1964: U.N.C.L.E.’s Soviet history in-joke

For much of The Project Strigas Affair, Illya Kuryakin (David McCallum) wears a disguise that appears to resemble…

Next month marks the 55th anniversary of The Project Strigas Affair, the ninth episode of The Man From U.N.C.L.E. It’s mostly known today for being the first time William Shatner and Leonard Nimoy acted together.

However, it’s also an example of an in-joke, albeit one that many members of the audience might not catch.

For much of the story, U.N.C.L.E. agent Illya Kuryakin (David McCallum) wears a disguise consisting of a black wig, fake mustache and wire rim glasses.

It’s part of an elaborate con to ensnare a diplomat (Werner Klemperer), whose government is plotting to get the United States and Soviet Union to declare war on each other.

…Russian revolutionary Leon Trotsky

Students of Soviet history might recognize the disguise. That’s because the disguised Illya appears to resemble Leon Trotsky, a Russian revolutionary who had a falling out with Stalin. Trotsky was assassinated in Mexico City in 1940.

Kuryakin was U.N.C.L.E.’s resident Russian operative. The U.N.C.L.E. series treated the agent’s nationality very gently. This was the 1960s, after all, and the Cold War was on.

The show mostly had subtle references (“Suddenly I feel very Russian,” he says as he parks near a Long Island party held by rich people in the first-season episode The Love Affair.)

Illya’s disguise for The Project Strigas Affair, assuming it really was an intentional in-joke, falls into this category. The Man From U.N.C.L.E. was escapist entertainment, first and foremost. But the Kuryakin disguise shows there’s a bit more at work.

The Man From U.N.C.L.E.’s 55th anniversary

Familiar third-season publicity still for The Man From U.N.C.L.E.

Adapted and updated from a Sept. 22, 2014 post

The Man From U.N.C.L.E. debuted 55 years ago today with the telecast of The Vulcan Affair on NBC.

The series had false starts. First Ian Fleming was a participant, then after several months he wasn’t, bowing out to pressure from Bond movie producers Albert R. Broccoli and Harry Saltzman. Then there was threatened legal action from Eon Productions stemming from the show’s original title, Solo.

In turn, the series got a new title and the legal problems went away. The makers of Goldfinger did make one change in their film. A gangster named Solo died the most spectacular death among hoodlums invited to Goldfginer’s Kentucky stud farm, a change from earlier drafts and from Fleming’s original novel. (Adrian Turner’s 1998 book on Goldfinger details the changes in the movie’s script.)

Rough Start

Nor did U.N.C.L.E. get off to an easy start. Airing on Tuesday nights, it was up against The Red Skeleton Show on CBS, which nearly led to cancellation before a mid-season switch to Monday nights.

But the audience discovered the series, eventually ensuring a renewal for a second season for 1965-66, which would be its highest-rated campaign.

Executive Producer Norman Felton (1913-2012) faced other challenges.

His developer-producer Sam Rolfe (1924-1993) departed after the first season and things weren’t quite the same, certainly not as consistent.

Various other producers — David Victor, Boris Ingster and Anthony Spinner among them — put their own stamp on the show with varying degrees of success. Major contributions were made by writers such as Alan Caillou (who arguably shaped the Illya Kuryakin character), Dean Hargrove and Peter Allan Fields.

Time Takes Its Toll

Few of the creative personnel are still with us. In the five years since the show’s 50th anniversary, time has taken its toll. Frequent U.N.C.L.E. director Joseph Sargent died in December 2014, three months after the anniversary. Star Robert Vaughn died in 2016. Fred Koenekamp, who work as director of photography on U.N.C.L.E. got him movie jobs, passed away in 2017. Peter Allan Fields died earlier this year at 84.

Dean Hargrove

There are still survivors. David McCallum just celebrated his 86th birthday. Dean Hargrove, 81, in a long interview in March with the Writer’s Guild Foundation provided some insights into the show. He acknowledged it put him on the map, setting up a long and successful career as a TV writer-producer.

The franchise is in limbo. A 2015 movie based on the series wasn’t a financial success. There was talk of trying to get a sequel going but there’s no sign much is happening.

Hargrove, in the interview this year, said studio Warner Bros. may have simply waited too long to do a movie version.

All of that is a story for another day. For now, happy anniversary, U.N.C.L.E.

Happy 86th birthday, David McCallum

David McCallum in a Man From U.N.C.L.E. publicity still

Today, Sept. 19, is David McCallum’s 86th birthday.

