THE SCRIPT FOR THE UFO EPISODE "CLOSE UP" Transcription by William Waggoner. Introduction by Marc Martin. This is a transcription of a photocopy of a script for the UFO episode "CLOSE UP". The layout here is exactly the same as the original. Spelling errors and typos in the original were left uncorrected. The script was 100% legible, so nothing is missing in this transcription. 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 UFO scripts differ a lot from what appeared in the final episode. The CLOSE UP script has many minor bits of humor that never made it into the final episode, and also has these major differences: *At the very beginning of the episode, there is a sequence involving Skydiver. This sequence is not in the script however, and was only added after the episode came up short on running time. *The episode most likely came up short because it all but eliminates a major subplot in the script. The script shows that Lt. Ellis is having a hard time in charge of Moonbase, and several scenes of her having problems with her fellow operatives (scenes 83, 86, and 87) don't make it into the final episode. This is all resolved in a scene with Straker and Ellis which *does* make it into the final episode (scene 144), however, it doesn't make as much sense in the episode because of all the previously cut scenes! *The script contains an absolutely hysterical scene (scene 83) where Nina Barry and Joan Harrington giggle about all the new men on Moonbase while preparing for bed in the woman's sleep sphere! *In the episode, Gay Ellis' leg is used to demonstrate the importance of magnification data to Straker. In the original script, it is Ayesha's leg. Pages 50, 51, and 59 here are "new pages", which are revisions from the original script, and unfortunately, the original pages are not here. New page 51 is even mislabelled "CONFETTI CHECK A-OK"! At the end of the script is a "call sheet" for a single day of shooting telling which scenes were to be shot on that day, and which actors, props, etc. were needed. Enjoy! ------------------------------ CUT HERE -------------------------------- "CLOSE-UP" by Tony Barwick © Century 21 Pictures Stirling Road Slough Bucks ***PAGE*** CAST LIST FREEMAN STRAKER YOUNG OPERATIVE (Tracking Station) FORD KELLY MASTERS HENDERSON FOSTER CONTROLLER OPERATIVE (Launch Control) HARRY GAY PILOT NINA GIRL JOAN ASTRONAUT AYESHA **** **** ***PAGE*** SET LIST (VISUAL EFFECTS) EXT. ROAD EXT. TRACKING STATION EXT. PROBE EXT. ROCKET EXT. SPACE EXT. BLOCKHOUSE EXT. SKY EXT. MOONBASE EXT. LUNAR MODULE EXT. INTERCEPTORS **** **** ***PAGE*** "CLOSE-UP" FADE IN: 1 EXT. ROAD. DAY. (STOCK) 6 SECS STRAKERÕS CAR UP AND PAST. CUT TO: 2 INT. CAR. DAY. (STUDIO) 14 SECS STRAKER AND FREEMAN FREEMAN How far is it now ? STRAKER Around eight miles. FREEMAN CONSIDERS FOR A MOMENT. FREEMAN Do you think it'll work ? STRAKER I think so (tongue in cheek) but then I always was an emotional optimist. THEY SMILE. CUT TO: 3 EXT. TRACKING STATION. DAY. (V.E.) 8 SECS DOMINATED BY A HUGE DISH AERIAL. TRACK IN TOWARDS THE SINGLE STOREY BUILDING WHICH HOUSES THE CONTROL ROOM. CUT TO: 4 INT. CONTROL ROOM. DAY. (STUDIO) 43 SECS PAN ACROSS PAST AN OPERATIVE TO STRAKER AND FREEMAN IN THE CONTROL ROOM WITH DR. YOUNG, THE CIVILIAN HEAD OF THE TRACKING STATION. STRAKER AND FREEMAN HAVE BEEN THERE SOME TIME. YOUNG Ah, things are happening. Excuse me. ON YOUNG HE CROSSES TO A STAINLESS STEEL CYLINDER WHICH IS IN FACT A COFFEE PERCOLATOR ALTHOUGH THE AUDIENCE SHOULD NOT REALISE THIS YET. ***PAGE*** -2- 4 (continued) ON CYLINDER IT IS EMMITTING AN ELECTRONIC BLEEP. ON YOUNG HE PICKS UP THE STAINLESS STEEL CYLINDER AND THE BLEEP STOPS. YOUNG TURNS TO CALL TO STRAKER AND FREEMAN 0.S. YOUNG Gentlemen. ON STRAKER AND FREEMAN THEY TURN AND MOVE OVER TOWARDS YOUNG WIDER ANGLE STRAKER AND FREEMAN JOIN YOUNG. YOUNG Coffee, help yourselves to cream and sugar. WE NOW SEE WHAT HE HAS BEEN DOING. STRAKER AND FREEMAN TAKE THEIR COFFEE IN GLASS FLASKS. ON OPERATIVE HE CHECKS HIS INSTRUMENTS. OPERATIVE Four minutes, doctor. WIDER ANGLE YOUNG Right. Check aerial attitude and start recording systems. TWO SHOT STRAKER AND FREEMAN. FREEMAN SIPS HIS COFFEE. FREEMAN Pretty good. CUT TO: 5 EXT. TRACKING STATION. DAY. (V.E.) 6 SECS A SMALLER DISH AERIAL NEAR THE MAIN ONE, ROTATES VERY SLOWLY A FEW DEGREES TO A NEW POSITION. CUT TO ***PAGE*** -3- 6 INT. CONTROL ROOM. DAY. (STUDIO) 10 SECS FEATURE THE OPERATIVE. OPERATIVE Ten seconds to transmission check. THE GROUP WAIT. THEN WE HEAR A BURST OF ELECTRONIC RADIO TRANSMISSION. YOUNG There it is. Smack on the nose. CUT TO: 7 EXT. SPACE. (V.E.) 5 SECS IN LONG SHOT WE SEE AN UNMANNED SPACE PROBE MOVING THROUGH SPACE IN EARTH ORBIT. CUT TO: 8 EXT. PROBE (V.E.) 9 SECS LONG LINES OF SOLAR CELLS ON WING-LIKE STRUCTURES GIVE THIS FUTURISTIC PROBE A STRANGE LOOK. ANOTHER ANGLE WE GO IN CLOSE AND FEATURE A DOMED STRUCTURE AT THE FRONT. CUT TO: 9 INT. PROBE. (STUDIO) 10 SECS THE INSIDE OF THE UNMANNED PROBE IS A MASS OF ELECTRONICS. THE DOMED STRUCTURE HOUSES PHOTO-ELECTRON EQUIPMENT OF ADVANCED DESIGN WHICH USES A STREAM OF ELECTRONS INSTEAD OF LIGHT. A PANEL SLIDES BACK TO REVEAL THE SPACE SKY OUTSIDE, AND WE HEAR THE DEVICE CLICK AS IT BEGINS TO OPERATE. CUT TO: 10 EXT. PROBE. (V.E.) 5 SECS WE HEAR A BURST OF ELECTRONIC SOUNDS AS THE PROBE BEGINS TO RADIO BACK THE SHOTS IT IS TAKING. CUT TO: ***PAGE*** -4- 11 EXT. TRACKING STATION. (V.E.) 5 SECS ELECTRONIC TRANSMISSIONS OVER AS THEY ARE PICKED UP BY THE GIANT DISH AERIAL. CUT TO: 12 INT. CONTROL ROOM. DAY. (STUDIO) 20 SECS OPERATIVE The first transmissions are coming through, sir. FREEMAN AND STRAKER REACT AND WALK OVER TO A RECORDING DEVICE. AS THE CONVERSATION CONTINUES IN THE B.G. WE TRACK IN ON THE SLOWLY TURNING SPOOL OF TAPE AS IT RECORDS THE SIGNALS. OPERATIVE (VO) Signal strength 012-147. YOUNG (VO) Good. What's the distortion ? OPERATIVE (VO) Minimal, decimal 072. YOUNG(VO) Fine. Keep tracking CUT TO: 13 INT. CAR. DAY. (STUDIO) 25 SECS START CLOSE ON THE REEL OF TAPE IN FREEMAN'S HAND, PULL BACK TO SHOW THEY ARE IN STRAKER'S CAR. FREEMAN I think Doctor Young was a little put out at not being able to see the results. STRAKER Yes. Security's a word I don't like to throw at a man who goes out of his way to co-operate. FREEMAN Maybe we could send him a couple of prints. ***PAGE*** -5- 13 (continued) STRAKER Let's wait and see if there's anything on the tape to print up. CUT TO: 14 EXT. HARLINGTON STRAKER STUDIO. DAY. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 15 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 60 SECS STRAKER AND FREEMAN STRIDE IN, FORD CROSSES TO MEET THEM. STRAKER All set up ? FORD Yes, sir. FREEMAN GIVES FORD THE REEL OF TAPE. ON FORD HE TAKES THE TAPE AND THREADS IT UP INTO A PRINT-OUT MACHINE. THIS WILL CONVERT THE RADIO SIGNALS INTO PICTURES. WIDER ANGLE FORD GIVES A LOOK AT FREEMAN AND STRAKER AND STARTS THE TAPE. ON STRAKER WAITING, TENSE. ON MACHINE A FEW SECONDS AND THE FIRST PICTURE IS FED OUT. IT IS OF THE EARTH FROM ABOUT 500 MILES. THIS DISTANCE IS PRINTED OUT ON THE BOTTOM TOGETHER WITH DETAILS CONCERNING THE ELECTRON IMPACT ETC., FOR EXAMPLE: RANGE 500 MILES : MAGNIFICATION X1. EXPOSURE CYCLING 014-247. ELECTRON IMPACT 017 DECIMAL 24. WIDER ANGLE THE GROUP BECOME MORE EXCITED AS THE SECOND PICTURE COMES OUT. STRAKER GRABS IT. ***PAGE*** -6- 15 (continued) ON PHOTO MUCH MORE DETAIL, LIKE A SHOT FROM 50 MILES. ON THE BOTTOM, RANGE 490 MILES. MAGNIFICATION X 10 ETC., WIDER ANGLE THE NEXT PHOTO IS FED OUT. STILL FROM NEARLY 500 MILES BUT THE MAGNIFICATION IS X 100 WHICH MAKES IT THE EQUIVALENT TO ONE TAKEN FROM 4 MILES UP WITH A NORMAL CAMERA. FREEMAN Look at that. FREEMAN PICKS IT UP. ON PHOTO IN FREEMAN'S HAND FREEMAN (VO) Look at the detail. And it's taken from nearly five hundred miles out. ON STRAKER BEGINNING TO REALISE THE POSSIBILITIES. CUT TO: 16 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 22 SECS FREEMAN AND STRAKER HAVE BEEN EXAMINING THE SERIES OF SHOTS FROM THE SPACE PROBE. FREEMAN It's fantastic. A real breakthrough. ON FREEMAN HE HOLDS A PHOTOGRAPH FREEMAN There's one here. Range 490 miles. Magnification X 250. It's like a helicopter shot. ON STRAKER STRAKER Well, I'm convinced. We'll throw everything into getting the project approved. CUT TO: ***PAGE*** -7- 17 MS - PHOTOGRAPH (STUDIO) 60 SECS TRACK IN ONE OF THE PHOTOGRAPHS. U F 0 TITLE OVER "MAIN TITLES" THE MAIN TITLES OVER STILLS OF THE EARTH ALL TAKEN FROM 500 MILES OUT IN SPACE, AND GRADUALLY CUTTING IN WITH EACH SHOT CLOSER AND CLOSER WITHOUT LOSING DEFINITICN AND SHOWING MORE AND MORE DETAIL AS THE MAGNIFICATION INCREASES. CUT TO: 18 EXT. HARLINGTON STRAKER STUDIO DAY (STOCK) 5 SECS TO ESTABLISH. CUT TO: 19 INT. LABORATORY (UNDERGRO UND) (STUDIO) 122 SECS WE ARE IN A LABORATORY IN THE SHADO COMPLEX BENEATH THE STUDIO. MASTERS AND A MEMBER OF THE SHADO SCIENTIFIC STAFF, KELLY, ARE WORKING ON SOME ELECTRONIC EQUIPMENT SIMILAR TO THE DEVICE WE SAW IN THE PROBE. (JUST A FEW MODIFICATIONS). STRAKER COMES IN, HIS CHANGE OF DRESS INDICATES A TIME ELAPSE. STRAKER How's it coming along, Kelly ? KELLY Pretty well, Commander. MASTERS The test run was so successful, there are very few modifications. ON STRAKER HE EXAMINES THE EQUIPMENT MORE CLOSELY. STRAKER Quite a set-up. ***PAGE*** -8- 19 (continued) WIDER ANGLE STRAKER Well when can I tell the Commission we'll be ready to go ? MASTERS Three, four weeks; we have to check out the link systems. STRAKER That's what I wanted to hear HE TURNS TO LEAVE. KELLY Commander .. STRAKER TURNS BACK. STRAKER Yes ? KELLY Could I have a word with you ? KELLY GLANCES AT MASTERS, WHO GETS THE PICTURE. KELLY WANTS TO BE ALONE WITH STRAKER. KELLY Do you mind John? MASTERS Sure. KELLY WAITS UNTIL MASTERS HAS LEFT THE LAB. ON STRAKER STRAKER What's on your mind ? ON KELLY KELLY Tomorrow you're going to ask the Astro-space commission for a billion dollars. TWO SHOT STRAKER Yes, for one of the most important projects Shado has ever undertaken. ***PAGE*** -9- 19 (continued) KELLY Sure. It's the first item on the agenda. There are 53 others... mine's number 52, it comes right after Ôhow much money do we spend on new coffee machines'. ON KELLY KELLY APPEALS TO STRAKER KELLY Look ... All I'm asking for 50,000 dollars. And the chances are I won't get it. TWO SHOT STRAKER I don't see how I can help, Kelly. KELLY I think my project's important, sir. You could help me. STRAKER Oh, now wait a minute... ON STRAKER STRAKER You've done a great job on the device here, but your group... ON KELLY KELLY Group. There are just two of us, Commander. But with that 50,000 dollars we could complete the development of the stereoscan. ON STRAKER STRAKER I'd like to help. But I think you're looking the wrong way, Kelly. Space ! That's where you should turn your talent. TWO SHOT KELLY IS RESIGNED KELLY Well, I hope you get your billion. ***PAGE*** -10- 19 (continued) STRAKER I'll get it ... it's a space project. STRAKER TURNS AND WALIKS OUT. CUT TO: 20 EXT. ASTRO SPACE COMMISSION BUILDING. 5 SECS DAY. (STOCK) TO ESTABLISH. CUT TO: 21 INT. CONFERENCE ROOM. (DAY) (STUDIO) 183 SECS STRAKER, MASTERS, GENERAL HENDERSON AND FOUR OTHER MEMBERS OF THE COMMISSION IN THE ROOM. ON ONE WALL ARE A SERIES OF LARGE DRAWINGS WHICH STRAKER WILL USE TO ILLUSTRATE VARIOUS POINTS. ON HENDERSON HE IS LOOKING AT THE DIAGRAMS, BUT TURNS AS STRAKER COMES UP BEHIND HIM. HENDERSON All very pretty, but don't try a bulldozer job in here, Straker. STRAKER I won't have to. WIDER ANGLE HENDERSON WALES TO THE HEAD OF A TABLE. HENDERSON Gentlemen. THE OTHER MEMBERS OF THE COMMISSION SIT DOWN, TWO ON EACH SIDE OF THE TABLE. HENDERSON BANGS A GAVEL AND ANNOUNCES FORMALLY: HENDERSON (formal) The financial committee of the Astro Space commission is in session. ***PAGE*** -11- 21 (continued) ON HENDERSON HENDERSON We have two functions; the first is the formality of approving the appropriations for the coming year; and the second is to consider... HE PICKS UP A TYPEWRITTEN SHEET. HENDERSON ... what I see as an ever increasingly long list of special projects. WIDER ANGLE HENDERSON You all know Commander Straker and by the billion dollars cost estimate beside it you will have realised that the first project on the agenda is his. ON STRAKER STRAKER Thank you, General. I'm glad to see you can still count zero's. WIDER ANGLE HENDERSON GLARES, ONE OF THE OTHER MEMBERS CHEWS ON A SMILE. STRAKER CROSSES TO THE FIRST DIAGRAM WHICH IS A DRAWING OF A PROBE AS IN THE OPENING SEQUENCE. ON STRAKER STRAKER This is a standard B142 space probe, and the project will use a modified version of this space craft. You will notice the domed structure here. HE POINTS TO THE DOMED STRUCTURE. WIDER ANGLE STRAKER MOVES ON TO THE SECOND DIAGRAM WHICH IS A CROSS-SECTION OF THE PROBE. ***PAGE*** -12- 21 (continued) STRAKER From this cross-section you will see it incorporates a device that in layman's terms can be described as an electronic telescope. ON STRAKER STRAKER The principle is very simple. It is a telescope which instead of using light, operates with a stream of electrons. It is capable of scanning with a magnification of up to times 2,500. Lieutenant ... WIDER ANGLE LIEUTENANT MASTERS HANDS ROUND SOME OF THE PHOTOGRAPHS FROM THE OPENING SEQUENCE TO THE MEMBERS OF THE COMMISSION. MASTERS These are shots of the Earth taken From an orbit between 450 and 500 miles out. THE MEMBERS OF THE COMMISSION ARE IMPRESSED. ON STRAKER STRAKER The electro telescope scans an area, radios the information back to earth, and the impulses are translated into these pictures. But the definition is as good as any photograph. WIDER ANGLE STRAKER MOVES ON TO THE THIRD DIAGRAM. IT SHOWS THE EARTH AND THE MOON AND AN ORBIT. STRAKER My project is to launch a modified B142 space probe and put it into a parking orbit around the moon. HE INDICATES THE ORBIT. ***PAGE*** -13- 21 (continued) ON HENDERSON HENDERSON Shado don't have those kind of facilities. ON STRAKER STRAKER No, we would have to use NASA for the launch. WIDER ANGLE STRAKER