BINOCULARS FROM HIS EYES, AND FROWNS, VERY PUZZLED.

CUT TO:

106 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 11 SECS

VIRGINIA CONTINUES TO REACT TO THE HIGH-PITCHED NOTE. THE STRANGE LIGHT SOURCE BATHES HER SKIN A SPECIFIC AREA OF REDDISH LIGHT.

SECONDS AFTER WE GO IN, WE HEAR THE SOUND OF THE DOORBELL.

WITH AN EFFORT VIRGINIA REGISTERS THE DOORBELL NOISE. SHE MAKES HER WAY, WITH AN EFFORT, TO THE DOOR OF THE LOUNGE. AS SHE STAGGERS OUT:

CUT TO:

107 INT. ROOM. NIGHT. (STUDIO) 3 SECS

ON 2ND IN COMMAND

AGAIN LOOKING THROUGH THE BINOCULARS TO:

CUT TO:

108 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 12 SECONDS

P.O.V. SHOT

BINOCULAR MATTE MASK

VIRGINIA COMES BACK INTO HER ROOM WITH THE WOMAN NEIGHBOUR. SHE APPEARS MORE COMPOSED. WE SEE HER INDICATE THE BROKEN VASE OF FLOWERS, THE UPTURNED TABLE. SHE MIMES THE FACT THAT EVERYTHING IS ALL RIGHT, JUST AN ACCIDENT.

AS VIRGINIA USHERS HER NEIGHBOUR OUT.

CUT TO:

109 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 20 SECS

VIRGINIA MOVES BACK INTO THE ROOM, AND CLOSES THE DOOR. THE MOMENT SHE HAS DONE SO, THE HIGH-PITCHED, AND THE LIGHT SOURCE RETURNS.

VIRGINIA, ALMOST IN PAIN, AGAIN REACTS TO THE SOUND.

AFTER A COUPLE OF MOMENTS THE HIGH-PITCHED NOTE CHANGES TONE. IT IS QUIETER, NO LONGER PIERCING, ALMOST PERSUASIVE.

VIRGINIA SLOWLY LETS HER HANDS FALL TO HER SIDE. SHE APPEARS TO BE IN SOME KIND OF SLIGHT TRANCE. ALMOST AS THOUGH SHE CAN HEAR SOMETHING, OR SOMEONE, AND IS FOLLOWING ORDERS. WE CAN PRACTICALLY SEE HER LISTENING.

CUT TO:

110 INT. ROOM. NIGHT. (STUDIO) 3 SECS

THE 2ND IN COMMAND WATCHING INTENTLY.

CUT TO:

111 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 26 SECS

VIRGINIA, DREAM-LIKE, MOVES TO HER HANDBAG. SHE PICKS IT UP, OPENS IT, AND TAKES OUT A POWDER COMPACT. SHE PULLS BACK THE MIRROR SECTION, AND PRODUCES A SLIP OF PAPER.

SHE PUTS THE COMPACT DOWN, AND PULLS OPEN THE SLIP OF PAPER. SHE LOOKS DOWN AT IT.

ON THE SLIP OF PAPER:

WRITTEN ON THE PAPER ARE THE FIGURES: “6746 75643 587463 756 3746”

TIGHT ON VIRGINIA

LOOKING DOWN AT THE PAPER

ON THE SLIP OF PAPER

SHOWING FIRST THE FIGURES, THEN:

DISSOLVING TO:

THE MESSAGE: “PROCEEDING - ON SCHEDULE. TARGET DATE TWELFTH. 03:00 HOURS.”

RESUME VIRGINIA

SHE TURNS, AND MOVES TOWARDS THE TELESCOPE.

CUT TO:

112 INT. ROOM.NIGHT. (STUDIO) 3 SECS

ON 2ND IN COMMAND.

LOOKING THROUGH THE BINOCULARS.

CUT TO:

113 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 4 SECS

P.O.V. SHOT:

BINOCULAR MATTE MASK

VIRGINIA IS SEEN SITTING AT THE TELESCOPE, ON THE DIAS. THE 2ND IN COMMAND CANNOT OF COURSE HEAR THE HIGH-PITCHED NOTE IN ANY OF HIS SCENES, NOR DOES HE OBSERVE THE LIGHT EFFECT FROM WHERE HE IS.

CUT TO:

114 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 12 SECS

VIRGINIA, AT THE TELESCOPE, LINES UP THE ANGLE ACCORDING TO THE ONE SHOWN ON THE GUIDANCE MECHANISM.

THEN SHE OPENS A CONCEALED COMPARTMENT, AND REVEALS A SWITCH, AND BUTTON. VIRGINIA FLICKS THE SWITCH, AND WE IMMEDIATELY HEAR AN ELECTRONIC HUMMING SOUND BUILD UP.

VIRGINIA SPREADS THE SLIPS OF PAPER IN FRONT OF HER. HER EVERY ACTION IS MADE IN AN ABSTRACT TYPE OF WAY.

CUT TO:

115 EXT. INTERCEPTOR. IN SPACE SKY. (VE) 5 SECS

HOLD ON THE INTERCEPTOR, THEN:

CUT TO:

116 INT. INTERCEPTOR. (STUDIO) 4 SECS

THE PILOT AT THE CONTROLS.

CUT TO:

117 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 8 SECS


TIGHT ON VIRGINIA

SHE LEANS FORWARD, HER FINGERS POISED OVER THE BUTTON. THEN, SUDDENLY, SHE STARTS TO TAP OUT A MESSAGE IN MORSE CODE STYLE. THERE IS NO SPECIAL SOUND, OR LIGHT, FROM THE TELESCOPE OTHER THAN THE ELECTRONIC HUMMING, BUT, AS WE:

CUT TO:

118 INT. INTERCEPTOR. STUDIO. 8 SECS

WE SEE THE INTERCEPTOR PILOT BATHED IN A BRILLIANT, BLINDING, WHILE LIGHT, WHICH FLASHES ON AND OFF WITH THE MANIPULATION OF THE BUTTON.

ON EACH FLASH THERE IS AN EAR-PIERCING “BLIP” SOUND.

THE PILOT IS AT ONCE ON THE VERGE OF LOSING CONSCIOUSNESS.

