~The Hitch Hiker


A film script  -  By Simon Burrows                          10/08/1995


`Late last year in Issue 36 of Cheets I published a story  called 'The
`Hitch Hiker'.  Now  here's the film  script!  Anyone out there with a
`20m  budget who wishes to make this great 9 minute sci-fi  -  get in
`contact now!  There have  been a few changes from  the story to this,
`but it is basically the same.

`For those not familiar with this, the professional layout and wording
`for a film script  (with a few changes due to limitations enforced by
`the interface of this magazine)  -  tough!

`Any 14/15 year olds out there taking media studies:  this is the sort
`of thing you will need  to hand in to get  a good mark in the script-
`writing module.  Don't even think  about copying  it, though, as it's
`well and truely copyrighted and we'll get you, we will!!



~`             *                    *                    *



`                                                             Fade In:


~`1. EXT. SKY. NIGHT.                               (total: 8 seconds)

`WS of a night sky diffused with bright stars and faraway planets.  An
`occasional craft sweeps the sky-scape, cutting the blackness with its
`flashing lights.  In the background, quiet, mystical music plays.

`                                                              Cut to:


~`2. EXT. PLANET. NIGHT.                           (total: 12 seconds)

`WS of  a dark,  dusty planet set against the night sky.  The mystical
`music continues  to play.   For a moment all is still, then a quietly
`crescendoing DRONING is hear, and, 4 seconds later, a vehicle is seen
`emerging from the edge of the planet, appearing as a tiny dot quickly
`crossing the parched desert landscape below.

`                                                              Cut to:


~`3. EXT. ALZERAN PLAINS: STREET. NIGHT.           (total: 12 seconds)

`WS of  a flat, dry, barren plain.  A shimmering mica street stretches
`to the horizon; either side there is arid grass-land.  A sign-post in
`the distance notifies travellers that Vineta G6 is a mere 100km away.
`For a  moment just the sound of the wind and the howl of an animal is
`heard, then the crescendoing DRONING is heard again, much louder this
`time.   Three seconds  later a vehicle screams at enormous speed into
`the shot  in the  foreground and  away  from  the  camera,  into  the
`distance   along the  street.   As the  smoke it  leaves in its trail
`disperses, the  vehicle  can  be  seen  just  disappearing  over  the
`horizon.

`                                               Cut out and fade into:


~`4. INT. HOVER FLY. NIGHT.                         (total: 9 seconds)

`The vehicle  is a  hover skid.   This  particular model is called the
`'Hover Fly'.   The  camera is  on the inside of the right wall of the
`craft looking  inwards. The  harsh engine noises of the exterior have
`been replaced by soft, gentle music.  Modern gadgets, flashing lights
`and important-looking  displays line  the walls  and ceiling  of this
`futuristic craft.   One LCD is blinking in front of the pilot's seat,
`although what  it is  displaying  cannot  quite  be  read  from  this
`position.  Taking centre stage is a luxurious, leather-covered chair.
`In it,  relaxed, lazes  GARAMOND, a handsome, casually dressed man in
`his late forties.  He is holding a glass of noxious-looking cocktail,
`and staring  blankly at the large display in front of him which takes
`the role  of a  conventional wind  screen.   On this, and through the
`portals which line the sides of the craft, the black sky can be seen,
`occasionally blurred  by stars.  On a shelf by the side of his chair,
`GARAMOND has a decanter filled with more of his cocktail.

`After five  seconds, the  CAMERA ZOOMS  to a  VCU of  the LCD  so the
`writing can be read.  On it blinks the words:

~`           PILOT: CPU      STATUS: GREEN      E.T.A.: 3.52


`                                                              Cut to:


~`5. EXT. TOP OF HOVER FLY. NIGHT.                 (total: 15 seconds)

