UFO Script for
"Mindbender"

​​SYNOPSIS: Two members of an interceptor crew go berserk and try to kill their colleagues. Yet they believe they are killing their enemies . . .

      Why should a UFO get within three miles of Moonbase and then destroy itself? This is something Ed Straker wants to know, and it is why he and Paul Foster go to Moonbase to investigate. But little can be found, and two members of an interceptor crew, Conroy and Dale, who have been searching the area, return empty-handed except for a diamond-like rock which Conroy has picked up and decided to keep as a souvenir. When the two men return, Conroy goes into the Control Sphere and stops dead in his tracks with a look of utter disbelief and horror on his face when he sees, instead of the usual personnel, three dirty, unshaven cowboys. As one of them goes for his gun, Conroy lunges at him, and then takes on all three. He then runs out of the Control Sphere leaving behind him, not three cowboys as he has believed he has seen, but the actual Control personnel. One of them, Nina, immediately gives the internal emergency alarm. Before Conroy can be found he has shot his friend Dale, again believing him to be an intruding cowboy. When Straker and Foster catch up with him, he turns on them and Foster has no alternative but to shoot him.

      A little later, there is another dramatic development when Captain "Beaver" James of S.H.A.D.O. runs amok in S.H.A.D.O. Headquarters, attacking one of the operatives and shoots a guard in the belief that they are aliens. During the search for him, he shoots another guard and then shoots at Straker, who is unable to prevent him entering Control and getting hold of Virginia Lake. Using her as a hostage, Beaver calls for Straker, saying he has got the alien's leader. To the crazed Beaver, everyone he sees is an alien, and he believes that the aliens have taken over. Between them, Straker and Paul Foster succeed in tricking him and saving Virginia, but in doing so Beaver is fatally shot. Tragically, Straker too has touched the deadly moon rock which Conroy found - and now it is Commander Straker's turn to come under its evil influence . . .

THE SCRIPT FOR THE UFO EPISODE
“MINDBENDER”

by

Tony Barwick


© Century 21 Pictures
Pinewood Studios,
Iver Heath,
Buckinghamshire. 

NOTES ABOUT THIS SCRIPT:

Overall, this script is very close to the broadcast episode, although there are many minor changes, with lines of dialogue cut/added/re-worded and re-ordered.

● In the broadcast episode, the astronaut who goes crazy is named "Conroy". In the script, he is named "Tranter".

● In the broadcast episode, there is a cowboy gunfight scene in a western town. This is not in the script.

● In the broadcast episode, Straker's secretary is Miss Ealand. In the script, his secretary is Miss Holland (Norma Ronald who played Miss Ealand had been on maternity leave, but returned in time to appear in this episode).

● In the broadcast episode, it is not immediately known that Beaver James is seeing Aliens. In the script, it is.

● In the broadcast episode, Howard Byrne is refused script approval. In the script, he gets script approval.

NB: This script was specifically written to be a low-budget episode with no new sets and no new visual effects (this also explains the use of scenes from past episodes, which is cheaper than filming new scenes).

CAST LIST:
SPEAKING PARTS:
STRAKER
FOSTER
VIRGINIA LAKE
NINA
TRANTER
DALE
GIRL OPERATIVE
BEAVER JAMES
HENDERSON
MISS HOLLAND
HOWARD BYRNE
1ST GUARD
2ND GUARD
3RD GUARD
PAULINE
DIRECTOR
2ND ASSISTANT
CLAPPER BOY
PROJECTIONIST
GRIP
1ST ASSISTANT
OPERATIVE

SET LIST:
NO NEW SETS
NO COMPLEX SETS
NO NEW VISUAL EFFECTS 

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

A: EXT. MOONBASE (V.E. LIBRARY) 6 SECS

TO ESTABLISH

CUT TO:

B: INT. CONTROL SPHERE (STUDIO) 15 SECS

NINA, AT THE CENTRAL CONSOLE IS IN CONTACT WITH STRAKER IN THE CONTROL ROOM AT SHADO H.Q. ON EARTH OVER THE MONITOR. A FEELING OF TENSE WAITING.

STRAKER
How long till lunar sunrise Nina.

NINA
Four minutes.

STRAKER
Right. Are the interceptors ready.

NINA
Yes, sir, we've been on red alert since 0.600 hours.

CUT TO:

C: INT. INTERCEPTOR BAY (V.E. LIBRARY) 5 SECS

THE THREE INTERCEPTORS WAIT ON THEIR RAMPS.

CUT TO:

D: INT. INTERCEPTOR (STUDIO) 5 SECS

TRANTER, ONE OF THE ASTRONAUTS, SITS WAITING
IN THE INTERCEPTOR.

CUT TO:

E: INT. CONTROL SPHERE (STUDIO) 10 SECS

STRAKER CONTINUES OVER THE MONITOR.

STRAKER
If we do lose contact, Nina. You'll have to play it by ear.

NINA
Yes, sir.

ANOTHER ANGLE

ONE OF THE GIRL OPERATIVES CALLS OUT THE COUNT DOWN TO SUNRISE.

GIRL OPERATIVE
Three minutes.

CUT TO:

F: INT. UNDERGROUND CONTROL (STUDIO) 16 SECS

STRAKER AND VIRGINIA LAKE

STRAKER
It's the feeling of helplessness I can't take.

VIRGINIA
Sun spot activity is the perfect cover for a U.F.O. Do you think they'll try anything?

STRAKER
You can lay odds on it.

CUT TO:

G: INT. CONTROL SPHERE (STUDIO) 12 SECS

NINA
Give me the surface camera.

GIRL OPERATIVE
Yes, Lieutenant.

ON MONITOR.

THE SURFACE OF THE MOON COMES UP ON NINA'S MONITOR.

GIRL OPERATIVE (VO)
Fifty seconds.

CUT TO:

H: EXT. SPACE (V.E. LIBRARY) 5 SECS

A U.F.O. SPEEDS TOWARDS THE MOON.

CUT TO:

J: INT. CONTROL SPHERE (STUDIO) 32 SECS

NINA AT THE CENTRAL CONSOLE.

GIRL OPERATIVE
Interference ratio 2 over 7... increasing.

NINA FLICKS THE CONTROL TO SPEAK TO EARTH. STRAKER APPEARS ON THE MONITOR.

NINA
Interference level rising to critical, Commander.

STRAKER
Right. Looks like we going to have a communications blackout.

HIS PICTURE ON THE MONITOR IS BEGINNING TO BREAK UP.

GIRL OPERATIVE (V.O.)
Sound and vision breaking up.

THE MONITOR BEGINS TO SNOW UP.

STRAKER
We'll keep the line open and test signal every 60 seconds. Good luck.

THE PICTURE HAS BROKEN UP.

NINA
(to herself)
Thank you, sir.
(an order)
Give me the surface.

ON MONITOR.

WE SEE A PANNING SHOT OF THE SURFACE ON THE MONITOR.

GIRL OPERATIVE (V.O.)
Minus ten, nine, eight etc...

CUT TO:

K: EXT. MOON (V.E. LIBRARY) 9 SECS

THE SUN CREEPING OVER THE LUNAR HORIZON.

CUT TO:

L: INT. CONTROL SPHERE (STUDIO) 6 SECS

NINA AND THE OPERATIVE WAIT IN SILENCE.

CUT TO:

M: INT. INTERCEPTOR BAY (V.E. LIBRARY) 5 SECS

THE INTERCEPTORS READY ON THEIR RAMPS.

CUT TO:

N: EXT. MOON (V.E. LIBRARY) 6 SECS

AS THE TENSION BUILDS WE SEE A U.F.O. IN THE DISTANCE FLYING TOWARDS THE CAMERA AND OUT OF THE SUN.

CUT TO:

P: INT. CONTROL SPHERE (STUDIO) 26 SECS

GIRL OPERATIVE
Radar trace, bearing 184. Range 20 miles.

ON NINA.

NINA
Pan three.

SHE CHECKS THE MONITOR, AS THE CAMERA SHOWS THE LUNAR SUNRISE. BUT CANNOT SEE THE U.F.O.

ANOTHER ANGLE

NINA PICKS UP A PAIR OF BINOCULARS AND HURRIES TO THE SPHERE WINDOW TO LOOK OUT ONTO THE SURFACE.

P.O.V. SHOT (LIBRARY)

WITH MASKING. WE SEE THE SURFACE FROM NINA'S P.O.V. THE U.F.O. APPEARS STILL A LONG WAY OFF. THEN DUCKS DOWN BELOW THE HORIZON AS IT COMES HEDGE HOPPING TOWARDS MOONBASE.

ON NINA

NINA
Launch the interceptors.

GIRL OPERATIVE
Interceptors. Immediate launch.

CUT TO:

Q: INT. INTERCEPTOR (STUDIO) 5 SECS

TRANTER REACTS AS THE ORDER IS REPEATED.

GIRL OPERATIVE (VO)
Immediate launch.

CUT TO:

R: INT. INTERCEPTOR BAY (V.E. LIBRARY) 5 SECS

THE INTERCEPTORS RISE UP ON THEIR RAMPS.

CUT TO:

S: INT. CONTROL SPHERE (STUDIO) 6 SECS

GIRL OPERATIVE
Range 10 miles.

NINA LOOKS OUT ONTO THE SURFACE THROUGH THE BINOCULARS.

CUT TO:

T: EXT. INTERCEPTOR BAY (V.E. LIBRARY) 6 SECS

THE INTERCEPTORS TAKE OFF.

CUT TO:

U: EXT. MOON (V.E. LIBRARY) 6 SECS

THE U.F.O. NOW MUCH NEARER, AS IT SKIMS LOW ACROSS THE SURFACE.

V: INT. CONTROL SPHERE 9 SECS

GIRL OPERATIVE
5 miles.

NINA AT THE WINDOW.

P.O.V. (V.E. LIBRARY)

THE U.F.O. WITH THE BINO MASKING.

CUT TO:

W: EXT. MOON (V.E. LIBRARY) 6 SECS

THE U.F.O. CLOSES AND LOOMS UP TOWARDS CAMERA FROM BEHIND A ROCK FORMATION.

CUT TO:

X: EXT. MOON (V.E. LIBRARY) 4 SECS

THE U.F.O CLIMBING UP AGAINST A SPACE SKY BACKGROUND.

CUT TO:

Y: INT. CONTROL SPHERE 5 SECS

GIRL OPERATIVE
It's altered course.

NINA REACTS.

CUT TO:

Z: EXT U.F.O. (V.E. LIBRARY) 3 SECS

IT EXPLODES, MID AIR.

