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THE FACELESS ONES

by DAVID ELLIS
and MALCOLM HULKE

EPISODE ONE

first broadcast - 8th April 1967

1. GATWICK AIRPORT

(Gatwick Airport is a joy to some people, a pain to others and to the most of the British Public simply a way of getting from Point A to Point B. As the episode starts, we see the titles shown over a plane landing, some people boarding a plane, a radar dish, and a plane preparing to take off.)

2. RUNWAY

(With its usual fare of being totally safety conscious and taking care of its crew, the TARDIS lands right in the middle of a runway! After it has landed two people walk outside. The first of the four out of the TARDIS is JAMIE and as he leaves he ducks down instinctively as an aeroplane roars overhead. He holds on to the DOCTOR, who is the next one of the TARDIS.)

JAMIE: It's a flying beastie!

(What JAMIE is referring to is a large aeroplane coming into land on the runway which has now got a whacking big police telephone box on it. The DOCTOR sees the danger and start to drag JAMIE away. Two other people come out of the TARDIS - a man and a woman. The doors close behind them. BEN and POLLY take one look at the aeroplane that is rushing towards them and leg it after the DOCTOR and JAMIE. Behind them, the pilot of the plane has managed to pull it up into the air again, just missing the TARDIS and the four travellers.)

3. NEAR THE RUNWAY

(A policeman, on patrol, suddenly sees the travellers as they run off the runway.)

POLICEMAN: Hey, you! Stop!
DOCTOR: (To the others.) Scatter!

(The TARDIS crew all run off in different directions and the policeman, seeing that BEN is the closest to him, starts running off after him.)

4. AIRPORT CONTROL ROOM

(The COMMANDANT (the manager of the Airport) is listening with an expression of icy disbelief to one of his subordinates, a traffic controller called MEADOWS.)

COMMANDANT: (Incredulously.) The pilot said what?
MEADOWS: (Desperately.) A police box on the runway.
COMMANDANT: A likely story. Tell him to get back in the stack and await further instructions.
MEADOWS: Yes sir.

(The COMMANDANT turns to his assistant and he marches over to the big desk in the corner of the control room. His assistant, JEAN ROCK, is already dialling a number. She is an attractive, sensible-looking young woman with short fair hair.)

COMMANDANT: Miss Rock, get the Airport Police.

(We close in on MEADOWS as he sends out a message to the plane that nearly crashed with the TARDIS.)

MEADOWS: Gatwick Control to Sugar Delta X-Ray? Return to stack.
COMMANDANT: Police? Commandant here. In-bound aircraft reports obstruction on intersection of Runways Five and Two. Investigate and report back. Police Box!

5. AIRPORT POLICE BUILDING

(We see two policemen come out of the building and then drive off on their motorbikes... and later they take the TARDIS and drive off with it on the back of a lorry...)

6. ANOTHER PART OF THE AIRPORT

(We see the policeman have a look around and BEN, hiding behind the door to a building, sees the policeman and hides again.)

7. BEHIND A PLANE

(The DOCTOR and JAMIE are each hiding beneath the two enormous wheels of a grounded airliner.)

DOCTOR: Jamie, come over here with me. Come on.

(JAMIE runs over to join him. The DOCTOR looks round. The others are nowhere to be seen. However, there are lots more policemen in sight now, zooming about the airport perimeter on motorbikes, patrolling the scattering of airport buildings on foot. The DOCTOR sighs, little knowing that for one of their party there was far more serious trouble on the way...)

8. CHAMELEON HANGAR

(As a policeman turns the corner of the building, POLLY ducks through the nearest open doorway and finds herself in the shadowy gloom of what looks like a little hangar that has been converted to a combined store-room and office. Shelves line the walls, filled with a mixed clutter of papers, files, cans of oil and aircraft spare parts. There are crates scattered about the floor, and POLLY ducks behind one of the largest as she hears footsteps and voices coming towards her. Peering round the edge of the crate, she sees an angry-looking young man in a light grey suit striding determinedly towards the door by which she entered. He is clutching a large buff envelope as if it was something very important to him. Hurrying in pursuit is a dark, rather sinister-looking man. He has a gloomy and almost haunted face and he wears the dark blue uniform of an airline pilot. The pilot is called SPENCER.)

SPENCER: Just a minute.

(The grey-suited man pauses and turns.)

SPENCER: Give me that envelope!

