U.N.C.L.E script: Getting the series started Part II

Robert Vaughn in The Iowa-Scuba Affair

With authorities have suddenly solved the case of a member of the U.S. military (really a saboteur killed by Solo), the U.N.C.L.E. agent quickly flies back to Iowa from New York.

Solo resumes his cover as the man’s brother. He’s with authorities who are showing him where a bookie died, supposedly while smoking in bed, which caught on fire. The authorities are ready to declare the case solved. Solo, though, acts indignantly and comments harshly to a newspaperman witnessing the scene.

The pages for this scene are dated May 29, 1964, two days later than the date on the cover page. In this scene, the name Blair (the name assumed by the saboteur as well as Solo) has been changed to Blenman instead of Blair. The broadcast version would go with Blenman.

Solo returns to the hotel. The same scrub woman who saw him earlier when the agent had been shown the saboteur’s body by authorities. She tells him she’s just turned down the bed.

After she leaves, the scrub woman goes to a pay telephone and makes a call. She tells “Hod” (presumably her supervisor in this operation) that “the little do-hickey is in the shower head.” It will make it look as if Solo died of a heart attack.

Solo, in the meantime, is radioing back to New York and gets in touch with U.N.C.L.E. chief Alexander Waverly. He provides his superior an update.

INT. RESEARCH ROOM – NIGHT
(snip)

WAVERLY
I trust you were appropriately indignant.

SOLO’S VOICE
Yes, sir. Particularly to the newspapers.

WAVERLY
Very well. I needn’t remind you that you are inviting an attempt on your life.

INT. BATHROOM – NIGHT

SOLO
Isn’t that the idea?

WAVERLY’S VOICE
Report any such attempt immediately.

SOLO
Yes, sir. Unless it’s successful.

In the final version, Waverly’s line becomes, “Report any such attempts immediately — unless they’re successful.” Solo replies, “Yes, sir,” before doing a double take at Waverly’s remark.

Shortly thereafter, Solo prepares to take a shower, wearing a robe and slippers. The “little do-hickey” in the shower head begins to emit gas. The door knob to the bathroom has been tampered with and Solo can’t get out. But using his wits, He wrap “an aerated bomb of shaving lather” in a towel. He then lights the towel and pours rubbing alcohol over it. The agent moves away as far as he can before it explodes which kicks the door open.

Having established the threat that Solo faces, Harold Jack Bloom’s script calls for Jill Denison, the episode’s “innocent” to knock on the door to Solo’s hotel room.

ANOTHER ANGLE

He opens the door to reveal Jill. She is somewhat intimidated to find him in his robe, but tries to carry it off.

JILL
Oh, I’m sorry. I didn’t realize…

SOLO
No, no. It’s all right. Come in.

She does, delicately aware of the door closing behind her. But then she reacts to the unhinged bathroom door. He moves to her side, aware of her curiosity.

Solo talks Jill into taking her home. As they talk, Solo looks at dark windows across the alley from his hotel room. “But now a MATCH flickers there momentarily.”

The agent sends Jill to the hotel lobby while he changes. As he gets ready to leave, he turns off the light. But he gets his camera and takes an instant picture of the dark windows across the alley.

INSERT – PHOTOGRAPH

in Solo’s hands. The photograph shows a fleshy, middle-aged woman dressed in the black lace-and tiara fashion of Spanish aristocracy. And she is smoking a cigar.

What follows is mostly like the finished episode. Solo and Jill drive into the country. But Jill’s vehicle is low on gasoline — even though she filled it up that afternoon. They’re being followed by a car with its lights out.

A second car appears and cuts off Jill’s vehicle. Solo and Jill ditch her car (in the finished episode it’s a pickup truck) and they begin to flee. There are four men in pursuit of them. “They are masked by black sheer stockings pulled down over their faces, and each carries a rifle with bulky sight attachments above and below the barrel.”

Solo and Jill eventually reach a grain silo. They go in, ride up an elevator and hide in the grain. But Solo also sends the elevator back down because their pursuers will know for sure their quarries are inside if the elevator isn’t on the ground floor. Solo finally tells Jill who he really is and he’s an agent for U.N.C.L.E.

The assassins do come up the elevator but Solo and Jill successfully wait them out. After the killers leave, Jill gets another shock. The body of the real Tom Blenman/Blair is buried in the grain. Jill feints in Solo’s arms in the script, but it would be staged slightly differently by director Richard Donner in the televised version.

After Jill recovers, the pair exit the silo. Jill suggests they go to Clint Spinner’s place which isn’t far away. “He’d help us,” she says.

Suffice to say, Spinner isn’t the country bumpkin he seems. He parts of a conspiracy that intends to take over a South American country. The mysterious cigar-smoking woman has a brother who will seize power. Spinner’s well is actually a subterranean series of tunnels, some of which are underwater.

The conspirators are going to break into the Air Force chamber that houses the “catapult” plane (equipped with an H-bomb) which will be used to exterminate the current South American government.

The script, however, gives the principals more lines than the final TV version. Spinner, in particular, gets to be more evil than he’d appear on television.

SPINNER
Yes. Some friends of mine are standing ready to take over a particular government. I call them friends because once the present government is blown out of existence, my friends and I will merely walk in and take over.

SOLO
While the rest of the world watches?

SPINNER
“The rest of the world” has developed a talent for just watching. Once the strong and the smart take what they want, the “rest of the world” says that was naughty, but we won’t make a fuss if you promise not to do it again.

SOLO
And your phony promise is your talent.

SPINNER
No…your weakness…sentimental faith…
(exposed viciousness)
I clawed my way up from a dirt farm learning that human nature is fear and greed, not the milk of human kindness. A powerful lesson, and a lesson in power.

Solo foils the plot, saves Jill and personnel from the Air Force base help clean things up.

At the end of Act IV, Solo is with Jill at the farm house where she lives. She says she may visit Solo in New York. They nearly kiss when Aunt Martha “stands in an open doorway, watching with a jaundiced eye.” Solo merely kisses Jill on the top of her nose and leaves.

MARTHA
You should have slapped his face!

JILL
Why? He only kissed me on the tip of my nose.

MARTHA
Call that a kiss? I certainly hope he can do better than that when you visit him in New York.

Aunt Martha goes about her business. HOLD on Jill’s reaction.

