Teleplay by:
Allan Fennell
Directed by:
Ken Turner
Created by:
Gerry and Sylvia Anderson & Reg Hill
Producer:
Reg Hill
Executive Producer:
Gerry Anderson
EXTERIOR: GATE OF MANUFACTURING PLANT
A UNIFORMED PLANT GUARD stands beside a gate kiosk. He greets a timid looking middle aged man (CROXLEY), dressed in a shabby suit, carrying an expanding carrycase
as he leaves passing the entrance gate.
GUARD
Night, Mister Croxley. Been working late, have you?
Croxley starts, then recovers nervously.
CROXLEY
Just finishing off the wages accounts for tomorrow.
GUARD
(laughing)
That's right. We wouldn't want our pay transfers to be late, would we?
EXTERIOR: CAR
A late model sedan is parked across the street from the gate. Croxley crosses the street
to the car.
INTERIOR: CAR
Seated on the passenger side is STELLA CROXLEY. She appears younger than her husband. She is pleased to see him as he opens the driver's door and gets into the car.
STELLA
Hello, darling!
She leans over and kisses him.
CROXLEY
Hello, darling. Why did you come?
STELLA
(startled)
I thought I'd meet you. Aren't you pleased to see me?
Croxley's expression indicates he isn't pleased.
CROXLEY
Yes, (pause) It would have been better as a surprise. I'm not going home.
STELLA
Oh, I forgot, the doctor.
CROXLEY
I told you this morning.
STELLA
Well, you can drop me off on the way. I'll take a taxi home. (pause) I have been to
see ...
CROXLEY
(interrupting)
She'll be better tomorrow.
STELLA
Who?
CROXLEY
Your mother. You saw her today.
Stella's reaction is both startled and horrified.
STELLA
Oh God, this is awful. John, please try not to do that.
CROXLEY
Tell me how. It isn't easy.
STELLA
You're letting it get on top of you.
CROXLEY
(growing more and more upset)
What do you expect? It isn't exactly normal, is it?
STELLA
The doctor said it would pass.
CROXLEY
And if it doesn't? Have you thought about that?
STELLA
Don't. It can't stay like this, that would be too much. It'll be all right.
Stella is nearly in tears as Croxley starts the car.
EXTERIOR: CAR DRIVING AWAY
EXTERIOR: CAR ON CITY STREET
Croxley's car stops outside a large office building. Croxley gets out. Stella leans out the
window to talk to him.
CROXLEY
Bye.
STELLA
Oh, by the way, I forgot to tell you ...
CROXLEY
(interrupting angrily)
Stella ...
STELLA
Sorry.
CROXLEY
Shut up, can't you? Stop it! Those stupid remarks, you're always making them!
STELLA
What can I say? As soon as I tell you about anything ...
CROXLEY
(pause)
You just don't think!
STELLA
I'm tired of it, John. You never used to be like this. The doctor's got to do something. I don't know how long I can stand it.
Angry and upset, Croxley crosses the street and enters the office building.
INTERIOR: DOCTOR BRUNNER'S OFFICE
A comfortably furnished professional office. The only thing unusual is a large sofa with an encephalograph machine on a table at one end. Croxley is lying on the sofa, hooked up to the machine. DOCTOR BRUNNER sits in an armchair near the machine, notepad in hand. Croxley seems extremely nervous.
BRUNNER
What is it, Mister Croxley? Now, won't you relax and tell me all about it?
CROXLEY
What do you want, Doctor? A show? A few party tricks?
BRUNNER
I really don't think that will be necessary, Mister Croxley. You know, sometimes I wonder if
you really want to be helped. Most of the time, your answers to my questions are complete and
direct. But, somewhere there is a mental block, a refusal to come to terms with certain details.
As Brunner speaks, Croxley becomes more and more agitated, finally sitting up and tearing off the encephalograph electrodes.
CROXLEY
I have to go.
BRUNNER
There you are, you see? It's exactly as if I had touched a nerve ending. Now, won't you
relax? I mean, really open your mind to me.
CROXLEY
(shaking head, resigned)
There's no point. I know it now. You can't help me! I shouldn't have let my wife talk me
into coming here.
BRUNNER
Well, it's early days yet. Now, come back and see me when you feel a little more responsive.
Now, my secretary has penciled in ...
CROXLEY
(interrupting)
Oh, no. I, . . I can't make it Thursday.
BRUNNER
(startled and suspicious)
What did you say?
CROXLEY
I . . I thought you said Thursday.
BRUNNER
No, Mister Croxley, I was about to, but you have anticipated my words.
CROXLEY
(very upset)
There's no point in going on. I shan't come again.
BRUNNER
That seems to be a great pity. I feel we were about to make some progress. However, you
know where you can contact me. If you should change your mind, don't hesitate to call.
Brunner stops as Croxley becomes even more agitated.
BRUNNER
(worried)
Are you all right?
CROXLEY
Yes. It's my wife. She's going to have a visitor.
INTERIOR:SHADO CONTROL
LT. FORD is seated at his station, watching a series of figures cross the computer
monitor in front of him. COLONEL ALEC FREEMAN stands beside him, also watching the
monitor.
FORD
Sighting confirmed. Course varying eight to ten degrees.
FREEMAN
Get Moonbase.
FORD
Right.
Ford presses a series of buttons on the console in front of him. A monitor set into the wall above the console flickers on to show LT. GAY ELLIS, Moonbase commander.
