THE SCRIPT FOR THE UFO EPISODE
“COURT MARTIAL”

Original title, “SHOOT TO KILL”

by

Tony Barwick

© Century 21 Pictures
Stirling Road, Slough,
Buckinghamshire,
SL1 4ST, UK.

CAST LIST:
SPEAKING PARTS:
STRAKER
FORD
AYESHA
FREEMAN
JOAN
GAY ELLIS
NINA
ASTRONAUT
SECRETARY (Miss Scott)
HENDERSON
JACKSON
CARL MASON
GIRL
MAN
FOSTER
WEBB
WATERMAN
ASSISTANT
GUARD
MASTERS
SINGLETON
MISS GRANT
AGENT

SET LIST:
INT. CONTROL ROOM UNDERGROUND (STUDIO)
INT. STRAKER’S UNDERGROUND OFFICE (STUDIO)
INT. MISS EALAND’S OFFICE (STUDIO)
INT. APARTMENT (STUDIO)
INT. CONTROL SPHERE (STUDIO)
INT. LEISURE DINING SPHERE (STUDIO)
INT. INTERCEPTOR (STUDIO)
INT. SECRETARY’S OFFICE (STUDIO)
INT. THEATRE (STUDIO)
INT. STAGE (STUDIO)
INT. COURTROOM (STUDIO)
INT. SET (STUDIO)
EXT. LOT (STUDIO)
INT. CELL (STUDIO)
INT. WORKSHOP (STUDIO)
INT. LIFT (STUDIO)
EXT. STUDIO (LOCATION)
EXT LOCATION (TO BE ARRANGED)

VISUAL EFFECTS:
EXT. CAR
EXT. ROAD 

1 INT. CONTROL ROOM UNDERGROUND. (STUDIO) 30 SECS

IT IS 10.30PM AN ATMOSPHERE OF QUIET WATCHFUL ROUTINE... THE OPERATORS ARE AT THEIR POSTS.

ON STRAKER

AS HE COMES OUT OF HIS INNER OFFICE ON HIS WAY HOME AT THE END OF A LONG DAY.

TWO SHOT

STRAKER WALKS OVER TO JOIN FORD.

STRAKER
Has Alec Freeman left?

FORD
Yes, Sir, about an hour ago. Shall I contact him?

STRAKER
No, I’ll call him at home.

FORD
Right, sir.

WIDER ANGLE

STRAKER WALKS OUT OF THE CONTROL ROOM, NODDING GOODNIGHT TO ANOTHER OPERATOR.

TWO SHOT

AYESHA COMES UP TO FORD.

AYESHA
(sarcastic)
The Commander’s not leaving?

FORD
Short day. He’s only put in 16 hours.

THEY SMILE.

CUT TO:

2 INT. STRAKER’S INNER OFFICE. (STUDIO) 5 SECS

STRAKER RIDES UP THE LIFT OFFICE.

CUT TO:

3 INT. MISS EALAND’S OFFICE. NIGHT. (STUDIO) 30 SECS

THE OFFICE IS EMPTY. PAN FROM MISS EALAND’S DESK TO THE DOOR AS THE ELECTRONIC BOLTS SLIDE OPEN AND STRAKER COMES OUT.

ON DOORS.

THEY SLIDE SHUT, THE SIGN ABOVE THEM COMES ON AGAIN.

ON STRAKER

HE STANDS IN THE SILENT OFFICE, HE TILTS HIS HEAD AS HE CATCHES THE SLIGHTEST SOUND OF A BEAT NUMBER.

WIDER ANGLE

STRAKER CROSSES TO MISS EALAND’S DESK AND PICKS UP A MINUTE TRANSISTOR RADIO. IT IS ABOUT ONE CUBIC INCH. HE TURNS UP THE VOLUME, THE BEAT NUMBER POUNDS OUT LOUD AND UNDISTORTED.

ON STRAKER

SPACE TECHNOLOGY HAS MADE TREMENDOUS ADVANCES, BUT EVEN STRAKER IS A LITTLE SURPRISED AT THE QUALITY FROM SUCH A SMALL RADIO.

CUT TO:

4 INT. CAR. NIGHT (STUDIO) 12 SECS

STRAKER AT THE WHEEL, THE TUNE WE HEARD ON MISS EALAND’S TRANSISTOR NOW COMES OVER THE CAR RADIO AS STRAKER DRIVES HOME.

STRAKER LISTENS FOR A FEW MOMENTS, THEN SNAPS THE RADIO OFF AND PICKS UP THE CORDLESS CAR PHONE.

CUT TO:

5 INT. APARTMENT. NIGHT. (STUDIO) 12 SECS

START CLOSE ON PHONE AS IT RINGS

(NOTE: IF WE STAY CLOSE ON THE BED THEN SCENE CAN BE SHOT IN A REDRESSED CORNER OF FOSTER’S APARTMENT WHICH WILL FEATURE LATER IN THE SCRIPT).

AFTER A FEW MOMENTS A HAND COMES OUT AND LIFTS THE PHONE. PULL BACK TO SHOW FREEMAN IN BED. HE HAS BEEN ASLEEP.

ON FREEMAN

FREEMAN
(into phone)
Freeman.

STRAKER (VO)
Alec.

FREEMAN
(drowsily)
Oh, don’t you ever sleep?

CUT TO:

6 INT. CAR. NIGHT. (STUDIO) 12 SECS

STRAKER SMILES TO HIMSELF

STRAKER
Hope I didn’t wake you up.

FREEMAN (VO)
Sure

STRAKER
Listen, Alec. There are a couple of things I wanted to check.

STRAKER REACTS AT A BLEEP FROM THE DASHBOARD.

STRAKER
(Urgent)
Hold it.

CUT TO:

7 INT. APARTMENT. NIGHT (STUDIO) 7 SECS

FREEMAN IS NOW SHAKEN WIDE AWAKE BY THE URGENCY IN STRAKER’S VOICE.

FREEMAN
What is it?
(a long beat)
What’s wrong?

CUT TO:

8 INT. CAR. NIGHT. (STUDIO) 5 SECS

STRAKER IS CHECKING AROUND THE CAR WITH HIS EYES

STRAKER
(into phone)
I’ve got an E alarm.

CUT TO:

9 INT. APARTMENT. NIGHT (STUDIO) 6 SECS

FREEMAN
(urgent)
It could be a trigger mechanism. Get out of there.

CUT TO:

10 INT. CAR. NIGHT. (STUDIO) 10 SECS

STRAKER FEELS AROUND THE CAR. THE ALARM STILL BLEEPS. HE CAN’T FIND ANYTHING AND BEGINS TO GET WORRIED: THE ELECTRONIC ALARM COULD BE REGISTERING A BOMB MECHANISM. HE HAS TAKEN HIS EYES OFF THE ROAD BUT REACTS AS HEADLIGHTS FLARE ACROSS HIS FACE, AND LOOKS UP.

CUT TO:

11 EXT. CAR. NIGHT. (V.E.) 5 SECS

A LORRY WITH HEADLIGHTS BLAZING BEARS DOWN FROM STRAKER’S POV. HE HAS WANDERED A LITTLE ONTO THE WRONG SIDE OF THE ROAD.

CUT TO:

12 INT. CAR. NIGHT. (STUDIO) 3 SECS

STRAKER JERKS THE WHEEL AWAY FROM THE LORRY.

CUT TO:

13 EXT. CAR. NIGHT. (LOCATION) 8 SECS

THE LORRY HAS PASSED WITH ITS HORN BLARING A DOPPLER EFFECT. THE CAR SKIDS OFF THE ROAD AS STRAKER BRAKES HARD.

CUT TO:

14 INT. APARTMENT. NIGHT. (STUDIO) 6 SECS

FREEMAN, WHO HAS HEARD THE SOUNDS OVER THE PHONE, IS VERY CONCERNED.

FREEMAN
Are you alright... Are you alright, Ed?

CUT TO:

15 EXT. CAR. NIGHT. (LOCATION) 4 SECS

ANGLED UP ONTO A BANK AT THE SIDE OF A COUNTRY ROAD.

CUT TO:

16 INT. CAR. NIGHT. (STUDIO) 27 SECS

STRAKER IS SHAKEN BUT NOT HURT. FROM HIS POSITION HE CAN NOW SEE UNDER THE DASHBOARD. THE ALARM HAS STOPPED.

FREEMAN (VO)
Can you hear me... ?

STRAKER PICKS UP THE PHONE.

STRAKER
Yes, I’m fine... I’ve found it.

HE LEANS FORWARD AND TAKES A BUGGING DEVICE FROM UNDER THE DASHBOARD.

ON HAND

WE SEE THE MINIATURE DEVICE IN THE PALM OF STRAKER’S HAND.

STRAKER (VO)
A bugging device... 

ON STRAKER

STRAKER
Someone’s out to get us Alec, and I’ve got a pretty good idea who it could be. This has got Henderson written all over it.

CUT TO:

17 EXT. SPACE. (V.E.) 60 SECS

PART OF END TITLE SHOT. U.F.O. TITLE OVER.

CUT TO:

MAIN TITLES

1) A U.F.O. in deep space.

2) The Moon

3) S.I.D. in orbit

4) Exterior Moonbase

5) Exterior of the Control Sphere

CUT TO:

18 EXT. CONTROL SPHERE. (STUDIO) 31 SECS

START CLOSE ON JOAN

JOAN
Red Alert, I say again, Red Alert.