FADE OUT:

THE END

NOT QUITE THE END: In a Nov. 24 post, the blog wrote about early U.N.C.L.E. scripts had introductions where Solo broke the fourth wall. The Iowa-Scuba Affair was one of those episodes. The script also had an epilogue/next week previews that also broke the fourth wall.

SAME SCENE AS TEASER…

SOLO
Well, we made it this time, didn’t we?
(a beat)
But next week…well…here’s a taste of what we’ll encounter:

WHIP PAN TO A SERIES OF TRAILER CUTS FROM THE FOLLOWING WEEK:

THEN, BACK TO SCENE.

SOLO
Look interesting? It will be. See you next week.
(a smile and a wave)

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: Getting the series started Part I

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

Having sold Solo (now-renamed The Man From U.N.C.L.E.) as a series, it was now up to executive producer Norman Felton to get the series underway.

In place as day-to-day producer was Sam Rolfe, who wrote the series proposal for “Ian Fleming’s Solo” as well as the pilot script and its expanded movie version To Trap a Spy.

The critical first post-pilot script would be penned by Harold Jack Bloom. Rolfe and Bloom co-wrote the 1953 western film The Naked Spur. They were nominated for an Oscar for their efforts on that movie.

Bloom would also be the first writer employed on the 1967 James Bond film You Only Live Twice. He’d receive an “additional story material” credit for the 007 movie.

The copy the blog has of the script is dated May 27, 1964, just a few days before filming would begin on June 1, with Richard Donner directing. Some pages are dated as late as June 4, after filming had begun.

FADE IN:
INT. FARMHOUSE NIGHT
Just inside the door JILL DENNISON, nineteen, eyes closed dreamily, is wrapped in the arms of TOMMY BLAIR, twenty-seven, a uniformed non-com in the Air Force. But then her defenses become alerted to his rising passion.

JILL
Tommy…?

He stops, moving his head back to meet her eyes. A heavy sigh seems to restore his self-control.

TOMMY
Tomorrow night?

She nods. He gives up and grins. This wins him a final peck before he exits.

However, after the final “peck,” things are about to take a bad turn for Tommy. He drives off on a motorcycle.

ANOTHER ANGLE
As Tommy comes out of the turn, he reacts to something he sees ahead, o.s.

SUBJECTIVE FROM HIS POV

CAMERA MOVES ALONG ROAD APPROACHING the silhouette of a man who stands in the center of the road. The cycle’s headlights stop short of the man’s legs.

REVERSE

Tommy has stopped. Bends forward to raise his headlight.

HIS POV

The light picks up Solo standing in the road, his gun held, assembled for automatic fire. He holds his free hand up in a gesture of “halt”. ZOOM INTO CLOSE.

INTERCUT
Tommy reacts. His boyishness is gone now, replaced by an ugly intent. He kicks the motorcycle into full speed and it jerks forward. Solo FIRES. The shots go through the cycle’s plastic windshield behind which Tommy is crouched. Solo somersaults at the last moment to avoid the swerving machine. The cycle swerves past, skidding over on one side to dig its own halt.

The scene in the final version wasn’t quite as dramatic (Robert Vaughn’s Solo didn’t somersault) but it’s pretty much what Bloom wrote.

Solo inspects the body. He also sees that the dead man was carrying scuba diving equipment. The stage directions state that Solo holsters his gun. That would be difficult with all the attachments of what would become known as the U.N.C.L.E. Special. “A final look at Tommy, then MOVE INTO CLOSE OF SOLO.”

In the next scene, Solo poses as the dead man’s brother. He acts outraged when the local authorities have no clues who killed him. The only lead Solo has is Jill, the young woman that Tommy was with just before Solo killed him.

As the agent leaves, he passes “an elderly SCRUBWOMAN” who radios the information to someone named “Hod.” She indicates no harm should come to the stranger yet.

Solo then visits Jill. They’re being observed by “AUNT MARTHA, a hawk-faced spinster in her mid-forties.” She is “doing needlepoint with quick, angry thrusts.” Jill, meanwhile, is telling Solo that she and Tommy “weren’t in love or anything.” It quickly becomes clear Aunt Martha wasn’t happy with Jill dating Tommy.

During the conversation, there’s another visitor: “CLINT SPINNER, a tall, raw-boned man in his early fifties.” It turns out Spinner’s father was a “sharecropper” in the area. He’s purchased land nearby after being a successful oil man. Spinner has dug a deep well to benefit his new farm.

The scene becomes a way for writer Bloom to provide information to the audience. A secret U.S. Army base has built in the area. Spinner says the base houses the SX-9 “catapult plane” which in “case of war” can be hurled “into the air going better’n three thousand miles an hour.”

“They make such a big deal about military secrets,” Solo responds. “I bet everyone around here knows what you just told me.”

“They know what I know,” Spinner says. “We was all right here when they built it.”

As the scene concludes, Solo asks Jill about why Tommy would have scuba gear. The question surprises Jill. Tommy said he couldn’t swim.

It turns out the entire scene has been observed at a distance by three people in scuba outfits including “an exotic Spanish woman.” The other two are men who hold “strange looking rifles.” One begins to aim his weapon but the woman “gently” pushes the barrel of the rifle down.

Solo then returns to New York and U.N.C.L.E. headquarters. He confers with Alexander Waverly. It turns out Tommy was really Eric Freedlander, a saboteur. Solo had been on his trail. Freedlander slipped away in Berlin but then showed up in Iowa, the site of the secret base. There was a real Tommy Blair but he is missing.

What follows is a briefing scene which provides more details for the audience. We’re told more about the plane and its capabilities. In the middle of the briefing, Waverly is told that the authorities in Iowa have released a statement they’ve found the murderer of Thomas Blair.

They react.

WAVERLY (looking at Solo as he answers)
Isn’t that interesting…?

TO BE CONTINUED

U.N.C.L.E.: Sam Rolfe’s Solo is ready for filming Part III

Luciana Paluzzi and Robert Vaughn in To Trap a Spy, the first U.N.C.L.E. movie.

The Solo pilot was filmed in late 1963. The only significant delay was the assassination of U.S. President John F. Kennedy on Nov. 22, 1963. What started out as a light day (star Robert Vaughn’s 31st birthday) turned solemn and the production shut down for a few days.