`The camera  is mounted  on the roof of the Hover Fly, facing forwards
`as the  vehicle continues  at speed  along the  shimmering street.  A
`small area  of the roof, and the very front of the bonnet are visible
`at the  bottom of  the shot.   Support  columns are  seen briefly  at
`regular intervals  at each  side of  the street  as the  craft speeds
`quickly past  them.   These hold  up thick  wads of  complex  optical
`fibres which  flash intermittently.   The  sky ahead  is a dim orange
`colour showing  built-up area  nearby, and  the engine  continues  to
`DRONE loudly.   After 4 seconds, the sound of the engine dies to very
`quiet, and:

~`                       GARAMOND  (VOICE-OVER)

`          I was  nearing the  end of  my journey.    I  had
`          already  crossed  the  Xunla/Yanton  border  with
`          little delay, and the 3000hp engine of my 8.2.60.
`          model 'Hover Fly' was purring.

`                                                              Cut to:


~`6. INT. HOVER FLY. NIGHT.                        (total: 14 seconds)

`The camera  begins at  ceiling level  at the front-left corner of the
`craft and  slowly TILTS  DOWN  towards,  and  ZOOMS  INTO,  a  CU  of
`GARAMOND.  Engine noises have once again been replaced by soft music.
`GARAMOND has  replaced his  cocktail glass,  now empty, in a purpose-
`built receptacle  set in  the side  of his  chair.  There is room for
`many more  glasses, and  there is  still  a  large  quantity  of  the
`cocktail in the decanter by his chair.  He has leant back into a very
`relaxed position  and his  eyes are  closed.  Once the camera reaches
`the CU:

~`                       GARAMOND  (VOICE-OVER)
`          
`          I had  been travelling  all day  and I  was  very
`          tired as  I crossed  the Alzeran  plains.  It was
`          nice to  be able  to leave my destiny in the arms
`          of a  CPU while  I dreamt the rest of the journey
`          home.

`Three seconds  after the  speech is  over, a  great BOOM is heard and
`GARAMOND, startled,  sits up.   His  head turns to look out of one of
`the portals in the left wall of the craft.

`                                                              Cut to:


~`7. INT. HOVER FLY. NIGHT.                        (total: 22 seconds)

`POV of  GARAMOND looking  out of one of the portals.  The shot starts
`with the  studded, circular  rim of  the portal, visible in the shot,
`then the  CAMERA ZOOMS IN in until the shot is filled with the action
`outside.   It then  CRABS  quickly  to  the  right  to  simulate  the
`continuing movement  of the  Hover Fly when no part of the vehicle is
`in the shot.

`Outside, great flashes of light illuminate the shadowy figures of men
`looking down  into a  gorge a short distance from the street.  In one
`corner of  the shot the moon lights up the dark sky, and against this
`is seen  the giant  shape of  a crane-like  vehicle.  The CRASHES and
`BANGS  of   heavy  machinery   and  controlled   explosions   resound
`intermittently, disrupting  the soft music which continues to play in
`the Hover Fly.

`After seven seconds the noises diminish, and:

~`                       GARAMOND  (VOICE-OVER)
`
`          The bright  flickers and  thundering  crashes  of
`          heavy machinery and explosions revealed that zinc
`          was still  being quarried  at Sable  Ridge.   The
`          noise and  commotion reminded  me of  the  Delphi
`          battlefields where  I had been for the past eight
`          years.

`During the  speech, the  view outside  (through the  portal)  becomes
`more and  more built  like going through the suburbs of a city. Three
`seconds after its conclusion:

`                                                              Cut to:


~`8. EXT. VINETA G6: GENERAL. NIGHT.               (total: 23 seconds)

`WS from  the top of a skyscraper down onto a city.  The whole view is
`built-up like a futuristic town.  High buildings litter the sky line,
`and endless  crowds line  the crisscross  of streets  at both  ground
`level and  high up on gantries.  Lines of diverse, futuristic-looking
`vehicles flash  across the view periodically, and form queues on some
`routes.    Aircraft  BUZZ  over  the  city-scape  in  many  different
`directions.  The crowds, vehicles, aircraft and the everyday din of a
`busy city  create an  oppressive background  ROAR.   One street which
`runs right by the sky-scraper leads out of the city to the left.

