M A X
Maurice Rowdon


CHARACTERS
MAX
BERYL
DR. GORDON LEWIS
RALPH
DAIRY MANAGER
WAITRESS; FARMHANDS ETC.


MAX
MAX'S FLAT. VIEW ACROSS LIVING
ROOM TO FURTHER ROOM WHERE MAX IS
LOOKING OUT OF. THE WINDOW, SEATED.
WHEN THE SILENCE AND HIS IMMOBILITY
ARE ESTABLISHED BEGIN SLOW TRACK
THROUGH TOWARDS HIM UNTIL THE BACK
OF HIS HEAD IS IN CLOSE
HE IS
GAZING UP, PRESUMABLY AT VRis SKY,
CRANING OUT OF THEWINDOW. WE
FOLLOW HIS GAZE UP, UP; UP THE
BRICK WALL OPPOSITE TO THE NARROW
STRIP OF SKY ABOVE.
CUT TO BERYL IN THE NARROW STREET
BELOW. STREET NOISES. SHE STOPS
AT THE EN TRANCE TO THEIR BLECK OF
FLATS AND LOOKS UP. FOLLOW HER
GAZE, SEARCHING, UNTIL MAX'S ELBOWS
ARE SEEN PROTRUDING FROM ONE OF THE
WINDOWS.
CUT BACK TO HER: SHE
GOES ONS, ENTERING THE FUNCTIONAL
LOBBY WITH STEEL POST BOXES.SET
INTO THE RIGHT HAND WALL, NUMBERED. à
SHE UNLOCKS ONE OF THE BOXES AND
TAKES OUT THREE BUNDLES OF LETTERS,
EACH TIED ROUND WITH RIBBON, AND
PUTS THEM IN HER BASKET.
AND SHE STARTS UFSTAIRS. AND NOW
THE TITLES COME UP.. AT THE END OF
THESE SHE IS LETTING HERSELF INTO -
THE FLAT. CUT TO INSIDE. THE FLAT
AND WAIT FOR HER AS. SHE. OPENS THE
DOOR.. OUR VIEW OF THE DOOR IS
ACROSS THE DINING TABLE. WE TAKE
IN GOLF CLUBS AND BALLS TO.LEFT OF
DOOR AND AN OCCASIONAL TABLE AN THE
RIGHT.


BACK TRACK AS SHE C OMES INTO THE
ROOM. SHE TAKES OUT THE THREE
BUNDLES OF LETTERS AND THROWS THEM
ON THE OCCASIONAL TABLE.
WAIT FOR HER. SHE TAKES OFF COAT AND
COMES TOWARDS US UNTIL SHE IS IN
CLOSE UP. SHE LOOKS TOWARDS THE
FURTHER ROOM.
BERYL: Max.
HE TURNS SLOWLY.
MAX: Hullo duck.
Doctor's coming.
BERYL: Again?
MAX: Morning off. Just for a chatte
BERYL: Ch. (TAKING SHOPPING TO
KITCHEN) I went to the agent's.
MAX'S VOICE:
You did?
BERYL: Fasten your safety belt while
I tell you the price. Twenty thous-
and.
MAX COMES INTO THE LIVING. ROOM:
MAX:
They're willing to sell then?
BERYL: Wouldn't you be at that price?
MAX: Well there's a dairy as well.
And I've got the money.
BERYL:
They said the mortgage hasn't
been approved.
MAX:
Who said?
BERYL:
The agency.
MAX: - And why not for God's sake?
BERYL: You're not a first-class life!
MAX:
BERYL: Max, what does it mean?
MAX: They don't trust me not to conk
out I suppose.
BERYL: But they can't know anything
medical can they?
MAX: of coutse they can't. Besides,
I'm supposed to be Al. Thatts what
all the papers talk about, isn't it?


BERYL: There's the usual letters.
MAX; Half of them madI dare say.
Mad with real life:
BERYL (FROM THE KITCHEN) Eh?
MAX: (AS HE SITS DOWN) If you call
it real, which I don't.
BERYL (COMING INTO LIVING ROOM AND
GOING TO THE OCCASIONAL TABLE)
on have some fun.
SHE FLINGS A BUNDLE OF LETTERS GN TO
THE TABLE BEFORE HIM.
BERYL: Some of them are nice. Some-
times.
AS HE DOES NOTHING SHE BREAKS OPEN THE
RIBBON AND LETTERS CASCADE OUT.
SHE
OPENS ONE OF THEM AND READS IT. WE
SEE THE PLEASURE IN HER FACE IN CLOSE
BERYL (HANDING IT TO'HIN) Here, What
did 'I say?
HE TAKES LETTER, MOVE IN FOR SHOT OF
BADLY TYPED LETTER: 'DEAR MAX I HOPE
YOU DON'T MIND ME CALLING YOU MAX I
AM ONE OF YOUR MANY ADMIRERS AND JUST
WANT YOU TO KNOW THAT MY PRAYERS GO
UP FOR YOU YOU ARE A HERO LARRY MYERS'.
BERYL: Nearly always 'men, notice
MAX (WATCHING HER) Women don't like
that degree of self-sacrifice do they?
BERYL (SITTING DOWN) Lis tem Max I
wouldn't be happy living in a place
that cost that much:
MAX: Are you happy here?
BERYL (LOOKING ROUND)
I used to be.
MAX: And what's changed exactly?
BERYL: Everything! And you know it:
Nobody's the same! Leastways not our
friends. And I get the feeling we're
watched.
MAX; Oh there might be a few press
men!
BERYL: I don't care who they are 1


MAX: But What does it matter?
They're only men watchingt! Vhat do
men matter?
BERYL; I just don't understand you
when you talk like that.
MAX: Take your mind off people.
That's what I meani
BERYL: And suppose you get tired of
doing no Work?
MAX: I work all right.
BERYL: Looking at the sky?
CLOSE UP OF MAX SUDDENLY REFLECTIVE.
A RING AT THE DOORBELL: CLOSE UP
OF BERYL GAZING AT MAX DESPITE RING-
ING. TEHN SHE MOVES SLOWLY AND GOES
TO IHE DOOR.
DR GORDON LEWIS COMES IN DRESSED
FOR A DAY OFF, TURTLE NECK.
GORDON: Hullo Beryl. Great man
home?
BERYL: He's here.
MAX: Hullo Gordon. What's this,
a check-up?
GORDON: No (SITTING DOWN) thought
I'd pop round.
BERYL:
Shall I make some coffee?
GORDON (FINGERING THE LETTERS) No
thank you dear. Still get your fan
mail I see: May I?
MAX (SMILING) Sure.
GORDON BREAKS OPEN ANOTHER OF THE
LETTERS.
GORDGN (EXAMINING IT) Look at this.
Sent your own photo baok. Rum idea
HE TOSSES PHOTOGRAPH ACROSS TO MAX.
CLOSE UP OF PHOTOGRAPH SHOWING MAX
IN ASTRONAUT'S OUTFIT, JUST BEFORE
THE HELMET IS FITTED CN: TRACK
AWAY.
MAX TURNS PHOTOGRAPH OVER.
MAX: Therets the punch, look. Thought
it was somewhere.


HE TOSSES PHOTOGRAPH BACK TO GORDGN
AND BERYL LEANS OVER. SHOT OF THE
BACK OF THE PHOTOGRAPH SHOWING A
LURIDLY DRAWN SKULL AND CROSSBONES.
GORDON: Meaning what?
MAX (WITH A SMILE) Well Wha tever else
he's wishing me its certainly not my
health.
BERYL (TAKING PHOTOGRAPH) We get
dozens like that.
MAX: Do we? You never told me.
BERYL: Oh (GOING BACK TO THE KIT-
CHEN) I don't want you mad as well:
MAX (TO GORDON) We can't get a
mortgage then.
GORDON: Oh why's that?
MAX: Well you should know. They
say I'm not a first class life.
GORDAN: I'll get you any house you
want don't. worry.
MAX: She can't stand the idea of
spending so much money---
GORDON: Well it is a big house.
MAX: But it's the dairy Gordon."
She'll fall into that work and you
won't hear another grouse from her
lips. My God I know Beryl. "She
did near on ten years on a farm.
And what has she got here?
GORDON YAWNS, RUBS HIS FACE..
MAX: What's the matter? Didn't
you sleep?
GORDON: Something big coming off.
MAX: Oh.
BERYL APPEARS FROM KITCHEN WITH TRAY--
COFFEE AND BISCUITS,
GORDAN: Well bless my heart. I
knew she wouldn't take no for an answer.
MAX: How many cups of that stuff do
you sink in a day?
GORDON: Thirty. Forty: A mercy
I don't smoke as well.


MAX: I'll sayi
CLOSE UP OF GORDON DRINKING.
GORDON: Goes up in a week. Top
security.
MAX: Men or monkeys?
GORDON:
The less endearing of the
two---men. My God S ame of these
boys have given me trouble this time, -
Temperament isn't in it, You were
a saint compared:
MAX: I Wonder if monkeys have the
same experience:
GORDON: What experienc e is that?.
MAX: Well, starting a new life.
GORDON: Is that how you feel?
BERYL: What does it mean about the
mortgage Gordon?
GORDON: Oh some damned red tape. e
It'll be all right. If he want ts a
house he oan have it. But Max it
is a bit priceyi
BERYL:
Gordon---Max is. OK isn't he?
GORDON: Well of course he ist
BERYL: Are you sure?
GORDON: Here---(INDICATING MAX) just
look at that picture of eastérn calm
and them try and imitate him,
BERYL: I wish I'could. I wouldn't
mird if Ralph and---
MAX: Oh Ralph's just stagestruck
that's all. Thinks I'm a saint;
probably. (TO GORDON) You know
him, don't you? That one.
HE INDICATES PHOTOGRAPH ON SIDEBOARD--
RALPH. WITH OPEN NECK SHIRT AND EAST-
BOURNE SMILE, HIS ARM ROUND AN ALS-
ATIAN DOG.
BERYL: Are you sure he's the one who's
changed?
dig
MAX: He just doesn't gs me arzy more,
That's all there is to it. Vou know
how I talki About when I was floating
up there I put my hand out, to see if I
could touch the earth---and he just
doesn't get it that's all.
GORDON: Does anybody get it?