CUT TO:

119 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 3 SECS

ON THE BUTTON

WITH VIRGINIA’S FINGER TAPPING OUT THE MESSAGE.

CUT TO:

120 INT. INTERCEPTOR. (STUDIO) 4 SECS

THE PILOT STRAINS TO GET A HAND TO THE CONTROLS AS THE BLIPPING, AND FLASHING - THE WHITE LIGHT ALMOST BURNS UP OUR PICTURE - CONTINUES.

THEN:

CUT TO:

121 INT. MOONBASE CONTROL. (STUDIO) 12 SECS

WE REGISTER THE MOONBASE LIEUTENANT AS SHE LISTENS TO THE PILOT STRUGGLING TO SAY:

PILOT’S VOICE
(slight distort)
Interceptor… One… to… Moon… Base… I’m under… some kind… of attack…

SHE TURNS TO LOOK TOWARDS THE ILLUMINATED SCREEN

HER P.O.V.

ON THE ILLUMINATED SCREEN WE SEE THE SOLITARY MARK OF THE LONE INTERCEPTOR.

RESUME MOONBASE LIEUTENANT

AS TURNING FROM THE SCREEN:

MOONBASE LT.
Moonbase to Interceptor One… Specify type of attack…

CUT TO:

122 INT. INTERCEPTOR. (STUDIO) 8 SECS

THE PILOT IS ALMOST COLLAPSING AT THE CONTROLS.
THE BLINDING FLASHES, AND PIERCING SOUNDS, CONTINUE.

PILOT
I… I don’t know… A light… a sound…

CUT TO:

123 INT. VIRGINIA BOSANQUET’S APARTMENT. NIGHT. (STUDIO) 17 SECS

VIRGINIA CONTINUES TAPPING THE BUTTON. THEN, SOON AFTER WE GO IN, SHE COMPLETES THE MESSAGE.

SHE SLOWLY CRUMPLES THE SLIP OF PAPER. SHE FLICKS OFF THE SWITCH, AND CLOSES THE CONCEALED COMPARTMENT.

THEN, SUDDENLY, SHE SEEMS TO WAKE UP - SHE LOOKS ALSO SURPRISED FOR A MOMENT THAT SHE IS AT THE TELESCOPE. THEN SHE STANDS, SHIVERS SLIGHTLY, AND BRISKLY MOVES AWAY.

CUT TO:

124 EXT. INTERCEPTOR IN SPACE SKY. (VE)( 4 SECS

THE INTERCEPTOR DRIFTS IN THE SILENT SPACE SKY.

CUT TO:

125 INT. INTERCEPTOR. (STUDIO) 5 SECS

THE PILOT IS SLUMPED IN HIS SEAT. THE FLASHING AND SOUNDS HAVE STOPPED.

CUT TO:

126 INT. MOONBASE CONTROL. (STUDIO) 17 SECS


THE MOONBASE LIEUTENANT IS AT THE REVOLVING CONSOLE. THE STAFF OF MOONBASE CONTROL ARE ALERT, AND LISTENING.

MOONBASE LT.
This is Moonbase Control to Interceptor One. Moonbase Control to Interceptor One. Come in, please…

EVERYONE LISTENS, AND ANXIOUS SILENCE. THERE IS NO REPLY.

ON THE ILLUMINATED SPACE CHART

THE INTERCEPTOR REMAINS ON THE CHART. WE HOLD, AND THEN:

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

127 INT. STRAKER’S OFFICE. NIGHT. (STUDIO) 182 SECS

STRAKER, FOSTER AND 2ND IN COMMAND ARE IN THE OFFICE. STRAKER STANDS WITH HIS BACK TO THEM.

WE HOLD THE THREE OF THEM FOR SEVERAL MOMENTS, THEN:

FOSTER
I just can’t believe it…

STRAKER TURNS, AND LOOKS AT HIM.

2ND IN COMMAND
How’s the pilot?

STRAKER
He managed to land the Interceptor - once he regained consciousness…

FOSTER LOOKS UP:

FOSTER
Do we know what it was?

STRAKER
Not for certain. My guess is that that “telescope” sent some kind of laser signal…

FOSTER
Which could be picked up in deep space…

STRAKER
(nodding)
Right…

2ND IN COMMAND
The signal - whatever it was - must have got through…

STRAKER
Yes, I know. A concentrated light like that beam, would have passed right through Interceptor One as though it wasn’t there…

FOSTER SUDDENLY INTERJECTS:

FOSTER
But why? I still don’t understand - why?

STRAKER
Don’t you, Paul?
(then)
Remember the photograph I showed you?

FOSTER
Like Virginia had in her apartment?

STRAKER NODS.

FOSTER
Yes…

STRAKER
It was her father, John Bosenquet… one of the experts who built Moonbase. Five, six years ago.

FOSTER
You knew him?

STRAKER
Not very well…

FOSTER
You said… was her father…

STRAKER
He was posted as dead.
(then)
In fact, he disappeared. Accidents on the lunar surface happened much more frequently in those days. There was a search. He was never found.

FOSTER
(realisation)
You mean the aliens got him…

STRAKER
It adds up. Contact with Miss Bosanquet before SHADO became operational would have been comparatively simple.

2ND IN COMMAND
And she’s been blackmailed to send them information ever since.

STRAKER
Blackmailed… or “controlled” it doesn’t matter.

THERE IS A SLIGHT MOMENT OF SILENCE AS THEY REMAIN WITH THEIR THOUGHTS.

2ND IN COMMAND
Something’s going on. Something big…

STRAKER NODS, THEN

STRAKER
Well, the ship’s put out to sea again…

2ND IN COMMAND
Do you know why?

STRAKER
(shaking head)
No… Their security is almost as good as ours…

FOSTER
But you have… “a theory?”

STRAKER
Yes… I do…

ON STRAKER

STRAKER
We know the Navy carried out a test run over the area concerned. And - at that point - the ocean’s deep…

2ND IN COMMAND
(wry)
I can second that

STRAKER
A fact that ship was probably confirming. All right - question, “Why would the ocean depth be of interest to Sheringham?”

STRAKER LOOKS AT FOSTER. A MOMENT, THEN FOSTER SHAKES HIS HEAD.

FOSTER
Ask me another…

A BEAT, THEN:

STRAKER
Science very often manufactures… “products” that have no further use… Dangerous products.

