UFO Script for
"The Square Triangle"

SYNOPSIS: An eternal triangle becomes a square when a woman finds that she has killed an alien from outer space instead of her husband.

      Commander Straker little suspects when he deliberately allows a UFO to land in England - in the hope of capturing an intact craft and its live pilot - that he will be stepping straight into a sordid love affair between a couple who are planning murder. The UFO crashes into a forest. Not far away, Liz Newton and her lover Cass Fowler are awaiting the arrival of Liz's husband, Jack Newton. The cottage is quiet and remote. When Newton arrives, Liz will shoot him and claim that she thought he was an intruder. But, the man who arrives first is . . . the alien.

      Liz and Fowler are appalled and baffled, but it is not long before they have further visitors - Paul Foster and a S.H.A.D.O. search party. The couple are taken to S.H.A.D.O. H.Q., while Foster waits to explain to Newton on his arrival that there has been an accident, but that his wife is still all right. Cmdr. Straker and Col. Freeman are now in a quandary, after learning the truth. Cass Fowler and Liz Newton have seen an alien and must therefore have all recollections of him eradicated with the amnesia drug. This means that they will remember nothing of the past 24 hours and will be back where they were - planning Jack Newton's murder . . .

THE SCRIPT FOR THE UFO EPISODE
“THE SQUARE TRIANGLE”

by

Alan Pattillo

Shooting Date:
4th September 1969

© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

Some notable things about this script:-

● Many of the scenes in the script were moved around and are presented in a different order in the finished episode. However, since the dialogue still matches, it can be assumed that these changes were made during the editing process, after the scenes were filmed.

● There are several scenes in the script which do not make it into the finished episode:
   ─ A scene with Newton & his secretary in his office, showing that they are having an affair. (scenes 21A-21B)
   ─ Liz stopping at a gas station (scene 21D-23) and arousing the interest of a gas station attendant.

   ─ Straker revealing that all the UFO wreckage that SHADO has collected so far is worthless (scene 43).
   ─ The scene with the Alien breaking into the cottage (scenes 114-124) is longer in the script, with additional dialog between Liz and Cass, and the Alien using a special oil to open the locked door.
   ─ Much of the conversation between Foster and Mr. Newton is not in the finished episode (scene 138)

● The script describes Liz as "dark and sensuous" and Cass having "great virile magnetism". This is hardly what we see in the finished episode!

● Perhaps I'm the only one who never understood why the UFO exploded prematurely in this episode, but the script explains that it was because it was hit by Alien machine-gun fire (scenes 53-55).

● At the end of the finished episode, there is a scene with Liz standing at her husband's grave, and then during the end credits she walks away and is met by Cass. This is not in the original script.

This script includes a "new page" and a revisions page at the end, which make a few changes, although many more changes were made for the finished episode.

CAST LIST:
SPEAKING PARTS:

FREEMAN
NINA
GAY ELLIS
FOSTER
STRAKER
FORD
WATERMAN
NEWTON
MISS CADWELL
LIZ NEWTON
CASS FOWLER
MOBILE OPERATOR 2 (VO)
MOBILE OPERATOR 3 (VO)
MITCHELL

SET LIST:
INT. MOONBASE CONTROL
INT. SHADO CONTROL
INT. OFFICE
EXT. ROAD (LOCATION)
INT. CAR
EXT. GAS STATION (LOCATION)
EXT. FOREST (LOCATION)
EXT. CLEARING (LOCATION)
INT. MOBILE
INT. STRAKER'S UNDERGROUND OFFICE
EXT. COTTAGE (LOCATION)
INT. COTTAGE
INT. BATHROOM
INT. KITCHEN
INT. NEWTON'S CAR
EXT. FOREST ROADWAY (LOCATION)
INT./EXT. SHADO JEEP
EXT. STUDIO (LOCATION)
INT. WAITING ROOM
INT. MISS EALAND'S OFFICE

VISUAL EFFECTS:
EXT. SPACE
INT. CRATER
EXT. MOON
EXT. MOBILE INSTALLATION
EXT. ROADWAY
EXT. FOREST 

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. SPACE. (V. E.) 7 SECS

FROM A MERE DOT IN THE CENTRE OF SCREEN A FLYING OBJECT COMES HURTLING TOWARDS CAMERA. JUST AS IT FILLS THE SCREEN... WE WHIP OFF TO THE LEFT AND -

CUT TO:

2 EXT. SPACE. (V. E) 7 SECS

NEW ANGLE

THE CAMERA WHIPS ON FROM THE RIGHT TO A LONG SHOT OF THE MOON WITH A PIECE OF THE EARTH IN THE F. G. CORNER OF FRAME. AFTER A VERY SLIGHT PAUSE TO ESTABLISH WE ZOOM IN ON MOON.

CUT TO:

3 INT. MOONBASE CONTROL (STUDIO) 38 SECS

MATCHING ZOOM SHOT

STARTING ON A WIDE ANGLE WE QUICKLY ZOOM IN TO A CLOSE SHOT OF NINA BARRY SEATED AT HER TRACKER CONSOLE. SHE TURNS TO ADDRESS LT. ELLIS O. S.

NINA
I have a possible sighting, Lieutenant.

WIDER ANGLE

WE SEE THE OTHER TRACKING PERSONNEL AT THEIR STATIONS. GAY ELLIS SWIVELS ROUND IN HER CHAIR IN THE CENTRAL CONSOLE TO FACE NINA.

GAY
Bearing?

NINA
Coming up now.

NINA CONSULTS HER CONTROLS FOR A MOMENT.

SID (VO)
Confirming UFO 429 117 blue.

NINA
429 117 blue.

THE RED ALERT SIGN STARTS TO FLASH

GAY SWIVELS BACK INTO POSITION AND TALKS INTO MIKE:

GAY
This is Moonbase Control. Red Alert. I say again - Red Alert. Interceptors immediate launch.

CUT TO:

4 INT. LUNAR CRATER. (V.E) 5 SECS

THE INTERCEPTORS ARE IN POSITION ON THEIR RAMPS. THEY ROAR INTO LIFE.

CUT TO:

5 INT. CRATER. (V.E. ) 4 SECS

NEW ANGLE

THE INTERCEPTORS TAKE OFF IN FORMATION FROM THE CRATER.

CUT TO:

6 EXT. LUNAR SURFACE (V.E.) 5 SECS

THE THREE INTERCEPTORS FLYING IN FORMATION.

CUT TO:

7 INT. SHADO CONTROL ROOM. (STUDIO) 50 SECS

THE PLACE IS FULL OF ACTIVITY

STRAKER COMES THROUGH FROM HIS OFFICE AND GOES STRAIGHT OVER TO FOSTER AND FORD.

FOSTER
Sighting confirmed, Commander.

STRAKER
Interceptors?

FOSTER
On their way.

STRAKER
What's the trajectory?

FORD
Just coming up, sir.

STRAKER GOES OVER TO A TABLE PROMINENTLY POSITIONED IN THE ROOM AND STUDIES SOME EARTH CHARTS AND MAPS. HIS EXPRESSION IS GRIM AND RESIGNED.

FORD
We have the termination, sir.

STRAKER DOES NOT LOOK UP FROM HIS PAPERS.

STRAKER
What is it?

ON FORD

FORD
Western Europe.

ON STRAKER

STRAKER
Anything more specific?

FORD
Flight path indicates grid reference UX104... southern England.

VERY CLOSE ON STRAKER. HE LOOKS UP A FEW INCHES FROM HIS PAPERS - AS IF A VAGUE IDEA WERE DAWNING IN HIS MIND.

STRAKER
(more to himself than to anyone else)
Southern England?

FOSTER
SID has confirmed.

STRAKER'S EYES RETURN TO THE CHARTS IN FRONT OF HIM. HIS MOVEMENTS BECOME DELIBERATE.

INSERT SHOT:

A MAP OF THE SOUTH OF ENGLAND WITH THE FAMILIAR CONTOURS AND MAIN CITIES MARKED, BUT SHOWING IN SHARP RELIEF VARIOUS SECTORS LARGER THAN COUNTIES WITHIN WHICH SPECIAL SITES ARE MARKED, BUT WE DON'T AS YET KNOW THE SIGNIFICANCE OF THESE.

8 EXT. SPACE. (V. E) 5 SECS

THE INTERCEPTORS, STILL IN FORMATION, SWEEP UP AND OVER THE CAMERA.

CUT TO

9 INT. MOONBASE CONTROL. (STUDIO) 36 SECS

NINA TURNS TO GAY

NINA
All interceptor R-checks confirmed, and on positive track.

GAY TALKS TO HER CONSOLE MIKE

GAY
Control to interceptors. Proceed on positive track.

WATERMAN (VO)
Roger control.

ON NINA

SID (VO)
UFO speed SOL zero decimal nine.

NINA
Confirm zero decimal nine.

A SHORT PAUSE FOR COMPUTERISATION, THEN

SID (VO)
Interceptors in range 14 seconds.

GAY
Stand by for missile firing sequence.

CUT TO:

10 INT. SHADO CONTROL ROOM. (STUDIO) 20 SECS

ON THE OPERATORS. FOSTER TURNS TO STRAKER O.S.

FOSTER
Interceptors closing in.

CLOSE ON STRAKER

HE GIVES NO REPLY. YET HE GIVES THE IMPRESSION OF HAVING HEARD BUT OF HAVING SOMETHING MORE IMPORTANT TO OCCUPY HIS THOUGHTS.

STRAKER
I'll give the command.

THE OPERATORS EXCHANGE A GLANCE. CAUTIOUS BUT URGENT. FOSTER LOOKS BACK AT STRAKER.

FOSTER
Sir?

STILL STRAKER STUDIES THE CHARTS IN FRONT OF HIM FIXEDLY. THE CAMERA TIGHTENS SLIGHTLY ON HIM THEN THE VOICE OF SID COMES OVER.

SID (VO)
Interceptors in range 12 seconds.

11 INT. MOONBASE CONTROL. (STUDIO) 9 SECS

CUT TO:

GAY IS NOW STANDING ALONGSIDE NINA'S CONSOLE.

SID (VO)
Interceptors in range 10 seconds.

THE COUNTDOWN FROM SID CONTINUES IN THE B/G THROUGH THE FOLLOWING ACTION.

SID (VO)
9... 8... 7...

GAY TURNS TO NINA WITH AN AMAZED EXPRESSION.

CUT TO:

12 INT. SHADO CONTROL. (STUDIO) 10 SECS

THE VOICE OF SID CONTINUES IN THE B/G.

SID (VO)
6... 5... (etc.)

FOSTER AND FORD EXCHANGE A QUICK GLANCE. THEN FOSTER TURNS TO STRAKER.

FOSTER
Interceptors coming into range.

IN ANOTHER PART OF THE CONTROL ROOM A MALE AND FEMALE OPERATOR EXCHANGE A BEWILDERED LOOK.

CLOSE ON STRAKER

HE IS COMPLETELY WRAPPED UP IN THE CHARTS BEFORE HIM.

CLOSE ON FOSTER

HIS MANNER IS RESPECTFUL BUT URGENT.

FOSTER
Do we intercept, sir?

THE WHOLE ROOM IS WATCHING AND WAITING FOR STRAKER'S REPLY.

CUT TO:

13 EXT. SPACE. (V. E) 3 SECS

THE THREE INTERCEPTORS FLY AT TREMENDOUS SPEED THROUGH SPACE.

CUT TO:

14 INT. SHADO CONTROL. (STUDIO) 7 SECS

SID'S COUNTDOWN FINISHES.

SID (VO)
1... Interceptors in range.

NOW STRAKER COMES TO LIFE. BUT IT IS NOT LIKE A MAN WAKENING FROM A DREAM. HE SPEAKS AS IF HE HAD FINALLY MADE A DECISION AND WAS DETERMINED TO CARRY IT THROUGH DESPITE THE OPPOSITION IT WILL PROVOKE.

STRAKER
No! Interception negative.

THE PERSONNEL IN THE ROOM LOOK AT HIM IN DISBELIEF.

ON FOSTER

FOSTER
(with the slightest trace of a question in his tone) Interception negative.

ON STRAKER

HE TURNS TO FOSTER.

STRAKER
That's what I said.

CUT TO:

15 INT. MOONBASE CONTROL. (STUDIO) 9 SECS

WHEN FOSTER'S INSTRUCTIONS COME THROUGH, GAY CAN HARDLY BELIEVE HER EARS.

FOSTER (VO)
Interception negative. Repeat. Interception negative. Interceptors to return to Moonbase.

CUT TO:

16 INT. SPACE. (V. E. ) 7 SECS

THE THREE INTERCEPTORS BREAK FORMATION AND PEEL OFF, ONE BY ONE, TAKING A NEW COURSE.

