Teleplay by:
Tony Barwick
Directed by:
David Lane
Created by:
Gerry and Sylvia Anderson & Reg Hill
Producer:
Reg Hill
Executive Producer:
Gerry Anderson
EXTERIOR : HARLINGTON STRAKER STUDIOS
A bronze SHADO car drives up to the main building, stops. COMMANDER ED STRAKER gets out of the car and enters the building.
INTERIOR : SHADO CONTROL ROOM
LT. JOHNSON is seated at her console. Standing around her are COLONEL ALEC FREEMAN and LT. GRAY and TWO SHADO OPERATIVES. The men are smoking cigars, laughing as Johnson tries to smoke one and chokes. Straker enters the room onto on the upper level.
FREEMAN
(to Gray)
Have you thought of names yet?
GRAY
No, we're still working on it.
Gray spots Straker coming down the steps to the main level.
GRAY
Commander Straker!
Straker stops and Gray runs over to him.
GRAY
Have a cigar, sir.
Gray holds out a cigar and Straker takes it, curious.
STRAKER
Well, thank you, Gray, Thank you.
(pause)
What's the occasion, you get a raise?
GRAY
(excited)
No, just became a father.
STRAKER
(pleasant)
Oh, congratulations.
(pause)
How's the wife?
GRAY
Oh, she's fine, sir. Thank you.
STRAKER
Good. (pause) Boy or girl?
GRAY
Twins.
STRAKER
(surprised)
Twins, huh?
(joking)
You owe me another cigar.
Gray grins and walks back to Johnson and the others. Straker stands, cigar in hand, his expression distant and a little sad.
GRAY
(in background)
It's funny, after waiting so long, everything seemed to happen so fast. (pause) When we got to the hospital, they didn't want to let us in. Well, we got in anyway. She was only in the operating theater about a minute. So quickly ... (pause) about an hour later. .
Freeman notices Straker's expression and seems worried as he walks over to Straker. Freeman pulls out a cigar lighter and lights Straker's cigar. Straker doesn't seem to notice.
FADE TO:
INTERIOR : A WEDDING RECEPTION
It's a party, crowded, with talking, soft music and laughter. A very young Alec Freeman is pouring champagne into a glass held by the very young Ed Straker wearing a USAF uniform. Both appear a little drunk.
STRAKER
Oh, no more for me, Alec. I have to drive.
FREEMAN
I have a toast.
STRAKER
What? Another one?
FREEMAN
Yep.
STRAKER
What to this time?
FREEMAN
(taking gulp from glass)
Champagne!
Across the room, a young woman in a flowered dress (MARY) stands with several other woman beside a table with an ornate wedding cake. She smiles and waves at Straker. He smiles and waves back, a little sheepishly. Freeman takes Straker's arm, guiding him towards the table.
FREEMAN
Come on, cut the cake.
STRAKER
(amused)
Ah, the cake...
Freeman and Straker weave their way to the table with the wedding cake. Straker goes to the far side of the table where Mary stands, waiting. They kiss, then take the cake knife, his hand over hers. She wears a shiny new wedding ring.
STRAKER
One, two, three ...
They cut the cake. The audience applauds. Straker and Mary kiss.
TITLES
EXTERIOR : ENGLISH COUNTRY ROAD
A 1964 Ford Galaxy 500 drives down the road.
INTERIOR : CAR
Mary is diving the car, wearing a USAF colonel's cap. Straker is beside her, slumped in the seat, obviously drunk. He is singing, badly. She is amused.
MARY
Where to, sir?
STRAKER
Oh, anywhere at all. Irrelevant, irrelevant.
(pause)
Shall I sing some more?
MARY
(laughing)
Mm, do.
As he begins to sing again, a clanging can be heard from outside the moving car.
EXTERIOR : CAR
Tin cans have been tied to the rear bumper of the car.
INTERIOR : CAR
MARY
(concerned)
Ed?
EXTERIOR : ROAD
The car pulls over to the side of the road and stops. Mary and Straker both get out to inspect the source of the noise (the tin cans.)
STRAKER
Alec Freeman. Last of the clowns.
They begin to remove the ribbons. Nearby is a fence with a wooden gate. On both sides of the gate are heavy thickets. Straker opens the trunk of the car and pulls out a suitcase.
STRAKER
I'll be with you in a minute.
Mary stands, confused and amazed as Straker climbs over the gate, into the field beyond, with the suitcase.
MARY
But, where are you going, Ed?
STRAKER
(from behind thicket)
I'll be with you in a minute.
Mary finishes untying the ribbons from the car bumper. She stands to watch by the road. She is still wearing his uniform cap.
MARY
Ed?
STRAKER
What?
MARY
(amused)
What are you doing?
STRAKER
Nothing.
On the road, a car approaches.
MARY
Ed?
STRAKER
What?
MARY
There's a car coming.
STRAKER
It's all right. We probably don't know them.
The car approaches and slows as it passes their car. Mary remembers she is wearing the cap and removes it, hiding it behind her back. After a moment, Straker runs up behind her. She turns around to see he is now dressed in a brown suit.
STRAKER
(serious)
New suit, new wife.
MARY
(serious)
New husband, new life.
They kiss.
EXTERIOR : MOTEL
The Galaxy drives up and stops at a motel. Straker and Mary get out of the car and go to the front door. They stop.
STRAKER
Confetti check?
