THE SCRIPT FOR THE UFO EPISODE "THE SQUARE TRIANGLE" Transcription by Bill Cotter. Introduction by Marc Martin. This is a transcription of a photocopy of a script for the UFO episode "THE SQUARE TRIANGLE". 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: * Many of the scenes in the script were moved around and are presented in a different order in the finished episode. Since the dialog still matches, I assume that these changes were made during the editing process, after the scenes were filmed. * There are several scenes in the script which do not make it into the finished episode: - a scene with Newton & his secretary in his office, showing that they are having an affair. (scenes 21A-21B) - Liz stopping at a gas station (scene 21D-23) and arousing the interest of a gas station attendant. - Straker revealing that all the UFO wreckage that SHADO has collected so far is worthless (scene 43). - The scene with the Alien breaking into the cottage (scenes 114-124) is longer in the script, with additional dialog between Liz and Cass, and the Alien using a special oil to open the locked door. - Much of the conversation between Foster and Mr. Newton is not in the finished episode (scene 138) * The script describes Liz as "dark and sensuous" and Cass having "great virile magnetism". This is hardly what we see in the finished episode! * Perhaps I'm the only one who never understood why the UFO exploded prematurely in this episode, but the script explains that it was because it was hit by Alien machine-gun fire (scenes 53-55). * At the end of the finished episode, there is a scene with Liz standing at her husband's grave, and then during the end credits she walks away and is met by Cass. None of this is in the original script. This script includes a "new page" and a revisions page at the end, which make a few changes, although many more changes were made for the finished episode. Enjoy! ------------------------------ CUT HERE -------------------------------- _"THE SQUARE TRIANGLE"_ by Alan Pattillo (c) Century 21 Pictures Stirling Road Slough Bucks ***PAGE*** "U.F.O." _THE SQUARE TRIANGLE_ by Alan Pattillo Shooting Date: 4th September 1969 ***PAGE*** _CAST LIST_ _SPEAKING PARTS:_ FREEMAN NINA GAY ELLIS FOSTER STRAKER FORD WATERMAN NEWTON MISS CADWELL LIZ NEWTON CASS FOWLER MOBILE OPERATOR 2 (VO) MOBILE OPERATOR 3 (VO) MITCHELL ------------oOo----------- ***PAGE*** _SET LIST_ INT. MOONBASE CONTROL INT. SHADO CONTROL INT. OFFICE EXT. ROAD (LOCATION) INT. CAR EXT. GAS STATION (LOCATION) EXT. FOREST (LOCATION) EXT. CLEARING (LOCATION) INT. MOBILE INT. STRAKER'S UNDERGROUND OFFICE EXT. COTTAGE (LOCATION) INT. COTTAGE INT. BATHROOM INT. KITCHEN INT. NEWTON'S CAR EXT. FOREST ROADWAY (LOCATION) INT./EXT. SHADO JEEP EXT. STUDIO (LOCATION) INT. WAITING ROOM INT. MISS EALAND'S OFFICE _V.E._ EXT. SPACE INT. CRATER EXT. MOON EXT. MOBILE INSTALLATION EXT. ROADWAY EXT. FOREST ***PAGE*** -1- _"U. F. O."_ 1 EXT. SPACE. (V. E.) 7 secs FROM A MERE DOT IN THE CENTRE OF SCREEN A FLYING OBJECT COMES HURTLING TOWARDS CAMERA. JUST AS IT FILLS THE SCREEN . . . WE WHIP OFF TO THE LEFT AND - CUT TO: 2 EXT. SPACE. (V. E) 7 secs NEW ANGLE THE CAMERA WHIPS ON FROM THE RIGHT TO A LONG SHOT OF THE MOON WITH A PIECE OF THE EARTH IN THE F. G. CORNER OF FRAME. AFTER A VERY SLIGHT PAUSE TO ESTABLISH WE ZOOM IN ON MOON. CUT TO: 3 INT. MOONBASE CONTROL (STUDIO) 38 secs MATCHING ZOOM SHOT STARTING ON A WIDE ANGLE WE QUICKLY ZOOM IN TO A CLOSE SHOT OF NINA BARRY SEATED AT HER TRACKER CONSOLE. SHE TURNS TO ADDRESS LT. ELLIS O. S. NINA I have a possible sighting, Lieutenant. WIDER ANGLE WE SEE THE OTHER TRACKING PERSONNEL AT THEIR STATIONS. GAY ELLIS SWIVELS ROUND IN HER CHAIR IN THE CENTRAL CONSOLE TO FACE NINA. GAY Bearing ? NINA Coming up now. NINA CONSULTS HER CONTROLS FOR A MOMENT. SID (VO) Confirming UFO 429 117 blue. NINA 429 117 blue. ***PAGE*** -2- 3 (continued) THE RED ALERT SIGN STARTS TO FLASH GAY SWIVELS BACK INTO POSITION AND TALKS INTO MIKE: GAY This is Moonbase Control. Red Alert. I say again - Red Alert. Interceptors immediate launch. CUT TO: 4 INT. LUNAR CRATER. (V.E) 5 secs. THE INTERCEPTORS ARE IN POSITION ON THEIR RAMPS. THEY ROAR INTO LIFE. CUT TO: 5 INT. CRATER. (V.E. ) 4 secs NEW ANGLE THE INTERCEPTORS TAKE OFF IN FORMATION FROM THE CRATER. CUT TO: 6 EXT. LUNAR SURFACE (V.E.) 5 secs THE THREE INTERCEPTORS FLYING IN FORMATION. CUT TO: 7 INT. SHADO CONTROL ROOM. (STUDIO) 50 secs THE PLACE IS FULL OF ACTIVITY STRAKER COMES THROUGH FROM HIS OFFICE AND GOES STRAIGHT OVER TO FOSTER AND FORD. FOSTER Sighting confirmed, Commander. STRAKER Interceptors ? FOSTER On their way. STRAKER What's the trajectory ? FORD Just coming up, sir. ***PAGE*** -3- 7 (continued) STRAKER GOES OVER TO A TABLE PROMINENTLY POSITIONED IN THE ROOM AND STUDIES SOME EARTH CHARTS AND MAPS. HIS EXPRESSION IS GRIM AND RESIGNED. FORD We have the termination, sir. STRAKER DOES NOT LOOK UP FROM HIS PAPERS. STRAKER What is it ? ON FORD FORD Western Europe. ON STRAKER STRAKER Anything more specific ? FORD Flight path indicates grid reference UX104 . . . southern England. VERY CLOSE ON STRAKER. HE LOOKS UP A FEW INCHES FROM HIS PAPERS - AS IF A VAGUE IDEA WERE DAWNING IN HIS MIND. STRAKER (more to himself than to anyone else) Southern England ? FOSTER SID has confirmed. STRAKER's EYES RETURN TO THE CHARTS IN FRONT OF HIM. HIS MOVEMENTS BECOME DELIBERATE. INSERT SHOT: A MAP OF THE SOUTH OF ENGLAND WITH THE FAMILIAR CONTOURS AND MAIN CITIES MARKED, BUT SHOWING IN SHARP RELIEF VARIOUS SECTORS LARGER THAN COUNTIES WITHIN WHICH SPECIAL SITES ARE MARKED, BUT WE DON'T AS YET KNOW THE SIGNIFICANCE OF THESE. CUT TO: ***PAGE*** -4- 10 EXT. SPACE. (V. E) 5 secs THE INTERCEPTORS, STILL IN FORMATION, SWEEP UP AND OVER THE CAMERA. CUT TO 9 INT. MOONBASE CONTROL. (STUDIO) 36 secs NINA TURNS TO GAY NINA All interceptor R-checks confirmed, and on positive track. GAY TALKS TO HER CONSOLE MIKE GAY Control to interceptors. Proceed on positive track. WATERMAN (VO) Roger control. ON NINA SID (VO) UFO speed SOL zero decimal nine. NINA Confirm zero decimal nine. A SHORT PAUSE FOR COMPUTERISATION, THEN SID (VO) Interceptors in range 14 seconds. GAY Stand by for missile firing sequence. CUT TO: 10 INT. SHADO CONTROL ROOM. (STUDIO) 20 secs ON THE OPERATORS. FOSTER TURNS TO STRAKER O. S. FOSTER Interceptors closing in. CLOSE ON STRAKER HE GIVES NO REPLY. YET HE GIVES THE IMPRESSION OF HAVING HEARD BUT OF HAVING SOMETHING MORE IMPORTANT TO OCCUPY HIS THOUGHTS. ***PAGE*** -5- 10 (continued) STRAKER I'll give the command. THE OPERATORS EXCHANGE A GLANCE. CAUTIOUS BUT URGENT. FOSTER LOOKS BACK AT STRAKER. FOSTER Sir? STILL STRAKER STUDIES THE CHARTS IN FRONT OF HIM FIXEDLY. THE CAMERA TIGHTENS SLIGHTLY ON HIM THEN THE VOICE OF SID COMES OVER. SID (VO) Interceptors in range 12 seconds. 11 INT. MOONBASE CONTROL. (STUDIO) 9 secs CUT TO: GAY IS NOW STANDING ALONGSIDE NINA'S CONSOLE. SID (VO) Interceptors in range 10 seconds. THE COUNTDOWN FROM SID CONTINUES IN THE B/G THROUGH THE FOLLOWING ACTION. SID (VO) 9 ... 8 ... 7 ... GAY TURNS TO NINA WITH AN AMAZED EXPRESSION. CUT TO: 12 INT. SHADO CONTROL. (STUDIO) 10 secs THE VOICE OF SID CONTINUES IN THE B/G. SID (VO) 6 ... 5 ... (etc. ) FOSTER AND FORD EXCHANGE A QUICK GLANCE. THEN FOSTER TURNS TO STRAKER. FOSTER Interceptors coming into range. IN ANOTHER PART OF THE CONTROL ROOM A MALE AND FEMALE OPERATOR EXCHANGE A BEWILDERED LOOK. CLOSE ON STRAKER ***PAGE*** -6- 12 (continued) HE IS COMPLETELY WRAPPED UP IN THE CHARTS BEFORE HIM. CLOSE ON FOSTER HIS MANNER IS RESPECTFUL BUT URGENT. FOSTER Do we intercept, sir ? THE WHOLE ROOM IS WATCHING AND WAITING FOR STRAKER'S REPLY. CUT TO: 13 EXT. SPACE. (V. E) 3 secs THE THREE INTERCEPTORS FLY AT TREMENDOUS SPEED THROUGH SPACE. CUT TO: 14 INT. SHADO CONTROL. (STUDIO) 7 secs SID'S COUNTDOWN FINISHES. SID (VO) 1... Interceptors in range. NOW STRAKER COMES TO LIFE. BUT IT IS NOT LIKE A MAN WAKENING FROM A DREAM. HE SPEAKS AS IF HE HAD FINALLY MADE A DECISION AND WAS DETERMINED TO CARRY IT THROUGH DESPITE THE OPPOSITION IT WILL PROVOKE. STRAKER No! Interception negative. THE PERSONNEL IN THE ROOM LOOK AT HIM IN DIS- BELIEF. ON FOSTER FOSTER (with the slightest trace of a question in his tone) Interception negative. ON STRAKER HE TURNS TO FOSTER. STRAKER That's what I said. CUT TO: ***PAGE*** -7- 15 INT. MOONBASE CONTROL. (STUDIO) 9 secs WHEN FOSTER'S INSTRUCTIONS COME THROUGH, GAY CAN HARDLY BELIEVE HER EARS. FOSTER (VO) Interception negative. Repeat. Interception negative. Interceptors to return to Moonbase. CUT TO: 16 INT. SPACE. (V. E. ) 7 secs THE THREE INTERCEPTORS BREAK FORMATION AND PEEL OFF, ONE BY ONE, TAKING A NEW COURSE. CUT TO: 17 EXT. SPACE. (V. E) 8 secs NEW ANGLE THE THIRD INTERCEPTOR JOINS UP WITH THE OTHER TWO AS THEY REGAIN FORMATION ON THEIR WAY BACK TO MOONBASE. CUT TO: 18 INT. MOONBASE CONTROL. (STUDIO) 10 secs GAY AND NINA AS BEFORE. GAY Straker's let it through. SID (VO) UFO passing outer defences. GAY We can't stop it now ! CUT TO: 19 INT. SHADO CONTROL. (STUDIO) 16 secs ON FOSTER AND FORD SID (VO) UFO entering Earth's atmosphere. FORD TURNS TO FOSTER : THEY EXCHANGE A GLANCE. ANOTHER ANGLE ***PAGE*** -8- 19 (continued) FOSTER TURNS TO STRAKER. FOSTER Touchdown in 4.6 minutes. ON STRAKER. HE NODS, BUT DOES NOT TAKE HIS EYES OFF THE MAPS IN FRONT OF HIM. CUT TO: 20 EXT. SPACE. (V.E.) 6 secs WE FEATURE THE EARTH IN B.G. - IN F.G. THE U.F.O. IS APPROACHING THE PLANET. THE MUSIC STINGS. UFO TITLE CUT TO: MAIN TITLES 21 COVERING SHOTS 60 secs 1. ON FOSTER, NOT UNDERSTANDING STRAKER. 