THE SCRIPT FOR THE UFO EPISODE "CONFETTI CHECK A-OK" Transcription by Rob Hemmings. Introduction by Marc Martin. This is a transcription of a photocopy of a script for the UFO episode "CONFETTI CHECK A-OK". One of the photocopied pages had the bottom of the page chopped off, so I completed a line of dialog based on the line in the episode itself (scene 37 -- "from my loving wife"). The basic layout is maintained here, although the right margin has been relaxed so the text now extends to 80 characters in many places where it originally wrapped to the next line. Spelling errors and typos in the original were generally left uncorrected. Page breaks are marked with a unique character string, so if you would like to print out a copy of this file and maintain the original page breaks, simply use a word processor which allows you to replace these strings with page breaks. Some UFO scripts differ a lot from what appeared in the final episode. The CONFETTI CHECK A-OK script is largely the same as the episode, which the following notable exceptions: SCENE 5 -- There is more smalltalk during the wedding reception. SCENE 17 -- Henderson has more dialog in his brief prior to Straker's meeting at the U.N. SCENE 23 -- The U.N. delegates talk amongst themselves prior to Straker's entrance. SCENE 28 -- Straker initially refuses the job of SHADO commander! SCENE 35 -- A 77-second scene which was supposedly filmed but didn't make it into the final episode, showing Straker and Freeman recruiting Keith Ford and Nina Barry during the filming of a television program on UFO's. SCENE 43 -- Freeman reveals that the Rolls Royce driver from IDENTIFIED was killed by SHADO security! SCENE 66 -- More dialog in Nina's apartment. Enjoy! ------------------------------ CUT HERE -------------------------------- "U. F. O." T. V. SERIES "CONFETTI CHECK A - OK" by Tony Barwick (c)Century 21 Pictures Stirling Road Slough Bucks ***PAGE*** "CONFETTI CHECK A-OK" CAST LIST FREEMAN OPERATIVE STRAKER MOTHER OFFICER MARY CLERK PORTER MAN (L.A.P.) HENDERSON C.I.A. MAN FRENCH DELEGATE U.S. DELEGATE CHAIRMAN (ENGLISH DELEGATE) GERMAN DELEGATE AGENT SECRETARY FORD LLOYD NINA MAXWELL MASTERS FATHER DOCTOR NURSE ***PAGE*** "CONFETTI CHECK A-OK" SET LIST INT. CORRIDOR (STUDIO) INT. UNDERGROUND CONTROL (STUDIO) INT. STRAKER'S OFFICE (STUDIO) INT. WEDDING RECEPTION (STUDIO) EXT. ROAD(LOCATION) INT. CAR (STUDIO) EXT. ROAD LAY-BY (LOCATION) INT. RECEPTION MOTEL (STUDIO) INT. ROOM (STUDIO) INT. L.A.P.(LOCATION) INT. HOSPITAL (STUDIO) INT. WAITING AREA (STUDIO) INT. CONFERENCE ROOM (STUDIO) INT. SECURITY CHECK (STUDIO) EXT. HOUSE (LOCATION) INT. HOUSE (STUDIO) INT. HENDERSON'S OFFICE (STUDIO) INT. TV STUDIO (STUDIO) INT. LOUNGE.NIGHT. (STUDIO) INT. MISS EALAND'S OFFICE (STUDIO) INT. INNER OFFICE (STUDIO) INT. HALL (STUDIO) EXT. STUDIO LOT (LOCATION) EXT. STREET (LOCATION) EXT. SECOND CAR (STUDIO) INT. NINA'S APARTMENT INT. AMBULANCE STUDIO) INT. HOSPITAL (STUDIO) INT. INTENSIVE CARE UNIT (STUDIO) INT. HOSPITAL ROOM (STUDIO) ***PAGE*** FADE IN: 1 EXT. HARLINGTON-STRAKER STUDIO. DAY. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 2 INT. UNDERGROUND CORRIDOR. (STUDIO) 5 SECS STRAKER WALKS ALONG THE CORRIDOR TOWARDS THE CONTROL ROOM. CUT TO: 3 INT. UNDERGROUND CONTROL {STUDIO) 40 SECS FREEMAN STANDS NEAR ONE OF THE OPERATIVES WHO IS OFFERING HIM A CHURCHILLIAN CIGAR FROM A BOX. IN THE BACKGROUND WE SEE THAT SEVERAL OF THE OTHER MALE OPERATORS ARE SMOKING CIGARS. THE BACKGROUND TO THE SITUATION IS THAT THE OPERATIVE'S WIFE HAS JUST HAD A SON AFTER SEVERAL YEARS OF MARRIAGE. FREEMAN TAKES A CIGAR FREEMAN Congratulations. THE OPERATIVE GIVES FREEMAN A LIGHT. FREEMAN Decided on a name yet ? OPERATIVE We're still working on it. ANOTHER ANGLE STRAKER COMES IN THROUGH THE DOORWAY AND WALKS ACROSS THE CONTROL ROOM TOWARDS HIS OFFICE. THE OPERATIVE SEES HIM AND BEFORE FREEMAN CAN STOP HIM, MOVES OFF TOWARDS STRAKER. OPERATIVE Commander Straker. ON FREEMAN WISHING HE HAD STOPPED THE OPERATIVE, KNOWING THE MEMORIES THAT COULD FLOOD BACK INTO STRAKER'S MIND. ***PAGE*** 3 (continued) TWO SHOT FROM FREEMAN'S POV. OPERATIVE Have a cigar, sir. THE OPERATIVE COMES UP TO STRAKER AND OFFERS HIM A CIGAR. STRAKER GLANCES AROUND, SMILES A TIGHT SMILE AND TAKES ONE. THE OPERATIVE SAYS A FEW UNHEARD WORDS TO STRAKER THEN GLANCES BACK TOWARDS FREEMAN. ON FREEMAN HE GIVES THE FAINTEST SHAKE OF THE HEAD - "NO". TWO SHOT THE OPERATIVE GETS THE MESSAGE AND LEAVES STRAKER. STRAKER MOVES ON TOWARDS HIS OFFICE. ON FREEMAN HE WATCHES STRAKER, THEN MOVES TO FOLLOW HIM. CUT TO: 4 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO). 14 SECS STRAKER COMES IN, STANDS WITH HIS BACK TO THE OPEN DOORWAY, HEAD A LITTLE BOWED IN THOUGHT. FREEMAN COMES TO THE DOORWAY, HESITATES A MOMENT, THEN ENTERS. HE WALKS TO THE DESK AND PICKS UP THE LIGHTER. STRAKER GLANCES SIDEWAYS AT HIM. ANOTHER ANGLE THE TWO MEN TURN TO FACE EACH OTHER, BOTH KNOWING THE OTHER'S THOUGHTS, BOTH REMEMBERING. STRAKER PUTS THE CIGAR IN HIS MOUTH, FREEMAN LIGHTS THE LIGHTER. CUT TO: 5 INT. RECEPTION. DAY. (STUDIO) 102 SECS CLOSE ON CIGAR ANOTHER CIGAR, ANOTHER PLACE, ANOTHER TIME. ***PAGE*** 5 (continued) THE CIGAR IS LIT. PULL BACK TO SHOW FREEMAN LIGHTING IT FOR STRAKER. WE ARE IN THE EARLY 1970's. IT IS STRAKER'S WEDDING RECEPTION. HE IS DRESSED IN USAF UNIFORM. JUST A FEW GUESTS - ANOTHER USAF OFFICER THE BRIDE'S MOTHER AND FATHER, RUTLAND, FOUR OR FIVE OTHER COUPLES, MAYBE A YOUNGER SISTER. FREEMAN IS BEST MAN. A BABBLE OF CONVERSATION, A HAPPY ATMOSPHERE. ON STRAKER HE PULLS ON THE CIGAR, IT MAKES HIM COUGH A LITTLE. HE BEAMS AROUND, THEN WINKS ACROSS TO: ON MARY IN A STUNNING WEDDING DRESS. SHE CATCHES THE LOOK, SMILING QUICKLY, HER EYES SHINING. THEN SHE TURNS BACK TO CARRY ON HER CONVERSATION. WIDER ANGLE FREEMAN REFILLS THE GLASSES WITH CHAMPAGNE. HE COMES TO ED, WHO PUTS HIS HAND OVER HIS GLASS. FREEMAN Oh, come on Ed, I'm going to propose a toast. STRAKER What, another! STRAKER RELENTS, FREEMAN FILLS HIS GLASS. FREEMAN Sure. To champagne. FREEMAN MOVES ON THROUGH THE GENERAL LAUGHTER AND CONVERSATION. ANOTHER ANGLE WE FEATURE THE WEDDING CAKE. FROM SOMEWHERE IN THE GUESTS - FREEMAN Mary... Ed... Come and cut the cake. ***PAGE*** 5 (continued) FREEMAN COMES UP TO THE CAKE. THE GUESTS GATHER ROUND. STRAKER AND MARY PICK UP THE KNIFE. A COUPLE OF MOMENTS OF FUN AS STRAKER AND MARY SORT OUT THEIR FOUR HANDS ON THE KNIFE. CS - HANDS CLASPED ON THE KNIFE - POISED OVER THE CAKE. MOTHER (VO) Don't forget to wish. TWO SHOT CLOSE ON ED AND MARY. SILENCE. THEIR EYES HOLD FOR A SECOND. WIDER ANGLE THEY CUT THE CAKE. THE CHEERS AND CHATTER START UP AGAIN. MOTHER AND FREEMAN TAKE OVER CUTTING THE CAKE AND HANDING IT AROUND. TWO SHOT THE USAF OFFICER COMES UP TO STRAKER. OFFICER I've got to split, Ed. You're a lucky dog. STRAKER I know it. Thanks A1. THE OFFICER LEAVES. WIDER ANGLE OF THE GUESTS WITH THE CAKE AND CHAMPAGNE. ON MARY SHE CATCHES STRAKER'S EYE ACROSS THE ROOM AND MOUTHS: MARY I'll go and change. ON STRAKER ANSWERING HER, MOUTHING THE WORDS. STRAKER Great. Love you. ***PAGE*** 5 (continued) HE PUCKERS HIS LIPS AND THROWS HER A KISS. TWO SHOT FREEMAN COMES UP WITH A BOTTLE OF CHAMPAGNE. FREEMAN I saw that. I saw that. HE FILLS STRAKER'S GLASS. STRAKER Hey! What are you trying to do, Alec? FREEMAN One for the road. CUT TO: 7 