Teleplay by:
Dennis Spooner
Directed by:
Ron Appleton
Created by:
Gerry and Sylvia Anderson & Reg Hill
Producer:
Reg Hill
Executive Producer:
Gerry Anderson
INTERIOR: SHADO CONTROL
It appears to be a relatively quiet day. SEVERAL OPERATIVES, are at their stations, including LT. JOHNSON. COLONEL PAUL FOSTER is standing near-by, observing. He looks rather bored.
LT. BARRY
(On the monitor in front of Lt. Johnson)
Parameter two, okay, strength four. Parameter four, okay, strength five. Parameter six still breaking up. Until you have rectified this, go on using parameter five as a stand-by.
LT. JOHNSON
Right, thank you Moonbase. Over and out.
As the screen over Lt. Johnson's station goes dark, a printer clatters near-by. When it stops printing, FEMALE OPERATIVE 2 tears off the message, crosses the room and hands the paper to Foster. Foster begins to read aloud.
FOSTER
Priority read out, Washington, Commander Straker, SHADO: General MacGruder sends his complements, looks forward to meeting you.
Suddenly, on the upper level, COMMANDER ED STRAKER appears, literally out of nowhere. He is dishevelled and dirty, violently attacking the computer equipment on the upper level with a crowbar.
FOSTER
(alarmed)
Commander, what's wrong?!
Straker does not appear to hear him and continues wrecking the equipment. Foster runs to the upper level and tries to grab him. Foster is shoved away, falls and hits his head on a console.
FOSTER
(to guards)
Stop him!
Two MALE SHADO OPERATIVES come running to stop him. Straker drops the crowbar and fights them off. TWO MORE MALE OPERATIVES run up to grab him. Straker fights them off as well, then he disappears down the hall.
FOSTER
Get after him!
The Operatives pick themselves off the floor and follow Straker to the elevator as Foster picks up a telephone receiver from Johnson's work station.
FOSTER
(to telephone)
Get me studio security.
INTERIOR: MAIN OFFICE-ELEVATOR
The elevator-office is rising. Straker seems tired, anxious, perhaps ill. The elevator's motion stops and the door opens to:
INTERIOR: OUTER OFFICE
MISS EALAND is seated at her desk, typing. She is surprised to see Straker coming out of the elevator. Straker reaches over to the desk and flips a switch. the elevator doors close.
EALAND
Commander Straker!
(pause, then perplexed)
Where did you come from?
STRAKER
Nobody's to come through that door. Nobody! Understand?
Before Miss Ealand can reply, Straker runs out of the office into the :
INTERIOR: STUDIO-OFFICE LOBBY
An AGENT and a young WOMAN are standing in the lobby conversing. The man steps into Straker's path.
AGENT
Oh, Mister Straker...
Both the man and woman appear miffed as Straker shoves the man out of his way.
EXTERIOR: STUDIO OFFICE BUILDING
Straker runs out of the building and across the lawn. A HOVERCRAFT DRIVER is riding a small hover craft across the lawn. Straker runs up to him from behind and pulls him off the vehicle, knocking the man unconscious in the process. Straker grabs the man's wrist and looks at his watch.
CLOSE-UP: WATCH
The watch reads 6:00.
STRAKER seems frightened, drops the wrist and runs on.
INTERIOR:OUTER OFFICE.
Miss Ealand is still seated at her desk, but now she looks indecisive as we hear Foster and the two guards yelling and pounding on the elevator door from the inside.
FOSTER
(angry)
Open the door! Let us through!... Get this door open, Miss Ealand!
EXTERIOR: NEAR WAREHOUSES
Straker is running towards the carpentry shops. A WAREHOUSEMAN is tossing stools to a PARTNER on the back of a truck. Straker pauses, then runs on.
EXTERIOR: OFFICE BUILDING
Foster and the SHADO guards come out of the building. Foster spots the driver-less hover craft.
FOSTER
(pointing to hover craft)
Stop that hover craft.
One of the guards runs over to comply.
EXTERIOR: CARPENTRY SHOP
The TWO WORKMEN notice Straker's arrival and note his disheveled and frightened appearance. They stop work for a moment.
WORKMAN 1
(worried)
Mister Straker, can we do anything?
Instead of answering, Straker runs off, towards the sound stages. The workmen shrug and start working again.
INTERIOR: SOUNDSTAGE
A scene is being filmed. The sets and costumes indicate the Louis XVI era. The DIRECTOR looks harried.
DIRECTOR
Action!
The Actor and Actress on the set begin to move. Straker enters the sound stage from a side door, knocking over some equipment and light stands. The noise startles everyone and they turn to look.
DIRECTOR
(angry)
What's going on?
(sees Straker)
What the blue?... Will you please be quiet, we're shooting.
Straker leaves the way he came and the director turns back to his people.
DIRECTOR
All right everyone, settle down... settle down.
EXTERIOR: STUDIO OFFICE LAWN
The HOVERCRAFT DRIVER has regained consciousness. Foster kneels beside him, questioning him. Two STUDIO GUARDS stand near them. The Studio guards wear dark blue, police-style uniforms.
HOVERCRAFT DRIVER
(perplexed)
He came on me so quick, I never saw him.
Foster spots Straker running across the near parking area towards one of the smaller adjacent office buildings.
FOSTER
There he is, come on!
Foster and the two guards leave the Hover craft Driver and run off, chasing after Straker.