Mary looks him over.
MARY
(grinning)
A-okay.
They enter the motel lobby. A CLERK stand at the desk. In a corner, by the pay phone, stands an OBSERVER. Straker walks up to the desk, ignoring the Observer. Mary stops a short distance away.
CLERK
Hello, sir.
STRAKER
Hello, there.
(pause)
I have a reservation.
(pause as clerk waits)
For my wife and I, Mister and Mrs. Straker?
The clerk looks through a card file, finally pulling out one card.
CLERK
Ah, yes.
He turns the register book towards Straker.
CLERK
If you'd just like to sign the register, sir?
STRAKER
(startled)
Oh!
Straker pulls a pen from the inside pocket of his jacket and begins to sign, only to discover the pen is out of ink.
STRAKER
Sorry.
The clerk hands Straker a pen.
STRAKER
Thank you.
Straker signs the register with the borrowed pen as Mary watches. When he finishes, he pays for the room.
CLERK
Thank you, sir.
The clerk hands Straker the key. Straker takes the key, picks up the suitcase and accompanies Mary out of the lobby. As they leave, the Observer picks up the pay phone and places a call.
INTERIOR : MOTEL ROOM
It is a room in a moderately priced motel. Straker is dressed in pajamas and a dressing gown. He stands in front of the room mirror, preening.
MARY
(from adjoining bathroom)
When are you going to tell me, darling?
STRAKER
(pulling a pair of airline tickets from his robe.)
Tell you what?
MARY (o.s.)
The secret.
STRAKER
(as though light were dawning)
Oh, the secret.
(pause, inspecting tickets)
Well, Mrs. Straker, the way I figure it is, if I tell you, it won't be a secret anymore.
MARY (o.s.)
Oh, come on, Ed.
STRAKER
No, no
MARY
(a little annoyed)
Where are we going?
STRAKER
Well now, let me see, I've got the tickets right here.
(pause, inspecting tickets, shaking head)
I just can't make out what they say. No, no, Now let me see. From London, England to ... No, I just can't make out that destination. Could be anywhere... Let me see...
Behind him, Mary has come out of the bathroom, dressed in a frilly negligee. She makes a grab for the tickets and they both fall onto the bed, into each other's arms. The tickets fall to the floor. They start to kiss, but are interrupted by a knock on the door.
STRAKER
Are you expecting somebody?
Mary shakes her head. Straker gets up and goes to the door. He opens the door to discover a ROOM SERVICE ATTENDANT standing in the hall with a service cart on which stands a wine bucket with bottle of champagne. Straker is surprised to see him.
ATTENDANT
(wheeling cart into room)
Complements of the management, sir.
STRAKER
(searching robe pockets for money)
Oh, uh...
ATTENDANT
(mildly amused)
That's quite all right, sir.
STRAKER
(embarrassed)
I'll see you later.
The attendant leaves the room, leaving the service cart behind. Straker closes the door and locks it. He turns to Mary, who has walked up to him.
STRAKER
Well?
MARY
(laughing)
Confetti check?
STRAKER
We blew it.
MARY
(laughing)
Oh, Ed.
They kiss, then fall onto the bed. Straker shoves the cart away from the bed with one foot.
EXTERIOR: HEATHROW AIRPORT
INTERIOR: PASSENGER LOUNGE
Straker and Mary sit at a table in the lounge with drinks. Straker raises his glass.
STRAKER
Cheers.
MARY
Cheers.
They drink. After a moment...
STRAKER
(overplayed innocence)
Gosh, Mary, I hope we brought the right clothes with us. I've no idea what the weather's gonna' be like there.
(pause)
As a matter of fact, I still don't remember where it is we're going.
AIRPORT ANNOUNCER
(Over P.A.)
Passengers for V-E-A, flight number V-E 2-5-0- to Athens, please proceed to gate six.
Straker doesn't seem to hear the announcement. Mary waits for him to react, then gets impatient.
MARY
Well, come on, Darling!
STRAKER
(happily surprised)
You ... How did you know?
MARY
Well, I, uh, just happened to find a couple of tickets on the floor this morning.
STRAKER
(musing)
Two tickets on the floor this morning.
(bright)
There, you see, I was preoccupied.
The Observer, from the motel, walks up to them.
OBSERVER
Colonel Straker? May I have a word with you?
Straker is reluctant and worried.
OBSERVER
Please, sir. It is important.
As Mary watches, Straker accompanies the Observer over to OBSERVER 2. Observer 2 speaks with Straker. Straker gets upset, protests. Finally, Straker returns to where Mary sits.
MARY
(worried)
What's wrong, darling?
STRAKER
(very upset)
Listen, sweetheart, I ...I don't know how to tell you...
MARY
(short, interrupting)
Well, what is it, Ed?
STRAKER
I have to see General Henderson,
(pause)
Now.
MARY
(surprised)
Now?
(pause - protesting)
But we're just . .
(resigned)
It's all right, darling. I understand.
STRAKER
I'm so sorry, sweetheart. I ...I...
AIRPORT ANNOUNCER
(Over P.A.)
Passengers for flight number V-V 2-5-0, leaving for Athens, please proceed to gate . .
Straker reacts a bit guiltily to the announcement over the P.A.
MARY
It's all right. I married a colonel in the military intelligence.
(smiling)
It's part of your fatal attraction.
