THE SCRIPT FOR THE UFO EPISODE "COMPUTER AFFAIR" Transcription by Lisa Williams. Introduction by Marc Martin. This is a transcription of a photocopy of a script for the UFO episode "COMPUTER AFFAIR". 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: * The Lt. Gay Ellis character did not exist at the time this script was written. Gabrielle Drake was originally hired to play "Paula Harris", one of the three Moonbase space trackers (the other two were Nina Barry and Joan Harrington). To be in charge of Moonbase was "Franco Desica", played by actor Franco Derosa. However, shortly into the filming of the first episode, it became apparent that Derosa was too difficult to work with, so he was fired and his character was replaced by Lt. Ellis in some episodes and Col. Paul Foster in others. In COMPUTER AFFAIR, lines for both Franco Desica and Paula Harris were transferred to Lt. Ellis. * Since COMPUTER AFFAIR was the 2nd episode produced, this script has some interesting background information included, like an explanation of "Central Park" on Moonbase (scene 49), and that the Interceptors have atomic warheads (scene 24). * This script has several additional scenes that never made it into the final episode, including a 29th birthday party for Mark Bradley on Moonbase (scenes 8-9), Freeman's arrival at SHADO HQ from Moonbase (scenes 30-39), Freeman's meeting an officer at Lexfield Air Force Base in Canada (scene 110), and Bradley and Harris disputing the computer's findings that they are in love (scene 106). * The error which led to the death of the Interceptor pilot is much more blatent in the script than in the finished episode (scene 25), and the computer's findings of what happened are more specific (scene 106). * The exchanges between Straker and Freeman are more interesting in the script than the final episode -- note Freemans' resignation scene (scenes 183 & 185) and also where Straker snaps his fingers for a cigarette from Freeman (scenes 79-80). * And a minor note: the original script title "THE COMPUTER AFFAIR" became just "COMPUTER AFFAIR" for the final episode. This script also has 17 pages of revisions and "new pages" at the end which brings it much closer to the final episode. These pages are included at the end of this file. Enjoy! ------------------------------ CUT HERE -------------------------------- U . F . O . " THE COMPUTER AFFAIR " by Tony Barwick (c) Century 21 Pictures Stirling Road Slough;Bucks ***PAGE*** _CAST LIST_ _SPEAKING PARTS_ PAULA HARRIS DESICA FREEMAN NINA JOAN HARRINGTON MATHEWS MARK BRADLEY WATERMAN RECEPTIONIST MISS EALAND STRAKER KARLIN MAXWELL GRANGER OPERATOR DR. SHROEDER 2ND OPERATOR MASTERS HOWELL COL. GROVENOR OPERATIVE(CANADA) LIEUTENANT DR. MURRAY _VOICES_ S.I.D. RADIO VO ***PAGE*** _SET LIST_ INT CONTROL SPHERE MOONBASE STUDIO INT CORRIDOR MOONBASE STUDIO INT SLEEP SPHERE MOONBASE STUDIO INT LEISURE DINING SPHERE MOONBASE STUDIO INT INTERCEPTOR COCKPIT STUDIO INT RECEPTION LOCATION INT STRAKER'S OUTER OFFICE STUDIO INT STRAKER'S INNER OFFICE STUDIO INT UNDERGROUND CORRIDOR STUDIO INT STRAKER'S UNDERGROUND OFFICE STUDIO INT CENTRAL PARK STUDIO INT INTERROGATION ROOM STUDIO INT GLASS OFFICE STUDIO INT CAPTAIN'S CABIN STUDIO INT SKY 1 STUDIO INT CONTROL ROOM SKYDIVER STUDIO EXT STUDIO LOCATION INT OFFICE(CANADA) STUDIO INT SHADO MOBILE STUDIO EXT CANADA LOCATION INT MEDICAL CENTRE STUDIO INT RESTAURANT STUDIO _SPECIAL EFFECTS SETS_ EXT SPACE EXT MOONBASE EXT SID INT CRATER EXT CRATER EXT INTERCEPTOR EXT SKY EXT SKY 1 EXT CANADA EXT SKYDIVER UNDERWATER EXT SEA EXT UFO EXT SHADO MOBILE EXT AIRBASE EXT RUNWAY _TIMIMGS_ STUDIO 39 mins 19 secs LOCATION & LIBRARY 3 mins 22 secs SPECIAL EFFECTS 6 mins 43 secs TOTAL 49 mins 24 secs ***PAGE*** FADE IN ACT 1. 1 EXT. SPACE (VISUAL EFFECTS) 5 SECS THE LUNAR MODULE SECTION OF MOONSHIP AS IT APPROACHES THE MOON CUT TO 2 EXT. MOONBASE DAY (VISUAL EFFECT) 8 SECS THE MODULE LANDS SLOWLY AND PRECISELY ON THE RECEPTION SPHERE ON MOONBASE CUT TO 3 INT. CONTROL SPHERE DAY (STUDIO) 63 SECS PAULA HARRIS AND NINA BARRY ARE ON DUTY. DESICA SITS AT HIS CONSOLE. PAULA TURNS TO THE MOONBASE COMMANDER. PAULA Colonel Freeman is just leaving reception, sir. DESICA Thank you. DESICA STANDS UP AND WALKS OVER TO THE DOORWAY. IT OPENS AND ALEC FREEMAN COMES IN CARRYING A SMALL CASE. TWO SHOT FREEMAN HOLDS OUT A HAND FREEMAN Franco . . . . THEY SHAKE HANDS. THEIR CONVERSATION CANNOT BE OVERHEARD BY THE GIRLS. DESICA Colonel Freeman . . . . FREEMAN LOOKS AT HIM. FREEMAN We're very formal today . . DESICA IGNORES THE IMPLIED QUESTION. DESICA How was the flight? ***PAGE*** 3 (continued) 2 FREEMAN Smooth . . . . . . HE MOVES FORWARD. ON SPACE TRACKERS. FREEMAN WALKS OVER TO THE GIRLS. DESICA STAYS IN THE BACKGROUND. FREEMAN Hello Paula . . . Nina. PAULA Hello, sir. NINA Hello, Colonel. FREEMAN How are things going? NINA Fine. PAULA There is one thing sir. We're down to our last two spare XK4 units. FREEMAN Ah yes, there's been a little trouble with a design modification, but it's all sorted out now. You can expect a new batch on the next flight. FREEMAN TURNS TO WALK AWAY. PAULA Sir? HE TURNS BACK. PAULA Did you take care of that personal requisition? FREEMAN REACTS HE HAS FORGOTTEN, MAYBE OVER- ACTING SLIGHTLY. FREEMAN Personal requisition - oh I forgot. What can I say? ***PAGE*** 3 (continued) 3 PAULA (disappointed) It's alright . . . it wasn't that important. FREEMAN I'm sorry . . . . . FREEMAN TURNS TO DESICA AND INDICATES A FILE ON THE CONSOLE. FREEMAN Is that your report? DESICA Yes. I think you'll find everything in order. FREEMAN I'm sure I shall. Lead the way, Commander. FREEMAN PICKS UP THE FILE AND THEY WALK TOWARDS THE DOORWAY. CUT TO: 4 INT. CORRIDOR MOONBASE DAY (STUDIO) 20 SECS DESICA AND FREEMAN DESICA The whole spares situation might need reviewing. I'd like to see the levels kept about 20% higher. FREEMAN You must be telepathic. DESICA DOESN'T UNDERSTAND. FREEMAN Straker asked me to get your thoughts on the subject . . . he had the same idea. THEY ARE NOW OUTSIDE THE SLEEP SPHERE. CUT TO: 5 INT. SLEEP SPHERE DAY (STUDIO) 41 SECS FREEMAN AND DESICA ENTER. THE SPHERE IS EMPTY. FREEMAN LOOKS AROUND, FEELS ONE OF THE ULTRA THIN ALLUMINIUM BLANKETS. ***PAGE*** 5 (continued) 4 FREEMAN How's morale? DESICA REACTS AND STIFFENS. DESICA Excellent . . . why do you ask? FREEMAN No particular reason. DESICA I see. FREEMAN Listen Franco, this is only a routine monthly inspection, but there have been a couple of minor mistakes recently. And on this Base you realise as well as I do we can't afford any error no matter how small. DESICA Yeah I know, I'm sorry Alec. It's nothing to worry about. I think my report will make that clear. FREEMAN Good . . . let's move on shall we. THEY WALK TOWARDS THE DOORWAY. CUT TO: 6 INT. CONTROL SPHERE DAY (STUDIO) 11 SECS PAULA AND NINA AT THEIR STATIONS. PAULA They've been walking around for two hours. What's taking so long this time NINA Who knows . . . CUT TO: 7 INT. LEISURE-DINING SPHERE DAY (STUDIO) 35 SECS MARK BRADLEY, LEW WATERMAN AND KEN MATTHEWS THE THREE ON DUTY ASTRONAUTS RELAX IN THE B.G. THEY WEAR THEIR SPACESUITS ***PAGE*** 7 (continued) 5 FREEMAN AND DESICA STAND IN THE FOREGROUND LOOKING AT SOME DATA. FREEMAN What sort of times are we making on interceptors launches now, Franco? DESICA Around 125 seconds flat. FREEMAN That's great . . HE LOOKS UP AND SMILES AT DESICA. FREEMAN Well, I think that about wraps it up for this month. DESICA LOOKS AT HIM. FREEMAN I'll report a clean bill of health. DESICA We've arranged a little morale booster. Excuse me. DESICA WALKS OVER AND USES THE BASE INTERCOMM SYSTEM. DESICA (into mike) Will all off duty personnel come to the leisure sphere right away. CUT TO: 8 INT. CONTROL SPHERE DAY (STUDIO) 9 SECS PAULA HAS REMOVED HER WIG, AS DESICA'S V.O. REPEATS THE MESSAGE SHE HURRIES OUT. NINA Save me a piece of cake. PAULA What cake . . . . your memory's as bad as Alec Freeman's. CUT TO: ***PAGE*** 6 9 INT. LEISURE-DINING SPHERE DAY (STUDIO) 169 SECS FREEMAN, DESICA AND THE THREE ASTRONAUTS HAVE BEEN JOINED BY JOAN HARRINGTON AND JOANNA. PAULA HURRIES IN. AN UNDER CURRENT OF CONVERSATION. DESICA QUIET PLEASE . . . . quiet . . . The following communique came through from SID at 00.02 hours today . . . . ON MARK. DESICA At 03.20 hours on November 4th 1952 Mrs. Joan Bradley gave birth to a son. HE REALISES WHAT IS HAPPENING. MARK Oh no . . . . RESUME SCENE DESICA Today is therefore the 29th birthday of astronaut Mark Bradley . . . .Come over here Mark. AS MARK WALKS OVER SMILES ALL ROUND. JOAN Happy birthday Mark. MATHEWS Let the old guy through here. ON FREEMAN FREEMAN I'm sorry to hold up the festivities but there are a couple of things. PAULA I bet there are . . . . FREEMAN (hard) As you seem so concerned, space tracker Harris, maybe you would speed things up by bringing my case over. ***PAGE*** 9 (continued) 7 THE GROUP ARE SILENT. THE ATMOSPHERE IS BROKEN. PAULA PICKS UP FREEMAN'S CASE AND CARRIES IT TO HIM. FREEMAN Open it. PAULA OPENS THE CASE THEN REACTS IN PLEASURE AND SURPRISE. SHE TURNS AND KISSES FREEMAN ON THE CHEEK. ON CASE. INSIDE WE SEE A BIRTHDAY CAKE AND TWO BOTTLES OF CHAMPAGNE. RESUME SCENE. THE GROUP CROWD ROUND. FREEMAN TAKES OUT ONE OF THE BOTTLES. FREEMAN From the girls Mark. Congratulations. MARK READS FROM THE BOTTLE LABEL. MARK Shado non alcoholic champagne. WATERMAN Oh great. Not a drop is sold till it's three weeks old. MATTHEWS I'll get some glasses . . . and a stomach pump. THE CHAMPAGNE POPS EVERYONE CHEERS. GLASSES ARE FILLED. FREEMAN I give you a toast . . . Mark Bradley. THE TOAST IS ECHOED. THE GROUP SING HAPPY BIRTHDAY LED BY THE GIRLS. AS THE SONG FINISHED JOAN AND JOANNA KISS FREEMAN. MARK Hey I thought it was my birthday. ***PAGE*** 9 (continued) 8 THE TWO GIRLS LAUGH AND KISS HIM TOGETHER ONE ON EACH CHEEK. ON PAULA. MATTHEWS (VO) Come on Paula . . . . PAULA HESITATES A FRACTION. THEN SMILES AND GOES TO MOVE FORWARD. RESUME SCENE. NINA (VO) UFO reading 062-415 green. THE GROUP ARE STUNNED TO SILENCE. NINA (VO) Confirm sighting . . . yellow alert . . . I say again . . . yellow alert. THE GROUP REACT, HURRYING TO THEIR STATIONS. THE THREE ASTRONAUTS GRAB THEIR HELMETS AND HEAD FOR THE SHUTE. MARK IS LAST IN LINE, PAULA HOLDS OUT HIS HELMET. CLOSE SHOT. THEIR EYES MEET AS MARK TAKES THE HELMET. PAULA TOUCHES HIS ARM. PAULA Good luck Mark. HE