UFO Script for
"Timelash"

​​SYNOPSIS: Time stops still - and Commander Straker runs amok. A lot can happen in a fraction of a second! An attack of madness seems to have struck Commander Ed Straker. Astonished members of S.H.A.D.O. Control reel as he savagely smashes equipment, knocks Paul Foster across the control room, and then rushes crazily out of the building, hitting at anyone in his way.

      He is caught at last and when a dead body is found he is suspected of being a killer. But what has happened to him? The only clue comes from his secretary Miss Ealand, who says that Straker had gone off to the airport that morning to pick up Virginia Lake. But Virginia cannot remember what has happened, and it is a long time before Straker himself can piece together the mystery, which he does after being given a powerful truth drug. He is able to recall driving back with Virginia and seeing a green flying saucer which tries to destroy their car. They escape and arrive back at S.H.A.D.O. headquarters to face another shock. Above ground, in the film studios and on the studio lot, life seems to have come to a halt. Everyone and everything is in a state of suspended animation.

      Down below, in S.H.A.D.O., everything is similarly motionless. Straker tries to contact Moonbase, but nothing happens. And then he and Virginia realise that they themselves are slowing down. Desperately, they make for the medical centre and Straker is able to reach for an injection which speeds up brain, muscles and coordination and returns them to normal. They realise now that an alien power has succeeded in breaking the time barrier. 

      Then a voice rings out. It is a challenge to Straker, mocking him. And the owner of the voice reveals his identity. He is a radar operator named Turner. Turner is the aliens’ instrument in this latest to smash S.H.A.D.O. and he has been given the power to cheat time. And how can you catch a man who has time on his side? The chase is grimly eerie, and its outcome the explanation for Straker’s extraordinary behaviour when time returns to normal without anyone realising that it has even stopped . . .

THE SCRIPT FOR THE UFO EPISODE
“TIMELASH”

by

Terence Feeley


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

NOTES ABOUT THIS SCRIPT

Some UFO scripts differ from what was shown in the final episodes. The 'Timelash' script has a few differences, most notably there are a few additional or changed lines of dialog and situations, and the final scene with Dr. Jackson and Gen. Henderson is not included.

CAST LIST:
SPEAKING PARTS:
MAINTENANCE MAN
RADAR OPERATOR
AYESHA
FOSTER
MISS EALAND
MAN IN CORRIDOR
CARPENTER
JOCK
HENDERSON
JACKSON
FIRST MAN
STUDIO GUARD
VIRGINIA
STRAKER
VOICE (TURNER)
MOONBASE (NINA)

SET LIST:
INT. SHADO CONTROL
INT. STRAKER'S OFFICE
INT. MISS EALAND'S OFFICE
INT. STUDIO OFFICE BLOCK
EXT. STUDIO
EXT. BAKER STREET
EXT. SCENE DOCK
EXT. OFFICE BLOCK
INT/EXT. CARPENTER'S SHOP
INT. SOUND STAGE
EXT. COLONNADED BUILDING
EXT. REAR OF COLONNADED BUILDING
EXT. WASTE GROUND
EXT. HOVERCRAFT
EXT. SPANISH PUEBLO
EXT. TARMAC ROAD
EXT. WALL
EXT. FLAT ROOF
INT. MEDICAL CENTRE
INT. SHADO PERSONNEL ENTRANCE
INT. MAIN GATE
INT. SMALL ROOM
INT./EXT. CAR
EXT. MAIN GATE
INT. CORRIDOR
EXT. ENTRANCE TO COVERED WAY
EXT. VAN
INT/EXT. JEEP
EXT. QUADRANGLE
EXT. TANK
INT. MISSILE ROOM
EXT. STEPS & ARCH
EXT. ALLEY

SPECIAL EFFECTS:
EXT. TREES
EXT. SKY
EXT. U.F.O.
INT./EXT. CAR
EXT. ROAD. 

- - - - - SPONSOR’S MESSAGE - - - - -

ACT I

FADE IN

1 INT. SHADO CONTROL. (STUDIO) 115 SECS

IT'S A NORMALLY ACTIVE SHADO DAY. TWO GIRL MESSENGERS CROSS THE SCREEN IN OPPOSITE DIRECTIONS. A MAINTENANCE MAN APPROACHES A RADAR OPERATOR SITTING AT A BANK OF SCREENS. HE POINTS TO ONE OF THE MONITORS.

MAINTENANCE
This the one that's on the blink?

RADAR
Yes. Keeps coming and going.

MAINTENANCE MAN GETS HIS BAG OF TOOLS. AT A MOON MONITOR AN OPERATIVE TALKS TO MOONBASE GIRL, WHOSE FACE IS ON THE SCREEN.

MOONBASE
...we'll go on using Parameter Five as a standby.

AYESHA
Right, thank you Moonbase. Over and out.

PAUL FOSTER STANDS AT THE TELEX MACHINE, CASUALLY READING A MESSAGE IT IS TAPPING OUT.

TELEX READS:

PRIORITY QUASAR WASHINGTON TO COMMANDER STRAKER, SHADO. GENERAL MCWHIRTER PRESENTS HIS COMPLIMENTS, LOOKS FORWARD TO MEETING YOU AND WILL ARRIVE...

AT THIS POINT IN THE MESSAGE THERE IS A VIOLENT EXPLOSION - OR IMPLOSION - OFF SCREEN

ANOTHER ANGLE

STRAKER STANDS, SWAYING SLIGHTLY. THE ANGLE EXCLUDES EVERYONE ELSE FROM THE SHOT. STRAKER IS DISHEVELLED, GLISTENING WITH SWEAT. HIS CLOTHES ARE TORN AND SCRUBBED IN PLACES. THERE IS DIRT ON HIS FACE. HE HOLDS AN IRON BAR IN HIS HAND WITH WHICH HE HAS JUST SMASHED THE LARGE CATHODE RAY TUBE OF A BIG RADAR UNIT. HE MOVES FORWARD, DRUNKEN-LOOKING, MANIC.

RESUME SHADO CONTROL

THEY ALL LOOK ASTONISHED AT STRAKER. HE IS NOW SMASHING ANOTHER SCREEN WITH THE IRON BAR. HE MOVES ON TO A HEAVY COMPUTER CONSOLE OF GREAT WEIGHT, HEAVES AND OVERTURNS IT, SENDING IT CRASHING IN A SHOWER OF SPARKS AND FLASHES, THUDDING THE IRON BAR INTO IT AGAIN AND AGAIN EVEN AS IT GOES DOWN...

HE TURNS AND RIPS A COMPLEX OF WIRES AND TERMINALS FROM THE WALL, MOVES ON TO THE TELEX MACHINE, SENDS THAT CRASHING. FOSTER MOVES TO PUT A HAND ON HIM AS IF STRAKER IS ILL.

ALMOST CASUALLY STRAKER HANDS HIM OFF WITH A FORCE THAT SENDS HIM SPINNING ACROSS THE ROOM LIKE A MISSILE.

FOSTER PICKS HIMSELF UP AS STRAKER MOVES ON TO ANOTHER PIECE OF EQUIPMENT.

FOSTER
Stop him!

TWO BURLY MALE OPERATIVES JUMP AT STRAKER AND GRAB HIM. HE SEEMS TO MOVE WITH LIGHTNING SPEED. HE GIVES ONE AN ELBOW IN THE STOMACH, THE OTHER A VICIOUS CHOP IN THE RIBS. AS THEY GO DOWN HE KICKS ONE AND BACKHEELS THE OTHER. THEY GO CRASHING ACROSS THE ROOM. NOW EVERY MAN IN THE ROOM COMES AT STRAKER. IT'S AS IF THEY'RE THROWING THEMSELVES INTO A MINCING MACHINE. HARDLY MOVING FROM A NARROWLY CIRCUMSCRIBED CIRCLE OF GROUND STRAKER PUNCHES, CHOPS, THROWS, SLICES, KICKS WITH DAZZLING SKILL AND PHENOMENAL STRENGTH. MEN GO FLYING ABOUT LIKE PARTICLES IN A CYCLOTRON. THE ROOM IS LITTERED WITH THE DISABLED. SUDDENLY STRAKER BREAKS OFF, TURNS AND RUNS.
FOSTER TRIES TO ORGANISE A PURSUIT.

FOSTER
Get after him!

THERE IS LITTLE HOPE OF AN EFFECTIVE POSSE OUT OF THE MAN ON THE GROUND. REINFORCEMENTS COME RUNNING FROM OFF SCREEN AND TAKE OFF IN THE DIRECTION IN WHICH STRAKER DISAPPEARED.

FOSTER GRABS A TELEPHONE.

FOSTER
Give me Studio Security.

CUT TO:

2 INT. STRAKER'S OFFICE. NIGHT. (STUDIO) 12 SECS

IT IS ASCENDING. STRAKER STANDS AGAINST A WALL, PANTING, EYES WIDE AND UNBLINKING. HE LOOKS AT A CLOCK ON THE OPPOSITE WALL. IT SHOWS 20.05.
HE CHECKS IT WITH HIS WATCH. IT SHOWS THE SAME. THIS ONLY SEEMS TO MAKE HIM MORE DISTRESSED.

CUT TO:

3 INT. MISS EALAND'S OFFICE. NIGHT. 11 SECS

STRAKER ENTERS. HE LOOKS PUZZLED AS HE SEES MISS EALAND. SHE LOOKS AT HIM IN AMAZEMENT AND ALARM.

MISS EALAND
Commander Straker! Where...

STRAKER
Nobody's to come through that door.

SHE CLOSES THE ELECTRONIC DOOR.

STRAKER
Nobody! Understand?

CUT TO:

4 INT. STUDIO OFFICE BLOCK. NIGHT. 9 SECS

STRAKER IS RUNNING ALONG A CORRIDOR LINED WITH OFFICES. TWO STUDIO PERSONNEL COMING THE OTHER WAY TRY TO HAVE A WORD WITH HIM.

MAN
Oh Mr. Straker...

STRAKER BLASTS THROUGH BETWEEN THEM LEAVING THEM REELING.

CUT TO:

5 EXT STUDIO. NIGHT. 18 SECS

STRAKER BURSTS OUT OF A DOOR IN THE OFFICE BLOCK. AS HE DOES SO, BIG JOCK, RED-HAIRED STUDIO TRAFFIC MANAGER IS RIDING PAST ON A HOVERCRAFT.
STRAKER LAUNCHES HIMSELF AT JOCK LIKE A TORPEDO, PLUCKS HIM NEATLY FROM THE MACHINE AND HITS THE GROUND WITH JOCK PINNED BENEATH HIM. HE WRENCHES JOCK'S LEFT ARM ROUND AND LOOKS AT HIS WATCH. IT SHOWS 20.06. STRAKER LEAVES JOCK LYING THERE AND STARTS RUNNING ACROSS THE LOT.

CUT TO:

6 INT. MISS EALAND'S OFFICE. NIGHT. (STUDIO) 6 SECS

THERE ARE THUMPS AND SHOUTS COMING FROM THE OTHER SIDE OF THE DOOR INTO STRAKER'S OFFICE. SHE IS IN AN AGONY OF INDECISION.

CUT TO:

7 EXT. BAKER STREET. STUDIO LOT. NIGHT. 15 SECS

STRAKER POUNDS DOWN THE LENGTH OF THE STREET, CAMERA TRAVELLING WITH HIM. WE DO NOT REVEAL IT IS A SET UNTIL HE REACHES THE END AND WE SEE THE STRUTS AND SUPPORTS BEHIND. THERE ARE A COUPLE OF JOINERS HAMMERING AT A STRUT. STRAKER LOOKS AT THEM FOR A SECOND THEN RUNS ON.

CUT TO:

8 EXT. SCENE DOCK. NIGHT. 10 SECS

THREE MEN HAVE JUST FINISHED LOADING A LARGE PIECE OF SCENERY INTO A LORRY AND ARE CLOSING THE LORRY DOORS. STRAKER RUNS INTO SHOT. HE STARES AND RUNS ON.

