UFO Script for
"E.S.P."

SYNOPSIS: How can you cope with a man who can predict your every thought and moment? Straker and Freeman face death from a man with a strange mind . . .

      Stella Croxley is understandably worried about the behaviour of her husband, John. That he is abnormal is something he himself realises only too well, but psychiatric treatment has been unable to help him. Life is now reaching a climax for him, and there is tragedy ahead as a U.F.O., making an erratic course, crashes into his lonely country cottage, killing Stella. S.H.A.D.O., tracking the U.F.O., have been unable to stop it, but have pin-pointed its landing, with Paul Foster arriving on the spot simultaneously and narrowly escaping death. He is injured and taken to hospital, where he seems to be suffering from delusions that he is seeing a strange visitor.

      Investigating, Commander Straker and Colonel Freeman are mystified by a conversation they have with Croxley, in which he accuses them of being responsible for his wife's death. He seems to know, in advance, exactly what they are going to say. Even more mystifying, and worrying, is the receipt a couple of weeks later of a film script in which Croxley reveals every detail of the S.H.A.D.O. organisation and its personnel. They discover, when tracing the psychiatrist he has been visiting, that Croxley has powers of extra-sensory perception which are so pronounced that he can feel the future.

      When Croxley asks Straker and Freeman to meet him at the ruins of his house, they face a demented man, intent on killing them. And they are defenceless. He can anticipate their every thought and movement. But his tortured mind reveals the truth . . .  a mind that has been taken over by aliens from outer space who are using him as their agent to destroy S.H.A.D.O. As the mystery stranger at the hospital, he has been able to learn everything about the organisation through reading Foster's mind. Now Straker and Freeman have only one hope. Can Foster save them?

THE SCRIPT FOR THE UFO EPISODE
“E.S.P.”

Original title, “Extra Sensory Perception”

by

By Alan Fennell


© Century 21 Pictures
Stirling Road,
SLOUGH,
Buckinghamshire.

“E.S.P.”

CAST:

SPEAKING PARTS

STRAKER
FREEMAN
FOSTER
FORD
MISS EALAND
GAY ELLIS
MARK BRADLEY
JOHN CROXLEY
STELLA CROXLEY
DR. WARD
DR. SHROEDER
NINA
OPERATIVE (SHADO CONTROL)
TIME-KEEPER
SECURITY MAN 1 (SHADO)
SECURITY MAN 2 (SHADO)
JOAN

SET LIST:
EXT. HARLINGTON-STRAKER STUDIO (LOCATION)
EXT. FACTORY ENTRANCE (LOCATION)
EXT. CAR PARK (STUDIO OR LOCATION)
INT. CROXLEY’S CAR (STUDIO)
EXT. OFFICE BLOCK ENTRANCE (LOCATION)
INT. SHADO CONTROL ROOM (STUDIO)
INT. STRAKER’S SHADO OFFICE (STUDIO)
INT. SHADO MOBILE (STUDIO)
INT. CONSULTING ROOM (STUDIO)
EXT. COMMON (STUDIO)
EXT. DRIVEWAY (LOCATION)
EXT. RUINED HOUSE (STUDIO)
INT. RUINED HOUSE (STUDIO)
EXT. STRAKER’S CAR (LOCATION)
INT. STRAKER’S CAR (STUDIO)
EXT. FREEMAN’S CAR (LOCATION)
INT. FREEMAN’S CAR (STUDIO)
INT. SHADO MEDICAL CENTRE (STUDIO)
EXT. HOSPITAL (LOCATION)
INT. HOSPITAL PRIVATE WARD (STUDIO)
INT. STRAKER’S OUTER OFFICE (STUDIO)
INT. INNER OFFICE (STUDIO)
INT. INTERCEPTOR (STUDIO)
INT. CROXLEY’S BEDROOM (STUDIO)
EXT. DOORWAY (LOCATION)
INT. MOONBASE (STUDIO)

VISUAL EFFECTS SETS

EXT. SPACE
EXT. UFO
EXT. RUINED HOUSE
EXT. COMMON
EXT. STRAKER’S CAR
EXT. SHADO MOBILE
EXT. INTERCEPTORS
EXT. MAYLAND HOSPITAL
EXT. SHADO MOBILE TRANSPORT

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. FACTORY. DAY. (LOCATION) 41 SECS

THE LAST STRAGGLERS FROM THE DAY SHIFT HAVE LEFT THE SMALL MANUFACTURING COMPANY AND WE FEATURE THE OPEN GATES BESIDE THE TIME-KEEPER’S OFFICE.

IN HIS SMART UNIFORM, THE TIME-KEEPER GLANCES UP FROM HIS BOOKS AND PAPERS AS JOHN CROXLEY GOES PAST HIS WINDOW.

CROXLEY IS DEEP IN THOUGHT AND FLINCHES, STARTLED BY THE TIME-KEEPER’S VOICE.

TIME-KEEPER
Goodnight, Mr. Croxley, Been working late, have you?

CROXLEY
Just finishing off the wages accounts for tomorrow.

TIME-KEEPER
That’s right. Wouldn’t want our pay transfers to be late, would we?

CROXLEY NODS, SLIPPING BACK TO HIS REVERIE. HE WALKS THROUGH THE GATE.

ON CROXLEY

HE IS FORTY, SMALL.

HE IS UNEASY, HAUNTED BY AN OVERBEARING WORRY THAT CAUSES HIM TO GLANCE AROUND HIM LIKE A FRIGHTENED ANIMAL.

A STRANGE EERIE MUSIC ACCOMPANIES HIM INDICATING THAT ALL IS NOT QUITE RIGHT.

HE MOVES OFF, HIS MOUTH SET IN AN ALMOST VICIOUS SNARL, AS IF READY TO ATTACK WHEN EVENTUALLY HE IS CORNERED.

HE KNOWS HE WILL BE CORNERED. NOT TODAY… NOT TOMORROW… BUT SOON. HE IS AWARE THAT HE IS DIFFERENT… MENTALLY!

CUT TO:

2 EXT. CAR PARK. DAY. (STUDIO OR LOCATION) 45 SECS

CROXLEY WALKS TOWARDS HIS CAR, STOPPING AS ONE OR TWO PEOPLE PASS AT THE END OF THE WORKING DAY.

ON CROXLEY

HE IS IN A DAZED, CONFUSED STATE AND THEN HIS NAME IS CALLED. FOR AN INSTANT HIS HOSTILE COUNTENANCE SOFTENS. THE PIERCING EYES FLICKER RECOGNITION AND THE MOUTH TWISTS TO A NEAR SMILE.

STELLA (OFF)
John…

ON STELLA

SHE WAITS FOR A PASSERBY TO CROSS HER PATH BEFORE MOVING FORWARD. SHE IS JOHN’S WIFE, YOUNGER, PRETTY IN AN INNOCENT WAY. HOMELY, INTELLIGENT.

STELLA
Wait for me, John.

WIDER ANGLE

CROXLEY QUICKLY GETS OVER HIS INVOLUNTARY SMILE. IT WAS A PRIVATE JOKE TO HIMSELF. ONCE MORE PROVING THE TERRIBLE POWER THAT IS MAKING HIS LIFE A MISERY.

CROXLEY
Why did you come?

STELLA
I thought I’d meet you. Aren’t you pleased to see me?

ON CROXLEY

HE LIES HIS ANSWER, FLAT, UNEMOTIONAL.

CROXLEY
Yes… it would have been better as a surprise
(a beat)
I’m not going home.

TWO SHOT

STELLA STARTS TO REMEMBER. SHE FIGHTS HER HUSBAND’S DEPRESSION THAT GROPES OUT TO ENGULF HER.

STELLA
I forgot. The doctor…

CROXLEY
I told you this morning.

ON STELLA

SHE REACTS, PUZZLED FOR AN INSTANT AND THEN SHRUGS OFF THE DEPRESSED ATMOSPHERE HE SEEMS TO CREATE.

STELLA
You can drop me on the way. I’ll get a taxi home.

THEY GET INTO CROXLEY’S CAR.

2A INT. CAR. DAY. (STUDIO) 65 SECS


CROXLEY STARTS THE CAR.

STELLA
I went to see…

CROXLEY
She’ll be better tomorrow.

STELLA
Who?

CROXLEY
Your mother. You saw her today.

ON STELLA
SHE STOPS AND LOOKS DESPERATELY OUT OF THE WINDOW AND THEN AT CROXLEY.

STELLA
Oh, God, this is awful! John, try not to do that.

ON CROXLEY

HE IS RESIGNED TO HIS CONDITION.

CROXLEY
Tell me how. You think it’s easy?

WIDER ANGLE

THEY DRIVE IN SILENCE FOR A FEW MOMENTS. STELLA WANTS TO TALK BUT IS AFRAID OF HIS REACTION. THEN:

STELLA
You’re letting it get on top of you…

CROXLEY SUDDENLY ROUNDS ON HER, ACCUSING, DEMOLISHING HER WITH THIS DEVASTATING STARE.

CROXLEY
What do you expect? It isn’t exactly normal, is it?

HE NOTICES THE FEAR IN HER EYES AND SOFTENS A LITTLE, DRAWING ON HIS THOUGHTS, TRYING TO FIND WORDS FOR WHAT HE CANNOT EXPLAIN.

STELLA
The doctor said it would pass.

CROXLEY
And if it doesn’t? Have you thought about that?

ON STELLA

SHE SHUDDERS, TRYING TO REJECT THE THOUGHT.

STELLA
Don’t John. it couldn’t stay like this. That would be too much.
(a beat)
It’ll be alright.

ON CROXLEY

STARING AHEAD

CUT TO:

3 EXT. SPACE. SKY. (VE) 6 SECS

A U.F.O. FLIES ON A STEADY, DIRECT PATH TOWARDS US.

IT TRAVELS AT SPEED AND MUSIC IS EXPECTANT… MYSTERIOUS… HINTING AT A CONNECTION WITH PREVIOUS DIALOGUE.

CUT TO:

4 EXT. OFFICE BLOCK ENTRANCE. DAY. (STUDIO) 62 SECS

CROXLEY AND STELLA WALK INTO SHOT. HE MOVES TOWARDS ENTRANCE AND PAUSES BY THE BOARD WHICH INDICATES THE OCCUPANTS OF THE BUILDING AND THEIR PROFESSIONS.

STELLA STANDS SOME DISTANCE AWAY - DETACHED, POSED AND UNCERTAIN… NOTHING TO DO NOW THAT JOHN IS ABOUT TO LEAVE HER. THEN SHE BRIGHTENS, REMEMBERING SOMETHING.

STELLA
Oh by the way, I didn’t tell you…

ON CROXLEY

HE FLARES MORE ANGRY THAN EARLIER. HIS EYES FLASH AS HE CUTS IN ON WHAT STELLA WAS ABOUT TO SAY:

CROXLEY
Stella!

TWO SHOT

STELLA DRAWS BACK BUT BEFORE SHE CAN GET CLEAR HE GRIPS HER SHOULDERS IN HIS FURY.

STELLA
I’m sorry…

CROXLEY
Shut up, can’t you! Stop it! That stupid remark… you’re always using it.

SHE BREAKS FREE AND WITH SHOCKED EXPRESSION TRIES TO EXPLAIN…

STELLA
What can I say? It’s hopeless. As soon as I start to tell you anything…

CROXLEY
You just don’t think.

ON STELLA

SHE HAS TAKEN ENOUGH

STELLA
I’m getting tired of it, John. You never used to be like this. The doctor’s got to do something… I don’t know how long I can stand it!