2. STRAKER INTENT ON HIS CHARTS. 3. U. F. O. HEADING FOR EARTH. 4. IN MOONBASE CONTROL, EVERYONE WAITS HELPLESS. 5. THE INTERCEPTORS STILL AND SILENT READY FOR TAKE-OFF. 6. AN INTERCEPTOR PILOT AT THE CONTROLS, WAITING FOR THE ORDER THAT WILL NOT COME. CUT TO: 21A EXT. OFFICE BLOCK. (DAY) STOCK. 5 secs TO ESTABLISH AN IMPOSING OFFICE BLOCK. CUT TO: 21B INT. OFFICE. DAY. (STUDIO) 120 secs NEWTON, DESCRIBED LATER, SITS IN HIS OFFICE. HIS SECRETARY, MISS CADWELL, SITS ON A CHAIR IN FRONT OF THE DESK TAKING NOTES. ***PAGE*** -8A- 21B (continued) NEWTON I feel sure you will agree with the enclosed figures, but if you do have any queries please do not hesitate to contact me. ON NEWTON THINKING NEWTON New paragraph . . . HE LOWERS HIS EYES TO POV SHOT MISS CADWELL'S LEGS. TWO SHOT: THE SECRETARY LOOKS UP. NEWTON TAKES UP THE DICTATION AGAIN. NEWTON The board meets next Friday so you will appreciate the urgency of this matter. Yours etc. etc. SHE FINISHES THE DICTATION. MISS CADWELL Is... there anything else ... ? NEWTON No, that's all for today. ON MISS CADWELL SHE STANDS UP, WALKS TO THE SOFA AND SITS, TAKES A CIGARETTE FROM A BOX AND LIGHTS IT. ON NEWTON HE GLANCES AT HER AS HE CHECKS A FEW PAPERS ON HIS DESK. THERE IS OBVIOUSLY MORE THAN JUST A BOSS/SECRETARY RELATIONSHIP BETWEEN THEM. ON MISS CADWELL SHE CROSSES HER LEGS CAREFUL TO SHOW THEM TO THE BEST ADVANTAGE. ***PAGE*** -8B- 21B (continued) TWO SHOT NEWTON APPEARS A LITTLE ILL AT EASE. NEWTON Why don't you type that up first thing in the morning. MISS CADWELL Trying to get rid of me. . . MISS CADWELL THROWS AWAY THE REMARK, BUT IN FACT IT IS EXACTLY WHAT NEWTON IS TRYING TO DO. ON MISS CADWELL MISS CADWELL Get me a drink, Jack. TWO SHOT NEWTON DOES NOT ANSWER. MISS CADWELL Darling ? NEWTON Look .... Not tonight... I have to leave. An export conference up North. MISS CADWELL Export conference ? NEWTON Yes. I thought I mentioned it. I'm driving up there this evening. MISS CADWELL With Elizabeth ? NEWTON (hard) As a matter of fact without. Not that it should worry you, she's still my wife, remember. ON MISS CADWELL SHE IS HURT. MISS CADWELL Yes.... Mr. Newton. ***PAGE*** -8C- 21B (continued) TWO SHOT NEWTON SOFTENS, WALKS OVER TO MISS CADWELL AND TAKES HER SHOULDERS. NEWTON Come on now. Why don't you go home and have a nice relaxed evening. MISS CADWELL NODS. NEWTON I tell you what. Go out tomorrow and buy yourself a couple of dresses or something. Charge it to my account. ON MISS CADWELL FEELING VERY MUCH THE KEPT WOMAN. MISS CADWELL Jack . . . TWO SHOT NEWTON LOOKS UP AT HER. NEWTON Hmm ? SHE SEES HE IS TOO INSENSITIVE TO REALISE THE WAY SHE FEELS. MISS CADWELL It's nothing . . . Goodnight. NEWTON Goodnight, my dear. HE WATCHES MISS CADWELL WALK OUT OF THE OFFICE, THEN MOVES BEHIND THE DESK AND FLICKS THE INTERCOM. NEWTON (into intercom) Have my car brought round right away. CUT TO: 21C EXT. ROAD. EVENING. (LOCATION) 6 secs A CAR UP AND PAST CUT TO: ***PAGE*** -8D- 21D INT. CAR. EVENING. (STUDIO) 7 secs AT THE WHEEL LIX NEWTON, JACK NEWTON'S WIFE, LATE TWENTIES DARK AND SENSUOUS. SHE GIVES THE IMPRESSION OF A WOMAN WHO HAS BEEN AROUND BUT AT THE SAME TIME IS HARD TO GET. HER CLOTHES AND THE CAR SUGGEST MONEY. CUT TO: 21E EXT. GAS STATION. EVENING. (LOCATION) 8 secs THE CAR PULLS INTO A GAS STATION. AN ATTENDANT WALKS OVER TO THE CAR. CUT TO: 21F INT. CAR. EVENING. (STUDIO) 5 secs THE ATTENDANT LEANS IN AT THE WINDOW WITH INTEREST AS HE SEES LIZ: LIZ Fill her up, please. CUT TO: 21G EXT. GAS STATION. EVENING. (LOCATION) 14 secs THE ATTENDANT BEGINS TO FILL THE CAR, AS THE GALLONS CLICK UP, HE BEGINS TO WIPE THE WINDSCREEN. CUT TO: 21H INT. CAR. EVENING (STUDIO) 13 secs LIZ USES THE INSIDE MIRROR TO CHECK HER MAKE-UP. THE ATTENDANT WATCHES HER AS HE TAKES HIS TIME ON THE WIND SCREEN. THEIR EYES MEET, LIZ IS USED TO THE STARES OF MEN AND STARES BACK IMPASSIVE, THE ATTENDANT LOOKS AWAY. DURING THIS SEQUENCE WE ESTABLISH THE CAR IS APPARENTLY EMPTY EXCEPT FOR LIZ. CUT TO: ***PAGE*** -8E- 21 EXT. GAS STATION. EVENING. (LOCATION) 12 secs THE CAR IS FULL. THE ATTENDANT REPLACES THE FILLER CAP ETC., AND TAKES THE MONEY. CUT TO: 22 INT. CAR. EVENING (STUDIO) 8 secs LIZ RESETS THE MIRROR AND STARTS THE CAR. CUT TO: 23 EXT. GAS STATION EVENING (LOCATION) 7 secs THE CAR PULLS AWAY. ***PAGE*** -9- 24 EXT. ROAD. EVENING. (LOCATION) 5 secs THE CAR UP AND PAST CUT TO: 25 INT. CAR. EVENING. (STUDIO) 19 secs LIZ DRIVES: PAN DOWN TO HER LEGS, THE SKIRT RIDING HIGH ABOVE THE KNEES. A MAN'S HAND COMES INTO SHOT AND HOLDS THE LEG, A STRONG MASCULINE HAND. LIZ DOES NOT REACT, BUT RUNS HER FINGERS ACROSS THE BACK OF THE HAND. ANOTHER ANGLE CASS FOWLER SITS UP FROM THE BACK WHERE HE HAS BEEN HIDING UNDER A CAR RUG. A STRONGLY-BUILT MAN IN HIS LATE TWENTIES WITH GREAT VIRILE MAGNETISM. BUT UNDER HIS LOOKS AND DOMINANT MANNER THERE LURK CHILDISHNESS, BASIC INSECURITY AND AN AMBITIOUSNESS THAT COULD BE DANGEROUS. CUT TO: 26 EXT. CAR. EVENING. (LOCATION) 5 secs MOVING FAST ALONG THE ROAD. CUT TO: 27 INT. CAR. EVENING. (STUDIO) 25 secs CASS HAS CLIMBED OVER INTO THE FRONT SEAT. HE LIGHTS A COUPLE OF CIGARETTES AND GIVES ONE TO LIZ. LIZ IS A LITTLE NERVOUS, SHE SNATCHES A GLANCE AT CASS BUT TURNS QUICKLY BACK TO THE ROAD. LIZ It's not far now. CASS STRETCHES OVER AND BEGINS TO STROKE THE BACK OF HER NECK. LIZ CLOSES HER EYES FOR A MOMENT. CASS GIVES THE FAINTEST OF SMILES, CONFIDENT IN THE REACTION HIS TOUCH ALWAYS HAS. CUT TO: ***PAGE*** -10C 28 EXT. COUNTRY ROAD. EVENING. (LOCATION) 12 secs THE CAMERA IS IN TREES, LOOKING TOWARDS THE ROAD. THE CAR COMES UP AND PAST, CAMERA PANNING IT. IT SLOWS DOWN AS THE ROAD FORKS: THERE IS A ROAD SIGN INSIDE THE FORK. CLOSE ON SIGN A FUTURISTIC VERSION OF THE TYPICAL BRITISH ROADWAY SIGN. THE ROAD TO THE RIGHT INDICATES "CLARE CROSS" AND THE OTHER INDICATES "LINGBURY" CUT TO: 29 INT. CAR. EVENING. (STUDIO) 4 secs ON CASS AND LIZ. LIZ MOVES THE WHEEL. CUT TO : 30 EXT. COUNTRY ROAD. EVENING. (LOCATION) 10 secs THE CAR GAINS SPEED AGAIN AS IT TAKES THE ROAD TO LINGBURY. THE TERRAIN IS GETTING MORE THICKLY WOODED. THE CAR DISAPPEARS AMONGST THE TREES. CUT TO: 31 EXT. FOREST. EVENING (V.E) 10 secs NOTE: IT IS ESSENTIAL THAT THE TYPE OF FOREST SHOULD BE THE SAME IN BOTH LOCATION AND VISUAL EFFECTS MATERIAL. WE MUST FEEL WE ARE STILL IN THE SAME PART OF THE COUNTRYSIDE. THE CAMERA OVERLOOKS A STRETCH OF FOREST LAND EXTENDING APPARENTLY TO THE HORIZON. THE UFO ENTERS FROM THE RIGHT OF FRAME AND THE CAMERA PANS SLIGHTLY WITH IT. WE NOW SEE A CLEARING IN THE MIDDLE OF THE WOODS WHERE THE TREES HAVE BEEN CLEARED AWAY. CUT TO: 32 EXT. CLEARING. (EVENING) (V.E.) 9 secs THE UFO COMES DOWN TO LAND IN THE CENTRE OF THE CLEARING. - CUT TO: ***PAGE*** -11- 33 INT. SHADO CONTROL. (STUDIO) 48 secs FORD STUDIES HIS RADAR AND REPORTS TO STRAKER FORD UFO signal now negative, sir. Presumably landed. ON STRAKER HE LOOKS UP FROM THE CHARTS STRAKER Map reference ? ON FORD FORD Reference 119120 approximately. STRAKER CONSULTS HIS CHART. EYELINE SHOT WE FEATURE THE MAP OF THE SOUTH OF ENGLAND, BUT WE ARE NOW TOO CLOSE TO DISTINGUISH KNOWN PLACES. PROMINENT HOWEVER ARE CLARE CROSS AND LINGBURY. THE AREA IS MARKED AS VERY WOODED. STRAKER 119120. That's somewhere here. HIS FINGER COMES DOWN BETWEEN THE TWO PLACE NAMES. STRAKER LOOKS UP AGAIN STRAKER I want the whole area cordoned off, and alert mobiles 1, 2 and 3. ON FORD HE TOUCHES A BUTTON ON HIS CONTROL. TWO SHOT STRAKER AND FOSTER STRAKER Paul . . . FOSTER Yes, sir ? ***PAGE*** -12- 33 (continued) ON STRAKER STRAKER You'd better get out there with them. ON FOSTER FOSTER Right. HE TURNS TO LEAVE. CUT TO: 34 EXT. MOBILE INSTALLATION.EVENING. (V.E) 12 secs A SIGN SAYS "HARPER'S UNIVERSAL DEPOSITORY". BELOW AND BEYOND ARE BUILDINGS SURROUNDED BY A HIGH