For Entertainment And Educational Purposes Only
UFO
Series Premiere
"Identified"
THE SCRIPT FOR THE UFO EPISODE "IDENTIFIED" - Unknown Source
Transcription by Lisa Williams. Introduction by Marc Martin.
This is a transcription of a photocopy of a script for the UFO episode
"IDENTIFIED". The layout here is exactly the same as the original.
Spelling errors and typos in the original were left uncorrected.
Although the photocopy is of rather poor quality in places, this
transcription is complete. Page breaks are marked with a unique
character string, so if you would like to print out a copy of this
file and maintain the original page breaks, simply use a word
processor which allows you to replace these strings with page breaks.
The original had underlining for scene titles, which is not used here.
The original also had a few words of dialog underlined, and this is
marked here with the use of underscores _around_ the underlined words.
Some notable things about this script:
* Since IDENTIFIED was the first episode, this script has some interesting
descriptions of Moonbase (scene 63), Skydiver (scene 72),
SID (scenes 74-76), the Interceptors (scene 98), and the UFO (scene 134).
* The finished episode begins with a scene showing Leila and Peter
Carlin attacked by an Alien. This is not in the script. Instead,
Carlin relates the details of his sister's dissappearance to a fellow
Skydiver crew member (scene 73). In the finished episode, this incident
was tied to the formation of SHADO 10 years ago, but in the script it
only happened 2 years ago.
* In the script, the whole episode is a flashback from Leila Carlin's funeral.
However, in the finished episode, the funeral is only shown at the end.
* The Lt. Gay Ellis character did not exist at the time this script was
written. Gabrielle Drake was originally hired to play "Paula Harris",
one of the three Moonbase space trackers (the other two were Nina Barry
and Joan Harrington). To be in charge of Moonbase was "Franco Desica",
played by actor Franco Derosa. However, shortly into the filming
of the first episode, it became apparent that Derosa was too difficult
to work with, so he was fired and his character was replaced by Lt. Ellis
in some episodes and Col. Paul Foster in others. In this script,
Desica's lines were later transferred to Gay Ellis and Lew Waterman.
* The contrast between Straker's coldness and Freeman's warmth is stronger
in this script than in the finished episode.
* Some small incidental scenes in the script never made it to the finished
episode, including a conversation between Freeman and a studio receptionist
(scene 49), and some Moonbase-SID humor in scenes 86 and 95. On the other
hand, the scene in the finished episode with Straker scolding Lt. Ford
about security is not scripted here.
* Captain Peter Carlin's character is scripted here as "John Karlin".
* Col. Freeman is scripted as being Australian (scenes 49 and 125),
although this was not the case in the series.
* SHADO's original name slips through in the title of scene 154 --
"U.F.O. D.O." (Unidentified Flying Object Defence Organisation)
This script also has 3 pages of revisions and "new pages" at the end
which brings it a bit closer to the final episode. These pages are
included at the end of this file.
Enjoy!
------------------------------ CUT HERE --------------------------------
" U . F . O "
1 HOUR PILOT FILM
FOR TELEVISION SERIES
"IDENTIFIED"
by
GERRY & SYLVIA ANDERSON
and
TONY BARWICK
Additional Material
DONALD JAMES
c All Rights Reserved 1968
Century 21 Pictures
Stirling Road
Slough
Bucks, England.
***PAGE***
CAST LIST
SPEAKING PARTS:
PRIEST
ED STRAKER
PILOT (USAF)
GENERAL HENDERSON
MINISTER
SPECIAL BRANCH MAN
DOORMAN
RECEPTIONIST (JANIS)
MISS EALAND
ALEC FREEMAN
STEWARDESS
CO-PILOT
RADIO OPERATOR
PAULA HARRIS
JOANNA
FRANCO DESICA
GORDON MAXWELL
JOHN KARLIN
NINA BARRY
KURT MAHLER
VIRGINIA LAKE
PHIL WADE
MARK BRADLEY
SYLVIA HOWELL
DR. SHROEDER
DR. HARRIS
NURSE
VOICES OVER ONLY:
CONTROL (SCENE 4)
RADIO VOICE (VOICEPRINT)
RADIO VOICE (STEVENSON CONTROL)
S. I. D.
MATTHEWS
WATERMAN
MALE VOICE (HOSPITAL)
MASTERS
--------oOo--------
***PAGE***
SET LIST
INT. CREMATORIUM (STUDIO)
INT. CABIN USAF JET (LOCATION)
INT. USAF JET (STUDIO)
EXT. USAF JET (LOCATION)
EXT. ROLLS (LOCATION)
EXT. APRON (LOCATION)
EXT. AIRFIELD (LOCATION)
INT. ROLLS (STUDIO PROCESS)
EXT. COUNTRY ROAD (LOCATION)
EXT. EMBANKMENT (LOCATION)
EXT. WRECKAGE (LOCATION)
EXT. FILM STUDIO (LOCATION)
INT. STUDIO FOYER (LOCATION)
INT. STRAKER'S OUTER OFFICE (STUDIO)
INT. STRAKER'S OFFICE (STUDIO)
INT. UNDERGROUND CORRIDORS (STUDIO)
INT. SHADO CONTROL ROOM (STUDIO)
INT. STRAKER'S UNDERGROUND OFFICE (STUDIO)
INT. SEAGULL X-RAY FLIGHT DECK (STUDIO)
INT. CONTROL SPHERE MOONBASE (STUDIO)
INT. DINING AND LEISURE SPHERE (STUDIO)
INT. SLEEP SPHERE (STUDIO)
INT. CORRIDOR (MOONBASE)
INT. CAPTAIN'S CABIN SKYDIVER (STUDIO)
INT. S.I.D. (STUDIO)
INT. SKYDIVER CONTROL (STUDIO)
INT. V.I.P. LOUNGE (STUDIO)
INT. INTERCEPTOR (STUDIO)
INT. SKY 1 COCKPIT (STUDIO)
EXT. HOSPITAL (LOCATION)
INT. CORRIDOR 32 (STUDIO)
INT. MEDICAL CENTRE (STUDIO)
EXT. CAR PARK (LOCATION)
TIMINGS:
STUDIO 38 mins 52 secs
LOCATION 7 mins 07 secs
SP/EFFECTS 5 mins 15 secs
-----------------
TOTAL: 51 mins 14 secs
-----------------
***PAGE***
SPECIAL EFFECTS SETS
EXT. ROAD
EXT. CAR (ROLLS)
EXT. SEAGULL X-RAY
EXT. STEVENSON AIR BASE
EXT. MOONBASE
EXT. SKYDIVER
EXT. S.I.D.
EXT. SKY
INT. INTERCEPTOR SPHERE
EXT. SPACE
EXT. INTERCEPTORS
EXT. SKY 1
EXT. U.F.O.
EXT. SEASCAPE
EXT. UNDERWATER
--- --- ---
***PAGE***
CENTURY 21 PICTURES LIMITED
SCRIPT COLOUR CODE
ORIGINAL WHITE
1ST CHANGE BLUE
2ND CHANGE LEMON
3RD CHANGE OLD GOLD
4TH CHANGE PINK
5th or more changes repeat code starting with BLUE
EACH PAGE TO BE DATED
***PAGE***
1
FADE IN:
ACT ONE
1 M.S. DATE (STUDIO) 5 SECS
AGAINST A PLAIN B.G. SUPERIMPOSE THE DATE
"1980 A. D."
MIX TO:
2 INT. CREMATORIUM. DAY. (STUDIO) 16 SECS
START CLOSE ON A CARD (IT READS "LEILA KARLIN -
MY DEAREST SISTER - JOHN") - ATTACHED TO A
FUNERAL WREATH.
PULL BACK - WE SEE THE FLOWER COVERED COFFIN
ON THE PLINTH BEFORE THE OAK PANNELLED ALTAR
PIECE. WE ARE IN A CREMATORIUM.
AS WE TRACK BACK WE PICK UP A PRIEST, LEADING THE
PRAYERS. THEN LITTLE GROUPS OF PEOPLE IN TWO'S
AND THREE'S SITTING IN THE ROWS OF SEATS. MAYBE
6 TO 8 PEOPLE IN ALL.
PRIEST
(over the track)
O Lord, Creator and redeemer
of all the World, we are gathered here
to commend to Thy keeping the soul
of Thy servant departed. Let us pray,
etc.....
(refer last page in script)
CUT TO:
3 M.S. - GROUP 6 SECS
WE FEATURE JOHN KARLIN, THE DEAD GIRL'S BROTHER
AND HIS PARENTS, STANDING AT THE BACK WE SEE A
MAN -- PULL FOCUS ONTO HIM.
CUT TO:
4 M.S. - MAN 15 SECS
NEAR THE DOOR - APART, NOT ONE OF THE FAMILY OR
CLOSE FRIENDS. HIS DARK SUIT HAS A MODERN FEEL.
HIS NAME : ED STRAKER.
STRAKER
(thought voice - slow)
Leila Karlin died aged 23 ... or was
it 25 ... Almost two years ago ... or
last week ... Who can say ? The long
finger of tragic coincidence stretching
across a billion miles of space.
***PAGE***
4 (continued) 2
WE ARE IN CLOSE UP ON HIS FACE .... THOUGHTFUL,
REMEMBERING...
MIX TO:
5 INT. U.S.A.F. JET - DAY (STUDIO) 11 SECS
START CLOSE ON STRAKER'S EYES. PULL BACK. HE
IS TEN YEARS YOUNGER THAN 1N THE CREMATORIUM.
HE WEARS THE UNIFORM OF A COLONEL IN THE U.S.A.F.
HE IS READING A PAPER.
WE PULL BACK. IN THE WINDOW SEAT NEXT TO STRAKER
SITS GENERAL HENDERSON U.S.A.F. THE GENERAL IS
ASLEEP.
ON PAPER:
WE SEE THE HEADLINE: "1970 WORLD CUP STARTS IN
MEXICO".
CUT TO:
6 INT. CABIN. DAY. (LOCATION) 8 SECS
THE PILOT AND CO-PILOT AT THE CONTROLS.
CONTROL (VO DISTORT)
Able red seven - clear on 023.
PILOT
023 - Roger.
THE CO-PILOT LEANS TO THE CONTROL OPERATING THE
'FASTEN SEAT BELTS' PANEL IN THE PASSENGER
SECTION.
CUT TO:
7 INT. U.S.A.F. JET (STUDIO) 9 SECS
THE 'FASTEN SEAT BELT' SIGN LIGHTS. STRAKER
LOOKS DOWN AND FINDS HIS SEAT BELT.
THE MOVEMENT WAKES THE GENERAL : HE NOTICES
THE ILLUMINATED SIGN.
BOTH MEN FASTEN THEIR SEAT BELTS.
CUT TO:
8 CS - STRAKER 7 SECS
THE ANGLE HAS ALTERED. THE SUN GLARES THROUGH
THE AIRCRAFT WINDOW. STRAKER PUTS ON HIS SUN
GLASSES.
CUT TO:
***PAGE***
3
9 EXT. U.S.A.F. JET. DAY. (LOCATION) 6 SECS
MAKING ITS FINAL APPROACH TO AN AIRBASE IN
SOUTHERN ENGLAND.
CUT TO:
10 EXT. RUNWAY. DAY. (LOCATION) 7 SECS
THE JET TOUCHES DOWN.
CUT TO:
11 EXT. ROLLS. DAY. (LOCATION) 8 SECS
START CLOSE ON THE FRONT. PULL BACK AS IT
SMOOTHES AWAY AND WE CATCH A GLIMPSE OF THE
POLICE MOTOR CYCLE ESCORT.
CUT TO:
12 EXT. APRON. DAY. (LOCATION) 15 SECS
A FEELING OF CONTROLLED URGENCY. AS THE JET
SWINGS AND SLOWS, THE STEPS ARE PUSHED FORWARD.
THE ROLLS SLIDES INTO POSITION. THE ESCORT
STOPPING NEARBY.
CUT TO:
13 EXT. U.S.A.F. JET. DAY. (LOCATION) 17 SECS
THE DOOR IS ALREADY OPEN AS THE JET STOPS. A
UNIFORMED CREWMAN STANDS BY IT. GENERAL
HENDERSON PUTS ON HIS CAP. BEHIND HIM STRAKER,
A SLIM DOCUMENT CASE UNDER HIS ARM.
PULL BACK AS:
THE STEPS ARE PUSHED INTO POSITION. THE CREWMAN
COMES OUT, STANDS TO ONE SIDE AT THE TOP. HE
SNAPS TO ATTENTION, SALUTES AND HOLDS IT AS THE
GENERAL, FOLLOWED BY STRAKER, COMES OUT
AND DOWN THE STEPS, HOLDING THEIR CAPS
AGAINST THE STILL STRONG SLIPSTREAM OF THE
DYING JETS.
CUT TO:
14 EXT. APRON. DAY. (LOCATION) 14 SECS
THE GENERAL AND STRAKER WALK BRISKLY PAST
A COUPLE OF SALUTING GROUND PERSONNEL TO THE
ROLLS. A U.S.A.F. OFFICER HOLDS OPEN THE DOOR.
THE GENERAL AND STRAKER GET INTO THE CAR. THE
DOOR IS CLOSED.
CUT TO:
***PAGE***
4
15 C.S. FOOT START 4 SECS
THE FOOT START ON A POLICE MOTOR CYCLE IS
KICKED, THE ENGINE REVS THROATILY TO LIFE.
CUT TO:
16 EXT. AIRFIELD. DAY. (LOCATION) 8 SECS
THE MOTORCADE OF THE ROLLS WITH ITS ESCORT
OF TWO POLICE MOTOR CYCLES SWEEPS AWAY.
THE WHOLE SEQUENCE HAS CONVEYED AN URGENT
V.I.P. ARRIVAL.
CUT TO:
17 INT. ROLLS. DAY. (STUDIO PROCESS) 15 SECS
THE GENERAL SITS IN THE BACK SEAT, AT HIS SIDE
A BRITISH CABINET MINISTER. ABOUT 45, DRESSED
CONSERVATIVELY (NOT IN PIN STRIPES).
STRAKER SITS ON A PULL-DOWN SEAT FACING THEM.
A GLASS SOUND-PROOF PARTITION SEPARATES THEM
FROM THE CHAUFFEUR AND A SPECIAL BRANCH MAN.
GENERAL
Minister, this is Colonel Straker.
AS THEY SHAKE HANDS.
MINISTER
A shattering business, Colonel.
THE MINISTER TURNS TO SPEAK TO THE GENERAL.
MINISTER
The Prime Minister is already at
Chequers.
(checks his watch)
We'll be there in thirty minutes.
CUT TO:
18 EXT. COUNTRY ROAD. DAY. (LOCATION) 7 SECS
THE MOTORCADE UP AND PAST ALONG THE TREE-LINED
COUNTRY ROAD. MOVING AT AROUND 40 M.P.H. THE
SKY IS OVERCAST, A ROLL OF THUNDER SOMEWHERE IN
THE DISTANCE.
CUT TO:
19 INT. ROLLS. DAY. (STUDIO PROCESS) 19 SECS
THE THREE MEN AS BEFORE.
***PAGE***
MINISTER 5
We've been in constant communication
with Paris, Moscow and Bonn during
your visits. I think the British
Government's approval will be a
formality .
GENERAL
The evidence is absolutely conclusive.
MINISTER
Yes.
(a beat)
If I might just er .......
HE IS ASKING TO SEE THE EVIDENCE.
GENERAL
Surely .....
(to Straker)
Colonel.
STRAKER TAKES THE DOCUMENT CASE WHICH WE SEE
IS ATTACHED TO HIS WRIST BY A THIN STEEL CHAIN.
CUT TO:
20 C.S. - DOCUMENT CASE 8 SECS
MINISTER (VO)
It may speed things up a little.
STRAKER'S HAND OPENS A SOPHISTICATED YET SMALL
LOCKING DEVICE. WE ALSO NOTICE A "DESTRUCT"
MECHANISM DISGUISED AS A NAME PLATE. STRAKER'S
HAND SLIDES THE TOP OF THIS ACROSS AND IT NOW
READS "DESTRUCT NEGATIVE". HE OPENS THE CASE.