CUT TO:

17 EXT. SPACE. (V. E) 8 SECS

NEW ANGLE

THE THIRD INTERCEPTOR JOINS UP WITH THE OTHER TWO AS THEY REGAIN FORMATION ON THEIR WAY BACK TO MOONBASE.

CUT TO:

18 INT. MOONBASE CONTROL. (STUDIO) 10 SECS

GAY AND NINA AS BEFORE.

GAY
Straker's let it through.

SID (VO)
UFO passing outer defences.

GAY
We can't stop it now!

CUT TO:

19 INT. SHADO CONTROL. (STUDIO) 16 SECS

ON FOSTER AND FORD

SID (VO)
UFO entering Earth's atmosphere.

FORD TURNS TO FOSTER : THEY EXCHANGE A GLANCE.

ANOTHER ANGLE

FOSTER TURNS TO STRAKER.

FOSTER
Touchdown in 4.6 minutes.

ON STRAKER.

HE NODS, BUT DOES NOT TAKE HIS EYES OFF THE MAPS IN FRONT OF HIM.

CUT TO:

20 EXT. SPACE. (V.E.) 6 SECS

WE FEATURE THE EARTH IN B.G. - IN F.G. THE U.F.O. IS APPROACHING THE PLANET. THE MUSIC STINGS.

UFO TITLE

CUT TO:

MAIN TITLES

21 COVERING SHOTS 60 SECS

1. ON FOSTER, NOT UNDERSTANDING STRAKER.

2. STRAKER INTENT ON HIS CHARTS.

3. U. F. O. HEADING FOR EARTH.

4. IN MOONBASE CONTROL, EVERYONE WAITS HELPLESS.

5. THE INTERCEPTORS STILL AND SILENT READY FOR TAKE-OFF.

6. AN INTERCEPTOR PILOT AT THE CONTROLS, WAITING FOR THE ORDER THAT WILL NOT COME.


CUT TO:

21A EXT. OFFICE BLOCK. (DAY) STOCK. 5 SECS

TO ESTABLISH AN IMPOSING OFFICE BLOCK.

CUT TO:

21B INT. OFFICE. DAY. (STUDIO) 120 SECS


NEWTON, DESCRIBED LATER, SITS IN HIS OFFICE. HIS SECRETARY, MISS CADWELL, SITS ON A CHAIR IN FRONT OF THE DESK TAKING NOTES.

NEWTON
I feel sure you will agree with the enclosed figures, but if you do have any queries please do not hesitate to contact me.

ON NEWTON

THINKING

NEWTON
New paragraph…

HE LOWERS HIS EYES TO

POV SHOT

MISS CADWELL'S LEGS.

TWO SHOT:

THE SECRETARY LOOKS UP. NEWTON TAKES UP THE DICTATION AGAIN.

NEWTON
The board meets next Friday so you will appreciate the urgency of this matter. Yours etc. etc.

SHE FINISHES THE DICTATION.

MISS CADWELL
Is... there anything else... ?

NEWTON
No, that's all for today.

ON MISS CADWELL

SHE STANDS UP, WALKS TO THE SOFA AND SITS, TAKES A CIGARETTE FROM A BOX AND LIGHTS IT.

ON NEWTON

HE GLANCES AT HER AS HE CHECKS A FEW PAPERS ON HIS DESK. THERE IS OBVIOUSLY MORE THAN JUST A BOSS/SECRETARY RELATIONSHIP BETWEEN THEM.

ON MISS CADWELL

SHE CROSSES HER LEGS CAREFUL TO SHOW THEM TO THE BEST ADVANTAGE.

TWO SHOT

NEWTON APPEARS A LITTLE ILL AT EASE.

NEWTON
Why don't you type that up first thing in the morning.

MISS CADWELL
Trying to get rid of me…

MISS CADWELL THROWS AWAY THE REMARK, BUT IN FACT IT IS EXACTLY WHAT NEWTON IS TRYING TO DO.

ON MISS CADWELL

MISS CADWELL
Get me a drink, Jack.

TWO SHOT

NEWTON DOES NOT ANSWER.

MISS CADWELL
Darling?

NEWTON
Look... Not tonight... I have to leave. An export conference up North.

MISS CADWELL
Export conference?

NEWTON
Yes. I thought I mentioned it. I'm driving up there this evening.

MISS CADWELL
With Elizabeth?

NEWTON
(hard)
As a matter of fact without. Not that it should worry you, she's still my wife, remember.

ON MISS CADWELL

SHE IS HURT.

MISS CADWELL
Yes... Mr. Newton.

TWO SHOT

NEWTON SOFTENS, WALKS OVER TO MISS CADWELL AND TAKES HER SHOULDERS.

NEWTON
Come on now. Why don't you go home and have a nice relaxed evening.

MISS CADWELL NODS.

NEWTON
I tell you what. Go out tomorrow and buy yourself a couple of dresses or something. Charge it to my account.

ON MISS CADWELL

FEELING VERY MUCH THE KEPT WOMAN.

MISS CADWELL
Jack...

TWO SHOT

NEWTON LOOKS UP AT HER.

NEWTON
Hmm?

SHE SEES HE IS TOO INSENSITIVE TO REALISE THE WAY SHE FEELS.

MISS CADWELL
It's nothing… Goodnight.

NEWTON
Goodnight, my dear.

HE WATCHES MISS CADWELL WALK OUT OF THE OFFICE, THEN MOVES BEHIND THE DESK AND FLICKS THE INTERCOM.

NEWTON
(into intercom)
Have my car brought round right away.

CUT TO:

21C EXT. ROAD. EVENING. (LOCATION) 6 SECS

A CAR UP AND PAST

CUT TO:

21D INT. CAR. EVENING. (STUDIO) 7 SECS

AT THE WHEEL LIZ NEWTON, JACK NEWTON'S WIFE, LATE TWENTIES DARK AND SENSUOUS.

SHE GIVES THE IMPRESSION OF A WOMAN WHO HAS BEEN AROUND BUT AT THE SAME TIME IS HARD TO GET. HER CLOTHES AND THE CAR SUGGEST MONEY.

CUT TO:

21E EXT. GAS STATION. EVENING. (LOCATION) 8 SECS

THE CAR PULLS INTO A GAS STATION. AN ATTENDANT WALKS OVER TO THE CAR.

CUT TO:

21F INT. CAR. EVENING. (STUDIO) 5 SECS

THE ATTENDANT LEANS IN AT THE WINDOW WITH INTEREST AS HE SEES LIZ:

LIZ
Fill her up, please.

CUT TO:

21G EXT. GAS STATION. EVENING. (LOCATION) 14 SECS

THE ATTENDANT BEGINS TO FILL THE CAR, AS THE GALLONS CLICK UP, HE BEGINS TO WIPE THE WINDSCREEN.

CUT TO:

21H INT. CAR. EVENING (STUDIO) 13 SECS

LIZ USES THE INSIDE MIRROR TO CHECK HER MAKE-UP. THE ATTENDANT WATCHES HER AS HE TAKES HIS TIME ON THE WIND SCREEN.

THEIR EYES MEET, LIZ IS USED TO THE STARES OF MEN AND STARES BACK IMPASSIVE, THE ATTENDANT LOOKS AWAY.

DURING THIS SEQUENCE WE ESTABLISH THE CAR IS APPARENTLY EMPTY EXCEPT FOR LIZ.

CUT TO:

21 EXT. GAS STATION. EVENING. (LOCATION) 12 SECS

THE CAR IS FULL. THE ATTENDANT REPLACES THE FILLER CAP ETC., AND TAKES THE MONEY.

CUT TO:

22 INT. CAR. EVENING (STUDIO) 8 SECS

LIZ RESETS THE MIRROR AND STARTS THE CAR.

CUT TO:

23 EXT. GAS STATION EVENING (LOCATION) 7 SECS

THE CAR PULLS AWAY.

24 EXT. ROAD. EVENING. (LOCATION) 5 SECS

THE CAR UP AND PAST

CUT TO:

25 INT. CAR. EVENING. (STUDIO) 19 SECS

LIZ DRIVES: PAN DOWN TO HER LEGS, THE SKIRT RIDING HIGH ABOVE THE KNEES.

A MAN'S HAND COMES INTO SHOT AND HOLDS THE LEG, A STRONG MASCULINE HAND.

LIZ DOES NOT REACT, BUT RUNS HER FINGERS ACROSS THE BACK OF THE HAND.

ANOTHER ANGLE

CASS FOWLER SITS UP FROM THE BACK WHERE HE HAS BEEN HIDING UNDER A CAR RUG.

A STRONGLY-BUILT MAN IN HIS LATE TWENTIES WITH GREAT VIRILE MAGNETISM. BUT UNDER HIS LOOKS AND DOMINANT MANNER THERE LURK CHILDISHNESS, BASIC INSECURITY AND AN AMBITIOUSNESS THAT COULD BE DANGEROUS.

CUT TO:

26 EXT. CAR. EVENING. (LOCATION) 5 SECS

MOVING FAST ALONG THE ROAD.

CUT TO:

27 INT. CAR. EVENING. (STUDIO) 25 SECS

CASS HAS CLIMBED OVER INTO THE FRONT SEAT. HE LIGHTS A COUPLE OF CIGARETTES AND GIVES ONE TO LIZ. LIZ IS A LITTLE NERVOUS, SHE SNATCHES A GLANCE AT CASS BUT TURNS QUICKLY BACK TO THE ROAD.

LIZ
It's not far now.

CASS STRETCHES OVER AND BEGINS TO STROKE THE BACK OF HER NECK.

LIZ CLOSES HER EYES FOR A MOMENT. CASS GIVES THE FAINTEST OF SMILES, CONFIDENT IN THE REACTION HIS TOUCH ALWAYS HAS.

CUT TO:

28 EXT. COUNTRY ROAD. EVENING. (LOCATION) 12 SECS

THE CAMERA IS IN TREES, LOOKING TOWARDS THE ROAD. THE CAR COMES UP AND PAST, CAMERA PANNING IT. IT SLOWS DOWN AS THE ROAD FORKS: THERE IS A ROAD SIGN INSIDE THE FORK.

CLOSE ON SIGN

A FUTURISTIC VERSION OF THE TYPICAL BRITISH ROADWAY SIGN.

THE ROAD TO THE RIGHT INDICATES "CLARE CROSS" AND THE OTHER INDICATES "LINGBURY"

CUT TO:

29 INT. CAR. EVENING. (STUDIO) 4 SECS

ON CASS AND LIZ. LIZ MOVES THE WHEEL.

CUT TO :

30 EXT. COUNTRY ROAD. EVENING. (LOCATION) 10 SECS

THE CAR GAINS SPEED AGAIN AS IT TAKES THE ROAD TO LINGBURY. THE TERRAIN IS GETTING MORE THICKLY WOODED. THE CAR DISAPPEARS AMONGST THE TREES.

CUT TO:

31 EXT. FOREST. EVENING (V.E) 10 SECS

NOTE:
IT IS ESSENTIAL THAT THE TYPE OF FOREST SHOULD BE THE SAME IN BOTH LOCATION AND VISUAL EFFECTS MATERIAL. WE MUST FEEL WE ARE STILL IN THE SAME PART OF THE COUNTRYSIDE.

THE CAMERA OVERLOOKS A STRETCH OF FOREST LAND EXTENDING APPARENTLY TO THE HORIZON.

THE UFO ENTERS FROM THE RIGHT OF FRAME AND THE CAMERA PANS SLIGHTLY WITH IT. WE NOW SEE A CLEARING IN THE MIDDLE OF THE WOODS WHERE THE TREES HAVE BEEN CLEARED AWAY.

CUT TO:

32 EXT. CLEARING. (EVENING) (V.E.) 9 SECS

THE UFO COMES DOWN TO LAND IN THE CENTRE OF THE CLEARING. -

CUT TO:

33 INT. SHADO CONTROL. (STUDIO) 48 SECS

FORD STUDIES HIS RADAR AND REPORTS TO STRAKER

FORD
UFO signal now negative, sir. Presumably landed.

ON STRAKER

HE LOOKS UP FROM THE CHARTS

STRAKER
Map reference?

ON FORD

FORD
Reference 119120 approximately.

STRAKER CONSULTS HIS CHART.

EYELINE SHOT

WE FEATURE THE MAP OF THE SOUTH OF ENGLAND, BUT WE ARE NOW TOO CLOSE TO DISTINGUISH KNOWN PLACES. PROMINENT HOWEVER ARE CLARE CROSS AND LINGBURY. THE AREA IS MARKED AS VERY WOODED.

STRAKER
119120. That's somewhere here.

HIS FINGER COMES DOWN BETWEEN THE TWO PLACE NAMES.

STRAKER LOOKS UP AGAIN

STRAKER
I want the whole area cordoned off, and alert mobiles 1, 2 and 3.