WIRE FENCE. THE GATES ARE OPENED AND THROUGH THEM COME - ONE AFTER THE OTHER - THREE FURNITURE REMOVAL VANS. CUT TO: 35 EXT. ROADWAY. EVENING. (V.E.) 8 secs THE VANS COME OUT ON TO THE ROADWAY. THEY MOVE OFF DOWN THE COUNTRY ROAD. OTHER TRAFFIC IN EVIDENCE. CUT TO: 36 EXT. COUNTRY ROAD. EVENING. (V.E.) 10 secs ANOTHER PART OF THE COUNTRYSIDE; THERE IS NO OTHER TRAFFIC NOW VISIBLE. THE THREE VANS STRIKE OFF THE ROAD AND TAKE A TRACK THROUGH THICK WOODS. CUT TO: 37 EXT. FOREST. EVENING. (V.E.) 22 secs THE VANS COME TO A HALT INSIDE THE FOREST. NEW ANGLE THE BACK OF THE FIRST VAN DROPS DOWN TO REVEAL SHADO MOBILE BLUE ONE INSIDE. THE MOBILE COMES TO LIFE AND MOVES DOWN THE RAMP ON TO THE GROUND. AT ONCE IT HEADS OFF INTO THE FOREST. NEW ANGLE ***PAGE*** -13- 37 (continued) THE SECOND AND THIRD VANS ARE REVEALING MOBILES BLUE TWO AND THREE. CUT TO: 38 EXT. FOREST. EVENING. (V.E) 8 secs PANNING SHOT WE FOLLOW MOBILE BLUE ONE THROUGH THE DENSELY GROWING TREES. CUT TO : 39 INT. SHADO CONTROL. (STUDIO) 6 secs STRAKER ADDRESSES THE MOBILE OPERATORS BY HAND MIKE. STRAKER Commander Straker to all mobile operatives .... CUT TO: 40 INT. MOBILE ONE. EVENING. (STUDIO) 23 secs THE CAB IS SLIGHTLY AGITATED TO SUGGEST A HEAVY VEHICLE MOVING OVER ROUGH LANDSCAPE. FOSTER IS AT THE CONTROLS. STRAKER (VO) You are to locate UFO designated 904 F1 - termination area approx- imately 119120. Paul. FOSTER Sir. STRAKER (VO) I'd like you to cover Blue Area X7. FOSTER O.K. HE MOVES HIS WHEEL AS IF TO PROCEED AS DIRECTED. CUT TO: 41 EXT. MOBILE BLUE ONE. EVENING. (V.E) 6 secs THE MACHINE TURNS OFF THE ROAD AND ENTERS THE FOREST AREA AT THE SIDE. CUT TO: ***PAGE*** -14- 42 INT. SHADO CONTROL. (STUDIO) 30 secs RESUME STRAKER WITH THE MIKE. ALEC FREEMAN ENTERS IN THE B/G AND STANDS A FEW PACES FROM STRAKER STRAKER Mobiles Two and Three will cover Blue Area X8 and 9 respectively. MOBILE OPERATOR 2 (VO) Yes, sir. MOBILE OPERATOR 3 (VO) Yes, sir. STRAKER All radio contact to be through control operator Ford. STRAKER TURNS AND SEES FREEMAN. FREEMAN So you let it through ? STRAKER That's right. FREEMAN Why don't we do it properly ? STRAKER What do you mean ? FREEMAN Ask the Aliens round for drinks. STRAKER MOVES OFF TOWARDS HIS OFFICE, FREEMAN FOLLOWS. CUT TO: 43 INT.STRAKER'S UNDERGROUND OFFICE.(STUDIO) 75 secs FREEMAN AND STRAKER COME IN. STRAKER Alright, Alec. I admit it's . . . unconventional. A calculated risk. ***PAGE*** -15- 43 (continued) FREEMAN Unconventional ? Suicidal would be a better description. STRAKER PICKS UP A SERIES OF PHOTOGRAPHS FROM HIS DESK AND HOLDS THEM OUT TO FREEMAN. STRAKER What do you see in here, Alec ? FREEMAN KNOWS WHAT THEY ARE WITHOUT HAVING TO LOOK AT THEM. FREEMAN They're the UFO wreckage plates. STRAKER (bitingly) Wreckage. Exactly. STRAKER DROPS THEM BACK ON HIS DESK. STRAKER Ruins . . . hulks . . . all defunct. Definition: dead ... destroyed. Usefulness: zero. STRAKER SITS AT HIS DESK. GO IN CLOSER ON HIM. STRAKER We're fighting a series of losing battles here. Why ? Because we don't really know who or what we're fighting. THE CAMERA TIGHTENS A LITTLE MORE ON HIM. THE POOL OF LIGHT FROM THE DESK LAMP GIVES HIM A DRAMATIC AURA. STRAKER I've waited months for a chance like this. A UFO ... right on our doorstep. That's why I've let this one through. And those mobiles are on their way to take it - before any deterioration sets in. CLOSE ON FREEMAN HE IS STILL NOT LETTING GO. FREEMAN Meanwhile there's a potential killer or killers at large. ***PAGE*** -16- 43 (continued) CLOSE ON STRAKER. HE SIGHS. FREEMAN HAS HIT THE SOREST POINT. STRAKER (gravely) I know. It's a risk. But the area has a low population density. It's mostly virgin forest. The danger factor must be very slight. CUT TO: 44 EXT. FOREST. EVENING. (LOCATION) 20 secs CAMERA STARTS CLOSE ON AN ALSATIAN DOG MOVING THROUGH THE FOREST ON A LEAD. WE OPEN THE SHOT TO DISCLOSE THE MAN HANDLING THE DOG. THIS IS MITCHELL, A TOUGH LOOKING MAN IN THE UNIFORM OF A GAME RESERVE WARDEN. HIS UNIFORM IS SEVERELY MILITARY, WITH TRUNCHEON, BOOTS, BREECHES, ETC. AS HE MOVES FORWARD HIS EXPRESSION IS BECOMING MORE AND MORE SUSPICIOUS AND HIS MOVEMENTS MORE AND MORE CAUTIOUS. IT'S AS IF HE WERE TRAILING AN INTRUDER. IN FACT HE IS INVESTIGATING THE NOISE HE HAS HEARD IN THE REGION OF HIS PATROL. FINALLY HE SLOWS DOWN TO A STOP. ON MITCHELL HE MOVES BACK THE FINAL BRANCHES SEPARATING HIM FROM THE CLEARING. CUT TO: 45 EXT. FOREST. EVENING. (V.E) 5 secs EYELINE SHOT WE FEATURE THE UFO STATIONARY IN THE CLEARING. ALL IS SILENT. CUT TO: 46 EXT. FOREST. EVENING. (STUDIO) 35 secs MITCHELL RECOILS SLIGHTLY AT SEEING THE UFO IN THE CLEARING. HE IS NOT EXACTLY SURE WHAT TO DO, AND HE SENSES DANGER. ***PAGE*** -17- 46 (continued) THEN THERE IS A WHIMPERING NOISE FROM ROUND HIS LEGS. HE LOOKS DOWN. CLOSE ON DOG IT HAS SEEN THE UFO AND IS FRIGHTENED. ITS EARS LIE BACK AND ITS EYES ROLL, SHOWING THE WHITES VIVIDLY. ON MITCHELL HE REALISES THAT THE NOISE FROM THE DOG COULD ATTRACT UNWANTED ATTENTION. MITCHELL (in a commanding whisper) Quiet ! ON THE DOG ITS FEAR INCREASES. THE WHIMPERING CHANGES TO YELPING AND HE STARTS TO BACK AWAY FROM THE UFO AND FROM MITCHELL. IT STRAINS ON ITS LEAD. ON MITCHELL HIS OWN CONCERN INCREASES AT THIS. HE GLANCES FROM THE DOG TO THE UFO AND BACK TO THE DOG. THE MORE HE HISSES AT THE DOG THE MORE FRIGHTENED THE ANIMAL GETS. MITCHELL (viciously) Shut up ! Shut up, will you ! ON DOG IT BACKS AWAY FROM MITCHELL EVEN MORE VIGOR- OUSLY. ON MITCHELL HE LOOKS BACK TO - CUT TO: 47 EXT. FOREST. EVENING. (V.E) 3 secs EYELINE OF THE UFO. CUT TO: ***PAGE*** -18- 48 EXT. FOREST. EVENING. (STUDIO) 12 secs RESUME THE DOG IT IS NOW TERRIFIED OUT OF ITS WITS. ITS YELPING ECHOES THROUGH THE WOODS. IT STRAINS POWERFULLY ON THE LEAD. MITCHELL IS A STRONG MAN, BUT HE CAN SCARCELY RESTRAIN THE ANIMAL. MITCHELL Quiet. ON THE DOG IT NOW FINALLY SLIPS ITS COLLAR AND BREAKS AWAY INTO THE UNDERGROWTH. MITCHELL PLUNGES AFTER IT. MITCHELL Come back here. CUT TO: 49 EXT. FOREST. EVENING. (STUDIO) 65 secs ANOTHER PART OF THE FOREST. CAMERA PANS WITH MITCHELL WHO ENTERS FRAME, SEEKING THE DOG. HE KNOWS IT HASN'T GONE FAR. HE USES HIS TRUNCHEON TO HOLD ASIDE FOLIAGE AND BUSHES. MITCHELL Here ! Come here ! FINALLY HE SEES HIM OFF SCREEN. ON THE DOG IT IS CRINGING UNDER SOME LOW BRANCHES, WHINING. ON MITCHELL MITCHELL MOVES TOWARD THE DOG. ANOTHER ANGLE MITCHELL TRYING TO PUT THE COLLAR BACK ON THE DOG. ON MITCHELL CLOSE ON MITCHELL CONCENTRATING ON THE LEAD. SUDDENLY FROM THE SIDE COMES A BIG ARM WHICH PLANTS A MIGHTY ELBOW GRIP ROUND MITCHELL'S ***PAGE*** -19- 49 (continued) THROAT, PRACTICALLY STRANGLING HIM. AT ONCE MITCHELL DROPS THE LEAD AND TRIES TO GET THE ARM AWAY FROM HIM. ON THE DOG CAUGHT IN TWO MINDS. IT STARTS GROWLING NOW, SEEING HIS MASTER ATTACKED. ANOTHER ANGLE THE ATTACKER IS AN ALIEN FROM THE UFO, WEARING THE HELMET AND THE SPACE SUIT. THROUGH THE HELMET WE CAN SEE THE GREEN PIGMENTED FACE. OVER HIS SHOULDER HE HAS A WEAPON LIKE A LIGHT MACHINE GUN. HOLDING MITCHELL IN A VICE-LIKE GRIP WITH ONE HAND, THE ALIEN IS WITH THE OTHER TAKING OUT OF A POUCH A SMALL INSTRUMENT - ONE SURFACE OF WHICH IS A SOLID BED OF SMALL NEEDLES. HE TRIES ALL THROUGH THE STRUGGLE TO STICK THIS ON MITCHELL'S ARM. ON THE DOG IT LEAPS NOW TO DEFEND MITCHELL. IT TEARS AT THE LEG AND THEN THE ARM OF THE ALIEN. ANOTHER ANGLE MITCHELL - THANKS TO THE DOG'S INTERVENTION - ESCAPES FROM THE ALIEN AND HEADS FOR THE UNDER- GROWTH. ON THE DOG AND THE ALIEN THE ALIEN IS PULLED TO THE GROUND AND IN THE FALL HIS HELMET IS SHATTERED. THE LIQUID FROM INSIDE THE HELMET SPILLS OUT. THE ALIEN IS MADE ALMOST UNCONSCIOUS BY THE SHOCK OF BREATHING AIR. MEANWHILE THE DOG SAVAGES HIS LEG, STILL TEARING THE SPACE SUIT. CUT TO: 50 EXT. FOREST. EVENING. (STUDIO) 8 secs MITCHELL STUMBLES ON THROUGH THE TREES, BUT HIS SPEED IS HELD UP BY THE THICKNESS OF THE FOLIAGE. HE TAKES A LOOK BACK AT THE ALIEN. CUT TO: ***PAGE*** -20- 51 EXT. FOREST. EVENING. (STUDIO) 10 secs THE ALIEN IS GASPING FOR BREATH. BUT HE MANAGES TO UNSLING THE GUN FROM HIS SHOULDERS AND BRING IT DOWN ON THE DOG'S HEAD. THE ANIMAL YELPS AND RUNS. THE ALIEN STAGGERS TO HIS FEET AND MOVES OUT IN THE DIRECTION THAT MITCHELL HAD GONE. CUT TO: 52 EXT. FOREST. EVENING. (STUDIO) 15 secs ANOTHER PART OF THE FOREST. BUT STILL NEAR TO THE PREVIOUS. THE ALIEN ENTERS SHOT AND SHAKILY RAISES HIS GUN TO AIM AT MITCHELL, BUT HIS HEAVY BREATHING MAKES HIM MISS. MITCHELL REACTS TO THE SHOT AND STAGGERS IN A NEW DIRECTION. AGAIN THE ALIEN FIRES - AGAIN AND AGAIN - HIS ANGLE OF FIRE MOVING WITH THE POSITION OF MITCHELL. CUT TO: 53 EXT. FOREST. EVENING. (V.E.) 5 secs A COUPLE OF