TURNS TO LEAVE. ______________________MAIN TITLES____________________ 10 EXT. S.I.D. SPACE (VISUAL EFFECTS) 8 SECS SHADO'S SATELLITE, ROTATING, AS IT'S ELECTRONIC DETECTORS PROBE OUTER SPACE. A TRANSMISSION PIP OVER EVERY THREE SECONDS. CUT TO: 11 EXT. MOONBASE (VISUAL EFFECTS) 7 SECS THE NETWORK OF SPHERES STILL AND SILENT CUT TO: ***PAGE*** 9 12 INT. CONTROL SPHERE (STUDIO) 11 SECS THE ATMOSPHERE IS ELECTRIC. FRANCO DESICA SITS AT HIS REVOLVING CONSOLE. ALEX FREEMAN STANDS AT HIS SIDE. THEY ARE WAITING FOR CONFIRMATION OF THE APPROACH OF THE U.F.O. SOMEWHERE IN DEEP SPACE. NINA BARRY AND PAULA HARRIS, TWO OF THE SPACE TRACKERS, SIT VERY STILL BUT INTENT ON THEIR CONSOLES. THE ONLY SOUND, THE THREE SECOND TRANSMISSION PIP FROM S.I.D. DESICA (to Freeman) Well, this sweep should tell us. CUT TO: 13 EXT. S.I.D. SPACE (VISUAL EFFECTS) 7 SECS WE ARE CLOSER ON THE REVOLVING SQUARE SECTION IN ITS CAGE OF GIRDER STRUCTURE, AS IT COMPLETES ITS SWEEP. THE PIP CONTINUES OVER. CUT TO: 14 INT. CONTROL SPHERE (STUDIO) 24 SECS THE GROUP WAIT IN SILENCE. THE TENSE WATCHFUL ATMOSPHERE IS BROKEN AS THE STANDARD PIPS STOP. EVERYONE WAITS FOR THE DEEP ELECTRONIC VOICE OF S.I.D. S.I.D. (VO) Confirm unidentified flying object 342-0784 BEFORE THE CO-ORDINATES HAVE BEEN COMPLETED, NINA AND PAULA ARE ALREADY BUSY AT THEIR CONSOLES. DESICA, WITH A QUICK LOOK TO FREEMAN, LEANS TO A STICK MICROPHONE. DESICA This is Moonbase Base Command, Red alert . . . I say again red alert. Interceptors immediate launch. CUT TO: 15 INT. CRATER (VISUAL EFFECTS) 7 SECS THE INTERCEPTORS ROAR TO LIFE. CUT TO: ***PAGE*** 10 16 EXT. CRATER (VISUAL EFFECTS) 6 SECS THE THREE INTERCEPTORS TAKE OFF FROM THE CRATER. CUT TO: 17 INT. CONTROL SPHERE (STUDIO) 29 SECS DESICA AND FREEMAN HAVE NOW GONE TO STAND BEHIND THE TWO SPACE TRACKERS, PAULA AND NINA, WHO ARE SCANNING TO TRY AND LOCATE THE U.F.O. NINA Nothing yet, sir. FREEMAN False alarm? DESICA SID's a computer. He doesn't make mistakes. PAULA REACTS TO HER INSTRUMENTATION. PAULA I have a possible contact. DESICA Bearing? PAULA 342-0470 DESICA That's it. Don't lose it. DESICA STRIDES QUICKLY BACK TO HIS CONSOLE DESK. FREEMAN STAYS BY THE TRACKERS. DESICA (into mike) Command to interceptors, we have UFO on positive track. CUT TO: 18 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 8 SECS FLYING IN FORMATION IN SPACE CUT TO: 19 INT. INTERCEPTOR COCKPIT (FIRST) (STUDIO) 7 SECS LEW WATERMAN IN THE COMPACT, INSTRUMENT PACKED SOPHISTICATED CABIN. ***PAGE*** 19 (continued) 11 WATERMAN Interceptor 1. R - checks. A - OK. CUT TO: 20 INT. INTERCEPTOR COCKPIT. (SECOND) STUDIO 7 SECS MARK BRADLEY IN THE SECOND INTERCEPTOR. MARK Interceptor 2. R - checks A - OK. CUT TO: 21 INT. CONTROL SPHERE (STUDIO) 13 SECS IN THE BACKGROUND PAULA AND NINA TRACK THE U.F.O. SID'S VOICE COMES OVER, GIVING NEW BEARINGS. IN FOREGROUND DESICA STANDING THE WRONG SIDE OF HIS DESK, LEANING ON IT. MATTHEW (VO) Interceptor 3. R - checks A - OK. DESICA Right. Switch to radio link 4, your base command will be space tracker Harris. CUT TO: ANOTHER ANGLE 13 SECS WE FEATURE PAULA HARRIS, WHO GIVES THE FAINTEST OF REACTIONS TO DESICA GIVING HER THE JOB. FREEMAN ALERT AND TENSE, NOTICES. PAULA (with the slightest hesitation) Have the U.F.O. on positive track. Speed S.O.L. Zero decimal eight. CUT TO: 22 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 6 SECS THE THREE INTERCEPTORS, STILL IN FORMATION. CUT TO: ***PAGE*** 12 23 INT. CONTROL SPHERE (STUDIO) 30 SECS START CLOSE ON THE THREE RADAR DOTS OF THE INTERCEPTORS IN FORMATION PULL BACK TO SHOW THE GROUP AROUND THE SPACE TRACKER INSTRUMENTATION. S.I.D.'S DEEP "MEL OXLEY" VOICE COMES OVER. S.I.D. U.F.O. maintaining course. Predict interceptors in range 51 seconds. PAULA Control to leader. Set on board computer for auto count. WATERMAN (VO) Right . . . Missile launch. 2 zero decimal four seconds. FREEMAN Can they see it? DESICA At 150,000 miles a second? WATERMAN (VO) Five seconds. CUT TO: 24 EXT. INTERCEPTORS SPACE (VISUAL EFFECTS) 5 SECS THE THREE MISSILES WITH THEIR ATOMIC WARHEADS LAUNCH FROM THE INTERCEPTORS. CUT TO: 25 INT. CONTROL SPHERE (STUDIO) 64 SECS THE GROUP WAIT, DESICA PASSES A SWEATING HAND OVER A NERVOUS FACE. THE ALARM HAS STOPPED. WATERMAN (VO) Have visual contact with explosion . . . detonation positive. PAULA AND NINA CONCENTRATE ON THEIR INSTRUMENTS. DESICA (impatient) Did they get it? PAULA, WORRIED, TENSE STUDIES THE INSTRUMENTATION. ***PAGE*** 25 (continued) 13 PAULA Negative . . . . I still have a contact. DESICA TURNS AND WALKS A FEW SLOW STEPS. DESICA (to himself) It got through . . . damn, damn, damn! DESICA TURNS BACK AS - SID (VO) Predict U.F.O. on collision course with intercepters impact 32 seconds. DESICA Standard evasive action. DESICA STRIDES OFF BACK TO HIS DESK. PAULA (hesitant) Control to Interceptor One. Alter course to 024-186 correction . . . new course 028-186. Interceptor two steer 124-305. THIS IS NOT STANDARD PROCEDURE: DESICA STOPS IN HIS TRACKS AND WHIPS ROUND. DESICA I said standard procedure. PAULA I'm sorry - I . . . (back to mike) Interceptor three . . . . S.I.D. (VO) Impact 14 seconds. DESICA (very hard) Get them out of there. PAULA (confused) Interceptor 3 . . . . DESICA (yelling) Paula! ***PAGE*** 14 PAULA Break formation. CUT TO: 26 EXT. SPACE (VISUAL EFFECTS) 6 SECS TWO OF THE INTERCEPTORS BREAK FORMATION AND WHEEL AWAY. THE THIRD CONTINUES ON. CUT TO: 27 INT. INTERCEPTOR (THIRD) (STUDIO) 4 SECS MATTHEW Three to base . . . request new course. CUT TO: 28 EXT. INTERCEPTOR (VISUAL EFFECTS) 3 SECS A VERY FAST SHOT: IT EXPLODES AS THE U.F.O. MOVING TOO FAST TO BE SEEN DESTROYS IT. CUT TO: 29 INT. CONTROL SPHERE (STUDIO) 22 SECS THE GROUP AROUND PAULA. STUNNED, SILENT. S.I.D.'S CALM VOICE CUTS THE ATMOSPHERE. S.I.D. Impact confirmed. Interceptor 3 destroyed. DESICA GRABS THE MIKE. DESICA (without hope) Come in three . . . . Come in three . . . . HE SLOWLY STRAIGHTENS UP. ACCUSING EYES TURN TO PAULA. WE FEATURE ALEC FREEMAN . . . DESICA WALKS TO HIS CONSOLE AND SPEAKS INTO THE EARTH LINK. DESICA Moonbase to Shado Control A U.F.O. is through the outer defences. MIX TO: 30 EXT. FILM STUDIO - DAY (LIBRARY) 7 SECS WE ESTABLISH THE 'HARLINGTON-STRAKER' FILM STUDIOS. CUT TO: ***PAGE*** 15 31 ANOTHER ANGLE (LOCATION) 13 SECS A FUTURISTIC CAR PULLS UP. ALEC FREEMAN GETS OUT. THE SLUMP OF HIS SHOULDERS AND THE TIRED WAVE HE GIVES IN RETURN TO THE GUARDS' SALUTE INDICATE A LONG JOURNEY AND A MOOD OF DEJECTION. 32 INT. RECEPTION - DAY (LOCATION) 20 SECS FREEMAN COMES IN, NODS TO THE DOORMAN AND WALKS TO THE RECEPTIONIST. SHE LOOKS UP READY FOR THE USUAL VERBAL EXCHANGE. FREEMAN JUST GIVES A TIRED SMILE AND GOES TO SIGN IN. RECEPTIONIST What would you say if I told you I were free this evening. FREEMAN I'd say I was bushed, Janis. RECEPTIONIST As bad as that? FREEMAN As bad as that . . . FREEMAN WALKS ON. CUT TO: 33 INT. STRAKER'S OUTER OFFICE (STUDIO) 18 SECS MISS EALAND AT HER DESK. ALEC FREEMAN COMES IN. MISS EALAND Ah, Mr. Freeman . . . . Congratulations! FREEMAN What? MISS EALAND You don't know? Well, I'll let Mr. Straker tell you him- self. You're to go right in. MISS EALAND GIVES HIM A SMILE, LIKE A HEADMISTRESS TO A STAR PUPIL. THE ELECTRONICALLY CONTROLLED DOOR TO THE INNER OFFICE OPENS. FREEMAN Thanks. FREEMAN, A LITTLE PUZZLED, GOES INTO THE INNER OFFICE. CUT TO: ***PAGE*** 16 34 INT. INNER OFFICE - DAY (STUDIO) 12 SECS IT IS EMPTY. FREEMAN IS IN NO MOOD FOR WISECRACKS WITH THE VOICE CHECK. FREEMAN Alec Freeman . . . Shado. RADIO (VO) Voice print . . . positive identification . . . nine seven . . . Freeman . . . Alec E. FREEMAN STARES OUT OF THE WINDOW AS HE HEARS AND IGNORES THE WHIRR OF POWERFUL MACHINERY. CUT TO: 35 POV SHOT (LIBRARY) 8 SECS THE WHOLE ROOM MOVES DOWN LIKE A LIFT. CUT TO: 36 INT. UNDERGROUND CORRIDOR (STUDIO) 20 SECS TRACK WITH FREEMAN ALONG THE CORRIDOR THEN THROUGH THE CONTROL ROOM, STOPPING A COUPLE OF FEET BEFORE THE CLOSED DOUBLE DOORS TO STRAKER'S OFFICE. HE STRAIGHTENS HIS ALREADY STRAIGHT TIE AND SMOOTHS HIS HAIR, THEN STEPS FORWARD INTO THE PHOTO CELLS AND THE DOORS SLIDE OPEN. CUT TO: 37 INT. STRAKER'S UNDERGROUND OFFICE 12 SECS (STUDIO) STRAKER GETS UP FROM HIS DESK, WITH A SMILE STRAKER Well, the silver boy himself. HE WALKS TO MEET FREEMAN IN THE MIDDLE OF THE ROOM. STRAKER Congratulations, Alec. FREEMAN LOOKS BAFFLED, STRAKER RATHER ENJOYS IT. STRAKER I must admit I didn't know either, but the computer remembered. HE PINS A SMALL EMBLEM ON FREEMAN'S COAT. CUT TO: ***PAGE*** 17 38 CS - PIN 3 SECS A SILVER MOON WITH 25 IN BLACK ON IT. CUT TO: 39 RESUME SCENE 11 SECS STRAKER . . . 25 trips to the Moon . . . join the club . . . Solid silver. FREEMAN (flat) Thanks. HE TURNS AWAY AND LIGHTS A CIGARETTE. CUT TO: 40 CS - STRAKER 3 SECS HIS FACE HARDENS.. STRAKER Why Alec? CUT TO: 41 CS - FREEMAN 5 SECS HE KNOWS WHAT STRAKER MEANS, BUT TAKES HIS TIME DRAWING HARD ON THE CIGARETTE. FREEMAN You've read the report? CUT TO: 42 RESUME SCENE 78 SECS STRAKER An astronaut killed, a U.F.O. through the outer defences. The report tells me _what_ happened. I asked you _why_? FREEMAN SHRUGS . . . STRAKER I want to know Alec. What the hell went wrong up there? FREEMAN DRAGS ON HIS CIGARETTE. STRAKER WAITS IMPATIENTLY - ***PAGE*** 42 (continued) 18 FREEMAN Well, I don't really know . . . It's just a feeling. STRAKER Feeling? FREEMAN Things happened so fast. Call it a hunch. STRAKER Tell me. FREEMAN I can't be sure. STRAKER I said tell me. FREEMAN The error was probably human. The facts were plain, but a decision was taken . . . based on fear . . . . emotion . . . the tension . . . call it what you like -- I don't know. STRAKER WALKS SLOWLY BACK TO HIS DESK. STRAKER I had the same hunch. HE DECIDES. STRAKER I want the personnel con- cerned, the two surviving astronauts, and the space tracker (he checks a paper on his desk) er - Paula Harris, back here on the next moonflight. FREEMAN Right. HE TURNS TO LEAVE, BUT TURNS BACK AS HE REMEMBERS FREEMAN Er . . . What happened to the U.F.O.? ***PAGE*** 42 (continued) 19 STRAKER We tracked it into the earth's atmosphere. But it came right down. Contact was lost in a radar blindspot, but one thing's certain . . . it landed. FREEMAN Landed . . . where? STRAKER Just about the worst place possible. Somewhere in a 50,000 square mile area of Northern Canada. Every- thing we've got that flies is