WIDER ANGLE

STELLA TURNS FROM HIM FIGHTING BACK THE TEARS, AND RUNS OFF.

CROXLEY WATCHES, EMOTIONLESS, MOUTH SET, THOSE SINISTER, WATERY EYES, STARING AFTER HER.

CROXLEY TURNS AND MOVES INTO THE BUILDING AND PAST THE NOTICE BOARD. WE ZOOM IN ON ONE OF THE NAMES:

“DR. F.W. WARD - PSYCHIATRIST”

CUT TO:

5 EXT. SPACE. SKY. (VE) 8 SECS

THE UFO CONTINUES ON A STRAIGHT COURSE FOR A MOMENT AND THEN STARTS TO BANK AND ALTER FLIGHT PATH, FIRST TRAVELLING TO THE RIGHT AND THEN TO THE LEFT, BUT ALWAYS TOWARDS US.

CUT TO:

6 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 5 SECS

TO ESTABLISH.

CUT TO:

7 INT. SHADO CONTROL ROOM (STUDIO) 103 SECS

FORD IS WATCHING A BLIP SIGNAL INDICATING A UFO ON HIS MONITOR. HE NODS IN DECISION AND TURNS TO MICROPHONE.

FORD
Sighting confirmed. Course varying… eight to ten degrees.

ALEC FREEMAN ENTERS CONTROL ROOM FROM THE DIRECTION OF STRAKER’S OFFICE. HE LOOKS AT THE MONITOR. THEN HE PUTS OUT A HAND. UNDERSTANDING, FORD ADJUSTS THE MICROPHONE FOR FREEMAN TO SPEAK.

FREEMAN
Control to Moonbase. How long has it been banking and weaving like this?

LT. ELLIS’ VOICE COMES OVER FROM MOONBASE.

ELLIS (VO)
It started two minutes 20 seconds ago, sir. Before that course and speed were constant.

FREEMAN
What were the readings?

ELLIS (VO)
Course 037-164. Speed SOL 1.6

ON FREEMAN

HE WORKS THINGS OVER IN HIS MIND, A SLIGHT PROBLEM BECOMING EVIDENT.

FREEMAN
We’ve never had a flight pattern like this before.

WIDER ANGLE

FREEMAN IS CONFUSED BY THE UFO FLIGHT PATTERN.

ELLIS (VO)
Course still varying. Speed now SOL 0.85… and reducing.

FREEMAN CHECKS THE TIME AND DOESN’T SEE STRAKER ENTERING THE CONTROL ROOM. FORD IS TURNED TO FREEMAN SO HE IS ALSO UNAWARE OF THE COMMANDER’S ENTRANCE.

FREEMAN
How long before Commander Straker comes on duty?

FORD AND FREEMAN REACT AS STRAKER COMES UP BEHIND THEM.

STRAKER
What’s the panic?

FREEMAN
A UFO - and it’s doing some strange things.

STRAKER REACHES FOR FORD’S REPORT SCHEDULES AND READ-OUT SLIPS. HE THROWS FREEMAN AN ENQUIRING GLANCE.

FREEMAN
Its approach is much slower than usual… and it’s varying course constantly.

ON STRAKER

HE READS COMPUTER NOTES

STRAKER
But maintaining an overall flight path. Yes, Alec, I must agree with you. This zig-zagging is unusual.

WIDER ANGLE

FREEMAN
It’s almost as if it’s trying to avoid something…

STRAKER
Or find something… We can’t take any chances. Sound Red Alert for ground stations.

FREEMAN AND STRAKER MOVE OFF TOWARDS THE DIRECTION OF STRAKER’S OFFICE AND WE OOM IN ON FORD.

FORD
SHADO Control to all stations. We have a Red Alert - repeat Condition is Red.

CUT TO:

8 MAIN TITLES - 60 SECS

   1) SPACE
   2) THE UFO
   3) EXT. MOON
   4) EXT. MOONBASE
   5) EXT. CONTROL SPHERE


9 INT. MOONBASE. (STUDIO) 8 SECS

GAY ELLIS AT CONTROL DESK. NINA AND JOAN CHECK THEIR TRACKER SYSTEMS

ELLIS
Interceptors - immediate launch.

CUT TO:

10 EXT. MOON SURFACE. (VE) 7 SECS

THE THREE INTERCEPTORS RISE UP FROM THE CRATERS AND TAKE OFF.

CUT TO:

11 INT. INTERCEPTORS. (STUDIO) 22 SECS

MARK BRADLEY CHECKS THE BANKS OF DIALS AND CONTROLS.

ELLIS (VO)
Stand by to set missile control computer.

BRADLEY
Right.

ELLIS (VO)
Computer read in - zero zero four… one four nine… one zero one… missile timing 1475.

BRADLEY FLICKS SWITCHES AND OPERATES CONTROLS TO INSTRUCTIONS.

BRADLEY
Missile programme complete.

CUT TO:

12 EXT. SPACE. SKY. (VE) 5 SECS

THE THREE INTERCEPTORS FLY IN ARROWHEAD FORMATION.

CUT TO:

13 INT. INTERCEPTOR. (STUDIO) 6 SECS


BRADLEY CHECKS HIS CONTROLS.

BRADLEY
Missile launch… 10 seconds!

14 EXT. SPACE. SKY. (VE) 5 SECS

THE UFO FLIES LEFT TO RIGHT, STILL WEAVING ON ERRATIC COURSE.

CUT TO:

15 EXT. INTERCEPTORS. (VE) 5 SECS

THE MISSILES LEAVE THE THREE INTERCEPTORS SIMULTANEOUSLY AND STREAK OUT OF SHOT.

CUT TO:

16 EXT. SPACE. SKY. (VE) 4 SECS

THE MISSILES DETONATE

CUT TO:

17 INT. MOONBASE. (STUDIO) 9 SECS

LT. ELLIS LOOKS TOWARDS NINA WITH A QUESTIONING GLANCE.

NINA
Positive… Contact lost.

ELLIS SMILES, TURNING TO MICROPHONE.

ELLIS
Moonbase to SHADO Control. We hit it, Commander.

CUT TO:

18 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 28 SECS

STRAKER SITS AT HIS DESK WATCHING LT. ELLIS ON THE MONITOR SCREEN.

STRAKER
Well done, Lieutenant.

SCREEN GOES BLANK AND WE PULL BACK TO INCLUDE FREEMAN BEFORE STRAKER’S DESK.

STRAKER
Well, it certainly made a new approach. I wonder what it was trying to do?

FREEMAN
We’ll never know - I’m glad to say.

STRAKER NODS IN AGREEMENT. A SLIGHT SMILE AT THE CORNER OF HIS MOUTH, STILL INTRIGUED BY THE IDEA.

NEXT MOMENT, GAY ELLIS’ VOICE COMES OVER.

ELLIS (VO)
Moonbase to SHADO Control.

STRAKER OPERATES MONITOR CONTROL AND ELLIS APPEARS ON SCREEN. SHE LOOKS WORRIED.

STRAKER
What is it, Lieutenant?

CUT TO:

19 INT. MOONBASE. (STUDIO) 8 SECS

GAY ELLIS IS READY FOR A BIG STORM. SHE HESITATES SLIGHTLY WITH THE INFORMATION.

ELLIS
I - I have another contact…

STRAKER
A second UFO?

ELLIS
No, Sir.
(pause)
The same one!

CUT TO:

20 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 14 SECS

ON STRAKER

HE FROWNS IN ANNOYANCE AT ELLIS.

STRAKER
But you reported a positive detonation.

ELLIS
I know, sir… the scanners showed negative… but it’s back.

WIDER ANGLE

STRAKER GLANCES UP AT FREEMAN. HIS LOOK TELL ALEC EXACTLY WHAT HE THINKS AT THE MOMENT OF GAY ELLIS. WHEN HE SPEAKS AGAIN TO THE MONITOR, THERE IS AN ACCEPTANCE OF THE WORST POSITION IN HIS VOICE.

STRAKER
What’s the situation now, Lieutenant?

CUT TO:

21 INT. MOONBASE. (STUDIO) 6 SECS

ON ELLIS

NOW SHE TELLS THE BAD PART

ELLIS

I’m sorry, sir… but it’s through Moonbase defences… heading for Earth. Maintaining Red Alert.

CUT TO:

22 INT. DR. WARD’S CONSULTING ROOM. EVENING. (STUDIO) 170 SECS

ON CROXLEY - BRILLIANTLY LIT IN RED.

THEN A GENTLE VOICE IS HEARD, SOOTHING, SLIGHT FOREIGN ACCENT, ALMOST HYPNOTIC. THE VOICE CALMS CROXLEY FOR A MOMENT AND HE RELAXES AND LIGHT PATTERNS ON HIS FACE CHANGE TO A SOFTER EFFECT.

WARD
Is there something wrong, Mr Croxley? Just relax and tell me all about it.

WE PULL BACK TO SHOW CROXLEY LYING ON A PSYCHIATRISTS’S COUCH. BEFORE HIM ON A SPECIALLY ANGLED SCREEN SO THAT HE CAN COMFORTABLY WATCH IT, STRANGE AND COLOURFUL PATTERNS ARE PROJECTED FROM AN UNSEEN SOURCE. ELECTRODES WITH TRAILING WIRES ARE ATTACHED TO CROXLEY’S TEMPLES.

THE PATTERNS MAKE INTERESTING COLOUR ARRANGEMENTS ON CROXLEY’S FACE GIVING HIM VARYING EXPRESSIONS… SOME WEIRD, SOME NORMAL - TO SUIT DIALOGUE.

NEARBY SITTING AT AN IMPRESSIVE DESK IS DR. WARD, A VERY EXPERIENCED PSYCHIATRIST.

CROXLEY SETTLES DOWN FINALLY AND THE LIGHT PATTERNS REMAIN SOFT AND UNCOMPLICATED.

WARD
That’s better. Now let’s see if we can go back to the start of your condition.

ON CROXLEY

HE FLARES, NO LONGER INTERESTED IN THE INTERVIEW. THE LIGHT PATTERNS GROW MORE VIOLENT TO MATCH HIS MOOD.

CROXLEY
What do you want, doctor… ? Do you want a show… a few party tricks?

ON WARD

HE IS PUZZLED BY CROXLEY’S BEHAVIOUR, BUT HIS VOICE KEEPS ITS CALM AND SOOTHING TONE.

WARD
That won’t be necessary, Mr Croxley.
(pause)
Sometimes I wonder if you really want to be helped…

WIDER ANGLE

CROXLEY SWINGS HIS LEGS OFF THE COUCH AND SITS FACING THE DOCTOR.

WARD
Most of the time your answers to my questions are complete and direct… but somewhere there’s a mental block… a refusal to discuss a detail.

CROXLEY RISES, NOT INTERESTED IN WARD’S WORDS.

CROXLEY
I have to go.

HE PULLS THE ELECTRODES OFF AND THE SCREEN GOES BLANK.

WARD
There… you see! It’s as though I touched an exposed nerve end. Won’t you relax, Mr. Croxley. I mean really open your mind to me?

CROXLEY
We’ve been over all this before.

ON WARD

HE SMILES SYMPATHETICALLY, TOLERANTLY.

WARD
Yes, I know… but it will help us to clarify our thoughts. Perhaps you have left something out.

WIDER ANGLE

CROXLEY TURNS HIS HEAD AWAY FROM THE LIGHT SCREEN AND LOOKS AT WARD.

CROXLEY
What’s the point of all this?

WARD
I’m trying to help you.

CROXLEY
Are you? Why is it taking so long?

ON WARD

HIS EXPRESSION GROWS HARD AS HE ACCEPTS CROXLEY’S CHALLENGE BUT HIS VOICE STAYS CALM AND SOOTHING.