SHOTS HIT THE UFO AND THERE IS A SMALL EXPLOSION ON THE MACHINE. CUT TO: 54 EXT. FOREST. EVENING. (STUDIO) 9 secs THE ALIEN OBSERVES THIS BUT CONTINUES FIRING. ON MITCHELL. HE IS HIT. HE GASPS AND FALLS TO THE GROUND. CUT TO: 55 EXT. FOREST. EVENING. (V.E) 5 secs THE UFO IS STARTING TO SMOULDER OMINOUSLY. CUT TO: 56 EXT. FOREST. EVENING. (STUDIO) 14 secs THE ALIEN COMES TO STAND OVER MITCHELL. HE SEES THAT MITCHELL IS DEAD. THE ALIEN LOOKS OUT TOWARDS THE CLEARING WHERE THE UFO IS. THEN HE BENDS DOWN AND STARTS TO DRAG MITCHELL'S BODY BY THE LEGS TOWARDS THE CLEARING. CUT TO: ***PAGE*** -21- 57 EXT. FOREST ROADWAY. EVENING. (LOCATION) 17 secs THE CAR COMES TO A HALT BY THE SIDE OF THE ROAD NEAR A GATE LEADING THROUGH TREES. CASS AND LIZ GET OUT. LIZ OPENS THE GATE AND GOES THROUGH. THE GATE SQUEAKS. CASS GETS OUT A SMALL HOLDALL FROM THE BOOT AND THEN FOLLOWS HER, CLOSING THE GATE BEHIND HIM AGAIN. CUT TO: 58 EXT. COTTAGE. EVENING. (LOCATION) 12 secs WE FEATURE A PICTURESQUE OLD PLACE ON ONE STOREY WITH AN EXTENSIVE GARDEN IN FRONT. IT LOOKS EXACTLY WHAT IT IS - A BUSINESSMAN'S COUNTRY RETREAT. TREES ALL ROUND. WE PAN CASS AND LIZ UP THE PATH TO THE DOOR. LIZ PRODUCES A KEY AND THEY ENTER. CUT TO: 59 INT. COTTAGE. EVENING. (STUDIO) 90 secs THE FRONT DOOR LEADS STRAIGHT INTO THE MAIN ROOM OF THE HOUSE - A LARGE LIVING ROOM WITH DOORS FOR THE BEDROOM, THE BATHROOM, THE KITCHEN AND A LARGE CUPBOARD IN ONE CORNER. IN ANOTHER CORNER THERE IS A SMALL BAR WITH TWO HIGH STOOLS AND BOTTLES AND DECANTERS ON IT. ALTHOUGH THE OUTSIDE IS TRADITIONAL, THE INTERIOR OF THE HOUSE IS VERY MODERNISTIC - YET THE FEELING IS INTIMATE. LIZ WALKS FORWARD TO THE CENTRE OF THE ROOM AND PUTS HER HANDBAG DOWN ON THE COUCH. CASS STANDS AT THE DOORWAY AFTER CLOSING IT, TAKING IN THE SCENE. HE SEEMS PARTICULARLY INTERESTED IN THE GEOGRAPHY OF THE ROOM. ON CASS NOW HE WALKS FORWARD TO JOIN LIZ. HE PUTS DOWN THE HOLDALL. ON HOLDALL CASS TAKES A SET OF POLAROID PHOTOGRAPHS FROM THE HOLDALL. THEY ARE SHOTS OF THE INSIDE OF THE COTTAGE. RESUME SCENE: CASS CHECKS THE INSIDE OF THE ROOM AGAINST THE PHOTOS. HE LOOKS AT THE FRONT DOOR AS IF CHECKING AN ANGLE, MOVES BACK A PACE OR TWO AND FINDS A ***PAGE*** -22- 59 (continued) CHAIR IN THE WAY. WITH A GLANCE TO LIZ HE MOVES THE CHAIR OUT OF THE WAY - THEN SEEMS SATISFIED. ON LIZ SHE WALKS OVER TO THE DRINKS AND POURS HERSELF A VODKA. ON CASS HE GIVES A LOOK TOWARDS LIZ, HE DISAPPROVES, BUT SAYS NOTHING. HE MOVES OVER AND PICKS UP A FRAMED PHOTOGRAPH. ON PHOTO WE SEE LIZ AND A MUCH OLDER MAN, NEWTON, SEATED AT A DINNER TABLE IN EVENING DRESS. THEIR HANDS ARE TOUCHING. WE RECOGNISE NEWTON FROM THE EARLIER SCENE. RESUME SCENE: CASS You make a great couple, very cosy. LIZ MOVES QUICKLY TO HIM, TAKES THE PHOTO AND BANGS IT FACE DOWN. AS SHE GOES TO MOVE AWAY, CASS GRABS HER . CLOSE SHOT CASS KISSES HER HAND. AT FIRST SHE RESISTS, BUT SOON SHE RESPONDS PASSIONATELY, HUNGRY FOR HIM. CASS BREAKS THE CLINCH - HE HAS EXERTED HIS POWER OVER HER. WIDER ANGLE LIZ Cass... CASS Go and get it.... LIZ NEARLY PROTESTS, BUT WALKS OVER INTO THE BEDROOM AND GOES IN. ON CASS ***PAGE*** -23- 59 (continued) WIDER ANGLE LIZ HAS COME OUT OF THE BEDROOM. CASS WALKS OVER TO HER, HOLDING OUT HIS HAND. CLOSER SHOT LIZ GIVES HIM A FUTURISTIC GUN. ON CASS HE WEIGHS THE GUN IN HIS HAND. ZOOM IN ON IT. FADE OUT: END OF ACT ONE ----COMMERCIAL BREAK---- FADE IN: _ACT TWO_ 60 EXT. FOREST. NIGHT. (V.E. ) 8 secs SHADO MOBILE ONE IS MAKING ITS WAY THROUGH THE FOREST. ITS SPOTLIGHT IS NOW LIGHTED AND SHINES INTO THE NIGHT. THE CAMERA PANS WITH IT ON TO A FOREST ROAD. HERE IT HALTS. CUT TO: 61 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 7 secs FOSTER TAKES A HAND FROM THE CONTROLS AND TALKS INTO A MICROPHONE UNIT. FOSTER Mobile One to Shado Control . . . CUT TO: 62 INT. SHADO CONTROL. (STUDIO) 5 secs. WE FEATURE FORD AND AISHA FOSTER (VO) One to Control. FORD (into mike) Go ahead, Mobile One. CUT TO: ***PAGE*** -24- 63 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 8 secs FOSTER I have covered search areas Blue X7P, Q and R. UFO negative. CUT TO: 64 INT. SHADO CONTROL. (STUDIO) 40 secs ON FORD FORD Roger, Mobile One. Proceed to link with Mobile Three at location 118 109. THE SHOT WIDENS FORD GOES OVER TO AN ILLUMINATED CHART ON THE WALL DISPLAYING AREA BLUE. SOME OF IT HAS NOW BEEN BLACKED OUT INDICATING THAT THE SEARCH THERE HAS BEEN COMPLETED. AISHA NOW SELECTS A BUTTON ON A PANEL BENEATH THE CHART AND THE THREE SECTIONS JUST MENTIONED ARE BLACKED OUT. THE SEARCH OPERATION IS NOW JUST OVER HALF COM- PLETED. STRAKER AND FREEMAN COME IN TO SEE THE PROGRESS CHART. FORD Shado Mobiles 2 and 3 are due to report any moment now, sir. Areas X8 and 9 are practically covered. FREEMAN How about Mobile One ? FORD His progress is slower. He has the densest area. STRAKER GAZES AT THE CHART. STRAKER Every inch of that forest has to be searched. Somewhere in there there's a UFO and we're going to find it - intact. CUT TO: ***PAGE***-25- 65 EXT.FOREST. NIGHT. (V.E.) 5 secs WE FEATURE THE UFO IN THE CLEARING. IT IS SMOKING HEAVILY. ON THE CUT THERE IS A FLASH AND A DEEP EXPLOSION AS PART OF THE MACHINE BLOWS UP. CUT TO: 66 EXT. FOREST. NIGHT. (STUDIO) 4 secs THE ALIEN STANDS LOOKING THROUGH TREES. THE FLASHES PLAY OVER HIS FACE IN A MACABRE FASHION. CUT TO: 67 EXT. FOREST. NIGHT. (V.E) 8 secs THE EXPLOSIONS CONTINUE, SHATTERING THE UFO. FINALLY THERE IS ONE TERRIFIC FLASH. NEW ANGLE WHEN THE SMOKE CLEARS WE SEE THAT THE UFO IS A WRECK. CUT TO: 68 EXT. FOREST. NIGHT. (STUDIO) 6 secs THE ALIEN NOW TURNS AWAY INTO THE FOREST. CUT TO: 69 EXT. FOREST. NIGHT. (STUDIO) 14 secs DEEPER IN THE FOREST. THE ALIEN MAKES HIS WAY THROUGH THE THICK UNDERGROWTH. AT ONE POINT A BRANCH SWINGS BACK AT HIM, HITTING HIM IN THE ARM WHERE THE DOG HAD BITTEN. HE CRIES OUT IN PAIN AND CLUTCHES THE SPOT. CLOSE ON HIS FEET. WE SEE THAT HE IS DRAGGING ONE LEG, CAUSING HIM TO LIMP BADLY. CUT TO: 70 INT. COTTAGE. BATHROOM. NIGHT. (STUDIO) 15 secs CASS IS HAVING A SHOWER. AS THE WARM WATER CASCADES OVER HIS BODY, HE SOAPS HIMSELF SENSUOUSLY. HE RAISES HIS HEAD TO TAKE IN A MOUTHFUL OF WATER, THEN SPITS IT OUT. ***PAGE*** -26- 70 (continued) WHEN HE HAS FINALLY RUBBED AWAY ALL THE SOAP FROM HIS BODY HE SHAKES HIMSELF LIKE AN ANIMAL AND STEPS OUT OF THE SHOWER. HE REACHES FOR THE TOWEL ON THE RAIL. CUT TO: 71 INT. COTTAGE. KITCHEN. NIGHT. (STUDIO) 173 secs LIZ IS PREPARING THE SUPPER . A TRANSISTOR RADIO IS PLAYING AWAY. TWO STEAKS ARE UNDER THE GRILL. SHE IS NOW TRYING TO MAKE THE SALAD DRESSING. SHE TAKES A PLATE BUT DROPS IT AND IT FALLS INTO THE SINK AND SMASHES. NEW ANGLE WE FIND THAT CASS IS STANDING AT THE DOOR LEANING AGAINST THE SUPPORT WITH HIS ARMS FOLDED. HE HAS ONLY A TOWEL ROUND HIS WAIST AND HIS BODY IS STILL DAMP AND GLEAMING. HE WATCHES LIZ. SHE GATHERS UP THE BROKEN PIECES IN THE SINK AND PUTS THEM IN THE WASTE BIN. AS SHE STRAIGHTENS UP SHE SEES CASS AND JUMPS SLIGHTLY. LIZ How long have you been there ? CASS Nervous ? LIZ DOESN'T ANSWER. CASS Get a hold of yourself. LIZ SITS DOWN ON A LOW STOOL. LIZ Cass . . . CASS SEES SHE IS CLOSE TO CRACKING. HE DECIDES TO OCCUPY HER MIND. CASS Let's go over it once again. Take it from eleven o'clock. LIZ DOESN'T ANSWER. CASS (hard) From eleven o'clock. ***PAGE*** -27- 71 (continued) ON LIZ SHE SWALLOWS, THEN STARTS, PARROT LIKE: LIZ At eleven o'clock we finish supper and then I wash up. CASS There's something else. LIZ What do you mean ? CASS What do you do before washing up ? LIZ I call up Midge Clayton. I tell her that I'm ringing from the cottage and I invite her over for lunch tomorrow. Then I - AGAIN CASS INTERRUPTS CASS Why ? Why do you invite her over for lunch ? LIZ I'm nervous about staying here alone. Then I mention two things. Firstly, that Jack can't be with me. . . he's going North on business this weekend. Secondly, I'm going to take a sleeping pill and go to bed. CASS Then ? LIZ Then -- then at around eleven thirty, I check that the door is not locked from inside so that Jack will be able to get in . . . Then I go to bed. CASS You don't go to bed .. . There's something else. LIZ Oh yes. First I take out the bulb from the light by the door and replace it with the dud one. ***PAGE*** -28- 71 (continued) CASS Right. Go on. LIZ Then I go to bed and put out the light. (then she remembers correctly) No -- I read for five minutes, but I find it hard to concentrate and I put the light out, and wait for Jack. CASS And when he comes ? CLOSE IN TIGHTER ON LIZ SHE TAKES A DEEP BREATH AND SHE BRACES HERSELF FOR THE MOST DIFFICULT PART. LIZ I hear the garden gate creak and I get up and come in here. A PAUSE LIZ CAN