CUT TO:

ZA: INT. UNDERGROUND CONTROL (STUDIO) 28 SECS

STRAKER TALKS TO NINA. THE COMMUNICATIONS LINK IS NOW BACK TO NORMAL.

STRAKER
Convey my congratulations to the interceptor pilots.

NINA
They didn't get near it.

STRAKER
What.

NINA
It's disintegrated. 3 miles from Moonbase. No apparent reason.

WIDEN THE ANGLE TO INCLUDE VIRGINIA AS STRAKER TURNS TO HER.

STRAKER
Get hold of Paul Foster. And check on the next available lunar flight.

VIRGINIA
You're going up to Moonbase.

STRAKER
I want to know why a U.F.O. gets within three miles of Moonbase, then destroys itself.

MAIN TITLES

1 EXT. MOON (V.E. LIBRARY) 5 SECS


TO ESTABLISH THE MOON.

CUT TO:

2 EXT. MOON SURFACE (V.E. LIBRARY) 5 SECS

A MOONMOBILE MOVING ACROSS THE BARREN LIFELESS SURFACE OF THE MOON.

CUT TO:

3 INT. MOONMOBILE (STUDIO) 55 SECS

STRAKER AND FOSTER IN THE LUNAR VEHICLE. THEY HAVE BEEN LOOKING FOR THE U.F.O. THAT EXPLODED.

THEY SEARCH THE SURFACE WITH THEIR EYES.

STRAKER
No sign of it...

HE LIFTS A MIKE TO TALK TO MOONBASE.

STRAKER
Mobile 2 to Control...

NINA (VO)
Yes, Commander...

STRAKER
We've completed search... No trace of the U.F.O. in this area. How are Dale and Tranter making out?

NINA (VO)
They've found a possible crash location... but nothing positive. They're out on the surface now taking a closer look.

STRAKER
Thanks, control, out.

FOSTER
Possible crash location... it must have made a fair sized crater. It shouldn't be difficult to recognise.

STRAKER
I've been thinking about that, Paul. We had it on radar track, flying low, only a couple of hundred feet up. Then it began to climb. Suppose it didn't crash.

FOSTER
You mean it could have exploded mid air.

STRAKER
Exactly... if it disintegrated in flight the debris would produce a large number of small craters over a wide area.

FOSTER
And the moon's already pock marked by a millions' years of meteorites.

STRAKER
Right. We'll have to wait until mobile 1 reports in.

CUT TO:

4 INT. MOONMOBILE (STUDIO) 17 SECS

DALE AND TRANTER, THE CREW OF MOBILE 1 SETTLE BACK IN THEIR SEATS. THEY HAVE JUST RE-ENTERED THE MOBILE FROM THE MOON'S SURFACE. THEY WEAR SPACE SUITS. TRANTER IS A HAPPY GO LUCKY TYPE, DALE A LITTLE OLDER, MORE RESERVED. THEY LIFT THEIR VISORS.

DALE
Well, what do you think?

TRANTER
It's hard to be sure.

DALE
Straker's going to want to know.

TRANTER
You're in command of this buggie old son.

DALE
Thanks a million. Well maybe the instrument recordings will tell us more. Let's get back to base.

CUT TO:

5 EXT. MOONBASE (V.E. LIBRARY) 5 SECS

TO ESTABLISH.

CUT TO:

6 INT. CONTROL SPHERE (STUDIO) 20 SECS

WE FEATURE NINA AT THE CENTRAL CONSOLE. THE OTHER TWO GIRL OPERATIVES SIT IN THE BACKGROUND.

NINA HAS JUST BEEN TALKING TO DALE AND TRANTER IN MOBILE 1.

NINA
Thank you, mobile 1. Out.

SHE FLICKS A CONTROL TO SPEAK TO MOBILE 2.

NINA
Control to 2.

STRAKER
Yes, Nina.

NINA
Mobile 1 is about to dock. They think they've located the crash area.

STRAKER (VO)
O.K. Will head back too.

CUT TO:

7 INT. MOONMOBILE (STUDIO) 5 SECS

STRAKER AND FOSTER.

STRAKER
Home James and don't spare the horses.

CUT TO:

8 EXT. MOON (V.E. LIBRARY) 5 SECS

STRAKER'S MOONMOBILE MOVING ACROSS THE LUNAR SURFACE.

CUT TO:

9 INT. LEISURE DINING SPHERE (STUDIO) 82 SECS

START CLOSE ON A SPACE SUIT AS IT IS DUMPED INTO ONE OF THE CHAIRS IN THE LEISURE SPHERE.

PULL BACK TO SHOW DALE AND TRANTER, NOW DRESSED IN THEIR UNDERSUITS.

TRANTER STILL HOLDS HIS SPACE SUIT, DALE WHO HAS JUST DROPPED HIS, CROSSES TO THE AUTO FOOD DISPENSER.

DALE
What'll it be...
How about a cheese soufflé.

TRANTER
No thanks the last one I ate stayed with me for a week...

DALE
You're supposed to take it out of the plastic bag.

TRANTER GIVES DALE A HUMOURLESS FIXED GRIN.

TRANTER
I'll just have some coffee.

WHILE THEY HAVE BEEN TALKING TRANTER HAS TAKEN A PIECE OF ROCK FROM A POCKET OR POUCH IN HIS SPACE SUIT. IT IS ABOUT THE SIZE OF A LARGE EGG, IT LOOKS LIKE A ROUGH UNCUT DIAMOND.

HE HOLDS IT UP AT ARMS LENGTH THEN RUBS IT ON HIS CHEST TO POLISH IT.

DALE COMES OVER WITH TWO COFFEES AND A MEAL FOR HIMSELF.

DALE
What have you got there?

TRANTER
Moon diamond. Picked it up when we were out on the surface.

DALE SITS DOWN AND STARTS TO EAT HIS MEAL.

TRANTER
Hey, remember Harrison. He went crazy when he first saw one of these, thought he'd found a king sized Kohinoor.

DALE
Yeah, I remember.

TRANTER
I can still see his face when he found out it was worthless.

TRANTER HOLDS THE MOON ROCK UP TO THE LIGHT.

TRANTER
Yeah...
(a beat)
It'll make a nice paperweight.

DALE GIVES HIM A LOOK.

TRANTER
For Sylvia...

DALE
Well if you're taking it back to earth don't let Straker see it. You know the regulations.

TRANTER
He won't.

TRANTER CROSSES THE SPHERE AND PUTS THE MOON ROCK IN HIS CASE. THIS IS A LIGHT BUT VERY STRONG VACUUM SEALED TRUNK, USED BY THE ASTRONAUTS FOR PERSONAL EFFECTS.

AS HE CLOSES THE LID WE SEE HIS NAME A.J. TRANTER 448 STENCILLED ON THE TOP.

TRANTER
I'll go down to Control, and see if they've managed to sort out those recordings.

HE GOES ACROSS TO DALE SNEAKS A TIT BIT OFF HIS PLATE, GULPS DOWN THE REST OF HIS COFFEE AND GOES OUT.

CUT TO:

10 INT. CORRIDOR (MOONBASE) STUDIO. 8 SECS

TRANTER WALKS DOWN THE CORRIDOR TOWARDS THE CONTROL SPHERE.

CLOSER SHOT.

TRANTER STOPS, HE FROWNS AND HIS HAND GOES TO HIS HEAD. THE MOMENT SEEMS TO PASS. HE WALKS ON.

CUT TO:

11 INT. CONTROL SPHERE (STUDIO) 105 SECS

START CLOSE ON THE DOORWAY AS IT SLIDES OPEN AND TRANTER COMES IN.

TRANTER FREEZES AND HIS EXPRESSION CHANGES TO A LOOK OF UTTER DISBELIEF AND HORROR.

REVERSE ANGLE.

FROM TRANTER'S P.O.V. WE ARE AMAZED TO SEE THREE COWBOYS IN THE CONTROL SPHERE.

ONE SITS IN NINA'S PLACE AT THE CENTRAL CONSOLE, ANOTHER STANDS LEANING ON THE CONSOLE. THEY ARE USING IT AS A BAR.

THEY ARE UNSHAVEN, DIRTY, WEARING THE FULL COWBOY BIT INCLUDING GUNS.

THE THIRD SITS AT THE SIDE, HE HOLDS A PACK OF CARDS IN HIS HANDS AND IS PLAYING PATIENCE.

THE REST OF THE CONTROL SPHERE IS NORMAL.

ON TRANTER.

HIS MOUTH WORKS, BUT NO WORDS COME OUT.

ANOTHER ANGLE.

NOT FROM TRANTER'S P.O.V., NINA SITS AT THE CENTRAL CONSOLE, THE FIRST GIRL OPERATIVE STANDS AT HER SIDE. THEIR POSITIONS MATCH THOSE OF THE COWBOYS TRANTER SEES.

THE SECOND MOONBASE OPERATIVE SITS AT THE SIDE, LIKE THE THIRD COWBOY. IN HER HAND SHE HOLDS A SET OF COMPUTER CARDS.

ON TRANTER.

HE LET'S LOOSE A LOW GROWLING YELL.

ON SECOND OPERATIVE.

SHE DROPS THE COMPUTER CARDS.

ON CARDS.

AS THEY HIT THE FLOOR THEY HAVE CHANGED TO A PACK OF PLAYING CARDS.

ON NINA.

SHE MOVES TOWARDS TRANTER.

NINA
What's wrong.

TRANTER'S P.O.V.

A COWBOY MOVES TOWARDS CAMERA. A SLOW EVIL GRIN ON HIS FACE.

ANOTHER ANGLE

TRANTER LUNGES FORWARD AND SWINGS A LONG RIGHT HANDER. THE COWBOY REELS TO THE SIDE.

ON NINA.

HITTING THE FLOOR HARD.

WIDER ANGLE.

THE OTHER TWO COWBOYS MOVE TO TRANTER. THE FIGHT IS ON.

TRANTER SEEMS MUCH STRONGER THAN THE COWBOYS. THEY TRY TO HOLD HIS ARMS BUT HE BREAKS FREE.

ONE COWBOY IS SMASHED BACK INTO THE CENTRAL CONSOLE.

THE COWBOYS SEEM EVIL, FULL OF MENACE, BUT TRANTER PUNCHES AND THROWS THEM AROUND THE SPHERE.

THE COWBOY WHO TOOK NINA'S PLACE SQUARES UP TO HIM.

TRANTER SWINGS, THE COWBOY SIDE STEPS AND THROWS HIM JUDO STYLE.

ON NINA.

IN POSITION, AS IF SHE HAS JUST THROWN TRANTER.

ON TRANTER

HE GETS TO HIS FEET, FACE SET HARD.

WIDER ANGLE.