INT. CAR. DAY. (STUDIO) 28 SECS MARY DRIVES. SHE HAS CHANGED, AND ALSO WEARS STRAKER'S USAF CAP. STRAKER IS MERRY WITH CHAMPAGNE. MARY Where to sir? STRAKER (mock English) Anywhere James. Anywhere. STRAKER STARTS TO SING RATHER BADLY BUT VERY HAPPILY. MARY SMILES. ON MARY SHE NOTICES THE NOISE FROM THE BACK OF THE CAR. MARY Is there something wrong with the car, Ed? TWO SHOT STRAKER Wrong? ***PAGE*** 7 (continued) MARY That noise. STRAKER Alec Freeman. Last of the clowns. CUT TO: 8 EXT. ROAD. DAY. (LOCATION) 30 SECS THE CAR PULLS UP IN A LAYBY ALONG THE COUNTRY ROAD. JUST OFF THE ROAD IS A GATE INTO A FIELD WITH A HIGH HEDGE RUNNING EITHER WAY. CLOSER SHOT MARY AND ED GET OUT OF THE CAR AND GO ROUND TO THE BACK. THEY LOOK DOWN TO: POV SHOT AN OLD BOOT TIED ONTO THE BACK OF THE CAR. TWO SHOT THEY LAUGH, THEIR EYES MEET. A MOMENT OF LOVE. STRAKER KISSES HER GENTLY. ANOTHER ANGLE STRAKER OPENS THE BOOT (TRUNK). MARY STARTS TO UNTIE THE BOOT. AS STRAKER MOVES AWAY WITH A HOLDALL. MARY Where are you going darling ? STRAKER (VO) Ha... ha... CUT TO: 9 EXT. GATE. DAY. (LOCATION) 6 SECS ED CLIMBS OVER THE GATE INTO THE FIELD. MARY (VO) (laughing) Ed. CUT TO: 10 EXT CAR DAY LOCATION 38 SECS MARY UNTIES THE BOOT, LOOKS AT IT A MOMENT, ***PAGE*** -7- 10 (continued) THEN PUTS IT IN THE TRUNK AND CLOSES IT. ANOTHER ANGLE SHE LOOKS UP AND DOWN THE ROAD, THEN WANDERS OVER TOWARDS THE GATE. STRAKER STARTS SINGING FROM SOMEWHERE IN THE FIELD. MARY GOES AND LEANS OVER THE GATE LOOKING ALONG THE HEDGE. MARY (shocked) Ed, what are you doing? (amused) Supposing someone comes along? ON MARY SHE LAUGHS, THEN REACTS. A CAR IS COMING ALONG THE ROAD. MARY Ed, there's a car coming... Darling... MARY DOESN'T KNOW WHAT TO DO. SHE TRIES TO APPEAR NONCHALANT. STRAKER GOES ON SINGING. CUT TO: 11 EXT. ROAD. DAY. (LOCATION) 20 SECS THE CAR SLOWS DOWN AS IT PASSES MARY, BUT SPEEDS UP OFF UP THE ROAD. ON MARY SHE IS RELIEVED. SHE TURNS. TWO SHOT STRAKER STANDS ON THE OTHER SIDE OF THE GATE. HE HAS CHANGED INTO A SUIT. HE HOLDS HIS HANDS IN THE AIR. STRAKER New suit... new wife. THEY HOLD HANDS OVER THE GATE. MARY (gentle) New husband ... new life. ***PAGE*** -8- 11 (continued) THEY EMBRACE MAIN TITLES 60 SECS 1) STRAKER'S CAR ALONG THE ROAD 2) INSIDE THE CAR STRAKER NOW DRIVES 3) ON STRAKER 4) ON MARY 5) THE CAR PULLS INTO A MOTEL 6) STRAKER AND MARY GET OUT, STRAKER COLLECTS THE LUGGAGE AND THEY GO INTO THE MOTEL. CUT TO: 12 INT. RECEPTION. DAY. (STUDIO) 45 SECS MARY AND STRAKER COME IN. STRAKER LOOKS HER UP AND DOWN, THEN BOWS HIS HEAD. STRAKER Confetti check? MARY CHECKS HIS HAIR FOR CONFETTI. MARY A-OK. ANOTHER ANGLE STRAKER WALKS UP TO THE RECEPTIONIST. HE WOULD HATE LIKE HELL FOR THE CLERK TO KNOW THEY HAVE JUST BEEN MARRIED. MARY HANGS BACK A LITTLE. CLERK Hello sir. STRAKER Hello there. Do you have a room? CLERK Yes, sir. STRAKER (trying to throw it away) For my wife and I. CLERK Yes, sir. ***PAGE*** -9- 12 (continued) STRAKER Fine. Fine... er... HE GLANCES BACK AT MARY. SHE SMILES REASSURINGLY. CLERK If you will just sign the register, sir. STRAKER Surely. HE SIGNS, THE CLERK SNAPS HIS FINGERS. A PORTER GRABS THE BAG AND COLLECTS THE KEY. STRAKER Thank you. THE CLERK GIVES THE SMILE OF YEARS OF EXPERIENCE. CLERK Thank you, sir. STRAKER AND THE PORTER MOVE OFF. ON MAN WE MARK THE MAN TO THE AUDIENCE AS HE WATCHES STRAKER MOVE OFF. CUT TO: 13 INT. ROOM. NIGHT. (STUDIO) 72 SECS STRAKER PULLS A ROBE ON. MARY IS IN THE BATHROOM, THE DOOR IS OPEN BUT WE CAN'T SEE HER. MARY (VO) When are you going to tell me, darling? STRAKER Tell you what? MARY (VO) The secret. STRAKER If I told you it wouldn't be a secret any more. MARY (VO) Oh, come on, Ed. Where are we going? ON STRAKER ***PAGE*** -10- 13 (continued) HE WALKS OVER AND TAKES A COUPLE OF PLANE TICKETS FROM HIS COAT. STRAKER (teasing) Well, let's see... I've got the tickets right here. But I just can't make out what it says... TWO SHOT MARY COMES OUT OF THE BATHROOM, GOES TO GRAB THE TICKETS. STRAKER BACKS AWAY. STRAKER Oh, there it is. It's London to... to... no, I just can't read it. MARY MOVES FORWARD. STRAKER HOLDS THE TICKETS BEHIND HIS BACK. MARY LEANS AN ARM ROUND TO GET THE TICKETS. THEY ARE BOTH LAUGHING, THEN THE MOOD CHANGES. ON STRAKER HIS EYES SUDDENLY FULL OF LOVE TWO SHOT MARY - GENTLE, WARM, LOWERING HER EYES DEMURELY. STRAKER GENTLY LIFTS HER CHIN. THERE IS A KNOCK ON THE DOOR. WIDER ANGLE THEY RELUCTANTLY BREAK AWAY. STRAKER GOES AND OPENS THE DOOR. STRAKER Yes. STRAKER REACTS, THEN STANDS ASIDE AND THE PORTER WHEELS IN A TROLLEY WITH ICE BUCKET AND CHAMPAGNE. PORTER Compliments of the management sir. THE PORTER GIVES A KNOWING LOOK AND HURRIES OUT. STRAKER STANDS AMAZED - HOW DID THEY KNOW? MARY Confetti Check? ***PAGE*** -11- 13 (continued) STRAKER We blew it. THEY BOTH LAUGH AND FALL INTO EACH OTHER'S ARMS. CUT TO: 14 EXT. L.A.P. DAY. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 15 INT. L.A.P. DAY. (LOCATION OR STUDIO) 84 SECS MARY AND STRAKER STAND IN THE DEPARTURE AREA. VOICE OVER Will Passengers for BEA Flight number BE 250 for Athens please proceed to gate 6. MARY Come on, darling. STRAKER You knew ! MARY I just happened to find a couple of tickets on the floor this morning. STRAKER REMEMBERS THE NIGHT BEFORE. STRAKER Well, I was... preoccupied. MARY Mmmmm. SHE MEANS - "I'LL SAY YOU WERE". MAN (VO) Colonel Straker. ANOTHER ANGLE THE MAN WE RECOGNISE FROM THE MOTEL HAS COME UP TO STRAKER AND MARY. STRAKER Yes. ***PAGE*** -12- 15 (continued) MAN Could I have a word with you please, sir? THE MAN SHOWS STRAKER A PASS, A QUICK, WELL PRACTICED MOVEMENT. MAN It is important. THE MAN TURNS AND STARTS TO WANDER AWAY. STRAKER GLANCES AT MARY AND GIVES HER WHAT IS SUPPOSED TO BE A REASSURING SMILE, BUT IT SHOWS THIS WAS COMPLETELY UNEXPECTED. MARY SMILES BACK AND STRAKER WALKS OFF. ON MARY LOOKING OVER TOWARDS STRAKER, WONDERING WHAT IT IS ALL ABOUT. POV SHOT FROM MARY'S POV STRAKER AND THE MAN A FEW YARDS AWAY OUT OF EARSHOT. THE MAN SEEMS TO BE DOING MOST OF THE TALKING. STRAKER JUST NODS. THEN THE MAN MOVES QUICKLY AWAY. STRAKER TURNS. TWO SHOT STRAKER AND MARY STRAKER Listen Angel ... I just don't know how to tell you. MARY What is it, Ed? STRAKER (a deep sigh) I have to go and see General Henderson..... now. MARY TAKES JUST A BEAT TO COVER HER DISAPPOINTMENT, THEN SHE SMILES. MARY It's alright. I understand. STRAKER Mary, I'm so sorry... I could... ***PAGE*** -13- 15 (continued) MARY Darling, I understand. I married a Colonel in military intelligence. It was part of your fatal attraction. CUT TO: 16 EXT. HOSPITAL. DAY. (STOCK OR LOCATION) 5 SECS WE ESTABLISH A HOSPITAL SET IN THE COUNTRY SOMEWHERE IN ENGLAND. CUT TO: 17 INT. HOSPITAL. DAY. (STUDIO) 95 SECS A PRIVATE CONVALESCENT SUITE IN THE HOSPITAL. BEAUTIFULLY APPOINTED. GENERAL HENDERSON SITS IN A WHEEL CHAIR NEAR THE LARGE OPEN WINDOWS. HE WEARS DARK GLASSES TO COVER THE BURNS FROM THE CRASH. HE WORKS ON SOME PAPERS. HENDERSON TURNS AS HE HEARS THE DOOR OPEN. STRAKER COMES IN. HENDERSON Colonel... HE HOLDS OUT HIS HAND. STRAKER Hello, sir. THEY SHAKE HANDS HENDERSON Sit down... sit down. STRAKER SITS HENDERSON Listen, I'm sorry to foul you up like this. STRAKER It's alright. HENDERSON How did your wife take it? STRAKER She's fine. ***PAGE*** -14- 17 (continued) HENDERSON (a hint of bitterness) That's what you