THE SCRIPT FOR THE UFO EPISODE "A QUESTION OF PRIORITIES" Transcription by Gene Dahl. Introduction by Marc Martin. This is a transcription of a photocopy of a script for the UFO episode "A QUESTION OF PRIORITIES". 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 episodes. The A QUESTION OF PRIORITIES script has many minor differences throughout, and the following major ones: *At the very end there is an additional scene where Straker meets with the old blind lady. *The beginning sequence with Straker and his son at the studio had yet to be fleshed out. *The script has a few sequences with Paul Foster -- in the final episode all of these sequences used Peter Carlin instead, as this was Peter Gordeno's final episode in the series. This script also has 9 additional "new pages" (revisions) at the end, which bring the script closer to the final episode. These are included at the end of this file. Enjoy! ------------------------------ CUT HERE -------------------------------- " U. F. O. " SERIES "A QUESTION OF PRIORITIES" by Tony Barwick (c) Century 21 Pictures Stirling Road Slough BUCKS ***PAGE*** SET LIST EXT. LOT (LOCATION) EXT. ROAD (LOCATION) INT. CAR (STUDIO) EXT. HOUSE (LOCATION) EXT. CAR (LOCATION) EXT. HOSPITAL (LOCATION) INT. HOSPITAL WAITING AREA (STUDIO) EXT. STUDIO (LOCATION) INT. OUTER OFFICE. DAY. (STUDIO) INT. INNER OFFICE (STUDIO) INT. SHADO CORRIDOR (STUDIO) INT. CONTROL ROOM (STUDIO) INT. MOONBASE CONTROL (STUDIO) INT. SKYDIVER (STUDIO) INT. SKY 1 (STUDIO) INT. COTTAGE (STUDIO) INT. SHADO MOBILE (STUDIO) INT. LEISURE DINING SPHERE (STUDIO) INT. INTERCEPTOR (STUDIO) EXT. FIELD (LOCATION) INT. PRIVATE ROOM (HOSPITAL) V.E. SETS EXT. SPACE EXT. STRATOSPHERE EXT. U.F.O. EXT. IRELAND EXT. UNDERWATER EXT. SKYDIVER EXT. SKY 1 EXT. SEA EXT. SKY EXT. COUNTRYSIDE EXT. AIRFIELD EXT. TRANSPORTER ***PAGE*** CAST LIST Speaking Parts: STRAKER JOHN STRAKER MARY DRIVER RUTLAND NURSE DOCTOR MISS EALAND FORD FREEMAN GAY ELLIS JOAN FOSTER MAXWELL HOWELL FRASER MRS. O'CONNOR MASTERS ASTRONAUT NINA AYESHA ***PAGE*** "A QUESTION OF PRIORITIES" ACT I FADE IN: 1 EXT. LOT. DAY. (LOCATION) 90 SECS ED STRAKER RIDES TOWARDS CAMERA. BEHIND HIM WE SEE HIS EIGHT YEAR OLD SON, JOHN, ON A PONY. STRAKER AND THE BOY'S MOTHER WERE DIVORCED THREE YEARS AGO, THIS IS THEIR MONTHLY DAY OUT TOGETHER. ON JOHN HE URGES HIS PONY FORWARD TO CATCH HIS FATHER. ON STRAKER HE DISMOUNTS, PATS HIS HORSE ON THE NOSE. WIDER ANGLE STRAKER WALKS OVER TO HIS SON AND HELPS HIM DISMOUNT. THE BOY IS HAPPY, FULL OF ENERGY. HE RUNS OFF. JOHN Come on, Daddy. ON STRAKER LOOKING AFTER HIS SON, A LITTLE SAD, THE WAY THINGS WERE; THE WAY THINGS COULD HAVE BEEN. WIDER ANGLE JOHN AND STRAKER PLAY AROUND THE LOT. WE ESTABLISH IT IS THE STUDIO. (THIS IS ONLY A GUIDE, A FULL SCRIPTED SEQUENCE WILL BE WRITTEN IN CONJUNCTION WITH THE DIRECTOR.) CUT TO: 2 EXT. LOT. DAY. (LOCATION) 20 SECS STRAKER AND JOHN WALK TO STRAKER'S CAR. JOHN RUNS ON AHEAD. ON STRAKER WATCHING JOHN O.S. HE GIVES A TIGHT SMILE. IT IS TIME TO TAKE THE BOY HOME. CUT TO: ***PAGE*** -2- 3 EXT. ROAD. DAY. (LOCATION) 5 SECS STRAKER'S CAR UP AND PAST ALONG A COUNTRY ROAD. CUT TO: 4 INT. CAR. DAY. (STUDIO) 25 SECS JOHN, FULL OF ENERGY AND INTEREST, PUSHES BUTTONS, PULLS KNOBS, OPENS THE GLOVE COMPARTMENT ETC. AS STRAKER DRIVES. ON JOHN HE PUSHES A BUTTON, THE RADIO BLARES ON. HE QUICKLY TURNS IT OFF, AND LOOKS UP AT HIS FATHER EXPECTING A REBUKE. ON STRAKER A MOMENT OF MOCK INDIGNATION, THEN A WINK. ON JOHN HE GRINS BROADLY AND TURNS THE RADIO ON. THE MUSIC BLARES OUT. CUT TO: 5 EXT. JUNCTION. DAY. (LOCATION) 6 SECS STRAKER'S CAR COMES UP TO THE JUNCTION AND TURNS. CUT TO: 6 INT. CAR. DAY. (STUDIO) 36 SECS THE MUSIC IS MORE SUBDUED, JOHN SITS QUIETLY. STRAKER SPEAKS, TRYING TO THROW AWAY THE REMARK. STRAKER Nearly home, John. ON JOHN HE DOESN'T ANSWER, DOESN'T LOOK AT HIS FATHER. HIS YOUNG MIND FULL OF DOUBTS AND CONFUSION. ON STRAKER HE HAS NO WORDS. TWO SHOT STRAKER TRIES TO BREAK THE MOOD. ***PAGE*** -3- 6 (continued) STRAKER How did you make out with the model boat ? JOHN I finished it. STRAKER You finished it ... THE CAR PHONE BUZZES. STRAKER FLICKS OFF THE RADIO AND ANSWERS THE CALL. STRAKER (into phone) Straker ... OK Alec .... STRAKER CHECKS HIS WATCH. STRAKER .... I'll be back around six.... right. HE REPLACES THE PHONE; A FEW MOMENTS SILENCE. JOHN Would you like to see it ? STRAKER'S THOUGHTS ARE BROKEN. STRAKER Hmm ? JOHN The boat, daddy. STRAKER Oh, sure I would. CUT TO: 7 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 40 SECS A SCENE OF URGENT ACTIVITY, THE OPERATORS TRACK A U.F.O. ALEC FREEMAN CHECKS A READOUT, MOVES OVER TO A TRACKER SCREEN. ON FORD FORD They're still maintaining course.... ***PAGE*** -4- 7 (continued) ON FREEMAN CONCERNED. FREEMAN Termination ? FORD Should be through any second. FREEMAN What happened to the interceptors ? FORD They didn't make contact. FREEMAN REACTS. FORD They're coming in too fast ... ON FORD FOLLOWING THE UFO'S ON HIS TRACKER SCREEN. CUT TO: 8 EXT. SPACE. (VE) 6 SECS A UFO PASSES THROUGH FRAME. HOLD THE SHOT AND ANOTHER COMES INTO CAMERA FOLLOWING THE FIRST. CUT TO: 9 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 27 SECS ON FORD AND FREEMAN. LT. ELLIS' VOICE COMES OVER. GAY Moonbase to control. Speed SOL 1.4. THEY REACT, IT IS MUCH TOO FAST. ON FORD INTENT ON HIS SCREEN FORD They're changing course. WIDER ANGLE FREEMAN LEANS CLOSE OVER FORD. ***PAGE*** -5- 9 (continued) FORD Correction ... one maintaining flight path ... the second ... new course 042 183 ON FREEMAN FREEMAN One's veered off ... HE IS PUZZLED. CUT TO: 10 EXT. SPACE. (VE) 4 SECS ONE UFO ONLY NOW HEADS TOWARDS THE EARTH. SUPERIMPOSE UFO CREDIT. CUT TO: 11 EXT. HOUSE. DAY. (LOCATION) 9 SECS STRAKER'S CAR PULLS INTO THE DRIVEWAY AND STOPS OUTSIDE THE FRONT DOOR. CUT TO: 12 INT. CAR. DAY. (STUDIO) 10 SECS JOHN I'll go and get the boat ... wait for me, Dad. STRAKER SMILES AND NODS YES. JOHN GOES TO GET OUT OF THE CAR. CUT TO: 13 EXT. DOOR. DAY. (STUDIO OR LOCATION) 88 SECS THE DOOR IS OPENED BY MARY, STRAKER'S EX-WIFE. SHE HAS HEARD THE CAR. JOHN DIVES IN PAST HIS MOTHER. MARY LOOKS OVER TO: ON STRAKER STANDING OUTSIDE HIS CAR. STRAKER Hello, Mary. ***PAGE*** -6- 13 (continued) ON MARY MARY (gentle) Hello, Ed .... SHE HARDENS. MARY You're late ... TWO SHOT STRAKER Yes, it was such a great day. I thought an extra half hour .... A VOICE FROM INSIDE THE HOUSE. RUTLAND (VO) Mary ... MARY GLANCES BACK INTO THE HOUSE. MARY Can you make it a week later next month ... the 18th ? STRAKER Right, the 18th ... Listen, I'd like to talk to you about John. Is he.... MARY (interrupting) No. He's fine.... we're both fine. ON MARY RUTLAND (VO) (more urgent) Mary ... SHE NOW INCLUDES HER NEW HUSBAND, RUTLAND, WHO JOINS HER AT THE DOOR. MARY We're _all_ perfectly alright. ON STRAKER A LONG PAUSE STRAKER Right. ***PAGE*** -7- 13 (continued) TWO SHOT: A LONG PAUSE. MARY Goodbye, Ed. STRAKER Er ... John wanted to show me something. MARY I think you'd better go ... I'll explain to John. ON STRAKER THERE IS NOTHING HE CAN SAY. HE GIVES A RESIGNED NOD AND WALKS TOWARDS HIS CAR. ON MARY SHE WATCHES AS WE HEAR THE CAR START UP AND MOVE AWAY. HER FACE SOFTENS, SHE STILL HAS FEELINGS FOR STRAKER. JOHN APPEARS ROUND HER LEGS CARRYING THE MODEL BOAT. HE REACTS JOHN Dad's going ... MARY RESTS A HAND ON HIS SHOULDER. MARY He had to leave ... he'll see you next month. CUT TO: 14 EXT. HOUSE. DAY. (LOCATION) 4 SECS FROM THEIR POV, STRAKER'S CAR STOPPED AT THE END OF THE DRIVE WAITING TO GO INTO THE ROAD. IT STARTS FORWARD. CUT TO: 15 EXT. DOOR. DAY. (STUDIO OR LOCATION) 4 SECS JOHN RUNS FORWARD AVOIDING HIS MOTHER'S RESTRAINING HAND. MARY John.... CUT TO: ***PAGE*** -8- 16 