WARD
You’re not being absolutely frank with me, Mr. Croxley. There are certain areas of your recent past… your innermost thoughts… you seem to be hiding these from me.

CROXLEY
There’s no point. I know it now. You can’t help me. I shouldn’t have let my wife talk me into coming here.

WARD
It’s early days yet… come back and see me again when you feel more… eh… responsive.

WARD CONSULTS HIS APPOINTMENT BOOK AND SMILES.

WARD
My secretary has pencilled in another…

CROXLEY BREAKS IN. TO HIM IT IS A MATTER-OF-FACT ANSWER.

CROXLEY
No, I can’t make Thursday.

ON WARD

HE FROWNS

WARD
What did you say?

ON CROXLEY

A SLIGHT WORRY CROSSES HIS FACE.

CROXLEY
I thought you said… Thursday.

WIDER ANGLE

CROXLEY IS IMPATIENT TO GO AND TRIES TO AVOID THE DOCTOR’S FRIENDLY MANNER.

WARD
No, Mr. Croxley. I was about to… but you anticipated my words.

CROXLEY
There’s no point in going on. I know it now. I won’t came again.

CROXLEY MOVES A PACE NEARER THE DOOR. WARD COMES ROUND THE DESK TO JOIN HIM.

WARD.
It’s a great pity, Mr. Croxley… I feel we were beginning to make progress. Well, you know where to contact me. If you change your mind don’t hesitate to call.

ON CROXLEY

HE IS ABOUT TO GO WHEN HE GIVES A DEFINITE SHUDDER AS IF SOMEONE HAS WALKED OVER HIS GRAVE.

ON WARD

HE REACTS, WITH A SLIGHT FROWN, SEEING THE SHUDDER.

WARD
Are you all right?

WIDER ANGLE

CROXLEY’S EYES STARE INTO SPACE.

CROXLEY
Yes… I’m fine. It’s my wife. She’s going to have a visitor.

CROXLEY EXITS LEAVING WARD FROWNING AT THE CLOSED DOOR.

CUT TO:

23 EXT. UPPER ATMOSPHERE. (VE) 6 SECS

THE UFO COMES THROUGH THE THRESHOLD OF SPACE INTO THE EARTH’S UPPER ATMOSPHERE. IT WAVERS AND WEAVES FROM TRUE FLIGHT, DAMAGED BY THE MISSILE ATTACK.

CUT TO:

24 INT. SHADO CONTROL ROOM. (STUDIO) 195 SECS

STRAKER AND FREEMAN ARE CLOSE TO FORD. OTHER OPERATIVES ARE BUSTLING IN B.G. THE SCENE IS OF MUCH INDUSTRY AND URGENCY.

STRAKER
How did those Interceptors miss? That UFO seemed to be a sitting target.

FREEMAN
Maybe that’s what we were supposed to think.

ON STRAKER
That’s quite a point, Alec… force the interceptors to release the missiles - avoid them - and it has a clear run past Moonbase defences.

WIDER ANGLE

STRAKER TURNS TO FORD WHO CHECKS A MONITOR TRACKING SCREEN WHICH INDICATES THE ERRATIC FLIGHT PATH OF THE UFO.

STRAKER
Where is it now?

FORD
Range 7,000,000. Speed SOL 0.142

STRAKER
Trajectory termination?

FORD
Difficult to say, sir. It’s changing course more violently than before. Nearest we can get is Western Europe.

ON STRAKER

HE CONTINUES TO WORK OUT THE COMBINATIONS OF LIKELY ANSWERS TO THE UFO’S BEHAVIOUR.

STRAKER
It could be damaged; Lieutenant Ellis reported a strike.

WIDER ANGLE

FORD BECOMES MORE INTENT ON HIS CONTROLS AS A TRACE OF EXCITEMENT IS CAUGHT IN HIS VOICE.

FORD
Increasing speed. SOL - 1.429… 1.895… 2.438…

FREEMAN
That does it! We’ll never get near it at that speed.

ON STRAKER

HE IS DEADLY SERIOUS - WORRIED.

FREEMAN
We must get a closer E.T.T. Is the rate of descent constant?

WIDER ANGLE

FORD
More or less… there’s still a slight variation.

FREEMAN
Then it must be possible to work out a broad target area.

FORD
We’ll try, sir… but our readings are less than adequate computer data.

FREEMAN
Do your best, Lieutenant.

TWO SHOT

FREEMAN MOVES TO STRAKER’S SIDE. THE COMMANDER HAS HAD TIME TO DO SOME THINKING.

FREEMAN
Well, it looks like it’s going to hit. The question now is what is it up to?

STRAKER
I’ll tell you what I think is happening, Alec. I think this UFO is under manual control.

FREEMAN REACTS.

ON STRAKER

HIS EYES NARROW AS HE COMPLETES HIS SURMISE.

STRAKER
At first the flight variation was used to disrupt the computer programmes. Now, Alec, I believe the alien is fighting to regain control.

WIDER ANGLE

FREEMAN PACES WITH STRAKER

FREEMAN
That makes sense… if it is damaged.

STRAKER
Yes… the next few minutes are going to be very interesting…

FORD MOVES TO THE COMPUTER READ-OUT. HIS ACTION IS NOTICED BY STRAKER AND FREEMAN AND THEY CROSS TO HIS POSITION AND WAIT FOR THE VERDICT.

FORD
Trajectory termination… Areas 12 to 23.

FREEMAN
Southern England.

STRAKER
Too close for comfort. Sound a general alarm.

AN URGENT INTERNAL ALARM SOUNDS.

STRAKER STARTS TO MOVE DOWN THE ROOM TOWARDS HIS OFFICE, DEEP IN THOUGHT. HE PASSES AN OPERATIVE WHO IS CHECKING A RADAR SCREEN.

HE SUDDENLY TURNS TO STRAKER.

OPERATIVE
Sir… course 017-422.

STRAKER TURNS TO FORD.

STRAKER
Lieutenant?

FORD HECKS HIS CONTROLS… AND GETS THE ANSWER.

FORD
E.T.T. … Area 17. Map reference 4 zero 5 - Green.

STRAKER
Alert to the mobiles.

CUT TO:

25 EXT. COUNTRY ROAD. EVENING. (V.E.) 30 SECS

ONE OR TWO PRIVATE CARS PASS AND THEN WE SEE A LARGE PANTECHNICON MOVING DOWN THE ROAD.

IT CONTINUES ALONG A COUNTRY ROAD AND THEN DETOURS TAKING A SMALLER SIDE ROAD THROUGH TREES AND DENSE THICKET. IT REACHES A LAYBY AND HALTS.

THE TAILGATE LOWERS AND THE SHADO SCOUT MOBILE, IDENTIFIED BY NUMERAL 2 DRIVES OUT.

CUT TO:

26 INT. SHADO MOBILE. EVENING. (STUDIO) 17 SECS

FOSTER AT CONTROLS.

HE OPERATES RADIO.

FOSTER
Mobile 2 to Control. Pass your instructions.

FORD (VO)
This is a Red Alert. Proceed to map reference 4 zero 5 Green and stand by.

FOSTER
Roger, Control.

CUT TO:

27 EXT. SHADO MOBILE. DAY. (V.E.) 5 SECS

IT MOVES ALONG ROAD AND THEN SWINGS OFF, TAKING UNMADE DIRT ROAD.

CUT TO:

28 INT. SHADO CONTROL. (STUDIO) 70 SECS

STRAKER AND FREEMAN STANDING BY FORD’S CONSOLE.

FORD
Mobile 2 moving to E.T.T. now, sir.

STRAKER
Good…

FORD REACTS, NOTICING A FUNCTION AT CONTROLS.

FORD
Reducing speed rapidly. 48,000 knots. Range 8,000 miles.

THE MONITOR SCREEN SHOWS ZIG-AG UFO FLIGHT PATH ONCE MORE.

FREEMAN
It’s weaving off line again.

STRAKER MOVES CLOSE TO MICROPHONE AND SPEAKS URGENTLY.

STRAKER
SHADO Control to Mobile 2. This is Straker. Get that area sealed off, Foster.

FOSTER (VO)
Yes, sir.

FORD
It’s straightening out.

STRAKER REACTS AND LOOKS AT FREEMAN. IT IS A PUZZLING SITUATION.

FORD
Course 071 - 422 maintained. Speed 35,000 knots and reducing. Range 5,000 miles.

STRAKER LOOKS HARD AT FREEMAN, THINKING DEEPLY, THEN HE GIVES THAT STRAKER NOD OF DECISION AND MOVES IN THE DIRECTION OF HIS OFFICE.

STRAKER
I want a detailed survey of that area. If there is a specific target, I want to know what it is - in advance. I’ll be in my office.

CUT TO:

29 EXT. SHADO MOBILE. DAY. (V.E.) 5 SECS

IT TRAVELS ACROSS COMMON LAND.

CUT TO:

30 INT. SHADO MOBILE. DAY. (STUDIO) 20 SECS

FOSTER CHECKS A MONITOR SCREEN ON WHICH APPEARS A GRID MAP OF THE AREA. HE THEN TUNES IN RADIO.

FOSTER
Mobile 2 to Control. According to my survey maps there’s just a derelict farm and a couple of houses within a five mile radius of the ETT.

STRAKER (VO)
You know what to do, Foster… Security Camp down code 9, on all occupants.

FOSTER
Roger…

CUT TO:

31 INT. STRAKER’S SHADO OFFICE. (STUDIO) 40 SECS

MAPS ARE STREWN OVER HIS DESK WITH MEASURING EQUIPMENT, COMPASSES ETC., ON SCREEN IS A SURVEY MAP OF THE AREA.

ON STRAKER

HE STUDIES THE MAPS DILIGENTLY, MAKING NOTES ON A PAD.

HE LOOKS UP, FROWNING.

STRAKER
It’s wooded common land. What could be of interest there?

WIDER ANGLE

FREEMAN IS BEFORE STRAKER’S DESK.

FREEMAN
It’s out of control. The alien is being forced to crash land.

STRAKER
No, somehow I don’t think so.

ON STRAKER

HE LOOKS UP AND SWINGS ROUND IN THE CHAIR, FINGER TIP ON CHIN, HANDS TOGETHER, THINKING.

STRAKER
What is it after, Alec? What does it want in the middle of a wilderness of trees and bracken?

CUT TO:

32 EXT. CROXLEY’S HOUSE. EVENING. (V.E.) 11 SECS

THIS IS TOWARDS THE EDGE OF COMMON LAND AND IS ONE OF THE HOUSES REFERRED TO IN THE PREVIOUS DIALOGUE.

THE BUILDING IS OLD, QUITE SMALL, A MODEST COTTAGE TO SUIT CROXLEY’S MODEST INCOME.

THERE IS A LIGHT BURNING IN AN UPPER ROOM AND EVENING’S GLOOM IS DRAWING IN.

WE HEAR THE SHRILL OF A TELEPHONE RINGING AND TRACK IN ON WINDOW.

CUT TO:

33 INT. CROXLEY’S BEDROOM. EVENING. (STUDIO) 15 SECS

STELLA CROXLEY IS MAKING UP IN THE BEDROOM, PRETTYING HERSELF FOR CROXLEY’S RETURN.

ON CAT

IN THE BEDROOM.

RESUME SCENE

SHE MOVES TO A TELEPHONE AND LIFTS THE RECEIVER, BUT BEFORE SHE CAN SPEAK - WE HEAR CROXLEY’S VOICE.

CROXLEY (vo)
Stella! I’m on my way home.