TRANTER SMASHES ONE COWBOY ASIDE INTENT ON CORNERING THE ONE WHO THREW HIM.

TWO SHOT.

TRANTER AND COWBOY.

WITH A FULL BLOODED LEFT AND RIGHT TRANTER SMASHES THE COWBOY TO THE FLOOR.

ON NINA

BLOOD TRICKLING FROM HER MOUTH, SHE GOES FOR THE PERSONAL RADIO IN THE BELT AT HER WAIST.

ON TRANTER

HIS EYES NARROW.

P.O.V. SHOT

FROM TRANTER'S P.O.V. THE COWBOY IS GOING FOR HIS GUN.

WIDER ANGLE

TRANTER TURNS AND RUNS OUT OF THE CONTROL SPHERE.

ON NINA.

SHE LIFTS HER RADIO.

NINA
This is control. Internal emergency - internal emergency.

CUT TO:

11A INT. CORRIDOR (STUDIO) 7 SECS

TRANTER RUNS ALONG THE CORRIDOR. A MOONBASE OPERATIVE WALKS TOWARDS HIM. TRANTER BRUSHES THE MAN ASIDE AND RUNS ON.

11B INT. CONTROL SPHERE (STUDIO) 9 SECS

STRAKER AND FOSTER COME INTO THE CONTROL SPHERE. STRAKER HURRIES TO NINA.

STRAKER
Who did this.

NINA
Tranter.

STRAKER TURNS TO FOSTER AND THEY HURRY OUT.

CUT TO:

11C INT. CORRIDOR (STUDIO) 8 SECS

TRANTER OUTSIDE THE DOORWAY TO THE LEISURE DINING SPHERE. HIS EYES ARE WIDE, A HUNTED LOOK, THE ALARM CONTINUES. TRANTER TURNS TO GO INTO THE LEISURE DINING SPHERE.

CUT TO:

12 INT. LEISURE DINING SPHERE (STUDIO) 38 SECS

TRANTER BURSTS IN.

ON DALE.

STILL EATING HIS MEAL.

DALE
What's going on out there.

ON TRANTER

TRANTER
Where's Dale, what the hell have you done to Dale.

ON DALE

HE DOESN'T UNDERSTAND. HE GOES TO STAND UP.

TRANTER'S P.O.V.

FROM TRANTER'S P.O.V. IN DALES PLACE WE SEE THE LEADING COWBOY FROM THE CONTROL SPHERE.

ON DALE.

HE STILL HOLDS THE KNIFE IN HIS HAND HE HAS BEEN USING TO EAT.

TRANTERS P.O.V.

THE COWBOY HOLDS A BIG MURDEROUS LOOKING KNIFE.

WIDER ANGLE.

TRANTER DIVES OVER TOWARDS THE SPACE GEAR IN THE CHAIR. HE PULLS OUT A GUN AND LEVELS IT AT DALE.

ON DALE.

HE LIFTS HIS ARMS IN AN APPEALING GESTURE. ZOOM IN ON THE TABLE KNIFE IN HIS HAND.

DALE
Andy...

TRANTER'S P.O.V.

THE WICKED LOOKING KNIFE IN THE COWBOYS HAND HELD BY THE HANDLE. IT IS TOSSED IN THE AIR AND CAUGHT BY THE BLADE AS IF IT IS ABOUT TO BE THROWN.

ON TRANTER

HE FIRES THE GUN THREE TIMES IN QUICK SUCCESSION.

WIDER ANGLE.

DALE IS THROWN BACK BY THE IMPACT. TRANTER TURNS AND LEAVES THE SPHERE.

CUT TO:

13 INT. CORRIDOR (STUDIO) 7 SECS

STRAKER AND FOSTER MOVE FAST ALONG THE CORRIDOR, THEY STOP AND REACT AS WE HEAR MORE GUNSHOTS OVER SOMEWHERE BEHIND THEM. FOSTER WHO CARRIES A GUN IN A HOLSTER, GIVES STRAKER A LOOK AND DRAWS THE GUN.

CUT TO:

14 INT. CORRIDOR (STUDIO) 20 SECS

ANOTHER LOCATION IN MOONBASE.

TRANTER BENDS OVER A GUARD HE HAS JUST SHOT.

TRANTER'S P.O.V.

IT IS A COWBOY. TRANTER TAKES HIS SIX SHOOTER.

WIDER ANGLE.

TRANTER MOVES OFF DOWN THE CORRIDOR. A GUN IN EACH HAND.

STRAKER (VO)
Tranter.

TRANTER TURNS AND FIRES.

TWO SHOT.

STRAKER AND FOSTER FLATTEN AGAINST THE SIDE OF THE CORRIDOR, AS THE BULLET RICOCHETS PAST.

ANOTHER ANGLE.

TRANTER GOES TO FIRE AGAIN, THE GUN IS EMPTY, HE HURLS IT AWAY.

TRANTER MOVES FAST INTO THE SLEEP SPHERE, LEAVING THE DOORWAY OPEN.

CUT TO:

15 INT. SLEEP SPHERE (STUDIO) 3 SECS

TRANTER PRESSES AGAINST THE WALL BY THE DOORWAY.

CUT TO:

16 INT. CORRIDOR (STUDIO) 4 SECS

FOSTER AND STRAKER CREEP TOWARDS THE DOORWAY.

CUT TO:

17 INT. SLEEP SPHERE (STUDIO) 11 SECS

CLOSE ON TRANTER, HE HEARS THE SOUND OF SOMEONE APPROACHING OUTSIDE IN THE CORRIDOR, WITH A JINGLE OF SPURS, TRANTER'S HANDS GO TO THE SIDES OF HIS HEAD. A HORSE NEIGHS IN HIS TORTURED MIND.

TRANTER SUDDENLY WHIPS ROUND TO.

ANOTHER ANGLE.

A MOONBASE OPERATIVE WHO HAS BEEN SLEEPING IN THE SPHERE IS TRYING TO CREEP UP BEHIND TRANTER AND JUMP HIM.

TRANTER SMASHES HIM AWAY.

CUT TO:

18 INT. CORRIDOR (STUDIO) 3 SECS

FOSTER, GUN READY, LEADS STRAKER AS THEY BURST FORWARD INTO THE SPHERE.

CUT TO:

19 INT. SLEEP SPHERE (STUDIO) 18 SECS

THE OPERATIVE SLUMPS SEMICONSCIOUS AGAINST THE WALL. TRANTER RAISES HIS GUN TO FINISH HIM.

TRANTER'S P.O.V.

THE OPERATIVE IS ANOTHER COWBOY.

ON FOSTER.

HE SEES THE SITUATION AND DIVES FORWARD AT TRANTER.

WIDER ANGLE.

TRANTER IS THROWN BACK ONTO AN AIR BED. HIS EYES BLAZE AND HE AIMS THE GUN AT FOSTER.

FOSTER HAS NO CHOICE, HE FIRES FROM THE HIP.

TRANTER COLLAPSES BACK ONTO THE AIR BED. THE BULLET HAS PUNCTURED THE BED. TRACK IN AS IT SLOWLY DEFLATES.

CUT TO:

20 INT. LEISURE DINING SPHERE (STUDIO) 53 SECS

FOSTER AND STRAKER WATCH AS DALE'S BODY IS CARRIED OUT ON A STRETCHER.

NINA COMES INTO THE SPHERE, HER FACE CUT FROM THE BEATING TRANTER HANDED OUT.

STRAKER
Hello Nina - how are you?

NINA
It could have been worse… nothing broken.

FOSTER
Feel up to talking about it.

NINA
Sure... but there's really nothing to tell.

ON NINA.

NINA
Tranter came into the Control. He just stood... staring.

WIDER ANGLE

NINA
He looked bewildered, frightened, as if he didn't know where he was.

STRAKER
What happened then...

NINA
Well, Tranter was still just standing there. I asked him what's the matter, what's wrong, something like that...

STRAKER
Then...

NINA
He lashed out... The girls tried to grab him, everything happened so fast... he was very strong...

FOSTER HELPS NINA TO A CHAIR.

FOSTER
Here Nina... sit down.

ON NINA.

NINA
Thanks.

A BEAT.

NINA
He was out of his mind. I'm sure he didn't know.

WIDER ANGLE.

STRAKER
Didn't know what?

NINA
Who he was hitting. He just didn't know who we were.

CUT TO:

21 INT. SLEEP SPHERE (STUDIO) 46 SECS

STRAKER READS REPORTS IN THE SLEEP SPHERE. HE LOOKS TIRED.

FOSTER COMES IN WITH A COUPLE OF TYPEWRITTEN SHEETS.

FOSTER
Still at it, sir.

STRAKER
Yes, and it doesn't make anymore sense now than it did four hours ago.

ON STRAKER.

STRAKER
Everyone who came in contact with Tranter reports more or less the same thing...

AS HE SPEAKS HE THUMBS THROUGH THE REPORTS READING FROM THEM.

STRAKER
Beserk... out of his senses... didn't seem to recognise me... fired indiscriminately without reason... 

FOSTER
I've got his last medical report... three weeks ago... 

STRAKER
And?

FOSTER
Full clearance.

STRAKER
Stress factor?

FOSTER
98% the near perfect astronaut. He'd been in a couple of tight situations over the years... always kept his head, never been anywhere near cracking up.

STRAKER
Until now.

ON STRAKER

STRAKER
We'll leave for Earth at 14.00 hours. I think I know someone else who will be waiting for answers.

CUT TO:

22 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO) 40 SECS

START CLOSE ON MISS HOLLAND.

MISS HOLLAND
General Henderson...

PULL BACK TO INCLUDE STRAKER.

STRAKER
How long has he been waiting.

MISS HOLLAND
Long enough to work up a lather.

STRAKER
Just what I need at 8.30 in the morning.

MISS HOLLAND HANDS STRAKER SOME PAPERS TO SIGN, THEN A PEN.

STRAKER
Thanks.

AS STRAKER SIGNS THE ROUTINE PAPERWORK.

MISS HOLLAND
I could always ring down with some excuse to get you off the hook.

STRAKER
Oh, and what sort of excuse do you think would do the trick.

MISS HOLLAND
Fire at the studio?

STRAKER
No good. It'd take at least an earthquake to get one angry General off my back.

STRAKER HAS FINISHED.

MISS HOLLAND
Nuclear attack...

STRAKER POINTS A FINGER.

STRAKER
That might just do it... if it's a big one.

HE SMILES AND GOES INTO THE INNER OFFICE.

CUT TO:

23 INT. CONTROL ROOM (STUDIO) 17 SECS

STRAKER COMES ACROSS THE CONTROL ROOM. AN OPERATIVE GIVES VIRGINIA LAKE A CUP OF COFFEE AS STRAKER COMES UP TO HER.

