SYNOPSIS:

FORBES KENNEDY is a reclusive billionaire. He lives in a large house with a minimum of servants. His son Lewis, a Director in FK Holdings, visits occasionally, but is a Porsche driving wastrel. FK is generally perceived as a cynical, tough old bastard with whom very few people would wish to have anything to do - if it weren’t for his money. Faced with immanent death due to some undisclosed disease, Forbes has been ruminating on life, the universe, and everything at some length, in some solitude. His ruminations are tempered by a very profound grief at the loss of his youth. You could say his ruminations are beginning to border on the maudlin. As a way of assuaging his mortality, he hatches a scheme for launching a sea-going alternative life style community. He advertises for people, procures a ship, and prepares to set them on their way. He comes into conflict with his son and members of the board of his company who are concerned about squandered wealth. The situation builds up to the finale which shows the ship finally, after all the trauma, sailing out of the harbour. The viewer is simply left with the thought of what 200 or so people on board a ship in international waters and free to establish their own legal system will actually get up to.

SHIPSCRIPT

SHIP SCRIPT Cast of main Characters: Forbes Kennedy an ancient, jaded billionaire Rab his butler Lewis Kennedy his son Portman Cody his lawyer Sarah Baker a secretary Roger Spellbound a faded pop star Bert his minder Captain Smollett a ship’s captain Mr Purdey his chief engineer various passengers, crew, Board members, lawyers, and police TITLES... Roll Over: Scene 1: - INT BEDROOM OF FORBES KENNEDY EVENING Forbes Kennedy an ancient, jaded billionaire ...FK hunched in a wheel chair, at his desk, legs wrapped in blankets. He is writing. Many previous drafts are strewn about, visibly discarded. Music: Fades out as FK is finally finished. Holding his work up to the light, he shouts over his shoulder for RAB, the butler. FK (Over his shoulder) RAB... Rab, come in here. I want you to read this out loud to me. Rab his butler RAB enters at a brisk trot. RAB (reading) Fed up with life in such a short-sighted society? Convinced that we continue to do irreparable damage to the eco-system? Disgusted with legislation and legal systems being manipulated in the interests of big investors? (He pauses, looking up. FK waves him on, impatiently.) Appalled by continuing hysterical consumerism in the face of ecological disaster? Want a mobile, self-sustaining way out for family and friends? Anyone interested in joining a sea-going community, send sae. RAB concludes looking very bemused. Scene 2: - INT A TRENDY PUB NOON JIMMY and BOBBY are two good mates. They slap each other on the back a lot, lean on each other a lot, and have designer stubble. They’re macho mates - like WHAM. BOBBY’s drinking his lager as JIMMY’s attention is caught by a trendy women engrossed in a newspaper. They go over, heartily. JIMMY (Humorously, insofar as he is able) Can I sell you any shares? WENDY (the woman) looks up. She giggles precociously and switches into full courtship ritual. WENDY (Looking up) Oh yah. I just love to hear about shares. Are you two stock brokers then? JIMMY Well not quite, yet. BOBBY Are you checking up on your shares then? WENDY (Giggling coquettishly) Tee hee... No, I’m actually looking at this very odd advert in the paper. JIMMY and BOBBY have a look. It transpires that she’s reading Forbes’ letter in the paper. They both chuckle manfully. BOBBY Are you serious? WENDY Oh yahh... I think so Scene 3: - INT A KITCHEN OF A COUNCIL FLAT DAY A distraught, distracted, down trodden Mum (DOROTHY) is reading the paper as her toddler spews up on the floor. She goes to the window, leans out and calls to a neighbour. DOROTHY Shirl, have you seen this? Scene 4: - EXT THE GARDEN OF AN OLD PEOPLE’S HOME DAY An Elderly Couple are sitting together, holding hands. The paper is visible but already read. They are looking into each other’s eyes. A nurse comes over. Nurse Did you want something Mr Brown? MR BROWN (Looking up, croaking) We need to write a letter. Scene 5: - INT AN OFFICE IN THE CITY DAY Sarah Baker a secretary An efficient looking Secretary, SARAH BAKER, is scanning the papers. She resembles one of the more intelligent looking news readers - glamorous but in a disciplined way. Her companion, another secretary, is filing her nails. Companion (While filing her nails) Looking for another job again Sarah? BAKER (Still reading) Yes, I’m not getting anywhere working for this idiot. (She clearly spots the FK letter, frowns and concentrates.) Hello, what’s this? Her companion, drawn by the tone of her voice, comes over for a look. She reads over BAKER’s shoulder. Companion You’re mad; absolutely mad. Scene 6: - EXT AN IDEAL HOMES TYPE SUBURBAN GARDEN DAY A thirty-something couple, JULIAN and JENNIFER, are drinking coffee and reading the papers. JULIAN (Without looking up) Hello love, have you seen this? Scene 7: - INT THE HALL FK’S HOUSE DAY SEVERAL DAYS LATER FK is wheeling down the hall towards the front door. A maid is picking a substantial load of post up off the floor. She looks up to see FK and moves towards him with the post. There is a clatter behind her, startling her, as another load of letters drops through the box. As she turns to pick these up as well, FK’s son LEWIS wanders in through the front door. Lewis Kennedy FK’s son LEWIS (Looking curious) Hello Pater. What’s all this? Running a mail order racket? His curiosity is deeper than his jocularity implies. Scene 8: - INT FK’S BEDROOM AGAIN EVENING FK is sweating over a response, almost like a school boy, chewing his tongue in concentration. The response, in voice over, goes like this: Thank you for your letter. The plan is to set about arranging to embark upon a ship. Unfortunately, there is not a ship available at the moment, but developments are in hand. What I am proposing to do is to call a meeting of those interested in order to discuss some of the detail. In the mean time, I would be grateful if you could reply with some answers to the following