MAX: The earth was just. a ball--
I thought I could touch it---millions
of people---all your hopes; Beryl,
houses, the place where I was born--
just a ball. It seemed so' easy.
I suddenly realised that it was just
the way you thought about things,
that made them big or small or real:
Just thought. It doesn't matter
where we are, what we're doing.
Just thoughts make the difference.
What we want and what we dream, that
sort of thingi
GORDON:
That's right Max.
MAX: Like one of those golf balls.
CUT TO GOLF BALLS AND CLUBS BY DOOR.
MAX: Try and imagine all our hopes
and worries on that ball: Size
doesn't mean a thing. It depends
where.you look at it from. Ànd
well---I tried to explain it to
Ralph and he gave me a funny look,
well I don't blame him,
GORDON (FINISHING HIS COFFEE) As
long as you feel all'right Max.
BERYL: He can sit all day. I
admire it really. He could never
keep still before.
GORDON: That's partly the training.
Not much you can do oooped up in a
capsule. I suppose you learn self
reliance. My God if you can go out
there and dangle yourself in space
I reckon you can do anything.
MAX: .Oh it's no distance. Even
a million miles wouldn't be a distance.
BERYL: Distance enough for me, don't
you worry,. God knows I used to eat
my heart" out all those nights, nobody
to tell me if he td come back, then
read the next morning how he was two
hundred odd miles off the earth---
MAX: oh the earth! I tell you,
it doesn't mean lifet
BERYL: It means mine! I'm here!
I was born here!
MAX: No you weren't!
BERYL: Oh I can't talk your lanpguage
any more. You've changed, you have
changed!


MAX: Well thank God I have then
because I'm happier as I am!
GORDON: But What for Christ sake
did you see up there? Angels, or
samething? God?
MAX: I saw that it's all the same for
miles and miles, for thousands and
millions of milés, and nothirg changes,
and the only real thing is What we think
and what we can 't see---so there's no
point in going anywhere---and we never
do---don't you understand?
GORDON: Yes but how does it add up
to a new life?
MAX: Because you realise everything
you've got is inside you. It isn't
outside any more. Cutside is all the
same. You can't get to-anything out-
side:
BERYL: So he sits at the window half
the day.
MAX: And I realised I was in some-
body's arms. I was safe. You feel
it out there. Something's brea thing.
Perhaps that's why they sent me up,
a fool like me---to come back and tell
them---all those.army men with their
tight mouths---yet all they have to do
is to change inside---don't you see,
it's a terrific power we have?
BERYL: - I don't see you had such a
bad life.before.
MAX:
Oh it wasn't bad.
CLOSE UP OF MAX, GAZING BEFORE HIM.
MIX TO HIM AND RALPH. - PLAYING CARDS
IN THEIR SHIRT SLEEVES. MAX WHILE
CONCENTRATING ON GAME, SLAPPING, CARDS
ON TABLE WITH AN EXPERT MOVEMENT,
IS ALSO GLANCING ROUND, JOGGING HIS
LEG, A CIGARETTE IN THE CORNER OF
HIS MOUTH.
MAX'S VOICE OVER: I enjoyed myself.
It just wasn't enough that's all..
Just never enough.
CUT BACK TO THEM AT TABLE:
MAX: I used to live as if this little
ball was everything. * And I knew it
wasn't. I suppose that's why I
needed a damn great rocket under
me, to explode me into the truth,


I wasn't bright enough to see it
on my own.
CUT TO ROCKET DISCHARGE OF CAPSULE.
THROUGH THE SMOKE MIX TO SPACE WITH
ASTRONAUT DANGLING AND THE SHADOWY
CURVE OF THE EARTH TO ONE SIDE.
MAX'S VOICE: When I was dangling
yp there it was like sitting at the
window, only no people to sell me how
important that big soft ball was--
I knew I'd been looking for it all
my life, that feeling. And I'll tell
you something else---a man works his
life out---we get the lives we want---
CUT BACK TO THE TABLE,
GORDON: That sounds like rot to
met
MAX: - It doesn't matter what happens
to you, you Worked it out for your self,
GORDON (WITH DISPROPORTIONATE FRENZY)
You're talking balls! When a man in
full health goes down sudden just like
that (MOVEMENT OF HIS HAND)---I S ee it
all the time! That's the truth!
MAX: Look back on his life and you'll
see he worked towards it.
GORDON: It's rot Max! Best to keep
your mouth shut!
MAX (CALMLY, FIXING HIM WITH HIS EYES)
Why, are we treading on dangerous
ground?
GORDON: Get me another cup of coffee
will you honey?
BERYL TAKES TRAY ABSENTLY AND GOES TO
KITCHEN.
MAX: ROMEXEN You're here for a pur-
pose aren't you?
GORDON: I came for a morning off.
MAX: It's written in your face.
GORDON: Oh dan't talk damn silly
Max!
THE PHONE BELL RINGS. MAX LEAVES
THE ROOM, GORDON FIDDLES NERVOUSLY
WITH THE PHOTOGRAPHS, TAKES UP THE
ONE WITH SKULL AND CROSSBONES AND
THROWS IT DOEN AGAIN. GETS UP,
STROLLS TO THE KITCHEN. TRACK BEHIND


HIM. WATCH BERYL AT STOVE, OVER
HIS SHOULDER.
GORDON:
You crying?
BERYL: He's always talking like
that---and when we go out---
MAX (from behind)
It's for you.
GORDON - (turning) Oh.
CAMERA TAKES IN THE TWO OF THEM,
GAZING AT EACH OTHER..
THEN GORDON WALKS ACROSS LIVING ROOM:
TRACK BEHIND HIM TO FURTHER ROOM,
WHERE HE PICKS UP THE PHONE, GIVING
A CAREFUL THOUGH NOT SURREPTITIOUS
GLANCE: BACK TOWARDS THE KITCHEN.
CUT TO MAX AND BERYL IN THE KITCHEN.
MAX: What's the point of talking to
him? He's gotenough on his mind.
BERYL: Oh it's his job.
MAX: Does the way i talk worry you?
BERYL: It isn't that---
MAX: Now don't cry.
SHE PUTS HER HEAD ON HIS SHOULDER.
BERYL: I get so frightened---
MAX: But what about for God's sake?
BERYL: We seem so---out off---I
CUT.TO GORDON PUTTING DOWN THE HONE
WITH A SLOW, THINKING MOVEMENT. HE
WATCHES THE PHONE FOR SOE TIME, LOOKS
ACROSS AT THE WINDOW WHERE MAX ALWAYS
SITS. THE CURTAIN TREMBLES SLIGHTLY.
TRACK BEHIND HIM BACK TO LIVING ROOM,
PASSING PHONE IN SUCH A WAY AS TO BRING
IT INTO PROMINENCE.
MAX AND BERYL ARE ALREADY BACK AT THE
TABLE:
MAX: Trouble?
GORDON: Have to hear about my latest
charges. See if they've thrown an-
other tempermament. Like a game of
golf Max?
MAX: I've got a better idea. Let's
go and see the house.


GORDON:
Your dairy farm? : Anything
for.a breath of fresh air.
BERYL:
I'll just olear these things.
GORDON: What about the Bell and
Anchor for tea?
MAX: Couldn't be nicer (gETTING HIS
JACKET).
GORDON: I'd better leave word,
Will we be there by four?
MAX: At the farm?
GORDON: No I mean the Bell and
Anchor.
MAX: Oh about then.
GORDON: Righti
HE RETURNS TO PHONE. TRACK BEHIND
HIM AND STOP AT A DISTANCE. HE PICKS
UP PHONE AND BEGINS DIALLING.
MIX TO LS OF FARMHOUSE. THEN A MS
AND FINALLY CLOSE TO THE BACK WALL.
THE PLACE IS GRAND BUT CLEARLY HAS
NO TENANTS. ESTABLISH THE SILENCE
AND SENSE OF DESERTION:
BERYL APPEARS AT THE CORNER OF THE
HOUSE. WALKS BY THE UNCURTAINED
WINDOWS, STARES ABOUT HER. WE
FOLLOT HER GAZE ACROSS THE FIELDS.
A FINE DAY. SHE WALKS ON; OPENS
DOOR OF AN OUTHOUSE, STARTS, SQUEALS
AS SOMETHING RUNS OUT---SHOT OF CAT
LEAPING AWAY.
MAX (FROM WINDOW ABOVE)
Anything
wr ong?
CAMERA FINDS HIM AND GORDON GAZING
DOWN FROM UPPER WINDOW.
MAX: Your nervesi
GORDON: Well how does it strike you?
BERYL: Lovely!
CLOSE UP OF BERYL, HER FACE STRAINED,
GAZING ACROSS FIELD AGAIN:
CUT TO ROOM WHERE MAX AND GORDON ARE
STANDING, A DARK INTERIOR: VIEW OF
FIELD FROM BEHIND THEM, AS THEY cavt
TINUE TO LEAN OUT OF THE WINDOW.