EXTERIOR : A CONVALESCENT CENTER
INTERIOR : HENDERSON'S ROOM
A hotel-like room with a hospital bed, a sitting area with two chairs. GENERAL HENDERSON sits in a wheel chair, wearing dark glasses. There is a knock at the door.
HENDERSON
Come in.
The door opens and Straker enters.
HENDERSON
(pleased)
Ah, Colonel. Good to see you.
STRAKER
(cordial)
Well, how are they treating you, sir?
HENDERSON
Fine, fine.
(pause)
Sit down.
Straker sits in one of the chairs.
HENDERSON
Look, I'm sorry to have fouled you up like this.
STRAKER
It's all right, sir.
HENDERSON
How'd your wife take it?
STRAKER
(unenthusiastic)
Oh, she's fine.
HENDERSON
(musing)
Yes, that's what you need in this job, an understanding wife.
(pause)
Well, let's get on with it, shall we? Apparently, I'm stuck in this chair for another couple of months.
(pause)
Now, things are happening, Ed. A lot of it's gonna' fall on your shoulders. The special committee of the United Nations meets day after tomorrow. We get the go no-go decision then.
STRAKER
(interested)
And you want me to be there?
HENDERSON
Who else?
INTERIOR: AIRPORT LOUNGE
Mary watches as a plane takes off. She walks away from the window, sad.
EXTERIOR : UNITED NATIONS BUILDING
INTERIOR : OFFICE.
The office has a desk and doors on opposite walls. UN SECURITY MAN 1 is seated at the desk. UN SECURITY MAN 2 stands beside Straker who is in uniform. Straker opens his briefcase, removing a file folder. Security Man 2 runs his hand over the folder then hands it back to Straker.
Straker steps over to the inner door, which slides open. Straker enters :
INTERIOR : SECURITY LOCK
A small, airlock like chamber with doors on opposite walls. The door behind Straker slides shut.
SECURITY MAN 1
(Over speaker)
Would you turn around, Colonel?
Straker turns around. After a moment the inner door opens and Straker enters the :
CONFERENCE ROOM
It is a large, windowless, room with a conference table in the middle of it. At the table are seated five men : the ENGLISH delegate, DUVALL, the French delegate, a RUSSIAN, a GERMAN, and an AMERICAN. The English delegate is seated at the head of the table, facing the door.
ENGLISH
(seeing Straker enter)
Ah, Colonel Straker.
STRAKER
(nodding greeting)
Gentlemen.
ENGLISH
Please, sit down.
STRAKER
Thank you.
Straker takes a seat at the opposite end of the table.
STRAKER
First of all, I should like to apologize on behalf of General Henderson, for his absence. As you probably know, he's still recovering from injuries he received in the car crash.
ENGLISH
Thank you, Colonel. No doubt, you will make an excellent substitute.
(pause, to others)
Now gentlemen, I suggest the best way for us to proceed is by a process of question and answer.
DUVALL
Colonel, as representatives of our respective governments, we are being asked toapprove the largest financial appropriation ever envisaged for an international project. Two questions. Is the project, the whole project, absolutely necessary, and if it is, are we getting value for our money?
STRAKER
I believe the setting up of SHADO is not only necessary, but absolutely vital. Every day we just sit and talk about it, the potential danger increases. As to your second question, I believe this break-down of expenditure might be useful.
As he speaks, Straker opens the file he has with him and passes sheets of paper to the delegates on either side of him. They, in turn, pass sheets to their neighbors. The committee members look over the sheets.
DUVALL
(incredulous)
Fleet of submarines? Base on the Moon? Satellites?
STRAKER
If I might point out, sir, we're confronted with alien space craft, possibly from another solar system.
DUVALL
(disparaging)
Maybe the general and Colonel Straker have been reading too much science fiction.
Several other members laugh at Duvall's quip.
STRAKER
(firm)
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.
DUVALL
And how long will it take to set up this 'defense organization'?
STRAKER
We estimate, seven to ten years.
DUVALL
(appalled)
Ten years?
(pause)
But you say, Colonel, the danger is immanent.
STRAKER
Yes, sir, that's true. But the type of organization we need can't be set up over night. All I say is, any delay only increases the danger.
ENGLISH
The estimate for security is astronomical.
STRAKER
It's a vital aspect.
DUVALL
(skeptical)
Everything seems vital.
RUSSIAN
How is SHADO to be organized regarding personnel?
STRAKER
On strictly military lines. We hope to recruit the best people possible.
RUSSIAN
Internationally?
STRAKER
Yes.
DUVALL
And who will command this international band of heroes?
AMERICAN
(interrupting)
My government has stipulated that the commander and chief must be an American.
DUVALL
(impatient)
Oh yes, yes, we know.
AMERICAN
(irritated)
As the nation being asked to dig a little deeper into its pockets . .
DUVALL
(interrupting)
Naturally, naturally.
ENGLISH
(interrupting)
Gentlemen, gentlemen. We asked Colonel Straker here to answer our questions. I suggest we let him do so.
STRAKER
Well, there's no question in my mind, gentlemen. There's only one man for the job. General Henderson. He's the obvious choice.
Long pause.
ENGLISH
Any further questions?
The English delegate looks around the table at the others. They all shake their heads.
ENGLISH
Thank you, Colonel Straker.
Straker stands and collects the papers from the table. He turns to Duvall.
STRAKER
Monsieur Duvall, I understand you have three daughters.