Despite the conclusion of filming, writer Sam Rolfe wasn’t done. In early 1964, producer Norman Felton commissioned the scribe to write addditional scenes. Solo would be expanded into a feature film.

Initially, it would be distributed in international markets. But when The Man From U.N.C.L.E. became popular, the film version, To Trap a Spy, would get a U.S. release.

Rolfe turned it a number of pages dated Feb. 26, 1964, with some dated later.

The first scene involved U.N.C.L.E. agent Lancer. In the original pilot, U.N.C.L.E. official Allison tells Solo that Lancer had gotten a job at the company headed by Thrush official Andrew Vulcan. Lancer had tried to communicate information to Allison but was cut off.

In the new scene we’re introduced to Lancer “about forty-five years old, dressed in laborer’s clothing.” He’s driving a car that hits a post box with the address of 112 Old Post Road in Alexandria Virginia.

Lancer is wounded. “One hand is clutched against his side, blood staining through his fingers,” according to the stage directions. Another car is coming up from behind. “Lancer, frantic, scurries ahead.”

Lancer reaches a nearby house and calls out to Angela. She doesn’t answer. He reaches a fireplace where a small fire burns. He rips out the label from his jacket and puts in the fireplace. Lancer picks up a telephone.

LANCER (into phone, quickly)
Operator, get me Plaza 3-6098 in New York City.
(pause)
Yes, I’m calling from Arlington, Virginia
(pause)
Lancer here. Channel D inoperative. Direct report. When the premier of Western Natumba visits the plant, they’re going to assassinate…

He breaks off as there is a sharp silence that indicates the line has been cut. Lancer CLICKS the phone frantically.

Before Lancer can do anything else, Angela makes her appearance.

ANGELA is an attractive girl, with short, cropped hair. She is wearing a negligee and carrying a hairbrush. The feeling is that she has just come from a bath and was brushing out her hair when she encountered Lancer. Her eyes reflect surprise. As Lancer spins around she sees the blood on his shirt and she gasps.

Lancer tells Angela he didn’t want to involve her. Angela says they need to get Lancer to a doctor. However, Angela is really working for Thrush and lures Lancer to a window. “She shows no emotion as she watches Lancer,” according to the stage directions. Lancer opens the window and bright lights shine on him. That enables a gunman outside  to kill the operative.

Two men, including one identified as “the Leader” come into the room. He asks Angela if the dead agent had made contact before she could break the connection.

“Too bad,” the Leader replies. “We’ll have to make some immediate arrangements there.” This sequence now sets up the raid on U.N.C.L.E. headquarters that began the original Solo pilot.

Much later, after Solo has been assigned to investigate Andrew Vulcan, he’s driving his car when he smells perfume. “For a moment, he hesitates, ‘tasting’ the scent. He likes it, but not enough to stop being alert. His casualness is studied.”

Solo pulls the car over to the side of the road. He holds both a gun and a pack of cigarettes. Angela is in the back seat. Also, Solo is about to get his first name restored after it was stripped out of the Solo script.

SOLO
My name’s Napoleon Solo. I hope you don’t mind filters.

Angela tells Solo that Lancer is still alive but wounded. She claims that Lancer’s communicator can receive but not send.

“Her voice has been extremely sincere,” according to the state directions. “I’ll have to find out…won’t I?” Solo responds.

The couple go to Angela’s house. Solo is on guard, moving defensively.

ANGELA
You move beautifully. If this were a trap, you’d undoubtedly be able to kill me before you went down.

SOLO (smiles in return)
No question about it.

This cat and mouse game goes on for several pages. The banter includes claiming to have a nervous grandmother “back home in Topeka, Kansas. I’m afraid I inherited her genes.”

“Oh…are you from Kansas?” Angela asks.

“Of course,” Solo replies. “In’t everyone?”

This being a sequence intended for a movie, Solo and Angela make love. The banter continues afterward, but Solo hasn’t forgotten about Lancer. He finds the label to Lancer’s jacket in the fireplace. The conversation takes on a serious tone.

ANGELA (voice cooling in turn)
You weren’t rude just a short while ago. You gave much pleasure.

SOLO
And I enjoyed you in return. That makes us even. We don’t owe each other anything.

Just then, Lancer supposedly arrives outside. It’s actually his corpse popped up in position. Behind him is “SHOTGUN-MAN,” his weapon ready to fire.

Meanwhile, Solo (wisely) hesitates calling out to Lancer. The agent finally opens the window but swiftly moves to the side. The lights that helped get Lancer killed are activated. But with no one standing in front of the window, there isn’t any fire yet.

“Angela abruptly attempts to shove Solo back in front of the window…He spins away from her shove, as Angela now off-balance lands right in the line of fire…the Machine-Gun spray slams Angela’s body across the room,” according to the stage directions. ”

Solo fights his way out of the house and gets away. He chased by two thugs. But as Solo drives off, one of the thugs says he tampered with Solo’s car just in case. This sets up the scene in the Solo pilot where the agent’s car is booby trapped.

Luciana Paluzzi would be cast as Angela. To Trap a Spy would be, in effect, a dry run for her performance in 1965’s Thunderball as femme fatale Fiona Volpe.

Recasting a Major Part

There was one more writing task. Solo was picked up as a series by NBC. It would be renamed The Man From U.N.C.L.E.

David McCallum, Leo G. Carroll and Robert Vaughn in a scene written in August 1964, a little more than a month before it’d be included in The Man From U.N.C.L.E. first broadcast.

Rolfe became the day-to-day producer for the show’s first season. Between the pilot and the start of series production, the production staff opted to fire actor Will Kuluva who played U.N.C.L.E. chief Allison. In his place was veteran actor Leo G. Carroll as Alexander Waverly.

This meant refilming scenes in the pilot, scheduled for broadcast on Sept. 22, 1964.

Thus, on pages dated August 18, 1964, came Waverly’s introduction. Immediately after Solo has killed the Leader of the Thrush attack on U.N.C.L.E. headquarters, Waverly appears.

Waverly has come out of his office and is standing besides one of the posts in the room. He holds the folder with Vulcan’s picture on the cover.

WAVERLY
Quite right, Mr. Solo. Their idea was to prevent me from acting on some new information we’ve received.
(holds out folder)
Here…you may have the information, and Thrush can try to kill you for a while.

Waverly proceeds to tell both Solo and Illya about Andrew Vulcan and his place in Thrush. The name of Vulcan’s company has been changed to the United Global Chemical Corporation.