EXTERIOR: PARKING AREA
A miniature motor car is driving in circles in the middle of the parking area. A man wearing a SHADO operative uniform (TURNER) sits in the car, dead. There is blood on the concrete, and several bloody bullet holes in Turner's chest. A semi-automatic machine gun is lying on the pavement in the center of the circle.
STRAKER pauses a few second to watch. He seems ill. Then, Straker runs on towards the smaller building.
FOSTER and the guards come on the car. Foster spots Straker running.
FOSTER
Commander... Commander!
Straker doesn't seem to hear. Foster motions to the car with the dead body.
FOSTER
Stop that thing.
One of the guards runs over, shuts off the motor, and picks up the gun. Foster and the second guard run off after Straker.
FOSTER
This way, come on!
EXTERIOR : SMALL OFFICE BUILDING
Straker has reached the building and climbs the wall ladder to the roof. He is nearly half way up when Foster and the guards reach the building.
FOSTER
Ed!
Straker pauses a moment and looks back at Foster. Straker looks exhausted and it is unclear whether or not he even recognizes Foster. Then, Straker resumes his climb to the roof, Foster and the guards following.
EXTERIOR:BUILDING ROOF
COLONEL VIRGINIA LAKE lies unconscious on the roof. A heavy mortar launcher sits on a stand near-by. Straker runs over to Lake and kneels beside her. He seems very uncertain and hesitates to touch her. He seems confused. Straker doesn't react at all when the two guards come up behind him, grab his arms and pull him to his feet, away from Lake's body. Quickly, Foster checks Straker's pockets and retrieves a hypodermic syringe and an empty drug vial. Straker's expression is totally vacant.
TITLES
INTERIOR : HALLWAY, SHADO MEDICAL CENTER.
A sign on the wall identifies the area as SHADO MEDICAL CENTER.
INTERIOR:SHADO MEDICAL CENTER ROOM 1
A sparsely furnished office-examining room with a desk, a glass cabinet with instruments and drug vials in one corner. Straker lies on the bed, dressed in pajamas. He is pale, unmoving, eyes half-open but seeing nothing. DR. JACKSON sits beside him, passing his hand in front of Straker's face. Straker doesn't even blink.
Colonel Foster stands near-by with GENERAL JAMES HENDERSON. They are concerned and talking about Straker's condition.
HENDERSON
Anything at all?
FOSTER
No, sir. He's been like this ever since we brought him in.
JACKSON
Yes, he's in shock, physical and mental.
HENDERSON
What made him that way?
JACKSON
Hard to say, but, whatever it was, his mind has just had to walk away from it.
HENDERSON
Anything you can do for him?
JACKSON
(cautious)
There is something, yes, but I don't like to use it except in an emergency.
HENDERSON
(forced patience)
When SHADO's most vital piece of man-power becomes homicidal, it is an emergency.
Jackson goes over to the glass case in the corner, opens it and gets out a syringe and a vial. He prepares the injection. He is not happy.
INTERIOR: OUTER OFFICE
Miss Ealand is at her desk, Foster stands, questioning her.
EALAND
He came bursting out, but he didn't come in.
FOSTER
(exasperated)
What do you mean 'He didn't come in'? This is the entrance to SHADO, isn't it?
EALAND
(upset at Foster's attitude)
Yes, sir. But, he left to meet Colonel Lake, and he didn't come back.
INTERIOR : SECURITY CORRIDOR IN SHADO H.Q.
This is a wide area at the junction of two corridors. Along one wall is the opening to a stairwell. Diagonal to it are elevator doors. In the corridor is a security desk beneath which is a rifle rack with two rifles missing.
Foster and Henderson stand questioning TWO SHADO SECURITY GUARDS.
GUARD 1
No. sir, he didn't come down this way.
HENDERSON
You're absolutely certain?
GUARD 1
Yes, sir. He couldn't have got past without our seeing him.
HENDERSON
Hmmm..
Foster and Henderson walk away. down the corridor.
EXTERIOR: MAIN STUDIO GATE
The GATE GUARD stands in glass enclosed gate booth, speaking to the telephone receiver.
GATE GUARD
No, sir. Mister Straker hasn't been in. We always lock him in and out, and he hasn't been anywhere near.
INTERIOR: MEDICAL CENTER ROOM 2
Similar to the first room. Colonel Lake is halfway sitting up on the bed. Foster is just hanging up the receiver on the wall phone. Henderson and Jackson are standing near-by.
HENDERSON
(to Foster)
It doesn't make any sense.
LAKE
I'm sorry, I... I just can't seem to be able to remember a thing.
HENDERSON
(to Lake)
You can't remember coming back with Commander Straker?
LAKE
I can recall leaving the airport in Commander Straker's car, but, after that... Nothing, I'm afraid.
JACKSON
Yes, it was a severe blow to the base of the neck.
LAKE
(rueful)
Don't I know it.
JACKSON
It caused the amnesia, covering a period of about, two hours. It's not uncommon.
FOSTER
(to Jackson)
How long will it take her memory to come back? Hours, days?
JACKSON
Well, It might never come back.
The telephone on the wall buzzes and Jackson picks up the receiver.
JACKSON
(to receiver)
Yes?....
INTERIOR: MEDICAL CENTER ROOM 1
MED-TECH WILSON is on the telephone.
WILSON
Wilson here, sir. He's regaining consciousness.
Straker, on the bed, is delirious, muttering and thrashing about, eyes glazed, feverish.
STRAKER
(nearly incoherent)
Do you see him?....see 'im?....
WILSON
(to phone)
Yes, that's right.
