UFO Script for
"Survival"

SYNOPSIS: "Seek and destroy" is a grim order given when an alien craft lands on the moon - but there is a surprising development.

      Colonel Paul Foster gives the instruction "Seek and destroy" after the death of an astronaut on the moon through the firing of a missile into the S.H.A.D.O. Moonbase leisure sphere. Chemical analysis of the projectile reveals that one of the constituents is unknown on Earth, and both Foster and Commander Straker realise that a UFO must have landed on the moon during a recent meteorite storm that played havoc with the base's detection system.

      Foster takes part in the search for the alien craft but meets with disaster when the UFO he has spotted is damaged by the Moonbase Interceptors and crashes into his Moonmobile. Back at base, he is presumed dead. But, miraculously, he has survived with nothing more serious than an injured ankle. using his gun as a crutch, Foster tries to make his way back to base over the Moon's inhospitable surface, but comes face to face with the Alien from the UFO, who has also escaped death. In the struggle, Foster's gun is taken from him and he is at the Alien's mercy. To his surprise, the Alien doesn't try to kill him. Instead, he forces Foster to go o ahead in the direction of Moonbase... until Foster's air supply runs out. His life is saved by the Alien who fits oxygen of his own to Foster's equipment, and as they journey laboriously on, Foster realises that the alien is friendly.

      He does, in fact come to respect the stranger from outer space, admiring his strength and appreciating his help. But the unusual friendship is doomed. Tragedy lies ahead . . .

THE SCRIPT FOR THE UFO EPISODE
“SURVIVAL"

by

Tony Barwick


© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

THE SCRIPT FOR THE UFO EPISODE "SURVIVAL"

CAST LIST:

SPEAKING PARTS
GRANT
DESICA
MARK BRADLEY
NINA
PAULA
FREEMAN
STRAKER
OPERATOR
TINA DUVAL
WATERMAN
CREWMAN 

SET LIST
INT. LEISURE DINING SPHERE (STUDIO)
INT. CONTROL SPHERE (STUDIO)
INT. STRAKER’S UNDERGROUND OFFICE (STUDIO)
INT. CAR (STUDIO)
INT. FLAT (STUDIO)
INT. MOONMOBILE (STUDIO)
INT. SLEEP SPHERE (STUDIO)
INT. MOONBASE CORRIDOR (STUDIO) 
EXT. ROCKS (STUDIO)
EXT. FLATS (LOCATION) 
EXT. CAR (LOCATION) 
EXT. ROAD (LOCATION)
EXT. RIDGE (STUDIO)
EXT. ROCK (STUDIO)
EXT. MOON (STUDIO)
EXT. DUST FIELD (STUDIO)
EXT. MOON SURFACE (STUDIO)
EXT. CREVASSE (STUDIO)
EXT. MOONMOBILE
EXT. CRATER
EXT. UFO
EXT. INTERCEPTORS
EXT. MOON SURFACE 

SPECIAL EFFECTS SETS
EXT. MOONBASE
EXT. MOON
EXT. LAUNCH PLATFORM
EXT. CAPSULE
EXT. SPACE
EXT. RECEPTION SPHERE

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1. EXT. MOONBASE. DAY. (VISUAL EFFECTS) 6 SECS

LIBRARY SHOT TO ESTABLISH.

CUT TO:

2. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 78 SECS

ON A BALLOON: IT EXPLODES AS A HAND HOLDING A CIGARETTE TOUCHES IT. PULL BACK TO SHOW DESICA AND GRANT. GRANT IS AN AMUSING, PERSONABLE YOUNG MEMBER OF THE ASTRONAUT TEAM ON MOONBASE. HE IS A CHARACTER, A WISECRACKER LIKED BY ALL THE BASE PERSONNEL.

GRANT
One more day to go.

DESICA
Yeah...

WE SEE THE LAST OF THE BALLOONS WHICH GRANT HAS BEEN USING TO COUNT THE DAYS BEFORE HE GOES ON EARTH LEAVE. THIS LAST ONE HAS A CARICATURE OF STRAKER’S FACE DRAWN ON IT.

DESICA
You know, Grant, we’re going to miss you.

GRANT GIVES HIM A SIDEWAYS LOOK.

GRANT
Sure...

DESICA
No... Having a character like you around breaks the monotony.

GRANT
Well... I’d love to stay, really... but... you understand.

DESICA
I know, you’ve got a hundred chicks just waiting for you to call.

GRANT
Well, let’s not go overboard... eighty or ninety maybe.

THEY BOTH SMILE.

GRANT: You know the thing I really miss, sir?

DESICA EXPECTS A WISECRACK.

DESICA
I’ll probably regret it... but hit me.

GRANT
Rain.

DESICA
Rain?

GRANT
Right... Rain, storm clouds, the wind on your face... thunder maybe.

DESICA
Well, in a couple of days you can get soaked...

GRANT REACTS.

DESICA
...by all that rain.

THEY BOTH SMILE AGAIN. A RELAXED HAPPY ATMOSPHERE.

ON GRANT: HE LOOKS UP TO ONE OF THE MONITORS SET HIGH IN THE WALL.

GRANT
Man, it makes me feel dry just looking out there.

ON MONITOR: TRACK IN TOWARDS IT AS IT SHOWS THE BARREN, ARID LUNAR SURFACE. A PLACE WHERE IT NEVER RAINS, WHERE THE WIND NEVER BLOWS.

DESICA (VO)
Then join me in a sparkling, caffeine free coffee.

CUT TO:

3. EXT. MOON SURFACE. DAY. (VISUAL EFFECTS) 9 SECS

AS THE MUSIC STINGS, PAN FROM MOONBASE ACROSS THE LUNAR SURFACE TO A GROUP OF ROCKS. ZOOM IN.

CUT TO:

4. EXT. ROCKS. DAY. (STUDIO) 8 SECS

HOLD THE SHOT FOR A MOMENT THEN SLOWLY, WATCHFULLY, AN ALIEN PEERS OVER A ROCK LOOKING TOWARDS MOONBASE.

CUT TO:

5. EXT. MOONBASE. DAY. (VISUAL EFFECTS) 5 SECS

FROM THE ALIEN’S P.O.V.

CUT TO:

6. EXT. ROCKS. DAY. (STUDIO) 12 SECS

THE ALIEN CAREFULLY SETS UP A FUTURISTIC RIFLE OF ADVANCED DESIGN ON THE ROCK, THEN TAKES AIM.

CUT TO:

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

FROM THE ALIEN’S P.O.V. WITH A SUITABLE MASKING WE PAN AS HE AIMS AT MOONBASE, THEN CENTRE AND ZOOM IN ON THE LEISURE DINING SPHERE.

CUT TO:

8. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 16 SECS

DESICA AND GRANT RELAX DRINKING COFFEE. GRANT IS SEATED, DESICA STANDS A LITTLE TOWARDS THE DOORWAY.

GRANT
Well, if we had some ham we could have some ham and eggs...

DESICA NODS HIS HEAD - HE’S HEARD IT ALL BEFORE.

DESICA & GRANT
...if we had some eggs.

DESICA
Yeah, I know.

GRANT
We must buy the same Christmas crackers.

CUT TO:

9. EXT. ROCKS. DAY. (STUDIO) 5 SECS

THE ALIEN FIRES. THERE IS NO SOUND, JUST A SLIGHT RECOIL.

CUT TO:

10. EXT. LEISURE DINING SPHERE. DAY. (VISUAL EFFECTS) 5 SECS

C.S. PANEL: A NEAT HOLE APPEARS IN THE PANEL. HOLD THE SHOT AS WE HEAR THE HISS OF ESCAPING AIR. THE SPHERE IS PUNCTURED.

CUT TO:

11A. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 65 SECS

DESICA AND GRANT HAVE NOT REACTED. THEY HAVE NOT HEARD THE SPHERE BEING PUNCTURED.

DESICA
Another cup?

GRANT
Thank you, sir.

AS THEY CHAT, WE PAN TO THE LAST OF GRANT’S BALLOONS. AS THE PRESSURE IN THE SPHERE DROPS, IT IS SLOWLY EXPANDING.

DESICA (VO)
There you go...

GRANT (VO)
What time does the module leave?

DESICA (VO)
11.00 hours tomorrow. You’ll be back on Earth by 18.00 S.E.T.

C.S. PANEL: THE HOLE IN THE PANEL STARTS TO SPLIT.

ON DESICA: HE IS STANDING NEAR THE AIRLOCK AND REACTS TO AN ALARM BY THE DOORWAY SHOWING THE PRESSURE DROP.

DESICA
Pressure leak...

HE MOVES TOWARDS THE AIRLOCK.

ON PANEL: IT FRACTURES AND BLOWS OUTWARDS. THE HISS OF AIR BECOMES A SWIRLING RUSH AS THE SPHERE DEPRESSURISES.

ON GRANT: FIGHTING TOWARDS THE AIRLOCK. MAGAZINES AND PAPERS FLY UP CAUGHT IN THE SUCTION.

ON DESICA: NOW IN THE AIRLOCK.

DESICA
Bill... Bill...

THE AUTOMATIC SAFETY DEVICE ACTIVATES AS THE PRESSURE DROPS AND THE INNER AIRLOCK DOOR BEGINS TO CLOSE. DESICA DESPERATELY TRIES TO HOLD IT OPEN.

ON GRANT: HE FALLS FIGHTING FOR AIR.

DESICA (VO)
Bill...

GRANT LOOKS UP AND WE TRACK IN TO A TERRIBLE HAUNTING CLOSE UP THAT WILL STICK IN THE AUDIENCE’S MEMORY.

ON AIRLOCK: DESICA CLAWING AT THE DOOR AS IT FINALLY CLOSES.

ON BALLOON: GETTING BIGGER AND BIGGER. THE DRAWING OF STRAKER LOOMS DISTORTED AND GROTESQUE INTO CAMERA. IT EXPLODES.

MAIN TITLES

11B. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 38 SECS

TWO OF THE ASTRONAUTS, WEARING THEIR SPACE SUITS, WORK IN THE SPHERE PUTTING THE FINISHING TOUCHES TO THE REPAIR OF THE PANEL AND CHECKING THAT IT IS AIRTIGHT. THE AREA IS A MESS. WE SEE THE BODY OF GRANT LYING ON THE FLOOR COVERED BY A SHEET.

CREDITS OVER.

ON MARK BRADLEY, ONE OF THE ASTRONAUTS: HE NODS THAT ALL IS WELL AND WE GO IN CLOSE HIS FACE AS HE SPEAKS OVER HIS HELMET RADIO.

MARK
The new port is secured and tested... repressurised.

CUT TO:

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

DESICA AT HIS CONSOLE.

DESICA
(Into mike) Right...

DESICA RUBS THE PALMS OF HIS HANDS ACROSS HIS FACE, GETS UP AND MOVES TOWARDS THE DOORWAY TO GO OUT.

TWO SHOT: PAULA AND NINA.

NINA
It’s terrible... and the Colonel’s taking it hard.

PAULA
Yes... Bill Grant was a nice guy. You couldn’t help liking him.

HER EYES BEGIN TO FILL WITH TEARS. SHE TURNS AWAY FROM CAMERA.