HE TAKES IT FROM HER HAND.

STRAKER
Where is he.

VIRGINIA POINTS TO STRAKER'S INNER OFFICE. STRAKER SIPS THE COFFEE.

VIRGINIA GOES TO MOVE AWAY.

STRAKER TAKES HER ARM TO STOP HER.

STRAKER
I need moral support...

THEY MOVE TOWARDS THE OFFICE.

CUT TO:

24 INT. STRAKER'S OFFICE (STUDIO) 73 SECS

HENDERSON IS FUMING HE TURNS TO THE DOOR AS IT OPENS AND STRAKER LEADS THE WAY IN.

STRAKER
(acting surprised)
General Henderson...

HENDERSON
Straker I ought to kick your ar...

HE STOPS AS HE SEES VIRGINIA LAKE BEHIND STRAKER.

STRAKER
You know Colonel Lake...
(as if he has just remembered)
...of course you do.

HENDERSON
Where's that report.

STRAKER
I... don't have it ready yet.

HENDERSON
Commander Straker, the committee meets in three days time. I need your report and all the figures.

STRAKER
I've been busy.

ENDERSON
Look... it takes money to run SHADO. A helluva lot of money and we're asking the committee for even more this time.

STRAKER
That's you're bag General. You get the money, I run the store.

HENDERSON
I tell you Straker, they're out for blood... my job's on the line, not that that's important, but if I go...

A BEAT

HENDERSON
You wouldn't exactly win any popularity polls up there...

STRAKER
That sounds like a threat.

HENDERSON
Not from me. We could both walk out tomorrow and believe me I've considered it, but you... you've got a monkey on your back… dedication. Think about it.

HENDERSON EXITS.

VIRGINIA
Shall we reprogramme the computor to get out the finance figures.

STRAKER DOESN'T ANSWER, SIPS THE COFFEE.

VIRGINIA
He's right you know.

STRAKER
He's right right, sometimes being wrong right, is harder... Let the computor run. I want to know what happened to Tranter.

CUT TO:

25 INT. CORRIDOR (UNDERGROUND) STUDIO. 44 SECS

'BEAVER' JONES WALKS SLOWLY ALONG A SHADO UNDERGROUND CORRIDOR. HE HAS A WAD OF PAPERWORK AND CHECKS DOWN A LIST WITH A PENCIL.

HE IS AROUND 40, IN CHARGE OF SHIPPING AND RECEIVING IN THE SHADO COMPLEX. HE WEARS AN EYE SHADE AND PULLS ON THE BUTT OF A CIGAR IN THE CORNER OF HIS MOUTH.

A SHADO OPERATIVE WALKS TOWARDS HIM.

OPERATIVE
Hi, Beaver.

BEAVER GRUNTS A HELLO WITHOUT LOOKING UP FROM HIS PAPERWORK. HE IS A CHARACTER AROUND SHADO, AN EX-ASTRONAUT WHO WAS INVOLVED IN A SPACE ACCIDENT, THIS HAS LEFT HIM WITH A SLIGHT LIMP. HE IS KNOWN AND LIKED BY EVERYONE IN SHADO.

OPERATIVE
(turning back)
Oh, Beaver, did those spares for the G6 arrive yet.

BEAVER
'fraid not.

OPERATIVE
But they were due yesterday.

BEAVER
Only one shipment arrived yesterday... stationery.

BEAVER LOOKS AT THE OPERATIVE FOR THE FIRST TIME.

OPERATIVE
Then get it moving eh Beaver.

BEAVER STARES AT HIM THE CIGAR FALLS FROM HIS MOUTH.

OPERATIVE
It's a joke... stationery?

BEAVER STARES, HIS FACE HARDENING.

OPERATIVE
Beaver?

BEAVER LEAPS AT THE OPERATIVE WHO IS TAKEN COMPLETELY BY SURPRISE. THEY FALL TO THE FLOOR.

CLOSER SHOT.

BEAVER GRIPS THE OPERATIVE IN A STRANGLE HOLD THROTTLING THE LIFE OUT OF HIM.

BEAVER
(yelling)
Sound the alarm...

CUT TO:

26 INT. SHADO CONTROL (STUDIO) 10 SECS

STRAKER COMES OVER TO FOSTER BY A COMPUTOR.

STRAKER
How's it going, Paul.

FOSTER
Well, it looks like the area Dale and Tranter investigated was the U.F.O. crash location but we're waiting for the computor to confirm.

CUT TO:

27 INT. CORRIDOR (UNDERGROUND) STUDIO 15 SECS

A SHADO GUARD STANDS BY A DOORWAY IN ANOTHER CORRIDOR.

BEAVER STAGGERS INTO SHOT, SWEATING AND OUT OF BREATH.

BEAVER SEES THE GUARD AND REACTS IN HORROR.

GUARD
What's wrong?

BEAVER BACKS AWAY A LITTLE AND DRAWS HIS GUN.

THE GUARD LOOKS AT HIM COMPLETELY CONFUSED.

BEAVER
(yelling)
Sound an alert there's an alien in corridor 42.

CUT TO:

28 INT. SHADO UNDERGROUND CONTROL (STUDIO) 7 SECS

THE PERSONNEL REACT AS

GUARD (VO)
General alarm, General alarm.

TWO SHOT

ON STAKER AND FOSTER. THEY REACT.

CUT TO:

29 INT. CORRIDOR UNDERGROUND (STUDIO) 28 SECS

THE GUARD BACK AWAY FROM BEAVER WHO POINTS THE GUN AT HIM.

GUARD
What are you doing.

ON BEAVER.

HIS FACE SET HARD.

GUARD (VO)
Beaver...

BEAVER'S P.O.V.

AN ALIEN BACKING AWAY LIKE THE GUARD. WE REALISE BEAVER SEES HIM AS AN ALIEN.

ON GUARD

GUARD
Listen to me...
Put down the gun.

ON GUN

BEAVER'S HAND TIGHTENS ON THE TRIGGER.

BEAVER'S P.O.V.

THE ALIEN

WIDER ANGLE

THE GUN IS FIRED. THE GUARD JOLTS BACK AND FALLS.

ON BEAVER

HE LOOKS DOWN AT BEAVER'S P.O.V.

AN ALIEN.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

30 INT. CORRIDOR (UNDERGROUND) STUDIO 14 SECS

STRAKER AND FOSTER RUN UP TO THE WOUNDED GUARD, HE IS BEING SUPPORTED IN A SITTING POSITION BY ANOTHER GUARD.

STRAKER
Who did this?

GUARD
(laboured)
Beaver James. He's out of his skull, he thought I was an alien.

CUT TO:

31 INT. CORRIDOR (UNDERGROUND) STUDIO 14 SECS

WE SEE BEAVER STALKING ALONG ANOTHER CORRIDOR. IT IS SLIGHTLY REDRESSED WITH A SIGN OR WHATEVER TO GIVE US ANOTHER LOCATION.

HE KEEPS HIS BACK TO THE WALL AND CHECKS WITH HIS EYES RIGHT AND LEFT AS HE CREEPS ALONG. HIS FACE IS COVERED IN SWEAT AND HIS INJURED LEG SEEMS TO BE GIVING HIM PAIN.

HE COMES TO A WALL TELEPHONE, AND SNATCHES UP THE RECEIVER.

BEAVER
Control...

CUT TO:

32 INT. UNDERGROUND CONTROL (STUDIO) 9 SECS

PAULINE REACTS AS BEAVER'S VOICE COMES OVER.

BEAVER (VO)
This is Captain James...

PAULINE LEANS TO A MIKE TO REPLY.

PAULINE
Captain James. Listen carefully. I want you to...

CUT TO:

33 INT. CORRIDOR (UNDERGROUND) STUDIO. 4 SECS

BEAVER ON THE PHONE. CLOSE ON HIS TORTURED FACE. HE HEARS NO WORDS JUST A STRANGE ELECTRONIC NOTE.

CUT TO:

34 INT. UNDERGROUND CONTROL (STUDIO) 4 SECS

CLOSE ON PAULINE AS SHE CONTINUES TO SPEAK.

PAULINE
Do you understand. Just stay exactly...

CUT TO:

35 INT. CORRIDOR (UNDERGROUND) STUDIO 4 SECS

BEAVER DOESN'T HEAR PAULINE'S VOICE.

BEAVER
Why don't they answer...

CUT TO:

36 INT. UNDERGROUND CONTROL (STUDIO) 3 SECS

PAULINE
Can you hear me Captain...

CUT TO:

37 INT. CORRIDOR (UNDERGROUND) STUDIO. 4 SECS

BEAVER
What the hell are they doing… ?

CUT TO:

38 INT. CORRIDOR (UNDERGROUND) STUDIO. 18 SECS

STRAKER, FOSTER AND A COUPLE OF SHADO GUARDS. STRAKER HOLDS A MAP OF THE UNDERGROUND COMPLEX.

STRAKER
Right, we're here… He shot the guard here.

AN OPERATIVE RUNS INTO SHOT.

OPERATIVE
He just called up control...

STRAKER
Where from.

OPERATIVE
Corridor twelve.

STRAKER LEADS THE WAY, THE GROUP HURRY OUT OF SHOT.

CUT TO:

39 INT. CORRIDOR (UNDERGROUND) STUDIO 18 SECS

START CLOSE ON THE PHONE. PAULINE'S VOICE COMES OVER TO SHOW IT IS IN WORKING ORDER.

PAULINE (VO)
Captain James can you hear me… Captain James...

PULL BACK AS THE GROUP RUN INTO SHOT.

STRAKER PICKS UP THE 'PHONE.

STRAKER
This is Straker. He's moved on. Looks like he's heading for the control room. Station Guards at the end of 14 and 6. And seal all exits.

STRAKER REPLACED THE 'PHONE.

STRAKER
Let's go...

THE GROUP HURRY OFF DOWN THE CORRIDOR.

CUT TO:

40 INT. CORRIDOR (UNDERGROUND) STUDIO. 13 SECS

BEAVER MOVES DOWN THE CORRIDOR AT A LIMPERING RUN.

2ND GUARD (VO)
Halt.

HE SPINS ROUND.

ANOTHER ANGLE.

A GUARD STANDS 20 FEET AWAY.

ON BEAVER

HIS FACE WORKS

P.O.V. SHOT

FROM BEAVER'S P.O.V. IN THE SAME POSITION AS THE GUARD HE SEES AN ALIEN.

WIDER ANGLE.

BEAVER FIRES THE GUARD FALLS DEAD.

ON BEAVER.

HE MOVES ON GRIMACING WITH THE EFFORT.