ON FORD

HE TOUCHES A BUTTON ON HIS CONTROL.

TWO SHOT

STRAKER AND FOSTER

STRAKER
Paul...

FOSTER
Yes, sir?

ON STRAKER

STRAKER
You'd better get out there with them.

ON FOSTER

FOSTER
Right.

HE TURNS TO LEAVE.

CUT TO:

34 EXT. MOBILE INSTALLATION.EVENING. (V.E) 12 SECS

A SIGN SAYS "HARPER'S UNIVERSAL DEPOSITORY". BELOW AND BEYOND ARE BUILDINGS SURROUNDED BY A HIGH WIRE FENCE. THE GATES ARE OPENED AND THROUGH THEM COME - ONE AFTER THE OTHER - THREE FURNITURE REMOVAL VANS.

CUT TO:

35 EXT. ROADWAY. EVENING. (V.E.) 8 SECS

THE VANS COME OUT ON TO THE ROADWAY. THEY MOVE OFF DOWN THE COUNTRY ROAD. OTHER TRAFFIC IN EVIDENCE.

CUT TO:

36 EXT. COUNTRY ROAD. EVENING. (V.E.) 10 SECS

ANOTHER PART OF THE COUNTRYSIDE; THERE IS NO OTHER TRAFFIC NOW VISIBLE. THE THREE VANS STRIKE OFF THE ROAD AND TAKE A TRACK THROUGH THICK WOODS.

CUT TO:

37 EXT. FOREST. EVENING. (V.E.) 22 SECS

THE VANS COME TO A HALT INSIDE THE FOREST.

NEW ANGLE

THE BACK OF THE FIRST VAN DROPS DOWN TO REVEAL SHADO MOBILE BLUE ONE INSIDE. THE MOBILE COMES TO LIFE AND MOVES DOWN THE RAMP ON TO THE GROUND. AT ONCE IT HEADS OFF INTO THE FOREST.

NEW ANGLE

THE SECOND AND THIRD VANS ARE REVEALING MOBILES BLUE TWO AND THREE.

CUT TO:

38 EXT. FOREST. EVENING. (V.E) 8 SECS

PANNING SHOT

WE FOLLOW MOBILE BLUE ONE THROUGH THE DENSELY GROWING TREES.

CUT TO :

39 INT. SHADO CONTROL. (STUDIO) 6 SECS

STRAKER ADDRESSES THE MOBILE OPERATORS BY HAND MIKE.

STRAKER
Commander Straker to all mobile operatives...

CUT TO:

40 INT. MOBILE ONE. EVENING. (STUDIO) 23 SECS

THE CAB IS SLIGHTLY AGITATED TO SUGGEST A HEAVY VEHICLE MOVING OVER ROUGH LANDSCAPE.

FOSTER IS AT THE CONTROLS.

STRAKER (VO)
You are to locate UFO designated 904 F1 - termination area approximately 119120. Paul.

FOSTER
Sir.

STRAKER (VO)
I'd like you to cover Blue Area X7.

FOSTER
O.K.

HE MOVES HIS WHEEL AS IF TO PROCEED AS DIRECTED.

CUT TO:

41 EXT. MOBILE BLUE ONE. EVENING. (V.E) 6 SECS

THE MACHINE TURNS OFF THE ROAD AND ENTERS THE FOREST AREA AT THE SIDE.

42 INT. SHADO CONTROL. (STUDIO) 30 SECS

RESUME STRAKER WITH THE MIKE.

ALEC FREEMAN ENTERS IN THE B/G AND STANDS A FEW PACES FROM STRAKER

STRAKER
Mobiles Two and Three will cover Blue Area X8 and 9 respectively.

MOBILE OPERATOR 2 (VO)
Yes, sir.

MOBILE OPERATOR 3 (VO)
Yes, sir.

STRAKER
All radio contact to be through control operator Ford.

STRAKER TURNS AND SEES FREEMAN.

FREEMAN
So you let it through?

STRAKER
That's right.

FREEMAN
Why don't we do it properly?

STRAKER
What do you mean?

FREEMAN
Ask the Aliens round for drinks.

STRAKER MOVES OFF TOWARDS HIS OFFICE, FREEMAN FOLLOWS.

CUT TO:

43 INT.STRAKER'S UNDERGROUND OFFICE.(STUDIO) 75 SECS

FREEMAN AND STRAKER COME IN.

STRAKER
Alright, Alec. I admit it's… unconventional. A calculated risk.

FREEMAN
Unconventional? Suicidal would be a better description.

STRAKER PICKS UP A SERIES OF PHOTOGRAPHS FROM HIS DESK AND HOLDS THEM OUT TO FREEMAN.

STRAKER
What do you see in here, Alec?

FREEMAN KNOWS WHAT THEY ARE WITHOUT HAVING TO LOOK AT THEM.

FREEMAN
They're the UFO wreckage plates.

STRAKER
(bitingly)
Wreckage. Exactly.

STRAKER DROPS THEM BACK ON HIS DESK.

STRAKER
Ruins... hulks... all defunct. Definition: dead... destroyed. Usefulness: zero.

STRAKER SITS AT HIS DESK. GO IN CLOSER ON HIM.

STRAKER
We're fighting a series of losing battles here. Why? Because we don't really know who or what we're fighting.

THE CAMERA TIGHTENS A LITTLE MORE ON HIM. THE POOL OF LIGHT FROM THE DESK LAMP GIVES HIM A DRAMATIC AURA.

STRAKER
I've waited months for a chance like this. A UFO... right on our doorstep. That's why I've let this one through. And those mobiles are on their way to take it - before any deterioration sets in.

CLOSE ON FREEMAN

HE IS STILL NOT LETTING GO.

FREEMAN
Meanwhile there's a potential killer or killers at large.

CLOSE ON STRAKER. HE SIGHS. FREEMAN HAS HIT THE SOREST POINT.

STRAKER
(gravely)
I know. It's a risk. But the area has a low population density. It's mostly virgin forest. The danger factor must be very slight.

CUT TO:

44 EXT. FOREST. EVENING. (LOCATION) 20 SECS

CAMERA STARTS CLOSE ON AN ALSATIAN DOG MOVING THROUGH THE FOREST ON A LEAD.

WE OPEN THE SHOT TO DISCLOSE THE MAN HANDLING THE DOG. THIS IS MITCHELL, A TOUGH LOOKING MAN IN THE UNIFORM OF A GAME RESERVE WARDEN. HIS UNIFORM IS SEVERELY MILITARY, WITH TRUNCHEON, BOOTS, BREECHES, ETC.

AS HE MOVES FORWARD HIS EXPRESSION IS BECOMING MORE AND MORE SUSPICIOUS AND HIS MOVEMENTS MORE AND MORE CAUTIOUS. IT'S AS IF HE WERE TRAILING AN INTRUDER. IN FACT HE IS INVESTIGATING THE NOISE HE HAS HEARD IN THE REGION OF HIS PATROL.

FINALLY HE SLOWS DOWN TO A STOP.

ON MITCHELL

HE MOVES BACK THE FINAL BRANCHES SEPARATING HIM FROM THE CLEARING.

CUT TO:

45 EXT. FOREST. EVENING. (V.E) 5 SECS

EYELINE SHOT

WE FEATURE THE UFO STATIONARY IN THE CLEARING. ALL IS SILENT.

CUT TO:

46 EXT. FOREST. EVENING. (STUDIO) 35 SECS

MITCHELL RECOILS SLIGHTLY AT SEEING THE UFO IN THE CLEARING. HE IS NOT EXACTLY SURE WHAT TO DO, AND HE SENSES DANGER.

THEN THERE IS A WHIMPERING NOISE FROM ROUND HIS LEGS. HE LOOKS DOWN.

CLOSE ON DOG

IT HAS SEEN THE UFO AND IS FRIGHTENED. ITS EARS LIE BACK AND ITS EYES ROLL, SHOWING THE WHITES VIVIDLY.

ON MITCHELL

HE REALISES THAT THE NOISE FROM THE DOG COULD ATTRACT UNWANTED ATTENTION.

MITCHELL
(in a commanding whisper)
Quiet!

ON THE DOG

ITS FEAR INCREASES. THE WHIMPERING CHANGES TO YELPING AND HE STARTS TO BACK AWAY FROM THE UFO AND FROM MITCHELL. IT STRAINS ON ITS LEAD.

ON MITCHELL

HIS OWN CONCERN INCREASES AT THIS. HE GLANCES FROM THE DOG TO THE UFO AND BACK TO THE DOG. THE MORE HE HISSES AT THE DOG THE MORE FRIGHTENED THE ANIMAL GETS.

MITCHELL
(viciously)
Shut up! Shut up, will you!

ON DOG

IT BACKS AWAY FROM MITCHELL EVEN MORE VIGOROUSLY.

ON MITCHELL

HE LOOKS BACK TO -

CUT TO:

47 EXT. FOREST. EVENING. (V.E) 3 SECS

EYELINE OF THE UFO.

CUT TO:

48 EXT. FOREST. EVENING. (STUDIO) 12 SECS

RESUME THE DOG

IT IS NOW TERRIFIED OUT OF ITS WITS. ITS YELPING ECHOES THROUGH THE WOODS. IT STRAINS POWERFULLY ON THE LEAD.

MITCHELL IS A STRONG MAN, BUT HE CAN SCARCELY RESTRAIN THE ANIMAL.

MITCHELL
Quiet.

ON THE DOG

IT NOW FINALLY SLIPS ITS COLLAR AND BREAKS AWAY INTO THE UNDERGROWTH.

MITCHELL PLUNGES AFTER IT.

MITCHELL
Come back here.

CUT TO:

49 EXT. FOREST. EVENING. (STUDIO) 65 SECS

ANOTHER PART OF THE FOREST. CAMERA PANS WITH MITCHELL WHO ENTERS FRAME, SEEKING THE DOG. HE KNOWS IT HASN'T GONE FAR. HE USES HIS TRUNCHEON TO HOLD ASIDE FOLIAGE AND BUSHES.

MITCHELL
Here! Come here!

FINALLY HE SEES HIM OFF SCREEN.

ON THE DOG

IT IS CRINGING UNDER SOME LOW BRANCHES, WHINING.

ON MITCHELL

MITCHELL MOVES TOWARD THE DOG.

ANOTHER ANGLE

MITCHELL TRYING TO PUT THE COLLAR BACK ON THE DOG.

ON MITCHELL

CLOSE ON MITCHELL CONCENTRATING ON THE LEAD.

SUDDENLY FROM THE SIDE COMES A BIG ARM WHICH PLANTS A MIGHTY ELBOW GRIP ROUND MITCHELL'S THROAT, PRACTICALLY STRANGLING HIM.

AT ONCE MITCHELL DROPS THE LEAD AND TRIES TO GET THE ARM AWAY FROM HIM.

ON THE DOG

CAUGHT IN TWO MINDS.

IT STARTS GROWLING NOW, SEEING HIS MASTER ATTACKED.

ANOTHER ANGLE

THE ATTACKER IS AN ALIEN FROM THE UFO, WEARING THE HELMET AND THE SPACE SUIT. THROUGH THE HELMET WE CAN SEE THE GREEN PIGMENTED FACE. OVER HIS SHOULDER HE HAS A WEAPON LIKE A LIGHT MACHINE GUN. HOLDING MITCHELL IN A VICE-LIKE GRIP WITH ONE HAND, THE ALIEN IS WITH THE OTHER TAKING OUT OF A POUCH A SMALL INSTRUMENT - ONE SURFACE OF WHICH IS A SOLID BED OF SMALL NEEDLES. HE TRIES ALL THROUGH THE STRUGGLE TO STICK THIS ON MITCHELL'S ARM.

ON THE DOG

IT LEAPS NOW TO DEFEND MITCHELL. IT TEARS AT THE LEG AND THEN THE ARM OF THE ALIEN.

ANOTHER ANGLE

MITCHELL - THANKS TO THE DOG'S INTERVENTION - ESCAPES FROM THE ALIEN AND HEADS FOR THE UNDERGROWTH.

ON THE DOG AND THE ALIEN

THE ALIEN IS PULLED TO THE GROUND AND IN THE FALL HIS HELMET IS SHATTERED. THE LIQUID FROM INSIDE THE HELMET SPILLS OUT. THE ALIEN IS MADE ALMOST UNCONSCIOUS BY THE SHOCK OF BREATHING AIR.

MEANWHILE THE DOG SAVAGES HIS LEG, STILL TEARING THE SPACE SUIT.

CUT TO:

50 EXT. FOREST. EVENING. (STUDIO) 8 SECS

MITCHELL STUMBLES ON THROUGH THE TREES, BUT HIS SPEED IS HELD UP BY THE THICKNESS OF THE FOLIAGE. HE TAKES A LOOK BACK AT THE ALIEN.