`After six  seconds, the  conspicuous Hover  Fly blasts  into the shot
`along this  street, crosses  the  shot,  and  eventually  disappears,
`merging into the crowds behind rows of buildings in the distance.

`When the Hover Fly is almost out of sight, the noise dies down and:

~`                       GARAMOND  (VOICE-OVER)
`
`          I finally  reached Vineta  G6,  capital  city  of
`          County Armand.   I  had never  seen it  so  busy.
`          Crowds created  a carpet  of  body  on  the  city
`          floor.  I remember smiling as I thought that they
`          must have  all come to welcome me home.  Curious,
`          I drove off the main street to investigate.

`
`                                                            Fade out.


`                                                             Fade in.

~`9. EXT. VINETA G6: A STREET. NIGHT.               (total: 5 seconds)

`Quiet rock  music beats  a hard  rhythm to  a shot from a first floor
`window.  The CAMERA IS STILL as the Hover Fly drives into the shot in
`the foreground,  drives away  from the  camera, then  takes  a  right
`corner, behind  some buildings  and out  of the shot.  Tall buildings
`are set back from the street, and between them and the driving lanes,
`queues of euphoric teenagers scream and shout.

                                                              Cut to:


~`10. EXT. TOP OF HOVER FLY. NIGHT.                 (total: 5 seconds)

`(camera position as shot 5)
`The Hover  Fly pulls  up to  a busy  cross roads, pauses for a moment
`then takes a right turn.  The rock music continues, louder this time,
`and the  crowd look  even more lively.  Banners and posters are being
`waved although  it is  impossible to make out what is on them.  Crowd
`volume escalates.

                                                              Cut to:


~`11. INT. HOVER FLY. NIGHT.                        (total: 5 seconds)

`MCU from  the 'wind  screen' display  in the Hover Fly, looking in at
`GARAMOND'S face  as he  concentrates on the display.  The rock music,
`louder and  heavier this  time,  and  the  increased  volume  of  the
`raucous crowd  SCREAMS over-power  the  soft  music  playing  in  the
`vehicle.

`                                                              Cut to:


~`12. INT. HOVER FLY. NIGHT.                        (total: 5 seconds)

`POV of  GARAMOND looking  at the  'wind screen'  display.  There is a
`narrow rim  of vehicle  interior all  around the display.  On it, the
`Hover Fly  is seen  to take  a bend and flash down a straight street.
`As it  rounds the bend a gigantic stadium is revealed, dominating the
`background.   In front is a giant battery of thousands upon thousands
`of screaming  youths sprawling  to get  closer to  the entrance.  The
`music has  become deafening  but the crowd's CHEERS and SCREAMS, at a
`peak, contend successfully with it.

`                                                              Cut to:


~`13. EXT. STADIUM. NIGHT.                         (total: 27 seconds)

`WS of  the stadium  from above  as if  taken from  a helicopter.  The
`stadium has  huge, four-tier stands on each of the four sides, and on
`each corner  giant turrets  hold up blinding floodlights.  The stands
`are full  to brimming,  and in the centre is a giant stage.  On it, a
`heavy rock  band continue  the music  which has  been  heard  in  the
`previous four  shots.   At the  top of  the opposite stand is a giant
`poster with the words:

~`                 "MAUSOLEUM  -   THE KINGS OF ROCK"

`After four  seconds, the  CAMERA SLOWLY ARCS the stadium around 180,
`THEN PANS  away from  it to look down a street which runs parallel to
`it.  Crowds of youths not able to get into the stadium line and block
`the street,  and the  Hover Fly  is seen  making its  way very slowly
`through them.  The music and crowd noises diminish, and:

~`                       GARAMOND  (VOICE-OVER)
`
`          I followed  the crowds along the streets for only
`          a few miles and they led me to the giant Quadrata
`          Stadium in Park District.  I thought for a moment
`          that  the   target  ball  team  had  got  to  the
`          planetary  league  final,  but  then  I  saw  the
`          posters and  realised that Mausoleum, the biggest
`          rock band to ever brace these shores, was giggin'
`          here in Vineta G6!