CUT TO:

41 INT. CONTROL (UNDERGROUND) STUDIO. 20 SECS

STRAKER AND FOSTER LEAD THE GROUP INTO THE CONTROL ROOM.

STRAKER CROSSES TO PAULINE. THEY ARRIVE FROM THE SECTION OF CORRIDOR LEADING TO STRAKER'S OFFICE.

STRAKER
Have we sealed off the complex?

PAULINE
Yes, sir. But he just killed a guard near the medical centre.

TWO SHOT

STRAKER AND FOSTER.

STRAKER
He must have doubled back.

FOSTER
Yeah, but he's still moving this way.

STRAKER
Tell everyone not to shoot unless absolutely necessary. I want to try and take him alive.

CUT TO:

42 INT. CORRIDOR(UNDERGROUND)STUDIO. 11 SECS

BEAVER MOVES SLOWLY ALONG THE SECTION OF CORRIDOR BETWEEN THE CONTROL ROOM AND THE DOOR TO THE LEFT OFFICE.

HE TURNS BEHIND HIM AND FIRES AT A GUARD WHO DUCKS BACK OUT OF SIGHT IMMEDIATELY.

ON GUARD

CROUCHED DOWN OUT OF THE LINE OF FIRE. HE SPEAKS INTO A PERSONAL RADIO.

3RD GUARD
He's in the corridor right outside control.

CUT TO:

43 INT. CONTROL (UNDERGROUND) STUDIO. 6 SECS

FOSTER GOES TO MOVE FORWARD. STRAKER STOPS HIM AND MOVES TOWARDS THE CORRIDOR ALONE.

CUT TO:

44 INT. CORRIDOR (UNDERGROUND) STUDIO 33 SECS

BEAVER LEANS AGAINST THE WALL. HIS FACE IS COVERED IN SWEAT.

B.C.U. BEAVER

HE CLOSES HIS EYES, HIS HANDS GO TO THE SIDE OF HIS HEAD, WITH THE HORROR OF THE SITUATION.

WIDER ANGLE

HE MOVES ON VERY SLOWLY

P.O.V. SHOT.

TRACKS SLOWLY FORWARD FROM BEAVER'S P.O.V.

ANOTHER ANGLE

STRAKER STANDS IN THE ENTRANCE TO THE CONTROL ROOM. HE IS UNARMED.

STRAKER
Captain James.

ON BEAVER

HE STOPS AND LOOKS TOWARDS STRAKER.

ON STRAKER.

STRAKER
I want you to give me the gun.

BEAVER'S P.O.V.

THROUGH THE MIST, THE SHOT GOES IN AND OUT OF FOCUS, BUT WE SEE AN ALIEN STANDING IN STRAKER'S PLACE.

ON STRAKER.

STRAKER
I gave you an order Captain.

WIDER ANGLE.

BEAVER GRIMACES THEN FIRES TWICE. STRAKER DIVES BACK INTO THE CONTROL ROOM.

CUT TO:

45 INT. CONTROL (UNDERGROUND) STUDIO. 8 SECS

FOSTER AND STRAKER.

FOSTER
We've got him cornered. Shall we rush him.

STRAKER
No, we'll sit it out.

CUT TO:

46 INT. CORRIDOR (UNDERGROUND) STUDIO. 5 SECS

BEAVER WAITS IN THE CORRIDOR, HIS BREATHING IS DEEP AND HEAVY. HIS MIND IS IN A TORMENT OF CONFUSION.

CUT TO:

47 INT. CORRIDOR (UNDERGROUND) STUDIO. 4 SECS

TWO GUARDS CROUCH DOWN JUST AROUND THE CORNER FROM BEAVER. GUNS AT THE READY.

CUT TO:

48 INT. CONTROL (UNDERGROUND) STUDIO. 9 SECS

ON PAULINE.

WAITING, TENSE

ON STRAKER

TENSE

ON FOSTER

TENSE

CUT TO:

49 INT. CORRIDOR (UNDERGROUND) STUDIO. 48 SECS

BEAVER REACTS TO THE SOUND OF THE OFFICE LIFT DESCENDING. HE MOVES FAST AND FLATTENS AGAINST THE WALL BY THE DOORWAY.

THE DOOR OPENS VIRGINIA LAKE WALKS OUT UNAWARE OF THE DANGER.

BEAVER JUMPS OUT AND GRABS HER AROUND THE NECK FROM BEHIND AND PRESSES THE GUN INTO THE BACK OF HER HEAD.

ON GUARDS

THEY REACT BUT SEE THE SITUATION AND FREEZE.

ON BEAVER

BEAVER
(yelling)
Alright you alien dogs. I've got one of you. Maybe you're leader.

ANOTHER ANGLE

BEAVER BEGINS TO MOVE SLOWLY TOWARDS THE CONTROL ROOM USING VIRGINIA AS A SHIELD.

BEAVER
Now I'm coming into control.
Don't try and stop me.

STRAKER AND FOSTER HAVE MOVED TO STAND AT THE CONTROL ROOM END OF THE CORRIDOR.

BEHIND BEAVER THE TWO GUARDS MOVE INTO SHOT.

ON GUARD

HE SLOWLY BEGINS TO RAISE HIS GUN, LOOKING FOR AN OPENING TO SHOOT.

ON BEAVER

HE TURNS SIDEWAYS IN THE CORRIDOR. VIRGINIA SCREWS UP HER FACE WITH THE PAIN OF THE STRANGLE HOLD.

ON STRAKER

HE SEES THE GUARD ABOUT TO FIRE.

STRAKER
(yelling)
Hold it.

WIDER ANGLE

THE GUARD LOWERS THE GUN, BEAVER MOVES TOWARDS THE CONTROL ROOM SIDEWAYS, COVERING BOTH DIRECTIONS WITH HIS EYES.

ON BEAVER

BEAVER
That's it. Nice and easy.

WIDER ANGLE

BEAVER MOVES PAST STRAKER AND FOSTER INTO THE CONTROL ROOM.

CUT TO:

50 INT. CONTROL (UNDERGROUND) STUDIO. 73 SECS

BEAVER, STILL WITH VIRGINIA AS A HOSTAGE, MOVES ALONG THE UPPER SECTION OF THE CONTROL ROOM. HE TALKS WITHOUT LOOKING INTO THE CONTROL ROOM, EYES STILL ON FOSTER AND STRAKER AT THE ENTRANCE.

BEAVER
Alright boys, I've got their leader… get Straker.

WIDER ANGLE

THE CONTROL ROOM STAFF SIT AND STAND COMPLETELY STILL.

BEAVER
Well, come on, someone tell Straker.

HE LOOKS INTO THE CONTROL ROOM FOR THE FIRST TIME.

ON BEAVER

HIS FACE FALLS.

P.O.V. SHOT

FROM BEAVER'S P.O.V. PAULINE'S PLACE HAS BEEN TAKEN BY AN ALIEN.

ON BEAVER

HE WHIPS HIS HEAD TO

P.O.V. SHOT

TWO SHADO OPERATIVES HAVE NOW BECOME ALIENS.

ON BEAVER

UTTER FRUSTRATION. HE RELAXES HIS GRIP ON COLONEL LAKE A LITTLE. BUT THE GUN IS STILL AT HER HEAD.

TWO SHOT

FOSTER AND STRAKER. THEY WATCH HARDLY DARING TO BREATHE.

ON BEAVER

HIS EYES ROLL.

BEAVER
(to himself)
My God. They've taken over.

TWO SHOT

FOSTER AND STRAKER

FOSTER
Beaver.

STRAKER
It's no use. He doesn't hear us.

WIDER ANGLE.

STRAKER
Virginia. When I give the word make a dive for it.

ON VIRGINIA

STILL HELD BY BEAVER. HE IS COVERED IN SWEAT, TREMBLING, OBVIOUSLY UNPREDICTABLE.

TWO SHOT

FOSTER AND STRAKER

STRAKER
Alright, Paul.

HE GIVES STRAKER A QUESTIONING LOOK.

STRAKER
We've no choice he's already killed at least twice.

ON STRAKER

STRAKER
Ready... NOW.

WIDER ANGLE

VIRGINIA BREAKS FREE AND DIVES TO THE SIDE. FOSTER FIRES. BEAVER FALLS DEAD.

CUT TO:

51 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 78 SECS

START CLOSE ON THE GUN BEAVER USED AS STRAKER HOLDS IT IN HIS HAND.

PULL BACK TO INCLUDE VIRGINIA LAKE AND FOSTER.

STRAKER HURLS THE GUN DOWN ON THE DESK IN UTTER FRUSTRATION, ALTHOUGH THE AUDIENCE WILL NOT REALISE IT AT THE TIME IT WAS EMPTY WHEN BEAVER HELD VIRGINIA HOSTAGE HE DID SO WITH AN EMPTY GUN.

STRAKER
If only I'd thought… waited maybe… I don't know.

FOSTER
You weren't to know. How could you.

STRAKER
That doesn't make it any easier.

VIRGINIA
Beaver James. I can still hardly believe it.

STRAKER
Half a million miles in navy jets before he was 25. Ten years as a top astronaut. He'd still be one now.

FOSTER
He brought that space capsule down with a broken knee. Saved the crew, best command pilot shado ever had.

STRAKER
Why does a man like that suddenly start seeing aliens.

FOSTER
Lost all sense of reality. Same pattern as Tranter.

STRAKER
Are we any nearer an answer there.

VIRGINIA
The autopsy found nothing. But the computer confirms they had located the U.F.O. crash area.

STRAKER
I don't see how that helps. Beaver hadn't been near a U.F.O. in two years.

ON STRAKER

STRAKER
But it's too much of a coincidence. There has to be a connection. A link...

WIDER ANGLE

VIRGINIA AND FOSTER CAN OFFER NO SOLUTION.

STRAKER
I need some air.

CUT TO:

52 EXT. STUDIO DAY. (LOCATION) 25 SECS

STRAKER WALKS ALONG, ANY SUITABLE LOCATION AROUND THE STUDIO.

HE IS THOUGHTFUL, WRESTLING WITH THE PROBLEM OF WHY TWO OF HIS BEST MEN, STABLE, RELIABLE MEN, SUDDENLY WENT BESERK.

CUT TO:

53 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO) 19 SECS

MISS HOLLAND SITS AT HER DESK, STRAKER COMES IN.

MISS HOLLAND
Howard Byrne is waiting to see you.

SHE INDICATES THE INNER OFFICE.

STRAKER
Howard Byrne?

MISS HOLLAND
He's the star of that T.V. series they're filming on 5 and 6.

STRAKER
He's picked a bad time.

