Teleplay by:
Ian Scott Stewart
Directed by:
Ken Turner
Created by:
Gerry and Sylvia Anderson & Reg Hill
Producer:
Reg Hill
Executive Producer:
Gerry Anderson
EXTERIOR : NIGHT, A WOODED AREA
A U.F.O is seen hidden in the woods.
PAN TO : ANOTHER PART OF WOODS
A man (DAWSON) is seen stumbling, through the underbrush. He rests against a tree and sees:
A blue (SHADO type) van parked on a narrow road. He runs towards it.
INTERIOR: VAN
Dawson gets into the van, wiping sweat from his face. He is obviously anxious, nearly panicky. He picks up a microphone from a console:
DAWSON
Dawson, Medical technician, SHADO H.Q. I'll be on duty in an hour.
Freeze frame on Dawson: U.F.O. Titles over.
EXTERIOR : SHADO MOONBASE
INTERIOR : MOONBASE CENTRAL PARK
Close in on a travel bag. Camera pulls back to include the owner: PAUL ROPER. He sits in a chair, studying a computer readout. He seems nervous and upset.
EXTERIOR: MOONBASE
A lunar module is preparing for launch.
INTERIOR : MOONBASE CONTROL SPHERE
GAY ELLIS sits at the command console. She turns to the console microphone.
ELLIS
(to microphone)
Earth blast-off, fifteen minutes precisely. All personnel to leave, report to Control sphere immediately.
INTERIOR : MOONBASE CENTRAL PARK
Roper hears Ellis's voice over speakers. He looks startled as he puts away the paper.
ELLIS
(Over speaker)
Will Paul Roper report to Control sphere immediately? Count-down is proceeding.
Roper leaves his seat, obviously heading to the Control Sphere as instructed.
EXTERIOR : MOONBASE
A Lunar Module is ready to launch. The lunar module launches.
Titles Over:
EXTERIOR : SPACE
The Lunar Module is seen in space. The Moon is large in the background.
PILOT
Lift-off complete. All read-outs go.
EXTERIOR-DAY : SKY : LUNAR MODULE TRANSPORTER
The Lunar module being picked up the Lunar Module transporter.
EXTERIOR-DAY : AIR STRIP
The Lunar Module transporter lands, VTOL, at the air strip.
EXTERIOR-EVENING : ENGLISH COUNTRY ROAD
A SHADO car is seen driving down the road.
INTERIOR : ROPER'S CAR.
Paul Roper is driving the car. He checks his watch.
CLOSE SHOT on Watch: 8:45
EXTERIOR: COUNTRY ROAD
The car slows and stops.
INTERIOR : ROPER'S CAR
CLOSE SHOT on Watch: 9:00
RESUME SCENE
The car phone rings. Roper answers it after a single ring.
DAWSON
(over phone)
Well Roper, have you made your decision?
ROPER
(to phone)
The answer's no. I won't do it.
DAWSON
(over phone)
You're being stupid.
ROPER
(to phone, upset)
It's no good, I can't go through with it. Do what you want.
DAWSON
(over phone, mocking)
Temper, temper . .
ROPER
(to phone, angry)
For God's sake, I said I won't tell you anything!
DAWSON
(over phone)
What about your wife?
ROPER
(to phone)
My wife?
DAWSON
(over phone)
Yes.
ROPER
(to phone, very upset)
Leave her out of it, will you?
The connection is broken.
EXTERIOR : A SMALL COUNTRY HOUSE
INTERIOR : BEDROOM, SMALL COUNTRY HOUSE.
CAROL ROPER is seen in the bedroom, lying on a bed. Outside, a car can be heard driving up to the house and stopping. She gets up and checks her reflection in the bedroom mirror. (She is obviously expecting her husband.) A car door is heard opening and closing. Footsteps are heard approaching the house.
CAROL
Paul?
Carol Roper leaves the bed room and enters the:
INTERIOR: LIVING ROOM
As she watches, the front door knob turns and the door opens slowly.
CAROL
Paul, is that you?
A gloved hand reaches in through the partially open door, reaches up and turns out the lights.
CAROL
(concerned)
Paul? ...Paul?
In the dark, the door opens wider. Carol screams.
EXTERIOR : ROPER'S HOUSE
Roper's car drives up and parks in front of the house. He gets out and walks towards the house. He pulls out his keys, but finds the door already unlocked. He backs off, to the side of the door. He is concerned and seems to debate how to approach. He comes to a decision and as he begins to open the front door, a shot is fired through the open door, just missing him. He pulls back, then rushes into:
INTERIOR : LIVING ROOM
Roper struggles in the dark with the Carol, pulling the gun from her hands. He reaches over and turns on the light. She looks terrified.
ROPER
(shocked)
Carol!
CAROL
(appalled)
Oh, Paul!
She is nearly hysterical. He puts aside the shot gun and holds her tight.
ROPER
What happened?
CAROL
Oh, it was horrible!
(sobbing)
When you came in the door, I thought he'd come back!
ROPER
(Looking around at the room)
It's all right now, darling.
(moving towards the bedroom door)
Come on, it's all right.
They enter the bedroom.
INTERIOR : BEDROOM
ROPER
Come on, come on, It's all right now, darling. It's all right. Come now and sit down.
CAROL
(Sobbing)
I'm sorry
She sits on the bed, sobbing.
ROPER
Now calm down darling. It's all right. I'm here.
He begins to search through a cupboard in the room and finds a prescription vial. He shakes out a tablet from the vial.
ROPER
(handing Carol tablets)
Here, take one of these.