The mission is so urgent Waverly conducts the briefing in the same room with the body of the Leader of the Thrush raid on the floor. Meanwhile, the new pages don’t reference how the other members of the Thrush raiding party died after being poised by their own organization.

There is one more change. There is a brief scene where Illya gives Solo the college yearbook and says it was Waverly’s idea. Illya tells Solo about Andrew Vulcan having a girlfriend in college. That of course will be Elaine, the episode’s innocent.

It’s still a small role for Illya but he ends up taking a slightly bigger role helping Solo on the assignment. Illya would soon have a bigger presence.

U.N.C.L.E. was now on its way.

THE END

U.N.C.L.E.: Sam Rolfe’s Solo is ready for filming Part II

Title card for the Solo series pilot

When Sam Rolfe wrote up a series proposal titled Ian Fleming’s Solo, the concepts of the villainous organization Thrush and the “innocents” who would interact with U.N.C.L.E. agents were teased. In his 103-page script, Rolfe would flesh out both.

Thrush is so vast that the prominent Vulcan Chemicals company, headed by Andrew Vulcan, is part of Thrush. Solo remarks that Vulcan’s company is “the third largest plastics company in the country.” Allison, his superior, says it’s “the eastern seaboard cover of Thrush.”

Clearly, the stakes are enormous.

There is a silent reaction from Solo. Allison pushes the file across his desk. Solo takes it and looks at the photo stapled to the outer cover.

INSERT – THE FILE – PHOTO OF VULCAN

The photo shows a man in his mid thirties…

ALLISON’S VOICE
A few months ago we discovered that the president of the firm, Mr. Andrew Vulcan himself, is an officer of Thrush.

Lancer, another U.N.C.L.E. agent had gone undercover as an employee for Vulcan’s company. He tried to communicate with Allison but was cut cut off and is presumed dead.

That precipitated the raid on U.N.C.L.E. headquarters in New York at the beginning of the script. All U.N.C.L.E. knows is there will be some kind of assassination attempt planned for the three leaders of a newly independent African nation who are guests of Vulcan.

Solo gets a second, more detailed, briefing from a “young attractive woman (MARGARET OBERON)” who has been designated as Channel D and assigned to Solo on a “twenty-four hour until mission complete basis.” In the series, Channel D would simply be a communications channel, rather than an individual.

Oberon provides more details about Andrew Vulcan and his company as well as the contingent from Western Guiana (renamed Western Natumba when filmed). The three men led the guerilla war that led to their nation’s independence. They are led by Ashumen, the premier of the country.

The innocent of the script comes up because Andrew Vulcan once had a girlfriend in college.

Illya visits Solo at his apartment with a yearbook from Ruttenberg College. As typed in the script, it’s from 1942. The copy of the script the blog has shows that’s crossed out and 1949 substituted instead.

The agents also have a clipping from the college newspaper which has a picture of a young Vulcan with “his arm around a pretty young girl (ELAINE MAY BENDER).”

Solo says since college that Vulcan “has wrapped himself in a protective cocoon. No friends, no women that mean anything to him.” As a result, he opts to see if Elaine, now a married housewife, can be enlisted to help — to try to get through Vulcan’s cocoon.

Fritz Weaver’s title card for the pilot for The Man From U.N.C.L.E.

Solo meets the now Elaine May Donaldson at her home. Her reverend has arranged an introduction but he’s nervous. He did it under duress from his bishop. Nevertheless, after initially refusing, Elaine agrees to help.

Thus, Rolfe establishes one of the aspects that would make U.N.C.L.E. different than other 1960s spy shows. In this case, there’s a firm reason why Solo seeks her help. In the series, over 105 episodes, there wouldn’t always be such strong connections. More often, innocents would stumble into the middle of the action. Still, Solo (and later Illya) would need to watch out for the welfare of the innocents as well as trying to accomplish their assignments.

What follows is a bit of spy vs. spy. Vulcan and the other Thrush operatives know who Solo is. At one point, Solo radios into Channel D.

SOLO
Thrush has me spotted. Also…it’s possible…correction probable that a member of the Western Guiana delegation is with Thrush.

The agent averts one attempt on his life when one of Vulcan’s engineers booby traps Solo’s car.

Meanwhile, Elaine does get through Vulcan’s protective cocoon — sometimes more successfully than she imagined. U.N.C.L.E. has established a cover story for Elaine (she’s supposed to be the widow of a Oklahoma oilman). For a time, Elaine has doubts whether Vulcan is really part of Thrush.

Despite that, Solo convinces Elaine to ask Vulcan to show her the industrialist’s plastics plant. The delegation from the African nation is scheduled to visit the facility the next day.

Solo investigates the plant while Elaine and Vulcan are walking the grounds. He’s eventually discovered. Solo is in peril and appears about to be captured when Elaine makes her choice and helps him get away momentarily.

The pair sees a car and intend to use it to leave the grounds. However, Ashumen, the African premier, is in the car. He turns out to be the member of the delegation who’s part of Thrush. Solo and Elaine are captured at the end of Act III.

Things aren’t looking good at the beginning of Act IV. “Solo’s wrists are encase in manacles linked together by a foot long chain,” according to the stage directions. Vulcan is more than displeased with Elaine.

He has dropped all pretenses. He starts a backhanded slap at Elaine. Solo quickly steps in the way, taking the blow across his own shoulder. Solo clasps his wrists and swings back, the loose swinging chain lashing across Vulcan’s face.

As filmed, Solo would simply punch Vulcan before he could strike Elaine.

A dire moment for Elaine (Patricia Crowley) and Solo (Robert Vaughn).

Vulcan and Ashumen plan to stage an “accident” during a demonstration of a reactor at the plant used to make new plastics. The other two leaders of the African nation will die and become martyrs. Ashumen will “rule in their names” — and provide Thrush with diplomatic immunity and other benefits of nationhood. Solo and Elaine will be killed by steam and their bodies will be found after the explosion.

Solo and Elaine have other ideas. The U.N.C.L.E. agent figures a way out of the fix they’re in.

He foils the assassination attempt while Vulcan and Ashumen die in the explosion instead. The script is a bit more elaborate than what was filmed. For example, the script has Solo donning an asbestos suit before going to the reactor. In the final version, he didn’t bother and is still in his tuxedo.