CUT TO:
21 INT. ROLLS. DAY. (STUDIO PROCESS) 53 SECS
STRAKER TAKES A FILE FROM THE DOCUMENT CASE
AND HANDS IT TO THE MINISTER. HE GLANCES A
LITTLE APPREHENSIVELY AT THE GENERAL, THEN
OPENS THE FIRST PAGE.
ALTHOUGH HE ALREADY HAS KNOWLEDGE OF THE
CONTENT THE MINISTER'S FACE REVEALS HE IS STILL
SHOCKED BY WHAT HE SEES.
A ROLL OF THUNDER MAYBE A LITTLE NEARER NOW.
THE MINISTER TURNS A PAGE.
MINISTER
My God ....
CUT TO:
***PAGE***
21 (continued) 6
C.S. - PAGE
A QUICK SHOT OF THE PAGE. THE TOP HALF IS AN
OFFICIAL PHOTOGRAPH OF A MUTILATED BODY.
THE BOTTOM TYPED DETAILS.
RESUME SCENE:
THE MINISTER TURNS A FEW MORE PAGES. SLOWLY,
HIS FACE GRIM. HE GLANCES UP TO THE GENERAL.
GENERAL
The clincher is at the back.
THE MINISTER LOOKS DOWN AT HIM A SECOND OR TWO
THEN TURNS TO THE END OF THE FILE. IT IS A FULL
PAGE PHOTOGRAPH BUT WE CANNOT SEE WHAT IT IS
IN ANY DETAIL.
STRAKER
An enlarged single frame from
the cine film.
THE MINISTER LOOKS UP.
MINISTER
(slowly)
It couldn't possibly be a fake ?
GENERAL
The film was found undeveloped,
still in the camera. It's genuine.
Take my word for it.
THE MINISTER SLOWLY CLOSES THE FILE. THE THREE
MEN SIT IN SILENCE. ALL REALISE THE TREMENDOUS
IMPLICATIONS.
CUT TO:
22 EXT. COUNTRY ROAD. DAY. (LOCATION) 7 SECS
THE MOTORCADE UP AND PAST. THE OVERCAST SKY,
THE GLEAMING ROLLS, THE PRECISION OF THE ESCORT,
GIVE A DRAMATIC EFFECT. A ROLL OF THUNDER
PERHAPS A LITTLE NEARER.
23 CS - POOL OF WATER 3 SECS
A JOLTING SHOT AS ONE OF THE ROLLS WHEELS
CASCADES THROUGH THE PUDDLE.
24 INT. ROLLS. DAY (STUDIO PROCESS) 6 SECS
SHOOTING BETWEEN THE CHAUFFEUR AND THE BROAD
SHOULDERS OF THE SPECIAL BRANCH MAN. WE SEE
***PAGE***
24 (continued) 7
THE LONG SMOOTH BONNET, AND THE TWO RIDERS OUT
FRONT .
25 CS - POLICE OUTRIDER (LOCATION) 6 SECS
THE ONE RIDING OFF SIDE FRONT. WE HEAR A NOISE
OVER, NOT LOUD, BUT CONVEYING INTENSITY AND
POWER.
THE POLICEMAN LOOKS SKYWARD THROUGH DARK
GOGGLES.
26 POV SHOT 4 SECS
FROM HIS POV, THE OVERCAST SKY, FRAMED BY
THE TREETOPS OVERHANGING THE ROAD AS THEY
FLASH BY.
27 EXT. MOTORCADE. DAY. (LOCATION) 5 SECS
THE SOUND INCREASING IN INTENSITY, STRANGE AND
SOMEHOW OMINOUS.
28 CS - OUTRIDER (LOCATION) 4 SECS
HE MIMES AN UNHEARD MESSAGE INTO A MIKE, A
COUPLE OF INCHES FROM HIS MOUTH . HELD IN
PLACE BY A CURVE OF METAL FROM HIS HELMET.
CUT TO:
29 INT. ROLLS. DAY. (STUDIO PROCESS) 7 SECS
THE CHAUFFEUR AND THE SPECIAL BRANCH MAN IN
THE FRONT SECTION. THE SPECIAL BRANCH MAN HOLDS
A MIKE FROM THE DASHBOARD.
SPECIAL
BRANCH MAN
(into mike)
Right ....
HE TURNS TO THE CHAUFFEUR.
SPECIAL
BRANCH MAN
Keep pace with the escort.
CUT TO:
30 EXT. MOTORCADE. DAY. (LOCATION) 6 SECS
THE MOTORCADE BEGINS TO MOVE. THE ENGINE
NOTES TIGHTEN AS THROTTLES ARE OPENED UP.
THE SOUND OVERHEAD STILL BUILDS.
CUT TO:
***PAGE***
8
31 EXT. ROAD. DAY. (LOCATION) 5 SECS
SUDDENLY A SHAFT OF LIGHT FROM OVERHEAD.
AN EXPLOSION BY THE ROADSIDE. THE SOUND NOW
AT FULL PITCH.
CUT TO:
32 INT. ROLLS. DAY. (STUDIO PROCESS) 10 SECS
STRAKER, THE GENERAL AND THE MINISTER, LOOKING
BACK AT THE EXPLOSION. THE MINISTER STILL HOLDING
THE FILE.
STRAKER
I'll take the file, sir.
THE MINISTER GOES TO HAND HIM THE FILE. ANOTHER
EXPLOSION SOMEWHERE NEAR.
STRAKER
(urgent)
Down.
CUT TO:
33 EXT. MOTORCADE. DAY. (LOCATION) 12 SECS
FLASHES OF LIGHT AND EXPLOSIONS FROM THE CLOUDS.
ONE OF THE FRONT POLICE ESCORT IS HIT. HE
FALLS IN THE PATH OF THE ROLLS. IT JUST MANAGES
TO TWIST PAST HIM IN A SWERVING SKID.
THE EXPLOSIONS BUILD IN FREQUENCY. THE OTHER
OUTRIDER IS HIT AND CRASHES.
CUT TO:
34 EXT. ROLLS. DAY. (LOCATION) 2 SECS
A BLINDING FLASH AS THE WINDSCREEN IS HIT.
CUT TO:
35 INT. ROLLS. DAY (STUDIO PROCESS) 3 SECS
A VERY FAST SHOT. THE DRIVER SCREAMS. CLUTCHING
HIS EYES.
CUT TO:
36 EXT. ROAD. DAY (LOCATION AND VISUAL EFFECTS) 8 SECS
THE ROLLS SWERVES OFF THE ROAD, CRASHES THROUGH
A PARAPET AND CASCADES DOWN AN EMBANKMENT.
CUT TO:
***PAGE***
9
37 EXT. EMBANKMENT. DAY. (LOCATION) 6 SECS
STRAKER TUMBLES DOWN THE SLOPE. HE HAS BEEN
THROWN OUT OF THE CAR. WE HEAR THE ROLLS
EXPLODE OVER.
CUT TO:
38 MS - ROLLS. DAY. (VISUAL EFFECTS) 6 SECS
FLAMES DEVOURING THE CAR. WRECKAGE STREWN
ABOUT.
CUT TO:
39 MS - STRAKER (LOCATION) 10 SECS
THE TERRIFYING NOISE HAS STOPPED. SLOWLY
HE LIFTS HIS HEAD. OVER WE HEAR THE CRACKLE
OF THE FLAMES. PAINFULLY STRAKER BEGINS TO
GET TO HIS FEET.
CUT TO:
40 EXT. CAR. (VISUAL EFFECTS) 5 SECS
A MASS OF FLAMES. THERE IS OBVIOUSLY NO HOPE
FOR THE OCCUPANTS.
CUT TO:
41 CS - STRAKER (LOCATION) 7 SECS
STARING AT THE FLAMES, A TRICKLE OF BLOOD ON
HIS FACE. BY A QUIRK OF IMPACT HE STILL HAS THE
BRACELET AND SMALL LENGTH OF CHAIN HANGING
FROM HIS WRIST, BUT THE CASE HAS GONE.
CUT TO:
42 EXT. WRECKAGE. DAY. (VISUAL EFFECTS) 15 SECS
TRACK IN ON THE BURNING WRECKAGE. WE GO IN
CLOSE ON THE FILE ON THE GROUND. MOST OF THE
CONTENTS ARE BURNT. ONE PICTURE CURLS AWAY
AS IT BURNS TO REVEAL THE LAST PAGE: THE
'CLINCHER' THE MINISTER SAW IN THE CAR.
WE GO INTO BIG CLOSE UP OF THIS. AS THE MUSIC
REACHES A CLIMAX WE SEE IT IS A PHOTOGRAPH OF
A U.F.O.
FREEZE FRAME:
SUPERIMPOSED IN FAIRLY SMALL TYPE, "UNIDENTIFIED
FLYING OBJECT". THE FIRST LETTER OF EACH WORD
ZOOMS FORWARD TO CREATE THE SERIES TITLE "U.F.O."
***PAGE***
42 (continued) 10
RESUME ACTION:
THE PHOTOGRAPH CONTINUES TO BURN.
FADE OUT:
FADE IN:
43 EXT. FILM STUDIO. DAY. (LOCATION) 35 SECS
COME UP ON A SIGN IN MODERN TYPE-FACE AND
COLOUR:
"HARLINGTON-STRAKER FILM STUDIOS"
IN THE B.G. A VERY MODERN GLASS AND CONCRETE
BUILDING. A FILM PROP IS TRUNDLED THROUGH SHOT,
AN OLD CANNON PERHAPS.
NOW IMMEDIATELY TAKE:
ANOTHER ANGLE
A FUTURISTIC CAR SWEEPS ACROSS THE CAR PARK AND
HALTS IN FRONT OF THE BUILDING. OVER THIS AND THE
FOLLOWING SHOTS, _SUPERIMPOSE CREDITS_:
TIGHTEN ON THE CAR AS A STUDIO GUARD STEPS INTO
SHOT ABOUT A YARD FROM THE CAR - THE GULL-WING
DOORS SPRING OPEN AND A MAN HUSTLES OUT PAST THE
GUARD - WHO HAS TOUCHED HIS CAP. IT IS STRAKER,
AGED AS WE SAW HIM IN THE CREMATORIUM. HE
BLATANTLY IGNORES THE SALUTE, MOVES BRISKLY PAST
WITHOUT THE MEREST ATTEMPT AT ACKNOWLEDGEMENT.
AS HE REACHES THE ENTRANCE TO THE STUDIO BUILDING
A DOORMAN PULLS OPEN THE DOUBLE GLASS DOORS.
DOORMAN
Good morning, sir.
AGAIN STRAKER LOOKS THROUGH HIM - MAKES NO
ATTEMPT AT ACKNOWLEDGEMENT - AND PASSES ON
AS WE -
CUT TO:
44 INT. STUDIO FOYER. DAY. (LOCATION) 9 SECS
A COUPLE OF EXTRAS DRESSED AS PIRATES WALK
THROUGH SHOT; ONE EATS AN ICE CREAM. AT A
RECEPTION DESK A YOUNG ATTRACTIVE RECEP-
TIONIST SITS - SHE LOOKS UP AS STRAKER ENTERS.
***PAGE***
44 (continued) 11
RECEPTIONIST
Good morning, sir.
STRAKER GRUNTS - STRIDES PAST.
CUT TO:
45 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO) 18 SECS
A WOMAN IN HER LATE THIRTIES SITS BEHIND A
FUTURISTIC DESK - SHE IS STRAKER'S PRIVATE
SECRETARY - MISS EALAND. NO LONGER YOUNG,
CERTAINLY NOT DOLLY - A WOMAN WHO HAS PERHAPS
ABSORBED SOME OF THE SEVERITY OF THE MAN SHE
WORKS FOR - OR LIKES TO THINK SHE HAS.
THE ROOM IS NOT LARGE. IT'S FUTURISTIC LATE
TWENTIETH-CENTURY.
TO MISS EALAND'S LEFT A DOOR LEADS OFF INTO AN
INNER OFFICE - APPARENTLY A SIMPLE SLIDING DOOR.
ABOVE IT, A SMALL GLASS-FACED RECTANGULAR
PANEL.
NOW SEE MISS EALAND'S EYES FLICK TOWARDS THE
MAIN DOOR OPPOSITE HER DESK AS IT OPENS AND STRAKER
MAKES ONE OF HIS HEADLONG ENTRANCES - PROPELLING
HIMSELF ACROSS THE ROOM.
STRAKER
Messages ?
HE SWEEPS BY HER AND ENTERS HIS OFFICE - MISS
EALAND COLLECTS HER NOTEBOOK AND PENCIL AND
FOLLOWS HIM.
CUT TO:
46 INT. STRAKER'S OFFICE. DAY. (STUDIO) 25 SECS
WE ARE SURPRISED TO FIND A RELATIVELY SMALL
OFFICE FOR SUCH AN IMPORTANT MAN - STRAKER
CROSSES BEHIND HIS DESK - SITS IN HIS SWIVEL CHAIR -
ROTATES A FULL CIRCLE AND IS NOW FACE TO FACE
WITH MISS EALAND, WHO IS SEATED IN FRONT OF THE
DESK.
MISS EALAND
Information - Q. 21 - answer
negative.
(a beat)
... Q. 46 - satellite link effective
(a beat)
... Q. 97 - zero zero - computer
readouts available from today.
***PAGE***
46 (continued) 12
STRAKER
Have them put straight through to
me.
MISS EALAND
Yes, sir.
MISS EALAND TURNS TO LEAVE.
CUT TO:
47 INT. STRAKER'S OUTER OFFICE. (STUDIO). DAY. 8 SECS
MISS EALAND COMES BACK INTO THE OUTER OFFICE.
AS THE DOOR CLOSES WE HEAR ELECTRONIC BOLTS
SLIDE INTO POSITION. THE RECTANGULAR PANEL
ABOUT THE DOOR ILLUMINATES WITH THE WORDS "DO
NOT ENTER".
CUT TO:
48 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOC.) 18 SECS
A CAR - SIMILAR TO THE ONE WE SAW BEFORE - MOVES
UP TO THE ENTRANCE. THE GULL-WING DOORS FLIP.
THE GUARD STEPS FORWARD, SALUTES THE MAN WHO
GETS OUT AND RECEIVES IN RETURN A FRIENDLY WAVE.
ON THE MAN.
AS HE STROLLS TOWARDS THE MAIN DOORS. HE IS ALEC
FREEMAN - RELAXED - EASY GOING - LATE THIRTIES -
AS HE REACHES THE GLASS DOOR WE SEE THE DOORMAN
STEP FORWARD TO OPEN IT AND -
CUT TO:
49 INT. STUDIO RECEPTION. DAY. (LOCATION) 52 SECS
AS FREEMAN PASSES THROUGH THE DOORS.
DOORMAN
Good morning, Mr. Freeman.
FREEMAN
Hallo there, George. The boss in ?
FREEMAN'S ACCENT - AUSTRALIAN.
DOORMAN
Mr. Straker ?
ALEC FREEMAN GRINS.
***PAGE***
49 (continued) 13
FREEMAN
Who else ?
THE DOORMAN NODS AGREEMENT.
DOORMAN
About ten minutes ago.
(a beat)
Will you sign in, sir ?
FREEMAN NODS. HEADS FOR THE RECEPTIONIST -
SHE LOOKS UP, SMILES AT FREEMAN, HANDS HIM UP
A REGISTER WITH HER LEFT HAND - FREEMAN LOOKS
DOWN AT THE RINGLESS THIRD FINGER. TAKES HER
HAND AND INDICATES THE ABSENCE OF A WEDDING
BAND.
FREEMAN
Nobody snapped you up yet, Janis ?
JANIS
You mean since Tuesday - when
you last asked me ?
FREEMAN TAKES A PEN.
FREEMAN
Did I?
(a beat)
I'11 have to develop a fresh line of
patter - no wonder I haven't
scored lately !