There’s not a whole lot that needs saying. He’s had a great career. He still has many fans who admire him. Happy birthday. We’ll leave it at that.

U.N.C.L.E. script: Nazis and a femme fatale Part II

Solo is about to get the shock of his life when he realizes the identity of “the sleeper.”

Dick Nelson, in writing The Stamp Affair (renamed The Deadly Games Affair when broadcast) came up with a mix of a fugitive Nazi scientist, a femme fatale and (as we’ll soon see) a bit of science fiction.

This wouldn’t be The Man From U.N.C.L.E. without an “innocent,” an ordinary person who gets caught up in the adventure.

Nelson’s script supplies two: a college couple, Chuck Boskirk and Sue Brent (who would be renamed Terry Brent in the final version). They’re planning on getting married.

Chuck has been contacted by an anonymous person. It is Chuck who sold the rare stamp, acting as a middleman, in return for a percentage. For the couple it’s a chance to make extra money and get married sooner.

Chuck calls the auction house. The stamp fetched $6,500. Chuck arranges to come by later to pick up the proceeds.

We soon learn why Chuck was selected to perform this service. One of his instructors at the college is Professor Amadeus, who is none other than fugitive Nazi scientist Wolfgang Krug (Volp in the broadcast version).

Thrush Makes Its Move

At the auction house, U.N.C.L.E. agents Napoleon Solo and Illya Kuryakin await. Chuck and Sue retrieve the money (all in cash, per the seller’s instructions). Before the agents make their move, a Thrush assault team disguised as security guards (the script calls them “Brinks” men) strikes.

A fight breaks out, some of the Thrush operatives are killed but the criminal organization still manages to kidnap Chuck.

Back at U.N.C.L.E. HQs, Sue is with Solo and Illya. Sue was brought through an alternate entrance (rather than through Del Floria’s), but it’s only described and not shown. Some reference sources refer this as the Mask Club entrance described in Sam Rolfe’s series proposal titled Ian Fleming’s Solo. But there’s no explicit mention of that in the script.

The scene also has Solo describe Thrush to Sue, in effect also reminding the audience about the villainous organization. Thrush was used less in the first season than it would be in subsequent seasons.

In any case, Solo says he has an idea where Chuck may be. In the next scene, Thrush operative Angelique, the story’s femme fatale, appears to rescue Chuck and kill one of the guards.

After Angelique speeds off in her Corvette (supplied by Chevrolet, sponsor for the first-half of the show’s first season), the guard “gets to his feet, unhurt, and brushes himself off.”

Cup of Coffee?

Angelique and Chuck arrive at Chuck’s home. She tells the college student that she’s with U.N.C.L.E. She offers to make him some coffee.

Solo, however, comes by. He’s brought a policeman with him, who arrests Angelique for immigration violations.

Solo fills Chuck in on the real situation and enlists his help. U.N.C.L.E. has been monitoring his telephone from its New York headquarters. Chuck has been getting calls at regular intervals.

Chuck is present at U.N.C.L.E. HQ for another one of the calls with the seller of the stamp and they set up a meeting. Chuck will wear a homing device so Solo can keep track of him.

The meeting goes bad, Professor Amadeus/Krug sets off a bomb and gets away. Sue is injured and is hospitalized. Once Chuck knows Sue is OK, Solo agrees to take Chuck back to the college so he can get Sue’s books.

Solo looks at him for a moment, feeling deeply sympathetic for the boy, who might very well feel resentment for what happened tonight. At this moment, Solo decides he likes Chuck very much. His voice and expression tell us so.

SOLO
It won’t be out of the way.

When Solo and Chuck arrive at the college, Angelique is prowling about. Solo decides to keep her busy while Chuck retrieves Sue’s books. Solo and Angelique engage in some banter for a bit.

Amadeus Runs For It

Unfortunately for Chuck, he encounters Professor Amadeus “who seems to be leaving the premises for good.”

Amadeus convinces Chuck to help load some of his papers to his pickup truck. The Nazi knocks out the student, leaving him in the rear of the truck. Amadeus/Krug drives off. But he’s unaware that Angelique is following him.

Amadeus arrives at his home but is intercepted by Angelique before he can get far. He forces her inside his garage. It turns out the garage is also the entrance to an underground laboratory.

The script has a bit from Angelique that didn’t make the final version where she describes how she made the connection between Krug and Amadeus.