DUVALL
(worried)
Yes.
STRAKER
I pray that you never find yourself looking down at one of their mutilated bodies. I hope that the next Ufo incident is not in your home town.
(to others)
Thank you for your time.
Straker goes to the door. At the door, he places the file folder, with the papers, into a shredder. The door opens and he leaves.
ENGLISH
(to others)
Well, gentlemen?
INTERIOR : HENDERSON'S ROOM
Straker is in uniform, seated in one of the chairs. Henderson, in the wheel chair, is tooling around the room, overjoyed.
HENDERSON
It has been approved unanimously.
(laughs)
You've done a great job, Ed.
STRAKER
Well, I thought I'd screwed it up, sir. I was only in there about ten minutes.
HENDERSON
(more serious)
Well, all we've got to do now is work sixteen hours a day for the next ten years.
STRAKER
(less than happy)
Sure.
HENDERSON
Oh, uh, There is another thing I have to tell you.
(pause)
They appointed the commander and chief.
STRAKER
Who?
HENDERSON
You.
STRAKER
(shocked)
Me?
HENDERSON
Again, it was unanimous. It seems the French delegate, Duvall, was particularly insistent.
STRAKER
(confused)
But, sir, why?
HENDERSON
Why not choose me?
(pause)
Oh, come on, let's not kid ourselves, Colonel. What sort of shape am I in? What sort of shape would I be in in ten years time?
STRAKER
Nonsense, General. Why, in a couple of months, you'll be out of that thing, up and about, fit as ever.
HENDERSON
(serious)
You can always refuse, but if you do, it's got to be now. There'll be no turning back later.
EXTERIOR : ENGLISH COUNTRY ROAD
The Ford Galaxy drives down the road.
INTERIOR : CAR
Straker is driving, intent on the road. Mary sits close beside him.
MARY
Darling?
STRAKER
(distracted)
Hmm?
He looks over at her. She smiles.
STRAKER
Want to know something?
MARY
Hm hmm? (yes)
STRAKER
I love you.
MARY
Do you?
Straker nods.
MARY
How much?
He measures off an inch in the air.
STRAKER
Oh, that much.
EXTERIOR :
The car drives up to a large house. The car stops at the house. Another car is already parked in front of it.
INTERIOR : HOUSE - DRAWING ROOM
The unfurnished drawing room is just off the entrance, which has a long, steep, staircase to the upstairs. Footsteps are heard upstairs. Then, Straker, Mary and a REAL ESTATE AGENT are seen coming down the stairs. They enter the drawing room.
AGENT
Well, this is a fine room. Plenty of scope.
MARY
(pleased)
Yes.
STRAKER
(looking around)
Now, let me see. The master bedroom, that's just above us, here, isn't it?
AGENT
Yes, with a smaller room just to the left, if you remember. It'd make a fine nursery.
STRAKER
Yes.
(as if surprised at the realization)
I like it.
LATER : DRAWING ROOM
The room is furnished comfortably, with several chairs, a sofa, and a coat rack by the arch to the entrance. Mary stands holding a large framed modern art canvas. Straker walks into the room without Mary noticing. He carries a bundle of mail in his hand.
STRAKER
I like it.
MARY
(turning to him)
Hello, darling.
Straker drops the mail on a table by the door, then takes off his suit jacket and hangs it on the coat rack. He walks over to Mary and kisses her.
MARY
Have a busy day?
STRAKER
(tired)
That is an understatement.
MARY
Tired?
STRAKER
(perking up)
Well, not too tired.
MARY
Hungry?
STRAKER
Yes.
MARY
Then I'll go make you some supper.
She kisses him again, then heads for a door at the rear of the room. He picks up the mail and begins to go through it.
MARY
Oh, the drapes are coming tomorrow.
STRAKER
(distracted)
Oh, fine.
MARY
I ordered a sort of turquoisey-blue. I hope you like them.
STRAKER
Turquoisey-blue? Oh, that, that sounds great.
MARY
Oh, and the insurance agent called. He's coming tomorrow night.
STRAKER
Oh, I'm sorry Mary. I have to work late tomorrow. I won't be home till around, oh, eleven.
MARY
(protesting)
But darling, he's coming at eight.
STRAKER
(defensive)
Well, I'm sorry. I have to work.
MARY
(hurt, heading for door)
I'll go get your supper.
EXTERIOR : LONDON OFFICE BUILDING
By the door is a sign stenciled on the glass : International Astrophysical Commission.
INTERIOR : HENDERSON'S OFFICE.
Henderson, in a business suit, sits behind a large desk. There are two chairs opposite the desk. The intercom buzzes. Henderson hits the toggle.
SECRETARY
(over intercom)
Commander Straker and Colonel Freeman to see you, sir.
HENDERSON
(to intercom)
Send them right in.
The office door opens. Straker and Freeman, both in business suits, enter.
HENDERSON
(pleased)
Well, gentlemen, nice to see you.
STRAKER
How are you, General?
HENDERSON
Fine, fine ...
STRAKER
(indicating Freeman)
Oh, this is our first recruit, Alec Freeman.
HENDERSON
Glad to know you, Freeman. Welcome to SHADO.
Henderson and Freeman shake hands.
FREEMAN
Thank you, sir.
HENDERSON
I've, uh, glanced through your records. Combat pilot, then air force intelligence. That's the sort of background we need.