(Ignoring him, the man starts moving towards the door.)

SPENCER: I would advise you to stop!

(SPENCER draws some kind of pistol from his pocket. The grey-suited man turns again, sees the weapon and turns to run for the door. Instantly the pilot fires. Light seems to flash from the gun and the man with the envelope spins round, clutching at his neck. He screams once, horribly, and then falls to the ground. Snatching the envelope from the fallen man's clutch, SPENCER takes a blanket from a nearby shelf, tosses it carelessly over the body, then turns and mounts a couple of steps that lead to a raised, enclosed inner area at the rear of the hangar.)

9. CHAMELEON TOURS' HANGAR, INNER ROOM

(The small room is a tiny cluttered office holding little more than a table a chair and a telephone. On the rear wall rows of shelves hold maps, charts and flight manuals all jumbled together. SPENCER goes over to the wall, touches a hidden control and the entire wall slides back, revealing a kind of mini-control room beyond, its wall crammed with instrument consoles and monitor screens. SPENCER goes inside and the door closes behind him.)

10. CHAMELEON TOURS' HANGAR, SECRET ROOM

(Once inside, he leans forward and operates some controls. One of the monitor screens comes to life showing a head and shoulders view of a fair-haired man with a broad, somehow cat-like face and hooded eyes.)

SPENCER: Can you come quickly? Trouble.
BLADE: (OOV.) Trouble? What happened?

(There is a sort of languid arrogance in his voice.)

SPENCER: The postcards. Someone found them.
BLADE: (OOV.) Right.

(The screen goes dark. The man in the control room turns his attention to another monitor which seems to have switched on automatically. This one shows POLLY, kneeling by the body, examining it...)

11. CHAMELEON TOURS' HANGAR

(As SPENCER comes charging down the steps POLLY hears him coming, straightens up, and sprints through the open door. SPENCER hurries after her. From the doorway he sees her running frantically across the Tarmac. Making no attempt to give chase, SPENCER draws the compact little weapon from his pocket and takes careful aim. Just as he was about to fire, a motorcycle policeman zooms into view. Hurriedly pocketing the weapon, SPENCER turns and hurries back into the hangar.)

12. ANOTHER BUILDING

(BEN has eluded his pursuer, and is lurking behind one of the airport's out-buildings wondering what to do next. Suddenly a lorry drives past. Perched on the back of the lorry, which is escorted by motorcycle police, is the TARDIS. BEN looks on helplessly, as the lorry is being followed by a pair of policeman on motorbikes. One of the policeman seems to be instructing the others, with hand signals, to put the TARDIS there - but we don't see what happens next...)

13. AIRPORT CONTROL ROOM

COMMANDANT: (Into phone.) All right, all right. So you dumped it by number four hangar, but what was it?

(He is told.)

COMMANDANT: It was a police box? (To JEAN) Get me the police chief.
COMMANDANT: (To others in control room.) All right you can bring those planes down now, the obstruction's been cleared.
MEADOWS: Right, sir.

(JEAN picks up the phone and begins dialling.)

JEAN: Do you think it was some kind of practical joke, sir? Students or maybe someone?
COMMANDANT: Well, whoever it was they're going to pay for it as soon as I get my hands on them. I'm not going to have the lives of passengers endangered by practical jokers or anyone else.

(JEAN is now talking into the phone.)

JEAN: Superintendent Reynolds? I have the Commandant for you.

(She gives the phone to the COMMANDANT.)

JEAN: The chief of police.
COMMANDANT: (Into phone.) Listen, what's all this about a police box on the runway?

(He breaks off at the sound of the angry voice at the other end of the line. For once the COMMANDANT is dealing with someone equally as forceful as himself.)

COMMANDANT: Oh. Well, security's got to be tightened up all round.

(Turns to JEAN as he puts the phone down.)

COMMANDANT: He reports that four suspects were seen running away from it.
JEAN: Did they catch them?
COMMANDANT: No, idiot of a policeman lost them. They're probably miles away by now. Get me Immigration. Tell them to let me know if any suspicious characters are seen wherever.

14. BEHIND PLANE

(The hunt seems to have moved away from their area and the DOCTOR and JAMIE have emerged cautiously from hiding and are making their way past the scattered airport building in this relatively quiet corner of the field. Suddenly JAMIE points as a familiar blonde-haired figure comes round the corner of one of the buildings.)

JAMIE: There's Polly!
DOCTOR: Polly! Over here!