CAROL
(Accepting pill)
Yes.
On the dresser is a carafe of water and a glass. He pours out a glass of water and hands it to her. She takes the glass, puts the pill in her mouth and swallows some water.
CAROL
(worried, tearful)
Shouldn't we phone someone, the police or somebody?
ROPER
(distracted)
The police?
(considering)
Yes, yes, I'll do that. I'll phone them right away.
He stands to go.
ROPER
All right, darling?
She nods. He leaves the bedroom, entering the:
LIVING ROOM:
Closing the bedroom door.
CAROL
(Though door)
Leave the door open?
Roper smiles. He opens the door slightly.
Roper takes the shot gun, unloads it and puts it away in the closet beside the bedroom door. His expression indicates he knows how close Carol came to killing him. He goes to stand by the telephone. After a moment, the phone rings. He pauses to make sure Carol didn't hear, then he picks it up.
DAWSON
(over phone)
Hello Roper. How's your wife?
ROPER
(to phone, whispering, upset)
You swine!! ...All right, all right, you've convinced me. I can't talk now...
DAWSON
(over phone)
I'll call again?
ROPER
(to phone)
No.
DAWSON
(over phone)
When?
ROPER
(to phone)
Tomorrow night, twelve o'clock, my car. I'll give you all you want then.
(threatening)
But, if you come near my wife again!
The connection is broken with a loud 'click'.
EXTERIOR : ROPER'S HOUSE, MORNING
INTERIOR : LIVING ROOM, MORNING
Roper carries a breakfast tray. He goes to the bedroom door and opens it.
ROPER
Carol?
INTERIOR: BEDROOM
Carol is just waking up in the bed as he enters the room with the tray.
ROPER
Hello, darling. How do you feel?
CAROL
(yawning, pleased)
Fine ... Hmm, that pill really did the trick.
ROPER
(setting down tray)
Yes.
(thinking)
Listen, you mustn't worry about last night. It's all right now.
(Pause as he pours tea into a cup for her)
Tea?
CAROL
Yes, darling.
(taking cup)
You phoned the police?
ROPER
Yes, they came round. You were asleep. They seemed to think your scream frightened him off.
(worried)
You did scream?
CAROL
Oh, yes.
ROPER
(relaxing)
Well, you can forget it. They caught him. Picked him up a couple miles along the road.
CAROL
What did he want?
ROPER
Oh, just an intruder. Apparently been after him for some time.
CAROL
Will I have to make a statement?
ROPER
(surprised)
I don't know.
(shrugs)
Well, maybe not. It's an open and shut case.
(pause, worried)
Look, darling. I've got to go. I'll ring you.
(pause, still worried)
Are you sure you'll be all right?
CAROL
Yes, really.
ROPER
(Standing.)
Right.
CAROL
Bye darling ...
ROPER
(mock stern)
Drink your tea.
Roper leaves the bedroom as Carol drinks her tea. She smiles, approving the tea.
EXTERIOR : DAYTIME, ENGLISH ROAD
Roper's car is seen driving down the road towards:
EXTERIOR : HARLINGTON-STRAKER STUDIO MAIN GATE.
Roper's car drives past, to the front of the main office building.
INTERIOR : SHADO HEADQUARTERS, NEAR MEDICAL CENTER.
A sign on the corridor wall indicates it to be SHADO Psychiatric section. Roper walks down the hall and enters the :
TESTING ROOM
DR. SHROEDER and Dawson are in the room, setting up. Dawson seems pleased. In the room is a desk, several chairs, one of which faces a screen and is wired up for testing. A SHADO OPERATIVE waits, watching
ROPER
Eight-zero-seven, Roper, for de-briefing tests, doctor.
SHROEDER
Thank you.
Shroeder goes to the wired up chair.
SHROEDER
Come here, Roper.
Shroeder indicates the wired up chair. Roper sits down in it. Dawson begins attaching leads to Roper's hands and head.
SHROEDER
(to Roper)
I assume you're familiar with this test?
ROPER
It measures how much strain goes into any decision you make.
SHROEDER
Yes. It's amazing how hard we work, even on the simplest decisions. Like, whether or not to have a cup of coffee.
(indicates wall monitor)
This is your monitor... On big decisions, the stress can render a man useless.
Dawson has finished wiring Roper to the test equipment. He leaves the room to enter the next room, separated by glass from the main testing area. Dawson stands and watches from behind Roper.
SHROEDER
(to Roper)
Right, all set?
(to Operative)
Start the test.
Roper takes the test. A pad with two buttons is sitting at his right hand. As slides appear on the screen before him, Roper must press one or the other button. As the test proceeds, the slides begin to speed up and Roper becomes more and more agitated. Shroeder watches his own monitor which shows Roper's choices - negative or positive.
SHROEDER
Stop.
The slides stop. Roper has difficulty calming down after the slides have stopped. He is sweating.
INTERIOR : CORRIDOR OUTSIDE TESTING ROOM
ALEC FREEMAN is approaching the door to the room. The door opens.
SHROEDER
(inside testing room)
Thank you, Roper.
Roper hurriedly leaves the room, nearly bumping into Freeman.
ROPER
(startled)
Oh!
FREEMAN
(pleased)
Oh, Just the man I was looking for.
ROPER
(alarmed)
For me?
FREEMAN
(suddenly concerned)
To ask you to come and have a drink.
ROPER
(relieved but still worried)
Oh, no, I ... I'll, um, I'll take a rain-check on that.
FREEMAN
Something on your mind?