GORDON: You've got about. thirty
acres here. I admire your pluck.
MAX: You see she needs risk aga: in---
something to worry about---she got
used to the st rain---when I was get-
ting ready for the big day---
SHOT OF BERYL FROM ABOVE, THE OUTHOUSE
DOOR STILL HANGING OPEN, SHE STILL
GAZING ACROSS FIELD.
CUT BACK TO MAX AND GRI DON AS BEFORE.
GORDON: Funny isn't it? We train
you for maximum self confidence and
it becomes your philosophy for the
rest of your life.
MAX: Did it happen to the other one
too?
GORDON: God knows.
GORDON TURNS FROM WINDOW WHILE MAX
REMAINS GAZING CUT.
MAX: He's not alive to tell the tale
is he?
GORDON: I wasn't in on that.
MAX: It doesn't scare me amy more.
None of your words like death.
GORDON WATCHES THE BACK OF MAX'S
HEAD.
CUT TO CATTLESHEDS AND DAIRY. MAX,
GORDON AND BERYL ARE WALKING ACROSS
THE COBBLED YARD:
BERYL (AS THEY COME TO THE STABLES)
WHat about the owner?
MAX: Search me :
BERYL: He doesn't even live in the
house.
MAX: A house as generous as that is
only for the likes of you and me (WITH
A WINK AT GORDON).
THEY WALK CN AND MAX STOPS TO FONDLE
HORSE LEANING OUT OF BOX.
GORDON (PEERING INTO THE STABLE)
Well groomed. Somebody must ride.
MAX: You ought to see. this girl
up on a horse---ride bareback---do
anything---


GORDON (TO BERYL) Is that so?
BERYL; Yes:
GORDON: Well them you should be at
home here.
MAX: Ride before breakfast every
morning. Lovely idea,
BERYL: I like the way you talk, they
always used to throw you as soon as
smeli you.
MAX: No I mean for you.
HE WALKS aN WHILE BERYL AND GORDON
REMAIN BY HORSE.
GORDON: What did this agency say--
he waan 't a first class life?
BERYL: Yes.
GORDON: But damn it all I'm his
doctor, What do they know about it?
BERYL:
Does it mean---?
GORDCN: He's as right as rain I
tell youi
HE PASSES av.
BERYL: Gordon---
BUT HE DRAIS CLOSE TO MAX.
MAX (TURNING) Come and look at this.
Twenty head of cattle.
THEY APPROACH THE CATTLESHED WHICH IS
CLEAN, FUNCTIONAL; AUTOMATIC MILKERS,
LOUDSPEAKERS: BUT NO FARMHANDS.
THEY PEER INSIDE.
GORDON: Lunchbreak I suppose.
MAX: Long lunch.
GORDON: Let's push on to the Bell
and Anchor. You can keep your C ountry
silence.
THEY WALK AWAY.
MAX: Funny to hear you say that.
GORDON: Why?
MAX: Well you trained me to go right


out there.
HE INDICATES THE SKY:
GORDON: I didn't train you. I took
your pulse.
MAX: No you didn't. You prepareamy
mind.
GORDON: Come on let's get some tea
inside us.
MAX (CHUCKLING)
Still the same Doo
Lewis!
THEY WALK TOWARDS GORDON'S CAR WAITY
ING IN THE LANE. BERYL LINKS HER ARM
IN MAX'S AFFECTIONATELY.
BERYL: I think we'll be allright
there. I don't care about the money.
MAX:
There: Did you hear that Gor-
don?
GORDON GIVES THEM A BRIEF XXK SMILE
AS HE LOWERS HIMSELF INTO THE CAR:
MIX TO CAR ARRIVING AT A ROADSIDE
INN: THERE IS A TEAS SERVED SIGN:
THEY STROLL IN. CUT TO COSY INT-
ERIOR WITH INVITING ARMCHAIRS AND
SETTEES AND KNEE-HEIGHT TABLES.
HERE THERE ARE OTHER PEOPLE AND GOR-
DON SEEMS TO WARM AT ONCE TO THE NEW
CIRCUMSTANCES.
THEY SIT, SIGH WITH RELIEF.
GORDON: Back to. real life.
WAITRESS---A SPANIARD---COMES UP.
GORDON: I think tea and toast and
cakes and ale and anything they con-
sider right for four o'clock don't
you?
WAITRESS (ALL AT SEA) Tea?
GORDON: And toast. And cakes.
WAITRESS: Scones you like?
GORDAN: Well I like. : Do you like
Beryl?
BERYL: Yes.
GORDAN: So we all like scones.


WAITRESS:. Jam?
GORDAN: Listen darling just bring
everything you can lay your hands on.
WAI TRESS (WITH A GREEDY SMILE) You
wanna big tea for three?
GORDON: You're theret Now run along
and get it, (AS SHE WALKS AWAY) What
could be realer than her?. No wonder
people go, south for their holidays.
BERYL:(TO MAX) Do you remember; we
used to come for their dances?
MAX: I was a simple oversmoking
corporal in those days.
BERYL (TO GORDGN) He never talked
about the sky then. Never even had
a thought that he'd be sent up one day.
MAX: I used to think about things
all the t ime : Know what I mean?
New car, having kids, getting a tent.
I never thought.
GORDON: Excuse me I'd better phone,
Havé to keep in touch.
MAX: But you left word you'd be
here didn't you?
GORDON: Well they might have phoned
already---leastways---
HE GOES OFF TO THE PHONE.
MAX (TO BERYL) So let's hear what you
really think---about the house and that:
BERVL: We cem try I suppose. After
all you did the other thing and came out
a winner, so why not this as well? You
sat down one day and said I'm going to
go in for this space game.
MAX: Did I rerally say that?
BERYL: Don't you remember?
MAX: As far as I remember I just
drifted in----
BERYL: You sat down and said I'm fed
up with the armys I'm fed up with
larking about. I'm going to do some-
thing serious:
MAX: Did I?
BERYL: You know; when we had those


mess dances, and there were all the
other wives, and I gave a party once
a week for all the kids on the station,
I was happy, I know I was.
MAX: So was I. But it wasn't enough.
It wasn't enough for you either duck.
You used to say so,
BERYL:
I didn'ti
MAX: You used to say are we s taying
on this station all our lives: Oh
you can look back and see it all nice-
ly rounded off. But nothing's round-
ed off while it's happening. Not
unless--
BERYL: What?
MAX: When I saw it as a ball, and
realised I didm 't belong to it, no
more than. you or anybody else does,
I got my freedam---
CUT TO ROCKET LAUNCHING AND THEN
THROUGH SMOKE MIX TO SPACE AS BEFORE.
MAX'S VOICE OVER: And then life felt
rounded off. But not before,
BERYL: Max--
CUT BACK TO THEM AT TEA,
BERYL: Max, I always think, I wish
I'd have came up with you!
MAX (LAUGHING) And darned my socks
for me?
THEY GAZE BEFORE THEM.
BERYL: Do you remember What you said
I was to do if yau didn't come: back?
It sounds daft now but it didn't at the
time. You said I was to-get hold of
MAX: That's itl---and ride and ride
as far as you could, just go on riding
till it felt all right---
CUT TO BERYL RIDING IN DISTANCE,
UP A LON: HILL..
MAX'S VOICE OVER: And not to cry ev en if
you. felt like it, just go on riding and
riding as if you was riding--
IMPOSE ON FRAME PICTURE OF CURVE OF
EARTH SEEN FROM THE CAPSULE, IN SUCH


A WAY THAT BERYL AND HORSE NOW SEEM
TO BE RISING OVER THE CURVE.
MAX'S VOICE: ---up the side of the
earth.
BERYL: Max! ,
CUT BACK TO THEM. :
BERYL:
Thank God you came down againi
I thought that night was my last.
MAX: I tell you something, Beryl---
all training, whatever it is, is a
trainingf or---
THE WAITRESS COMES WITH VAST LADEN
TRAY AND BEGINS PUTTING AR TICLES CN
THE TABLE.
THEY SAY NOTHING MORE.
CUT TO GORDGN IN TELEPHONE KIOSK IN
FOYER PUTTING DOWN PHONE WITH SAME
THINKING MOVEMENT AS BEFORE. HE
CROSSES THE FOYER IN AN ABSENT WAY
AND RE-ENTERS THE LOUNGE.
GORDON (SITTING DOWN) Ah now that's
a sight to behold. Nothing realer
than a sit-down tea is there?
BERYL POURS.
MAX (TO BERYL) In a way I didn't
come down. We're both of. us float-
ing now: The money coms from no-
where. Perfions are like that.
GORDON: I wouldn't mind a drop
of money from nowhere.
MAX: You'd hate iti
GORDON (TUCKING IN)
Think So?
MAX: You wake up with your name in
the par pers. Just for sitting in a
capsule for three days;
GORDON: And being brave: Don 't
miss that out.
MAX: You taught me that part.
GORDON: These sc ones are certainly
real:
(AS BERYL GIVES HIM A CUP OF
TEA) Tank you darling.
BERYL: It's always been marvellous
for food.
GORDON: I ought to have moved down
this way years ago.


BERYL:
Where were you before?
GORDON: Big city. Fighting the
common cold. I got out of that game.
MAX; Is this one any better?
GORDON: Well I meet people like you.
(PUTTING HIS CUP BEFORE BERYL) Got
another one there honey?
MAX: You ought to get yourself splioed
Gordon. Lighten your leisure hours.
GORDON (TAKING HIS TEA) Leisure hours--
can't stand 'em. A rush followed by
fatigued collapse into a chair like this
one, that's life for me.
MAX: But this is leisure isn't it?
GORDON SIMPLY DOWNS HIS SECOND CUP.
BEFORE HE FINISHES WE HEAR HIM BEING
PAGED,
PAGE'S VOICE: Dr Lewis! Dr Lewis!
GORDON RAISES HIS EYES, FOR A MOMENT
WITH TERROR IN THEM, BÉHIND HIS CUP.
AND THEN HE LOWERS IT SLOWLY:
GORDON: You see what I mean.
HE LEAVES AS BEFORE. TRACK AFTER HIM
AS HE FOLLOWS THE PAGE, AS FAR AS THE
LOBBY KIOSK. CUT BACK TO MAX AND BERYL:
MAX: I'd reorganise those outbuild-
ings for.a start.
BERYL: Eh?
MAX: They sprawl too much---you
can't tell the differ ence between the
house and the dairy.
BERYL: But what are we going, to do
with so many rooms?
MAX: Have friends. You're always
talking about them. Children. We
could run a school if I continue ster-
ile.
BERYL:
Sterile my footi
THEY CONTINUE EATING. A SLOW FADE.
OPEN AGAIN ON STREET BELOW THEIR FLAT. 1
THE THREE OF THEM ARE ENTERING THE LOBBY:
IT IS DUSK.
MAX (TO BERYL) Got the key? Not
that we ever read the st tuff.
SHE HANDS HIM THE POST-BOX KEY AND
THEY WAIT WHILE MAX OPENS THE BOX