`As GARAMOND'S  speech ends,  the Hover Fly finally makes its way past
`the crowds.   As  soon as  it does  it accelerates extremely fast and
`impatiently blasts off the shot along the street.

`                                                              Cut to:


~`14. INT. HOVER FLY. NIGHT.                        (total: 4 seconds)

`(camera position as shot 4)
`GARAMOND, now  through the crowd, leans back and relaxes again.  With
`a smile  on his  face he  closes his  eyes.  The rock music and crowd
`SCREAMS quickly  diminish in the background and the soft music of the
`vehicle replaces it.

`                                                              Cut to:


~`15. INT. HOVER FLY. NIGHT.                        (total: 7 seconds)

`The camera  is mounted on the top of GARAMOND'S chair. The soft music
`continues to play.  GARAMOND'S lazy head fills the foreground and the
`'wind screen'  display visible  in the background shows the vehicle's
`route as  it races around the streets frighteningly close to the tall
`buildings which line them.  The LCD seen in shot 4 is visible but too
`small to  read on  the 'dash  board' opposite,  just below  the 'wind
`screen' display.   There  are now two empty glasses in the receptacle
`by the  side of  GARAMOND'S chair  and a  little less cocktail in the
`decanter.   After five  seconds  there  is  a  flashing  on  the  LCD
`accompanied by  a beeping.   GARAMOND'S  head stands to attention and
`leans forward to read it.

`                                                              Cut to:


~`16. INT. HOVER FLY. NIGHT.                       (total: 10 seconds)

`VCU of LCD.  A RUSTLING OF PAPER is hear in the background, and there
`is a  quiet BEEPING  in time with the flashing of the following words
`on the LCD:

~`   PILOT: SEMI-CPU      STATUS: RED - LOST       E.T.A.: UNABLE TO
`                                                         ESTIMATE

`After 5  seconds the  CAMERA PANS  around 180  to reveal a low MS of
`GARAMOND struggling with a big map.  He twists and turns it to get it
`the right way up and sighs.

`                                                              Cut to:


~`17. EXT. VINETA G6: GENERAL. NIGHT.              (total: 15 seconds)

`At the  height of a very tall sky scraper, the camera looks down on a
`WS of  a maze  of streets  crisscrossing the  shot in all directions.
`The Hover Fly is seen as a small, bright dot against the dark, gloomy
`background.

`The Hover  Fly races along the streets, leaving the shot occasionally
`but soon  reappearing on  a different  street.   It is going round in
`circles getting nowhere.

`                                                              Cut to:


~`18. EXT. VINETA G6: SANS: STREET. NIGHT.         (total: 29 seconds)

`FLS from  ground level  in left-hand  gutter, angled  slightly up and
`looking down  a street.   Opposite,  oppressive, crumbling buildings,
`stretch out  of the  top of  the shot, and thick, toxic smog hangs in
`the air.   The  beat of  the rock-concert  echos quietly  around  the
`otherwise silent  street.   Old street  lights fail  to shed adequate
`light on  this dark,  dank neighbourhood.   Rubbish swirls around the
`deserted street  in the  wind.   After five  seconds, the  Hover  Fly
`drives slowly  into the  shot towards  the camera  along the  street,
`DRONING as  it comes.   It  slows, and  stops just  in front  of  the
`camera.  After a further two seconds:

~`                       GARAMOND  (VOICE-OVER)

`          Eight years  had seen  many changes  to the  road
`          network.   I remember  arriving at one junction I
`          didn't recognise....and  then...well...then I was
`          lost!   I drove around in circles for what seemed
`          forever and eventually pulled up.

`The side flaps on GARAMOND'S skid slowly extend with a WHOOSH and the
`hydraulic sleekness  of an  opening door on a cassette deck.  Moments
`later, GARAMOND  pokes his  head out of the right-hand flap and looks
`around.

~`                       GARAMOND  (VOICE-OVER)
`
`          When I  took a  look outside  I realised  where I
`          was.   Unwittingly,  I  had  entered  Sans,  slum
`          district of Vineta G6.