searching now. CUT TO: 43 EXT. SKY - DAY (VISUAL EFFECTS) 6 SECS SKY 1 FLYING AS IT SEARCHES FOR THE U.F.O. OVER NORTHERN CANADA. CUT TO: 44 INT. SKY I COCKPIT - DAY (STUDIO) 14 SECS CAPTAIN JOHN KARLIN AT THE CONTROLS. HE SPEAKS INTO HIS RADIO. KARLIN Have completed grid search. Nothing to report. MAXWELL (VO) O.K Skipper. See you in an hour. KARLIN No, I'm going round again. It'll stay light long enough for one more run. Out. CUT TO: 45 EXT. SKY - DAY (VISUAL EFFECTS) 7 SECS SKY I BANKS TO BEGIN ANOTHER RUN. CUT TO: 46 EXT. CANADA - DUSK (VISUAL EFFECTS OR 6 SECS LIBRARY) THE LIGHT IS BEGINNING TO FAIL. CUT TO: ***PAGE*** 20 47 INT. MOONBASE CONTROL (STUDIO) 36 SECS FROM THE MOON WE SEE EARTH. JUST A CRESCENT OF LIGHT LIKE A HUGE NEW MOON. PULL BACK TO SHOW THE SHOT IS ON A TV SCREEN IN MOONBASE. CHRIS GRANGER AND RAY HOLLIS, TWO SPACE ENGINEERS SERVICE ONE OF THE ELECTRONIC PANELS. JOAN HARRINGTON IS AT A SPACE TRACKER CONSOLE, GRANGER LOOKS OVER TO HER - POINTS TO THE TV. GRANGER So near and yet so far. JOAN Might as well be on the other side of the Universe. THEY TURN AS LEW WATERMAN COMES INTO THE SPHERE. GRANGER Hi, Lew. WATERMAN Hello. Er, has anyone seen Paula Harris? JOAN She's in central park. WATERMAN Er, thanks. JOAN You're welcome. WATERMAN GOES OUT. GRANGER Well, there's one of the lucky ones who'll be back on terra firma tomorrow. JOAN If by terra firma you mean Straker's carpet, rather them than me! CUT TO: 48 EXT. MOONBASE - NIGHT (VISUAL EFFECTS) 6 SECS WE TRACK IN ON THE HUB OF THE WHEEL OF SPHERES. CUT TO: ***PAGE*** 21 49 INT. CENTRAL PARK (STUDIO) 32 SECS AN OCTAGONAL SIDED GLASS STRUCTURE, KNOWN TO THE BASE PERSONNEL AS CENTRAL PARK - IT IS FILLED WITH LOVINGLY CARED FOR AND SPECIALLY SELECTED PLANTS, GIVING A LINK WITH EARTH ON THE BARREN, LIFELESS MOON. PAULA HARRIS SITS IN A CHAIR, STARING INTO SPACE. AN OPEN BOOK ON HER LAP. WATERMAN ENTERS, PAULA DOESN'T SEEM TO HEAR HIM. WATERMAN Paula. PAULA Oh, hello Lew. THEY EXCHANGE SLIGHTLY FORCED SMILES. WATERMAN Peaceful. PAULA Yes. Very. AN AWKWARD SILENCE. WATERMAN Look, if you want to be alone? PAULA No . . . . no, I'm sorry. WATERMAN Paula . . . We all took the same chance. Ken was unlucky . . . These things happen. No-one's to blame. PAULA Let's hope Straker thinks so. CUT TO: 50 EXT. STUDIO - DAY (LIBRARY) 6 SECS ESTABLISH HARLINGTON-STRAKER STUDIO CUT TO: ***PAGE*** 22 51 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 36 SECS START CLOSE ON STRAKER'S FIST AS HE BEATS THE DESK. PULL BACK TO SHOW HE IS ON THE PHONE WITH FREEMAN STANDING BEFORE HIM. STRAKER (into phone) . . . Don't give me that crud, Masden. Find it . . . Well, if you want more aircraft appro- priate them . . _I'm_ giving you the authority . . . Right . . . . HE SLAMS DOWN THE PHONE. STRAKER Thick as a lead balloon. THE INTERCOM BUZZES. STRAKER What now? OPERATOR (VO) The moonbase personnel are here sir. STRAKER Alright, have them come in. (to Freeman) Look Alec . . . . FREEMAN STOPS HIM WITH A RAISED HAND. FREEMAN I know. You want that U.F.O. located . . . I'm on my way . . . . HE WALKS TO THE DOORS BUT THEY OPEN AND HE STEPS ASIDE TO LET THE THREE MOONBASE PERSONNEL COME IN, LED BY PAULA. 52 ANOTHER ANGLE 5 SECS FREEMAN'S EYES MEET PAULA'S AND HOLD A SECOND. THEN SHE MOVES ON. FREEMAN EXITS. CUT TO: 53 CS - STRAKER 7 SECS BURIED IN A REPORT AT HIS DESK. WHEN HE FINALLY LOOKS UP HIS ANGER HAS GONE BUT HIS TONE IS HARD AND UNCOMPROMISING. ***PAGE*** 53 (continued) 23 STRAKER Bradley, Waterman, Miss Harris. CUT TO: 54 RESUME SCENE 30 SECS THE THREE MOONBASE PERSONNEL STAND BEFORE STRAKER. STRAKER I assume you all know why you're here? WATERMAN I'd like to say something, sir. STRAKER Go ahead. WATERMAN As interceptor leader I want to accept complete and sole responsibility for what happened. STRAKER Very gallant . . . But out of line. I know what happened. Now I want to know why. STRAKER GETS UP AND WALKS SLOWLY ALONG THE THREE PEOPLE. STRAKER You were all selected for outstanding qualities of character as well as intellect. (a long pause) What went wrong? HE GIVES EACH A LONG HARD LOOK. ALL TAKE IT WITHOUT LOWERING THEIR EYES. CUT TO: 55 INT. SHADO CONTROL ROOM (STUDIO) 20 SECS FREEMAN STANDS IN THE CONTROL ROOM. THE DECOR, GROUND TO CEILING ELECTRONICS AND COMMUNICATION EQUIPMENT. FREEMAN CHECKS QUICKLY THROUGH A PILE OF NEGATIVE REPORTS ON THE SEARCH FOR U.F.O. HE TURNS TO AN OPERATIVE WHO PORES OVER HIGH ANGLE AERIAL PHOTO GRAPHS UNDER A MAGNIFYING DEVICE. FREEMAN Anything from those satellite shots? ***PAGE*** 55 (continued) 24 OPERATIVE Sorry, sir. FREEMAN It's there somewhere. It's got to be. CUT TO: 56 EXT. CANADA - NIGHT (VISUAL EFFECTS) 9 SECS A STILL, TRANQUIL LAKE, SNOW COVERED MOUNTAINS IN THE B.G. TRACK IN SLOWLY ON THE WATER, AS THE MUSIC BUILDS UP THE QUIET SURFACE BEGINS TO AGITATE TILL FINALLY THE OMINOUS SHAPE OF A U.F.O. BREAKS THE SURFACE. THE INTRUDER HAS BROKEN COVER. END OF ACT I. FADE OUT: FADE IN: ACT II. 57 EXT. STUDIO - DAY (LOCATION) 5 SECS TO ESTABLISH THE HARLINGTON-STRAKER STUDIO. CUT TO: 58 INT. CORRIDOR (UNDERGROUND) (STUDIO) 5 SECS TO ESTABLISH WHERE THE INTERROGATION ROOM WE ARE ABOUT TO SEE IS SITUATED IN SHADO'S UNDERGROUND H.Q. CUT TO: 59 INT. INTERROGATION ROOM (STUDIO) 7 SECS THE ROOM IS DIVIDED BY A GLASS PARTITION MAKING A SOUNDPROOF AREA WHICH DOCTOR SHROEDER, WHO WILL LEAD THE INTERROGATION, USES AS AN OFFICE. THE OUTER AREA IS EQUIPPED WITH A COMPUTER AND TWO CHAIRS WHERE THE PEOPLE UNDER TEST CAN SIT. THE ROUTINE WILL BE FOR TWO OF THE MOONBASE PERSONNEL AT A TIME TO TAKE THE COMPUTERS TESTS WHILE THE THIRD IS BEING INTERVIEWED BY DR. SHROEDER. AT PRESENT ALL FOUR ARE IN THE GLASS OFFICE, DR. SHROEDER IS TALKING BUT WE CANNOT HEAR WHAT HE SAYS TO ESTABLISH THE SOUNDPROOFING. HE HOLDS A FILE IN HIS HAND. CUT TO: ***PAGE*** 25 60 INT. GLASS OFFICE - DAY (STUDIO) 98 SECS DR. SHROEDER IS A MAN WHO SMILES WITH EVERYTHING EXCEPT HIS EYES. RIMLESS GLASSES GIVE HIM A SINISTER FEEL. SHROEDER . . . . and so you will be glad to know that you are in perfect health . . . physically. HE DROPS THE FILE ON THE DESK. A PAUSE: SHROEDER Well, you've all done this before during your training and probation periods with SHADO. If two of you will begin the computer tests, I'll have a little chat with the third. I think I'll begin with . . . you, Mr. Bradley. MARK (a quick smile) Right. THE OTHER TWO TURN TO LEAVE. THEY EXIT AND CLOSE THE DOORS. MARK TURNS TO WATCH AS THEY WALK OVER AND SIT DOWN AT THE COMPUTER. SHROEDER HAS COME UP QUICKLY SILENTLY, VERY CLOSE OFFERING A CIGARETTE. SHROEDER Cigarette ? MARK TURNS SLIGHTLY TAKEN ABACK BY HIS PROXIMITY. MARK Thank you. SHROEDER Nervous ? MARK No. SHROEDER No need to be. This is all quite confidential. Please. . . sit. HE INDICATES A CHAIR. MARK SITS. SHROEDER WALKS BEHIND THE CHAIR LIGHTING A CIGARETTE. HE LEANS IN CLOSE TO MARK OVER HIS SHOULDER. ***PAGE*** 60 (continued) 26 SHROEDER Before we start, let's just get one thing straight . . . . I hate you black sons of bitches. MARK DOESN'T REACT. SHROEDER WALKS ROUND TO SIT BEHIND HIS DESK SHROEDER Have you ever hear that phrase or something similar on Moonbase ? MARK Never. SHROEDER You didn't seem surprised when I said it MARK I assumed _you_ didn't mean it. SHROEDER Good . . . Good . . . HE LEANS AND STARTS A TAPE RECORDER. SHROEDER Word association . . . Ready ? MARK NODS A YES. SHROEDER Father. MARK Mother. SHROEDER Hot. MARK Cold. SHROEDER Geometry. MARK Variable. SHROEDER Ah, yes, you were a pilot. SHROEDER NOW SPEEDS UP THE LEADS. SHROEDER Apple ***PAGE*** 60 (continued) 27 MARK Teacher. SHROEDER Sun. MARK Moon. SHROEDER Tree. MARK Pine. SHROEDER Hate. MARK Love. SHROEDER TOPS AND MAKES A NOTE ON A PAD. SHROEDER Love . . .good . . .good. TRACK IN ON MARK'S FACE. CUT TO: 61 INT. INTERROGATION ROOM (STUDIO) 12 SECS PAULA AND WATERMAN ARE SEATED AT THE COMPUTER, BOTH HAVE PUT ON HEADPHONES AND AS I.Q. TYPE SYMBOLIC PROBLEMS FLASH ON A SCREEN BEFORE THEM, THEY WORK ON THE ANSWERS. WATERMAN LOOKS AT PAULA AND GIVES HER A WINK: SHE SMILES BACK BUT AS WE TRACK IN ON HER THE SMILE FADES A LITTLE TOO QUICKLY. SHE IS WORRIED. SHE SNATCHES A GLANCE TOWARDS THE GLASS OFFICE. CUT TO: 62 INT. STRAKER'S OFFICE (UNDERGROUND) 6 SECS (STUDIO) STRAKER LIFTS THE PHONE. STRAKER (into phone) Straker . . . Great . . . I'll be right there. CUT TO: ***PAGE*** 28 63 INT. SHADO CONTROL (STUDIO) 26 SECS EMERGENCY. THE U.F.O. HAS BEEN SIGHTED. RADAR FIXES GIVE ITS EXACT POSITION. THE OPERATORS CROSS TALK WITH VARIOUS STATIONS GIVING A B.G. OF DIALOGUE. 1ST OPERATOR (In background) Thank you Greenland 2ND OPERATOR (In background) Yes we have that. Confirm new I.F. every 30 seconds etc. FREEMAN TURNS AS STRAKER HURRIES IN. STRAKER Where is it ? FREEMAN Just crossing the Atlantic seaboard. STRAKER LOOKS AT THE WALL CHART A LIGHT AT THE CENTRE OF MANY RADAR FIXES LIKE THE SPOKES OF A WHEEL SHOW THE U.F.O'S POSITION. FREEMAN It's speed and altitude are way down. The Moonbase interceptors must have damaged it. STRAKER Right . . . Alert Sky I. ' CUT TO: 64 UNDERWATER SHOT (VISUAL EFFECTS) 5 SECS SKYDIVER THE FUTURISTIC SUBMARINE IN THE DARK WATERS OF THE ATLANTIC CUT TO: 65 INT. CAPTAIN'S CABIN (STUDIO) 9 SECS KARLIN IN THE CABIN, LT. MAXWELL APPEARS AT THE DOOR. MAXWELL Shado HQ Skipper. They've located the U.F.O. KARLIN MOVES IMMEDIATELY GRABBING HIS JACKET CUT TO: ***PAGE*** 29 66 INT. SKYDIVER (CONTROL CENTRE) (STUDIO) 24 SECS A MODERN SUBMARINE INTERIOR. ALAN MASTERS, YOUNG, KEEN, TUNS AS KARLIN HURRIES INTO SHOT, PULLING ON HIS JACKET. BEHIND HIM, MAXWELL. MASTERS I have the U.F.O.'s latest fix, sir. If we steer 042 we should be able to intercept in 18 minutes. KARLIN QUICKLY CHECKS THE CHART THAT MASTERS HAS BEEN WORKING ON: KARLIN Right . . . Alter course to 042. MAXWELL RELAYS THE ORDER. MAXWELL Steer 042. KARLIN Give her everything she's got. MAXWELL Maximum speed CUT TO: 67 UNDERWATER SHOT (VISUAL EFFECTS) 7 SECS SKYDIVER ALTERS COURSE, AND MOVES OFF AT TOP SPEED. CUT TO: 68 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS WE SEE THE U.F.O. FLYING AT REDUCED SPEED AND ALTITUDE, A HUNDRED RADAR SETS ON LAND SEA AND AIR TRACKING ITS PROGRESS. CUT TO: 69 INT. SHADO CONTROL (STUDIO) 10 SECS START CLOSE ON THE WALL CHART, THE LIGHT MARKING THE U.F.O. SURROUNDED BY RADAR LINES LIKE A SPIDER IN A WEB. PULL BACK TO STRAKER AND FREEMAN. STRAKER (intense) This