AND TAKES.OUT ONÉ PACKET OF LETTERS.
GORDON:
Only one this time.
MAX: One in the evening, two in the
morning, as regular as clockwork.
GORDON (AS THEY WALK UPSTAIRS) And
you never read the stuff?
MAX: No: Would you?
GORDON: All day, I'd be glued to
it. Praise or blame wouldn't matter.
MAX CHUCKLES AS THEY DISAPPEAR ROUND
THE FIRST LANDING.
MIX SLOWLY TO INSIDE THE FLAT: CAM
WAITS FOR THEM INSIDE: DUSK: EVERY-
THING IS AS WE SAW IT THIS MORNING,
THE PACKETS OF LETTERS ETC. THEY
ENTER.
BERYL (GOING STRAIGHT TO THE KITCHEN)
Are you dying for a drink Gordon?
GORDON: I usually am at this hour.
BERYL (FROM THE KITCHEN) Ioe?
GORDON: If there is any:
MAX (CLEARING THE TABLE)
Let's get
rid of this stuff,
CLOSE UP OF HIS HANDS CLEARING, AND
OF THE SKULL-AND-CROSSBONES PHOTO-
GRAPH, GORDON'S HAND SUDDENLY COMES
ACROSS THE TABLE AND GRASPS HIS.
GORDON (IN A LOW VOICE) I'mn have to
talk to you alone.
MAX: Oh you needn't worry about
Beryl.
GORDON: No. Alone.
MAX: You bachelors ' don't under-
stand (WITH A SMILE).
GORDON: Have it your' owm way. But
I wonder if she's as strong as yous
MAX (AS HE CONTINUES CLEARING THE
TABLE)
Stronger.
THE PHONE BELL RINGS.
GORDON (IN AN OUTBURST) No!
Jesus Christ!
MAX: Here. What's up?


GORDON LEAVES THE ROOM WITHOUT A
WORD MORE, TO GO TO THE PHONE.
BERYL COMES IN AND SHE AND MAX
STAND WATCHING GORDON IN THE
FURTHER ROOM.
BERYL: How did he know it was for
him?
WE REMAIN WITH THEM, WATCHING GOR-
DON'S BACK AS HE ANSWERS THE PHONE.
HE NODS AND REPLACES THE RECEIVER
ALMOST AT ONCE, WITH AN IMPATIENT
GESTURE.
GORDON (RETURNING) I was less of
a slave in the old days---I---
(AS BERYL GIVES HIM HIS DRINK) Oh
that's nice.
(GOING TO TABIE:)
Come.on I've got to talk.
BERYL:
Talk?
GORDON: Here's health:
HE DRINKS.
GORDON: Look Max I'm here to keep
an eye on you.
BERYL: What?
GORDON: That's the truthi
MAX: What about it?
GORDON; If anybody knew I was tell-
ing you this--- That's why I came
this morning. They sent me.
MAX: It makes me feel important.
GORDON: I should' have thought all
those letters did that.
MAX: They're not from the ones on
top.
GORDON: Well anyway I've told you
MAX: You've told me nothing,. Why
am I a risk all of a sudden?
GORDON: All I know is---
THE DOORBELL RINGS AND GORDON STARTS,
CLEARLY THINKING IT IS THE PHCNE
AGAIN: BUT THE WIDENING OF HIS EYES
DENOTES MORE THAN IRRITATED SURPRISE,
AND MAX AND BERYL SEE THIS.
BERYL:
It's the door.


SHE GOES AND RALPH IS STANDING
THERE.
RALPH: Hullo Berryi The great man
BERYL: He's right here. Come in.
You know Dr Lewis don't you?
RALPH: He's Gordon to me. How are
you?
THEY SHAKE HANDS.
MAX: Sit down Ralph. Hav e a drinki
RALPH (WINKING ATGORDGN) If you'll
join me.
MAX: Iwon't.
BERYL GOES TO THE KITCHEN. i
BERYL (FROM KITCHEN) Renie all right?
RALPH; Yes thanks duck.
GORDON: How's life at the barracks?
RALPH: Rough. Used to have more
fun. Eh Max; just between you and
MAX: That's right:
RALPH (TO GORDON) But I can't get him
to stand in a pub five minutes these
days.
GORDON: I warned him off the stuff.
His heart.
MAX (LAUGHING)
That's the first I've
heard about iti
RALPH: No Gordon. He's tuned in to
another wavelength and I'm not on that
one:
GORDON (TO MAX) Hy words this morn-
ing, almost.
BERYL COMES IN WITH BEER FOR RALPH.
RALPH: Thank y ou darling. Now
look---at least you aren't up Dry
Lane surely?
BERYL: All right I'l1 have a sip.
No, of yours :
RALPH:
There now isn't that intimate?
SHE TAKES A SIP AND THEN HE DRINKS


a 2
VERY DEEP.
RALPH: Funny thing down at the
range today. Feedi ing the old Schmeizer
with a nasty belt of bullets and the
thought comes over me, mustn't do this,
mustn't kill things---all of a sudden.
And I couldn't pull the trigger.
Thought you'd be interested.
CLOSE UP OF MAX'S ATTENTIVE FACE.
RALPH: HAD to get up off my kne es and
tell the mugs learning murder at my
hands to carry on and fire. They
didn't need any inviting either:
Threw themselves down on their balls---
excuse that one, Berry, my wife allows
the word---and fired hell into the
target boardi And I stood there and
thought, you dirty young beasts.
Yet I've been doing it once a week
myself for nigh on five years.
BERYL: Oh well you don't have to kill
except in war.
CLOSE UP AGAIN OF MAX.
RALPH: Mind you I would kill if it
came to the toss. TDRINKS) It's
just that I don't like the life any
more. It isn't a life:
MAX: You can always get out.
RALPH: But I don't want to mate.
I like all the perks, the leaves,
the does---all the wages of sin:
BERYL: I reckon you just miss Max:
RALPH: It's not just missing him,
I used to think; Max is a bright
bloke and if he can shove a dozen
bullets into a cardboard man then it's
all right. And them he does the dirty
on me---leaves the army and dangles in
space.
MAX LAUGHS.
RALPH: I get so damn shakey. Nothing
to hang on by. Know the feeling?
I'll tell you s amething about the army,
they're all strangers. Nothing solid.
(TO GORDON) I wish I had your prof-
ession.
GORDON:
Think it's more solid?
RALPH: Yes I dol


MAX: Gordon's got his worries,
don't worry:
BERYL; You ought to be on a state
pension like him (INDICATING MAX)
and then you'd know what t it felt like
not being solid. The money comes
from nowhere---
RALPH: Ah but he doesn't mind it.
You can see by his face. He went up
there to float and he's been floating
ever since:
GORDON: Nobody floats. We're all
on our feet whether we likë it or not.
To float up there you need a daim
great rocket that could blow a city
to pieces, you need months of train=
ing. You float up in space for a bit
but you come back to earth with a
bang.
MAX: I didn't. I floated down.
Didn 't even feel it:
GORDAN: And' my job is to stand by'
and wait for the bang when it come S---
THE PHONE BELL INTERRUPTS THIS GRIM
TUSSLE BETWEEN MAX AND GORDON. HEAR-
ING THE BELL GORDON REMAINS QUITE
STILL:
MAX: Shall I go?
GORDON DOESN'T ANSWER, SIMPLY GAZES
BEFRE HIM, AND MAX GOES OUT TO THE
PHONE.
GORDON (murmur ing)
The hospital I
expect. Have to keep a line open
to them all day.
RALPH: More guinea pigs going up?
MAX RETURNS.
MAX (.TO GORDON) It's for you:
GORDON LEAVES THE TABLE.
BERYL (TO RALPH)
It's rung umpteen
times today.. Even at the hotel
didn't it?
MAX: That's right.
RALPH: Oh you've been whipping it
up ina hotel have you?
MAX: Bell and Anchor, Rmember?
RALPH: Do II


MAX: Been looking at a house just
up the road from there.
RALPH: Why, thinking of mov: ing?
BERYL: It's a dairy farm.
RALPH: Eh? Since when have you been
a farmer?
MAX: She had ten years on the land.
RALPH: Yes but what are you going to
do---watch her?
MAX: (AFTER A PAUSE) In'a way yes,
I -suppose so.
RALPH (LAUGHING, TO BERYL) He's Eboy
this one! I reckon I heard that enough
times inour troop-- 'Old Max isa-boy,
cosP, a real hoye Talk-about-necki
MAX: Drink your beer up and keep
quiet.
RALPH:No Sooner said than done:
HE FINISHES GLASS WITH MIRACULOUS SPEED
AND OF FERS THE EMPTY TO BERYL FOR RE-'
PLENISHMENT. SHE RETURNS TO THE KIT-
CHEN.
RALPH:
But it must cost a bomb Max eh?
MAX:
Twenty thou.
RALPH: Strike a light! And who
coughs it up---some admiring enterprise?
MAX: Mortgage. Pay it off out of my
pension.
RALPH: If you can call it a pensiom. Me
Paper I was looking at the other day
called: it a damned disgrace.
MAX (WITH A SHRUG)
They won't let me
work, Got to be on tapi Give leot-
ures e Show the new boys how it's
done. Medical cheok-upsto see whet coalch
the afterpffects of all that radiat-
ion up there.E. Sn But all I get
is the medical check-ups. No lect-
ures. And' most of what I leerned is
out of date IOW anyway.
RALPH: Go on:
BERYL COMES BACK WITH THE BEER.
BERYL: Do you think it's a mad idea
Ralph?
fap
RALPH: The dairy? No not mad. Jav
artoricttehm


THITASMIEET Just Max. To your
toes,
HE DRINKS THIRSTILY AGAIN.
RALPH:
Still get your fanmail I see.
MAX:
That's right.
RALPH; What,do they all want to marry
you?
BERYL:
Theytre mostly men o
RALPH: Go on.
MAX: And they're mostly threatening.
They say we shouldn't interfere with
nature,ato stay down here and work
cout our-problemarinstend of floating
them about in the atmoshbere, where
they're just the same: p And they 're
dead right. (FOR THE FIRST TIME.
SHOWING STRONG FEELING) But what
could I do? being the poor dar mned
fool I was, standing in a rifle range
all day teaching kids how to oock
their guns. Suppose you want to
think and talk and dream 11ke other
men but you can*t, you just can't,
you want to have a mind and know
things but you haven't got one, you
don't know things! Vhat do you do?
My God I asked that question over the
years grinning and kidding all the
time and looking round for a chance
of escape. You needa rocket to
blow a man like me into real lifet
I used to sit in that canteen Ralph
trying to keep myself still, stop
my leg jogging up and down---
BERYL: All righti
Take it easy.
RALPH: My God I think there's
tears in his eyes.
GORDON RETURNS.
Cl: GORDON)
That was a long one. Did
RALEEN he
out of his capsule?
GORDON (TO BERYL)
can I fetch myself
a drink?
BERYL: Yes go on help yourself.
HE GOES TO THE KITCHEN W ITH HIS GLASS.
you
RALPH: I'll tell/what Max, that
rocket knooked the fun out of your
system. (TO BERYL) Do you know
my whole life was ba sed on Max having
a laugh at the end of everything?