CUT TO:

13. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 30 SECS

THE HISS OF AIR STOPS, THE SPHERE IS UP TO PRESSURE. THE WARNING LIGHT BY THE AIRLOCK GOES OUT AND THE INNER DOOR SLIDES OPEN TO SHOW DESICA. HE WALKS SLOWLY INTO THE SPHERE LOOKING DOWN A LONG MOMENT AT THE BODY OF GRANT. THE ASTRONAUTS REMOVE THEIR HELMETS.

ON DESICA: HE PICKS UP A COFFEE CUP, TOYS WITH IT IN HIS HAND AS HE REMEMBERS, THEN TURNS TO THE ASTRONAUTS. HIS VOICE IS CALM BUT UNDERLINED WITH EMOTION.

DESICA
I want every inch of this sphere examined... I want the remains of that port collected from outside and reconstructed... I want the answer.

ON COFFEE CUP: DESICA’S HAND CRUSHES THE PLASTIC CUP.

CUT TO:

14. EXT. MOONBASE PLATFORM. DAY. (VISUAL EFFECTS) 5 SECS

A ROCKET STANDS ON THE LAUNCH PAD READY FOR TAKE OFF.

CUT TO:

15. INT. CONTROL SPHERE. DAY. (STUDIO) 16 SECS

PAN AROUND THE CONTROL SPHERE. THE MOONBASE PERSONNEL ARE GATHERED HEADS BOWED IN A LOOSE CIRCLE AROUND DESICA WHO STANDS AT HIS CONSOLE. A SOMBRE ATMOSPHERE.

ON DESICA:

DESICA
Astronaut William Grant, killed in the line of duty 12th April 1981, we commit your body to the depths of space.

HE LEANS FORWARD AND PRESSES A CONTROL ON THE CONSOLE.

CUT TO:

16. EXT. MOONBASE PLATFORM. DAY. (VISUAL EFFECTS) 5 SECS

THE ROCKET IGNITES.

CUT TO:

17. INT. CONTROL SPHERE. DAY. (STUDIO) 23 SECS

THE GROUP HAVE TURNED TO WATCH THE LIFT OFF ON A MONITOR. ONE CROSSES HIMSELF, ANOTHER MOUTHS A SILENT PRAYER. ONE OF THE GIRLS QUIETLY SOBS.

ON MONITOR: THE ROCKET LIFTS SMOOTHLY OFF.

ON DESICA: HIS FACE SET HARD.

CUT TO:

18. EXT. SPACE. (VISUAL EFFECTS) 7 SECS

THE CAPSULE, WHICH WE NOW REALISE CONTAINS THE BODY OF BILL GRANT, SEPARATES FROM THE MAIN STAGE OF THE ROCKET.

CUT TO:

19. EXT. CAPSULE. SPACE. (VISUAL EFFECTS) 7 SECS

BILL GRANT MOVES SILENTLY, SLOWLY AWAY FROM CAMERA OUT INTO THE ETERNITY OF SPACE.

FADE OUT:

FADE IN:


20. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 12 SECS

DESICA STANDS IN THE LEISURE DINING SPHERE WITH MARK BRADLEY.

MARK
There’s your answer...

DESICA PICKS UP THE RECONSTRUCTED PORT AND LOOKS AT IT. THE FRACTURED SECTIONS HAVE BEEN COLLECTED AND PIECED TOGETHER. WE SEE THE SMALL HOLE IN THE CENTRE MADE BY THE ALIEN PROJECTILE, TRACK IN ON THE PANEL.

CUT TO:

21. INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 150 SECS

START CLOSE ON THE RECONSTRUCTED PORT, PULL BACK TO SHOW STRAKER LOOKING AT IT. DESICA AND FREEMAN ARE WITH HIM IN THE UNDERGROUND OFFICE IN SHADO HQ.

DESICA
From the angle of entry, we’ve calculated the projectile was fired from a group of rocks about 200 metres from the base.

ON STRAKER’S DESK: DESICA DROPS A BADLY DISTORTED PIECE OF METAL ONTO THE DESK TOP.

DESICA (VO)
This is what did it.

RESUME SCENE: STRAKER EXAMINES THE PROJECTILE.

DESICA
The impact velocity must have been fantastic.

On DESICA:

DESICA
The chemical analysis hasn’t told us much, except... it’s extra terrestrial.

FREEMAN
It’s made of an alloy... one of the constituents is unknown on Earth.

ON STRAKER: HE CONSIDERS THE PROBLEM, THEN:

STRAKER
You’re saying a UFO landed undetected on the Moon, and one of the occupants fired this projectile.

RESUME SCENE:

DESICA
Three days ago, a particularly heavy stream of meteorites played havoc with our tracking system.

FREEMAN
It could have landed then.

STRAKER
And taken off again after the attack?

DESICA
No. The meteor burst didn’t last long enough. The space trackers would certainly have picked it up. It must still be somewhere on the Moon. I’ve had the interceptors searching for the last 24 hours.

STRAKER

And if they find it?

DESICA
When they find it... My orders are seek and destroy.

STRAKER REFLECTS ON THE SITUATION, RUBS HIS CHIN, THEN COMES TO A DECISION AND FLICKS A SWITCH ON THE INTERCOM.

STRAKER
When’s the next possible lunar launch?

OPERATOR (VO)
At... er... 14.00 hours tomorrow, sir.

STRAKER
Thanks..

HE FLICKS THE SWITCH BACK UP AND CHECKS HIS WATCH.

STRAKER
Alec, I’m going back with Franco to Moonbase. You will assume command here.

FREEMAN
Right.

STRAKER
And get me all the information we have on the disintegration of UFOs in Earth’s atmosphere.

FREEMAN
Give me thirty minutes.

FREEMAN WALKS TOWARDS THE DOOR.

TWO SHOT: STRAKER AND DESICA.

STRAKER
Franco, I want you to countermand your orders to the interceptors. Tell them to seek and observe.

DESICA DOESN’T LIKE IT.

STRAKER
I know the natural reaction is to want to hit back... I liked Bill Grant too.

ON STRAKER:

STRAKER
But we know a UFO disintegrates if it stays too long on Earth, and all the evidence we have suggests this is caused by a reaction with our atmosphere.

DESICA
(Realising)
...and there’s no atmosphere on the Moon.

STRAKER
Right. It could be our best ever chance to get our hands on a UFO... intact.

A LONG BEAT. STRAKER SEES DESICA HAS BEEN THROUGH A GOOD DEAL. STRAKER CHECKS HIS WATCH.

STRAKER
Look, Franco, we can’t leave for another 23 hours. Why don’t you unwind?

DESICA
Maybe you’re right... I’ll er leave an address you can contact me.

STRAKER
I think I can guess.

DESICA GIVES A HALF NOD AND TURNS TO LEAVE.

CUT TO:

22. EXT. FLATS. DAY. (LOCATION) 10 SECS

ESTABLISH A MODERN BLOCK OF FLATS. A CAR DRAWS UP OUTSIDE.

CUT TO:

23. INT. CAR. DAY. (STUDIO) 5 SECS

DESICA GLANCES TOWARDS THE BLOCK OF FLATS, SMILES AND PICKS UP A HUGE BUNCH OF FLOWERS FROM THE SEAT BESIDE HIM.

CUT TO:

24. EXT. CAR. DAY. (LOCATION) 12 SECS

DESICA GETS OUT OF THE CAR CARRYING THE FLOWERS AND WALKS TOWARDS THE ENTRANCE TO THE FLATS.

CUT TO:

25. INT. FLAT. DAY. (STUDIO) 67 SECS

A RADIO IS PLAYING AS WE PAN AROUND THE VERY FEMININE INTERIOR TO A HALF OPEN DOOR THROUGH WHICH WE HEAR THE SOUND OF A SHOWER. THE DOOR BELL RINGS, A LONG PAUSE AND THE BELL RINGS AGAIN LONG AND PERSISTENT. THE SHOWER IS TURNED OFF. A GIRL COMES OUT OF THE BATHROOM PULLING A BATH ROBE AROUND HER BROWN GLISTENING WET BODY. SHE IS TINA. BEAUTIFUL, ABOUT 25, HER LONG BROWN HAIR PULLED BACK.

ON TINA: AS SHE OPENS THE FRONT DOOR. SHE SHOWS NO SIGN OF RECOGNISING THE CALLER.

P.O.V. SHOT: FROM HER P.O.V. SHE CAN ONLY SEE THE HUGE BUNCH OF FLOWERS. THESE ARE LOWERED TO SHOW A SMILING DESICA.

DESICA
Hello, Tina,

ON TINA: SHE IS EXCITED, OBVIOUSLY OVERJOYED TO SEE HIM.

TINA
Franco... Oh, I didn’t expect you.

ON FRANCO: HE WALKS IN, GLANCING QUICKLY ROUND THE ROOM, THEN TURNS BACK TO FACE TINA, OFFERS HER THE FLOWERS.

ON TINA: SHE TAKES THE FLOWERS.

TINA
Oh, they’re beautiful... Thank you.

TINA LOOKING ROUND FOR A VASE, A LITTLE FLUSTERED REALISING THE WAY SHE LOOKS, PULLING THE ROBE TIGHTLY AROUND HER NECK.

TINA
Why didn’t you call... I look such a mess...

HER EYES SHINE HAPPILY.

TWO SHOT: DESICA MOVES TO HER, TAKES THE FLOWERS AND DROPS THEM ON THE SOFA. HE TAKES HER GENTLY IN HIS ARMS.

C.S. TINA: CLINGING CLOSE, HER HEAD ON DESICA’S SHOULDER. MAYBE A TEAR MIXING WITH THE DROPLETS OF WATER ON HER FACE.

MIX TO:

26. INT. FLAT. NIGHT. (STUDIO) 98 SECS

THE LIGHTING IS SOFT. START ON A TABLE, PULL BACK TO SHOW DESICA AND TINA, NOW LOOKING STUNNINGLY BEAUTIFUL, HAVE FINISHED DINNER.

TINA
Franco?

DESICA
Yes.

TINA
Oh... it’s, it’s nothing.

DESICA GETS UP, MOVES TOWARDS TINA AND KISSES HER GENTLY ON THE FOREHEAD.

DESICA
The food was great. You’re the best little cook in London.

TINA GIVES A QUICK, RATHER NERVOUS SMILE. DESICA WALKS OVER TO THE SOFA AND SITS DOWN.

ON DESICA:

DESICA
I love this place. It always makes me feel so... relaxed.

TINA COMES OVER AND JOINS HIM, SITS DOWN ON THE SOFA PULLING HER LEGS UP UNDER HER. DESICA TIPS HIS HEAD BACK CONTEMPLATES THE CEILING.

TINA
Franco...

DESICA LOOKS AT HER THEN LAYS THE TIP OF HIS FINGER ON HER LIPS.

DESICA
Sshh... No questions. I know what you want to ask... and you know I can’t tell you.

DESICA STROKES THE SIDE OF HER FACE. TINA MOVES INTO HIS ARMS.

CLOSE SHOT: ON THEIR FACES. DESICA KISSES HER HAIR, STROKES THE NAPE OF HER NECK. SHE SNUGGLES CLOSE, EYES CLOSED. DESICA STOPS THE LOVE PLAY - TINA REACTS, OPENS HER EYES. DOESN’T SPEAK FOR A MOMENT OR TWO.