CUT TO:

51 EXT. FOREST. EVENING. (STUDIO) 10 SECS

THE ALIEN IS GASPING FOR BREATH. BUT HE MANAGES TO UNSLING THE GUN FROM HIS SHOULDERS AND BRING IT DOWN ON THE DOG'S HEAD. THE ANIMAL YELPS AND RUNS.

THE ALIEN STAGGERS TO HIS FEET AND MOVES OUT IN THE DIRECTION THAT MITCHELL HAD GONE.

CUT TO:

52 EXT. FOREST. EVENING. (STUDIO) 15 SECS

ANOTHER PART OF THE FOREST. BUT STILL NEAR TO THE PREVIOUS. THE ALIEN ENTERS SHOT AND SHAKILY RAISES HIS GUN TO AIM AT MITCHELL, BUT HIS HEAVY BREATHING MAKES HIM MISS. MITCHELL REACTS TO THE SHOT AND STAGGERS IN A NEW DIRECTION. AGAIN THE ALIEN FIRES - AGAIN AND AGAIN - HIS ANGLE OF FIRE MOVING WITH THE POSITION OF MITCHELL.

CUT TO:

53 EXT. FOREST. EVENING. (V.E.) 5 SECS

A COUPLE OF SHOTS HIT THE UFO AND THERE IS A SMALL EXPLOSION ON THE MACHINE.

CUT TO:

54 EXT. FOREST. EVENING. (STUDIO) 9 SECS

THE ALIEN OBSERVES THIS BUT CONTINUES FIRING.

ON MITCHELL.

HE IS HIT. HE GASPS AND FALLS TO THE GROUND.

CUT TO:

55 EXT. FOREST. EVENING. (V.E) 5 SECS


THE UFO IS STARTING TO SMOULDER OMINOUSLY.

CUT TO:

56 EXT. FOREST. EVENING. (STUDIO) 14 SECS

THE ALIEN COMES TO STAND OVER MITCHELL. HE SEES THAT MITCHELL IS DEAD. THE ALIEN LOOKS OUT TOWARDS THE CLEARING WHERE THE UFO IS. THEN HE BENDS DOWN AND STARTS TO DRAG MITCHELL'S BODY BY THE LEGS TOWARDS THE CLEARING.

CUT TO:

57 EXT. FOREST ROADWAY. EVENING. (LOCATION) 17 SECS

THE CAR COMES TO A HALT BY THE SIDE OF THE ROAD NEAR A GATE LEADING THROUGH TREES. CASS AND LIZ GET OUT. LIZ OPENS THE GATE AND GOES THROUGH. THE GATE SQUEAKS. CASS GETS OUT A SMALL HOLDALL FROM THE BOOT AND THEN FOLLOWS HER, CLOSING THE GATE BEHIND HIM AGAIN.

CUT TO:

58 EXT. COTTAGE. EVENING. (LOCATION) 12 SECS

WE FEATURE A PICTURESQUE OLD PLACE ON ONE STOREY WITH AN EXTENSIVE GARDEN IN FRONT. IT LOOKS EXACTLY WHAT IT IS - A BUSINESSMAN'S COUNTRY RETREAT. TREES ALL ROUND. WE PAN CASS AND LIZ UP THE PATH TO THE DOOR. LIZ PRODUCES A KEY AND THEY ENTER.

CUT TO:

59 INT. COTTAGE. EVENING. (STUDIO) 90 SECS

THE FRONT DOOR LEADS STRAIGHT INTO THE MAIN ROOM OF THE HOUSE - A LARGE LIVING ROOM WITH DOORS FOR THE BEDROOM, THE BATHROOM, THE KITCHEN AND A LARGE CUPBOARD IN ONE CORNER. IN ANOTHER CORNER THERE IS A SMALL BAR WITH TWO HIGH STOOLS AND BOTTLES AND DECANTERS ON IT. ALTHOUGH THE OUTSIDE IS TRADITIONAL, THE INTERIOR OF THE HOUSE IS VERY MODERNISTIC - YET THE FEELING IS INTIMATE.

LIZ WALKS FORWARD TO THE CENTRE OF THE ROOM AND PUTS HER HANDBAG DOWN ON THE COUCH.

CASS STANDS AT THE DOORWAY AFTER CLOSING IT, TAKING IN THE SCENE. HE SEEMS PARTICULARLY INTERESTED IN THE GEOGRAPHY OF THE ROOM.

ON CASS

NOW HE WALKS FORWARD TO JOIN LIZ. HE PUTS DOWN THE HOLDALL.

ON HOLDALL

CASS TAKES A SET OF POLAROID PHOTOGRAPHS FROM THE HOLDALL. THEY ARE SHOTS OF THE INSIDE OF THE COTTAGE.

RESUME SCENE:

CASS CHECKS THE INSIDE OF THE ROOM AGAINST THE PHOTOS. HE LOOKS AT THE FRONT DOOR AS IF CHECKING AN ANGLE, MOVES BACK A PACE OR TWO AND FINDS ACHAIR IN THE WAY. WITH A GLANCE TO LIZ HE MOVES THE CHAIR OUT OF THE WAY - THEN SEEMS SATISFIED.

ON LIZ

SHE WALKS OVER TO THE DRINKS AND POURS HERSELF A VODKA.

ON CASS

HE GIVES A LOOK TOWARDS LIZ, HE DISAPPROVES, BUT SAYS NOTHING.

HE MOVES OVER AND PICKS UP A FRAMED PHOTOGRAPH.

ON PHOTO

WE SEE LIZ AND A MUCH OLDER MAN, NEWTON, SEATED AT A DINNER TABLE IN EVENING DRESS. THEIR HANDS ARE TOUCHING. WE RECOGNISE NEWTON FROM THE EARLIER SCENE.

RESUME SCENE:

CASS
You make a great couple, very cosy.

LIZ MOVES QUICKLY TO HIM, TAKES THE PHOTO AND BANGS IT FACE DOWN. AS SHE GOES TO MOVE AWAY, CASS GRABS HER .

CLOSE SHOT

CASS KISSES HER HAND. AT FIRST SHE RESISTS, BUT SOON SHE RESPONDS PASSIONATELY, HUNGRY FOR HIM.

CASS BREAKS THE CLINCH - HE HAS EXERTED HIS POWER OVER HER.

WIDER ANGLE

LIZ
Cass...

CASS
Go and get it...

LIZ NEARLY PROTESTS, BUT WALKS OVER INTO THE BEDROOM AND GOES IN.

ON CASS

WIDER ANGLE

LIZ HAS COME OUT OF THE BEDROOM. CASS WALKS OVER TO HER, HOLDING OUT HIS HAND.

CLOSER SHOT

LIZ GIVES HIM A FUTURISTIC GUN.

ON CASS

HE WEIGHS THE GUN IN HIS HAND. ZOOM IN ON IT.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

60 EXT. FOREST. NIGHT. (V.E. ) 8 SECS

SHADO MOBILE ONE IS MAKING ITS WAY THROUGH THE FOREST. ITS SPOTLIGHT IS NOW LIGHTED AND SHINES INTO THE NIGHT. THE CAMERA PANS WITH IT ON TO A FOREST ROAD. HERE IT HALTS.

CUT TO:

61 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 7 SECS

FOSTER TAKES A HAND FROM THE CONTROLS AND TALKS INTO A MICROPHONE UNIT.

FOSTER
Mobile One to Shado Control…

CUT TO:

62 INT. SHADO CONTROL. (STUDIO) 5 SECS.

WE FEATURE FORD AND AISHA

FOSTER (VO)
One to Control.

FORD
(into mike)
Go ahead, Mobile One.

CUT TO:

63 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 8 SECS

FOSTER
I have covered search areas Blue X7P, Q and R. UFO negative.

CUT TO:

64 INT. SHADO CONTROL. (STUDIO) 40 SECS

ON FORD

FORD
Roger, Mobile One. Proceed to link with Mobile Three at location 118 109.

THE SHOT WIDENS

FORD GOES OVER TO AN ILLUMINATED CHART ON THE WALL DISPLAYING AREA BLUE. SOME OF IT HAS NOW BEEN BLACKED OUT INDICATING THAT THE SEARCH THERE HAS BEEN COMPLETED. AISHA NOW SELECTS A BUTTON ON A PANEL BENEATH THE CHART AND THE THREE SECTIONS JUST MENTIONED ARE BLACKED OUT. THE SEARCH OPERATION IS NOW JUST OVER HALF COMPLETED.

STRAKER AND FREEMAN COME IN TO SEE THE PROGRESS CHART.

FORD
SHADO Mobiles 2 and 3 are due to report any moment now, sir. Areas X8 and 9 are practically covered.

FREEMAN
How about Mobile One?

FORD
His progress is slower. He has the densest area.

STRAKER GAZES AT THE CHART.

STRAKER
Every inch of that forest has to be searched. Somewhere in there there's a UFO and we're going to find it - intact.

CUT TO:

65 EXT.FOREST. NIGHT. (V.E.) 5 SECS

WE FEATURE THE UFO IN THE CLEARING. IT IS SMOKING HEAVILY. ON THE CUT THERE IS A FLASH AND A DEEP EXPLOSION AS PART OF THE MACHINE BLOWS UP.

CUT TO:

66 EXT. FOREST. NIGHT. (STUDIO) 4 SECS

THE ALIEN STANDS LOOKING THROUGH TREES.

THE FLASHES PLAY OVER HIS FACE IN A MACABRE FASHION.

CUT TO:

67 EXT. FOREST. NIGHT. (V.E) 8 SECS

THE EXPLOSIONS CONTINUE, SHATTERING THE UFO. FINALLY THERE IS ONE TERRIFIC FLASH.

NEW ANGLE

WHEN THE SMOKE CLEARS WE SEE THAT THE UFO IS A WRECK.

CUT TO:

68 EXT. FOREST. NIGHT. (STUDIO) 6 SECS

THE ALIEN NOW TURNS AWAY INTO THE FOREST.

CUT TO:

69 EXT. FOREST. NIGHT. (STUDIO) 14 SECS

DEEPER IN THE FOREST. THE ALIEN MAKES HIS WAY THROUGH THE THICK UNDERGROWTH. AT ONE POINT A BRANCH SWINGS BACK AT HIM, HITTING HIM IN THE ARM WHERE THE DOG HAD BITTEN. HE CRIES OUT IN PAIN AND CLUTCHES THE SPOT.

CLOSE ON HIS FEET.

WE SEE THAT HE IS DRAGGING ONE LEG, CAUSING HIM TO LIMP BADLY.

CUT TO:

70 INT. COTTAGE. BATHROOM. NIGHT. (STUDIO) 15 SECS

CASS IS HAVING A SHOWER.

AS THE WARM WATER CASCADES OVER HIS BODY, HE SOAPS HIMSELF SENSUOUSLY. HE RAISES HIS HEAD TO TAKE IN A MOUTHFUL OF WATER, THEN SPITS IT OUT.

WHEN HE HAS FINALLY RUBBED AWAY ALL THE SOAP FROM HIS BODY HE SHAKES HIMSELF LIKE AN ANIMAL AND STEPS OUT OF THE SHOWER. HE REACHES FOR THE TOWEL ON THE RAIL.

CUT TO:

71 INT. COTTAGE. KITCHEN. NIGHT. (STUDIO) 173 SECS

LIZ IS PREPARING THE SUPPER . A TRANSISTOR RADIO IS PLAYING AWAY. TWO STEAKS ARE UNDER THE GRILL. SHE IS NOW TRYING TO MAKE THE SALAD DRESSING. SHE TAKES A PLATE BUT DROPS IT AND IT FALLS INTO THE SINK AND SMASHES.

NEW ANGLE

WE FIND THAT CASS IS STANDING AT THE DOOR LEANING AGAINST THE SUPPORT WITH HIS ARMS FOLDED. HE HAS ONLY A TOWEL ROUND HIS WAIST AND HIS BODY IS STILL DAMP AND GLEAMING. HE WATCHES LIZ. SHE GATHERS UP THE BROKEN PIECES IN THE SINK AND PUTS THEM IN THE WASTE BIN. AS SHE STRAIGHTENS UP SHE SEES CASS AND JUMPS SLIGHTLY.

LIZ
How long have you been there?

CASS
Nervous?

LIZ DOESN'T ANSWER.

CASS
Get a hold of yourself.

LIZ SITS DOWN ON A LOW STOOL.

LIZ
Cass...

CASS SEES SHE IS CLOSE TO CRACKING. HE DECIDES TO OCCUPY HER MIND.

CASS
Let's go over it once again. Take it from eleven o'clock.

LIZ DOESN'T ANSWER.