ROPER
(shrugging it off)
Oh, nothing, really. It's these kid's games.
FREEMAN
The debriefing tests?
ROPER
Yeah.
FREEMAN
That's not like you, Paul
ROPER
Well, maybe I'm getting old.
FREEMAN
Well, they're not just for amusement.
ROPER
Let's forget it, shall we? I've got to ring Carol. I'm taking her out this evening.
FREEMAN
Sure. How is she?
ROPER
(too abruptly)
She's fine.
(pause, calmer)
Fine. Uh, look, I'll see you later for that drink, Alec, okay?
FREEMAN
Sure... . See you.
Roper heads down the corridor, away from Freeman. Freeman looks worried. The testing room door opens again and Shroeder steps out, holding a file.
FREEMAN
Oh, Doctor ...
Shroeder stops.
FREEMAN
How did Roper make out in the decision-stress tests?
SHROEDER
It's too early to say, for certain, but he seemed - Well, he seemed a bit strung out. Indications of super-numary stress factors during his last tour of duty.
FREEMAN
Any ideas?
SHROEDER
Not at this stage. Could be anything. Boredom.
(grins)
Misses his wife.
FREEMAN
(chuckles)
See you.
Shroeder walks away.
EXTERIOR : ROPER'S HOUSE
INTERIOR : LIVING ROOM
Roper enters the house, going through to the bedroom.
INTERIOR : BEDROOM
Carol is made up and dressed semi-formally. She is seated at a dressing table, finishing her make-up, putting on perfume. Roper enters the bedroom. They both look into the mirror.
ROPER
Ready?
CAROL
(standing)
Ready.
ROPER
Oh, hold it, I don't know if I can take you out looking like that.
CAROL
(confused)
What do you mean?
ROPER
Oh, people might say 'What's that beautiful young girl doing out with a broken down old wreck?'
CAROL
(laughs)
Oh, don't worry. You can always tell them I married you for your money.
She stands and picks up her purse.
CAROL
They didn't ring.
ROPER
Who?
CAROL
The police.
Roper looks confused. Carol grabs her purse and takes his arm.
CAROL
Come on, cradle-snatcher. I'm hungry.
Carol leads Roper out of the bedroom.
INTERIOR : SHADO HEADQUARTERS, STRAKER'S OFFICE.
COMMANDER STRAKER sits on the edge of his desk, reading a report. Freeman sits on a chair at the conference table.
FREEMAN
Well, what do they say?
STRAKER
Not good. The stress decision tests are positive.
(reading from report - beginning to pace)
Signs of anxiety, traces of tension and traces of neurosis.
(looks over at Freeman)
And the observers report similar findings.
(reading again)
Decision making below par, reflexes bad, impetuosity, nervousness.
As Straker speaks, he goes to the corner bench and sits.
FREEMAN
(interrupting)
I don't believe it.
STRAKER
Well, it's all down here. He's an out and out risk, Alec, and we can't afford to take chances.
FREEMAN
I've known Paul Roper for years.
STRAKER
(upset)
Well, take a look at the facts, Alec! The man's a mess! I don't know why. Check him.
EXTERIOR : COUNTRY ROAD, NIGHT
Roper's car drives down the road.
INTERIOR: ROPER'S CAR
Roper is driving. Carol sits close beside him.
CAROL
Lovely evening, darling. Thank you.
EXTERIOR : ROAD
Roper's car is moving too fast for the road.
INTERIOR : ROPER'S CAR
CAROL
(worried)
Hey, I'm not Cinderella, you know.
ROPER
(startled)
Wha...?
CAROL
You... I don't have to be home by midnight.
ROPER
Sorry.
Roper slows the car.
EXTERIOR: ROPER'S HOUSE - NIGHT
Roper's car drives up and stops.
EXTERIOR : BUSHES - NIGHT
Alec Freeman is hiding in the bushes nearby. He carries a tape recorder with a shot-gun microphone.
INTERIOR : ROPER'S CAR
CAROL
Don't be long.
Roper and Carol kiss.
She looks past Roper, to the bushes where Freeman is hiding. She catches a slight movement.
CAROL
(alarmed)
I thought I saw someone.
ROPER
(surprised)
What?
Roper looks out to the bushes she is pointing to
ROPER
It's nothing. We're both tired, there's nothing. Come on. I'll see you into the house.
Roper and Carol get out of the car. He pulls out his keys.
EXTERIOR: ROPER'S HOUSE
Roper opens the door and looks inside before he and Carol enter the house
INTERIOR : LIVING ROOM
Roper looks around the room as Carol waits. Roper seems amused.
ROPER
All right? Come on.
She follows him in. They enter the Bedroom.
INTERIOR: BEDROOM
ROPER
All right now?
CAROL
Yes, fine. Thanks, Darling.
She sits on the bed.
ROPER
I'll put the car away.
He heads for the door. As he begins to close it behind him, he turns back to Carol.
ROPER
(Mischievous)
All right to close the door?
CAROL
(mock annoyed)
Ohh!
Roper grins and shuts the bedroom door. He checks his watch. He is running late.
EXTERIOR: ROPER'S HOUSE - NIGHT
Roper hurries out of the house to the car. He stops and looks around before he gets into his car. Then, he drives the car around the corner of the house to:
EXTERIOR: ROPER'S GARAGE- NIGHT
The car pulls around the driveway. Roper begins to back the car into the open garage then stops with just the rear end inside. A clock above the garage door indicates it's midnight.
INTERIOR : ROPER'S CAR
The phone rings and Roper picks up the receiver.