(POLLY runs over to them.)

POLLY: Doctor, I... I've just seen a man killed.

(Instinctively JAMIE glances upwards.)

JAMIE: By one of the beasties?
POLLY: No, no. He was murdered by another man.
DOCTOR: Get your breath, Polly, and tell us exactly what happened.
POLLY: Well, I went into the hangar, to get away from a policeman. And there were two men in there. One of them had a gun and he shot the other one.
DOCTOR: The murderer, did he see you?
POLLY: Well he chased me, but I... I managed to lose him.
DOCTOR: Could you find this hangar again?

(POLLY gestures in the direction from which she has come.)

POLLY: Well I... I think so, I remember the name. It was Chameleon something-or-other...

(She looks round.)

POLLY: Hey, where's Ben?
DOCTOR: We haven't seen him. Come on, let's find this hangar.
POLLY: But listen, the man with the gun. He'll be looking for me!
JAMIE: Ah, we'll look after you. Now come on.
POLLY: But where's... what about Ben?
JAMIE: Aye, we'll find him. Come on.

(They move away.)

15. CHAMELEON TOURS' HANGAR

(When SPENCER returns from his attempt to catch, or rather kill, POLLY, he finds BLADE standing over the body, staring down at it. He looks up as SPENCER enters.)

BLADE: Who was he?
SPENCER: He found the postcards.
BLADE: His name?
SPENCER: I don't know. I caught him in the office. He found evidence. I had to stop him.

(BLADE looks at him for a moment then kneels beside the body, going through its pockets with swift efficiency, removing all identification. He straightens up, a little folder in his hand.)

BLADE: You killed Detective Inspector Gascoigne. A policeman.
SPENCER: Do you think a parent sent him?
BLADE: Possibly. It's doesn't matter The important thing is that nobody should find him. Arrange disposal.

(SPENCER turns, making for the inner office. Tossing the blanket back over the corpse and looking at the postcards, BLADE follows. They both pass through the little office and through into the secret control room beyond.)

16. CHAMELEON TOURS' HANGAR, SECRET ROOM

(By the time BLADE comes in, SPENCER is talking to someone over the communication console.)

SPENCER: All right. Get it over here as quickly as possible.

(He turns to BLADE.)

SPENCER: A container is on the way.
BLADE: Right.

(He holds out the dead man's wallet, warrant card, and various other papers of identification.)

BLADE: Destroy this.

(As SPENCER takes the papers BLADE points to three suitcases stacked in the corner of the little control room.)

BLADE: Why have you left those suitcases there?
SPENCER: The detective... He interrupted me.

(Once again, BLADE just looks impassively at him. Hurriedly SPENCER touches a control and a panel in the wall slides back. One by one he thrusts the suitcases through, and there is a faint rumble as the automatic conveyor belt bears them away. As the last suitcase disappears, a warning signal sounds and the spy monitor lights up. This time it shows the DOCTOR, JAMIE & POLLY standing over the body.)

BLADE: Spencer!

(The voices of the new arrivals come through a speaker.)

POLLY: (Pointing at the body.) Look. And the bloke came out of that door there.

(She points the door out and the DOCTOR charges over to have a look about.)

DOCTOR: Is it locked? Is anyone in there?

(The DOCTOR examines the door.)

DOCTOR: No, its locked. There's nobody there.

(He checks the body.)

DOCTOR: Polly, this man that killed him. Would you recognise him again?
POLLY: Well, yes. He chased me. I'd recognise him anywhere.

(BLADE looks at SPENCER.)

BLADE: (Dispassionately.) Fool!

17. CHAMELEON TOURS' HANGAR

(The DOCTOR kneels beside the body again, examining it. He looks up.)

DOCTOR: Polly, how do you say he was killed?
POLLY: With a gun.
DOCTOR: Can you describe it to me?
POLLY: No. It was... it was too far away. Why?
DOCTOR: This man was electrocuted. His clothes are all scorched!
POLLY: It was definitely some kind of a gun, Doctor.
DOCTOR: Maybe. But not one that's not been developed yet on this planet.

18. SECRET ROOM

(BLADE looks at the scruffy little figure on the monitor.)

BLADE: This man they call Doctor... Where does he get his knowledge?
SPENCER: He looks like a normal being.

(There is a suggestion of contempt in his voice, as if a human being is something of very little account.)

