"EXPOSED"

Teleplay by:
Tony Barwick

Directed by:
Dave Lane

Created by:
Gerry and Sylvia Anderson & Reg Hill

Producer:
Reg Hill

Executive Producer: Gerry Anderson

---

EXTERIOR : HARLINGTON-STRAKER STUDIOS : Late night.

INTERIOR: UPPER OFFICE
From the Outer office, we can see through the open door into the inner office. MISS EALAND is finishing up work in the inner office, steps into the outer office and goes to her desk. She picks up one of the phones from the phone bank.

INTERIOR : STRAKER'S OFFICE (SHADO)
COMMANDER STRAKER sits at his desk. The phone on the desk rings and he picks it up.

STRAKER
(to phone)
Yes, Miss Ealand?

INTERIOR : OUTER-OFFICE
MISS EALAND stands by her desk, speaking into her desk phone.

EALAND
(to phone)
If there's nothing else, sir, I'll be going home.

STRAKER
(to phone)
Uh, (pause) No, that's all right, Miss Ealand, I was about to leave myself. Good night.
He hangs up the phone, stands and starts to put away the folder he'd been reading. The intercom buzzes. He presses the intercom switch.

STRAKER
(to intercom)
Straker.

FORD (o.s.)
(over intercom speaker)
Possible sighting, Commander.
Straker drops the folder on his desk and hurries out of the office

EXTERIOR : SPACE
THREE U.F.O.s cross the screen

S.I.D. (o.s.)
Have trace on positive track. Course, four-two-eight; one-four-six; green.

EXTERIOR: MOON
Zoom into:

EXTERIOR: MOONBASE

EXTERIOR : S.I.D.
SPACE INTRUDER DETECTOR (S.I.D.) is seen in Earth orbit.

S.I.D.
Speed : zero Sol eight. Range, thirty-two million miles, closing. Red alert...

INTERIOR: MOONBASE READY SPHERE:
THREE ASTRONAUTS: BRADLEY, WATERMAN, MATTHEWS, grab their helmets and jump into the launch chutes as:

S.I.D.
Red alert.

INTERIOR : MOONBASE CONTROL SPHERE
NINA BARRY is seated at the center console. JOAN HARRINGTON is seated at a radar station against one wall. A THIRD OPERATIVE is seated at the third station.

BARRY
(to console microphone)
Control to interceptors, have Ufo on positive track, green one-four-zero. Prepare to intercept.

HARRINGTON
(to console microphone)
Moonbase to SHADO Control. Confirm Ufo sighting ...

S.I.D.
Maintaining speed and course. Apogee zero-two-seven decimal three-two-four.

EXTERIOR : LUNAR SURFACE.
THREE MOONBASE INTERCEPTORS launch from the Moon.

S.I.D.
Range, twenty million miles.

INTERIOR : SHADO CONTROL
Straker stands beside KEITH FORD, seated at a communications station. Ford wears a headset.

FORD
(to microphone)
Positive track, green zero-four-seven; two-seven-two.
(pause, listening)
Yes, we have that.
(pause, listening)
Roger, confirm orbital reference. Speed correction, Sol zero point two.
ALEC FREEMAN, in background, comes up to Straker. He holds strip of computer printout which he shows to Straker.

S.I.D.
(over control room speakers)
I have green on one, two and three.

FORD
(to microphone)
Roger ...

S.I.D.
(over control room speakers)
Speed, Sol zero decimal seven-eight. Range: seventeen million miles.

EXTERIOR: SPACE
The U.F.O.s cross the screen.
The Interceptors approach.

INTERIOR : SHADO CONTROL
Straker paces the room nervously.

STRAKER
(to Ford)
Anything?

FORD
No, nothing yet, sir.

EXTERIOR : SPACE
The three Moonbase interceptors fire on three U.F.O.s. We see all three astronauts in the interceptors and all three explosions. Two U.F.O.s are destroyed. The last explosion fails to catch the U.F.O. and it makes it past.S.I.D.

S.I.D.
Missile three, destruct negative.

INTERIOR : SHADO CONTROL

S.I.D. (o.s.)
(Over speaker)
U.F.O. beyond interceptor range, heading for Earth.

FREEMAN
(to Straker)
Pretty effective blanket detonation by the interceptors.

STRAKER
But not good enough.

FREEMAN
Well, the one that got through is most certainly damaged. Sky-one should get it.

STRAKER
(to Ford)
Where is that trajectory termination?

FORD
It's just coming through, sir.
(reads from numbers on computer screen)
North Atlantic, grid reference G-six.

EXTERIOR: SPACE
The U.F.O. approaches EARTH

EXTERIOR: SKY OVER NORTH ATLANTIC (NIGHT)
From above, we see an experimental jet flying high over the ocean.

INTERIOR: SHADO CONTROL

FORD
(reading from his monitor)
Commander Straker, there's an aircraft entering the target area!
Straker steps over to Ford's station, to the radar monitor.

EXTERIOR: SPACE
The U.F.O. approaches

EXTERIOR: SKY OVER NORTH ATLANTIC (NIGHT)
From above, we see the same experimental jet flying high over the ocean.

TITLES:

EXTERIOR: SKY OVER NORTH ATLANTIC (NIGHT)
From above, we again see the experimental jet flying high over the ocean.