WIDER ANGLE.

AS GAY TELLS SHADO CONTROL, SID’S VOICE CONFRIMS THE SIGHTING.

S.I.D. (VO)
Confirm bearing 049 - 286.
Speed SOL 0.6 Range 28 decimal. 7 million miles.

GAY
This is Moonbase to SHADO Control. We have a UFO on positive track. Going for intercept. Out.

SHE ACTIVATES ANOTHER RADIO LINK.

GAY
Interceptors, immediate launch.

CUT TO:

19 INT. LEISURE DINING SPHERE. (STUDIO) 14 SECS

THE THREE ASTRONAUTS MOVE TO THEIR HELMETS AND ZIP UP THEIR SPACE SUITS AS -

GAY (VO)

Interceptors immediate launch.

THE THREE ASTRONAUTS SLIDE DOWN THE CHUTES.

CUT TO:

20 INT. CONTROL SPHERE. (STUDIO) 19 SECS

WE FEATURE NINA TRACKING THE UFO. S.I.D.’s VOICE CALLS OFF THE RANGE IN B.G.

S.I.D. (VO)

Range 15 million miles... 14 million miles, etc.

NINA
Maintaining course 049 - 286. Now in area blue 148.

CUT TO:

21 INT. CREATER. (V.E.) (STOCK) 5 SECS

THE INTERCEPTORS IN THE CRATER.

CUT TO:

22 INT. COCKPIT. STUDIO (STOCK) 4 SECS

ONE OF THE ASTRONAUTS AT THE INTERCEPTOR CONTROLS.

CUT TO:

23 INT. CRATER. (V.E.) (STOCK) 4 SECS

THE INTERCEPTORS ELEVATE UP ON THE RAMPS.

CUT TO:

24 EXT. CRATER. (V.E.) (STOCK) 5 SECS

THE INTERCEPTORS COME OUT OF THE CRATER AND LIFT OFF.

CUT TO:

25 EXT. MOON. (V.E.) (STOCK) 5 SECS

THE INTERCEPTORS IN FORMATION OVER THE LUNAR SURFACE.

CUT TO:

26 INT. CONTROL SPHERE. (STUDIO) 12 SECS

NINA
Interceptors space borne.

GAY AT THE CONSOLE TURNS TO SPEAK TO THE INTERCEPTORS.

GAY
Control to Interceptors. Stand by for onboard computer missile timing input.

CUT TO:

27 INT. INTERCEPTOR. (STUDIO) 14 SECS

THE ASTRONAUT ACTIVATES SWITCHES ETC. AS THE INFORMATION COMES OVER THE RADIO.

GAY (VO)
012 - 417 - 010. Firing sequence 19104.

ASTRONAUT
Roger Control. Missile firing 10 decimal 4 seconds.

CUT TO:

28 EXT. SPACE. (V.E.) (STOCK) 5 SECS

THE U.F.O. IN SPACE

CUT TO:

29 EXT. INTERCEPTOR. (V.E.) (STOCK) 4 SECS

THE MISSILES STREAK AWAY.

CUT TO:

30 INT. MOONBASE CONTROL. (STUDIO) 5 SECS

GAY HAS MOVED OVER TO WAIT BY JOAN FOR THE RESULTS.

CUT TO:

31 EXT. SPACE. V.E. (STOCK) 5 SECS

THE MISSILES DETONATE IN DEEP SPACE.

CUT TO:

32 INT. CONTROL SPHERE. (STUDIO) 29 SECS

WE FEATURE THE SCREEN AS JOAN AND GAY WAIT.

S.I.D.
Detonation confirmed.

ON JOAN

JOAN
Positive. We got it.

TWO SHOT

GAY AND JOAN SMILE AT EACH OTHER. THE U.F.O. HAS BEEN DESTROYED.

ON GAY

SHE WALKS TO THE CENTRAL CONSOLE AND ACTIVATES THE EARTH LINK.

GAY
Moonbase to SHADO Control. UFO destroyed. Standing down to routine watch.

STRAKER (VO)
Thank you, Lieutenant. Give my compliments to the interceptor pilots. Out.

CUT TO:

33 INT. CONTROL ROOM. (UNDERGROUND) (STUDIO) 14 SECS

THE OPERATORS RELAX AND BEGIN TO CHATTER A HAPPY ATMOSPHERE AFTER A SUCCESSFUL MISSION.

ON STRAKER
HE MOVES OVER TO JOIN FREEMAN.

STRAKER
Great start to the day, Alec. Well we’re in good shape here. Now I think I’m about ready for an argument.

FREEMAN KNOWS WHAT HE MEANS.

STRAKER
Let’s go.

THEY MOVE OUT OF THE CONTROL ROOM.

CUT TO:

34 EXT. OFFICE BLOCK. DAT. (STUDIO) 5 SECS

TO ESTABLISH. (STOCK SHOT AS USED IN AMBUSH)

CUT TO:

35 INT. SECRETARY’S OFFICE. DAY. (STUDIO) 18 SECS

GENERAL HENDERSON’S SECRETARY SITS AT HER DESK. STRAKER AND FREEMAN COME IN.

SECRETARY
Mr. Straker.

STRAKER DOES NOT SLOW AS HE HEADS FOR THE INNER OFFICE.

STRAKER
Good morning, we’ll go straight in.

THE SECRETARY STARTS TO PROTEST AS STRAKER GOES INTO THE OFFICE.

SECRETARY
I’m afraid there’s... 

ON FREEMAN

FREEMAN STOPS HER

FREEMAN
It’s alright, just show us where we sharpen our knives.

CUT TO:

36 INT. HENDERSON'S OFFICE. DAY. (STUDIO) 109 SECS

HENDERSON AND JACKSON LOOK UP AS STRAKER FOLLOWED BY FREEMAN ENTER.
THE SECRETARY COMES IN AND STANDS JUST INSIDE THE DOOR.

SECRETARY
I’m sorry, sir.

HENDERSON
Don’t worry, Miss Scott. Stopping runaway trains isn’t part of your job.

MISS SCOTT GOES OUT AND CLOSES THE DOOR.

HENDERSON
Straker, this is an unpleasant surprise.

STRAKER
Yes, I’m sure.

HENDERSON
You know Jackson, of course.

STRAKER
Of course, the eyes and ears of the world.

JACKSON
Commander.

HE LOOKS AT FREEMAN

JACKSON
Colonel Freeman.

ON FREEMAN

FREEMAN
I’d shake hands, but you know how it is, I can’t bear to touch anything slippery.

GROUP SHOT

HENDERSON
Well, now we’ve dispensed with the pleasantries... I presume this isn’t a social call.

ON STRAKER

STRAKER THROWS THE BUGGING DEVICE HE FOUND IN THE CAR ONTO HENDERSON’S DESK.

STRAKER
Yours, I believe.

ON HENDERSON

HE PICKS UP THE DEVICE.

ON DEVICE

IN HENDERSON’S PALM TO SHOW IT TO THE AUDIENCE AGAIN.

WIDER ANGLE

HENDERSON GIVES IT TO JACKSON WHO WEIGHS IT IN HIS HAND.

JACKSON
Standard Mark 4 bugging device. Range about three miles.

STRAKER
Planted in my car. Why?

HENDERSON
Two reasons. One to test your security.

STRAKER
And the real reason?

ON HENDERSON

HENDERSON
Two days ago we had to squash a press report. It concerned a SkyDiver rendezvous with a supply ship.

GROUP SHOT

STRAKER AND FREEMAN REACT

GROUP SHOT

HENDERSON
It named the exact position and time. We had to go right to the top to get a suppression notice.

JACKSON
It would have been... unfortunate for SkyDiver to have surfaced and been greeted by a boatload of reporters and photographers.

STRAKER
Is this is some kind of sick joke.

HENDERSON
You’ve got yourself a major security breach. You’d better believe it.

JACKSON
We’ve checked. The information was never circulated. It’s specific to SHADO HQ under the studio.

HENDERSON
To put it bluntly, someone you know... work with every day... is a security hazard.

ON STRAKER

STRAKER
Just give us the details. We’ll find him.

GROUP SHOT

HENDERSON
(hard)
If you don’t. We will.

CUT TO:

37 INT. THEATRE. DAY (STUDIO) 42 SECS

START CLOSE ON FOSTER - THE LIGHT FROM A FILM BEING SHOWN ON A SCREEN FLICKERING ON HIS FACE.

PULL BACK TO INCLUDE A HARD, VERY PROFESSIONAL PRODUCER DIRECTOR, CARL MASON, AND A COUPLE OF CUTTING ROOM PEOPLE

ON SCREEN

IT IS A SCREEN TEST FOR A GIRL.

GIRL
Just hold me close.

THEY CLINCH

GIRL
...I wish you could just pick me up and put me in your pocket.

MAN
Life isn’t that easy.

GIRL
You say you love me. If you really do, you won’t let anything stand between us and happiness... our happiness.

DIRECTOR (VO)
Alright, cut and print.

THE COUPLE RELAX. THE GIRL PULLS A FACE. THE PICTURE FADES AND THE LIGHTS COME UP.

TWO SHOT

MASON AND FOSTER

MASON
See what I mean?

FOSTER
It wasn’t the greatest dialogue ever written.

WIDER ANGLE

MASON TURNS TO THE TWO EDITORS

MASON
Thank you, boys.