BLADE: More intelligent then most. He is a threat to our operation.
SPENCER: I'll kill him.
BLADE: No. Get the girl. She can identify you. We can deal with the man later.
SPENCER: He may talk.
BLADE: So? Nobody will believe him.

19. HANGAR

(Carefully the DOCTOR spreads the blanket over the body.)

DOCTOR: We must report this to the authorities.
JAMIE: That man who chased us, we could find him maybe.
DOCTOR: What, the policeman? Oh, no, no, Jamie. We must find the man in charge in this place.

(POLLY looks at the body.)

POLLY: But what about him? We can't just leave him here.
DOCTOR: (Practically.) There's nothing else we can do. Now, let's find the main airport building. Come on.

20. AIRFIELD NEAR THE HANGAR

(SPENCER waits... A moment later, he sees first the older man pass by, and then the young lad.)

JAMIE: Are you sure this is the right way, Doctor?
DOCTOR: This seems to be leading to the main airport building.

(As POLLY comes by he grabs her from behind and clamps a hand over her mouth to prevent her crying out. SPENCER points a silvery pen-like device at POLLY, and she suddenly becomes still, staring dazedly ahead of her. As he drags the girl back towards the inner control room, the DOCTOR and JAMIE stride on, unaware, for the moment, that their little group has suddenly diminished...)

21. HANGAR

(After a moment POLLY seems to recover a little.)

POLLY: Oh, what happened to me?

(SPENCER puts away the device and produces his gun.)

SPENCER: A temporary disablement. You'll be back to normal any second now. Up.

(He gestures with the gun, and POLLY follows him up the steps to the raised area.)

POLLY: Where are you taking me?
SPENCER: You'll soon find out.

(SPENCER takes her, still dazed and unresisting through into the office, and then through the secret panel into the inner control room where BLADE is waiting.)

22. SECRET ROOM

SPENCER: I've got her.
BLADE: Excellent. Did anybody see you this time?
SPENCER: She was following behind her friends and but they didn't notice.
POLLY: (Defiantly.) They'll come looking for me.
BLADE: Sit down.

(She is shoved into a chair. POLLY glares at them.)

POLLY: Murderers!
BLADE: You'll have to show us some respect, and answer my questions. Which airline do you work for?
POLLY: I don't understand.
BLADE: You must belong to some airline or the airport authority to be in this part of the airport.
POLLY: I've got nothing to do with the airport. We'd just arrived. We were lost. I was trying to find someone to help me and... I saw him kill a man.
SPENCER: You say you'd just arrived? How did you get here?
BLADE: We'll gain nothing by questioning her. The important thing is that we've got her.
POLLY: You don't think my friends are just going to forget me like that, do you?

(The signal sounds again, and the two men look at the spy monitor. Following their gaze, POLLY sees a baffled-looking DOCTOR and JAMIE staring about the hangar. She hears JAMIE's voice.)

JAMIE: I don't understand it, Doctor. Polly's nowhere to be seen. Something must have happened to her.
DOCTOR: It's locked Jamie. There's nobody there.

(Seeing that the two men are absorbed in watching the picture on the screen, POLLY makes a hopeless dash for the sliding door. Long before she reaches it, however, SPENCER grabs her again, putting his hand once more over her mouth. POLLY struggles furiously, but without the slightest effect. The tall, thin man seemed to be inhumanly strong. Abandoning her efforts, POLLY stands still. She hears the DOCTOR's voice coming through a speaker...)

DOCTOR: I'm afraid we're wasting our time here, Jamie. The sooner we find the authorities and tell it all to them, the better. Come on.

(BLADE switches off the monitor and looks thoughtfully at POLLY.)

BLADE: Yes, you're right. Your friends are worried about you. Well then we shall have to do something to stop them worrying...

(He smiles.)

23. IMMIGRATION

(The DOCTOR and JAMIE eventually enter the building and find themselves at the tail-end of a scurrying group of people. Hopefully the DOCTOR begins to follow them.)

DOCTOR: This seems to be the way, Jamie!

(The moving group stretches out, slows down and turns into a queue, moving slowly through the barrel of the immigration desk ahead, where an Official is checking passports and passing the passengers through one by one. The DOCTOR charges up to the desk where the Official is checking a lady's passport.)

DOCTOR: Excuse me, we're looking for someone in authority.

(The passport official, a bored young man called JENKINS, speaks without looking up from the passport he is examining.)