need in this job, an understanding wife. STRAKER How are you, sir? HENDERSON Me, bearing up. The doctors tell me I'm lucky to be alive. I just tell them to get the hell out of it and let me work. A PAUSE ANOTHER ANGLE HENDERSON Well, let's get down to it. HE STARTS HANDING STRAKER SOME OF THE PAPERS HE HAS BEEN WORKING ON. HENDERSON Apparently I'm stuck in this chair for another couple of months. Things are happening, Ed. A lot of it's going to fall on your shoulders. ON HENDERSON HENDERSON The special U.N. Committee meets the day after tomorrow. We get the go, no go decision then. ON STRAKER HE HAS BEEN QUICKLY CHECKING THROUGH THE PAPERS. WITHOUT LIFTING HIS EYES. STRAKER And you want me to be there? TWO SHOT HENDERSON Who else? IT IS A PLAIN STATEMENT OF FACT. STRAKER KNOWS THERE IS NO-ONE ELSE AS HE LOOKS AT HENDERSON. ***PAGE*** -15- 17 (continued) HENDERSON Those are the provisional estimates. The committee already have copies, but some of it may need explaining. We'll check through it together later. STRAKER NODS. HENDERSON Ed, you and I more than anyone else know how important all this is. I'm relying on you, and even though they may not know it, so are a lot of other people. ON STRAKER ALREADY THE CONFLICT OF RESPONSIBILITY AND PRIVATE LIFE IS BUILDING UP. STRAKER When do I leave? HENDERSON (VO) Tomorrow. 18 EXT. L.A.P. DAY. (STOCK) 5 SECS A 707 POWERS ALONG THE RUNWAY FOR TAKE OFF. CUT TO: 19 INT. L.A.P. DAY. (STUDIO OR LOCATION) 14 SECS ON MARY SHE GIVES A KIND OF INVOLUNTARY WAVE. SHE STANDS VERY STILL, UNHAPPY, FEELING ALONE. VOICE OVER (Very faint) Will passengers for flight BE 250 for Athens please proceed to Gate 6. THE FLIGHT SHE AND STRAKER SO NEARLY TOOK THE DAY BEFORE. 20 EXT. NEW YORK. DAY. (STOCK) 5 SECS TO ESTABLISH CUT TO: ***PAGE*** -16- 21 EXT. U.N. BUILDING. DAY. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 22 INT. WAITING AREA. DAY. (STUDIO) 44 SECS STRAKER COMES INTO THE WAITING AREA CARRYING A CASE. TWO MEN STAND NEAR A DOOR LEADING INTO A TOP SECURITY CONFERENCE ROOM. THEY HAVE C.I.A. WRITTEN ALL OVER THEM. STRAKER I'm Colonel Straker. C.I.A. MAN Could I see your pass. STRAKER GIVES HIM A PASS. THE CIA MAN CHECKS IT VERY CAREFULLY AND RETURNS IT TO STRAKER. CIA MAN Yes, sir, we had a call from Security downstairs. If you'd like to wait here. HE INDICATES A COUPLE OF CHAIRS. ON STRAKER HE GOES AND SITS IN ONE OF THE CHAIRS AT THE SIDE OF THE AREA. ON CIA MEN ONE LEANS ACROSS AND SAYS A FEW UNHEARD WORDS TO THE MAN WHO EXAMINED STRAKER'S PASS. HE LOOKS ACROSS AT STRAKER. ON STRAKER HE LOOKS BACK AT THE MEN - USED TO SECURITY ON THIS SORT OF LEVEL. WIDER ANGLE THE CIA MAN COMES ACROSS TO STRAKER CIA MAN You won't be able to take the case, sir. STRAKER I know the routine. How long have they been in there? ***PAGE*** -17- 22 (continued) CIA MAN Three hours. Looks like they could be another three. CUT TO: 23 INT. CONFERENCE ROOM. DAY.(STUDIO) 36 SECS THE UN COMITTEE CONSISTS OF A SMALL BUT HIGH POWERED GROUP REPRESENTING THE MAJOR POWERS. IT IS CHAIRED BY AN ENGLISHMAN. THE TABLE IS COVERED WITH FILES AND DOCUMENTS. FRENCH DELEGATE I still consider the overall estimate to be far too high. U.S. DELEGATE But you're not arguing against the necessity for such an organisation. FRENCH DELEGATE I agree that the facts as presented are convincing enough, but we must not be panicked into making this enormous appropriation on the strength of what might be an isolated case. U.S. DELEGATE Isolated case. This is the one incident that can be indisputably proved, but the back up evidence would fill this room. THE ARGUMENT IS AS BITTER AS IT WOULD GET AT THIS LEVEL. CHAIRMAN Er... I think this may be an opportune time to call in Colonel Straker. CUT TO: 24 INT. WAITING AREA. DAY. (STUDIO) 27 SECS ONE OF THE CIA MEN ANSWERS THE WALL PHONE AS IT BUZZES. HE LISTENS A MOMENT, THEN: CIA MAN Yes, sir. HE REPLACES THE PHONE AND TURNS TO STRAKER. ***PAGE*** -18- 24 (continued) CIA MAN Colonel. ON STRAKER HE UNDOES HIS CASE, FIRST MOVING THE CATCH TO DESTRUCT NEGATIVE, TAKES OUT A THIN PAPER FILE AND CLOSES THE CASE. WIDER ANGLE STRAKER CROSSES TO THE CIA MAN, OPENS THE FILE. CLOSE SHOT STRAKER TAKES THE PAPERS, HANDS THEM FACE DOWN TO THE CIA MAN SO THAT HE MAY NOT READ THEM. THE CIA MAN CHECKS BY FEEL TO MAKE SURE THEY ARE PAPER AND GIVES THEM BACK. WIDER ANGLE THE DOOR IS OPENED BY THE CIA MAN AND STRAKER STEPS INTO A SPACE ABOUT THREE FEET WIDE BETWEEN THE OUTER AND INNER DOOR. CUT TO: 25 INT. SECURITY CHECK. DAY. (STUDIO) 11 SECS THE OUTER DOOR IS CLOSED. A GLASS SCREEN WHICH FILLS ONE OF THE SIDE WALLS GLOWS GREEN AND WE HEAR THE CLICK OF AN ELECTRIC CHECK. CIA MAN (VO) Would you turn around, Colonel. STRAKER TURNS ROUND ONE FULL CIRCLE. CUT TO: 26 INT. WAITING AREA. DAY. (STUDIO) 5 SECS ONE CIA MAN NODS TO THE OTHER. STRAKER CHECKS OUT CLEAN FOR ELECTRONIC DEVICES. THE SECOND CIA MAN PRESSES A CONTROL ON THE WALL. CUT TO: 27 INT. CONFERENCE ROOM. DAY. (STUDIO) 270 SECS THE INNER DOOR SLIDES OPEN AND STRAKER WALKS ***PAGE*** -19- INTO THE CONFERENCE ROOM. ENGLISH DELEGATE Ah, Colonel Straker. STRAKER Gentlemen. ENGLISH DELEGATE Please sit down. STRAKER First I would like to apologise on behalf of General Henderson for his absence. As you probably know he is still recovering from injuries received in the car crash. STRAKER SITS DOWN. ENGLISH DELEGATE Thank you, Colonel. No doubt you will make an excellent substitute. ON ENGLISH DELEGATE ENGLISH DELEGATE I think the best way for us to proceed is on a question and answer basis. HE LOOKS AROUND THE DELEGATES INVITING QUESTIONS. GROUP SHOT HE IS BASICALLY AGAINST THE PROJECT. FRENCH DELEGATE Colonel, as representative of our respective Governments we're being asked to approve the largest financial appropriation ever envisaged for an international project. ON FRENCH DELEGATE FRENCH DELEGATE Two questions, is the whole project necessary, and if it is, are we getting value for money ? ON STRAKER STRAKER I believe the setting up of Shado is not only necessary but vital. Every day we just sit around and talk about it the potential danger increases. ***PAGE*** -20- 27 (continued) GROUP SHOT STRAKER As to your second question. I think this breakdown of expenditure might be helpful. STRAKER PASSES ROUND THE PAPERS FROM HIS FOLDER TO THE DELEGATES. THEY STUDY THEM A FEW MOMENTS. GERMAN DELEGATE A fleet of submarines.... A base on the moon... satelites.... STRAKER If I might point out, sir, we're confronted with alien space craft, possibly from another solar system. THE FRENCH DELEGATE IS HAPPY TO SEE THE DOUBT IN THE GERMAN DELEGATE'S FACE. FRENCH DELEGATE Maybe the General and Colonel Straker have been reading too much science fiction. HE SHAKES HIS HEAD AS HE LOOKS AT THE PAPERS. ON STRAKER STRAKER The Earth is faced with a power threat from an extra terrestrial source. We've moved into an age where science fiction has become fact. We need to defend ourselves. ON FRENCH DELEGATE FRENCH DELEGATE And how long would this... Defense Organisation take to set up. GROUP SHOT STRAKER We guestimate seven to ten years. ENGLISH DELEGATE Ten years. But you tell us Colonel the danger is imminent. ***PAGE*** -21- 27 (continued) STRAKER That's true, sir. But the type of organisation we need can't be set up overnight. All I can say is any delay only increases the danger. THE