THEY GET UP AND GO OUT. MASON WAITS TIL THE DOOR HAS CLOSED BEHIND THEM.

MASON
Now, listen Foster.

ON MASON

MASON
I’m directing a ten million dollar feature. That girl was signed up on the strength of the screen test you’ve just seen.

TWO SHOT

FOSTER
And you want to recast... 

MASON
You’ve got it in one.

FOSTER
Well, the studio follows a policy of non-interference. I’d say it’s your decision.

MASON
That’s all I wanted to know.

HE STANDS UP TO GO, THEN TURNS BACK.

MASON
You’ll check it out with Ed Straker?

FOSTER
That won’t be necessary. Mr Straker has assigned me to this picture as his representative.

MASON
You know he’s the kind of executive producer I like to see... the one you don’t see.

THEY SMILE - MASON EXITS.

38 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 39 SECS

STRAKER SITS AT HIS DESK CHECKING OVER SOME PAPERS. FREEMAN COMES IN.

FREEMAN
We’ve checked the whole complex. We’re clean.

STRAKER
Well, I didn’t really expect to find a hidden microphone in a wall.

FREEMAN
It looks like Henderson was right. We’ve got ourselves a problem.

ON FREEMAN

FREEMAN
It’s a pretty frightening sensation... walking round out there... knowing one of the people you’ve known for years... 

ON STRAKER

STRAKER
(interrupting)
Has sunk just about as low as you can get.

TWO SHOT

FREEMAN
Yeah, I know. But who is it?

STRAKER HOLDS OUT A SHEET OF PAPER. FREEMAN TAKES IT.

STRAKER
The coded message to SkyDiver. The one that’s been leaked... 

FREEMAN LOOKS AT IT.

STRAKER
Authorised and sent by Foster.

FREEMAN REACTS.

CUT TO:

39 INT. STAGE. DAY. (STUDIO) 32 SECS

START ON FOSTER. HE STANDS IN FRONT OF A FRONT PROJECTION SCREEN, AND APPEARS TO BE FLYING OR WHATEVER.

WIDER ANGLE

WE SEE THE SET UP. WE ARE ON A SPECIAL EFFECTS STAGE.

STRAKER WALKS OVER TO FOSTER.

TWO SHOT

FOSTER
Hi.

STRAKER
How’s it going?

FOSTER
Great. There’s more to making movies than people think.

STRAKER NODS

FOSTER
I’m learning something new every day.

STRAKER
That happens to most of us.

ON STRAKER
I want to talk to you.

FOSTER
Sure.

STRAKER
I mean now. Get rid of the crew.

HE TURNS TO WALK AWAY

ON FOSTER

PUZZLED, STRAKER’S TONE SURPRISES HIM.

FOSTER
Alright, boys, take an early lunch.

40 INT. CONTROL ROOM. UNDERGROUND. (STUDIO) 15 SECS

FREEMAN IS ON THE PHONE

FREEMAN
Are you certain... right... right, I’ll check it out... Yes, I’ll tell him.

HE LOOKS WORRIED.

CUT TO:

41 INT. STAGE. DAY. (STUDIO) 86 SECS

START ON THE PROJECTOR. IT NOW PROJECTS SLIDES AND THESE CHANGE AUTOMATICALLY EVERY 10 SECONDS OR SO. DURING THE SCENE FOSTER AND STRAKER WALK IN FRONT OF THIS CHANGING B.G.

STRAKER
Close the door.

FOSTER IS SURPRISED BUT OPERATES A CONTROL AND THE DOORS CLOSE.

STRAKER
You transmitted this three days ago.

HE HANDS FOSTER THE MESSAGE TO SKYDIVER. FOSTER REACTS

FOSTER
But this is... Hadn’t we better go to your office or something... 

STRAKER
Worried about security? Maybe I feel just as secure right here.

ON STRAKER

STRAKER
Did you transmit that message?

FOSTER
Well, yes.

STRAKER
I believe I outrank you, Foster.

FOSTER DOESN’T GET THE PICTURE.

FOSTER
Yes.

STRAKER
Yes, what?

FOSTER
Yes, sir.

STRAKER
That’s better. Let’s keep it that way.

FOSTER
Look, what’s this all about... 

STRAKER GIVES HIM A LOOK.

FOSTER
...sir?

STRAKER
Just answer the questions.

ON STRAKER

STRAKER
Who else knew about the SkyDiver transmission?

TWO SHOT

FOSTER
I mentioned it to Alec Freeman.

STRAKER
You gave him details - position, time?

FOSTER
No, sir.

STRAKER
Did you talk about it to anyone else?

FOSTER
No... sir.

STRAKER
Then I’d like you to explain how this information, which you say you told no one, got into the hands of a newspaper.

FOSTER
A newspaper?

STRAKER
Yes, the exact time and position of SkyDiver’s rendezvous with the supply ship.

FOSTER
I... I just don’t understand.

STRAKER
Neither do I.

STRAKER’S BLEEPER BUZZES, HE ANSWERS IT.

STRAKER
Straker.

CUT TO:

42 INT. CONTROL ROOM. UNDERGROUND. (STUDIO) 12 SECS

CLOSE ON ALEC FREEMAN

FREEMAN
I just had Henderson on the line. There’s been another security leak. It concerned the order for a routine flight from moonbase.

STRAKER (VO)
Who planned and authorised it?

FREEMAN
Foster.

43 INT. STAGE. DAY. (STUDIO) 46 SECS

STRAKER
Thank you.

STRAKER LOWERS HIS PERSONAL RADIO AND LOOKS HARD AT FOSTER.

FOSTER
I don’t get it.

STRAKER
How about an explanation... 

FOSTER
Wait a minute... what do you think I’ve done?

STRAKER
I’m not thinking anything. I’m interested in facts.

FOSTER
(hard)
I just don’t see how I can help you... This whole thing is ridiculous.

STRAKER
Ridiculous. Maybe you’ll think a military court is ridiculous.

FOSTER
A military court?

STRAKER
When I tell Henderson the position, it’s the obvious outcome.

ON STRAKER

STRAKER
And you’d better consider this - SHADO is run as a military organisation. We’re at war. You realise the penalty for espionage.

TWO SHOT

FOSTER
You mean... 

STRAKER
I mean you don’t get found guilty twice.

TRACK ON FOSTER.

44 EXT. HARLINGTON-STRAKER STUDIOS. DAY (LIBRARY) 5 SECS

TO ESTABLISH

CUT TO:

45 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 16 SECS

FREEMAN AND STRAKER WEARING SHADO DRESS UNIFORM. FREEMAN CHECKS THE TIME.

FREEMAN
Three minutes to nine.

STRAKER
Right.

HE GETS UP FROM BEHIND HIS DESK.

FREEMAN
What are his chances?

STRAKER
I’ll have a better idea when I see who’s prosecuting.

THEY WALK OUT OF THE OFFICE.

CUT TO:

46 INT. COURTROOM. UNDERGROUND. (STUDIO) 342 SECS

A CONFERENCE ROOM AT SHADO HQ HAS BEEN ADAPTED TO STAGE THE COURT MARTIAL.

AT ONE END SIT THE THREE PRESIDING OFFICERS, HENDERSON IN THE MIDDLE.

ON THE LEFT SIT FOSTER AND HIS DEFENDING OFFICER, WEBB.

ON THE RIGHT THE PROSECUTING OFFICER, WHO WAITS WITH HIS BACK TO CAMERA TALKING TO AN ASSISTANT.

TWO SHOT

STRAKER AND FREEMAN COME IN AND SIT WITH OTHER WITNESSES AT THE END OF THE ROOM.

THE DRESS IS VERY FORMAL. THERE IS A SLIGHT UNDERCURRENT OF CONVERSATION.

ON HENDERSON

HENDERSON
Gentlemen.

THE ROOM GOES VERY QUIET. HENDERSON SPEAKS IN A LOW BUT VERY AUTHORITATIVE VOICE.

HENDERSON
I convene this court martial by the authority invested in me under Article 183 of our charter.

HE LOOKS AROUND.

HENDERSON
I must remind you that as of now, everyone in this room is under oath to speak the truth.
(a beat)
Close the doors.
(the doors are closed)
The prosecuting officer may proceed.

ON JACKSON

HE TURNS INTO CAMERA AND FOR THE FIRST TIME WE SEE WHO IT IS.

TWO SHOT

FREEMAN AND STRAKER

STRAKER
Whatever Foster’s chances were I’d say they’ve just been halved.

ON JACKSON

HE STANDS UP AND LOOKS AROUND THE COURT
The accused, Colonel Paul Foster, is indicted under section eight of SHADO security regulations.

WIDER ANGLE

JACKSON
I intend to show that he and he alone is responsible for, and therefore guilty of the worst crime that can be perpetrated against our organisation... Espionage.

JACKSON SITS DOWN

TWO SHOT

FOSTER AND WEBB

WEBB STANDS, HE IS A HIGHLY INTELLIGENT SHADO OFFICER, BUT DOES NOT HAVE JACKSON’S FLAIR.

WEBB
The defence foregoes its right to speak at this time.

A SLIGHT REACTION FROM FOSTER

ON HENDERSON

HENDERSON
Very well. The prosecuting officer will proceed.

ON JACKSON

JACKSON
My first witness if Lieutenant Ford.