That's why I joined the army---
MAX: Oh come on.
RALPH: I saw him having such a
whale of a time - I thought it must
be good insidecthat uniform. Well
so it was. He had me in fitsi
Morning and night. That's why I
got myself a dog. When Max went
away. I needed the companionship.
BERYL: Wasn't your wife enough?
RALPH: My wife? We're not friends,
we're sex-matesi
BERYL (LAUGHING) I'd like to see her
face 1f she heard that one.
RALPH: And then he comes rounaythe
other night---listen to this Berry---
and strike me if the dog didn't make
more fuss of him than he ever did of
CEEF mei And he'd never slaj pped
eyes on him before. Lioked him all
over: An animal feels it you see-
if you're all right---
MAX: And you're not all right?---
don't talk daft.
RALPH: I'm not bad I suppose but
there's nothing to me, I-s-s
GORDON RETURNS WITH THE WHISKY BOTTLE
AND GLASS.
GORDON: Listen I don't W ant to inter-
rupt but I'll have to examire: you Max
and there's not much tim 6
A SILENCE.
MAX: Eakmine me?
GORDON: Yes.
MAX: I didn't know you'd came for
that. You could have done it this
morning, any time,
GORDON: They want it for some special
reason-- --you know; it's just for the
record---they phoned just now:
MAX: Well then---
RALPH: Would you like me to go?
GORDON: Yes I would. You know about
these things Ralph, it's all top sec-
urity where Max is concerned.


BERYL: But What do they want to know?
GORDON: I've got to do it and that's 1
all I know,
HE DRINKS AND THE OTHERS NOTICE THAT
THIS IS NEAT WHISKY AND QUITE A LOT
OF IT.
RALPH: Blimey you won't be much good
for carving off legs tonight! Not if
you sop it up like that.
GORDON: Ob (HOLDIN: HIS GLASS UP-TO
THE LIGHT) this stuff steadies me à
RALPH: It wouldn't me; not if I was
your patient.
GORDON:
Thank God you're not.
RALPH (GETTING UP) Never mird doc
we only do it to tease: Thanks for
the wallop ducks.
BERYL (GOING TO THE DOOR WITH HIM)
That's all right. -Give my love to
Renie.
RALPH: Shall do. Well good bye
all.. You'd better not take his
appendix out tonight Gordon.
GORDON: I'll take yours out if you're
not careful.
MAX; Bring the dog over some time
Ralph.
RALPH: Yes all right I will. Might
be tomorrow. I'm on late.
MAX; Cheerio.
THE DOOR CLOSES BEHIND HIM. THE
OTHERS ARE SILENT FOR A TIME:
GORDON:
The thing is Max---I don't
need to examine you, I only said
that, the fact is---
MAX: What?
BERYL: What's been worrying -you all
day Gordon?
GORDON:
They want you under observ-
ation: That's the long and short
of it. And nobody else has got to
know:
MAX:
Who's they?


GORDON: The hospital. Experiment-
al centre.. Where I can keep an eye
on you.
MAX: You mean I've got to move?
Why for God's sake?
GORDON: Because you're a sick man 1
You're.sick! And I swear that's why
you. say half the things you doi
BERYL: What's he got then? - Come on
you may as welltell the truthi Gordon
what's he got?
GORDON: Oh it's not fatal. As long
as we get hold of it now: Nip it in
the bud.
MAX: Oh.
GORDON: Anyway we'll have to have
you in.
BERYL: How long for?
GORDON: Oh it W on't be longs Three
weeks. Could be four.
MAX: But why didn't you say all this
this morning?
GORDON: Because I'm fond of you man,
because you're my friend!
MAX: But it's not unfriendly to cure
me of something.
GORDON: It's the inc onvenience, the
movi ing you and all that--a
MAX: And what sort of disease can
it be that affeots my talk?
GORDON: No that was a damn fool thing
to sayi I just don't like. the talk
I suppose. Whem I know all the time
what's hang ing over your head---all
this talk about feeling safe, in some-
bodyds arms---I
BERYL: What's hanging over his head?
WHAT?
GORDANZ You sees I asked to talk to
you : alone but youwouldn 't!
MAX: Oh she can take itt
BERYL: Whatts up them?
GORDON: Well it might be six weeks--
six months--
BERYL: What?


GORDON: For the treatment.
BERYL:. What treatment? for what?
Go on, you will tell the truthi I
knew s omething was up! I was fright-
ened, frightened all the time!
MAX (PUTTING HIS HAND QUIETLY aN HERS)
Let him talk duckie.
GORDON: It's the methods they want to
use.. You see, you've got to come
on a stretcher:
MAX (WITH A SMILE) Oh they're up to
their usual thea tre are they, getting
the image right, like they lined me
up for the cameras--
BERYL: Why a stretcher?
GORDON: Because it's got tolook
right---like something sudden---it's
for the image, yes, I suppose--
BERYL: Rehie said only yesterday,
they're lavishing money on your Max,
it looks too good to be true...
GORDON: It's only the looks of it
that counts to them, Max.
MAX: But what exactly are they staging,
this time?
GORDON: You see Max yoù're a state
possession, well of course you know
that already, I mean you know what my
private feelings are, but it means
you're always watched. -The press
are always around. They can't have
you just walking into hospital. For
same reas on: So (WITH A SHRUG)
let's do it the quiet way, just for
my sake, eh?
MAX (QUIETLY) Oh I'll do it any way
you want.
BERYL: So hadn't you better tell
him the disease?.
GORDON: I haven't made a real
surefire diagnosis. All I'll say
is we have to catch it now and---
with ray treatment it'll be all right.
BERYL:
Oh. It's thati Oh my God.
MAX: When did you find out I had it?
GORDON: A couple of months ag O.
MAX: You kept it pretty quiet.


GORDON: They did.
MAX: What about our friends hip?
GORDON: Max I'm a frightened man--
like us all---
MAX: Yes I shouldn't have asked that.
GORDON: Come on, Beryl, face up to
BERYL: We should have gone away,
thousands of miles, I said so at the
MAX: I'm fed up with going awayi
I've been doing it all my life. And
I'm stay: ing put. You don't think
they can move me do you?
GORDON: What Max you mean you
won't---you don't agree---? Then
what happens to.me for God's sake?
MAX: They coulin't move me in a
thousand years---
BERYL: You should fight it---get
it in the papers---show them up---
GORDON: Max I've got to get you out
of here. It's your life or mine.
MAX: Oh you can move my body where
you like but you'll never move me.
I don't belong any more any way, so
how can you move what isn't reaily
here?
BERYL: You don't belong, not .even
to me?
MAX: I'm thé same as you---there's
no difference. Théy C ouldn't move
what I feel for you, not with a brigade
of tanks! That's what I mean.
GORDON: So it's on Max? we can go
through with the show?
BERYL: But why don't you fight?
MAX: What for? amd who against?
Gordan here? He's the one I'd have
to fight---I'd be throwing him to
the wolves, You don't understand
the State Beryl.
BERYL: It's made up of men.
MAX: But look at the men honey.
Then you wouldn't wonder.


GORDON: No she's. right, you could
fight, you'd probably get away with
it, the papers'd be on your side---
I don't agree about the State, it's
fluid, Max, it changes all the time---
all I'm saying is it'd be the end of
me, I've been told---
BERYL:
Told what?
GORDON: It'll be theend of me if
he doesn't go out of this block of
flats tonight on a sretcher---I
BERYL:
Tonight!
MAX: But who said so? who's been
scaring you?
GORDON: How do I know Wh o talks to
me on the phone!'
MAX: But it might be a hoax. For
God's sake, things aren't that bad
GORDON: But it. can't be a hoax Max
if I get the orders, to move you out,
if the superintendent gives me the
order himself---
MAX: He did? And is he doing the
phoning?
GORDON: ,of course he isn'ti
MAX: You could tell the polioe.
GORDON: I could. But I don't think
I'd last the night.
MAX: And all to get me treatment
which apparently I need.
GORDON: That's the wey to think of
it Maxi Once you're in I can get: to
work---they'll have the public. image
they want---
MAX: And What's your guess as to why
they want it? why the pantomime
Gordon?
GORDON: They don't want thedisease
you've got---they want to keep it dark.
MAX: And why?
GORDON: Your guess is as good as mine.
MAX: No come on. You may as well
go the whole hog.
GORDON:
Perhaps they don't want to


scare the new trainees:
MAX: List ten Gordan did I get this
disgease up there?
GORDON: How the hwll---?
MAX: There's a lot of radiation up
therel Is that how it came?
GORDON: We just can't tell!
MAX: You've got a pretty good idea
thought
GORDAN: It can come all sorts of
ways! Radiation's everywhere---
everywhere you walk. Babies get
it. Old men who've never moved
from their villages. How the hell
can we tell?
MAX: But they don't want it to get
around that if you fiddle with nature
too hard you pay for it?
GORDAN: Yes I suppose so. It's my
guess. Yes I suppose it would be
that.
BERY L: And we've been kidding our-
selves all day, with that house---
the dairy farmi
MAX (TO GORDON)
I'm grateful you
didn't spoil our day.
GORDON: You needn't be. It weis
just cowardice.
MAX: Who'd be Doc Lewis en?
GORDON: Well now you know as much
as I do (HE DRINKS).
MAX: And what's the sudden disease
I have to have? instead of the real one?
GORDON: Heart failure I suppose.
The: papers have ulways talked about
your weak heart. So it connec ts up.
MAX: But my heart's sound?
GORDON: As sound as mine :
BERYL: And then, once he's in,
who says when he comes out agalh..?
GORDON: He'll be in my care darling.
If you can't trust me by now---
BERYL: Oh I trust you:


MAX: Well if they kill mé they'll
be making me even stiller than I am--
one man thinks he can move eni other
mani
BERYL: They've got no reason to
kill you; now.put that out of your
head!
MAX: I know exactly how they Work,
It all depends on how easily I can
be salvaged from the other dise se,
eh Gordon?
GORDON: You'll be all right Max.
Don't make the mis take of taking the
pantomime for real life.
MAX: Weren't the phone calls you've
been getting. all day real lifé?
GORDON: But they didn't say any-
thing really---
BERYL:
Was it a man?
GORDON: It was different people
s ame office connéoted with the sta t-
ion, I forget the name---
MAX: /But Mat did they say?
to Bav
GORDON: It was vague. Every phone
call made it more and more clear.
Them by the last one I got the mess-
age, well I really got it before,
I could see What was coming alreedy
this morning: No they just talked
round thesubject, said how much. they
were worrying about you, how you need-
ed treatment, and you were in the public
houris
eye, the thing had to be managed so
people weren t distressed, they had
future pr ogrammes to think about. :
MAX: Sh I love it Whem they talk
about programmes!
GORDON: And how long had I beem with
the hospital, and ofcourse I was a
friend of yours, I had your cnnfidence
which was lucky, and then they hoped
I understood the gravity of the sit-
uation, and what'a responsible pos-
ition I occupied, and how they must
take care that nothing devolved on
me and therefore the matter must be
managed with great tact and circum-
spection and I was after all being
your friend the best man to do it
and how if it wasn't done properly
and within the stipulated/they must timak
take steps to protect my person,


because I would need protection,
more perhaps than they were able
to give.
BERYL: Poor Gordon.
MAX: So What's required of me?
What do I do, flop out with my mouth
open? How do you know I'm a good
enough actor?
GORDON: It's me that's got to act:
MAX: My God they call it serious and
real, and down our street we wouldn't
even have played these games as kids--
yet we get all this marvellous space--
when I was up there Gordon I saw what
it all was for the first time---What
a marvellous gift---all that blue,
blue, blue; so still, as far as you
could see, just blue, so soft and
pure and quiet, for miles and miles
and millions of miles, and we sit down
here and play these damn fool games
instead of Worshipping, going down on
our knees and mervolling--that's all
there is to do, the only serious thing,
just marvel at it alli But nos
BERYL: Ioould phone the hospital--:
(GETTING UP) They'd listen to a
womam!
Whwr -
MAX (GRIPPING HER) Produce your
stretcher mant VV
GORDON: It ism't quite time -
MAX: They gave you a time as well eh?
GORDON: To the minuted
SILENCE.
MAX: It's no good fretting Beryl.
The thing is the gamejisn't just start-
ing, it's been on from the beginning.
But at the beginning it went our way:
Rising salary, pension and g olden hand-
shakes and your name in the paper: But
this is what it's really like. You're
not your own. We weren't our own bef ore-
BERYL: We were all right---When you
was a.corporal--
MAX: It was just the same I We
weren't our own!
BERYL: Oh don't talk sillyi


GORDON: It's a marvel to me Max
how-you can keep so calm.
BERYL: I'll talk about it when you're
in---I'll talk to the papers---nobody,
can stop me---I've got nothing to lose!
MAX: You'd lose Gordon, you'd lose
me 1 Don't you see theyive trained
this body up, they' 've fed it for years,
they've watched it night and day?.
Him and me (MEANING GORDON) were in
it together. So they own our bodies.
Start fighting f or our bodies and
they'll dispose of them, nothing
easier! So just give up f ightingi
Just wait and see. What can they
take away from us darling? Don't cry a
GORDON: It's funny Max, it's like
I trained you for this, not the other
thing, not the rocket.
MAX: You did your Work well:
BERYL: Gordon---do they have visit-
ing hours?
GORDON: Of coursé they do girl.
Anyway you know me. just mention my
name and come any time you like---
my God he's only under observation--
I told you I'd cure him---don't you
want that? would you prefer him
here, wasting away? Don't you want
him well?
BERYL: Yes yes: I'll be good. I
really will.
MAX (LOOKING AT GORDON WITH A SMILE)
My God you are an actor---I think
you'll do their job well---I---
A LONG RING AT THE BELL:
BERYL: No!
GORDON REMAINS WHERE HE IS, PALE.
MAX (IN A LOWER VOICE) What.'s Beryl
going to do tonight? Shouldn't she
pop over to Ralph's?
GORDON (ALSO IN -A LOWER VOICE) No
she has to stay here.
BERYL: I want. to anyway.
MAX: They don't want theppess gound,
pulling people's heartstrings-


GORDON: No it isn't that.
ANOTHER LONG RING AT THE BELL.
GORDON (GETTING UP SLOWLY) They
want her to answer any calls there
might be: You've got to say it
really was heart failure Beryl:
Tell everybody. Not a word about
the other. You're not si pposed to
know. I told you as a friend.
BERYL: How can I---?
MAX: Oh for God's sake it's only
one more move in the pantomime---
what does it matter---? Beryl
say cheerio---
BERYL (KISSING HIM) Maxi
GORDON: Not even Ralph. Do you
hear that Beryl?
ANOTHER LONG RING AT THE BELL.
GORDON: He.'s thé ong who talks.
Not a word to him: Let him read the
papers. Just say yes. And let me:
come to you. Don't came to me:
Don't phone me up.
BERYL:
Yes yes yes yesi
GORDON: Now I've got to get you out
of here as a clear cardiac case.
Even the stretcher bearers have got
to be convinced.
MAX: Tell me what I'm supposed to
look like---Good God what afarce!
What a way for/hero to end---I
GORDON: Get me a glass of aater
quick.
BERYL DOESN'T MOVE:
MAX: Came on honey, it's only a
lefruton
game; we'll be starting: to laugh
next-- - Come oni
BERYL: It's wrong Max!
(GOING
TO THE KITCHEN) It's wrong to
play their gamet
GORDON: Now I'm giving you a
quick sadative. It'l1 just knock
out for a bit---
inpidin
you:
ANOTHER LONG RING AT THE BELL.
GORDON: Do you understand me?


MAX: I was thinking, it reminds
me of when I was training, saying
yes doc, yes doc all the time, looking
up at your face---
GORDON (AS BERYL RETURNS WITH THE
GLASS OF WATER) Nom-I-went-you-to
take this-straight-down. It won't
do you any harm: OK relax
GORDON DISSOLVES A WHITE PILL IN THE
WATER. INDECTION
MAX: Yes doo:
BERYL: But Gordon---
GORDON: It's so as he sleeps --
it's got to be real===j just a sedative---
HE HANDS IT TOMAX AND MAX DRINKS.
MAX (SMACKING HIS LIPS) - It even
tasted good.
GORDON: Now you'll be allright.
Doyou-feel tiny-bit-steepy?
MAX: Yes doc.
GORDON TAKES HIS PULSE, PULLS THE
LIDS OF HIS EYES DOWN VERY SLIGHTLY.
GORDON: You feel sleepier still?
MAX (LOOKING UP AT HIM) Yes doc.
MAX PUTS HIS HAND UP GENTLY AND TOUCHES
THE SIDE OF GORDON'S FACE, WOTH A
SLIGHT SMILE. THEN HE SUCCUMBS TO
THE DRUG.
GORDON (TO BERYL, URGENTLY) Now play
your part. Come on: I'll get. him
out of this if you play your part---
they're. only fools---if we're clever we'll
have him out of thet place in a month---
Beryl, you're going to be allright?
BERYL (GAZING WITH ALARM AT MAX) Yes
if you promise!
GORDON: I promise!
BERYL:
Promise again!
GORDON: I will! Yes I promise:
I promise!
BERYL: I will then.
GORDON OPENS THE DOOR.
THERE ARE
TWO STRETCHER BEARERS AND A MALE