INTERIOR: MEDICAL CENTER ROOM 2
Henderson is on the phone. The others look on, concerned.
HENDERSON
(to phone)
Right...
Henderson hangs up the receiver.
HENDERSON
(to others)
Straker's beginning to break through. We'd better get over there.
Jackson and Foster head for the door. As Foster reaches the door:
LAKE
Paul...
Foster stops and looks back at her.
LAKE
He couldn't have done it. Ed's not a killer.
Foster simply looks at her, unconvinced, then leaves, closing the door behind him.
INTERIOR: MEDICAL CENTER ROOM 1
Electroencephalogram electrodes have been placed on Straker's head. The read-out on the E.E.G. monitor appears irregular, erratic. Straker is delirious, muttering nearly incoherently. His breathing is irregular, skin pale, clammy. He is holding tightly to the iron bars at the head of the bed.
STRAKER
Kill...Kill! Yes, our guns...!
HENDERSON
(to Jackson)
How dangerous is this drug?
Jackson is preparing another injection.
JACKSON
I told you, it's risky. It could open his mind, or destroy it.
Jackson pries one of Straker's hands off the bars and gives him an injection. Straker winces.
STRAKER'S POV
Everything is distorted to the point of unrecognizability.
STRAKER
(voice distorted)
Time, they've murdered time...
JACKSON
(distorted echo)
Open his mind or destroy it.... I want you to go back five hours... five hours.
REVERSE POV - JACKSON
STRAKER
I was in my car...
STRAKER'S POV
JACKSON
(distorted)
Go on...
REVERSE POV - JACKSON
STRAKER
I'd been to the airport to pick up Colonel Lake.
EXTERIOR: NIGHT, STRAKER'S CAR
A dark night on an English country road. Trees and large hedgerows are barely visible in the dark. In the distance, the southern sky is lit by the lights of London. The car is traveling west.
The car passes on.
INTERIOR: STRAKER'S CAR
Straker is driving, Virginia Lake is seated in the passenger seat. They are talking.
STRAKER
That's why I picked you up myself. I wanted to brief you before you had a word with General Henderson.
LAKE
Well, I knew it wasn't for my big blue eyes.
STRAKER
(serious)
Coming back from the Moon can be disorientating. Even Moon speeds have some effect on time.
LAKE
(facetious)
Yes, sir. I see, sir. Never knew that, sir.
Straker glances at her, sees her smile and smiles back. There is a glint of something in the sky to their left and Straker spots it.
STRAKER
What's that?
LAKE
What?
STRAKER
I thought I saw something up there.
LAKE
Cars on dark country roads can be disorientating, too.
Straker is peering out the windshield to catch sight of the object.
STRAKER
Yeah, there is something up there.
Straker points out the object, ahead, to the left.
STRAKER(CONT'D)
Fifteen degrees west... There, see?
OFF-SCREEN:
A low hum can be heard, slowly growing louder.
LAKE
Leans over to see what Straker it pointing at.
LAKE
It's Venus.
STRAKER
Wrong direction.
LAKE
Space shot?
STRAKER
No, we have none scheduled.
Lake straightens up in her seat.
LAKE
Could be a Russian launch.
STRAKER
No, we have their schedule, too
(PAUSE)
Space debris?
LAKE
No. it's the wrong pattern.
(PAUSE)
All that would leave is a weather balloon, but that would mean it's drifting against the wind.
STRAKER
It's a U.F.O.
Straker picks up the car-phone receiver from the console between the front seats.
STRAKER
(to phone)
Straker to SHADO Control, Ufo in Earth's atmosphere, coming your way.
(PAUSE)
Do you read me?
(PAUSE)
Do you read me?
Straker hands the receiver to Lake.
STRAKER
Check the radio link.
EXTERIOR: STRAKER'S CAR pulls over to the side of the road and stops.
INTERIOR: STRAKER'S CAR
Lake is double checking the car phone and radio on the center console.
LAKE
But how could it have gotten past Moonbase without being spotted?
STRAKER
(grim)
I don't know.
LAKE
(straightening up in her seat)
Well, the radio checks out. We're receiving and transmitting at full strength.
STRAKER
It's absurd. Then why doesn't Control answer?
LAKE
Well, it's not at this end.
Straker starts up the car engine and they pull back onto the road again.
EXTERIOR: NIGHT, NEAR-BY WOODED AREA
A U.F.O. hovers near the tops of the trees, just out of sight of the road.
INTERIOR: STRAKER'S CAR
LAKE
But, if the Base is out of communications, why haven't they landed and destroyed the base?
STRAKER
They may have done just that.
LAKE
(PAUSE)
How long?
STRAKER
About another ten minutes.
They see the U.F.O. approaching, low over the road.
LAKE
It's coming this way!
STRAKER
Harness.
They both grab their shoulder belts and buckle them on as the U.F.O. comes closer.
STRAKER
It's going over head!
EXTERIOR: STRAKER'S CAR
The U.F.O. is very close, flying low over the road. As it passes over the car, it fires green light beams at the car. The car swerves violently to avoid being struck as the road explodes where the light hits it. The car runs into a hedgerow and stops.
INTERIOR: STRAKER'S CAR
STRAKER
Freeze.!
Straker and Lake stay absolutely still as the U.F.O. flies close overhead once more. The interior of the car is filled with an eerie green light. Then, suddenly, the U.F.O. vanishes.
EXTERIOR: STRAKER'S CAR
The car starts up and heads back down the road once more.