FOSTER
(seeing)
They were looking for a dumping site!

STRAKER
Yes, Paul. I believe they were. And found it.
(then)
Now if you were in deep space, looking - from a dying planet - at this Earth, a place you wanted desperately to take over, what would you see as the biggest problem?

2ND IN COMMAND
The present tenants. Us. Homo Sapiens.

STRAKER
So if a chance came to… remove that problem… ?

2ND IN COMMAND
I’d take it.

STRAKER
Well, I believe that ship is their biggest chance to date. Now I don’t know what it’s carrying. An indestructible bacteria perhaps, a defoliant, radiation waste - that doesn’t matter. What does matter is that it’s got to be dumped one thousand fathoms down into the sea for it to be safe. If it’s released on the surface… I’m certain, that whatever it is, it will destroy life, us , everything…

2ND IN COMMAND
Allowing the Aliens to move in whenever they choose…

STRAKER
Or whenever it’s safe…

FOSTERC
It makes sense. Too much sense.

STRAKER TURNS TO HIS 2ND IN COMMAND.

STRAKER
I’ve arranged for you to join up with SkyDiver again…

2ND IN COMMAND
(nodding)
Catch up with that ship…

STRAKER
Right. And don’t let it out of your sight…

STRAKER TURNS ON FOSTER

FOSTER
And me?

CUT TO:

128 INT. VIRGINIA BOSANQUET’S APARTMENT. DAY. (STUDIO) 48 SECS

ON THE CLOCK

IT SHOWS SIX O’CLOCK. IT IS CHIMING THE HOUR. TAKE:

ANOTHER ANGLE.

VIRGINIA BOSANQUET MOVES INTO THE ROOM. SHE HAS JUST ARRIVED HOME. SHE PUTS DOWN HER HANDBAG. TAKES OFF HER COAT, AND GLOVES, AND PUTS THEM DOWN.

SHE TURNS, AND REACTS SUDDENLY, WITH CONSIDERABLE SHOCK, AS SHE SEES:

VIRGINIA’S P.O.V.

PAUL FOSTER IS ON THE DAIS BESIDE THE TELESCOPE. HE HAS FOUND THE CONCEALED COMPARTMENT. IT IS OPEN.

RESUME VIRGINIA

SHE HOLDS HER STATE OF SHOCK, THEN MAKING AN EFFORT, SHE TIES TO CARRY IT OFF:

VIRGINIA
I’m sorry, Paul - you startled me. I didn’t expect you…

ANOTHER ANGLE

FOSTER IS MOVING DOWN FROM THE DAIS TOWARDS HER.

FOSTER
I know, Virginia. I know all about it…

SEVERAL MOMENTS OF SILENCE. THEN:

VIRGINIA
I’m sorry, Paul. I don’t know what you mean…

FOSTER LOOKS BACK TOWARDS THE NOW OPEN COMPARTMENT ON THE TELESCOPE.

FOSTER
What did you tell them?

VIRGINIA REMAINS SILENT. SEVERAL BEATS, THEN:

FOSTER
(hard)
What did you tell them?

A MOMENT, THEN SUDDENLY VIRGINIA BREAKS. SHE SINKS INTO A CHAIR AND COVERS HER HANDS OVER HER FACE. HOLD HER AS SHE SOBS, THEN:

STRAKER’S VOICE
We have all the proof we need that your Miss Bosanquet has been supplying the aliens with information from your office, Admiral…

CUT TO:

129 INT. STRAKER’S OFFICE. DAY. (STUDIO) 95 SECS

STRAKER, ADMIRAL SHERINGHAM AND HENDERSON, ARE IN THE OFFICE.

HENDERSON
Everything Straker says is true…

STRAKER
U.F.O.’s are a fact

THE ADMIRAL SHAKES HIS HEAD, CLEARLY SHOCKED.

ADMIRAL
I can’t believe it. It’s… well, it’s fantastic!

STRAKER
I can’t argue with that, Admiral.

STRAKER MOVES BEHIND HIS DESK, AND GETS DOWN TO BUSINESS:

STRAKER
Now whatever you’re doing, the aliens know about it, make no mistake. And if they’re interested - then so am I!

STILL THE ADMIRAL SEEMS DOUBTFUL OF CONFIDING.

STRAKER
Admiral, you’ve cloaked whatever you’re doing in a security net we’ve been unable to break. Officially, or otherwise. I have to know…

THE ADMIRAL STARES AT STRAKER. THEN:

ADMIRAL
My secret is one I would rather share, believe me…

THE ADMIRAL PAUSES, THEN WITHOUT LOOKING AT HENDERSON OR STRAKER, HE STARTS TO SPEAK:

ADMIRAL
I am Chairman of a special committee dealing with the destruction, and disposal of obsolete weapons, military equipment and so on…

THE ADMIRAL GLANCES AT STRAKER AND HENDERSON TO SEE IF HE HAS THEIR ATTENTION. HE HAS, AND CONTINUES:

ADMIRAL
Some time ago twenty thousand gallons of an experimental nerve gas was manufactured in Europe. Further tests revealed that it was far too dangerous ever to be used, even handled. It was arranged that the consignment was to be chemically destroyed in laboratory conditions. Unfortunately, the gas proved to be virtually indestructible. Certainly by any known methods…

STRAKER AND HENDERSON EXCHANGE A LOOK.

ADMIRAL
It was therefore decided that the nerve gas would be jettisoned at sea.

HENDERSON
Are you serious, Admiral?

ADMIRAL
Yes, I’m afraid I am.

HENDERSON
But what if there’s a leakage?

ADMIRAL
It’s packed in very special containers; containers which are geared to corrode over a period of several hundred years. Time, you see, is a destructible factor. When the gas finally reaches the atmosphere - it will be harmless.

STRAKER
And if the ship is attacked by the Aliens, and the containers destroyed…

ADMIRAL
Then it would be the end, Mr. Straker. The quantity of nerve gas on board that ship is more than sufficient to destroy every known form of life on earth…

WE HOLD THEM MOMENTARILY, AND THEN:

CUT TO:

130 EXT. CRUISER. NIGHT. (VE) 7 SECS

THE CRUISER, MAKING GOOD SPEED, CUTS THROUGH THE WATER AND THE DARKNESS OF THE NIGHT.