WIDER ANGLE

FORD STANDS UP FROM THE BACK OF THE ROOM AND MOVES FORWARD TO SIT IN THE WITNESS CHAIR. BY THE CHAIR IS A TABLE ON WHICH IS AN ELECTRONIC CODING DEVICE. ON THE FRONT ARE A SERIES OF SWITCHES AND NUMBERED ELECTRONIC BUTTONS.

JACKSON
You are Lieutenant Keith Ford, and you’re a senior operative in SHADO Control.

FORD
Yes, sir.

JACKSON
You recognise the apparatus on the table beside you?

FORD GLANCES AT THE DEVICE.

FORD
Yes, Sir. It’s a standard code and transmit device.

JACKSON
Like the one used in SHADO Control?

FORD
Yes.

JACKSON
Will you tell us how it works.

FORD
The primary circuits are a series of electro-scanners positioned…

ON HENDERSON

HE INTERRUPTS

HENDERSON
Lieutenant, we’d be grateful if you would keep the explanation as simple as possible.

ON FORD

FORD
Yes, sir.

HE NODS TOWARDS HENDERSON

FORD
The information is inserted here.

HE POINTS TO A SLIT LIKE THE FEED IN TO A PHOTOCOPIER

WIDER ANGLE

JACKSON
In what form is this information?

FORD
Handwritten on a standard input docket.

JACKSON HOLDS UP A CARD ABOUT 6 INCHES SQUARE.

JACKSON
Like this?

FORD
Yes.

JACKSON
You say the message or whatever is handwritten. It seems an antiquated method in this electronic age.

FORD
It’s one of the best security checks we have. The device is programmed to scan the card and compare it with standard samples. It will only accept authorised input.

JACKSON
So, for example, if I wrote a message for transmission?

FORD
It would be scanned and rejected.

JACKSON
Whose handwriting is the coder programmed to accept?

FORD
Commander Straker’s, Colonel Freeman’s -
(a slight beat)
- and Colonel Foster’s.

JACKSON
And Colonel Foster’s. I see.

JACKSON MAKES HIS POINT

ON FOSTER

INTENT ON THE PROCEEDINGS

ON JACKSON

JACKSON
The information is then coded and transmitted automatically.

WIDER ANGLE

FORD
Yes, Sir.

JACKSON
Thank you, Lieutenant.

WEBB, THE DEFENDING OFFICER, GETS UP TO QUESTION FORD

WEBB
Lieutenant, what happens to the input card?

FORD
It’s destroyed inside the coder.

WEBB
But a record of the input is kept?

FORD
Yes, In the coder’s memory bank.

WEBB
So that if you, for example, wanted to, Lieutenant, you could check the content of the transmission?

FORD
Yes, sir.

WEBB
And anyone else in the control room could do the same?

FORD
Yes, anyone.

FORD IS TRYING TO HELP - HE LOOKS OVER TOWARDS FOSTER.

ON FOSTER

THE HINT OF A SMILE

WIDER ANGLE

JACKSON HAS STOOD UP AND WALKS OVER TO FORD

JACKSON
Just how could you check the content of a transmission?

FORD TURNS BACK TO THE MACHINE

FORD
You select the relevant number on these keys.

HE INDICATES A SET OF KEYS MARKED 0 TO 9

FORD
And the information is printed out.

JACKSON HOLDS UP THE CARD AGAIN.

JACKSON
On another card similar to this?

FORD
Yes, sir.

JACKSON
But isn’t it printed out in code as it was transmitted?

FORD GIVES A WORRIED LOOK

JACKSON
And isn’t it necessary to use a computer run to decode it?

FORD NODS YES

ON JACKSON

JACKSON
When was the last computer run of this kind?

TWO SHOT

FORD
About two weeks ago.

JACKSON TURNS FROM FORD TO THE COURT MARTIAL IN GENERAL.

JACKSON
Two weeks ago. And the transmissions concerned in the security leak were both sent within the last five days.

JACKSON HAS DEMOLISHED THE DEFENCE’S POINT

JACKSON
That’s all, Lieutenant.

ON FORD

FORD LEAVES THE CHAIR. HE GLANCES AT FOSTER. AND KNOWS HE HASN’T HELPED HIS CASE.

ON JACKSON

JACKSON
Will Captain Waterman come forward, please.

WIDE ANGLE

WATERMAN STANDS UP AND WALKS FROM THE BACK OF THE ROOM TO THE WITNESS CHAIR.

JACKSON
I have just one question, Captain.

ON HENDERSON

HENDERSON
Er, could we have a formal statement of rank and position.

ON WATERMAN

WATERMAN
Captain Lew Waterman, at present commanding officer, SkyDiver.

JACKSON
Did you know the contents of the orders concerning the supply ship rendezvous transmitted to your submarine by Colonel Foster?

WATERMAN
No.

JACKSON
Could you explain why, Captain?

WATERMAN
Until we received confirmation the message remains uncoded in our computer memory.

JACKSON
This is standard procedure for security reasons?

WATERMAN
Yes.

JACKSON
So neither you, nor any of your crew could have leaked the information?

WATERMAN
(soft)
No.

JACKSON
Would you mind speaking up, Captain.

WATERMAN
No.

ON WEBB

WITHOUT RAISING HIS EYES.

WEBB
No questions.

FOSTER GOES TO PROTEST BUT STOPS HIMSELF. AN UNDERCURRENT OF SUBDUED CONVERSATION IN THE COURT.

ON HENDERSON

ONE OF THE OFFICERS NEXT TO HIM MAKES A NOTE ON A PAD.

TWO SHOT

STRAKER AND FREEMAN

FREEMAN GLANCES AT STRAKER WHO STARES AHEAD STONE-FACED.

CUT TO:

47 INT. SET. DAY. (STUDIO) 31 SECS

CARL MASON STANDS BY A DOLLY, LOOKING AT SOME PHOTOGRAPHS. HE TURNS TO AN ASSISTANT AT HIS SIDE.

MASON
Are you sure about this?

ASSISTANT
Certain. I’ve seen it myself. It’s an open set.

MASON
(sarcastic)
Well that’s just great…

ON MASON

MASON
Set up the reverse, keep it fairly low.

TWO SHOT

MASON GOES TO WALK AWAY

ASSISTANT
Where will you be?

MASON
I’m going to see Straker. He’s supposed to be the head of this studio.

MASON STORMS OFF.

CUT TO:

48 INT. MISS EALAND’S OFFICE. (STUDIO) 38 SECS

MISS EALAND SITS TYPING. MASON BURSTS IN.

MASON
I want to see Straker.

MISS EALAND
Yes, Mr. Mason.
SHE OPENS THE APPOINTMENT BOOK.

MASON
No, I mean now. Immediately.

MISS EALAND
I’m sorry. Mr. Straker doesn’t see anyone without an appointment.

ON MASON

HE LOOKS AT MISS EALAND AND THEN DECIDES - HE MOVES QUICKLY TO THE DOOR TO STRAKER'S INNER OFFICE.

ON MISS EALAND

MISS EALAND
I’m afraid he’s not in his office at the moment.

MASON BANGS HIS FIST ON THE DOOR IN FRUSTRATION.

MASON
Well, where the blazes is he?

MISS EALAND
(calm)
I really can’t say. He’s involved in several project at present.

MASON
Involved. Look you tell him what I’ve got to say is more important than anything he could possibly be involved in right now. Like a ten million dollar movie.

MASON TURNS TAIL AND GOES OUT.

CUT TO:

49 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 21 SECS

FREEMAN AND STRAKER IN THE OFFICE DURING A SHORT ADJOURNMENT.

FREEMAN
How do you think it’s going?

STRAKER SHRUGS.

FREEMAN
I know all the evidence seems to be piling up against him, but I just can’t believe Foster’s guilty. Why would he do it?

ON STRAKER

STRAKER
We’re not supposed to discuss it, Alec.

ON FREEMAN

FREEMAN
Yeah. Well, we’d better be getting back anyway. You’re next in the hot seat.

CUT TO:

50 INT. COURTROOM. UNDERGROUND. (STUDIO) 162 SECS

START CLOSE ON STRAKER INT HE WITNESS CHAIR.

STRAKER
Commander Straker, Commander in Chief SHADO Operations.

PULL BACK TO SHOW THE COURTROOM AS BEFORE.

TWO SHOT

JACKSON AND STRAKER

JACKSON
Commander Straker…

A LONG PAUSE. JACKSON KNOWS HE IS DEALING WITH SOMEONE WHO CAN GIVE AS GOOD AS HE GETS.

JACKSON
Is Colonel Foster a friend of yours?

STRAKER
He’s an officer serving under my command.

JACKSON
But is he also a friend?

STRAKER
Not in the sense you mean it.

JACKSON
A colleague then?

STRAKER
If you like.

JACKSON LEANS IN CLOSE TO STRAKER

JACKSON
This comrade…
(fast and hard)
Is he guilty of espionage - a traitor - a spy -
(relaxed)
...in your opinion of course?

ON WEBB

WEBB
I protest. Commander Straker is being asked to prejudge the verdict of this court martial.

ON HENDERSON

HENDERSON
This is not a civil court of law. We’re after the facts, the truth. Please answer the question, Commander.

ON STRAKER

HE IS ON THE SPOT. HE LOOKS OVER TO FOSTER

ON FOSTER

LEANING FORWARD A LITTLE. HE KNOWS THAT STRAKER’S OPINION WILL PROBABLY HAVE GREAT INFLUENCE WITH THE PRESIDING OFFICERS.