EXTERIOR : BUSHES
Freeman watches and records Roper's actions.
INTERIOR : ROPER'S CAR
DAWSON
(over phone)
Roper?
ROPER
(to phone)
Yes?
DAWSON
(over phone)
The calculations?
ROPER
(to phone)
Yes, all right, but you must never contact me or my wife again.
EXTERIOR : BUSHES
Freeman listens.
ROPER
(pause - over tape machine)
Okay, on those conditions, ready? ... Begin, forty-two degrees, two minutes, angle eight-four. Fifty-eight degrees, seven minutes, angle six-five. Go down two. Sixty-eight degrees, seven minutes. Position, thirty-three degrees, down two. Alternate Coordinates: two-seven-four-two., Now, down three. .
As Freeman listens, we see his disbelief at what he is hearing.
INTERIOR : SHADO HEADQUARTERS, INTERROGATION ROOM
Roper is seated facing a monitor with Straker on it. In the room are TWO SHADO GUARDS and DR. SHROEDER. Roper seems drugged or exhausted.
STRAKER
(on screen, irritable)
For the last time, Roper, I want answers! Who are they? What did you tell them? What do they want?
Roper refuses to answer. He shakes his head slightly.
STRAKER
(extremely irritated)
Come on, come on!
The monitor blinks off.
INTERIOR: STRAKER'S OFFICE.
Straker is seated at his desk, facing the communications monitor on his desk. Freeman stands by the bar, watching.
FREEMAN
You're pushing him too hard.
Straker stands and begins pacing.
STRAKER
(upset)
We've got to make him talk, Alec!
(calmer)
Okay, let's try another angle. Money?
FREEMAN
No.
STRAKER
Blackmail?
FREEMAN
I don't see it.
STRAKER
Well, threats? Violence?
FREEMAN
His wife, maybe.
STRAKER
All right. Tell me about her.
FREEMAN
Carol? She's young, attractive. Roper's crazy about her. I could understand it if she's...
STRAKER
(interrupting)
Understand it? Can't you accept the fact that...
FREEMAN
(interrupting)
That he's a traitor? I know that, but it's also a matter of degree.
STRAKER
Degree nothing! It's what he's told them that matters, not why.
(thinking)
Well, you say he's crazy about his wife. We'll see just how crazy.
Straker goes to sit and the desk and switches on the desk monitor. Roper's interrogation comes back on the screen.
ON SCREEN: INTERROGATION ROOM.
SHROEDER
All right, Roper. Let's take it from the beginning, once more.
STRAKER
(To monitor)
Oh, just a moment, Doctor.
Shroeder glances at the camera, then steps back, leaving Roper to face the screen.
INTERIOR: INTERROGATION ROOM
Roper sits, facing the screen.
STRAKER
(on screen)
All right, Roper. So, it's your wife.
Roper jumps. Shroeder notices and watches from beside the monitor.
STRAKER
(On monitor - understanding)
And naturally, you don't want to see her get hurt. And you think that by being quiet, you'll be able to protect her... You tell us what we want to know. That's the best way to give her protection.
Roper nods.
INTERIOR: STRAKER'S OFFICE -SHADO
Close on Roper. Camera pulls back to show he is seated in Straker's office, opposite the desk.
Straker is seated at his desk. Freeman stands by the desk, watching. A tape recorder sits on the desk.
ROPER
(on tape)
... thirty-three degrees, down two. Alternate coordinates: two-seven-four-two., Now, down three...
Straker reaches out and shuts off the recorder.
STRAKER
Numbers, angles. What do they mean, Roper?
Straker leaves the desk to stand close to Roper.
ROPER
I was given program numbers for S.I.D. Told to feed in certain information, memorize the results.
FREEMAN
So, we've got a batch of data. But, how do we apply it?
ROPER
I can give you the data, not the significance.
STRAKER
(disbelief)
You mean to tell me, you didn't know what you were doing when you handed over those figures?
ROPER
No.
STRAKER
(to Freeman)
We're going to have to put everything into finding out.
EXTERIOR : MOONBASE
INTERIOR : MOONBASE CONTROL SPHERE
Gay Ellis sits at the central console. NINA BARRY and JOAN HARRINGTON man the other stations. Ellis turns to Barry.
ELLIS
Get me Commander Straker.
BARRY
Yes, Lieutenant.
INTERIOR : SHADO CONTROL
Straker stands near Ford's station. Ellis in on the monitor.
STRAKER
(to monitor)
Well, keep working on it, Lieutenant. Are there any ideas from SID?
ELLIS
So far, we've got a series of three-dimensional direction indicators.
STRAKER
Now, what does that mean?
ELLIS
Well, it's like some sort of navigation course, only in three dimensions. Like a course for some sort of space vehicle to steer.
STRAKER
A U-foe?
ELLIS
Could be.
STRAKER
Well, as you say, Lieutenant, it's not much, but maybe it's a start. Let me know the moment you have anything.
ELLIS
Right.
The monitor goes dark.
STRAKER
(to self)
A flight path, but to where?
INTERIOR : STRAKER'S OFFICE
Straker and Freeman enter the office. Freeman carries a briefcase, which he sets down beside the desk. Straker begins to pace.
STRAKER
Well, let's see what we've got.
FREEMAN
It's some sort of a flight path.
STRAKER
And the fact that they chose Roper to do their dirty work. Why?
FREEMAN
(Taking a seat)
One, because he had access to S.I.D. and understood its operations better than most.
STRAKER
And two, they knew he was particularly vulnerable where his wife was concerned.
FREEMAN
Well, he's told us all he knows.