REMEMBER PERFECTLY WELL WHAT COMES NEXT. IT IS SIMPLY NOW THAT SHE CAN'T BEAR TO TALK ABOUT IT. CASS So ? LIZ So I take the gun. HER VOICE TRAILS OFF. ON CASS WE PAN WITH HIM AS HE WALKS TO HER. CASS You take the gun. Then what ? LIZ LOOKS AT HIM. CASS Then what ? LIZ I stand at the bedroom door with the gun pointed at the front door... ***PAGE*** -29- 71 (continued) CASS Go on. LIZ Then, when Jack opens the door. . . SHE CAN'T GO ON. CASS RAISES HER ABRUPTLY TO HER FEET AND STARES INTO HER FACE WITH A TERRIBLE INTENSITY. CASS You take aim and you fire. Right ? LIZ NOW LETS HER PENT UP FEARS FLOW OUT. HER PLEA IS SIMPLE. LIZ I ...... I can't do it. CASS REALISES THAT THREATS ARE USELESS. HIS EYES SOFTEN AND HE RAISES HER CHIN TO MAKE HER LOOK STRAIGHT INTO HIS EYES. CASS (tenderly) It's perfectly simple. You're all alone here. An intruder breaks in. You take aim and fire. And aren't you forgetting one thing ? LIZ LOOKS UP AT HIM LIZ What's that ? HE GAZES LONG INTO HER EYES. HE KNOWS THIS ALWAYS WORKS. CASS I'll be close. LIZ IS REASSURED. HIS UNFAILING MAGNETISM WORKS. SHE THROWS HER ARMS AROUND HIM AND PULLS HIM CLOSER. LIZ Oh, Cass, stay close. Stay close... HE KISSES HER AND SHE RESPONDS HUNGRILY. NEW ANGLE: ***PAGE*** -30- 71 (continued) WE SEE HER FINGERNAILS DIG INTO HIS BARE BACK. CUT TO: 72 EXT. FOREST. NIGHT. (STUDIO) 12 SECS WE ARE NEAR A POOL OF RAINWATER COLLECTED IN A HOLLOW. THE ALIEN LIMPS UP PAINFULLY TO THE WATER AND CROUCHES DOWN. HE WEARILY CUPS HIS HANDS AND DIPS THEM IN THE WATER. WITH THE WATER HE SPLASHES HIS FACE TO COOL IT. HIS GREEN COMPLEXION GLITTERS EERILY. CUT TO: 73 EXT. FOREST. NIGHT. (V.E.) 12 SECS SHADO MOBILE ONE MOVES THROUGH THE FOREST. IT BREAKS AWAY FOLIAGE AS IT GOES. THEN A NEW ANGLE WE ARE IN THE UFO CLEARING, FACING INTO THE FOREST WITH THE UFO OFFSCREEN BEHIND US. THE MOBILE COMES TOWARDS US, DAZZLING THE CAMERA WITH ITS SPOTLIGHT. IT HALTS NEAR TO THE CAMERA. CUT TO: 74 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 3 SECS FOSTER REACTS TO SOMETHING AHEAD. CUT TO : 75 EXT. FOREST. NIGHT. (V.E.) 4 SECS EYELINE FROM MOBILE CAUGHT IN THE BEAM IS THE WRECKAGE OF THE UFO. BUT IT IS NOT COMPLETELY CLEAR. CUT TO: 76 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 7 SECS FOSTER REACHES DOWN TO HIS CONTROLS AND SLOWLY TURNS A KNOB ON HIS INSTRUMENT PANEL. HE LOOKS UP AHEAD TO SEE WHAT EFFECT IT IS HAVING. CUT TO: ***PAGE*** -31- 77 EXT. FOREST. NIGHT. (V.E. ) 6 SECS SAME ANGLE AS BEFORE. BUT NOW THE BEAM OF THE LAMP FROM THE MOBILE IS NARROWED AND CONCENTRATING ON THE UFO, MAKING IT PERFECTLY CLEAR. CUT TO: 78 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 8 SECS FOSTER STARES AHEAD FOR A SHORT MOMENT THEN RAPIDLY APPLIES HIMSELF TO HIS RADIO. FOSTER Mobile vehicle One to control . . . CUT TO: 79 INT. SHADO CONTROL ROOM. (STUDIO) 14 SECS WE FEATURE STRAKER, FREEMAN AND FORD. FOSTER (VO) Mobile One to control . . . FORD Go ahead, One. FOSTER (VO) We located the UFO. Position blue area 119113. STRAKER MOVES FORWARD AND TALKS INTO THE MIKE STRAKER This is Straker. Advise on condition. CUT TO: 80 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 5 SECS FOSTER Severely damaged. Fourth degree wreckage. CUT TO: 81 INT.SHADO CONTROL. (STUDIO) 15 SECS CLOSE ON STRAKER WITH MIKE. WE SEE THE FRUSTRATION IN HIS FACE. HIS HOPES OF ***PAGE*** -32- 81 (continued) FINDING THE UFO INTACT HAVE BEEN SHATTERED. STRAKER Any sign of life ? FOSTER (VO) Investigating now, sir. STRAKER TURNS TO FORD. STRAKER Despatch the analysis teams to the area. WIDEN THE SCENE. STRAKER TURNS AND GOES INTO HIS OFFICE. FREEMAN WATCHES HIM GO, THEN FOLLOWS STRAKER. CUT TO: 82 INT. STRAKER'S OFFICE. (STUDIO) 30 SECS FREEMAN. COMES IN TO JOIN STRAKER. STRAKER IS STANDING OVER SOME PAPERS AT HIS DESK. FREEMAN There's just one thing I don't understand. STRAKER (cynically) You should be so lucky. FREEMAN How come the UFO is a wreck ? It hasn't been in the atmosphere long enough. STRAKER Maybe it was the difficulty of the landing area. There could be a thousand reasons. FORD COMES IN TO SEE STRAKER. FORD Mobile One has reported a body inside the wreck of the UFO. STRAKER An Alien ? ***PAGE*** -33- 82 (continued) FORD It's hard to say. The body is severely charred. They're going to report back as soon as they have more information. CUT TO: 83 INT. COTTAGE. NIGHT. (STUDIO) 30 SECS CASS AND LIZ HAVE FINISHED THEIR MEAL, BUT THEY ARE STILL SEATED AT THE TABLE WHERE TWO LIGHTED CANDLES GIVE A VAGUELY ROMANTIC ATMOSPHERE TO THE SCENE. CASS LIGHTS A CIGARETTE FROM A CANDLE AND SITS BACK. LIZ HASN'T TOUCHED HER FOOD. CASS It's time. LIZ GOES OVER TO THE COUCH AND SITS. THE TELEPHONE IS ON THE TABLE IN FRONT OF HER. SHE LOOKS AT IT AS IF IT WERE A BOMB. SHE WRINGS HER HANDS, TRYING TO POSTPONE THE START OF THE OPERATION. SHE TURNS TO CASS - HE LOOKS BACK. CLOSE ON LIZ SLOWLY SHE EXTENDS HER HAND TO THE MACHINE. CLOSE ON TELEPHONE JUST AS HER HAND ENTERS FRAME, THE TELEPHONE BELL RINGS. HER HAND JERKS AWAY. ON CASS WORRIED, MIND RACING, THEN HE DECIDES. CASS Answer it... ON LIZ SHE LIFTS THE RECEIVER. LIZ Hello ? CUT TO: ***PAGE*** -34- 84 INT. NEWTON'S CAR. NIGHT. (STUDIO) 9 secs JACK NEWTON, LIZ'S HUSBAND, IS AT THE WHEEL. HE IS A MAN IN HIS FIFTIES WITH A CUNNING FACE. HE IS ALONE IN THE CAR. TO HIS SHOULDER HE HAS FIXED THE RECEIVER OF AN ULTRA-MODERN RADIO TELEPHONE SO THAT HE CAN TALK WHILST HIS HANDS ARE FREE FOR DRIVING. NEWTON IS A MAN WHO ALWAYS GETS HIS OWN WAY, MONEY AND POWER SEE TO THAT. NEWTON Hello darling, I'm just ringing through to say I'm on my way. CUT TO: 85 INT. COTTAGE. NIGHT. (STUDIO) 5 secs ON LIZ SHE FREEZES AT THE UNEXPECTEDNESS OF THE CALL, GIVING A HALF-TURN OF DISMAY AT CASS. LIZ Oh, fine. Fine. CUT TO: 86 INT. NEWTON'S CAR. NIGHT. (STUDIO) 20 secs CLOSE ON NEWTON. NEWTON It worked .. LIZ (VO) What ... do you mean ? NEWTON Your little idea, no calls, no interruptions . .. a quiet weekend together. The office think I've gone North to that exports conference. Even Miss Cadwell won't know where I am. HE PAUSES, LIZ IS SAYING NOTHING. NEWTON - are you there ? CUT TO: ***PAGE*** -35- 87 INT. COTTAGE. NIGHT. (STUDIO) 7 secs CLOSE ON LIZ LIZ Yes -- yes, I'm here. NEWTON (VO) Good. I've got a little present for you. LIZ (flatly) You have ? CUT TO: 88 INT. NEWTON'S CAR. NIGHT. (STUDIO) 14 secs NEWTON IS SURPRISED AT HER LACK OF ENTHUSIASM. HIS MONEY HAS BOUGHT LIZ IN THE PAST. NEWTON Well, don't you want to know what it is ? LIZ (VO) Yes, yes, of course. What is it, Jack ? NEWTON RAISES INTO SHOT A SMALL BOX CONTAINING A BROOCH. HE SMILES COMPLACENTLY AT IT. NEWTON Burlington Arcade .... CUT TO: 90 INT. COTTAGE. NIGHT. (STUDIO) 7 secs ON LIZ SHE DOES REMEMBER, BUT CANNOT EXPRESS HER ENTHUSIASM BECAUSE OF GUILT AND EMBARRASSMENT. LIZ Oh, yes, Jack, I remember. The brooch -- the blue ceramic. CUT TO: 91 INT. NEWTON'S CAR. NIGHT. (STUDIO) 7 secs NEWTON You don't sound very pleased. ***PAGE*** -36- 91 (continued) A HARD SMILE NEWTON -- I mean, I can easily take it back and ... CUT TO: 92 INT. COTTAGE. NIGHT. (STUDIO) 10 secs LIZ JERKS TO LIFE. LIZ No, Jack. I'm sorry. It's terribly thoughtful of you. NEWTON (VO) Are you alright ? LIZ Yes, really. I've just got a headache, that's all. CUT TO: 93 INT. NEWTON'S CAR. NIGHT. (STUDIO) 12 secs NEWTON Why don't you go to bed then ? LIZ (VO) I'll be fine. NEWTON No you go off to bed. I'll be at the cottage about twelve. I'll try not to disturb you. CUT TO: 94 INT. COTTAGE. NIGHT.(STUDIO) 72 secs LIZ Right. NEWTON (VO) Bye then. LIZ (meaningful) Goodbye, Jack. ***PAGE*** -37- 94 (continued) SHE REPLACES THE TELEPHONE AS IF IT WERE A TON WEIGHT IN HER HAND. SHE DOESN'T LOOK UP. LIZ (calmly but firmly) Cass. Come here. ON CASS HE HAS NO IDEA WHAT SHE IS GOING TO SAY NOW. HE CAN ONLY DO AS SHE SAYS. HE SLOWLY STUBS OUT HIS CIGARETTE AND WALKS ACROSS THE ROOM TO STAND BESIDE HER. SHE LOOKS ABJECT AND TIRED, BUT IN HER QUIET WAY IS THE ONE IN CHARGE FOR THE MOMENT. LIZ You heard ? CASS Yes. LIZ You heard the way he was talking ? ON LIZ LIZ I don't think I can do it. ON CASS HE GOES ON LISTENING TO HER QUIETLY. LIZ I just can't go through with it. CASS TREATS THIS TO BE PURELY A ROUTINE DIFFICULTY. CASS Do you know how long we've known each other ? LIZ Ten months ? A year ? CASS SHAKES HIS HEAD IN REPROACH. CASS It's exactly one year and one month ago that I first came to your house. I noticed the way that Jack spoke to you ***PAGE*** -38- 94 (Continued) CASS (cont'd) that very first day, and I've heard him a million times since. LIZ Well ? CASS Every time he speaks to you it's in that way. LIZ Cass . . . CASS Words. What has he ever given you but words ? You've said it over and over again. He's clothed you and he's fed you . . . bought you. CASS IS PULLING HER HANDS SO THAT THEIR FACES ARE COMING TOGETHER. LIZ LOOKS DOWN AT HIS LIPS GETTING NEARER. THEIR LIPS MEET. THEY KISS. THEN THEIR ARMS CLASP EACH OTHER IN A TIGHT, PASSIONATE EMBRACE. CUT TO: 95 EXT. FOREST. NIGHT. (V.E.) 5 secs ESTABLISH THE UFO AND THE THREE MOBILE VEHICLES ALONGSIDE. CUT TO: 96 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 6 secs FOSTER IS CLIMBING BACK INTO HIS SEAT. HE LIFTS THE RADIO MIKE. FOSTER Mobile One to Shado control . . . CUT TO : 97 INT. SHADO UNDERGROUND CONTROL. (STUDIO) 5 secs FORD WITH STRAKER AND FREEMAN NEARBY. FORD Go ahead One. ***PAGE*** -39- 97 (continued) STRAKER STEPS FORWARD TO LISTEN KEENLY. CUT TO: 98 INT. SHADO MOBILE. NIGHT. (STUDIO) 5 SECS FOSTER The body inside the UFO is definitely not an Alien. CUT TO: 99 INT. SHADO CONTROL. (STUDIO) 8 SECS STRAKER TAKES OVER FROM FORD. STRAKER Mobile One, this is Straker. Explain yourself. CUT TO: 100 INT. SHADO MOBILE ONE.