NOW CLOSE ON BOOK... AT THE TOP OF THE PAGE
THE PRINTED DATE - JUNE 23RD 1980 -- FREEMAN
SIGNS IN.
RESUME JANIS.
JANIS
Mr. Straker ?
ANOTHER ANGLE:
FREEMAN NODS. SHE REACTS "TOUGH LUCK" AND
APPLIES HERSELF TO THE REGISTER.
JANIS
And the best of luck !
FREEMAN GRINS AND AS HE TURNS AWAY, WE:
CUT TO:
***PAGE***
14
50 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO)
WIDE ANGLE ON THE ROOM - MISS EALAND IS AT HER
DESK - THE RECTANGULAR PANEL ABOVE THE DOOR
STILL READS "DO NOT ENTER"
TIGHTEN NOW ON HER AS SHE CONCENTRATES ON A
SHEET OF FIGURES. SEE HER HANDS STRETCH OUT
FOR A PEN - FUMBLING FOR IT - NOT LOOKING.
TIGHTEN ON HER HAND AS A MAN'S HAND COMES INTO
SHOT - COVERS HERS.
AND TAKE IMMEDIATELY:
ANOTHER ANGLE.
TO SEE ALEC FREEMAN'S FACE IN C.U. LOOKING DOWN
AT HER.
FREEMAN
You know something, sweetie....
You and I were made for each other.
MISS EALAND GLANCES UP AT HIM SEVERELY -
UNABLE TO RETRIEVE HER TRAPPED HAND, SHE LEANS
ACROSS WITH HER OTHER HAND AND FLICKS THE INTER-
COM.
MISS EALAND
(perfectly controlled)
Mr. Freeman to see you, sir.
STRAKER
(VO - distort)
Send him in.
NOW ANGLE TO SEE THE "DO NOT ENTER" SIGN CHANGE -
LOSING THE FIRST TWO WORDS IT NOW READS "ENTER".
AT THE SAME TIME WE HEAR THE CLICK OF THE
ELECTRONICALLY CONTROLLED BOLTS OPERATING
THE DOOR.
ON MISS EALAND.
HER HAND STILL TRAPPED.
MISS EALAND
Alright, Mr. Freeman.
FREEMAN FREES HER HAND - BENDS FORWARD.
FREEMAN
(confidentially)
The girl in reception calls me
Alec ....
***PAGE***
50 (continued) 15
MISS EALAND
So ... ?
FREEMAN
(surprised)
Doesn't that inflame you with
jealousy ?
SHE GIVES HIM A BLANK UNCOMPREHENDING LOOK -
AS HE WALKS TOWARDS THE OFFICE DOOR.
ON FREEMAN
AS HE REACHES THE DOOR IT SLIDES OPEN - NOW, AS
HE STEPS INTO THE DOORWAY, TIGHTEN ON FREEMAN'S
FACE AND :
CUT TO:
51 INT. STRAKER'S OFFICE. DAY. (STUDIO) 41SECS
FREEMAN'S EYELINE:
THE ROOM IS EMPTY.
RESUME FREEMAN.
HE SHOWS NO SURPRISE - BUT MOVES FORWARD AND
STANDS NEXT TO THE DESK AS THE DOOR SLIDES CLOSED
BEHIND HIM.
FREEMAN PERCHES ON THE EDGE OF THE DESK - OPENS
A CIGARETTE BOX, ALTHOUGH WE CLEARLY SEE IT IS
FULL OF CIGARETTES HE IGNORES THIS, TAKES ONE OF
HIS OWN AND LIGHTS IT.
TIGHTEN ON HIS FACE AND HEAR, APPARENTLY TOTALLY
OUT OF CHARACTER, THE LINES:
FREEMAN
(Shakespearian tones)
But soft. What light through
yonder window breaks ? It is
the East - and Juliet is the sun.
A FEW SECONDS PAUSE.
RADIO (VO - distort)
Voice print ... positive identification
nine seven ... Freeman, Alec E.
WE REALISE THE CIGARETTE BOX OPERATED THE VOICE
CHECK.
FREEMAN CLOSES THE LID, THEN DROPS INTO THE
CHAIR BEHIND THE DESK, WITH HIS BACK TO A
WINDOW COVERED BY A HALF-OPEN VENETIAN BLIND.
***PAGE***
51 (continued) 16
THROUGH THE SLATS OF THE BLIND WE LOOK OUT ONTO
A SMALL WALLED GARDEN. PAVED AND WITH A FEW
STONE ORNAMENTS.
CUT TO:
52 PROCESS SHOT 8 SECS
AS WE HEAR THE SOFT WHIRR OF EQUIPMENT, THE
GARDEN ELEVATES UP. THE WHOLE ROOM IS DES-
CENDING LIKE A LIFT.
CUT TO:
53 INT. STRAKER'S OFFICE. (STUDIO) 11 SECS
THE LIFT HAS NOW REACHED THE BOTTOM OF THE
SHAFT A DOOR THAT ORIGINALLY LED TO MISS
EALAND'S OFFICE OPENS - ALEC FREEMAN LOOKS UP.
ANOTHER ANGLE:
FREEMAN'S EYELINE:
AN ATTRACTIVE BLONDE UNIFORMED BASE STEWARDESS
IS PASSING THE DOORWAY -- SHE SMILES.
STEWARDESS
Good morning, sir.
FREEMAN (VO)
'Morning.
CUT TO:
54 INT. UNDERGROUND CORRIDORS - SHADO H.Q. 25 SECS
FREEMAN STANDS A MOMENT APPRECIATING THE REAR
VIEW AS THE GIRL WALKS OFF. THEN STARTS DOWN THE
BARE CONCRETE CORRIDOR.
AS HE WALKS HE PASSES OTHER PEOPLE - IN UNIFORM -
ON DUTY IN THE COMPLEX. WE ARE IN SUPREME
HEADQUARTERS ALIEN DEFENCE ORGANISATION (SHADO).
IN A SERIES OF ANGLES WE ESTABLISH THE EXTENT OF
THE COMPLEX - - SEEMINGLY INNUMERABLE IDENTICAL
LENGTHS OF GREY CONCRETE CORRIDOR - DIMLY LIT.
WITH ANONYMOUS DOORS LEADING OFF.
OUTSIDE ONE SUCH DOOR FREEMAN STOPS. THE PHOTO-
CELLS ARE IN CIRCUIT AND IT OPENS. FREEMAN ENTERS.
CUT TO:
***PAGE***
17
55 INT. SHADO CONTROL ROOM. DAY. (STUDIO) 20 SECS
THE FIRST IMPRESSIONS ARE THE MASS AND RANGE OF
EQUIPMENT.
IN THE CENTRE OF THE ROOM IS A MASTER CONTROL
CONSOLE, AGAINST A WALL ANOTHER CONSOLE;
ABOVE IT TWO BUILT-IN TV MONITORS. A LITTLE TO
ONE SIDE STANDS A PORTABLE TV MONITOR WHICH CAN
BE USED IN ANY PART OF THE ROOM. ALONG THE
OTHER WALLS, COMPUTERS FLASH AND CHATTER.
A SENSE OF CONSIDERABLE ACTIVITY PERVADES THE
CONTROL ROOM - COLOURED LIGHTS FLASH; OPERATIVES
REPEAT NUMBER SEQUENCES. THE SUBTLE CEILING
LIGHTING IS SUBDUED.
FREEMAN WALKS PAST OPERATIVES SMILING HELLO.
HE CROSSES THE ROOM AND STANDS BEFORE A PAIR
OF DOUBLE STEEL DOORS, ALMOST IMMEDIATELY THEY
BEGIN TO SLIDE OPEN.
CUT TO:
56 INT. STRAKER'S SHADO UNDERGROUND OFFICE. 82 SECS
(STUDIO)
FREEMAN ENTERS. THE DOORS CLOSE BEHIND HIM.
STRAKER HAS REMOVED THE JACKET OF HIS DUAL PURPOSE
SUIT AND IS NOW DRESSED IN THE UNIFORM OF SUPREME
COMMANDER OF SHADO. HE WORKS AT HIS DESK.
STRAKER
(eyes on paperwork)
Won't keep you a moment, Alec.
FINALLY HE LOOKS UP AT FREEMAN.
FREEMAN
Trouble ?
STRAKER
Why else would I send for you ?
STRAKER PRESSES A BUTTON ON HIS DESK. A BUILT-IN
TV MONITOR AT THE SIDE OF THE ILLUMINATED SPACE
CHART NOW SHOWS A PICTURE OF THE RUINS OF A
MODERN BUILDING.
FREEMAN
That's Westbrook Electronics
isn't it ?
STRAKER
What's left of it.
***PAGE***
56 (continued) 18
FREEMAN
What happened ?
STRAKER
For ten years there have been set-
backs ... We've had accidents,
errors of judgement and other mis-
haps. Let's put Westbrook Electronics
down to ... other mishaps.
FREEMAN
You mean a U.F.O ?
STRAKER
There's no proof ....
STRAKER SHRUGS.
FREEMAN
So bang goes the Utronic project.
Just as we thought we had something
to really track down these bastards.
STRAKER SMILES TO HIMSELF, WATCHES FREEMAN A
MOMENT.
STRAKER
Don't look so down, Alec. The
Utronic equipment is safe.
FREEMAN GIVES HIM AN ENQUIRING LOOK.
STRAKER
It wasn't in the building. It's
intact, fully tested, ready for
shipment... The breakthrough...
SHADO have had moonbase and the
satellites operational for a few
months - we've made a number of
U.F.O. sightings, but no interceptions.
We've got the teeth; soon we'll have
the eyes....
FREEMAN
It's what we've worked for.
STRAKER
(official)
Freeman, you know how important
this is to our whole organisation.
The Utronic equipment and the
design team are ready to be picked up in
Los Angeles and flown to England. I'm
making you responsible for the security
of the entire operation. I mean you ....
personally.
***PAGE***
56 (continued) 19
FREEMAN STANDS, CONSIDERING : STRAKER HAS
PUT HIM ON THE SPOT.
FREEMAN
Right.
HE TURNS AND LOOKS HARD AT STRAKER.
CUT TO:
57 EXT. SHADO SUPERSONIC TRANSPORT - SEAGULL
X-RAY (VISUAL EFFECTS) 8 SECS
A SUPERSONIC TRANSPORT AIRCRAFT IS ON ITS APPROACH
RUN TO STEVENSON AIR BASE, SOMEWHERE NEAR LOS
ANGELES. ITS NOSE IS LIFTED HIGH AND ITS ATTITUDE
TYPICAL OF AN S.S.T. LANDING APPROACH. ON ITS
SIDE "SHADAIR".
CUT TO:
58 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO) 30 SECS
START ON ALEC FREEMAN AT THE CONTROLS - AT
HIS SIDE HIS CO-PILOT BILL JOHNSON AND TO THE REAR -
THE NAVIGATOR DAVID WORTH AND GEOFF MANNING -
ENGINEER.
FREEMAN
Stevenson Air Base - this is
Seagull X-ray. Locked onto automatic
landing system.
RADIO (VO American)
Stevenson Control - Roger -
Landing System GO.
FREEMAN TURNS TO THE CO-PILOT.
FREEMAN
Lower heat shield.
CO-PILOT
Roger.
CO-PILOT PRESSES A SERIES OF BUTTONS IN A
PARTICULAR SEQUENCE.
CO-PILOT
Must be quite a while since you
landed an S.S.T.
FREEMAN
Don't panic, let's just say it's all
part of the _personal_ service.
CUT TO
***PAGE***
20
59 EXT. STEVENSON AIR BASE - DAY (VISUAL EFFECTS)
7 SECS
SEAGULL X-RAY - NOSE HIGH IN THE AIR - SNOOT
LOWERED - GRACEFULLY DROPS ONTO THE RUNWAY -
AS ITS REAR WHEELS TOUCH ITS SPEED REDUCES SO
THAT THE NOSE OF THE AIRCRAFT GENTLY LOWERS
ONTO THE RUNWAY ... AS IT DOES SO THERE IS A
MASSIVE SOUND FROM THE NOISE OF THE REVERSE
THRUSTERS.
CUT TO:
60 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO)
13 SECS
THE CO-PILOT IS BUSY OPERATING VARIOUS CONTROLS -
FREEMAN TRANSMITS.
FREEMAN
Shado Control - this is Seagull
X-ray confirm arrival Stevenson
Air Base 0835 - take-off scheduled
1100 hours ...
CUT TO:
61 INT. SHADO CONTROL ROOM (STUDIO) 16 SECS
WE ARE CLOSE ON A RADIO OPERATOR.
OPERATOR
Roger Seagull X-ray.
CAMERA PULLS BACK TO REVEAL STRAKER. HE HAS
BEEN LISTENING TO THE RADIO MESSAGES - HE
WALKS ALONG THE CONTROL ROOM DEEP IN THOUGHT -
THEN TURNS AND COMES BACK TO SPEAK TO THE RADIO
OPERATOR.
STRAKER
Call Moon Base, will you ?
OPERATOR
Yes, sir.
CUT TO:
62 EXT. HARLINGTON STRAKER STUDIO. DAY. 5 SECS
WITH THE STUDIO SIGN IN FOREGROUND WE SEE A
HARVEST MOON IN A BLUE SKY.
CUT TO:
63 EXT. MOON. (VISUAL EFFECTS) 12 SECS
LINK ZOOM THEN JIB DOWN TO SHADO'S MOONBASE
SET ON THE STARK LANDSCAPE OF THE LUNAR
SURFACE.
***PAGE***
63 (continued) 21
AT THE CENTRE A SQUARE, FLAT ROOFED BUILDING
KNOWN AS CENTRAL PARK. FROM CENTRAL PARK
FIVE CONNECTING WALKWAYS LEAD OUT TO A
CIRCLE OF FIVE OUTER SPHERES. THE RECEPTION,
CONTROL, DINING, SLEEP AND LEISURE SPHERES.
EACH SPHERE IS ENCLOSED IN A PROTECTIVE
SKIN OF ULTRA STRONG LIGHTWEIGHT PLASTIC
PANELS AND TO REDUCE THE IMPACT OF METEORITES
THESE PANELS ARE INDIVIDUALLY SPRUNG.
AIR CONDITIONING, LIGHTING, HEATING AND PURIFYING
UNITS ARE HOUSED AT THE BASE OF VARIOUS SPHERES.
FROM THE HUB OF MOONBASE A CORRIDOR LEADS TO
AN AIR LOCK, AND THROUGH THAT TO A PLATFORM
ON THE LUNAR SURFACE. THIS IS USED FOR LANDINGS
AND LIFT-OFFS, AND UNDER IT ARE THE STORAGE
TANKS FOR FUEL- WATER ETC.
CUT TO:
64 INT. MOONBASE CONTROL SPHERE (STUDIO) 12 SECS
IN THE CENTRE OF THE CONTROL SPHERE IS A REVOLVING
CONSOLE NORMALLY OCCUPIED BY THE MOONBASE
COMMANDER. ON THE CONSOLE IS A BUILT-IN TV
MONITOR.
THE DOMED CEILING HAS EIGHT PORTS AND A WINDOW
IN ONE WALL SHOWS THE LUNAR SURFACE AND SPACE
BEYOND. BUILT INTO ANOTHER WALL A REVOLVING
MODEL OF THE MOON.
TO ONE SIDE WE SEE TWO SPACE TRACKER CONSOLES
AND OPPOSITE THESE VARIOUS INSTRUMENTATION
PANELS.
THERE ARE TWO CLOCKS, ONE INDICATING EARTH
ELAPSE TIME (.E.E.T) AND THE OTHER COLOURED HALF
LIGHT AND HALF DARK SHOWING THE 28 EARTH DAY
CYCLE OF A MOON DAY AND NIGHT.
NEXT TO THE LUNAR CLOCK IS AN ILLUMINATED SPACE
CHART WHICH MAY BE USED FOR PLOTTING THE MOVE-
MENTS OF VARIOUS SPACECRAFT AND VIEWING
DIFFERENT AREAS OF SPACE.