questions: biographical details reasons for interest RAB comes in and Announces. RAB Mr Portman Cody, sir. A smart looking dude, FK’s lawyer, comes in. Scene 9: - EXT A MEETING HALL FRONT ENTRANCE DAY CAMERA TRACKS ALONG A CUE OF PEOPLE LINING UP TO GET IN. ZOOMS BACK AT ENTRANCE TO GIVE WIDE ANGLE. Scene 10: - INT THE MEETING HALL The meeting hall is large enough to hold 6 or 7 hundred people. Rows of seating are set out. There is a stage at one end. People are wandering in, wondering, looking about. We recognise one or two of the readers of the advert. Scene 11: CLOSE IN ON TWO TEENAGE GIRLS LOOKING VERY EXCITED AND ANIMATED Girl One (Pointing) Isn’t that Roger Spellbound? Girl Two (Ecstatic) Oh my god, it is... CAMERA MOVES AWAY FROM THEM AND FOLLOWS THE DIRECTION OF THE POINTING FINGER. We see a faded pop star, in dark glasses, already sitting, reading something, in the as yet empty back rows. He looks like a wan Adam Faith. Not so much designer stubble as just plain unshaven. A big, sturdy looking bloke, probably his minder, is sitting a few seats away in the row behind. People are milling about finding seats. Snatches of conversation are heard. MR BROWN (Tucking a blanket round MRS BROWN’s knees) Are you comfortable my love. MRS BROWN (Smiling) Yes thank you dear. JIMMY, BOBBY, and WENDY are having a little laugh. Shirl and DOROTHY are directing their children. DOROTHY Along here Shirl, this should do... Be quiet you two. JULIAN and JENNIFER have a child in a carry cot. JULIAN (Gesturing) Here darling? Portman Cody FK’s lawyer In the distance, PORTMAN CODY walks on to the stage and moves towards a lectern in the middle. As people notice him, a hush begins to settle. CODY begins his address. CODY I am here representing an anonymous client of some wealth. You have all read his advertisement and you have all received a letter from him. This client wishes to do some good for the world before he dies. His plan is simple enough, although perhaps more difficult in its execution. (He pauses) The plan is to purchase a sea-going ship, (A murmur grows from the crowd) to convert it according to specified needs, and to establish a viable, self-sustaining community - free, while in international waters, to establish its own constitution and legal system. (Another murmur) It is expected that the legal and social framework would evolve along the lines of environmental concern but only if the participants so decided. The project is to be for an initial period of five years, subject to review. The ship itself is now purchased, lying in harbour at a place to be disclosed at a later stage, and can be viewed by appointment. All applicants will be considered upon agreement to submit 10% of one year’s earnings as a shareholding in the venture CAMERA CUTS TO CHARACTERS EXCHANGING LOOKS and will be selected on the basis of specialisms and commitment to planetary betterment. (He winds up his talk) Are there any questions? There is silence at first, then more murmurings. JULIAN finally puts up his hand. JULIAN When is it all supposed to start? CODY As I’ve said, the ship has been provisionally selected and we are in the process of securing a ship’s captain, an engineer, and a skeleton crew. We would anticipate a launch within six months. JIMMY and BOBBY are getting excited. JIMMY Where will the ship be going? CODY That will be for the people on board to determine. DOROTHY (Getting to her feet) Will children be allowed? CODY Yes. DOROTHY (Persisting) Even if the father isn’t coming? CODY Yes. JENNIFER Will there be a crèche? CODY That will be for the people on board to determine. Roger Spellbound a faded pop star SPELLBOUND puts his hand up. SPELLBOUND (Laconically, almost cynically) Who will actually be running the ship, looking after the engines, doing the navigating and all the practical things? CODY The ship’s Captain and the crew will be fully paid employees of the Trust Fund. They will carry out all the technical work, but under the overall direction of the people on board. It is expected, though not required, that the people on board will elect a management committee which will represent their views and instruct the Captain and crew accordingly. MR BROWN (Piping up) Is there an age limit? CODY has to stoop to hear, but then stands and replies. CODY There are no age restrictions on applications for membership. Sarah BAKER, the efficient secretary speaks up. BAKER Who is doing the selecting and what are the criteria? CODY My client, the anonymous donor of the funds for this venture, will largely be responsible for the selections. He tells me he hopes to do so on the basis of a rough approximation of the age, gender, and ethnic ratios of the UK today. Within this framework, he hopes to select on the basis of likely usefulness to the floating community. He hopes to include a good spread of skills and abilities. (He pauses; there are no further questions) Coffee and refreshments are being served at the back. Please feel free to linger to discuss and ask questions informally. People begin to stand, talk among themselves, and move towards the coffee. CODY speaks up above the movement. CODY (Looking out over the gathering) If Ms Sarah BAKER is present, could she please come up and have a word with me. A look of surprise passes over BAKER’s face as she hears this. She moves against the flow towards the front of the hall. CAMERA DRAWS BACK AS we fade out listening to a collage of snatches of conversation as characters consider implications of what they’ve heard. Scene 12: - EXT SPEEDING TRAIN IN DISTANCE LATE AFTERNOON Sarah BAKER the Secretary and lawyer CODY are in a speeding train. We don’t hear them, but we see them through the window, talking, as the train speeds through the country side. Scene 13: - EXT TRAIN STATION EARLY MORNING BRIGHT SUN The train arrives at a shipyard town. The station is within walking distance of the gates to the yard. As they approach the gates, the CAMERA LIFTS TO A VIEW OVER THE GATES. We get our first dramatic view of the ship. We see BAKER and CODY as small figures walking across the yard. As we study the grand view of the ship, we