`                                                              Cut to:


~`19. EXT. VINETA G6: SANS: STREET. NIGHT.         (total: 16 seconds)

`POV of  GARAMOND looking around.  When he looks towards the left, his
`craft is  visible in  the foreground  since he  is hanging out of its
`right-hand flap.   The  odd shady  character lurks  in  the  shadows.
`Graffitti-covered, boarded-up shops and demolished market stalls line
`the street.     A green  toxic liquid  flows down  the gutters on the
`streets.   At one  stage he looks up.  Dark decaying apartment blocks
`stretch to  the stars,  but their tops cannot be seen for thick, hazy
`pollution.

`After 10  seconds, the  CAMERA PANS to represent GARAMOND turning 90
`to his left so he is looking over the top of is vehicle.  The roof on
`his Hover  Fly is just visible at the bottom of the shot.  Hanging on
`the wall  of the  building opposite  is a  sign.  When this is in the
`centre of  the shot  the CAMERA  ZOOMS into it  slightly to emphasise
`its presence.  On it reads the words:

~`                         Gatineau  83km >

`                                                              Cut to:


~`20. EXT. TOP OF HOVER FLY. NIGHT.                (total: 26 seconds)

`(camera position as shot 5)
`A quiet  WHOOSHING is  heard to represent the closing of the flaps. A
`moment later  the Hover  Fly pulls away from the kerb again and takes
`the turn  as directed  by the  sign.  After five seconds going down a
`straight street  the buildings  get smaller and less significant.  It
`takes a  bend to  the right and leaves the city just as quickly as it
`had entered.   On either side of the road, tall building are replaced
`by the  sprawling grasslands of the Alzeran Plains once again.  Seven
`seconds after  leaving the  city the CAMERA STOPS moving forward with
`the Hover Fly and goes STRAIGHT UP until it is 100ft.  Meanwhile, the
`Hover Fly is disappearing into the distance, and:

~`                        GARAMOND  (VOICE-OVER)

`          Although not up to much, Vineta G6's sign-posting
`          got me  out of  Sans and out of the city.  I even
`          found myself on the west route  -  the one street
`          direct to my estate.  Once again I could lie back
`          and dream  the rest  of the  journey  home.....at
`          least, that's what I thought!

`The Hover  Fly disappears  over the  horizon  just  after  GARAMOND'S
`speech is complete.

`                                                            Fade out.


`                                                             Fade to:

~`21. INT. HOVER FLY. NIGHT.                       (total: 27 seconds)

`(camera position as shot 4)
`Dissolve lapse  of eight shots.  Each shot is three seconds long, and
`in each  one there  is another  empty  glass  in  the  receptacle  by
`GARAMOND'S chair,  less cocktail  in the  decanter on  the shelf  and
`GARAMOND is lying in a slightly different relaxed position  (with his
`eyes closed).

`On the  fourth shot,  a small  dim light  can be  seen on  the  'wind
`screen' display.   This  gets bigger  and brighter on each respective
`shot thereafter.   On  the eighth  shot, which  is twice  as long  in
`length as  the others,  it fills most of the display.  It is flashing
`violently, sparks  of blue  can be  seen on  it, and is making a loud
`HUMMING which is drowning out the soft music from the Hover Fly.

`                                                              Cut to:


~`22. INT. HOVER FLY. NIGHT.                        (total: 6 seconds)

`(camera position as shot 11)
`MS of  GARAMOND relaxing  in same  position as  previous shot.  After
`four seconds,  CRASH ZOOM  to BCU  of GARAMOND  as he wakes up with a
`start, looks  at the  'wind screen'  display   (ie, straight  at  the
`camera)  and stares in shock and amazement.

`                                                              Cut to:


~`23. INT. HOVER FLY. NIGHT.                        (total: 4 seconds)

`(camera position as shot 12)
`On the  'wind screen'  display, the light has become intensely bright
`and has  grown to almost fill it.  It is a space ship called Beatnik.
`The loud  HUMMING drowns  out the soft music of the Hover Fly.  Forks
`of blue lightning CRASH around it, and it moves downwards.