SEATED BY THE TRACKING EQUIPMENT ARE NINA
BARRY, AN ATTRACTIVE COLOURED GIRL. PAULA
HARRIS.
WE START CLOSE ON NINA BARRY.
NINA
Shado Control - for you, Colonel.
***PAGE***
64 (continued) 22
SHE SWIVELS IN HER SEAT AS WE WIDEN THE ANGLE
TO TAKE IN COLONEL DESICA THE MOONBASE
COMMANDER AS HE WALKS TO THE CONTROL CONSOLE.
DESICA
Right ...
(into mike)
Desica. ...
CUT TO:
65 INT. SHADO CONTROL ROOM (STUDIO) 14 SECS
STRAKER
Good morning, Franco - I
think I might have some action
for you. I want Moonbase on
yellow alert to track Seagull
X-ray. It's carrying Shado
VIP's and the Utronic equipment.
We can't afford to take any chances.
CUT TO:
66 INT. CONTROL SPHERE - MOONBASE (STUDIO) 12 SECS
DESICA
Roger and out.
COLONEL DESICA TURNS TO PAULA HARRIS.
DESICA
Announce a yellow alert for
10.45.
HE WALKS TOWARDS THE DOORWAY.
CUT TO:
67 INT. CONNECTING CORRIDOR.MOONBASE (STUDIO) 12 SECS
DESICA HAS COME OUT OF THE CONTROL SPHERE AND
WALKS ALONG THE CONNECTING CORRIDOR TOWARDS
THE DINING AND LEISURE SPHERE. WE HEAR PAULA'S
VOICE OVER MOONBASE'S SPEAKER SYSTEM:
PAULA (VO)
Moonbase will be on Yellow Alert
from 10.45... repeat, 10.45.
CUT TO:
68 INT. DINING AND LEISURE SPHERE. (STUDIO) 40 SECS
IN THE CENTRE OF THE DINING AREA IS A CIRCULAR
TABLE WITH SLIM METAL CHAIRS, SURROUNDING IT
AUTOMATS LINE THE WALL. ASTRONAUT MARK
BRADLEY, A COLOURED MAN OF AROUND THIRTY IS
***PAGE***
68 (continued) 23
SEATED, EATING FROM A PLASTIC AIR LINER TYPE
TRAY.
PAULA (VO)
All space trackers to be fully
operational - astronauts on
standby.
ANOTHER ANGLE
THE LEISURE SECTION - COLOURFUL IN CONTRAST WITH
THE BLEAK EXTERIOR OF THE MOON. BRITISH
ASTRONAUTS KEN MATTHEWS AND LEW WATERMAN
ARE SPRAWLED IN CHAIRS READING MAGAZINES.
ON DOORWAY
DESICA ENTERS AND NODS "HELLOS" AS PAULA
CONTINUES. PAN HIM AS HE WALKS INTO THE SPHERE.
PAULA (VO)
All routine procedures suspended
until further notice - repeat all
routine procedure suspended until
further notice.
THE ASTRONAUTS HAVE LOWERED THEIR MAGAZINES.
DESICA
I thought I'd come and tell
you personally that this isn't
just another exercise.
MARK
So this time's for real eh, sir ?
DESICA
Could be.
MARK
Well, I think we're all ready for
a little action.
DESICA
Fine ..... See you later.
DESICA WALKS TO THE DOORWAY AND GOES OUT.
69 INT. CONNECTING CORRIDOR (MOONBASE)
(STUDIO) 5 SECS
DESICA WALKING ALONG.
70 INT. SLEEP SPHERE. (MOONBASE) STUDIO. 75 SECS
WE ARE SHOOTING FROM THE BACK OF AN APPARENTLY
GLASS DOORED CUBICLE. A BEAUTIFUL SPACE TRACKER,
JOANNA, IS CHANGING TO GO ON DUTY. DESICA ENTERS
***PAGE***
70 (continued) 24
AND WALKS TO STAND IN FRONT OF THE CUBICLE.
DESICA
Joanna ?
JOANNA
Be right with you, sir.
DESICA
No hurry.
IT APPEARS DESICA CAN SEE THROUGH THE GLASS
THE SHAPELY JOANNA IN THE BRIEFEST OF PANTIES
AND BRA AS SHE DRESSES.
DESICA
It's just that this Yellow Alert is
pretty important. I want to make
sure everyone understands its not
a routine drill.
JOANNA
Yes, sir.
WE SEE PAULA HARRIS ENTER THE SPHERE. SHE WALKS
ACROSS TO JOIN DESICA IN FRONT OF THE CUBICLE.
REVERSE ANGLE:
WE NOW SEE THE FRONT OF THE CUBICLE IS A ONE-
WAY MIRROR. AS THEY TALK PAULA DEMONSTRATES
THE WAY HER UNIFORM CAN BE CHANGED TO CASUAL
WEAR. SHE REMOVES HER WIG AND PLACES IT ON A
STAND, PULLS OFF THE SLEEVES OF THE UNIFORM,
THEN THE LEGS AND TOPS OF THE BOOTS. SHE PULLS
ON A SILVER WRAP AROUND MINI SKIRT AND THE CHANGE
IS COMPLETE.
THE REVERSE ANGLE IS WIDER AND WE SEE SIX BEDS
ENCIRCLE THE ROOM. IN THE CENTRE IS A UNIT
WITH A SECTION FOR EACH OCCUPANT WHERE THEIR
DISPOSABLE CLOTHES ARE STORED.
PAULA
I thought I'd come and relax
for a couple of hours before the
alert, sir.
SHE HAS TAKEN OFF THE WIG AND SHAKES HER HAIR
FREE.
DESICA
Good idea.
A PAUSE.
PAULA
Do you really think they'll attack the SST sir ?
***PAGE***
70 (continued) 25
DESICA
Well, the flight from America
to Earthport's the most critical
part of the journey. The transfer to
Moonbase isn't so bad. But an
S.S.T flying at say Mach 4 is a
pretty tempting target ... If I
were the opposition that's what I'd
go for.
REVERSE ANGLE
JOANNA IS NOW DRESSED IN HER UNIFORM. SHE PUSHES
OPEN THE GLASS DOOR WHICH PIVOTS IN THE MIDDLE
UNTIL IT IS AT RIGHT ANGLES TO CAMERA.
RESUME SCENE
JOANNA COMES OUT OF THE CUBICLE CLOSING THE GLASS
DOOR WHICH NOW APPEARS AS A CLEAR GLASS TO SHOW
THE CUBICLE IS UNOCCUPIED.
BOTH PAULA AND JOANNA LOOK PRETTY GLUM.
DESICA
Don't worry. Every section
of Shado will be covering that plane.
CUT TO:
71 INT. SHADO CONTROL ROOM. (STUDIO) 7 SECS
STRAKER
(to Operator)
Put Sky-Diver in the picture.
OPERATOR
Yes, sir.
STRAKER WALKS TOWARDS HIS OFFICE.
CUT TO:
72 UNDERWATER L.S. SKY-DIVER (VISUAL EFFECTS) 8 SECS
SKY DIVER IS A SUBMARINE OF FUTURISTIC DESIGN.
THE FRONT SECTION IS AN AIRCRAFT AND LATER IN
THE STORY WE WILL DEMONSTRATE ITS ABILITY TO
FLY IN EARTH'S ATMOSPHERE.
AS IT PASSES THROUGH SHOT WE SEE THE NAME
'SKYDIVER I'. SKY ON THE AIRCRAFT SECTION, DIVER
ON THE HULL. WHEN SEPARATED THEY BECOME SKY I
AND DIVER I.
CUT TO:
***PAGE***
26
73 SKY-DIVER. CAPTAIN'S CABIN. (STUDIO) 110 SECS
WE ARE CLOSE ON CAPTAIN JOHN KARLIN - A GOOD-
LOOKING PUERTO RICAN OF ABOUT THIRTY - HE
LIES ON HIS BUNK - SMOKES A CIGARETTE AND STARES
UP THROUGH THE SMOKE THOUGHTFULLY.
ANOTHER ANGLE:
A PIN-UP PHOTOGRAPH OF MODEL GIRL ON THE WALL -
IT IS IN FACT KARLIN'S SISTER. CAMERA PULLS BACK
TO TAKE IN THE WHOLE OF THE CABIN. IT IS CRAMPED,
WITH TWO BUNKS, WE NOW SEE LIEUTENANT GORDON
MAXWELL WHO IS LYING ON THE OTHER BUNK, WATCHING
KARLIN.
MAXWELL
Don't let it bug you, John.
KARLIN LIGHTS ANOTHER CIGARETTE.
KARLIN
She is my sister.
MAXWELL
It's been nearly two years now.
KARLIN
19 months and four days.
A FEW MOMENTS SILENCE.
MAXWELL
Looks like she was a nice girl.
KARLIN
... She was a nice girl. You know.
sometimes I ... feel she's still
alive... I wish I knew ... Maybe
it's the uncertainty that bugs me.
MAXWELL
You never did tell me what happened.
KARLIN (SLOW)
Well, I was still in the navy then.
I was driving home on leave... when
I got about a mile from the house.. I
saw this sort of glow and there was a
noise... strange, intense...
MAXWELL
A U.F.O ?
KARLIN SHRUGS.
***PAGE***
73 (continued) 27
KARLIN
The next thing I remember was
waking up in hospital. They said
I'd crashed.
(a beat)
Straker led the investigation. It
proved my sister was in the house but
nothing else. She'd vanished without
a trace.
MAXWELL
Is that what made you join Shado ?
KARLIN
It's one of the reasons.
MASTERS (VO)
Message from Shado Control, sir
- Yellow Alert 10. 45.
KARLIN SWINGS ROUND ON HIS BUNK - HE LEANS FORWARD
EAGERLY TO AN INTERCOM.
KARLIN
Thanks.
(to Maxwell)
Let's go.
CUT TO:
74 INT. CONTROL SPHERE MOONBASE (STUDIO) 16 SECS
START CLOSE ON THE EARTH ELAPSE TIME CLOCK:
IT SHOWS 10.40. PULL BACK TO FEATURE COLONEL
DESICA AT HIS CONSOLE DESK. HE SPEAKS INTO A MIKE:
DESICA
This is Moonbase calling Sid.
SID IS A COMPUTER, HOUSED IN A SATELLITE ORBITING
THE EARTH ON THE OPPOSITE SIDE TO THE MOON BUT
FOLLOWING THE LUNAR ORBIT.
THE COMPUTER VOICE IS SMOOTH, SOPHISTICATED -
A "MEX OXLEY" TYPE, NOT DEVOID OF CHARACTER
AND WARMTH, BUT ANY SUGGESTION OF HUMOUR
WOULD BE OF A HIGHLY INTELLECTUAL CHARACTER.
SID (VO)
This is Space Intruder Detector,
pass your message.
CUT TO:
***PAGE***
28
75 EXT. L.S. SID - SPACE SKY (VISUAL EFFECTS) 6 SECS
AS ITS NAME SUGGESTS SID'S MAIN FUNCTION IS TO
DETECT AND REPORT U.F.O. SIGHTINGS. IT WORKS
IN CONJUNCTION WITH THE MOONBASE TRACKERS TO
COVER SPACE, LEAVING SHADO CONTROL ON EARTH
TO COVER EARTH'S ATMOSPHERE.
SID'S OTHER FUNCTION IS AS A COMMUNICATION
SATELLITE LINK IN SHADO'S OVERALL SYSTEM.
IT IS A SOPHISTICATED COMPACT PIECE OF SPACE
HARDWARE, WITH AIRLOCKS FOR DOCKING AND ENTRY.
ITS MANY SCANNERS AND AERIALS INCLUDE THOSE FOR
U.F.O. DETECTION, TRANSMITTING AND RECEIVING
INFORMATION FROM EARTH, AND MAINTAINING A RADIO
LINK BETWEEN MOONBASE AND SHADO CONTROL.
SOLAR PANELS USE THE SUN'S RAYS TO PRODUCE
ELECTRICAL ENERGY TO POWER THE SATELLITE.
CUT TO:
76 INT. SID (STUDIO) 33 SECS
AN AREA LARGE ENOUGH FOR A MAN TO MOVE ABOUT
IN - ITS WALLS ARE LINED WITH ELECTRONIC
COMPUTERS - THROUGH A SCOPE-SHAPED PORTHOLE
THE MOVEMENT OF THE STARS MAINTAINS A FEELING
OF ROTATION - THE COMPUTERS ARE STATIONARY -
THE ROOM IS SILENT.
DESICA (radio VO)
Stand by to receive code....
SID
Standing by ...
WE NOW HEAR A SERIES OF ELECTRONIC TONES TRANS-
MITTED FROM THE MOONBASE.
SID
Thank you - your code is correct.
May I have your instructions ?
DESICA (radio VO)
Maintain Alert 10.45. Maintain
full scanning until further notice.
SID
Understood.
WE NOW TRACK AROUND THE INTERIOR OF SID AND HEAR
DOZENS OF SWITCHES AND RELAYS BEGIN TO OPERATE -
COMPUTER TAPES BEGIN TO SPIN - LIGHTS BEGIN TO WINK.
CUT TO:
***PAGE***
29
77 EXT. SID - SPACE SKY (VISUAL EFFECTS) 5 SECS
C.S. SID - ANTENNAE ON VARIOUS PARTS OF THE
SATELLITE BEGIN TO ROTATE.
CUT TO:
78 EXT. STEVENSON AIR BASE - DAY
(VISUAL EFFECTS) 6 SECS
SEAGULL X-RAY STANDS ON THE END OF THE RUNWAY -
WE HEAR ITS ENGINES RUN UP TO FULL POWER - ITS
SNOOT IS IN THE DROPPED POSITION READY FOR TAKE-
OFF.
CUT TO:
79 INT. SEAGULL X-KAY FLIGHT DECK. (STUDIO) 8 SECS
FREEMAN AND THE CO-PILOT IN THEIR SEATS.
FREEMAN
Brakes off.
THE CO-PILOT RELEASES THE BRAKES.
MOVING SHADOWS CROSS THEIR FACES INDICATING THAT
THE AIRCRAFT HAS STARTED FORWARD.
CUT TO:
80 EXT. RUNWAY - STEVENSON AIR BASE - DAY
(VISUAL EFFECTS) 7 SECS
WE TRACK WITH THE AIRCRAFT AS IT GAINS SPEED DOWN
THE RUNWAY.
CUT TO:
81 INT. SEAGULL X-RAY FLIGHT DECK (STUDIO) 12 SECS
THE CO-PILOT IS READING OUT SPEEDS AS HE CHECKS
THE AIR SPEED INDICATOR.
JOHNSON
80 ... 100 ... 120 ... 130 ...
Rotate ...
CABIN TIPS UP AS WE:
CUT TO:
82 EXT. RUNWAY - STEVENSON AIR BASE - DAY 6 SECS
(VISUAL EFFECTS)
THE GIANT JET SEEMS TO STAND UP ON ITS REAR
WHEELS AND THEN CLIMBS STEEPLY OUT OF THE
PICTURE.
CUT TO:
***PAGE***
30
83 EXT. SKY. DAY. (VISUAL EFFECTS) 4 SECS
THE S.S.T. IN A STEEPLY ANGLED CLIMB.
CUT TO:
84 EXT. SID - SPACE SKY (VISUAL EFFECTS) 6 SECS
TO ESTABLISH.
CUT TO:
85 INT. SID (STUDIO) 9 SECS
THE COMPUTERS ARE CHATTERING - WE HEAR SID'S
VOICE:
SID
SID to Moonbase. I have Seagull
X-ray onscanners ... it is on
course.
CUT TO:
86 INT. CONTROL SPHERE - MOONBASE (STUDIO) 19 SECS
COLONEL DESICA AT HIS CONSOLE. THE SPACE
TRACKERS IN THEIR POSITIONS.
SID (VO)
Air Speed 1500 knots ....
ONE OF THE SPACE TRACKERS, PAULA HARRIS, BACK
IN UNIFORM - LEANS FORWARD TO LOOK AT HER SCREEN.