ON STRAKER

STRAKER
You asked for... my opinion... do you mean as a man or as Colonel Foster’s superior.

TWO SHOT

JACKSON TRIES TO WORK IT OUT - THINKS HE HAS.

JACKSON
Why not give us the benefit of both answers, Commander…

STRAKER
Very well. As a man my opinions are private and no concern of this hearing. As Foster’s commanding officer I’m interested in facts, not guesses.

STRAKER HAS SCORED THE POINT OVER JACKSON.

ON HENDERSON

HE ALLOWS HIMSELF THE FAINTEST OF SMILES AT STRAKER’S EVASIVENESS.

ON JACKSON

HE CONSIDERS FOR A MOMENT, THEN DECIDES TO WITHDRAW.

JACKSON
No more questions.

TWO SHOT

WEBB GETS UP AND COMES OVER TO QUESTION STRAKER.

WEBB
Colonel Foster is a comparatively new member of SHADO?

STRAKER
Yes.

WEBB
You authorised his acceptance?

STRAKER
Yes.

WEBB
On what did you base your decision?

STRAKER
On the results of the physical, psychiatric, and computer tests. On his past records as an Air Force and civil pilot... and on my judgement.

WEBB
He had security clearance?

STRAKER
Naturally.

WEBB
Is this a copy of the security report on Colonel Foster?

HE HANDS STRAKER A REPORT. STRAKER CHECKS IT CAREFULLY.

STRAKER
Yes.

WEBB
Would you mind reading the last paragraph.

STRAKER READS FROM THE REPORT.

STRAKER
Colonel Foster is considered to be an excellent security risk and we recommend Class A clearance.

WEBB
Thank you, Commander.

WEBB WALKS AWAY SATISFIED HE HAS DONE PRETTY WELL.

ON JACKSON

HE STANDS UP BUT DOES NOT WALK ACROSS TO STRAKER.

JACKSON
Commander, you will see that I was one of the examining officers on that report.

WIDER ANGLE

STRAKER CHECKS THE REPORT

STRAKER
Yes, your signature is here.

ON JACKSON

JACKSON
It only goes to show, we can all make mistakes. Don’t you agree?

WIDER ANGLE

IT IS A LOADED QUESTION. STRAKER CANNOT ANSWER, BUT IT HAS UNDONE QUITE A BIT OF WEBB’S GOOD WORK.

JACKSON
Thank you, Commander.

ON HENDERSON

HENDERSON
I think this may be an appropriate time to adjourn. We’ll resume at 14:00 hours.

WIDER ANGLE

STRAKER GETS UP AND WALKS TO FREEMAN AT THE BACK OF THE ROOM. FOSTER WATCHES HIM GO, BUT STRAKER WALKS WITH HIS EYES TO THE FRONT, NOT LOOKING AT FOSTER.

TWO SHOT

FREEMAN AND STRAKER

STRAKER
I need some air.

THEY GO TO MOVE OUT.

ON FOSTER

LOOKING AFTER STRAKER. A SHADO GUARD TAKES HIS ARM TO LEAD HIM AWAY.

CUT TO:

51 INT. MISS EALAND’S OFFICE. DAY. (STUDIO) 15 SECS

THE ELECTRONIC BOLTS ON THE DOOR TO STRAKER’S INNER OFFICE DRAW BACK. STRAKER AND ALEC FREEMAN COME OUT.

MISS EALAND
Sir.

STRAKER STOPS TO LOOK AT HER

MISS EALAND
Carl Mason wanted to see you, he said it was very urgent.

STRAKER
Not now, Miss Ealand.

STRAKER WALKS ON TO GO OUT. MISS EALAND GOES TO SAY MORE BUT FREEMAN STOPS HER. STRAKER HAS TOO MUCH ON HIS MIND.

CUT TO:

52 EXT. LOT. DAY. (LOCATION) 33 SECS

STRAKER STROLLS SLOWLY ALONG. ONE OF HIS OFFICERS IS IN TROUBLE. THE FACTS ARE TELLING STRAKER FOSTER IS GUILTY, BUT THIS IS A MAN HE CHOSE, A MAN HE HAS GIVEN RESPONSIBILITY. LOGIC IS IN CONFLICT WITH EMOTION.

MASON (VO)
Mr. Straker (VO)

THE CALL IS SHOUTED FROM SOME DISTANCE.

STRAKER TURNS

ON MASON

IN LONG SHOT FROM STRAKER’S POV, HE MOVES FORWARD. WE SEE MASON’S ASSISTANT BEHIND HIM.

ON STRAKER.

HE REACTS. MASON IS THE LAST PERSON HE WANTS TO TALK TO. HE TURNS AND MOVES AWAY.

ON MASON

HE REACHES THE SPOT HERE STRAKER STOOD. THE ASSISTANT JOINS HIM. MASON LOOKS AROUND.

POV SHOT

NO SIGN OF STRAKER

ON MASON

TURNING TO THE ASSISTANT:

MASON
That guy’s as elusive as a bucket of eels.

53 INT. COURTROOM. UNDERGROUND. (STUDIO) 170 SECS

THE COURT MARTIAL IS SETTLING DOWN FOR THE AFTERNOON HEARING.

ON STRAKER

HE COMES IN AND SITS DOWN BY FREEMAN. THEY EXCHANGE A LOOK.

WIDER ANGLE

HENDERSON AND THE TWO OTHER PRESIDING OFFICERS TAKE THEIR PLACES. THE DOORS ARE SHUT. THE UNDERCURRENT OF CONVERSATION DIES.

ON HENDERSON

HENDERSON
The defending officer may proceed.

ON WEBB

HE HAS AN UNHEARD WORD WITH FOSTER AND THEN MOVES OUT TO ADDRESS THE COURT.

WEBB
I don’t intend to take up the courts time with character witnesses for the accused. His record speaks for itself.

A PAUSE

WEBB
(quietly)
I call Colonel Paul Foster.

ON FOSTER

FEELING EVERYONE’S EYES ARE ON HIM AS HE WALKS OVER AND SITS IN THE WITNESS CHAIR.

ON JACKSON

WATCHING HIM CLOSELY

TWO SHOT

WEBB AND FOSTER. FOTER CLEARS HIS THROAT.

FOSTER
Colonel Foster, Paul J, ...804.

ON WEBB

WEBB
Colonel Foster, are you guilty of the charges as stated?

TWO SHOT

FOSTER
No.

WEBB
Have you ever passed on classified information to any person or persons?

FOSTER
Never.

WEBB NODS TO FOSTER AND GOES AND SITS DOWN

ON JACKSON

LOOKING A LITTLE SIDEWAYS AT FOSTER. HE STANDS

TWO SHOT

FOSTER AND JACKSON, WHO HOLDS A SHEET OF PAPER IN HIS HAND.

JACKSON
Colonel Foster... are you nervous?

FOSTER
No.

JACKSON
I’m surprised... it would seem a natural reaction, in the circumstances.

ON JACKSON

JACKSON
But then giving classified information to a newspaper…

FOSTER
I did not.

JACKSON
Endangering the security of SHADO…

FOSTER
No.

JACKSON
...and the lives of everyone in it. I’d call those pretty unnatural actions.

ON FOSTER

FOSTER
I didn’t do it.

TWO SHOT

JACKSON
Then how do you account for the fact that the press got hold of this information?

FOSTER
I don’t know.

JACKSON
Very glib. I don’t know. I suggest, Colonel Foster, that you are lying through your teeth.

ON FOSTER

FOSTER
(heated)
Am I? Why should I give information to the press. You seem to have all the answers. Tell me that.

TWO SHOT

STRAKER AND FREEMAN

STRAKER
Jackson’s going to take him apart.

TWO SHOT

JACKSON AND FOSTER

JACKSON
I believe you. I was wrong. You gave nothing to the newspaper. You sold it.

HE WAVES THE PIECE OF PAPER HE HAS BEEN HOLDING IN FRONT OF FOSTER, AS HE PASSES IT TO THE PRESIDING OFFICERS.

ON JACKSON

LOOKING HARD AT FOSTER BUT SPEAKING TO THE WHOLE COURT.

JACKSON
A photostat of Colonel Foster’s bank account. You will notice the sum of $10,000 paid in on the 10th.

ON FOSTER

HE IS NOT VERY CONVINCING

FOSTER
There must be some mistake... I don’t know anything about that.

JACKSON
How very convenient.

FOSTER
Just what are you implying?

JACKSON
Implying? I’m stating that money was payment for espionage. The going price for a traitor, the rewards of a spy.

WIDER ANGLE

FOSTER IS ON HIS FEET. EVERYONE TALKS AT ONCE.

FOSTER
This whole thing is ridiculous!
(pointing at Jackson)
He’s twisting the facts!

WEBB
I must protest. My client has been deliberately baited.

HENDERSON
Order! I want order here!

FOSTER
It’s a pack of lies from start to finish. And he knows it!

GENERAL CONFUSION IN THE ROOM AS EVERYONE ARGUES. JACKSON NODS IN SATISFACTION.

54 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 48 SECS

START CLOSE ON FOSTER. PULL BACK TO SHOW STRAKER AND FREEMAN IN THE ROOM.

FOSTER
(very subdued)
Thanks for letting me sweat it out in here.