The electron telescope and the electronics are still on the secret list, so it would be fitted by moonbase astronauts after the probe was in a parking orbit. ON HENDERSON HENDERSON I'm beginning to see why the cost estimate is a billion dollars. ON STRAKER STRAKER The tracking and homing mechanisms are also very elaborate, but they've been fully tested, and will enable the probe to home in on the planet from 2 million miles out. WIDER ANGLE HENDERSON I'm sorry to disillusion you, Straker, but I can get you some great shots of earth with a 2 dollar camera from a balloon. SLOWLY TRACK IN ON STRAKER AS HE SPEAKS. STRAKER I should have been more explicit. By _the_ planet I didn't mean Earth. The purpose of the project is for the space probe to track and follow a UFO to its origin. To home in and get high definition close-ups of the alien planet. CUT TO: ***PAGE*** -14- 22 EXT. HARLINGTON STRAKER STUDIO (DAY) (STOCK) 5 SECS TO ESTABLISH CUT TO: 23 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 11 SECS STRAKER COMES INTO THE CONTROL ROOM. FREEMAN COMES UP TO HIM. FREEMAN Well ? STRAKER IS POKER-FACED. STRAKER Find Foster and bring him into my office. STRAKER STRIDES OFF TOWARDS THE INNER OFFICE. CUT TO: 24 INT. INNER OFFICE. (UNDERGROUND) (STUDIO) 30 SECS STRAKER COMES INTO HIS OFFICE AND GOES TO STAND BY THE SPACE MODEL. FOSTER AND FREEMAN COME IN. STRAKER TURNS TO THEM. FREEMAN Oh come on, did they approve it ? STRAKER SAVOURS THE MOMENT. STRAKER We've got ourselves a deal. We even got a time slot from NASA. Launch seven one two, in four weeks. FREEMAN Well that's great ! FOSTER Congratulations,sir. ON STRAKER STRAKER Yes. It could mean we're close to a lot of the answers. HE TURNS TO LOOK AT THE MODEL. ZOOM IN ON IT. CUT TO: ***PAGE*** -15- 25 INT. LAB. UNDERGROUND (STUDIO) 58 SECS START CLOSE ON THE ELECTRON TELESCOPE AND ITS ELECTRONICS. PULL BACK TO MASTERS AND KELLY. MASTERS Well, there it is ready to go. KELLY (flat) Yeah. MASTERS I've learnt a lot these past three weeks. Thanks, Joe. KELLY NODS ON MASTERS MASTERS LOOKS AT KELLY, KNOWS HE IS BROODING AND TRIES TO BREAK THE MOOD. MASTERS Listen, er ... have you got a pen ? TWO SHOT KELLY Hmm ? MASTERS I'll write out a cheque for that 50,000. KELLY (snapping out of it) No, that's all right. I'll cash in some of the family jewels. Anyway, there's always next year... and the year after that. ON KELLY KELLY Well, she's all yours, Lieutenant. Hope it gets you those shots. HE TURNS TO LEAVE ON MASTERS MASTERS Sure, see you around. ***PAGE*** -16- 25 (continued) WE HEAR THE DOOR CLOSE. FORD (VO) Will Lieutenant Masters report for pre-lunar medical right away ? MASTERS WALKS OVER TO THE DEVICE AND TAPS IT. MASTERS Sleep tight buddy, you and me is going to the moon. CUT TO: 26 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 33 SECS A CHANGE OF DRESS FOR STRAKER WHO SITS AT HIS DESK. HE IS TIRED, HE LOOKS UP AS ALEX FREEMAN COMES IN. FREEMAN Long day ? STRAKER Long month. ON STRAKER STRAKER RUBS HIS HANDS ACROSS HIS EYES. STRAKER Well, I think we're about set. I'm taking Lieutenant Ford along to moonbase. TWO SHOT FREEMAN Good idea. You're going to need all the help you can get STRAKER Yeah. You'd better keep all earth lunar communication to a minimum. FREEMAN Sure. What's the situation on the launch? ON STRAKER STRAKER The launch ... I think we can safely leave that to NASA. CUT TO: ***PAGE*** -17- 27 EXT. CAPE KENNEDY (NIGHT) (VE) 5 SECS TO ESTABLISH A SECTION OF THE CAPE KENNEDY SET UP IN THE U.S.A. CUT TO: 28 EXT. ROCKET. NIGHT. (V.E.) 5 SECS BATHED IN FLOODLIGHT ON THE LAUNCH PAD. CUT TO: 29 EXT. BLOCKHOUSE. NIGHT. (V.E.) 4 SECS TO ESTABLISH LAUNCH CONTROL FOR PAD 83 CUT TO: 30 INT. LAUNCH CONTROL. NIGHT. (STUDIO) 57 SECS LAUNCHES ARE NOW ALMOST COMPLETELY COMPUTER- -ISED. THE LAUNCH CONTROLLER SITS AT A CONSOLE. BEHIND HIM AROUND EIGHT OPERATIVES. ALL ARE AMERICANS. THE CONTROLLER TURNS TO ONE OF THE OPERATIVES. CONTROLLER Give me a readout on master computer. THE OPERATIVE PUSHES A SERIES OF BUTTONS. A READOUT SPEWS OUT. OPERATIVE Sub checks 1 through 14 A-OK. Primary circuits A-OK. Electronic readout A-OK. Computer check, programme G4 A-OK. (he checks a countdown clock) Countdown continues at T minus 4 hours 32 minutes 8 seconds... ON CONTROLLER CONTROLLER Right. Check fuelling computer. And let me have a report on the support computer 1 through 8 as soon as you can. OPERATIVE (VO) Will do. CONTROLLER How about some coffee, Harry ? ON HARRY, ONE OF THE OPERATIVES. ***PAGE*** -18- 30 (continued) HARRY Sure. Four black, four white, right ? WIDER ANGLE OPERATIVE Get me a sandwich will you Harry. Salami on rye. HARRY Got it. CUT TO: 31 EXT. SUNRISE. (LIBRARY) 4 SECS A LIBRARY SHOT OF THE SUN RISING. CUT TO: 32 EXT. ROCKET. DAWN. (V.E.) 5 SECS BATHED IN THE EARLY MORNING LIGHT, CLOUDED IN VAPOUR. CUT TO: 33 INT. LAUNCH CONTROL. DAY. (STUDIO) 9 SECS THE ATMOSPHERE IS MORE URGENT. AS THE COMPUTERS NEAR THE END OF THE COUNTDOWN THE OPERATIVES REEL OFF THE CHECK LIST. OPERATIVES (at Director's discretion) Missile power ... go. Water system ... go. Fuel system ... go. Telemetry ... go. T minus 3 minutes. CUT TO: 34 EXT. ROCKET. DAY. (V.E.) 5 SECS A MOTIONLESS GIANT, THE TOP HALF IS COVERED IN ICE. CUT TO: 35 INT. LAUNCH CONTROL. DAY. (STUDIO) 14 SECS AS BEFORE, THE COUNTDOWN CONTINUES. ON OPERATIVE ***PAGE*** -19- 35 (continued) OPERATIVE Master Computer check all systems go. We are green on all readouts. T minus 60 seconds, 59, 58, 57, 56, etc... PAN ALONG THE ELECTRONICS CUT TO: 36 EXT. ROCKET. DAY. (V.E.) 5 SECS THE LAST UMBILICALS FALL AWAY FROM THE ROCKET. CUT TO: 37 INT. LAUNCH CONTROL. DAY. (STUDIO) 13 SECS THE MEN CONCENTRATE, BUT DO NOT HAVE TO SPEAK. THE COMPUTERS ARE DOING ALL THE WORK. CONTROLLER We have go for ignition at minus 20. A RECORDED COUNTDOWN REELS OFF THE SECONDS OVER. COUNTDOWN VOICE 20, 19, 18, 17, 16 etc. CUT TO: 38 EXT. SPACE. DAY. (V.E.) 5 SECS ON THE LAUNCH PAD THE GIANT ROCKET COMES ALIVE, THE FUELD MIX AND IGNITE. CUT TO: 39 INT. LAUNCH CONTROL. DAY. (STUDIO) 7 SECS CONTROLLER (flat) Main stage ignition. THE COUNTDOWN VOICE CONTINUES COUNTDOWN VOICE Seven, six, five, four... CUT TO: 40 EXT. ROCKET. DAY. (STUDIO) 6 SECS THE TOP HALF IS A SHEET OF ICE, THE BOTTOM HALF A ROARING INFERNO OF FLAME AND WATER. THE HOLD ***PAGE*** -20- 40 (continued) DOWN CLAMPS FALL BACK. CUT TO: 41 INT. LAUNCH CONTROL. DAY. (STUDIO) 5 SECS THE OPERATIVES AT THEIR CONSOLES. THE ATMOS- PHERE IS RELAXED, IT IS ALL ROUTINE. OPERATIVE First motion. HARRY Lift off. CUT TO: 42 EXT. ROCKET. DAY. (V.E.) 5 SECS THE ROCKET LIFTS OFF IN A CLOUD OF SMOKE AND FLAME. CUT TO: 43 EXT. SKY. DAY. (V.E.) 7 SECS THE ROCKET CLIMBING EVER FASTER AGAINST THE BLUE SKY. CUT TO: 44 INT. LAUNCH CONTROL. DAY. (STUDIO) 14 SECS THE MEN AS BEFORE. THE CONTROLLER WATCHES THE POST LIFT OFF CHECK. CONTROLLER T plus 55 ... T plus 60 ... T plus 65 ... It looks good. OPERATIVE Altitude 248,000 - 18 miles down range. CUT TO: 45 EXT. SKY. DAY. (V.E.) 5 SECS THE ROCKET GATHERING SPEED EVERY SECOND. AS IT ROARS UP, NOW AT AN ANGLE - MIX TO: ***PAGE*** -21- 46 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO)8SECS STRAKER MOVES FROM HIS DESK OVER TO THE SPACE MODEL ON HIS WALL. ANOTHER ANGLE TRACK IN ON STRAKER'S FACE, HIS PROJECT IS UNDERWAY. CUT TO: 47 EXT. SPACE. (VE) 5SECS WE SEE THE B142 PROBE. IT IS SAFELY IN ORBIT. THE MUSIC BUILDS UP. FADE OUT: END OF ACT I SPONSOR'S MESSAGE ***PAGE*** -22- ACT II FADE IN: 48 EXT. MOON. (STOCK) 4 SECS TO ESTABLISH. CUT TO: 49 EXT. MOONBASE. NIGHT. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 50 INT. CONTROL SPHERE. (STUDIO) 15 SECS GAY ELLIS AT THE CENTRAL CONSOLE. JOAN AND NINA AT THEIR USUAL PLACES. GAY Moonbase control to lunar module. Switch to automatic L.L.S. We'll bring you in by radio beam. PILOT (VO) Roger, control. CUT TO: 51 EXT. LUNAR MODULE. (VE) 5 SECS FLYING IN ON THE RADIO BEAM TOWARDS MOONBASE. CUT TO: 52 INT. CONTROL SPHERE. (STUDIO) 6 SECS NINA TURNS TO GAY. NINA Touchdown minus 20 seconds. GAY Right. CUT TO: 53 EXT. MOON. (VE) 5 SECS THE MODULE COMING IN, AS BEFORE. CUT TO: ***PAGE*** -23- 54 EXT. LUNAR MODULE (VE) 7 SECS IT COMES IN ABOVE THE LANDING PAD, THEN MANOEUVRES DOWN AND LANDS. CUT TO: 55 INT. CENTRAL PARK. (STUDIO) 28 SECS STRAKER, FOSTER, FORD AND MASTERS MOVE INTO CENTRAL PARK. A TRACKER GIRL COMES TO MEET THEM. GIRL Welcome to Moonbase, Commander STRAKER Thank you. GIRL If you come with me I'll show you to your quarters. ON STRAKER TO FORD AND MASTERS: STRAKER You two go ahead. WIDER ANGLE MASTERS Yes, sir. FORD Right. THEY TURN AND WALK OFF LED BY THE GIRL. TWO SHOT STRAKER AND FOSTER STRAKER Let's go to Control, Paul. I want to check on that space probe. THEY WALK OFF TOWARDS THE CONTROL SPHERE. CUT TO: 56 INT. CONTROL SPHERE (STUDIO) 78 SECS STRAKER AND FOSTER COME IN. GAY Hallo, Commander. ***PAGE*** -23A- 56 (continued) STRAKER Hello Gay, Nina, Joan. THE GROUP EXCHANGE HELLOS. ON GAY GAY How was the flight ? STRAKER Very smooth, thanks. How's everything here ? GAY Just fine. STRAKER Good. STRAKER CROSSES TO NINA AND JOAN, WHO ARE TOGETHER AT NINA'S CONSOLE. STRAKER You're looking great girls. JOAN Thank you sir. STRAKER How's the food these days ? NINA Just about the same. STRAKER That's what I was afraid you'd say. THEY SMILE ON STRAKER HE TURNS TO GAY STRAKER Do you have the report on the space probe, Gay ? TWO SHOT AS GAY GIVES STRAKER A REPORT. GAY I thought it wouldn't take you long to get around to that. ***PAGE*** -24- 56 (continued) STRAKER How does it look ? GAY Apogee 0 decimal 124 below requirement; but we can easily correct it. STRAKER Good. ON GAY GAY I've also worked out a rough schedule for the astronauts. We understand the probe is to be modified in space. ON STRAKER STRAKER Well that's great. We'll have to go through it together of course. ON GAY GAY I did say it was a rough schedule. STRAKER I understand. TWO SHOT GAY I hope you don't think ... STRAKER Lieutenant I appreciate all the work you've put in. GAY Yes, sir. STRAKER Really. A MOMENT'S SILENCE. GAY If you'll excuse me, sir. I have one or two things I'd like to check. ***PAGE*** -25- 56 (continued) SHE WALKS OUT OF THE CONTROL SPHERE. ON STRAKER HE WATCHES HER GO, TURNS AND CATCHES NINA'S EYES. SHE TURNS AWAY. STRAKER SENSES A SITUATION. HE WALES TO THE WINDOW AND LOOKS OUT AT THE STARS IN A SPACE SKY. CUT TO: 57 EXT. SPACE (VE) 5 SECS THE PROBE IN ORBIT AROUND THE MOON. MIX TO: 58 EXT. MOONBASE. DAY (STOCK) 5 SECS TO ESTABLISH CUT TO: 59 INT. CONTROL SPHERE. (STUDIO) 32 SECS STRAKER IS AT THE CENTRAL CONTROL, GAY STANDS NEARBY. STRAKER IS ABOUT TO ADDRESS THE MOONBASE PERSONNEL OVER THE INTERNAL SYSTEM. STRAKER (into mike) Because of a radio security clampdown no-one on moonbase knows the purpose of Project Discovery, as it has been codenamed. HE GLANCES UP AT GAY. STRAKER (into mike) And I guess _most_ of you are pretty curious about it. ON GAY IT SEEMS TO BE A STRAIGHT DIG AT HER BUT SHE SHOWS NO REACTION. WIDER ANGLE WE FEATURE JOAN AS STRAKER CONTINUES. ***PAGE*** -26- 59 (continued) STRAKER Well, as we say in the movie business, now it can be told. JOAN SMILES ON STRAKER STRAKER As you know, a modified B142 space probe has been put into parking orbit around the moon. CUT TO: 60 INT. LEISURE DINING SPHERE. (STUDIO) 8 SECS THE ASTRONAUTS WITH FOSTER AND FORD, LISTEN TO STRAKER STRAKER (VO) The first phase will be to fit specialised equipment into the probe. This has already been shipped to Moonbase from Earth. CUT TO: 61 INT. CENTRAL PARK (STUDIO) 13 SECS NINA, IN OFF DUTY DRESS, AND MASTERS, IN CENTRAL PARK. STRAKER (VO) Phase two is to manoeuvre a UFO into a position where the probe can be activated into a new flight pattern which will enable it to follow the alien back to its origin. NINA LOOKS AT MASTERS, HE NODS ÔYES IT IS TRUE'. CUT TO: 62 INT. CONTROL SPHERE. (STUDIO) 29 SECS ON STRAKER STRAKER When the probe is within two million miles of its target, it will start to transmit. With luck we should get the first close shots of another world. It will be the first step in taking the fight back to the alien planet. ***PAGE*** -27- 62 (continued) WIDER ANGLE STRAKER LOOKS AT GAY. STRALER It's an exciting situation, Gay. GAY It certainly is. STRAKER You'd better get things set up as fast as possible. GAY Right. Who's going out to the probe ? STRAKER Colonel Foster and Masters. They've been briefed. CUT TO: 63 EXT. SPACE (VE) 5 SECS THE B142 IN PARKING ORBIT AROUND THE MOON. CUT TO: 64 EXT. LUNAR MODULE (VE) 5 SECS COMING UP TO RENDEZVOUS WITH THE B142. CUT TO: 65 INT. CONTROL SPHERE (STUDIO) 21 SECS GAY AT THE CENTRAL CONSOLE. STRAKER MOVES AROUND. THE ROOM IS FULL OF ACTIVITY AS EVERYONE TALKS AT ONCE AS THEY MONITOR THE RENDEZVOUS. GAY (into mike) Moonbase control to lunar module. Your flight pattern is go for rendezvous. FORD SITS AT ONE OF THE CONSOLES. NINA COMES UP AND HANDS HIM A COMPUTER READOUT. JOAN (VO) Right.. confirm 1 decimal 4. ***PAGE*** -28- 65 (continued) FORD (into mike) I have jaw and pitch correction check. 