PAULA
I have it too, sir - on course
air speed 1500 knots.
DESICA
Sid beat you to it again, Paula.
PAULA
(she shrugs)
Well, I'm only human.
THEY SMILE.
CUT TO:
87 UNDERWATER L.S. SKY-DIVER (VISUAL EFFECTS) 7 SECS
GLIDES UP AND PAST CAMERA.
CUT TO:
88 INT. SKY-DIVER CONTROL CENTRE (STUDIO) 16 SECS
CAPTAIN KARLIN IS NOW STANDING FULLY DRESSED IN
HIS UNIFORM - CHECKING A CHART. LIEUTENANT
***PAGE***
88 (continued) 31
MAXWELL AT HIS SIDE.
KARLIN
(not loud)
Steer 042.
MAXWELL
(relaying order)
Steer 042.
KARLIN
OK, we're in position - Maintain
present speed.
CUT TO:
89 AIR-TO-AIR SHOT - SEAGULL X-RAY - DAY
(VISUAL EFFECTS) 5 SECS
IT IS FLYING IN A DEEP-BLUE CLOUDLESS SKY. IN THE
UPPER STRATOSPHERE.
CUT TO:
90 INT. SEAGULL X-RAY FLIGHT DECK. DAY (STUDIO) 14 SECS
FREEMAN REMOVES HIS HEAD-SET AND TURNS TO HIS
CO-PILOT - BILL JOHNSON.
FREEMAN
Take over, Bill. I'm going back
to do my stuff with the passengers.
HE GETS UP NONCHALANTLY - AND WALKS BACK THROUGH
THE COCKPIT TO THE PASSENGER SECTION.
CUT TO:
91 INT. V.I.P LOUNGE - SEAGULL X-RAY -
DAY (STUDIO) 115 SECS
PLUSH - TASTEFULLY FURNISHED. FREEMAN MAKES
HIS WAY TOWARDS KURT MAHLER. A SWISS GERMAN
MEMBER OF THE UTRONIC DEVELOPMENT - HE IS
SEATED IN AN ARMCHAIR.
FREEMAN
Good morning Herr Mahler.
I'm Alec Freeman. Welcome
aboard !
KURT MAHLER STANDS UP AND SHAKES HIM BY THE
HAND.
MAHLER
Thank you, Colonel.
***PAGE***
91 (continued) 32
FREEMAN
I'd like to congratulate you and
your team. Looks like the break-
through we have been waiting for.
MAHLER
Not my team, Colonel - may I
introduce our chief designer -
Virginia Lake.
A MAGAZINE IS LOWERED, WHICH HAD PREVIOUSLY
HIDDEN THE FACE OF ITS READER. TO REVEAL VIRGINIA
LAKE - A BEAUTIFUL GIRL IN HER LATE TWENTIES. SHE
SMILES WARMLY AT COLONEL FREEMAN.
VIRGINIA
How do you do, Colonel ?
COLONEL FREEMAN LOOKS IN SURPRISE AND PLEASURE
AT MISS LAKE.
FREEMAN
Well - for the first time in my
career I wish I was flying subsonic
aircraft !
VIRGINIA
Why's that, Colonel ?
FREEMAN
The trip would take so much longer !
SHE RESPONDS - AMUSED, - MEANWHILE THE OTHER
PASSENGER LEANS FORWARD - PHIL WADE.
WADE
Just in case anyone's interested -
I'm Phil Wade....
FREEMAN
Oh. How are you ?
THEY SHAKE HANDS. WADE SEES FREEMAN ONLY
HAS EYES FOR VIRGINIA LAKE AND SMILES KNOWINGLY
AS FREEMAN SITS DOWN BESIDE HER.
ANOTHER ANGLE:
FEATURING FREEMAN AND MISS LAKE.
FREEMAN
Well, I'd say you were the answer
to our prayers.
MISS LAKE IS USED TO HAVING "PASSES" MADE AT HER.
***PAGE***
91 (continued) 33
SHE SUSPECTS FREEMAN IS ABOUT TO FOLLOW SUIT;
SHE HINTS AT A SMILE CONFIDENT SHE CAN HANDLE THE
SITUATION AND ON THAT BASIS PREPARED TO ENJOY IT.
VIRGINIA
Would you like to see the Utronic
equipment ?
FREEMAN MOVES A SHADE CLOSER.
FREEMAN
No thanks. I'm familiar with it.
THEY BOTH NOW ADOPT A FLIRTATIOUS MANNER.
VIRGINIA
... Really.
FREEMAN
Yes, for instance - I know that a
Utronic beam travels instantaneously.
HE SAYS THE WORD BUT SAYS MUCH MORE WITH HIS EYES.
VIRGINIA
Almost instantaneously.
FREEMAN
Yes ... well it means we will be able
to detect U.F.O's even when they
are flying many times the speed of light
in deep space.
VIRGINIA
Go on....
FREEMAN
That will give our interceptors on
Moonbase a good chance to destroy
them before they reach the earth.
VIRGINIA
Very good.
FREEMAN
I could tell you even more over
dinner.
HE TAKES HER HAND.
VIRGINIA
(amused)
Hadn't you better get back to
your little seat up front.
***PAGE***
91 (continued) 34
FREEMAN
Hmmn... I guess so.
HE PATS HER HAND, SMILES AND STANDS TO GO FORWARD.
VIRGINIA
Colonel Freeman.
FREEMAN
Yes ?
VIRGINIA
You were right - - you are familiar
... with the equipment.
CUT TO:
92 INT. SEAGULL X-RAY FLIGHT DECK. DAY.
(STUDIO) 10 SECS
BILL JOHNSON GLANCES BACK TOWARDS THE CABIN DOOR-
WAY AS FREEMAN ENTERS AND SETTLES BACK INTO THE
PILOT'S SEAT.
FREEMAN
Everything OK ?
JOHNSON
Yes, sir. So far no sign of any
activity.
FREEMAN
Good.
CUT TO:
93 INT. SHADO CONTROL ROOM (STUDIO) 19 SECS
A SENSE OF WAITING. STRAKER STANDS WATCHING A
DOT OF LIGHT DENOTING SEAGULL X-RAY'S POSITION
ON A WALL SCREEN. HE IS TENSE, WORRIED, FEELING
THE WEIGHT OF RESPONSIBILITY.
HE TURNS TO AN OPERATOR AS HE OFFERS A CUP OF
COFFEE. HE TAKES A COUPLE OF QUICK GULPS AND
PUTS DOWN THE CUP.
STRAKER
I'll be in my office.
OPERATOR
Yes, sir.
STRAKER WALKS TOWARDS THE DOUBLE STEEL DOORS
IN THE CONTROL ROOM. THEY OPEN - HE WALKS THROUGH
INTO HIS OFFICE. THE DOORS CLOSE BEHIND HIM.
CUT TO:
***PAGE***
35
94 UNDERWATER L.S. SKYDIVER (VISUAL EFFECTS) 6 SECS
IT GLIDES UP AND PAST PATROLLING UNDER THE LANE.
CUT TO:
95 INT. MOONBASE CONTROL SPHERE (STUDIO) 40 SECS
THE MOOD OF WATCHFUL IF RELAXED WAITING IS
MAINTAINED. DESICA SITS ON THE SIDE OF HIS DESK.
PAN AROUND AS SID, IN A SLOW HALTING VOICE SINGS
A VERSE FROM AN OLD ITALIAN SONG.
SID
O Solo Mio ..etc...
DESICA
How about that.
PAULA
Not bad, considering you've only
spent about 50 hours programming it.
DESICA
Well, it's a beginning. Give me
another couple of months and I'll
have Sid in the top ten.
PAULA
I can hardly wait.
PAULA'S SMILE IS CUT SHORT AS SID COMES OVER.
SID (VO)
Red Alert. I have U.F.O. 428-146
Green.
DESICA DIVES ROUND BEHIND HER DESK - TRACK IN
FAST ON PAULA INTENT ON HER SONSOLE.
PAULA
Got it, sir. 428-146 Green.
"APE ALARMS START UP.
CUT TO:
96 INT. DINING LEISURE SPHERE - MOONBASE (STUDIO) 16SECS
THE THREE ASTRONAUTS DRESSED IN THEIR RED LIGHT-
WEIGHT SPACE SUITS LOOK TO THE FLASHING RED WALL
LIGHT.
THEY LEAP TO THEIR FEET ZIPPING UP THEIR SPACE
SUITS, GRAB THEIR HELMETS AND HEAD FOR AN OPENING
IN THE WALL.
***PAGE***
96 (continued) 36
MARK PULLS HIMSELF UP BY TWO HANDLES, FEET FIRST
INTO THE OPENING AND SLIDES OUT OF SHOT. THE OTHER
TWO WAIT TO FOLLOW.
CUT TO:
97 INT. CONTROL SPHERE MOONBASE (STUDIO) 43 SECS
DESICA
This is Moon Base to all SHADO
Stations - U. Foe sighted 428-146
Green - will report ...
OPERATOR (VO)
Shado control standing by.
HE WHIPS HIS HEAD AROUND TO THE TRACKERS.
DESICA
.... speed ?
PAULA
SOL 8.
DESICA
Double check.
THE TRACKER TURNS BACK TO HER SCREEN.
PAULA
Confirm SOL 8.
DESICA
Trajectory termination ?
PAULA
Coming up ...
SHE PUSHES BUTTON AND AN ILLUMINATED SPACE MAP
LIGHTS UP - A CURVED LINE INDICATES THE U-FOE'S
POTENTIAL PATH - IT PASSES THE MOON AND ENDS IN THE
NORTH ATLANTIC.
DESICA
(glances down from map
and speaks into mike)
SHADO Control from Moonbase -
predicted trajectory termination
North Atlantic - speed SOL 8 - going
for intercept - out.
DESICA TURNS FROM THE DESK MIKE AND BARKS OUT
INSTRUCTIONS INTO AN INTERNAL INTERCOM.
DESICA
Interceptors - immediate launch.
CUT TO:
***PAGE***
37
98 INT. INTERCEPTORS LAUNCH BAY - MOONBASE
(VISUAL EFFECTS) 8 SECS
BELOW A MOON CRATER THE THREE INTERCEPTORS
STAND ON THEIR RAMPS POINTING OUTWARDS - THEY ARE
SMALL SPACE VEHICLES CARRYING ONLY ONE ASTRONAUT
EACH AND ONE GUIDED MISSILE WITH ATOMIC WARHEAD.
THE MOTORS IGNITE.
CUT TO:
99 EXT. MOON CRATER. (VISUAL EFFECTS) 7 SECS
THE THREE INTERCEPTORS LEAVE THE CRATER AND
START UP INTO THE DARKNESS OF SPACE.
CUT TO:
100 INT. MOONBASE CONTROL (STUDIO) 38 SECS
URGENT, WATCHFUL EYES TRACK THE U.F.O. AND THE
THREE INTERCEPTORS. BECAUSE THE PRESENT EQUIP-
MENT GIVES THE PERSONNEL SO LITTLE WARNING THINGS
HAPPEN FAST. AT A SPEED OF 8 TIMES THE SPEED OF
LIGHT THE U.F.O. CAN TRAVEL 45,000,000 MILES IN
HALF A MINUTE ... OR ONE AND A HALF MILLION MILES
A SECOND.
SID (VO SEQUENCE)
Speed one and a half million
miles a second ... Range 75 million
miles.
(3 second beat)
70 million miles
(3 second beat)
65 million miles etc.,
THE FOLLOWING DIALOGUE SNAPS BACK AND FORTH:
PAULA
Maintaining SOL 8. Red 129-046.
DESICA
Right ... Trajectory ?
PAULA
Still as predicted.
JOAN HARRINGTON
I have green on 1, 2 and 3.
DESICA LEANS TO HIS DESK MIKE.
***PAGE***
100 (continued) 38
DESICA
Moonbase to Interceptors.
CUT TO:
101 EXT. SPACE (VISUAL EFFECTS) 5 SECS
THE THREE INTERCEPTORS FLY IN AN INVERTED V
FORMATION.
CUT TO:
102 INT. INTERCEPTORS (STUDIO) 35 SECS
MARK BRADLEY, A COLOURED ASTRONAUT, AT THE
SOPHISTICATED CONTROLS.
DESICA (VO)
Stand by to set missile control
computer.
MARK
Right.
DESICA (VO)
Computer read in -- one zero one ...
two six four ... one one zero -- missile
timing 2496.
AS HE HEARS THE INSTRUCTIONS MARK FLICKS SWITCHES,
TURNS DIALS, LIGHTS FLASH, OTHERS CHANGE FROM RED
TO GREEN.
MARK
Missile programme complete .....
acknowledge one and two ....
MATTHEWS (VO)
Roger one.
WATERMAN (VO)
Roger two.
MARK
Missile firing 20 decimal four seconds
on third pip.
WE HEAR THREE ELECTRONIC PIPS.
CUT TO:
103 EXT. SPACE (VISUAL EFFECTS) 5 SECS
THE THREE INTERCEPTORS GLIDE THROUGH SPACE
STILL IN FORMATION.
CUT TO:
***PAGE***
39
104 INT. MOONBASE CONTROL (STUDIO) 20 SECS
THE COMPUTERS HAVE TAKEN OVER: THE MOONBASE
PERSONNEL CAN ONLY WAIT, AND WATCH. SID'S VOICE
CONTINUES ITS COUNTDOWN BUT THE U.F.O. IS SLOWING,
THE GAPS ARE LONGER.
SID (VO)
Range 8 million miles closing
(6 second gap)
7 million miles
MARK (VO)
Missile launch five decimal four
seconds on third pip.
AGAIN WE HEAR THE THREE ELECTRONIC PIPS.
IN CLOSE SHOT WE SEE DESICA'S FACE TIGHTEN. THE
MOMENT OF TRUTH.
CUT TO:
105 EXT. INTERCEPTORS (VISUAL EFFECTS) 10 SECS
SIMULTANEOUSLY A MISSILE LEAVES EACH INTERCEPTOR
AND STREAKS OUT OF SHOT.
THE INTERCEPTORS BREAK FORMATION.
CUT TO:
106 EXT. SPACE (VISUAL EFFECTS) 5 SECS
THE MISSILES DETONATE.
CUT TO:
107 INT. MOONBASE CONTROL (STUDIO) 20 SECS
ANOTHER AGONISING 5 SECONDS. DESICA STANDS HEAD
BOWED, WAITING. PAULA SITS EYES GLUED TO THE
TRACKER SCREEN. JOAN SNATCHES A GLANCE AT
DESICA.
SID (VO)
Detonation confirmed.
DESICA LIFTS HIS HEAD TO PAULA, QUESTIONING: THE
MISSILES HAVE EXPLODED. HAVE THEY STOPPED
THE U.F.O ? THE SPACE TRACKER LEANS A LITTLE TO
A SCREEN, SEARCHING, INTENT:
PAULA
(flat)
Negative... I still have a
contact; it's through.
***PAGE***
107 (continued) 40
DESICA
Blast ....
CUT TO:
108 INT. SHADO CONTROL (STUDIO) 10 SECS
START CLOSE ON STRAKER WHO HAS HEARD THE NEWS.
STRAKER
(under his breath)
Hell and damnation ....
PULL BACK TO SHOW THE OPERATIVES TURNED TOWARDS
STRAKER, WAITING FOR THE COMMAND.
STRAKER
Well, don't just sit there ...
Warn Skydiver, and get me Alec
Freeman.
CUT TO:
109 EXT. SKY. DAY (VISUAL EFFECTS) 6 SECS
SEAGULL X-RAY IN LEVEL FLIGHT STILL HIGH IN THE
STRATOSPHERE.
CUT TO:
110 INT. SEAGULL X-RAY V.I.P. LOUNGE - DAY (STUDIO)44 SECS
THE THREE PASSENGERS ARE RELAXING - FREEMAN
ENTERS AND SITS DOWN. HE ADDRESSES THEM ALL,
BUT MAINLY VIRGINIA LAKE.
FREEMAN
Gentlemen ... Miss Lake ...