STRAKER NODS AND GLANCES AT FREEMAN: AND AWKWARD SILENCE.

FOSTER
How long will they be?

FREEMAN
As long as it takes.

A LONG SILENCE

ON FOSTER

FOSTER
As my Commanding Officer sir, do you think I’m guilty? Whatever you think can’t affect the decision now. I’d just like to know.

ON STRAKER

HE CONSIDERS A MOMENT

STRAKER
All the facts presented to that court martial say yes. But if you want a gut reaction... no.

ON FOSTER

HE LOOKS AT STRAKER. THE FACT HE STILL BELIEVES IN HIM MEANS A LOT.

ON FREEMAN

THE PHONE BUZZES. FREEMAN ANSWERS IT.

FREEMAN
Colonel Freeman... right.

WIDER ANGLE

FREEMAN
They’re coming back in.

ZOOM IN ON FOSTER. HE WILL SOON KNOW HIS FATE.

55 INT. COURTROOM. UNDERGROUND, (STUDIO) 43 SECS

THE COURT ROOM SETTLES DOWN AND A HUSH FALLS AS THE THREE PRESIDING OFFICERS COME IN AND SIT IN THEIR PLACES

ON FOSTER

SEARCHING THE FACES FOR A HINT OF THE VERDICT.

ON HENDERSON

HENDERSON
After due deliberation we find Colonel Paul Foster guilty of the charges as stated.

ON FOSTER

THE FAINTEST OF REACTIONS FROM FOSTER

ON HENDERSON

HENDERSON
Under Article 183, the sentence is very specific. The execution has been fixed for 12.00 hours on the 19th of next month. Any appeal must be lodged within 14 days. This court martial is closed.

ON FOSTER

HEAD BOWED. THE HAND OF THE SHADO GUARD TOUCHES HIS SHOULDER. HE STANDS SLOWLY AND LOOK OVER TO

ON STRAKER

LOOKING BACK AT FOSTER, FACE SET HARD.

CUT TO:

56 INT. STRAKER’S UNDERGROUND OFFICE. (STUDIO) 33 SECS

FREEMAN AND STRAKER

FREEMAN
It’s incredible. There wasn’t one piece of tangible evidence.

STRAKER
Foster was found guilty on a series of airtight negatives.

ON STRAKER

STRAKER
Information was leaked to a newspaper. Foster was the only one who knew this information. He told nobody; his words. And the coder transmitter is security proof.

FREEMAN
There must be some other explanation.

STRAKER
If there is, it better show within the next…

HE CHECKS HIS WATCH

STRAKER
...29 Days 2 hours.

CUT TO:

57 INT. CELL. DAY. (STUDIO) 24 SECS

A QUITE COMFORTABLE ROOM, BUT THE DOOR LOOKS VERY SOLID. A GUARD SITS TO ONE SIDE.

FOSTER LOOKS UP AS WE HEAR A WHIRR OF ELECTRONICS. THE DOOR OPENS AND ANOTHER GUARD COMES IN.

GUARD
Anything you want, Colonel?

FOSTER
No, thanks.

GUARD
It, er, could be a long night. Shall I ask the doctor to give you something to help you sleep?

FOSTER
No, thanks, I’ll be fine.

TRACK IN ON FOSTER

CUT TO:

58 EXT. HARLINGTON STRAKER STUDIO. (DAY) STOCK 5 SECS

TO ESTABLISH

CUT TO:

59 INT. MISS EALAND’S OFFICE. DAY. (STUDIO) 75 SECS

MASON
Sleep well, Mr. Straker?

WIDER ANGLE

TO INCLUDE MASON, WHO LOOKS LIKE HE’S BEEN UP ALL NIGHT.

STRAKER
As a matter of fact, no.

MASON
Well, that’s too bad, because I didn’t sleep at all.

STRAKER
It’s Carl Mason isn’t it?

MASON
Well, recognition at last - from the big white chief!

STRAKER
You’ll have to excuse me.

STRAKER GOES TO MOVE TOWARDS HIS OFFICE. MASON GRABS HIS ARM.

MASON
Listen, Straker. I’ve been trying to see you for three days.

ON STRAKER

STRAKER
Everyone has problems, some more important than others. Take your hands off me.

TWO SHOT

MASON
Oh no. I’ve called you a dozen times, practically slept in this office. You’re going to listen.

STRAKER IS READY TO SWING AT HIM.

STRAKER
Mason... I’m warning you.

MASON
You say you’ve got problems. Here’s one for your list. There’s a security leak.

STRAKER THINKS FOR A MOMENT SOMEHOW MASON KNOWS ABOUT FOSTER -

STRAKER
Security leak... 

MASON
If you recall I’m making a film here.

ON MASON

MASON
The whole picture hinges on a pulsed light system. New design. I hear a rival company are building a replica.

TWO SHOT

STRAKER
Industrial espionage.

MASON
Right. I’m giving you just 12 hours to kick Foster out of this studio.

STRAKER
What’s Foster got to do with it?

MASON
He’s the one guy I discussed the system with.

STRAKER
Where?

MASON
What’s the difference?

STRAKER
Where did you discuss it?

MASON
In his apartment.

CUT TO:

60 EXT. ROAD. DAY. (STOCK) 5 SECS

CUT TO:

STRAKER’S CAR UP AND PAST, MOVING FAST.

61 ETX. CAR. DAY. (STUDIO) 8 SECS

STRAKER AND FREEMAN

FREEMAN
It’s a pretty long shot.

STRAKER
Maybe. But it seems a pretty hairy coincidence.

CUT TO:

62 EXT. APARTMENT. DAY. (STUDIO) 36 SECS

ON FREEMAN

HE WALKS AROUND THE APARTMENT HOLDING A DETECTION METER IN HIS HAND. IT HAS A DEVICE LIKE A MICROPHONE WITH A LEAD TO THE METER. HE CHECKS THE ROOM FOR BUGS.

HE SHAKES HIS HEAD, NO REACTION, AND TURNS THE METER OFF.

WIDER ANGLE.

STRAKER COMES IN THE HALF OPEN DOOR.

STRAKER
Anything?

FREEMAN
No, nothing.

ON FREEMAN

FREEMAN
Foster’s not a fool, he would have run the standard check every week.

TWO SHOT

FREEMAN
What did Henderson have to say?

STRAKER
He wasn’t available. I don’t know why I bothered to call. He wouldn’t be interested unless we come up with something concrete.

STRAKER POINTS TO THE PHONE WHICH HAS BEEN DISMANTLED.

STRAKER
You’d better re-assemble that.

FREEMAN
Why bother? Foster’s not going to need it.

63 INT. CELL. DAY. (STUDIO) 22 SECS

THE TWO GUARDS WATCH AS FOSTER EATS A MEAL.

FOSTER
Well, the appetite seems in pretty good shape.

THE GUARDS SMILE AWKWARDLY.

FOSTER
What time’s Webb arriving?

ONE OF THE GUARDS NODS

GUARD
At 2.20. Don’t worry, he’s a good defending officer. He’ll make the appeal stick.

ON FOSTER

A BEAT

FOSTER
Yeah... How about some more coffee?

64 INT. APARTMENT. DAY (STUDIO) 50 SECS

FREEMAN AND STRAKER

STRAKER
I was almost sure... 

FREEMAN
We may as well go. Com on.

ON STRAKER

HE WALKS OVER TO FOSTER’S DESK, BEHIND WHICH IS AN INDOOR GARDEN. HE SITS AT THE DESK.

STRAKER
When he was working, Foster world sit here.

TWO SHOT

FREEMAN
Sure.

STRAKER
(working it out)
And when Mason was here, say they’d driven over from the studio, arrived around 7.30... What would Foster do?

ON FREEMAN

HE LOOKS AROUND, THEN THE IDEA BEGINS TO DAWN.

FREEMAN
Environmental therapy.

TWO SHOT

STRAKER
Let’s check it again.

STRAKER GETS UP FROM THE DESK, FINDS THE SWITCH AND TURNS ON THE DISPLAY LIGHTING FOR THE INDOOR GARDEN.

ON FREEMAN

HE TAKES UP THE METER AND BEGINS TO RE-CHECK THE ROOM. AFTER A FEW MOMENTS HE REACTS.

FREEMAN
Positive

HE POINTS TO THE INDOOR GARDEN.

FREEMAN
Somewhere there.

TWO SHOT

STRAKER COMES OVER AND CHECKS THE METER.

ON STRAKER

STRAKER
Get a group over here. I want the whole area searched. O.K. let’s take this place apart.

CUT TO:

65 DELETED 

66 DELETED

67 INT. APARTMENT. DAY. (STUDIO) 50 SECS

ON STRAKER

HE FINDS A BUGGING DEVICE IN THE INDOOR GARDEN.

STRAKER
He’s another.

WIDER ANGLE

THE APARTMENT HAS BEEN PULLED APART. STRAKER WALKS OVER TO FREEMAN WHO STANDS BY A TABLE ON WHICH ARE A NUMBER OF ELECTRONIC BUGGING DEVICES AND MINIATURISED CAMERAS.

STRAKER
Very clever set up. Two audio transmitters and three miniaturised cameras.

FREEMAN
And all activated by switching on the display lights.

THEY BOTH TURN AS MASTERS ENTERS, CARRYING A FUTURISTIC TAPE RECORDER AND AN AERIAL.

MASTERS
We found this on some waste ground about a mile away.