FURTHER DOWN THE ROAD:
The car passes the entrance gates of Harlington-Straker Studios. Suddenly:
EXTERIOR: DAY: STRAKER'S CAR
The car stops in the middle of the driveway.
INTERIOR: STRAKER'S CAR
Straker and Lake blink at the strong sunlight.
LAKE
(astonished)
Outside, it was night, but here...
(PAUSE)
What's happened?
STRAKER
I don't know.
EXTERIOR: STUDIO-OFFICE OFFICE
Straker and Lake get out of the car and look around. On the lawn, a GARDENER is mowing the grass. Grass cuttings are suspended in mid-air, unmoving. Near-by a hover craft is being driven across another section of lawn, but the driver is frozen in place, the hover craft silently suspended inches above the ground.
LAKE
Why doesn't it fall?
Straker is looking over the frozen driver and his machine. The driver is totally oblivious to Straker's presence, frozen like a statue.
LAKE (CONT'D)
I don't believe it. We must be dreaming. It's unreal. What's happening?
STRAKER
Night into day, everything stopped, arrested. It's like a clock that suddenly...
(PAUSE)
Come on.
Straker and Lake go back to the car, get in and drive away, further into the Studio property.
EXTERIOR: WAREHOUSE AREA
Straker's car drives up and stops. A truck is parked in the alley in front of the set warehouse. A warehouseman is tossing a stool chair to his partner in the back of the truck. The men are frozen in mid-motion, the chair suspended in mid-air.
Straker and Lake get out of the car to inspect.
STRAKER
It's like a nightmare.
(PAUSE)
A grotesque nightmare.
Straker walks around the chair and the man on the ground, inspecting them both carefully. A piece of 1x2 lies on the ground near-by.
STRAKER
Get me that piece of wood.
Lake gets the board off the ground and hands it to him. Straker cautiously touches the stool with it, then, smashes the board against the suspended stool. The board breaks in two. The stool doesn't move at all.
LAKE
Commander.
A small bird is frozen in mid-takeoff, a frozen worm in its frozen mouth.
STRAKER
Come on, let's get back to the car.
They go back to the car and get in. The car starts and they drive off, down the alley.
INTERIOR: CARPENTRY SHOP
A WORKMAN is cutting wood on a table saw. The saw dust is suspended in mid-air. Outside the large open door, Straker's car can be seen to stop. Straker and Lake enter the room. Straker goes to the far wall where some papers are tacked to a bulletin board.
STRAKER
If these work-sheets are right, and they're up to schedule, then this thing has only just happened.
LAKE
But, why the daylight?
(PAUSE)
It's been dark outside for two hours.
STRAKER
I don't know, but there must be some kind of logic in it somewhere.
(PAUSE)
Come on, let's get down to Control.
EXTERIOR: STUDIO OFFICE BUILDING
Straker's car drives up and stops. Straker and Lake get out and enter the building.
INTERIOR:STUDIO LOBBY
Straker and Lake walk past a young woman and her agent, both frozen in place. The young woman is scantily clad.
INTERIOR: OUTER OFFICE
Miss Ealand is seated at her desk, apparently talking to the man standing opposite her. Both are frozen in place.
STRAKER
(softly)
Miss Ealand...
Straker and Lake enter the inner office and the doors close. Above the door the green light turns red.
INTERIOR: SHADO CONTROL
Straker and Lake enter SHADO's main control room. All the operatives are frozen in their tracks. The room is utterly silent.
Straker and Lake check over several of the consoles.
STRAKER
Why hasn't Moonbase reacted? They must know something's wrong. They could've had Sky-Diver over the base by now.
LAKE
What are we going to do?
STRAKER
Call General Henderson.
Lake gives Straker a curious look.
STRAKER (CONT'D)
We need help. That thing's still up there. If it comes down, before we can get assistance...
Straker picks up a telephone receiver from one of the consoles and listens to it a moment. The line is silent.
STRAKER (CONT'D)
There must be someone we can contact!
He checks a second phone, also dead.
STRAKER (CONT'D)
It's no use. If we could just understand the principle they used.
Straker and Lake look over the frozen operatives. Foster is standing by Lt. Johnson's console, looking bored. Lt. Barry's face can be seen on Lt. Johnson's monitor. Straker touches Foster's neck to find a pulse.
STRAKER
There's no pulse.
Lake touches Foster's forehead.
LAKE
The body temperature's normal.
STRAKER
Trying to move Foster's arm and failing.
But, they're fixed, like statues
LAKE
It's as if they were frozen in time.
STRAKER
Yes, that's it. That way, whatever they were doing, they'd be 'fossilized' when the force struck.
LAKE
But, the lift in the office was working.
STRAKER
Yes, I know. It doesn't fit the pattern.
Idly, Straker picks up a headset from atop one of the consoles and glances at it. After a few moments, comprehension shows on his face.
STRAKER
This isn't frozen.
Straker puts down the headset and picks up a pen, then sets it down again.
STRAKER (CONT'D)
They have one thing in common.
LAKE
They weren't in motion when it happened.
STRAKER
Yes, they weren't moving in time. That's why the elevator works.
LAKE
Then, if we could find a monitor that wasn't switched on.
They check the monitors. All are in use.
STRAKER
No, they're all switched on.
Straker sounds tired and leans against the stair-rail to the stairs to the upper level.
STRAKER (CONT'D)
There's got to be an answer. We've just got to think it through.
LAKE
(tired)
I just don't seem to be able to think anymore.
Lake sits down on the steps to the upper level, suddenly exhausted.