CASS
(hard)
From eleven o'clock.

ON LIZ

SHE SWALLOWS, THEN STARTS, PARROT LIKE:

LIZ
At eleven o'clock we finish supper and then I wash up.

CASS
There's something else.

LIZ
What do you mean?

CASS
What do you do before washing up?

LIZ
I call up Midge Clayton. I tell her that I'm ringing from the cottage and I invite her over for lunch tomorrow. Then I -

AGAIN CASS INTERRUPTS

CASS
Why? Why do you invite her over for lunch?

LIZ
I'm nervous about staying here alone. Then I mention two things. Firstly, that Jack can't be with me... he's going North on business this weekend. Secondly, I'm going to take a sleeping pill and go to bed.

CASS
Then?

LIZ
Then - then at around eleven thirty, I check that the door is not locked from inside so that Jack will be able to get in... Then I go to bed.

CASS
You don't go to bed... There's something else.

LIZ
Oh yes. First I take out the bulb from the light by the door and replace it with the dud one.

CASS
Right. Go on.

LIZ
Then I go to bed and put out the light.
(then she remembers correctly) No - I read for five minutes, but I find it hard to concentrate and I put the light out, and wait for Jack.

CASS
And when he comes?

CLOSE IN TIGHTER ON LIZ

SHE TAKES A DEEP BREATH AND SHE BRACES HERSELF FOR THE MOST DIFFICULT PART.

LIZ
I hear the garden gate creak and I get up and come in here.

A PAUSE

LIZ CAN REMEMBER PERFECTLY WELL WHAT COMES NEXT. IT IS SIMPLY NOW THAT SHE CAN'T BEAR TO TALK ABOUT IT.

CASS
So?

LIZ
So I take the gun.

HER VOICE TRAILS OFF.

ON CASS

WE PAN WITH HIM AS HE WALKS TO HER.

CASS
You take the gun. Then what?

LIZ LOOKS AT HIM.

CASS
Then what?

LIZ
I stand at the bedroom door with the gun pointed at the front door...

CASS
Go on.

LIZ
Then, when Jack opens the door…

SHE CAN'T GO ON. CASS RAISES HER ABRUPTLY TO HER FEET AND STARES INTO HER FACE WITH A TERRIBLE INTENSITY.

CASS
You take aim and you fire. Right?

LIZ NOW LETS HER PENT UP FEARS FLOW OUT. HER PLEA IS SIMPLE.

LIZ
I ... I can't do it.

CASS REALISES THAT THREATS ARE USELESS. HIS EYES SOFTEN AND HE RAISES HER CHIN TO MAKE HER LOOK STRAIGHT INTO HIS EYES.

CASS
(tenderly)
It's perfectly simple. You're all alone here. An intruder breaks in. You take aim and fire. And aren't you forgetting one thing?

LIZ LOOKS UP AT HIM

LIZ
What's that?

HE GAZES LONG INTO HER EYES. HE KNOWS THIS ALWAYS WORKS.

CASS
I'll be close.

LIZ IS REASSURED. HIS UNFAILING MAGNETISM WORKS. SHE THROWS HER ARMS AROUND HIM AND PULLS HIM CLOSER.

LIZ
Oh, Cass, stay close. Stay close...

HE KISSES HER AND SHE RESPONDS HUNGRILY.

NEW ANGLE:

WE SEE HER FINGERNAILS DIG INTO HIS BARE BACK.

CUT TO:

72 EXT. FOREST. NIGHT. (STUDIO) 12 SECS

WE ARE NEAR A POOL OF RAINWATER COLLECTED IN A HOLLOW. THE ALIEN LIMPS UP PAINFULLY TO THE WATER AND CROUCHES DOWN. HE WEARILY CUPS HIS HANDS AND DIPS THEM IN THE WATER. WITH THE WATER HE SPLASHES HIS FACE TO COOL IT. HIS GREEN COMPLEXION GLITTERS EERILY.

CUT TO:

73 EXT. FOREST. NIGHT. (V.E.) 12 SECS

SHADO MOBILE ONE MOVES THROUGH THE FOREST. IT BREAKS AWAY FOLIAGE AS IT GOES.

THEN A NEW ANGLE

WE ARE IN THE UFO CLEARING, FACING INTO THE FOREST WITH THE UFO OFFSCREEN BEHIND US. THE MOBILE COMES TOWARDS US, DAZZLING THE CAMERA WITH ITS SPOTLIGHT. IT HALTS NEAR TO THE CAMERA.

CUT TO:

74 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 3 SECS

FOSTER REACTS TO SOMETHING AHEAD.

CUT TO:

75 EXT. FOREST. NIGHT. (V.E.) 4 SECS

EYELINE FROM MOBILE

CAUGHT IN THE BEAM IS THE WRECKAGE OF THE UFO. BUT IT IS NOT COMPLETELY CLEAR.

CUT TO:

76 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 7 SECS

FOSTER REACHES DOWN TO HIS CONTROLS AND SLOWLY TURNS A KNOB ON HIS INSTRUMENT PANEL. HE LOOKS UP AHEAD TO SEE WHAT EFFECT IT IS HAVING.

CUT TO:

77 EXT. FOREST. NIGHT. (V.E. ) 6 SECS

SAME ANGLE AS BEFORE. BUT NOW THE BEAM OF THE LAMP FROM THE MOBILE IS NARROWED AND CONCENTRATING ON THE UFO, MAKING IT PERFECTLY CLEAR.

CUT TO:

78 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 8 SECS

FOSTER STARES AHEAD FOR A SHORT MOMENT THEN RAPIDLY APPLIES HIMSELF TO HIS RADIO.

FOSTER
Mobile vehicle One to control…

CUT TO:

79 INT. SHADO CONTROL ROOM. (STUDIO) 14 SECS

WE FEATURE STRAKER, FREEMAN AND FORD.

FOSTER (VO)
Mobile One to control…

FORD
Go ahead, One.

FOSTER (VO)
We located the UFO. Position blue area 119113.

STRAKER MOVES FORWARD AND TALKS INTO THE MIKE

STRAKER
This is Straker. Advise on condition.

CUT TO:

80 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 5 SECS

FOSTER
Severely damaged. Fourth degree wreckage.

CUT TO:

81 INT.SHADO CONTROL. (STUDIO) 15 SECS

CLOSE ON STRAKER WITH MIKE.

WE SEE THE FRUSTRATION IN HIS FACE. HIS HOPES OF

FINDING THE UFO INTACT HAVE BEEN SHATTERED.

STRAKER
Any sign of life?

FOSTER (VO)
Investigating now, sir.

STRAKER TURNS TO FORD.

STRAKER
Despatch the analysis teams to the area.

WIDEN THE SCENE.

STRAKER TURNS AND GOES INTO HIS OFFICE. FREEMAN WATCHES HIM GO, THEN FOLLOWS STRAKER.

CUT TO:

82 INT. STRAKER'S OFFICE. (STUDIO) 30 SECS

FREEMAN. COMES IN TO JOIN STRAKER. STRAKER IS STANDING OVER SOME PAPERS AT HIS DESK.

FREEMAN
There's just one thing I don't understand.

STRAKER
(cynically)
You should be so lucky.

FREEMAN
How come the UFO is a wreck? It hasn't been in the atmosphere long enough.

STRAKER
Maybe it was the difficulty of the landing area. There could be a thousand reasons.

FORD COMES IN TO SEE STRAKER.

FORD
Mobile One has reported a body inside the wreck of the UFO.

STRAKER
An Alien?

FORD
It's hard to say. The body is severely charred. They're going to report back as soon as they have more information.

CUT TO:

83 INT. COTTAGE. NIGHT. (STUDIO) 30 SECS

CASS AND LIZ HAVE FINISHED THEIR MEAL, BUT THEY ARE STILL SEATED AT THE TABLE WHERE TWO LIGHTED CANDLES GIVE A VAGUELY ROMANTIC ATMOSPHERE TO THE SCENE.

CASS LIGHTS A CIGARETTE FROM A CANDLE AND SITS BACK. LIZ HASN'T TOUCHED HER FOOD.

CASS
It's time.

LIZ GOES OVER TO THE COUCH AND SITS. THE TELEPHONE IS ON THE TABLE IN FRONT OF HER. SHE LOOKS AT IT AS IF IT WERE A BOMB. SHE WRINGS HER HANDS, TRYING TO POSTPONE THE START OF THE OPERATION.

SHE TURNS TO CASS - HE LOOKS BACK.

CLOSE ON LIZ

SLOWLY SHE EXTENDS HER HAND TO THE MACHINE.

CLOSE ON TELEPHONE

JUST AS HER HAND ENTERS FRAME, THE TELEPHONE BELL RINGS.

HER HAND JERKS AWAY.

ON CASS

WORRIED, MIND RACING, THEN HE DECIDES.

CASS
Answer it...

ON LIZ

SHE LIFTS THE RECEIVER.

LIZ
Hello?

CUT TO:

84 INT. NEWTON'S CAR. NIGHT. (STUDIO) 9 secs

JACK NEWTON, LIZ'S HUSBAND, IS AT THE WHEEL. HE IS A MAN IN HIS FIFTIES WITH A CUNNING FACE. HE IS ALONE IN THE CAR. TO HIS SHOULDER HE HAS FIXED THE RECEIVER OF AN ULTRA-MODERN RADIO TELEPHONE SO THAT HE CAN TALK WHILST HIS HANDS ARE FREE FOR DRIVING. NEWTON IS A MAN WHO ALWAYS GETS HIS OWN WAY, MONEY AND POWER SEE TO THAT.

NEWTON
Hello darling, I'm just ringing through to say I'm on my way.

CUT TO:

85 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS

ON LIZ

SHE FREEZES AT THE UNEXPECTEDNESS OF THE CALL, GIVING A HALF-TURN OF DISMAY AT CASS.

LIZ
Oh, fine. Fine.

CUT TO:

86 INT. NEWTON'S CAR. NIGHT. (STUDIO) 20 SECS

CLOSE ON NEWTON.

NEWTON
It worked...

LIZ (VO)
What... do you mean?

NEWTON
Your little idea, no calls, no interruptions… a quiet weekend together. The office think I've gone North to that exports conference. Even Miss Cadwell won't know where I am.

HE PAUSES, LIZ IS SAYING NOTHING.

NEWTON
- are you there?

CUT TO:

87 INT. COTTAGE. NIGHT. (STUDIO) 7 SECS

CLOSE ON LIZ

LIZ
Yes - yes, I'm here.

NEWTON (VO)
Good. I've got a little present for you.

LIZ (flatly)
You have?

CUT TO:

88 INT. NEWTON'S CAR. NIGHT. (STUDIO) 14 SECS

NEWTON IS SURPRISED AT HER LACK OF ENTHUSIASM. HIS MONEY HAS BOUGHT LIZ IN THE PAST.

NEWTON
Well, don't you want to know what it is?

LIZ (VO)
Yes, yes, of course. What is it, Jack?

NEWTON RAISES INTO SHOT A SMALL BOX CONTAINING A BROOCH. HE SMILES COMPLACENTLY AT IT.

NEWTON
Burlington Arcade...

CUT TO:

90 INT. COTTAGE. NIGHT. (STUDIO) 7 SECS

ON LIZ

SHE DOES REMEMBER, BUT CANNOT EXPRESS HER ENTHUSIASM BECAUSE OF GUILT AND EMBARRASSMENT.

LIZ
Oh, yes, Jack, I remember. The brooch - the blue ceramic.

CUT TO:

91 INT. NEWTON'S CAR. NIGHT. (STUDIO) 7 SECS

NEWTON
You don't sound very pleased.

A HARD SMILE

NEWTON
I mean, I can easily take it back and...

CUT TO:

92 INT. COTTAGE. NIGHT. (STUDIO) 10 SECS

LIZ JERKS TO LIFE.

LIZ
No, Jack. I'm sorry. It's terribly thoughtful of you.

NEWTON (VO)
Are you alright?

LIZ
Yes, really. I've just got a headache, that's all.

CUT TO:

93 INT. NEWTON'S CAR. NIGHT. (STUDIO) 12 SECS

NEWTON
Why don't you go to bed then?

LIZ (VO)
I'll be fine.

NEWTON
No you go off to bed. I'll be at the cottage about twelve. I'll try not to disturb you.

CUT TO:

94 INT. COTTAGE. NIGHT.(STUDIO) 72 SECS

LIZ
Right.

NEWTON (VO)
Bye then.

LIZ
(meaningful)
Goodbye, Jack.

SHE REPLACES THE TELEPHONE AS IF IT WERE A TON WEIGHT IN HER HAND. SHE DOESN'T LOOK UP.

LIZ
(calmly but firmly)
Cass. Come here.