ORDERLY. THEY NOD TO GORDON AND
BEGIN MAKING MAX COMFORTABLE. BERYL
STANDS TO ONE SIDE. THE STRETCHER
IS MADE READY. . A- SLOW FADE.
END
OPEN AGAIN ON STREET BELOW NEXT MORN-
ING, BUSY AND NOISY.
BERYL ENTERS THE. LOBBY AND GOES AUTY
OMATICALLY TO THE POST BOX WITH HER
KEY AND OPENS THE LITTLE DOOR. SHE
TAKES OUT THE USUAL THREE PACKETS OF
LETTERS AND THEN SEES THAT THERE IS
SOMETHING ELSE.. SHE S TOPS, PEERS.
THEN SHE SLOWLY TAKES OUT A SINGLE
LETTER AND LOOKS AT IT.
SHOT OF LETTER REVEALS THAT IT IS
ADDRESSED TO 'MRS MAX ANDERSON,
FLAT 14'---NOTHING ELSE,
SHE LOCKS THE POST BOX AND PUTS THE
THREE PACKETS IN HER SHOPPING BAG, THEN
LOOKS AT THE. LETTER AGAIN. SHE
WALKS UPSTAIRS, THE LETTER IN HER
HAND, GLANCING AT IT ONCE MORE
BEFORE SHE TURNS AT THE FIRST LAND-
ING.
CUT TO INSIDE THE FLAT. WAIT FOR
HER TO OPEN THE DOOR. SHE DEPOSITS
THE SHOPPING BAG AND LOOKS AT THE
LETTER AGAIN, LEAVING THE DOOR
SLIGHTLY AJAR BEHIND HER. GOES TO
THE TABLE AND SITS DOWN, ALL THE
TIME WITH THE LETTER:
WATCH THE DOOR, FROM BEHIND HER i
THE LETTER IS OUT OF SIGHT. SHE
OPENS IT AND BEGINS READING.
SILENCE.
SHE LOOKS UP, HAVING READ THE LETTER. :
THERE IS THE SOUND OF STEPS ON THE - :
CEMENT STAIRCASE OUTSIDE. REGULAR,
QUITE RAPID.
SHE REMAINS QUITE
STILL.
A KNOCK ON THE DOOR.
BERYL: It's open.
RALPH APPEARS, ASTONISHMENT ON HIS
FACE,
RALPH: I've just seen the papers!
Well strike a light! Just after I
went. Nine-ten, it said.
BERYL: Yes it was sudden.
RALPH (COMING IN) What a world ehi


HE SITS.
RALPH: Feeling rough?
BERYL: Oh---I hardly know What
feelings are any more---
RALPH: I don't know! You talk to
your pal one minute and next he's on
the danger list.
BERYL: Is that what they say?
RALPH: Haven't you seen the papers?
BERYL: No.
RALPH: Well don't worry yourself.
They don't always pick up the truth.
Has the doctor been?
BERYL: Not this morning.
RALPH: Not to say---?
BERYL: He phoned: He said Max was
all right.
RALPH: These papers exaggerate.
of course he makes big news. So
he's all right.
BERYL: Yes:
RALPH:Well thank God for that them:
BERYL: What did the papers say was
wr ang?
RALPH: : Heart attack. He di d have
one didn't he?
BERYL: Yes:
RALPH: You don't seem surei
BERYL: All I know he's not heret
And I want him heres
RALPH:
Don't cry mate. It don't
do. any goods He's in good hands--
he's alive---you'll get him back
soon don't worry.
BERYL: I'd better!
RALPH: What do you say to sharing
rooms with us for a bit? The kids '11
take your mind off.


BERYL:
That's all right Ralph.
It's better here, He might be back
tomorrow for all I know:
RALPH: I nearly fell through the
pa vement when I saw thet headline.
I had thedog with me. Max asked
me to bring him round, remember?
Whem I saw that placeap I took him
back home and raced straight round.
BERYL: You should have brought him
just the same.
RALPH:
Thatts right. He might have
taken your mind off.
A PAUSE.
BERYL: I'll get a job Ralph,
RALPH: But you're OK for money---
they're not stopping the pension?
BERYL: No I need to get out---
RALPH: Oh I'm with you there.
But how long do you contemplate him
being there?
BERYL: He'll have to Jie quiet they
say. It might be a time.
RALPH: Yes well for heart trouble
that's the usual thing isn't it?
BERYL: I'll keep the flat... (SHE
TURNS AND LOOKS AT.THE FURTHER ROOM)
I haven't touched that window si noe
he left it yes terday':
CUT TO WINDOW OF FURTHER ROOM, STILL
OPEN. TEH CURTAIN BILLOWS SLIGHTLY.
CUT BACK TO BERYL AND RALPH.
RALPH: But you'll be visiting him
Beryl?
BERYL: They say I mustn't goi
RALPH: What?
BERYL: He's got'to be kept that
quiet..
RALPH:. But can 't old Gordon get you
in? He's looking after him isn't he?
BERYL: He's the ore: who told. me not
to come.


RALPH: What---Gordon? Yes I.
don't think! We' '11 find a way of
smuggling you in don't you W orry about
that. It's only a lot of damned red
tape.
BERYL: It's good you dropped in last
night.
RALPH; They won't keep me away, I've
got my methods down at that establish-
ment! No visiting, I've never heard
GE such a load of rubbish.
BERYL: Almost as if you knew..
RALPH: Yes. Bunny isn't it? I
thought. I'll call round on old Max 6
He'll look down his nose at mé but
I'm fond of him just the same :
BERYL: Look down his nose?
RALPH:
Well---just between you and
met
BERYL: How?
RALPH: It happened as clear and loud
as the rocket that sent him up my
sweetheart. He never really looked
at me again. Not after his name got
in the papers:
BERYL: You think so?
RALPH: Oh I don't blame h im- really.
A chap goes up in the world: He
leaves the members of the lower levels
behind.
BERYL: Is that what you think?
RALPH: He spent more time with my
dog than he did with me, the last
time he came round to see us. Hard-
by said a word.
BERYL: Yes I wanted h im to come round
more often.
RALPH: Still why worry? I know I'm
not much of a chap. Good for a
game of cards and a lark. We had a
decent time between the two of us
so I've no regrets.
BERYL: But he didm't chamge you
knows.
RALPH: Oh he cherged all right.


BERYL: He just became his real
RALPH: Well he chenged then. If
he wasn't his real self before. I
preferred the bloke he wasn't, in
that case: I could get a word out
of him before, at least.
BERYL:
It was the same for me. I
mean he didn't say much more to mes
He didn't lark about like he used to.
He used.to have me in fits in the old
days: What I mean is he certainly
didn't look down on mel But he:
changed. He was wonderful XX* to
be with. It was like always being
in the sun.
RALPH: Well he got a lot of-money
all of a sudden and his name was
everywhere. He was made director
of God knows how many firms,
BERYL: He didn't aceept.
RALPH: No?
BERYL: No.
RALPH:
But he did get ideas equal
to his new station: I don't mean
any offence duck, I don't blame him
you see: I dan't mind being stepped
on: In fact I think it's a good
idea. I suppose I'm one of life's
natural underlings. I prefer to
stay under and complain. And he's
always been bigger tha that; old
Max. -He's always been able to sort
of invent life---know What I mean?
BERYL: Yes. I think soi
RALPH: Who else would have thought
of taking that job on? They could
have sent up a-capsule a minute for
eighteen years and I wouldn't have
volunteered: It just wouldn't ever
have crossed my mind. So I don't
blame him getting fed up with me:
BERYL: But he never didi
RALPH; of course he did. And you
know he did. He couldn't stand my
jokes any more. And my all night
romps;
BERYL: He wasn't afraid of you any


more, that's alli
RALPH: Afraid?
HE LEANS FORWARD, INTRIGUED:
BERYL: I mean he didn't try to fit
in any more. That's why Gordon S tart-
ed coming and seeing him, Max was
his only patient who didn't seem
afraid of him and treated.him like a
friend, he told me that himself.
He said he felt easy with Max. Be-
cause Max was easy with himself.
RALPH: Do you mean he tried to fit
in with-me?
BERYL: of course he did, in the old
days;
RALPH: How duck? Listen you're
boosting my morale up'no end---j just
go on and don't stop---well, slap me
down, if a chap like Max can wemt to
fit in with me---I
BERYL: He never liked your jokes!
RALPH: Oh don't spoil it!
BERYL: No I mean he didn't change
afterwerds---he was. just being honest.
He never liked the ail-night romps,
I could see thet. myself. He didn't
even like keeping me in fits of
laughter---instead of really loving
me. But afterwerds he really loved
me, I didn't know at the time, I
mean I thought he always loved me.
I thought everything was all right.
I thought the same as you, I liked
h im better then. But it camelover
me in the night---I didn't sléep a wink
all last night---I just sat here
and tried to think it all out.
I sat in his chairi
RALPH: Well strike a light. Do
you think he-looked up to me in the
old days?
BERYL: No, I think he looked down
on you. So he tried to fit in with
you,and play on your level---
RALPH: But-blimey he was the joker
not me! That's why I joined the
army, because I thought it was all
jokes:


BERYL: Perhaps he only joked with
you.
RALPH: : But he had you in fits as
well---you said so yourself!
BERYL: He was just trying to fit
in. And then afterwards he didn't
try: He just said what he thought.
He stood on his own feet.
RALPH: And I thought whem I joined
the army I'd never seen a man stand-
ing so square and firm on his own two
feet: They say he never batted an
eyelid when they put the helmet on,
just before he took the jumpi
BERYL: I'm so tired! Would you
like some coffee?
RALPH; No thanks duck. I'll be
pushing. Like a lift somewhere?
BERYL: Oh Ralph could you? Could
you take/out of town?
RALPH: Just name the place.
BERYL: It's the house we went to
see---the dairy farm---
RALPH: You're not really buying
it are you?
BERYL:
Oh, we haven't got that sort
of money--
RALPH: Then what was he talking
about---a twenty thousand pound est-
ahlishment---?
BERYL: He could have done it. But
me, I'll just get a job there, if I'm
lucky.
RALPH: Ohi Well it's not a bad
idea, Just while he's a way eh?
BERYL:
That's right.
RALPH: Beryl, might it be a long
time?
BERYL: Yes.
RALPH: How long?
BERYL: Gordon said six months it
might be.