CUT TO:

9 EXT. STUDIO OFFICE BLOCK. NIGHT 9 SECS

FOSTER AND THE POSSE ARE POURING OUT ON TO THE LOT. A COUPLE OF THEM ARE ALREADY LIFTING BIG JOCK TO HIS FEET. THEY ARE STUDIO SECURITY PERSONNEL, NOT SHADO.

CUT TO:

10 INT/EXT. CARPENTERS' SHOP. NIGHT. 12 SECS

TWO CARPENTERS ARE JUST COMPLETING SPLITTING A LONG PLANK WITH A CIRCULAR SAW. STRAKER RUNS IN, STOPS, STARES. IN THE HARSH LIGHT WE CAN SEE HE IS, IF ANYTHING, MORE DISTRESSED THAN HE WAS IN SHADO. ONE OF THE CARPENTERS TURNS, SEES THE WILD FIGURE.

CARPENTER
Mr. Straker! …

WITHOUT A WORD, STRAKER TURNS AND RUNS OUT.

CUT TO:

11 INT. SOUND STAGE. NIGHT. (SET OPTIONAL) 17 SECS

AN ACTOR AND ACTRESS ARE MOVING INTO A KISS. THE CAMERA ON THE SET IS TRACKING IN. THE DIRECTOR CREEPS ALONG BY THE SIDE OF IT WITH GREAT CONCENTRATION. THEY JOIN THE KISS. THERE IS A CRASH AS THE DOOR IS FLUNG OPEN. STRAKER STANDS THERE. HE LOOKS AT THEM ALL ACCUSINGLY AS THEY WHEEL AND STARE AT HIM. ABRUPTLY, HE TURNS AND GOES.

CUT TO:

12 EXT. STUDIO OFFICE BLOCK. (LOCATION) NIGHT 17 SECS

BIG JOCK HAS RECOVERED. FOSTER HAS BEEN QUESTIONING HIM.

JOCK
It was too quick. I hardly saw him.

FOSTER LOOKS OFF.

FOSTER'S P.O.V.

STRAKER'S FIGURE FLITS ACROSS BETWEEN TWO BLOCKS OF BUILDINGS AND DISAPPEARS.

RESUME EXT. STUDIO OFFICE BLOCK

FOSTER POINTS

FOSTER
There!

THE POSSE TAKES OFF IN PURSUIT.

CUT TO:

13 EXT. COLONNADED BUILDING. STUDIO LOT. NIGHT. 15 SEC

STRAKER IS RUNNING TOWARDS THE BUILDING.

ANOTHER ANGLE

THE PURSUERS ARE FILTERING UP ROADS AND ALLEYS TOWARDS THE COLONNADED BUILDING.

RESUME FACADE OF BUILDING.

STRAKER RUNS UP THE WIDE, SHALLOW STEPS. THE HUGE, IMPRESSIVE DOORS HAVE BEEN SHATTERED. HE RUNS THROUGH THEM.

CUT TO:

14 EXT. REAR OF COLONNADED BUILDING. NIGHT. 7 SECS

STRAKER RUNS THROUGH. WE SEE THE SUPPORTING STRUCTURE BEHIND THE FACADE. BEHIND IT IS A LARGE EXPANSE OF WASTE GROUND.

CUT TO:

15 EXT. WASTE GROUND. NIGHT. 20 SECS

IN THE MIDDLE OF IT A SMALL HOVERCRAFT SPINS, SPINS, SPINS, ITS NOISE EERIE IN THE QUIET NIGHT. A MAN IS SLUMPED IN THE DRIVING SEAT. HE WEARS SHADO UNIFORM. STRAKER MAKES TOWARDS HIM, LOOKS.

CLOSE ON MAN

HE IS DEAD. A RED STAIN SPREADS ACROSS HIS CHEST FROM A BULLET HOLE.

CLOSE ON STRAKER

THERE IS SOMETHING AKIN TO RELIEF ON HIS FACE.

O.S. HE HEARS THE SOUND OF HIS PURSUERS. HE TURNS AND RUNS AGAIN.

CUT TO:

16 EXT. COLONNADED BUILDING. NIGHT. 6 SECS

THE PURSUERS POUR UP THE STEPS AND THROUGH THE DOOR.

CUT TO:

17 EXT. WASTE GROUND. NIGHT. 12 SECS

STRAKER IS HEADING FOR ANOTHER STANDING SET, THIS TIME A SPANISH PUEBLO. BEHIND HIM THE PURSUERS HAVE FOUND THE DEAD HOVERCRAFT RIDER. THEY CROWD ROUND TO STOP THE MACHINE'S GYRATIONS.


CUT TO:

18 EXT. HOVERCRAFT. NIGHT. 5 SECS

A COUPLE OF THEM STAY WITH THE DEAD MAN, THE REST TAKE OFF AFTER STRAKER.

CUT TO:

19 EXT. SPANISH PUEBLO. NIGHT. 20 SECS

STRAKER RUNS UP THE MAIN STREET. HE DIVES THROUGH AN ARCH AND UP A SHORT FLIGHT OF STEPS. AT THE TOP OF THE STEPS IS A BLUE SILK SCARF. HE PICKS IT UP, STUDIES IT FOR A SECOND, THEN THROWS IT DOWN AGAIN. HE LOOKS OFF.

STRAKER'S P.O.V.

A HIGH BUILDING WITH A FLAT ROOF.

RESUME SPANISH PUEBLO. NIGHT.

STRAKER RUNS OUT OF SHOT.

ANOTHER ANGLE

THE PURSUERS HAVE JUST ENTERED THE MAIN STREET OF THE PUEBLO.

CUT TO:

20 EXT. TARMAC ROAD. NIGHT. 10 SECS

STRAKER LEAVES THE PUEBLO AND SPRINTS ACROSS THE ROAD TOWARDS THE BUILDING WITH THE FLAT ROOF. THE PURSUERS BURST OUT OF THE PUEBLO ONLY 20 YARDS BEHIND. STRAKER MAKES FOR AN IRON LADDER RUNNING UP THE SIDE OF THE BUILDING.

CUT TO:

21 EXT. WALL. NIGHT. 20 SECS

STRAKER REACHES THE LADDER AND STARTS TO CLIMB. BY THE TIME THE PURSUERS REACH THE WALL HE IS HALFWAY UP IT.

FOSTER REACHES THE BOTTOM OF THE LADDER AND SHOUTS UP.

FOSTER
Ed!

STRAKER STOPS FOR A MOMENT, LOOKS DOWN.

CLOSE ON STRAKER

HIS EXPRESSION IS CLOSED, ENIGMATIC...

RESUME WALL

STRAKER TURNS BACK AND CONTINUES CLIMBING. FOSTER, FOLLOWED BY THE OTHERS, CLIMBS AFTER HIM.

CUT TO:

22 EXT. FLAT ROOF. NIGHT. 40 SECS

STRAKER CLIMBS INTO SHOT OVER THE EDGE OF THE ROOF, PANTING, HE LOOKS OFF TO THE LEFT.

STRAKER'S P.O.V.

SOMETHING LIES HUDDLED ABOUT 30 YARDS AWAY.

ZOOM

THE OBJECT IS COLONEL VIRGINIA LAKE. SHE LOOKS AS IF SHE IS DEAD.

RESUME FLAT ROOF

STRAKER BENDS OVER HER.

FOSTER AND THE PURSUERS SPILL OVER ON TO THE ROOF. THEY RUSH TOWARDS STRAKER THEN STOP WARILY AS HE STRAIGHTENS UP FROM VIRGINIA LAKE. BUT THERE IS NO MORE FIGHT IN HIM. APATHETICALLY HE LETS THEM TAKE HIS ARMS. FOSTER SEES SOMETHING STICKING FROM STRAKER'S POCKET. HE TAKES IT FROM STRAKER. IT'S A HYPODERMIC AND A RED PHIAL. HE EXCHANGES A SIGNIFICANT GLANCE WITH THE MAN NEXT TO HIM.

TWO SHOT: FOSTER AND STRAKER

FOSTER LOOKS INTO STRAKER'S EYES.

CLOSE SHOT STRAKER

HIS EYES ARE DEAD, UNSEEING.

UFO TITLE

COMMERCIAL BREAK


FADE IN

MAIN TITLES OVER


23 INT. MEDICAL CENTRE. SHADO. (STUDIO) 50 SECS

STRAKER IS LYING IN BED, STARING STRAIGHT UPWARDS. JACKSON PASSES A HAND IN FRONT OF HIS EYES. STRAKER SHOWS NO REACTION. WIDEN SHOT TO SHOW FOSTER AND HENDERSON STANDING AT THE FOOT OF THE BED.

HENDERSON
He said anything at all?

FOSTER
No sir. He's been like this since we brought him in.

HENDERSON QUERIES JACKSON WITH HIS EYES.

JACKSON
He's in shock. Physical and mental.

HENDERSON
Brought on by what?

JACKSON
Hard to say. Whatever it was, his mind's just had to walk away from it.

HENDERSON
Is there anything you can do about it?

JACKSON
There is something...yes. But we don't like to use it except in an emergency.

HENDERSON
(bitingly)
When SHADO's most vital piece of manpower turns homicidal it is an emergency.

HE TURNS AND GOES, FOLLOWED BY FOSTER. WRYLY JACKSON GOES TO A CUPBOARD AND BREAKS OUT A HYPODERMIC FROM ITS VACUUM PLASTIC CASE. WE HEAR THE AIR HISS AS IT RUSHES IN.

CUT TO:

24 INT. MISS EALAND'S OFFICE. (STUDIO) 26 SECS

FOSTER IS QUIZZING STRAKER'S SECRETARY, MISS EALAND.

FOSTER
What did he say when he came in? Did he give any indication that -

MISS EALAND
Commander Straker didn't come in, sir.

FOSTER
What d'you mean - he didn't come in? This is his entrance to SHADO, isn't it?

MISS EALAND
Yes sir. But he left to pick up Colonel Lake this morning and he
didn't come back. I didn't see him again until he came bursting out.

FOSTER
And you've been here all the time?

SECRETARY
Yes.

HOLD ON HER WORRIED EXPRESSION AS FOSTER GOES.

CUT TO:

25 INT. SHADO PERSONNEL UNDERGROUND 14 SECS

ENTRANCE. (STUDIO)

THERE IS A LIFT DOOR LEADING TO A BARRIER, BRISTLING WITH ELECTRONIC DEVICES. IT IS GUARDED BY TWO MEN. HENDERSON QUESTIONS THEM.

FIRST MAN
No sir - he didn't come down this way.

HENDERSON
Are you absolutely certain?

FIRST MAN
Yes, sir. He couldn't have got past without us seeing.

HENDERSON LOOKS VERY CONCERNED.

CUT TO:

26 INT. MAIN GATE. NIGHT. 7 SECS

THE STUDIO GUARD IS ON THE TELEPHONE.

STUDIO GUARD
No sir, Mr. Straker hasn't been in. We always log him in and out and he hasn't been near.

CUT TO:

27 INT. STRAKER'S OFFICE. NIGHT. (STUDIO) 6 SECS

HENDERSON IS PUTTING DOWN THE TELEPHONE SLOWLY. HE AND FOSTER LOOK AT EACH OTHER.

HENDERSON
(slowly)
It doesn't make sense.

CUT TO:

28 INT. SMALL ROOM. MEDICAL CENTRE. SHADO. (STUDIO) 40 SECS

COLONEL LAKE IS SITTING UP IN BED. FOSTER AND HENDERSON ARE WITH HER. JACKSON IS THERE TOO.

HENDERSON
D'you remember coming back here with Commander Straker?

VIRGINIA
I'm sorry. I just don't remember a thing. I can recall leaving the airport in Commander Straker's car. After that - not a thing, I'm afraid.

JACKSON
(to HENDERSON)
It was a severe blow to the base of the neck.

VIRGINIA
(moving her head tenderly)
Don't I know it!

JACKSON
It caused a specific amnesia covering a period of about two hours. It's not uncommon.

FOSTER
How long before her memory comes back?

JACKSON
Could be hours. Could be days. It might never come back.

