UFO Script for
"The Long Sleep"

​​SYNOPSIS: A dead case has come back to life with a vengeance. Somewhere in a derelict farm house is a bomb of some kind planted by aliens ten years ago. But where is the farm? Catherine cannot remember. But there is one man who could help: Tim. She knows he is dead, yet when she catches sight of the male nurse in charge of her, she recognises the face. It's Tim! He is real. He has been brought back to life and he too, wants to know something that Straker is equally anxious to find out. What happened to the piece of mechanism Catherine took with her? He gives her an injection which, he says, will bring back her memory and the next thing that happens is that Straker receives an urgent call to see her. She recollects now where she dropped the mechanism, but Tim has got there first.

      Where, though, is the farm? Straker has to give her another injection to recall that memory. He does so reluctantly, realising the danger and the terrible results that might, and do, come from it. Already, he is more than a little in love with her. Now it is a race against time to prevent the alien-controlled Tim exploding the deadly bomb.

      Straker and Paul Foster reach him, but there is even more macabre drama ahead . . .

THE SCRIPT FOR THE UFO EPISODE
“THE LONG SLEEP”

by

David Tomblin


© Century 21 Pictures
Pinewood Studios,
Iver Heath,
Buckinghamshire. 

NOTES ABOUT THIS SCRIPT

Some UFO scripts differ a lot from what appeared in the finished episodes. THE LONG SLEEP script has some very major differences:-

● In the episode, Straker never visited the farmhouse in 1970. In the script, he did, but forgot where it was located.

● In the episode, Straker accidently hits Catherine with his car when she runs into the street out of nowhere. In the script, Straker pursues Catherine on an extended chase, and Catherine finally gets hit by a double-decker bus.

● In the episode, Straker acts like a father-figure to Catherine. However, in the following script, he falls in love with her.

● In the episode, Straker finds out about Catherine dying of old age. In the script, he never finds out, because Foster lies to him about her cause of death and he never goes to see her.

● The episode features Dr. Jackson and Colonel Virginia Lake pretty heavily. In the script, there is just a generic Doctor and Colonel Lake is hardly featured at all.

● In the episode, Catherine's last name is Frazer and her friend is named Tim. In the script, her last name is Ross and her friend is named Tom. Also note that the episode contains a blooper where Straker refers to Catherine using her last name in the script!

CAST LIST:
SPEAKING PARTS:
STRAKER
VIRGINIA LAKE
SECURITY MAN
FOSTER
DOCTOR
TOM REDMAN
CATHERINE ROSS
A.A. MAN
EXPERT

SET LIST:
INT. UNDERGROUND CONTROL
INT. STRAKER'S UNDERGROUND OFFICE
EXT. COUNTRY LANE (LOCATION)
EXT. COTTAGE HOSPITAL (LOCATION)
INT. HOSPITAL RECEPTION
INT. HOSPITAL ROOM
EXT. FARMHOUSE (LOCATION)
EXT. PLAYING FIELDS (LOCATION)
EXT. EDGWARE ROAD
INT. CORRIDOR
INT. DISPENSARY
EXT. PICCADILLY (LOCATION)
EXT. REGENT'S CANAL
EXT. LONDON
EXT. DUNSTABLE DOWNS
EXT. WHIPSNADE ZOO
EXT. BUS STOP
EXT. MEADOW
INT. BARN
INT. CELLAR
EXT. CROSSROADS
EXT. MAIN ROAD
INT. TUBE STATION
INT. TRAIN
EXT. HOUSEBOAT
EXT. LITTLE VENICE
INT. LORRY
INT. STRAKER'S CAR

SPECIAL EFFECTS:
EXT. SKY
EXT. UFO
EXT. FIELD

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 EXT. HARLINGTON/STRAKER STUDIO. DAY. 5 SECS

TO ESTABLISH.

CUT TO:

2 INT. UNDERGROUND CONTROL. (STUDIO). DAY. 8 SECS

STRAKER IN A CHEERY MOOD STRIDES THROUGH CONTROL. THINGS ARE PRETTY ROUTINE. HE PASSES A COUPLE OF THE GIRL OPERATORS.

STRAKER
Good morning. Good morning.

HE GOES THROUGH INTO CONTROL ROOM.

CUT TO:

3 INT. UNDERGROUND CONTROL. (STUDIO). DAY 11 SECS

THE ROOM IS QUIETLY BUSY. ALL OPERATORS DOING NORMAL CHECKS.

STRAKER
Good morning.

OPERATORS
Good morning, Commander. Good morning, sir etc.,

STRAKER PASSING COLONEL LAKE.

STRAKER
All quiet on the western front?

VIRGINIA
All quiet, Commander.

STRAKER
(still moving)
Good. Good.

HE BREEZES INTO HIS OFFICE.

CUT TO:

4 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO). DAY. 5 SECS

ABOUT TO THROW HIS BRIEFCASE ON A CHAIR HE STOPS DEAD.

CUT TO:

5 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) DAY. 4 SECS

THE "IN" TRAY ON HIS DESK IS A FOOT DEEP IN DOCUMENTS.

CUT TO:

6 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO). DAY. 5 SECS

STRAKER GROANS, THE GOOD HUMOUR EVAPORATING.

CUT TO:

7 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO). DAY. 90 SECS

SHOOTING WITH THE PILE OF PAPERS FOREGROUND. STRAKER WALKS FORWARD AND LOOKS DOWN AT THEM. FROM HIS FACE WE CAN TELL THE THING HE HATES MOST IN THE WORLD IS PAPER WORK. HE SIGHS, THEN RESIGNEDLY SITS BEHIND THE DESK. HE TAKES THE TOP SHEAF AND BEGINS TO READ. IMPATIENTLY HE TURNS THE PAGES. HE SIGNS THE LAST PAGE AND REACHES FOR THE NEXT DOCUMENT. THE PHONE RINGS. ANNOYED, STRAKER PICKS IT UP.

STRAKER
Straker.

SECURITY MAN (VO)
Security here, Commander.

STRAKER
(short)
Yes.

SECURITY MAN (VO)
Enquiries on U.F.O. Report Y.P. 195 can now be continued.

STRAKER
(sarcastically)
That's marvellous.

SECURITY MAN (VO)
Will you be handling it yourself, sir?

STRAKER
(impatiently)
If I knew what U.F.O. Report Y.P. 195 was, I might be able to answer that question. The last report number was around seven thousand.

SECURITY MAN (VO)
Sorry, sir... this was about ten years ago. The main witness was hit by a bus and has been in a coma ever since. Up until this morning, that is.

STRAKER
Ah, yes. I remember. A young girl. How is she?

SECURITY MAN (VO)
I don't know. The hospital just said she is conscious.

STRAKER
Colonel Johns was on that case with me. Ask him to follow through on it.

SECURITY MAN (VO)
Yes, sir.

STRAKER
No, just a minute!

HE LOOKS AT THE PILE OF PAPER WORK.

I'll handle it myself.

HE SMILES.

Ask Colonel Foster to bring the file to my office.

SECURITY MAN (VO)
Yes, sir.

STRAKER TAKES THE DOCUMENT FROM IN FRONT OF HIM AND DELIBERATELY REPLACES IT ON THE PILE OF UNATTENDED PAPERS. HE SITS BACK IN HIS CHAIR AWAITING THE UNSUSPECTING FOSTER.

CUT TO:

8 INT. UNDERGROUND CONTROL. (STUDIO). DAY. 8 SECS

COLONEL FOSTER WALKS IN, GLANCING THROUGH THE FILE IN HIS HAND. HE ENTERS STRAKER'S OFFICE.

CUT TO:

9 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO). DAY. 30 SECS

STRAKER
Ah, good morning, Paul.

FOSTER
Morning, sir.

STRAKER TAKES THE FILE AND BRIEFLY LOOKS AT IT.

STRAKER
Paul, I have to go out for a while. I must clear up this report.

HE POINTS AT THE DESK.

Hold the fort, will you? There's a good chap.

HE MOVES TOWARDS THE DOOR. FOSTER LOOKS AT THE PILE OF WORK ON THE DESK.

FOSTER
(protesting)
But the case is ten years old and written off as a probable false alarm.

STRAKER
(at the door)
One can't be too careful.

HE CLOSES THE DOOR. FOSTER SLOWLY SITS AT THE DESK. GRIMLY HE TAKES THE FIRST DOCUMENT AND STARTS TO READ.

CUT TO:

10 EXT. COUNTRY LANE. DAY. (LOCATION) 6 SECS

STRAKER'S CAR COMES AROUND A BEND AND PAST CAMERA.

CUT TO:

11 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 10 SECS

THE CAR COMES TO A HALT AT THE FRONT ENTRANCE. STRAKER GOES IN.

CUT TO:

12 INT. HOSPITAL RECEPTION. DAY. (STUDIO) 11 SECS

A DOCTOR DETACHES HIMSELF FROM CONVERSATION WITH A MALE NURSE. (WE DO NOT SEE THE NURSE'S FACE.)

DOCTOR
Mr. Straker?

STRAKER
Doctor Wood. Thank you for calling so promptly. Does she remember anything that happened?

CUT TO:

13 INT. HOSPITAL RECEPTION. DAY. (STUDIO) 25 SECS

DOCTOR
She hasn't spoken yet.

STRAKER
Do you think it's wise for me to question her so soon?

DOCTOR
It's essential. She has been in limbo for yen years. We must get her mind active as quickly as possible.

DOCTOR
Let me lead the way.

THE MALE NURSE, BACK TO CAMERA, FOLLOWS THEM UP THE STAIRS.

DOCTOR (cont'd)
It's difficult in a case like this. She could have total recall or remember only fragments. As far as she is concerned the accident happened yesterday and this will be your best opportunity.

STRAKER
I see.

CUT TO:

14 INT. SMALL HOSPITAL ROOM. DAY. (STUDIO) 15 SECS

THE CURTAINS ARE DRAWN. THE GIRL LIES IN BED HALF ASLEEP. STRAKER AND THE DOCTOR QUIETLY ENTER. THEY CROSS TO THE BED. IN THE BACKGROUND OUT OF FOCUS WE SEE THE MALE NURSE WATCHING THROUGH THE CORRIDOR WINDOW.

DOCTOR
(gently)
Miss Ross. There's a gentleman here to ask you a few questions.

CUT TO:

15 INT. SMALL HOSPITAL ROOM. DAY. (STUDIO) 5 SECS

THE GIRL SLOWLY OPENS HER EYES. SHE LOOKS AT THE DOCTOR.

CUT TO:

16 INT. SMALL HOSPITAL ROOM. DAY. (STUDIO) 5 SECS

FROM HER P.O.V. WE SEE THE DOCTOR'S FACE. WE PAN INTO A C.U. OF STRAKER.

CUT TO:

17 INT. SMALL HOSPITAL ROOM. DAY. (STUDIO) 8 SECS

THE GIRL LOOKS AT HIM FOR A MOMENT, THEN SUDDENLY STARTS TO SCREAM.

CUT TO:

18 INT. SMALL HOSPITAL ROOM. DAY. (STUDIO) 10 SECS

THE DOCTOR LEANS OVER THE GIRL TRYING TO QUIETEN HER. WE SLOWLY ZOOM BACK UNTIL WE HOLD THE MALE NURSE, BACK TO CAMERA, IN FOREGROUND.

MAIN TITLES

FADE IN:

19 EXT. FARMHOUSE ROOF. DAY. 7 SECS


TOM FLYING OFF THE ROOF IN SLOW MOTION.

TITLES OVER

CUT TO:

20 EXT. PLAYING FIELDS. DAY. 8 SECS

CATHERINE RUNS, PURSUED BY THE LORRY DRIVER. (DISTORTED).

TITLES OVER.

CUT TO:

21 EXT. EDGWARE ROAD. DAY. 6 SECS

CATHERINE IS RUN OVER BY A BUS. (DISTORTED).

TITLES OVER.