DESICA
I have to catch a flight at 10 o’clock tomorrow...

TINA
(Thoughtfully)
10 o’clock.

DESICA KISSES HER GENTLY ON THE FOREHEAD. TINA ANGLES HER HEAD UP TO DESICA’S. THEIR LIPS ARE VERY CLOSE.

TINA
It’s long enough.

SHE KISSES HIM LIGHTLY ON THE LIPS. A BEAT. SHE LOOKS INTO HIS EYES... APPEALING... OPEN. THEY CLINCH A PASSIONATE EMBRACE.

CUT TO:

27. EXT. ROAD. DAY. (LOCATION OR LIBRARY) 5 SECS

ONE SHORT SHOT AS THE CAR ROARS PAST CLOSE TO THE CAMERA.

CUT TO:

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

STRAKER AND DESICA IN THE REAR SEATS. STRAKER LOOKS AT THE MOONBASE COMMANDER.

ON DESICA: THINKING OF TINA.

RESUME SCENE:

STRAKER
Well, Franco, you’ll be back home in time for supper.

DESICA
Home?

STRAKER
Moonbase.

CUT TO:

29. EXT. RECEPTION SPHERE. DAY. (VISUAL EFFECTS) 7 SECS

THE LUNAR MODULE LANDS ON THE RECEPTION SPHERE.

CUT TO:

30. INT. CONTROL SPHERE. DAY. (STUDIO) 85 SECS

NINA IS ON DUTY AT THE TRACKER CONSOLE, PAULA IN OFF DUTY DRESS IS STANDING NEARBY.

PAULA
Well, they’ve landed, and if I know Commander Straker he’ll be coming through that door in about 60 seconds flat.

NINA
I’ve only met him a couple of times. What’s he really like? She pulls a questioning face.

PAULA
Yuk...

NINA SMILES.

PAULA
No, he’s not that bad. He allows you one mistake... per year.

NINA
Thanks for the build up... I’m a nervous wreck.

PAULA
You’d better tell one of the astronauts to get those interceptor photos in here fast... That’s the first thing he’ll ask for.

ON AIRLOCK: THE INNER DOOR INTO THE CONTROL SPHERE IS ALREADY SLIDING OPEN TO SHOW STRAKER AND DESICA BEHIND HIM. STRAKER STRIDES INTO THE ROOM.

STRAKER
The second thing, space tracker Harris... The first is a cup of coffee; perhaps you’d take care of it.

PAULA
Yes, sir.

STRAKER WALKS OVER TO NINA.

STRAKER
Miss Barry...

NINA
Sir...

STRAKER
I er... met your father about a month back.

NINA
You know him, sir?

STRAKER
Yes... back from my Army Airforce days.

STRAKER SMILES.

STRAKER: I was happy to tell him I think you’re settling in extremely well.

NINA
Thank you, sir.

STRAKER
(Charmingly)
If er you’d like to ask someone to take the aerial photographs to the Leisure Sphere...

NINA
Right, sir.

STRAKER LOOKS OVER TOWARDS THE AIRLOCK.

ON PAULA: STANDING AT THE AIRLOCK, TAKEN ABACK BY STRAKER’S CHARMING ATTITUDE TOWARDS NINA.

ON STRAKER:

STRAKER
That’s with cream and sugar, Harris... in the Leisure Sphere.

CUT TO:

31. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 120 SECS

START CLOSE ON A SERIES OF AERIAL PHOTOGRAPHS OF THE LUNAR SURFACE.
PULL BACK TO SHOW THEY ARE SPREAD OUT BEFORE STRAKER, DESICA AND MARK BRADLEY.

STRAKER EXAMINES ONE OF THE PHOTOS.

MARK
Infrared... from 30,000 feet.

STRAKER
You say this dot to the left of centre could be it?

MARK
Yes. Here’s a blow up.

HE HANDS STRAKER AN ENLARGEMENT OF THE CENTRE OF THE FIRST PHOTO.
ON ENLARGEMENT: STRAKER’S FINGER POINTS OUT A SMALL DARK CIRCLE.

STRAKER (VO):
Ah, yes. There it is.

DESICA
We’ve compared it with the standard satellite survey made last year, and it doesn’t appear on that.

MARK
It could be a structural change in the surface rock... a subsidence.

DESICA
But the chances of that happening are pretty remote.

STRAKER
So we can assume it’s the UFO?

DESICA
I think so.

STRAKER CONSIDERS A MOMENT, THEN:

STRAKER
How long would it take a Moonmobile to reach the area?

DESICA
About four hours... it’s just below the terminator.

STRAKER
Alright, let’s set it up.

ON DESICA:

DESICA
I think we ought to use two Moonmobiles... a couple of men in each.

STRAKER
Fine. Who do you suggest as crew?

MARK
I’d like a crack at it, sir.

STRAKER LOOKS AT DESICA FOR HIS OPINION.

DESICA
Mark can handle it, and he knows the area.

STRAKER:
(To MARK)
O.K. You can choose your own navigator.

MARK
Thank you, sir.

STRAKER
That leaves the other Moonmobile.

ON DESICA:

DESICA
I’ll pick my own crewman too. We’ll need a missile operative.

ON STRAKER:

STRAKER
As Moonbase Commander, Colonel, your place will be in the Control Sphere.

ON DESICA:

DESICA
Maybe... sir. But I’m the guy who saw Bill Grant’s face as he tried to make it to that airlock. This is a personal debt... I’d like to settle it.

CUT TO:

32. EXT. MOON. DAY. (VISUAL EFFECTS) 7 SECS

TWO MOONMOBILE'S, ONE WHITE, ONE BLUE, MOVE ACROSS THE LUNAR SURFACE.

CUT TO:

33. EXT. MOONMOBILE. DAY. (VISUAL EFFECTS) 4 SECS

WE SEE THE IDENTIFICATION "1" ON THE WHITE VEHICLE.

CUT TO:

34. INT. MOONMOBILE. DAY. (STUDIO) 11 SECS

TIGHT ON DESICA AND A CREWMAN IN THE CABIN. THEY WEAR SPACE SUITS AND HELMETS WITH THE VISORS UP. DESICA USES A MIKE TO SPEAK TO MOONBASE.

DESICA
One to control... three miles from terminator.

PAULA (VO):
Roger.

CUT TO:

35. INT. CONTROL SPHERE. DAY. (STUDIO) 16 SECS

STRAKER SITS AT THE CONTROL CONSOLE. PAULA IS ON DUTY AT THE TRACKER STATION.

STRAKER
They’ll soon be in darkness. Tell them to stick together.

ON PAULA:

PAULA
Control to mobiles. Maintain close visual contact.

DESICA (VO):
Roger control.

CUT TO:

36. INT. MOONMOBILE. DAY. (STUDIO) 5 SECS

DESICA FLICKS A RADIO SWITCH WHICH PUTS HIM IN CONTACT WITH MARK IN THE OTHER MOBILE.

DESICA
Did you hear that, Mark?

CUT TO:

37. INT. MOONMOBILE. DAY. (STUDIO) 7 SECS

MARK AND HIS CREWMAN, IN THE SECOND MOBILE.

MARK
Don’t worry, I’ll be breathing down your neck all the way, sir.

CUT TO:

38. EXT. MOON. DAY. (VISUAL EFFECTS) 7 SECS

THE MOONMOBILE CONTINUES ON. THEY ARE NEARING THE TERMINATOR, AND WILL SOON BE IN LUNAR NIGHT.

CUT TO:

39. INT. MOONMOBILE. DAY. (STUDIO) 9 SECS

THE LIGHT FADES VERY QUICKLY AS THE VEHICLES MOVE ACROSS THE SHARP CURVATURE OF THE MOON. THE INTERIOR OF THE CABIN BEGINS TO DARKEN.

DESICA
Lights...

THE CREWMAN BESIDE DESICA LEANS FORWARD AND TURNS ON THE CABIN LIGHT AND HEADLIGHTS.

CUT TO:

40. EXT. MOON. DAY. (VISUAL EFFECTS) 9 SECS

THE MOONMOBILES, HEADLIGHTS NOW ON, CLOSE TOGETHER. THEY HAVE CROSSED THE TERMINATOR. THE COLD EARTHLIGHT AND THE STARKNESS COMBINE TO GIVE A VERY EERIE EFFECT. PAN UP TO THE SHINING EARTH IN THE DARK CLOUDLESS SKY.

CUT TO:

41. INT. MOONMOBILE. NIGHT. (STUDIO) 8 SECS

DESICA’S CREWMAN WORKS ON A LUNAR MAP. DESICA GLANCES AT IT THEN SPEAKS TO MOONBASE.

DESICA
Just under two miles from target.

CUT TO:

42. INT. CONTROL SPHERE. DAY. (STUDIO) 16 SECS

ON STRAKER:

STRAKER
Listen, Franco. At the first sign of trouble get the hell out of there and I’ll send the interceptors in. Understood?

DESICA (VO):
Understood... But we won’t need them... Out.

STRAKER LOOKS WORRIED. DESICA SEEMS TO BE CARRYING THE GRUDGE A LITTLE HEAVILY.

CUT TO:

43. EXT. MOONMOBILES. NIGHT. (VISUAL EFFECTS) 5 SECS

MOVING SILENTLY ON.

CUT TO:

44. INT. MOONMOBILE. NIGHT. (STUDIO) 21 SECS

DESICA SWITCHES ON THE RADIO LINK TO MARK.

DESICA
We should be able to see it from the top of the next ridge. We’ll leave the mobiles here and go in on foot.

MARK (VO)
Roger.

DESICA STOPS THE MOONMOBILE. THE ENGINE WINDS DOWN. DESICA LOOKS AT THE CREWMAN.

DESICA
O.K... let’s go.

DESICA SNAPS DOWN HIS VISOR.

CUT TO:

45. INT. CRATER. NIGHT. (VISUAL EFFECTS) 7 SECS

PAN ALONG THE LOW RIDGE THAT MARKS THE PERIMETER OF THE CRATER.

CUT TO:

46. EXT. RIDGE. NIGHT. (STUDIO)

WE ARE SHOOTING FROM INSIDE THE CRATER ONTO THE RIDGE OF ROCKS. A SPACE HELMETED HEAD APPEARS. 

STRAKER (VO)
How does it look?

DESICA (VO):
Hard to say. But from its attitude it could have been damaged.

ON DESICA: WE SEE IN CLOSE-UP IT IS DESICA AS HE LOOKS AROUND. HE HOLDS A DIRECTIONAL ‘RIFLE’ WHICH IS IN FACT A RADIATION CHECK AND TELESCOPIC DEVICE.

STRAKER (VO)
What about the radiation check?

CUT TO:

47. INT. CRATER. NIGHT. (VISUAL EFFECTS) 10 SECS

FROM DESICA’S P.O.V. WE PAN AROUND THE CRATER. WE SEE A LARGE ROCK IN E.G. THEN AS THE MUSIC STINGS WE CENTRE ON THE U.F.O.

ON DESICA: HE CHECKS A METER ON THE ‘RIFLE’.

DESICA
Negative... It’s just sitting there.

CUT TO:

48. EXT. RIDGE. NIGHT. (STUDIO) 6 SECS

ON DESICA: HE REACTS AND AIMS THE RIFLE.