see them disappear into a small office. Scene 14: - INT THE SMALL SITE OFFICE Inside the small office CODY introduces BAKER to a Ship’s Captain and a ship’s engineer. CODY Gentlemen, this is Ms Sarah BAKER whom we have just asked to leave her current employment to take up the office of Chief Executive of this Project. Ms BAKER, this is Captain Smollett and Engineer Purdey. Captain Smollett a ship’s captain Mr Purdey his chief engineer SMOLLETT (Rather sourly) Pleased to meet you Miss. PURDEY (Shaking hands; ingratiatingly) So you’ll be our new boss then? BAKER No no no, I haven’t even really decided to go on the trip yet. It’s all a bit sudden for me. Scene 15: - EXT THE YARD OUTSIDE THE OFFICE The four emerge and begin to walk across the yard toward the ship. The Engineer, Mr PURDEY, walks ahead with BAKER, enthusiastically telling her about technical aspects of the ship. PURDEY (Gesturing enthusiastically) The engines are newer than the ship itself. The ship was designed for oil fired steam turbines, but these were replaced four years ago by straight diesel rigs the size of small houses. They are smoother than railway engines. You can get a cruising speed of 20 knots easy. The Captain, Mr SMOLLETT, and CODY drop behind. SMOLLETT (In barely suppressed anger) I was never told there was to be a woman placed in over all charge. CODY (Calmly) We didn’t know ourselves until we looked through the responses. She is extremely well qualified. SMOLLETT I don’t give a stuff about qualifications. I was led to believe I was to be captain of a ship, not an assistant to a glorified secretary. CODY Mr SMOLLETT you will be captain of a ship. The only difference is that the executors of the ship’s owners will be on board with you. Their representative is, for the moment, Ms BAKER. Scene 16: - INT FKH BOARD ROOM LEWIS and 9 or 10 directors are seated around the Board Room table. LEWIS It is an unpleasant task for me to have to inform you of certain activities undertaken by my father recently. It is doubly unpleasant because I have not been able to learn what I have learned simply by asking my father - as I would have wished. All this aside, I think it is important that you, as board members, understand that substantial funds are being diverted from my father’s personal funds into an enterprise that can only be described as ‘potty’. (The Directors exchange alarmed glances) You all know my father. You all respect him as much as I do, but there comes a point in some people’s lives when they can no longer be trusted with their own fate. I think that point has come in the life of my father. Board Member A Have you any idea as to the size of these diverted funds? LEWIS We are speaking in the order of 5 and a half million pounds. A slight collective gasp from the board. Board Member B But this is his own money? LEWIS Yes, but you know as well as I that his money is very closely tied up with the creditworthiness and general well being of the company. Board Member C There can be little doubt as to our concern at the diversion of important funds at a time when interest rates are so variable and the economy generally is in a very unenviable condition. Board Member A I wonder whether we hadn’t better ask LEWIS to look more closely into this project of FK’s and to discover, assuming the old man is acting irresponsibly, whether it is possible to frustrate the project and prevent it from getting off the ground. Certainly we must guard against opportunists and scroungers gathering around the old man in his dying days. Murmurs of approval all round. LEWIS looks pleased with himself. Scene 17: - INT FK’S BEDROOM FK is watching TV coverage of people trying to see the ship as it sits in port. Although word of the scheme has leaked out, no one knows who is behind it. It is clear from the program that no one is allowed to view unless they are under consideration for membership. Scene 18: - INT FKH BOARD ROOM CODY enters the board room. He has been summoned by LEWIS. LEWIS is standing looking out the window. No one else is in the room. CODY You wished to speak with me Lewis? LEWIS (Turning from the window) I’m rather afraid that you have upset the board by not keeping them informed of developments. CODY (Unconcerned, taking a seat) I have to consider my professional relationship with my client. I am not aware of owing the Board any explanations. LEWIS comes round and stands very menacingly in front of him; brings his face close and stares him in the eye. LEWIS (Slowly, deliberately) You can consider what you like CODY, but your firm is not going to enjoy losing their brief with FK Holdings when FK dies - which will be soon I can tell you. You might then consider what it will be like ending up on the street. I will see to it, personally, that you don’t work for any firms that matter - ever again. CODY’s normal reserve is visibly shaken. LEWIS Perhaps you had better begin to tell me some of the facts and figures. Sound fades as... CODY, hesitant, undecided, ashamed, head down, begins to explain some of the detail, to reveal some of the facts and figures. CAMERA DRAWS AWAY OUT THROUGH THE OFFICE WINDOW as Scene 19: - EXT INSIDE FRONT GATES AT SHIPYARD DAY CAMERA WATCHES GATES. THEY SUDDENLY CRASH OPEN AS A LINE OF LORRIES WHEEL THROUGH. CAMERA TRACKS BACK FAST, PANS TO FOLLOW TRUCKS PASSING, LIFTS UP AND LOOKS OVER THE TOPS OF THE HUSTLING TRUCKS AT THE SHIP TOWARDS WHICH THEY ARE HEADING. Scene 20: - as above. CAMERA PICKS UP HUSTLE AT SHIPSIDE AS BAKER DIRECTS UNLOADING AND DESPATCHING. She refers regularly to a clip board and a portable computer. A series of men approach for instructions and she directs them off in different directions. Scene 21: - EXT ON SHIP SAME TIME CAMERA OBSERVES SAME BUSTLE FROM ABOVE, OVER SMOLLETT’S SHOULDER. CAMERA SWINGS ROUND TO OBSERVE DISDAINFUL EXPRESSION ON HIS FACE AS HE WATCHES. Sarah BAKER is clearly central to the preparations and we see, from looks, that the Captain is becoming increasingly niggled. BAKER is not yet aware of this - too busy. Scene 22: - INT A PUB EVENING LEWIS is sitting at the bar. Someone moves in front of camera with back turned