time we'll get it. ***PAGE*** 69 (continued) 30 FREEMAN WATCHES HIM. STRAKER'S WHOLE BEING SEEMS TO CONCENTRATE ON THE POINT OF LIGHT. A FRIGHTENING ? ALMOST INHUMAN, SINGLE MINDEDNESS. CUT TO: 70 UNDERWATER SHOT (VISUAL EFFECTS) 5 SECS SKYDIVER SEARS THROUGH THE WATER CUT TO: 71 INT. SKYDIVER CONTROL CENTRE (STUDIO) 36 SECS THE CREW ARE AT THEIR STATIONS. SUB LT. MASTERS TURNS FROM HIS CHARTS. MASTERS RANGE 80 miles, sir. Closing. KARLIN Launch Station. MAXWELL SHOUTS THE COMMAND. MAXWELL Launch Stations. THE CREW REACT URGENTLY, CONTROLS ARE OPERATED. SWITCHES ARE FLICKED IN BANKS. MASTERS Clear One. WE HEAR THE BALLAST TANKS BLOWING. MASTERS Clear Two. HOWELL (VO) One and two clear, sir. KARLIN GIVE THE QUIET COMMAND, HIS VOICE CONTROLLED BUT HARD. HE REMEMBERS LEILA, THIS IS ANOTHER CHANCE TO SETTLE THE SCORE. KARLIN Alright Gordon, lift off stations. MAXWELL (quietly) Yes, sir. KARLIN MOVES QUICKLY AWAY TOWARDS THE FRONT OF SKY I. ***PAGE*** 71 (continued) 31 MAXWELL WATCHES HIM GO A SECOND OR TWO KNOWING WHAT HE FEELS. THEN HE SNAPS BACK TO REALITY. MAXWELL Lift off stations . . . . CUT TO: 72 INT. SKY I COCKPIT (STUDIO) 6 SECS KARLIN SETTLES INTO THE COCKPIT, AND PUTS ON HIS FLYING HELMET. CUT TO: 73 UNDERWATER SHOT (VISUAL EFFECTS) 6 SECS SLOWLY SKY I ANGLES UP TOWARDS THE SURFACE. CUT TO: 74 INT. SKY I COCKPIT (STUDIO) 5 SECS KARLIN LOWERS THE VISOR ON HIS HELMET. KARLIN Stand-by for lift-off. HE LEANS AND OPERATES A CONTROL. CUT TO: 75 UNDERWATER SHOT (VISUAL EFFECTS) 6 SECS (LIBRARY) ITS MOTORS ERUPT INTO LIFE, AND SKY I BURSTS FORWARD TOWARDS THE SURFACE. CUT TO: 76 EXT. SEA - DAY (VISUAL EFFECTS) 7 SECS (LIBRARY) SKY I EXPLODES UP FROM THE WAVES, IN AN ANGLED POWER CLIMBS. CUT TO: 77 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS SKY I CLIMBING FAST. CUT TO: ***PAGE*** 32 78 EXT. SKY I - DAY (VISUAL EFFECTS) 7 SECS IT LEVELS OUT AND FLIES ON TO INTERCEPT THE U.F.O. CUT TO: 79 INT. SHADO CONTROL (STUDIO) 14 SECS STILL A HIVE OF ACTIVITY. STRAKER STANDS GLUED TO THE CHANGING PATTERN OF THE WALL CHART. OPERATOR Sky I airborne, sir. STRAKER GIVES A WAVE THAT INDICATES HE'S HEARD, THEN WITHOUT TURNING TO FREEMAN HOLDS OUT HIS HAND SNAPPING HIS FINGERS. DISGUSTED BY THE ACTION FREEMAN TAKES A CIGARETTE AND PUTS IT INTO THE OUTSTRETCHED HAND. CUT TO: 80 CLOSER SHOT 10 SECS STRAKER TURNS FOR A LIGHT, STILL TRYING TO WATCH THE CHART. HE FLICKS HIS EYES UP INTO FREEMAN'S AND SEES HIS STONE EXPRESSION. STRAKER Thanks. HE TURNS BACK TO CONCENTRATE ON THE CHART. CUT TO: 81 EXT. U.F.O. (VISUAL EFFECTS) 5 SECS FLYING LEVEL LEFT TO RIGHT. CUT TO: 82 INT. SKY I COCKPIT (STUDIO) 13 SECS CAPTAIN KARLIN AT THE CONTROLS. OPERATOR (VO) This is Shado Control. U.F.O. 48 miles from your present position. KARLIN Thanks control. I've got it on the scope. A BLIP ON KARLIN'S RADAR SCOPE INDICATES THE U.F.O. CUT TO: ***PAGE*** 33 83 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS THE U.F.O. FLYING LEFT TO RIGHT AS BEFORE. CUT TO: 84 INT. SKY I COCKPIT (STUDIO) 6 SECS KARLIN SEARCHES THE SKY AHEAD HE REACTS. KARLIN Have visual contact. Closing for attack. CUT TO: 85 EXT. SKY - DAY (VISUAL EFFECTS) 5 SECS THE SKY I GOES INTO A DIVE CUT TO: 86 INT. SKY I COCKPIT (STUDIO) 5 SECS KARLIN IN THE ANGLED CABIN. CUT TO: 87 P.O.V. SHOT (VISUAL EFFECTS) 4 SECS FROM KARLIN'S P.O.V. WE SEE THE U.F.O. CUT TO: 88 EXT. SKY I - DAY (VISUAL EFFECTS) 6 SECS A MISSILE LAUNCHES FROM THE CRAFT. IT THEN BANKS AWAY IN A STEEP TURN. CUT TO: 89 EXT. U.F.O. - DAY (VISUAL EFFECTS) 7 SECS IT IS HIT, BUT TURNS AND MOVES OFF AT A HIGHER SPEED. CUT TO: 90 INT. SHADO CONTROL (STUDIO) 15 SECS THE SCENE AS BEFORE. OPERATOR Sky one reports a hit. But U.F.O.'s turned and is still airborne. ***PAGE*** 90 (continued) 34 STRAKER Signal all radar stations. Tell the commanders if they lose it this time they'll answer to me. CUT TO: 91 ANOTHER ANGLE 12 SECS STRAKER NOW RELAXES AND CATCHES FREEMAN A LITTLE OFF GUARD. STRAKER Get some sleep, Alec, you look tired. STRAKER STRIDES OFF, HIS SUDDEN CONCERN LEAVES FREEMAN WITHOUT AN ANSWER. CUT TO: 92 INT. INTERROGATION ROOM (STUDIO) 21 SECS PAULA, MARK BRADLEY AND WATERMAN ARE IN THE OUTER ROOM. THEY TALK IN HUSHED TONES AND GLANCE OCCASIONALLY TOWARDS THE GLASS OFFICE WHERE DOCTOR SHROEDER SITS EXAMINING COMPUTER READ OUT. WATERMAN I don't understand it. MARK Did he say anything else ? WATERMAN No, just that _I_ had been cleared and _I_ was scheduled on the next flight back to the moon. A LONG PAUSE. PAULA LOOKS AT MARK. WATERMAN NOTICES THE GLANCE AND TRIES TO CHANGE THE MOOD. WATERMAN (loud) Bloody psychiatrist. PAULA AND MARK REACT, KEEP THE VOICE DOWN. WATERMAN Oh don't worry, he can't hear in that glass case he calls an office. CUT TO: ***PAGE*** 35 93 INT.. GLASS OFFICE (STUDIO) 21 SECS SHROEDER SEEMS ABSORBED IN HIS RESULT SHEETS BUT WE OBSERVE HE CAN HEAR EVERY WORD. WATERMAN (VO) Tell me something - do Shado have anyone checking out him? MARK (VO) If they did it would probably be a damned computer. THEIR LAUGHTER COMES OVER AND EVEN SHROEDER ALLOWS HIMSELF A CAUTIOUS SMILE. HE LEANS AND FLICKS AN INTERCOM. SHROEDER Miss Harris, I think I'm ready for our little . . . get together now. Won't you come in? CUT TO: 94 INT. INTERROGATION ROOM (STUDIO) 7 SECS THE GROUP ALL LOOK TOWARDS THE GLASS OFFICE. WE FOLLOW PAULA AS SHE WALKS OVER TO THE DOOR, HESITATES A MOMENT THEN GOES INSIDE. CUT TO: 95 EXT. SKY - DAY (VISUAL EFFECTS) 8 SECS THE U.F.O. FLYING ON BUT WE SEE IT IS LOSING ALTITUDE. CUT TO: 96 EXT. RADAR DISH - DAY (VISUAL EFFECTS) 4 SECS THE HUGE PARABOLIC DISH OF A RADAR STATION, ONE OF MANY STILL TRACKING THE U.F.O. CUT TO: 97 EXT. U.F.O. - DAY (VISUAL EFFECTS) 5 SECS NOW COMING DOWN AT AN ANGLE OF ABOUT 30 DEGREES. CUT TO: ***PAGE*** 36 98 EXT. CANADA - DAY (VISUAL EFFECTS) 9 SECS THE U.F.O. COMES IN AND BELLY FLOPS, BOUNCES AIRBORNE THEN BUMPS OVER THE ROCKY INHOSPITABLE TERRAIN, EVENTUALLY SKIDDING TO A HALT. CUT TO: 99 EXT. U.F.O. - DAY (VISUAL EFFECTS) 5 SECS THE LANDING HAS FURTHER DAMAGED THE ALREADY BATTLE-SCARRED CRAFT. THE AWKWARD POSITION IN WHICH IT HAS FINALLY COME TO REST GIVES A GOOD INDICATION THAT IT WILL NEVER FLY AGAIN. THE NET IS CLOSING. CUT TO: 100 EXT. STUDIO. NIGHT (LOCATION) 5 SECS TO ESTABLISH. 101 INT. STRAKER'S UNDERGROUND OFFICE 95 SECS (STUDIO) STRAKER SITS AT HIS DESK. IT HAS BEEN A LONG, HARD DAY. HE LOOKS EXHAUSTED. HE OPENS A DRAWER, TAKES OUT A BOTTLE OF PILLS, UNSCREWS THE TOP AND TIPS ONE INTO HIS PALM - CONSIDERS THE LONG SLEEPLESS HOURS THAT LIE AHEAD AND MAKES IT TWO. HE POPS THEM INTO HIS MOUTH AND SWALLOWS - THEN FLICKS THE INTERCOM. STRAKER Get Alec Freeman for me. OPERATOR (VO) He's waiting, sir. STRAKER Then send him in. STRAKER GOES OVER AND POURS A SCOTCH FROM THE AUTOMATIC BAR. ALEC FREEMAN COMES IN. HE HAS SHAVED, SHOWERED AND CHANGED AND LOOKS FRESH AND ALERT AFTER HIS SLEEP . . . A TOUCH OF ONE- UPMANSHIP. STRAKER Sit down, Alec. FREEMAN GOES AND SITS DOWN, LOOKS AT THE BOTTLE OF KEEP AWAKE PILLS ON THE DESK AND THEN OVER TO STRAKER, NOTICING HE HOLDS THE DRINK. ***PAGE*** 101 (continued) 37 FREEMAN Don't tell me you've finally succumbed. STRAKER REMEMBERS THE DRINK IN HIS HAND AND GIVES IT TO FREEMAN. STRAKER For you . . . FREEMAN Thanks. STRAKER COMES AND SITS BEHIND THE DESK; FOR HIM THIS IS A MOMENT OF TRIUMPH AND HE SAVOURS IT. HE TAKES HIS TIME. STRAKER The U.F.O. landed again, but this time we know where. FREEMAN Exact position? STRAKER SMILES KEEPING HIM IN SUSPENSE A MOMENT OR TWO. STRAKER (understating) More or less. Withing a mile or so. FREEMAN Great. Where? STRAKER Close enough to Lexfield Air base, Canada, for you to be out there at first light tomorrow. STRAKER PAUSES A MOMEMT . . . . HE IS NOW THE COLD HARD CALCULATING COMMANDER OF SHADO PLOTTING THE KILL. STRAKER I want them Alec . . . alive. FREEMAN I'll do what I can. IT IS A PLAIN STATEMENT OF FACT, BUT FREEMAN'S TONE SHOWS HE REALISES THE TREMENDOUS TASK HE HAS BEEN GIVEN. ***PAGE*** 101 (continued) 38 STRAKER You'll be Field Commander. I'll monitor the whole opera- tion from here. Central control will give you all the details. The transporter will be loaded and ready to leave at 21:00 hours. FREEMAN Right. FREEMAN STANDS TO LEAVE. STRAKER One more thing. Doctor Shroeder has finished with the Moonbase personnel; his report is very clear. I'd like you to handle it. CUT TO: 102 INT. GLASS OFFICE (STUDIO) 10 SECS START CLOSE ON A TV SCREEN PLAYING BACK SHROEDER'S INTERVIEW WITH PAULA. WE ARE IN A WORD ASSOCIATION SEQUENCE: SHROEDER Mahogany. PAULA Table. SHROEDER Grass. PAULA Green. PULL BACK TO SHOW FREEMAN AND SHROEDER WATCHING THE SCREEN. THE DOOR TO THE OUTER ROOM IS OPEN. SHROEDER This is an interesting reaction. Watch carefully. CUT TO: 103 CS - TV 16 SECS IN THE RECORDING SHROEDER HAS HIS EYES ON HIS DESK PAD. ***PAGE*** 103 (continued) 39 SHROEDER Sunrise ? PAULA Morning. SHROEDER Black ? NO ANSWER. SHROEDER LOOKS UP; PAULA IS WORRIED BRAIN RACING. SHROEDER Black ? PAULA . . . Bird. SHROEDER APPEARS PUZZLED. PAULA HAS RECOVERED HER COMPOSURE. PAULA Blackbird. SHROEDER Blackbird . . . Ah yes . . . good. THE SET IS TURNED OFF. CUT TO: 104 RESUME SCENE 21 SECS SHROEDER HAS JUST TURNED OFF THE TV. SHROEDER A 2.04 second delay. You could almost see her mind racing. She consciously avoided giving the standard answer -- white. HE WALKS OVER TO A SPEW OF PAPER OUTPUT ABOUT A FOOT WIDE AND HOLDS IT UP FOR FREEMAN TO SEE. SHROEDER And look at the stress reaction at this point. CUT TO: 105 CS - PAPER 6 SECS ON IT A SERIES OF PEAKS PRODUCED BY THE PEN RECORDER OF A STRESS COUNTER. A VERY HIGH PEAK HAS BEEN MARKED IN RED. ***PAGE*** 105 (continued) 40 SHROEDER Five times normal. CUT TO: 106 RESUME SCENE 197 SECS FREEMAN CONSIDERS A MOMENT. FREEMAN And your conclusions are based on that? SHROEDER (biting) My conclusions are based on eight hours of exhaustive tests. Twenty years exper- ience and the conclusion formed by the computer. That example was one I thought even a layman might understand. BEFORE FREEMAN CAN ANSWER, THROUGH THE OPEN DOOR OF THE GLASS OFFICE WE HEAR PAULA AND MARK COME INTO THE INTERROGATION ROOM. SHROEDER I'll leave you to it. HE PICKS UP THE FILE REPORT, HANDS IT TO FREEMAN AND WALKS OUT. FREEMAN BECKONS TO PAULA AND MARK. FREEMAN Come in . . Come in . . . close the door. THEY ENTER: MARK CLOSES THE DOOR. FREEMAN Sit down . . . . THEY SIT. FREEMAN