Hours ago, all sensor equipment suddenly began behaving erratically, indicating an intense magnetic turbulence lying directly ahead.
As the Moon approaches, this turbulence is visualised as a frenetic blur of churning lights (through which one can catch almost subliminal glimpses of an unidentifiable celestial body).
Helena Russell's examination shows her vital signs are weak; a quick check of the others reveals similar results.
Claiming that Earth's conflicting religions have 'distorted their beliefs' with the worship of 'false gods,' he declares himself to be the genuine article.
A sceptical John Koenig treads cautiously, conceding He resembles an artist's rendition of God.
Confronted with the 'divine' manifestation of banquet tables and comely serving girls, Koenig acts unimpressed.
But the Commander's tone becomes flippant, and the Being wrathfully responds with a less-benign demonstration of His power—the stand-by Eagle being instantly reduced to slag.
After humanity's mistreatment of Earth, He has come to give them a second chance—by guiding them to a new Eden, where Mankind can begin anew.
Magus manipulates the big screen, bringing up a visual of an exquisitely beautiful planet—New Earth, the body which was hidden by the turbulence.
Magus suggests a team visit the surface, choosing Koenig, Helena, Maya and Tony Verdeschi.
Koenig tries to check-in with Alpha, but cannot make contact; Magus suggests His power of transport may have temporarily affected communications.
The air is clean, the soil rich, the water pure, and fruit trees and the soya bean grow wild.
When Koenig proposes bringing down a task force to study the entire planet, Magus drops a bombshell: no one else will be coming down.
When the Alphans argue these arbitrary pairings could be both psychologically and biologically harmful, Magus blithely dismisses their protests.
It is late afternoon and, with a sidelong glance at the setting sun, Magus makes one final decree: they are not to leave the glade.
While powerful, His motivations seem less than divine... With no word from Koenig, Alan Carter decides to take an Eagle down to New Earth.
On the planet, the four discover Magus has effectively paired them off by encasing the couples in magnetic-field cocoons of opposing charges.
Leaving the glade, they find a malformed, semi-humanoid being taking a horrible beating from an alien anthropoid.
Moving to follow the humanoid as it shambles into a cave, they are stopped by a lightning strike mere metres away.
Magus's face looms in the heavens, driving them back to the glade with a fusillade of lightning bolts fired from His eyes.
Finding a deep narrow fissure, they attack the sides with makeshift tools to widen it into a proper tiger pit.
During the 'night of romance' on New Earth, an arrangement of 'How Beautiful Is Night' composed by Robert Farnon in 1947 is used as Magus's mood music.
[3] The shooting script for "New Adam, New Eve" contains several sequences removed from the episode's final cut: (1) The fact that the Moon was 150,000 miles distant from New Earth; (2) A sequence of friendly banter where, after Verdeschi comments on the richness of New Earth's soil, Koenig would declare the planet to be as fertile as California was 150 years before.
Verdeschi would then remind them all that Italian politics may not have been perfect, but it was an American who spoiled the United World movement in 1985; (3) When Carter made his first attempt to rescue Koenig in Eagle One, he would be accompanied by another pilot in Eagle Two; (4) The mutant reveals to Koenig that Magus was the last of his kind because his race had challenged a mysterious being more powerful than all of them combined.
[4] The mutant cave animals were scripted to be an enormous crustacean, a gigantic tarantula and a huge reptile.
Visual effects supervisor Brian Johnson and the Bray Studios team hoped to achieve this vision using stop-motion animation, but this would have proved to be too costly and time-consuming.
[6] Hairdresser Jeannette Freeman would experiment with a new hairstyle for Schell, which was seen in this segment and early scenes of "The AB Chrysalis" before returning to her previous style.
The only difference from the finished episode was a reference that Maya was new to the position of scientific officer, as it was written to have taken place soon after "The Metamorph".