FREEMAN
A tape recorder.

MASTERS
Yes - with a built-in radio receiver.

STRAKER INDICATES THE DEVICES ON THE TABLE.

STRAKER
When this stuff starts transmitting it receives and records the data. The contact just comes along and collects the reel of tape.

ON STRAKER

HE LEANS FORWARD TO LOOK AT THE ELECTRONICS.

STRAKER
Find out where all this was made.

MASTERS (VO)
Yes, sir.

CUT TO:

68 EXT. STREET. DAY. (LOCATION) 9 SECS

STRAKER’S CAR SKIDS TO A HALT OUTSIDE A DECREPIT LOOKING SHOP OVER WHICH IS THE FADED LETTERING A.G. SINGLETON LTD. THE WINDOWS ARE PAINTED OVER.

CUT TO:

69 INT. WORKSHOP. DAY. (STUDIO) 155 SECS

THE WORKSHOP CONSISTS OF A COUPLE OF BENCHES COVERED IN ELECTRONIC EQUIPMENT. IT IS QUITE A SOPHISTICATED SET-UP CAPABLE OF PRODUCING THE DEVICES FOUND IN FOSTER’S APARTMENT. SINGLETON LOOKS UP AT AN URGENT BANGING AT THE FRONT DOOR. IN THE BACKGROUND A WOMAN SITS SOLDERING.

ON SINGLETON

HE CROSSES AND OPENS THE FRONT DOOR. STRAKER AND FREEMAN COME IN.

ON STRAKER

HE CHECKS AROUND WITH HIS EYES.

STRAKER
You own this place!

WIDER ANGLE

SINGLETON
That’s right. Who are you?

STRAKER
I believe this is one of your box of tricks?

SINGLETON
Maybe, maybe not.

STRAKER
Now listen, funny man…

FREEMAN RESTS HIS ARM ON STRAKER’S SHOULDER AND NODS TOWARDS THE GIRL.

STRAKER
(to girl)
Get lost.

THE GIRL GETS THE MESSAGE. SHE HURRIES OUT.

THEY WAIT UNTIL THE GIRL HAS GONE.

SINGLETON
Now you listen, this is private property.

STRAKER
There are two ways you can play this, Singleton. One’s the easy way.

SINGLETON
Joe... 

ON DOORWAY

A THUG APPEARS FROM SOMEWHERE IN THE BACK.

WIDER ANGLE

JOE MOVES MENACINGLY FORWARD.

FREEMAN REACTS, HE WILL HANDLE IT.

JOE SWINGS AT FREEMAN AS HE MOVES TOWARDS HIM. FREEMAN EASILY DUCKS.

ON THUG

NOW VERY ANNOYED, HE MOVES ANGRILY FORWARD.

TWO SHOT

THE THUG CLOSES IN ON FREEMAN. HE LOOKS LIKE HE CAN HANDLE IT.

TWO SHOT

SINGLETON GLANCES TOWARDS THE DOOR, BUT STRAKER STOPS HIM WITH A LOOK WHICH SAYS GO AHEAD AND TRY.

WIDER ANGLE

FREEMAN CHOPS THE THUG DOWN.

ON SINGLETON

He is now scared.

SINGLETON
Who are you? What do you want?

TWO SHOT

STRAKER AND SINGLETON

STRAKER
The name and address of the client who bought that electronics peeping tom.

SINGLETON
I don’t keep records... and I’ve got a terrible a memory.

STRAKER
Tell me, or I swear to you, I’ll beat it out of your hide.

ON FREEMAN

HE LOOKS AT A BENCH AND PICKS UP A CAN MARKED PETROLEUM SOLVENT.

WIDER ANGLE

FREEMAN WALKS OVER TO SINGLETON WITH THE CAN AND THROWS THE LIQUID OVER HIM.

SINGLETON
What are you doing... that stuff’s dangerous.

SINGLETON’S CLOTHES ARE SOAKED AS HE BACKS AWAY.

FREEMAN PICKS UP A PORTABLE BLOWLAMP AND LIGHTS IT.

SINGLETON
For God’s sake, what are you trying to do!

ON FREEMAN

THREATENING WITH THE BLOWLAMP.

FREEMAN
Ever seen a Roman candle? How would you like to be one?

TWO SHOT

SINGLETON
I told you, I don’t keep records... I cant help you…

FREEMAN AIMS THE TORCH ONTO A BENCH WHERE SOME OF THE LIQUID HAS SPILT. IT FLARES UP. SINGLETON REELS AWAY, TERRIFIED.

SINGLETON
You’ve got to believe me…

ON SINGLETON

SCARE OUT OF HIS MIND

SINGLETON
OK, OK.

WIDER ANGLE

SINGLETON MOVES OVER TO THE RECORDER AND BENDS BACK A PANEL WITH A SCREWDRIVER AND CHECKS A SECRET MAKERS NUMBER. FREEMAN COVERS SINGLETON WITH THE BLOWTORCH AS HE GOES AND OPENS A RECORDS BOOK.

SINGLETON
029.

FREEMAN AND SINGLETON

SINGLETON
There it is.

FREEMAN CHECKS THE BOOK. THEN NODS O.K. TO STRAKER. HE TURNS OFF THE BLOWTORCH.

FREEMAN
Don’t go striking any matches, friend.

HE FLINGS THE BLOWTORCH INTO SINGLETON’S STOMACH. HE CATCHES IT WITH A GRUNT.

CUT TO:

70 INT. STRAKER’S UNDERGROUND OFFICE (STUDIO) 65 SECS

WEBB AND JACKSON ARE WAITING IN THE OFFICE. THE DOOR OPENS AND FOSTER IS SHOWN IN BY A GUARD WHO DOES NOT COME IN.

JACKSON
Hello Colonel, how are they treating you?

FOSTER
Do you really want to know?

JACKSON SMILES HIS SMILE.

ON WEBB

WEBB
I’ve drafted the appeal. It requires your signature.

WIDER ANGLE

FOSTER CROSSES TO THE DESK AND SIGN TWO COPIES OF THE APPEAL. WEBB HANDS ONE TO JACKSON, IT IS ONLY A COUPLE OF SHEETS. JACKSON WEIGHS IT IN HIS HAND.

JACKSON
(sarcastic)
Valuable document. Rather flimsy... but valuable.

FOSTER REACTS, WEBB RESTRAINS HIM.

ON FOSTER

HE WALKS OVER TO THE LIGHT PATTERNS BEHIND STRAKER’S DESK.

FOSTER
You’re a psychiatrist, Jackson. Would you say Commander Straker has an artistic temperament?

WIDER ANGLE

JACKSON
No, I don’t think so.

FOSTER
Then why would he have a display like this behind his desk. I often thought about it.

JACKSON’S EYES NARROW A LITTLE

JACKSON
Maybe it soothes his nerves.

ON FOSTER

HE STROKES THE GLASS

FOSTER
A form of escape you mean?

WIDER ANGLE

JACKSON DOESN’T ANSWER

FOSTER
What would you say is the strongest instinct in man?

JACKSON MOVES SLIGHTLY FORWARD.

FOSTER
Love... hate... 
(a beat)
Self preservation.

ON JACKSON

WORRIED, HE LUNGES FORWARD AND BANGS DOWN THE INTERCOM.

JACKSON
(into intercom)
Guards.

ON FOSTER

JACKSON HAS TOLD HIM WHAT HE WANT TO KNOW. HE PUSHES WEBB AWAY AS -

WEBB
Don’t be a fool.

FOSTER DIVES THROUGH THE DISPLAY BEHIND STRAKER’S DESK. WE SEE THERE IS A LIFT SHAFT BEHIND THE PANEL.

CUT TO:

71 INT. LIFT. (STUDIO) 5 SECS

HURTLING UP TOWARDS THE SURFACE. WE SEE THE WALL OF THE SHAFT FLASHING PAST TO GIVE THE IMPRESSION OF SPEED.

CUT TO:

72 INT. STRAKER’S OFFICE. UNDERGROUND. (STUDIO) 9 SECS

JACKSON SPEAKS URGENTLY INTO THE INTERCOM, AN ALARM SOUNDS.

JACKSON
The target is Colonel Foster 804. Alert groups 2 and 3.

HE LOOKS AT WEBB.

CUT TO:

73 EXT. STUDIO. DAY. (LOCATION) 7 SECS

FOSTER APPEARS AROUND A CORNER. CHECKS THAT NO-ONE IS ABOUT AND MOVES OFF, FAST.

CUT TO:

74 EXT. ROAD. DAY. (STOCK) 5 SECS

STRAKER’S CAR UP AND FAST.

CUT TO:

74A INT. CAR. DAY. (STUDIO) 21 SECS

FREEMAN DRIVES, STRAKER AT HIS SIDE ON THE PHONE.

STRAKER
I want a pick up on -

HE LOOKS AT FREEMAN

FREEMAN
Miss Jane Grant, 124 Eastern Avenue.

STRAKER
Did you get that? ... Right... at the studio.

HE LOWERS THE PHONE FOR A MOMENT.

STRAKER
This I’m going to enjoy.

STRAKER TAKES UP THE CAR PHONE AGAIN.

STRAKER
Put me through to Henderson. Priority A.

CUT TO:

74B INT. HENDERSON’S OFFICE. (STUDIO) 22 SECS

HENDERSON SITS AT HIS DESK ON THE PHONE TO STRAKER.