JENKINS: Just a moment, sir. All in good time.

(Deciding that the plump middle-aged lady in front of him probably isn't the head of the KGB in disguise, JENKINS hands her back her passport and waves her on.)

JENKINS: Thank you, Madam.

(He looks up at the DOCTOR.)

JENKINS: Now sir, your passport please.
DOCTOR: I've got no time for that. We want to see someone in authority!
JENKINS: I am in authority. Your passport please.
DOCTOR: You don't understand, we... we have something important to report!
JENKINS: Yes, sir. When you've found your passport.

(He beckons to the next passenger.)

JENKINS: The next one, please.
JAMIE: What's a passport, Doctor?
DOCTOR: Oh, some sort of official mumbo-jumbo.

(He shoves his way back to JENKINS' desk.)

DOCTOR: Look! We've just discovered a dead body out there!

(The DOCTOR waves vaguely in the direction of the airfield.)

DOCTOR: Did you hear me?

(JENKINS is unperturbed.)

JENKINS: Well, sir. If I were you I'd inform the police.
DOCTOR: Then please tell me where we can find them.
JENKINS: There's probably a policeman in the main concourse,
DOCTOR: And where is that?
JENKINS: Through this door and turn to your left.

(JENKINS points past his own barrier.)

DOCTOR: Well thank you. Thank you very much. Come on Jamie.

(As he moves forward, JENKINS puts out his arm, barring his way.)

JENKINS: May I see your passport, sir!?
DOCTOR: (Snaps.) We neither of us have passports! Now does that satisfy you?
JENKINS: I think you must be mistaken, sir. You couldn't have got on the aircraft without passports.
DOCTOR: What aircraft?
JENKINS: The one you arrived on, sir.
JAMIE: We didn't arrive on an aircraft.
JENKINS: Now look here sir, this joke has gone on far enough. You know and I know that you must have arrived here on the last inbound flight which was... Flight number 729 from Madrid.

(JAMIE promptly makes matters worse.)

JAMIE: Can we not tell him about TARDIS?

(The DOCTOR stamps on his foot.)

JENKINS: What's that?
JAMIE: It's the way we got here.

(JENKINS looks at the odd-looking pair, a suspicion forming in his mind.)

JENKINS: You gentlemen wouldn't know anything about a police box, would you?
JAMIE: That's just what I'm saying. We're...

(He breaks off again as the DOCTOR kicks him hard on the ankle, but the damage is done. JENKINS is already reaching for his phone.)

DOCTOR: I really think that our mode of conveyance is irrelevant. The important thing is that we've discovered a dead body out there and we want to report it to someone in authority.
JENKINS: I think you'll have plenty of opportunity to see someone in authority.
DOCTOR: Well thank you.
JENKINS: Will you take a seat please over there?

(He points to a wall bench, and resignedly the DOCTOR leads JAMIE over to it.)

DOCTOR: Thank you very much.

(JENKINS snatches up his phone and dials.)

JENKINS: (Into phone.) Give me the Commandant, please... Hello, sir, Jenkins here. Immigration, Desk Number Five. I think I've got two of your suspects here...

24. CHAMELEON TOURS' HANGAR

(After a good deal of wandering around the airport, BEN has come full circle and finds himself outside the little hangar with a sign reading Chameleon Tours over the door. Unaware that he is following in POLLY's footsteps, he moves cautiously inside. Inside we can see BLADE hitting some nails into a large crate. And he has just gone into the inner room when BEN appears.)

BEN: Anyone here? There's someone around. Anyone here?

(As BEN stares about at him in puzzlement, he is startled to hear a voice speak from the doorway not knowing that BLADE is watching them both.)

JEAN: Oh! Hello! Captain Blade about?

(A girl stands in the doorway. BLADE comes forward.)

BEN: I don't know. I'm a bit lost.
BLADE: You're looking for me?
JEAN: Yes, I have your flight schedules here. They're all in order.

(BLADE takes the sheaf of documents.)

BLADE: Thank you.

(With a friendly nod to BEN, the girl disappears.)

JEAN: Goodbye.

(BLADE turns round, his face cold and hostile.)

BLADE: And what do you want?
BEN: I'm looking for the way out, mate.
BLADE: This is private property. Visitors are not welcome. Do you belong to the airport staff?
BEN: Yeah, I started today. But I didn't mean to come in here. I just got lost, see.
BLADE: Are you sure?
BEN: Of course I am. Look, are you going to direct me or not?