DELEGATES TAKE STRAKER'S POINT. TWO SHOT FRENCH DELEGATE AND STRAKER. FRENCH DELEGATE The estimate for security is astronomical. STRAKER It's a vital aspect. THE FRENCH DELEGATE LOOKS AROUND HIS COLLEAGUES. FRENCH DELEGATE Everything seems vital. ON STRAKER AN EDGE BEGINNING TO DEVELOP BETWEEN HIM AND THE FRENCH DELEGATE. GROUP SHOT GERMAN DELEGATE How would Shado be organised regarding personnel? STRAKER On strictly military lines. We would try and recruit the best people available. GERMAN DELEGATE Internationally. STRAKER Yes. ON FRENCH DELEGATE FRENCH DELEGATE And who would command this international... band of heroes? TWO SHOT ***PAGE*** -22- 27 (continued) US AND FRENCH DELEGATES U.S. DELEGATE My government has stipulated the Commander in Chief must be an American. FRENCH DELEGATE Yes, we know... U.S. DELEGATE As the nation being asked to dig a little deeper into its pocket... THE FRENCH DELEGATE INTERRUPTS FRENCH DELEGATE Naturally. Naturally. THEY GLARE AT EACH OTHER. ON ENGLISH DELEGATE ENGLISH DELEGATE We asked Colonel Straker here to answer our questions. I suggest we let him do so. ON STRAKER STRAKER Well, the Commander of Shado will have to be a man of dedication, single mindedness. A man who knows the enormous responsibility of the job and accepts it. GROUP SHOT WE SEE THE DELEGATES ARE IMPRESSED, AND LATER WILL FIND THAT BY THIS LITTLE SPEECH STRAKER INADVERTENTLY TALKED HIMSELF INTO A JOB. STRAKER I assumed it would be General Henderson. He would be my choice. A PAUSE. ENGLISH DELEGATE Are there any further questions? HE LOOKS AROUND THE DELEGATES. THERE ARE NO QUESTIONS. ***PAGE*** -23- 27 (continued) ENGLISH DELEGATE Thank you, Colonel Straker. ON STRAKER HE COLLECTS HIS PAPERS, PUTS THEM IN THE FILE AND STANDS WIDER ANGLE STRAKER WALKS TO THE DOOR ON FRENCH DELEGATE HE NARROWS HIS EYES AS HE WATCHES STRAKER ANOTHER ANGLE STRAKER TURNS BACK INTO THE ROOM STRAKER Monsieur Duval. THE FRENCH DELEGATE REACTS. STRAKER I understand you have three daughters. FRENCH DELEGATE Yes. STRAKER I hope you never find yourself staring down at one of their mutilated bodies. I hope the next UFO incident isn't in your hometown. ON FRENCH DELEGATE LOOKING AT STRAKER ON STRAKER MATCHING HIS LOOK. HE TURNS AND PUTS THE FILE INTO A DOCUMENT DESTRUCT DEVICE. ON ENGLISH DELEGATE HE TAKES A LEAD FROM THE PHONE AND PLUGS IT INTO A SOCKET ON A BOX ON THE DESK. IT IS A SECURITY PRECAUTION. THE PHONE IS DISCONNECTED DURING THEIR DISCUSSIONS. ***PAGE*** -24- 27 (continued) ENGLISH DELEGATE (into phone) Open the door please. ON STRAKER HE TURNS TO FACE THE DELEGATES. STRAKER Thank you for your time. THE DOOR OPENS. STRAKER EXITS. ON DELEGATES QUIET AND THOUGHTFUL. A LONG BEAT. ENGLISH DELEGATE Well, gentlemen? FADE OUT END OF ACT I ------ SPONSOR'S MESSAGE---- ***PAGE*** -25- ACT II FADE IN 28 INT. HOSPITAL. DAY. (STUDIO) 80 SECS START CLOSE ON HENDERSON IN HIS WHEEL CHAIR AS BEFORE. HENDERSON It's been approved. Unanimously. PULL BACK TO INCLUDE STRAKER. HE JUST NODS BUT THE RELIEF SHOWS ON HIS FACE. HENDERSON You did a great job, Ed. STRAKER I thought I'd screwed it up. I was only in there about ten minutes. HENDERSON LOOKS AT STRAKER A BEAT, HE HAS SOMETHING ON HIS MIND. HENDERSON Well, all we have to do now is work 16 hours a day for the next ten years. STRAKER Sure. ON HENDERSON HENDERSON There is, er, something else I have to tell you. TWO SHOT HENDERSON They appointed the C in C. STRAKER'S FIRST REACTION IS THAT IT'S HENDERSON, BUT HE SEES FROM HENDERSON'S FACE THAT THIS ISN'T SO. STRAKER Who..... ? HENDERSON You. STRAKER Me ! STRAKER IS STAGGERED AS HE LETS IT SINK IN. ***PAGE*** -26- 28 (continued) ON HENDERSON HENDERSON Again it was unanimous, but it seems the French delegate Duval was particularly insistent. ON STRAKER THINKING HARD. A FEW BEATS, THEN HE REMEMBERS THAT HENDERSON WAS THE OBVIOUS CHOICE. TWO SHOT HE TURNS TO HENDERSON STRAKER Sir... HENDERSON Why didn't they choose me ? Let's not kid ourselves, Colonel. What sort of shape am I in. What sort of shape will I be in in ten years? STRAKER In a couple of months you'll be up and about... as fit as ever. ON HENDERSON HE LOOKS AT STRAKER FOR A MOMENT. HENDERSON You can always refuse. But if you do it's got to be now. There'll be no turning back later. ON STRAKER A LONG BEAT. STRAKER Then the answer's no. TWO SHOT HENDERSON The answer's yes. It's got to be. - You know that better than anyone. CUT TO: ***PAGE*** -27- 29 INT. CAR. DAY. (STUDIO) 22 SECS CLOSE ON STRAKER AS HE DRIVES. HE IS DEEP IN THOUGHT. ANOTHER ANGLE MARY SITS AT HIS SIDE. SHE SEES ED IS PREOCCUPIED AND ASKS THE QUESTION TO BREAK HIS MOOD MORE THAN ANYTHING ELSE. MARY Tired, Ed? STRAKER Huh..... No. A PAUSE STRAKER Hey, do you know something? (a beat) I love you. MARY Do you? How much? STRAKER Oh, not too much. MARY SMILES AND SNUGGLES INTO HIS SHOULDER. CUT TO: 30 EXT. HOUSE. DAY. (LOCATION) 5 SECS IT COULD BE THE HOUSE USED IN A QUESTION OF PRIORITIES. CUT TO: 31 INT. HOUSE. DAY. (STUDIO) 28 SECS STRAKER, MARY AND AN ESTATE AGENT ARE IN THE LOUNGE. IT IS COMPLETELY EMPTY. AGENT This is a fine room. Plenty of scope. MARY Yes. MARY WALKS AROUND, ALREADY SEEING IT FURNISHED. TWO SHOT ***PAGE*** -28- 31 (continued) THE AGENT AND STRAKER WHO IS TRYING TO GET HIS BEARING. STRAKER Let's see now, the master bedroom is right above us here. AGENT Yes, with a smaller room just to the left if you remember. That'd make a fine nursery. STRAKER Yes. STRAKER GLANCES ACROSS AT MARY. ON MARY SHE RETURNS HIS LOOK. WIDER ANGLE STRAKER WANDERS OVER AGAINST A WALL TO SURVEY THE ROOM. CUT TO: 32 INT. ROOM. DAY. (STUDIO) 50 SECS CLOSE ON STRAKER. WE DO NOT REALISE THE SCENE CHANGE AS YET. HE LOOKS AROUND THE ROOM. STRAKER I like it. PULL BACK TO SHOW THE ROOM IS NOW FULLY FURNISHED. A COUPLE OF MONTHS HAVE ELAPSED. MARY IS IN THE ROOM - A CHANGE OF DRESS. SHE COMES OVER AND TAKES STRAKER BY THE HAND AND LEADS HIM TO THE SOFA. THEY SIT. ANOTHER ANGLE MARY CURLS HER LEGS UP AND SNUGGLES INTO ED. MARY The drapes will be coming tomorrow. STRAKER Great. ***PAGE*** -29- 32 (continued) MARY I've ordered a sort of non-colour. I hope you like them. STRAKER CLOSES HIS EYES. STRAKER Sure. A BEAT. MARY Oh, and the insurance Agent called twice. He's coming round tomorrow evening. ON STRAKER HE OPENS HIS EYES STRAKER I, er, have to work on tomorrow. I won't be home till around eleven. TWO SHOT MARY But darling, he's coming at eight. STRAKER Then he'll just have to make it some other time. MARY STRAIGHTENS UP ON THE SOFA, HER MOOD HARDENING. MARY I'll make some coffee. SHE STANDS AND LEAVES. ON STRAKER KNOWING HE HAS PLAYED IT ALL WRONG. CUT TO: 33 EXT. BUILDING. DAY. (STOCK) 5 SECS THE BUILDING WE HAVE ESTABLISHED AS HOUSING THE ASTRO-PHYSICAL COMMISSION. CUT TO: ***PAGE*** -30- 34 INT. HENDERSON'S OFFICE. DAY. (STUDIO) 60 SECS HENDERSON, NOW RECOVERED FROM HIS INJURIES, SITS AT THE DESK AND ANSWERS THE INTERCOM. SECRETARY (VO) Mr. Straker and Mr. Freeman, sir. HENDERSON Send them right in. STRAKER AND FREEMAN COME IN. HENDERSON Well, gentlemen, nice to see you. STRAKER My first recruit, sir. Alec Freeman. HENDERSON AND FREEMAN SHAKE HANDS. HENDERSON Glad to know you, Freeman. I've glanced through your record. Welcome to Shado. FREEMAN Thank you, sir. ON HENDERSON HENDERSON How do you like the office? STRAKER (VO) Great. HENDERSON