STRAKER
Yes, I know. It must be shock catching up with us.
(PAUSE)
Wait a minute, let me see your watch.
They both look at her wristwatch.
CLOSE-UP LAKE'S WATCH
Lake's watch has stopped, the time reads 11:52.
LAKE
It stopped, the moment we got to the studio.
STRAKER
Just like the clock.
CLOSE-UP: DIGITAL WALL CLOCK
The wall clock has stopped at 18:00:00.
STRAKER
(exhausted)
...Beginning to get to us.
Straker grabs Lake's hand and pulls her to her feet.
STRAKER (CONT'D)
Medical Center.
Straker leads Lake out of the Control room, towards the medical center. As they leave, they just miss seeing one of the operatives move - Turner.
INTERIOR: MEDICAL CENTER STORAGE ROOM
Straker and Lake enter the Medical center room. The room is filled with industrial shelving loaded with miscellaneous supplies. Straker goes to a center shelf, opens a box and brings out a hypodermic syringe and a clear glass drug vial with a red liquid in it. Straker speaks while preparing the syringe.
STRAKER
The only way...
He rolls up his left sleeve.
They could get past Moonbase... travel so fast...
He gives himself an injection and starts to prepare a second dose, using a new syringe.
STRAKER (CONT'D)
Cheat time.
LAKE
Sound barrier, heat barrier, light barrier...
Straker gives her an injection.
LAKE (CONT'D)
Time barrier.
STRAKER
(tired, but becoming less so.)
They can control it, but only for so long
(PAUSE)
Until the field force they built up on the way here begins to wear off. Like the waves of pressure you see in front of an airplane.
LAKE
(much less tired)
That's why they haven't landed yet. They're still in a different continuum.
STRAKER
(rushed)
Yes, yes, before they can operate here.
LAKE
But, why?
(PAUSE)
How are they reaching us?
STRAKER
I don't know.
(PAUSE)
Maybe we'll find out some answers when we get back to the control room.
Straker rolls down his sleeve and puts the drug vial and the syringe in his sweater breast pocket.
STRAKER (CONT'D)
(concerned)
Are you okay?
LAKE
Fine.
STRAKER
Well, let's go.
They leave the medical center room.
INTERIOR: SHADO H.Q. CORRIDOR
They walk down the corridor to the Control room.
LAKE
What is that stuff?
STRAKER
X-fifty.
(Beat)
Speeds you up to ten times normal. Heart, muscles, brain, co-ordination. They used it a lot in the early high-Gee test flights. Finally banned it as being too dangerous.
LAKE
Why?
STRAKER
Well, it burned people out. If we weren't under the 'evil eye' now, we'd be moving so fast, we'd just be a blur.
They enter the Control Room.
INTERIOR: SHADO CONTROL ROOM
Nothing appears to have changed. Everything and everyone is still frozen.
STRAKER
The room is lead-lined, Colonel. Built to resist any known force field.
They are looking around the room. Lake catches a glimpse of something in the corridor to the elevator.
LAKE
Commander.
STRAKER
What is it?
LAKE
I'm sure I saw something move.
They run to the corridor:
INTERIOR: ELEVATOR LOBBY
They arrive at the elevator doors just as they close. There is the sound of the elevator going up and the light above the door is flashing red.
Straker assesses the situation a moment, then leaves, Lake following.
INTERIOR: SECURITY STATION
Straker goes around the Two SHADO Guards and picks up two semi-automatic machine guns and cartridge packs. Straker also picks up a hand-held motion detector. He hands one gun the Lake. They leave via the stairs.
EXTERIOR: STUDIO GROUNDS, NEAR THE SOUNDSTAGES
A door on one of the near buildings opens, and Straker and Lake exit the building, looking carefully around them.
TURNER (OFF-SCREEN)
(voice is amplified)
All right, Straker. Come and get me, Big Man.
STRAKER
(softly to Lake)
Transistor microphone
Straker checks the motion detector in his hand. There is a low wall near-by.
STRAKER (CONT'D)
Somewhere over there, to the right.
TURNER (OFF-SCREEN)
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.
The detector buzzes.
STRAKER
He's behind that wall.
A shot is fired at them and they duck.
STRAKER
You stay here.
(PAUSE)
Now, cover me.
Straker leaves Lake's side, running out in a crouch, firing at the source of the gunfire coming at them.
TURNER (OFF-SCREEN)
Ha, Ha, ha.(laughing) No, not that easy, big man. Things always come easy for you, don't they, Straker? Not this time, not me.
The gun fire stops and Lake runs over to join Straker beside the low wall. They check the detector.
STRAKER
He's around the corner, by the covered way to J and K block. (PAUSE) Now, stay behind that wall.
STRAKER leaves the protection of the wall, running across the open area, firing his gun as he goes.
TURNER (OFF-SCREEN) LAUGHS MANIACALLY
Straker stops by the covered walkway to J and K blocks, pressing his back to the wall for cover. Lake runs over to join him.
LAKE
Where'd he go?
STRAKER
To J and K stages. He's over on one of the sound stages.
INTERIOR: SOUNDSTAGE
The Scene. The Director looks harried, but everyone and everything is frozen in place. Straker and Lake carefully make their way around the frozen people, equipment and sets.
TURNER (OFF-SCREEN)
You've heard of silent films, haven't you, Mister Big? Well, this is the new bag, non-moving movies. Kind of restful, isn't it? (PAUSE) Yes, this is the place. (DRAWL)Ah is heah, if you can but fawnd me.