(STUDIO) 6 SECS FOSTER Sir, the body was charred beyond identification, but there are no signs of the hermetic seals round the neck. CUT TO: 101 INT. SHADO CONTROL. (STUDIO) 8 SECS ON STRAKER WITH MIKE FOSTER (VO) We're searching the area on foot . .. the alien must be some- where in the forest. STRAKER TURNS GRIMLY TO FREEMAN, HIS PLAN HAS BACKFIRED. CUT TO: 102 EXT. FOREST. NIGHT. (STUDIO) 8 SECS THE ALIEN, STUMBLES THROUGH SOME BUSHES, BURSTING INTO THE CAMERA'S VIEW. HE STOPS FOR A MOMENT AS IF TO TAKE HIS BEARINGS. THEN HE MOVES ***PAGE*** -40- 102 (continued) ON AND OUT OF SHOT. FADE OUT: END OF ACT TWO FADE IN: _ACT THREE_ 103 EXT. FOREST. NIGHT. (STUDIO) 15 secs WE ARE IN THE AREA OF THE STRUGGLE BETWEEN THE ALIEN AND MITCHELL. A SMALL GROUP OF SHADO MOBILE MEN ARE STANDING ROUND IN A CIRCLE. PROMINENT ARE FOSTER AND SHADO MOBILE OPERATOR 2 - NAMED CLYDE. THE LATTER IS CONTROLLING MITCHELL'S DOG ON A NEW LEAD. THE MEN ARE STILL IN THEIR SHADO MOBILE SUITS, BUT NOW HAVE LIGHT MACHINE GUNS, WALKIE-TALKIES AND OTHER EQUIPMENT FOR A SEARCH PARTY. FOSTER IS TALKING INTO A WALKIE-TALKIE HELD IN ONE HAND. IN HIS OTHER HAND HE HOLDS A PIECE OF TATTERED MATERIAL RECOGNISABLE AS A PIECE OF THE ALIEN'S SPACE SUIT. FOSTER We've found a couple of things sir. First a piece of torn fabric that looks like it came from an alien's spacesuit. CUT TO: 104 INT.SHADO CONTROL.(STUDIO) 7 secs WE FEATURE STRAKER WITH FREEMAN AND FORD. FOSTER (VO) It seems there's been some kind of struggle here too. STRAKER Yes, what else ? CUT TO: 105 EXT.FOREST. NIGHT. (STUDIO) 10 secs RESUME ON FOSTER ***PAGE*** -41- 105 (continued) FOSTER We've found an Alsatian dog near the landing site with collar number 995987. CUT TO: 106 INT. SHADO CONTROL. (STUDIO) 27 secs STRAKER TURNS TO FREEMAN WHO IS HOLDING A FILE OPEN IN HIS HAND. FREEMAN NODS EMPHATICALLY. FREEMAN Check. STRAKER TURNS BACK TO HIS MIKE. STRAKER Listen, Paul. We've been notified of a missing person in the Area Blue. A game warden, named Mitchell. The collar identification checks. My guess is that it's Mitchell's body you found in the debris... ON STRAKER STRAKER Try using the dog to locate the alien, the chances are it can pick up the scent. That killer has got to be stopped before he finds his next victim. CUT TO: 107 EXT. FOREST ROADWAY. NIGHT. (LOCATION) 16 secs NEAR THE CAR THE ALIEN BREAKS THROUGH THE SHRUBBERY AT THE SIDE OF THE ROAD AND STOPS, SEEING THE CAR. CLOSER ON ALIEN HE MOVES SLOWLY TO THE CAR, TOUCHES THE BONNET, THEN MOVES ROUND THE FRONT BUMPER. THEN HE REACTS AT SOME THING OFFSCREEN. CUT TO: ***PAGE*** -42- 108 EXT. COTTAGE. LOCATION. NIGHT 5 secs EYELINE SHOT THE LIGHTS FROM THE COTTAGE ARE SEEN THROUGH THE TREES. CUT TO: 109 EXT. FOREST ROADWAY AND COTTAGE. NIGHT. (LOCATION) 6 secs THE ALIEN COMES TO A DECISION. HE GOES TO THE GATE AND GOES THROUGH. THE GATE SQUEAKS. CUT TO: 110 INT. COTTAGE. NIGHT. (STUDIO) 15 secs CASS AND LIZ THEY FREEZE AT THE SOUND OF THE GATE. THEN THEY HEAR THE GATE SQUEAK AS IT CLOSES. LIZ (terrified) What's that ? CASS RISES AND MOVES TO THE WINDOW QUICKLY. LIZ FOLLOWS A MOMENT LATER. CLOSE ON CASS LOOKING OUT. HE TURNS TO HISS AT LIZ. CASS The light ! LIZ STOPS, NOT KNOWING WHAT TO DO. THEN SHE PUTS OUT ALL THE LIGHTS IN THE ROOM, INCLUDING THE ONE THAT LIGHTS THE FRONT DOOR AREA. THEN SHE JOINS CASS AT THE WINDOW. THEY HIDE BEHIND THE CURTAINS, LOOKING OUT. CUT TO: 111 EXT. COTTAGE. NIGHT. (LOCATION) 5 secs EYELINE SHOT FROM THEIR POV THE ALIEN MOVES UP THE GARDEN PATH. HE IS PARTLY CONCEALED BY BUSHES ETC. LIZ (VO) Oh, my God ! CUT TO: ***PAGE*** -43- 112 INT. COTTAGE. NIGHT. (STUDIO) 38 secs CASS AND LIZ LIZ He's here!!! SHE TURNS TO CASS IN TERROR. CASS MOVES ACROSS THE ROOM TO THE GUN. LIZ He's early. Cass, he's come an hour early. CASS HOLDS THE GUN, CHECKS THAT IT IS LOADED. LIZ IS FROZEN TO THE SPOT, REPEATING THE OBVIOUS. LIZ It's not time. What are we going to do. He said -- CASS Never mind. We're ready for him. Here. HE HOLDS THE GUN OUT FOR HER. SHE POINTS WILDLY AT THE ELECTRIC LIGHT NEAR THE DOOR. LIZ The light -- we haven't switched on the lig ----- CASS THRUSTS THE GUN INTO HER HANDS. CASS Here. Take it. THEN HE SHAKES HER BY THE SHOULDERS. CASS (in a frantic whisper) And stop shouting ! THE TEMPO SLOWS DOWN A BIT. CASS TAKES A BREATH. HE RAISES HIS HANDS TENDERLY UP TO HER THROAT, THE FINGERS CARESSING THE CHEEKS. CASS Don't worry, I'm here. Right beside you. HE GIVES HER A LOOK OF GREAT STRENGTH AND REASSURANCE. ***PAGE*** -44- 112 (continued) THEN HE SWEEPS HER OVER TO THE BEDROOM DOOR AND MORE OR LESS PROPS HER UP ON THE THRESHOLD WITH THE GUN RAISED AND POINTING AT THE FRONT DOOR. THE FOOTSTEPS OUTSIDE ARE NOW AUDIBLE. CUT TO: 113 EXT. COTTAGE. NIGHT. (LOCATION) 5 secs THE ALIEN SLOWS UP AS HE APPROACHES THE FRONT DOOR. HE HALTS A FEW YARDS AWAY. HE LOOKS AT THE DARK WINDOWS. CUT TO: 114 INT. COTTAGE. NIGHT. (STUDIO) 17 secs LIZ AT THE BEDROOM DOOR. CASS IS BEHIND HER, JUST INSIDE THE BEDROOM, SO THAT HE CANNOT BE SEEN FROM THE DOOR - (THOUGH THE IMPRESSION MUST NOT LOOK AS IF HE IS HIDING BEHIND HER FOR PROTECTION) THEY TALK IN URGENT WHISPERS. LIZ He's stopped. CASS RAISES HIS FINGERS TO HIS LIPS. LIZ What if it's not him ? CASS How many people have the key to that door. LIZ No one else. CASS Then it must be him. If that door opens, it's him. CUT TO: 115 EXT. COTTAGE. NIGHT. (LOCATION) 6 secs THE ALIEN TURNS AND STARTS TO WALK ROUND AS IF TO INVESTIGATE THE BACK OF THE HOUSE. CUT TO: ***PAGE*** -45- 116 INT. COTTAGE. NIGHT. (STUDIO) 9 secs ON CASS AND LIZ LISTENING LIZ He's going round the back ! CASS Quiet. CASS IS THINKING FAST. IF HE COMES IN THE BACK DOOR THEY ARE FINISHED. THE FOOTSTEPS CONTINUE AND HALT. CUT TO: 117 EXT. COTTAGE. NIGHT. (LOCATION) 9 secs THE ALIEN CHANGES HIS MIND AND COMES ROUND TO THE FRONT AGAIN. HE GOES RIGHT UP TO THE DOOR. CUT TO: 116 INT. COTTAGE. NIGHT. (STUDIO) 5 secs CASS AND LIZ SHE RAISES THE GUN HIGHER. CUT TO: 119 EXT. COTTAGE. NIGHT. (LOCATION) 8 secs THE ALIEN TRIES THE DOOR HANDLE QUITE GENTLY. THEN AGAIN. HE SEEMS SATISFIED THAT HE CAN'T GET IN. FROM HIS POCKET HE PRODUCES A SMALL DEVICE AND HOLDS IT NEAR THE LOCK ON THE DOOR. CUT TO: 120 INSERT SHOT ON DOOR LOCK. NIGHT. (STUDIO) 4 secs THE ALLEN PRESSES A BUTTON ON THE DEVICE. A FINE SPRAY OF LIQUID COVERS THE LOCK LIKE PENETRAT- ING OIL. CUT TO: 121 INT. COTTAGE. NIGHT. (STUDIO) 7 secs THERE IS A NOISE FROM THE FRONT DOOR - A GENTLE CLICKING. LIZ LIFTS THE GUN TO EYE LEVEL. SHE ***PAGE*** -46- 121 (continued) TAKES AIM. CLOSE ON LIZ'S FINGER ON TRIGGER. IT TIGHTENS SLIGHTLY. CUT TO: 122 INSERT SHOT OF DOOR LOCK. NIGHT. (STUDIO) 3 secs THE CLICKING CONTINUES AS THE LOCK IS WEAKENED BY THE ALIEN'S OIL. CUT TO: 123 EXT. COTTAGE. NIGHT. (LOCATION) 4 secs THE ALIEN GIVES THE DOOR A GENTLE PUSH WITH HIS HAND. IT STARTS TO SWING OPEN. CUT TO: 124 INT. COTTAGE. NIGHT. (STUDIO) 27 secs LONG SHOT DOOR IT OPENS FULLY. - THE SILHOUETTE OF THE ALIEN IS FRAMED ON THE THRESHOLD. LIZ IS HESITATING. CLOSE ON CASS CASS (in a hoarse whisper) NOW !!! CLOSE ON TRIGGER LIZ SQUEEZES. THERE IS A LOUD REPORT. ON THE ALIEN HE HOVERS UPRIGHT ON THE SPOT. HAS SHE MISSED ? THEN SLOWLY AND STIFFLY HE FALLS TO THE FLOOR, FACE DOWN. LIZ REMAINS ON THE SPOT. SHE LOWERS THE GUN SLOWLY. CASS SPRINTS TO THE LIGHT SWITCH AND SNAPS IT ON. THEN HE GOES TO THE ALIEN AND WITH HIS FOOT TURNS OVER THE BODY. CLOSE ON CASS' FACE. HE REACTS IN HORROR AT THE SIGHT. ***PAGE*** -47- 124 (continued) EYELINE SHOT CLOSE ON THE DEAD ALIEN'S FACE, GREEN AND GLEAMING. THE EYES HAVE RISEN UP INTO THE LIDS. ZOOM IN AND LOSE FOCUS. FADE OUT: END