WE HOLD ON THE SHIP FOR SEVERAL LONG BEATS, AND THEN:

CUT TO:

131 EXT. SECTION OF DECK. NIGHT. (STUDIO) 7 SECS

THE CONTAINERS OF NERVE GAS ARE STACKED ON THE DECK. THEY ARE LABELLED “DANGER”, “HANDLE WITH CARE” AND ETC.,

A COUPLE OF RATINGS, IN PROTECTIVE CLOTHING STAND ON GUARD, WAITING.

CUT TO

132 INT. SHIP’S BRIDGE. NIGHT. (STUDIO) 25 SECS

THE LIGHTS ARE ON IN THE BRIDGE HOUSE. A RATING MANS THE WHEEL, THE CAPTAIN, AND THE OFFICER OF THE BRIDGE ARE IN ATTENDANCE. AFTER A COUPLE OF MOMENTS THE CAPTAIN GLANCES AT HIS WATCH.

CAPTAIN
Midnight…

OFFICER
(nodding)
We’re right on schedule…

THE CAPTAIN LOOKS OUTS OF THE WINDOW AT THE SURROUNDING DARKNESS.

CAPTAIN
It should be light at three hundred hours… We’ll start dumping immediately…

OFFICER
The men will be ready, sir…

THE CAPTAIN TAKES A LOOK AROUND. THEN:

CAPTAIN
I think I’ll go back to my cabin - there’s not much I can do… Call me, Mr. Cooper…

OFFICER
Aye, aye, sir…

THE CAPTAIN TURNS, AND MOVES TO LEAVE THE BRIDGE. THE OFFICER LOOKS OUT OVER THE DECK, AS WE:

CUT TO:

133 EXT. SECTION OF DECK. NIGHT. (STUDIO) 4 SECS

FEATURING THE CONTAINERS OF NERVE GAS.

CUT TO:

134 EXT. CRUISER. NIGHT. (SPECIAL EFFECTS) 5 SECS

HOLD ON THE SHIP, CUTTING CLEANLY THROUGH THE WATER, HEADING FOR ITS DESTINATION. THEN:

CUT TO:

135 INT. STRAKER’S OFFICE. NIGHT. (STUDIO)

ON PAUL FOSTER

HIS FACE REGISTERING HIS CONCERN.

FOSTER
You mean we can’t contact the ship at all?

ANOTHER ANGLE

TO SHOW FOSTER WITH STRAKER. STRAKER IS BEHIND HIS DESK. THEY ARE ALONE.

STRAKER
That’s exactly what I mean, Paul. The Captain is maintaining a complete radio black out…

FOSTER
Security!

STRAKER
Ironical, I agree…

FOSTER
Maybe an aircraft could find them?

STRAKER
We have search task-force combing the area. But it’s dark, Paul - and the ocean’s a very big place when you’re looking for one small ship that doesn’t want to be found…

FOSTER
But we know their destination…

STRAKER
Yes, we do. And by the time they arrive there, it will probably be too late…

FOSTER
What about SkyDiver?

CUT TO:

136 EXT. UNDERWATER. NIGHT. (VE) 5 SECS

WE SEE SKYDIVER SEA SKIMMING AT FULL SPEED ALONG THE SURFACE.

CUT TO:

137 INT. SKYDIVER CONTROL. NIGHT. (STUDIO) 20 SECS

THE SKYDIVER CREW MEMBERS ARE AT THEIR STATIONS. THERE IS AN AIR OF QUIET EFFICIENCY.

2ND IN COMMAND, LOOKING VERY TAUT, KEEPS FLICKING GLANCES TOWARDS THE INSTRUMENT PANEL. AND THE CAPTAIN EVENTUALLY MOVES ACROSS HIM.

2ND IN COMMAND
Is this our best speed, Captain?

THE CAPTAIN GIVES HIM A SHARP GLANCE. THEIR EYES MEET. A MOMENT, THEN:

2ND IN COMMAND
Yes, you’re right. I know it is…

CUT TO:

138 INT. STRAKER’S OFFICE. NIGHT. (STUDIO) 30 SECS

STRAKER AND FOSTER

FOSTER
What about Sheringham?

STRAKER PAUSES, LOOKING AT FOSTER.

STRAKER
What about him? Oh, he’s convinced. I’m letting him watch the operation… If it succeeds, he’ll get the usual amnesia shots…
(then)
If it fails… It won’t matter very much…

FOSTER NODS. STRAKER MOVES TO THE DOOR, IS ABOUT TO GO OUT, AS:

FOSTER
Commander… ?

STRAKER PAUSES, WAITS FOR:

FOSTER
Can we stop them?

STRAKER
I don’t know, Paul. I still think they’ve discovered a way to get through the screen. The Interceptors are spaceborne…

FOSTER
Visual contact… ?

STRAKER NODS, THEN, SHRUGGING.

STRAKER
It could be our only chance…

CUT TO:

139 EXT. INTERCEPTOR IN SPACE SKY. (VE) 5 SECS

A SMALL CRAFT IN THE VASTNESS OF SPACE. HOLD:

CUT TO:

140 INT. INTERCEPTOR. (STUDIO) 6 SECS

THE PILOT IS AT THE CONTROLS. HE LOOKS ALL AROUND HIM. WE TIGHTEN ON HIS EYES, AND:

CUT TO:

141 EXT. SPACE SKY. (VE) 3 SECS

THE PILOT’S P.O.V.

THE BLACKNESS OF INFINITE SPACE.

CUT TO:

142 INT. INTERCEPTOR. STUDIO. 4 SECS

RESUME PILOT

AT THE CONTROLS.

CUT TO:

143 INT. MOONBASE CONTROL. (STUDIO) 12 SECS

ON THE ILLUMINATED SPACE CHART.

THE THREE INTERCEPTORS ARE WELL SPACED OUT ON THE CHART AS THEY CONTINUE THEIR PATROLS.

WE PULL BACK TO ESTABLISH 1ST OPERATOR WATCHING THE CHART. AFTER SEVERAL MOMENTS SHE TURNS, AND EXCHANGES A GLANCE WITH THE MOONBASE LIEUTENANT AT THE REVOLVING CONSOLE.