ON CASS

HE HAS NO IDEA WHAT SHE IS GOING TO SAY NOW. HE CAN ONLY DO AS SHE SAYS. HE SLOWLY STUBS OUT HIS CIGARETTE AND WALKS ACROSS THE ROOM TO STAND BESIDE HER.

SHE LOOKS ABJECT AND TIRED, BUT IN HER QUIET WAY IS THE ONE IN CHARGE FOR THE MOMENT.

LIZ
You heard?

CASS
Yes.

LIZ
You heard the way he was talking?

ON LIZ

LIZ
I don't think I can do it.

ON CASS

HE GOES ON LISTENING TO HER QUIETLY.

LIZ
I just can't go through with it.

CASS TREATS THIS TO BE PURELY A ROUTINE DIFFICULTY.

CASS
Do you know how long we've known each other?

LIZ
Ten months? A year?

CASS SHAKES HIS HEAD IN REPROACH.

CASS
It's exactly one year and one month ago that I first came to your house. I noticed the way that Jack spoke to you that very first day, and I've heard him a million times since.

LIZ
Well?

CASS
Every time he speaks to you it's in that way.

LIZ
Cass...

CASS
Words. What has he ever given you but words? You've said it over and over again. He's clothed you and he's fed you... bought you.

CASS IS PULLING HER HANDS SO THAT THEIR FACES ARE COMING TOGETHER. LIZ LOOKS DOWN AT HIS LIPS GETTING NEARER.

THEIR LIPS MEET. THEY KISS. THEN THEIR ARMS CLASP EACH OTHER IN A TIGHT, PASSIONATE EMBRACE.

CUT TO:

95 EXT. FOREST. NIGHT. (V.E.) 5 SECS 

ESTABLISH THE UFO AND THE THREE MOBILE VEHICLES ALONGSIDE.

CUT TO:

96 INT. SHADO MOBILE ONE. NIGHT. (STUDIO) 6 SECS 

FOSTER IS CLIMBING BACK INTO HIS SEAT. HE LIFTS THE RADIO MIKE.

FOSTER
Mobile One to Shado control…

CUT TO :

97 INT. SHADO UNDERGROUND CONTROL. (STUDIO) 5 SECS 

FORD WITH STRAKER AND FREEMAN NEARBY.

FORD
Go ahead One.

STRAKER STEPS FORWARD TO LISTEN KEENLY.

CUT TO:

98 INT. SHADO MOBILE. NIGHT. (STUDIO) 5 SECS

FOSTER
The body inside the UFO is definitely not an Alien.

CUT TO:

99 INT. SHADO CONTROL. (STUDIO) 8 SECS

STRAKER TAKES OVER FROM FORD.

STRAKER
Mobile One, this is Straker. Explain yourself.

CUT TO:

100 INT. SHADO MOBILE ONE.(STUDIO) 6 SECS

FOSTER
Sir, the body was charred beyond identification, but there are no signs of the hermetic seals round the neck.

CUT TO:

101 INT. SHADO CONTROL. (STUDIO) 8 SECS

ON STRAKER WITH MIKE

FOSTER (VO)
We're searching the area on foot... the alien must be somewhere in the forest.

STRAKER TURNS GRIMLY TO FREEMAN, HIS PLAN HAS BACKFIRED.

CUT TO:

102 EXT. FOREST. NIGHT. (STUDIO) 8 SECS

THE ALIEN, STUMBLES THROUGH SOME BUSHES, BURSTING INTO THE CAMERA'S VIEW. HE STOPS FOR A MOMENT AS IF TO TAKE HIS BEARINGS. THEN HE MOVESON AND OUT OF SHOT.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

103 EXT. FOREST. NIGHT. (STUDIO) 15 SECS

WE ARE IN THE AREA OF THE STRUGGLE BETWEEN THE ALIEN AND MITCHELL.

A SMALL GROUP OF SHADO MOBILE MEN ARE STANDING ROUND IN A CIRCLE. PROMINENT ARE FOSTER AND SHADO MOBILE OPERATOR 2 - NAMED CLYDE. THE LATTER IS CONTROLLING MITCHELL'S DOG ON A NEW LEAD. THE MEN ARE STILL IN THEIR SHADO MOBILE SUITS, BUT NOW HAVE LIGHT MACHINE GUNS, WALKIE-TALKIES AND OTHER EQUIPMENT FOR A SEARCH PARTY.

FOSTER IS TALKING INTO A WALKIE-TALKIE HELD IN ONE HAND. IN HIS OTHER HAND HE HOLDS A PIECE OF TATTERED MATERIAL RECOGNISABLE AS A PIECE OF THE ALIEN'S SPACE SUIT.

FOSTER
We've found a couple of things sir. First a piece of torn fabric that looks like it came from an alien's spacesuit.

CUT TO:

104 INT.SHADO CONTROL.(STUDIO) 7 SECS

WE FEATURE STRAKER WITH FREEMAN AND FORD.

FOSTER (VO)
It seems there's been some kind of struggle here too.

STRAKER
Yes, what else?

CUT TO:

105 EXT.FOREST. NIGHT. (STUDIO) 10 SECS

RESUME ON FOSTER

FOSTER
We've found an Alsatian dog near the landing site with collar number 995987.

CUT TO:

106 INT. SHADO CONTROL. (STUDIO) 27 SECS

STRAKER TURNS TO FREEMAN WHO IS HOLDING A FILE OPEN IN HIS HAND. FREEMAN NODS EMPHATICALLY.

FREEMAN
Check.

STRAKER TURNS BACK TO HIS MIKE.

STRAKER
Listen, Paul. We've been notified of a missing person in the Area Blue. A game warden, named Mitchell. The collar identification checks. My guess is that it's Mitchell's body you found in the debris...

ON STRAKER

STRAKER
Try using the dog to locate the alien, the chances are it can pick up the scent. That killer has got to be stopped before he finds his next victim.

CUT TO:

107 EXT. FOREST ROADWAY. NIGHT. (LOCATION) 16 SECS

NEAR THE CAR

THE ALIEN BREAKS THROUGH THE SHRUBBERY AT THE SIDE OF THE ROAD AND STOPS, SEEING THE CAR.

CLOSER ON ALIEN

HE MOVES SLOWLY TO THE CAR, TOUCHES THE BONNET, THEN MOVES ROUND THE FRONT BUMPER. THEN HE REACTS AT SOME THING OFFSCREEN.

CUT TO:

108 EXT. COTTAGE. LOCATION. NIGHT 5 SECS

EYELINE SHOT

THE LIGHTS FROM THE COTTAGE ARE SEEN THROUGH THE TREES.

CUT TO:

109 EXT. FOREST ROADWAY AND COTTAGE. NIGHT. (LOCATION) 6 SECS

THE ALIEN COMES TO A DECISION. HE GOES TO THE GATE AND GOES THROUGH. THE GATE SQUEAKS.

CUT TO:

110 INT. COTTAGE. NIGHT. (STUDIO) 15 SECS

CASS AND LIZ

THEY FREEZE AT THE SOUND OF THE GATE. THEN THEY HEAR THE GATE SQUEAK AS IT CLOSES.

LIZ
(terrified)
What's that?

CASS RISES AND MOVES TO THE WINDOW QUICKLY. LIZ FOLLOWS A MOMENT LATER.

CLOSE ON CASS LOOKING OUT.

HE TURNS TO HISS AT LIZ.

CASS
The light!

LIZ STOPS, NOT KNOWING WHAT TO DO. THEN SHE PUTS OUT ALL THE LIGHTS IN THE ROOM, INCLUDING THE ONE THAT LIGHTS THE FRONT DOOR AREA. THEN SHE JOINS CASS AT THE WINDOW. THEY HIDE BEHIND THE CURTAINS, LOOKING OUT.

CUT TO:

111 EXT. COTTAGE. NIGHT. (LOCATION) 5 SECS

EYELINE SHOT FROM THEIR POV

THE ALIEN MOVES UP THE GARDEN PATH. HE IS PARTLY CONCEALED BY BUSHES ETC.

LIZ (VO)
Oh, my God!

CUT TO:

112 INT. COTTAGE. NIGHT. (STUDIO) 38 SECS

CASS AND LIZ

LIZ
He's here!

SHE TURNS TO CASS IN TERROR.

CASS MOVES ACROSS THE ROOM TO THE GUN.

LIZ
He's early. Cass, he's come an hour early.

CASS HOLDS THE GUN, CHECKS THAT IT IS LOADED. LIZ IS FROZEN TO THE SPOT, REPEATING THE OBVIOUS.

LIZ
It's not time. What are we going to do. He said -

CASS
Never mind. We're ready for him. Here.

HE HOLDS THE GUN OUT FOR HER. SHE POINTS WILDLY AT THE ELECTRIC LIGHT NEAR THE DOOR.

LIZ
The light - we haven't switched on the lig…

CASS THRUSTS THE GUN INTO HER HANDS.

CASS
Here. Take it.

THEN HE SHAKES HER BY THE SHOULDERS.

CASS
(in a frantic whisper)
And stop shouting!

THE TEMPO SLOWS DOWN A BIT. CASS TAKES A BREATH. HE RAISES HIS HANDS TENDERLY UP TO HER THROAT, THE FINGERS CARESSING THE CHEEKS.

CASS
Don't worry, I'm here. Right beside you.

HE GIVES HER A LOOK OF GREAT STRENGTH AND REASSURANCE.

THEN HE SWEEPS HER OVER TO THE BEDROOM DOOR AND MORE OR LESS PROPS HER UP ON THE THRESHOLD WITH THE GUN RAISED AND POINTING AT THE FRONT DOOR.

THE FOOTSTEPS OUTSIDE ARE NOW AUDIBLE.

CUT TO:

113 EXT. COTTAGE. NIGHT. (LOCATION) 5 SECS

THE ALIEN SLOWS UP AS HE APPROACHES THE FRONT DOOR. HE HALTS A FEW YARDS AWAY. HE LOOKS AT THE DARK WINDOWS.

CUT TO:

114 INT. COTTAGE. NIGHT. (STUDIO) 17 SECS

LIZ AT THE BEDROOM DOOR. CASS IS BEHIND HER, JUST INSIDE THE BEDROOM, SO THAT HE CANNOT BE SEEN FROM THE DOOR - (THOUGH THE IMPRESSION MUST NOT LOOK AS IF HE IS HIDING BEHIND HER FOR PROTECTION)

THEY TALK IN URGENT WHISPERS.

LIZ
He's stopped.

CASS RAISES HIS FINGERS TO HIS LIPS.

LIZ
What if it's not him?

CASS
How many people have the key to that door.

LIZ
No one else.

CASS
Then it must be him. If that door opens, it's him.

CUT TO:

115 EXT. COTTAGE. NIGHT. (LOCATION) 6 SECS

THE ALIEN TURNS AND STARTS TO WALK ROUND AS IF TO INVESTIGATE THE BACK OF THE HOUSE.

CUT TO:

116 INT. COTTAGE. NIGHT. (STUDIO) 9 SECS

ON CASS AND LIZ

LISTENING

LIZ
He's going round the back!

CASS
Quiet.

CASS IS THINKING FAST. IF HE COMES IN THE BACK DOOR THEY ARE FINISHED. THE FOOTSTEPS CONTINUE AND HALT.

CUT TO:

117 EXT. COTTAGE. NIGHT. (LOCATION) 9 SECS

THE ALIEN CHANGES HIS MIND AND COMES ROUND TO THE FRONT AGAIN. HE GOES RIGHT UP TO THE DOOR.

CUT TO:

118 INT. COTTAGE. NIGHT. (STUDIO) 5 SECS

CASS AND LIZ

SHE RAISES THE GUN HIGHER.

CUT TO:

119 EXT. COTTAGE. NIGHT. (LOCATION) 8 SECS

THE ALIEN TRIES THE DOOR HANDLE QUITE GENTLY. THEN AGAIN. HE SEEMS SATISFIED THAT HE CAN'T GET IN. FROM HIS POCKET HE PRODUCES A SMALL DEVICE AND HOLDS IT NEAR THE LOCK ON THE DOOR.

CUT TO:

120 INSERT SHOT ON DOOR LOCK. NIGHT. (STUDIO) 4 SECS

THE ALLEN PRESSES A BUTTON ON THE DEVICE. A FINE SPRAY OF LIQUID COVERS THE LOCK LIKE PENETRATING OIL.

CUT TO:

121 INT. COTTAGE. NIGHT. (STUDIO) 7 SECS

THERE IS A NOISE FROM THE FRONT DOOR - A GENTLE CLICKING. LIZ LIFTS THE GUN TO EYE LEVEL. SHE TAKES AIM.

CLOSE ON LIZ'S FINGER ON TRIGGER. IT TIGHTENS SLIGHTLY.