(to Straker)
Well, Ed, how do you like the office?
Straker looks around.
STRAKER
Hmm. Looks very nice.
HENDERSON
I've been kicked up here to keep a fatherly eye on you. I'll be holding the purse strings.
STRAKER
Well, that sounds like it could be a lot of fun.
(sits down in one of the chairs)
How is the, uh, building program coming along?
HENDERSON
Oh fine, fine.
(notices Freeman still standing)
Sit down, Freeman.
Freeman sits in the other chair.
HENDERSON
(to Straker)
You should be able to pay it a visit in a couple of months.
FREEMAN
From the plans, I'd say it was quite a construction job.
HENDERSON
Yes it is. But I still think the main problem if finding the men to man it.
FREEMAN
We're working on it.
HENDERSON
Right, gentlemen. Now, let's get down to business. This could be a very late night.
INTERIOR : STRAKER'S HOUSE.
Mary sits alone, reading a book. A car is heard driving by. When it slows, she puts down her book, expectantly. When the car continues on, she is painfully disappointed and picks the book back up. After a time, a car drives up, stops and Straker enters the house. He walks into the drawing room. Note: Straker is wearing a different suit than in the prvious scene.
STRAKER
(tired)
Hi, sweetheart.
He comes over to her and tries to kiss her. She doesn't respond.
STRAKER
That a good book?
(she still doesn't speak)
All right, I'm sorry I didn't telephone. I got tied up.
MARY
(angry)
Do you know what time it is?
STRAKER
Well, why didn't you go to bed?
MARY
Because occasionally, just occasionally, I'd like to see my husband, maybe even talk to him!
STRAKER
(defensive)
Well, things have been pretty hectic the past couple of weeks, but they're due to break soon, Mary.
MARY
Ed, this is your home, our home. We're supposed to be trying to build something together!
STRAKER
Mary, Mary...
MARY
No, Ed. How am I expected to take this work, work, work, till all hours of the day and night?
STRAKER
(getting angry)
Because it happens to be necessary.
MARY
I suppose the next step will be that you won't bother to come home at all?
STRAKER
(angry, sarcastic)
Well, that's not a bad idea. Then maybe when I did come home, I'd get a decent reaction from my 'loving wife'!
(suddenly contrite)
I'm sorry, I didn't mean that.
(pause)
Look, I need a break. We both need one.
(pause)
What do you say, we go out next week sometime and paint the town red?
(waiting for positive reaction)
Confetti check?
MARY
(smiles)
A-okay.
EXTERIOR : HARLINGTON-STRAKER STUDIOS
Across the street, a large building can be seen in the final phases of construction.
INTERIOR: OUTER STUDIO OFFICE
The office appears unfinished, desk nearly bare, no art on the walls. Straker and Freeman enter the office from the outside door.
FREEMAN
Block's nearly finished.
STRAKER
Yes.
FREEMAN
What'll happen to it then?
STRAKER
Oh, it'll be used. When it's finished, a government department's moving in. Income tax, probably.
FREEMAN
All that, for the sake of security?
STRAKER
Hmm. How else do you cover up the excavation of a couple of million cubic feet of earth?
As they speak, Straker flips a switch on the desk top. The inner doors slide open and they enter:
INTERIOR: INNER OFFICE.
This office also looks unfinished - walls bare, wiring across the desk-top. Straker goes to the desk and flips a switch. The doors close and the room appears to go down like an elevator.
FREEMAN
I hear they're installing a voice-print identification system.
STRAKER
Yes. I tried out the prototype last week. It identified me as a 'female technician from Dublin'. They said it was only a 'teething' problem.
FREEMAN
They could be right.
(grins)
Come to think of it, you do look like one. A female .
STRAKER
(interrupting - completing)
Technician from Dublin.
Freeman laughs and Straker grins.
FREEMAN
(more serious)
It's nice to see you smile again, Ed.
The elevator doors open onto :
INTERIOR : SHADO ENTRANCE LOBBY.
The walls are gray, as are the floors. Straker and Freeman walk down the hallway into:
INTERIOR: SHADO CONTROL
SHADO Control is half finished. Only the structure is complete. The consoles are in pieces around the room with components on the floor. 2 TECHNICIANS are working on one of the consoles.
STRAKER
(to techs)
Well, fellas . .
TECH 1
Hello, sir.
TECH 2
Hello, sir.
STRAKER
Well, how's it all going?
TECH 1
Slow, but we'll get there.
TECH 2
Well, we are a bit behind, but I think we can make it up later.
Straker
Good. That's what I like to hear.
(to Freeman)
Take a look at the office, Alec.
(indicates corridor and open door)
Through there.
They enter :
INTERIOR : STRAKER'S OFFICE
The office is unfinished. Wires are exposed and hanging through the suspended ceiling framework. A ladder stands in the middle of the floor. Behind the desk, where the colored light panel would be, a half-finished emergency elevator can be seen. Freeman looks around the office.
FREEMAN
Well, it's all beginning to take shape.
STRAKER
Yes, this is it. SHADO H.Q., the nerve center of the whole organization.
(pause, musing)
You know, Alec, setting all this up, the delays, the problems, security, personnel, a thousand details, a hundred hold-ups. Sometimes it seems like we're fighting a ten headed monster.
FREEMAN
And what drives you on? Fighting the monster?
STRAKER
Oh, I don't know. Somethin' inside me, I guess.