OF ACT THREE ACT FOUR FADE IN: 125 EXT. FOREST. NIGHT. (LOCATION) 8 SECS A LONG SHOT THROUGH THE TREES. THE PARTY OF MOBILE MEN ARE MOVING THROUGH THE WOODS. THE ALSATIAN, ON A LEAD HELD BY FOSTER, IS ON A CLEAR SCENT. CUT TO: 126 INT. COTTAGE. NIGHT. (STUDIO) 85 SECS THE BODY STILL BY THE DOOR. THE DOOR IS CLOSED. LIZ IS SITTING ON THE COUCH, UTTERLY DEJECTED, NEAR TO BREAKING. CASS COMES THROUGH FROM THE BEDROOM. LIZ What are you doing ? CASS PICKS UP A HOLDALL, CHECKING AROUND THE ROOM WITH HIS EYES. LIZ Cass. ON CASS CASS I'm trying to think. We've got to stay calm. HIS MIND IS RACING. HE DECIDES, ZIPS UP THE HOLDALL AND STARTS TO LEAVE. TWO SHOT: ***PAGE*** -47A- 126 (continued) LIZ You're not leaving. You're not going to leave me here. CASS You know I must. LIZ What are you talking about ? CASS Don't you realise our only chance is to go ahead with the plan as we arranged it. Nothing has changed. LIZ Everything has changed. It's the wrong man. We've killed the wrong man. CASS I know. But it's done. LIZ (sickened) Have you seen those eyes. Who is he ? CASS I don't know any more than you do. Listen, as far as you're concerned he's an intruder. He tried to break in, you shot him. Do you understand ? TWO SHOT: LIZ IS NUMBED BY IT ALL. CASS I must go ... Give me three minutes - three minutes - that's all. Then you telephone for the police. HE POINTS TO THE TELEPHONE. THEN HE TAKES HIS HOLDALL AND GOES TO THE DOOR, STEPPING COOLLY OVER THE BODY WHEN HE GETS THERE. ON LIZ SHE GOES AFTER HIM BUT STOPS WHEN SHE GETS TO THE BODY, WHICH IS SYMBOLICALLY GETTING IN THE WAY. ***PAGE*** -48- 126 (continued) LIZ (tense and pleading) Cass - stay here with me till I've called the police - that's all I ask. ASS RAISES THREE FINGERS IN FRONT OF HIS FACE. CASS Three minutes. HE OPENS THE DOOR AND GOES. LIZ Cass - THE DOOR CLOSES LOUDLY, WITHOUT THE LATCH ENGAGING. ON LIZ CLOSE TO PANIC. CUT TO: 127 EXT. COTTAGE. NIGHT. (LOCATION) 6 SECS CASS WALKS AWAY QUICKLY FROM THE DOOR AND DOWN THE GARDEN. CUT TO: 128 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS ON LIZ ***PAGE*** -49- 128 (continued) SHE DROPS HER HEAD IN DESPAIR. WHEN SHE SEES THE BODY AGAIN SHE JERKS AWAY IN REVULSION. SHE PACES BACK AND FORTH, WRINGING HER HANDS. THEN SHE RESTS HER HEAD ON THE MANTELPIECE, GIVING GREAT BOBBING GASPS OF FEAR AND FRUSTRATION. SHE GOES TO THE TELEPHONE BUT CHANGES HER MIND. NOT TIME YET. TWO MORE TURNS ACROSS THE ROOM. THEN BACK TO THE PHONE. CLOSE ON LIZ SHE IS REACHING OUT FOR THE TELEPHONE, WHEN SUDDENLY A HAND COMES DOWN ON HER SHOULDER FROM BEHIND. SHE JUMPS QUICKLY IN FRIGHT. IT IS FOSTER, STANDING BESIDE HER. AT THE DOOR WE SEE CLYDE. LIZ IS STRUCK DUMB. SHE STARES AT THE MEN WITH HUGE EYES. FOSTER PRODUCES AN IDENTIFICATION WARRANT THAT SHE LOOKS AT AND APPEARS SATISFIED WITH. FOSTER INDICATES THE DOOR. FOSTER Would you get your coat, Mrs. Newton ? LIZ How did you know my name ? FOSTER'S MANNER IS POLITE BUT FIRM. HE IS NOT INTERESTED IN GIVING ANY EXPLANATION. FOSTER Please. ON LIZ TERRIFIED, CONFUSED, UNABLE TO GATHER HER THOUGHTS. CUT TO: 129 EXT. COTTAGE. NIGHT. (LOCATION) 5 secs LIZ (NOW WEARING HER COAT) EXITS WITH CLYDE. THEY WALK DOWN THE PATH. WE FOLLOW THEM. CUT TO: ***PAGE*** -50- 130 EXT. COTTAGE GATE AND ROADWAY. NIGHT. 6 secs (LOCATION) AS LIZ COMES THROUGH THE GATE WITH CLYDE, SHE REACTS AT SEEING SOMETHING OFFSCREEN. CUT TO: 131 INT. SHADO CAR. NIGHT. (LOCATION) 8 secs START CLOSE ON CASS AND PULL BACK. CASS IS SITTING IN THE BACK OF A SHADO JEEP. FROM HIS EXPRESSION WE GATHER THAT HE IS AS BAFFLED AS SHE IS. WIDER ANGLE WE SEE THERE ARE TWO JEEPS. LIZ IS LED TO THE FIRST. SHE GLANCES BACK AT CASS IN THE OTHER. CUT TO: 132 EXT. JEEP. NIGHT. (LOCATION) 10 secs CLYDE GETS INTO THE FRONT OF THE JEEP, NEXT TO LIZ AND STARTS THE ENGINE. NEW ANGLE THE JEEPS DRIVE AWAY, GAINING SPEED RAPIDLY AS WE FOLLOW THEM DOWN THE COUNTRY ROAD. CUT TO: 133 EXT. COUNTRY ROAD. NIGHT. (LOCATION) 10 secs WE FEATURE A LONG STRETCH OF ROADWAY. THE JEEPS UP AND PAST AT SPEED, THEN GOES INTO THE DISTANCE AS IF TO A FAIRLY DISTANT DESTINATION. CUT TO: 134 EXT. STUDIO AREA. NIGHT. (LOCATION) 20 secs THE JEEPS DRAW TO A HALT OUTSIDE AT A GATE. WE SEE A SIGN HARLINGTON STRAKER STUDIO. EAST GATE. CLOSE ON JEEP CLYDE GETS OUT, WALKS ROUND AND HELPS LIZ OUT. ***PAGE*** -51- 134 (continued) CLYDE Follow me, please. WIDER ANGLE LIZ FOLLOWS CLYDE IN THROUGH THE GATE. AN OPERATOR WALKS BEHIND WITH CASS. CUT TO: 135 INT. STRAKER'S OUTER OFFICE. NIGHT. (STUDIO) 16 secs FREEMAN AND MISS EALAND ARE CONSULTING SOME PAPERS TOGETHER. THEY LOOK UP WHEN CLYDE USHERS IN CASS AND LIZ. FREEMAN HANDS OVER THE PAPERS TO MISS EALAND AND GOES TO MEET THEM LIKE V.I.P's. FREEMAN Ah, good, we were expecting you. Would you step in here, please. HE INDICATES THE OPEN DOOR LEADING TO STRAKER's OFFICE. CASS OPENS HIS MOUTH AS IF TO SPEAK BUT FREEMAN SILENCES HIM TACTFULLY. FREEMAN If you don't mind. CASS AND LIZ GO WHERE THEY ARE TOLD. FREEMAN FOLLOWS. CUT TO: 136 INT. STRAKER'S INNER OFFICE. NIGHT. (STUDIO) 46 secs CASS AND LIZ, FOLLOWED BY FREEMAN, ENTER. THE COUPLE STUDY THE DECOR, THE FURNITURE, ANYTHING TO GIVE THEM A CLUE AS TO WHAT IS GOING ON. THE DOOR IS CLOSED BEHIND THEM. FREEMAN POINTS TO TWO COMFORTABLE CHAIRS. FREEMAN Would you care to sit down ? LIZ SITS. CASS FOLDS HIS ARMS IN A GESTURE OF INDEPENDENCE. CASS I'll just stand if you don't mind. FREEMAN NODS PLEASANTLY, THEN GOES OVER TO ***PAGE*** -52- 136 (continued) STRAKER'S DESK. HE OPENS THE CIGARETTE BOX ON TOP AND TALKS. FREEMAN Alec Freeman. THE CIGARETTE BOX REPLIES. RADIO VOICE (VO) Voice Print. Identification positive nine seven. Freeman, Alec E. FREEMAN CLOSES THE BOX. THEN HE SITS IN STRAKER'S CHAIR. THERE IS THE SOUND OF WHIRRING EQUIPMENT. CASS REACTS AT FINDING THE ROOM DESCENDING LIKE AN ELEVATOR. HE UNFOLDS HIS ARMS AND LOOKS AROUND THE WALLS. FREEMAN WATCHES ON CASS HE SEES IT IS POINTLESS TO EXPRESS INDEPENDENCE HERE. HE SITS. ON FREEMAN HE GIVES A CONFIDING LITTLE NOD, AS IF TO SAY, 'THAT'S IT - MAKE YOURSELF AT HOME'. THE DESCENT IS COMPLETED. THE DOOR OPENS AGAIN TO REVEAL THE UNDERGROUND CORRIDORS OF SHADO. AN OPERATOR WALKS PAST. FREEMAN RISES. HE MOTIONS THEM TO GO THROUGH. CUT TO: 137 INT. WAITING ROOM. NIGHT. (STUDIO) 125 secs THIS IS A SMALL ROOM THAT RESEMBLES THE VIP SUITE IN AN ULTRA-MODERN HOTEL. A DOOR TO A BATHROOM AND SO ON. FREEMAN SHOWS IN CASS AND LIZ. THEY SENSE THIS IS THE END OF THEIR JOURNEY. CASS APPEALS FIRMLY TO FREEMAN. CASS Now look ... What the hell is going on ? FREEMAN GIVES A GESTURE THAT IS PLACATING BUT POLITE. ***PAGE*** -53- 137 (continued) FREEMAN Please, Mr. Fowler. I realise you have both had a very harrowing experience - CASS (doubtful) Right. FREEMAN ...And are entitled to an explanation of this intrusion into your privacy. CASS TRIES TO MAKE IT SEEM AS IF THE WORDS HAD JUST BEEN TAKEN OUT OF HIS MOUTH. CASS Right again. FREEMAN Mr. Straker will explain the reasons for us bringing you here. In the meantime, please make yourselves comfortable. I think you'll find everything you need. FREEMAN SWEEPS HIS HAND ACROSS THE ROOM AND WITH A FINAL NOD, EXITS. AS SOON AS HE IS GONE, LIZ SITS DOWN ON ONE OF THE CHAIRS AND STARTS LIGHTING A CIGARETTE. CASS WANDERS RESTLESSLY ABOUT THE ROOM, INVESTIGATING IT ALL. LIZ What are you looking for ? CASS MOUTHS HIS REPLY AND ACCOMPANIES IT WITH BIG GESTURES CASS Microphones. HE GOES UP TO HER TO WHISPER. CASS They've probably got this place bugged. They obviously know what they're doing. LIZ Where are we ? ***PAGE*** -54- 137 (continued) CASS Under some... film studio. LIZ I don't understand. CASS Neither do I ... but we've got to get our story straight. ON CASS CASS Did you phone the police ? TWO SHOT LIZ No ... there wasn't time. CASS Then we'll say I was on my way out to get them. We'd tried the phone but couldn't get through. The rest is the same as planned. Alright. . . LIZ I suppose so, but who are these people ? CASS The chap who brought us down here mentions the name Straker. LIZ Isn't he a film producer or something ? UNKNOWN TO CASS AND LIZ STRAKER HAS ARRIVED AND HE IS STANDING ON THE THRESHOLD. STRAKER Some people think so. THEY WHIRLD ROUND TO THE DOOR. PAN WITH STRAKER. HE WALKS OVER TO SHAKE HANDS WITH CASS AND LIZ, BUT ALTHOUGH HIS MANNER IS FRIENDLY, HE IS NOT AT ANY TIME BELITTLING THE IMPORTANCE OF THE SITUATION. ***PAGE*** -54A- 137 (continued) STRAKER I must apologise for bringing you here like this. AS HE SHAKES THEIR HANDS. STRAKER Mr. Fowler, isn't it ... and Mrs. Newton. HE HAS MADE THE POINT AND CASS REACTS. CASS Now listen here.... STRAKER GIVES CASS A COLD STARE THAT CASS FINDS A