012 - 714 - 022 - 147 FOSTER (VO) Roger, Control. We have visual contact. CUT TO: 66 EXT. SPACE. (VE) 6 SECS THE LUNAR MODULE COMING UP BEHIND THE B142. CUT TO: 67 EXT. SPACE PROBE. (VE) 7 SECS THE LUNAR MODULE MANOEUVRES UP BEHIND THE PROBE AND TAKES UP A SIMILAR ORBIT. CUT TO: 68 INT. CONTROL SPHERE (VE) 14 SECS THE GROUP AS BEFORE FOSTER (VO) We are in position. On board computer reads go for space walk. FORD (to Gay) We have green on all systems. GAY Moonbase to Lunar module, confirm go for space walk. FOSTER (VO) Roger control. CUT TO: 69 EXT. SPACE (VE) 9 SECS CLOSE ON A SECTION OF THE LUNAR MODULE. A PANEL SLIDES BACK TO REVEAL THE MODEL FIGURE OF A SPACE SUITED ASTRONAUT. ANOTHER ANGLE THE SPACE SUITED FIGURE FLOATS OUT ON THE END OF A LIFE LINE. CUT TO: ***PAGE*** -29- 70 EXT. AIRLOCK (STUDIO) 4 SECS C.S. FOSTER IN THE LUNAR MODULE AIR LOCK. WE SEE HIS FACE THROUGH THE VISOR OF HIS HELMET, AS HE MOVES FORWARD. CUT TO: 71 EXT. SPACE. (VE) 8 SECS FOSTER FLOATS OUT FROM THE LUNAR MODULE (MODEL FIGURE) WIDER ANGLE WE SEE THE TWO MEN IN SPACE CUT TO: 72 CS - FOSTER (STUDIO) 6 SECS AGAINST A SPACE B.G. HE RAISES A HAND AS A SIGNAL. CS ASTRONAUT HE ACKNOWLEDGES FOSTER'S SIGNAL. CUT TO: 73 EXT. AIRLOCK (STUDIO) 4 SECS CLOSE ON A THIRD MAN AS HE HOLDS THE ELECTRON TELESCOPE CUT TO: 74 EXT. LUNAR MODULE (VE) 4 SECS THE ELECTRON TELESCOPE FLOATS OUT FROM THE LUNAR MODULE ON A SAFETY LINE. CUT TO: 75 MS - ELECTRON TELESCOPE (VE) 5 SECS TURNING SLOWLY AS IT DRIFTS IN SPACE ON ITS LINE. CUT TO: 76 CS - FOSTER (STUDIO) 3 SECS HE TURNS HIS HEAD TO LOOK AT - CUT TO: ***PAGE*** -30- 77 POV SHOT (VE) 4 SECS THE ELECTRON TELESCOPE, WITH THE SECOND ASTRONAUT NEARBY. CUT TO: 78 CS - FOSTER (STUDIO) 3 SECS HE TURNS HIS HEAD AGAIN TO LOOK AT - CUT TO: 79 POV SHOT (VE) 3 SECS THE PROBE. CUT TO: 80 EXT. SPACE (VE) 6 SECS THE FIGURE OF THE ASTRONAUT MOVES WITH THE ELECTRON TELESCOPE TOWARDS THE PROBE. CUT TO: 81 EXT. MOONBASE (VE) 5 SECS TO ESTABLISH. CUT TO: 82 INT. CONTROL SPHERE. (STUDIO) 32 SECS WE FEATURE STRAKER AS THE GROUP WAIT ANXIOUSLY. FINALLY THE SILENCE IS BROKEN AS - FOSTER (VO) Space team to control. Phase one complete. Equipment installed. ON GAY GAY (flat) Control to Space team. Roger WIDER ANGLE STRAKER STRIDES TO THE CONSOLE AND SPINS THE MIKE TO SPEAK INTO IT. STRAKER Great work, Paul. Pass my congratulations on to the team. ***PAGE*** -31- 82 (continued) FOSTER (VO) Thank you, sir. Out. TWO SHOT GAY AND STRAKER. HE IS ANNOYED AT GAY'S LACK OF EXCITEMENT. STRAKER Don't let your enthusiasm run away with you, Lieutenant. CUT TO: 83 INT. SLEEP SPHERE. (STUDIO) 62 SECS THE SPHERE HAS BEEN DRESSED WITH COSMETICS ETC., TO GIVE A FEEL THIS IS WHERE THE GIRLS SLEEP. NINA AND JOAN, DRESSED IN VERY FEMININE ATTRACTIVE NIGHT GEAR ARE THERE WITH ANOTHER GIRL, WHO IS DRESSED IN UNIFORM READY TO GO ON DUTY. GIRL See you in six hours, girls. NINA O.K. Don't wake us, we'll wake you. THE GROUP SMILE. THE GIRL EXITS. ON NINA SHE COMBS HER HAIR, OR WHATEVER. NINA What do you think of the new male influx, Joan ? ON JOAN SHE SMILES JOAN It's nice to have them around. TWO SHOT NINA You know, I think I could go for Paul Foster, or maybe Lieutenant Masters. ***PAGE*** -32- 83 (continued) JOAN (dreamy) I think he's minty. NINA Who ? JOAN Ah ... NINA You mean John Master.. JOAN SMILES, I'M NOT TELLING. NINA I know ... Keith Ford. JOAN LAUGHS MISCHIEVOUSLY. NINA You don't mean Straker GAY (VO) What about Commander Straker ? WIDER ANGLE GAY ELLIS HAS COME INTO THE SPHERE. NINA I - er - was just going to say how cold and unemotional he is, Lieutenant. GAY That's the way it should be, isn't it ? JOAN Yes, Lieutenant. NINA Right. GAY MOVES OFF INTO A CHANGING CUBICLE. TWO SHOT JOAN AND NINA EXCHANGE A GLANCE. NINA PULLS A FACE AND FLICKS HER HAND UP AND DOWN. CUT TO: ***PAGE*** -33- 84 INT. LEISURE DINING SPHERE. (STUDIO) 83 SECS START CLOSE ON A SHEET OF PERSPEX WHICH WILL BE USED AS THE EQUIVALENT OF A BLACKBOARD. THE EARTH THE MOON AND VARIOUS ORBITAL PATHS HAVE ALREADY BEEN MARKED. PULL BACK TO SHOW THE MOONBASE PERSONNEL GATHERED IN THE SPHERE. STRAKER STANDS BY THE PERSPEX BOARD. STRAKER I've asked you all here to explain the next and most vital phase of the operation. ON STRAKER THE DIRECTOR, AT HIS DISCRETION, CAN SHOOT THROUGH THE PERSPEX TO ADD INTEREST TO THE SCENE. STRAKER The space probe is in orbit, the equipment has been installed and tested. WIDER ANGLE STRAKER Lieutenant Ellis. GAY GETS UP AND JOINS STRAKER. GAY The problem is to force a UFO into an orbit complimentary to the space probe's. Then we can activate the tracking systems on the B142 and enable it to latch on to the UFO. ON GAY GAY It will involve scheduling the interceptors very precisely. WIDER ANGLE GAY We have made a computer study of UFO approaches and the general pattern is marked, as you can see. ***PAGE*** -34- 84 (continued) GAY INDICATES A SERIES OF UFO APPROACH ORBITS MARKED ON THE CHART. ON STRAKER STRAKER Lieutenant Ellis has already compiled an interceptor schedule. But a lot of on the spot decisions will have to be taken. ON FOSTER FOSTER You mean we play this one by ear. WIDER ANGLE STRAKER Right. FOSTER Isn't this dangerous ? GAY It involves a certain risk, Colonel. STRAKER A calculated risk, Lieutenant, Based on a careful weighing of human factors as much as logic. AN AWKWARD SILENCE. ON GAY STONE FACED ON STRAKER STRAKER Well, all we can do now is wait for a UFO. CUT TO: 85 EXT. SPACE (VE) 5 SECS SID IN ORBIT. CUT TO: ***PAGE*** -35- 86 INT. CENTRAL PARK. (STUDIO) 15 SECS FORD AND NINA RELAX IN CENTRAL PARK. THEY LAUGH AT SOME JOKE. FORD LOOKS UP AS GAY WALKS INTO SHOT. FORD Hello, Lieutenant. Why don't you join us ? GAY Thanks. But not right now. SHE WALKS ON. ZOOM IN ON STRAKER. HE HAS HEARD AND NOTICED. CUT TO: 87 INT. CONTROL SPHERE. (STUDIO) 44 SECS MASTERS AND FOSTER ARE IN THE CONTROL SPHERE. JOAN IS AT HER CONSOLE. TWO SHOT MASTERS AND FOSTER CHECK A READOUT. FOSTER That seems to be fine. We'll run another computer check tomorrow. MASTERS Good. I'll arrange it. MASTERS WALKS OVER TO JOAN WITH THE READOUT. TWO SHOT MASTERS Thanks, Joan. We'll run again tomorrow. JOAN Yes, sir. THEY SMILE AT EACH OTHER. ON DOORWAY GAY COMES IN AND LOOKS OVER TO - ***PAGE*** -36- 87 (continued) POV SHOT MASTERS BENDS OVER JOAN AT HER SAYING A FEW UNHEARD WORDS. ON GAY GAY The control room isn't the place to socialise, Lieutenant Masters. WIDER ANGLE FOSTER REACTS FOSTER (hard) They were working Ellis ... Under my instructions. GAY DOESN'T ANSWER. FOSTER Come on John. Let's go. FOSTER AND MASTERS EXIT. ON GAY HER FACE SET HARD. CUT TO: 88 EXT. SPACE (VE) 5 SECS THE B142 IN ORBIT. CUT TO: 89 EXT. SID (VE) 5 SECS IN ORBIT. WAITING, WATCHFUL. CUT TO: 90 EXT. SPACE (VE) 6 SECS JUST THE STRETCH OF LIMITLESS SPACE, BUT AS WE WATCH THE UFO MUSIC BUILDS. CUT TO: ***PAGE*** -37- 91 EXT. UFO (VE) 5 SECS AS THE MUSIC WARNS US. A UFO HURTES TOWARDS CAMERA. CUT TO: 92 EXT. SID (VE) 3 SECS SILENT. CUT TO: 93 EXT. UFO (VE) 5 SECS MOVING FAST THROUGH SPACE. CUT TO: 94 EXT. SID (VE) 3 SECS AS BEFORE. CUT TO: 95 INT. SID (VE) 5 SECS THE COMPUTERS BEGIN TO CHATTER AS THEY PICK UP THE UFO. CUT TO: 96 INT. CONTROL SPHERE. (STUDIO) 10 SECS CLOSE ON NINA. SHE REACTS AS - S.I.D. Red alert ... red alert. NINA LEANS TO A MIKE. NINA This is control. I have a red alert. CUT TO: 97 INT. CORRIDOR. (STUDIO) 8 SECS STRAKER STOPS IN THE CORRIDOR AS - NINA (VO) I have a red alert. ***PAGE*** -38- 97 (continued) STRAKER TURNS ROUND AND HURRIES BACK THE WAY HE CAME. CUT TO: 98 INT. SLEEP SPHERE. (STUDIO) 8 SECS GAY JUMPS UP AND MOVES URGENTLY TOWARDS THE DOORWAY. (SHE HAS BEEN WRITING A LETTER.) NINA (VO) Have UFO on positive track area 142 blue. CUT TO: 99 INT. CONTROL SPHERE. (STUDIO) 32 SECS STRAKER HURRIES IN TO JOIN FOSTER. THE GIRLS TRACK THE UFO IN BACKGROUND. JOAN (VO) Speed SOL 8.35. Tracking positive. NINA (VO) 141 blue ... 140 ... 