STRAKER (VO)
Well, I suppose it’s possible it could have been abandoned.

DESICA
There’s only one way to find out.

CUT TO:

49. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 5 SECS

WITH TELESCOPIC MASKING WE SEE THE U.F.O. NO SIGN OF MOVEMENT, BUT IT IS AT A SLIGHT ANGLE AS IF IT LANDED BADLY.

CUT TO:

50. EXT. RIDGE. NIGHT. (STUDIO) 25 SECS

DESICA (VO)
We’ll start to move in in... two minutes.

REVERSE ANGLE. IT IS IN DEEP SHADOW. DESICA SLIDES BACK DOWN BELOW THE RIDGE TO JOIN MARK BRADLEY AND THE TWO CREWMEN.

STRAKER (VO)
Right.

ON DESICA: WE ARE CLOSE ON HIS HELMET AND HEAR WHAT HE SAYS TO THE OTHERS OVER THE RADIO LINK BETWEEN THEM.

DESICA
It’s there alright.

STRAKER (VO):
Yellow alert.

ON MARK:

MARK
Any sign of life?

CUT TO:

54. EXT. RIDGE. NIGHT. (STUDIO) 13 SECS

DESICA, MARK AND THE TWO CREWMEN CROUCH DOWN CHECKING THEIR AIR SUPPLIES. THE GAUGES ARE ON THEIR SHOULDERS NEAR THE TOP OF THE CYLINDERS. THE DIALOGUE SHOULD BE SHOT CLOSE ON THEIR FACES TO GIVE THE IMPRESSION OF HEARING WHAT THEY SAY THROUGH THEIR HELMETS.

ON DESICA:

DESICA
No.

MARK
All air supplies A-OK.

ON RADIO: DESICA’S HAND MOVES A WAVEBAND SETTING ON THE RADIO CONTROL UNIT ON HIS CHEST.

DESICA
Control... Have positive sighting of U.F.O. 

DESICA CHECKS HIS WATCH.

DESICA
Time check... 11.04-45... now.

MARK
11.04-45.

STRAKER (VO)
Position?

DESICA
In the middle of the crater, just as it was in the aerial shots. It hasn’t moved.

DESICA
There’s a rock about ten yards over this ridge. Wait till the guy ahead of you reaches it before you come over the top.

MARK
Who’s first in line?

DESICA
My privilege.

MARK
I’ll follow you... my pleasure.

DESICA
Right. Then Don... then you Brad. Any questions?

MARK
We could run into an alien out on the surface.

ON DESICA.

DESICA
Yeah... But remember, they’re expendable... We want the UFO.

DESICA STANDS UP TO LOOK OVER THE RIDGE.

CUT TO:

55. EXT. RIDGE. NIGHT. (STUDIO) 17 SECS

DESICA’S HEAD COMES UP INTO SHOT AND LOOKS AROUND THE CRATER. HE GLANCES BACK DOWN AT THE OTHERS O.S. THEN CLIMBS UP OVER THE RIDGE AND MOVES FORWARDS PAST CAMERA.

REVERSE ANGLE: ON MARK - BELOW THE RIDGE. WAITING, SWEATING A LITTLE IN HIS HELMET.

CUT TO:

56. EXT. MOON. NIGHT. (STUDIO) 7 SECS

ON DESICA: HE STOPS, WAITING, ALERT.

CUT TO:

57. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 5 SECS

FROM DESICA’S P.O.V.: ALL IS STILL.

CUT TO:

58. INT. CONTROL SPHERE. DAY. (STUDIO) 5 SECS

WE FEATURE STRAKER WAITING IN THE SILENT, TENSE ATMOSPHERE OF THE CONTROL ROOM.

CUT TO:

59. EXT. ROCK. NIGHT. (STUDIO) 7 SECS

DESICA HAS REACHED THE ROCK A SHORT DISTANCE FROM THE TOP OF THE RIDGE. HE LOOKS BACK.

CUT TO:

60. EXT. RIDGE. NIGHT. (STUDIO) 5 SECS

CLOSE ON MARK’S HEAD AS IT COMES UP OVER THE RIDGE, TO LOOK TOWARDS DESICA O.S.

CUT TO:

61. EXT. ROCK. NIGHT. (STUDIO) 5 SECS

DESICA WAVES TO MARK O.S. TO MOVE OUT. THEN LOOKS BACK IN THE DIRECTION OF THE U.F.O.

CUT TO:

62. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 7 SECS

FROM DESICA’S P.O. V.: VERY FAINTLY AT FIRST BUT GROWING IN INTENSITY, THE ALIEN CRAFT BEGINS TO GLOW.

CUT TO:

63. EXT. ROCK. NIGHT. (STUDIO) 4 SECS

ON DESICA: HE REACTS STARING TOWARDS THE U.F.O. O.S.

DESICA
Hold it.

CUT TO:

64. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 7 SECS

FROM DESICA’S P.O.V.: THE GLOW BUILDS AND BEGINS TO PULSATE. SUDDENLY A SHAFT OF LIGHT STREAKS OUT TOWARDS CAMERA.

CUT TO:

65. INT. CRATER. NIGHT. (VISUAL EFFECTS) 4 SECS

AN EXPLOSION ALONG THE LIP OF THE CRATER.

CUT TO:

66. EXT. ROCK. NIGHT. (STUDIO) 5 SECS

DESICA HAS FLUNG HIMSELF DOWN BEHIND THE ROCK.

DESICA
Keep down...

CUT TO:

67. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 4 SECS

THE UFO FIRES AGAIN.

CUT TO:

68. EXT. RIDGE. NIGHT. (STUDIO) 9 SECS

ON MARK AS HE CROUCHES LOW BELOW THE RIDGE AS DEBRIS FALLS AROUND. HE LIFTS HIS HEAD.

MARK
Control... The UFO has opened fire.

CUT TO:

69. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 4 SECS

THE UFO FIRING ONCE MORE.

CUT TO:

70. EXT. ROCK. NIGHT. (STUDIO) 5 SECS

CLOSE ON DESICA PINNED DOWN BEHIND THE ROCK.

CUT TO:

71. INT. CONTROL SPHERE. DAY. (STUDIO) 6 SECS

ON STRAKER AT THE CONTROL CONSOLE.

STRAKER
Red alert... Interceptors immediate launch.

CUT TO:

72. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 7 SECS

THE THREE ASTRONAUTS, ALREADY IN THEIR SPACE SUITS, GRAB THEIR HELMETS AND HEAD FOR THE CHUTES.

CUT TO:

73. INT. CONTROL SPHERE. DAY. (STUDIO) 9 SECS

STRAKER
Program on-board computer for attack.

PAULA
Yes, sir.

CUT TO:

74. EXT. INTERCEPTOR CRATER. DAY. (VISUAL EFFECTS)

TO ESTABLISH.

CUT TO:

75. INT. INTERCEPTOR CRATER. DAY. (VISUAL EFFECTS)

THE THREE INTERCEPTORS’ ROCKET MOTORS IGNITE.

CUT TO:

76. EXT. INTERCEPTOR CRATER. DAY. (LIBRARY) 6 SECS

THE INTERCEPTORS LIFT OFF OUT OF THE CRATER AND UP INTO THE SPACE SKY OF THE MOON.

CUT TO:

77. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 4 SECS

IT CONTINUES TO FIRE.

CUT TO:

78. EXT. RIDGE. NIGHT. (VISUAL EFFECTS)

ANOTHER SECTION OF THE RIDGE AROUND THE CRATER IS HIT.

CUT TO:

79. EXT. RIDGE. NIGHT. (STUDIO) 6 SECS

MARK AND THE TWO CREWMEN FLAT ON THEIR FACES, THE LIGHT FROM THE EXPLOSIONS PICKING UP ON THEIR SPACE SUITS.

CUT TO:

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

80. INT. CRATER. NIGHT. (VISUAL EFFECTS) 3 SECS

THE RIDGE IS HIT AGAIN. ROCKS ARE HURTLED INTO THE AIR.

CUT TO:

81. INT. CONTROL SPHERE. DAY. (STUDIO) 11 SECS

ON STRAKER.

STRAKER
Get back out of there... fast.

WIDEN THE ANGLE TO INCLUDE PAULA.

STRAKER
(To PAULA)
Send in the interceptors, but tell them to hold their fire till I give the word.

CUT TO:

82. EXT. RIDGE. NIGHT. (STUDIO) 24SECS

DESICA COMES DIVING OVER THE RIDGE AS ANOTHER EXPLOSION SHOWERS DEBRIS ON THE GROUP.

MARK
Are you OK?

DESICA
Yeah.

MARK
Straker says to move out.

DESICA
We’re pinned down here. I’ll go back and bring up a Moonmobile.

MARK
What happens if the UFO lifts off?

DESICA
That’s a chance I’ll have to take... give me two minutes.

DESICA STARTS TO MOVE AWAY.

CUT TO:

83. EXT. SPACE. (LIBRARY) 4 SECS

THE THREE INTERCEPTORS IN FORMATION.

CUT TO:

84. INT. CONTROL SPHERE. DAY. (STUDIO) 14 SECS

ON PAULA.

PAULA
Interceptors on attack course, sir. E.T.A. target, four minutes.

ON STRAKER.

STRAKER:
(Into mike)
This is control. How soon will you be clear?

CUT TO:

85. EXT. RIDGE. NIGHT. (STUDIO) 5 SECS

ON MARK:

MARK: Couple of minutes, sir.

ON MARK: HE DUCKS DOWN AS MORE DEBRIS FALLS.

CUT TO:

86. EXT. MOON. NIGHT. (STUDIO) 8 SECS

DESICA CROUCHES DOWN BY A ROCK TAKING COVER, THEN STANDS AND GOES TO MOVE FORWARD.

ON FOOT: IT CATCHES, TWISTS IN A CRACK IN THE GROUND.

ON DESICA: HE FALLS HEAVILY. STRETCHES DOWN AND GRASPS HIS ANKLE, OBVIOUSLY IN GREAT PAIN.

CUT TO:

87. EXT. SPACE. (VISUAL EFFECTS) 4 SECS

THE INTERCEPTORS IN FORMATION.

CUT TO:

88. EXT. MOON. NIGHT. (STUDIO) 5 SECS

ON DESICA:

DESICA
Ahh... Ahh... Pull... Pull back to the mobiles!

CUT TO:

89. EXT. RIDGE. NIGHT. (STUDIO) 8 SECS

ON MARK.

STRAKER (VO)
What’s the hold up?

MARK
We’ll be clear any minute now, sir.

CUT TO:

90. EXT. MOON. NIGHT. (STUDIO) 8 SECS

ON DESICA, LYING HELPLESS.

DESICA
Get back to the Mobiles… Come in, Mark... Can you hear me?

ON RADIO: WE SEE HIS RADIO HAS BEEN SMASHED BY THE FALL.

DESICA
Come in Mark, can you hear me? Come in Mark… ...Mark?

CUT TO:

91. INT. CONTROL SPHERE. DAY. (STUDIO) 7 SECS

STRAKER WAITS ANXIOUSLY FOR WORD THAT THE GROUP ARE CLEAR.

PAULA
Interceptors 90 seconds from target.