A TELEPHONE ON THE WALL BUZZES MUTEDLY. HENDERSON ANSWERS.

CUT TO:

29 INT. MEDICAL CENTRE. SHADO. (STUDIO) 9 SECS

A DOCTOR IS ON THE TELEPHONE. STRAKER IS BEGINNING TO GET RESTLESS.

CLOSE ON STRAKER

HIS EYES HAVE SIGHT IN THEM AGAIN. BUT THE THINGS HE IS BEGINNING TO SEE ARE NOT IN THE ROOM. A SWEAT HAS BROKEN OUT ON HIS BROW.

STRAKER
See it! Can you see it!

CUT TO:

30 INT. SMALL ROOM. MEDICAL CENTRE. (STUDIO) 12 SECS

HENDERSON PUTS DOWN THE TELEPHONE, TURNS TO FOSTER.

HENDERSON
Straker's beginning to break through. We'd better get over there.

HENDERSON AND FOSTER GO, FOLLOWED BY JACKSON. VIRGINIA LAKE SHOUTS AFTER THEM -

VIRGINIA
He didn't do it! Ed Straker's not a killer.

CUT TO:

31 INT. MEDICAL CENTRE. SHADO. (STUDIO) 22 SECS

HENDERSON, FOSTER AND JACKSON ARE THERE. STRAKER IS TOSSING AND THRASHING. THE HYPODERMIC JACKSON USED IS PROMINENT IN SHOT.

STRAKER
Kill! ... kill! ... Get us… going to get us... get us... get us...

HENDERSON TURNS TO JACKSON.

HENDERSON
How dangerous is this drug?

JACKSON
I told you. It's risky. But it's the only key to the door he's shut.

STRAKER STARTS TO MOAN AND MUTTER AGAIN.

STRAKER
Time... They murdered Time...

CLOSE ON STRAKER

HE IS SEEING WILD THINGS NOW.

CUT TO:

32 MONTAGE 30 Secs

WHAT STRAKER SEES.
COLOURS PATTERNS SHAPES FANTASIES NOISES PULSES. SOME OF THE CONSTITUENTS COULD BE:-

(THIS IS MEANT AS A GUIDE ONLY TO THE DIRECTOR)
CLOCKS AND WATCHES DROPPING, DISTORTING, LIKE MELTING RUBBER, DALIESQUE AGAINST BEAUTIFUL BLUE BACKGROUNDS. RADAR SCREENS SUDDENLY FORMING GREAT BLUBBERY RED LIPS, PARTING TO SHOW TEETH READY TO BITE. FLOWERS SENDING OUT PULSING WAVES, FIRST OF SOUND THEN OF LIGHT, HOMING IN ON THE CAMERA, WIDENING AND ENGULFING IT. ONE-MAN HOVERCRAFT TURNING INTO HUGE OYSTERS, THE SHELL OPENING, MOVING IN, THREATENING TO INGEST STRAKER INTO CRIMSON GLISTENING JAWS. AND THROUGH IT ALL, ONE CONSTANT. A FLUORESCENT GREEN SHAPE, SHADOW, ALWAYS THERE, ALWAYS MOVING AND MENACING.

WE SLOW DISSOLVE INTO A REALISTIC CONVENTION. STRAKER AND VIRGINIA ARE IN A CAR ON A COUNTRY ROAD.

STRAKER (O.S.)
I'd been to pick up Colonel Lake at the airport.

LOSE VOICE.

CUT TO:

33 INT/EXT. CAR. NIGHT. 67 SECS

STRAKER IS DRIVING. VIRGINIA SITS NEXT TO HIM WEARING A BEAUTIFUL FITTED MINK COAT, A BLUE SILK SCARF AT HER THROAT. STRAKER WEARS HIS STUDIO BOSS CLOTHES.

STRAKER
That's why I picked you up myself. I wanted to brief you before you spoke to Henderson.

VIRGINIA
I knew it wasn't just for my blue eyes.

STRAKER
Coming back from the moon is always disorientating. Even moon speeds have some effect on Time.

VIRGINIA
(send-up)
Yes sir! I see sir! Never knew that, sir!

STRAKER GRINS AND SUDDENLY PEERS AHEAD AND UPWARDS.

STRAKER
What was that?

VIRGINIA
What?

STRAKER CONTINUES TO PEER.

STRAKER
I thought I saw something up there.

VIRGINIA
Cars on dark country roads can be disorientating, too.

SHE SMILES, LEANS BACK LUXURIOUSLY AND THROWS OPEN THE FUR COAT. UNDERNEATH SHE HAS ON WHAT LOOKS LIKE A HIGHLY GLAMOURISED VERSION OF THE SHADO JUMPSUIT.

STRAKER NOTICES.

STRAKER
(eyes on road)
I'd have thought you'd want to get out of uniform when you got back to Earth.

VIRGINIA
This happens to be a five hundred dollar leisure suit by Antonelli! Where've you been for the last five seasons?

STRAKER
There are other things out of this world besides Signor Antonelli.

HE PEERS THROUGH THE WINDSCREEN AGAIN.

STRAKER
You know - there is something up there.

VIRGINIA
Oh come on - you'll be phoning the newspapers in a minute.

STRAKER
Over there - about fifteen degrees West.

HE INDICATES THE CAR COMPASS AND THE ROUGH BEARING FOR VIRGINIA SHE LOOKS.

STRAKER
There... see!

CUT TO:

34 EXT. TREES. NIGHT. (VE) 5 SECS

THEIR P.O.V.

IN THE DISTANCE, MOVING SLOWLY BEHIND TREES ON THE SKYLINE IS A WEIRDLY GLOWING GREENLY PHOSPHORESCENT OBJECT ABOUT THE SIZE OF A CRICKET BALL.

CUT TO:

35 INT/EXT. CAR. NIGHT. 41 SECS

VIRGINIA PLAYS DEVIL'S ADVOCATE.

VIRGINIA
It's Venus.

STRAKER
Wrong direction.

VIRGINIA
A space shot.

STRAKER
We have none scheduled.

VIRGINIA
Could be a Russian launch.

STRAKER
No - we have their schedule too.

VIRGINIA
Space debris.

STRAKER
Wrong pattern.

VIRGINIA
Well, all I've got left is a weather balloon - and that would mean it's drifting against the wind.

STRAKER
It's a UFO.

HE TAKES A BEARING FROM THE CAR COMPASS.

HE PUTS HIS FOOT HARD DOWN ON THE THROTTLE. THE CAR LEAPS AHEAD. WITH HIS LEFT HAND HE PICKS UP THE RADIO-TELEPHONE.

STRAKER
Straker to SHADO control. UFO in earth's atmosphere, coming your way. Do you read me?

THERE IS NOTHING BUT THE FORLORN CRACKLE OF STATIC.

STRAKER
Do you read me?

NO REPLY. HE EXCHANGES A LOOK WITH VIRGINIA.

CUT TO:

36 EXT. ROAD. NIGHT. 5 SECS

THE CAR ACCELERATES OUT OF SHOT.

CUT TO:

37 EXT. SKY. NIGHT. (VE) 7 SECS

WE PICK UP THE GREEN, PULSATING UFO.

ZOOM.

UNTIL ITS MISTY SHAPE FILLS HALF THE SCREEN. IT SEEM TO SWELL AND SHRINK AS IF IT'S BREATHING. A BARELY PERCEPTIBLE PULSE OF SOUND RADIATES FROM IT.

CUT TO:

38 EXT. ROAD. NIGHT. 6 SECS

STRAKER'S CAR PULLS UP.

CUT TO:

39 INT/EXT. CAR. NIGHT. 25 SECS

STRAKER HAS THE PHONE IN HIS HAND WAITING FOR A REPLY. THEY ARE BOTH FRANTIC WITH IMPATIENCE.

STRAKER
Check the radio link...

AS VIRGINIA CHECKS THE CAR RADIO BY TUNING IN TO TEST WAVELENGTHS.

VIRGINIA
How could it have got past Moonbase without being reported?

STRAKER
I don't know.

ON STRAKER

DEEP IN THOUGHT - VERY WORRIED.

TWO SHOT

VIRGINIA HAS FINISHED CHECKING THE RADIO.

VIRGINIA
The radio checks out. We're receiving and transmitting full strength.

STRAKER
That's absurd. Why doesn't control answer?

VIRGINIA
It's not this end.

STRAKER STARTS THE CAR.

CUT TO:

40 EXT. ROAD. NIGHT. 5 SECS

THE CAR ROARS ALONG.

CUT TO:

41 EXT. UFO. NIGHT. (VE) 5 SECS

IT STARTS TO MOVE.

CUT TO:

42 INT. CAR. NIGHT. 6 SECS

STRAKER DRIVING WITH SAVAGE CONCENTRATION.

VIRGINIA
But if they've knocked out SHADO's communications, why haven't they landed and destroyed the base?

CUT TO:

43 INT/EXT. CAR. NIGHT. (VE) 4 SECS

THROUGH THE WINDSCREEN WE SEE THE UFO IN THE SKY. IT IS MUCH NEARER AND BIGGER NOW.

CUT TO:

44 INT. CAR. NIGHT. 6 SECS

STRAKER
They may have done just that.

VIRGINIA
How long now?

STRAKER
Another ten minutes.

CUT TO:

45 EXT. ANOTHER PART OF THE ROAD. NIGHT. (VE) 8 SECS

THE CAR SPEEDS ALONG. THE UFO HANGS OVERHEAD AND FORWARD OF THE CAR LIKE A HUGE GREEN MOON. IT STARTS TO DESCEND.

CUT TO:

46 INT/EXT. CAR. NIGHT. 4 SECS

VIRGINIA
It's coming this way!

47 THEIR POV (VE) 5 SECS

THROUGH THE WINDSCREEN WE SEE THE UFO START TO HOME IN ON THEM.

CUT TO:

48 INT/EXT. CAR. NIGHT. 7 SECS

STRAKER
Harness.

VIRGINIA CLIPS ON A SOPHISTICATED SEAT BELT SYSTEM. STRAKER DOES THE SAME.

CUT TO:

49 EXT. CAR. NIGHT. (VE) 10 SECS

THE UFO MOVES IN UNTIL IT LOOMS OVER THE CAR, THE WEIRD SOUND OF IT INTENSIFYING ALL THE TIME UNTIL IN THE END IT IS LIKE THE HUGE MUFFLED BEATING OF A GIGANTIC HEART, A SOUND WHICH FILLS ONE WITH A SENSE OF ALMOST SUFFOCATION, AS IF IT'S STOPPING ONE'S LUNGS FROM BREATHING.

CUT TO:

50 INT. CAR. NIGHT. 7 SECS

STRAKER STARTS TO THROW THE CAR AROUND THE ROAD.

CUT TO:

51 EXT. CAR. NIGHT. (VE) 6 SECS

THE UFO STARTS FIRING SHORT INTENSE BURSTS FROM ITS POWER SOURCE. THEY MISS THE CAR.

CUT TO:

52 EXT. ROAD. NIGHT. (VE) 8 SECS

THE CAR SWERVES FROM SIDE TO SIDE. THE UFO HAS NOW TAKEN UP A POSITION TO THE REAR OF THE CAR. IT IS HAMPERED BY OVERHANGING TREES. THE BIZARRE CHASE ROCKETS ON UP THE ROAD.

CUT TO:

53 EXT. CAR. NIGHT. 8 SECS

TO THE LEFT, A SIDE ROAD ON EITHER SIDE OF WHICH TREES HAVE GROWN OVER TO FORM A NATURAL TUNNEL. THE CAR PULLS IN UNDER THE LEAFY TUNNEL AND STOPS.

CUT TO:

54 INT. CAR. NIGHT. 15 SEC

STRAKER AND VIRGINIA SIT MOTIONLESS, LOOKING AT EACH OTHER. OVERHEAD THE PULSING OF THE CRAFT GROWS AND THEN SLOWLY FADES. STRAKER AND VIRGINIA EXHALE AS IF THEY'D BEEN HOLDING THEIR BREATH. THEY LEAVE IT A BEAT LONGER THEN STRAKER WORDLESSLY STARTS THE CAR AND DRIVES A THREE POINT REVERSE OUT OF THE TUNNEL.

CUT TO:

55 EXT. ROAD. NIGHT. 4 SEC

THE CAR COMES OUT OF THE TUNNEL LIKE A PROJECTILE.

CUT TO:

56 INT/EXT. CAR. NIGHT. 22 SECS

AS THE CAR BURSTS FROM THE TUNNEL THE NOISE OF THE UFO SUDDENLY HITS LIKE A THUNDERCLAP AND THERE IS A GREEN FLASH WHICH MOMENTARILY MAKES THE WHOLE VEHICLE GLOW.

STRAKER SPINS THE WHEEL AND BURSTS THROUGH A HEDGE INTO A FIELD. HE STOPS THE CAR. HE SPEAKS TO LAKE WITHOUT MOVING HIS HEAD.

STRAKER
Freeze.

HE LOLLS BACK IN HIS SEAT. LAKE DOES THE SAME.

THE LUMINOUS RADIANCE OF THE UFO BATHES THE CAR AND ITS SURROUNDINGS FOR A BEAT AND THE SOUND WASHES OVER IT. THEN SUDDENLY IT IS GONE. STRAKER WAITS A MOMENT THEN OPENS HIS DOOR.

CUT TO:

57 EXT. SKY. NIGHT. (VE) 4 SECS

STRAKER'S P.O.V. THE UFO IS A WHITE SPECK IN THE SKY.

CUT TO:

58 INT/EXT. CAR. NIGHT. 11 SECS

LAKE
What happened?

STRAKER
Near miss.

HE STARTS THE CAR, GUNS THE ENGINE, MOVES IT OUT TOWARDS THE ROAD.

CUT TO:

59 EXT. APPROACH ROAD TO STUDIO. NIGHT. 6 SECS

WE SEE A SIGN POINTING UP THE ROAD TO THE STUDIO, ISOLATED IN THE COUNTRYSIDE. STRAKER'S CAR COMES INTO SHOT PAST THE SIGN, MOVING FAST.

CUT TO:

60 EXT. MAIN GATE. TO STUDIO. NIGHT. 6 SECS

STRAKER'S CAR ROARS PAST THE LODGE, UNDER THE ARCH AND INTO BRIGHT SUNSHINE.

CUT TO:

61 INT/EXT. CAR. DAY 12 SEC

AS THE CAR ROARS ONTO THE STUDIO LOT IT HAS MOVED INSTANTLY FROM NIGHT TO DAY. RUBBER BURNS ON THE ROAD AS A SHOCKED STRAKER STANDS ON THE BRAKES. HE AND VIRGINIA LOOK AT EACH OTHER WORDLESSLY. THEY BREAK THEIR GLANCE, LOOK AROUND THEM AT THE DAYLIT LOT, THEN COME BACK TO EACH OTHER AGAIN.

FADE OUT

END OF ACT I

- - - - - SPONSOR’S MESSAGE - - - - -

ACT II

FADE IN

62 EXT. STUDIO LOT. DAY. 4 SEC

AGAIN THE TYRES BURN AS THE CAR TAKES OFF.

CUT TO:

63 EXT. BAKER STREET SET. DAY. 6 SEC

STRAKER'S CAR RIPS DOWN THE STREET.

CUT TO:

64 INT/EXT. CAR. DAY. 11 SECS

STRAKER STANDS ON THE BRAKES AGAIN AS THE CAR COMES TO THE END OF THE STREET AND HE SEES TWO JOINERS WHO HAVE BEEN WORKING ON THE BACK OF THE SET. THEY SEEM VERY STILL. HE AND VIRGINIA GET OUT OF THE CAR.

CUT TO:

65 EXT. BAKER STREET SET. 35 SECS

STRAKER AND VIRGINIA APPROACH THE TWO MEN. WE TRACK IN WITH THEM. AS WE GET NEARER WE SEE THAT THEY HAVE SOMEHOW BEEN ARRESTED IN MID MOTION. ONE OF THEM IS HOLDING A NAIL WITH HIS LEFT HAND, THE HAMMER POISED ON THE BACK STROKE IN HIS RIGHT. THE OTHER MAN HAS ACTUALLY HIT A NAIL. HE HAS BEEN ARRESTED AT THAT FIRST MICROSCOPIC CONTACT BETWEEN HAMMER AND NAIL.

CLOSE SHOT - THE SECOND NAIL

IT IS UNSUPPORTED BY THE JOINER'S LEFT HAND. THE HAMMER IS IN CONTACT WITH IT, BUT IT HAS PENETRATED THE WOOD ONLY MICROSCOPICALLY. YET IT DOES NOT FALL.

RESUME EXT. BAKER STREET

THE MEN'S EYES ARE OPEN. STRAKER SNAPS HIS FINGERS IN FRONT OF THEM. THEY MAKE NO SIGN. STRAKER GETS HOLD OF THE SECOND NAIL, TRIES TO MOVE IT.

IT WILL NOT BUDGE. VIRGINIA'S EYES ARE WIDE WITH SHOCK.

STRAKER TRIES TO SAY SOMETHING, BUT ALL HIS MENTAL COORDINATION CAN FORCE OUT IS AN INARTICULATE CROAK. HE GESTURES TO THE CAR. THEY WALK BACK TO IT, GET IN. THE CAR MOVES OFF.

CUT TO:

66 EXT. SCENE DOCK. DAY. 48 Secs

THE CAR PULLS INTO SHOT AND STOPS. STRAKER AND VIRGINIA OPEN THE DOORS AND GET OUT, BUT DO NOT MOVE AWAY FROM THE CAR. THEY ARE LOOKING AT SOMETHING, THEIR FACES RIGID WITH GROWING SHOCK. WE WIDEN ANGLE TO SHOW WHAT THEY ARE LOOKING AT. THREE MEN HAVE BEEN FROZEN IN THE ACT OF LOADING SCENERY INTO A LORRY. ONE IS CARRYING A HEAVY PIECE OF FLAT. HE HAS JUST HOISTED IT INTO A POSITION FROM WHICH HE CAN SWING IT INTO THE LORRY. IT'S THE KIND OF LIFT THAT CAN ONLY BE SUSTAINED FOR A BRIEF MOBILE SECOND. YET THE FLAT IS STILL IN HIS HANDS AT THAT IMPOSSIBLE ANGLE. ONE OF THE OTHER TWO HAS BEEN THROWING A SMALL PROPERTY STOOL TO HIS MATE. IT IS FROZEN IN MID-AIR BETWEEN THEM.

TWO SHOT: STRAKER & VIRGINIA

THEY LOOK AT EACH OTHER, LOCKED IN ASTONISHMENT.

RESUME SCENE DOCK

STRAKER CROSSES TO THE TWO MEN. HE REACHES UP TO THE STOOL THAT IS SUSPENDED IN MID AIR. HE TRIES TO MOVE IT. IT IS RIGID IN SPACE. IN A FURY HE PICKS UP A HEAVY LUMP OF WOOD, SMASHES AT THE STOOL. IT DOESN'T MAKE THE SLIGHTEST DIFFERENCE. HE FLINGS THE WOOD AWAY. FROM THE CAR WHERE SHE IS STANDING, VIRGINIA SUDDENLY SCREAMS.

VIRGINIA
Commander!

STRAKER WHIRLS AROUND. VIRGINIA IS POINTING AT SOMETHING. STRAKER RUNS TO HER AND LOOKS. A FEW FEET AWAY FROM HER A BIRD IS FROZEN IN MID-AIR, WINGS SPREAD, BEAK OPEN. VIRGINIA STARTS TO TREMBLE. STRAKER GETS HER FUR COAT, WRAPS IT ROUND HER.

STRAKER
Get back in the car.

HE URGES HER INTO THE CAR, GOES ROUND, GETS IN HIMSELF AND DRIVES OFF WITH A VICIOUS SQUEAL OF TYRES.

CUT TO:

67 EXT/INT. CARPENTERS' SHOP. 14 SECS

STRAKER'S CAR PASSES, STOPS, REVERSES. STRAKER LOOKS THROUGH THE OPEN DOOR OF THE SHOP.

STRAKER'S P.O.V.

TWO CARPENTERS HAVE BEEN STILLED AS THEY STARTED TO CUT INTO A LONG PLANK OF WOOD WITH A CIRCULAR SAW. A SPRAY OF SAWDUST HANGS FROZEN IN THE AIR.

CUT TO:

68 EXT/INT. CARPENTERS' SHOP. 30 SECS

STRAKER GETS OUT OF THE CAR AND GOES INTO THE SHOP FOLLOWED BY VIRGINIA. HE GOES OVER TO SOME WORK SHEETS AND A BLUEPRINT PINNED TO THE WALL. HE STUDIES THEM AND GLANCES FROM THEM TO THE WORK IN HAND AND BACK AGAIN.

STRAKER
If these work sheets are right and they're up to schedule, then this has only just happened.

VIRGINIA
Then why the daylight? It's been dark now for two hours.

STRAKER
(grim)
I don't know. But there must be some kind of logic in it somewhere. Let's get down to Control.

THEY RETURN TO THE CAR AND GO.

CUT TO:

69 EXT. STUDIO OFFICE BLOCK. DAY. 30 SECS

A LITTLE WAY UP THE ROAD FROM THE ENTRANCE, BIG JOCK SITS ON HIS HOVERCRAFT. THE ENGINE HAS STOPPED YET IT STILL HOVERS ABOVE THE GROUND. A CIGAR IS STUCK IN HIS MOUTH. A THIN PLUME OF SMOKE HANGS IN THE AIR ABOVE IT. ON JOCK'S WRIST IS A HANDSOME GOLD WATCH. STRAKER DRIVES INTO SHOT. THEY GET OUT AND RUN OVER TO JOCK. STRAKER LOOKS AT JOCK'S WATCH.

INSERT:

IT SHOWS 18.00

RESUME STRAKER AND VIRGINIA

THEY COMPARE THEIR WATCHES

INSERT
THEY SHOW 20.00

TWO SHOT - STRAKER VIRGINIA

THEY ARE COMPLETELY BAFFLED BY ALL THEY HAVE SEEN.

RESUME EXT. OFFICE BLOCK

STRAKER AND VIRGINIA RUN TOWARDS THE ENTRANCE.

CUT TO:

70 INT. OFFICE BLOCK CORRIDOR. DAY. 10 SECS


STRAKER AND VIRGINIA RUN DOWN THE CORRIDOR. THEY PASS A MAN AND HIS SECRETARY. HE HAS BEEN FROZEN IN THE ACT OF LOOKING DOWN HER CLEAVAGE ON THE PRETENCE OF EXAMINING A MEMO SHE IS SHOWING HIM. SHE HAS BEEN FROZEN IN THE CONSCIOUSNESS OF WHAT HE IS DOING.

CUT TO:

71 INT. MISS EALAND'S OFFICE. DAY. (STUDIO) 12 SECS

STRAKER THROWS OPEN THE DOOR, FOLLOWED BY VIRGINIA.

MISS EALAND HAS THE TELEPHONE IN HER HAND, HAS BEEN FROZEN IN THE ACT OF DIALLING.

CLOSE ON WALL CLOCK OVER HER DESK.

IT SHOWS 18.00

RESUME MISS EALAND'S OFFICE

STRAKER LEANS OVER AND PRESSES THE BUTTON WHICH CONTROLS THE DOOR TO HIS OFFICE.

CUT TO:

72 INT. SHADO CONTROL (STUDIO) 222 SECS

THE SCENE WE SAW AT THE OPENING OF THE FILM HAS BEEN FROZEN. THE TWO GIRL MESSENGERS HAVE STOPPED AS THEY CROSSED EACH OTHER. THE MAINTENANCE MAN IS JUST LIFTING HIS BAG OF TOOLS. THE MOON MONITOR OPERATIVE IS FROZEN WITH HER HAND REACHING FOR A SWITCH AND ON HER MONITOR THE FACE OF THE MOONBASE GIRL TO WHOM SHE WAS TALKING IS ALSO FROZEN AS SHE WAS ABOUT TO SAY SOMETHING.

PAUL FOSTER STANDS BY THE TELEX MACHINE, HIS HAND OUTSTRETCHED TO IT, RIGID.

STRAKER AND VIRGINIA MOVE INTO SHOT. THEY STARE AROUND THEM.

ANGLE WIDENS TO SHOW MORE OPERATIVES FROZEN AT THEIR TASKS.

WE FAVOUR A PARTICULAR MAN - NOT TOO OBVIOUSLY - WHO SITS IN FRONT OF A LARGE AND POTENT-LOOKING RADAR SCREEN.

STRAKER POINTS TO A MOON MONITOR.

STRAKER
Why haven't Moonbase reacted? They must know something's wrong. They could have had Skydiver over the base by now.

HE MOVES URGENTLY TO A SPECIAL MONITOR (EARTH) MARKED WITH FIVE STARS.

VIRGINIA
What are you going to do?

STRAKER
Call Henderson. We need help.

HE STARTS TO FLICK SWITCHES.

STRAKER
That thing is still up there. If it gets down before we can call in assistance...

THERE IS NO REACTION FROM THE MONITOR.

STRAKER
There's got to be someone we can contact.

HE CONTINUES TO WRESTLE WITH THE MONITOR, EVEN THUMPING IT WITH HIS FIST. VIRGINIA WATCHES ANXIOUSLY.

ANOTHER ANGLE

BEHIND THEIR BACK THE CAMERA EXPLORES THE WAXWORKS FIGURES IN THE ROOM. IT EXAMINES THEM AT WAIST LEVEL SO THAT WE ARE UNABLE TO IDENTIFY TOO CLOSELY LOCATIONS, THE MACHINES THEY ARE WORKING AT, CERTAINLY NOT THEIR FACES.

THE CAMERA MOVES ON TO A HAND, CONTINUES PAST, THEN SUDDENLY COMES BACK TO IT.

CLOSE ON THE HAND

THE HAND MOVES, FLEXING THE FINGERS.

RESUME STRAKER/VIRGINIA

STRAKER
It's no use.

HE LOOKS ABOUT IN DESPERATION.

STRAKER
If only we could understand the principle they've used.

HE GOES ACROSS TO FOSTER, TRIES TO MOVE HIS ARM WHICH IS STRETCHED TOWARDS THE TELEX. IT IS QUITE RIGID. HE FEELS FOSTER'S PULSE.

STRAKER
They've got no pulse...

VIRGINIA TOUCHES ANOTHER OF THE OPERATIVES.

VIRGINIA
Their body temperature seems normal.

STRAKER TRIES TO MOVE ONE OF THE GIRL MESSENGERS WHO HAS BEEN ARRESTED IN MID STRIDE. SHE IS IMMOVABLE.

STRAKER
But they're fixed, like statues.

VIRGINIA
It's almost as if they'd... frozen time.

STRAKER LOOKS AT HER THOUGHTFULLY.

STRAKER
That might fit... That would mean they'd be fossilised in whatever they were doing when the force struck.

VIRGINIA
Yet the lift from your office worked.

STRAKER
Yes, I know... It doesn't fit the pattern.

ABSENTLY HE TOYS WITH A CIGARETTE PACKET OR WHATEVER LYING ON TOP OF A CONSOLE, PICKING IT UP AND DROPPING IT SEVERAL TIMES, NOT CONSCIOUS OF HIS ACTION. BOTH HE AND VIRGINIA SUDDENLY REALISE WHAT HE IS DOING.

STRAKER
This isn't frozen, either.

THEY START PICKING UP AND DROPPING OTHER OBJECTS LYING ABOUT - PENS, KEYS, MEMO PADS, WATCHES.

STRAKER
They all have one thing in common.

VIRGINIA
They weren't in motion. They were at rest when it happened.

STRAKER
So they weren't moving in time. That's why the lift works.

VIRGINIA
(excited)
So if we could find a monitor that wasn't switched on...

THEY LOOK ABOUT THEM EAGERLY. BUT ALL THE MONITORS HAVE FROZEN PICTURES ON THEM, INCLUDING THE FIVE STAR MODEL.

STRAKER
There's got to be an answer. We've just got to think it through.

VIRGINIA SITS DOWN WEARILY.

VIRGINIA
I don't seem to be able to think any more. God, I'm so tired! I feel as if I haven't slept for a week.

STRAKER RELAXES AGAINST A CONSOLE.

STRAKER
I know what you mean. It must be shock catching up with us.

HE LOOKS AT HIS WATCH, TRIES TO REACT URGENTLY BUT, IN FACT, DOES SO QUITE SLOWLY.

STRAKER
Wait a minute! Let me see your watch.

SHE STRETCHES OUT HER WRIST, HE TAKES IT. BOTH MOVEMENTS ARE CURIOUSLY SLOW. THEY COMPARE WATCHES.

INSERT:

THEY BOTH STILL SHOW 20.00

RESUME STRAKER & VIRGINIA

THEY ARE BOTH SLOWING DOWN NOTICEABLY NOW.

VIRGINIA
Our watches... must... have stopped the minute we reached... the studio.

STRAKER
Just like the clock.

HE POINTS TO CLOCK ON WALL. IT SHOWS 18. 00

STRAKER REALISES WHAT IS HAPPENING TO THEM.

STRAKER
Beginning... to get to us. Slowing... down.

VIRGINIA
Yes... I can... Feel it.

STRAKER
Medical Centre.

THEY TURN SLOWLY TOWARDS A CORRIDOR OUT OF THE CONTROL ROOM. AT THE END IS A DOOR MARKED "MEDICAL CENTRE".

CUT TO:

73 INT. CORRIDOR SPECIAL F/X. (STUDIO) 12 SECS

SPECIAL F/X.
STRAKER AND VIRGINIA RUN DOWN THE CORRIDOR. THEY ARE MOVING IN SOMETHING A LITTLE FASTER THAN SLOW MOTION.
THE CORRIDOR SEEMS ENDLESS. THEY REACH THE DOOR.

CUT TO:

74 INT. DISPENSARY. MEDICAL CENTRE. 68 SECS

SLOWING DOWN ALL THE TIME - AND FIGHTING DESPERATELY AGAINST IT, - STRAKER IS FILLING A HYPODERMIC FROM A BRILLIANT CRIMSON PHIAL.

STRAKER
The... only way… could have got past Moonbase was… travel so fast they could... cheat time.

VIRGINIA
Sound barrier… heat barrier... light barrier... Time barrier.

STRAKER, WITH INFINITE DIFFICULTY, MANAGES TO INJECT HIMSELF IN THE WRIST WITH HIS LAST PULSE OF RESISTANCE. IMMEDIATELY HE BEGINS TO SPEED UP. HE INJECTS VIRGINIA WHO IS ON THE POINT OF COMPLETE IMMOBILITY.

STRAKER
They can control it... only for so long. Until the... force field they built up on the way here has worn off. Like the pressure waves you can see in front of a plane.

STRAKER IS ALMOST BACK TO NORMAL. VIRGINIA RECOVERING RAPIDLY.

VIRGINIA
That's why they haven't landed yet. They're still in a different continuum!

STRAKER
They have to shed some of the field before they can operate down here.

VIRGINIA
But how are they reaching us?

STRAKER
I don't know. We might find the answer in the Control Room. Let's get back.

HE TURNS TO GO THEN PAUSES AND PUTS A HAND ON VIRGINIA'S ARM, LOOKS INTO HER EYES.

STRAKER
Okay now?

VIRGINIA
(smiles)
Fine.

SHE'S STILL TERRIFIED UNDERNEATH BUT SHE'S DETERMINED NOT TO BE A LIABILITY ON STRAKER.

CUT TO:

75 INT. CORRIDOR. (STUDIO) 26 SECS

STRAKER AND VIRGINIA ARE MOVING AWAY FROM THE MEDICAL CENTRE DOOR. STRAKER IS PUTTING THE CRIMSON PHIAL AND A SPARE HYPODERMIC IN HIS POCKET.

VIRGINIA
What is that stuff?

STRAKER
X50. Speeds you up to ten times normal. Brain, muscles, coordination. They used it in the early high "G" flights. Finally banned it as too dangerous.

VIRGINIA
Why?

STRAKER
People burned out. If we weren't under the evil eye we'd be moving so fast now we'd be a blur.

CUT TO:

76 INT. CONTROL ROOM. (STUDIO) 22 SECS

AS STRAKER AND VIRGINIA COME IN, THE CAMERA DOES A SLOW PAN AROUND THE ROOM. AGAIN IT DOES A DOUBLE TAKE, THIS TIME AT THE BIG RADAR SCREEN. THE CHAIR AT WHICH THE OPERATOR WAS SITTING IS NOW EMPTY.

CLOSE ON STRAKER

STRAKER
(thoughtfully)
The room itself is lead-lined...

VIRGINIA SHOUTS, OUT OF SHOT.

VIRGINIA
Commander!

RESUME CONTROL ROOM

STRAKER
What is it?

VIRGINIA
There. Down the corridor. I'm sure something moved.

SHE POINTS.

CUT TO:

77 INT. CORRIDOR. (STUDIO) 15 SECS

STRAKER RUNS DOWN THE CORRIDOR TO THE CORNER, FOLLOWED BY VIRGINIA. THEY LOOK LEFT AND RIGHT.

THEIR P.O.V.

TO THE LEFT A FIGURE FLICKERS ACROSS THE END OF THE TRANSVERSE CORRIDOR.

RESUME STRAKER & VIRGINIA

THEY RUN TO WHERE THE FIGURE DISAPPEARED.

THEY SEE A DOOR SWINGING AT THE END. THEY RUN TOWARDS IT.

CUT TO:

78 INT. SHADO PERSONNEL UNDERGROUND ENTRANCE. 18 SECS

TWO GUARDS ARE FROZEN. THE LIGHT OVER THE LIFT IS ON AND ITS WHIRR CAN BE HEARD. STRAKER GRABS TWO MACHINE PISTOLS FROM A RACK, GIVES ONE TO VIRGINIA AND TWO SPARE CLIPS OF AMMUNITION. HE ALSO PICKS UP A SMALL PORTABLE SONAR SEEKER ABOUT THE SIZE OF A CIGARETTE CASE. THEY MAKE FOR SOME STAIRS BY THE SIDE OF THE LIFT.

CUT TO:

79 EXT. STUDIO LOT. DAY 43 SECS

STRAKER AND VIRGINIA COME OUT OF A DOOR, GUNS AT THE READY. THEY LOOK ABOUT THEM. SUDDENLY A VOICE IS HEARD, HUGELY MAGNIFIED.

VOICE
All right, Straker. Come and get me, big man.

STRAKER
Transistor megaphone. He's somewhere over there to the left.

VOICE
You've got to get me, Straker. I'm the only one who can help you. I'm the only one who can put it right.

STRAKER GETS A BEARING ON HIS TINY SONAR. HE INDICATES A LOW WALL ACROSS THE ROAD.

STRAKER
He's behind that wall.

A SPRAY OF BULLETS SUDDENLY KICKS UP THE DUST AROUND THEM. THEY FLATTEN BEHIND A CAR.

STRAKER
You stay here.

HE INDICATES HER GUN.

STRAKER
Cover me.

VIRGINIA FIRES A SERIES OF SHORT BURSTS BRACKETING THE TOP OF THE WALL AS STRAKER HURTLES ACROSS THE ROAD AND DIVES OVER THE WALL.

CUT TO:

80 EXT. OTHER SIDE OF WALL. DAY 35 SECS

THERE IS NOBODY THERE. STRAKER WAVES VIRGINIA TO JOIN HIM. SHE SPRINTS OVER AND COMES HURTLING OVER THE WALL. SHE CROUCHES BESIDE STRAKER.

VOICE
No, it's not that easy, big man. Things always come easy for you, don't they, Straker. Not this time. Not me.

STRAKER PANS HIS SONAR AGAIN, HOMING ON THE VOICE.

STRAKER
He's round the corner - near the covered way to J and K block. Stay close to the wall.

THEY FLATTEN AGAINST THE WALL OF A BUILDING NEXT TO THEM AND EDGE THEIR WAY ALONG. AS THEY REACH THE CORNER A BURST OF FIRE THUDS INTO THE GROUND AHEAD OF THEM. STRAKER WAITS A BEAT THEN HURLS HIMSELF AROUND THE CORNER ROLLING AND FIRING AS HE HITS THE GROUND.

CUT TO:

81 EXT. ENTRANCE TO COVERED WAY, DAY, 18 SECS

ALL STRAKER SEES ARE THE ENTRANCE DOORS SWINGING. HE KICKS THEM OPEN. WE SEE A FIGURE IN A SHADO SUIT RUNNING SWIFTLY UP THE COVERED WAY ABOUT HALFWAY ALONG. THE FIGURE IS ZIG-ZAGGING WILDLY, MAKING A DIFFICULT TARGET. STRAKER LOOSES OFF A BURST BUT MISSES. THE FIGURE EMITS A MANIC LAUGH, DOES A CRAZY HOP SKIP AND JUMP AND DISAPPEARS THROUGH THE DOOR AT THE END. VIRGINIA JOINS STRAKER.

VIRGINIA
Where did he go?

STRAKER
J and K block. He's making for one of the sound stages.

CUT TO:

82 INT. SOUND STAGE. 60 SECS

STRAKER AND VIRGINIA SLIDE SILENTLY IN. WIDEN ANGLE TO SHOW A STILL LIFE IN THE MIDDLE OF THE STAGE, VISIBLE THROUGH A FOREST OF FLATS AND LIGHTS AND CABLES. AN ACTOR AND AN ACTRESS ARE FOSSILISED MERE MILLIMETRES AWAY FROM A SUCCULENT KISS. THE DIRECTOR AND CAMERA CREW ARE FROZEN, TOO. THE VOICE BOOMS OUT SUDDENLY.

VOICE
You've heard of silent movies, Mr. Big. Well, this is the new bag: non-moving movies. Restful, don't you think?

STRAKER AND VIRGINIA TRY TO LOCATE THE VOICE WITH THEIR SONAR. IT BOOMS OUT AGAIN.

VOICE
Dis must be de place, Mr. Big. Yassuh, I'se here somewhere if you can but find me.

SUDDENLY ONE OF THE FIGURES WE HAVE TAKEN TO BE CAMERA CREW WHEELS AND LOOSES OFF A BURST OF FIRE AT STRAKER, PULVERISING A BRUTE JUST OVER HIS HEAD. THEN, WITH ANOTHER WILD GYRATION AND A WHOOP, THE FIGURE LEAPS AWAY TOWARDS A CENTRAL EXIT. STRAKER'S LINE OF FIRE IS BLOCKED BY THE ACTORS AND CAMERA CREW. HE PLUNGES ACROSS THE STAGE AFTER THE FIGURE, CUTTING STRAIGHT THROUGH THE TABLEAU OF ACTORS AND CAMERA CREW.

STRAKER
Take the other exit. Well cut him off.

HE TAKES AN EXIT TO THE FAR LEFT, VIRGINIA TAKES ONE TO THE FAR RIGHT.

CUT TO:

83 EXT. SOUND STAGE. DAY. 48 SECS

STRAKER AND VIRGINIA EMERGE AT TWO ENDS OF AN ALLEY. IT IS EMPTY. THEY CONVERGE. THEY ARE BAFFLED AS TO HOW HE DISAPPEARED SO QUICKLY.

VOICE
You're not doing very well, Commander.

A VICIOUS BURST OF FIRE SENDS THEM SCUTTLING FOR THE SHELTER OF THE SOUND-STAGE DOOR.

VOICE
You don't look so big now, Commander. Don't you know me yet? I'm Turner. Radar Operator, Class One. I know you, Commander. The big man! In charge of the world!

THERE IS ANOTHER BURST OF FIRE.

STRAKER HAS GOT A FIX WITH HIS SONAR. HE GESTURES TO VIRGINIA.

AT THE END OF THE ALLEY AND A LITTLE WAY BEYOND, ON A PATCH OF SCRUB, STANDS A VICTORIAN, HORSE-DRAWN FURNITURE REMOVAL VAN. STRAKER AND VIRGINIA START LINING UP ON IT WITH THEIR MACHINE PISTOLS.

VOICE
"Big Deal Straker!" The guy the girls admire. Well I'm the Big Deal now. They promised me. And you're noth-

STRAKER AND VIRGINIA HOSE THE FURNITURE VAN WITH BULLETS.

THE VOICE STOPS ABRUPTLY.

CUT TO:

84 EXT. VAN. DAY. 10 SECS

STRAKER SPRINTS ACROSS THE INTERVENING SPACE TO THE VAN, FIRING AS HE GOES, AND KICKS OPEN THE DOORS.

CLOSE ON DOORS

INSIDE, A VICTORIAN VENTRILOQUIST'S DOLL IS HANGING GROTESQUELY FROM A NOOSE.

CUT TO:

85 EXT. VAN. DAY. 30 Secs

AS VIRGINIA CROSSES TO JOIN STRAKER, A SHADO JEEP, DRIVEN BY TURNER, COMES ROARING OUT OF NOWHERE, STRAIGHT AT HER. SHE HURLS HERSELF OUT OF ITS PATH AND IT SWERVES TOWARDS STRAKER WHO THROWS HIMSELF BACKWARDS. THE JEEP ROARS OFF IN THE DIRECTION OF THE COLONNADED BUILDING.

VOICE
Wrong again, Straker. No wonder you can't catch UFO's if you can't catch me.

STRAKER SPRINTS TO THE MOTOR POOL A SHORT DISTANCE AWAY, JUMPS INTO ANOTHER JEEP - AN OPEN ONE LIKE TURNER'S - STARTS HER UP AND GUNS BACK TO VIRGINIA. SHE JUMPS IN.

ALMOST BEFORE HER FEET HAVE LEFT THE GROUND, STRAKER IS OFF IN PURSUIT OF TURNER.

CUT TO:

86 EXT. LOT. DAY. 5 SECS

TURNER IS WAY AHEAD.

CUT TO:

87 INT/EXT. STRAKER'S JEEP. DAY. 7 SECS

VIRGINIA
He's got a good start.

CLOSE SHOT THROTTLE. STRAKER'S FOOT GOES TO THE FLOOR.

CUT TO:

88 EXT. LOT. DAY. 18 SECS

STRAKER'S JEEP LEAPS AHEAD, CLOSING THE DISTANCE BETWEEN HIM AND TURNER. VIRGINIA LEANS OVER THE WINDSCREEN AND BLASTS AT TURNER WITH HER MACHINE PISTOL. AHEAD, TURNER HAS RUN INTO A TRAP. HE HAS TURNED INTO THE MASSIVE QUADRANGLE FRONTING THE COLONNADED BUILDING. IT IS WALLED IN ON ALL SIDES EXCEPT THE ONE BY WHICH HE HAS ENTERED. HE SEES HIS MISTAKE AND SWERVES AROUND TO TRY AND GET BACK, BUT STRAKER ACCELERATES AND CUTS HIM OFF.

CUT TO:

89 EXT. QUADRANGLE, DAY, 33 SECS

TURNER SERVES BACK AND HEADS AT FULL THROTTLE UP THE QUADRANGLE TOWARDS THE PILLARED PORTICO OF THE BUILDING. STRAKER ENTERS THE QUADRANGLE AND TEARS AFTER HIM, NOW ONLY 70 YARDS BEHIND. VIRGINIA STARTS FIRING AGAIN IN SHORT BURSTS.

STRAKER
Go for the tyres.

HER NEXT BURST GETS THE NEARSIDE REAR WHEEL.

CLOSE SHOT

TYRE EXPLODING. BUT THE DUPLICATE WHEEL MAINTAINS THE JEEP'S STABILITY.

RESUME QUADRANGLE

TURNER'S JEEP SWERVES SLIGHTLY AND HE LOOKS BEHIND HIM BRIEFLY. HE SEES STRAKER GAINING AND HEADS HIS VEHICLE STRAIGHT AT THE WIDE SHALLOW STEPS LEADING UP TO THE MASSIVE DOUBLE DOORS OF THE BUILDING.

THE JEEP ROCKETS UP THE STEPS AND TURNER PUTS IT STRAIGHT AT THE DOUBLE DOORS. IT SMASHES SPECTACULARLY THROUGH THE DOORS.

CUT TO:

90 INT/EXT. STRAKER'S JEEP. DAY. 6 SECS

THREE SECONDS LATER STRAKER'S JEEP SMASHES THROUGH THE WRECKAGE LEFT BY TURNER AND OUT INTO THE WASTE GROUND BEHIND.

CUT TO:

91 EXT. WASTE GROUND. DAY. 101 SECS

IT IS EMPTY. NO SIGN OF THE JEEP. NO SOUND OF IT. NO SIGN OF TURNER. IN THE SILENCE THE FAINT MOAN OF THE BREEZE ACROSS THE DESERTED GROUND.

VOICE
(chanting, childish)
Hiders, Seekers, Finders, Keepers. Where you going to find me? Where you going to find me?

THE VOICE CHANGES TO VICIOUS NORMALITY.

VOICE
You're it, Straker. You are tag!

STRAKER IS STUDYING HIS SONAR. THERE IS NOTHING ON IT. NOT A BLIP. HE AND VIRGINIA LOOK AROUND THEM. NOTHING STIRS.

VOICE
They're coming soon, Straker. Soon as they've brought their power Down. They'll be here soon. And you're not going to spoil it!

STRAKER MOTIONS TOWARDS A SHAPE SOME DISTANCE AWAY.

IT APPEARS TO BE A MOUND OF JUNK AND OLD IRON COVERED IN A HUGE SHEET OF BLACK POLYTHENE. IT WOULD BE POSSIBLE TO HIDE A JEEP UNDER IT. THEY START TO MOVE STEALTHILY TOWARDS IT. THE VOICE CONTINUES. IT HAS NOW TAKEN ON A SELF-JUSTIFIED, ALMOST A WHINING TONE.

VOICE
They're marvelous, Straker. They're brilliant. They can do things we can't even conceive.

STRAKER AND VIRGINIA MOVE STEADILY UP ON THE BLACK MOUND.

VOICE
Have you any idea what they've done here, Straker? They've taken a millionth of a second of our time and frozen it. This whole thing is talking place in a millionth of a second, Straker. That's why Moonbase doesn't know anything's wrong. Compared to them we're midgets, Straker, all of us.

STRAKER AND VIRGINIA HAVE REACHED THE BLACK SHAPE. WITH A SUDDEN TUG, STRAKER RIPS AWAY THE BLACK POLYTHENE. THE JEEP IS THERE. BUT THERE IS NO ONE IN IT.

THE VOICE CACKLES WITH DERISIVE LAUGHTER.

VOICE
You fool! You're no match for me, big man. You're not on my level.

IN A BURST OF FRUSTRATION STRAKER BLASTS THE JEEP WITH A STORM OF BULLETS, STITCHING IT FROM END TO END, TURNING TO PUMP BULLETS INTO THE EMPTY AIR AROUND HIM. THE VOICE GOES ON LAUGHING.

VOICE
Don't you understand, Straker. hasn't it soaked into that blond skull yet? I'm outside of time, Straker! I am outside of time!

THE LAUGHING BECOMES MANIC. STRAKER SINKS BACK AGAINST THE JEEP. VIRGINIA CLUTCHES HIM FOR SUPPORT.

FADE OUT

END OF ACT II

- - - - - SPONSOR’S MESSAGE - - - - -

ACT III

FADE IN

92 EXT. WASTE GROUND. DAY. 35 SECS

STRAKER AND VIRGINIA ARE BACK AT THEIR JEEP. THE VOICE IS STILL LAUGHING - BUT QUIETLY, RUMINATIVELY, AS IF TURNER IS LAUGHING TO HIMSELF. THEY ARE LOOKING AT THEIR SONAR.

VIRGINIA
What d'you think he means - he's outside of time?

STRAKER
Time has stopped in here. We know that. But somehow the aliens have given him immunity - in return for his help.

VIRGINIA
So he's independent of time. He can move backwards or forwards - whatever he wants. That's why we can't pin him down. How can we fight him?

STRAKER
We've got to try. Trying's all we've got.

HE GETS A FIX ON THE SONAR AND POINTS TOWARDS A STANDING SET IN THE DISTANCE. IT IS THE SPANISH PUEBLO. THEY GET IN THE JEEP AND HEAD TOWARDS IT.

CUT TO:

93 EXT. TANK. DAY. 5 SECS

THE JEEP PASSES THE STUDIO WATER TANK.

CUT TO:

94 INT/EXT. JEEP. DAY. 19 SECS

THE WEIRD CHUCKLING IS STILL IN THE BACKGROUND.

STRAKER
They may be smarter than the human race. But we've got something maybe they haven't. Bloodymindedness. It built this planet.

THE VOICE STOPS CHUCKLING AND SEEMS TO WAKE UP.

VOICE
Oh well done, big man! You found where I am. Come on then. I'm waiting for you. And your lovely lady.

CUT TO:

95 EXT. PUEBLO. DAY. 80 SECS

THE JEEP HAS REACHED IT. THE VOICE HAS STOPPED. THERE IS SILENCE AGAIN, BROKEN BY THE SCRUNCH OF THE JEEP'S WHEELS AS IT ROLLS THE LAST FEW YARDS. IT STOPS AND VIRGINIA AND STRAKER CLIMB OUT.

STRAKER
Back to back.

THEY MOVE WARILY TOWARDS THE MAIN STREET OF THE PUEBLO, COVERING EACH OTHER. A BURST OF FIRE SENDS THEM SCURRYING FOR THE SHELTER OF THE BUILDING ON THE CORNER.

VOICE
It's all right, Straker. I don't intend to kill you. You see, in the new Order, I'm going to be boss. And I think you'd be rather useful for making the tea.

STRAKER AND VIRGINIA BREAK AND RUN TO THE NEXT CORNER.

VOICE
I'm going to be boss, Straker. They promised me that in return for my help.

STRAKER
(shouting)
You couldn't handle it, Turner.

TURNER
I can handle it.

STRAKER
You're small time, Turner. You haven't got the horse-power.

ALL THE TIME HE IS TRYING TO GET AN ACCURATE FIX ON HIS SONAR.

TURNER
I've got more than I need to fix you.

STRAKER
Come on, Turner. It takes guts and brains to be boss. You've got about as much of those as a weather balloon.

VOICE
Listen, you jumped-up albino! How d'you think they're transmitting their power in here Because I - I fixed a piece of equipment in the Control Room so it acts as an aerial - a piece of SHADO equipment, Straker.

STRAKER
I don't believe you. What piece of equipment?

VOICE
(laughing)
You must think I'm as stupid as you are.

THE VOICE SEEMS TO BE COMING FROM A BUILDING THAT IS UP SOME STEPS AND THROUGH AN ARCH. STRAKER MOTIONS VIRGINIA TO FOLLOW HIM.

CUT TO:

96 EXT. STEPS AND ARCH. DAY. 69 SECS

STRAKER, FOLLOWED BY VIRGINIA, CREEP UP THE STEPS.

VOICE
I'll tell you later. When you're cleaning my boots.

THE VOICE IS DEFINITELY COMING FROM THE BUILDING THROUGH THE ARCH. YET AS STRAKER MOVES FORWARD UNDER THE ARCH, TURNER COMES SILENTLY OUT FROM A BUILDING BEHIND VIRGINIA - HE GRABS THE SCARF ROUND HER THROAT BY ITS END AND STARTS TO STRANGLE HER. HE WHISPERS IN HER EAR.

VOICE
I didn't say anything about not killing you.

VIRGINIA IS UNABLE TO MAKE A SOUND AND STRAKER GOES ON FORWARD THROUGH THE ARCH. AT HER LAST GASP SHE MANAGES TO GET A FINGER ON THE TRIGGER OF HER GUN AND FIRES A RANDOM BURST. STRAKER COMES RUNNING BACK.

TURNER THROWS VIRGINIA AT HIM, KNOCKING THE GUN FROM HIS HAND AND DRAWING HIS OWN. STRAKER KICKS IT FROM HIS HAND. THEY FIGHT A TREMENDOUS FIST AND JUDO BATTLE UP AND DOWN THE STEPS AND UNDER THE ARCH. STRAKER FINALLY KNOCKS HIM UNCONSCIOUS, LEANS AGAINST THE WALL, GASPING. THE FAMILIAR HUMMING, PULSING SOUND IS HEARD FAINTLY.

VIRGINIA
Look!

SHE POINTS.

CUT TO:

97 EXT. SKY. DAY. (VE) 6 SECS

SMALL AND MILES HIGH IN THE SKY, BUT GROWING BIGGER EVERY MINUTE, IS THE GLOWING GREEN SAUCER. IT MOVES SLOWLY TOWARDS THE STUDIO.

CUT TO:

98 EXT. STEPS AND ARCH. DAY. 60 SECS

VIRGINIA
They're coming.

STRAKER IS HAVING TROUBLE WITH HIS CO-ORDINATION HE MOVES LIKE A SLOTH.

STRAKER
Slowing up... Used too much energy... fight. Drug... hypodermic... pocket.

WITH DESPERATE URGENCY, VIRGINIA GETS THE HYPODERMIC AND THE CRIMSON PHIAL FROM STRAKER'S POCKET. SHE FILLS THE HYPODERMIC AND TURNS TO STRAKER. HE HAS ALMOST STOPPED.

VIRGINIA
What will another shot do to you?

STRAKER
Doesn't... matter... Quick!

THE WORD IS ALMOST A CRY OF PAIN AS HE FEELS HIMSELF GOING.

VIRGINIA GIVES HIM THE SHOT. HE COMES ROUND AS BEFORE. HE LOOKS UP. THE SAUCER IS NEARER NOW.

STRAKER
The MOLLY! It's the only chance we've got left! Come on.

HE HUSTLES HER TO THE JEEP.

VIRGINIA
Shouldn't I have another shot?

HE AVOIDS HER EYE.

VIRGINIA
(accusingly)
A second shot is dangerous, isn't it?

STRAKER
(starting jeep)
I made my choice a long time ago.

THE JEEP STREAKS AWAY.

CUT TO:

99 ENT. SHADO UNDERGROUND CORRIDOR. (STUDIO) 10 SECS

STRAKER AND VIRGINIA ARE AT A CONCRETE WALL. STRAKER TWIDDLES A DIAL SET INTO IT. A HUGE BLOCK OF STONE SWINGS OPEN, REVEALING A ROOM.

CUT TO:

100 INT. MISSILE ROOM. (STUDIO) 32 SECS

INSIDE IS A SMALL BEAUTIFULLY ENGINEERED MISSILE LAUNCHER AND SIX SLEEK MISSILES IN A RACK. ON THE WALL IS A SMALL SAFE WITH A SMALL PERSPEX WINDOW. STRAKER PRESSES HIS RIGHT THUMBPRINT AGAINST IT AND IT SWINGS OPEN. HE REACHES IN, TAKES OUT A KEY AND GIVES IT TO VIRGINIA. VIRGINIA INSERTS IT IN A KEYHOLE ON THE GUIDANCE PANEL OF THE LAUNCHER.

INSERT - THE PANEL

THE KEY HAS TWO DIRECTIONS, "ARMED" AND "NEUTRAL". VIRGINIA PUTS THE KEY IN BUT DOES NOT TURN IT.

RESUME ROOM
STRAKER PRESSES TWO BUTTONS ON THE WALL AND

THE ROOM STARTS TO VIBRATE AS IT ASCENDS LIKE A LIFT.

VIRGINIA
You've kept pretty quiet about this.

STRAKER
It's that old bloodymindedness.

CUT TO:

101 EXT. FLAT ROOF. DAY. 12 SECS

THE MISSILE ROOM RISES UP AND OUT OF THE ROOF. THEY STEP OUT, STRAKER PULLING THE LAUNCHER. VIRGINIA STAGGERED SLIGHTLY UNDER THE WEIGHT OF A MISSILE. SHE IS BEGINNING TO SLOW DOWN NOW.

CUT TO:

102 EXT. SKY. DAY (VE) 5 SECS

IN THE SKY THE SAUCER IS BIGGER NOW AND LOUDER.

CUT TO:

103 EXT. FLAT ROOF. DAY. 30 SECS

STRAKER DRAGS THE LAUNCHER TO THE MIDDLE OF THE ROOF. HE STARTS ALIGNING IT AS VIRGINIA BRINGS THE MISSILE.

STRAKER
Can you hold out?

VIRGINIA
(with effort)
Yes. Shall I bring another?

STRAKER
No point. We're not going to get any second chances. We miss with the first one they'll fry us.

UNDER STRAKER'S GUIDANCE VIRGINIA FITS THE PROJECTILE.

VIRGINIA
What's its range?

STRAKER
We've got to let them get in close.

HE TAKES THE KEY AND FITS IT BUT DOES NOT TURN IT. HE STARTS RANGING IT.

CUT TO:

104 EXT. SKY. DAY. (VE) 4 SECS

THE SAUCER MOVES IN STEADILY.

CUT TO:

105 EXT. FLAT ROOF. DAY. 50 SECS

TURNER CLIMBS OVER THE EDGE OF THE ROOF BEHIND THEIR BACKS. HE MOVES SWIFTLY UP BEHIND THEM AND FELLS FIRST STRAKER, THEN VIRGINIA WITH VICIOUS CHOPS TO THE BACK OF THE NECK. VIRGINIA GOES DOWN IN A LIFELESS HUDDLE. STRAKER IS BADLY STUNNED. TURNER SNATCHES THE KEY FROM THE LAUNCHING DEVICE AND SCRAMBLES BACK OVER THE EDGE OF THE ROOF. STRAKER RECOVERS, TRIES TO ROUSE VIRGINIA, FAILS. HE TURNS TO THE LAUNCHER AND SEES THAT THE KEY HAS GONE. HE STAGGERS GROGGILY TO THE EDGE OF THE ROOF, SEES TURNER GOING DOWN THE IRON LADDER. TWO HOVERCRAFT ARE PARKED BELOW. HE TAKES A LAST DESPERATE LOOK AT THE SAUCER, WHICH IS NOW AS BIG AS A FOOTBALL AND DASHES OVER TO THE MISSILE ROOM ELEVATOR. HE PRESSES THE BUTTONS AND THE ROOM GOES DOWN THROUGH THE ROOF.

CUT TO:

106 EXT. STUDIO LOT. DAY. 25 SECS

STRAKER COMES OUT OF A DOOR JUST AS TURNER HAS KICKED ONE OF THE HOVERCRAFT INTO LIFE.

STRAKER
(voice hoarse with anger)
Turner! You're a fool! They don't need you now.

TURNER LOOKS OVER HIS SHOULDER AND GLIDES AWAY ON THE HOVERCRAFT. STRAKER GETS ONE SHOT OFF AT HIM THEN HIS GUN JAMS. HE STREAKS TO THE SECOND HOVERCRAFT AND STARTS IT UP. HE TAKES OFF AFTER TURNER.

CUT TO:

107 EXT. SKY. DAY. 4 SECS

THE SAUCER IS EVEN NEARER NOW.

CUT TO:

108 EXT. ALLEY. DAY. 120 SECS

TURNER ENTERS AN ALLEY WITH STRAKER CLOSE BEHIND. STRAKER BRINGS HIS CRAFT UP ALONGSIDE. HE SHOUTS OVER THE NOISE.

STRAKER
Turner! Listen to me!

TURNER GRINS AT HIM CRAZILY.

TURNER
Big man!

HE LEANS TO THE RIGHT, BUMPING AND BORING STRAKER, WHO IS FORCED OVER TO THE RIGHT. TURNER LAUGHS CONTINUALLY. HE FORCES STRAKER ON TO A COLLISION COURSE WITH A BUILDING THAT JUTS OUT. AT THE LAST MINUTE STRAKER LEANS BACK LIKE A RIDER REINING IN A STALLION AND JUST STOPS IN TIME. TURNER TAKES A RIGHT TURN AT THE END OF THE ALLEY. STRAKER REVERSES TO A RIGHT TURN BEHIND HIM, CUTS UP IT THEN FIRST LEFT SO THAT HE IS NOW IN AN ALLEY PARALLEL TO THE FIRST ONE. HE GOES FLAT OUT AND CATCHES TURNER BROADSIDE ON AS TURNER CROSSES THE END OF THE ALLEY. TURNER IS HURTLED FROM HIS MACHINE AND HITS THE DECK, BADLY WINDED. STRAKER GETS OFF HIS MACHINE AND SPRINTS TOWARDS TURNER WHO IS STRUGGLING TO HIS FEET. TURNER IS STILL SMILING.

TURNER
I think I'll just play that back.

AND STRAKER LEAPS OUT OF THE WAY AS HE SEES HIMSELF ON HIS HOVERCRAFT, ROARING UP THE ALLEY TOWARDS THE COLLISION WITH TURNER WHO IS ROARING UP TO THE INTERSECTION.

VERY BRIEF CLOSE SHOT - STRAKER

STAGGERED AS HE FINDS HIMSELF A SPECTATOR AT HIS OWN COLLISION.

RESUME ALLEY. DAY

WE PLAY THE COLLISION SCENE AGAIN, RIGHT UP

TO THE POINT WHERE TURNER GOES HURTLING FROM HIS MACHINE. STRAKER WATCHES, UNBELIEVING. WE PLAY BACK TO WHERE TURNER SAYS...

TURNER
I think we'll just play that back.

THEN STRAKER LEAPS AT TURNER BUT HE'S NO LONGER THERE. INSTEAD HE IS IN A COMPLETELY DIFFERENT SPOT, KICKING HIS MACHINE TO LIFE.

MEDIUM CLOSE - STRAKER

TOTAL DISORIENTATION.

RESUME ALLEY

TURNER SALUTES SARDONICALLY.

TURNER
It's a shame, isn't it? I can do it all again, but I can It change anything.

HE JETS OFF ON HIS HOVERCRAFT, LAUGHING IN HIS CRAZY FASHION. STRAKER WORKS DESPERATELY AT HIS JAMMED GUN.

CUT TO:

109 EXT. SKY. DAY. (VE) 6 SECS

OVERHEAD THE SAUCER IS ALMOST DIRECTLY ABOVE THE STUDIO, DESCENDING STEADILY.

FADE OUT

END OF ACT III

- - - - - SPONSOR’S MESSAGE - - - - -

ACT IV

FADE IN

110 EXT. ALLEY. DAY. 30 SECS

TURNER IS RAPIDLY GETTING OUT OF DISTANCE. STRAKER HAS GOT THE JAMMED CLIP OUT OF HIS GUN AND FITS A FRESH ONE. HE KNEELS, USING HIS HOVERCRAFT AS A STEADY AIMING BASE. HE SQUEEZES OFF THREE CAREFUL SHOTS AT THE DEPARTING TURNER.

CLOSE ON TURNER'S CRAFT. DAY

THE BULLETS TEAR A HOLE IN THE HOVERCRAFT'S SKIRT.

RESUME ALLEY. DAY

THE ENGINE NOTE OF TURNER'S CRAFT CHANGES AS IT LOSES PRESSURE. ITS SPEED BEGINS TO FALL. STRAKER STARTS HIS OWN CRAFT AND GOES AFTER HIM AT FULL THROTTLE.

CUT TO:

111 EXT. LOT. DAY. 18 SECS

STRAKER IS GAINING ON TURNER'S PARTIALLY CRIPPLED VEHICLE. HE FIRES SINGLE SHOTS NOW, CONSERVING HIS LAST CLIP. TURNER LOOKS OVER HIS SHOULDER, SEES STRAKER GAINING ON HIM. HE CHANGES DIRECTION AND MAKES FOR THE WATER TANK THAT LIES BETWEEN THE STREET AND THE WASTE GROUND BEHIND THE COLONNADED BUILDING.

CUT TO:

112 EXT. WATER TANK. DAY. 60 SECS

TURNER HITS THE WATER AS STRAKER IS GAINING ON HIM RAPIDLY. TURNER'S JETS THROW UP A BLINDING SPRAY ENVELOPING STRAKER. UNABLE TO SEE, HE VEERS LEFT TO GET AWAY FROM THE SPRAY. TURNER VEERS LEFT TO KEEP HIM IN IT. STRAKER GOES RIGHT. TURNER GOES RIGHT. STRAKER IS FORCED TO DROP BACK. TURNER COMES OFF THE WATER AND DOWN A SLIGHT GRASSY INCLINE, DISAPPEARING FROM STRAKER'S VIEW.

STRAKER'S P.O.V. TRAVELLING

AS STRAKER COMES OFF THE WATER AND DOWN THE INCLINE HE SEES THAT TURNER HAS STOPPED IN THE MIDDLE OF THE WASTE GROUND.

HE SITS IN HIS MACHINE, GENTLY HOVERING AND ROCKING, ARMS FOLDED, RELAXED.

SENSING A TRAP, STRAKER STOPS.

TURNER
You're too late, Straker.

HE POINTS UP.

CUT TO:

113 EXT. SKY. DAY (VE) 5 SECS

THE SAUCER IS NO MORE THAN SEVEN HUNDRED FEET UP AND DESCENDING STEADILY.

CUT TO:

114 EXT. WATER TANK. DAY 80 SECS

STRAKER DISMOUNTS AND LEVELS HIS GUN.

STRAKER
The key, Turner.

TURNER HOLDS IT UP TANTALISINGLY.

TURNER
Come and get it, Commander.

STRAKER FIRES A SINGLE SHOT. TURNER DOESN'T TURN A HAIR. STRAKER FIRES A BURST AND A SECOND BURST. TURNER IS UNTOUCHED. HE LAUGHS LIKE A LUNATIC.

TURNER
You're out of your league, Straker.

HE POINTS UP TO THE SAUCER.

TURNER
The nearer they get the more power they transmit to me. I can play time like a trumpet now.

STRAKER LETS OFF ANOTHER BLAST.

TURNER SUDDENLY APPEARS TO THE LEFT OF WHERE HE WAS, THEN TO THE RIGHT, THEN BEHIND STRAKER, THEN BACK WHERE HE WAS FIRST, LAUGHING ALL THE TIME.

TURNER
You primitive idiot. You're only seeing me where I've just been, or where I'm going to be. You can't see me where I am. Unless I want you to. You're licked, Straker. You're a tea boy now.

STRAKER TURNS HIS BACK ON TURNER. HE LOOKS DEFEATED. KEEP TURNER IN SHOT. THEN WITHOUT WARNING, STRAKER SPRAYS AN ARC OF FIRE IN A SEMICIRCLE ROUND HIM, IN THE OPPOSITE DIRECTION OF TURNER.

BEHIND HIM TURNER'S LAUGH SUDDENLY STOPS. HE COUGHS BLOOD AND LOOKS SURPRISED. HE SLUMPS SIDEWAYS IN HIS SEAT, A BLOODY STAIN SPREADING ACROSS HIS CHEST.

THE KEY DROPS FROM HIS LIFELESS HAND AND THE CRAFT STARTS SPINNING, SLOWLY AT FIRST THEN FASTER AND FASTER.

STRAKER PICKS UP THE KEY, JUMPS ON HIS OWN HOVERCRAFT AND HEADS OVER OPEN THROTTLES TOWARDS THE ADMIN BLOCK. AS HE GOES, HE LOOKS UP AT THE SKY.

CUT TO:

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

THE SAUCER IS DOWN TO FOUR HUNDRED FEET.

CUT TO:

116 EXT. FLAT ROOFED BUILDING. DAY. 8 SECS

STRAKER SLAMS INTO SHOT, JUMPS OFF THE CRAFT AND FLINGS HIMSELF AT THE IRON LADDER UP THE SIDE OF THE BUILDING.

CUT TO:

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

THE SAUCER IS DOWN TO THREE HUNDRED, ITS SONIC PULSATIONS GETTING MORE AND MORE OPPRESSIVE.

CUT TO:

118 EXT. FLAT-ROOFED BUILDING. DAY 7 SECS

STRAKER CLIMBS THE LAST FEW YARDS AND HAULS HIMSELF OVER THE EDGE OF THE ROOF.

CUT TO:

119 EXT. FLAT ROOF. DAY 8 SECS

VIRGINIA STILL LIES UNCONSCIOUS BY THE MISSILE LAUNCHER. PANTING, CLOSE TO EXHAUSTION NOW, STRAKER RUNS ACROSS THE ROOF TO THE LAUNCHER.

CUT TO:

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

THE UFO'S NOISE AND PRESENCE ARE NOW NUMBING IN THEIR IMPACT.

CUT TO:

121 EXT. FLAT ROOF. DAY 10 SECS

STRAKER, IN A GESTURE OF DESPERATION, PRESSES HIS HANDS AGAINST HIS EARS BUT FORCES HIMSELF TO DRAG THE LAUNCHER TO THE EDGE OF THE ROOF. HE LOOKS THROUGH THE SIGHTS.

CUT TO:

122 EXT. SKY. DAY. (VE) (SIGHT MASKING) 6 SECS

PUTTING STRAKER AND THE SAUCER IN RELATIONSHIP TO EACH OTHER IN THE SAME SHOT.

THE SAUCER IS NOW ON THE SAME LEVEL AS STRAKER, PREPARING TO LAND A HUNDRED YARDS AWAY.

CUT TO:

123 EXT. FLAT ROOF. DAY. 12 SECS

CLOSE ON STRAKER

THE SOUND WAVES ARE NOW HAVING THE SAME EFFECT ON STRAKER'S FACE AS HIGH "G" STRESSES WOULD.

HE MAKES A FINAL SIGHTING, TURNS THE KEY AND PRESSES THE FIRING BUTTON.

HE IS NOW ALMOST UNCONSCIOUS FROM THE NOISE.

CUT TO:

124 EXT. UFO. DAY. (VE) 9 SECS

THE LITTLE MISSILE STREAKS STRAIGHT AND TRUE AT THE SAUCER AND SCORES A DIRECT HIT. THERE IS AN EXPLOSION. RADIATIONS AND SMOKE. THE SOUND PULSES CHANGE IN QUALITY.

ANOTHER ANGLE

THE UFO RISES INTO THE SKY WITH SOME DIFFICULTY AND LIMPS AWAY INTO SPACE.

CUT TO:

125 EXT. FLAT ROOF. DAY 10 SECS


STRAKER LEANS FOR A MOMENT ON THE EDGE OF THE ROOF. THEN HE TURNS, LOOKS AT VIRGINIA, AND GOES OVER AND STARTS CLIMBING DOWN THE LADDER.

CUT TO:

126 INT. SHADO CONTROL (STUDIO) 37 SECS

STRAKER LURCHES IN, WILD-EYED, AN IRON BAR IN HIS HAND. THE SCENE IS STILL A WAXWORKS.

HE GOES STRAIGHT OVER TO TURNER'S RADAR AND SMASHES IT. INSTANTLY, EVERYTHING COMES TO LIFE.

THE MAINTENANCE MAN DIPS INTO HIS BAG OF TOOLS AT THE FAULTY MONITOR.

MAINTENANCE
Soon have it right.

THE FROZEN FACE OF THE MOONBASE GIRL CARRIES ON SPEAKING ON THE MOONBASE MONITOR.

MOONGIRL
Thank you Shado Control. Over and out.

AT THE TELEX, PAUL FOSTER WATCHES AS IT COMPLETES ITS MESSAGE...

TELEX NOW READS:-

TO MEETING YOU AND WILL ARRIVE 1200 HOURS TOMORROW.

THEY ALL TURN TO LOOK AGHAST AT STRAKER AS HE SMASHES A SECOND RADAR AND EMBARKS ON HIS ORGY OF DESTRUCTION AS AT THE OPENING OF THE PICTURE.

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