(The man called BLADE looks at BEN with an expression of ironic amusement as though he doesn't believe a word BEN is saying but is quite unconcerned about it.)

BLADE: Yes, of course. Come on, I'll show you the way.

25. IMMIGRATION

(The COMMANDANT fixes the DOCTOR with a look of steely disbelief.)

COMMANDANT: You say this girl actually witnessed a murder?
DOCTOR: Yes, she saw the man killed.
JAMIE: He was electrocuted, with a ray gun!

(Once again, JAMIE's well-meaning intervention does far more harm than good. The COMMANDANT stares at him.)

COMMANDANT: A what?
DOCTOR: What does it matter what sort of gun. The point is he was killed and my friend saw it happen!
COMMANDANT: Where is she? I'd like to talk to her.
JAMIE: Well that's another thing, She's vanished.
COMMANDANT: Oh, people who vanish. Ray guns! Is this some sort of joke?
DOCTOR: (Indignantly.) You wouldn't think it a joke if you'd come and see the body.

(The COMMANDANT looks at JENKINS.)

COMMANDANT: What flight did these people come in on?
JENKINS: Well sir, they came with the passengers from Flight 729 from Madrid. But they've no passports.

(Immediately the COMMANDANT seizes upon this new offence.)

COMMANDANT: Perhaps you kindly explain why you have no passports?

(The DOCTOR draws himself up to his not very impressive height and speaks in a loud, firm voice.)

DOCTOR: Oh look, we're all wasting time! Now, are you going to come and see that body, or am I going to find someone who really is in charge in this place?

(The COMMANDANT rises to the challenge.)

COMMANDANT: I am in charge in this place, thank you! Now, you'll both accompany me to this hangar, immediately.
DOCTOR: Thank you. Thank you very much. At last!

(He is being ordered, to do exactly what he'd wanted to do all along. Still, as long as they get there...)

COMMANDANT: (To JENKINS.) Tell Air Traffic Control where I am.
JENKINS: Yes, sir.

(His face saved and his authority restored, the COMMANDANT waves the DOCTOR and JAMIE back the way they had come and follows after them. JENKINS watches them go and then picks up the phone and dials...)

JENKINS: Immigration Desk Number Five, here. Number One's just gone to the hangar area and he wanted me to let you know. As a matter of fact, he has just gone to look for a dead body...

(He listens to the voice at the other end for a moment, then grins.)

JENKINS: Yes, It's going to be one of those days, isn't it.

26. CHAMELEON TOURS' HANGAR, SECRET ROOM

(BLADE takes a postcard, bearing a picture of the Eiffel Tower from a stack, takes a French postage stamp from a sheet, sticks the stamp onto the postcard and then puts the card onto another stack. He reaches for another postcard, another stamp. The sliding door opens and SPENCER comes in.)

BLADE: Get her?
SPENCER: She's being processed. They can take another on the next flight.
BLADE: Excellent.

(BLADE rises and goes to a tall green cabinet that occupies the whole of one corner of the little control room. It gives off a faint, almost, inaudible hum, like a refrigerator. BLADE takes a small plastic box from the top of the cabinet, opens it and takes out a large hypodermic. He opens the door of the cabinet and an arm flops out, dangling lifelessly. The arm ends in a blobby shapeless hand with fingers like sausages. Lifting the arm, BLADE makes a careful injection into the veins above the wrist. Then he tucks the arm back into the compartment and closes the door. Suddenly the warning note sounds and the spy monitor comes to life. A little group of people appears on the screen...)

27. CHAMELEON TOURS' HANGAR

(JAMIE stares blankly down at the spot where they had found the body.)

JAMIE: The body! It... it's gone!
COMMANDANT: (Sarcastically.) You're quite sure you got the right hangar?
JAMIE: Aye, the name's up outside. The body was lying just here!
DOCTOR: Well, let's see what we have got, shall we?

(He rummages in his pockets and produces a large magnifying glass, a pair of tweezers and an envelope. Kneeling down, he examines the dusty floor through the magnifying glass and picks something up with tweezers. The COMMANDANT regards him with weary exasperation.)

COMMANDANT: What exactly are you doing?
DOCTOR: For the police of course. The trouble is, I can't tell them who he was.
COMMANDANT: Some sort of mystery man, no doubt?

(Impervious to the COMMANDANT's sarcasm, the DOCTOR nods eagerly.)