FREEMAN
It's called 'dedication'.
STRAKER
'Pig-headedness' would be nearer.
Freeman grins at Straker's response.
FREEMAN
(more serious)
How's Mary?
STRAKER
(a little surprised)
Mary?
(resigned)
She's fine. Fine.
Freeman just looks at him, waiting.
STRAKER
(unhappy)
No, she's not, Alec.
(pause)
She's problem number one.
Straker pushes a button on the cluttered desktop and the office doors slide shut.
STRAKER
Alec, I want to tell her.
FREEMAN
You can't do that.
STRAKER
No, not everything. Just, just enough for her to understand.
FREEMAN
(firm)
Impossible.
STRAKER
(upset)
She's got to know, Alec. She's got to realize how important all this is, how much time it takes. How else can I make her understand?
FREEMAN
It's out of the question and you know it.
STRAKER
What can I do, Alec? There must be something!
FREEMAN
(firm)
Well, there isn't.
Straker's expression becomes combative, grim.
FREEMAN
Do you really want to tell Mary? Do you want to risk her life? That's just what you'd be doing, you know.
Straker's expression becomes resigned.
FREEMAN
I don't like this anymore than you do, but you know what our security boys are like. Makes the C.I.A. look like a bunch of 'Sunday school teachers'. If you told Mary and they found out...
(pause, kinder)
The security of all of this, billions of dollars. It outweighs any individual. You, me, Mary, anybody.
(pause)
You can't. It's the safest way. The only way.
INTERIOR: STRAKER'S HOUSE
Mary is dressed up and has just put the finishing touches on a fancily set dinner table with two place settings. Outside, a car can be heard driving up and stopping. Moments later, Straker walks in. Mary is pleased.
MARY
Hello, darling.
STRAKER
Sweetheart.
(They kiss. He steps back to look at her.)
Hmm, you're looking very smart tonight.
MARY
Hmm, thank you. How was work?
STRAKER
Oh, about the same as yesterday and the day before that ...
He takes off his jacket and goes to the hallway to hang it up.
STRAKER
What did you do today?
MARY
(pleased, pouring two drinks)
Oh, nothing much.
As she speaks, Straker returns. She holds a filled glass out to him.
MARY
Drink?
STRAKER
(puzzled)
You know I don't drink, Mary.
MARY
This is, um, an 'occasion'.
Straker looks blank, then suddenly realizes what Mary is alluding to. He swallows the drink.
STRAKER
(nervous, happy)
Oh, well here, you sit down here.
He makes her sit on the sofa. She laughs. he starts for the hallway.
STRAKER
I have to make a phone call.
MARY
But, you're not going to work tonight?
STRAKER
(stops)
Oh, no. I have to get onto that decorator fellow, get him in here to do up that nursery. Paint it blue.
MARY
Uh uh (no) Pink.
Straker pauses as if considering her option, then grins and shakes his head.
STRAKER
Blue.
He sits with her and they kiss.
INTERIOR : SHADO CONTROL : STRAKER'S OFFICE
The door to the hallway is open. The office is still half finished but more finished than last time. Straker sits at his desk, speaking into a telephone receiver. Just outside the office, 2 TECHNICIANS are working on a computer. Alec Freeman stands nearby, watching.
STRAKER
(to phone, irritable)
Look, we're working night and day down here and I don't see why some fool of a sub-contractor shouldn't do the same.
(pause, listening)
A week! Look, I'll give him three days to deliver.
(pause)
Right. Good by.
Technician 1 enters the office. as Straker hangs up the phone.
TECHNICIAN 1
We don't seem to be able to find the fault, sir.
STRAKER
Well, keep checking.
(technician looks unhappy)
And don't look at me like that. You're not the only one with a home to go to.
The Technician leaves the office to go back to the computer. Straker picks up the phone.
STRAKER
(to phone)
Put me through to supply.
Outside, Freeman can be seen helping the technicians.
FREEMAN
All right, switch it on again.
INSIDE OFFICE:
STRAKER
(to phone)
Yes, yes...All right, but let me know as soon as you can, will you? Thanks.
Straker hangs up as Freeman enters the office. Behind Freeman, outside, the two technicians quietly discuss the problem at hand.
FREEMAN
We've got trouble on the computer interface on the read-out unit.
STRAKER
(dismayed)
Oh no.
(pause)
Well, let's just hope it's one of those plug-in circuits and nothing more serious.
Straker gets up from the desk and follows Freeman into the control room.
INTERIOR : STRAKER HOUSE, LATE AT NIGHT
Mary sits with just one light on, reading a book. She is very pregnant. The phone rings. She gets up to answer it.
MARY
(to phone, expectant)
0-2-4-8-4-3-4
(pause, disappointed)
Oh, it's you, Mother. How are you?
(pause)
Yes, yes, I'm fine... . Yes, I went to see him today. Hm hmm (yes) he confirmed the first week in April... Of course... .Ed? No, he's, um, he's working late....Yes, I know...I know, Mother, but it's his job, he ...No, I'm . .
(upset, verging on angry)
No Mother, don't be silly, of course there's not another woman! No. It would ... All right, I've got to go...I . .I'll ring you tomorrow. Bye.
She hangs up the phone, sits down and cries.
INTERIOR : SHADO CONTROL
Freeman, Straker and the two technicians are still working on the computer.
STRAKER
All right, let's try it again.