RALPH:
But surely he can give you
a better idea than tha t? Does he
say what the trouble is, I mean what
started it?
BERYL: It's Max's wonky heart.
RALPH: But What t about that' careering
around in space, wasn't that----?
BERYL: No. Shall we go Ralph?
SHE GETS UP. HE REMAINS LOOKING AT
HER. THEN HE GETS UP TOO AND THEY:
LEAVE, AFTER SHE HAS TAKEN HER HAND-
BAG FROM THE OCCASIONAL TABLE.
REMAIN IN THE FLAT. CLOSE UP OF
LETTER WHICH SHE HAS LEFT BEHIND CN
THE DINING TABLE. IT, READS,
IN HANDWRITING, 'DARLING BERYL,
IA HAVEN'T GONE AWAY. I'M IN YOU:
I'M EVERYWHERE. MY LOVE, MAX.'
CUT TO RALPH'S CAR DRIVING THROUGH
TOWN, THEN OPEN 8 UNTRY. CUT TO
FARM, WHICH THIS MORNING IS ACTIVE
WITH TRUCKS AND FARMHANDS:
CUT TO RALPH'S CAR DRAWING UP IN
THE YARD AND BERYL GETTING OUT.
TRACK BEHIND HER PAST THE HORSE MAX
PATTED YESTERDAY. SHE STOPS, SEEM-
ING TO FECOLLECT THIS, AND FONDLES
THE HORSE TOO, THEN LOOKS IN THE
SKY IN A PUZZLED WAY, HER HAND STILL
ON THE HORSE'S NECK.
SHE WALKS ON TO IHE CATTLESHED AND WE
SEE HER ENTER.
CUT TO INTERIOR OF CATTLESHED WITH
THE WHITE-CAOTED MANAGER STANDING IN
THE MIDDLE WITH A CHECK-LIST IN HIS :
HAND, MAKING NOTES ON THE PIN: TAGE
PER HEAD OF CATTLE AS HE PASSES THE
INDICATORS. SHE WALKS STRAIGHT UP
TO HIM. HE DOESN'T LOOK UP AT CNCE:
THEN.HE SLOWLY TAKES HER IN;
MANAGER: Yes miss?
BERYL: Have you got a job? I used
to be a farmhand.
MANAGER: Well (studying her at his
ease) there's nothing like the
direct approach is there?
(CONTIN-
UING TO NEXT ANIMAL WHILE SHE WAITS)
Worked in. the dairy line before?
BERYL: Yes,


MANAGER: Don't mind a bit of muck?
BERYL: No.
MANAGER:
Got a car?
BERYL (HESITATING) Yes.
MANAGER (TURNINE TO HER AT CNCE, WITH
CLEAR EYES) Have you?
BERYL: Yes. My husband's.
MANAGER: Does he work in this line
too?
BERYL: He's in hospital.
MANAGER: Oh I see. Sorry to hear
it. Nothing serious I hope.
BERYL: No.
MANAGER: Yes we can fit you in I
expeot: As long as you don't ask
for accododation.
BERYL: No, we've got a flat:
HE WALKS TOWARDS IHE EXIT, SHE
FOLLOWING HIM, THE HOUSÉ IS FRAMED
IN THE EXIT.
MANAGER: Unless you wanted to buy
that one of course.
THEY STAND IN THE ENTRANCE.
MANAGER:
There she is.
CUT TO HOUSE THEY SAW YESTERDAY,
BEHIND TREES.
BERYL:
It's a lovely house.
MANAGER: Too big for me. Can't
afford the upkeep. Nor can anybody
else it seems à of course they come
and look at it. Place 1s up for
sale, farm and all. Yes people
oome but I reckon more for the
country jaunt then anything.
BERYL: Oh yesi
MANAGER: There was a party here
yes terday, I was away at my lunch.
They looked at every nook and corner
so I'm told, Then went away and
didn't say a blim W ord. You get
a lot of city people you know, full
of dreams, coùntry dreams.


BERYL: I suppose so:
MANAGER: If you'll come to the office
I'll take your particulars.
BERYL: Yes.
THEY WALK ACROSS THE YARD.
MANAGER (AS THEY PASS THE HORSE)
Due
for the knacker's yard.
BERYL: Oh no don't kill himi I'll
buy him, I really willi
MANAGER (CHUCKLING AT HER) You keen
on horses then?
BERYL: :Yes! I noticed him yester-
MANAGER:
Yesterday?
BERYL: . I came---you weren't here---
I came about this job---
MANAGER: Well if it's a ride you're
after she won't give you muoh of one.
BERYL: Oh I don't mind how lazy she
MANAGER: And what about the stabling?
BERYL: I'll pay for that too.
MANAGER: No I mean will you stable
her here?
BERYL: Oh yes I'd like to.
MANAGER: Kind of rent the stabie?
BERYL:
That's right.
MANAGER: Well I expeot we can fix
something up:
BERYL:
Thank you ever so mucht
MANAGÈR (CHUCKLING As HE WALKS ON)
Just like my wife! She'd put the
knackers out of busi ness if she could.
THEY WALK TOGETHER TOWARDS THE DAIRY
OFFICE.
CUT BACK TO CAR AND RALPH PLAYING
WITH ONE OF THE FARM DOGS, COAXING
IT TO' - COME NEARER BUT IT.HON'T.


RALPH SUDDENLY LOOKS UP: BERYL
WALKS INTO FRAME:
RALPH: Anything?
BERYL: Yes he S igned me on.
RALPH: Well strike me down! Wish
I could get a job as easy as - that!
BERYL:
Start next Monday.
RALPH (AS THEY GET BACK INTO THE CAR)
Good for you girl:
CUT TO INTERIOR OF THE CAR, AS THEY
GET IN. THE OUTBUILDINGS INC LUDING
THE HORSE BOX CAN BE SEEN THROUGH THE
WINDSCREEN.
BERYL: It's funny. I feel close
to Max all of a sudden.
RALPH:
You do?
BERYL: I can see what he means. e
I never did before.
RALPH: You're luckier than I am'
then, because he's not on my wave-
length:
FARMHANDS GO ACROSS THE YARD. CNE
OF THEM PUTS A HAND OUT TO THE HORSE
IN AFFECTION AS HE PASSES.
BERYL: Tha t harse belongs to: me.
RALPH:
Which horse?
BERYL:
That one there.
RALPH:
Belongs to you?
BERYL:
Yes I pought it.
RALPH: You bought it, in that short
time?
BERYL: Yes :
RALPH: Was it going cheap or some-
thing?
BERYL: I don't know. I forgot to
ask the price..
RALPH SIMPLY LOOKS SIDEWAYS AT HER.
BERYL: It'll be a surprise for
Max whem he C omes out.
RALPH: Yes I suppose it will. He's
always been keem on horses hasn't he?


BERYL: It's funny, When he was
tra ining for the big jump he said to
me one day, if the capsule busts up
tero just you get hold a horse from
anywhere and go riding, just go riding
as far as you can and don't ory,
I'll never forget that.
RALPH: Well it didn't bust thank
Godi And he's alive and kicking.
HE STARTS THE INGINE AS A KIND OF
ABRUPT ANSWER TO HER MUSING AND PUTS
HER INTO GERR.
CUT TO THE CAR MOVING OUT OF THE DAIRY
FARM.
LS OF CAR ALONG COUNTRY ROAD.
CUT TO STREET OUTSIDE MAX'S FLAT.
THE CAR DRAWS UP.
CUT TO INTERIOR OF ÇAR AS THEY COME
TO A HALT NEAR THE FLATS.
BERYL: Well thenks a lot Ralph.
RALPH:
That's all right aucks, I'm
glad you got the job: It'll take
your mind off.
BRRYL:
That's right.
SHE STARTS TO GET OUT OF THE CAR.
RALPH: : Oh and I'll nip round tomorrow
and tell you all I know, Don't you
worry they'll lét me in: Red tape
don't bother me.
BERYL: Give him my love and----
RALPH: Oh go on, hets'got that al-
ready, : he knows that---
BERYL: Cheerio then.
RALPH:
SHE GETS OUT OF THE CAR.
CUT TO STREET OUTSIDE WITH BERYL
CLOSING THE ÇAR DOOR. SHE GIVES HIM
A LITTLE WAVE AND VALKS TOWARDS THE
FLATS.
CUT BACK TO INTERIOR OF CAR WITH
RALPH WATCHING HER WALK TOWARDS THE
FLATS.: SHE EN TERS THE LOBBY AND
IS GAE. RALPH STARTS THE ENGINE
AND IS ABOUT TO PULL AWAY FROM THE
KERB WHEN HE CHANCES TO LOOK TOWARDS


THE PAVEMENT, AT A NEWSVENDOR'S
STALL BERYL HAS JUST PASSED d
SHOT OF THE PLACARD WHICH READS
"ASTRONAUT DIES---HEART FAILURE.'
HE SWITCHES THE ENGINE OFF AT ONCE,
CLUTCHES THE DOOR HANDLE TO GET OUT
BUT THEN CHECKS HIMSELF AND SUBSIDES
IN HIS SEAT. HE SIMPLY WATCHES THE
STREET BEFORE HIM, HUNCHED, QUITE
STILL.
CUT TO BERYL IN THE LOBBY TAKING OUT
ONE PACKET OF LETTERS FROM THE POST
BOX. SHE LOCKS IT AGAIN AND BEGINS
WALKING UPSTAIRS.
CUT BACK TO RALPH STILL SITTING THERE:
CUT TO FLAT WITH BERYL WALKING TOWARDS
THE OPEN WINDOW WHERE MAX ALWAYS SAT.
SHE LOOKS UP AS HE USED TO AT THE
NARROW STRIP OF SKY.
SHOT OF THE NARROW STRIP OF SKY WITH
MAX'S VOICEOVER:
MAX'S VOICE: I haven't gane away:
I'm-in you.. I'm everywhere.
MIX THROUGH TO THE DAIRY FARM WITH
BERYL IN FARM CLOTHES CARRYING BUCKET TO
HORSE BOX. CUT TO HER GROOMING THE
HORSE. AGAIN MAX'S VOICE OVER:
MAX'S VOICE: I'm in youi I'm
everywhere..
MIX TO HER RIDING, SHE IS RIDING
UP, UP, UP A LONG HILL, IN A CANTER
so STEÀDY AS TO SEEM FLOATING.
IMPOSE CN FRAME THE CURVE OF THE EARTH -
SEEN FROM THE ASTRONAUT'S POINT CF VIEW,
so. THAT BERYL SEEMS TO BE RIDING
SLOWLY UP THE SIDE OF THE BARTH,
FLOATING, AS THE TITLES COME UP.
THE END