THEY HOLD THE LOOK FOR A FEW SECONDS, THEN AVERT THEIR EYES.

CUT TO:

144 INT. SHADO CONTROL. NIGHT. (STUDIO) 15 SECS

THE STAFF OF SHADO CONTROL ARE AT THEIR ACTION STATIONS. THEY WAIT.

WE TRACK THROUGH AND ESTABLISH EVERYONE AT THEIR CONTROL PANELS, AND SCREENS.

ON SHERINGHAM AND HENDERSON

WATCHING. WAITING.

ON FOSTER

HE TURNS SLIGHTLY TO LOOK AT STRAKER.

TIGHT ON STRAKER

WATCHING. HIS FACE ENIGMATIC.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

145 EXT. CRUISER. NIGHT. (VE) 5 SECS

ESTABLISH THE SHIP AS IT CONTINUES ON ITS WAY, THEN:

CUT TO:

146 EXT. SECTION OF DECK. NIGHT. (STUDIO) 8 SECS

THE CONTAINERS OF NERVE GAS. THE RATINGS, IN THEIR PROTECTIVE CLOTHING SEEM TO BE MAKING A MOVE GETTING READY TO JETTISON THE CONSIGNMENT WHEN ORDERED.

CUT TO:

147 INT. SHIP’S BRIDGE. NIGHT. (STUDIO) 22 SECS

THE OFFICER OF THE BRIDGE STANDS WITH THE RATING AT THE WHEEL.

AFTER A FEW BEATS THE CAPTAIN APPEARS ON THE BRIDGE. THE OFFICER, TURNING TO SEE HIM, MOVES TO JOIN HIM.

CAPTAIN
Thank you, Mr Cooper…

THE CAPTAIN GLANCES AT HIS WATCH:

CAPTAIN
02.30 hours
(then)
Anything to report?

OFFICER
Radar reported increased aerial activity…

CAPTAIN
Oh?

THE CAPTAIN HAS MOVED TO THE WINDOWS. HE LOOKS UP, AND AROUND. THEN:

CAPTAIN
Well, by the time they see us we’ll have completed our assignment…

THE OFFICER ON THE BRIDGE NODS:

OFFICER
Yes, sir…

148 EXT. INTERCEPTOR IN SPACE SKY. (VE) 4 SECS

A LONE CRAFT.

CUT TO:

149 INT. INTERCEPTOR. (STUDIO) 9 SECS

ON THE PILOT

SEATED AT THE CONTROLS, SLOWLY SCANNING THE SPACE SKY. HE MOVES HIS HEAD SLOWLY FROM LEFT TO RIGHT. SUDDENLY HIS EYES FLICK BACK. HE LEANS FORWARD.

CUT TO:

150 EXT. SPACE SKY. (VE) 4 SECS

THE PILOTS P.O.V. OF THE SPACE SKY. INFINITE BLACKNESS. WE CAN SEE NOTHING.

CUT TO:

151 INT. INTERCEPTOR. (STUDIO) 3 SECS

RESUME THE PILOT

STARING, HALF-CONVINCED HE CAN SEE SOMETHING.

CUT TO:

152 EXT. SPACE SKY. (SPECIAL EFFECTS) 4 SECS

THE PILOT’S P.O.V.

STILL ONLY THE BLACKNESS OF SPACE.

CUT TO:

153 INT. INTERCEPTOR. (STUDIO) 10 SECS

TIGHT ON THE PILOT

SEVERAL BEATS, THEN, URGENTLY.

PILOT
U.F.O.’s Three. Sighting 0122 - 7074. Sector Fourteen…

CUT TO:

154 EXT. UFO’S IN SPACE SKY. (SPECIAL EFFECTS) 5 SECS

THREE U.F.O.’S IN FORMATION, ARE MOVING THROUGH THE BLACKNESS OF SPACE.

CUT TO:

155 INT. MOONBASE CONTROL. (STUDIO) 17 SECS

ON THE ILLUMINATED SPACE CHART

THE ILLUMINATED SPACE CHART IS NOT REGISTERING THE ALIEN CRAFT. WE CAN ONLY SEE THE PATROLLING INTERCEPTOR IN THAT AREA.

WE PULL BACK TO INCLUDE 1ST OPERATOR. STARING AT THE CHART:

1ST OPERATOR
Reading negative! Repeat! We are failing to get a reading!

ANOTHER ANGLE

MOONBASE LT. IS AT THE REVOLVING CONSOLE.

MOONBASE LT.
Moonbase Control to Interceptor One. Confirm trajectory…

CUT TO:

156 INT. SHADO CONTROL. NIGHT. (STUDIO) 14 SECS

STRAKER MOVES FORWARD, LISTENING AS WE HEAR:

PILOT’S VOICE
(slight distort)
Interceptor One to Moonbase Control. Confirm sighting 0122 - 7074 Sector fourteen…

STRAKER
Mow hear this. Moonbase. Can two and three give assistance?

CUT TO:

157 INT. MOONBASE CONTROL. (STUDIO) 12 SECS

ON MOONBASE LIEUTENANT, AT THE REVOLVING CONSOLE.

MOONBASE LIEUTENANT
Compute Interceptor range…

A COUPLE OF BEATS, THEN:

SID (VO)
Interceptor range computed. E.T.A. Interceptor Two. Forty seven minutes…

CUT TO:

158 INT. SHADO CONTROL. NIGHT. (STUDIO) 9 SECS

FOSTER MOVES IN TO STAND BESIDE STRAKER, AS WE HEAR:

S.I.D.
E.T.A. Interceptor Three. One hundred and seven minutes…

ON SHERINGHAM AND HENDERSON

THEY EXCHANGE A TIGHT GLANCE.

CUT TO:

159 EXT. INTERCEPTOR IN SPACE SKY. (VE) 5 SECS

IT IS MAKING A WIDE ANGLED TURN.

CUT TO:

160 INT. INTERCEPTOR. (STUDIO) 6 SECS


THE PILOT OS AT THE CONTROLS.

PILOT
Interceptor One to Moonbase Control. Am moving in…

CUT TO:

161 EXT. U.F.O.’S IN SPACE SKY. (VE) 4 SECS

FEATURE AND HOLD THE THREE UFO’S MOVING THROUGH THE SPACE SKY.

