Cheet Sheets 1995 August

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~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 `─────────────────────────────────────────────────────────────────────