HENDERSON
Alright, Straker, you may have new evidence. But I got something for you. Foster escaped twenty minutes ago. Groups 2 and 3 have been alerted.

STRAKER (VO)
What? You can’t do that!

HENDERSON
Listen. Foster knows the complete set-up. He was found guilty of espionage. I’m not risking the whole organisation for one man. My orders are to shoot on sight.

74C INT. CAR. DAY. (STUDIO) 14 SECS

STRAKER
But his apartment was bugged.

HENDERSON (VO)
Was it? Or was that his way of passing the information. It’s going to take positive proof of innocence to convince me.

STRAKER PUTS DOWN THE PHONE.

STRAKER
We need an affidavit from Miss Grant and we need it fast.

CUT TO:

74D EXT. LOCATION. DAY. 45 SECS

ANY SUITABLE LOCATION

ON GUARDS

THEY MOVE FORWARD

ON FOSTER

HIDING

WIDER ANGLE

ONE OF THE GUARDS SPOTS FOSTER AND FIRES

ON FOSTER

HE DUCKS AWAY, AND MOVES ON.

CUT TO:

75 EXT. STUDIO. DAY. (STOCK) 5 SECS

TO ESTABLISH

76 INT. MISS EALAND’S OFFICE. DAY. (STUDIO) 13 SECS

START ON THE WALL CLOCK AT TEN TO TWELVE.
PULL BACK AS FREEMAN AND STRAKER HURRY IN.

STRAKER
Is Miss Grant here?

MISS EALAND
Yes, sir, she’s in your office.

STRAKER MOVES FORWARD. THE DOORS OPEN AND HE GOES INTO HIS OFFICE.

CUT TO:

77 INT. INNER OFFICE. DAY. (STUDIO) 77 SECS

FORD AND MISS GRANT TURN AS STRAKER COMES IN.

STRAKER
Alright, Ford.

FORD GOES OUT AND THE DOORS CLOSE.

ON MISS GRANT

SHE IS REACHING THE AGE WHEN SHE WILL START TO LOSE IT, BUT HAS POISE AND SOPHISTICATION.

ON STRAKER

SHE IS NOT IN THE LAST WHAT HE EXPECTED, AND HE KNOWS HE HAS VERY LITTLE TIME TO BREAK HER.

TWO SHOT

MISS GRANT
I assume you have a very good explanation as to why I’ve been brought here.

STRAKER
(slow)
You are an industrial spy.

MISS GRANT
It all sounds very sordid…

STRAKER
(soft)
You had an apartment bugged for sound and vision. It belonged to Paul Foster.

MISS GRANT
Did I?

STRAKER
The electronics were supplied by a man called Singleton. He’s told us everything.

MISS GRANT
Then I suggest you phone the police.

STRAKER
You know as well as I do, industrial espionage is not indictable.

MISS GRANT
Then I suggest you have me driven home.

ON STRAKER

HE TAKES A GUN FROM THE DESK

STRAKER
This is an acoustic gun.

TWO SHOT

MISS GRANT
(calm)
I’ve heard of them. Excuse the pun.

STRAKER
I’m a desperate man, Miss Grant.

MISS GRANT
Armed with a toy gun…

STRAKER MOVES CLOSE TO HER

STRAKER
(quiet)
If I place it against your ear and fire, the sound will pierce your ear drum. I’m told the brain is also damaged to varying degrees.

MISS GRANT
Even if I believed that, I don’t believe you are a desperate man.

ON STRAKER

STRAKER
Believe it. Unless you sign a confession someone is going to die.

CUT TO:

78 EXT. LOCATION. DAY. 45 SECS

THE GUARDS ARE CLOSING IN ON FOSTER.

ON FOSTER

NO ESCAPE. HE DECIDES, STANDS UP AND RUNS.

ON GUARD

HE FIRES

ON FOSTER

HE IS HIT AND FALLS.

WIDER ANGLE

THE GUARDS CLOSE IN. FOSTER LIES VERY STILL, FACE DOWN. FOSTER IS TURNED OVER. HE LOOKS DEAD.

CUT TO:

79 DELETED

80 DELETED

81 INT. STRAKER’S OFFICE. DAY. (STUDIO) 8 SECS

STRAKER AND MISS GRANT

STRAKER
Just sign at the bottom.

MISS GRANT SIGNS THE PAPER IN FRONT OF HER.

CUT TO:

82 INT. MISS EALAND’S OFFICE. DAY. (STUDIO) 12 SECS

STRAKER COMES OUT, HOLDING THE PAPER.

STRAKER
A signed affidavit. Get Henderson.

FREEMAN
He just called. Foster’s been shot.

STRAKER REACTS

CUT TO:

83 INT. SECRETARY’S OFFICE. DAY. (STUDIO) 20 SECS

STRAKER COMES IN. THE SECRETARY REACTS REMEMBERING HIS LAST VISIT.

STRAKER
(subdued)
I’d like to see him, Miss Scott.

MISS SCOTT IS STILL APPREHENSIVE.

MISS SCOTT
I’ll see if he’s in.

SHE FLICKS THE INTERCOM.

MISS SCOTT
I, er, have someone to see you, sir.

HENDERSON (VO)
Send Straker right in.

MISS SCOTT SMILES

MISS SCOTT
Please go in.

STRAKER
Thank you.

CUT TO:

84 INT. HENDERSON’S OFFICE. DAY. (STUDIO) 102 SECS

STRAKER COMES IN, HIS FACE GRIM

HENDERSON
Straker. It must be my year. This is your second visit.

HE HANDS HENDERSON A FILE.

STRAKER
I’d like you to read this. When you find time between thinking up wisecracks.

ON STRAKER

STRAKER
It includes a statement which absolutely clears Paul Foster.

TWO SHOT

HENDERSON
A statement?

STRAKER
By an industrial spy. A Miss Grant. She was trying to get information about the studio. Our stuff was incidental.

HENDERSON
Jackson!

JACKSON COMES IN FROM A SIDE DOOR. STRAKER GIVES HIM A LOOK LIKE AN ICICLE.

STRAKER
You were wrong, jackson. Foster was guilty of one thing: he worked nights at home. He wrote those orders to SkyDiver and Moonbase while a couple of cameras in the wall were taking pictures.

JACKSON
You can prove this?

STRAKER
Does it matter? I just hope it keeps you awake nights thinking about it.

STRAKER TURNS TO LEAVE.

HENDERSON
Just one moment. You think I’m a pig headed, cretinous lout. Don’t you Straker.

ON HENDERSON

HENDERSON
Foster was shot with an anaesthetic bullet. Jackson’s idea.

WIDER ANGLE.

HENDERSON
Well, don’t fall over yourself with gratitude.

STRAKER NODS AT JACKSON. IT IS THE NEAREST HE WILL GET TO THANKS. JACKSON SMILES.

ON STRAKER

HE TAKES WHAT LOOKS LIKE A PEN FROM HIS POCKET AND PRESSES THE TOP. A TAPE WINDS ON AS IN A TAPE RECORDER. STRAKER PRESSES THE BUTTON AGAIN.

HENDERSON (VO)
Just one moment, you think I’m a pig headed cretinous lout -

STRAKER ADJUSTS THE BUTTON AGAIN SO IT PLAYS.
I’m a pig headed cretinous lout -

HE RESETS

HENDERSON
I’m a pig headed cretinous lout.

STRAKER
I like it. I like it.

HE WALKS OUT

ON HENDERSON

HE LOOKS AT JACKSON

ON JACKSON

HE LAUGHS

85 EXT. STUDIO. DAY. (STOCK) 5 SECS

TO ESTABLISH

86 INT. STAGE. DAY. (STUDIO) 78 SECS

ON THE SPECIAL EFFECTS STAGE WITH THE F.P. SET UP AS BEFORE. FOSTER IS WITH THE GIRL WE RECOGNISE FROM THE FILM TEST AND HER AGENT.

AGENT
Well, it’s really very nice of you to ask us down, Mr. Foster.

FOSTER
Is it? I just wanted to give you this.

HE HANDS HE AGENT A CHEQUE FOR £10,000.

FOSTER
You did pay £10,000 into my account?

AGENT
Well, yes. But no one can trace where it came from. You understand.

FOSTER
Sure. When you came down for the screentest I didn’t know what you meant by ‘we can help each other’ but now you’re right, I do understand only too well.

HE TURNS TO THE GIRL

FOSTER
Get yourself a new agent, kid.

AGENT
Oh, come on, don’t take it like that.

FOSTER
(hard)
Listen buddy boy… you don’t know how much that cheque nearly cost me, so get out of here while you can still walk.

THE AGENT AND THE GIRL SEE HE MEANS IT AND GO.

ANOTHER ANGLE

STRAKER WALKS UP TO JOIN FOSTER, NODDING APPROVAL. A BEAT, THEN -

MASON (VO)
Foster.

MASON JOINS FOSTER.

MASON
Where the hell have you been - out sunning yourself on some beach?

FOSTER
Now just hold on a minute…

MASON
Please, no excuses, believe it or not, this is a film studio, it’s function is very simple: to make motion pictures. Let’s get to work, eh?

MASON WALKS AWAY.

FOSTER TURNS, GIVES A HELPLESS LOOK AT STRAKER, THEN FOLLOWS.

ON STRAKER

THE HINT OF A SMILE ON HIS FACE.