The script also has Nobuk, one of the surviving African leaders, telling his colleague, Conuellen, “You and I…we must continue in his name. His dreams were the dreams of our people. For him, we must go on. We must build.” This wouldn’t be part of the final product. Conuellen would renamed Soumarin in the final version.

The next evening, Solo and Elaine fly back to her home. She’s ready to disembark while Solo will fly on to New York.

She leans forward and kisses him on the cheek. Then she hurries down the aisle towards the exit. For a moment Solo stands rubbing his cheek perhaps ruefully, a lonely figure.

Not necessarily for long. A flight attendant, seeing Solo sitting by himself, asks if there’s anything she can do for him.

“…for we FREEZE FRAME…”

The last line has been delivered in the earnest manner of the young stewardess, trying hard to do her job. Solo turns to the stewardess and beckons for her to lean down towards him.

SOLO
Well…as a matter of fact….

But that is all we hear for we FREEZE FRAME and THE CAMERA MOVES IN TO HOLD ON A CLOSEUP of Solo and the stewardess as we:

FADE OUT.

The script is missing one thing — Solo’s first name. He is only called “Solo” or “Mr. Solo” during the story. In the end titles of the pilot shown to NBC executives, it simply reads, “Starring Robert Vaughn as Solo.”

However, the Napoleon Solo name devised by Ian Fleming would return. This would occur after Sam Rolfe was enlisted to write additional scenes to make Solo into the film To Trap a Spy.

Also, there was the matter of some revised scenes before the show, now called The Man From U.N.C.L.E. would air on NBC in September 1964. An important part would be recast, necessitating the change.

TO BE CONTINUED

U.N.C.L.E. script: Sam Rolfe’s Solo is ready for filming Part I

Title card for the Solo series pilot

With Ian Fleming long gone, a pilot would have to be made before Solo would become a series. So, Sam Rolfe used his Solo series presentation (originally titled Ian Fleming’s Solo) as the springboard for the script.

Rolfe’s script, dated Oct. 29, 1963, begins with a sequence based on a 12-page short story in the earlier work. The Thrush attack team is smaller (four operatives now). The tailor shop is now called Del Floria’s (replacing Giovanni in the presentation). But the general situation is the same.

A person only identified as ‘FIRST MAN” enters Del Floria’s, a shop in New York City. “The only occupant occupant of the shop is an old, wizened Italian tailor, DEL FLORIA,” according to the detailed stage directions. An “ancient television” is on a counter with a hand-written note. “No Touch — Broke!”

The First Man tosses his raincoat over the TV set. The man takes off his stained jacket and shows it to Del Floria. While the tailor inspects the jacket, the other man takes out a cigarette lighter, holding it near Del Floria’s face. “He abruptly flips the ‘striker’ on the lighter,” according to the stage directions. “There is a low hiss as a jet of grey mist spurts into Del Floria’s face.” The tailor is rendered unconscious.

Now, three more intruders enter the tailor shop. A changing cubicle operates as an opening into…what?

INT. RECEPTION ROOM – RECEPTIONIST – DAY

Reception is a gleaming, metallic room without windows. The room is Spartan in its simplicity. There are no decorations. The only furniture is a steel desk and chair in the center of the room, set to face one wall (the wall in which the door to the Tailor Shop is set.) The desk top itself contains a small TV viewer and a desk sign that reads “U.N.C.L.E.”

An Asian woman is at the desk (described here as “Oriental GIRL”) but she is overcome by the invaders before she can sound an alarm.

One of the intruders has replaced Del Floria at the pressing machine. One of the team is now at the receptionist’s desk. The Leader and one other move into the bowels of the mysterious complex.

The stage directions emphasize the unusual nature of the facility.

NOTE: THERE ARE NO WINDOWS ANYWHERE IN THIS BUILDING EXCEPT FOR ALLISON’S OFFICE. ALL AREAS ARE COMPLETELY ENCLOSED BY METALLIC WALLS AND CEILINGS. ALL LIGHTING IS IS ARTIFICIALLY INDUCED BY CONCEALED FIXTURES.

Things go well for the intruders until an alarm goes off. Despite this, the leader of the invading team manages to get deeper into the complex.

Solo stands behind a bullet-resistant screen while the leader of a Thrush invasion group opens fire.

REVERSE ANGLE – REAR OF WAITING ROOM – SOLO -DAY

A figure can seen, silhouetted against the rear of the office, standing before the closed door that leads to Allison’s office. The figure (SOLO) stands poised, hands hanging loosely at its side, one holding a gun (P-38).

INTERCUT – THE FIGHT

The Leader raises his gun and starts to fire. There is the soft “snapping” noise as the bullets spew forth. A series of striations appear before the figure of Solo, as if cracks like spider webs are renting the air before him, fragmenting his figure.

WHIRL IN ON SOLO to a CLOSEUP as he stands transfixed…the spiderweb of striations refracting light…

SUPERIMPOSE MAIN TITLE “S O L O” and –

FADE OUT.

At the start of Act I, the action resumes.

FADE IN:
INT. WAITING ROOM – FULL SHOT – SOLO – DAY

The spider webbed lines still hang in space,” the stage directions say. “The Leader’s face reflects shock and fear. He fires again. Abruptly the light in the room dims out and everything is blackness except for the light streaming in from the open doorway. The Leader spins around, looking for another opponent. Sensing movement behind him, the Leader turns and fires. There is a “sewing machine like” hum as the figure of Solo appears behind him, the P-38 (a semi-automatic pistol) unleashing a flood of bullets.

As filmed by director Don Medford, this sequence would be slightly different. For one thing, Solo (Robert Vaughn) fires a Luger pistol. However, the P-38 eventually would be the basis of the U.N.C.L.E. Special, a hand gun with attachments including a larger magazine enabling automatic fire as well as a sight.

Regardless, things proceed more or less as the version eventually broadcast by NBC. Solo inspects the body of the Leader. Illya arrives. The agents discuss what has happened.

Early Solo publicity still with (left to right) Will Kuluva as Allison, David McCallum as Illya and Robert Vaughn as Solo

This script, however, still has Mr. Allison, the U.N.C.L.E. chief referenced in the original series presentation. As in that work, Allison chides Solo for not taking the man alive. He then summons Solo for a briefing.