to us. LEWIS looks up. LEWIS Ah, Captain SMOLLETT, very glad you could find the time. CAMERA SWINGS AROUND as SMOLLETT pulls up a stool and sits. SMOLLETT (Irritably) Find the bloody time... I’ll give you find the bloody time... LEWIS (Teasingly condescendingly) Dear oh dear... Not happy I take it. SMOLLETT If I’d known your lot were putting a women in charge of this bloody show I would never have touched it with a bloody barge pole. LEWIS Goodness me, you are upset. SMOLLETT Get to the bloody point will you. What have you brought me over here for. LEWIS (Chooses his words carefully; speaks slowly, deliberately) Well, first of all, show a bit of respect. (Pauses, staring Smollett straight in the eye) Although I have not been involved with and have as yet no direct control over this operation, I can certainly make life unpleasant for people who don’t show me respect. He pauses again. He stares SMOLLETT down. Secondly, I share your views as to this fiasco taking shape. And I want to do something about it. (Smollett is subdued, but listening, respectfully) I need to know exactly what’s happening at all times, and I need to be told of any opportunity ......for ‘accidents’. (SMOLLETT looks up at LEWIS. LEWIS is nodding slowly) Yes, you see... A bit of civility and some co-operation from you, and I can assure you of the captaincy of a bona fide working ship with no women or crack pot schemes, plus a bonus or two. How does that sound to you so far? SMOLLETT (Grudgingly) Huh.... Sounds good enough. How do I know you’re to be trusted? LEWIS (Again, slowly, fixing SMOLLETT with his eyes) Because I say so... Close with shot of SMOLLETT’s face. He is learning respect. Scene 23: - EXT DOCKSIDE DAY In the course of hoisting provisions on board, some cables give way and a large consignment of goods crash to the ground - killing one man and injuring two others. Much shouting: Call an ambulance/get the Captain/ tell BAKER... BAKER arrives at the from the site office. We see her distraught expressions. We see that she is beginning to experience some profound doubts and anxieties. Scene 24: - INT THE MEETING HALL AGAIN EVENING There are fewer people. This is the selected 200. CODY and BAKER are seated at the platform on stage. All the minor characters we’ve been introduced to are there. CODY Thank you for coming again ladies and gentlemen. I would like to introduce you to Miss Sarah BAKER who has taken on the job of administrating this programme. He sits and BAKER gets up. BAKER (Nervously) Well, those of you here present are the ones selected for the scheme. All have now paid their 10% subscription. (Pauses) Unfortunately, there has been a series of setbacks in the preparation of the ship. Indefinite delays are the direct consequence, (Waves of disturbance pass through the listeners) but there is no reason why, as a group, we cannot start planning. Roger SPELLBOUND, the fading/cynical pop star, gets up. SPELLBOUND All well and good, you have our money and their are indefinite and inexplicable delays. (Murmurs of agreement) There are some very strange stories circulating in the press. I’m beginning to wonder if we’re being had. Sounds of concurrence from the others. It becomes very difficult for BAKER to manage the meeting - CODY effectively leaving her in it. He appears preoccupied with other things BAKER (Hesitantly) First of all, you should know better than to believe everything you read in the press. (A single derisory laugh is heard) There have been one or two accidents and we are experiencing some administrative problems, but these will be resolved. If people are worried, we can arrange refunds. There are many others still on the waiting lists. (Some looks are exchanged among the listeners) I hope people won’t wish to leave; having come this far. I can only say that it is an unusual situation for all of us, and we are all learning a bit as we go along. Sound fade as the meeting concludes inconclusively. Many people are still having doubts. There is milling around and chat over coffee. We fade in to pick up snatches of chat. JENNIFER (to Shirl and DOROTHY): I really don’t know if I should involve the child in all this. It seems so uncertain. DOROTHY Never you mind love. Uncertain isn’t a problem. You want to see what me and Shirl are leaving behind if you think uncertain is a problem. BOBBY (to WENDY and JIMMY) This is getting to be a bit of a yawn. WENDY Oh yah.... JIMMY Wants some organisation, some management consultancy. Maybe we should suggest a working breakfast. BAKER and SPELLBOUND get together for a talk. She is trying to explain the difficulties without actually spelling out that there has been a death and that there appears to have been sabotage. BAKER We are really suffering from an extraordinary run of bad luck. Not the sort of bad luck I would have expected when I took on the job. SPELLBOUND (Quietly angry) Maybe you shouldn’t have taken on the job. Maybe it’s beyond your capabilities. BAKER I honestly don’t think so. It’s simply that there is something else at stake here which I haven’t quite understood. SPELLBOUND Are you sure you haven’t got in over your head? From what I know of your past experience, I think this is more like a case of more-than-you-bargained-for. BAKER I can see that you’re angry Mr SPELLBOUND, and I can see that you think I am incompetent, but you will just have to take my word for it that I know what I am doing and that there are elements to the problem that even as sensible person as yourself might not immediately be able to understand. SPELLBOUND begins to get the message between the lines and we see a look exchanged between him and his minder. Scene 25: - INT FK’S BEDROOM EVENING FK is in bed watching TV. CODY is there with a briefcase full of documents spread out on a table nearby. There is news coverage of the string of disasters which have befallen the mystery ship. CODY Well sir, they’re starting up the refitted engines tomorrow. If all goes well, the ship could be away in a week or two. RAB comes in and announces. RAB Mr LEWIS, sir. FK waves acknowledgement and LEWIS is shown in. LEWIS (Airily) Hello Pater, did you