STRAKER
Yes... Except who his contact was. Who was on the other end of that phone?
Straker suddenly moves to his desk, sits and presses down on the intercom key.
STRAKER
(to intercom)
I want an immediate yellow alert on all SHADO installations.
FORD
Yes, sir.
STRAKER
(to Freeman, finger still on intercom button)
Let him go, Alec.
FREEMAN
(confused)
What?
STRAKER
(finger still on key)
Let Roper go in one hour's time.
FORD
(over intercom)
Your key is still down, sir.
STRAKER
(to intercom, sounding surprised)
Oh, thank you.
Straker lets up on the intercom key.
FREEMAN
(disgusted)
Very neat. You've just let the whole base know we're gonna' release Roper in an hour.
STRAKER
(thoughtful)
Yes. I've been thinking about Roper's contact, Alec. Whoever he is, he would have to be able to radio Moonbase. He would know Roper's movements on Earth, have access to his records... There's only one answer.
FREEMAN
You mean, someone on this base.
STRAKER
Yes, someone on this base... Let him go, Alec.
(Hits desk)
We must draw them out into the open.
FREEMAN
Okay.
Freeman and Straker leave the office to go to :
INTERIOR : SHADO CONTROL
Ford sits at his station, speaking to a microphone. On the screen in front of him is Lt.Ellis.
FORD
(to mike)
I'm not sure I've got that.
(pause, sees Straker)
(to mike)
One moment, Moonbase.
(turns to Straker)
Lieutenant Ellis for you, sir.
Straker stops and goes over to Ford's console. Freeman continues down the corridor.
STRAKER
(to microphone)
Straker.
MOONBASE CONTROL SPHERE
ELLIS
I've had Joan Harrington work over Roper's figures.
STRAKER
And what does she make of them?
Harrington shakes her head. Ellis steels herself, turning to the monitor where Straker appears.
ELLIS
They describe relative planetary positions.
STRAKER
Which planets?
ELLIS
Considering the urgency of the problem, there seems to be no choice but to make an educated guess.
STRAKER
(irritated)
All right, Lieutenant, educate me!
ELLIS
The relative positions of the Sun, Moon and Earth would fit Roper's figures. One snag, the last bit of information is a time reference, but it still doesn't make sense.
STRAKER
Well, you've come up with enough to scare the daylights out of me, Lieutenant. Keep working on that last sequence. Out.
INTERIOR : CORRIDOR IN SHADO H.Q.
Freeman and Roper walk down the corridor.
ROPER
Did you swing this? It seems pretty suspect to me.
FREEMAN
Look, if Straker says you can go, don't ask too many questions.
ROPER
Yes, but he's not exactly the forgiving type.
FREEMAN
Don't push your luck, just go.
Freeman turns, letting Roper continue down the corridor.
EXTERIOR : ROAD
Roper's car drives away.
INTERIOR: STRAKER'S OFFICE SHADO
Straker is seated at his desk holding a slide-rule. He is working on Roper's figures - Not making much headway. He takes the paper he's been writing on, wads it up and tosses it away. He looks over to the white board on the opposite wall, at the figures scribbled on it.
EXTERIOR: COUNTRY ROAD - NIGHT
Roper's car driving down road.
INTERIOR : SHADO CONTROL.
Lt. Johnson is seated at her station as Straker walks past.
JOHNSON
(Seeing Straker)
Sir?
Straker stops and turns back to her.
JOHNSON
You wanted to know when Roper left?
STRAKER
You mean, he's gone already?
JOHNSON
(surprised)
Why, yes, sir.
STRAKER
(upset)
But my orders were that he was to be released in one hour's time.
JOHNSON
Yes, sir, but I understand Colonel Freeman...
STRAKER
(interrupting, irritated)
I see!
Straker hurries away from her.
EXTERIOR: NIGHT : COUNTRY ROAD
Roper's car drives down the road.
INTERIOR: SHADO CONTROL
Straker hurries over to Ford's station.
STRAKER
(to Ford- urgent)
Signal a maximum security alert and get me Captain Carlin on Sky-diver.
FORD
Right, sir.
(turns to microphone, flipping switches)
Attention all defense systems. This is a maximum security alert. Attention all defense systems, this is a maximum security alert. Condition: red!
Straker watches the activity around him in the control center. He is worried.
EXTERIOR : SPACE, S.I.D.
S.I.D.
Your instructions have been received and understood. Standing by.
INTERIOR : MOONBASE READY ROOM
The alarm is sounding. THREE ASTRONAUTS grab their helmets and jump into their launch chutes.
EXTERIOR : LAUNCH PADS
The Launch pads rise to the surface with three Interceptors.
STRAKER
(over speakers)
This is Straker. We are face with a probable U-foe attack against an unknown target. Until we have further information, all SHADO defense systems and vehicles will remain on alert.
EXTERIOR : SATELLITE LINK ANTENNAS
EXTERIOR : MOBILES - preparing
EXTERIOR: LUNAR SURFACE
The three Interceptors launch.
SKY-DIVER - ON SURFACE
Sky-Diver dives
SKY-DIVER - UNDERWATER.
INTERIOR : SHADO CONTROL
In the back ground, Straker pulls a print out from a computer printer and walks over to Ford's station, reading the paper.
FORD
Section security alert operational, sir. Captain Carlin standing by.
STRAKER
(to Ford)
Right.
(to microphone)
Captain Carlin? ... Straker.