I've been kicked upstairs to keep a fatherly eye on you, Colonel. I'll be holding the purse strings. WIDER ANGLE STRAKER DOESN'T REALISE HOW CLOSE HE IS TO THE TRUTH. STRAKER Sounds like that could be a lot of fun. How's the building programme coming along? HENDERSON Very well. In a couple of months the studio may be worth a visit. ***PAGE*** -31- 34 (continued) FREEMAN From the plans I'd say it's quite a construction job. HENDERSON Yes, it is. But I still think the main problem will be finding the men to man it. ON FREEMAN FREEMAN We're working on it. Though some of them aren't exactly masculine. CUT TO: 35 INT. TV STUDIO. NIGHT. (STUDIO) 77 SECS START CLOSE ON NINA BARRY. SHE IS TAKING PART IN A TV PROGRAMME WITH WILLIAM LLOYD. FORD IS THE INTERVIEWER. LLOYD These are the photographs I took. HE HANDS SOME SHOTS TO FORD. FORD I see, and you say the flying saucer hovered for about 30 minutes over your garden. LLOYD Yes, about that. FORD And yet no-one else in your neighbourhood saw it. LLOYD I can't speak for anyone else. Just the two of us. ANOTHER ANGLE TO SHOW FREEMAN AND STRAKER WATCHING THE INTERVIEW. FORD Ah yes ... Your... acquaintance Mr. Carter. He isn't able to be with us tonight I understand. ***PAGE*** -32- 35 (continued) LLOYD No. He's, er, indisposed. FORD Yes, I'm sure. ON NINA BARRY FORD Miss Barry, if I could turn to you for a moment. You are taking a post graduate course in electronics at London University? NINA That's right. WIDER ANGLE FORD And together with some of your colleagues you have examined Mr. Lloyds alleged photographs of a UFO. NINA Yes, we have. I'm sorry to say this, but in our opinion they're almost certainly all fake. LLOYD SHAKES HIS HEAD - NO. FORD Mr. Lloyd obviously doesn't agree, but how would you go about faking this sort of evidence? NINA Well, there are several ways. One would be to use an electronically controlled model. FORD A model of a UFO? NINA Yes, controlled from the ground in the same way as you would a model aircraft. ON FORD HE TURNS TO LLOYD ***PAGE*** -33- 35 (continued) FORD And isn't it true, Mr. Lloyd, that your friend Mr. Carter runs a TV repair business? LLOYD All I can say is, they're not faked. FORD Yes, well, we '11 just wish Mr. Carter a speedy recovery and let the viewers judge for themselves. Thank you, Miss Barry, Mr. Lloyd. ON FREEMAN AND STRAKER FORD (VO) Well, that seems to be it for tonight. We'll be with you at the same time tomorrow. STRAKER Check the girl, Alec. I'll have a word with the interviewer. ON STRAKER HE MOVES FORWARD AND GOES UP TO FORD AS HE LEAVES THE SET. STRAKER Mr. Ford. FORD Yes. STRAKER My name's Straker. FORD Straker... Ah, yes, I remember. You were involved in what was rumoured to be a UFO incident about a year ago. STRAKER Are you interested in the subject? FORD Very. If I'd realised you were here, Mr. Straker, I would have asked you to join my programme. ***PAGE*** -34- 35 (continued) STRAKER Maybe I'm here to ask you to join my programme, Mr. Ford. CUT TO: 36 EXT. HOUSE. NIGHT. (LOCATION) 5 SECS TO ESTABLISH STRAKER'S HOUSE. CUT TO: 37 INT. LOUNGE. NIGHT. (STUDIO) 57 SECS MARY SITS IN THE LOUNGE READING. SHE REACTS NERVOUSLY AT A SOUND FROM OUTSIDE, THEN SETTLES DOWN AGAIN. ON CLOCK IT IS HALF PAST ONE ON MARY SHE TRIES TO READ BUT HER EYES FLICK UP TO THE CLOCK. SHE IS WORRIED, STRAKER ISN'T HOME YET. SHE REACTS AS SHE HEARS A CAR COMING ALONG THE ROAD, WAITS IN ANTICIPATION, THEN STANDS UP AS SHE HEARS IT PULLING INTO THE DRIVE AND THE DOOR SLAM. WIDER ANGLE MARY WAITS PENT UP AS SHE HEARS STRAKER COME IN THE FRONT DOOR OF THE HOUSE. ON DOOR TO LOUNGE STRAKER COMES IN STRAKER Hello, darling. HE MOVES FORWARD TWO SHOT STRAKER KISSES HER ON THE CHEEK AND NOTICES HER NON-REACTION. STRAKER Sorry I didn't call, I, er, got tied up. ***PAGE*** -35- 37 (continued) MARY Do you know what time it is? STRAKER CHECKS HIS WATCH. STRAKER Why didn't you go on up to bed? MARY Because occasionally - just occasionally - I'd like to see my husband. Maybe even talk to him. STRAKER I'm sorry, these last couple of weeks have been pretty hectic. It'll break soon. MARY Ed, this is your home. Our home. We're supposed to be trying to build something together. STRAKER'S TONE IS "LET'S NOT START SOMETHING LIKE THIS AT THIS TIME OF NIGHT". STRAKER Oh, Mary. MARY No, Ed. How can you expect me to take this... work, work, work... till all hours of the day and night. ON STRAKER HE HARDENS A LITTLE STRAKER Because it happens to be necessary. ON MARY MARY I suppose the next step will be you won't bother to come home at all. ON STRAKER STRAKER Maybe that isn't such a bad idea. Maybe then when I did show up, I'd get some sort of reaction from my loving wife. ***PAGE*** -36- 37 (continued) ON MARY SHE IS HURT TWO SHOT STRAKER SEES HE HAS GONE A LITTLE TOO FAR. STRAKER I'm sorry. I didn't mean that. HE TAKES HER SHOULDERS STRAKER Look, I need a break - we both need a break. (a beat) Listen, we'll go out... next week sometime... paint the town. What do you say ? MARY NODS YES AND SNUGGLES CLOSE STRAKER Confetti check? ON MARY SHE SMILES. IT IS THEIR WAY OF BRINGING BACK WARM MEMORIES. MARY A-OK. ON STRAKER HE IS NOT SMILING. HE FEELS THE PRESSURE BUILDING UP AND KNOWS IT CAN ONLY GET WORSE. CUT TO: 38 EXT. STUDIO. DAY. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 39 INT. MISS EALAND'S OFFICE. DAY. (STUDIO) 38 SECS EMPTY. A CRATE STANDS IN ONE CORNER. STRAKER AND FREEMAN COME IN. THEY GO TO THE WINDOW AND LOOK OUT. ***PAGE*** -37- 39 (continued) STRAKER See that block they're building over there? POV SHOT FROM STRAKER'S AND FREEMAN'S POV WE SEE A BLOCK OF FLATS. STRAKER (VO) It's a cover. When they excavated the complex they ran millions of cubic feet of earth... ON STRAKER HE POINTS DOWN STRAKER .....from below, back over there. FREEMAN Security. Even at the cost of a building like that. STRAKER It'll be used. When it's completed a Government department are moving in. STRAKER GOES TO A JUNCTION BOX ON THE FLOOR WITH THE LEADS JUST TRAILING INTO THE WALL, AND PRESSES A BUTTON. THE DOORS TO THE INNER OFFICE OPEN. CUT TO: 40 INT. INNER OFFICE. DAY. (STUDIO) 39 SECS AGAIN IT IS EMPTY EXCEPT FOR THE DESK. VARIOUS WIRES TRAIL AROUND THE PLACE. STRAKER GOES TO THE DESK AND PRESSES A BUTTON. THE ROOM STARTS TO DESCEND. FREEMAN I hear we're going to install a voice print identification mechanism. ***PAGE*** -38- 40 (continued) STRAKER Yeah. I tried the prototype. It identified me as a female technician from Dublin. They said it was only a teething problem. FREEMAN They could be right. Come to think of it, you do look like one. STRAKER Hmm? STRAKER REALISES AS HE SAYS IT. STRAKER & FREEMAN A female technician from Dublin. STRAKER Yeah. I know. ON FREEMAN FREEMAN Nice to see you smile again, Ed. THE DOORS OPEN. FREEMAN MOVES FORWARD. ON STRAKER A MOMENT AS HE REALISES THE TRUTH OF FREEMAN'S REMARK. HE CAN'T REMEMBER THE LAST TIME HE SMILED. HE MOVES FORWARD. CUT TO: 41 INT. CORRIDOR. UNDERGROUND. (STUDIO) 5 SECS STRAKER AND FREEMAN WALK ALONG THE CORRIDOR. FREEMAN IS A LITTLE AHEAD, CHECKING ROUND WITH HIS EYES. STRAKER STILL SEEMS PREOCCUPIED WITH HIS THOUGHTS. CUT TO: 42 INT. UNDERGROUND CONTROL ROOM. (STUDIO) 31 SECS STRAKER AND FREEMAN COME INTO THE CONTROL ROOM. THE COMPLEX IS STRUCTURALLY COMPLETE BUT THE ELECTRONICS IS IN THE PROCESS OF