ANGELIQUE
…and when we had young Mister Boskirk under sodium pentathol, we made him name all his acquaintances, you see. And, of course, Professor Amadeus was on the list. Now, earlier this evening, I had a few hours to think….and I recalled Doctor Wolfgang Krug had been named for one of my favorite classical composers…Wolfgang Mozart. I also remembered Mozart had an unusual middle name
(snip)

Angelique’s dialogue in the script goes on for a bit, but she put together that Wolfgang Amadeus Mozart might to a clue to Wolfgang Krug.

Solo, meanwhile, is on the way. Chuck’s homing signal still works and he finds the home of Amadeus/Krug. He contacts Illya at headquarters. Solo will break into the house while Illya and back up agents are on the way.

Solo finds a way to the underground lab. While Amadeus and Angelique talk back and forth, the U.N.C.L.E. agent find himself in a room full of tanks that “are vaguely coffin-shaped, are covered with heavy glass, and some kind of liquid bubbles softly inside them.”

In the other room, Amadeus/Krug tells Angelique just how important he was in the Third Reich hierarchy. As he talks/brags, Solo checks out the first tank. Inside is “something shaped like a man.”

CLOSER – SOLO

As he squints down through the vapor and liquid at the face, and in B.G., hears Amadeus’ voice continuing, he begins to realize who it is he is looking at. We see his dawning recognition, incredulity and then horror as Amadeus’ voice rises to a climax:

AMADEUS’ VOICE (O.S. offscreen)
The world thinks he died when Berlin fell…but like Barbarossa in the legend, he only sleeps, waiting to rise up when the fatherland needs him. And I who perfected a process for suspended animation — I alone can wake him!

Solo’s face confirms what Amadeus is saying……he stares as though hypnotized into the face (BELOW FRAME) in the tank. And then, too late, he realizes that the vapor he has been inhaling — the fumes from the tank — are poisonous. He tries to stifle a coughing fit, but does not succeed. Choking, clutching his throat, he slumps to the floor, unconscious.

FADE OUT

To recap, Solo has had a long, hard day. The hunt for a fugitive Nazi scientist has led the intrepid agent to finding ADOLPH HITLER in “suspended animation,” as Krug/Amadeus calls it elsewhere in the script.

What else can go wrong?

Fugitive Nazi scientist Prof. Amadeus about to drain Napoleon Solo of his blood.

Solo: The Human Blood Bank

Well, it turns out Krug/Amadeus tried to revive the SS officer with his own blood, preserved for 20 years. But to make the scientist’s rejuvenation process work, fresh blood (and the same blood type of the individual) is needed.

As an aside, this idea wasn’t new, even in 1964. A 1963 Fantastic Four comic book featured a villain called the Hate Monger, who was revealed to be Hitler. An episode of The New Avengers in the 1970s had Hitler in suspended animation. So did a 1980s story line in the Dick Tracy comic strip.

Amadeus/Krug needs blood that matches the same blood. He intended to discreetly purchase blood from blood banks. Time has run out. However, Solo’s blood type matches that of the sleeper.

As things turn out, Solo’s blood type actually matches Hitler’s. although this wouldn’t be established until a fourth-season episode. In any case, Krug/Amadeus now plans to drain all of Solo’s blood to revive the “sleeper.”

To ensure his privacy, the Nazi scientist detonates another bomb, destroying his own home.

So, to recap, Solo is about to be drained of his own blood while Angelique and Chuck look on.

Luckily, Illya is on the scene. And he’ll help Solo get out of this mess.

Amadeus/Krug was a little too quick to activate that last bomb. The scientist’s underground laboratory is about to catch fire. Solo begins to get himself out of his fix. Illya finds his way to the underground lair and overcomes Angelique.

Solo uses the sudden change in fortune to put an end to the “sleeper,” which has managed to grab the agent while receiving rejuvenation fluid as part of the process.

CLOSE – SOLO AND SLEEPER

as Solo, face contorting in hate and revulsion, struggles to free himself from the thing’s inhuman grip. He finally rips free, and then in a reaction of pure animal hate, he gives the gurney [where the sleeper is lying on} a violent shove forward.

The gurney with the “sleeper” goes into flames. Amadeus “follows the ‘sleeper’ into the burning gasoline. There is one horrible cry, then silence.”

Illya tells Solo he better tend to the disturbance at the security entrance.

‘Better Attend To It’

After the long night, Chuck and Sue are at U.N.C.L.E. HQs. Solo tells them about the honeymoon they’ll receive for their cooperation. On top of that, U.N.C.L.E. has recovered Krug’s stamp collection and will give it to them.