139 .. FOSTER Sid just confirmed. It's coming right in on the predicted flight path. ON DOORWAY GAY HURRIES IN AND MOVES TO THE CENTRAL CONSOLE. TWO SHOT STRAKER LEANS IN TO HER STRAKER She's all yours, Lieutenant. GAY (calm) This is control to interceptors. Immediate launch. Repeat - immediate launch. CUT TO: ***PAGE*** -39- 100 INT. LEISURE DINING SPHERE. (STUDIO) 5 SECS THE INTERCEPTOR PILOTS GRAB THEIR HELMETS AND HEAD FOR THE CHUTES. CUT TO: 101 EXT. SPACE (VE) 6 SECS THE UFO STREAMMG IN. THE MUSIC REACHES A CRESCENDO. FADE OUT: END OF ACT II SPONSOR'S MESSAGE ***PAGE*** -40- FADE IN: ACT III 102 INT. CRATER (VE) 6 SECS THE INTERCEPTORS ON THEIR RAMPS. CUT TO: 103 INT. INTERCEPTOR (STUDIO) 5 SECS AN ASTRONAUT CHECKS HIS INSTRUMENTATION. CUT TO: 104 INT. CRATER (VE) 5 SECS THE INTERCEPTORS LIFT UP ON THEIR RAMPS. CUT TO: 105 EXT. CRATER (VE) 5 SECS THE INTERCEPTORS COME OUT ONTO THE LUNAR SURFACE, THEN LIFT OFF. CUT TO: 106 EXT. MOON (VE) 5 SECS THE INTERCEPTORS FLYING IN FORMATION ABOVE THE MOON. CUT TO: 107 INT. INTERCEPTOR (STUDIO) 9 SECS THE ASTRONAUT REPORTS TO CONTROL. ASTRONAUT Interceptor leader to control. We're space borne. GAY (VO) Roger one. CUT TO: 108 INT. CONTROL SPHERE (STUDIO) 23 SECS GAY AT THE CONSOLE. STRAKER NEARBY. JOAN AND NINA AT THEIR POST. FORD HAS ALSO TAKEN UP A POSITION. STRAKER LEANS TO A MIKE - ***PAGE*** -41- 108 (continued) STRAKER This is Straker. You all know how important this mission is. Your controller will be Lieutenant Ellis. Flight plans will be relayed by Lieutenant Ford. ON FORD FORD UFO maintaining course and speed. Stand by for onboard computer read in. CUT TO: 109 EXT. SPACE (VE) 5 SECS THE THREE INTERCEPTORS IN FORMATION. CUT TO: 110 INT. INTERCEPTOR (STUDIO) 12 SECS THE ASTRONAUT ACTIVATES THE INPUT TO HIS ONBOARD COMPUTER AS IT COMES OVER THE RADIO. FORD (VO) 014 - 00102 - 137 - 2148. CUT TO: 111 INT. CONTROL SPHERE (VE) 37 SECS ON FORD. FORD 1319 - 0124. Input ends. NINA (VO) Still tracking. ON STRAKER WATCHING, LISTENING. SID (VO) Range 18 million, 17 million miles (etc) JOAN (VO) Entering area red 081. WIDER ANGLE ***PAGE*** -42- 111 (continued) STRAKER AND FOSTER STAND BY THE LARGE OVAL WALL CHART ON WHICH WE SEE THE MOON AND THE SPACE PROBE'S ORBIT AROUND IT. THE CHART IS SQUARED OFF WITH A REFERENCE GRID. ELECTRONIC POINTS OF LIGHT PLOT THE POSITION OF THE UFO AND THE INTERCEPTORS. FOSTER There it is. HE POINTS TO THE UFO LIGHT MARKER. STRAKER NODS. CUT TO: 112 EXT. SPACE (VE) 5 SECS THE UFO VEERS OFF ONTO A NEW COURSE. CUT TO: 113 INT. CONTROL ROOM (STUDIO) 35 SECS NINA It's changing course. STRAKER REACTS. JOAN UFO entering area red 084. Speed SOL 8.37. TWO SHOT STRAKER AND FOSTER AT THE CHART. THE ELECTRONICS ADJUST THE POSITION OF THE UFO MARKER. FOSTER We'll have to readjust the schedule. STRAKER Right. (calling back over his shoulder) Compute for new flight plan. ON FORD HE MOVES A CONTROL ON LIGHTS FLASHING IN SEQUENCE AS IN PILOT. ANOTHER ANGLE ON LIGHTS. CUT TO: ***PAGE*** -43- 114 EXT. SPACE (VE) 5 SECS THE UFO MOVING AT GREAT SPEED. CUT TO: 115 EXT. INTERCEPTORS (VE) 5 SECS STILL IN FORMATION CUT TO: 116 INT. CONTROL SPHERE (STUDIO) 15 SECS NINA CROSSES TO FORD WITH THE NEW READOUT. FORD Control to interceptors. Standby for new flight plan. 042 - 00102 - 148 - 2148. Increase speed to SOL 1.127. CUT TO: 117 INT. INTERCEPTOR. (STUDIO) 11 SECS ASTRONAUT Roger Control. HE LOOKS OUT TOWARDS THE INTERCEPTOR ON HIS RIGHT. ASTRONAUT Leader to 2 and 3. Alter course to 2148. CUT TO: 118 EXT. SPACE (VE) 5 SECS THE THREE INTERCEPTORS SWING ONTO A NEW COURSE. CUT TO: 119 INT. CONTROL SPHERE. (STUDIO) 32 SECS START ON STRAKER, HE IS WORRIED. HE TURNS AS - JOAN Interceptors losing contact, sir. STRAKER We've got to turn it. HE MOVES TO GAY FOSTER AT THE CHART. ***PAGE*** -44- 119 (continued) TWO SHOT FOSTER AND STRAKER AT THE SPACE CHART. AS STRAKER TALKS HE USES THE CHART TO EXPLAIN VISUALLY HOW THEY ARE TRYING TO SWING THE UFO ROUND INTO AN ORBIT THAT WILL COINCIDE WITH THE B142 SPACE PROBE. STRAKER If we use a detonation here, the UFO will be forced to swing away onto this sort of course. FOSTER Which should just about do it. STRAKER Don't hold your breath. (Don't bank on it) ON STRAKER STRAKER Tell the interceptors to explode a missile in area blue 128. CUT TO: 120 EXT. SPACE (VE) 5 SECS THE UFO STREAMING ACROSS SPACE. CUT TO: 121 INT. CONTROL SPHERE (STUDIO) 8 SECS ON GAY GAY Control to interceptors. Break formation. Will relay new flight plans. ASTRONAUT (VO) Roger control. CUT TO: 122 EXT. SPACE (VE) 6 SECS THE INTERCEPTORS BREAK FORMATION. CUT TO: ***PAGE*** -45- 123 INT. CONTROL SPHERE (STUDIO) 8 SECS ON FORD FORD Control to interceptors. Have missile firing sequence for leader. CUT TO: 124 EXT. INTERCEPTOR (VE) 4 SECS THE LEADING INTERCEPTOR IS NOW FLYING ON ITS OWN. CUT TO: 125 INT. INTERCEPTOR (STUDIO) 15 SECS THE ASTRONAUT LISTENS AS THE INFORMATION COMES OVER. FORD (VO) Input 101002. Missing timing: 15 decimal 18 seconds. ASTRONAUT Thanks, control. Commencing missile sequence. HE MOVES THE CONTROLS. CUT TO: 126 EXT. SPACE (VE) 4 SECS THE UFO TRAVELS ON. CUT TO: 127 INT. INTERCEPTOR (STUDIO) 7 SECS ASTRONAUT Firing minus 5 decimal 2 seconds. WE HEAR THREE PIPS. CUT TO: 128 EXT. INTERCEPTOR (VE) 3 SECS THE MISSILE STREAKS AWAY. CUT TO: ***PAGE*** -46- 129 EXT. SPACE (VE) 5 SECS THE UFO FLYING AWAY FROM CAMERA. WE SEE THE FLASH OF A DETONATION AHEAD OF IT. CUT TO: 130 INT. CONTROL SPHERE (STUDIO) 15 SECS THE GROUP WAIT ANXIOUSLY. NINA Detonation positive. ON STRAKER HE TURNS TO JOAN ON JOAN SHE STUDIES HER SCREEN A LONG MOMENT THEN - JOAN It's altered course. WIDER ANGLE THE GROUP WAIT. CUT TO: 131 CS - CHART (STUDIO) 15 SECS AS THE INFORMATION COMES OVER THE COMPUTER MOVES THE UFO MARKER AS IT SWINGS ROUND COMING NEARER AND NEARER TO THE B142. FORD (VO) UFO entering area blue 132. NINA (VO) Maintaining speed. FORD (VO) Crossing into blue 133. FOSTER (slow) It's coming round just right. CUT TO: 132 INT. CONTROL SPHERE (STUDIO) 4 SECS ON STRAKER WATCHING INTENTLY. CUT TO: ***PAGE*** -47- 133 EXT. SPACE (VE) 4 SECS THE B142 IN ORBIT. CUT TO: 134 EXT. UFO (VE) 4 SECS MOVING VERY FAST. CUT TO: 135 INT. CONTROL SPHERE. (STUDIO) 35 SECS ON STRAKER AND FOSTER AT THE CHART. STRAKER Keep coming, baby. JOAN (VO) It's accelerating, sir. STRAKER WHIPS ROUND ON JOAN JOAN Speed SOL 8.38 ... 