EXTERIOR : SPACE: S.I.D.

S.I.D.
Confirmed tracking zero-one-three. Area red, four-one-two. Have positive trace, waiting for confirmation.

INTERIOR : SHADO CONTROL
We first focus on the radar screen with it's single trace. Pull back to Straker and Freeman watching monitor.

STRAKER
(irritated - to Freeman)
Well, if it's not a military jet, what the blazes is it?

FREEMAN
It's not a commercial airliner. It's far too high, way off the air lanes.

EXTERIOR : AN EXPERIMENTAL JET OVER THE ATLANTIC

INTERIOR : EXPERIMENTAL JET
PAUL FOSTER and his COPILOT sit in the cockpit of the experimental jet.

FOSTER
(to radio)
XV-one-oh-four to Control

CONTROLLER (o.s.)
(over radio)
This is Control.

FOSTER
(to radio)
Leveled out at two hundred and fifty thousand. Airspeed, twenty-two hundred, pressure normal, cabin temperature, seventy-two. Will start the test schedule when we get to area G-six.

CONTROLLER (o.s.)
(over radio)
Roger, XV-one-oh-four.

INTERIOR : SHADO CONTROL
Ford is speaking on the telephone. Freeman and Straker stand near-by.

FORD
(to phone)
This V.A.C? Have you an aircraft over-flying the Atlantic?

FREEMAN
(quietly, to Straker)
Want to think it over?

FORD
(to phone)
Well, hold on.
(turns to Straker, hand over phone)
Sir, there's an experimental jet on a test flight.

STRAKER
Commercial?

FORD
(nods)
Ventura Aircraft Corporation. They're on the line.
Ford holds the phone out to Straker, who takes it.

STRAKER
(to phone)
I understand you have a jet over the North Atlantic, Grid reference . . uh ...

FORD
(quietly)
G-six.

STRAKER
(to phone)
G-six ...
(pause, listening)
Right. Tell your pilot to alter course.
(pause, irritated)
Well, anywhere! Just get him out of that area.
(Pause, listening)
Look, I don't care how much money it costs, get him out of there, or you won't have an aircraft to test!
Straker hangs up the phone.

EXTERIOR : EXPERIMENTAL JET OVER THE ATLANTIC

INTERIOR : EXPERIMENTAL JET

COPILOT
(reading instruments)
We're a hundred and fifty miles from test area. E.T.A., four minutes.

FOSTER
Right.

INTERIOR : SHADO CONTROL
Ford is listening to his headset.

FORD
(to Straker)
It's Sky-diver, sir. Captain Carlin.

STRAKER
(to microphone)
What's the position you're in, Captain?

CARLIN(o.s.)
(over speaker)
Computers confirm immediate intercept after Sky-one lifts off.

STRAKER
(to microphone)
Right.

EXTERIOR : SKY-DIVER UNDERWATER.
Sky-Diver adjusts attitude to a 30 degree angle with Sky-1 pointing up

INTERIOR : SKY-1
CAPTAIN CARLIN sits in the cockpit. He wears a leather flight jacket.

CARLIN
(to helmet microphone)
Right, stand by for lift off ...
He pulls back on the control yoke.

EXTERIOR : SKY-DIVER
Sky-1 separates from Sky-diver and lifts off.

INTERIOR : SHADO CONTROL
Ford watching computer monitor.

FORD
Sky-one airborne, sir. Going for intercept.

EXTERIOR: NIGHT - SKY-1 IN FLIGHT

EXTERIOR: EXPERIMENTAL JET OVER ATLANTIC

INTERIOR : EXPERIMENTAL JET

FOSTER
(reading instruments, speaking to microphone)
Course steady at zero-one-four. Airspeed, two-one-eight-five knots.
(pause, to copilot)
Jim, we're just about coming up to ...
(pause as he sights a U.F.O. to the left side of the plane.)

COPILOT
(sees U.F.O.)
What is it?

FOSTER
We'll soon find out. We're closing in, fast.

CO-PILOT
(Taking pictures with a small hand camera)
It's unbelievable!

FOSTER
Stand by with the reconnaissance camera. Try and get some close shots.
The copilot grabs a cinema camera and starts taking pictures through the front windscreen.

INTERIOR : SKY-ONE.

CARLIN
(to helmet microphone)
Have Ufo on radar track. Closing in for attack.

INTERIOR : EXPERIMENTAL JET
The Co-pilot is looking through the viewfinder of the recon camera.

CONTROLLER (o.s.)
(over radio)
Control to XV one-oh-four.

FOSTER
(to microphone)
What is it, Control?

CONTROLLER (o.s.)
(over radio)
Alter course to oh-two-four.

FOSTER
(to radio)
Listen Bill, Forget the test schedule. We're onto something up here. I'll explain later.

CONTROLLER (o.s.)
(over radio)
Listen, Paul, this is a direct instruction. Alter course!

FOSTER
Sorry Control, out.
As he finishes speaking, Foster turns off the aircraft radio.

INTERIOR : SHADO CONTROL
Straker is very upset.

STRAKER
(To Ford)
Get on to someone in authority. Get the chairman out of bed if necessary, but...

FORD
But, what will I tell him?

STRAKER
Tell him the aircraft's violating a war game area, anything! Just get it out of there!

FORD
Yes, sir.
Ford picks up the phone on his console.

EXTERIOR- SKY-1

INTERIOR: SKY-1
Carlin is watching instruments

CARLIN
Range, a hundred and twenty-five miles, closing...

INTERIOR : SHADO CONTROL

FREEMAN
(worried, to Straker)
You'll have to call it off.

STRAKER
(grim)
Sky-one attacks. That aircraft takes its chances.

EXTERIOR : SKY-1

INTERIOR : SKY-ONE
Carlin punching numbers into a small computer in the cockpit.

CARLIN
(to helmet microphone)
Program set, missile launch, twenty-five seconds.

EXTERIOR: EXPERIMENTAL JET

INTERIOR: EXPERIMENTAL JET
Sky-one flies up from below, in view of the jet.

COPILOT
(taking pictures with a reconnaissance camera)
Paul, there's another aircraft!

FOSTER
Just keep taking those shots.

CARLIN:

CARLIN
(to helmet microphone)
Five, four, three, two, one, zero...

EXTERIOR : SKY-ONE.
The under-wing missiles launch. The missiles hit the U.F.O. is hit and explodes. The experimental jet is hit by the concussion and begins to go down.

INTERIOR : SHADO CONTROL

FORD
(listening to headset)
Positive, Ufo destroyed.

STRAKER
And the jet?

FORD
It was close. It must have been hit.

EXTERIOR: EXPERIMENTAL JET
The jet is going down at high speed.

INTERIOR : EXPERIMENTAL JET
The Co-pilot struggles with his oxygen mask but loses it, passing out. Foster fights with his, gets it on his face and reaches up, presumably to the ejection lever.

INTERIOR: HOSPITAL ROOM
Begin very dark, close in on Foster, covering his eyes with his hands. We realize he is lying in a hospital bed, wearing dark goggles.

FOSTER
(agitated)
My eyes, my eyes... What's happened to my eyes?!
A NURSE comes into view.

NURSE
(Calming)
All right, all right... Come along, it's all right.
At her voice, he begins to calm. The door to the room opens and DOCTOR FRAZER enters.

FRAZER
(to nurse)
All right, thank you, Nurse.
The nurse leaves the room.

FRAZER
(to Foster)
Temporary blindness, Mister Foster. In a few days, you'll be able to see as well as ever. My name's Frazer, Doctor Frazer.

FOSTER
Where am I?

FRAZER
Grenville Hospital. You ejected just in time.
(Pause)
Hungry?

FOSTER
Guess so.

FRAZER
Good. I'll have some food sent in.

FOSTER
What time is it?

FRAZER
(Checks watch)
Nearly two A.M.

FOSTER
How long have I been here?

FRAZER
Six days.
Foster seems stunned by the news.

FRAZER
I'll see about that food.
Frazer turns to go to the door.

FOSTER
Wait ...
Frazer stops and looks back at him.

FOSTER
What happened to Jim?

FRAZER
He didn't make it. I'm sorry.
Foster reacts, grief, sorrow. He puts his hand to his eyes as if to cover them.

EXTERIOR : VENTURA AIRCRAFT CORPORATION
A car drives up through the gates of a large manufacturing complex, up to the main office building.

INTERIOR : KOFAX'S OFFICE
Foster waits in the office, looking at a model of the XV-104. The office door opens and JOHN KOFAX walks in. Kofax seems pleased to see Foster.

KOFAX
Paul, how are you?

FOSTER
Fine

KOFAX
The doctors say you're in good shape.
As they speak, Kofax comes closer and they shake hands.

FOSTER
(shrugs)
Well, they should know.

KOFAX
(Going around to sit at his desk)
Sit down, Paul
(indicates chair opposite desk)
Cigar?
(offers cigar)

FOSTER
(takes the cigar and sits in the chair indicated)
Oh, thanks.
Kofax sits back and pauses as if thinking hard about what he needs to say.

KOFAX
Paul, you're a pilot. A test pilot. One of the best. You've been through a traumatic experience. Well, that's all in the past. Consider the future, your future.

FOSTER
My future?

KOFAX
(hesitant)
What I thought was, that you should take a rest, at full pay, of course.

FOSTER
Of course.

KOFAX
I suggest that we. (Pause) talk again in say, a couple of months?
Foster stands, reaches out as if to shake Kofax's hand, instead, he stubs out the unlit cigar. Kofax is miffed. Foster turns to head for the door, stops and turns back.

FOSTER
One question. Where's the cine film from the reconnaissance camera?

KOFAX
(uneasy)
Now look, Paul...

FOSTER
(getting upset)
Where's the film?

KOFAX
(soothing)
Now, Paul...

FOSTER
You got my report, have you read it?

KOFAX
You wrote that report three days after recovering from a six day coma.

FOSTER
(angry)
Six days, six weeks, what's the difference?
(Pause, calming self)
Look what I wrote is true. That's the way it happened!

KOFAX
(disbelieving)
Explosion, strange lights, Unidentified Flying Objects?

FOSTER
(Hitting desk)
Just process that film!

KOFAX
(Reluctant)
Both the plane and the film are with a military investigation unit.

FOSTER
All right. I want a hearing.

KOFAX
(warning)
They will tear that story of yours to shreds. You'll never fly again for me, or for anybody else. Do you understand that?

EXTERIOR: HARLINGTON-STRAKER OFFICE BLOCK

INTERIOR: SHADO CONTROL
Freeman crosses the control room, heading for Straker's office.

INTERIOR : STRAKER'S OFFICE (SHADO)
Freeman enters the office. Straker is standing by the conference table. Straker wears a bright blue cardigan jacket. Freeman is surprised.

STRAKER
(Showing off a bit)
Hi, Alec. Well, what do you think?

FREEMAN
(amused)
You should have warned me.

STRAKER
Well, I just considered this is what any well turned out film executive would wear.
(Goes to desk)
Have to maintain our cover. I've got to start showing my face up-top.

FREEMAN
(serious - sits on edge of table)
Talking of cover, I've had General Henderson on the line.

STRAKER
(Sits at desk)
Yeah? What does he want?

FREEMAN
Foster wants a hearing.

STRAKER
Foster?
(pause, remembering)
The test pilot.

FREEMAN
He's no pushover. He knows what he saw and he's sticking to it.
As they speak, Straker pulls out a cigar and unwraps it.

STRAKER
Wasn't the copilot killed?

FREEMAN
Yeah.

STRAKER
(shrugs)
So, whatever he says is not corroborated.

FREEMAN
Right.

EXTERIOR : A PRIVATE AIRSTRIP
An executive jet takes off from the airstrip.

INTERIOR : EXECUTIVE JET CABIN
Paul Foster stands in the poshly appointed plane cabin. He seems uncertain, worried. Seated, watching him, is DOUG JACKSON.

JACKSON
(friendly)
Well, I hope you find this thoroughly to your liking.

FOSTER
It's a new twist.

JACKSON
Please sit down...
Foster sits opposite Jackson.

JACKSON
An airplane flying offers complete security. What more could you ask for.

FOSTER
The answer to a few questions.

JACKSON
Try me.

FOSTER
Where's the cine film from the XV one-zero-four?

JACKSON
As I was about to say, the camera in question wasn't damaged.

FOSTER
Then, did I, or didn't I, see an Unidentified Flying Object?

JACKSON
You mean, you're not sure?

FOSTER
Don't play games.

JACKSON
You know, I believe you saw something.

FOSTER
At least, that's a start.
TSI CHAN enters the cabin, carrying a tray with two coffee cups and a carafe. She sets the cups on the table between Foster and Jackson and pours coffee.

JACKSON
(pleased)
Ah, coffee.

FOSTER
(irritated)
Look, Jackson, let's stop fencing around. Now, that film shows close-ups of an object, right? Now, I'm an experienced test-pilot. That thing was extra-terrestrial, I'm telling you.

JACKSON
(to Tsi Chan)
Run the film, Tsi.
Tsi Chan goes to the back of the cabin. The lights dim and a film screen lowers. A film is run, showing a night sky. On the screen appears Sky-1.

FOSTER
(upset- as he watches the film run)
I don't understand it. There's the other aircraft...
On the film, Sky-1 crosses the screen, but no U.F.O. appears. Abruptly, the film ends.

FOSTER
(even more upset- stands)
What have you done? What have you done? What are you trying to pull? You've erased it, fixed it!

JACKSON
(laughing)
Why? Why should I do that?

FOSTER
I ought to knock that smile right back from...
As he speaks, Foster lunges at Jackson. However, before Foster reaches the other man, Tsi Chan has him pinned to the chair in a choke hold.

JACKSON
Yes, things are not always what they seem to be, Mister Foster.
(nods to Tsi Chan)
Okay.
Tsi Chan releases Foster who gets back into his chair. Chan stands behind him, watching. Jackson begins tossing a pen into the air and catching it.

JACKSON
(to Foster)
You saw that?

FOSTER
(Sullen, angry)
More games?

JACKSON
Did you see it stop?

FOSTER
(confused)
Stop?

JACKSON
Look, I throw it up and it falls back into my hand, but, for a split second, just at the top of the trajectory, it stops!
Jackson tosses the pen once more.

JACKSON
Did you see it?

FOSTER
No.

JACKSON
But, it did stop.

FOSTER
If you say so.

JACKSON
No Foster, it didn't. It's moving forward at five hundred knots, like everything else in this plane. And yet, then, this whole aircraft is moving with the rotation of the Earth. Confusing, but fact. But then, facts can be confusing in an aircraft at night at two hundred and fifty thousand feet.
(pause)
Now, tell me all about it. What did you see from that cockpit?

FOSTER
(stubborn)
An extra-terrestrial spacecraft.

JACKSON
A light source.

FOSTER
Yes.

JACKSON
A trick of light.

FOSTER
No.

JACKSON
A reflection from the instrument panel.

FOSTER
No.

JACKSON
(insistent)
Reflected from the glass of your visor and the windscreen.

FOSTER
(very upset- slams table)
No!

JACKSON
There are a hundred other explanations.

FOSTER
(grim)
Only one, and you know it.

JACKSON
(amused)
Well, I have a report to write, if you...
(picks up folder from table and opens it)
If you could give me a few facts..
(reading from papers)
Your name, Paul Foster...Address, I have it. You've been a pilot for...?

FOSTER
Eight years.

JACKSON
(writing)
Eight years. And a test pilot for two?

FOSTER
Right.

JACKSON
Now, I can see here you reported a sighting
(pause, reading)
Three years ago?

FOSTER Yes.

JACKSON
And another two and a half years before that.

FOSTER
(Annoyed)
That's right.

JACKSON
(laughing)
Then we shouldn't be meeting again for another couple of years.

EXTERIOR: AIR STRIP.
THE PLANE LANDS

EXTERIOR: APARTMENT BUILDING
A tall, modern apartment complex.

INTERIOR : APARTMENT BUILDING HALLWAY
Foster walks down the hallway and stops at a door. As be begins to unlock the door, he discovers the door is already unlocked. He pauses, then barrels into the apartment beyond.

INTERIOR : FOSTER'S APARTMENT
Foster bursts into the room, landing on his knees. He looks up to see: JANNA WADE standing inside the living room.

FOSTER
(embarrassed - getting to his feet)
I, uh, don't normally enter rooms this way.

WADE
The janitor let me in.

FOSTER
(closing door behind him)
Good old janitor.
Foster crosses the room to go to a cabinet where presses a switch. The top of the cabinet rises to reveal a liquor cabinet, glasses and bottles. He pulls out two glasses and a bottle..

FOSTER
Drink?

WADE
Why did you murder my brother?
Foster is surprised and shocked.

INTERIOR : SHADO HEADQUARTERS, CORRIDOR.
Freeman and Straker walk down the corridor. As they walk, operatives make way for them. Straker seems oblivious to the fact they have to move out of his way.

STRAKER
You read the report, Alec?

FREEMAN
Couldn't put it down, could you?
(pause)
I think we can be cautiously satisfied.

STRAKER
I agree...
The two men come to the door of Straker's office. An operative leaves the office as Freeman and Straker approach.

STRAKER
Three Ufos, two knocked out by the Moonbase Interceptors and one destroyed in the atmosphere by Sky-one.
(pause)
But, there are still a lot of things that need work. Interceptor launches, for example.

FREEMAN
Too slow.

STRAKER
Yes. I want to see those astronauts space borne within two minutes of a red alert.
(pause, considering)
Go to Moonbase, Alec. Drill, them, flatter them, cajole them, whatever, but get those times down!
As they speak, they enter Straker's office.

INTERIOR: STRAKER'S OFFICE-SHADO

FREEMAN
Nice assignment. Where do I get my stick?

STRAKER
(mildly amused)
No, Alec. That would be my way.
(pause, goes to desk and settles into chair.)
I'm sending you because you're the right man for the job.

FREEMAN
Okay...
(pause)
Anything more on Foster?

STRAKER
Yes. He's tough, and persistent.

FREEMAN
What happens if he starts getting close?

STRAKER
One man blow the cover of a multi-billion dollar set up? What do you think?

EXTERIOR: APARTMENT BUILDING

INTERIOR : FOSTER'S APARTMENT.
Wade is seated on the sofa. Foster sits opposite her, in an overstuffed chair. They have been talking. She holds a glass in her hands.

WADE
Then they told me you'd worked out a story, to cover your wrecking a very expensive aircraft and killing my brother.

FOSTER
Well, you've heard both sides of the story. What do you believe?

WADE
I don't know.

FOSTER
(Stands, paces room)
You know, as long ago as 1968, the authorities issued a report officially denying the existence of U.F.O.s. Why?

WADE
I don't understand.

FOSTER
Why deny it? Why bother?
(Pause)
I'll give you a reason. Let's say the authorities have proof, indisputable proof, that U.F.O.s have come to Earth. What will be the results if it leaked out? Mass hysteria, terror, a break-down of authority. So, they issue a report, an official denial, and try to discredit anyone who claims to have seen one.
(pause)
Five years ago, I saw one. Two years later, another. They exist. You've got to believe me!
(pause, earnest)
Up there, with your brother, I saw something.

WADE
I believe you.

FOSTER
Thank you.
Foster goes to the cabinet and pours himself another drink. Suddenly:

FOSTER
Your brother had a camera. Did they find it?

WADE
I don't know. There are some personal effects, but I'm not allowed to have them yet. Something to do with security.

FOSTER
Who told you that?

WADE
A man called Kofax.

FOSTER
Kofax!
(pause)
Do me a favor, meet me tomorrow.
As he speaks, he goes to his desk and gets a flash light, then he heads for the front door.

WADE
(confused) But, what are you going to do?

FOSTER
Follow my nose...
(pause, grins)
Don't worry, everyone else thinks I'm a nut. I've got nothing to lose.

WADE
Where are you going?

FOSTER
See you tomorrow.
As he speaks, he closes the door behind him.

EXTERIOR : VENTURA AIRCRAFT - NIGHT

INTERIOR : KOFAX'S OFFICE - NIGHT
Foster enters the office through the window. Using a flashlight for light, Foster searches Kofax's office. He checks the framed photos on the wall, finally finding one attached to the wall by hinges, hiding a key-locked safe. He goes to the desk to look for the key, turning on a desk light.
Outside the door, in the hallway, a GUARD can be heard approaching. Foster turns out the light and freezes. The Guard stops at the door to Kofax's office. After a moment, the Guard continues down the hallway. Foster returns to searching the office.
Foster spots the file cabinets along the wall, jimmy's the cabinet open with a pocketknife and checks the files. He finds file labeled: SAFE. He reaches into the file to find an envelope with a set of keys in it.

FOSTER
(to self)
Kofax, you've got a mind like a steel trap.
Quickly, Foster uses the key to open the safe. Inside the safe is a small camera, a box of slides and an envelope addressed to : Ed Straker, Harlington Straker Studios, London, CV-105

FOSTER
(to self)
Ed Straker?

INTERIOR : STRAKER'S OFFICE. (SHADO)
Straker is on the phone. Freeman sits opposite the desk.

STRAKER
(to phone)
Right...
(pause, listening)
Right, thank you.
(hangs up - troubled)

FREEMAN
Trouble?

STRAKER
Paul Foster broke into Kofax's office.

INTERIOR : FOSTER'S APARTMENT
The room is darkened and a slide projector is showing slides of the night sky onto a screen. Wade sits watching the slides as Foster runs the projector. The projector sits atop two books on U.F.O.s.

FOSTER
(disappointed)
They don't miss a trick.

WADE
There's nothing.

FOSTER
No, but it proves that somebody was interested enough to doctor this film as well.
As he speaks, he goes to the window and opens the blinds.

WADE
Paul, might it be better to forget all this?

FOSTER
(angry)
No!
She reacts to the anger in his voice.

FOSTER
(Calmer)
I can't just drop it. Don't you understand?

WADE
(Conciliatory)
I'll go get those back issue papers you wanted.
Wade leaves the apartment. Foster darken the room again and begins to watch the slides.
There is a knock at the door. Foster goes to the door and opens it.
Suddenly, TWO MEN burst into the apartment, trounce Foster and ransack the apartment. Foster is knocked unconscious.

EXTERIOR : APARTMENT BUILDING

INTERIOR: FOSTER'S APARTMENT
Foster picks himself off the floor and drags himself to the chair.

FOSTER
(moaning)
Ohhhh...
Wade enters the apartment. She is surprised and upset at the destruction of the apartment. She has several newspapers in her hand. The top paper has an old photograph of Straker as a USAF officer. The head-line reads : Miracle escape of U.S. officer.

WADE
(worried)
Paul, are you all right?

FOSTER
(sarcastic)
Yeah, I feel great.

WADE
(dropping papers)
Who did this?

FOSTER
Well, it certainly wasn't the janitor.

WADE
I'll get you a drink.
As Wade goes to the liquor cabinet, Foster glances at the newspapers.

FOSTER
(to self)
Of course

WADE
What is it, Paul?

FOSTER
Straker, Ed Straker!

INTERIOR : STRAKER'S OFFICE. (SHADO)
Straker is seated at his desk, talking on the telephone. Lieutenant Johnson stands across from him, placing a file on the desk

STRAKER
(to phone)
Paul Foster? No, I don't think I want to speak to him now.
(pause)
Uh, tell him to meet me in the studio in an hour.
(pause)
Right...
Straker hangs up the phone, looks up at Johnson..

STRAKER
Find Alec Freeman for me, will you? Ask him to come here.

JOHNSON
Yes, sir.
Johnson leaves. Straker goes to the conference table where h is briefcase lays. He opens the case and pulls out a gun. The office door opens and Alec Freeman walks in.

FREEMAN
You wanted to see me?

STRAKER
Yes. I'm seeing Paul Foster in an hour.

FREEMAN
How much does he know?

STRAKER
That's what I aim to find out. You look after things down here.
Straker heads for the door, gun in hand.

FREEMAN
You plan to use that?
Straker simply walks out of the office.

EXTERIOR: HARLINGTON-STRAKER OFFICE BLOCK
A white car can be seen driving up to the building.

INTERIOR : OUTER OFFICE, HARLINGTON-STRAKER STUDIOS.
Miss Ealand sits at her desk. The outer door opens and Paul Foster walks in.

EALAND
(friendly)
Good afternoon.

FOSTER
My name's Foster.

EALAND
Oh, yes, to see Mister Straker.
We see the sign above the inner door reads Do Not Enter.

EALAND
(looks through notepad on desk)
Ah, Mister Straker told me to tell you to meet him at Rupert Square.
Foster begins to leave, then stops.

FOSTER
(confused)
Rupert Square?

EXTERIOR : STUDIO LOT

Foster walks into an exterior set of a London street. It seems to be abandoned, not a soul in sight. He stops and looks around. We see a Straker's hand holding a gun up to Foster's head.

STRAKER
Hold it, right there.
Foster stops and turns as Straker pulls the gun back.

STRAKER
You must be Foster. I'm Straker, Ed Straker.
Straker holds his hand out to be shook. Foster shakes hands. Straker turns away to look around the set.

STRAKER
(Shouting)
Hey, Louie, where are you?

DIFFERENT ANGLE.
LOUIE GRAHAM stands some distance away, holding blue-prints

LOUIE
I'll be right with you, sir.
Straker is playing with the gun.

FOSTER
(concerned)
Is, um, that thing real?
To answer, Straker looks around the set as if looking for something. He aims the gun at a wall and pulls off three shots. Three bullet holes appear in the wall. From behind one of the sets, LOUIE appears, holding a set of blue prints.

STRAKER
(to Foster)
Excuse me.
Straker walks over to where Louie is waiting. Foster follows him. Straker looks over the blueprints Louie is holding up.

STRAKER
(to Louie)
Yes, It's gonna' be just fine, Louie. You can go ahead.

LOUIE
(rolling up blueprints)
Thank you, Mister Straker. We'll start building right away.

STRAKER
Just check with me in the morning about the final details.

LOUIE
Right, sir.
Louie moves off, disappearing around a corner.

STRAKER
(to Foster - musing)
Yes, it's gonna' work out just fine.
(pause)
Oh, that's Louie, my construction manager. Great guy.
(pause, begins walking)
Well, what's on your mind, Mister Foster?

FOSTER
Unidentified Flying Objects.

STRAKER
Oh, good subject. Got a script?

FOSTER
No, I really mean it. I saw one.

STRAKER
(stringing Foster along)
Now, why don't you tell me all about it, then?

INTERIOR : STRAKER'S OFFICE SHADO
Freeman goes to the desk and picks up the white phone.

INTERIOR : OUTER OFFICE HARLINGTON-STRAKER STUDIOS
The phone rings at Miss Ealand's desk and she picks it up.

EALAND
(to phone)
Yes?

FREEMAN:

FREEMAN
(to phone)
Where's Commander Straker, Miss Ealand?

EALAND:

EALAND
(to phone)
He's still with Foster, sir.

FREEMAN:

FREEMAN
(to phone- worried)
Thanks.

EXTERIOR : STUDIO LOTS
Straker and Foster are walking, then they stop. Straker is playing with the gun in his hand.

STRAKER
That really is a very good story, Mister Foster. But, I'm in the film business. I suggest you tell that story to the police, the army, the marines.
(Amused)(pause)
Now, if you'll excuse me, I have a very heavy schedule.
Straker begins to walk away from Foster.

FOSTER
Quite a switch, air force colonel to film executive.
Straker stops. We see his expression shift from concern to amusement. He turns back to Foster.

STRAKER
(bland)
You must have your wires crossed somewhere.

FOSTER
Have I?
Foster pulls out the newspaper article with Straker's photograph. Straker glances at it.

STRAKER
(Suddenly cordial)
Mister Foster, let's step into my office.
Straker beckons Foster to accompany him into a nearby building. They enter:

INTERIOR : EMPTY SOUND STAGE
They are on a set of winding stairs and climbing down to the floor.
Aside from the usual equipment found on a film sound stage, there is a wind machine sitting in one corner.

FOSTER
(looking around)
Some office.

STRAKER
(amused)
No, it's too big. Sparsely furnished, very hard to heat. But, we won't be disturbed. Oh, it's, ah, sound-proof, too.

FOSTER
(not amused)
Look, ten years ago, you were a colonel in the air force. A degree in astrophysics, two years lunar research at MIT. A career officer. What happened?

STRAKER
Well, let's say the car crash made me want to change my career.

FOSTER
Why did it crash?

STRAKER
We had a blow-out.

FOSTER
On a Rolls Royce, at fifty miles an hour?

STRAKER
(annoyed)
They don't make the tires!

FOSTER
Then, why was the whole area cordoned off?

STRAKER
Well, you've obviously read the report. A British cabinet minister was killed. Security.

FOSTER
I don't buy it, Straker.

STRAKER
(very annoyed)
Look, I'm not trying to sell you anything, boy!
As they've been speaking, Straker has stepped over to the wind machine.

FOSTER
(angry)
Look, Sir! I've been through a lot these last few weeks. First there was Kofax...
Straker turns the wind machine on, blowing air into Foster's face. He holds the edge of the fan cage, keeping the fan on Foster.

FOSTER
I saw a letter to you in his safe. Oh, that was innocent enough, but someone got at him! And then Jackson, from the military investigation team! What happened to the film, Straker?. The film that showed the proof, the film that cost my copilot his life? And then those two bright boys who came to my apartment to bust the place up. I suppose they were sent to frighten me off?

STRAKER
(Taunting)
Where's your evidence, Foster. Just show me one thing, just one! What you're saying is that Foster's right and everyone else is wrong?

FOSTER
(angry)
What I'm saying is that I'm right!

STRAKER
(Threatening)
Oh, you're wrong, Foster. You're so wrong.

FOSTER
Look, I don't give up. I keep slinging mud until some of it sticks. You haven't heard the last of this, Mister Film-maker named Straker.
Foster begins to head for the door. Straker shuts off the wind machine and reaches for a switch on the control panel in front of him. The sound stage doors lock. Foster turns to see Straker crossing the sound stage, gun in hand. Straker stops and aims the gun at his chest. Straker fires three times.
Foster remains standing, stunned as Straker grins.

STRAKER
Things are not always what they seem, Mister Foster.
(indicates gun, tosses it to Foster)
An acoustic gun. Very clever. Place charges in the wall of a set, for example, load the gun with blanks, and when you fire it, the sound detonates the charges. Very realistic.
(pause)
You look surprised. I think we've got a few more surprises for you. Let's go.
Straker goes to the door, takes the gun from Foster. He unlocks the upper mechanism and accompanies Foster off the sound stage.

INTERIOR : OUTER OFFICE HARLINGTON-STRAKER STUDIOS
Straker and Foster walk into the office.

STRAKER
(to Ealand)
Open up.
Ealand looks surprised at the instruction.

STRAKER
It's all right, Miss Ealand.
Ealand flips a switch inside a desk drawer and the doors to the inner office open. Straker leads Foster into the:

INTERIOR : INNER OFFICE
Straker takes a seat at the desk. There is a silver cigarette box on the desk.

STRAKER
So, you're a test pilot.

FOSTER
That's right.

STRAKER
Trained to expect the unexpected.

FOSTER
(uncertain)
I guess so.

STRAKER
(amused)
Then, brace yourself.
(opens lid of cigarette box)
(to box)
Straker...

SECURITY COMPUTER (o.s.)
(from box)
Voice identification positive, Commander Straker.
Straker hits a switch on the desk intercom and the entire room begins to move downward. Level markings on concrete can be seen outside the office window opening. The room stops moving and the doors open.
Straker gets up from the desk and leads Foster into:

INTERIOR : SHADO H.Q. ENTRY CORRIDOR
A young woman in a H.Q. uniform sits opposite the door. She stands as the door opens.

FOSTER
(confused)
Where are we?

STRAKER
The underground headquarters of SHADO.

FOSTER
SHADO?
Straker indicates a large engraved steel sign on the wall opposite the elevator doors: Supreme Headquarters, Alien Defense Organization.
Foster seems stunned as Straker leads him down the corridor, across the control room to Straker's office. As they cross, operatives look at Foster, surprised.
The office door opens and they enter:

INTERIOR : STRAKER'S OFFICE (SHADO)
Straker goes to his desk, sits down and keys the intercom.

STRAKER
(to intercom)
Okay, Alec, wheel them in.

FOSTER
(subdued)
So, what happens now?

STRAKER
(grim)
You were on a test flight over the North Atlantic, Foster. Due to a kind of dogged stupidity, you found yourself in the middle of a Ufo incident.
The office door opens. Alec Freeman and Doctor Frazer enter.

STRAKER
Oh, this is Colonel Freeman. Doctor Frazer you already know.

FRAZER
Hello, Foster. How are the eyes?

STRAKER
We induced a temporary blindness, just to keep you on ice for a few days. Now, your boss, Kofax, knows nothing of all this, but he played along. He has his military contact to think of.
Frazer leaves and Jackson and Tsi Chan enter the office.

STRAKER
Operatives Doug Jackson and Tsi Chan. Jackson's a psychiatrist as well as a trained interrogator. His report told me quite a lot about you.

JACKSON
Yes, determined, good logical thought patterns. A little headstrong.
As Jackson speaks, Louie walks in.

STRAKER
Louie Graham, electronics man. And he happens to be a pretty good construction manager, as well.

FOSTER
So you had the whole thing wrapped up from the start. But, why this set up. Why SHADO? Why this secrecy?

STRAKER
You summed it up pretty well, yourself.
Straker gets up from his chair, opens the left hand cabinet behind his desk to reveal a reel-to-reel recorder. He turns it on.

FOSTER (o.s.)
(on tape)
I'll give you a reason. Let's say the authorities have proof, indisputable proof, that U.F.O.s have come to Earth. What will be the results if it leaked out? Mass hysteria, terror, a break-down of authority...

FOSTER
(surprised)
I said that in the apartment...

FOSTER(o.s.)
(on tape)
So, they issue a report.
Straker shuts off the machine as Janna Wade walks in, wearing a SHADO uniform.

WADE
Hello, Paul.

STRAKER
(smiles)
Ah, the field leader of 'Project Foster', operative Janna Wade. It's all been a test for you, Foster. You followed a predictable set of clues, you even showed a certain... initiative. But, basically, it was an inevitable chain that led you to the studio.
(to others)
Thank you.
As everyone except Straker and Foster turn to leave:

STRAKER
(To Freeman)
Ah, stay, Alec.
The others leave and the door closes behind them. Freeman stands beside the door, relaxed but vigilant.

STRAKER
(to Foster)
You realize, of course, that we can never let you go free. You know too much.
(pause)
There is one way. SHADO needs men. I'm talking about leaders, commanders, men able to captain the world's most advanced submarines, take control of Moonbase. The right men.
(pause, evaluating. He palms something from the desk.)
Are you one, Foster? After the stiffest medical you've ever experienced? After weeks of computer and psychoanalytic tests? After a training course that will tear your guts out, you might be half-way there.

FOSTER
Well, I'd like to try.

STRAKER
I thought you would.
Straker opens his hand to show Foster a badge with Foster's photo on it.

STRAKER
Read this.

FOSTER
(reading)
Foster, Paul J. Eight-zero-four
The telephone buzzes. Straker hands Foster the badge and goes to the desk.

STRAKER
(to Freeman- picking up phone)
He's all yours, Alec.
(to phone)
Straker, ... Yes, yes.
(pause - to intercom)
Will you get Moonbase, please,
(To phone)
Oh, and by the way, where are those transit reports I asked for.
As Straker speaks, Freeman ushers Foster to the door.

STRAKER
(to phone)
Will you get this please, and get it good and clear. Immediately means now!
Foster and Freeman leave the office.

INTERIOR: CONTROL ROOM
Freeman ushers Foster past the control area, heading for the main entrance. As they walk, Foster seems to be asking questions of Freeman.

---

S 

U.F.O. is the © and property of ITV Studios Global Entertainment and used for promotional purposes only.
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