`                                                              Cut to:


~`24. EXT. ALZERAN PLAINS: STREET. NIGHT.          (total: 16 seconds)

`FLS of  the Hover  Fly looking  up to  it from  ground level.  It has
`stopped in  the middle  of the street.  It and all the land around it
`is intensely  illuminated by  the huge,  bright white  light cast  by
`BEATNIK of  which only the bottom half can be seen in the top half of
`the shot  as it  is so  huge compared  to the  Hover Fly.   Forks  of
`lightning continue to CRASH around Beatnik.

`After 2 seconds Beatnik moves towards the Hover Fly until it is above
`it, then slowly 'floats' down.  It stops just before contact is made.
`Meanwhile, the  CAMERA ZOOMS  OUT and MOVES UP to culminate in a very
`high shot  looking down  on Beatnik  floating a  few metres above the
`ground, covering  a circular area five times wider than the road, and
`completely masking the Hover Fly.

`When the camera has stopped:

~`                       GARAMOND  (VOICE-OVER)
`
`          Suddenly my  relaxing journey  was broken by this
`          immense 'thing'!  I didn't know what it was, and,
`          at the same time as being slightly curious, I was
`          very apprehensive.

`                                                              Cut to:


~`25. INT. HOVER FLY. NIGHT.                        (total: 4 seconds)

`(camera position as shot 15)
`GARAMOND'S head,  to attention,  looks wildly  around the interior of
`the vehicle.   Every  single display  and monitor  has converted to a
`picture of  a dark shadow against a white background.  The HUMMING of
`Beatnik can be heard very loudly.

`                                                              Cut to:


~`26. INT. HOVER FLY. NIGHT.                       (total: 20 seconds)

`Shot of  one area  of the  Hover Fly's  interior with three different
`sized displays  on it  which are  all pointing  at slightly different
`angles and  would normally  do different  jobs.   On all three is the
`same picture:   a  black shadow  against a  white  background.    The
`shadow, vaguely  similar in shape to the outline of a man, paces back
`and forth across the screen. It is VANCUISH.  After three seconds:

~`                              VANCUISH

`          Yesss, yesss...Just  what I've  been looking for.
`          A perfect subject.  Just the job.

~`                              GARAMOND

`          Myyyyyyy gawd!  What the.....

`The shadow  spins around  to face  the camera.   From  the  front  it
`appears exactly the same except for two white dots for eyes somewhere
`near its top.

~`                              VANCUISH

`          Oh,  ya'  there......Didn't  know  we'd  got  ya'
`          frequency yet!.....Ya'  not seen anythin' like it
`          before  I   s'pose?.....I  wou'dden  worry  'bout
`          it.......We just need ya' mind for a minnit'!

`                                                              Cut to:


~`27. INT. HOVER FLY. NIGHT.                       (total: 12 seconds)

`Two shot  of GARAMOND   (from  behind, and  a little  to the right of
`him)   and the  'wind screen'  display  which,  like  all  the  other
`screens, has  VANCUISH on  it.   VANCUISH struts around, and GARAMOND
`sits rigid and stares at him. After two seconds:

~`                              GARAMOND

`          Jeeeesus, who  are you  man??  How did you get on
`          my monitors.   Where do you come from.  Where are
`          you going?  Why....

~`                       VANCUISH  (butting in)

`          Hey, cool  it Bub!   Quit  the questions and quit
`          starin'!  Gimme' a chance to explain.

`                                                              Cut to:


~`28. INT. BEATNIK. NIGHT.                         (total: 16 seconds)

`FLS of  VANCUISH in  a small  square room  with entirely white floor,
`ceiling and  walls.    He  is completely  black as he appeared on the
`monitors in  the Hover  Fly, and is looking away from the camera at a
`huge screen,  covering most of the opposite wall.  He stands before a
`big control  panel with  flashing lights  and more LCDs and displays.
`On the  big screen  is a huge BCU of GARAMOND, wide-eyed, mouth open,
`staring.