BEING INSTALLED. CONDUITS LIE AROUND, HUNDREDS OF WIRES SPRAYING FROM THE ENDS WAITING TO BE CONNECTED UP. THE LIGHTING IS LOW KEY. MASTERS AND MAXWELL WORK AT INSTALLING THE EQUIPMENT. ***PAGE*** -39- 42 (continued) MASTERS Hello, sir. MAXWELL Hello, sir. THE GROUP EXCHANGE HELLO'S. STRAKER How's it coming along? MAXWELL Slow; but we'11 get there. MASTERS We're a couple of days behind schedule but we hope to make it up later. STRAKER Good. That's what I like to hear. ON FREEMAN FREEMAN POINTS TOWARDS STRAKER'S INNER OFFICE. FREEMAN Is that your office? ON STRAKER STRAKER Yes. Come in, I'll show you around. WIDER ANGLE STRAKER AND FREEMAN WALK TOWARDS STRAKER'S UNDERGROUND OFFICE. MASTERS AND MAXWELL RETURN TO THEIR WORK. CUT TO: 43 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 115 Secs THE DESK IS IN PIECES IN ONE CORNER WAITING TO BE ASSEMBLED. AGAIN THE LIGHTING IS LOW KEY. STRAKER AND FREEMAN COME IN. ON FREEMAN FREEMAN LOOKS AROUND. ***PAGE*** -40- 43 (continued) FREEMAN Well, it's all beginning to take shape. ON STRAKER STRAKER Yes. Shado HQ. The nerve centre of the whole organisation. (a beat) You know sometimes setting all this up seems like fighting a ten armed monster, the delays, the problems, security, personnel, a hundred holdups, a thousand details. TWO SHOT FREEMAN What drives you on... fighting the monster? STRAKER I don't know, something... inside me I guess. FREEMAN It's called dedication. STRAKER Pig headedness would be nearer. STRAKER MOVES OVER AND CHECKS A LIGHT, IT DOESN'T WORK. STRAKER I told Masters to fix that. ON FREEMAN HE CONSIDERS A LONG MOMENT. FREEMAN How's Mary? TWO SHOT STRAKER (off hand) Mary... fine.... she's fine. ON STRAKER HE DRAWS A DEEP BREATH ***PAGE*** -41- 43 (continued) STRAKER (very serious) No she isn't, she's problem number one. TWO SHOT STRAKER I'm going to level with you, Alec. I think I ought to tell her. FREEMAN You can't. STRAKER Just enough for her to understand. FREEMAN It's impossible. STRAKER She's got to know, Alec. She's got to realise how important what I'm doing is. How much of my time it takes. How else can I expect her to understand? FREEMAN It's out of the question and you know it. ON FREEMAN FREEMAN Listen, just remember what happened to the driver of that Rolls-Royce. TWO SHOT STRAKER What do you mean? STRAKER IS BEGINNING TO REALISE WHAT HE MEANS. STRAKER I thought he dies of injuries received in the crash. FREEMAN Let's say he was helped. I thought you knew. ***PAGE*** -42- 43 (continued) STRAKER No I didn't. Who told you this? FREEMAN Henderson. (a beat) I don't like it any more than you do but you know our security boys, they make the CIA look like Sunday School teachers. ON FREEMAN FREEMAN The security of all this, billions of dollars, it outweighs any individual. You, me, any of us. TWO SHOT FREEMAN Don't tell Mary a thing. It's the safest way - the only way. CUT TO: 44 EXT. CAR. DAY. (LOCATION) 5 SECS STRAKER'S CAR ALONG THE ROAD. CUT TO: 45 INT. CAR. DAY. (STUDIO) 5 SECS STRAKER DRIVES, DEEP IN THOUGHT. CUT TO: 46 EXT. HOUSE. DAY. (LOCATION) 10 SECS STRAKER'S CAR PULLS UP AND STOPS OUTSIDE THE HOUSE. STRAKER GETS OUT AND GOES TO THE FRONT DOOR, OPENS IT AND GOES INSIDE. CUT TO: 47 INT. HALL. DAY. (STUDIO) 10 SECS MARY IS ON THE LAST FEW STAIRS AS STRAKER COMES IN THE FRONT DOOR. SHE HURRIES TO MEET HIM. ***PAGE*** -43- 47 (continued) STRAKER Hi. AS SHE KISSES HIM - MARY Hello, darling. SHE TAKES HIS HAND AND LEADS HIM TO THE LOUNGE. CUT TO: 48 INT. LOUNGE. DAY. (STUDIO) 38 SECS MARY LEADS STRAKER IN. A TABLE HAS BEEN SET FOR AN INTIMATE DINNER FOR TWO. STRAKER WONDERS WHAT IT IS ALL ABOUT. MARY BREAKS AWAY AND POURS TWO DRINKS. STRAKER Mary, you know I don't... HE STOPS SHORT AS THE PENNY BEGINS TO DROP. MARY Just this once. It's an occasion. ON STRAKER HE GOES TO HER. STRAKER You mean... ON MARY SHE TURNS AND JUST GIVES A HINT OF A SMILE, AND A LITTLE NOD. TWO SHOT STRAKER TAKES HER IN HIS ARMS AND KISSES HER. ON STRAKER EYES CLOSED, HE HOLDS MARY CLOSE. TWO SHOT STRAKER I must make a phone call. ***PAGE*** -44- 48 (continued) MARY You're not going to work this evening? STRAKER To hell with work. I'm going to tell the decorator to break out his blue paint. MARY Pink. ON STRAKER STRAKER Blue. THEY KISS AGAIN. FADE OUT END OF ACT II ---- SPONSOR'S MESSAGE ---- ***PAGE*** -45- FADE IN: ACT III 49 EXT. STUDIO. NIGHT. (STOCK) 5 SECS TO ESTABLISH. CUT TO: 50 INT. SHADO CONTROL. UNDERGROUND. (STUDIO) 8 SECS THE INSTALLATIONS ARE COMPLETE. BUT THERE ARE NO OPERATIONS THERE AS YET. FREEMAN, MASTERS AND MAXWELL ARE TESTING THE ELECTRONICS. CUT TO: 51 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO). 30 SECS STRAKER IS ON THE PHONE TO HENDERSON. IT IS THE END OF A LONG DAY. STRAKER We're working night and day and I don't see why some fool sub-contractor shouldn't do the same... A week... I'll give them three days... Right... Goodbye. MAXWELL COMES IN THE DOOR. STRAKER Well... MAXWELL We don't seem to be able to find the fault, sir. STRAKER Well keep checking. MAXWELL REACTS, HE WAS HOPING STRAKER WOULD HAVE SAID LEAVE IT TILL MORNING. STRAKER And don't look at me like that. You're not the only one with a home to go to. ***PAGE*** -46- 51 (continued) MAXWELL GOES OUT. ON STRAKER HE LOOKS AT THE PHONE - HE OUGHT TO RING MARY. CUT TO: 52 INT. HALL. NIGHT. (STUDIO) 10 SECS START ON THE PHONE, PULL BACK TO SHOW MARY LOOKING AT IT. SHE IS 6 MONTHS PREGNANT. SHE WALKS ON INTO THE LOUNGE CHECKING HER WATCH. STRAKER IS LATE AGAIN. CUT TO: 53 INT. STRAKER'S OFFICE. UNDERGROUND. (STUDIO) 11 SECS STRAKER IS JUST ABOUT TO LIFT THE PHONE WHEN FREEMAN COMES IN. FREEMAN It's a wiring error. We can't get at it. STRAKER Do I have to do everything around here, you'll have to take off the outer panel. CUT TO: 54 INT. LOUNGE. NIGHT (STUDIO) 7 SECS. MARY SITS IN THE LOUNGE. THE PHONE RINGS. SHE GETS UP AND GOES INTO THE HALL. CUT TO: 55 INT. HALL. NIGHT (STUDIO) 44 SECS MARY PICKS UP THE PHONE EXPECTING IT TO BE STRAKER. MARY 021-4834.... Oh, it's you Mother. How are you ? .... I'm fine... Yes, I saw him today... Yes, he said it should be the first. (cont'd) ***PAGE*** -47- 55 (continued) MARY (cont'd) week in April.... Hmm, just another two months... of course... (hesitant) Ed, no he's working late.... No... no mother... don't be silly, another woman ... that's a ridiculous idea, now I don't want to hear you talk like that... Yes... Yes, alright... Look, Mamma I have to go now, I'll ring you tomorrow.... God bless.... Bye. MARY PUTS DOWN THE PHONE, SHE IS NEAR TO TEARS. CUT TO: 56 INT. SHADO CONTROL. UNDERGROUND. (STUDIO) 45 SECS STRAKER, FREEMAN, MAXWELL AND MASTERS HAVE JUST FINISHED FINDING AND REPAIRING THE FAULT ON THE ELECTRONIC PANEL. STRAKER Alright, let's try it. MASTERS WALKS OVER TO A CONSOLE AND ACTIVATES A CONTROL. THE COMPUTER FILM MECHANISM ON WHICH THEY HAVE BEEN WORKING STARTS TO SPIN. MAXWELL Seems to be fine. STRAKER Yes... Well, why don't we call it a day. MAXWELL WALKS AWAY ON FREEMAN FREEMAN It's pretty late, If you like you can come back to my place. It'll save you the drive. TWO SHOT STRAKER IS VERY TIRED. ***PAGE*** -48- 56 (continued) STRAKER Maybe. WIDER ANGLE MAXWELL AND MASTERS ARE LEAVING. THE GROUP EXCHANGE GOODNIGHTS. STRAKER Goodnight boys and thanks. TWO SHOT FREEMAN Come on. I'll phone Mary and explain first thing in