Turner jumps out from behind on of the sets and begins firing a semi-automatic machine gun in Straker and Lake's direction, forcing them to dive for cover. One of the large studio lights shatters. Then Turner runs off.
STRAKER
Take the other exit, we'll cut him off.
Straker and Lake run off in opposite directions, towards the exits.
EXTERIOR: OUTSIDE OF SOUNDSTAGE
Straker and Lake meet outside the building. The both look around them, perplexed.
LAKE
Where'd he go?
Straker checks the motion detector. A shot is fired at them and they duck behind a corner of the building.
TURNER (OFF-SCREEN)
(mean)
You don't look so big now, Commander. Just come on and get me. I'm Turner, radar operator, class one. I know you, Commander. The Big Man, in charge of the world.
Straker checks the detector and fires in the direction the voice seems to be coming from. There is a wooden caravan cart in the near-by alley. The doors are closed.
TURNER (OFF-SCREEN)
Ha, ha, ha, (LAUGH), Big Deal Straker, the guy the girls admire.
Lake and Straker glance at one another. Straker is obviously puzzled.
TURNER(OFF-SCREEN) CONT'D
Yeah, well, I'm the big deal now, Straker. They promised me, and you're a nothing, just a...
Turner is cut off by Straker opening fire on the caravan cart. The doors pop open to reveal marionettes and props.
TURNER (OFF-SCREEN)
Wrong again, Straker.
The motion detector buzzes and Straker runs off, following the signal, Lake following close behind him. A blue utility car rounds the corner of the sound stage building, driven by Turner. Straker and Lake jump out of the way as Turner nearly runs them down. Near-by is a second utility car.
Straker gets in the car to drive, Lake in the second seat. They drive away, after Turner.
STRAKER
He's got a good start.
Turner fires back at them, Straker swerves the car to avoid being hit. Lake stands in her seat, through the sun-roof, firing back at Turner.
STRAKER
Go for the tires!
Lake fires at the tires and misses. Turner's car turns a corner and they follow, stopping suddenly as Turner's car has stopped in the middle of the alley, empty.
EXTERIOR: STUDIO ALLEY
TURNER
(taunting)
Finders keepers, losers, weepers. Where are you going to find me? Where are you going to find me?
(PAUSE)
You're through, Straker. You've been had! They're coming soon, Straker, as soon as they've brought their power down. They'll be here soon, and you're not going to spoil it. Oh, they're marvelous, Straker. They're wonderful. They can do things we can't even conceive. (LAUGHS) Have you any idea what they've done here, Straker?
Straker and Lake have gotten out of the utility car and have been looking around, checking the motion detector. Straker silently motions Lake to cover him as he heads down an adjoining alley.
TURNER (OFF-SCREEN) CONT'D
They've taken a millionth of a second of our time and frozen it. This whole thing is taking 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 Lake spot Turner rounding a far corner of another sound stage. They run after him to see Turner vanish into thin-air.
EXTERIOR: ANOTHER ALLEY
TURNER (OFF-SCREEN)
It's not that easy, Straker. You're no match for me, Big Man. You're not on my level. (MANIACAL LAUGHTER)
Straker fires in the direction of the voice, more or less at random.
TURNER (OFF-SCREEN) CONT'D
Don't you understand, Straker? Hasn't it soaked into that blond skull of yours yet? I'm outside of time, Straker. I am outside of time!
Lake runs up to join Straker.
LAKE
What does he mean, 'outside of time'?
STRAKER
Well, time has stopped in here, we know that. But, somehow, the aliens have given him immunity in return for his help.
LAKE
So, he's independent of time. He can move backwards or forwards, however he pleases.
STRAKER
Yes.
LAKE
So, that's why we can't pin him down.
(Pause)
How are we going to find him?
STRAKER
Well, we've got to try. Trying's all we've got.
(PAUSE)
Let's go.
Straker and Lake go back to the utility car and get in. The car starts and drives away.
INTERIOR: UTILITY CAR
The car drives down another alleyway on the studio property.
STRAKER
They may be years ahead of the human race, but we've got one thing they haven't: bloody-mindedness. It built this planet.
EXTERIOR: PROPS-BARN
The car stops outside a barn-like structure.
TURNER (OFF-SCREEN)
Oh, well done Big Man. You've found where I am. Come on then, I'm waiting for you. (BEAT) And your lovely lady.
Straker and Lake leave the car and enter the building.
INTERIOR: PROPS-BARN
The building is filled with piles of old furniture, mattresses. There is a wooden loft over a portion of it, with a ladder going to it. The loft has old paintings, draperies stored on it.
Shots are fired at Lake and Straker from the loft and they take cover behind a heap of old sofas.
TURNER (OFF-SCREEN)
It's all right, Straker. I don't intend to kill you. You see, in the new order, I am going to be boss. I think you might be rather useful, for making the tea. I'm going to be boss, Straker. They promised me that. In return for my help.
The detector in Straker's hand indicates movement on the loft. Straker motions Lake towards the stair-way to the loft in the far corner while he slowly, carefully makes his way to the ladder while keeping Turner's attention.
STRAKER
You can't handle it.
TURNER (OFF-SCREEN)
I can handle it.
STRAKER
(climbing ladder)
No, you're small-time. You haven't got the horse-power.
TURNER (OFF-SCREEN)
(getting angry)
I've got more than I need to fix you!
STRAKER
No. come on. It takes guts and brains to be the boss.