OPENS THE REPORT AT THE LAST PAGE, GOES BEHIND THE DESK AND SITS DOWN. FREEMAN I won't waste time with the details of this report. You'll be given copies, but I'd like to read you the conclusions. DURING FREEMAN'S READING INTERCUT THE REACTIONS OF PAULA AND MARK. ***PAGE*** 106 (continued) 41 FREEMAN One: From the evidence of the flight recorders in the two surviving interceptors the taped dialogue between them and moon- base control, and the data from the onboard and control sphere computers, it is evident that the orbital path of the Unidentified Flying Object made it unavoidable that one of the three moonbase interceptors would be destroyed. MARK It was unavoidable, no-one's to blame. FREEMAN However, it is also evident that standard evasion procedure was ordered but not carried out. This resulted in No. 3 intercep- tor remaining in the path of the U.F.O. whereas if standard procedure had been followed No. 2 would inevitably have been the one destroyed . . . . . that is: the craft piloted by astronaut Mark Bradley. FREEMAN PAUSES. PAULA AND MARK MAKE NO OBVIOUS REACTION. FREEMAN Two: the three personnel directly concerned were subject to standard psychi- atric and psycho-computer tests with the following results: Astronaut Lew Waterman . . . . clear on all counts. Astronaut Mark Bradley . . . . stress factor 72 para normal. Emotion count 84 para normal, clear on other counts. Space tracker Paula Harris . . . stress factor 128 para normal; emotion count 203 para normal; D.I. ratio .25 para normal. Clear on other counts. BOTH MARK AND PAULA ARE DISTURBED BY THESE RESULTS. ***PAGE*** 106 (continued) 42 FREEMAN Three: The cause of these high stress, E.C. and D.I. counts in the results of astronaut Mark Bradley and space tracker Paula Harris is attributed to an emotional attachment be- tween them. It ends with a confidential recommend- ation as to what action should be taken. FREEMAN CLOSES THE FILE. A LONG PAUSE. MARK Let me get this straight sir . . . What exactly do they mean . . . an emotional attachment ? FREEMAN As I see it, this report finds an embryo relation- ship between you that could develop. MARK Into what ? FREEMAN It's not in my report. PAULA Well, without any disrespect to Mark, if the computer's saying we're in love - it's crazy! MARK There must be some way round this sir . . . We'll appeal. FREEMAN I'm afraid you can't. MARK You mean that's it . . . just like that. FREEMAN If you can disprove the findings . . . well then I might be able to do something. HE STANDS UP TO LEAVE. ***PAGE*** 106 (continued) 43 FREEMAN Off the record . . . but I want a straight answer. Is there anything in it? PAULA No, sir MARK No, sir. FREEMAN Well, let's just hope this sorts itself out. In the meantime you've been given separate postings. Bradley, you'll return to moonbase. PAULA And me, sir ? FREEMAN Shado HQ - Earth. You've both been given three days leave. MARK Well that's just dandy, tried and convicted by a heap of printed circuits. FREEMAN TURNS TO LEAVE 107 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 32 SECS FREEMAN AND STRAKER STRAKER Everything's lined up with the Air Force. You'll get the fullest co-operation. Your contact will be a Colonel Grosvenor. FREEMAN Well, I'll be on my way. STRAKER Who are you taking ? FREEMAN Does it matter ? STRAKER No . . . . I just hadn't seen the list of personnel. ***PAGE*** 107 (continued) 44 FREEMAN It includes Paula Harris and Mark Bradley. STRAKER GIVES HIM A HARD LOOK. STRAKER Your decision . . . . IT IS NOT A QUESTION. FREEMAN My decision . . . without the help of a computer . . . . they'll be back inside three days to take up their new postings. STRAKER DOESN'T ANSWER, FREEMAN GOES OUT. CUT TO: 108 EXT. LEXFIELD BASE (VISUAL EFFECTS) 6 SECS WE ESTABLISH THE AIR FORCE BASE IN CANADA. 109 EXT. RUNWAY - DAY (VISUAL EFFECTS) 9 SECS A HUGE SHADO TRANSPORTER COMES IN AND LANDS. CUT TO: 110 INT. OFFICE - DAY (STUDIO) 48 SECS AN OFFICE AT THE BASE HAS BEEN PREPARED AS A FIELD H.Q. VARIOUS SHADO PERSONNEL ARE SETTING UP EQUIPMENT. A CANADIAN AIR FORCE OFFICER, COLONEL GROSVENOR, TURNS AS FREEMAN, FOLLOWED BY PAULA HARRIS WALKS QUICKLY INTO THE OFFICE. THE COLONEL STEPS FORWARD AND OFFERS HIS HAND. COLONEL GROSVENOR I'm Colonel Grosvenor. FREEMAN Alec Freeman. THEY SHAKE HANDS. FREEMAN LOOKS AROUND. ***PAGE*** 110 (continued) 45 FREEMAN Well, you seem to have done us proud, Colonel. COLONEL GROSVENOR (fishing) I understand it's something pretty important. FREEMAN (evasive) Could be. (to Paula) Check the radio links and radar. PAULA Yes, sir. COLONEL GROSVENOR You've brought your own land vehicles. Will the crews require accommodation ? FREEMAN No, they're moving straight out. (to a SHADO operative) I'll use that desk - clear everything off it. THE COLONEL SEES HE IS NOT WANTED. COLONEL GROSVENOR Well, if you need me, I'll be in my office. FREEMAN TURNS TO HIM. STRAKER WOULD HAVE JUST LET HIM GO. FREEMAN Colonel . . . I appreciate every- thing you've done. Thanks. THE COLONEL SMILES, HE SEES FREEMAN MEANS IT AND TURNS TO LEAVE. CUT TO: 111 EXT. TRANSPORTER - DAY (VISUAL EFFECTS) 16 SECS THE HUGE RAMP AT THE NOSE SWINGS DOWN, AND A TRACKED LAND VEHICLE, AN ADVANCED SCOUT CAR, DRIVES OUT FOLLOWED BY ANOTHER. CUT TO: ***PAGE*** 46 112 INT. SHADO CONTROL (STUDIO) 9 SECS THE OPERATIVES MONITOR THE OPERATION FROM LONDON. STRAKER SITS ON A DESK, KNEES DRAWN UP, HEAD RESTING ON HIS CLASPED HANDS, WATCHING LIKE A HAWK OPERATIVE The mobiles are on their way sir. STRAKER Good. CUT TO: 113 EXT. CANADA - DAY (VISUAL EFFECTS) 10 SECS THREE SCOUT CARS MOVING ACROSS THE UNINHABITED COUNTRY, BEGINNING TO FAN OUT. ON THEIR SIDES WE SEE THE IDENTIFICATION "SHADO MOBILES 1, 2 AND 3" CUT TO: 114 ANOTHER ANGLE. (VISUAL EFFECTS) 5 SECS IN CLOSER SHOT WE SEE ONE OF THE TRANSPORTS, IDENTIFIED AS SHADO MOBILE 1. CUT TO: 115 INT. SHADO MOBILE DAY (STUDIO) 6 SECS MARK BRADLEY AT THE CONTROLS WITH A MISSILE OPERATIVE AND A TECHNICIAN. ALL ARE GRIM-FACED, WATCHFUL. CUT TO: 116 EXT. CANADA DAY (VISUAL EFFECTS) 7 SECS THE THREE MOBILES HAVE NOW SPREAD OUT AS THEY MOVE ACROSS THE TERRAIN. CUT TO: 117 M.S. MOBILE DAY (VISUAL EFFECTS) 8 SECS IT IS MOVING QUITE SLOWLY, BUT WITH TREMENDOUS POWER. IT BRUSHES ASIDE AN OBSTACLE, A TREE POSSIBLY, AND GOES ON. CUT TO: ***PAGE*** 47 118 EXT. CANADA DAY (VISUAL EFFECTS) 8 SECS IN L.S. WE SEE THE U.F.O. STILL IN THE SAME POSITION AS WHEN IT CRASHED. IT IS BEGINNING TO HEAT UP IN EARTH'S ATMOSPHERE. IN A VERY SLOW ZOOM WE MOVE IN TOWARDS IT. CUT TO: 119 EXT. U.F.O. DAY (VISUAL EFFECTS) 15 SECS A CLOSE SHOT OF A SMALL SECTION. THERE IS NO APPARENT OPENING IN THE SMOOTH SURFACE BUT AS THE MUSIC BUILDS, A PANEL SLIDES BACK. WE CANNOT ' SEE INTO THE DARK INTERIOR, BUT SLOWLY, OMINOUSLY, THE TRANSPARENT DOME OF A SPACE HELMET COMES INTO SHOT. AS THE MUSIC REACHES A CRESCENDO WE SEE THE GREEN ANGULAR FEATURES OF AN ALIEN THROUGH THE BI- COLOURED MOVING LIQUID THAT FILLS HIS HELMET. END OF ACT II FADE OUT: FADE IN: ACT III 120 EXT. CANADA DAY (VISUAL EFFECTS) 7 SECS THE SCOUT VEHICLES HAVE SEPARATED. WE SEE ONE, IDENTIFIED AS SHADO MOBILE 1, MOVING CAUTIOUSLY FORWARD. IT STOPS AT THE BROW OF A RIDGE. CUT TO: 121 INT. MOBILE DAY (STUDIO) 8 SECS THREE MEN IN THE COMPACT INTERIOR AS BEFORE, MARK BRADLEY, WHO LEAD THE GROUP, SPEAKS INTO A RADIO MIKE. MARK Shado Mobile 1 to control. In position . . . no visual contact. CUT TO: 122 INT. OFFICE DAY (STUDIO) 19 SECS PAULA AT A CONTROL CONSOLE TURNS TO FREEMAN SITTING AT THE DESK. ***PAGE*** 122 (continued) 48 PAULA All three mobiles in position, sir. FREEMAN LOOKS DOWN TO STUDY A LARGE AERIAL PHOTOGRAPH SPREAD OUT ON THE DESK. HE TAKES A PEN AND MARKS IN THE POSITION OF THE 3RD SCOUT CAR. FREEMAN Right . . . . send it in. PAULA Which group sir ? FREEMAN (measured) The one in the best position . . . Standard procedure. HE HAS SPELT IT OUT AND PAULA KNOWS WHAT HE MEANS AS FREEMAN LOOKS HARD AT HER. CUT TO: 123 C.S. PAULA 10 SECS SHE TAKES HER TIME, WATCHING THE THREE WINKING LIGHTS ON THE SCREEN BEFORE HER, DENOTING THE POSITIONS OF THE SCOUT CARS. PAULA (measured) Control to Shado Mobile 3. Close in for final assault. CUT TO: 124 INT. MOBILE DAY (STUDIO) 7 SECS WE ARE INSIDE SHADO MOBILE 3. THREE MEN, LED BY A YOUNG KEEN LIEUTENANT. LIEUTENANT Roger, Control. (to the men) That's us . . . let's go. CUT TO: 125 EXT. MOBILE DAY (VISUAL EFFECTS) 5 SECS WE SEE IT IS SHADO MOBILE 3, AS IT MOVED FORWARD. CUT TO: ***PAGE*** 49 126 INT. OFFICE DAY (STUDIO) 8 SECS WE FEATURE FREEMAN AND PAULA AS THEY WATCH SHADO MOBILE 3'S LIGHT MOVING IN. FREEMAN They should be able to see it any second. CUT TO: 127 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS MOVING SLOWLY TOWARDS THE CREST OF A LOW HILL, AS IT REACHES THE TOP. CUT TO: 128 INT. MOBILE DAY (STUDIO) 5 SECS THE LIEUTENANT SPOTS SOMETHING AHEAD. LIEUTENANT There it is . . . . CUT TO: 129 POV SHOT (VISUAL EFFECTS) 5 SEC FROM THEIR POV WE SEE THE U.F.O. THE MUSIC WARNS US. CUT TO: 130 INT. MOBILE DAY (STUDIO) 10 SECS THE LIEUTENANT REPORTS INTO THE RADIO MIKE. LIEUTENANT Have visual contact . . . About 300 yards ahead. FREEMAN (VO) Any sign of movement ? LIEUTENANT No . . . . nothing. We're going in closer. CUT TO: 131 INT. OFFICE DAY (STUDIO) 9 SECS FREEMAN STANDS USING A HAND MIKE. ***PAGE*** 131 (continued) 50 FREEMAN Right. But take it easy. At the first sign of trouble, get out of there fast. LIEUTENANT (VO) Roger. CUT TO: 132 EXT. MOBILE DAY (VISUAL EFFECTS) 5 SECS MOVING FORWARD. CUT TO: 133 EXT. U.F.O. DAY (VISUAL EFFECTS) 4 SECS STILL, SILENCE, OMINOUS. CUT TO: 134 INT. MOBILE DAY (VISUAL EFFECTS) 18 SECS THE THREE MEN WATCHING THE U.F.O. O.S. AS THEY DRIVE TOWARDS IT. WE INTERCUT THE THREE PRECEDING SCENES AND ON THE U.F.O. WE HEAR THE BUILD UP OF SOUND ASSOCIATED WITH THE CRAFT BEFORE IT IS ABOUT TO FIRE UNTIL . . . . CUT TO: 135 EXT. U.F.O. (VISUAL EFFECTS) 4 SECS THE SOUND HAS BUILT UP TO FULL POWER. A SHAFT OF LIGHT BURSTS FROM THE U.F.O. WHIP PAN: 136 EXT. MOBILE DAY (VISUAL EFFECTS) 4 SECS AN EXPLOSION CLOSE TO THE MOBILE, A NEAR MISS. CUT TO: 137 INT. MOBILE DAY (STUDIO) 4 SECS THE LIEUTENANT GRABS THE MIKE, HE TALKS HURRIEDLY BUT THERE'S NO PANIC IN HIS VOICE. LIEUTENANT Shado Mobile 3 to Control . . . . CUT TO: ***PAGE*** 51 138 INT. OFFICE DAY (STUDIO) 10 SECS LIEUTENANT (VO) . . . . We are under Attack. PAULA If they get back below the ridge they should