8.39 ... WIDER ANGLE STRAKER MOVES URGENTLY ACROSS TO STAND HALFWAY BETWEEN JOAN AND GAY GAY We'll have to use a second missile. STRAKER Compute it. NINA Yes, sir. ON STRAKER A MUSCLE WORKING IN HIS FACE - HE CAN LET IT SLIP THROUGH HIS FINGERS NOW. ON NINA SHE GETS THE COMPUTER READOUT AND TAKES IT ACROSS TO FORD. ON STRAKER THE TENSION SHOWING IN HIS VOICE. ***PAGE*** -48- 135 (continued) STRAKER Well ? WIDER ANGLE FORD A missile in area blue 27 should do it, Commander. CUT TO: 136 EXT. SPACE (VE) 4 SECS THE UFO SPEEDS ON. CUT TO: 137 INT. CONTROL SPHERE (STUDI0) 10 SECS THE GROUP WAIT FOR STRAKER STRAKER Order the missile launch. ON FORD FORD (VO) Missile timing: 104 - 018 - 826. CUT TO: 138 EXT. INTERCEPTOR (VE) 3 SECS A MISSILE STREAKS AWAY CUT TO: 139 EXT. SPACE (VE) 5 SECS WE SEE THE DETONATION AS BEFORE. CUT TO: 140 INT. CONTROL SPHERE (STUDIO) 18 SECS A TENSE ATMOSPHERE JOAN (quietly) Detonation confirm. ON STRAKER HE WALKS OVER TO THE CHART WHERE FOSTER WAITS. S.I.D. UFO veered to new course 301. ***PAGE*** -49- 140 (continued) FOSTER WATCHES AS THE UFO MARKER CLOSES ON THE B142. S.I.D. Compute B142 will link up in 43 seconds. FOSTER We've done it. CUT TO: 141 EXT. SPACE. (VE) 7 SECS THE UFO IS TURNING, HEADING BACK THE WAY IT CAME. CUT TO: 142 EXT. PROBE. (VE) 6 SECS THE B142 BREAKS ORBIT, AS ITS ROCKETS FIRE IT BEGINS TO TRACK THE UFO. CUT TO: 143 INT. CORRIDOR (STUDIO) 12 SECS STRAKER, HEAD BOWED, MEETS GAY IN THE CORRIDOR. SHE LOOKS TIRED. STRAKER Lietenant. GAY Commander Straker. STRAKER How do you feel ? GAY Fine thanks. STRAKER How about a coffee ? GAY Yes, I'd like that. STRAKER GIVES HER A SMILE. CUT TO: 144 INT. LEISURE DINING SPHERE (STUDIO) 127 SECS STRAKER AND GAY COME IN. THERE IS NO ONE ELSE IN THE SPHERE. STRAKER GOES OVER TO THE AUTOMAT AND GETS TWO COFFEES. ***PAGE*** 50 NEW PAGE - CLOSE UP" 23rd September, 1969. 144 (continued) ON STRAKER HE GLANCES ACROSS AT GAY ON GAY FROM STRAKER'S POV HE CATCHES HER GIVING WAY TO HER TIREDNESS WIDER ANGLE GAY PULLS HERSELF TOGETHER AS STRAKER COMES OVER WITH THE COFFEE AND GIVES HER A CUP. STRAKER Well, here's to Project Discovery. GAY Cheers. THEY SMILE STRAKER Tired. GAY A little. ON STRAKER STRAKER Listen Gay, I want to thank you for all the hard work you've put into this. TWO SHOT GAY SMILES, SIPS HER COFFEE. STRAKER ....and the long hours. A PAUSE STRAKER You know you drive yourself pretty hard. GAY I always try to do my best. STRAKER Oh don't get me wrong. I'm not questioning your efficiency. GAY I'm sorry. I always seem to jump to the wrong conclusion. STRAKER I know. You don't have to tell me what responsibility can do. ***PAGE*** "CONFETTI CHECK A-OK" -51- 144 (continued) ON STRAKER STRAKER Relax, Gay. (pause) You know, maybe you push yourself a little too hard. TWO SHOT GAY LOOKS AT HIM ON STRAKER STRAKER You're doing a fine job, Gay. A man's job, but you don't have to do it any better because you're a woman. TWO SHOT STRAKER You don't have to prove anything: Your record speaks for itself. GAY It's nice of you to say so. But sometimes it's pretty difficult. STRAKER I know. I realise better than most what responsibility can do. GAY SMILES. A MOMENT WHEN BOTH REALISE A STRANGE BOND BETWEEN THEM. STRAKER Just try dropping a couple of these defensive shields. GAY I know what you mean STRAKER I'm sure you do. Give it a try. STRAKER WINKS AT HER. GAY WRINKLES HER NOSE BACK. ***PAGE*** -52- 144 (continued) GAY Thanks for the coffee. (Meaning it) And thanks... GAY SMILES, GETS UP AND WALKS TO THE DOOR. STRAKER Think about it, Gay, and don't ever forget .. you're a very attractive girl. GAY SMILES AND TURNS TO GO OUT AND SEES FOSTER HAS JUST COME IN. HE HAS HEARD STRAKER'S REMARKS. GAY GOES OUT. ON FOSTER HE GIVES A LOON ÔHO-HO, WHAT'S GOING ON HERE' TWO SHOT STRAKER Ah, Paul. When do we leave ? FOSTER 1800 hours tomorrow. CUT TO: FOSTER LOOKS AT THE DOOR, THEN AT STRAKER. STRAKER Let me give you a piece of advice Colonel, never judge a situation by the end of a conversation. CUT TO: 145 INT. CONTROL SPHERE (STUDIO) 37 SECS CLOSE ON NINA NINA Lunar module take off minus 18 minutes. WIDER ANGLE STRAKER COMES INTO THE CONTROL SPHERE. STRAKER I just came in to say thanks. ***PAGE*** -53- 145 (continued) JOAN AND NINA SMILE. JOAN When will the first pictures come through, sir ? STRAKER Well, the experts tell me four months. Let's hope they're worth waiting for. Goodbye. JOAN Goodbye, sir. NINA Goodbye, Commander. ANOTHER ANGLE GAY HAS COME IN TO STAND JUST INSIDE THE DOORWAY. STRAKER SEEMS TO BE WALKING STRAIGHT OUT, BUT STOPS AND TURNS TO GAY. TWO SHOT GAY Goodbye, sir ... Safe journey. SHE SMILES. STRAKER TOUCHES HER ARM. STRAKER (gently) ÔBye Gay. Next time you're on Earth furlough drop in and see me. CUT TO: 146 EXT. SPACE. (VE) 10 SECS THE B142 IN SPACE ANOTHER ANGLE AS THE MUSIC STINGS, WE SEE IT IS MOVING TOWARDS THE ALIEN PLANET. FADE OUT: END OF ACT III ***PAGE*** -54- FADE IN: ACT IV 147 EXT. SPACE (VE) 5 SECS TO ESTABLISH THE B142. CUT TO: 148 INT. SPACE PROBE (VE) 9 SECS AS IN THE OPENING SEQUENCE. THEN THE ELECTRONICS BEGIN TO CLICK. THE B142 HAS STARTED TO SCAN AND TRANSMIT. CUT TO: 149 EXT. TRACKING STATION. DAY (VE) 6 SECS WE FEATURE THE GIANT DISH AERIAL AND HEAR THE RADIO SIGNALS OVER. CUT TO 150 EXT. HARLINGTON STRAKER STUDIO (STOCK) 5 SECS TO ESTABLISH CUT TO: 151 INT. CONTROL ROOM (UNDERGROUND)(STUDIO) 60 SECS STRAKER, FOSTER AND FREEMAN STAND AROUND FORD. FORD They're coming through now, sir. STRAKER GLANCES AT FREEMAN. STRAKER Right. Feed them through the decoder straight into printout. FORD Yes, sir. ANOTHER ANGLE FREEMAN, FOSTER AND STRAKER CROSS TO THE PRINT OUT MACHINE. ON STRAKER WAITING, TENSE. ***PAGE*** -54A- 151 (continued) GROUP SHOT THE MACHINE BEGINS TO OPERATE. A PICTURE IS PRINTED OUT. ON PICTURE A LONG SHOT OF THE PLANET, BUT WITHOUT THE RANGE AND OTHER DETAILS. ***PAGE*** -55- 151 (continued) ON GROUP STRAKER PASSES THE PICTURE TO FREEMAN AND WAITS FOR THE NEXT. ON PICTURE A CLOSER SHOT MUCH MORE DETAIL. GROUP SHOT FOSTER Fantastic. ANOTHER PICTURE FEEDS OUT. FREEMAN Look at that. ON STRAKER INTENT ON THE PRINT OUT. ON PICTURE AMAZINGLY DETAILED - THE ALIEN PLANET. ON STRAKER HE TURNS TO FREEMAN. STRAKER Tell the lab. I want a preliminary report in 24 hours. We've got the answers, Alec. We've got the answers. CUT TO: 152 INT. LAB. UNDERGROUND (STUDIO) 185 SECS START ON KELLY AS HE WORKS ON THE PICTURES OF THE ALIEN PLANET SPREAD OUT ON A TABLE. HE TURNS AS STRAKER COMES IN, AND CHECKS HIS WATCH. STRAKER I did say 24 hours. KELLY (tired) Yes, sir. But we haven't had time to type up a report. ***PAGE*** -56- 152 (continued) STRAKER Then give it to me verbally. ON KELLY KELLY There was a fault in the device. TWO SHOT STRAKER Fault ? KELLY Yes. The range and magnification on each shot wasn't transmitted. STRAKER Just what does that mean ? KELLY It means except for superfluous detail, these shots tell us very little. STRAKER What are you trying to sell me here, Kelly ? STRAKER GRABS UP ONE OF THE PRINTS. ON PRINT STRAKER(VO) Look at that. Look at the detail. It must tell you something. TWO SHOT KELLY Yes, but was it taken from 500 or 100 miles ? With a magnification of one or one thousand ? STRAKER Oh come on. If I take a photo of a girl, from three feet or a hundred yards you can still see it's a girl. ***PAGE*** -57- 152 (continued) KELLY WALKS OVER TO A PROJECTOR AND TURNS OFF THE LIGHTS. ON KELLY HE FLICKS A CONTROL AND PROJECTS A PICTURE ON THE WALL. KELLY A close shot of the alien planet. WE ARE LOOKING AT A STEREOSCAN SHOT. KELLY You will notice what appears to be a lava rock formation. ON STRAKER STRAKER It's incredible ... but I don't recall seeing this before. TWO SHOT KELLY If you'll bear with me, Commander. HE PROJECTS ANOTHER STEREOSCAN SHOT. KELLY Here's another. The structure in the centre, could be