Shado control has just informed
me a U.F.O. is approaching the
North Atlantic. I'm afraid we
must assume this aircraft is its
target.
THE GROUP EXCHANGE GLANCES. ALL REALISE WHAT
THE NEWS MEANS.
FREEMAN (cont'd)
We're going to reduce height
this will give us the advantage of
cloud cover. It will mean we'll
have to reduce speed, but in dense
atmosphere so will the U.F.O.
***PAGE***
110 (continued) 41
WADE
Presumably that increases Shado's
chances of intercepting it ?
FREEMAN
Yes it does.
(a beat)
I'd fasten your seat belts if I
were you.
FREEMAN GETS UP THEN LEANS CLOSE TO VIRGINIA
RESTING A HAND ON HER SHOULDER.
FREEMAN
Don't worry, it'll be O. K.
Anyway we've got a dinner date.
I wouldn't let anything interfere
with that.
HE SMILES REASSURINGLY, VIRGINIA SMILES BACK.
VIRGINIA
Thank you ...
CUT TO:
111 INT. SHADO CONTROL ROOM (STUDIO) 14 SECS
STRAKER AT HIS DESK CONSOLE. THE ATMOSPHERE IS
TENSE.
SID (VO)
UFO reducing speed below SOL.
IT HAS DROPPED TO JUST BELOW HALF THE SPEED OF
LIGHT.
OPERATOR
(into mike)
Intruder entering visual speed
range. Radar and visual alert.
CUT TO:
112 EXT. SPACE (VISUAL EFFECTS) 6 SECS
ON THE EDGE OF SPACE AND EARTH'S ATMOSPHERE.
THE MUSIC BUILDS THEN IN A DRAMATIC SHOT THE U.F.O.
APPEARS.
A STRANGE PHENOMENA: AS IT SLOWS BELOW SOL TO
BECOME VISIBLE BUT BLURRED AND UNCLEAR.
THE INTRUDER MUST SLOW MUCH MORE BEFORE IT CAN
ENTER EARTH'S ATMOSPHERE.
CUT TO:
***PAGE***
42
113 INT. SHADO CONTROL (STUDIO) 33 SECS
STRAKER STILL AT HIS DESK. AN OPERATOR TURNS TO
HIM.
OPERATOR
U.F.O. on radar track. Speed
mach 5.
STRAKER
Thank God for the atmosphere.
It's the best protection we've got.
OPERATOR
Have positive radar fix.
STRAKER
Well, it's up to Skydiver now.
STRAKER GETS UP FROM HIS DESK CONSOLE AND WALKS
TO THE ILLUMINATED SPACE CHART.
WE TRACK IN ON HIM AS HE STANDS LOOKING AT THE
CHART. TWO LIGHTS MARK SEAGULL X-RAY AND
SKYDIVER IN MID-ATLANTIC.
THE STRAIN SHOWS ON STRAKER'S FACE. TEN YEARS OF
WORK AND DEDICATION.
IN THIS MOMENT WE HUMANISE HIM. HE IS NOT A MACHINE.
TRACK IN TOWARDS SKYDIVER ON THE CHART.
CUT TO:
114 EXT. UNDERWATER (VISUAL EFFECTS) 5 SECS
SKYDIVER GLIDES PAST.
CUT TO:
115 INT. SKYDIVER CONTROL (STUDIO) 42 SECS
WE MAINTAIN AN ATMOSPHERE OF URGENCY.
KARLIN STANDS WITH LIEUTENANT MAXWELL AT HIS
SIDE. THE OTHER THREE MEMBERS OF THE CREW ARE
MASTERS, SYLVIA HOWELL AND REAGAN.
KARLIN
(not loud)
Launch stations.
MAXWELL
(relaying order)
Launch stations.
THE CREW BEGIN TO WORK FEVERISHLY AT CONTROLS.
***PAGE***
115 (continued) 43
THE SUBMARINE SPRINGS TO LIFE. WE HEAR BALLAST
TANKS BEING BLOWN. SWITCHES AND RELAYS CLICKING -
IT IS CLEAR THAT THE CREW ARE GOING THROUGH
THEIR PRE TAKE-OFF DRILL.
MASTERS
Clear One ... clear two.
HOWELL
One and two clear, Lieutenant.
MAXWELL
Ready for take-off sir !
KARLIN
Lift-off stations !
MAXWELL
(relaying order)
Lift-off stations.
KARLIN MOVES TOWARDS THE FRONT OF THE SHIP - LOOKS
BACK AND WAVES.
MAXWELL
Good luck, Skipper.
CUT TO:
ANOTHER ANGLE:
KARLIN COMES TO A BULKHEAD WITH AN OPENING ABOUT
2FT ACROSS. HE PULLS HIMSELF UP WITH THE AID OF
METAL LOOPS AND SLIDES FEET FIRST INTO THE OPENING.
CUT TO:
116 EXT. SKYDIVER (UNDERWATER) (VISUAL EFFECTS) 7 SECS
PAN ALONG SKYDIVER TO THE FRONT SECTION AND SEE
KARLIN COME UP IN HIS SEAT INTO THE COCKPIT OF THE
SKY 1 AIRCRAFT.
CUT TO:
117 INT. SKY 1 COCKPIT (STUDIO) (UNDERWATER) 6 SECS
KARLIN NOW WEARS A FLYING HELMET. HE PULLS THE
VISOR DOWN AND THE COCKPIT BEGINS TO ANGLE.
CUT TO:
118 EXT. SKYDIVER (UNDERWATER) (VISUAL EFFECTS) 5 SECS
THE SUBMARINE ANGLES UP TO POINT TOWARDS THE
SURFACE.
CUT TO:
***PAGE***
44
119 INT. SKY 1 COCKPIT (STUDIO) (UNDERWATER) 5 SECS
CLOSE ON KARLIN.
KARLIN
(into mike)
Right - stand by for lift-off.
HE PULLS A CONTROL LEVER AND WE:
CUT TO:
120 UNDERWATER L.S. SKYDIVER (VISUAL EFFECTS) 6 SECS
THE FRONT OF SKYDIVER TAKES OFF LIKE A POLARIS
MISSILE.
CUT TO:
121 EXT. OPEN SEA - DAY (VISUAL EFFECTS) 8 SECS
WE HOLD ON THE SHOT FOR A FEW MOMENTS AND THEN
SKY 1 BURSTS FROM THE SURFACE AND CLIMBS AT A
STEEP ANGLE.
CUT TO:
122 INT. SKY 1. COCKPIT. DAY (STUDIO) 10 SECS
KARLIN
Shado Control from Sky one
airborne ... position zero two
zero... red...
OPERATOR (VO)
Roger. Sky I.....
CUT TO:
123 AIR-TO-AIR SHOT - SKY 2 - DAY (VISUAL EFFECTS) 5 SECS
CLIMBING FAST.
CUT TO:
124 EXT. SKY. DAY. (VISUAL EFFECTS) 5 SECS
SEAGULL X-RAY NOW FLYING AT 5,000 FEET, LITTLE
CLOUD CAN BE SEEN.
CUT TO:
125 INT. SEAGULL X-RAY COCKPIT (STUDIO) 27 SECS
FREEMAN AND JOHNSON, TENSE, SEARCHING THE SKIES.
JOHNSON GLANCES AT THE AIR SPEED INDICATOR.
JOHNSON
Air speed down to 600 knots.
***PAGE***
125 (continued) 45
FREEMAN
(very Australian)
I don't like it. These clouds give
about as much cover as the G-string
on a bloody belly dancer.
JOHNSON LOOKS AT HIM.
FREEMAN
It's my natural Aussie charm coming
through. It always does when I sweat.
KARLIN (VO)
Sky one to Seagull X-Ray ... over.
FREEMAN
John, am I glad to hear you. What's
your position ?
CUT TO:
126 INT. SKY 1-DAY(STUDIO) 5 SECS
KARLIN AT THE CONTROLS.
KARLIN
Right above you - levelled off at
20,000.
CUT TO:
127 EXT. SKY. DAY (VISUAL EFFECTS) 7 SECS
THE MUSIC BUILDS AS WE SEE THE BEAUTIFUL LINES OF
SKYDIVER LEVELLED OFF AGAINST THE CLOUDLESS SKY -
FLYING RIGHT TO LEFT.
CUT TO:
128 EXT. SKY. DAY. (VISUAL EFFECTS) 5 SECS
THE U.F.O., METAL GLEAMING IN THE SUN, FLYING
LEFT TO RIGHT. WE STILL DO NOT SEE IT CLEARLY.
CUT TO:
129 INT. SKY 1-COCKPIT DAY. (STUDIO) 9 SECS
KARLIN IS WATCHING A SMALL RADAR SCOPE - A
PULSATING BLIP IS PRESENT ON THE SCREEN.
KARLIN
Sky one to Seagull X-Ray -- have
U-Foe on screen - closing rapidly.
CUT TO:
***PAGE***
46
130 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO)
6 SECS
FREEMAN
Roger.
HE TURNS TO JOHNSON WHO IS FLYING THE PLANE.
FREEMAN
Ten degrees port.
CUT TO:
131 DISTANT CLOUDS - DAY (VISUAL EFFECTS) 7 SECS
KARLIN'S EYELINE THROUGH CABIN WINDOW.
SEAGULL X-RAY BANKS TO PORT AND IS NOW FLYING
STRAIGHT TOWARDS BROKEN CLOUD.
CUT TO:
132 AIR-TO-AIR SHOT - SKY 1 - DAY (VISUAL EFFECTS) 4 SECS
IT FLIES IN A CLOUDLESS SKY.
CUT TO:
133 INT. SKY 1 - COCKPIT. DAY (STUDIO) 8 SECS
KARLIN IS LOOKING AROUND - SCANNING THE HORIZON.
HE TURNS HIS HEAD TO THE RIGHT, SCREWING UP HIS
EYES AS HE STARES STRAIGHT INTO THE SUN.
CUT TO:
134 L.S. THE SUN - DAY (VISUAL EFFECTS) 9 SECS
KARLIN'S EYE LINE.
WE HOLD ON THE SHOT FOR A MOMENT AND THEN OUT OF
THE SUN FLIES THE U.F.O. IT IS SAUCER-SHAPED WITH
TWO CONTRA-ROTATING BANDS IN ITS CENTRE WHICH
HAVE A NUMBER OF STUB WINGS - FROM THESE IT
DERIVES ITS LIFT. THE SAUCER FLIES STRAIGHT INTO
CAMERA AND AS IT ARRIVES IN C.U. THERE IS A BURST
OF FIRE AND THE DEVASTATING LIGHT BEAMS WE HAVE
SEEN PREVIOUSLY THEN THUNDER-LIKE CLAP ON
SOUND-TRACK -- THE SAUCER SWOOPS UP OVER TOP OF
CAMERA.
CUT TO:
135 INT. SKY 1 - COCKPIT. DAY (STUDIO) 6 SECS
KARLIN JAMS HIS STICK OVER TO THE LEFT -THE COCKPIT
SWINGS OVER TO ONE SIDE.
CUT TO:
***PAGE***
47
136 AIR-TO-AIR SHOT. SKY 1 - DAY (VISUAL EFFECTS) 5 SECS
IT BANKS STEEPLY.
CUT TO:
137 INT. SKY 1 - COCKPIT. DAY (STUDIO 8 SECS
KARLIN STRAIGHTENS UP HIS AIRCRAFT AND THEN BANKS
A LITTLE SO AS TO GIVE HIM A GOOD VIEW OF THE SEA.
CUT TO:
138 HIGH ANGLE. SEA - SEAGULL X-RAY AND SAUCER.
DAY. (VISUAL EFFECTS) 6 SECS
KARLIN'S EYELINE
THE SAUCER DESCENDS TOWARDS SEAGULL X-RAY.
CUT TO:
139 INT. SKY 1-COCKPIT. DAY (STUDIO) 10 SECS
KARLIN PUTS THE AIRCRAFT'S NOSE DOWN - WE HEAR
HIS ENGINES RISE IN PITCH.
KARLIN
(urgent -- into mike)
Evasive action - U-Foe at 12
o'clock coming in to attack.
CUT TO:
140 INT. SEAGULL X-RAY FLIGHT DECK. DAY.
STUDIO 5 SECS
FREEMAN PULLS THE STICK TO ONE SIDE.
CUT TO:
141 AIR-TO-AIR SHOT - SEAGULL X-RAY. DAY
(VISUAL EFFECTS) 8 SECS
IT BANKS AND FLIES INTO CLOUD LAYER.
CUT TO:
142 AIR-TO-AIR SHOT. SKY 1 - DAY. (VISUAL EFFECTS) 6 SECS
ITS MISSILES ARE FIRED.
CUT TO:
143 HIGH ANGLE - SAUCER OVER SEA. DAY. (VISUAL EFFECTS)
8 SECS
THERE IS AN EXPLOSION ALONGSIDE THE SAUCER - WHICH
***PAGE***
143 (continued) 48
IMMEDIATELY CHANGES DIRECTION. IT FLIES OUT OF
FRAME.
CUT TO:
144 INT. SKY 1 -COCKPIT DAY (STUDIO) 8 SECS
KARLIN
U-Foe entered cloud layer - keep
a sharp lookout.
HE PULLS BACK ON STICK AND THE AIRCRAFT LEVELS OUT.
CUT TO:
145 INT. SEAGULL X-RAY FLIGHT DECK DAY (STUDIO) 6 SECS
FREEMAN
Roger.
HE TURNS TO COlPILOT, GRIM-FACED. BOTH START TO
SCAN THE SKY.
CUT TO:
146 PASSING CLOUDS - CLOUDS - DAY (VISUAL EFFECTS) 20 SECS
FREEMAN'S AND JOHNSON'S EYELINES
LIBRARY: WE INTERCUT FACES WITH EYELINES AND THEN
ONE OF THE EYELINES THE SAUCER SUDDENLY APPEARS
AS IT FLIES OUT OF CLOUD. FLASHES OF LIGHT AS IT
FIRES.
CUT TO:
147 INT. SEAGULL X-RAY FLIGHT DECK. DAY. (STUDIO)
9 SECS
TREMENDOUS REPERCUSSION IN THE COCKPIT AND
VIOLENT MOVES OF THE PILOTS TO HOLD THE AIRCRAFT
STEADY.
FREEMAN
(yelling)
Hold her, hold her steady !
CUT TO:
148 INT. SKY-1 - COCKPIT. DAY (STUDIO) 4 SECS
KARLIN WHIPS HIS HEAD ROUND.
CUT TO:
***PAGE***
49
149 HIGH ANGLE - SAUCER - DAY (VISUAL EFFECTS) 7 SECS
KARLIN'S EYELINE.
HE IS FLYING JUST ABOVE THE CLOUD AND WE SEE THE
SAUCER CLIMBING RAPIDLY.
CUT TO:
150 INT. SKY 1-COCKPIT. DAY (STUDIO) 4 SECS
KARLIN PULLS THE STICK OVER RAPIDLY.
CUT TO:
151 AIR-TO-AIR SHOT -SKY 1 - DAY (VISUAL EFFECTS) 6 SECS
IT PULLS ROUND IN A TIGHT TURN AND FIRES ITS
MISSILES STRAIGHT INTO CAMERA.
CUT TO:
152 AIR-TO-AIR SHOT - FLYING SAUCER . DAY (VISUAL EFFECTS)
7 SECS
KARLIN'S EYELINE:
THERE IS AN EXPLOSION. THE SAUCER HAS BEEN HIT -
IT HOVERS FOR A MOMENT AND THEN STARTS A
GRACEFUL DESCENT, TOWARDS THE SEA.
CUT TO:
153 INT. SKY 1 - COCKPIT. DAY (STUDIO) 9 SECS
KARLIN
(contolled)
Sky one to Shado Control - reporting
direct hit on U-Foe. It's going to crash
in the sea.
CUT TO:
154 U.F.O. D.O. CONTROL ROOM - DAY (STUDIO) 8 SECS
STRAKER AT HIS DESK CONSOLE.