INTERIOR : SKY-DIVER
CAPTAIN CARLIN stands before a monitor with Straker's image on it. With Carlin stands MAXWELL, and POWELL
CARLIN
(to monitor)
Carlin, reading you.
STRAKER
(on screen)
I want you to launch Sky-1 for possible interception.
CARLIN
Area?
STRAKER
Green zero-B. Make a twenty-mile radius sweep around SHADO H.Q.
CARLIN
That sounds pretty close to home, sir. What's going on?
STRAKER
That's our problem, Captain. You just concentrate on being ready. Out.
CARLIN
(to crew)
Launch stations!
MAXWELL
(pulling switches)
Yes, sir! Launch Stations!
An alarm goes off.
MAXWELL
Clear one!
POWELL
One clear.
MAXWELL
Clear two!
POWELL
Two clear.
MAXWELL
Check boosters!
Carlin puts on his flight jacket and buckles on his helmet. He jumps into the launch chute.
EXTERIOR: Sky-diver
Sky-1 launches, breaks free of the water and becomes airborne.
EXTERIOR: SKY-1
Airborne
EXTERIOR : WOODED AREA
The U.F.O. takes off.
EXTERIOR: COUNTRY ROAD
Roper's car
EXTERIOR: NIGHT SKY
U.F.O. airborne.
INTERIOR: ROPER'S CAR
As Roper drives, he hears the U.F.O. whine overheard. He cannot see it yet.
EXTERIOR: ROAD
The sky cannot be seen through the trees overhanging the roadway.
S.I.D.
Have relocated U.F.O. in area four-two-seven-blue.
SHADO CONTROL:
Straker stands some distance from Ford's station.
STRAKER
(to Ford - urgent, hurrying to Ford's station)
Get me Captain Carlin, immediately!
FORD
Yes, sir.
(Pause, flipping switches)
SHADO Control to Sky-1.
SKY-1
STRAKER
(over radio)
Carlin, this is Straker.
CARLIN
Receiving you.
STRAKER
(over radio)
Suspect driving east on route four in bronze SHADO car. Follow and observe.
CARLIN
Roger, out.
EXTERIOR : NIGHT SKY
Sky-1 changes course.
The U.F.O. is chasing Roper's car down the road. Roper brakes hard to avoid the U.F.O. It turns to come around again as he takes off down the road. The U.F.O. fires on the car, forcing it off the road into a service station. The station explodes.
Sky-1 arrives above the scene. Carlin sees the burning car and building.
CARLIN:
CARLIN
(to microphone)
Sky-1 to SHADO Control. Am positioned over target area.
SHADO CONTROL:
CARLIN
Building below destroyed... See no sign of life.
Straker appears grim, disheartened. He covers his face with one hand and shakes his head.
CARLIN
(over speaker)
Request U.F.O. fix and attack coordinates.
FORD
(to microphone)
Roger, Sky-1.
EXTERIOR: BURNING BUILDING
Roper is on the ground, injured but alive.
EXTERIOR : NIGHT SKY
Sky-1 veers away from the burning building, locates and destroys the U.F.O.
EXTERIOR: BURNING BUILDING
Roper is on the ground.
EXTERIOR : DARK ROAD
An ambulance speeds down the road.
INTERIOR : SHADO CONTROL
Ford is listening on a phone handset.
FORD
(to telephone)
Right... Right.
(Hangs up phone.)
(to Straker)
They're bringing him in now, sir.
STRAKER
Thank you.
Straker walks off.
INTERIOR : CORRIDOR IN SHADO H.Q.
TWO MEDICAL ATTENDANTS accompany a gurney down the corridor. On the gurney is a very dirty, exhausted, Paul Roper. Freeman walks up to them.
FREEMAN
(to attendants)
Hold it a moment.
They stop. Freeman comes closer to look at Roper. Roper is conscious but in pain.
FREEMAN
(to Roper)
All right, Paul?
ROPER
Yeah, I'm fine.
Freeman steps back and the attendants resume pushing the gurney to the medical center.
EXTERIOR : DARK ROAD
A modernistic car is seen driving down the road.
INTERIOR : MODERN CAR
TWO SHADO SECURITY MEN are in the car.
STRAKER
(over car radio)
Maintain surveillance for SHADO medic Dawson.
INTERIOR :STRAKER'S OFFICE.
Straker sits at his desk. Freeman is pacing. Both men are angry.
STRAKER
This is a war, Alec. People have to be at risk.
FREEMAN
I don't buy that... I never will...
It's too complicated for people like me...
(accusing)
And too simple for people like you!
As Freeman speaks, he gets himself a whiskey from the dispenser.
STRAKER
(mild)
Well, how is Roper?
FREEMAN
(calmer)
Conscious. He'll be all right.
STRAKER
(musing)
So. He gave us two wrong figures in the timing sequence.
FREEMAN
Two wrong figures?
STRAKER
Yes. It must have been a memory lapse. Not surprising, considering the strain he was under.
FREEMAN
But, we got our figures from the tape...
(Freeman sits opposite the desk)
That means, the aliens have the same false information.
STRAKER
Yes. We finally managed to sort it out, about an hour ago. It would have taken them about five minutes?
FREEMAN
I realize that, but they obviously thought he did it on purpose. A mistake that could have cost him his life.
STRAKER
(growing dismay)
Wait a minute. It could cost him his wife!
FREEMAN
Carol!
Freeman starts for the office door.
STRAKER
No, you stay here.
Freeman stops. Straker reaches for the intercom.
STRAKER
I'll send a couple of guards to Roper's house.
EXTERIOR : NIGHT, ROPER'S HOUSE
Dawson's car drives up and stops. Dawson gets out.