`After a pause:

~`                              VANCUISH
          
`          Listen 'ere,  right?   We need  to 'ave your mind
`          for a  minnit' 'cos'  we're lost.  Our lunar-plan
`          module's bust.   All  we need is a mind with some
`          know-how of  the local  area.   And now we got it
`          ain't we?

`After a pause of realisation:

~`                              GARAMOND
          
`          Who?  Me?  Do you mean ME?

`                                                              Cut to:


~`29. INT. ALZERAN PLAINS: STREET. NIGHT.          (total: 15 seconds)

`(camera position as end of shot 24)
`Beatnik HUMS very loudly, then, after three seconds, the HUMMING dies
`down and:

~`                       GARAMOND  (VOICE-OVER)

`          To   say    I   was   surprised   would   be   an
`          understatement.   I was  completely amazed....and
`          scared!   I'd never seen this being or this ship.
`          I'd never  heard of  a lunar-plan  module, or  of
`          these mind-reading  techniques.   I tried to keep
`          my cool and talk my way out of the situation.

`                                                              Cut to:


~`30. INT. BEATNIK. NIGHT.                          (total: 9 seconds)

`(camera position as shot 28).

~`                              GARAMOND

`          Are you  sure you've got the right man?  I'm Star
`          Commander  G.   Stewart  of  the  5th  Battalion,
`          victorious leader  of the  Armand squadron on the
`          Delphi battlefields.   I'm  no  space  traveller!
`          Maybe you...

`                                                              Cut to:


~`31. INT. BEATNIK. NIGHT.                         (total: 10 seconds)

`FLS looking into the white room on BEATNIK from the front of the huge
`display.   Vancuish is  looking towards  the huge screen  (and, thus,
`also at the camera).

~`                       VANCUISH  (butting in)

`          We know  w'at we're  doin'.   We  got  the  right
`          bloke.  We're 'appy.  Now shut it!!

`VANCUISH leans  forward and hit a combination of buttons on the right
`of the control panel which stands between him and the camera.

`                                                              Cut to:


~`32. INT. BEATNIK. NIGHT.                         (total: 14 seconds)

`(as shot 28).
`On the  screen, GARAMOND  is still  staring.    He  looks  incredibly
`scared.   His lips  are moving  trying to  protest, but  no noise  is
`coming out.  After 3 seconds of mouthing:

~`                              VANCUISH

`          Ha ha!!   Voice immobilised.  Now we can get down
`          to business.

`VANCUISH leans  forward and  hits more buttons, this time on the left
`of the control panel.  Some more lights flash and a BEEPING is heard.
`GARAMOND continues to try and protest, with no success, on the screen
`in the background.

~`                              VANCUISH

`          Scanning process activated.

`                                                              Cut to:


~`33. INT. HOVER FLY. NIGHT.                        (total: 4 seconds)

`(camera position as shot 4)
`MS of  GARAMOND.   At first  he sits  and stares at the 'wind screen'
`display, then  he snaps out of his daze, leans forward, and strikes a
`green button on the 'dash board' in front of him.

`                                                              Cut to:


~`34. INT. HOVER FLY. NIGHT.                        (total: 3 seconds)

`ECU of the button GARAMOND has just pressed.  On it reads the word:

~`                                POWER

`                                                              Cut to:


~`35. INT. HOVER FLY. NIGHT.                       (total: 10 seconds)

`(camera position as end of shot 24)
`Beatnik hasn't  moved and  the Hover  Fly hasn't moved.  Again, after
`three seconds the loud HUMMING of Beatnik quietens, and:

~`                       GARAMOND  (VOICE-OVER)

`          I couldn't speak and then I couldn't move either.
`          With both  my voice  and  vehicle  immobilised  I
`          became terrified.   But  nothing could  have been
`          worse, and  nothing could  have prepared  me  for
`          what happened next.