Chuck and Sue, however, feel the latter gift isn’t correct. As a result, the stamp collection will be donated to the collection.

Just then, Illya arrives to inform Solo there’s a disturbance at the security entrance (Del Floria’s). “Better attend to it….before the place gets a bad name.”

Solo goes outside where Angelique awaits. After some banter, the sometime adversaries “drive off together.” One can only imagine the time Solo will have this coming evening.

NOT QUITE THE END

Like other early U.N.C.L.E. scripts, Dick Nelson’s The Stamp Affair had off-beat introductions where Solo broke the fourth wall. To read a summary of the one for this episode, CHECK OUT THIS NOVEMBER 2018 POST. It involves Solo at a coffin store.

The Nelson script also has a preview for the next episode where the fourth wall is smashed.

INT. COFFIN ROOM ROOM – MED. SHOT – NIGHT

The Girl is standing besides the coffin as Solo talks to The Camera.

SOLO
Now those are what I call real first class villains. I mean, they just don’t make them like that anymore…
(straight)
…at least let’s pray they don’t.
(lightens)
But now…for next week…
(indicates off stage.
FLASH PAN TO:
TRAILERS
A series of trailer scenes. Then:

BACK TO SCENE
Solo is signing the girl’s order book. He looks up Into Camera, smiles.

SOLO
With action like that coming up, I may have to ask for a raise.
(to girl)
Would you like..? cash…?check…? trading stamps…?

She reaches up, pulls his head down gently, and kisses him for a moment. As she releases he looks Into Camera:

SOLO (clears throat)
Well..! From each, according to his ability. to each, according to her needs.

He smiles, turns, picks up the coffin, and walks out with it under his arm (NOTE: or, if the coffin is too heavy, it is on a small dolly and he merely rolls it away with him). Girl turns, looks Into Camera and winks:

FREEZE FRAME
FADE OUT

THE END

We wish to thank the United Network Command for Law and Enforcement without whose assistance this blog post would not be possible.

U.N.C.L.E. script: Nazis and a femme fatale Part I

Thrush operative Angelique with her Corvette supplied by first-season sponsor Chevrolet.

The Stamp Affair would mark a foray by The Man From U.N.C.L.E. into science fiction, deal with a fugitive Nazi scientist and feature a femme fatale character, Angelique.

Before broadcast, as the fifth episode shown by NBC, it would be renamed The Deadly Games Affair. But the script by Dick Nelson would be close to the version seen by audiences.

However, the script (dated July 15, 1964, with some revised pages about a week later) does contain some interesting differences compared with the broadcast version.

Nelson’s script includes act titles. But some of his have a chess theme while the final act titles played off the Deadly Games title. Only one of Nelson’s act titles would be used.

NELSON’S ACT TITLES

Act I: Queen’s Gambit Accepted
Act II: The Three Cornered Game
Act III: A King in Perpetual Check
Act IV: White Plus Black Equals Red Death

BROADCAST ACT TITLES

Act I: The Games Begin
Act II: A Game Of Hare And Hounds
Act III: The Three-Cornered Game
IV: The Game Is Up

At the start of Act I, the stage directions introduce the reader to a “small, bald clean-shaven elderly man” driving a pickup truck out in the country . He backs up the vehicle and parks it off the road near a stream.

Interestingly, the part would be cast with character actor Alexander Scourby (1913-1985), who wasn’t bald and had a beard. (In 1965, the actor would be a last-minute hire as narrator for the television special The Incredible World of James Bond.)

“Despite the old clothing he has worn for this task, he seems notably out of place here,” according to the stage directions. “He looks a good bit like a college professor, which, among other things, he is.” Eventually, the stage directions say he is known as Professor Amadeus.

An Interruption
The mysterious figure “begins to half-drag, half-roll” a drum stored in the back of the truck. “It’s a struggle — the drum must outweigh him by several pounds.” However, a group of boys emerges, firing sling shots. The man gets back in the truck and goes off with the drum rolling of the tailgate.

The drum is at the edge of the stream. By this time the boys notice it and start shooting their slingshots.

ANGLE – ON THE BOYS
They stare in open-mouthed terror at what is happening to the drum.

BACK TO THE DRUM
Its lid is being is being battered loose from within. As we watch, the lid gives way and a ghastly figure spills out into the daylight. Its form is of a man — but a man in the process of decay. His skin the color of pewter — his hair is dead white. The thing is mouthing insane gibberish that sounds somehow Germanic but is no recognizable language. The thing takes a few faltering steps up the slope of the bank, eyes rolling blankly, then with a last shriek of rage, collapses and rolls back down upon the drum. A final tremor passes through it and then it is mercifully dead.