DOCTOR: Yes, as a matter of fact he was. There was nothing in his pockets to identify him.
COMMANDANT: Oh, a man with nothing in his pockets?
DOCTOR: Yes, I was rather surprised myself. Hmm. No, wait a minute, there was one thing...
COMMANDANT: What did he have in his pocket?

(The DOCTOR fishes in his top pocket and hands something to the COMMANDANT.)

DOCTOR: This!
COMMANDANT: A postage stamp?
DOCTOR: Ah, but it's Spanish, and it hasn't been used!
COMMANDANT: Oh, I am sure that'll make all the difference?
DOCTOR: Exactly!

(He resumes his examination of the floor.)

DOCTOR: Hello, this is interesting!
COMMANDANT: What have you found now?
DOCTOR: It's burnt fibres!

(Carefully the DOCTOR puts the tiny charred shreds of cloth into his envelope. JAMIE is examining the side of a packing case close to the spot where they'd found the body.)

JAMIE: What about this, Doctor? This wasn't here before. It's a burn mark.

(The DOCTOR studies the side of the packing case.)

DOCTOR: You're right, Jamie. That's quite new. Hmm. Well it's good to see someone is using their intelligence.

(The DOCTOR glares reproachfully at the COMMANDANT. By now the COMMANDANT has had more than enough.)

COMMANDANT: Oh, I've had enough of this. You two are coming with me.

(But the DOCTOR isn't listening. He is absorbed in the study of the burn mark.)

DOCTOR: That was definitely made by a ray gun.
COMMANDANT: (Just holding on to his temper.) Ray gun, burnt fibres, foreign stamps...
DOCTOR: Unused foreign stamps.
COMMANDANT: All right, unused foreign stamps. I must be as mad as you are even to be listening you!

(The DOCTOR gets up, and thoughtfully wipes his hands on his voluminous handkerchief.)

DOCTOR: You know what they've done with it, don't you?
COMMANDANT: Done with what?
DOCTOR: The body. Somewhere there's a large packing case.

(JAMIE points at...)

JAMIE: Right behind you, Doctor!

(The packing case to which JAMIE is pointing stands in a gloomy corner of the hangar. It is long and low and ominously coffin-like in shape. The DOCTOR hurries over to it. He begins heaving at the lid, but it is firmly nailed down. Suddenly a man in pilot's uniform appears from the inner office. He watches the DOCTOR's efforts for a moment.)

BLADE: (Politely.) Can I help you?
COMMANDANT: Are you connected with Chameleon Tours?
BLADE: Yes. I'm Captain Blade, Chief Pilot.

(The COMMANDANT waves towards the DOCTOR and JAMIE.)

COMMANDANT: Ah, these gentlemen seem to think there's an incident happened in here.
BLADE: An incident?

(Feeling like a complete idiot the COMMANDANT says awkwardly.)

COMMANDANT: Would you mind if we had a look in this packing case?

(BLADE looks puzzled.)

BLADE: May I ask who you are?
COMMANDANT: I'm the Commandant.
BLADE: Yes, of course.

(He takes a crowbar from a nearby shelf, prizes off the nails holding down the lid one by one.)

BLADE: What you expect to find?
JAMIE: A dead man!
BLADE: How very interesting.

(BLADE gives him an amused look, and lifts off the packing case lid with a flourish. Everybody crowds round eagerly. The case is filled with plastic cups, thousands of them, neatly stacked in long rolls, one inside the other. The COMMANDANT takes out a cup, glares at it, then throws it back in the case.)

COMMANDANT: Plastic cups!

(He turns angrily to the DOCTOR.)

COMMANDANT: Now, I'm going to do some investigating of my own.
DOCTOR: (Brightly.) I'm glad I've roused your interest.
COMMANDANT: (Furiously.) Oh, but you have. And what I am going to investigate is you and why you're both here in the Airport. (To BLADE) Thank you, Captain Blade. (To the DOCTOR and JAMIE) Come on, you two, out!

(The DOCTOR sighs.)

DOCTOR: Come on, Jamie. We'd better humour him.

(They follow the COMMANDANT from the hangar. BLADE waits long enough to ensure that they are well clear of the hangar then turns...)

BLADE: (Calls.) Bring him down!