MISS HOLLAND
I'm sorry. But he insisted.

STRAKER
That's all right Miss Holland.

STRAKER MOVES TOWARDS THE INNER OFFICE.

CUT TO:

54 INT. STRAKER'S INNER OFFICE. DAY. (STUDIO) 126 SECS

STRAKER COMES INTO THE OFFICE, HOWARD BYRNE IS WAITING FOR HIM.

BYRNE IS TALL, GOOD LOOKING, A LEADING MAN.

THEY SHAKE HANDS.

BYRNE
Well, I finally get to see you. You're a hard man to pin down, Ed Straker.

STRAKER
I've been pretty tied up, recently.

BYRNE
Yeah. Haven't we all.

STRAKER
What's your problem?

STRAKER GOES AND SITS BEHIND HIS DESK, INDICATES A CHAIR IN FRONT OF IT. BYRNE ALSO SITS.

BYRNE
You're the one with the problem.

STRAKER
Am I.

BYRNE
Yes. The series. You've seen it of course.

STRAKER
(hedging)
Not as often as I would have liked.

BYRNE
Well, unless something's done it's heading for big trouble.

AS BYRNE SPEAKS STRAKER OPENS A DRAWER IN HIS DESK.

BYRNE
Fortunately I have a solution
(hard)
I want script approval.

STRAKER
You know we can't give that.

BYRNE
The series is going to pot. The scripts are, old, hackneyed. The whole production is lifeless.

ANOTHER ANGLE FROM BEHIND STRAKER SO THAT WE SEE INTO THE OPEN DRAWER.

STRAKER
Well let's talk about.

BYRNE
I didn't come in here to bargain, Ed. I want script approval.

CLOSER SHOT

STRAKER
It's not in your contract.

WE SEE STRAKER HAS A SMALL MONITOR IN HIS DESK ON WHICH A TICKER TAPE REPORT OF WHAT IS HAPPENING IN CONTROL CAN BE SEEN.

WIDER ANGLE.

BYRNE
Well, of course, you could always hold me to my contract. But you know something. I've been getting these real bad headaches recently.

STRAKER
Oh I wonder why.

BYRNE
Could be eyestrain... Reading a lot of bad scripts. I'm talking about the kind of headaches that could keep me off the floor a couple of mornings a week. You understand.

STRAKER
Oh I understand blackmail.

BYRNE
Blackmail, I never said anything like that. I'm talking about migraine headaches.

ON MONITOR

WE SEE 'POSSIBLE U.F.O. SIGHTING' COME UP ON THE MONITOR.

WIDER ANGLE

STRAKER SHUTS THE DRAWER AND STANDS UP.

STRAKER
Leave it with me. I think I understand the situation.

BYRNE (hard)
I'm not sure you do. If you think I'm bluffing. Try me.

STRAKER
Alright Mr. Byrne you've got script approval. Just tell Miss Holland, she'll draft the necessary directive.

BYRNE
You know I feel better already.

CUT TO:

55 INT. CONTROL UNDERGROUND (STUDIO) 11 SECS

STRAKER COMES INTO CONTROL AND CROSSES TO PAULINE AND FOSTER.

PAULINE
Control to Sky 4. Continue on present course.

STRAKER
What's happening.

FOSTER
Sky 1 is closing. We should know any second.

CUT TO:

56 EXT. SKY. DAY. (V.E. LIBRARY) 5 SECS.

SKY 1 IN LEVEL FLIGHT.

PILOT (VO)
Sky 1 to Control. I'm in the search area.

CUT TO:

57 INT. CONTROL (UNDERGROUND) STUDIO. 5 SECS

THE GROUP LISTEN AS THE PILOT CONTINUES OVER.

PILOT (VO)
U.F.O. sighting… negative.

STRAKER AND FOSTER RELAX.

CUT TO:

58 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 262 SECS

STRAKER SITS AT HIS DESK. THE DOORWAY OPENS AND VIRGINIA LAKE AND FOSTER COME IN. FOSTER CARRIES TRANTER'S ASTRONAUT CASE FROM MOONBASE.

STRAKER
What have you got there, Paul.

FOSTER
Tranter's personal effects.

HE PUTS THE CASE ON THE DESK.

STRAKER
Have they been checked.

VIRGINIA
One of the last things Beaver James did. And there's a directive for you to sign.

STRAKER TAKES THE DIRECTIVE AND SIGNS IT.

STRAKER
Oh yes, script approval for Howard Byrne. I wonder how much that will cost.

FOSTER
Speaking of money, Henderson's on his way to see you again.

STRAKER GIVES HIM A LOOK. HE STANDS UP AND OPENS THE CASE.

HE TAKES OUT A NOTE BOOK FLICKS THROUGH THE PAGES, HANDS IT TO VIRGINIA.

STRAKER TAKES OUT A WATCH, SHADO PASS, WALLET ETC. AMONG THE THINGS HE LAYS ON THE DESK IS THE MOON DIAMOND.

HE TAKES NO PARTICULAR NOTICE OF IT.

ON VIRGINIA.

WHO HAS BEEN SCANNING THROUGH THE NOTE BOOK.

VIRGINIA
These are notes… for a story...

WIDER ANGLE

FOSTER
Tranter wrote a couple of westerns… one of them wasn't bad. I suppose it helped pass the time on Moonbase.

STRAKER
Cowboys… Beaver James thought he saw aliens. The way Tranter fought, in his mind… maybe he saw...

THE BUZZ OF THE INTERCOM INTERRUPTS. STRAKER ANSWERS IT.

STRAKER
Straker...

PAULINE (VO)
General Henderson is here sir.

FOSTER
We'll leave you to it.

FOSTER AND VIRGINIA GO OUT. HENDERSON COMES IN.

HENDERSON
Commander.

STRAKER
General.

HENDERSON
Close that door.

STRAKER GOES AND SITS AT HIS DESK AND CLOSES THE DOORWAY. HE CASUALLY PICKS UP THE MOON DIAMOND AND BEGINS TO TOY WITH IT. AS THE ARGUMENT GOES ON HENDERSON PACES UP AND DOWN.

HENDERSON
I had a report on… Astronaut Tranter. It didn't make a lot of sense, but these things happen.

ON HENDERSON

HENDERSON
But now I get one on Captain James which makes even less.

STRAKER
If you're asking for explanations I don't know.

HENDERSON
Straker, the committee just won't buy that, they're going to want some answers. You're sending me up there with nothing. What do you want me to do, stand up and give them a couple of choruses of 'Lover come back'.

STRAKER
We need time. If we'd managed to take Beaver James alive...

HENDERSON
What do you mean?

STRAKER
I killed him.

HENDERSON
You what!

STRAKER
The gun he had on Colonel Lake.

HE PICKS UP THE GUN.

STRAKER
This gun. It was empty.

HE HURLS THE GUN IN FRUSTRATION AT THE GLASSES ON THE AUTOMATIC BAR. NOW THEY REALLY TEAR INTO EACH OTHER.

HENDERSON
Don't give me that feeling "Sorry for Straker" crud. If you can't stand the heat, you shouldn't be in the kitchen.

STRAKER
You making this personal.

HENDERSON
Anyway you want.

STRAKER
Although General Almighty Henderson. Every man and woman in SHADO is my responsibility.

HENDERSON
My gums bleed for you.

STRAKER
They're highly trained, dedicated, often under tremendous stress.

HENDERSON
Oh stop it. You're making me cry.

STRAKER
My God. You know I'm really seeing you for the first time. You don't care, you really don't care.

HENDERSON
Stress, we're all under stress. Father Straker and his bleating flock.

ON STRAKER

HIS HAND TIGHTENS OVER THE MOON DIAMOND.

STRAKER
Don't push me.

HENDERSON (VO)
Sheep.

STRAKER
Someone ought to...

WIDER ANGLE

HENDERSON
You?... You don't have the guts… Let's get back to the realities.

STRAKER LIFTS THE MOON ROCK OVER HIS HEAD AS HE LEAPS FORWARD TO CONFRONT HENDERSON.

HENDERSON
You're a lot of spineless gutless sheep… all of you...

ON ROCK

CATCHING THE LIGHT IN STRAKER'S UPHELD HAND.

ON HENDERSON

BAITING STRAKER.

HENDERSON
Bah… bah.

ON STRAKER

HIS FACE IN TORMENT, POISED TO SMASH DOWN ON HENDERSON'S SKULL.

ON ROCK

STRAKER GRIPS IT HARD. HIS HAND SHAKES WITH THE INNER CONFLICT. THE MOON DIAMOND GLEAMS IN THE LIGHT.

DIRECTOR (VO)
Cut and print...

WIDER ANGLE

HENDERSON RELAXES, THE DIRECTOR MOVES INTO SHOT.

DIRECTOR
That was good… how was it for you.

HENDERSON
Well, it felt pretty good.

STRAKER IS TRANSFIXED, HE TURNS HIS HEAD TO:

STRAKER'S P.O.V.

WE SEE A CAMERA AND FILM UNIT. THE SIDE OF THE SET IS OUT TO SHOW THE STAGE BEYOND. HIS NIGHTMARE HAS BEGUN WE FOLLOW IT AS HE SEES IT.

ON STRAKER.

ABSOLUTELY DUMB FOUNDED. HE LOOKS AT HENDERSON TALKING TO THE DIRECTOR.

HENDERSON
I'd like to… pick up from… where Howard says er… you making this personal… maybe a little more on… anyway you want…

DIRECTOR
Sure, I want the whole thing in close up, so we can do it then.

THE DIRECTOR TURNS TO STRAKER.

DIRECTOR
Alright, Howard?

STRAKER LETS THE MOON DIAMOND FALL FROM HIS HAND, TURNS AND MOVES OUT OF THE SET.

CUT TO:

59 INT. STAGE. DAY. (STUDIO) 12 SECS

STRAKER MOVES AWAY FROM THE SET. THE CREW ARE BEGINNING TO MOVE IN FOR THE CLOSE UP ON HENDERSON.

STRAKER LOOKS AROUND IN UTTER DISBELIEF.

ON STRAKER.

HIS HANDS GO TO THE SIDE OF HIS HEAD, HIS MIND TORTURED BY THE NIGHTMARE THAT HE FINDS HIMSELF IN.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

60 INT. STAGE. DAY. (STUDIO) 48 SECS

STRAKER STANDS ON THE STAGE IN THE BACKGROUND THE CREW ARE GETTING READY TO REHEARSE. OVER WE HEAR SHOUTS OF 'KEEP IT QUIET', 'REHEARSAL LIGHT PLEASE'.

FOSTER WALKS PAST STRAKER.

FOSTER
Nice scene… see you later.