LITTLE EMBARRASSING. STRAKER And I've had you brought here for a ... discussion... Why don't you both sit down. CASS SITS, IMPRESSED WITH THE SERIOUSNESS OF STRAKER'S TONE. CUT TO: ***PAGE*** -55- 138 INT. COTTAGE. NIGHT. (STUDIO) 148 secs THE BODY OF THE ALIEN HAS GONE. ONLY FOSTER IS LEFT, TIDYING UP. HE STRAIGHTENS UP A RUG WHERE THE ALIEN'S BODY HAD BEEN AND THEN WALKS INTO THE KITCHEN. ON THE FRONT DOOR. IT IS PUSHED OPEN FROM THE OUTSIDE AND WE SEE NEWTON STANDING THERE WONDERING WHY THE LOCK DOESN'T WORK. HE COMES RIGHT IN AND PUTS DOWN A SMALL BAG. HE WALKS OVER TO THE BAR - AND REACHES FOR THE DECANTER. CLOSE ON DECANTER HIS HAND COMES IN AND IS JUST ABOUT TO POUR OUT A GLASS OF SCOTCH WHEN IT STOPS, ARRESTED BY A VOICE FROM THE KITCHEN DOOR. NEWTON SPINS ROUND, SEES FOSTER. FOSTER Who are you ? NEWTON LAYS DOWN THE DECANTER. NEWTON More to the point - who are you ? FOSTER COMES OVER AND SHOWS HIS PASS. NEWTON (puzzled) What's going on here ? FOSTER Would you mind telling me who you are, sir ? NEWTON The name's Newton. I own this house. FOSTER I see. Have you any proof of identity ? NEWTON TAKES HIS DRIVING LICENCE FROM HIS POCKET AND HANDS IT TO FOSTER. NEWTON Driving licence. ***PAGE*** -56- 138 (continued) FOSTER CHECKS IT AND HANDS IT BACK. FOSTER Thank you. NEWTON Where's my wife ? FOSTER I'm afraid she had a very unpleasant experience this evening. NEWTON IS CONCERNED. NEWTON What do you mean ? What's happened ? FOSTER It's a security matter. NEWTON I don't understand. Is she alright ? FOSTER She's perfectly safe. NEWTON But where is she ? Where have you taken her ? FOSTER I'm afraid I can't tell you that, but you'll be able to see her in a few hours. There's nothing to worry about. ON NEWTON HE IS BEWILDERED. HE HELPS HIMSELF RATHER SHAKILY TO A DRINK. NEWTON I think I need a drink. TWO SHOT NEWTON WAVES HIS HAND OFFERING FOSTER A DRINK. FOSTER No thanks ... ON FOSTER AS HE LOOKS AT NEWTON AN IDEA BEGINS TO DAWN IN HIS MIND. ***PAGE*** -57- 138 (continued) FOSTER Was your wife... expecting you ? TWO SHOT NEWTON Naturally... FOSTER Are you certain ? NEWTON Of course. I phoned her on the way down. Why do you ask ? ON FOSTER HE IGNORES THE QUESTION. HE REALISES THE SITUATION MIGHT NOT BE AS IT APPEARED EARLIER. IF CASS AND LIZ WERE EXPECTING NEWTON WHY DID THEY SHOOT THE ALIEN ? FOSTER PICKS UP ONE OF THE PHOTOGRAPHS WE SAW CASS LOOKING AT EARLIER. FOSTER Do you recognise this ? TWO SHOT NEWTON It's a photograph of this room. FOSTER Did you take it ? NEWTON No. FOSTER Do you know who did ? NEWTON I've never seen it before. ON FOSTER HE LOOKS AT THE PHOTO, AND WALKS TO THE SPOT FROM WHICH IT WAS TAKEN. IT IS WHERE LIZ STOOD WHEN SHE SHOT THE ALIEN ... ***PAGE*** -58- 138 (continued) TWO SHOT FOSTER Do you keep a gun here, Mr. Newton ? NEWTON Yes. FOSTER Who knew about that ? NEWTON My wife. FOSTER Anyone else ? NEWTON I'm not sure. I don't think so. Look what is this all about ? ON FOSTER FOSTER I'm sorry Mr. Newton. You'll just have to bear with me. TWO SHOT FOSTER I suggest you return to London. I'll arrange for your wife to join you there as soon as possible. TRACK IN ON FOSTER THINKING HARD. CUT TO: 139 INT. WAITING ROOM. NIGHT. (STUDIO 52 SECS AISHA IS POURING OUT TWO CUPS OF COFFEE ON THE TABLE IN THE CENTRE. WIDEN THE SHOT. CASS AND LIZ ARE SEATED AS BEFORE, LOOKING AMAZED AT WHAT STRAKER HAS BEEN TELLING THEM. AISHA HANDS CASS AND LIZ A CUP EACH AND GOES OUT. CASS STARTS TO DRINK HIS. HE PONDERS FOR A MOMENT. CASS Unidentified Flying Objects ? ... Aliens from another planet ? .... It's incredible. ***PAGE*** -58A- 139 (continued) CASS (cont'd) A world defence organisation ? .... It's incredible. LIZ The lives of everyone are in terrible danger. All the time. SHE STARTS TO DRINK HER COFFEE. STRAKER (gravely) _Very_ great danger. That's the reason for all the security. The general public must have known. CASS LAYS DOWN HIS CUP. CASS One thing I don't understand, if your organisation is so secret, why did you bring us here ? STRAKER PAUSES A MOMENT BEFORE REPLYING. STRAKER To help you forget the whole thing. CASS HAS THE CUP AT HIS LIPS. CASS Forget ? STRAKER SHAKES HIS HEAD SLOWLY. STRAKER Shado have developed an amnesia drug - for obvious reasons - we administer it to persons like yourselves you have come into contact with the Aliens or indeed our organization. LIZ LAYS DOWN HER EMPTY CUP. LIZ An amnesia drug. STRAKER Perfectly harmless, it will simply erase all memory of the last 24 hours. It's tasteless... ***PAGE*** -58B- ON STRAKER SMILING SLIGHTLY. STRAKER More coffee ? ON CASS HE LOWERS THE CUP FROM HIS MOUTH AS HE REALISES THE DRUG IS IN THE COFFEE. GROUP SHOT CASS AND LIZ BOTH REALISE WHAT HAS HAPPENED. STRAKER STANDS UP TO LEAVE THE ROOM. CUT TO: 140 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 6 SECS STRAKER WALKS ACROSS THE CONTROL ROOM TO HIS UNDERGROUND OFFICE. CUT TO: 141 INT. STRAKER'S UNDERGROUND OFFICE. 125 SECS STRAKER ENTERS, FOSTER AND FREEMAN ARE ALREADY THERE. STRAKER LOOKS AT THE OTHER TWO AND REALISES SOMETHING IS WRONG. STRAKER What's wrong ? FREEMAN Paul's just come up with a very interesting theory. Tell him.... ON FOSTER FOSTER Mrs. Newton and Fowler said they heard an intruder and shot him as he forced open the door. GROUP SHOT STRAKER Plausible. FOSTER Yes, if they weren't expecting the husband. STRAKER REACTS FREEMAN He turned up at the cottage 40 minutes ago. STRAKER Is the security angle covered ? ***PAGE*** -59- 141 (continued) FOSTER Yes, that's all taken care of, but don't you see what it means ? ON FOSTER FOSTER They planned a cold blooded murder. They had it all worked out, unfortunately for them an Alien came through that door instead of her husband. FREEMAN It all fits. Morally they're guilty. ON STRAKER STRAKER The amnesia drug was administered a few minutes ago ... GROUP SHOT FOSTER You mean ... STRAKER I mean they won't be able to remember a thing about it. FOSTER We can't just let them go free. STRAKER I suppose you think we should hand them over to the public prosecutor. ON STRAKER STRAKER He'd have a great case - what does he go for ... attempted murder of the husband, or killing an Alien. We can't produce that body. There's no concrete evidence and the two accused would both have genuine total amnesia, they won't be able to remember a thing. ***PAGE*** -60- 141 (continued) ON FREEMAN FOSTER So there's nothing we can do ? STRAKER We're not in the moralising business, Paul. FOSTER What about the husband ? They wanted to kill him once. They'll probably try again. FREEMAN In the line of duty, we stumbled onto a triangle. Shado's involvement made it a square. All we're doing is erasing the last twelve hours. It's back to the triangle. GROUP SHOT STRAKER What would you do, Paul ? FOSTER There's nothing. You're right. ON STRAKER STRAKER No ... we're wrong. But our hands are tied. GROUP SHOT STRAKER BREAKS THE SILENCE. STRAKER Paul, go back to the UFO, get all the information you can. FOSTER Right ... HE LEAVES STRAKER Alec, get the medical team to work on the Alien. FREEMAN On my way. ***PAGE*** -61- 141 (continued) FREEMAN EXITS. ON STRAKER DEEP IN THOUGHT. HE PRESSES AN INTERCOM. STRAKER How are Fowler and Mrs. Newton ? FORD (VO) Still sleeping, sir. STRAKER Get them out of here. FORD (VO) But sir ... STRAKER Just get them out of here. TRACK IN ON STRAKER. END OF ACT FOUR FINAL FADE OUT END CREDITS ***PAGE*** 47A NEW PAGE - "THE SQUARE TRIANGLE" 8th September, 1969 LIZ You're not leaving. You're not going to leave me here. CASS You know I must. LIZ What are you talking about? CASS Look, our only chance is to go ahead with the plan as we arranged it. LIZ For God sake, Cass, How can we. CASS We must. LIZ You don't seem to realise... CASS INTERRUPTS CASS Listen, I don't know any more than you do. CASS TRIES TO RATIONALIZE THE SITUATION. CASS As far as you're concerned it was....an intruder. He tried to break in, you shot him. Do you understand.... (hard) do you understand. LIZ NODS CASS I must go ... Give me three minutes - three minutes - that's all. Then you telephone for the police. HE POINTS TO THE TELEPHONE. THEN HE TAKES HIS HOLDALL AND GOES TO THE DOOR, STEPPING COOLLY OVER THE BODY WHEN HE GETS THERE. ON LIZ SHE GOES AFTER HIM BUT STOPS WHEN GETS TO THE BODY, WHICH IS SYMBOLICALLY GETTING IN THE WAY. ***PAGE*** _"THE SQUARE TRIANGLE"_ _SCRIPT AMENDMENTS as at 8th SEPTEMBER, 1969_ PAGE 22. Scene 59 Delete from 'HE MOVES OVER AND PICKS UP ...... down to 'AS SHE GOES TO MOVE AWAY CASS GRABS HER'. PAGE 37. Scene 94. In LIZ's 1st speech delete 'Come here'. PAGE 47A. NEW PAGE PAGE 54. Scene 137. Delete STRAKER's speech - - - - - - - - - -