Dead, maybe. But not without a calling card of a sort. The corpse has an SS tatoo on one of its forearms.

This leads into a scene where the pages are dated July 21, 1964. Illya Kuryakin (David McCallum) is telling Napoleon Solo (Robert Vaughn) about the incident.

Normally, you’d expect Alexander Waverly, the Number One of Section One, to be delivering the briefing. However, actor Leo G. Carroll was already in his 70s when the series began. It’s possible this is a rewrite made because Carroll wasn’t available.

Regardless, the audience is provided background for the story. The dead man was with the SS but had disappeared before the end of World War II. He was assigned to work with scientist Wolfgang Krug, described by Illya as “a brilliant medical researcher. His field was blood chemistry.”

Notes in the script indicate that Wolfgang Krug’s name was to be changed to Max Volp. However, the final version would split the difference and refer to his real name as Wolfgang Volp.

In any case, Krug (as he’s called in this script) was also a noted collector of rare stamps. One of his collection appears to be available at an auction in Manhattan.

Angelique’s Entrance
The agents show up separately. At a reception area there’s a reception table “where ILLYA KURYAKIN, in caterer’s white uniform, is dispensing punch, etc. He looks a bit sour.”

As an aside, that stage direction is written as though this was the first time Illya appears in the episode. But we’ve already seen him in the previous scene. That’s one reason why I suspect the previous scene was revised.

In any case, Illya is in a bad humor. “It is ANGELIQUE, looking ravishing.” Angelique is an operative for Thrush, the villainous organization of the series. Clearly that group is also interested in Krug.

Solo reacts with a slow smile. He’s beginning to like this assignment. At his shoulder, Illya looks more sour still.

SOLO
Angelique! Well!
(sees Illya’s look, loses smile)

ILLYA
Sometime you must tell me what’s like….romancing a woman who would kill you without a qualm, if Thrush ordered it. And knowing Thrush, that order might be given already.

SOLO
It adds spice, Illya
(about to start away)
And — I flatter myself that she might have a few qualms….just the slightest, fleeting regret.

He gives Illya a parting wink, and heads for Angelique.

As the two meet, Angelique “is all warmth and effervescence…she goes close against him, offering her cheek for a lover’s greeting kiss. Solo bestows it.”

With that established, Solo and Angelique flirt and decide to avoid getting into a bidding war for the stamp, lest they scare off Krug.

As in the final version, the opposing operatives decide to decide who buys the stamp with a coin flip. Angelique attempts to use a double-headed coin but Solo isn’t fooled. The U.N.C.L.E. agent wins “by default.”

Afterward, Solo and Angelique pay an after-hours visit to a stamp expert while Illya waits nearby. The expert verifies the stamp is genuine. He says he saw the stamp as a boy. But it was one of a pair. It also lacks the identifying mark of Krug, which is presumably on the other stamp. Thus, it’s a dead end.

Slay It With Flowers
As she gets ready to depart, Angelique takes a flower from her purse and pins it to Solo’s lapel. Angelique then leaves, making “a Loretta Young exit.” Solo is pleased with himself. As Illya enters, he’s more wary. With good reason.

INSERT – ROSE AND SPIDER

The flower, as a spider emerges and starts up Solo’s lapel.

This actually sounds more suspenseful than the final version, where the spider wasn’t terribly convincing and wasn’t moving up the lapel.

Nevertheless, in the script as in the final version, “Illya slaps the spider to the floor and steps on it. The expert is alarmed and puzzled. Solo loses his smile.”

“A poisonous spider,” Illya says in the script. “One of Angelique’s relatives, perhaps?”

TO BE CONTINUED

U.N.C.L.E. script: The well-meaning villain

Captain Shark (Robert Culp) during a dramatic moment with Solo in The Shark Affair.

The Shark Affair, the fourth episode broadcast of The Man From U.N.C.L.E., would feature a different antagonist — well meaning but in the end one who had to be stopped.

Captain Shark (Robert Culp) is convinced the world will soon go up in atomic war. He is kidnapping people of various talents from ships. He disables and sinks the ships while sending the rest of the passengers on their way in lifeboats. Shark’s ship is a sort of modern day Noah’s Ark.

The episode was written by Alvin Sapinsley (1921-2002), a veteran with credits going back to 1949. The Shark Affair would be his only U.N.C.L.E. script.