CUT TO:

92. EXT. RIDGE. NIGHT. (STUDIO) 7 SECS

ON MARK. MORE DEBRIS FALLS.

MARK
He must have made it by now. Come on.

HE WAVES FOR THE TWO CREWMEN TO START BACK.

CUT TO:

93. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 5 SECS

IT STARTS TO LIFT OFF FROM THE FLOOR OF THE CRATER.

CUT TO:

94. INT. CONTROL SPHERE. DAY. (STUDIO) 12 SECS


PAULA
The Interceptor leader has visual contact. The U.F.O. is lifting off.

ON STRAKER: CAUGHT IN TWO MINDS, THEN HE DECIDES.

STRAKER
Order the attack.

CUT TO:

95. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 5 SECS

THE UFO CLIMBING INTO THE LUNAR SKY.

CUT TO:

96. EXT. INTERCEPTORS. NIGHT. (VISUAL EFFECTS) 4 SECS

THE INTERCEPTORS FLYING IN FORMATION.

CUT TO:

97. EXT. INTERCEPTOR. NIGHT. (VISUAL EFFECTS) 3 SECS

THE LEADING INTERCEPTOR FIRES ITS MISSILE.

CUT TO:

98. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 7 SECS

THE UFO IS HIT AS THE INTERCEPTOR PASSES OVERHEAD. THE U.F.O. TILTS AND BEGINS TO LOSE HEIGHT.

CUT TO:

99. EXT. MOON. NIGHT. (STUDIO) 3 SECS

ON MARK: HE LOOKS UP TOWARDS...

CUT TO:

100. EXT. U.F.O. NIGHT. (VISUAL EFFECTS) 4 SECS

FROM HIS P.O.V.: THE CRIPPLED U.F.O. HEADS TOWARDS CAMERA.

CUT TO:

101. EXT. MOON. NIGHT. (STUDIO) 4 SECS

MARK AND THE TWO CREWMEN LOOK TOWARDS THE U.F.O. O.S.

MARK
Hit the dirt.

THEY FLING THEMSELVES TO THE GROUND.

CUT TO:

102. EXT. CRATER. NIGHT. (VISUAL EFFECTS) 6 SECS

THE U.F.O. CRASHES INTO DESICA’S WHITE MOONMOBILE AND TOGETHER THEY SKID ALONG, FINALLY DISINTEGRATING IN A TERRIBLE EXPLOSION.

CUT TO:

103. EXT. MOONBASE. DAY. (LIBRARY) 4 SECS

A LONG ESTABLISHING SHOT.

CUT TO:

104. INT. LEISURE DINING SPHERE. DAY. (STUDIO) 29 SECS

START ON STRAKER AS HE SLOWLY PACES THE SPHERE.

ANOTHER ANGLE: TO INCLUDE MARK AND THE TWO CREWMEN. THE THREE SURVIVORS SLUMP AROUND, THEIR SPACE SUITS BLACKENED. THE MOOD IS ONE OF UTTER DEPRESSION. MARK HOLDS HIS HEAD IN HIS HANDS. ALL THREE LOOK EXHAUSTED.

ON MARK.

MARK
Maybe he was thrown clear?

ON STRAKER: HE STOPS PACING, THEN GENTLY:

STRAKER
If I thought there was one chance in ten million...

ON MARK.

MARK
It could happen.

ON STRAKER.

STRAKER: You said yourself the moonmobile was completely destroyed… There’s no hope...

ON MARK: HE LOOKS AT STRAKER THEN RELUCTANTLY NODS HIS HEAD IN AGREEMENT.

CUT TO:

105. EXT. CRATER. NIGHT. (VISUAL EFFECTS) 7 SECS

PAN AROUND THE NOW UTTERLY STILL SCENE OF DESOLATION. PULL BACK AND PAN UP TO THE LUNAR SUNRISE.

CUT TO:

106. EXT. MOON. DAY. (STUDIO) 24 SECS

VERY CLOSE ON DESICA’S HELMET AS THE RAYS OF THE SUN CATCH THE TRANSPARENT PLASTIC. WE SEE DESICA’S FACE. HIS EYES OPEN.

PULL BACK TO SHOW HIM LYING BY A ROCK WHICH SAVED HIM FROM THE WORST OF THE BLAST. HE SITS UP, BEWILDERED, WONDERING HOW HE CAN STILL BE ALIVE. IT IS A NEAR MIRACLE HIS SUIT HASN’T BEEN PUNCTURED. BITS OF DEBRIS FALL FROM HIS BODY AS HE PULLS HIMSELF UP. HE LOOKS AT THE RADIO, IT IS OBVIOUSLY SMASHED.

HE GOES TO STAND BUT WINCES IN PAIN; HE HAD FORGOTTEN HIS INJURED ANKLE.

MIX TO:

107. EXT. DUST. DAY. (STUDIO OR VISUAL EFFECTS) 5 SECS

TRACK A FEW FEET CLOSE ALONG A LINE OF FOOTPRINTS IN THE LUNAR DUST. ONE LEG HAS BEEN DRAGGED AND WE SEE THE MARK OF A STICK.

CUT TO:

108. EXT. ROCK. DAY. (STUDIO) 82 SECS

CLOSE ON DESICA. HE LEANS HEAVILY ON THE ROCK: WE SEE HE HAS USED THE ‘RIFLE’ AS A STICK TO HELP HIM WALK. HE LOWERS HIMSELF TO THE GROUND AND CHECKS HIS WATCH - LOOKS UP AT THE SUN, FEELS ROUND OVER HIS LEFT SHOULDER AND PULLS OUT A PACK.

ON SURVIVAL PACK: DESICA’S HAND OPENS THE PACK. IT CONTAINS A COMPASS, A MAP, A SMALL CONTAINER MARKED "OXYGEN REGENERATOR" AND A SPACE SUIT REPAIR KIT. DESICA PICKS UP THE "OXYGEN REGENERATOR".

GO IN CLOSE ON THIS AS DESICA OPENS IT. IT CONTAINS FOUR SMALL CYLINDERS LIKE ‘SPARKLET’ BULBS.

ON DESICA: HE TAKES ONE AND SCREWS IT INTO A VALVE ON HIS AIR CONTAINER. THE BULB HOLDS A CHEMICAL WHICH CHANGES CO2 BACK TO OXYGEN AND CARBON.

ON GAUGE: A RED SECTION OF THE GAUGE LIKE THAT ON A PRE-SET OVEN OPENS UP ABOUT HALF WAY ROUND THE DIAL.

ON DESICA: HE THROWS THE TUBE AWAY. HE OPENS THE MAP, CHECKS THE COMPASS AND AS HE GOES TO LOOK UP AT THE SUN, SOMETHING CATCHES HIS EYE.HE REACTS.

P.O.V. SHOT (STUDIO OR VISUAL EFFECTS): FROM HIS P.O.V. WE LOOK BACK AT HIS FOOTPRINTS IN THE DUST AND SEE ANOTHER SET HAVE CROSSED HIS OWN.

ON DESICA: BEWILDERED, HE PULLS HIMSELF TO HIS FEET WITH THE HELP OF THE ROCK AND DRAWS A GUN. HE IS ALERT,

WATCHFUL. HE GOES TO PEER AROUND THE ROCK TO HIS LEFT. THEN SOME INSTINCT MAKES HIM WHIP ROUND TO THE RIGHT.

WIDER ANGLE: AN ALIEN STANDS THREE FEET FROM DESICA. HE KNOCKS THE GUN FROM DESICA’S HAND. DESICA LUNGES AT HIM, BUT AS THE WEIGHT GOES ONTO HIS BAD ANKLE, HE FALLS.

ON DESICA: HE STAGGERS TO HIS FEET, PICKING UP THE ‘RIFLE’ AND LIFTS IT HIGH TO SMASH THE ALIEN’S HELMET.

CUT TO:

109. INT. CONTROL SPHERE. DAY. (STUDIO) 23 SECS

STRAKER TALKS TO ALEC FREEMAN OVER THE EARTH LINK:

STRAKER:
It’s a bad business, Alec. One Moonmobile totally destroyed, the other so badly damaged it’s a miracle it ever made it back to base.

FREEMAN (VO):
The mobiles can be replaced...

STRAKER:
...and Franco Desica can’t? Yes, that’s one of the reasons I’m staying up here for a couple of days. A new Commander will have to be appointed.

CUT TO:

110. INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 5 SECS

FREEMAN
I didn’t mean that...

STRAKER (VO)
I know what you meant... I feel the same way.

CUT TO:

111. INT. CONTROL SPHERE. DAY. (STUDIO) 14 SECS

STRAKER
Alec, there’s one thing you can do for me, Desica has no close relatives, but there was... someone.

FREEMAN (VO)
A girl?

STRAKER
Yes, she was as close to him as anyone. I think she ought to be told.

CUT TO:

112. INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 16 SECS

FREEMAN
(Reaching for pad)
Alright. What’s her name?

STRAKER
Tina Duval... Apartment 19, Parkcrest Court.

FREEMAN
Right...

FOCUS IN CLOSE ON FREEMAN AS HE LOOKS AT THE PAD. IT WILL NOT BE PLEASANT BREAKING THE NEWS. HE TEARS OFF THE ADDRESS.

CUT TO:

113. EXT. FLATS. DAY. (LOCATION) 16 SECS

FREEMAN’S CAR PULLS UP OUTSIDE THE BLOCK OF FLATS. HE GETS OUT AND WALKS TO THE ENTRANCE.

CUT TO:

114. INT. FLAT. DAY. (STUDIO)

START CLOSE ON DESICA’S BUNCH OF FLOWERS NOW IN A VASE.

WIDER ANGLE: TINA SITS WRITING A LETTER. SHE SCREWS UP THE SHEET OF PAPER AND TAKES ANOTHER THEN LOOKS UP AS THE DOOR BELL RINGS. SLIGHTLY ANNOYED, SHE WALKS OVER TO ANSWER THE DOOR.

ON FREEMAN: AT THE DOOR AS IT IS OPENED.

FREEMAN
Miss Duval?

TINA (VO):
Yes.

FREEMAN
My name is Alec Freeman. I’m a friend of Franco Desica’s. May I come in?

WIDER ANGLE: TINA STANDS ASIDE AND FREEMAN WALKS IN TRYING TO DECIDE THE BEST WAY TO BREAK THE NEWS.

ON FREEMAN: HE LOOKS AROUND.

FREEMAN
Nice place you have here...

TWO SHOT.

TINA
Thank you...

AN AWKWARD SILENCE.

FREEMAN
Er... have you got a drink?

TINA:
(Surprised)
Scotch?

FREEMAN
That will be fine...

TINA LOOKS AT HIM SLIGHTLY CONFUSED BY HIM ASKING FOR A DRINK, A LITTLE EMBARRASSED AT NOT HAVING OFFERED. TINA WALKS OVER AND POURS A SCOTCH.
ON FREEMAN: FEELING COMPLETELY INADEQUATE.

TWO SHOT: TINA WALKS BACK AND OFFERS THE DRINK TO FREEMAN.

FREEMAN
No... for you.

ON TINA:

FREEMAN (VO)
I think you’d better sit down.

A MOMENT’S PAUSE THEN TINA SITS SENSING THAT SOMETHING IS TERRIBLY WRONG.