What follows is a scene that explains the U.N.C.L.E. security system and how the invaders had a lot of information about U.N.C.L.E. headquarters but lacked key data. Namely, the reception had chemicals on her fingers to activate the security badges. Without her doing so, the alarms still went off.

In the middle of the briefing, Illya brings in the surviving prisoners. Except — they don’t survive long. All are dead within moments.

“But they are dead!” Illya says. “But how?!!!”

In the filmed version, the sequence is slightly different. The prisoners are brought before Solo is briefed by Allison. But they end up just as dead. As in the earlier Ian Fleming’s Solo presentation, the audience is eventually told they had ingested a slow-acting poison that would kill them whether they succeeded or failed.

In both this script and the filmed version, Allison gives Solo his mission. An U.N.C.L.E. operative named Lancer had communicated with Allison that a the head of a newly independent African nation has been targeted for assassination by Thrush. The communication had been cut off before it was completed.

TO BE CONTINUED

In the beginning: Ian Fleming’s Solo

Title page to proposal for “Ian Fleming’s Solo,” which would emerge as The Man From U.N.C.L.E.

In 1963, producer Norman Felton was attempting to launch a new adventure television series. In the fall of 1962, he had a few days of meetings with Ian Fleming. The James Bond author had provided some ideas, but little else.

Felton turned to writer-producer Sam Rolfe, who was working on Felton’s The Eleventh Hour dramatic series about psychiatrists. Rolfe had also co-created (and produced some episodes of) Have Gun-Will Travel, a popular 1957-63 Western series about a bounty hunter known only as Paladin.

It was clear to Felton that Fleming wasn’t going to be available for the heavy lifting of the new would-be series. So Rolfe turned out a 40-page series proposal (including a one-page diagram). Despite that, Fleming’s name would included and the proposal titled “Ian Fleming’s Solo.”

Teaser

The proposal begins with, in effect, a 12-page short story. A peddler goes into a tailor shop in the East Forties, “a few blocks from the United Nations cluster.”

The tailor shop is run by Giovanni. The peddler tosses a rain coat over a “battered old television.” The peddler takes out a toy “called a Robot Commando…battery operated….upon commands spoken into a microphone, it rumbles across the floor, its arms whipping in tight, mechanical circles as it flings small plastic balls into the air, its eyes whirling in dizzying spirals.”

The toy robots of Ian Fleming’s Solo would be used in season one’s The Double Affair

Giovanni watches the demonstration but isn’t interested in a purchase. The peddler packs up. Giovanni returns his attention to his pressing machine. But the peddler takes out a second toy robot before departing.

Once outside, the peddler takes out another microphone. Inside the tailor shop, Giovanni is hearing a woman’s voice through the television set. “Something is blocking the camera.”

Giovanni sees the peddler’s rain coat and moves toward the television set. However, one of the toy robots flings “small glass balls” which “break, relasing wisps of smoke around Giovanni. The result is instantaneous. He is unconscious before his body even touches the floor.”

The peddler re-enters, followed by five other men. A raid commences. The peddler finds a hidden button in the pressing machine. The invaders use a coat hook in one of the “shabby ‘try-on cubicles.” They gain entry to….what?

“On the far side of the wall is a small, modernistic, windowless office. A desk, with a desk plate inscribed ‘U.N.C.L.E.’, is occupied by by an attractive Young Woman who is frowning at a small TV viewer.” On the “viewer-picture” is the inside of the peddler’s coat.

The attackers overcome the woman before she can sound an alarm. The peddler remains in the tailor shop, now posing as Giovanni.

Ian Fleming notes, written on one of 11 telegram blanks, and given to Norman Felton

Eventually, the intruders are tripped up. They use identification badges, unaware they have to be deployed in a certain way without the alarm system going off. Two men, identified as the Leader, the other as an Accomplice make their way through the mysterious facility. The Accomplice is holding glass balls like the ones the toy robot used.

“The Accomplice’s hand is shattered by a spray of bullets, the glass balls splintering in the mangled fingers.” He’s overcome by the gas coming from the broken glass balls.

The Leader, though, presses forward and enters “a small inner reception office.” He’ll get no further as “four bullets tear through him.”

We’re introduced to “a tall, dark, well-dressed man” who “moves gracefully.” He steps over the body of the Leader and examines the Accomplice. At the same time, an “armed, Slavic-looking man runs down the corridor to stop at the doorway.”

They are soon addressed by a “pedantic looking, fifty-five year old man” who enters the office. He chides the dark man, whom he addresses as “Mr. Solo” about killing the Leader.

The men discuss how much information the intruders must have had to get this far into U.N.C.L.E. headquarters. They must have had information from someone working inside U.N.C.L.E.’s Section Three — where there would be enough information to get here but not enough to totally avoid the alarm system.

However, we’re then told even the captured intruders died because they had ingested poison before the raid. They were dead men whether they succeeded or failed.

“But let us leave this story for a while. Later we’ll come back to it and tell you what happened after this opening,” this section of the presentation concludes.

U.N.C.L.E. Complex

The proposal describes buildings on the same block of Manhattan. They include a parking garage, four brownstones and a “fairly new, three-storied whitestone.”

Two stories of the latter are taken up by a restaurant called The Mask Club “which features fine food served by waitresses wearing masks (and little else) to to patrons who don masks (covering nostrils to brow) as they enter.” It’s an establishment that is “different, exclusive, expensive and frivolous.”

Sam Rolfe (with guest star Jill Ireland), making a cameo appearance in the first-season UNCLE episode The Giuoco Piano Affair. Rolfe would take over and do the heavy lifting on devising the series.

The third floor is “a sedate suite of offices, the entrance to which bears the engraved letters ‘U.N.C.L.E.'” The offices have “ordinary” people who handle mail and greet visitors.

All of the buildings involved are owned by U.N.C.L.E. Inside the walls of  brownstones is “one large building consisting of three floors of a modern, complex office building…There are no staircases in the building. Four elevators handle vertical traffic.” There is an underground channel leading to the East River.

U.N.C.L.E. we’re told “might stand for the United Nations Committee on Law and Enforcement…Certainly it is not far from the United Nations Building in Manhattan. And coincidence could not account for the fact that the personnel of the organization is peculiarly multi-national.”

Within headquarters, a red badge “will admit you to the ground floor which contains personnel and equipment for day in, day out routine operations.” Trying to get above the floor with a red badge will sound off alarms.