Sapinsley would later be a key writer on the original Hawaii Five-O series, where his contributions included the only three-part story. He also wrote Sherlock Holmes in New York, with Roger Moore as Holmes and Patrick Macnee as Dr. Watson.

Saplinsley’s script, dated June 22, 1964, is very close to the final episode. A ship in his script is called the Woonsocket. It would be changed to the Whippett for broadcast.

At the end of the episode, Captain Shark’s real name is revealed as Arthur Englander Courtney. It would be changed to Arthur Farnley Selwyn. Those changes are noted on the page after the title page. But the original names are used in the script itself.

Normally, U.N.C.L.E. writers didn’t specify act titles. Those were usually added in post-production. But Sapinsley’s script has “chapter” titles.

All match the final broadcast version except for Act I (or Chapter One as specified in the script). Saplinsley’s original is “Of Shoes and Ships and Sealing Wax.” It would be shortened to “Of Shoelaces and Ships” in the broadcast version.

U.N.C.L.E. has been drawn into the affair after a series of ships, from various nations, have been sunk and a handful of passengers abducted. One is a librarian, Harry Barnman.

Solo (Robert Vaughn) and Illya (David McCallum) interview his wife, Elsa (Sue Ane Langdon), “a warm, earthy girl in her late twenties.” Later, she receives airline and ship tickets and bolts her New York apartment.

Mr. Waverly, the agents’ superior, decided to strand the agents on a raft in the path of the ship the librarian’s wife is on. But they end up being intercepted by Captain Shark’s vessel instead. Regardless, the agents are where they want to be.

An ‘Urbane’ Villain

Curiously, the script doesn’t provide much in the way of description for Captain Shark. He is “urbane, spotless, commanding” in an opening scene where he commandeers a ship.

Guest star Robert Culp, who turned 34 in August 1964, would have his hair streaked gray at the temples to make him look older. It’s not until the end that the audience is told Captain Shark/Selwyn commanded a ship in World War II, which would probably make the character a decade or so older than the actor.

After being brought aboard Shark’s ship, Solo and Illya encounter Harry Barnman, described as “a mild-mannered man of thirty.” The part would be cast with actor Herbert Anderson,, 47 at the time of production. Harry acts as “Leo the Explainer,” a character who explains things to the heroes as well as the audience.

Solo and Illya prove careless at a key moment and Shark discovers they’re with U.N.C.L.E. The captain decides to give Solo a taste of discipline. It’s here where Sapinsley’s script goes into more detail than audiences would see. Shark delivers a line about how he and Solo will get along nicely once Solo receives his discipline.

He gestures toward the deck. Immediately each of the two sailors holding Solo places a foot across his ankles, then jerk his arms forward, dropping him to the deck. They drop him into a sitting position and shift their feet to pinion him into the attitude of a crucifix, face down towards the deck. (NOTE: This is the old slave-whipping position: each man holding a wrist, one foot planted in the victim’s armpit, the other braced between his neck and shoulder.) As Shark snakes out his whip, the two sailors lie back flat against the deck, pulling Solo’s arms taut. Illya steps forward, his eyes glittering.

ILLYA
Do not do this.

SOLO (to Illya)
It’s just a spanking, Illya. Don’t make a fuss.

 

Later, Shark gives Solo a tour. They go to the ship’s library where Harry Barnman is at work. There are no books. Everything is on microfilm.

“The stored wisdom of man’s brain — from Plato’s Republic to Freud’s Interpretation of Dreams,” Shark says. “When we create the new world we’ll have this for a foundation.”

Gravitas

Nevertheless, you can’t keep good agents down. Solo and Illya are seemingly out of options. The passengers, freed from their everyday responsibilities, mostly are contented. But Solo decides to search for explosives to sink the ship, which will force everyone to abandon the vessel.

The plan works. The explosion goes off in the middle of a big party on the ship. As the ship is ready to go down, it sets up a chance for some moralizing by both Solo and Shark. (An early example of how Solo, co-created by Ian Fleming, has more of a moral core than Fleming’s James Bond.)

SOLO (moving forward)
Room for one more, Captain
(no answer)
I want to help you.

SHARK
Help me? You’re like all the others — the leaders, the parliaments, the senates and houses of government! When you see something that’s good and useful, you must step in and destroy it. I tried to create a safe harbor —

SOLO (interrupting)
There is no safe harbor, not here, not anywhere. The only safety lies in agreements between people. Now I want you to come with me.