One of the technicians turns on the machine and it lights up.
TECHNICIAN 1
Seems fine.
STRAKER
Okay, let's call it a day, huh?
TECHNICIAN 1
Yes, sir. Good night, sir.
TECHNICIAN 2
(at almost same time)
Good night, sir.
STRAKER
Good night, good night
(pause as they pick up their tools)
Oh, and thanks, fellas.
The technicians nod and leave as Straker and Freeman head back to Straker's office.
FREEMAN
It's pretty late. If you like, you can come back to my place. It saves the drive.
STRAKER
Yeah, maybe Alec, maybe.
FREEMAN
Come on. I'll phone Mary and explain, first thing in the morning.
STRAKER
(appalled)
Mary! I was supposed to phone her three hours ago.
INTERIOR: STRAKER'S HOUSE
The clock chimes three. Mary still sits, waiting. Straker walks into the house and enters the living room.
STRAKER
Hello, Mary
MARY
(cool)
Hi.
STRAKER
How do you feel?
MARY
I'm fine.
STRAKER
Hey, why aren't you in bed?
MARY
(angry)
I was waiting for you to come home. For four hours, waiting. What am I supposed to think?
STRAKER
(heading for hallway)
Come on.
MARY
No. I don't know why you bothered to come home at all. Why didn't you spend the whole night with her?
STRAKER
(puzzled)
With who?
MARY
Oh, you tell me, Ed.
STRAKER
(confused laugh)
Oh, what a crazy idea. Come on, let's go to bed.
MARY
(angry)
Why is it a crazy idea? If it's so crazy, tell me where you've been?
STRAKER
(grim, getting angry)
Come on.
MARY
Where have you been?
STRAKER
(raising voice)
You know I can't tell you!
MARY
Ed, break the bloody rules just for once and tell me! I'm your wife!
STRAKER
And you know I can't tell you!
(pause, calmer)
If only . . Let's just calm down and go to bed.
MARY
No. I have a right to know.
STRAKER
(upset)
Mary, will you stop this?
MARY
What's more important? Me? Or whatever you do until three o'clock in the morning, Hmm?
STRAKER
(heading for hallway)
I'm going up. .
MARY
(interrupting)
I love you. I'm going to have your child. When he's born, when he's old enough to realize, will he have a father or a man he hardly knows? Someone he sees every now and then?
STRAKER
(pleading)
Mary.
MARY
I hope you still have a choice, Ed.
(pause)
Perhaps you should decide before it's too late.
EXTERIOR : HARLINGTON-STRAKER STUDIOS- WINTER
Straker and Freeman are walking. Both wear heavy coats.
FREEMAN
Well, the control complex is complete, fully operational. All we need now are the technicians.
STRAKER
How are the first batch of recruits making out?
FREEMAN
Oh, security checks, aptitude tests, six months training and then further tests.
(pause)
It's a pretty tough schedule. The original fifty have been whittled down to eight.
STRAKER
(surprised)
Eight?
FREEMAN
Yes. The second batch seem to be doing a little better.
STRAKER
When can we expect the first group to finish their training?
FREEMAN
A few months. It'll be spring. A good time to start.
STRAKER
(musing)
Spring.
(pause, sigh)
My son will be born in the spring.
FREEMAN
(startled)
Your son? How'd you ...?
Freeman stops in confusion. Straker keeps on walking.
EXTERIOR : A LONDON SCENIC POINT - SPRING
A woman (NINA BARRY)stands at the look-out point. A car drives up, stops and Straker gets out. He speaks with Barry, they both get into her car. Unbeknownst to them, they are being watched by a DETECTIVE, who takes notes. He follows Straker and Barry as they drive away.
INTERIOR : BARRY'S CAR
Straker is driving.
STRAKER
Your place?
BARRY
My place.
Barry's car stops at a LONDON ROW HOUSE. Straker and Barry get out and enter the house. The detective takes pictures and waits. It grows dark. He still waits, taking notes.
INTERIOR : TOWN HOUSE -MORNING
Freeman, Barry, the SHADO Control technicians, and SEVERAL OTHERS are seated around the living room, some on the floor. Straker stands, addressing them.
STRAKER
Well, I think that does it.
INTERIOR : STRAKER'S HOUSE - MORNING
Mary is walking down the stairs, carrying a suitcase, as the door opens and Straker enters. He climbs the stairs to meet her. In one hand, Mary holds a white envelope.
STRAKER
You shouldn't be carrying that.
He takes the suitcase from her and sets it on the step beside him.
MARY
(upset)
I'm leaving you, Ed.
(hands him envelope)
I've explained it all in the letter.
STRAKER
Wait a minute. If something's the matter, I want to hear it from you, Mary.
MARY
(upset)
I know. Don't you understand? I know everything.
STRAKER
(alarmed)
What do you know?
(pause. Mary doesn't answer)
Tell me what you know!
MARY
My mother had you followed.
STRAKER
Go on.
MARY
You were followed to the flat with the girl.
STRAKER
(gentle, reaches for her)
Mary ...
MARY
(angry)
Don't touch me!
STRAKER
Mary, darling, I can explain everything.
MARY
Don't.
(pause)
It's dirty enough, don't lie.
STRAKER
(appalled)
Mary!
MARY
The man was here this morning. He even had photographs with the time, everything.
There is a knock at the door.
STRAKER
Mary, darling, I can explain it to you.