EXT. ROAD. DAY. (LOCATION) 6 SECS JOHN COMES RUNNING OUT OF THE DRIVE INTO THE ROAD. HE TURNS TO A TERRIBLE SCREECH OF BRAKES. CS - CAR LOOMING UP, BRAKES SCREAMING. A SICKENING THUD AND SOUND OF BREAKING GLASS. ON DRIVER THROUGH THE WINDSCREEN. HORRORSTRUCK. CUT TO: 17 INT. STRAKER'S CAR. DAY. (LOCATION) 4 SECS STRAKER HAS STOPPED HIS CAR.. HE LOOKS BACK IN APPALLING DISBELIEF. CUT TO: 18 EXT. DOOR. DAY. (STUDIO OR LOCATION) 4 SECS ON MARY, MOVING QUICKLY FORWARD, STIFLING A SCREAM. CUT TO: 19 EXT. CAR. DAY. (LOCATION) 28 SECS ON THE FRONT OF THE CAR. JOHN'S BODY LIES IN THE ROAD HALF UNDERNEATH, THE GLASS FROM A BROKEN HEADLAMP LIES AROUND. OVER WE HEAR THE SOUND OF URGENT, RUNNING FEET AND A CAR DOOR SLAMMING. DRIVER (VO) He ran out ... I couldn't do a thing ... he just came running out. MARY (VO) John ... Oh, my God! ANOTHER ANGLE THE DRIVER AND MARY CROUCH DOWN AT THE FRONT OF THE CAR. MARY John ... DRIVER I couldn't stop ... he just came running out. STRAKER COMES INTO SHOT. ***PAGE*** -9- 19 (continued) ON STRAKER HIS FACE CONTORTED, STARING DOWN. POV SHOT FROM STRAKER'S POV ZOOM IN FAST. THERE IN THE ROAD LIES THE BROKEN MODEL OF THE BOAT. MAIN TITLES 1) AMBULANCE UP AND PAST 2) JOHN INTO AMBULANCE ON STRETCHER 3) MARY AND RUTLAND INTO AMBULANCE. STRAKER ALONE. 4) AMBULANCE UP AND PAST, FOLLOWED BY STRAKER'S CAR. 5) STRAKER IN HIS CAR 6) AMBULANCE ARRIVES AT HOSPITAL, STRAKER'S CAR IN B.G. 7) JOHN LIFTED OUT OF AMBULANCE. 8) JOHN ALONG CORRIDOR. CUT TO: 20 INT. HOSPITAL WAITING AREA. DAY. (STUDIO) 25 SECS START CLOSE ON STRAKER, LEANING FORWARD, HAND ON FOREHEAD, AS HE SITS IN THE HOSPITAL WAITING AREA. ANOTHER ANGLE: MARY AND RUTLAND WAIT OPPOSITE STRAKER. RUTLAND IS AROUND 45, MARY PROBABLY MARRIED HIM OUT OF LONELINESS MORE THAN ANYTHING ELSE. HE DOESN'T LIKE STRAKER, SENSING MARY STILL HAS A LOT OF AFFECTION LEFT FOR HIM. STRAKER DOESN'T LIKE RUTLAND FOR OBVIOUS REASONS. MARY IS STUNNED WITH GRIEF. RUTLAND SITS AT HER SIDE, SMOKING. ***PAGE*** -10- 20 (continued) ON STRAKER LOOKING ACROSS AT MARY, THINKING WHY DOESN'T THE STUPID SLOB TRY AND COMFORT HER. HE REACTS AND LOOKS UP AS A DOOR OPENS. ON NURSE SHE QUICKLY GLANCES AROUND, USED TO THE ATMOSPHERE OF GRIEF. NURSE The doctor will see you in a moment. They came out of the theatre ten minutes ago. ON STRAKER HE HAS STOOD UP ON NURSE THE NURSE ANSWERS THE UNSPOKEN QUESTION. NURSE He's as well as can be expected. THE WAY SHE SAYS IT LEAVES AN AIR OF DOUBT. ON GROUP: THE NURSE WALKS OUT OF SHOT. STRAKER LOOKS ACROSS AT MARY. CUT TO: 21 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 17 SECS ON FREEMAN HE WALKS ALONG THE CONTROL ROOM THEN WHIPS ROUND AS - FORD (VO) Termination coming through... ON AYESHA LOOKING AT SCREEN. AYESHA Ireland.... West coast. ***PAGE*** -11- 21 (continued) ON FORD FORD It's still coming in too fast. ON AYESHA AYESHA Range 7,000,000 CUT TO: 22 INT. MOONBASE CONTROL (STUDIO) 18 SECS ON GAY AND NINA AT TRACKER CONSOLE. NINA Speed SOL 1.4 ... not reducing. GAY Check it. NINA CHECKS THE INSTRUMENTATION. NINA Confirm 1.4. GAY WALKS OVER TO HER CONSOLE. ON GAY SHE ACTIVATES THE EARTH LINK. GAY We still have it... but the velocity is far too high. CUT TO: 23 EXT. SPACE. (VE) 5 SECS THE UFO SPEEDING TOWARDS THE EARTH. CUT TO: 24 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 16 SECS FREEMAN WATCHES AS THE OPERATORS CONTINUE TO TRACK THE U.F.O. AYESHA Range 84,000. ***PAGE*** -12- 24 (continued) ON FREEMAN HE RUBS HIS CHIN. A NERVOUS MOVEMENT. WIDER ANGLE FREEMAN TURNS TO FORD. FREEMAN It must slow soon ... AYESHA Range 28,000 ... 27,000 ... 26,000 ... CUT TO: 25 EXT. SPACE. (VE) 6 SECS THE UFO COMING IN, THE SPACE SKY CHANGING AS IT NEARS THE EARTH. CUT TO: 26 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 24 SECS THE TENSE ATMOSPHERE IS MAINTAINED. AYESHA 20,000 ... 19,000 ... reducing speed. ON FREEMAN AND FORD HE BARKS OUT THE ORDER - FREEMAN Alert ground radar. FORD All radar stations, areas B.142 and 144 -- Red Alert. I say again, Red Alert. CUT TO: 27 EXT. STRATOSPHERE. DAY. (VE) 5 SECS THE UFO HEADING TOWARDS THE EARTH. CUT TO: ***PAGE*** -13- 28 INT. HOSPITAL WAITING AREA. DAY. (STUDIO) 177 SECS MARY LOOKS AT STRAKER, THEN TRIES TO PULL HERSELF TOGETHER, PUSHES BACK A LOCK OF HAIR FROM HER CHEEK. ON DOCTOR HE COMES INTO THE WAITING AREA, FAIRLY YOUNG BUT WITH AN EASY AUTHORITATIVE MANNER. DOCTOR Mrs. Rutland. I'm Doctor Segal. GROUP MARY MOVES FORWARD. MARY How is he ? STRAKER WAITS IN THE B.G. ON DOCTOR HE IS SERIOUS. DOCTOR The boy has a broken right femur and a compound fracture of the tibia and fibula. HE PAUSES. DOCTOR There was serious internal rupture and haemorrhage. He's been given a transfusion. GROUP SHOT A LONG SILENCE. THE DOCTOR HAS NOT BEEN COM- PLETELY REASSURING. MARY May we see him ? DOCTOR Not for the moment, I'm afraid. ON DOCTOR DOCTOR As you probably know, your son has an allergy to antibiotics. ***PAGE*** -14- GROUP SHOT MARY Yes, when he was just a baby... SHE BREAKS OFF AS STRAKER WHO HAS REMAINED IN THE B.G. MOVES FORWARD. ON STRAKER STRAKER When he was three months he was critically ill from a teromicine injection. GROUP SHOT THE DOCTOR LOOKS AT STRAKER. STRAKER I'm the boy's father... DOCTOR I see ... Well, the problem is one of elimination. We need to find a suitable antibiotic.... It takes time... STRAKER LOOKS AT MARY, HER FACE TIGHT WITH ANXIETY. STRAKER There must be something. DOCTOR Well, there's the new American non- alegeretic drug ... STRAKER Will it do the job ? DOCTOR It's been fully tested but supplies are still extremely limited. STRAKER But available. DOCTOR In America yes, but we need it urgently.... within the next few hours. MARY IS NEAR TO BREAKING POINT. RUTLAND We could have some flown over. I'll charter a plane if necessary. ***PAGE*** -15- 28 (continued) DOCTOR I'm afraid there isn't time. STRAKER (quietly) I'll take care of it. RUTLAND What are you talking about ? How can you ? STRAKER (hard) I said _I'll_ take care of it. He's still my son. HE TURNS TO THE DOCTOR. STRAKER If you'll give me the details, doctor. THE DOCTOR NODS AND GOES BACK THROUGH THE DOOR. WE HEAR A BLEEP, STRAKER REACTS AND TAKES A SLIM BLEEPER FROM HIS POCKET AND TURNS IT OFF. ON STRAKER HE WALKS OVER TO HIS CHAIR, OPENS A CASE ON THE FLOOR BESIDE IT AND TAKES OUT A RADIO TELEPHONE. STRAKER (into phone) Straker ... yes ... I'll be there right away. HE FROWNS AND PUTS THE PHONE AWAY. GROUP SHOT STRAKER WALKS BACK TO JOIN MARY AND RUTLAND. THE DOCTOR COMES OUT OF THE DOOR AND HANDS A SLIP OF PAPER TO STRAKER. DOCTOR Tell your contact to ask for Doctor Ashley .... STRAKER Thank you. HE TURNS TO MARY. ***PAGE*** -16- 28 (continued) STRAKER I have to leave. MARY (bitter) You always had to leave .... ON STRAKER REMEMBERING THE OLD TIMES, THE BROKEN DATES, WORKING ALL HOURS OF THE DAY AND NIGHT. THE EXCUSES..... THE ROWS. HE TURNS AND WALKS AWAY. ON MARY WATCHING HIM GO. ALSO THINKING OF THE OLD TIMES. ON RUTLAND. SENSING THE FEELING BETWEEN THEM, AND TRYING TO HIT AT STRAKER. RUTLAND We'll stay and see the boy through, Mary. CUT TO: 29 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 17 SECS FREEMAN HAS MOVED OVER TO STAND BY FORD. FORD 4,800 miles from impact. FREEMAN Speed ? FORD 24,000 knots..... ON FREEMAN FREEMAN It's going to crash. CUT TO: 30 EXT. U.F.O. DAY. (VE) 5 SECS ROARING DOWN TOWARDS THE EARTH. CUT TO: ***PAGE*** -17- 31 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 7 SECS FORD We have it on ground radar.... impact minus ten seconds. CUT TO: 32 EXT. U.F.O. DAY (VE) 5 SECS IT LEVELS OUT. CUT TO: 33 EXT. IRELAND. DAY. (VE) 7 SECS WE ARE SOMEWHERE IN THE WILD UNINHABITED WEST OF IRELAND. WE SEE A CAPSULE EJECT FROM THE U.F.O. THEN THE U.F.O. CRASHES IN THE SEA. CUT TO: 34 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 50 SECS FORD Impact confirmed... FREEMAN Do we have a fix ... ? FORD Yes, sir. FREEMAN Where's Skydiver ? FORD Sky 1 could be there in ... around twenty minutes. FREEMAN Tell Foster to overfly the area... FORD Yes, sir. FORD NODS TO AYESHA IN B.G. TWO SHOT FORD AND FREEMAN AYESHA (VO in BG) This is Shado Control to Skydiver. Sky 1 immediate launch, proceed to Area B.142 - 08. ***PAGE*** -18- 34 (continued) FREEMAN It's crazy -- coming in at that speed. FORD Could it have been damaged ? FREEMAN I don't see how. The interceptors didn't get near it. FORD Well the aliens don't usually make that kind of mistake. FREEMAN At least it shows they're fallible. FORD NODS. CUT TO: 35 EXT. ROAD. DAY. (LOCATION) 6 SECS STRAKER'S CAR UP AND PAST. CUT TO: 36 INT. CAR. DAY. (STUDIO) 15 SECS STRAKER IS ON THE CAR PHONE TO MISS EALAND. STRAKER Miss Ealand. MISS EALAND (VO) Yes, sir. STRAKER Contact New York. I want a special courier to pick up a drug from the Westmore Hospital ... Take down the details .... CUT TO: 37 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS WE SEE FOSTER COME UP INTO THE COCKPIT OF SKY 1. CUT TO: 38 INT. SKY 1 (UNDERWATER) (STUDIO) 10 SECS FOSTER CHECKS HIS INSTRUMENTS, THEN: ***PAGE*** -19- 38 (continued) FOSTER Launch Stations... CUT TO: 39 INT. SKYDIVER CONTROL (UNDERWATER) (STUDIO) 10 SECS WE FEATURE MAXWELL. MAXWELL Blow one and two. HOWELL Yes, sir. WE HEAR THE BALLAST TANKS BLOW. CUT TO: 40 EXT. SKYDIVER UNDERWATER (VE) 5 SECS THE FUTURISTIC SUBMARINE ANGLES UP TOWARDS THE SURFACE. CUT TO: 41 INT. SKY 1. (UNDERWATER) (STUDIIO) 4 SECS FOSTER Lift off stations. CUT TO: 42 INT. SKYDIVER (UNDERWATER) (STUDIO) 15 SECS AGAIN WE FEATURE MAXWELL MAXWELL Lift off stations. THE CREW HURRY INTO THE WELL DRILLED PROCEDURE. MAXWELL Lift off minus five... four... thre....two.....one.... CUT TO: 43 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS SKY 1 BURSTS AWAY AND HEADS FOR THE SURFACE. CUT TO: ***PAGE*** -20- 44 EXT. SEA. DAY. (VE) 5 SECS SKY 1 BREAKS THE SURFACE AND SPEEDS SKYWARDS. CUT TO: 45 INT. SKY 1. DAY. (STUDIO) 10 SECS FOSTER Sky 1 airborne... proceeding to search area.... ETA 21 minutes. CUT TO: 46 EXT. SKY. DAY. (VE) 5 SECS SKY 1 LEVELS OFF AND FLIES OUT OF SHOT. CUT TO: 47 EXT. STUDIO. DAY. (LOCATION) (STOCK) 6 SECS STRAKER'S CAR PULLS UP OUTSIDE THE STUDIO. CUT TO: 48 INT. MISS EALAND'S OFFICE. DAY. (STUDIO) 20 SECS START ON MISS EALAND. PAN TO THE DOOR AS STRAKER COMES INTO THE OFFICE. STRAKER Has that drug been picked up, Miss Ealand ? MISS EALAND Yes, sir. They're taking it straight to the airport. STRAKER Fine. I'll make the arrangements with the transporter. MISS EALAND Yes, sir. STRAKER MOVES QUICKLY TO HIS INNER OFFICE. THE LIGHTED PANEL CHANGES TO ENTER, THE ELECTRONIC BOLTS SLIDE BACK AND STRAKER GOES IN. CUT TO: ***PAGE*** -21- 49 INT. STRAKER'S INNER OFFICE. DAY. (STUDIO) 22 SECS STRAKER COMES IN AND OPENS THE CIGARETTE BOX. STRAKER Straker... THE VOICEPRINT MECHANISM WHIRRS. VOICEPRINT (VO) Identification positive.... Commander Straker. ON WINDOW THE ROOM STARTS TO DESCEND. ON STRAKER WORRIED, FROWNING, THINKING OF HIS SON. CUT TO: 50 INT. SHADO UNDERGROUND CORRIDOR (STUDIO) 8 SECS STRAKER WALKS TOWARDS THE CONTROL. HE STOPS AS A MESSENGER ON THE FUTURISTIC SCOOTER GOES PAST. THEN WALKS ON. CUT TO: 51 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 25 SECS STRAKER COMES IN. STRAKER What's the situation, Alec ? FREEMAN JOINS HIM AS THEY WALK ACROSS THE CONTROL ROOM TO STRAKER'S UNDERGROUND OFFICE. FREEMAN Two UFO's. One veered off 10 million miles out. The other crashed... Western Ireland. STRAKER REACTS. FREEMAN Its entry speed was too high. THEY GO INTO STRAKER'S OFFICE. CUT TO: ***PAGE*** -22- 52 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 95 SECS FREEMAN AND STRAKER. FREEMAN Sky 1 is on its way to search for the wreckage, though I doubt if there'll be much left to see. ON STRAKER STRAKER Fine. HE SEEMS PREOCCUPIED. TWO SHOT FREEMAN Everything alright ? STRAKER Is it ever ? ON FREEMAN FREEMAN Well ... I'm going to grab a bite to eat... join me ? ON STRAKER STRAKER Hmm ... no, I'm fine. You go ahead. ON FREEMAN STILL A LITTLE CONCERNED AT STRAKER. FREEMAN Right... I'll see you later.... TWO SHOT FREEMAN WALKS TO THE DOORWAY, LOOKS BACK AT STRAKER WHO AGAIN IS LOST IN THOUGHT. FREEMAN GOES OUT. ON STRAKER HE FLICKS AN INTERCOM. ***PAGE*** -23- 52 (continued) STRAKER Tell the Transporter in New York to stand by for immediate take-off. FORD (VO) But it isn't due to leave for another seven hours, sir. STRAKER (hard) I believe I said immediate take-off. FORD (VO) Yes, sir. HE SNAPS DOWN THE INTERCOM AND FLICKS UP ANOTHER SWITCH. STRAKER No calls, Miss Ealand. And get me 014-212. STRAKER WAITS IMPATIENTLY FOR THE PHONE TO RING. WHEN IT DOES HE GRABS IT FAST. STRAKER ... Intensive Care Unit please... I'm enquiring about a patient... a young boy... John Straker .... But there must be ... John Rutland, yes he could be under that name.... no change..... Thank you. HE SLOWLY PUTS DOWN THE PHONE. HIS OWN SON NO LONGER USES HIS NAME. AS WE TRACK SLOWLY IN, THE ANXIETY, THE DEEP HURT, SHOW ON HIS FACE IN THIS MOMENT OF PRIVATE MISERY. CUT TO: 53 INT. PRIVATE ROOM. HOSPITAL. DAY. (STUDIO) 18 SECS A SIMPLE SET. THE NURSE SITS AT JOHN'S SIDE. A SALINE DRIP FEEDS INTO HIS MOTIONLESS BODY. VARIOUS BIO SENSORS REGISTER ON SCOPES ETC., BY THE BED. TRACK IN ON JOHN'S ASHEN FACE. CUT TO: 54 EXT. SKY 1. DAY. (VE) 5 SECS IN LEVEL FLIGHT. CUT TO: ***PAGE*** -24- 55 INT. SKY 1. DAY. (STUDIO) 18 SECS FOSTER LOOKS DOWN TOWARDS THE GROUND. FOSTER Sky 1 to control ... looks like it crashed about a hundred yards off shore. It's an underwater job. MAXWELL (VO) Right up your street, sir. KARLIN Yeah. The light's fading but there's time for one more sweep. CUT TO: 56 EXT. SKY 1. DAY. (VE) 5 SECS SKY 1 STARTS TO BANK. CUT TO: 57 EXT. COUNTRYSIDE. NIGHT. (LOC. OR VE) 5 SECS WE ESTABLISH AN ISOLATED COTTAGE. THE SOUND OF SKY 1 OVERHEAD TELLS US WE ARE IN WESTERN IRELAND. CUT TO: 58 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS AN OLDE WORLDE COTTAGE. A LOG FIRE BURNS IN THE GRATE. A YOUNG COUNTRY DOCTOR, FRASER, HAS JUST FINISHED A ROUTINE EXAMINATION OF AN OLD LADY. FRASER Well, Mrs. O'Connor, there's not a lot wrong with you. MRS. O'CONNOR I could have told you that myself, doctor. FRASER I'm sure you could. Well, I'll call in next time I'm passing. MRS. O'CONNOR Won't you be stopping for a cup of tea ? ***PAGE*** -25- 58 (continued) FRASER No thanks. It's pretty late and I have to get over to the Reagan farm. THE DOCTOR HAS PACKED HIS THINGS BACK IN HIS CASE. MRS. O'CONNOR I'll see you to the door. I have to treat my gentlemen callers with great respect or else they won't come back. MRS. O'CONNOR LEADS THE WAY TOWARDS THE DOOR. ON FRASER. SHAKING HIS HEAD, MARVELLING AT THE OLD LADY AS SHE WALKS TO THE DOOR. CUT TO: 59 EXT. DOOR. NIGHT. (STUDIOR OR LOC.) 26 SECS IT OPENS. ON MRS. O'CONNOR HEAD TILTED SLIGHTLY SKYWARD, HER BLUE EYES TWINKLING. MRS. O'CONNOR It's a fine evening, smell the honeysuckle ... ON FRASER HIS ADMIRATION APPARENT. FRASER Goodbye, Mrs. O'Connor. HE WALKS O.S. ON MRS. O'CONNOR MRS. O'CONNOR God bless you, doctor. WE HEAR THE DOCTOR'S FOOTSTEPS ON THE GRAVEL. MRS. O'CONNOR SCREWS UP HER EYES A LITTLE. MRS. O'CONNOR (raising her voice a little) Goodbye. ***PAGE*** -26- 59 (continued) FRASER (VO) Bye. WE HEAR A CAR DOOR SLAM. CUT TO: 60 INT. COTTAGE. NIGHT. (STUDIO) 56 SECS MRS. O'CONNOR COMES BACK IN CLOSING THE FRONT DOOR. A BIRD IN A CAGE STARTS TO CHIRP. WE HEAR THE CAR DRIVE AWAY. BIRD (VO) Lovely day ... lovely day .... lovely day. MRS. O'CONNOR LOOKS OVER TO THE CAGE. MRS. O'CONNOR Oh, go way ou'a that ! You decide to talk when the company's gone. It's always the same. ON MRS. O'CONNOR MRS. O'CONNOR Such a nice young man. You're a naughty boy, Billy. SHE TURNS OUT THE LIGHT, THE ROOM GLOWS IN THE FIRELIGHT. THE OLD LADY GOES TO A ROCKING CHAIR AND SITS. ON MRS. O'CONNOR ROCKING GENTLY. EYES CLOSED, THE LIGHT FLICKERING ON HER FACE. A SOUND FROM OUTSIDE. SHE OPENS HER EYES. THE SOUND AGAIN. MRS. O'CONNOR (not frightened) Did you hear that, Billy ? Who is it Billy ... ? SHE STANDS UP. CUT TO: 61 EXT. DOOR. NIGHT. (STUDIO OR LOCATION) 35 SECS AS WE HEAR A NOISE FROM INSIDE THE COTTAGE A FIGURE MOVES QUICKLY BACK INTO THE SHADOWS. ***PAGE*** -27- 61 (continued) THE DOOR OPENS, MRS. O'CONNOR LOOKS OUT. MRS. O'CONNOR (no fear in the voice) Is anyone there ? SHE LEANS TO THE SIDE AND TURNS ON AN OUTSIDE LIGHT. ON ALIEN HIS FACE CAUGHT IN THE SPILL OF LIGHT FROM THE DOOR, THE EYES OPAQUE AND WEIRD. ON MRS. O'CONNOR. MRS. O'CONNOR I know there's someone there. ON ALIEN MOVING SLOWLY CAREFULLY TOWARDS MRS. O'CONNOR. HER HEAD IS TURNED AWAY FROM HIM. HE FREEZES THREE FEET FROM HER AS SHE TURNS TO LOOK STRAIGHT AT HIM. ON MRS. O'CONNOR. CLOSE ON HER FACE, THERE IS NO TRACE OF THE EXPECTED HORROR. MRS. O'CONNOR Ah .... you'll have to excuse me. I'm blind, you understand. FADE OUT END OF ACT I SPONSOR'S MESSAGE ***PAGE*** -28- FADE IN: ACT II 62 INT. COTTAGE. NIGHT. (STUDIO) 57 SECS START CLOSE ON THE BIRD, HIS FEATHERS ALL PUFFED UP. SOMEHOW HE KNOWS THE STRANGER IS ALIEN. WIDER ANGLE MRS. O'CONNOR SITS IN HER CHAIR. HER SIGHTLESS EYES HAVE THE STRANGE BRIGHTNESS OF MANY BLIND PEOPLE. THE ALIEN IS MOVING AROUND THE ROOM. WE SEE HIS LEFT ARM IS INJURED. A DARK STAIN OF BLOOD HAS SEEPED THROUGH HIS SPACESUIT. THE ONLY LIGHT FROM THE FIRE, IT IS THE SAME FOR ALL THE COTTAGE SCENES. HE IS LOOKING AROUND, PICKING UP AN OBJECT HERE AND THERE. HE REPLACES A VASE WITH A SLIGHT SOUND. ON MRS. O'CONNOR SHE TURNS QUICKLY TO THE DIRECTION OF THE SOUND. ON ALIEN HE LOOKS AT THE OLD LADY, THEN MOVES ON. ON MRS. O'CONNOR A LONG PAUSE, THE OLD LADY BRAVELY FIGHTING HER FEAR. MRS. O'CONNOR What are you doing... What are you looking for ? There's nothing of value here. WIDER ANGLE THE ALIEN MOVES ON MAKING A SLIGHT SOUND. ON MRS. O'CONNOR SHE REACTS, WAITING, TENSE... ON ALIEN HE MOVES FORWARD WEIRD AND MENACING IN THE FLICKERING FIRELIGHT. CUT TO: ***PAGE*** -29- 63 EXT. AIRPORT. NIGHT. (VE) 8 SECS A SHADO TRANSPORTER TAKES OFF FROM A U.S.A. EAST COAST AIRFIELD. CUT TO: 64 INT. PRIVATE ROOM HOSPITAL. (NIGHT) (STUDIO) 18 SECS THE NURSE IS BY THE BEDSIDE AS BEFORE; SHE IS CHECKING THE VISUAL READOUTS FROM THE BIO- SENSORS. SHE GLANCES AT THE BOY, HE LIES WHITE AND MOTIONLESS. THE NURSE GLANCES AT HER WATCH. CUT TO: 65 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 32 SECS START CLOSE ON A WALL TELEPHONE AS IT BUZZES. WIDER ANGLE MARY LOOKS SLOWLY UP, HER FACE GREY WITH WORRY. BESIDE HER RUTLAND SLEEPS. A NURSE COMES OUT OF THE DOORWAY AND ANSWERS THE PHONE. NURSE (into phone) A Block, night nurse speaking...... yes, she's still here. THE NURSE WALKS OVER TO MARY. NURSE For you. THE NURSE SMILES REASSURINGLY AND GOES BACK THROUGH THE DOORWAY. ON MARY SHE GETS UP, WONDERING WHO CAN BE CALLING, AND WALKS TO THE PHONE. MARY Yes ... Oh, it's you, Ed. SHE IS RELIEVED. MARY No, there's no news. CUT TO: ***PAGE*** -30- 66 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 5 SECS STRAKER AT HIS DESK ON THE PHONE. STRAKER ...The drug is on its way. Everything will be all right. CUT TO: 67 INT. HOSPITAL WAITING AREA. NIGHT. 20 SECS MARY Yes.... Yes, I will..... No, I'm fine.... I want to stay here..... Alright, - but don't let Johnny down this time, Ed.... SHE IS CLOSE TO BREAKING DOWN. MARY Don't let us down ..... I believe you .... 'Bye. CUT TO: 68 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 48 SECS STRAKER SLOWLY REPLACES THE PHONE. HE WANTS WHAT IS NO LONGER HIS. HE FLICKS THE INTERCOM. STRAKER (hard) Where's that Transporter ? FORD (VO) Just taken off, sir. ETA London, 23.30 hours. STRAKER I want a car and escort at the airport to meet it. FORD (VO) Yes, sir. STRAKER FLICKS THE INTERCOM. HE CLENCHES HIS FISTS AND BOWS HIS HEAD. ON DOORWAY FREEMAN COMES IN. ***PAGE*** -31- 68 (continued) TWO SHOT STRAKER PULLS HIMSELF TOGETHER, BUT FREEMAN HAS NOTICED. FREEMAN Great steak ... medium rare .... with a side order of salad. STRAKER Sounds very appetising. FREEMAN It was... it certainly was. (a pause) Look, er, it's pretty quiet, why don't you go home, watch the late show. ON STRAKER THERE IS NO SELF PITY IN HIS VOICE, IT'S JUST A PLAIN STATEMENT OF FACT. STRAKER I don't have a home ... just a place I live in ... CUT TO: 69 INT. COTTAGE. NIGHT. (STUDIO) 45 SECS START ON MRS. O'CONNOR IN HER ROCKING CHAIR. SHE LOOKS TO ONE SIDE ANGLING HER HEAD A LITTLE TRYING TO CATCH A SOUND. PAN TO THE ALIEN. ON ALIEN HE SITS AT A TABLE ASSEMBLING A STRANGE DEVICE WHICH WE WILL LATER SEE IS A POWERFUL TRANS- MITTER. ON MRS. O'CONNOR SHE GETS UP AND STARTS TO EDGE FORWARD. FEELING OUT WITH HER HAND. WE SEE WHAT SHE IS GROPING FOR - A TELEPHONE. ON ALIEN CONCENTRATING ON HIS WORK. ON MRS. O'CONNOR HER HAND FEELING FOR THE PHONE, SHE FINDS IT. FREEZES A MOMENT, LISTENING HARD. ***PAGE*** -32- 69 (continued) ON ALIEN NOT LOOKING UP. ON MRS. O'CONNOR SHE LIFTS THE RECEIVER. JUST AS SHE IS ABOUT TO SPEAK, THE ALIEN'S HAND COMES VERY FAST INTO SHOT AND TAKES THE RECEIVER GENTLY BUT FIRMLY. MRS. O'CONNOR (A stifled scream) WIDER ANGLE THE ALIEN REPLACES THE RECEIVER. MRS. O'CONNOR WALKS SLOWLY BACK TO HER CHAIR, THE ALIEN FOLLOWS. MRS. O'CONNOR Who are you ? What do you want from me ? ON ALIEN CLOSE ON HIS WEIRD OPAQUE EYES. CUT TO: 70 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 90 SECS FREEMAN LEANS OVER FORD AT HIS CONSOLE. FREEMAN What's the position, Paul ? FOSTER (VO) Well, we've confirmed the UFO crashed in the sea. Skydiver will be there in about 20 minutes. We'll start looking for wreckage right away. FREEMAN Fine. Contact us the moment you have anything. FOSTER (VO) Roger and out. ON FREEMAN AS HE WALKS OVER TO STRAKER FREEMAN I still can't figure why it came in so fast. STRAKER To avoid the interceptors ? ***PAGE*** -33- 70 (continued) ON FREEMAN FREEMAN Possible. But once it was past Moonbase, it still had plenty of time to deccelerate. SAME ANGLE AS TWO SHOT HE REACTS, STRAKER HAS WALKED OFF TO FORD - ON FORD STRAKER STANDS AT HIS SIDE, POINTS TO THE SCREEN. STRAKER The Transporter ? FORD Yes, sir. 23.30 hours confirmed as ETA. ON STRAKER LOOKING AT WATCH. STRAKER Have my car outside in 30 minutes. I'm going ...home. HE WALKS TO THE DOOR OF HIS OFFICE, BUT STOPS AND TURNS BACK TO SPEAK TO FREEMAN. STRAKER Maybe that UFO was trying to deccelerate but couldn't because it had been hit. ON FREEMAN FREEMAN The interceptors were way out. What else could have done it ? ON STRAKER STRAKER The second UFO. The one that veered off. HE GOES INTO HIS OFFICE. ON FREEMAN THE IDEA SEEMS RIDICULOUS, BUT SOMEHOW IT WORRIES HIM. ***PAGE*** -34- 70 (continued) TWO SHOT FREEMAN SPEAKS TO FORD. FREEMAN Tell Colonel Foster to keep a look out for any wreckage with signs of damage not consistent with the crash. FORD Right, sir. CUT TO: 71 EXT. SKYDIVER (UNDERWATER) NIGHT (VE) 8 SECS ITS POWERFUL UNDERWATER LIGHT IS ON AS IT SEARCHES THE SEA BOTTOM. CUT TO: 72 INT. SKYDIVER CONTROL (UNDERWATER) (STUDIO) 26 SECS FOSTER STUDIES A CHART. HE LOOKS UP TO MAXWELL. FOSTER (VO) Anything ? MAXWELL Not a sign. FOSTER Steer 042. MAXWELL Yes, sir. HE MOVES A CONTROL. MAXWELL 042 it is. CUT TO: 73 EXT. SKYDIVER. (UNDERWATER) (VE) 6 SECS SEARCHING AS BEFORE. CUT TO: 74 INT. COTTAGE. NIGHT. (STUDIO) 126SECS THE ALIEN SITS WORKING ON THE DEVICE. ON BIRD STILL AWAKE AND FRIGHTENED, FEATHERS PUFFED UP. ***PAGE*** -35- 74 (continued) ON MRS. O'CONNOR SHE STANDS UP AND BEGINS TO MOVE SLOWLY, CAREFULLY TOWARDS THE FRONT DOOR. SHE LOOKS OVER TO - POV SHOT THE ALIEN ON MRS. O'CONNOR SHE MOVES FORWARD TO THE DOOR. SLOWLY BEGINS TO OPEN IT. ON ALIEN HE LOOKS UP, REACTS, AND MOVES FORWARD. ON DOOR MRS. O'CONNOR GOES TO MOVE OUT. BUT THE ALIEN MOVES INTO SHOT AND SMASHES THE DOOR SHUT WITH THE PALM OF HIS HAND. ON MRS. O'CONNOR A SHARP INTAKE OF BREATH. SHE STANDS QUITE STILL. BEHIND HER SIGHTLESS EYES SHE FEARS THE WORST. WE HEAR THE KEY TURNED IN THE LOCK AND THE BOLTS DRAWN. THEN THE ALIEN LEADS MRS. O'CONNOR OVER TO WHERE HE HAS BEEN WORKING. ON ALIEN HE LEANS IN AND ACTIVATES THE DEVICE. IT BEGINS TO GLOW. ON MRS. O'CONNOR MRS. O'CONNOR What are you doing .... LOOKING UP IN HER BLINDNESS. MRS. O'CONNOR Why don't you answer ? Who are you ? Why don't you speak ? ON ALIEN MOTIONLESS ***PAGE*** -36- 74 (continued) ON MRS. O'CONNOR MRS. O'CONNOR Why don't you leave me. Why don't you leave my house. ON DEVICE GLOWING AS IT TRANSMITS. CUT TO: 75 INT. PRIVATE ROOM. HOSPITAL. (NIGHT) (STUDIO) 22 SECS START ON JOHN STRAKER, HIS CONDITION HAS NOT CHANGED. PAN TO THE DOOR AS THE DOCTOR COMES IN. HE MOVES TO THE BED QUICKLY, EXPERTLY CHECKS THE BOY. HE GOES ROUND TO THE NURSE. TWO SHOT THE DOCTOR CHECKS HIS WATCH. THEY EXCHANGE A LOOK. TIME IS RUNNING OUT. ON JOHN CLOSE ON HIS FACE CUT TO: 76 EXT. SKY. NIGHT. (VE) 6 SECS THE TRANSPORTER IN LEVEL FLIGHT SOMEWHERE OVER THE ATLANTIC. CUT TO: 77 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 51 SECS STRAKER CHECKS THE TIME, THEN GOES AS IF TO LIFT THE PHONE, BUT STOPS AS FREEMAN COMES IN. FREEMAN I'd like you to hear something. STRAKER GIVES HIM A QUESTIONING LOOK. FREEMAN It's important. STRAKER NODS, FREEMAN LEANS OVER THE DESK AND FLICKS THE INTERCOM. ***PAGE*** -37- 77 (continued) FREEMAN Play it back. FORD (VO) Yes, sir. A TAPE IS PLAYED OVER. MRS. O'CONNOR (VO) Why don't you leave me. Why don't you leave my house ? FREEMAN It cut in three minutes ago on our waveband. STRAKER Cut in..... FREEMAN Clear as a bell. Estimated signal strength 15 hundred mg. STRAKER That's as powerful as a medium sized commercial transmitter. Did we get a fix ? ON FREEMAN FREEMAN Ireland, the West Coast. CUT TO: 78 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS THE ALIEN AND MRS. O'CONNOR AS BEFORE. THE TRANSMITTING DEVICE EMITS A SLIGHT HUM. MRS. O'CONNOR What's that noise ? SHE REACHES OUT A HAND TOWARDS THE DEVICE. THE ALIEN STOPS HER. TWO SHOT THE ALIEN STILL HOLDS HER HAND. MRS. O'CONNOR REACHES UP WITH THE OTHER HAND TO TOUCH HIS FACE. THE ALIEN STOPS HER WITH HIS OTHER HAND. ***PAGE*** -38- 78 (continued) MRS. O'CONNOR I only wanted to feel your face. Don't you understand, I'm blind. THE ALIEN STILL HOLDS BOTH HER HANDS. MRS. O'CONNOR You're trembling. CUT TO: 79 EXT. SKYDIVER (UNDERWATER) (VE) 5 SECS CONTINUING ON ITS SEARCH OF THE SEA BED. CUT TO: 80 INT. SKYDIVER. (UNDERWATER) (STUDIO) 38 SECS MAXWELL REACTS AT SOMETHING ON THE SCREEN IN FRONT OF HIM MAXWELL That could be it. 50 yards ahead, a couple of degrees to port. ON FOSTER FOSTER Stop engines... ON MAXWELL FOSTER COMES OVER TO JOIN HIM. THEY STUDY THE SCREEN. FOSTER I'll go and take a look. ON FOSTER FOSTER Take her down to the bottom. MAXWELL (VO) Yes, sir. FOSTER Release a marker buoy and inform control. ***PAGE*** -39- 80 (continued) FOSTER MOVES TO A COMPARTMENT AND OPENS IT TO SHOW AN UNDERWATER SUIT. MAXWELL (VO) This is Skydiver to Control. We have possible sighting of UFO wreckage. CUT TO: 81 INT. CONTROL ROOM UNDERGROUND (STUDIO) 70 SECS FREEMAN, STRAKER AND FORD LISTEN INTENTLY AS MRS. O'CONNOR'S VOICE COMES OVER. MRS. O'CONNOR Why don't you answer ? If you tell me who you are... ON STRAKER FROWNING, INTENT ON THE OLD LADY'S VOICE. MRS. O'CONNOR (VO) ... and what it is you want.. I might be able to help. RESUME SCENE A LONG PAUSE WHILE THE IMPLICATION SINKS IN. FREEMAN I just don't get it. The voice of an old woman coming over on a transmitter powerful enough to cut in on our wavebands... ON STRAKER THE SITUATION IS CLOSING IN ON HIM. HE FIGHTS A RISING PANIC. STRAKER Maybe it's not her transmitter. Cancel my car... HE WALKS OVER TO HIS INNER OFFICE. ON FREEMAN FREEMAN TURNS TO FORD - FREEMAN Did you get a closer fix ? WIDER ANGLE ***PAGE*** -40- 81 (continued) FORD No, sir, we'd need to triangulate from ground vehicles in the area. FREEMAN And we don't have any ... Where's the nearest Transporter ? FORD There's one over the Atlantic.... HE CHECKS A CHART. FORD ... 200 miles out. FREEMAN Flying in from New York ? FORD Yes, sir. FREEMAN But I thought that wasn't due to take off till 14.00 hours. FORD No, sir. It's been enroute for 50 minutes. Commander Straker's orders. CUT TO: 82 EXT. SKYDIVER (UNDERWATER) (VE OR LOC.) 7 SECS FOSTER IN UNDERWATER SUIT AND CARRYING AN UNDER- WATER CAMERA MOVES TOWARDS THE WATER LOCK ON SKYDIVER. CUT TO: 83 INT. SKYDIVER CONTROL. (UNDERWATER) (STUDIO) 48 SECS THE CREW AT THIER POSTS. MAXWELL Close outer hatch. HOWELL ACTIVATES A CONTROL. HOWELL Outer hatch closed. MAXWELL Evacuate. ***PAGE*** -41- 83 (continued) HOWELL MOVES ANOTHER CONTROL. WE HEAR THE HISS OF COMPRESSED AIR AS THE WATER IS DRIVEN OUT OF THE WATER LOCK. ON WATER LOCK DOOR A RED LIGHT OVER IT CHANGES TO GREEN. MAXWELL (VO) Open inner hatch. THE DOOR SLIDES OPEN TO SHOW FOSTER IN WETSUIT. HE STEPS INTO THE CONTROL ROOM, REMOVING HIS FACE MASK. FOSTER I want those shots developed and radioed to control as soon as possible. WIDER ANGLE MAXWELL How did it look ? FOSTER Part of the metallic structure has been practically vaporised. I can tell you one thing, it had been fired on by something before it crashed. CUT TO: 84 INT. STRAKER'S OFFICE UNDERGROUND (STUDIO) 92 SECS STRAKER AT HIS DESK. HOLD THE SHOT. IN THE PRESENT SITUATION HE CANNOT LEAVE FOR THE HOSPITAL. HIS FACE SHOWS THE STRAIN. ON DOORWAY FREEMAN COMES IN. FREEMAN Foster just radioed these in. WIDER ANGLE FREEMAN CROSSES TO THE DESK AND GIVES STRAKER TWO OR THREE PHOTOGRAPHS. ON PHOTOS ***PAGE*** -42- 84 (continued) WE FEATURE ONE. IT IS A MEDIUM CLOSE UP OF A PIECE OF WRECKAGE ON THE SEA BED. SOME OF THE METAL HAS BEEN MELTED BY OBVIOUS TREMENDOUS HEAT. FREEMAN Well, there's no doubt about it. The UFO was damaged before it crashed. But what by ? ON STRAKER HE HASN'T AN ANSWER. ON FREEMAN FREEMAN Let's make a couple of educated guesses. An alien survives the crash, he goes to a house, the occupant is an old lady. ON STRAKER THINKING ALONG WITH FREEMAN. STRAKER She said she was blind. FREEMAN So she thinks he's a man, an intruder possibly. The alien has a transmitter and he beams in on our waveband. STRAKER Why ? FREEMAN We'll find that out when we track him down. STRAKER It won't be easy. FREEMAN With mobiles in the area, we can pinpoint the exact position. STRAKER It will take time to set it up. ***PAGE*** -43- 84 (continued) FREEMAN Less than an hour. STRAKER DOESN'T GET IT. FREEMAN We're in luck. A transporter will be landing in minutes. ON STRAKER FEARING THE BOTTOM IS ABOUT TO DROP OUT FROM UNDER HIM. FREEMAN (VO) The mobiles can move into the area immediately. ON FREEMAN FREEMAN When they are in position we can get a fix on the next transmission ... ON STRAKER STRAKER A.... Transporter ? ON FREEMAN HE PAUSES, A LITTLE PUZZLED BY STRAKER'S TONE. FREEMAN Yes.... The one from New York You ordered an early take off. ON STRAKER HARDLY DARING TO ASK THE QUESTION. STRAKER What have you done ? TWO SHOT FREEMAN Diverted it... what else ? IT IS OBVIOUS HE DOESN'T KNOW THE SITUATION. ON STRAKER STARING AHEAD ***PAGE*** -44- 84 (continued) FREEMAN (VO) Is anything wrong ? STRAKER DOESN'T ANSWER. ON FREEMAN FREEMAN I'll contact Foster and tell him to go ashore as field commander FREEMAN WALKS TO THE DOOR. HE LOOKS BACK AT STRAKER A MOMENT THEN GOES OUT. ON STRAKER TRANSFIXED, HARDLY ABLE TO BELIEVE WHAT HE HAS JUST BEEN TOLD. HIS HEAD FALLS FORWARD INTO HIS HANDS. CUT TO: 85 INT. WAITING AREA HOSPITAL (NIGHT) (STUDIO) 10 SECS ON MARY, WORN AND WEARY. SHE GLANCES UP AT A WALL CLOCK. CUT TO: 86 INT. PRIVATE ROOM. (NIGHT) (STUDIO) 12 SECS START ON JOHN. PAN TO THE NURSE. SHE IS WATCHING THE TWO BIO-SENSORS. HER FACE SHOWS SHE IS WORRIED. FADE OUT: END OF ACT II SPONSOR'S MESSAGE ***PAGE*** -45- FADE IN: ACT III 87 EXT. HOSPITAL. NIGHT. (LOCATION) 5 SECS TO ESTABLISH CUT TO: 88 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 30 SECS START CLOSE ON MARY, HAGGARD FROM THE LONG PAINFUL VIGIL. SHE LOOKS UP EXPECTANTLY AS THE DOOR OPENS. A NURSE COMES OUT WITH COFFEE. WIDER ANGLE MARY RELAXES BACK NURSE I thought you'd like some coffee. MARY Thank you. ON MARY MARY What time is it ? ON NURSE SHE GLANCES UP AT A WALL CLOCK. NURSE (gently) That clock is right. SHE WALKS BACK THROUGH THE DOOR. ON MARY RUTLAND WALKS UP TO HER, HE HAS BEEN OUT TO SEE IF THE DRUG HAS ARRIVED. HE SHAKES HIS HEAD "NO". CUT TO: 89 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 10 SECS STRAKER LOOKS UP, HIS FACE TIGHT WITH ANXIETY. HE PICKS UP A PHONE AND DIALS A NUMBER. CUT TO: ***PAGE*** -46- 90 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 17 SECS THE PHONE BUZZES. MARY AND RUTLAND LOOK OVER TO IT. IT BUZZES AGAIN. RUTLAND GLANCES AT THE DOOR, THEN GETS UP AND WALKS ACROSS AND ANSWERS IT. RUTLAND Hello .... Yes it's me ... No, still the same. CUT TO: 91 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 11 SECS STRAKER There's been a delay ... The drug will be there as soon as possible... I know, I know ... I'd like to explain to Mary.. CUT TO: 92 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 24 SECS RUTLAND LOOKS ACROSS AT MARY AND SILENTLY HOLDS THE PHONE OUT TOWARDS HER. ON MARY NERVOUSLY TWISTING HER FINGERS. SHE GETS UP AND GOES TO THE PHONE. TWO SHOT AS HE GIVES THE PHONE TO MARY RUTLAND It's been delayed. ON MARY SHE REACTS MARY (into phone) Yes.... SHE LISTENS TO STRAKER'S EXPLANATION. WE DO NOT HEAR WHAT HE IS SAYING BUT PLAY ON MARY'S FACE. MARY ... but ... (a pause) .... Important ! What can be more important than your son's life ? CUT TO: ***PAGE*** -47- 93 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 6 SECS STRAKER IS, OF COURSE, UNABLE TO EXPLAIN THE SITUATION FULLY. STRAKER It isn't like that, - Mary please try and understand. CUT TO: 94 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 8 SECS MARY No, I don't understand. I'll never understand. SHE SLOWLY LOWERS THE PHONE. RUTLAND TAKES IT FROM HER HAND. CUT TO: 95 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 5 SECS STRAKER Mary ... Listen to me, Mary. CUT TO: 96 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 6 SECS RUTLAND LOOKS AT THE RECEIVER THEN ACROSS TO MARY. HE PUTS DOWN THE RECEIVER. CUT TO: 97 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 13 SECS STRAKER SLOWLY REPLACES HIS RECEIVER, STARING INTO SPACE. HE OPENS A DRAWER ON HIS DESK. ON DRAWER WE SEE A PHOTO OF HIS EXWIFE AND SON. ON STRAKER: CUT TO: 98 EXT. AIRFIELD. NIGHT. (VE) 13 SECS THE TRANSPORTER STOPPED ON AN AIRFIELD IN IRELAND. WE SEE ONE OF THE SHADO MOBILES DRIVE OUT OF THE AIRCRAFT. ***PAGE*** -48- 98 (continued) TWO OTHERS HAVE ALREADY BEEN UNLOADED AND STAND NEARBY. CUT TO: 99 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 49 SECS STRAKER TALKS TO FORD. STRAKER Where's the transporter ? FORD Just landed in Ireland, sir. STRAKER The minute it's unloaded I want it back in the air for London. FORD Yes, sir. ON FREEMAN HE LOOKS OVER AT STRAKER AND WALKS ACROSS TO HIM. TWO SHOT FREEMAN I'm sorry about the Transporter... was it.. important ? STRAKER These things are always a question of priorities. FREEMAN OBVIOUSLY DOES NOT KNOW THE FULL STORY. WIDER ANGLE STRAKER MOVES ACROSS THE CONTROL ROOM, BARKING ORDERS. TRYING TO LOSE HIMSELF IN THE PRESENT OPERATIONS. STRAKER Tell the mobiles they don't move in till I give the word. AYESHA Yes, sir. STRAKER And I want a large scale map of the area. ***PAGE*** -49- 99 (continued) FORD Yes, sir. STRAKER And get me John Karlin. CUT TO: 100 EXT. COTTAGE. NIGHT. (LOC. OR V.E.) 5 SECS TO ESTABLISH. CUT TO: 101 INT. COTTAGE. NIGHT. (STUDIO) 22 SECS MRS. O'CONNOR STANDS BY THE BIRD. MRS. O'CONNOR It's alright, Billy. Our visitor is a nice man. He doesn't want to hurt us. ON ALIEN LOOKING ACROSS AT THE OLD LADY AS HE SITS AT THE TABLE. ON MRS. O'CONNOR MRS. O'CONNOR Good boy, Billy. CUT TO: 102 EXT. COUNTRYSIDE. NIGHT. (V.E.) 6 SECS A SHADO MOBILE MOVES ACROSS THE COUNTRYSIDE AND STOPS. CUT TO: 103 INT. SHADO MOBILE (NIGHT) (STUDIO) 6 SECS KARLIN AND A CREWMAN. KARLIN SPEAKS INTO A MIKE. KARLIN Mobile one in position. CUT TO: 104 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 14 SECS START ON AN OPERATOR. ***PAGE*** -50- 104 (continued) OPERATOR (into mike) Roger one. WIDER ANGLE TO INCLUDE STRAKER AND FREEMAN. OPERATOR All mobiles in position, sir. STRAKER NODS. FREEMAN Well all we can do now is wait for the next transmission. CUT TO: 105 INT. COTTAGE. NIGHT. (STUDIO) 20 SECS ON ALIEN HE ACTIVATES HIS TRANSMITTING DEVICE. ON MRS. O'CONNOR SHE REACTS SLIGHTLY TO THE NOISE. THEN, AS SHE WALKS SLOWLY OVER TOWARDS THE ALIEN: MRS. O'CONNOR Why won't you speak to me ? Why won't you tell me who you are ? CUT TO: 106 INT. SHADO MOBILE. NIGHT. (STUDIO) 22 SECS INSIDE THE MOBILE, FOSTER REACTS. FOSTER Get a fix. THE CREWMAN TUNES IN WITH THE DIRECTIONAL AERIAL. MRS. O'CONNOR (VO) Are you in some sort of trouble ... ? A BURST OF INTERFERENCE JAMS THE MESSAGE. MRS. O'CONNOR ... better to tell someone, you know. FOSTER Got it. THE CREWMAN NODS YES. CUT TO: ***PAGE*** -51- 107 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 42 SECS STRAKER, FREEMAN AND THE OPERATORS LISTEN BUT THE JAMMING IS CUTTING IN AND OUT. MRS. O'CONNOR Just... always .... try and help .... THE JAMMING BECOMES CONTINUOUS. ON FORD FORD We have a bearing. FOSTER (VO) Mobile 1 to control. Signal vector 138 decimal 3. ON MAP AN OPERATOR'S HANDS EXPERTLY DRAW IN THE TWO BEARINGS. ON STRAKER HE JABS HIS FINGER DOWN ON THE INTERSECTION OF THE LINES. STRAKER That's it ... tell the mobiles to move in. THE JAMMING CONTINUES. ON FREEMAN FREEMAN What the hell's jamming that signal ? CUT TO: 108 EXT. SPACE. (VE) 5 SECS A UFO MOVING THROUGH SPACE. CUT TO: 109 EXT. MOONBASE. NIGHT. (VE) 5 SECS TO ESTABLISH. CUT TO: 110 INT. CONTROL SPHERE. NIGHT. (STUDIO) 16 SECS A SCENE OF URGENT ACTIVITY. ***PAGE*** -52- 110 (continued) NINA Sighting confirmed.... Area 014-263. Green. ON GAY ELLIS. GAY Red Alert - interceptors immediate launch. CUT TO: 111 INT. LEISURE DINING SPHERE. NIGHT. (STUDIO) 10 SECS GAY (VO) I say again, Red Alert. THE THREE ASTRONAUTS LEAP TO THEIR FEET; GRAB THEIR SPACE HELMETS AND DIVE INTO THE CHUTES. CUT TO: 112 INT. CONTROL SPHERE. NIGHT. (STUDIO) 6 SECS ON GAY AT THE CONSOLE. SHE SPEAKS ON THE EARTH LINK. GAY Moonbase to control. Have U.F.O. on positive track. CUT TO: 113 EXT. CRATER. NIGHT. (VE) 6 SECS THE TOP OF THE CRATER SLIDES OPEN. CUT TO: 114 INT. CRATER. NIGHT. (VE) 7 SECS THE THREE INTERCEPTORS ROCKETS IGNITE AND THEY LIFT OFF. CUT TO: 115 EXT. MOON. NIGHT. (VE) 5 SECS THE INTERCEPTORS MOVE UP INTO SPACE. CUT TO: 116 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 18 SECS STRAKER AND FREEMAN. ***PAGE*** -53- 116 (continued) FREEMAN The mobiles are on their way ... STRAKER An aline who wants to cooperate : to help. FREEMAN REACTS. STRAKER Why else would he transmit on our waveband ? FREEMAN A defector... an outsider... If we can only get our hands on him. CUT TO: 117 INT. COTTAGE. NIGHT. (STUDIO) 7 SECS WE FEATURE THE ALIEN WAITING IN THE COTTAGE. HIS TRANSMITTING DEVICE IS PULSATING, HE KNOWS A UFO IS ON ITS WAY. CUT TO: 118 EXT. SPACE. (VE) 6 SECS THE UFO CONTINUES ON. THE MUSIC STINGS. FADE OUT: END OF ACT III SPONSOR'S MESSAGE ***PAGE*** -54- FADE IN ACT IV 119 EXT. SPACE. (VE) 5 SECS THE THREE INTERCEPTORS IN FORMATION. CUT TO: 120 EXT. U.F.O. (VE) 4 SECS FLYING TOWARDS THE MOON AND EARTH. CUT TO: 121 INT. CONTROL SPHERE. NIGHT. (STUDIO) 27 SECS URGENT, WATCHFUL EYES TRACK THE U.F.O. NINA Maintaining speed. Red 128 - 041. GAY Trajectory ? NINA Still as predicted. JOAN I have green on 1,2 and 3. ON GAY GAY Moonbase to interceptors - stand by to set on board computers. NINA (VO) One zero two ... two six eight... timing 1084....zero three five. CUT TO: 122 EXT. SPACE. (VE) 4SECS THE INTERCEPTORS IN FORMATION. CUT TO: 123 INT. INTERCEPTOR. SPACE. (STUDIO) 7 SECS AN ASTRONAUT FLICKS A SERIES OF SWITCHES. ***PAGE*** -55- 123 (continued) WATERMAN Roger base .... on board computer programmed ... firing sequence complete. CUT TO: 124 INT. CONTROL SPHERE. NIGHT. (VE) 8 SECS NINA Missile firing minus 6 decimal 4. WE HEAR THE PIPS OF AN ELECTRONIC COUNTDOWN. CUT TO: 125 INT. INTERCEPTOR. SPACE. (STUDIO) 6 SECS WATERMAN'S EYES FLICK OVER HIS INSTRUMENTATION. A TENSE WAITING PERIOD. CUT TO: 126 EXT. INTERCEPTORS. (VE) 6 SECS THEY LAUNCH THEIR MISSILE. CUT TO: 127 INT. CONTROL SPHERE. NIGHT. (STUDIO) 22 SECS ON NINA NINA Firing confirm. ON GAY WAITING. THE FEW SECONDS SEEMS AN ETERNITY. NINA (VO) Detonation. SHE SPINS TO JOAN ON JOAN SEARCHING HER TRACKER SCREEN FOR THE UFO. SHE REACTS. JOAN Negative. ON GAY ***PAGE*** -56- 127 (continued) GAY It's through ... tell control. ON JOAN JOAN This is moonbase to control .... UFO through outer defences. CUT TO: 128 INT. CONTROL ROOM. UNDERGROUND. (STUDIO) 6 SECS STRAKER, FREEMAN AND THE OPERATORS. FREEMAN It's up to the mobiles. CUT TO: 129 EXT. COUNTRYSIDE. NIGHT. (VE) 5 SECS A SHADO MOBILE MOVING FAST. CUT TO: 130 INT. MOBILE. NIGHT. (STUDIO PROCESS) 9 SECS KARLIN AND THE CREWMAN KARLIN Keep her moving flat out. HE REFERS TO A MAP. KARLIN I make it about eight miles. CUT TO: 131 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 11 SECS STRAKER AND FREEMAN FREEMAN How's the interference ? AN OPERATOR WHO HAS BEEN OPERATING THE JAMMING ON AN EAR PIECE TURNS UP THE VOLUME. THE INTERFERENCE IS CONTINUOUS. FREEMAN No transmission can get through that... CUT TO: ***PAGE*** -57- 132 EXT. SPACE. (VE) 4 SECS THE UFO HEADING FOR EARTH. CUT TO: 133 INT. COTTAGE. NIGHT. (VE) 20 SECS THE ALIEN SITS BY HIS TRANSMITTING DEVICE. IT PULSATES. HE KNOWS THAT HIS FELLOW ALIENS ARE CLOSING IN. HE GETS UP, TAKING THE TRANSMITTING DEVICE WITH HIM AND STARTS TO WALK TOWARDS THE DOOR. ON MRS. O'CONNOR LISTENING ON ALIEN AT THE DOOR, HE TURNS AND LOOKS BACK. THEN UNDOES THE BOLTS. CUT TO: 134 EXT. COUNTRYSIDE. NIGHT. (VE) 4 SECS THE SHADO MOBILE SPEEDS ON. CUT TO: 135 INT. MOBILE. NIGHT. (STUDIO PROCESS) 4 SECS KARLIN AND CREWMAN KARLIN Four miles. CUT TO: 136 EXT. SPACE. (VE) 4 SECS THE UFO SEARING THROUGH SPACE. CUT TO: 137 INT. COTTAGE. NIGHT. (STUDIO) 26 SECS THE ALIEN IS ABOUT TO GO OUT THE DOOR. ON MRS. O'CONNOR. MRS. O'CONNOR Are you leaving ? TWO SHOT SHE LOOKS TOWARDS THE ALIEN WITH HER SIGHTLESS EYES. ***PAGE*** -58- 137 (continued) MRS. O'CONNOR Goodbye. THE ALIEN LEAVES. CUT TO: 138 EXT. COUNTRYSIDE. NIGHT. (VE) 4 SECS THE MOBILE MOVING FAST. CUT TO: 139 EXT. SPACE. (VE) 5 SECS THE UFO FLYING ON, THE SPACE SKY TURNING TO BLUE AS IT NEARS THE EARTH. CUT TO: 140 EXT. FIELD. NIGHT. (LOCATION) 6 SECS THE ALIEN WALKING. CUT TO: 141 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS ON THE BIRD MRS. O'CONNOR STANDS BY THE CAGE. CUT TO: 142 EXT. SKY. DAWN. (VE) 5 SECS THE UFO COMING IN FOR ATTACK. CUT TO: 143 EXT. FIELD. NIGHT. (LOCATION) 6 SECS THE ALIEN HAS STOPPED. HE LOOKS SKYWARD. CUT TO: 144 EXT. UFO. NIGHT. (VE) 5 SECS THE DESTRUCTIVE SHAFT OF LIGHT SPEARS OUT. CUT TO: 145 EXT. FIELD. NIGHT. (LOCATION) 4 SECS ON ALIEN. ***PAGE*** -59- 145 (continued) THE ALIEN FALLS OUT OF SHOT, CAUGHT IN THE BLINDING FLASH. CUT TO: 146 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS ON BIRD BIRD Lovely day ... lovely day .. CUT TO: 147 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 15 SECS STRAKER AND FREEMAN. FREEMAN LOWERS A MIKE. FREEMAN He's dead. ON FREEMAN A LONG PAUSE FREEMAN We'll never know.... he may have told us everything. HE TURNS BACK TO STRAKER. WIDER ANGLE STRAKER HAS GONE CUT TO: 148 EXT. HOSPITAL. NIGHT. (LOCATION) 6 SECS STRAKER'S CAR IS PARKED OUTSIDE. CUT TO: 149 INT. HOSPITAL. WAITING AREA. NIGHT. (STUDIO) 45 SECS STRAKER COMES RUNNING INTO THE WAITING AREA. NO-ONE THERE. ON STRAKER HE LOOKS AROUND AS HE STARTS TO MOVE TOWARDS THE DOORWAY. ON DOORWAY. IT OPENS. THE DOCTOR COMES OUT, GRAVE-FACED. HE LOOKS AT STRAKER. ***PAGE*** -60- 149 (continued) ON STRAKER HIS FACE FALLS IN HORROR ON DOORWAY MARY, SOBBING DEEPLY, COMES OUT, SUPPORTED BY RUTLAND. THEY MOVE SLOWLY TOWARDS STRAKER. WIDER ANGLE MARY AND RUTLAND MOVE PAST STRAKER. RUTLAND "KILLS" HIM WITH A LOOK THE DOCTOR STOPS BY STRAKER DOCTOR (quietly) I'm sorry ... ON STRAKER STUNNED. GRIEF-STRICKEN. HE LOOKS UP. STRAKER Mary ... ON MARY SHE STOPS. A LONG BEAT...SHE TURNS, HER FACE AN AGONY OF GRIEF. MARY I never want to see you again. Don't ever let me see you again. ON STRAKER CRUSHED. CUT TO: 150 EXT. COTTAGE. DAY. (VE) or (LOCATION) 5 SECS A SUMMER'S DAY. BIRDS SING. CUT TO: 151 INT. COTTAGE. DAY. (STUDIO) 45 SECS STRAKER AND MRS. O'CONNOR HAVE FINISHED A COUNTRY TEA. STRAKER Well, Mrs. O'Connor. I'll be leaving. ***PAGE*** -61- 151 (continued) MRS. O'CONNOR NODS. MRS. O'CONNOR Thank you for calling, Mr. Straker. All the way from London to see me. ON STRAKER STRAKER I wanted to come. You're a brave lady. ON MRS. O'CONNOR MRS. O'CONNOR Oh no. I don't understand what it was all about. But when you're blind, somehow nature compensates... you develop other senses. TWO SHOT: MRS. O'CONNOR My visitor was a strange man .. but I knew... I knew he meant no harm ... he was a good man. STRAKER Yes, I think he was. MRS. O'CONNOR GETS UP. MRS. O'CONNOR I'll see you to the door. STRAKER TAKES HER ARM IN HIS, PATS HER HAND AS THEY WALK TO THE DOOR, SEEING THE INNER STRENGTH IN THIS BLIND OLD LADY. CUT TO: 152 EXT. DOOR. DAY. (STUDIO) or (LOCATION) 27 SECS STRAKER AND MRS. O'CONNOR COME OUT. MRS. O'CONNOR Smell the honeysuckle. ON STRAKER SMILING AT HER. ON MRS. O'CONNOR MRS. O'CONNOR You're a good man, too, Mr. Straker.. a good man. ***PAGE*** -62- 152 (continued) TWO SHOT A PAUSE : STRAKER LEANS IN AND KISSES HER CHEEK. STRAKER Thank you ... HE WALKS AWAY ON MRS. O'CONNOR HEARING HIM GO. SHE GIVES A LITTLE VAGUE WAVE. ON STRAKER LOOKING BACK. HE WAVES BACK, KNOWING SHE WILL NOT SEE. LIFE HAS KICKED HIM IN THE TEETH - BUT LIFE GOES ON. SOMEHOW THE OLD LADY HAS HELPED. HE TURNS AND WALKS AWAY. FADE OUT: END OF ACT IV SPONSOR'S MESSAGE END TITLES..... ***PAGE*** The following "new pages" are revisions to the original script. By replacing the original pages with these new pages, you get the actual shooting script. ***PAGE*** 1 NEW PAGE - 'QUESTION OF PRIORITIES' 18th July, 1969 ACT 1. FADE IN. 1 INT. STUDIO - DAY (STUDIO) 40 SECS THE SCENE CAN BE SHOT ON ANY CONVENIENT SET. A WOMAN SITS WITH HER BACK TO CAMERA. AN ATTACKER CREEPS TOWARDS HER. ON ATTACKER HIS GROTESQUE FEATURES BEHIND A STOCKING MASK. HE HOLDS A CORD IN HIS HAND. TWO SHOT THE ATTACKER WHIPS THE CORD AROUND THE WOMAN'S NECK AS SHE SCREAMS AND BEGINS TO CHOKE THE LIFE OUT OF HER. ON JOHN STRAKER'S EIGHT YEAR OLD SON. VERY CLOSE ON HIM AS HE WATCHES IN AWE TWO SHOT AS BEFORE THEN DIRECTOR (V.O.) Cut it..... ANOTHER ANGLE THE LIGHTS COME UP, WE REALISE WE ARE ON A SET. STRAKER IS TAKING HIS EIGHT YEAR OLD SON AROUND THE STUDIO. STRAKER AND THE BOY'S MOTHER WERE DIVORCED THREE YEARS AGO THIS IS HIS MONTHLY DAY OUT WITH HIS SON TWO SHOT STRAKER AND JOHN STRAKER What do you think. JOHN Great Dad, Great ASSISTANT DIRECTOR (VO) Will you be quiet there..... STRAKER PUTS HIS FINGER TO HIS LIP....THEY SMILE AT EACH OTHER. CUT TO 2 EXT. LOT - DAY (LOCATION) 50 SECS STRAKER TAKES A PICTURE OF JOHN PERCHED UP ON A PIECE OF SCENERY. ANOTHER ANGLE STRAKER ATTEMPTS TO CLIMB UP, JOHN URGES HIM ON LAUGHING, HOLDING THE CAMERA. THEY HAVE SWITCHED PLACES. ***PAGE*** 1A NEW PAGE - "QUESTION OF PRIORITIES" 18th July, 1969 2 (continued) ON CAR STRAKER AND JOHN WALK TO STRAKER'S CAR. JOHN RUNS ON AHEAD. ON STRAKER SMILING AT HIS SON. ON CAR JOHN IS INSIDE AND HAS LOCKED THE DOOR. HE LAUGHS, AND WON'T OPEN IT FOR STRAKER. HE IS TRYING TO BE HARD BUT SEES THE FUNNY SIDE. CUT TO ***PAGE*** - 15 - 18th July, 1969. NEW PAGE - "A QUESTION OF PRIORITIES" 28 (continued) DOCTOR I'm afraid there isn't time. STRAKER (quietly) I'll take care of it RUTLAND What are you talking about? How can you? STRAKER (hard) I said _I'll_ take care of it. He's still my son. HE TURNS TO THE DOCTOR STRAKER If you'll give me the details doctor. THE DOCTOR NODS AND GOES BACK THROUGH THE DOOR WE HEAR A BLEEP STRAKER REACTS, TAKES THE SLIM BLEEPER FROM HIS POCKET AND TURNS IT OFF. ON STRAKER HE KNOWS ITS A RECALL FROM SHADO ON MARY SHE DOES NOT KNOW WHAT IT MEANS, BUT KNOWS FROM THE PAST STRAKER WILL LEAVE. GROUP SHOT STRAKER WALKS BACK TO JOIN MARY AND RUTLAND. THE DOCTOR COMES OUT OF THE DOOR AND HANDS A SLIP OF PAPER TO STRAKER. DOCTOR Tell your contact to ask for Doctor Ashley ..... STRAKER Thank you HE TURNS TO MARY ***PAGE*** PAGE 17 NEW PAGE - "QUESTION OF PRIORITIES" 18th July, 1969 31 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 7 SECS FORD We have it on ground radar...impact minus ten seconds CUT TO: 32 EXT. U.F.O. DAY (VE) 5 SECS IT LEVELS OUT. CUT TO: 33 EXT. IRELAND. DAY (VE) 7 SECS WE ARE SOMEWHERE IN THE WILD UNINHABITED WEST OF IRELAND. WE SEE A CAPSULE EJECT FROM THE U.F.O. THEN THE U.F.O. CRASHES IN THE SEA. CUT TO: 34 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 15 SECS FORD Impact confirmed. FREEMAN Do we have a grid reference? FORD Yes, sir. IGR B142-08 just off the west coast of Ireland CUT TO: 34A EXT. SEA. DAY (VE) 4 SECS THE SEA BUBBLES WHERE THE U.F.O. HAS CRASHED. CUT TO: 34B INT. CONTROL ROOM. UNDERGROUND (STUDIO) 35 SECS FORD Skydiver should be there in around 50 minutes FREEMAN Tell Carlin to overfly the area FORD Yes, sir FORD LEANS TO A MIKE. FORD This is Shado control to Skydiver. Sky 1 launch, proceed to area B142-08 ***PAGE*** " 21 NEW PAGE - QUESTION OF PRIORITIES" 18th July, 1969. 49 INT. STRAKER'S INNER OFFICE - DAY (STUDIO) 22 SECS STRAKER COMES IN AND OPENS THE CIGARETTE BOX. STRAKER Straker.... THE VOICEPRINT MECHANISM WHIRRS. VOICEPRINT (VO) Identification positive.... Commander Straker.. ON WINDOW THE ROOM STARTS TO DESCEND ON STRAKER WORRIED, FROWNING, THINKING OF HIS SON. 50 DELETED 51 INT. CONTROL ROOM UNDERGROUND (STUDIO) 25 SECS FREEMAN AND FORD FREEMAN Keep in contact with Carlin, but I doubt if he'll be able to tell us much. FORD Yes sir. ANOTHER ANGLE STRAKER COMES INTO THE CONTROL ROOM. STRAKER What's the situation, Alec? FREEMAN JOINS HIM AS THEY WALK ACROSS THE CONTROL ROOM TO STRAKER'S UNDERGROUND OFFICE. FREEMAN Two UFO's. One veered off 10 million miles out. The other crashed...Western Ireland STRAKER REACTS. FREEMAN Its entry speed was too high THEY GO INTO STRAKER'S OFFICE CUT TO: ***PAGE*** NEW PAGE "QUESTION OF PRIORITIES" 18TH JULY, 1969 PAGE 24 55 INT. SKY 1. DAY (STUDIO) 18 SECS CARLIN LOOKS DOWN TOWARDS THE GROUND. CARLIN Sky 1 to Skydiver control.... it crashed about a hundred yards off shore MAXWELL (VO) Right, sir CARLIN I'm going round once more before the light fades CUT TO: 56 EXT. SKY 1. DAY (VE) 5 SECS SKY 1 STARTS TO BANK TO BEGIN ANOTHER SWEEP CUT TO: 57 EXT. COUNTRYSIDE. NIGHT (LOC. OR VE) 5 SECS WE ESTABLISH AN ISOLATED COTTAGE. THE SOUND OF SKY 1 OVERHEAD TELLS US WE ARE IN WESTERN IRELAND. CUT TO: 58 INT. COTTAGE. NIGHT (STUDIO) 40 SECS AN OLDE WORLDE COTTAGE. A LOG FIRE BURNS IN THE GRATE (WITH A FIRE GUARD) A YOUNG COUNTRY DOCTOR, FRASER, HAS JUST FINISHED A ROUTINE EXAMINATION OF AN OLD LADY. FRASER Well, Mrs. O'Connor, there's not a lot wrong with you. MRS. O'CONNOR I could have told you that myself, doctor. FRASER I'm sure you could. Well, I'll call in next time I'm passing. MRS. O'CONNOR Won't you be stopping for a cup of tea? ***PAGE*** PAGE 42 NEW PAGE - "QUESTION OF PRIORITIES" 18th July, 1969 84 (continued) WE FEATURE ONE. IT IS A MEDIUM CLOSE UP OF A PIECE OF WRECKAGE ON THE SEA BED. SOME OF THE METAL HAS BEEN MELTED BY OBVIOUS TREMENDOUS HEAT. FREEMAN Well, there's no doubt about it. The UFO was damaged before it crashed. But what by? ON STRAKER HE HASN'T AN ANSWER. ON FREEMAN FREEMAN (thoughtful) Two U.F.O's are sighted. One veers off, the other crashes in Western Ireland. Then from the same area someone bursts in on our waveband (a beat) Let's try a couple of guesses. An alien survives the crash, he goes to a house, the occupant is an old lady TWO SHOT STRAKER She said she was blind FREEMAN So she thinks he's a man, an intruder possibly. The alien has a transmitter and he beams in on our waveband STRAKER Why? FREEMAN We'll find that out when we track him down STRAKER It won't be easy FREEMAN With mobiles in the area, we can pinpoint the exact position STRAKER It will take time to set it up ***PAGE*** NEW PAGE - "A QUESTION OF PRIORITIES" 18th July, 1969. - 44 - 84 (continued) FREEMAN Is anything wrong? STRAKER DOESN'T ANSWER ON FREEMAN FREEMAN I'll contact Foster and tell him to go ashore as field commander FREEMAN WALKS TO THE DOOR. HE LOOKS BACK AT STRAKER A MOMENT THEN GOES OUT ON STRAKER TRANSFIXED, HARDLY ABLE TO BELIEVE WHAT HE HAS JUST BEEN TOLD. HIS HEAD FALLS FORWARD INTO HIS HANDS. CUT TO 85 INT. PRIVATE ROOM (NIGHT) STUDIO 22 secs. Start on JOHN, Pan up to MARY, hold her in long shot ON MARY Cut close on MARY looking down at her son. Fighting her emotions but as she blinks we see a tear of anguish SCENE 86 DELETED FADE OUT END OF ACT ll SPONSOR'S MESSAGE ***PAGE*** - 47 - 18th July, 1969. NEW PAGE - "A QUESTION OF PRIORITIES" 93 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 6 secs. STRAKER IS, OF COURSE, UNABLE TO EXPLAIN THE SITUATION FULLY. STRAKER It isn't like that - Mary please try and understand CUT TO 94 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 8 secs MARY No, I don't understand. I'll never understand SHE SLOWLY LOWERS THE PHONE. RUTLAND TAKES IT FROM HER HAND. CUT TO 95 INT. STRAKER'S UNDERGROUND OFFICE(STUDIO) 5 secs. STRAKER Mary .... Listen to me, Mary CUT TO 96 INT. HOSPITAL WAITING AREA. NIGHT. (STUDIO) 6 secs. RUTLAND looks across at MARY, who holds the receiver staring ahead. He moves across and takes the phone from her hand. STRAKER (VO) Mary ..... Mary RUTLAND puts the receiver down CUT TO 97 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 8 secs STRAKER replaces the receiver. his World is falling apart. 98 EXT. AIRFIELD. NIGHT. (VE) 13 secs THE TRANSPORTER STOPPED ON AN AIRFIELD IN IRELAND. WE SEE ONE OF THE SHADO MOBILES DRIVE OUT OF THE AIRCRAFT. ------------------------------ CUT HERE ----------------------------------------