know it was Father’s Day? FK Don’t play games with me. LEWIS Father, you know I would never play games with you. LEWIS glances at a slightly discomfited CODY and then notes the TV news story. LEWIS I wonder what that’s all about? FK looks at him anew, a paranoid realisation beginning to form in his mind. Scene 26: - EXT DOCKSIDE NIGHT Full view of the ship lying quietly. A few flood lights illuminate parts of her and the dock side. CAMERA TRACKS TOWARD THE SHIP. We think we see movement in the shadows. SMOLLETT and PURDEY are working with a couple of men on the quay next the ship. They are loading some sacks onto a hoist, surreptitiously. It is hoisted up and on board. CUT TO A LONG SHOT showing SPELLBOUND and his minder watching from the shadows. SMOLLETT and co. climb up the gangway, following the load. As they disappear on to the ship, SPELLBOUND and minder nip across the yard and follow up the gangway. Scene 27: - EXT SHIPBOARD NIGHT SPELLBOUND and minder are pressed against the bulkheads. They observe SMOLLETT and party unloading the sacks and disappearing down a stairwell. When the last man has gone down, they follow. Scene 28: - INT SHIP NIGHT CAMERA FOLLOWS SPELLBOUND AND MINDER DOWN STEPS. Ahead are sounds of SMOLLETT and his associates clanking down the steps. It gets lighter as they descend further. They emerge onto a steel walkway at the top of the engine room. Scene 29: - INT ENGINE ROOM NIGHT CAMERA LOOKS DOWN UPON SMOLLETT AND CO FROM STEEL WALKWAY. The men are dropping the sacks to the floor and opening them. One of the Men (Joking) So where does the oil go then. (One or two of the other men snicker) SMOLLETT (Hissing) Shut up you fucking bastards... The men start to shovel the contents of the bags into an opening on the engine. CAMERA SLOWLY ZOOMS IN ON CONTENTS OF SACK. Scene 30: - INT ENGINE ROOM NIGHT CLOSE-UP OF SPELLBOUND AND MINDER AS THEY TURN TO EACH OTHER. Minder (Whispering) Steel filings... They edge their way back out of the engine room. Scene 31: - INT SITE OFFICE NEXT MORNING SPELLBOUND and minder are briefing BAKER and CODY about the activities of the night before. BAKER (Incredulous) But are you absolutely sure? SPELLBOUND and minder are both nodding grimly. CODY begins to look extremely agitated. BAKER gets on the phone and calls off the engine trials. CODY Why would SMOLLETT want to do such a thing? SPELLBOUND Who knows. BAKER (off the phone) Well what do we do next? SPELLBOUND You could sack him. CODY I don’t think that would be very wise. Awfully messy. Bad publicity. BAKER I wonder if we could catch him red-handed and offer him the choice of a quiet resignation letter or a full blown prosecution. He might prefer just to leave. SPELLBOUND That sounds good. Me and Bert could probably sort that out, couldn’t we Bert? BERT (the minder) No problem. Just listen out for the next plot. SPELLBOUND and Bert discuss courses of action and a trap as they get up to leave the office. BAKER (to CODY) Could you please report to our anonymous backer right away? CODY Of course. She goes out and CODY picks up the phone and dials. Scene 32: - INT LEWIS’s CAR DAY His car phone rings. He picks up and listens. CODY They’ve stopped the engine trials. You had better be careful, they’re planning a trap. Scene 33: - INT FK’s BEDROOM DAY He’s on the phone receiving CODY’s second call. He hangs up and thinks. He then rings his office. FK Miss Smith, I’m calling a Board Meeting. Right now. Tell the others to be there tomorrow morning. No excuses. Scene 34: - INT SAME PUB EVENING LEWIS and SMOLLETT are in the pub again. LEWIS I don’t know how they found out, but they did. You had better improve your performance. SMOLLETT But how did you find out that they found out? LEWIS (Coldly) Need-to-know basis, SMOLLETT. You don’t. Just do your job properly and don’t ask impertinent questions. SMOLLETT Well how’m I going to find out about this trap and then what am I supposed to do? LEWIS Simple. You do your work more discreetly. No more clanking about on the quayside in full view of any passers by. Use your intelligence, such as it may be. Don’t involve anybody more than you absolutely have to. I shall keep discovering what I can and will pass any relevant information on to you. Sound fades as they get up to leave the pub. As they leave, we see SPELLBOUND’s minder, BERT, sitting nearby with a newspaper. Scene 35: - INT THE BOARDROOM MORNING FK is sitting at the head of the Boardroom table. All Directors, including LEWIS, are present. So is CODY. FK I suspect there may be some concern among Directors for projects I am undertaking personally. He pauses and looks carefully around the table. They jump visibly as he THUNDERS: Well it’s none of your damn business. (He staggers around the table looking each one in the eye harshly.) For 45 years I’ve run this company, and you’ve all sat on my coat tails. (He pauses) If I ever discover that any of you present are taking an undue interest in my personal affairs, you can be damn sure... (He coughs heavily) ...you’ll be kissing your free ride with FKH goodbye. (Coughing) You bunch of idle scrounging bastards had better consider your futures carefully. You.... Uh... He staggers back to his chair. He appears to suffer a stroke. The nurse is hurriedly sent for. As she administers to him there is movement and milling about in the room. Through half closed eyes, FK sees LEWIS cornering a sheepish and reluctant CODY and engaging him in intense conversation. FK passes out. Scene 36: - INT SHIPYARD OFFICE DAY BAKER, SPELLBOUND and BERT the minder are conversing. BERT I tailed SMOLLETT and overheard his chat with some city dude I never seen before. The dude was telling SMOLLETT that there was a plan to trap him in his sabo work. When they left the pub, I followed this city geezer and found out who he is. He is LEWIS Kennedy - of Forbes Kennedy Holdings. BAKER Why on earth is LEWIS Kennedy involved? And how on earth could he have known about the trap? SPELLBOUND is thinking. SPELLBOUND (Reflectively, gazing into near distance) It’s very simple. Who besides we three knew about the trap plan? (He turns to the others) Who