be out of line of fire. FREEMAN (into mike) Head back to the ridge. CUT TO: 139 EXT. CANADA DAY (VISUAL EFFECTS) 8 SECS THE U.F.O. FIRES AGAIN. THE MOBILE TURNS AND MOVES OFF FAST BACK TOWARDS COVER. THE EXPLOSION NARROWLY MISSES. CUT TO: 140 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS HEADING BACK, AN EXPLOSION JUST IN FRONT OF IT FORCES THE VEHICLE TO ALTER COURSE, BUT IT DRIVES ON. CUT TO: 141 INT. OFFICE DAY (STUDIO) 13 SECS THE LIEUTENANT'S VOICE FAST OVER THE RADIO LINK. LIEUTENANT (VO) Still under fire. They seem to be using some sort of . . . . THE VOICE CUTS OFF SHORT. FREEMAN SPEAKS URGENTLY INTO THE MIKE. FREEMAN S.M. 3 Can you hear me . . . Come in S.M. 3. THERE IS NO ANSWER. CUT TO: 142 EXT. MOBILE DAY (VISUAL EFFECTS) 6 SECS IT HAS BEEN HIT. AS WE WATCH WE HEAR THE U.F.O. FIRE AGAIN O.S. AND THE VEHICLE SUFFERS ANOTHER DIRECT HIT AND IS DEVASTATED. CUT TO: ***PAGE*** 52 143 INT. OFFICE DAY (STUDIO) 25 SECS PAULA CHECKS THE EQUIPMENT THEN TURNS TO FREEMAN WHO HAS WALKED AWAY A FEW PACES. PAULA Radio link negative. They must have been hit. FREEMAN STANDS IN THOUGHT A FEW MOMENTS. FREEMAN (quietly) Send another group in. PAULA DOESN'T MOVE. LOOKS AT HIM QUESTIONINGLY. FREEMAN I know the risk. Send it in. PAULA Yes, sir. SHE LOOKS AT THE ILLUMINATED CHART SHOWING THE POSITION OF THE TWO REMAINING MOBILES. FREEMAN WATCHES HER CLOSELY. PAULA (into mike) Control to Shado Mobile 1. Close in on U.F.O. CUT TO: 144 INT. MOBILE DAY (STUDIO) 6 SECS MARK, THE OPERATIVE AND THE TECHNICIAN. MARK Move out . . . . THE VEHICLE STARTS FORWARD. CUT TO: 145 INT. OFFICE DAY (STUDIO) 15 SECS FREEMAN MOVES OVER AND TAKES THE MIKE. FREEMAN This is Alec Freeman. We must assume S.M. 3 is non- operational. Stop just below the top of the ridge and proceed on foot. ***PAGE*** 145 (continued) 53 MARK (VO) Roger. FREEMAN PUTS DOWN THE MIKE AND LOOKS AT PAULA. CUT TO: 146 EXT. MOBILE DAY (VISUAL EFFECTS) 7 SECS THE SHADO MOBILE PULLS TO JUST BELOW THE TOP OF THE RIDGE AND STOPS. CUT TO: 147 INT. CONTROL ROOM SHADO H.Q. (STUDIO) 12 SECS THE WALL CHART SHOWS THE AREA IN CANADA. THE U.F.O. IS CENTRE. IT IS SURROUNDED BY MANY AND VARIED COLOURED LIGHTS SHOWING THE BACK UP FORCES SHADO HAVE THROWN AROUND THE AREA. OPERATIVE Back up forces in position and standing by, sir. STRAKER STANDING BEFORE THE CHART, DOESN'T ANSWER. AS WE TRACK IN ON HIM WE KNOW HIS THOUGHTS ARE WITH THE MEN MAKING THE FINAL APPROACH. CUT TO: 148 EXT. U.F.O. DAY (VISUAL EFFECTS) 5 SECS WITH BINOCULAR MASKING WE SEE THE U.F.O. THE HATCH IS OPEN BUT THERE IS NO SIGN OF THE ALIENS. CUT TO: 149 EXT. CANADA DAY (LOCATION) 16 SECS GROUP S.M. 1 HAS LEFT THE MOBILE AND WALKED FORWARD. MARK LOWERS THE BINOCULARS. THE OTHER TWO MEN ARE AT HIS SIDE ARMED WITH AUTOMATIC MARK Fan out . . . twenty yards each side . . . and take it easy. THE MEN MOVE OFF ONE TO THE RIGHT, ONE TO THE LEFT MARK WAITS TILL THEY ARE IN POSITION, THEN WAVES THEM FORWARD. CUT TO: ***PAGE*** 54 150 M.S. TECHNICIAN 5 SECS MOVING CAUTIOUSLY FORWARD. ALERT, SCARED, HAND GRIPPING AND RELAXING ON THE BUTT OF HIS AUTOMATIC. CUT TO: 151 C.S. BOOT 3 SECS IT SNAPS A TWIG. CUT TO: 152 C.S. MISSILE OPERATOR 3 SECS HE WHEELS AUTOMATIC READY. 153 C.S. MARK 8 SECS HE LOOKS TOWARD THE OPERATOR. MARK (loud whisper) Easy . . . (into radio mike) 250 yards from U.F.O. CUT TO: 154 INT. OFFICE DAY (STUDIO) 8 SECS WE FEATURE PAULA AND FREEMAN. THE OFFICE IS STILL AND QUIET. THE TENSION HIGH. MARK (VO) Closing in. PAULA CHEWS HER LIP, A NERVOUS ACTION. CUT TO: 155 EXT. CANADA DAY (LOCATION) 7 SECS GROUP A MOVE FORWARD. SLOWLY, EYES SEARCHING, PALMS SWEATING. CUT TO: 156 C.S. TECHNICIAN 4 SECS HE REACTS TO SOMETHING AHEAD, RAISING THE AUTOMATIC IN AN UNTHINKING REFLEX ACTION. CUT TO: ***PAGE*** 55 157 M.S. ALIEN 4 SECS A VERY FAST SHOT. HE HAS STOOD UP FROM CONCEALMENT, A FEW YARDS TO THE SIDE OF THE TECHNICIAN. THE WEIRD MILKY EYES, STARING THROUGH THE CHANGING PATTERN OF HIS HELMET. THE BODY IS COVERED IN A THIN PLASTIC LIKE MATERIAL. CUT TO: 158 M.S. TECHNICIAN 4 SECS HE WHIPS AROUND, PANICS - FIRES FROM THE HIP. CUT TO: 159 M.S. U.F.O. MAN 5 SECS HE IS HIT. THE HELMET SHATTERS. HE REELS AND STAGGERS OFF. CUT TO: 160 WIDER ANGLE 9 SECS MARK COMES RUNNING OVER. THE TECHNICIAN IS TRANSFIXED, STARING AT THE REELING, STAGGERING ALIEN. MARK MOVES TOWARDS HIM SLOWLY, HESITANT, THEN QUICKLY AS THE ALIEN COLLAPSES. CUT TO: 161 C.S. SECOND ALIEN 5 SECS HE PEERS UP INTO SHOT FROM CONCEALMENT AND RAISES A DEVICE, A RIFLE OF ADVANCED DESIGN. CUT TO: 162 POV SHOT 4 SECS FROM THIS ALIEN'S POV WE SEE MARK, THE TECHNICIAN AND THE OPERATIVE AROUND THE FALLEN ALIEN. CUT TO: 163 C.S. SECOND ALIEN 4 SECS HE FIRES THE 'RIFLE' - WITH A STRANGE SOUND - BUT NO FLASH OR OTHER VISIBLE EFFECT. CUT TO: ***PAGE*** 56 164 EXT. CANADA DAY (LOCATION) 5 SECS THE GROUP ROUND THE FALLEN ALIEN REACT AS A FIERY FLASH OF FLAME EXPLODES CLOSE BY. IT IS UNLIKE A NORMAL EXPLOSION, LITTLE SOUND, AND ALTHOUGH LARGE, OVER VERY QUICKLY. MARK Down . . . . THE THREE MEN FLING THEMSELVES TO THE GROUND. CUT TO: 165 C.S. ALIEN 3 SECS HE FIRES AGAIN. CUT TO: 166 C.S. MARK 8 SECS THE BALL OF FIRE IS OVER TO HIS RIGHT, BUT THE SHOT HAS ENABLED HIM TO PINPOINT THE ATTACKER'S POSITION. MARK (calling to his side) Cover me . . . . HE BEGINS TO MOVE FORWARD. CUT TO: 167 EXT. CANADA DAY (LOCATION) 15 SECS THE ALIEN CONTINUES TO FIRE, THE OPERATIVE REPLIES WITH A SHORT BURST FROM HIS AUTOMATIC. MARK MOVES FROM COVER TO COVER WORKING ROUND BEHIND THE ALIEN. CUT TO: 168 ANOTHER ANGLE 12 SECS MARK CREEPS FORWARD TOWARDS THE BACK OF THE ALIEN. WHEN HE IS A FEW FEET FROM HIM THE ALIEN TURNS. SEES MARK AND RAISES HIS 'RIFLE'. MARK CLOSES WITH HIM, KNOCKING THE RIFLE FROM HIS GRASP. THE ALIEN TURNS TO RUN, BUT MARK DIVES AT HIS LEGS AND BRINGS HIM FACE DOWN TO THE GROUND. CUT TO: ***PAGE*** 57 169 EXT. CANADA DAY (LOCATION) 5 SECS THE OPERATIVE AND THE TECHNICIAN MOVE QUICKLY FORWARD. A STRANGE NOISE OVER IS BEGINNING TO BUILD. CUT TO: 170 EXT. U.F.O. DAY (VISUAL EFFECTS) 7 SECS THE SOUND REACHES FULL PITCH. THE U.F.O. IS IN THE LAST STAGES OF OVERHEATING. IT DISINTEGRATES. CUT TO: 171 EXT. CANADA DAY (LOCATION) 12 SECS THE TECHNICIAN AND THE OPERATIVE RUN UP TO MARK WHO HOLDS THE ALIEN - STILL FACE DOWN TO THE GROUND AS WE ZOOM IN MARK ROLLS HIM OVER ONTO HIS BACK. WE GO INTO B.C.U. OF THE WEIRD LIQUID FILLED HELMET. END OF ACT III FADE OUT: FADE IN: ACT IV 172 INT. OFFICE DAY (STUDIO) 82 SECS THE DEBRIS OF THE EXERCISE LIES ABOUT - COFFEE CUPS, FULL ASH TRAYS, PAPER AND MAPS IN DISORDER. PAN ACROSS THE OTHERWISE EMPTY ROOM TO MARK BRADLEY PERCHED ON THE SIDE OF A DESK. HE LOOKS UP AND STANDS AS PAULA ENTERS. PAULA Hello, Mark. MARK Paula. PAULA Quite a mess. MARK Yes. A LONG PAUSE. ***PAGE*** 172 (continued) 58 PAULA Are you alright ? MARK Yeah . . . . . I'm fine. ANOTHER LONG PAUSE. MARK Well, it's all wrapped up. They're flying the Alien back to H.Q now. PAULA MOVES A LITTLE CLOSER TO HIM. PAULA Mark . . . there's something . . . I must tell you. MARK What do you mean ? PAULA After Group 3 were hit, Freeman told me to send another mobile in . . . Group 2 were in a better position. I should have sent them in, not you. MARK LOOKS AT HER IN SILENCE. PAULA Don't you understand what I'm saying ? I took an illogical decision. MARK (gentle) Why did you do it, Paula ? PAULA I don't know . . . maybe to show Straker and the computer were wrong. I'm sorry. MARK It's O.K. . . . I was glad of the action. MARK SMILES. PAULA Mark, I _risked_ your _life_ . . . MARK To prove a point . . . PAULA MOVES A LITTLE CLOSER. ***PAGE*** 172 (continued) 59 PAULA That's the trouble. What point did I prove, Mark ? MARK I think I know . . . I think maybe we both know. MARK LOOKS AT HER FOR A LONG MOMENT. PAULA LOWERS HER EYES - THEN RAISES THEM AGAIN TO MEET HIS. CUT TO: 173 EXT. STUDIO. DAY. (LIBRARY) 5 SECS ESTABLISH THE HARRINGTON-STRAKER STUDIO. CUT TO: 174 INT. STRAKER'S OFFICE - UNDERGROUND - (STUDIO) 43 SECS DOCTOR MURRAY, A 45-YEAR-OLD MEMBER OF SHADO'S MEDICAL STAFF, IN THE OFFICE WITH STRAKER. FREEMAN SITS CASUALLY TO ONE SIDE. MURRAY The lungs were filled with an oxygenated liquid, but we managed to make the transfer to normal breathing. STRAKER Successfully ? MURRAY Five hours isn't long enough to tell. STRAKER I want to interrogate him Doctor. When will he be ready ? MURRAY We're crossing new physiological frontiers, no one can say. STRAKER Then give me an educated guess. A LONG PAUSE. MURRAY I suppose he's as ready now as he'll ever be. ***PAGE*** 174 (continued) 60 STRAKER Right . . . in an hour . . . Get him ready, Doctor. THE DOCTOR TURNS AND LEAVES. FREEMAN WATCHES STRAKER; HE IS SOMBRED AT THE PROSPECT OF HAVING THE POSSIBLE KEY TO THE WHOLE PUZZLE IN HIS GRASP. STRAKER This is the moment I worked and waited for Alec . . . face to face. CUT TO: 175 INT. MEDICAL CENTRE. (STUDIO) 80 SECS START ON A BCU OF THE ALIEN'S ANGULARFACE. THE EYES ARE CLOSED. AS WE PULL BACK HE IS LYING ON AN OPERATING TABLE DRESSED IN A WHITE ONE-PIECE GOWN. SEVERAL LEADS TRAIL AWAY FROM HIS BODY; BIO-SENSORS PLUGGED INTO A CONTROL BOX AT WHICH DOCTOR MURRAY IS SEATED. THIS ENABLES THE DOCTOR TO MONITOR, PULSE RATE, BREATHING, ETC. STRAKER BENDS OVER LOOKING INTO THE SLIGHTLY GREEN FACE. FREEMAN AT HIS SIDE. ALL WEAR OPERATION MASKS AND GOWNS. STRAKER How long is it now ? MURRAY 43 minutes. STRAKER TAKES THE CHIN IN HIS GLOVED HAND AND TURNS THE ALIEN'S HEAD TO FACE HIS OWN. THE EYES OPEN, MILKY OPAQUE - SOMEHOW COLD AND FRIGHTENING. STRAKER Now, once again - I want you to answer my questions. THE ALIEN STARES WITH UNBLINKING EYES. STRAKER (slow) Where do you come from ? What was your objective in coming to earth ? THE ALIEN SHOWS NO EMOTION NOR REACTION. STRAKER WALKS OVER TO THE DOCTOR FOLLOWED BY FREEMAN. ***PAGE*** 175 (continued) 61 STRAKER (quietly) There's no alternative . . . I'm going to try a truth drug. A LONG PAUSE. STRAKER What do you suggest we use . . . . ? MURRAY G.L. 7 is the most effective in my experience - but in this case . . . STRAKER Well . . . . ? MURRAY I can't guarantee the result, it could be dangerous. STRAKER How dangerous ? MURRAY I'm afraid the decision and the responsibility would have to be yours. STRAKER TURNS AND PICKS UP A GLASS BEAKER, WE PAN WITH HIM AS HE WALKS SLOWLY BEHIND THE ALIEN, AND LOOKS DOWN AT HIM. STRAKER LETS THE BEAKER FALL TO THE FLOOR. IT SHATTERS. THE