the serial including one correspondent, C.W. Bartlett of Watford, who wrote to inform readers that the reference to DNA (then newly discovered) was not a fictional substance but really existed. Archive status As was common practice at the time, the BBC's copies of the serial were junked after broadcast and the bulk of the serial still remains missing. In 2005, a 16mm film print of the sixth episode, "The Face of the Tiger", was donated to the BBC archives by a private collector; this copy is missing the pre-credits sequence of Reinhart's interview. A number of film clips from episodes one, two, three, and seven also exist, as does a full audio-only copy of episode seven, taken from an off-air recording. A complete set of off-air photographs, known as tele-snaps, were taken of all seven episodes and were held in the collection of Michael Hayes prior to his death. Remakes A come Andromeda (1971) A version of the serial entitled A come Andromeda, still set in Britain ("in the following year") but filmed at Italian locations, was made for Italian television (RAI) in 1971. It was adapted by Inisero Cremaschi and directed by Vittorio Cottafavi. This version still exists and has been repeated on Italian TV. It has been released on VHS, and latterly on DVD but without English subtitles. The cast includes Nicoletta Rizzi as Andromeda, Paola Pitagora as Judy Adamson, Luigi Vannucchi as Fleming, and Tino Carraro as Reinhart. A for Andromeda (2006) A second remake of A for Andromeda was made by BBC Fictionlab for BBC Four in early 2006. It was produced by Richard Fell, who the previous year had overseen a remake, performed live, of The Quatermass Experiment, another classic BBC science fiction production largely absent from the BBC archives. Novelisation The prospect of novelising A for Andromeda arose early in the serial's production when Souvenir Press contacted the BBC in May 1961 indicating their interest in publishing a tie-in novel. John Elliot responded stating that while the concept had been Hoyle's, the characterisation, dialogue and plot structure was his. Elliot sent copies of the shooting scripts to Souvenir and was formally commissioned to write the novelisation in July 1961. The terms of the contract concerned Hoyle as they gave Souvenir first call on the sequel; he insisted that this could only be permitted if the sequel's novelisation was largely written by Elliot. Elliot delivered