besides we three was present when it was discussed? There is a pause as they all realise. BAKER (Aghast) CODY... Scene 37: - INT HOSPITAL DAY FK is wheeled into an operating room. LEWIS is there with one or two Board Members. The Board members are a bit intimidated by FK’s outburst of anger before he collapsed. LEWIS herds them into a corner. LEWIS If you can keep your nerve, gentlemen, there is no problem. We simply go for power of attorney, take direct control of the running of the corporation and of the estate, and get FK committed to a mental home if he ever gets out of the hospital. The Board members look uncertain. LEWIS If you don’t go with this scenario, you had better recognise that a fully recovered FK will begin a witch hunt the like of which you will never have witnessed. The uncertainty gives way. Fearfully, reluctantly, they agree. Scene 38: - EXT SHIPYARD OFFICE EVENING SPELLBOUND, BAKER, and BERT are leaving the office. They are tired, drained by the strange turn of events. BERT gets into the driver’s seat of SPELLBOUND’s limo. SPELLBOUND pauses beside the back door of the limo. He turns to BAKER who is about to set off on foot. SPELLBOUND Fancy a lift? BAKER No, really, thanks.. It’s only walking distance. SPELLBOUND reflects a second. SPELLBOUND Hey, I’ll walk with you. (He’s asking; waits for an invitation) BAKER (After a moment’s thought) Sure, why not. SPELLBOUND bends down to signal to BERT that he’s walking. SPELLBOUND (to BERT) Meet you back at the hotel. He and BAKER turn and begin to walk out of the yard. BAKER So what got you interested in this fanciful scheme? SPELLBOUND I suppose the same thing as you. The feeling that there must be something more or better that one can do with one’s life. BAKER But you’ve already done so much; accomplished so much. Everybody has heard you, or heard of you. SPELLBOUND (Looking quizzically at her) You must know that that is a peculiar way of rating a person’s life - that everybody has heard of you. You must know that’s actually meaningless. I mean, everybody’s heard of McDonalds. BAKER Hmmmm.... SPELLBOUND So what got you interested? BAKER I simply got irritated with working for irritating little pricks. She pauses, a little surprised at herself. Looks at SPELLBOUND, who’s still listening. I’m not really a proper feminist, it’s just that I began to notice that I could only get so far, and then there would be some insecure man a step above me who had reached his level of incompetence and who would be spending much of his time and energy blocking me. (Pauses again) That must sound very self-centred. SPELLBOUND Nope. Not at all. In actual fact, you’ve got a case in point again, here, on this project. BAKER (Puzzled) What do you mean? Who are you talking about? SPELLBOUND (Looking up at her again) Smollett.... They stop. They are looking directly at each other. BAKER Why on earth should Smollett feel threatened? I know nothing about running a ship. I have no wish to become a ship’s Captain. SPELLBOUND I think it’s like you say. He’s insecure and perhaps he’s reached his level of incompetency. They are looking at each other intently, but BAKER suddenly smiles. BAKER You’re right. You’d think I’d be able to spot it by now. I just get so caught up in the work. (After a pause) Anyway, how are we going to catch him out. SOUND FADES AS they begin to hatch another plan to trap Smollett, Purdey, and Cody. Scene 39: INT LEWIS’ CAR/INT CODY’S FLAT DAY Lewis is chatting on his car phone. CUT TO Cody on the other end; looking distinctly ill at ease. He is clearly having serious bouts with his conscience. LEWIS I want you to meet with Smollett to arrange the next attempt at ‘accidental’ damage. CODY (Bitterly, resignedly) I think you are just intent on implicating me as deeply as possible, as soon as possible, to pre-empt any wavering. LEWIS Well what you think is neither here nor there. Do as your told and all will be well. LEWIS hangs up and dials again. This time a secretary at FKH. LEWIS Miss Armstrong? It’s Lewis Forbes here. I am calling a board meeting. Could you please ring round the Directors to inform them. (He listens) Yes, it’s urgent. Set it for this afternoon. No excuses from anybody. Scene 40: INT HOSPITAL DAY A quick look into the hospital where we see FK on life support and looking very vulnerable. Scene 41: 40 INT A PUB DAY CODY is meeting, with visible reluctance, SMOLLETT at the pub. SMOLLETT I have this scheme where we get some salmonella infected food on board. We feed it to feed to the crew and the shore hands. An outbreak of food poisoning would bring the Health Inspectorate down like a ton of bricks and delay the program for months. He is enjoying himself. He adds, noting CODY’s squeamishness, with some relish: A death or two would work wonders. CODY is nodding unenthusiastically. Scene 42: 41 INT FKH BOARDROOM LATE AFTERNOON LEWIS is in full flight addressing the Board. LEWIS I’ve outlined details of my father’s mad scheme. I must now insist that the Board supports my bid for power of Attorney over the estate and the company. There is silence for a moment. Board Member A Are you sure this is called for? LEWIS If nothing else, there are the dangers in the loss of confidence from shareholders if the story ever gets out. Let me also stress that Portman Cody, a man you all respect, is 100% behind the idea. The Board is finally bamboozled into nodding its agreement. Scene 43: INT BAKER’S OFFICE DAY The phone rings. A faint and gravelly voice is heard over the phone. BAKER cannot make out the message nor identify the caller. She looks as though she is about to hang up but, at the last moment, she makes out the name FORBES KENNEDY. She hangs on, listening, riveted. Scene 44: INT HOSPITAL DAY CUT TO FK in bed, looking frail but determined. He is on the phone. He is alone except for a distraught looking nurse out of earshot by the door. FK (To BAKER over the phone) You must watch out for my son Lewis and for Mr Portman Cody. I don’t know who to trust anymore. (He pauses, wheezing, for breath) I am afraid I am going to lose this last major battle of my life. All I can do is warn you