CUT TO:

162 INT. SHADO CONTROL. NIGHT. (STUDIO) 18 SECS

FOSTER GLANCES AT STRAKER.

FOSTER
You were right. They have found a way to get through the screen…

STRAKER
(nodding)
Some kind of radio-jamming I expect… Using waves to break up the frequency…

FOSTER
Could our Engineers fix it?

STRAKER
Depends on whether we’re still here tomorrow, doesn’t it, Paul?

FOSTER HOLDS A LOOK WITH STRAKER, AS WE:

CUT TO:

163 EXT. INTERCEPTOR IN SPACE SKY. (VE) 3 SECS

MOVING THROUGH SPACE.

CUT TO:

164 INT. INTERCEPTOR. (STUDIO) 5 SECS

THE PILOT AT THE CONTROLS. HIS HAND CLOSING OVER HIS MISSILE RELEASE. THEN:

PILOT
They’re breaking formation…

CUT TO:

165 EXT. IFO’S IN SPACE SKY. (VE) 5 SECS


THE THREE UFO’S START BREAKING OUT FROM FORMATION.

CUT TO:

166 INT. INTERCEPTOR. (STUDIO) 4 SECS

THE PILOT MANIPULATES HIS MISSILE CONTROL.

CUT TO:

167 EXT. INTERCEPTOR IN SPACE SKY. (VE) 3 SECS

A MISSILE STREAKS AWAY.

CUT TO:

168 EXT. UFO’S IN SPACE SKY. (VE) 6 SECS

THE FORMATION IS FANNING OUT. THEN, AS WE HOLD THEM, WE SUDDENLY SEE ONE OF THE UFO’S EXPLODE AS THE MISSILE STRIKES HOME.

CUT TO:

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

HOLD THE TENSE SCENE, AND INTERCUT THE FACES, AS WE HEAR:

PILOT’S VOICE
(slight distort)
UFO destroyed… Two remain...
(then)
The best I can hope for is one more…

170 EXT. INTERCEPTOR IN SPACE SKY. (VE) 5 SECS

VEERING, TURNING, IN SPACE.

CUT TO:

171 EXT. UFO IN SPACE SKY. (VE) 5 SECS

TAKING AN EVASIVE ACTION. HOLD.

CUT TO:

172 EXT. INTERCEPTOR IN SPACE SKY. (VE) 5 SECS

MOVING IN FOR THE KILL. TIGHTEN ON THE CRAFT.

CUT TO:

173 INT. INTERCEPTOR. (STUDIO) 3 SECS

THE PILOT’S HAND ACTIVATES THE MISSILE CONTROL.

CUT TO:

174 EXT. UFO IN SPACE SKY. (VE) 4 SECS

ALMOST IMMEDIATELY WE SEE THE UFO EXPLODE AS THE MISSILES STRIKE HOME.

CUT TO:

175 INT. INTERCEPTOR. (STUDIO) 6 SECS

THE PILOT EASES BACK. THEN HE TURNS, TO LOOK OUT THE SIDE WINDOWS OF HIS CRAFT.

CUT TO:

176 EXT. UFO IN SPACE SKY. (VE) 7 SECS

THE PILOTS P.O.V.

THE THIRD U.F.O. IS GOING AWAY FROM US AT GREAT SPEED. AS WE WATCH IT DISAPPEAR COMPLETELY FROM VIEW INTO THE BLACKNESS OF THE SPACE SKY. NOW:

CUT TO:

177 INT. SHADO CONTROL. NIGHT. (STUDIO) 18 SECS

STRAKER IS WITH FOSTER IN THE SHADO CONTROL.

HENDERSON STILL STANDS WITH SHERINGHAM.

A STAFF MEMBER OF SHADO CONTROL MOVES TO STRAKER WITH A PAPER.

STAFF MEMBER
Trajectory report on surviving U.F.O. sir…

STRAKER
Thank you…

STRAKER TAKES THE NOTE, AND READS IT, THEN:

STRAKER
It’s heading for a point somewhere near Newfoundland…

FOSTER
But that’s nowhere near the ship. That’s in the South Atlantic…

WE TIGHTEN ON STRAKER AS HE FROWNS, THEN:

CUT TO:

178 EXT. CRUISER AT SEA. DAY. (VE) 5 SECS

IT IS GETTING LIGHT, SOON AFTER DAWN. WE CLOSE IN ON THE CRUISER, FEATURING ITS BOW AS IT CUTS, ALMOST SILENTLY THROUGH THE WATER.

CUT TO:

179 INT. SHIP’S BRIDGE. DAY. (STUDIO) 12 SECS

THE CAPTAIN, AND THE OFFICER ON THE BRIDGE, ARE STANDING BY.
A RATING MANS THE WHEEL. AFTER A COUPLE OF BEATS:

CAPTAIN
Everything ready, Mr. Cooper…

OFFICER
Yes, sir…

CAPTAIN
Very well… Commence dumping…

THE OFFICER NODS, AND MOVES AWAY. THE CAPTAIN MOVES FORWARD TO LOOK DOWN ONTO THE DECK.

CUT TO:

180 EXT. SECTION OF DECK. DAY. (STUDIO) 15 SECS

THE MEN IN THE PROTECTIVE CLOTHING MOVE IN ON THE NERVE GAS CONTAINERS.

THERE IS A DEPTH-CHARGE-TYPE OF ATTACHMENT ON THE DECK. THE CONTAINERS WILL BE LOADED ONTO THIS MECHANISM, AND ROLLED INTO THE SEA.

AS WE WATCH THE MEN, WITH EXTREME CARE, START TO MOVE THE FIRST CONTAINERS.

CUT TO:

181 INT. SHIP’S BRIDGE. DAY. (STUDIO) 3 SECS

TIGHT ON THE CAPTAIN

WATCHING. HIS FACE TENSE.

CUT TO:

182 EXT. SECTION OF DECK. DAY. (STUDIO) 12 SECS

THE MEN, VERY SLOWLY, CAREFULLY, LIFT ONE OF THE CONTAINERS ONTO THE ATTACHMENT. THEY MOVE, AND REACT, AS THOUGH IT CONTAINS NITROGLYCERINE.

CUT TO:

183 EXT. CRUISER. DAY. (VE) 4 SECS

THE SHIP CUTS ON, GLIDING THROUGH THE WAVES.