SHARK
No, my friend. Yours is a world I don’t believe in. Perhaps only the optimists, like yourself, can go on living in it. I don’t know which of us is the right one…or which is the strong one. I only know that I must sail this dream to wherever it takes me.

SOLO
It’s not a dream, it’s a nightmare. Abandon it.

SHARK
I can’t!
(stiffens, lifts gun)
I will stay with my ship.

Solo hesitates, but the ship begins to list dangerously. Finally, as the smoke almost obscures Shark from this view, he realizes saving the man is impossible — the Captain’s dream has disintegrated and he wishes to perish with it. Solo starts away, but hesitates as:

SHARK
You’ll see! They’ll destroy your world! Soon! A few months. At most three or four…
(muttering)
Three…four…

SOLO (softly)
…Shut the door…

To be clear, this episode is escapist entertainment. But the Sapinsley-scripted scene provides it more gravitas even at this early point in the series than audiences were used to. At this point in a 1960s Eon-produced James Bond film, Sean Connery’s Bond would be impatient to make out with the female lead ahead of the end titles.

At the end of the Act IV, Mr. and Mrs. Barnman are back in their New York apartment. Mrs. Barnman (who loves to cook) has whipped up a large dinner while Mr. Barnman (who can’t keep up with his wife’s cooking) gets to take an evening off while Solo and Illya (the latter always enjoying a large appetite) get ready to chow down.

Not Quite the End

However, that’s not where the script ends. The Shark Affair was among the early U.N.C.L.E. scripts that included never-filmed introductions that break the fourth wall, as detailed in THIS POST.

Sapinsley also wrote an unused epilogue with Solo again breaking the fourth wall to show previews of the next episode. To be hones, had it been filmed it probably would have ruined the mood of the episode’s ending.

FADE IN:
EXT.-LIFE RAFT-SOLO

It is bright and clear now. Solo in foreground looking into CAMERA. In b.g. we see the girl.

SOLO
Well — too bad about Captain Shark — but as Mother always said — “Never put off until tomorrow what you can do today.”
(beat)
Let’s see what kind of trouble we have for our next adventure —

SERIES OF SHORT SCENES FROM SHOW TO COME

BACK TO SOLO

He picks up oars, saying:

SOLO
Well — I guess it’s time to shove off — I’ve got a two thousand mile row back to headquarters — Tired, lonesome — and thirsty — but it’s all in the day of the life of a dedicated U.N.C.L.E. agent —-

The POP of a cork makes Solo react slightly. HOLD on his reaction, then he shrugs it off and begins to row again. CAMERA MOVES PAST Solo and we see the girl with a bottle of champagne and two glasses. She pours the wine — MOVE IN on her face as she gives the CAMERA a big wink.

FADE OUT.

THE END

U.N.C.L.E. breaks the fourth wall

The original U.N.C.L.E.s, Robert Vaughn and David McCallum

In the early days, The Man From U.N.C.L.E’s production team had a notion of its characters breaking the fourth wall and talking to the audience.

It began with the pilot. A black and white version with the original title of Solo includes a short segment after the end titles. It wasn’t intended for broadcast. It was aimed at network executives and would-be advertisers.

“My name is Robert Vaughn,” the series star begins, looking into the camera, “but when that camera rolls, well, Napoleon Solo is the name and espionage is the game.”

Vaughn mentions cast members, including Will Kuluva as “my boss, Mr. Allison,” and David McCallum as Illya Kuryakin. Illya, Vaughn says, “is an interesting young man — you’ll see him often.” That would certainly turn out to be the case.

The actor says U.N.C.L.E. is located in “the East Fifties” of New York City rather than the East Forties. He also says the organization has nothing to do with the United Nations. “It’s merely a code. We call it UNCLE.”

Meanwhile, Vaughn says  “the viewers of television” will be part of the series, just like Patricia Crowley’s “innocent” character in the pilot. “So what do you have to lose, except your boredom?” Vaughn says, smiling. “Or your lives?”

Robert Vaughn as Napoleon Solo in the early moments of Act I of The Iowa-Scuba Affair

The Iowa-Scuba Affair: This was was the first episode to be produced after the pilot. An opening was scripted, but apparently not shot, of Robert Vaughn as Solo talking to the audience.

It’s very much in the same spirit as the segment attached to the end of the pilot.

INT. THE CAVE – FULL SHOT – NIGHT

SOLO is kneeling on the ground between the Pressure Suit and the Scuba Suit. He is examining the suits. A pretty girl is wearing each suit, striking a modeling pose. Solo ignores the girls throughout. He glances around, looks directly INTO THE CAMERA. He swings around, sitting amiably between the two suits.