TINA
What’s happened?

ON FREEMAN: HE DOESN’T ANSWER.

ON TINA: MORE URGENT.

TINA
What’s happened to Franco?

TWO SHOT.

FREEMAN
There’s been... an accident.

TINA
Accident?

FREEMAN
It must have been instantaneous... I’m sorry...

ON TINA: STUNNED. SHE SITS STARING AT THE UNTOUCHED DRINK.

ON FREEMAN.

FREEMAN
If there’s... anything I can do...

ON TINA: SHE GETS UP AND WALKS SLOWLY OVER THE THE VASE OF FLOWERS. LOOKS AT THEM. SHE STRETCHES OUT AND TOUCHES ONE OF THE PETALS. THEN, BOWING HER HEAD, CLUTCHES THE WHOLE BUNCH TO HER. THE VASE SMASHES TO THE FLOOR BUT SHE DOESN’T SEEM TO NOTICE.

TINA
Franco...

SHE SLOWLY SINKS TO HER KNEES, NOW BEGINNING TO SOB DEEPLY, UNCONTROLLABLY.

ON FREEMAN: WATCHING, HELPLESS.

CUT TO:

115. EXT. MOON. DAY. (VISUAL EFFECTS) 11 SECS

PAN SLOWLY OVER THE LIFELESS BONE DRY SURFACE OF THE MOON. WE FEATURE A LONG DUSTY STRETCH.

CLOSER SHOT: WE PAN ALONG TWO SETS OF FOOTPRINTS IN THE DUST.

CUT TO:

116. EXT. MOON. DAY. (VISUAL EFFECTS) 6 SECS

ANOTHER ANGLE: TO ESTABLISH THE ALIEN AND DESICA. THE ALIEN IS A LITTLE AHEAD OF THE MOONBASE COMMANDER.

CUT TO:

117. EXT. MOON. DAY. (STUDIO) 90 SECS

ON DESICA: HE STAGGERS AND COLLAPSES. HE LIES FOR A MOMENT THEN SLOWLY LIFTS HIS HEAD AS THE LEGS OF THE ALIEN COME INTO SHOT.

WIDER ANGLE: DESICA PULLS HIMSELF TO A SITTING POSITION AND THE ALIEN CROUCHES NEARBY.

ON DESICA: HIS FACE IS COVERED IN SWEAT. WE ARE CLOSE IN ON HIS FACE. HIS EYES ARE FULL OF HATE.

TWO SHOT: THE ALIEN LOOKS AT DESICA, THEN STRETCHES OUT A HAND TOWARDS HIM. DESICA REACTS, BUT THE HAND JUST POINTS TO THE AIR GAUGE. DESICA LOOKS AT IT.

ON GAUGE: DANGEROUSLY LOW.

ON DESICA: PUZZLED. HE TAKES THE SURVIVAL PACK AND USES THE SECOND TUBE TO RESTORE HIS SUPPLY TO HALF FULL AS BEFORE.

WIDER ANGLE: THE ALIEN CHECKS THE SUN, THEN STANDS. HE LOOKS BACK DOWN AT DESICA AND WAVES FOR HIM TO STAND UP AND GO ON.

ON DESICA: HE LOOKS NARROW-EYED AT THE ALIEN.

P.O.V. SHOT: FROM DESICA’S P.O.V. WE SEE THE GUN THAT WAS KNOCKED FROM HIS HAND AT THE ALIEN’S WAIST.

ON DESICA: HE STARTS TO GET TO HIS FEET, WAITING HIS CHANCE, THEN LUNGES FORWARD.

TWO SHOT: DESICA GRABS THE GUN AND PUSHES THE ALIEN AWAY.

ON DESICA: HE NOW HAS THE UPPER HAND. HE GRITS HIS TEETH THROUGH THE HELMET. THE ALIEN IS AT HIS MERCY.

ON ALIEN: CALM, MOTIONLESS.

ON DESICA: HE SLOWLY LIFTS THE GUN CLOSE TO THE ALIEN’S HELMETED HEAD.

ON ALIEN: HE BRINGS UP HIS CLENCHED HAND AND OPENS IT. THE BULLETS FROM DESICA’S GUN NESTLE IN THE PALM. HE THROWS THEM OVER HIS SHOULDER.

TWO SHOT: FRUSTRATED AND CONFUSED DESICA LOWERS THE GUN AND LETS IT FALL FROM HIS HAND. THE ALIEN TURNS AND WALKS AWAY, THEN TURNS BACK AND WAVES FOR DESICA TO FOLLOW.

ON DESICA: HE BANGS HIS FIST IN FRUSTRATION ON A ROCK.

CUT TO:

118a. EXT. MOONBASE. DAY. (VISUAL EFFECTS) 5 SECs

TO ESTABLISH.

CUT TO:

118b. INT. SLEEP SPHERE. DAY. (STUDIO) 120 SECS

MARK BRADLEY IS ALONE IN THE SPHERE. HE TURNS AS THE AIRLOCK OPENS AND STRAKER COMES IN.

MARK
I was er just going to grab a little sleep.

STRAKER
...It’s been a long twelve hours.

ON STRAKER.

STRAKER
I think you know how important this base is... A vital link in our defence system.

STRAKER WEIGHS HIS WORDS.

STRAKER
Whoever commands it has one of the most responsible jobs in SHADO… I’d like you to consider it, Mark.

ON MARK.

MARK
You’re offering me the job?

TWO SHOT.

STRAKER
Yes. Does it come as a surprise?

MARK
Not altogether. And does it surprise you if I say no?

STRAKER
It... disappoints me.

ON MARK.

MARK
Well, you’ve done your duty... you’ve asked, and I’ve given you the ‘no’ you wanted.

HE TURNS AWAY.

TWO SHOT.

STRAKER
What do you mean... I’ve done my duty?

MARK DOESN’T ANSWER.

STRAKER
You’ve thought about it?

MARK
Sure. After Franco I’m the senior man. The obvious choice if you like.

STRAKER
So, I offer you the command of Moonbase and you say no... Why?

MARK DOESN’T ANSWER.

STRAKER
I asked you why?

MARK: HE POINTS TO HIS COLOURED FACE.

MARK
This is why.

ON STRAKER.

STRAKER
Don’t give me that. Racial prejudice burned itself out five years ago.

ON MARK.

MARK
(Fierce)
How would you know?

TO SHOT: MARK CALMS DOWN A LITTLE.

MARK
Alright, on the surface maybe it did. But somewhere deep down in people’s guts it’s still there.

ON MARK.

MARK
...Maybe it’d never show. Maybe it would. Like sometime I’m ordering a guy out on a mission. A time the chances are he won’t be coming back.

ON STRAKER: HE IS ANGRY.

STRAKER
I’m not offering some easy number. And I don’t care if you’re polka dot, you’re the best man for the job... Do you want it?

TWO SHOT: A LONG BEAT. THE TWO MEN SQUARED UP TO EACH OTHER.

STRAKER
Do you want it?

MARK FINALLY RELAXES.

MARK
Yes, sir. I want it... but not this way.

STRAKER
No one wanted it this way.

MARK GOES TO SPEAK - BUT DOESN’T.

STRAKER
Get some rest... Commander.

MARK NODS.

CUT TO:

119. EXT. MOON. DAY. (STUDIO) 120 SECS

THE ALIEN LOOKS BACK.

ON DESICA: ON HIS HANDS AND KNEES, FIGHTING FOR AIR.

ON GAUGE: PRACTICALLY EMPTY.

ON DESICA: THE ALIEN COMES INTO SHOT, PULLS HIM UP INTO A SITTING POSITION AND RESTS HIS BACK AGAINST A ROCK. HE LOOKS AT DESICA’S FACE THROUGH THE HELMET, HIS HEAD SLUMPED TO THE SIDE AS HE SLIDES INTO UNCONSCIOUSNESS, EYES CLOSED.

THE ALIEN TAKES THE SURVIVAL PACK AND OPENS IT. HE LOOKS IN THE OXYGEN REGENERATOR CONTAINER - IT IS EMPTY. DESICA HAS USED THE LAST OF THE TUBES. THE ALIEN LOOKS AT HIS OWN AIR PACK, THINKS A MOMENT AND UNSCREWS A SMALL CONTAINER.

ON DESICA’S AIR PACK: WE CAN SEE THE GAUGE. THE ALIEN TRIES TO INSERT HIS CONTAINER INTO THE VALVE, BUT IT WILL NOT FIT.

TWO SHOT: THE ALIEN TRIES AGAIN. THEN LOOKS AT DESICA, HE HAS STOPPED BREATHING. THE ALIEN TAKES A SMALL CLAMP FROM A SMALL POCKET AT HIS WAIST.

ON AIRLINE: THE ALIEN FIXES THE CLAMP TO DESICA’S AIRLINE. THEN FIXES ANOTHER MAKING A DOUBLE SEAL.

ON ALIEN: CONCENTRATING ON THE WORK.

ON AIRLINE: THE ALIEN PULLS THE CLAMPED AIRLINE FREE FROM DESICA’S AIR CONTAINER - WORKING QUICKLY AND DEXTEROUSLY, HE FITS HIS OWN CONTAINER TO THE END OF THE AIRLINE, SEALING THE JOINT WITH THE TUBE FROM DESICA’S SPACE SUIT REPAIR KIT, THEN RELEASES THE CLAMP.

ON DESICA: MOTIONLESS, EYES CLOSED.

TWO SHOT: THE ALIEN TURNS DESICA ONTO HIS STOMACH AND BEGINS TO APPLY ARTIFICIAL RESPIRATION.

ON DESICA: NO REACTION.

ON ALIEN: TRYING TO WORK LIFE BACK INTO DESICA.

TWO SHOT: THE ALIEN REACTS. DESICA HAS STARTED TO BREATHE AGAIN. HE ROLLS DESICA ONTO HIS BACK.

P.O.V. SHOT: FROM DESICA’S P.O.V. THROUGH HIS HELMET AS HIS EYES OPEN AND COME INTO FOCUS. WE CAN SEE THE HEAD OF THE ALIEN GIVING A SATISFIED NOD.

ON DESICA: HIS PAINED FACE AS HE BREATHES HEAVILY, SLOWLY RECOVERING. HE LOOKS AT THE AIRLINE DANGLING DOWN FROM HIS HELMET AND SEES THE ALIEN’S CONTAINER ON THE END. THEN LOOKS OVER TO THE ALIEN.

ON ALIEN: CROUCHED IN THE DEEP SHADOW OF A ROCK OUT OF THE GLARE OF THE BLAZING SUN.

ON DESICA: REALISING WHAT HAS HAPPENED, LOOKING AT THE MAN WHO HAS JUST SAVED HIS LIFE. THE HATE FALLING AWAY FROM HIM.

CUT TO:

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

120. EXT. MOONBASE. DAY. (VISUAL EFFECTS) 4 SECS

TO ESTABLISH.

CUT TO:

121. INT. SLEEP SPHERE. DAY. (STUDIO) 10 SECS

MARK ALONE IN THE SLEEP SPHERE, IN BED BUT AWAKE.

ON MARK: HE STARES AT THE CEILING. SOON HE WILL FACE HIS MOONBASE COLLEAGUES AS THEIR NEW COMMANDER.