CUT TO:

184 INT. SHADO CONTROL. DAY. (STUDIO) 19 SECS

WE ARE ON STRAKER AND FOSTER AS A STAFF MEMBER TURNS URGENTLY TOWARDS THEM:

STAFF MEMBER
There’s a change in course, sir!

STRAKER MOVES FORWARD, HENDERSON AND SHERINGHAM TAKE A PACE OR SO FORWARD.

STAFF MEMBER
The UFO’s veered away… Trajectory now the South Atlantic!

FOSTER GLANCES AT STRAKER.

FOSTER
This is it… !

CUT TO:

185 EXT. SEA. DAY. (VE) 10 SECS

SKYDIVER SPEEDS ALONG ON SEA SKIM. IT SLOWS AS AN URGENT KLAXON SOUNDS AND THE SUB BEGINS TO SUBMERGE.

CUT TO:

186 INT. RADAR SONAR ROOM. DAY. (STUDIO) 9 SECS

THE TECHNICIAN, AND DUTY OFFICER, WE SAW IN THE EARLIER SCENES ARE STAFFING THE RADAR EQUIPMENT.

ALMOST AS SOON AS WE GO IN, THEIR ATTENTION GOES TO ONE OF THE SCREENS. A “BLIP” IS BEING PICKED UP VISUALLY AND ON SOUND, BY THE CIRCLING ARC OF LIGHT.

THE DUTY OFFICER MOVES FORWARD FOR A CLOSER LOOK, EXCHANGES A GLANCE WITH THE TECHNICIAN, THEN MOVES FOR THE INTERCOM OR SHIP’S TUBE. HE PRESSES A SWITCH, AS WE:

CUT TO:

187 INT. SHIP’S BRIDGE. DAY. (STUDIO) 5 SECS

THE OFFICER OF THE BRIDGE MOVES TO ANSWER THE SHIP’S TUBE, OR INTERCOM. HE LIFTS UP THE INSTRUMENT, AND INTO IT:

OFFICER
Bridge…

188 INT. RADAR SONAR ROOM. DAY. (STUDIO) 3 SECS

ON THE DUTY OFFICER

SPEAKING INTO THE INTERCOM, HIS EYES ON THE RADAR SCREEN.

DUTY OFFICER
We’ve picked up an unidentified object…

CUT TO:

189 INT. SHIP’S BRIDGE. DAY. (STUDIO) 11 SECS

THE OFFICER OF THE BRIDGE IS AT THE INTERCOM. THE CAPTAIN IS LISTENING, AS WE HEAR:

DUTY OFFICER’S VOICE
(distort)
It’s high… Out of range… Sighting eleven o’clock… West…

THE OFFICER OF THE BRIDGE TURNS TO LOOK AT THE CAPTAIN. THE CAPTAIN HOLDS A LOOK, THEN MOVES TO THE APPROPRIATE WINDOW.

WE ARE ON HIM AS HE BRINGS UP HIS BINOCULARS:

CUT TO:

190 EXT. SKY. DAY. (VE) 3 SECS

CAPTAIN’S P.O.V.

BINOCULAR MATTE MASK.
WE CAN SEE A VERY HIGH FLYING U.F.O.

CUT TO:

191 INT. SHIPS’S BRIDGE. DAY. (STUDIO) 12 SECS

RESUME THE CAPTAIN

LOOKING THROUGH HIS BINOCULARS, THE OFFICER OF THE BRIDGE MOVES TO JOIN THE CAPTAIN.

CAPTAIN
The same type of craft as before, Mr. Cooper…

THE CAPTAIN REMOVES HIS BINOCULARS, AND TURNS ON THE OFFICER.

CAPTAIN
It can’t be a coincidence.
(then)
Action Stations!

CUT TO:

192 EXT. CRUISER. DAY. (VE) 4 SECS

THE SHIP GOES PAST CAMERA CUTTING THROUGH THE WATER. AFTER A COUPLE OF BEATS, WE HEAR:

SOUND: OF THE KLAXON, ORDERING ACTION STATIONS.

CUT TO:

193 EXT. SECTION OF DECK. DAY. (STUDIO) 8 SECS

THE MEN CAREFULLY, SLOWLY, MOVING THE CONTAINERS, THEY REACT AS THEY HEAR:

SOUND: OF THE KLAXON.

THEN THEY CONTINUE THEIR TASK.

CUT TO:

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

THE UFO IS SWEEPING DOWN, BY INFERENCE TOWARDS THE SHIP.

CUT TO:

195 INT. SHIP’S BRIDGE. DAY. (STUDIO) 4 SECS

TIGHT ON THE CAPTAIN.

LOOKING THROUGH HIS BINOCULARS, AS, ALMOST TO HIMSELF.

CAPTAIN
This one means business…

CUT TO:

196 EXT. UFO IN SKY. DAY. (VE) 4 SECS

THE UFO LOOMS EVEN CLOSER TOWARDS US.

CUT TO:

197 EXT. SECTION OF DECK. DAY. (STUDIO) 5 SECS

THE MEN IN PROTECTIVE CLOTHING HAVE FILLED THE DEPTH-CHARGE ATTACHMENT WITH ITS FIRST BATCH OF CONTAINERS.

ONE OF THEM ACTIVATES A LEVER, OR CONTROL. WE:

CUT TO:

198 EXT. CRUISER AT SEA. DAY. (VE) 4 SECS

WE SEE, FROM THE SHIP, SEVERAL CONTAINERS LAUNCHED INTO THE SEA. AS THEY BREAK THE SURFACE OF THE WATER:

CUT TO:

199 EXT. SECTION OF DECK. DAY. (STUDIO) 5 SECS

THE MEN HAVE ALREADY STARTED TO LIFT ANOTHER CONTAINER IN PREPARATION FOR THE SECOND LOAD.

CUT TO:

200 INT. SHIP’S BRIDGE. DAY. (STUDIO) 5 SECS

THE CAPTAIN IS LOOKING THROUGH HIS BINOCULARS AT THE UFO. THE OFFICER OF THE BRIDGE STANDS BESIDE HIM. HEAR:

DUTY OFFICER’S VOICE
(slight distort)

201 INT. RADAR SONAR ROOM. DAY. (STUDIO) 5 SECS

ON THE DUTY OFFICER.