EXTERIOR NIGHT, ROAD
The Modern car drives down the road.
INTERIOR : MODERN CAR
Guard 2, on the passenger side is speaking into the car phone.
GUARD 2
(to phone)
We've just passed the Raften fly-over. E.T.A. Roper's house, six minutes.
EXTERIOR : ROPERS HOUSE.
The house is dark as Dawson sneaks up on the building.
INTERIOR: BEDROOM:
Carol has been reading a magazine. She hears noises outside and is startled. She gets up, opens the bedroom door and enters the:
LIVING ROOM
Carol sees the front door being tried, the lock being picked. She glances at the phone, then goes to the closet and gets out a shotgun. She loads it and stands against the wall opposite the front door, terrified. The front door begins to open.
EXTERIOR: DARK ROAD - MODERN CAR
The car is getting closer to the house.
INTERIOR : LIVING ROOM :
The front door opens and Carol fires.
EXTERIOR: ROPER'S HOUSE, FRONT DOOR.
The shot gun blast goes through the door. Dawson clutches at his face and collapses. He holds a hand gun, which he drops as he falls into:
INTERIOR: LIVING ROOM
Carol, in terror, begins to cry hysterically. She drops the shotgun. Carol watches in horror as Dawson reaches for the gun. He raises his gun and fires at her. We see her hand spasm as she begins to slide down the wall.
INTERIOR : STRAKER'S OFFICE
Straker apparently still working on Roper's figures. He seems frustrated. He begins to work on figures written on the white board on the wall opposite the desk.
S.I.D.
S.I.D.
Data and figures from flight plan passed to aliens by Roper have been analyzed. Input information, incorrect. Results, negative.
MOONBASE CONTROL SPHERE
ELLIS
(to Harrington)
What do you make of it, Joan?
HARRINGTON
Nothing.
ELLIS
Straker's not gonna' buy that. Re-run it.
Harrington leaves her station to come over to Ellis.
HARRINGTON
It won't alter the results, Lieutenant.
ELLIS
It will if you permutate it differently.
HARRINGTON
(resigned)
If you insist, Lieutenant.
Harrington heads back to her station.
INTERIOR : STRAKER'S OFFICE
Straker stands, looking over the figures on the white board. Then he looks over to the planetary display, as if an idea has come to mind. He turns on the display and watches the movement of the model Moon around the Earth.
The camera shoots from behind the display, first catching Straker's expression, then focussing in on the light.
LATER:
Straker sits at his desk, writing. The door opens and Freeman enters, carrying a clear file folder with several photographs.
FREEMAN
Dawson died ten minutes ago.
STRAKER
Yes, a shot gun makes quite a mess.
FREEMAN
The doctors found this.
Freeman drops a small object into Straker's palm. Straker maneuvers it between his index finger and thumb to look at it.
FREEMAN
It's some sort of electronic probe. It'd been inserted into his temple.
STRAKER
Hmm, Well, I think the picture is almost complete.
Straker stands and goes over to the planetary display, turning it on.
STRAKER
Come over here, Alec and watch this.
Freeman drops the file on the desk then moves to stand next to Straker, watching the display move. Straker waits. He follows the path of the model Moon with his finger.
STRAKER
Here.
(pause, shuts off machine at lunar sunrise)
There!
FREEMAN
Sunrise on the Moon.
STRAKER
Exactly. And that's how they plan to make the attack. Fly in across the lunar horizon at sunrise, keeping between Moonbase and the Sun.
FREEMAN
Visually undetectable.
STRAKER
Totally.
FREEMAN
But it would be picked up by Moonbase radar the moment it crossed the horizon.
STRAKER
No, not if the attack were planned to coincide with heavy sunspot activity like that predicted in two day's time... And, with Roper's flight plan to guide the attacker.
FREEMAN
Moonbase wouldn't stand a chance.
STRAKER
(thoughtful)
Chance? No ... But we have Roper's flight plan too, remember?
FREEMAN
But, I don't see how we can stop it.
STRAKER
One man, on his own, at a predetermined position out on the Moon's surface. A rocket launcher, polarized visor.
FREEMAN
It'd be suicide.
STRAKER
Possibly.
FREEMAN
But, you can't expect a man to...
STRAKER
(Matter of fact)
I don't need a volunteer, Alec.
FREEMAN
You mean Roper.
(He picks up one of the photos from the file)
And I suppose you used this to twist his arm?
Close-up Photo: Carol Roper's dead body, face down on the floor of her house.
STRAKER
No, I didn't have to. He's doing it to try and 'even' the score.
FREEMAN
And when are you going to tell him?
STRAKER
Maybe he'll never need to know.
EXTERIOR : MOONBASE
INTERIOR : CONTROL SPHERE
Roper is suited up in a space suit, visor open. Ellis is on the phone. Harrington has been helping Roper with his equipment. Barry sits at her console.
ELLIS
(to phone)
Right
(Hangs up phone)
(to Roper)
One hour. Now, once you're outside, maintain radio silence.
ROPER
One favor. I couldn't tell Carol, my wife. If you could book an Earth call, by the way, if you know what I mean?
ELLIS
I'll sort things out when you get back.
A beeper goes off on the console. Ellis flips a switch and Straker appears on the monitor.
STRAKER
(on monitor)
All set?
ELLIS
All set.
STRAKER
(on monitor)
Good ... Begin stage one. Oh, Roper, good luck.
The monitor goes dark.
ELLIS
(to Barry)
Safety check one.
