Teleplay by:
Ruric Powell
Directed by:
Ken Turner
Created by:
Gerry and Sylvia Anderson & Reg Hill
Producer:
Reg Hill
Executive Producer:
Gerry Anderson
EXTERIOR : HARLINGTON-STRAKER STUDIOS
A bronze custom automobile drives through the main gates.
INTERIOR : SHADO CONTROL
ALEC FREEMAN stands by LIEUTENANT FORD'S station. COMMANDER STRAKER walks in.
STRAKER
(to Freeman)
How's everything going?
FREEMAN
Fine.
STRAKER
Good,
(turns to head for office)
Oh, Alec, can I see you for a minute?
Straker heads for his office, Freeman follows.
INTERIOR : STRAKER'S OFFICE
Straker and Freeman enter the office. Straker goes to the desk and sits. Freeman stands.
STRAKER
(gestures to bench)
Sit down, Alec.
(pause, as Freeman sits)
I want to talk to you about the new leave roster for Moonbase.
FREEMAN
I thought you might.
STRAKER
It'll have to be changed.
FREEMAN
And who tells them?
Straker simply looks at him.
FREEMAN
(glum)
I might have guessed.
The intercom on the desk buzzes. Straker hits the intercom switch.
STRAKER
(to intercom)
Straker.
EALAND
(over intercom)
Jo Frazer is in reception, sir.
STRAKER
(to intercom)
Who?
EALAND
(over intercom)
The reporter from the press agency.
STRAKER
(to intercom)
Did they make an appointment?
EALAND
(over intercom)
Yes, sir. You agreed to the interview last week.
STRAKER
(resigned, to intercom)
All right, thank you, Miss Ealand.
(switches off intercom - to Freeman)
Look, Alec, can't you handle it?
FREEMAN
(amused)
Well, you're head of the studio. It's you he wants to interview.
STRAKER
(annoyed)
Article for a heap of glossy film magazines.
(pause - protest)
I'm no P.R. man.
Straker stands and heads for the office door. Freeman following.
INTERIOR : SHADO CONTROL
Straker and Freeman enter, continuing their conversation.
FREEMAN
It won't be that bad. G.P.A. will syndicate the story and keep the rest of the press off your back.
LIEUTENANT JOHNSON walks up to them, carrying a note-board with papers clipped to it. She holds it out to Straker.
JOHNSON
(to Straker)
Commander Straker, the refueling schedule, sir.
Straker gestures the note-board away.
STRAKER
(annoyed, amused)
Give it to Colonel Freeman. I'm about to be thrown to the press.
INTERIOR : STUDIO OUTER OFFICE.
MISS EALAND sits at her desk, looking up at an unseen person. The desk phone rings.
EALAND
(to unseen person)
Excuse me.
(picks up phone)
Yes, Mister Straker.
STRAKER
(over phone)
I'm ready. Miss Ealand.
EALAND
(amused - to phone)
Yes, sir.
(hangs up phone. - to unseen person)
Would you like to go in?
Miss Ealand hits a switch on a small switch panel on her desk. The doors to the inner office open.
INTERIOR : INNER OFFICE
Straker stands on the far side of the desk, arranging papers, head down, not seeing who enters.
STRAKER
Now, before we start, I must tell you, I'm a very busy man, Mister Frazer.
Straker looks up, seeing the edge of a skirt. Standing before the desk is JOSEPHINE FRAZER, carrying a large purse. Straker quickly composes himself.
FRAZER
I must apologize. My name is Josephine Frazer. I sometimes find that in a man's world, 'Jo' is more convenient.
STRAKER
Hmm, Well, is it a man's world?
Straker sits behind the desk.
FRAZER
I think so. I hope you'll forgive me.
STRAKER
(realizing she is standing)
Oh, I'm sorry, please sit down.
Frazer pulls the chair opposite, closer and sits.
STRAKER
Well, fire away, Miss Frazer.
Frazer opens her purse and pulls out a note-pad and pen. Straker notices a small microphone set into the front flap of her purse.
FRAZER
And now, how long have you been head of the studio, Mister Straker?
STRAKER
You, ah, tape-record the interview and take notes?
Frazer looks surprised.
STRAKER
I noticed the microphone in the front of your purse.
FRAZER
(laughing)
Oh, that's to insure I don't misquote you. And the note-pad's for my impressions.
STRAKER
(charming)
Of me?
FRAZER
I think first impressions are so important.
STRAKER
I think so, too.
INTERIOR : SHADO CONTROL
Ford sits at his console, speaking into a microphone, listening to a small speaker. Freeman stands near him.
SKY-DIVER
(over speaker)
And the fuel checks are complete.
FORD
(to microphone)
Thank you, Sky-Diver. I'll tell Commander Straker.
A FEMALE OPERATIVE walks up to Freeman, carrying a cup of coffee for Ford. Freeman looks at the cup curiously.
FEMALE OPERATIVE
(to Freeman)
Black, no sugar, sir.
FREEMAN
(mock disappointment)
Just my luck.
INTERIOR : OUTER OFFICE
Miss Ealand looks up as the doors to the inner office open and Straker and Miss Frazer enter the outer office. Frazer is without her purse.
STRAKER
(to Frazer)
Well, I'll walk you to your car.
FRAZER
Well, thank you. I thought the age of chivalry was dead.
STRAKER
(amused)
Oh, no. I have to go up on the studio lot. It's on my way.
FRAZER
(to Ealand)
Good bye.
EXTERIOR : STUDIO PARKING LOT
There is a small, expensive convertable sports car parked near the edge of the parking lot. Frazer walks over to it, accompanied by Straker.
FRAZER
It's right over here.
They stop at the car.
STRAKER
Very smart.
FRAZER
I've earned it.
She opens the car door and climbs in behind the steering wheel.
FRAZER
Well, thank you. You've been very kind.
STRAKER
A pleasure.
FRAZER
Good bye.
STRAKER
(nods)
Miss Frazer.
Frazer starts the car engine and Straker leaves, heading off across the parking area to one of the film lots.
INTERIOR : SHADO CONTROL
Ford speaks into the microphone at his console.
FORD
(to microphone)
Commander Straker...
INTERIOR : INNER OFFICE.
Ford's voice is heard over the intercom on the desk.
FORD
Commander Straker?
EXTERIOR : STUDIO LOT.
Straker walks towards a group of exterior film sets. A film crew is working around the sets.
EXTERIOR : PARKING LOT.
Frazer turns off the car engine and gets out of her car, heading back for the studio office building.
INTERIOR : OUTER OFFICE
Miss Ealand is seated at her desk, typing as Frazer enters. The door to the inner office is open.
EALAND
(surprised)
Miss Frazer, I didn't expect you back
(pause for emphasis)
So soon.
FRAZER
I left my handbag.
EALAND
(cool)
Oh, I see.
Ealand begins to get up from her seat.
EALAND
I'll get if for you.
Frazer walks directly to the door of the inner office.
FRAZER
No, it's all right. I'll get it.
Frazer enters the inner office as Ealand comes around her desk.
INTERIOR : INNER OFFICE
Frazer locates her purse on the chair opposite the desk as Ealand comes to the door.
EALAND
Have you found it?
FRAZER
(bright)
Yes, thank you.
Frazer leaves the office with her purse. Ealand enters the inner office and looks around,
suspiciously.
EXTERIOR : FILM SET.
A film crew is working on a scene. The DIRECTOR stands by the camera, giving instructions to an ACTOR using a small radio transceiver.
DIRECTOR
(to all)
Stand-by.
(to Actor)
When I give the word...
The Actor begins walking down a sidewalk, before the camera. We do not see his face. [The Actor is blond and we do not see his face. We are apparently intended to believe this is Straker.]
DIRECTOR
Now!
At the Director's instruction, gun shots are heard. The Actor grabs his face and blood shows beneath his fingers. He falls to the ground, still.
DIRECTOR
Cut it!
The Actor takes his hands from his face and gets up from the ground. There is fake blood on his face, hands and clothes.
ACTOR
(to Director)
It all right?
DIRECTOR
Fine. How'd it feel?
ACTOR
Good.
DIRECTOR
(to Cameraman)
Doc, we'll get some close-ups on these next shots...
Straker steps closer to the Actor, who has a Make-up person touching up his make-up.
STRAKER
(to all)
Morning, boys.
The crew, except for the Actor, nod acknowledgment and returns to their work, the Director giving instructions to the Cameraman.
ACTOR
(to Straker)
Oh, good morning, Mister Straker.
STRAKER
(good mood)
Well, you died beautifully.
ACTOR
Thank you.
(makes face)
I don't think much of the blood, though.
STRAKER
(smiles, then:)
By the way, we finally got that contract matter all straightened out. If you want to call Miss Ealand, she'll put you in the picture.
ACTOR
(pleased)
Thanks...
Straker nods and walks away. The the background, the Director is still giving instructions to various crew members.
INTERIOR : SHADO CONTROL
Freeman stands with Lieutenant Johnson, looking over some papers on a note-board.
FREEMAN
Commander Straker will have to authorize these.
(to Ford)
Oh, Lieutenant, do you know where Commander Straker is?
FORD
Yes, I paged him a couple of minutes ago. He's on his way back from the lot.
FREEMAN
All right.
INTERIOR : OUTER OFFICE
Miss Ealand is working .Straker enters the office and stops in front of her desk.
STRAKER
Messages, callers?
EALAND
No, sir. Only Miss Frazer.
STRAKER
(puzzled)
Miss Frazer?
EALAND
Yes, sir. She came back for her handbag. She left it in your office.
STRAKER
(troubled)
You didn't let her go in there?
EALAND
(defensive)
Well, only for a moment.
STRAKER
I see.
Straker enters the inner office.
INTERIOR : INNER OFFICE
Straker enters the room and the doors close behind him. He looks around the room, then goes to the desk, opening the top of the metal cigarette box on the desk top.
STRAKER
(to box)
Straker.
VOICE
(from box)
Voice print positive. Identification, Commander Straker.
Straker flips a switch inside the box and the room descends.
FRAZER (voice over)
I think first impressions are so important.
STRAKER (voice over)
You tape-record the interview and take notes?
FRAZER (voice over)
I think first impressions are so important.
STRAKER (voice over)
You didn't let her go in there?
EALAND (voice over)
Well, only for a moment.
INTERIOR : SHADO CONTROL
Straker enters, his expression concerned. He approaches Freeman and Ford.
STRAKER
Alec, Ford...
He beckons them to accompany him into his office.
INTERIOR : STRAKER'S OFFICE
Straker goes to his desk.
FREEMAN
Something wrong?
STRAKER
(to Ford)
Did anyone call me during the last fifteen minutes?
FORD
I beeped you on the studio lot.
STRAKER
No, I mean the office, up-top, over the intercom.
FORD
Well, yes. I tried there first.
STRAKER
What did you say?
FORD
(confused)
Nothing. There was no answer.
STRAKER
(impatient)
Well, you must have said something. It's important.
FORD
Well, just 'Commander Straker'. There was no reply, so I clicked off.
STRAKER
(grim - to self)
'Commander Straker'
(to Ford)
Well, thank you Ford.
Straker nods a dismissal to Ford. Ford leaves the office. The office doors close behind him.
STRAKER
(angry)
How could I be so stupid, Alec? That reporter had a tape-recorder. It was left in the office. The chances are, it picked up Ford's voice over the intercom.
FREEMAN
That's not so important. He only said 'Commander Straker'. Assuming it was picked up, what could it mean to anyone?
STRAKER
(calmer, but worried)
Not a lot, I agree. But maybe just enough for that woman reporter and her press friends to start snooping around.
FREEMAN
(surprised)
It was a girl?
STRAKER
Yes.
He reaches over a clicks on the desk intercom.
STRAKER
(to intercom)
Miss Ealand, get onto the Global Press Agency. I want to contact that Miss Josephine Frazer, It's urgent.
EALAND
(over intercom)
Yes, sir.
Straker clicks off the intercom and sits back in his chair.
FREEMAN
What was she like?
STRAKER
(thoughtful)
Oh, intelligent.
FREEMAN
(amused)
Attractive?
Straker glares at him.
INTERIOR : OUTER OFFICE
Miss Ealand is speaking on the telephone. A woman's voice can be heard over the receiver.
WOMAN ON PHONE
(over phone)
I'm afraid we have no one on our staff named Frazer.
EALAND
(to phone)
Are you certain?
WOMAN ON PHONE
(over phone)
I checked right through the personnel file.
EALAND
(to phone)
Yes, I see.
WOMAN ON PHONE
(over phone)
But check with the other agencies.
EALAND
(to phone)
Right, thank you very much.
Ealand hangs up the phone and flips the intercom switch.
INTERIOR : STRAKER'S OFFICE
On Straker's desk, the intercom buzzes. Straker flips the switch. Freeman is seated opposite the desk, watching Straker.
STRAKER
(to intercom)
Yes, Miss Ealand?
EALAND
(over intercom)
I just called the press agency, sir. They've never heard of Miss Frazer.
STRAKER
(to intercom, upset)
Then, check all the other agencies. I want her found.!
(pause, calmer)
Thank you, Miss Ealand.
Straker flips off the intercom.
STRAKER
(grim- to Freeman)
Intelligent, attractive and a possible security leak.
LATER:
STRAKER
(to Freeman)
It was my mistake. I'll take care of it.
FREEMAN
I still think I should go.
STRAKER
Well, it's simple enough, Alec. Find Miss Frazer and get the tape. A logical sequence.
(pause, gets up from chair)
Well, you can look after things here.
FREEMAN
Sure.
Straker moves to the front of the desk, looks back to the desk chair.
STRAKER
Well, there it is, Alec. The 'responsibility seat'. The, ah, other side of the fence.
Straker goes to the door, which opens.
STRAKER
(to Freeman)
I'll check in every few hours.
Freeman nods as Straker leaves and the doors close behind him.
EXTERIOR : HARLINGTON-STRAKER STUDIOS
Straker's car passes through the main gates, heading out onto the main road.
EXTERIOR : DEEP SPACE
A U.F.O. crosses the screen.
EXTERIOR: SPACE : SPACE INTRUDER DETECTOR
S.I.D.
Have trace on positive track. Course four-two-eight-one-four-six-green. Speed, zero Sol eight. Range, twenty million miles, closing.
INTERIOR : SHADO CONTROL
Freeman stands just behind and to one side of Ford, seated at his console.
FREEMAN
(to Ford)
Termination?
FORD
It should be though any second.
(pause)
Freeman moves across to watch the radar screen.
FREEMAN
Tell Moonbase to launch the interceptors.
S.I.D.
(over speaker)
Red alert...
An alarm sounds in the control room.
S.I.D.
(over speaker)
Red alert...
EXTERIOR : SHADO MOONBASE
INTERIOR : MOONBASE CONTROL SPHERE
ELLIS, MILLER and BARRY are seated at their stations. A group of numbers appears on Miller's computer screen.
ELLIS
(to console microphone)
Control to interceptors, Have Ufos on positive track. Green-one-four-zero...
BARRY
(to monitor screen)
Moonbase to SHADO Control, confirm Ufo sighting. Launching interceptors.
EXTERIOR : INTERCEPTOR LAUNCH PAD.
The pads rise, carrying three interceptors to the lunar surface. The three interceptors launch, chasing after the U.F.O.
EXTERIOR : MODERN RESTAURANT
INTERIOR : RESTAURANT LOUNGE
Straker is seated at the bar, checking a list in a small black notebook. A short tumbler with tomato juice sits on the counter in front of him. The BARTENDER approaches.
STRAKER
(to Bartender)
May I have some ice, please?
The bartender takes the tumbler and adds ice.
STRAKER
(looking at list)
Ah, how far is the Grenville Motel?
The bartender brings back the drink.
BARTENDER
About eight kilometers down the road.
STRAKER
May I use your phone?
BARTENDER
Of course, sir.
The bartenders brings a telephone and places it on the counter in front of Straker.
STRAKER
Thank you.
Straker picks up the phone receiver.
EXTERIOR : SPACE
The interceptors close on the U.F.O.
EXTERIOR : S.I.D.
S.I.D.
Range, five million miles.
EXTERIOR : SPACE
The interceptors fire their missiles. Two missiles explode. The U.F.O. veers off.
INTERIOR : INTERCEPTOR ONE
The PILOT speaks into his helmet microphone.
PILOT
Missile One, positive hit. Missile three, not confirmed. Ufo changing course, moving out of range.
INTERIOR : SHADO CONTROL
Ford, seated at his console, looks up at Freeman.
FORD
We've lost it.
Freeman nods and walks away, towards Straker's office.
INTERIOR : RESTAURANT LOUNGE.
Straker sits alone at the bar, reviewing his notebook.
FRAZER (voice over)
I think first impressions are so important.
INTERIOR : SHADO CONTROL
S.I.D.
(over speaker)
I have a sighting bearing Green-zero-four-two. Maintaining stationary position at fifty-thousand feet, Earth atmosphere.
Ford leaves his console and heads for Straker's office.
INTERIOR : STRAKER'S OFFICE
Freeman is seated at Straker's desk. The intercom buzzes. He thumbs the switch as the office doors open and Ford enters.
FREEMAN
(to intercom)
Yes?
EALAND
(Over intercom)
I have Commander Straker on the line, sir. He wants to know how things are.
FREEMAN
(to intercom)
No trouble.
(switches off intercom - to Ford)
Well, do we have trouble?
FORD
I don't think so.
FREEMAN
But we have an unidentified radar trace.
FORD
Yes.
FREEMAN
Then, something's there.
FORD
(reluctant)
I guess so, but...
FREEMAN
(interrupting)
And it could be that Ufo.
FORD
It's practically stationary!
FREEMAN
The point is, do we have a Ufo on our hands, or don't we?
FORD
Well, in my opinion, it's a million to one against. But, of course, we'll maintain a full alert radar track.
FREEMAN
No, launch Sky-one. Tell Waterman to investigate.
FORD
(resigned)
Yes, sir.
Ford leaves the office.
INTERIOR : SHADO CONTROL
Ford enters from the office corridor and goes to his station. He flips several switches on his console.
FORD
(to microphone)
This is SHADO Control to Sky-Diver.
EXTERIOR : OCEAN : SKY-DIVER
INTERIOR : SKY-DIVER
CAPTAIN WATERMAN enters the main cabin from a side hatch. He is pulling a leather jacket on over his uniform. The RADIO man sits at the console on the upper deck. A TWO CREWMEN check dials and switches on consoles on the main deck. Waterman picks up a hand mike from a wall panel.
FORD
(over radio speaker)
Sky-one to investigate possible Ufo, position zero-one-two-three-zero-two, red, three.
WATERMAN
(to microphone)
Roger Control, out.
(replaces microphone - to others)
Launch stations.
CREWMAN 1
Launch stations!
The crew go to their stations, checking readings and gauges.
CREWMAN1
(to Waterman)
Ready to launch, Captain.
Waterman nods and boosts himself into the access tube to Sky-one. Crewman 1 dogs the hatch behind Waterman.
CREWMAN 1
(to others)
One and two cleared.
WATERMAN
(over speaker)
Lift-off stations.
CREWMAN
Lift off stations.
(to Crewman 2)
Check boosters.
CREWMAN 2
Checking boosters.
EXTERIOR : UNDERWATER : SKY-DIVER.
Sky-one launches from underwater and breaks the surface, launching into the air.
INTERIOR : SHADO CONTROL
Ford, Johnson and a SHADO OPERATIVE sit at their consoles. Freeman stands, watching the monitors.
JOHNSON
(watching screen)
We still have positive track.
OPERATIVE
Green on three, confirm radar fix.
FORD
(to microphone)
Control to Sky-one. New position, zero-one-eight-two-nine-four. Range, twenty-five miles.
WATERMAN
(over speaker)
I have it on internal radar. Should have visual contact in about a minute.
(pause)
I think I see it.
EXTERIOR : SKY
Sky-1 makes a fly-by of a weather balloon, floating in mid-air.
INTERIOR : SKY-1
Waterman speaks into his helmet microphone
WATERMAN
Have visual contact.
(pause)
Panic over.
INTERIOR : SHADO CONTROL
WATERMAN
(over speaker)
It's a weather balloon.
Freeman stalks out, heading for Straker's office.
EXTERIOR : GRENVILLE MOTEL.
Straker's car is parked in the parking lot. He sits inside. Miss Frazer's car drives up and stops. She gets out and goes to the door of a guest room. Straker gets out of his car and follows her.
INTERIOR : MOTEL ROOM.
The door is open, Frazer is inside. Straker follows her in.
STRAKER
Miss Frazer.
FRAZER
(surprised)
How did you find me?
STRAKER
The studio gate logs all license plate numbers. From that I got your address. I called and they gave me a couple of places where I might find you. From there, it was a simple process of elimination.
(Pause, firm)
Who do you work for?
FRAZER
Myself.
STRAKER
And sell whatever you get to the highest bidder, huh?
FRAZER
Look, I'm sorry I lied, but if I hadn't said I was from GPA, you wouldn't have seen me at all, would you?
STRAKER
(cold)
Just give me the tape, Miss Frazer, and we'll call it a day.
Frazer hesitates.
STRAKER
(insistent)
The tape, Miss Frazer!
She pulls the tape from her purse and hands it to him. He looks at it.
STRAKER
(upset)
You've played it back.
FRAZER
There wasn't time.
STRAKER
(mollified)
All right.
Straker turns to leave. Frazer swings on him with her purse, striking him across the back of the head. He falls and she runs past him to her car. Straker recovers, gets to his feet and follows.
EXTERIOR: GRENVILLE MOTEL.
Frazer's car pulls out of the parking lot, followed by Straker's.
EXTERIOR : BRITISH ROAD
Straker gives chase. Both cars are traveling too fast for the road conditions. Straker's car pulls up beside Frazer's. In the oncoming lane, a large truck is approaching, horn honking. Straker pulls the steering wheel hard over, forcing Frazer's car off the road, into a ditch.
INTERIOR : STRAKER'S OFFICE
Freeman is seated at Straker's desk as Ford enters to stand before the desk with a note-board.
FREEMAN
(annoyed)
Well, why don't you say it?
FORD
If you'll just sign these, please, sir.
FREEMAN
Oh, get out of here.
FORD
I'll leave them on your desk, then.
(places note-board on desk)
Even a practice launch for Sky-diver needs an authorization.
Ford turns to leave.
FREEMAN
(apologetic)
Hold it, Keith.
Ford turns back.
FREEMAN
I'm sorry.
(pause)
Can you imagine what Straker would have said?
FORD
Yes, sir.
(makes wry face)
I can imagine.
Freeman takes the note-board and signs the papers.
EXTERIOR : BRITISH ROAD
Straker's car is driving down the road.
INTERIOR : STRAKER'S CAR
Frazer sits on the passenger side. Straker is driving.
FRAZER
What now? The police?
STRAKER
(long pause)
Who are you?
FRAZER
Jo Frazer, free-lance reporter, failed. I've only had one article published in the last month.
EXTERIOR : SHADO MOONBASE
INTERIOR : MOONBASE CONTROL SPHERE.
Ellis, seated at the center console, turns to Nina Barry, who is watching a radar trace on a monitor.
ELLIS
Is it still there?
BARRY
Yes, Lieutenant.
ELLIS
Ask Colonel Foster to come in, and get Control. I want to speak to Commander Straker.
BARRY
Right.
EXTERIOR : LUNAR SURFACE
A large wheeled machine, resembling a hinged truck, is seen crossing the landscape at the rapid rate.
INTERIOR : SHADO CONTROL
Ford sits at his console, a telephone receiver to his ear.
FORD
(to phone)
I have Colonel Foster on the Video-link, sir.
INTERIOR : STRAKER'S OFFICE
Freeman sits at the desk, speaking to the intercom.
FREEMAN
(to intercom)
Oh, thank you.
Freeman turns on a small video-screen on one corner of the desk. PAUL FOSTER appears on the screen.
FREEMAN
(to screen)
Hello, Paul.
FOSTER
(on screen)
Hello, Alec. It's a surprise to see your face. Where's Straker?
FREEMAN
(to screen)
I'll explain later. What's your problem?
FOSTER
(on screen)
Well, we've picked up radio signals about fifty miles east of the base. It's some sort of vehicle. It's moving on an erratic course, but it's heading our way.
INTERIOR : MOONBASE CONTROL SPHERE.
Foster sits at the command console. Freeman appears on the console video screen.
FREEMAN
(on screen)
Have you any idea what it could be?
FOSTER
(to screen)
Not really. We've tried to make radio contact, but no go.
INTERIOR : STRAKER'S OFFICE
Freeman sits at the desk. Foster is on the screen.
FREEMAN
(to screen)
Could it be unmanned?
FOSTER
(on screen)
It's possible. But, if it maintains its present course and speed, it'll run straight into us. It'll be a couple of hours before there's any real danger.
FREEMAN
(to screen)
Well, get onto it right away.
Freeman turns off the video-screen and turns to the intercom.
FREEMAN
(to intercom)
Lieutenant, I want an immediate run-down on all installations on the Moon operating surface vehicles.
EXTERIOR : LUNAR SURFACE
The unidentified vehicle is traveling fast across the landscape.
EXTERIOR : RESTAURANT-LOUNGE
Straker's car is parked in the parking lot
INTERIOR : RESTAURANT LOUNGE
Straker and Frazer are seated at a table, talking.
STRAKER
Why did you do it?
FRAZER
It's a dirty world. Sometimes you have to cut a few corners.
STRAKER
To get what you want?
(pause)
Like that car of yours?
FRAZER
(bitter, amused)
The car? It's on hire. All part of the front.
They pause as a waiter with a tray walks up and places filled glasses on the table in front of them. He leaves.
FRAZER
Does it matter?
STRAKER
Well, let's say, I'm interested.
FRAZER
You've heard it all before.
STRAKER
I'm a very good listener.
FRAZER
With an ice cold, clinical outlook.
Straker watches her, expression calmly curious.
STRAKER (voice over)
Intelligent, attractive, and a possible security leak.
FRAZER
Hmm, you don't believe me, do you?
STRAKER
(firm)
You know, there's one thing I hate...
He pauses as she pulls back, worried.
STRAKER
It's eating dinner alone.
INTERIOR : STRAKER'S OFFICE.
Freeman sits at the desk. Ford stands facing him. They both appear worried.
FREEMAN
Well, what do you think?
FORD
It's a tough decision.
FREEMAN
(annoyed)
Thanks.
(pause, thinking)
All right, tell Moonbase to launch the interceptors.
FORD
Right, sir.
Ford leaves the office.
INTERIOR : MOONBASE CONTROL SPHERE.
Ellis sits at the center console, speaking into a small microphone.
ELLIS
(to microphone)
Interceptors one, two and three, immediate launch. Repeat, interceptors one, two and three, immediate launch.
INTERIOR : LAUNCH SPHERE
The THREE PILOTS grab their helmets from their respective cubby-holes and jump into the launch chutes.
EXTERIOR : INTERCEPTOR LAUNCH PADS
The three pad rise to the surface and the interceptors launch.
EXTERIOR : BRITISH ROAD - STRAKER'S HOUSE
Straker's car drives down the road, slows at a driveway and pulls into it, stopping beside a small house. The car doors open, Straker and Frazer get out.He goes to the door of the house, unlocks the door and they enter.
INTERIOR : STRAKER'S HOUSE, LIVING ROOM.
Straker and Frazer enter the house. Frazer looks around.
FRAZER
Hmm, nice.
STRAKER
(pleased)
Well, it suits me.
(pause)
Well, I'll get things moving in the kitchen.
FRAZER
Can I help you?
STRAKER
No, I can handle it.
(snaps fingers)
I left the wine in the car.
FRAZER
I'll get it.
STRAKER
Oh, thanks.
Straker hands her his car keys and she leaves the house.
INTERIOR : STRAKER'S OFFICE
Freeman is seated at the desk. The intercom buzzes and Freeman flips the switch.
FREEMAN
(to intercom)
Yes, Miss Ealand?
EALAND
(over intercom)
I have Commander Straker on the line, sir.
FREEMAN
(to intercom)
You'd better tell him..
(pause, considering)
Tell him everything's under control.
EALAND
(over intercom)
He says he's glad to hear it and he'll be back tomorrow morning.
INTERIOR : OUTER OFFICE
Ealand sits at her desk, holding the phone receiver to her ear.
STRAKER
(over phone)
Oh, Miss Ealand, I want you to do a voice check for me. It's Miss Frazer, just routine.
INTERIOR : STRAKER'S HOUSE - LIVING ROOM
Straker stands, holding the telephone receiver to his ear.
EALAND
(over phone)
A full G-six, sir?
STRAKER
(to phone)
That's right, Miss Ealand. A full G-six.
INTERIOR : OUTER OFFICE
Ealand opens a drawer in her desk, revealing a small tape recorder.
EALAND
(to phone)
I understand, sir.
(pause)
Record immediately.
Ealand turns on the recorder.
INTERIOR : STRAKER'S HOUSE - LIVING ROOM
STRAKER
(to phone)
Yes, yes.
In the background, Frazer enters the house, carrying the wine. She approaches Straker, who holds the phone out to her.
STRAKER
(to Frazer)
Come and say hello to Miss Ealand.
Frazer takes the phone.
FRAZER
(to phone)
Hello, Miss Ealand. You're working very late tonight. Hope to see you again soon. Good-bye now.
EALAND
(over phone)
Good bye.
Frazer hands the phone back to Straker, who puts it to his ear.
STRAKER
(to phone)
Yes, that'll be fine. Good night, Miss Ealand.
Straker hangs up the phone and turns to Frazer.
STRAKER
Well, why don't you help yourself to a drink, and I'll go out and break out the can-opener.
FRAZER
Fine.
She holds out his keys. He puts out his hand and she drops the keys into his palm.
STRAKER
(putting keys in pocket)
Thanks.
EXTERIOR : LUNAR SURFACE.
A Moonbase interceptor flies over the surface. It approaches the runaway lunar vehicle.
INTERIOR : INTERCEPTOR
The PILOT speaks into his helmet microphone.
PILOT
I can see it. I'll go down and radio back a photograph.
EXTERIOR : LUNAR SURFACE
The interceptor flies low over the runaway vehicle.
INTERIOR : MOONBASE CONTROL SPHERE
Foster sits at the command console. Carol Miller sits at one of the computer monitors. A photograph of the runaway vehicle is ejected from a slot near the monitor. Miller looks at it and hands it to Foster.
FOSTER
Transmit a print of this to SHADO Control.
Foster hands the photograph back to Miller, who turns back to her station.
INTERIOR : STRAKER'S HOUSE - LIVING ROOM
Straker and Frazer sit facing each other over the dining table. Evidence of an eaten meal is on the table. Frazer holds a glass of wine. Straker has coffee and is smoking a thin cigar.
FRAZER
You know, Ed, you're a terrific cook.
STRAKER
I just follow the instructions on the can.
FRAZER
The wine was great.
(pause)
You should have had some.
(pause)
You know, you have a nice home here.
STRAKER
(shrugs)
A place to sleep.
(pause, musing)
You know, it's funny, Jo, I enjoyed today. Ever since my...
(pause)
divorce, I've kept myself pretty much to myself. You know how it is.
FRAZER
Yes, I do know.
INTERIOR : STRAKER'S OFFICE
Freeman sits at the desk. Ford enters with a photograph of the runaway lunar vehicle. He hands the photo to Freeman.
FORD
It's Russian. They have a base about a hundred and twenty-five miles East of Moonbase.
FREEMAN
Russian?
FORD
It's a mobile used in commercial mining in rich surface ore areas.
FREEMAN
Get onto their base. Tell them unless they divert their machine...
FORD
I'll explain the situation, sir.
Ford leaves the office.
EXTERIOR : RUSSIAN LUNAR BASE
INTERIOR : RUSSIAN LUNAR BASE
The Russian base COMMANDER is speaking to a radio microphone, to SHADO Moonbase.
COMMANDER
We understand your concern, but we still can't establish radio contact with the crew. Something must have gone very seriously wrong.
EXTERIOR : LUNAR SURFACE - RUSSIAN LUNAR VEHICLE
INTERIOR : RUSSIAN LUNAR VEHICLE
TWO RUSSIAN ASTRONAUTS, wearing spacesuits without helmets, sit inside the Lunar Vehicle. They are laughing and appear drunk.
COMMANDER (voice over)
I'm sure they're out of control. All we can do is keep trying.
INTERIOR : MOONBASE CONTROL SPHERE
Foster, seated at command console, turns to Miller.
FOSTER
Get me SHADO Control.
A video screen on the command console flickers on and Freeman appears on the screen.
FOSTER
(to video screen)
We've contacted the Russian Base. There's a crew of two on board, but no one can contact them.
FREEMAN
(on screen)
Is the radio link okay?
FOSTER
(to video screen)
It seems to be, they just don't answer.
INTERIOR : STRAKER'S OFFICE.
Foster appears on the video screen on the desk.
FREEMAN
(to video screen)
What's the vehicle's position now?
FOSTER
(on video screen)
About twenty miles east of the base. The Russians have a surface mobile on the way, but it won't get there in time.
FREEMAN
(to video screen)
Well, then, send out a Moon-Mobile. Try to establish visual contact.
FOSTER
(on video screen)
Right.
EXTERIOR : LUNAR SURFACE
A Moonbase Moon-Mobile travels across the lunar surface, heading towards the Russian vehicle.
INTERIOR : STRAKER HOUSE -LIVING ROOM
The lights are low. Frazer is looking at the art. After a short time she comes over to sit next to Straker on the sofa, listening to music on the stereo system.
EXTERIOR LUNAR SURFACE - MOON-MOBILE
INTERIOR : MOON-MOBILE
Foster and a DRIVER are in the Moon-mobile. Both wear space-suits.
FOSTER
(to radio)
We should be making visual contact any minute.
Through the front windows, the Russian vehicle can be just seen in the distance.
FOSTER
(to radio)
Yes, I make it about two miles.
INTERIOR : STRAKER'S HOUSE -LIVING ROOM
The phone rings. Straker leaves the sofa to go to the phone and pick up the receiver.
STRAKER
(to phone)
Straker.
Behind him, Frazer leaves the sofa and enters the adjoining bedroom.
STRAKER
(listening to phone)
Yes?
EALAND
(over phone)
And criminal records show arrests four times.
STRAKER
(to phone)
I see
EALAND
(over phone)
Is there anything else, sir?
STRAKER
(to phone)
No, that'll be all right.
(pause)
Right.
Straker hangs up the phone, goes to the stereo system and turns it off. Then he enters the Bedroom.
INTERIOR : STRAKER'S HOUSE - BEDROOM
Frazer has undressed down to her lingerie. Her dress is on the bed. She turns to look at Straker. His expression is grim and disappointed. He picks up her dress and hands it to her.
FRAZER
(puzzled)
What's the matter, Ed?
STRAKER
Get out.
FRAZER
What's wrong?
STRAKER
I know. That's what's wrong.
(pause, angry)
One article published in the last month? The car on hire? You were right about that the first time. You earned it, the hard way. Just what did you have mapped out for me? You plan to take me for all you could get? Or, maybe, something more cozy, like an idyllic weekend somewhere, and a guy with a camera just happens to burst in at the right time?
FRAZER
(dressing)
Maybe, at first.
STRAKER
(interrupting- sarcastic)
Oh, come on, don't give me that. Don't tell me there's an emotion left in that pretty little head. You're getting soft!
FRAZER
(angry - pulling on dress)
Soft? That's the way you get eaten alive.
(pause)
Oh, you wouldn't understand. It's a man's world, remember?
Frazer leaves, slamming the front door behind her.
EXTERIOR : LUNAR SURFACE
The Moon-Mobile approaches the Russian Vehicle.
INTERIOR : RUSSIAN VEHICLE
The crew is ignoring the voices on the radio.
INTERIOR : SHADO CONTROL
Ford is seated at his console. Freeman stands next to him.
FREEMAN
(to Ford)
Get me a direct radio link with the Moon-mobile.
FORD
Right, sir.
Ford flips a switch on his console.
INTERIOR : MOON-MOBILE
BARRY
(over radio)
I have Colonel Freeman for you, sir.
FOSTER
(to radio)
Right, put him on.
FREEMAN
(over radio)
What's your position?
FOSTER
(to radio)
We've just established visual contact and we're trying to get though to the crew, without much success.
FREEMAN
(over radio)
Right, Fire a warning shot.
FOSTER
(puzzled)
Warning shot?
FREEMAN
(over radio)
Look, you're less than five miles from Moonbase.
FOSTER
(appalled)
That's a civilian vehicle!
FREEMAN
(angry)
Fire that shot!
FOSTER
(to radio)
Right.
Foster clicks off the radio and looks to his Driver, who looks back, sympathetically. Foster shakes his head, while the Driver checks his instruments.
DRIVER
(reading instruments)
Range, four hundred ninety yards, Angle zero decimal two-eight.
FOSTER
Not too close.
EXTERIOR : LUNAR SURFACE
The Moon-mobile fires a small missile, which explodes a moderate distance from the Russian Vehicle.
INTERIOR : RUSSIAN VEHICLE
The crew doesn't notice the explosion outside. They are laughing hysterically.
INTERIOR : MOON-MOBILE
Foster turns to the Driver.
FOSTER
Try another one, as close as you dare.
DRIVER
(reading instruments)
Yes, sir.
(pause)
Range, three hundred twenty yards, angle zero decimal two-four.
EXTERIOR LUNAR SURFACE.
The Moon-mobile fires again. The explosion is very close to the Russian Vehicle. No reaction.
INTERIOR : MOON-MOBILE
FOSTER
(to radio)
No reaction.
FREEMAN
(over radio)
You're certain they saw the warning shots?
FOSTER
(irritated)
If they had been any closer, they'd have been part of it.
FREEMAN
(over radio)
Stop them.
FOSTER
You mean...?
FREEMAN
I mean, shoot to stop them. That's my decision, I'll take the responsibility.
(pause)
Do you read me?
FOSTER
(to radio)
Be with you in a couple of minutes. I'm going to try something.
Foster grabs his helmet and beckons the Driver to help him as he heads to the rear of the Moon-mobile.
INTERIOR : SHADO CONTROL
Ford sits at his station. Freeman stands beside him.
FORD
(to console microphone)
Come in M-three.
INTERIOR : MOON-MOBILE
The control cabin is empty.
FORD
(over radio)
Come in, M-three,
EXTERIOR : LUNAR SURFACE.
Foster, in full space-suit, is outside the Moon-mobile, angling his path to intercept the Russian Vehicle.
INTERIOR : SHADO CONTROL
FORD
(to microphone)
Come in, M-Three.
DRIVER
(over radio)
M-three to Control.
FORD
(to microphone)
Control to...
Freeman pulls the microphone away from Ford.
FREEMAN
(to microphone)
Let me speak to Colonel Foster.
DRIVER
(over radio)
He's trying to get aboard the rig, sir.
FREEMAN
(to radio - angry)
What?
(pause, calmer)
Has he made it?
INTERIOR : MOON-MOBILE
The driver peers through the front windows at the Russian rig.
DRIVER
(to radio)
I'm not sure. I can't see him. If he's not inside...
INTERIOR : RUSSIAN VEHICLE.
Foster, in full space suit, is inside the vehicle. The Russians greet him jovially.
RUSSIAN 1
Tovarisch!
FOSTER
(to suit radio)
Listen, they're both incapable. The air pressure's down. They could be suffering from anoxia.
INTERIOR : MOONBASE CONTROL SPHERE
Ellis and Harrington are in the Control sphere. They are worried. Harrington is watching a radar screen.
ELLIS
(to Harrington)
How far is it now?
HARRINGTON
Fifteen hundred meters.
Ellis flips switches on the command console, turning to the board microphone
ELLIS
(to microphone)
This is a red-emergency alert. Seat all airlocks. All personnel to carry out decompression drill.
INTERIOR : RUSSIAN VEHICLE
Foster is still being greeted and patted on the back by the two Russian crewmen.
FOSTER
(to suit radio)
Get me the Russian base. Find out how to stop this thing.
INTERIOR : RUSSIAN BASE
The Russian commander is speaking to a radio microphone.
COMMANDER
(to microphone)
Yes, I understand. The quickest way to stop it, is to throw the red master-power switch. It's ah, situated left of center on the control panel.
INTERIOR : MOONBASE CONTROL SPHERE
ELLIS
(to radio microphone)
Right.
INTERIOR : RUSSIAN VEHICLE
Foster is looking at the Russian control panel. Just left of center is a red knife switch.
FOSTER
(to suit radio)
Yes, I see it.
ELLIS
(over radio)
That's the master power control.
FOSTER
(to radio)
Okay.
INTERIOR : SHADO CONTROL.
Freeman stands next to Ford, seated at his station.
FREEMAN
How far is it from Moonbase?
FORD
Just a few hundred yards.
INTERIOR : MOONBASE CONTROL SPHERE
Ellis and Harrington are in space suits, wearing helmets. Through the viewport, the Russian vehicle can be seen approaching. The women pull down their helmet visors and tighten them.
INTERIOR : RUSSIAN VEHICLE.
Foster attempts to reach the power switch. The Russians resist him, trying to pull him away. After a short struggle, Foster pushes the switch.
EXTERIOR: LUNAR SURFACE.
The Russian vehicle comes to a halt only a few yards from the Moonbase Control sphere.
INTERIOR : MOONBASE CONTROL SPHERE
Ellis, in regular uniform, is seated at her station.
ELLIS
(to microphone)
The crew is fine, but I doubt that they'll remember much about the incident. There must have been a slight pressure leak. They were suffering from lack of oxygen, causing a sort of drunkenness.
COMMANDER
(over radio)
Drunkenness?
ELLIS
(to microphone)
Like drinking too much whiskey. We call it 'anoxia'.
INTERIOR : RUSSIAN BASE
The Russian Commander sits by a radio console, holding a microphone.
COMMANDER
(to microphone -laughing)
Ah, we know it in the same way. Except, our description would substitute vodka for whiskey.
(pause)
On behalf of Sovidex, I would like to thank you for your cooperation.
INTERIOR : SHADO CONTROL (MORNING)
Straker enters. Ford is seated at his console and turns to greet Straker.
FORD
Good morning, sir.
Straker walks over to Ford.
STRAKER
(nods greeting)
Ford.
(pause)
Well, it's all sorted out.
FORD
And the girl, Miss Frazer?
STRAKER
You were pretty quick with the voice print.
FORD
'Hello, Miss Ealand' was enough. The international crime computer did the rest. She's got a record as long as your arm.
STRAKER
Is she wanted by the police?
FORD
(shrugs)
Not at the moment, but she won't stay out of trouble for long. Her kind never do.
STRAKER
Maybe.
(pause)
Where's Colonel Freeman?
FORD
In your office, sir.
Straker nods and heads towards his office.
INTERIOR : STRAKER'S OFFICE
Freeman is seated at the desk. He looks up as the door opens and Straker enters.
STRAKER
Hello, Alec.
FREEMAN
Hello.
STRAKER
Well, I hear you had quite a day.
FREEMAN
You could say that.
Straker sets his briefcase on the desk and opens a cigar box on the desk top. He takes out two cigars, handing one to Freeman, who takes it.
STRAKER
Paul Foster might have lost his life, ordering him on board the rig like that.
(pause, lighting cigar)
Tough decision. The right one, of course.
FREEMAN
It wasn't quite like that.
STRAKER
(knowing)
Well, whatever way it happened, Alec, you were responsible.
FREEMAN
(pause)
I certainly have to hand it to you.
STRAKER
(puzzled)
Hmm?
FREEMAN
That Miss Frazer. She didn't have you fooled for a moment. If it had been me, I'd have probably gotten emotionally involved, or something.
STRAKER
(thoughtful)
Yes, I can see how it could happen.
(pause, gestures to desk chair)
Oh, say, Alec...
FREEMAN
(shrugs, smiles)
Sorry.
Freeman gets up from the desk chair and stands next to it.
FREEMAN
Well, it's all yours.
STRAKER
(smiles)
The, uh, other side of the desk.
Straker sits down at the desk. Freeman leaves the office.
U.F.O. is the © and property of ITV Studios Global Entertainment and used for promotional purposes only.
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