SPEAKING INTO INTERCOM, AND LOOKING TOWARDS THE RADAR SCREEN.

DUTY OFFICER
Looks as though it’s going to mount a long distance attack…

CUT TO:

202 EXT. UFO IN SKY. DAY. (VE) 7 SECS

THE UFO SLOWS, AND HOVERS IN THE SKY. A COUPLE OF BEATS THEN WE SEE IT FIRE.

CUT TO:

203 EXT. CRUISER. DAY. (VE) 3 SECS

THERE IS AN EXPLOSION IN THE SEA NEAR THE SHIP, AND GALLONS OF WATER GO INTO THE AIR.

CUT TO:

204 EXT. SECTION OF DECK. DAY. (STUDIO) 5 SECS

THE MEN CONTINUE MOVING THE CONTAINERS AS WATER SPRAY BREAKS OVER AND AROUND THEM.

CUT TO:

205 INT. SHIP’S BRIDGE. DAY. (STUDIO) 10 SECS

THE CAPTAIN IS LOOKING THROUGH HIS BINOCULARS. THE OFFICER OF THE BRIDGE STANDS BESIDE HIM, STARING INTO THE SKY.

OFFICER
Doesn’t look as though it likes this range itself…

CAPTAIN
No? We’re a sitting duck, Mr. Cooper. It can have as many tries as it likes…

CUT TO:

206 EXT. UFO IN SKY. DAY. (VE) 3 SECS

IT FIRES AGAIN.

CUT TO:

207 EXT. CRUISER. DAY. (VE) 3 SECS

ANOTHER EXPLOSION IN THE SEA EVEN NEARER THE SHIP.

CUT TO:

208 EXT. SECTION OF DECK. DAY. (STUDIO) 5 SECS

THE MEN IN THE PROTECTIVE CLOTHING, HIT BY THE SPRAY, CONTINUE THEIR TASK.

CUT TO:

209 INT. SHIP’S BRIDGE. DAY. (STUDIO) 7 SECS

ON THE CAPTAIN

WE HEAR THE SOUND OF ANOTHER, EVEN NEARER EXPLOSION.

CAPTAIN
It’s getting the range now… another shot… maybe two…

HOLD HIM FOR A COUPLE OF BEATS, THEN:

CUT TO:

210 EXT. OCEAN. DAY. (VE) 7 SECS

WE HOLD THE OPEN SEA, THEN ALMOST IMMEDIATELY WE SEE SKY ONE BURST FROM THE DEPTHS, AND SOAR INTO THE AIR.

CUT TO:

211 INT. SKY ONE. DAY. (STUDIO) 3 SECS

THE PILOT AT THE CONTROLS.

CUT TO:

212 INT. SHIP’S BRIDGE. DAY. (STUDIO) 3 SECS

THE CAPTAIN REACTS, LOOKING THROUGH HIS BINOCULARS.

CAPTAIN
What in the world is that!

CUT TO:

213 EXT. SKY. DAY. (VE) 4 SECS

SKY ONE CLIMBS INTO THE SKY.

CUT TO:

214 INT. SKY ONE. DAY. (STUDIO) 6 SECS

THE PILOT, GRIMLY DETERMINED, IS AT THE CONTROLS. WE TIGHTEN ON HIM AS HE ACTIVATES HIS MISSILE CONTROL.

CUT TO:

215 EXT. UFO IN SKY. DAY. (VE) 6 SECS

THE UFO HOVERS MOMENTARILY IN THE SKY, THEN SUDDENLY DISINTEGRATES IN A SPECTACULAR EXPLOSION AS THE MISSILES STRIKE HOME.

CUT TO:

216 EXT. CRUISER. DAY. (VE) 4 SECS

THE SHIP CONTINUES TO MOVE SMOOTHLY THROUGH THE WATER.

CUT TO:

217 EXT. SECTION OF DECK. DAY. (STUDIO) 7 SECS

ANOTHER BATCH OF CONTAINERS HAVE BEEN LOADED ONTO THE DEPTH-CHARGE ATTACHMENT. A COUPLE OF BEATS, AND IT IS AGAIN ACTIVATED.

CUT TO:

218 EXT. CRUISER. DAY. (VE) 4 SECS

WE SEE THE CONTAINERS LEAVE THE SHIP, AND BREAK THE SURFACE OF THE WATER.

CUT TO:

219 EXT. UNDERWATER. DAY. (VE) 12 SECS

THE CONTAINERS SLOWLY DRIFT DOWN. PERHAPS WE MIX VARIOUS SHOTS SLOWLY TOGETHER SO WE GET THE EFFECT OF A VAST QUANTITY OF NERVE GAS GOING DEEPER, DEEPER, AND DEEPER INTO THE OCEAN.

WE HOLD THEM FOR A LONG, LONG TIME. THEN EVENTUALLY:

CUT TO:

220 INT. STRAKER’S OFFICE. DAY. (STUDIO) 52 SECS

STRAKER IS BEHIND HIS DESK. HENDERSON IS WITH HIM. THERE ARE SEVERAL MOMENTS OF SILENCE, THEN:

HENDERSON
We were lucky
(then)
Very lucky.

STRAKER
Sometimes we need it…

HENDERSON NODS. A BEAT, THEN:

HENDERSON
Have Moonbase reported?

STRAKER
Yes. We ran tests on the RADAR. It was a radio-wave jammer - the Engineers say that by using a double- frequency we’ll be able to plot them again… Until they find an answer to that

HENDERSON NODS AGAIN. THEN, PREPARING TO LEAVE:

HENDERSON
Well, I suppose it’s one more incident closed. I’ll be in touch…

STRAKER
There’s still the girl - Virginia Bosanquet…

HENDERSON PAUSES, THEN:

HENDERSON
There’ll be no proceedings against her. In the circumstances we can hardly hold her responsible for her actions.
(then)
Of course, someone will have to try and explain what almost certainly became of her father…

STRAKER
That isn’t what I meant…

HENDERSON LOOKS QUESTIONINGLY AT STRAKER. A LONG PAUSE, THEN:

STRAKER
How many others are there like her?

HOLD THEIR EXCHANGED LOOK, AND THEN:

FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES