The relaxed atmosphere in the command centre is interrupted, however, when the computer begins displaying new data indicating a gradual but increasing change in the Moon's trajectory.
After the computer sluggishly offers vague estimates regarding its identity, Maya calculates the object to be a small planet with a gravitational pull approximating the Moon's—insufficient to affect their course.
With the instruments still unable to locate the gravity source, she questions the computer's reliability, wondering whether the course change is real...or false data resulting from a malfunction.
Under the command of Captain Michael, she reads, a mother ship and four Swifts left Earth in 1996 on an interstellar voyage of discovery.
Self-aware and self-programming, the mobile electronic brain is connected to the Swift's on-board computer by the antenna cable trailing behind it.
Years ago, they landed on the nearby planet (designated 'Planet D') and the entire crew instantly died.
During its visit to Alpha, Brian's antics amuse the staff, especially when it tries to chat up a comely equipment trolley with yellow plastic wheels.
When learning of the Moon's course change, Brian offers to investigate; in return, it asks if Helena could help identify what killed its captain and crew.
Brian's formerly friendly demeanour turns nasty as it announces their destination is Planet D. Koenig tries to adjust the manual controls, but all functions are channeled through the devious robot.
Upon learning the Eagles' on-board computers are operating normally, Tony Verdeschi takes up a squadron to rescue the abductees.
Fearing the mercurial Brian may be planning to blind the four ships, the Commander contacts Verdeschi on Eagle One, ordering him to break off the pursuit.
While Koenig assures the security chief that he and Helena are unharmed, the co-pilot insults Brian, referring to it as a 'crazy hijacking slot machine'.
The Eagles withdraw, and the Swift resumes course for Planet D. Now calm, Brian tries to make friends with Koenig and Helena; as lovers, he says, they should appreciate this private time together.
It begins by separating Koenig and Helena, instructing them to enter one of the ship's two airlocks alone—and blasting them with beams of concentrated ultraviolet light when they refuse.
It childishly whistles 'Here Comes the Bride' as it prepares to land on Planet D. Setting down close to the mother ship, they finds the surface is blanketed in a dense mist which reduces visibility to mere metres.
Here, the true purpose of the abduction is revealed—unable to navigate the terrain outside, it needs Koenig to board the larger ship and retrieve the fuel core.
The longer Koenig is away, the more agitated Brian becomes; hoping to distract the machine, Helena engages it in conversation.
Displaying candid photos of the man it calls 'Father', it demonstrates affection for the captain as a child would for a parent.
On returning to the other ship, an impatient Brian insists the Commander insert the core into the fuel store immediately.
The first operation performed is to verify the Moon's present trajectory; the data confirms their course remains unchanged.
[citation needed] The scene where the Alphans begin their psychological attack on Brian was scripted to have Maya first resume her normal form.
As the robot became agitated, the three Alphans would comment that it required maintenance and would bombard Brian with pleas to be the one to perform the task.
[3] Cast in the dual role of the late Captain Michael and the voice of his mad robotic creation, 'Brian', was British actor and comedian Bernard Cribbins.
To allow for a natural rapport to develop between the actors and 'Brian', Cribbins performed the voice during the live-action filming (which was then altered in post-production to give it a metallic quality).
[5] The robot prop was operated by Michael Sharvell-Martin, a British actor and pantomime dame best remembered for his supporting roles in The Benny Hill Show and No Place Like Home.
[7] The Swift miniature was designed by Ron Burton as a landing craft for the Gerry Anderson production The Day After Tomorrow.
Built by model builder Martin Bower, the Bray Studios effects team added the two large upper tanks to contain the freon gas used to simulate the ship's rocket exhaust.