CUT TO:

22 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. 10 SECS

CLOSE ON HYPODERMIC. WE FOLLOW IT ACROSS THE ROOM. AS IT IS INSERTED INTO CATHERINE'S ARM, WE WHIP UP TO HER FRIGHTENED FACE. TITLES OVER.

CUT TO:

23 EXT. FARMHOUSE. NIGHT. 6 SECS

FOSTER AND TOM REDMAN FIGHTING. TITLES OVER.

CUT TO:

24 EXT. SKY. DAY. 10 SECS

A VERTICAL TAKE OFF SPACE DUMPER TAKES THE BOMB INTO THE ATMOSPHERE. IT EXPLODES.

TITLES OVER.

FADE OUT:

FADE IN:

25 INT. RECEPTION. COTTAGE HOSPITAL. DAY. (STUDIO) 8 SECS


STRAKER PACES THE FLOOR. HE STOPS AS HE HEARS THE DOCTOR COMING DOWN THE STAIRS.

STRAKER
How is she?

DOCTOR
Much calmer now.

STRAKER
She obviously remembered me as the man who was chasing her just before the bus knocked her down.

DOCTOR
Yes, but I explained that you were trying to help her.

STRAKER
Does she accept that?

DOCTOR
In the main, but it's up to you to
gain her confidence.

STRAKER
Shouldn't we wait a few days?

DOCTOR
She needs shock therapy. You can only help her.

STRAKER MOVES TO THE FOOT OF THE STAIRS.

STRAKER
Did you tell her she had been in a coma for ten years?

DOCTOR
No. When she finds out she will need a friend... her parents are both now dead.

STRAKER
And she doesn't know that either?

DOCTOR
No.

STRAKER
So it's up to me?

DOCTOR
You are her only link with the past.

TROUBLED WITH THIS RESPONSIBILITY STRAKER STARTS TO CLIMB THE STAIRS.

STRAKER
(to himself)
Why didn't I stick to the paperwork.

CUT TO:

26 INT. CORRIDOR OUTSIDE SMALL ROOM. DAY. (STUDIO) 10 SECS

STRAKER STOPS AND LOOKS THROUGH THE GLASS-PANELLED DOOR. BEYOND WE SEE CATHERINE SITTING UP IN BED. STRAKER DOESN'T RELISH THE TALK. HE STANDS TRYING TO PLUCK UP COURAGE TO ENTER.

CUT TO:

27 INT. DISPENSARY. DAY. (STUDIO) 6 SECS

THE MALE NURSE IS IN F.G. PAST HIM ALONG THE CORRIDOR WE SEE STRAKER OUTSIDE THE GIRL'S ROOM.

CUT TO:

28 INT. CORRIDOR OUTSIDE SMALL ROOM. DAY. (STUDIO) 4 SECS

WITH A DEEP BREATH STRAKER PUSHES THE DOOR OPEN.

CUT TO:

29 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 5 SECS

CATHERINE, FRIGHTENED, STARES AT STRAKER.

CUT TO:

30 INT. CORRIDOR OUTSIDE SMALL ROOM. DAY. (STUDIO). 5 SECS

STRAKER, EQUALLY APPREHENSIVE, LOOKS AT HER.

CUT TO:

31 INT. DISPENSARY. DAY. (STUDIO) 12 SECS

THE MALE NURSE STILL WATCHES FROM BEHIND THE HALF CLOSED DOOR. STRAKER WALKS INTO THE SMALL ROOM. BACK TO CAMERA THE NURSE CLOSES HIS DOOR AND MOVES TO A TABLE. WE PAN DOWN TO SEE HIS HAND SWITCH ON AN INTERCOM.

STRAKER'S VOICE
May I sit down?

CUT TO:

32 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 15 SECS

GETTING NO ANSWER, STRAKER SITS ON THE EDGE OF THE CHAIR, UNCOMFORTABLE. CATHERINE WATCHES HIM WARILY.

STRAKER
I'm sorry if I frightened you just now.

CATHERINE MAKES THINGS MORE DIFFICULT BY STILL NOT REPLYING.

STRAKER
Perhaps it will help if I explain who I am.

CUT TO:

33 INT. DISPENSARY. DAY. (STUDIO). 10 SECS

CLOSE ON THE INTERCOM. THE HAND TURNS UP THE VOLUME.

STRAKER
My name is Edward Straker. I work for an organisation whose function is to investigate all reports on unidentified flying objects.

CUT TO:

34 EXT. FARMHOUSE. DAY. (V.E.) 2 SECS

FLASH CUT OF U.F.O. TAKING OFF.

CUT TO:

35 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 3 SECS

CATHERINE BECOMES SCARED AT STRAKER'S REFERENCE TO U.F.O'S.

CUT TO:

36 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 15 SECS

STRAKER SEES HER REACTION.

STRAKER
You saw one?

CATHERINE SPEAKS FOR THE FIRST TIME.

CATHERINE
(whisper)
Yes.

STRAKER
(gently)
Would you tell me about it?

CATHERINE FINDS IT DIFFICULT TO VERBALISE HER CONFUSED THOUGHTS.

STRAKER
Take your time.

CATHERINE
(whisper)
Yesterday.

CUT TO:

37 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 6 SECS

STRAKER ALMOST WINCES, REMEMBERING HE WILL HAVE TO TELL THE GIRL SHE HAS LOST TEN YEARS OF HER LIFE AND THAT HER PARENTS ARE DEAD.

STRAKER
Where did you see it, Miss Ross?

CUT TO:

38 EXT. FARMHOUSE ROOF. DAY. 2 SECS

FLASH CUT OF CATHERINE WATCHING U.F.O. TAKE OFF.

CUT TO:

39 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 22 SECS

CATHERINE
The farmhouse. When I was on the roof of the farmhouse.

STRAKER
Do you remember where the farmhouse... (ABOUT TO SAY "WAS")... is?

CATHERINE TRIES TO RECALL, SLOWLY SHE SHAKES HER HEAD.

CATHERINE
I don't know.

STRAKER
How did you come to be there?

CATHERINE
We needed somewhere to sleep.

STRAKER
We?

CUT TO:

40 EXT. PICCADILLY. DAY. (LOCATION) 2 SECS

FLASH CUT OF TOM PLAYING GUITAR.

CUT TO:

41 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 10 SECS

CATHERINE
(hardly audible)
Tom.

STRAKER
Who is Tom?

CATHERINE
I didn't know him very well. We met at Piccadilly Circus...

CUT TO:

42 EXT. FARMHOUSE. DAY. (LOCATION) 2 SECS

FLASH CUT OF TOM'S BODY ON GROUND.

CUT TO:

43 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 15 SECS

CATHERINE SHOWS SUDDEN HORROR AT REMEMBERING.

CATHERINE
He's dead!

SHE STARTS TO SOB. STRAKER FEELS GUILTY FOR UPSETTING HER. HE CROSSES THE ROOM AND LOOKS OUT OF THE WINDOW. AS HE LOOKS BACK AT CATHERINE HE SEES THE DOCTOR IN THE CORRIDOR, WATCHING. HE NODS FOR STRAKER TO CONTINUE.

CUT TO:

44 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 47 SECS

STRAKER SITS AGAIN BY THE BED, HATING HIMSELF FOR WHAT HE IS ABOUT TO DO - SHOCK THERAPY.

STRAKER
(brusque)
How did he die?

CATHERINE
(sobbing)
He fell off the roof.

STRAKER CHANGES THE SUBJECT TO GET HER MIND WORKING.

STRAKER
Do you live in London?

CATHERINE
No.

STRAKER
What were you doing in Piccadilly Circus?

CATHERINE
I had run away from home.

STRAKER
Why had you run away from home?

CATHERINE
To be by myself.

STRAKER
Where is the farm?

CATHERINE
I don't know.

STRAKER
What is your name?

CATHERINE
Catherine Ross.

DURING STRAKER'S RAPID QUESTIONING, CATHERINE'S ANSWERS START SLOW AND VAGUE. SHE STOPS CRYING AS SHE TRIES TO KEEP PACE. FINALLY HER ANSWERS ARE PROMPT. HER MIND IS WORKING AGAIN. STRAKER, WITH SOME RELIEF, CAN BECOME GENTLE AGAIN.

STRAKER
(gently)
Do you feel up to telling me about it?

WITH THE CHANGE OF STRAKER'S TONE SHE REALISES WHY HE DID IT.

CATHERINE
Yes... I'll try... I had runaway from home. I was stifled by my parents... I love them very much but I just had to be by myself for a while.

FADE OUT:

FADE IN:

45 EXT. PICCADILLY. CIRCUS. 1970. DAY. (LOCATION) 27 SECS


BLACK & WHITE.

THE GIRL WALKS THROUGH PICCADILLY. SHE CARRIES A CARNABY STREET CARRIER BAG.

CATHERINE (VO)
I was on the point of returning home. I had spent most of my money. That wasn't the reason I was going back. After three days in London I saw people with worse problems than I had.

THIS SPEECH GOES OVER SHOTS OF HIPPIES SITTING MOTIONLESS UNDER EROS.

CATHERINE (VO)
But one thing I did learn. Problems are the same wherever you are and they have to be solved within yourself.

THE SOUND OF TRAFFIC REPLACES THE NARRATION. A LONG-HAIRED, BEARDED YOUNG MAN SITS BY HIMSELF STRUMMING AN OLD GUITAR. HE SINGS SOFTLY. CATHERINE LISTENS FOR A MOMENT THEN SITS A FEW FEET FROM THE BOY.

CUT TO:

46 EXT. PICCADILLY. DAY. (LOCATION) 15 SECS

CLOSE ON TOM AS HE SINGS HIS SELF COMPOSED FOLK SONG.

CUT TO:

47 INT. DISPENSARY. DAY. (STUDIO) 6 SECS

CLOSE ON THE INTERCOM.

CATHERINE (VO)
The words were so sad I felt sorry for him.

THE NURSE'S HAND CLENCHES.

We got into conversation...

CUT TO:

48 EXT. PICCADILLY. DAY. (LOCATION) 6 SECS

THE BOY HAS STOPPED PLAYING. HE IS NOW SITTING NEXT TO CATHERINE. THEY ARE TALKING EARNESTLY.

CATHERINE (VO)
...and found we had a lot in common.

CUT TO:

49 EXT. REGENTS CANAL. DAY. (LOCATION) 30 SECS

THE TWO YOUNG PEOPLE ARE ON ONE OF THE CANAL BOATS WHICH START AT CANALETTO GALLERY IN LITTLE VENICE. IT PASSES THROUGH A TUNNEL UNDER THE EDGWARE ROAD, THROUGH REGENTS PARK AND THE ZOO, TO HAMPSTEAD ROAD LOCHS.

CATHERINE
But giving up with only two years to go.

TOM
Two years, two weeks, it wouldn't have made any difference. I just didn't see the point any more.

CATHERINE
You could have had your own practice by now, instead of wasting your life.

TOM
When I was at the hospital I assisted in a fifteen hour operation on a little child. He lived. The same night, on a newsreel, I saw men killing each other. Suddenly I lost the urge to become a doctor.

CATHERINE
But, Tom...

TOM
(interrupting)
Please let's drop it. Just enjoy the day.

CATHERINE
Okay. Sorry. None of my business.

CUT TO:

50 EXT. LONDON. DAY. (LOCATION) 30 SECS

THE COUPLE WALK THROUGH THE CROWDS OF LONDON. HOLDING A CONVERSATION IS DIFFICULT, BEING BUMPED AND SEPARATED BY THE MARCHING HORDES.

TOM
... and when my father disowned me... he never understood... I decided I would prove to him I wasn't a waster. When I told him I intended to walk around the world for peace he just laughed, which made me more determined than ever.

CATHERINE
That's great. And did you?

TOM
As far as Manchester. It started to rain. I was starving hungry. Maybe he was right. Hey, do you like gliders?

CATHERINE
(surprised)
Gliders?

TOM
Yes, gliders.

CATHERINE
(puzzled)
I suppose so.

TOM
Come on.

HE GRABS HER HAND AND THEY DASH THROUGH THE TRAFFIC JUST IN TIME TO BOARD A BUS FOR "DUNSTABLE".

CUT TO:

51 EXT. DUNSTABLE DOWNS. DAY. (LOCATION) 16 SECS

STARTING ON A GLIDER WE PAN DOWN TO SEE THE BOY AND GIRL WALKING. TOM IS PLAYING HIS GUITAR. AGAIN HE SINGS THE SONG WITH THE SAD WORDS. CATHERINE WATCHES THIS STRANGE YOUNG MAN WHO CAN CHANGE MOODS IN A MATTER OF SECONDS.

CATHERINE
Is that the only song you know? How about the Funeral March?

TOM
(laughing at himself)
Sorry. Right, what would you like... a little opera?

CUT TO:

52 EXT. WHIPSNADE ZOO. DAY. (LOCATION) 10 SECS

CLOSE ON TOM WHO STARTS TO PLAY A VERY LIVELY PIECE. HE SINGS WITH EXAGGERATED GESTURES. WE PULL BACK TO SEE HIM RIDING ON A CAMEL. CATHERINE SITS BEHIND LAUGHING AT HIS ANTICS.

CUT TO:

53 EXT. WHIPSNADE ZOO. DAY. (LOCATION) 11 SECS

TOM IS MAKING FACES AT ONE OF THE MONKEYS. ALL OF A SUDDEN ITS HAND SHOOTS OUT AND GRABS HIS HAIR. CATHERINE FREES HIM BY BRIBING THE MONKEY WITH A NUT.

CUT TO:

54 EXT. WHIPSNADE ZOO. DAY. (LOCATION) 10 SECS

THE ELEPHANT'S TRUNK REACHES OUT FOR AN ORANGE. TOM CATCHES HOLD OF IT AND TRIES TO USE IT AS A TELEPHONE. THE ANIMAL YANKS BACK AND ALMOST PULLS THE BOY INTO THE COMPOUND. CATHERINE GRABS HIM.

CUT TO:

55 EXT. WHIPSNADE ZOO. DAY. (LOCATION) 25 SECS

USING THE ANIMALS AS BACKGROUND WE SEE THE COUPLE ENJOYING THEIR FEW HOURS AWAY FROM THEIR PROBLEMS.

CUT TO:

56 EXT. WHIPSNADE ZOO. DAY. (LOCATION) 10 SECS

THE WOLVES TEARING AND SNARLING AT THE MEAT THE KEEPER HAS JUST THROWN IN HAS A DISTINCT EFFECT ON TOM. THE HAPPINESS THEY FOUND IS NOW GONE. HE IS SUDDENLY DEPRESSED AND INDICATES THEY SHOULD GO.

CATHERINE (VO)
He was very sensitive and got depressed easily.

CUT TO:

57 EXT. BUS STOP. DAY. (LOCATION) 13 SECS

THE COUPLE STAND AT THE BUS STOP COUNTING THEIR MONEY.

CATHERINE (VO)
It wasn't until we got to the bus stop that we realised we had spent most of our money.

THE BUS ARRIVES. THEY STAND AND WATCH THE OTHER PEOPLE BOARDING. THE BUS DRIVES OFF. THEY GRIMACE AND START OFF ON FOOT.

CUT TO:

58 EXT. COUNTRY ROAD. DAY. (LOCATION) 21 SECS

FROM THE WAY THE TWO YOUNG PEOPLE ARE WALKING WE CAN IMAGINE THEY HAVE WALKED SEVERAL MILES. THEY THUMB A PASSING CAR BUT ARE IGNORED.

CATHERINE (VO)
We had walked a long way. I was beginning to feel very tired.

CATHERINE SITS ON THE BANK AT THE SIDE OF THE ROAD. TOM FLOPS BESIDE HER.

CATHERINE (VO)
We decided to find a place to sleep.

THEY GET TO THEIR FEET AND START ACROSS A FIELD.

CUT TO:

59 EXT. MEADOW. DAY/EVENING. (LOCATION) 9 SECS

IT IS BEGINNING TO GET DARK. TOM POINTS AHEAD. THEY SEE A FARMHOUSE WITH OUTBUILDINGS. THEY WALK ON TOWARDS IT.

CUT TO:

60 EXT. FARMHOUSE. EVENING. (LOCATION) 9 SECS

STEALTHILY THEY LOOK AROUND. THE PLACE SEEMS TO BE EMPTY.

CATHERINE (VO)
The farmhouse we found seemed to be deserted but to be on the safe side we chose the barn.

CUT TO:

61 INT. BARN. EVENING. (LOCATION) 28 SECS

CATHERINE LIES ON HER BED MADE OF STRAW AND ONE OF TOM'S BLANKETS. HE IN A SIMILAR BED, LIES A FEW FEET AWAY. HE IS VERY TENSE AND GETS UP.

CATHERINE
What's the matter?

TOM
(pacing)
I always get like this at night. I'm okay when I can see things but I don't like the dark.

CATHERINE
I've got some aspirin. Might help you sleep.

TOM
Not without lights,

CATHERINE
But you can't walk about all night.

TOM
You go to sleep. I'll be okay.

CATHERINE IS CONCERNED FOR HIM BUT SO AS NOT TO CAUSE EMBARRASSMENT, TURNS ON HER SIDE AND CLOSES HER EYES.

CUT TO:

62 INT. BARN. NIGHT. 41 SECS

TOM SITS ON A BALE OF STRAW. HE DOESN'T WANT TO BUT HE KNOWS THE ONLY WAY HE'LL GET THROUGH THE NIGHT IS WITH A FIX. HE LOOKS SIDEWAYS AT CATHERINE. HER EYES ARE STILL CLOSED. FROM HIS POCKET HE TAKES A PILL BOTTLE. AT THIS MOMENT CATHERINE OPENS HER EYES.

CATHERINE
What are they?

TOM
Just something to relax me.

CATHERINE
I don't believe you.

TOM
They're quite harmless.

CATHERINE
What do they do?

TOM SWALLOWS TWO PILLS.

TOM
Try a couple.

CATHERINE LOOKS SUSPICIOUS. TOM RELAXES NOW HE HAS TAKEN THE PILLS. HE KNOWS EVERYTHING IS GOING TO BE ALRIGHT. HE HOLDS OUT TWO OF THE PILLS TO HER.

TOM
They're not habit forming. Come on.

CATHERINE LOOKS AT THE PILLS. TOM PUSHES THEM AT HER AGAIN. SHE STILL CAN'T MAKE UP HER MIND. TOM GETS A BIT BORED. HE TAKES HER HAND AND TIPS THE PILLS INTO IT. CATHERINE SNIFFS THE PILLS, THEN TRIES ONE WITH HER TONGUE. FINALLY SHE EATS THEM. OVER THIS IS CATHERINE'S NARRATION.

CATHERINE (VO)
They were tasteless and like so many stupid people I thought it would be an experience.

SHE LIES BACK AND AWAITS THE EFFECT. AFTER A MOMENT OR TWO SHE INDICATES TO TOM THAT IT IS HAVING NO EFFECT AT ALL. HE HOLDS UP HIS FINGER BIDDING HER TO BE PATIENT. SHE LIES BACK STARING AT THE DARKNESS THROUGH ONE OF THE WINDOWS.

CUT TO:

63 INT. BARN. NIGHT /DAY. 9 SECS

HER P.O.V. OF THE WINDOW. SLOWLY THE DARKNESS DISAPPEARS AND IS REPLACED BY BRILLIANT SUNSHINE.

CUT TO:

64 INT. BARN. DAY. 9 SECS

CATHERINE'S EYES OPEN WIDE. SHE LOOKS AT TOM. HE TOO IS BEGINNING TO FEEL THE DRUG.

65 INT. BARN. DAY. (INFRA RED FILM.) 12 SECS

HE GETS UP AND TAKES CATHERINE BY THE HAND. THEY MOVE IN SLOW MOTION TO THE BARN DOORS AND THROW THEM OPEN. OUTSIDE IT IS NOW BRIGHT SUNSHINE. ALL THE GREENS HAVE TURNED TO WHITE AND THE OTHER COLOURS HAVE CHANGED THEIR TONES.

CUT TO:

66 EXT. MEADOW. DAY. (LOCATION) 30 SECS

THEY RUN AND LEAP IN SLOW MOTION ACROSS THE MEADOW. TOM JUMPS ON THE BACK OF A SOLITARY COW. THE ANIMAL RESENTS IT AND STARTS TO RUN AND TRIES TO THROW TOM OFF. CATHERINE WATCHES LAUGHING HYSTERICALLY.

CUT TO:

67 EXT. MEADOW. DAY. (LOCATION) 20 Secs

FINALLY THE COW GETS RID OF ITS BURDEN. TOM FLOATS IN THE AIR AND BOUNCES SEVERAL TIMES. HE LEAPS TO HIS FEET AND GRABBING CATHERINE'S HAND THEY MAKE FOR THE FARMHOUSE.

CUT TO:

68 EXT. FARMHOUSE. DAY. (LOCATION) 10 SECS

RUNNING, THEY PUSH OPEN THE FRONT DOOR AND ENTER.

CUT TO:

69 INT. FARMHOUSE. DAY. 35 SECS

THE FARMHOUSE IS DESERTED. JUST ODDS AND ENDS LEFT BEHIND BY THE ORIGINAL TENANTS. THEY THROW THINGS INTO THE AIR WHICH FLOAT ABOUT. IT IS GREAT FUN.

CUT TO:

70 INT. FARMHOUSE. DAY. 30 SECS

THEY DASH THROUGH THE ROOMS. MAYBE THEY FIND OLD FASHIONED HATS AND CLOTHES. THEY PUT THESE ON AND PLAY A GAME OF HIDE AND SEEK.

71 INT. FARMHOUSE. DAY. 12 SECS

TOM IS PURSUING CATHERINE. SHE RUNS DOWN THE CELLAR STEPS.

CUT TO:

72 INT. CELLAR. DAY. 40 SECS

CATHERINE BURSTS INTO THE CELLAR, TOM CLOSE BEHIND. WE PAN WITH THEM, THERE IS NO REACTION FROM EITHER OF THEM WHEN THEY SEE TWO ASTRONAUTS STANDING OVER A HOLE THEY HAVE DUG. IN THE HOLE IS AN OBJECT. A CLOSER EXAMINATION WOULD REVEAL IT AS A TRANSLUCENT HEXAGONAL CONTAINER HOLDING DIFFERENT COLOURED LIQUIDS. THE TWO ASTRONAUTS STOP WHAT THEY ARE DOING. THE GIRL AND BOY RUN AROUND THEM. ON THE FLOOR BY THE HOLE IS A SMALL PIECE OF MECHANISM. TOM GRABS IT. ONE OF THE MEN TRIES TO GET IT BACK. TOM THROWS IT TO CATHERINE. SHE DEFTLY CATCHES IT AND RUNS FROM THE CELLAR. TOM AFTER HER. THE TWO ASTRONAUTS GO AFTER THEM.

CUT TO:

73 INT. FARMHOUSE. DAY. 25 SECS

CATHERINE COMES TOWARDS US DOWN A CORRIDOR. SHE TURNS UP SOME STAIRS LEADING TO THE ROOF. TOM STOPS AT THE BOTTOM OF THE STAIRS AND WAITS FOR THE TWO MEN, SO THAT THE GAME CAN CONTINUE. THE TWO ENCUMBERED MEN APPEAR AND LUMBER TOWARDS TOM. AT THE LAST MINUTE HE TAKES OFF UP THE STAIRS.

CUT TO:

74 EXT. ROOF. DAY. (LOCATION) 35 SECS

CATHERINE IS ON THE ROOF LOOKING FOR A PLACE TO HIDE THE PIECE OF MECHANISM. SHE FINALLY LOCATES A LOOSE SLATE AND PUSHES IT UNDER. TOM DASHES ONTO THE ROOF. HE HIDES BESIDE THE DOOR. AS THE TWO MEN APPEAR TOM RUNS TO THE EDGE OF THE ROOF. THE MEN MOVE TOWARDS HIM. AS THEY DO TOM LAUGHS AND FLIES OFF INTO SPACE.

CUT TO:

75 EXT. SKY BACKGROUND. DAY. 12 SECS


TOM SOMERSAULTS IN SLOW MOTION.

CUT TO:

76 EXT. ROOF. DAY. (LOCATION) 6 SECS

CATHERINE THINKS IT IS THE FUNNIEST THING SHE HAS EVER SEEN.

CUT TO:

77 EXT. FARMHOUSE. DAY. (LOCATION) 9 SECS

TOM LANDS LIKE PETER PAN AND GRACEFULLY BOWS UP AT THE TWO FRUSTRATED ASTRONAUTS.

CUT TO:

78 EXT. ROOF. DAY. (LOCATION) 15 SECS

THE TWO MEN TURN FROM THE EDGE OF THE ROOF. CATHERINE IS LAUGHING. ONE OF THEM HITS HER. WE PAN WITH HER AS SHE FALLS. DAY TURNS TO NIGHT.

CUT TO:

79 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 22 SECS

START ON CATHERINE'S HAND GRIPPING THE BEDSHEETS. PAN TO HER FACE.

CATHERINE
And then I lost consciousness.

STRAKER
(Urgently)
What was in that hole they had dug?

CATHERINE
I don't know.

STRAKER
Try to remember... describe it to me.

CATHERINE
It was a large container... you could see through it... it had different coloured liquids in it.

STRAKER ASSIMILATES THIS INFORMATION.

STRAKER
What did you do with the piece you took?

CATHERINE CONCENTRATES BUT CAN'T REMEMBER.

CATHERINE
I had it when I left the farmhouse, but I don't remember what I did with it.

CUT TO:

80 INT. DISPENSARY. DAY. (STUDIO) 7 SECS

CLOSE ON THE INTERCOM.

STRAKER(VO)
Did you have it when you got back to London?

CATHERINE (VO)
I think so. I'm not sure. I don't know. I think so.

CUT TO:

81 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 17 SECS

CATHERINE IS DISTRESSED BY THE LACK OF ABILITY TO REMEMBER.

STRAKER
(gently)
Do you want to stop for today?

CATHERINE
No. No, I'd rather talk about it.

STRAKER
I'm sorry to ask all these questions... you must be feeling...

CATHERINE
No, really, I'm okay.

STRAKER
Catherine. Think about this before you answer... it is most important. Where is that farm?

CUT TO:

82 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 7 SECS

CATHERINE CLOSES HER EYES. SHE TRIES HARD.

CATHERINE
All I can tell you is, we walked miles after leaving the zoo… I'm sorry, I just have no idea.

CUT TO:

83 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 5 SECS

STRAKER
Very well. Don't worry. What happened after you came to on the roof?

CUT TO:

84 EXT. FARMHOUSE ROOF. DAY. (LOCATION) 13 SECS

MATCHING CLOSE UP TO THE HOSPITAL

CATHERINE OPENS HER EYES.

CATHERINE (VO)
I must have been unconscious for a long time. When I woke up it was morning. I was still under the influence of that drug... God, I'll never do that again.

CATHERINE TRIES TO COLLECT HERSELF. SUDDENLY SHE REALISES THE JACKET SHE WAS WEARING HAS BEEN REMOVED. SHE HAS BEEN SEARCHED. FRIGHTENED, SHE MOVES TO THE EDGE OF THE ROOF.

CUT TO:

85 EXT. FARMHOUSE. DAY. (LOCATION) 6 Secs

HER P.O.V. OF THE BOY. HE LIES IN A BROKEN HEAP ON THE GROUND. WE ZOOM IN TO HIM.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

86 EXT. FARMHOUSE. DAY. (LOCATION) 4 SECS

THE BODY. FROM CATHERINE'S P.O.V.

CUT TO:

87 EXT. ROOF. DAY. (LOCATION) 10 Secs

CATHERINE RECOILS IN HORROR. FRANTICALLY SHE MAKES FOR THE ROOF DOOR. SHE STOPS, FEARING THE ASTRONAUTS MIGHT STILL BE AROUND. CAUTIOUSLY SHE OPENS THE DOOR AND GOES INTO THE HOUSE.

CUT TO:

88 INT. FARMHOUSE. DAY. 9 SECS

THE ONCE UNTIDY ROOMS HAVE BEEN SEARCHED. ALL THE RUBBISH IS PILED IN THE CORNER OF EACH ROOM.

CUT TO:

89 EXT. FARMHOUSE. DAY. (LOCATION) 15 SECS

SLOWLY CATHERINE APPROACHES THE BODY OF THE DEAD BOY. SHE FORCES HERSELF TO CHECK HIS PULSE. SLOWLY SHE STANDS BACK NOT KNOWING WHAT TO DO. A NOISE FROM SOME NEARBY TREES MAKE HER RUN BACK TO THE HOUSE.

CUT TO:

90 EXT. ROOF. DAY. (LOCATION) 8 SECS

SHE RUNS ONTO THE ROOF AND DUCKS OUT OF SIGHT. CRAWLING TO THE EDGE SHE LOOKS OVER.

CUT TO:

91 EXT. FARMHOUSE. DAY. (LOCATION) 6 SECS

SHE IS JUST IN TIME TO SEE THE TWO ASTRONAUTS DRAGGING THE BOY'S BODY INTO THE TREES.

92 EXT. ROOF. DAY. (LOCATION) 15 SECS

PANIC-STRICKEN SHE PRESSES HERSELF AS FAR OUT OF SIGHT AS POSSIBLE. SHE IS BY THE LOOSE SLATE. SHE REMEMBERS AND TAKES OUT THE PIECE OF MECHANISM. A WHIRRING SOUND MAKES HER LOOK UP.

CUT TO:

93 EXT. SKY. DAY. (VE) 5 SECS

A U.F.O. IS CLIMBING RAPIDLY INTO THE SKY.

CUT TO:

94 EXT. ROOF. DAY. (LOCATION) 6 SECS

CATHERINE BURIES HER FACE IN HER HANDS, ABSOLUTELY TERRIFIED.

CUT TO:

95 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 24 SECS

START ON GLASS OF WATER AS IT IS HANDED TO CATHERINE. SHE TAKES A DRINK.

CATHERINE
I'm sorry... I was so frightened.

STRAKER TAKES HER HAND.

STRAKER
It must have been a terrible experience.

CATHERINE
(almost crying)
I can hardly remember what he looked like. Just his name... Tom.

THE DOCTOR APPEARS AT THE DOOR.

STRAKER
I think that's enough for today. May I come back tomorrow?

CATHERINE TRIES TO PULL HERSELF TOGETHER

CATHERINE
Yes, of course.

STRAKER
If there's anything at all you need, just tell the doctor.

CUT TO:

96 INT. DISPENSARY. DAY. (STUDIO) 5 SECS

CLOSE ON INTERCOM.

STRAKER (VO)
Try not to worry, Catherine. You are in safe hands here.

THE HAND SLOWLY TURNS OFF THE INTERCOM.

CUT TO:

97 INT. STRAKER'S OFFICE. (STUDIO) DAY. 50 SECS

STRAKER BURSTS IN. FOSTER IS STILL PLOUGHING THROUGH THE PAPER WORK.

STRAKER
Leave that, Paul. This dead case has just come to life with a vengeance. Somewhere between here and Dunstable is a bomb of some kind planted by the aliens ten years ago.

WHILE HE IS TALKING STRAKER IS SEARCHING THROUGH HIS CABINETS.

STRAKER
Under that farmhouse we investigated. We didn't take it seriously and there is nothing in the report about the location.

FOSTER
Don't you remember?

STRAKER
Only vaguely... after ten years and a few thousand similar investigations.

FOSTER
And the girl doesn't either?

STRAKER
No.

FOSTER
Why hasn't the bomb been exploded?

STRAKER
It seems the girl took one of the vital parts... and lost it.

FOSTER
Why didn't they replace it?

STRAKER
It could take years to go back to their own planet and return.

STRAKER FINDS WHAT HE IS LOOKING FOR. SOME OLD ORDNANCE SURVEY MAPS. HE SPREADS THEM ACROSS THE DESK.

STRAKER
We've got to find that bomb. I want you to start searching the site of every farm that existed between here and here.
(he indicates)

ON THE OLD MAP THERE ARE HUNDREDS OF FARMS.

FOSTER
It could take weeks. Most of that area is built up now.

STRAKER
I know. The only alternative is that the girl remembers what she did with the piece she had.

CUT TO:

98 INT. SMALL ROOM. HOSPITAL. NIGHT. (STUDIO) 11 SECS

CATHERINE SITS UP IN BED. THE MALE NURSE, BACK TO CAMERA, HANDS HER SOME MEDICINE. SHE DOESN'T NOTICE FOR A MOMENT AS SHE IS DEEP IN THOUGHT.

CATHERINE
Oh, sorry.

SHE SWALLOWS THE MEDICINE.

CATHERINE (cont'd)
Thank you. Would you be kind enough to ask the doctor if he can spare a moment.

THE NURSE NODS AND LEAVES.

CUT TO:

99 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 20 SECS

STRAKER PULLS UP. THE DOCTOR IS WAITING ON THE STEPS FOR HIM.

DOCTOR
I had to tell her.

STRAKER
(very annoyed)
Why? You should have left it to me.

DOCTOR
Last night she asked for her parents... I had no choice.

STRAKER
Oh, the poor girl... how did she take it?

DOCTOR
Pretty hard. She asked for you.

WITHOUT MORE ADO STRAKER HURRIES INTO THE HOSPITAL.

CUT TO:

100 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 6 Secs

STRAKER QUIETLY OPENS THE DOOR.

CUT TO:

101 INT. DISPENSARY. DAY. (STUDIO) 4 Secs

THE MALE NURSE'S HAND SWITCHES ON THE INTERCOM.

CUT TO:

102 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 4 Secs

CATHERINE LIES IN BED HER EYES CLOSED.

CUT TO:

103 INT. SMALL ROOM. HOSPITAL. DAY. (STUDIO) 15 SECS

STRAKER QUIETLY CROSSES THE ROOM. HE LOOKS DOWN AT CATHERINE. HE IS FULL OF COMPASSION. GENTLY HE TAKES HER HAND, SHE OPENS HER EYES AND LOOKS AT HIM. SHE GENTLY STARTS TO CRY. STRAKER ALMOST CRIES TOO. HE PUTS HIS ARMS AROUND HER.

DISSOLVE:

104 EXT. COTTAGE HOSPITAL GROUNDS. DAY. (LOCATION) 52 SECS

STARTING CLOSE ON A HIGH WINDOW. WE SEE A DIRECTIONAL MIKE PUT INTO POSITION. WE SLOWLY ZOOM BACK. THE FACE OF THE MALE NURSE IS IN SHADOW. WE PULL BACK UNTIL WE HOLD A TWO SHOT OF STRAKER AND CATHERINE. SHE IS IN A WHEEL CHAIR. STRAKER SITS ON A GARDEN SEAT. THEY ARE SILENT.

CATHERINE
(emotionally)
You are the only person I know in the world,

STRAKER
Didn't you have any relations apart from... ?

CATHERINE
No. My parents weren't young and I was the only child.

STRAKER
Friends? School friends?

CATHERINE
My father insisted on a private tutor. We lived in a big country house and they never entertained... one of the reasons I left home was for company.

SHE IS ALMOST ON THE POINT OF CRYING.

STRAKER
Catherine, when this is over… may I have the first date?

CATHERINE
You are very kind. Thank you.

STRAKER
I would really like that date.

SHE LOOKS AT HIM FOR A LONG MOMENT. HE IS OBVIOUSLY SINCERE.

CATHERINE
So would I.

THERE IS AN EMBARRASSED PAUSE. CATHERINE BREAKS THE SILENCE.

CATHERINE
Well the sooner it's over, the sooner we can keep it.

STRAKER
You feel up to it?

CATHERINE
I'll be alright.

STRAKER WAITS AS SHE FORCES HERSELF TO PICK UP THE THREAD OF THE INTERVIEW.

CATHERINE (cont'd)
Yes... after the U.F.O. left I did on the roof for a long time. I didn't know what to do.

CUT TO:

105 EXT. ROOF. FARMHOUSE. DAY. (LOCATION) 16 SECS

CLOSE ON A CAR COMING ACROSS THE MEADOW. ZOOM BACK TO HOLD CATHERINE.

CATHERINE (VO)
I saw a car coming towards the farmhouse.

CATHERINE CROUCHES TRYING TO MAKE UP HER MIND WHAT ACTION TO TAKE.

STRAKER (VO)
That was us. We had a call about a strange craft taking off from that area.

CATHERINE DASHES FROM THE ROOF.

CATHERINE (VO)
I ran from the house. I was still confused. I just had to get away.

CUT TO:

106 EXT. FARMHOUSE AND MEADOW. DAY. (LOCATION) 15 SECS

THE CAR STOPS. STRAKER AND TWO OTHER MEN GET OUT. CATHERINE RUNS FROM THE HOUSE. STRAKER INDICATES THE OTHER TWO SHOULD LOOK AROUND. HE GETS BACK INTO THE CAR AND FOLLOWS CATHERINE.

CUT TO:

107 EXT. CROSSROADS. COUNTRY LANES. DAY. (LOCATION) 15 SECS

STRAKER'S CAR STOPS. HE GETS OUT AND LOOKS AROUND FOR THE GIRL. IN THE DISTANCE WE SEE A FLASH OF CATHERINE. STRAKER JUMPS BACK INTO THE CAR. HE HAS TO BACK IT TO GET ONTO THE RIGHT ROAD.

CUT TO:

108 EXT. MAIN ROAD. DAY. (LOCATION) 17 SECS

STRAKER TURNS ONTO THE ROAD. THE GIRL ISN'T IN SIGHT. FURTHER DOWN THE ROAD AN A.A. MAN IS REPAIRING A CAR.

STRAKER
Did you see a girl in a red dress?

A.A. MAN
She just got into a lorry.

HE POINTS IN THE OPPOSITE DIRECTION.

STRAKER
What was it like?

A.A. MAN
Green and... green and white.

STRAKER DRIVES OVER THE GRASS VERGE AND JOINS THE TRAFFIC TOWARDS LONDON.

CUT TO:

109 INT. LORRY. DAY. (STUDIO) 8 SECS

CATHERINE SITS IN THE CORNER OF THE CAB. STILL IN SHOCK. THE DRIVER GIVES HER A SIDEWAYS LOOK.

CUT TO:

110 EXT. MAIN ROAD. DAY. (LOCATION) 7 SECS

STRAKER GETS STUCK BEHIND AN ENORMOUS LOW LOADER CARRYING A WIDE LOAD. HE HAS TO TAG ALONG BEHIND IT.

CUT TO:

111 INT. LORRY. DAY. (STUDIO) 12 SECS

THE DRIVER IS TRYING TO MAKE CONVERSATION. CATHERINE DOESN'T APPEAR TO HEAR HIM. HE EYES HER FIGURE THEN TURNS THE WHEEL TO LEAVE THE MAIN ROAD.

CUT TO:

112 EXT. TURNING OFF THE MAIN ROAD. DAY. (LOCATION) 5 SECS

THE LORRY COMES TO A STOP BY A PLAYING FIELD. BEING EARLY, IT IS DESERTED.

CUT TO:

113 INT. LORRY. DAY. (STUDIO) 15 SECS

THE LORRY STOPPING SHAKES CATHERINE OUT OF HER THOUGHTS. SHE LOOKS AT THE LORRY DRIVER. HE IS JUST STARING AT HER. SHE GETS THE MESSAGE AND REACHES FOR THE DOOR HANDLE. HE GRABS HER ARM AND TRIES TO KISS HER. SHE MANAGES TO GET THE DOOR OPEN AND SCRAMBLE OUT. HE COMES AFTER HER.

CUT TO:

114 EXT. PLAYING FIELDS. DAY. (LOCATION) 8 SECS

CATHERINE RUNS AS FAST AS SHE CAN. THE DRIVER CATCHES HER AND PULLS HER TO THE GROUND.

CUT TO:

115 EXT. MAIN ROAD. DAY. (LOCATION) 5 SECS

STRAKER'S CAR PASSES CAMERA.

CUT TO:

116 INT. STRAKER'S CAR. DAY. (STUDIO) 6 SECS

STRAKER IS LOOKING INTO THE SIDE TURNINGS AS HE DRIVES. HE SEES SOMETHING.

CUT TO:

117 EXT. SIDE TURNING. DAY. (LOCATION) 4 SECS

STRAKER'S P.O.V. OF THE PARKED GREEN AND WHITE LORRY.

CUT TO:

118 INT. STRAKER'S CAR. DAY. (STUDIO) 6 SECS

HE STOPS THE CAR AND STARTS TO REVERSE.

CUT TO:

119 EXT. SIDE TURNING. DAY. (LOCATION) 12 SECS

THE CAR DRAWS UP BEHIND THE LORRY. HE GETS OUT. ACROSS IN THE PLAYING FIELDS HE SEES THE DRIVER TRYING TO RAPE THE GIRL. STRAKER RUNS TOWARDS THEM.

CUT TO:

120 EXT. PLAYING FIELDS. DAY. (LOCATION) 6 SECS

CATHERINE MANAGES TO GET TO HER FEET. THE DRIVER TAKES OFF AFTER HER.

CUT TO:

121 EXT. PLAYING FIELDS. DAY. (LOCATION) 18 SECS

CATHERINE RUNS PAST CAMERA. SHE IS TERRIFIED. THE DRIVER RUNS INTO C.U. HE STOPS, TOO OUT OF CONDITION TO CONTINUE THE CHASE. STRAKER IS RUNNING IN THE BACKGROUND. THE DRIVER WATCHES THE GIRL IN DISGUST. HE TURNS BACK AS STRAKER GETS TO HIM. STRAKER STOPS FOR A MOMENT LOOKING AT HIM. SUDDENLY STRAKER HITS HIM IN THE GUTS. THE DRIVER FALLS. STRAKER RUNS ON AFTER CATHERINE.

CUT TO:

122 EXT. ROAD LEADING TO TUBE STATION. DAY. (LOCATION) 10 SECS

THE GIRL COMES FROM THE PLAYING FIELD AND STILL RUNNING GOES TOWARDS THE TUBE STATION. SHE LOOKS BACK, SEES STRAKER. IN PANIC SHE RUNS ALL THE HARDER INTO THE TUBE STATION.

CUT TO:

123 INT. TUBE STATION. DAY. (LOCATION) 11 SECS

CATHERINE RUNS ONTO THE PLATFORM. A TRAIN IS JUST ABOUT TO GO. SHE GETS ABOARD. FROM ANOTHER ENTRANCE STRAKER APPEARS. HE SEES THE GIRL DISAPPEARING INTO THE TRAIN. THE DOORS ARE CLOSING. HE JUST SQUEEZES INTO ANOTHER COMPARTMENT.

CUT TO:

124 INT. TRAIN COMPARTMENT. DAY. (LOCATION) 13 SECS

STRAKER GOES TO THE DOOR ADJOINING THE COMPARTMENTS. HE LOOKS THROUGH FOR THE GIRL. SHE SEES HIM AND HURRIES TO THE FAR END OF THE CARRIAGE.

CUT TO:

125 INT. ANOTHER TUBE STATION. DAY. (LOCATION) 10 SECS


CATHERINE GETS OUT AND RUNS FOR THE EXIT. BEHIND HER WE SEE STRAKER. HE IS BLOCKED BY THE CROWD.

CUT TO:

126 EXT. STREET. LONDON. DAY. (LOCATION) 12 SECS

STRAKER PUSHES THROUGH THE PEDESTRIANS IN THE BUSY LONDON STREET. THE GIRL HAS VANISHED. HE RUNS TO A JUNCTION AND LOOKS ALL FOUR WAYS.

CUT TO:

127 EXT. STREET. LONDON. DAY. (LOCATION) 5 SECS

P.O.V'S OF IMPASSIVE CROWDS HURRYING ABOUT THEIR BUSINESS.

CUT TO:

128 EXT. LONDON STREET. DAY. (LOCATION) 8 SECS

CATHERINE RUNS ACROSS THE ROAD RIGHT UNDER THE WHEELS OF A DOUBLE DECKER BUS. THE DRIVER SLAMS ON HIS BRAKES BUT HAS NO CHANCE.

CUT TO:

129 EXT. LONDON STREET. DAY. (LOCATION) 12 SECS

STRAKER SPINS AS HE HEARS THE SQUEAL OF BRAKES. HE SEES THE GIRL HALF UNDER THE BUS. HE DIVES THROUGH THE TRAFFIC AND KNEELS DOWN BESIDE HER. HE TOUCHES HER HAND.

CUT TO:

130 EXT. COTTAGE HOSPITAL GROUNDS. DAY. (LOCATION) 15 SECS

STRAKER TOUCHES CATHERINE'S HAND. PULL BACK. CATHERINE SHIVERS AS SHE REMEMBERS THE BUS RUNNING OVER HER.

CATHERINE
And that was the last thing I remember.

STRAKER LOOKS AT HER. SHE HAS BEEN THROUGH A LOT.

STRAKER
Do you still think you had that piece of mechanism when you left the train?

CATHERINE
I feel almost sure.

SHE RAISES HER HAND IN A THROWING MOTION.

CUT TO:

131 INT. DISPENSARY. DAY. (STUDIO) 7 SECS

CLOSE ON THE INTERCOM. THE NURSE'S HAND ANXIOUS.

CATHERINE (VO)
I seem to remember...

CUT TO:

132 EXT. COTTAGE HOSPITAL GROUNDS. DAY. (LOCATION) 5 SECS

BUT THE THOUGHT WON'T CLARIFY.

CATHERINE
No, I'm sorry...

CUT TO:

133 INT. DISPENSARY. DAY. (STUDIO) 4 SECS

THE HAND SNAPS OFF THE SPEAKER.

CUT TO:

134 EXT. COTTAGE HOSPITAL GROUNDS. DAY. (LOCATION) 12 Secs

STRAKER HIDES HIS DISAPPOINTMENT.

STRAKER
That's enough for today anyway. I'd better take you back to your room before I get into trouble with the doctor.

HE STARTS TO WHEEL HER TOWARDS THE ENTRANCE.

CATHERINE
When are you coming again?

STRAKER
Tomorrow... as soon as the gates open.

THEIR EYES MEET FOR A MOMENT.

CUT TO:

135 INT/EXT. HOSPITAL. DAY. (LOCATION) 7 SECS

IN THE F.G. IS THE BACK OF THE MALE NURSE'S HEAD. BEYOND WE SEE STRAKER PUSH THE WHEELCHAIR TO THE FRONT DOOR. THE NURSE CLOSES THE WINDOW. HE WRENCHES THE CATCH CLOSED.

CUT TO:

136 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) DAY. 40 SECS

ON THE WALL IS A LARGE SCALE 1980 MAP OF THE SEARCH AREA. WE PULL BACK. FOSTER IS SHADING IN THE SECTIONS THAT HAVE BEEN SEARCHED.

FOSTER
(annoyed)
But with a full crew it will still take us the best part of three months.

STRAKER
(adamant)
Even so, you will have to split your forces. Catherine thinks she still had her piece of the bomb when she got to London but she isn't sure. So I want you to run a check on any company that was operating green and white lorries along what was the A.5 between Dunstable and London. Also the tube stations and tunnels on the Northern Line must be searched… working back from Edgware Road Station.

FOSTER
Don't you think we're making a mountain out of a molehill? It's been ten years.

STRAKER
Paul, you remember what happened in Turkey in 1970. Eighty thousand people killed. A whole city destroyed.

FOSTER
Yes, but that was an earthquake.

STRAKER
Was it? A U.F.O. was reported above the area a few hours before the 'quake struck. Our farmhouse incident happened three days later.

WITHOUT A WORD FOSTER CROSSES TO THE PHONE.

FOSTER
Put me in touch with search headquarters.

CUT TO:

137 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 20 SECS

STARTING VERY CLOSE ON THE DOOR. IT OPENS. INTO FRAME COMES A HYPODERMIC NEEDLE. STAYING CLOSE WE FOLLOW IT ACROSS THE ROOM. OUT OF FOCUS IN B.G. CATHERINE SLEEPS. AS THE NEEDLE

TOUCHES HER ARM WE PAN TO HER FACE. THE PRICK OF THE HYPODERMIC JOLTS HER AWAKE. SHE STARES AT THE NURSE.

CUT TO:

138 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 8 SECS

HE FINISHES THE INJECTION. THEN HIS EYES COME UP TO MEET CATHERINE'S. TEN YEARS AND NO BEARD HAVE CHANGED TOM.

CUT TO:

139 INT, SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 7 SECS

CATHERINE'S EXPRESSION CHANGES AS SHE RECOGNISES THE FORMER HIPPY. BEFORE SHE CAN SCREAM HIS HAND COMES OVER HER MOUTH.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

140 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 80 SECS

TOM PUTS HIS FINGERS TO HIS LIPS. THEN RELEASES CATHERINE.

CATHERINE
(incredulously)
But you're dead. You're dead.

TOM
I was.

CATHERINE'S MIND RACES, TRYING TO UNDERSTAND.

TOM
I'm sorry to shock you.

CATHERINE
But... what... what... how... ?

TOM PUTS THE HALF EMPTY HYPODERMIC ON THE SIDE TABLE.

TOM
Let me explain. After they took me aboard their craft they resuscitated me, but I didn't know where the mechanism was. They left me for a few minutes. When they came back...

HE LOOKS AT HER FOR A LONG TIME. HE HOLDS A GUILTY SECRET.

...I was given life to finish what they had started. No matter how long it took. When I got back to the farm you had gone. I read about your accident and traced you here. Being a medical student they were only too pleased to give me this job.

CATHERINE
And you've been here ten years. But why... why?

TOM
I still have to complete my task. I must find that missing piece.

CATHERINE
But you can't... you mustn't...

TOM
I have no choice. They had made it a fixation.

CATHERINE
But you can reason... think.

TOM
Yes, but it makes no difference. It must be done. I can't help myself.

CATHERINE
What if you don't find the piece that's lost?

TOM
I will. You will tell me.

CATHERINE
Even if I knew I wouldn't.

TOM
The injection will bring it back to you... and you will tell me.

SADLY HE SITS ON THE EDGE OF THE BED AND WAITS FOR THE DRUG TO TAKE EFFECT. CATHERINE STARES AT HIM, TORN BETWEEN REVULSION AND PITY.

CATHERINE
Tom, do you realise... thousands of people will be killed...

TOM
(flatly)
I know. But I must rest. The laws of nature have to be obeyed.

FROM HIS EXPRESSIONLESS FACE CATHERINE KNOWS SHE WILL NEVER GET THROUGH TO HIM. HORRIFIED SHE LOOKS AT HER ARM WHERE THE NEEDLE PUNCTURED.

CUT TO:

141 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) NIGHT. 5 SECS

CLOSE ON THE PHONE. IT RINGS. STRAKER'S HAND TAKES IT. PAN UP TO HIS FACE.

STRAKER
Straker.

CUT TO:

142 INT. HOSPITAL. NIGHT. (STUDIO) 9 SECS

THE DOCTOR IS IN THE CORRIDOR. BEYOND HIM WE SEE CATHERINE IN HER BED. SHE IS SOBBING. A FEMALE NURSE TRIES TO COMFORT HER.

DOCTOR
Mr. Straker, you'd better come. Something's happened. Miss Ross won't speak to anyone but you.

CUT TO:

143 INT. STRAKER'S OFFICE. (UNDERGROUND) (STUDIO) NIGHT. 15 SECS

STRAKER
(anxiously)
She's not ill?

DOCTOR (VO)
No, but she's very upset. Says she has remembered something very important.

STRAKER
I'm on my way.

HE MAKES URGENTLY FOR THE DOOR. FOSTER IS AT THE MAP.

STRAKER
(over his shoulder)
I have to go to the hospital. Call you from there.

BEFORE FOSTER CAN REPLY, STRAKER IS GONE.

CUT TO:

144 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 6 SECS


CATHERINE SITS UP IN BED. SHE IS STILL VERY UPSET. STRAKER SITS CLOSE.

CATHERINE
...and when the injection worked I remembered every detail after I left the train...

145 EXT. LONDON STREET. (EDGWARE RD.) DAY. (LOCATION) 10 SECS

CATHERINE RUNNING THROUGH THE CROWDS. SHE STOPS TO GET HER BREATH. BY THE BRIDGE OVER "LITTLE VENICE" SHE DIGS HER HANDS INTO HER POCKETS AND LOOKS ANXIOUSLY BACK UP THE ROAD. SHE BECOMES CONSCIOUS OF SOMETHING IN HER HAND. IT IS THE MECHANISM. SHE FLINGS IT AWAY FROM HER OVER THE BRIDGE.

CUT TO:

146 EXT. HOUSEBOAT. DAY. (LOCATION) 6 SECS

THE MECHANISM FALLS INTO AN OPEN HOLD OF A HOUSEBOAT AND DOWN AMONGST THE ROPES AND OIL CANS STORED THERE.

CUT TO:

147 EXT. LONDON STREET. (EDGWARE RD.) DAY. (LOCATION) 9 SECS

CATHERINE SEES STRAKER STILL SEARCHING FOR HER. IN A PANIC SHE RUNS INTO THE PATH OF THE ONCOMING BUS.

CUT TO:

148 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 7 SECS

STRAKER
(urgently)
How long ago did he leave?

CATHERINE
About an hour.

STRAKER ON THE MOVE. TO THE TELEPHONE IN THE HALL. HE GRABS IT UP.

CUT TO:

149 EXT. LITTLE VENICE. NIGHT. (LOCATION) 14 SECS

FOSTER'S CAR STOPS. HE JUMPS DOWN ONTO THE HOUSEBOAT. THERE IS NO REPLY TO HIS KNOCKING. HE PUSHES THE DOOR OPEN. THE DEAD BODY OF THE OWNER LIES ON THE FLOOR.

CUT TO:

150 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 14 SECS

STRAKER, CATHERINE AND THE DOCTOR ARE LISTENING TO FOSTER.

FOSTER
The owner had only been dead a few minutes. He must have found the mechanism otherwise he would still have been there.

STRAKER
God help us.

HE PACES UP AND DOWN.

STRAKER
The maps?

FOSTER
In the car.

STRAKER
Get them.

FOSTER HURRIES OUT.

CUT TO:

151 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 7 SECS

THE OLD ORDNANCE SURVEY MAP IS SPREAD ACROSS THE BED.

STRAKER
Catherine, I 'm sorry but you must try again.
(indicating)
Here is the zoo. You must have started to walk along this road here. Try and remember which way you went from there.

CATHERINE TAKES UP THE MAP. SHE IS WHITE WITH CONCENTRATION. SHE OBVIOUSLY CAN'T REMEMBER.

FOSTER
Do you remember how long you walked?

CATHERINE
(desperately trying)
It could have been two, three or five hours.
(moaning)
I don't know. I don't know.

FOSTER
It's no use. We'll still be here when England splits in half.

HE TURNS AWAY IN FRUSTRATION. HIS EYE CATCHES THE HYPODERMIC STILL ON THE BEDSIDE TABLE.

CUT TO:

152 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 5 SECS

ZOOM IN TO THE HYPODERMIC.

CUT TO:

153 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT (STUDIO) 8 SECS

FOSTER LOOKS AT STRAKER. STRAKER READS HIS MIND.

CUT TO:

154 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 27 SECS

CATHERINE IS SOBBING. FOSTER DRAWS STRAKER TO ONE SIDE.

FOSTER
It worked once. It's our only chance.

STRAKER LOOKS GRIM. HE MOVES TO THE DOCTOR.

STRAKER
(quietly)
What was that drug?

DOCTOR
I don't know. It wasn't anything I've seen before.

STRAKER
Would another injection harm her?

DOCTOR
That last one doubled her pulse rate. It's nowhere near back to normal. I don't know what would happen.

FOSTER
You must do it.

DOCTOR
I won't take the responsibility.

STRAKER
(passionately)
No, Paul, we can't. It could kill her.

FOSTER
Thousands of people will die if we don't try...

TO THE DOCTOR. AN ORDER.

...Do it!

STRAKER'S FACE SCREWS UP IN AGONY. THE DOCTOR KNOWS HE HAS NO CHOICE. HE MOVES TOWARDS THE SOBBING GIRL.

CUT TO:

155 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 6 SECS

STARTING CLOSE ON THE NEEDLE. THE DOCTOR PICKS IT UP. WE PAN IT TO THE GIRL'S ARM. AS IT IS ABOUT TO ENTER THE VEIN STRAKER'S HAND GRABS IT.

CUT TO:

156 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT (STUDIO) 8 Secs

STRAKER
(in agony)
No, I can't let you. I won't!

FOR A MOMENT THE FOUR PEOPLE MAKE A MOTIONLESS TABLEAUX.

CUT TO:

157 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 9 SECS

CATHERINE LOOKS AT THE THREE MEN. SHE LOOKS FROM THEIR TENSE FACES TO THE NEEDLE. SLOWLY SHE REALISES.

CUT TO:

158 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 4 SECS

C.U. OF THE DOCTOR. STARING AT CATHERINE.

CUT TO:

159 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 5 SECS

C.U. OF FOSTER. HE LOOKS AT STRAKER'S PAINRACKED FACE.

CUT TO:

160 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 5 SECS

STRAKER ALMOST AT BREAKING POINT.

CUT TO:

161 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 7 SECS

CATHERINE LOOKS UP AT STRAKER. HER EYES FILL WITH TEARS AS SHE REALISES HE LOVES HER.

CUT TO:

162 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 7 SECS

STRAKER LIFTS HIS EYES TO LOOK AT HER.

CUT TO:

163 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 6 SECS

FOSTER AND THE DOCTOR LOOK AWAY. NEITHER BEFORE REALISING THE DEPTH OF FEELING BETWEEN THE TWO PEOPLE.

CUT TO:

164 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 6 SECS

CATHERINE SMILES GENTLY. SLOWLY SHE NODS HER CONSENT TO STRAKER.

CUT TO:

165 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 8 SECS

STRAKER'S HEAD DROPS. HE TURNS AND WALKS FROM THE ROOM. HE CAN'T BRING HIMSELF TO BE THERE WHEN IT HAPPENS.

CUT TO:

166 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 1 SECS

FOSTER WALKS TO A WINDOW AND LOOKS OUT. THE DOCTOR IS LEFT WITH THE UNENVIABLE TASK OF PROBABLY KILLING THE GIRL HE HAS KEPT ALIVE FOR TEN YEARS. HE TAKES CATHERINE'S PULSE RATE. FROM HIS FACE IT IS PLAIN SHE IS IN NO CONDITION FOR THE DRUG. CATHERINE NODS SHE IS READY.

CUT TO:

167 INT. CORRIDOR. NIGHT. (STUDIO) 8 SECS

STRAKER SITS SLUMPED ON A BENCH. HE BURIES HIS FACE IN HIS HANDS.

CUT TO:

168 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 8 SECS

CLOSE ON CATHERINE. THE DRUG IS WORKING. SHE IS UNDER GREAT STRAIN BUT HER SPEECH IS CONCISE.

CATHERINE
...and then we turned left. We walked for four or five hundred yards. There was a public house called "The King's Arms" on the right hand side of the road.

FOSTER IS TRACING THE ROUTE ON THE OLD MAP.

CATHERINE (cont'd)
We took the first turning on the left and after about half a mile cut across some fields... there was a water tower in the second one.

CUT TO:

169 INT. CORRIDOR. NIGHT. (STUDIO) 7 SECS

STRAKER PACING UP AND DOWN.

CUT TO:

170 INT. SMALL ROOM. COTTAGE HOSPITAL. NIGHT. (STUDIO) 16 SECS

CATHERINE
The farm was less than a mile from the main road.

FOSTER MAKES HIS FINAL LINE ON THE MAP.

HE PUTS THE LATEST MAP (WHICH IS ON TRACING PAPER) OVER THE OLD ONE.

FOSTER
It's still there. The farm's still there.

HE LOOKS AT CATHERINE. SHE IS UNCONSCIOUS. THE EFFORT HAS BEEN ENORMOUS. THE DOCTOR CHECKS HER PULSE. HIS FACE IS GRAVE. FOSTER HAS NO CHOICE BUT TO LEAVE. HE HAS HIS DUTY TO DO.

CUT TO:

171 INT. CORRIDOR. NIGHT. (STUDIO) 11 SECS

FOSTER RUNS DOWN THE CORRIDOR.

STRAKER
How is she?

FOSTER
(lying)
Asleep. Come on, we've traced the farm.

STRAKER
I must see her.

FOSTER GRABS HIS ARM.

FOSTER
There's no time.

RELUCTANTLY STRAKER LEAVES WITH FOSTER.

CUT TO:

172 INT. FARMHOUSE CELLAR. NIGHT. 7 SECS

TOM IS DIGGING THE EARTH AWAY FROM THE BOMB. THE MECHANISM IS ON THE GROUND.

CUT TO:

173 EXT. MAIN ROAD. NIGHT. (LOCATION) 4 SECS

FOSTER'S CAR GOES FLYING PAST.

CUT TO:

174 INT. FARMHOUSE CELLAR. NIGHT. 8 SECS

TOM'S HANDS EXPOSE THE TOP OF THE BOMB. HE BEGINS TO CLAW THE EARTH OUT OF THE CAVITY WHERE THE MECHANISM SLOTS.

CUT TO:

175 EXT. COUNTRY ROAD. NIGHT. (LOCATION) 4 SECS

FOSTER'S CAR HAMMERING ALONG.

CUT TO:

176 INT. FARMHOUSE CELLAR. NIGHT. 4 SECS

THE CAVITY IS ALMOST CLEANED OUT.

CUT TO:

177 EXT. MEADOW. NIGHT. (LOCATION) 5 SECS


THE CAR CAREERS OVER THE UNEVEN GROUND.

CUT TO:

178 INT. FARMHOUSE CELLAR. NIGHT. 20 SECS

TOM STRAIGHTENS UP. THE GROUND LEVEL WINDOW IS BOARDED WITH THICK TIMBERS. THE YOUNG MAN REACHES UP AND GRABS THE CENTRE ONE. THE WOOD IS SO THICK IT LOOKS IMPOSSIBLE TO BREAK. TOM CLOSES HIS EYES AND BEGINS TO PULL. THE VEINS STAND OUT ON HIS HEAD. THE HEAVY PLANK BEGINS TO CRACK. SILENTLY TOM STRAINS. WITH A TREMENDOUS BANG THE BOARD BREAKS IN HALF. THE MAN'S HANDS ARE FULL OF DEEP SPLINTERS. HE LOOKS AT THEM ONLY FOR A MOMENT AND THEN MOVES BACK TO THE EXPOSED BOMB.

CUT TO:

179 EXT. FARMHOUSE. NIGHT. (LOCATION) 8 SECS


THE FARMHOUSE IS MUCH THE SAME AS IT WAS IN 1970. A LITTLE MORE DILAPIDATED PERHAPS. FOSTER'S CAR SLIDES TO A HALT. BOTH MEN ARE OUT IN A SPLIT SECOND. WITHOUT A PAUSE THEY DASH FOR THE FRONT DOOR.

CUT TO:

180 INT. FARMHOUSE CELLAR. NIGHT. 5 SECS


THE DOOR IS ALMOST TAKEN OFF ITS HINGES BY FOSTER'S SHOULDER. TOM SPINS AS THEY ENTER. HE HAS THE MECHANISM POISED READY TO BE INSERTED.

CUT TO:

181 INT. FARMHOUSE CELLAR. NIGHT. 4 SECS

STRAKER AND FOSTER STOP DEAD.

CUT TO:

182 INT. FARMHOUSE CELLAR. NIGHT. 5 SECS

TOM DELIBERATELY PUSHES THE MECHANISM INTO POSITION. THERE IS A LOUD CLICK AS IT LOCKS IN.

CUT TO:

183 INT. FARMHOUSE CELLAR. NIGHT. 10 SECS


SLOWLY THE TWO S.H.A.D.O. MEN WALK DOWN AND LOOK AT THE PRIMED BOMB. STRAKER BENDS TO EXAMINE IT.

CUT TO:

184 INT. FARMHOUSE CELLAR. NIGHT. 5 SECS

THE MECHANISM IS FLUSH TO THE BOMB. IMPOSSIBLE TO REMOVE. FOSTER AND STRAKER LOOK AT EACH OTHER.

CUT TO:

185 INT. FARMHOUSE CELLAR. NIGHT. 15 SECS

THE FORMER HIPPY WALKS SLOWLY UP THE CELLAR STEPS. FOSTER RUNS AFTER HIM AND GRABS HIS SHIRT. TOM TURNS AND HITS FOSTER ON THE JAW. THE BLOW IS SO HARD HE HARDLY TOUCHES THE STEPS AS HE FLIES BACKWARDS. TOM MARCHES ON LIKE AN AUTOMATON. STRAKER RUNS AFTER HIM. FOSTER GETS TO HIS FEET AND FOLLOWS.

CUT TO:

186 INT. FARMHOUSE. NIGHT. 10 SECS

UNBLINKING TOM WALKS PAST CAMERA. STRAKER DASHES PAST AND LAUNCHES HIMSELF ON THE OTHER MAN'S BACK. WITH ONE HAND THE ZOMBIE HURLS STRAKER FROM HIM THEN CARRIES ON WALKING. FOSTER DUCKS INTO A ROOM.

CUT TO:

187 INT. FARMHOUSE. NIGHT. 4 SECS

HE RUNS TO THE END OF THE ROOM AND OUT ANOTHER DOOR.

CUT TO:

188 INT. FARMHOUSE. NIGHT. 10 SECS

FOSTER BLOCKS TOM'S PATH. HE WAITS UNTIL THEY COME FACE TO FACE THEN HE HITS TOM AS HARD AS HE CAN. THERE IS HARDLY ANY EFFECT. FOSTER IS GRABBED BY THE THROAT AND SMASHED AGAINST THE WALL. TOM MARCHES ON. NOTHING WILL STOP HIM.

CUT TO:

189 EXT. FARMHOUSE. NIGHT. (LDCATION) 5 SECS

TOM WALKS UNBLINKING OUT OF THE FRONT DOOR.

CUT TO:

190 INT. FARMHOUSE. NIGHT. 7 SECS

STRAKER STAGGERS ALONG THE CORRIDOR. FOSTER IS GETTING PAINFULLY TO HIS FEET. THEY BOTH GO AFTER THE UNSTOPPABLE MAN.

CUT TO:

191 EXT. FARMHOUSE. NIGHT. (LOCATION) 8 SECS

TOM REDMAN STOPS ON THE EXACT SPOT WHERE HE ORIGINALLY DIED.

CUT TO:

192 EXT. FARMHOUSE. NIGHT. (LOCATION) 8 SECS

STRAKER STOPS AS HE SEES THE ERECT FIGURE OF TOM. HE HOLDS UP HIS HAND TO HALT FOSTER. SOMEHOW HE KNOWS THEY MUSTN'T INTRUDE.

CUT TO:

193 EXT. FARMHOUSE. NIGHT. (LOCATION) 9 SECS

TOM STANDS PREPARING HIMSELF FOR DEATH. HE CROSSES HIMSELF.

CUT TO:

194 EXT. FARMHOUSE. NIGHT. (LOCATION) 5 SECS

SLOWLY STRAKER AND FOSTER COME FORWARD TO WATCH.

CUT TO:

195 EXT. FARMHOUSE. NIGHT. (LOCATION) 8 SECS

TOM FALLS FORWARD ONTO HIS FACE. HE LIES IN THE EXACT POSITION HE DIED IN TEN YEARS BEFORE.

CUT TO:

196 EXT. FARMHOUSE. NIGHT. (LOCATION) 6 SECS

AMAZED, THE TWO MEN HURRY FORWARD. THEY LOOK DOWN AT THE BODY.

CUT TO:

197 EXT. FARMHOUSE. NIGHT. (LOCATION) 6 SECS

THEIR P.O.V. TOM IS NO LONGER THE MALE NURSE. HIS HAIR IS LONG AND FACE BEARDED. HE IS THE YOUNG HIPPY WHO FELL TO HIS DEATH ON THIS SAME SPOT.

CUT TO:

198 EXT. FARMHOUSE. NIGHT. (LOCATION) 6 SECS

HARDLY BELIEVING THE EVIDENCE OF THEIR OWN EYES THE MEN STARE.

CUT TO:

199 EXT. FARMHOUSE. NIGHT. (LOCATION) 12 SECS

TOM'S BODY SLOWLY DISAPPEARS. IN ITS PLACE HIS TEN YEAR OLD SKELETON.

CUT TO:

200 EXT. FARMHOUSE. NIGHT. (LOCATION) 12 SECS

STRAKER AND FOSTER LOOK AT EACH OTHER UNBELIEVING.

FOSTER
God in Heaven! I can't believe it. How?

STRAKER
That's what he meant by the laws of nature being obeyed.

CUT TO:

201 EXT. FARMHOUSE. NIGHT. (LOCATION) 7 SECS

FULL SHOT OF THE SKELETON HUGGING MOTHER EARTH.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

202 INT. FARMHOUSE CELLAR. DAY. 27 SECS

IT IS EARLY MORNING. THE SUN IS MAKING A BEAM ACROSS THE FLOOR AS IT POURS THROUGH THE GAP IN THE BROKEN WOOD.

STRAKER AND FOSTER WATCH AS TWO BOMB DISPOSAL EXPERTS EXAMINE THE BOMB. THE SENIOR MAN STANDS. HE RUBS HIS FOREHEAD THOUGHTFULLY. HE IS A TALL, NERVELESS MAN. A FATALIST. WITH A PULSE RATE IN THE LOW FORTIES.

EXPERT
Four liquids held apart by separate compartments. The protective casing of the last piece to be inserted is of a different substance. It would appear to be the detonator. Its job is to fracture the walls between the chemicals. They mix and goodbye England.

STRAKER
How is the detonator activated?

CUT TO:

203 INT. FARMHOUSE CELLAR. DAY. 13 SECS

EXPERT
(matter of fact)
I've no idea. The only possibility I can see at the moment is to drill through the casing and drain out one lot of liquid.

FOSTER
Do you think it will work?

EXPERT
Well if it doesn't there won't be anybody here to say I told you so. Right.
(to his ASSISTANT)
Fix the drill up.

CUT TO:

204 INT. FARMHOUSE CELLAR. DAY. 7 SECS

THE SUN SHAFT HAS MOVED AND IS SHINING ON THE TOOL CASE. THE ASSISTANT TAKES OUT THE DRILL.

CUT TO:

205 INT. FARMHOUSE CELLAR. DAY. 12 SECS

THE ASSISTANT PLUGS THE DRILL INTO A POWER PACK THEN HANDS IT TO HIS BOSS. THE EXPERT KNEELS BESIDE THE BOMB. THE TENSE SILENCE IS BROKEN AS HE SWITCHES ON THE DRILL.

CUT TO:

206 INT. FARMHOUSE CELLAR. DAY. 7 Secs

LARGE C.U. OF THE DRILL AS IT GETS CLOSE TO THE CASING.

CUT TO:

207 INT. FARMHOUSE CELLAR. DAY. 5 Secs

CLOSE ON STRAKER'S TENSE FACE.

CUT TO:

208 INT. FARMHOUSE CELLAR. DAY. 5 Secs

CLOSE ON FOSTER.

CUT TO:

209 INT. FARMHOUSE CELLAR. DAY. 5 Secs

CLOSE ON THE DEAD PAN EXPERT.

CUT TO:

210 INT. FARMHOUSE CELLAR. DAY. 6 Secs

CLOSE ON THE DRILL AS IT COMES INTO CONTACT WITH THE BOMB CASING.

CUT TO:

211 INT. FARMHOUSE CELLAR. DAY. 6 Secs

DRILL LARGE IN F.G. THE EXPERT'S FACE CONTORTS AS HE PUSHES HARDER.

CUT TO:

212 INT. FARMHOUSE CELLAR. DAY. 5 Secs

THE HEAD OF THE DRILL SPINNING AND SCREAMING.

CUT TO:

213 INT. FARMHOUSE CELLAR. DAY. 40 Secs

THE EXPERT STOPS. HE LOOKS AT THE END OF THE DRILL. IT IS FLAT. HE THROWS IT DOWN IN DISGUST.

EXPERT
That drill will go through steel and look at this. Not a scratch.

HE STANDS UP. HE COMES TO A CONCLUSION.

There's only one answer. We'll have to remove it.

FOSTER
(sarcastic)
To where?

EXPERT
Middle of the Atlantic.

FOSTER
Tidal waves would destroy the coast line of every country around it.

EXPERT
I'm aware of that. There would have to be mass evacuation.

STRAKER
Space.

THEY LOOK AT HIM.

We'll fly it into space. Paul, get in touch with Colonel Branston. Tell him to get a radio controlled space dumper down here right away.

FOSTER IS ALREADY HALF WAY UP THE CELLAR STEPS.

STRAKER
And the necessary equipment to tow this thing.

STRAKER WHIPS OFF HIS JACKET.

Meantime let's start digging.

THE THREE MEN GRAB SHOVELS AND START TO REMOVE THE EARTH AROUND THE BOMB.

CUT TO:

214 INT. FARMHOUSE CELLAR. DAY. 6 SECS

SUNLIGHT DANCES ON THE SHINY HEAD OF ONE OF THE SHOVELS AS IT DIGS CLOSE TO THE BOMB.

DISSOLVE:

215 INT. FARMHOUSE CELLAR. DAY. 8 SECS

CLOSE ON THE TOP OF THE BOMB. THE SUN'S RAYS ARE NOW DIRECTLY ON THE DETONATOR. THE LIQUID INSIDE STARTS TO BUBBLE.

CUT TO:

216 INT. FARMHOUSE CELLAR. DAY. 8 Secs

MOST OF THE BOMB IS NOW EXPOSED. THE THREE MEN UNCONSCIOUS OF THE DANGER, DIG AWAY. THE EXPERT STOPS FOR A BREATHER.

CUT TO:

217 INT. FARMHOUSE CELLAR. DAY. 7 Secs


C.U. OF HIM AS HE SEES THE ACTIVATED DETONATOR.

CUT TO:

218 INT. FARMHOUSE CELLAR. DAY. 6 Secs

ZOOM IN TO THE DETONATOR.

CUT TO:

219 INT. FARMHOUSE CELLAR. DAY. 5 SECS

ZOOM IN TO THE EXPERT'S FACE. HE FEELS FEAR FOR THE FIRST TIME IN HIS LIFE.

EXPERT
(whisper)
Straker.

CUT TO:

220 INT. FARMHOUSE CELLAR. DAY. 12 SECS

STRAKER STOPS DIGGING. HE LOOKS AT THE BUBBLING DETONATOR FOR A MOMENT. HE THEN WHIPS ROUND AND SEES THE SUN POURING THROUGH THE CELLAR WINDOW. HE GRABS HIS JACKET AND RUNS TO BLOCK OUT THE SUNLIGHT BY FIXING THE JACKET ON A COUPLE OF NAILS.

CUT TO:

221 INT. FARMHOUSE CELLAR. DAY. 8 SECS

THE EXPERT AND HIS ASSISTANT STAND STARING AT THE BOMB. STRAKER JOINS THEM.

CUT TO:

222 INT. FARMHOUSE CELLAR. DAY. 8 SECS

THE DETONATOR IS BUBBLING. THE LIQUID STARTS TO CHANGE ITS COLOUR FROM CLEAR TO DEEP RED.

CUT TO:

223 INT. FARMHOUSE CELLAR. DAY. 5 SECS

THE HELPLESS MEN WATCH.

CUT TO:

224 INT. FARMHOUSE CELLAR. DAY. 7 SECS

SLOWLY THE BUBBLING STOPS.

CUT TO:

225 INT. FARMHOUSE CELLAR. DAY. 7 SECS

STRAKER EXHALES. THE EXPERT CLOSES HIS EYES.

CUT TO:

226 EXT. FIELD. DAY. (VE) 11 SECS

THE VERTICAL TAKE OFF SPACE DUMPER COMES IN TO LAND.

CUT TO:

227 EXT. FARMHOUSE. DAY. (LOCATION) 23 SECS

STRAKER, FOSTER, THE EXPERT AND HIS ASSISTANT WATCH, SEVERAL OTHER MEN TOO. THE BOMB IS NOW COVERED WITH A TARPAULIN AGAINST THE RAYS OF THE SUN.

EXPERT
Well, you don't need me now. I think I'll be off.

STRAKER
(shaking hands)
Thank you, Major.

EXPERT
(smiling)
All in a day's work.

THEY ALL SHAKE HANDS. THE TWO BOMB DISPOSAL MEN LEAVE.

FOSTER
Why don't you go back with them? I'll finish it off.

STRAKER
Thank you, Paul, but I must see it through. Would you go back? Look after Catherine. Tell her I'll be there in a couple of hours.

FOSTER
Of course. See you at the hospital.

HE RUNS OFF AFTER THE OTHERS.

CUT TO:

228 EXT. FIELD. DAY. (VE) 14 SECS

THE SPACE DUMPER TAKES OFF. UNDERNEATH IT THE BOMB.

CUT TO:

229 EXT. FARMHOUSE. DAY. (LOCATION) 5 SECS

STRAKER WATCHES IT CLIMB.

CUT TO:

230 EXT. SKY. DAY. (VE) 5 SECS

THE RECEDING SPACE DUMPER.

CUT TO:

231 EXT. FARMHOUSE. DAY. (LOCATION) 9 SECS

STRAKER TURNS AND CLIMBS INTO HIS CAR AND DRIVES OFF.

CUT TO:

232 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 9 SECS

THE BOMB EXPERT'S CAR COMES TO A STOP. FOSTER GETS OUT.

FOSTER
Thanks a lot.

HE WALKS INTO THE HOSPITAL.

CUT TO:

233 INT. COTTAGE HOSPITAL. DAY. (STUDIO) 6 SECS

FOSTER TAKES THE STAIRS TWO AT A TIME. HE IS JUST AS ANXIOUS AS STRAKER THAT CATHERINE IS ALRIGHT.

CUT TO:

234 INT. CORRIDOR OUTSIDE SMALL ROOM. DAY. (STUDIO) 11 SECS

PAUL STOPS AT THE DOOR. THERE IS NO REPLY TO HIS KNOCK. HE OPENS THE DOOR. IN CATHERINE'S BED IS A WOMAN ABOUT NINETY YEARS OLD. SHE SITS STARING DULLY AHEAD.

FOSTER
I'm sorry. I beg your pardon.

HE QUIETLY CLOSES THE DOOR.

CUT TO:

235 INT. CORRIDOR. DAY. (STUDIO) 25 SECS

THE DOCTOR COMES OUT OF THE DISPENSARY. HE STARES AT PAUL.

FOSTER
(fearing the worst)
Where's Catherine?

DOCTOR
(gravely)
You just saw her.

FOSTER
No, there's an old lady in there.

DOCTOR
That is Catherine.

FOSTER RECOILS WITH HORROR.

FOSTER
But it can't be. The drug?

THE DOCTOR SHAKES HIS HEAD.

DOCTOR
Come in here, Mr. Foster.

THE DAZED FOSTER FOLLOWS THE DOCTOR INTO THE DISPENSARY.

CUT TO:

236 EXT. COUNTRY LANE. DAY. (LOCATION) 4 SECS

STRAKER'S CAR ON THE WAY BACK TO THE HOSPITAL.

CUT TO:

237 INT. DISPENSARY. DAY. (STUDIO) 28 SECS

DOCTOR
The boy's extra years had to come from somewhere. They took them from Catherine when she was unconscious on the farm roof.

FOSTER
It's too incredible. How? How is it possible?

DOCTOR
I don't know... I'm glad I don't know.

FOSTER
But he lived only ten years and… she's aged sixty.

DOCTOR
They didn't know how long it would take the boy to complete his task. He could have lived on borrowed time for another fifty years.

FOSTER
When did it happen?

DOCTOR
About six hours ago.

FOSTER
That's when the boy died.

ALMOST TO HIMSELF.

The laws of nature must be obeyed.

DOCTOR
Where is Mr. Straker?

FOSTER
Oh, God. Straker! Poor Straker.

CUT TO:

238 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 23 SECS

STRAKER PULLS UP. HE IS STOPPED FROM GOING INTO THE HOSPITAL BY FOSTER COMING OUT. FOSTER'S GRIM EXPRESSION MAKES STRAKER ASK THE QUESTION HE'S BEEN DREADING.

STRAKER
Is she... dead?

FOSTER LOOKS AWAY AS HE LIES.

FOSTER
Yes.

STRAKER
The drug?

FOSTER
The drug.

STRAKER IS ALMOST HEARTBROKEN.

FOSTER
Just before she died she said to tell you not to blame yourself. It was little to give to save thousands of people.

CUT TO:

239 EXT. SKY. DAY. (VE) 12 SECS

THE SPACE DUMPER STILL CLIMBING. SUDDENLY THE BOMB EXPLODES. THE SKY FOR MILES TURNS RED. EXPLOSIONS ECHO ACROSS SPACE.

CUT TO:

240 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 13 SECS

FOSTER LOOKS AT THE SKY AS THE DISTANT EXPLOSIONS ARE HEARD. STRAKER DOESN'T EVEN NOTICE IT.

FOSTER
I'll take care of things.

STRAKER CLIMBS INTO HIS CAR AND DRIVES AWAY. ALONE WITH HIS AGONY.

CUT TO:

241 EXT. COTTAGE HOSPITAL. DAY. (LOCATION) 10 SECS

FOSTER SADLY WATCHES HIS FRIEND DRIVING AWAY. GENTLY HE CLOSES THE HOSPITAL DOOR.

FINAL FADE OUT

END OF ACT IV

- - - - - SPONSOR’S MESSAGE - - - - -

CLOSING TITLES

Links to other UFO Episode Scripts


                     
Here is a list of all 26 Episodes of UFO shown in production order: those titles shown in black are yet to be uploaded (no link).

UFO Episodes (01-13)UFO Episodes (14-26)
01  Identified14  Confetti Check A-O.K.
02  Computer Affair15  E.S.P.
03  Flight Path16  Kill Straker!
04  Survival17  Sub-Smash
05  Exposed18  The Sound Of Silence
06  Conflict19  The Cat With Ten Lives
07  The Dalotek Affair20  Destruction
08  A Question Of Priorities21  The Man Who Came Back
09  Ordeal22  The Psychobombs
10  The Responsibility Seat23  Reflections In The Water
11  The Square Triangle24  Timelash
12  Court Martial25  Mindbender
13  Close Up26 The Long Sleep