TURNER (OFF-SCREEN)
(boastful)
Listen, you primitive idiot! How do you think they're transmitting their power here? Because I, I fixed a piece of equipment in the control room so it would act as an aerial. A piece of SHADO equipment, Straker!
STRAKER
I don't believe you. What piece of equipment?
TURNER (OFF-SCREEN)
Oh, you must think I'm as stupid as you are.
(MANIACAL LAUGHTER)
INTERIOR: LOFT
Straker and Lake have both arrived on the loft. As Straker checks the hanging draperies, Lake checks behind a large pile of broken boxes. Unseen by Straker, Turner comes up behind Lake, grabs her neck-scarf and begins to strangle her.
TURNER
(softly, to Lake)
I didn't say anything about not killing you.
As Lake struggles to free herself, her gun goes off, alerting Straker, who comes running. Turner releases Lake and fights with Straker. They struggle and Straker is finally able to push Turner off the loft, breaking the wooden guard rail. Turner lands on a pile of mattresses below. Straker jumps down from the loft and the man continue to fight. Straker hits Turner and Turner falls into a wooden coffin-shaped box, breaking the top. Then, Turner disappears into thin-air.
TURNER (OFF-SCREEN)
It's not that easy, Straker.
MANIACAL LAUGHTER)
EXTERIOR: PROPS-BARN
Straker and Lake run out of the building. Straker is very tired, breathless.
OVERHEAD: the U.F.O. is hovering.
EXTERIOR: PROPS-BARN
Lake sees the U.F.O. and points it out to Straker.
LAKE
Look!
Straker looks, leaning against the building.
STRAKER
(nearly exhausted)
Slowing down.(PAUSE) Drugs, hypodermic...
He takes the drug vial and syringe from his pocket and hands it to her.
STRAKER (CONT'D)
Used too much energy.
Lake prepares the injection, as Straker rolls up his right sleeve.
LAKE
What will another shot do to you?
STRAKER
Doesn't matter, (PAUSE) Quick!
She gives him the injection. Straker winces, rolls his sleeve back down and takes the syringe and vial from her, putting them back in his pocket. He is quickly regaining his strength and energy.
STRAKER (CONT'D)
The Molly.(PAUSE) Our last chance.
LAKE
Shouldn't I have another shot?
Straker simply looks at her. His expression is more resigned than grim.
LAKE (CONT'D)
It was dangerous, wasn't it?
STRAKER
(very quiet)
I made my choice a long time ago.
INTERIOR: SHADO CONTROL ROOM
Straker and Lake walk through the room, past the still frozen bodies of the operatives, to another corridor.
INTERIOR: SHADO H.Q. CORRIDOR.
Straker leads Lake to a door in the corridor. He opens the door with a key from his key-ring and they enter.
INTERIOR: CHAMBER
Straker flips on a light switch. The room is small, with a narrow door at the back with a metal panel next to it. In the center of the room is a metal stand on which rests a small mortar launcher. Near the door is a narrow stand with a glass panel set on the top. Straker presses his right palm onto the glass. The glass lights up from behind and the metal panel next to the back door slides up to reveal a key. Straker takes his hand from the glass panel.
STRAKER
Take that key.
Lake takes the key from its enclosure and the panel slides shut. Straker picks up a single mortar charge from a small wall shelf with a dozen charges sitting on it. Then he picks up the mortar launcher, cradling it in his arms.
STRAKER (CONT'D)
Put it in there.
Referring to a key slot on the side of the mortar launcher. Lake puts the key in the slot as directed.
STRAKER (CONT'D)
Hold onto this.
Straker hands her the single charge in his hand. She takes it. Straker hits a small button beside the back door and the door slides open. He and Lake enter the tiny room beyond.
INTERIOR: TINY ELEVATOR
The door closes behind Straker and Lake. There is the SOUND OF AN ELEVATOR MOTOR, and a slight motion as the room seems to rise.
LAKE
I didn't know about this.
STRAKER
It's that old 'bloody-mindedness'.
The motion stops and the door opens onto the roof of the small office building behind the main studio office building.
EXTERIOR: ROOF
Straker and Lake exit the elevator and the door closes behind them. They walk over to a metal stand mounted near the edge of the roof. Lake seems nearly exhausted, but is hanging on.
STRAKER
(worried)
Can you hold on?
Lake nods and helps him put the mortar launcher on the stand.
LAKE
Shall I get another one of these?
She holds up the charge in her hand. He takes it.
STRAKER
No, there's no point. We're not gonna' get a second chance. If we miss with this first one, they'll fry us.
Straker loads the charge into the mortar launcher.
LAKE
What's their range?
STRAKER
Well, we have to wait until they get in close.
Straker sets up the sight on the mortar launcher and takes aim at the U.F.O overhead. Behind them, unseen by them, Turner is climbing onto the roof. Turner attacks, using the butt of his gun as a club. He knocks Straker down, dazing him, then strikes Lake across the back of the neck. She collapses in a heap. Turner grabs the key from its slot in the side of the mortar launcher and runs off before Straker can stop him.
Straker runs the edge of the roof.
STRAKER
(shouting)
Turner, don't be a fool! Give me that key. They don't need you now!
Turner ignores Straker. After a moment, Straker runs to the elevator. The doors open, Straker goes inside and the doors close.
EXTERIOR: SMALL OFFICE BUILDING
Straker comes out a door in the side of building.
Turner gets into one of two mini-sports cars with Harlington-Straker markings and drives off, firing his gun in Straker's general direction. Straker climbs into the second car and drives off in pursuit. After a few moments, Straker catches up to Turner.