STELLA
John. What did the doctor say?

CROXLEY (vo)
He wants to help.

CUT TO:

34 INT. CAR. EVENING. (STUDIO) 14 SECS

CROSLEY ON THE PHONE, BORED WITH THE CONVERSATION.

STELLA (VO)
Well that’s wonderful.

CROXLEY
Well, I’m not going back.

STELLA (VO)
But John, I…

CROXLEY
Has your visitor arrived yet?

STELLA (VO)
Visitor? I’m not expecting anyone…

CUT TO:

35 INT. CROXLEY BEDROOM. EVENING. (STUDIO) 14 SECS


STELLA TALKS INTO PHONE, PUZZLED.

STELLA
I’d planned a quiet evening… I thought we’d…

CROXLEY (VO)
I have to ring off… I have some thinking to do.

CROXLEY HANGS UP AND STELLA LOOKS A LITTLE SHOCKED.

SHE STARES INTO MOUTHPIECE, A HUGE DOUBT IN HER MIND.

ON CAT.

LOOKING AT HER.

CUT TO:

36 INT. SHADO CONTROL ROOM. (STUDIO) 31 SECS

FORD IS AT HIS CONTROLS AND OTHER OPERATIVES MAINTAIN THE URGENT ATMOSPHERE. ONE OPERATIVE GIVES INFORMATION FROM A READ OUT.

BEYOND, STRAKER AND FREEMAN ENTER THE CONTROL ROOM FROM THE DIRECTION OF STRAKER’S OFFICE.

OPERATIVE
UFO speed decreasing. 12,000 knots… Range 1000 miles.

FORD CHECKS HIS SYSTEMS.

FORD
Course maintained. No deviation.

STRAKER TAKES READ-OUT FROM OPERATIVE.

STRAKER
So it’s back under control and slowing down enough for a landing.

FREEMAN
When’s the estimated termination?

A GLANCE AT THE CONTROLS, THEN:

FORD
Five minutes! Colonel Foster won’t have time to complete evacuation of the area.

STRAKER
No. We’ll have to use Amnesia shots later… if necessary.

CUT TO:

37 INT. CAR. EVENING. (STUDIO) 20 SECS

CROXLEY GLANCES ABOUT HIM AS HE DRIVES.

HIS BREATHING IS HURRIED AND HE LOOKS TO BE IN FEAR.

ON CROXLEY.

HIS EYES GO UP TO THE SKY OUT OF HE WINDOW. HE SWEATS AND HIS BREATH COMES FASTER.

C.S. CROXLEY

HE STARTS TO MOAN, STILL GLANCING UP AT THE SKY, IN ALL DIRECTIONS, HIS GAZE SWEEPING THE CLOUDS, SEARCHING.

CUT TO:

38 INT. CONTROL ROOM. (STUDIO) 19 SECS

THE TENSION IS MOUNTING AS THE URGENCY BUILDS. EFFICIENCY REIGNS SUPREME. ALL THE OPERATIVES ON THEIR TOES AT THEIR CONTROL STATIONS.

FREEMAN AND STRAKER ARE AT FORD’S CONSOLE.

OPERATIVE
Four minutes to impact.

FORD
Speed 7,500 knots… decreasing. Range 600 miles.

FREEMAN CHECKS HIS WATCH.

FREEMAN
Well the road blocks should be in position now. The whole area’s sealed off.

STRAKER NODS

CUT TO:

39 EXT. SHADO MOBILE. EVENING. (V.E.) 8 SECS

THE MOBILE MOVES OVER ROUGH TERRAIN, THROUGH TREES AND STOPS ON THE EDGE OF A CLEAR AREA.

THE ENGINE WINDS DOWN AND CUTS OUT.

CUT TO:

40 INT. CAR. EVENING. (STUDIO) 9 SECS

CROXLEY DRIVING IN EXHAUSTED FASHION. HE PANTS HEAVILY AS HE GLANCES AT THE SKY, SEARCHING. HE REACTS, SENSING THE UFO IS NEAR, BUT NOT SEEING IT.

CUT TO:

41 EXT. SKY. (EVENING) (V.E.) 6 SECS

THE UFO IS MOVING THROUGH THE UPPER SKY TOWARDS CLOUD BANKS INDICATING THAT IT IS GETTING NEARER TO EARTH ALL THE TIME.

CUT TO:

42 INT. SHADO CONTROL ROOM. (STUDIO) 15 SECS


STRAKER AND FREEMAN WAIT ANXIOUSLY AS FORD COUNTS OFF THE CLOSING MINUTES TO IMPACT.

FORD
Three minutes to termination. Course maintained. Speed reducing.

FREEMAN
Come on friend… we’re waiting for you.

STRAKER
It’s going to be a perfect landing, Alec… and we’re right there!

CUT TO:

43 INT. SKY. EVENING. (V.E.) 4 SECS

THE UFO GOES DOWN INTO CLOUD COVER AND IS LOST TO SIGHT.

CUT TO:

44 EXT. COMMON CHECK-POINT. EVENING. (LOCATION) 32 SECS

THREE PLAIN-CLOTHED SECURITY MEN BLOCK THE ROAD BETWEEN TREES. CROXLEY’S CAR PULLS UP AT THE CHECK-POINT AND CROXLEY GETS OUT.

ON CROXLEY.

HE DOES NOT APPEAR TO BE SURPRISED AT THE SIGHT OF BARRIER.

HE BREATHES HEAVILY AND WALKS WEARILY UP TO THE SECURITY MEN.

1ST MAN
Sorry, sir… this area has been sealed off.

2ND MAN
Military manoeuvers.

CROXLEY
Military manoeuvres?

1ST MAN
Yes, sir. Do you -

CROXLEY CUTS IN, HIS EXPRESSION TRANCE-LIKE, HIS EERIE EYES DISTANT.

CROXLEY
Yes - I live a couple of miles over there.

THE MAN IS PUZZLED.

1ST MAN
You’ll have to -

CROXLEY CUTS IN AGAIN, VACANTLY.

CROXLEY
I know. I’ll wait here. It won’t be long now!

CUT TO:

45 INT. SHADO CONTROL. (STUDIO) 19 SECS

FORD’S VOICE RISES IN PITCH AS HE WARNS OF FINAL MINUTE. STRAKER AND FREEMAN WATCH THE MONITORS, NOTING THE RADAR SWEEPS AND UFO COURSE PLOTTER.

FORD
One minute… course maintained. Speed…

HE BREAKS OFF AND CHECKS HIS INSTRUMENTS. HE GLANCES AT STRAKER, A FROWN ON HIS BROW.

FORD
Speed increasing.

STRAKER
Check it.

FORD
I have, sir. No error. It’s coming down faster.

STRAKER
Get me Foster.

CUT TO:

46 INT. SHADO MOBILE. EVENING. (STUDIO) 11 SECS

FOSTER OPERATES RADIO.

FOSTER
Mobile 2… go ahead, control.

STRAKER (VO)
The UFO’s increased speed to crash velocity. It'll be too late to correct. Do you understand?

FOSTER
Yes, sir.

CUT TO:

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

ON STRAKER

HE HOLDS THE MICROPHONE AND TALK INTO IT VERY CLEARLY.

STRAKER
The impact may not be too violent, Foster… if there’s a survivor, I want him.

FOSTER (VO)
Right.

CUT TO:

48 EXT. SKY. EVENING. (V.E.) 4 SECS

THE UFO DESCENDS RAPIDLY THROUGH CLOUDS WAVERING.

CUT TO:

49 EXT. SHADO CONTROL. (EVENING) (V.E.) 8 SECS

THE MOBILE REMAINS STATIONARY AND THEN THE MOTOR STARTS UP AND IDLES, READY TO MOVE OFF.

THE NOISE OF THE UFO COMES OVER INDICATING THAT IT IS CLOSE.

CUT TO:

50 INT. SHADO MOBILE. EVENING. (STUDIO) 15 SECS

FOSTER GLANCES THROUGH WINDSCREEN TO LOCATE THE UFO.

HE SEES NOTHING AND REFERS TO HIS INSTRUMENTS.

FOSTER
Mobile to Control. Have audio on UFO. Cloud cover prevents visual.

FORD (VO)
Roger, Mobile. It will be over you in 30 seconds.

CUT TO:

51 INT. SHADO CONTROL ROOM. (STUDIO) 16 SECS

FORD LEANS FORWARD, CHECKING HIS CONTROLS. STRAKER AND FREEMAN ARE ALERT.

FORD
It’s decreasing speed… switching… yes… course altered two degrees!

STRAKER GRABS MICROPHONE.

WE ZOOM IN ON HIM.

STRAKER
Foster… have you visual contact?

FOSTER (VO)
No, sir. Tracking on audio.

CUT TO:

52 EXT. CROXLEY’S HOUSE. EVENING. (V.E.) 5 SECS

THE UFO COMES IN LOW. THEN, GATHERING SPEED, IT ACCELERATES AWAY AND RISES OVER A LINE OF DENSE TREES AHEAD AND IS LOST TO SIGHT BEHIND THEM.

CUT TO:

53 EXT. CROXLEY’S HOUSE. EVENING. (V.E.) 5 SECS

TO ESTABLISH.

A LIGHT STILL BURNS IN THE BEDROOM.

CUT TO:

53A INT. BEDROOM. EVENING. (STUDIO) 15 SECS

STELLA CROXLEY IN THE BEDROOM.

ON CAT.

SITTING TENSED, READY TO MOVE. SUDDENLY IT LEAPS UP AND RUNS FROM THE ROOM.

ON STELLA..

PUZZLED BY THE SUDDEN MOVEMENT.

CUT TO:

54 EXT. CROXLEY’S HOUSE. EVENING. (V.E.) 12 SECS

WE HOLD A FEW SECONDS THEN THE SOUND OF THE UFO’S APPROACH IS HEARD. WE PULL BACK AND THE UFO ENTERS SHOT, SPEEDING ON CRASH COURSE DIRECT FOR THE HOUSE.

THE UFO CRASHES INTO THE HOUSE. IT CONTINUES ON TO COME TO A REST A SHORT DISTANCE AWAY.

CUT TO:

55 EXT. COMMON CHECK-POINT. EVENING. (LOCATION) 9 SECS

CROXLEY’S EYES ROLL AS FEAR GRIPS HIM. A SECURITY MAN CROSSES TO HIM.

MAN
Are you all right, sir?

CROXLEY COLLAPSES AND FALLS TO THE GROUND.

CUT TO:

56 EXT. SHADO MOBILE. EVENING. (V.E.) 8 SECS

THE VEHICLE IS TRAVELLING AT SPEED THROUGH TREES, FOLLOWING THE COURSE OF THE UFO. ABOVE TREES IN THE DISTANCE, A MILE AWAY WE SEE A PLUME OF BLACK SMOKE.

CUT TO:

57 INT. SHADO MOBILE. EVENING. (STUDIO) 14 SECS

FOSTER WRESTLES TO CONTROL THE SPEEDING VEHICLE. HE TALKS INTO THE MICROPHONE.

FOSTER
One mile from impact. There’s a column of smoke.

STRAKER (VO)
Get there as fast as you can, Foster.

FOSTER BECOMES EVEN MORE INTENT AND CONCENTRATES ON DRIVING.

CUT TO:

58 EXT. SHADO MOBILE. EVENING. (V.E.) 12 SECS

IT TRAVELS AT GREAT SPEED THROUGH THE TREES AND REACHES CLEARER TERRAIN. THE HOUSE IS SEEN IN BACKGROUND WITH THE FRONT SMASHED IN. THICK BLACK SMOKE OBSCURES THE EXTENT OF THE DAMAGE AND ANY SIGN OF THE UFO.

THE MOBILE COMES TO A HALT.

CUT TO:

59 INT. SHADO MOBILE. EVENING. (STUDIO) 15 SECS

FOSTER STARES THROUGH WINDSCREEN, TRYING TO SEE BEYOND THE SMOKE.

HE OPERATES THE RADIO.

FOSTER
Mobile to SHADO Control… it’s crashed right into a house!

THERE IS ANOTHER MOMENT’S HUSH, THEN:

STRAKER (VO)
Okay Foster, do what you can!

FOSTER STARTS TO DRIVE FORWARD.

CUT TO:

60 INT. SHADO CONTROL. (STUDIO) 12 SECS

STRAKER SIGHS DEEPLY AND TURNS SLOWLY TO FREEMAN.

STRAKER
I don’t get it - under control, out of control, safe landing velocity, then crash velocity. Now it hits a house. What happened?

FREEMAN
We’ll just have to wait for Foster’s report.

CUT TO:

61 INT. MOBILE. EVENING. (STUDIO) 6 SECS

ON FOSTER.

THE MOBILE IS STOPPED. FOSTER TRIES TO SEE THROUGH THE SMOKE.

CUT TO:

62 EXT. MOBILE. EVENING. (V.E.) 6 SECS

THE MOBILE IS STOPPED CLOSE TO THE HOUSE. THE UFO CANNOT BE SEEN BECAUSE OF THE SMOKE.

CUT TO:

63 EXT. CROXLEY’S HOUSE. (EVENING) (V.E.) 8 SECS

IN A MUCH WIDER ANGLE WE THE UFO. IT BEGINS TO GLOW AND THEN SUDDENLY EXPLODES.

THE RUINS OF THE HOUSE AND THE MOBILE ARE ENGULFED BY THE DETONATION.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

64 EXT. RUINED HOUSE. EVENING. (V.E.) 7 SECS

IT IS SOME HOURS AFTER THE EXPLOSION. THE FRONT WALL REMAINS INTACT, BUT THE ROOF AND PARTS OF THE UPPER STOREY SAVE FOR THE STAIRCASE AND THE LANDING AND THE ODD ROOM, HAVE GONE. LARGE JAGGED HOLES MARK THE FRONT SHOWING THE ACTION OF FLYING METAL AND SHRAPNEL.

CUT TO:

65 EXT. DRIVEWAY. NIGHT. (LOCATION) 19 SECS

STRAKER’S CAR DRAWS UP AT THE END OF THE DRIVE BUMPING OVER THE UNMADE DIRT ROAD. FLOODLIGHTS ARE IN EVIDENCE, DIRECTED ON THE THE HOUSE WHICH IS OUT OF SHOT.

STRAKER AND FREEMAN ARE IN THE CAR TALKING.

NEARBY ARE A PLAIN-CLOTHED SHADO SECURITY MAN AND A WHITE COATED SCIENTIST. THE SECURITY MAN GLANCES INTO THE CAR, HE SEES STRAKER, SALUTES AND MOVES OFF OUT OF SHOT WITH THE SCIENTIST.

CUT TO:

66 INT. STRAKER’S CAR. NIGHT. (STUDIO) 55 SECS

FREEMAN LOOKS TOWARDS THE REMAINS OF THE HOUSE.

FREEMAN
Quite a mess.

ON STRAKER

STRAKER
Let’s go over the facts, Alec. Right from the start that UFO was on an unusual flight pattern.

TWO SHOT

FREEMAN
Well, we can only guess it was a method to out-manoeuvre the interceptors.

STRAKER
Yes… but let’s say the UFO came in damaged.

FREEMAN
And unable to control his ship, the alien tried to land. He failed and hit that house.

ON STRAKER

HE SHAKES HIS HEAD

STRAKER
No, Alec… I don’t buy that. For a time it was out of control… but just before impact it seemed to be fine.

WIDER ANGLE

STRAKER
Then at the last minute it looped that line of trees, and smashed straight into an isolated house.

FREEMAN
Sheer chance… the house just happened to be in the way.

STRAKER
Well, you could be right… but there is enough doubt in my mind to make me want to see the place for myself.

THEY GO TO GET OUT OF THE CAR.

CUT TO:

67 DELETED

68 INT. RUIN. NIGHT. (STUDIO) 77 SECS


STRAKER AND FREEMAN COME INTO THE RUINS. STRAKER KICKS A PILE OF RUBBLE AND TAKES A WARY LOOK UPWARDS AS A SHOWER OF POWDERY DUST TELLS HIM THE PLACE IS FAR FROM SAFE.

STRAKER
How about the pilot?

FREEMAN
There was just enough evidence left to establish he was an alien.

STRAKER
And the UFO was completely destroyed?

FREEMAN
The largest piece measured six inches… they found it embedded in Foster’s mobile.

STRAKER
Any news on his condition?

FREEMAN
Too early to say. He’s lost a lot of blood. At least he was luckier than the co-driver.

STRAKER NODS SERIOUSLY. HIS FACE SHOWS THE COMPASSION HE FEELS FOR FOSTER.

FREEMAN WATCHES STRAKER STROLL OVER THE IMMEDIATE AREA, STOOPING TO PICK UP SOMETHING UP. WE CAN’T SEE THE OBJECT YET.

ON STRAKER

HE HOLDS UP THE OBJECT HE FOUND. IT IS A POWDER COMPACT.

STRAKER
What about the woman?

FREEMAN (VO)
Couldn’t have known too much. It must have been instantaneous.

WIDER ANGLE

STRAKER PLAYS WITH THE COMPACT, OPENING AND SHUTTING IT.

STRAKER
What do we know about her?

FREEMAN
She was an ordinary woman… married… no children.

STRAKER
Nothing to link her with UFO’s?

FREEMAN
Nothing… that we know of.

STRAKER SNAPS OPEN THE COMPACT AND READS THE INSCRIPTION INSIDE.

STRAKER
“To Stella - Love John”. Her husband?

ON FREEMAN

HE INDICATES OFF STAGE

FREEMAN
Her husband’s outside.

CUT TO:

69 EXT. STRAKER’S CAR. NIGHT. (LOCATION) 14 SECS

WE SEE A COUPLE OF PLAIN-CLOTHED MEN NEAR THE VEHICLE. WITH THEM, WAITING, STARING, IS JOHN CROXLEY.

ZOOM IN CLOSE ON CROXLEY

HE LOOKS STRAIGHT AHEAD, EYES NARROWED AS IF THINKING DEEPLY, WORKING SOMETHING OUT.

WE GO IN EVEN CLOSER AND SENSE AN EVIL ABOUT HIS STARE. THE EERIE MUSIC HEARD IN OPENING SHOTS BECOMES STRONGER…

CUT TO:

70 EXT. RUINED HOUSE. NIGHT. (V.E.) 5 SECS

CROXLEY’S EYELINE

71 INT. RUINED HOUSE. NIGHT. (STUDIO) 10 SECS

ON STRAKER

MUSIC CONTINUES IN STRANGE MOOD. STRAKER SHIVERS INVOLUNTARILY.

WIDER ANGLE

STRAKER LOOKS UP

STRAKER
I’d better talk to him, Alec…

FREEMAN TURNS AND LEAVES.

CUT TO:

72 EXT. STRAKER’S CAR. NIGHT. (LOCATION) 12 SECS

FREEMAN ENTERS SHOT AND TALKS QUIETLY TO CROXLEY. WE DO NOT HEAR WHAT THEY SAY… THERE IS NO NEED.

CROXLEY MOVES TOWARDS US AS IF HEADING FOR RUIN.

CUT TO:

73 INT. RUIN. NIGHT. (STUDIO) 47 SECS

STRAKER TURNS. CROXLEY HAS COME NOISELESSLY INTO THE RUIN. STRAKER DOESN’T UNDERSTAND FOR A MOMENT, THEN REALISES AND GIVES HIM THE COMPACT.

STRAKER
I’m sorry…

CROXLEY
You killed her!

STRAKER LOWERS HIS EYES AND BEFORE HE CAN SPEAK:

CROXLEY
An experimental aircraft crashed into my house.

STRAKER
How did you know that?

CROXLEY HESITATES AND THEN SEEMS TO COME OUT OF HIS TRANCE.

CROXLEY
I was at the checkpoint when word came through.

STRAKER
I’m afraid there’s not much I can tell you.

CROXLEY
I know… the details are classified.

ON STRAKER

STRAKER FROWNS AS THE MAN ANTICIPATES HIS WORDS.

STRAKER
If there’s anything…

ON CROXLEY

HE CUTS IN - HIS GAZE STARING, UNFLINCHING.

CROXLEY
Don’t you think you’ve done enough? My wife is dead…

WIDER ANGLE

CROXLEY STARTS TO WALK AWAY, LEAVING STRAKER WONDERING.

STRAKER
Look, you’ve had a terrible shock… have you -

CROXLEY
No… they were all Stella’s friends. They don’t mean anything to me.

CROXLEY LEAVES

CUT TO:

74 EXT. STRAKER’S CAR. NIGHT. (LOCATION) 7 SECS

CROXLEY IS MOVING OFF PAST THE CAR. HE IS NO LONGER INTERESTED IN STRAKER. HE HAS LEARNED ENOUGH FROM HIM FOR THE MOMENT. FREEMAN WATCHES HIM THEN MOVES TOWARDS THE RUINED HOUSE O.S.

CUT TO:

75 INT. RUINED HOUSE. NIGHT. (STUDIO) 25 SECS

STRAKER REMAINS DEEP IN THOUGHT.

FREEMAN COMES IN.

FREEMAN
How’s he taking it?

STRAKER
Hard to tell. He seemed to know exactly what I was going to say.

FREEMAN
Yes… I guess it’s difficult to find a new way of telling a guy you’re sorry.

STRAKER GIVES FREEMAN A HARD LOOK, WONDERING IF HE SHOULD PUT HIM RIGHT… MAKE HIM UNDERSTAND THAT IT’S NOT THAT SIMPLE. BUT THEN HE DECIDES NOT TO BOTHER.

STRAKER
Let’s get out of here, Alec.

CUT TO:

76 EXT. RUIN. DAY. (V.E.) 5 SECS


TWO WEEKS HAVE PASSED. NO SIGN OF ACTIVITY.

CUT TO:

76A INT. RUIN. DAY. (STUDIO) 15 SECS

EVERYTHING IS STILL. WE PAN TO CROXLEY STANDING SILENT IN THE RUINS. HE HOLDS A PORTABLE TYPEWRITER.

ON CROXLEY

HE STARES OFF INTO SPACE, REMEMBERING. THEN HE LOOKS UP TO:

ON CAT

SITTING IN THE RUINS., STILL, SOMEHOW MENACING.

CUT TO:

77 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 5 SECS

TO ESTABLISH

CUT TO:

78 INT. STRAKER’S SHADO OFFICE. (STUDIO) 60 SECS

STRAKER IS TIRED. HE’S BEEN WORKING ALL DAY, PLOUGHING THROUGH REPORTS AND FILES. BEFORE HIM, AMID THE READ-OUT SHEETS ARE A PILE OF TRANSPARENT COVERED FILES, EACH CODED WITH A DIFFERENT COLOUR.

FREMAN ENTERS AND STRAKER LOOKS UP.

STRAKER
Hi, Alec. What time is it?

FREEMAN
Time you went home… You’ve been here a full eighteen hours.

STRAKER INDICATES THE FILES AND READ-OUT SHEETS BEFORE HIM

STRAKER
I had to get through these reports.

HE PICKS UP ONE OF THE FILES, STUDYING THE COLOURED COVER.

STRAKER
They don’t tell us much.

FREEMAN
We combed the ruin and everything for a mile around. We lifted security yesterday.

STRAKER
I see Croxley was having psychiatric treatment.

FREEMAN
Yes, he’s also left his job, but it’s hardly surprising after what he’s been through.

STRAKER THROWS THE FILE BACK ON HIS DESK.

FREEMAN
Well, I guess we can close the book on the incident.

STRAKER
Not quite, Alec…

STRAKER PICKS UP ANOTHER FILE AND WALKS ROUND TO THE FRONT OF THE DESK STUDYING IT.

STRAKER
Foster’s still in the hospital.

FREEMAN
Yeah, I saw him yesterday. The doctors are very pleased with his progress.

STRAKER
(thoughtfully)
The wonders of medical science…

FREEMAN
He wants to see you.

STRAKER
Me?

FREEMAN
He’s worried about something.

STRAKER
What?

FREEMAN
He wouldn’t tell me.

ON FREEMAN

HE SMILES

FREEMAN
Maybe he doesn’t like the treatment he’s getting in the hospital.

ON STRAKER

HE IS GETTING TOUCHY ABOUT THE SUBJECT

STRAKER
I don’t like him being there any more than he does. He should be here… in the SHADO Medical Centre.

WIDER ANGLE

STRAKER RETURNS TO HIS CHAIR AND STUDIES THE FILE ON FOSTER

FREEMAN
We couldn’t have moved him this far in the condition he was in.

STRAKER
I know all that, Alec… but he’s recovering now. What has he got to say to me that can’t wait a day or so?

FREEMAN
As I said, he won’t talk to anyone but you.

STRAKER
Okay… I’ll call in on him on my way home.

FREEMAN
Which is right now… before you fall asleep on your feet!

CUT TO:

79 EXT. CIVILIAN HOSPITAL. NIGHT. (LOCATION OR V.E.) 5 SECS

TO ESTABLISH

CUT TO:

80 INT. HOSPITAL. PRIVATE WARD. NIGHT. (STUDIO) 80 SECS


THE ROOM IS SMALL AND SERVICEABLE. FOSTER IS IN BED, HIS CHEST STRAPPED UP WITH HEAVY BANDAGES.

HE WEARS NO PYJAMA TOP.

STRAKER STANDS AT THE FOOT OF THE BED, EATING A COUPLE OF GRAPES.

STRAKER
You mean you called me all the way out here just to tell me that?

FOSTER
I thought you ought to know… surely it’s a security matter.

STRAKER
What does he look like?

FOSTER
I don’t really know. It’s just an impression.

STRAKER
Oh, come on, next you’ll be telling me you hear strange noises at night.

ON FOSTER

HE IS ANXIOUS TO CONVINCE

FOSTER
No, every time I look up, he’s there - watching. And there’s this sort of nausea that comes over me.

WIDER ANGLE

STRAKER EATS THE LAST GRAPE AND WIPES HIS HANDS ON A TOWEL, MOVING TOWARDS THE DOOR.

STRAKER
I’ll get you out of here. You’re O.K. to be moved to the Medical Centre. It’s closer to home.

FOSTER
You think I’m imagining it, don’t you?

STRAKER
I’ll tell you what I think, Foster. I think you’ve been lying in that bed long enough. I think that if you’re well enough to worry, then you’re ready to start work again.

STRAKER OPEN THE WARD DOOR.

STRAKER
I’ll go and arrange your discharge.

STRAKER LEAVES

ON FOSTER

HE CLOSES HIS EYES

HOLD HIM FOR A MOMENT, THEN AS HE HEARS THE DOOR RE-OPEN, HE LOOKS UP.

ANOTHER ANGLE

SOMEONE IS AT THE DOOR BUT WE CANNOT SEE WHO IT IS. FOSTER REACTS.

FOSTER
Who is it?

ON DOOR

A MAN IN MASK AND GOWN AT THE DOOR.

ON MAN

WE GET A GOOD CLOSE UP OF THE EYES AND WE RECOGNISE CROXLEY. THE STRANGE EERIE MUSIC STARTS UP AGAIN.

ON FOSTER

HE REACTS.

ON DOOR.

CROXLEY HAS GONE.

SCENE 81 DELETED

CUT TO:

82 EXT. HARLINGTON-STRAKER STUDIOS. DAY. (LOCATION) 7 SECS

STRAKER’S CAR DRAWS UP.

CUT TO:

83 INT. MISS EALAND’S OFFICE. DAY (STUDIO) 42 SECS

MISS EALAND IS COUNTING THE NUMBER OF STAMPS ON AN ENVELOPE. THERE ARE DOZENS, MAYBE OVER A HUNDRED. ALL OVER IT… BACK AND FRONT.

THE ENVELOPE IS THE SIZE OF THE FILM SCRIPT IT CONTAINS.

SHE IS STILL COUNTING WHEN STRAKER ENTERS FROM THE MAIN DOOR OPPOSITE HER DESK.

STRAKER
Good morning, Miss Ealand…

HE STOPS ON HIS WAY TO HIS OFFICE, ATTRACTED BY THE MULTI-STAMPED ENVELOPE.

STRAKER
Well, someone sure wanted that to get here.

MISS EALAND
It’s been in the material analyser… just paper.

STRAKER
Oh… for that number of stamps I would have expected a small atom bomb at least.

MISS EALAND
It’s probably a film script. Addressed to you personally. Do you want to read it?

STRAKER TAKES THE PACKAGE

STRAKER
Well, I guess ingenuity shouldn't go unrewarded. The writer has a talent for drawing attention to his work. Maybe he can write too. I’ll pass it on to the Script Department.

HE MOVES ON TO HIS OFFICE.

STRAKER
Er, did our medics clear Foster yet?

MISS EALAND
Yes, sir. He’s waiting… with Mr. Freeman.

CUT TO:

84 INT. SHADO CONTROL ROOM. (STUDIO) 29 SECS

FOSTER, SHOWING NO SIGNS OF HIS INJURIES, IS WITH FREEMAN, TALKING TO FORD. OTHER OPERATIVES ARE RELAXED WITH LITTLE ACTIVITY TO OCCUPY THEM.

FOSTER
How long has it been this quiet?

FREEMAN
Since you went into hospital.

FOSTER
That’s a month ago. You mean there have been no sightings since then?

ON FREEMAN

HE CHECKS A READ-OUT

FREEMAN
Just two… the interceptors took care of them. We managed to scratch along without you, Paul.

WIDER ANGLE

THEY SMILE

FREEMAN RETURNS THE READ-OUT TO ITS FILING TRAY

STRAKER ENTERS THE CONTROL ROOM FROM THE CORRIDOR. HE MOVES STRAIGHT PAST FOSTER AND FREEMAN HEADING FOR HIS OFFICE. HE SMILES AT PAUL AS HE GOES.

STRAKER CARRIES THE PACKAGE OF FILM SCRIPT.

STRAKER
Hello, Paul… feeling better?

FOSTER
Yes, sir…

STRAKER
In my office. You too, Alec.

CUT TO:

85 INT. STRAKER’S SHADO OFFICE. (STUDIO) 97 SECS

STRAKER ENTERS AND WALKS BRISKLY TO HIS DESK, PLACES THE PACKAGE TO ONE SIDE AS FREEMAN AND FOSTER FOLLOW HIM IN.

STRAKER
You fit for duty, Paul?

FOSTER
Yes… Shroeder checked me out an hour ago.

STRAKER
No more little men watching you?

FOSTER
In the Medical Unit… Security’s tighter than a drum…

ON FREEMAN

HE IS PUZZLED BY THE CONVERSATION, UNAWARE OF STRAKER’S DISCUSSION WITH FOSTER IN THE HOSPITAL.

STRAKER (VO)
I see. And your… friend couldn’t get in, eh?

ON FOSTER

FOSTER
Listen, I’m telling you, there was a man - and he had a strange effect on me. I can’t explain it, but it was real alright.

WIDER ANGLE

STRAKER COMES ROUND THE DESK AND CLAPS FOSTER ON THE SHOULDER, MOVING HIM GENTLY TO THE OPEN DOORS.

STRAKER
All right, Paul, don’t worry about it. Go home, get some rest and report for Moonbase briefing in the morning.

FOSTER
Right.

FOSTER EXITS

STRAKER
Oh, by the way, Alec, I want you to go over to the Zeta Tracker Station. The Lieutenant in command there’s got an idea for a new grid link up. There could be something in it. No panic.

FREEMAN
Well, why don’t I go over there today?

STRAKER
Fine.

FREEMAN
Okay, I’ll see you later.

FREEMAN GOES TO LEAVE.

FREEMAN
By the way, what is that?

HE INDICATES THE PACKAGE. STRAKER PICKS IT UP.

STRAKER
This, as far as I know, is a script.

FREEMAN
Why not open it and find out.

FREEMAN GOES OUT. STRAKLER WEIGHS THE PACKAGE IN HIS HAND AND THEN OPENS IT.

IT IS A SCRIPT. STRAKER FLIPS THE PAGES WITHOUT LOOKING AT THEM.

ON STRAKER

HE PUTS THE SCRIPT DOWN, AND FLICKS THE INTERCOM. AS HE SPEAKS HE OPENS THE FIRST PAGE.

STRAKER
Get on to the Zeta tracker station will you. Tell - er - Lieutenant Grant to expect Colonel Freeman.

STRAKER REACTS TO WHAT HE SEES IN THE SCRIPT. HE TURNS ANOTHER PAGE. HE FROWNS IN DISBELIEF.

FORD (VO)
Is there anything else, sir?

STRAKER REALISES HE STILL HAS HIS HAND ON THE KEY.

STRAKER
No. No calls.

FORD (VO)
Yes, sir.

TRACK IN ON STRAKER AS HE TURNS ANOTHER PAGE, HIS EYES QUICKLY SCANNING THE SCRIPT. HE DOESN’T LIKE WHAT HE SEES.

CUT TO:

86 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 15 SECS

ON FOSTER

HE CROSSES AS IF TOWARDS HIS CAR, THEN STOPS, PUZZLED.

CLOSE SHOT

HE FROWNS, BEADS OF PERSPIRATION BEGINNING TO FORM ON HIS FOREHEAD.

THE SINISTER EERIE MUSIC IS HEARD AND FOSTER REACTS.

CUT TO:

87 EXT. DOORWAY. DAY. (LOCATION) 7 SECS

FROM THE COVER OF THE SHADOWS, CROXLEY WATCHES.

HE STARES WITH A SINISTER GAZE AND THE EERIE MUSIC BECOMES STRONGER.

CUT TO:

88 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 10 SECS

ON FOSTER

HE WIPES HIS BROW AND GLANCES AROUND.

HE SHRUGS, CONVINCING HIMSELF NOT TO WORRY, AND WALKS TO HIS CAR.

CUT TO:

89 EXT. DOORWAY. DAY. (LOCATION) 8 SECS

CROXLEY PLUNGES A HAND INSIDE HIS COAT. HE WITHDRAWS A MULTI-SHOT MACHINE PISTOL, SMALL, COMPACT - DEADLY.

HE PUTS IT UP TO HIS EYE, SIGHTING IT ON THE STUDIO CAR PARK.

CUT TO:

90 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 6 SECS


FOSTER IS GETTING INTO HIS CAR.

WE ZOOM IN ON HIM AS IF SIGHTING HIM WITH THE PISTOL.

CUT TO:

91 EXT. DOORWAY. DAY. (LOCATION) 8 SECS

WE ZOOM IN ON CROXLEY AS HE SQUEEZES THE TRIGGER.

THE HAMMER HITS AN EMPTY CHAMBER WITH MUSIC STING.

CROXLEY LOOKS AT THE REVOLVER. NEXT TIME IT WILL BE LOADED.

CUT TO:

92 EXT. HARLINGTON-STRAKER STUDIO. DAY. (LOCATION) 9 SECS

UNAWARE OF THE DANGER, FOSTER STARTS THE CAR AND DRIVES AWAY.

CUT TO:

93 EXT. DOORWAY. DAY. (LOCATION) 8 SECS

ON CROXLEY

SATISFIED, HE REPLACES THE GUN INSIDE HIS COAT, THEN HE TAKES ONE MORE EVIL STARE AROUND AND MOVES OFF.

CUT TO:

94 INT. STRAKER’S OUTER OFFICE. DAY. (STUDIO) 29 SECS

FREEMAN IS ABOUT TO LEAVE.

FREEMAN
I’ll be out for the rest of the day, Miss Ealand.

MISS EALAND
Yes, sir.

FREEMAN
I’ll keep channel Four open.

MISS EALAND
Right, sir.

STRAKER’S VOICE COMES OVER THE INTERCOM.

STRAKER (VO)
Miss Ealand - has Alec Freeman left he building?

MISS EALAND
No, sir… he’s with me now.

STRAKER (VO)
Well have him come back down here immediately.

THE INTERCOM SNAPS OFF.

FREEMAN MOVES BACK TO THE INNER OFFICE.

FREEMAN
I’m on my way.

CUT TO:

95 INT. STRAKER’S SHADO OFFICE. (STUDIO) 115 SECS


STRAKER READS ON FURTHER INTO THE SCRIPT AND BECOMES MORE SERIOUS WITH EACH PASSING WORD. THEN HE FLINGS THE MANUSCRIPT ON HIS DESK.

DEEP IN THOUGHT, HE RISES AND STARTS TO PACE HIS OFFICE.

NEW ANGLE.

FREEMAN ARRIVES AND STRAKER STOPS PACING AND MOVES HURRIEDLY TO THE DESK TO COLLECT THE MANUSCRIPT.

FREEMAN
Something wrong?

STRAKER
I’ll say there is… just about as wrong as you can get.

FREEMAN TAKES THE SCRIPT, A BLANK LOOK ON HIS FACE, AND SITS DOWN.

FREEMAN
What is it?

STRAKER
Read it… just read it.

FREEMAN GIVES STRAKER AN OLD FASHIONED STARE AND OPENS THE SCRIPT. STRAKER RESUMES HIS PACING.

STRAKER
The SHADO Organisation… Colonel Alec Freeman… SkyDiver… Moonbase… everything…

FREEMAN GLANCES UP AT STRAKER WHO BEARS IN ON HIM AND THUMPS THE MANUSCRIPT.

STRAKER
It’s all there, Alec… every single detail.

FREEMAN
But it’s impossible. How… ?

ON STRAKER

HE IS FURIOUS

STRAKER
I don’t know… security leak… coincidence… clever guess work. It doesn’t matter.

STRAKER BANGS HIS DESK.

STRAKER
That document is a complete dossier on SHADO… its operatives, installations and equipment.

WIDER ANGLE.

FREEMAN IS ON HIS FEET NOW, AND FLIPS THE PAGES OF THE SCRIPT TO CONTINUE READING IT.

FREEMAN
I don’t understand. Who could have written it?

STRAKER
The name’s on the front. John Croxley!

FREEMAN REACTS

FREEMAN
The man whose house was hit by a UFO?

ON STRAKER

HE IS DEADLY SERIOUS

STRAKER
How the blazes did he get that information!

ON FREEMAN

HE BITES HIS LIP, REMEMBERING.

FREEMAN
The whole thing’s ridiculous. We checked him and his wife… Mr. and Mrs. Average.

ON STRAKER

HE THINKS DEEPLY, TALKING ALOUD.

STRAKER
When I tried to explain about his wife, there was something about him… he was - different. Wait a minute - Foster’s little man at the hospital… That could have been Croxley too!

WIDER ANGLE

FREEMAN MOVES TOWARDS THE DOORS

FREEMAN
We’d better pick him up.

STRAKER
No… not yet. I want to know more about him first.

FREEMAN
He was visiting a psychiatrist. Maybe he knows something.

ON STRAKER

STRAKER
Right, we’ll start there.

CUT TO:

96 EXT. OFFICE BLOCK ENTRANCE. DAY. (STUDIO) 7 SECS


WE FEATURE DR. WARD’S NAME ON THE NOTICE BOARD.

CUT TO:

97 INT. DR. WARD’S CONSULTING ROOM. DAY. (STUDIO) 120 SECS

DR. WARD IS BEHIND HIS DESK WITH STRAKER AND FREEMAN IN VISITOR’S CHAIRS. COUCH IN B.G.

STRAKER
You say Croxley stopped coming to see you, doctor.

WARD
Yes. Suddenly. It was just before his wife was killed. The same night in fact.

FREEMAN
What was his problem.

ON WARD

HE TURNS ON HIS OBVIOUS CHARM

WARD
You realise normally I would not divulge things about my patients… but with your authorisation…

WIDER ANGLE

STRAKER SAYS NOTHING

WARD
It’s an uncommon complaint…
(pause)
E.S.P.

STRAKER REACTS, QUESTIONING WITHOUT SPEAKING.

FREEMAN
Extra Sensory Perception.

THE DOCTOR HESITATES AND THEN CROSSES TO A FILING CABINET. HE PULLS A DRAWER FULL OF DIFFERENT CASE HISTORIES.

WARD
It’s a subject we still know very little about. Most of us experience it at some time or other. You’ve probably been through the situation of sensing what is going to happen.

STRAKER
Yes… and it’s usually trouble.

WARD LOOKS AT STRAKER

WARD
It affects people in different ways. Some adjust quickly and make use of their powers… There have been a number of successful theatrical acts based on the condition.

FREEMAN
And Croxley?

WARD
Yes. He is not one of the lucky ones… it’s driving him mad.

AGAIN STRAKER’S EYEBROWS RISE SEEKING AN EXPLANATION.

WARD
His perceptive powers are so pronounced he can hold a complete conversation with a person - once he’s got to know them - and they won’t have to utter a word.

WIDER ANGLE

FREEMAN RECOGNISES HOW CROXLEY COULD HAVE WRITTEN THE SCRIPT.

FREEMAN
A mind reader…

WARD
Not that crude. Telepathy… maybe… he can anticipate. He can feel the future.

STRAKER
And it bothers him.

WARD
To distraction. It’s making him mentally unbalanced. His poor wife couldn’t say a word to him. He’d answer her question before she’d asked them. Simple everyday phrases take on new and terrible meaning.

ON STRAKER

HE GETS TO HIS FEET

STRAKER
Most of it is clear now. Thank you, doctor.

WIDER ANGLE

WARD HAS KEPT THE BEST BIT TO THE END. HE WALKS AROUND THE DESK TO SHOW STRAKER AND FREEMAN OUT.

WARD
Croxley phoned here for you earlier.

STRAKER WHIRLS ROUND

STRAKER
And…

WARD
For some unexplained reason he wants you and Mr. Freeman to meet him at the ruin of his house. Tonight… ten o’clock.

A BEAT

STRAKER
How did he know we’d be here?

ON WARD

HE SPELLS OUT THE LETTERS SLOWLY, SAVOURING EACH ONE.

WARD
E.S.P.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

98 EXT. RUINED HOUSE. NIGHT. (V.E.) 5 SECS

TO ESTABLISH

CUT TO:

99 EXT. DRIVEWAY. NIGHT. (LOCATION) 10 SECS

STRAKER’S CAR DRIVES UP AND PARKS BY THE DRIVEWAY.

CUT TO:

100 INT. CAR. NIGHT. (STUDIO) 57 SECS


FREEMAN LOOKS AT HIS WATCH

FREEMAN
We’re early… it’s nine thirty.

STRAKER
Yes… I always like to look over a convention hall before a conference.

FREEMAN
Or a battlefield before a fight!

ON FREEMAN

HE DOESN’T LIKE THE IMPENDING APPOINTMENT.

FREEMAN
You know this is madness, don’t you… coming here without security…

ON STRAKER

HE NODS SLOWLY, SERIOUSLY.

STRAKER
We have no choice.

WIDER ANGLE

STRAKER MOVES TOWARDS THE ENTRANCE OF THE RUIN.

STRAKER
Listen Alec, we have to assume Croxley can anticipate our moves… that film script… He wrote it by reading Foster's thought patterns.

FREEMAN
Or someone told him.

STRAKER
No, Alec. I’ve got a feeling Doctor Ward is right. Croxley has a super sensory power… and if we go against his wishes, or try to trap him, he’ll know about it.

FREEMAN
I still think we should have cordoned off the area.

STRAKER
No.

FREEMAN
I hope you’re wrong about this.

STRAKER
So do I.

THEY GO TO LEAVE THE CAR.

CUT TO:

101 INT. RUNI. NIGHT. (STUDIO) 20 SECS

SILENCE… EERIE... OMINOUS.

FREEMAN AND STRAKER ENTER THE CRUMBLING HOUSE. THEY PAUSE ON THE THRESHOLD OF THE ROOM IN WHICH CROXLEY WAS SEEN WITH THE TYPEWRITER.

STRAKER CALL OUT.

STRAKER
Croxley! Are you there?

THERE IS NO SOUND.

STRAKER SNAPS ON HIS FLASHLIGHT AND SEARCHES THE RUIN. HE PICKS OUT CROXLEY’S TYPEWRITER, A TABLE AND CHAIR. HE PANS SUDDENLY, THE CAT IS CAUGHT IN THE LIGHT. IT SNARLS AND LEAPS AWAY.

ON STRAKER

HE LOOKS AT FREEMAN.

IT COULD BE A LONG WAIT.

101A EXT. RUIN. NIGHT. (V.E.) 7 SECS

STILL… OMINOUS. AN OWL HOOTS.

CUT TO:

101B INT. RUIN. NIGHT. (STUDIO) 75 SECS

STRAKER AND FREEMAN WAIT. STRAKER HAS SWITCHED OFF HIS FLASHLIGHT AND PUT IT DOWN.

FREEMAN
You know this could be quite a mind bender. If Croxley does have a kind of super E.S.P. he’s going to know exactly what we’re thinking. He can anticipate every move.

CROXLEY (VO)
You’re right, Colonel.

STRAKER AND FREEMAN SPIN AROUND AND LOOP UP.

TO:

REVERSE ANGLE.

WE FEATURE CROXLEY, HE WAITS AT THE TOP OF RICKETY AND DANGEROUS STAIRS. HE HOLDS HIS MACHINE PISTOL AND HAS A SINISTER, TRIUMPHANT GRIN ON HIS LIPS AS HE WATCHES HIS QUARRY BELOW. HE CARRIES A BATTERY OPERATED LAMP.

ON STRAKER

STRAKER
Croxley…

CROXLEY (VO)
The answer’s no. Why should I give you my gun.

WIDER ANGLE

CROXLEY COMES DOWN THE STAIRS. A TRICKLE OF CEMENT AND BRICK DUST FALLS.

STRAKER LOOKS AT FREEMAN. SHALL THEY GO FOR THEIR GUNS?

CROXLEY
You would both be dead before your hands were on the butts…

CROXLEY MOVES SLOWLY, WATCHFULLY, OVER TO STRAKER AND FREEMAN.

CROXLEY
You see, I do know what you’re thinking… You use a shoulder holster, Commander… please…

STRAKER REMOVES HIS GUN CAREFULLY AND DROPS IT ON THE FLOOR.

CROXLEY
You prefer the right hip I believe, Colonel…

FREEMAN RELUCTANTLY GOES FOR HIS GUN

CROXLEY
Slowly. You have a more devious thought pattern.

FREEMAN TAKES OUT HIS GUN AND DROPS IT ON THE FLOOR. CROXLEY LIGHTS HIS ELECTRIC LAMP.

CROXLEY
Now, I wanted to see you clearly before you die.

CUT TO:

102 EXT. HARLINGTON-STRAKER STUDIO. NIGHT. (STOCK) 5 SECS


TO ESTABLISH

CUT TO:

103 INT. SHADO MEDICAL CENTRE. NIGHT. (STUDIO) 37 SECS

ON FOSTER

AS HE TALKS WE WIDEN ANGLE TO INCLUDE DR. SHROEDER.

FOSTER
Look, I know it’s late, but it’s not easy to live with.

SHROEDER
Listen Paul, you went through a pretty rough experience. It takes time.

FOSTER
That was physical.

SHROEDER
Paul… you nearly lost your life in that house. Your mind is simply trying to adjust to the recent shock it received while you were injured there.

FOSTER
Maybe you’re right…

ON SHROEDER

HE SMILES GENTLY

SHROEDER
I’m sure of it… if it bothers you that much, there’s only one answer. Go back to the house. Overcome your anxiety. Face the problem.

ON FOSTER

HE MAKES TO LEAVE THE ROOM.

FOSTER
Okay, doc… guess I’ll go home and get some rest.

SHROEDER (VO)
Goodnight, Paul. See you at final medical checks tomorrow.

ZOOM IN ON FOSTER, STILL VERY TROUBLED.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

104 INT. RUIN. NIGHT. (STUDIO) 240 SECS

CROXLEY HAS TURNED ON THE LIGHT AND PUT IT ON THE FLOOR. SHADOWS ARE LONG AND EERIE. THE CAT SITS ON A BEAM CAUGHT IN THE LIGHTING FROM BELOW.

ON CROXLEY.

HIGHLIGHTED BY UNDER LIGHTING, A HALF SMILE ON HIS FACE. THE PISTOL RESTS LAZILY IN HIS HAND.

CROXLEY
It’s fitting that you should die here, Straker.

STRAKER
I made it easy for you.

CROXLEY
Yes. I must say you particularly logical mental processes.

STRAKER
How long have you had this… E.S.P. Croxley?

CROXLEY
All my life. Oh, it got stronger about a year ago, but I remember I used to play tricks at school… predicting the future…

STRAKER
And UFO’s… what do you know about them?

ON CROXLEY.

HE FLARES, A NERVE TOUCHED.

CROXLEY
Shut up! You did it, Straker - you’ve been messing with things you don’t understand and you caused my wife’s death.

ON STRAKER.

HE MOVES TO HIS POINT… TRYING TO GET ALL THE VITAL INFORMATION FROM CROXLEY.

STRAKER
No, Croxley… don’t you see? Use you powers. Use your E.S.P. ... A UFO destroyed your house, not me. It was a carefully laid plan.

ON CROXLEY.

AS STRAKER CONTINUES, CROXLEY APPEARS TO GO INTO A TRANCE, HIS MIND REJECTING THE WORDS.

STRAKER (VO)
The aliens, Croxley… they’ve taken over your mind.

ON STRAKER.

STRAKER
They killed your wife. Don’t you see why? They’re using you… they’re using you to kill us.

CROXLEY BEGINS TO MOAN.

ON STRAKER AND FREEMAN.

FREEMAN GIVES STRAKER A QUIZZICAL LOOK AND GETS READY TO JUMP CROXLEY.

ON CROXLEY.

HE REACTS, VICIOUS, SNARLING AT FREEMAN.

CROXLEY
Don’t even think about it.

WIDER ANGLE.

FREEMAN RELAXES. HE REALISES CROXLEY CANNOT BE TAKEN BY SURPRISE. CROXLEY CLOSES HIS EYES.

CROXLEY
(remote)
Stella…

ON STRAKER.

WAITING.

WIDER ANGLE.

CROXLEY SEEMS TO BECOME CALM. HE WALKS TO STRAKER, HOLDS THE GUN TO HIS FOREHEAD.

ON FREEMAN.

FREEMAN
For God’s sake, no…

ON STRAKER.

THE GUN AT HIS HEAD.

ON CROXLEY.

HE LOOKS QUIZZICALLY AT STRAKER.

CROXLEY
Mother? … You’re thinking about your mother.
(fierce)
Stop it. Stop it!

CROXLEY REELS BACK.

ON STRAKER.

STRAKER
(gently)
Croxley.

WIDER ANGLE.

SLOWLY CROXLEY STRAIGHTENS UP. HE CHECK HIS WATCH.

CROXLEY
It’s four minutes to twelve. You dies at midnight.

ON CROXLEY.

HE TURNS AND MOVES INTO ANOTHER ROOM.

WIDER ANGLE.

STRAKER AND FREEMAN LOOK AT EACH OTHER AS WE HEAR CROXLEY MOANING AND SOBBING.

CROXLEY (VO)
(distant)
Leaving… going home… must see the doctor… The doctor mst help me… Help me, doctor.

ON FREEMAN.

HE STARTS TO EDGE FORWARD.

CROXLEY CANNOT SEE THEM.

ON STRAKER TENSE.

ON FREEMAN.


JUST AS HE IS ABOUT TO RUSH IN THE DOORWAY INTO THE ROOM.

CROXLEY (VO)
Come through the door and I’ll blow your head off…
(a beat)
Don’t even think of doing it.

WIDER ANGLE.

FREEMAN LOOKS AT STRAKER WHO SHAKES HIS HEAD - NO. THEY ARE HELD AT GUNPOINT BY A MAN WHO CANNOT SEE THEM.

STRAKER
(gently)
Listen to me, Croxley… You want someone to help you…

CROXLEY COMES BACK TO FACE STRAKER.

HE STARES INTO SPACE. HE APPEARS TO BE IN SOME SORT OF TRANCE.

CROXLEY
Our planet is dying. Our national resources are exhausted. We must come to earth… we must come to earth to survive.

ON CROXLEY.

HIS MOOD CHANGES AGAIN.

CROXLEY
Mother? … Stella!

WIDER ANGLE.

CROXLEY SUDDENLY CALMS, WAVERING BACK INTO REALITY.

CROXLEY
What are you doing? Don’t try anything.

HE CHECKS HIS WATCH.

CROXLEY
It’s nearly time. Two minutes.

ON CROXLEY.

HIS MIND WANDERS AGAIN BACK INTO HIS CHILDHOOD.

CROXLEY
Hello Billy… We’ll be late for school. I know what you’ve got for lunch… cheese and pickle sandwiches… no one told me… no, no one told me… don’t hit me… no…

HE CRINGES BACK AT THE MEMORIES FLOODING IN, FLINCHING AWAY FROM THE IMAGINARY BLOWS.

TWO SHOT.

STRAKER AND FREEMAN WATCHING CROXLEY IN HIS PRIVATE AGONY.

STRAKER
Give me the gun.

WIDER ANGLE.

CROXLEY SUDDENLY SNARLS BACK, FIRES HIS GUN UP INTO THE HOUSE. MORE CEMENT AND BRICK DUST FALL.

CROXLEY
You fool! Do you think I’m going to let you get away with it.

HE LOOKS AT HIS WATCH.

CROXLEY
One minute.

A LONG SILENCE. THEN CROXLEY SEEMS TO FIGHT SOME FORCE TAKING OVER HIS MIND.

CROXLEY
(distant)
We mean to harm to the peoples of earth. Why do you attack us. We’re fighting for existence, you must understand.

TWO SHOT.

FREEMAN LOOKS TO ONE SIDE.

POV SHOT.

THE CAT. IT SNARLS VICIOUSLY.

WIDER ANGLE.

CROXLEY MOVES CLOSE TO STRAKER WHO GOES TO SPEAK.

CROXLEY
No. There’s no need to speak. There’s no more use for words. It is time.

HE SLOWLY RAISES THE GUN.

ON STRAKER.

STARING AT CROXLEY.

ON CROXLEY.

STARING BACK, HIS FACE SET HARD.

ON FREEMAN.

UNABLE TO HELP.

ON GUN.

CROXLEY’S FINGER TIGHTENS ON THE TRIGGER.

ON CROXLEY.

SLOWLY TRACK IN ON HIS FACE. IT FLINCHES AS A GUN IS FIRED AGAIN AND AGAIN. THE FACE SUDDENLY RELAXES.

WIDER ANGLE.

STRAKER, FREEMAN AND CROXLEY. A LONG BEAT. THEN CROXLEY COLLAPSES TO SHOW FOSTER BEHIND HIM AT THE ENTRANCE, GUN IN HAND. FOSTER MOVES FORWARD.

FOSTER
Are you two alright?

FREEMAN
We’re fine.

STRAKER MOVES PAST FOSTER, IGNORING HIM, TO CROXLEY.

ON STRAKER.

HE KNEELS BY THE BODY OF CROXLEY.

STRAKER
He knew.

WIDER ANGLE.

FREEMAN AND FOSTER DON’T UNDERSTAND.

STRAKER
What did you think when Foster appeared behind Croxley?

FREEMAN
For God’s sake shoot before…
(realising)
...he could read our thoughts!

ON CROXLEY.

CALM, EVEN A HINT OF A SMILE, AT PEACE WITH DEATH.

CUT TO:

105 INT. STRAKER’S SHADO OFFICE. (STUDIO) 90 SECS

WE FEATURE COLOURED LIGHTS ON THE WALL PANEL BEHIND STRAKER’S DESK AND HOLD LONG ENOUGH TO ADJUST OUR THINKING.

WE PULL BACK TO SEE STRAKER SEATED AT HIS DESK. FREEMAN STANDS BY THE AUTOBAR, SOOTHING HIS WOUNDS WITH A SCOTCH - PURELY MEDICINAL.

ON STRAKER.

DEEP IN THOUGH.

FREEMAN PLACES A DRINK BEFORE HIM.

STRAKER PICKS UP THE GLASS AND LOOKS UP ENQUIRINGLY AT FREEMAN.

FREEMAN
It’s ginger ale.

STRAKER NODS AND RAISES THE GLASS.

STRAKER
Well, here’s to fate and fear.

FREEMAN
That’s a strange toast.

ON STRAKER.

HE SMILE RUEFULLY.

STRAKER
Not really. What brought Foster to that house?

ON FREEMAN.

FREEMAN
And Croxley. Fate marked him from the moment he was born.

WIDER ANGLE.

STRAKER
Yes. But how much of his power did he gain from the aliens?

FREEMAN
You mean his E.S.P. …

STRAKER
We can only guess, Alec.

FREEMAN
And how many other Croxley’s there are in the world…
(a beat)
Your toast was fate and fear.

ON STRAKER.

HE SMILES KNOWINGLY.

STRAKER
Yes. Fear of the unknown will help us to be alert, Alec. When and if the answers come… it will be fear that helps us recognise them.

WIDER ANGLE.

FREEMAN NODS AND WALKS OUT.

ON STRAKER.

HE PICKS UP CROXLEY’S SCRIPT.

ON THE INCINERATOR.

STRAKER’S HAND DEPOSITS THE SCRIPT INTO THE ALL POWERFUL, AND DEVOURING DESTRUCTOR.

FINAL FADE OUT

END TITLES

END OF ACT IV