`                                                              Cut to:
 

~`36. INT. HOVER FLY. NIGHT.                        (total: 6 seconds)

`Shot from  the inside  of the  ceiling  of  Hover  Fly  looking  down
`directly onto  GARAMOND'S head.   The Hover Fly is spinning round and
`round at  an increasing  pace.   The camera is mounted at the central
`point of the circle so it doesn't move.  GARAMOND'S arms flail wildly
`as he  spins with  the vehicle.  As the spinning increases in pace, a
`crescendoing WHIRRING is heard like that of a washing machine.

`                                                              Cut to:


~`37. EXT. ALZERAN PLAINS: STREET. NIGHT.           (total: 5 seconds)

`(camera position as beginning of shot 24)
`The Hover  Fly is spinning round extremely fast on its own axis.  The
`blue forks  of lightning  which CRASH around Beatnik now do so around
`Hover Fly  as well,  and the  gap between the two 'vehicles' has been
`traversed by  more lightning.   The  WHIRRING of  the Hover  Fly, the
`HUMMING of  Beatnik and the CRASHING of the lightning combine to make
`a very loud BLARE.

`                                                              Cut to:


~`38. INT. HOVER FLY. NIGHT.                        (total: 5 seconds)

`(camera position as end of shot 16)
`The roof  of the  Hover Fly  is visible  beyond GARAMOND,  and it  is
`glowing blue.   Through the portals on the back wall, blue flashes of
`lightning are  visible against black.  GARAMOND is swept back against
`his seat, his head slowly circling and his eyes fluttering in a daze.
`His hair  is standing  on end.   The WHIRRING is heard, still louder,
`and the vehicle is spinning round extremely fast.

`                                                              Cut to:


~`39. INT. HOVER FLY. NIGHT.                        (total: 5 seconds)

`(camera position as shot 12)
`The 'wind  screen' display  is completely  white with  the occasional
`blue flash.   The  view is  distorted, dark and blurred by GARAMOND'S
`dazed,  fluttering   eyes,  and  circles  slowly  round  in  time  to
`GARAMOND'S dizzy  head.   The WHIRRING of the spinning vehicle is the
`only thing that can be heard.  It it loud and grating.

`                                                              Cut to:


~`40. INT. HOVER FLY. NIGHT.                        (total: 7 seconds)

`CU looking directly at GARAMOND.  His hair is standing on end and his
`skin white.   For a moment his head waves with the dizziness then his
`eyes close and his chin drops forward onto his chest.  He has blacked
`out.   Two seconds  later the  WHIRRING begins  to die  down, then  a
`further two seconds later:

`                                                            Fade out.


`                                                             Fade in:

~`41. INT. RECORDING STUDIO. NIGHT.                (total: 30 seconds)

`All around,  a film  crew prepare  the set  for a film:  camera's are
`being arranged,  set's constructed and speech practised.  On monitors
`on the opposite wall, shots from this film are being played.  Sitting
`in the  middle of all the hustle is GARAMOND on a simple stool with a
`microphone.  The action around him is very quiet as he speaks:

~`                              GARAMOND

`          That's all  I remember  of that day.  I must have
`          blacked out,  because the  next thing  I knew,  I
`          awoke in  a dark  room.   I  stepped  up  to  the
`          window, drew  the curtains,  and to  my  absolute
`          relief  I  saw  my  drive,  my  conservatory,  my
`          garden...and my Hover Fly!
`
`          I suppose  I've never  quite been the same since.
`          I never  trust bright  lights at  night time  any
`          more, I  have never  since used  that west route,
`          and I  always check  my restrainer  belt before I
`          leave.
`          
`          You never  know when  aliens might  hitch a  lift
`          with my mind again!
`

`As he finishes speaking, the CAMERA ZOOMS OUT a bit as a man from the
`film crew approaches GARAMOND, speaks to him, and hands him a script.
`GARAMOND looks  away from  the camera,  ignoring it,  and studies the
`script.

`                                                            Fade out.

~`                                THE END

                                                                     

`                                           TOTAL LENGTH:  8.3 minutes
`                                                          



`
~`      THIS DOCUMENT: COPYRIGHT (c) 1995 EUROWAVE LEISURE Ltd. 
~`                      COURTESY OF SIMON BURROWS
`