CUT TO:

122 INSERT SHOT OF DOOR LOCK. NIGHT. (STUDIO) 3 SECS

THE CLICKING CONTINUES AS THE LOCK IS WEAKENED BY THE ALIEN'S OIL.

CUT TO:

123 EXT. COTTAGE. NIGHT. (LOCATION) 4 SECS

THE ALIEN GIVES THE DOOR A GENTLE PUSH WITH HIS HAND. IT STARTS TO SWING OPEN.

CUT TO:

124 INT. COTTAGE. NIGHT. (STUDIO) 27 SECS

LONG SHOT DOOR

IT OPENS FULLY. THE SILHOUETTE OF THE ALIEN IS FRAMED ON THE THRESHOLD.

LIZ IS HESITATING.

CLOSE ON CASS

CASS
(in a hoarse whisper)
NOW!!!

CLOSE ON TRIGGER

LIZ SQUEEZES. THERE IS A LOUD REPORT.

ON THE ALIEN

HE HOVERS UPRIGHT ON THE SPOT. HAS SHE MISSED? THEN SLOWLY AND STIFFLY HE FALLS TO THE FLOOR, FACE DOWN. LIZ REMAINS ON THE SPOT. SHE LOWERS THE GUN SLOWLY. CASS SPRINTS TO THE LIGHT SWITCH AND SNAPS IT ON. THEN HE GOES TO THE ALIEN AND WITH HIS FOOT TURNS OVER THE BODY.

CLOSE ON CASS' FACE.

HE REACTS IN HORROR AT THE SIGHT.

EYELINE SHOT

CLOSE ON THE DEAD ALIEN'S FACE, GREEN AND GLEAMING. THE EYES HAVE RISEN UP INTO THE LIDS.

ZOOM IN AND LOSE FOCUS.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

125 EXT. FOREST. NIGHT. (LOCATION) 8 SECS

A LONG SHOT THROUGH THE TREES.

THE PARTY OF MOBILE MEN ARE MOVING THROUGH THE WOODS. THE ALSATIAN, ON A LEAD HELD BY FOSTER, IS ON A CLEAR SCENT.

CUT TO:

126 INT. COTTAGE. NIGHT. (STUDIO) 85 SECS

THE BODY STILL BY THE DOOR. THE DOOR IS CLOSED. LIZ IS SITTING ON THE COUCH, UTTERLY DEJECTED, NEAR TO BREAKING. CASS COMES THROUGH FROM THE BEDROOM.

LIZ
What are you doing?

CASS PICKS UP A HOLDALL, CHECKING AROUND THE ROOM WITH HIS EYES.

LIZ
Cass.

ON CASS

CASS
I'm trying to think. We've got to stay calm.

HIS MIND IS RACING. HE DECIDES, ZIPS UP THE HOLDALL AND STARTS TO LEAVE.

TWO SHOT:

LIZ
You're not leaving. You're not going to leave me here.

CASS
You know I must.

LIZ
What are you talking about?

CASS
Don't you realise our only chance is to go ahead with the plan as we arranged it. Nothing has changed.

LIZ
Everything has changed. It's the wrong man. We've killed the wrong man.

CASS
I know. But it's done.

LIZ
(sickened)
Have you seen those eyes. Who is he?

CASS
I don't know any more than you do. Listen, as far as you're concerned he's an intruder. He tried to break in, you shot him. Do you understand?

TWO SHOT:

LIZ IS NUMBED BY IT ALL.

CASS
I must go... Give me three minutes - three minutes - that's all. Then you telephone for the police.

HE POINTS TO THE TELEPHONE. THEN HE TAKES HIS HOLDALL AND GOES TO THE DOOR, STEPPING COOLLY OVER THE BODY WHEN HE GETS THERE.

ON LIZ

SHE GOES AFTER HIM BUT STOPS WHEN SHE GETS TO THE BODY, WHICH IS SYMBOLICALLY GETTING IN THE WAY.

LIZ
(tense and pleading)
Cass - stay here with me till I've called the police - that's all I ask.

CASS RAISES THREE FINGERS IN FRONT OF HIS FACE.

CASS
Three minutes.

HE OPENS THE DOOR AND GOES.

LIZ
Cass -

THE DOOR CLOSES LOUDLY, WITHOUT THE LATCH ENGAGING.

ON LIZ

CLOSE TO PANIC.

CUT TO:

127 EXT. COTTAGE. NIGHT. (LOCATION) 6 SECS

CASS WALKS AWAY QUICKLY FROM THE DOOR AND DOWN THE GARDEN.

CUT TO:

128 INT. COTTAGE. NIGHT. (STUDIO) 40 SECS

ON LIZ

SHE DROPS HER HEAD IN DESPAIR. WHEN SHE SEES THE BODY AGAIN SHE JERKS AWAY IN REVULSION.

SHE PACES BACK AND FORTH, WRINGING HER HANDS. THEN SHE RESTS HER HEAD ON THE MANTELPIECE, GIVING GREAT BOBBING GASPS OF FEAR AND FRUSTRATION.

SHE GOES TO THE TELEPHONE BUT CHANGES HER MIND. NOT TIME YET. TWO MORE TURNS ACROSS THE ROOM. THEN BACK TO THE PHONE.

CLOSE ON LIZ

SHE IS REACHING OUT FOR THE TELEPHONE, WHEN SUDDENLY A HAND COMES DOWN ON HER SHOULDER FROM BEHIND. SHE JUMPS QUICKLY IN FRIGHT.

IT IS FOSTER, STANDING BESIDE HER. AT THE DOOR WE SEE CLYDE.

LIZ IS STRUCK DUMB. SHE STARES AT THE MEN WITH HUGE EYES. FOSTER PRODUCES AN IDENTIFICATION WARRANT THAT SHE LOOKS AT AND APPEARS SATISFIED WITH.

FOSTER INDICATES THE DOOR.

FOSTER
Would you get your coat, Mrs. Newton?

LIZ
How did you know my name?

FOSTER'S MANNER IS POLITE BUT FIRM. HE IS NOT INTERESTED IN GIVING ANY EXPLANATION.

FOSTER
Please.

ON LIZ

TERRIFIED, CONFUSED, UNABLE TO GATHER HER THOUGHTS.

CUT TO:

129 EXT. COTTAGE. NIGHT. (LOCATION) 5 SECS

LIZ (NOW WEARING HER COAT) EXITS WITH CLYDE. THEY WALK DOWN THE PATH. WE FOLLOW THEM.

CUT TO:

130 EXT. COTTAGE GATE AND ROADWAY. NIGHT. 6 SECS

(LOCATION)

AS LIZ COMES THROUGH THE GATE WITH CLYDE, SHE REACTS AT SEEING SOMETHING OFFSCREEN.

CUT TO:

131 INT. SHADO CAR. NIGHT. (LOCATION) 8 SECS

START CLOSE ON CASS AND PULL BACK. CASS IS SITTING IN THE BACK OF A SHADO JEEP. FROM HIS EXPRESSION WE GATHER THAT HE IS AS BAFFLED AS SHE IS.

WIDER ANGLE

WE SEE THERE ARE TWO JEEPS. LIZ IS LED TO THE FIRST. SHE GLANCES BACK AT CASS IN THE OTHER.

CUT TO:

132 EXT. JEEP. NIGHT. (LOCATION) 10 SECS

CLYDE GETS INTO THE FRONT OF THE JEEP, NEXT TO LIZ AND STARTS THE ENGINE.

NEW ANGLE

THE JEEPS DRIVE AWAY, GAINING SPEED RAPIDLY AS WE FOLLOW THEM DOWN THE COUNTRY ROAD.

CUT TO:

133 EXT. COUNTRY ROAD. NIGHT. (LOCATION) 10 SECS

WE FEATURE A LONG STRETCH OF ROADWAY. THE JEEPS UP AND PAST AT SPEED, THEN GOES INTO THE DISTANCE AS IF TO A FAIRLY DISTANT DESTINATION.

CUT TO:

134 EXT. STUDIO AREA. NIGHT. (LOCATION) 20 SECS

THE JEEPS DRAW TO A HALT OUTSIDE AT A GATE. WE SEE A SIGN HARLINGTON STRAKER STUDIO. EAST GATE.

CLOSE ON JEEP

CLYDE GETS OUT, WALKS ROUND AND HELPS LIZ OUT.

CLYDE
Follow me, please.

WIDER ANGLE

LIZ FOLLOWS CLYDE IN THROUGH THE GATE. AN OPERATOR WALKS BEHIND WITH CASS.

CUT TO:

135 INT. STRAKER'S OUTER OFFICE. NIGHT. (STUDIO) 16 SECS

FREEMAN AND MISS EALAND ARE CONSULTING SOME PAPERS TOGETHER. THEY LOOK UP WHEN CLYDE USHERS IN CASS AND LIZ. FREEMAN HANDS OVER THE PAPERS TO MISS EALAND AND GOES TO MEET THEM LIKE V.I.P's.

FREEMAN
Ah, good, we were expecting you. Would you step in here, please.

HE INDICATES THE OPEN DOOR LEADING TO STRAKER'S OFFICE. CASS OPENS HIS MOUTH AS IF TO SPEAK BUT FREEMAN SILENCES HIM TACTFULLY.

FREEMAN
If you don't mind.

CASS AND LIZ GO WHERE THEY ARE TOLD. FREEMAN FOLLOWS.

CUT TO:

136 INT. STRAKER'S INNER OFFICE. NIGHT. (STUDIO) 46 SECS

CASS AND LIZ, FOLLOWED BY FREEMAN, ENTER. THE COUPLE STUDY THE DECOR, THE FURNITURE, ANYTHING TO GIVE THEM A CLUE AS TO WHAT IS GOING ON.

THE DOOR IS CLOSED BEHIND THEM. FREEMAN POINTS TO TWO COMFORTABLE CHAIRS.

FREEMAN
Would you care to sit down?

LIZ SITS.

CASS FOLDS HIS ARMS IN A GESTURE OF INDEPENDENCE.

CASS
I'll just stand if you don't mind.

FREEMAN NODS PLEASANTLY, THEN GOES OVER TO

STRAKER'S DESK. HE OPENS THE CIGARETTE BOX ON TOP AND TALKS.

FREEMAN
Alec Freeman.

THE CIGARETTE BOX REPLIES.

RADIO VOICE (VO)
Voice Print. Identification positive nine seven. Freeman, Alec E.

FREEMAN CLOSES THE BOX. THEN HE SITS IN STRAKER'S CHAIR. THERE IS THE SOUND OF WHIRRING EQUIPMENT.

CASS REACTS AT FINDING THE ROOM DESCENDING LIKE AN ELEVATOR. HE UNFOLDS HIS ARMS AND LOOKS AROUND THE WALLS.

FREEMAN WATCHES

ON CASS

HE SEES IT IS POINTLESS TO EXPRESS INDEPENDENCE HERE. HE SITS.

ON FREEMAN

HE GIVES A CONFIDING LITTLE NOD, AS IF TO SAY, 'THAT'S IT - MAKE YOURSELF AT HOME'.

THE DESCENT IS COMPLETED. THE DOOR OPENS AGAIN TO REVEAL THE UNDERGROUND CORRIDORS OF SHADO. AN OPERATOR WALKS PAST. FREEMAN RISES. HE MOTIONS THEM TO GO THROUGH.

CUT TO:

137 INT. WAITING ROOM. NIGHT. (STUDIO) 125 SECS

THIS IS A SMALL ROOM THAT RESEMBLES THE VIP SUITE IN AN ULTRA-MODERN HOTEL. A DOOR TO A BATHROOM AND SO ON.

FREEMAN SHOWS IN CASS AND LIZ. THEY SENSE THIS IS THE END OF THEIR JOURNEY. CASS APPEALS FIRMLY TO FREEMAN.

CASS
Now look ... What the hell is going on?

FREEMAN GIVES A GESTURE THAT IS PLACATING BUT POLITE.

FREEMAN
Please, Mr. Fowler. I realise you have both had a very harrowing experience -

CASS
(doubtful)
Right.

FREEMAN
...And are entitled to an explanation of this intrusion into your privacy.

CASS TRIES TO MAKE IT SEEM AS IF THE WORDS HAD JUST BEEN TAKEN OUT OF HIS MOUTH.

CASS
Right again.

FREEMAN
Mr. Straker will explain the reasons for us bringing you here. In the meantime, please make yourselves comfortable. I think you'll find everything you need.

FREEMAN SWEEPS HIS HAND ACROSS THE ROOM AND WITH A FINAL NOD, EXITS.

AS SOON AS HE IS GONE, LIZ SITS DOWN ON ONE OF THE CHAIRS AND STARTS LIGHTING A CIGARETTE.

CASS WANDERS RESTLESSLY ABOUT THE ROOM, INVESTIGATING IT ALL.

LIZ
What are you looking for?

CASS MOUTHS HIS REPLY AND ACCOMPANIES IT WITH BIG GESTURES

CASS
Microphones.

HE GOES UP TO HER TO WHISPER.

CASS
They've probably got this place bugged. They obviously know what they're doing.

LIZ
Where are we?

CASS
Under some... film studio.

LIZ
I don't understand.

CASS
Neither do I... but we've got to get our story straight.

ON CASS

CASS
Did you phone the police?

TWO SHOT

LIZ
No... there wasn't time.

CASS
Then we'll say I was on my way out to get them. We'd tried the phone but couldn't get through. The rest is the same as planned.Alright. . .

LIZ
I suppose so, but who are these people?

CASS
The chap who brought us down here mentions the name Straker.

LIZ
Isn't he a film producer or something?

UNKNOWN TO CASS AND LIZ STRAKER HAS ARRIVED AND HE IS STANDING ON THE THRESHOLD.

STRAKER
Some people think so.

THEY WHIRLED ROUND TO THE DOOR.

PAN WITH STRAKER.

HE WALKS OVER TO SHAKE HANDS WITH CASS AND LIZ, BUT ALTHOUGH HIS MANNER IS FRIENDLY, HE IS NOT AT ANY TIME BELITTLING THE IMPORTANCE OF THE SITUATION.

STRAKER
I must apologise for bringing you here like this.

AS HE SHAKES THEIR HANDS.

STRAKER
Mr. Fowler, isn't it... and Mrs. Newton.

HE HAS MADE THE POINT AND CASS REACTS.

CASS
Now listen here...

STRAKER GIVES CASS A COLD STARE THAT CASS FINDS A LITTLE EMBARRASSING.

STRAKER
And I've had you brought here for a... discussion... Why don't you both sit down.

CASS SITS, IMPRESSED WITH THE SERIOUSNESS OF STRAKER'S TONE.

CUT TO:

138 INT. COTTAGE. NIGHT. (STUDIO) 148 SECS

THE BODY OF THE ALIEN HAS GONE.

ONLY FOSTER IS LEFT, TIDYING UP. HE STRAIGHTENS UP A RUG WHERE THE ALIEN'S BODY HAD BEEN AND THEN WALKS INTO THE KITCHEN.

ON THE FRONT DOOR.

IT IS PUSHED OPEN FROM THE OUTSIDE AND WE SEE NEWTON STANDING THERE WONDERING WHY THE LOCK DOESN'T WORK. HE COMES RIGHT IN AND PUTS DOWN A SMALL BAG. HE WALKS OVER TO THE BAR - AND REACHES FOR THE DECANTER.

CLOSE ON DECANTER

HIS HAND COMES IN AND IS JUST ABOUT TO POUR OUT A GLASS OF SCOTCH WHEN IT STOPS, ARRESTED BY A VOICE FROM THE KITCHEN DOOR.

NEWTON SPINS ROUND, SEES FOSTER.

FOSTER
Who are you?

NEWTON LAYS DOWN THE DECANTER.

NEWTON
More to the point - who are you?

FOSTER COMES OVER AND SHOWS HIS PASS.

NEWTON
(puzzled)
What's going on here?

FOSTER
Would you mind telling me who you are, sir?

NEWTON
The name's Newton. I own this house.

FOSTER
I see. Have you any proof of identity?

NEWTON TAKES HIS DRIVING LICENCE FROM HIS POCKET AND HANDS IT TO FOSTER.

NEWTON
Driving licence.

FOSTER CHECKS IT AND HANDS IT BACK.

FOSTER
Thank you.

NEWTON
Where's my wife?

FOSTER
I'm afraid she had a very unpleasant experience this evening.

NEWTON IS CONCERNED.

NEWTON
What do you mean? What's happened?

FOSTER
It's a security matter.

NEWTON
I don't understand. Is she alright?

FOSTER
She's perfectly safe.

NEWTON
But where is she? Where have you taken her?

FOSTER
I'm afraid I can't tell you that, but you'll be able to see her in a few hours. There's nothing to worry about.

ON NEWTON

HE IS BEWILDERED. HE HELPS HIMSELF RATHER SHAKILY TO A DRINK.

NEWTON
I think I need a drink.

TWO SHOT

NEWTON WAVES HIS HAND OFFERING FOSTER A DRINK.

FOSTER
No thanks...

ON FOSTER

AS HE LOOKS AT NEWTON AN IDEA BEGINS TO DAWN IN HIS MIND.

FOSTER
Was your wife... expecting you?

TWO SHOT

NEWTON
Naturally...

FOSTER
Are you certain?

NEWTON
Of course. I phoned her on the way down. Why do you ask?

ON FOSTER

HE IGNORES THE QUESTION. HE REALISES THE SITUATION MIGHT NOT BE AS IT APPEARED EARLIER. IF CASS AND LIZ WERE EXPECTING NEWTON WHY DID THEY SHOOT THE ALIEN?

FOSTER PICKS UP ONE OF THE PHOTOGRAPHS WE SAW CASS LOOKING AT EARLIER.

FOSTER
Do you recognise this?

TWO SHOT

NEWTON
It's a photograph of this room.

FOSTER
Did you take it?

NEWTON
No.

FOSTER
Do you know who did?

NEWTON
I've never seen it before.

ON FOSTER

HE LOOKS AT THE PHOTO, AND WALKS TO THE SPOT FROM WHICH IT WAS TAKEN. IT IS WHERE LIZ STOOD WHEN SHE SHOT THE ALIEN...

TWO SHOT

FOSTER
Do you keep a gun here, Mr. Newton?

NEWTON
Yes.

FOSTER
Who knew about that?

NEWTON
My wife.

FOSTER
Anyone else?

NEWTON
I'm not sure. I don't think so. Look what is this all about?

ON FOSTER

FOSTER
I'm sorry Mr. Newton. You'll just have to bear with me.

TWO SHOT

FOSTER
I suggest you return to London. I'll arrange for your wife to join you there as soon as possible.

TRACK IN ON FOSTER THINKING HARD.

CUT TO:

139 INT. WAITING ROOM. NIGHT. (STUDIO 52 SECS

AISHA IS POURING OUT TWO CUPS OF COFFEE ON THE TABLE IN THE CENTRE.

WIDEN THE SHOT.

CASS AND LIZ ARE SEATED AS BEFORE, LOOKING AMAZED AT WHAT STRAKER HAS BEEN TELLING THEM.

AISHA HANDS CASS AND LIZ A CUP EACH AND GOES OUT. CASS STARTS TO DRINK HIS. HE PONDERS FOR

A MOMENT.

CASS
Unidentified Flying Objects? ... Aliens from another planet? ... It's incredible. A world defence organisation? ... It's incredible.

LIZ
The lives of everyone are in terrible danger. All the time.

SHE STARTS TO DRINK HER COFFEE.

STRAKER
(gravely)
Very great danger. That's the reason for all the security. The general public must have known.

CASS LAYS DOWN HIS CUP.

CASS
One thing I don't understand, if your organisation is so secret, why did you bring us here?

STRAKER PAUSES A MOMENT BEFORE REPLYING.

STRAKER
To help you forget the whole thing.

CASS HAS THE CUP AT HIS LIPS.

CASS
Forget?

STRAKER SHAKES HIS HEAD SLOWLY.

STRAKER
SHADO have developed an amnesia drug - for obvious reasons - we administer it to persons like yourselves you have come into contact with the Aliens or indeed our organization.

LIZ LAYS DOWN HER EMPTY CUP.

LIZ
An amnesia drug.

STRAKER
Perfectly harmless, it will simply erase all memory of the last 24 hours. It's tasteless...

ON STRAKER

SMILING SLIGHTLY.

STRAKER
More coffee?

ON CASS

HE LOWERS THE CUP FROM HIS MOUTH AS HE REALISES THE DRUG IS IN THE COFFEE.

GROUP SHOT

CASS AND LIZ BOTH REALISE WHAT HAS HAPPENED. STRAKER STANDS UP TO LEAVE THE ROOM.

CUT TO:

140 INT. CONTROL ROOM (UNDERGROUND) (STUDIO) 6 SECS

STRAKER WALKS ACROSS THE CONTROL ROOM TO HIS UNDERGROUND OFFICE.

CUT TO:

141 INT. STRAKER'S UNDERGROUND OFFICE. 125 SECS

STRAKER ENTERS, FOSTER AND FREEMAN ARE ALREADY THERE. STRAKER LOOKS AT THE OTHER TWO AND REALISES SOMETHING IS WRONG.

STRAKER
What's wrong?

FREEMAN
Paul's just come up with a very interesting theory. Tell him…

ON FOSTER

FOSTER
Mrs. Newton and Fowler said they heard an intruder and shot him as he forced open the door.

GROUP SHOT

STRAKER
Plausible.

FOSTER
Yes, if they weren't expecting the husband.

STRAKER REACTS

FREEMAN
He turned up at the cottage 40 minutes ago.

STRAKER
Is the security angle covered?

FOSTER
Yes, that's all taken care of, but don't you see what it means?

ON FOSTER

FOSTER
They planned a cold blooded murder. They had it all worked out, unfortunately for them, an Alien came through that door instead of her husband.

FREEMAN
It all fits. Morally they're guilty.

ON STRAKER

STRAKER
The amnesia drug was administered a few minutes ago...

GROUP SHOT

FOSTER
You mean... 

STRAKER
I mean they won't be able to remember a thing about it.

FOSTER
We can't just let them go free.

STRAKER
I suppose you think we should hand them over to the public prosecutor.

ON STRAKER

STRAKER
He'd have a great case - what does he go for... attempted murder of the husband, or killing an Alien. We can't produce that body. There's concrete evidence and the two accused would both have genuine total amnesia, they won't be able to remember a thing.

ON FREEMAN

FOSTER
So there's nothing we can do?

STRAKER
We're not in the moralising business, Paul.

FOSTER
What about the husband? They wanted to kill him once. They'll probably try again.

FREEMAN
In the line of duty, we stumbled onto a triangle. SHADO's involvement made it a square. All we're doing is erasing the last twelve hours. It's back to the triangle.

GROUP SHOT

STRAKER
What would you do, Paul?

FOSTER
There's nothing. You're right.

ON STRAKER

STRAKER
No... we're wrong. But our hands are tied.

GROUP SHOT

STRAKER BREAKS THE SILENCE.

STRAKER
Paul, go back to the UFO, get all the information you can.

FOSTER
Right...

HE LEAVES

STRAKER
Alec, get the medical team to work on the Alien.

FREEMAN
On my way.

FREEMAN EXITS.

ON STRAKER

DEEP IN THOUGHT. HE PRESSES AN INTERCOM.

STRAKER
How are Fowler and Mrs. Newton?

ORD (VO)
Still sleeping, sir.

STRAKER
Get them out of here.

FORD (VO)
But sir...

STRAKER
Just get them out of here.

TRACK IN ON STRAKER.

FINAL FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES

UFO: "The Square Triangle"
Other information about this episode

● Keith Alexander was unavailable when 'The Square Triangle' was in post-production, so Lieutenant Keith Ford was overdubbed by Robert Rietty.

NEW PAGE - "THE SQUARE TRIANGLE" 8th September, 1969

LIZ
You're not leaving. You're not going to leave me here.

CASS
You know I must.

LIZ
What are you talking about?

CASS
Look, our only chance is to go ahead with the plan as we arranged it.

LIZ
For God sake, Cass, How can we.

CASS
We must.

LIZ
You don't seem to realise...

CASS INTERRUPTS

CASS
Listen, I don't know any more than you do.

CASS TRIES TO RATIONALIZE THE SITUATION.

CASS
As far as you're concerned it was... an intruder. He tried to break in, you shot him. Do you understand... (hard) do you understand.

LIZ NODS

CASS
I must go... Give me three minutes - three minutes - that's all. Then you telephone for the police.

HE POINTS TO THE TELEPHONE. THEN HE TAKES HIS HOLDALL AND GOES TO THE DOOR, STEPPING COOLLY OVER THE BODY WHEN HE GETS THERE.

ON LIZ

SHE GOES AFTER HIM BUT STOPS WHEN GETS TO THE BODY, WHICH IS SYMBOLICALLY GETTING IN THE WAY.

“THE SQUARE TRIANGLE”

SCRIPT AMENDMENTS as at 8th SEPTEMBER, 1969

PAGE 22. Scene 59 Delete from


'HE MOVES OVER AND PICKS UP...

down to

'AS SHE GOES TO MOVE AWAY CASS GRABS HER'.

PAGE 37. Scene 94. In LIZ's 1st speech delete 'Come here'.

PAGE 47A. NEW PAGE

PAGE 54. Scene 137. Delete STRAKER's speech 

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