STRAKER
Turner, listen to me. Listen to me!
TURNER
Big Man!
Turner pulls away from Straker, leading them through narrow alleys between the sound stages and storage buildings.
EXTERIOR: BLIND ALLEY
Turner turns into the blind alley, driving his mini-car into a pile of cardboard boxes which fall on top of the car, nearly burying it. Straker's car stops, behind Turner's, blocking the other man's escape. Turner seems stunned and Straker gets out of his car, walking towards the other man. Turner suddenly turns and grins at Straker.
TURNER
I think I'll just play that back.
Abruptly, Turner and his car disappear from the pile of boxes and the pile is instantly reassembled as it was before Turner hit it.
STRAKER'S POV
Turner's car is heard and a moment later, Turner's car turns the corner, hitting the pile of boxes. A second car comes around the corner. Straker jumps aside as the man, Straker 2, gets out and faces Turner. Turner turns and grins at Straker 2.
TURNER
I think I'll just play that back.
Suddenly, Straker 2, Turner and Turner's car vanish. The pile of boxes is broken and scattered on the ground. There is the SOUND OF A CAR ENGINE speeding away. Straker runs to the alley entrance to see Turner stop and look back at him.
EXTERIOR: ALLEY
TURNER
(laughing)
It's a shame isn't it? I can do it all again, But I can't change anything!
Turner laughs maniacally as he drives away. Straker climbs into his mini-car. The engine starts and he follows Turner through the alleys. As they drive, Turner fires back at Straker and Straker returns the fire.
EXTERIOR: STUDIO ALLEY INTERSECTION
A fog machine is sitting in an intersection near the main parking area. Turner drives close to the machine, reaches out and turns it on, moving the machine so it blows smoke in Straker's path.
TURNER
That should slow you up, Big Man.
Straker slows in the smoke, following Turner around the fog machine twice before Turner heads off to the main parking lot.
EXTERIOR: PARKING AREA
Turner laughs and stops his car, looking back at Straker as Straker gets out of his car and walks towards him.
TURNER
You're too late, Straker.
OVERHEAD: The U.F.O. is coming closer, it's hum is louder.
EXTERIOR: PARKING AREA
Straker walks to within fifteen feet of Turner, then stops. Straker's expression is grim, he is nearly exhausted.
STRAKER
Give me the key, Turner.
TURNER
Come and get it, Commander.
Turner holds the key out, teasing. Without changing expression, Straker fires at Turner. Turner watches him and laughs. The gun fire has no effect on him.
TURNER
You're out of your league, Straker. The nearer they come, the more power they transmit to me. I can play time like a trumpet now.
Turner and his car vanish, only to reappear behind Straker. Straker fires at Turner, who simply laughs and vanishes again, to reappear again. This is repeated several times, Turner's appearances describing a circle with Straker at the center.
TURNER
You primitive idiot, you can only see me where I've just been, or where I'm going to be. Not where I am, unless I want you to. You're IT, Straker.
Turner laughs again. Suddenly, Straker turns and strafes the area behind him with machine gun fire.
Suddenly Turner's chest shows a series of bloody bullet holes across it. He has a surprised expression on his face as he dies, dropping the key. Straker drops his gun, runs and grabs the key.
Straker runs back to his mini-car and climbs into it. The car starts and he drives off, towards the smaller office building.
EXTERIOR: ROOF LOOKING DOWN AT GROUND
Straker's mini-car drives up and Straker gets out. He climbs the ladder to the roof, puts the key into its slot in the side of the mortar launcher. Straker aims the mortar launcher.
EXTERIOR: U.F.O.
As seen through the view finder.
CLOSE SHOT: Straker fires the mortar launcher.
EXTERIOR: OVERHEAD
The U.F.O. is struck by the rocket. There is an explosion on one side of the U.F.O. and red smoke pours out. The U.F.O.s rotation becomes uneven, the craft moves away.
EXTERIOR: ROOF
Straker runs towards the little elevator door on the roof.
INTERIOR: SHADO CONTROL ROOM
Straker runs into the room, on the upper level and begins smashing equipment with a crowbar. As he begins to beat on the equipment, everything unfreezes. Suddenly, there are all the normal sounds of equipment running and people moving. Foster sees Straker beating on the equipment and steps towards him:
FOSTER
Commander, what's wrong?
Foster's question does not register.
INTERIOR: SHADO MEDICAL CENTER ROOM 1
Straker is sitting up in the bed, thrashing as Jackson and Henderson hold his arms. Suddenly, he stops struggling, exhausted. He is breathing raggedly, trembling. Slowly, he looks up at Henderson standing over him. He seems frightened and confused, then, his head drops forward and he drops back against the mattress. Jackson gestures for Henderson to step back. He does so.
JACKSON
It's all right, Commander, it's all right.
Straker flinches as Jackson touches his wrist to check his pulse.
JACKSON
(gently)
No, try... try to relax.
HENDERSON
(to Foster)
It's incredible.
Jackson straightens up from checking Straker's condition and steps over to Henderson and Foster.
JACKSON
Yes, General, but there are more things...
HENDERSON
(cutting Jackson off)
But, how?
JACKSON
I'm not sure, but, in some way, they were able to expand a moment in time. Commander Straker experienced such an expanded moment.
CLOSE SHOT
Straker is lying in the bed, exhausted. His eyes are half open, but he isn't really seeing anything. Then, his eyes close.
U.F.O. is the © and property of ITV Studios Global Entertainment and used for promotional purposes only.
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