STRAKER
(calling)
Paul...

FOSTER WALKS ON.

STRAKER TURNS.

P.O.V. SHOT

FROM STRAKER'S P.O.V. THE CAMERA BARREL SWINGS INTO A NEW POSITION.

ON STRAKER

TRANSFIXED

FROM STRAKER'S P.O.V. THE CAMERA BARREL BECOMES A GUN OR WHATEVER.

ANOTHER ANGLE

STRAKER IS COMPLETELY CONFUSED. AS HE TRIES TO UNSCRAMBLE HIS RACING BRAIN THE SECOND ASSISTANT COMES UP TO HIM.

2ND ASSISTANT
We won't need you till after lunch My. Byrne. If you want to get out before the red goes up.

STRAKER HARDLY SEEMS TO HEAR WHAT HAS BEEN SAID. HE STANDS FOR A MOMENT THEN MOVES PAST TOWARDS THE DOOR.

TWO PROP BOYS HAVE TO MOVE ASIDE AS STRAKER RUNS THROUGH THEM AS IF THEY AREN'T THERE.

CUT TO:

61 EXT. STUDIO. DAY. 49 SECS

ANY SUITABLE LOCATION IN PINEWOOD.

STRAKER RUNS INTO SHOT AND STOPS. HE LOOKS AT HIS DRESS, WHICH IS THE SAME AS BEFORE THE NIGHTMARE BEGAN.

HE LOOKS AT HIS HANDS FEELS THE SIDE OF HIS FACE.

SUDDENLY HE SEES SOMEONE AND REACTS.

P.O.V. SHOT (V.E. LIBRARY)

A SHADO MOBILE MOVING THROUGH WOODS.

ON STRAKER

HE IS IN A NIGHTMARE LOOKING ON ABOUT THREE LEVELS.

WIDER ANGLE

WE SEE THE SHADO MOBILE IS A HAND TRUCK LOAD OF DRESS FOLIAGE PULLED BY A PROP BOY.

STRAKER TURNS TO LOOK IN ANOTHER DIRECTION.

STRAKER'S P.O.V.

FROM STRAKER'S P.O.V. WE SEE WHAT IS APPARENTLY STRAKER WALKING OUT OF SHOT AROUND A BUILDING OR WHATEVER.

RESUME STRAKER.

HE RUNS OFF IN PURSUIT.

ANOTHER ANGLE

STRAKER COMES AROUND THE CORNER. NO ONE IN SIGHT.

BYRNE (VO)
Howard...

STRAKER SPINS ROUND.

BYRNE WEARING AN ILL FITTING BLONDE WIG AND THE SAME DRESS AS STRAKER STANDS BEHIND HIM.

STRAKER
Howard...

BYRNE THINKS STRAKER HAS TAKEN ACCEPTION TO HIM USING HIS CHRISTIAN NAME.

BYRNE
I sorry... Mr. Byrne.

STRAKER
WHO are you?

BYRNE
What?

STRAKER
(hard)
Who are you?

BYRNE
Joe. Your stand in Mr. Byrne.

STRAKER PUSHES HIM ASIDE AND RUNS OFF.

CUT TO:

62 INT. STRAKER'S OUTER OFFICE. DAY. (STUDIO) 50 SECS

MISS HOLLAND AT HER DESK AS STRAKER BURSTS IN. SHE IS ON THE PHONE WAITING FOR A CALL.

MISS HOLLAND
Hello...

STRAKER LOOKS UP TO THE LIGHT ABOVE HIS INNER OFFICE. IT IS LIT "ENTER".

STRAKER LICKS HIS LIPS AND MOVES SLOWLY TOWARDS IT. TO HIM THE OFFICE IS CONNECTED WITH SHADO AND HIS OWN REALITY.

MISS HOLLAND
(into phone)
I'll hold on...

STRAKER NEARS THE DOOR. MISS HOLLAND SPOTS HIM, AND PUSHES A CONTROL ON HER DESK. THE LIGHT CHANGES TO "DO NOT ENTER".

MISS HOLLAND
I'm afraid Mr. Straker's engaged.

STRAKER CONTROLS THE WORDS WITH GREAT DIFFICULTY.

STRAKER
I... want to go in there... I want to see him.

MISS HOLLAND
(into phone)
I'll ring back...

MISS HOLLAND REPLACES THE PHONE SENSING THE STRANGENESS IN STRAKER.

MISS HOLLAND
I'm afraid that's impossible.

SHE RISES FROM THE DESK.

MISS HOLLAND
The question of script approval is all taken care of, I typed the directive myself.

ON STRAKER

FIGHTING A KIND OF RISING PANIC.

WIDER ANGLE

MISS HOLLAND CHECKS HER WATCH.

MISS HOLLAND
I er... believe you're wanted in theatre seven, Mr. Byrne. Why don't you call back this afternoon.

STRAKER LOOKS AT THE DOOR TO HIS INNER OFFICE THEN TURNS AND WALKS OUT.

CUT TO:

63 EXT. THEATRE SEVEN. DAY. 5 SECS

STRAKER COMES TO THE DOOR, HESITATES THEN GOES IN.

CUT TO:

64 INT. THEATRE SEVEN. 202 SECS + 5 MINS. STOCK

STRAKER COMES IN, THE THEATRE IS EMPTY. HE WALKS SLOWLY TO A SEAT AND SITS DOWN.

VOICE OVER
We're ready to run, sir.

STRAKER TURNS ROUND TO THE CONSOLE BEHIND HIM BUT DOESN'T SPEAK.

ON STRAKER

WE HEAR A BABBLE OF THOUGHT VOICES' OVER.

HENDERSON (VO)
You've got a monkey on your back, Straker… dedication.

FOSTER (VO)
Lost all sense of reality… lost all sense of reality...

VIRGINIA (VO)
Beaver James, I can still hardly belive it...

STRAKER
(thought voice)
Maybe Tranter thought he saw...

STRAKER
Cowboys.

HE SNAPS OUT OF HIS THOUGHTS.

VOICE OVER
We'll have to start sir. There are second unit rushes at twelve...

THE LIGHTS DIM, THE FILM STARTS.

ON SCREEN

WE SEE THE SEQUENCE OF STRAKER, HENDERSON AND THE MINISTER IN THE ROLLS ROYCE.

WE PLAY IT THROUGH TO THE CRASH (ABOUT 2 MINUTES)

INTERCUT STRAKER AS HE RELIVES THE INCIDENT. AS THE ROLLS CRASHES HE HURLS HIMSELF SIDEWAYS IN THE SEAT.

ANOTHER ANGLE

FOSTER COMES IN AND SITS DOWN NEXT TO STRAKER.

FOSTER
Mind if I join you...

STRAKER
Paul.

FOSTER
Mike's the name, remember. I've only been your co-star for two years.

A BEAT

FOSTER
Don't you like it. I think it'll make a great episode.

STRAKER TURNS BACK TO WATCH THE SCREEN.

ON SCREEN

WE NOW SEE THE INCIDENT LEADING UP TO STRAKERS SON BEING RUN OVER. (ABOUT 2 MINUTES)

INTERCUT STRAKER

WHEN HE SEES HIMSELF AND HIS SON IN THE CAR.

STRAKER
John...

ON SCREEN

MARY AND STRAKER OUTSIDE THE HOUSE.

ON STRAKER

STRAKER
My God… what's happening.

ON SCREEN

JOHN RUNNING OUT TO SHOW THE BOAT TO STRAKER.

ON STRAKER.

STRAKER
No... John... No... John... Look out.

HIS FACE IS COVERED IN SWEAT.

ON SCREEN

THE BOY IS HIT BY THE CAR

ON FOSTER

FOSTER
Are you alright... ? 

TWO SHOT

STRAKER AND FOSTER

STRAKER
That's me up there... that's my life... that was my son.

FOSTER
The jeuve, sure, a nice little actor, as I said it'll make a great episode.

THEY LOOK BACK AT THE SCREEN.

ON SCREEN

WE NOW SEE THE SEQUENCE WHERE STRAKERS WIFE IS IN THE HOSPITAL WAITING AREA. HER SON HAS JUST DIED (ABOUT 1 MINUTE)

ON STRAKER

RELIVING THE DRAMATIC EPISODE IN HIS LIFE.

ON SCREEN

THE SEQUENCE WHERE MARY SAYS 'I NEVER WANT TO SEE YOU AGAIN'.

ON STRAKER

HE CAN'T TAKE IT ANYMORE.

STRAKER
Stop it… For God sake stop it.

WIDER ANGLE

FOSTER MOVES TO THE CONSOLE AND SPEAKS TO THE PROJECTION BOX OVER THE INTERCOM.

FOSTER
O.K. cut it.

THE PICTURE FADES, THE LIGHTS GO UP.

FOSTER
I've heard of method acting, but you take the cocoanut what's got into you.

STRAKER
You… you take my life… memories...you take my soul… and stick it up on that screen.

FOSTER HARDENS AS HE SEES THE STATE STRAKER IS IN AND TAKES IT AS TEMPERAMENT,

FOSTER
What's this the star bit... It's make believe baby... we're all in the same game, pretty pictures for the masses.

STRAKER
Listen, Paul or Mike it doesn't matter. You are part of a nightmare. All this… everything I've just seen. I know it's only in my own mind.

FOSTER
What.

STRAKER
They're trying to crack me. Make me believe in the unreality. Don't you see Tranter and Beaver James experienced something similar. You've got to help me.

FOSTER
I don't know what you are talking about.

STRAKER
I'm talking about you in my nightmare. Is the real you also hearing these words. I need to get back. I need your help. Paul Foster's help.

FOSTER
You're crazy.

STRAKER
(to himself)
Am I wrong?

THEY STAND SQUARED UP TO EACH OTHER, SUDDENLY STRAKER LASHES OUT, AND SMASHES FOSTER ASIDE.

STRAKER RUNS OUT OF THE THEATRE.

THE PROJECTIONIST ENTERS AND HELPS FOSTER TO HIS FEET.

PROJECTIONIST
Are you alright.

FOSTER
Yeah, I'm fine. It's Howard Byrne, he went crazy.

CUT TO:

65 EXT. STUDIO. DAY. 18 SECS

STRAKER SOMEWHERE IN THE STUDIO, MOVING ALONG, DOUBLING UP WITH THE INNER CONFLICT.

NINA
(thought voice)
Tranter... he was out of his mind.

GUARD
(thought voice)
It was Beaver James… like a madman.

FOSTER
(thought voice)
Crazy… Crazy… Crazy.

ON STRAKERS TORMENTED FACE, HIS FISTS PRESSED INTO HIS TEMPLES.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

66 EXT. STAGE. DAY. 10 SECS

STRAKER STRIDES UP TO THE STAGE ENTRANCE. THE RED LIGHT IS ON.