some sort of building. STRAKER WATCHES INTENTLY. KELLY PROJECTS ANOTHER SHOT. ON SCREEN THE BEES EYE SHOT KELLY (VO) We think this is an agricultural area. ANOTHER PICTURE COMES ON THE SCREEN. KELLY (VO) Another shot showing rock formation. ***PAGE*** -58- 152 (continued) ON STRAKER THE PICTURES ON THE SCREEN ARE AMAZING, THE AUDIENCE WILL ALSO BELIEVE THEY ARE CLOSE SHOTS OF THE ALIEN PLANET. WIDER ANGLE KELLY PROJECTS TWO MORE SHOTS, SHOWING INCREDIBLE PICTURES. STRAKER And you're trying to tell me these shots tell you nothing. TWO SHOT KELLY Commander, you said earlier if you took a picture of a girl from three feet or 100 yards you could still recognise it as a girl. STRAKER Yes, I did. ON KELLY HE MOVES A COUPLE OF CONTROLS AND FLICKS A SWITCH. KELLY Take a look at this, sir. WIDER ANGLE A SHOT IS PROJECTED ONTO THE SCREEN KELLY Whatever the range, this is obviously a shot of the alien planet. A close up of the surface. ON SCREEN THE CLOSE UP OF A WOMAN'S LEG AS SEEN THROUGH A STEREOSCAN. STRAKER I'm no expert, but that's got to be some kind of vegetation. RESUME SCENE ***PAGE*** 59 NEW PAGE - "CLOSE UP" 23rd September, 1969. 152 (continued) THE PICTURE CHANGES TO A CLOSE SHOT OF THE LEG. WE CAN NOW SEE THE CURVE OF FLESH WHICH LOOKS LIKE THE CURVATURE OF A PLANET. KELLY Alright, let's pull back - you will notice the curvature of the horizon....let's pull back a little more. ON SCREEN THE PICTURE CHANGES, THE MAGNIFICATION IS MUCH LESS - WE NOW SEE THE UPPER LEG AND THE EDGE OF A PAIR OF BRIEFS. ON STRAKER BEGINNING TO REALISE ON SCREEN WE NOW SEE IT IS A HUMAN LEG. RESUME SCENE THE PICTURE CHANGES TO ONE OF HALF A GIRL. THEN FINALLY THE WHOLE GIRL. KELLY TURNS ON THE LIGHTS, CROSSES TO A DOOR AND OPENS IT. STRAKER FOLLOWS HIM. CUT TO 153 INT. ANTE ROOM (STUDIO) 14 SECS GAY STANDS AGAINST A TARGET WALL. HER UPPER LEG IS HELD IN A METAL CLAMP, HER HAND IS ON HER HIP. WE SEE THE STEREOSCAN WHICH HAS BEEN TAKING SHOTS. STRAKER Hello, Gay. GAY Hello, Commander. KELLY You can relax now, thank you. GAY It was a pleasure. SHE GOES TO UNFASTEN THE CLAMP. STRAKER Hold it a minute, will you. CUT TO ***PAGE*** -60- 154 INT. LAB (STUDIO) 85 SECS STRAKER GOES BACK INTO THE LAB, TO THE PROJECTOR. THROUGH THE OPEN DOOR WE CAN SEE AYESHA. ON STRAKER HE OPERATES THE CONTROLS ON SCREEN WE GO BACK IN REVERSE, STARTING ON AYESHA, AND ENDING ON THE HIGHLY MAGNIFIED SHOT OF HER LEG. THIS SHOT SMUDGES AS AYESHA MOVES TO UNDO THE CLAMP. ON STRAKER DEEP IN THROUGHT. KELLY AND AYESHA JOIN HIM. AYESHA Not the most flattering of pin ups. STRAKER Yes. But I'm beginning to see the problem. KELLY PICKS UP A SET OF PHOTOS. KELLY Yes, sir. Without knowing details of range and magnification.. ON PHOTOS AS HE HANDS THEM ONE BY ONE TO STRAKER KELLY(VO) A lava flow becomes a piece of shattered polystyrene. Magnification X 2155. KELLY(VO) An agricultural area, the eye of a wasp. KELLY(VO) The surface of a planet, a piece of puffed wheat. ON STRAKER HE IS VERY THOUGHTFUL ***PAGE*** -61- 154 (continued) STRAKER Well you've certainly made your point. How are these shots produced ? TWO SHOT KELLY The secret is the Ôthree dimensional' effect. The depth of focus. It's been known for twenty five years, but it needs development. STRAKER So while we've all been busy looking into outer space, men like you have been sitting on this. ON STRAKER HE LOOKS AT ONE OF KELLY'S PHOTOS STRAKER Inner space. Your pet project. ON KELLY KELLY Yes. It's a vast area almost completely unexplored. I believe it could well give us the answers to some of the basic questions about the universe and even life itself. TWO SHOT STRAKER Maybe we've all been looking the wrong way. CUT TO: 155 INT. HENDERSON'S OFFICE. DAY. (STUDIO) 55SECS WE ARE VERY CLOSE ON STRAKER AND FOR THE MOMENT DO NOT REALISE THAT WE HAVE CUT STRAKER When you really think about it. Everything in the room, every object, even a speck of dust, contains billions of particles, each particle made up of millions of atoms. A whole universe within these four walls. ***PAGE*** -62- 155 (continued) PULL BACK TO SHOW WE ARE IN HENDERSON'S OFFICE, WITH HENDERSON SEATED BEHIND HIS DESK. SOME OF KELLY'S PICTURES ARE STREWN AROUND. STRAKER I can walk along a beach ... stand with a million grains of sand beneath my feet. Is everything we know, this office, the world, the vastness of space inside one grainof sand on a beach, on another world, in another universe. ON STRAKER STRAKER Space is infinite - both ways : outward and inward. TWO SHOT HENDERSON IS THOUGHTFUL. HENDERSON You can tell Kelly he'll get his appropriation - maybe more than he expects. I get the picture. ON STRAKER STRAKER A greatly magnified picture. HE PICKS UP A PHOTO. ON PHOTO SLOWLY TRACK IN ON IT FADE OUT END OF ACT IV SPONSOR'S MESSAGE ***PAGE*** CENTURY 21 PICTURES LIMITED U.F.O TELEVISION SERIES --------------------------- ----------------------- CALL SHEET No.: 1 ---------- ----------- PRODUCTION CLOSE-UP Episode 13 DATE Monday 29th September ........................... ....................... SET AS BELOW STAGE 6 .................................. ...................... DIRECTOR ALAN PERRY UNIT CALL 8.30 A.M. ............................. .................. ============================================================================= ARTIST CHARACTER D/R No. MAKE UP CALL SET CALL ============================================================================= 1) INT. SKYDIVER CONTROL SC: NOS: C.E.G.J.L.O.Q.S. ----------------------------------------------- GARY MYERS WATERMAN C.107 8.00 8.30 JEREMY WILKIN MAXWELL C.211 8.00 8.30 GEORGINA MOON SYLVIA HOWELL C.209 7.00 8.30 CROWD ----- 3 MEN CREW CROWD 8.00 8.30 PROPS ----- AS PER SCRIPT TO INCLUDE CHART, DEPTH GAUGE, WATERMAN'S WATCH, MICROPHONE ELECTRON -------- T.V. EQUIPMENT. RADAR SCREEN WITH BLIP. ----------------------------------------------------------------------------- 2) INT. LAUNCH CONTROL SC: NOS. 30.33.35.37.39.41.44. DAY ------------------------------------------------------ FRANK MANN CONTROLLER B.101 11.00 12.00 ROBERT SHERMAN 1ST OPERATIVE B.102 11.00 12.00 ROBERT HOWAY 2ND OPERATIVE B.103 11.00 12.00 CLIVE ENDERSBY HARRY B.104 11.00 12.00 CROWD ----- 5 MEN OPERATIVES CROWD 8.30 12.00 PROPS ----- AS PER SCRIPT TO INCLUDE COUNTDOWN CLOCKS ELECTRON -------- T.V. MONITORS, COMPUTER READOUTS (MAIN T.V. MONITOR WITH BLACK VELVET) ----------------------------------------------------------------------------- 3) INT. STRAKER'S UNDERGROUND OFFICE SC: NO: 46. --------------------------------------------- ED BISHOP STRAKER C.111 STAND-BY (FROM 'B' UNIT) PROPS ----- AS PER SCRIPT STAND-INS --------- A.N. OTHER for GARY MYERS 8.00 A.N. OTHER for JEREMY WILKIN 8.00 CATERING TEA TROLLEY OUTSIDE STAGE 6 @ 10.00 & 3.30 FOR 60 PERSONS -------- LUNCH 1.00 - 2.00 ----- RUSHES EXECUTIVE & 1.00 RUSHES FOR EPISODE 12 IN THEATRE 3 MONDAY 29TH ONLY ------ -------------------------- LEO EATON Assistant Director ------------------ ------------------------------ CUT HERE ----------------------------------------