against subterfuge. (He pauses again, swallowing) I will try to get back to you if I can. His hand drops. We can hear BAKER saying Hello, hello.. over the phone. The nurse rushes over, puts the phone back on the hook, and tends to FK who has passed out. Scene 45: INT BAKER’S OFFICE SAME TIME CUT BACK TO Baker. She is holding the phone, looking completely non-plussed. She is obviously feeling that all this was not what she had bargained for in taking the job on. As she contemplates, a shore hand comes in. Shore Hand (Urgently) Miss Baker, one of the crew seems very sick. We think he’ll need an ambulance quite sharpish. BAKER gets back on the phone hurriedly. Scene 46: EXT SHIPYARD SAME TIME Out in the ship yard there is growing concern as men gather about their stricken colleague. PURDEY is among them too, looking equally concerned. He looks up to the ship’s bridge and sees SMOLLETT looking impassive. BAKER comes running up, looking concerned, and, not far behind, we hear an ambulance wail. Scene 47: INT PUB AFTERNOON SMOLLETT is meeting with CODY again. CODY (Rattled) This has gone too far. Food poisoning isn’t a joke. The man is dying. He suddenly freezes. Over SMOLLETT’s shoulder he has suddenly seen Spellbound’s minder (BERT). The two of them stare at each other across the smoke filled, crowded room. CODY is transfixed. SMOLLETT hasn’t noticed. He’s still quite pleased with himself. CODY breaks the stare and looks down at the bar. A decision of some kind is going to have to be made. He has to sell one side out to the other or be caught badly in the crossfire, but which side to which? He looks up again. BERT has disappeared. Scene 48: INT BOARDROOM LATE AFTERNOON LEWIS is holding a press conference at which he is announcing his father’s temporary retirement. Members of the Press and Board Members are there, eating and drinking from a lavish buffet. LEWIS (Loudly) Gentlemen, and Ladies.... May I have your attention please. (People begin to pay attention) This is a very sad occasion for all of us at FK Holdings but my father, Mr Forbes Kennedy, has serious mental problems to sort out. Some murmuring; he has their full attention now) As an example, I refer you to the abortive project at Such and Such harbour as one of my Father’s less responsible schemes. The outbreak of salmonella and the long list of accidents at the site are indications of very poor management. (He pauses; there is complete silence) I am very sorry to have to say that my father was clearly losing his grip. A Reporter (Calling out) Is it true that Mr Portman Cody has disappeared? LEWIS (Irritably) Of course not. but a look of discomfort passes over his features. Scene 49: INT SPELLBOUND’S CAR EVENING SPELLBOUND and BERT are sitting in a darkened car. They are clearly observing an entrance way to an impressive looking building. SPELLBOUND Nice place.... BERT Cody’s a lawyer... SPELLBOUND Quite... And if he doesn’t turn up soon, things are going to get very uncomfortable. CAMERA TRACKS BACK AND PANS TO LOOK BEHIND THEM where there is yet another car, with a single mysterious figure watching both them and the entrance. Scene 50: INT LEWIS’S CAR/SHIP’S BRIDGE EVENING Lewis is on his car phone again - to Smollett this time. LEWIS Where the hell is Cody? SMOLLETT (On Baker’s phone, from the Ship’s Bridge) I think Cody AND Purdey are getting cold feet. Just because a couple of people died of food poisoning. I mean, it happens all the bloody time, doesn’t it. LEWIS Listen Smollett, and listen carefully. I am sending a couple of heavies round to you - right now. I want the site office wrecked. Completely. Files and everything. Scene 51: INT BAKER’S OFFICE/A CALL BOX NIGHT BAKER is in her office, talking to SPELLBOUND on the phone. SPELLBOUND (From a call box) We still haven’t found the geezer. BAKER But we have to find him. Cody is absolutely instrumental if we’re going to bring charges against Smollett. And also if we’re going to thwart Lewis from ousting FK. Suddenly the lights go out. BAKER hears some noises. Her fright is apparent to SPELLBOUND just before the line goes dead. Scene 52: INT THE CALL BOX SAME TIME SPELLBOUND is in the call box as the line goes dead. He thinks a minute; then dashes out to the car and yells at BERT to head for the ship yard. They screech off. Scene 53: EXT THE SHIPYARD NIGHT SPELLBOUND’s car lurches into the yard. The office is actually ablaze. BAKER is on the ground outside; firemen attending. SPELLBOUND leaps to her side. SPELLBOUND (Urgently) Are you alright? BAKER is badly beaten but still alive. She mumbles incoherently in SPELLBOUND’S arms. Scene 54: int Fk’s room at the hospital FK in hospital. He is weak, but speaking to someone on the phone. FK You found out where Cody is? (Listens...) Well keep an eye on him, and don't let my son or any of the directors find out. Get close to him if you can. Find out what he's planning to do. Scene 55: ext in ship yard, next to smouldering office Baker, Spellbound and minder are sitting recovering in the yard. The ruins of the site office are smouldering in the background. The firemen are putting their gear away. BAKER We've got to get a court action going. We have such a flimsy case, but we have to get an injunction preventing Smollett from coming into the yard or on to the ship. SPELLBOUND And Purdey ?? Baker is thinking. I'm not so sure about him. He may be a weak link in the chain. We may be able to get him to crack. Scene 56: ext Outside the building which Spell and minder were watching The other observer is again in a car. In the distance we see Cody get cautiously out of a cab. He looks about thoroughly before paying the cab off and proceeds not into the main entrance way, but into a dark alley way down the side. We see the observer get out and move along to the alley way. We see over the shoulder as he gets nearer to Cody who is working a key into a door lock. The figure gets closer and closer. Cody turns suddenly, badly startled. He looks aghast into the darkness..... and then suddenly, relaxes. CODY Hello Rab RAB Good evening sir. I was wondering if I could have a word with you. Scene 57: ext Outside the