STRAKER
Good shooting, Sky one ...
Come in Seagull X-Ray ... Are
you O.K. Alec ?
CUT TO:
***PAGE***
50
155 INT. SEAGULL X-RAY COCKPIT (STUDIO) 6 SECS
CLOSE ON FREEMAN'S FACE, A FEW BEADS OF SWEAT.
FREEMAN
I've aged about 5 years, but we're
still in one piece.
CUT TO:
156 INT. SKY 1 - COCKPIT. DAY (STUDIO) 12SECS
STRAKER (VO)
Follow it down, Captain. Use
your reconnaissance cameras. Get
everything you can.
KARLIN
Roger. Will do.
HE PUTS NOSE OF AIRCRAFT DOWN
CUT TO:
157 INT. SEASCAPE AND SAUCER. DAY. (VISUAL EFFECTS)
15 SECS
THE SAUCER - WITH ITS ENGINES RUNNING DOWN -
SPLASHES DOWN INTO THE SEA - IT IMMEDIATELY SINKS -
CAMERA SLOWLY JIBS UP AND TILTS DOWN. THE SEA
THEN ERUPTS INTO A BOILING MASS - TURNING A VIVID
SCARLET WITH OTHER BRIGHT COLOURS INTERMINGLING
HERE AND THERE. THE SEA BOILS FURIOUSLY AND
HEAVY VAPOUR LIES ON ITS SURFACE.
CUT TO:
158 SEA-TO-AIR SHOT - SKY 1 - DAY (VISUAL EFFECTS) 5 SECS
IT IS CIRCLING ABOVE.
` CUT TO:
159 INT. SKY 1 - COCKPIT. DAY (STUDIO) 12 SECS
KARLIN LOOKING DOWN AT THE SEA. WE HEAR THE
WHIRR OF A CAMERA.
KARLIN
(into mike)
It went straight under ... It seems
to be breaking up ..... there's
wreckage everywhere.... Hold it.
ZOOM IN ON KARLIN AS HIS EYES NARROW.
***PAGE***
159 (continued) 51
KARLIN
(slow)
There's... a... body.
CUT TO:
160 INT. SHADO CONTROL ROOM. DAY. (STUDIO) 8 SECS
STRAKER CLOSE TO MIKE, CROUCHING.
STRAKER
(measured)
Please confirm ... Did you say ...
body ?
KARLIN (VO)
Yes. It's a body.
CUT TO:
161 EXT. SEA. DAY. 9 SECS
START CLOSE ON THE U.F.O. MAN'S SPACESUIT. PAN
SLOWLY TO HIS HEAD. WE CATCH A GLIMPSE OF HIS
ANGLED FEATURES THROUGH THE SWIMMING LIQUID
THAT FILLS HIS HELMET AND THE SWIRLING VAPOUR
HANGING OVER THE NOW-CALM SEA.
FADE OUT:
FADE IN:
162 EXT. HARRINGTON-STRAKER STUDIO. NIGHT. 5 SECS
TO ESTABLISH.
CUT TO:
163 INT. STRAKER'S OFFICE UNDERGROUND. (STUDIO) 83 SECS
STRAKER SITS AT HIS DESK. THE LIGHTING SUBDUED.
HE HOLDS THE CHAIN AND WRIST CLASP WE
RECOGNISE FROM THE ROLLS-ROYCE SEQUENCE. HE
IS THOUGHTFUL, REMEMBERING.
THE DOOR OPENS AND FREEMAN COMES IN.
STRAKER
How did things go ?
FREEMAN
Everything's fine. Moonbase and
all other tracker stations will have
the Utronic system fitted and operational
within a week.
STRAKER STUDIES FREEMAN A MOMENT.
***PAGE***
163 (continued) 52
STRAKER
(relieved)
Great... You look tired -- have
a drink.
FREEMAN GOES TO BAR.
FREEMAN
Thanks, I think I will .... You
never touch it do you?
STRAKER
Self-control.
FREEMAN
Maybe drinking needs more ... self
control.
HE OFFERS HIS GLASS IN A TOAST, AND DRINKS.
FREEMAN
When does ... it ... arrive ?
STRAKER
Anytime now.
FREEMAN
Well, we've had to wait quite a
while for this one.
FREEMAN TAKES ANOTHER SIP. STRAKER TOYS WITH
THE LENGTH OF CHAIN AND BRACELET.
STRAKER
Yes. Ten years ... It's ten
long years since we had the first
evidence of a UFO landing on Earth.
FREEMAN
And that was after a decade of
speculation, reports, official
denials, you name it ...
STRAKER
You know when I was made Commander
of Shado I thought it was all going to
happen ....
FREEMAN
You've done a good job : the
best.
IT IS A STRAIGHT COMPLIMENT. STRAKER KNOWS IT AND
SMILES.
***PAGE***
163 (continued) 53
STRAKER
Well, I've tried ... But how
far have we progressed ? What do
we really know about UFO's ? What
are they ? Where do they come
from ?
(a long beat)
What do they want ?
CUT TO:
164 EXT. HARRINGTON-STRAKER STUDIO. NIGHT. 9 SECS
AN AMBULANCE, BLUE LIGHT FLASHING, ALARM
SOUNDING, PULLS PAST THE STUDIO SIGN TO ESTABLISH
THE HOSPITAL IT IS ABOUT TO ENTER IS NEARBY.
CUT TO:
165 EXT. HOSPITAL. NIGHT. (VISUAL EFFECTS) 7 SECS
THE AMBULANCE PULLS INTO THE ENTRANCE TO
MAYLAND HOSPITAL.
CUT TO:
166 INT. STRAKER'S OFFICE (UNDERGROUND) (STUDIO) 18 SECS
FREEMAN AND STRAKER WHO ANSWERS THE INTERCOM
AS IT BUZZES.
STRAKER
Yes - ?
MALE VOICE OVER
Mayland Hospital. Shado Section.
Your special patient has arrived, sir.
We will use underground corridor 32
to Shado medical centre.
STRAKER CLICKS THE INTERCOM THEN LOOKS UP AT
FREEMAN.
FREEMAN
Maybe they're bringing in some
of the answers now.
CUT TO:
167 INT. CORRIDOR 32 - UNDERGROUND (STUDIO) 35 SECS
START CLOSE ON A SIGN. IT 1S ILLUMINATED WITH THE
WORDS "CONDITION STERILE"
PULL BACK TO SHOW THE CORRIDOR IS ULTRA VIOLET
LIT TO MAKE IT GERM FREE. WE ALSO SEE WE ARE IN
CORRIDOR 32.
***PAGE***
167 (continued) 54
A STRETCHER TROLLEY IS PUSHED SMOOTHLY ALONG
BY TWO ATTENDANTS: A DOCTOR AND JOHN KARLIN
WALK BY IT. THE GROUP ARE IN A HURRY.
ON THE STRETCHER IS THE U.F.O ALIEN - STILL IN HIS
HELMET AND SPACESUIT. BUT NOW COMPLETELY
ENVELOPED IN A TRANSLUCENT PLASTIC CAGE.
ANOTHER ANGLE:
STRAKER AND FREEMAN STAND IN THE DOORWAY
WATCHING INTENTLY AS THE STRETCHER ROLLS PAST,
TRYING TO CATCH A GLIMPSE OF THE ALIEN. KARLIN
STILL IN HIS SKY-DIVER UNIFORM, LOOKING WORN AND
TIRED, STOPS BY THEM.
STRAKER
Well done, John. You're wanted
in debriefing immediately.
KARLIN NODS :HE IS BEAT.
KARLIN
Right. See you later.
HE GOES THROUGH THE DOOR, STRAKER LOOKS AT
FREEMAN AND THEY STRIDE OFF IN THE DIRECTION
THE TROLLEY STRETCHER WENT.
CUT TO:
168 INT. MEDICAL CENTRE. (UNDERGROUND)
STUDIO 62 SECS
A MOOD OF URGENT ACTIVITY
A COUPLE OF NURSES AND A DOCTOR, BUSY THEMSELVES
AROUND THE U.F.O ALIEN. ANOTHER DOCTOR, SCRUBS
UP. THROUGH A WINDOW WE SEE INTO AN OPERATING
THEATRE.
ALONG THE WALL DIVIDING THE MEDICAL CENTRE FROM
THE THEATRE, ELECTRONICS LINKED TO A COMPUTER.
THIS INCLUDES A BUILT-IN CONSOLE WITH A TV SCREEN.
THE ROOM IS ALSO ULTRA-VIOLET LIT.
STRAKER AND FREEMAN ENTER AND WALK TO THE GROUP
AROUND THE TROLLEY. THEY TRY HARD TO SEE THROUGH
THE TRANSLUCENT COVER.
STRAKER
What's the position, doctor ?
DR. HARRIS
Alive; but in critical condition.
Excuse me.
***PAGE***
168 (continued) 55
HE TURNS TO GET AN INSTRUMENT. STRAKER WALKS
OVER TO THE OTHER DOCTOR SCRUBBING UP.
STRAKER
What are the chances of survival ?
DR. SHROEDER
Impossible to estimate, First we
must try to effect normal respiration:
at the moment he's breathing an
oxygenated liquid.
STRAKER
(not all that surprised)
Liquid.
DR. SHROEDER
Are the theatre staff ready, nurse ?
HE MOVES OUT OF SHOT.
ANOTHER ANGLE:
FREEMAN AND STRAKER.
STRAKER
His lungs are full of liquid.
FREEMAN
They probably travel through space
in a liquid environment.
STRAKER
Isn't that what the experts predicted.
DR. SHROEDER COMES INTO SHOT.
DR. SHROEDER
I'm afraid I must ask you to leave.
We're going to remove the protective
cover. There could be danger of
infection -- we don't know what
alien micro-organisms he may be
carrying.
STRAKER
Right -- Call me the moment you
have anything, Doctor.
STRAKER AND FREEMAN TURN TO LEAVE.
CUT TO:
169 INT. CORRIDOR. UNDERGROUND. (STUDIO) 10 SECS
STRAKER AND FREEMAN COME OUT. AS THE DOORS
CLOSE BEHIND THEM STRAKER LOOKS UP TO A SIGN
***PAGE***
169 (continued) 56
ABOVE THE ENTRANCE. IT ILLUMINATES "NO
ENTRY" - "OPERATION IN PROGRESS".
FREEMAN GOES AND SITS. STRAKER LIGHTS A
CIGARETTE.
CUT TO:
170 INT. OPERATING THEATRE (STUDIO) 10SECS
THE DOCTORS AND THE NURSE AROUND THE ALIEN ON THE
OPERATING TABLE. AS WE TRACK IN ONE OF THE DOCTORS
MOVES ASIDE AND WE CATCH A GLIMPSE OF THE ALIEN'S
FACE, A TUBE FROM HIS MOUTH, IS DRAINING AWAY THE
LIQUID FROM HIS LUNGS. WE SEE THE GREEN
COLOURATION OF HIS SKIN.
CUT TO:
171 INT. CORRIDOR. UNDERGROUND (STUDIO) 12 SECS
STRAKER STUBS A CIGARETTE OUT IN AN ALREADY
FULL ASHTRAY. THEN STANDS UP AND STARTS TO
PACE AROUND IMPATIENTLY.
CUT TO:
172 INT. OPERATING THEATRE (STUDIO) 12 SECS
THE DOCTORS AND THE NURSE AROUND THE ALIEN.
C.S. HANDS
THE DOCTORS GLOVED HANDS WORK ON THE ALIEN'S
EYE. THEY MOVE TO SHOW THEY HAVE REMOVED A
PLASTIC COVER FROM THE EYEBALL.
CUT TO:
173 INT. CORRIDOR (UNDERGROUND) (STUDIO) 15 SECS
START CLOSE ON STRAKER'S NERVOUS HANDS.
PULL BACK TO SHOW FREEMAN AND STRAKER SITTING
OUTSIDE THE MEDICAL CENTRE. THE LIGHTING IS
NOW BACK TO NORMAL. SEVERAL HOURS HAVE PASSED.
THEY LOOK UP AS A NURSE COMES OUT AND BECKONS.
SHE HOLDS THE DOOR OPEN FOR THEM AS THEY HURRY IN.
CUT TO:
***PAGE***
57
174 INT. MEDICAL CENTRE (STUDIO) 42 SECS
THE TWO DOCTORS STAND TAKING OFF THEIR GLOVES
AND MASKS. ONE PASSES A HAND OVER HIS WEARY
BROW.
STRAKER AND FREEMAN HAVE HURRIED IN. STRAKER
IS IMPATIENT FOR ANSWERS.
STRAKER
Is he alive ?
DR. SHROEDER
Yes...
STRAKER
Well ....?
DR. SHROEDER
The general analysis has shown he
is basically humanoid.
STRAKER
A man ... ?
DR. SHROEDER
More or less......
Body temperature 3 degrees para
normal; blood pressure rather low.
Muscular development poor;
cranium 10% larger than average...
other minor points. The skin has an
artificial green colouration ...
probably absorbed from the liquid.
We're waiting for the first electro
medical results.
ANOTHER ANGLE:
FREEMAN STANDS AT THE WINDOW LOOKING INTO THE
OPERATING THEATRE.
CUT TO:
175 POV SHOT 10 SECS
THE THEATRE IS STILL ULTRA LIT. THE UFO ALIEN
NOW OUT OF HIS HELMET AND SPACESUIT, LIES
SUSPENDED ON AN AIR BED. MANY ELECTRO BIO-
SENSORS ARE ATTACHED TO HIS BODY, WITH LEADS
TO THE ELECTRONICS. A SALINE DRIP FEEDS INTO
HIM.
FREEMAN (VO)
A man ... from a solar system
maybe a hundred million million
miles from Earth....
CUT TO:
***PAGE***
58
176 RESUME SCENE
A COMPUTER SPEWS OUT SOME INFORMATION. DR.
SHROEDER TURNS AND CHECKS IT.
DR, HARRIS
This is incredible !
STRAKER
What is it ?
DR. HARRIS
Well, we can't be sure but this
preliminary test shows organ and
gland transplants ... Heart, liver,
left lung, thyroid.
EVERYONE STANDS IN SILENCE: THE NEWS IS SHATTERING.
STRAKER TURNS AND MOVES QUICKLY TO THE CONSOLE.
HE FLICKS A SWITCH. THE OPERATING LIGHTS COME ON
OVER THE ALIEN.
CUT TO:
177 CS - TV 4 SECS
SHOWING A M.S. SHOT OF THE ALIEN.
CUT TO:
178 CS - STRAKER 6 SECS
HE MOVES A CONTROL. URGENT, A MUSCLE TWITCHING
IN HIS FACE. THE JIG-SAW IS BEGINNING TO FALL INTO
PLACE.
CUT TO:
179 CS - TV 5 SECS
WE ZOOM IN ON THE ALIEN'S FACE ... WE SEE IT CLEARLY
FOR THE FIRST TIME. THE GREEN ANGULAR FEATURES.
THE SKIN SMOOTH AND UNWRINKLED.
CUT TO:
180 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) 38 SECS
STRAKER SLUMPED AT HIS DESK. FREEMAN PULLS ON
A CIGARETTE. THE DESK IS STREWN WITH FILES.
STRAKER
You realise what this could mean ?
FREEMAN
It's still theory.
***PAGE***
180 (continued) 59
STRAKER
Theory ? ... Fact ... ten years of
possible, probable and confirmed UFO
incidents. Fact...
(he bangs the files on
his desk)
On a number of fully documented
occasions mutilated bodies found
after confirmed UFO attacks -
organs missing - Fact: an electro
medical examination of the first
alien we lay our hands on shows
organ transplants.
FREEMAN
The doctors weren't certain.
STRAKER
No. Not yet. But I'm betting the
proof lies at the end of that corridor.
CUT TO:
181 INT. MEDICAL CENTRE (STUDIO) 17 SECS
A NURSE SITS MAKING NOTES OF THE VARIOUS
READINGS FROM THE BIO SENSOR AND RECORDING
INSTRUMENTS IN A BOOK. SHE TURNS AS THE COMPUTER
FEEDS OUT MORE INFORMATION; CROSSES AND RIPS OFF
THE PAPER OUTPUT.