2ND ASSISTANT
Red light's up Mr. Byrne.

STRAKER SMASHES HIM OUT OF THE WAY, PULLS DOWN THE ELECTRONIC BOLT AND GOES THROUGH THE DOOR.

CUT TO:

67 INT. STAGE. DAY. 10 SECS

STRAKER COMES ONTO THE STAGE. IN THE BACKGROUND THE CREW ARE JUST GOING FOR A TAKE. OVER WE HEAR.

GRIP
Mark it.

CLAPPER
146 take 3.

DIRECTOR
Action.

STRAKER MOVES QUICKLY TO THE SKYDIVER SET.

68 INT. SKYDIVER (STUDIO) 15 SECS

IT IS OBVIOUSLY A SET. TWO PAINTERS ARE AT WORK.

STRAKER COMES IN. THE TWO PAINTERS LOOK AT HIM. STRAKER MOVES THROUGH THE SET KNOCKING ONE OF THE PAINTERS OFF HIS STEPS WITH A LOUD CRASH.

DIRECTOR (VO)
Cut it… will you please keep this stage quiet, Frank.

CUT TO:

69 INT. STAGE (STUDIO) 8 SECS

STRAKER STUMBLES ACROSS THE STAGE. THE FIRST ASSISTANT WALKS TOWARDS HIM TO INVESTIGATE THE CRASH.

1 ST ASSISTANT
(yelling)
I want absolute silence… There's a red light up.

STRAKER BRUSHES PAST THE FIRST ASSISTANT.

CUT TO:

70 INT. MOONBASE CONTROL (STUDIO) 16 SECS

OBVIOUSLY A SET.

STRAKER COMES IN. NINA AND ANOTHER GIRL RELAX IN CANVAS CHAIRS.

NINA
Hi Howard, how's every little thing.

STRAKER WALKS STRAIGHT PAST THEM TO THE WINDOW OVERLOOKING THE PAINTED BACKING OF THE MOON'S SURFACE.

HE TAKES A LAMP STANDING NEARBY AND SMASHES THE GLASS.

CUT TO:

71 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 8 SECS

THE CAMERA CREW JUST OUTSIDE THE OFFICE REACT.

DIRECTOR
What in heaven's name is going on here, where's Frank.

CUT TO:

72 INT. CONTROL SPHERE (STUDIO) 8 SECS

PAULINE AND OPERATIVE NOT DRESSED IN SHADO UNIFORMS STAND CHATTING.

STRAKER LOOKS AROUND LIKE A HUNTED ANIMAL AND MOVES THROUGH THE SET CRASHING A TABLE OR WHATEVER OUT OF THE WAY.

CUT TO:

73 INT. STRAKER'S UNDERGROUND OFFICE (STUDIO) 172 SECS

THE DIRECTOR AND CREW ARE NOW COMPLETELY LOST. A BUZZ OF CONVERSATION STOPS AS STRAKER COMES INTO SHOT.

ANOTHER ANGLE

STRAKER HAS FOUND WHAT HE WAS LOOKING FOR. HENDERSON STANDS IN POSITION FOR HIS CLOSE UPS.

DIRECTOR
Howard.

STRAKER WALKS PAST HIM AND UP TO HENDERSON. HE OF COURSE DOES NOT UNDERSTAND WHAT IS HAPPENING.

STRAKER TURNS AND PICKS UP THE MOON STONE FROM HIS DESK. THE CREW WATCH IN SILENCE.

STRAKER BEGINS TO PLAY THE SCENE WE SAW EARLIER WITH HENDERSON.

STRAKER
If you're asking for explanations I don't know.

HENDERSON
Howard, look, come and sit down.

STRAKER BATTLES ON HIS FACE COVERED IN SWEAT.

STRAKER
We need time. If we'd managed to take Beaver James alive...

HENDERSON
Howard, please.

THE 1 ST ASSISTANT GOES TO MOVE TOWARDS STRAKER BUT THE DIRECTOR STOPS HIM WITH AN OUTSTRETCHED ARM. THE CREW WATCH IN SILENCE.

STRAKER
I killed him.

HENDERSON DOESN'T ANSWER. STRAKER GOES ON TRYING TO FIGHT HIS WAY BACK INTO THE SCENE, INTO REALITY.

STRAKER
The gun he had on Colonel Lake. This gun. It was empty.

HE HURLS AN IMAGINARY GUN AWAY AS HE DID THE REAL ONE.

HENDERSON REACTS THERE IS A CRASH OF GLASS AS BEFORE.. BUT THIS TIME THERE HAD BEEN NO GUN. THE CREW NOW WATCH MOTIONLESS, IN STUNNED SILENCE. THE TENSION HANGS LIKE A CLOUD.

HE BEGINS TO PICK UP THE DIALOG. BUT JUST RECITES THE WORDS.

HENDERSON
Don't give me that feeling sorry for Straker crud. If you can't stand the heat you shouldn't be in the kitchen.

STRAKER
You making this personal.

HENDERSON BEGINS TO ACT.

HENDERSON
Anyway you want.

ANOTHER ANGLE.

STRAKER
Alright General Almighty Henderson. Every man and woman in SHADO is my responsibility.

WE SEE THE CAMERA CREW HAVE BEEN REPLACED BY SHADO PERSONNEL. THEY WATCH IN SILENCE. THE SIDE OF THE SET IS STILL OUT.

ON HENDERSON

NOW REALLY WARMING UP.

HENDERSON
My gums bleed for you.

ON SHADO PERSONNEL

AS STRAKER SPEAKS WE PAN ALONG THE SHADO PERSONNEL.

THEY INCLUDE TRANTER, DALE, AND BEAVER JAMES.

THE CAMERA HAS GONE, THEY STAND IN LINE ALONG THE OPEN FLAT OF THE SET.

STRAKER
They're highly trained, dedicated often under tremendous stress.

TWO SHOT

HENDERSON AND STRAKER. HENDERSON NOW BACK IN THE SWING OF THINGS.

HENDERSON
Oh stop it. You're making me cry.

STRAKER
My God. You know I'm really seeing you for the first time, you don't care you really don't care.

HENDERSON
Stress, we're all under stress Father Straker and his bleating flock.

STRAKER
Don't push me.

HENDERSON
Sheep.

STRAKER
Someone ought to.

HE LIFTS THE MOON ROCK TO STRIKE HENDERSON AS BEFORE.

HENDERSON
You… You don't have the guts. Let's get back to the realities.

ON STRAKER

POISED

HENDERSON
(echoed voice)
Reality… reality.

STRAKER ARM COMES DOWN.

ON WALL.

THE MOON DIAMOND, SMASHES INTO THE WALL AND SHATTERED INTO A THOUSAND PIECES.

ON STRAKER

HE WHIPS HIS HEAD TO

P.O.V. SHOT

THE FLAT IS BACK IN PLACE. STRAKER IS IN HIS OFFICE. HE HAS FOUGHT HIS WAY BACK TO REALITY, REGAINED CONTROL OF HIS OWN MIND.

WIDER ANGLE

HENDERSON IS SLUMPED IN A CORNER. STRAKER HELPS HIM TO HIS FEET.

STRAKER OPENS THE DOORWAY.

CUT TO:

74 INT. CONTROL (UNDERGROUND) STUDIO. 55 SECS

AS STRAKER WALKS OUT TWO GUARDS WITH LEVELLED GUNS STIFFEN READY TO FIRE.

FOSTER (VO)
Hold it.

STRAKER WALKS OUT INTO THE CONTROL ROOM. THE OPERATIVES CRINGE BACK, STRAKER OBVIOUSLY WHILE IN HIS NIGHTMARE, WENT BESERK, SEVERAL HAVE CUTS AND BRUISES. THE PEOPLE HE HIT IN THE DREAM ARE MEMBERS OF UNDERGROUND CONTROL.

STRAKER SURVEYS THE SCENE. A MOMENT OF TENSION HENDERSON COMES OUT OF THE OFFICE AND WALKS TO FOSTER.

HENDERSON
He suddenly seems to regain control. I thought he was going to finish me...

FOSTER MOVES OVER TO STRAKER.

THEY LOOK AT EACH OTHER.

VIRGINIA COMES INTO SHOT

VIRGINIA
How do you feel.

STRAKER
Tired. Did I do this?

FOSTER
Nothing too serious.

STRAKER
(very slow)
The link was a rock...
Tranter must have picked it up in the U.F.O. crash area. It had some hallucinatory power. It bent the mind of whoever touched it.

FOSTER
Obviously Alien.

STRAKER
Yes. Planted in some way by that U.F.O. which exploded near Moonbase.

FOSTER
A booby trap.

STRAKER
Yes aimed at the mind.

HENDERSON JOINS THEM.

HENDERSON
You could have killed someone Straker, by rights they should have shot you. You've got a good team here, Commander.

HE SHAKES STRAKER'S HAND, AND WALKS AWAY.

PULL BACK AS THE CONTROL ROOM BEGINS TO RETURN TO NORMAL.

FINAL FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES

UFO: "Mindbender"
Other information about this episode

● Al Mancini (Lieutenant Andy Conroy) previously appeared in 'The Cat With Ten Lives'.
● Stuart Damon (Howard Byrne) is best known as Craig Sterling in 'The Champions'.
● Charles Tingwell (Captain Beaver James) previously voiced various characters in the Thunderbirds TV episodes, such as 'Lord Parker's 'Oliday', 'Ricochet' and 'Give Or Take A Million', Dr. Tony Grant in 'Thunderbirds Are Go' and Doctor Fawn in 'Captain Scarlet and the Mysterons'.
● Al Mancini’s character (Lieutenant Andy Conroy) was originally named ‘Lieutenant Tranter’ and Beaver James was originally ‘Beaver Jones’.

Links to other UFO Episode Scripts


                     
Here is a list of all 26 Episodes of UFO shown in production order: those titles shown in black are yet to be uploaded (no link).

UFO Episodes (01-13)UFO Episodes (14-26)
01  Identified14  Confetti Check A-O.K.
02  Computer Affair15  E.S.P.
03  Flight Path16  Kill Straker!
04  Survival17  Sub-Smash
05  Exposed18  The Sound Of Silence
06  Conflict19  The Cat With Ten Lives
07  The Dalotek Affair20  Destruction
08  A Question Of Priorities21  The Man Who Came Back
09  Ordeal22  The Psychobombs
10  The Responsibility Seat23  Reflections In The Water
11  The Square Triangle24  Timelash
12  Court Martial25  Mindbender
13  Close Up26 The Long Sleep