MARY
I don't want to hear.
STRAKER
Please, just listen to me, will you?
MARY
No, just give me my case.
STRAKER
(angry)
No, you're not going anywhere. You gonna' stay right here and listen!
From Outside the house:
MARY'S FATHER
(worried)
What's going on in there?
MARY
(to Father outside)
I'm coming, Dad.
(to Straker- very upset)
No, Ed, don't you understand? I've had enough!
STRAKER
(upset)
All right, I'll tell you everything.
MARY'S FATHER (o.s.)
What's going on in there?
MARY
No, It's no good, Ed.
STRAKER
Everything!
MARY
(screaming, hysterical)
I can't take it anymore. I can't take it!
Straker slaps her, then is immediately horrified that he has done so.
MARY'S FATHER (o.s.)
(upset)
Mary, Mary, what's the matter?
(pause)
Open the door, Mary!
Outside, he begins to pound on the door.
On the stairs, Straker lets Mary climb down the stairs past him. As she steps down, she bends over to grab her suitcase from the step. She loses her balance and tumbles down the steps to the floor.
STRAKER
(horrified)
Oh my God.
Straker runs down the steps to check on her. She is unconscious. He opens the front door and MARY'S FATHER comes in as Straker reaches for the telephone on the hallway table. Mary's father starts to go to her.
STRAKER
(to Mary's father)
Don't touch her!
EXTERIOR : HOSPITAL, RAINY WEATHER
An ambulance is seen driving up and stopping at the emergency entrance.
INTERIOR : EMERGENCY ENTRANCE
TWO AMBULANCE ATTENDANTS, with Straker's help, wheel Mary into the hospital on a stretcher.
INTERIOR : HOSPITAL WAITING AREA
Straker and Mary's father wait, separated by several feet. Straker seems worried and withdrawn. Mary's father appears worried, watching Straker. Rain beats on the windows. After a time a DOCTOR enters and walks up to Straker. Straker stands to meet him.
DOCTOR
Your wife has an internal hemorrhage.
(pause)
They're taking her into the theater now, but I shall have to perform a cesarean section.
Straker nods and the Doctor begins to head toward the door he came through.
STRAKER
Oh, Doctor . .
Doctor stops and looks back at him.
STRAKER
If there's any complication ...If you have to choose between my wife ...
DOCTOR
I understand.
The doctor leaves and Straker sits back down to wait while it rains outside.
LATER : HOSPITAL WAITING ROOM
A NURSE enters and walks up to Straker and Mary's father.
NURSE
(pleased)
It's a boy!
STRAKER
How's my wife?
NURSE
(more serious)
The doctor will be out in a moment.
The nurse walks away. Mary's father smiles at Straker and claps him on the shoulder
After a moment, the doctor walks in and comes over to them.
STRAKER
How is she, Doctor?
DOCTOR
As well as can be expected.
STRAKER
She'll be all right?
DOCTOR
Yes.
STRAKER
(relieved)
When can I see her?
DOCTOR
When she wakes up, but only for a few minutes.
STRAKER
How's my son?
DOCTOR
(amused)
He's fine.
INTERIOR : HOSPITAL HALLWAY LOOKING INTO NEWBORN NURSERY.
A NEWBORN BABY lays crying in a bassinet. Straker stands in the hallway, looking through the window at the baby. He waves at the baby through the glass. TWO PEOPLE, walk past, behind Straker and he converts his wave into brushing back his hair, embarrassed.
INTERIOR : HOSPITAL ROOM
Mary lies in a hospital bed, waking up. She attempts to focus on the face of the person sitting beside the bed, thinking it's Straker.
MARY
Ed?
The image comes clearer - Mary's father.
MARY'S FATHER
It's me, my dear.
MARY
(disappointed)
Oh.
MARY'S FATHER
How do you feel?
MARY
Fine (pause) Where's Ed?
MARY'S FATHER
Ed said he had to go. He, uh, said he couldn't tell me why.
MARY
(bitter)
I know why, Father.
MARY'S FATHER
(soothing)
You just get well again, and we'll sit down quietly with your mother.
MARY
(beginning to cry, turning away)
No.
INTERIOR : CHAUFFERRED LIMOSINE, BACK SEAT
Freeman sits with Straker. Straker is not happy.
FREEMAN
I'm sorry about this, Ed. (pause)You know I wouldn't have done it if it hadn't been absolutely necessary.
(pause)
Anyway, congratulations.
Freeman pulls two cigars out of his pocket and hands one to Straker, who takes it, cheering up a little.
INTERIOR : SHADO CONTROL
Return to Freeman lighting Straker's cigar as the background noises come up, background conversation.
STRAKER
(looking around as if suddenly returning to here-and-now)
Too much cigar smoke around here, Alec.
(pause)
Tell somebody to turn on a fan and get rid of it.
FREEMAN
Right.
STRAKER
Lieutenant Gray!
GRAY
(coming up to Straker)
Yes, sir?
STRAKER
Take a week's furlough, starting now.
GRAY
(Surprised)
But, sir...
STRAKER
That's an order.
GRAY
Right, sir.
Gray walks away, grinning but confused.
STRAKER
(to others)
As for the rest of us, let's do a little work while we celebrate.
Straker leaves the Control room, heading for his office. From the Control room, he can be seen going to his desk, sitting and smoking his cigar. His mood seems a little depressed.
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