ALIEN REACTS. STRAKER (slow) You heard that . . . and I'm told your vocal chords are in excellent condition. STRAKER TURNS AND NODS TO THE DOCTOR. CUT TO: 176 M.S. MURRAY 12 SECS HE TAKE A HYPODERMIC, FILLS IT FROM A PHIAL AND CHECKS IT FOR AIR BUBBLES. WITH A LOOK TO THE WATCHING FREEMAN HE CROSSES TO THE ALIEN. CUT TO: ***PAGE*** 62 177 M.S. ALIEN 7 SECS STRAKER WATCHES AS THE DOCTOR QUICKLY, EXPERTLY, PREPARES TO GIVE THE INJECTION. CUT TO: 178 C.S. ARM 3 SECS THE WHITE, HAIRLESS, ALIEN'S ARM. THE HYPODERMIC POISED, IT PLUNGES FORWARD. CUT TO: 179 C.S. ALIEN'S FACE 3 SECS THE SLIGHTEST OF REACTIONS. CUT TO: 180 RESUME SCENE 10 SECS MURRAY WALKS ACROSS AND SITS DOWN AT THE CONTROL UNIT. FREEMAN WATCHES AS STRAKER LEANS TO THE ALIEN. CUT TO: 181 CLOSER SHOT 18 SECS STRAKER LEANS IN. THE ALIEN'S EYES ARE CLOSED. STRAKER (clear and slow) Where do you come from . . . What was your purpose in coming to Earth ? THE ALIEN'S MOUTH BEGINS TO MOVE, BUT NO SOUND COMES OUT. STRAKER LEANS CLOSER. STRAKER (measured) Where do you come from . . . . ? THE MOUTH MOVES MORE VIOLENTLY. THEN THE EYES SUDDENLY OPEN AND THE ALIEN EMITS A STRANGE, HIGH- PITCHED YELL. CUT TO: 182 C.S. MURRAY 14 SECS HE REACTS TO THE INSTRUMENTATION. ***PAGE*** 182 (continued) 63 WIDE ANGLE. MURRAY RUSHES OVER TO THE ALIEN WHO HAD BEGUN TO TWITCH. THE DOCTOR TRIES TO HOLD HIM STILL. SUDDENLY HE BECOMES LIMP AND MOTIONLESS. THE DOCTOR CHECKS THE PULSE BEAT IN THE NECK; LOOKS UP AT STRAKER AND SHAKES HIS HEAD. THE ALIEN IS DEAD. CUT TO: 183 INT. STRAKER'S UNDERGROUND OFFICE 62 SECS (STUDIO) STRAKER SITS AT HIS DESK, HEAD IN HANDS. HE STRAIGHTENS UP AS THE DOOR SLIDES OPEN AND FREEMAN ENTERS. STRAKER Alec . . . . Have a drink. FREEMAN No thanks. FREEMAN HOLDS OUT AN ENVELOPE. FREEMAN I . . . want you to accept this. STRAKER, SENSING SOMETHING IS WRONG, TAKES THE ENVELOPE BUT DOESN'T OPEN IT. HE GUESSES ITS CONTENTS . . . FREEMAN'S RESIGNATION. STRAKER We've worked together a long time, Alec. FREEMAN Maybe too long. STRAKER TOYS WITH THE ENVELOPE. STRAKER Can't we talk about it ? FREEMAN There's not much to say. It's a difference in temper- ament. STRAKER D'you think I wanted him to die . . . it was a calculated risk . . . . ***PAGE*** 183 (continued) 64 FREEMAN It's not only that. You base your decisions on logic, computer predictions, the best available evidence. I've still got a few human emotions left. THIS HURTS STRAKER, FREEMAN SEES IT. FREEMAN I'm sorry. STRAKER You really believe you're right, don't you. Your conscience is clear . . . you sleep nights. I can't. I'm the guy in the responsibility seat. FREEMAN TURNS TO GO. STRAKER Don't Alec. FREEMAN TURNS BACK. STRAKER I need you. THE PLEA IS SIMPLE, STRAIGHT FROM THE HEART. CUT TO: 184 INT. RESTAURANT NIGHT (STUDIO) 38 SECS MARK AND PAULA SIT AT A TABLE. THE ATMOSPHERE IS COSY AND INTIMATE. THEY HAVE DRINKS AND ARE ABOUT TO ORDER DINNER. A WAITER COMES UP. MARK (indicating drink) Two more of these and I think we're ready to order. THE WAITER BOWS A YES AND TURNS TO PAULA WHO HOLDS A MENU. SHE LOOKS VERY YOUNG. PAULA (coy) Er . . . . I'll have a steak . . . erhm medium and . . . avocado to start. ***PAGE*** 184 (continued) 65 MARK I'll take the same, but make the steak rare . . Oh er, and could you bring a phone please ? THE WAITER BOWS OFF. PAULA Life's funny. MARK Yeah . . . we build computers - programme them - and they tell us what we think before we know it ourselves. THEY SMILE HAPPILY. THE WAITER BRINGS THE PHONE TO THE TABLE. MARK Thank you. MARK STARTS TO DIAL A NUMBER. CUT TO: 185 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 21 SECS FREEMAN AND STRAKER. FREEMAN I'll sleep on it . . . STRAKER (biting) Well thanks . . . Listen if you really want out I'm not begging. THE PHONE RINGS STRAKER GOES OVER TO HIS DESK AND ANSWERS IT. FREEMAN WALKS TO THE DOOR. STRAKER Straker. HE HOLDS OUT THE PHONE FOR FREEMAN AS HE STOPS AT THE DOOR. STRAKER For you . . . . CUT TO: 186 INT. RESTAURANT NIGHT (STUDIO) 31 SECS MARK AND PAULA AS BEFORE. ***PAGE*** 186 (continued) 66 MARK (into phone) Mark Bradley here, sir. I'm with Paula Harris . . . Well you were straight with us and I think it's only fair you should know . . . well you could say the computer was right . . . no . . . . we'll work it out . . . fine . . . . thank you . . . Shall I tell Commander Straker sir ? CUT TO: 187 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 54 SECS FREEMAN (into phone) No, leave that with me . . . Right. FREEMAN THOUGHTFULLY REPLACES THE PHONE. STRAKER WATCHES HIM. FREEMAN Mark Bradley . . . STRAKER Important ? FREEMAN He thinks so . . . FREEMAN WALKS TO THE DESK AND PICKS UP THE ENVELOPE WITH HIS RESIGNATION. HE LOOKS AT STRAKER THEN TEARS IT IN HALF AND DROPS IT IN THE BIN. FREEMAN You and your bloody computers. FREEMAN WALKS TOWARD THE DOOR. STRAKER Alec . . . . . FREEMAN STOPS. ***PAGE*** 187 (continued) 67 STRAKER Tell them both I'm sending them back to Moonbase to finish their tour of duty. FREEMAN That's not what the report recommended. STRAKER Now they realise the facts it'll sort itself out . . . . Besides I'm not a computer . . . I can change my mind. FREEMAN SMILES. FREEMAN See you. END OF ACT IV - END TITLES FINAL FADE OUT. ***PAGE*** The following pages of revisions and "new pages" bring the script closer to the final episode. ***PAGE*** U. F. O. TELEVISION SERIES "THE COMPUTER AFFAIR" SCRIPT AMENDMENTS AS AT 12th MAY, 1969. NEW PAGE - 1 NEW PAGE - 2 NEW PAGE - 3 NEW PAGE - 4 NEW PAGE - 5 NEW PAGE - 13 NEW PAGE - 18 ----------------------- PAGE 20 - Scene 47 Delete Joan's dialogue "You're welcome" PAGE 21 - Scene 49 Gay's 2nd speech - Delete "Yes" Gay's last speech - Amend to read "I'd like to think so" PAGE 23 - Delete Straker's Third speech "Go ahead" PAGE 25 - Scene 60 - amend Shroeder's 2nd speech to - "...... with SHADO, Lieutenant Ellis, Waterman I'd like you to begin the computer test whilst I interview astronaut Bradley" PAGE 26 - Add to Shroeder's 2nd last speech "... before you become an astronaut" PAGE 27 - Scene 60 - delete 2nd "good" in Shroeder's last speech. PAGE 30 - Scene 71 - delete "Gordon" in Karlin's last speech. Scene 93. PAGE 35 - Waterman's first speech change "out him" to "him out" Amend Shroeder's speech to "Lieutenant Ellis. Will you come in please" ***PAGE*** Page (2) THE COMPUTER AFFAIR SCRIPT AMENDMENTS AS AT 12th MAY, 1969. PAGE 37 - Scene 101 - Change Freeman's 1st speech to - "I don't believe it" PAGE 39 - Scene 104 - Change Gay's 2nd speech to "Square" PAGE 40 - Scene 106 - Delete stage direction "Mark closes the door" Delete Freeman's dialogue "Come in ... come in .... close the door" PAGE 41 - NEW PAGE PAGE 42 - NEW PAGE PAGE 48 - Scene 122 - Amend Gay's second dialogue to - which mobile Sir" PAGE 52 - Scene 143 - Amend Freeman's 1st speech to "send another mobile in" PAGES 51, 52 - Scenes - 138, 141, 143, 145, 154. & 54 Change Scene heading to :- "INT. MOBILE CONTROL (STUDIO) Page 57 - Scene 172 Delete "but it's all wrapped up" in Mark's last speech. PAGE 58 - NEW PAGE Page 59 - NEW PAGE Straker's dialogue Page 60 - Scene 174 - Delete/"in an hour" from 1st speech. PAGE 63 - NEW PAGE PAGE 64 - NEW PAGE PAGE 65 - NEW PAGE Scene 185 PAGE 66 - In Freeman's first speech delete "O.... if you think you can work it out" In Freeman's last speech delete "bloody" PAGE 67 - NEW PAGE. ----------------------- ***PAGE*** 1. NEW PAGE - 'THE COMPUTER AFFAIR' 12th May, 1969. FADE IN: ACT ONE 1. EXT. SPACE (VISUAL EFFECTS) 5 SECS. THE LUNAR MODULE SECTION OF MOONSHIP AS IT APPROACHES THE MOON CUT TO 2. EXT. MOONBASE DAY (VISUAL EFFECTS) 8 SECS. THE MODULE LANDS SLOWLY AND PRECISELY ON THE RECEPTION SPHERE ON MOON BASE. CUT TO 3. INT. CONTROL SPHERE DAY (STUDIO) 8 SECS. JOAN AND NINA BARRY ARE ON DUTY. GAY ELLIS SITS AT HER CONSOLE. JOAN IS ON THE DESK PHONE. JOAN Thanks ..... Colonel Freeman is just leaving reception, Lieutenant. GAY IS FLICKING THROUGH A FILE GAY Thank you. GAY GETS UP AND WALKS TOWARDS THE AIRLOCK TO EXIT. 3A. INT. CENTRAL PARK DAY (STUDIO) FREEMAN COMES OUT OF THE RECEPTION CORRIDOR - CARRYING SMALL CASE. HE WALKS ACROSS CENTRAL PARK. GAY COMES INTO SHOT TO MEET HIM. FREEMAN SMILES FREEMAN Hello Gay ....... GAY IS A LITTLE NERVOUS GAY Colonel Freeman ..... FREEMAN LOOKS AT HER. FREEMAN We're very formal today GAY IGNORES THE IMPLIED QUESTION GAY How was the flight? FREEMAN Smooth ( a beat ) just give me five minutes to wash up. MIX TO ***PAGE*** 2. NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969 5. INT. SLEEP SPHERE (STUDIO) START ON FREEMAN LOOKING INTO A MIRROR AS HE WIPES HIS FACE. GAY ENTERS THE SPHERE AND SITS DOWN ON A BED. FREEMAN COMES OUT OF THE CUBICLE AND GAY STANDS UP. FREEMAN That's better HE LOOKS AT GAY FREEMAN Well if your quarters are as comfortable as this, there's no room for complaints GAY Who's complaining FREEMAN SMILES - THEN MORE SERIOUS. FREEMAN How's morale? GAY REACTS AND STIFFENS GAY Excellent ... Why do you ask? FREEMAN No particular reason. GAY GIVES HIM A SIDEWAYS GLANCE. FREEMAN Listen, Lieutenant, this is only a routine monthly inspection, but but there have been a couple of minor mistakes recently. And on this Base you know as well as I do there's no room for error no matter how small. GAY Yes, I know, I'm sorry. But there's nothing to worry about. I assure you. FREEMAN Glad to hear it. Shall we start the inspection. THEY WALK TOWARDS THE DOORWAY. CUT TO 4. INT. CORRIDOR. MOONBASE DAY (STUDIO) 14 SECS. GAY AND FREEMAN GAY The - er - spares situation might need reviewing. I'd like to see the levels kept about 20% higher. ***PAGE*** 3. 12th MAY, 1969 NEWPAGE - 'THE COMPUTER AFFAIR' 4. Continued. FREEMAN Funny you should say that GAY DOESN'T UNDERSTAND. FREEMAN Straker asked me to get your thoughts on the subject ..... he had the same idea. THEY HAVE REACHED THE AIRLOCK TO THE CONTROL SPHERE. 