yard gates There is some considerable confusion. Police are present, barring entry to various people. The press are there, firing questions at Baker on one side and Smollett on the other. press 1 Ms Baker, Ms Baker... Is it true you’ve been fired? Baker Of course not. press 2 Why won’t they let you in anymore? Baker It is actually the case that lawyers, on behalf of the Ship Trust, have won an injunction barring Captain Smollett and all the previous crew members from the yard and the ship. Smollett and I’m telling you that it’s you lot aren’t allowed in. Press 1 How can that be true. Lawyer 2 Captain Smollett is quite right. Forbes Kennedy Holdings, under the chairmanship of Mr Lewis Kennedy, has won injunctions preventing members of the Ship Trust from entering this yard. Fade out as all are threatening further writs and court actions. Scene 58: int A court room Lewis is present with a battery of lawyers. Behind him Smollett can be seen among the on-lookers. Baker enters with a single lawyer. Spellbound is behind among the on-lookers. Clerk As judge enters. All rise.... Everybody sits down as the Judge does. Shuffle and bustle, then quiet as the proceedings get underway. lawyer 1 My Lord, I would like to make the case for preventing members of the peculiarly named “Ship Trust” from entering the harbourside at XXXX. It seems clear that mismanagement has been rife and I, on behalf of Forbes Kennedy Holdings, would like to express concern for the funds of misguided individuals who have been taken advantage of by this, this cult.... baker’s lawyer Objection... judge Sustained. Please stick to the facts Mr, uh, Cartruck. lawyer 1 (mr cartruck) Of course, your honour. I was simply trying to make the point..... Fade out as time passes to the point at which the Judge is summing up. judge As is so often the case these days, I can see no clear right and wrong at this stage of the hearing. I am therefore ordering that both sides continue to be injuncted from entering the shipyard until such time as the matter of control of Forbes Kennedy Holdings is determined. A hub bub arises from the court room. Baker is clearly depressed by the decision, whilst Smollett seems awfully pleased - smug even. Scene 59: int lewis’ lawyers’ offices Lewis is meeting with his lawyers. They are discussing the case for seizing power from FK. lewis Let me make it simple for you. I just want to know if I can take control. And if so, what is the quickest, unfussiest way of doing it. Mr cartruck It is absolutely essential that we get in touch with Portman Cody on this. He is the man who knows the finer points of control in this matter. Lewis Cody has disappeared. No one knows where he is. I say go ahead without him and I have the backing of the board." Scene 60: int a restaurant Baker and Spellbound are discussing the hopelessness of carrying on. There has been no further word from FK. baker And they won't even let us into the hospital. spellbound Cody has been lost sight of. He is clearly not using any of his known haunts anymore. baker I just wonder if it’s all worth it. I’m thinking of abandoning the project. spellbound Well, we may as well go to court tomorrow to watch the outcome of Lewis Kennedy’s battle for control of the company. Scene 61: int the courtroom again Lewis and his lawyers again. cartruck To Lewis We are not even certain, even at this late stage, who is representing the interests of old FK. We may win the case without a contest. In the background we see the lower half of a man just entering the courtroom. We see heads turning in some surprise. Lewis is still leaning over speaking to his lawyers as the figure stops behind him. His lawyers look up, surprised, and Lewis turns. We see the surprise on his face before the camera pans up to show us Cody looking down confidently at Lewis. Scene 62: int Still the courtroom The case has been underway for some time. A succession of members of the Board have been up to testify to FK's diminishing grip - regularly citing the ship "fiasco". Cody has been cross examining but without much luck. The judge (Addressing Cody.) Have you any witnesses? Cody Yes your honour, I call Mr Forbes Kennedy. Gasps all round as the camera swings round to see FK, supported by Rab, coming through the door. FK makes his own way to the witness stand. Scene 63: int still the courtroom *** and, under questioning from Cody, explains clearly and coherently what the company is doing and what it needs to do to survive. *** Under cross examination he answers more questions clearly and competently. Lewis' lawyers then bring up their most powerful criticism - the ship "fiasco". FK gives a stunningly brilliant synopsis of his reasons for funding the project and how the funding is, in fact, completely separate from company accounts anyway. Lewis and his men are devastated. The judge rules in favour of FK, and there is much jubilation as Baker, Spellbound, Cody, Rab, and FK all meet and congratulate each other. Scene 64: Shipyard gates The 200 members are arriving by train. We see them disembark and make their way through the gates. We follow them to the quayside where a reception desk is set up. Baker and one or two assistants are signing people in. There are many other interested/curious people. There is much bunting about. Baker is busy but pauses as FK pulls up in his limo. He is helped out . fk I wish you the very very best of luck. You’ll never know how much I wish that I could come too. He pauses, looking around. Have you sorted out a new captain by the way? Baker (Smiling) Yes. and points up to the top of the ship's gang plank. Captain Bergstrom... We follow the direction of her pointing and see a woman greeting people and shaking hands as they come on board. fk (Surprised) But that's a wom.... ....but catches himself just in time. He sneaks a look at Baker to see if she has noticed. Scene 65: Finale. at the harbourside The ship is fully laden and ready to go. Crowds mill about on the quay below - FK, Rab, and Cody among them. The ship pulls away with a long hoot and amid mad cheering. She heads out to sea as the sun begins to set. Closing titles.....