the morning. STRAKER SUDDENLY REMEMBERS. STRAKER Huh, I promised to phone her three hours ago. I'm going home. CUT TO: 57 INT. LOUNGE. NIGHT. (STUDIO) 123 SECS START CLOSE ON MARY ASLEEP ON THE SOFA, PULL BACK TO SHOW STRAKER STANDING LOOKING DOWN AT HER. ON MARY SOME INSTINCT WAKES HER UP. MARY Ed. TWO SHOT STRAKER KISSES HER GENTLY ON THE FOREHEAD. MARY GATHERS HER SENSES. THEY SPEAK IN VERY LOW VOICES. MARY What time is it? STRAKER Late. MARY LOOKS AT THE CLOCK. ***PAGE*** -49- 57 (continued) MARY It's three o'clock. STRAKER Why aren't you in bed? MARY I was waiting for you. ON MARY NOW WAKING UP FULLY, SHE SITS UP. TWO SHOT STRAKER Come on. MARY I wanted to ask you a question. ON MARY MARY Is there... someone else? TWO SHOT STRAKER Someone else? MARY Another woman. ON STRAKER HE SWITCHES TO NORMAL VOICE, THE CONTRAST MAKES HIM SOUND A LITTLE HARD. STRAKER What a crazy idea. Come on, let's go to bed... You need to rest. TWO SHOT MARY TOO SWITCHES TO NORMAL VOICE MARY Why is it a crazy idea? If it's so crazy, tell me where you've been. ***PAGE*** -50- 57 (continued) STRAKER Come on... MARY HARDENS A LITTLE MARY Where have you been? STRAKER You know I can't talk about it. MARY Break the rule and tell me. Just for once. STRAKER DOES'NT ANSWER. HE CANNOT ANSWER. MARY I'm your wife.... I want to know. STRAKER And I can't tell you. Now just.... just calm down and come to bed. MARY MAKES AN ISSUE OF IT. AS STRAKER TRIES TO TAKE HER ARM SHE PULLS AWAY. MARY No Ed.... I've a right to know. STRAKER Now stop this. MARY What's more important to you... Me, or whatever you do until three o'clock in the morning? ON STRAKER HE LOOKS A MARY A LONG MOMENT. STRAKER (gently) I'm going up. HE HOLDS OUT HIS HAND TO HER TWO SHOT SHE LOOKS AT STRAKER THEN TURNS AWAY. ***PAGE*** -50A- 57 (continued) ON MARY SHE BECOMES VERY CALM. VERY SINCERE MARY I love you.... I'm carrying your child... I can feel move inside me. When he's born.... when he's old enough to realise.... will he have a father or a man he hardly knows..... someone he sees now and then for a few hours? TWO SHOT MARY LOOKS UP AT STRAKER APPEALING FOR AN ANSWER STRAKER (helplessly) Mary.... MARY I hope you still have a choice, Ed. Maybe you should decide before it's too late. ON STRAKER CUT DOWN THE MIDDLE CUT TO: 58 EXT STUDIO LOT DAY (LOCATION) 49 SECS SOMEWHERE OUT ON THE LOT. STRAKER AND FREEMAN WALK ALONG. IT IS WINTER, COLD, THE AIR IS CLEAR. THEY WEAR HEAVY COATS. FREEMAN Well the control complex is complete, fully operational. All we need now are the technicians. ***PAGE*** -51- 58 (continued) STRAKER How are the first batch of recruits making out? FREEMAN Well, security checks, aptitude tests, six months of training and further tests, it's a pretty tough schedule. The original fifty have been whittled down to eight. STRAKER Eight. FREEMAN Yes. The second batch seem to be doing a little better. STRAKER When can we expect the first group to finish training? FREEMAN In about two months. It'll be spring; a good time to start. ON STRAKER STRAKER (half to himself) Spring. My son will be born in the spring. ON FREEMAN FREEMAN Your son... How do you know it..... HE REACTS WIDER ANGLE STRAKER HAS WALKED OFF. CUT TO: 59 LIBRARY SHOT 10 SECS TO ESTABLISH SPRING. DAFFODILS, NEW BORN LAMBS ETC. MAYBE A COUPLE OF SHOTS. CUT TO: ***PAGE*** -52- 60 EXT. STREET. NIGHT. (LOCATION) 15 SECS NINA WAITS ON THE CORNER OF THE STREET. ATTRACTIVELY DRESSED IN A MINI SKIRT ETC. ANOTHER ANGLE STRAKER'S CAR PULLS UP AND NINA GETS IN. WE HOLD THE SHOT AND SEE ANOTHER CAR FOLLOWING STRAKER'S. CUT TO: 61 INT. STRAKER'S CAR. NIGHT 5 SECS NINA AND STRAKER. CUT TO: 62 EXT. STREET. NIGHT. (LOCATION) 6 SECS THE TWO CARS UP AND PAST. CUT TO: 63 INT. SECOND CAR. NIGHT (STUDIO) 7 SECS A MAN CHECKS HIS WATCH AND WRITES IN A NOTEBOOK AS HE DRIVES. CUT TO: 64 EXT. BLOCK OF FLATS. NIGHT. (LOCATION) 25 SECS STRAKER'S CAR PULLS UP OUTSIDE. ANOTHER ANGLE STRAKER AND NINA GETS OUT OF THE CAR AND WALK TOWARDS THE FLATS. ON DOORWAY STRAKER AND NINA GO INTO THE BLOCK. WE SEE A CLOCK ABOVE THE DOOR. ANOTHER ANGLE THE MAN FROM THE CAR LOWERS A CAMERA. ZOOM IN ON HIS SATISFIED EXPRESSION. FADE OUT: END ACT III ***PAGE*** -53- ACT IV 65 EXT. BLOCK OF FLATS. (NIGHT) (LOCATION) 5 SECS TO ESTABLISH. CUT TO: 66 INT. NINA'S APARTMENT. NIGHT. (STUDIO) 54 SECS CLOSE ON DOOR. STRAKER AND NINA COME IN. NINA TAKES OFF HER COAT AND SMILES. WIDER ANGLE WE NOW SEE FREEMAN, FORD AND TWO OR THREE OTHER PEOPLE IN THE FLAT INCLUDING ANOTHER GIRL. NINA AND STRAKER JOIN THE GROUP, WHO EXCHANGE HAND SIGNAL HELLOS BUT DO NOT SPEAK. ON FREEMAN HE MOTIONS TO FORD TO CHECK THE ROOM ANOTHER ANGLE FORD TURNS ON A BOX WHICH IS BASICALLY A RADIO AND CHECKS THE ROOM FOR BUGGING DEVICES. FORD We're clean. ON STRAKER STRAKER Well, this will be the last time we will meet here like this. As you know already, you have all been accepted into Shado. I've worked out a list of postings which I will give you later. WIDER ANGLE STRAKER But first I'd like to thank Nina for letting us use her apartment for these little get togethers. ***PAGE*** -54- 66 (continued) NINA It 's been a pleasure, sir. STRAKER Well, it's been a hard slog, but we've made it... We're ready... I know how hard you've worked.... but I think we can assume the worst is over. CUT TO: 67 EXT. CAVE. NIGHT. (LOCATION) 5 SECS STRAKER'S CAR UP AND PAST. HE IS ON THE WAY HOME. CUT TO: 68 INT. CAR. NIGHT. (STUDIO) 6 SECS PAN DOWN FROM STRAKER TO A BUNCH OF FLOWERS ON THE SEAT BESIDE HIM. HE SINGS TO HIMSELF, THE UNDERGROUND HQ IS COMPLETE, THE FIRST OPERATIVES ARE ABOUT TO MOVE IN, FOR THE FIRST TIME IN MONTHS THE PRESSURE IS OFF. CUT TO: 69 INT. HALL. NIGHT. (STUDIO) 176 SECS STRAKER OPENS THE FRONT DOOR AND COMES IN HOLDING THE BUNCH OF FLOWERS. HE REACTS AS HE SEES A LETTER, HE PICKS IT UP. ON STRAKER STARING AT THE LETTER ON LETTER IT IS ADDRESSED SIMPLY "ED" ON STRAKER HE PUTS DOWN THE FLOWERS, GOES TO OPEN THE LETTER BUT STOPS AND TURNS TO A SOUND FROM THE STAIRS. WIDER ANGLE MARY ON THE STAIRS, SHE STANDS QUITE STILL, HOLDING A CASE. ***PAGE*** -55- 69 (continued) STRAKER Mary. MARY DOESN'T ANSWER. STRAKER What are you doing? STRAKER CROSSES AND CLIMBS A FEW STAIRS TO STAND FACING HER. MARY I'm leaving. STRAKER Leaving? Here - you shouldn't be carrying that. HE TAKES THE CASE FROM HER HAND AND PUTS IT ON THE STAIR BESIDE HER. MARY I'm leaving you, Ed. (a beat) I've explained everything in the letter. SHE GOES TO MOVE PAST HIM. STRAKER Wait a minute. Whatever's happened.... I want to hear it from you. MARY I know, don't you understand. I know everything. ON STRAKER FOR A HORRIBLE MOMENT HE THINKS SHE MEANS SHE KNOWS ABOUT SHADO. STRAKER Tell me. MARY DOESN'T ANSWER. STRAKER (hard) Tell me what you know. TWO SHOT ***PAGE*** -56- 69 (continued) MARY My mother had you followed. STRAKER Go on. MARY You were followed to the flat with the girl. STRAKER IS RELIEVED. STRAKER Is that it? HE GOES TO TAKE HER SHOULDERS. MARY Don't touch me, please. STRAKER Mary... Darling, I can explain. MARY Don't... it's dirty enough... don't lie. STRAKER Mary... MARY The man was here tonight... he even had a photograph with the time... everything. SHE IS NEAR TO BREAKING. STRAKER Mary - please let me explain. MARY No, I don't want to hear. SHE COVERS HER EARS. STRAKER Listen, will you just let me talk to you. WE