A blue badge permits entry to the ground and second floors. A white badge gains entry to the third floor which includes “the elite of this organization, the Enforcement Agents.”

U.N.C.L.E. Organization

The proposal presents an organizational chart.

Section I: Policy and Operations

Section II: Operations and Enforcement

Section III: Enforcement and Intelligence

Section IV: Intelligence and Communications

Section V: Communications and Security

Section VI: Security and Personnel

The enforcement agents enter through the Giovanni tailor shop, while other personnel take other entrances.

Characters

Miss Marsdian’s two favorite agents, Napoleon Solo and Illya Nickovetch Kuryakin

Napoleon Solo: The character named by Ian Fleming during his meetings with Norman Felton. He has an apartment that overlooks the East River. He has “a somewhat coppery kitchen (he cooks).” This was one of the ideas that Fleming contributed in his meetings with Felton.

“Solo has a love for the sea, possibly a hangover from his days of service with the Royal Canadian Navy (where he had served as the Commander of a Corvette).” Solo owns a “third foot sloop” kept on a marina on Long Island. The agent “rather tends to view all men as equals, unless their behavior (as opposed to their backgrounds) proves them otherwise.”

Solo also “fought in a war which was called a ‘Police Action.'” While attending a university, he majored in philosophy and minored in languages.

There is also this description:

He makes no high-blown moral statements about his work, nor his reasons for engaging in it. But you will sense (and other characters in the story may at times state it) that he can only work for a “cause” that is in the right…and he takes satisfaction in the destruction of evil.”

Mr. Allison: Allison (the pedantic man described earlier) is a member of Section I and “the only one ever seen or whose identity is even known.”

The only window in U.N.C.L.E. headquarters in Allison’s office, which has a view of the East River and the U.N. Building. Allison “appears to be humorless. That’s not the case, but Allison doesn’t show it. Allison also doesn’t hesitate to send agents on missions that may end in their deaths.

Miss Marsdian: She guards the entrance to Allison’s office. She is “fat and fifty, running to the ‘motherly’ in her general appearance.” Marsdian also is “the only one at U.N.C.L.E. capable of showing genuine emotion at the fate of the Agents.”

Marsdian has two favorites among the agents. One is Solo. The other is…

Illya Nickovetch Kuryakin: Another Section II agent “of equal rank with Solo.” Kuryakin is “very much a loner. He does his job, but doesn’t discuss it. Like a machine that has been fashioned for a specific purpose … nothing seems to exist but the purpose.”

Kuryakin “is of Russian origin. It is wise for U.N.C.L.E. to draw agents from behind the iron curtain.” The agent “maintains an austere apartment in the same building as Solo.” Kuryakin has entrusted Solo with one secret — a hidden compartment under his bed filled with jazz records.

Miss Doris Franklyn: A Section II operative who has a cover as a struggling actress. “There is a question as to whether Doris would rather be an Actress than an agent.”

Ian Fleming sells off his interest in UNCLE.

U.N.C.L.E. Enemies

“Crime, by its large scale nature, is international in scope.” As a result, according to the proposal, the Mafia “and all its attendant ramifications are all basic material for assignments. But it will be treated in a bizarre and interesting manner.” The proposal also cites the example of a deposed Middle Eastern ruler who is forming an international crime empire.

But the recurring opponent is Thrush, a mysterious organization “shaped somewhat like a darker convolution of U.N.C.L.E. … a Dr. Moriarty and his friends would make a fair analogy.” The proposal says, “Thrush himself (and we will refer to him as if he were a single, male entity) is an unknown cipher.” Thrush may hire out or strike and his/its own depending on the situation.

Innocents

A key part of the series is that ordinary people get involved with the agents. The audience “will be made to identify with those caught up in the plots.” The proposal supplies various examples of innocents such as a school teacher, a housewife and a Siberian farmer.

Oh By The Way…

Felton sent a version of what Rolfe worked up to Ian Fleming, to gauge the author’s reaction and to see if he had any reactions or ideas. But Fleming would soon pull out of the project, selling his interest for a single British pound. U.N.C.L.E. would go on.

But Ian Fleming’s Solo (as this proposal was titled) had come to an end. However, concepts in the presentation would evolve.

U.N.C.L.E. script: The end (though they didn’t know it)

Solo and Illya have just gotten word they’ve been canceled by NBC.

The Seven Wonders of the World Affair was the two-part adventure that ended The Man From U.N.C.L.E.’s 1964-68 run. But, as originally written, it was a standard single-part episode.

Writer Norman Hudis’s original script was dated June 23, 1967. The basic plot matches the final product that would be broadcast by NBC on Jan. 8 and 15, 1968. However, the June 23 script is simpler.

In the original version, the villain was Kingsley, same as the broadcast version. In the first script, we’re not told much about Kingsley. He’s an independent operator and not part of Thrush, the villainous organization used for much of the series.

Kingsley has assembled experts in various fields. They will help him rule the world once he has used a gas that will make make the globe’s population peaceful.

Kingsley’s Eyes

Kingsley is “50-ish, superbly-preserved and well groomed.” At one point, the stage directions call for the camera to zoom into “VERY CLOSE SHOT KINGSLEY EYES: cold, penetrating, unblinking – windows to an insane mind.”

As story opens, Kingsley has assembled all but one of his experts. A scientist, David Garrow, is kidnapped while Solo and Illya simply watch. Kingsley receives word from one of his men the kidnapping has succeeded.

“Good,” Kingsley replies. “Just as I planned.”

Separately, Solo informs his superior, Alexander Waverly, that Garrow has “been taken.” Waverly is with his assistant, Lisa.

WAVERLY
Good. Just as I planned.

He does not say it with the elation just heard in Kingsley’s voice. He looks up with heavy anxiety at Lisa.

WAVERLY
And I pray I planned right —

Solo and Illya split up. Solo boards an U.N.C.L.E. plane to follow Garrow (who has a tracking device). Illya meets with Garrow’s wife and grown son to tell them how Garrow volunteered to help U.N.C.L.E. find the missing experts.

Similar to the final version, Solo’s plane is shot down in the Himalayas as it nears Kingsley’s installation. Unlike the broadcast version, the script actually calls for Solo to struggle with snow after he escapes the aircraft. As broadcast, the area around the base was “unusual” in that there was no snow.