3B. INT. CONTROL SPHERE. (STUDIO) FREEMAN AND GAY ENTER - FREEMAN WALKS OVER TO NINA. GAY STAYS IN THE F.G. FREEMAN Hello Nina ..... NINA Hello, Colonel. FREEMAN How are things going? NINA Fine. FREEMAN WALKS OVER TO JOAN FREEMAN Everything alright - Joan? JOAN Yes Sir .... There is one thing We're down to our last two spare XK4 units. FREEMAN Ah yes, the Lieutenant mentioned spares. There's been a little trouble with a design modification but it's all sorted out now. You can expect a new batch on the next flight. FREEMAN TURNS TO WALK AWAY. JOAN Sir? HE TURNS BACK JOAN Did you take care of that personal requisition. FREEMAN REACTS, HE HAS FORGOTTEN, MAY BE OVER ACTING SLIGHTLY. FREEMAN Personal requisition - HE FLICKS HIS FINGERS IN DISGUEST AT HAVING APPARENTLY FORGOTTEN. ***PAGE*** 4. NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969 3B. Continued WE SEE GAY IS DISAPPOINTED. JOAN (disappointed) It's alright Sir. FREEMAN I'm sorry ..... FREEMAN TURNS TO GAY AND INDICATES A FILE IN HER HAND. FREEMAN Is that your report? GAY Yes. I think you'll find every- thing in order. FREEMAN I'm sure I will. Shall we continue? THEY WALK TOWARDS THE DOORWAY. ON JOAN & NINA JOAN Men! NINA SMILES MIX TO 7. INT. LEISURE DINING SPHERE. DAY 9STUDIO) 27 SECS. MARK BRADLEY, LEW WATERMAN AND KEN MATTHEWS THE THREE ON DUTY ASTRONAUTS RELAX IN THE B.G. THEY WEAR THEIR SPACESUITS. FREEMAN AND GAY STAND IN THE B.G. LOOKING AT THE FILE. FREEMAN What sort of times are we making on interceptors launches now? GAY Around 125 seconds flat. FREEMAN That's great. HE LOOKS UP AND SMILES AT GAY FREEMAN Well I think that about wraps it up for this month. ***PAGE*** 5. NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969 7. Continued ... SHE LOOKS AT HER WATCH. GAY Excuse me.... We've arranged a little morale booster. ON GAY SHE SPEAKS INTO HER MAKE-UP RADIO. GAY (into mike) This is Lieutenant Ellis. Will all off duty personnel come to the leisure sphere immediately .... repeat..... CUT TO ***PAGE*** 13 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 25 (continued) S.I.D. (VO) Predict U.F.O. on collision course with interceptors. Impact 32 seconds (to be used in sequence) 25 seconds...20 seconds...15...10... 9....8.......etc., A LONG PAUSE, EYES TURN TO GAY JOAN Standard evasive action? ON GAY WITH MILITARY PRECISION SHE FLICKS HER EYES TO OFF STAGE INSTRUMENTATION CONSIDERS THE SITUATION FOR A MOMENT THEN LOOKS DOWN AT THE MONITOR IN FRONT OF HER ON WHICH THERE IS A RADAR SWEEP (WHETHER SEEN OR NOT) GAY No....sychronous evasive action JOAN TURNS TO HER INSTRUMENTATION FREEMAN WATCHES JOAN New course interceptor one 024-186 ON GAY GAY Control to interceptor one. Alter course to 024-186 TWO SHOT JOAN AND GAY JOAN Course for two...024-201 GAY Control to interceptor two... new course 024-201 MATTHEW (VO) Three to base request new course ***PAGE*** 18 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 FREEMAN I don't really know... STRAKER Come on....I know you better than that FREEMAN Things happened so fast STRAKER Meaning? FREEMAN I can't be sure STRAKER I'll settle for an educated guess FREEMAN The error could have been human. A decision was taken...it could have worked... the fact was it didn't STRAKER WALKS SLOWLY BACK TO HIS DESK STRAKER I want the personel concerned, the two surviving astronauts and Lieutenant Ellis back here on the next moonflight FREEMAN Right FREEMAN TURNS TO LEAVE BUT TURNS BACK AS HE REMEMBERS FREEMAN Er...what happened to the UFO? ***PAGE*** 41 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 106 (continued) FREEMAN One: Taking into account the circumstances at the time of detonation it was clearly the duty of Lieutenant Ellis to decide the type of evasive action to be taken. On that count Lieutenant Ellis is cleared GAY LOOKS RELIEVED FREEMAN Provided that the decision was in no way influenced by emotional factors, which brings us to point two FREEMAN PAUSES. GAY AND MARK MAKE NO OBVIOUS REACTION FREEMAN The three personnel directly concerned were subject to standard psychiatric and psycho-computer tests with the following results: Astronaut Lew Waterman...clear on all counts. Astronaut Mark Bradley...emotion count 48 para normal, clear on other counts. Lieutenant Ellis... stress factor 128 para normal; emotion count 35 para normal. Clear on other counts BOTH MARK AND GAY ARE DISTURBED BY THESE RESULTS ***PAGE*** 42 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 106 (continued) FREEMAN Three: These results are attributed to an emotional attachment between Lieutenant Ellis and Astronaut Bradley. It ends with a confidential recommendation as to what action should be taken. FREEMAN CLOSES THE FILE. A LONG PAUSE MARK Let me get this straight sir...What exactly do they mean...an emotional attachment? FREEMAN As I see it, this report finds an embryo relationship between you that could develop MARK Into what? FREEMAN It's not my report GAY Well, without any disrespect to Mark, if the computer's saying we're in love - it's out of its electronic mind MARK There must be some way round this sir...Can't we appeal? FREEMAN I'm afraid you can't MARK You mean that's it...just like that FREEMAN If you can disprove the findings...well then I might be able to do something HE STANDS UP TO LEAVE ***PAGE*** 58 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 172 (continued) GAY NOTICES MARK'S DAMAGED SUIT GAY Are you alright? MARK Yeah.....I'm fine GAY MOVES A LITTLE CLOSER TO HIM GAY Mark...there's something... I must tell you MARK LOOKS GAY After mobile 3 was hit, Freeman told me to send another one in......... Mobile 2 was in a better position. MARK LOOKS AT HER IN SILENCE GAY Well don't you understand what I'm saying? MARK You did it to prove that Straker and the computer were wrong GAY I'm sorry MARK It's O.K....I was glad of the action MARK SMILES GAY Mark, I risked your life to prove something GAY TURNS INTO CAMERA, LOOKS THOUGHTFUL. MARK REALISES THE SIGNIFICANCE OF WHAT SHE HAD JUST SAID. GAY But what have I proved? MARK MOVES IN AND PLACES A HAND ON HER SHOULDER. ***PAGE*** 59 NEW PAGE - 'THE COMPUTER AFFAIR' 12th MAY, 1969 THEY LOOK AT EACH OTHER A LONG MOMENT. CUT TO 173. EXT. STUDIO DAY (LIBRARY) 5 SECS. ESTABLISH THE HARLINGTON STRAKER STUDIO. CUT TO 174. INT. STRAKER'S OFFICE UNDERGROUND (STUDIO) 43 SECS. DOCTOR MURRAY IN THE OFFICE WITH STRAKER AND FREEMAN STRAKER Well? MURRAY Much the same situation as we've experienced before. The alien was breathing liquid containing a bio acryphilic compound imparting the usual green tint to the face and neck. The hair was unaffected and the eyes had protective shells... We've managed to revert the respiration to normal atmosphere. FREEMAN Successfully? MURRAY Five hours isn't long enough to tell. STRAKER We know from past experience once they breathe our atmosphere they revert to true age in 24 hours. At least five hours has told us we're dealing with a comparatively young alien. (a pause) I want to see if I can get anything out of him. When will he be ready? MURRAY We're crossing new physiological frontiers. How can I say? STRAKER GIVES HIM A LOOK THAT DEMANDS AN ANSWER. MURRAY I suppose he's as ready as he'll ever be. ***PAGE*** 63 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 182 (continued) WIDE ANGLE MURRAY RUSHES OVER TO THE ALIEN WHO HAS BEGUN TO TWITCH. THE DOCTOR TRIES TO HOLD HIM STILL SUDDENLY HE BECOMES LIMP AND MOTIONLESS. THE DOCTOR CHECKS THE PULSE BEAT IN THE NECK; LOOKS UP AT STRAKER AND SHAKES HIS HEAD. THE ALIEN IS DEAD. CUT TO 183 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 62 SECS STRAKER IS READING A REPORT, HE FINISHES THE LAST PAGE, CLOSES IT AND CUPS HIS HEAD IN HANDS. HE STRAIGHTENS UP AS THE DOOR SLIDES OPEN AND FREEMAN ENTERS. STRAKER Drink? FREEMAN No thanks. FREEMAN HOLDS OUT AN ENVELOPE FREEMAN I....want you to accept this. STRAKER, SENSING SOMETHING IS WRONG, TAKES THE ENVELOPE BUT DOESN'T OPEN IT. HE GUESSES ITS CONTENTS...FREEMAN'S RESIGNATION. STRAKER We've worked together a long time, Alec. FREEMAN Maybe too long. STRAKER TOYS WITH THE ENVELOPE. STRAKER Can't we talk about it? FREEMAN There's not much to say. It's a difference in temper- ament. STRAKER D'you think I wanted him to die...it was a calculated risk.... ***PAGE*** 64 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 183 (continued) FREEMAN It's not only that. You base your decision on cold logic and computer predictions, I've still got a few human emotions left. THIS HURTS STRAKER, FREEMAN SEES IT FREEMAN I'm sorry. STRAKER You think its easy..... it's easy for you. Your conscience is clear....you sleep nights. I can't. I'm the guy in the responsibility seat. FREEMAN TURNS TO GO. STRAKER Don't Alec. FREEMAN TURNS BACK. STRAKER I need you. THE PLEA IS SIMPLE. STRAIGHT FROM THE HEART. CUT TO 184 INT. RESTAURANT - NIGHT (STUDIO) 28 SECS MARK & GAY SIT AT A TABLE. THE ATMOSPHERE IS COSY AND INTIMATE. THEY HAVE DRINKS. MARK (thoughtfully) 1984 - what's it going to be like 20 years from now? Are the computers going to take over completely? GAY Why don't you ask them...... They seem to have all the answers.....even today! MARK Yeah....We build them programme them...and they tell us what we are going to think before we know it ourselves ***PAGE*** 65 NEW PAGE - "THE COMPUTER AFFAIR" 12th MAY, 1969 184 (continued) GAY (thoughtfully) Mark, if the computer hadn't probed our subconscious do you think we'd be faced with this situation? MARK You mean like falling in love. GAY Like falling in love. CUT TO 185 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 75 SECS FREEMAN AND STRAKER FREEMAN I'll sleep on it..... THE PHONE RINGS STRAKER GOES OVER TO HIS DESK AND ANSWERS IT. FREEMAN WALKS TO THE DOOR. STRAKER Straker HE HOLDSOUT THE PHONE FOR FREEMAN AS HE STOPS AT THE DOOR. STRAKER For you..... FREEMAN TAKES THE TELEPHONE FREEMAN Freeman... Oh! Hi! HE WALKS AWAY FROM STRAKER TO MAKE THE CONVERSATION MORE PRIVATE - HE IS CONSCIOUS OF STRAKER WATCHING HIM. ***PAGE*** 67 NEW PAGE - "THE COMPUTER AFFAIR" 12th May, 1969 STRAKER Tell Lieutenant Ellis and Astronaut Bradley they are to return to Moonbase immediately to resume normal duties. FREEMAN IS STUNNED BY STRAKER'S INSTRUCTIONS. FREEMAN That's not what the report recommended. STRAKER That's not what the first report recommended..... HE INDICATES THE FILE WE SAW HIM READING EARLIER STRAKER This report analysed the flight paths and it shows that if standard procedure had been followed we would have lost all three interceptors. FREEMAN REGAINS HIS CONFIDENCE IN HUMAN NATURE. FREEMAN You mean her decision was not influenced by emotion. STRAKER You tell me. STRAKER IS RUNNING TRUE TO FORM, HE EMOTIONS ARE NOT INVOLVED IN THE SITUATION, THERE IS AN ELEMENT OF DOUBT AND HE MUST GIVE THE BENEFIT OF THIS DOUBT TO THE ACCUSED. HIS DECISION IS BASED ON THIS. FREEMAN See you. END OF ACT 1V. FADE OUT.