SOLO
Good evening. My name is Napoleon Solo…or have we met? Here we are, tonight, in Iowa…
(indicates cave)
…land of corn and hogs…
(points downward)
underwater scuba suits…
(points upwards)
high altitude pressure suits for up in the stratosphere…
(does a small take at the suits)
Oh, aren’t these on your list of clothing to take along on a trip to Iowa? You’ll need them tonight.
(rises, brushing himself clean as he talks)
In a minute you’ll meet what seems to be a nice, bright young American soldier. Don’t get to know him too well…he won’t be staying around long. There’ll be a wealthy oilman with suspicions about me. A young lady’s maidenly aunt who views me with suspicion for…uh…other reasons. There’s a lovely lady from the continent to the south. A little old scrubwoman…with some unique ideas how to scrub me out.
(indicates suits)
There’ll be the men who wear these suits…and the bizarre reasons they have for wearing them. I hope you’re in good shape. We’ll have to run for our lives, hunted through the woods by strange men with strange weapons.
(sudden thought)
Oh…and since this is farming country we’re in, we’ll need a young, fairly attractive farm girl. One that smells of country soap…
(looking over the audience)
…one of you will be fine. Do hear any volunteers?

As he smiles:

WHIP PAN TO:

Hit with TITLES

Captain Shark (Robert Culp) during a dramatic moment with Solo in The Shark Affair

The Shark Affair: The episode concerns an antagonist (Captain Shark, played by Robert Culp) who is convinced the world will soon go down in flames from nuclear war. He’s abducting people of special skills from ships so mankind can go on after the war comes.

The unused scripted introduction has Solo on a raft with a parakeet in a cage. He again introduces himself and mentions elements of the upcoming story.

“A mystery ship, naturally. A rather odd-ball Captain aboard the mystery ship? Of course — Some strange characters in the crew? You bet — And — let’s see — what else have I forgotten.”

Just then, a woman in a bikini comes out of the water and boards the raft.

SOLO
Ah yes —
(indicates parakeet)
Sam, here — a parakeet from the Bronx.

Fugitive Nazi scientist Volp is about to drain Napoleon Solo of his blood in The Deadly Games Affair.

The Deadly Games Affair: Originally titled The Stamp Affair, U.N.C.L.E. is seeking Volp, a fugitive Nazi scientist. Volp had a collection of very rare, very valuable stamps. Those stamps are showing up at auction. Apparently, Volp is selling them off to finance…what? The villainous organization Thrush also is on Volp’s trail.

The unused introduction has Solo inside a coffin with a plexiglass top. A woman opens the coffin and Solo steps out.

“This one seems to fit,” he tells the woman. “I’ll take it. Have ‘Napoleon Solo’ inscribed upon it.”

The woman moves off “to take some notations in an order book.” Solo finds the camera and begins addressing the audience.

“I thought I’d make my selection now since I might an abrupt need for one. My work, you know.”

Solo notes he’s an agent for U.N.C.L.E.

“My organization is involved with all sorts of evil all over the world. Sometimes we encounter an outfit named Thrush…they rate number one on our ‘evil outfits’ list. I’m going to meet one of their more attractive members tonight. Along with some free-lance evil types. Some history is involved in this escapade. So I think I’ll take along a couple of college students. Are you ready?”

Instead of these scripted openings, the production crew filmed a sequence that would be used to introduce the second through seventh episodes. Solo and Illya enter U.N.C.L.E. headquarters through the security entrance at Del Floria’s. They reach Waverly’s office. Each talks to the audience.

Staring with the eighth episode, The Double Affair, the series shifted to an “action introduction” based on the pilot. We see the shawdow of a mysterious intruder (in real life, George M. Lehr, who had the title assistant to producer) at U.N.C.L.E. headquarters. He fires at Solo standing behind the bullet-resistant screen.

Solo about to address the audience at the start of The Deadly Decoy Affair.

This would be used for the rest of the first season. However, there was one episode with one key change.

The Deadly Decoy Affair was the first episode aired in a new time slot, 8 p.m. eastern time on Monday. The “action introduction” proceeds as normal until Solo comes out from behind the screen with the “spider web” pattern after being struck by bullets.

“Good evening,” Solo says into the camera. “Tonight, we of the United Network Command for Law and Enforcement have an affair involving Thrush. Now of course you remember Thrush…that nasty international band of renegades. Well, let’s see how nasty they’re going to be tonight, hmm?”