(SPENCER appears, leading a shambling figure by the elbow. It wears a long pilot's overcoat, the collar turned high, and a pilot's cap pulled low. The peak of the cap shades the upper part of the face, and a white silk scarf conceals the lower part. BLADE comes forward and takes the muffled figure's other elbow and helps it to negotiate the stairs. The figure stumbles and reaches out, clasping the rail with a shapeless hand.)

BLADE: All right?

(The muffled head nods slowly. Moving with painful slowness and guided by its two helpers, the figure moves down the steps and across the hangar towards the door.)

SPENCER: Will he survive?
BLADE: If we hurry.
SPENCER: There you are. We've got to get you to the Airport Building and... you'll be safe.
BLADE: He's reaching suffocation point. Hurry!

(Moving as quickly as they can, they lead the shambling figure towards the door.)

28. IMMIGRATION

(THE DOCTOR, JAMIE & COMMANDANT are back at the Immigration desk, where a somewhat bemused JENKINS is still on duty. The DOCTOR is still protesting...)

DOCTOR: If you'd had let me search the place properly...
COMMANDANT: That hangar is leased to a private charter company. I've no right to search in there, let alone you. Now, will you kindly sit down and keep quiet!

(He turns to JENKINS.)

COMMANDANT: Jenkins, get on to Superintendent Reynolds. Yeah, this is his job - these people are trespassing.
JENKINS: I've just got another flight coming through, sir.

(They can already hear the sound of many footsteps coming towards the desk.)

COMMANDANT: Oh, all right, I'll do it.

(He picks up JENKINS's phone. The DOCTOR and JAMIE are sitting glumly on the same wall-bench as before when the first passengers begin arriving at the desk. Suddenly JAMIE grabs the DOCTOR's arm.)

JAMIE: Doctor, look!

(The DOCTOR looks. POLLY is walking towards the desk with other passengers. The DOCTOR jumps to his feet, interrupting the COMMANDANT's call.)

29. AIRPORT CONCOURSE

(Steering and supporting the muffled figure between them, SPENCER and BLADE make their way across the Tarmac and into the main airport building. They guide their shambling charge along the corridors, up an escalator, across the main concourse...)

30. IMMIGRATION

DOCTOR: (Happy.) Commandant, this is the girl I was telling you about.

(POLLY gives him a puzzled look.)

POLLY: I beg your pardon?

(The COMMANDANT indicates the DOCTOR and JAMIE, who has come over to join him.)

COMMANDANT: Do you know these gentlemen?
POLLY: No. Why? Should I?
COMMANDANT: According to them, they know you.

(The DOCTOR gives POLLY a reproachful look.)

DOCTOR: Now where have you been, Polly?

(POLLY stares at him in astonishment.)

POLLY: Polly? My name isn't Polly. You must have made a mistake. I've never seen them before in my life!

(JAMIE and the DOCTOR look at each other with puzzled faces.)

31. MEDICAL CENTRE

(BLADE and SPENCER take their friend through a set of automatic glass doors marked Medical Centre. They lead their charge through the foyer and BLADE unlocks a door to an inner room, which is furnished with couches and examination tables. They help the figure to sit on one of the low tables and BLADE takes off the cap and scarf, revealing the creature's head, which we can only see from the back... There are no features - no hair etc... It is like a completely blank sphere, across which run pulsating veins...)

Next Episode

Doctor Who
PATRICK TROUGHTON

Jamie
FRAZIER HINES

Ben
MICHAEL CRAZE

Polly
ANNEKE WILLS

Commandant
COLIN GORDON

Captain Blade
DONALD PICKERING

Spencer
VICTOR WINDLING

Jean Rock
WANDA VENTHAM

Jenkins
CHRISTOPHER TRANCHELL

Meadows
GEORGE SELWAY

Gascoigne
PETER WHITAKER

Policeman
JAMES APPLEBY

Title Music by
RON GRAINER
and the BBC Radiophonic Workshop

Story Editor
GERRY DAVIS

Costumes
DAPHNE DARE (Credited, but only did costumes for parts 1&2.)
SANDRA REID (Not credited on screen, but did costumes for parts 3-6.)

Make-Up
GILLIAN JAMES

Lighting
HOWARD KING

Sound
GORDON MACKIE

Film Cameraman
TONY IMI

Film Editor
CHRIS HAYDON

Designer
GEOFF KIRKLAND

Producer
INNIS LLOYD

Director
GERRY HILL

(c) BBC TV

Transcribed by
LEE HORTON

 

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