BARRY
(checking panel on console)
Safety check one
(pause - to microphone)
Prepare for exit procedure.
Ellis turns her attention back to Roper, who then leaves the control sphere for the airlock. He carries with him a rocket launcher. Harrington walks with him. Ellis watches after them as they leave.
INTERIOR : MOONBASE CORRIDOR:
Roper and Harrington walk down the corridor towards the airlock door at the end. At the airlock door, Roper lowers the space helmet visor and locks it down.
HARRINGTON
Good luck, Paul.
Roper enters the airlock, the door slides close behind him. On a wall gauge, the pressure drops to zero.
CONTROL SPHERE:
BARRY
(reading off console)
Depressurized.
ELLIS
Open outer doors ... Stand by for exit.
EXTERIOR : LUNAR SURFACE.
The airlock door opens onto the surface and Roper leaves, carrying the rocket launcher. He looks around the area, at the rocky terrain. He begins walking away from Moonbase. A short distance away, he looks back at the airlock door as it closes.
EXTERIOR : ANOTHER POINT ON THE LUNAR SURFACE.
The area is rocky, with many peaks and ridges. Roper walks into view. He settles himself behind a large rock, and looks back at Moonbase in the far distance.
MOONBASE CONTROL SPHERE
The radar tracking screens show traces of static.
HARRINGTON
Is there any chance of the radar trackers operating?
ELLIS
(glum)
Not with all this sunspot activity.
SID
All we hear is static.
EXTERIOR: SPACE
A U.F.O. approaches.
SID
All we hear is static.
LUNAR SURFACE
Roper waits.
MOONBASE CONTROL SPHERE
No sign of the U.F.O. on the tracking screens.
HARRINGTON
(to microphone)
The time is now zero-seven decimal four-nine. Sunrise is in ten minutes.
SHADO CONTROL
Harrington appears on the monitor. Straker watches, obviously very worried. Freeman stands with him. Straker holds a cigar in one hand and a lighter in the other. He lights Freeman's cigarette.
HARRINGTON
(on screen)
This is Moonbase time check at zero-seven, decimal six, precisely.
U.F.O.
Approaches
LUNAR SURFACE:
Roper begins to load the rocket launcher and checks his watch.
SHADO CONTROL
Waiting anxiously.
U.F.O.
Approaches
SID
static.
EXTERIOR : MOONBASE
INTERIOR : MOONBASE CONTROL SPHERE
Waiting anxiously. The trackers are totally filled with static.
ELLIS
Roper's on his own.
LUNAR SURFACE
Roper waits. The sun begins to rise over the horizon. He pulls down the polarized visor over his face plate.
INTERIOR : MOONBASE CONTROL SPHERE
HARRINGTON
Twenty-three seconds since sun-up, Lieutenant.
EXTERIOR : LUNAR SURFACE
Roper waits. On the horizon, he sees the sun rise over the peaks. Roper spots a black speck against the sun. The speck grows larger - A U.F.O.
MOONBASE CONTROL SPHERE
The Moonbase operatives watch the useless monitors.
EXTERIOR : LUNAR SURFACE
The U.F.O. approaches Ropers position. Roper fires on it, missing. He loads a second round. The U.F.O. begins evasive maneuvers, coming closer. Roper fires again, hitting the U.F.O. which crashes into the surface, exploding, Roper ducks the debris.
MOONBASE CONTROL SPHERE
The Moonbase operatives watch the useless monitors.
EXTERIOR : LUNAR SURFACE
We see Roper key his radio.
MOONBASE CONTROL SPHERE
ROPER
(On radio)
U.F.O. destroyed.
The girls are relieved and happy.
ELLIS
He's done it.
(to Barry)
Get a Moon-hopper out there and fast.
BARRY
Right, Lieutenant.
Barry moves to a different console.
LUNAR SURFACE.
Roper is having trouble breathing. His suit is losing air.
ROPER
(to radio)
Losing a little air.
ELLIS:
ROPER
(contd. o.s.)
Damage only slight.
EXTERIOR: LUNAR SURFACE
Roper opens a repair kit box on the suit and pulls out a tube of sealant. He drops the tube and has to get down to retrieve it. He opens the sealant and smears some on the slight tear in the suit. The sealant bubbles and pops.
EXTERIOR: MOONBASE
>BR>A Moonhopper leaves Moonbase, heading for Roper's position.
EXTERIOR: LUNAR SURFACE
Roper's suit loses more air. Roper's breathing becomes more labored, and he begins coughing. He cannot finish the patch on his suit.
ELLIS:
ELLIS
Paul, is everything all right?
ROPER:
ROPER
Yeah, sure.
ELLIS:
ELLIS
Listen, a Moon-hopper is on its way. It'll be with you in minutes.
ROPER
(on radio.)
Fine.
ANOTHER AREA OF LUNAR SURFACE.
A Moon-hopper skims above the surface, moving fast.
ROPER:
ROPER
(out of breath, speech fragmented.)
Tell... Tell Straker... Tell him I hope this evens things up.
As he speaks, we see the suit repair fail as a large bubble pops.
ELLIS:
ELLIS
Paul?
ROPER
(on radio)
(getting weaker)
Tell... Tell... Carol
ELLIS
(alarmed)
Paul? ...Roper! ...Roper!
EXTERIOR: LUNAR SURFACE
Roper stops breathing and collapses as we hear Moon-hopper approaching in the distance.
The Camera pulls back and up to show Roper's dead body sprawled on the Moon's surface.
U.F.O. is the © and property of ITV Studios Global Entertainment and used for promotional purposes only.
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