SHE PINS IT TO THE BOOK; THEN REACTS TO SOMETHING
SHE READS ON THE COMPUTER REPORT. SHE GLANCES
QUICKLY THROUGH THE WINDOW INTO THE OPERATING
THEATRE - HURRIES TO THE T.V.
THE NURSE OPERATES A CONTROL AND PANS THE PICTURE,
THEN BEGINS TO ZOOM IN.
CUT TO:
182 CS - TV 7 SECS
WE ZOOM IN ON THE ALIEN'S FACE. AS THE MUSIC
REACHES A CLIMAX, WE SEE THE SKIN HAS WRINKLED.
HE IS AGEING: THE NORMAL CHANCE OF YEARS
HAPPENING IN MINUTES; AN INTERCOM CLICKS.
NURSE (VO)
Dr. Shroeder. Emergency.
MIX TO:
***PAGE***
60
183 INT. MEDICAL CENTRE (STUDIO) 29 SECS
STRAKER AND FREEMAN STAND AT THE WINDOW,
LOOKING AT THE ALIEN IN THE THEATRE. AS THE
DOCTORS FIGHT TO SAVE HIS LIFE. THE NURSE SITS
AT THE CONSOLE.
DR. HARRIS COMES OVER THE INTERCOM:
DR. SHROEDER (VO)
Nurse, get a Neilson respirator
and an H&K unit in here immediately.
NURSE
Yes, sir.
AS SHE FLICKS ANOTHER SWITCH, AND BEGINS
REQUESTING THE EQUIPMENT.
ANOTHER ANGLE:
FREEMAN AND STRAKER.
FREEMAN
It doesn't look good.
CUT TO:
RESUME SCENE
DR. SHROEDER (VO)
Cancel that request, nurse.
Cessation..
THE NURSE TURNS TO STRAKER.
NURSE
I'm afraid he's dead, sir.
CUT TO:
184 INT. THEATRE (STUDIO) 25 SECS
STRAKER COMES INTO THE THEATRE, WALKS SLOWLY
UP TO THE UFO MAN UNDER THE BLAZE OF THE
OPERATING LIGHTS.
CS - FACE
WE SEE THE ALIEN'S FACE: INCREDIBLY AGED IN A FEW
HOURS. THE DEEP LINED FEATURES OF A VERY OLD
MAN.
CS - STRAKER
STARING DOWN AT THE FACE: AT THAT MOMENT HE
FEELS A STRANGE COMPASSION.
***PAGE***
184 (continued) 61
STRAKER
(emotional)
When can I have a post mortem
report ?
DR. SHROEDER (VO)
48 hours.
STRAKER
(gently; but he means it)
Make it 24. Not the details. Just
what really matters.
CUT TO:
185 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO) 155 SECS
STRAKER AND FREEMAN READ FROM FILES. THE CHANGE
OF DRESS INDICATES A TIME ELAPSE. DOCTORS HARRIS
AND SHROEDER ARE ALSO PRESENT. STRAKER CLOSES
HIS FILE. HE HAS FINISHED THE DOCTORS' PRELIMINARY
REPORT. STRAKER IS TIRED WITH A DAY'S GROWTH OF
BEARD.
DR. SHROEDER
The rapid ageing isn't documented
in the report. We're not sure why
it happened ... but it's certainly
connected with the reaction of Earth's
atmosphere on the body ...
FREEMAN CLOSES HIS FILE. A VERY LONG PAUSE.
STRAKER TAKES A CIGARETTE AND STANDS UP.
STRAKER
Gentlemen, let's consider the three
main questions regarding UFO's.
One ... Where do they come from ?
STRAKER WALKS SLOWLY ROUND, THEN LEANS BACK
AND HALF SITS ON HIS DESK. KEEPING HIS LEGS STRAIGHT,
FEET ON THE GROUND.
STRAKER
The fact that the lungs were filled
with an oxygenated liquid indicates
a subjection to phenomenal acceleration
and fantastic speeds over a long
period, long enough for the skin to
pick up a green colouration from
the liquid. It all adds up to an
extended journey through space ...
possibly months at many times the
speed of light.
FREEMAN PULLS DEEPLY ON A CIGARETTE. STRAKER
STANDS, WALKS SLOWLY ALONG THE ROOM TOYING WITH
***PAGE***
185 (continued) 62
HIS UNLIT CIGARETTE.
STRAKER
Two ... Who are they ?
HE STOPS AND TURNS.
STRAKER
In science and technology several
hundred years in advance of man.
STRAKER USES HIS CIGARETTE TO EMPHASIZE HIS POINT.
STRAKER
But everything in this report
indicates a dying race ... Hereditry
sterility was evident ... Using
drugs and advanced transplant
techniques, they have beaten the
natural ageing process.
HE STARTS TO PACE AGAIN.
STRAKER
They are highly intelligent; so
they come to Earth presumably
_knowing_ the risk of contact with
our atmosphere...
HE HAS STOPPED BY FREEMAN.
STRAKER
... Which brings us to question
three....
ANOTHER ANGLE:
FREEMAN TAKES OUT HIS LIGHTER AND OFFERS STRAKER
A LIGHT. HE LIGHTS HIS CIGARETTE TAKING HIS TIME.
STRAKER
(slow)
Why do they come ?
RESUME SCENE:
STRAKER
(A long pause)
This report lists five major organ
and gland transplants. In the case of
the heart, tissue compatability proves
this is human in origin. _It came from
Earth._ Therefore one of the reasons
they come is to obtain replacement organs.
But there may be others. Imagine a dying
planet, in some distant solar system,
its natural resources nearly exhausted,
its inhabitants sterile, doomed to
(more)
***PAGE***
185 (continued) 63
STRAKER (cont'd)
extinction... A situation we may
one day face ourselves.
CUT TO:
CS - DR. SHROEDER
HEAD BOWED, LISTENING QUIETLY.
STRAKER(VO)
They discover Earth, abundant,
fertile and see it as a new source
to satisfy their needs. They look
upon Earth....
CUT TO:
CS - DR. HARRIS
WATCHING STRAKER
STRAKER(VO)
Not necessarily with animosity,
but possibly callously ... As we
look to the animal kingdom for food...
CS - FREEMAN
LISTENING, CONSIDERING, THINKING OF THE TREMENDOUS
SIGNIFICANCE OF WHAT STRAKER IS SAYING:
STRAKER(VO)
It would appear they are driven
by circumstance across a billion
miles of space......
CUT TO:
CS - STRAKER
HE SPEAKS AS HE STUBS OUT HIS CIGARETTE IN THE
DESK ASH TRAY...
STRAKER
... urged on by the greatest force
in the Universe.
HE LIFTS HIS HEAD TO STARE AT THE WALL.
STRAKER
.... survival.
CUT TO:
***PAGE***
185 (continued) 64
RESUME SCENE
A VERY LONG SILENCE.
FREEMAN
(Half to himself)
Poor bastards.
STRAKER TURNS SLOWLY TO HIM WITH A LOOK OF MUTE
AGREEMENT. THE GROUP ARE SILENT.
CUT TO:
186 INT. UNDERGROUND CORRIDOR (STUDIO) 18 SECS
STRAKER WALKS SLOWLY ALONG THE CORRIDOR AND
IS STOPPED BY AN OPERATIVE WITH A PIECE OF PAPER.
OPERATIVE
The check on the test, sir.
STRAKER LOOKS AT THE PAPER.
STRAKER
There's no possible doubt.
OPERATIVE
No sir ! Electronic tissue analysis
is as positive as a voice print.
STRAKER
Right.
STRAKER LOOKS AT HIM THEN WALKS ON.
CUT TO:
187 INT. STRAKER'S INNER OFFICE (STUDIO) 14 SECS
STRAKER COMES IN. JOHN KARLIN IS WAITING.
STRAKER
Sorry to keep you waiting, John...
How long do you have ?
KARLIN
30 minutes.
STRAKER
I'll walk you to your car.
CUT TO:
***PAGE***
65
188 MS - WINDOW (STUDIO PROCESS) 15 SECS
WE HEAR A WHIR OF MACHINERY. THE ROOM BEGINS TO
RISE LIKE A LIFT, AND THE ROCK GARDEN APPEARS
OUTSIDE THE WINDOW.
RESUME SCENE
THE ELECTRONIC BOLTS ON THE DOOR OPERATE AND IT
OPENS TO SHOW MISS EALAND'S OFFICE. WE ARE BACK
ON GROUND LEVEL.
189 INT. STRAKER'S OUTER OFFICE. (STUDIO) 12 SECS
STRAKER AND KARLIN COME IN. THE ILLUMINATED
PANEL "DO NOT ENTER" GOES OUT. STRAKER PUTS
HIS COAT ON.
THEY LEAVE -
CUT TO:
190 INT. STUDIO FOYER. DAWN. (LOCATION) 7 SECS
STRAKER AND KARLIN WALK PAST THE RECEPTION DESK
AND OUT THROUGH THE GLASS DOORS.
191 EXT. STUDIO. DAWN. (LOCATION) 75 SECS
STRAKER'S CHAUFFEUR WAITS BY HIS CAR. BUT STRAKER
WAVES HIM AWAY, AND BEGINS TO WALK TOWARDS CAR
PARK WITH KARLIN.
WE TRACK WITH THEM.
KARLIN
You wanted to tell me something...
STRAKER
Yes. I wanted to catch you before
you flew out.
STRAKER DOES NOT ANSWER. THEY WALK A FEW STEPS.
KARLIN
It's my sister Leila, isn't it.
THE SLIGHTEST HESITATION IN STRAKER'S STEP.
STRAKER
Yes.
THEY WALK A FEW PACES. THEN STRAKER STOPS.
STRAKER
I'm afraid she's dead.
A LONG BEAT.
***PAGE***
191 (continued) 66
STRAKER
I think you know how sorry I am.
KARLIN NODS.
KARLIN
What happened ?
STRAKER
It, er, maybe better if I don't
tell you.
KARLIN THINKS A MOMENT.
KARLIN
(calm)
I think I'd like to know.
IT'S TOUGH FOR STRAKER,; HE ADOPTS AN OFFICIAL
ATTITUDE TO COVER HIS EMOTIONS
STRAKER
Your sister was last seen in the
vicinity of a U.F.O. incident
nearly two years ago. The body
you recovered from the sea was
subjected to intense medical
examination. The heart was a
transplant ... The donor ... Leila
Karlin.
FOR A FEW MOMENTS KARLIN IS STUNNED.
STRAKER
What will you tell your parents ?
KARLIN
I don't know
STRAKER
You realise, they can never know
the truth.
TRACK IN ON KARLIN.
FADE OUT:
FADE IN:
192 INT. CREMATORIUM. DAY. (STUDIO) 42 SECS
START CLOSE ON STRAKER AT THE BACK AS IN THE
OPENING SEQUENCE.
CUT TO:
***PAGE***
67
192 (continued)
ANOTHER ANGLE:
THE PRIEST FINISHES THE SERVICE.
PRIEST
Lord, receive to Thy safe keeping
the soul of Leila Karlin. May she
rest in peace. Amen.
THE DOORS IN THE ALTAR SLIDE OPEN. HERE AND THERE
IN THE CONGREGATION PEOPLE BREAK DOWN.
KARLIN PLACES A FIRM REASSURING HAND ON HIS
MOTHER'S SHOULDER - WE HEAR HER SOFTLY SOBBING.
CUT TO:
CS - STRAKER
STRAKER
(thought voice over)
A funeral without a body. A
symbol of human compassion ....
Is this the end or the beginning ?
For where does the Universe end ?
Where does it begin ?
HE TURNS TO LEAVE.
CUT TO:
CS - DOOR
THE COFFIN DISAPPEARS. THE DOORS SLIDE SHUT.
FINAL FADE OUT:
END OF ACT FOUR
END TITLES
***PAGE***
U.F.O. TV SERIES:
IDENTIFIED - PILOT SCRIPT
SCRIPT AMENDMENTS - 12th March, 1969.
Page 14 - Scene 50 - Add Timing - 42 seconds.
Page 58 - Scene 176 - Add Timing - 22 seconds.
------------------------
Page 22 - Insert New Page Attached
------------------------
Page 23 - Scene 68 (Cont'd) - amend PAULA's 1st dialogue to read
PAULA (VO)
All space trackers to be fully operational by 10.45. -
astronauts on standby.
------------------------
Page 24 - Scene 70 - delete PAULA's 1st dialogue.
Insert
PAULA
So this is really it, Sir!
delete DESICA's 4th dialogue
Insert
DESICA
Looks like it.
------------------------
Page 25 - Scene 70 - amend BOTH PAULA AND JOANNA LOOK PRETTY GLUM
to read:- BOTH PAULA AND JOANNA LOOK APPREHENSIVE
------------------------
Page 42 - Scene 115 amend direction to read:-
KARLIN STANDS WITH LIEUTENANT MAXWELL AT HIS SIDE.
THE OTHER TWO MEMBERS OF THE CREW ARE MASTERS AND
SYLVIA HOWELL.
------------------------
Page 55 - Scene 168 (cont'd) - delete STRAKER's 2nd & 3rd dialogue
delete STRAKER's 4th dialogue
Insert
STRAKER
A technique we have only just started experimenting with.
------------------------
Page 66 - Scene 191 - delete STRAKER's 2nd dialogue
Insert
STRAKER
I don't think you'd like me to tell you.
***PAGE***
22
NEW PAGE - "IDENTIFIED" 12th March, 1969.
64 (continued)
SHE SWIVELS IN HER SEAT AS WE WIDEN THE ANGLE
TO TAKE IN COLONEL DESICA THE MOONBASE COMMANDER
AS HE WALKS TO THE CONTROL CONSOLE
DESICA
Right ...
(into mike)
Desica ...
CUT TO:
65 INT. SHADO CONTROL ROOM (STUDIO 14 SECS
STRAKER
Good morning, Franco - I
think I might have some action
for you. I want Moonbase on
yellow alert to track Seagull
X-ray. It's carrying Shado
V.I.P's and the Ultronic equip-
ment. We can't afford to take
any chances.
CUT TO:
66 INT. CONTROL SPHERE - MOONBASE (STUDIO) 12 SECS
DESICA
Roger and out.
COLONEL DESICA TURNS TO PAULA HARRIS.
DESICA
Announce a yellow alert for
10.45.
PAULA
Yes Sir.
DESICA
Then I should take some time off
PAULA
Right.
HE WALKS TOWARD THE DOORWAY.
CUT TO:
67 INT. CONNECTING CORRIDOR. MOONBASE (STUDIO) 12 SECS
DESICA HAS COME OUT OF THE CONTROL SPHERE AND
WALKS ALONG THE CONNECTING CORRIDOR TOWARDS
THE DINING AND LEISURE SPHERE. WE HEAR PAULA'S
VOICE OVER MOONBASE'S SPEAKER SYSTEM.
PAULA (VO)
Moonbase will be on Yellow Alert
from 10.45....repeat 10.45.
CUT TO:
68
INT. DINING AND LEISURE SPHERE (STUDIO) 40 SECS
IN THE CENTRE OF THE DINING AREA IS A CIRCULAR
TABLE WITH SLIM METAL CHAIRS, SURROUNDING IT
AUTOMATS LINE THE WALL. ASTRONAUT MARK BRADLEY
A COLOURED MAN OF AROUND THIRTY IS
***PAGE***
U.F.O. TV SERIES:
IDENTIFIED - PILOT SCRIPT
SCRIPT AMENDMENTS - 17th MARCH, 1969
Page 30 - Scene 86 - amend Dialogue Headings marked PAULA
to read JOAN
------------------------
Page 45 - Scene 125 (Cont'd): FREEMAN'S 1st Dialogue:
delete "BLOODY"
------------------------
Page 64 - Scene 185 (Cont'd): FREEMAN'S DIALOGUE:
amend "BASTARDS"
to read "DEVILS"
------------------------
End Of Show
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