HEAR A CAR PULL UP OUTSIDE. MARY Please give me my case. ***PAGE*** -57- 69 (continued) STRAKER IS SUDDENLY ANGRY, HE IS INNOCENT; HE KNOWS IT AND MARY WON'T LET HIM EXPLAIN. STRAKER No, you're not going anywhere. (relenting) Mary.... THE DOORBELL RINGS. MARY It's my father. I just can't stand it, I just can't stand it. STRAKER Alright, I'll tell you everything. Just... just try and understand what I'm going to say. THE BELL RINGS AGAIN. MARY PUTS HER HANDS TO HER HEAD AND STARTS TO GIVE. LITTLE LOW MOANS. MARY Let me go... STRAKER TURNS TO THE DOOR, THEN BACK TO MARY NOT KNOWING WHAT TO DO. STRAKER (loud) Will you listen to me? Will you just stop and listen? MARY SCREAMS LOUD. STRAKER For God sakes. THE BELL BECOMES PERSISENT, AN ALMOST CONTINUOUS RING. MARY SCREAMS AGAIN. STRAKER SLAPS HER FACE. THE SCREAM STOPS. MARY IS SUDDENLY CALM, SHE STARES AT STRAKER. THEN SHE MAKES A QUICK SORT OF DIVE TO GET PAST STRAKER DOWN THE STAIRS. SHE TRIPS AND FALLS OVER THE CASE ON THE STAIR. ON STRAKER HORRIFIED. ***PAGE*** -58- 69 (continued) ON MARY CRUMPLED AT THE FOOT OF THE STAIRS. TWO SHOT STRAKER BENDS OVER HER. HER EYES ARE CLOSED. STRAKER Oh my God. HE MOVES TO THE TELEPHONE. ANOTHER ANGLE STRAKER TURNS AS FATHER (VO) (shouting) What's going on in there? Open this door! HE OPENS THE FRONT DOOR, THEN GOES STRAIGHT BACK TO THE PHONE AND STARTS TO DIAL. THE FATHER COMES IN, LOOKS AROUND, SEES MARY AND MOVES TOWARDS HER. STRAKER Don't touch her. ON STRAKER THE PHONE IS ANSWERED VOICE OVER What emergency service do you require? STRAKER Ambulance, hurry. CUT TO: 70 EXT. ROAD. NIGHT. (STOCK) 5 SECS AN AMBULANCE, BELL RINGING, UP AND PAST, MOVING FAST. CUT TO: ***PAGE*** -59- 71 INT. AMBULANCE. NIGHT. (STUDIO) 22 SECS START CLOSE ON MARY, EYES CLOSED, BEADS OF SWEAT STANDING OUT ON THE PALLOR OF HER FACE. PULL BACK TO SHOW STRAKER, MARY'S FATHER AND THE ATTENDANT IN THE BACK OF THE AMBULANCE. ON FATHER HE LOOKS AT STRAKER WITH ACCUSING EYES. ON STRAKER HE TURNS TO MARY, RUNS HIS FINGERS TENDERLY OVER HER FACE. STRAKER She's cold. She feels so cold. WIDER ANGLE THE ATTENDANT LEANS CLOSE TO MARY. HE REACTS, TAKES AN EMERGENCY OXYGEN SUPPLY AND PUTS THE MASK OVER MARY'S MOUTH AND ADJUSTS THE GAS. CUT TO: 72 EXT. HOSPITAL. NIGHT. (LOCATION) 6 SECS THE AMBULANCE ENTERS THE HOSPITAL. CUT TO: 73 EXT. RECEPTION AREA. (NIGHT) (LOCATION) 17 SECS. AS THE AMBULANCE PULLS UP IN FRONT OF A RECEPTION AREA, AN ORDERLY RUNS OUT WITH A TROLLEY. FAST SKILLED HANDS LIFT MARY ON THE STRETCHER FROM THE BACK OF THE AMBULANCE ON TO THE TROLLEY. STRAKER WATCHES, STAYING AS CLOSE AS HE CAN TO HIS WIFE AS SHE IS HURRIED INTO RECEPTION. CUT TO: 74 INT. HOSPITAL. NIGHT. (STUDIO) 20 SECS A DOCTOR MEETS THE GROUP. THE QUICK EXPERIENCED EYE CHECKS MARY. HE INDICATES A DOOR, THE TROLLEY IS PUSHED TOWARDS IT. ***PAGE*** -60- 74 (continued) THE DOCTOR GLANCES AT STRAKER, THEN FOLLOWS THE TROLLEY. ON STRAKER HIS FACE IN ANGUISH. WIDER ANGLE MARY'S FATHER WALKS SLOWLY OVER AND SITS ON A CHAIR AGAINST THE WALL. STRAKER STANDS MOTIONLESS IN THE MIDDLE OF THE ROOM. A LONELY FIGURE. CUT TO: 75 EXT. RECEPTION. NIGHT. (LOCATION) 12 SECS THE AMBULANCE DRIVER CLOSES THE BACK DOORS OF THE AMBULANCE THEN WALKS SLOWLY TO THE DRIVING SEAT AND GETS IN. THE AMBULANCE MOVES QUIETLY AWAY, FOR THE DRIVER THE PANIC IS OVER. CUT TO: 76 INT. HOSPITAL. NIGHT. (STUDIO) 70 SECS STRAKER TURNS AS THE DOCTOR COMES OUT OF THE DOORS. MARY'S FATHER STANDS UP. DOCTOR Er, your wife has an internal haemorrhage. They're taking her into the theatre now, I'm going to perform a Caesarian section. THE DOCTOR TURNS TO WALK AWAY. ON STRAKER STRAKER Doctor, if there's any complication - I mean if it's a choice between Mary and... HE TRAILS OFF. ***PAGE*** -61- 76 (continued) TWO SHOT STRAKER AND THE DOCTOR DOCTOR I understand. THE DOCTOR WALKS AWAY ON WINDOW IT IS RAINING. PULL BACK TO SHOW STRAKER WATCHING THE RAIN RUN DOWN THE PANE. WIDER ANGLE A NURSE COMES IN. STRAKER TURNS TO HER, SHE SMILES. NURSE It's a boy. ON STRAKER A PAUSE. STRAKER How's my wife? WIDER ANGLE NURSE The doctor's just coming. STRAKER LOOKS AT MARY'S FATHER, A STRANGE MOMENT, NEITHER MAN MAKES THE FIRST MOVE, THOUGH THEY BOTH FEEL THEY WANT TO. THE DOCTOR COMES IN. STRAKER How is she, doctor? DOCTOR As well as can be expected. STRAKER She'll be alright? DOCTOR Yes. ***PAGE*** -62- 76 (continued) STRAKER When can I see her? DOCTOR Well, when she wakes up. But only for a few minutes. STRAKER How's the baby? DOCTOR He's fine. CUT TO: 77 INT. INTENSIVE CARE UNIT. (NIGHT) (STUDIO) 18 SECS WE ARE CLOSE ON STRAKER AND FOR THE MOMENT DO NOT REALISE WE HAVE CUT. STRAKER SMILES, A LITTLE TIGHT AT FIRST, BUT SOON RELAXING. PULL BACK TO SHOW STRAKER IS LOOKING THROUGH A PORT INTO THE INFANT INTENSIVE CARE UNIT. POV SHOT FROM STRAKER'S POV THROUGH THE PORT WE SEE HIS NEW BORN SON. ON STRAKER HE GIVES A LITTLE, SLIGHTLY EMBARRASSED WAVE THROUGH THE GLASS. CUT TO: 78 INT. HOSPITAL ROOM DAY. (STUDIO) 55 SECS START CLOSE ON MARY PEACEFULLY ASLEEP, THEN HER EYES SLOWLY OPEN BUT CLOSE AGAIN, A FEW MOMENTS THEN THEY RE-OPEN. POV SHOT FROM MARY'S POV, THE BLURRED IMAGE OF A MAN STANDING OVER HER. ON MARY MARY Ed. ***PAGE*** -63- 78 (continued) FATHER (VO) It's me my dear. You've got a little boy. POV SHOT FROM MARY'S POV THE FACE OF HER FATHER COMES INTO FOCUS. ANOTHER ANGLE THE FATHER IS ALONE IN THE ROOM MARY Hello. FATHER How do you feel? MARY Fine... Where's Ed? FATHER (slow) Ed said he had to go. He said he couldn't tell me why. A NURSE COMES IN. NURSE I'm afraid you'll have to leave now. FATHER I have to go. Goodbye my dear. Mother and I will come and see you tomorrow. ON MARY WE HEAR THE DOOR CLOSE. SHE IS ALONE. SLOWLY HER EYES FILL WITH TEARS. CUT TO: 79 EXT. CAR. NIGHT. (LOCATION) 5 SECS UP AND PAST. CUT TO: 80 INT. CAR. NIGHT. (STUDIO) 17 SECS FREEMAN AND STRAKER SIT IN THE CHAUFFEUR DRIVEN CAR. ***PAGE*** -64- 80 (continued) FREEMAN I'm sorry, Ed. You know I wouldn't have done this if it hadn't been absolutely necessary. ON FREEMAN HE LOOKS AT STRAKER A MOMENT THEN OFFERS HIM A CIGAR. FREEMAN Anyway... Congratulations. ON STRAKER HE TAKES THE CIGAR. FREEMAN'S HAND OFFERS THE LIGHT. CUT TO: 81 INT. STRAKER'S UNDERGROUND OFFICE. (STUDIO) 7 SECS STRAKER PUFFS ON THE CIGAR, THE FLASHBACK HAS ONLY TAKEN A MOMENT. HE LOOKS AT FREEMAN, THEN STALKS OUT OF THE OFFICE. CUT TO: 82 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 42 SECS STRAKER STRIDES OUT INTO THE CONTROL ROOM. STRAKER There's too many cigars in here. Turn on the fans, get rid of some of the smoke. STRAKER WALKS OVER TO THE OPERATIVE WHO GAVE OUT CIGARS. TWO SHOT THE OPERATIVE WAITS, EXPECTING A BROADSIDE. STRAKER Grey. OPERATIVE Yes, sir. STRAKER Take a week's furlough. Starting now. OPERATIVE Sir? ***PAGE*** -65- STRAKER That's an order. OPERATIVE Right, sir. STRAKER How's your wife? OPERATIVE She's fine, thank you, sir. STRAKER Good. Boy or girl? OPERATIVE Twins. STRAKER Twins, eh. Get out of here. OPERATIVE Yes, sir. WIDER ANGLE THE OPERATIVES ARE STILL TURNED TO LOOK AT STRAKER. STRAKER And the rest of you, let's do a little work while we celebrate, shall we? STRAKER PUFFS DEEPLY ON HIS CIGAR, AND THINKS OF ANOTHER CIGAR HE ONCE SMOKED. FINAL FADE OUT: END OF ACT IV SPONSOR'S MESSAGE ------------------------------ CUT HERE ----------------------------------------