CUT TO:

122. EXT. MOON. DAY. (VISUAL EFFECTS) 6 SECS

WE PAN ACROSS A WIDE OPEN ‘SEA’. IT IS DEEPLY SCARRED WITH CRACKS AND CREVASSES.

CUT TO:

123. EXT. CREVASSE. DAY. (STUDIO) 88 SECS

DESICA AND THE ALIEN HAVE COME TO A CREVASSE ABOUT EIGHT FEET WIDE. OBVIOUSLY TOO WIDE FOR DESICA TO JUMP WITH HIS INJURED ANKLE, EVEN ON THE MOON WITH ITS MUCH LOWER GRAVITY. THEY BOTH SIT DOWN TO REST IN THE SHADE OF A ROCK.

ON ALIEN: HE DRAWS IN THE DUST WITH A FINGER. FIRST THE SUN, HE POINTS TO THE SUN, THEN THE MOON. A LARGE CIRCLE. HE MIMES OUT YOU AND ME, HERE - HE MARKS THE PLACE WITH A FINGER IN THE CIRCLE.

ON DESICA: HE UNDERSTANDS. HE TAKES THE PACK FROM HIS BACK AND OPENS IT. TAKES OUT THE MAP, AND SPREADS IT OUT BEFORE THEM.

ON MAP: DESICA POINTS TO A SPOT ON THE MAP, INDICATING THEIR POSITION, THEN TRAILS HIS FINGER ACROSS TO MOONBASE. IT IS A LONG LONG WAY.

ON DESICA: CLOSE ON HIS FACE - IT SEEMS HOPELESS. HE SHAKES HIS HEAD: NO.

ON ALIEN: HE SHAKES HIS HEAD YES. THEY WILL GO ON. THERE IS NO ALTERNATIVE.

ON DESICA: LOOKING UP AT THE ALIEN. HE GIVES HIM A QUICK GRIM SMILE, A SMILE OF ADMIRATION FOR THE MAN WHO HE HATED SUCH A SHORT TIME AGO. THEY WILL GO ON TOWARDS MOONBASE WITH NO HOPE OF EVER GETTING THERE.

CUT TO:

124. INT. MOONBASE CORRIDOR. DAY. (STUDIO) 8 SECS

MARK COMES TO THE AIRLOCK TO THE CONTROL SPHERE. HESITATES A MOMENT, STRAIGHTENS HIS UNIFORM AND ENTERS THE OUTER DOOR,

CUT TO:

125. INT. CONTROL SPHERE. DAY. (STUDIO) 44 SECS

MARK BRADLEY COMES INTO THE CONTROL SPHERE AND WALKS SLOWLY OVER TO STAND NEAR THE CONTROL CONSOLE - DESICA’S CONSOLE. HE GLANCES UP TOWARDS PAULA.

ON PAULA:

PAULA
Hello, sir.

ON MARK:

MARK
Hello.

HE OVERCOMES HIS MISGIVINGS AND SLIPS BEHIND THE CONSOLE AND SITS DOWN.

On PAULA:

PAULA
I’m not very good at saying things, sir... but I’d like to... just let you know... we’re all... very glad to be serving under your command.

PAULA TURNS BACK TO HER CONSOLE.

MARK, VERY MOVED BY PAULA’S LITTLE SPEECH. HE SNAPS DOWN AN INTERCOM. IN E.G. WE SEE THE DOORWAY OPEN AND STRAKER COME IN.

MARK
This is control to Moonmobile 3... proceed as instructed to area 183.

WATERMAN (VO)
Yes, sir.

STRAKER WALKS OVER TO MARK.

STRAKER
You’ve sent out a mobile? 

MARK
Yes.

STRAKER
To the U.F.O. crater?

MARK
Yes. To search the area for wreckage of the U.F.O. I didn’t know I needed your authorisation.

STRAKER SMILES TIGHTLY.

STRAKER
You don’t, Commander... Carry on.

CUT TO:

126. EXT. CREVASSE. DAY. (STUDIO) 92 SECS

DESICA WATCHES AS THE ALIEN CLIMBS UP THE LAST COUPLE OF FEET ON THE FAR SIDE OF THE CREVASSE. HE HAS OBVIOUSLY CLIMBED DOWN TO THE BOTTOM AND UP THE OTHER SIDE. HE TRAILS AN ULTRA THIN LINE, LIKE A PIECE OF FISHING NYLON, BEHIND HIM.

ON ALIEN: NOW SAFE ON THE OTHER SIDE. HE TAKES THE LINE AND TIES IT ROUND A ROCK, PULLING IT TIGHT ACROSS THE 30 FOOT DROP OF THE CREVASSE.

ON DESICA: WAITING ON THE OTHER SIDE WHERE THE LINE IS ALREADY SECURE. HE TESTS THE LINE, A BIT APPREHENSIVE THAT IT WILL TAKE HIS WEIGHT.

ON ALIEN: WAVING FOR DESICA TO COME ACROSS.

ON DESICA: HE THROWS HIS ‘RIFLE’ CRUTCH TO THE OTHER SIDE OF THE CREVASSE, THEN LOWERS HIMSELF OVER THE EDGE, GRASPING THE LINE.HE SWINGS OUT AND BEGINS TO WORK HAND OVER HAND TOWARDS THE OTHER SIDE.

ON ALIEN: CAREFULLY WATCHING DESICA’S PROGRESS.

ON DESICA: THE LINE JOLTS 6 INCHES DOWN AS IT SLIPS, BUT HE MANAGES TO HOLD ON.

ON ALIEN: HE REACTS.

ON DESICA: HE LOOKS DOWN.

P.O.V. SHOT (VISUAL EFFECTS)

A P.O.V. SHOT IF PRACTICAL OF THE JAGGED ROCKS ABOUT 30 FEET BELOW.

ON DESICA: WORKING HAND OVER HAND ALONG THE LINE.

ON LINE: THE LINE WORKING UNDONE ON THE SIDE DESICA HAS LEFT.

ON DESICA: WORKING PAINFULLY ACROSS.

ON LINE: CLOSE TO COMING UNDONE.

ON ALIEN: HE CROUCHES DOWN, STRETCHING OUT A HAND TOWARDS DESICA.

ON DESICA’S HANDS: THE ALIEN’S HAND ENTERS SHOT. A MOMENT’S HESITATION AND DESICA LETS GO WITH ONE HAND AND REACHES FOR THE ALIEN’S.

ON LINE: IT BREAKS.

ON HANDS: CLASPED TOGETHER - JUST IN TIME.

TWO SHOT: THE ALIEN SLOWLY MANAGES TO PULL DESICA UP ON THE FAR SIDE OF THE CREVASSE. THEY STAND, RIGHT HANDS CLASPED. THE MUSIC HELPS THIS FIRST MOMENT OF PERSONAL CONTACT. A MOMENT OF EMOTION AS TWO MEN FROM DIFFERENT PARTS OF SPACE CLASP HANDS.

THE ALIEN TURNS TO WALK ON.

ON DESICA: PANTING FOR BREATH, LOOKING AFTER HIS NEW-FOUND COMRADE. KNOWING HE HAS JUST SAVED HIS LIFE AGAIN.

MIX TO:

127. EXT. MOON. DAY. (VISUAL EFFECTS) 6 SECS

PAN ALONG TWO WANDERING SETS OF FOOTPRINTS IN THE LUNAR DUST.

CUT TO:

128. EXT. MOON. DAY. (STUDIO) 10 SECS

THE ALIEN AND DESICA REST. DESICA FEELS HIS ANKLE. THE ALIEN WATCHES, UNABLE TO HELP.

ON DESICA: HIS LIPS ARE CRACKED INSIDE HIS HELMET. THE END SEEMS VERY NEAR.

CUT TO:

129. EXT. MOON. DAY. (VISUAL EFFECTS) 7 SECS

A MOONMOBILE MOVES ACROSS THE INHOSPITABLE TERRAIN - ON THE SIDE WE SEE ‘3’

CUT TO:

130. INT. MOONMOBILE. DAY. (STUDIO) 9 SECS

TIGHT ON WATERMAN AND A CREWMAN IN THE CABIN.

WATERMAN
Take her a couple of degrees over to port. There’s a bad crevasse field about ten miles on. We’ll go round it.

CREWMAN
Yes, sir.

CUT TO:

131. EXT. MOON. DAY. (VISUAL EFFECTS) 5 SECS

THE CREVASSE FIELD WATERMAN REFERS TO. WE RECOGNISE IT AS THE AREA DESICA AND THE ALIEN ARE IN.

CUT TO:

132. EXT. MOON. DAY. (STUDIO) 38 SECS

THE ALIEN HELPS DESICA WITH AN ARM ROUND HIS WAIST. THEY STAGGER ALONG. DESICA CAN HARDLY BEAR TO PUT HIS FOOT ON THE GROUND. HE FALLS.

ON DESICA: WINCING WITH PAIN.

TWO SHOT: THE ALIEN COMES INTO SHOT AND TRIES TO HELP DESICA TO HIS FEET. DESICA SHAKES HIS HEAD, HE CAN’T GO ON.

ON ALIEN: HE NODS HIS HEAD. HE TOO IS NEAR UTTER EXHAUSTION. IT IS THE END OF THE LINE.

TWO SHOT: THEY STRETCH OUT ON THE GROUND, SIDE BY SIDE.

ON DESICA: HE LOOKS AT THE ALIEN AND SMILES THROUGH HIS CRACKED LIPS.

ON ALIEN: HE LOOKS BACK AT DESICA, THROUGH THE LIQUID THAT FILLS HIS HELMET.

TWO SHOT: DESICA STRETCHES OUT AND PATS THE ALIEN’S SHOULDER - A GESTURE OF FRIENDSHIP.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

133. EXT. MOON. DAY. (STUDIO) 10 SECS

DESICA AND THE ALIEN LIE MOTIONLESS, NEAR TO DEATH, THEIR AIR SUPPLIES PRACTICALLY EXHAUSTED.

ON DESICA: HE OPENS HIS EYES TO SHOW HE IS CLINGING TO LIFE, BUT CLOSES THEM AGAIN.

CUT TO:

134. EXT. MOONMOBILE. DAY. (VISUAL EFFECTS) 10 SECS

MAKING ITS WAY TOWARDS A RIDGE.

REVERSE ANGLE: THE MOONMOBILE COMES TO THE TOP OF THE RIDGE AND BEGINS TO MOVE ALONG IT.

CUT TO:

135. INT. MOONMOBILE. DAY. (STUDIO) 8 SECS

TIGHT ON WATERMAN AND THE CREWMAN. THE CREWMAN LOOKS TO HIS RIGHT OUT ACROSS THE CREVASSE FIELD O.S.

CREWMAN
I see what you mean.

WATERMAN
About what?

CREWMAN
That crevasse field. Rough terrain.

CUT TO:

136. EXT. MOONMOBILE. DAY. (VISUAL EFFECTS) 7 SECS

Moving along the ridge. Pan to the crevasse field and start to zoom to convey Desica is near.

CUT TO:

137. EXT. MOON. DAY. (STUDIO) 8 SECS

THE ALIEN AND DESICA AS BEFORE.