Professor Who?

In this script, one of Kingsley’s experts is named Professor Dent (!). Yes, same as the character from the film Dr. No who (unsuccessfully) tried to kill James Bond.

Maybe Norman Hudis wasn’t aware of the legal wrangling between Eon Productions and U.N.C.L.E. over the Solo name when that intended as the title of the TV series. (Eon’s attorneys sent a cease and desist letter; the title got changed to The Man From U.N.C.L.E.) Maybe it was a bit of a practical joke by Hudis. If so, I doubt executive producer Norman Felton would have found it funny. Regardless, the character would be renamed Erikson in the final version.

As in the broadcast version, Illya flies in another U.N.C.L.E. aircraft to the Himalayas with Steve Garrow as a stowaway. Solo’s communicator initially couldn’t broadcast after he was shot down. Eventually, Illya is able to reach Solo via their U.N.C.L.E. communicators. Waverly also is patched in. In the course of the conversation, Solo and Illya have this exchange:

SOLO
Steve Garrow? What’s he doing — ?

ILLYA (on Solo’s communicator)
Stowed away. Didn’t trust us to rescue the Professor.

SOLO
Can’t say I blame him: we’re not being particularly brilliant so far.

Waverly informs the agents that Solo had been shot down “inside an electronic anti-communication belt, some twenty miles in circumference.” The agents are told to infiltrate that area and find the kidnap victims.

Meanwhile, U.N.C.L.E. attempts to use “radio-particle long-distance bombardment” to penetrate the zone. This is deployed using an “IMPRESSIVE AND COMPLICATED ANTENNA” at U.N.C.L.E. headquarters. However, the device is unsuccessful.

Solo Meets Kingsley

The agents (Solo by himself, Illya, accompanied by the younger Garrow), eventually succeed in reaching Kingsley’s base. Solo, though is captured. Afterward, he meets Kingsley.

The latter comes to the point. “My name is Kingsley. I am going to rule the world. And you wonder why you are still alive.”

“I’ve met several would-be world rulers: you all have one thing in common: you have to talk about it,” Solo says. “You won’t kill me, Mr. Kingsley, until I’m duly impressed by your plans.”

That doesn’t stop Kingsley. He tells Solo about his plan how the roles the various experts will have in its implementation.

KINGSLEY (unboastful)
I have overlooked nothing. There may be rebels. They will have to be dealt with.
(a beat)
Are you – ‘duly impressed —‘?

SOLO
By a world of soulless obedience – mindless conformity? No. It’s insane.

The agent gets a nasty surprise. He’s being escorted to his living quarters by Gen. Harmon, Kingsley’s security chief. Solo makes a pitch for how the various kidnapped experts could escape. However, Harmon tells Solo that he volunteered. Harmon then has Solo seized by guards to be shot.

Much of the rest of the script has Solo, Illya and Steve Garrow get in and out of peril. There’s a lot of description of all this, one reason why the script goes up to 74 pages. The general rule of thumb is that one page of script averages out to one minute of screen time. In the last 1960s, a one-hour television show’s running time would be about 50 minutes or so minus commercials.

U.N.C.L.E. Roughhouse

At one point, Hudis takes a short cut for a sequence that surely would have taken at least a minute or two screen time, if not longer. It’s an action sequence after Solo and Illya are back together and fighting Kingsley’s guards.

FIGHT
Typical “U.N.C.L.E.” roughhouse, during which Solo and Illya, outnumbered, are in danger of defeat and death several times. They eventually worst the Guards however and dive out the window together.

Despite the odds, the agents prevail. (They get their hands on some weapons, which is a big help.) They wreck much of the facility, including the area from which the gas will be launched.

Of the main characters, only General Harmon is killed. Kingsley, Professor Garrow and Steve Garrow all survive. Kingsley gets the last word with one undamaged portion of his base.

KINGSLEY
Nothing can save you now —

He is looking at and addressing:

KINGSLEY’S POV – THE WORLD MAP

By some freak of explosion blast, it has survived intact – like the minds of the millions who inhabit its continents.

We PULL BACK to show the ENTIRE SCENE: The map – Kingsley before it, gazing up at at his lost realm – Solo some distance behind him – Illya joining Solo, also to look at Kingsley – Garrow, Steve and Dent slowly re-entering.

In the fall of 1967, NBC canceled the series, meaning it would only last half of the 1967-68 season. The production team opted to expand this script into a two-parter and make it a feature film (How to Steal the World) for international markets.

Major Changes

Poster for How To Steal the World, movie version of The Seven Wonders of the World Affair

In doing so, things got more complicated. Kingsley was now an U.N.C.L.E. official based in Hong Kong who goes rogue. Having fought “the seemingly endless battle” against evil, Kingsley decides to use what’s called “docility gas” to make the world peaceful.

More characters were introduced as was Thrush. There was now a Mrs. Kingsley who, unknown to her husband, is having an affair with Webb, a Thrush operative. Kingsley also doesn’t know that Thrush is financing his plans so it can take over. There’s also a severe conflict within Thrush how to proceed.

Ironically, with all the changes, Gen. Harmon ends up surviving, although he he is subjected to the gas. In the Hudis original, the audience was told two guards were used as guinea pigs to test the gas. In the new version, the audience sees the general being gassed by accident and how he’s almost childlike as a result. Solo and Kurykin were to have been the test subjects, but some of Hudis’s “U.N.C.L.E. roughhouse” broke out.

Ultimately, Kingsley, Mrs. Kingsley, Webb and Professor Garrow all parish. What’s more, Solo’s meeting with Kingsley was expanded so the agent confronts all of the “seven wonders.” One line from the original script attributed to Garrow, where he calls Kingsley’s plan “a blasphemy” is voiced by Solo.

Mixed Reactions

Many original U.N.C.L.E. fans are critical of the final version because it’s padded out. For example, the recap at the start of Part II extends into the middle of Act I. I’ve argued previously that Solo’s confrontation with the “seven wonders” in Part II is one of Robert Vaughn’s best scenes of the series.

Still, there’s no denying the final version is uneven. One of the oddities is how Thrush has a “secret headquarters” at a meat packing plant.

In any case, there was sadness among original U.N.C.L.E. fans when The Seven Wonders of the World Affair Part II concluded. It was also the beginning of the end of 1960s spymania.