FREEMAN
(to monitor)
Hello, Gay. How long has it been banking and weaving like this?
ELLIS
(on monitor)
It started two minutes, twenty seconds ago, sir. Before that, course and speed were
constant.
FREEMAN
What were the readings?
ELLIS
Course zero-three-seven-one-six-four. Speed: Sol one decimal six.
FREEMAN
(to self, mostly)
We've never had a flight pattern like this before.
ELLIS
(listening to others behind her, off screen)
Course still varying. Speed now zero decimal eight-five and reducing.
FREEMAN
Thank you.
Freeman reaches out to Ford's console and cuts communication with Moonbase. The monitor goes dark.
FREEMAN
(to Ford)
How long before Commander Straker comes on duty?
As Freeman speaks, COMMANDER ED STRAKER enters SHADO Control, overhearing Freeman's question.
STRAKER
What's the panic?
FREEMAN
A Ufo.
Straker walks over Freeman and Ford, glancing at the monitor in front of Ford.
FREEMAN
Its approach is much slower than usual and it's varying course constantly.
Straker studies the monitor read-outs a few moments.
STRAKER
Yes ... but maintaining an over-all flightpath. (pause) Yes, I agree with you, Alec.
This zig-zagging is unusual.
FREEMAN
It's almost as if it were trying to avoid something.
STRAKER
Or find something. (pause) Well, we can't take any chances. Sound a red-alert for
all ground stations.
FORD
(to microphone)
Shado control to all stations, we have a red-alert. Repeat, condition is red.
EXTERIOR: LUNAR SURFACE
SHADO'S MOONBASE
INTERIOR: MOONBASE CONTROL SPHERE
Gay Ellis is seated at the central console. At the other stations are seated NINA
BARRY and JOAN HARRINGTON. All are wearing Moonbase uniforms including uniform
wigs.
ELLIS
(to console microphone)
Interceptors (pause) immediate launch ...
INTERIOR: MOONBASE ASTRONAUTS' LOUNGE
THREE UNIFORMED MOONBASE ASTRONAUTS are seated in lounge chairs.
They jump from their chairs, grab helmets from alcoves set into the wall next to the three launch
chutes, then jump into the launch chutes.
EXTERIOR: LUNAR SURFACE
MOONBASE INTERCEPTOR LAUNCH PAD
The surface doors open and three interceptor launch pads rise to the lunar surface.
Three Moonbase interceptors launch into space.
INTERIOR: MOONBASE CONTROL SPHERE
ELLIS
(to console microphone)
Stand by to set missile control control computer.
INTERIOR: INTERCEPTOR 1
ASTRONAUT MARK BRADLEY is flying.
BRADLEY
Right.
ELLIS
(over speaker)
Missile timing: one-four-seven-five (Pause) Missile launch ... ten seconds.
EXTERIOR: DEEP SPACE
A single U.F.O. crosses a field of fixed stars, followed by the three interceptors. The
three interceptors fire their missiles. The missiles explode, obscuring the U.F.O.
INTERIOR: MOONBASE CONTROL SPHERE
Nina Barry checks the radar monitor at her stations, then turns to face Ellis.
BARRY
Positive ... Contact lost.
ELLIS
(to microphone)
Moonbase to SHADO Control.
Straker's face appears on her communications screen.
ELLIS
(pleased)
We hit it, Commander.
INTERIOR: SHADO CONTROL, STRAKER'S OFFICE
Ellis' face appears on the monitor screen on Straker's desk.
STRAKER
Well done, Lieutenant.
The monitor screen blanks out. The camera pulls back to show Freeman seated opposite Straker's desk
STRAKER
Well, that one certainly made a new approach. I wonder what it was trying to do?
FREEMAN
We'll never know, I'm glad to say.
Straker picks up a silver pail with cigars from his desk and holds it out to Freeman.
STRAKER
Cigar?
FREEMAN
Thank you.
Freeman takes a cigar from the pail. Straker takes one and sets the pail back on his desk.
ELLIS
(on screen)
Moonbase to SHADO Control.
STRAKER
What is it, Lieutenant?
INTERIOR: MOONBASE CONTROL SPHERE
ELLIS
(to screen)
I have another contact, sir.
STRAKER
(on screen)
A second Ufo?
Ellis looks to Barry who shakes her head. Ellis turns back to the monitor screen at her console.
ELLIS
No sir, the same one.
INTERIOR: STRAKER'S OFFICE
STRAKER
The same one? But, you reported a positive detonation.
ELLIS
(apologetic)
I know, sir. The scanners showed negative, but, it's back.
STRAKER
(irritated)
Well, what's the position now, Lieutenant?
ELLIS
I'm sorry, sir. It's through Moonbase defenses, heading for Earth.
STRAKER
Thank you.
Quietly, Freeman places the cigar he took back into the silver pail.
INTERIOR: SHADO CONTROL ROOM
Straker and Freeman enter together. They are talking.
STRAKER
I can't understand how those interceptors missed. Seemed to me that Ufo was a sitting
target.
FREEMAN
Maybe that's what we were supposed to think.
STRAKER
That's a good point, Alec. Force the interceptors to release their missiles, avoid them and it
gets a clear run past the Moonbase defenses.
(to Ford)
Where is it now?
FORD
Range: seven million.
STRAKER
Trajectory termination?
FORD
(extremely cautious)
Difficult to say, sir. It's changing course more violently than before. The nearest we can get
is western Europe.
STRAKER
Well, it could be damaged. Lieutenant Ellis reported a strike.
FORD
(watching changing figures on monitor)
Speed increasing, one decimal four; one decimal eight (pause) two decimal four . .
FREEMAN
(disgusted)
That does it. We'll never get near it at that speed.
(to Ford)
Let's get a closer E.T.T. Is the rate of descent constant?
FORD
More or less. There's still a slight variation.
FREEMAN
It should be possible to work out a broad target area.
FORD
We tried, but, our readings are less than adequate for computer data.
FREEMAN
Do your best, Lieutenant.
(to Straker)
Look's like it's going to hit. Question is, what is it up to?
STRAKER
Tell you what I think, Alec. I think that Ufo's under manual control. First, the flight
variation was used to disrupt our computer programs. But now, I think the alien is fighting to
regain control.
FREEMAN
That makes sense, if it was damaged.
STRAKER
Yes, the next few minutes are going to be very interesting.
A new set of figures appears on Ford's monitor screen.
FORD
Vector termination, areas seventeen to twenty-three
STRAKER
(to self)
Too close for comfort.
(to Ford)
Sound a red-alert.
Ford presses a switch on his console and the red alert siren sounds in the control room.
JOHNSON
(to Straker)
Sir, course zero-one-seven-four-two-two.
STRAKER
(to Ford)
Lieutenant?
FORD
E.T.T. area seventeen, map refernce four-zero-five green.
STRAKER
Alert the mobiles.
EXTERIOR: BRITISH COUNTRY HIGHWAY
It is an overcast, winter evening. Two large semi-tractor-trailer rigs with moving
company markings are seen rumbling down the highway.
LATER:
The rigs have halted in an otherwise empty field. The trailer gates are open and ramps
have been pulled out. One SHADO Mobile sits on the ground while a second comes down one of
the ramps.
INTERIOR: SHADO MOBILE 2
PAUL FOSTER is seated in the driver's seat. In the other seat sits his CO-DRIVER,
who wears a blue and white security uniform. Foster is holding a microphone in one hand
FOSTER
(to microphone)
Mobile Two to Control. Pass your instructions.
FORD
(on speaker)
This is red-alert. Proceed to map reference four-zero-five green. Stand-by.
FOSTER
(to microphone)
Roger, control
INTERIOR: SHADO CONTROL
FORD
(to Straker)
Mobile Two moving to E.T.T. now, sir.
Ford's monitor shows a blip following a wavy, but close to straight, diagonal course across the screen.
FREEMAN
(watching monitor)
It's weaving off line again.
STRAKER
(to microphone)
SHADO Control to Mobile 2 ...
INTERIOR MOBILE 2
STRAKER
(on radio)
This is Commander Straker, Get that area sealed off, Foster.
FOSTER
(to microphone)
Yes, sir.
INTERIOR: SHADO CONTROL
STRAKER
(to microphone)
I want a detailed survey of the area. If there is a specific target in there, I want to know
about it.
EXTERIOR: ENGLISH COTTAGE
INTERIOR BEDROOM COTTAGE:
Stella Croxley is dressed for bed, sitting at a dressing table, brushing her hair. The
telephone on the table rings and she picks it up.
CROXLEY
(on phone)
Stella . .
STELLA
Oh, John,
EXTERIOR: TELEPHONE BOOTH
Croxley is standing inside the telephone booth, speaking into the telephone.
CROXLEY
(to phone)
I'm on my way home.
INTERIOR BEDROOM COTTAGE:
STELLA
(to phone)
What did the doctor say?
EXTERIOR: TELEPHONE BOOTH
CROXLEY:
(to phone, hesitant)
He, . he wants to help.
STELLA
(over phone)
Oh, that's wonderful.
CROXLEY
Well, I'm not going back
INTERIOR BEDROOM COTTAGE:
STELLA
(upset)
But, John, I ...
CROXLEY
(over phone)
Has your visitor arrived yet?
STELLA
(confused)
Visitor? What visitor?
EXTERIOR: TELEPHONE BOOTH
STELLA
(over phone)
I wasn't expecting anyone. I've been waiting for you, that's all.
CROXLEY
(to phone)
Stella, I've got to ring off now. I have some thinking to do.
Croxley hangs up the phone. He looks pale and rather ill.
EXTERIOR: BRITISH COUNTRYSIDE, EVENING
The three SHADO Mobiles move into their various positions in the area.
INTERIOR: MOBILE 2
Foster is leaning over a back lit table with a map on it. He reaches for a microphone
headset on the console built into the wall of the mobile.
FOSTER
(to microphone)
Mobile 2 to Control. According to our survey map, there's just a derelict farm and a couple
of houses within a five mile radius of the E.T.T.
INTERIOR: SHADO CONTROL
Straker and Freeman are leaning over a map table set on the lower level, towards the
back of the room. A map similar to the one Foster has in the Mobile is on the table.
STRAKER
(perplexed)
It's wooded, common land. What could be of interest there?
FREEMAN
It's out of control. The aliens' being force to crash land.
STRAKER
No, somehow, I don't think so. What's it after? What could it possibly want in the middle of
a wilderness of trees and bracken?
There is a change on Lieutenant Johnson's monitor screen.
JOHNSON
(loudly)
U.F.O.'s speed decreasing, twelve thousand knots. Range: one thousand miles.
FORD
Course maintained, no deviation.
Straker and Freeman walk over to Ford's station to stand behind him.
STRAKER
So, it's back under control and slowing down enough for a landing.
FREEMAN
(to Ford)
When's the estimated termination?
FORD
About five minutes. Colonel Foster won't have time to complete evacuation.
EXTERIOR: ENGLISH COUNTRYSIDE
The SHADO mobiles rumble past
INTERIOR: SHADO CONTROL
FORD
Speed, seven thousand-five hundred knots, decreasing. Range, six hundred miles.
FREEMAN
The roadblock should be in position now. The whole area's sealed off.
FORD
Three minute to termination. Course maintained, speed reducing.
FREEMAN
Come on friend. We're waiting for you.
STRAKER
It'll be a perfect landing, Alec, and we're going to be right there.
EXTERIOR : ENGLISH COUNTRY ROAD
Barracades have been set across the road. a UNIFORMED OFFICER stands by an
official-looking car, speaking into a radio microphone.
OFFICER
(to microphone)
All cars in position.
FOSTER
(over radio)
Right. Make sure no one gets through the roadblock and wait for further instructions.
OFFICER
(to microphone)
Roger, just keep channel three open.
Croxley's car drives up and stops at the barracade. The Officer steps over to the driver's side window and looks in as Croxley rolls down the window.
OFFICER
I'm sorry, sir. This area's been sealed off (pause) Military manuevers.
CROXLEY
Military maneuvers?
OFFICER
That's right. You live ...?
CROXLEY
Yes, yes. I..I live a couple miles over there.
Croxley gestures vaguely to his left.
OFFICER
Well, I'm afraid you'll have to ...
CROXLEY
Yes, I know. It won't be long now.
The officer seems puzzled at Croxley's reactions.
INTERIOR: SHADO CONTROL
FORD
One minute, course maintained.
FREEMAN
Speed?
FORD
(surprised)
Speed increasing.
STRAKER
Check it.
Ford double checks the reading on his monitor. The same numbers come up.
FORD
No error, sir. It's coming down faster.
STRAKER
Get me Colonel Foster.
FORD
Sir.
Ford flips a switch on his console and Straker takes the microphone.
INTERIOR MOBILE 2
FOSTER
(to microphone)
Mobile-2, go ahead Control.
STRAKER
(over radio)
The Ufo's increased speed to crash velocity. It'll be too late to correct. Do you understand?
FOSTER
Yes, sir.
INTERIOR SHADO CONTROL
STRAKER
(to microphone)
Oh, and Colonel Foster, if there's a survivor, I want him.
FOSTER
(on radio)
Right.
EXTERIOR, ENGLISH COUNTRY SIDE.
The U.F.O. can be heard, but not seen through the clouds.
INTERIOR: MOBILE 2
FOSTER
(to microphone)
Mobile to Control, have audio on Ufo. Cloud cover preventing visual.
FORD
(on radio)
Roger, Mobile 2. It'll be over you in thirty seconds.
FOSTER
Roger.
INTERIOR SHADO CONTROL
FORD
Decreasing speed, switching ...
The numbers on Ford's monitor change.
Yes, course altered Two degrees.
STRAKER
(to microphone)
Colonel Foster, have you got visual contact?
FOSTER
(over radio)
Still tracking on audio.
EXTERIOR : ENGLISH COUNTRY SIDE
EXTERIOR : CROXLEY HOUSE
INTERIOR : CROXLEY HOUSE:
A cat hears the sound and runs away. Stella hears the U.F.O. and goes to the window,
seeing it.
EXTERIOR : CROXLEY HOUSE:
The U.F.O. crashes into the house.
EXTERIOR : COUNTRY ROAD-ROADBLOCK
The Officer stands with Croxley, listening to the radio.
VOICE
(over radio)
Pilot reports fire in experimental aircraft ...
Croxley seems ill as the Officer turns to look at him, worriedly.
OFFICER
Are you all right, sir?
Croxley faints dead away.
INTERIOR : SHADO CONTROL
STRAKER
(to microphone)
Get there as fast as you can, Colonel.
INTERIOR : MOBILE 2
FOSTER
(to microphone)
Yes, sir.
EXTERIOR : ENGLISH COUNTRYSIDE
The mobiles cross the fields and approach what remains of the Croxley house. The
U.F.O. can be seen behind the house, in a deep trough created by its impact.
INTERIOR MOBILE 2
Through the wind-screen, the wrecked house can be seen.
FOSTER
(to microphone)
Mobile 2 to Control. It's crashed right into a house.
INTERIOR SHADO CONTROL
STRAKER
(to microphone, resigned)
All right, Colonel. Do what you can.
Straker puts down the microphone and turns to Freeman.
STRAKER
(To Freeman)
I don't understand it, Alec. Under control and out of control. Crash landing velocity, then
safe landing velocity. Now, it hits a house.
EXTERIOR : CROXLEY HOUSE
The U.F.O. explodes.
EXTERIOR : CROXLEY HOUSE.
Straker's car drives up and stops outside the house. Straker is driving with Freeman
seated on the passenger side. They look at the house.Several vans are parked in the front yard and
a number of men are milling about.
FREEMAN
Quite a mess
STRAKER
Now, let's go over the facts, Alec. Right from the start, that Ufo was on a unusual flight
pattern.
FREEMAN
We can only guess it was a method to out-manuever tjhe interceptors.
STRAKER
Yes, but let's say it came in damaged.
FREEMAN
And, unable to control his ship, the alien tried to land, failed and hit that house.
STRAKER
No, I don't buy that, Alec. For a while it was out of control, yes. But just before impact, it
seemed to be fine. It looped that line of trees, smashed straight into an isolated house.
FREEMAN
Sheer coincidence. The house just happened to be in the way.
STRAKER
Well, you could be right. But, there's enough doubt in my mind to make me want to see the
place for myself.
Straker and Freeman leave the car and walk over to the house. As Straker approaches the house, Freeman walks over to an operative and speaks with him for a moment before rejoining Straker. They enter what remains of the house and look around, staying together.
STRAKER
What happened to the pilot?
FREEMAN
There was just enough evidence to establish he was an alien.
STRAKER
And the Ufo was completely destroyed?
FREEMAN
The largest piece measured six inches across. We found it imbedded in Foster's mobile.
STRAKER
Oh, what's the news on his condition?
FREEMAN
It's too early to say. He's lost a lot of blood. At least he was luckier than the co-driver.
STRAKER
What about the woman?
FREEMAN
She couldn't have known anything about it. It must have been instantaneous.
Straker goes to a window and looks out. Croxley is standing outside the house with the Officer.
STRAKER
(To Freeman)
What do we know about her?
FREEMAN
Ordinary woman, married.
STRAKER
Nothing to connect her with Ufo's?
FREEMAN
Nothing that we know of.
Freeman indicates Croxley, outside.
That's her husband out there now.
STRAKER
I suppose I'd better talk to him, Alec.
FREEMAN
Sure.
Freeman leaves Straker to go outside. Straker watches through the window as Freeman approaches Croxley and speaks with him briefly. Croxley then enters the house and goes up to Straker.
STRAKER
I'm sorry ...
CROXLEY
(angry, upset)
You killed her. That experimental aircraft crashed into my house.
STRAKER
(concerned)
How did you know that?
CROXLEY
I was at the checkpoint when word came through.
STRAKER
I'm afraid there's not much more I can tell you ...
CROXLEY
I know, the details are classified.
STRAKER
If there's anything ...
CROXLEY
(interrupting angrily)
Don't you think you've done enough? My wife . . is dead.
STRAKER
Well, you've had a pretty bad shock. Have you ...?
CROXLEY
No, they were all Stella's relatives. They don't mean so much to me now.
Croxley wanders way from Straker, looking around his wrecked house. Straker leaves him to go out onto the front porch. Freeman walks up to him.
FREEMAN
How's he taking it?
STRAKER
(worried)
Hard to tell. He seemed to know exactly what I was going to say.
FREEMAN
Yeah, (pause) I guess it's pretty difficult to find a way of telling a guy you're sorry.
STRAKER
(pause, worried)
Let's get out of here, Alec.
INTERIOR SHADO H.Q. STRAKER'S OFFICE.
Straker is seated at his desk, reading reports, when the door opens and Freeman walks
in. The clock on the desk reads 2:05.
STRAKER
Oh, hi Alec. That the time?
FREEMAN
(jocular)
Yeah, it's time you went home. You've been here a full eighteen hours.
STRAKER
Well, I have to go through these reports. Not that they tell us a great deal.
FREEMAN
We've combed the ruin and everything for a mile around. We looked at security yesterday.
STRAKER
Yes, I understand Croxley was having psychiatric treatment.
FREEMAN
He also left his job. It's hardly surprising after what he's been through. I think we can close
the book on the incident.
STRAKER
Well, not quite, Alec. Paul Foster's still in the hospital.
FREEMAN
Yes, I spoke to him yesterday. The doctor's are very pleased with his progress.
STRAKER
(bitter)
The wonders of medical science.
FREEMAN
He wants to speak to you.
STRAKER
(surprised)
Me?
FREEMAN
He's worried about something.
STRAKER
What?
FREEMAN
He wouldn't tell me.
INTERIOR : A HOSPITAL ROOM
Foster is laying on the hospital bed, chest bandaged and wearing pyjama bottoms.
Straker stands near the door. There is a lavatory sink set into the wall, and a bowl of fresh fruit
sits on the bedside table.
STRAKER
(annoyed)
And you mean to say, you called me all the way out here just to tell me that?
FOSTER
Well, I though you ought to know about it. Surely it's a security matter.
STRAKER
What does he look like?
FOSTER
It's difficult to say. It's just an impression.
STRAKER
Come on, Paul. Next you'll be telling me you hear stange noises at night.
FOSTER
Now look. Every time I look up, he's there looking at me. And a sort of nausea feeling that
comes over me.
STRAKER
(thoughtful)
Hmm, I'll get you out of here. You're okayed to be moved to our medical center. It'll be
closer to home.
FOSTER
You don't believe me, do you?
STRAKER
I'll tell you what I think, Paul. I think you've been lying in that bed too long. I also think, if
you're well enough to worry, you're well enough to go back to work.
Straker goes to the lavoratory and washes his hands. Then, he walks over to the side table and takes an apple from the bowl.
STRAKER
I'll arrange for your discharge.
Straker leaves, taking a bite from the apple and closing the door behind him. Foster leans over to the bowl to get a piece of fruit. He looks up to see Croxley closing the door.
EXTERIOR : HARLINGTON-STRAKER STUDIOS
INTERIOR : HARLINGTON-STRAKER STUDIOS, MAIN OFFICE.
MISS EALAND sits at the desk in the outer office, typing. There is a large manila
envelope on her desk, covered with stamps. Straker walks in, carrying a black briefcase.
STRAKER
Good Morning, Miss Ealand.
EALAND
Good morning, sir.
STRAKER
(seeing package)
Well, somebody wanted to make sure that got here.
EALAND
It's been through the material analyzer. Just paper.
STRAKER
Well, with that number of stamps, I would have expected a small atom bomb, at least.
EALAND
(amused)
It's probably a film script. It's addressed to you, personally. Do you want to read it?
STRAKER
Well, I suppose ingenuity should not go unrewarded. Whoever sent it certainly knows how
to draw attention to their work. Maybe they can write, too.
Straker picks up the package and tucks it into his
briefcase.
I'll pass it along to the script department.
(pause)
Oh, by the way, have our medics cleared Foster, yet?
EALAND
Yes, sir, he's waiting with Freeman.
INTERIOR : SHADO CONTROL
No one apprears to be working. Foster is seated on top step to the upper level. Freeman
stands near him. In the Control room, Ford is whistling and reading a magazine. Other operatives
are seated with their feet up. One of the women is polishing her nails.
FOSTER
(to Freeman)
How long's it been as quiet as this?
FREEMAN
(grinning)
Since you went into the hospital.
FOSTER
But, that was a month ago. You mean, there's been no sightings since then?
FREEMAN
Oh, just two. The interceptors took care of them. We managed to scratch along without
you, Paul.
Straker enters the Control Room, carrying his briefcase. The operatives hurriedly straighten up and try to look busy. Straker ignores them as he walks up to Foster and Freeman.
STRAKER
(to Foster)
Hello, Paul. Feeling better?
FOSTER
(standing)
Yes, sir.
STRAKER
Good, good...In my office?
Straker begins to head for his office, Foster following behind him. Straker stops and turns back to Freeman.
STRAKER
You too, Alec.
Freeman follows Straker into Straker's office.
INTERIOR : STRAKER'S OFFICE.
Straker settles in at his desk.
STRAKER
(to Foster)
Well, are you fit for duty, Paul?
FOSTER
Yes, sir. Shroeder checked me out an hour ago.
STRAKER
Good, good. No more little men watching you?
FOSTER
(amused)
Well, in the medical center, security's tighter than at Drom, anyway.
STRAKER
(amused)
Oh, I see, and your little friend, he couldn't get in, eh? (pause) Well, don't worry
about it, Paul. You go home and get a good rest and report for Moonbase briefing first thing in
the morning.
FOSTER
Yes, sir
Foster and Freeman turn to leave.
STRAKER
Oh, Alec . .
Freeman stops and Foster leaves the room.
STRAKER
I want you to go over to the Zeta tracking station. The Lieutenant in command there's come
up with a new grid link-up. Might be something in it, there's no panic.
FREEMAN
I can go over there right away.
As Freeman speaks, Straker opens his briefcase and pulls the package out.
STRAKER
Fine.
FREEMAN
Right, see you later.
Freeman sees Straker inspecting the package.
FREEMAN
By the way, what's that?
STRAKER
Oh, I assume this is a film script.
FREEMAN
(grinning)
Well, why don't you open it and find out?
Freeman leaves before Straker can respond. Straker begins to open the package, then stops to press a button on the desktop intercom.
STRAKER
(to intercom)
Get on to the Zeta tracking station, the commander over there, Lieutenant Grant. Tell him
to expect Colonel Freeman later on today.
FORD
(over intercom)
Is there anything else, sir?
STRAKER
No, no calls.
Straker finishes opening the package and begins reading the typed material inside. He is horrified.
INTERIOR : HARLINGTON-STRAKER OUTER OFFICES
Freeman has come out of the inner office and stops in front of Miss Ealand's desk.
FREEMAN
I'll be out for the rest of the day, Miss Ealand.
EALAND
Yes, sir
FREEMAN
And keep channel four open.
EALAND
Right, sir
The intercom on her desk buzzes, Miss Ealand activates it.
STRAKER
(over intercom, angry)
Miss Ealand, has Alec Freeman left the building?
EALAND
(to intercom)
No, sir, he's with me now.
STRAKER
(over intercom)
Well, have him come back down here immediately!
FREEMAN
I'm on my way.
Freeman returns to the inner office.
EXTERIOR: STUDIO PARKING LOT
Foster crosses the lot to to his car. In the foreground, Croxley stands near a telephone
booth with a pistol, aiming it at Foster. After a moment, Croxley lowers the gun, turns away from
watching Foster, grinning.
In the background, Foster stops and looks around, worried, as if sensing something.
INTERIOR : SHADO CONTROL, STRAKER'S OFFICE
Straker is seated at his desk, furious, as Freeman enters.
FREEMAN
Something wrong?
STRAKER
I'll say there is, Just about as wrong as you can get.
FREEMAN
What is it?
Straker shoves the document at Freeman, who takes it and looks at it.
STRAKER
Read it, Alec! Just read it. The SHADO organization, Colonel Alec Freeman, Moonbase,
Sky-diver, everything. It's all there, Alec, every last detail!
FREEMAN
It's impossible, how could anyone ...
STRAKER
(interrupting)
How should I know? Security leak, coincidence, lucky guess? What does it matter? That
document is a complete dossier on SHADO. Its operatives, installations, equipment.
FREEMAN
I don't get it. Who wrote it?
STRAKER
(calmer)
The name's on the front page, John Croxley.
FREEMAN
The man whose house was hit by a Ufo.
STRAKER
Yes. Now, you tell me, Alec. How did he get that information?
FREEMAN
The whole thing's ridiculous. We checked him out and his wife. Mister and Missus Average.
STRAKER
(thoughtful)
When I told about his wife, there was something about him. He was different.
(pause) Wait a minute, Foster's little man in the hospital, that could be Croxley, too.
FREEMAN
We'd better pick him up.
STRAKER
No, not yet, Alec. If it was him, I want to know more about him.
FREEMAN
We was visiting a psychiatrist. Maybe he knows something.
STRAKER
Right, we'll start there.
EXTERIOR : MEDICAL OFFICE BUILDING
Straker and Freeman enter the building.
INTERIOR : PSYCHIATRIST'S OFFICE
This is the samae office that Croxley visited earlier. BRUNNER is leaning against his
desk. Straker stands beside the door, arms crossed over his chest. Freeman stands near him, more
relaxed looking.
STRAKER
(to BRUNNER)
And you say Croxley stopped coming to see you, Doctor?
BRUNNER
Yes, quite suddenly, just before his wife was killed. The same day, in fact.
FREEMAN
What was his problem?
BRUNNER
You realize, I hope, that I do not normally divulge such details about my patients, but, with
your authorization ... It was a somewhat unusual condition, E.S.P.
FREEMAN
Extra sensory perception?
BRUNNER
Hmm, it's a subject about which we still know very little, but most of us have experienced it
at one time or another. You, yourself have probably been in a situation of sensing what is going to
happen.
STRAKER
Yes, and it usually means trouble.
BRUNNER
(amused)
Well, it effects different people in different ways. Some adjust quickly and make good use
of their powers. I believe, there have been quite a number of successful theatrical acts based on
the condition.
FREEMAN
And Croxley?
BRUNNER
He is not one of the lucky ones. It is driving him to mental illness. His powers of perception
are so pronounced, he can hold a complete conversation with someone without that person
uttering a single word.
FREEMAN
A mind-reader?
BRUNNER
Not quite. Telepathy, perhaps. He can anticipate, he can, how shall I say, feel the future.
STRAKER
And it bothers him.
BRUNNER
To the point of mental breakdown, when simple, everyday phrases take on new and terrible
meanings.
STRAKER
Yes, well, most of it is clear now, Doctor. Thank you very much.
Straker turns towards the door, as if to leave
BRUNNER
Croxley phoned here for you earlier today.
FREEMAN
And?
BRUNNER
(to Straker)
For some unexplained reason, he wants you and Mister Freeman to meet him at the ruin of
his house at ten tonight.
STRAKER
(suspicious)
And how'd he know we'd be here?
BRUNNER
(smiles)
E.S.P.?
EXTERIOR CROXLEY'S HOUSE, NIGHT
Straker's car sits across the road from the house.
INTERIOR: CAR
Freeman is seated on the driver's side. Straker is seated on the passenger side. They
watch the house. Freeman checks his watch.
FREEMAN
We're early. It's only nine-thirty.
STRAKER
Yes. I always like to look over a convention hall before a convention.
FREEMAN
Or a battleground before a battle? (pause) You know its madness, don't you,
coming here without security?
STRAKER
We have no choice. Listen, Alec, we have to assume that croxley can anticipate our moves.
The film script, he wrote it by reading Paul Foster's thought patterns.
FREEMAN
Or someone told him.
STRAKER
No, listen, I think that doctor's right. Croxley has a super sensory power and if we try to go
against his wishes or try to trap him, he'll know about it.
FREEMAN
Well, I hope you're wrong about this.
STRAKER
So do I.
INTERIOR : SHADO MEDICAL CENTER : MEDICAL OFFICE
The office is small, with a desk, some cabinets. DOCTOR SHROEDER is seated,
speaking to Foster, who appears agitated.
FOSTER
Look, I know it's late, but this is not easy to live with!
SHROEDER
Listen, Paul. You went through a pretty rough experience. It takes time.
FOSTER
But, that was physical!
SHROEDER
Paul, you nearly lost your life in that house. Your mind is simply trying to adjust to the
recent shock you received when you were injured there.
FOSTER
(calmer)
Well, maybe you're right.
SHROEDER
I'm sure of it. (pause) Look, if it bothers you that much, there's only one answer, go
back to the house, overcome your anxiety. Face the problem.
FOSTER
Okay, Doc. I'll go home and get some rest.
SHROEDER
Good night, Paul. See you at final medical checks tomorrow.
EXTERIOR NIGHT, CROXLEY HOUSE
Freeman and Straker leave the car. They carry flash-lights. The pair enter the house.
INTERIOR : CROXLEY HOUSE
Straker and Freeman look around the interior of the house.
STRAKER
(shouting)
Croxley, where are you?
As Straker and Freeman search, Freeman shines his lamp on a small typing table with a typewriter on it, in the middle of what was the living room.
FREEMAN
You know, Ed, I think I'm developing E.S.P. I've got a feeling Croxley's here already.
Croxley appears from a doorway at the top of the stairs. He has a revolver in his hand and is pointing it at the two SHADO officers.
CROXLEY
You're right, Colonel.
STRAKER
(startled)
Croxley!
Croxley slowly comes down the steps.
CROXLEY
The answer to your question is 'no'. Why should I give you my gun?
Freeman reaches for the gun behind his right hip as Straker begins to reach inside his
jacket.
Croxley cocks the trigger of his revolver and they freeze.
CROXLEY
You would both be dead before your hands were on the butts. You see, I do know what
you're thinking. You use a shoulder holster, Commander. Please.
Croxley gestures towards the corner. Straker pulls out his pistol and tosses it into the corner.
CROXLEY
The lamp.
Straker hands Croxley the flash-light.
CROXLEY
(to Freeman)
You prefer the right hip, I believe, Colonel.(pause) Slowly.
Freeman pulls his pistol out and throws ito into the corner, with Straker's.
CROXLEY
(To Freeman)
You have a more devious thought pattern. (pause) I want to see you clearly before
I kill you.
Croxley turns on the flash-light and shines it into the SHADO officers' faces. The two wince at the light, then recover.
CROXLEY
It's fitting you should die here, Straker.
FREEMAN
We made it easy for you.
CROXLEY
Yes, (pause, to Straker) I must say, you have particularly logical mental processes.
STRAKER
How long have you had this E.S.P., Croxley?
CROXLEY
All my life. Oh, It got stronger about a year ago, but I remember I used to play tricks at
school, predicting the future.
FREEMAN
And Ufos, what do you know about them?
CROXLEY
(agitated)
Shut up!
(to Straker)
You did it, Straker. You've been messing with things you don't understand and you caused
my wife's death!
STRAKER
(earnest)
No, Croxley, don't you see? Use your power, use your E.S.P. A Ufo destroed your house,
not me. It was part of a carefully laid plan. The aliens, Croxley, they've taken over your mind.
They killed your wife. They're using you. Can't you see why? They're using you to kill us.
Croxley seems confused. He begins walking around the room, in tears.
CROXLEY
Stella ...
Straker turns to watch Croxley. But abruptly, Croxley comes up behind Straker and presses the revolver muzzle behind Straker's right ear. Straker freezes.
FREEMAN
(horrified)
Croxley, for God's sake!
CROXLEY
(to Straker)
Mother. (pause) You're thinking about your mother.
(as if in pain)
Stop it ... Stop it!
Croxley moves away from Straker as if in pain. Then, he stops about a yard in front of Straker and aims the gun at him again.
CROXLEY
It's four minutes to twelve. You die at midnight.
STRAKER
(pleading)
Croxley ...
Croxley doesn't seem to hear.
CROXLEY
Going home ...
Croxley wanders into the adjoining room, talking to himself.
CROXLEY
Must see the doctor, the doctor must help me... Help me, Doctor!
Straker and Freeman move toward the door to the adjoining room.
CROXLEY
(harsh)
Come through that door and I'll blow your head off.
STRAKER
(earnest)
Croxley, listen, you say you want someone to help you.
CROXLEY
(voice echoing)
Our planet is dying. Our natural resources are exhausted, we must come to Earth. We must
come to Earth to survive!
(pause, echo off)
Mother? . . Stella!
As Croxley speaks, Straker and Freeman step towards the corner where their guns were tossed. Croxley comes to the door.
CROXLEY
(harsh)
What are you doing?
Straker and Freeman freeze and turn towards Croxley.
CROXLEY
(harsh)
Don't try anything! Hold it there!
Croxley checks his watch.
CROXLEY
Two minutes
(voice echoing, light, like a child's)
Hello, Billy, we'll be late for school. I know what you've got for lunch, cheese and pickle sandwiches.
(pause, hurt sounding)
No one told me, no, no one told me. No, don't hit me, Dick, No!
Straker holds out his right hand.
STRAKER
Give me the gun.
Croxley's gun goes off. Straker flinches, grabs his right hand in his left. His hand is bleeding.
CROXLEY
(angry)
You fool! Do you think I'm going to let you get away with it?
(voice echoing)
We mean no harm to peoples of Earth. Why do you attack us? We're fighting for existence! You must understand!
(voice normal)
No, there's no need for words. It is time
Paul Foster appears in the front doorway, directly behind Croxley. Two shots are fired. Croxley collapses. As Croxley falls, we see that Foster has a pistol out. In the distance, a church bell begins to strike twelve.
STRAKER
(to Freeman)
He knew.
Freeman looks confused.
STRAKER
Well, what did you think, Alec, when you saw Foster appear behind Croxley?
FREEMAN
Well, shoot, for God's sake, before he ... (pause) He could read our thoughts.
STRAKER
Yes, I'll always believe that in the last few seconds, Croxley regained control of his own mind.
INTERIOR : SHADO H.Q. STRAKER'S OFFICE
Straker is seated behind his desk. Freeman is seated opposite. Both have drinks in front of them. Croxley's document is on the desk top. Straker raises his glass.
STRAKER
Well, here's to 'Fate and Fear'.
FREEMAN
A strange toast.
STRAKER
Not really. What brought Paul Foster to that house?
FREEMAN
And Croxley. Fate had him marked from the moment he was born.
STRAKER
How much of his power did he gain from the aliens?
FREEMAN
You mean, his E.S.P.?
STRAKER
Yes, Alec. And how many other Croxleys are there in the world?
FREEMAN
Your toast was 'Fate and Fear'.
STRAKER
Yes. It's fear of the unknown that keeps us alert, Alec. When and if the answers do come, it will be fear that helps us recognize them.
Straker takes Croxley's document and places it in the shredder next to his desk. The document is shredded.
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