ON DESICA: HOLD THE SHOT. THEN HIS EYES OPEN. SOME SIXTH SENSE, SOME INSTINCT, MAKES HIM LIFT HIS HEAD AND SLOWLY TURN IT.

CUT TO:

138. EXT. MOON. DAY. (VISUAL EFFECTS) 5 SECS

FROM DESICA’S P.O.V. THE MOONMOBILE MOVING AWAY ALONG THE RIDGE IN THE MIDDLE DISTANCE.

CUT TO:

139. EXT. MOON. DAY. (STUDIO) 10 SECS

ON DESICA: HARDLY DARING TO BELIEVE WHAT HE SEES - SOMEHOW HE SUMMONS THE STRENGTH TO GET TO HIS FEET.

INSIDE HELMET: WE ARE SO CLOSE ON DESICA WE ARE IN HIS HELMET AS HE SHOUTS. HIS VOICE CRACKING WITH EXHAUSTION.

DESICA
Over here... for God’s sake, we’re over here.

CUT TO:

140. EXT. MOONMOBILE. DAY. (VISUAL EFFECTS) 5 SECS

IT SEEMS TO BE MOVING AWAY.

CUT TO:

141. INT. MOONMOBILE. DAY. (STUDIO) 9 SECS

ON WATERMAN AND THE CREWMAN. THE CREWMAN GLANCES BACK TOWARDS THE CREVASSE FIELD.

CREWMAN
Yes, sir, rough terrain.

ON CREWMAN: HIS EYES NARROW IN AMAZEMENT

CREWMAN
Hold it, sir... It can’t be...

CUT TO:

142. EXT. MOON. DAY. (STUDIO) 19 SECS

ON DESICA: HE REACTS AS THE MOONMOBILE STOPS O.S. AND BEGINS TO WAVE HIS ARMS, HIS MOVEMENTS PAINFULLY SLOW. HE TURNS TOWARDS THE ALIEN STILL LYING ON THE GROUND.

P.O.V. SHOT: FROM INSIDE DESICA’S HELMET SHOOTING THROUGH THE VISOR. WE HEAR DESICA’S VOICE WHICH IS NOW LITTLE MORE THAN A CROAK.

DESICA
They’ve seen us... they’ve seen us.

ON ALIEN: DESICA SHAKES HIM AND HE TURNS TO LOOK AT DESICA.

P.O.V. SHOT: FROM THE ALIEN’S RO.V. WE SEE DESICA’S LIPS MOVING AS HE SPEAKS, BUT WE DO NOT HEAR THE WORDS. DESICA POINTS O.S.

CUT TO:

143. INT. MOONMOBILE. DAY. (STUDIO) 7 SECS

THE CREWMAN AND WATERMAN PREPARE TO GO OUT.

WATERMAN
Bring an air cylinder... hurry... O.K. let’s go.

THEY SNAP THEIR VISORS DOWN.

CUT TO:

144. EXT. MOON. DAY. (STUDIO) 170 SECS

THE ALIEN HAS SAT UP. DESICA TALKS TO HIM THROUGH HIS HELMET, BUT AGAIN WE DON’T HEAR THE WORDS.

P.O.V. SHOT: THROUGH DESICA’S VISOR AS IF WE ARE IN THE HELMET. WE NOW HEAR WHAT HE IS SAYING:

DESICA
Stay here... you stay here.

ON DESICA: HE TURNS TOWARDS THE MOONMOBILE O.S. AND STUMBLES FORWARD.
ON WATERMAN: SMILING HE WAVES BACK.

WATERMAN
Come on...

HE GOES TO MOVE FORWARD.

ON CREWMAN: HE MOVES FORWARD CARRYING THE AIR CONTAINER.

ON DESICA: STUMBLING, EVERY STEP AN AGONY.

ON WATERMAN: MOVING FAST TO MEET HIM.

TWO SHOT: DESICA PRACTICALLY FALLS INTO WATERMAN’S ARMS AND COLLAPSES TO THE GROUND.

WATERMAN
He’s out on his feet.

ON ALIEN: ON HIS KNEES, LOOKING O.S. TOWARDS DESICA.

ON DESICA: THE CREWMAN AND WATERMAN CROUCH DOWN BY HIM. DESICA’S LIPS MOVING FAST.

ON CREWMAN.

CREWMAN
He’s trying to say something.

ON WATERMAN.

WATERMAN
Yeah, his radio’s U.S.

HE GOES TO STAND UP BUT DESICA GRABS HIS ARM.

INSIDE HELMET THROUGH VISOR:

DESICA
Listen, there’s an alien... he’s a friend... he saved my life.

ON WATERMAN: HE PATS DESICA REASSURINGLY.

WATERMAN
Take it easy, Colonel. We can’t hear you. O.K., lift him up.

GROUP SHOT: THE CREWMAN AND WATERMAN LIFT DESICA TO HIS FEET AND START TO HELP HIM TOWARDS THE MOONMOBILE O.S., ONE ON EACH SIDE. DESICA PROTESTS, TRIES WEAKLY TO FREE HIMSELF, LOOKING BACK TOWARDS THE PLACE HE LEFT THE ALIEN.

ON DESICA: WE CANNOT HEAR WHAT HE IS SAYING THROUGH THE HELMET, AS HE TRIES DESPERATELY TO TELL HIS TWO RESCUERS ABOUT THE ALIEN.

GROUP SHOT: DESICA MANAGES TO WRENCH AN ARM FREE AND POINTS BACK TOWARDS THE ALIEN.

THE GROUP STOPS.

P.O.V. SHOT: FROM DESICA’S P.O.V. THROUGH THE VISOR FROM INSIDE HIS HELMET. WE HEAR THE WORDS BUT KNOW THE CREWMAN AND WATERMAN CANNOT.

DESICA
We can’t leave him. Don’t you understand... He’s back there...

ON WATERMAN AND CREWMAN.

WATERMAN
Take it easy, Colonel.

CREWMAN
What’s he trying to say?

WATERMAN
I don’t know. Let’s get him back to the mobile.

GROUP SHOT: THE CREWMAN AND WATERMAN BEGIN TO PRACTICALLY DRAG DESICA ALONG TOWARDS THE MOONMOBILE O.S.

ON DESICA: WE SEE HIS UNHEARD WORDS OF PROTEST. WITH A FINAL EFFORT, HE FREES HIMSELF, TURNS TO GO BACK BUT FALLS TO THE GROUND.

GROUP SHOT: WATERMAN BENDS DOWN BY DESICA LOOKING AT HIS FACE UNABLE TO MAKE SENSE OF HIS MOVING LIPS.

ON CREWMAN: STANDING LOOKING DOWN AT DESICA.

CREWMAN
Shall we carry him, sir?

ON WATERMAN.

WATERMAN
Hold it a minute.

HE LEANS FORWARD AND TOUCHES HIS VISOR TO DESICA’S.

C.S. WATERMAN: BY PRESSING HIS HELMET ONTO DESICA’S, WATERMAN IS ABLE TO CATCH A FEW SOUNDS THROUGH THE VISORS.

C.S. DESICA: INSIDE HIS HELMET, HIS VOICE A SHOUTING CROAK.

DESICA
There’s an alien about twenty yards back... he saved my life...

C.S. WATERMAN: INSIDE HELMET.

DESICA (VO - FAINT DISTORTED)
...don’t you understand... an alien!

WATERMAN
(To himself)
Alien...

HE LOOKS UP TO THE CREWMAN.

WATERMAN
He said something about an alien.

ON CREWMAN.

CREWMAN
An alien?

HE DRAWS HIS GUN, ALERT, LOOKING AROUND.

ON DESICA: SHAKING HIS HEAD FEEBLY.

P.O.V. SHOT: INSIDE DESICA’S HELMET THROUGH HIS VISOR.

DESICA
For God’s sake listen... No... no...

ON CREWMAN: LOOKING AROUND, HE REACTS.

P.O.V. SHOT: THE ALIEN STANDS UP.

ON ALIEN: CLOSE SHOT OF HIS FACE.

ON GUN: IT FIRES.

ON ALIEN: HE IS HIT AND FLUNG BACK.

ON DESICA: PROPPED UP ON HIS ELBOWS, LOOKING BACK TOWARDS THE ALIEN O.S., HIS FACE FILLED WITH HORROR.

ON ALIEN: HE STRETCHES OUT A HAND IN THE LUNAR DUST.

ON HAND: THE HAND GOES LIMP AS HE DIES.

ON DESICA: HE COLLAPSES INTO THE DUST IN ANGUISH.

CUT TO:

145. INT. CAR. DAY. (STUDIO) 8 SECS

FREEMAN SITS IN THE DRIVING SEAT. HE LIGHTS A CIGARETTE, THEN LOOKS OUT OF THE WINDOW TO:

CUT TO:

146. EXT. FLATS. DAY. (LOCATION) 4 SECS

FROM FREEMAN’S P.O.V.

CUT TO:

147. INT. FLAT. DAY. (STUDIO) 45 SECS

START ON TINA.

TINA
You’re right, I don’t understand.

SHE FEELS FOR THE WORDS.

TINA
I’m told you’re dead, then you’re alive. A month later, you turn up as if nothing has happened. I can’t take it any more.

A LONG PAUSE.

ANOTHER ANGLE: WE SEE SHE IS TALKING TO DESICA.

DESICA
You’ve always known there are things I can’t tell you.

TINA
About your job? Does it come before everything? Before me?

DESICA IS CAUGHT IN A TERRIBLE DILEMMA: HE WANTS TO TELL HER EVERYTHING, BUT KNOWS HE CANNOT.

DESICA
Tina...

SHE LOOKS AT HIM, DEMANDING AN ANSWER...

DESICA
I just can’t explain... I’m sorry.

TINA
So am I, Franco.

DESICA TAKES TINA BY THE SHOULDERS AND KISSES HER LIGHTLY ON THE FOREHEAD. THEN TURNS AND WALKS SLOWLY TO THE DOOR.

ON DESICA: HE TURNS BACK TO SAY SOMETHING, BUT THERE ARE NO WORDS. HE GOES OUT.

ON TINA: BACK TO THE DOOR. SHE REACTS AS SHE HEARS IT CLOSE AND SPINS TO IT. LOOKING AT A DOOR THAT HAS CLOSED, HER LIPS QUIVER. SHE STARTS TO SOB.

CUT TO:

148. EXT. FLATS. DAY. (LOCATION) 6 SECS

DESICA COMES OUT OF THE ENTRANCE AND WALKS TO THE CAR.

CUT TO:

149. INT. CAR. DAY. (STUDIO) 8 SECS

DESICA GETS IN.

FREEMAN STARTS THE CAR.

DESICA
I’ll buy you a drink, Alec.

FREEMAN
Fine.

CUT TO:

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

THE CAR DRIVES OFF AND ALONG.

CUT TO:

151. INT. CAR. DAY. (STUDIO) 8 SECS


DESICA LOOKS AT THE SMALL CONTAINER GIVEN TO HIM BY THE ALIEN WHEN HIS AIR SUPPLY RAN OUT.

FREEMAN
What’s that, Franco?

DESICA
This? A memento... from a friend.

ON DESICA.

DESICA
How about that drink?

CUT TO:

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

THE CAR SPEEDS AWAY FROM CAMERA.

FINAL FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES